2026 Wolf Trap Opera Insider Guide

may 31

jUN 03

jUN 08

jUN 09

WILL LIVERMAN MASTER CLASS 3 PM

SALON SERIES: WILL LIVERMAN 7:30 PM

SALON SERIES 7:30 PM

STEVEN BLIER MASTER CLASS 3 PM

jUN 18

jUN 21

jUN 22

jUN 23

LA CENERENTOLA 7:30 PM

LA CENERENTOLA 2 PM

SALON SERIES 7:30 PM

RENÉE FLEMING MASTER CLASS 3 PM

jUN 25

jUN 27

jUN 28

jul 06

LA CENERENTOLA 2 PM

LA CENERENTOLA 7:30 PM

ARIA JUKEBOX 2 PM

SALON SERIES 7:30 PM

jUl 17

jUl 19

jUl 20

jUl 21

EUGENE ONEGIN 7:30 PM

EUGENE ONEGIN 2 PM

SALON SERIES 7:30 PM

UNTRAPPED: STUDIO ARTISTS IN CONCERT 7 PM

jUl 23

jul 25

aug 07

aug 10

EUGENE ONEGIN 2 PM

EUGENE ONEGIN 7:30 PM

TOSCA 8 PM

UNTRAPPED: NAVY BAND CAPITOL CONCERT 7 PM

aug 14 BEETHOVEN'S NINTH SYMPHONY 8 PM

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TABLE OF CONTENTS WOLF TRAP OPERA 2026 WOLF TRAP FOUNDATION FOR THE PERFORMING ARTS

WELCOME................................................................................................................... 2 TOSCA........................................................................................................................... 5 LA CENERENTOLA..................................................................................................11 EUGENE ONEGIN.................................................................................................... 17 SALON SERIES .......................................................................................................23 ARIA JUKEBOX.......................................................................................................24 UNTRAPPED............................................................................................................25 MASTER CLASSES................................................................................................26 WILL LIVERMAN, 2026 FILENE ARTIST IN RESIDENCE ..................... 27 RENÉE FLEMING, ARTIST DEVELOPMENT ADVISOR..........................28 WTO: WHERE DEFINING ROLES TAKE SHAPE.......................................29 GENERATIONS OF INSPIRING ALUMNI.......................................................33 FILENE ARTISTS.....................................................................................................36 STUDIO ARTISTS....................................................................................................39 FELLOWS...................................................................................................................41 GUEST ARTISTS, MUSIC & PRODUCTION STAFF...................................42 ORCHESTRA & CHORUS....................................................................................45 WOLF TRAP OPERA STAFF............................................................................ 46 OPERA BEYOND THE BARNS......................................................................... 47 THE BARNS POLICIES......................................................................................... 47 WITH APPRECIATION......................................................................................... 48 EXPLORE MORE MUSIC......................................................................................56

SPECIAL THANKS TO DAN AND GAYLE D’ANIELLO, WOLF TRAP 2026 SEASON UNDERWRITERS

WELCOME When I find theater at its most powerful, it’s often in one of two directions: either I gain insight into an alternate reality through a character whose life feels unlike my own, or I so strongly identify with a character that I see myself in their journey—both in their tragedies and triumphs. This season, I suspect many of us will, or will want to, see ourselves in this summer’s cast of characters.

Angelina, our Cinderella, tries to keep a sunny demeanor even when the cards are stacked against her, thanks to a rather clueless father and two horribly ridiculous stepsisters. When she finally finds her happily ever after, she takes the high road and forgives them, reminding us that grace can be its own triumph.

LEE ANNE MYSLEWSKI Wolf Trap Vice President of Opera and Classical Programming

Eugene Onegin, by contrast, doesn’t realize what he wants until after it’s thoroughly slipped through his fingers. The archetype of a “superfluous man”—someone with wealth and privilege, but without larger aims beyond his own comfort—may not mirror our lives exactly. Yet the regret and profound loss born from self-centeredness and poor cosmic timing is something that many of us know all too well.

Tosca’s aria “Vissi d’arte" is sung in a moment of clarity. Faced with an impossible situation, Tosca calls out for strength, reflecting on a life devoted to art, love, and compassion. In her hour of desperate need, she reaches deep and finds the courage to continue to live for both art and love. When that is no longer possible, she sacrifices herself on that double altar.

Our artistic teams are making bold choices in the retelling of these stories.

You may have seen Tosca before, but never like this. And as always, our emerging stars are truly not to be missed—they bring incredible excitement and passion to these role debuts.

Speaking of stars, we are fortunate to have two in our orbit this season. Our 2026 Filene Artist in Residence is Grammy-winning baritone Will Liverman, a WTO alumnus (’15, ’16) and artistic polymath. We also welcome back the incomparable Renée Fleming as Artist Development Advisor, whose name is synonymous with operatic excellence. Both Will and Renée will lead master classes this summer, offering a chance to see these outstanding artists mentor our 2026 cohort in action.

I hope you find a glimmer of yourself in these stories this summer.

I look forward to seeing you soon at Wolf Trap!

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Welcome to Wolf Trap Opera’s (WTO) inspiring 2026 season. Each summer brings the thrill of discovery in opera, and this year is no exception.

From the sweeping drama of Puccini’s Tosca to the wit and heart of Rossini’s La Cenerentola and the lyrical beauty of Tchaikovsky’s Eugene Onegin, WTO’s season celebrates the extraordinary range of opera and the talented rising artists who bring it to life. These productions also reflect the program’s distinctive artistic philosophy—selecting exceptional emerging artists first, then shaping repertoire that allows each performer’s strengths to shine.

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

For more than five decades, WTO has served as a vital launching pad for singers at the start of their professional journeys. Here, audiences have the rare opportunity to experience artists taking on significant roles early in their careers, often before they go on to appear at the world’s leading opera houses. With more than 1,000 alumni, the program's impact reaches well beyond this season and these stages.

Renowned soprano Renée Fleming further enriches this work in her second season as Artist Development Advisor. Drawing on her remarkable international career, she mentors and coaches WTO’s singers to refine their artistry, strengthen audition skills, and expand repertoire breadth.

Her leadership offers invaluable insight into today’s operatic landscape, helping our artists excel in the transition from training to distinguished professional careers.

None of this would be possible without the generosity of our donors.

Philanthropy fuels every aspect of Wolf Trap Opera’s mission—from artist guidance and production excellence to the advancement of the genre itself. Your commitment ensures that opera remains vibrant, relevant, and accessible for generations to come. On behalf of the Board of Directors, I thank you for being an essential part of this special community.

2026 SEASON AUDITIONS BY THE NUMBERS

1,263 APPLICATIONS SUBMITTED

34 SINGERS SELECTED FOR A

2.85% ACCEPTANCE RATE

HELD AUDITIONS IN

7 CITIES PHILADELPHIA LOS ANGELES CINCINNATI CHICAGO HOUSTON NEW YORK VIENNA, VA

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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 Mr. Shawn Degnan Dr. Melissa A. Delgado Ms. Lynn R. Dillon

Mr. Dominic E. Dragisich Ms. Ana Echemendia Mrs. Jean Edelman Mr. William R. Hanlon Mr. Kenneth R. Hayduk Ms. Sue J. Henry Ms. Jacqueline C. Hinman Mr. Steven C. Job (Ex Officio) Mr. Broderick D. Johnson Mr. Eric J. Kadel, Jr. Ms. Tracy K. Kenny Ms. Alka M. Kesavan Mrs. Susie King Ms. Nancy J. Laben Mr. Dave Lougee Mr. Robert S. Lutz Ms. Christina Co Mather Mr. Prabu Natarajan Mr. Geoffrey Pohanka 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 Ms. Anne R. Kline Mr. Gerald L. Kohlenberger* Mr. John C. Lee, IV* General Lester L. Lyles Ms. Ramona Mockoviak The Honorable Sean O’Keefe Mr. Patrick Pacious

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

Mrs. Teri Dungan Ms. Rhonda Fleming Mr. Leo F. Fox III Mrs. Wendy G. Grills Ms. Bonnie Haukness Mr. Pardha Karamsetty Mr. William P. Krokowski Mrs. Bambi Landew Mr. David J. Martin Dr. Glenn Merberg 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. John E. Thomas, Jr. Mr. Douglas A. Tyson Mrs. Cortney Weber Mr. Jake Zatzkin

OTHER OFFICERS Ms. Beth Brummel Chief Operating Officer Mr. Stephen D. Kahn General Counsel PRESIDENT EMERITUS Mr. Terrence D. Jones 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 Ms. Virginia McGehee Friend Mr. Gil Guarino Mr. Stanley J. Gutkowski

*Former Foundation Board Chair

ASSOCIATES BOARD Mr. Adam Spanberger Honorary Chair Mr. Steven C. Job Chair Mrs. Sarah Choi Vice Chair and Secretary

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PUCCINI

TOSCA

A Kay Shouse Great PERformance MUSIC BY GIACOMO PUCCINI LIBRETTO BY LUIGI ILLICA AND GIUSEPPE GIACOSA FILENE CENTER FRIDAY, AUGUST 7 | 8 PM SPECIAL THANKS TO ANNE R. KLINE AND GEOFFREY POHANKA AND VIRGINIA McGEHEE FRIEND, PERFORMANCE SPONSORS

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CAST IN ORDER OF VOCAL APPEARANCE

Cesare Angelotti: Cumhur Görgün Sacristan: Sergio Martinez Mario Cavaradossi: Demetrious Sampson Jr. Floria Tosca: Tessa McQueen Baron Scarpia: Jonathan Patton Spoletta: Wayd Odle Sciarrone: Søren Pedersen* Shepherd: Calista Ro-Jei Smith* Jailer: Christopher Gray* Washington National Opera Orchestra *Wolf Trap Opera Studio Artist

CREATIVE TEAM

Conductor: José Luis Gómez Directors: Tonya & Ryan McKinny Scenic Design: Lawrence E. Moten III Costume Design: Molly Irelan Lighting Design: Chad R. Jung Projections: Adam Larsen Hair & Makeup Design: Anne Nesmith

MUSIC & PRODUCTION STAFF

Assistant Conductor: David Hanlon Principal Coach & Organ: Blair Salter Chorus Master & Coach: William Woodard Coach: Tzu Kuang Tan* Italian Diction: Domenico Boyagian Supertitles: Gabrielle Žemaitytė* Fight & Intimacy Coordinator: Casey Kaleba Assistant Director: Madeleine Snow* Production Stage Manager: Gina Hays Assistant Stage Managers: Arturo Fernandez Jr., Zoe Steenwyk *Fellow

PRODUCTION INFO

Sung in Italian with English captions 2 hours and 40 minutes with one intermission Premiere: Teatro Costanzi, Rome, 1900

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Tosca poster, Adolfo Hohenstein, 1899.

THE STORY

ACT I Cesare Angelotti, an escaped political prisoner, takes refuge inside a church, where he is harbored by the painter Mario Cavaradossi, a revolutionary sympathizer.

The celebrated singer Floria Tosca is Cavaradossi’s lover, and when she arrives at the church, she believes she has heard him with another woman. Tosca’s jealousy is fueled when she recognizes the woman who has inspired Cavaradossi’s portrait of Mary Magdalene.

A cannon signals that Angelotti’s escape has been discovered, and he and the painter flee to Cavaradossi’s home.

As the clerics and choir are preparing a Te Deum to celebrate Napoleon’s recent defeat, they are silenced by the arrival of Baron Scarpia, chief of police. Scarpia is searching for Angelotti, and he suspects Cavaradossi is involved. Scarpia uses Tosca’s jealousy to trick her into leading his men to Cavaradossi’s home.

ACT II Scarpia learns that although Angelotti is still at large, Cavaradossi has been arrested, and he anticipates the pleasure of having Tosca in his power.

The painter is brought in and interrogated. Scarpia sends for Tosca, and when she arrives, she hears Cavaradossi being tortured. Hearing his cries, Tosca reveals Angelotti’s hiding place.

Word arrives that Napoleon has won the battle, a defeat for Scarpia’s side. Cavaradossi’s reaction to this news angers Scarpia, and he orders the painter’s execution.

Alone with Scarpia, Tosca begs him to spare her lover. He says he would let Cavaradossi go free if she would submit to him, and she agrees. Scarpia orders that the execution be faked and prepares papers that will guarantee safe passage for the couple.

But as he approaches to embrace Tosca, she exacts revenge.

ACT III At dawn, Cavaradossi awaits execution. Tosca arrives and tells him about the mock execution, and they imagine their future freedom.

The firing squad shoots, and Cavaradossi falls. Tosca at first believes that he has played along with the pretense but soon realizes that Scarpia has committed the final betrayal.

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TOSCA’S LAYERS OF ROMAN HISTORY

BY TONYA & RYAN McKINNY, DIRECTORS

“In Roma, I wanted to get across the idea that underneath Rome today is ancient Rome. So close. I am always conscious of that, and it thrills me.” —Federico Fellini When you walk down the streets in Rome, you are walking upon layers and layers of history, every century untidily built upon the previous one. History literally repeats itself in front of your eyes. In many ways, Rome is the most important character in Tosca, both in its physical form and in its political unrest. The rise and fall of civilization and the violence that has always come with it are at the center of our story. We knew we wanted to keep Tosca where she belongs, in Roma. But we also wanted to see if we could draw our artistic arrow from Tosca’s origin and point it further forward.

Our Tosca is a movie star in early 1970s Italy, during a period known as the “Anni di piomba” or “Years of Lead.” This was an incredibly unstable time in Italy’s history, marked by political violence from far-right neo-fascists as well as far-left Marxists, student protests, police violence, and state corruption. If that sounds familiar, it’s worth noting that it would have also sounded eerily recognizable to Italians in 1800. History repeats itself, of course.

This time of unrest also produced some of the greatest films in Italy’s history. The influential Italian filmmaker Federico Fellini was often criticized for not being “political enough.” Though in his mind, making art that is personal and meaningful is a political act in itself.

Tosca is in the same predicament as Fellini. She is caught in the middle of political violence but would rather not pick a side. As happens so often to artists throughout history, she is given no choice. While she walks the streets of Rome, followed constantly by her adoring fans and being watched by the press and the state, she cannot escape the layers of history beneath her.

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Tosca and the Myth of High Art

BY ANNE MIDGETTE

Once at The Metropolitan Opera, before a performance of Tosca, I said to a friend that opera was essentially a popular, even a populist art form. I will never forget her look of amazement. “You’re so audacious to say that!” she said, with a mixture of shock and relish.

How far opera has moved from its roots.

Today, people like my friend perceive this art form as something rarified: a sacred temple that is in some way exalted beyond the mundane—even Tosca, one of the most approachable, and melodramatic, of all operas. Tosca, after all, is the piece that the musicologist Joseph Kerman famously dissed as “a shabby little shocker.” Well, people like my friend tut-tut about that too.

It does opera no service to isolate it, to put it behind the velvet ropes of High Art. Yes, we love to remember that Madame Butterfly

and Carmen flopped at their respective premieres, because such stories fit the trope of The Misunderstood Artist that we’ve been conditioned to embrace. We like to think that Art is so elevated that not everyone can grasp it right away, and that we, as posterity, are somehow privileged because we recognize the greatness that the artist’s contemporaries failed to notice.

But this simply isn’t accurate. Plenty of the composers in our so-called canon were big stars in their day—Haydn, Liszt, Mendelssohn, even Beethoven—and plenty of great works were extremely popular. Indeed, opera in the 19th century was a precursor of what film is for us today: immersive visual and audio entertainment, and often a vehicle for bringing popular books or plays to the “big stage.”

Puccini, the Steven Spielberg of his age, tended to base his operas on very popular

works—Sardou’s play La Tosca was written for the actress Sarah Bernhardt, who was still touring the piece internationally when Puccini got hold of it (and who, famously, broke her leg jumping from the Castel Sant’Angelo in the final scene in a performance in Rio, an injury that eventually led to the amputation of her leg. “Vissi d’arte,” I lived for art, indeed).

showing of that film shortly after I’d discovered it myself, without telling her the plot, and she turned to me partway through Act III and whispered—spoiler alert—“Oh my goodness, he’s going to die, isn't he?” That’s how Puccini meant us to experience Tosca, I think: with that fresh anguish, each and every time.

Tosca was born to be popular.

Tosca was born to be popular. It veritably flaunts all of the popular operatic tropes: period settings (though recent stage directors have begun moving the action from its traditional 1800 date); the doomed lovers; the oh-so-evil villain; the tragic ending.

