Opera in the Ozarks 2025 Season Program by DOXA / VANTAGE

JUNE 27 - JULY 25 COMMEMORATIVE

Lunch Tuesday Through Saturday 11-3

Dinner Tuesday Through Thursday 5-9

Dinner 5-10 on Friday And Saturday

Sunday Brunch 10-2

Reasons to visit

The Crescent Hotel

Skybar Gourmet Pizza

Reasons to visit The Crescent Hotel

The Crescent Hotel

Skybar Gourmet Pizza

Indulge in delicious pizza while enjoying panoramic views of the Ozarks.

Skybar Gourmet Pizza

Indulge in delicious pizza while enjoying panoramic views of the Ozarks.

Top of the Crest

Indulge in delicious pizza while enjoying panoramic views of the Ozarks.

Top of the Crest

Savor drinks and desserts on our rooftop, the perfect spot for a relaxing evening.

Nightly Ghost Tours

Savor drinks and desserts on our rooftop, the perfect spot for a relaxing evening.

Nightly Ghost Tours

Discover the historic secrets of the Crescent Hotel with our intriguing ghost tours.

Crystal Dining Room

Start your day with a hearty breakfast, served daily in an elegant setting.

New Moon Spa & Salon

Pamper yourself with our spa treatments and salon services for a rejuvenating experience.

Frisco Sporting Club

Pamper yourself with our spa treatments and salon services for a rejuvenating experience.

Frisco Sporting Club

Enjoy a lively evening with games, hatchet throwing, and a food truck & bar area.

www.crescent-hotel.com

CELEBRATING 75 YEARS OF OPERA

FROM THE GENERAL DIRECTOR

Welcome to our next 75 years! With the completion of our splendid new theater, we plan to be presenting opera and a host of other events for at least another 75 years.

We celebrated the first 75 with a fabulous gala performance that included nearly 100 artists: 11 featured alumni soloists, 37 class of 2025 artists, 40 orchestral musicians, and one conductor! The featured alumni were from six decades of our history, beginning with Leona Mitchell, who attended OIO in 1970 and had a spectacular career on the opera stage. From the 1980s, Mark Delavan, Lori Ernest, and Brian Montgomery were stunning. The 1990s were

FROM THE BOARD PRESIDENT

Isn’t it amazing? After 75 years of dealing with bats and bugs and motorcycles and trucks, here we are in this incredible new theater. I know that our staff, singers and orchestra members pinch themselves every day to make sure this is actually real.

We are eternally grateful to the Walton Family Foundation for its extraordinary generosity in making this new theater possible. Our General Director, Nancy Preis, and Operations Director, Chris Cathcart, worked very hard on all of the practical details. They brought much talent and experience to the table – the theater would not be what it is, but for them.

Of course, we are very grateful to the architect, contractor, and several others who also made this possible. Please be sure to look at the plaque which is on the right wall as you enter the front doors of the theater for a full listing of these important companies.

This season brings our 75th anniversary celebration to a close. If you haven’t picked up your copy of our free commemorative 75th anniversary history booklet, please be sure to do so. We also have an excellent historical display in the lobby for you to enjoy. We think it is important to recognize the groundbreaking efforts of those who preceded us. They provided the spirit, energy and demand for artistic excellence that enabled us to attract supporters like you.

represented by Latonia Moore. The first decade of the 21st century brought Dawn Pierce and Keely Futterer to OIO. For the second decade, we were delighted by Jesse Donner, Darren Drone, Kate DeYoung, and Yazid Gray. And the Class of 2025 gave us bragging rights for the third decade! It was a once-in-a-lifetime concert, with music by Wagner, Mascagni, Verdi, Puccini, Leoncavallo, Delibes, Offenbach, Donizetti, Bellini, Gershwin, and of course, Mozart.

Read on in the pages to follow for more on how you can be further involved in the making of this incredible art form and all the things to come in the future.

Nancy Preis General Director

Now, all the singers and orchestra are ready to put on great performances! Inspired by our new surroundings, and by our excellent artistic staff led by Artistic Director Tom Cockrell. We are certain they will rise to the occasion. You will enjoy their talents tonight.

Your support, through your attendance and donations, will be more crucial than ever in the coming years. We are working hard to realize the dream our founders bequeathed to us. With a new theater comes higher expenses, of course, and higher expectations. We are ready to meet them, but will only succeed with the help of your generosity.

Finally, thanks for your ambassadorship. When you speak to your friends and neighbors and fellow music aficionados about the wonderful things you see here, that will help us attract more audience members and more supporters. We need their help, too.

Sit back and enjoy! Join with us in reflecting on the wonderful history which has brought us here, and the many more years of history which we are making, starting now.

Don Dagenais President, Board of Directors

BOARD OF DIRECTORS

OFFICERS

Carole Langley, Chairman

Don Dagenais, President

Alice Conway, Vice President

Ed Henson, Treasurer

Maggie Garrett, Recording Secretary

Lynn McNew, Corresponding Secretary

ADMINISTRATION

Nancy Preis, General Director

Christopher Cathcart, Operations Director

MEMBERS

Gary Ardes

Lois Armor

Richard Drapeau

Lorraine Ernest

Brenda Ford

Carla Johnson

Raquel King

Duane Langley

Janet Parsch

EX OFFICIO

Jean Moffatt

Nancy Preis

Judy Rownak

Debra Rue

Janis Saket

Judy Shaw

Steve Shogren

Jim Swiggart

Joan Wells

Kathie White

Bill Yick

BOARD OF ADVISORS

Starla Blair

Mark Delavan

Brenda Ford

Carroll Freeman

Gloria Grilk

Marquita Lister

Melba Maechtlen

Allce Martinson

Chris Merritt

Dawn Pierce

Barbara Rondelli Perry

John C. Schmidt

Josh Shaw

Linda Vollen

Joan Wells

Lavonna Whitesell

Dan Wright

Bill Yick

Jennifer Zetlan

Opera in the Ozarks at Inspiration Point 16311 Hwy. 62 West

Eureka Springs, AR 72632

(479) 253-8595

Christine Santimore, Development Associate

Monica Williams, Housekeeping Manager

Miranda Vaughn, Housekeeper

Mark Williams, Maintenance Manager

Greg Helseth, Maintenance

Alice Martinson, Medical Advisor

Carmelita's Catering, Caterer

ARTISTIC STAFF

Thomas Cockrell, Artistic Director & Principal Conductor

Kristin Roach, Conductor

J.J. Hudson, Stage Director

Benjamin Wayne Smith, Stage Director

Sara Widzer, Stage Director

Emily Ulibarri, Choreographer

Raymond Ulibarri, Choreographer

Lorraine Ernext, Vocal Instructor

Bille Bruley, Vocal Instructor

Brian Osborne, Coach & Music Director

Andrew Voelker, Coach & Music Director

Guzal Isametdinova, Coach Accompanist

Zachary Kierstead, Coach Accompanist

Richard Dunham, Lighting Designer

Kellen Sapp, Assistant Lighting Designer

William Spencer Musser, Scenic Director & Technical Director

Erasmo Salinas, Assistant Technical Director

Payton Lawrence, Production Assistant

Meredith Magoun, Costume Designer

Alice Crist, Assistant Shop Manager & Costumer

Ainsley Cole, Costumer & Stitcher

Jocelyn Davis-Coronado, Costumer & Stitcher

Carol Brian, Production Stage Manager

Lia Bernhardi, Stage Manager

Brianna Wallace, Stage Manager

Alice Martinson, Props

WELCOME TO

E U REKA SP RI NG S

WELCOME to the 75th year of Opera in the Ozarks at Inspiration Point in historic Eureka Springs, Arkansas – a mountainside arts community with picturesque Victorian-style architecture, natural beauty, and a vibrant downtown.

In addition to being home to Opera in the Ozarks, Eureka Springs has been named one of the “Coolest Towns in America,” and its entire downtown is on the National Register of Historic Places.

From locally owned shops and galleries to nationally recognized mountain bike trails, there is a plethora of things to enjoy. With fine art around every corner, a variety of music, exceptional dining, festivals and events, night spots and tons of outdoor activities, you’ll never have a dull moment during your visit to Eureka Springs.

Discover more online at VisitEurekaSprings.com or drop by the Visitors Center located at the Eureka Springs Community Center, 44 Kingshighway, Eureka Springs, AR 72632. Additional visitor information can be found at NorthwestArkansas.org .

ARKANSAS FEDERATION OF MUSIC CLUBS

OPE R A IN THE O Z ARKS THE HISTORY OF

WELCOME TO INSPIRATION POINT, POETICALLY DESCRIBED AS “A MOUNTAINOUS PLACE NOT TOO MANY MILES FROM HEAVEN.” LOCATED NORTHWEST OF EUREKA SPRINGS AND OVERLOOKING THE WHITE RIVER VALLEY SOME 600 FEET BELOW, THE LOWLANDS MERGE INTO THE INCOMPARABLY BEAUTIFUL OZARK MOUNTAINS, CREATING AN IDYLLIC SCENE INDEED.

In 1928 a German-born architectural engineer, Charles Mowers, purchased the land overlooking the White River valley outside Eureka Springs, Arkansas, and began construction of a castle patterned after those along the Rhine River valley in Germany. In 1932, the unfinished castle and grounds were bought by Rev. Charles Scoville, who completed the castle and gave it its name, Inspiration Point.

When Scoville died in 1938, his wife gave the property to Phillips University (Enid, Oklahoma) but for years it was little used. Then, in 1950, Dr. Henry Hobart of the Phillips University faculty was asked to start a summer music camp at Inspiration Point.

With the support of Gertrude Stockard, Director of Music at Eureka Springs High School, the organization then known as Inspiration Point Fine Arts Colony (IPFAC) came into being in the summer of 1950. The first summer camp was held that year, over four weeks, with a small number of students, all from Oklahoma. The camp offered a

little bit of everything in vocal and instrumental music and dramatic art.

Constance (“Connie”) Eberhart was the opera workshop director for eight years beginning in 1951. In 1957, Dr. Isaac Van Grove began directing the program.

A few years later Dr. Hobart decided to focus on an opera workshop for talented college and high school students. All opera roles were performed entirely by the students. No lead singers would be brought in to sing the principal roles. The theme of IPFAC became “the students are the stars.”

IPFAC was incorporated in Oklahoma as a nonprofit corporation in 1954.

Beginning in 1974, the organization became affiliated with the National Federation of Music Clubs (NFMC), where it eventually became a project of the South Central Region of NFMC. In 1977 IPFAC received a 501(c)(3) nonprofit organization status with the Internal Revenue Service.

Slowly but surely new facilities were added. In 1955 the building which serves as the offices was constructed. The Red Barn, the oldest building on the campus, served as housing for many years. During the 1950s practice cabins were added and in the 1960s the stage area of the present theater, then called the Tabernacle, was enlarged. Until that time, performances had been held in the Eureka Springs Auditorium downtown

and in other locations, including on tour to destinations as far away as Memphis and Chicago.

Dr. Isaac Van Grove, who directed the program for 21 years, was an internationally known director and composer. During his years he wrote many operas which were premiered at The Point.

In the 1970s, the objective of IPFAC changed so that the organization became a career preparation center for opera singers. Presently, all artists are either college or graduate students who consider themselves pre-professionals.

The effectiveness of training at IPFAC is demonstrated by the success of its alumni. Many have performed with the Metropolitan Opera and opera companies in Chicago, New York City, San Francisco, and Houston, as well as with major international companies. Singers who have not gone on to become professional performers have enjoyed substantial careers as teachers, church musicians, private and university teachers, opera directors, and in other ways.

In addition to Drs. Hobart and Van Grove, IPFAC has enjoyed the leadership of several other talented individuals. These include Wenonah Williams, Carroll Freeman, Dr.

Vernon Sutton and our current Artistic Director, Dr. Thomas Cockrell. Among the people who have served in business or General Director positions are Jim Swiggart, who held that role for 25 years of service, and our current General Director, Dr. Nancy Preis.

The effectiveness

of

at

training received

inspiration point is demonstrated by the success of its alumni

SEE PAGE 41 FOR SOME RECENT EXAMPLES

An enthusiastic group of Northwest Arkansas volunteers, the Eureka Springs Opera Guild, has provided much-needed volunteer support for Opera in the Ozarks since the Guild was founded in 1982 with Gloria Chrychel serving as its first president. For several decades Pam Jones, a dedicated fan and volunteer, was the driving force behind the Guild.

In 2017, General Director Nancy Preis began exploring the possibility of a new theater for the Inspiration Point

campus with representatives of the Walton Family Foundation based in Bentonville, Arkansas. In 2023, the Foundation announced a generous donation of over $34 million to fund the construction of a new theater. The donation also included support for new faculty housing and other improvements.

The new theater officially opened to the public on May 31, 2025, and we deeply appreciate the extraordinary kindness and generosity of the Walton Family Foundation for making this possible. See pages 16-17 for more details.

In 2022 the corporation was re-incorporated as a nonprofit corporation in Arkansas, and changed its name to Opera in the Ozarks, Inc., since that is the name by which it is generally known.

The 2024-25 year of Opera in the Ozarks has marked the 75th anniversary of the organization’s founding by Dr. Henry Hobart in 1950 — with the end of the 75th anniversary celebration year culminating in the recent grand opening of our new theater.

These are exciting times for Opera in the Ozarks, and we appreciate your sharing them with us.

FINE DINING

DRINKS & ENTERTAINMENT

Dedicated to serve the best. Thoughtfully curated menu, masterfully transformed into the unexpected.

10 Center St • Eureka Springs

Closed Tuesday Reservations: 479-363-6431 grottoeureka.com

Speakeasy vibe, cozy pub with live entertainment, serving small plates from the Grotto kitchen. Extensive list of Whiskeys and Scotches.

37 Spring St • Eureka Springs

Serving 5-11, Friday and Saturday

BARBEQUE & BREWS BREAKFAST & LUNCH

Slow roasted smoked meats, barbecue by the plate or the pound.

Homestyle comfort food. Craft beers. Dine in or take out.

139 E Van Buren • Eureka Springs

Closed Tuesday saucedbbqeureka.com

& LUNCH DINER

Family-friendly restaurant serving breakfast and lunch, specials and homemade desserts. Indoor/Outdoor Seating.

2055 E Van Buren • Eureka Springs

Serving 8-1 p.m. Thursday - Monday

BREAKFAST

From a Mountain of Dirt…

A NEW ERA BEGINS

While the theater project began in 2018 with the development of a strategic plan and then a master plan for our physical plant, demolition didn’t begin until February 2023. The old faculty housing disappeared in a matter of days. A 200+ ft. crane went up as earth moving equipment prepared the site of the new theater and the new faculty housing. Soon, concrete trucks rumbled onto the property and then tons of steel appeared. Then a theater emerged from the mud. Meanwhile, the faculty housing also started to materialize and was completed in time for the 2024 season. Topping off

on the theater occurred in January 2024 and the theater started to look real.

"Now we have a theater that is worthy of the talents our artists bring "

By May 2024, work began on the interior. One year later, the theater opened with a splendid concert featuring alumni, the Class of 2025, and a 40-piece professional orchestra led by Tom Cockrell.

Our campus has dramatically improved, but some things haven’t changed. We still have a mission to serve our emerging artists, our audience members, and our community at large. Now we have a theater that is worthy of the talents our artists bring and that is comfortable for our patrons.

Nearly seven years in the making, this gem of a theater will glow in the Ozarks for decades to come. Thank you for sharing our journey!

NAME A PIECE OF THE FUTURE!

We have many opportunities for you to put your name on a part of the new

For example, you can name the

- honor your

your parents, your pets, or just honor yourself! Here are some options for high-end gifts:

ARKANSAS

Kathie White, President

Dr. Thomas Bolton

Frank Ferguson

Dr. Maggie Garrett

Christine Graham

Nancy Griffin

Gloria Grilk

Dr. George Keck

Dr. Ouida Keck

Carol Moore

Betty Pierce

Jimmie Stephens

Dr. Chris Thompson

KANSAS

John Bechen, President

Lynn Basow

Dee Blaser

David Branda

Evelyn Falen

Beth Harrison

Shirley Lemmons

Linda Lind

Melba Maechtlen

Linda Mannering

Janis Saket

Phillis Scorse

Nadine Shaw

Linda Vollen

Delores Wishart

MISSOURI

Judith Shaw, President

Connie Craig

Anne Gassel

Donna Kinslow

Yukiyo Lake

Annette Mayhew

Oksana Shpringman

Marlana Strasburg

OKLAHOMA

Debra Rue, President

Melanie Bayles

Donna Caldwell

Susan Gates

Natlynn Hayes

Diann Henson

Jessica Huddleston

Suzi Lenhart

Rudy Lupinski

Moriah Schmidt

Mike Seals

Amanda Welch

Lavonna Whitesell

Lisa Whitesell

Allison Yates

TEXAS

Lora Lynn Christensen, President

Lois Armor

Mary Ann Brids

Stephen Geor

Annette Griesbach

Dawn Humphrey

Carla Johnson

Jennifer Key

Lynn McNew

Jean Moffatt

Cathy Neidert

Pam Price

Melissa Shipley

BUILDING FOR THE FUTURE

OPPORTUNITIES FOR GIVING

Inspiration Point Center for the Arts and Opera in the Ozarks are 501(c)(3) corporations supported by memberships, gifts from friends, student tuitions and ticket sales. Gifts can be made to either corporation.

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.

BEQUESTS, TRUSTS, LIFE INSURANCE, IRA DISTRIBUTIONS

Opera in the Ozarks welcomes bequests from charitable trusts or estates. You can make OIO the beneficiary of life insurance, IRAs or 401k plans. And, the U.S. Congress has finally made permanent the tax break for donations of required minimum distributions from IRAs.

SECURITIES

Opera in the Ozarks welcomes gifts of securities. Consult your tax advisor about the tax advantages of donating appreciated securities. Information about how to donate securities can be obtained by calling the 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 Opera in the Ozarks. Details are on our website, opera.org

MATCHING GIFTS

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.

CAMPUS RENEWAL PROJECTS

While we are thrilled to have built a new theater and new faculty housing with the assistance of a major grant from the Walton Family Foundation, we have many other capital needs which are not covered by the Foundation’s grant. There are opportunities to name portions of the theater and faculty housing as well as other facilities. We are planning on replacing and/or renovating our artist housing, the dining hall, offices, and constructing a scenic shop. Additionally, we have a need for on-campus storage of equipment, scenic elements, and costumes.

