2025 Wolf Trap Opera Insider Guide

2025

PLAN YOUR WOLF TRAP OPERA SUMMER JUNE 4

STEVEN BLIER MASTER CLASS | 7 PM

7

UNTRAPPED: NOI + FESTIVAL, MENDELSSOHN, A MIDSUMMER NIGHT’S DREAM | 7:30 PM

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TAMARA WILSON MASTER CLASS | 7 PM

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UNTRAPPED: NOI + FESTIVAL, MAHLER, SYMPHONY NO. 2 (“RESURRECTION”) | 7:30 PM

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UNTRAPPED: NOI + FESTIVAL, MAHLER, SYMPHONY NO. 2 (“RESURRECTION”) | 6 PM

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THE MARRIAGE OF FIGARO | 7:30 PM

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THE MARRIAGE OF FIGARO | 2 PM

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THE MARRIAGE OF FIGARO | 7:30 PM

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SALON SERIES | 7:30 PM

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THE MARRIAGE OF FIGARO | 2 PM

28

THE MARRIAGE OF FIGARO | 7:30 PM

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ARIA JUKEBOX | 2 PM

JULY 1

SALON SERIES | 7:30 PM

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UNTRAPPED: WTO STUDIO ARTISTS IN CONCERT | 7 PM

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DIALOGUES OF THE CARMELITES | 7:30 PM

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DIALOGUES OF THE CARMELITES | 2 PM

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SALON SERIES | 7:30 PM

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DIALOGUES OF THE CARMELITES | 2 PM

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CARMINA BURANA WITH THE NATIONAL SYMPHONY ORCHESTRA | 8 PM

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DIALOGUES OF THE CARMELITES | 7:30 PM

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RENÉE FLEMING MASTER CLASS | 3 PM

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STUDIO SPOTLIGHT | 7 PM

AUGUST 15

CARMEN | 8 PM

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TABLE OF CONTENTS

Explore More at the Filene Center

WOLF TRAP OPERA 2025 WOLF TRAP FOUNDATION FOR THE PERFORMING ARTS

WELCOME................................................................................................................... 2 CARMEN....................................................................................................................... 5

“O Fortuna!” Carmina Burana’s towering first movement rolls in like

Orff

Carmina Burana

National Symphony Orchestra Tianyi Lu, conductor Midori Marsh, soprano Travon Walker, tenor Charles H. Eaton, baritone Choral Arts Society of Washington Children’s Chorus of Washington

July 25

THE MARRIAGE OF FIGARO...............................................................................11 thunder, announcing a celebration of spring, the delightful debauchery DIALOGUES THE CARMELITES.................................................................17 of nights atOF a tavern, and the joys and sorrows of love. Although the

words were written by medieval monks, this outrageous cantata is UNTRAPPED............................................................................................................23 an unstoppable force brimming with bawdy, irreverent satire on the SALON SERIES........................................................................................................25 ever-changing fate of man. The National Symphony Orchestra, two ARIA JUKEBOX.......................................................................................................25

choirs, and stars of the Wolf Trap Opera come together for Carl Orff’s

MASTER CLASSES................................................................................................26

epic choral masterwork.

TAMARA WILSON, 2025 FILENE ARTIST IN RESIDENCE ..................27 RENÉE FLEMING, ARTIST DEVELOPMENT ADVISOR..........................28 WTO ALUMNI SHINE BRIGHTLY.................................................................... 30

HAUSER

Back to the Future in Concert

WTO’S VISIONARY WOMEN............................................................................32

June 25

National Symphony Orchestra

Emil de Cou, conductor FILENE ARTISTS.....................................................................................................36

Star Wars: The Empire Strikes Back August 2 STUDIO ARTISTS....................................................................................................39 in Concert Harry Potter and FELLOWS..................................................................................................................42 National Symphony Orchestra the Deathly Hallows™ Part 2 Steven Reineke, conductor GUEST ARTISTS.....................................................................................................43 July 17 in Concert ORCHESTRA & CHORUS...................................................................................

46 National Symphony Orchestra Jean-Yves Thibaudet plays Gershwin STAFF..........................................................................................................................47 Steven Reineke, conductor National Symphony Orchestra Katharina Wincor, conductor

September 5 OPERA BEYOND THE BARNS........................................................................

48

July 18

THE BARNS POLICIES........................................................................................ 48

DEBORAH F. AND DAVID A. WINSTON, PERFORMANCE SPONSORS

WITH APPRECIATION. ........................................................................................

49 National Symphony Orchestra

Cynthia Erivo

Steven Reineke, conductor

EXPLORE MORE MUSIC......................................................................................57

Disney ’80s–’90s Celebration in Concert

September 6 + 7

National Symphony Orchestra

Côté Danse

Sarah Hicks, conductor

Hamlet

July 26

Prince of Denmark

September 17

One Night Only

Sutton Foster & Kelli O’Hara National Symphony Orchestra Emil de Cou, conductor

August 1

© & TM Lucasfilm Ltd.

© UCS LLC and Amblin ©Disney

Explore full schedule at

SPECIAL THANKS TO DAN AND GAYLE D’ANIELLO, WOLFTRAP.ORG/SUMMER WOLF TRAP 2025 SEASON UNDERWRITERS All characters and elements © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR.

WELCOME Actor John Spencer, who played one of my favorite television characters — Leo McGarry on The West Wing — once said, “Art, at best, holds a mirror up to humanity.” He’s in good company, as similar sentiments weave their way through so many works including Shakespeare’s Hamlet, Brecht’s writings, and dare I say, the works on our stages this summer.

The pieces that have stayed with me over the years, like The West Wing, are notable for the strength of their characters; I find inspiration from them as they struggle (as we all do) with the trials of everyday life. As a student, I remember watching Babette’s Feast as many times as I could afford. The story of the chef and her lottery winnings — all spent crafting an incredibly indulgent meal for her adopted community — showed me the power of integrity and generosity, lessons that I return to time and time again.

LEE ANNE MYSLEWSKI WOLF TRAP VICE PRESIDENT OF OPERA AND CLASSICAL PROGRAMMING

When I think about the pieces we’ll produce this summer, it is again the characters that show me ways of navigating the world: the dexterous problem-solving that Figaro and Susanna achieve with such humor; the faith of the Sisters of Carmel, somehow simultaneously humble yet strong beyond measure; and the power in Carmen’s unpredictability and indelible sense of self. Even though these pieces were written many years ago, their lessons find a willing audience in me.

I can’t talk about generosity without mentioning two incredible sopranos who’ll be spending time with us this summer. Renée Fleming joins the Wolf Trap Opera team as our Artist Development Advisor; she will steward our singers in projects designed to advance their artistry and connect them to important members of our shared artistic community. And our 2025 Filene Artist in Residence, Tamara Wilson (’08), will bring her renowned expertise in interpreting Verdi and Wagner’s repertoire to our artists.

Please join us this summer, get to know our singers, and let these wonderful characters delight and inspire you!

2025 SEASON AUDITIONS BY THE NUMBERS RECEIVED A RECORD 1,401 APPLICATIONS HELD AUDITIONS IN 8 CITIES: NEW YORK, PHILADELPHIA, CHICAGO, CINCINNATI, ATLANTA, HOUSTON, LA, AND VIENNA, VA HEARD 486 AUDITIONS, WHICH TRANSLATES TO 81 HOURS OR ABOUT 5 ½ RING CYCLES 39 ARTISTS SELECTED FOR A 2.78% ACCEPTANCE RATE

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As a dedicated and lifelong opera supporter, I am thrilled to welcome you to Wolf Trap Opera’s (WTO) 2025 season. With each year, WTO’s productions grow more impressive with exceptional talent on and off the stage.

This summer brings an exquisite slate of productions ranging from the canon’s classics to lesser-known gems. In the intimate setting of The Barns, you can partake in the comical chaos of Mozart’s The Marriage of Figaro or reflect on Poulenc’s profound testament of resilience in Dialogues of the Carmelites. At the Filene Center, Bizet’s blockbuster Carmen will be a mustsee event for electrifying drama and iconic music under the stars, whether you’re a seasoned opera lover or a first-time attendee.

DANIEL A. D’ANIELLO CHAIRMAN, BOARD OF DIRECTORS WOLF TRAP FOUNDATION FOR THE PERFORMING ARTS

One of my greatest joys is watching WTO’s artists in the early stages of their illustrious careers. At Wolf Trap, you can watch the breakout moments of these emerging artists before they perform in the world’s best opera houses. The robust caliber of WTO’s program extends to the greater opera industry and encourages the top artists and creative professionals to work with our singers. In that vein, we are proud to welcome the incomparable Renée Fleming who will nurture the next generation of singers as our Artist Development Advisor.

On behalf of Wolf Trap Foundation’s Board of Directors, I sincerely thank you for your generosity in supporting this beautiful artform. Your continued dedication means Wolf Trap Opera can deliver on its commitment to nurture the very best for generations to come.

Every year, Wolf Trap Opera (WTO) shines a spotlight on the next generation of opera stars who bring passion, curiosity, and fearless artistry to the stage. As one of the nation’s premier training programs for emerging talent, WTO continues to provide exceptional opportunities through innovative productions and recitals, strong community partnerships, and world-class mentorship.

ARVIND MANOCHA PRESIDENT & CEO, WOLF TRAP FOUNDATION FOR THE PERFORMING ARTS

While our mainstage productions remain at the heart of WTO, our commitment to community continues through unique recitals and partnerships. The UNTRAPPED series returns with exciting collaborations, including Mendelssohn’s A Midsummer Night’s Dream and Mahler’s Symphony No. 2 with the National Orchestral Institute + Festival. Our singers also showcase their talents in the artist-curated Salon Series, audience-favorite Aria Jukebox, and a Studio Artist Concert at Holy Trinity Church. In July, three WTO artists join the National Symphony Orchestra at the Filene Center for Orff’s epic Carmina Burana. This season also brings opportunities to experience public Master Classes led by Tamara Wilson, Steven Blier, and the acclaimed Renée Fleming as they guide our singers in both artistic and professional development.

The continued success and strength of WTO’s program would not be possible without the generous and dedicated support from our community.

Thank you for helping us nurture opera’s future stars.

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WOLF TRAP FOUNDATION BOARD OF DIRECTORS Mrs. Melania Trump Honorary Chair Mr. Daniel A. D’Aniello Chairman Mr. Arvind Manocha President and CEO Ms. Margaret Gupta Vice Chair and Secretary Mr. Matthew R. Korn Treasurer Mr. Raj Ananthanpillai Mrs. Andrita J. Andreas Mr. C.E. Andrews Mr. Kevin T. Boyle Ms. Jan Brandt Mr. Richard K. Bynum Mr. Bruce L. Caswell Mr. David O. Childress Mr. Dante D’Egidio Dr. Melissa A. Delgado Ms. Lynn R. Dillon Mr. Dominic E. Dragisich

Mrs. Jean Edelman Ms. Virginia McGehee Friend Mr. William R. Hanlon Mr. Kenneth R. Hayduk Ms. Sue J. Henry Mr. Donald “Blue” Jenkins Mr. Broderick D. Johnson Mr. Eric J. Kadel, Jr. Ms. Tracy K. Kenny Ms. Alka M. Kesavan Mrs. Susie King Ms. Anne R. Kline Ms. Nancy J. Laben Mr. David H. Langstaff Mr. Robert S. Lutz Ms. Christina Co Mather Mr. Prabu Natarajan Ms. Katherine Newland (Ex Officio) Mr. Christopher Raymond Mr. James C. Reagan Mr. Kevin Robbins 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. Kenneth Todorov Ms. Jennifer L. Toole Mr. Robert G. Van Hoecke

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

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

OTHER OFFICERS Ms. Beth Brummel Chief Operating Officer Mr. Stephen D. Kahn General Counsel PRESIDENT EMERITUS Mr. Terrence D. Jones DIRECTOR EMERITUS The Hon. Dirk Kempthorne FOUNDER Mrs. Jouett Shouse (1896–1994)

ADVISORY COUNCIL Ms. Hillary Baltimore Mr. Jeremy Blank 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

*Former Foundation Board Chair

WOLF TRAP ASSOCIATES BOARD Mrs. Suzanne Youngkin Honorary Chair Ms. Katherine Newland Chair Mr. Steven C. Job Vice Chair and Secretary

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Mrs. Sarah Choi Ms. Rhonda Fleming Mr. Leo F. Fox III Ms. Bonnie Haukness Mr. Pardha Karamsetty Mr. William P. Krokowski Mrs. Bambi Landew Mr. David J. Martin Mr. James E. P. Miller Mrs. Linda Moses Mrs. Pat Menster Neuman

Mr. Daniel W. Quirk Mrs. Chelsea Rao Mrs. Amy Rossi Mr. Jiten “Jay” Shah Dr. Dru A. Smith Mr. Brett Snyder Mr. Dean Souleles Mrs. Joan Stansfield Mr. Douglas A. Tyson Mrs. Cortney Weber Mr. Jake Zatzkin

A Kay Shouse Great Performance MUSIC BY GEORGES BIZET LIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVY FILENE CENTER FRIDAY, AUGUST 15 | 8 PM SPECIAL THANKS TO VIRGINIA McGEHEE FRIEND AND ANNE R. KLINE AND GEOFFREY POHANKA, PERFORMANCE SPONSORS

CAST IN ORDER OF VOCAL APPEARANCE

Moralès: Søren Pedersen* Micaëla: Amanda Batista Don José: D aniel O’Hearn Zuniga: Sam Dhobhany Carmen: Elissa Pfaender Frasquita: Midori Marsh Mercédès: Erin Wagner Escamillo: L aureano Quant Dancaïre: Charles H. Eaton Remendado: T ravon D. Walker Chorus: See page 46 *Wolf Trap Opera Studio Artist

CREATIVE TEAM

Conductor: José Luis Gómez Director: John de los Santos Costume Designers: James Schuette, Ashley Soliman Lighting Designer: C had R. Jung Hair & Makeup Design: Anne Nesmith Costume Design Assistant: C hloe Levy Lighting Design Assistant: J amie Milligan Wig & Makeup Design Assistant: Melissa Sibert Originally directed by Anne Bogart.

Scenery and properties designed by Riccardo Hernández, constructed by Glimmerglass Festival, and jointly owned

by Minnesota Opera and Glimmerglass Festival.

Costumes designed by James Schuette and originally created for Glimmerglass Festival.

MUSIC & PRODUCTION STAFF

Principal Coach: Blair Salter Cover Conductor: D avid Hanlon Chorus Master/Coach: William Woodard Assistant Chorus Master/Coach: Pei Hsuan Lin French Diction Coach: Jocelyn Dueck Supertitles: Vladimir Soloviev Intimacy & Fight Coordinator: Casey Kaleba Assistant Director: Jessica Burton Production Stage Manager: Rachel Henneberry Assistant Stage Managers: Gina Hays, Arturo Fernandez Jr.

PRODUCTION INFO

SUNG IN FRENCH WITH ENGLISH CAPTIONS RUNNING TIME: 3 HOURS WITH ONE INTERMISSION PREMIERE: OPÉRA-COMIQUE, PARIS, 1875 BASED ON THE NOVELLA BY PROSPER MÉRIMÉE

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THE STORY ACT I In a town square in Seville, Micaëla passes by a cigarette factory in search of a soldier, Don José. Officer Moralès invites her to wait with him, but she decides to return for the changing of the guard.

Later, Don José’s military unit arrives, led by commanding officer Zuniga.

The factory bell rings for a break and the square fills with women, including Carmen, who attracts the most attention. Before returning to work, she tosses a flower to José. Micaëla gives José a letter from his mother.

Suddenly, screams are heard from the factory: Carmen has been involved in a fight. She refuses to answer Zuniga’s questions. While Zuniga is writing out her arrest warrant, Carmen seduces José, who lets her escape.

ACT II Carmen and her friends, Frasquita and Mercédès, are entertaining Zuniga and Moralès. Celebrated bullfighter Escamillo arrives and is instantly attracted to Carmen. Dancaïre and Remendado try to convince Carmen and her friends to accompany them on their next mission, but Carmen refuses, saying she is in love with José and is awaiting his release from prison.

Don José returns and declares his love for Carmen, who dances for him. When the roll call sounds from the barracks, José is torn between his military duty and his feelings for Carmen. In the moment José decides to leave, Zuniga returns. José is fiercely jealous and starts a fight with his superior officer.

Realizing his army career is over, José now has no choice but to join Carmen.

ACT III On a treacherous mountain pass, the smugglers relish the perils of their assignment. Carmen and José’s love affair has run its course: she has grown tired of him, though he is still obsessed with her. Frasquita and Mercédès read their fortunes in a pack of cards, but when Carmen cuts the cards, they foretell her death. The women leave to distract the customs guards, and José remains behind in the camp.

Micaëla and Escamillo converge on the deserted encampment, seeking José and Carmen, respectively. Micaëla hides as José confronts and fights Escamillo. Carmen and the smugglers return and stop them, and Escamillo invites the whole party to his next bullfight. Micaëla begs José to return to his dying mother.

ACT IV A crowd has gathered for Escamillo’s bullfight, and Carmen arrives with Escamillo. After Escamillo enters the arena, Carmen meets José for a final confrontation.

Bizet - Carmen, Act I Setting, Mairet, The Victrola Book of the Opera, Victor Talking Machine Company, Samuel Hollad Rous, 1917.

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A CARMEN STILL STANDING Since Georges Bizet first premiered Carmen 150 years ago at the Opéra-Comique in Paris, its trove of dimensional characterizations and compositional storytelling have personified opera’s greatest capabilities for generations of listeners. But when even the most groundbreaking works are elevated into the canon’s ubiquity, their powers of provocation may appear clouded to audiences from familiarity and expectation. Most people who’ve never seen an opera are familiar with the inescapable melodies of Bizet’s masterpiece, and recognize the trope of the cigarette-puffing, manzanilla-swigging temptress who proves the downfall of any man who dares love her.

These expectations make staging the piece a challenge as everyone in the audience has an idea of who Carmen is. This summer’s production will be my 10th mounting of the opera, and I must, as always, resurrect Carmen anew and provoke within the familiar.

