2024 Wolf Trap Opera Insider Guide

PLAN YOUR WOLF TRAP OPERA SUMMER

JUNE

SALON SERIES | 7:30 PM 1 2 21 23

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

COSÌ FAN TUTTE | 2 PM

SALON SERIES | 7:30 PM

JULY

ARIA JUKEBOX | 2 PM

JAMIE BARTON PUBLIC MASTER CLASS | 7 PM

STUDIO SPOTLIGHT | 7:30 PM

BEETHOVEN’S NINTH SYMPHONY | 8 PM

COSÌ FAN TUTTE | 7:30 PM LA BOHÈME | 8 PM

SALON SERIES | 7:30 PM SILENT NIGHT | 7:30 PM

JAMIE BARTON IN RECITAL | 2 PM

SILENT NIGHT | 2 PM

SILENT NIGHT | 2 PM

NIGHT | 7:30 PM

WELCOME

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

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.

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.

RECORD NUMBER OF 1,303

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 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.

ARVIND MANOCHA President & CEO, Wolf Trap Foundation for

the Performing Arts

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

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

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)

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. 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

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

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)

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. 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

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

CAST

Rodolfo: Eric Taylor

Marcello: Blake Denson

Schaunard: Laureano Quant

Colline: Le Bu

Mimi: Amanda Batista

Musetta: Midori Marsh

Conductor: Grant Gershon

Original Director: John Caird

Revival Director: Katherine M. Carter

Principal Coach: Christopher Turbessi

Chorus Master/Pianist: Nate Raskin

Asst. Chorus Master/ Pianist: Ye In Kwak

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

Benoit/Alcindoro: Adam Partridge*

Parpignol: Jerek Fernández*

Customs Officer: Mario Manzo*

Chorus: See page 47

National Symphony Orchestra

* Studio Artist

Italian Diction Coach: Nicolò Sbuelz CREATIVE TEAM

Scenic & Costume Design: David Farley

Lighting Design: Michael James Clark

Wig & Makeup Design: Anne Nesmith

Supertitles: Michelle Papenfuss

Assistant Director: Elio Bucky

Production Stage Manager: Rachel Henneberry

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

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

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.

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

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

You know the sentiments I’m talking about, even if this is your first time at the opera: La bohème is a “great first opera, a treasury of melody, easy to appreciate, and certain to appeal to young people because of the 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 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

chord theme while he rhapsodizes about the lively street scenes. That theme blares forth to open Act II, on those same streets. It then opens Act III, slower and in a minor key, as if suspended in the icy air.

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.

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.”

Turgot Map of Paris, 1739, Louis Bretez

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

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

THE STORY

ACT I

Don Alfonso and his young friends Ferrando and Guglielmo are arguing over the fidelity of women. Don Alfonso insists that all women are fickle, while Ferrando and Guglielmo refuse to believe that their fiancées, the sisters Fiordiligi and Dorabella, could ever be unfaithful. Don Alfonso 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 two strange men in their home and become even more concerned when the two men begin courting them. Don Alfonso pretends the men are old friends of his and begs the sisters to accept them. But Fiordiligi staunchly swears fidelity to her absent Guglielmo. 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

in disguise) arrives to revive the two afflicted suitors. As they recover, they vow their love to the vexed sisters with even greater passion, while Don Alfonso and Despina try to hide their amusement.

Fiordiligi and Dorabella are persuaded by Despina that 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’).

The sisters’ weddings to their two suitors proceed when a military chorus in the distance signals the ‘return’ of Ferrando and Guglielmo from battle. The suitors and the notary (again Despina in disguise) hide. A moment later, Ferrando and Guglielmo appear in uniform, feigning 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?

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 18 th 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

COSÌ FAN "TUTTA"

By Cori Ellison

It’s my Desert Island opera. (Cue the eyerolls.) It’s “a glorious soap-bubble,” “a deep and unsettling masterpiece,” “a musical lark,” “a profound and terrifying 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

feisty maid who is bribed to help—is a web of ambiguities which may send you home whistling the tunes while also reaching for some antacid.