We rely on our many generous and caring friends. Our work is important, and your gifts make it possible. For more information, please write or call:

Nancy Preis, General Director Opera in the Ozarks P.O. Box 127 Eureka Springs, Arkansas 72632 (479) 253-8595

GENERAL DIRECTOR

Nancy Preis joined the staff of Opera in the Ozarks in 2015 after a varied career encompassing academics, investment banking, manufacturing management and opera management. She was an associate professor of accounting at Columbia University Graduate School of Business for 11 years. She left academia and became a vice president of Kleinwort Benson N.A., a British merchant bank, where she led a team of financial analysts and worked on leveraged buyouts and commercial banking. A late night phone call led to a move to Florida to take over a small research and development

ARTISTIC DIRECTOR

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 mounts bold productions and is committed to performing works by American composers. Performed for the first time at Inspiration Point in recent seasons were Il tabarro, Cendrillon, Die Entführung aus dem Serail, The Ballad of Baby Doe, La rondine, and in 2023, The Tender Land.

Cockrell has conducted numerous productions for Opera Theatre of the Rockies; Dayton Opera, Opera Colorado Artist Center and Washington, D.C.’s Summer Opera Theatre. For the Spoleto Festivals in Italy and South Carolina he conducted symphonic, chamber and contemporary music concerts, assisted for productions of Parsifal, Elektra and Salome and conducted Gian Carlo Menotti’s Maria Golovin at the composer’s invitation.

Cockrell has served as associate conductor for Cincinnati Opera, Opera Colorado, and the Colorado Symphony.

company that made high efficiency electric motors. Through a combination of internal growth and five acquisitions, she grew the company substantially and worked primarily in the military and aviation markets.

At the same time, she began working with St. Petersburg Opera Co. as chief financial officer and marketing manager. She helped that company grow from one donor to a diverse base of support that kept the company “in the black” for over ten years and consistently drew critical praise for its artistic excellence. Her work for Opera in the Ozarks includes upgrading the physical facilities at Inspiration Point and at the same time, increasing the company’s visibility through collaboration with other organizations. She holds a BA and an MBA from the University of Toledo and a PhD from the University of Michigan.

Equally versed in the symphonic repertoire, he has conducted the 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, he has served as conductor of the Phoenix Youth Symphony and Denver Young Artists Orchestra and was on the conducting faculty of the Interlochen Arts Camp.

Since 2000, Cockrell has been a professor of music and director of orchestral activities at the University of Arizona Fred Fox School of Music in Tucson. He holds the Nelson Riddle Endowed Chair in Music. With 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, 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 DMA. He was one of the last students of the legendary Franco Ferrara and holds diplomas from L’Accademia Chigiana in Siena, Italy, and the Conservatoire Américain in Fontainebleau, France He subsequently pursued further studies at Aspen and Tanglewood.

NANCY PREIS

THOMAS COCKRELL

OPERATIONS DIRECTOR

CHRIS CATHCART

Chris Cathcart was born in Los Angeles, CA and grew up in an entertainment family. He started performing at age 3 and spent most of his childhood as an actor and singer. He attended Pasadena City College and began working in recording studios as a singer and audio engineer assistant. He managed student films, theatrical productions, commercial projects and live concerts, most notably the 1992 Malibu Earth Day Celebration, an outdoor concert on the beach attracting 25,000 attendees. Asked to come to Branson,

MO, he helped open the 2,200-seat Welk Resort Theatre where he was production/stage manager for over 25 years. Cathcart worked with some of the biggest names in entertainment, such as the Beach Boys, B.B. King, Chuck Berry, Huey Lewis and the News, Lynyrd Skynyrd, Three Dog Night, Pat Benatar, Mel Tillis, Glen Campbell, Lee Greenwood, Tanya Tucker, Pam Tillis, the Gatlin Brothers, Louise Mandrell, Ray Stevens, among others.

Cathcart has written, produced and directed several productions in Branson, including The Philip Welford Show, BransonFest, the Branson ABA Show, and the Rankin Brothers Classic Music Revue, and produced the Broadway musicals, Shrek and The Million Dollar Quartet

CALENDAR OF EVENTS

SUMMER 2025 PERFORMANCE CALENDAR

Curtain 7:30PM at Inspiration Point unless otherwise noted All seats reserved / (479) 253-8595 or visit opera.org Carmen Into the Woods The Merry Widow Carmen Into the Woods The Merry Widow

20 JULY 21

Special pricing available for children and students under 18. Pre-opera talks with artists at 7:00PM EXCEPT on Sundays. Extended talks begin at 1:30PM on Sundays.

Jo Ann Clark, Agent

802 W Trimble Avenue

Berr y ville, AR 72616

Bus: 870 - 423 -34 43

jo.a.clark.b2wo@statefarm.com

PROGRAM

June 27 | July 2, 6, 11, 14, 19, 25

SYNOPSIS

ACT I

Spain. In Seville by a cigarette factory, soldiers comment on the townspeople. Among them is Micaëla, a peasant girl, who asks for a corporal named Don José. Moralès, another corporal, tells her he will return with the changing of the guard. The relief guard, headed by Lieutenant Zuniga, soon arrives, and José learns from Moralès that Micaëla has been looking for him. When the factory bell rings, the men of Seville gather to watch the female workers—especially their favorite, the gypsy Carmen. She tells her admirers that love is free and obeys no rules. Only one man pays no attention to her: Don José. Carmen throws a flower at him, and the girls go back to work. José picks up the flower and hides it when Micaëla returns. She brings a letter from José’s mother, who lives

in a village in the countryside. As he begins to read the letter, Micaëla leaves. José is about to throw away the flower when a fight erupts inside the factory between Carmen and another girl. Zuniga sends José to retrieve the gypsy. Carmen refuses to answer Zuniga’s questions, and José is ordered to take her to prison. Left alone with him, she entices José with suggestions of a rendezvous at Lillas Pastia’s tavern. Mesmerized, he agrees to let her get away. As they leave for prison, Carmen escapes. Don José is arrested.

ACT II

Carmen and her friends Frasquita and Mercédès entertain the guests at the tavern. Zuniga tells Carmen

This Production Generously Underwritten by Gloria Matszyk and Dick Caldwell; and Linda Vollen in memory of Gene Vollen

Music by Georges Bizet

Libretto by Henri Meilhac and Ludovic Halévy

Conductor: Thomas Cockrell

Stage Director: JJ Hudson

Scenic Designer: William Spencer Musser

Lighting Designer: Richard Dunham

Costume Designer: Meredith Magoun

Wardrobe Manager: Alice Crist

CAST IN ORDER OF APPEARANCE

Morales

Micaëla

Zuniga

Don José

Stage Manager: Carol Brian

Chorus Master: Kristin Roach

Accompanist: Andrew Voelker

Choreographers: Emily and Raymond Ulibarri

Fight Director: Erick Wolfe

Theron LePage, Cael Szabados

Sophia Grace Donelan, Rachel Mellman

Jonathan Rhoades, Benjamin Somervell

Zhihui Pang, Ian Sherwood

Carmen Junyue Gong, Lauren Salazar

Frasquita

Anne Burgett, Elizabeth Marlow

Mercédès Hanna Frampton, Anja Tuominen

Le Dancaïre

Camden Kegley, Shaul Leket-Mor

Le Remendado Jeffrey Kerst, Ryan Smith

Escamillo

Chorus

Jared Kellman-Medina, Benjamin Somervell

Members of the 2025 Company

that José has just been released. The bullfighter Escamillo enters, boasting about the pleasures of his profession, and flirts with Carmen, who tells him that she is involved with someone else. After the tavern guests have left with Escamillo, the smugglers Dancaïre and Remendado explain their latest scheme to the women. Frasquita and Mercédès are willing to help, but Carmen refuses because she is in love. The smugglers withdraw as José approaches. Carmen arouses his jealousy by telling him how she danced for Zuniga. She dances for him now, but when a bugle call is heard he says he must return to the barracks. Carmen mocks him. To prove his love, José shows her the flower she threw at him and confesses how its scent made him not lose hope during the weeks in prison. She is unimpressed: if he really loved her, he

would desert the army and join her in a life of freedom in the mountains. José refuses, and Carmen tells him to leave. Zuniga bursts in, and in a jealous rage José fights him. The smugglers return and disarm Zuniga. José now has no choice but to join them.

ACT III

Carmen and José quarrel in the smugglers’ mountain hideaway. She admits that her love is fading and advises him to return to live with his mother. When Frasquita and Mercédès turn the cards to tell their fortunes, they foresee love and riches for themselves, but Carmen’s cards spell death—for her and for José. Micaëla appears, frightened by the mountains and afraid to meet the woman who has turned José into a criminal. She hides

when a shot rings out. José has fired at an intruder, who turns out to be Escamillo. He tells José that he has come to find Carmen, and the two men fight. The smugglers separate them, and Escamillo invites everyone, Carmen in particular, to his next bullfight. When he has left, Micaëla emerges and begs José to return home. He agrees when he learns that his mother is dying, but before he leaves, he warns Carmen that they will meet again.

ACT IV

Back in Seville, the crowd cheers the bullfighters on their way to the arena. Carmen arrives on Escamillo’s arm, and

PROGRAM NOTES

In 1830 the French novelist Prosper Mérimée went on a trip to Spain. While there, he heard a story of a bewitching young gypsy (Romani) woman named Carmencita. She was beautiful, daring and alluring. She led a Bohemian lifestyle so completely unlike anything he knew that she was utterly foreign to him. He decided to write a novel about her.

Prosper Mérimée

Mérimée’s subsequent 1845 novel, Carmen, became the 19 th century equivalent of what we would call a bestseller today. It described the totally free, spontaneous lives of the Spanish gypsies, their knowledge of the occult and their complete disregard for many of the mores and practices that “refined” Europeans would have thought proper. She had many affairs and was even married, but she loved a violent ruffian who had already killed a man. He had become a dragoon (soldier), seeking respectability. She lured him away from his military life into debauchery. Her lover’s name was Don José.

Frasquita and Mercédès warn her that José is nearby. Unafraid, she waits outside the entrance as the crowds enter the arena. José appears and begs Carmen to forget the past and start a new life with him. She calmly tells him that their affair is over: she was born free and free she will die.

The crowd is heard cheering Escamillo. José keeps trying to win Carmen back. She takes off his ring and throws it at his feet before heading for the arena. José stabs her to death.

One reason Mérimée’s novel was so popular was that gypsies were, by and large, quite appealing to many Europeans, at least in a theoretical sort of way. The early 19th century was the era of Romantic feelings. Romanticism (with a capital “R”) was an aesthetic that swept over much of Europe. It was a response to what some felt was the overly logical, rational, straight-laced approach to life known as the Enlightenment. The Enlightenment, to many, ignored the more sensitive aspect of life. It was devoid of feeling. Opposition to the Enlightenment gave birth to Romanticism.

The gypsies, who traveled the roads and byways of Europe for over 500 years, suddenly became all the rage. They ignored the rules. They lived an untrammeled lifestyle. They gave vent to their deepest feelings. They were unburdened by the proper mores observed by a more “civilized” society. Prosper Mérimée’s novel Carmen fit in perfectly with Romanticism. It became one of the hallmarks of the new era.

Georges Bizet

Thirty years later, the immensely talented young French composer Georges Bizet was looking for an outlet for his talents. He had proven himself capable of writing music which embodied exotic locales and peoples. His major previous opera, Les pêcheurs de perles (The Pearl Fishers) had been placed in Ceylon (now Sri Lanka). Moreover, Bizet thoroughly embraced the focus on emotion and sensitivity that was the touchstone of Romanticism.

His librettists, who were to write the words to the opera, settled upon Prosper Mérimée’s novel as their subject. Like all opera authors they shortened and focused the sprawling novel into a simple story: bad girl drags down good boy. Carmen was to be the most alluring, and most dangerous, of all women. The good boy, Don José, was to be an army officer. What could be more respectable than that? And just to make sure that nobody missed the point, they invented a new character not present in Mérimée’s story: Micaëla. She is an innocent, pure young girl in love with the army officer Don José and who reminds him of his duties to his mother. They set her up as a stark contrast to the wild, impetuous Carmen.

Bizet loved the story and graced it with some of the most beautiful melodies ever written. Not a moment is wasted. In Carmen, even the minor characters have gorgeous music to sing.

For the title character, he gave her an unforgettable entrance song, the habanera, based upon an actual Spanish tune but with wicked twists Bizet himself invented. Later she sings an equally bewitching seguidilla. For Don José, he wrote a delicious aria, which

CARMEN

we call the Flower Song, in which he sings to Carmen of his love, but still remains frustratingly (to her) loyal to his military duties. For Micaëla, he wrote a gorgeous aria expressing her innocence, purity and devotion to Don José despite his wayward life.

Finally, we have the toreador, the bullfighter. He sings the virile Toreador Song, expressing his passion for the popular but bloody sport of bullfighting and his desire to look good for the ladies.

Despite the name of the opera, the story really isn’t so much about Carmen as it is about Don José. He gives up everything he has for the love of the tempestuous gypsy. He turns from a soldier to a deserter to a brigand to a murderer. All in the course of one evening’s entertainment.

Both Carmen and José come to no good end. But then what did you expect from an impossible love story? Carmen should have found a good gypsy lover and Don José should have gone home to his mother and Micaëla. But if they had, we wouldn’t have much of an opera.

And as for Escamillo, the toreador? He probably shed a tear or two over Carmen, but we can imagine that he continued happily dispatching bulls and displaying his bravado for other adoring young ladies. He probably acquired a new lover within a day or two. After all, despite the tragedy of Carmen and Don José, life must go on. As it must for us. We leave the theater a bit horrified at the story, having perhaps learned a lesson about love, and certainly richer for having heard some of the most glorious music to be found on the stage.

— By Don Dagenais

Carmen Aquarelle by Prosper Mérimée

PROGRAM

June 28 | July 3, 7, 9, 13, 18, 23

SYNOPSIS

Once upon a time in a far-off kingdom: Cinderella yearns to go to the King's Festival; Jack wishes his cow could give milk; Little Red Riding Hood sets out to visit her grandmother; Rapunzel longs to see a world beyond her tower; and a Baker and the Baker’s Wife learn they cannot have a child because of a curse that the Witch placed on him and his family. All these characters, and more, set off on their individual journeys into the woods “to find, to fix, to lift, to sell, to make...” their wishes come true.

The Baker finds six beans in his father’s jacket before heading out into the woods; he uses five to barter with Jack in exchange for his cow and keeps one for himself. Little does he, or anyone else, know that the beans were stolen from the Witch’s garden and are magic! When Jack tells his mother what happened to their cow and how he never made it to market, in an act of utter frustration she throws the beans out the window of their cottage and sends Jack to bed without supper. While the kingdom slept, the beans grew into a stalk enabling Jack to visit a kingdom in the sky, steal gold, and slay a giant.

This Production Generously Underwritten by Don and Pat Dagenais

Music and lyrics by Stephen Sondheim

Based on the book by James Lapine

Conductor: Thomas Cockrell

Stage Director: Sara Widzer

Scenic Designer: William Spencer Musser

Lighting Designer: Richard Dunham

Costume Designer: Meredith Magoun

Wardrobe Manager: Alice Crist

Stage Manager: Carol Brian

CAST IN ORDER OF APPEARANCE

Baker

Baker's Wife

INTO THE WOODS

Accompanist: Zachary Kierstead

Choreographers: Emily and Raymond Ulibarri

Fight Director: Erick Wolfe

Additional costumes by: Glenn Breed, Wardrobe Witchery

Theron LePage, Hayden Turner

Madeline Friesen, Olivia Gray

Cinderella Payton Boldt, Rachel Mellman

Witch

Lauren Salazar, Hanna Ward

Little Red Riding Hood Hanna Ward, Hannah Winston

Jack

Jeffrey Kerst, Cael Szabados

Jack's Mother Olivia Gray, Hannah Winston

Narrator/Mysterious Man

Rapunzel

Shaul Leket-Mor, Jonathan Rhoades

Anne Burgett, Carol Jarrett

Stepmother Grace Christensen, Victoria Popritkin

Florinda

Isabelle Olson, Grace Christensen

Lucinda Katheryn Cooper, Logan Windley

Cinderella's Prince

Rapunzel's Prince

Granny

Steward

Benjamin Johnson, Shaul Leket-Mor

Zhihui Pang, Ryan Smith

Anne Burgett, Carol Jarrett

Grant, Camden Kegley

Milky White Katheryn Cooper, Isabelle Olson

Cinderella's Mother/Giant

Marina Beeson, Junyue Gong

INTO THE WOODS is presented through special arrangement with Music Theater International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com

Elsewhere in the woods, Cinderella and Rapunzel meet their charming princes; Little Red has a meaningful encounter with a wolf and her Granny, and ultimately the Baker and the Baker’s Wife succeed in gathering all the ingredients needed to undo their curse. All succeed in achieving their individual quests.

Just when everything that once seemed wrong was now right, and all believe they will live happily ever

after, the forgotten bean sprouts a second stalk and the slayed giant’s wife, in search of revenge, upends this “fairytale.” The characters learn that their actions have consequences and are forced to unite their stories in order to face this angry giant. They learn the value and necessity of community. From out of the ashes of destruction, the sun rises on a new day and new chapter with a different wish for the future.

PROGRAM NOTES

Composer and Librettist: Stephen Sondheim and James Lapine

Into the Woods brings together two of musical theater’s most influential and visionary artists: composer-lyricist Stephen Sondheim and playwrightdirector James Lapine.

Stephen Sondheim (1930–2021) is widely considered one of the greatest figures in American musical theater, reshaping the musical theater form with works such as Sweeney Todd, A Little Night Music, Sunday in the Park with George, and Into the Woods. Perhaps his experimentation with complex characters comes from his own experience with a psychologically abusive mother, who, despite her failings, did succeed in providing him a valuable introduction to Oscar Hammerstein (Oklahoma, Sound of Music). Hammerstein became a lifelong friend and musical mentor for the emerging young composer.

A New Kind of Fairy Tale

Into the Woods premiered on Broadway in 1987 at the Martin Beck Theatre (now the Al Hirschfeld Theatre). Act 1 is Sondheim/ Lapine at their best, cleverly interweaving the perspectives of all the characters at once. Some audience members prefer Act 1, with its playful, hopeful, and family-friendly nature. Many singers’ favorites are in this part, too, like “ Giants in the Sky,” “Agony,” and “ On the Steps of the Palace.” Possibly you are like me—the first time you saw Into the Woods, you thought the show was over, but your date leaned over and warned, “ Buckle up for the second act!”

Audiences quickly realize after intermission that the musical goes far beyond cleverness. Act I fulfilled the expected fairy tale quests, but Act II turned sharply inward, examining the cost of wishes, the pain of loss, the complexity of parenting, and the importance of community.

Sondheim became known for his musical craftsmanship and depth of content. Before his death at age 91, he earned nine Tony Awards, a Pulitzer Prize, and the Kennedy Center Honors. Notably, Sondheim’s influence extends to every generation of composers and lyricists who followed, including Lin-Manuel Miranda, Jason Robert Brown, and Pasek & Paul.

