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CHANGES OF HEART

2019 SEASON JUNE 21-JULY 19 COMMEMORATIVE PROGRAM


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4 / www.opera.org


WELCOME TO OUR 69TH SEASON From the Director... Which is more important in an opera, the music or the story? In 1781, Mozart wrote in a letter to his father: I would say that in an opera the poetry must be altogether the obedient daughter of the music. ..The music reigns supreme, and when one listens to it all else is forgotten. An opera is sure of success when the plot is well worked out, the words written solely for the music and not shoved in here and there to suit some miserable rhyme ... The best thing of all is when a good composer, who understands the stage and is talented enough to make sound suggestions, meets an able poet. However, the persistence of these stories suggests that it’s the story that comes first. The Abduction from the Seraglio was written in 1781 by Christoph Friedrich Bretzner as the libretto for music composed by Johann Andre. This effort was part of a project of the Emperor Joseph II of Austria to

support the creation of works in German. Mozart and his librettist, Gottlieb Stephanie, stole the story from Bretzner and made numerous amendments to suit Mozart’s music. La bohème was originally a series of stories about unconventional artistic life written by Henri Murger. The stories were turned into a play before Puccini (1896) and Leoncavallo (1897) used that as the basis for an opera. At least half a dozen movies, a zarzuela, and most recently, a Broadway show, Rent, have been derived from the story. At Opera in the Ozarks, you can be part of the stories of young musicians’ lives 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 be told for generations to come. Maybe there’s an opera in OUR story?

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 once again to Opera in the Ozarks! After the cold rain and snow of winter, we are so excited to finally get to the time of year when Opera in the Ozarks can thrill us with another season of amazing operas. This summer’s operas have something special for everyone — comedy, drama, love, you name it — it’s all there. We’re happy that you have decided to spend this evening here with us, high atop Rock Candy Mountain. As you know, you can almost see the world from here. Our facilities are spruced up and looking good, and this year we know you’ll feel right at home and comfortable with us. Our young singers love to meet you when they talk about the evening’s opera out on the patio. It’s such fun to hear about their experiences at OIO and about their hopes and dreams for their futures. Most exciting of all however, is when our excellent orchestra begins to play and the opera begins...where else can you have such a thrill?

Each opera this summer is someone’s “favorite,” but I simply can’t choose because they’re all really great shows. Little Women is a true American classic, La bohème is filled with passion and young joy, and The Abduction from the Seraglio is of course another Mozart “charmer.” I hope you’ll get to see them all. In fact, if possible, even try to see the special community outreach opera Monkey See, Monkey Do. It’s fun for everyone! OIO has lots of other fun evenings this summer, too. I’m looking forward to the exciting Broadway Cabaret, which was such a success last summer. Perhaps Chamber Music is more your favorite thing, if so, check the OIO schedule, it’s there. But, if you’re looking for an elegant evening filled with beautiful music and delicious food and drink, you’ll surely want to experience the A Taste of Opera. I don’t know about you, but I want to do all of those things, so...hope to see you there.

Carole Langley Governing Board President Opera in the Ozarks at IPFAC 2019 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, Mary Dixon, 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

COMMITTEE MEMBERS David Bell, Connie Craig, Gloria Grilk, Carla Johnson, Pam Jones, Ouida Keck, Lorraine Long, Kevin McBeth, Elise Roenigk, 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, W. Stephen Smith, Robert Swedberg

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

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ADMINISTRATION

Nancy Preis, General Director Patricia Smith, Administrative Assistant, Box Office Yvonne Creanga, Auditions Coordinator, Box Office Emily Kaliski, Marketing intern Terrance Smith, Head of Maintenance Alison Miller, Groundskeeper Mark Williams, Maintenance, Campus Carpenter Garrett Dinyer, Head Chef Bonnie Dinyer, Cook Monica Williams, Cook Dallas Carpenter, Prep Cook Kolby Harp, Dishwasher, Prep Cook Audra Plumley, Head of Housekeeping Rebecca Hurley, Housekeeper Jacob Burrough, Housekeeper

ARTISTIC STAFF

Thomas Cockrell, Artistic Director, Music Director and Conductor La bohème and Abduction from the Seraglio Caleb Harris, Music Director and Conductor, Little Women Robert Swedberg, Stage Director, Abduction from the Seraglio and Little Women David Ward, Stage Director, La bohème, Monkey See, Monkey Do, Broadway Cabaret Cory Battey, Senior Coach Louis Menendez, Senior Coach, Music Director Pre-Season Outreach and Monkey See, Monkey Do Joel Burcham, Voice Instructor Rebecca Sherburn, Voice Instructor Andrew Voelker, Coach/Accompanist Robby Baine, Coach/Accompanist Richard Dunham, Director of Production, Lighting Designer Jaye Beetem, Scenic Designer, Technical Director Thomas Jennings, Assistant Technical Director James McNeil, Master Carpenter Quinn Schuster, Lighting Intern, Production Assistant Kim Welborn, Costume Designer, Shop Manager Minah Smith-Tucker, Cutter/Draper, Assistant Shop Manager Alexandra Wilegus, Assistant Costumer Sydney Lokant, Assistant Costumer Carol Brian, Production Stage Manager Rachel Walrath, Stage Manager Allison Cash, Assistant Stage Manager, Props Assistant Alice Martinson, Props Assistant


TABLE OF CONTENTS Welcome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

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

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

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

Welcome to Eureka Springs. . . . . . . . . . . . . . . . . . . . . . . . . . 8

Scholarship Donors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

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

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

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

IPFAC Life Members (1950-2019). . . . . . . . . . . . . . . . . . . 59

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

IPFAC Patrons (1950-2019). . . . . . . . . . . . . . . . . . . . . . . . . 60

2019 Season Calendar of Events. . . . . . . . . . . . . . . . . . . . 20

2019 IPFAC Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

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

2019 Annual Fund & Building Campaign. . . . . . . . . . . . . 63

Little Women. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

2019 Corporate & Foundation Contributors. . . . . . . . . . 64

La bohème. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Opera in the Ozarks Repertoire (1950-2019). . . . . . . . . 65

The Abduction from the Seraglio . . . . . . . . . . . . . . . . . . . 28

Advertiser Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Monkey See, Monkey Do. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Published by Vantage Point Communications

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

BELLA VISTA | BENTONVILLE | BERRYVILLE | EUREKA SPRINGS | FAYETTEVILLE | HOLIDAY ISLAND | HUNTSVILLE | ROGERS | SILOAM SPRINGS | SPRINGDALE

NORTHWEST ARKANSAS WORLD-CLASS ART

HISTORIC DOWNTOWNS EPIC BIKE TRAILS

FAMILY FUN

Enjoy the perfect mix of big-city fun and small-town charm. Explore our distinctive downtowns, the great outdoors, world-class art and more!

Plan your trip at NorthwestArkansas.org

2019 Season Program / Opera in the Ozarks / 7


EUREKA SPRINGS

WELCOME TO EUREKA SPRINGS! WELCOME to the 69th season of Opera in the Ozarks at Inspiration Point located in Arkansas’ favorite arts community – full of Victorian-style architecture, stunning natural beauty, culture and history! Besides being home to Opera in the Ozarks, Eureka Springs is a unique getaway and aptly touted as an “extraordinary escape.” It’s been named one of the

unique shopping, spas,

“Coolest Towns in America” by national media, and

night spots, distinctive attractions and tons

the National Trust for Historic Preservation has

of outdoor activities, you’ll never have a dull moment

recognized the city as one of “America’s Dozen

during your visit to Eureka Springs!

Distinctive Destinations.” If you’d like more information please visit From the picturesque historic downtown, to the streams,

eurekasprings.org or drop by the Visitors Center located

lakes and trails there is a plethora of things to enjoy.

at the Eureka Springs Historical Museum, 95 S. Main St.

With fine art around every corner, a variety of music,

Additional visitors info for the entire Northwest Arkansas

exceptional dining, rustic to luxurious lodging options,

region can be found at NorthwestArkansas.org.

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Bravo! Congratulations to

CUSTOMER FOCUSED COMMUNITY DRIVEN

Opera in the Ozarks

69

as the curtain goes up on your

th

Season!

Alice M. Martinson, MD and Carole Sturgis See you at the show!

2019 Season Program / Opera in the Ozarks / 9


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

Huge Selection – 45,000 Sq Ft Berryville Showroom 10 / www.opera.org


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

Ship your packages here! Bravo! Encore! Opera! Celebrating 69 years at Inspiration Point

2019 Season Program / Opera in the Ozarks / 11


HISTORY OF INSPIRATION POINT FINE ARTS COLONY

THE BEGINNING In 1928, a German-born architectural engineer, Charles Mowers, purchased the land overlooking the White River valley and began construction of a castle patterned after those of the Rhine River valley. In 1932, the unfinished 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

Inspiration Point, poetically described as “a mountainous place not too many

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

miles from heaven,� is located northwest

in the summer of 1950, with a little of everything in vocal

of Eureka Springs, Arkansas, and

and instrumental music and dramatic art. There were about

overlooks the White River valley some

Mrs. Hobart decided to make Inspiration Point Fine Arts

as many staff members as there were students. Dr. and

600 feet below. To create an idyllic

Colony into an opera or music drama summer workshop,

scene, the lowlands merge into the

for talented college, high school, and junior high school

incomparably beautiful Ozark Mountains.

conducted under the highest professional standards students. All opera roles would be performed entirely by the students; no lead singers would be brought in to sing

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the principal roles. The theme of Inspiration Point Fine Arts

In 1959, Inspiration Point Fine Arts Colony obtained

Colony would be, “The students are the stars.”

a 99-year lease from Phillips University on all of the Inspiration Point property. In the early 1970s, Dr. Vernon

For the first two years or so, a major portion of the funds

Baker purchased the Inspiration Point property from

needed for operating expenses and capital expenditures

Phillips University, subject to the 99-year lease. Dr. Baker

were provided by Dr. and Mrs. Hobart personally or by

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

loans obtained from Phillips University. Some construction

acres together with the buildings thereon, to the Fine Arts

materials were donated by Eureka Springs businesses

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

and Dr. Hobart frequented government war surplus

all the property north of the highway.

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.

Dr. and Mrs. Hobart moved from Enid to Inspiration Point in 1964 and lived in the castle until Dr. Hobart’s death in early 1966. Mrs. Hobart lived there alone until 1973 when she moved into Eureka Springs. During most of those years she

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 of Arkansas, Kansas, and Missouri were invited to become co-sponsors of the project. Arkansas became active in 1952. Kansas became active in 1953, and Missouri joined in 1954. The Illinois State Federation became a cosponsor in 1974, the Texas State Federation joined in 1989, and Iowa State Federation in 1993.

was the only person living on the Inspiration Point grounds during the fall and winter months

GROWTH

From the ramshackle buildings that Dr. Hobart began with, the campus has required continual improvements to adapt to changing standards. Indoor plumbing, hot water, and air conditioning were not part of the original campus but are necessary to the comfort of modern day students and audiences. An enclosed stage pavilion with stage lighting was not built at Inspiration Point until the late 1960s. Prior to its completion, night opera performances on the IPFAC campus were not possible. Most of the opera 2019 Season Program / Opera in the Ozarks / 13


IPFAC HISTORY

performances up to that time were given at the city

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

auditorium in downtown Eureka Springs with some operas

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

being staged in nearby communities and universities.

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

For the past 50+ years, most performances have been

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

held at the IPFAC campus. Air conditioning was added in

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

2014. IPFAC remains committed to improving its facilities

internationally known choreographer and ballet instructor,

and recognizes that this will continue to require

taught advanced ballet, stage action, and stylized dance

a substantial investment.

forms at Inspiration Point.

ONLY THE BEST

Dr. Hobart and Dr. Van Grove’s legacies have been upheld throughout the years by other distinguished faculty.

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

Musical and theatrical staff are drawn from the nation’s

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

best music and theater schools and from professional

artists at the top of their professions have been associated

opera companies and theaters.

with Inspiration Point. The most outstanding of these was Dr. Isaac Van Grove. His accomplishments as an opera composer, conductor of leading opera companies, vocal coach, and accompanist for several world famous singers qualified him as an opera director of the highest order. At 18, he was a nationally known concert pianist. He served as accompanist and vocal coach for famous artists such as Enrico Caruso, Lauritz Melchior, Mary Garden, and Grace Moore. He composed several operas specifically for use with the young singers at Inspiration Point, and IPFAC was given the publishing rights to these operas. He

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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

are thriving in non-musical careers. The friendships that

opera performances, a practice which continues.

develop at The Point last a lifetime.

As the level of opera training in universities has risen, so

GOVERNANCE

have the ages of IPFAC students. The objective in recent

Guiding and overseeing the development and activities

years has been to become a career preparation center.

of Inspiration Point Fine Arts Colony is the responsibility

Accordingly, the artist ages have risen from college age

and function of its board of directors. The Governing

up to 35. The nature of the repertoire has also gradually

Board consists of 21 regular members – two from each

changed. In earlier years the operas generally were light and relatively easy to learn. All were in the English language. In recent years the trend has been to perform major operas in the original language. Thus, the challenge to learn and perform has grown with the artists’ increasing abilities. The length of the summer session has been increased to eight weeks. The effectiveness of training received at Inspiration Point is demonstrated by the success of its alumni. Several are internationally famous. Many have performed with the Metropolitan Opera and companies in Chicago, New York

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.

City, San Francisco, Houston, and internationally. Students who do not go on to become opera stars are successful academics, church musicians, private music teachers, or

2019 Season Program / Opera in the Ozarks / 15


Celebrating 65 Years

Symphony of Northwest Arkansas Paul Haas, Music Director

AS 0 SE 2 9 201

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E ON B

NOV GINS

9TH

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Tickets On Sale Now! sonamusic.org / 479.443.5600


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 2019

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

26 White Street on the Upper Historic Loop • 479.253.8806 2019 Season Program / Opera in the Ozarks / 17


NATIONAL FEDERATION OF MUSIC CLUBS ARKANSAS

Dr. Mia Hynes

Vickie Carr, President Mary Dixon

Carole Langley

Shirley Foust

Duane Langley

Ernest Grilk

Ida Ruth Locarni

Gloria Grilk

Lorraine Long

Helen Hammond

Annette Mayhew

Pam Jones

Elaine Minden

Dr. George Keck

Helen Reed

Dr. Ouida Keck Dr. Alice Martinson Betty Pierce

Martha Rosenbaum Judy Rownak Mary Schambarger Chris Thompson

Alice Conway Connie Craig Don Dagenais

KANSAS Melba Maechtien, President Gay Dill

Julie Watson, President

Barb Carlisle

Joan Wells

Dr. Kenneth Burkhard

MISSOURI

Marilyn Caldwell

Marianne Szydlowski Betty Watson

Byron Reeves

Terry Blair

Betty Jane Ruckman Chris Vitt

Audrey Reeves

Starla Blair

Donna Kinslow Doug Kinslow

John Drum

Anita Blackmon

Lorraine Kesling

Dr. Rodney Dill Anne Haflich Beth Harrison Roger Lemmons Dr. Carolann Martin Betty Meyer Judy Sorrell Gene Vollen Linda Vollen

South Central Region State Boards

OKLAHOMA

Peggy Jones

Kathryn Hickman, President Larry Baldwin

Mary Cox McKay Lynn McNew Lee Clements Meyer

Natlynn Hayes

Jean Moffatt

Ann Lacy

Maria Putter

Chris Lawson

Connie Randall

Kent Ryals

Carolyn Reid

Janice Semrad Ellen Jayne Wheeler Doris Whinery

Patricia Retzlaff Glenda Reynolds Linda Royals

Lavonna Whitesell

John Schmidt

Leon Whitesell

Barbara & Don Shinn

Lisa Whitesell

Cletis Williamson

TEXAS

Bill Yick

Lois Armor, President Dorene Allen Virginia Babb Ronald Bennett Sue M. Breuer Lora Lynn Christensen Francis Christmann Carolyn Copeland Tim Danielson Richard Drapeau Marcia Edwards Carol Gessner Annette Griesbach Nancy Herring Carla & Phil Johnson

69th season Treehouse Gift Shop & Gallery

Specializing in Handmade

Open Daily • Hwy 62W (across (across from from Bubba’s Bubba’s BBQ) BBQ) 18 / www.opera.org

Windle & Associates • CPA 3148 E Van Buren • Eureka Springs


BUILDING FOR THE FUTURE OPPORTUNITIES FOR GIVING Inspiration Point Fine Arts Colony is a not-for-profit 501(c)(3) corporation, supported by memberships, gifts from friends and student tuition.

ENDOWMENT FUND The Endowment Fund provides a continuing income source as we spend only the earnings from this fund. Each $1,000 life membership goes into the Endowment Fund. You can play a role in increasing this fund – it is one of the best investments you can possibly make to ensure an excellent experience and fine training for young and aspiring opera singers, musicians, directors, designers and technicians.