One fundamental that must be addressed is Carmen’s intention with Don José. Does she ever truly love him? Why does she pursue such a capricious and temperamental individual? Were the two of them fated to destroy one another before even meeting? When Carmen publicly likens love to a rebellious bird that always flies free, Don José is initially indifferent. This segues into the famous Fate theme, representing the only force stronger than Carmen’s desire to reject possession. She therefore chooses — something too few operatic heroines are afforded the opportunity to do — to align with Fate and seduce Don José into her turbulent world of la liberté. While their union remains tempestuous throughout, the music consistently hints at a deeper affection that never dies. Even after Carmen leaves her former life to join Escamillo’s showman circle, she again chooses to meet Don José at his lowest. And finally, despite her declaration that she no longer loves him, Carmen reveals that she has kept Don José’s ring; which in my conception is a gift from his suffering mother. Carmen is never sentimental, so this tiny gesture indicates that through all her pain and desire, a part of her has never stopped loving Don José.

So, if this resilient love exists between them, what about Carmen’s climactic demise at her paramour’s hands? Much has been written of opera’s continual reliance on the deaths of female characters to achieve its musical ambitions.

What sets Carmen apart is her refusal to exist as anyone else expects her to.

She makes choices and survives on her own terms. Only Fate can command her.

She dares Don José to kill her, believing that Fate wills it, but in this production, distracted and broken, Don José ultimately fails, and Carmen prevails. She finally defies Fate, and emerges a changed woman, but still standing.

— JOHN DE LOS SANTOS DIRECTOR

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THE UBIQUITOUS PRESENCE OF CARMEN DR. NICOLE STEINBERG

From Bizet to Beyoncé, why has the story of Carmen captivated us for 150 years? Based on the 1845 French novel Revue des Deux Mondes by Prosper Mérimée, Georges Bizet’s opera follows a passionate gypsy woman’s seduction of a naïve soldier. Carmen betrays the soldier, Don José, pursuing another man instead. Don José, driven mad by his jealous obsession with Carmen, murders her. Since its 1875 premiere at the Opéra-Comique in Paris, Carmen has scandalized audiences with its erotic heroine and on-stage murder. The scandal, however, rather than spoiling the work’s success, has contributed to its lasting popularity even through today — opera goers continue to rush to the theater in droves for this guilty pleasure.

Over the past 150 years, Carmen has maintained its popularity both within the operatic canon and in popular media. From the concert hall to Broadway, from television to the silver screen, Carmen has been extracted and adapted.

Bizet’s masterpiece has attained such a ubiquitous place due to the allure of the Carmen archetype and his sublime musical composition.

The titular character, Carmen, is a Spanish gypsy, exoticized or “Othered” by European society. A pejorative characterization of the Roma people, gypsies began to penetrate Spanish literature and theater as character archetypes as early as 1499. As literary scholar Lou Charnon-Deutsch writes, they were loathed for their presence and yet exalted for their perceived freedoms and rebel behavior. The most common trope for the male gypsy became that of the thief, while the most common trope for the female gypsy became that of the seductress, able to lure even the strongest men into impious action. In the Romantic period, when Bizet was writing his opera, the gypsy seductress, in particular, inspired a European fixation on the notion of “Romantic bohemianism” and desire.

Women Making Shells, Henrietta Mabel May, 1918.

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To mark Carmen as both the exotic other and the epitome of desire, Bizet imbued her music with Spanish inflections and chromatic excess — constructing coaxing, taunting melodies to provocatively flaunt her sexual independence. Look no further than the most famous aria from Carmen: the “Habanera,” “L’amour est un oiseau rebelle,” which is actually not a melody Bizet wrote himself, but one originally composed by a Spanish composer named Sebastián Yradier! Bizet’s orchestration, however, brings Carmen to life. Outside the cigarette factory in Act I, the solo cello, in the syncopated rhythm of the “Habanera,” hypnotizes us with an arpeggio in D minor. Carmen, above this spellbinding pattern, sings an aria on the capricious nature of love: “Love is a rebellious bird that none can tame…”

“ Bizet’s Carmen, an extraordinary example of dramatic intensity and melodic genius, will no doubt continue to inspire countless adaptations.”

Though Carmen is untamable, it seems we have not been able to shake our obsession with her, and more specifically, her “Habanera.”

Charlie Chaplin parodied the opera in his film A Burlesque on Carmen (1916) and featured excerpts of Bizet’s orchestral score, including the “Habanera.” Oscar Hammerstein II adapted the opera for a Broadway musical called Carmen Jones (1943), set in a Black community during World War II. Hammerstein also used the music of Bizet, rewriting the lyrics of the “Habanera” — “When your love bird decides to fly / There ain’t no door that you can close / She just pecks you a quick good-bye / And flicks de salt from her tail and goes.” Ten years later, Carmen Jones (1953) was adapted for film, directed by Otto Preminger and starring Dorothy Dandridge and Harry Belafonte.

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In 2001, Beyoncé Knowles — yes, that Queen B — starred as Carmen Brown in Carmen: A Hip Hopera, her acting debut. Directed by Robert Townsend and debuted on MTV, the film only loosely followed the plot of the opera, featuring a completely original Hip Hop and R&B score by Kip Collins. Not to worry, though — there were still plenty of nods to Bizet. Beyoncé’s first appearance was in a red dress to a Hip Hop adaptation of Bizet’s “Habanera,” featuring the genre’s quintessential drum machine.

More recently, Bizet’s “Habanera” has been featured in such box-office busting features as Disney Pixar’s Up (2009) and 20th Century Fox’s Queen biopic Bohemian Rhapsody (2018). Excerpts from Bizet’s opera, primarily the “Habanera” and the “Toreador Song,” have also been prominent in television. Both make their way into an episode of Tom and Jerry (1962), and Denyce Graves sings the “Habanera” to Elmo as an “Operatic Lullaby” in an episode of Sesame Street (1998).

Bizet’s Carmen, an extraordinary example of dramatic intensity and melodic genius, will no doubt continue to inspire countless adaptations. You may encounter unexpected variations on the Carmen archetype (like Sharon Stone in Basic Instinct), and you may even hear tunes like the “Habanera” where you least expect them (like the 2008 Doritos Super Bowl commercial). Wherever you encounter Carmen, know that her legacy will continue to endure.

Dr. Nicole Steinberg recently earned her Ph.D. in Musicology at the University of Maryland, College Park. Her research is centered on opera, trauma, and memorialization. She has lectured at Towson University, Annapolis Opera, Opera Baltimore, and Wolf Trap Opera.

(LE NOZZE DI FIGARO) MUSIC BY WOLFGANG AMADEUS MOZART LIBRETTO BY LORENZO DA PONTE NEW PRODUCTION THE BARNS AT WOLF TRAP FRIDAY, JUNE 20 | 7:30 PM SUNDAY, JUNE 22 | 2 PM TUESDAY, JUNE 24 | 7:30 PM THURSDAY, JUNE 26 | 2 PM SATURDAY, JUNE 28 | 7:30 PM SPECIAL THANKS TO ED AND ANDY SMITH, PERFORMANCE SPONSORS

CAST IN ORDER OF VOCAL APPEARANCE

Figaro: Christian Simmons Susanna: Arianna Rodriguez Bartolo: Sam Dhobhany Marcellina: Elissa Pfaender Cherubino: Sophia Maekawa Count Almaviva: Charles H. Eaton Basilio: T imothy Anderson* Countess Almaviva: B rittany Olivia Logan Antonio: Robert Frazier* Barbarina: Catherine Creed* Don Curzio: A dam Catangui* Chorus: WTO Studio Artists *Wolf Trap Opera Studio Artist

CREATIVE TEAM

Conductor: Emily Senturia Director: E. Loren Meeker Scenic Design: Laura Fine Hawkes Costume Design: L oren Shaw Lighting Design: C olin K. Bills Hair & Makeup Design: Anne Nesmith Scenic Design Assistant: Chris Hawkes Costume Design Assistant: I sabella Fields Lighting Design Assistant: Y annick Godts Wig & Makeup Design Assistant: Melissa Sibert

MUSIC & PRODUCTION STAFF

Principal Coach/Chorus Master: Kiril Kuzmin Italian Diction: Domenico Boyagian Coach/Continuo/Assistant Chorus Master: Julian Garvue Chorus Pianist/Supertitles: Pei Hsuan Lin Assistant Director: Claire Choquette Intimacy Choreographer: C asey Kaleba Production Stage Manager: R achel Henneberry Assistant Stage Manager: Z oe Steenwyk

PRODUCTION INFO

SUNG IN ITALIAN WITH ENGLISH CAPTIONS RUNNING TIME: 3 HOURS WITH ONE INTERMISSION PREMIERE: BURGTHEATER, VIENNA, 1786 BASED ON THE 1784 STAGE COMEDY BY PIERRE-AUGUSTIN CARRON DE BEAUMARCHAIS

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THE STORY

ACT I Figaro and Susanna, both servants to Count Almaviva, are soon to be married. Susanna is worried about the Count’s advances towards her, but Figaro vows to outmaneuver him. Dr. Bartolo and his housekeeper, Marcellina, scheme to make Figaro repay his overdue loan to Marcellina. She reminds him that he vowed to marry her if unable to pay. The Count’s page, Cherubino, asks Susanna for help with the Count, who caught him with Antonio’s daughter, Barbarina, and intends to send him away to the military.

ACT II Countess Almaviva laments her husband’s infidelity when Susanna arrives to dress the Countess for the day. Figaro enlists the help of the music teacher Basilio to deliver an anonymous letter to the Count, warning him of adulterers, in the hope of distracting him during the wedding that evening and keeping him away from Susanna. Susanna also has a plan to disguise Cherubino as a woman and entrap the Count in an act of infidelity. As they are finding a dress for him, the Count suddenly appears, highly suspicious after reading Figaro’s letter. Cherubino barely escapes. Marcellina arrives to demand that Figaro honor his promise to marry her. The Count happily announces that the wedding is postponed until Figaro’s debt is resolved.

ACT III Figaro argues that he cannot marry without the permission of his parents, which he cannot obtain because he was stolen from them as a baby.

Accompanied by a lawyer, Don Curzio, Marcellina comes to realize that Figaro is her own long-lost son, fathered by Bartolo. Figaro’s debt is called off, the wedding is back on, and everybody rejoices. Meanwhile, Susanna and the Countess hatch a plan to entrap the Count. They send him a letter inviting him to meet Susanna that night in the garden.

ACT IV The Countess and Susanna swap clothes to fool the Count. When he arrives in the garden and sees “Susanna,” he declares his love for her. Figaro arrives and recognizes his bride disguised as the Countess. The Count witnesses Figaro proudly declaring his love for “the Countess” and, fooled by Susanna’s disguise, shouts for the guards and orders Figaro’s arrest. Suddenly the Countess reveals her true identity and the Count, realizing he’s been caught red-handed, begs forgiveness. All’s well that ends well…right?

A SPECIAL RECEPTION June 28: Following the last performance, Wolf Trap Opera invites attendees to a post-performance reception and toast to the happy couple (and cast!).

Festive formal attire optional.

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REFRAMING FIGARO THROUGH PICASSO Each time I approach a production, I begin by asking: Why is it important to tell this story now? The Marriage of Figaro is an iconic piece that has endured for centuries, yet it remains deeply relevant, particularly in today’s political and social climate. At its core, the opera is a story of power—who wields it, who resists it, and how it shifts over time. The Count’s relentless pursuit of Susanna, his disregard for his wife, and his sense of entitlement over those around him reflect dynamics that are as urgent now as they were in Mozart’s time. In exploring how to bring these themes to life in a way that speaks to our present moment, I found myself drawn to another towering artistic figure: Pablo Picasso.

Picasso was a revolutionary artist, reshaping how we see the world, yet he was also a man whose personal relationships with women were fraught with contradiction. He revered and immortalized them in his art while simultaneously exerting control over them in his personal life. Women in his life—muses, lovers, and wives—were often transformed in his work, fragmented and reassembled in ways that spoke to both admiration and domination. This duality felt eerily parallel to the Count, who both desires and diminishes the women around him.

With this in mind, we approached the production through the lens of Picasso’s art and life, allowing his aesthetic and personal history to inform the world of Figaro.

Working with a brilliant design team—set designer Laura Fine Hawkes, costume designer Loren Shaw, and lighting designer Colin K. Bills—we have crafted a space where the boundaries of reality and abstraction blur. The visual world draws inspiration from Picasso’s many artistic periods, from his Cubist deconstructions of form to the stark, emotional rawness of his Blue Period. In our production, men and women exist in different visual planes: the men, rooted in Picasso’s own wardrobe and era, move through the world as figures of realism and tradition, while the women begin as abstract, fragmented figures, embodying the distortion seen in Picasso’s portraits. Over the course of the opera, the women reverse the power dynamic—piece by piece, stroke by stroke—until, by the final moments, the women have reclaimed their clarity, while the Count is left in fractured abstraction.

Our set, really our environment, mirrors this transformation. The space is based on several of Picasso’s studios and is minimal, allowing the characters to enrich the area with colors, textures, and shapes that are layered in—echoing the way Picasso’s art reshaped perspective. An artist ladder, frames, and shifting panels create a sense of a living space, a canvas that moves and changes as the characters struggle for agency.

At its heart, The Marriage of Figaro is a story of resistance—of the powerless challenging the powerful, of women fighting to reclaim their agency. In reimagining the opera through Picasso’s world, we invite audiences to look at this classic through a different frame, one that reflects not only Mozart’s time but our own. The questions it asks—about power, control, and the perception of identity—are ones we are still wrestling with today. I hope this production offers a new way of seeing this masterpiece and, perhaps, ourselves.

— E. LOREN MEEKER, DIRECTOR

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THE MARRIAGE OF FIGARO: CRAZINESS, RECIPROCITY, LOVE MARTHA C. NUSSBAUM

Officially, The Marriage of Figaro (1786) is based on Beaumarchais’ radical comedy of 1778, a savage indictment of feudalism that was quickly seen as a precursor of the French Revolution.

Admirers of the play have typically found the opera disappointing, an innocuous and even trivial drama of personal love with no political bite. But the world of human passion, love, and craziness revealed in the music is profound in its own way, and it would be a mistake to think that human passion is trivial, or indeed that it is irrelevant to how men and women might possibly live together. The music, its own emotional universe, goes far deeper than Beaumarchais’ play, and even than Da Ponte’s witty libretto, making a subtle and enduring statement about the imperfections and glories of human love, and the need for generous acceptance of those imperfections, if we are ever to pursue happiness together in a flawed world.

For Beaumarchais, the story’s central contrast is that between the Count, representative of the old regime, and Figaro, precursor of the new. One of our first clues to Mozart’s subversive recasting is the fact that Figaro and the Count are very similar, both musically and thematically. What do these men sing about when they are alone? Outraged honor, the desire for revenge, the pleasure of domination, and sneering at your male adversary. If Figaro is going to be happy in love, he will have to learn a different tune — and, as Mozart soon shows, he will need to learn it from women.

The females of the opera inhabit a musical and textual world that is from the beginning depicted as utterly unlike that of the men. First of all, it contains friendship. Susanna and the Countess plot together, joke together. Unlike the men, they use their similarity not for combat but for cooperation. All this is in the libretto — but the music takes this suggestion much further. In the remarkable letter duet, the women take inspiration from one another’s musical phrases, exchanging ideas with a sinuous capacity for response and a heightened awareness of the other’s pitch, rhythm, and even timbre, ultimately achieving close-knit harmony.

Both the Countess and Susanna exemplify reciprocity and internal freedom. Susanna, however, emerges as the more complete person. While the Countess remains preoccupied with her own sadness and eventual hope, Susanna displays enormous empathy with the Countess’ situation (as well as that of her beloved Figaro), and she has a mischievous quick-wittedness that makes her the primary driver of the plot. She exemplifies what a whole person can be: both clever and compassionate, decisive and loving, and all combined with humor and delight.

There is one male character in the opera who does not sing in a male voice: the teenage boy Cherubino, performed by a female mezzo-soprano. This already seems significant; Cherubino’s education is the focal point of the opera’s depiction of what a new type of man might be.

Cherubino is clearly, in crucial ways, masculine. He is tall, good-looking, and sexually active.

But he has been educated by women and by music. The prospect of military service appalls him, and singing, by contrast, comes naturally. How do his emotions differ from those of all the male-voice characters in the opera?

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He talks about love. He is the only male in phrase that arcs downward, she is saying yes the opera (before the last act, at any rate) to the imperfection in all their lives, accepting who has the slightest interest in that emotion. the fact that love will always be uneven and Certainly, the breathlessness of “Non so più” far from blissful. She is agreeing to love, and expresses the promiscuous quality, as well as even trust, in a world of inconstancy and the confusion, of adolescent infatuation. But it imperfection — an affirmation requiring more also contains romantic and poetic sentiments. courage than any of the battlefield exploits This passion is evident in the beautiful aria mentioned by Figaro in “Non più andrai.”

“Voi che sapete,” which is remarkable for its And here’s where we arrive at politics, at a utter difference from the arias of all the other subtler and deeper level. What she agrees males. Cherubino simply talks about love, to, here, is what the ensemble also agrees is eager to learn, and makes no attempt to to: “Ah, all of us will be happy in that way.” conceal his vulnerability.

What that seems to mean is that all present say yes to a world that seeks and aims at “ Life together in society requires reciprocity, respect, and attunement without being starry-eyed about perfection. Life something like an unjaundiced together in society requires something like trust in the possibility of love, and, an unjaundiced trust in the possibility of love, perhaps above all, a sense of humor and, perhaps above all, a sense of humor about the world as it is.” about the world as it is.

These ideas of love, trust, and reciprocity are not clear in the text, and far more emphatically brought out in the music. But Mozart’s music is not in some unattainable heaven, it is in the middle of our world, and in the bodies of those who sing it; it reshapes the world by reshaping breath itself. “This day of torment, of craziness, of foolishness — only What, then, happens at the opera’s close, love can make it end in happiness and joy.” when the Count begs his wife for forgiveness? Indeed.

