2024 Wolf Trap Opera Insider Guide

1

PLAN YOUR WOLF TRAP OPERA SUMMER

JUNE

1 2 7 21 23

27 28 29

JULY

1 7 10 11 12 14 19

AUGUST 9 11 15 17

NOI + FESTIVAL SEVEN DEADLY SINS | 7:30 PM ¡TE ADORO! | 2 PM STUDIO ARTISTS IN CONCERT | 7 PM COSÌ FAN TUTTE | 7:30 PM COSÌ FAN TUTTE | 2 PM SALON SERIES | 7:30 PM COSÌ FAN TUTTE | 2 PM SALON SERIES | 7:30 PM COSÌ FAN TUTTE | 7:30 PM

SALON SERIES | 7:30 PM ARIA JUKEBOX | 2 PM JAMIE BARTON PUBLIC MASTER CLASS | 7 PM STUDIO SPOTLIGHT | 7:30 PM BEETHOVEN’S NINTH SYMPHONY | 8 PM JAMIE BARTON IN RECITAL | 2 PM LA BOHÈME | 8 PM

SILENT NIGHT | 7:30 PM SILENT NIGHT | 2 PM SILENT NIGHT | 2 PM SILENT NIGHT | 7:30 PM

RESERVE YOUR SEATS AT WOLFTRAP.ORG/OPERA 2

TABLE OF CONTENTS WOLF TRAP OPERA 2024 WOLF TRAP FOUNDATION FOR THE PERFORMING ARTS

WELCOME..................................................................................2 LA BOHÈME..............................................................................5 COSÌ FAN TUTTE.................................................................... 11 SILENT NIGHT........................................................................ 17 UNTRAPPED.......................................................................... 23 ¡TE ADORO!........................................................................... 26 ARIA JUKEBOX.................................................................... 27 JAMIE BARTON, 2024 FILENE ARTIST IN RESIDENCE........................ 28 WTO ALUMNI FLOURISH IN NEW ENDEAVORS...... 31 THE EXPANSIVE REACH OF WTO..............................34 FILENE ARTISTS ................................................................. 37 STUDIO ARTISTS.................................................................. 41 FELLOWS.................................................................................44 GUEST ARTISTS....................................................................45 ORCHESTRA & CHORUS .................................................. 47 OPERA BEYOND THE BARNS.........................................49 WITH APPRECIATION.......................................................50 EXPLORE MORE MUSIC................................................... 57

SPECIAL THANKS TO DAN AND GAYLE D’ANIELLO, WOLF TRAP 2024 SEASON UNDERWRITERS

1

WELCOME

Dear Friends, Wolf Trap Opera has a long history of selecting repertoire based on specific artists rather than themes, but sometimes a throughline emerges. This summer might as well be called “The Music of Battles,” as each production showcases the strategy, conflict, and heartbreak of war in different arenas. In La bohème, the struggling Bohemians fight a life of poverty to find their place in the world, and the campaign Musetta wages to reclaim Marcello is military in its precision. Così fan tutte gives us a classic fight of the sexes—a messy fray in which neither side can clearly be called the victor. Seven Deadly Sins explores the inner clash between two halves of a conflicted young woman, with each side pushing and pulling towards a path of purity or decadence. And in Silent Night, we find ourselves on an actual battlefield, watching WWI soldiers struggle with honor and duty to their countries despite a fragile moment of shared humanity. Throughout the summer, these pieces serve as an artful reminder of the battles we all face daily.

LEE ANNE MYSLEWSKI Vice President of Opera and Classical Programming, Wolf Trap Foundation for the Performing Arts

The wide-ranging reach of WTO continues to grow across the industry with every year, and it is not limited to those in the glow of the stage lights. We welcome back our 2023 Filene Artist in Residence Ryan McKinny and his wife Tonya as co-directors of Silent Night. In a similar, multi-hyphenate manner, our alums—singers, coaching fellows, and directing fellows—are all making an impact in the industry around the country. They are running opera companies and young artist programs, training collegiate singers at the highest levels, working for structural change within the artistic community, and making the landscape a better place—with better art—for all. I hope you’ll read about some of these outstanding alumni on page 34.

While you might not know this summer's artists just yet, past experience tells us these performers will be the next shining lights to lead the opera industry. I hope you’ll take the time to get to know them, and I look forward to seeing you at one of our many events this summer.

2024 SEASON AUDITIONS

BY THE NUMBERS RECORD NUMBER OF 1,303 APPLICATIONS THIS SEASON WTO HEARD 445 LIVE AUDITIONS IN CHICAGO, PHILADELPHIA, NEW YORK, HOUSTON, LOS ANGELES, CINCINNATI, AND VIENNA, VA 38 FILENE AND STUDIO ARTISTS SELECTED; 2.98% ACCEPTANCE RATE 2

As a lifelong opera enthusiast, I am proud to be a part of Wolf Trap Opera’s vibrant community of supporters who help perpetuate this timeless art form. Each season, Wolf Trap Opera produces three innovative and impressive productions that showcase the awe-inspiring talent of our emerging artists.

This summer, audiences can explore romance and heartache with Puccini’s La bohème, humor and ethical dilemmas in Mozart’s Così fan tutte, and the profound redemption of peace during war in Kevin Puts and Mark Campbell’s poignant Silent Night. Through each storyline, persona, and setting, I am thrilled to see how these classic and contemporary works come to life on our stages.

On behalf of Wolf Trap Foundation’s Board of Directors, I thank you for supporting this important and vibrant genre. With the continued generosity of our patrons and donors, Wolf Trap can maintain its commitment to top-tier training that cultivates the next generation of opera talent and inspires stellar programming. I look forward to seeing you at a Wolf Trap Opera performance this summer!

DANIEL A. D'ANIELLO Chairman, Board of Directors Wolf Trap Foundation for the Performing Arts

Welcome to Wolf Trap Opera’s 2024 season. Each year, I am reminded of just how remarkable and expansive our program has become, allowing artists at all stages of their journeys to transform and shine. The proof of WTO’s impact lies in our alumni, many of whom go on to perform at the world's most prestigious opera companies, take on leading arts administrator roles, and even return to Wolf Trap to pass on their knowledge to the next generation.

This summer, we are thrilled to welcome back Grammy-nominated mezzo-soprano Jamie Barton (’09) as our 2024 Filene Artist in Residence. Jamie will work closely with our Filene and Studio Artists guiding them on music and career preparation throughout the season, and the public can catch a glimpse of this process during her complimentary Master Class in July. Later in the month, she will also treat us to an exceptional recital at The Barns.

While our mainstage productions remain the cornerstones of the season, I find our many opera recitals and community partnerships to be equally impactful. We kick off the summer with a semi-staged UNTRAPPED production of Weill’s Seven Deadly Sins, a unique “sung ballet” which continues our partnership with National Orchestral

ARVIND MANOCHA President & CEO, Wolf Trap Foundation for the Performing Arts

Institute + Festival. At The Barns, this year’s Steven Blier concert, ¡Te Adoro!, introduces Spanish-tinged selections, and our most beloved recitals—the Salon Series, Studio Spotlight, and Aria Jukebox—return. Over at the Filene Center, four of this season’s Filene Artists will take centerstage alongside the National Symphony Orchestra for Beethoven’s Ninth Symphony.

This dynamic programming would not be possible without the lasting support of our community and partners. We thank our patrons for their contributions and endless enthusiasm, which fuels WTO to keep producing innovative works and shape the future of opera for everyone.

3

WOLF TRAP FOUNDATION BOARD OF DIRECTORS DR. JILL BIDEN Honorary Chair MR. DANIEL A. D’ANIELLO Chairman MR. ARVIND MANOCHA President and CEO MR. JOHN E. KING Vice Chairman and Secretary MR. MATTHEW R. KORN Treasurer Mr. Raj Ananthanpillai Mrs. Andrita J. Andreas Mr. C.E. Andrews Mr. Jeremy Blank Mr. Kevin T. Boyle Ms. Jan Brandt Ms. Patrice K. Brickman Mr. Richard K. Bynum Mr. Bruce L. Caswell Mr. Dante D’Egidio Dr. Melissa A. Delgado Ms. Lynn R. Dillon

Mr. Dominic E. Dragisich Mrs. Jean Edelman Ms. Virginia McGehee Friend Ms. Margaret Gupta Mr. Kenneth R. Hayduk Mr. Donald “Blue” Jenkins Mr. Broderick D. Johnson Mr. Eric J. Kadel, Jr. Ms. Lesley A. Kalan Mrs. Leana Katz Ms. Tracy K. Kenny Ms. Alka M. Kesavan Ms. Anne R. Kline Ms. Nancy J. Laben Mr. David H. Langstaff Mr. Robert S. Lutz Ms. Christina Co Mather Mr. Prabu Natarajan Ms. Janet M. Osborn Mr. Christopher Raymond Mr. James C. Reagan Mr. Kevin Robbins Mrs. Amy Rossi (Ex Officio)

Mr. David Samuels Mr. Srikant Sastry Ms. Anu Saxena Mr. Fredrick Schaufeld Mrs. Monica Schmude Mr. Julian M. Setian Mr. Kevin P. Smithson Mr. Todd Stottlemyer Mr. Clarence Taylor Mr. Robert G. Van Hoecke

Mrs. Shelly S. Hazel Dr. Ashok G. Kaveeshwar Mr. Gerald L. Kohlenberger Mr. John C. Lee, IV General Lester L. Lyles Ms. Ramona Mockoviak The Honorable Sean O'Keefe Mr. Patrick Pacious

Mrs. Norma G. Ramsey Mr. John J. Robertson Ms. Danielle O. Saunders Ms. Karen Schaufeld Ms. Theresa Thompson Mr. Ranvir K. Trehan Mr. David A. Winston Mr. John B. Wood

Mrs. Jennie Bishof Mrs. Sarah Choi Ms. Rhonda Fleming Mr. Leo F. Fox III Ms. Bonnie Haukness Mr. Jeffrey R. Houle Mr. Steven C. Job Mrs. Bambi Landew Mr. George Lowden Mr. David J. Martin Mr. James E. P. Miller

Mrs. Linda Moses Mrs. Pat Menster Neuman Mr. Michael Polmar Mr. Daniel W. Quirk Mrs. Chelsea Rao Mr. Jiten “Jay” Shah Mr. Dean Souleles Mrs. Joan Stansfield Mr. Douglas A. Tyson Mr. Jake Zatzkin

OTHER OFFICERS MS. BETH BRUMMEL Chief Operating Officer MR. STEPHEN D. KAHN General Counsel

PRESIDENT EMERITUS Mr. Terrence D. Jones

DIRECTOR EMERITUS The Hon. Dirk Kempthorne

FOUNDER Mrs. Jouett Shouse (1896–1994)

ADVISORY COUNCIL Ms. Hillary Baltimore Mrs. Marcia M. Carlucci Mr. Enrico A. Della Corna Mr. Ric Edelman Mr. Amr ElSawy Mr. Vincent L. Ferraro Mr. Gil Guarino Mr. Stanley J. Gutkowski

ASSOCIATES BOARD MRS. SUZANNE YOUNGKIN Honorary Chair MRS. AMY ROSSI Chair MS. KATHERINE NEWLAND Vice Chair and Secretary

4

MUSIC BY GIACOMO PUCCINI LIBRETTO BY GIUSEPPE GIACOSA, LUIGI ILLICA FILENE CENTER FRIDAY, JULY 19 | 8 PM LA BOHÈME IS A CO-PRODUCTION OF HOUSTON GRAND OPERA ASSOCIATION, CANADIAN OPERA COMPANY, AND SAN FRANCISCO OPERA.

SPECIAL THANKS TO VIRGINIA M c GEHEE FRIEND AND ANNE R. KLINE AND GEOFFREY POHANKA, PERFORMANCE SPONSORS

5

CAST

Rodolfo: Eric Taylor

Benoit/Alcindoro: Adam Partridge*

Marcello: Blake Denson

Parpignol: Jerek Fernández*

Schaunard: Laureano Quant

Customs Officer: Mario Manzo*

Colline: Le Bu

Chorus: See page 47

Mimi: Amanda Batista

National Symphony Orchestra

Musetta: Midori Marsh

* Studio Artist

CREATIVE TEAM Conductor: Grant Gershon

Scenic & Costume Design: David Farley

Original Director: John Caird

Lighting Design: Michael James Clark

Revival Director: Katherine M. Carter

Wig & Makeup Design: Anne Nesmith

Principal Coach: Christopher Turbessi

Supertitles: Michelle Papenfuss

Chorus Master/Pianist: Nate Raskin

Assistant Director: Elio Bucky

Asst. Chorus Master/ Pianist: Ye In Kwak

Production Stage Manager: Rachel Henneberry

Chorus Master, Children’s Chorus of Washington: Margaret Nomura Clark

Asst. Stage Managers: Lisa R. Hays, Arturo Fernandez Jr.

Italian Diction Coach: Nicolò Sbuelz

SUNG IN ITALIAN WITH ENGLISH CAPTIONS RUNNING TIME: 2 HOURS AND 30 MINUTES, WITH ONE INTERMISSION FIRST PERFORMED: FEBRUARY 1, 1896 AT TEATRO REGIO IN TURIN

6

Set design for Act II of La bohème for the world premiere; Teatro Regio di Torino, 1 February 1896, Adolfo Hohenstein

THE STORY ACT I

It is Christmas Eve in Paris, and the artist Marcello and poet Rodolfo try to keep warm. Their roommates—the philosopher Colline and musician Schaunard—return home with food, fuel, and money for a night out. They are interrupted by their landlord Benoit, who is demanding the rent, but they successfully distract him.

Rodolfo stays behind to work as his friends head out to Café Momus. He is interrupted by their neighbor, Mimi, who is looking for a light for her candle and faints. As Rodolfo looks after her, they tell each other their stories and realize they are falling in love.

ACT II Later, Rodolfo and Mimi join friends at the Café, which is brimming with Christmas Eve excitement. Marcello is furious when his former girlfriend Musetta arrives with Alcindoro, a wealthy older man. Musetta teases him mercilessly, then finally sends Alcindoro off on a fool’s errand and falls into Marcello’s arms.

ACT III It is February on the outskirts of Paris, and Mimi is searching for Musetta and Marcello. She confides in Marcello that she and Rodolfo have parted ways due to his extreme jealousy.

When Rodolfo appears, Mimi hides from the two men.

Unaware that she is listening, Rodolfo tells Marcello that he knows Mimi is ill, and he believes her only chance of recovery is to escape the harsh conditions of their life of poverty.

Mimi comes forward to say goodbye to Rodolfo, but he convinces her to stay with him until springtime. Their tender conversation is accompanied by the sparring of Musetta and Marcello.

ACT IV Months later, both Marcello and Rodolfo are lonely.

Colline and Schaunard join them, and the mood lightens.

Suddenly, Musetta bursts in with Mimi, who is near death and has asked to see Rodolfo. They all do what they can to help Mimi, deciding to sell possessions to get her some warm clothes and medical care.

Rodolfo and Mimi are left alone, and they reminisce before she falls quiet. The friends return and find that Mimi has passed as Rodolfo cries out her name in grief.

7

LESSONS IN RETURNING

Puccini’s La bohème—the story of Bohemians living in Paris—is an opera that audiences love to experience over and over again. Similarly, many young artists and seasoned singers get the opportunity to return to these characters throughout their artistic careers. Although the score and libretto never change, they offer countless new choices for each of us returning to the garret, whether for the second or tenth time.

You never forget your first bohème, but your next can offer even more depth and discovery.

John Caird, this production’s original director, created a La bohème that lives inside the art of Marcello, our painter protagonist. David Farley’s set— inspired by Moulin Rouge painter Toulouse-Lautrec—and costumes that pull from life drawings of actual middle-class Parisians transport audiences into the Bohemian world. Michael Clark’s lighting highlights the various moods that paintings can evoke, seamlessly combining time of day and the emotions of each moment. Each time this production is performed, the latest cast members add another layer of paint to its living canvas— including tonight’s newest group of Bohemians.

As the director, my role is to bring out the unique performances from each of our Filene Artists, fostering and finding how they relate to these characters at this stage in their development. When they return to these characters later in their careers, they will build on the foundation of this summer’s production.

Returning to a story, place, or company is a way to mark growth in an industry that has no ladder. Revisiting with a little more knowledge and understanding than what you had available the first time creates a new, unique, and exciting experience. As I return to WTO to direct a revival production of La bohème at the Filene Center, I can’t help but think of my first time on that stage as a directing fellow in 2016, and how my experience, knowledge, and world view will now add different colors and depth to tonight’s performance.

—KATHERINE M. CARTER REVIVAL DIRECTOR

8

REJUVENATING THE EXPERIENCE OF LA BOHÈME WILLIAM BERGER

La bohème became the world’s most cherished opera because of its magical ability to reinvent itself in every performance. Unfortunately, discussions around the opera tend to lack the same spirit of renewal. When we praise this work, we often fall back on the same ideas of a century ago—notions which may or may not have been true then but are clearly clichés now.

Let’s destroy them. That’s what the very believable Bohemian characters in this story would have done, and mostly because the opera is great enough to astound us without such impressions. To rehash the smartest ideas of 100 years ago doesn’t make us more intellectual, it just makes our statements antiquated and usually wrong. La bohème doesn’t need that.

Galerie d’Orléans en 1840, Theodor Josef Hubert Hoffbauer, 1885

9

Turgot Map of Paris, 1739, Louis Bretez

You know the sentiments I’m talking about, even if this

chord theme while he rhapsodizes about the lively

is your first time at the opera: La bohème is a “great

street scenes. That theme blares forth to open Act II,

first opera, a treasury of melody, easy to appreciate,

on those same streets. It then opens Act III, slower and

and certain to appeal to young people because of the

in a minor key, as if suspended in the icy air.

endearing lovebirds it depicts with immense charm (and without an overabundance of braininess to get in the way).” Most of that is plain wrong, and the rest is misleading. La bohème can be a great first opera, but only because it’s a great opera. In fact, it presents many challenges for the newcomer.

One of those challenges is the melody itself. A hundred years ago, people understood it as a composer’s signal of emotional rawness and sincerity. Today, the melody carries none of its original meaning. It sounds cheaply sentimental to audiences reeling from too much of it in bad movie scores, television commercials, and pop music played in stores to encourage consumption. I talk about opera to many different audiences of all ages, from newcomers to experts, and I never have to explain dissonance to anyone. I have to explain melody—what a composer might have been communicating by stopping the action and unleashing ravishing tones.

What still works in this opera (more than ever, in fact) is not the melody itself, but how Puccini uses it and to what purpose. This is something that has taken decades to fully appreciate. Familiarity with the score, personal and communal, is needed to reveal its shiniest veins of gold. Nineteenth-century Italian operas were designed to be heard many times—some say because it was less expensive to attend the theater than it was to heat the average home. Scores caught people’s

It depicts something about to happen, something that happens, and then something that happened as a “frozen” memory. That’s how life seems to unfold.

