Opera Cues Spring 2024 - Don Giovanni

Keeping ELITE PERFORMERS IN THE SPOTLIGHT

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A MESSAGE FROM THE GENERAL DIRECTOR AND CEO

Welcome to the Wortham Theater Center! You may be wondering: why is an opera company doing The Sound of Music? The answer lies in Houston itself, the city HGO serves. Our expanding, diverse, younger-than-ever metropolis is full of families seeking opportunities to experience world-class arts and culture. And we are thrilled to step up and meet our city’s need for multi-generational programming.

As a mom of two young daughters, I have found the months leading up to our presentation of The Sound of Music to be a joy. How inspiring it was to see hundreds of children converge on the Wortham to audition for a role in this beloved musical; how delightful to hear conversations about people buying tickets to the show in the hallways at school; how necessary to pull our children away from screens for an afternoon or evening!

And what a treat families are in for with this show, a new co-production from HGO and The Glimmerglass Festival. Our Maria is a true superstar: Grammy Award-winning mezzo-soprano Isabel Leonard, recently returned from touring with Andrea Bocelli. Isabel’s extensive credits include an appearance on Sesame Street and, just last year, the films She Came to Me and Maestro. We are elated to welcome her back to HGO as the story’s novice nun, opposite magnetic baritone Alexander Birch Elliott as Captain Georg von Trapp.

This production offers a unique experience for audiences who already know and love the classic musical, with its music by Richard Rodgers, lyrics by Oscar Hammerstein II, and book by Howard Lindsay and Russel Crouse. Directed by the legendary Francesca Zambello, our production is powered by the full force of the HGO Orchestra and Chorus, with our own sensational Maestro Richard Bado, who celebrates his 40th season with HGO this year, at the podium.

HGO’s other offering this spring is Mozart’s ultimate masterpiece, Don Giovanni We are so grateful to each of you for recognizing the value of first-in-class productions like this one.

Our Don Giovanni is bass-baritone Luca Pisaroni, one of the world’s great interpreters of the role. Joining him is a beloved HGO favorite, the bass-baritone Ryan McKinny, as Leporello, with another artist adored by Houston audiences, mezzo-soprano Sasha Cooke, as Donna Elvira, and tenor Kang Wang in his company debut as Don Ottavio. This brilliant visual feast of a production is directed by Kasper Holten, with Greg Eldridge as revival director. The great Dame Jane Glover conducts.

If you’ve joined us with your children for The Sound of Music, we want you to know that as a company, we take your experience seriously—and we hope you’ll bring the family back next season for Rossini’s Cinderella

I invite you now to take a moment to look around the theater. This season HGO has shown that our city’s hunger for great art is alive and well. We’re living in challenging times, and these evenings give us the chance to revel in nostalgia, reconnect with our own inner child, and together, find lightness in our lives. Thank you for being here.

OPENING NIGHT DINNER IL TROVATORE

FRIDAY, OCTOBER 18, 2024

CONCERT OF ARIAS DINNER

FRIDAY, JANUARY 17, 2025

OPERA BALL

SATURDAY, APRIL 5, 2025 HGO.ORG/EVENTS

Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced under the direction of Chief Marketing and Experiences Officer Jennifer Davenport and Director of Communications Catherine Matusow, by Houston Grand Opera’s Audiences Department.

Editor

Catherine Matusow

Designers

Chelsea Crouse

Lauren Garner

Rita Jia

Contributors

Colin Brush

Khori Dastoor

Amber Francis

Dame Jane Glover

Patrick Summers

Francesca Zambello

Advertising

Matt Ross/Ventures Marketing 713-417-6857

For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please email the Customer Care Center at CustomerCare@HGO.org or telephone 713-228-6737.

Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc. HGO.org

HGO BOARD OF DIRECTORS 2023-24

OFFICERS

Claire Liu, Chair of the Board

Allyn Risley, Senior Chair of the Board

Janet Langford Carrig, Chair Emeritus of the Board

Lynn Wyatt, Vice Chair of the Board

MEMBERS AT LARGE

Richard E. Agee

Thomas R. Ajamie

Robin Angly *

John S. Arnoldy *

Christopher V. Bacon

Michelle Beale, Governance Committee Chair

Astley Blair, Audit Committee Chair

Albert Chao

Louise G. Chapman

Mathilda Cochran, Community & Learning Committee Chair

Albert O. Cornelison Jr. *

James W. Crownover

Khori Dastoor

Joshua Davidson

David B. Duthu *

Warren A. Ellsworth IV, M.D., Butler Studio Committee Vice Chair

Benjamin Fink, Finance Committee Chair

Joe Geagea

Michaela Greenan, Audit Committee Vice Chair

Dr. Ellen R. Gritz, Community & Learning Committee Vice Chair

Selda Gunsel

Matt Healey, Finance Committee Vice Chair

Richard Husseini

José M. Ivo, Philanthropy Committee Vice Chair

Myrtle Jones

Marianne Kah, Houston Grand Opera Endowment, Inc. Chair

David LePori, Governance Committee Vice Chair

Gabriel Loperena, Philanthropy Committee Chair

Beth Madison *

HOUSTON GRAND OPERA ASSOCIATION CHAIRS

1955–58

Elva Lobit

1958–60

Stanley W. Shipnes

1960–62

William W. Bland

1962–64

Thomas D. Anderson

1964–66

Marshall F. Wells

1966–68

John H. Heinzerling

1968–70

Lloyd P. Fadrique

1970–71

Ben F. Love

1971–73

Joe H. Foy

1973–74

Gray C. Wakefield

1974–75

Charles T. Bauer

1975–77

Maurice J. Aresty

1977–79

Searcy Bracewell

1979–81

Robert Cizik

1981–83

Terrylin G. Neale

1983–84

Barry Munitz

1984–85

Jenard M. Gross

1985–87

Dr. Thomas D. Barrow

1987–89

John M. Seidl

1989–91

James L. Ketelsen

Sid Moorhead

Sara Morgan

Terrylin G. Neale, Houston Grand Opera Endowment, Inc. Secretary; Treasurer

Ward Pennebaker, Audiences Committee Co-Chair

Cynthia Petrello

Gloria M. Portela

Allyson Pritchett

Matthew L. Ringel, Audiences Committee Co-Chair

Kelly Brunetti Rose

Jack A. Roth, M.D., Butler Studio Committee Chair

Harlan C. Stai

John G. Turner *

Veer Vasishta

Alfredo Vilas

Margaret Alkek Williams

*Senior Director

1991–93

Constantine S. Nicandros

1993–95

J. Landis Martin

1995–97

Robert C. McNair

1997–99

Dennis R. Carlyle, M.D.

Susan H. Carlyle, M.D.

1999–2001

Archie W. Dunham

2001–03

Harry C. Pinson

2003–04

James T. Hackett

2004–07

John S. Arnoldy

2007–09

Robert L. Cavnar

2009

Gloria M. Portela

2009–11

Glen A. Rosenbaum

2011–13

Beth Madison

2013–16

John Mendelsohn, M.D.

2016–18

James W. Crownover

2018–20

Janet Langford Carrig

2020–22

Allyn Risley

2022–present

Claire Liu

GRATITUDE: Remembering Glen Rosenbaum

Glen Rosenbaum, great friend and supporter to Houston Grand Opera for many decades, passed away on February 28, 2024. The entire HGO community is feeling the acute pain of this loss.

Glen’s service to HGO shaped the entire organization. A Senior Partner of Tax at Vinson & Elkins, he joined the firm in 1973 and worked there for half a century. Glen joined the HGO Board of Directors as General Counsel in 1982—a position that V&E lawyers have now held for over 40 years. From 1983-87 Glen led the team of V&E lawyers that represented HGO pro bono, negotiating and drafting the development and operating agreements with the Wortham Center and the Wortham Center Operating Company. These agreements, which allowed the company to make the Wortham its home after the theater opened in 1987, remain in effect today.

Glen was a steadfast, involved, and active member of the HGO Board of Directors, serving as Board Chairman from 2009-11, a period that saw major project planning and fundraising toward HGO’s first Ring cycle, the U.S. premiere of The Passenger the Holocaust opera performed at HGO followed by New York’s Lincoln Center Festival—and HGO’s first mariachi opera, Cruzar la cara de la luna. He played a role in shaping countless HGO policies and initiatives, including chairing the strategic planning committee that helped establish HGOco, now Community & Learning. Among Glen’s other major HGO projects was the company’s storied 1986-87 Porgy and Bess production, which toured nationally. Glen contributed his time as a member of the board’s Finance and Philanthropy Committees and, during the 2022-23 season, co-chaired the company’s record-breaking 35th annual Concert of Arias.

Glen’s leadership of HGO continued until the very end of his life. In fact, his death occurred two days before a quarterly company board meeting, where he surely would have been in attendance. Speaking to the board’s grieving members that day, HGO Artistic and Music Director Patrick Summers shared that he couldn’t remember attending a meeting where Glen wasn’t present.

“To know Glen was to know an example of personal decorum and elegant integrity that one could try to uphold in one’s own life…” Summers continued. “Glen dealt stoically with some very difficult problems in this organization over many decades—and of course, he didn’t deal with them alone; he had the support and counsel of many of you over many years. But he had a leader’s gift for keeping everyone focused on the most important things. He never added to a difficult situation; he tempered everything and everyone around him.

“So it is no surprise that his favorite composer was Verdi, and his favorite opera was Don Carlos—I can’t help but think of that glorious final duet of Elizabeth and Don Carlos and that swaying music in which they imagine a better world, freed from life’s burdens. It was Glen’s favorite music, so that is the music with which I will remember him. He watched over me, and indeed, the whole company, like a father, so I hope he will continue to do that.”

IMPRESARIOS CIRCLE

IMPRESARIOS CIRCLE $100,000 OR MORE

Judy and Richard Agee

Robin Angly and Miles Smith

The Brown Foundation, Inc.

Carol Franc Buck Foundation

Sarah and Ernest Butler

Anne and Albert Chao

Louise G. Chapman

The Robert and Jane Cizik Foundation

Mathilda Cochran

ConocoPhillips

Mr. and Mrs. James W. Crownover

The Cullen Foundation

The Cullen Trust for the Performing Arts

City of Houston through Houston Arts Alliance

Connie Dyer

Edgar Foster Daniels Foundation

The Elkins Foundation

Frost Bank

Gordon Getty

Drs. Liz Grimm and Jack Roth

Nancy Haywood

William Randolph Hearst Foundation

Matt Healey

H-E-B

Houston Grand Opera Endowment, Inc.

Houston Methodist

Humphreys Foundation

Elizabeth and Richard Husseini

Donna Kaplan and Richard A. Lydecker

Claire Liu and Joe Greenberg

Beth Madison

Paul Marsden

The Robert and Janice McNair Foundation

Mr. and Mrs. D. Bradley McWilliams

M. D. Anderson Foundation

Andrew W. Mellon Foundation

Sara and Bill Morgan

National Endowment for the Arts

National Endowment for the Humanities

John L. Nau, III

To learn more about HGO’s Impresarios Circle members, please see page 74.

Novum Energy

Allyson Pritchett

Jill and Allyn Risley

Susan D. Sarofim

Shell USA, Inc.

Dian and Harlan Stai

Texas Commission on the Arts

Mr. John G. Turner and Mr. Jerry G. Fischer

Veer Vasishta

Diane B. Wilsey

Vinson & Elkins LLP

Margaret Alkek Williams

The Wortham Foundation, Inc.

Lynn Wyatt

Nina and Michael Zilkha

2 Anonymous

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FOUNDERS COUNCIL FOR ARTISTIC EXCELLENCE

Houston Grand Opera is deeply appreciative of its Founders Council donors. Their extraordinary support over a three-year period helps secure the future while ensuring the highest standard of artistic excellence. For information, please contact Greg Robertson, chief philanthropy officer, at 713-546-0274 or GRobertson@HGO.org.

Ajamie LLP

Baker Botts L.L.P.

Dr. Saúl and Ursula Balagura

Michelle Beale and Dick Anderson

Nana Booker and Booker · Lowe Gallery

Anne and Albert Chao

Jane Cizik

ConocoPhillips

Mr. and Mrs. James W. Crownover

Mr. and Mrs. Joshua Davidson

Connie Dyer

Drs. Rachel and Warren A. Ellsworth IV

Frost Bank

Marianne and Joe Geagea

Drs. Liz Grimm and Jack Roth

Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr.

Matt Healey

Myrtle Jones

Marianne Kah

Carolyn J. Levy

Claire Liu and Joe Greenberg

Gabriel Loperena

Beth Madison

Paul Marsden

John P. McGovern Foundation

The Robert and Janice McNair Foundation

Andrew W. Mellon Foundation

Sharyn and Jerry Metcalf

Dr. and Mrs. Miguel

Miro-Quesada

Kathleen Moore and Steven Homer

Sid Moorhead

Novum Energy

Allyson Pritchett

Matthew L. Ringel

Jill and Allyn Risley

Kelly and David Rose

John Serpe and Tracy Maddox

Dian and Harlan Stai

Sheila Swartzman

Rhonda Sweeney

Mr. John G. Turner and Mr. Jerry G. Fischer

Vinson & Elkins LLP

Veer Vasishta

Helen Wils and Leonard Goldstein

R. Alan and Frank York

Anonymous

GRAND UNDERWRITER—

$50,000 OR MORE

Thomas R. Ajamie

Ken and Donna Barrow

Mrs. Mercedes Bass

Michelle Beale and Dick Anderson

Nana Booker and Booker · Lowe Gallery

Meg Boulware and Hartley Hampton

Janet and John Carrig

Dr. Peter Chang and Hon. Theresa Chang

Marty Dudley

Drs. Rachel and Warren A. Ellsworth IV

Marianne and Joe Geagea

Amanda and Morris Gelb

Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr.

Mr. Jay Hiemenz

Stephanie Larsen

Alfred W. Lasher III

Carolyn J. Levy

Barbara and Pat McCelvey

Laura and Brad McWilliams

Terrylin G. Neale

Franci Neely

Mr. and Mrs. Charles G. Nickson

Ms. Katherine Reynolds

Isabel and Ignacio Torras

Alejandra and Héctor Torres

Mr. and Mrs. Jesse B. Tutor

2 Anonymous UNDERWRITER—

$25,000 OR MORE

Dr. Dina Alsowayel and Mr. Anthony R. Chase

Christopher Bacon and Craig Miller

Dr. Saúl and Ursula Balagura

Mr. and Mrs. Frank N. Barnes

Dr. Gudrun H. Becker

Ms. Helen Berggruen

Melinda and Bill Brunger

Ms. Kiana K. Caleb and Mr. Troy L. Sullivan

Mr. Eliodoro Castillo and Dr. Eric McLaughlin

Shelly Cyprus

Mr. and Mrs. Joshua Davidson

Ms. Sasha Davis

Dr. Elaine DeCanio

Lynn Des Prez

Rebecca and Brian Duncan

C.C. and Duke Ensell

Jennifer and Benjamin Fink

Lynn Gissel

Leonard A. Goldstein and Helen B. Wils

THE LEADERSHIP COUNCIL

Michaela and Nicholas Greenan

Janet Gurwitch and Ron Franklin

Dr. Linda L. Hart

Brenda Harvey-Traylor

Gary Hollingsworth and Ken Hyde

Myrtle Jones

Marianne Kah

Michelle Klinger and Ruain Flanagan

Kirk Kveton and Daniel Irion

Mr. and Mrs. Richard J. Langenstein

Stephanie Larsen

Lori and David LePori

Sharon Ley Lietzow and Robert Lietzow

Mrs. Rosemary Malbin

Renee Margolin

Dr. Laura Marsh

Muffy and Mike McLanahan

Will L. McLendon

Amy and Mark Melton

Dr. and Mrs. Miguel Miro-Quesada

Mr. David Montague

Kathleen Moore and Steven Homer

Sid Moorhead

Diane K. Morales

Beverly and Staman Ogilvie

Cynthia and Anthony Petrello

Elizabeth Phillips

Gloria M. Portela

Matthew L. Ringel

Kelly and David Rose

Ms. Jill Schaar and Mr. George Caflisch

John Serpe and Tracy Maddox

Dr. Ioannis Skaribas and Dr. Evelina Skaribas

Jeff Stocks and Juan Lopez

Dr. Laura E. Sulak and Dr. Richard W. Brown

Sheila Swartzman

Rhonda Sweeney

James M. Trimble and Sylvia Barnes

Mr. Scott B. Ulrich and Mr. Ernest A. Trevino

John C. Tweed

Laura and Georgios Varsamis

Mary Lee and Jim Wallace

Helen Wils and Leonard Goldstein

Mary and David Wolff

Mr. Trey M. Yates

Alan and Frank York

2 Anonymous

The Leadership Council is a program designed to provide fiscal stability to Houston Grand Opera’s Annual Fund through three-year commitments, with a minimum of $10,000 pledged annually. We gratefully acknowledge these members.

Mrs. Susan Bloome

Mr. and Mrs. Lester P. Burgess

Mr. and Mrs. Richard Burleson

Dr. Peter Chang and Hon. Theresa Chang

Mr. Anthony Chapman

Ms. Anna M. Dean

Elisabeth DeWitts

Anna and Brad Eastman

John E. Frantz

Christine and Gerard Gaynor

Dr. and Mrs. David P. Gill

Ms. Dianne L. Gross

Ann and Stephen Kaufman

Ann Koster

Elizabeth and Bill Kroger

Prof. and Mrs. D. Nathan Meehan

Terrylin G. Neale

Mr. and Mrs. Michael J. Pancherz

Dr. Angela Rechichi-Apollo

Ed and Janet Rinehart

Adel and Jason Sander

Mrs. Helen P. Shaffer

Mr. and Mrs. John Untereker

Georgios and Laura Varsamis

Mary Lee and Jim Wallace

THE PRODUCTION FUNDERS

Houston Grand Opera is internationally acclaimed for its onstage excellence. Ensuring the exceptional quality of our productions and the creativity of our artistic forces — singers, conductors, directors, designers — is our highest priority. The art we make onstage is the foundation for everything we do. For information about joining The Production Funders, please contact Greg Robertson, chief philanthropy officer, at 713-546-0274 or GRobertson@HGO.org.

Judy and Richard Agee

Robin Angly and Miles Smith

Baker Botts L.L.P.

Bank of America

Nana Booker and M. David Lowe Booker · Lowe Gallery

Meg Boulware and Hartley Hampton/ Boulware & Valoir

The Brown Foundation, Inc.

Carol Franc Buck Foundation

Kiana K. Caleb and Troy L. Sullivan

Louise G. Chapman

The Robert and Jane Cizik Foundation

ConocoPhillips

The Cullen Trust for the Performing Arts

Sasha Davis

Dr. Elaine DeCanio

Connie Dyer

The Edgar Foster Daniels Foundation

The Elkins Foundation

Drs. Rachel and Warren A.

Ellsworth IV

In memory of Warren A. “Chip” Ellsworth III

Ron Franklin and Janet Gurwitch

Frost Bank

Marianne and Joe Geagea

Amanda and Morris Gelb

Gordon Getty

Drs. Liz Grimm and Jack Roth

Linda Hart

Brenda Harvey-Traylor

Matt Healey

Mr. Jay Hiemenz

Houston Grand Opera Endowment, Inc.

Houston Methodist

Humphreys Foundation

Mr. and Mrs. Richard Husseini

Marianne Kah

Donna Kaplan and Richard A. Lydecker

Kirkland & Ellis

Michelle Klinger and Ruain Flanagan

Carolyn J. Levy

Claire Liu and Joe Greenberg

Muffy and Mike McLanahan

The Robert and Janice McNair Foundation

Laura and Brad McWilliams

Andrew W. Mellon Foundation

Sara and Bill Morgan

Nabors Industries

John L. Nau, III

Terrylin G. Neale

Franci Neely

Norton Rose Fulbright LLP

Novum Energy

Elizabeth Phillips

OPERA America

Allyson Pritchett

Ms. Katherine Reynolds

Mr. Glen A. Rosenbaum

Dian and Harlan Stai

Tokio Marine HCC

Mr. John G. Turner and Mr. Jerry G. Fischer

Vinson & Elkins

Westlake Corporation

Margaret Alkek Williams

Helen Wils and Leonard Goldstein

Dede Wilsey

Mary and David Wolff

The Wortham Foundation, Inc.

Alan and Frank York

A

UN BEL DÌ

Join us for an evening of transcendent opera on the hill!

This spring, join HGO for a beautiful evening under the stars as the company presents Puccini’s Madame Butterfly, the same stunning opera that enraptured audiences this winter.

The composer’s moving score will fill the night sky as audiences experience the shattering tale of Cio-Cio-San, a young Japanese girl who falls in love with an American naval lieutenant, trusting him to honor their wedding vows, but is tragically betrayed.

The lovely soprano Raquel González performs the role of Cio-Cio-San for this outdoor revival of Michael Grandage’s production, opposite tenor and Butler Studio alumnus Eric Taylor as Pinkerton. HGO Resident Conductor Teddy Poll takes the podium.

Tell your friends and family; pack a picnic feast; and don’t forget a blanket or chair! Join HGO at Miller Outdoor Theatre for an evening full of great art and comradery with your fellow Houstonians. 8 p.m. Friday and Saturday, May 17 and 18. Free! For more information, visit HGO.org.

BRAVO, BUTLER STUDIO!

Members take three of the ten top spots in the annual Laffont Competition.

The national finals for the prestigious 2024 Metropolitan Opera Laffont Competition took place this March at the Lincoln Center, and all eyes in Houston were laser-focused on New York, as the Sarah and Ernest Butler Houston Grand Opera Studio had trained three of the ten National Finalists!

Second-year Butler Studio artist Navasard Hakobyan was named a Grand Finals Winner, with first-year Butler Studio artist Demetrious Sampson, Jr. and recent alumnus Eric Taylor named National Finalists. It was a spectacular showing in the annual competition, and a monumental moment for the company.

“This competition is a further testament to HGO's steadfast commitment to investing in the next generation of industryleading artists,” said General Director and CEO Khori Dastoor. “We are so incredibly proud of our Butler Studio members and their tremendous accomplishments.”

A LOOK BACK

Has HGO ever done The Sound of Music ? Yes and no…

It was 2021, audiences were stuck at home, and it seemed our community could not go one more day without the catharsis of live performance. And so, HGO hatched an idea. What about a sing-along—a safe gathering outdoors, where we could finally be together again? And what if the songs we sang were spirit-lifting numbers from the world’s favorite musical?

Thus My Favorite Things: Songs from The Sound of Music was born. The heartwarming May 2021 event featured artists including dazzling soprano Jeanine De Bique (Maria) and world-renowned baritone Michael Mayes (Captain von Trapp); the HGO Orchestra and Chorus; and a stadium full of ecstatic arts lovers belting out tunes.

“I’ll admit that if, in early March 2020, someone had told me that we would not be seeing our audiences again until May 2021 at the University of Houston’s TDECU football stadium, I might have questioned their sanity,” HGO Artistic and Music Director Patrick Summers wrote in the event program. “But I could not be more grateful to be here today. If The Sound of Music has one message, it’s about how music brings people together and buoys their spirits in moments of adversity. That message is especially apropos in this moment.”

We are so grateful for this moment, here in spring 2024: a wonderful reminder that it is a gift to be gathered here with you inside the Wortham Theater Center for a full production of The Sound of Music

Dear Opera Patron:

On behalf of the entire team at Houston Methodist, it is my pleasure to welcome you to The Sound of Music at Houston Grand Opera. This timeless tale of courage is a treat for the whole family, and we are delighted to help bring Houston Grand Opera’s amazing production to you.

As the official health care provider of HGO, Houston Methodist is dedicated to keeping HGO’s artists, staff and audiences healthy year-round. Houston Methodist’s innovative Center for Performing Arts Medicine (CPAM) offers a comprehensive program tailored to meet the specific needs of artists, including the immensely talented singers, musicians and actors onstage today. CPAM also partners with HGO on music therapy workshops for patients and caregivers, concerts at our hospitals, and other initiatives that merge medicine and the arts.

At Houston Methodist, we recognize the vital role the arts play in the physical, mental and spiritual wellness of our patients. It is our pleasure to partner with HGO and its peer arts organizations in the Houston Theater District that do so much to enrich the lives of those in our community. Enjoy the show!

Sincerely,

Dear Opera Patron:

On behalf of Frost Bank, welcome to Houston Grand Opera. Frost is proud to support HGO and this season’s production of The Sound of Music

The Sound of Music is a classic. Its songs capture the warmth and humor of growing up, learning something new, taking risks, and falling in love. In other words, it does what opera does best: magnifies through music the feelings that are in all of us. With the stellar creative team and musicians HGO has assembled for this performance, I know every row of the theater will be alive with the sound of music.

Frost has been dedicated to the communities we call home since the company’s founding in Texas in 1868. We don’t just open new financial centers to serve the area’s financial needs, but also to play a part in bettering the community for years to come. We support the arts, education, economic development, and health and human services to make our home state of Texas a wonderful place to live, work, learn, and play.

Our long partnership with HGO reflects this commitment to our communities. We hope you enjoy the performance.

Sincerely,

DISCOVERING DON GIOVANNI

A conversation with bass-baritone Luca Pisaroni

When I reach bass-baritone Luca Pisaroni over Zoom for a transatlantic conversation about Mozart and Don Giovanni, he tells me that he does not know what will happen when he takes the stage in Houston to perform the role of Mozart’s infamous antihero.

Each time the curtain comes down in the Wortham’s Brown Theater, Pisaroni explains, he will have had a different experience on the stage, and given a different performance. Each time, the opera will have revealed new truths to him. And each time, he will have new questions.

“The brilliant thing about Mozart,” he says, “is that Mozart doesn’t answer questions. He is asking them. That’s why you can watch Giovanni 250 years later, and still find it relevant.”

During an extraordinary career that has taken him to the great houses of the world, Pisaroni has portrayed Mozart’s infamous antihero twice so far, and found he adores the role in all its complexity. “It’s the other characters that make Don Giovanni,” he says. “It’s how everybody else relates to him that gives him this energy and makes him the center of the piece. In one way or another, he affects everybody’s life.

“And so, for me, it’s one of these roles that are so epic and so profound to play. Every night, there will be a little bit of unhappiness, you know, because I ask myself: Did you really play the seductive side? Did you really play this dangerous part of him?”

It’s tough, after giving your all on the stage—and without a doubt, in Pisaroni’s case, doing so brilliantly— to feel you’ve fallen short in one way or another. But as I remind him, that’s Mozart. The composer himself might not have been human, but he was sent to remind us that we are. He nods as we share a moment of understanding, each on the other side of the globe.

Pisaroni is utterly convincing as a leading man, yet Don Giovanni is one of opera’s relatively few lead roles written for his lower voice range. He was born in Venezuela to Italian parents, and his family moved back to Busseto, Italy, the hometown of Verdi, when he was four years old. He remembers listening to his grandfather’s Verdi collection as a child and feeling transported.

“I had this attraction. It just moved me,” he shares. “And then, at age 11, I saw Pavarotti singing on TV, and I realized that I wanted to become an opera singer. I just always loved it. The combination of the music, the words, and the ability of a person to convey emotion with the voice. That always fascinated me.”

Throughout his youth, Pisaroni did everything he could to prepare for a career in opera. He sang with his church choir and, as a child tenor, learned as many roles as possible—from Un ballo in maschera, Ernani, Don Carlos, Aida. Then, at age 18, he tried to sing “E lucevan le stelle” from Tosca and realized his voice had changed.

“I cried for two weeks when I realized that I was not a tenor,” he says. “All of a sudden, I was like, Oh, I am the less sexy role: the bass-baritone. It was really a shock.” But, still in love with the art form, he absorbed the shock and soon set about learning a new, diverse range of roles, including not only Don Giovanni but also his servant Leporello, something that intimately informs his perspective on the title character.

“I’ve done a lot of Leporellos, so I was really lucky to have a perspective of Don Giovanni from the servant,” he says. “And this helped me try to understand who this guy is.”

Understanding Don Giovanni is an ever-evolving process for great interpreters of the role. Pisaroni sees the character as less Don Juan and more obsessive, manic madman. He points out that for all Don Giovanni’s trying, he doesn’t have any success with women during the opera. “With Donna Anna? Not that one. Elvira? Disaster. Zerlina? Doesn’t go. The servant of Donna Elvira? Doesn’t happen.”

He describes the opera this way: it’s about Don Giovanni “murdering somebody and then dealing with the consequences of the murder, and dealing with a superior energy, superior power, a god, something.” He’s speaking, of course, of the Commendatore, the embodiment of the immutable truth that actions have consequences.

Pisaroni remembers having an epiphany when experiencing Kasper Holten’s production—the same one HGO is presenting this season—and its deep exploration of Don Giovanni’s interior world. “In an old-fashioned production, he goes to hell, and there is the smoke,” he muses.

“But when it is a psychological thing, it’s really challenging, because how do you show that he’s going down this tunnel of being obsessive, questioning who he is? I remember when I saw ‘Fin ch’han dal vino,’ and Giovanni is standing still, but there is this vortex. I went, Oh my god. For the first time, that aria made sense. I love this production.”

HGO audiences may remember Pisaroni for his acclaimed performances in several prior productions.

“I did the Count (The Marriage of Figaro), which was a debut; Faust, my first Méphistophélès; and The Phoenix (as Enzo/young Da Ponte), which was a world premiere,” he remembers, adding that he cannot wait to return to Houston.

“Everybody at HGO feels like a family rooting for you, and helping you do the best that you can,” he says.

“You have an incredibly high-quality music staff. I’m thrilled to be coming back.” ∎

director's note: the sound of music

The Sound of Music” is a profound (and entertaining) paean to those who refuse to be silent in the face of rising authoritarianism and to those who yearn and fight for freedom. There were real Nazis in the 1930s and 1940s, and there are real Nazis today. We need stories out in the world that give voice to these very struggles of good against evil and the complicated ways the “onlooker” who does not act can make possible evil.

In a world where everyone always does the right thing, there would be no drama. Again and again in the theater, from the time of the Greek dramatists, we see the clash of good and evil, and we experience a roller coaster of emotions. When the “good guys” cling to their convictions, no matter what it costs them, we cheer. When their heroic choices cost them dearly, we grieve and/ or rage. These choices require an antagonist. A despicable enemy is the engine that makes so many dramas run. We go to the theater to remind ourselves what humanity is capable of, for better and for worse. As a director, I want to tell stories that will inspire people to be their best selves in times of crisis.

evil—the evil of “going along” or “not speaking out.” The character of Max, who is merely annoying to begin, becomes downright despicable by the second act. I wanted to include the song “There’s No Way to Stop It,” which was left out of the film, as a way of underlining who Max and Elsa the Countess really are. The song also clarifies why Captain von Trapp breaks off his engagement with Elsa; while his growing attraction for Maria is a factor, Elsa’s political position is what finally pushes him away from her. It can be difficult to identify with some of the larger-than-life heroes and villains we see on the stage. The Sound of Music shows us that heroic (and horrific) choices happen on a domestic level, too.

“ THE SOUND OF MUSIC SPENDS

TIME WITH THE MORE INSIDIOUS VERSION OF EVIL—THE EVIL OF “GOING ALONG” OR “NOT SPEAKING OUT.”

In the case of The Sound of Music, the source of crisis is perhaps the greatest evil humanity has ever known: the Nazi regime. When the depth of the atrocities of the Holocaust came to light, the world cried out, “Never again!” Less than a century later, astonishingly, we are hearing a small but vocal minority deny that it even happened. I believe works like The Sound of Music, which give a small window into a few of the terrible choices forced by the Nazi regime, are an important safeguard against the erasure of history. Rodgers and Hammerstein, two Jewish artists from New York City, had a long string of successes to their name, and could have written about anything in 1959. Instead they chose to tell the true story of an otherwise by-the-book military man, Captain von Trapp, who risks everything rather than fall into line with the Nazis.