Temporarily, at least, the male world yields Martha C. Nussbaum is Professor of Philosophy and before the female world, asking for pardon.

Law at the University of Chicago. Her most recent books are Justice for Animals (2023), The Tenderness of Silent And then there is a pause. And what, in this Minds: Benjamin Britten and his War Requiem (2024), silence, might the Countess be thinking and the forthcoming The Republic of Love: Opera, Breath, and Freedom. before she says, “Yes”?

How did Cherubino get to be this way, a way that promises real reciprocity in passion?

He was brought up by women and kept a stranger to the men’s world. I would argue that he is therefore the opera’s pivotal character, a male who can be both delightful and loving.

If she has any sense — and we know that she has a great deal — she will be thinking, “What on earth does this promise of renewed love really mean?” When, after that pause, she answers, “I am nicer, and I say yes,” with a

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This article is edited from its original version, which was commissioned by and appeared in the official program book for The Marriage of Figaro production by Lyric Opera of Chicago. It is used here by permission.

(DIALOGUES DES CARMÉLITES) MUSIC & LIBRETTO BY FRANCIS POULENC ORCHESTRAL REDUCTION BY NICHOLAS GREER WOLF TRAP OPERA PREMIERE & NEW PRODUCTION

THE BARNS AT WOLF TRAP FRIDAY, JULY 18 | 7:30 PM SUNDAY, JULY 20 | 2 PM THURSDAY, JULY 24 | 2 PM SATURDAY, JULY 26 | 7:30 PM SPECIAL THANKS TO ED AND ANDY SMITH, PERFORMANCE SPONSORS

CAST IN ORDER OF VOCAL APPEARANCE

Chevalier de la Force: Travon D. Walker Marquis de la Force: J onathan Patton Blanche de la Force: E rin Wagner Thierry/M. Javelinot: R obert Frazier* Madame de Croissy: Cecelia McKinley Sister Constance: G emma Nha Mother Marie: Gabrielle Beteag Madame Lidoine: K eely Futterer The Chaplain: N athaniel Bear* Sister Mathilde: M idori Marsh First Commissioner: T imothy Anderson* Second Commissioner: Søren Pedersen* Mother Jeanne: Naomi Steele* The Jailer: C handler Benn* Sister Alice: A rianna Rodriguez Sister Anne of the Cross: S ophia Maekawa Chorus: WTO Studio Artists *Wolf Trap Opera Studio Artist

CREATIVE TEAM

Conductor: Geoffrey McDonald Director: Katherine M. Carter Scenic Design: Lawrence E. Moten III Costume Design: C aitlin Cisek Lighting Design: M arika Kent Hair & Makeup Design/Scenic Design Assistant: Anne Nesmith Costume Design Assistant: D anielle De La Fuente Lighting Design Assistant: M att Lazarus Wig & Makeup Assistant: Melissa Sibert

MUSIC & PRODUCTION STAFF Principal Coach/French Diction: M arie-France Lefebvre Chorus Master/Coach: Christopher Turbessi Coach: Vladimir Soloviev Supertitles: Julian Garvue Assistant Director: Jessica Burton Production Stage Manager: A nnie Wheeler Assistant Stage Manager: B ethany Windham

PRODUCTION INFO

SUNG IN FRENCH WITH ENGLISH CAPTIONS RUNNING TIME: 3 HOURS, WITH ONE INTERMISSION PREMIERE: TEATRO ALLA SCALA, MILAN, ITALY, 1957 BASED ON A WORK BY GEORGES BERNANOS, ADAPTED FROM GERTRUD VON LE FORT’S NOVEL

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THE STORY

ACT I Paris, April 1789: The French Revolution is gaining momentum. Returning home after a terrifying encounter with a mob, Blanche de la Force announces to her father and brother — Marquis de la Force and his son, the Chevalier — her intention to join the Carmelite Order of Compiègne as a nun.

Once at the convent, the aged prioress Madame de Croissy makes clear to Blanche that the church is a place of prayer, not refuge.

Blanche and Sister Constance discuss their fear of death, which Constance claims to have overcome. However, Constance shocks Blanche by telling her that she knows they will both die young and on the same day.

Madame de Croissy is lying on her deathbed. She entrusts Blanche, as the newest member of the order, to the care of Mother Marie. The prioress confesses her fear in the hour of death, then falls back lifeless.

ACT II That night in the chapel, Blanche and Constance keep vigil over the body of the prioress. Constance hopes that Mother Marie will be the new prioress, but Madame Lidoine is appointed instead. She gathers the nuns to reassure them as the Revolution intensifies. The Chevalier de la Force arrives to persuade his sister to flee Paris with him, but Blanche vows not to leave her sisters.

The Chaplain, stripped of his office by the revolutionaries, performs one final mass in the convent. They are interrupted by the arrival of two Commissioners. All religious houses have been dissolved, and the nuns must immediately put aside their habits and rejoin the community or face execution.

ACT III In the devastated chapel, the nuns take a vote to become martyrs. Overcome with emotion, Blanche flees.

Blanche is forced to work as a servant in her family’s ransacked home. Mother Marie visits and urges her to rejoin her sisters. Later, Blanche learns that the nuns have been arrested.

At the Conciergerie prison, Madame Lidoine joins the sisters in their vow of martyrdom. The Jailer enters and reads the death sentence.

On the Place de la Révolution, the Carmelites walk towards the guillotine while singing the “Salve Regina.” With each stroke of the blade, their voices are cut off one by one, finally leaving only Constance. On her way to the scaffold, Blanche steps up from the crowd and follows Constance to her death.

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THE POWER OF DIALOGUE

Dialogue: Old English dialogas (plural), Latin from Greek dialogos, from dia ‘through’ + logos ‘word.’ Definition: to take part in a conversation or discussion to resolve a problem.

Poulenc’s Dialogues of the Carmelites is a window into 18th-century Paris during the final years of the revolution, ending with the death of 16 Carmelite nuns by the guillotine’s blade. The opera approaches these events through the personal discussions between the characters as they reckon with the surrounding events.

Carmelites begins with the age-old question: How do you solve a problem like Blanche? The Marquis de la Force, her father, paints a detailed picture of the young woman by discussing her troubling constant fear. He believes a sturdy marriage will provide Blanche with the foundation she needs. Blanche offers her own solution to this concern: she wishes to join the Carmelite nuns, offering herself up in prayer. Blanche sways her surprised father to understand her side, and by the end of scene one, we’ve had our first dialogue.

From the seed of Blanche’s choice grows the opera’s more prominent and urgent problems. Each complication is addressed in a similar way — through a dialogue. Throughout the piece, characters never proclaim a solution that is instantly adopted; rather, alternative viewpoints are heard and considered by the group. The nuns are ultimately faced with an almost impossible problem: a mob at their doorstep proclaims that religion is now punishable by death.

How will they, as a group, overcome this challenge? While the answer may be evident from history, the process by which this group of women arrives at an answer is not a straight path. This process — these dialogues — makes this opera one of the most intriguing in the repertoire.

As a director, part of my role is facilitating dialogues. I believe in the collective power of creatives coming together to collaborate on building a world, while finding solutions for the obstacles that arise. Listening with an open mind is a vital skill during this process. When we consider a solution that is not our own, we can come to a fuller, more expansive vision. This production is the product of hours of dialogue in the form of the design process, score preparation, rehearsal, tech, emails, phone calls, and images — a tangible culmination of the power of conversation.

Almost exactly 231 years ago (July 17, 1794), the 16 Carmelite nuns marched to the guillotine, united by their resolve to die for their faith. Their decision exemplifies how we, too, can face any problematic challenge in the world around us through intentional dialogue.

— KATHERINE M. CARTER, DIRECTOR

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THE ENDURING LEGACY OF THE CARMELITES OF COMPIÈGNE CORI ELLISON

“Those who cannot remember the past are condemned to repeat it,” wrote George Santayana, the Spanish American philosopher. These are words to live by, now more than ever; words that make an opera about cloistered nuns, set during the French Revolution, urgent and timely.

The glorious, terrible, and true story of the Carmelite Sisters of Compiègne was first told by one of their own, Sister Marie de L’Incarnation (1761–1836), in her posthumously published memoir La Relation du martyre des seize Carmélites de Compiègne. Soon after the fall of the Bastille in 1789, all religious orders were suppressed, and all church property was evacuated and seized. The 16 Carmelite nuns of Compiègne nevertheless continued to meet for communal prayer, and were subsequently arrested, imprisoned, and convicted (without attorney or witnesses) of “conspiring against the Republic.” They were executed on July 17, 1794, singing hymns on their way to the guillotine. A mere 10 days later, the bloodthirsty revolutionary Robespierre followed them to the scaffold (silently, presumably), and the infamous Reign of Terror was over.

Robespierre and the Carmelites of Compiègne died in the same place and manner, yet their legacies could not be more different. The name of Robespierre lives on as a synonym for tyranny and terror. But the humble Carmelites of Compiègne might be as unknown as the other 1290 “revolutionaries” who share their mass grave in Paris’ Picpus Cemetery, had they not offered themselves as a sacrifice to restore peace to France, and had Marie de L’Incarnation, absent on family business, not lived to tell their tale. The 16 Carmelites would doubtless be astonished to learn that they were beatified by Pope Pius X in 1906 and canonized by Pope Francis shortly before Christmas 2024.

Perhaps more importantly, they seem firmly embedded in our collective consciousness. So many artists (and audiences) have found their own story within that of these Carmelites, and have grafted themselves onto it, like the Renaissance painters who limned their own likenesses into their Biblical canvasses. During the nightmare of the Nazi era, the German Catholic convert Gertrud von Le Fort made a fictional novice (her craven namesake Blanche de la Force) the fulcrum of the Carmelites’ story in her novella Die Letzte am Schafott (The Last to the Scaffold, 1931). In 1947, still reeling from World War II, the Austrian priest and resistance fighter Fr. Raymond Brückberger wrote a cinematic scenario based on the novella, and the French Catholic novelist Georges Bernanos fleshed it out with dialogue. Though the film was not made until 1960, Bernanos’ Dialogues of the Carmelites was eventually adapted and performed as a stage play.

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The Carmelites of Compiègne were to attain their greatest renown, however, through the unlikeliest of advocates. Francis Poulenc (1899–1963), a wealthy, worldly, and gay Parisian, ran with the iconoclastic disciples of Cocteau and Satie known as Les Six, establishing himself as a musical enfant terrible through ballets, chamber works, and songs redolent of café, street, and circus music. That is, until 1936, when this self-described “half monk, half hooligan” rediscovered his Catholic roots and began creating the richest trove of French sacred music since the Baroque era. This culminated in Dialogues des Carmélites, which Poulenc himself adapted from Bernanos’ play, composed from 1953–1956 and premiered at La Scala on January 26, 1957.

“ …as Constance puts it, ‘Perhaps we do not die for ourselves, but for each other, or even instead of each other.’ ” Realizing just how radical it was to write an old-fashioned opera during the staunchly serialist 1950s, Poulenc apologized, “It seems that my Carmelites can only sing tonal music. You must forgive them.” In the score’s dedication, Poulenc acknowledged his debt to Mussorgsky, Monteverdi, Debussy, and Verdi. And Dialogues des Carmélites surely does combine the epic sweep of Boris Godunov and Don Carlos with the conversational intimacy of Pelléas et Mélisande and L’incoronazione di Poppea.

Poulenc also claimed to have modeled the vocalism of his female protagonists after Thaïs (Blanche), Zerlina (Constance), Kundry (the Old Prioress), Desdemona (the New Prioress), and Amneris (Mother Marie). For all his homage to the past, though, Poulenc synthesized these elements in a wholly personal manner, and one completely in

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tune with the opera’s main dramatic idea, the transference of grace from one soul to another; as Constance puts it, “Perhaps we do not die for ourselves, but for each other, or even instead of each other.”

Dialogues des Carmélites was not the first, nor would it be the last, time that Poulenc would show an immense empathy for women.

Each of his three operas is driven by a strong female protagonist: the plucky, gender-bending Thérèse in Les mamelles de Tirésias (1947); the timorous Blanche in Carmélites; and the desperate Elle in La voix humaine (1959), who Poulenc claimed to have based upon himself. Though the three operas could not be more different in most respects, their prime donne show musical affinities, at least partly because all three were conceived for the remarkable Denise Duval, the Folies Bergères chanteuse turned prima donna who became Poulenc’s muse and close friend.

Poulenc’s three operatic heroines also show dramatic affinities; they each strive, with varying degrees of success, to find and live their truth. Poulenc’s Carmelite sisters struggle mightily to hew to their faith — a faith that first eludes Blanche — when all else is wrested from them. For this “crime,” they are punished by the State. May the memory of the brave Carmelites of Compiègne, so vividly kept alive by Poulenc, inspire us all to live with integrity in an increasingly bruised world.

We forget them at our own peril.

Cori Ellison h as served as staff dramaturg at New York City Opera, Glyndebourne Opera, and Santa Fe Opera and is a member of the Vocal Arts faculty at The Juilliard School and the Composer Librettist Development Program faculty at American Lyric Theater.

Marin Alsop with the National Orchestral Institute + Festival.

Wolf Trap Opera’s (WTO) home stage performances embody its core mission to discover and promote the finest emerging talent in the opera field. Whether inside at The Barns or outside at the Filene Center, WTO relies on the venue’s resources to mount the high-quality productions that define its training program and reputation.

Although WTO’s cornerstone programming remains on campus, the company continues to expand its reach beyond these boundaries to engage with new audiences and share fresh perspectives. These exciting performance opportunities — and the partnerships that make them possible — are the essence of UNTRAPPED. Through UNTRAPPED, WTO artists bring the thrill of live vocal music to new places and unexpected spaces.

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Mendelssohn

A MIDSUMMER NIGHT’S DREAM National Orchestral Institute + Festival Andrew Grams, conductor Francesca Herrera, soprano Julianna Smith, mezzo-soprano SATURDAY, JUNE 7 | 7:30 PM THE CLARICE SMITH PERFORMING ARTS CENTER Shakespeare’s plays have long inspired rich musical collaborations, and Felix Mendelssohn’s sumptuous score seamlessly intertwines with the Bard’s incisive text. In this vibrant multidisciplinary performance, soprano Francesca Herrera and mezzo-soprano Julianna Smith join the National Orchestral Institute + Festival to bring Mendelssohn’s beautiful score to life.

Mahler

SYMPHONY NO. 2 (“RESURRECTION”) National Orchestral Institute + Festival Marin Alsop, conductor Midori Marsh, soprano Gabrielle Beteag, mezzo-soprano SATURDAY, JUNE 14 | 7:30 PM | THE CLARICE SMITH PERFORMING ARTS CENTER SUNDAY, JUNE 15 | 6 PM | WASHINGTON NATIONAL CATHEDRAL Soprano Midori Marsh and mezzo-soprano Gabrielle Beteag join the National Orchestral Institute + Festival and conductor Marin Alsop in two performances of Mahler’s masterful Symphony No. 2. Known as the “Resurrection” symphony, this work explores the spaces between life and death.

WTO STUDIO ARTISTS IN CONCERT WEDNESDAY, JULY 9 | 7 PM HOLY TRINITY CATHOLIC CHURCH IN GEORGETOWN In its third year of concerts at the extraordinary Holy Trinity Church in Georgetown, Wolf Trap Opera presents a free concert of opera scenes, arias, and more. Hear this season’s talented Studio Artists as they sing some of their favorite music.

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SALON SERIES SCOTTISH BARN | THE BARNS AT WOLF TRAP WEDNESDAY, JUNE 25 | 7:30 PM Cecelia McKinley Keely Futterer Joseph Li, piano

TUESDAY, JULY 1 | 7:30 PM Arianna Rodriguez Sam Dhobhany Renate Rohlfing, piano

TUESDAY, JULY 22 | 7:30 PM Brittany Olivia Logan Laureano Quant Joseph Li, piano

The intimate essence of the recital is celebrated during these limited-capacity, artist-curated evenings. Come early for dinner and stay for a bespoke musical journey crafted by the performers. Each not-to-be-missed salon will showcase wildly different programs and artists.

Don’t miss the opportunity to hear these singers in this intimate space.

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

ARIA JUKEBOX The audience gets to choose the songs!

SUNDAY, JUNE 29 | 2 PM THE BARNS AT WOLF TRAP No really, the AUDIENCE chooses! Vote for your favorite arias sung by your favorite Filene Artists. Don’t miss this high-energy afternoon, which is perfect for opera newbies and experts alike. Aria voting begins at 1 PM.

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MASTER CLASSES STEVEN BLIER WEDNESDAY, JUNE 4 | 7 PM CENTER FOR EDUCATION AT WOLF TRAP Recitalist, raconteur, and longtime Wolf Trap Opera favorite, Steven Blier works with Wolf Trap’s Studio Artists in this public master class focusing on art song and interpretation.

TAMARA WILSON WEDNESDAY, JUNE 11 | 7 PM CENTER FOR EDUCATION AT WOLF TRAP 2025 Filene Artist in Residence and Grammy-winning soprano Tamara Wilson (’08) works with Wolf Trap Opera’s Studio Artists in this public master class. Wilson has garnered international recognition for her interpretations of Verdi, Mozart, Strauss, and Wagner and is the recipient of the prestigious Richard Tucker Award.

RENÉE FLEMING TUESDAY, JULY 29 | 3 PM CENTER FOR EDUCATION AT WOLF TRAP Renowned soprano and Wolf Trap Opera’s newly appointed Artist Development Advisor, Renée Fleming works with the next generation of opera stars.

SCAN TO RESERVE NOW Master Class events are free, but reservations are required and limited to two seats per household. wolftrap.org/masterclasses

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2025 FILENE ARTIST IN RESIDENCE

TAMARA WILSON, SOPRANO

Tamara Wilson (’08) returns to work with Wolf Trap Opera’s emerging singers on artistic and practical career preparation.