Behold the actual realism of La bohème. Furthermore, the complexities are impossible to hear while attending the opera for the first time. Their significance emerges in retrospect—similar to all of life’s revelations.

These characters are less genuine young people, and instead they are older individuals remembering their youth. The men here are not lower class—they’re bourgeois post-grads. No one in post-college, pre-career poverty thinks they are in their Golden Age. It only looks golden later, remembered from an office cubicle or a carpool.

The tragedy of the final scene is not so much the death of Mimi (an orchestral murmur), but instead is Rodolfo’s realization of her death, heard as thundering trombone chords. The party’s over. Hanging with and loving the other attractive, artistic cool kids won’t pay (or evade) the rent anymore. Time to move on and get a job. And that, we realize at some point, is the real tragedy. The true challenge of this opera today is that we can’t be smug or ironic about its supposed sentimentality.

La bohème refers to la vie—not an individual (which would be La bohèmienne). The dead Bohemian we’ll weep for is not Mimi but rather each of us.

attention with some hummable melodies, but elsewhere they provided complexities that became apparent only on repeated hearings (like Verdi’s Rigoletto).

Listen to the score of La bohème—in Act I, Schaunard suggests they all celebrate Christmas Eve on the Parisian streets, and the orchestra plays a subtle planed

10

William Berger is an author and lecturer for a wide variety of topics within and beyond music, as well as a writer of fiction and theater works.

He is a commentator for the Metropolitan Opera broadcasts and is responsible for the Met’s “Opera Quiz.”

MUSIC BY WOLFGANG AMADEUS MOZART LIBRETTO BY LORENZO DA PONTE NEW PRODUCTION

THE BARNS AT WOLF TRAP FRIDAY, JUNE 21 | 7:30 PM SUNDAY, JUNE 23 | 2 PM THURSDAY, JUNE 27 | 2 PM SATURDAY, JUNE 29 | 7:30 PM

SPECIAL THANKS TO ED AND ANDY SMITH, PERFORMANCE SPONSORS

11

CAST

Fiordiligi: Renée Richardson Dorabella: Erin Wagner Guglielmo: Kyle White Ferrando: Lunga Eric Hallam Despina: Emily Treigle Don Alfonso: Wm. Clay Thompson Chorus: Studio Artists

CREATIVE TEAM Conductor: Christine Brandes Director: Dan Rigazzi Scenic Design: Lawrence Moten Costume Design: Lynly Saunders Lighting Design: Colin K. Bills Wig & Makeup Design: Anne Nesmith Asst. Costume Design: Bailey Hammett Asst. Scenic Design: Danielle DeLaFuente

MUSIC & PRODUCTION STAFF Principal Coach/Continuo: William Woodard Coach/Italian Diction: Nicolò Sbuelz Chorus Master/Rehearsal Pianist: Michelle Papenfuss Supertitles: Manuel Arellano Assistant Director: Haley Stamats Intimacy Choreographer: Casey Kaleba Production Stage Manager: Savannah Valigura Assistant Stage Manager: Alycia Martin

SUNG IN ITALIAN WITH ENGLISH CAPTIONS RUNNING TIME: 3 HOURS, WITH ONE INTERMISSION FIRST PERFORMED: JANUARY 26, 1790 AT BURGTHEATER IN VIENNA, AUSTRIA

12

THE STORY ACT I

Don Alfonso and his young friends Ferrando and Guglielmo

in disguise) arrives to revive the two afflicted suitors. As

are arguing over the fidelity of women. Don Alfonso insists

they recover, they vow their love to the vexed sisters with

that all women are fickle, while Ferrando and Guglielmo

even greater passion, while Don Alfonso and Despina try

refuse to believe that their fiancées, the sisters Fiordiligi

to hide their amusement.

and Dorabella, could ever be unfaithful. Don Alfonso

Fiordiligi and Dorabella are persuaded by Despina that

wagers that by the end of the day their fiancées will betray them. He instructs Ferrando and Guglielmo to pretend they have orders to go off to war.

ACT II Fiordiligi and Dorabella sing the praises of Guglielmo and Ferrando when Don Alfonso arrives to share the news of their imminent departure for the battlefield. The young men arrive, and the two couples bid each other a tearful farewell.

Despina, the sisters’ maid, prepares their breakfast when Fiordiligi and Dorabella enter lamenting the departure. She counsels them to amuse themselves while their lovers are away, advice that horrifies them. After the sisters leave, Don Alfonso—who has overheard their conversation— recruits Despina to aid him in his plot, asking her to admit two suitors (the disguised Guglielmo and Ferrando) into the house. Fiordiligi and Dorabella are alarmed to find

there would be no harm in a bit of innocent flirtation.

Dorabella chooses the disguised Guglielmo while Fiordiligi chooses Ferrando. The suitors serenade the two sisters.

Fiordiligi goes off for a stroll with Ferrando, while Guglielmo courts Dorabella. To his amazement, Dorabella surrenders rather easily. As they go off together, Ferrando returns with Fiordiligi, who continues to resist him and leaves. When the two young men exchange news of their progress, Ferrando is stricken to learn that his faithless Dorabella has yielded to Guglielmo.

While Don Alfonso and Guglielmo covertly look on, Ferrando makes another attempt to break Fiordiligi’s tenacity. To Guglielmo’s distress, she too finally yields. Don Alfonso has now won his wager. He tries to console the two young men with his motto: ‘così fan tutte’ (‘all women are like that’).

two strange men in their home and become even more

The sisters’ weddings to their two suitors proceed when

concerned when the two men begin courting them. Don

a military chorus in the distance signals the ‘return’ of

Alfonso pretends the men are old friends of his and begs

Ferrando and Guglielmo from battle. The suitors and

the sisters to accept them. But Fiordiligi staunchly swears

the notary (again Despina in disguise) hide. A moment

fidelity to her absent Guglielmo.

later, Ferrando and Guglielmo appear in uniform, feigning

The sisters lament the departure of their fiancés when the two ‘strangers’ barge in and swallow what seems to be poison. When they collapse, Despina and Don Alfonso go in search of a doctor, leaving Fiordiligi and Dorabella to tend to the apparently dying strangers. A doctor (Despina

surprise at the cool reception they receive. When they discover the marriage contract and the notary, they swear vengeance on their faithless fiancées and their suitors.

Finally, they reveal their ruse, and the two pairs of lovers are reconciled. Or are they?

13

THE SCHOOL FOR LOVERS Così fan tutte, the final work in the towering trilogy brought to us by

Mozart and Da Ponte, is certainly the most challenging of the three to bring to the modern stage. The overtly misogynistic libretto was seen at the time of its premiere as offensive and frivolous. Fredrich Schröder, actor and supporter of Mozart, wrote: “It is a miserable thing which lowers all women, cannot possibly please female spectators, and therefore will not make its fortune.” It is easy for us to look back and make assumptions about how women were regarded in earlier eras, but it is clear that our discomfort was mirrored by audiences in the 18th century.

While the content of the libretto is problematic, the music is absolute genius. Mozart perfectly weds his music to the text, taking us deeper into complex psychological and emotional worlds of each character, sometimes all at once! He uses an ever-shifting palate of orchestral colors, musical keys, and configurations of characters to achieve a transporting perfection.

Unlike previous operas, the clarinets and violas figure more prominently and, remarkably, the trumpet is used to great effect in pieces that are not martial. For example, trumpets are deployed in Fiordiligi’s Act I aria, “Come scoglio.” In earlier operas, horns would have taken this duty, but Mozart’s choice says something about the crispness and clarity of sound he was looking for in complementing the passionate certainty of the character.

In our production for Wolf Trap, Dan Rigazzi and I have considered the challenges presented by the libretto, looking for ways to both make cuts in the recitatives and slight changes to the text to soften a bit of the misogynistic blow that this libretto delivers. Interestingly, the librettist, Lorenzo da Ponte, always referred to the piece by its secondary title, La scuola degli amanti, which means “The School for Lovers.” In fact, this title is how the piece was known throughout Italy for the first 50 years of its life. We have taken our cue from this title. Rather than an indictment of women and their inconstancy, we are interested in this work as an exploration of innocence lost. As a starting point, we understand these young men to be, well, exactly that: young men full of bravado but with very little real experience in the world or of themselves. This is also true of the young women who have been leading rather sheltered lives.

It is a much more interesting story when seen as an exploration of the complexity that abounds in human relationships, especially as the worlds of the young open to new, exciting, and unpredictable experiences. The young lovers discover that adult relationships are vastly different from the ideal of romantic love they fantasized about as teenagers.

Much like the self-discovery that arises for the girls, my own journey as a musician has been one of exploration leading me to the podium. As a singer, I had the privilege of working with the greatest conductors, and those experiences led me to become fully devoted to conducting. I’m thrilled to conduct my first Così for Wolf Trap Opera this summer.

—CHRISTINE BRANDES CONDUCTOR

14

COSÌ FAN "TUTTA"

By Cori Ellison

It’s my Desert Island opera. (Cue the eyerolls.) It’s

feisty maid who is bribed to help—is a web of ambiguities

“a glorious soap-bubble,” “a deep and unsettling

which may send you home whistling the tunes while also

masterpiece,” “a musical lark,” “a profound and terrifying

reaching for some antacid.

tragicomedy.” It’s cited for both its “enchanted artificiality” and its “acute realism.” This is how commentators have variously described Così fan tutte, a work as ambiguous as its title is untranslatable. Though it’s often rendered in English as something like “All Women Act Like That,” I propose that we call it “So Do They All,” taking advantage of our language’s ungendered plural pronouns. More about that later.

So is Così fan tutte a proto-Freudian nightmare or a sort of post-Enlightenment I Love Lucy? The answer, of course, lies somewhere in between. For despite its easy laughs, its apparent neat symmetries, and the tidy paean to reason with which it ends, Così—populated by two prideful young men pressured into placing a bet on their fiancées’ fidelity, a pair of fiancées who defy their expectations, a cynical “philosopher” who manipulates the action, and a

Vienna Burgtheater, Michael Frankenstein, circa 1860-1910.

That certainly describes my own ambivalence whenever I experience Così, whether as supertitle author, dramaturg, lecturer, writer, Dorabella, or audience member. After enjoying a few hours of glistening wit, my last queasy thought is inevitably: What happens to these poor people after the curtain rings down?

Così fan tutte comes by its duality honestly, being a quintessential dramma giocoso (“jocular drama”). This seemingly oxymoronic term, often applied to the trio of Mozart-Da Ponte masterpieces (Le nozze di Figaro, Don Giovanni, and Così), is not a special designation as sometimes claimed. Dramma giocoso is simply a subgenre of 18th-century comic opera with plots leaning more toward sentiment and pathos than the traditionally lighthearted plots of opera buffa.

15

This dramma giocoso form encouraged Mozart to exercise

who dares them to come off even worse. Pride and vanity

one of the pet conceits of his later operas: constantly

motivate Ferrando and Guglielmo to accept Alfonso’s

colliding the parallel universes of opera seria and opera

wager, and they spare no borderline-sadistic ruse to win

buffa. The characters in Così, ostensibly a comic opera,

it. And their raging jealousy upon losing is as stereotypical

frequently lapse into seria-speak, sometimes offered up in

and just plain dumb as anything the women do. Ultimately,

parody (Dorabella’s aria “Smanie implacabili,” Fiordiligi’s

the men were in love with mere images of their fiancées,

“Come scoglio”) and sometimes in a spirit of deep sincerity

and the women were in love with love.

(Fiordiligi’s “Per pietà,” all three of Ferrando’s arias, and their majestic duet). But Mozart and Da Ponte never let us wallow in seria or buffa mode too long. In the Act I finale, they crystallize Così’s duality when the sisters deem the situation a “tragedy,” while the men call it a “farce.”

As psychologically penetrating as his libretto grows, Da Ponte still dutifully steers it toward the obligatory lieto fine (happy ending) of 18th-century opera. Mozart, though, was not able to follow him there. As Act II proceeds, the composer parts ways with his librettist once

Così’s popularity has never matched that of Figaro and

Fiordiligi, the opera’s most complex character, reaches “Ei

Giovanni. In 1863, critic Eduard Hanslick lambasted the

parte,” the tonally kaleidoscopic accompanied recitative

opera’s seeming implausibility, slamming “the continuing

leading to “Per pietà,” a noble rondo of heart-rending

blindness of the two heroines, who do not recognize their

emotional truth and gravitas. Soon after, her resistance

fiancés only a quarter hour after they have been caressing

falls as Ferrando joins her in “Fra gl’amplessi,” arguably

them, and who stupidly take their chambermaid to be first

Mozart’s greatest duet. Once these sublime strains have

a doctor and then a notary just because she is wearing a

sounded, the chaotic events of the Act II finale must be

wig.” Never mind that the element of disguise also figures

nothing short of harrowing to Fiordiligi—and to us. How,

prominently in both Figaro and Giovanni.

then, can the reflexively cheery “moral of the story” that

The opera’s detractors have also objected to its allegedly unrealistic time span: how could the fickle heroines so

ends the opera not have a hollow ring to it (unlike its analogues in Figaro and Giovanni)?

thoroughly change their affections in a mere day? We

“Fortunate are they who take everything in stride.

should remember that all the Mozart-Da Ponte libretti

Amid the vicissitudes of fate, they let reason guide them.”

observe the Aristotelian unities of time, place, and action—often meant to be symbolic.

This most modern of all Mozart’s operas leaves us with more questions than answers. Yet, in the words of an

The most strenuous objection to Così, however, has always

uncredited author on the website Opera Online, Così

been its apparently unflattering portrayal of women.

“is carried along by a score that never deceives or lies.”

Yet couple-swapping plotlines date back to the ancient

As a dramaturg, I puzzle endlessly over the dissonance

Greeks and Romans and were common in Mozart’s era

between composer and librettist, chasing the perfect

and beyond, with A Midsummer Night’s Dream and

theatrical solution like the Great White Whale. But as

similarly provocative entertainments remaining perennial

a devout Mozartian, I accept, embrace, and love Così

favorites. Almost always, though, the romantic confusion

perhaps even more because of its flaws and ambiguities.

is caused and reversed through supernatural means,

For in the end, Così fan tutte is all about the frailty of

relieving the protagonists of moral responsibility. And

human nature and the dangling possibility of forgiveness.

though the loaded issue of sexual fidelity is as central to Figaro and Giovanni (both of which also feature disguised lovers pursuing the “wrong” love objects) as to Così, these works didn’t and don’t inspire the same spleen, perhaps because in them the transgressors are male, and anyway, they get their lumps at the end.

Così is, though, an equal-opportunity offender. It could just as easily have been named Così fan "tutta," implicating every single character, not just the women.

Granted, the persuadable Fiordiligi and Dorabella, as well as Despina, who eggs them on, don’t emerge smelling like roses. But the men who test them and the misogynist

16

Cori Ellison has served as staff dramaturg at New York City Opera, Glyndebourne Opera, and Santa Fe Opera.

She is a member of the Vocal Arts faculty at The Juilliard School and on the faculty of the Composer Librettist Development Program at American Lyric Theater.

MUSIC BY KEVIN PUTS LIBRETTO BY MARK CAMPBELL THE BARNS AT WOLF TRAP FRIDAY, AUGUST 9 | 7:30 PM SUNDAY, AUGUST 11 | 2 PM THURSDAY, AUGUST 15 | 2 PM SATURDAY, AUGUST 17 | 7:30 PM NEW PRODUCTION & WOLF TRAP OPERA PREMIERE SPECIAL THANKS TO ED AND ANDY SMITH, PERFORMANCE SPONSORS

17

CAST

THE GERMAN SIDE

THE FRENCH SIDE

Anna Sørensen: Keely Futterer Nikolaus Sprink: Ricardo Garcia Lieutenant Horstmayer: Andrew Gilstrap Kronprinz, son of Kaiser Wilhelm II: Demetrious Sampson Jr.

Lieutenant Audebert: Jacob Scharfman Ponchel: Charles H. Eaton The French General: Le Bu Madeleine: Tivoli Treloar*

THE SCOTTISH SIDE

Soldiers: Wolf Trap Opera Studio Artists

Jonathan Dale: Martin Luther Clark William Dale: Kyle White Father Palmer: Wm. Clay Thompson Lieutenant Gordon: Ryan Wolfe The British Major: Joseph Calzada*

* Studio Artist

CREATIVE TEAM

MUSIC & PRODUCTION STAFF

Conductor: Geoffrey McDonald Directors: Tonya and Ryan McKinny Scenic Design: Lawrence Moten Costume Design: Lynly Saunders Lighting Design: Colin K. Bills Video Design: Adam Larsen Wig & Makeup Design: Anne Nesmith Asst. Scenic Design: Bailey Hammett Asst. Costume Design: Danielle DeLaFuente

Principal Coach: Bin Yu Sanford Diction Coach: Jocelyn Dueck Chorus Master/Pianist: Alex Munger Rehearsal Pianist: Manuel Arellano Supertitles: Ye In Kwak Assistant Director: Haley Stamats Production Stage Manager: Savannah Valigura Asst. Stage Manager: Diane Lin

SUNG IN GERMAN, FRENCH, AND ENGLISH WITH CAPTIONS RUNNING TIME: 3 HOURS, WITH ONE INTERMISSION FIRST PERFORMED: NOVEMBER 12, 2011 AT MINNESOTA OPERA

18

1914: At a Berlin opera house, a performance is disrupted by the PROLOGUE Summer announcement of war. Singers Anna Sørensen and Nikolaus Sprink’s lives are changed, as Nikolaus becomes a German soldier. In a small church in Scotland, the declaration inspires dreams of heroism in William Dale who urges his younger brother Jonathan to enlist with him as their priest, Father Palmer, looks on helplessly. In Paris, a pregnant Madeleine excoriates her husband, Lieutenant Audebert, for leaving to fight. Amid the fervor of nationalistic songs, the men depart for war.

23, 1914: An attack by French and Scottish soldiers on the German ACT I December bunker fails miserably. Nikolaus stabs a man and despairs at the violence.

When William is shot, Jonathan must leave his brother behind to die. Later in the bunkers, Scottish Lieutenant Gordon assesses the casualties while Father Palmer offers solace in prayer. The French General reprimands Lieutenant Audebert for surrendering and threatens him with a transfer. Afterwards, Audebert laments the loss of his wife’s photograph to his aide-de-camp, Ponchel. As it starts to snow, the soldiers fall asleep. Alone in the German bunker, Nikolaus reveals to an imagined Anna his despair about war.

December 24, 1914: In the morning, crates of presents arrive for the soldiers.

The Germans receive Christmas trees from the Kronprinz. To Nikolaus’ delight, Lieutenant Horstmayer receives a directive that Nikolaus is to sing for the Kronprinz at a nearby chalet, alongside Anna. The French soldiers jubilantly open crates of wine, sausages, and chocolates. Ponchel, a barber by trade, gives Audebert a haircut and reminisces on having coffee with his mother every morning. In the Scottish bunker, crates of whiskey arrive, and Jonathan writes a letter to his mother.