We like our opera safely up on stage, its villains kept behind the velvet curtains, revealed at the curtain call to be nice men, after all. We forget, as we congratulate ourselves on how lovely the evening was and how clever we were to enjoy it, that when contemporary audiences rejected Carmen, it wasn’t because they didn’t like the But Tosca is also distinctive in its selftunes; it was because they found the story so referentiality: it’s an opera about an opera grim and sordid—a story that today is generally singer, taking us behind the scenes to see the presented as harmless, colorful folklore. kinds of indignities that singers have to endure.

The mantle of Great Art, it turns out, can have Here’s a reason, perhaps, that this opera has a way of defanging the works thus labeled, managed to transcend its stereotypes, and to turning them into safe, sanitized, canonized endure: in an age that has come to recognize idols for us to worship—and leading us, in some the ubiquity of “MeToo,” this opera’s entire cases, to leave our normal moral judgments at plot hinges on a powerful man seeking to the door, the better to enjoy the pretty music. trade favors for sex.

Is it audacious to call Puccini populist? Let’s It takes a powerful double standard to decry the be more audacious, and dare to engage with villainy of Scarpia, one of the baddest bad guys Tosca, and with so many other so-called “great who ever lived, while seeking to exonerate the operas” in the canon, for what is actually powerful interpreters of this role, or the role of happening on stage, and behind the scenes the heroic painter Cavaradossi, for committing as well. Should we reject Tosca for reveling in similar assaults. Few opera audiences would the victimization of women? Assuredly not; argue that Scarpia is not bad; but many of but that doesn’t mean we should pretend that those same people, confronted with similar element isn’t there. I maintain, in fact, that art behavior in real life, seek to explain it away. comes most to life when we engage with it on the level, not of what we want or expect it to My own first Tosca experience was eminently populist: the 1976 film with Raina Kabaivanska, be, but of what it’s actually about.

Plácido Domingo (speaking of MeToo), and Sherrill Milnes. It was also my first inkling that, after years of my having dismissed him as inferior to my beloved Verdi, Puccini might be worth my time after all. I took a friend to a

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Anne Midgette is a writer and critic on music and opera, the visual arts, and more. A former contributor to The Wall Street Journal and The New York Times, she was the chief classical music critic of The Washington Post for 12 years before leaving to focus on a long-planned novel.

ROSSINI

LA CENERENTOLA (CINDERELLA) MUSIC BY GIOACHINO ROSSINI LIBRETTO BY JACOPO FERRETTI NEW PRODUCTION

THE BARNS AT WOLF TRAP THURSDAY, JUNE 18 | 7:30 PM SUNDAY, JUNE 21 | 2 PM THURSDAY, JUNE 25 | 2 PM SATURDAY, JUNE 27 | 7:30 PM

SPECIAL THANKS TO ED AND ANDY SMITH, PERFORMANCE SPONSORS

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CAST IN ORDER OF VOCAL APPEARANCE

Clorinda: A ngela Yam Tisbe: E mily Treigle Angelina: Sophia Maekawa Alidoro: Cumhur Görgün Don Magnifico: Ziniu Zhao Prince Ramiro: Angel Raii Gomez Dandini: Korin Thomas-Smith Chorus: Members of the Wolf Trap Opera Studio

CREATIVE TEAM

Conductor: Louis Lohraseb Director: Joel Ivany Scenic & Costume Design: Jacob A. Climer Lighting Design: Jason Hand Hair & Makeup Design: Anne Nesmith Associate Hair & Makeup Design: Melissa Sibert

MUSIC & PRODUCTION STAFF

Principal Coach: Christopher Turbessi Chorus Master & Coach: Michael Lewis Coach: Joseph Stevens* Italian Diction: Ken Weiss, Stefano de Peppo Supertitles: Tzu Kuang Tan* Production Stage Manager: Arturo Fernandez Jr. Assistant Stage Manager: Diane Lin *Fellow

PRODUCTION INFO

Sung in Italian with English captions 3 hours with one intermission Premiere: Teatro Valle, Rome, 1817

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THE STORY

ACT I Clorinda and Tisbe, daughters of Don Magnifico, quarrel as usual. Their stepsister Angelina—Cenerentola (Cinderella) who is treated as the family maid—sings her favorite song about a king who marries a common girl. Suddenly Alidoro, tutor to Prince Don Ramiro, arrives disguised as a beggar. The stepsisters try to send him away, but Cenerentola kindly offers him bread and coffee. Courtiers announce that Ramiro will visit and he will hold a ball to choose his bride. Hoping to restore the family fortune, Magnifico pins his hopes on his daughters.

Ramiro arrives at Magnifico’s house in disguise as a servant so he can freely observe the prospective brides. Alidoro has told him there is a girl in the house worthy of being a princess, and Ramiro is determined to find her. Cenerentola returns and is startled by the presence of a stranger. The two are immediately attracted to each other. Ramiro asks who she is, and Cenerentola stammers a confused explanation, then runs away. Finally, the “prince” arrives—in fact Ramiro’s valet, Dandini, in disguise. To Ramiro’s amusement, Magnifico, Clorinda, and Tisbe fall over themselves flattering this “prince,” who invites them to the ball.

When Cenerentola asks to attend, Magnifico refuses. Ramiro notes how poorly Cenerentola is treated. Alidoro reenters hinting that there is a third daughter in the house, but Magnifico claims she has died. Alone with Cenerentola, Alidoro promises to take her to the ball, assuring that her good heart will be rewarded.

Later, Dandini confides his poor opinion of the sisters to Ramiro, though both men are puzzled because Alidoro has praised one daughter. Clorinda and Tisbe appear again, pursuing Dandini. When he offers Ramiro as a husband to the sister the prince does not marry, they are outraged at the idea of marrying a servant. Alidoro then introduces a beautiful unknown lady who, strangely, resembles Cenerentola. Unable to make sense, they all sit down to supper, feeling as if in a dream.

ACT II Magnifico fears the stranger will ruin his daughters’ chances to marry the prince.

Cenerentola, tired of being pursued by Dandini, tells him that she is in love with his servant. Overhearing this, Ramiro is overjoyed and steps forward. Cenerentola, however, says their love is not that simple and she must return home. She gives Ramiro a diamond bracelet, identical to her own, and tells him to search for her.

The prince resolves to win the mysterious girl. Meanwhile Dandini reveals his true identity to Magnifico, who is furious.

Back home, the sisters order Cenerentola to prepare supper. During a storm, Alidoro arranges for Ramiro’s carriage to break down at the house. Cenerentola and Ramiro recognize each other, and though Ramiro rebukes Magnifico and the sisters, she asks him to forgive them.

At the palace, the couple celebrates their wedding. Magnifico seeks favor, but Cenerentola asks only to be acknowledged as his daughter, declaring her days by the hearth are over.

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EVERYONE IS PERFORMING

BY JOEL IVANY, DIRECTOR

Gioachino Rossini’s La Cenerentola is one of opera’s great comic engines.

The music moves with incredible speed, the ensembles pile up in joyful chaos, and characters constantly trip over disguises, misunderstandings, and their own ambitions. But beneath all that brilliance lies a surprisingly visceral question: how much of who we are is real and how much is performance?

This is a story where almost everyone is pretending to be something they are not. A prince disguises himself as a servant. A servant pretends to be a prince.

Two sisters perform elegance they don’t possess (sorry!). And Don Magnifico, perhaps the most enthusiastic actor of all, works tirelessly to convince the world that his household still belongs to the ranks of high society.

In this production, Magnifico’s home reflects that effort. It’s a place that once aspired to grandeur and still tries very hard to project it. The walls, the furniture, the art, the gestures of the people who live there all participate in the same project: maintaining the appearance of status. Magnifico understands something very real about society. If you perform confidence and wealth convincingly enough, people may believe it.

The trouble is that everyone else is performing too.

Angelina, the young woman at the center of the story, is the only character who isn’t trying to play a role. She doesn’t pretend to be important. She doesn’t chase power or recognition. Instead, she quietly does something much harder. She pays attention. She listens. She responds to the world with empathy.

Rossini gives her the opera’s most extraordinary journey. While the others scramble for position, Angelina slowly becomes the emotional center of the entire stage. By the time she sings her final aria, the music seems to expand around her, as if Rossini himself is acknowledging that generosity might be the most powerful force in the room.

What makes La Cenerentola so much fun is that Rossini never delivers this lesson solemnly. The opera moves like a beautifully controlled whirlwind. Characters burst into dazzling ensembles. Plans collapse in seconds. Identities flip, collide, and reform. The audience gets to watch the entire social machine spin faster and faster until the truth finally reveals itself.

And when it does, it’s wonderfully simple.

Titles don’t matter. Wealth doesn’t matter. Even the disguises eventually fall away.

What remains is character.

That’s the true magic of La Cenerentola. Not a fairy godmother, not a pumpkin carriage, but the possibility that kindness and sincerity might still outshine all the noise around them.

Rossini turns that idea into music that sparkles, tumbles, and laughs its way to one of opera’s happiest endings.

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Rossini’s Daring Reinvention

BY MARIA TATAR

Rossini’s La Cenerentola began with a dare. The librettist of the opera, Jacopo Ferretti, proposed one subject after another for a collaboration with the composer, but no luck. Finally, out of desperation, he said just one word: “Cinderella.” Rossini challenged Ferretti to write a libretto based on the tale. Ferretti urged the maestro to put it to music. They each delivered, working at breakneck speed to produce text and score, each managing to complete the mission in a matter of a few weeks.

But why choose Cinderella for an opera? It’s easy to dismiss her story as a mere “old wives’ tale,” the sort of lore told by women in the dim light of nurseries or to the rhythmic hum of spinning wheels. Yet these humble, domestic associations didn’t stop a young composer and his librettist from taking up the story for the grand stage. They were chasing a French sensation that had already captivated the Paris Opera in 1810 before sweeping into Milan just four years later.

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The fairy-tale momentum was unstoppable in 19th-century Europe. Charles Perrault’s 1697 collection had already begun to transform these tales into literary fare for young and old.

But it was the Brothers Grimm in Germany who truly elevated the genre. By rebranding folktales as part of a sacred cultural heritage, they helped forge a sense of national identity from the fragments of the past. While the Grimms used folklore to ground a nation, the tales themselves remained defiant of national boundaries. The oral tradition from which the stories derived acted like a living, breathing connection between nations, proving that while a story may help to define national identity, its spirit belongs to the world.

The kaleidoscopic wonders of a story we call “Cinderella” manifest themselves when we travel around the world, stopping in Egypt to watch an eagle swoop down and carry off a sandal belonging to Rhodopis or landing in China to admire the gold shoes and cloak of feathers worn by Yeh-Hsien. We can appreciate the compassion of the French Cendrillon, who forgives her stepsisters and marries them off to high-ranking court officials. Or we can recoil at the horrors of an Indonesian Cinderella, who punishes her stepsister by forcing her into a cauldron of boiling hot water.

When the fairy tale migrated into the highstakes world of opera, it demanded a

new level of complexity. To ensure “vocal diversity,” the librettist Ferretti expanded the cast, replacing the cruel stepmother with Don Magnifico, the foolish father who favors his two vain daughters over Cenerentola.

A valet, a tutor, and various courtiers not only broadened the social landscape—their voices also provided a deep, powerful counterpoint to Cenerentola’s mezzo-soprano pyrotechnics—culminating in the opera’s famous aria, "Non più mesta."

The result of this constant reimagining is a total transformation. Presto! A localized French story that once captivated European capitals became a global phenomenon. By trading the coziness of the nursery for the grandeur of the orchestra pit, La Cenerentola recaptured the tale’s inherent magic—not through the literal wave of a fairy godmother’s wand or the appearance of pumpkin coaches but through the evocative power of performance. What began as a light-hearted dare reanimated Cinderella in a new medium.

We are left with a staging that transcends time and place and blends stunning spectacle and magnificent music with the beauty of the human voice to give us hope that goodness will at last triumph over vanity and greed.

Maria Tatar is a Senior Fellow at Harvard University’s Society of Fellows and Professor Emerita of Folklore & Mythology and Germanic Languages & Literatures.

Her books include The Heroine with 1001 Faces, Arachnomania, Classic Fairy Tales, and The Annotated African American Folktales.

TCHAIKOVSKY

EUGENE ONEGIN MUSIC BY PYOTR ILYICH TCHAIKOVSKY LIBRETTO BY PYOTR ILYICH TCHAIKOVSKY AND KONSTANTIN SHILOVSKY NEW PRODUCTION THE BARNS AT WOLF TRAP FRIDAY, JULY 17 | 7:30 PM SUNDAY, JULY 19 | 2 PM THURSDAY, JULY 23 | 2 PM SATURDAY, JULY 25 | 7:30 PM SPECIAL THANKS TO ED AND ANDY SMITH, PERFORMANCE SPONSORS

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CAST IN ORDER OF VOCAL APPEARANCE

Madame Larina: Aubrey Odle Filipyevna: C ecelia McKinley Olga: Elissa Pfaender Tatiana: Magdalena Kuźma Lensky: Daniel O’Hearn Eugene Onegin: F inn Sagal Monsieur Triquet: J ack Hicks* Commander: M ichael Mensah* Zaretsky: Jack Burrows* Prince Gremin: Sergio Martinez Chorus: Wolf Trap Opera Studio *Wolf Trap Opera Studio Artist

CREATIVE TEAM

Conductor: Steven White Director: Emma Griffin Scenic Design: L ee Jellinek Costume Design: C hristopher Ford Lighting Design: A lejandro Farjado Hair & Makeup Design: Anne Nesmith

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MUSIC & PRODUCTION STAFF Principal & Russian Diction Coach, Chorus Master: Ksenia Leletkina Coaches: Ye In Kwak, Gabrielė Žemaitytė* Supertitles: Joseph Stevens Production Stage Manager: Annie Wheeler Assistant Stage Manager: Emma Rocheleau *Fellow

PRODUCTION INFO

Sung in Russian with English captions 3 hours with one intermission Premiere: Mally Theatre, Moscow, 1879

THE STORY

ACT I It is autumn, and at the Larin estate in the countryside, Madame Larina thinks about her youth, when she was in love but courted by another man whom she eventually married.

She is now widowed and has two daughters: Tatiana and Olga.

Olga is being courted by the poet Lensky who lives nearby; he stops by unexpectedly, bringing his friend Eugene Onegin.

Tatiana falls in love at first sight.

Tatiana asks her nurse Filipyevna about her first love and marriage, and spends the subsequent night pouring her heart out in a letter to Onegin. She finishes as the day breaks and persuades Filipyevna to have her grandson deliver the message.

Tatiana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence.

ACT II January at the Larin Estate. The local community has been invited to celebrate Tatiana’s name day, and Lensky has invited Onegin to join. Surprised and annoyed by the scope of the celebration, Onegin soon grows bored, and takes his revenge on Lensky by flirting and dancing with Olga. Infuriated with Onegin’s increasing attention, and with Olga’s lighthearted reciprocation, Lensky’s jealousy grows. He confronts Onegin and challenges him to a duel.

Before the duel, Lensky contemplates his poetry, his love for Olga, and death. Neither Lensky nor Onegin want to fight, but neither moves to stop the duel. Lensky is killed.

ACT III St. Petersburg. Onegin has recently returned after several years of travel following the duel. At a ball, Prince Gremin introduces his young wife. Onegin recognizes Tatiana—and realizes he is in love with her. He sends her a letter and goes to the palace to convince her to run away with him. She admits that she still loves him, but she will not leave her husband.

Eugene Onegin and Vladimir Lensky's Duel, Ilya Repin, 1899.

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Tchaikovsky’s Singing Poetry

BY STEVEN WHITE, CONDUCTOR

It goes without saying that a vast number of successful operas could be called “poetic.” Indeed, the mystical union of poetry and music that creates “lyric expression” is an inviolable marriage that defines the very nature of opera itself. But Eugene Onegin is unique in the degree to which poetry pervades not only the dramatic content, but also the technical and compositional details of the opera.

With the help of his friend, Konstantin Shilovsky, Tchaikovsky adapted Pushkin’s original text by employing the great poet’s own metrical scheme wherever possible. Pushkin’s iambic tetrameter (as in, from Tatiana’s great letter scene, “I write to you—what more is needed? This said, have I not said enough?”) governs the conversational flow throughout the opera, but never becomes forced or predictable. Of astounding artistic inspiration is his use of the same rhythmic dynamic in music that has no text. The ascending line in the oboe that so magically and hopefully announces the beginning of Tatiana’s monumental aria is rendered in exact iambic tetrameter, followed by four individual iambs that drop directly into our hearts by virtue of solo flute, clarinet, horn, and harp. This is musical poetry of matchless integrity and subtle effectiveness.

Speaking of Tatiana, is there any operatic character who compels our love and respect more sincerely? I think she’s my favorite female character in all of opera.