Since her time with WTO, the Grammy Award-winning soprano has continued to garner international recognition for her interpretations of Verdi, Mozart, Strauss, and Wagner, and earned the prestigious Richard Tucker Award. Other recent honors include an Olivier Award nomination and Grand Prize in the annual Francisco Viñas Competition held at the Gran Teatre del Liceu in Barcelona, Spain.

This season, Wilson returns to the Santa Fe Opera for Die Walküre, Houston Grand Opera for Tannhäuser, Canadian Opera Company for Nabucco, Oper Frankfurt for Macbeth, and Washington Concert Opera for La clemenza di Tito.

A few operatic highlights of Wilson’s career include Turandot, Lohengrin, Tosca, Ernani, Tristan und Isolde, Fidelio, Ariadne auf Naxos, Otello, Un ballo in Maschera, Don Carlo, Don Carlos, Aida, Il trovatore, Elektra, La forza del destino, Die Fledermaus, Die Frau ohne Schatten, Die Feen, I due Foscari, Falstaff, and more. She regularly appears on the stages of the world’s leading opera houses including The Metropolitan Opera, Opéra national de Paris, Los Angeles Opera, Bayerische Staatsoper, Oper Frankfurt, Deutsche Oper Berlin, Teatro La Fenice, Santa Fe Opera, Houston Grand Opera, Dutch National Opera, Canadian Opera Company, and Teatro alla Scala, among many others.

In recital, Wilson frequently partners with Warren Jones and has given recitals at Oper Frankfurt, Source Song Festival, Performance Santa Fe, and Cleveland Art Song Festival.

She recorded a duet orchestral concert with Russell Braun at the Canadian Opera Company. A champion of new music, Wilson commissioned and recorded Tiffany’s Spellbook by Evan L. Snyder.

SPECIAL THANKS TO THE LINCOLN AND THERESE FILENE FOUNDATION, 2025 PROGRAM UNDERWRITERS

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RENÉE FLEMING

ARTIST DEVELOPMENT ADVISOR

“

One of the most rewarding things about opera and classical music is the tradition of each generation nurturing the next group of rising artists. I am delighted to be expanding my mentorship of young singers with a new role at Wolf Trap Opera. Each summer, the WTO program attracts some of the most gifted young vocalists in the world, and I am looking forward to helping these phenomenally talented singers grow and develop their artistry.

”

Renée Fleming, the incomparable and internationally acclaimed soprano, joins Wolf Trap Opera as Artist Development Advisor. With her bold vision and deep passion for nurturing the next generation of singers, she will help shape the future of opera at the nation’s premier training ground for emerging opera talent.

In this role, Fleming will personally enhance WTO’s training programs with immersive guidance, seamlessly blending performance opportunities with mentorship. Over the next three years, she will launch a series of initiatives that reflect her commitment to developing rising artists. This summer her partnership will commence by working directly with WTO artists in individual and group settings, addressing topics such as audition skills and breadth of repertoire, and equipping young artists with the skills to thrive in the opera industry.

• American Impressions: Fleming will connect WTO artists and composers at the forefront of contemporary American opera in study and performance opportunities.

• NexGen: Fleming will hand-select members of the 2025 company and mentor them in planning and performing a recital at The Barns at Wolf Trap during the 2025–2026 season.

ABOUT RENÉE Renée Fleming is one of the most highly acclaimed singers of our time and a leading arts and health advocate. Winner of five Grammy Awards and the US National Medal of Arts, she sings at the world’s greatest opera houses, concert halls, and occasions, including at Buckingham Palace and the Super Bowl. A WHO Goodwill Ambassador for Arts and Health, she is an inaugural member of the WEF/Davos Global Arts and Culture Council. Fleming’s anthology, Music and Mind: Harnessing the Arts for Health and Wellness, was published in 2024. Other awards include the Fulbright Lifetime Achievement Medal and honorary doctorates from 10 leading universities.

Watch Renée work with Wolf Trap Opera’s Filene Artists during her free Master Class on July 29 at 3 PM at Wolf Trap’s Center for Education. Scan to reserve your spot now!

SPECIAL THANKS TO DAN AND GAYLE D’ANIELLO, PROGRAM UNDERWRITERS AND 2025 WOLF TRAP SEASON UNDERWRITERS

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WOLF TRAP OPERA ALUMNI SHINE BRIGHTLY For more than five decades, Wolf Trap Opera (WTO) has nurtured and launched the careers of some of the most promising emerging opera artists.

From performing in the world’s best opera houses to winning top awards and competitions, take a look at just a few of the recent accomplishments of these stars as they excel around the globe.

Lawrence Brownlee

OUTSTANDING ACCOLADES WTO alumni were seeing gold and silver through earning some of the most distinguished awards. Tenor Nick Phan (’03, ’04) received the 2025 Grammy Award for Best Opera Recording for his performance in the stunning world premiere recording of Saariaho: Adriana Mater. Will Liverman (’15, ’16) also received a Grammy nomination for Best Classical Solo Vocal Album with Show Me The Way, which features mezzo-soprano J’Nai Bridges (’15, ’16) and the incomparable Renée Fleming.

Superstar tenor Lawrence Brownlee (’01), received one of France’s highest artistic honors when he became a Chevalier des Arts et des Lettres in December. Earlier in the fall, Brownlee earned rave reviews for his performance as Tonio in La Fille du Régiment at the Paris Opera. He reprises this role at The Metropolitan Opera this October, before performing as star-crossed lover Arturo in the company’s first new production of I Puritani in nearly 50 years.

TAKING CENTER STAGE AT THE MET Brownlee isn’t the only familiar WTO face at The Metropolitan Opera. Erin Morley (’07, ’08) stars with Brownlee in the upcoming La Fille du Régiment, plus last fall she captivated audiences as the charming doll Olympia in Les Contes d’Hoffmann and made a lovely reprisal as Gilda in Rigoletto. J’Nai Bridges (’15, ’16) also joined the cast of Rigoletto, making her role debut as Maddalena. The opera house’s riveting production of Il Trovatore featured an exceptional performance of mezzo-soprano Jamie Barton (’09) as Azucena and powerful bass-baritone Ryan Speedo Green (’13, ’14) as Ferrando.

In the upcoming 2025–2026 season, more than half of The Met’s productions star WTO alumni in leading roles. Soprano Ailyn Pérez (’06) will make an exciting Met role debut as the devastatingly beautiful Cio-Cio-San in Madama Butterfly.

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From left: Alumni J’Nai Bridges, Brenton Ryan, Will Liverman, and Kerriann Otaño in WTO’s 2016 production of The Rape of Lucretia.

Alum Ying Fang in WTO’s 2014 production of Giulio Cesare.

Generations of WTO talent unite in December for Porgy and Bess with Denyce Graves (’89), Tichina Vaughn (’89, ’90), Alfred Walker (’99), Ryan Speedo Green (’13, ’14), and Jazmine Saunders (’23), and The Met’s holiday presentation of The Magic Flute includes four notable alums: Erin Morley (’07, ’08), Michael Sumuel (’10, ’11), Joshua Blue (’19), and Le Bu (’24).

FROM WOLF TRAP TO THE WORLD’S STAGES WTO alumni perform in every corner of the globe! Heidi Stober (’06) assumed the role of Pamina in Die Zauberflöte in Dresden and was a soloist for Mahler’s Symphony No. 2 in Lusławice and Warsaw, Poland. Diego Torre (’08, ’09) celebrates Bizet’s Carmen by singing for a 150th anniversary concert with the Malaysian Philharmonic Orchestra before bringing Don José to life at Opera Australia this summer.

In Germany, this summer’s Filene Artist in Residence Tamara Wilson (’08), known as the world’s leading Verdi soprano, performed in Oper Frankfurt’s visionary Macbeth earlier in the year. Wilson sang Lady Macbeth alongside alumnus Nicholas Brownlee (’13) as Macbeth.

Taking it to South America, Craig Colclough (’12, ’13) makes his mark on the same role in São Paulo, Brazil this fall.

FOUR FOR FIGARO AND CARMELITES It is hard to find a major production in the US that doesn’t include a WTO alum, or multiple. While WTO presents Dialogues of the Carmelites and The Marriage of Figaro this summer, the two operas recently showcased alumni success at other top opera houses.

When The Met last performed Carmelites in their 2022–2023 season, the production featured alumni Christine Goerke (’95), Jamie Barton (’09), Ailyn Pérez (’06), and Piotr Buszewski (’18). Plus, the Lyric Opera of Chicago’s rollicking production of The Marriage of Figaro last year saw alumni Ying Fang (’13, ’14) as Susanna, Nicholas Newton (’18, ’20, ’21) as Dr. Bartolo, and current Filene Artist Gemma Nha as Barbarina. Matt Boehler (’03, ’05, ’06), who performed in WTO’s 2006 production, could be seen as Antonio.

STUDIO SUCCESS Congratulations to former Studio Artists Sadie Cheslak (’24) and Emma Marhefka (’22), two of the 2025 winners of The Met’s Laffont Competition, as well as Jazmine Saunders (’23) and Tessa McQueen (’23) who recently completed their first season with The Met’s Lindemann Young Artist Development Program!

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Wolf Trap Company members in 1971

WOLF TRAP OPERA’S VISIONARY WOMEN A free spirit who lives life on her own terms, a countess and maid who conspire to flip traditional power dynamics, and a sisterhood of nuns who unite to stand up for their faith: these are the dynamic female characters at the forefront of Wolf Trap Opera’s 2025 productions.

The conviction and strength of this season’s female characters are similarly found in the influential women who have shaped Wolf Trap Opera’s (WTO) history. That legacy starts with Wolf Trap’s illustrious founder Catherine Filene Shouse, who created WTO (then known as Wolf Trap Company) in 1971.

Catherine Filene Shouse

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LEADING THE PACK Few understand Mrs. Shouse’s vision better than Ann McKee, former Senior Vice President for Performing Arts & Education at Wolf Trap, whose career at the Foundation spanned from 1975 to her retirement in 2014.

She worked closely alongside Mrs. Shouse and later with the opera department to help prepare each season’s lineup.

She remembers Mrs. Shouse as wholly committed to presenting the best of the world’s performing arts at the Filene Center and fostering the next generation of artists.

Through the opera company, she aimed to establish a distinctive, pre-professional program that trained and showcased the talents of promising young artists by working beside leading professionals.

Mrs. Shouse’s close friendship with legendary American soprano Beverly Sills ensured high-quality training for company members.

A longtime board member and guest artist for Wolf Trap for multiple seasons — once starring in a televised 1974 production of The Daughter of the Regiment from Wolf Trap — Sills was instrumental in championing the development of American opera artists.

According to McKee, Sills “was very involved in the early evolution of the company and working with Mrs. Shouse.” In addition to serving on the programming committee to help choose the early opera productions, she performed side-by-side with company members and would sometimes sit in on group coaching sessions with the singers.

Even in the ’80s, after Sills had retired from singing and had become general director of New York City Opera, she would offer to teach master classes for WTO artists.

From left: Beverly Sills, Tony Randall, Catherine Filene Shouse, Karen Akers, and Virginia Gov. Chuck Robb, at the dedication of the rebuilt Filene Center at Wolf Trap in June 1984 (Photo by James A. Parcell/The Washington Post via Getty Images)

SHAPING THE FUTURE OF OPERA Another critical figure in WTO’s history was renowned American conductor and director Sarah Caldwell. Named Wolf Trap’s music director in 1979, her notable contributions include an ambitious 1974 production of War and Peace with live animals and a rare midnight performance of Der Vampyr (The Vampire) in 1980.

Caldwell’s productions at Wolf Trap meant that many emerging opera artists could participate in and learn from her work, including today’s Artistic Director for Washington National Opera Francesca Zambello. Fresh out of college in 1981, Zambello joined Wolf Trap’s summer opera apprentice program where she worked on three separate productions, including as an assistant director to Caldwell.

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However, Zambello claims her “breakout” occurred when she returned in 1985 to direct new productions of Viva la Mamma and Il Signor Bruschino at The Barns, just four years after its opening. In her words, “Having the chance to put together my own shows at an early age as a director is an opportunity that’s very hard for young directors to get today. Being in that leadership role was a wonderful experience.”

Some of Zambello’s fondest memories that summer were forging lifelong friendships with opera artists, some of whom she still works with today, and being invited into Mrs. Shouse’s kitchen to share iced tea, lemonade, and conversations about the founding of Wolf Trap.

“At that age, I certainly didn’t understand what that kind of sponsorship and generosity meant.

Mrs. Shouse was truly an inspirational figure because she cared about the artists so much.”

CHANGING OF THE GUARD This care and commitment to bettering young artists continued in the ensuing years, and in 1997, Kim Pensinger Witman was appointed head of opera and classical programming.

Witman discovered her passion for piano early on, but her enthusiasm and natural gift for opera coaching emerged later. During her 22-year tenure leading WTO, she cast and produced over 70 productions of 57 operas and, including her time as an associate, heard over 15,000 auditions.

“It was her first foray into [arts] administration, but boy howdy, did she take to it,” says McKee, who worked with Witman for years. “I was just in awe of the scope of her knowledge. There could have been no more perfect person for that role than Kim. She would say she had to grow into it over the years. From my perspective, that growth happened overnight.”

Under Witman’s guidance, in 2004 WTO commissioned its first opera, Mark Campbell and John Musto’s Volpone, which later earned the company a Grammy nomination for Best Opera Recording. Coincidentally, Lee Anne Myslewski was an administrative intern for Witman at the time and an assistant director to Leon Major for the same production.

Myslewski would return two years later to join the Wolf Trap Opera team.

“The two of them together made a fabulous team,” McKee recalls. For Myslewski, the years of training and audition tours alongside Witman sharpened her ability to work with young artists as well as directors, conductors, and administrators.

Myslewski reflects, “There is a collaborative aspect in women’s leadership that I find really gratifying. That’s one of the big lessons that Kim and Ann both taught that I’m glad to carry forward: the importance of keeping your ears open, really listening, and being able to communicate and respond.”

Kim Pensinger Witman

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Ann McKee

EXPANDING THE PROGRAM In addition to the apprentice and Filene Artist programs, in 2007 WTO created the Studio Artists program for singers currently enrolled in a university or conservatory. By 2015, the opera program had more than doubled — something Wolf Trap’s longtime Costume Shop Manager Sue Chiang observed in a very tangible way.

“When I first started working at Wolf Trap [in 2001], we occupied what is now the hair and makeup area in The Barns and we spilled out into the green room…Finally in summer 2015, [after] we did Carmen at the Filene Center, we had three big shows in the shop and we had boxes literally from floor to ceiling,” says Chiang.

Outgrowing their space, the costume shop moved to its current location in the Shouse House — one of Mrs. Shouse’s former residences — near The Barns. With more room came even more opportunities for the program to expand. The following year, Myslewski spearheaded the UNTRAPPED series featuring artistic partnerships with local organizations and furthering performance opportunities for WTO artists around the DMV. “Interestingly enough, when I was working at the University of Maryland back in the early 2000s, Lee Anne was an opera student there and I costumed her. It’s lovely to be working with her on another level now and see her growth as an artist and administrator,” says Chiang.

BEYOND WOLF TRAP OPERA After Witman’s retirement, Myslewski became vice president of Wolf Trap Opera and classical programming in 2019. Not long after, a new opera dream team formed, including Manager of Artistic Administration Arianna Zukerman. With the help of other team

Lee Anne Myslewski

members, plus the recent addition of Artist Development Advisor Renée Fleming (read more on page 28), they are leading WTO into the future.

“ Why I keep coming back [to Wolf Trap Opera] is I love the fact that they are fostering the next generation of artists. That’s really important to me.”

– Sue Chiang, Costume Shop Manager In 2024, Myslewski was appointed Board Chair for OPERA America, an organization dedicated to connecting and advancing the opera industry nationwide. In her new position, Myslewski hopes to shepherd the organization into a more contemporary and collaborative era and further WTO’s impact on the industry.

Meanwhile, back at Wolf Trap, Myslewski will continue to honor and advance Mrs. Shouse’s original mission. She shares, “I am proud to be part of this truly visionary line of leaders. Mrs. Shouse created an incredible structure within which opera has continued to thrive, and I’m grateful to be able to steward and expand her vision for current — and future — artists and audiences.”