25, 1914: The truce is extended to allow for the burial of all the dead ACT II December in no-man’s land. At dawn, Jonathan tries to bury his brother. During the day, the news of the cease-fire reaches headquarters and the British Major, the Kronprinz, and the French General all declare that they will punish the soldiers for their betrayal. Later in the evening, Lieutenant Horstmayer attempts to arrest Nikolaus for insubordination, but Anna leads him across no-man’s land towards the French bunker. Horstmayer’s order to shoot is ignored, and Nikolaus and Anna ask the French for asylum.

December 26, 1914: The British Major punishes the Scottish soldiers by transferring them to the front lines. Jonathan is ordered to shoot a German soldier who is crossing the battlefield. The French General transfers Audebert— now a new father—to Verdun and disbands his unit. The Kronprinz deploys the German soldiers to Pomerania. As the soldiers are taken off in a boxcar, they hum the Scottish ballad they heard in the bunker on Christmas Eve. The battlefield is now empty, and snow falls again.

19

THE TIES OF WAR & ART

War and art are inextricably linked in human history. Some of the greatest paintings, poems, and music have been born of violent conflict, and of course war itself can co-opt art for its own means. If art is the expression of our humanity, war is the destruction of it, and there are few wars that destroyed more humanity than World War I. Silent Night begins with an opera interrupted by war, and at its climax, war is interrupted by art when enemies begin to make music together, defying their superior officers with a truce on Christmas Eve. The fact that there was any humanity left in those soldiers at all is shocking on its own. Trench warfare was one of the most brutal tactics in the history of humankind. Men stood up while they slept, so as not to lie in the deep mud that was filled with human excrement. Tear gas and later mustard gas was used to suffocate and blind. If you were lucky enough to make it across “no-man’s land” without being blown up by a land mine or shot by a sniper, you were rewarded with close hand-tohand combat with bayonets or handmade “trench maces.”

And yet, as we see in our story, poetry was written, coffee was expertly made, bagpipes were played, sketches were drawn, and songs were sung. Songs brought these opposing sides together, though they were risking their lives from every direction. Humanity seems to come through, even in humankind’s darkest moments—maybe especially in its darkest moments. We think of these armies as different teams: French, Scottish, and German. But as we get to know the individuals involved, a new set of alliances emerge, one where the real opposition is between destruction and connection—war and art.

What are these two opposing forces that live within us? How can we fear and hate each other, kill each other by the tens of thousands and sacrifice our own lives, while at the same time finding ourselves connecting with one another, even with our enemies, through artistic expression? This piece may, on one level, be the story of how men laid down their arms for one Christmas in World War I, but beneath that, it invites us to witness the ugliest and the most beautiful aspects of humankind. It also encourages us to ask ourselves, do we have a choice? While war continues to plague humankind, can we set our weapons down and connect with one another?

—RYAN & TONYA McKINNY DIRECTORS

20

YOU CAN GO HOME AGAIN

By Mark Campbell, Silent Night librettist Twenty years ago, Wolf Trap Opera premiered my first

Examples of this divergence abound. In Act I, Lieutenant

libretto for a full-length opera at The Barns at Wolf

Audebert composes a letter to his wife while counting

Trap. The composer was John Musto, the commissioner/

his wounded, dead, and missing soldiers, which segues

producer was Kim Pensinger Witman, the director was

into the “Sleep” chorus sung by all three platoons in the

Leon Major, and the opera was Volpone. Some 40+

trenches. Neither of these moments occur in the movie—

operatic works later, I look back on that nurturing, fun, and

at most, they are implied. But the opera needed a scene

wonderfully collaborative experience with great fondness;

early on to establish Audebert's character and his home

I had been working in musical theater and, somehow in a

life, while also creating a commonality among all the

barn in Northern Virginia, I found a home in this strange,

soldiers—both enemies and allies alike.

new (at least to me) world called opera.

Several other distinct deviations occur in Act II. In the

Eight years after that time of Volpone, my 10 opera

movie, Anna has but a few words about the devastation

Silent Night premiered at Minnesota Opera. Silent Night

of war. I expanded that into an entire aria (“Irgendwo,

originated when Dale Johnson, the company's former

irgendwann…”). Lieutenant Horstmayer’s conflicts as a

artistic director, came up with the idea of adapting

Jew and German patriot only get a passing mention in

Christian Carion’s 2005 screenplay Joyeux Noel into an

Carion’s film, but after much research, I decided to expand

opera. Dale also uncannily identified Kevin Puts as the

on it in Sprink’s castigation of blind nationalism (“Dem

ideal composer for the work—a choice that should be

Vaterland?”). Finally, I added a letter scene in this act to

noted in the annuls of operatic history—and paired us

reestablish the concordance among soldiers and illustrate

as collaborators.

how the Christmas truces were not forgotten.

th

THE IRRESISTIBLE ALLURE OF FAUST

Dale's idea was a smart one, but there were many

Early in the libretto process, I decided to keep the text in

challenges in transforming Joyeux Noel into a work for

three different languages (five if you count Latin and Italian).

The Faust legend has always provided inspiration in the performing arts. Countless This helped create dramaturgical barriers for the soldiers playwrights, choreographers, and filmmakers have been riveted by the aged, disillusioned same principal characters and basic plotline, I diverged in to overcome and became a nice way to turn solo lines into scholar who offers his soul to the devil in exchange for youth. Composers producing many ways from Mr. Carion's fictionalized account of the duets and trios because of the need for translation. memorable Faust-related works include everyone from Berlioz to Busoni. Among the operas, 1914 Christmas truces to create a stage-worthy work and Charles Gounod’s Faust continues to head the list in terms of international popularity, 165 showcase traditional opera elements. years after its premiere. the operatic stage. While my libretto retained most of the

Prior to Faust, Gounod had been not a star but simply a working musician. The renowned mezzo-soprano Pauline Viardot’s campaign on his behalf resulted in a commission from the Opéra in Paris for Sapho (1851). Except for the heroine’s magnificent final aria, that work is largely forgotten today, as are Gounod’s next two operas, La nonne sanglante (1854) and Le médecin malgré lui (1858). But then came Faust (1859), with which the 40-year-old composer’s reputation was made.

Gwiazdka żołnierska, Wojciech Kossak, 1915

21

WWI Battlefield at Night, Gunner F. J. Mears, circa 1913-1930

Kevin and I also chose to create original songs for the

With The Barns’ more intimate space, the orchestra,

diegetic moments of the story to make them musically

chorus, and staging for Wolf Trap Opera’s production

organic. These included the Mozartian duet at the top of

will be greatly pared back from the original. WTO's

the opera, the duet at the chalet, the Scottish ballad about

presentation may not have the elaborate stage

“home,” and the two Christmas carols.

elements of the opera's previous 22 productions, but

While we're on the subject of Kevin's music, I felt very fortunate to have been the first person to hear him play early sketches of the score. At his home in Yonkers, he nervously plunked out some notes on his piano and sang— in the deflective way most composers sing. I knew then and

Wolf Trap has never been about spectacle or numbers.

Its essence and core have always been about musical storytelling. That was as true of Volpone 20 years ago as it is today, and it's one aspect about WTO's audiences that I cherish. It's great to be back home.

there what Opera News said later about Silent Night, “With this remarkable debut, Puts assumes a central place in the American opera firmament.” Credit for the opera’s success must also be given to the shepherding of Minnesota Opera, as well as director Eric Simonson and conductor Michael Christie. (An interesting side note: Ryan Taylor, now the General Director of Minnesota Opera, appeared as Voltore in the original production of Volpone.)

22

The Pulitzer Prize and Grammy Award-winning works of librettist/lyricist Mark Campbell are among the most successful in the contemporary opera canon.

Campbell has written 41 operas, seven musicals, nine song cycles, and five oratorios. In 2020, he created the Campbell Opera Librettist Prize, the first award for librettists in the art form's history. markcampbellwords.com

The work that Wolf Trap Opera does on its home stages reflects its core mission: to discover and promote the finest emerging talent in the opera field. Whether inside at The Barns or on the amphitheater stage of the Filene Center, Wolf Trap Opera relies on the venue’s resources to mount the quality productions that are hallmark to its training and reputation.

Although the cornerstone of Wolf Trap Opera’s programming remains on Wolf Trap’s campus, the company is increasingly fortunate to be able to reach beyond these boundaries to touch new audiences and share fresh perspectives. These exciting additional performance opportunities and the partnerships that encompass them are the essence of UNTRAPPED. SPECIAL THANKS TO DAN AND GLORIA LOGAN, 2024 UNTRAPPED SPONSORS

UNTRAPPED performances take artists into various communities in the greater DC region, bringing the thrill of live vocal music to new places and unexpected spaces.

23

TAKE THE SHUTTLE!

Let us take you there!

Special ticket packages are available that include round-trip travel to and from The Clarice.

The shuttle will pick up at The Barns at Wolf Trap at 5:30 PM and return following the performance.

For ticket + shuttle packages, please call Group Sales at 703.255.1851.

WEILL

SEVEN DEADLY SINS

National Orchestral Institute + Festival SATURDAY, JUNE 1, 7:30 PM THE CLARICE SMITH PERFORMING ARTS CENTER Anna I: Gabrielle Beteag

Brother: Logan Wagner*

Conductor: John Morris Russell

Anna II: Anna Lopez Dancer, choreographer

Brother: Charles H. Eaton

Director: Elio Bucky

Mother: Blake Denson

Coach: Ye In Kwak

* Studio Artist

Costume Designer: Cody Von Ruden

Father: Martin Luther Clark

This season's UNTRAPPED series opens with conductor John Morris Russell leading the National Orchestral Institute + Festival (NOI+F) in orchestral works by Ives, Stravinsky, Piazzola, and more. For the second act, Wolf Trap Opera joins the NOI+F for Weill's Seven Deadly Sins. This “sung ballet” brings the worlds of voice, dance, and orchestra together as the audience follows Anna on a journey across the United States while she tries to make enough money to build her family a home. Torn between her moral compass and the need for income, Anna splits into two: Anna I holds the moral line, while Anna II tries to follow her heart.

The National Orchestral Institute + Festival (NOI+F) brings together aspiring orchestral musicians from across the country for a month of professional musical experiences. Wolf Trap Opera’s (WTO) partnership with NOI+F is built on collaborative performances between their talented musicians and WTO’s emerging opera singers.

RUNNING TIME: 1 HOUR AND 45 MINUTES WITH ONE INTERMISSION PERFORMED IN ENGLISH

UNTRAPPED

STUDIO ARTISTS IN CONCERT

FRIDAY, JUNE 7 | 7 PM

HOLY TRINITY CATHOLIC CHURCH IN GEORGETOWN WOLF TRAP OPERA STUDIO ARTISTS Wolf Trap Opera Studio presents opera scenes and arias in concert.

Get to know this season’s Studio Artists as they present some of their favorite pieces from the operatic canon.

24

SALON SERIES

SCOTTISH BARN | THE BARNS AT WOLF TRAP SUNDAY, JUNE 23 | 7:30 PM FRIDAY, JUNE 28 | 7:30 PM MONDAY, JULY 1 | 7:30 PM The intimate essence of the recital is celebrated in these limited-capacity, artist-curated evenings. Come early to grab a bite to eat from The Barns kitchen and stay for a musical journey crafted by the evening’s performers.

Each night will showcase wildly different programs.

JUNE 23:

JUNE 28:

JULY 1:

Midori Marsh Andrew Gilstrap Renate Rohlfing, piano

Martin Luther Clark Charles Eaton Joseph Li, piano

Renée Richardson Gabrielle Beteag Renate Rohlfing, piano

SPECIAL THANKS TO DEBORAH F. AND DAVID A. WINSTON, PERFORMANCE SPONSORS

25

¡TE ADORO!

LOVE SONGS FROM SPAIN AND LATIN AMERICA

STEVEN BLIER, ARTISTIC DIRECTOR SUNDAY, JUNE 2 | 2 PM THE BARNS AT WOLF TRAP Steven Blier, artistic director and pianist Amanda Batista Midori Marsh Laureano Quant Andrew Gilstrap Manuel Arellano, pianist Maya Liu, stage manager Joined onstage by Wolf Trap Opera’s Filene Artists, New York Festival of Song Artistic Director Steven Blier returns to The Barns with a Spanish-tinged program that is sure to spice up the afternoon.

26

ARIA JUKEBOX

THE AUDIENCE GETS TO CHOOSE! SUNDAY, JULY 7 | 2 PM THE BARNS AT WOLF TRAP Performers Filene Artists Coach/Pianist Bin Yu Sanford Coach/Pianist Alex Munger The audience chooses! No really, the AUDIENCE chooses! Vote on your favorite arias sung by your favorite Filene Artists.

They find out what they’ll sing when you do—live on stage!

27

2024 FILENE ARTIST IN RESIDENCE

JAMIE BARTON, MEZZO-SOPRANO (’09)

28

Each year, Wolf Trap Opera chooses one of its distinguished alumni to work with singers on artistic and career preparation. The 2024 Filene Artist in Residence is Jamie Barton.

Critically acclaimed by virtually every major media outlet covering classical music, American mezzo-soprano Barton is increasingly recognized for how she uses her powerful instrument offstage—lifting up women, queer people, and other marginalized communities. Her lively social media presence (@jbartonmezzo) serves as a hub for conversations about body positivity, social justice issues, and LGBTQ+ rights. In recognition of her iconic performance at the Last Night of the Proms, Barton was named 2020 Personality of the Year at the BBC Music Magazine Awards. She is also the winner of the International Opera Awards Readers’ Award, Beverly Sills Artist Award, Richard Tucker Award, and BBC Cardiff Singer of the World Competition.

Barton’s 2007 win at the Metropolitan Opera National Council Auditions launched a major international career that includes leading roles at many of the world’s most-loved opera

houses including the Metropolitan Opera, Royal Opera House Covent Garden, Teatro Real Madrid, Houston Grand Opera, Washington National Opera, Lyric Opera of Chicago, Los Angeles Opera, San Francisco Opera, Deutsche Oper Berlin, Bayerische Staatsoper, Santa Fe Opera, and Festival d’Aix-en-Provence. She has appeared in concert with the New York Philharmonic, Philadelphia Orchestra, and Rotterdam Philharmonic, as well as the symphony orchestras of Atlanta, Baltimore, Dallas, Iceland, London, Prague, Czech Republic, Oulu, Pittsburgh, Toronto, and Valencia, Spain.

Winner of the 2018 BBC Music Magazine Vocal Award, Barton’s debut solo album, All Who Wander, featuring songs by Mahler, Dvořák, and Sibelius, was also shortlisted for the International Classical Music Awards and Gramophone Classical Music Awards.

Most recently, Unexpected Shadows, her critically acclaimed album with composer and pianist Jake Heggie, was nominated for a 2022 Grammy Award for Best Classical Solo Vocal Album.

PUBLIC MASTER CLASS (FREE, RESERVATION REQUIRED) WEDNESDAY, JULY 10 | 7 PM CENTER FOR EDUCATION AT WOLF TRAP This year’s Filene Artist in Residence, Jamie Barton, will work with WTO’s singers on artistic career preparation.

SCAN TO REGISTER NOW!

JAMIE BARTON IN RECITAL SUNDAY, JULY 14 | 2 PM THE BARNS AT WOLF TRAP Joseph Li, pianist

SPECIAL THANKS TO LINCOLN AND THERESE FILENE FOUNDATION, 2024 PROGRAM UNDERWRITER

29

A CHAT WITH JAMIE BARTON Before the 2024 season, Wolf Trap Opera spoke with Filene Artist in Residence Jamie Barton (’09) to reflect on her time with WTO and what she’s excited to share with this year’s artists.

Wolf Trap Opera (WTO): How did WTO's program set you up for success in your creative and professional endeavors? Any special moments that stand out?

Jamie Barton (JB): My summer with Wolf Trap Opera was such a pivotal moment for me. I was a young singer, directly out of the young artist program at the Houston Grand Opera and had very few leading roles under my belt. In fact, to that point, I had never played a romantic lead! Not only did I get to do that at Wolf Trap (singing Penelope in Monteverdi’s Il ritorno d’Ulisse in Patria), but I was also buoyed forth in that journey by a group of leaders who were all passionate about helping young singers develop their own artistry. As an artist at WTO, you are given the reins of responsibility for things like developing recitals or singing lead roles, but always shepherded hand-in-hand by established artists, conductors, and directors. It’s an incredibly unique model, given that most summer programs tend to cast established artists in their shows and only let the young artists understudy or sing very small roles. (And as favorite memories go, there is nothing quite as memorable as singing in German about cowboys in Arizona with a mustache on!)

Above: One of Jamie Barton's (right) favorite WTO memories.

WTO: What has been your favorite role to perform? Any dream roles?

JB: This might be a funny thing to admit, but I absolutely love singing witches. The Witch in Hänsel und Gretel and Jezibaba in Rusalka are two of my favorites, not only because they're totally scrumptious roles to sing, but also because I can do just about anything I want to with the characters!

30

There is a freedom that comes with singing roles based on women who exist outside of societal expectations, particularly ones who have magical powers. As for dream roles, I’ve gotten to do so many that I had dreamed of for so long! I would love to do a staged Carmen… I’ve only had the pleasure of singing her in concert. There is also another witch I would love to sing, which is The Witch in Into the Woods… I absolutely love that character, and I am a huge fan of Sondheim. I would love to get to sink my teeth into that particular role!

WTO: What excites you about returning to work with WTO as the Filene Artist in Residence?

JB: I’m really excited to return to Wolf Trap Opera as the Filene Artist in Residence because I am so completely into the idea of supporting the emerging artists there this summer. Emerging artists are inspiring to me… they tend to come in with new ideas and lots of curiosity, and that combination is fertile ground for exciting artistry. I myself stand on the shoulders of the artists who inspired and encouraged me along, so the fact that I now get the chance to be a value add for a current young artist just feels incredibly full circle to me!

WTO: You’ve been a big advocate for how you use your voice both on and off the stage. What advice do you hope to share with this year’s emerging artists?

JB: If nothing else, I hope that I get to inspire these emerging artists to be brave and intentional with how they use their voices, both technically speaking from a pedagogical standpoint, but also from a figurative and personal place. Art isn’t just a fun divertissement… art holds the potential to change hearts and minds. I strongly believe that being part of an art form that quite literally has people interested in listening to artists' voices is an opportunity to choose what we give voice to. How we choose to wield that gift has the potential for tremendous impact in the world around us. It just takes vulnerability, bravery, and a commitment to staying checked in with your own gut.

Ailyn Pérez in Florencia en el Amazonas, the Metropolitan Opera, photo by Ken Howard

WOLF TRAP OPERA ALUMNI

EXCEL IN THEIR NEXT CHAPTERS

Emerging classical singers know that a summer with Wolf Trap Opera’s (WTO) esteemed training program is just the beginning of many future “opera-tunities.” Learn about the incredible recent accomplishments of the program’s alumni since their time on The Barns and Filene Center stages.