One of the things I find particularly interesting about The Sound of Music is that it doesn’t depict those who personally carried out the atrocities, but instead spends time with the more insidious version of

The 1938 annexation of Austria by the Nazi Germans known as the Anschluss is the pivotal moment in our story. I often think how important it is to reflect on the Nazis’ connection to art. Hitler believed in the power of art as demonstrated by his commitment to keeping all the arts alive during his regime. He used film, classical music, Wagner, visual arts, and architecture to create a pronounced language for the Third Reich.

When the Nazis arrive toward the end of the second act in our production, two banners with swastikas unfurl on the stage, and audiences always gasp in horror. That sense of horror is exactly what we should all feel when remembering the evil that once took root and threatened to spread across the globe. I think it’s important that it happens late in the show, once the story’s perspective on good and evil has been made clear. My team and I recognize that the swastika is a potent symbol, so we handled it with great care: our “Nazis” removed their armbands for the curtain call to avoid any confusion about what was being applauded at the end of the show.

This is an interesting and exciting time to be working in an art form that relies on works that are decades—even centuries—old. In some cases, our perspectives on heroes and villains have evolved. For instance, producing an older work based in the Crusades is usually complicated. But I think the case of The Sound of Music is straightforward. Rodgers and Hammerstein framed the Nazis as villains, and that’s a framing that remains true, relevant, and important. Never forget. Never again. ∎

ALL ABOUT YOU

MOZART, DA PONTE, AND DON GIOVANNI

When two great friends collaborate artistically, and produce profoundly stirring results, there is no greater pleasure in life. But close friendship is by no means a prerequisite for such results, nor does it in any way guarantee them, for often the most unlikely alliances can produce extraordinary artistic issue. Two creators, or two performers, may have very little in common, and may not even particularly enjoy one another’s company; and yet the communication between them on a supermundane level can lead to a sharing of ideas, instincts, and reflexes, where the total exceeds the sum of the parts. On the face of it, the collaboration between Wolfgang Amadeus Mozart and Lorenzo Da Ponte, in the mid-1780s in Vienna, was not an obvious one at all. Da Ponte was a natural partner for the Court composer in Vienna, Antonio Salieri (they were the same age, and of the same nationality), and he did indeed produce librettos for him. But between Mozart and the “new Italian poet,” as the intrigued Mozart described him in a letter to his father, there were vast areas of agreement, like-mindedness, and vision. Although Mozart and Da Ponte eyed each other with curiosity, even caution, for a few years, it was perhaps only a matter of time before these two veritable geniuses would converge.

The paths of Mozart and Da Ponte to their collaboration in Vienna, in the summer of 1786, were very different, but shared some significant touchstones. Mozart’s operatic awareness had been ignited, at the age of 11, by the experience of observing opera seria in Vienna, mainly under the distinguished and benevolent eye of its prime provider, Johann Adolf Hasse. Later, the teenage Mozart and his father Leopold subsequently made three trips to Italy, traveling widely within the country that had invented opera and was still its greatest influencer, and its greatest supplier of both composers and singers. Every city and town had an opera house (Salzburg, where the Mozarts lived and Leopold worked, had none), and the boy became obsessed with the art form. He reveled in the high standards in Milan, Bologna, Florence, Naples, and Venice; he was honored by academics, and in Rome by the Pope; and in Venice especially, where he arrived during its celebrated Carnival season, he was thrilled by the street spectacle of elaborate masks and costumes.

Between 1770 and 1773, when Mozart was aged 14 to 17, he was actually commissioned to write three operas (Mitridate, re di Ponto, Ascanio in Alba, and Lucio Silla) for the Teatro Regio Ducale in Milan, the prime opera house in Italy and therefore the world, and he honed his craft there through working with the most distinguished singers of the age. But his operatic leanings were then frustrated as, back in Salzburg, he had to toe different lines. Such invitations to write opera that he did receive temporarily assuaged his thirst, but did not satisfy it. La finta giardiniera for Munich in 1774 was an opera buffa, performed by overworked singers considerably less accomplished than those he had experienced in Milan. A year later Il re pastore, for the visit of a young Habsburg Archduke to Salzburg, was a brief allegorical piece put together very quickly and semi-staged in the State Rooms of the Archbishop’s Palace. Mozart’s encounter with the musical Weber family in Mannheim in 1777, and in particular his infatuation with the second daughter Aloysia, who would become the most distinguished singer of her own generation, reignited his passion for opera. But it continued to be thwarted by lack of opportunity, and it was not until four years later, in 1781, that he produced for Munich what is arguably the finest opera seria of the 18th century, Idomeneo, re di Creta

After Mozart’s (very welcome) dismissal from his Salzburg employment later in 1781, he settled in Vienna where there was abundant opportunity for musical collaboration with extremely distinguished musicians, even without any permanent employment. He married Aloysia’s younger sister

Constanze Weber, and established his own series of concerts as he built up a reputation. He could not infiltrate the Court where Salieri ruled the roost, but he wrote The Abduction from the Seraglio for the German National Theatre at Vienna’s Burgtheater, again with distinguished singers. Then in 1785, a new influx of Italian singers arrived, and in the following year the Emperor Joseph II put on an evening of operatic entertainment in the Orangery at his palace in Schőnbrunn. Mozart’s hilarious Der Schauspieldirektor, with superb singers, brought him back into the operatic limelight, by which time the “new Italian poet” had noticed the brilliant young Austrian with superb theatrical instincts and endless facility, and their brilliant first collaboration, The Marriage of Figaro, was already in preparation.

Lorenzo Da Ponte’s own path to this moment was even more eccentric than Mozart’s. Born into a Jewish family in Ceneda (now Vittorio Veneto) in 1749, he had converted to Christianity at the age of 14, when his father had married his non-Jewish stepmother. He seems to have had no formal schooling at all, yet at the age of 21 he was teaching literature at a seminary in Portogruaro, and writing poetry on all manner of subjects. He took holy orders, acquiring his title “Abbate,” although, as later events would reveal, he was wildly unsuited to a religious calling. By 1773, when he was 24, he was in Venice, where he became a close acquaintance of Casanova, and like his friend had many adulterous affairs, one of which led to his eventual banishment from the entire Venetian Republic, in 1779. After short spells in Gorizia and Dresden, Da Ponte arrived in Vienna in 1781, the same year as Mozart. He made contact with his influential countryman, Salieri, who encouraged him to apply for the post of poet to the Burgtheater. There his tasks were to oversee the provision of all librettos for the theater, whether translations or adaptation of plays or existing librettos, or original creations. As Mozart observed, Da Ponte had “an enormous amount to do.”

Mozart and Da Ponte had in fact much common ground. In a crucially fundamental sense, they were both disenchanted with the Enlightenment. This intellectual movement, so beloved of the Emperor, had effectively turned society away from religion, and toward reason as the chief tool for understanding human life. Education, and the idea of learning through experience, were part of this rationality, and most artistic works, certainly including Mozart’s Idomeneo and The Abduction from the Seraglio, were passionate advocates for this Age of Reason. Yet there was something essentially empty about it. Rousseau, in his Second Discourse, issued a stern warning to a society guided only by material values: “We have only honour without virtue, reason without wisdom, and

HGO's 2019 production

pleasure without happiness.” Mozart and Da Ponte shared this view, as their collaborations indicate. They were both essentially outsiders, never fully accepted by the establishment; yet their peripatetic earlier lives, together with their current situation on the fringes of society, had furnished them with superb powers to observe, accumulate, and interpret the infinite varieties of human behavior. Each could therefore portray immense subtlety in theatrical characterization, whether for instance in the different modes of expression between the different classes, or in overt and covert manifestations of real human emotion. The Marriage of Figaro, Don Giovanni, and Così fan tutte all break through the barriers surrounding conventional society, with all its manners and proprieties, and release the emotional turmoil within. All essentially modern (whether an adaptation of a current—and highly controversial—play, a contemporary reworking of a well-told myth, or a newly-invented story about fashionable society), these three masterpieces hold up a mirror to the audience: it is their manners and behavior which are being so forensically presented and investigated. “This,” they seem to say, “is all about you.”

And significantly, both Mozart and Da Ponte had experienced first-hand the splendid event of Venetian Carnival. Mozart never forgot his slightly wild time there in his teenage visit (quite apart from anything else, it was in Venice that he had unleashed a teenage passion for the opposite sex); and Da Ponte had resided in that most seductive, most liberal, most degenerate perhaps, of cities, with its masks and disguises, and its illicit assignations conducted under cover of watery darkness. All three of the Mozart-Da Ponte operas would draw on this richest of memories, using disguise and that Venetian mask as a device with which ultimately to discover the truth, in a manner at once entertaining and disturbing. In Figaro, the Countess and Susanna exchange clothes in order to entrap the Count. In Così fan tutte, Ferrando and Guglielmo pretend to leave town, only to return disguised as Albanians, to test the affections of their sweethearts, whose own maid Despina adopts a series of identities as the cruel plot grows apace. And in Don Giovanni, not only do Giovanni and Leporello swap clothes for the dual purpose of deflecting Elvira and seducing her maid, but three of Giovanni’s avengers, Anna, Elvira and Ottavio, all put on masks and gate-crash his party. The whole process of disguise allows a person to become someone else and behave entirely differently; and a pot of intrigue is stirred.

And there are other, musical, masks too in Don Giovanni. When in the opening scene Giovanni fatally

wounds Anna’s father, the music seems to acquire the lyrical simplicity of a Moonlight Sonata, but in fact contains within it all the horror of a violent crime and the final gasps of a dying man. At the party scene in the Act I finale, Giovanni lays on three bands playing in different meters at the same time (brilliantly delivered by Mozart), in order to layer confusion on the scene and further his pursuit now of Zerlina. Early in the second act, Leporello acts out the role of ventriloquist’s dummy as Giovanni sweetly serenades Elvira, and she falls for it: she is being humiliatingly tricked, and the music again is of heart-stopping beauty. And when poor Elvira learns the truth, her wildly angular aria of distress, “Mi tradì quest’alma ingrata,” in fact expresses her anxiety not for herself but for the man she still loves. The more one probes beneath the surface of the text—line after brilliant line—and the music, the more complex and multi-faceted the content is revealed.

In fact, the whole opera of Don Giovanni can be seen as some sort of mask. “Dramma giocoso,” it proclaims itself on its title page, and to be sure there are definite strands of comedy. The audience is riveted by theatrical activity, and enchanted by exquisite and incomparable music. But this opera is a dark, disturbing, and dangerous work, and by the end of it the lives of all its protagonists are, if not ruined, permanently damaged. For all the melodrama of the quasi-supernatural denouement, ultimately Don Giovanni is a story of human nature, and of its infinite capacity for selfdestruction. ∎

Dame Jane Glover, the author of this essay, is conducting Don Giovanni at HGO.

GETTING TO KNOW HIM

THE GREAT LYRICIST KNEW WHAT HE WAS DOING. AND HE CHANGED MUSICAL THEATER FOREVER.

It’s a very ancient saying,  But a true and honest thought,  That "if you become a teacher,  by your pupils you’ll be taught."

As a teacher I’ve been learning (You’ll forgive me if I boast)

And I’ve now become an expert

On the subject I like most:

Getting to know you….

From The King and I (1951)

Dorothy Hammerstein, the wife of Oscar Hammerstein II, once overheard Jerome Kern’s wife Eva being introduced with, “her husband wrote “Ol’ Man River!”

A curt correction came from Mrs. Hammerstein: “Excuse me, my husband wrote ‘Ol Man River’—her husband only wrote ‘dum, dum DEE-dah, duh dum-dum DEE-dah,’” intoning the famous melody.

A lyricist’s craft is mysterious and thankless, often thought to arise from flashes of inspiration, when in actuality great lyrics are crafted over time with a jeweler’s precision. When it comes to the few dozen classic American musicals, it is the composers who are more often remembered, and this is even more true of classic operas. Only scholars know who wrote the words to various Puccini or Verdi operas, and even the famous literary collaborator of Mozart’s, Lorenzo Da Ponte, is still more symbol than human. Music ignites the memory of words.

Creativity is a solitary task, so immortalized writing teams are few: Gilbert and Sullivan, Comden and Green, Lerner and Loewe, and the mid-20th century’s ultimate duo,

The Sound of Music is a co-production of HGO and The Glimmerglass Festival. Pictured: the festival's 2022 production.

the symbols of excellence and innovation, Richard Rodgers and Oscar Hammerstein II, known in their 18 years together simply as R&H. They ruled not only the American theater, but also had enormous influence on how post-WWII America defined itself, from their first collaboration of Oklahoma!, which culturally was to the 1940s what Hamilton was to the 2010s, to Carousel, State Fair, South Pacific, Cinderella, The King and I, Flower Drum Song, and The Sound of Music

Oscar Hammerstein II (1895-1960) was one of the most important figures in the development of what has become a uniquely American art, the musical, which is a cousin of opera that shares many of its attributes and all of its challenges. Hammerstein’s influence over the form extended through his surrogate child and artistic son, the prodigiously gifted composer and lyricist Stephen Sondheim (1930-2021), who grew up near the Hammerstein farm in Doylestown, Pennsylvania, and who learned his craft, and how, from Hammerstein.

Unknowingly, Hammerstein also played a major role in the development of American opera, which has hit

several recent zeniths. Indeed, there is hardly an operatic libretto written in the last 60 years that doesn’t bear a Hammerstein-ian imprint, starting with Carlisle Floyd’s earliest operas, which were contemporary with the Rodgers and Hammerstein glory years. Hammerstein was an admirer of Floyd’s 1955 opera, Susannah, which he saw at the New York City Opera, and Floyd’s libretti often emulated Hammerstein’s gentle but direct philosophies.

Hammerstein’s roughly 40 years of innovations to the musical play, as he called the form, have become so baked into the way we tell American theatrical stories that we no longer view them as innovative. But before him they barely existed. His ideas of constructing a scene so that there was room for music to carry it have never been supplanted by a better idea. For Hammerstein, music needed to feel like a scene’s logical outcome, an outpouring of emotional overflow, solely in support of telling a story.

Hammerstein had a great gift for sculpting the moments an audience most needs. Adapting Ferenc Molnár’s Hungarian play Liliom into what became the personal

favorite work of both Hammerstein and Rodgers, their 1945 Carousel, he knew he had to give the play a redemptive ending, with WWII ending and so many lives cut prematurely short. Molnár’s play ends with Billy Bigelow consigned to hell, Don Giovanni-style. The great hymnlike “You’ll Never Walk Alone” was Hammerstein’s redemptive idea, a moment movingly echoed by Sondheim years later in the finale for his Into the Woods, “No One is Alone.” Whatever retroactive morality we now apply to Carousel, Rodgers and Hammerstein’s ending still has a soaring emotional punch.

Hammerstein’s foray into opera was his Americanized adaptation of Bizet’s Carmen into the musical Carmen Jones, famous in its day for blurring the boundaries of both opera and the musical. Hammerstein expressed the theater world’s typical disdain for grand opera, largely because of his family background. His grandfather after whom he was named, Oscar Hammerstein I, was an enormously influential operatic impresario in the United States, but his relationship to opera was, in today’s parlance, complicated. In the preface to the printed edition of Carmen Jones, his grandson Oscar II writes:

"When I was a small boy, ‘opera’ was a bad word in our home. Opera was a way people lost money, especially Grandpa… He was a publisher, an inventor, a builder of theaters, and a theatrical producer. Whenever he was engaged in any of these pursuits our family was rich. As soon as he would get enough money together, he would put it all into opera and the family would become poor again."

Hammerstein I’s history is something out of a bad operetta: escaping an oppressive Prussian father as a teenager, buying passage to Liverpool and then New York with the sale of his own violin, making a fortune on cigars (there’s a bit of Carmen in everyone…), building theaters all over New York’s Longacre, which became Times Square, and most famously: forming a rival opera company just a few blocks from the Metropolitan that was so successful, it caused the Met’s board to pay Hammerstein a tidy fortune to leave town and not produce opera again in New York.

So, theater and the idea of risk was in young Oscar’s genes. His writing talents surfaced early, when he was a law student at Columbia during WWI. Hammerstein II wrote his first professional musical, Always You, in 1920 with composer Otto Harbach, who along with Jerome Kern and Sigmund Romberg became his most influential early collaborators. Kern and Hammerstein’s 1927 hybrid opera/musical Show Boat was easily the most consequential piece of American theater of its time. Within it, to this day, one can see and hear the seeds of every major game-changer that followed: the Gershwins’ Porgy and Bess, The Cradle Will Rock, Oklahoma!, South Pacific, My Fair Lady, West Side Story, Gypsy, Hello Dolly!, Floyd’s Susannah and (especially) Willie Stark, Sondheim’s A Little Night Music and Sweeney Todd, A Chorus Line, Dead Man Walking, Silent Night, and so many others, right up to Hamilton. If these associations seem far-fetched, look at the structural make-up of scenes in these musical plays or operas—not their content—and you find the Hammerstein effect. He knew what he was doing.

And what was that, exactly? How did Hammerstein work? Here in opera-land we are usually more focused on music than words, but nearly all great music in our medium began as words. Hammerstein’s

famous musical partner, Richard Rodgers, was a uniquely gifted tunesmith, but he needed a situation for which to compose, and needed the inspiration of words.

Hammerstein famously labored for weeks over the lyrics of “Bali Ha’i” from South Pacific, and Rodgers then tossed off the tune in five minutes on a cocktail napkin. Lyricwriting isn’t pure poetry, and it also isn’t pure drama—it is an art in-between. Hammerstein himself talked eloquently about this in his preface to a collected edition of his lyrics.

"The job of the poet is to find the right word in the right place, the word with the exact meaning and the highest quality of beauty or power. The lyric writer must find this word too, but it must be also a word that is clear when sung and not too difficult for the singer to sing on that note which he hits when he sings it."

Look at this early Hammerstein draft of Maria’s famous title song of The Sound of Music:

The hills give me strength

When my heart is lonely

And lost in the fog

Of a thousand fears.

The hills fill my heart

With the sound of music,

And my heart wants to sing, My heart wants to sing,

My heart wants to sing, Every song it hears.

Perfectly respectable, perhaps a little wordy, but also kind of foggy in terms of character. “Thousand fears” is fine, but cumbersome to pronounce and sing. The three repetitions near the end might have been musically nice, but he eventually cut them down to one and moved it earlier in the song, lightening its poetic weight. Here is Hammerstein’s final lyric for this passage, the one sent to Rodgers for setting to music:

I go to the hills

When my heart is lonely

I know I will hear

What I’ve heard before –

My heart will be blessed

With the sound of music,

And I’ll sing once more.

Of course, we all know the song now, so we hear music when we read it, but the warmth of that great Rodgers tune was born in Hammerstein’s meticulous syllables, cut down to 37 from over 50 in his first draft.

The Sound of Music was always a triumph of audiences over critics, most of whom loathed or dismissed it, then as now. Music critics have mostly pretended it didn’t

exist at all, or if it did, regard it as a relic from a world far from theirs. Several have grudgingly acknowledged the extraordinary skill and beauty of Robert Wise’s famous film starring the singularly-voiced Julie Andrews, and how could they not? Has any movie ever opened more thrillingly than The Sound of Music’s introductory journey through the Austrian Alps?

Whatever The Sound of Music was or wasn’t to critics, audiences never much cared. It has enjoyed a popularity across the world for decades that can’t and shouldn’t be dismissed. The musical was beloved from the moment people heard it. Indeed, the morning after The Sound of Music opened on Broadway on November 16, 1959, Rodgers heard children in a Manhattan playground singing one of musical’s songs, “Do-Re-Mi,” as though it had been around a long time. That feeling attached itself to much in The Sound of Music, which in Salzburg now vies with Mozart for a tourist’s primary attention. Even the song “Edelweiss,” the last that Rodgers and Hammerstein wrote together, was once described in print as an Austrian folk song, and the lore held for a long time. But it isn’t a folk song—it is just pure R&H.

The whole score of The Sound of Music is about as perfect as one can find in an American musical—virtually every song is a gem. Fine, but does it belong in an opera house? To perform it as R&H envisioned it, yes, as evidenced by the hefty number of opera singers who appeared in the first production. Okay, but is The Sound of Music an opera? Sondheim pretty handily answered this tedious question when asked about his own magnum opus, Sweeney Todd: “When it is performed on Broadway, it is a musical—when opera houses do it, it’s an opera. The venue decides what it is." End of story, as far as I’m concerned.

A little quatrain that appears memorably in stage performances of The Sound of Music is absent from the film. It is sung in the second act by Maria to the maturing eldest daughter Liesl. During the pre-Broadway run of the show, Hammerstein quietly handed these four lines to the original star, Mary Martin, who naturally considered the lines a personal gift—and Rodgers set the text to music within days. The real Maria von Trapp, who was born in Vienna in 1905 and died in Vermont in 1987, always expressed that these words were her favorite of Hammerstein’s 850 song lyrics. The words capture his enduring appeal perhaps because they describe a world that can be universalized. Hammerstein’s art always pined for community, for giving, and was always a plea for us just to be nicer to each other, a message no less important for being simple:

A bell is no bell till you ring it.

A song is no song till you sing it.

And love in your heart wasn’t put there to stay.

Love isn’t love till you give it away. ∎

HAT IS TRULYFO

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It was a bright Sunday morning at the Evelyn Rubenstein Jewish Community Center when the curtains rose on HGO’s sensory-friendly performance of this season’s Opera to Go! production, Katie: The Strongest of the Strong, which shares the inspiring true story of circus strongwoman turned suffragist Katie Sandwina. The sensory-friendly show, made possible by the Joan and Stanford Alexander Family Fund, represented the second-ever performance of its kind put on by the company.

Sensory-friendly, or relaxed, performances are designed to create a welcoming and supportive environment for families with members on the autism spectrum and others with sensory sensitivities. Accommodations may include adjusted lighting, the omission of flashing lights and loud sounds, designated quiet areas where people can go when overwhelmed, and permission to use electronics and other coping tools during the show. The result is a low-stress environment that allows audience members of all ages to gain exposure to the arts during a performance tailored to fit their comfort levels.

Throughout the planning process for this presentation of Katie, house staff and artists alike were advised by Sensory Stages, a Houston firm that advises venues around the country on ways to make live art more inclusive for all so that every member of the audience, cast, and crew can fully embrace the magic of the stage.

“The most important thing about a sensory-friendly performance is that it feels truly inclusive,” explained Sensory Stages Co-Founder and President Reed Walker. “It’s about creating a judgment-free zone where people can be who they are and enjoy a live performance, which

is something that has historically been inaccessible to them in the past.”

The approach extended beyond the surrounding environment and into the performance itself. At a pivotal moment in the show, artists made gestures to warn audience members of impending startling sounds, giving them ample time to put on headphones, remove themselves from the room, or simply prepare for the oncoming noise. Judging by the enthusiastic response from the audience, the joint effort from HGO and Sensory Stages was effective and appreciated.

“My kids could never sit through a full opera,” Sharon, the mother of 4, 5, and 8-year-old children, told Cues after the show. “It would’ve gone right over their heads, not to mention it would’ve been way too long. Shows like this make it so easy for my kids to experience art, so we try to go as many as we can.”

Maria, mom to a 6-year-old and an 8-year old, was also enthusiastic. “My kids get freaked out when it’s dark,” she shared. “It even makes going to the movies overwhelming for them. I thought the house lights being on was a nice touch.”

HGO plans to take this dedication to accessible programming a step further when it brings a family-friendly matinee showing of Cinderella to the Brown Theater for its first-ever HGO Family Day, taking place this fall at the Wortham Theater Center, on November 9 at 11 a.m. The 90-minute opera will be performed in English, with a similar relaxed environment, as well as interactive activities for all to enjoy. Join us! ∎

COMMUNITY AND LEARNING FUNDERS

GUARANTORS

Robin Angly and Miles Smith

The Brown Foundation, Inc.

Mathilda Cochran

William Randolph Hearst Foundation

Andrew W. Mellon Foundation

Sara and Bill Morgan

National Endowment for the Humanities

Shell USA, Inc.

The Wortham Foundation, Inc.

GRAND UNDERWRITERS

Judy and Richard Agee

City of Houston through the Miller Theatre Advisory Board

ConocoPhillips

The Elkins Foundation

H-E-B

Houston Livestock Show and Rodeo ™

Powell Foundation

UNDERWRITERS

Joan and Stanford Alexander Family Fund

Ruth and Ted Bauer Family Foundation

Rebecca and Brian Duncan

Halliburton

Rosemary Malbin

Dr. Laura Marsh

Mr. David Montague

Vivian L. Smith Foundation

SUPPORTERS

Mr. and Mrs. Robert J. Ardell

Adrienne Bond

Mr. and Mrs. Lester P. Burgess

The Lawrence E. Carlton, MD, Endowment Fund

The Cockrell Family Fund

James J. Drach Endowment Fund

Trish Freeman and Bruce Patterson

Monica Fulton

Rhoda Goldberg

George and Mary Josephine Hamman Foundation

William E. and Natoma Harvey Charitable Trust

Houston Grand Opera Guild

Lee Huber

OPERA America

Mr. Geoffry H. Oshman

Mr. and Mrs. Michael J. Pancherz

Texas Commission on the Arts

The activities of Houston Grand Opera are supported in part by funds provided by the City of Houston through Houston Arts Alliance.

DONORS BRING ART TO ALL

Ticket sales cover less than 20% of the cost of producing great opera. Your contributions make up the rest. It’s donors like you who bring grand opera to families and students across Houston.

Your gift to HGO gives you exclusive and behind-the-scenes benefits like valet parking, lecture series, and Green Room access.

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Donizetti

Lucia di Lammermoor

October 4-13

The Little Prince Portman

December 7-15

Lucidity Kaminsky

www.operaintheheights.org 2024/25

February 21-23

L’italiana in Algeri Rossini

April 4-13

Experience modern luxury with a touch of historic charm at the Magnolia Hotel Houston, A Tribute Portfolio Hotel. Our offerings provide the perfect backdrop for a weekend escape, a memorable celebration, or a pre- or post-show indulgence at our on-site restaurant, The Dispatch, ideally situated in downtown Houston.

2023-2024

PRODUCTION FUNDERS

SPRING REP

GRAND GUARANTOR

The Humphreys Foundation

GUARANTORS

The Robert and Jane Cizik Foundation

Claire Liu and Joe Greenberg

The Robert and Janice McNair Foundation

Margaret Alkek Williams

GRAND UNDERWRITERS

Judy and Richard Agee

Connie Dyer

Amanda and Morris Gelb

Laura and Brad McWilliams

UNDERWRITERS

Beverly and Staman Ogilvie

The Joan and Stanford Alexander Family Fund

In honor of the marriage of Dr. Holly Holmes and Mr. Iván Bermúdez

SUPPORTERS

Houston Saengerbund

A dramma giocoso in Two Acts

A Co-Production of Houston Grand Opera; Royal Opera House, Covent Garden; Gran Teatre del Liceu; and The Israeli Opera Sung in Italian with projected English translation.

The performance lasts approximately 3 hours and 21 minutes, including one intermission.

CONTENT ADVISORY:

This production contains adult content, including depictions of rape and sexual assault.

QUICK START GUIDE

THE OPERA IN ONE SENTENCE

When Don Giovanni refuses to repent for his transgressions, he is summoned to his own personal hell.

BACKGROUND

Don Giovanni is based on the famous fictional hedonist Don Juan, a legendary libertine from European folklore known for living purely for physical pleasure. The earliest written account of Don Juan was published in Spain in 1630. Many works have been inspired by the Don Juan story, but the bestknown version is undoubtedly Mozart’s opera, which was an expansion of the story by Giovanni Bertati that Giuseppe Gazzaniga set as a one-act opera, Don Giovanni Tenorio. Mozart and his librettist, Lorenzo da Ponte, conceived this work as a dramma giocoso—a comedic drama. The opera, which opened in 1787 in Prague, included an epilogue in which the other characters, following Giovanni’s downfall, sing the moral of the story. Among a handful of revisions that Mozart made for the Vienna premiere in 1788, the epilogue was removed and the opera ended with the Commendatore dragging Giovanni to hell.

WHAT TO LISTEN FOR

An influential technique that Mozart developed over the course of his compositional life was the pairing of characters with musical styles. The peasant music of Zerlina and Masetto is most often associated with simple meters in traditional key signatures, providing a homely, folk-style aesthetic for the lower-class characters. The noble music of Donna Anna and Donna Elvira, on the other hand, establishes the social importance of their stature through denser orchestral colors, grand vocal leaps throughout their range, and more complex rhythmic and harmonic figures. Giovanni does not fall cleanly into the noble music of a don. Instead, listen for how shrewdly Giovanni moves between simple peasant music when he talks to Zerlina, and the intricate music of the nobles when

he interacts with Donna Anna or Donna Elvira. He is a musical chameleon just as he is a social opportunist. Contrast the musical style of “Là ci darem la mano,” his domestic duet with Zerlina, with that of “Ah! taci ingiusto core,” a trio with Donna Elvira and Leporello in which Giovanni attempts to re-seduce Elvira. Though highly comedic as Leporello takes the Don’s place during the trio, the sweeping vocal lines and sophisticated orchestration indicate Giovanni’s attempt to assimilate to Elvira’s musical style. Notice also that, when Giovanni does sing solo arias, he still does not earn his own style of music: his so-called Champagne Aria, “Fin ch’han dal vino,” is a rapid and manic display of overindulgence that does not conform to Mozartian-era structures; “Deh vieni alla finestra,” in which he seduces Elvira’s chambermaid, is a strophic folk song through which he pretends to be a peasant; and his longest aria of the opera, “Metà di voi qua vadano” is sung in a purely buffo style as he pretends to be Leporello.

FUN FACT

Don Giovanni has played a key role in a few different movies, not least of which is the famous Amadeus—a fictional account of Mozart’s life that greatly overemphasizes his rivalry with fellow court composer Antonio Salieri. But the music and the storyline also play a symbolic role in two other operas: Io, Don Giovanni, a 2009 film by director Carlos Saura about the life of librettist Lorenzo Da Ponte; and Sherlock Holmes: A Game of Shadows, a 2011 film by director Guy Ritchie starring Robert Downey, Jr. and Jude Law. In Io, Don Giovanni, the life of the Don serves as a metaphor for the life of Da Ponte. In Sherlock Holmes, the protagonists suspect that a bomb has been planted at the Paris Opera, during a performance of Don Giovanni, and the tense relationship between Giovanni and the Commendatore also serves as a metaphor for the conflict between Holmes and Professor Moriarty.

CAST & CREATIVE

CAST (in order of vocal appearance)

Leporello Ryan McKinny ‡

Donna Anna Andriana Chuchman

Don Giovanni Luca Pisaroni

Il Commendatore Patrick Guetti *

Don Ottavio Kang Wang *

Donna Elvira Sasha Cooke

Zerlina Erika Baikoff *

Masetto Norman Garrett

CREATIVE TEAM

Conductor / Fortepiano Continuo Dame Jane Glover

Original Director

Revival Director

Set Designer

Costume Designer

Original Lighting Designer

Associate Lighting Designer

Projection/Video Designer

Kasper Holten

Greg Eldridge *

Es Devlin

Anja Vang Kragh

Bruno Poet

John-Paul Percox

Luke Halls

Original Choreographer Signe Fabricius

Revival Choreographer Anna-Marie Sullivan

Fight Director / Intimacy Director Adam Noble

Chorus Director

Italian Language Coach

Musical Preparation

Stage Manager

Assistant Director

* Mainstage debut

† Butler Studio artist

‡ Former Butler Studio artist

PRODUCTION CREDITS

English supertitles by Scott F. Heumann, adapted by Jeremy Johnson. Supertitles called by Luisana Rivas.

Performing artists, stage directors, and choreographers are represented by the American Guild of Musical Artists, AFL-CIO, the union for opera professionals in the United States.