AMAZON SMILE AND MATCHING GIFTS We are also registered with Amazon Smile to receive donations as a percentage of your purchases on Amazon.com. And, we encourage you to consult your employer for matching gift programs. We receive matchings gifts from a number of corporations which are very much appreciated.

TRIBUTE FUNDS
 You can take part in helping Inspiration Point by creating a tribute for a member of your family or a friend — living or deceased — or you can donate 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

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.

Inspiration Point over the last 60 years: Dr. Henry Hobart, Dr. Isaac Van Grove, Joan Van Grove, Lena

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

P.O. Box 127

tax advisor about the tax advantages of donating

Eureka Springs, Arkansas 72632

appreciated securities. Information about how to

(479) 253-8595

donate securities can be obtained by calling the 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.

2019 Season Program / Opera in the Ozarks / 19


CALENDAR OF EVENTS MONDAY

SUNDAY

WEDNESDAY

TUESDAY

THURSDAY

SATURDAY

FRIDAY JUNE 21

Curtain 7:30PM at IPFAC Theatre unless otherwise noted All seats reserved / (479) 253-8595 or visit opera.org JUNE 23

JUNE 24

JUNE 25 La bohème

JUNE 30

JULY 1

JUNE 26

JUNE 27

Little Women

The Abduction from the Seraglio

JULY 3

JULY 4

JULY 2

JUNE 22

Opening Night Little Women

The Abduction from the Seraglio

JUNE 28 La bohème

JUNE 29 Little Women

JULY 5

JULY 6

Ice Cream Sunday La bohème 2:30PM

The Abduction from the Seraglio

Little Women

JULY 8

JULY 9

JULY 7

Ice Cream Sunday Little Women 2:30PM

The Abduction from the Seraglio

La bohème

NEW! JULY 10

JULY 11

The Abduction from the Seraglio

Broadway Cabaret The Abduction 7:30PM from the Seraglio

La bohème

JULY 17

JULY 18

A Taste of Opera 5PM Chamber Music Chamber Music Broadway Cabaret The Abduction 2PM 7:30PM 7:30PM from the Seraglio

Little Women

JULY 15

JULY 16

Basin Park Hotel, Eureka Springs

Eureka Springs Auditorium

Special pricing for residents of Carroll, Benton, Washington and Madison counties.

Crescent Hotel, Eureka Springs

JULY 13

Little Women

JULY 19

La bohème

La bohème

Visit Website for Ticketing Info and Special Promotions

Special pricing available for children and students under 18, and for purchases of all three shows.

OPERA OUTREACH

Community Performances of Monkey See, Monkey Do Botanical Garden of the Ozarks June 4, 7 p.m.

Eureka Springs Auditorium July 6, 2 p.m.


Rogers Public Library June 5, 2 p.m.


Bella Vista Public Library July 10, 2 p.m.


Berryville Public Library June 6, 10 a.m.

Springdale Public Library July 11, 11 a.m.

Fayetteville Public Library June 12, 1 p.m. & 2 p.m.

Cassville Public Library July 11, 3:30 p.m.


Walton Life Fitness Center June 13, 2 p.m.

Bentonville Public Library July 13, 2 p.m.

Eureka Springs Public Library July 1, 3 p.m.


Green Forest Public Library July 16, 10 a.m.

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JULY 12

Fayetteville Town Center

NEW! JULY 14

Mildred B. Cooper Memorial Chapel, Bella Vista

La bohème

MARK YOUR CALENDAR:

Broadway Cabaret Shows Fayetteville Town Center, July 10 Basin Park Hotel in Eureka Springs, July 16 Two evenings of wonderful music, light hors d’oeuvres and a cash bar Chamber Music Concerts Cooper Chapel in Bella Vista, July 14 Eureka Springs Auditorium, July 15 A Taste of Opera Historic 1886 Crescent Hotel in Eureka Springs July 17 Delectable food, drink and outstanding entertainment Federation Days July 18 National Federation of Music Clubs South Central Region Convention at the Inn of the Ozarks


ARTISTIC DIRECTOR THOMAS COCKRELL Welcome to our 69th season of opera at Inspiration Point! This year we welcome 38 talented young vocalists who are nurtured by a dedicated artistic staff and accompanied passionately by the OIO orchestra. We present Mozart’s comedy Die Entführung aus dem Serail (The Abduction from the Seraglio) for the first time on the OIO stage. Mark Adamo’s Little Women is already considered a contemporary American classic and Puccini’s La bohème is one of the world’s favorites. Our studio artists will present performances throughout Northwest Arkansas of Robert Xavier Rodríguez’s charming telling of a traditional Mexican tale for children, Monkey See, Monkey Do. The season unifies under the theme “Changes of Heart.” Mark Adamo’s moving score and masterful adaption of Louisa May Alcott’s novel is set traditionally in Civil War-era Massachusetts. Two operas have been boldly transported from the settings originally intended by the composers. Whereas director David Ward preserves the Parisian setting of Puccini’s beloved La bohème, he brings the emotional drama forward in time from the mid-19th century to our own day and confronts contemporary issues. For Mozart’s opera, director Robert Swedberg retains the late 18th century time period but absconds with the drama’s original setting in a Turkish harem, and sets it as a pirate tale in the New World. Enjoy our young artists this evening in the intimacy of our theater. Return to experience all three of these magnificent musical dramas!

Conductor Thomas Cockrell was appointed artistic director of Opera in the Ozarks in October 2010 after having previously served as the company’s music director for the 2003-2005 seasons. Under his leadership the company has mounted bold productions, incorporating projections and novel productions of standard works. In recent seasons several operas have been performed for the first time on the Inspiration Point stage, including Il tabarro, Die Entführung aus dem Serail, and The Ballad of Baby Doe. Building upon nearly seventy years of tradition at The Point, Opera in the Ozarks is increasingly recognized as one of the nation’s top training programs for aspiring opera talent and artists from across the country and increasingly from around the globe. Cockrell’s professional 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, and Lucia di Lammermoor 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. In Charleston, 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. Cockrell has served as associate 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 in Italy, Romania, Mexico and South Korea. A dedicated educator and mentor, 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 has 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 and recently was a guest professor at the Universidad Nacional Autónoma de México, where he coached opera students and conductors and led the Orquesta Stanislau Mejía in concert. Since 2000, Cockrell has served as director of orchestral activities at the University of Arizona Fred Fox 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 productions of The Crucible, Postcard from Morocco, L’Enfant et les sortilèges, Dialogues of the Carmelites, Cendrillon, 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 Doctor of Musical Arts. 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 Conservatoire Américain in Fontainebleau, France. He subsequently pursued further studies at Aspen and Tanglewood. 2019 Season Program / Opera in the Ozarks / 21


Libretto and Music by Mark Adamo June 21, 26, 29 / July 2, 7, 12, 18

SYNOPSIS PROLOGUE The opera begins in the March family attic in Concord, Mass., in the 1870s. The 21-year-old Jo is alone, writing, when

Before they leave, however, Brooke asks permission to speak with Meg’s father.

Laurie, a young man now married to Jo’s sister Amy, arrives. They make awkward conversation, as they reflect on their

Beth sings a hymn she has composed as Jo teases Meg,

own past relationship. When Laurie tells Jo that he is glad

who says that she will refuse Brooke if he proposes, since

that things are going back to the way they used to be, Jo

her father thinks she is too young to marry. But when he

becomes upset, and begins the flashbacks that make up the

appears, she hesitates, but with Jo prompting her from

rest of the opera (“Couldn’t I unbake the breads?”).

behind the curtains, she refuses him.

SCENE 1

The girls’ wealthy Aunt Cecilia arrives, and as Brooke talks

Three years earlier, in the same attic, the four March sisters

to Meg’s parents, Cecilia warns Meg not to throw herself

and Laurie are holding a meeting of the Barristers’ Club,

away on a poor man and hints that Brooke is only interested

with much mock ceremony. Jo is protective of Beth, who

in Meg because of Cecilia’s money. When Meg responds

has been ill. After a game, they ask each other questions in a

that she will only marry for love, Cecilia storms off, telling

game of “Truth or Fabrication.”

Meg she will be written out of her will. Meg accepts Brooke, then tries in vain to get Jo to accept her decision (“Things

After the others have left, Laurie stays behind to talk to Jo, telling her that the glove Meg says she has lost has actually

change, Jo”).

been given to Laurie’s tutor, Brooke. Jo is annoyed at the

SCENE 3

thought of marriage breaking up their family; after Laurie

On Meg and Brooke’s wedding morning, the March parents

leaves, it distracts her from the story she is writing (“Perfect

repeat their own wedding vows for the family, as Meg has

as we are”).

asked to use them for her wedding. Meanwhile, Laurie takes

SCENE 2

Jo aside, and though she tries to forestall him, he proposes. Jo refuses, telling him that they could never be happy

A few weeks later at the March home, Jo and Laurie see Meg

together. Laurie runs off, crushed. Amy, who has feelings for

and Brooke together; Brooke is telling Meg a story hinting

Laurie herself, has overheard; she upbraids Jo for her cruelty

at his love (“There was a knight, once”), which Jo interrupts.

to Laurie. As they argue, Beth, who has been ill, collapses and the entire family rushes to help her as the act ends.

22 / www.opera.org


Music Director / Conductor – Caleb Harris Stage Director – Robert Swedberg Director of Production – Richard Dunham Scenic Designer – Jaye Beetem Lighting Designer – Richard Dunham Costume Designer – Kim Welborn Stage Manager – Carol Brian Accompanist – Robby Baine

CAST

Jo . . . . . . . . . . . . . . . . . . . . . . . . Rachel Abbate, Julia Powers               Meg . . . . . . . . . . . . . . . . . . Erin Reppenhagen, Erin Shafranek            Beth . . . . . . . . . . . . . . . . . . . Zoë Spangler, Yasmine Swanson    Amy . . . . . . . . . . . . . . . . . . . Kanisha Feliciano, Melanie Holm 

Alma . . . . . . . . . . . . . . . . . . . . . . Julia Powers, Erin Shafranek               Cecilia  . . . . . . . . . . . . . . . Rachel Abbate, Erin Reppenhagen            Laurie . . . . . . . . . . . . . . . . . . . . . Robert Hartfield, Neal Long           John Brooke . . . . . . . . . . Fernando Grimaldo, Taehwan Kim           Gideon / Dashwood . . . . Simon Faddoul, Winston Sullivan  Friedrich Bhaer . . . . . . . . . . . . . . . . Jonathan Patton, Jin Yü       

This Production Generously Underwritten By:

Spirit Sisters . . . . . . . . . . . . . . Monika Beauvais, Emily Dirks, Jennifer Kreider, Blythe Reed

Don Dagenais, Richard Hill Endowment

ACT II SCENE 1 A year later, Jo has come to New York City in the hopes that

peace, Jo”). Beth asks if she can sleep for a minute, and as

Laurie will forget her and things will go back to the way they

the chorus sings her chorale, she dies peacefully. Jo turns to

were. She sells a story to a magazine; through the letters she

Meg for comfort, but Brooke is comforting her; Jo exclaims,

writes and receives, we learn that Laurie is now a sophomore

“I’ve lost you all.”

at Oxford; that Brooke and Meg are the parents of twins; that Amy is on a tour of England, at Cecilia’s expense; and that

SCENE 4

Beth is not improving.

The following spring, Jo and Cecilia discuss Amy’s latest letter; she and Laurie are finally in love. Jo admits that Bhaer

Friedrich Bhaer, another resident of Jo’s boarding house,

has not written to her. Cecilia praises Jo’s strength and tells

arrives to take her to the opera, but Jo tells her parents not

Jo that she has left her fortune to her, since only she, with

to worry, as he is 39.

her solitary, unchanging ways, will appreciate it, isolated

SCENE 2 At the boarding house that night, Jo and Bhaer discuss the opera, art and love; at the same time, in England, Amy

as she is from fickle lovers or friends (duet: “You, alone”). Jo, faced with this vision of her future, finally realizes that change is a necessary part of life.

and Laurie talk about Jo, and Beth tries to compose a

SCENE 5

finale for a chorale. To convince Jo that there is more to

Back in the attic, Jo wonders with all of this change, what

art than the sensational stories she has been writing, Bhaer

endures? Laurie arrives, and the scene from the Prologue is

sings a setting of Goethe, first in German (“Kennst du das

repeated, but this time, Jo tells Laurie that things can never

Land”), then in English (“Do You Know the Land”). They are

be as they were, but that they can remain friends despite the

interrupted by a telegram from Jo’s mother, telling Jo that

changes. Jo remembers her sisters together, and says her

Beth is worse and asking Jo to come at once.

goodbyes to those days (quartet: “Let me look at you”).

SCENE 3

As the memory of her childhood fades, Bhaer arrives. He

Beth is asleep in her bedroom, ill with scarlet fever, but she

asks her if now is a good moment, and she replies, “Now is all

wakes up when Jo arrives. Jo is frantic, but Beth is calm and

there is.”

resigned, and tries to teach her sister to be the same (“Have

By arrangement with G. Schirmer, Inc., publisher and copyright owner.

2019 Season Program / Opera in the Ozarks / 23


DIRECTOR’S NOTES

Robert Swedberg, Little Women

The Lousia May Alcott novel Little Women was not one of my favorites. It was required reading for me in middle, or high school, and as a young, male, Californian, I remember having difficulty relating to the lives of these four 19th century sisters living in Concord, Massachusetts. I’m sure I just wasn’t reading it the right way then, and perhaps I have become more sensitive over time, but it was a wonderful surprise to discover Mark Adamo’s operatic setting, which treats the relationships of the sisters lovingly, but also draws more focus to other parts of the novel that have great appeal to a broader audience. It is easy to see the appeal. The opera Little Women is about relationships – and how they inevitably change. That the young March sisters had vibrant bonds of sisterhood is important background, but change is the theme here. Adamo has put the eight scenes in the opera together going back in time after the prologue, first cleverly re-winding time by three years, and then working forward to the same point, but with the inevitability of change (and knowledge of what had happened) guiding the action. This dramatic

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structure, and the device in several scenes of having many things happening simultaneously, makes Little Women quite different from other operas. Musically too, the piece is unique; quite difficult to learn, but ultimately very accessible. There are also a number of flourishes in the libretto of Little Women that I find very interesting. Some text is inspired by Bronson Alcott (Louisa’s father), or Emerson, Thoreau, and Whitman, adding interesting touches of Transcendental perspective not found in the novel. Finally, with the many roles (mostly double cast), Little Women becomes an ideal vehicle for the considerable talents of our artists at Opera in the Ozarks. My wonderful new colleague — Maestro Caleb Harris — joins me in sharing with you that (when we are not sobbing in rehearsal…) we all have grown in working on this piece, and I am sure you will enjoy the fruits of our efforts. —Robert Swedberg

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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.

Mike Bell Vickie Brooks TJ Brooks Leon Bert Ken Brown Steve Chain Richard Drapeau Fred Eilskov Herta Gemaehlich Mildred Hampton Pegi Harmon Danna Hearn Ronn Hearn Terri Hegna Catherine Henson Ed Henson Pam Jones Alice Martinson Bill Mills

Bebe Nelson Diane Reder Barbara Robinson Paul Robinson Judy Rownak John Rownak Roxanne Royster Archie Ryan Suzanne Ryan Marie Sathrum Ruth Siefert Colleen Shogren Steve Shogren Connie Stielow Cat Templeton Sandra Templeton Jeff Timm Jeri Voerman Pat Walden

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Music by Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica June 25, 28, 30 / July 3, 6, 9, 13, 19

SYNOPSIS ACT I A loft in Paris, December 24, 2018

“Your tiny hand is frozen,” says Rodolfo and tells her that he is a poet who loves life. Mimi then says that her real name is Lucia and that she does not know why everybody calls her Mimi. She tells him that she embroiders flowers for a living. The three Bohemians downstairs call to Rodolfo, urging him to hurry. He sends them off,

In their shabby Bohemian loft, the painter Marcello and

intending to spend the evening with Mimi. But she begs

the poet Rodolfo complain of the cold. In order to light a

him to go and join his friends. Rodolfo offers his arm to

fire Rodolfo decides to sacrifice one of his manuscripts.

Mimi and they leave together, enraptured with each other.

Colline, their philosopher roommate, arrives having failed

to sell some books. Then the musician Schaunard arrives

ACT II

triumphantly with wood, food, wine and money. He

The Cafe Momus in the Latin Quarter, later that evening

tries to tell his friends how he obtained this unexpected windfall, but the other three are not interested and set

It is Christmas Eve and Cafe Momus is crowded with

the table for a long-awaited meal. Schaunard decrees

holiday revelers. Rodolfo introduces Mimi to his friends

they will eat out on Christmas Eve. Benoit, their landlord,

who plan to celebrate in style. Musetta, Marcello’s old

appears asking for the overdue rent. Offered wine, he

flame, enters the cafe on the arm of wealthy Alcindoro.

tells them about his amorous adventures. And then in the

Musetta demands a table close to Marcello, trying to

name of virtue they throw the married landlord out and

attract his attention. She misbehaves while Marcello

escape paying the rent one more time. Rodolfo decides

tries to ignore her. Musetta does not give up and makes

to stay behind in order to finish a newspaper article while

herself the center of attention. Sensing that Marcello may

his friends promise to wait downstairs. A knock is heard

succumb to her charms yet again, she pretends that one

and the neighbor Mimi enters asking Rodolfo to help with

of her shoes is pinching her foot and she sends Alcindoro

her broken flashlight. She is very weak and faints. As

to get a new one. As she and Marcello reunite, a waiter

she revives Rodolfo fixes her flashlight and she starts to

brings their bill, but the four Bohemians have no money

go, but she’s lost her key. She asks Rodolfo to help her

left. Musetta adds their bill to hers and instructs the

find it and when he does he conceals it in his pocket and

waiter to give the bills to her date, Alcindoro.

continues searching until his hand touches Mimi’s hand.