FEATURED ROLES AT THE MET Wolf Trap Opera alumni voices resounded across the Metropolitan Opera during the 2023-2024 season as they dotted—and sometimes headlined—the lineups of many of its most captivating works. In December 2023, Ailyn Pérez (’06) performed the title role in the company’s first Spanish-language opera in nearly a century, the colorful and imaginative Florencia en el Amazonas.

Spring 2024 at the Met blossomed with more WTO alumni appearances, including J’Nai Bridges (’15, ’16) in the company’s premiere of the dramatic opera-oratorio El Niño. Christine Goerke (’95) assumed the regal title role in Turandot in April, and after a successful starring run in X: The Life and Times of Malcolm X, Will Liverman (’15, ’16) played the scene-stealing character Mercutio in Roméo et Juliette.

Ryan Speedo Green (’13, ’14) celebrated an especially exciting season with poignant roles in Fire Shut Up In My Bones and Carmen. Additionally, in the title role, he and fellow alums Eric Owens (’94, ’95) and Stephanie Blythe (’95, ’96) were part of the Grammy-winning cast recording of Terence Blanchard’s Champion at the Met, exploring the life of famed bisexual boxer Emile Griffith.

31

WOLF TRAP REUNIONS NEAR AND FAR Filene and Studio Artists may only train at Wolf Trap for a few months each summer, but the connections they build last a lifetime. Many WTO alumni find themselves reconnecting years after their training on stages around the world.

Previously paired in Wolf Trap’s 2014 production of Giulio Cesare, Ying Fang (’13, ’14) and John Holiday (’14) sang together again in Agrippina at the Dutch National Opera. In a different kind of reunion, Tiffany Townsend (’22, ’23)—featured as Donna Elvira in last summer’s Don Giovanni—reprised her role at Los Angeles Opera in a special October 4 performance alongside Craig Colclough (’12, ’13) as Leporello.

Houston Grand Opera’s 2023-2024 season featured two or more WTO alumni in all five of their major productions. Some highlights include:

Ying Fang and John Holiday from WTO's 2014 production of Giulio Cesare

•

Reginald Smith, Jr. (’15, ’16) in the title role of Falstaff with Nicole Heaston (’97) and Andrea Carroll (’12, ’13), in addition to Blake Denson and Emily Treigle—who return as Filene Artists this summer

•

Ailyn Pérez (’06) leading Madama Butterfly alongside Yongzhao Yu (’16), Michael Sumuel (’10, ’11), and Cory McGee (’18, ’22, ’23)

•

2023 Filene Artist in Residence Ryan McKinny (’06, ’08) with Sasha Cooke (’07) and Patrick Guetti (’18, ’19) in Don Giovanni

OPERATIC GLOBETROTTERS Three women in particular took on the world of opera this season, bringing their Wolf Trap expertise to Europe and the UK. Kate Lindsey (’05, ’07) mastered her portrayal of Offred in The Handmaid’s Tale at English National Opera before performing in The Tempest and Così fan tutte at the renowned Wiener Staatsoper. Erin Morley’s (’07, ’08) international schedule included her Royal Opera House debut and performances at Teatro alla Scala, Philharmonie de Paris, and the Munich Opera Festival.

Powerful soprano Tamara Wilson sang the role of Leonora in Verdi’s Il Trovatore, as well as concert performances of Die Walküre in France, Germany, and the Netherlands. She also toured with the Los Angeles Philharmonic in a semi-staged version of Beethoven’s Fidelio. The first performance—in collaboration with Deaf West Theatre—created a unique operatic experience for both deaf and hearing audiences, and subsequent performances were staged in Barcelona and Paris.

Kate Lindsey

32

WEARING HATS AS EDUCATORS AND PERFORMERS Denyce Graves (’89) reprised the title character in The Passion of Mary Cardwell Dawson at Pittsburgh Opera, the very role that inspired her to launch The Denyce Graves Foundation in 2022. Her foundation continues to expand its initiatives: the “Shared Voices” program (partnering with historically Black colleges and universities and top US music schools and conservatories to diversify classical vocal artists) and the “Hidden Voices Archive” (recording the accomplishments of African American classical music trailblazers).

Denyce Graves in The Passion of Mary Cardwell Dawson, photo by Karli Cadel

In addition to performing, these alumni have recently broadened their arts influence with new education roles: Sasha Cooke (’07) is the new Director at the Music Academy of the West, Stephanie Blythe (’95, ’96) is Director of the Graduate Vocal Arts Program at Bard College Conservatory, and John Holiday (’14) joined the University of Maryland School of Music as an associate professor of voice.

ALBUMS OF ACHIEVEMENT It was a fruitful time for WTO alumni in the recording studios. 2023 saw the releases of Abi Levis (’15) and Peter Walsh’s album Songs of Dominick Argento and Eric Ferring (’14) and Madeline Slettedahl’s album We have tomorrow. Plus, congratulations are in order to Lawrence Brownlee (’01), whose 2023 album Rising with pianist Kevin J. Miller was nominated for Best Classical Solo Vocal Album at the Grammys.

Look forward to more innovative recording projects in 2024. Executive Director of the New York City-based Fourth Wall Ensemble, Johnathan McCullough (’18, ’19, ’21), is set to release the group’s debut album Time for Three this year.

2024 FESTIVAL FORECAST End your summer on a high note by seeing former WTO artists outside of Vienna, VA at these opera festivals: Glimmerglass Festival: Filene Artists: Craig Irvin (’11, ’12), Eve Gigliotti (’10, ’11), Rob Stahley (’16, ’22), Taylor Raven (’18, ’19) Studio Artists: Seiyoung Kim (’19), Fran Daniel Lauceria (’20, ’21), Saane Halaholo (’20, ’21, ’22), Ruby Dibble (’22), Winona Martin (’22, ’23) Glyndebourne Festival: Filene Artists: Paul Appleby (’09, ’10), Thomas Allen (’14), Aryeh Nussbaum Cohen (’17) The Santa Fe Opera: Filene Artists: David Portillo (’09, ’10), Brenton Ryan (’13), Ryan Speedo Green (’13, ’14), Ying Fang (’13, ’14), Mané Galoyan (’16, ’18), Nicholas Newton (’18, ’20, ’21) Studio Artists: Liv Redpath (’14), Kathryn Henry (’18), Isobel Anthony (’19), Wayd Odle (’20, ’21), Sam Dhobhany (’22), Tessa Fackelman (’22), Matthew Goodheart (’22), Dylan Gregg (’22), Emma Marhefka (’22), Jazmine Saunders (’23) Merola Opera: Studio Artists: Mary Hoskins (’20, ’21), Tessa McQueen (’23)

33

BEHIND THE SCENES AND ACROSS THE AISLE:

WOLF TRAP OPERA’S FAR-REACHING INFLUENCE

BY THOMAS MAY

Opera is by definition a cooperative, multi-media art. To bring talent before the public, singers in the spotlight rely not just on their real-time collaborators in the pit and backstage but on an unseen multitude of mentors, coaches, producers, and administrative leaders.

Wolf Trap Opera’s (WTO) far-reaching impact on the opera industry is not limited to its impressive roster of alumni singers who remain active on stages across the world—even if the likes of Lawrence Brownlee, Denyce Graves, or Kate Lindsey first spring to mind.

The company has also left an indelible mark on figures in high-level administrative and educational positions, several of whom initially trained as performers at WTO but later transitioned to offstage roles through which they are shaping and reimagining the future of this art.

“There’s a company culture, a shared ethos, which

34

these artists have carried forward from WTO,” says Lee Anne Myslewski, Vice President of Opera and Classical Programming at Wolf Trap. In 2019, Myslewski took over the reins from Kim Pensinger Witman, who led Wolf Trap’s opera and classical music programs for 22 years. Witman helped establish an attitude of trust and shared exploration of potential among the young artists that endured as the company has grown and continued to produce great alumni through changing leadership—a testament to the quality and determination of WTO’s leaders overall.

“Wolf Trap Opera was extremely formative for me as an artist even before I became an administrator,” says Joshua Winograde, Director of Opera and Professor of Opera Studies at Rice University’s Shepherd School of Music in Houston. As a baritone, he initially planned

to pursue a vocal career and spent two consecutive summers (2000 and 2001) in WTO’s Young Artist program. Winograde recalls how WTO’s leadership instilled in him the confidence “to realize that I could make the transition from the stage to be in management and find that to be highly fulfilling artistically.”

WTO encouraged Winograde to implement his proposal to expand young artist training options with a tightly compressed season of summer operas. “In 2007 the industry was already changing and expecting a lot more from performers,” he says. “I knew it could be a transformative experience for young talent to put all this together over the course of only 10 weeks.” Thus was born WTO’s Studio Artist program, a mainstay ever since of its young artist training.

Joshua Winograde in WTO's Volpone

By offering him the opportunity to create the Studio Artist program, Winograde says, Witman “exhibited the exact same generosity and trust in me as an administrator that she did as an artist. That spirit of extreme generosity at Wolf Trap fostered a culture in which every artist felt safe to take big risks. I feel like I had two births coming through that company— as an artist and as an administrator. Both of those experiences have informed everything I’ve done so far.”

Christine Goerke (alum of ’95 and ’96; Filene Artist in Residence in 2019) similarly characterizes WTO as “a place that allows you to experiment” while at the same time providing “immense support” that is indispensable for young artists at a formative stage.

The internationally sought-after soprano astonished the opera world when she accepted a position as Associate Artistic Director of the newly rebranded Detroit Opera in 2021.

Kerriann Otaño (right) in WTO's The Rape of Lucretia with Brenton Ryan

“When the pandemic hit, all of us took a collective gasp. What are we going to do?” Goerke recalls thinking. “This seemed like a company positioned to take off, and I wanted to be part of that. I hit it off with Yuval Sharon, the incoming Artistic Director. And I loved how the company was intent on making sure the community was a part of everything. I fell in love with this city and with this audience.”

Although her move into high-level administration happened “ten years sooner than I had planned”— she’s at the peak of her career and continues to sing on a parallel track—Goerke says she always knew she wanted to someday run an opera company. She had been fascinated by Beverly Sills’ later career helming Christine Goerke (right) in WTO's Don Giovanni with Steven Condy

35

New York City Opera and her role as “a bridge between popular culture and opera. I loved the idea of artists continuing to create when not on the stage.” The young artists she sees coming out of Wolf Trap give Goerke hope: “They are fearless and intent on change. They not only want to help this art form survive but hope to turn it into something for the masses.”

Rather than negotiate a move from performance to administration, it was as a coaching fellow at WTO that Thomas Lausmann got started in his career (’99). “Kim [Witman] gave me my first professional engagement in the industry when she took a chance to hire me as an apprentice coach,” says Lausmann. He ascended quickly to become head of the music department at Vienna Staatsoper while serving as a principal coach at Bayreuth in the summers. Lausmann has been the Metropolitan Opera’s Director of Music Administration since 2019.

Representing an even younger generation, soprano Kerriann Otaño (Studio Artist ’15, ’16; Filene Artist in ’18) took on the role of Vice President of Engagement at OperaDelaware in 2022. “So much of my philosophy about artist-led programming and putting artists in the driver’s seat came from being in programs like WTO, where I got to see how inventive artists could be,” Otaño said. “You get a different type of performance when you give an artist space for their creativity versus when you tell them: ‘This is what you have to sing.’”

A dynamic speaker who uses her presence on Instagram and TikTok (“opera hype girl”) to entice people to try opera, Otaño has been carrying on the spirit of creative experimenting she admired at WTO in her work with OperaDelaware. She describes a recent project of “micro galas” where artists take their cue from the chef’s menu and create a corresponding musical program of multiple courses. She shares, “It’s a different way to bring the two worlds of the artistic and the culinary together in this restaurant space.” Otaño recalls the idea was inspired by her participation in a WTO program with The Phillips Collection in Washington, DC, during which singers were encouraged to develop a musical program based on personal responses to paintings they connected with.

“What resonates with me from Wolf Trap are those intimate experiences.

I think that’s how people fall in love with opera: through the eyes of the people who love it the most—the advocates of it.”

Thomas May is a writer, critic, educator, and translator whose work appears in The New York Times among other publications. The English-language editor for the Lucerne Festival, he also writes program notes for such companies as the Metropolitan Opera.

36

FILENE ARTISTS

The 2024 Filene Artists were the catalyst for this season’s repertoire choices, and those selected represent the top 3.25% of singers who applied for this year's Filene Artist roster. Wolf Trap Opera’s artist-centric approach makes a Filene Artist residency a coveted engagement for the best of the new generation of classical vocal talent.

Filene Artists are emerging professionals on their way to significant careers who have already finished their

LE BU BASS

Yancheng, China Colline (La bohème) The French General (Silent Night) TRAINING: Lindemann Young Artist Development Program, the Metropolitan Opera; Merola Opera Program; Santa Fe Opera Apprentice Program; Aspen Music Festival; Manhattan School of Music HIGHLIGHTS: High Priest of Baal (Nabucco), the Metropolitan Opera; Biterolf (Tannhäuser), the Metropolitan Opera; The Mandarin (Turandot), the Metropolitan Opera; Second Guard (The Magic Flute), the Metropolitan Opera; Daland cover (Der Fliegende Holländer), Santa Fe Opera; Second Spirit (L’Orfeo), Santa Fe Opera; Bartolo (Le nozze di Figaro), Aspen Opera Theater

academic or conservatory study.

AMANDA BATISTA SOPRANO Lubbock, TX ¡Te Adoro!

Mimi (La bohème) TRAINING: Lindemann Young Artist Development Program, the Metropolitan Opera; Fleming Artist, Aspen Music Festival; Merola Opera Program; The Juilliard School; Rutgers University HIGHLIGHTS: First Lady (The Magic Flute), the Metropolitan Opera; Bianca (La Rondine), the Metropolitan Opera; High Priestess (Aida), the Metropolitan Opera; Elettra (Idomeneo), Aspen Opera Theater; Florencia (Florencia en el Amazonas), Merola Opera Program; Salud (La Vida Breve), Merola Opera Program; Frau Fluth (Die Lustigen Weiber), Juilliard Opera

MARTIN LUTHER CLARK TENOR^

Marshall, TX Brother (Seven Deadly Sins) Jonathan Dale (Silent Night) TRAINING: Britten Pears Young Artist Program; Ryan Opera Center, Lyric Opera of Chicago; Curtis Institute of Music; Wolf Trap Opera (Studio ’14) HIGHLIGHTS: Candide (Candide), Madison Opera; Luis Griffith (Champion), Lyric Opera of Chicago; Orderly (Diving Bell and the Butterfly), The Dallas Opera; CJ (The Factotum), Lyric Opera of Chicago; Tenor soloist (Messiah), The Florida Orchestra, South Dakota Symphony

GABRIELLE BETEAG

BLAKE DENSON

Atlanta, GA

Paducah, KY

Anna I (Seven Deadly Sins) Soloist (Beethoven’s Ninth Symphony)

Mother (Seven Deadly Sins) Marcello (La bohème) Soloist (Beethoven’s Ninth Symphony)

MEZZO-SOPRANO

TRAINING: Merola Opera Program; Adler Fellowship, San Francisco Opera; Chautauqua Opera; Georgia State University HIGHLIGHTS: Iras (Antony and Cleopatra), San Francisco Opera; Mercédès (Carmen), The Atlanta Opera; Woman with Hat/ Duchess (The Ghosts of Versailles), Chautauqua Opera; Grand Finals Winner, Metropolitan Opera National Council Auditions

BARITONE^

TRAINING: Houston Grand Opera Studio; Rice University; Wolf Trap Opera (Studio ’19, ’20) HIGHLIGHTS: Ford (Falstaff), Houston Grand Opera; Prince Yamadori (Madama Butterfly), the Metropolitan Opera; Pastor/Kaboom (Fire Shut Up In My Bones), the Metropolitan Opera; Larkens (La fanciulla del West), Bayerische Staatsoper; Schaunard (La bohème), Washington National Opera; Donner (Das Rheingold), English National Opera; Grand Finals Winner, Metropolitan Opera National Council Auditions (2020); Winner, The George London Foundation Award

37

CHARLES H. EATON

ANDREW GILSTRAP

Storrs, CT

Nashville, TN

Brother (Seven Deadly Sins) Ponchel (Silent Night)

¡Te Adoro!

Lieutenant Horstmayer (Silent Night)

TRAINING: Minnesota Opera; The Glimmerglass Festival; Des Moines Metro Opera; Opera Colorado; University of Minnesota; University of Connecticut

TRAINING: Bayerische Staatsoper; Des Moines Metro Opera; Minnesota Opera; Wolf Trap Opera (Studio ’17, ’18; Filene ’23); Moores School of Music, University of Houston

BARITONE

HIGHLIGHTS: Fedorov (The Christmas Spider), Opéra Louisiane, Marble City Opera; Sam (Trouble in Tahiti), Minnesota Opera; Schaunard (La bohème), Minnesota Opera; Argante (Rinaldo), Minnesota Opera; Masetto (Don Giovanni), Minnesota Opera; Baritone soloist (Fauré’s Requiem), Carnegie Hall; Third place, 2023 Saengerbund Awards; Third place, 2021 Lotte Lenya Competition

BARITONE*^

HIGHLIGHTS: Horace Derwent (The Shining), The Atlanta Opera; Starveling (A Midsummer Night’s Dream), The Atlanta Opera; Leporello (Don Giovanni), Wolf Trap Opera; Antonio (Le nozze di Figaro), Bayerische Staatsoper; Il padre di Nencio (L’infedeltà delusa), Bayerische Staatsoper; Basilio (Il barbiere di Siviglia), Minnesota Opera; Immigration Officer (Flight), Minnesota Opera; Sourin (Pique Dame), Des Moines Metro Opera

KEELY FUTTERER

LUNGA ERIC HALLAM

Dover, AR

Site B Khayelitsha, Cape Town, South Africa

SOPRANO

Soloist (Beethoven’s Ninth Symphony) Anna Sørensen (Silent Night) TRAINING: Minnesota Opera; The Glimmerglass Festival; Opera Memphis; Tulsa Opera; Opera Saratoga; Eastman School of Music HIGHLIGHTS: Elle (La Voix Humaine), Eastman School of Music; Adina (L’elisir d’amore) Opera in the Ozarks; Countess Almaviva (Le nozze di Figaro), Eastman School of Music; Marie (La fille du régiment), Opera Saratoga; Fiordiligi (Così fan tutte), Opera Memphis; Angostura LaBelle (Tenor Overboard), The Glimmerglass Festival; Armida (Rinaldo), The Glimmerglass Festival; Léontine (The Anonymous Lover), Madison Opera; Musetta (La bohème), Minnesota Opera

TENOR*

Ferrando (Così fan tutte) TRAINING: Cape Town Opera; Ryan Opera Center, Lyric Opera of Chicago; Wolf Trap Opera (Filene ’23) HIGHLIGHTS: Jupiter (Semele), Wolf Trap Opera; Don Ottavio (Don Giovanni), Wolf Trap Opera; Il Conte d’Almaviva (Il barbiere di Siviglia), Pittsburgh Opera; Adult Nathan (Fire Shut Up In My Bones), Lyric Opera of Chicago; First Courtier (Le Comte Ory), Lyric Opera of Chicago

RICARDO GARCIA

MIDORI MARSH

Hayward, CA

Cleveland, OH

Soloist (Beethoven’s Ninth Symphony) Nikolaus Sprink (Silent Night)

¡Te Adoro!