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

This dramma giocoso form encouraged Mozart to exercise one of the pet conceits of his later operas: constantly colliding the parallel universes of opera seria and opera buffa. The characters in Così, ostensibly a comic opera, frequently lapse into seria-speak, sometimes offered up in parody (Dorabella’s aria “Smanie implacabili,” Fiordiligi’s “Come scoglio”) and sometimes in a spirit of deep sincerity (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.”

Così’s popularity has never matched that of Figaro and Giovanni. In 1863, critic Eduard Hanslick lambasted the opera’s seeming implausibility, slamming “the continuing blindness of the two heroines, who do not recognize their fiancés only a quarter hour after they have been caressing them, and who stupidly take their chambermaid to be first a doctor and then a notary just because she is wearing a wig.” Never mind that the element of disguise also figures prominently in both Figaro and Giovanni

The opera’s detractors have also objected to its allegedly unrealistic time span: how could the fickle heroines so thoroughly change their affections in a mere day? We should remember that all the Mozart-Da Ponte libretti observe the Aristotelian unities of time, place, and action—often meant to be symbolic.

The most strenuous objection to Così, however, has always been its apparently unflattering portrayal of women. Yet couple-swapping plotlines date back to the ancient Greeks and Romans and were common in Mozart’s era and beyond, with A Midsummer Night’s Dream and similarly provocative entertainments remaining perennial favorites. Almost always, though, the romantic confusion is caused and reversed through supernatural means, relieving the protagonists of moral responsibility. And 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

who dares them to come off even worse. Pride and vanity motivate Ferrando and Guglielmo to accept Alfonso’s wager, and they spare no borderline-sadistic ruse to win it. And their raging jealousy upon losing is as stereotypical and just plain dumb as anything the women do. Ultimately, the men were in love with mere images of their fiancées, and the women were in love with love.

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 Fiordiligi, the opera’s most complex character, reaches “Ei parte,” the tonally kaleidoscopic accompanied recitative leading to “Per pietà,” a noble rondo of heart-rending emotional truth and gravitas. Soon after, her resistance falls as Ferrando joins her in “Fra gl’amplessi,” arguably Mozart’s greatest duet. Once these sublime strains have sounded, the chaotic events of the Act II finale must be nothing short of harrowing to Fiordiligi—and to us. How, then, can the reflexively cheery “moral of the story” that ends the opera not have a hollow ring to it (unlike its analogues in Figaro and Giovanni)?

“Fortunate are they who take everything in stride. Amid the vicissitudes of fate, they let reason guide them.”

This most modern of all Mozart’s operas leaves us with more questions than answers. Yet, in the words of an uncredited author on the website Opera Online, Così “is carried along by a score that never deceives or lies.” As a dramaturg, I puzzle endlessly over the dissonance between composer and librettist, chasing the perfect theatrical solution like the Great White Whale. But as a devout Mozartian, I accept, embrace, and love Così perhaps even more because of its flaws and ambiguities. For in the end, Così fan tutte is all about the frailty of human nature and the dangling possibility of forgiveness.

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

CAST

THE GERMAN SIDE

Anna Sørensen: Keely Futterer

Nikolaus Sprink: Ricardo Garcia

Lieutenant Horstmayer: Andrew Gilstrap

Kronprinz, son of Kaiser Wilhelm II: Demetrious Sampson Jr.

THE SCOTTISH SIDE

Jonathan Dale: Martin Luther Clark

William Dale: Kyle White

Father Palmer: Wm. Clay Thompson

Lieutenant Gordon: Ryan Wolfe

The British Major: Joseph Calzada*

CREATIVE TEAM

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

THE

FRENCH

SIDE

Lieutenant Audebert: Jacob Scharfman

Ponchel: Charles H. Eaton

The French General: Le Bu

Madeleine: Tivoli Treloar*

Soldiers: Wolf Trap Opera Studio Artists

* Studio Artist

MUSIC & PRODUCTION STAFF

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

PROLOGUE

ACT I

Summer 1914: At a Berlin opera house, a performance is disrupted by the 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.