Richard Bado ‡

Sarah and Ernest Butler Chorus Director Chair

Gerardo Felisatti

Peter Pasztor ‡

Teddy Poll

Marco Rizzello †

Ms. Lynn Des Prez/ Dr. Gary L.

Hollingsworth and Dr. Ken Hyde/ Stephanie Larsen/ Dr. and Mrs.

Miguel Miro-Quesada Fellow

Madeline Slettedahl

Brian August

Kaley Karis Smith

Scenic, costume, and lighting designers and assistant designers are represented by United Scenic Artists, IATSE Local USA-829.

Orchestral musicians are represented by the Houston Professional Musicians Association, Local #65-699, American Federation of Musicians.

Stage crew personnel provided by IATSE, Local #51.

Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896.

This production is being recorded for archival purposes.

SYNOPSIS

ACT I

Don Giovanni, the renowned seducer of women, has his servant Leporello keeping watch outside the home of Donna Anna, the Spanish nobleman’s latest conquest. Giovanni leaves the house but Donna Anna’s father, the Commendatore, awakens and challenges the perceived intruder to a duel. Meanwhile, Donna Anna has gone to find her fiancé, Don Ottavio. When they return together, they find her father dead, and the killer has fled. Don Ottavio tries to calm his betrothed, and the two swear vengeance upon the murderer. Leporello is upset by his master’s actions and urges him to mend his ways. But just then, Don Giovanni spots a beautiful woman complaining about her faithless lover. He approaches her, ready to offer his “consolation,” but he is horrified to discover that it is his wife, Donna Elvira, whom he deserted after three days of marriage. She reproaches him for deceiving her but is ready to forgive him if he will return to her. Don Giovanni runs away, leaving Leporello to defend him.

Leporello and Don Giovanni pass by a wedding celebration for two villagers, Zerlina and Masetto. Don Giovanni is immediately interested in the bride. He contrives to be alone with her by suggesting that the party be moved to his palace nearby, but he himself remains behind with Zerlina. She is prepared to give herself to him when Donna Elvira arrives and spoils his plan. Donna Anna and Don Ottavio then pay a visit to the palace: Don Giovanni is afraid he is trapped, but they only ask for his assistance to find the Commendatore’s murderer. Donna Elvira again interrupts and warns the couple about Don Giovanni’s true nature, and after their conversation, Donna Anna tells Don Ottavio that it was Don Giovanni who killed her father. The marriage celebration continues at Don Giovanni’s palace. Donna Elvira has joined forces with Don Ottavio and Donna Anna, and they arrive at the palace, masked, in order to expose Don Giovanni. In the general confusion, Don Giovanni succeeds in drawing Zerlina into an adjoining room, but when she cries out, he pretends Leporello assaulted her. The masked guests reveal their identities and accuse Don Giovanni. He runs away, followed by Leporello.

INTERMISSION

ACT II

Don Giovanni is now interested in Elvira’s chambermaid. To protect his identity while he woos her, he changes clothes with Leporello while Leporello, pretending to be the Don, distracts Donna Elvira. Masetto, intent on killing Don Giovanni, finds him dressed as Leporello and asks for his help, but Don Giovanni beats up Masetto and escapes. Don Giovanni and Leporello meet again, jokingly telling each other of their adventures in disguise, when the voice of the Commendatore warns Don Giovanni of his impending retribution. With bravado, Don Giovanni forces the terrified Leporello to invite the Commendatore to supper. He accepts, and supper is prepared. Don Giovanni begins to eat by himself, but soon the Commendatore arrives to send him to hell.

HGO Performance History

HGO previously performed Don Giovanni in the 1963-64, 1975-76, 1985-86, 1990-91, 1999-2000, 2006-07, 2012-13, and 2018-19 seasons.

HGO ORCHESTRA

Patrick Summers, Artistic and Music Director

Sarah and Ernest Butler Chair

Eun Sun Kim Principal Guest Conductor

VIOLIN

Denise Tarrant*, Concertmaster

Sarah and Ernest Butler Concertmaster Chair

Chloe Kim*, Assistant Concertmaster

Natalie Gaynor*, Principal Second Violin

Carrie Kauk*, Assistant Principal

Second Violin

Miriam Belyatsky*

Anabel Ramirez-Detrick*

Rasa Kalesnykaite†

Hae-a Lee-Barnes*

Chavdar Parashkevov*

Mary Reed*

Erica Robinson*

Linda Sanders*

Oleg Sulyga*

Sylvia VerMeulen*

Melissa Williams*

Rachel Shepard

VIOLA

Eliseo Rene Salazar*, Principal

Lorento Golofeev*, Assistant Principal

Gayle Garcia-Shepard*

Erika C. Lawson*

Suzanne LeFevre*

Sarah Mason

CELLO

Barrett Sills*, Principal

Erika Johnson*, Assistant Principal

Ariana Nelson†

Wendy Smith-Butler*

Steven Wiggs*

Shino Hayashi

DOUBLE BASS

Dennis Whittaker*, Principal

Erik Gronfor*, Assistant Principal

Carla Clark*

FLUTE

Henry Williford*, Principal

Tyler Martin†

Izumi Miyahara

OBOE

Elizabeth Priestly Siffert*, Principal

Mayu Isom*

CLARINET

Sean Krissman†, Principal

Eric Chi†

Justin Best, Acting Principal

Alisha Zamore

BASSOON

Amanda Swain*, Principal

Michael Allard†

Micah Doherty

HORN

Sarah Cranston*, Principal

Kimberly Penrod Minson*

TRUMPET

Tetsuya Lawson*, Principal

Randal Adams*

TROMBONE

Thomas Hultén*, Principal

Mark Holley*

Justin Bain†

Harry Gonzalez

TUBA

Mark Barton†, Principal

TIMPANI

Alison Chang†, Principal

Karen Slotter, Acting Principal

PERCUSSION

Richard Brown†, Principal

MANDOLIN

Mark Moore

BANDA

Emily Madonia, Violin

Kana Kimura, Violin

Jacob Schafer, Violin

Mila Neal, Violin

Hunter Capoccioni, Bass

Curry Duffey, Bass

Stanley Chyi, Oboe

Katherine Hart, Oboe

Julian Hernandez, Clarinet

Molly Mayfield, Clarinet

Demetra Alikakos, Bassoon

Haley Houk, Bassoon

Spencer Park*, Horn

Gavin Reed, Horn

ORCHESTRA PERSONNEL MANAGER

Richard Reeves

* HGO Orchestra core musician

† HGO Orchestra core musician on leave this production

HGO CHORUS

Richard Bado, Chorus Director

Sarah and Ernest Butler Chorus Director Chair

Nathan Abbott

Maggie Armand

Sarah Bannon

Zachary Bryant

Steve Buza

Christopher Childress

Esteban G. Cordero Pérez

Callie Denbigh

Dallas Gray

EJ Grayson

Jon Janacek

Katherine Jones

Melissa Krueger

Alexandra Kurkjian

Marcus Lonardo

Alejandro Magallón

Heath Martin

Natasha Monette

Leah Moody

Saïd Henry Pressley

Teresa Procter

Nicholas Rathgeb

Gabrielle Reed

Francis Rivera

Hillary Schranze

Valerie Serice

Rebecca Tann

Lisa Borik Vickers

SUPERNUMERARIES

Amy K. Barnes

Larissa Bither

Adrianna Brasher

Anita Goshchin

Sydney Haygood

Mary Mink

Ginger Mouton

Zamira Scattolon

WHO'S WHO

DAME JANE GLOVER  (UNITED KINGDOM) CONDUCTOR

Acclaimed British conductor Jane Glover, named Dame Commander of the Order of the British Empire in the 2021 New Year’s Honours, is Music Director of Chicago’s Music of the Baroque. Starting in the 2025-26 season, she will serve as Fort Worth Symphony Orchestra's principal guest conductor. Glover returns to HGO after conducting The Magic Flute (2022) and The Elixir of Love (2016) for the company. Upcoming and recent-past engagements include returns to the Philadelphia and Cleveland orchestras and Houston Symphony, conducting The Magic Flute with the Metropolitan Opera, and debuts with the Chicago Symphony and Minnesota Opera (Albert Herring). Other engagements in recent seasons have included the BBC Proms, Washington National Opera conducting Gluck’s Alcina, the New York Philharmonic, San Francisco Symphony, Aspen Music Festival, and Minnesota Orchestra. She conducted many productions at Royal Academy of Music where for many seasons she was Director of Opera and now is Felix Mendelssohn Emerita Professor of Music; recently she was visiting Professor of Opera at her alma mater, the University of Oxford. Glover’s many recordings feature repertoire of Haydn, Mozart, Schubert, Mendelssohn, Britten, and Walton with the London Mozart Players, London and Royal philharmonic orchestras and the BBC Singers. Her book, Mozart’s Women, was

published in 2005 and Handel in London in 2018. In 2020 she was awarded the Royal Philharmonic Society’s Gamechanger Award for her work in breaking new ground for other female conductors.

KASPER HOLTEN (DENMARK) ORIGINAL DIRECTOR

Kasper Holten served as director of this production of Don Giovanni for HGO in 2019. Holten is CEO of the Royal Danish Theatre in Copenhagen. He was previously director of opera at the Royal Danish Opera (2000-11) and at the Royal Opera, Covent Garden (2011-17). He has directed more than 85 operas, plays, musicals, and operettas. His productions have been staged in Denmark, Sweden, Norway, Iceland, Finland, Latvia, Germany, the United Kingdom, Spain, Italy, France, Austria, Russia, Argentina, Australia, the United States, and Japan, including at the world’s leading companies such as the Royal Opera, Covent Garden; Vienna State Opera; Deutsche Oper Berlin; Teatro Real in Madrid; and Teatro alla Scala in Milan. Some of his notable productions include Der Ring des Nibelungen (Copenhagen), Carmen (Bregenz Festival), Eugene Onegin, Don Giovanni, and Die Meistersinger von Nürnberg (Covent Garden), Der Rosenkavalier (Lyon), Idomeneo (Vienna), and Lohengrin (Berlin), as well as a number of new commissions. In 2022 he directed the season-opening gala of La Scala in Milan with Boris Godunov. Several of his productions are available on

DVD. His feature film debut, Juan (2009), is an interpretation of Don Giovanni and has been shown at major film festivals around the world. Holten was knighted by HM Queen Margrethe II of Denmark in 2003, and she awarded him the honorary medal Ingenio et Arti in 2011.

GREG ELDRIDGE (AUSTRALIA) REVIVAL DIRECTOR

Greg Eldridge is making his HGO debut. He trained in Florence, Italy before joining the young artist program at London’s Royal Opera House, where he would later be appointed the inaugural Jette Parker Associate Director. A Bayreuth Scholar, Eldridge has worked at leading international houses including the Vienna Volksoper, Scottish Opera, Guangzhou Opera House, the Norwegian Opera, Glyndebourne Festival, the Israeli Opera, Oper Frankfurt, the Icelandic Opera, Los Angeles Opera, and Opera Australia, winning several directing awards. Eldridge is a trained intimacy director and former board member of Stage Directors UK, where he worked to improve conditions for directors of live theater. He is currently Professor of Opera Directing at the University of Cincinnati, and Executive Director of Opera Project Columbus, both in Ohio.

ES DEVLIN (UNITED KINGDOM) SET DESIGNER

Artist and designer Es Devlin served as set designer for this production of Don Giovanni for HGO in 2019. Devlin creates large-scale sculptural installations that combine light, music, and language. She has created stage sculptures for the Royal Opera House, National Theatre, La Scala, and the Metropolitan Opera; Beyoncé, The Weeknd, and U2; the 2022 Super Bowl featuring Dr. Dre, Kendrick Lamar, and Eminem; and the 2012 London Olympic Closing Ceremony. Her work has been displayed at Tate Modern, Serpentine, V&A, Barbican, Imperial War Museum, and Trafalgar Square. Recent work includes Come Home Again, her 16-meter monumental choral sculpture outside Tate Modern; her rotating illuminated sculpture, Your Voices, highlighting the 700 languages spoken in NYC in collaboration with the Endangered Language Alliance at the Lincoln Center; and her expansive mirrored Forest of Us installation, which inaugurated Superblue Miami alongside new works by James Turrell. Devlin was the subject of the Netflix documentary Abstract: the Art of Design, and she has been awarded multiple Olivier, Tony and Emmy awards, as well as an Ivor Novello Award and a CBE. The Thames & Hudson monographic publication, An Atlas of Es Devlin, was accompanied by an installation of her 30-year archive at The Cooper Hewitt, Smithsonian Design Museum in New York in fall 2023.

ANJA VANG KRAGH (DENMARK) COSTUME DESIGNER

Anja Vang Kragh served as costume designer for this production of Don Giovanni for HGO in 2019. She began her career in fashion design, working for John Galliano (Christian Dior) and later Stella McCartney. Since 2006 she has worked extensively on theater productions in Denmark, with credits including Cabaret, Tartuffe, Robin Hood, and The Importance of Being Earnest (Royal Danish Theatre); A Midsummer Night’s Dream (State Theatre, Helsingborg); Romeo and Juliet (Aarhus Theatre); Creature (Husets Theatre); and 69 (Holbaek Theatre). Opera costume designs include Der Freischütz for Royal Danish Opera, Cavalleria rusticana/Pagliacci for Royal Danish Opera and Norwegian National Opera, Der fliegende Holländer for Finnish National Opera, Carmen for the Bregenz Festival, Die Meistersinger von Nürnberg for Royal Opera House in London, L´Ormindo for the Globe Theatre in London, and Idomeneo for Vienna State Opera, all directed by Kasper Holten. Other designs include La traviata for Israeli Opera, as well as Orpheus in the Underworld and Makropulos´s Case, both for Malmö Opera House.

BRUNO POET (UNITED KINGDOM)

ORIGINAL LIGHTING

DESIGNER

Award-winning lighting designer Bruno Poet returns to HGO after designing lighting for Salome in 2023, Aida in 2020, and this production of Don Giovanni in 2019. Opera credits include The Hours (Metropolitan Opera); Nabucco (Steinbruch Festival, Austria); Alcina (Glyndebourne Opera); Carmen (Bregenz Festival); Aida (Grand Théâtre de Genève); Otello, Don Giovanni, and The Rise and Fall of the City of Mahagonny (Royal Opera House); Il trovatore (LA Opera); The Merry Widow (English National Opera); Akhnaten (ENO/LA Opera/Metropolitan Opera); Carmen (ENO/Den Norske Opera); Il trovatore and Das Liebesverbot (Teatro Real, Madrid); Der Freischutz, Cunning Little Vixen, and The Snow Queen (Royal Danish Opera); Rinaldo (Lyric Opera of Chicago); and Salome (Palau de les Arts, Valencia). Other credits include: All Sigur Rós World Tours 2012-22; Pet Shop Boys: Dreamworld Tour (World Tour); Bad Cinderella (Broadway/West End); 51st National Day, 50th National Day, 49th National Day (UAE); Björk’s Cornucopia (World Tour); Billie Eilish at Steve Jobs Theatre; Gary Barlow’s A Different Stage (UK Tour); Lyssa (Royal Ballet); Holiday on Ice: A New Day (Arena Tour); Amadeus (Royal Danish Theatre); Apollo 11 (US Tour); Tina: The Tina Turner Musical (Broadway/West End/U.S. Tour/Hamburg/Utrecht/ Stuttgart/Madrid/Australian Tour); Frankenstein, Stories, Light Shining in Buckinghamshire, London Road, EGDBF, and Timon of Athens (National Theatre); Miss Saigon (Japan/Broadway/West End/ Tour); and Uncle Vanya (West End).

JOHN-PAUL PERCOX (UNITED KINGDOM)

ASSOCIATE LIGHTING DESIGNER

John-Paul Percox served as associate lighting designer for this production of Don Giovanni for HGO in 2019. He worked at the Royal Opera House, Covent Garden for 25 years before becoming a freelance lighting associate in 2019. In addition to designing lighting for over 200 productions and 1,500 performances at the Royal Opera House, he also has worked abroad for the Royal Opera and the Royal Ballet at venues including the Beijing National Centre for the Performing Arts and Tel Aviv Performing Arts Centre. Percox has lit productions at theaters including Sadler’s Wells Theatre and the Britten Theatre (Royal College of Music) and has collaborated with internationally renowned lighting designers including Giuseppe Di Iorio (Morgen und Abend), Mimi Jordan Sherin (Anna Nicole), Lucy Carter (Obsidian Tear, Chroma, Infra, Yugen, Les Noces de Figaro), and Paule Constable (The Magic Flute). Since going freelance Percox has worked at venues including Opéra National Bordeaux; Oslo Opera House; Teatr Wielki Warsaw; Czech National Theatre in Prague; Hungarian State Opera’s Eiffel Arts Studio; Ballet Dortmund; Latvian National Ballet in Riga; Lithuanian National Ballet in Vilnius; Gran Teatre del Liceu in Barcelona; and Palais Garnier in Paris.

LUKE HALLS (UNITED KINGDOM) PROJECTION DESIGNER

Luke Halls served as projection designer for this production of Don Giovanni for HGO in 2019. Halls has been producing video design and animation for over a decade, specializing in theater, music, and dance. He has designed for numerous operas, including Lucia Di Lammermoor at Metropolitan Opera and LA Opera; West Side Story at Malmo Opera; Marco Polo at Guangzhou Opera; Das Liebesverbot at Teatro Colón, Buenos Aires; The Cunning Little Vixen, Don Giovanni, and Król Roger at the Royal Opera, Covent Garden; The Cunning Little Vixen, Don Giovanni, and Der Freischütz at the Danish Royal Opera; Otello at the Metropolitan Opera; Zeitgeist at the London Coliseum; The Flying Dutchman at Finland National Opera; Carmen at the Bregenz Festival; Like Water for Chocolate at Royal Opera House, Costa Mesa, and the Metropolitan Opera; and Aida at Circustheater in the Netherlands. Theater work includes West Side Story (Broadway Theatre); The Nether (Royal Court), Ugly Lies The Bone (National Theatre), and The Lehman Trilogy (West End/ Broadway/Los Angeles/National Theatre). Halls has worked prolifically for music artists, creating video designs and animation for tours by Adele, Beyoncé, Pet Shop Boys, U2, and Rihanna, among others. His designs were featured in the 2022 FIFA World Cup Opening Ceremony in Qatar.

SIGNE FABRICIUS (DENMARK) ORIGINAL CHOREOGRAPHER

Signe Fabricius’s work was seen at HGO for the first time for this production in 2019. She trained as a dancer and has been responsible for movement and choreography in numerous productions of theater, opera, and musicals, as well as television shows and film. Her work in opera includes Eugene Onegin, Don Giovanni, and Die Meistersinger von Nürnberg at the Royal Opera House in London and numerous productions for the Royal Danish Theater in Copenhagen. Her choreography has been seen at houses around the world, including at Vienna State Opera; Opera Australia; the Bregenz Festival; Teatro Real, Madrid; Teatro Regio, Turin; New National Theatre, Tokyo; Teatro Colón, Buenos Aires; Finnish National Opera, Helsinki; and many more. In Denmark, she has written, directed, and choreographed two critically acclaimed full-evening dance shows. She has also been noted for her movement work in productions of classic dramas such as Shakespeare’s Romeo and Juliet and Sophocles’s Oedipus and Antigone, and has choreographed large scale musicals such as West Side Story, My Fair Lady, Jesus Christ Superstar, and Cabaret

ANNA-MARIE SULLIVAN (UNITED KINGDOM) REVIVAL CHOREOGRAPHER

Anna-Marie Sullivan served as revival choreographer for this production of Don Giovanni for HGO in 2019, as well as for Israeli Opera; Gran Teatre del Liceu in Barcelona; the Royal Opera, Covent Garden; and LA Opera. She is an actress and choreographer working in theater, television, and film. Sullivan’s recent credits include Round Robin (Obstacle Films), House of the Dragon (HBO); Close (Netflix); Crumbs (ABC TV); Mission: Impossible—Rogue Nation; The Fairy-Queen (Theater an der Wien); Don Giovanni, Il Turco in Italia, Behind the Curtain, La traviata, The Rape of Lucretia, and Don Pasquale (Glyndebourne and U.K. tour); The Marriage of Figaro, Andrea Chenier, Lessons in Love and Violence, L’étoile, and Die Meistersinger von Nürnberg (Royal Opera, Covent Garden); and many more.

ADAM NOBLE (UNITED STATES)  FIGHT DIRECTOR AND INTIMACY

DIRECTOR

Adam Noble is a movement specialist with over 25 years of experience in theater, opera, and film. He is the former movement instructor for the Butler Studio, and this season also served as fight director and intimacy director for Parsifal and Madame Butterfly. During HGO’s 2022-23 season, he was fight director and intimacy director for La traviata, The Wreckers, The Marriage of Figaro, Werther, Tosca, and Salome. Additional HGO engagements include serving as the company’s fight director and intimacy director for Romeo and Juliet (2022), Carmen (2021),

and Don Giovanni (2019), as well as fight director for Rigoletto (2019) and Julius Caesar (2018). Notable credits include The Kennedy Center for the Performing Arts, The Alley Theatre, Opera Carolina, Lincoln Center Director’s Lab, Dayton Opera, the Public Theatre, and more. Noble is the co-founder and artistic director of the Dynamic Presence Project, a theater company focused on the revitalization and proliferation of movement theater and embodied physical storytelling. He teaches movement both nationally and internationally, and has choreographed the physicality, violence, and intimacy for well over 200 productions. As the Associate Professor of Acting & Movement at the University of Houston, he serves as Head of the MFA acting program. He is also the resident Fight Director & Intimacy Specialist for The Alley Theatre.

RICHARD

BADO (UNITED STATES)

CHORUS DIRECTOR

Sarah and Ernest Butler Chorus Director Chair

For information about Richard Bado, please see page 51.

LUCA PISARONI (ITALY)

BASS-BARITONE—DON GIOVANNI

Previously for HGO, Luca Pisaroni performed as Enzo/Young Da Ponte in the world premiere of The Phoenix (2019), Mephistopheles in Faust (2016), and Count Almaviva in The Marriage of Figaro (2011). In the 2023-24 season, he makes his house and role debut with Los Angeles Opera as Don Basilio in The Barber of Seville and returns to Opéra National de Paris to sing Achilla in Guilio Cesare. Since his debut with the Vienna Philharmonic at the Salzburg Festival, led by Nikolaus Harnoncourt, Pisaroni has continued to bring his compelling artistry to the world’s leading opera houses and concert halls. He has starred in signature roles from Mozart’s Da Ponte operas on stages worldwide, including the Metropolitan Opera, Glyndebourne, Teatro alla Scala, San Francisco Opera, Bayerische Staatsoper, Royal Opera House Covent Garden, among others. His roles include Golaud in Pelléas et Mélisande at Berlin State Opera; Mephistopheles in Faust at the Teatro Real; Enrico VIII in Anna Bolena at Zürich Opera House; Maometto in Maometto II at Canadian Opera Company; Conte Rodolfo in La Sonnambula at Vienna State Opera; Giorgio in I Puritani at the Met; Mephistopheles in La Damnation de Faust with the Pittsburgh Symphony; Pizarro in Fidelio at Teatro alla Scala; and Mahomet II in Le Siège de Corinthe at Rossini Opera Festival. Recent engagements include his debut as Don Rodrigue in the world premiere of Marc-André Dalbavie’s Le Soulier de satin with Opéra national de Paris, the Four Villains in The Tales of Hoffmann at the Vienna State Opera, and Leporello at the Gran Teatre del Liceu.

RYAN MCKINNY (UNITED STATES) BASS-BARITONE—LEPORELLO

Butler Studio alumnus Ryan McKinny has performed with HGO many times, including as Jokanaan in Salome (2023); the title role in Don Giovanni (2019); Gunther in Götterdämmerung (2017); and Donner in Das Rheingold, Escamillo in Carmen, and the title role in Rigoletto (all in 2014). This season at HGO, he also performed the role of Amfortas in Parsifal. McKinny opened the Metropolitan Opera’s 2023-24 season opposite Joyce DiDonato in the company premiere of Jake Heggie’s Dead Man Walking, which was simulcast in theaters in more than 70 countries via Met Live in HD. He also creates the lead role of Mac in the world premiere of Heggie’s Before It All Goes Dark, with performances in Seattle, San Francisco, and Chicago. During the 2022-23 season McKinny returned to the Los Angeles Opera in his role debut as Scarpia in Tosca, Seattle Opera as Kurwenal in Tristan und Isolde, and Los Angeles Philharmonic as Clarence in John Adam’s Girls of the Golden West, a role he created with San Francisco Opera. He also made his role debut as Bluebeard in Boston Lyric Opera’s Bluebeard’s Castle and sang Heggie’s For a Look or a Touch on a three-city tour with Music of Remembrance. He has made additional appearances at the Lyric Opera of Chicago (Joseph De Rocher in Heggie’s Dead Man Walking, Don Giovanni); Metropolitan Opera (Figaro in The Marriage of Figaro, Biterolf in Tannhäuser, Speaker in The Magic Flute, Kothner in Die Meistersinger von Nürnberg, and Lieutenant Ratcliffe in Billy Budd); Dutch National Opera (debut in Pierre Audi’s production of Parsifal); and many other companies.

ANDRIANA CHUCHMAN (CANADA)

SOPRANO—DONNA ANNA

Previously for HGO, Andriana Chuchman performed the role of Michal in Saul (2019) and Pat Nixon in Nixon in China (2017). During the 2023-24 season, Chuchman appears in the Dallas Opera’s world premiere of Joby Talbot’s The Diving Bell and the Butterfly and makes three important role debuts: Violetta in La traviata at Opera Omaha, Juliet in Romeo and Juliet at the Lyric Opera of Kansas City, and this role with HGO. Acclaimed for her performances in a wide range of repertoire including the heroines of Mozart and Handel, 20th century masterpieces, and the premieres of new operas and orchestral works, she has appeared at the Metropolitan Opera, San Francisco Opera, Canadian Opera Company, Lyric Opera of Chicago, Hamburg State Opera, and the Salzburg Whitsun Festival. Chuchman’s awards include the San Francisco Opera’s 2019 Emerging Star of the Year, Opera Theatre of St. Louis’ 2017 Mabel Dorn Reeder Award, and prizewinning honors at the Finals of the 2009 Neue Stimmen Competition in Germany. Chuchman received her Bachelor of Arts degree in Voice Performance from the School of Music at the University of Manitoba. She is also an alumna of the Ryan Opera Center at the Lyric Opera of Chicago and the San Francisco Opera’s Merola Program.

KANG WANG (AUSTRALIA/CHINA)

TENOR—DON OTTAVIO

Kang Wang, making his HGO debut, is quickly becoming one of the most soughtafter young lyric tenors in the opera world. He is a former member of the Lindemann Young Artist Development Program of the Metropolitan Opera and a finalist in the 2017 Cardiff Singer of the World competition. His 2023-24 season also has included Rodolfo in La bohème at Canadian Opera Company and Alfredo in La traviata at Opera Australia. During the 2022-23 season, Wang made his role debut at the Metropolitan Opera as the Italian Singer in Der Rosenkavalier, as well as house debuts at Zürich Opera House as Rodolfo in La bohème and at Opera Hong Kong as Alfredo in La traviata and Rodolfo in La bohème, a role he also performed in a return to Washington National Opera. In concert, he returned to Melbourne Symphony Orchestra for Verdi’s Requiem, and to London Philharmonic Orchestra for Tan Dun’s Buddha Passion. During the 2021-22 season, Wang made his house and role debut at Washington National Opera as Ferrando in Così fan tutte, and his house debut at the State Opera of South Australia as Alfredo in La traviata, which he also performed at Opera Queensland. He made his house debut at Seattle Opera as Rodolfo in La bohème and returned to Opera Australia in the same role.

SASHA COOKE (UNITED STATES)

MEZZO-SOPRANO—DONNA ELVIRA

Previously with HGO, two-time Grammywinning artist Sasha Cooke performed as Thirza in the company’s new production of The Wreckers (2022), in Verdi’s Requiem (2017), and as Magnolia Hawks in Show Boat (2013); she also gave a Live from The Cullen recital with Kirill Kuzmin for HGO Digital in 2021. Her 2023-24 season includes the role of Laurene Powell Jobs in The (R)evolution of Steve Jobs with San Francisco Opera; her role debut as Brangäne in Tristan und Isolde at Opéra de Rouen; and performing in the world premiere of Joby Talbot and Gene Scheer’s The Diving Bell and the Butterfly at Dallas Opera. During the 2022-23 season, she performed on concert stages throughout the U.S. and abroad: in Mahler’s Das Lied von der Erde with Houston Symphony; The Dream of Gerontius at Vienna Concert Hall; Meditations on Rilke with the New York Philharmonic; Mahler’s Symphony No. 3 with New Zealand Symphony Orchestra; Mozart’s Requiem with the Royal Concertgebouw Orchestra and Nashville Symphony; and many others. Cooke has sung at the Metropolitan Opera, San Francisco Opera, English National Opera, Seattle Opera, Opéra National de Bordeaux, and Gran Teatre del Liceu, among others, and with over 70 symphony orchestras worldwide. In 2022, her album with pianist Kirill Kuzmin, how do I find you, was nominated for a Grammy Award for Best Classical Vocal Solo Album. As a dedicated recitalist, Cooke has performed at Carnegie’s Zankel Hall, the Kennedy Center, Alice Tully Hall, The Wigmore Hall, and the 92nd St Y.

ERIKA BAIKOFF (UNITED STATES) SOPRANO—ZERLINA

Erika Baikoff, making her HGO debut, is a recent graduate of the Metropolitan Opera Lindemann Young Artist Development Program. Her 2023-24 season includes the roles of as Jano in Jenůfa with London Symphony Orchestra and Four Heroines in The Tales of Hoffman with Palm Beach Opera. During the 2022-23 season she returned to the Met as Tebaldo in Don Carlo, Nannetta (cover) in Falstaff, and Zerlina (cover) in Don Giovanni. As a Lindemann Young Artist, she sang the roles of Xenia in Boris Godunov and Barbarina in The Marriage of Figaro. She joined the Rotterdam Philharmonic Orchestra’s tour of Das Rheingold and was featured as the soprano soloist in Mahler’s 4th Symphony with Maestro Daniele Rustioni and the Ulster Orchestra. Her 2021-22 season included debuts with Schubertìada and the Chamber Music Society of Lincoln Center, both of which she will return to in future seasons. From 2018-20, Baikoff was a member of the Opéra National de Lyon Studio, where her roles included Le Feu/ Princesse/ Rossignol in L’Enfant et les Sortilèges, Juliet in Blacher’s Romeo and Juliet, Anna in Nabucco, and the soprano solo in Mahler’s 4th Symphony. She is the recipient of a George London Award and a Sullivan Foundation Career Development Grant, and was named a 2020 Metropolitan Opera National Council Auditions Semi-finalist, among other honors.

NORMAN GARRETT (UNITED STATES)

BARITONE—MASETTO

Previously with HGO, Norman Garrett performed the role of Riolobo in Florencia en el Amazonas (2019). During the 2023-24 season, his engagements include reprising the role of Abdul in Omar for his debut with San Francisco Opera, singing Bob in William Grant Still’s Highway 1, USA with LA Opera, and singing Carmina Burana with the Orchestra of St. Luke’s in New York City. In the 2022-23 season, Garrett made his LA Opera debut as Abdul in Omar; performed Garby in the world premiere of The Factotum and Dr. T in the world premiere of Proximity, both at the Lyric Opera of Chicago; and sang Ned in a new edition of Treemonisha with Opera Theatre of St. Louis. In concert, he sang Vaughan Williams’s Fantasia on Christmas Carols with the Philadelphia Orchestra; Messiah with the National Arts Centre Orchestra in Ottawa, Ontario; and Belshazzar’s Feast with Phoenix Symphony. In the 2021-22 season, Garrett made his house and role debut at Seattle Opera as the Count in The Marriage of Figaro. He also returned to both the Metropolitan Opera and Lyric Opera of Chicago as the Foreman/Adult James in Terence Blanchard’s Fire Shut Up in My Bones; reprised the role of Jim in Porgy and Bess at the Metropolitan Opera; and sang Jake in Porgy and Bess with the NDR Elbphilharmonie Orchestra, on tour at both the Lucerne Festival and the Schleswig-Holstein Musik Festival, with conductor Alan Gilbert.