Musetta (La bohème)

TRAINING: Staatstheater Darmstadt; Houston Grand Opera; Wolf Trap Opera (Studio ’17, ’18; Filene ’21); Santa Fe Opera Apprentice Program; Central City Opera; Aspen Music Festival

TRAINING: Canadian Opera Company; University of Toronto; Wilfrid Laurier University

HIGHLIGHTS: Lenski (Eugene Onegin), Staatstheater Darmstadt; Alfredo (La traviata), Staatstheater Darmstadt, Houston Grand Opera; Oronte (Alcina), Staatstheater Darmstadt; Cassio (Otello), Staatstheater Darmstadt; Roméo (Roméo et Juliette), Houston Grand Opera; Schmidt (Werther), Houston Grand Opera; Third Jew (Salome), Houston Grand Opera; Remendado (Carmen), Houston Grand Opera

HIGHLIGHTS: Nella (Gianni Schicchi), Canadian Opera Company; Annina (La traviata), Canadian Opera Company; Papagena (Die Zauberflöte), Canadian Opera Company; Frasquita (Carmen), Canadian Opera Company; First prize, Quilico Awards; First prize/ audience choice award, Mildred Miller International Voice Competition

TENOR*^

38

SOPRANO

LAUREANO QUANT

JACOB SCHARFMAN

Barranquilla, Colombia

Boston, MA

¡Te Adoro!

Schaunard (La bohème)

Lt. Audebert (Silent Night)

BARITONE

TRAINING: Ryan Opera Center, Lyric Opera of Chicago; Yale University; Manhattan School of Music HIGHLIGHTS: Starek (Jenufa), Lyric Opera of Chicago; Dancaire (Carmen), Lyric Opera of Chicago; Comte de Lerme (Don Carlos), Lyric Opera of Chicago; Guglielmo (Così fan tutte), The Opera Next Door; Belcore (L’elisir d’amore), Yale Opera; Figaro (I due Figaro), Manhattan School of Music; Maguire (Emmeline), Manhattan School of Music; Zurga (Les pêcheurs de perles), Manhattan School of Music

BARITONE

TRAINING: Theater Lübeck; Opéra national du Rhin; Salzburger Landestheater; Merola Opera Program; The Juilliard School HIGHLIGHTS: Count (Le nozze di Figaro), Theater Lübeck; Valentin (Faust), Theater Lübeck; Paolo (Simon Boccanegra), Theater Lübeck; Schaunard (La bohème), Theater Lübeck; Eugene Onegin (Eugene Onegin), Theater Lübeck; First place, 2021 National Opera Association Competition

RENÉE RICHARDSON

ERIC TAYLOR

Springfield, PA

St. George, UT

Fiordiligi (Così fan tutte)

Rodolfo (La bohème)

TRAINING: Wolf Trap Opera (Filene ’23); Butler Studio, Houston Grand Opera; Academy of Vocal Arts; Cleveland Institute of Music

TRAINING: Butler Studio, Houston Grand Opera; Wolf Trap Opera (Filene ’23); Santa Fe Opera Apprentice Program; Central City Opera; Utah Lyric Opera

HIGHLIGHTS: Donna Anna (Don Giovanni), Wolf Trap Opera; Flower Maiden (Parsifal), Houston Grand Opera; Sister Berthe (The Sound of Music), Houston Grand Opera; Mary Jane Bowser cover (Intelligence), Houston Grand Opera; Annina (La traviata), Houston Grand Opera; Mimi (La bohème), Academy of Vocal Arts

HIGHLIGHTS: Faust (Faust), Wolf Trap Opera; B. F. Pinkerton (Madama Butterfly), Houston Grand Opera, Detroit Opera; Narraboth (Salome), Houston Grand Opera; Werther cover (Werther), Houston Grand Opera; Chevalier de la Force (Dialogues des Carmélites), Houston Grand Opera; First Armored Man (Die Zauberflöte), Houston Grand Opera; Benvolio (Roméo et Juliette), Houston Grand Opera

SOPRANO*

TENOR*

DEMETRIOUS SAMPSON JR.

WM. CLAY THOMPSON

Atlanta, GA

Lexington, KY

Kronprinz (Silent Night)

Don Alfonso (Così fan tutte) Father Palmer (Silent Night)

T ENOR

TRAINING: Butler Studio, Houston Grand Opera; Des Moines Metro Opera; Merola Opera Program HIGHLIGHTS: Crab Man (Porgy and Bess), Des Moines Metro Opera, The Atlanta Opera; Timothy (Fellow Travelers), Merola Opera Program; Rodolfo (La bohème), Merola Opera Program; Second prize/audience choice, Eleanor McCollum Competition, Houston Grand Opera

BASS*^

TRAINING: Wolf Trap Opera (Studio ’15, ’16; Filene ’20, ’23); Ryan Opera Center, Lyric Opera of Chicago; Minnesota Opera; The Glimmerglass Festival HIGHLIGHTS: Méphistophélès (Faust), Wolf Trap Opera; Olin Blitch (Susannah), Lyric Opera of Chicago; Il Re (Aida), Lyric Opera of Chicago; Alidoro cover (La Cenerentola), Lyric Opera of Chicago; Rychtár cover (Jenufa), Lyric Opera of Chicago; Zuniga (Carmen), Lyric Opera of Chicago; Jago cover (Ernani), Lyric Opera of Chicago

39

EMILY TREIGLE

KYLE WHITE

New Orleans, LA

Dallas, TX

Despina (Così fan tutte)

Guglielmo (Così fan tutte) William Dale (Silent Night)

MEZZO-SOPRANO*^

TRAINING: Wolf Trap Opera (Studio ’21; Filene ’23); Butler Studio, Houston Grand Opera; Rice University; Fleming Artist, Aspen Music Festival HIGHLIGHTS: Juno/Ino (Semele), Wolf Trap Opera; Meg Page (Falstaff), Houston Grand Opera; Suzuki (Madama Butterfly), Houston Grand Opera; Donna Elvira cover (Don Giovanni), Houston Grand Opera; Flora (La traviata), Houston Grand Opera; Grand Finals Winner, 2021 the Metropolitan Opera Laffont Competition

BARITONE*

TRAINING: Wolf Trap Opera (Filene ’23); Virginia Opera; Palm Beach Opera; Kentucky Opera; Boston Conservatory at Berklee; Des Moines Metro Opera HIGHLIGHTS: Valentin (Faust), Wolf Trap Opera; Samuel and Major General cover (The Pirates of Penzance), Virginia Opera; Tommy McIntyre and Hawkins cover (Fellow Travelers), Virginia Opera; Germont (La traviata), Virginia Opera; Nardo (La finta giardiniera), The Hungarian State Opera; Figaro (Il barbiere di Siviglia), Opera Neo; Schaunard (La bohème), Kentucky Opera

ERIN WAGNER

RYAN WOLFE

El Paso, TX

Arlington Heights, IL

Dorabella (Così fan tutte)

Lieutenant Gordon (Silent Night)

TRAINING: Butler Studio, Houston Grand Opera; The Juilliard School; Fleming Artist, Aspen Music Festival; Merola Opera Program; Manhattan School of Music

TRAINING: Domingo-Colburn-Stein Young Artist Program, Los Angeles Opera; University of Cincinnati CollegeConservatory of Music; Des Moines Metro Opera

MEZZO-SOPRANO

HIGHLIGHTS: Idamante (Idomeneo), Aspen Opera Theater; Zweite Dame (Die Zauberflöte), Aspen Opera Theater; Winner, International Audition, Young Concert Artists; Jack (The Wreckers), Houston Grand Opera; Barbarina (Le nozze di Figaro), Houston Grand Opera; Winner, Naumburg Foundation International Vocal Competition

BARITONE

HIGHLIGHTS: Ping (Turandot), Los Angeles Opera; Tarquinius (The Rape of Lucretia), Los Angeles Opera; Golaud (Impressions de Pelléas et Mélisande), Los Angeles Opera; Fiorello (Il barbiere di Siviglia), Los Angeles Opera; Steuermann (Tristan und Isode), Los Angeles Philharmonic; Soloist (Mahler’s Kindertotenlieder), Richmond Symphony; Soloist (Beethoven’s Ninth Symphony), Los Angeles Chamber Orchestra

* returning Filene Artist ^ former Studio Artist

40

STUDIO ARTISTS

The Wolf Trap Opera Studio facilitates the transition from student to professional. Studio Artists are singers of significant potential who are either currently or recently

SADIE CHESLAK MEZZO-SOPRANO Duluth, MN TRAINING: Concordia College; University of Illinois Urbana-Champaign; DePaul University; Pittsburgh Festival Opera ROLES: Chorus (Così fan tutte), Chorus (La bohème) COVER: Alto Solo (Beethoven’s Ninth Symphony)

enrolled in a university or conservatory voice program. They understudy principal roles, perform small roles, and sing in the chorus. They also work with a curated group of master teachers to continue their artistic and practical development.

ROSARIO ARMAS

DEVIN EATMON

Tlaxcala, Mexico

Ocala, FL

TRAINING: La Musica Lirica; The Manhattan School of Music; Sarasota Opera; Wolf Trap Opera Studio (’23)

TRAINING: Florida State University; Opera Colorado; Palm Beach Opera

MEZZO-SOPRANO*

ROLES: Chorus (Così fan tutte); Chorus (La bohème)

TENOR

ROLES: Chorus (Così fan tutte); Chorus (La bohème); Chorus (Silent Night)

COVER: Despina (Così fan tutte)

COVER: Brother (Seven Deadly Sins); Rodolfo (La bohème)

JOSEPH CALZADA

JEREK FERNÁNDEZ

Pembroke Pines, FL

San Juan, Puerto Rico

TRAINING: San Francisco Conservatory of Music; Jacobs School of Music, Indiana University; Savannah VOICE Festival; Vienna Summer Music Festival

TRAINING: Conservatorio de Musica de Puerto Rico; Sarasota Opera; Florentine Opera

BASS-BARITONE

ROLES: Chorus (Così fan tutte); Chorus (La bohème); British Major and Chorus (Silent Night) COVER: Don Alfonso (Così fan tutte), Colline (La bohème)

TENOR

ROLES: Chorus (Così fan tutte); Parpignol and Chorus (La bohème); Chorus (Silent Night) COVER: Tenor Solo (Beethoven’s Ninth Symphony); Sprinks (Silent Night)

41

REED GNEPPER

MIA MANDINEAU

Toledo, OH

Paris, France

TENOR

SOPRANO

TRAINING: University of Cincinnati College-Conservatory of Music; The Juilliard School; The Chautauqua Institution

TRAINING: Conservatorium van Amsterdam (Netherlands); Athens Conservatory (Greece); SUNY Fredonia School of Music; Georg Solti Accademia

ROLES: Chorus (Così fan tutte); Chorus (La bohème); Chorus (Silent Night)

ROLES: Chorus (Così fan tutte); Chorus (La bohème)

COVER: Ferrando (Così fan tutte); Parpignol (La bohème); Jonathan Dale (Silent Night)

COVER: Soprano Solo (Beethoven’s Ninth Symphony); Anna Sørensen (Silent Night)

CHELSEA GUO

MARIO MANZO

Darien, CT

Mesa, AZ

SOPRANO

TRAINING: The Juilliard School; Winner, Young Concert Artists Competition (piano and voice) ROLES: Chorus (Così fan tutte); Chorus (La bohème) COVER: Musetta (La bohème)

BARITONE*

TRAINING: The Shepard School of Music, Rice University; Arizona State University; Seagle Music Festival; Wolf Trap Opera Studio (’23) ROLES: Chorus (Così fan tutte); Customs Sergeant and Chorus (La bohème); Chorus (Silent Night) COVER: Mother (Seven Deadly Sins); Bass Solo (Beethoven’s Ninth Symphony); British Major and Father Palmer (Silent Night)

KYLIE KREUCHER

ARIA MINASIAN

Novi, MI

Bainbridge Island, WA

SOPRANO

TRAINING: Curtis Institute of Music; Oberlin Conservatory; Music Academy of the West ROLES: Chorus (Così fan tutte); Chorus (La bohème) COVER: Fiordiligi (Così fan tutte)

MEZZO-SOPRANO

TRAINING: Lawrence University Conservatory of Music; Theatre & Dance, University of Michigan School of Music; Utah Lyric Opera ROLES: Chorus (Così fan tutte); Chorus (La bohème) COVER: Anna I (Seven Deadly Sins); Madeleine (Silent Night)

42

ERIK NORDSTROM

TIVOLI TRELOAR

St. Paul, MN

Silverado, CA

BARITONE

MEZZO-SOPRANO

TRAINING: Kentucky Opera; University of Cincinnati College-Conservatory of Music; Lawrence University; Des Moines Metro Opera; Central City Opera

TRAINING: The Herb Alpert School of Music, University of California, Los Angeles; The Juilliard School; Music Academy of the West; La Musica Lyrica

ROLES: Chorus (Così fan tutte); Chorus (La bohème); Chorus (Silent Night)

ROLES: Chorus (Così fan tutte); Chorus (La bohème); Madeleine (Silent Night)

COVER: Guglielmo (Così fan tutte); William Dale and Lieutenant Gordon (Silent Night)

COVER: Dorabella (Così fan tutte)

ADAM PARTRIDGE

LOGAN WAGNER

Jacksonville, FL

Villa Hills, KY

BASS-BARITONE*

TENOR

TRAINING: The Shepherd School of Music, Rice University; Stetson University; Seagle Music Festival; Wolf Trap Opera Studio (’23)

TRAINING: University of Cincinnati College-Conservatory of Music; Utah Festival Opera; Des Moines Metro Opera

ROLES: Chorus (Così fan tutte); Benoit/Alcindoro and Chorus (La bohème); Chorus (Silent Night)

ROLES: Brother (Seven Deadly Sins); Chorus (Così fan tutte); Chorus (La bohème); Chorus (Silent Night)

COVER: Brother (Seven Deadly Sins); Audebert (Silent Night)

COVER: Kronprinz (Silent Night)

CLARA REEVES

YICHEN XUE

Greenville, NC

Anshan, Liaoning, China

TRAINING: University of Cincinnati College-Conservatory of Music; Songfest; Chicago Summer Opera

TRAINING: Hunter College; Manhattan School of Music; Martina Arroyo’s Prelude to Performance

ROLES: Chorus (Così fan tutte); Chorus (La bohème)

ROLES: Chorus (Così fan tutte); Chorus (La bohème); Chorus (Silent Night)

COVER: Mimi (La bohème)

COVER: Schaunard (La bohème); Ponchel (Silent Night)

SOPRANO

BARITONE

* returning Studio Artist

43

FELLOWS Coaching and Directing Fellows are emerging

professionals at a point in their careers similar to that of Filene Artists, and they make critical contributions to WTO’s music and directing teams. Former Fellows have gone on to positions at leading opera companies and

YE IN KWAK

COACHING FELLOW Seoul, South Korea TRAINING: Manhattan School of Music; Korea National University of the Arts; Seoul National University; Moscow State Tchaikovsky Conservatory HIGHLIGHTS: SongStudio: Young Artists Recital, Carnegie Hall; The Greene Space; Aspen Music Festival and School

have developed thriving freelance careers as conductors and directors.

MANUEL ARELLANO COACHING FELLOW Sun City, CA TRAINING: University of Texas at Austin; University of Michigan; Cal State Long Beach HIGHLIGHTS: Domingo-Colburn-Stein Young Artist Program; Aspen Opera Theater; Music Academy of the West

MICHELLE PAPENFUSS

COACHING FELLOW* Fairfax, VA

TRAINING: Houston Grand Opera Studio; University of Michigan; Brigham Young University HIGHLIGHTS: Houston Grand Opera; Cafritz Young Artist, Washington National Opera; Young Artist, Glimmerglass Opera; Wolf Trap Opera (‘23)

ELIO BUCKY

HAYLEY STAMATS

San Francisco, CA

Pittsburgh, PA

TRAINING: Butler Opera Center; University of Texas at Austin; Northwestern University

TRAINING: Resident Artist Stage Director, Pittsburgh Opera; Simpson College

DIRECTING FELLOW

HIGHLIGHTS: Music Academy of the West; Miami Music Festival

DIRECTING FELLOW

HIGHLIGHTS: Cincinnati Opera; Arizona Opera; Cedar Rapids Opera; 2022 Resonance Works Pittsburgh

* returning Fellow

44

GUEST ARTISTS

Every summer, industry-leading conductors, directors, designers, production managers, artistic directors, coaches, and guest faculty gather at Wolf Trap to make great opera and mentor up-and-coming singers.

COLIN K. BILLS

Lighting Designer – Così fan tutte, Silent Night Arena Stage, Chicago’s Second City, Ford’s Theatre, Kennedy Center, Opera Lafayette, Opéra Royal Versailles, The Smithsonian Institution, Signature Theatre, Studio Theatre, Synetic Theatre, Williamstown Theatre Festival

STEVEN BLIER

Artistic Director and Pianist – ¡Te Adoro!