December 23, 1914: An attack by French and Scottish soldiers on the German 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.

ACT II

December 25, 1914: The truce is extended to allow for the burial of all the dead 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.

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

YOU CAN GO HOME AGAIN

By Mark Campbell, Silent Night librettist

Twenty years ago, Wolf Trap Opera premiered my first libretto for a full-length opera at The Barns at Wolf Trap. The composer was John Musto, the commissioner/ producer was Kim Pensinger Witman, the director was Leon Major, and the opera was Volpone. Some 40+ operatic works later, I look back on that nurturing, fun, and wonderfully collaborative experience with great fondness; I had been working in musical theater and, somehow in a barn in Northern Virginia, I found a home in this strange, new (at least to me) world called opera.

Eight years after that time of Volpone, my 10th opera

Silent Night premiered at Minnesota Opera. Silent Night originated when Dale Johnson, the company's former artistic director, came up with the idea of adapting Christian Carion’s 2005 screenplay Joyeux Noel into an opera. Dale also uncannily identified Kevin Puts as the ideal composer for the work—a choice that should be noted in the annuls of operatic history—and paired us as collaborators.

Dale's idea was a smart one, but there were many challenges in transforming Joyeux Noel into a work for the operatic stage. While my libretto retained most of the same principal characters and basic plotline, I diverged in many ways from Mr. Carion's fictionalized account of the 1914 Christmas truces to create a stage-worthy work and showcase traditional opera elements.

Examples of this divergence abound. In Act I, Lieutenant Audebert composes a letter to his wife while counting his wounded, dead, and missing soldiers, which segues into the “Sleep” chorus sung by all three platoons in the trenches. Neither of these moments occur in the movie— at most, they are implied. But the opera needed a scene early on to establish Audebert's character and his home life, while also creating a commonality among all the soldiers—both enemies and allies alike.

Several other distinct deviations occur in Act II. In the movie, Anna has but a few words about the devastation of war. I expanded that into an entire aria (“Irgendwo, irgendwann…”). Lieutenant Horstmayer’s conflicts as a Jew and German patriot only get a passing mention in Carion’s film, but after much research, I decided to expand on it in Sprink’s castigation of blind nationalism (“Dem Vaterland?”). Finally, I added a letter scene in this act to reestablish the concordance among soldiers and illustrate how the Christmas truces were not forgotten.

Early in the libretto process, I decided to keep the text in three different languages (five if you count Latin and Italian). This helped create dramaturgical barriers for the soldiers to overcome and became a nice way to turn solo lines into duets and trios because of the need for translation.

Gwiazdka żołnierska, Wojciech Kossak, 1915

Kevin and I also chose to create original songs for the diegetic moments of the story to make them musically organic. These included the Mozartian duet at the top of the opera, the duet at the chalet, the Scottish ballad about “home,” and the two Christmas carols.

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 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.)

With The Barns’ more intimate space, the orchestra, chorus, and staging for Wolf Trap Opera’s production will be greatly pared back from the original. WTO's presentation may not have the elaborate stage elements of the opera's previous 22 productions, but 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.

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

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

SPECIAL THANKS TO DAN AND GLORIA LOGAN, 2024 UNTRAPPED SPONSORS

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.

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.

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

Anna II: Anna Lopez

Dancer, choreographer

Father: Martin Luther Clark

Brother: Logan Wagner*

Brother: Charles H. Eaton

Mother: Blake Denson

* Studio Artist

Conductor: John Morris Russell

Director: Elio Bucky Coach: Ye In Kwak

Costume Designer: Cody Von Ruden

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.