Patrick Guetti is making his HGO debut. Other engagements this season include the roles of the King in Aida and Antonio in The Marriage of Figaro with Deutsche Oper Berlin. Guetti’s 2022-23 season saw him return to both the Bavarian State Opera to sing Osmin in The Abduction from the Seraglio, and the Glyndebourne Festival to sing Snug in A Midsummer Night’s Dream, and Deutsche Oper Berlin for roles including the title role in Don Quichotte, Colline in La bohème, Commendatore in Don Giovanni, Basilio in The Barber of Seville, Sarastro in The Magic Flute, Geronte in Manon Lescaut, and Sciarrone in Tosca. During the 2021-22 season, in addition to numerous roles as a featured ensemble member at Deutsche Oper Berlin, he made his debut at the Palau de les Arts Reina Sofie in Valencia as the Erster Handwerksbursch in a new production of Wozzeck. Other operatic highlights include his debut at the Metropolitan Opera as Sarastro in The Magic Flute, his role debut as Fafner in Siegfried at Lyric Opera of Chicago, his role debut as Fafner in Das Rheingold at Deutsche Oper Berlin, his debut at Bavarian State Opera as Montano in Otello, and singing Basilio in The Barber of Seville at Stuttgart State Opera.

Guetti represented the United States in the final round of the BBC Cardiff Singer of the World competition in Wales. He was named the 2014 grand prize winner of the Metropolitan Opera National Council Auditions and a 2014 Sarah Tucker Grant recipient, among other awards and honors.

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A

CONTENT

ADVISORY:

The Sound of Music contains Nazi imagery. This production also contains strobe effects.

Sung in English with projected English text

The performance lasts approximately 2 hours and 48 minutes, including one intermission.

QUICK START GUIDE

THE MUSICAL IN ONE SENTENCE

When Maria Rainer goes from an abbey postulant to a family’s governess, she ends up falling in love with and marrying the children’s father before they all flee the German Anschluss of Austria.

BACKGROUND

Perhaps the background of this beloved musical goes all the way back to 1880, the year that Georg von Trapp was born. He became a Captain in the Austrian Navy, and he had seven children with his first wife, Agathe Whitehead, a British-Austrian aristocrat. When Agathe died of scarlet fever in 1924, Captain von Trapp moved the children from Klosterneuburg, near Vienna, to a villa near Salzburg. He asked the Nonnberg Abbey to send a tutor for one of his children, and they sent Maria Kutschera. He proposed to Maria, and she fled back to the Abbey for counsel. She later wrote in her autobiography, “I really and truly was not in love... However, I loved the children... I learned to love him more than I have ever loved before or after.” They married in 1927.

Georg and Maria had three more children together. By 1936, famous soprano Lotte Lehmann had heard the children sing, and she suggested the family perform concerts for pay, as most of their inherited fortune was wiped out in economic pressures from German banks to Austrian banks. After the German annexation of Austria in 1938, Georg was offered a commission in the German Navy, but he was fiercely opposed to the Nazis and the family fled to the United States at the end of 1938. The “Trapp Family Singers,” as they were known, continued to perform in the United States and Europe until 1957.

In 1949, Maria wrote a memoir, The Story of the Trapp Family Singers, which inspired two German movies: The Trapp Family in 1956 and its 1958 sequel, The Trapp Family in America. Broadway directors and producers read the memoir and

thought that the lead character would be a perfect vehicle for the musical’s first Maria, famed theater star Mary Martin. Originally conceived as a play with only a few musical numbers, the book authors Howard Lindsay and Russel Crouse eventually decided it needed to be a full musical. Opening on Broadway in 1959, it was the final collaboration of the dominant musical theater duo, Richard Rodgers and Oscar Hammerstein II.

WHAT TO LISTEN FOR

Maria’s opening number is the most famous of them all, the song that shares its title with the name of the musical itself. As she wanders and takes comfort in the foothills of the Alps, Maria’s vocal melody in the number’s opening verse remains static and nearly monotone, only occasionally flirting with higher and lower notes. But when she reaches the momentous “The hills are alive with the sound of music,” listen to how Rodgers paints the words into the contour of the hills themselves, reaching the peaks and valleys of the highest and lowest notes of the song in that one line, then back up and down again for another hill in the melody. The song returns near the end of the first act, when Maria is leading the children in a music lesson. Von Trapp, overwhelmed with the sound of music echoing in his home, bursts into song—a revelation for him of the importance of family and, perhaps, a revelation of Maria and Georg’s budding love for one another.

FUN FACT

Both the musical and the eponymous movie from 1965 are well decorated. The musical won five Tony Awards, including Best Musical and Best Actress, out of nine nominations. The movie won five Academy Awards, including Best Picture and Best Director, out of ten nominations. In 2007, the American Film Institute placed the movie as number 40 in the top 100 movies of all time.

CAST & CREATIVE

CAST (in order of vocal appearance)

Sister Margaretta

Sister Berthe

Sister Sophia

Maria Rainer

The Mother Abbess

Erin Wagner †

Amy and Mark Melton/ Drs.

Liz Grimm and Jack Roth

Mrs. Nancy Haywood Fellow

Renée Richardson †

Kathleen Moore and Steven Homer/ Carolyn J. Levy/ Jeff Stocks and Juan Lopez Fellow

Ani Kushyan †

Donna and Ken Barrow/ Barbara and Pat McCelvey

Jill A. Schaar and George Caflisch Fellow

Isabel Leonard

Katie Van Kooten

Franz Spencer Plachy *

Captain Georg von Trapp

Frau Schmidt

Liesl

Friedrich

Louisa

Alexander Birch Elliott

Pamela Vogel *

Tori Tedeschi Adams *

Peter Theurer

Annie Voorhees *

Kurt Antonio Rico

Brigitta

Marta

Gretl

Rolf Gruber

Elsa Schraeder

Max Detweiler

Herr Zeller

Baron Elberfeld

Party Guest

Admiral von Schreiber/Lieutenant

Macie Joy Speer *

Abigail Lee *

Lora Uvarova *

Adam Kral *

Megan Marino *

Daniel Belcher ‡

Scott Clark *

Roberto J. Reyna *

Julie Cathryn Hoeltzel

Johnny Salvesen *

PRODUCTION CREDITS

English supertitles by Lucas Nguyen. Supertitles called by Matthew Neumann.

CREATIVE TEAM

Conductor

Richard Bado ‡ Director

Associate Director / Choreographer

Set Designer

Costume Designer

Original Lighting Designer

Associate Lighting Designer

Sound Designer

English Diction Coach

Principal Children

Musical Preparation

Musical Preparation

Francesca Zambello

Eric Sean Fogel

Peter J. Davison

Aleš Valášek *

Mark McCullough

Sarah Riffle *

Andrew Harper

Jennifer Ringo ‡

Karen Reeves

Kirill Kuzmin ‡

Michelle Papenfuss †

Dr. Saúl and Ursula Balagura/

Sharon Ley Lietzow and Robert Lietzow/ Dr. Laura E. Sulak and Dr. Richard W. Brown Fellow

Teddy Poll

William Woodard

Stage Manager

Assistant Director

* Mainstage debut

† Butler Studio artist

‡ Former Butler Studio artist

Annie Wheeler

Ian Silverman *

THE SOUND OF MUSIC is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization. www.concordtheatricals.com

Music and Lyrics for "I Have Confidence" and "Something Good" by Richard Rodgers.

Performing artists, stage directors, and choreographers are represented by the American Guild of Musical Artists, AFL-CIO, the union for opera professionals in the United States.

Scenic, costume, and lighting designers and assistant designers are represented by United Scenic Artists, IATSE Local USA-829.

Orchestral musicians are represented by the Houston Professional Musicians Association, Local #65-699, American Federation of Musicians.

Stage crew personnel provided by IATSE, Local #51.

Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896.

This production is being recorded for archival purposes.

SYNOPSIS

ACT I

Maria, a postulant at the Nonnberg Abbey in 1938 Austria, regrets leaving the hills for the abbey. The other nuns debate what to do about Maria’s free spirit. The Mother Abbess tells Maria that she should spend time outside the abbey to decide if it’s the life she wants: she sends Maria to be the governess to the seven children of widower and Austrian Navy officer, Captain Georg von Trapp.

The Captain raises his children with militaristic sternness, and Maria openly disapproves. She slowly wins over the children by teaching them music, comforting them in a frightening storm, and—in the case of the oldest, Liesl—by keeping her rendezvous with Rolf a secret from her father. The Captain returns from Vienna with Baroness Elsa Schraeder, who wonders why he hasn’t proposed to her yet. Elsa is suspicious of Maria until she explains that she will soon go back to the abbey.

When the Captain throws a party for Elsa, he and Maria end up dancing together, which confuses their feelings for one another. She slips out of the house and returns to the abbey, but the Mother Abbess tells her she is running from her feelings and should go seek her true destined life.

INTERMISSION ACT II

The Captain’s friend Max is impressed with the singing talent of the von Trapp children and enters the family into a festival competition. Now that the Captain and Elsa are engaged, Maria, who has returned to the family at the Mother Abbess’s encouragement, decides to stay as governess only until they find a replacement.

Upon learning that the Captain is opposed to the Nazi annexation of Austria, however, Elsa ends their engagement. The Captain and Maria are free to finally admit their love, and they marry.

The Third Reich completes its annexation of Austria, and the Captain is offered a commission in the German Navy; unwavering in his opposition to the Nazis, the Captain and Maria discuss fleeing Austria with the children. A German admiral confronts the Captain for his delay in reporting to duty, but Maria says that they first have to perform in the singing competition with the children that night. The admiral agrees to wait one night, but the von Trapp family does not appear when the judges announce their first prize victory: they have fled from the Nazi regime over the Alps.

HGO ORCHESTRA

Patrick Summers, Artistic and Music Director

Sarah and Ernest Butler Chair

Eun Sun Kim Principal Guest Conductor

VIOLIN

Denise Tarrant*, Concertmaster

Sarah and Ernest Butler Concertmaster Chair

Chloe Kim*, Assistant Concertmaster

Natalie Gaynor*, Principal Second Violin

Carrie Kauk*, Assistant Principal

Second Violin

Miriam Belyatsky*

Anabel Ramirez-Detrick*

Rasa Kalesnykaite†

Hae-a Lee-Barnes*

Chavdar Parashkevov*

Mary Reed*

Erica Robinson*

Linda Sanders*

Oleg Sulyga*

Sylvia VerMeulen*

Melissa Williams*

Rachel Shepard

VIOLA

Eliseo Rene Salazar*, Principal

Lorento Golofeev*, Assistant Principal

Gayle Garcia-Shepard*

Erika C. Lawson*

Suzanne LeFevre*

Sarah Mason

CELLO

Barrett Sills*, Principal

Erika Johnson*, Assistant Principal

Ariana Nelson†

Wendy Smith-Butler*

Steven Wiggs*

Shino Hayashi

DOUBLE BASS

Dennis Whittaker*, Principal

Erik Gronfor*, Assistant Principal

Carla Clark*

FLUTE

Henry Williford*, Principal

Tyler Martin*

OBOE/ENGLISH HORN

Elizabeth Priestly Siffert*, Principal

Mayu Isom†

CLARINET

Sean Krissman†, Principal

Eric Chi†

Justin Best, Acting Principal

Alisha Zamore

BASSOON

Amanda Swain*, Principal

Michael Allard†

HORN

Sarah Cranston*, Principal

Kimberly Penrod Minson*

Spencer Park*

TRUMPET

Tetsuya Lawson*, Principal

Randal Adams*

Gerardo Mata

TROMBONE

Thomas Hultén*, Principal

Mark Holley*

Justin Bain†

TUBA

Mark Barton*, Principal

TIMPANI

Alison Chang*, Principal

PERCUSSION

Richard Brown†, Principal

Patrick Kelly, Acting Principal

HARP

Laurie Meister, Acting Principal

GUITAR/MANDOLIN

Mark Moore

ORGAN

Thomas Marvil

ORCHESTRA PERSONNEL MANAGER

Richard Reeves

* HGO Orchestra core musician

† HGO Orchestra core musician on leave this production

HGO CHORUS

Richard Bado, Chorus Director

Sarah and Ernest Butler Chorus Director Chair

Ofelia Adame

Dennis Arrowsmith

Alyssa Barnes

Megan Berti

Scott Clark

Ashly Evans

Tabitha Greene

Julie Cathryn Hoeltzel

Alison King

Wesley Landry

Carolena Belle Lara

Sarah L. Lee

Aarianna B. Longino

Amelia Love

Kathy Manley Montgomery

Kendall Reimer

Roberto J. Reyna

Christina Rigg

Hannah Roberts

Emily Louise Robinson

Johnny Salvesen

Kade I. Smith

Kaitlyn Stavinoha

RICHARD BADO (UNITED STATES)

CONDUCTOR

Sarah and Ernest Butler Chorus Director Chair

Butler Studio alumnus Richard Bado is director of artistic planning and chorus director at HGO. He made his professional conducting debut in 1989 leading HGO’s acclaimed production of Show Boat at the newly restored Cairo Opera House in Egypt. Since then, he has conducted for Houston Ballet, La Scala, Opéra national de Paris, New York City Opera, the Aspen Music Festival, Tulsa Opera, the Russian National Orchestra, the Florida Philharmonic, the Montreal Symphony, and Wolf Trap Opera. This season he again conducted performances of The Nutcracker with the Houston Ballet. In addition, he appears as the character of Alfred Grünfeld, an onstage pianist, in the Houston Ballet production of Mayerling. An accomplished pianist, Bado has appeared regularly with Renée Fleming in recital. He has also played for Cecilia Bartoli, Frederica von Stade, Susan Graham, Denyce Graves, Marcello Giordani, Ramón Vargas, Samuel Ramey, Jamie Barton, Ryan McKinny, and Michael Spyres. Bado holds music degrees from the Eastman School of Music, where he received the 2000 Alumni Achievement Award, and West Virginia University; he also studied advanced choral conducting with Robert Shaw. For 12 years, he was the director of the opera studies program at Rice University’s Shepherd School of Music. He has also worked for the Metropolitan Opera, Seattle Opera, the Bolshoi Opera Young Artist Program, Opera Australia, Santa Fe Opera, and Opera Theatre of St. Louis.  He received HGO’s Silver Rose Award in 2013 in celebration of his 25th year as chorus master.

FRANCESCA ZAMBELLO (UNITED STATES)

DIRECTOR

Francesca Zambello is the Artistic Director of the Washington National Opera at the Kennedy Center and former General and Artistic Director of the Glimmerglass Festival (2011 to 2022). She is also an internationally recognized director of opera and theater. Her U.S. directing debut took place at HGO with a production of Fidelio (1984), and she has since directed almost two dozen productions for the company, most recently Dialogues of the Carmelites (2022), Florencia en el Amazonas (2019), and West Side Story (2018). Her work has been seen at the Metropolitan Opera, Teatro alla Scala, the Bolshoi, Covent Garden, the Munich Staatsoper, Paris Opera, New York City Opera, Washington National Opera, Lyric Opera of Chicago and English National Opera. She has staged plays and musicals on Broadway, at the Royal National Theatre, BAM, the Guthrie Theater, Vienna’s Raimund Theater, the Bregenz Festival, Sydney Festival, Disneyland, Berlin’s Theater des Westens and at the Kennedy Center. In May 2011, Zambello was appointed Artistic Advisor to Washington National Opera, and became WNO’s Artistic Director in 2013. Zambello received the San Francisco Opera Medal for Artistic Excellence for her more than 30

years of artistic contributions to the company, including serving as Artistic Advisor from 2006-11. In 2020, she received the Knighthood of the Order of the Star of Italy for her contribution to the promotion of Italian culture and heritage. She has been awarded the Chevalier des Arts et des Lettres by the French government for her contribution to French culture, and the Russian Federation’s medal for Service to Culture. Her theatrical honors include three Olivier Awards, two Evening Standard Awards, two French Grand Prix des Critiques, Helpmann Award, Green Room Award, Palme d’Or in Germany, and the Golden Mask in Russia.

ERIC SEAN FOGEL (UNITED STATES)

ASSOCIATE DIRECTOR/ CHOREOGRAPHER

Previously for HGO, Eric Sean Fogel served as choreographer for The Pearl Fishers (2019) and Florencia en el Amazonas (2019), and associate director for West Side Story (2018). Fogel has been the Head of Stage Movement and Choreography at the Glimmerglass Festival for more than a decade. He is also a guest stage director on staff at the Metropolitan Opera, where he served as revival director for Norma in 2023. Also in 2023, he served as revival director/ associate director for West Side Story at the Lyric Opera of Chicago. His choreography credits include the world premieres of The Lion, The Unicorn, and Me by Jeanine Tesori; Artus! Excalibur by Frank Wildhorn; Odyssey by Ben Moore; Princess Butterfly for XSBN in China; and Songbird co-created with Jim Lowe and Kelley Rourke. His Kennedy Center credits include Samson and Delilah; Don Giovanni; Candide; West Side Story ; The Little Prince; Florencia en el Amazonas; The Lion, The Unicorn, and Me; and La forza del destino. Fogel has also created new productions for Opera Bordeaux, Lyric Opera of Chicago, Chicago Opera Theatre, Hawaii Opera Theatre, Lyric Opera Kansas City, Los Angeles Opera, Opera Philadelphia, Royal Opera of Versailles, Seattle Opera, Shakespeare Theatre Company, Théâtre du Capitole, Theater St. Gallen, Washington National Opera, and many more. He worked as an associate on Everyday Rapture on Broadway; My Fair Lady and Most Happy Fella! at Lincoln Center; Bells Are Ringing for City Center Encores; and the National Tours of Little House on the Prairie, We the People, and Happy Days The Musical.

PETER J. DAVISON (UNITED KINGDOM) SET DESIGNER

Previously for HGO, Peter J. Davison served as set designer for West Side Story (2018), Show Boat (2013), Der Rosenkavalier (1995), and Lucia di Lammermoor (1994). His opera credits include Rebecca and The Marriage of Figaro (Vienna); Die Gezeichneten, Falstaff, and Die Schweigsame Frau (Zurich); Capriccio (Berlin and Torino); Der Rosenkavalier, Carmen, and Mary Stuart (English National Opera); Anna Bolena (Bavarian State Opera); Katya Kabanova (New Zealand); Mitridate Re Di Ponto (Salzburg); Manon Lescaut (Australia); The Rake’s Progress,

The Marriage of Figaro, and Cyrano de Bergerac (Metropolitan Opera); The Queen of Spades (Royal Opera House); Guillaume Tell (Opera Bastille); Fidelio, Die Walküre, Porgy and Bess, Salome, La forza del destino, La traviata (Washington); La bohème (Royal Albert Hall), La rondine (La Fenice); Cyrano de Bergerac (La Scala); Porgy and Bess (Chicago and San Francisco); Carmen, The Tales of Hoffman (Beijing); Heart of a Soldier (San Francisco Opera); La traviata (Bolshoi Theatre); Two Women (San Francisco, Cagliari, Sardinia), Carmen (Salzburg), Porgy and Bess (Glimmerglass), and Norma (Santiago Chile). He has created designs for musicals including Boy from Oz (Sydney), Jesus Christ Superstar (UK/USA Tour, Broadway), Whistle Down the Wind (West End), Show Boat (Royal Albert Hall), Rebecca (Vienna, St Gallen and Stuttgart), Marie Antoinette (Bremen), Spiral (China), Show Boat (Lyric Opera Chicago, Washington National Opera, and Dallas), Der Besuch der Alten Dame (Austria), Butterfly Princess (China), Rebecca, Artus, Don Camillo and Peppone, Matterhorn (St Gallen), West Side Story (Glimmerglass, Chicago, Kansas, Atlanta), and The Sound of Music (Glimmerglass). He has been nominated for Tony, Drama Desk, and Olivier Awards.

ALEŠ VALÁŠEK (CZECH REPUBLIC) COSTUME DESIGNER

Aleš Valášek is making his HGO debut. His work includes designs for over 100 productions and spans across all genres and scales, from alternative theater to opera, musical theater, and film. His portfolio includes Giselle and La Bayadère (Moravian Theatre, Olomouc); Carmen and Polish Blood (National Theatre, Prague), The Italian in Algiers, Swan Lake, Rusalka, Nabucco, Orfeo, The Coronation of Poppea, and Mozart and Salieri (J. K. Tyl Theatre, Pilsen), Turandot and Il trovatore (Revolving Theatre, Český Krumlov), Countess Maritza (State Opera, Slovakia), The Bat (State Theatre, Slovakia), and Polish Blood (Odessa Academic Theatre of Musical Comedy, Ukraine). Musical and theater projects include Curtains (Musical Theatre Karlín, Prague), Little Shop of Horrors and Zorro (Brno City Theatre), Cyrano de Bergerac and Fat Pig (Moravian Theatre, Olomouc), Next to Normal and Tick, Tick, Boom! (Prague Shakespeare Company), Green Day’s American Idiot (J. K. Tyl Theatre, Pilsen), and many more. In 2010 Valášek developed the set and costume design for the new version of the West End musical Marguerite. In 2018 he designed costumes for the German-speaking premiere of An American in Paris for Landestheater Linz (Linz, Austria) and a German tour of An American in Paris. In 2009 he won the prestigious British Linbury Prize for Stage Design.

MARK MCCULLOUGH (UNITED STATES)

ORIGINAL LIGHTING DESIGNER

Mark McCullough’s work has been seen at HGO in The Pearl Fishers (2019), Florencia en el Amazonas (2019), West Side Story (2018), A Christmas Carol (2014), and Show Boat (2013). During the 2023-24 season his engagements include Aida

and West Side Story with Lyric Opera of Chicago, Candide with Glimmerglass Festival, La traviata with Seattle Opera, West Side Story with Teatro Lirico di Cagliari, Elektra with Washington National Opera, and Rebecca with Musical Vienna. He has also designed lighting for the Vienna State Opera (Macbeth); Bolshoi Theatre (La traviata ); the Metropolitan Opera (The Marriage of Figaro); the National Centre for the Performing Arts (NCPA) in Beijing (The Tales of Hoffmann); La Scala (Cyrano de Bergerac); Teatro Real (Luisa Miller); Opéra national du Rhin (The Beggar’s Opera); the Royal Opera, Covent Garden (The Queen of Spades); Opera North (Eugene Onegin); Ópera Nacional de Chile (Norma), and numerous other productions with Boston Lyric Opera, Lyric Opera of Chicago, Los Angeles Opera, Washington National Opera, Dallas Opera, Glimmerglass Festival, Canadian Opera Company, New York City Opera, Seattle Opera, and San Francisco Opera, including the Ring cycle directed by Francesca Zambello. His successes in theater include the Broadway productions of Outside Mullingar, Jesus Christ Superstar (revival), After Ms. Julie, and The American Plan. International theater credits include Whistle Down the Wind (London); Der Besuch Der Alten Dame (Vienna); Artus (St. Gallen, Switzerland); Rebecca (St. Gallen and Stuttgart); and the U.K. tour of Jesus Christ Superstar.

SARAH RIFFLE (UNITED STATES)  ASSOCIATE LIGHTING DESIGNER

Sarah Riffle is making her HGO debut. Riffle is currently a full-time assistant lighting designer with Lyric Opera of Chicago, where she has worked on productions including The Three Queens and The Elixir of Love. She had a five-year tenure as lighting designer for Lincoln Park Performing Arts Center, where she designed lighting for productions of The Little Shop of Horrors, Alice in Wonderland, The Nutcracker, Les Misérables, Cinderella, Emma, Seussical, and more. Additional credits include work with companies including BalletMet Columbus on Innovations, Chicago Opera Theater on La Hija de Rappaccini, Arizona Opera and Glimmerglass Opera on The Sound of Music, Opera San José on West Side Story, Des Moines Metro Opera on La bohème, Opera Orlando on Carmen, and Louisiana State University Opera on Sweeney Todd, An Italian in Algiers, and The Rake’s Progress.

ANDREW HARPER (UNITED STATES)

SOUND DESIGNER

Andrew Harper is a sound designer and consultant for theater, opera, and ballet. He has served as sound designer for HGO works including Another City (2023), the outdoor sing-along My Favorite Things (2021), El Milagro del Recuerdo (world premiere, 2019), The Phoenix (world premiere, 2019), The Flying Dutchman (2018), Cruzar la Cara de la Luna (2018), West Side Story (2018), The House without a Christmas Tree (world premiere, 2017), It’s a Wonderful Life (world premiere, 2016), Carousel (2016), Sweeney Todd (2015), A Coffin in Egypt (world

premiere, 2014), and A Little Night Music (2014). Additionally, he has designed sound for productions with Washington National Opera/ Kennedy Center, New York City Opera, Glimmerglass Festival, Lyric Opera Kansas City, Atlanta Opera, San Antonio Opera, El Paso Opera, and Houston Ballet, among others. In summer 2021, he designed the outdoor sound system for the Glimmerglass on the Grass Festival in New York, as well as productions including The Magic Flute, Songbird, Il trovatore, and The Passion of Mary Cardwell Dawson. As sound designer for Houston’s Theatre Under the Stars, Harper has designed sound for more than 50 productions since 2013, with recent credits including Rent, Mary Poppins, The Secret of My Success, Ain’t Misbehavin’, and South Pacific

ISABEL LEONARD (UNITED STATES) MEZZO-SOPRANO—MARIA RAINER

Previously for HGO, Isabel Leonard sang the role of Charlotte in Werther (2022). In repertoire that spans from Vivaldi to Mozart to Nico Muhly, she has graced the stages of the Vienna State Opera, Paris Opera, Salzburg Festival, Bavarian State Opera, Carnegie Hall, Glyndebourne Festival, Teatro Comunale di Bologna, Aix-en-Provence Festival, the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, LA Opera, and the Santa Fe Opera in The Barber of Seville (Rosina), Cinderella (Angelina), The Marriage of Figaro (Cherubino), Così fan tutte (Dorabella), Don Giovanni (Zerlina/Donna Elvira), La clemenza di Tito (Sesto), Werther (Charlotte), Dialogues of the Carmelites (Blanche de la Force), Griselda (Costanza), La bohème (Musetta), Giulio Cesare (Sesto), and the title roles in Carmen, La Périchole, Cendrillon, Marnie, and Der Rosenkavalier. Leonard’s engagements during the 2023-24 season include Donna Elvira in Don Giovanni and Rosina in The Barber of Seville with LA Opera, Ravel’s Chansons madécasses in concert with the Met Orchestra Chamber Ensemble, the title role in a new production of Songbird with Washington National Opera, and the title role in Cinderella with Bavarian State Opera. In the 2022-23 season Leonard made her La Scala debut as Miranda in The Tempest and performed in recital with guitarist Pablo Sáinz-Villegas in Los Angeles and San Diego. Leonard is a recipient of the Richard Tucker Award and a multiple Grammy Award winner, most recently for Ravel’s L’enfant et les sortilèges on Decca (2016) and The Tempest from The Metropolitan Opera on Deutsche Grammophon (2014), both for Best Opera Recording.

ALEXANDER BIRCH ELLIOTT

(UNITED STATES)

BARITONE—CAPTAIN GEORG

VON TRAPP

Previously for HGO, Alexander Birch Elliott sang the role of Zurga in The Pearl Fishers (2019), a role he also performed in his debut at the Metropolitan Opera. During the 2023-24 season, Elliott appears at the Metropolitan Opera as Papageno in The Magic Flute and sings Figaro in The Barber of Seville at Arizona Opera. The 2022-23 season included his anticipated role and

house debut as Enrico in Lucia di Lammermoor with Los Angeles Opera, a return to the Pittsburgh Symphony Orchestra as the baritone soloist in Mozart’s Great Mass and Handel’s Messiah, and a return to the Metropolitan Opera to cover the title role in Don Giovanni. With Des Moines Metro Opera he sang Leandro in The Love for Three Oranges in summer 2023, and Demetrius in A Midsummer Night’s Dream in summer 2022. His 2021-22 season began with his return to the Metropolitan Opera as Schaunard in La bohème, followed by performances as the title role in Eugene Onegin at Opera Omaha. In the 2020-21 season he was seen as Marcello in La bohème for his debut at San Diego Opera; Escamillo in Carmen with Opera Santa Barbara; and both Prince Yeletsky in Pique Dame and Momus in Platée with Des Moines Metro Opera. Other highlights include making his Carnegie Hall debut with the American Symphony Orchestra for Elgar’s The Kingdom, debuting with New York’s PROTOTYPE Festival as Lucifer in Rev 23, returning to Tulsa Opera for performances of Escamillo in Carmen, and returning to the Pittsburgh Symphony Orchestra for Don Fernando in Fidelio

KATIE VAN KOOTEN (UNITED STATES)

SOPRANO—THE MOTHER ABBESS

Katie Van Kooten has appeared numerous times at HGO, including as the Mother Abbess in the outdoor singalong My Favorite Things (2021), Tatyana in Eugene Onegin (2015), Elisabetta in Mary Stuart (2012), Mimì in La bohème (2012), Ellen Orford in Peter Grimes (2010), and Helena in A Midsummer Night’s Dream (2009). Her operatic and concert appearances continue to thrill audiences and garner praise for her “powerful, gleaming soprano.” During the 2022-23 season, Van Kooten debuted at both Utah Opera and Opera Theatre of Saint Louis in the title role of Tosca. This season she debuted with Seattle Opera as Freia in Das Rheingold. Her concert engagements include performances of Vaughan William’s A Sea Symphony with the St. Louis Symphony under the baton of Stéphane Denève. Career highlights include her house debut at the Metropolitan Opera as Magda in La rondine; Donna Elvira in Don Giovanni at Dallas Opera; Elettra in Idomeneo and Vitellia in La Clemenza di Tito at Oper Frankfurt; and Mimì and the Countess at Lyric Opera of Kansas City.

TORI TEDESCHI ADAMS (UNITED STATES)

SOPRANO—LIESL

Tori Tedeschi Adams is making her HGO debut. In 2023, Adams covered Norina in Don Pasquale at the Lakes Area Music Festival and performed in a concert with Music in the Vineyards. In summer 2022 she was a Young Artist with the Glimmerglass Festival, where she appeared as Liesl in The Sound of Music and covered both Frasquita in Carmen and Mimi in the world premiere of Tenor Overboard. While attending the University of Cincinnati College-Conservatory of Music, Adams sang the roles of Susanna in The Marriage of Figaro and Bianca in La rondine

Other recent credits include Constance in Dialogues of the Carmelites, Despina in Così fan tutte, Miles and Flora in The Turn of the Screw, and Gretel in Hansel and Gretel. She performed in the world premieres of Douglas Cuomo’s Doubt with Minnesota Opera and Susan Kander’s The Giver with Project Opera, originating the role of Jonas. In concert, Adams has performed as the featured soloist in David Evan Thomas’s To Live in This World with Music in the Vineyards and Fauré’s Requiem with the Oberlin Conservatory Orchestra. Adams has been a Young Artist with SongFest and Oberlin in Italy. She has received honors from the ThreeArts Foundation, Thursday Musical, the National YoungArts Foundation, and the VSA International Young Soloists Competition. She has a Bachelor of Music degree from Oberlin Conservatory and a Master of Music degree from the University of Cincinnati CollegeConservatory of Music.

PETER THEURER (UNITED STATES)

FRIEDRICH

Peter Theurer made his HGO mainstage debut as Karl in last season’s performance of Werther. Theurer is a rising talent in Houston’s performing arts scene and performed in HGO’s Tosca as a Young Shepherd in spring 2023. Other recent highlights include HGO’s Turandot (children’s chorus, 2022), Alley Theatre’s A Christmas Carol (Turkey Boy, 2022), and Street Scene (Joe, 2022) with the Rice University Shepherd School Opera. Peter was also the featured soloist in Houston Symphony’s Very Merry Pops Concert (Boy Soprano, 2021).