26 / www.opera.org


CAST

Music Director / Conductor – Thomas Cockrell Stage Director – David Ward

Mimì . . . . . . . . . . . . . . . . . . . . . Monika Beauvais, Blythe Reed

Director of Production – Richard Dunham

Musetta . . . . . . . . . . . . . . . . . . . Emily Dirks, Jennifer Kreider

Scenic Designer – Jaye Beetem

Rodolfo . . . . . . . . . . . . . . . . Dongwhi Baek, Perry Chacón Jr.

Lighting Designer – Richard Dunham

Marcello . . . . . . . . . . . . . . . . . . . . . . . . . . Taehwan Kim, Jin Yü

Costume Designer – Kim Welborn

Colline . . . . . . . . . . . . . . . . Simon Faddoul, Winston Sullivan

Stage Manager – Rachel Walrath

Schaunard . . . . . . . . . Fernando Grimaldo, Jonathan Patton

Chorus Master – Caleb Harris

Benoit / Alcindoro . . . . . . . Jack Merucci, Jonathan Patton

Accompanist – Andrew Voelker

Parpignol . . . . . . . . . . . . . . . .Mark Sepulveda, Jeremy Sivitz

Sergente . . . . . . . . . . . . . . . . . . . . . . . . . . Cameron Benafield               Doganiere . . . . . . . . . . . . . . . . . . . . . . . . . Benjamin Goodrich              This Production Generously Underwritten By:

Maria de Waal Putter in Memory of Sylvia Kerr

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . 2019 Company Artists              

ACT III

ACT IV

Outside a tavern by the Paris Metro, a month later

The loft, later that winter

Workers are passing through the Metro Station, Musetta’s

Marcello and Rodolfo are trying to work, but without any

voice is heard from the nearby tavern where she and

success. Both are alone, having split with their girlfriends,

Marcello are now working. Mimi approaches looking

and while pretending to be happy neither can forget

for Marcello. She begs him to intervene on her behalf

them. Colline and Schaunard come in with some food,

with Rodolfo as his jealousy has made their life together

but this time only bread and herring. They improvise a

impossible. She hides when Rodolfo comes out of the

meal, pretend to be at a ball and even fight a mock duel,

tavern. He tells Marcello that he has had enough of

when Musetta bursts in telling them that Mimi is outside

Mimi and that he cannot stand her flirtations. But then

and very ill. Rodolfo brings Mimi in, and Musetta says she

he reveals the real truth: Mimi is very ill and his life of

searched for her all over Paris. When she finally found her,

poverty will kill her, which is why they must part. Mimi,

Mimi expressed one wish only, to come to and die near

overhears their conversation and for the first time actually

Rodolfo. To make her last moments easier everyone tries

realizes that her illness is indeed fatal. Rodolfo hears her

to satisfy Mimi’s last wishes. Musetta gives her earrings to

coughing, but having heard Rodolfo’s decision to part,

Marcello and asks him to buy Mimi a warm muff. Colline

she bids him adieu. But since they cannot bear to part

goes to pawn his coat and bring a doctor. Alone with

immediately they agree to stay together until spring.

Rodolfo, Mimi recalls their first meeting, their short spell

Marcello and Musetta quarrel, Musetta arguing that she

of happiness, their dreams and their love. She thanks her

cannot stand his jealousy and that she hates lovers who

friends as they return and closes her eyes. As Musetta

behave like husbands. The bickering of the two lovers

prays for Mimi’s health, Mimi dies while Marcello tries in

accompanies Rodolfo and Mimi who leave hand in hand.

vain to comfort Rodolfo.

2019 Season Program / Opera in the Ozarks / 27


Music by Wolfgang Amadeus Mozart Libretto by C.F. Bretzner and J.G. Stephanie June 22, 27 / July 1, 5, 8, 11, 17

SYNOPSIS

of rescuing his beloved Konstanze; but Osmin, (Gaspar’s

Place: Captiva Island, Florida Gulf Coast

furious at Pedrillo, whom he considers to be a

Time: 1780s

treacherous blackguard.

The entire opera takes place on the beachhead outside an

Pedrillo informs his master that Konstanze is now Gaspar’s

old Spanish fortress used by the pirate José Gaspar to house

favor­ite and that she has thus far steadfastly rebuffed his

his female captives.

advances. But Blonde is being harassed by Osmin, to whom

chief henchman) blocks his every effort. Osmin is particularly

she has been given as a slave. Belmonte is all for carrying

ACT I

off the ladies at once to his ship, moored on the other side

Having been seized by Gaspar, Donna Konstanze (a

of the island; but Pedril­lo, ever cautious, suggests another

noblewoman engaged to Don Belmonte); Blonde

ruse instead: knowing of Gaspar’s desire to build a palace for

(Konstanze’s English maid); and Pedrillo (Belmonte’s

Konstanze, Pedrillo passes Belmonte off to Gaspar as

servant) are being held for possible ransom. Belmonte has

an architect.

made his way from Spain, searching the Gulf Coast in hopes

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CAST

Music Director / Conductor – Thomas Cockrell Stage Director – Robert Swedberg

Konstanze . . . . . . . . . . . . . . . . . . . Sara Kennedy, Krista Pape

Director of Production – Richard Dunham

Blonde . . . . . . . . . . . . . . . . . Kanisha Feliciano, Melanie Holm

Scenic Designer – Jaye Beetem

Belmonte . . . . . . . . . . . . . . Robert Hartfield, Mark Sepulveda           

Lighting Designer – Richard Dunham

Pedrillo . . . . . . . . . . . . . . . . . . . . . . Neal Long, Jeremy Sivitz    

Costume Designer – Kim Welborn

Osmin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Ward               

Stage Manager – Carol Brian

Gaspar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jack Merucci     

Chorus Master – Cory Battey

                                               

Accompanist – Robby Baine

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2019 Studio Artists        This Production Generously Underwritten By: Gene and Linda Vollen

Blonde upbraids Osmin for his high-handed manner toward

Gaspar appears, and Osmin tells him of the plot to abduct

her. Unless his bullying ceases, she threatens to have

the ladies. Now aware that Belmonte is no architect, Gaspar

Konstanze ask Gaspar to punish him. Meanwhile, Gaspar

discov­ers instead that Belmonte is really Lostados, son of the

pressures Konstanze to declare her love for him on pain of

Governor of Valencia.

agonizing tor­ture, but Konstanze remains defiant.

ACT II

At this revelation Gaspar cries out in mingled triumph and fury, for it seems that the Governor is his most bitter enemy

Belmonte and Pedrillo have concocted a plan to abduct the

and the reason that he left Spain and became a pirate. The

women this very night and take them to Belmonte’s ship.

surprising ending of the opera is a poignant reminder of one

The first hurdle is overcome when Pedrillo succeeds in plying

of the reasons why the late 18th century has become known

Osmin with enough wine to reduce him to a helpless stupor.

as the “age of enlightenment.”

As Pedrillo sings a serenade, the ladies escape from the fortress. Konstanze is reunited with Belmonte, Blonde with Pedrillo, and the four are about to leave the island when Osmin (with super-human fortitude) awakens and brings the other pirates to apprehend and drag them back to the fortress.

2019 Season Program / Opera in the Ozarks / 29


DIRECTOR’S NOTES

David Ward, La bohème Robert Swedberg, The Abduction from the Seraglio

LA BOHÈME

THE ABDUCTION FROM THE SERAGLIO

La bohème is undoubtedly one of the best-loved operas. In

If you have previously seen this opera or searched for a plot

2017-18 it saw over 600 performances worldwide. Destined

synopsis, you might have discovered that it was originally set

for greatness, it premiered at Torino’s esteemed Teatro

in Turkey in a place called a seraglio (or harem), Mozart’s nod

Regio in 1896 under the baton of Arturo Toscanini, still in his

to the late 18th century’s interest in the exotic East. But I  was

20s, three years after Puccini’s smashing success with Manon

on vacation on the Florida Gulf Coast a few years back,

Lescaut. Toscanini would be forever connected to Puccini,

where I happened upon a book about the legend of José

conducting many of his premieres in Italy and New York.

Gaspar — a pirate who was thought to have plied the Gulf

Puccini composed most of La bohème at his lakeside villa

Coast in the 1780s — about the time that Mozart wrote this

in Torre del Lago, not far from Pisa or his hometown, Lucca,

opera. Gaspar had captured a galleon filled with Spanish

in the Tuscan countryside. Luigi Illica, who collaborated on

ladies traveling from Mexico – headed for a wedding in

Puccini’s four most popular operas, and Giuseppe Giacosa

Spain. He brought them to an Island just south of Sarasota

crafted the libretto for the demanding composer under the

where he held them for ransom, in effect creating his own

supervision of Giulio Ricordi and his House of Ricordi, the

harem. This island became known as Captiva! So, our

distinguished Italian publisher. Inspired by the novel by Henri

production has been transformed from a Turkish setting to

Murger, serialized in a French periodical, La Vie de Bohème

the exotic and romantic Gulf Coast. José Gaspar takes on

provided vignettes and stories of Bohemian life in Paris’ Left

the persona of the Pasha Selim from the original, but all the

Bank. The timeless nature of La bohème inspired the 1996

other characters remain the same. Imagine Belmonte hearing

Broadway production of Rent by Jonathan Larsen, winning

that his beloved Konstanze has been taken prisoner on an

numerous Tony Awards and the Pulitzer Prize, as well as the

island in the Gulf of Mexico, and coming half way around the

2002 Baz Luhrmann presentation of the opera in Italian at

world to save her!

the Broadway Theater in New York. Today La bohème is the most-often performed opera in the Metropolitan Opera’s

The happenings at the end of the opera may be a bit hard to

repertoire, having seen over 1,340 performances since its

imagine today, where forgiveness and magnanimity seem to

New York premiere in 1900.

be in short supply; but they form a wonderful reflection on the philosophical and political foundations of enlightened

La bohème is simply a story about young, artistic people

governance in the late 18th century that also helped mold

falling in love, not unlike our Emerging Artists and Studio

our country. One final thought: Please suspend your disbelief

Artists this summer. The production was set in present day

as you hear these Hispanic pirates sing in German while

Paris so that we could work as naturally as possible, with as

sometimes speaking in English. (Ah… the wonder of opera…)

little operatic artifice as possible. Opera is an unnatural art form in a world demanding greater realism. Our challenge is to train young artists to perform realistically while utilizing their vocal gifts. This opera is the perfect vehicle for such training. About half of our singers have never seen La bohème in an opera house, while I have lost count of how many times I’ve seen it, including a production in Zagreb in Serbo-Croatian. I have no doubt they will return to it again and again, both as singers and as audience members, having decided to spend a few hours with a very dear friend. —David Ward

30 / www.opera.org

—Robert Swedberg


Monkey See, Monkey Do Music by Robert Xavier Rodríguez Words by Mary Duren Medrick June 4, 5, 6, 12, 13 / July 1, 6, 10, 11, 13, 16, 17 Stage Director David Ward Music Director Louis Menendez Pianist Andrew Voelker Scenic Designer Jaye Beetem Costume Designer Kim Welborn Stage Manager Rachel Walrath

CAST A

CAST B

CAST C

Maria

Gwen Paker

Jordan Knapick

Jordan Knapick / Gwen Paker

Diana (#1)

Sophia Masterson

Alison Gillespie

Sophia Masterson

Elena (#2)

Kaitlyn Landers

Elizabeth Langley

Kaitlyn Landers

Pedrito

John Faubert

Cooper Creal

Jeremy Lopez

Antonio

Cameron Benafield

Jack Merucci

Benjamin Goodrich

Monkey #1

Cooper Creal

Jeremy Lopez

John Faubert

Monkey #2

Elizabeth Langley

Kaitlyn Landers

Alison Gillespie

Monkey #3

Jack Merucci

Sophia Masterson

Cameron Benafield

Villager

Alison Gillespie

Benjamin Goodrich

Jordan Knapick / Gwen Paker

Villager

Jordan Knapick

Gwen Paker

Elizabeth Langley

Villager

Jeremy Lopez

Cameron Benafield

Cooper Creal

Villager

Benjamin Goodrich

John Faubert

Jack Merucci

This Production Generously Underwritten By: Lois Armor

SYNOPSIS

now with another monkey. Antonio’s monkey steals the top sombrero, the girl monkey steals the next sombrero and the third monkey takes the remaining sombreros. One by

A Mexican village square. Antonio frantically searches for his

one the three monkeys disappear into the branches of the

missing monkey. Maria and sympathetic villagers listen and

tree. Pedrito awakens and is alarmed to see the monkeys

try to help. Pedrito enters, wearing many sombreros piled

wearing his sombrero. Maria, Antonio and the villagers hear

upon his head. He tries to sell the sombreros, but the town

the commotion and enter only to add to the confusion.

people, more interested in Antonio’s plight, rebuff him. Only

Pedrito waves his arms about in frustration, whereupon the

Maria listens to Pedrito, and the two exchange tender words.

monkeys imitate him behind his back.

The villagers leave to look for the monkey. Maria and Pedrito ask Antonio’s permission to marry. Antonio refuses, calling

When Pedrito realizes that the monkeys are copying him,

Pedrito a failure. The organ grinder storms off to continue

he leads them in an imitation pantomime, culminating in

looking for the monkey. As Pedrito and Maria console

his throwing his own sombrero on the ground. Instantly the

each other, Antonio’s monkey appears, this time with a girl

monkeys follow suit, and hats fly as Pedrito’s sombreros

monkey.

come sailing down from the tree. Antonio rushes to congratulate Pedrito. As the two embrace, the monkeys

Unaware of the monkeys, Pedrito and Maria sing an

join them on the ground, imitating the happy scene. The

affectionate duet. The monkeys imitate their phrases as

delighted villagers eagerly buy up the sombreros of the

well as their gestures, then rush off. Maria leaves to appeal

clever Pedrito. Antonio, now the proud owner of three

once more to her father. Alone, Pedrito muses on his

monkeys, gives his blessing to Pedrito and Maria. The

predicament and, still wearing his stack of sombreros, rests

audience joins the cast in a Mexican celebration, clapping

under a tree. As Pedrito dozes, the two monkeys reappear,

and singing.

By arrangement with G. Schirmer, Inc., publisher and copyright owner.

2019 Season Program / Opera in the Ozarks / 31


OPERA PRODUCTION UNDERWRITERS The Abduction from the Seraglio

Little Women

Gene and Linda Vollen

Don Dagenais Richard Hill Endowment

La bohème Maria de Waal Putter in Memory of Sylvia Kerr

Monkey See, Monkey Do Lois Armor

Night of Opera Sponsors Francis Christmann Endowment Kansas Federation of Music Clubs in Memory of Kenneth Burkhard Duane and Carole Langley Missouri Federation of Music Clubs Nancy J. Preis in Memory of Anne G. Isley

Morning Etude Music Club, St. Louis, Missouri Luke and Janet Parsch Maria de Waal Putter Texas Federation of Music Clubs Endowment Wednesday Morning Music Club, Austin, Texas

Louisa May Alcott Live! Sponsored in Part by Lois Armor

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OPERA IN THE OZARKS ARTISTIC STAFF ROBBY BAINE

Coach / Accompanist Robby Baine is a native of Greenwood, MS, and holds a Bachelor of Music in Piano Performance from Mississippi College, as well as a Master of Music in Collaborative Piano from the University of Michigan. After being the rehearsal pianist for Young Frankenstein during his year abroad in Mainz, Germany, Baine began to pursue a career in collaborative piano. He has participated in the Collaborative Piano Institute in Faribault, Minnesota, the Franco American Vocal Academy in Angers, France, and the Hawaii Performing Arts Festival. This is his first summer at Opera in the Ozarks.