Not only is she a noble human being without guile who, in the vulnerability of her youth has the courage and strength to reveal her heart without pretense, she also proves to be a woman who eschews bitterness and upholds her commitment to the very end. Tchaikovsky lavishes Tatiana with music that runs the full gamut of human expression—utter tenderness, profound passion, joy, and despair.

Onegin himself is also treated with great specificity by Tchaikovsky, who makes clear his relative disdain for the title character. I find it difficult to imagine how nearly any other composer could have captured the cynical, dismissive, sometimes dandy-ish condescending aloofness that pervades Onegin’s demeanor. Through musical choices that support the dramatic circumstances, Tchaikovsky lays bare Onegin’s pathetic weakness in the end. While Onegin pleads with Tatiana, the composer sets his protestations to the music of Tatiana’s original confession of love from the letter scene in one of the greatest moments of “what goes around, comes around.”

In Eugene Onegin, Tchaikovsky employs his skills as a “tone poet” to masterful effect. In the various preludes that begin the scenes and in the musical flow of the drama, it’s almost as if the orchestra has taken up the role of the nameless narrator in Pushkin’s original. The string writing is beyond sumptuous, throbbing with emotional immediacy.

These are but a tiny handful of the riches that are to be found in Eugene Onegin.

I find that this opera challenges me in ways that go far beyond those that one would normally associate with conducting a great piece of music. Tchaikovsky and Pushkin have given to us one of opera’s most beautiful mirrors with which to examine ourselves and our world.

Young woman writing a letter, Federico Zandomeneghi, 1874.

A Heroine to Cherish: The Emotional Journey of Tchaikovsky’s Tatiana

BY ROGER PINES

When Tchaikovsky’s stage works come to everyone had a different idea of how he mind, we tend to think first of his universally should have proceeded with this familiar text. admired ballets. However, Tchaikovsky also But he loved Pushkin’s words and created composed 11 operas, rich in humanity and the opera in a state approaching ecstasy, abounding in heartfelt melody. Eugene Onegin, especially where Tatiana was concerned; her premiered in 1879, has long surpassed the “Letter Scene” was the first portion of the others in popularity, remaining today the score that he composed. best-loved of all Russian operas internationally.

The opera’s keynote is lyricism, with grand We owe the piece’s dramatic source to dramatic outbursts employed very sparingly.

Russia’s most celebrated poet, Aleksandr We should remember that Tchaikovsky Pushkin (1799–1837). He scored the greatest subtitled Onegin, “Lyrical Scenes” and indeed success of his short life with a verse novel, it’s lyric voices that are needed—“juicy” Yevgeny Onegin (published in serial form, lyric certainly (especially for Tatiana), but 1825–32). The protagonist was to some degree lyric nonetheless. Each role’s vocal range is inspired by Lord Byron’s Childe Harold: the entirely manageable, with expressiveness— arrogant, restless young man who’s easily never vocal flamboyance—invariably the bored and doesn’t fit in. But it’s not Onegin composer’s emphasis. who tears one’s heart out—it’s Pushkin’s In the opening scene, a moment of lyrical heroine, Tatiana, to whom Tchaikovsky gives fervor prepares us for what’s to come. This a profoundly moving emotional arc in the brief passage occurs when Tatiana sings to course of the opera. her mother about the romantic novel she’s Tchaikovsky prepared the libretto with fellow reading; the torment of its young lovers has composer Konstantin Shilovsky, taking it affected her deeply. The girl’s every phrase directly from Pushkin’s original wherever emerges with warmth, sincerity, and an possible. Much editing was needed, and unspoken but obvious vulnerability.

Tchaikovsky experienced some criticism for it;

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It’s in the second scene of Act One that Tchaikovsky uses his lyrical style to reveal the depths of his heroine’s soul. Her desperate, lovesick letter to Onegin represents the opera’s emotional center. Most lyric sopranos long to sing Tatiana, and that surely has most to do with the 13-minute “Letter Scene”—a tour de force for a thoroughly musicianly and emotionally-responsive singing actress.

Tatiana calls for a “full lyric” soprano.

Paradoxically, most youthful voices aren’t yet able to offer much substance in the middle range, but that’s exactly where much of this character’s music “sits.” The singer must free herself of technical concerns in order to concentrate on creating an arresting, aching intimacy, adapting vocal color to musical and textual needs. Pushkin had a surprisingly penetrating understanding of a young girl’s yearnings, and how stunning that Tchaikovsky could express them musically with such unerring truth.

So what do we see in the object of Tatiana’s affection? The following scene tells all. Here Onegin meets with Tatiana after receiving the letter and admits in person that, although touched by Tatiana’s candor, marriage and domestic life offer no appeal. He can love her as a brother, perhaps more than that, and he asks that she not be angered by his response.

This music is cool—Onegin is simply being straightforward. He’s often described as callous, but neither music nor text communicate that here. He can’t be played as nasty and cold, otherwise we’d get annoyed with Tatiana for wanting anything to do with him. We must perceive something that would so intensely attract her. Certainly through body language and vocal color, the baritone portraying Onegin can project the coolness that wounds Tatiana at this moment.

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Things change, however: in the final scene, Tatiana takes the upper hand. Yes, she struggles to sustain her core of strength, but in the end she prevails, showing a maturity acquired through marriage and her new stature in society.

The same singer who began the opera portraying a shy teenager now presents a conflicted but ultimately determined woman.

Here the voice, too, can reflect the growth in the person. It should gain steadily in breadth and thrust during the scene’s magnificent opening arioso as Tatiana confronts Onegin, wondering whether it’s her social position that has awakened his attraction to her.

When Tatiana and Onegin reflect on how close they’d been to true happiness, the quiet despair of their individual vocal lines speaks volumes. But after admitting that she still loves Onegin, Tatiana asserts—despite his entreaties—that she will stay with her husband. These closing pages are as dramatic as anything written for lyric voices in Russian opera, the orchestra surging with full Tchaikovskyan grandeur.

The sheer scale of the music at this moment is in keeping with the strength Tatiana has acquired. She conquers her agony and takes charge of her life. The man kneeling before her previously scarred her heart, and it’s a measure of her growth as a woman that she can move forward. We know she won’t forget the feelings he once inspired in her, but will she live confidently and even happily without him? Absolutely.

Roger Pines regularly contributes to opera-related publications and recording companies internationally.

A recent lecturer for the opera programs of the Yale School of Music and Philadelphia’s Curtis Institute of Music, he currently teaches the opera repertoire and audition workshop courses at Northwestern University’s Bienen School of Music.

Salon Series

SCOTTISH BARN | THE BARNS AT WOLF TRAP Artistic intimacy is at the heart of these limited-capacity, artist-curated salon evenings.

Begin with dinner, then savor a bespoke musical journey unfolding just feet away.

Spanning five distinct concerts, the Salon Series offers the thrill of extraordinary voices in rare proximity, with programs that vary each night.

SALON SERIES: WILL LIVERMAN WEDNESDAY, JUNE 3 | 7:30 PM

2026 Filene Artist in Residence and Grammy-winning performer Will Liverman kicks off the Salon Series with a one-of-a-kind evening of song showcasing the music he loves. Step into a night where everything is curated with care by one of the great voices of a generation.

MONDAY, JUNE 8 | 7:30 PM Magdalena Kuźma, soprano Jonathan Patton, baritone Joseph Li, piano

MONDAY, JULY 6 | 7:30 PM Sophia Maekawa, mezzo-soprano Daniel O'Hearn, tenor Joseph Li, piano

MONDAY, JUNE 22 | 7:30 PM Aubrey Odle, mezzo-soprano Wayd Odle, tenor Renate Rohlfing, piano

MONDAY, JULY 20 | 7:30 PM Angela Yam, soprano Korin Thomas-Smith, baritone Joseph Li, piano

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

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Aria Jukebox

YOU VOTE FOR THE SONGS! OUR SINGERS SING THEM! SUNDAY, JUNE 28 | 2 PM THE BARNS AT WOLF TRAP It’s an afternoon of opera’s greatest arias on demand—and you’re in control of the set list! Experience the high energy of Aria Jukebox, where each singer offers four arias and the audience votes on which ones will be performed live. Along the way, the singers may charm, persuade, or playfully bamboozle the crowd in hopes of swaying the vote. Who will win—audience or artists? You’ll have to attend to find out.

Perfect for opera newcomers and longtime fans alike, this event bubbles with fun, and is not to be missed. Vote early, and often!

Audience voting begins at 1 PM.

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Wolf Trap Opera’s home stage performances embody its core mission to discover and promote the finest emerging opera talent. Whether inside 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.

While cornerstone programming remains on campus, the company continues to expand beyond these boundaries to engage new audiences and share fresh perspectives. These performance opportunities—and the partnerships that make them possible—are the essence of UNTRAPPED, bringing the thrill of vocal music to new places and unexpected spaces.

UNTRAPPED

UNTRAPPED

JULY 21 | 7 PM HOLY TRINITY CATHOLIC CHURCH IN GEORGETOWN

AUGUST 10 | 7 PM US CAPITOL

STUDIO ARTISTS IN CONCERT

In its fourth year of concerts at the extraordinary Holy Trinity Catholic 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.

NAVY BAND CAPITOL CONCERT One of Wolf Trap Opera's soloists joins the storied United States Navy Concert Band on the west steps of the United States Capitol building for the Concerts at The Capitol series.

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Master Classes WILL LIVERMAN MASTER CLASS

SUNDAY, MAY 31 | 3 PM CENTER FOR EDUCATION AT WOLF TRAP 2026 Filene Artist in Residence and Grammy Award-winning baritone Will Liverman (’15, ’16) returns to Wolf Trap to work with Studio Artists on vocal technique and interpretation in this free public master class.

STEVEN BLIER MASTER CLASS

TUESDAY, JUNE 9 | 3 PM CENTER FOR EDUCATION AT WOLF TRAP Recitalist, raconteur, and longtime Wolf Trap Opera favorite, Steven Blier leads Wolf Trap Opera’s Studio Artists in a free public master class exploring the art of song and the craft of interpretation. A book signing with Blier of his new book, From Ear to Ear: A Pianist's Love Affair with Song, will follow the class.

RENÉE FLEMING MASTER CLASS

TUESDAY, JUNE 23 | 3 PM CENTER FOR EDUCATION AT WOLF TRAP Renowned soprano and Wolf Trap Opera’s Artist Development Advisor, Renée Fleming, works with the next generation of opera stars.

Master Class events are free, but reservations are required and limited.

WOLFTRAP.ORG/MASTERCLASSES

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Will liverman, baritone 2026 FILENE ARTIST IN RESIDENCE

Will Liverman (’15, ’16) returns to work with Wolf Trap Opera’s emerging singers on artistic development and practical career preparation.

Hailed by The Washington Post as “a voice for this historic moment,” Grammy Award-winning baritone Will Liverman has been praised internationally for his versatility in dramatic and comedic operatic roles and his dedication and vision as a composer, artist, and advisor. He is the co-creator of the soul opera The Factotum, which premiered at the Lyric Opera of Chicago in 2023.

Liverman has appeared at The Metropolitan Opera, English National Opera, Dutch National Opera, LA Opera, Santa Fe Opera, and Washington National Opera, among many others. At The Met, Liverman made history as the first-ever Black Papageno in The Magic Flute; headlined Terence Blanchard’s Fire Shut Up In My Bones, which won a 2023 Grammy Award; and starred in Anthony Davis’ X: The Life and Times of Malcolm X. He premiered Kevin Puts’ The Manchurian Candidate at Minnesota Opera and René Orth’s 10 Days in a Madhouse at Opera Philadelphia, and served as Artistic Advisor for Renée Fleming’s SongStudio at Carnegie Hall.

A recipient of The Metropolitan Opera’s 2022 Beverly Sills Artist Award, Liverman is an alumnus of the Ryan Opera Center at the Lyric Opera of Chicago and holds degrees from The Juilliard School (MM) and Wheaton College in Illinois (BM).

SPECIAL THANKS TO THE LINCOLN AND THERESE FILENE FOUNDATION, 2026 PROGRAM UNDERWRITER

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RENÉE FLEMING

ARTIST DEVELOPMENT ADVISOR As Wolf Trap Opera’s Artist Development Advisor, internationally acclaimed soprano Renée Fleming enriches WTO’s training programs through immersive mentorship. With her bold vision and deep passion for nurturing the next generation of singers, she is helping shape the future of opera at the nation’s premier training ground for emerging opera talent.

Fleming works directly with WTO artists in both individual and group settings, offering guidance on audition technique and repertoire development while equipping young performers with the skills to thrive in today’s opera industry. She enhances WTO’s program through a seamless blend of performance opportunities and mentorship, including two exciting initiatives: • American Impressions: Connecting WTO artists with composers at the forefront of contemporary American opera through study and performance opportunities.

• NextGen: Handpicking and mentoring select members of the 2026 company for a recital at The Barns at Wolf Trap during the 2026–2027 season.

“

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The prestige of Wolf Trap Opera is internationally recognized, with alumni singing on the stages of the world’s greatest houses.

—Renée Fleming

Scan to watch Renée Fleming’s mentorship in action as she discusses working with WTO’s Filene Artists last summer.

SPECIAL THANKS TO DAN AND GAYLE D’ANIELLO, PROGRAM UNDERWRITERS

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WOlF TRAP OPERA: WHERE DEFINING ROLES TAKE SHAPE Often in opera, there’s a central, consistent theme: tumultuous love and intertwined characters. From the pure-intentioned, disguised trials of La Cenerentola’s Don Ramiro and the intense passion and heartache experienced by Tosca’s Cavaradossi to the unrequited longings of Eugene Onegin’s Tatiana, Wolf Trap Opera’s (WTO) 2026 productions each masterfully portray love’s tribulations and (occasional) happy endings.

Bringing these characters to life are WTO’s Filene and Studio Artists, all of whom are learning and performing pivotal roles early in their careers. Reflecting on this unique training, Wolf Trap’s Manager of Artistic Administration Arianna Zukerman says, “One of the aspects we pride ourselves on at Wolf Trap is making a safe space in which our artists can experiment, discover, and create.”

“These amazing singers are often debuting major roles. When first headlining a show, artists need the space to test their own technique and ideas. We do our best to give them the room to do just that in a process free from judgement.”

This approach has allowed Wolf Trap’s singers to flourish, as evidenced by its robust and successful alumni network. Ahead of the season, WTO superstars Lawrence Brownlee and Simon O’Neill, and WTO’s Artist Development Advisor Renée Fleming all shared their personal connections to Don Ramiro, Cavaradossi, and Tatiana and their experiences with the program.

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CROWNING PERFORMANCES What do WTO and the Paris Opera have in common this June? Performances of Rossini’s timeless La Cenerentola, with the latter venue starring 2019 Filene Artist in Residence Lawrence Brownlee (’01) as Prince Don Ramiro.

Hailed as “an international star in the bel canto operatic repertory” (The New York Times), Brownlee’s name is synonymous with the Rossini tenor repertoire—a legacy that traces back to his training at WTO.

Lawrence Brownlee as Prince Don Ramiro in Lyric Opera of Chicago's La Cenerentola (©Todd Rosenberg Photography)

Brownlee debuted the role of Don Ramiro during graduate school at Indiana University and shortly thereafter, he joined WTO where he studied a variety of repertoire, including Britten, Mozart, and Donizetti. By the following summer, he had already advanced to the world stage to take on The Barber of Seville at La Scala—the only opera he has performed more than La Cenerentola.

He credits WTO for preparing him for this transition saying, “As I was emerging from young artist to professional, WTO was the first place that treated me like an adult artist. It was a professional experience in every way that taught me how to be a professional artist—no longer a student.”

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BROWNLEE’S WORDS OF WISDOM FOR PORTRAYING DON RAMIRO: “Find the humanity and truth in the character. Dig deep!

Ask ‘what specifically does my character want and why?’

Then try to play within that specificity… The ensemble numbers [of La Cenerentola] are demanding and provide challenges; spend time learning those well. The speed of the quintet makes it difficult to pronounce; get this in your muscle memory.”

However, he continues to remain a student of Don Ramiro. Far from the vague fairytale prince of Disney’s retelling, Brownlee attests, “I appreciate this version of the prince [because] it is much more involved. That being said, I have always felt a bit frustrated playing this character because he has to sit and endure what is happening for so long. He cannot reveal his true identity until midway through Act II.” With time and life experience—ushered in through raising a family—Brownlee continues to reevaluate this challenge with Don Ramiro.

He believes his wife and children taught him the importance of patience, a quality that has made him better at telling the story of a prince charmed by Cenerentola’s good heart.