New York Festival of Song (co-founder, artistic director), The Juilliard School, Caramoor, New York City Opera, Steans Music Institute at Ravinia, Santa Fe Opera, San Francisco Opera

CHRISTINE BRANDES

Conductor – Così fan tutte Seattle Opera, Atlanta Opera, Florida Grand Opera, Les Violons du Roy, Virginia Symphony, Philharmonia Baroque Orchestra

KATHERINE M. CARTER

Revival Director – La bohème On Site Opera, Canadian Opera Company, Houston Grand Opera, Santa Fe Opera, Lyric Opera of Chicago, the Metropolitan Opera, Wolf Trap Opera, The Juilliard School

GRANT GERSHON

Conductor – La bohème LA Opera, LA Master Chorale, San Francisco Opera, Dutch National Opera, LA Philharmonic, Salzburg Festival, Wolf Trap Opera, Minnesota Opera

ADAM LARSEN

Video Design – Silent Night Broadway, NY Philharmonic, Opera Philadelphia, Canadian Opera, LA Philharmonic, Lincoln Center, Houston Symphony, San Francisco Symphony, Neurotypical (PBS); Athens, Edinburgh, Spoleto Festivals

ANNA LOPEZ

Dancer, Choreographer – Seven Deadly Sins George Mason University, MOVE (NYC) Young Professional Program, Graham Company

GEOFFREY McDONALD

Conductor – Silent Night Opera Philadelphia, Minnesota Opera, Opera Saratoga, Wolf Trap Opera, Chicago Opera Theatre, Atlanta Opera, National Symphony Orchestra, Chamber Orchestra of Philadelphia, International Contemporary Ensemble

RYAN McKINNY

Director – Silent Night The Metropolitan Opera, Houston Grand Opera, LA Opera, Lyric Opera of Chicago, Seattle Opera, Washington National Opera

TONYA McKINNY

Director – Silent Night Minnesota Opera, Houston Grand Opera, Washington National Opera, Dallas Opera, The Glimmerglass Festival

LAWRENCE E. MOTEN III

Scenic Design – Così fan tutte, Silent Night Circle in the Square, Ensemble Studio Theatre, Cherry Lane Theatre, Santa Fe Opera, Portland Center Stage, Round House Theatre, The Old Globe, Williamstown Theatre Festival, Wolf Trap Opera

ANNE NESMITH

Wig & Makeup Design – Così fan tutte, La bohème, Silent Night Kennedy Center, Opera Philadelphia, Arena Stage, Ford’s Theatre, Opera Boston, Shakespeare Theatre Company, Signature Theatre, Castleton Music Festival, Washington Ballet, Wolf Trap Opera, the Metropolitan Opera

DAN RIGAZZI

Director – Così fan tutte The Metropolitan Opera, Teatro all Scala, Boston Symphony at Tanglewood, Lyric Opera of Kansas, Orpheus PDX, Madison Opera, Pittsburgh Opera

JOHN MORRIS RUSSELL

Conductor – Seven Deadly Sins Cincinnati Pops Orchestra, Hilton Head Symphony Orchestra, Buffalo Philharmonic Orchestra, LA Philharmonic, Windsor Symphony Orchestra, Cleveland Orchestra, New York Philharmonic, National Symphony Orchestra

LYNLY SAUNDERS

Costume Designer – Così fan tutte, Silent Night Washington National Opera, National Symphony Orchestra, Glimmerglass Festival, Minnesota Opera, Tailor Point Styling, Faction of Fools, Chesapeake Shakespeare Company, Longacre Lea, Peabody Opera Theatre, Wolf Trap Opera

45

MUSIC STAFF

PRODUCTION STAFF

Diction – Silent Night Carnegie Mellon, the Metropolitan Opera, The Juilliard School, Manhattan School of Music, Mannes School of Music at The New School, Seattle Opera, Glimmerglass Festival, Tanglewood Festival, Adobe

Assistant Stage Manager – La bohème Miami Classical Music Festival (Production Stage Manager), LA Opera (Assistant Stage Manager)

JOCELYN DUECK

DAVID HANLON

Head of Music Washington Concert Opera (Chorus Master), Houston Grand Opera, Lyric Opera of Chicago, San Diego Opera, Arizona Opera, New York City Opera, Santa Fe Opera

JOSEPH LI

Pianist – 6/28 Salon Series Jamie Barton in Concert Vice President of Artistic at Minnesota Opera, Houston Grand Opera, Arizona Opera, Aspen Music Festival, Rice University, Baylor University

ALEX MUNGER

Chorus Master/Pianist – Silent Night Coach/Pianist – Aria Jukebox University of Wisconsin-Eau Claire (BM); University of Illinois (MM); Wolf Trap Opera; Aspen Opera Center; Houston Grand Opera Butler Studio; The Shepard School of Music, Rice University

NATE RASKIN

Chorus Master/Pianist – La bohème The Metropolitan Opera, Aspen Music Festival, The Juilliard School, Northwestern University, Semperoper Dresden, Oper Leipzig, LA Opera, Philadelphia Orchestra, Berkshire Opera Festival, Chautauqua Institution School of Music, Lotte Lehmann Akademie

RENATE ROHLFING

Pianist – 6/23 + 7/1 Salon Series Cincinnati May Festival, Ravinia Festival, Carnegie Hall, Muziekgebouw, Royal Albert Hall, Lincoln Center

ARTURO FERNANDEZ JR.

LISA R. HAYS

Assistant Stage Manager – La bohème The Lost Colony, Lyric Theater of Oklahoma, San Francisco Opera, Lyric Opera of Chicago, Opera Philadelphia, Washington National Opera, Atlanta Opera

RACHEL HENNEBERRY

Production Stage Manager – La bohème Lyric Opera of Chicago, San Francisco Opera, Utah Opera, Boston Lyric Opera, Pittsburgh Opera, Wolf Trap Opera

CASEY KALEBA

Intimacy & Fight Choreographer – Così fan tutte Guthrie Theatre, Folger Theatre, Round House Theatre, Shakespeare Theatre Company, Spoleto Festival USA, Studio Theatre, Washington National Opera, Castleton Festival

DIANE LIN

Assistant Stage Manager – Silent Night Washington National Opera, Washington Concert Opera, Opera Lafayette, Central City Opera, San Diego Opera, Vocal Arts DC

ALYCIA MARTIN

Assistant Stage Manager – Così fan tutte Lyric Opera of Chicago, Seattle Opera, Chicago Opera Theater

SAVANNAH VALIGURA

Production Stage Manager – Così fan tutte, Silent Night Wolf Trap Opera, Florentine Opera, Opera Philadelphia, Washington National Opera, Opera Omaha, Madison Opera

BIN YU SANFORD

Principal Coach - Silent Night Coach/Pianist – Aria Jukebox Lindemann Young Artist Development Program, the Metropolitan Opera; The Sarah and Butler Houston Grand Opera Studio; Wolf Trap Opera; The Music Academy of West; University of Cincinnati College-Conservatory of Music; Music Staff at San Francisco Opera, Houston Grand Opera, The Atlanta Opera, and Opera Theatre of Saint Louis

NICOLÒ SBUELZ

Coach/Italian Diction – Così fan tutte, La bohème Sarasota Opera, Merola Opera Program, Aspen Music Festival, Accademia Teatro alla Scala, Opéra de Lyon

CHRISTOPHER TURBESSI

Principal Coach – La bohème Houston Grand Opera, Aspen Opera Theater, Virginia Opera, Syracuse Opera, University of Michigan, Temple University, Rice University, The Collaborative Piano Institute, Houston Grand Opera, Utah Opera, Santa Fe Opera, Opera Santa Barbara, Castleton Festival

WILLIAM WOODARD

Principal Coach/Continuo – Così fan tutte Lindemann Young Artist Development Program, the Metropolitan Opera; Cafritz Young Artist at Washington National Opera; Wolf Trap Opera; Merola Opera Program; Aspen Music Festival

46

GUEST TEACHING ARTISTS & PROFESSIONALS CHRISTINE GOERKE

Soprano & Associate Artistic Director, Detroit Opera

KATE RIGG

Actor & Activist

MARQUITA LISTER

Soprano & Voice Faculty, Morgan State University

CORY LIPPIELLO

Director of Artistic Programs, Lyric Opera of Chicago

JOSE LUIS GOMEZ

Conductor, Music Director, Tucson Symphony

ORCHESTRA & CHORUS COSÌ FAN TUTTE First Violin Claudia Chudakoff, concertmaster Jennifer Himes Jennifer Rickard Patty Hurd Sarah Sherry Leslie Silverfine

Bassoon Eric Dircksen, principal Jonathan Zepp

Cello Kerry Van Laanen, principal Todd Thiel Lori Barnet, continuo

Second Violin Laura Miller, principal Paula McCarthy Doug Dube Laura Knutson Viola Jennifer Rende, principal Tiffany Richardson Derek Smith

Bass Chris Chlumsky

Horn Evan Geiger, principal Chandra Cervantes

Flute Beverly Crawford, principal David Lonkevich

Trumpet Kurt DuPuis, principal Philippe Brunet

Oboe Fatma Daglar, principal David Garcia

Timpani/Percussion Bill Richards

Clarinet Kathy Mulcahy, principal Jeremy Eig

SILENT NIGHT First Violin Claudia Chudacoff, concertmaster Sue Midkiff Karen Lowry-Tucker Heather Haughn

Trumpet Tim White, principal Phil Snedecor Kevin Gebo

Bass Ed Malaga, principal Flute Beverly Crawford, principal David Lonkevich

Second Violin Laura Miller, principal Xi Chen Sonya Chung Alexandra Mikhlin

Trombone Brian Bourne, principal John McGinness (+ Bass)

Oboe Fatma Daglar, principal Meg Owens

Percussion Jon Spirtas, principal Greg Akagi Danny Villanueva

Clarinet Kathy Mulcahy, principal Jeremy Eig

Viola Jennifer Rende, principal Tiffany Richardson Jim Kelly

Timpani Bill Richards, principal

Bassoon Sam Blair, principal Eric Dirckson

Cello Lori Barnet, principal Kerry van Laanen Todd Thiel

Harp Eric Sabbatino, principal

Horn Geoff Pilkington, principal Chandra Cervantes Amy Horn Joy Hodges

Bagpipe Charlie Glendinning

LA BOHÈME CHORUS AGMA: Sopranos Hana Abrams Heather Fetrow Shaina Kuhn Ketti Muschler Ashlyn Rock Randa Rouweyha

Mezzos Marta Kirilloff Barber Emily Buttram Alexandra Coburn Grace Gori Jessica Harika Erica Timmerman

Tenors Cosmo Clemens Aurelio Dominguez Jason Gonzalez Sammy Huh Opal Clyburn-Miller Andrew Sauvageau

Baritones/Basses Gordon Blodgett Gene Galvin DongKeon Kim Elliot Matheny Jose Sacin James Shaffran

Studio Artists: Rosario Armas, Joseph Calzada, Sadie Cheslak, Devin Eatmon, Jerek Fernández, Reed Gnepper, Chelsea Guo, Kylie Kreucher, Mia Mandineau, Mario Manzo, Aria Minasian, Erik Nordstrom, Adam Partridge, Clara Reeves, Tivoli Treloar, Logan Wagner, Yichen Xue Children's Choir of Washington: Robbie Jacobs, Executive Director Margaret Nomura Clark, Artistic Director Members of AGMA appear through the courtesy

Steinway and Boston are the preferred pianos for

The musicians employed in this production are members of and

of the American Guild of Musical Artists, AFL-CIO.

Wolf Trap performances and education facilities.

represented by D.C. Federation of Musicians, AFM Local 161-710.

47

STAFF

WOLF TRAP OPERA ARTISTIC & ADMINISTRATIVE STAFF

SAM EISENSTIEN BOND First Hand

WOLF TRAP FOUNDATION LEADERSHIP

LEE ANNE MYSLEWSKI Vice President

CAILEE BYWATER First Hand

RONALD LEE NEWMAN Director, Artistic Operations

AMY VANDER STAAY First Hand

BETH BRUMMEL Chief Operating Officer

ARIANNA ZUKERMAN Manager, Artistic Administration

ESTHER YALI-WILLIAMS Stitcher/Wardrobe

SARA BEESLEY Vice President, Program and Production

CHRISTEN CAIN Coordinator, Company Management

JENNA HALEEN Stitcher/Wardrobe

BERNARD BERRY, III Senior Director, Ticket Services

TIM MCCORMICK Director of Production, The Barns

RACHEL LUNEKE Stitcher/Wardrobe

DAMON EFFINGHAM Senior Director, Government Affairs

APPRENTICES

JOHN GIAMBALVO Vice President, Finance

DAVID HANLON Head of Music DAVID MARGULIS Rehearsal Administrator

SCENE SHOP CHRIS STOUTJESDYK Technical Director ZOE TOMPKINS Asst. Tech Director CHRISTINA KOUNI LAVERTY Lighting Supervisor MARIAH FAULKNER Lighting Assistant GEORGE BURGTORF Props Master ISABELLA GARBER Props Assistant YARITZA PACHECO Charge Artist CAROLINE AUSTIN Scenic Artist ANSON STEVIE Master Carpenter MADDIE SOUTHARD Carpenter MASON ALLEN Carpenter ELI KERN Carpenter

COSTUME SHOP

WTO Apprentices are part of Wolf Trap Foundation’s Internship and Apprenticeship program. Having honed their skills through academic training, they now receive hands-on experience in a professional setting as well as mentorship from Wolf Trap Opera staff.

ARVIND MANOCHA President and CEO

ELIZABETH SCHILL HUGHES Senior Director, Human Resources SARA P. JAFFE Vice President, Development FRASER KADERA Vice President, Facilities

GRIFFIN SCOTT Artistic Administration

AKUA KOUYATE-TATE Vice President, Education

MADELINE CHOI Artistic Administration

JO LABRECQUE Vice President, Communications & Marketing

ABIGAIL JOHNSON Communications MAYA LIU Stage Management AISSATA ALOU Stage Management BENJAMIN BARTLETT Tech Apprentice ANNA MANZO Tech Apprentice LINNIE HAMPTON Lighting Apprentice

LEE ANNE MYSLEWSKI Vice President, Opera and Classical Programming

GUIDE CONTRIBUTORS LEE ANNE MYSLEWSKI Vice President, Opera and Classical Programming ARIANNA ZUKERMAN Manager, Artistic Administration, Opera and Classical Programming

KRYSTAL ANDERSON Props Apprentice

JO LABRECQUE Vice President, Communications and Marketing

SYDNEY SCHEPISI Scene Painting Apprentice

SARA SHAFFER Director, Creative

CLAY PISTO Costume Apprentice

SANDRA RODRIGUEZ Director, Communications

CORRINE KRASNER Wig & Makeup Apprentice

EMILY HUNT Manager, Publications

SUSAN CHIANG Costume Shop Manager

CHERLYN REBULTAN Graphic Designer

CAROLINE MacDONALD Design Assistant

CLARISSE GAILLARD Graphic Designer

CAROLINE TYSON Design Assistant

DANA ARMSTRONG Content Writer/Copyeditor

DENISE AITCHISON Draper

TIMMY CHEN Marketing, Manager

SETH GILBERT Draper

GUIDE PHOTOGRAPHERS

DENNIS KITMORE Draper

A.E. LANDES

RICH KESSLER ANGELINA NAMKUNG SCOTT SUCHMAN

48

OPERA BEYOND THE BARNS EXPAND YOUR WOLF TRAP OPERA EXPERIENCE TO THE COMFORT OF YOUR OWN HOME! STREAMING VIDEO Stream Wolf Trap Opera’s 2023 production of Gounod’s Faust. Full productions are available at wolftrap.org/streaming

RADIO Catch Wolf Trap Opera's 2023 productions airing this summer as a part of the Opera Matinee broadcast series on Classical WETA 90.9. Don't miss Semele on June 15 and Faust on June 22!

THE BARNS AT WOLF TRAP POLICIES •

All patrons agree to abide by The Barns at Wolf Trap health and safety protocols found at wolftrap.org/policies

•

All patrons, regardless of age, must have a ticket.

•

Patrons must sit in the seats for which they have tickets.

•

Outside food or beverages may not be consumed inside the facility.

• •

•

•

•

With the exception of service animals assisting disabled persons, pets are not permitted.

•

Patrons may not stand in or block aisles or sightlines at any time during performances.

•

Disturbing fellow patrons with loud conversation or inappropriate behavior is not permitted and may result in removal from the performance without a refund.

Beverages are permitted inside the theater.

Food is not permitted inside the theater.

•

All cell phones and electronic devices must be silenced during the performance.

The Barns is a smoke-free facility. Smoking, including e-cigarettes, is permitted only in the designated area outside the main entrance.

•

Firearms are prohibited.

•

Resale of tickets on Wolf Trap Foundation property is strictly prohibited by Wolf Trap Foundation policy.

•

Violation of The Barns at Wolf Trap House Rules may result in removal from the performance without refund and/or prosecution.

The use of recording equipment and cameras (with or without flash) during performances is prohibited unless coordinated through management and authorized by the artist(s).

Late arrivals are normally seated between movements, acts, or numbers at the discretion of management and at the request of the artist(s).

VIEW WOLF TRAP’S MOST UP-TO-DATE POLICIES AT WOLFTRAP.ORG/POLICIES

49

CAMPAIGN FOR WOLF TRAP

THANK YOU to these Wolf Trap Foundation for the Performing Arts donors for their commitments to the Campaign for Wolf Trap: Our Next Chapter, an initiative to support facility enhancements and programs for future generations.

Reflects donations for special long-range initiatives, through March 2024.

VISIONARY DONORS

SUSTAINERS

PARTNERS

Dan and Gayle D’Aniello

$100,000-$249,999 Anonymous Steven and Marjie Alloy The Ananthanpillai Family Christopher and Andrita (AJ) Andreas Michael and Ana Beckley The Bedrock Community Fund Kevin and Cynthia Boyle Jan Brandt Capital One Marcia and Frank C.+ Carlucci III Denise Chen and Tim Maas L. William Derrow+ John and Lynn Dillon Ken and Vickie Hayduk Shelly and Jack Hazel Sue J. Henry and Carter G. Phillips Eric and Heather Kadel Leana and Marc Katz Ashok and Stuti Kaveeshwar Nancy Laben and Jonathan Feiger Denise Riedel Lewis and Kenneth J. Lewis General Lester and Mina Lyles and Family Arvind Manocha and Gideon Malone Ann McPherson McKee Robert and Judy Might Reed and Pat Menster Neuman PNC Norma and Russ Ramsey James Roth Srikant Sastry and Manjula Pindiprolu Todd and Elaine Stottlemyer Theresa Thompson Victoria Trumbower and David Ralston Lynn and Carl Verboncoeur Deborah F. and David A. Winston

$25,000-$49,999 Jeremy and Stephanie Blank Richard and Evelyn Bynum Tenley Carp and David Samuels Karen and Jim Cleveland Vincent Ferraro and Laura Forte Gil and Janice Guarino Lisa and Richard Jeanneret Mars Foundation Jodi and Darren Morton Boofie and Joe O’Gorman Dion and Michele Rudnicki Craig and Christina Sharon

$5,000,000+ Jacqueline B. Mars $2,500,000-$4,999,999 Hillary and Tom Baltimore Lincoln and Therese Filene Foundation Shashikant and Margaret Gupta Gary D. Mather and Christina Co Mather Karen and Fred Schaufeld $1,000,000-$2,499,999 John and Susie King Jean and Ric Edelman Anne R. Kline and Geoffrey Pohanka Matt Korn and Cindy Miller

BENEFACTORS $500,000-$999,999 The Setian Family Janet+ and Calvin Hill Ed and Andy Smith F. Chapman and Grace Taylor Robert and Lisa Van Hoecke

PATRONS $250,000-$499,999 C.E. and Jean Andrews Brickman Family Foundation Bruce Caswell and Lauren Deichman Melissa Delgado and Anthony Colangelo The ElSawy Family Foundation Virginia McGehee Friend Alka and Sudhakar Kesavan Janet and Jerry Kohlenberger John C. Lee, IV and Cindy Lee Bob and Lisa Lutz Chris and Paige Nassetta National Park Foundation/The Boeing Company Edward and Susan O’Connell Donna and Jim Reagan The Robbins Family Kevin and Beth Smithson Trehan Foundation Nell V. Weidenhammer+ John and Jessica Wood

50

SUPPORTERS $50,000-$99,999 Anonymous Foundation The Morris and Gwendolyn Cafritz Foundation Jeff and Jacqueline Copeland The Ithaka Foundation Broderick Johnson and Michelle Norris Robert M. and Joyce A. Johnson Philip and Sandy+ Marcum Donna and Buzz Miller Janet M. Osborn The Pence Group, Inc. Jonathan and Virginia Shames John and Gina Wasson Karen A. Zavinsky+

CONTRIBUTORS $10,000–$24,999 Anonymous Sam Barnes Jennie and Mark Bishof Beth Brummel and Michael Beresik Janice Z. and H. Lawrence Clark Steve and Christie Day Enterprise Knowledge Gerald W. and Marlene K. Fischer Bette S. Gorman Lynda Lonshein Hellman Estate of Alexine Clement Jackson Donald and Sherlyn Jenkins Scott and RaSheeda Keir Tracy K. Kenny William J. Long+ Dana and David Martin Nanette and Charles Mees Patrick and Annie Pacious The Page Family Dennis Peery and Anu Saxena Michael and Brigette Polmar Meg Porta and Matt Swayhoover Gerry and Lynn Rubin Ann Sanfacon Bernadette and Ed Saperstein Lisa Schievelbein Virginia and Alan Strauss Sally A. Turner and Jerry G. Bridges The Janice and Robert Vitale Charitable Fund Marjorie H. Wax and Brian P. Hochheimer Judith and Ronald+ Wilgenbusch Bill and Terry Witowsky Doug and Melanie Wolfe Giving Fund Theresa F. and John B. Wood Ann Ziff + Deceased

WITH APPRECIATION

Wolf Trap Foundation is deeply grateful to each of the following individuals for supporting the Foundation through membership gifts, event, and other annual program sponsorships made between April 1, 2023 and April 1, 2024.