CORY BATTEY

Senior Vocal Coach Cory Battey hails from the Pacific Northwest, where he studied music at the University of Oregon. In September of 2017, he joined the faculty of the Manhattan School of Music as Vocal Coach and répétiteur. Prior to this, he was a music staff member at Palm Beach Opera, where he served as Vocal Coach for the young artist program, accompanied productions, and led educational outreach programs throughout the region. Battey has recent collaborations with Portland Opera, Opera Omaha and Wichita Grand Opera, preceded by his work with several major opera companies, including Sarasota Opera, Nashville Opera, Kentucky Opera, Mill City Summer Opera and Shreveport Opera. This will be Battey’s sixth season with Opera in the Ozarks, and his third as Senior Vocal Coach. He has also worked with aspiring singers at the University of Memphis, Brevard Music Center, Seagle Music Colony and the Astoria Music Festival training programs. In addition to continuing his work with the Manhattan School of Music, he returns this fall to the music staff of the National Children’s Chorus and maintains a private coaching studio in Manhattan.

JAYE BEETEM

Technical Director / Scenic Designer This is Jaye Beetem’s fourth season at Opera in the Ozarks. During the rest of the year, she is the Technical Director and Designer for The Green Center at DePauw University, where she designs a variety of events and productions including the School of Music operas, which recently included Cendrillon. Prior to Opera in the Ozarks, Beetem served as the long time TD/Designer for The Public Education Foundation’s awarding-winning summer musical program in Southern Indiana. She has taught at a number of college and university programs including Northampton Community College, Valdosta State University, California State Universities: Chico and Bakersfield, and Lycoming College of Pennsylvania. She holds degrees from the

University of Utah, Louisiana State University at Monroe, and Wayne State University in Detroit. She is a proud member of both IATSE Local #636 and Actor’s Equity as a Stage Manager.

CAROL BRIAN

Production Stage Manager Carol Brian graduated from Wright State University 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 on national tour shows of all kinds. Most recently she completed seven seasons with Opera Tampa as Production Stage Manager. This is her fourth season at Opera in the Ozarks. She lives outside of Nashville, TN, with her husband, Gene, and a 115-pound Alaskan Malamute named Jeremy.

JOEL BURCHAM Vocal Instructor

American tenor Joel Burcham is known for his dominant stage presence as demonstrated through sensitive acting and “effortless command of his voice,” further described by Chris Shull of the Wichita Eagle as a tenor voice of “clarion tone and operatic power.” “Burcham’s soft voice,” declared Jim Edwards of the Chicago Tribune, “was lyrical and smooth as silk but when he opened up his voice, beautiful loud steely notes poured forth.” This versatile tenor voice has appropriately enabled Burcham to command leading roles with several of North America’s top companies. He has sung 35 principal tenor roles with companies such as Utah Opera, Central City Opera, Opera Omaha, Madison Opera, Opera Fort Collins, Opera Theatre of the Rockies and Painted Sky Opera. Some of his strongest roles include Alfredo, Don José, Pinkerton, Cavaradossi and Faust. An active concert soloist, Burcham has sung with Hawaii Symphony, Colorado International Mahler Festival, South Bend Symphony, Omaha Symphony, Madison Symphony, and the Classical Music Festival in Eisenstadt, Austria, in works including Beethoven’s 9th Symphony and Missa Solemnis, Haydn’s Creation and The Seasons, Verdi’s Missa Di Requiem, Britten’s Serenade for Tenor, Horn and Strings and Handel’s Messiah. Burcham has degrees from the University of Wisconsin-Madison (DMA), the University of Arkansas (MM), and Southern Illinois University at Edwardsville (BM). He is Associate Professor of Voice and Voice Area Chair at the University of Oklahoma.

2019 Season Program / Opera in the Ozarks / 33


OPERA IN THE OZARKS ARTISTIC STAFF ALLISON CASH

Assistant Stage Manager / Props Assistant Allison Cash is in her final year at Columbus State University where she is working towards a BFA in Theatre Design and Technology with a focus in Stage Management. While at CSU she has performed multiple roles, such as Sound Designer for Check, Please! and Children of Eden, Lighting Designer for The Marvelous Wonderettes ‘58 and Wiley and the Hairy Man, as well as Fly Captain for Guys & Dolls. She has been the Stage Manager for The Last Night of Ballyhoo and Spring Awakening, for both of which she received a KC-ACTF Region IV nomination. Other shows that she has stage managed while at CSU include Old Dry Frye, James and the Giant Peach, Once On This Island and Mud. She has also been the Stage Manager for The Nutcracker with Columbus Ballet.

RICHARD DUNHAM

Lighting Designer / Director of Production Rich Dunham is pleased to be returning to Opera in the Ozarks for his sixth season. He 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 is a fellow of the institute. He continues to design regularly within 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 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 theaters 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 articles have won national publications awards. He’s also author of the well-received lighting text, Stage Lighting: Fundamentals and Applications, which appeared in its second edition this past November and a second book, Stage Lighting: Design Applications and More that was released in December.

CALEB HARRIS

Conductor / Music Director for Little Women Caleb Harris enjoys an active career as a conductor, pianist, chamber musician and vocal coach. He is equally at home at the keyboard and on the podium. Harris has 34 / www.opera.org

appeared throughout the United States, Austria, Germany, France, Italy, Scotland, Slovenia and Asia at many prestigious venues including Carnegie Hall, Seiji Ozawa Hall at Tanglewood, and the National Concert Hall in Taipei, Taiwan. Harris has been involved in the preparation and performance of approximately 40 operas; recent productions include Sondheim’s Sweeney Todd, Donizetti’s Don Pasquale, Stravinsky’s The Rake’s Progress, Puccini’s Madama Butterfly, Bizet’s The Pearl Fishers, Puccini’s Turandot, Verdi’s La traviata, Mozart’s Abduction from the Seraglio, Britten’s A Midsummer Night’s Dream, Poulenc’s Dialogues of the Carmelites, Stravinsky’s Renard, and Ravel’s L’Enfant et les sortilèges. He has guest conducted many orchestras including the Frankfurt Symphony, Dubrovnik Symphony, Utah Symphony, Southwest Michigan Symphony, and the Brevard Festival Orchestra. Harris has recorded professionally in a wide variety of genres for Summit Records, Navona Records, Potenza Music and Acis Productions. Currently an adjunct associate professor at Vanderbilt University’s Blair School of Music, Harris formerly held positions at the University of Northern Colorado, the University of Utah, and Utah Symphony/ Utah Opera. Recent concerto performances include Bach’s Keyboard Concerto in D minor, Stravinsky’s Concerto for Piano and Winds, Beethoven’s First Piano Concerto and Triple Concerto, Brahms’ Second Piano Concerto, and Rachmaninoff’s Rhapsody on a Theme of Paganini. He received multiple degrees from the Eastman School of Music and also held fellowships at the Tanglewood Music Center.

THOMAS JENNINGS

Assistant Technical Director This is Jennings’ first season with Opera in the Ozarks. He has a BFA in Acting and is currently working on his MFA in Set Design at Utah State University in Logan, UT. Jennings stumbled into technical theater as a carpentry intern in 2008 at Utah Festival Opera Company and knew he had to work in theaters for the rest of his life. He has spent the last eleven years studying and working professionally in the theater. Whether he is acting, building, painting or designing, he loves the collaborative process of making art come to life.

EMILY KALISKI

Marketing Intern Emi Kaliski is currently studying Music and Management Studies at St. Olaf College and will be a senior in the fall. Performing has always been a passion of hers, and she spends a lot of time in the music building and in St. Olaf Choir rehearsals. While she loves to perform, she is eager to learn more about what it takes to run a successful music organization, and she hopes to work in the field of arts administration in the future.


SYDNEY LOKANT

Assistant Costumer This is Sydney Lokant’s first season at Opera in the Ozarks. She has never worked in opera before and is ecstatic about the opportunity to broaden her horizons. Lokant hails from Winston Salem, NC, via Athens, OH. She earned a BA in Theatre in 2018 at Greensboro College and is a 2021 MFA Costume Technology candidate at Ohio University. Last summer, she worked at Tent Theatre in Springfield, MO, for its 55th season. She has worked on over 50 regional, educational and community productions but her favorites are Cabaret, Sugar, Mary Poppins and Spamalot.

ALICE MARTINSON Props 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 more than 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 this magnificent art form.

JAMES MCNEIL

Master Carpenter James McNeil received a BS in Technical Theater from Northwestern State University in Louisiana. He is originally from Louisiana and worked an apprenticeship in Bentonville at Trike Theatre. This is his second year at Opera in the Ozarks. Aside from his skills as a craftsman in the areas of carpentry and metal fabrication, he is a sleight of hand artist, juggler, and experienced family event magician. He’s also a collector of curiosities who fell in love with the thrift shops of Northwest Arkansas after recognizing the wealth of oddities in this area.

LOUIS MENENDEZ

Senior Vocal Coach / Music Director for Outreach and Monkey See, Monkey Do Currently a member of the Opera Department at the University of Central Arkansas, Louis Menendez has been active in the world of opera for more than 30 years as a vocal coach, conductor, pianist and educator. His first faculty appointment was at the Curtis Institute of Music in Philadelphia in 1988. In 1989, Academy of Vocal Arts appointed him Vocal Coach and Assistant Conductor. Over the last three decades he has assisted over 150 opera productions and conducted nearly 40

productions with companies throughout the U.S. and Europe. Menendez has assisted in master classes and private sessions for 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. He counts among his most memorable experiences recitals with singers Louis Quilico, Jerome Hines, Stephanie Blythe, Nico Castel, Elizabeth Futral, Suzanne Mentzer and Allan Glassman. Summer programs where he has taught, conducted or coached include: the Israel Vocal Arts Institute, Tel Aviv; the International Institute of Vocal Arts, Chiari Italy; Spoleto Festival, Spoleto Italy; Sarasota Opera; Opera in the Ozarks; California Music Festival, San Francisco; University of Minnesota Duluth Opera Training Program; Martina Arroyo’s Prelude to Performance, New York City; Sherill Milnes VOICE Experience, Tampa; Lingua e Canto, Sant Angelo in Vado, Italy; and The New York Opera Studio, Vassar College.

QUINN SCHUSTER

Lighting and Production Intern This is Quinn Schuster’s first summer at Inspiration Point as a lighting and production intern. Currently based out of San Diego, CA, he is a BA candidate at San Diego State University in the Theatre Design and Technology program, class of 2020. Schuster serves as the resident Lighting Designer at the House of Blues concert venue in downtown San Diego. He also works as a freelance lighting designer and electrician for live events throughout the Southern California region including The Old Globe, Cygnet Theatre and the Redlands Bowl. Currently, he is working on his next design Just Like Us at the SDSU Experimental Theatre, opening in September 2019. Other notable lighting designs he has accomplished include Our Town at Clock Auditorium, The Hunchback of Notre Dame at the California Theatre, and Wild Oats at the Blackstone Theatre.

REBECCA SHERBURN Vocal Instructor

Dr. Rebecca Sherburn is the Director of Vocal Studies and Associate Professor of Voice at Chapman University in Southern California. She received her undergraduate degree from California State University, Los Angeles, and her MM and DMA from the University of Southern California. Sherburn has taught at Inspiration Point a number of times over the years and is delighted to be in residence as a voice teacher this summer. International performances include operatic roles sung with Zürich Opera, Berliner Festwochen, and the Neue Flora Theater Hamburg as well as other German State Theaters in 2019 Season Program / Opera in the Ozarks / 35


OPERA IN THE OZARKS ARTISTIC STAFF Oberhausen, Gütersloh, Osnabrück and Aachen. Her national engagements include appearances with the Los Angeles Philharmonic New Music Group, New York New Music Ensemble, newEar of Kansas City, Los Angeles Master Chorale, South Florida Master Chorale, William Hall Chorale, Los Angeles Concert Opera, Santa Barbara Light Opera, Opera Grand Rapids, Virginia Opera, Flagstaff Symphony, NewWest Symphony, Kansas City Symphony and Kansas City Ballet. As a concert artist, she has premiered several works that were written specifically for her voice, and she has built a reputation for performing rarely heard contemporary chamber works. She has two recordings of American chamber music available through Albany Records, “Paul Creston Songs” and “Love, the Fair Day.”

MINAH SMITH-TUCKER

Cutter / Draper and Assistant Costume Shop Manager Minah Smith-Tucker is in her first year with Opera in the Ozarks. Her work has been seen in several Northwest Arkansas theaters including her most recent work on The Legend of Georgia McBride at TheatreSquared and A Midsummer’s Night’s Dream with the Northwest Arkansas Shakespeare company. She attended Oklahoma City University for a BFA in Theatrical Design and Production with a focus in Costume Design and Technology. She has worked as a shop assistant, a member of the wardrobe crew and a stitcher for TheatreSquared. Her costume design journey began in her junior year of high school when she designed Fayetteville High School’s production of The Glass Menagerie. She won a talent scholarship with her design for a New Threshold Theatre production of Into the Woods. While at OCU, her design, stitching and craft work was seen onstage in TheatreOCU’s A Clown Bar, House of Atreus, The Man Who Came to Dinner, Hairspray, Rent, Don Pasquale, Dark Sisters, and Peter and the Starcatcher.

ROBERT SWEDBERG

Stage Director The Abduction from the Seraglio and Little Women 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 produced ‘Green Opera’ productions on campus, making the 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

36 / www.opera.org

the Seattle Opera and Pacific Northwest Wagner Festival. Previous productions directed at Opera in the Ozarks include: Susannah (1981), Die Zauberflöte, La bohème, (2012), Madama Butterfly, L’elisir d’amore (2013), La traviata, Les Contes d’Hoffmann (2015), Don Giovanni, Albert Herring (2016), Carmen, Susannah (2017), and Die Fledermaus, Ballad of Baby Doe (2018). 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. Swedberg has degrees in Music and Theater from California State University, Northridge, where he was a student of Elisabeth Parham and Dr. David Scott. He 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 a certified yoga instructor and the author of the book, Yoga for Performers.

ANDREW VOELKER

Coach / Accompanist for Monkey See, Monkey Do and La bohème Andrew Voelker lives in Bloomington, IL, where he is an adjunct collaborative pianist and opera coach at Illinois Wesleyan University. Voelker holds bachelor’s degrees in Piano and Voice from Northern Illinois University and a master’s degree in Collaborative Piano from the Cleveland Institute of Music. His teachers have included Anita Pontremoli, Linda Jones, William Koehler and Dana Brown. He has coached and performed at the Aspen Opera Center, Great Lakes Light Opera, Chicago Summer Opera, Prairie Fire Theatre, and at Interlochen Arts Camp. He has collaborated with students at Illinois State University, Case Western Reserve University and Ursuline College. This fall, he will begin Doctor of Music study in Collaborative Piano Program at Indiana University’s Jacobs School of Music, under the guidance of Kevin Murphy and Anne Epperson.

RACHEL WALRATH Stage Manager

Rachel Walrath returns to the Ozarks for her fourth summer. She was last seen at Inspiration Point as Stage Manager for Susannah in 2017. She earned her Bachelor of Music Degree in Voice from the University of Houston, where she found her love of the backstage and a talent for coordinating it. She went on to become Production Stage Manager at Opera in the Heights, managing shows such as Gluck’s Orfeo ed Euridice, Candide, and Maria de Buenos Aires. She works throughout Houston for Houston Grand Opera, the Houston Ballet, and Theatre Under the Stars, where she had the pleasure of working with Tony Awardnominated director Marcia Milgram Dodge on Ragtime.


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2019 Season Program / Opera in the Ozarks / 37


OPERA IN THE OZARKS ARTISTIC STAFF DAVID WARD

Stage Director for La bohème, Monkey See, Monkey Do, Broadway Cabaret; Osmin in Abduction from the Seraglio After 25 years performing internationally as a basso buffo, David Ward recently served as the 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, Ward 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 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 and 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 Master of Music Degree 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, Baron Ochs in Der Rosenkavalier and directed Kirke Mechem’s Tartuffe and Le nozze di Figaro. He first came to Inspiration Point in 2012 to co-direct the Scenes Program, 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, Così fan tutte, Il barbiere di Siviglia, and this summer’s La bohème. For the Studio Artist Program 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, Così fan tutte and Falstaff for Houston’s Opera in the Heights as well as Madama Butterfly and Il barbiere di Siviglia for Little Rock’s Opera in the Rock. He’s directed Don Giovanni for the University of Nevada, Las Vegas, and La finta giardiniera for Portland State University in Oregon. A longtime member of the directing staff at College Light Opera Company on Cape Cod, Ward 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, The Music Man, Iolanthe and this summer, Ruddigore. He will sing his acclaimed Dr. Bartolo in Le nozze di Figaro for Opera Orlando and join the faculty at Hunter College CUNY. 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.