JUNE 23:

Midori Marsh

Andrew Gilstrap

Renate Rohlfing, piano

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 28:

Martin Luther Clark

Charles Eaton

Joseph Li, piano

JULY 1:

Renée Richardson

Gabrielle Beteag

Renate Rohlfing, piano

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

¡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.

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!

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

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!)

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!

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.

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

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.

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

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:

• 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.

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

Kate Lindsey

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).

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)

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

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

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.

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.

“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

Joshua Winograde in WTO's Volpone

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

Christine Goerke (right) in WTO's Don Giovanni with Steven Condy

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.

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 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

GABRIELLE BETEAG

MEZZO-SOPRANO

Atlanta, GA

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

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

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

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

BLAKE DENSON BARITONE^

Paducah, KY

Mother (Seven Deadly Sins)

Marcello (La bohème)

Soloist (Beethoven’s Ninth Symphony)

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

CHARLES H. EATON

BARITONE

Storrs, CT

Brother (Seven Deadly Sins) Ponchel (Silent Night)

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

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

KEELY FUTTERER SOPRANO

Dover, AR

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

RICARDO GARCIA

TENOR*^

Hayward, CA

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

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

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

ANDREW GILSTRAP

BARITONE*^

Nashville, TN

¡Te Adoro!

Lieutenant Horstmayer (Silent Night)

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

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

LUNGA ERIC HALLAM TENOR*

Site B Khayelitsha, Cape Town, South Africa

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

MIDORI MARSH SOPRANO

Cleveland, OH

¡Te Adoro! Musetta (La bohème)

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

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

LAUREANO QUANT

BARITONE

Barranquilla, Colombia

¡Te Adoro!

Schaunard (La bohème)

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

JACOB SCHARFMAN

BARITONE

Boston, MA

Lt. Audebert (Silent Night)

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

SOPRANO*

Springfield, PA

Fiordiligi (Così fan tutte)

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

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

ERIC TAYLOR TENOR*

St. George, UT

Rodolfo (La bohème)

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

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

DEMETRIOUS SAMPSON JR.

T ENOR

Atlanta, GA

Kronprinz (Silent Night)

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

WM. CLAY THOMPSON BASS*^

Lexington, KY

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

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

EMILY TREIGLE

MEZZO-SOPRANO*^

New Orleans, LA

Despina (Così fan tutte)

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

ERIN WAGNER

MEZZO-SOPRANO

El Paso, TX

Dorabella (Così fan tutte)

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

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

KYLE WHITE BARITONE*

Dallas, TX

Guglielmo (Così fan tutte)

William Dale (Silent Night)

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

RYAN WOLFE BARITONE

Arlington Heights, IL

Lieutenant Gordon (Silent Night)

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

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

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 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

MEZZO-SOPRANO*

Tlaxcala, Mexico

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

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

COVER: Despina (Così fan tutte)

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)

DEVIN EATMON TENOR

Ocala, FL

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

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

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

JOSEPH CALZADA BASS-BARITONE

Pembroke Pines, FL

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

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

COVER: Don Alfonso (Così fan tutte), Colline (La bohème)

JEREK FERNÁNDEZ TENOR

San Juan, Puerto Rico

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

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

COVER: Tenor Solo (Beethoven’s Ninth Symphony); Sprinks (Silent Night)

REED GNEPPER

TENOR

Toledo, OH

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

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

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

MIA MANDINEAU

SOPRANO

Paris, France

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

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

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

CHELSEA GUO

SOPRANO

Darien, CT

TRAINING: The Juilliard School; Winner, Young Concert Artists Competition (piano and voice)

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

COVER: Musetta (La bohème)

MARIO MANZO BARITONE*

Mesa, AZ

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

SOPRANO

Novi, MI

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)

ARIA MINASIAN

MEZZO-SOPRANO

Bainbridge Island, WA

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)

ERIK NORDSTROM

BARITONE

St. Paul, MN

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

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

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

TIVOLI TRELOAR MEZZO-SOPRANO

Silverado, CA

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); Madeleine (Silent Night)

COVER: Dorabella (Così fan tutte)

ADAM PARTRIDGE

BASS-BARITONE*

Jacksonville, FL

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

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

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

LOGAN WAGNER TENOR

Villa Hills, KY

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

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

CLARA REEVES SOPRANO

Greenville, NC

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

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

COVER: Mimi (La bohème)

YICHEN XUE BARITONE

Anshan, Liaoning, China

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

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

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

COVER: Kronprinz (Silent Night) * returning Studio Artist

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 have developed thriving freelance careers as conductors and directors.