ARTISTIC EVOLUTIONS New Zealander and 2016 Filene Artist in Residence Simon O’Neill (’03) is regarded as one of the world’s leading heldentenors and praised for his command of the Wagnerian repertoire. But long before his German specialization, one of O’Neill’s primary roles as a young artist in New Zealand was Tosca’s Cavaradossi.

Not long after his studies at Manhattan School of Music and The Juilliard School, O’Neill auditioned for WTO. When the company needed a replacement for the title role of La Clemenza di Tito, they chose O’Neill.

The opportunity opened numerous doors for him, including performing for the great Evelyn Lear and Thomas Stewart at their home in Maryland and some transformative training that shaped the trajectory of his career.

O’NEILL’S ADVICE FOR EMERGING ARTISTS FINDING THEIR NICHE: “[Even while] singing dramatic roles… there are moments where you have to be happy. When Cavaradossi sings “Recondita armonia,” just smile because you have this gorgeous orchestral interlude before you start singing.

And the smile, what it does as singers, it lifts your palate.”

“Be open to where your voice, career, and love of the music is going. You might come to sing Cavaradossi, but you might end up leaving one day [singing] German or Czech repertoire.”

Simon O'Neill as Cavaradossi in New Zealand Opera's Tosca (credit: New Zealand Opera, Neil McKenzie)

“I went to Wolf Trap with the idea of being a Mozartian tenor, and I ended that summer at Wolf Trap as a young heldentenor.

The next year, I had an audition and I became the cover for the role of Siegmund [at The Met],” shared O’Neill.

While reflecting on his time with WTO, O’Neill was opening Kurt Weill’s The Rise and Fall of the City of Mahagonny for English National Opera in London. O’Neill said, “I know I can sing that [repertoire] as a heldentenor because of my discipline of learning to sing as an Italian singer with Wolf Trap back in the day. I'm very grateful for that.”

That Italian training also gets used when O’Neill is cast as Cavaradossi. He estimates he’s portrayed the role around 25 times, and—when compared against his oftenstrenuous German repertoire—the sweet legato phrasing of arias like “Recondita armonia” and “E lucevan le stelle” feel to him like “pouring really lovely tasting olive oil onto [his] vocal cords.” That, coupled with the triumph and drama of “Vittoria, Vittoria” in the infamous torture scene, makes Cavaradossi one of his most adored roles.

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INNER CONVICTION It’s hard to discuss American opera without mentioning one of its leading sopranos, Renée Fleming. Her debut as Tatiana in Eugene Onegin with Dallas Opera transformed Fleming’s career, shifting her center from bel canto and Mozart to more diverse repertoire— not to mention a new language. She credits her work alongside native speakers and great baritones Sergei Leiferkus (at her Dallas role debut) and the late Dmitri Hvorostovsky (at The Metropolitan Opera and in concerts in Russia) for helping her master the language and style.

FLEMING’S GUIDANCE FOR NAVIGATING TATIANA’S DEPTH: “Managing the relatively low tessitura is a challenge. The role is often written in the mean orchestra range—it requires a full middle register. And in terms of the drama, I think the difficulty lies in balancing Tatiana’s reserve with her passion and her progression from her country roots to high society.”

For Fleming, portraying Tatiana feels deeply personal as she explains, “[Tatiana] is bookish, a reader, and a dreamer. I’ve always called it the closest role to my young life, because I was shy at that age, and read constantly as well. But she makes an incredibly courageous choice to share her inner life with Onegin. I admire her growth into a woman of real strength and firm principles by the end of the opera.”

Coincidentally, that increase in confidence mirrors the training Fleming now imparts to the next generation of singers at Wolf Trap.

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Renée Fleming as Tatiana in The Metropolitan Opera's Eugene Onegin (credit: Ken Howard/Met Opera)

Here, Fleming works with Filene and Studio Artists to develop their voices as well as a well-rounded approach to performance. After the artists fully digest the libretto and music, she helps fine tune their craft through master classes and individualized training to further prepare them for professional careers.

This season, Fleming even has a connection to WTO’s Tatiana: Magdalena Kuźma. Fleming says, “I have watched Magdalena’s growth as an artist in programs I’ve led like SongStudio at Carnegie Hall and the Aspen Opera Theater. She is highly musical and her voice is uniquely beautiful.”

OPERA FOR TODAY & TOMORROW For the Filene and Studio Artists embodying the roles of Don Ramiro, Cavaradossi, and Tatiana this season—as well as those filling out the casts of their respective productions— studying these characters at such a pivotal time in their training is paramount.

Through WTO’s continued commitment to fostering emerging opera talent, there’s a great likelihood that those gracing the stages of the Filene Center and The Barns today may be the very same ones transforming into the opera superstars of tomorrow.

Alumni in past WTO performances (L-R clockwise): Lawrence Brownlee in A Midsummer Night's Dream, Brandon Cedel in Il viaggio a Reims, Erin Morley in Ariadne auf Naxos, Ryan Speedo Green with The Philadelphia Orchestra, Ailyn Pérez in Le nozze di Figaro, and Jamie Barton in concert at The Barns

GENERATIONS OF WTO ALUMNI CONTINUE TO INSPIRE More than five decades in, Wolf Trap Opera (WTO) continues its established tradition of finding and nurturing some of opera’s biggest stars.

Discover a few of the recent accomplishments by WTO’s 1,000+ alumni at home and abroad.

METROPOLITAN REUNIONS The Metropolitan Opera’s 2025–2026 season featured at least one WTO alum in every single production—a testament to WTO’s impactful training.

In January, opera superstar Denyce Graves-Montgomery (’89) concluded her distinguished three decades-long career with a final turn as Maria in Porgy and Bess. The captivating performance showcased seven WTO alumni, including former Filene Artists bass-baritone Ryan Speedo Green (’13, ’14), bass-baritone Alfred Walker (’99), Brittany Olivia Logan (’23, ’25), and Studio alumna Jazmine Saunders (’23).

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In addition to his performances in Porgy and Bess and Tristan und Isolde, Green sang the salacious title role in Don Giovanni with alumni bass-baritone Brandon Cedel (’13) and soprano Andrea Carroll (’12, ’13).

Lawrence Brownlee (’01) joined Erin Morley (’07, ’08) in the latter’s role debut as Marie in the buoyant La Fille du Régiment. The tenor-soprano duo collaborated on the “charmingly picturesque” (OperaWire) 2025 album Golden Age, celebrating the bel canto style. Morley also sang Pamina in The Magic Flute Holiday Presentation with over a dozen other Trappers, including Joshua Blue (’19), Le Bu (’24), Tessa McQueen (’23), Michael Sumuel (’10, ’11), and Emily Treigle (’23, ’24).

CELEBRATING AMERICAN OPERA COMPANIES Regardless of the language in which they sang, alumni transported viewers around the world while performing on stages across the US. Grammy-winning bass and 2021 Filene Artist in Residence Morris Robinson (’03, ’04) performed in Aïda with Washington National Opera and the operatic mashup Ride of the Valkyries! with Boston Lyric Opera in fall 2025. In the spring, Robinson sang with the Dallas, Palm Beach, and Atlanta operas.

John Holiday in concert at The Barns at Wolf Trap (2025)

Mezzo-soprano Jamie Barton (’09) brought former WTO guest artist Jake Heggie’s Dead Man Walking to life with her “commanding stage presence” (San Francisco Classical Voice) as Sister Helen Prejean at San Francisco Opera.

Barton’s portrayal of Elizabeth van Lew in Heggie’s Intelligence, also featuring fellow alumna J’Nai Bridges (’15, ’16), was recorded with Houston Grand Opera and won a Grammy for Best Opera Recording.

After entrancing audiences at Washington National Opera, NPR’s famed Tiny Desk Concert, and The Barns’ 24-25 season, John Holiday (’14) dazzled with his “timeless” (The Washington Post) countertenor voice at the New York Philharmonic in December and LA Opera in spring 2026—all following a glowing profile in The New York Times.

Meanwhile, countertenor Aryeh Nussbaum Cohen (’17) made his title role debut in Orfeo ed Euridice at Music of the Baroque in Chicago, amid a string of Handel’s Messiah in Houston, Ann Arbor, and St. Paul.

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EDUCATION OPERA-TIONS Wolf Trap alumni have long passed the baton to younger singers, paving the way for the next generation of artists.

After directing a March production of Scott Joplin's Treemonisha at Washington National Opera, Denyce GravesMontgomery (’89) transitioned to leading The Denyce Graves Foundation. The nonprofit’s programs include the Shared Voices initiative, which aims to improve enrollment in Historically Black Colleges and Universities’ arts programs.

Adriana Zabala in Wolf Trap Opera's Xerxes (2002)

Adriana Zabala (’01, ’02) presides over opera events at Yale University since becoming the inaugural Assistant Dean of Collaborative Arts. Zabala’s 2026 accomplishments include: singing the title role in the East Coast premiere of Christopher Theofanidis and Melissa Studdard’s Siddhartha, She and acting as an adjudicator for the Laffont Opera Competition.

Nicholas Phan (’03, ’04) received a 2025 Grammy (Best Opera Recording) for Kaija Saariaho’s astounding Adriana Mater. Phan’s multiple education platforms include Art Song Chicago, which he co-founded in 2010 to promote art song and chamber music.

GLOBAL INFLUENCES WTO alumni brought outstanding talent to audiences around the world, from East Asia to South America.

At London’s Royal Ballet and Opera, powerhouse soprano Ailyn Pérez (’06) performed Tosca’s title role before gracing stages with Bayerische Staatsoper on tour in Shanghai, as Otello’s Desdemona, and in Munich, as Pagliacci’s Nedda.

Meanwhile, Grammy-winning soprano Tamara Wilson (’08) brought her inimitable portrayal of the courageous Brünnhilde to Paris, where she sang in Wagner’s Siegfried with multiple Parisian companies.

J'Nai Bridges in Wolf Trap Opera's The Rape of Lucretia (2016)

Tenor Simon O’Neill (’03) closed out 2025 singing the title role of Wagner’s Siegfried with the Sydney Symphony Orchestra before a summertime performance of Tristan und Isolde at Theatro Municipal de São Paolo. And “impossible to resist” (Bachtrack) soprano Ying Fang (’13, ’14) sang The Magic Flute’s Pamina with Opera Ballet Vlaanderen at Festival d’Aix-enProvence in July, to close out her season.

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FILENE ARTISTS

EXCEPTIONAL EMERGING PROFESSIONALS ON THE CUSP OF MAJOR CAREERS Selected from the top applicants, the 2026 Filene Artists were the catalyst for this season’s repertoire. Wolf Trap Opera’s artist-focused approach—identifying productions once the most talented singers are found—makes the Filene Artist residency a particularly sought-after honor for exceptional emerging singers who have completed their training and are poised for significant careers.

ANGEL RAII GOMEZ

SOPHIA MAEKAWA*

McAllen, TX

Kyoto, Japan

ROLE: Don Ramiro (La Cenerentola)

ROLES: Angelina (La Cenerentola), Salon Series 7/6

TENOR

TRAINING: Lindemann Young Artist Development Program, The Metropolitan Opera; Academy of Vocal Arts; International Meistersinger Academy HIGHLIGHTS: Aldeanos (El Último Sueño de Frida y Diego), The Metropolitan Opera; Count Almaviva (Il barbiere di Siviglia), Ernesto (Don Pasquale), Faust (Faust), Fritz (L’amico Fritz), Academy of Vocal Arts

CUMHUR GÖRGÜN BASS

MEZZO-SOPRANO

TRAINING: Ryan Opera Center, Lyric Opera of Chicago; Singer Fellow, Ravinia Steans Institute; Renée Fleming Artist, Aspen Music Festival; Apprentice Artist, Santa Fe Opera; Gerdine Young Artist, Opera Theatre of Saint Louis; Curtis Institute of Music; Wolf Trap Opera (Filene ’25) HIGHLIGHTS: Lee Ann (The Listeners), Lyric Opera of Chicago; Cherubino (Le nozze di Figaro), Aspen Music Festival, Wolf Trap Opera; Tisbe (La Cenerentola), Pestuchyna (Jenůfa), Lyric Opera of Chicago; Ariodante (Ariodante), Curtis Institute of Music

Istanbul, Turkey ROLES: Alidoro (La Cenerentola), Cesare Angelotti (Tosca)

SERGIO MARTINEZ

TRAINING: Academy of Vocal Arts, Istanbul University State Conservatory

Sogamoso, Colombia

HIGHLIGHTS: Don Basilio (cover) (Il barbiere di Siviglia), Glyndebourne Festival; Banquo (Macbeth), Teatro Nuovo; Méphistophélès (Faust), Don Pasquale (Don Pasquale), Enrico VIII (Anna Bolena), Leporello (Don Giovanni), Figaro (Le nozze di Figaro), Academy of Vocal Arts

MAGDALENA KUŹMA SOPRANO

New York City, NY ROLES: Tatiana (Eugene Onegin), Salon Series 6/8 TRAINING: Lindemann Young Artist Development Program, The Metropolitan Opera; Santa Fe Opera; Merola Opera Program; Ravinia Steans Music Institute; Music Academy of the West; Young Artists Vocal Academy, Houston Grand Opera; SongStudio, Carnegie Hall; Chautauqua Institute; Yale University; Oberlin Conservatory and College; The Juilliard School HIGHLIGHTS: Pamina (Die Zauberflöte), Polish National Theater, Opera Orlando; Susanna (Le nozze di Figaro), Aspen Music Festival; Juliette (Roméo et Juliette), Glimmerglass Opera; Gianetta (L’elisir d’amore), Sister Catherine (Dead Man Walking), Papagena (Die Zauberflöte), Yvette (La rondine), The Metropolitan Opera; Frasquita (Carmen), Santa Fe Opera; Adina (L’elisir d’amore), Yale Opera

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BASS

ROLES: Prince Gremin (Eugene Onegin), Sacristan (Tosca), Aria Jukebox TRAINING: The Glimmerglass Festival, Des Moines Metro Opera; Cafritz Young Artist Program, Washington National Opera; University of Illinois at Urbana-Champaign; Yale University HIGHLIGHTS: Il Re (Aida), Virginia Opera; Sergeant of Police (Pirates of Penzance), Tulsa Opera; Cesar Chavez (Dolores), Opera Southwest; Sacristan (Tosca), The Glimmerglass Festival; Palémon (Thaïs), Spoleto Festival (USA); Zuniga (Carmen), Detroit Symphony Orchestra; Judge Advocate General (Grounded), Frére Laurent (Roméo et Juliette), Washington National Orchestra

CECELIA McKINLEY*^

WAYD ODLE^

Sterling, VA

North Platte, NE

ROLES: Filipyevna (Eugene Onegin), Aria Jukebox, Soloist (Beethoven’s Ninth Symphony)

ROLES: Spoletta (Tosca), Salon Series 6/22

CONTRALTO

TRAINING: Cafritz Young Artist Program, Washington National Opera; Merola Opera Program; Wolf Trap Opera (Studio ’22; Filene ’25); Shepherd School of Music, Rice University; Institute for Young Dramatic Voices; James Madison University HIGHLIGHTS: Third Frida Image (El Ultimo Sueño de Frida y Diego), The Metropolitan Opera; Galatea (Aci, Galatea, e Polifemo), Ars Lyrica Houston; Gertrude (Roméo et Juliette), Arsace (Partenope), Zweite Magd (Elektra), Washington National Opera; Second Witch/ Spirit (Dido and Aeneas), Opera Lafayette; Madame de Croissy (Dialogues des Carmélites), Wolf Trap Opera; Alto soloist (Beethoven Symphony No. 9, Handel's Messiah), Roanoke Symphony Orchestra

TENOR

TRAINING: Studio Artist, The Atlanta Opera; Apprentice Program, Santa Fe Opera; Lyric Opera of Kansas City; Wolf Trap Opera (Studio ’20, ’21); Knoxville Opera, University of Tennessee, Knoxville; Brigham Young University HIGHLIGHTS: First Armored Man/First Priest (The Magic Flute), The Atlanta Opera; Major Domo (Der Rosenkavalier), The Santa Fe Opera; Alfredo (cover) (La traviata), Dallas Opera; Delbert Grady (The Shining), Lyric Opera of Kansas City; Cavaradossi (Tosca), Kalamazoo Symphony; Don José (Carmen), Varna International