James Lapine (b. 1949) is a Pulitzer Prize-winning playwright and director who is a master of blending fantasy with psychological depth. Lapine’s work often explores how individuals navigate larger systems; whether families, communities, or the worlds of art and imagination. He consistently emphasized his desire for musicals to convey meaningful messages for life, not just for entertainment. It is interesting to note that Lapine entered theater almost by accident, directing a play for a small NYC company while working as a graphic designer.

Reception and Historical Performers

Though not an immediate runaway hit, Into the Woods was critically acclaimed and quickly became a staple of the American theater repertoire. Its original Broadway production won three Tony Awards, including Best Score and Best Book. The musical has since been revived on Broadway, adapted into a major motion picture in 2014, and performed countless times by opera companies, regional theaters, universities, and schools around the world.

Some of the most famous performers to appear in Into the Woods include Meryl Streep, who played the Witch in the 2014 film adaptation. Already a legendary actress, her performance brought the musical to a wide film-going audience and earned her an Oscar nomination. Bernadette Peters, who originated the role of the Witch on Broadway in 1987, was already a major Broadway star and helped define the part as a showcase

Stephen Sondheim

James Lapine

for powerhouse actresses. Vanessa Williams, known for her success as both a pop singer and actress, brought her star power to the 2002 Broadway revival, also in the role of the Witch. Sara Bareilles, famous as a pop singer and the composer of Waitress, played the Baker’s Wife in the 2022 Broadway revival. While she was already a celebrated musician, her performance in Into the Woods further cemented her credibility and popularity in the Broadway world, earning praise for both her acting and vocal performance. James Corden played the Baker in the 2014 film just before becoming a household name as host of The Late Late Show Anna Kendrick, who had already found fame in Pitch Perfect, played Cinderella in the film and used the role to solidify her reputation as a musical film actress.

Several performers also made their name—or significantly boosted their careers—because of Into the Woods. Joanna Gleason stands out in this regard: she originated the role of the Baker’s Wife in the 1987 Broadway production and won the Tony Award for Best Actress in a Musical. Her performance became her signature stage role. Kim Crosby, who played Cinderella in the original Broadway cast, used the part as her breakout role in the theater world. Julia Lester, best known to younger audiences from Disney’s High School Musical: The Musical: The Series, played Little Red Riding Hood in the 2022 revival and earned a Tony nomination for her performance, launching her Broadway career. Laura Benanti, who played Cinderella in the 2002 revival, was already a rising talent at the time, and her appearance in Into the Woods helped establish her as one of Broadway’s most respected leading ladies.

INTO THE WOODS

• “ I wish” recurs, reshaping ideas of longing and regret.

• “ Into the Woods” returns in different emotional tones: hopeful, fearful, grieving.

• “Agony” shifts from comic bravado to hollow irony.

• Early melodies (the Baker’s farewell, Cinderella’s indecision) reappear darker, wiser.

• The Witch’s “ Last Midnight” fractures familiar motifs into chaos..

A Theater in the Woods

If you pause during intermission, take a moment to reflect on the natural world just beyond the glass…and the joining of so many artistic voices. Into the Woods is not only the story we’re watching, it’s where we are. In this new theater nestled among the trees. You may find not only connection, but you may also find space for your soul to grow.

The woods is where we find ourselves; and though it’s not always what we expect, we have gained a deeper understanding of who we are.

Character Development: Moving to Reality

The characters’ journeys move from fairy tale simplicity to messy reality:

• Cinderella chooses clarity over fantasy.

• Jack matures through painful consequences.

• The Baker embraces responsibility after fear and doubt.

• Little Red learns wisdom beyond bravado.

• The Witch embodies both fierce protection as well as her own loneliness.

Into the Woods requires strong vocal technique and musicianship, which is one reason it lends itself well to Opera in the Ozarks. Performers enjoy the challenge of presenting the master work of Sondheim and Lupine, calling us all to look past fairy tales and to reckon with the messy, beautiful realities of life itself.

Into the Woods: Motifs to Notice

Beneath the familiar stories of Cinderella, Jack, Little Red Riding Hood, Rapunzel, and the Baker and his Wife lies a deeper exploration of human experience. Notice the musical motifs that tie the shifting stories together.

Their growth is complicated and unfinished, like real life.

Breaking the Frame: Storyteller and Audience

In Act II, the Narrator is expelled and characters are left to navigate without guidance. This disruption challenges the audience too:

• W hat happens when no one is telling the story?

• How do we find our way?

Into the Woods asks us to reckon with uncertainty, and to make meaning together.

— By Raquel King

PROGRAM

July 1, 5, 8, 12, 15, 20, 24

SYNOPSIS

ACT I

Paris, 1906. The Pontevedrian ambassador, Baron Mirko Zeta, is giving a ball at the embassy. His young, French wife Valencienne is flirting with Camille de Rosillon, a rich French aristocrat. Camille has declared his love for Valencienne and writes “I love you” on her fan. Zeta eagerly awaits the arrival of the guest of honor, Hanna Glawari, a wealthy Pontevedrian widow. He plans to get Danilo Danilovitch, a womanizing aristocrat and the embassy secretary, to marry Hanna so that her millions will stay in Pontevedro. She arrives, and the Parisian men shower her with compliments. Finally, Danilo arrives, fresh from a night of partying at the nightclub Maxim’s. He and Hanna talk, revealing that they were once in love, but that Hanna was considered too far beneath

Danilo’s status for him to marry her. He tells her he’s not interested in marriage and will never say “I love you.” Valencienne realizes she has lost her fan with Camille’s incriminating message. Meanwhile, Zeta’s chief of staff, Kromow, finds the fan and thinks it belongs to his wife, Olga. Zeta, wanting to spare Olga the scandal, convinces him it is Valencienne’s. He then meets with Danilo and orders him to marry Hanna for the good of Pontevedro. Danilo tells him that he will keep all the Parisian men away from her, but will not marry her. When the ladies’ choice dance is announced, Hanna selects Danilo, and after some flirtatious banter, the two finally dance.

Music by Franz Lehár

Libretto by Viktor Léon and Leo Stein

Based on the play by Henri Meilhac

This Production Generously Underwritten by Alice Martinson and Carole Sturgis

Conductor: Kristin Roach

Stage Director: Benjamin Wayne Smith

Scenic Designer: William Spencer Musser

Lighting Designer: Richard Dunham

Costume Designer: Meredith Magoun

CAST IN ORDER OF APPEARANCE

Baron Mirko Zeta, Pontevedrian Ambassador

Valencienne, Baron Zeta’s Wife

THE MERRY WIDOW

Wardrobe Manager: Alice Crist

Stage Manager: Lia Bernhardi

Accompanist: Guzal Isametdinova

Choreographers: Emily and Raymond Ulibarri

Fight Director: Erick Wolfe

Jared Kellman-Medina, Benjamin Somervell

Grace Christensen, Carol Jarrett

Camille, Count de Rosillon Benjamin Johnson, Ryan Smith

Hanna Glawari, Wealthy Widow Marina Beeson, Victoria Popritkin

Count Danilo Danilovitsch, First Secretary, Pontevedrian Embassy Ian Sherwood, Hayden Turner

Kromow, Pontevedrian Embassy Counsellor Camden Kegley, Jonathan Rhoades

Olga, Kromow’s Wife

Njegus, Embassy Secretary

St. Brioche, French Diplomat

Madeline Friesen, Hanna Frampton

Joseph Green, Benjamin Johnson

Cascada, Latin Diplomat Jeffrey Kerst, Ryan Smith

Bogdanovich, Pontevedrian Consul Joseph Harris, Cael Szabados

Pritschitsch, Embassy Consul Brandon Grant, Anthony Menardi

Praskowia, Pritschitsch’s Wife

Sylviane, Bogdanovich’s Wife

Lolo .

Dodo…

Anja Tuominen, Hannah Winston

Payton Boldt, Hanna Ward

Logan Windley

Katheryn Cooper

Frou Frou Elizabeth Marlow

Jou Jou Sophia Grace Donelan

Clo Clo Isabelle Olson

Margot

Olivia Gray

Chorus Members of the 2025 Company

ACT II

The next day, Hanna hosts a party at her villa. Danilo arrives late, and Zeta commands him to return to his mission of keeping the Parisian men from Hanna— particularly Camille. Zeta’s assistant, Njegus, reveals that Camille is already in love with a mystery woman. Zeta wants to know who she is in order to destroy Camille’s reputation, leaving Hanna free for a Pontevedrian suitor. Believing the fan to be the key to her identity, he asks Danilo to find its owner. When Hanna comes across the fan and sees its inscription, she assumes it is a message to her from Danilo. Camille and Valencienne finally find the missing fan and Valencienne adds to Camille's message "I am a respectable wife." The two lovers slip into a small cottage for a final kiss. When

Zeta arrives to meet Danilo, Njegus prevents him from entering the pavilion to protect Valencienne’s secret and instead sneaks Hanna in to take her place. Hanna emerges with Camille, announcing their engagement. A furious Danilo departs for Maxim’s, which Hanna takes as proof of his love.

ACT III

The following evening, Hanna has rented out Maxim’s for the night. Zeta and the other Pontevedrians appear, and the Grisettes — among them a dressed-up Valencienne — entertain the crowd. Hanna tells Danilo that she was protecting another woman and that she was not in the pavilion with Camille. As the guests reassemble, Danilo

announces that Hanna will not marry Camille. Kromov produces the missing fan, which he found in the pavilion. Zeta realizes it is his wife’s, declares himself divorced, and proposes to Hanna—who informs him that, according to her late husband’s will, she will lose her fortune if she remarries. Zeta sees the additional message on the fan and asks Valencienne to forgive him for misplaced jealousy. Danilo proposes to Hanna, she accepts, and everyone enjoys a champagne toast.

PROGRAM NOTES

The Merry Widow: Lehár’s Masterpiece of Turn-of-the-Century Vienna

The Merry Widow (Die Lustige Witwe) is the definitive Viennese operetta (comedic opera with spoken dialogue). With music by Austro-Hungarian composer Franz Lehár (1870-1948) and libretto (text) by Viktor Léon (1858-1940) and Leo Stein (1861-1921), it is a sparkling concoction of romantic intrigue, national pride, and waltz-induced nostalgia that has been captivating audiences for more than a century.

Historical Context and Legacy

Premiering at Vienna’s Theater an der Wien in 1905, The Merry Widow marked a turning point in Lehár’s career, catapulting him from a composer known primarily for military marches to international fame. The operetta was based on the 1861 comedy “Embassy Attaché ” by French playwright Henri Meilhac (1830-1897). The story’s location, Pontevedro, is a fictional country loosely based on Montenegro, a small, coastal Balkan principality at the time.

Lehár Among His Contemporaries

Lehár’s position in operetta history bridges crucial stylistic periods. He emerged as the “Golden Age” of Johann Strauss II’s (1825-1899) Viennese waltz tradition was fading, while Jacques Offenbach’s (1819-1880) satirical French operettas had established a different approach to the form. Lehár skillfully synthesized these influences, preserving the Viennese waltz’s melodic splendor while incorporating Offenbach’s sense of theatrical vivacity, particularly evident in the cabaret scenes at Maxim’s in Act III.

Unlike his contemporaries, Lehár pushed operetta toward greater emotional depth. Where Oscar Straus (1870-1954), who considered himself a rival of Lehár’s, maintained a light, satirical approach in works like The Chocolate Soldier (1908), and fellow Austro-Hungarian operetta composer, Emmerich Kálmán (1882-1953), emphasized Hungarian folk elements in The Csárdás Princess (1915), Lehár incorporated techniques from Italian verismo

Franz Lehár

Cancan Dancers, Toulouse Lautrec

THE MERRY WIDOW

composers. His orchestrations were notably richer and more sophisticated, borrowing techniques from Giacomo Puccini (1858-1924) and Richard Strauss (1864-1949), creating what would eventually be termed the “Silver Age” of Viennese operetta.

The cross-pollination between operetta creators was significant during this period. Viktor Léon and Leo Stein, Lehár’s librettists, had previously written for Johann Strauss II, while Meilhac had collaborated with Offenbach. This interconnected creative community helped blend French vivacity with Viennese melodic charm.

Lehár’s later works, including Paganini (1925), The Land of Smiles (1929), and Giuditta (1934), evolved increasingly toward a hybrid “opera-operetta” form, characterized by more complex psychology and occasionally tragic endings. Unlike the politically engaged Kurt Weill (19001950) or the socially satirical Offenbach, Lehár generally avoided overt commentary, focusing instead on romantic escapism and emotional resonance.

Enduring Impact

The premiere of The Merry Widow at Vienna’s Theater an der Wien in 1905 catapulted Lehár to international fame and spawned numerous translations and film adaptations, notably the 1934 MGM production starring Maurice Chevalier and Jeanette MacDonald. The Merry Widow ’s signature waltz became one of the most recognized melodies in Western music.

A remarkable footnote: Hitler’s fondness for this operetta, which he deemed “holy German art,” may have saved the life of Lehár’s Jewish wife, Sophie, who was designated an “Honorary Aryan,” sparing her from persecution. Lehár later reflected, “My Merry Widow was Hitler’s favorite operetta. That’s not my fault, right?”

The Merry Widow remains Lehár’s definitive work. The operetta’s perfectly blended romance, comedy, traditional operetta elements, forward-looking musical sophistication, and lush orchestration. Lehár’s revolutionary approach yielded a nostalgic yet fresh sound, solidifying its status as the quintessential example of the Viennese operetta tradition.

— By Dr. Margaret Garrett

Film Poster (1934)

Viennese Waltz

TRAVELING OPERA Bremen Town Musicians

Music by J. Offenbach, G. Rossini, G. Donizetti, A. Sullivan and G. Verdi

Stage Director: JJ Hudson

Music Director: Andrew Voelker

Scenic Designer: William Spencer Musser

CAST IN ORDER OF APPEARANCE

Eddie Pensier, Singing Rooster with Artistic Aspirations

Adapted by John Davies

Costume Designer: Alice Crist

Stage Manager: Bri Wallace

Piano Accompanists: Guzal Isametdinova, Zachary Kierstead

Joe Harris, Anthony Menardi

General Boom , Retired Army Donkey and Percussionist Joseph Green

Barcarolle , Old Dog and Best Friend of Dorabella

Dorabella , Old Cat and Best Friend of Barcarolle

Isabelle Olson

Katheryn Cooper, Logan Windley

Farmer’s Wife Bri Wallace

SYNOPSIS

Eddie Pensier, a rooster with operatic aspirations, is chased away from his farm for waking the barnyard with tenor arias. On the very same day, Barcarolle, the dog, and Dorabella, the cat, are cast out by their owner for being too old to catch rabbits and mice.

The three animals run into the woods near the road to Bremen where General Boom, a retired Army donkey, is marching along playing his drum. He’s on his way to Bremen to begin a new band. As each of the runaways cross the General’s path, he invites them to join his band. They have plans of their own, however, and decline the invitation. The woods surrounding the Bremen Road are

filled with uncertainty. Eddie, Dorabella and Barcarolle become lost and argue angrily until General Boom hears their shouting and rescues them. With rumors of robbers all about and night approaching, they accept the General’s suggestion to overlook their differences, join his band and march to Bremen.

Working together as a team they overcome difficult circumstances further down the road, and as they approach their new home, the newly formed Bremen Town Musicians celebrate the idea that friendship, cooperation, and respect for others is far better than facing problems alone.

This Production Generously Underwritten by The Richard Hill Endowment

2025 OPERA UNDERWRITERS

Carmen

Gloria Matszyk and Dick Caldwell

and Linda Vollen in memory of Gene Vollen

Into the Woods

Don and Pat Dagenais

The Merry Widow

Alice Martinson and Carole Sturgis

Bremen Town Musicians

The Richard Hill Endowment

NIGHT OF OPERA SPONSORS

Two Music Lovers (anonymous)

Gary and Ann-Marie Ardes in honor of Dr. Pam Ashcraft and her granddaughter Madison

Justice Phil and Carla Johnson in celebration of their 55th Anniversary

Susan and Dick Luehrs in honor of Nancy Preis

Sandy Martin and Kim Stryker

Alice Martinson and Carole Sturgis

Patricia Marx

Janet and Luke Parsch

Nancy Preis in memory of Debra Lucas

Nancy Preis in memory of Pam Jones

Nancy Preis in memory of David Puckett

South Central Region FMC in honor of Deborah Freeman

Texas FMC in memory of Francis Christman

Wednesday Morning Music Club – Austin

Joan Wells in memory of Ms. Phradie Wells, Met Opera Singer

Colleen and Steve Shogren in honor of Carol Brian and the orchestra

ARKANSAS TIMES READERS CHOICE AWARDS Best Italian Restaurant in Eureka Springs | Best Italian Around the State | Finalist for Most Romantic Place

Another Eureka Springs Tradition!

Great food & e f f icient service in a pleasant, family-friendly, smoke-free environment.

Open 7 Days a Week from 4 – 8 p.m.

Limited Seating: First-come, First-served

Curbside carryout from Sunday through Thursday 4-8 p.m.

Full Bar and Wine Menu

Try the famous Ermilio’s Favorites

Eggplant Parmesan (Tuesday & Friday) Lasagna (Wednesday & Saturday) Homemade Ravioli (Sunday)

Chocolate Pistachio Cannoli • Tiramisu • Italian Wedding Cake

VOLUNTEER THANK YOU

OPERA IN THE OZARKS is grateful for these volunteers who give of their time and talents to help with artist transportation, ushering, costume inventory and wardrobe tasks, properties, gardening, and many other tasks. We thank you and are glad that you are part of our team! We couldn’t do without these wonderful helpers.

Annie An

Gary & Ann-Marie Ardes

John & Rebecca Babbs

Arlene & Jerry

Biebesheimer

Ken & Judy Brown

Wendy & David Carlisle

Ann Carter

Chuque

Richard Drapeau

Fred & Terry Eilskov

Maggie & Mark Garrett

Kevin Graham & Jess

Wade

Mariellen Griffith

Ronn & Danna Hearn

Ed & Catherine Henson

Bill & Mary Hill

Linda James

Cynthia Kresse

Lisa Lockwood

Sarah Martin

Alice Martinson & Carole

Sturgis

Special thanks to:

Anna Matthews

William Mills

Darrell & Susan Morgan

Betty Pierce

William Poe

Chris Ritthaler

Roxanne Royster

Debra Rue

Suzanne Ryan

Carol Saari

Colleen & Steve Shogren

Roslyn Solomon

Brad & Celia Swiger

Jim & Janice Swiggart

Natasha Treuer

Kent Turner & Shane Gasser

Jennifer Viola

Karen & Charles Welch

Nancy Werbitzky

James White

Denise Wilson

Eureka Springs School of the Arts

The Cottage Inn (Linda Hager)

Wonderland Antiques

The Matterhorn Towers

Derek Salmonsen

Wicker Walker Printing

Eureka and Company Floral

Lovell Estates Winery (Jill and Rodney Slane)

Gloria Matyszyk and Dick Caldwell

Martha Boden and Roy Hughes

OUR ACTIVITIES:

Supporting

Opera In The Ozarks through memberships, donations and other fund raising, all of which provide scholarships to aspiring artists

Ushering for the performances

Transporting singers and staff to and from the airport

Beautifying the theatre area with our time and talents

Showcasing

ART IN OPERA; a stunning art show at every performance!