KIM WELBORN

Costume Designer This is Kim Welborn’s first season at Opera in the Ozarks. She regularly designs for Opera Orlando; and recent productions included Pagliacci/Pulcinella, Hansel & Gretel, 38 / www.opera.org

Tales of Hoffman, and Abduction from the Seraglio. She has designed multiple productions of Don Pasquale, La bohème and Amahl. In addition to opera, Welborn has designed over 50 musicals and straight plays. Her favorites include Hello, Dolly; Evita; The Producers; Paint Your Wagon; South Pacific; Spamalot; the Diary of Anne Frank and Blithe Spirit. She has also enjoyed doing children’s theater including Willie Wonka, The Jungle Book, and Peter and the Wolf, and has worked with several dance companies and productions. One of her first professional jobs was at Horn in the West, so she is excited about being part of another summer program. Upcoming projects include the Savannah Voice Festival and a 1910 staging of The Marriage of Figaro. In addition to theatrical design she produces accurate period clothing and presentations for reenactments and historic events, including Florida’s Quincentennial and the anniversary of the National Park Service, and performance gowns for clients including Wendy Bryn Harmer of the Metropolitan Opera. She is a world native, having lived in eight countries before graduating from high school and moving to Florida for college. She is a master herbalist and developed an extensive natural health consulting practice before returning to her love of fashion and the arts. Her family includes her husband, David, four wonderfully supportive children and four grandchildren.

ALEXANDRA WILEGUS Assistant Costumer

Alexandra Wilegus is from Southaven, MS, and is currently a senior at Bethel University in McKenzie, TN. She is pursuing a double major in Theatre and Biology: Pre-Professional Health. She was the recipient of the Distinguished Theatre Student Award in 2019 and the Costume Design and Technology Award in 2018. At Bethel University, she has been First Hand for Boeing Boeing, as well as Head Stitcher for 25th Annual Putnam County Spelling Bee, Next to Normal, Romeo and Juliet, The Odd Couple (male and female version), and Sherlock Holmes: The Final Adventure. She has been Costume Designer for Next to Normal and Spinning into Butter and Assistant Costume Designer at Opera in the Ozarks for Cinderella and The Ballad of Baby Doe. She served as Head of Wardrobe, Hair and Makeup for Die Fledermaus and Il barbiere di Siviglia at Opera in the Ozarks. Wilegus has also been a Stage Manager for These Shining Lives, Assistant Stage Manager and worked in props for The Odd Couple (male and female versions), as well as A Raisin in the Sun. In addition to being involved backstage, she has been seen onstage as Rona Lisa Peretti in 25th Annual Putnam County Spelling Bee (2018), 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 as Ms. Smythe/ Ballerina in Mary Poppins (2016). This is her second year at Inspiration Point.


Celebrating 69 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 69th 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 - 2019. 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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Fine Men’s and Women’s Clothing 2019 Season Program / Opera in the Ozarks / 39


2019 OPERA IN THE OZARKS ARTISTS RACHEL ABBATE

DONGWHI BAEK

Mezzo-Soprano New Orleans, LA

Tenor Busan, South Korea

Education: MM, Rice University; BM, Louisiana State University. Studied with Julie Simson, Dr. Lori Bade, Bonnie Knowles Roles Performed: Giulio Cesare (Giulio Cesare in Egitto), Jo March (Little Women), Alma March (Little Women), Ruggiero (Alcina), Carole/Natalia (Anya17), Mercédès (Carmen), the Angel (The Demon), Eva (Veselohra na mostě), Dinah (Trouble in Tahiti) Awards: National Federation of Music Clubs First Place Winner in Collegiate Women’s Voice 2017; National Semifinalist in Classical Singer Magazine Vocal Competition 2014, 2015 Previous Experience: Red River Lyric Opera, Harrower Opera Workshop, Rice University Opera, Angels Vocal Art, University of Cincinnati – College Conservatory of Music Summer Opera Bootcamp, Russian Opera Workshop, Louisiana State University Opera

Education: Pursuing Performance Certificate at the Opera Institute, Boston University; MM, University of Cincinnati–College Conservatory of Music; BM, Chapman University. Studied with Patrick Goeser, William McGraw, Sharon Daniels Roles Performed: Rinuccio (Gianni Schicchi), Arbace (Idomeneo), Alfredo (La traviata Act 3), Detective Thibadeau (Dolores Claiborne), Schoolmaster (The Cunning Little Vixen) Awards: Mu Phi Scholarship, NATS Previous Experience: Bach Cantata No. 150 with Cincinnati Symphony Orchestra, Bach B Minor Mass with CCM Philharmonia, Central City Opera, Taos Opera Institute Sponsor/Scholarship Benefactor: National Federation of Music Clubs

Sponsor/Scholarship Benefactor: Martha M. Mack Award

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MONIKA BEAUVAIS

PERRY CHACON JR.

Soprano Chandler, AZ

Tenor Chula Vista, CA

Education: MM, Mannes School of Music; BM, Northern Arizona University. Studied with Carole FitzPatrick, Elizabeth Hynes, Beth Roberts-Sebek, Deborah Raymond

Education: Pursuing DMA, University of Nevada, Las Vegas; MM and BM, Arizona State University. Studied with Alfonse Anderson, Gordon Hawkins, Judy May

Roles Performed: Stella (Les Contes d’Hoffmann), Perneatha Evans (The Long Walk), Susannah (Susannah), Donna Elvira (Don Giovanni), Anne (The Rake’s Progress), Micaëla (Carmen), Sister Rose (Dead Man Walking), Ilia (Idomeneo), Miss Jessel (The Turn of the Screw), Javotte (Manon), Gilda (Rigoletto), Gerhilde (Die Walküre), June (Chicago), Despina (Così fan tutte), Musetta (La bohème), Najade (Ariadne auf Naxos), Frasquita (Carmen), La Conversa Una (Suor Angelica), Gherardino (Gianni Schicchi), Cis (Albert Herring)

Roles Performed: Chevalier de la Force (Dialogues of the Carmelites), 1st Armored Man (Die Zauberflöte), 1st Sailor (Dido and Aeneas), Piragua Guy (In the Heights), Luke (Anything Goes)

Awards: Extraordinary Talent Fellowship for Voice from the Richard and Deborah Felder Foundation (2018); Metropolitan Opera National Council Auditions Encouragement Award (2013/2016); Bev Sellers Memorial Scholarship (2015); Edgar Stone Vocal Scholarship (2013)

Awards: First Place NATS Arizona Classical 2016; Third Place NATS Arizona 2014 Previous Experience: UNLV Opera Theatre, ASU Music Theatre and Opera, AIMS in Graz, Desert Foothills Theatre, OperaWorks, Study Cover Program, Arizona Opera Sponsor/Scholarship Benefactor: Alice Martinson and Carole Sturgis

COOPER CREAL

Previous Experience: Northern Arizona University Opera, Flagstaff in Fidenza, Mannes Opera, Aspen Music Festival

Tenor Lincoln, NE

Sponsor/Scholarship Benefactor: Benjamin Lundy Award (Al and Pat Walden), Helen S. Boylan Foundation, South Central Region, NFMC

Education: Pursuing BM, University of Nebraska. Studied with William Shomos, Donna Harler-Smith

CAMERON BENAFIELD Baritone Conway, AR Education: Pursuing BM, University of Central Arkansas. Studying with Wolfgang Oeste, John Garst. Awards: University of Central Arkansas Vocal Music Scholarship.

Roles Performed: Virgil (Violet), Martin (The Tender Land), Telemachus (The Return of Ulysses), Washington Dandy (The Ballad of Baby Doe), Chorus (Don Pasquale) Awards: Leesa Crnogorac Scholarship Recipient (20192020); Marvella W. Burmester Scholarship Recipient (20182019); Curtiss C. Grove Scholarship Recipient (2016-2020); Jennifer L. Dorsey-Howley Performing Arts Scholarship Recipient (2016-2020); Hixson-Lied Scholarship Recipient (2016-2017) Previous Experience: UNL Opera

Sponsor/Scholarship Benefactor: Arkansas Federation of Music Clubs

Sponsor/Scholarship Benefactor: Texas Federation of Music Clubs in Honor of Doreen Allen

2019 Season Program / Opera in the Ozarks / 41


2019 OPERA IN THE OZARKS ARTISTS EMILY DIRKS Soprano Monticello, IA Education: Pursuing MM, Louisiana State University, Turner-Fischer Center for Opera at LSU; BA, Luther College. Studied with Lori Bade, Beth Ray-Westlund, Kristen Eby Roles Performed: Thérèse/La Cartomacienne (Les Mamelles de Tirésias), Fiordiligi (Così fan tutte), Gianetta (The Gondoliers), Hanna (The Merry Widow) Awards: First Place, Louisiana State NATS (2019); First Place, Brudos Prize in Opera Performance (2017); Lucille Stansberry Rosholt Scholarship in Music, Jenson Music Scholarship, Njus-Sanderson Music Scholarship (20162018); Finalist, Luther College Concerto Competition (2017); Second Place, Central Region NATS (2016) Previous Experience: Turner-Fischer Center for Opera at LSU, La Musica Lirica, Luther College Opera Sponsor/Scholarship Benefactor: Colleen and Steve Shogren

SIMON FADDOUL Bass-Baritone Glendale, AZ Education: BM, University of Arizona. Studied with Andrew Stuckey, Hugo Vera, Jennifer McNeal Roles Performed: Third German Soldier (Silent Night), Alidoro (Cinderella by Ward), Frosch (Die Fledermaus), Dandy (The Ballad of Baby Doe), Mars (Orpheus in the Underworld), Ali Ben Ali (The Desert Song), Second Commissioner (Dialogues of the Carmelites), Don Pasquale (Don Pasquale), L’Arbre (L’Enfant et les sortilèges), Judge Turpin (Sweeney Todd) Awards: Summa Cum Laude graduate with Honors; 2019 Quest for the Best Honorable Mention; 2018 Second Prize Finalist Larry Day Memorial Voice Competition; 2018 Opera Guild of Southern Arizona Program Grant Recipient; Wildcat Excellence Scholarship Recipient (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 Opera Theatre, Arizona Opera, The College Light Opera Company, Arizona Conservatory for Arts and Academics, Arizona Broadway Theatre, Opera in the Ozarks Sponsor/Scholarship Benefactor: Mary Chop Trust

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JOHN FAUBERT

ALISON GILLESPIE

Tenor Walled Lake, MI

Soprano Peculiar, MO

Education: Pursuing BM, University of Michigan. Studied with Jessica Fielder, Stephen West, Carmen Pelton

Education: Pursuing BM, University of Nebraska-Lincoln. Studied with Kevin Hanrahan, Kate Butler, Victoria Sofia Botero, Sylvia Stoner-Hawkins

Roles Performed: Chorus (Le nozze di Figaro), Chorus (Alcina)

Roles Performed: Laurie (cover) (The Tender Land), Mabel (Pirates of Penzance), Pasquale’s Maid (Don Pasquale)

Awards: Rizlov Scholarship Recipient (2017-21)

Soprano Quakertown, PA

Awards: University of Nebraska Lincoln Undergraduate Concerto Competition Winner (2018); First Prize Nebraska State NATS (2018); National NATS Semifinalist (2017, 2018); Kansas City Blue Star Award: Outstanding Actress in a Lead Role (2016)

Education: MM, University of Houston; BM, Westminster Choir College. Studied with Melanie Sonnenberg, Nova Thomas

Previous Experience: University of Nebraska Lincoln Opera, Lyric Opera of Kansas City High School Honors Artists, National High School Musical Theatre Awards

KANISHA FELICIANO

Roles Performed: Kitty Packard (Dinner at Eight), Norina (Don Pasquale), Baby Doe (The Ballad of Baby Doe), Elvira (L’italiana in Algieri), Mrs. Candour (The School for Scandal), Phyllis (Iolanthe), Esmeralda (The Bartered Bride) Awards: Gilbert and Sullivan Society Scholarship Recipient (2018-2019); 2018 Second Prize from The Mondavi Center Young Artist Competition; Hirsch Endowment Scholarship Recipient (2017-2019) Previous Experience: SongFest, Le Chiavi di Bel Canto

Sponsor/Scholarship Benefactor: Beulah Walwerk Endowment, Aleeta Mae Riney Endowment

BENJAMIN GOODRICH Baritone Bristow, VA Education: BA, Florida State University. Studied with David Okerlund Roles Performed: Frid (A Little Night Music), It (Cupboard Love)

Sponsor/Scholarship Benefactor: Martha M. Mack Award Previous Experience: FSU Opera, Hawaii Performing Arts Festival Sponsor/Scholarship Benefactor: James and Janice Swiggart Endowment

2019 Season Program / Opera in the Ozarks / 43


2019 OPERA IN THE OZARKS ARTISTS FERNANDO GRIMALDO

MELANIE HOLM

Bass-Baritone Houston, TX

Soprano Omaha, NE

Education: Pursuing MM, University of Michigan; BA, Pepperdine University. Studied with Stephen Lusmann, Stanford Olsen, Henry Price

Education: Pursuing DMA, Arizona State University; MM, Arizona State University; BM, University of Nebraska-Lincoln. Studied with Stephanie Weiss, Anne Elgar Kopta, Karen Peeler

Roles Performed: Priest #2 (Die Zauberflöte), Leporello (Don Giovanni), Pirate King (Pirates of Penzance), Melisso (Alcina), Maximillian (Candide) Sponsor/Scholarship Benefactor: Maria de Waal Putter Endowment

ROBERT HARTFIELD Tenor Overland Park, KS Education: BM, University of Oklahoma. Studied with Kim Josephson Roles Performed: Alfredo (La traviata), Nemorino (L’elisir d’amore), Rinuccio (Gianni Schicchi), Arturo (Lucia di Lammermoor) Awards: National Association of Teachers of Singing, Texoma Region Competition Winner (2016, 2017, 2018), National Association of Teachers of Singing Oklahoma Competition Winner (2016, 2017, 2019), Marilyn Horne Scholarship Winner

Roles Performed: Silvia (Behold the Man), Gretel (Hansel and Gretel), Lynn (The Halloween Tree), Galatea (Acis and Galatea), Lillie (Babe), Papagena (Die Zauberflöte), Mrs. Julian (Owen Wingrave), Arsena (Der Zigeunerbaron), Belinda (Dido and Aeneas), Amore (The Coronation of Poppea) Awards: ASU Music Theatre and Opera Guild Grant Recipient (2019); Arizona State University Scholarship Recipient, (2013-2019); Phoenix Opera Southwest Vocal Competition Semifinalist, (2015 & 2017); MONC Auditions District Encouragement Award Winner (2012); UNL Friends of Opera Scholarship Winner (2008) Previous Experience: Arizona Opera, Mittelsächsisches Theater-Freiberg, National Women’s Music Festival, American Institute of Musical Studies, Arizona State University, University of Nebraska-Lincoln Sponsor/Scholarship Benefactor: Arkansas Federation of Music Clubs, Christa Van Zant, Mark and Mary Dexter-Miller, Alastair Longley-Cook, and Lyric Opera Theater Guild of Phoenix

Scholarship Benefactor: Duane and Carole Langley Endowment, Eureka Springs Opera Guild

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SARA KENNEDY

TAEHWAN KIM

Soprano Austin, TX

Baritone Seoul, South Korea

Education: Pursuing Graduate Artist Certificate, University of North Texas; MM, BM, University of North Texas. Studied with Molly Fillmore, Katie Jo Ross, Bruce Douglas Roles Performed: Fiordiligi (Così fan tutte), Fox (The Cunning Little Vixen), First Lady (Die Zauberflöte), Anne Egerman (A Little Night Music), Princess Fiona (Shrek: The Musical), Baker’s Wife (Into the Woods) Previous Experience: UNT Opera Theatre, Chicago Summer Opera Sponsor/Scholarship Benefactor: Sigma Alpha Iota, Texas Federation of Music Clubs in Honor of Lee Meyer

Education: Pursuing a DMA, Butler School of Music; Graduate Diploma, New England Conservatory; MM, Peabody Institute; BM, Seoul National University. Studied with Donnie Ray Albert, Bradley Williams, Stanley Cornett, Phillip Kang Roles Performed: Don Giovanni (Don Giovanni, upcoming), Eugene Onegin (Eugene Onegin), Sam (Trouble in Tahiti), Ronaldo (Later The Same Evening), Papageno (The Magic Flute), Gugliemo (Così fan tutte, scene), Siméon (L’Enfant prodigue), Clock/Black Cat (L’Enfant et les sortilèges), Escamillo (Carmen), Pandolfe (Cendrillon), Barone (La traviata), Yakuside (Madama Butterfly), 6 Deputati (Don Carlo) Awards: 2019 Finalist Award from Saengerbund Awards (German Singing Competition); Butler Centennial Endowed Presidential Scholarship (2018-2021); Willa Stewart Setseck Scholarship (2018-2021); NEC Scholarship (2016-2018); John Ness Memorial Scholarship (2016); George Woodhead Prize in Voice (2016); 2015 Finalist from S. Livingston Mather Competition; Peabody Degree Scholarship (2014-2016); SNU Scholarship (2008,2010) Previous Experience: Male Vocal Quartet Klang, Austin Korean Presbyterian Church, Korean Church of Boston, Berlin Opera Academy, Charleston Symphony Orchestra, Seoul Art Center, Korean National Opera, Seoul Metropolitan Opera Sponsor/Scholarship Benefactor: Helen S. Boylan Foundation

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2019 Season Program / Opera in the Ozarks / 45