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FILENE ARTISTS

The 2025 Filene Artists were the catalyst for this season’s repertoire choices, and those selected represent the top 2.6% 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 next 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

SAM DHOBHANY^ bass-baritone

Micaëla (Carmen)

Bartolo (The Marriage of Figaro), Salon Series 7/1, Zuniga (Carmen)

Manchester, NJ

TRAINING: Lindemann Young Artist Development Program, The Metropolitan Opera; Fleming Artist, Aspen Music Festival; Merola Opera Program, San Francisco Opera; The Juilliard School; Mason Gross School of the Arts, Rutgers University; Wolf Trap Opera (Filene ’24) HIGHLIGHTS: High Priestess (Aida), The Metropolitan Opera; Mimi (La bohème), Atlanta Opera, Wolf Trap Opera; Bianca (La Rondine), First Lady (The Magic Flute), The Metropolitan Opera; Elettra (Idomeneo), Aspen Music Festival; Frau Fluth (Die lustigen Weiber von Windsor), The Juilliard School

Brooklyn, NY

TRAINING: Butler Studio Artist, Houston Grand Opera; Apprentice, Santa Fe Opera; Wolf Trap Opera (Studio ’22) HIGHLIGHTS: Terry (Breaking The Waves), Houston Grand Opera; Marquis d’Obigny (La traviata), Santa Fe Opera; Figaro (Le Nozze di Figaro), University of Cincinnati College-Conservatory of Music

CHARLES H. EATON* baritone Storrs, CT

GABRIELLE BETEAG* mezzo-soprano Lilburn, GA

Alto Soloist (Mahler Symphony No. 2), Mother Marie (Dialogues of the Carmelites) TRAINING: Adler Fellowship, Merola Opera Program, San Francisco Opera; Studio Player, Atlanta Opera; Studio Artist, Chautauqua Opera; Georgia State University; Wolf Trap Opera (Filene ’24) HIGHLIGHTS: Alto Soloist (Das Lied von der Erde), San Francisco Ballet; Mother (The Handmaid’s Tale), Iras (Anthony and Cleopatra, John Adams, World Premiere), San Francisco Opera; Mercédès (Carmen), Atlanta Opera

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Count Almaviva (The Marriage of Figaro), Dancaïre (Carmen) TRAINING: Resident Artist Program, Minnesota Opera; Apprentice Artist Program, The Glimmerglass Festival; Apprentice Artist Program, Des Moines Metro Opera; Resident Artist Program, Opera Colorado; University of Minnesota; University of Connecticut; Wolf Trap Opera (Filene ’24) HIGHLIGHTS: Don Giovanni (Don Giovanni), Madison Opera; Silvio (Pagliacci), Pensacola Opera; Mercutio (Roméo et Juliette), Minnesota Opera; Ponchel (Silent Night), Wolf Trap Opera; Soloist (Duruflé Requiem), Carnegie Hall; Schaunard (La bohème), Sam (Trouble in Tahiti), Minnesota Opera

KEELY FUTTERER* soprano

MIDORI MARSH* soprano

Salon Series 6/25, Madame Lidoine (Dialogues of the Carmelites)

oprano Soloist S (Mahler Symphony No. 2), Sister Mathilde (Dialogues of the Carmelites), Frasquita (Carmen)

Russellville, Arkansas

Cleveland, OH

TRAINING: Resident Artist Program, Minnesota Opera; The Glimmerglass Festival; Handorf Resident Artist Program, Opera Memphis; Filstrup Resident Artist Program, Tulsa Opera; Opera Saratoga; Si Parla, Si Canta; Eastman School of Music; Wolf Trap Opera (Filene ’24)

TRAINING: Young Artist Ensemble, Canadian Opera Company; University of Toronto; Banff Centre for Arts and Creativity; Wilfred Laurier University; Wolf Trap Opera (Filene ’24)

HIGHLIGHTS: Fiordiligi (Così fan tutte), Virginia Opera, Opera Memphis; Rosina (Il Barbiere di Siviglia), Léontine (Anonymous Lover), Madison Opera; Anna Sørenson (Silent Night), Wolf Trap Opera; Musetta (La bohème), Minnesota Opera; Armida (Rinaldo), The Glimmerglass Festival, Minnesota Opera; Angostura LaBelle (Tenor Overboard), The Glimmerglass Festival

HIGHLIGHTS: Sydney (Sanctuary Song), Tapestry Opera; Donna Anna (Don Giovanni), Calgary Opera; Musetta (La bohème), Wolf Trap Opera; House (Rocking Horse Winner), Tapestry Opera; Frasquita (Carmen), Papagena (Die Zauberflöte), Annina (La traviata), Canadian Opera Company; Norina (Don Pasquale), Under the Spire Festival

BRITTANY OLIVIA LOGAN*^ soprano Garden Grove, CA

Countess Almaviva (The Marriage of Figaro), Salon Series 7/22 TRAINING: Lindemann Young Artist Development Program, The Metropolitan Opera; Vocal Fellow, Ravinia Steans Institute; Young Artist, Cincinnati Opera; Wolf Trap Opera (Studio ’20, ’21; Filene ’22) HIGHLIGHTS: Gerhilde (Die Walküre), Rotterdam Philharmonic; Bridget/Emelda (Migrations), Welsh National Opera; Anna (Nabucco), The Metropolitan Opera; Musetta (La bohème), Opera Maine; Liu (Turandot), Lyric Opera of Kansas City

SOPHIA MAEKAWA mezzo-soprano

CECELIA McKINLEY^ contralto Sterling, VA

Salon Series 6/25, Madame de Croissy (Dialogues of the Carmelites) TRAINING: Cafritz Young Artist Program, Washington National Opera; Merola Opera Program; Wolf Trap Opera (Studio ’22); The Shepherd School of Music at Rice University; Institute for Young Dramatic Voices; James Madison University HIGHLIGHTS: Schwertleite (Die Walküre) in Gods & Mortals: A Celebration of Wagner, Gertrude (Roméo et Juliette), Mastrilla (Songbird), Zweite Magd (Elektra), Washington National Opera; Mrs. Mister/Ella (Cradle Will Rock), InSeries Opera; Tardigrade (Forever), American Opera Initiative

Kyoto, Japan

GEMMA NHA soprano

Cherubino (The Marriage of Figaro), Sister Anne of the Cross (Dialogues of the Carmelites)

Sister Constance (Dialogues of the Carmelites)

TRAINING: Opera Center, Lyric Opera of Chicago; Renée Fleming Artist, Aspen Music Festival; Apprentice Artist, Santa Fe Opera; Gerdine Young Artist, Opera Theatre of Saint Louis; Curtis Institute of Music HIGHLIGHTS: Lee Ann (The Listeners), Tisbe (La Cenerentola), Pestuchyna (Jenůfa), Lyric Opera of Chicago; Cherubino (Le Nozze di Figaro), Aspen Music Festival; Ariodante (Ariodante), Curtis Opera Theatre

Sydney, AU

TRAINING: Ryan Opera Center, Lyric Opera of Chicago; Apprentice Singer, Santa Fe Opera; The Juilliard School; University of Music and Performing Arts Vienna HIGHLIGHTS: Barbarina (Le Nozze di Figaro), Page (Rigoletto), Jess (The Listeners), Lyric Opera of Chicago; Flerida (Erismena), Ruth Baldwin (Later the Same Evening), The Juilliard School; Barbarina (Le Nozze di Figaro), Volksoper Wien; Tuptim (The King and I), Seefestspiele Mörbisch; Zerlina (Don Giovanni), University of Music and Performing Arts Vienna

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DANIEL O’HEARN tenor

LAUREANO QUANT* baritone

Don José (Carmen)

Salon Series 7/22, Escamillo (Carmen)

Chicago, IL

TRAINING: Lindemann Young Artist Development Program, The Metropolitan Opera; Young Artist Program, Pittsburgh Opera; Apprentice Singer Program, Santa Fe Opera; Young Artist Program, Utah Opera; DePaul University HIGHLIGHTS: Matteo (Arabella), Deutsche Oper Berlin; Duca Cover (Rigoletto), Lyric Opera of Chicago; Rodolfo (La bohème), Steuermann (Der fliegende Holländer), Pittsburgh Opera; Roméo (Roméo et Juliette), Vashon Opera; Duca (Rigoletto), Vashon Opera; Ruiz (Il trovatore), Master of Ceremonies (The Queen of Spades), The Metropolitan Opera

TRAINING: Ryan Opera Center, Lyric Opera of Chicago; Voice Fellow, Ravinia Steans Music Institute; Wolf Trap Opera (Filene ’24); Merola Opera Program; Songstudio, Carnegie Hall; Yale School of Music; Manhattan School of Music; Songfest; Pontificia Universidad Javeriana HIGHLIGHTS: Bill (Aufstieg und Fall der Stadt Mahagonny), Staatsoper Stuttgart; El Payador (Maria de Buenos Aires), Madison Opera; Starek (Jenufa), Dancaïre (Carmen), Le Comte de Lerme (Don Carlos), Lyric Opera of Chicago; Belcore (L’elisir d’amore), Yale University Opera

JONATHAN PATTON baritone

ARIANNA RODRIGUEZ soprano

Marquis de la Force (Dialogues of the Carmelites)

usanna (The Marriage of Figaro), S Salon Series 7/1, Sister Alice (Dialogues of the Carmelites)

Durango, CO

TRAINING: Cafritz Young Artist Program, Washington National Opera; University of New Mexico; University of North Texas HIGHLIGHTS: Mason Bates (The (R)evolution of Steve Jobs), Macbeth (Macbeth), Austin (Cry, Wolf), Pâris (Roméo et Juliette), Don Pedro (Songbird), Marcello (La bohème), Washington National Opera; Montano (Otello), National Symphony Orchestra; Martin (Candide), John Cree (Elizabeth Cree), Silvio (Pagliacci), The Glimmerglass Festival; Requiem, MidAmerica Productionsa

ELISSA PFAENDER mezzo-soprano Delafield, WI

Marcellina (The Marriage of Figaro), Carmen (Carmen) TRAINING: Gaddes Festival Artist, Opera Theatre of Saint Louis; Vocal Fellow, Ravinia Steans Music Institute; Resident Artist, Tulsa Opera; Apprentice Artist, Sarasota Opera; Oberlin Conservatory; Westminster Choir College HIGHLIGHTS: Anna Kennedy (Maria Stuarda), Teatro Real; Waltraute (Die Walküre), Dritte Dame (Die Zauberflöte), Deutsche Oper Berlin; Carmen (Carmen), Opera North; Mrs. McLean (Susannah), Dr. Landau (Awakenings), Opera Theatre of Saint Louis; Zulma (L’italiana in Algeri), Tulsa Opera; Soloist (Tchaikovsky Spectacular), Chicago Symphony Orchestra

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Barranquilla, Colombia

Burke, VA

TRAINING: Merola Opera Program, Adler Fellowship, San Francisco Opera; Opera North; Peabody Institute of The Johns Hopkins University; George Mason University HIGHLIGHTS: Frasquita (Carmen), Moira cover (The Handmaid’s Tale), Papagena (Die Zauberflöte), Gianetta (L’elisir d’amore), Julie cover (Omar), Chrisanne Brennan cover (The (R)evolution of Steve Jobs), San Francisco Opera; Musetta, (La bohème), Opera North; Luisa (Zorro), Opera San José

CHRISTIAN SIMMONS bass-baritone Washington, DC

Figaro (The Marriage of Figaro) TRAINING: Cafritz Young Artist Program, Washington National Opera; Stipendiat Opernsänger, Deutsche Oper Berlin; Apprentice Artist, Santa Fe Opera; University of Maryland; Morgan State University HIGHLIGHTS: Escamillo (Carmen), Opera Memphis; Colline (La bohème), Opera Carolina; Zuniga (Carmen), Florentine Opera; Colline (La bohème), Opera Delaware; High Priest of Baal (Nabucco), Lord Rochefort (Anna Bolena), Zuniga (Carmen), Deutsche Oper Berlin; Colline (La bohème), Atlanta Opera

ERIN WAGNER* mezzo-soprano El Paso, TX

Blanche de la Force (Dialogues of the Carmelites), Mercédès (Carmen) TRAINING: Butler Studio, Houston Grand Opera; The Juilliard School; The Manhattan School of Music; Wolf Trap Opera (Filene ’24); Renée Fleming Artist Fellowship, Aspen Music Festival; Merola Opera Program HIGHLIGHTS: Dorabella (Così fan tutte), Wolf Trap Opera; A Voice of the Unborn (Die Frau ohne Schatten), The Metropolitan Opera; Drummer (Der Kaiser von Atlantis), Louisville Orchestra; Winner of The Gerda Lissner Foundation Lieder, Opera Index, George & Nora London Foundation, Young Concert Artists, Schwabacher Recital Debut, and Naumburg Foundation competitions; Recitals: Carnegie Hall, Kennedy Center

TRAVON D. WALKER^ tenor Hinesville, GA

Chevalier de la Force (Dialogues of the Carmelites), Remendado (Carmen) TRAINING: Eastman School of Music; The Shepherd School of Music at Rice University; Ryan Opera Center at the Lyric Opera of Chicago; Wolf Trap Opera (Studio ’22) HIGHLIGHTS: Valcour (The Anonymous Lover), Opera Philadelphia; The Son (Blue), Lyric Opera of Chicago; The Navigator (Another City), Houston Grand Opera; Sam Kaplan (Street Scene), The Shepherd School of Music at Rice University *Returning Filene Artist ^Former Studio Artist

STUDIO ARTISTS

The Wolf Trap Opera Studio program helps facilitate the transition from student to professional singer. 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.

TIMOTHY ANDERSON tenor Plano, TX

TRAINING: University of North Texas ROLES: First Commissioner (Dialogues of the Carmelites); Basilio (The Marriage of Figaro); Chorus (Dialogues of the Carmelites, The Marriage of Figaro)

NATHANIEL BEAR tenor Melville, NY

TRAINING: Tanglewood Music Center; Boston University Opera Institute; Northwestern University; The Eastman School of Music ROLES: The Chaplain (Dialogues of the Carmelites); Chorus (Dialogues of the Carmelites, The Marriage of Figaro) COVER: Don José (Carmen)

CHANDLER BENN baritone Amherst, WI

TRAINING: Indiana University, Jacobs School of Music; University of Wisconsin­— Stevens Point ROLES: The Jailer (Dialogues of the Carmelites); Chorus (The Marriage of Figaro, Dialogues of the Carmelites) COVERS: Count Almaviva (The Marriage of Figaro); Dancaïre, Moralès (Carmen)

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ADAM CATANGUI tenor Sioux Falls, SD

TRAINING: Eastman School of Music; The Shepherd School of Music at Rice University; The Juilliard School; Opera Theatre of St. Louis; The Verbier Festival; Chautauqua Opera Conservatory

FRANCESCA HERRERA soprano Atlanta, GA

TRAINING: Seagle Festival; University of Michigan School of Music, Theatre, and Dance; Duke University

ROLES: Don Curzio (The Marriage of Figaro); Chorus (The Marriage of Figaro, Dialogues of the Carmelites)

ROLES: Chorus (The Marriage of Figaro, Dialogues of the Carmelites); Soprano Soloist (A Midsummer Night’s Dream)

COVERS: Chevalier de la Force (Dialogues of the Carmelites); Remendado (Carmen)

COVERS: Susanna (The Marriage of Figaro); Frasquita (Carmen)

CATHERINE CREED soprano Highlands, NJ

TRAINING: The Shepherd School of Music at Rice University; The Eastman School of Music; Prague Summer Nights; Songfest ROLES: Barbarina (The Marriage of Figaro); Chorus (The Marriage of Figaro, Dialogues of the Carmelites) COVER: Constance (Dialogues of the Carmelites)

ROBERT FRAZIER bass-baritone Star Lake, NY

TRAINING: Curtis Institute of Music; Des Moines Metro Opera; Ravinia Festival; Music Academy of the West; SUNY Purchase ROLES: Antonio (The Marriage of Figaro); Chorus (The Marriage of Figaro, Dialogues of the Carmelites) COVERS: Figaro (The Marriage of Figaro), Escamillo (Carmen)

MADISON KAVANAUGH mezzo-soprano Bossier City, LA

TRAINING: Louisiana State University; The Institute for Young Dramatic Voices; Sewanee Summer Music Festival, University of Cincinnati College-Conservatory of Music ROLES: Chorus (The Marriage of Figaro, Dialogues of the Carmelites) COVER: Madame de Croissy (Dialogues of the Carmelites)

AYANNA LEWIS soprano Lynwood, CA

TRAINING: University of Houston; California State University, Fullerton ROLES: Chorus (The Marriage of Figaro, Dialogues of the Carmelites) COVERS: Micaëla (Carmen); Barbarina (The Marriage of Figaro)

COLE HARVEY tenor

ARIA MINASIAN^ mezzo-soprano

TRAINING: Michigan State University

RAINING: Herndon Foundation T Emerging Artist, Virginia Opera; Wolf Trap Opera (Studio ’24); University of Michigan; Lawrence University

Milford, MI

ROLES: Chorus (The Marriage of Figaro, Dialogues of the Carmelites) OVERS: Don Basilio, Don Curzio C (The Marriage of Figaro)

Bainbridge Island, WA

ROLES: Chorus (The Marriage of Figaro, Dialogues of the Carmelites, Carmen) COVERS: Blanche de la Force (Dialogues of the Carmelites); Carmen (Carmen)

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SØREN PEDERSEN baritone

JULIANNA SMITH mezzo-soprano

TRAINING: University of Cincinnati College-Conservatory of Music; Chautauqua Opera Conservatory; International Lyric Academy

RAINING: Resident Artist, The T Academy of Vocal Arts; Studio Artist, Aspen Music Festival; Northwestern University; University of Maryland

San Diego, CA

ROLES: Second Commissioner (Dialogues of the Carmelites); Moralès (Carmen); Chorus (The Marriage of Figaro, Dialogues of the Carmelites) COVER: Marquis de la Force (Dialogues of the Carmelites)

CLARA REEVES^ soprano Greenville, NC

TRAINING: Wolf Trap Opera (Studio ’24); University of Cincinnati College-Conservatory of Music OLES: Chorus (The Marriage of R Figaro, Dialogues of the Carmelites) COVERS: Countess Almaviva (The Marriage of Figaro); Madame Lidoine (Dialogues of the Carmelites)

ATTICUS REGO bass

Towson, MD

ROLES: Chorus (The Marriage of Figaro, Dialogues of the Carmelites); Mezzo-Soprano Soloist (A Midsummer Night’s Dream) COVERS: Cherubino (The Marriage of Figaro); Mercédès (Carmen)

NAOMI STEELE mezzo-soprano Bronx, NY

TRAINING: The Juilliard School; The Crane School of Music; Apprentice, Santa Fe Opera ROLES: Mother Jeanne (Dialogues of the Carmelites); Chorus (The Marriage of Figaro) COVERS: Marcellina (The Marriage of Figaro); Mother Marie (Dialogues of the Carmelites) ^Former Studio Artist

Princeton, NJ

TRAINING: Cafritz Young Artist Program, Washington National Opera; Manetti Shrem Young Artist, Festival Napa Valley; Young Artist, Chautauqua Opera; University of Cincinnati College-Conservatory of Music ROLES: Chorus (The Marriage of Figaro, Dialogues of the Carmelites)

“ What Wolf Trap is best known for is the discovery of the next generation of great singers.”

– Opera Now

COVERS: Bartolo, Antonio (The Marriage of Figaro); Zuniga (Carmen)

2024 WTO Studio Spotlight

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FELLOWS

Coaching and Directing Fellows are emerging professionals that 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.