Donations to the Campaign for Wolf Trap: Our Next Chapter are listed separately in this program, at wolftrap.org/campaign, and on dedicated signage throughout Wolf Trap. To donate, please contact Wolf Trap Development at 703.255.1927 or visit wolftrap.org/give.

INDIVIDUAL DONORS SEASON UNDERWRITERS Dan and Gayle D’Aniello

$250,000 TO $499,999 David M. Rubenstein

$100,000 TO $249,999 Anonymous Kimberly Engel Haber and Brett Haber/ The Dennis and Judy Engel Charitable Foundation John and Susie King Michael Saylor F. Chapman and Grace Taylor Governor Glenn and First Lady Suzanne S. Youngkin

$50,000 TO $99,999 Christopher and Andrita (AJ) Andreas Hillary and Tom Baltimore Jan Brandt Patrice King Brickman Family Foundation Melissa Delgado and Anthony Colangelo Craig and Valerie Dykstra Jean and Ric Edelman Virginia McGehee Friend Shashikant and Margaret Gupta Sue J. Henry and Carter G. Phillips Matt Korn and Cindy Miller Dan and Gloria Logan | The Revada Foundation Karen and Fred Schaufeld Scuba Mike Ed and Andy Smith The Webber Family Deborah F. and David A. Winston

$25,000 TO $49,999 Anonymous (2) Steven and Marjie Alloy Raj Ananthanpillai and Radhika Rajagopalan C.E. and Jean Andrews Michael and Ana Beckley Tenley Carp and David Samuels Bruce L. Caswell and Lauren Deichman Leo and Mary Fox William and Elizabeth Gould William Hanlon The Ithaka Foundation Broderick Johnson and Michele Norris Robert M. and Joyce A. Johnson Eric and Heather Kadel Leana and Marc Katz Alka and Sudhakar Kesavan Anne R. Kline and Geoffrey Pohanka Nancy Laben and Jon Feiger Gen. (Ret.) Lester L. and Mina Lyles Gary D. Mather and Christina Co Mather Samuel Meisner Diane and Tim Naughton Donna and Jim Reagan The Robbins Family Patrick and Annie Pacious

Srikant Sastry and Manjula Pindiprolu Jiten (Jay) and Sujani (Jen) Shah Todd and Elaine Stottlemyer Paul and Tracy Tartaglione Robert and Lisa Van Hoecke Lynn and Carl Verboncoeur

$15,000 TO $24,999 Anonymous (4) Cynthia and Kevin Boyle Beth B. Buehlmann Richard and Evelyn Bynum Jeff and Jacqueline Copeland John and Lynn Dillon Dr. and Mrs. Gerald W. Fischer Shelly and Jack Hazel Jacqueline Hinman Clark Hoyt and Linda Kauss Donald and Sherlyn Jenkins Janet and Jerry Kohlenberger Barry and Bambi Landew Matt Lerner/Frederick Coin Exchange Leviton Family Bob and Lisa Lutz Dana and David Martin Ann McPherson McKee, Gift in Remembrance of Burtt & Rebecca Gray McKee and Douglas & Ann McKee Seeley Boofie and Joe O'Gorman Michael and Cynthia O'Kane Brenda and William Romenius Peri and William Ross Dr. James Roth Gerry and Lynn Rubin Karl and Susan Salnoske Ashley Stow Pam and Greg Sullivan Caroline Morris Van Kirk Michael Williams

$10,000 TO $14,999 Anonymous (4) Reggie and Dharini Aggarwal Michael and Tricia Antonis Erin and Derek Arrison Jay and Terry Bachmann Jennie and Mark Bishof David and Amy Bosserman Rick and Debbie Bress Madison and Victoria Calvert David and Stacie Childress Sarah and James Choi Kenneth W. Coan/Sevila Coan Financial Group of Wells Fargo Advisors, LLC Erin Collier Ann Cook Charitable Fund Enrico and Linda Della Corna Jon and Patty Craver Dominic and Nedda Dragisich Diana and Douglas Dykstra Bonnie Feld

Vincent Ferraro and Laura Forte In Honor of Jim and Mary Beggs, Allen and Maureen Fox Bonnie L. Goldschmidt and Michele Shimek Gil and Janice Guarino Stanley J. and Cynthia M. Gutkowski Ken and Victoria Hayduk Alexander and Jacqueline Henry Julie Ann Heyward Estate of Alexine Clement Jackson John and Tracie Jacquemin/ The Jacquemin Family Foundation Gayle and Steven Job Suneetha and Pardha Karamsetty Ashok and Stuti Kaveeshwar Tracy K. Kenny Harmony Knutson and Alan Cohn Jenna and Wyatt Korff Ross and Kaye Kory Gayle and Jonathan Kosarin Priya and Anirudh Kulkarni Brent and Jennifer Long Clark and Kathleen Manning and Family Wendy and Dario Marquez Ray and Colleen McDuffie Nanette and Charles Mees James and Audrey Miller Jeff Miller Ramona and John W. Mockoviak Stephen and Betsy Mundt Patsy and Howard Norton Janet M. Osborn Fatih and Eren Ozmen Renata and Spence Patterson Sean and Shirley Prosser, in memory of Jim and Rosemary Prosser Norma and Russ Ramsey Harish R. Rao & Chelsea R. Rao Chris and Rita Raymond Patti and John Robertson Sherry Rutherford and Bill Krokowski Jeff and Dawn Sanok Danielle and John Saunders Stan and Ruth Seemann John and Darcy Sekas The Setian Family Craig and Christina Sharon Joan Sheppard Ronald and Deborah Sindler Rajendra and Neera Singh Arlene and David Slan Mike Slattery Virginia and Alan Strauss Derrick Tam Victoria Trumbower and David Ralston John and Gina Wasson Marc and Cortney Weber Daniel Webster Theresa and John B. Wood Greg and Janne Young Mary and Jeffrey Zients

51

$6,000 TO $9,999 Anonymous (6) Ernie and Cathy Abbott Mark and Robin Adams Ramon and Marissa Alcala John R. and Kathy Allen The Arner Family Susan and Jim Arnold Edward J. and Laura G. Asher Mrs. Benjamin P. Astley Vicky Bailey and Larry Smith Russel and Ann Bantham Richard and Julie Barcus Thomas A. Belles and Carla Minosh Gregory and Nancy Beronja Paul Blakely Harlan W. and Mary M. Bowers K. David Boyer, Jr. and Family Beth Brummel and Michael Beresik Nancy and Dennis Burke Alice and Terry Burns Dan and Leslie Burpee Richard and Evelyn Bynum John and Susan Byrne George C. and Sarah P. Cabalu Marcia and Frank C.+ Carlucci III Gregory and Jane Castanias Christopher and Carol Casto James and Karen Chamberlain Allayne and Brian Chappelle The Chaskin Family Jay W. and Heidi A. Chesky Brian J. Christianson Kathy and Jim Connor Coolie Doolie Chris and Gwynne Corridon Kevin Crabtree and Mary Kelleher-Crabtree Mary Cristler Jeff and Natalie Davis John and Mary Davis Janet L. Day W. Alan Day Shawn and Robyn Degnan David L. Denny and Laurie Scott Denny Barbara A. DiCicco Tami and Jeff Dierman Renny and Pat DiPentima Raymond A. and Roslyn M. Duda Juliana Dunlap and James Corrigan Mr. and Mrs. Dean S. Edmonds/ Dean S. Edmonds Foundation Randall Eliason and Chérie Kiser Sara and Sam Feder Michael P. and Marilyn H. Fitzgerald Susan Fox/The Walt Disney Company Lien and George Galloway Glenn and Barbara Gardner Cathy A. German Verena Gibbs and Bo Cappabianca William and Jacqueline A. Gravell Andrea M. Greenan and Alex Hwang Chris and Jennifer Greenlee Marge and Joe Grills Atul and Katherine Grover MaryLynn and Greg Haase Marlene and William Haffner Todd and Melinda Hall Dr. Dabney G. Hart / Mr. & Mrs. T. Michael Louden Bonnie and Bob Haukness Robert H. and Brenda Hawthorne Avi Hoffer Nettie Horne Shannon Houck Jeffrey Houle Cynthia Hull Jodie Hunter

52

Ashley Iddings Ricki and Joel Kanter Sean M. Kelley Laura, Jess, Mike, and Tim Kennedy Samir Khleif and May Y.J. Khamis Rae Ann and Bill Knopf Leo Kratz David F. La Mar and Terri L. Crowl David and Mary Beth Lane John and Cindy Langan Sheri A. Layton George Lowden Chip and Katie Lowry Mr. and Mrs. James F. MacGuidwin Philip and Sandy+ Marcum Cynthia and John Martin Donald and Shannon McGahn Susan and David McMunn Eric McNutt Susie and Josh Metz Christopher and Simone Meyer Donna and Buzz Miller Thomas and Lauren Morreale Mr. and Mrs. Charles T. Moses III Anne Motz John Murray and Jill Hansen Nora and Glen Petitt Carol S. Popowsky Joetta Rauchnot and Brenda Heck Selwa and David Rutchik Rebecca Sanders Ann Sanfacon Bernadette and Ed Saperstein Monica and Robert Schmude Richard and Susan Seabrook Jonathan and Virginia Shames Dr. Peter G. Shields Paul D. Shively and Claire L. Orth Steven and Donna Shriver Jon and Pat Simons Tina and Albert Small, Jr. Joel K. and Martha L. Smith Ruth Sorenson Duncan and Patricia Sparrell Peter and Jennie Stathis David L. Straus, Gift in Remembrance of Betty B. Straus Christie and Mark Struckman Peter and Ann Tanous Justin and Jennifer Tate Tori Thomas Theresa Thompson Rob Timmins and Jeff Kaplan Jennifer Toole Cris and Cindy Turner Richard J. Underwood Rosetta and Martin Virgilio Catherine and Eric Waldron Marjorie H. Wax and Brian P. Hochheimer Dr. Brooke Weddle and Mr. Miguel Payan Sandy and Carolyn Weininger Sue Irish and Kenn Weir Lisa and Eric Wieman David and Ellen Winter Bill and Terry Witowsky Cheryl A. Wooden and Dr. Deb Bobbitt Karen Yankosky James Y. S. Yap

$4,000 TO $5,999 Anonymous (16) Christopher and Kathryn Adams Robert and Sara Adler Melchora Alexander Melinda Ampthor Marian and Jay Andre

Richard and Rosemarie Andreano Barbara and Bear Ard Billy Armstrong Elizabeth and John Armstrong Jeanine Aronowitz Karen Azoff John C. Backus, Jr. Jennifer Barendse Rose Bates Donna and Barry Beach David and Cecilia Beck Amy Beckman and Steven Gaba Susan and Marc Benezra B. Michael and Sandra Berger Steven Berger Kevin and Jane Bise Jeremy and Stephanie Blank Sara Nelson Bloom Regina and Bill Bouie Kevin M. Breslin Barbara Brocker Diane S. Bronfman Stephanie Brotherton Rex Brouillard and Michelle Henry Dennis Brown and Jane Platt-Brown Donald Brown Nancy Broyhill Dennis and Julie Bruns James and Phyllis Bruyette Andrew and Jennifer Buckreis Sarah Buescher and Peter Cullen Jessica Bunin David and Carolyn Burgess Laina Bush and Michael Zajkowski Donna Callejon and Deborah Whiteside Joseph and Donna Cantara Drew and Therese Caplan Lori and Robert Caplan Cori and Jared Cardwell Christopher Carpenter and Lora Shimp Christopher and Jennifer Chatman Denise Chen and Tim Maas Col. (R) Lary and Sabine Chinowsky Joseph and Michelle Chotkowski John Claringbould and Patricia Loughrey Susan R. Clayman and Frank Starks Karen and Jim Cleveland Beth and Michael Coakley Bob and Kellie Cochran Marcy and Neil Cohen, Ryna Cohen Franklin C. Coleman Rachel Coll Wendy Connell Michael Corkery Phyllis and Wes Corley Katharina Cron Deborah Dale and Michael Goodman Dan and Bekki Danner Scott and Krista Darnell Maria Coakley David Steve and Christie Day Susie and Oscar De Soto Kathleen and Joseph Deal Trevor and Ingrid Dearman Meghan and John Deese Dante and Tracy D'Egidio Joseph and Pat Donahue Hank Dorochovich and Julie Johns Christian Downs Elizabeth Dresing Kristin and Eric Dubelier Teri D. Dungan Jim and Timoney Dunlap Helen and Ronald Dunn Robert J. Eatinger, Jr. Rear Admiral and Mrs. Thomas J. Eccles, USN (Ret)

James and Diane Ecklund George and Karen Eichert Michael J. Eidsness Robert and Alison Eisiminger Eddie and Rachel Eitches Holly and Richard Ellis Jim Evans and Sam Misleh, The Evans Company/Sophia's Cafe Jack Fahey Ginny Kogan Feldman Taryn Fielder and Ryan Forsythe Brian Fields Ross Fishkind and Kimberly Hamilton Rhonda Fleming and Mike Cooley James and Mary Flounlacker Roger and Nancy Fones Tucker Foreman Ryan Forsythe and Taryn Fielder Carol and Jorge Fortine Ochoa Lauren Freeman and Walter Steimel Russell Frey and I-Min Chao Dan Frisby and Suzanne Dougherty Gerry and Lynne Gabrys/Guest Services, Inc. Christina and Louis Gadrinab Eddy and Joan Gallahan Chris Garner Glenn Gaynor David and Jean Lynn Gearin Barbara Gernon and Valerie Kimball Michael Gilliam Rocio and Raul Gonzalez Jennifer and Chris Graham Sherry and Todd Gray Jeffrey Graybeal Teresa and Garson Green Lauren and Brian Greenberg Brian and Deb Grosner Bruce Gudenberg Norene and Tim Guilford Allen Haid and Sandra Cummins-Haid Nicole Alfandre Halbreiner Amy Halpern Bridget and Conway Halsall Jeffrey and Elizabeth Harris Luke Harris Teresa M. Haycraft Frank and Teresa Hearl Sharon Heinle and Chris DeLashmutt Sharon and Jeff Heinz Lynda Lonshein Hellman Leigh and Peter Henry Lisa and Ron Hodge Robert and Linda Horrigan Briglia Hundley, P.C. Kevin and Barbara Hutto Rylan and Carl Hutzler Frank Huynh and Leandro Toledo Dr. Renee Iacona Joseph and Robin Jackson Richard and Anna Jackson Neerja Jain Richard and Laurie Johnson Andrea Jolly Matthew Jones Terre and Polly Jones Lesley A. Kalan Joseph and Jill Kale Sharon Karaffa Richard and Barbara Kaufmann Brian Keller Roger and Teresa Keller Jodie Kelley and Scott Sinder Patrick and Ellen Kelsay Governor and Mrs. Dirk Kempthorne Robin and Michael Kennedy Carol King

Mr. and Ms. W. Russell King Travis and Sarah Kirspel Stephen and Mary Sue Kitchen Mark and Elena Kleifges Tara T. Kochis Phyllis Krochmal Lori LaFave William and Nancy LaForge Joni and Don Langevoort John and Nancy Larue Kim Latkiewicz David and Michele Lawrence Stuart and Brock Lending Denise Riedel Lewis and Kenneth J. Lewis Ted and Vivian Lewis Dennis and Tracey Liberson Douglas and Elizabeth Lobel Dr. Diana Locke and Mr. Robert Toense Megan Lockhart Julie Lonardo Aldys London Marcia and Adrian Lund Jennifer Lyons and Derek Morrissette Michael and Jennifer Maloney William H. Mann III Joey and Anna Maranto Kevin and Sarah Martin Albert and Terri Martinez Ricardo Martinez Shari Maruca Juliana E. May/JLL John and Deanne McGranahan Cristina F. and Michael A. McLaughlin Mr. and Ms. Jay Meadows/ Meadows Farms Nurseries Maria Michaels and Nick Studds Devon Miller and Darryl J. Anderson Ryan and Krista Miller Jill Minneman Thomas W. Minnick, National Counseling Group David and Vanessa Moir Jax, Lilly and Lee Monsein Ann and Keith Montgomery Linda Moran Darren and Jodi Morton Robert and Barbara Moss Amy and Will Mudge Michael Mullen Roderick and Jane Murchison Ray and Patricia Murphy James and Karen Murray Leanne and James Myers Joanne Nanna Sarah and John Nash Reed and Pat Menster Neuman Paul J. Nevins and Sheila LaFalce Katherine Newland Blake and Andrea Newman Kathleen and Kevin Newmeyer Nancy Nix-Karnakis Lloyd C. Noland Mr. and Mrs. Robert Norstern Jill Norton Timmy and Amanda Norton Debra O'Beirne Judith and Mary O'Brien Edward and Susan O'Connell Laura and Sean O'Keefe Theodore B and Lady Olson Rebecca Onuschak The Page Family Kimberly Parks Alex and Michael Pascarella Laura Peebles and Ellen Fingerman Dennis Peery and Anu Saxena Katie Pehrson