DANIEL O’HEARN* TENOR

TESSA McQUEEN^ SOPRANO

Loveland, CO ROLES: Tosca (Tosca), Soloist (Beethoven’s Ninth Symphony), Aria Jukebox TRAINING: Lindemann Young Artist Development Program, The Metropolitan Opera; Merola Opera Program, San Francisco Opera; Wolf Trap Opera (Studio ’23); Central City Opera; Rice University; Oklahoma City University HIGHLIGHTS: First Lady (The Magic Flute), Annina (La traviata), High Priestess (Aida), Countess Ceprano (Rigoletto), The Metropolitan Opera; Nedda (Pagliacci), Merola Opera Program; Female Chorus (The Rape of Lucretia), Poppea (L’incoronazione di Poppea), Rice University

AUBREY ODLE

MEZZO-SOPRANO Portland, OR ROLES: Larina (Eugene Onegin), Salon Series 6/22 TRAINING: Apprentice Artist, The Santa Fe Opera; Studio Program, The Atlanta Opera; Resident Artist, Lyric Opera of Kansas City; Apprentice Artist, Des Moines Metro Opera HIGHLIGHTS: Seigrune (Die Walküre), The Santa Fe Opera; Lady-in-Waiting (Macbeth), Giovanna (Rigoletto), The Atlanta Opera; Judith (Bluebeard's Castle), Des Moines Metro Opera; Flora (La traviata), Lyric Opera of Kansas City

Chicago, IL ROLES: Lensky (Eugene Onegin), Salon Series 7/6 TRAINING: Lindemann Young Artist Development Program, The Metropolitan Opera; Resident Artist Program, Pittsburgh Opera; Apprentice Program, Santa Fe Opera; Resident Artist Program, Utah Opera; DePaul University; Wolf Trap Opera (Filene ’25) HIGHLIGHTS: Duca (Rigoletto), Pittsburgh Opera; Remendado (Carmen), Seattle Opera; Nemorino (L’elisir d’amore), Utah Opera; Rodolfo (La bohème), Opera Saratoga; Rodolfo (La bohème), Pittsburgh Opera; Don José (Carmen), Wolf Trap Opera; Master of Ceremonies (The Queen of Spades), Ruiz (Il Trovatore), First Armored Guard (The Magic Flute), The Metropolitan Opera

JONATHAN PATTON* BARITONE

Juneau, AK/Durango, CO ROLES: Scarpia (Tosca), Soloist (Beethoven’s Ninth Symphony), Salon Series 6/8, Aria Jukebox TRAINING: Cafritz Young Artists Program, Washington National Opera; Young Artists Program, The Glimmerglass Festival; Apprentice Artist, Des Moines Metro Opera; Young Artist, Opera Southwest; Apprentice Artist, Festival Napa Valley; University of North Texas; University of New Mexico; Fort Lewis College; Wolf Trap Opera (Filene ’25) HIGHLIGHTS: Baruch (Baruch's Schweigen), Muffled Voices Festival; Escamillo (Carmen), Knoxville Opera; Don Giovanni (Don Giovanni), Rapides Symphony Orchestra; Marquis de la Force (Dialogues des Carmélites), Wolf Trap Opera; Steve Jobs (The (R)evolution of Steve Jobs), Washington National Opera; Silvio (Pagliacci), The Glimmerglass Festival

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ELISSA PFAENDER*

KORIN THOMAS-SMITH

Delafield, WI

Toronto, Canada

ROLES: Olga (Eugene Onegin), Aria Jukebox

ROLES: Dandini (La Cenerentola), Salon Series 7/20

MEZZO-SOPRANO

TRAINING: Wolf Trap Opera (Filene ’25); Gaddes Festival Artist, Opera Theatre of Saint Louis; Vocal Fellow, Ravinia Steans Music Institute; Resident Artist, Tulsa Opera; Apprentice Artist, Sarasota Opera; Oberlin Conservatory HIGHLIGHTS: Carmen (Carmen), Wolf Trap Opera; Anna Kennedy (Maria Stuarda), Teatro Real; Marcellina (Le nozze di Figaro), Waltraute (Die Walküre), Dritte Dame (Die Zauberflöte), Deutsche Oper Berlin; McLean (Susannah), Opera Theater of Saint Louis; Soloist (Tchaikovsky Spectacular), Chicago Symphony Orchestra

BARITONE

TRAINING: Ensemble Studio Program, Canadian Opera Company; Apprentice Artist Program for Singers, Santa Fe Opera; Apprentice Artist, Des Moines Metro Opera; Young Artist, The Glimmerglass Festival; Voice Fellow, Ravinia Steans Music Institute; Yale School of Music; University of Toronto HIGHLIGHTS: The Businessman (The Little Prince), The Dallas Opera; Mercutio (Roméo et Juliette), Malatesta (Don Pasquale), Canadian Opera Company; Schaunard (La bohème), Count Ceprano (Rigoletto), Santa Fe Opera

FINN SAGAL

ANGELA YAM

La Cañada Flintridge, CA

Sacramento, CA

ROLES: Eugene Onegin (Eugene Onegin), Aria Jukebox

ROLE: Clorinda (La Cenerentola), Salon Series 7/20

BARITONE

TRAINING: Ryan Opera Center, Lyric Opera of Chicago; Fleming Artist, Aspen Music Festival; Merola Opera Program; Yale Opera; University of California, Los Angeles HIGHLIGHTS: Guglielmo (Così fan tutte), Aspen Music Festival; First Villager (El último sueño de Frida y Diego), Lyric Opera of Chicago; Nick Shadow (The Rake’s Progress), Tutor (Le Comte Ory), Yale Opera

DEMETRIUS SAMPSON JR.* TENOR

SOPRANO

TRAINING: Emerging Artists Program, Boston Lyric Opera; Resident Artist Program, The Glimmerglass Festival; Apprentice Artist, Chautauqua Opera; Festival Artist, Opera Saratoga; Apprentice Artists, Santa Fe Opera; New England Conservatory HIGHLIGHTS: Calisto (La Calisto), Opera Memphis; Celeste 1 (Sunday in the Park with George), The Glimmerglass Festival; Ismene (Mitridate), Boston Lyric Opera; Johanna (Sweeney Todd), Chautauqua Opera

ZINIU ZHAO

Atlanta, GA

BASS

ROLES: Cavaradossi (Tosca), Soloist (Beethoven’s Ninth Symphony), Aria Jukebox

ROLES: Don Magnifico (La Cenerentola)

TRAINING: Sarah and Ernest Butler Studio, Houston Grand Opera; Wolf Trap Opera (Filene ’24); Merola Opera Program; Apprentice Program, Des Moines Metro Opera; Georgia State University HIGHLIGHTS: Sportin’ Life (Porgy and Bess), Houston Grand Opera; Lennie (Of Mice and Men), Roldolfo (La bohème), Austin Opera; Malcolm (Macbeth), Atlanta Opera; Kronprinz (Silent Night), Wolf Trap Opera

Shandong Province, China

TRAINING: Sarah and Ernest Butler Opera Studio, Houston Grand Opera; Central Conservatory of Music (Beijing) HIGHLIGHTS: Colline (La bohème), Don Alfonso (Così fan tutte), Don Pasquale (Don Pasquale), Don Bartolo (Il barbiere di Siviglia), Central Conservatory of Music; Don Magnifico (La Cenerentola), Reimar Von Zweter (Tannhäuser), Maestro Spinelloccio (Gianni Schicchi), French General (Silent Night), Candy (Of Mice and Men), Houston Grand Opera

*Returning Filene Artist ^Former Studio Artist

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STUDIO ARTISTS

GIFTED YOUNG SINGERS FROM TOP VOICE PROGRAMS Designed to bridge the gap from student to professional, Wolf Trap Opera’s Studio program nurtures singers of significant potential who are currently or were recently in university or conservatory training. Studio Artists understudy principal roles, perform smaller parts, sing in the chorus, refine their craft with regular studio classes, and work with a select roster of guest teachers.

JOHN ARLIEVSKY

AYANNA DELK-LEWIS^

Nyack, NY

Lynwood, CA

ROLES: Chorus (La Cenerentola, Eugene Onegin)

ROLE: Chorus (Eugene Onegin)

COVERS: Dandini (La Cenerentola), Zaretsky (Eugene Onegin), Sciarrone (Tosca)

TRAINING: Wolf Trap Opera (Studio ’25); University of Houston; California State University-Fullerton

BARITONE

TRAINING: Yale Opera, Yale School of Music; Peabody Conservatory, Johns Hopkins University; Piano Performance and Composition, Westminster Choir College; Tanglewood Vocal Fellow; Shared Voices, Denyce Graves Foundation; Castleton Vocal Immersion Program

MAYA BEHIRI SOPRANO

Jerusalem, Israel ROLE: Chorus (Eugene Onegin) COVERS: Clorinda (La Cenerentola), Shepherd (Tosca) TRAINING: Bienen School of Music, Northwestern University; Buchmann-Mehta School of Music, Tel Aviv University

SOPRANO

COVER: Tosca (Tosca)

ALESSANDRO FANAN TENOR

Alba, Italy ROLES: Chorus (La Cenerentola, Eugene Onegin) COVERS: Monsieur Triquet (Eugene Onegin) TRAINING: Young Artist Vocal Academy, Houston Grand Opera; Frost School of Music Program at Salzburg, University of Miami

CHRISTOPHER GRAY BASS-BARITONE Dallas, TX

JACK BURROWS

ROLE: Chorus (La Cenerentola, Eugene Onegin), Jailer (Tosca)

Seattle, WA

COVERS: Angelotti (Tosca), Prince Gremin (Eugene Onegin)

BARITONE

ROLES: Chorus (La Cenerentola), Zaretsky/Chorus (Eugene Onegin) COVERS: Don Magnifico (La Cenerentola), Jailer (Tosca) TRAINING: Shepherd School of Music, Rice University; Pacific Lutheran University; Music Academy of the West

NATALIE CREEL MEZZO-SOPRANO Zachary, LA ROLE: Chorus (Eugene Onegin) COVER: Olga (Eugene Onegin) TRAINING: Lehrer Studio Artist, Music Academy of the West; Vocal Immersion Fellow, Castleton Festival; Shepherd School of Music, Rice University; Louisiana State University

TRAINING: Studio Artist, Aspen Music Festival; Music on Site; Varna International Music Academy; College of Music, University of North Texas

JACK HICKS TENOR

Bernardsville, NJ ROLES: Chorus (La Cenerentola), Triquet/Chorus (Eugene Onegin) COVERS: Ramiro (La Cenerentola) TRAINING: College-Conservatory of Music, University of Cincinnati; Juilliard Pre-College, The Juilliard School; Chautauqua Opera Conservatory

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XIAOFENG HOU TENOR

Beijing, China ROLES: Chorus (La Cenerentola, Eugene Onegin) COVER: Lensky (Eugene Onegin) TRAINING: Chicago Summer Opera; Classic Lyric Arts; China Conservatory of Music (Beijing); New England Conservatory

MADISON KAVANAUGH^ MEZZO-SOPRANO Bossier City, LA ROLE: Chorus (Eugene Onegin) COVER: Filipyevna (Eugene Onegin) TRAINING: College-Conservatory of Music, University of Cincinnati; Louisiana State University; Wolf Trap Opera (Studio ’25); The Institute for Young Dramatic Voices; Sewanee Summer Music Festival; The Collaborative Piano Institute

MICHAEL MENSAH BASS

Elmina, Ghana ROLES: Chorus (La Cenerentola), Commander/Chorus (Eugene Onegin) COVER: Sacristan (Tosca) TRAINING: Choir Academy, Vienna State Opera; Berlin Opera Academy; Thornton School of Music, University of Southern California; Vocal Immersion Program, Castleton Festival

SØREN PEDERSEN^ BARITONE

San Diego, CA ROLES: Chorus (La Cenerentola, Eugene Onegin), Sciarrone (Tosca) COVERS: Alidoro (La Cenerentola), Eugene Onegin (Eugene Onegin) TRAINING: Wolf Trap Opera (Studio ’25); College Conservatory of Music, University of Cincinnati; Chautauqua Opera Conservatory

MEZZO-SOPRANO Chicago, IL

ROLE: Chorus (Eugene Onegin) COVER: Angelina (La Cenerentola) TRAINING: Shepherd School of Music, Rice University; Royal College of Music-London; Jacobs School of Music, Indiana University; Opera UK Artist, Grange Festival; Smith Young Artist, Cedar Rapids Opera

UMA SINGH SOPRANO

Cleveland, OH ROLE: Chorus (Eugene Onegin) COVER: Tatiana (Eugene Onegin) TRAINING: Fulbright US Scholar Program; Franz Liszt University of Music-Weimar; Sarasota Opera; Central City Opera; Studio Artist, Chautauqua Opera Company; Northwestern University; University of Michigan

CALISTA RO-JEI SMITH SOPRANO Houston, TX ROLES: Chorus (Eugene Onegin), Shepherd (Tosca) COVER: Clorinda (La Cenerentola) TRAINING: Studio Artist, Aspen Music Festival; College-Conservatory of Music, University of Cincinnati; Northwestern University

SYDNEY SORBET MEZZO-SOPRANO Covington, LA ROLE: Chorus (Eugene Onegin) COVER: Tisbe (La Cenerentola) TRAINING: Smith Young Artist, Cedar Rapids Opera; Apprentice Artist, Des Moines Metro Opera; College-Conservatory of Music, University of Cincinnati; Louisiana State University

RUDY POLK

^Former Studio Artist

Clinton, MS

SUPPORT FOR THE 2026 STUDIO ARTISTS PROVIDED IN PART BY SCHMIDT VOCAL ARTS

TENOR

ROLES: Chorus (La Cenerentola, Eugene Onegin) COVERS: Lensky (Eugene Onegin), Spoletta (Tosca) TRAINING: Brevard Music Center; Castleton Vocal Immersion Program, Castleton Festival; University of North Texas

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ANTOINETTE POMPE van MEERDERVOORT

FELLOWS

FUTURE LEADERS IN OPERA DIRECTING AND COACHING Fellows are emerging professionals that make critical contributions to Wolf Trap Opera’s music and directing teams playing piano in rehearsals, coaching singers, assisting the directing teams, and running supertitles.

Alumni have gone on to positions with leading opera companies and built thriving freelance careers as conductors and directors.

MARINETTE GOMEZ

TZU KUANG TAN

Orlando, FL

Kuala Lumpur, Malaysia

DIRECTING FELLOW

TRAINING: Directing Fellowship, The Metropolitan Opera; Ryan Opera Center, Lyric Opera of Chicago; Stage Director, Glimmerglass Festival HIGHLIGHTS: Director: Silla, Chicago Summer Opera; The Orange Days, University of North Florida; Remedios Varios, Chicago Opera Theatre; Assistant Director: Hansel and Gretel, Utah Opera

MADELEINE SNOW DIRECTING FELLOW Chappaqua, NY TRAINING: Marion Roose Pullin Studio, Arizona Opera; Eastman School of Music; Harvard University HIGHLIGHTS: Director: La Cenerentola, La finta giardiniera, Arizona Opera; Roméo et Juliette, Opera Colorado; L’elisir d’amore, Die Zauberflöte, Boulder Opera; La Calisto, Eastman Opera Theatre; Die Zauberflöte, Cendrillon, Harvard College Opera; Assistant Director: Madama Butterfly, Zorro, Aida, La bohème, Arizona Opera; La traviata, Opera Colorado; The Pirates of Penzance, Central City Opera; An American Soldier, PAC NYC; Norma, Palm Beach Opera

COACHING FELLOW TRAINING: Butler Studio, Houston Grand Opera; Merola Opera Program; Music Academy of the West; Butler Opera Center, University of Austin; University of Michigan; Yong Siew Toh Conservatory of Music HIGHLIGHTS: Coaching: Song Studio, Carnegie Hall; Winner’s Recital, Music Academy of the West; Schwabacher Recital, Merola Opera Program

GABRIELĖ ŽEMAITYTĖ COACHING FELLOW Vilnius, Lithuania TRAINING: Domingo-Colburn-Stein Young Artist Program, LA Opera; Music Academy of the West; Manetti Shrem Opera Program, Festival Napa Valley; Conservatory of Music, Bard College; Koninklijk Conservatorium, Royal Conservatoire (Netherlands) HIGHLIGHTS: Pianist: The Concertgebouw (Amsterdam, Netherlands); Muziekgebouw (Amsterdam, Netherlands); Second Prize, Copenhagen Lied-Duo Competition (Copenhagen, Denmark)

JOSEPH STEVENS COACHING FELLOW

Karachi, Pakistan/Rochester, NH TRAINING: University of New Hampshire; Carnegie Mellon University; College-Conservatory of Music, University of Cincinnati HIGHLIGHTS: Assistant Coach, Rehearsal Pianist: La finta giardiniera, A Midsummer Night’s Dream (celeste and harpsichord), College-Conservatory of Music; Amahl and the Night Visitors, Dayton Opera; The Post Office/Opera Fusion, Cincinnati Opera; Cendrillon, Les mamelles de Tirésias, College-Conservatory of Music