JESSICA BURTON directing fellow Austin, TX

TRAINING: Resident Artist Director, Indianapolis Opera; University of Texas at Austin; West Texas A&M University HIGHLIGHTS: Director: Il barbiere di Siviglia, Charlie Parker’s Yardbird, Gallantry, Veteran Journeys, Indianapolis Opera; Cendrillon, Pomme d’api, Franco-American Vocal Academy (FAVA); Little Women, At the Statue of Venus, Speed Dating Tonight, Butler Opera Center at UT Austin; Assistant Director: Indy Opera; Austin Opera; LOLA; Amarillo Opera

CLAIRE CHOQUETTE directing fellow Dallas, TX

PEI-HSUAN LIN coaching fellow Kaohsiung, Taiwan

TRAINING: Cafritz Young Artist Program, Washington National Opera; Merola Opera Program; SongStudio; Aspen Music Festival; Collaborative Piano Institute; University of Maryland; Peabody Institute of The Johns Hopkins University HIGHLIGHTS: Assistant Conductor/Coach: The (R)evolution of Steve Jobs, Washington National Opera; The Jungle Book, Partenope, Roméo et Juliette, Washington National Opera; The Rape of Lucretia, Merola Opera Program, Indiana University

VLADIMIR SOLOVIEV coaching fellow Barnaul, Russia

TRAINING: Gerdine Young Artists Program, Opera Theatre of Saint Louis; The Dallas Opera Outreach; Louisiana State University; University of North Texas

TRAINING: Canadian Opera Company Ensemble Studio, Opera Theater of Saint Louis Gerdine Young Artist Program, University of Toronto, Eastman School of Music, Mannes College

HIGHLIGHTS: OPERA America’s Robert L.B. Tobin Director/Designer Prize Winner, Salome; Little Women, Fort Worth Opera; Lucia di Lammermoor, Painted Sky Opera; La bohème, Shreveport Opera; The Impresario, Opera Baltimore; Scalia/Ginsburg, Charlottesville Opera; Alice Tierney and Siren Song, Boston University Opera Institute

HIGHLIGHTS: La bohème, Barber of Seville, Galileo Galilei, Opera Theater of Saint Louis; Tosca, Salome, Carmen, Magic Flute, Madama Butterly, Fantasma, Gianni Schicchi, Canadian Opera Company

JULIAN GARVUE coaching fellow Seattle, WA

TRAINING: LA Opera Domingo/ Colburn/Stein Young Artist; Merola Opera Program; Music Academy of the West; Castleton Vocal Immersion Program; SongFest HIGHLIGHTS: Rehearsal Pianist/Keyboard: Ainadamar; Rehearsal Pianist: Così fan tutte, LA Opera; Rehearsal Pianist/Continuo/Keyboard: Don Giovanni, La finta giardiniera, Sweeney Todd, Merola Opera Program, Indiana University

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GUEST ARTISTS COLIN K. BILLS

Lighting Design: The Marriage of Figaro Silent Night, Cosí fan tutte, Faust, Wolf Trap Opera; 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

KATHERINE M. CARTER Director: Dialogues of the Carmelites

Director, Nabucco, Canadian Opera Company; Revival Director, La bohème, San Francisco Opera; Canadian Opera Company; Wolf Trap Opera; Director, Romeo et Juliette, Indiana University, Manhattan School of Music; Director, Song of the Nightingale, On Site Opera; Intimacy Director, The Metropolitan Opera

CAITLIN CISEK

Costume Design: Dialogues of the Carmelites Bluebeard’s Castle, Opera San Jose; Los Kentubanos, INTER NYC; L’Amant Anonyme, San Jose State University

JOHN DE LOS SANTOS

Director & Choreographer: Carmen Rusalka, Manhattan School of Music; Master Class, Charleston Opera Theater; Before Night Falls, Opera Southwest; Frida, Opera Orlando; The Christmas Spider, Opera Louisiane; Don Giovanni, Wolf Trap Opera; Aida, Utah Festival Opera; Ghosts, San Diego Opera

JOSÉ LUIS GÓMEZ Conductor: Carmen

First Prize at the 2010 International Sir Georg Solti Conductors’ Competition in Frankfurt; Le Nozze di Figaro, Don Giovanni, La bohème, Frankfurt Opera; La Cenerentola, Stuttgart Opera; La Forza del Destino, New National Theatre Tokyo; Don Carlo and Norma, The State Opera Tbilisi; La Traviata, Sacramento Philharmonic, Teatro di Coccia Novara; Romeo & Juliet, Opera de Tenerife; La bohème, Opera Theatre of Saint Louis, Teatro di Coccia Novara; Music Director, Tucson Symphony Orchestra

LAURA FINE HAWKES Scenic Design: The Marriage of Figaro

Ariadne auf Naxos, Wolf Trap Opera; Cosí fan tutte, Arizona Opera; Pagliacci, Gianni Schicchi, Utah Opera; POTUS, Stages Houston; The Fantasticks, Stages Houston; Il re pastore, San Francisco Opera Merola Program; Eugene Onegin, Arizona Opera; Murder Ballad, Theatre Under the Stars; India River of Light, The Bricklayer, Houston Grand Opera

CHAD R. JUNG

Lighting Design: Carmen Arizona Opera, Atlanta Opera, Austin Opera, Dallas Opera, The Florentine Opera, Fort Worth Opera, Minnesota Opera, Opéra de Montréal, OPERA San Antonio, Opera Australia, Ballet Hispánico; Ballet Austin, The Washington Ballet, Texas Christian University

MARIKA KENT

Lighting Design: Dialogues of the Carmelites Orphée Aux Enfers, Fisher Center at Bard; Romeo et Juliet, La Rondine, The Snow Maiden, Albert Herring, Manhattan School of Music; POTUS, Arena Stage; Sweeney Todd, Choir Boy, Gem of the Ocean, Portland Center Stage; Fences, Trinity Rep

GEOFFREY McDONALD Conductor: Dialogues of the Carmelites

Conductor, The Shining, Utah Opera; Alcina, Mannes Opera; Lucidity (World Premiere), Seattle Opera/ On Site Opera; Tosca, Toledo Opera; Silent Night, Wolf Trap Opera

LAWRENCE E. MOTEN III Scenic Design: Dialogues of the Carmelites

Broadway: Chicken & Biscuits, Circle In The Square; NYC: Guide for the Homesick, LDK Productions; Reconstructing, BAM; Regional: Silent Night, Cosí fan tutte, Faust, Wolf Trap Opera; Henry 6: One & Two, Old Globe; This Little Light of Mine, Santa Fe Opera

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E. LOREN MEEKER

Director: The Marriage of Figaro General & Artistic Director, OPERA San Antonio; Stage Director, Madama Butterfly, OPERA San Antonio, Austin Opera; Stage Director, Acis & Galatea, Florentine Opera; Stage Director, La bohème, The Glimmerglass Festival; Stage Director, La Traviata, Opera Omaha

ANNE NESMITH

Wig & Makeup Design: The Marriage of Figaro, Dialogues of the Carmelites, Carmen Wolf Trap Opera, Atlanta Opera, Seiji Ozawa Music Festival, Hyogo Performing Arts Center, Washington National Opera, Opera Philadelphia, Boston Lyric Opera, Opera Boston, Ford’s Theatre, Arena Stage, Signature Theatre, The Washington Ballet, Smithsonian National Museum of African American History and Culture

EMILY SENTURIA

Conductor: The Marriage of Figaro Le Nozze di Figaro, Sacramento Philharmonic & Opera; Bulrusher (World Premiere), West Edge Opera; Rinaldo, The Glimmerglass Festival, Minnesota Opera; Fellow Travelers, Florida Grand Opera, Boston Lyric Opera

LOREN SHAW

Costume Design: The Marriage of Figaro Romeo et Juliette, Washington National Opera; Tenor Overboard, The Queen of Spades, Glimmerglass Festival; Peter Pan and Wendy, Taming of the Shrew, Shakespeare Theatre Company; The Girl with the Alkaline Eyes, Chase Brock Dance Experience

ASHLEY SOLIMAN Costume Design: Carmen

Fantastic Mr. Fox, Opera Omaha; Rusalka, Manhattan School of Music; I AM, Camille A. Brown & Dancers; Double Helix, Bay Street Theater; Angel Island, BAM & Beth Morrison Projects; The Rake’s Progress, The Juilliard School; Sweet Potato Kicks The Sun, Santa Fe Opera

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MUSIC STAFF DOMENICO BOYAGIAN

Diction Coach: The Marriage of Figaro Conductor, Beethoven Symphony No. 9, Suburban Symphony Orchestra; La bohème, Opera Delaware; L’Elisir d’Amore, Florentine Opera; Tchaikovsky/Bach, Delaware Symphony Orchestra; Verdi’s Requiem, National Symphony of Costa Rica

JOCELYN DUECK Diction Coach: Carmen

Language preparation and coaching at Manhattan School of Music, The Juilliard School, Bard College, New York University, Mannes College, The Metropolitan Opera, Glimmerglass Festival, Tanglewood Festival

DAVID HANLON

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

KIRIL KUZMIN

Principal Coach/Chorus Master: The Marriage of Figaro Harpsichordist, Così fan tutte, Seiji Ozawa Music Academy (Tokyo); Pianist, How Do I Find You (Grammy-nominated album); Pianist/Coach, Götterdämmerung, Houston Grand Opera; Senior Coach, Hänsel und Gretel, Aspen Music Festival

JOSEPH LI

Pianist: Salon Series Vice President, Artistic, Minnesota Opera; Houston Grand Opera; Arizona Opera; Aspen Music Festival; Rice University; Baylor University

MARIE-FRANCE LEFEBVRE Principal and Diction Coach: Dialogues of the Carmelites

Wolf/Goethe Mignon Lieder with Murrella Parton and Cincinnati Song Initiative; A Midsummer Night’s Dream, Music Recital with Søren Pedersen, Cincinnati College-Conservatory of Music; Music Staff, Les contes d’Hoffmann, The Metropolitan Opera

RENATE ROHLFING Pianist: Salon Series

Cincinnati May Festival, Ravinia Festival, Carnegie Hall, Muziekgebouw, Royal Albert Hall, Lincoln Center

BLAIR SALTER

CASEY KALEBA

Conductor, Cruzar la cara de la luna, Lyric Opera of Kansas City; Assistant Conductor, Ainadamar, LA Opera; Music Staff, Le Nozze di Figaro, Lyric Opera of Chicago; The Righteous, Santa Fe Opera; Prompter, La traviata, LA Opera

Guthrie Theatre, Folger Theatre, Round House Theatre, Shakespeare Theatre Company, Spoleto Festival USA, Studio Theatre, Washington National Opera, Castleton Festival

Principal Coach: Carmen

CHRISTOPHER TURBESSI

Chorus Master/Pianist: Dialogues of the Carmelites; Principal Coach: Mahler Symphony No. 2, Carmina Burana The Collaborative Piano Institute, Houston Grand Opera, Utah Opera, Virginia Opera, Santa Fe Opera Tour, Opera Santa Barbara, Syracuse Opera, Aspen Opera Theater, Castleton Festival, Rice University, Temple University, Louisiana State University

WILLIAM WOODARD Chorus Master/Coach: Carmen

Chorus Master, Carmen, Wolf Trap Opera; Music Staff, Houston Grand Opera; Music Staff, Opera Theatre of St. Louis; La Clemenza di Tito, Washington Concert Opera; The (R)evolution of Steve Jobs, San Francisco Opera

PRODUCTION STAFF ARTURO FERNANDEZ JR. Assistant Stage Manager: Carmen

Stage Manager, A Midsummer Night’s Dream, Symphony for Youth, Symphony for Schools, Los Angeles Philharmonic; Assistant Stage Manager, Lucia di Lammermoor, Don Giovanni, Madame Butterfly, LA Opera

GINA HAYS

Assistant Stage Manager: Carmen Stage Manager, Sweeney Todd, Utah Opera; Songbird, Washington National Opera; Lucidity, OnSite Opera; Stage Manager, Die Walkure, Atlanta Opera

RACHEL HENNEBERRY

Intimacy & Fight Coordinator: The Marriage of Figaro, Carmen

ZOE STEENWYK

Assistant Stage Manager: The Marriage of Figaro Assistant Stage Manager, The Barber of Seville, Cruzar la Cara de la Luna, Turandot, Lyric Opera of Kansas City; National Tour, My Fair Lady

ANNIE WHEELER

Production Stage Manager: Dialogues of the Carmelites Production Stage Manager, Houston Grand Opera; San Francisco Opera, New York City Opera, Glimmerglass Festival, Des Moines Metro Opera, Utah Festival Opera & Musical Theatre

BETHANY WINDHAM

Assistant Stage Manager: Dialogues of the Carmelites Assistant Stage Manager, The (R)evolution of Steve Jobs, Macbeth, Washington National Opera; Jubilee, Seattle Opera; Carmen, Des Moines Metro Opera; La Traviata, Seattle Opera; Production Stage Manager, Pagliacci, Seattle Opera; La Ville Morte, Catapult Opera; Blind Injustice, Montclair University

GUEST TEACHING ARTISTS ELIZABETH BISHOP

Mezzo-Soprano & Voice Faculty, The Juilliard School, Johns Hopkins Peabody Institute

RACHELLE FLEMING

Professor of Voice, Temple University

JAKE HEGGIE

American Composer (Dead Man Walking, Great Scott, Moby Dick)

Production Stage Manager: The Marriage of Figaro, Carmen

CORY LIPPIELLO

Wolf Trap Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Hyde Park School of Dance

MARQUITA LISTER

Director of Artistic Programs, Lyric Opera of Chicago Soprano & Professor of Practice, Voice, Morgan State University

KATE RIGG

Actor, Comedian, and Activist

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ORCHESTRA & CHORUS THE MARRIAGE OF FIGARO Violin I Claudia Chudacoff, concertmaster Jennifer Himes Jennifer Rickard Heather Haughn Timothy Macek Sarah Sherry Violin II Laura Miller, principal Laura Knutson Sonya Chung Sandy Choi Viola Jennifer Rende, principal Tiffany Richardson Stephenie Knutsen

Cello Lori Barnet, principal Kerry van Laanen

Bassoon Christopher Jewell, principal Eric Dircksen

Bass Christopher Chlumsky, principal

Horn Amy Horn, principal Joy Hodges

Flute Beverly Crawford, principal David Lonkevich Oboe Fatma Daglar, principal David Garcia Mark Christianson (6/15)

Trumpet Matthew Harding, principal Kurt DuPuis Timpani William Richards, principal

Clarinet Kathleen Mulcahy, principal Jeremy Eig

DIALOGUES OF THE CARMELITES Violin I David Salness, concertmaster Sally McLain Paula McCarthy Allison Bailey Cristina Constantinescu Douglas Dube Violin II Xi Chen, principal Sandy Choi Leslie Silverfine Alexandra Mikhlin Viola Jennifer Rende Tiffany Richardson Jim Kelly

Cello Lori Barnet Kerry van Laanen

Horn Amy Horn Chandra Cervantes

Bass Edgardo Malaga

Trumpet Phil Snedecor Stephen Taylor

Flute David Lonkevich Beverly Crawford Oboe Fatma Daglar Megan Owens Clarinet David Jones Kathleen Mulcahy Bassoon Samuel Blair Eric Dircksen

Trombone Bryan Bourne Harp Eric Sabatino Timpani William Richards Percussion Joseph Connell Piano Vladimir Soloviev

CARMEN Violin I Claudia Chudacoff, concertmaster Susan Midkiff Karen Lowry-Tucker Jennifer Himes Jennifer Rickard Cristina Constantinescu Laura Knutson Douglas Dube Violin II Laura Miller, principal Paula McCarthy Harriette Hurd Sonya Chung Leslie Silverfine Sandy Choi Viola Jennifer Rende, principal Tiffany Richardson Stephenie Knutsen Jim Kelly

Cello Todd Thiel, principal Kerry van Laanen Lori Barnet Bass Bob DiImperio, principal Edgardo Malaga Flute Beverly Crawford, principal David Lonkevich Oboe Fatma Daglar, principal Mark Christianson Clarinet David Jones, principal Kathleen Mulcahy

Horn Amy Horn, principal Chandra Cervantes Joy Hodges Shona Goldberg-Leopold Trumpet James White, principal Phil Snedecor Trombone Bryan Bourne, principal Myles Blakemore John McGinness Percussion Joseph Connell Willian Richards

Bassoon Eric Dircksen, principal Jonathan Zepp

Chorus Soprano: Hana Abrams, Sarah Baumgarten, Luciana Carter, Melissa Chavez, Ashley Larkin, Ketti Muschler, Erin Ridge, Ashlyn Rock, Annie Schwartz; Mezzo-Soprano: Anamer Castrello, Julie Silva, Catrin Davies, Alexandra Coburn, Jihanna Davis, Grace Gori, Brittani MacNeill, Reyna Sawtell, Louisa Waycott; Tenor: Nicholas Carratura, Keith Craig, Aurelio Dominguez, Douglas Dykstra, Jason Gonzalez, Sammy Huh, Jerry Kavinski, Andrew Sauvageau, Lejerian Williams; Baritone/Bass: Alex Alburqueque, Eduardo Castro, Gene Galvin, David Gradin, Justin Harrison, DK Kim, Eliot Matheny, Sean Pflueger, James Shaffran Children’s Chorus of Washington: Robbie Jacobs, Executive Director and Margaret Nomura Clark, Artistic Director

46

Members of AGMA appear through the courtesy

The musicians employed in this production are members of and

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

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 PATRICK COOK Social Media Consultant PHIL SNEDECOR Orchestra Contractor MARCIA FARABEE Orchestra Librarian

SCENE SHOP CHRIS STOUTJESDYK Technical Director ZOE TOMPKINS Assistant Tech Director MASON ALLEN Production Assistant DAVIS BARNEY Audio Assistant MITCHELL ROBINSON Lighting Supervisor LINNIE HAMPTON Lighting Assistant JOSHUA DAVIS BARNEY Audio Assistant GEORGE BURGTORF Props Master SAM WRIGHT SPAGNOLA Props Assistant SAM DAHNERT Master Carpenter DANELLE LEINONEN Carpenter MOLLY MURILLO Carpenter GIBSON CAMERON Carpenter YARITZA PACHEKO Charge Artist NADYA YAKSICH Scenic Artist

COSTUME SHOP SUSAN CHIANG Costume Shop Manager LILLIAN KOMAROW Design Assistant LOGAN BENSON Design Assistant DENISE AITCHISON Draper ANNE GORMAN Draper DENNIS KITMORE Draper SAM EISENSTIEN BOND First Hand AUTUMN GAMBLE First Hand AMY VANDER STAAY First Hand ILANA MONGILIO Stitcher/Wardrobe JENNA HALEEN Stitcher/Wardrobe CLAY PISTO 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.