PERKS:

Early bird ticketing access for members AND MORE!

How can YOU join?

Printable membership forms available online at opera.org

Send your $15 membership fee along with your contact information to:

Eureka Springs Opera Guild | PO Box 3234 Holiday Island, AR 72631 eurekaoperaguild @gmail.com

2025 OFFICERS

President: Stephen Shogren

Vice President: Ann-Marie Ardes

Secretary: Colleen Shogren

Treasurer: Gary Ardes

Members At-Large: Jim Swiggart, Ken Brown, Richard Drapeau

EUREKA SPRINGS OPERA GUILD

PROVIDED OVER $10,000 IN SCHOLARSHIPS IN 2025.

OPERA IN THE OZARKS

ALUMNI SP O TLIGHT

Anne Elise Teeling (2023) is the winner of the Delta Symphony Vocal Competition.

Jonathan Patton (2019) was a national semi-finalist in the Laffont Competition this spring. He has finished his third season with the Cafritz Young Artist program at Washington National Opera.

Sara Kennedy (2019) sang Pamina with Florida Grand Opera and returned for her third year as a studio artist at Sarasota Opera, cast as Lola in Cavalleria Rusticana

Joylyn Rushing (2018) and Jamila Drecker-Waxman (2021) were in the studio artist program at Sarasota Opera this spring. Jamila is singing at Central City Opera this summer, as are Jeremy Lopez (2019), Veronique Filloux (2015), Schyler Vargas (2016) and Dajeong Song (2018).

Will Raskin (2023) was in the apprentice artist program at Sarasota Opera this spring and will be a young artist at Glimmerglass this summer along with Jabari Lewis (2023) and Justin Burgess (2017, 2018).

Elizabeth Langley (2021) has been named Louisiana Young Music Educator of the Year 2024-25.

Ilhee Lee (2023) is an apprentice artists at Santa Fe Opera this summer. Ilhee and his wife, Yeonjae Cho (2023) will be entering the DMA program at the University of Oklahoma this fall, studying with Lorraine Ernest (1984,1986,1988).

Jenna Weitmann (2023) and Hunter Eisenmenger (2022) are resident artists with Teatro Grattacielo this year.

Kolby Kendrick (2022) sang Marco in Gianni Schicci with Opera Roanoke this spring.

Suzanne Burgess (2015, 2016) savored a role debut as Lucia with Gulfshore Opera, and will sing Norina in Don Pasquale with Opera Theater of St. Louis this summer. In 2026 she will sing Frasquita at the Met and debut the four heroine roles in Tales of Hoffmann with Florentine Opera.

Lwazi Hlati (2021) and Lindsey Weissman (2024) will be members of the young artist program at Chautauqua Opera this summer.

Emily Cotten (2022, 2023) has been a resident artist at Toledo Opera this season and will sing with the Cincinnatti Symphony this summer.

Alyce Daubenspeck (2018) has sung with Opera Ulm this spring and will remain a member of that company in the coming season.

VanNessa (Douglas) Hulme Silbermann (2004) is pursuing an ED at San Jose State University. Her focus is Transformative Educational Leadership.

Sydney Sorbet (2021) will be a member of the apprentice program at Des Moines Metro Opera this summer.

Katrina Thurman Hawkey (1997) is now the Artistic Administrator for Opera Omaha. She still maintains her ties to Philadelphia as the founder of EPOP (East Passyunk Opera Project).

Brennan Martinez (2014) will sing Hansel with Intermountain Opera and Opera Montana this year, and Offenbach’s La Vie Parisienne with Saratoga Opera.

Chris Merritt (1972) is featured in a recent recording of Turandot with the Symphony and Chorus of the Teatre del Liceu of Barcelona.

Jamila Drecker-Waxman

Will Raskin

Jeremy Lopez

Yeonjae Cho

Ilhee Lee

Katrina Thurman

Jabari Lewis

Kolby Kendrick

ARTISTIC STAFF

LIA BERNHARDI

Stage Manager

Lia is excited to be back for her third season at Opera in the Ozarks. Born in Branson, Missouri, Lia spent her childhood in the performing arts. She took dance classes and was on stage performing from the time she could walk. From there, she moved to Oklahoma, where she earned a BS in Dance Management from Oklahoma City University. Throughout college, Lia held various roles such as Director’s Assistant, Moving Light Board Head, and Assistant Stage Manager. After college, Lia moved to Dublin, Ireland to attend University College Dublin, where she earned a MA in Cultural Policy and Arts Management. While in Dublin, Lia served as a Festival Administrator for Irish Modern Dance Theatre and a Venue Officer for Dance Ireland. Lia’s most recent stage management credits include La traviata during the 2024 season of OIO and the musicals Cinderella and White Christmas at Branson Regional Arts Council during their 2024-2025 season.

CAROL BRIAN

Production Stage Manager

After graduating from Wright State University in Dayton, OH and serving an internship at The Juilliard School, life has never been boring for her. She has been busy stage managing from as far north as New Hampshire, as far south as Florida, from Boston to Kansas City. Most recently she finished her 7th year as Production Stage Manager at Opera Tampa and her 4th year with Shreveport Opera. This is her 10th season with Opera in the Ozarks. Carol has done shows of all sizes including Disney World, Norwegian Cruise Line and national tour shows and has worked at all four Tennessee opera companies. She lives in middle Tennessee with her husband, Gene.

BILLE BRULEY

Vocal Instructor

Texas-born tenor Bille Bruley has garnered attention for his strength and versatility in operatic repertoire from baroque to contemporary. Future season highlights include his Houston Grand Opera debut, a debut with Opera Theatre of St. Louis for A Streetcar Named Desire (Mitch), and a return to Lyric Opera of Kansas City for Of Mice and Men (Lenny). His 24/25 season included his debut at The Metropolitan Opera in a new production of Salome directed by Claus Guth and conducted by Yannick Nézet-Séguin, his Carnegie Hall debut as tenor soloist for Handel’s Messiah and a return to Utah Opera for Sweeney Todd. The 23/24 season began with The Santa Fe Opera for Der fliegende Holländer, a debut at San Francisco Opera for The (R)evolution of Steve Jobs and a return to Lyric Opera of Chicago for Jenufa. On the concert stage he made debuts with the Houston Symphony in Salome and Fort Wayne Philharmonic in Mozart’s Requiem. Other notable previous engagements include The Santa Fe

Opera, Los Angeles Philharmonic, Atlanta Opera, Austin Opera, Lyric Opera of Kansas City, Arizona Opera, The Glimmerglass Festival, Central City Opera, Virginia Opera and The Tulsa Symphony.

Bille was a Studio Artist at Arizona Opera from 2018-2020, and has been a member of the Young Artist Programs at The Santa Fe Opera, The Glimmerglass Festival, and Central City Opera. He is a graduate of the Indiana University Jacobs School of Music, Baylor University and Arizona State University. Dr. Bruley also serves as Assistant Professor of Voice & Opera at Rutgers University Mason Gross School of the Arts.

AINSLEY COLE

Assistant Costumer

Ainsley is from Atlanta, Georgia and moved to Grand Forks, North Dakota last fall to begin working as the Costume Shop Assistant Manager at the University of North Dakota. During the past academic year, she created costumes for six different shows: Love/Sick, Ride the Cyclone, Baskerville, Twelfth Night, MacBeth, and Taming of the Shrew. After finishing her first summer with Opera in the Ozarks, she will be returning to the University of North Dakota for the following academic year.

In May of 2024, Ainsley graduated with a BS in Merchandising with an emphasis in Product Development and Design and a Certificate of Entrepreneurship from the University of Georgia. She has been running an apparel business, Endare, since April of 2020, when she began sewing and selling fabric face masks during the COVID-19 pandemic. Since, she has expanded to making and selling a wide variety of women’s apparel; her best sellers include wire-wrapped necklaces, summer tops, and tote bags. Her textiles are made almost entirely of second-hand fabrics, and she enjoys advocating for sustainable fashion.

ALICE CRIST

Costume Designer & Wardrobe Supervisor

Alice Crist is the costume designer for this year’s studio show, The Bremen Town Musicians, as well as a stitcher and wardrobe supervisor for the main stage shows. She is very excited to be here for her second summer with Opera in the Ozarks and for this historic season opening the new theatre and costume shop. Alice recently graduated with a BFA in Costume Design from Stephens College Conservatory in Columbia MO. She plans to move forward with her career in theatrical costumes as a Designer and Draper.

JOCELYN DAVIS-CORONADO

Assistant Costumer

Jocelyn Davis-Coronado is currently working towards a BA in theatre technology with an emphasis in costume design at the University of Nevada, Las Vegas. She has worked closely with the Nevada Conservatory Theatre as costume designer for the world-premiere of Sweetwater by Chisa Hutchison and as the associate costume designer for The Merry Wives of Windsor. Additional credits include cutter/draper for NCT’s Murder on the Orient Express, cutter/draper for Redfield Studio Theatre’s production of Cabaret, and stitcher for the Illinois Shakespeare Festival’s production of Sense & Sensibility.

RICHARD DUNHAM

Lighting Designer

Rich is pleased to be returning to Opera in the Ozarks for his 10th season. Rich earned his MFA (Dual Emphasis in Lighting and Scenic Design) from The Ohio State University and resides in Dublin, VA. He currently serves as Chair/ Artistic Director for the Theatre and Cinema Dept. of Radford University. Before arriving at Radford he served as Professor of Scene and Lighting Design/Head of Design in the Theatre and Film Studies Department at the University of Georgia for 19 years. 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 nearly forty years of design experience and numerous regional and stock productions throughout the East Coast and Midwest. Approximately twenty-five lighting designs have been for OIO. 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 theatres including: The Circle Repertory Theatre, Theatre Three, Broadhollow Productions, The Jean Cocteau Rep., and the Directors’ Theatre. His designs have won various press awards while two of his articles have won national publications awards. He is the author of the well-received lighting text, Stage Lighting: Fundamentals and Applications which is currently being updated to a third edition. He is also the author of Stage Lighting: Design: Applications and More, as well as segments in other books and a number of articles in professional journals.

LORRAINE ERNEST

Vocal

Instructor

Acclaimed by critics for her portrayal as Queen of the Night in Die Zauberflöte in opera houses throughout the United States and Europe, Lori Ernest has performed this signature role with New York City Opera, Metropolitan Opera Company, Pittsburgh Opera, Washington National Opera, and the Denver Symphony Orchestra under the distinguished baton of Marin Alsop, Opera Grand Rapids, Palm Beach Opera, Central City and the Volksoper of

Vienna. Other roles in her repertoire included a debut with The Opera Company of Philadelphia as Elvira in L’Italiana in Algeri. This production could be seen nationwide on PBS with a cast that included Stephanie Blythe, Juan Diego Florez and Arthur Woodley. Her Carnegie Hall debut was performing the role of Mademoiselle Jouvenot in the Opera Orchestra of New York’s concert-version of Adriana Lecouvreur, and her debut with Los Angeles Opera was performing the role of Princess Tatishchev alongside Placido Domingo in Nicholas and Alexandra. Other roles include the title roles in Lucia di Lammermoor, Violetta in La traviata, the title role of Lakme in Lakme, Zerbinetta in Ariadne auf Naxos, Susanna in Le nozze di Figaro, Olympia in Les Contes d’Hoffmann, Cleopatra in Giulio Cesare, Musetta in La bohѐme and Adele in Die Fledermaus

Along with her solo career, Lorraine was on faculty at Montclair State University, Seton Hall University and now at The University of Oklahoma. Her students are performing on and off Broadway, Utah Opera, Lyric Opera of Chicago, Washington National Opera Young Artist Program, the San Francisco Opera Company and throughout Asia, Europe, and the United States.

JJ HUDSON Stage Director

JJ Hudson is well known for his sensitive and dynamic professional and university productions. In the fall of 2023, Hudson began as Interim Artistic Director of Opera at the Cleveland Institute of Music. Prior to joining the faculty at Cleveland Institute, JJ was the Valerie Adams Professor of Opera at Georgia State University between 2021-2023 and Artistic Director of the Harrower Summer Opera Workshop in Atlanta between 2023-2024. Hudson began full-time work in academia after more than fifteen years of freelance work as a stage director.

Hudson’s recent productions include Becoming Santa Claus (Opera Louisiane), Rita and Il Segreto di Susanna (Sarasota Opera), La bohème (Mississippi Opera), Cosi fan tutte (Opera Tampa), Tosca (Tri-Cities Opera), Bastianello (Rochester Lyric Opera), West Side Story (Asheville Lyric Opera), La Cenerentola (Opera Roanoke), La traviata (Berkshires Theater Group), Ariadne auf Naxos (Lakes Area Music Festival), South Pacific (Opera Roanoke), Il barbiere di Siviglia (Tri-Cities Opera), La belle Hélène, A Midsummer Night’s Dream, Carmen, and The Rake’s Progress (Lakes Area Music Festival).

Hudson is an in-demand guest director with university and young-artist programs. He has served on the directing staffs of the Aspen Opera Theater, Oberlin in Italy, Harrower Summer Opera Workshop, Miami Music Festival, Opera in the Ozarks, Opera Breve, and Red River Lyric Opera. He has guest directed productions with Temple University, University of Kansas, and Columbus State University.

Hudson holds a DMA (Voice Performance and Literature) and MM (Opera Studies: Stage Direction) from the Eastman School of Music.

ARTISTIC STAFF

GUZAL ISAMETDINOVA

Coach Accompanist

Uzbekistani pianist Guzal Isametdinova has cultivated her passion for music from a very early age. As a soloist, she appeared with a Chamber Orchestra of Uzbekistan. As a chamber partner, Guzal won the Lyric Chamber Competition in Florida with her group Trio Fantasia, which led to their New York recital debut. Additionally, she is a prize recipient of competitions both as a soloist and as a chamber partner held in the United States, Europe, Russia, and Uzbekistan. She appeared on stages like Carnegie Hall, National Gallery of Art, Wheeler Opera House and more.

As an opera rehearsal pianist, she played for productions of La bohéme, Don Giovanni, Le nozze di Figaro, Albert Herring, Aleko, Florencia en el Amazonas, Così fan tutte, and Die lustigen Weiber von Windsor. She performed a continuo part for Le nozze di Figaro and Così fan tutte. She served as a music director for two newly commissioned chamber operas: TWA by Justina Chen and The Fishwife by Ashi Day.

She participated in masterclasses for Leon Fleisher, Jonathan Feldman, Warren Jones, Martin Katz, and others. Among her summer programs were Aspen Music Festival, National Orchestra Institute, Saluzzo Opera Academy in Italy and Collaborative Piano Institute. This is Guzal’s first summer at the Opera in the Ozarks where she is involved in productions of The Merry Widow, Bremen Town Musicians and as a chorus pianist for Carmen. Guzal is currently pursuing a Doctoral Degree at the University of Maryland under the guidance of Rita Sloan.

ZACHARY KIERSTEAD

Coach Accompanist

Zachary Kierstead is a collaborative pianist based in Columbia, MO. He is an adjunct instructor in collaborative piano at Central Methodist University, choral accompanist at Columbia College, and a contract pianist with students of University of Missouri – Columbia. Outside of collegiate institutions, he accompanies several ensembles within Choral Arts Alliance of Missouri (CAAM), is a young artist coach/accompanist with Landlocked Opera, and frequently performs with area schools for competitions and choir concerts. In addition, Mr. Kierstead is an active musician at two churches, Sacred Heart Catholic Church and Missouri United Methodist Church, works with local instrumental and vocal studios, and performs for various visiting guest artist recitals

Mr. Kierstead holds a BM in Piano Performance from Central Methodist University and MM in Piano Performance from the University of Missouri – Columbia. He studied with Helen Hendry, Gwendolyn Peiper, Dr. Rene Lecuona, Dr. Melissa Loehnig-Simons (CMU), Dr. Janice Wenger (MU), and Dr. Rachel AuBuchon.

PAYTON LAWRENCE

Production Assistant

This is Payton’s first summer at Opera in the Ozarks. Payton is currently a student at the University of Central Missouri pursuing a Theatre Performance Major.

MEREDITH MAGOUN

Costume Designer

Meredith currently serves as Assistant Professor of Costume Design at the University of North Carolina at Charlotte. Prior to this role, she spent six years at Old Dominion University as Resident Costume Designer and Costume Shop Manager, and she also held teaching appointments at Central Washington University. Her academic portfolio includes courses in Costume Technology, Stage Costuming, Costume Design, Costume Crafts, Fashion History, Introduction to Theatre, Production Design, and Mask Making. In addition to teaching, she actively mentors students and continues to design for stage productions.

Meredith’s research focuses on body inclusivity in theatrical design. Her presentation, All Bodies and Sizes, was featured at the 2022 USITT Conference in St. Louis, where she explored fat phobia in theatre and strategies for creating more inclusive costume practices.

Her professional design credits include work with Children’s Theatre of Charlotte, Utah Festival Opera & Musical Theatre, Village Theatre Kidstage, Weston Playhouse, Longwood Players, Arts After Hours, Boston Baby Dolls, Northeastern University, Berklee College of Music, Emerson College, Stoneham Theatre, Zeitgeist Stage Company, and Company One. She also previously taught costume design at Boston Arts Academy, sharing the fundamentals and creativity of theatrical design with high school students.

In addition to her work as a costume designer, Meredith is a skilled Wardrobe Mistress, Milliner, Photographer, Visual Artist, and Balloon Sculptor.

ALICE MARTINSON

Medical

Adviser

& Properties Procurement

Dr. 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 held a command position in the Navy Medical Department. She was also the Carroll County health officer for over 20 years and has kept up to date on Covid-related health matters in the Eureka Springs area. A supporter of Opera in the Ozarks for more than 30 years and a member of the governing board for 20, Dr. Martinson is extremely happy to be able to participate in creating this marvelous art form. Dr. Martinson also serves as a trustee of the Inspiration Point Center for the Arts.