ANNIE VOORHEES (UNITED STATES)

LOUISA

Annie Voorhees, a ninth grader at St. John’s School, is making her HGO debut. Previous roles include Elizabeth Benning in Young Frankenstein, Charlie Bucket in Willy Wonka, and Matilda in Matilda. Vorhees studies aerial acrobatics at The Artz and voice with Lauren Pastorek. Under the direction of Brendan Emig at SJS, she is a member of Les Chanteuses and the Texas Private Music School Educators Association Regional Honor Choir.

ANTONIO RICO (UNITED STATES)

KURT

Antonio Rico returns to HGO after debuting as Young Laurentino in El Milagro del Recuerdo (2022), and portraying Robin in Falstaff (2023). An eighth grader at Pin Oak Middle School, Rico is also skilled in playing the guitar. He is a member of the debate and theater teams at his school, where he has been cast in productions such as Honk!, Lafayette No. 1, Rock of Ages, Shape of the Grave, and A Midsummer Night’s Dream. He previously performed with his school’s Tenor-Bass Advanced Men’s Choir.

MACIE JOY SPEER (UNITED STATES)

BRIGITTA

Macie Joy Speer is making her HGO debut. Under the guidance of voice teacher and Director Emily Tello Speck, she has performed roles including Brigitta von Trapp in The Sound of Music and Ilsa in Brother Andrew, both at A.D. Players at the George Theater. Speer also has appeared in productions including Sense and Sensibility at 4th Wall Theatre Company, Frozen Junior (Olaf), and Annie (title role) at two local theaters. She is a member of the performance dance team at Point of Grace Dance Studio.

ABIGAIL LEE (UNITED

STATES) MARTA

Abigail Lee, making her HGO mainstage debut, is a fifth grader at River Oaks Baptist School. Previously for the company, she sang the role of Gretl in My Favorite Things: Songs from The Sound of Music (2021). Lee also performed in Street Scene as young Mary for Rice University Shepherd School of Music. She is currently a voice student of Monica Isomura and has been cast in a variety of local theater productions such as Annie and Seussical Jr. She enjoys ice-skating and studies piano with The Moosic School.

LORA UVAROVA (UNITED STATES) GRETL

Lora Uvarova is making her HGO debut. Her inaugural stage appearance took place at the International Children’s Theatre Festival in Valencia, Spain, where she played a little boy in Astrid Lindgren’s Karrlson-on-theRoof in fall 2023. She was honored with a “Best Debut” award for her outstanding performance in a leading role. In addition to pursuing acting, she dedicates time to piano, figure skating, gymnastics, and voice classes.

DANIEL BELCHER (UNITED STATES) BARITONE—MAX DETWEILER

Grammy Award-winning baritone Daniel Belcher, a Butler Studio alumnus, has appeared at HGO as Lawrence in The Wreckers (2022), James Addison Mills III in the world premiere of A House without a Christmas Tree (2017), Taddeo in The Italian Girl in Algiers (2012), the title role in Billy Budd (2008), Mercutio in Romeo and Juliet (2005), Papageno in The Magic Flute (2004), Schaunard in La bohème (2002), John Brooke in Little Women (2000 and world premiere in 1998), and the title role in Orfeo (1999), among others. With a repertoire of more than 80 roles, Belcher has championed roles from the Baroque to those composed expressly for him. He came to international attention in 2004 creating the

role of Prior Walter in Peter Eötvös’s Angels in America for the Théâtre du Châtelet in Paris. In fall 2023 he joined the faculty at the University of Houston, and throughout the 2022-23 season served as the resident artist voice teacher with Opera Colorado, where he also performed the role of Fritz/Frank in Die Tote Stadt In the 2021-22 season, Belcher joined the Metropolitan Opera for Akhnaten and Rigoletto.

MEGAN MARINO (ITALY/UNITED STATES) MEZZO-SOPRANO—ELSA SCHRAEDER

Megan Marino is making her HGO mainstage debut, although audiences may recognize her from her previous appearance as Elsa Schraeder in HGO’s outdoor singalong My Favorite Things in spring 2021. During the 2023-24 season, Marino returns to OperaDelaware and Opera Baltimore to debut as Maddalena in Rigoletto, the Atlanta Opera as Puck in A Midsummer Night’s Dream, premieres Jake Heggie and Gene Scheer’s Before It All Goes Dark in her debut with Music of Remembrance, and returns to Santa Fe Opera as Annina in Der Rosenkavalier. Her 2022-23 season included returns to the Metropolitan Opera as Flora in La traviata and Second Lady in The Magic Flute. She joined the Grand Teton Music Festival as Suzuki in Madame Butterfly, joined the artist faculty of the Taos Opera Institute, and led a second season as Executive Director of the Creede Musical Arts Collective. She also made her directorial and company debut with Shreveport Opera on The Barber of Seville, the opera that launched her career as a sought-after interpreter of Rosina. It’s You I Like, her album of classically anchored children’s music with pianist John Arida, was released in spring 2023. The summer of 2022 marked the inaugural season of the Creede Musical Arts Collective Inc., a 501c3 organization which Marino co-founded with husband, baritone Michael Mayes.

ADAM KRAL (UNITED STATES) TENOR—ROLF GRUBER

Adam Kral is making his HGO mainstage debut as a principal artist. He appeared in last season’s Salome in a supernumerary role. Previous roles include Moritz Stiefel in Spring Awakening with The Queensbury Theatre, Lamar in Godspell with Unity Theatre, and Ted Alcorn in Bonnie and Clyde: The Musical with The Garden Theatre. He portrayed the role of Rolf in A.D. Players’ production of The Sound of Music in 2022. Kral is the recipient of the 2019 Tommy Tune Award for Best Actor, and received the “Spirit of the Jimmy’s” award from the National High School Musical Theatre Awards program. He currently studies dance at Uptown Dance Center under the direction of Beth Gulledge-Brown, and trains vocally with Jack Beetle. He received training from Queensbury Theatre’s The Tribble School of the Performing Arts and studied with Bobby Linhart at Houston Christian High School.

SPENCER PLACHY (UNITED STATES)

FRANZ

Spencer Plachy is making his HGO debut. He has been acting professionally for almost 20 years. In Houston, he most recently appeared as Darcy in Main Street Theater’s Georgiana & Kitty: Christmas at Pemberley, and in last year’s Almost Maine at MATCH. Prior to that, he spent more than two years touring with Disney’s The Lion King as Scar. While living in New York City, he appeared on Broadway in Romeo & Juliet, and in The Mystery of Edwin Drood. He spent the 2008-09 season appearing in four productions at The Alley Theatre. Other regional roles include Antony in Julius Caesar, Beau in Sandy Rustin’s The Cottage, Victor in Private Lives, Curly in the National Tour of Oklahoma!, and Chad in All Shook Up. He also appeared on the TV show Shades of Blue He attended Sam Houston State University.

PAMELA VOGEL (UNITED STATES)

FRAU SCHMIDT

Pamela Vogel is making her HGO debut. Her credits include Between Riverside and Crazy, The Lifespan of a Fact, Small Mouth Sounds, and Body Awareness at 4th Wall Theatre; Leap and The Net Will Appear at Catastrophic Theatre; The Sound of Music and The Lilies of the Field at A.D. Players; Doubt at Unity Theatre; Peace in Our Time (Best Supporting Actress Finalist, Houston Press, 2014) at Main Street Theater; The Importance Of Being Earnest, The Triumph of Love (Best Supporting Actress Finalist, 2012), and Tartuffe at Classical Theatre Company; In the Next Room... at Southern Rapture Stages; The Lion in Winter and Wit at Texas Repertory Theatre; and Othello and The Taming of the Shrew at Houston Shakespeare Festival. She has performed in regional productions in Illinois, Pennsylvania, New Jersey, and the Utah Shakespeare Festival. Vogel is a collective member of the Houston Equity Festival, and in May 2021 produced and performed in the digital production Miss American Pie - A Historical, Political, And Culinary Monologue. In 2019, she appeared in Wit (Vivian) for the festival at MATCH. She has taught classes for AP English high school students and college students studying medical humanities.

ERIN WAGNER  (UNITED STATES)  MEZZO-SOPRANO—SISTER MARGARETTA

Amy and Mark Melton/ Drs. Liz Grimm and Jack Roth/ Mrs. Nancy Haywood Fellow

A second-year Butler Studio artist from El Paso, Erin Wagner also performed the roles of Flower Maiden/Voice from Above in Parsifal and Kate Pinkerton in Madame Butterfly during HGO’s 2023-24 season. During the 2022-23 season at HGO, she made her mainstage debut replacing an indisposed colleague in the role of Jack for the final performance of The Wreckers, and she performed the roles

of Barbarina in The Marriage of Figaro and The Page of Herodias in Salome. She is a winner of the 2021 Naumburg Foundation International Vocal Competition and, with pianist and composer Shawn Chang, the 2021 Juilliard Vocal Arts Honors Recital. Wagner was a 2021 Renée Fleming Artist at Aspen Music Festival, where she performed the roles of Second Lady (The Magic Flute) and Unulfo (Rodelinda); sang in scenes from Così fan tutte, La clemenza di Tito, and Semele; and premiered David Clay Mettens’s The Sustaining Air. She worked with Renée Fleming for Carnegie Hall’s 2021 SongStudio and received second prize in the 2021 Saengerbund Awards. She has performed with Steven Blier and Bénédicte Jourdois at Caramoor and with Brian Zeger at Juilliard Songfest. This past summer, she returned to Aspen to perform the role of Idamante in Idomeneo. She completed her Bachelor of Music degree at the Manhattan School of Music and her Master of Music degree from The Juilliard School.

RENÉE RICHARDSON   (UNITED STATES)

SOPRANO—SISTER BERTHE

Kathleen Moore and Steven Homer/ Carolyn J. Levy/ Jeff Stocks and Juan Lopez Fellow

A second-year Butler Studio artist from Springfield, Pennsylvania, Renée Richardson also performed the role of Flower Maiden in Parsifal, premiered a new song cycle by Joel Thompson at Giving Voice, and covered the role of Mary Jane Bowser in Intelligence during HGO’s 2023-24 season. During the 2022-23 season at HGO, she performed the roles of Annina in La traviata and Woman Whose Uncle Loved Maria Callas in Another City and appeared in Giving Voice. In the 2021-22 season she sang Mimì in Puccini’s La bohème at the Academy of Vocal Arts. Also at AVA, she sang the Foreign Princess in Dvořák’s Rusalka, the title role and Suor Dolcina in Puccini’s Suor Angelica, and Inès in Donizetti’s La favorite. She holds a Professional Studies Diploma in Voice from the Cleveland Institute of Music, where her roles included Fiordiligi in Mozart’s Così fan tutte, Béatrice in Berlioz’s Béatrice et Bénédict, and the title roles in Puccini’s Suor Angelica and Cherubini’s Medea. Richardson has been seen in several Pensacola Opera productions including Carmen, La bohème, and The Pirates of Penzance. She was the recipient of an A. Grace Lee Mims Scholarship for Negro Spirituals and was the soprano soloist in Beethoven’s Ninth Symphony with the Kennett Symphony. She was recently named a finalist in the Vincerò Worldwide Opera Competition in Naples, Italy. This past summer, she debuted the role of Donna Anna in Don Giovanni with Wolf Trap Opera.

ANI KUSHYAN   (GEORGIA/ARMENIA)

MEZZO-SOPRANO—SISTER SOPHIA

Donna and Ken Barrow/ Barbara and Pat McCelvey/ Jill A. Schaar and George Caflisch Fellow

A first-year Butler Studio artist from Tbilisi, Ani Kushyan was a finalist in HGO’s 2023 Eleanor McCollum Competition Concert of Arias. Her roles during HGO’s 2023-24 season include Flower Maiden/2nd Esquire in

Parsifal and Sister Sophia in The Sound of Music. In October 2023, she made her Carnegie Hall debut in a concert dedicated to Rachmaninoff’s 150th anniversary. In summer 2024, she will perform as a soloist in Houston Ballet’s production of Mayerling Kushyan was a member of the young artist program at Armenian National Academic Theater of Opera and Ballet from 2021-23, making her debut with the company as Third Girl in Anoush by Armenian composer Armen Tigranyan. Other roles include Marta in Iolanta, Lyubasha in The Tsar’s Bride, and Anoush’s mother in Anoush. As an active concert performer, she has appeared in Germany, Latvia, Sweden, Estonia, Georgia, and Armenia. She was named a 2024 National Semifinalist in the Metropolitan Opera Laffont Competition, the first-prize winner in the 2022 Premiere Opera Foundation Vocal Competition, the audience prize winner at the SOI Fiorenza Cedolins Competition in Italy, first-prize winner in the 2021 Armenian Romanciade, and winner of a special prize at the Ottavio Ziino International Singing Competition in Rome. Kushyan received her bachelor’s degree from the Yerevan Komitas State Conservatory and her master’s degree from the Tbilisi State Conservatory in Georgia. She continued her studies at the Riga Jāzepa Vītola Latvian Music Academy and the Lübeck Academy of Music in Germany.

SCOTT CLARK (UNITED STATES)

BARITONE—HERR ZELLER

Scott Clark is making his HGO mainstage debut. He has performed as a teaching artist with HGO’s Opera to Go! program, singing the role of Belcore in The Elixir of Love. He created the role of F. Scott Fitzgerald in the new opera The Ghosts of Gatsby by Evan Mack and Joshua McGuire. He also starred as Homecoming Soldier in Seagle Music Festival’s production The Falling and the Rising by Zach Redler and Jerre Dye. Clark was a Resident Artist with the Opera Columbus and Capital University joint program, where he performed the role of Marco in Gianni Schicchi. He was an emerging artist at Seagle Music Festival for two summers; there, he performed the roles of Belcore in The Elixir of Love and Papageno in The Magic Flute.  Other credits include Uscire in Opera in the Heights’s Rigoletto, Sparky in A.D. Players’ Forever Plaid, Jesus in Unity Theatre’s Godspell, Husband in LOLA’s Good Country, Don Giovanni in Spotlight on Opera’s Virtual Don Giovanni, Eugene Onegin in Russian Opera Workshop’s production of Eugene Onegin, and Didier in Lone Star Lyric’s Madeleine. Clark has also engaged in concert work as the bass soloist in Handel’s Messiah, and Beethoven’s Mass in C with Houston Masterworks Chorus, and as a soloist for Bernstein’s Chichester Psalms with First United Methodist Church Houston. He holds Master of Music and Bachelor of Music degrees in Vocal Performance from Baylor University.

“

I hope my legacy is inspiring other young singers and artists to go after their dreams and live 100% in their truth as an artist and whatever else they do in their lives.

”

—tenor Russell Thomas, title character, HGO’s Parsifal (winter 2024) and Tannhäuser (spring 2025)

WHAT WILL YOUR LEGACY BE?

Please consider a gift to HGO’s Laureate Society so future generations will continue to experience world-class operatic productions.

For more information on HGO’s Laureate Society, please contact Amanda Neiter at 713-546-0216 or ANeiter@HGO.org.

AND A RISING STAR. Communications Coordinator

At this point, Antonio Rico is something of an HGO veteran. The eighth-grader .made his company debut as Young Laurentino in El Milagro Del Recuerdo in .2022, followed by the role of Robin in Falstaff last fall. And now, he’s returning for .another mainstage production! Rico is playing Kurt in The Sound of Music, his .biggest role yet.

.Wanting to hear more about his opera career, we invited Rico for a chat at a local .ice cream shop, where he displayed a level of poise not often found in your .average 13-year-old, whether discussing ice cream—rainbow cake with a French vanilla cone is, in his professional opinion, the only way to go—or acting. In .between bites, he told us more...

Opera Cues: How long have you been in theater? What was your first ever show?

Antonio Rico: I’ve been performing ever since I was in elementary. That’s when I joined my school’s drama club. Then I joined theater class in middle school, where I auditioned for the school musical. I ended up being cast as the Bullfrog in Honk!, who was such a funny, charismatic character that was a lot of fun to play. Later that year I decided to audition for El Milagro, and the rest is history.

OC: What do you like about performing?

AR: It’s really fulfilling to see something that you’ve put a lot of time, energy, and effort into finally come together on stage. More than anything, though, I just think it’s so much fun forging a connection with the audience. I love making people laugh and giving them a good time. It’s pure excitement, and it motivates me to do the best I can.

OC: Do any of your classmates know about your second life on stage?

AR: My close friends do! They’ve even come to see me in prior shows because they’re just as passionate about theater as I am. I’m very lucky to share that with them.

OC: What made you want to audition for The Sound of Music?

AR: I was starring in Falstaff when I heard about the auditions HGO was doing for the von Trapp kids. Some of my friends were auditioning and told me that I should give it a shot, too. The Sound of Music is a classic, so I went for it. Being able to play Kurt is a major milestone in my career; it’s such an honor. I hope I can do him justice.

OC: How are you preparing for this role?

AR: I’ve been rewatching the movie trying to really understand Kurt as a character and slide into his shoes. Listening to The Sound of Music soundtrack to memorize the songs before rehearsals start has been helpful, too.

OC: What are you looking forward to about it?

AR: I’m excited about the chance to work with all these great artists, especially Isabel Leonard, who plays Maria. I’ve heard great things about her, and it’s an honor to take the stage alongside her. I also just can’t wait to get to know the other kids and work together to bring the von Trapp family to life.

OC: What are some of your dreams for the future?

AR: I really want to broaden my horizons to all forms of theater. While I love the opera, I don’t want to limit myself when I’m so young. Why not aim for the stages on Broadway, or the big screen in Hollywood? I want to experience as much of the performing arts world as possible.

OC: How does it feel to be singing at the Wortham again?

AR: It’s been such a privilege to work with HGO not once but twice already, so being back for a third time is unbelievable. El Milagro was an incredible first experience, but it was still all so new to me that I didn’t really know what to expect. This time I feel prepared. I’ve picked up so many new skills and tips from all the amazing artists I’ve worked with since my initial performance here, and I can’t wait to use them in The Sound of Music. There’s been a lot leading up to this moment, and it feels like a dream come true. ∎

JUST FOR KIDS!

TEST YOUR SOUND OF MUSIC KNOWLEDGE, GET TO KNOW OPERA, AND MORE

my favorite things word search

THE SOUND OF MUSIC: VOCABULARY CHEAT-SHEET

Abbey: a religious community where women would go to live their lives as nuns

Governess: a woman employed to take charge of a child’s upbringing and education, often living in the same house

U-Boat: a type of submarine developed in Germany

Fraulein: a German term, equivalent to “Miss” (a young lady or woman who is not married)

Telegraph: a way to communicate over long distances, transmitting and receiving messages using Morse code

Edelweiss: a plant with small white flowers

FAMILY FAQS

CURIOUS ABOUT OPERA? WE’VE GOT YOU COVERED:

Not to be rude, but—why am I at an opera house for The Sound of Music?

The line between operas and musicals can be quite blurry. When The Sound of Music debuted on Broadway in 1959, it featured operatic singing and a full orchestra. So, we think the Wortham Theater Center is the perfect place to experience the musical, just as its creators intended.

Actually…what exactly is opera?

A story told through voice and instrumental music. The word “opera” is actually Italian for “work”!

Where did opera come from?

Opera began in Florence, Italy, in the 16th century, as a way to share ancient Greek stories.

Who is it for?

At first, opera was only for the nobility. But it soon expanded in popularity, and public opera houses started going up around Italy. Today there are opera houses all over the world—and opera is for everyone!

What kind of stories do operas tell?

In the 18th century, opera seria (serious opera) was popular, but it wasn’t long before opera buffa (lighthearted and comedic opera) arrived. These days just about any good story can become an opera. HGO has commissioned 76 operas, and counting, sharing stories old and new!

Someone always dies in opera…right?

Wrong! Yes, there are genres where that’s true. But the art form runs the gamut, from the comedic to the romantic, horrific, gory, scary, and adventurous.

And all opera singers wear horns and blonde braids?

Only sometimes. Singers in German operas like Wagner’s Die Walküre, which features characters from Norse mythology, wear them in traditional productions. But contemporary productions (including German ones!) include every possible variety of costume, just like TV shows, films, and musicals.

Opera’s in Italian, and I won’t understand it. Are you sure it’s for me?

100 percent sure! The art form was born in Italy 400 years ago, but since then, operas have been written in French, German, Czech, Russian, Spanish, Vietnamese, English, and many more languages. Today’s productions always include translations on the screen above the stage, but even without them, the sound of the instruments and voices alone have the power to convey universal human emotion.

the sound of music trivia crossword

ACROSS

Across

DOWN

Down

1. How do you solve a _____ like Maria?

1. How do you solve a ______ like Maria?

6. Captain Von Trapp hired Maria to be the childrens' _____.

6. Captain von Trapp hired Maria to be the children’s _____ .

10. What does Rolf deliver?

10. What is it Rolf’s job to deliver?

12. What does Maria make the children's playclothes out of?

12. What does Maria use to make the children’s play clothes?

13. What dessert is mentioned in "My Favorite Things"?

14. How does the Captain call his children?

13. What dessert is mentioned in “My Favorite Things”?

16. Who helps the family escape?

18. Maria says "When the Lord closes a door, somewhere he opens a ______."

14. How does the Captain call his children?

16. Who helps the family escape?

21. _______ going on seventeen.

18. Maria says, “When the Lord closes a door, somewhere he opens a _____ .”

22. Wild geese that fly with the _____ on their wings.

23. Where is Maria from?

21. _____ going on seventeen.

22. Wild geese that fly with the _____ on their wings.

23. Where is Maria from?

2. Who is the oldest von Trapp child?

2. Who is the oldest Von Trapp child?

3. Who is the Captain engaged to?

3. To whom is the Captain engaged?

4. ___ a drink with jam and bread.

4. _____ , a drink with jam and bread.

5. The Von Trapp family is forced to perform in a _____.

5. The von Trapp family is forced to perform in a _____ .

7. Why were the children scared when they ran into Maria's room?

7. Why were the children scared when they ran into Maria’s room?

8. In what country does the Sound of Music take place?

9. So, a needle pulling ______.

11. What is the song the Captain sings to his family?

8. In what country does The Sound of Music take place?

9. So, a needle pulling _____ .

15. What sound are the hills alive with?

17. What song does Maria use to teach the children to sing?

11. What is the song the Captain sings to his family?

19. How many Von Trapp children are there?

15. What sound are the hills alive with?

17. What song does Maria use to teach the children to sing?

20. What gift do the children leave in Maria's pocket?

19. How many von Trapp children are there?

20. What gift do the children leave in Maria’s pocket? Find

MADAME BUTTERFLY CAST PARTY

JANUARY 26, 2024

HGO patrons and company members celebrated alongside the remarkable Madame Butterfly cast and creative team following a sold-out opening-night performance of Puccini's masterpiece. The party, an annual tradition hosted by Vinson & Elkins LLP in the firm’s stunning offices, treated operagoers and artists alike to a late-night buffet by Jackson & Company Catering, birds-eye city views, and inspiring company.

CONCERT OF ARIAS FEBRUARY 2, 2024 / HON. THERESA AND DR. PETER CHANG, CHAIRS

HGO's 36th annual Concert of Arias, the live final round of the Eleanor McCollum Competition for Young Singers, was a beautiful night of music, during which eight gifted finalists competed for cash prizes and an invitation to join the Sarah and Ernest Butler Houston Grand Opera Studio, the company’s renowned residency program for young artists. The judges included HGO Principal Guest Conductor Eun Sun Kim, HGO General Director and CEO Khori Dastoor, and HGO Artistic and Music Director Patrick Summers. Soprano Ana María Martínez selected the recipient of her annual Encouragement Award. Ryan McKinny, a Butler Studio alumnus and company favorite, hosted the event’s livestream.

Following the concert, a lively crowd of 500 generous supporters and their guests made their way to Wortham’s Grand Foyer for a seated dinner celebrating the emerging artists, with cuisine by City Kitchen Catering and décor by The Events Company. Longtime HGO supporters Hon. Theresa and Dr. Peter Chang chaired the marvelous evening, which raised over $700,000 in support of the Butler Studio, whose members share their gifts with communities across Greater Houston through accessible programming for all. The event’s six coveted prizes were awarded to soprano Elizabeth “Hanje” (1st Place), bass-baritone Ziniu Zhao (2nd place), soprano Alissa Goretsky (3rd Place), bass-baritone Sam Dhobhany (Ana María Martínez Encouragement Award), soprano Jazmine Saunders (Audience Choice Award), and soprano Jouelle Roberson (Online Viewers’ Choice Award). The next Concert of Arias will take place on January 17, 2025. HGO.org/Events

BUBBLES FOR BALL LUNCH PARTY FEBRUARY 8, 2024

Pop. Fizz. Clink! Joy and generosity bubbled over when Daniel Irion and Karen Payne hosted the Bubbles for Ball luncheon at MAD in the River Oaks District, held in support of HGO’s Opera Ball. The event’s sparkling guests dined at tables named for Champagnes and delighted in a surprise La bohème aria sung by soprano Meryl Dominguez, a Butler Studio artist. A Veuve Clicquot cake provided a sweet ending to the afternoon. For information on HGO’s signature Special Events, visit HGO.org/Events, call 713-5460700, or email SpecialEvents@HGO.org.

BEYOND TECHNIQUE

THE SEARCH FOR YOUNG SINGERS WITH A POINT OF VIEW.

Ihave now been in Houston for a few months and am reflecting on the exciting flurry of activities that I’ve been fortunate to be a part of, especially my first ever Concert of Arias.

For those of you who have never been, this exciting, lively event activates every part of the HGO community. It shines as a beacon throughout the opera world, offering a stage where budding talents receive a crucial platform to showcase their vocal mastery and artistic flair.

As the Director of the Butler Studio, I am acutely aware of the transformative power that events like this one hold for aspiring opera singers. Especially for those who land an invitation to join the Studio, the Concert of Arias serves as a gateway to a world of opportunity

and training that extends far beyond the evening’s spotlight. But that requires more than the mere display of technical prowess. While impeccable vocal technique is the undeniable central goal for aspiring opera professionals, it is equally imperative for young artists to cultivate keen artistic minds. For me, that not only factors into which singers might be invited to join the program, but also my approach to leading it.

Opera is a dynamic and ever-evolving art form, influenced by societal shifts and cultural movements. Its traditions ground and inspire us, while its innovations open us to new worlds. Looking back, the composers now synonymous with operatic tradition were, in their day, the greatest innovators. Wolfgang Amadeus Mozart revolutionized the art form with his innovative

approach to music and storytelling, introducing complex character development and psychological depth. Giuseppe Verdi composed realistic, emotionally charged operas that explored themes of social injustice, political turmoil, and personal redemption, resonating deeply with his audiences. His use of recurring motifs and melodic themes influenced generations of composers. Richard Wagner broke free from traditional operatic structures and wrote through-composed scores, transforming the art form by integrating music, drama, poetry, and visual spectacle into a unified artistic experience. Giacomo Puccini revolutionized opera with his emotive melodies, cinematic storytelling, and realistic characterizations.

Composers are not the only innovators. Maria Callas, one of the greatest sopranos of the 20th century, breathed new life into the bel canto repertoire, infusing it with emotional depth and psychological insight. Her willingness to take risks and push artistic boundaries set a new standard for operatic performance and paved the way for future generations of singers. In our modern world, Renée Fleming is renowned for her lush, velvety soprano voice and versatile artistry. Throughout her career, she has championed contemporary opera and new works, collaborating with leading composers and pushing the boundaries of traditional repertoire. Her advocacy for innovation and experimentation has helped keep opera vibrant in the modern age.

Next season, we will provide Butler Studio artists with a solid foundation in vocal technique and stagecraft. But we also plan to foster an environment where artists are encouraged to think critically, express a unique musical perspective, explore new ideas, and experiment with their interpretations. Thus, they too can express the power of opera in new ways. The global opera industry is facing radical shifts. By equipping our singers with the tools to become innovative trailblazers, we hope to prepare them for the challenges and opportunities that lie ahead, while giving them the tools to inspire us—the audience—in ways we couldn’t previously imagine. ∎

INTRODUCING THE FIRST-YEAR BUTLER STUDIO ARTISTS FOR 2024-25

NEW ARTISTS WILL JOIN FOUR RETURNING ARTISTS: MEZZO-SOPRANO ANI KUSHYAN, TENOR MICHAEL MCDERMOTT, TENOR DEMETRIOUS SAMPSON, JR., AND BARITONE NAVASARD HAKOBYAN.

BUTLER STUDIO ARTISTS 2023–24

Meryl Dominguez, Soprano

Mr. and Mrs. Harlan C. Stai Fellow

Navasard Hakobyan, Baritone

Melinda and Bill Brunger/ Mr. and Mrs. Charles G. Nickson/ Gloria M. Portela Fellow

Ani Kushyan, Mezzo-Soprano

Donna and Ken Barrow/ Barbara and Pat McCelvey/ Jill A. Schaar and George Caflisch Fellow

Michael McDermott, Tenor

Michelle Beale and Dick Anderson/ Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr. Fellow

Michelle Papenfuss, Pianist/Coach

Dr. Saúl and Ursula Balagura/ Sharon Ley Lietzow and Robert Lietzow/ Dr. Laura E. Sulak and Dr. Richard W. Brown Fellow

Renée Richardson, Soprano

Kathleen Moore and Steven Homer/ Carolyn J. Levy/ Jeff Stocks and Juan Lopez Fellow

Marco Rizzello, Pianist/Coach

Ms. Lynn Des Prez/ Dr. Gary L. Hollingsworth and Dr. Ken Hyde/ Stephanie Larsen/ Dr. and Mrs. Miguel Miro-Quesada Fellow

BUTLER STUDIO FACULTY & STAFF

Colin Michael Brush, Director

Sponsored by Christopher Bacon and Craig Miller, Lynn Gissel, and Jill and Allyn Risley

Maureen Zoltek, Music Director

Mr. and Mrs. Albert B. Alkek Chair

Joanna Latini, Butler Studio Administrator

Ana María Martínez, HGO Artistic Advisor

Stephen King, Director of Vocal Instruction

Sponsored by Jill and Allyn Risley, Janet Sims, and James J. Drach Endowment Fund

Patrick Summers, Conducting Instructor and Coach

Sarah and Ernest Butler Chair

Peter Pasztor, Principal Coach

Sponsored by Mr. and Mrs. James A. Elkins Jr. Endowment Fund

Kirill Kuzmin, Principal Coach

Madeline Slettedahl, Assistant Conductor

William Woodard, Assistant Conductor

Brian Connelly, Piano Instructor

Kristine McIntyre, Showcase Director

Skye Bronfenbrenner, Movement Instructor

Adam Noble, Movement Instructor

BUTLER STUDIO SUPPORTERS

The Sarah and Ernest Butler Houston Grand Opera Studio is grateful for the underwriting support of Ms. Marty Dudley, Beth Madison, and Mr. and Mrs. Richard J. Langenstein.

The Butler Studio is also thankful for the in-kind support of the Texas Voice Center and for the outstanding support of the Magnolia Houston hotel.