DARREN JACKSON-WILKINS Artistic Administration SARA PORJOSH Artistic Administration ERIN GEOUQUE Admin Communications SUSAN WEINHARDT Stage Management RACHEL HENEY Stage Management HEATHER LOWERY Technical Apprentice XANDER PARENTE Technical Apprentice KATHERINE KEMP Lighting Apprentice HELEN MALEENY Props Apprentice DANIEL FORTUNO Scene Painting Apprentice EVELYN WALYUS Costume Apprentice ELLA BOWCUT 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 LUCIEN KONAN Senior Director, Hospitality 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 DANA ARMSTRONG Coordinator, Editorial Content ANDY KIEL Graphic Designer TIMMY CHEN Manager, Marketing

GUIDE PHOTOGRAPHERS NICK KLEIN ANGELINA NAMKUNG SCOTT SUCHMAN DANIEL WELCH KAIDEN YU

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OPERA BEYOND THE BARNS Expand your Wolf Trap Opera experience to the comfort of your own home!

STREAMING VIDEO Stream Wolf Trap Opera’s 2024 production of Mozart’s Così fan tutte. Full productions are available at wolftrap.org/streaming RADIO Catch Wolf Trap Opera’s 2024 productions airing this summer as a part of the Opera Matinee broadcast series on WETA Classical 90.9. Don’t miss Così fan tutte on June 14 and Silent Night on June 21.

THE BARNS POLICIES

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

• P atrons must sit in the seats for which they have tickets.

• O utside food or beverages may not be consumed inside the facility.

• B everages are permitted inside the theater. Food is not permitted inside the theater.

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

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

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

• W ith the exception of service animals assisting disabled persons, pets are not permitted.

• P atrons may not stand in or block aisles or sightlines at any time during performances.

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

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

• F irearms are prohibited.

• R esale of tickets on Wolf Trap Foundation property is strictly prohibited by Wolf Trap Foundation policy.

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

CELEBRATING 300 YEARS

OF THE GERMAN BARN SCAN TO DISCOVER THE RICH HISTORY AND STORY BEHIND THE BARNS’ UNIQUE STAGE

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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 through 2024.

VISIONARY DONORS Dan and Gayle D’Aniello $2,500,000+ Jacqueline B. Mars 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 TO $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 TO $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 TO $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 TO $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 Foundation Norma and Russ Ramsey James Roth Srikant Sastry and Manjula Pindiprolu Todd and Elaine Stottlemyer Theresa Thompson Victoria Trumbower Lynn and Carl Verboncoeur Deborah F. and David A. Winston SUPPORTERS: $50,000 TO $99,999 Anonymous Foundation The Morris and Gwendolyn Cafritz Foundation Jeff and Jacqueline Copeland The Ithaka Foundation Broderick Johnson and Michele 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 TO $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 Michelle Rudnicki Craig and Christina Sharon CONTRIBUTORS: $10,000 TO $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 Estaste 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 Katherine Newland 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 and John B. Wood Ann Ziff + Deceased

49

ANNUAL FUND DONORS

Wolf Trap Foundation is deeply grateful to each of the following individuals for supporting the Foundation through membership gifts, events and other annual sponsorships, endowment gifts, and special project support made between April 1, 2024, and April 1, 2025. Donations to the Campaign for Wolf Trap: Our Next Chapter are listed separately in this program, at wolftrap.org/campaign, and on designated signage throughout Wolf Trap. To donate, please contact Wolf Trap Development at 703.255.1927 or visit wolftrap.org/give.

SEASON UNDERWRITERS Dan and Gayle D’Aniello $100,000+ Anonymous Christopher and Andrita (AJ) Andreas Jan Brandt Melissa Delgado and Anthony Colangelo Kimberly Engel Haber and Brett Haber/ The Dennis and Judy Engel Charitable Foundation Michael Saylor F. Chapman and Grace Taylor The Webber Family Deborah F. and David A. Winston $50,000 TO $99,999 Bruce L. Caswell and Lauren Deichman Craig and Valerie Dykstra Jean and Ric Edelman Virginia McGehee Friend Shashikant and Margaret Gupta Sue J. Henry and Carter G. Phillips Alka and Sudhakar Kesavan Anne R. Kline and Geoffrey Pohanka Matt Korn and Cindy Miller Dan and Gloria Logan | The Revada Foundation Gary D. Mather+ and Christina Co Mather Donna and Jim Reagan Srikant Sastry and Manjula Pindiprolu Karen and Fred Schaufeld Scuba Mike Ed and Andy Smith Ashley Stow Governor Glenn and First Lady Suzanne S. Youngkin $25,000 TO $49,999 Anonymous (5) Steven and Marjie Alloy Raj Ananthanpillai and Radhika Rajagopalan C.E. and Jean Andrews Michelle and David Baldacci Hillary and Tom Baltimore Michael and Ana Beckley Marcia and Frank C.+ Carlucci III Tenley Carp and David Samuels Teri and Tom Dungan Leo and Mary Fox William and Elizabeth Gould William Hanlon Jacqueline and George Hinman The Ithaka Foundation Broderick Johnson and Michele Norris Robert M. and Joyce A. Johnson Eric and Heather Kadel John and Susie King Janet and Jerry Kohlenberger

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Nancy Laben and Jon Feiger Youn Nim Lord+ and Linda L. Lord+ Bob and Lisa Lutz Gen. (Ret.) Lester L. and Mina Lyles Nanette and Charles Mees Samuel Meisner Julie Myers Wood and John Wood Diane and Tim Naughton Edward and Susan O’Connell Peterson Family Foundation Samantha and Troy Poppe The Robbins Family Peri and William Ross Gerry and Lynn Rubin Ann Sanfacon The Setian Family Jiten (Jay) and Sujani (Jen) Shah Kevin and Beth Smithson Todd and Elaine Stottlemyer Paul and Tracy Tartaglione Robert and Lisa Van Hoecke Lynn and Carl Verboncoeur Julin and Michael Williams Ann Ziff $15,000 TO $24,999 Erin and Derek Arrison Edward J. and Laura G. Asher Mrs. Mary Astley Cynthia and Kevin Boyle Beth B. Buehlmann Sid Chowdhary Jeff and Jacqueline Copeland John and Lynn Dillon Diana and Douglas Dykstra Bonnie Feld Dr. and Mrs. Gerald W. Fischer Ken and Victoria Hayduk Shelly and Jack Hazel Alexander and Jacqueline Henry Suneetha and Pardha Karamsetty Clark Hoyt and Linda Kauss Frank Huynh and Leandro Toledo Jeff and Tori Ashok and Stuti Kaveeshwar Ross and Kaye Kory Barry and Bambi Landew Matt Lerner/Frederick Coin Exchange Leviton Family Mr. and Mrs. James F. MacGuidwin Dana and David Martin Kara McCabe and Andrew Leblanc Foundation Ann McPherson McKee, Gift in Remembrance of Burtt & Rebecca Gray McKee and Douglas & Ann McKee Seeley Susie and Josh Metz Ryan and Krista Miller

Boofie and Joe O’Gorman Michael and Cynthia O’Kane Patrick and Annie Pacious Rita and D. Raymond Brenda and William Romenius Dr. James Roth Ronald and Deborah Sindler Judith M. Stehling and Edgar J. Ariza-Niño Caroline Morris Van Kirk Daniel and Bobbie Webster Miriam C. Flaherty Willis and MG Simon V. L. Willis $10,000 TO $14,999 Anonymous (7) Michael and Tricia Antonis Susan and Jim Arnold Jay and Terry Bachmann Beaudin Trust Gregory and Nancy Beronja Jennie and Mark Bishof Paul Blakely K. David Boyer, Jr. and Family Rick and Debbie Bress Donald Brown Dan and Leslie Burpee Victoria and Madison Calvert Gregory and Jane Castanias David and Stacie Childress Sarah and James Choi Cynthia Chormann Hann The Cornelius J. and Ellen P. Coakley Family Foundation Erin Collier Ann Cook Charitable Fund Coolie Doolie Jon and Patty Craver Mary Cristler Jeff and Natalie Davis Trevor and Ingrid Dearman Meghan and John Deese Enrico and Linda Della Corna Dominic and Nedda Dragisich Juliana Dunlap and James Corrigan Bryan and Laurian Eckle Sara and Sam Feder Vincent Ferraro and Laura Forte Jennifer Flynn In Honor of Jim and Mary Beggs, Allen and Maureen Fox Verena Gibbs and Bo Cappabianca Bonnie L. Goldschmidt and Michele Shimek Jordan Goldstein Chris and Jennifer Greenlee Gil and Janice Guarino Stanley J. and Cynthia M. Gutkowski Allen Haid and Sandra Cummins-Haid Lawrence Halff and Randy Windham

Bridget and Conway Halsall Dr. Dabney G. Hart / Mr. & Mrs. T. Michael Louden Sheila Heaphy Julie Ann Heyward Cynthia Hull Ashley Iddings Donald and Sherlyn Jenkins Gayle and Steven Job Earl and Rebecca Johnson Ricki and Joel Kanter Sean M. Kelley Rae Ann and Bill Knopf Jenna and Wyatt Korff Gayle and Jonathan Kosarin David F. La Mar and Terri L. Crowl Chip and Katie Lowry Clark and Kathleen Manning and Family Cynthia and John Martin Chuck and Terri Mays Ray and Colleen McDuffie Glenn and Julie Merberg Donna and Buzz Miller James and Audrey Miller Ramona and John W. Mockoviak Darren and Jodi Morton Anne Motz Roderick and Jane Murchison Pat and Reed Neuman Patsy and Howard Norton Philip and Marjorie Odeen Janet M. Osborn Renata and Spence Patterson Sean and Shirley Prosser, in memory of Jim and Rosemary Prosser Harish R. Rao and Chelsea R. Rao Melissa Rhoads and Ryan Simpson Ward and Jennifer Roberts Patti and John Robertson Amy and Ben Rossi Selwa and David Rutchik Sherry Rutherford and Bill Krokowski Karl and Susan Salnoske Jeff and Dawn Sanok Dr. Mona Sarfaty and Dr. Jay Siegel Danielle and John Saunders Monica and Robert Schmude Stan and Ruth Seemann John and Darcy Sekas Craig and Christina Sharon Joan Sheppard Jon and Pat Simons Arlene and David Slan Mike and Jenny Slattery Rob and Robyn Smith Virginia and Alan Strauss Khary and Caroline Stringer Pam and Greg Sullivan Derrick Tam Clarence and Anne Taylor Tori Thomas Jennifer Toole Kathleen Tremblay Victoria Trumbower Richard J. Underwood VC Barcelona Marc and Cortney Weber Dr. Brooke Weddle and Mr. Miguel Payan

Theresa F. and John B. Wood Greg and Janne Young Linda and Joseph Young $6,000 TO $9,999 Anonymous (8) Ernie and Cathy Abbott Ramon and Marissa Alcala John R. and Kathy Allen Barbara and Bear Ard Vicky Bailey and Larry Smith Russel and Ann Bantham Julie and Mazie Barcus Thomas A. Belles and Carla Minosh Harlan W. and Mary M. Bowers Stephanie Brotherton Beth Brummel and Michael Beresik Nancy and Dennis Burke Alice and Terry Burns Richard and Evelyn Bynum John and Sue Byrne George C. and Sarah P. Cabalu Drew and Therese Caplan Christopher and Carol Casto Allayne and Brian Chappelle The Chaskin Family Jay W. and Heidi A. Chesky Brian J. Christianson Kathy and Jim Connor Ronya Corey and Devon McFadden Kevin Crabtree and Mary Kelleher-Crabtree Deborah Dale and Michael Goodman John and Mary Davis Janet and Alan Day Dante and Tracy D’Egidio Barbara A. DiCicco Tami and Jeff Dierman Raymond A. and Roslyn M. Duda Helen and Ronald Dunn Mr. and Mrs. Dean S. Edmonds/ Dean S. Edmonds Foundation Michael P. and Marilyn H. Fitzgerald Susan Fox/The Walt Disney Company Lauren Freeman and Walter Steimel Lien and George Galloway Glenn and Barbara Gardner Cathy A. German William and Jacqueline A. Gravell Marge and Joe Grills Atul Grover MaryLynn and Greg Haase Marlene and William Haffner Todd and Melinda Hall Bonnie and Bob Haukness Robert H. and Brenda Hawthorne Sharon and Jeff Heinz Samantha Hess and Thomas Czeh Avi Hoffer Nettie Horne and Suzanne Haynes Shannon Houck Jodie Hunter Dr. Renee Iacona Matthew Jones Joseph and Jill Kale Richard and Barbara Kaufmann Tracy K. Kenny Mark and Elena Kleifges Leo Kratz

David and Mary Beth Lane John and Cindy Langan Douglas and Elizabeth Lobel Michael and Jennifer Maloney William H. Mann III Philip and Sandy+ Marcum Frank and Susan Mars Ricardo Martinez Linda A. Mazawey Donald and Shannon McGahn Susan and David McMunn Eric McNutt Brian and Halley Meadows Mr. and Ms. Jay Meadows/ Meadows Farms Nurseries Kenneth and Sandy Metcalfe Christopher and Simone Meyer Mr. and Mrs. Charles T. Moses III Ray and Patricia Murphy John and Jill Murray Heidi and RJ Narang Nancy Nix-Karnakis Laura and Sean O’Keefe Hugh Owen and Jessica Reinauer Nora and Glen Petitt Mark and Carol Poblete Carol S. Popowsky Drs. Helena and David Rodbard Bernadette and Ed Saperstein Jean Schiro-Zavela and Vance Zavela Dawn Schlegel and Joseph DeMorat Richard and Susan Seabrook Jonathan and Virginia Shames Paul D. Shively and Claire L. Orth Steven and Donna Shriver Tina and Albert Small, Jr. Joel K. and Martha L. Smith Duncan and Patricia Sparrell David Springberg Bryant Springer Peter and Jennie Stathis David L. Straus, Gift in Remembrance of Betty B. Straus Matt and Kathleen Strottman Christie and Mark Struckman Sharad and Mahinder Tak Peter and Ann Tanous Justin and Jennifer Tate John E. Thomas, Jr. Nathan Thomas and Amanda Lin Theresa Thompson Andy and Miranda Vesey Rosetta and Martin Virgilio Richard and Mary Wall John and Gina Wasson Marjorie H. Wax and Brian P. Hochheimer Tina and Geoffrey White Lisa and Eric Wieman David and Ellen Winter Bill and Terry Witowsky Karen Yankosky James Y. S. Yap

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$4,000 TO $5,999 Anonymous (17) Christopher and Kathryn Adams Robert and Sara Adler Melchora Alexander Melinda Ampthor Marian and Jay Andre Richard and Rosemarie Andreano Billy Armstrong Elizabeth and John Armstrong Jeanine Aronowitz James and Juliet Arrighi Lawrence and Kathleen Ausubel Keith and Sherry Babb John C. Backus, Jr. Morgan Baker Sam Barnes Rose Bates Raymond S. Baxter, III & Denise Detwiler Baxter/ Baxter & Associates, Inc. Donna and Barry Beach David and Cecilia Beck Amy Beckman and Steven Gaba Jeffrey Bedell Susan and Marc Benezra B. Michael and Sandra Berger Kevin and Jane Bise Andrea Bitz and William Schwartz Jeremy and Stephanie Blank Joshua Bolten Regina and Bill Bouie Kevin M. Breslin Gary Broadwater Barbara Brocker Diane S. Bronfman Rex Brouillard and Michelle Henry Dennis Brown and Jane Platt-Brown Dennis and Julie Bruns James and Phyllis Bruyette Tim Bryan Andrew and Jennifer Buckreis Sarah Buescher David B. Bundren, Sr. Jessica Bunin and Alexis Albano Robyn Burdett David and Carolyn Burgess Laina Bush and Michael Zajkowski Donna Callejon and Deborah Whiteside Joseph and Donna Cantara Barbara and Marcus Canzoneri Lori and Robert Caplan Christopher Carpenter and Lora Shimp James and Karen Chamberlain Christopher and Jennifer Chatman Denise Chen and Tim Maas Col. (R) Lary and Sabine Chinowsky Joseph and Michelle Chotkowski John Claringbould and Patricia Loughrey Joanna Claustro Susan R. Clayman and Frank Starks Karen and Jim Cleveland Beth and Michael Coakley Stephen Coates Bob and Kellie Cochran Mark and Jane Cohen Franklin C. Coleman Rachel Coll

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Wendy Connell Jennifer Conroy Phyllis and Wes Corley Jeffrey Couillard Taylor Craig Nina Cron Hussein Damirji Dan and Bekki Danner Maria Coakley David Steve and Christie Day Susie and Oscar De Soto Kathleen K. Deal Lawrence+ and Sharon Deibel Kathy and Andrew Ditmore Stefanie Doebler Joseph and Pat Donahue Hank Dorochovich and Julie Johns Christian Downs Elizabeth Dresing and Craig Goodman Kristin and Eric Dubelier Julie and Bill Duncan Jim and Timoney Dunlap Robert J. Eatinger, Jr. Rear Admiral and Mrs. Thomas J. Eccles, USN (Ret) James and Diane Ecklund George and Karen Eichert Michael J. Eidsness Robert and Alison Eisiminger Eddie and Rachel Eitches Randall Eliason and Chérie Kiser Holly and Richard Ellis Ariel Elmann Thomas Evans Suzanne and John Feigert Ginny Kogan Feldman Gerard F. Fiala Taryn Fielder and Ryan Forsythe Brian and Debbie Fields Ross Fishkind and Kimberly Hamilton Brian Flanigan Rhonda Fleming and Mike Cooley James and Mary Flounlacker Benjamin and Peg Flowe Roger and Nancy Fones Gary Fontaine and O’Shelya S. Brown Nico Foris Carol and Jorge Fortine Ochoa Russell Frey and I-Min Chao Dan Frisby and Suzanne Dougherty J. H. Gaddis Christina and Louis Gadrinab Richard Gaiani Jesus and Erika Garcia Carol Ann Garner Glenn Gaynor David Gearin and Jean Lynn Barbara Gernon and Valerie Kimball Michael Gilliam Chris and Clare Girolamo Don and Mary Goddard Scott and Colleen Gold Rocio and Raul Gonzalez Ira and Tamara Gordon Jennifer and Chris Graham Sherry and Todd Gray Jeffrey Graybeal