WILLIAM SPENCER MUSSER

Set Designer & Technical Director

William Spencer Musser returns for his ninth summer working at Inspiration Point. Previous set designs at Opera in the Ozarks could be seen in 2011-2016 and the 2023-2024 seasons. He received a BFA in Sculpture from the Kansas City Art Institute and an MFA in Theater Design from The University of Missouri – Kansas City. He is an assistant professor of Scene Design and Technical Direction at the University of Central Missouri. e

BRIAN OSBORNE

Assistant Conductor, Music Director & Coach

Brian Osborne is thrilled to be returning to Inspiration Point after 17 years! He first participated as a singer in 1999, singing Zuniga in Carmen and Sarastro in The Magic Flute. He then served as a vocal coach at Opera in the Ozarks during 2006, 2007 and 2008 seasons. He has since music-directed over 100 musicals and operas. Osborne currently works as music director and vocal coach for musical theatre at Auburn University where he music directed Violet and Ordinary Days during the 24/25 season. Other teaching positions have included Georgia State University, Reinhardt University, Oklahoma City University, and The University of Mississippi. He has music directed recently at a variety of venues, including McCleod Summer Playhouse, Six Flags Over Georgia, Vanguard Theatre, Stage Door Manor, Marietta Theatre, Woodstock Arts, Strand Theatre, Harrower Workshop, Academy Street Theatre Group and with Warner Brothers Studio on the Max show, Doom Patrol

KRISTIN ROACH

Conductor

Kristin is committed to the ongoing evolution of opera in the 21st century with 40+ new operas and 20+ world premieres under her baton. Leading repertoire spanning six centuries and performances around the globe, she is the recipient of numerous awards, including The American Prize in Opera Conducting and two Latin Grammy ® nominations.

Recent conducting engagements include The Consul and Cendrillon/Alice Tierney for Lawrence Opera Theater, Thumbprint for the University of Arizona, The Crucible for Opera in the Ozarks, the world premiere of Alice in Wonderland by Amy Scurria at Red River Lyric Opera, Thumbprint for Chautauqua Opera Company, Two Remain for Lyric Opera of Orange County, and La Cenerentola for Pacific Opera Project. She served previously as Founding Music Director of Alamo City Opera and Music Director of Spotlight on Opera, and has prepared productions for the San Francisco Opera, San Diego Opera, Tulsa Opera, Utah Opera, San Antonio Opera, San Antonio Symphony, Brevard Music Institute, Aspen Music Festival, Breckenridge Music Institute, Taos Opera Institute, and Texas Concert Opera Collective. Her recording of chamber works by Miguel del Aguila with Camerata San Antonio, Salon Buenos Aires, was nominated for two Latin Grammy ® Awards.

She is a graduate of the Eastman School of Music, where she earned a BM in Applied Music (Piano), the Performer’s Certificate in Piano, and a MM in Piano Performance/ Literature and Piano Accompanying/ Chamber Music.

Since 2021, Kristin serves as Assistant Professor of Music at Lawrence University, where she is opera conductor and vocal coach.

ERASMO SALINAS

Assistant Technical Director

From Houston, TX, Erasmo is currently working on his MFA in Technical Direction from the University of Nevada – Las Vegas. His previous work includes Associate Technical Director for A Christmas Carol at Nevada Conservatory Theatre; Technical Director, Wolf Play at Nevada Conservatory Theatre; Assistant Technical Director, Merry Wives of Windsor at Nevada Conservatory Theatre; and Assistant Technical Director, Life is a Dream and The Merry Widow at the University of Oklahoma. He was Assistant Technical Director/Scenic Designer for Orfeo ed Euridice and for Wild Party also at the University of Oklahoma. In addition, he was Assistant Technical Director and Scenic Designer for Contemporary Dance Oklahoma at the University of Oklahoma and Scenic Designer for What Happened While Hero was Dead at the University of Oklahoma.

KELLEN SAPP

Assistant Lighting Designer

Kellen Sapp is excited to spend the summer in the Ozarks for her first OIO season. Originally from Columbia, MO, she earned her BFA from the Helmerich School of Drama at the University of Oklahoma. Her recent work includes lighting design for The Sacred Veil at the Reynolds Performing Arts Center; Rise and Fall of the City of Mahagonny, and Orfeo ed Euridice (OU Opera); Rent, Contemporary Dance Oklahoma, and Oklahoma Festival Ballet (OU University Theatre); and Hamlet (OK Shakespeare in the Park).

BENJAMIN WAYNE SMITH

Stage Director

Ben Smith has made a career leading new productions in professional opera and academia. Companies include Opera Memphis, Opera Montana, Opera in the Ozarks, Mobile Opera, Indianapolis Opera, Seattle Opera’s Young Artist Program, Tacoma Opera, Asheville Lyric Opera, Opera Theatre of Pittsburgh, The Intermountain Opera Association, the Young Artist Program at Pittsburgh Opera, the University of Cincinnati/CCM, The University of Memphis, Baldwin Wallace University and The Opera Theater of Lucca, Italy. Ben is in his tenth season as Artistic Director of the Accademia Vocale Lorenzo Malfatti, a training program for young singers in Lucca, Italy. He is the Stage Director for Opera at the University of Memphis.

EMILY AND RAYMOND ULIBARRI

Choreographers & Movement Instructors

Emily and Raymond Ulibarri fell in love on the dance floor 20 years ago. They’ve been teaching, performing, and producing original shows together ever since. With a specialty in storytelling, a passion for suspense, and a unique vision for the stage, they continue to leave their students and audiences in awe and inspiration. They are the owners of Melonlight Ballroom in Eureka Springs.

ANDREW VOELKER

Senior Coach Accompanist & Music Director

Dr. Andrew Voelker returns to Opera in the Ozarks for their 2nd season, having previously served as an Apprentice Coach/Accompanist in 2019. This season, Andrew is serving as music director of the Studio Artists’ outreach production of The Bremen Town Musicians, and as coach and rehearsal pianist for Carmen.

Andrew is currently on faculty at the University of Georgia as Vocal Coach and Music Director of Opera for the Hugh Hodgson School of Music. Andrew previously served on the faculty of the Crane School of Music at SUNY Potsdam as the music director of the award-winning Crane Opera Ensemble. Highlights included the workshop and premiere of Computing Venus (Takach/Vincent), the winner of the 2024 Domenic J. Pellicciotti Opera Composition Prize, as well as stage productions including Pauline Viardot’s Cendrillon and Milton Granger’s Bluebeard’s Waiting Room. Voelker holds degrees in piano and voice from Northern Illinois University, and graduate degrees in collaborative piano from the Cleveland Institute of Music and Indiana University. At IU’s Jacobs School of Music, Voelker coached productions of Le nozze di Figaro, La traviata, Little Women, Serse, and L’incoronazione di Poppea. In 2023, they assisted in preparing vocal roles for the premiere production of Shulamit Ran and Charles Kondek’s opera Anne Frank. Andrew also spent three years as the music director for the graduate opera workshop directed by internationally renowned soprano Heidi Grant Murphy.

BRI WALLACE

Stage Manager

Bri Wallace returns for her 2nd season at Opera in the Ozarks at Inspiration Point. Earning a BA in Theatre at the University of Central Arkansas this May, Bri has been behind the scenes for many of the UCA Theatre shows. She has had the privilege to stage manage for Toil and Trouble, Così fan tutte, Heathers the Musical, 365 Days/Plays, and multiple opera scene programs at UCA. With assistant stage management, Bri has gone around Arkansas, assisting Margo Giffard in the Arkansas Shakespeare Theatre production of The Complete Works of William Shakespeare [Abridged], and earlier on assisting Joe Millet in the AST production of Much Ado About Nothing Last summer at Opera in the Ozarks, Bri assistant stage managed the productions of La traviata and The Crucible, while also stage managing the tour of Little Red’s Most Unusual Day.

ARTISTIC STAFF

SARA E. WIDZER

Stage Director

Sara is a stage and intimacy director for opera and theatre, a performance and acting coach, and a Mental Health First Aid instructor. With a consent and community-building based approach to her work, Sara is dedicated to telling stories that unite performers and audience members alike through the power of the human experience. Sara has served as Stage Director for LA Opera, Washington National Opera, Virginia Opera, Hawaii Opera Theatre, The Royal Opera House of Muscat, Hong Kong Arts Festival in collaboration with Beth Morrison Projects, Santa Barbara Opera, Long Beach Opera, Opera Birmingham, The Glimmerglass Festival, and Opera UCLA. She has directed four world premieres, two of which with composer/librettist, Carla Lucero, whose piece t o u c h united the deaf-blind and hearing/ seeing communities through an opera about Helen Keller.

As Intimacy Director, Sara has worked with LA Opera, Washington National Opera, San Diego Opera, Seattle Opera, Opera Santa Barbara, and serves as the Intimacy Direction, Consent and Sensitivity Advisor for LA Opera, developing protocols and best practices around nudity, physical intimacy, and other areas of sensitivity.

As a teacher and guest lecturer, Sara has taught and directed at UCLA, UC Santa Barbara, Cal State Northridge, Cal State Long Beach, University Colorado-Boulder, Florida State University, and the Lee Strasberg Theatre and Film Institute, where she taught for fifteen years. She has led workshops for and coached the resident artists of the Domingo-Colburn-Stein Young Artist Program at LA Opera, the Cafritz Young Artists Program at Washington National Opera, The Chautauqua Opera Company, and was the first resident Acting Coach at Music Academy of the West.

Sara was last at Inspiration Point in 2009 and 2010 when she directed Pagliacci, Hansel and Gretel, Tosca and Don Giovanni. She is thrilled to be returning to work with these amazing artists and to direct a show that she considers part of her lifeblood and one of the reasons she is a storyteller. Sara is a certified Intimacy Director with IDC; she has a MM in Opera Direction from Florida State University, an Artist Diploma in Shakespeare from The Royal Academy of Dramatic Arts, and BA in Theatre from Connecticut College. She makes her home in Los Angeles, CA.

OPERA IN THE OZARKS ARTISTS

MARINA BEESON

Soprano Dunkirk, MD

Education: MM Vocal Arts, University of Southern California Thornton School of Music; BM Vocal Performance, New England Conservatory. Studied with Thomas Michael Allen, Lisa Saffer, Sandra Jarrett.

Roles Performed: Musetta (La bohème), Nina (Chérubin), Pamina (Die Zauberflöte), Soprano (La Passion de Simone), Lucy/Susanna (The Telephone / Il segreto di Susanna), and Tina (Flight)

Awards: Opera Buffs Artist Grant (2022-2025), 2021 World Classical Music Awards Gold Prize, 2020 Calvert County Arts in Education Award

Previous Experience: USC Opera, Opera Italia (Los Angeles), Hawaii Performing Arts Festival, Berlin Opera Academy, New England Conservatory Opera Scholarship Benefactor: Eureka Springs Opera Guild

PAYTON BOLDT

Soprano Kansas City, KS

Education: MM Vocal Performance, University of Missouri-Kansas City; BM Vocal Performance, Kansas State University. Studied with Maria Kanyova, Reginald Pittman, Natalie Young.

Roles Performed: Susanna (Le nozze di Figaro), Zerlina (Don Giovanni ), Adele (Die Fledermaus), Pamina and Erste Dame (Die Zauberflöte), Adina (L’elisir d’amore), Susannah (Susannah), Cinderella (Cinderella), Cinderella’s Stepmother (Into the Woods), Kate (Pirates of Penzance)

Awards: Soprano Young Artist Apprentice at the Kansas City Lyric Opera (2025-26), Kansas City Musical Club Scholarship Recipient (2025), UMKC Concerto/Aria Contest Winner (2024), Bertha Degginger Scholarship Recipient (2023-25), Rheta Sosland Hurwitt Scholarship Recipient (2023-25), KSU Summa Cum Laude Graduate (2022), KSU Aria Contest Winner (2022), First Place Regional NATS Competition (2021 and 2022), Outstanding Sophomore Award (2020), Outstanding Freshman Award (2019), Pelton Keyboard Scholarship (2019-22), Leadership Scholarship (2018-22)

Previous Experience: Lawrence Opera Theater (USA), Music on Site Inc. (USA), Trentino Music Festival (Italy)

Scholarship Benefactor: Missouri Federation of Music Clubs

ANNE BURGETT

Soprano Swampscott, MA

Education: MM Vocal Performance, Boston University; BM Vocal Performance and Philosophy, Northwestern University. Studied with Penelope Bitzas, Nancy Gustafson, D’Anna Fortunato.

Roles Performed: Rosalba (Florencia en el Amazonas), Nella (Gianni Schicchi ), Zina (Dark Sisters), Cathleen (Riders to the Sea), Gianetta (L’elisir d’amore), Clorinda (La cenerentola), La Contessa (Le nozze di Figaro), Sandman (Hansel and Gretel ), Lola (Gallantry), Second Spirit (Die Zauberflöte)

Previous Experience: Boston University Opera, Northwestern Opera Theater, Classic Lyric Arts, Varna International Music Academy, Vienna Summer Music Festival

Scholarship Benefactor: Gary and Ann-Marie Arde

GRACE CHRISTENSEN

Soprano Peterborough, NH

Education: Pursuing MM Classical Voice, Manhattan School of Music; BM Vocal Performance, Boston University College of Fine Arts. Studied with Dr. David Guzman, Joan Patenaude-Yarnell.

Roles Performed: Abigail Williams (The Crucible), Scorpion (The Infinite Lives of Frog and Scorpion)

Previous Experience: Musiktheater Bavaria, Juilliard College/Conservatory Prep Summer Program

Scholarship Benefactor: Gary and Ann-Marie Ardes

KATHERYN COOPER

Soprano Springdale, AR

Education: Pursuing MM Vocal Performance, University of Arkansas; BA Music, University of Arizona; BA Theatre Arts, University of Arizona. Studied with Andrew Stuckey, Marcia McGowen.

Roles Performed: Adele (Die Fledermaus), Lillia (Hinterkaifeck), Ariel (Footloose), Neville (The Secret Garden)

Awards: Helmut and Ellen Hof Scholarship Recipient, Quest for the Best 2025 Nominee

Previous Experience: UA Opera Theater, The Media Theatre

Scholarship Benefactors: Fred and Terry Eilskov; Justice Phil and Carla Johnson Endowment

SOPHIA GRACE DONELAN

Soprano Whippany, NJ

Education: Pursuing a MM Vocal Performance, Shepherd School of Music at Rice University; BM Vocal Performance, New England Conservatory of Music. Studied with Nova Thomas, Carole Haber, Lisa Saffer, Stan Dunn.

Roles Performed: Rosina (The Ghosts of Versailles), Rosalinde (Die Fledermaus) Fiordiligi (Così fan tutte), Donna Elvira (Don Giovanni )

Awards: Encouragement Award winner in the Houston District of The Metropolitan Opera Laffont Competition (2025), Sam P and Helen S Worden Endowed Scholarship (2024-2026)

Previous Experience: Young Artists’ Vocal Academy at Houston Grand Opera, Music Academy of the West, Shepherd School of Music at Rice University, New England Conservatory of Music, Lyric Opera Studio Weimar

Scholarship Benefactors: Pamela Jones Endowed Scholarship; Dorothy Ellils Endowment

HANNA FRAMPTON

Mezzo-soprano Jacksonville, FL

Education: Pursuing MM Vocal Performance, Rice University Shepherd School of Music; BM Vocal Performance, Rice University Shepherd School of Music. Studied with Nova Thomas.

Roles performed: The Resident (Breath of Life), The Ghost Quartet (The Ghosts of Versailles), The Sorceress (Dido and Aeneas), Snake/Sheep (The Big Swim), Joan (Street Scene)

Awards: Rita C Handly Bollinger '38 Endowed Scholarship in Voice (2024-2025), Rita C Handly Bollinger '38 Endowed Scholarship in Voice (2023-2024)

Previous Experience: Rice University Opera, Houston Grand Opera Community Outreach, Lone Star Lyric Opera Scholarship Benefactor: Craig Family Endowment

MADELINE FRIESEN

Mezzo-soprano Olathe, KS

Education: Pursuing a MM Voice Performance, University of MissouriKansas City; BM Voice Performance, University of North Texas. Studied with Stacey Uthe, Molly Fillmore, Aidan Soder.

Roles Performed: Cherubino (Le nozze di Figaro), Clear String (The Haberdasher Prince), Le Prince Charmant (Cendrillon), Sarah Brown (Guys and Dolls), Marian Paroo (The Music Man)

Awards: Lyric Opera of Kansas City Apprenticeship recipient (2024-2026), Lyric Opera of Kansas City Ginger Frost Honors Artist Scholarship recipient (2018 & 2019)

Previous Experience: Lyric Opera of Kansas City, University of Missouri-Kansas City Opera, University of North Texas Opera

Scholarship Benefactors: Colleen and Steve Shogren

JUNYUE GONG

Mezzo soprano Chengdu, China

Education: Pursuing Artist Diploma - Opera Performance, University of Cincinnati’s College-Conservatory of Music; MM Vocal Performance, University of Cincinnati’s College-Conservatory of Music; BM Vocal Performance, Sichuan Conservatory of Music, China Studied with Quinn Patrick Ankrum, Amy Johnson.

Roles Performed: Carmen (Carmen), Ramiro (La finta giardiniera), Marcellina (Le nozze di Figaro), Dorabella (Così fan tutte), Bianca (The Rape of Lucretia), Hippolyta ( A Midsummer Night’s Dream)

Awards: 2025 Third Prize -Tuesday Musical’s Annual Scholarship Competition; 2024 Special Award-Laffont Competition-Nebraska District; 2024-2026 Full Scholarship and Ralph Corbett Scholarship (University of Cincinnati-CCM AD program), 2023 First Prize Career Bridges Grant Awards, 2023 Finalist Classical Singers Vocal Competition-Young Artist

Previous Experience: Des Moines Metro Opera, Cincinnati Opera, Queen City Opera, CCM Opera

Scholarship Benefactors: Colleen and Steve Shogren; Maria deWaal Putter Endowment

OPERA IN THE OZARKS ARTISTS

BRANDON GRANT

Baritone

Batesville, AR

Education: BME Vocal Education, University of Central Arkansas. Studied with Robert Holden.

Roles Performed: Don Alfonso (Così fan tutte), Don Giovanni (Don Giovanni ), Dottor Malatesta (Don Pasquale)

Scholarship Benefactors: Arkansas Federation of Music Clubs; Benjamin Lundy Scholarship

OLIVIA GRAY

Mezzo-soprano

Covington, LA

Education: MM Vocal Performance, Frost School of Music at University of Miami; BM Vocal Performance, Mannes School of Music at The New School. Studied with Phyllis Treigle, Diana Soviero, Chelsea Bonagura, Sandra Lopez-Neill.

Roles Performed: Minskwoman (Flight ), Third Lady (Die Zauberflõte), Olga Olsen (Street Scene), Cherubino (Le nozze di Figaro), Mrs. Herring ( Albert Herring ), Maurya (Riders to the Sea), Juno (Semele), Edith (Pirates of Penzance).