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GUEST ARTISTS JACOB A. CLIMER Scenic & Costume Design: La Cenerentola

Ragtime, Opera Montana; Salome, Pelleas et Melisandre, American Apollo, Love for Three Oranges, Des Moines Metro Opera; Unknown Soldier, Arena Stage; Hedwig and the Angry Inch, Olney Theatre Center; Gary, Wellfleet Harbor Actors Theater; John Kander’s Kid Victory; Sarah Ruhl’s Melancholy Play; Les Misérables, Dallas Theater Center; Creative Director & Designer, The Texas Rose Festival

ALEJANDRO FARJADO Lighting Design: Eugene Onegin

Swan Lake, Romeo and Juliet, The Nutcracker, Don Quixote, Alberta Ballet; La Passion de Simone, Die Zauberflöte, La Calisto, Mannes Opera; Cabaret on Broadway, Associate Prologue Designer, August Wilson Theatre; Roméo et Juliette, National Opera of Chile

CHRISTOPHER FORD

Costume Design: Eugene Onegin Scenic & Costume Design: La Passion de Simone, Mannes Opera; The Beastiary, Ars Nova; Dido & Aeneas, Curtis Institute of Music

MOLLY IRELAN

Costume Design: Tosca Costume Designer: prism, Rev 23, Hildegard, Prototype Festival; Il Due Figaro, Handel and Haydn; Oedipus Rex, Salome, Houston Symphony; The Romance of the Rose, Long Beach Opera; desert in, Mitradate, Boston Lyric Opera; Nuit sans aube, Opéra-Comique; Das kalte Herz, Staatsoper Unter den Linden

JOEL IVANY

Director: La Cenerentola Artistic Director: Edmonton Opera; Director: Otello, LA Opera; Dead Man Walking, Minnesota Opera; Messiah/Complex (film), Against the Grain Theatre; Die Fledermaus, Edmonton Opera; Opera Program Director: Banff Centre

JOSÉ LUIS GÓMEZ Conductor: Tosca

Music Director: Orchestral and Educational Programs, Tucson Symphony Orchestra; 200.Com Community Opera, Teatro Sociale di Como; First Prize Winner: 2010 International Conductors' Competition, Sir Georg Solti; Guest Conductor and international guest appearances: major orchestras across America, Europe, and Asia

EMMA GRIFFIN

Director: Eugene Onegin Managing Artistic Director: Mannes Opera, Mannes School of Music; Director: Korngold’s The Silent Serenade (US premiere), Mannes Opera; Sweeney Todd, La Traviata, Wolf Trap Opera; Upcoming Director: Mitridate, Opera Philadelphia

JASON HAND

Lighting Design: La Cenerentola Otello, Los Angeles Opera; Macbeth, Minnesota Opera; Carmen, Canadian Opera Company; Tosca, Ayre, Edmonton Opera; Kopernikus, Against the Grain Theatre; Immersive Disney Animation and Van Gogh experiences in 30 cities including NYC, LA, Nashville, Rome, Bangkok, Singapore, and Toronto

LEE JELLINEK

Scenic Design: Eugene Onegin Opera: Boston Lyric Opera, Opera Theatre of St. Louis, Opera Philadelphia, Juilliard; Broadway: Oklahoma!, Marjorie Prime, Mary Jane, Sea Wall / A Life, Marvin’s Room; Off-Broadway: New York Theatre Workshop, The Public Theater, Signature Theatre, Manhattan Theatre Club, Lincoln Center, Playwrights Horizons, MCC Theater

CHAD R. JUNG

Lighting Design: Tosca Opera: Opera Australia, Arizona Opera, Atlanta Opera, Austin Opera, Dallas Opera, Minnesota Opera, Palm Beach Opera, Opéra de Montréal, San Antonio Opera, Seattle Opera, Tulsa Opera, Wolf Trap Opera; Dance: Ballet Hispánico, Ben Stevenson, Bruce Wood, Boca Tuya, Ballet Austin, Texas Ballet Theater, Tony Tucci

ADAM LARSEN Projections: Tosca

Projection Designer: SoundBox, San Francisco Symphony; Unravelled, The Wallis; Carmina Burana, Lyric Opera of Chicago; Silent Night, Wolf Trap Opera; Creative Director: Salome, Houston Symphony

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LOUIS LOHRASEB

STEVEN WHITE

Conductor: La Cenerentola

Conductor: Eugene Onegin

Tosca, La Traviata, Il Barbiere di Siviglia, LA Opera; Carmen, Semperoper Dresden; Le nozze di Figaro, Staatsoper Hamburg; A Midsummer Night's Dream, Atlanta Opera; Carmen, San Diego Opera; Il Barbiere di Siviglia, Central City Opera

RYAN McKINNY Director: Tosca

The Metropolitan Opera, Houston Grand Opera, LA Opera, Lyric Opera of Chicago, Santa Fe Opera, San Francisco Opera, Seattle Opera, Washington National Opera, Canadian Opera Company, Staatsoper Hamburg, Deutsche Oper Berlin

TONYA McKINNY Director: Tosca

Minnesota Opera, Houston Grand Opera, Washington National Opera, Dallas Opera, The Glimmerglass Festival

LAWRENCE E. MOTEN III

Scenic Design: Tosca

Scenic Designer: Treemonisha, Washington National Opera; Dialogues of the Carmelites, Silent Night, Cosí fan tutte, Faust, Wolf Trap Opera; The Knock, Central City Opera; This Little Light of Mine, Santa Fe Opera; Kunene and The King, Merry Wives, Shakespeare Theatre Company; Broadway: Chicken & Biscuits, Circle In The Square Theatre

ANNE NESMITH

Hair & Makeup Design: Tosca, La Cenerentola, Eugene Onegin Wolf Trap Opera, Kennedy Center, Arena Stage, Ford’s Theatre, Shakespeare Theatre Company, Signature Theatre, Washington National Opera, The Washington Ballet, Seiji Ozawa's Matsumoto Festival, Hyogo Performing Arts Center, Atlanta Opera, Palm Beach Opera, Opera Philadelphia, Boston Lyric Opera, Opera Boston, Smithsonian National Museum of African American History and Culture, Smithsonian National Portrait Gallery

EMILY TREIGLE

Guest Alumni Artist: Tisbe (La Cenerentola) Così fan tutte (Despina), Semele (Juno/ Ino), Wolf Trap Opera; The Magic Flute (Second Lady), The Metropolitan Opera; Il Trittico (Ciesca, La zelatrice), Houston Grand Opera; Eugene Onegin (Filipyevna), Canadian Opera Company; Dialogues des Carmelites (Mère Marie), New Orleans Opera; Così fan tutte (Despina), Madison Opera

La traviata, The Metropolitan Opera; The Rake's Progress, Opera Omaha; Thaïs, Utah Opera; Ariadne auf Naxos, Arizona Opera; Rigoletto, San Diego Opera

MUSIC STAFF DOMENICO BOYAGIAN Italian Diction: Tosca

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

YE IN KWAK

Coach: Eugene Onegin Music Staff: Eugene Onegin, The Metropolitan Opera; La bohème, The Seven Deadly Sins, Wolf Trap Opera; Les Pêcheurs de Perles, Così fan tutte, Il Barbiere di Siviglia, L’Elisir D’Amore, Korea National University; Harpsichodist: Idomeneo, Aspen Opera Theater; Orchestral Pianist: Angélique, Manhattan School of Music Opera

KSENIA LELETKINA

Principal & Russian Diction Coach, Chorus Master: Eugene Onegin The Metropolitan Opera Music Staff; The Juilliard School faculty; Palm Beach Opera faculty; author/editor of Libretti of Russian Operas, Volume II and Anthology of Russian Songs; Conductor: Il barbiere di Siviglia, Central City Opera; La clemenza di Tito, University of Oklahoma

MICHAEL LEWIS

Chorus Master, Coach: La Cenerentola Vocal Coach & Chorus Master: La bohème, The Rape of Lucretia, Faust, I Capuleti e i Montecchi, Falstaff, Academy of Vocal Arts; Principal Pianist: Semele, The Raven, 10 Days in a Madhouse, Opera Philadelphia; Principal Pianist: Tosca, Castor & Patience, Cincinnati Opera

STEFANO DE PEPPO

Italian Diction: La Cenerentola Italian Coach: La clemenza di Tito, Manhattan School of Music; Le nozze di Figaro, Indiana University; Gianni Schicchi & Suor Angelica, Denver University; Il Barbiere di Siviglia, Adler Fellowship Program, San Francisco Opera

BLAIR SALTER

Principal Coach, Organ: Tosca Assistant Conductor: La bohème, LA Opera; Prompter: Akhnaten, LA Opera; Conductor: Pagliacci, Pacific Opera Project; Cruzar la cara de la luna, Lyric Opera of Kansas City; Music Staff: Le nozze di Figaro, Lyric Opera of Chicago

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CHRISTOPHER TURBESSI

Continuo, Principal Coach: La Cenerentola 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

KEN WEISS

Italian Diction: La Cenerentola Principal Coach: Cafritz Young Artists, Washington National Opera; Assistant Conductor: Washington National Opera; Guest Coach: College-Conservatory of Music Summer Programs, Opera Theater of Lucca, Canto Vocal Programs, Opera North; Workshops: University of Maryland, The Juilliard School

WILLIAM WOODARD

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

ZOE STEENWYK

Assistant Stage Manager: Tosca Assistant Stage Manager: The Barber of Seville, Cruzar la Cara de la Luna, Turandot, La Cenerentola, Porgy and Bess, Of Mice and Men, Lyric Opera of Kansas City; The Marriage of Figaro, Wolf Trap Opera

ANNIE WHEELER

Production Stage Manager: Eugene Onegin Production Stage Manager at Houston Grand Opera (18 seasons), New York City Opera, San Francisco Opera, Glimmerglass Festival, Des Moines Metro Opera

DESIGN ASSISTANTS WILL GOMEZ

Costume Design Assistant: Tosca

JAMIE MILLIGAN

Lighting Design Assistant: Tosca

MELISSA SIBERT

Hair & Makeup Design Assistant: Eugene Onegin, Tosca

PRODUCTION STAFF

JULIA SQUIRE

ARTURO FERNANDEZ JR.

GABBY TRICE

GINA HAYS

GUEST TEACHING ARTISTS

Production Stage Manager: La Cenerentola Assistant Stage Manager: Tosca 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, Akhenaten, LA Opera

Scenic Design Assistant: Tosca

Production Stage Manager: Tosca San Francisco Opera, Lyric Opera of Chicago, Opera Philadelphia, Washington National Opera, Atlanta Opera, Utah Opera, OPERA America

KEVIN BURDETTE

CASEY KALEBA

Tenor; Founder, Col Canto Consulting; WTO alum (’07, ’08)

Fight & Intimacy Coordinator: Tosca, Eugene Onegin Guthrie Theatre, Folger Theatre, Round House Theatre, Shakespeare Theatre Company, Spoleto Festival USA, Studio Theatre, Washington National Opera, Castleton Festival

DIANE LIN

Assistant Stage Manager: La Cenerentola Production Stage Manager: Washington National Opera; Surtitle Coordinator: Vocal Arts DC; Stage Manager: Central City Opera, Opera Lafayette, Opera Philadelphia; Assistant Stage Manager: San Diego Opera

EMMA ROCHELEAU

Assistant Stage Manager: Eugene Onegin 3rd Assistant Stage Manager: Messiah, Silent Night, Hansel and Gretel, Porgy and Bess, Houston Grand Opera; Assistant Stage Manager: Don Giovanni, Music Academy of the West

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Costume Design Assistant: Eugene Onegin

Grammy Award-winning bass, WTO alum (’20, ’21)

PATRICK COOK

CORY LIPPIELLO

Emmy Award-winning Creative Producer and Casting Director

MARQUITA LISTER

Soprano; Professor of Practice, Morgan State

KATE RIGG

Actor, Comedian, and Activist

BRENTON RYAN Tenor, WTO alum (’13)

ORCHESTRA & CHORUS LA CENERENTOLA

EUGENE ONEGIN

TOSCA

Violin I Claudia Chudacoff, concertmaster Susan Midkiff Karen Lowry-Tucker Heather Haughn Sarah Sherry Himes Violin II Laura Miller, principal Timothy Macek Jennifer Himes Leslie Silverfinei Viola Jennifer Rende, principal Tiffany Richardson Stephenie Knutsen Cello Lori Barnet, principal Kerry Van Laanen Bass Christopher Chlumsky, principal Flute David Lonkevich, principal Beverly Crawford Oboe David Garcia, principal Mark Christianson Clarinet Sara Han, principal Jeremy Eig Bassoon Christopher Jewell, principal Eric Dircksen Horn Amy Horn, principal Joy Hodges Trumpet Phil Snedecor, principal Kurt DuPuis Trombone Bryan Bourne, principal

Violin I David Salness, concertmaster Allison Bailey Gianina Constantinescu Leslie Silverfine Xi Chen Jennifer Rickard Violin II Sally McLain, principal Alexandra Mikhlin Paula McCarthy Laura Knutson Viola Jennifer Rende, principal Tiffany Richardson Stephanie Knutsen Cello Lori Barnet, principal Kerry Van Laanen Todd Thiel Bass Robert Dimperio, principal Edgardo Malaga Jr. Flute Beverly Crawford, principal David Lonkevich Oboe Fatma Daglar, principal David Garcia Clarinet David Jones, principal Kathleen Mulcahy Bassoon Samuel Blair, principal Jonathan Zepp Horn Amy Horn, principal Shona Goldberg-Leopold Trumpet Phil Snedecor, principal Kurt DuPuis Trombone Bryan Bourne, principal Timpani William Richards, principal Harp Rebecca Smith, principal

Chorus Sopranos: Alexis Behnke Kelly Curtin Jennifer Jellings Ashley Larkin Tjaden O’Dowd Cox Erin Ridge Mezzos: Katherine Brandt Anamer Castrello Alexandra Coburn Brittani McNeill Reyna Sawtell Natalie Turner Tenors: Donald Carter Aurelio Dominguez Lance Fisher Sammy Huh Andrew Sauvageau Lejerian Williams Baritones/Basses: Alex Alburqueque David Gradin Xavier Joseph Dongkeon (DK) Kim Elliot Matheny James Schaffran Children’s Chorus of Washington: Margaret Nomura Clark, Artistic Director and Robbie Jacobs, Executive Director

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.

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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 KATIE PREISSNER Rehearsal Administrator ERIN GEOUQUE Social Media Consultant

SCENE SHOP ZOE TOMPKINS Technical Director GIBSON CAMERON Assistant Tech Director MASON ALLEN Production Assistant TJADEN O'DOWD COX Production Assistant PETER COLLINS Audio Assistant SHANA FRANKLIN Lighting Supervisor LINNIE HAMPTON Lighting Assistant GEORGE BURGTORF Props Master SAM WRIGHT SPAGNOLA Props Assistant DANELLE LEINONEN Master Carpenter MOLLY MURILLO Carpenter PETE PETERS Carpenter MARSHALL HUBERTS Carpenter GOLDIE SNOW Charge Artist DANNY FORTUNO Scenic Artist

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COSTUME SHOP SUSAN CHIANG Costume Shop Manager CLAUDIA BROWNLEE Design Assistant SARAH KREKEL Design Assistant DENISE AITCHISON Draper DENNIS KITMORE Draper SAM EISENSTIEN-BOND First Hand AMY VANDER STAAY First Hand ANNA LUISA ROMERO First Hand JENNA HALEEN Stitcher/Wardrobe SIMON MARTIN Stitcher/Wardrobe CLAY PISTO Stitcher/Wardrobe LISA COLEMAN Wardrobe Head

APPRENTICES MARCEL SIMONE FULTON Artistic Administration GRIFFIN CHYALL Artistic Administration TUCKER ROBBINS Artistic Administration YUNLONG DAI Admin Communications VINCENT TRICARICO Stage Management BONNIE RUBLE Stage Management JERRY WANG Stage Management OLIVIA GONCALVES Technical Apprentice MALLORY FURGAL Technical Apprentice CONNOR THATCHER Lighting Apprentice GABRIELLA SIMEK Props Apprentice JESPER BRALEY Scene Painting Apprentice LYDIA KLOSK Costume Apprentice

WOLF TRAP FOUNDATION LEADERSHIP ARVIND MANOCHA President and CEO BETH BRUMMEL Chief Operating Officer SARA BEESLEY Vice President, Program and Production BERNIE BERRY 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 and Marketing LEE ANNE MYSLEWSKI Vice President, Opera and Classical Programming

GUIDE CONTRIBUTORS JO LaBRECQUE Vice President, Communications and Marketing SARA SHAFFER Director, Creative SANDRA RODRIGUEZ Director, Communications EMILY HUNT Manager, Editorial Content DANA ARMSTRONG Coordinator, Editorial Content CLARISSE GAILLARD Graphic Designer TIMMY CHEN Manager, Marketing

GUIDE PHOTOGRAPHERS Stacey Bode, Adam Ewing, Griffin Harrington, Rich Kessler, Rei Linam, Carol Pratt, Jaclyn Simpson, Scott Suchman, Rob Wallace, Cory Weaver, Daniel Welch, Kaiden J. Yu

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

STREAMING VIDEO Stream Wolf Trap Opera’s 2025 production of Poulenc’s Dialogues of the Carmelites.