2019 OPERA IN THE OZARKS ARTISTS JORDAN KNAPICK Soprano Rockford, IL Education: Pursuing BM, Oklahoma City University. Studied with Jeffrey Picón, Martha Dahlberg Roles Performed: Cendrillon (Cendrillon), Chorus (Le nozze di Figaro) Awards: 2018 Texoma NATS Junior Semifinalist, 2016 Texoma NATS Freshman Third Place Winner Previous Experience: OCU Bass School of Music Opera and Music Theater

JENNIFER KREIDER Soprano Morgantown, WV Education: Pursuing Performance Diploma, Indiana University; MM, Rice University; BM, Westminster Choir College. Studied with Jane Dutton, Barbara Clark, Laura Brooks Rice Roles Performed: Monica (The Medium), Ramiro (La finta giardiniera), La Fée (Cendrillon), Linfea (La Calisto), Iolanthe (Iolanthe), Dew Fairy (Hansel and Gretel) Awards: Clifton Emerging Young Artist Award Winner (2016); First Place in Division at the Sarasota Concert Series National Voice Competition (2016); National NATS Competition First Place division Winner (2015) Previous Experience: Princeton Festival, Westminster Choir College Opera Theater, Rice University Shepherd School of Music Opera Theater, CoOPERAtive Program, Franz Schubert Institute Sponsor/Scholarship Benefactor: Maria de Waal Putter

KAITLYN LANDERS Mezzo-Soprano Columbia, MO Education: Pursuing BM, Columbia College of Missouri. Studied with Amy Johns, Nollie Moore, Darrell Jordan Roles Performed: Soloist (Considering Matthew Shepard), the Witch (Into the Woods), Chorus (Secret Garden), Chorus (An Antique Carol) Awards: John Francis Dillingham Family Showcase Award (2019); Jane Froman Scholarship (2019); Midwest National Association of Teachers of Singing poster presenter (The Diva) (2019); Marylin Henderson-R (2018); Midwest National Association of Teachers of Singing Semifinalist (2018); Marylin Henderson Robinson Scholarship (2018) Previous Experience: Columbia College Sponsor/Scholarship Benefactor: Corinne Mayfield Endowment

ELIZABETH LANGLEY Soprano Bay Saint Louis, MS Education: Pursuing BM, Southeastern Louisiana University. Studied with Jennifer Mouldedous, Sidney Joy Ratliff Roles Performed: Rose Maybud (Ruddigore), Ersilia Drei (Works of Mercy), Anne Page (The Merry Wives of Windsor), Cinderella’s Mother (Into the Woods), Mrs. Segstrom (A Little Night Music) Awards: Southeastern Louisiana University Vice President’s Award (2019); NATS Southern Region Semifinalist (2018); Southeastern Louisiana University Green S Award (2018); Second Prize Artist of the Year – Great Composer’s Competition (2016-2017); First Prize Best Bach Performance – Great Composer’s Competition (2016-2017); Joyce Paul Perrin Vocal Majors Travel Scholarship (2017); Southeastern Louisiana University Vocal Scholarship (2015) Previous Experience: Southeastern Louisiana University Opera and Musical Theater Workshop Sponsor/Scholarship Benefactor: Moberly Endowment, Delta Omicron 2019 Dorothy Mazzulla Clark Memorial Scholarship

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NEAL LONG

SOPHIA MASTERSON

Tenor Lawrence, KS

Soprano Sarasota, FL

Education: Pursuing a DMA, University of Kansas; MM, University of Kansas; BM, University of Nevada, Reno. Studied with Dr. Genaro Méndez

Education: Pursuing BFA, Carnegie Mellon University. Studied with Carol Sparrow, Mildred Miller Posvar, Sari Gruber

Roles Performed: Lysander (A Midsummer Night’s Dream), Nemorino (L‘elisir d’amore), Candide (Candide), the Defendant (Trial by Jury), Donald (Gallantry), King Kaspar (Amahl and the Night Visitors), Gastone (La traviata) Previous Experience: University of Kansas Opera, The Meadowlark Project, Landlocked Opera, Lawrence Opera Theatre, Opera Workshop in the Flint Hills, Nevada Opera Sponsor/Scholarship Benefactor: Burkhard Endowment, Carolann Martin Endowment

JEREMY LOPEZ Tenor Hicksville, NY Education: Pursuing BM, Eastman School of Music. Studied with Kathryn Cowdrick, Ronald Land   Roles Performed: Le petit vieillard and La rainette (L’enfant et les sortilèges), Sir Galahad (Spamalot), Teen Angel (Grease)   Awards: Second Place Prize at the National Association of Teachers of Singing Regional Competition (2017, 2018); Anne T. Cummins Voice Scholarship (2016-2019)   Previous Experience: Eastman Opera Theater, Rochester Philharmonic Orchestra   Sponsor/Scholarship Benefactor: Adah Hesselgrave Foundation

Roles Performed: Clara (The Light in the Piazza), Flora (The Turn of the Screw), Herself (The Proposal), Lisbe (Zemire et Azor), Christine (Phantom) Previous Experience: Opera Steamboat, Sarasota Festival of Vocal Arts, Sarasota Youth Opera, Sarasota Opera, Manatee Performing Arts Center Sponsor/Scholarship Benefactor: Richard Arthur Drapeau, Tim Danielson Endowment

JACK MERUCCI Baritone Marshall, MI Education: Pursuing BM, University of Michigan. Studied with Stephen West, Kenneth Prewitt Sponsor/Scholarship Benefactor: Alice Martinson and Carole Sturgis

2019 Season Program / Opera in the Ozarks / 47


2019 OPERA IN THE OZARKS ARTISTS GWEN PAKER

JONATHAN PATTON

Soprano Madison, WI

Baritone Albuquerque, NM

Education: Pursuing BM, Eastman School of Music. Studied with Robert Swensen, Carol Webber, Connie Haas, Jamie VanEyck, Rachel Edie Warrick

Education: Pursuing MM, University of New Mexico; BM, Fort Lewis College. Studied with Dr. Michael Hix, Dr. Kerry Ginger, Dr. Charissa Chiaravalloti

Roles Performed: Le Chauve-Souris (L’enfant et les sortilèges), Second Lady (Die Zauberflöte), Second Spirit (Die Zauberflöte), Cercatrice (Sour Angelica)

Roles Performed: Pirate King (The Pirates of Penzance), Guglielmo (Così fan tutte), Tony Lujan (Mabel’s Call), Schroeder (You’re a Good Man Charlie Brown)

Awards: Eastman Dean’s Scholarship Recipient (20162020); 2019 Eastman Concerto Competition Winner; 2019 Semifinalist and National Qualifier in NATS Eastern Region; 2016 Outstanding Supporting Performer from The Jerry Awards; 2015 Third Place in Schmidt Vocal Competition

Awards: New Mexico Vocal Artistry Finalist (2019); UNM Graduate Assistantship (2019); First Place NATS Rio Grande Men’s Classical (2018); First Place NATS Colorado/Wyoming Men’s Classical and Musical Theatre (2017); Durango Choral Society Scholarship Vocalist

Previous Experience: Eastman Opera Theatre, German Vocal Arts Institute, Oberlin in Italy, Madison Opera Apprenticeship Program

Previous Experience: UNM Opera Theatre, Fort Lewis College Music Theatre, ASU Winter Vocal Academy, Durango Arts Center

Sponsor/Scholarship Benefactor: Illinois Federation of Music Clubs: Golden Lyre Foundation

Sponsor/Scholarship Benefactor: Bill Yick Endowment, Elsie Wright Endowment

KRISTA RENÉE PAPE Soprano Rockport, TX Education: Pursuing MM, University of Houston; BM, University of Houston. Studied with Melanie Sonnenberg. Roles Performed: Gretel (Hänsel und Gretel), Kitty Packard (Dinner at Eight), Sarah (The Ballad of Baby Doe), Caterina (L’amico Fritz) Awards: Moores School of Music Graduate Vocal Scholarship (2018-2020); Moores School of Music Undergraduate Vocal Scholarship (2014-2018); University of Houston Academic Excellence Scholarship (2014-2018) Previous Experience: Le Chiavi di Bel Canto: The Institute of Bel Canto Studies, Texas Music Festival Sponsor/Scholarship Benefactor: Maria de Waal Putter

48 / www.opera.org

2019


´ JULIA POWERS

BLYTHE REED

Mezzo-Soprano Austin, TX

Soprano New Orleans, LA

Education: MM, Baylor University; BM, Stephen F. Austin State University. Studied with Jamie Van Eyck, Deborah Dalton

Education: Pursuing MM, Florida State University; BM, Loyola University New Orleans. Studied with David Okerlund, Dreux Montegut

Roles Performed: Rinaldo (Rinaldo), Cornelia (Giulio Cesare), Oreste (Oreste), Desirée (A Little Night Music), Little Buttercup (H.M.S. Pinafore), Ramiro (La finta giardiniera), Sorceress (Dido and Aeneas), Mae Jones (Street Scene) Awards: Southwest Voices Competition Finalist (2018); Outstanding Graduate in Voice at Baylor University (2018); Baylor Semper Pro Musica Solo Competition Finalist in Voice (2018); Full Tuition Scholarship and Graduate Assistantship at Baylor University, (2016-2018)

Roles Performed: Mimí (La bohème), Mrs. Schrodinger (Quantum Mechanic), Wanda (The Grand Duchess of Gerolstein), Mrs. Gleaton (Susannah) Awards: Beaulieu Competition Winner (2018- 2019); Concerto Aria Competition Finalist (2011-2012) Previous Experience: Florida State Opera, New Orleans Opera, Loyola Opera Sponsor/Scholarship Benefactor: Maria de Waal Putter

Previous Experience: Chicago Summer Opera, Red River Lyric Opera, Baylor Opera Theater, Gilbert & Sullivan Society of Austin, Stephen F. Austin State University Opera Theatre Sponsor/Scholarship Benefactor: Mu Phi Epsilon, Dorothy Ellis Endowment

ERIN REPPENHAGEN Mezzo-Soprano Tully, NY Education: MM, Manhattan School of Music; BM and Certificate in Performance, Crane School of Music at SUNY Potsdam. Studied with Shirley Close, Dawn Pierce, Donald George

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Roles Performed: Mrs. Bass (Emmeline), the Monitor (Suor Angelica), La Madre di Mariuccia (I due timidi), Witch (Hänsel und Gretel), Betty Parris (The Crucible), Jack’s Mother (Into the Woods), Little Buttercup (H.M.S. Pinafore), Fortuna/Mercurio (L’incoronazione di Poppea), Second Lady in MSM’s Outreach Production of The Magic Flute, and Carmen in an Opera Outreach Production of Carmen Previous Experience: Canadian Vocal Arts Institute, Chicago Summer Opera, Manhattan Opera Studio, Hawaii Performing Arts Festival, College Light Opera Company Sponsor/Scholarship Benefactor: Colleen and Steve Shogren

2019 Season Program / Opera in the Ozarks / 49


2019 OPERA IN THE OZARKS ARTISTS MARK SEPULVEDA Tenor Los Angeles, CA Education: Performers Certificate, The University Of Missouri Kansas City; BFA, The American Musical and Dramatic Academy, College and Conservatory of the Performing Arts, Los Angeles. Studied with Vinson Cole, Julian Fielder Roles Performed: Jo the Loiterer (The Mother of Us All), Enoch Snow (Carousel), Alfred cover/Dr. Blind (Die Fledermaus), Hans (The Emperor’s New Clothes), Pastor/Humbert (Blood on the Dining Room Floor), Joseph Novak (Friedl), Lt. Cable (South Pacific), Jean Valjean/ Bishop (Les Miserables), Padre (Man of La Mancha) Awards: John Raitt Award Nominee (2011); Terpsichore Award/ Napa Music Festival (2015); Carol Channing Scholarship (2013-17) Previous Experience: Los Angeles Opera, Opera UCLA, UMKC Opera, AMDA Los Angeles, Napa Music Festival. Sponsor/Scholarship Benefactor: Missouri Federation of Music Clubs

ERIN SHAFRANEK Mezzo-Soprano Houston, TX Education: Pursuing MM, University of Houston; BM, Oklahoma State University. Studied with Cynthia Clayton, Dr. AnnéMarie Condacse, Mary Stucky Roles Performed: Lucy Talbot (Dinner at Eight), Hänsel (Hänsel und Gretel), Effie (The Ballad of Baby Doe), Monitor and Abbess (Suor Angelica), Zita (Gianni Schicchi), Chorus (L’enfant et les sortilèges) Awards: Wesley Endowment Scholarship Recipient (2018-19); OSU Music Scholarship Recipient (2014-17); Undergraduate Voice Scholarship Winner, Third Place (2015); Friends of CCM Scholarship Recipient (2013-14) Sponsor/Scholarship Benefactor: Texas Federation of Music Clubs 50 / www.opera.org

JEREMY SIVITZ Tenor Anchorage, AK Education: BM, Westminster Choir College. Studied with Robin Leigh Massie, Nancy Caudill Roles Performed: Francis Flute (Midsummer Night’s Dream), El Dancaïro (Carmen), Monostatos (Die Zauberflöte), Frank (Die Fledermaus), Dr. Blind (Die Fledermaus), Ali (Zémire et Azor) Previous Experience: Westminster Opera Theatre, Anchorage Opera, Princeton Opera Company, Phoenicia International Festival of the Voice, Respiro Opera, Westminster Symphonic Choir Sponsor/Scholarship Benefactor: Texas Federation of Music Clubs in Honor of Jean Moffat, Texas Federation of Music Clubs in Honor of Lois Armor

ZOË SPANGLER Soprano Salem, OR Education: Pursuing MM, University of Denver, Lamont School of Music; BM, Loyola University New Orleans. Studied with Betsy Uschkrat, Hannah Penn, Sara Bardill Roles Performed: Madame Silberklang (Der Schauspieldirektor), Young Lover (Il tabarro), Nella (Gianni Schicchi), Suor Genovieffa (Suor Angelica), Beth (Little Women) Awards: Third Place Winner (IPAI Aria Competition); Opera Fellowship (IPAI) Previous Experience: Loyola Opera Theatre, International Performing Arts Institute (Germany), Lamont Opera Theatre Sponsor/Scholarship/Benefactor: Pam Jones Endowment, Richard Arthur Drapeau


WINSTON SULLIVAN

JIN YU

Bass-Baritone Lawrence, KS

Baritone Harbin, China

Education: Pursuing PhD, University of Kansas; MM, West Virginia University, BM, Maryville College. Studied with Dr. John Stephens, Gina Galati, Dr. William Koehler

Education: DMA, University of Oklahoma; MM, Oklahoma City University; BM, Shenyang Conservatory of Music. Studied with Mark McCrory, Brian Banion, William Christensen, Frank Ragsdale, Haijing Fu

Roles Performed: Peter Quince (Midsummer Night’s Dream), Belcore (L’elisir d’amore), Horace (Regina), Pangloss (Candide), Figaro (Le nozze di Figaro), Montano (Otello), Hanezo (L’amico Fritz), the Old Man (The Wise Women), Dater #22 (Speed Dating Tonight), Zuniga (Carmen), the Judge (Trial by Jury) Previous Experience: KU Opera Theater, Winter Opera Saint Louis Resident Artist, Union Avenue Opera, West Virginia University Opera Theater, Knox Opera Chorus Sponsor/Scholarship/Benefactor: Kansas Federation of Music Clubs, Gary and Ann Marie Ardes

YASMINE SWANSON Soprano Cranbury, NJ Education: MM, Westminster Choir College; BA, Tufts University. Studied with Nova Thomas, Carol Mastrodomenico, Sylvia Koncza, Danielle Sinclair

Roles Performed: Escamillo (La Tragédie de Carmen), Bertarido and Garibaldo (Rodelinda), Bluebeard (Bluebeard’s Castle), Almaviva (Le nozze di Figaro), Peter (Hänsel und Gretel), Sciarrone (Tosca), Escamillo & Zuniga (Carmen), Ling (Anything Goes), Priest 1 and Armored Man 2 (Die Zauberflöte), Rambaldo (La Rondine), Gianni Schicchi (Gianni Schicchi), Germont (La traviata), Sparafucile (Rigoletto) Awards: First Prize in the New Contest Vocal Competition in China; First Prize in Opera & Vocal, National Art Colleges Previous Experience: Carnegie Hall, National Centre for the Performing Arts (China), Civic Center Music Hall, Xinghai Music Hall (China), Marc Scorca Hall at National Opera Center, The Great Lakes Performing Arts Center, Freede Little Theatre, OU Reynolds Performing Arts Center, OCU Kirkpatrick Auditorium Sponsor/Scholarship Benefactor: Rowland Davis Endowment, Richard Hill Endowment

Roles Performed: Sœur Constance (Dialogues des Carmélites), Papagena/Second Spirit (Die Zauberflöte), Helen (Three Sisters who are not Sisters), Blue Hose (The Knave of Hearts), Catherine (The Lantern Marriage) Awards: 2018 National Semifinalist NATS Competition Advanced College Women Category; 2017 Fifth Place Westminster Choir College Voice Scholarship Competition First Year Graduate Division; 2015 First Prize from Tufts University Tishler Competition for Music Performance Previous Experience: Westminster Opera Theatre, CoOPERAtive Program, Le Chiavi di Bel Canto, Tufts Opera Ensemble, Lotte Lehmann Woche, Oberlin in Italy Sponsor/Scholarship/Benefactor: Luke and Janet Parsch

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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 Delta Omicron 2019 Dorothy Mazzulla Clark Memorial Scholarship Richard Arthur 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 Alastair Longley-Cook Benjamin Lundy Scholarship (Al and Patsy Walden) Lyric Opera Theatre Guild of Phoenix

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Martha M. Mack Award (NFMC) Carolann Martin Endowment Alice Martinson and Carole Sturgis Corrine Mayfield Endowment Mark Miller Missouri Federation of Music Clubs Moberly Music Club Endowment Mu Phi Epsilon Music Fraternity National 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 James and Janice Swiggart Endowment Texas Federation of Music Clubs Christa Van Zant Beulah Walwark Endowment Elsie Wright Endowment Bill Yick Endowment

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2019 Season Program / Opera in the Ozarks / 53


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54 / www.opera.org


2019 OPERA IN THE OZARKS ORCHESTRA DR. IMMANUEL T. ABRAHAM

HANNAH CARTWRIGHT

DAVID BEYTAS

PIN-WEN CHEN

Assistant Concertmaster Immanuel Abraham is a concert violinist and composer from Chicago. He has performed in seven countries and been featured by PBS, The Detroit News, BuzzFeed, Blue Lake Public Radio, Stamp.fm Music Awards, the Arizona Daily Star front page, and many other outlets. He has earned numerous awards in performance and composition, and is the author of “J.S. Bach’s Chaconne: The Compositional Approach.” He is currently an ambassador of Southwest Strings, founder of The Violin Guild, and a guest artist at institutions around the country.