Awards: Florida Gold Coast Chapter of NATS Advanced Classical-Treble Voices 2nd Place Winner (2025), National Finalist at The American Prize for Art Song (2021), 1st Place at Rondo YA Vanguard Competition (2020), the Bel Canto Institute Performance Award (2019), and Classical Singer Competition Top Finalist (2019).

Previous Experience: Frost Opera Theater, Miami Music Festival, Trentino Music Festival (Italy), Classic Lyric Arts (Italy and France).

JOSEPH GREEN

Baritone Phoenix, AZ

Education: Pursuing BFA Theatre (Acting), Arizona State University. Studied with Stephanie Weiss, Wan Zhao.

Roles Performed: Chorus (Pirates of Penzance); Chorus, Antonio (Le nozze di Figaro); Manuel Garcia, Paul Viardot (Notes on Viardot ); Chorus, Plutone (L’Orfeo)

Previous Experience: ASU Lyric Opera Theatre

Scholarship Benefactors: Rowland David Endowment; Richard Hill Endowment

JOSEPH HARRIS

Tenor

Deephaven, MN

Education: Pursuing a BM Vocal Performance, University of Minnesota. Studied with Victoria Vargas, Philip Zawisza, David Gustafon, Dr. Marie Landreth, Trevor Cook, Jerry Elsbernd, Aaron Kohrs.

Roles Performed: Charlie Dalrymple (Brigadoon), Motel (Fiddler on the Roof ), Nigel Bottom (Something Rotten)

Awards: Schuessler Vocal Art Scholarship (2024-25), 2022 NATS Student Auditions National Semifinalist, 2021 NATS Student Auditions National Semifinalist, 2021 Third Place NDSU Challey School of Music Performance Competition National Division Voice

Previous Experience: University of Minnesota Opera Theatre, Cottage Theatre (Cottage Grove, OR), Shedd Institute (Eugene, OR), Theatre L’Homme Dieu (Alexandria, MN).

CAROL JARRETT

Soprano Enid, OK

Education: Pursuing a MM Opera Performance, University of Oklahoma; BM Vocal Performance, University of Oklahoma. Studied with Lorraine Ernest.

Roles Performed: Jenny Smith (Rise and Fall of the City of Mahagonny ), Oberto ( Alcina), Miss Jessel (Turn of the Screw )

Awards: Semifinalist Texoma NATS (2024), Alternate for Shreveport Singer of the Year (2024), Sigma Alpha Iota Summer Scholarship Recipient (2023), BentonSchmidt Competition 3rd Place (2023)

Previous Experience: University Theatre, William Jewell College, Trentino Music Festival, Norman Philharmonic

Scholarship Benefactor: Sigma Alpha Iota

BENJAMIN JACOB JOHNSON

Tenor

Hellertown, PA

Education: MM Vocal Performance, University of Wisconsin-Madison; BM Vocal Performance, SUNY Potsdam. Studied with Gail Grossman, Donald George, Mimmi Fulmer.

Roles Performed: Henrik ( A Little Night Music), Piquillo (Songbird ), Fabrizio (The Light in the Piazza), Pane (La Calisto), Tony (West Side Story ), Pluton (Orphée aux enfers)

Awards: Wisconsin NATS First Prize, Ann Crow Fund Scholarship, Friends of University Opera Scholarship

Previous Experience: Hawaii Performing Arts Festival, Songfest

Scholarship Benefactors: Mary Prudie Brown Endowment; Beulah Walwerk Endowment; Moberly Music Club Endowment

CAMDEN KEGLEY

Tenor

Fairbanks, AK

Education: Pursuing MM Voice Performance & Pedagogy, University of Houston; BM Voice Performance, University of Memphis. Studied with Daniel Belcher, Dr. Randall Rushing, Dr. Christopher Besch.

Roles Performed: Monostatos (Die Zauberflöte), Parpignol (La bohème), Antonio (Le nozze di Figaro), Despard (Ruddigore)

Previous Experience: Hawaii Performing Arts Festival, Fairbanks Summer Arts Festival

Scholarship Benefactors: Hobart Family Endowment; Luke and Janet Parsch

JARED KELLMAN-MEDINA

Baritone

San Antonio, TX

Education: Pursuing MM Opera Performance, Boston Conservatory of Music at Berklee; BM Music Education, University of Texas at San Antonio. Studied with Crystal Jarrell Johnson.

Roles Performed: Don Giovanni (Don Giovanni ), Count Carl-Magnus Malcolm ( A Little Night Music), Jesus (Godspell )

Awards: Texoma NATS 2nd Place, Barbara Hill-Moore Award (2024), Studer Award, UTSA School of Music (2023 & 2024), Patrice Eaton Spiritual Award and National Finalist George Shirley Vocal Competition (2024), Texoma NATS Hall Johnson Spirituals Competition 3rd place (2024), Semi-finalist, Texoma NATS 4th/5th Year TBB Classical (2023 & 2024), George Shirley Vocal Competition National Semi-Finalist (2023) 1st place, UTSA COLFA Research Conference Undergraduate Lecture Performance (2023), 2nd place, 2nd Year TBB Classical Voice, South Texas NATS (2022) Scholarship Recipient, UTSA Lyric Theatre Director’s Award (2022) National Semi-finalist, NATS Hall Johnson Spirituals Competition (2022), South Texas NATS Waldman Award for Spanish Song (2022)

Previous Experience: UTSA Lyric Theatre, Wonder Theatre

Scholarship Benefactor: Alice Martinson and Carole Sturgis

OPERA IN THE OZARKS ARTISTS

JEFFREY KERST

Tenor

Fayetteville, AR

Education: BME Music Education with a Choral Emphasis, University of Arkansas. Studied with Johnathan Stinson.

Roles Performed: Rev. Parris and Giles Corey (The Crucible), Gastone (La traviata), Sorceress and Second Witch (Dido and Aeneas), Kaspar ( Amahl and The Night Visitors), Gerardo (Gianni Schicchi ), Murile, Leon (Signor Deluso)

Awards: 1st Place – 2025 Arkansas NATS Competition, Selected for 2025 UARK Honors Recital Competition, Semi-Finalist – 2024 Southern NATS Regional Competition, Semi-Finalist – 2023 Southern NATS Regional Competition.

Previous Experience: UARK Opera Theatre, Opera in the Ozarks.

Scholarship Benefactor: Arkansas Federation of Music Clubs

SHAUL LEKET-MOR

Baritone Tempe, AZ

Education: MM Vocal Performance, Arizona State University; BM Vocal Performance, Peabody Institute. Studied with Steve Rainbolt, Stephanie Weiss.

Roles Performed: Figaro/Il Conte (Le nozze di Figaro), Vater (Hänsel und Gretel ), Older Turgenev (Notes on Viardot ), Cinderella’s Father (Into the Woods), Doctor (The Falling and the Rising ), Monster (The Hiding Tree), Pinellino (Gianni Schicchi )

Previous Experience: Arizona Opera, Taos Opera Institute, Luke A. Housner Summer Opera Workshop

Scholarship Benefactors: Kenneth and Maxine Burkhard Endowment; Don and Lora Lynn Christensen Endowment

THERON LEPAGE

Baritone Springfield, MO

Education: Pursuing BME, Missouri State University. Studied with Chris Thompson, Daniel Gutierrez.

Roles Performed: The Businessman (The Little Prince), Mr. Jenks (The Tender Land ), Sir Roderic Murgatroyd (Ruddigore), Prisoner #2 (Fidelio), Lurker, (Speed Dating Tonight! ), Matthew (Considering Matthew Shepard )

Awards: Presidential Scholarship recipient (20212025), Reynolds Scholar (2021-2025), 2024 National Association of Teachers of Singing 2nd Place (National Finals), 2025 National Association of Teachers of Singing 1st Place (Central Region), finalist in the Musical Theatre Scenes Division of the 2023 National Opera Association Conference

Previous Experience: Ozarks Lyric Opera, Springfield Contemporary Theater, Missouri State University Opera Theater, Springfield Symphony Orchestra, Queen City Choraler

Scholarship Benefactor: Missouri Federation of Music Clubs

ELIZABETH MARLOW

Soprano Houston, Texas

Education: Pursuing MM Opera Performance, The Boston Conservatory at Berklee; BM Vocal Performance & Minor in Communication Studies, The University of Texas at Austin. Studied with Kerry Deal, Jill Grove, Liliana Guerrero.

Roles Performed: Nora (Riders to the Sea), Rosemary (Summer and Smoke), Little Red (Little Red’s Most Unusual Day ), Despina - Cover (Così fan tutte), Stela ( A Girl from Ipanema), Suor Osmina (Suor Angelica), Eliza Brock - Cover (Whaling Women)

Awards: Young Texas Artists Music Competition 2025First Prize in Vocalist Division

Previous Experience: Boston Conservatory at Berklee Opera Theater, Butler Opera Center at The University of Texas at Austin

RACHEL MELLMAN

Soprano Burlingame, CA

Education: MM Vocal Arts, California State University Northridge; BA Drama Performance, University of Washington. Studied with Dr. Hugo Vera, Dr. Darrell J. Jordan.

Roles Performed: Contessa Almaviva (Le nozze di Figaro), Gretel (Hansel and Gretel ), Donna Elvira (Don Giovanni ), Cenicienta (Cenicientaaa! – U.S. Premiere), Malaria (Cenicientaaa! – U.S. Premiere), Nadia Presencia 1 (Marea Roja – U.S. Premiere), Pamina (Die Zauberflöte), Venus (Orphée aux Enfers), La Maestra delle Novice (Suor Angelica)

Awards: Opera Buffs Grant Recipient; 1st Place, CSUN Aria and Concerto Competition, 1st Place, Cal Western Region NATS (Advanced Classical Treble Voice).

Previous Experience: Palm Springs Opera Guild, Los Angeles Opera Buffs, Lawrence Opera Theatre, CSUN Opera, Santa Monica College Opera Theatre, Guild Opera

Scholarship Benefactor: Martha Mack Award

ANTHONY MENARDI

Tenor

Atlanta, GA

Education: Pursuing BM Vocal Performance, Georgia State University. Studied with Richard Clement, Leah Partridge, Magdalena Wór.

Roles Performed: Monostatos (Die Zauberflöte), Dr. Spinelloccio and Notary (Gianni Schicchi ), Dr. Blind (Die Fledermaus), Jailer (Dialogues des Carmélites), Toby (The Medium), Cat (John Davies’ Pinocchio)

Previous Experience: GSU Opera Theatre, Fio Italia Summer Opera Program, Harrower Summer Opera Workshop, Opera in the Ozarks

Scholarship Benefactors: Alice Martinson and Carole Sturgis; Aleeta Mae Riney Endowment

ISABELLE OLSON

Mezzo-soprano Islesboro, Maine

Education: Pursuing BA Music - Vocal Performance, University of Arizona. Studied with Dr. Kristin Dauphinais.

Roles Performed: Cinderella (Rodgers and Hammerstein’s Cinderella)

Awards: Quest for the Best of Southern Arizona 2025 nominee

Previous Experience: UA Opera Theater

Scholarship Benefactors: Caitlin Kelley; Tim Danielson Endowment

ZHIHUI PANG

Tenor Chengdu, China

Education: Pursuing DMA University of Maryland; GAC Voice, University of North Texas; MM Voice, Indiana University; BM Journalism, Renmin University of China. Studied with Kevin Short, Carol Wilson, Deanne Meek, Carlos Montane.

Roles Performed: Prunier (La Rondine), Liberto (The Coronation of Poppea), the Governor (Candide), Tamino (The Magic Flute), Rinuccio (Gianni Schicchi ), Don José (Carmen), Ruggero (La Rondine), Eisenstein (Die Fledermaus), Don Ottavio (Don Giovanni ), Rodolfo (La bohème)

Awards: Verdi Award of 2023 Orpheus Vocal Competition student group, 2024 UNT Concerto Competition finalist.

Previous Experience: IU Opera Theatre, UNT Opera, Lyric Opera Weimar, Opera Lucca, Chicago Summer Opera, Opera Bastide, Music on Site, Nashville Bel Canto

Scholarship Benefactors: Eureka Springs Opera Guild; Richard Drapeau Endowment

OPERA IN THE OZARKS ARTISTS

VICTORIA POPRITKIN

Soprano Cleveland, OH

Education: Pursuing PD Vocal Performance, University of Indiana; MM Opera Performance, Binghamton University; BM Music Performance, Cincinnati College-Conservatory of Music; BS Neuroscience, University of Cincinnati. Studied with Thomas Goodheart, Dr. Quinn Ankrum.

Roles Performed: Suor Angelica (Suor Angelica), Adele (Die Fledermaus), First Lady (Magic Flute), Countess Ceprano (Rigoletto), Cupid (Orpheus in the Underworld ), Papagena (Die Zauberflöte)

Awards: Laffont Competition Indiana District Encouragement Award (2025), 3rd Classical Singer Competition Young Artist Division (2024), Binghamton Concerto Competition (2023), ThreeArts Women in Arts Scholarship (2022), CCMPower Scholarship (2018-2021)

Previous Experience: TriCities Opera, Binghamton University Opera Workshop, CCM Opera d’Arte

Scholarship Benefactor: Alice Martinson and Carole Sturgis

JONATHAN RHOADES

Baritone Levelland, TX

Education: MM Vocal Performance, University of Memphis; BME Choral Music, Oklahoma State University. Studied with Matt Burns, Steven Sanders, Gregory Brookes.

Roles Performed: Tony (Most Happy Fella), Masetto (Don Giovanni ), Mr. Gobineau (The Medium), Hans (Der Vetter aus Dingsda), Brack Weaver (Down in the Valley ), Bartender and Dater #11 (Speed Dating Tonight! ), Ike Skidmore (Oklahoma! ), Lt. Samuel (The Pirates of Penzance)

Previous Experience: Opera Memphis, University of Memphis Opera Workshop, OSU Opera

Scholarship Benefactor: Texas Federation of Music Clubs

LAUREN SALAZAR

Mezzo-soprano Spring, TX

Education: Graduate Artist Certificate Voice and Opera, University of North Texas; MM Voice Performance, University of North Texas; BM Voice Performance, The University of Texas. Studied with Dr. Carol Wilsonies.

Roles Performed: Carmen (Carmen), Hänsel (Hänsel und Gretel ), Dido (Dido & Aeneas), Despina (Così fan tutte), Annio (La clemenza di Tito), Zweite Dame (Die Zauberflöte), Dorothée (Cendrillon), Third Wood Sprite (Rusalka), Amahl ( Amahl and the Night Visitors), Papagena (Die Zauberflöte)

Previous Experience: Austin Opera, Fort Worth Opera, Opera Arlington, UNT Opera, Butler Opera Center, Festival Opéra Bastide (France), TEXAS Outdoor Musical Company

Scholarship Benefactors: Eureka Springs Opera Guild Art in Opera

IAN SHERWOOD

Tenor Grand Forks, ND

Education: Swiss Opera StudioHochschule der Kunst, Bern; BM Vocal Performance, North Dakota State University. Studied with Bernardo Villalobos, Claude Eichenberger, Mary Dibbern.

Roles Performed: Contino Belfiore (La Finta Giardiniera), Tamino (Die Zauberflöte), Ferrando (Così fan tutte), Eisenstein (Die Fledermaus), Francis Flute ( A Midsummer Nights’ Dream)

Previous Experience: Swiss Opera Studio; Theatre Orchestre Biel/Solothurn; Garten Oper Langenthal; Bühnen Bern; Lyric Opera Studio Weimar; Fargo/ Moorhead Opera Company

Scholarship Benefactors: Martha Mack Award; Bill Yick Endowment

RYAN SMITH

Tenor Keller, TX

Education: Pursuing MM Voice, Rice University; BM Vocal Performance University of Oklahoma. Studied with William Joyner, Joel Burcham, Nova Thomas.

Roles Performed: Rinuccio (Gianni Schicchi ), Le Chavalieur de Force (Dialogues of the Carmelites), Gonzalve (L’heure Espagnole), Fatty the Bookkeeper (Rise and Fall of the City of Mahagoney ), Kromow (Merry Widow ), Donald (Gallantry), Sir Roderick Murgatroyd (Ruddigore)

Awards: Oklahoma NATS 1st Place (2023), Ladies Music Club of OKC 1st (2025)

Previous Experience: University of Oklahoma Opera, Painted Sky Opera, FIO Italía (Urbania Italy), Cimarron Opera

Scholarship Benefactors: Jim and Janice Swiggart Endowment; Elsie Wrighit Endowment

BENJAMIN SOMERVELL

Bass-Baritone

Tuscaloosa, AL

Education: Pursuing MM in Vocal Performance, University of Alabama; BME Music Education, dual concentration in voice and bass trombone Mississippi State University. Studied with Paul Houghtaling, Garrett Torbert.

Roles Performed: Fiorello (Il barbiere di Siviglia), Peter (Hansel and Gretel), King Melchior ( Amahl and the Night Visitors), General Boom (The Bremen Town Musicians), Baron de Pictordu (Cinderella), Count Ceprano (Rigoletto), Belcore (L’elisir d’amore), Masetto (Don Giovanni, A Rock Opera), Sergeant of Police (The Pirates of Penzance), King Balthazar ( Amahl and the Night Visitors)

Awards: First Prize Junior TBB Division at Mississippi NATS (2022)

Previous Experience: Druid City Opera, UA Opera Theatre, Golden Triangle Theatre

Scholarship Benefactors: National Federation of Music Clubs; Mary A. Chop Trust

CAEL SZABADOS

Baritone Glendale, AZ

Education: Pursuing BM Vocal Performance and Music Education, Arizona State University. Studied with Stephanie Weiss, Paul McNamara, Stephanie Sadownick.

Roles Performed: Antonio (Le nozze di Figaro), Old Prince Bolkonsky (Natasha, Pierre, and the Great Comet of 1812)

Previous Experience: Arizona Opera, ASU Music Theatre

Scholarship Benefactors: Carolann Martin Endowment; Duane and Carole Langley Endowment

ANJA TUOMINEN

Mezzo-soprano West Chester, PA

Education: Pursuing MM Vocal Performance, Peabody Institute; BM Vocal Performance, New York University. Studied with Margaret Baroody, Denyce Graves, Dr. Lisa Willson-DeNolfo, Dr. Paul Speiser.

Roles Performed: Mercedes (Carmen), Un Patrê (L’enfant et les sortileges), Mrs. Splinters (The Tender Land ), Third Spirit (Die Zauberflöte)

Awards: Third Place in Masters’ Level Classical Division (NATS Eastern Regional Competition 2023), First Place in Adult Musical Theater Division (NATS Eastern Regional Competition 2023), Honorable Mention Award (National YoungArts Foundation 2017)

Previous Experience: Music On Site, Atlantic Music Festival

Scholarship Benefactors: Adah Hesselgrave Endowment; Ponca City Music Club

OPERA IN THE OZARKS ARTISTS

HAYDEN TURNER

Baritone Norman, OK

Education: Pursuing MM Vocal Performance, University of Oklahoma; BM Music, University of Central Oklahoma. Studied with Dr. Leslie Flannagan.