Full productions are available at wolftrap.org/streaming

RADIO Catch Wolf Trap Opera’s 2025 productions airing this summer as a part of the Opera Matinee broadcast series on Classical WETA 90.9. Don’t miss The Marriage of Figaro on June 6 and Dialogues of the Carmelites on June 13.

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.

• Firearms 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.

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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

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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

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, 2025, and April 1, 2026. 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 Jan Brandt Kimberly Engel Haber and Brett Haber/ The Dennis and Judy Engel Charitable Foundation Shashikant and Margaret Gupta Alka and Sudhakar Kesavan Anne R. Kline and Geoffrey Pohanka Donna and Jim Reagan Michael Saylor Scuba Mike F. Chapman and Grace Taylor The Webber Family Deborah F. and David A. Winston $50,000 TO $99,999 Christopher and Andrita (AJ) Andreas Michael and Ana Beckley Bruce L. Caswell and Lauren Deichman Melissa Delgado and Anthony Colangelo Craig and Valerie Dykstra Jean and Ric Edelman Virginia McGehee Friend Larry Halff and Randy Windham Sue J. Henry and Carter G. Phillips Jacqueline and George Hinman Trevor Kempner and Meghan Murphy John and Susie King Matt Korn and Cindy Miller Dan and Gloria Logan | The Revada Foundation Danni and Dave Lougee Gary D. Mather+ and Christina Co Mather Estates of Barbara and Ward Morris Srikant Sastry and Manjula Pindiprolu Karen and Fred Schaufeld The Setian Family Ed and Andy Smith Ashley Stow Usha Kiran Foundation (Jai and Pallabi Saboo) Robert Van Hoecke Governor Glenn and Mrs. Suzanne S. Youngkin $25,000 TO $49,999 Anonymous (4) Steven and Marjie Alloy Raj Ananthanpillai and Radhika Rajagopalan C.E. and Jean Andrews Mrs. Mary Astley Michelle & David Baldacci Marcia and Frank C.+ Carlucci III Tenley Carp and David Samuels Jeff and Jacky Copeland William and Elizabeth Gould William Hanlon Shelly and Jack Hazel Broderick Johnson and Michele Norris

Robert M. and Joyce A. Johnson Eric and Heather Kadel Leana and Marc Katz Janet and Jerry Kohlenberger Nancy Laben and Jon Feiger Youn Nim Lord+ and Linda L. Lord+ Bob and Lisa Lutz Gen. (Ret.) Lester L. and Mina Lyles Mr. and Mrs. James F. MacGuidwin Nanette and Charles Mees Samuel Meisner Julie Myers Wood and John Wood Heidi and RJ Narang Diane and Tim Naughton Edward and Susan O'Connell Samantha and Troy Poppe The Robbins Family Peri and William Ross Gerry and Lynn Rubin Ann Sanfacon Jiten (Jay) and Sujani (Jen) Shah The Shrivastava Family Kevin and Beth Smithson Paul and Tracy Tartaglione Lynn and Carl Verboncoeur Daniel and Bobbie Webster Julin and Michael Williams Ann Ziff $15,000 TO $24,999 Anonymous (3) Debbie Alex and David Harris Erin and Derek Arrison Hillary and Tom Baltimore Paul Blakely Jeremy and Stephanie Blank Cynthia and Kevin Boyle Beth B. Buehlmann David and Stacie Childress Coolie Doolie Mary Cristler Maria Coakley David John and Lynn Dillon Juliana Dunlap and James Corrigan Diana and Douglas Dykstra Dr. and Mrs. Gerald W. Fischer Leo and Mary Fox Alexander and Jacqueline Henry Clark Hoyt and Linda Kauss Cynthia Hull Frank Huynh and Leandro Toledo Jeff and Tori Gayle and Steven Job Ashok and Stuti Kaveeshwar Tracy Kenny and Stuart Van Houten Ross and Kaye Kory Bambi and Barry Landew Matt Lerner/Frederick Coin Exchange Leviton Family

Katherine and Brian Lucas Cynthia and John Martin Dana and David Martin Mason Hirst Foundation Ray and Colleen McDuffie Ann McPherson McKee, Gift in Remembrance of Burtt & Rebecca Gray McKee and Douglas & Ann McKee Seeley Glenn and Julie Merberg Susie and Josh Metz Ryan and Krista Miller Boofie and Joe O'Gorman Michael and Cynthia O'Kane Harish R. Rao & Chelsea R. Rao Chris and Rita Raymond H. Mac and Michele-Anne Riley Brenda and William Romenius Jim Roth Karl and Susan Salnoske Stan and Ruth Seemann Joan Sheppard Ronald and Deborah Sindler Judith M. Stehling and Edgar J. Ariza-Niño Kenneth and Lynn Todorov Victoria Trumbower Caroline Morris Van Kirk Rishi Vyas and Zainab Javaid James Y. S. Yap Joseph Young and Linda Conrad $10,000 TO $14,999 Anonymous (8) Ernie and Cathy Abbott Terri R. Adams Ann Cook Charitable Fund Susan and Jim Arnold Edward J. and Laura G. Asher Jay and Terry Bachmann Jason M. Baldy Richard+ and Julie Barcus Raymond S. Baxter, III & Denise Detwiler Baxter/ Baxter & Associates, Inc. Jennie and Mark Bishof Al and Melissa Blount Harlan W. and Mary M. Bowers K. David Boyer, Jr. and Family Rick and Debbie Bress Dan and Leslie Burpee Richard and Evelyn Bynum John and Sue Byrne Victoria and Madison Calvert Drew and Therese Caplan Gregory and Jane Castanias Christopher and Carol Casto Kavita and Jay Challa Amanda Charney Sarah and James Choi Cynthia Chormann Hann Erin and Kent Collier

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Jon and Patty Craver Jeff and Natalie Davis John and Mary Davis Meghan and John Deese Shawn and Robyn Degnan Enrico and Linda Della Corna Dominic and Nedda Dragisich Raymond A. and Roslyn M. Duda Bryan and Laurian Eckle Mr. and Mrs. Dean S. Edmonds/ Dean S. Edmonds Foundation Randall Eliason and Chérie Kiser Sara and Sam Feder Ginny Kogan Feldman Lauren Freeman and Walter Steimel Dr. Kevin Fricka Friends of Andy Keathley Bonnie Feld Vincent Ferraro and Laura Forte Ms. Jennifer Flynn In Honor of Jim and Mary Beggs, Allen and Maureen Fox Carol and Rick Froehlich Jan Johnston Fuchs Glenn and Barbara Gardner Verena Gibbs and Bo Cappabianca Bonnie L. Goldschmidt and Michele Shimek Jordan Goldstein Scott and Polly Goldstein Steven and Akemi Greco Chris and Jennifer Greenlee Patrick and Leslie Groomes Gil and Janice Guarino Stanley J. and Cynthia M. Gutkowski Allen Haid and Sandra Cummins-Haid Todd and Melinda Hall Jay Halpern Bridget and Conway Halsall Dr. Dabney G. Hart / Mr. & Mrs. T. Michael Louden Sheila Heaphy Sharon and Jeff Heinz Alyssa and Richard Henderson Julie Ann Heyward Ashley E. Iddings Kathy and Richard Igercich The Ithaka Foundation Earl and Rebecca Johnson Matt and Taylor Jones Stephen and Toby+ Kahn Ricki and Joel Kanter Suneetha and Pardha Karamsetty Sean M. Kelley Mr. and Ms. W. Russell King Mark and Elena Kleifges Jenna and Wyatt Korff Gayle and Jonathan Kosarin David F. La Mar and Terri L. Crowl Lanny and Barbara Lancaster John C. Lee, IV and Cindy Lee Douglas and Elizabeth Lobel Chip and Katie Lowry Lauren Lyles, Esq. Kathryn Mackensen Michael and Jennifer Maloney Clark and Kathleen Manning and Family Joey and Anna Maranto Brian and Michelle Martel Chuck and Terri Mays Eric and Mary McNutt James and Audrey Miller

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Michael B. Miller Ramona and John W. Mockoviak Darren and Jodi Morton Bob Moskal Anne Motz Roderick and Jane Murchison James and Karen Murray Reed and Pat Menster Neuman Patsy and Howard Norton Laura and Sean O'Keefe Janet M. Osborn Renata and Spence Patterson Dennis Peery and Anu Saxena Janice Petzold Mark and Carol Poblete Matthew Pozun Sean and Shirley Prosser, in memory of Jim and Rosemary Prosser Norma and Russ Ramsey Melissa Rhoads and Ryan Simpson Diana Richman & Jim Abellera Patti and John Robertson Selwa and David Rutchik Sherry Rutherford and Bill Krokowski Jeff and Dawn Sanok Dr. Mona Sarfaty and Dr. Jay Siegel Danielle and John Saunders Jennifer and Andy Schenker Monica and Robert Schmude John and Darcy Sekas Craig and Christina Sharon Steven and Donna Shriver Jon and Pat Simons Arlene and David Slan Rob and Robyn Smith Peter and Jennie Stathis Todd and Elaine Stottlemyer Virginia and Alan Strauss Khary and Caroline Stringer Aruna Subramaniam and Prabu Natarajan Pam and Greg Sullivan Sharad and Mahinder Tak Derrick Tam Peter and Ann Tanous Clarence and Anne Taylor Tori Thomas Theresa (Terry) Thompson JoAn D. Tolley Jennifer and Richard Toole Kathleen and Gary Tremblay Rick and Debbie Triviso Richard J. Underwood Alexandra Wagner and Wei-Ming Shao David Wallach Marc and Cortney Weber Dr. Brooke Weddle and Mr. Miguel Payan Sandy and Carolyn Weininger Theresa F. and John B. Wood Karen Yankosky Pamela and Abbas Yazdani Greg and Janne Young Jacob and Whitney Zatzkin Reem Zawawi $7,000 TO $9,999 Anonymous (6) Ramon and Marissa Alcala John R. and Kathy Allen Barbara and Bear Ard Vicky Bailey and Larry Smith Thomas Balint and Stephanie Tennyson

Russel and Ann Bantham Thomas A. Belles and Carla Minosh Kevin and Jane Bise Andrea Bitz and William Schwartz Stephanie Brotherton Amy Brown Dennis Brown and Jane Platt-Brown Beth Brummel and Michael Beresik Nancy and Dennis Burke Alice and Terry Burns George C. and Sarah P. Cabalu The Chaskin Family Christopher and Jennifer Chatman Jay W. and Heidi A. Chesky Col. (R) Lary and Sabine Chinowsky Brian J. Christianson Kathy and Jim Connor Kevin Crabtree and Mary Kelleher-Crabtree Joseph Craven Deborah Dale and Michael Goodman Susie and Oscar De Soto Trevor and Ingrid Dearman Barbara A. DiCicco Helen and Ronald Dunn James and Diane Ecklund Michael J. Eidsness Brian and Debbie Fields Gary Fontaine and O'Shelya S. Brown Susan Fox/The Walt Disney Company Lien and George Galloway Cathy A. German Marge and Joe Grills Atul Grover Kenneth Grunley Norene and Tim Guilford MaryLynn and Greg Haase Marlene and William Haffner Nicole Alfandre Halbreiner Bonnie and Bob Haukness Robert H. and Brenda Hawthorne Samantha Hess and Thomas Czeh Lisa and Ron Hodge Avi Hoffer Nettie Horne and Suzanne Haynes Shannon and William Houck Rylan and Carl Hutzler Dr. Renee Iacona Joseph and Jill Kale Richard and Barbara Kaufmann Erik Kloster and Betty Shihda-Kloster Leo Kratz David and Mary Beth Lane John and Cindy Langan John and Nancy Larue Adam Leff Chris and Allison Lesser Bryan and Maggie Lytton William H. Mann III Philip and Sandy+ Marcum Linda A. Mazawey Robert and Barbara McCord Donald and Shannon McGahn Susan and David McMunn Mr. and Ms. Jay Meadows/ Meadows Farms Nurseries Christopher and Simone Meyer Devon Miller and Darryl J. Anderson Mr. and Mrs. Charles T. Moses III Ray and Patricia Murphy Lloyd C. Noland

Jill Norton Delbert Parks Mr. and Mrs. Stephen D. Parks, Sr. Margaret Payne Nora and Glen Petitt John Pittas Christopher T. Poell Carol S. Popowsky Erin Richardson Ward and Jennifer Roberts Melissa Romano Bernadette and Ed Saperstein Jean Schiro-Zavela and Vance Zavela Dawn Schlegel and Joseph DeMorat Jonathan and Virginia Shames John Sheridan and Marlet Bazemore Paul D. Shively and Claire L. Orth Gina Shultz Suzan Sigmond Joel K. and Martha L. Smith Duncan and Patricia Sparrell Dave Steadman and Daphne Kiplinger James and Geraldine Stockdale David L. Straus, Gift in Remembrance of Betty B. Straus Christie and Mark Struckman Sinclair and Cathleen Szebrat Justin and Jennifer Tate Linda and Steuart Thomsen Ruth and Ron Van Winkle Rosetta and Martin Virgilio Bruce and Christine Wardinski John and Gina Wasson Marjorie H. Wax and Brian P. Hochheimer Tina and Geoffrey White Robert Whiteman Lisa and Eric Wieman David and Ellen Winter Bill and Terry Witowsky $5,000 TO $6,999 Anonymous (14) Kathryn Adams Robert and Sara Adler Nedra and Peter Agnew David and Donna Ahart Melinda Ampthor Miho and John Anderson Marian and Jay Andre Richard and Rosemarie Andreano Billy Armstrong Erika Arner Jeanine and Daniel Aronowitz James and Juliet Arrighi Lawrence and Kathleen Ausubel Keith and Sherry Babb Jennifer Banga Marjorie Barclay Sam Barnes Rose Bates Donna and Barry Beach David and Cecilia Beck Amy Beckman and Steven Gaba Jeffrey and Rachel Bedell Susan and Marc Benezra B. Michael and Sandra Berger Will and Kathy Berry Alok Bhatt Joshua Bolten Lady Evelyn Booth Regina and Bill Bouie

Kevin M. Breslin Gary Broadwater Rex Brouillard and Michelle Henry Abby E. Brown Dennis and Julie Bruns James and Phyllis Bruyette Tim and Nan Bryan Andrew and Jennifer Buckreis Sarah Buescher David B. Bundren, Sr. Jessica Bunin and Alexis Albano Robyn and Bob Burdett David and Carolyn Burgess James Busch Laina Bush and Michael Zajkowski Cathy Butz William J. Caldwell and Michele Toth Donna Callejon and Deborah Whiteside Kathryn Campbell and James Crowley Joseph and Donna Cantara Lori and Robert Caplan Vince Careatti Christopher Carpenter and Lora Shimp Brian and Stephanie Castelli James and Karen Chamberlain Allayne and Brian Chappelle Denise Chen and Tim Maas Joseph and Michelle Chotkowski John Claringbould and Patricia Loughrey Trudy H. Clark Susan R. Clayman and Frank Starks Karen and Jim Cleveland Beth and Michael Coakley Stephen Coates and Alli Pawlenty Bob and Kellie Cochran Mark and Jane Cohen Franklin C. Coleman Rachel Coll Wendy Connell Phyllis and Wes Corley Frederick Corte and Christopher Ingram The Cotten Family Jeffrey Couillard and Eve Fuerth Nina Cron Daniel and Nicole Curran Ellen Cury Hussein Damirji & Ghida AlJuburi Damirji Dan and Bekki Danner Lonnie Davis Steve and Christie Day Kathleen K. Deal Steven Decker Lawrence+ and Sharon Deibel Tami and Jeff Dierman 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 Anna and Rick Dulik John Dumont Julie and Bill Duncan Teri and Tom Dungan Jim and Timoney Dunlap Mike and Kathy Eastman Robert J. Eatinger, Jr. Rear Admiral and Mrs. Thomas J. Eccles, USN (Ret)