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

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 DIRECTING FELLOW

San Francisco, CA

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

HIGHLIGHTS: Music Academy of the West; Miami Music Festival

HAYLEY STAMATS

DIRECTING FELLOW

Pittsburgh, PA

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

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

* returning Fellow

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

MUSIC STAFF

JOCELYN DUECK

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

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

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

PRODUCTION STAFF

ARTURO FERNANDEZ JR.

Assistant Stage Manager – La bohème

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

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

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

Second Violin

Laura Miller, principal

Paula McCarthy

Doug Dube

Laura Knutson

Viola

Jennifer Rende, principal

Tiffany Richardson

Derek Smith

SILENT NIGHT

First Violin

Claudia Chudacoff, concertmaster

Sue Midkiff

Karen Lowry-Tucker

Heather Haughn

Second Violin

Laura Miller, principal

Xi Chen

Sonya Chung

Alexandra Mikhlin

Viola

Jennifer Rende, principal

Tiffany Richardson

Jim Kelly

Cello

Lori Barnet, principal

Kerry van Laanen

Todd Thiel

LA BOHÈME CHORUS

AGMA:

Sopranos

Hana Abrams

Heather Fetrow

Shaina Kuhn

Ketti Muschler

Ashlyn Rock

Randa Rouweyha

Mezzos

Cello

Kerry Van Laanen, principal

Todd Thiel

Lori Barnet, continuo

Bass

Chris Chlumsky

Flute

Beverly Crawford, principal

David Lonkevich

Oboe

Fatma Daglar, principal

David Garcia

Clarinet

Kathy Mulcahy, principal

Jeremy Eig

Bass

Ed Malaga, principal

Flute

Beverly Crawford, principal

David Lonkevich

Oboe

Fatma Daglar, principal

Meg Owens

Clarinet

Kathy Mulcahy, principal

Jeremy Eig

Bassoon

Sam Blair, principal

Eric Dirckson

Horn

Geoff Pilkington, principal

Chandra Cervantes

Amy Horn

Joy Hodges

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

Bassoon

Eric Dircksen, principal

Jonathan Zepp

Horn

Evan Geiger, principal

Chandra Cervantes

Trumpet

Kurt DuPuis, principal

Philippe Brunet

Timpani/Percussion

Bill Richards

Trumpet

Tim White, principal

Phil Snedecor

Kevin Gebo

Trombone

Brian Bourne, principal

John McGinness (+ Bass)

Percussion

Jon Spirtas, principal

Greg Akagi

Danny Villanueva

Timpani

Bill Richards, principal

Harp

Eric Sabbatino, principal

Bagpipe

Charlie Glendinning

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

Steinway and Boston are the preferred pianos for Wolf Trap performances and education facilities.

Members of AGMA appear through the courtesy of the American Guild of Musical Artists, AFL-CIO.

musicians employed in this production are members of and represented by D.C. Federation of Musicians, AFM Local 161-710.