Roles Performed: Figaro (Le nozze di Figaro), Falke (Die Fledermaus), Gianni Schicchi (Gianni Schicchi ), Commendatore (Don Giovanni ), Customs Sergeant (La bohème), Schaunard (La bohème), Benoît/Alcindoro (La bohème), Trinity Moses (Rise and Fall of the City of Mahagonny), Count Danilo (The Merry Widow), Mr. Kofner (The Consul )

Awards: Graduate Assistantship in Music Technology, Phi Mu Alpha Sinfonia (Mu Chapter), Oklahoma City Opera Artist-in-Residence

Previous Experience: OK City Opera (Production Manager), Painted Sky Opera (Community Artist), Opera on Tap OKC (Administrator), Tulsa Opera, Matador Opera Workshop, Rosenbalm School of Music, Cathedral of Our Lady of Perpetual Help

Scholarship Benefactors: South Central Region of National Federation of Music Clubs; Oklahoma Federation of Music Clubs

HANNA WARD

Soprano Florence, SC

Education: Pursuing MM Vocal Performance and Pedagogy, Peabody Institute of The Johns Hopkins University; BM Vocal Performance and Pedagogy, Anderson University. Studied with Margaret Baroody, Denyce Graves, Deirdre Welborn, Fran Coleman, Susan Hiltibidal.

Roles Performed: Mother (Hansel and Gretel ), The 2nd Lady (The Magic Flute), A Handmaid (The Handmaid’s Tale), Beatrice (scene from Béatrice et Bénédict), Dying Juana (scene from With Blood With Ink)

Awards: Outstanding Music Performance Major (2023), Musical Theater John Alexander National Vocal Competition Semi-Finalist (2023), NATS Student Auditions Nationalist Semi-Finalist (2022, 2023), NATS Student Auditions State Spirituals Winner (2023), NATS Student Auditions State Hall Johnson Winner (2023)

Previous Experience: The International Performing Arts Institute (Germany)

Scholarship Benefactors: Annie An; Rowland David Endowment

LOGAN WINDLEY

Soprano Suffolk, VA

Education: Pursuing BM Vocal performance, Cleveland Institute of Music. Studied with Dean Southern.

Roles Performed: Plaintiff and chorus (Trial by Jury ) and Eurydice (Orpheus in the Underworld ), Lady in Waiting (L’Étoile), Chorus (Don Giovanni )

Awards: First place in the Omega Si Phi-Lambda Chapter (2022), second place in the Omega Si PhiGamma Xi chapter (2022), first place in the Bland Music Competition (2022)

Scholarship Benefactor: Eureka Springs Opera Guild

HANNAH GRACE WINSTON

Soprano Marysville, MI

Education: Pursuing MM Vocal Performance, Peabody Institute of the Johns Hopkins University; BFA Musical Theatre, Long Island University. Studied with Elizabeth Futral, Amanda Chmela, Heidi Riggs.

Roles Performed: Annio (La clemenza di Tito), Fiordiligi (scenes from Così fan tutte), Young Juana Inés (scene from With Blood, With Ink ), Beatrice (scene from Béatrice et Bénédict ) Emma Goldman (Ragtime), Violet Karl (Violet), Clara, Franca u/s and ensemble (The Light in the Piazza), Julia Sullivan (The Wedding Singer)

Awards: Magna Cum Laude graduate, Long Island University (2023)

Previous Experience: Peabody Opera Theatre, Long Island University Post Theatre Company, GhostLight Theatre, Cultural Arts Playhouse, Opera Theatre of the Rockies Vocal Arts Festival, Respiro Opera NYC, Southwest Michigan Symphony

Scholarship Benefactor: John and Rebecca Babbs

Ann-Marie and Gary Ardes

Annie An

Arkansas Federation of Music Clubs

John and Rebecca Babbs

Lynn Boise

Helen S. Boylan Foundation

Mary Prudie Brown Endowment

Kenneth and Maxine Burkhard Endowment

Theobell Campbell Endowment

Mary A. Chop Trust

Don and Lora Lynn Christensen Endowment

Craig Family Endowment

Tim Danielson Endowment

Rowland Davis Endowment

Richard Arthur Drapeau Endowment

Fred and Terry Eilskov

Dorothy Ellis Endowment

Eureka Springs Opera Guild

Mark and Margaret Garrett

Marvin and Lois Hall Endowment

Richard Hill Scholarship Endowment

Hobart Family Endowment

Justice Phil and Carla Johnson Endowment

Pamela Murphy Jones Endowment

Caitlin Kelley

Duane and Carole Langley Endowment

Carolann Martin Endowment

Alice Martinson and Carole Sturgis

Missouri Federation of Music Clubs

Moberly Music Club Endowment

National Federation of Music Clubs

Oklahoma Federation of Music Clubs

Luke and Janet Parsch Endowment

Ponca City Music Club

Dr. Nancy J. Preis

Dr. Nancy J. Preis Endowment

Maria de Waal Putter Endowment

Stephen and Colleen Shogren

Sigma Alpha Iota

South Central Region Endowment

James and Janice Swiggart Endowment

Texas Federation of Music Clubs

Al and Pat Walden

Elsie Wright Endowment

Bill Yick Endowment

A New Orleans vibe with a pinch of quirky macabre.

ORCHESTRA

ANDREA C. BAKER

Bassoon

Back for her fifth season, Andrea C. Baker currently serves as the Assistant Professor of Bassoon at Western Illinois University where she is also the bassoonist of the longstanding Camerata Wind Quintet. She also holds the position of second bassoon with the Richmond Symphony in Indiana. She earned her DMA from the University of Cincinnati College-Conservatory of Music, and her MM degree from New England Conservatory. In her free time, she enjoys floating on the lake and spending time with her two cats.

NICK BLACKBURN

Principal Double Bass

Nick Blackburn holds an undergraduate degree from the University of Cincinnati and graduate degrees from Indiana University and the University of Cincinnati where he is currently pursuing a DMA. As a performer, Nick has played with a variety of groups including the Dayton Philharmonic, the Kentucky Symphony Orchestra, Cincinnati New Music Ensemble, among others. This is his fourth season with Opera in the Ozarks.

EDWIN CHENG

Section Violin

Edwin Cheng, an Oklahoma-based violinist, recently earned a Grammy nomination for his contribution to “The Impossible Dream.” A member of the Dallas Opera, Oklahoma City Philharmonic, Tulsa Symphony, and Wichita Symphony, he also recently won a position with the Syracuse Orchestra, NY. Cheng has toured internationally with the Hong Kong New Music Ensemble and nationally with Grammy-winning Casting Crowns. He has participated in summer festivals including Aspen and Brevard. Cheng is an ABD at the University of Oklahoma. His primary influence is Professor Alexander Kerr, former concertmaster of the Royal Concertgebouw Orchestra.

YVONNE CREANGA

Section Second 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, South Carolina 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. She is currently a member of the Tucson Symphony Orchestra.

JUSTIN CROUSHORE Trombone

Justin Croushore serves as Assistant Professor of Trombone at Morehead State University in Kentucky. An active performer, he holds the position of principal trombone with the Asheville Symphony Orchestra in North Carolina and the Opera in the Ozarks Orchestra.. Previously, he was a member of the Belgrade Philharmonic Orchestra, Sarajevo Philharmonic Orchestra and Cape Ann Symphony.

JULIANNA EIDLE

Second Flute/Piccolo

Julianna Eidle is an Illinois-based performer, organizer, and educator. Julianna is Instructor of Flute at Western Illinois University and Co-Director of New Downbeat, a Cincinnati chamber ensemble rooted in intersectional feminism. She is a certified yoga instructor, Deep Listening facilitator, and holds degrees from Indiana University (BM and Performer Diploma) and the University of Cincinnati (MM), where she is a DMA candidate. This is her fourth season at OiO, and when not in the pit, you can find her floating on Beaver Lake.

ELIJAH EVANS

Assistant Concertmaster

Born and raised in El Paso, Texas, Elijah Evans began his violin studies at age 11. At age 17 he won positions with the El Paso symphony and the Juarez Symphony and from there began to pursue a performing profession. Graduating from the University of North Texas with focuses in Violin performance and Linguistics, Evans was privileged to study with professors Felix Olschofka and Julia Bushkova. Evans regularly performs and holds positions with the Roswell Symphony Orchestra, Shreveport Symphony Orchestra, Texarkana Symphony Orchestra, and the El Paso Symphony Orchestra. He has performed around the world in places including Mexico, Italy, and Tanzania. In addition to his brim full performing schedule, Evans enjoys teaching his studio of students in Denton, Texas. Evans currently performs on a wonderful English violin from the 1700’s which he procured in 2020.

QINGYUAN FU

Section Viola

Originally from Anlu, China, violist Qingyuan Fu is currently in the DMA program at the University of Oklahoma. She has been a prize winner in many national and regional competitions, including the winner of the Oklahoma State Round and South-Central Division Round of the MTNA Young Artist Competition (String Division) in both 2021 and 2022. Qingyuan has also participated in several international festivals, including the Schlern International Music Festival in Italy and the Aspen Music Festival.

ORIANA GONZALEZ

Section Violin

Oriana Gonzalez, originally from Venezuela, has been dedicated to the study of music since the age of six. She earned her BM in Performance from the University of North Texas and her MM from Texas Christian University. Oriana has participated in prestigious summer festivals both in the United States, including the Round Top Festival Institute, and internationally, where she had the honor of her debut solo performance with orchestra in Italy. Currently, she is an active performer with several regional orchestras in the Dallas-Fort Worth area.

MICHELE GUNN Concertmaster

Currently based in Shreveport, LA, Michele plays both violin and viola in several orchestras and chamber groups in the Ark-La-Tex area. She is also the Music Librarian for the Shreveport Symphony. She holds degrees from Baylor University (BM) and Rice University (MM). After spending the last three summers playing in the orchestra at Utah Festival Opera, Michele is joining Opera in the Ozarks for the first time this summer.

GREGORY HELSETH

Principal Horn

Gregory Helseth has enjoyed a successful career spanning nearly 40 years, performing in ensembles across the United States, Europe, and Latin America. Having held seats in the horn section from Assistant Horn to Fourth, he ultimately settled into the role of Principal: 13 seasons with the Omaha Symphony (1989 – 2002), two seasons with the legendary Allentown Band, and after taking time off to raise two children, he was appointed Principal Horn with Lincoln’s Symphony Orchestra in Lincoln, NE, in 2007. He currently remains a freelance hornist, teacher, and composer at large.

ADRIAN JACKSON

Section Violist

Adrian Jackson is a passionate performer and educator from Austin, Texas. Adrian has earned degrees from the Eastman School and the San Francisco Conservatory. Adrian has served as Principal Violist with the Southern Tier Symphony and NY State Ballet Orchestra and is the first recipient of the LaCrosse Symphony Fellowship. Adrian currently performs with the Elliot String Quartet while pursuing a MM degree at Stephen F. Austin University.

STEFAN KOCH

Principal Cello

Stefan Koch received his musical training at Temple University in Philadelphia, where he studied with Hirofumi Kanno and Orlando Cole. He is a member of both the Lansing Symphony and the Jackson Symphony and is a frequent performer with the Ann Arbor Symphony, West Michigan Symphony, Toledo Symphony, Detroit Opera and

Grand Rapids Symphony. From 2007 to 2024 he spent his summers at the Utah Festival Opera in Logan, Utah where he was Principal Cello. Mr. Koch has produced three CDs of chamber music of the exiled Jewish Viennese composer Richard Stöhr with a fourth coming out in 2025.

LISA MEYERHOFER

Principal

Flute

Lisa Meyerhofer is Principal Flute of the Des Moines Symphony and Third Flute/ Piccolo of the Omaha Symphony, where she was recently featured as the soloist performing Lowell Liebermann’s Piccolo Concerto. She has also held positions as Acting Assistant Principal Flute with the Omaha Symphony and Second Flute/Piccolo with the Chattanooga Symphony and Opera, and has played with the Buffalo Philharmonic Orchestra, South Dakota Symphony, Lincoln’s Symphony, Tulsa Symphony, and Lexington Philharmonic. Lisa was an award winner in the 2017 Walfrid Kujala International Piccolo Competition, and received her BM from Ithaca College and MM from Northwestern University. Lisa lives in Omaha.

SARAH MINNEMAN

Oboe/English Horn

Sarah Minneman is adjunct faculty at Earlham College and Chamber Music Coordinator at the University of Cincinnati College-Conservatory of Music. Sarah also teaches and performs in the greater Cincinnati area. She substitutes with orchestras in the Midwest including the Louisville Orchestra, Dayton Philharmonic, Omaha Symphony, and Lexington Philharmonic. Sarah is finishing her DMA at CCM and holds degrees from the University of Southern California (MM) and the University of Maryland (BM and BA in Germanic Studies).

RENÉE MORENO

Principal Viola

Tucsonan Renée Moreno is returning for their third season at Opera in the Ozarks. While not playing in the pit for OiO, Renée plays with the Tucson Symphony Orchestra as a member of the viola section. Renée’s primary teachers include Rita Porfiris and Dr. Molly Gebrian. When not playing, studying, or listening to music, Renée enjoys stargazing, playing card games, and mending, bleaching, distressing, dyeing, or otherwise modifying their clothes.

BRYCE NEWCOMER

Clarinet

Returning for his fourth season, Bryce Newcomer is an established clarinetist, music theorist, and educator. Bryce is the Collegiate Assistant Professor of Clarinet and Music Theory at Virginia Tech, Second/E-flat Clarinet of the Johnson City Symphony, and freelances nationally. Bryce is a member of Some Light Reeding, a duo with bassoonist Andrea Baker. Bryce holds degrees in clarinet performance and music theory from the Cincinnati College-Conservatory of Music (DMA and MM) and the University of North Texas (BM).

ORCHESTRA

KOURTNEY NEWTON

Section Cello

Cellist Kourtney Newton is an active performer in the Dallas-Fort Worth area having recently earned a DMA from the University of North Texas. She has been a featured soloist at the NYC Electroacoustic Music Festival, the Modern Art Museum of Fort Worth Sounds Modern Recital Series, and New Music on the Bayou in Louisiana. Newton has performed with orchestras both domestically and internationally, including notable venues in Graz, Salzburg, Vienna, London, and Bangkok, Thailand.

EMILY PALMER

Section Violin

Emily Palmer received her BM from Stetson University, her MM from Eastman School of Music, and is currently attending Florida State University to pursue her DM in violin performance. She is the first violinist of the Carriola String Quartet, a special quartet that showcases interactive performances in schools and retirement facilities all around the Florida Panhandle. Emily is also a member of the Tallahassee Symphony Orchestra and a substitute for other orchestras in the area.

ORLANDO SCALIA

Principal Clarinet

Orlando Scalia is one of the few select Argentines living in Omaha, NE. He is a fixture in the musical life of Northwest Arkansas, holding the Bass Clarinet position with the Symphony of Northwest Arkansas. Currently the Associate Principal Clarinet of the South Dakota Symphony, Orlando travels throughout the country playing with orchestras such as the Houston, Omaha, and Wichita Symphonies, as well as Opera Naples and Orchestra Miami. He holds degrees from the Universities of Miami and Cincinnati. This being his 12th season at OIO, Scalia’s used reeds can be found adorning the local forests and trails.

MARIE SMITH

Second Horn

Marie Smith is an Assistant Instructional Professor at Pittsburg State University where she teaches music history and horn. She actively freelances in the area and has performed with the Oklahoma City Philharmonic, Tulsa Symphony, Symphony of Northwest Arkansas, Tulsa Signature Symphony, Tulsa Ballet, Tulsa Opera, Wichita Opera, and Opera in the Ozarks. Marie holds degrees from the Eastman School of Music (DMA), the University of North Carolina School of the Arts (MM), and Utah State University (BM). Her primary teachers include Professor W. Peter Kurau, Dr. Maria Serkin, Dr. Joseph Falvey, and Steve Park.

CHRISTOPHER STORK

Principal Second Violin

Christopher Stork originates from Plainfield, Vermont, and joined the Thunder Bay Symphony Orchestra as Principal Second Violin in 2021. An avid and talented chamber musician, Chris was the second violinist in the

Iceberg String Quartet from 2018-2020. The quartet was the resident string quartet at notable festivals including at the Banff Center, the Juilliard String Quartet Seminar, Toronto Summer Music Festival, and the Bowdoin Music Festival. They were the winners of the McGill Chamber Music Competition (2018), finalists at the Chesapeake International Chamber Music Festival (2020), and semifinalists at the Young Concert Artists Competition (2019). He was also a member of the resident piano trio at the Zodiac Music Festival in France, and has toured with ensembles such as the Vermont Mozart Chamber Players. As an orchestral violinist, Chris has served as Concertmaster of the McGill Orchestra, and Assistant Principal Second of the Glens Falls Symphony Orchestra.

CHASE TEAGUE

Principal Trumpet

Chase Teague, from Frisco Texas, is an active performer and teacher in the DFW Metroplex. He has earned his BME from Texas Christian University along with his MM and Graduate Performance Certificate from the University of Arkansas. Chase has had the pleasure of currently performing as Principal Trumpet for the Las Colinas Symphony Orchestra, Principal Trumpet for Opera in the Ozarks, and with the Lone Star Wind Orchestra while also subbing with other groups in the area. Chase has also performed with the Arkansas Philharmonic Orchestra, Symphony of Northwest Arkansas, Texarkana Symphony Orchestra, Fort Smith Symphony, Ozark Family Opera Company, and the Arkansas Brassworks. Chase had the pleasure of making his soloist debut with the Las Colinas Symphony Orchestra in the fall of 2024. This will be Chase’s eighth summer as principal trumpet with the Opera in the Ozarks. In his free time Chase enjoys fishing, basketball, BBQ and being with his wife, son, and two dogs.

DWIGHT VAN DE VATE

Principal Percussion

Dwight Van de Vate is a Memphis, Tennessee based percussionist and music educator who is known for engaging and varied performances. Some of his highlighted moments include being a soloist with the University of Memphis Percussion Group, a featured performance at the NorthStar Music Festival, and two performances at PASIC. Currently, he is the Principal Timpanist with Sinfonietta Memphis. He holds music degrees from The University of Tennessee, Knoxville and Truman State University, and is ABD at The University of Memphis where he is studying music performance.

BAYLEE WOMACK

Second Trumpet

Baylee is a freelance musician currently based out of the Denver area. She holds degrees from the University of Central Arkansas (BM) and the University of ColoradoBoulder (MM). Her freelance career has given her opportunities to play with many symphonies in Arkansas and Colorado, including the Arkansas Symphony Orchestra. As a native Arkansan, Baylee is thrilled to return to OiO for a second season.