Additional support for the Butler Studio is provided by Dr. Saúl and Ursula Balagura, Mr. and Mrs. Melvyn Hetzel, Ms. Diane K. Morales, Mr. Patrick Carfizzi, and the following funds within the Houston Grand Opera Endowment, Inc.:

The Gordon and Mary Cain Foundation Endowment Fund

Marjorie and Thomas Capshaw Endowment Fund

James J. Drach Endowment Fund

The Evans and Portela Family Fund

Carol Lynn Lay Fletcher Endowment Fund

William Randolph Hearst Endowed Scholarship Fund

Charlotte Howe Memorial Scholarship Fund

Elva Lobit Opera Endowment Fund

Marian and Speros Martel Foundation Endowment Fund

Erin Gregory Neale Endowment Fund

Dr. Mary Joan Nish and Patricia Bratsas Endowed Fund

Demetrious Sampson, Jr., Tenor

Dr. Dina Alsowayel and Mr. Anthony R. Chase/ Eric McLaughlin and Elliot Castillo/ Alejandra and Héctor Torres/ Mr. Trey Yates Fellow

Emily Treigle, Mezzo-Soprano

Mr. and Mrs. James W. Crownover/ John Serpe and Tracy Maddox Fellow

Erin Wagner, Mezzo-Soprano

Amy and Mark Melton/ Drs. Liz Grimm and Jack Roth/ Mrs. Nancy Haywood Fellow

Christa Gaug, German Instructor

Enrica Vagliani Gray, Italian Instructor Sponsored by Marsha Montemayor

Olia Prokopenko, Russian Instructor

Margo Garrett, Guest Coach

Hemdi Kfir, Guest Coach

John M. O’Quinn Foundation Endowed Fund

Shell Lubricants State Company Fund

Mary C. Gayler Snook Endowment Fund

Tenneco, Inc., Endowment Fund

Weston-Cargill Endowed Fund

ISABEL LEONARD

OUT OF CHARACTER

To say that the superstar mezzo-soprano Isabel Leonard is busy is to wildly understate things.

There are lead roles at all the major opera houses—at HGO alone, her acclaimed company debut as Charlotte in Werther in 2023, her current role of Maria in The Sound of Music, and her anticipated return as Angelina in Cinderella this fall, plus her upcoming directing debut for HGO Family Day Presents Cinderella. There are movie appearances: her 2023 film debut in the critically acclaimed She Came to Me starring Peter Dinklage and Anne Hathaway and, also last year, Bradley Cooper’s Academy Awardnominated Leonard Bernstein biopic Maestro. There is motherhood, with all the time and attention that entails.

When we reached the multi-Grammy Award winner over the phone, Leonard shared that she’d recently given concerts in Buenos Aires and São Paulo and was about to set off for Montreal, then Japan. Was it any wonder that she was doing a bit of multitasking, chatting with Opera Cues while getting a walk in, strolling the streets of her hometown of New York?

“I probably am one of the world’s biggest multitaskers,” she shared with a laugh. “I started by sitting in the park for a minute, got a little bit of sun, had a little bit of my coffee. And then I thought, I should really start walking because I have to get home and pack for three months.”

It was a special treat to chat with Leonard about her life and career as the sounds of the city whirred in the background, setting the scene…

Opera Cues: You made your house debut at HGO as Charlotte in Werther this winter. How was that experience?

Isabel Leonard: It’s one of my favorite roles, so anytime I get to sing it, it makes me very happy. It’s a wonderful piece. Werther and Charlotte both grow quite a lot throughout it—in some ways, her more than him. She really evolves, and it’s just one of the things that I love the most about playing that character. And of course, singing with Matthew Polenzani is great. We’ve sung so many Mozart pieces together at the Met. Having somebody on stage that is not only a great colleague, but also a friend, allowed us to dive in even deeper and have more fun and just more comfort with each other. It was just a great experience.

OC: What were your first impressions of HGO?

IL: HGO is a great company. I love Khori Dastoor. I think that she has a really open mind as to what to do with the company. I think she’s really interested in making HGO be available to the audience, which is the right path. The audience starts to develop a relationship with the company, and the company promotes the singers so that the audience can get to know them. It’s like when you go to a sports game, right? And you’re there rooting for your team. You’re there because you’re wishing your best for the group of people “on stage.” And I think that’s what you want from an audience in a performing arts setting. You want the audience to come because they’re excited to root for the people on stage.

OC: The audience reaction to you in Werther was over the moon.

IL: It’s a really great audience. I also think that has to do with how they feel, and how they feel about their experience coming to the theater. You know, what are the audiencewelcoming things that occur in the theater before, in the middle, and after the actual performance? Going to the theater should be a full experience that does not feel so prohibitory.

"

GOING TO THE THEATER SHOULD BE A FULL EXPERIENCE THAT DOES NOT FEEL SO PROHIBITORY.”

OC: You’ve worked with Francesca Zambello, who’s directing The Sound of Music at HGO, many times. How would you describe that experience?

IL: I have a very long history with Francesca. She’s fantastic. She’s a lot of fun. She’s kind of hilarious. I’m really happy to have known Francesca well. We’ve developed an artistic trust between the two of us that enables an incredible collaboration. She really wants you to put yourself into the piece, and she also wants you to try the things that she’s asking you to try. And it becomes a real back-and-forth. And she wants the productions to be great. She wants them to be vibrant and energized the whole way through. She really is thinking about how the audience is going to perceive the piece.

OC: What are you most looking forward to about performing the role of Maria?

IL: It’s both wonderful and daunting to do such an iconic piece that everybody knows. Whatever emotional reaction people have to this piece—and they absolutely have one—it’s a big one! It’s really exciting to give that music to the audience. It’s one of those pieces that has been a part of everybody’s life growing up. You immediately relate to the kids, and the joy of it all. The beauty of music, singing, and love and family—all those things are such good things.

OC: What are your thoughts on an opera company doing The Sound of Music?

IL: We’ve gone too long with this notion that opera is different from the rest of the live musical genres. Opera is still theater and music on stage. And an opera company putting on a piece as well known as The Sound of Music allows the audience to come in aware of the music. They have a sense of ownership over the

piece already. They already get it. And then, perhaps, they get to hear it in a slightly different musical way, which allows people to go, Oh, I really liked that singer. Oh, they’re an opera singer. Oh, maybe I should go hear them in an opera. That’s really important.

OC: How do you balance your huge career with motherhood?

IL: You become a master organizer. You know, I feel like I should have another degree in to-do lists and time management. I do what I can. As much as women these days can go to work and have a family, seemingly “have it all,” there’s still so much that has to be built up in society that helps women do that. On top of everything else, I’m a single mom, and I’ve been a single mom since my son was an infant. He’s older now. I’ve always had to find and build support groups everywhere I’ve gone. People always say, How do you do it? And I say, I just don’t ask myself whether I can You just do it. It’s very Nike. ∎

The Impresarios Circle is Houston Grand Opera’s premier donor recognition society. These vanguard supporters who provide annual support of at least $100,000 are instrumental to HGO’s success. For information, please contact Greg Robertson, chief philanthropy officer, at 713-546-0274 or GRobertson@HGO.org.

JUDY AND RICHARD AGEE

HGO subscribers for more than two decades, Judy and Dick are ardent believers in the power of storytelling through words and music. They partnered with the Archdiocese of Galveston-Houston Inner-City Catholic Schools to expand student access to HGO Community and Learning programs. Judy and Dick, the founder and chairman of Wapiti Energy LLC and Bayou Well Holdings Company LLC, also support mainstage productions. Dick is a member of the HGO Board of Directors.

ROBIN ANGLY AND MILES SMITH

HGO subscribers Robin and Miles joined the Founders Council in 2010. The company is honored to have Robin as a senior member of the HGO Board of Directors and as a member of HGO’s Laureate Society. The couple is very familiar with the view from the HGO stage as well—both are former singers in the HGO Chorus. Robin and Miles have been donors to HGO special events, the Young Artists Vocal Academy, and HGO’s Ring cycle. They are charter members of the Impresarios Circle and generously underwrite a mainstage production each season.

THE BROWN FOUNDATION, INC.

The Brown Foundation, Inc., established in 1951 by Herman and Margarett Root Brown and George R. and Alice Pratt Brown, has been a treasured partner of HGO since 1984. Based in Houston, the Foundation distributes funds principally for education, community service, and the arts, especially the visual and performing arts. HGO is tremendously grateful for The Brown Foundation’s leadership support, which has been critical to the company’s unprecedented growth and success in recent years. The Brown Foundation was among the lead contributors to HGO’s Hurricane Harvey and COVID-19 recovery efforts.

SARAH AND ERNEST BUTLER

HGO subscribers for over 35 years, Sarah and Ernest made the largest gift to HGO in company history in 2023, creating a new fund within the HGO Endowment valued at $22 million and becoming the naming partner for the Sarah and Ernest Butler Houston Grand Opera Studio. They are also the lead underwriters for the company’s digital artistic programming, and have generously endowed three chairs at HGO: those of HGO Artistic and Music Director Patrick Summers, Chorus Director Richard Bado, and HGO Orchestra Concertmaster Denise Tarrant. Ernest and Sarah reside in Austin and are longtime supporters of Ballet Austin, Austin Opera, Austin

Symphony Orchestra, the Texas Cultural Trust, and the University of Texas Butler School of Music, which has carried their name since 2008. Sarah and Ernest are world travelers, and they never miss an opportunity to see opera in the cities they visit.

ANNE AND ALBERT CHAO

Anne and Albert have been subscribers and supporters of HGO for the past two decades. While serving as president and CEO of Westlake Corporation, Albert finds time for numerous cultural causes. He is a member of the HGO Board of Directors and was the co-chair of Inspiring Performance—The Campaign for Houston Grand Opera. Over the years, the Chaos have sponsored HGO special events, the Butler Studio, Song of Houston, and mainstage productions. The couple has also supported the HGO Endowment. In April 2023 they chaired the Opera Ball.

LOUISE G. CHAPMAN

Louise Chapman of Corpus Christi, Texas, a longtime supporter of HGO, is a member of the HGO Board of Directors. Louise’s late husband, John O. Chapman, was a south Texas agricultural businessman and philanthropist. In addition to HGO, the Chapmans have supported numerous organizations in health, education, and the arts, including Texas A&M University, the Corpus Christi Symphony, and the Art Museum of South Texas. Louise and HGO Trustee Connie Dyer have known each other since they were college roommates at The University of Texas.

THE ROBERT AND JANE CIZIK FOUNDATION

The Cizik family name is synonymous with passion, devotion, and service to the people of Houston. The Ciziks have always been associated with hard work, high achievement, inspirational leadership, and love for their family. Survived by his wife, Jane, Bob Cizik spearheaded the fundraising and building of HGO’s home, the Wortham Theater Center. The Robert and Jane Cizik Foundation gives generously to many educational institutions and charitable organizations, including UTHealth, Harvard University, the University of Houston, and the University of Connecticut. In 2017, the School of Nursing at UTHealth was re-named the Jane and Robert Cizik School of Nursing at UTHealth in recognition of the family’s dedicated support.

MATHILDA COCHRAN

Mathilda is a native of New Orleans and a long-time resident of Houston. She is a retired museum educator, having served for many years as Manager of the Docent and Tour Program at the Museum of Fine Arts, Houston, as well as a volunteer with Taping for the Blind, Inc. She and her late husband, Mike, created the Cochran Family Professorship in Earth and Environmental Sciences to support Tulane University’s School of Science and Engineering. Mathilda currently serves as a member of the HGO Board of Directors and is chair of the Community and Learning Committee. She has been an HGO subscriber since the 1986-87 season.

CONOCOPHILLIPS

For over 40 years, ConocoPhillips has supported various programs at HGO, from special events to mainstage productions, including a long-standing tradition of supporting HGO’s season-opening operas. In 2009, the company gave a major multiyear grant to establish ConocoPhillips New Initiatives, a far-reaching program that allows the Opera to develop new and innovative education and community collaboration programs. Kelly Rose, general counsel and SVP, serves on the HGO Board of Directors.

MOLLY AND JIM CROWNOVER

Molly and Jim have been HGO subscribers for over 30 years and are members of the Impresarios Circle and Laureate Society. Jim has been a member of HGO’s Board of Directors since 1987, including service as chairman from 2016-18 and on the Executive, Governance, Development, and Finance Committees. In 1998, Jim retired from a 30-year career with McKinsey & Company, Inc. and has served on myriad corporate and non-profit boards including Rice University (past board chair), United Way (past campaign chair), and most recently as M.D. Anderson Foundation President. Molly continues to serve on the Butler Studio and Special Events Committees. She also serves on the Advisory Board of The Shepherd Society at Rice University and on the Houston Ballet Board of Trustees (past Executive Committee and Ballet Ball chair). Molly and Jim have chaired HGO's Concert of Arias, been honorees at Concert of Arias and Opening Night Dinner, and chaired Opening Night 2022.

THE CULLEN FOUNDATION

For more than three decades, The Cullen Foundation has been a vital member of the HGO family. Established in 1947, the Foundation has more than a half-century history of giving generously to education, health care, and the arts in Texas, primarily in the Greater Houston area. The Opera is very grateful for the Foundation’s longstanding leadership support of HGO’s Family and Holiday Opera Series, as well as special support for HGO’s COVID-19 recovery efforts.

THE CULLEN TRUST FOR THE PERFORMING ARTS

The Cullen Trust for the Performing Arts has been a lead underwriter of HGO’s mainstage season for nearly 30 years. The Trust was established from assets of The Cullen Foundation to specifically benefit Texas performing arts institutions, particularly those within the Greater Houston area. In recent years, The Cullen Trust has provided lead support for memorable productions including HGO’s Family and Holiday Opera Series, and made a leadership contribution to HGO’s Hurricane Harvey recovery fund, as well as a generous gift to HGO’s COVID-19 recovery efforts.

CONNIE DYER

Connie Dyer has been an important member of the HGO family for decades. Connie loves HGO Opening Night festivities and the Concert of Arias. She is a leadership donor, Trustee, and a member of the Laureate Society and the Founders Council for Artistic Excellence. With her late husband Byron, she has hosted receptions for HGO Patrons in their beautiful home in Santa Fe. They were early and enthusiastic underwriters for HGO’s Seeking the Human Spirit initiative, and most recently Connie made a grand grand guarantor pledge for HGO’s COVID Relief Campaign. HGO Board Member Louise Chapman and Connie were college roommates at the University of Texas, Austin.

FROST BANK

Frost Bank has been a supporter of HGO for over a decade, helping bring to life some of the world’s most treasured operas, as well as supporting new works including the 2019 world premiere of The Phoenix. Since Frost’s founding in 1868, the bank has invested in the communities it serves through hard work, customer service, and support of the arts, education, economic development, and health and human services. David LePori, Regional President, serves on the HGO Board of Directors.

DRS. LIZ GRIMM AND JACK ROTH

HGO subscribers since the 2013–14 season, Liz and Jack have both committed themselves to cancer research and patient care through their work at The University of Texas MD Anderson Cancer Center. Jack is a member of the HGO Board of Directors and serves as Butler Studio Committee Chair. Liz and Jack were generous underwriters of HGO’s historic, first-ever Ring cycle and lead supporters of HGO’s German repertoire, including Elektra. Additionally, Liz and Jack chaired the 2018 Opera Ball and the 2022 Concert of Arias.

NANCY HAYWOOD

Long-time Trustee Nancy Haywood loves HGO, and her particular passion is the Butler Studio and supporting young artists. Her enthusiasm is infectious. This season Nancy is

underwriting second-year Butler Studio artist Erin Wagner. Her love for supporting young artists goes beyond HGO to the Houston Boy Choir, where she is one of their most ardent benefactors and Board Members. Nancy is a member of HGO’s Butler Studio Committee, Philanthropy Committee, and the Laureate Society. Most recently, she made a guarantor pledge for HGO’s COVID Relief Campaign. Nancy and her late husband, Dr. Ted Haywood, approached every opera performance as a “date night.” Ted Haywood was a prince.

MATT HEALEY

Matt Healey serves on the HGO Board of Directors. He is Vice President of Finance and Planning at Cheniere Energy, responsible for budgeting, capital planning, forecasting, and capital raising. He also owns El Segundo Swim Club, a full-service bar and swimming pool in the historic Second Ward. Matt became a huge fan of HGO the moment the curtains opened on the water tank Rhinemaidens in Das Rheingold in 2014. Although he has seen the Ring cycle in Chicago, New York, and San Francisco, the HGO production is by far his favorite. A passionate fan of German repertoire, he underwrote Salome in the 2022-23 season and is underwriting Parsifal this season.

WILLIAM RANDOLPH HEARST FOUNDATION

The William Randolph Hearst Foundation is a national philanthropic resource for organizations working in the fields of culture, education, health, and social services. The Foundation identifies and funds outstanding nonprofits to ensure that people of all backgrounds in the United States have the opportunity to build healthy, productive, and inspiring lives. A dedicated supporter of HGO, the Foundation is a leading advocate for the Opera's Community and Learning initiatives. The continued support from the Foundation makes it possible for Houstonians of all ages to explore, engage, and learn through the inspiring art of opera.

H-E-B

For over 115 years, H-E-B has contributed to worthy causes throughout Texas and Mexico, a tradition proudly maintained today. And for over 20 years, H-E-B has been a lead supporter of the Opera's arts education programs for Houston area students. H-E-B’s partnership helps over 70,000 young people experience the magic of opera each season. Always celebrating Houston's cultural diversity, H-E-B supports thrilling events like HGO's Giving Voice concert and this season's world premiere chamber opera, The Big Swim

HOUSTON GRAND OPERA ENDOWMENT, INC.

Established and incorporated in 1982, the Houston Grand Opera Endowment (HGOE) is a vital financial management tool that ensures HGO has a reliable, regular source of income. Today, the Endowment contains over 50 named funds, both unrestricted and restricted, and annually distributes 4.5 percent of the Endowment’s average market value to HGO,

making it the largest single annual funder of the Opera. HGOE leadership includes Chair Marianne Kah, Senior Chair Yolanda Knull, and several members of the HGO Board of Directors.

HOUSTON METHODIST

For over ten years, Houston Grand Opera has partnered with Houston Methodist, the official health care provider for HGO.

Houston Methodist’s Center for Performing Arts Medicine (CPAM) is the only center of its kind in the country, comprising a specialized group of more than 100 physicians working collaboratively to address the specific demands placed upon performing artists. In addition to the first-rate medical care CPAM provides HGO artists, Houston Methodist also generously supports HGO’s mainstage season and partners frequently on Community and Learning collaborations. HGO is fortunate to have Dr. Warren Ellsworth and Dr. Apurva Thekdi serve as Houston Methodist’s corporate trustees.

HUMPHREYS FOUNDATION

Based in Liberty, Texas, Humphreys Foundation has been a major underwriter of HGO’s mainstage season since 1980. Geraldine Davis Humphreys (d. 1961), a member of the pioneer Hardin family of Liberty, Texas, bequeathed her estate to Humphreys Foundation, which was formally established in 1959. The Foundation provides support for performing arts in Texas and college scholarship funding for students in the arts. Linda Bertman, Louis Paine, and Jeff Paine serve as trustees of Humphreys Foundation. The Foundation is a lead supporter of this spring's The Sound of Music

ELIZABETH AND RICHARD HUSSEINI

We like to think that HGO helped “set the stage” for Elizabeth and Richard Husseini's love story. When a set malfunction at the end of the first act of HGO’s The Flying Dutchman forced Maestro to re-start the opera from the top, the two seatmates bonded in their shared delight that they got to hear more Wagner! The two got engaged one year later (at HGO, of course). Richard is a tax partner at Kirkland & Ellis, a generous HGO corporate supporter, and serves on both the HGO Board of Directors and the HGO Endowment Board. Elizabeth retired from Baker Botts as a corporate and securities partner and devotes her attention to family and community matters, including Catholic Charities of the Archdiocese of Galveston-Houston, Preservation Houston, the Junior League, and River Oaks Baptist School, which the Husseinis' two sons attend. Enthusiastic supporters of the young artists and alumni of the Butler Studio, the couple chaired the 2019 Concert of Arias. During the 2023-24 season, the Husseinis generously underwrote the world premiere of Jake Heggie, Gene Scheer, and Jawole Willa Jo Zollar's Intelligence

DONNA KAPLAN AND RICHARD LYDECKER

Richard Lydecker has been an HGO subscriber and supporter for more than three decades.  He has great passion for opera,

especially Wagner, and he and Donna were underwriters for HGO’s Ring cycle. They are also special events sponsors, supporting Opera Ball and Concert of Arias.

CLAIRE LIU AND JOE GREENBERG

Claire and Joe have subscribed to HGO for many seasons and are members of HGO’s Founders Council for Artistic Excellence.

Claire assumed the role of Chair of the HGO Board of Directors in August 2022. She is newly retired from LyondellBassell Industries where she led the corporate finance team, and was formerly a managing director with Bank of America. Joe is founder and CEO of Alta Resources, L.L.C., a private company involved in the development of shale oil and gas resources in North America. Claire and Joe support many organizations, with particular emphasis on educational organizations including YES Prep and Beatrice Mayes Charter School. An avid runner, Claire has completed a marathon in all 50 states.

BETH MADISON

Beth has been an HGO subscriber for more than two decades. HGO has had the honor of her support since 2004. Past chair of the HGO Board of Directors, she is a senior director of the HGO Board of Directors, serves on the Butler Studio Committee, and is an active member of HGO’s Founders Council. She was the honoree at the 2017 Concert of Arias. Beth generously supports the Butler Studio, special events, and mainstage operas. Beth has been inducted into the Greater Houston Women’s Hall of Fame and serves on the University of Houston System Board of Regents.

LAURA AND BRAD MCWILLIAMS

HGO subscribers for 35 years, Laura and Brad have been passionate advocates for HGO.  A longtime Trustee, Laura has served on the HGO Finance Committee, chaired the Annual Fund Drive, and serves on the Laureate Society Council.  Laura and Brad’s generosity has impacted almost every area of the company including HGO Special Events – they chaired the 32nd Annual Concert of Arias in 2020.  They most recently created the McWilliams Fund for Artistic Excellence to underwrite HGO’s mainstage operas for the 2022-23, 2023-24 and 2024-25 seasons.

PAUL MARSDEN

Paul Marsden became an HGO Trustee in the 2020-21 season and generously increased his support to join the Impresarios Circle in late 2021. Paul is President of Bechtel’s Energy global business unit in Houston and has served in key leadership roles for over two decades, dating back to his start with the company in London in 1995.

THE ROBERT AND JANICE MCNAIR FOUNDATION

Janice and the late Bob McNair, longtime HGO subscribers and supporters, are well known for their incredible philanthropy and for bringing the NFL back to Houston. Bob was a former chair of the HGO Board of Directors (1995-97). Through the family’s passionate support of students, young entrepreneurs, medical research, and the community, The Robert and Janice McNair Foundation is transforming some of the biggest challenges our nation faces today into the solutions of tomorrow. As a lead supporter of this spring's The Sound of Music, the McNair Foundation makes it possible for thousands of students and families to experience shorter-length family-friendly operas and musicals each year.

M. D. ANDERSON FOUNDATION

The M. D. Anderson Foundation has provided general operating support to HGO for more than 30 years. The Foundation was established in 1936 by Monroe Dunaway Anderson, whose company, Anderson, Clayton and Co., was the world’s largest cotton merchant. While the Foundation started the Texas Medical Center and was instrumental in bringing to it one of the premier cancer centers in the world, the Foundation’s trustees also looked to improve the wellness of communities through the arts. HGO is privileged to have such a longstanding and committed partner in enhancing the quality of life for all Houstonians.

SARA AND BILL MORGAN

Sara and Bill have been supporting HGO since 2002. Sara is a co-founder of the Houston Center for Contemporary Craft, where she currently serves on the board. Bill is a co-founder of the Kinder Morgan companies and the retired vice chairman and president of Kinder Morgan, Inc., and Kinder Morgan Energy Partners, LP. The Morgans support Community and Learning initiatives, HGO’s special events, and mainstage productions, including the Holiday Opera Series. HGO is thrilled to have Sara serve on the HGO Board of Directors and as a member and past chair of the Community and Learning Committee.

NOVUM ENERGY/MARCIA AND ALFREDO VILAS

Founder and President of Novum Energy, Alfredo Vilas serves on the HGO Board of Directors. He is a passionate lover of opera and together with his wife Marcia chaired HGO’s unforgettable “Cielito Lindo” Opera Ball in 2019. The Vilases and Novum Energy have generously supported many operas over the past decade, including all three of HGO’s celebrated mariachi operas, and were proud underwriters for the 2022 production of El Milagro del Recuerdo

ALLYSON PRITCHETT

Allyson Pritchett, a member of the HGO Board of Directors, is the Founder & CEO of Bodka Creek Capital, a Houston-based real estate private equity firm with over $100M in assets under management. She holds an MBA from Harvard Business School and a Bachelor’s in Applied Mathematics & Archaeology from Harvard University. After attending her first opera at HGO in 2021 (Carmen), she joined the Young Patrons Circle and quickly demonstrated her passion for opera by underwriting Angel Blue in La traviata the following year.

JILL AND ALLYN RISLEY

Jill and Allyn Risley have been HGO subscribers since the 2003-04 season and are members of the company’s Founders Council. Allyn and Jill have been key influencers of HGO programs for many years, with special affection for our esteemed Butler Studio. They co-sponsor Butler Studio Artist Eric Taylor and faculty member Dr. Stephen King, Director of Vocal Instruction. Allyn is Chairman of Gaztransport & Technigaz (GTT) North America, an engineering company specializing in liquid gas containment systems using cryogenics. Allyn served as Chair of the HGO Board of Directors from 2020 to August 2022 and currently serves as Senior Chair.

SHELL USA, INC.

Shell USA, Inc. is a leader in the Houston arts community, supporting HGO for over 40 years. Shell USA, Inc.’s leadership support makes opera more accessible to everyone through the NEXUS Initiative for Affordability and inspires young minds with STEM-aligned arts education opportunities like our annual Opera Camps. Shell USA, Inc. was also a major supporter of HGO’s Hurricane Harvey recovery. HGO is honored to have Selda Gunsel, president, Shell Global Solutions, as a member of the HGO Board of Directors, and Christos Angelides, head of energy transition integration, as a Trustee.

DIAN AND HARLAN STAI

Harlan, a member of the HGO Board of Directors, and Dian are charter members of HGO’s Founders Council for Artistic Excellence, and their leadership support includes mainstage productions, the Butler Studio, the HGO Endowment, and special events. The Stais have also sponsored Butler Studio artists and they host annual recitals featuring Butler Studio artists at Mansefeldt, their renowned Fredericksburg ranch. HGO was privileged to recognize Dian and Harlan as the honorees of Opening Night 2008 and the 2014 Concert of Arias

TEXAS COMMISSION ON THE ARTS

The mission of the Texas Commission on the Arts (TCA) is to advance our state economically and culturally by investing

in creative projects and programs. TCA supports a diverse and innovative arts community in the state, throughout the nation, and internationally by providing resources to enhance economic development, arts education, cultural tourism, and artist sustainability initiatives. Over the years, TCA has provided invaluable support to many HGO projects, including mainstage productions and Community and Learning education initiatives.

JOHN G. TURNER & JERRY G. FISCHER

John and Jerry, based in Baton Rouge, Louisiana, travel around the world to experience the best that opera has to offer. HGO subscribers and donors for over a decade, the couple’s leadership support of Wagner’s Ring cycle (2014–17) was the largest gift ever made to HGO for a single production. John, a shareholder at Turner Industries Group, is a senior member of the HGO Board of Directors and past chair of the Butler Studio Committee. Jerry is a board member of Baton Rouge Symphony Orchestra. In recent years, John and Jerry have supported HGO mainstage productions, the Butler Studio, and special events. They are members of the Founders Council for Artistic Excellence, and John is a member of HGO’s Laureate Society.

VEER VASISHTA

Veer Vasishta is a passionate lover of opera and a proud member of the HGO Board of Directors and Impresarios Circle. Following his education in mechanical engineering and a successful career in finance, Veer co-founded a technology firm based in Montreal, Canada, with staff in the U.S., Canada, Mexico, the U.K., and Asia. He trained as a classical guitarist after a short time playing violin and in a rock band in high school. Veer began been attending HGO performances as soon as he arrived in Houston.

VINSON & ELKINS LLP

HGO has been privileged to have the support of international law firm Vinson & Elkins LLP for 40 years. For more than 100 years, Vinson & Elkins LLP has been deeply committed to empowering the communities in which it serves. It has enriched the cultural vibrancy of Houston by supporting HGO through in-kind legal services and contributions to special events and mainstage productions, including this season's production of Puccini's Madame Butterfly

MARGARET ALKEK WILLIAMS

Margaret, a longtime singer, possesses a deep affinity for all music, and especially opera, supporting HGO for over 30 years. Currently, Margaret continues her parents’ legacy as chairman of their foundation, where her son Charles A. Williams serves as president. HGO is humbled by Margaret’s incredible generosity and dedication to the company, both as an individual donor and through her family’s foundation. She has endowed the Margaret Alkek Williams Chair, held by HGO General Director Khori Dastoor, and is a member of HGO’s Laureate Society. A valued member of

the HGO Board of Directors, Margaret was the honoree of the 2009 Opera Ball and chairman of the 2014 Ball, and she generously chaired the 2018 Hurricane Harvey benefit Concert HGO and Plácido: Coming Home!

THE WORTHAM FOUNDATION, INC.

In the 1980s, the Wortham Foundation contributed $20 million to lead the capital campaign for the Wortham Theater Center, guided by businessman Gus S. Wortham’s early recognition of the vital role of the arts in making Houston an appealing place to live and work. During their lifetimes, Gus and his wife, Lyndall, were dedicated to improving the lives of Houstonians. The Foundation continues to support the Opera through the Wortham Foundation Permanent Endowment and generous annual operating support. This leadership support has been vital to HGO’s growth and commitment to excellence. The Wortham Foundation’s support of HGO’s Hurricane Harvey recovery helped to bring the company back home, and its special support of HGO's COVID-19 recovery efforts helped us come back stronger than ever.

LYNN WYATT

Lynn’s generosity touches every aspect of HGO. She is a Lifetime Trustee of HGO and serves as the Vice Chairman of the HGO Board of Directors. She chaired HGO’s Golden Jubilee Gala in 2005. Oscar Wyatt endowed The Lynn Wyatt Great Artist Fund in 2010, honoring Lynn’s service to the company and dedication to bringing the world’s best operatic artists to HGO, and she was the honoree at the 2010 Opera Ball. Lynn and Oscar have been lead supporters of a number of HGO productions and programs, including the multiyear company-wide initiative Seeking the Human Spirit.

ANNUAL SUPPORT

Houston Grand Opera Trustees and Patrons Circle members support the Opera with annual donations of $10,000 or $5,000, respectively, and make possible the incredible work of HGO. Trustees and Patrons enjoy many benefits at the Opera, including Masterson Green Room privileges during performance intermissions, behind-the-scenes experiences, personalized ticket service, two tickets to all open dress rehearsals, Opera Guild membership, a discount on Opera Guild Boutique purchases, and much more. For information on joining as a Trustee or Patron, please contact David Krohn, director of philanthropy, at 713-980-8685 or DKrohn@HGO.org.