Principal Viola David Beytas is based in the greater Chicago area. He recently completed the first year of his master’s degree studies at DePaul University where he is a full-scholarship student of Wei-Ting Kuo. His past teachers include Roland Vamos and Lembi Veskimets. Beytas maintains an active teaching and freelance career and currently teaches at MUSIC Inc Chicago. He has played with orchestras, string quartets, and contemporary music ensembles all around Chicago, the greater Midwest and internationally. When he is not performing or teaching, he enjoys composing music, as well as biking, long distance running and baking.

Principal Second Violin A native of Wichita, KS, Hannah Cartwright began studying violin at age 3. In 2017, she completed her Masters of Music at DePaul University where she studied with Janet Sung. She has a Bachelor’s of Music from New York University where she studied with Gregory Fulkerson. This fall, Cartwright will begin her third year with the Civic Orchestra of Chicago. She has attended Bowdoin Music Festival, Round Top Festival, The Castleman Quartet Program, Eastern Music Festival, and the National Repertory Orchestra.

Section Violin Pin-Wen Chen currently plays in the Wichita Symphony Orchestra, Amarillo Symphony and Oklahoma City Philharmonic. Born in Taiwan, Tainan, she began studying violin at the age of 8. She went on to earn a Bachelor of Fine Arts in Music Degree at the National Kaohsiung Normal University, and a MM at the University of Oklahoma. Her teachers have included Dr. Gregory Lee, Dr. Meng-Ping Wu, Jing-Ying Chen, Jhao-Ying Wong and DeFong Chen.

JASON CHILSON

Section Violin A St. Louis native, Fiona Brickey received her bachelor’s degree from the University of Missouri-St. Louis, where she studied with John McGrosso and members of the Arianna String Quartet. She holds both her master’s degree and Performer’s Certificate from Northern Illinois University, where she studied with Mathias Tacke. This is her first season playing at Opera in the Ozarks.

Second Horn Born and raised in Idaho, Jason Chilson 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.

DALLAS CARPENTER

KATHLEEN CRABTREE

FIONA BRICKEY

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, Carpenter has earned a BA in String Bass Performance from the University of Arizona. He has completed one year of graduate school at the University of Arizona and is moving to Ohio State University.

Assistant Principal Viola Based in Denton, TX, violist Kathleen Crabtree is pursuing a DMA at the University of North Texas. She previously attended the Cleveland Institute of Music (MM) and Eastman School of Music (BM). At Eastman, she won the concerto competition and a subsequent solo performance at the International Viola Congress. Previous summers were spent at Meadowmount, the Quartet Program, Chautauqua and Colorado College. A fan of pop music, she recently performed with Josh Groban, Lindsay Stirling and Michael Bublé. 

2019 Season Program / Opera in the Ozarks / 55


2019 OPERA IN THE OZARKS ORCHESTRA YVONNE CREANGA

Section Violin Romanian-born violin/violist Yvonne Creanga enjoys a varied career as a chamber musician, orchestral player and teacher. She has performed at the Festival dei Due Mondi in Charleston, SC, and Spoleto, Italy, the Settimane Musicale Senese, Siena, Italy, and the Norfolk Chamber Music Festival. Her ensembles have won prizes at the Coleman Chamber Music Competition, the Accademia Chigiana, the Conservatoire Américain and in Bydgoszcz, Poland. Throughout her career Yvonne has been a member of many orchestras, and is currently a member of the Tucson Symphony Orchestra.

RYAN DONOHUE

Principal Cello Ryan Donohue is a rising American cellist who is currently serving as the 14th fellow of the prestigious Montgomery Symphony Cello Fellowship. Donohue received his bachelor’s degree in Cello Performance from the University of Cincinnati College-Conservatory of Music (CCM), where he studied with Alan Rafferty. He has performed across the United States, Japan and Europe in orchestral, solo, and chamber music settings in renowned music festivals, such as the Pacific Music Festival, Kent/Blossom Music Festival — a partnership with the Cleveland Orchestra — and Green Mountain Chamber Music Festival. Donohue has played with the Blue Ash/Montgomery Symphony since early 2017.

STEPHANIE GINNINGS

Principal Horn Originally from Texas, Stephanie Ginnings is a freelance 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 was appointed Adjunct Horn Professor at Concordia University, Irvine, in August 2018. She is passionate about education and works with middle school students in a college readiness program. This is her third summer at Opera in the Ozarks.

TIMOTHY HANLEY

Assistant Principal Clarinet Timothy Hanley is a clarinetist and music educator from Houston, TX. Some highlights of his performing career include touring a wind quintet across Italy and performing with the PRISMA festival orchestra in summer 2018. He is also a founding artist for The Acoustic Frontier – a new music initiative started in 2018. Timothy holds a BM from the University of Houston, and is pursuing a MM at the Boston Conservatory at Berklee studying with Michael Norsworthy.

56 / www.opera.org

HUGH HARBISON

Principal Trombone Born in Shanghai, China, Hugh Harbison lives in Lighthouse Point, FL. He holds a BM from Eastman School as well as an MM and a DMA from the Frost School of Music, where he also was a member of the artist faculty. He was bass trombonist of the Miami Philharmonic for 34 years, which was later renamed Florida Philharmonic. Hundreds of performances, including opera, ballet, pops, early music, chamber brass and Broadway show tour ensembles, augment his career. He keeps a busy schedule with the Miami Ballet, Palm Beach Opera, and Symphony of the Americas. This is his tenth year performing with Opera in the Ozarks.

PHILIP HILL

Principal Bassoon Philip Hill is Principal Bassoon of the Midland-Odessa Symphony and bassoonist with West Texas Winds. He holds degrees from East Carolina University and the University of Arizona, and his teachers include Chris Ulffers and William Dietz. Hill has also been a member of the Bay View Chamber Music Festival and Prague Summer Nights Festival. He has performed with the North Carolina Symphony and was recently an artist resident at the University of Idaho. He resides in Midland, TX, where he is an adjunct faculty member of the University of Texas of the Permian Basin and maintains a large bassoon studio.

ASHLEY HUNTER

Second Flute Flutist Ashley Hunter is enjoying her fourth season with Opera in the Ozarks. She holds a Bachelor of Music Degree 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.

LISA MEYERHOFER

Principal Flute Lisa Meyerhofer is a freelancer and flute instructor from Lancaster, NY. She received a BM from Ithaca College and a MM from Northwestern University. She has performed with the Lexington Philharmonic and Canton Symphony, competed in the National Flute Association Young Artist Competition, and won Fourth Prize in the Chicago Flute Club’s 2017 Kujala International Piccolo Competition. She changes things up by tutoring high school math and science. Meyerhofer is happy to mark this as her sixth season at Opera in the Ozarks.


MICHAEL MOORE

Section Viola Michael Moore, a native of Tulsa, OK, is currently a private instructor and freelance violist in the Dallas/Fort Worth area along with his wife, Kathleen Crabtree. After receiving his bachelor’s degree from Oklahoma State University (BM) and a master’s in Viola Performance from the University of North Texas (MM), he has performed with many symphonies including the Tulsa Symphony and Fort Smith Symphony, and has been the Principal Violist for the Sherman Symphony Orchestra.

RACHEL PETERS

Concertmaster Rachel Peters currently resides in Chicago, IL, as a section violin in the Civic Orchestra of Chicago. She has performed solo and orchestral concerts across the United States, Cambridge, Beijing, Shanghai, and Hong Kong. She frequently performs with the Quad City Symphony Orchestra, Illinois Symphony Orchestra, The Northbrook Symphony, and the Park Ridge Civic Orchestra. She is also an active instructor and teaches violin, viola, and piano privately. She has obtained degrees from University of Cincinnati’s College-Conservatory of Music (BM) and Northwestern University’s Bienen School of Music (MM).

MICHAEL PRATT

Principal Percussion / Timpani Michael Timothy Pratt, of Tucson, AZ, is a DMA candidate at the University of Arizona. This is his first season with Opera in the Ozarks. Pratt has performed with the Southern Arizona Symphony Orchestra, the San Juan Symphony, Music in the Mountains Festival Orchestra, Nashville Philharmonic Orchestra, and the Southwest Civic Winds. As a soloist, he has performed with the Fort Lewis Wind Ensemble, Arizona Symphony Orchestra, and Northern Arizona University percussion ensemble.

ALBERTO RACANATI

Co-Principal Trumpet Originally from Bari, Italy, Alberto Racanati is a DMA candidate at the University of Missouri-Kansas City. Besides his activity as a private teacher and a clinician, Racanati is the first trumpet for the Northland Symphony Orchestra and a freelance player in the Kansas City area. In 2016, he was the national finalist for the young artist division in the MTNA competition. Before UMKC he studied at the Conservatorio di Musica “N. Piccinni,” the Akademia Muzyczna w Gdansku “S. Moniuszko” and Western Illinois University.

DR. CHRISTINE SALLAS

Oboe and English Horn Currently based in the Denver and Boulder metro areas of Colorado, oboist Christine Sallas performs on English horn and oboe with the Omaha Symphony in Nebraska, and serves as Adjunct Professor of Oboe at Colorado Christian University. An active performer and teacher, Sallas was awarded a DMA in Oboe Performance from the University of Kentucky in August of 2017, and served on the faculty there from August of 2017 until May 2018. She has also performed with the Bluegrass Opera Company and the Lexington Chamber Singers in Kentucky, and currently serves as Principal Oboe with the Lexington Chamber Orchestra. She holds a master’s degree from The Boston Conservatory in Massachusetts, and a Bachelor of Music Degree from the University of Georgia. This is her fourth season with Opera in the Ozarks.

ORLANDO SCALIA

Principal Clarinet A native of Argentina, Orlando Scalia is an active performer based in Miami, FL. He holds degrees from the University of Cincinnati College-Conservatory of Music and the University of Miami. Scalia serves as Bass Clarinetist with the Symphony of Northwest Arkansas, and has recently been heard with the Wichita Symphony, Greenville Symphony and throughout South Florida. When not musically engaged, he enjoys epicurean pursuits, collecting vinyl and pogonotrophy. He gleefully returns to Inspiration Point for his seventh year as Principal Clarinetist.

CHASE TEAGUE

Principal Trumpet Chase Teague, from Frisco, TX, has earned his Bachelor’s of Music Education Degree from Texas Christian University and his Master of Music Degree and Graduate Performance Certificate from the University of Arkansas. While studying at the U of A, he won two scholarships from the ITG Scholarship Competitions. Teague 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 third summer at Opera in the Ozarks.

CHARLOTTE ULLMAN

Section Cello Based in New York, Charlotte Ullman is pursuing an advanced certificate in Cello Performance at Bard College Conservatory, where she performs with the Bard Conservatory Orchestra and The Orchestra Now. She holds a BFA from Carnegie Mellon University and a MM from Southern Methodist University. Ullman has appeared in summer festivals including Texas Music Festival, Wintergreen Summer Music Academy, and Meadowmount School of Music. 2019 Season Program / Opera in the Ozarks / 57


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IPFAC LIFE MEMBERS (1950-2019) 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 * Pierce, Betty Shambarger, Mary J. Shogren, Colleen Shogren, Stephen Smith, Mrs. George * Stamps, Jerry E. * Sturgis, Carole Swiggart, James Taylor, Dan Walton, Helen Robson * Welter, Mr. & Mrs. Willliam G. Wicks, Frank * Wright, Elsie Braginton *

COLORADO

Wheeler, Juline

ILLINOIS

Balluff, Marie M.

KANSAS

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

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. * Cockman III, James 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 *

NEW MEXICO

Hinson, Nina *

NEW YORK

Rowan, Anne *

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 Bear, Glenn Bear, Lorie Langley 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 2019 Season Program / Opera in the Ozarks / 59


IPFAC PATRONS (1950-2019) DIAMOND BENEFACTORS

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

PLATINUM BENEFACTORS

($10,000 – $49,999) Ann Lacy Foundation 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 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 Jean Moffatt John M. Murphy*

60 / www.opera.org

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 Helen Robson Walton* Joan B. Wells Frank Wicks* Bill Yick

GOLD BENEFACTORS

($5,000 – $9,999) Gary & Ann-Marie Ardes Arkansas Community Foundation Lois Armor Marilyn Caldwell Charles Christmann Emil Cross, Jr. John & Lois* Drum Ellen Thomas Trust June & Gilbert Fite Dr. Jess Green Ben & Rebecca Bird Haley Ed & Catherine Henson Mrs. Robert Ingram Wilmot Irish Hattie Janek Fritz and Lavinia Jensen Foundation Peggy Jones Beulah Hale McHaney* Frank* and 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 Gloria Thrasher* Leo* and Doris Whinery

BENEFACTORS

($2,500 – $4,999) Frances L. Abendroth*

Andante Music Club, Bella Vista, AR Doug & Michelle Hobart Barnes Cottage Inn Crescent Hotel Gene & Patricia Flesher King Gladden* Golden Lyre Foundation Mary Guemple* Betty Hall* Mark & Sharon Hobart Carla Jean Johnson Robert and Terry McRae Dr. John Mizell* Meredith Mizell Missouri Federation of Music Clubs District 2 Music Club Friends, Austin, TX 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 Athens Music Study Club, TX Suzanne & Earl Babbie Judge Clifton* & Marjorie Bond* Helen Boylan* Janet Burgess Zelma Burress* Arsene Burton* Carroll County Community Foundation Carroll County Community Foundation, Youth Advisory Council Central Region Federation Days Mary Ella Clark*


Wayne Clark 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 Nina Hinson* Merilyn Jax* Lena Johnson Estate Fred & Phyllis* Knox Elaine Knight Jacqueline & William Lockwood Deborah & David Malone 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 Betty Pierce Carolyn U. Poe

23 South Main Street

Nirupama Raghavan Carolyn S. Reid Lois Hobart Sidway Ed & Judy Simpson Jeremy A. Slavin Bruce* & Judith Sorrell Helen Spradling* Karen Swogger Daniel Taylor 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

SPONSORS

($500 – $999) Jane* & Mae Ruth* Abbott Virginia Allison* Peter & Maureen Anderson 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

* deceased

Eureka Springs, Arkansas

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Shirley Foust Nancy Haines Katherine Hentzen* Mary P. Hirsch Illinois Federation of Music Clubs Beulah Johnson* JoAnne Justus Warren and Irene* Kester Virginia Knieser Lucille Leisy Dr. & Mrs. Revis Lewis David M. Luce Melba Maechtlen Marilynn Mann Mary Cox McKay Craig Milam 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 Terrance Smith 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

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of Outstanding 147 E. Van Buren, Eureka Springs Performances! 2019 Season Program / Opera in the Ozarks / 61


2019 IPFAC MEMBERS PATRON ARKANSAS

Hayes, D T & Shannon McKay, Mary Cox Melodie Club Texas FMC District 6 Williamson, Cletis Wittmann, Janette S.

Langford, Nancy Royals, Linda Wilson, Doris

PENNSYLVANIA

CONTRIBUTING

ARKANSAS

Babbie, Suzanne & Earl Milam, Craig Parsch, Luke and Janet Slavin, Jeremy A.