STAFF

WOLF TRAP OPERA ARTISTIC & ADMINISTRATIVE STAFF

LEE ANNE MYSLEWSKI

Vice President

RONALD LEE NEWMAN

Director, Artistic Operations

ARIANNA ZUKERMAN

Manager, Artistic Administration

CHRISTEN CAIN Coordinator, Company Management

TIM MCCORMICK

Director of Production, The Barns

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

SUSAN CHIANG

Costume Shop Manager

CAROLINE MacDONALD

Design Assistant

CAROLINE TYSON

Design Assistant

DENISE AITCHISON

Draper

SETH GILBERT

Draper

DENNIS KITMORE

Draper

SAM EISENSTIEN BOND

First Hand

CAILEE BYWATER

First Hand

AMY VANDER STAAY

First Hand

ESTHER YALI-WILLIAMS

Stitcher/Wardrobe

JENNA HALEEN

Stitcher/Wardrobe

RACHEL LUNEKE

Stitcher/Wardrobe

APPRENTICES

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.

GRIFFIN SCOTT

Artistic Administration

MADELINE CHOI

Artistic Administration

ABIGAIL JOHNSON Communications

MAYA LIU

Stage Management

AISSATA ALOU

Stage Management

BENJAMIN BARTLETT

Tech Apprentice

ANNA MANZO

Tech Apprentice

LINNIE HAMPTON

Lighting Apprentice

KRYSTAL ANDERSON

Props Apprentice

SYDNEY SCHEPISI

Scene Painting Apprentice

CLAY PISTO

Costume Apprentice

CORRINE KRASNER

Wig & Makeup Apprentice

WOLF TRAP FOUNDATION

LEADERSHIP

ARVIND MANOCHA

President and CEO

BETH BRUMMEL

Chief Operating Officer

SARA BEESLEY

Vice President, Program and Production

BERNARD BERRY, III

Senior Director, Ticket Services

DAMON EFFINGHAM

Senior Director, Government Affairs

JOHN GIAMBALVO

Vice President, Finance

ELIZABETH SCHILL HUGHES

Senior Director, Human Resources

SARA P. JAFFE

Vice President, Development

FRASER KADERA

Vice President, Facilities

AKUA KOUYATE-TATE

Vice President, Education

JO LABRECQUE

Vice President, Communications & Marketing

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

JO LABRECQUE

Vice President, Communications and Marketing

SARA SHAFFER

Director, Creative

SANDRA RODRIGUEZ

Director, Communications

EMILY HUNT

Manager, Publications

CHERLYN REBULTAN

Graphic Designer

CLARISSE GAILLARD

Graphic Designer

DANA ARMSTRONG

Content Writer/Copyeditor

TIMMY CHEN

Marketing, Manager

GUIDE PHOTOGRAPHERS

RICH KESSLER

A.E. LANDES

ANGELINA NAMKUNG

SCOTT SUCHMAN

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.

• Beverages are permitted inside the theater. Food is not permitted inside the theater.

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

• 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).

• 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.

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

• 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.

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

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

Dan and Gayle D’Aniello

$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

SUSTAINERS

$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

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+

PARTNERS

$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

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

$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

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,

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

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

CORPORATE, FOUNDATION & GOVERNMENT PARTNERS

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

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

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

Mary H. Beggs President’s Fund

The Howard and Sondra Bender Family Fund for Education

Patrice King Brickman Family Fund

Caswell/Deichman Family Fund for Wolf Trap

Capital One Fund for Education

Denise Chen and Tim Maas Fund for Wolf Trap

The Coffelt Fund for Wolf Trap Opera and Education

The Colangelo Family Fund for the Arts

The Cox Communications Fund for Education Initiatives in the Performing 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

Robert and Lisa Lutz Fund for Wolf Trap

The General Lester L. Lyles and Family Fund for Education

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

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

Fund for Artistic Excellence in Honor of Audrey M. Mars

Mars Fellowship Fund for Wolf Trap Opera

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

The Suzann Wilson Matthews Internship Fund

Ann McKee Fund for Opera

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

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

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

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

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 Laura Benanti and Jordan Fisher

June 29

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

Explore More Music at the Filene Center

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

August 15

An Evening with The Washington Ballet

A Kay Shouse Great Performance

September 5

VIRGINIA M c GEHEE FRIEND, PERFORMANCE SPONSOR

Kristin Chenoweth

Alan Cumming

September 13