CHAIR, DONOR ENGAGEMENT COMMITTEE

Ms. Gwyneth Campbell, Chair, Donor Engagement Committee

TRUSTEE—$10,000 OR MORE

Mr. William J. Altenloh and Dr. Susan Saurage-Altenloh

Chris and Michelle Angelides

Kate Baker

Blanche S. and Robert C. Bast, Jr., MD

Mr. Jack Bell

Drs. Robert S. and Nancy Benjamin

Stephanie and Dom Beveridge

Ms. Susan Bloome

Adrienne Bond

Nancy and Walt Bratic

Mr. Stephen Brossart and Mr. Gerrod George

Dr. Janet Bruner

Mollie and Wayne Brunetti

Elise Bungo and Eric Rodriguez

Mr. and Mrs. Lester P. Burgess

Mr. and Mrs. Richard Burleson

Mrs. Carol Butler

Drs. Ian and Patricia Butler

Mr. Robert Caballero

Ms. Gwyneth Campbell and Mr. Joseph L. Campbell

Patricia and Jess Carnes

Dr. Peter Chang and Hon. Theresa Chang

Mr. Robert N. Chanon

Mr. Anthony Chapman

Cheryl and Michael Clancy

Mr. and Mrs. Robert L. Clarke

Mr. and Mrs. Robert Collier

Dr. Laurence Corash and Ms. Michele Corash

Julie and Bert Cornelison

Mr. Robert L. Cook and Mrs. Giovanna Imperia

Jayne and Peter Davis

Anna M. Dean

Dr. and Mrs. Roupen Dekmezian

Dr. Allen Deustch and Mrs. Luci Runte

Ms. Elisabeth DeWitts

Valerie and Tracy Dieterich

Jeanette and John DiFilippo

Dr. and Mrs. William F. Donovan

Johanna and Stephen Donson

Joanne and David Dorenfeld

Mr. James Dorough-Lewis and Mr. Jacob Carr

Anna and Brad Eastman

Mr. Bob Ellis

Mary Ann and Larry Faulkner

Mr. John E. Frantz

Caroline Freeman

Trish Freeman and Bruce Patterson

Monica Fulton

Gina and Scott Gaille

Dr. and Mrs. Ronald Galfione

Mr. and Mrs. Scott J. Garber

Gerard and Christine Gaynor

Dr. and Mrs. David P. Gill

Mrs. Geraldine C. Gill

Mr. Wesley Goble

Sandy and Lee Godfrey

Ms. Dianne L. Gross

Ms. Julia Gwaltney

Mr. and Mrs. Melvyn Hetzel

Rosalie and William M. Hitchcock

Dr. Patricia Holmes

Alan and Ellen Holzberg

Lee M. Huber

Ms. Sarah Johnson

Ann and Stephen Kaufman

Mr. Mark Klitzke and Dr. Angela Chen

Mr. and Mrs. William H. Knull III

Mr. and Mrs. Frederick Kolb

Ann Koster

Elizabeth and Bill Kroger

Mr. and Mrs. Blair Labatt

Mr. and Mrs. Randall B. Lake

Dr. and Mrs. Ernst Leiss

Ms. Bernice Lindstrom

Mrs. Marilyn Lummis

Ms. Michele Malloy

Ms. Diane M. Marcinek

Mary Marquardsen

Mr. R. Davis Maxey

Dorothy McCaine

Ms. Janice McNeil

Prof. and Mrs. D. Nathan Meehan

Ginger Menown

Chadd Mikulin and Amanda Lenertz

Dr. Indira Mysorekar Mills and Dr. Jason Mills

Dr. and Mrs. William E. Mitch

Marsha L. Montemayor

Mr. and Mrs. Shahin Naghavi

Erik B. Nelson and Terry R. Brandhorst

John Newton and Peggy Cramer

Susan and Edward Osterberg

Mr. and Mrs. Michael J. Pancherz

Susan and Ward Pennebaker

Mr. Mark Poag and Dr. Mary Poag

The Radoff Family

Dr. Angela Rechichi-Apollo

Carol F. Relihan

Mr. Todd Reppert

Mr. Serge Ribot

Ed and Janet Rinehart

Mr. and Mrs. Walter Ritchie

Mr. and Mrs. David Rowan

Mr. Mike Rydin

Adel and Jason Sander

Judy Sauer

Mrs. Helen P. Shaffer

Hinda Simon

Ms. Janet Sims

Diana Strassmann and Jeffrey Smisek

Mr. and Mrs. George Sneed

Bruce Stein

Kathy and Richard Stout

Mr. Minas and Dr. Jennifer Tektiridis

Ann Tornyos

Mr. and Mrs. John Untereker

Mr. and Mrs. Robert N. Wakefield

John and Mo Lovett Warren

Mr. and Mrs. Jay Watkins

Mr. and Mrs. K.C. Weiner

Loretta and Lawrence Williams

Mr. and Mrs. C. Clifford Wright, Jr.

Mr. and Mrs. John W. Wright

Mr. Hugh Zhang and Ms. Lulu Tan

Rini and Edward Ziegler

3 Anonymous

YOUNG TRUSTEE—$5,000 OR MORE

Emily Bivona and Ryan Manser

Mr. Anthony Chapman

Mr. and Mrs. Damian Gill

Meredith and Joseph Gomez

Alecia Harris

Ms. Ellen Liu and Ms. Ilana Walder-Biesanz

Mr. Andrew Pappas

Drs. Mauricio Perillo and Luján Stasevicius

Lauren Randle

Mr. and Mrs. Daniel Ritter

Dr. Nico Roussel and Ms. Teresa Procter

Jennifer Salcich

Mr. Michael Steeves

Mrs. Stella Tang and Mr. Steven Tang

Dr. Yin Yiu

1 Anonymous

NATIONAL TRUSTEE—$5,000 OR

MORE

Ms. Alissa Adkins, Corpus Christi, TX

Ms. Jacqueline S. Akins, San Antonio, TX

Mrs. Estella Hollin-Avery, Fredericksburg, TX

Jorge Bernal and Andrea Maher, Bogota, Colombia

Mr. Tom Burley and Mr. Michael Arellano, Philadelphia, PA

Dr. Dennis Berthold and Dr. Pamela Matthews, College Station, TX

Mr. Richard E. Boner and Ms. Susan Pryor, Austin, TX

Mrs. Carol W. Byrd, Wetumka, OK

Mr. Bryce Cotner, Austin, TX

Dr. Thomas S. DeNapoli and Mr. Mark Walker, San Antonio, TX

Mr. James M. Duerr and Dr. Pamela Hall, San Antonio, TX

Mr. and Mrs. Samuel Evans, Coldspring, TX

Jack and Marsha Firestone, Miami, FL

Mr. and Mrs. Larry Gay, Mc Neil, AR

Mr. Charles Hanes, San Jose, CA

Brian Hencey and Charles Ross Jr., Austin, TX

Edward and Patricia Hymson, San Francisco, CA

Mrs. Judy Kay, Dallas, TX

Dr. and Mrs. Morton Leonard Jr., Galveston, TX

Paul and Judy Lerwick, Asheville, NC

Cathleen C. and Jerome M. Loving, Bryan, TX

Paul and Judy Lerwick, Asheville, NC

Barbara and Camp Matens, Baton Rogue, LA

Mr. Kenton McDonald, Corpus Christi, TX

Mr. and Mrs. Spencer Mehrens, Longview, TX

Mr. and Mrs. Bruce Misamore, Sedona, AZ

Mr. John P. Muth, Wimberly, TX

Dr. James F. Nelson and Mr. Yong Zhang, San Antonio, TX

Ms. Claire O'Malley, San Antonio, TX

Ms. Wanda A. Reynolds, Austin, TX

Michelle and Chuck Ritter, Kansas City, MO

Dr. Sid Roberts and Mrs. Catherine Roberts, Lufkin, TX

James and Nathanael Rosenheim, College Station, TX

Mr. Bruce Ross, Los Angeles, CA

Mr. and Mrs. Paul Welch, Shepherdstown, WV

Mr. Donald Wertz, Austin, TX

Ms. Charlotte Williams, Killeen, TX

Valerie and David Woodcock, College Station, TX

PATRONS CIRCLE—$5,000 OR MORE

Ms. Jacquelyn M. Abbott

Mr. W. Kendall Adam

Mrs. Norah G. Adams

Mrs. Nancy C. Allen

Mr. and Mrs. Orlando Alvarado

Alfredo Tijerina and JP Anderson

Shaza and Mark Anderson

Mr. and Mrs. Robert J. Ardell

Maida Asofsky

Mr. Neely Atkinson

Heather and Richard Avant

Nancy and Paul Balmert

Mr. William Bartlett

Mr. and Mrs. James Becker

Dr. James A. Belli and Dr. Patricia Eifel

Dr. and Mrs. Joel M. Berman

Drs. Henry and Louise Bethea

Mr. and Mrs. Stanley C. Beyer

Mr. and Mrs. Stephen D. Bickel

Dr. Matthew J. Bicocca and Mrs. Yvonne Pham Bicocca

Dr. Joan Hacken Bitar

Dr. Jerry L. Bohannon

Mr. Jeffery Bosworth and Mr. Timothy Bammel

Mr. Al Brende and Mrs. Ann Bayless

Mr. Chester Brooke and Dr. Nancy Poindexter

Joan M. C. Bull, M.D.

Dr. Luis Camacho

Ms. Marion Cameron-Gray

Mr. Patrick Carfizzi

Mr. and Mrs. Thierry Caruso

Mrs. John R. Castano

Drs. Danuta and Ranjit Chacko

Dr. Beth Chambers and Mr. J. Michael Chambers

Dr. Cindy Childress and Mr. Jack Charles

Mr. and Mrs. Jack Christiansen

Janet Clark

Ms. Donna Collins

Dr. and Mrs. J. Michael Condit

Dr. Nancy I. Cook

Mr. and Mrs. Sam Cooper

Mr. and Mrs. Larry Dooley

Dr. and Mrs. Giulio Draetta

Mrs. Eliza Duncan

Mr. John Egbert and Mrs. Kathy Beck

Kellie Elder and David Halbert

Mrs. James A. Elkins III

Parrish N. Erwin Jr.

Ms. Thea M. Fabio and Mr. Richard Merrill

Ms. Ann L. Faget

Mr. Brian Faulkner and Ms. Jackie Macha

Ms. Vicki Schmid Faulkner

Ms. Ursula Felmet

Mr. and Mrs. Dennis Fish

Wanda and Roger Fowler

Drs. Daniel and Jean Freeman

Mr. and Mrs. William B. Freeman Jr.

Mr. Mauro Garcia-Altieri

Dr. Alice Gates and Dr. Wayne Wilner

Dr. Layne O. Gentry

Nancy Glass, M.D. and John Belmont, M.D.

Rhoda Goldberg

Mr. Thomas K. Golden and Mrs. Susan Baker Golden

Mary Frances Gonzalez

Sue Goott

Mrs. Gwynn F. Gorsuch

Dr. and Mrs. David Y. Graham

Joyce Z. Greenberg

Dr. and Mrs. Stephen B. Greenberg

William and Jane Guest

Ms. Dianne Halford

Mr. and Mrs. Thomas C. Halsey

Mrs. Mary Hankey

Mr. Frank Harmon III and The Honorable Melinda Harmon

Mr. and Mrs. A. John Harper III

Pam Higgins and Tom Jones

Mrs. Ann G. Hightower

Doug Hirsch and Maureen Semple-Hirsch

Deborah and Michael Hirsch

Dr. Holly Holmes

Mr. and Mrs. John H. Homier

Dr. and Mrs. Gabriel N. Hortobagyi

Mr. and Mrs. Clay Hoster

Dr. Kevin Hude

Ms. Heather Hughes

Dr. Alan J. Hurwitz

Dr. Alexandra Ikeguchi

Mr. and Mrs. Paul Jacob

Mr. and Mrs. Malick Jamal

Ms. Joan Jeffrey

Mr. and Mrs. James K. Jennings, Jr.

Mr. and Mrs. Basil Joffe

Dr. Susan John and Mr. Darrell John

Charlotte Jones

Mr. and Mrs. Robert J. Kauffman

Mr. Anthony K.

Mr. and Mrs. George B. Kelly

Mr. and Mrs. Hugh Rice Kelly

Mr. and Mrs. Albert Kidd

Ms. Carey Kirkpatrick

Ms. Rie Kojima Angeli

Dr. and Mrs. Lary R. Kupor

Dr. Helen W. Lane

Mr. and Mrs. Bryant Lee

Mr. Richard Leibman

Ms. Eileen Louvier

Ms. Lynn Luster

Mr. and Mrs. Paul A. Lynn

Mark and Juliet Markovich

Dr. and Mrs. Malcolm Mazow

Shawna and Wynn McCloskey

Gillian and Michael McCord

Mimi Reed McGehee

Elizabeth and Keith McPherson

Wendy and Patrick McWilliams

Kay and Larry Medford

Mrs. Anne C. Mendelsohn

Terry and Hal Meyer

Dr. Douglas D. Miller

Mr. and Mrs. Sidney S. Moran

Mr. Steve Morang

Mr. and Mrs. Stephen J. Morris

Ms. Shannon Morrison

Ms. Linda C. Murray

Mrs. Bobbie Newman

Ms. Geri Noel

Ms. Lisa L. Ng

Drs. John and Karen Oldham

Geoffry H. Oshman

Mrs. Maria Papadopoulos

Mr. and Mrs. Harry C. Pinson

Mr. and Mrs. Elvin B. Pippert Jr.

Mrs. Jenny Popatia

Joan and Lou Pucher

Dr. and Mrs. Florante A. Quiocho

Ms. Judith Raines

Ms. Deree Reagan

Dr. David Reininger and Ms. Laura Lee Jones

Mr. Robert Richter Jr.

Mrs. Carol Ritter

Kate and Greg Robertson

Mrs. Henry K. Roos

Drs. Alejandro and Lynn Rosas

Dr. and Mrs. Franklin Rose

Dr. and Mrs. Sean Rosenbaum

Mrs. Shirley Rose

Mr. and Mrs. Bob Ryan

Mr. Dave O. Schein and Ms. Karen M. Somer

Mrs. Richard P. Schissler Jr.

Mr. and Mrs. Charles Shearouse

Ms. Denmon Sigler and Mr. Peter Chok

Mr. Douglas Skopp

Kris and Chris Sonneborn

Mr. and Mrs. Aaron J. Stai

Dr. and Mrs. C. Richard Stasney

Mr. Per A. Staunstrup and Ms. Joan Bruun

Richard P. Steele and Mary McKerall

Mrs. Sue Stocks

Mr. Burke Strickland

Dr. Pavlina Suchanova

Drs. Adaani E. Frost and Wadi N. Suki

Dr. and Mrs. Demetrio Tagaropulos

Mrs. Carolyn Taub

Ms. Susan L. Thompson

Mr. and Mrs. Charles Tobias

Fiona Toth

Mr. and Mrs. Robert B. Trainer Jr.

Dr. Elizabeth Travis and Mr. Jerry Hyde

Gregoria and Frances Vallejo

Mr. and Mrs. Larry Veselka

Greg Vetter and Irene Kosturakis

Ms. Marie-Louise S. Viada

Ms. Vera D. Vujicic

Mr. and Mrs. M. C. "Bill" Walker III

Geoffrey Walker and Ann Kennedy

Diane and Raymond Wallace

Mr. and Mrs. John Wallace

Mr. Alexander Webb

Ms. Pippa Wiley

Randa Duncan Williams and Charles Williams

Dr. Courtney Williams

Ms. Jane L. Williams

Nancy and Sid Williams

Geraldina and Scott Wise

Ms. Debra Witges

Dr. Randall Wolf

Drs. Edward Yeh and Hui-Ming Chang

Mr. and Mrs. Rick Zachardy

John L. Zipprich II

6 Anonymous

YOUNG PATRONS—$2,500 OR MORE

Sarah and Steve Bond

Ms. Karin Chang

Mr. Michael Daus and Mr. Drew Synan

Dr. Mhair Dekmezian

Mr. Alex Flores and Ms. Morgan Davis

Mr. Albert Garcia Jr.

Ms. Roya Gordon

Ms. Anna Gryska

Mr. Campbell Haynes-Dale

Ms. Kathleen Henry

Mr. Birk Hutchens and Ms. Lauren Alleman

Mr. Daniel Katz

Lady Stephanie Kimbrell and Mr. Joshua Allison

Mr. Brett Lutz and Mrs. Elizabeth Lutz

Rachael and Daniel MacLeod

Tara and Liam McElhiney

Emily and Adrian Melendez

Ms. Zoe Miller

Mr. and Mrs. Paul Muri

Tina and Adam Outland

Ms. Morgan A. Pfeil

Ms. Cristina M. Romeu

Ms. Constance Rose-Edwards

Mr. and Mrs. Jeremy Rosen

Mr. Justin Rowinsky and Ms. Catarina Saraiva

Ms. Joan Sanborn and Mr. Dan Parisian

Abby Sanchez-Matzen and Lennart Matzen

Mr. and Mrs. Paul Muri

Dr. Stephen Keith Sanders

Ms. Emily Schreiber

Emily Schultz and Pavel Blinchik

Mr. Lars Seemann and Mrs. Nancy Elmohamad

Melanie Smith

Mr. Jake D. Stefano

Kelsey Stewart

Ms. Susan Tan

Julia and Jason Wang

Joshua and Rebekah Wilkinson

Mr. and Mrs. Jamie Yarbrough

NATIONAL PATRONS—$2,500 OR MORE

Ms. Cynthia Akagi and Mr. Tom Akagi, Madison, WI

Mr. and Ms. Avinash Ahuja, Corpus Christi, TX

Mr. and Mrs. Thomas R. Allison, Olympia, WA

Dr. Debra Blatz, Austin, TX

Tom and Kay Brahaney, Midland, TX

Dr. Bernd U. Budelmann, Galveston, TX

Ms. Louise Cantwell, San Antonio, TX

Ms. Susan Carvel, New Braunfels, TX

Mr. and Mrs. Joseph Carvelli, Dhahran, Saudi Arabia

Dr. Raymond Chinn, San Diego, CA

Mr. and Mrs. Terry Cloudman, Boulder, Colorado

Ms. Kathleen Devine and Mr. Richard Reeves, New Braunfels, TX

Dr. and Mrs. Marvin A. Fishman, NM

Michael Freeburger and Matilda Perkins, Santa Fe, New Mexico

Mr. Raymond Goldstein and Ms. Jane T. Welch, San Antonio, TX

Ms. Gabriella M. Guerra, San Antonio, TX

Mr. Mark Jacobs, Dallas, TX

Ms. Gail Jarratt, San Antonio, TX

Mr. and Mrs. Geoffrey S. Kay, Austin, TX

Ms. Alison D. Kennamer and Joyce Kennamer, Brownsville, TX

Jeff and Gail Kodosky, Austin, TX

HGO DONORS

Mr. Peter Manis and Ms. Susan Richman, Chicago, IL

Dr. and Mrs. Stanley Milstein, Olney, MD

Mr. Juan Moreno, Dhahran, Saudi Arabia

Mr. William Nicholas, Georgetown, TX

John and Elizabeth Nielsen-Gammon, College Station, TX

Mr. Richard See, Lagunas Baru, Costa Rica

Mr. and Mrs. Victor E. Serrato, Pharr, TX

Ms. Alice Simkins, San Antonio, TX

Mr. Kiyoshi Tamagawa and Mr. Bill Dick, Austin, TX

Dr. David N. Tobey and Dr. Michelle Berger, Austin, TX

Mr. and Mrs. Harvey Tucker, Bryan, TX

Mr. Tom Turnbull and Mr. Darrell Smith, Eunice, LA

Mr. Jerre van den Bent, Dallas, TX

Mrs. Rons Voogt, Huntsville, TX

Mr. and Mrs. Kirk Weaver, Washington, D.C.

Didi and Alan Weinblatt, San Antonio, TX

Jim and Sydney Wild, San Antonio, TX

Houston Grand Opera appreciates all individuals who contribute to the company’s success. Support in any amount is received most gratefully. Our donors share a dedication to supporting the arts in our community, and the generosity of these individuals makes it possible for HGO to sustain world-class opera in the Houston area. For information on becoming a Houston Grand Opera donor, please contact David Krohn, senior director of philanthropy, at 713-980-8685 or DKrohn@HGO.org.

ASSOCIATE PATRONS—

$2,000 OR MORE

Dr. Robert E. Anderson

Murray Beard

Mr. and Mrs. V. G. Beghini

Ms. Sonja Bruzauskas and Mr. Houston Haymon

Mr. and Mrs. M. J. Castelberg

Kenneth T. Chin

Mr. Donald W. Clarke

Vicki Clepper

Mr. Jerry Conry

Ms. Joyce Cramer

Mr. and Mrs. Warren Dean

Ms. Linnet Frazier Deily

Peggy DeMarsh

Mr. Alan England

Mr. and Mrs. Blake Eskew

Travis Fenstermaker

Ms. Julie Fischer

Cece and Michael Fowler

Dr. Wm. David George

Susan Giannatonio and Bruce Winquist

Mr. Michael Gillin and Ms. Pamela Newberry

Mr. and Mrs. Kirk Girouard

Mr. and Mrs. David Guenther

Mr. Claudio Gutierrez

Mr. and Mrs. Dewuse Guyton

Dr. and Mrs. Carlos R. Hamilton, Jr.

Margaret Hawk

Mr. and Mrs. Michael F. Henderek

Mr. Stanley A. Hoffberger

Mr. Steven Jay Hooker

Mr. and Mrs. Ronald E. Huebsch

Mr. Christopher Huff

Mr. and Mrs. Richard A. Jackson

Mr. John Keville

Lynn Lamkin

Mr. Joel Luks

Ana María Martínez

Mr. James L. McNett

Ms. Chris Miller and Mr. Gary Flaser

Ms. Maria C. (Macky) Osorio

Mr. and Ms. Carl Pascoe

Mr. Rick Pleczko

Mr. Nigel Prior

Suzanne Page-Pryde and Arthur Pryde

Mr. Jack Rooker

Sharon Ruhly

Ramon and Chula Sanchez

Ms. Jo Ann W. Schaffer

Mr. and Mrs. Charles Schufreider

Christopher B. Schulze, M.D.

Dr. Wayne X. Shandera

Ms. Diana Skerl

Virginia Snider and Michael Osborne

Dr. Robert Southard

Mr. Leon Thomsen and Mrs. Pat Thomsen

Nancy Thompson

Ms. Dorian Vandenberg Rodes

Mr. and Mrs. Alton L. Warren

Ms. Susan Trammell Whitfield

Pamela and James Wilhite

Ms. Elizabeth D. Williams

3 Anonymous

CONTRIBUTING FELLOWS—$1,000 OR MORE

Ms. Cecilia Aguilar

Linda Alexander

Mr. and Mrs. Neil Ken Alexander

Joan Alexander

Mrs. Linda Alexander

Mr. Robert K. Arnett Jr.

Ms. Dorothy B. Autin and Mr. Daniel Coleman

Dr. Carlos Bacino

Mrs. Deborah S. Bautch

Jim and Susan Boone

Mr. Bob F. Boydston

Ms. Julia Cambra

Ms. Mary Clark

Dr. Claude Cech

Mr. and Mrs. James Collins

Mr. and Mrs. Larry Corona

Mr. Carl R. Cunningham

Mr. John Dazey

Dr. Susan E. Denson

Dr. R. L. Deter

Mrs. Sarah D. Donaho

Mr. and Mrs. J. Thomas Eubank

Steve and Marie Fay Evnochides

Sylvia B. Fatzer

Mr. and Mrs. Peter J. Ferenz

Mrs. Madeleine Ferris

Mr. David Fleischer

Mr. and Mrs. Michael Fowler

Lucy Gebhart

Mr. Enrico R. Giannetti

Mr. David Gockley

Ruzena Gordon

Ms. Janet Graves

Ms. Suzanne Green

Dr. James E. Griffin III and Dr. Margo Denke

Mr. and Mrs. Ira Gruber

Mr. and Mrs. W. F. Guinee

Mr. and Mrs. Philip Gunnels

Mr. Donald Hang

Ms. Rebecca Hansen

Mr. Rawley Penick and Mrs. Meredith L. Hathorn

Dr. Ralph J. Herring

Ms. Eliane S. Herring

Dr. Sallie T. Hightower

Kay and Michael W. Hilliard

Mr. Edward L. Hoffman

Deronica Horn

Mr. John Hrncir

Mr. Francisco J. Izaguirre

Mr. Mark E. Jacobs

The Jewels

Mr. and Mrs. John Jordan

Dr. Ngaruiya Kariuki

Linda Katz

Lynda and Frank Kelly

Mr. and Mrs. John Lattin

Mr. John Lauber and Ms. Susan M. Coughlin

Mrs. Yildiz Lee

Mr. David Leebron and Ms. Ping Sun

Dr. Benjamin Lichtiger

Dr. Robyn T. Lincoln

Ms. Nadine Littles

Mrs. Sylvia Lohkamp

Mr. and Mrs. Karl R. Loos

Mr. Robert Lorio

Dr. Robert Louis

Mr. and Mrs. Oscar Y. Lui

Mr. and Mrs. C. Robert Mace

Ms. Nancy Manderson

Dr. and Mrs. Moshe H. Maor

Mr. and Mrs. Ben Marshall

Mr. H. Woods Martin

Onalee and Dr. Michael C. McEwen

Dr. Mary Fae McKay

Shawntell McWilliams

Alexandra and Frank Meckel

Mrs. Theresa L. Meyer

Mr. Frank Modruson

Mr. and Mrs. Gerald Moynier

Mr. and Mrs. Marvin H. Mueller

Mr. and Mrs. Mike Newman

Mr. Dean Niemeyer and Dr. Marlowe D. Niemeyer

Ms. Jeanne M. Perdue

Mrs. Davonda and Dr. Eric Peterson

Mr. and Mrs. Dennis Phillips

Ms. Felecia Powell-Williams

Mr. and Mrs. Phil Plant

Dr. V.A. Pittman-Waller

Susie and Jim Pokorski

Mr. and Mrs. William Rawl

Mr. and Mrs. Richard Reynolds

Mr. and Mrs. Gene Steve Rhea

Mr. William K. Rice

Mansel and Brenda Rubenstein

Dr. Mo & Mrs. Brigitte Saidi

Alan J. Savada

Kathleen and Jed Sazama

Mr. Frederick Schacknies

Mr. Alan Schmitz

Kenneth and Deborah Scianna

Ms. Valerie Serice

Mr. Nick Shumway and Mr. Robert Mayott

Mr. Herbert Simons

Jan Simpson

Mr. John S. Skaggs

Mr. and Mrs. Louis. S. Sklar

Ms. Anne Sloan

Len Slusser

Ms. Linda F. Sonier

Mr. and Mrs. George Stark

Mr. Leon Strieder

Mr. and Mrs. Tim Unger

Darlene Walker

Mr. Albert T. Walko

Dr. Nicole McZeal Walters

Andrea Ward and David Trahan

Dr. Jackie Ward

Mr. Peter J. Wender

J. M. Weltzien

Mrs. Dolores Wilkenfeld

Drs. William and Huda Yahya Zoghbi

3 Anonymous

CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORTERS

Houston Grand Opera’s corporate, foundation, and government partners make it possible for HGO to create and share great art with our community. We are incredibly proud to work with these organizations and grateful for all they do. For information on joining HGO’s valued team of corporate and foundation supporters, please contact Kelly Finn, senior director of institutional giving, at 713-546-0265 or KFinn@HGO.org.

CORPORATE, FOUNDATION, GOVERNMENT

HOUSTON GRAND OPERA

CORPORATE COUNCIL

Thomas R. Ajamie, Ajamie LLP

Chris Angelides, Shell USA, Inc.

J. Scott Arnoldy, Triten Corporation

C. Mark Baker, Norton Rose Fulbright LLP

Astley Blair, Marine Well Containment Company

Meg Boulware, Boulware & Valoir

Albert Chao, Westlake Corporation

Adam Cook, Tokio Marine HCC

Joshua Davidson, Baker Botts L.L.P.

Susan R. Eisenberg, Kirkland & Ellis LLP

Warren Ellsworth, MD, Houston Methodist

Richard Husseini, Kirkland & Ellis LLP

Michelle Huth, Frost Bank

Bill Kroger, Baker Botts L.L.P.

David LePori, Frost Bank

Bryce Lindner, Bank of America

Claire Liu, LyondellBasell (Retired)

Craig Miller, Frost Bank

Ward Pennebaker, Pennebaker

Gloria M. Portela, Seyfarth Shaw LLP

Allyn Risley, GTT North America

Susan Rivera, Tokio Marine HCC

Kelly Rose, ConocoPhillips

Silvia Salle, Bank of America

Apurva Thekdi, MD, Houston Methodist

Ignacio Torras, Tricon Energy

Alfredo Vilas, Novum Energy

CORPORATE SUPPORTERS

GUARANTORS—$100,000 OR MORE

ConocoPhillips †

Frost Bank †

H-E-B †

Houston Methodist †*

Novum Energy

Vinson & Elkins LLP †*

Vitol, Inc.

GRAND UNDERWRITERS—

$50,000 OR MORE

Ajamie LLP

Baker Botts L.L.P.

Bank of America †

Nana Booker and Booker · Lowe Gallery

Nabors Industries

Houston Livestock Show and Rodeo™ †

Kirkland & Ellis LLP

Shell USA, Inc. †

UNDERWRITERS—$25,000 OR MORE†

Boulware & Valoir

Halliburton

Latham & Watkins

Norton Rose Fulbright LLP †

POST Houston

Tokio Marine HCC

Westlake Corporation †

SPONSORS—$10,000 OR MORE

CenterPoint Energy

Frost Brown Todd

Patterson & Sheridan LLP

Wells Fargo

MEMBERS—$1,000 OR MORE

Avance Houston, Inc.

Infosys

USI Insurance Services

IN-KIND CONTRIBUTORS TO OPERATIONS AND SPECIAL EVENTS

UNDERWRITERS—$25,000 OR MORE

Abrahams Oriental Rugs and Home Furnishings

ALTO

City Kitchen Catering

The Events Company

Jackson & Company Catering

SPONSORS—$15,000 OR MORE

Kirksey Gregg Productions

Magnolia Houston

CO-SPONSORS—$7,500 OR MORE

BCN Taste and Tradition

Elegant Events and Catering by Michael Medallion Global Wine Group

BENEFACTORS—$5,000 OR MORE

The Corinthian at Franklin Lofts

David Peck

The Lancaster Hotel

Masterson Design/Mariquita Masterson

Shaftel Diamond Co.

MEMBERS—$1,000 OR MORE

Brasserie du Parc

Connie Kwan-Wong/CWK Collection Inc.

Dar Schafer Art

Elliott Marketing Group

Ellsworth Plastic Surgery

Gittings Portraiture

Glade Cultural Center

Hayden Lasher

The Hotel ZaZa

La Colombe d'Or Hotel

Las Terrazas Resort & Residences

Lavandula Design

Mayfield Piano Service

Shoocha Photography

FOUNDATIONS AND GOVERNMENT AGENCIES

PREMIER GUARANTOR—

$1,000,000 OR MORE

The Brown Foundation, Inc. †

Houston Grand Opera Endowment Inc. †

The Wortham Foundation, Inc. †

Anonymous

PRINCIPAL GUARANTORS—

$500,000 OR MORE

City of Houston through Houston Arts Alliance †

Anonymous

GRAND GUARANTORS—

$250,000 OR MORE

The Alkek and Williams Foundation †

Carol Franc Buck Foundation

Edgar Foster Daniels Foundation

Humphreys Foundation †

Mellon Foundation †

National Endowment for the Humanities

Texas Commission on the Arts †

Anonymous

GUARANTORS—$100,000 OR MORE

M.D. Anderson Foundation †

The Robert & Jane Cizik Foundation

The Cullen Foundation †

The Cullen Trust for the Performing Arts †

The Elkins Foundation

The Robert and Janice McNair Foundation †

National Endowment for the Arts †

The Sarofim Foundation

William Randolph Hearst Foundation

GRAND UNDERWRITERS—

$50,000 OR MORE

City of Houston through the Miller Theatre Advisory Board †

John P. McGovern Foundation †

The Powell Foundation †

UNDERWRITERS—$25,000 OR MORE

Joan and Stanford Alexander Family Fund

Ruth and Ted Bauer Family Foundation †

OPERA America

Stedman West Foundation †

Vivian L. Smith Foundation

SPONSORS—$10,000 OR MORE

Cockrell Family Fund

Sterling-Turner Foundation

William E. and Natoma Pyle

Harvey Charitable Trust †

MEMBERS—$1,000 OR MORE

University of Houston

Bauer College of Business

George and Mary Josephine Hamman Foundation †

Houston Grand Opera Guild †

Houston Endowment Inc.

Houston Saengerbund

The Nathan J. Klein Fund

* Contribution includes in- kind support † Ten or more years of consecutive support

CORPORATE MATCHING

Baker Hughes Foundation

Bank of America Charitable Foundation

BP Foundation

Chevron Humankind

CITGO Petroleum

Coca-Cola North America

ConocoPhillips

Encana

EOG Resources, Inc.