George and Karen Eichert Robert and Alison Eisiminger Eddie and Rachel Eitches Katy Eldridge Holly and Richard Ellis Jo and Robert Engle Cynthia Erskine Suzanne and John Feigert Taryn Fielder and Ryan Forsythe Therese Fimian Jack Firestone Michael P. and Marilyn H. Fitzgerald Beth C. Flanagan Brian Flanigan Bonnie and Stephen Flax Rhonda Fleming and Mike Cooley James and Mary Flounlacker Roger and Nancy Fones Nico Foris Marybeth and Zachary Fraser Russell Frey and I-Min Chao Dan Frisby and Suzanne Dougherty Virginia Fulton Christina and Louis Gadrinab Melinda G. Gaertner Richard Gaiani Nancy Gariepy Carol Ann Garner Glenn and Deborah Gaynor David Gearin and Jean Lynn Don and Mary Goddard Rocio and Raul Gonzalez Jennifer and Chris Graham Sarah Granger William and Jacqueline A. Gravell Regina Gray Sherry and Todd Gray Tracy K. Griggs Brian and Deb Grosner Bruce and Kathryn Gudenberg Jeff Hall and Carolyn Kahn-Hall Daniel Hamilton Jeffrey and Elizabeth Harris Luke and Emily Harris Aileen and Erik Hawkins Frank and Teresa Hearl Dana A. Hearn and Kevin J. McCloskey Sharon Heinle and Chris DeLashmutt Lynda Lonshein Hellman Christine Henck and Steven Bernstein Leigh and Peter Henry Amanda and Jim Holmberg Robert and Linda Horrigan Andrew Howell Kris Hutchison Christopher Huther Kevin and Barbara Hutto William Isaacson Joseph and Robin Jackson Richard and Anna Jackson John and Tracie Jacquemin/ The Jacquemin Family Foundation Richard and Laurie Johnson Wendell Johnson and Kristina Roman Andrea Jolly Terre and Polly Jones Lisa Junker Allan and Fran Kalkstein James and Robbie Kaplan Sharon Karaffa and Grant Fleming

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Brian and Diane Keller Roger and Teresa Keller Jodie Kelley and Scott Sinder Carly and Christian Kelly Patrick and Ellen Kelsay Robin and Michael Kennedy Carol King Stephen and Mary Sue Kitchen Clare and Thomas Klanderman John and Mary Kleinhans Tara T. Kochis George Korenko Emily and Yanek Korff Julie and Al Krachman Carl Krause and Joanna Wilbur David Kriegman Phyllis Krochmal Sanjai and Deborah Kumar Lori LaFave and Steve Murphy William and Nancy LaForge Joni and Don Langevoort Kirsten and William Langhorne Kim and Frank Latkiewicz David and Michele Lawrence Tammy Le and Garry Ho Barry A. Leffew Susan A. Lehman Sue Leonard Stephan Levy Diane Lewis, Washington Fine Properties Denise Riedel Lewis and Kenneth J. Lewis Ted and Vivian Lewis Jeff and Rachel Liang Dennis and Tracey Liberson Kathleen and Michael Liddick Estate of Judith A. Light Dr. Diana Locke and Mr. Robert Toense Megan Lockhart Kent Logsdon Marcia and Adrian Lund Jennifer Lyons and Derek Morrissette Catherine and Brad Lytle Robert MacDonald and Ann Rollins Drye Mande Family Paul and Rendall Marino Mitchell and Cheryl Marovitz Frank and Susan Mars Kevin and Sarah Martin Kristi Martin Albert and Terri Martinez Steve Matthews Jeffrey and Cynthia Mazanec Dorothy and Alicia McCartney John and Deanne McGranahan Lynn & Billy McKee Cristina F. and Michael A. McLaughlin Kenneth and Sandy Metcalfe Alice and Alistair Miller Charles Miller Jill Minneman Thomas W. Minnick, National Counseling Group Jax, Lilly and Lee Monsein Robert and Barbara Moss Amy and Will Mudge Michael Mullen John and Jill Murray Leanne and James Myers Joanne and Nicholas Nanna Sarah and John Nash Paul J. Nevins and Sheila LaFalce

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Katherine Newland Kathleen and Kevin Newmeyer Jill and James Norcross Suzanne Nordfelt Bob and Lee Norstern Timmy and Amanda Norton Carol and Jorge Ochoa Brian O'Connor Christopher Olsen and Elizabeth Dean Ms. Stephanie Oueda-Cruz The Page Family David Paight Alex and Michael Pascarella Patricia Payne Mary Pedigo and Daniel Washburn Laura Peebles and Ellen Fingerman Katie Pehrson David and Jamie Pelton Suzy and Bob Pence Jim and Tonda Phalen Ginger Phillips Meg Porta and Matt Swayhoover Alden Potter Dr. Suzanne Powers Jeff and Jill Purdy Kenneth and Valerie Quaglio Daniel and Roberta Quirk James Raba and Maureen Nelson Rabaut Family Foundation Eileen Rader Bruce Ragusa and Kate Goodrich David Rand Everett Karyl Reinauer Reinsch Pierce Family Foundation

by Lola C. Reinsch Jonathan Remson James and Linda Rettberg Donna Rhoads Dave and Aimee Richardson Jim Roberts and Julie Carter Roberts David A. Robertson Virginia Robinson and Jordan Higgins Trinka Roeckelein and Philip D. de Picciotto Amy and Ben Rossi Michael and Jane Rowny Kathryn Tucker Rutkowski Alicia Saffer and Kris Hatlelid Scott Salmirs Eric Salzberg Drs. Stephen and Mary Sapp Steve Satterfield Erica and Ted Schmitz Karen Schneider Ronda Schrenk Douglas Schuweiler and Andrea Schuweiler Thomas Schwab and Rebecca Knutson Jim Schwenke Dr. Steven & Mrs. Gretchen Seiler Sean Sharifi Ritika and Rohit Sharma Jules and Judy Shore Mr. Louis and Dr. Kathleen K. Sichenze Joseph Sifer Calvert and Sally Simmons Jessica Slean Tina and Albert Small, Jr. Dr. Dru and Mrs. Marie Smith Martha Nell Smith and Marilee Lindemann Linda and Nigel Smyth Brett and Anne Snyder

Amy and Patrick Souders Dean and Sandra Souleles Teri Spiller Chris and Diane Spina Joan Stansfield, Stansfield Signature Real Estate Drs. Virginia Steen and Joseph Verbalis Michael L. Stevens and Elizabeth M. Munno Kathleen and Scott Stewart Bill and Pat Stipe David Stirrett Jeff and Jaci Stoltz Richard and Genevieve Strand Lisa Stransky Thomas and Heather Stroup Dr. David A. Strouse Gretchen and Christopher Strub Sophia Tarraza Cornell and Anne-Wesley Teague Brooke Terry Ray and Stacey Thal Paul and Pam Thieberger John E. Thomas, Jr. Jarrod Thompson Lynn Thomson Kristine and David Timmerman Rob Timmins and Jeff Kaplan Denise Todd 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 William and Patricia Vance Timothy Voelz Craig Wagner Kathy and C. Eric Warden Laura Wareham Roger and Diane Warin Rick Watson Kristin and Joshua Weed Greg Wells Earl Wessell Tim and Anne Whipple John and Marylou Whisler Jason and Shannon White Jon and Lisa White Diane Whitmoyer Judith and Ronald+ Wilgenbusch David and Joy Willey Janet Wilson Stephen and Rosemarie Wilson The Witt Family Sara Nelson Wolff Kristy Wolford Ainsley and David Wollman Joy and Thomas Wood Cheryl A. Wooden and Dr. Deb Bobbitt Susana Wright Aziz Yazdani Joseph and Gwendolyn Zanin S. Zeliff + Deceased

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, 2025 and April 1, 2026.

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.

$500,000+ Department of the Interior, National Park Service PNC $250,000 TO $499,999 The Boeing Company Capital One Northrop Grumman $100,000 TO $249,000 County of Fairfax, Virginia Danaher Foundation Lincoln and Therese Filene Foundation General Dynamics Halff Windham Foundation HII Kaiser Permanente Mid-Atlantic National Park Foundation PwC Science Applications International Corporation (SAIC) Tickets.com The Volgenau Foundation $50,000 TO $99,999 Anonymous Foundation Booz Allen Hamilton Choice Hotels International A. James and Alice B. Clark Foundation CrossCountry Consulting Ernst & Young Gensler Hilton Supply Management Host Hotels & Resorts KPMG LLP La' Agra SOSi United Airlines 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 Cox Business Deloitte Expedition Technology, LLC Johnson Brothers Service Distributing, Inc. JPMorgan Chase Kearney & Company L.F. Jennings Leidos Maximus McGuireWoods LLP The Claude Moore Charitable Foundation National Endowment for the Arts Our Purpose Foundation RBC Wealth Management Skadden Arps Slate Meagher & Flom LLP Telos Corporation WHITE64 $15,000 TO $24,999 22nd Century Technologies Inc. Anthem Apex CoVantage Arnold F. Baggins Foundation, Inc. Chevy Chase Trust The Cornelius J. and Ellen P. Coakley Family Foundation, Inc CohnReznick Cushman & Wakefield DLA Piper The Richard Eaton Foundation Guidepost Solutions Hilton McLean Tysons Corner Karin's Florist Laird Norton Family Foundation Mars Foundation The Mather Morgan Stanley Private Wealth Management Nauticon Office Solutions Park Hotels & Resorts rand* construction corporation Select Event Group Starr Hill Brewery The Venable Foundation Washington Gas WilmerHale

$10,000 TO $14,999 ArentFox Schiff ArtsFairfax Atlantic Union Bank Dorothy G. Bender Foundation, Inc. CACI Devils Backbone Brewing Company Enterprise Knowledge Forvis Mazars FTS International, LLC Giant Food, Inc. Goldman Sachs Grant Thornton Holland & Knight LLP K Street Financial Lockton Companies M&T Bank Nancy Peery Marriott Foundation, Inc. Maximus Foundation M Events Meeting Technologies Inc. Merrifield Garden Center Mount Vernon Printing, An RR Donnelley Company Ohio Hometown Heroes Rulo Strategies LLC Saval Foods LLC Schmidt Vocal Arts Stratos Solutions Tax Analysts TechnoMile LLC Thrive Networks Unison Software Inc. United Bank Wealthspire Advisors Wells Fargo Williams & Connolly LLP Wormald Homes $5,000 TO $9,999 Accenture Andersen Avalon Consulting C2 Technologies Chanel Tysons Boutique DevFi Inc. Dimick Foundation HHMI Janelia Research Campus Monumental Sports & Entertainment The Morrison & Foerster Foundation Pinnacle Financial Partners PKF O'Connor Davies The Nora Roberts Foundation Sapporo-Stone Brewing The Albert and Lillian Small Foundation, Inc.

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WOLF TRAP FOUNDATION NAMED ENDOWMENT FUNDS

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

Benjamin and Mary Astley Fund for Wolf Trap Baltimore Family Fund Mary H. Beggs President’s Fund The Howard and Sondra Bender Family Fund for Education Patrice King Brickman Family Fund Capital One Fund for Education Caswell/Deichman Family Fund for Wolf Trap 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

Robert and Lisa Lutz Fund for Wolf Trap The General Lester L. Lyles and Family Fund for Education Fund for Wolf Trap in Honor of Arvind Manocha and Gideon Malone The Sandy “Tanta” Marcum Fund for Early Learning Through the Arts Fund for Artistic Excellence in Honor of Audrey M. Mars Mars Fellowship Fund for Wolf Trap Opera Gary D. Mather and Christina Co Mather Fund for Wolf Trap The Suzann Wilson Matthews Internship Fund Ann McKee Fund for Opera The Linda and Tobia Mercuro Fund for Early Learning Through the Arts

D’Aniello Fund for Opera

The Mullaney Family Fund for Education

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

National Endowment for the Arts

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

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

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

CATHERINE FILENE SHOUSE LEGACY CIRCLE

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

Anonymous (31) Dr.+ and Mrs. Duane A. Adams Terri R. Adams Cheryl Allen and Donna McCloskey Ananthanpillai Family Jean W. Arnold Jeannie P. Baliles* Nancy A. Bartholomaei 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* Tenley Carp and David Samuels^ 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 Nancy and Dan Ellis^ 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 MaryLynn and Greg Haase Allen Raphael Halper and Kim Kunzig Halper Stewart and Pam+ Hannah

Robert H. and Brenda Hawthorne^ 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 Paul and Jerri Karstetter Ashok and Stuti Kaveeshwar* Sean M. Kelley 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 Timothy and Martha Malone Philip and Sandy+ Marcum Mr.+ and Mrs. William H. Marumoto* Dr. R. Barbara Mattas* Mr.+ and Mrs. R. Dennis McArver* Beth Masters McCormick 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 Katherine Newland 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 James Roth Barbara L. Rowe 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 Nanci Schimizzi 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 Theresa (Terry) Thompson 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 Jamie and Richard Walker Charlie and Terry Walters* Patricia Shea Ward and Paul B. Ward Dr. Karin and Richard+ Warner 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.

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EXPLORE MORE MUSIC AT THE FILENE CENTER

“Each year, Wolf Trap proudly welcomes the National Symphony Orchestra (NSO) to its summer home at the Filene Center for an inspiring lineup of symphonic masterworks, iconic film scores, and performances with today’s leading artists. This season is especially meaningful as the NSO returns with an expanded summer residency, deepening its connection to our audiences and strengthening our long-standing partnership. With Maestro Gianandrea Noseda leading Beethoven’s monumental Ninth Symphony and an all-American program honoring our nation’s 250th anniversary, these concerts celebrate the vibrancy, expressive power, and enduring relevance of orchestral music. Special collaborations, including a newly commissioned work with Wynton Marsalis and the Jazz at Lincoln Center Orchestra, promise to make this a truly unforgettable summer.”

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

BEETHOVEN’S NINTH SYMPHONY National Symphony Orchestra Gianandrea Noseda, conductor Tessa McQueen, soprano Cecelia McKinley, alto Demetrious Sampson Jr., tenor Jonathan Patton, baritone The Washington Chorus

This all-Beethoven program opens with the Handel-inspired overture to The Consecration of the House and his rarely performed Elegiac Song before concluding with Beethoven’s Ninth, the symphony by which all others are measured.

AUG 14 DEBORAH F. AND DAVID A. WINSTON, PERFORMANCE SPONSORS

ST. VINCENT

National Symphony Orchestra

NATIONAL SYMPHONY ORCHESTRA FEATURING LIZZO

STAR WARS: RETURN OF THE JEDI IN CONCERT

JUNE 25

JULY 7

Emil de Cou, conductor

Jules Buckley, conductor

Steven Reineke, conductor

National Symphony Orchestra

JULY 9

© & ™ Lucasfilm Ltd. All rights reserved. Presentation Licensed by Disney Concerts in association with Warner/Chappell Music.

A.R. RAHMAN

National Symphony Orchestra

DISNEY’S THE LITTLE MERMAID IN CONCERT

JULY 10

Steven Reineke, conductor

Steven Reineke, conductor

National Symphony Orchestra

JULY 11

GERSHWIN, BERNSTEIN & AMERICAN MOSAIC

National Symphony Orchestra Gianandrea Noseda, conductor

AUG 15

JON BATISTE

JOSH GROBAN

GREGORY ALAN ISAKOV

Jonathan Taylor Rush, conductor

Stage, Screen, and Symphony

Christopher Dragon, conductor

National Symphony Orchestra

AUG 21

National Symphony Orchestra

AUG 22

National Symphony Orchestra

AUG 26

HARRY POTTER AND THE SORCERER’S STONETM IN CONCERT

JERRY GARCIA SYMPHONIC CELEBRATION

HOOK IN CONCERT

Steven Reineke, conductor

Featuring Melvin Seals, Jacklyn LaBranch, Tom Hamilton, Grahame Lesh, John Morgan Kimock, and Kanika Moore Steven Reineke, conductor

SEP 5

National Symphony Orchestra

AUG 27

National Symphony Orchestra

National Symphony Orchestra Emil de Cou, conductor

SEP 4

DISCOVER THE FULL SCHEDULE AT THE JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS

WOLFTRAP.ORG/SUMMER

National Symphony Orchestra James Gaffigan, conductor

SEP 12

Presentation licensed by Disney Concerts. ®All rights reserved.

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

“

WOlf Trap OPera continues to breathe neW life into the aRt form...

—BroadwayWorld

”

1645 TRAP ROAD / VIENNA, VIRGINIA 22182

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