Steven and Akemi Greco Lauren and Brian Greenberg Tracy K. Griggs Brian and Deb Grosner Kenneth Grunley Bruce and Kathryn Gudenberg Norene and Tim Guilford Nicole Alfandre Halbreiner Jeffrey Hall Amy and Jay Halpern Jeffrey and Elizabeth Harris Luke and Emily Harris Frank and Teresa Hearl Sharon Heinle and Chris DeLashmutt Lynda Lonshein Hellman Leigh and Peter Henry Lisa and Ron Hodge Amanda and Jim Holmberg Caroline and Benjamin Holt Robert and Linda Horrigan J. Timothy and Debra M. Howard Andrew Howell Kevin and Barbara Hutto Rylan and Carl Hutzler Kathy and Richard Igercich Joseph and Robin Jackson Richard and Anna Jackson John and Tracie Jacquemin/ The Jacquemin Family Foundation Paul D. Jensen Richard and Laurie Johnson Andrea Jolly Terre and Polly Jones Lisa Junker Stephen and Toby Kahn Allan and Fran Kalkstein Sharon Karaffa and Grant Fleming Brian Keller Roger and Teresa Keller Jodie Kelley and Scott Sinder Patrick and Ellen Kelsay Laura, Jess, Mike, and Tim Kennedy Robin and Michael Kennedy Carol King Mr. and Ms. W. Russell King Stephen and Mary Sue Kitchen Clare and Thomas Klanderman John and Mary Kleinhans Kimmy & Paul Knapp in Honor of G&L Knapp Trust Tara T. Kochis Carl and Joanna Krause David Kriegman Phyllis Krochmal Sanjai Kumar Lori LaFave and Steve Murphy William and Nancy LaForge Joni and Don Langevoort John and Nancy Larue Kim Latkiewicz David and Michele Lawrence Tammy Le and Garry Ho Dale Lefebvre Barry A. Leffew Stuart and Brock Lending Sue Leonard Patsy and Marty Lerman Stephan Levy

Denise Riedel Lewis and Kenneth J. Lewis Ted and Vivian Lewis Dennis and Tracey Liberson Kathleen and Michael Liddick Dr. Diana Locke and Mr. Robert Toense Brian Lockhart Megan Lockhart Kent Logsdon Julie Lonardo Aldys London George Lowden Marcia and Adrian Lund Jennifer Lyons and Derek Morrissette Namita Magoon Jerold Mande Joey and Anna Maranto Paul and Rendall Marino Mitchell and Cheryl Marovitz Kevin and Sarah Martin Albert and Terri Martinez Dorothy McCartney John and Deanne McGranahan Mary and Bernie McKay Cristina F. and Michael A. McLaughlin Alice Miller Devon Miller and Darryl J. Anderson Jill Minneman Jax, Lilly and Lee Monsein Ann and Keith Montgomery Linda Moran Ronald and Maria Morgan Bob Moskal Robert and Barbara Moss Amy and Will Mudge James and Karen Murray Leanne and James Myers Joanne Nanna Sarah and John Nash Paul J. Nevins and Sheila LaFalce Katherine Newland Kathleen and Kevin Newmeyer Lloyd C. Noland Jill and James Norcross Bob and Lee Norstern Jill Norton Timmy and Amanda Norton Judith and Mary O’Brien Christopher Olsen and Elizabeth Dean Theodore B and Lady Olson Rebecca Onuschak Renee Orr The Page Family David Paight Alex and Michael Pascarella Margaret Payne Laura Peebles and Ellen Fingerman Dennis Peery and Anu Saxena Katie Pehrson John Pittas Christopher Poell Michael and Brigette Polmar Meg Porta and Matt Swayhoover Chris and Katie Poteat Dr. Suzanne Powers Matthew Pozun Jeff and Jill Purdy Daniel and Roberta Quirk

James Raba and Maureen Nelson Rabaut Family Foundation Eileen Rader David Rand Everett Karyl Reinauer Reinsch Pierce Family Foundation

by Lola C. Reinsch Jonathan Remson James and Linda Rettberg Dave and Aimee Richardson H. Mac and Michele-Anne Riley Cheryl Roberts Jim Roberts and Julie Carter Roberts Rick and Faith Roberts Michael and Laura Romano Michael and Jane Rowny Horacio and Cinthia Rozanski Kathryn Tucker Rutkowski Alicia Saffer and Kris Hatlelid Eric Salzberg Drs. Stephen and Mary Sapp Jennifer and Andy Schenker Ned and Elizabeth Scherer Jim Schwenke Harold and Adele Seifried Dr. Steven & Mrs. Gretchen Seiler Joshua K. Sekoski and Ashleigh D. Rabbitt Sean Sharifi Ritika and Rohit Sharma John Sheridan and Marlet Bazemore Edward and Sarah Shin Jules and Judy Shore Gina Shultz Mr. Louis and Dr. Kathleen K. Sichenze Joseph Sifer Suzan Sigmond Linda B. Singletary Dru and Marie Smith Eric and Donella Smith Martha Nell Smith and Marilee Lindemann Linda and Nigel Smyth Brett and Anne Snyder Amy and Patrick Souders Dean and Sandra Souleles Chris and Diane Spina Valentin Sribar Joan Stansfield, Stansfield Signature Real Estate Dave Steadman and Daphne Kiplinger Mark Stendts Michael L. Stevens and Elizabeth M. Munno Kathleen and Scott Stewart Kimberly and Gary Stewart Bill and Pat Stipe James and Geraldine Stockdale Jeff and Jaci Stoltz Richard and Genevieve Strand Lisa Stransky Thomas and Heather Stroup Gretchen and Christopher Strub Aruna Subramaniam and Prabu Natarajan Sinclair and Cathleen Szebrat Cornell and Anne-Wesley Teague Brooke Terry Ray and Stacey Thal Paul and Pam Thieberger Donald and Gloria Thorson Kristine and David Timmerman

Rob Timmins and Jeff Kaplan Tim and Corina Trainer Rick R. Treviño and W. Larz Pearson Amy and Jeff Turcotte Douglas A. Tyson and Dr. Tessa Cholmondeley Stephanie and Fernando+ van Reigersberg Ronald Van Winkle William and Patricia Vance Drs. Virginia Steen and Joseph Verbalis Chris and Karen Warack Kathy and C. Eric Warden Roger and Diane Warin Rick Watson Elizabeth A. Way and Dorothy Dougherty Greg Wells Tim and Anne Whipple John and Marylou Whisler Gary and Lisa White Jason and Shannon White Robert Whiteman Diane Whitmoyer Elizabeth F. Wickersham and Charles Schmitz Judith and Ronald+ Wilgenbusch David and Joy Willey Janet Wilson Stephen and Rosemarie Wilson The Witt Family Sara Nelson Wolff Mark W. Wollschlager Cheryl A. Wooden and Dr. Deb Bobbitt Alan and Sandra Yamamoto Joseph and Gwendolyn Zanin Jacob and Whitney Zatzkin + Deceased

53

CORPORATE, FOUNDATION, AND GOVERNMENT PARTNERS Wolf Trap Foundation sincerely appreciates each of the following institutions for supporting the Foundation through grants, corporate partnerships, and fundraisers between April 1, 2024 and April 1, 2025. $500,000+ Department of the Interior, National Park Service PNC $250,000 TO $499,999 The Boeing Company Capital One $100,000 TO $249,000 Anonymous Foundation County of Fairfax, Virginia Danaher Foundation Lincoln and Therese Filene Foundation General Dynamics National Park Foundation Northrop Grumman Science Applications International Corporation (SAIC) Tickets.com The Volgenau Foundation $50,000 TO $99,999 Battelle Booz Allen Hamilton Choice Hotels International A. James and Alice B. Clark Foundation CrossCountry Consulting Gensler HII KPMG LLP National Endowment for the Arts PwC Virginia Commission for the Arts $25,000 TO $49,999 Acentra Health Alston & Bird American Airlines The Theodore H. Barth Foundation, Inc. Bender Foundation, Inc. Brown-Forman Corporation The Morris and Gwendolyn Cafritz Foundation Charina Endowment Fund Cherry Bekaert Cox Business The Edens Group, LLC Ernst & Young FTS International, LLC Hilton Supply Management HITT Contracting Host Hotels & Resorts Kearney & Company L.F. Jennings

54

LMI Maximus The Claude Moore Charitable Foundation Our Purpose Foundation SOSi South Carolina Arts Commission Telos Corporation Washington Gas Washington Harbour Partners WHITE64 WilmerHale $15,000 TO $24,999 Anthem Chevy Chase Trust DLA Piper The Richard Eaton Foundation Hilton McLean Tysons Corner Holland & Knight LLP Johnson Brothers Service Distributing, Inc. Karin’s Florist Laird Norton Family Foundation Mars Foundation The Mather McGuireWoods LLP Nauticon Office Solutions Park Hotels & Resorts Pinnacle Financial Partners QXO Reston Limousine Starr Hill Brewery Stratos Solutions The Venable Foundation V2X $10,000 TO $14,999 Advance Concepts Aon Corporation ArentFox Schiff Arnold F. Baggins Foundation, Inc. ArtsFairfax ASRC Federal Dorothy G. Bender Foundation, Inc. CACI CERT LLC CohnReznick Covington Deloitte Devils Backbone Brewing Company Dexian Enterprise Knowledge Expedition Technology

Forvis Mazars Guidepost Solutions M&T Bank Marriott International Nancy Peery Marriott Foundation, Inc. Maximus Foundation McKinsey & Company Merrifield Garden Center Mount Vernon Printing, An RR Donnelley Company Ohio Hometown Heroes Playa Hotels & Resorts rand* construction corporation RLJ Lodging Trust Rulo Strategies LLC Saval Foods LLC Signal Hill Technologies Tiny Jewel Box Unison Software Inc. United Bank $5,000 TO $9,999 Avalon Consulting Blank Rome LLP BOWA Brown Advisory CBRE The Dallas Morse Coors Foundation for the Performing Arts DFIN Focused Image, Inc. Frontier Technology Inc. HHMI Janelia Research Campus J.P. Morgan K Street Financial Lockton Companies Marika Meyer Studio Monumental Sports & Entertainment Mortgage Bankers Association National Security Space Association Peraton The Nora Roberts Foundation Sapporo-Stone Brewing The Siegfried Group LLP

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

Youn Nim Lord and Linda L. Lord Fund for Early Learning Through the Arts 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

D’Aniello Fund for Opera

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

L. William Derrow Fund for Wolf Trap Opera in Honor of Amy E. Schaffer

The Mullaney Family Fund for Education

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

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

General Dynamics Fund for Early Learning Through the Arts

Geoffrey P. Pohanka and Anne R. Kline Fund for Wolf Trap Opera

Gupta Fund for Early Learning Through the Arts

Carol S. Popowsky Parrot Fund for Education

Carol V. Harford Fund for Wolf Trap Opera in Memory of Catherine Filene Shouse

James A. Roth Family Fund for Wolf Trap

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

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

The King Family Fund for Early Learning Through the Arts

RADM Ronald C. and Judith A. Wilgenbusch Fund for Wolf Trap Opera and Classical Programs

Janet and Jerry Kohlenberger | The Trojanger Fund for Wolf Trap

Earle C. and June A. Williams Fund for Wolf Trap

Matthew Korn and Cynthia Miller Family Foundation Fund for Education

Deborah and David Winston Fund for Classical Music

Nancy Laben and Jonathan Feiger Fund for Wolf Trap

Kim Witman Fund for Opera Coaching

55

CATHERINE FILENE SHOUSE LEGACY CIRCLE

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

Anonymous (34) Dr.+ and Mrs. Duane A. Adams Cheryl Allen and Donna McCloskey Jean W. Arnold Jeannie P. Baliles* Nancy A. Bartholomaei Sharon and Gary Batie Ashley Benes David+ and Joan Berenson* Eleanor K. H. Blayney Thomas W. Bliss and Debra Harkins Bliss Barbara A. Boinest Barbara A. and Peter P. Bonora David M. Borowski+ and Kerry Cadden K. David Boyer, Jr. and Family Mary W. Brady D. S. Bronfman Nancy Broyhill Dennis and Julie Bruns Beth B. Buehlmann Edward A.+ and Karen A. Burka Allyson Butler Marcia and Frank C.+ Carlucci III* Jim and Karen Chamberlain Denise Chen and Tim Maas Deborah M. and Michael Jay Chusmir Trudy Clark 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 John and Lynn Dillon Raymond A. and Roslyn M. Duda^ Kristen and Christopher Eckert* Eddie and Rachel Eitches Suzanne Anastos Feigert Marilyn Hicks Fitzgerald Michael P. Fitzgerald Mark and Lynn Freemantle Daryl and Marcia Friedman* Virginia McGehee Friend Hermione Fthenakis Tom Gardner and Marianne Meagher^ W. Morton Glassberg and Sharon Sellers^ James N. Glerum+ and Diane Morales Glerum Stephen and Barbara Goetting* Bette S. Gorman Sandra Goshgarian Robert H. and Linda C. Grimes* John and Dawn Grinstead Barbara Groshans Allen Raphael Halper and Kim Kunzig Halper Stewart and Pam+ Hannah Robert H. and Brenda Hawthorne^

56

Holidae H. Hayes Robin Crawford Heller Kaye Ann Hellmich Julie Ann Heyward Jo and Larry Hodgin* William M. Holmes, Jr.* Clark Hoyt and Linda Kauss Gayle and Steve Job Stuart C. and Nancy M.+ Johnson* Margaret C. Jones Terrence and Polly Jones*^ Ms. Terry Lynn Jones* Barbara (Grabon) and Robert Juszczyk Jim and Robbie Kaplan Ashok and Stuti Kaveeshwar* Shawn Kelley and Karen Albert Janet and Jerry Kohlenberger^ Patricia and John Koskinen 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* Elizabeth S. Medaglia and Joseph H. Sinnott 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 Alexandra and Kyle Patton James B. Pearson, Jr.* Julia Perry Charles Polinger Carol S. Popowsky Meg Porta and Matt Swayhoover^ Sean and Shirley Prosser Blair Reischer and Martha Bozman Don and Paige Rhodes Dr. Robin Rinearson

Kevin and Kate Robbins Julie Carter Roberts and The Honorable James Montgomery Roberts* Ed Robichaud 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 Mary Shedlock and Jim Mizner Joan Sheppard Dr. George Siemering and Vickie Watson Siemering Mr. and Mrs. Daniel Silien Mr.+ and Mrs. Murray Simpson Marshall I. Soltz 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 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. Ms. Angela Caveness Weisskopf Margaret Miller and Richard D. Welch, Jr.+* RADM Ronald C.+ and Mrs. Judith A. Wilgenbusch Miriam C. Flaherty Willis and MG Simon V. L. Willis* Bob Wilson^ William L. Wingert, Jr.* Deborah F. and David A. Winston Donna Wolverton Andrew Woodcock and Mary Ewell Cheryl A. Wooden and Dr. Deb Bobbitt James B. and Sue Ann Zahrt Alexander and Michelle Zajac Thomas J. Zaug * Charter Member ^ Next Chapter Legacy + Deceased For a list of all Legacy Circle Charter Members, visit wolftrap.org/legacyrecognition.

Explore More at the Filene Center “O Fortuna!” Carmina Burana’s towering first movement rolls in like

Orff

Carmina Burana

thunder, announcing a celebration of spring, the delightful debauchery

National Symphony Orchestra

of nights at a tavern, and the joys and sorrows of love. Although the

Tianyi Lu, conductor Midori Marsh, soprano Travon Walker, tenor Charles H. Eaton, baritone Choral Arts Society of Washington Children’s Chorus of Washington

words were written by medieval monks, this outrageous cantata is an unstoppable force brimming with bawdy, irreverent satire on the ever-changing fate of man. The National Symphony Orchestra, two choirs, and stars of the Wolf Trap Opera come together for Carl Orff’s

July 25

epic choral masterwork.

HAUSER

Back to the Future in Concert

June 25

National Symphony Orchestra

Star Wars: The Empire Strikes Back in Concert National Symphony Orchestra Steven Reineke, conductor

July 17

Emil de Cou, conductor

August 2

Harry Potter and the Deathly Hallows™ Part 2 in Concert

Jean-Yves Thibaudet plays Gershwin

National Symphony Orchestra

National Symphony Orchestra

September 5

Katharina Wincor, conductor

July 18

Steven Reineke, conductor

Cynthia Erivo

DEBORAH F. AND DAVID A. WINSTON, PERFORMANCE SPONSORS

National Symphony Orchestra Steven Reineke, conductor

Disney ’80s–’90s Celebration in Concert

September 6 + 7

National Symphony Orchestra

Côté Danse

Sarah Hicks, conductor

Hamlet

July 26

Prince of Denmark

September 17

One Night Only

Sutton Foster & Kelli O’Hara National Symphony Orchestra

August 1

© & TM Lucasfilm Ltd.

© UCS LLC and Amblin ©Disney

Explore full schedule at

WOLFTRAP.ORG/SUMMER

Emil de Cou, conductor

All characters and elements © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR.

1645 TRAP ROAD / VIENNA, VIRGINIA 22182

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