TEXAS

Burgess, Janet McRae, Robert & Terry

SUSTAINING ARKANSAS

Binienda, Zbigniew & Renata Burnside, Wade Buswell, Anita Clark, Jo Ann Clark, Wayne Dolce, Mary A. Gately, Diane Gemaehlich, Herta Griffith, Mariellen Holifield, Steve D. Janzen, Charles & Marilyn King, Tom & Jill Lee, Garry & Marilyn McNeal Chuck & Ramona Miller, Ginni Mills, William L. Schmitt, Pamela Spigarelli, Kathy

ARKANSAS

Baker, Oteeka Betts, Jane Brown, Carol A. Culp, Joe & Nancy Gorrell, LeRoy & Sally Hayward, Jacob & Michelle Hearn, Danna Hearn, Ronn Heintz, Jonathan & Connie Helwig, James A. & Patricia Johnson, Bill and Joan Jones, Marquis and Diane Lawhon, Lynn Lieber, Michael & Eileen Lynde Jr., Lowell F. Marx, Patricia Olson, Fred & Maxine Reeve, John H. & Eva M. Rosenbaum, Martha Simpson, Ed & Judy Werbitzky, Nancy Williams, Kathy Zientek, Carol

KANSAS

ARIZONA

Miller, Mark

Beller, Thomas & Darlene Haflich, Anne Kansas FMC Maechtlen, Melba

FLORIDA

MISSOURI

Turner, Ralph V. Ullrich, Roy & Jackie

MISSOURI

Craig, Connie Dagenais, Don F. Federated Teachers of Music Long, Lorraine Missouri FMC O’Neal, Thomas & Gretchen Orr, Alan Stuart, Linda M. Sutton, Randy

OKLAHOMA

Myers, Stacey Ryals, Kent Wager, M R

TEXAS

Chamness, Sandra Dyar, Ruth M. Etude Music Club

62 / www.opera.org

Bishoff, Julie & Murray Kansas City Music Club Kinslow, Doug & Donna Morning Etude Music Club Simmons, Jerry & Nancy Springfield Music Club Szydlowski, Marianne Vitt, Chris Watson, Julie Wednesday Music Club Zey, Robert & Janet

OHIO

Pilcher, George R.

OKLAHOMA

Baldwin, Larry St. Cecilia Music Club Whinery, Doris

TEXAS

Edwards, Marcia Hobart, Mark & Sharon

ACTIVE Allen, Diane Arkadelphia Philharmonic Club Arkansas FMC, NW Dist AR-TX Connection Ash, Sharon Bella Vista Andante Music Club Bloom, Bonnie Canter, Steven & Victoria Carr, Vicki Coffman, David Dixon, Mary Foreman Thursday Music Club Fort Smith Musical Coterie Garner, Georgette J. Green, Carolyn H. Griffith, Charles & Jerry Ruth Hirnisey, Jim & Joan Hofmann, Shirley Jonesboro Treble Clef Club Keck, Dr. George Keck, Dr. Ouida Kresse, Cynthia Malmstrom, Gerald & Ginger McComb, Joyce McGregor, Mark S. Monticello Music Club Morrison, Dannie Pine Bluff Musical Coterie Reeves, Audrey Reeves, Byron Roenigk, Elise Rownak, Judy Russellville Music Club Secrest, Glenda Secrest, Jon Shaw, Bobby Siefert, Rich Stover, Carolyn Walnut Ridge Schubert Club Weber, Ralph and Carla White, Kathie Ann Witterman, Alice K.

FLORIDA

Luehrs, Dick & Susan Watson, Suzette

KANSAS

Arkansas City Music and Dramatic Atwood Music and Drama Club Brill, Elizabeth Civic Music Club of Topeka Edwards, Tim O. & Marthetta M. Goodland Federated Music Club Independence Monday Music Club Lawrence Music Club


2019 ANNUAL FUND & BUILDING CAMPAIGN Matinee Musical Music Study Club of Topeka Roach, Ellen L. Thomas, Sherry Treble Clef Club, Newton Treble Clef Club, Pittsburg Whitmer, Kathleen

Patrons – $10,000 and Above

LOUISANA

Founders – $5,000 to $9,999

Haley, Ben & Rebecca Bird

MISSOURI

Capital City Music Club Carlisle, Barbara Carthage Musical Devotees Classical Kids Music Club Evening Etude Music Club Interstate Virtuosos Music Club Jones, Marcia Melody Makers Minden, Elaine Perry Musique Club Rubinstein Music Club Thomas, Andrew Walden, Al & Patsy K. Watson, Betty

NORTH CAROLINA

Raley, Megan Reissner, Zollene

NORTH DAKOTA

North Dakota FMC

OKLAHOMA

Hyechka Music Club Ponca City Music Club Schubert Music Club

TEXAS

Allen, Dorene Babb, Virginia Bennett, Ronald Bridges, Mary Ann Collier, Mary H. Fort Worth Euterpean Music Club Gessner, Carol Jean Griesbach, Annette Herring, Nancy Hoffman, Susan B. Hudson, Judy Hudson, L.A. & Dorothy McNew, Tom Midland Musicians Club New Braunfels Music Study Randall, Connie Retzlaff, Patricia Rex, Lloyd Reynolds, Glenda Rinn, Donnie Robertson, James Ross, Mary Frances Texas FMC

Friends – $50 to $149

Glenn and Lorie Bear Alice E. Conway Carolann Martin Maria Putter

Nita Herrick Colpits in Memory of Maurice Colpits Don F. Dagenais Carole and Duane Langley Alice M. Martinson, M.D.

Composers – $2,500 to $4,999 Richard A. Drapeau Linda and Gene Vollen

Fellows – $1,000 to $2,499

Ann Lacy Foundation, Oklahoma Lois Armor Tim Danielson Edwin and Catherine Henson Gloria Matyszyk and J. Richard Caldwell Luke and Janet Parsch John and Jacqueline Schmidt

Soloists – $500 to $999

Marilyn Caldwell Ben and Rebecca Bird Haley Melba Maechtlen Tom and Lynn McNew Lee Clements Meyer Morning Etude Music Club, St. Louis Joan B. Wells

Performers – $150 to $499 Louis and Ann Averitt Sue M. Breuer Bennie and Linda Clark Larry and Connie Craig Etude Music Club, San Antonio Rita Garcia DT and Shannon Hayes Charles & Marilyn Janzen Peggy C. Jones William Pendergrass Barbara Rondelli Perry Mary Shambarger Ralph V. Turner Leon and Lavonna Whitesell Lisa Whitesell Bill Yick

Diane Allen James and Camille Anderson Arkansas City Music and Dramatic, Kansas Oteeka Baker Thomas and Darlene Beller Jane Betts Arlene and Jerry Biebesheimer Anita Blackmon Bob and Patsy Boynton Carol A. Brown Anita Buswell Barbara Carlisle Carthage Music Club, Texas Mary M. Chase Carolyn Copeland Mary Dolce Rich Dunham Tom and Dana Dykman Ron Eby LeRoy and Sally Gorrell David and Connie Heintz L. A. and Dorothy Hudson Charles and Sue Kimberlin Cynthia Kresse Michael and Eileen Lieber Margit Loser in honor of Alice Martinson Dick and Susan Luehrs Lowell F. Lynde, Jr Lawhon Lynn Mary Lou Martin Stacey Myers Sara A. North Tom and Gretchen O’Neal Alan Orr George R. Pilcher Stephen and Heather Robideaux Elise Roenigk Judy Rownak Pamela Schmitt Bob and Kay Sherrill St. Cecilia Federated Music Club, Oklahoma Darryl Strouse Roy and Jackie Ulrich M. R. Wager Brooke and Linda West Kathleen Whitmer

2019 Season Program / Opera in the Ozarks / 63


2019 Corporate & Foundation Contributors Arkansas Arts Council Arkansas Community Foundation

CARROLL COUNTY

Arkansas Community Foundation, Ron and Ruth Morrison Endowment Arkansas Community Foundation (YAC)

Kansas Federation of Music Clubs

Arkansas Federation of Music Clubs

Duane and Carole Langley Endowment

Benevity Foundation (Matching)

Carolann Martin Endowment

Helen S. Boylan Foundation

Alpha Corrine Mayfield Endowment

Bob Campbell Endowment

Missouri Federation of Music Clubs

Kenneth and Maxine Burkhard Endowment

Moberly Music Club Endowment

Mary Anna Chop Trust

Mu Phi Epsilon International Music Fraternity

Francis Christmann Endowment

National Federation of Music Clubs

Chevron Corporation (Matching)

Maria de Waal Putter Endowment

Tim Danielson Endowment

Aleeta Mae Riney Endowment

Rowland Davis Endowment

Sigma Alpha Iota

Richard Arthur Drapeau Endowment

South Central Region Endowment

Dorothy L. Ellis Endowment

James and Janice Swiggart Endowment

ExxonMobil Foundation (Matching)

Texas Federation of Music Clubs

Golden Lyre Foundation

Texas Federation of Music Clubs Endowment

Marvin and Lois Hall Endowment

Beulah Walwark-Frances Bloss Endowment

Richard Hill Endowment

Walton Family Foundation

Adah Hesselgrave Endowment

Elsie Wright Endowment

Pamela Jones Endowment

Bill Yick Endowment

2019 Giving Tuesday & NWA Gives Contributors Founders ($5,000 to $9,999) Alice Martinson

Fellows – $1,000 to $2,499 Ann Lacy Foundation Ann-Marie Ardes Janet Burgess Elizabeth Harrison Polk Stanley Wilcox Maria de Waal Putter

Soloists – $500 to $999 Earl Babbie Rebecca Bird Haley Jean Moffatt

Performers – $150 to $499

Lois Armor Thomas Cockrell Alice Conway Don Dagenais Ed and Mary Lou Garrison 64 / www.opera.org

Herta Gemaehlich Duane and Carole Langley Lynn and Timothy McNew Mark Miller Trisha Moore Morning Etude Music Club, St. Louis Alan Orr Barbara Perry Patricia Reece John Schmidt Joan Wells

Friends – $50 to $149 Jane Betts Martha Boden Sue Breuer Sherry Bryan Carolyn Copeland Deborah Doerr Marcia Edwards J. Mark Flippin

R. Gahbauer Carol Gessner Ronn and Danna Hearn Mary Heib Pamela Jones Kenneth Leonard Joan Lipsmeyer Alastair Longley-Cook Christine Mayo Mary Cox McKay Thomas W O’Neal Betty L. Pierce Carolyn S. Reid Sheila Rice Judy Rownak John Schmidt John Seeligson James and Janice Swiggart Chrstine Vitt Gene and Linda Vollen Lisa Whitesell Patricia Wiken


OPERA IN THE OZARKS REPERTOIRE (1950-2019) Opera

Composer

Opera

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

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

Composer

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

Britten, Benjamin

The Merry Wives of Windsor

Nicolai, Otto Offenbach, Jacques

Pickwick

Burnand and Solomon

Shanewis The Willow Tree A Witch of Salem

Cadman, Charles Wakefield

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

Pasatieri, Thomas

Pinocchio, The Opera Jack and the Beanstalk

Davies, John

The Village Singer

Paulus, Stephen Pergolesi, Giovanni

The Prodigal Son

Debussy, Claude

The Music Master La serva padrona

Lakmé

Delibes, Léo

The Game of Love

Petit, Pierre

Laundry Romance

Dittersdorf, Carl Ditters von

Dialogues of the Carmelites

Poulenc, Francis

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

Haubiel, Charles

The Proposal

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

Humel, Gerald

Die Fledermaus The Gypsy Baron

Strauss, Johann, Jr.

Hansel and Gretel

Humperdinck, Engelbert

Ariadne auf Naxos

Strauss, Richard

Smoky Mountain

Hunkins, Eusebia

Von Suppé, Franz von

Green Eggs and Ham

Kapilow, Robert

The Beautiful Galathea Ten Girls and No Man

Draagenfut Girl

Kupferman, Meyer

Mignon

Thomas, Ambroise

Pagliacci

Leoncavallo, Ruggero

Solomon and Balkis

Thompson, Randall

The Merry Widow

Lehár, Franz

What Men Live By

Martinü, Bohuslav

Cavalleria Rusticana

Mascagni, Pietro

Don Quichotte The Juggler of Notre Dame Cinderella Manon Werther

Massenet, Jules

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

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

Menotti, Gian Carlo

The Ballad of Baby Doe The Face on the Barroom Floor

Riders to the Sea

Vaughan Williams, Ralph

Falstaff Un ballo in maschera Rigoletto La traviata

Verdi, Giuseppe

The Crucible

Ward, Robert

Douglas Moore

Down in the Valley Street Scene

Weill, Kurt

Mollicone, Henry

Sunday Excursion

Wilder, Alec

2019 Season Program / Opera in the Ozarks / 65


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

McNeal Chiropractic . . . . . . . . . . . . . . . . . 44

Alice Martinson, MD . . . . . . . . . . . . . . . . . . 9

Missouri Federation of Music Clubs . . . . . . . . . 44

Andante Music Club . . . . . . . . . . . . . . . . . . 11

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

Aquarius Taqueria . . . . . . . . . . . . . . . . . . . 3

Nelson Funeral Home / Thinking of You . . . . . . 58

Arkansas Federation of Music Clubs . . . . . . . . . 28

Nelsons . . . . . . . . . . . . . . . . . . . . . . . . 58

Bare & Swett Insurance Agency . . . . . . . . . . . 28

Northwest Arkansas Democrat-Gazette . . . . . . 53

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

Northwest Arkansas Tourism Association . . . . . . 7

Ben E. Keith . . . . . . . . . . . . . . . . . . . . . . . 9

Oklahoma Federation of Music Clubs . . . . . . . . 24

Best Western Inn of the Ozarks . . . . . . . . . . . 17

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

Blue Spring Heritage Center . . . . . . . . . . . . . 11

Ozark Mountain Ziplines . . . . . . . . . . . . . . . 58

Brashears Furniture . . . . . . . . . . . . . . . . . . 10

Peachtree Village at Holiday Island . . . . . . . . 49

Brews . . . . . . . . . . . . . . . . . . . . . . . . . 16

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

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

Scarlett’s Lingerie & Curiosities . . . . . . . . . . . 61

Carroll County Newspapers . . . . . . . . . . . . . 32

Symphony of Northwest Arkansas (SoNA) . . . . . 16

Carroll Electric . . . . . . . . . . . . . . . . . . . . . 32

Sparky’s Roadhouse Café . . . . . . . . . . . . . . 61

Coldwell Banker K-C Realty . . . . . . . . . . . . . 37

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

Cornerstone Bank . . . . . . . . . . . . . . . . . . . 39

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

David Ward, Stage Director . . . . . . . . . . . . . 10

Sweet ‘n Savory Cafe . . . . . . . . . . . . . . . . . 45

DeVito’s of Eureka Springs . . . . . . . . . . . . . . 24

Teigen Insurance . . . . . . . . . . . . . . . . . . . 67

Equity Bank . . . . . . . . . . . . . . . . . . . . . . 37

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

Ermilio’s Italian Home Cooking . . . . . . . . . . . 17

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

Eureka Clothing Company . . . . . . . . . . . . . . 39

Thurman & Flanagin Attorneys at Law . . . . . . . 45

Eureka Daily Roast . . . . . . . . . . . . . . . . . . 17

Treehouse Gift Shop & Gallery . . . . . . . . . . . . 18

EureKan Art . . . . . . . . . . . . . . . . . . . . . . 42

Turpentine Creek Wildlife Refuge . . . . . . . . . . 67

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

Windle & Associates . . . . . . . . . . . . . . . . . 18

Eureka Springs School of the Arts . . . . . . . . . . 54

Wonderland Antiques . . . . . . . . . . . . . . . . 24

Fantasy & Stone . . . . . . . . . . . . . . . . . . . 40

Vantage Point Communications . . . . . . . . . . . 53

First National Bank of North Arkansas . . . . . . . 40 Gourmet Eureka . . . . . . . . . . . . . . . . . . . 54 Grand Central Hotel & Restaurant . . . . . . . . . . 4 Harts Family Center . . . . . . . . . . . . . . . . . . 11 IPFAC Board of Trustees . . . . . . . . . . . . . . . 48 Kansas Federation of Music Clubs . . . . . . . . . . 42 KBVA 106.5 FM Radio . . . . . . . . . . . . . . . . . 37 Keels Creek Winery . . . . . . . . . . . . . . . . . . 54 KUAF 91.3 FM Public Radio . . . . . . . . . . . . . . 37 Local Flavor Cafe . . . . . . . . . . . . . . . . . . . . 3 Maverick Supply . . . . . . . . . . . . . . . . . . . 24

66 / www.opera.org


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Texas Federation of Music Clubs SALUTES

Opera in the Ozarks

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and the

TEXANS

involved in the company, faculty and staff and thanks ALL the supporters of IPFAC 2019 Season Program / Opera in the Ozarks / 67


Profile for Vantage Point Commmunications

Opera in the Ozarks 2019 Season Program  

Opera in the Ozarks 2019 Season Program