ARKANSAS

Ardes, Ann-Marie

Ardes, Gary

Benson, ML

Bond, Marjorie*

Bonner, Bill*

Bonner, Louise*

Cabe, Lucy*

Cathcart, Christopher

Caviness, Mrs. Eric*

Davis, Rowland*

Davis, Virginia*

Dixon, Bruce & NeNe Lynch

Drum, John and Lois*

Fantz, Wanda

Fite, Gilbert C.*

Fite, June*

Flanagan, Patrick

Gemaehlich, Herta

Graham, Margaret

Grilk, Ernst*

Grilk, Gloria Febro

Henson, Catherine M.

Henson, J. Edwin

Hobart, Mrs. Henry M.*

Jones, Pamela*

Jordan, Ruth*

King, Jill and Thomas

Martinson, M.D., Alice M.

Milberger, Esther*

Parsch, Luke and Janet

Pierce, Betty

Rownak, Judy

Shambarger, Mary J.*

Shogren, Colleen

Shogren, Stephen

Smith, Mrs. George*

Stamps, Jerry E.*

Strakshus, Gay

Sturgis, Carole

Swiggart, James

Taylor, Dan

Walton, Helen Robson*

Welter, Mr. and Mrs. Willliam G.

Wicks, Frank*

Wright, Elsie Braginton*

CALIFORNIA

Cook, Catherine

COLORADO

Wheeler, Juline

FLORIDA

Preis, Nancy J.

ILLINOIS

Balluff, Marie M.

KANSAS

Burkhard, Dr. Kenneth*

Burkhard, Maxine*

Campbell, Bob*

Dagenais, Don

Fields, Dr. Galen* and Evelyn*

Graber, Mrs. Clarence J.

Gum, Brian

Gum, Deborah Burkhard*

Harrison, Beth

Hentzen, Katherine L.*

Janson, Ruth E.*

Kraus, Lynda Burkhard*

Lansdowne, Kathy Burkhard

Martin, Carolann*

Nagel, Elwyn H.* and Jacqueline

Nurre, Vicki Burkhard

Saket, Janis

Sorrell, Bruce* and Judith*

Steele, Flora*

Stewart, Dr. Carol

Stewart, Rose*

Vollen, Gene*

Vollen, Linda H.

Whitmer, Kathleen Wilcox, Wilma B.

KENTUCKY

Paris, Elizabeth*

MASSACHUSETTS

Merry, Virginia*

MISSOURI

Blair, Starla

Blair, Terry

Boyd, Mrs. Frances E.*

Cockman III, James

Conway, Alice E.

Craig, Connie

Craig, Larry*

Cranfill, Doris Jean*

French, Caroline*

Garcia, Rita P.

Garrett, Michael and Phyllis

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*

Ernest, Lorraine Hardesty, Lynne

Hickman, Kathryn

Hudson, Mrs. Charles* Lacy, Dr. Ann*

Linn, James Paul

Murphy, John M.*

Quan, Alice*

Replogle, Margaret K.* Ringham, C. Russell* Ringham, LaTrice* Rue, Debra Smith, Leta Mae* Weaver, Virginia Wheeler, Dr. Ellen Jayne Whitesell, Leon* and Lavonna Whitesell, Lisa

TENNESSEE

Harsson, Mildred Zimmerman*

Brian, Carol

TEXAS

Armor, Lois

Athens Music Study Club Bear, Glenn Bear, Lorie Langley

Breuer, Sue M.*

Brown, Brenda

Brown, Guy S.*

Brown, Mary Prudie* Brown, Suzanna

Christensen, Lora Lynn

Christmann, Francis*

Copeland, Carolyn

Danielson, Tim*

Del Rio Music Club

Drapeau, Richard A. Ford, Brenda

Guemple, Mary* Hall, Betty*

Harrison, William

Hayes, D T and Shannon

Hobart, David*

Hobart, Jeanice*

Johnson, Carla Jean Johnson, Phil

Jones, Peggy C.

McKay, Mary

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.*

VIRGINIA

Sidway, Lois Hobart*

WISCONSIN

Roach, Kristin

PATRONS

DIAMOND BENEFACTORS

(More than $50,000)

Ann Lacy Foundation

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

Connie & Larry* Craig

Don Dagenais

Richard Arthur Drapeau

Richard Hill* Estate

David C.* & Jeanice* Hobart

Dr. Ann Lacy*

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*

Luke & Janet Parsch

Nancy Preis

Maria de Waal Putter*

Stephen & Colleen Shogren

Texas Federation of Music Clubs

Gene* & Linda Vollen

Walton Family Foundation

Elsie Wright*

PLATINUM BENEFACTORS

($10,000 - $49,999)

Gary & Ann-Marie Ardes

Lois Armor

Sue Breuer*

Suzanna Brown

Zelma Burress Estate (Triad Energy)

J. Richard Caldwell & Gloria Matyszyk

Don & Lora Lynn Christensen

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*

Herta Gemaelich

Gloria & Ernest* Grilk

Marvin H. Hall

Ed & Catherine Henson

Susan Hobart

Dr. Barbara Irish*

Phil & Carla Jean Johnson

Pamela Jones*

Marquis & Diane Jones

Kansas Federation of Music Clubs

Jill & Tom King

Martha McCurdy Estate

Moberly Music Club

Jean Moffatt

Marcia Molter

John M. Murphy*

Elwyn* & Jacqueline Nagel

Oklahoma Federation of Music Clubs

Dr.* & Mrs.* Charles Olson

Polk Stanley Wilcox Architects

Mr.* & Mrs.* C. R. Ringham

Aleeta Mae Riney*

Martin* & Elise Roenigk

John Schmidt

Sigma Alpha Iota International

Philanthropy

South Central Region NFMC

Al* & Pat Walden

Helen Robson Walton*

Joan B. Wells

Frank Wicks*

Ruth Wood

Bill & Laresa Yick

GOLD BENEFACTORS

($5,000 - $9,999)

Arkansas Community Foundation

John & Rebecca Babbs

Marilyn Caldwell

Charles Christmann

Nita Herrick Colpitts

Emil Cross, Jr.

CS Bank

John & Lois* Drum

Ellen Thomas Trust

June* & Gilbert Fite*

Ed & Mary Lou Garrison

Dr. Jess Green*

Ben & Rebecca Bird Haley

David & Shannon Hayes

Mrs. Robert Ingram

Wilmot Irish*

Hattie Janek*

Fritz & Lavinia Jensen Foundation

Peggy Jones

Melba Maechtlen

Beulah Hale McHaney*

Lynn McNew

Frank* & Lee Clements Meyer

Ruth Michaels

Francis Millett

Minnesota Federation of Music Clubs

William & Etta Moore Trust

Morning Etude Music Club, St. Louis, MO

National Endowment for the Arts

Barbara Rondelli Perry

Elizabeth Paris*

Marie Scheel*

Mary J. Shambarger*

Gloria Thrasher*

Leo* & Doris* Whinery

BENEFACTORS

($2,500 - $4,999)

Frances L. Abendroth*

Andante Music Club, Bella Vista, AR

Suzanne & Earl Babbie

Doug & Michelle Hobart Barnes

Martha Boden

Ramona Butala

Cottage Inn

Crescent Hotel

Crossland Construction

Bruce Dixon & NeNe Lynch

Gene & Patricia Flesher

King Gladden*

Golden Lyre Foundation

Carolyn Green

Mary Guemple*

Betty Hall*

Mark & Sharon Hobart

Chuck & Marilyn Janzen

Amy Jarman

Robert & Terry McRae

Dr. John Mizell*

Meredith Mizell *

Missouri Federation of Music Clubs-District 2

Music Club Friends, Austin, TX

Sara & Buzz Peine

Ponca City Music Club, OK

Z Reeder

Lee Reycraft

Judy Rownak

Debra Rue

Evelyn Ryan*

Weldon Scheel*

Schubert Music Club, Lawton, OK

John & Molly Seeligson

Becky Seidl

Southwest Oklahoma Opera Guild

Dr. Eline Stene

Gay & Gary Strakshus

Harry* & Tracie Sutcliffe

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*

Annie An

Arkansas FMC, NW District

Arkansas FMC, SW District

Athens Music Study Club, TX

TL & Cynthia Augspurger

Judge Clifton* & Marjorie Bond*

ML Benson

Helen Boylan*

Mary Ann Bridges

Leah Brown

Janet Burgess

Terry Burress

Zelma Burress*

Arsene Burton*

Carroll County Community Foundation

Carroll County Community Foundation, Youth Advisory Council

Central Region Federation Days

Mary Ella Clark*

Wayne Clark*

Thomas Cockrell & Yvonne Creangă

Richard Conkings*

Cooper Communities, Inc.

Carolyn Copeland

Muriel Cross

Sheryl Crow*

Kay Deaton

Mary Dixon

Donna Dover

Enterprise Rent-a-Car

Etude Music Club, San Antonio, TX

Exxon Mobil

Parick Flanagin

Brenda Ford

Foreman Thursday Music Club, AR

Maxine Fortenberry

Rita P. Garcia

Michael & Phyllis Garrett

Lynn Hardesty

Beth Harrison

William Harrison

Mildred Z. Harsson

Hartmann Brewing

Galen & Debi Havner

Danna & Ronn Hearn

Adah Hesselgrave*

Kansas City Lyric Opera Guild

Kathryn Hickman

Nina Hinson*

Merilyn Jax*

Lena Johnson Estate

Margaret Jones

Jonesboro Treble Clef Club

Caitlin Kelley

Charles Kimberlin

Fred & Phyllis* Knox

Elaine Knight

Jacqueline & William Lockwood

Susan & Dick Luehrs

Deborah & David Malone

Patricia Marx

Mary Cox McKay

Renate Melinat

Melodie Club, Dallas, TX

Carol & Tom Miller

William & Dixie* Mills

Dr. John T. Minor

Mu Phi Epsilon

Musical Research Society, Bartlesville, OK

Ann Nicholson*

Alan Orr

Will Paine

Lillian Bell Parnell

Marla Patterson

William Pendergrass

Mr. & Mrs. William Pfieffer

Betty Pierce

Carolyn U. Poe

Nirupama Raghavan

Joe Randall

Carolyn S. Reid

Kent Ryals

Janis Saket

Schuler Shook

Lois Hobart Sidway*

Ed & Judy Simpson

Jeremy A. Slavin

Terrance & Patti Smith

Bruce* & Judith* Sorrell

Helen Spradling*

Robert Swedberg

Karen Swogger

Daniel Taylor

Texas FMC, District 6

Ralph N. Turner

Elna Valine

Wesley & Traci Walls

Madge Webster*

Lynn & Larry Welk

William & Jean Welter

Juline Wheeler

Kathleen Whitmer

Louise Whitworth*

Kathie White

Wichita Music Club

Wilma Wilcox

Alise Wilkinson

Cletis Williamson

Janette S. Wittmann

MEMBERS

ANGEL

Etude Music Club

Herta Gemaehlich

Rebecca & Ben Haley

SUSTAINING

Don Dagenais

Harmony Club

Steve Holifield

Donald & Patti Karner

Luke & Janet Parsch

Marla Patterson

Kathie White

Alice Witterman

CONTRIBUTING

Thomas & Darlene Beller

Sherry Bryan

Barbara Carlisle

Nancy & Paul Dobbs

Ruth Dyar

Illinois Federation of Music Clubs

Sherri Irvin

Beulah Johnson*

JoAnne Justus

Donald & Pat Karner

George & Ouida Keck

Warren & Irene* Kester

Virginia Knieser

Cynthia Kresse

Sharon Lawlor

Geary & Judith Leason

Lucille Leisy

Kenneth Leonard

Dr. & Mrs. Revis Lewis

David M. Luce

Marilynn Mann

Sandy Martin & Kim Stryker

Jaquita Molot

Craig Milam

Nebraska Federation of Music Clubs

Herta & Willi* Nikolai

Phyllis Noonan

Thomas O’Neal

Orpheus Music Club, Blytheville, AR

PATRONS

David & Charlotte Paul

John Reeve

Byron* & Audrey* Reeves

Sheila Rice

Herbert & Sandra Riemer

Lucile Roberts

James Robertson

Carol Saari

Schubert Music Club, Lawton, OK

Judith Simpson

Robert & Leona Snyder

Springfield Music Club, MO

Dr. John Spurlin*

Jack & Mary Stark

Charles & Sandra Templeton

Krista Van Zant

Roger & Jennifer Viola

Carolyn Walker

Dr. Oliver Wallace*

Julie Watson

Krista Whipple

Laura Lee Wilcox

Dr. & Mrs. Elmer W. Williams

Zenda Music Club, KS

Marcia Edwards

Carolyn Green

Kansas Federation of Music Clubs

Cynthia Kresse

Melba Maechtlen

Alan Orr

William Poe

James Robertson

Texas Federation of Music Clubs

District 6

Janette Wittman

ACTIVE

Dorene Allen

Andante Music Club

Virginia Babb

Elizabeth & Orville Brill

Carthage Music Club

Carolyn Copeland

Tom & Dana Dykman

Mary Esther Eck

Euterpean Club

Maggie Garrett

Goodland Music Club

Natlynn Hayes

Danna Hearn

Ronn Hearn

Donna Kinslow

Eileen Lieber

Lorraine Long

Laverne Love

Lynn McNew

Karen Noorani

North Dakota Federation of Music Clubs

Ponoca City Music Club

Ellen Roach

Elise Roenigk

Linda Vollen

Pat Walden

Carolyn Walker

Nancy Werbitzky

This list includes memberships received from June 1, 2024, through May 31, 2025. If we have omitted your name, please accept our apologies, and let us know so that we can correct our records. We are grateful for your support.

75 TH ANNIVERSARY GALA DONORS

Producers

Crossland Construction Co.

CS Bank

Don and Patricia Dagenais

Eureka Springs City Advertising and Promotion Commission

Polk Stanley Wilcox Architects

Janet and Lucas Parsch

Nancy Preis

Becky and David Seidl

Alice Martinson and Carole Sturgis

Investors

Jill and Tom King Schuler Shook

Supporters

Arvest Bank

Glenn and Lorie Bear & Carole and Duane Langley

Mamie and Terry Burruss

Lee Lee Doyle

Sandy Edwards

Ed and Catherine Henson

Jaffe Holden

Debra and Carroll Rue

Friends

Gary and Ann-Marie Ardes

Bare & Swett Insurance

Lynn and Robert Berry

Childers Architects

DOXA / VANTAGE

Leroy and Sally Gorell

Ann Hopkins and Thomas Gorsuch

Blakely Pratt

Kenneth Riley

Colleen and Stephen Shogren

Krista Whipple

SPECIAL THANKS TO THESE PARTNERS

2025 ANNUAL FUND DONORS

PATRONS

$10,000

SOLOISTS

$5,000

$2,500

$1,000

OPERA IN THE OZARKS REPERTOIRE

Opera Composer

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

Albert Herring Britten, Benjamin

A Midsummer Night’s Dream

The Turn of the Screw

Pickwick

Burnand and Solomon

Shanewis Cadman, Charles Wakefield

The Willow Tree

A Witch of Salem

The Tender Land

Copland, Aaron

Pinocchio, The Opera Davies, John Jack and the Beanstalk

The Prodigal Son Debussy, Claude

Lakmé Delibes, Léo

Laundry Romance

Dittersdorf, Carl Ditters von Don Pasquale Donizetti, Gaetano

L’elisir d’amore

Lucia di Lammermoor

Captain Lovelock Duke, John

Martha Flotow, Frederich von Bluebeard Floyd, Carlisle

Susannah

Beauty and the Beast

Giannini, Vittorio

The Gondoliers Gilbert and Sullivan

The Mikado

The Pirates of Penzance

Trial by Jury

Faust

The Frantic Physician

Gounod, Charles

Robin and Marion de la Halle, Adam

Sunday Costs 5 Pesos Haubiel, Charles

The Proposal

Hansel and Gretel

Humel, Gerald

Humperdinck, Engelbert

Smoky Mountain Hunkins, Eusebia

Green Eggs and Ham

Kapilow, Robert

Draagenfut Girl Kupferman, Meyer

Pagliacci Leoncavallo, Ruggero

The Merry Widow Lehár, Franz

What Men Live By Martinü, Bohuslav

Cavalleria Rusticana Mascagni, Pietro

Don Quichotte Massenet, Jules

The Juggler of Notre Dame

Cendrillon

Manon

Werther

Amahl and the Night Visitors Menotti, Gian Carlo

The Medium

The Old Maid and the Thief

The Telephone

The Ballad of Baby Doe Moore, Douglas

The Face on the Barroom Floor Mollicone, Henry

Opera Composer

Die Entführung as dem Serail Mozart, Wolfgang Amadeus

Bastien and Bastienne

Così fan tutte

Don Giovanni

The Impresario

Le nozze di Figaro

Die Zauberflöte

The Merry Wives of Windsor Nicolai, Otto

Marriage by Lantern Light Offenbach, Jacques Orpheus in the Underworld

La Périchole

Les contes d’Hoffman

Signor Deluso Pasatieri, Thomas

The Village Singer Paulus, Stephen

The Music Master Pergolesi, Giovanni

La serva padrona

The Game of Love Petit, Pierre

Dialogues des Carmélites Poulenc, Francis

La bohème Puccini, Giacomo

Gianni Schicchi

Madama Butterfly

La rondine

Suor Angelica

Il Tabarro

Tosca

Dido and Aeneas Purcell, Henry

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

L’enfant et les sortilèges Ravel, Maurice

Cindy Reiners, Anne

Il barbiere di Siviglia Rossini, Gioacchino

La Cenerentola

The Bartered Bride Smetana, Bedrich

The Gooseherd and the Goblin Smith, Julia

Into the Woods Sondheim, Stephen

A Little Night Music

Die Fledermaus Strauss, Johann, Jr

The Gypsy Baron

Ariadne auf Naxos Strauss, Richard

The Beautiful Galathea Von Suppé, Franz von Ten Girls and No Man

Mignon Thomas, Ambroise

Solomon and Balkis Thompson, Randall

Miracles of Our Lady Van Grove, Isaac Noe’s Fludde

The Other Wise Man

The Prodigal – His Wandering Years

Ruth

The Shining Chalice

Riders to the Sea

Falstaff

Un ballo in maschera

Rigoletto

La traviata

Vaughan Williams, Ralph

Verdi, Giuseppe

The Crucible Ward, Robert

Down in the Valley Weill, Kurt

Street Scene

Sunday Excursion Wilder, Al

Award Winning Drag Show

Ever y Friday & Saturday Night

Late Nite Eats

Unlimited Play Saturday 4:30 - 6:30 pm

Dancing

Karaoke