Mark and Carol Poblete Christopher Poell Michael and Brigette Polmar Samantha and Troy Poppe Meg Porta and Matt Swayhoover Chris and Katie Poteat Jeff and Jill Purdy Daniel and Roberta Quirk James Raba and Maureen Nelson Rabaut Family Foundation Eileen Rader David Rand Reinsch Pierce Family Foundation

by Lola C. Reinsch Jonathan Remson James and Linda Rettberg Ms. Melissa Rhoads and Mr. Ryan Simpson Dave and Aimee Richardson H. Mac and Michele-Anne Riley Jim Roberts and Julie Carter Roberts Rick and Faith Roberts Ward and Jennifer Roberts Amy and Ben Rossi Michael and Jane Rowny Kathryn Tucker Rutkowski Alicia Saffer and Kris Hatlelid Eric Salzberg Drs. Stephen and Mary Sapp Dr. Mona Sarfaty and Dr. Jay Siegel Jennifer and Andy Schenker Christopher and Joanna Schindler Jean Schiro-Zavela and Vance Zavela Dawn Schlegel Jim Schwenke Jim Seeley Harold and Adele Seifried Dr. Steven & Mrs. Gretchen Seiler Sean Sharifi Ritika and Rohit Sharma Sandeep Sharma Jennifer Shelton John T. Sheridan, Jr. Samantha and Evan Shinbaum Jules and Judy Shore Gina Shultz Joseph Sifer Linda B. Singletary Dru and Marie Smith Eric L. Smith Martha Nell Smith and Marilee Lindemann Neil and Nadia Smith Linda and Nigel Smyth Thomas and Angelique Snyder Amy and Patrick Souders Sandra and Dean Souleles Chris Spina Joan Stansfield, Stansfield Signature Real Estate Drs. Virginia Steen and Joseph Verbalis Judith M. Stehling and Edgar J. Ariza-Niño Michael L. Stevens and Elizabeth Munno Kathleen and Scott Stewart Kimberly and Gary Stewart Bill and Pat Stipe James and Geraldine Stockdale Perla Stoeckert Jeff and Jaci Stoltz Jennifer Stone Lisa Stransky Khary and Caroline Stringer Thomas and Heather Stroup Gretchen and Christopher Strub Aruna Subramaniam and Prabu Natarajan Sinclair Szebrat Clarence and Anne Taylor Cornell and Anne-Wesley Teague Brooke Terry

53

Ray and Stacey Thal Paul and Pam Thieberger John E. Thomas, Jr. Donald and Gloria Thorson Kristine and David Timmerman Tim and Corina Trainer Kathleen Tremblay Rick R. Trevino and W. Larz Pearson Amy and Jeff Turcotte Stephanie and Fernando+ van Reigersberg William and Patricia Vance

Chris and Karen Warack Kathy and C. Eric Warden Roger and Diane Warin Rick Watson Elizabeth A. Way and Dorothy Dougherty John and Marylou Whisler Jason and Shannon White Tina and Geoffrey White Robert Whiteman Elizabeth F. Wickersham and Charles Schmitz Judith and Ronald+ Wilgenbusch

David and Joy Willey Janet Wilson Stephen and Rosemarie Wilson The Witt Family Mark W. Wollschlager Myla Wyatt Alan and Sandra Yamamoto Joseph and Gwendolyn Zanin Jake and Whitney Zatzkin S. Zeliff + Deceased

CORPORATE, FOUNDATION & GOVERNMENT PARTNERS

Wolf Trap Foundation sincerely appreciates each of the following institutions for supporting the Foundation through grants, corporate partnerships, and fundraisers between April 1, 2023 and April 1, 2024. $500,000+ Department of the Interior, National Park Service PNC

$250,000 TO $499,999 The Boeing Company

$100,000 TO $249,999 Anonymous Foundation Booz Allen Hamilton Capital One County of Fairfax, Virginia Danaher Foundation Lincoln and Therese Filene Foundation General Dynamics National Endowment for the Arts Northrop Grumman PwC SAIC Tickets.com The Volgenau Foundation

$50,000 TO $99,999 American Airlines A. James and Alice B. Clark Foundation Cox Business CrossCountry Consulting KPMG LLP SOSi South Carolina Arts Commission Virginia Commission for the Arts

$25,000 TO $49,999 Acentra Health The Theodore H. Barth Foundation, Inc. Battelle The Morris and Gwendolyn Cafritz Foundation Cherry Bekaert Choice Hotels International The Claude Moore Charitable Foundation Ernst & Young Frontier Technology Inc. Hilton Kearney & Company L.F. Jennings Leidos Maximus Telos Corporation

54

The Price-Taylor Group of Truist Wealth Washington Gas Washington Harbour Partners WHITE64

$15,000 TO $24,999 Aon Corporation ArtsFairfax Beacon Building Products Chevy Chase Trust DLA Piper The Richard Eaton Foundation Hilton McLean Tysons Corner Laird Norton Family Foundation Mars Foundation The Mather Nauticon Office Solutions Our Purpose Foundation Park Hotels & Resorts Pinnacle Financial Partners Reston Limousine Starr Hill Brewery Stratos Solutions The Edens Group, LLC V2X VHC Health WilmerHale

$10,000 TO $14,999 Alston & Bird ArentFox Schiff LLP Arnold F. Baggins Foundation, Inc. Bender Foundation, Inc. Brown Advisory Cathell & Associates Cleary Gottlieb Covington Enterprise Knowledge Expedition Technology FTS International, LLC Holland & Knight LLP Host Hotels & Resorts Inova Health System Karin's Florist Live Oak Bank M&T Bank Nancy Peery Marriott Foundation, Inc. Merrifield Garden Center NFP

Ohio Hometown Heroes PenFed Credit Union Playa Hotels & Resorts rand* construction corporation Raymond James Investment Banking S&R Evermay Foundation Signal Hill Technologies Thos. Somerville Co. United Bank Venable Foundation Wiley

$5,000 TO $9,999 ACT1 Federal Andersen Avalon Consulting The Dallas Morse Coors Foundation for the Performing Arts Cresset Devils Backbone Brewing Company GovNavigators HHMI Janelia Research Campus Johnson Brothers Service Distributing, Inc. NetApp/immixGroup Langhorne Custom Homes LMI Maximus Foundation Morgan Stanley Private Wealth Management Mortgage Bankers Association Mount Vernon Printing, an RR Donnelley Company The Nader Family Foundation The Nora Roberts Foundation National Security Space Association Octo, An IBM Company Stone Brewing Unison Software Inc.

WOLF TRAP FOUNDATION NAMED ENDOWMENT FUNDS

The following Endowment Funds were established with $100,000 or more to support Wolf Trap Foundation’s programs.

Baltimore Family Fund

Robert and Lisa Lutz Fund for Wolf Trap

Mary H. Beggs President’s Fund

The General Lester L. Lyles and Family Fund for Education

The Howard and Sondra Bender Family Fund for Education

Fund for Wolf Trap in Honor of Arvind Manocha and Gideon Malone

Patrice King Brickman Family Fund

The Sandy “Tanta” Marcum Fund for Early Learning Through the Arts

Caswell/Deichman Family Fund for Wolf Trap

Fund for Artistic Excellence in Honor of Audrey M. Mars

Capital One Fund for Education

Mars Fellowship Fund for Wolf Trap Opera

Denise Chen and Tim Maas Fund for Wolf Trap

Gary D. Mather and Christina Co Mather Fund for Wolf Trap

The Coffelt Fund for Wolf Trap Opera and Education

The Suzann Wilson Matthews Internship Fund

The Colangelo Family Fund for the Arts

Ann McKee Fund for Opera

The Cox Communications Fund for Education Initiatives in the Performing Arts

The Linda and Tobia Mercuro Fund for Early Learning Through the Arts

D'Aniello Fund for Opera L. William Derrow Fund for Wolf Trap Opera in Honor of Amy E. Schaffer Lynn and John Dillon Endowment Fund Nancy K. Eberhardt | Howard and Dorothy Kahn Education Fund The ElSawy Endowment for Education The Freed Fund for Early Childhood Education in the Performing Arts The Lee Anne F. Geiger Fund for Early Learning Through the Arts General Dynamics Fund for Early Learning Through the Arts Gupta Fund for Early Learning Through the Arts Carol V. Harford Fund for Wolf Trap Opera in Memory of Catherine Filene Shouse Shelly and Jack Hazel Family Fund for Wolf Trap Hearst Foundation, Inc. Sue Henry and Carter Phillips Fund for Wolf Trap Janet and Calvin Hill Fund for Wolf Trap The Jacquemin Family Fund for Master Teaching Artists The Paula A. Jameson Fund for Wolf Trap Opera Stuart C. and Nancy M. Johnson Fund for Wolf Trap Terre and Polly Jones Endowed Fund for Artistic Initiatives Kadel Family Fund for Wolf Trap Ashok and Hariastuti Kaveeshwar Fund for Wolf Trap Alan and Carol Kelly Fund for Education The King Family Fund for Early Learning Through the Arts Janet and Jerry Kohlenberger | The Trojanger Fund for Wolf Trap Matthew Korn and Cynthia Miller Family Foundation Fund for Education Nancy Laben and Jonathan Feiger Fund for Wolf Trap

The Mullaney Family Fund for Education National Endowment for the Arts NEA Packard Challenge Fund Reed and Pat Neuman Fund Celebrating Arts and Education The Terry Noack Master Teaching Artists in Dance Fund Edward and Susan O’Connell Family Fund for Wolf Trap Packard Fund PNC Fund for Early Childhood Education Geoffrey P. Pohanka and Anne R. Kline Fund for Wolf Trap Opera Carol S. Popowsky Parrot Fund for Education James A. Roth Family Fund for Wolf Trap Sastry-Pindiprolu Family Fund for Wolf Trap Julian Setian Family Fund for the Arts Catherine Filene Shouse Education Fund Kay Shouse Great Performance Fund Jon and Pat Simons Fund for Wolf Trap Ed and Andy Smith Fund for Wolf Trap Opera Kevin and Beth Smithson Family Fund for Wolf Trap Education Peter and Jennie Stathis Fund for Early Learning Through the Arts Arthur Tracy Fund for Wolf Trap Opera Hans and Mimi Tuch Fund for Wolf Trap Opera Conductors Van Hoecke Family Fund for Technology in Education RADM Ronald C. and Judith A. Wilgenbusch Fund for Wolf Trap Opera and Classical Programs Earle C. and June A. Williams Fund for Wolf Trap Deborah and David Winston Fund for Classical Music Kim Witman Fund for Opera Coaching

55

CATHERINE FILENE SHOUSE LEGACY CIRCLE

Wolf Trap Foundation gratefully acknowledges these individuals who have thoughtfully expressed their commitment to preserving the legacy of Wolf Trap for future generations by remembering the Foundation in their estate plans.

Anonymous (34) Dr+ and Mrs. Duane A. Adams Jean W. Arnold Jeannie P. Baliles* Nancy A. Bartholomaei Sharon and Gary Batie The Honorable+ and Mrs.+ James M. Beggs* Ashley Benes David+ and Joan Berenson* Eleanor K. H. Blayney Thomas W. Bliss and Debra Harkins Bliss Dr.+ and Mrs.+ George P. Bogumill* Barbara A. Boinest Barbara A. and Peter P. Bonora David M. Borowski and Kerry Cadden K. David Boyer, Jr. and Family Mary W. Brady Mrs. Joel T. Broyhill+* Nancy Broyhill Dennis and Julie Bruns Beth B. Buehlmann Edward A.+ and Karen A. Burka Allyson Butler Marcia and Frank C.+ Carlucci III* James and Karen Chamberlain Denise Chen and Tim Maas Deborah M. and Michael Jay Chusmir Roy Cleland Mark Richard Clem* and Kathleen Callahan Mr. and Mrs. Philip M. Collins Suzanne Conrad* Jim and Kaye Cook Phyllis and Wes Corley Stephen T. Cramolini+ and John R. Feather II Lawrence and Sharon Deibel Laurie Parks DeLand Ronald and Linda DeRamus L. William Derrow+ John and Lynn Dillon Raymond A. and Roslyn M. Duda^ Kristen and Christopher Eckert* Eddie and Rachel Eitches Suzanne Anastos Feigert Gary T. Festerman+* Marilyn Hicks Fitzgerald Michael P. Fitzgerald Mark and Lynn Freemantle Daryl and Marcia Friedman* Virginia McGehee Friend Hermione Fthenakis Tom Gardner and Marianne Meagher^ James N. Glerum+ and Diane Morales Glerum Stephen and Barbara Goetting* Bette S. Gorman Sandra Goshgarian Mark William and Jodie Monger Gray Robert H. and Linda C. Grimes* John and Dawn Grinstead Barbara Groshans Marcia Hackett

56

Allen Raphael Halper and Kim Kunzig Halper Carol V. Harford+* Mr.+ and Mrs.+ Marion Edwyn Harrison* Robert H. and Brenda Hawthorne^ Holidae H. Hayes Robin Crawford Heller Kaye Ann Hellmich The Honorable Sophocles A.+ and Mrs. Aphrodite S.+ Hero* Jo and Larry Hodgin* William M. Holmes, Jr.* Clark Hoyt and Linda Kauss Alexine Clement Jackson+ Stuart C. and Nancy M.+ Johnson* Terrence and Polly Jones*^ Ms. Terry Lynn Jones* Barbara (Grabon) and Robert Juszczyk Ashok and Stuti Kaveeshwar* Shawn Kelley and Karen Albert Janet and Jerry Kohlenberger^ Sue Leonard Howard and Charla Levine^ Mr.+ and Mrs. Robert D. G. Lewis Dr. Diana Locke and Mr. Robert Toense Jill and Jeff Loewer Dennis and Pam Lucey Bob and Lisa Lutz^ Karyl Charna Lynn Philip and Sandy+ Marcum Mr.+ and Mrs. William H. Marumoto* Dr. R. Barbara Mattas* Mr.+ and Mrs. R. Dennis McArver* Ann McPherson McKee* Ingrid B. Meyer Joshua, Benjamin, and Micah Miller* RoseMarie M. Mirabella* Frances Edmonds (Mohr) and Michael D. Mohr* Ward+ and Barbara Morris Mr. and Mrs. Charles T. Moses III Robert and Barbara Moss^ Jim and Karen Murray Dr.+ and Mrs. J. Frederic Mushinski Richard+ and Stella Guerra Nelson* Darrell L. Netherton Dr. Norine E. Noonan* Nicholas Nylec II and Sharon J. Nylec Edward and Susan O’Connell Philip and Marjorie Odeen* Beatriz M. Oliveira Stephen D. Parks, Jr. and Amy Domagala-Parks Susan J. and Stephen D. Parks James B. Pearson, Jr.* Dr.+ and Mrs.+ Jed W. Pearson, Jr.* Julia Perry Carol S. Popowsky Meg Porta and Matt Swayhoover^ Dr. Kazuko K. Price+* R. J.+ and Nancy+ Purdy* Don and Paige Rhodes Dr. Robin Rinearson

Kevin and Kate Robbins Julie Carter Roberts and The Honorable James Montgomery Roberts* Lisa and Bud+ Roeder Dr. James Roth Kevin L. Rusnak and Donald R. Dechow Jr. Rosanne Russo Bernadette Saperstein Danielle O. and John H. Saunders Alan J. Savada* David Lawrence Scally Amy E. Schaffer Ruth and Stan Seemann Ronald Segal+ and Beverly Dickerson Keith and Michelle Senglaub Keith+ and Barbara+ Severin* Mary Shedlock and Jim Mizner Wayne+ and Mary Kay+ Shelton* Joan Sheppard Dr. George Siemering and Vickie Watson Siemering Mr. and Mrs. Daniel Silien Mr.+ and Mrs. Murray Simpson Sandra and Eoin Stafford Robert E. Stovall and Deborah D. Ralston Pam and Greg Sullivan Robert A. Timmins, Jr. Ina and Ed+ Tornberg Timothy and Corina Trainer^ Rick R. Treviño and W. Larz Pearson Lesley D. Turner and Curtis L. Schehr Mr. and Mrs. James M. Underhill Mr.+ and Mrs.+ J. Robert Vakiener Stephanie and Fernando+ van Reigersberg Charlie and Terry Walters* Patricia Shea Ward and Paul B. Ward W. Jay and Camille Warren* Donald W. Weber, Sr. Mrs. Robert M. Weidenhammer+* Margaret Miller and Richard D. Welch, Jr.+* Sue Ann Westlund and James B. Zahrt RADM Ronald C.+ and Mrs. Judith A. Wilgenbusch Earle C.+ and June A.+ Williams* Miriam C. Flaherty Willis and MG Simon V. L. Willis* Bob Wilson^ William L. Wingert, Jr.* Deborah F. and David A. Winston Donna Wolverton Mr.+ and Mrs.+ Harry E. Wood* Andrew Woodcock and Mary Ewell Cheryl A. Wooden and Dr. Deb Bobbitt Thomas J. Zaug

* Charter Member ^ Next Chapter Legacy + Deceased

Explore More Music at the Filene Center Beethoven’s Ninth Symphony National Symphony Orchestra Njioma Grevious, violin Wolf Trap Opera Artists Ruth Reinhardt, conductor Keely Futterer, soprano Gabrielle Beteag, mezzo-soprano Ricardo Garcia, tenor Blake Denson, baritone

July 12 Michael Feinstein Because of You: My Tribute to Tony Bennett featuring The Carnegie Hall Big Band Edwin Outwater, conductor

June 26 Signature Theatre and Wolf Trap Present

Broadway in the Park featuring

The National Symphony Orchestra's summer classical feature at Wolf Trap is Beethoven's Ninth, the symphony by which all others are measured. The cosmic drama of this colossal masterwork—its grand, emotional melodies and the tremendous closing “Ode to Joy”—reminds us why Beethoven’s final symphony resounds as loudly today as it did two centuries ago. This sublime program opens with Sphinx Concerto Competition winner Njioma Grevious performing Samuel Coleridge-Taylor’s irresistibly bold and lyrical Violin Concerto.

SPECIAL THANKS TO DEBORAH F. AND DAVID A. WINSTON, PERFORMANCE SPONSORS

Ghostbusters in Concert National Symphony Orchestra Emil de Cou, conductor

July 26 The Jazz at Lincoln Center Orchestra with Wynton Marsalis Cécile McLorin Salvant

Laura Benanti and Jordan Fisher

August 15

June 29

An Evening with

Pilobolus re:CREATION

July 10 Star Wars: A New Hope in Concert National Symphony Orchestra Emil de Cou, conductor

July 13 Harry Potter and the Deathly Hallows™ Part 1 in Concert National Symphony Orchestra Steven Reineke, conductor

July 24

The Washington Ballet A Kay Shouse Great Performance

September 5 VIRGINIA McGEHEE FRIEND, PERFORMANCE SPONSOR

Kristin Chenoweth Alan Cumming

September 13

WOLFTRAP.ORG This show is not affiliated with the Tony Bennett Estate. | © 2018 & TM LUCASFILM LTD. ALL RIGHTS RESERVED © DISNEY. | WIZARDING WORLD and all related trademarks, characters, names, and indicia are © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s24) | © 2024 CTMG

57

1645 TRAP ROAD / VIENNA, VIRGINIA 22182

WOLFTRAP.ORG Wolf Trap Foundation is a 501(c)(3) nonprofit organization.

58