EQT Foundation

ExxonMobil Foundation

Fannie Mae

Hewlett-Packard Company

IBM Corporation

Illinois Tools Works Inc.

LyondellBasell Chemical Company

Macquarie

Microsoft Employee Giving

Nintendo Of America

Quantlab Financial, LLC

Salesforce

Shell USA, Inc. Foundation

The Boeing Company

Union Pacific

Williams Companies

LAUREATE SOCIETY

Helen Wils, Chair

The Laureate Society comprises individuals who have helped ensure the future of Houston Grand Opera by remembering the Opera in their wills, retirement plans, trusts, or other types of estate plans. The Laureate Society does not require a minimum amount to become a member. Planned estate gifts to the Houston Grand Opera Endowment can be used to support general or specific Opera programs. Houston Grand Opera is deeply grateful to these individuals. Their generosity and foresight enable the Opera to maintain its growth and stability, thus enriching the lives of future generations. For information regarding charitable estate gift planning and how it might positively impact you, your loved ones, and Houston Grand Opera, please contact Amanda Neiter, director of legacy giving, at 713-546-0216 or ANeiter@HGO.org.

LAUREATE SOCIETY MEMBERS

Ms. Gerry Aitken

Margaret Alkek Williams

Mr. William J. Altenloh and Dr. Susan Saurage-Altenloh

Robin Angly and Miles Smith

Bill A. Arning and Aaron Skolnick

Christopher Bacon and Craig Miller

Gilbert Baker

Dr. Saúl and Ursula Balagura

Mr. William Bartlett

Mr. James Barton

Mr. Lary Dewain Barton

Michelle Beale and Dick Anderson

Marcheta Leighton-Beasley

Jack Bell

Mrs. Natalie Beller

Dr. James A. Belli and Dr. Patricia Eifel

Mr. and Mrs. Stanley C. Beyer

Dr. Joan Hacken Bitar

Susan Ross Black

Ms. Susan Bloome

Dr. and Mrs. Jules H. Bohnn

Ms. Lynda Bowman

Mrs. Zarine Meherwan Boyce

Mr. and Mrs. Harry W. Bristol

Ms. Zu Dell Broadwater

Catherine Brock

Myra Brown

Mr. Richard S. Brown

Mr. Logan D. Browning

Mr. Richard H. Buffett

Mr. Tom Burley and Mr. Michael Arellano

Mr. Ralph Byle

Ms. Gwyneth Campbell

Roxi Cargill and Peter Weston, M.D.

Jess and Patricia Carnes

Ms. Janet Langford Carrig

Sylvia J. Carroll

Ms. Nada Chandler

Mr. Robert N. Chanon

Ms. Virginia Ann Clark

Mathilda Cochran

Mr. William E. Colburn

Mr. and Mrs. Paul L. Comstock

Mr. Jim O. Connell

Mrs. Christa M. Cooper

Mr. Efraín Z. Corzo and Mr. Andrew Bowen

Mr. and Mrs. James W. Crownover

Shelly Cyprus

Mr. Karl Dahm

Dr. Lida Dahm

Mr. Darrin Davis

Ms. Sasha Davis

Ms. Anna M. Dean

Peggy DeMarsh

Ian Derrer and Daniel James

Dr. Russell Deter

Ms. Elisabeth DeWitts

Connie Dyer

Mr. and Mrs. Samuel Evans

Ms. Thea M. Fabio and Mr. Richard Merrill

Ms. Ann L. Faget

Ms. Vicki Schmid Faulkner

Mrs. Thomas Fauntleroy

Jack and Marsha Firestone

Julie Fischer

Mr. Bruce Ford

Dr. Donna Fox

Dr. Alice Gates and Dr. Wayne Wilner

Dr. Layne O. Gentry

Mr. Michael B. George

Dr. Wm. David George

Dr. and Mrs. David P. Gill

Lynn Gissel

Mr. Wesley Goble

Mr. David Gockley

Rhoda Goldberg

Leonard A. Goldstein and Helen B. Wils

Mary Frances Gonzalez

Jon Kevin Gossett

Mr. and Mrs. Fred Gott

Mr. and Mrs. Donald Graubart

Claire Liu and Joe Greenberg

Dr. Nichols Grimes

Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr.

Mr. Jas A. Gundry

Mr. Claudio Gutierrez

Dr. Robert W. Guynn

Mr. and Mrs. William Haase

Dr. Linda L. Hart

Mrs. Brenda Harvey-Traylor

Nancy Haywood

Teresita and Michael Hernandez

Dr. Ralph J. Herring

Mr. and Mrs. Robert C. Hewell

Mr. Edward L. Hoffman

Gary Hollingsworth and Ken Hyde

Alan and Ellen Holzberg

Mr. Frank Hood

Ms. Ami J. Hooper

Mr. and Mrs. George M. Hricik

Lee M. Huber

Robert and Kitty Hunter

Greg Ingram

José and Teresa Ivo

Brian James

Spencer A. Jeffries and Kim Hawkins

Ms. Charlotte Jones

Cynthia J. Johnson

Ms. Marianne Kah

Mr. and Mrs. Robert J. Kauffman

Ann and Stephen Kaufman

Charles Dennis and Steve Kelley

Mr. Anthony K.

Ms. Virginia E. Kiser

Ann Koster

Dr. Lynn Lamkin

Ms. Michele LaNoue and Mr. Gerald Seidl

Carolyn J. Levy

Mr. and Mrs. W. H. Liesner

Mr. Michael Linkins

Virola Jane Long

Mr. and Mrs. Karl R. Loos

Mrs. Marilyn Lummis

Dr. Jo Wilkinson Lyday

Mr. and Mrs. Paul A. Lynn

Sandy L. Magers

Mrs. Rosemary Malbin

Dr. Brian Malechuk and Mr. Kevin Melgaard

Ms. Michele Malloy

Emily Bivona and Ryan Manser

Mrs. J. Landis Martin

Ms. B. Lynn Mathre

Ms. Nancy Wynne Mattison

Dr. and Mrs. Malcolm Mazow

Mrs. Dorothy McCaine

Mrs. Sarah McCollum

Deirdre McDowell

Muffy and Mike McLanahan

Will L. McLendon

Mr. Allen McReynolds

Ms. Maryellen McSweeney

Mr. and Mrs. D. Bradley McWilliams

Christianne Melanson and Durwin Sharp

Mr. and Mrs. Robert Menzie

Ms. Georgette M. Michko

Ms. Suzanne Mimnaugh

Kathleen Moore and Steven Homer

Sid Moorhead

Juan R. Morales

Mr. and Mrs. Sidney S. Moran

Mr. and Mrs. Marvin H. Mueller

Ms. Linda C. Murray

Terrylin G. Neale

Erik B. Nelson and Terry R. Brandhorst

Mrs. Bobbie Newman

Mrs. Tassie Nicandros

Beverly and Staman Ogilvie

Geoffry H. Oshman

Ms. Maria C. (Macky) Osorio

Susan and Edward Osterberg

Mrs. Joan D. Osterweil

Mr. and Mrs. Richard A. Percoco

Sara M. Peterson

Mark and Nancy Picus

Mr. and Mrs. Harry C. Pinson

Susie and Jim Pokorski

Gloria M. Portela

Suzanne Page-Pryde and Arthur Pryde

Dr. Angela Rechichi-Apollo

Mr. Todd Reppert

Conrad and Charlaine Reynolds

Ms. Wanda A. Reynolds

Ed and Janet Rinehart

Gregory S. Robertson

Edward N. Robinson

Mrs. Shirley Rose

Mr. John C. Rudder Jr.

H. Clifford Rudisill and Ray E. Wilson

Mr. and Mrs. Tom Rushing

Dr. Mo & Mrs. Brigitte Saidi

Mr. and Mrs. Terrell F. Sanders

Ms. Wanda Schaffner

Mr. Chris Schilling

Kenneth and Deborah Scianna

Mr. and Mrs. Charles Senuta

Mrs. Helen P. Shaffer

Ms. Sue A. Shirley-Howard

Hinda Simon

Mr. Herbert Simons

Ms. Susan Simpson

Ms. Janet Sims

Bruce Smith

Mr. Robert J. Smouse

Ms. Linda F. Sonier

Dian and Harlan Stai

Ms. Darla Y. Stange

Dr. and Mrs. C. Richard Stasney

Catherine Stevenson

Patrick Summers

Rhonda Sweeney

Susan Tan

Mrs. Carolyn Taub

Mr. Quentin Thigpen and Ms. Amy Psaris

Fiona Toth

Mr. John G. Turner and Mr. Jerry G. Fischer

Mr. and Mrs. Paul Turner

Mr. and Mrs. Jesse B. Tutor

Birgitt van Wijk

Mr. and Mrs. Alfredo Vilas

Mrs. Rons Voogt

James and Mary Waggoner

Dean Walker

Mr. William V. Walker

Shirley Warshaw

Mr. Gordon D. Watson

Ms. Rebecca Weaver

Mr. Jesse Weir

Mr. Geoffrey Westergaard

Pippa Wiley

Ms. Jane L. Williams

Mr. and Mrs. David S. Wolff

Dr. Fabian Worthing

Jo Dee Wright

Lynn Wyatt

Alan and Frank York

Mr. and Mrs. Mark Yzaguirre

Mrs. Lorena Zavala

John L. Zipprich II

18 Anonymous

WE HONOR THE MEMORY OF THOSE WHO INCLUDED HGO IN THEIR ESTATE PLANS:

Elaine Jaffe Altschuler

Willard and Judie Aronson

Dr. Antonio Arana

Henry and Betty Arnold

Janice Barrow

Dr. Thomas D. Barrow

Ronald Borschow

Mr. Stephen R. Brenner

Mr. Ira B. Brown

Joan Bruchas and H. Philip Cowdin

Mr. and Mrs. Thomas Capshaw

Dr. Lawrence E. Carlton

Mr. Tony Carroll, LCSW

Michael Cochran

Judy Cummings

Karl A. Dahm

Ms. Marilyn R. Davis

Dick Evans

Frank R. Eyler

Linda Finger

Christine E. George

Harold Gilliland

Adelma Graham

Roberta and Jack Harris

Jackson C. Hicks

Dr. Marjorie Horning

Mark Lensky

Mary R. Lewis

Bette and Peter Liebgold

Mrs. Margaret Love

Ms. Marsha Malev

Frances Marzio

Mr. Constantine Nicandros

M. Joan Nish

Mr. James W. O’Keefe

HOUSTON GRAND OPERA ENDOWMENT

Marianne Kah, Chair

Barbara M. Osborne

Mrs. Mary Ann Phillips

Mr. Howard Pieper

Mr. Glen A. Rosenbaum

Mr. and Mrs. Craig M. Rowley

Mrs. Joseph P. Ruddell

Sue Simpson Schwartz

Mr. Eric W. Stein Sr.

John and Fanny Stone

Dr. Carlos Vallbona

Daisy Wong

Miss Bonnie Sue Wooldridge

The Houston Grand Opera Endowment, Inc., is a separate nonprofit organization that invests contributions to earn income for the benefit of Houston Grand Opera Association. The Endowment Board works with CAPTRUST, an independent investment counsel, to engage professional investment managers. An endowed fund can be permanently established within the Houston Grand Opera Endowment through a direct contribution or via a planned gift such as a bequest. The fund can be designated for general purposes or specific interests. For a discussion on endowing a fund, please contact Deborah Hirsch, senior director of philanthropy, at 713-546-0259 or DHirsch@HGO.org. HGO acknowledges with deep gratitude the following endowed funds.

BOARD OF DIRECTORS

Officers

Marianne Kah, Chair

Mark Poag, Vice Chair

Terrylin Neale, Secretary; Treasurer

Yolanda Knull, Senior Chair

Tom Rushing, Chair Emeritus

Members at Large

Thomas R. Ajamie

Janet Langford Carrig

Khori Dastoor

Carolyn Galfione

Richard Husseini

Stephen Kaufman

Claire Liu

Scott Wise

GENERAL ENDOWMENT FUNDS

Susan Saurage-Altenloh and William Altenloh Endowed Fund

The Rudy Avelar Patron Services Fund

Barrow Family Endowed Fund

Charles T. (Ted) Bauer Memorial Fund

Sandra Bernhard Endowed Fund

The Stanley and Shirley Beyer Endowed Fund

Ronald C. Borschow Endowment Fund

Mary Frances Newton Bowers Endowment Fund

Pat and Daniel A. Breen Endowment Fund

The Brown Foundation Endowment Fund

Joan Bruchas and H. Philip Cowdin Endowed Fund

Sarah and Ernest Butler Endowment Fund

Jane and Robert Cizik Endowment

Michael and Mathilda Cochran Endowment Fund

Douglas E. Colin Endowment Fund

The Gerald and Bobbie-Vee Cooney

Rudy Avelar Fund

Mary Jane Fedder Endowed Fund

Linda K. Finger Endowed Fund

Robert W. George Endowment Fund

Harold Gilliland Endowed Fund

Adelma Graham Endowed Fund

Frank Greenberg, M.D. Endowment Fund

Roberta and Jack Harris Endowed Fund

Jackson D. Hicks Endowment Fund

General and Mrs. Maurice Hirsch Memorial Opera Fund

Ann Holmes Endowed Fund

Ira Brown Endowment Fund

Elizabeth Rieke and Wayne V. Jones Endowment Fund

Leech Family Resilience Fund

Lensky Family Endowed Fund

Mary R. Lewis Endowed Fund

Beth Madison Endowed Fund

Frances Marzio Fund for Excellence

Franci Neely Endowed Fund

Constantine S. Nicandros Endowment Fund

Barbara M. Osborne Charitable Trust

Cynthia and Anthony Petrello Endowed Fund

Mary Ann Phillips Endowed Fund

C. Howard Pieper Endowment Fund

Kitty King Powell Endowment Fund

Rowley Family Endowment Fund

The Ruddell Endowment Fund

Sue Simpson Schwartz Endowment Fund

Shell Lubricants (formerly Pennzoil — Quaker State Company) Fund

Dian and Harlan Stai Fund

The John and Fanny Stone Endowment Fund

Dorothy Barton Thomas Endowment Fund

John G. Turner and Jerry G. Fischer Endowed Fund

John and Sheila Tweed Endowed Fund

Marietta Voglis Endowed Fund

Bonnie Sue Wooldridge Endowment Fund

The Wortham Foundation Permanent Endowment Fund

PRODUCTION FUNDS

Edward and Frances Bing Fund

Tracey D. Conwell Endowment Fund

The Wagner Fund

PRINCIPAL ARTISTS FUNDS

Jesse Weir and Roberto Ayala Artist Fund

The Lynn Wyatt Great Artist Fund

ENDOWED CHAIRS AND FELLOWSHIPS

Margaret Alkek Williams Chair: Khori Dastoor, General Director and Chief Executive Officer

Sarah and Ernest Butler Chair: Patrick Summers, Artistic and Music Director

Sarah and Ernest Butler Chorus Director Chair: Richard Bado

Sarah and Ernest Butler Concertmaster Chair: Denise Tarrant

Mr. and Mrs. James A. Elkins Jr. Endowed Chair: Peter Pasztor

Mr. and Mrs. Albert B. Alkek Chair: Maureen Zoltek

James A. Elkins Jr. Endowed Visiting Artist Fund

ELECTRONIC MEDIA FUNDS

The Ford Foundation Endowment Fund

SARAH AND ERNEST BUTLER HOUSTON GRAND OPERA STUDIO FUNDS

Audrey Jones Beck Endowed Fellowship Fund/Houston Endowment, Inc.

The Gordon and Mary Cain Foundation Endowment Fund

Marjorie and Thomas Capshaw Endowment Fund

Houston Grand Opera Guild Endowment Fund

James J. Drach Endowment Fund

Evans and Portela Family Endowed Chair

Carol Lynn Lay Fletcher Endowment Fund

William Randolph Hearst Endowed Scholarship Fund

Charlotte Howe Memorial Scholarship Fund

Elva Lobit Opera Endowment Fund

Marian and Speros Martel Foundation Endowment Fund

Laura and Brad McWilliams Endowed Fund

Erin Gregory Neale Endowment Fund

Dr. Mary Joan Nish and Patricia Bratsas Endowed Fund

John M. O’Quinn Foundation Endowed Fellowship Fund

Shell Lubricants (formerly Pennzoil — Quaker State Company) Fund

Mary C. Gayler Snook Endowment Fund

Dian and Harlan Stai Fund

Tenneco, Inc. Endowment Fund

Weston-Cargill Endowed Fund

EDUCATION FUNDS

Bauer Family Fund

Sandra Bernhard Education Fund

Lawrence E. Carlton, M.D., Endowment Fund

Beth Crispin Endowment Fund

James J. Drach Endowment Fund

Fondren Foundation Fund for Educational Programs

David Clark Grant Endowment Fund

The Schissler Family Foundation Endowed Fund for Educational Programs

OUTREACH FUNDS

Guyla Pircher Harris Project

Spring Opera Festival Fund (Shell Lubricants, formerly Pennzoil—Quaker State Company)

CONCERT OF ARIAS

Eleanor Searle McCollum Endowment Fund

SAVE THE DATES

APRIL 19, 21M, 27, MAY 1, 3

Performances of Mozart’s Don Giovanni Wortham Theater Center’s Brown Theater. Ticketholders are invited to Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Special intermission reception for members of Opening Nights for Young Professionals at the April 19 performance only.

APRIL 23

Patrons Circle Recital: HGO presents a private recital for Patrons Circle members featuring bass-baritone Ryan McKinny, accompanied by Madeline Slettedahl.

APRIL 24

School and Educator Engagement

Educational Enrichment Workshop: The Sound of Music. Wortham Theater Center. 6 p.m. This workshop includes a lecture and discussion, five continuing professional education credits for Texas educators, a catered dinner, and dress rehearsal tickets. $25. For information, email community@ HGO.org.

APRIL 26, 28M, 30, MAY 4, 5M, 10, 11M, 11, 12M

Performances of Rodgers and Hammerstein's The Sound of Music Wortham Theater Center’s Brown Theater. Ticketholders are invited to Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Special intermission reception for members of Opening Nights for Young Professionals at the April 26 performance only, and for members of Overture at the May 11 evening performance only. Themed audience experiences for The Sound of Music will take place May 5 (Military Appreciation Day), May 11 (Pride Night), and May 12 (Mother’s Day).

MAY 5

Bauer Family High School Voice Studio Recital. Enjoy a celebratory end-of-season performance by talented high schoolers

and aspiring opera singers from around the region. University of Houston’s Dudley Recital Hall. 6 to 8 p.m.

MAY 4 –JULY 27

Sing! Move! Play! at Levy Park: Saturdays except June 29. Grades Pre-K-2. Free. For more information, visit HGO.org/ Community-andLearning

JUNE 10–14

Create an Opera summer camp. Wheeler Avenue Baptist Church. 9 a.m.-3 p.m. daily. Grades 3-8. For more information, visit HGO.org or email HGOCamp@ HGO.org.

JULY 1–3, 8-19

Art of Opera summer camp. Wortham Theater Center. 9 a.m.-4 p.m. weekdays except July 4. Grades 9-graduated seniors. Final performance July 19 at Wortham Theater Center. $800. For more information, visit HGO.org or email HGOCamp@ HGO.org.

MAY 17 & 18

Performances of Puccini’s Madame Butterfly. Miller Outdoor Theatre. 8 p.m. Free.

MAKE THE MOST OF YOUR VISIT

AS PART OF HGO’S COMMITMENT TO YOU AND YOUR OPERATIC EXPERIENCE, THE COMPANY HAS INTRODUCED A HOST OF UPGRADES FOR THE 2023-24 SEASON.

KNOW BEFORE YOU GO: VISIT THE NEW HGO.ORG

This season we debuted a gorgeous new website! The reimagined site is your userfriendly one-stop shop for everything HGO. Resources include:

Your all-access guide to performances, on the mainstage and in the community: HGO.org/on-stage

The Backstage Pass blog, for taking a deep dive into the season’s operas: HGO.org/backstage-pass

Plan Your Visit information, from parking options, to hotel recommendations, to FAQs, and much more: HGO.org/plan-your-visit

HGO’s Customer Care Center, including performance information, ticket assistance, and more: HGO.org/contact-us

And much more!

Take advantage of all the new tools we’ve created for you, now available at HGO.org

ENJOY THE WORTHAM

We encourage our guests to make full use of the Wortham Theater Center when they come to the opera. You’re invited to:

The Founders Salon: The Founders Salon features a prix-fixe, seasonally inspired menu. Reservations are required, with a priority reservation window open for Patrons Circle members up to 72 hours before the performance date. Reservations then open to full-season subscribers. To reserve, call 713-533-9318 or email Cafe@ElegantEventsByMichael.com.

Relax and reflect: Find a spot in one of the Wortham Theater Center’s Brown or Cullen alcoves, or another area in the concourse— now with expanded seating!

New this spring: Don’t miss The Sound of Music Experience: an exploration of Rodgers and Hammerstein’s beloved musical, offering children’s activities and exhibits providing historical context on the show. The display is now on view in the Grand Foyer East Wing.

New for 2023-24: The piano music in the foyer last spring was so popular, this year we’re bringing it back all season long!

Rent a pair of binoculars: Want to see the action up close? You can rent binoculars on the Grand Tier level (5th floor).

Browse the merchandise: Volunteers from the HGO Guild operate a gift and souvenir boutique in the Grand Foyer.

Dine in: Food services are available prior to each performance in the Grand Foyer.

New this season! Parfait kits, antipasti kebabs, caprese skewers, and much more are now available at the Grab N Go station.

Enjoy a drink: The lobby bars are open before each performance and during intermission. Pro-tip: Pre-order beverages for intermission at any of the bars when you arrive at the theater, and your drinks will be waiting for you!

New this season! More bars, bartenders, and seating, plus an expanded selection, themed cocktails inspired by the season’s productions, and the Happy Half Hour— guests receive $2 off all beer, wine, and cocktails at all bars for the first 30 minutes the theater is open (each bar begins service 90 minutes before performance time).

Attend a free Opera Insights lecture: Brush up on the day’s opera during one of HGO's popular pre-show talks. Join us on the Orchestra level of the Brown Auditorium 45 minutes before curtain time.

EXPLORE DOWNTOWN

HGO's recommendations for making the most of our vibrant neighborhood

Guard and Grace, for steaks, oysters, and charcuterie with a view.

EAT

B&B Butchers & Restaurant, for the finest Texas and Japanese Wagyu hand-cut steaks.

Bravery Food Hall, for a casual, chef-driven culinary experience.

Cultivated F+B in the Lancaster Hotel, for a refined night out at a historic Houston landmark.

Lyric Market food hall, for a wide variety of tasty cuisines and a gorgeous bar in a fun, urban setting.

POST Houston Food Hall, for a foodie paradise inside an eye-popping downtown landmark (as featured on Top Chef !).

Rosalie Italian Soul in the C. Baldwin, for red-sauce Italian in a gorgeous setting.

The Understory, for a diverse array of options, from Italian to Filipino, in an airy modern space.

DO

There’s lots of fun to be had downtown! Spots to explore include:

Market Square Park: Houston’s oldest park.

The Buffalo Bayou Walking Trail: Walk or take a tour of the bayou on a Segway and cover more ground.

Downtown Houston Tunnel System: a system of underground tunnels that includes myriad restaurants and food halls.

Bayou Place: a collection of entertainment and dining venues.

Minute Maid Park: home of the Houston Astros.

Lynn Wyatt Square: downtown’s newest green space, right across from Jones Hall.

Discovery Green: a vibrant urban park.

Julia Ideson Library: historic library with distinctive and elegant Spanish architecture.

Avenida Houston: fun place to sip, stroll, and savor.

Toyota Center: home of the Houston Rockets.

Sam Houston Park: eight historic homes in a park setting, open for tours.

NEW! HGO’s Digital Ticketing System

HGO has upgraded its ticketing system, joining forces with True Tickets to introduce new, state-of-theart digital tickets designed to enhance operagoers’ convenience and security. “We want our audience’s experience with our company to be easy and seamless, beginning to end,” says HGO General Director and CEO Khori Dastoor. “Our new digital ticketing process is a direct investment in our audience—one that we hope allows each operagoer to enjoy a hassle-free outing to the Wortham Theater Center, and lend their full attention to reveling in beautiful art and music.” Look for the full integration of the system this fall!

Khori Dastoor General Director and CEO

Margaret Alkek Williams Chair

Patrick Summers

Artistic and Music Director *

Sarah and Ernest Butler Chair

EXECUTIVE LEADERSHIP GROUP

Richard Bado, Director of Artistic Planning/Chorus Director *

Sarah and Ernest Butler Chorus Director Chair

Jennifer Bowman, Director of Community and Learning

Jennifer Davenport, Chief Marketing and Experience Officer

Molly Dill, Chief Operating Officer *

Elizabeth Greer, Chief Financial Officer

Gregory S. Robertson, Chief Philanthropy Officer *

OFFICE OF THE GENERAL DIRECTOR

Mary Elsey, Chief of Staff to the General Director and CEO

Caleb Grochalski, Executive Assistant to the Office of OGD

Eun Sun Kim, Principal Guest Conductor

Ana María Martínez, Artistic Advisor

Claire Padien-Havens, Director of Strategic Projects & Initiatives

Joel Thompson, Composer-in-Residence

Tyler Thormählen, Governance Coordinator

ARTISTIC

Chris Abide, Rehearsal Manager

ChloeSue Baker, Artist Services Coordinator

Richard S. Brown, Orchestra Personnel Manager *

Colin Michael Brush, Director of the Butler Studio

Nicolas Chona, Music Administrator

Bart Dunn, Music Librarian

Joel Goodloe, Associate Director of Rehearsal Planning & Artist Services

Kiera Krieg, Rehearsal Planning & Artist Services Administrator

Kirill Kuzmin, Principal Coach

Joanna Latini, Butler Studio Administrator

Mark C. Lear, Associate Artistic Administrator *

Alexa Lietzow, Artistic & Media Coordinator

Lucas Nguyen, Assistant Music Librarian & Supertitle Manager

Peter Pasztor, Principal Coach *

Teddy Poll, Resident Conductor

Karen Reeves, Children’s Chorus Director *

Jack Ruffer, Rehearsal Planning Administrator

Madeline Slettedahl, Assistant Conductor

Monica Thakkar, Director of Artistic Partnerships & Music Planning

William Woodard, Assistant Conductor

Maureen Zoltek, Head of Music Staff and Butler Studio Music Director

Mr. & Mrs. Albert B. Alkek Chair

AUDIENCES

Marc Alba, Customer Care Specialist

Ellen Bergener, Customer Care Representative

Joe Cadagin, Audience Education and Communications Manager

Gabrielle Castillo, Customer Care Specialist

Nicholas Chavez, Sr. Sales and Customer Service Specialist

Chelsea Crouse, Creative Manager

Juan Flores, Customer Care Specialist

Amber Francis, Communications Coordinator

Clarisa Galindo, Marketing Coordinator

Jessica Gonzalez, Marketing Manager

Sofia Heggem, Guest Experience Coordinator

Scott Ipsen, Director of Patron Experience *

Rita Jia, Graphic Designer

Latrinita Johnson, Customer Care Specialist

Jazzlyn Levigne, Customer Care Representative

Tory Lieberman, Director of Marketing

Catherine Matusow, Director of Communications

Matt McKee, Associate Director of Sales and Service

Brian Mitchell, Archivist, The Genevieve P. Demme Archives and Resource Center *

Roselyn Rios, Digital Content Coordinator

Michelle Russell, Ticketing & Marketing Data Manager

Alan Sellar, Videographer

Amber Sheppard, Patron Services Manager

Armando Urdiales, Group Sales Coordinator

Dorian Valenzuela, Digital Content Manager

Dana Walker, Guest Experience Manager

COMMUNITY AND LEARNING

Favour Aimufua, Programs Coordinator, Administration

George Heathco, Programs Coordinator, Programming & Engagement

Patty Holley, Program Manager of School & Educator Engagement

Alisa Magallón, Associate Director of Programming & Engagement *

Karen Mata, Operations Manager

Lisa Vickers, Bauer Family High School Voice Studio Manager

Dr. Kiana Day Williams, Associate Director of School & Educator Engagement

FINANCE AND ADMINISTRATION

Christian Davis, Human Resources Manager

Ariel Ehrman, Business Intelligence Manager

Matt Gonzales, Manager of Information Technology *

Vicky Hernandez, Business Intelligence Coordinator

Chasity Hopkins, Accounting Manager

Ty Jones, Network Administrator

Elia Medina, Payroll Administrator

Noorali Punjwani, Controller

Sarah Saulsbery, Accounts Payable Administrator

Denise Simon, Human Resources Coordinator *

Grace Tsai, Manager of Data and Analytics

Ahna Walker, Human Resources Generalist

Chaedron Wright, Information Technology Assistant

Joy Zhou, CRM Manager

PHILANTHROPY

Alex de Aguiar Reuter, Associate Director of Philanthropy

Lyanne Alvarado, Philanthropy Officer, Corporate Partnerships

Sarah Bertrand, Philanthropy Officer

Kelly Dolan, Donor Event Specialist

Kelly Finn, Sr. Director of Philanthropy, Institutional Giving *

Ross S. Griffey, Associate Director of Institutional Giving

Deborah Hirsch, Deputy Chief Philanthropy Officer *

David Krohn, Sr. Director of Philanthropy

Tessa Larson, Philanthropy Officer

Olivia Lerwick, Philanthropy Officer

Patrick Long-Quian, Philanthropy Operations Coordinator

Meredith Morse, Assistant Director of Institutional Giving

Amanda Neiter, Director of Legacy Giving

Brooke Rogers, Director of Special Events

Madeline Sebastian, Associate Director of Philanthropy

PRODUCTION AND OPERATIONS

Kaleb Abide, Costume Coordinator

Philip Alfano, Lighting Associate & Principal Draftsman *

Brian August, Stage Manager

Bruno Baker, Assistant Director

Kristen E. Burke, Director of Production *

April Cagle, Wardrobe Supervisor

Michael James Clark, Head of Lighting & Production Media *

Andrew Cloud, Properties Associate *

Norma Cortez, Costume Director *

Katherine Cunningham, Associate Director of Signature Events

Drieux Dismukes, Wardrobe Supervisor

Meg Edwards, Assistant Stage Manager *

Caitlin Farley, Assistant Stage Manager

Joseph B. Farley, Production Manager

Vince Ferraro, Head Electrician *

Luis Franco, Office Services Coordinator *

Beth Goodill, Assistant Stage Manager

Bridget Green, Wig and Makeup Assistant

Jackson Halphide, Assistant Technical Director

Eduardo Hawkins, Head of Sound *

David Heckman, Costume Coordinator Assistant

John Howard, Head Carpenter *

Jennelle John-Lewis, Assistant Stage Manager

Esmeralda De Leon, Costume Coordinator *

Nara Lesser, Costume Production Assistant *

Jae Liburd, Operations Driver

Melissa McClung, Technical and Production Administrator

Megan, Properties Design Director *

Tatyana Miller, Junior Draper

Cam Ngyuen, Costume Technician

Rovion Reed, Production & Projects Manager, Community & Learning

Bradley Roast, Technical Director

Colter Schoenfish, Assistant Director

Ian Silverman, Assistant Director

Kaley Karis Smith, Assistant Director

Rachel Smith, Assistant Head Electrician and Board Operator

Meghan Spear, Assistant Stage Manager

Dotti Staker, Principal Wig Maker *

Christopher Staub, Director of Operations & Institutional Projects *

Bryan Stinnet, Assistant Carpenter/ Head Flyperson

Paully Tran, Senior First Hand *

Myrna Vallejo, Costume Shop Supervisor *

Sean Waldron, Head of Props*

Annie Wheeler, Production Stage Manager *

David Zimmerman, Wig & Makeup Design Director

* denotes 10 years of service Crossword Answer Key:

SUBSCRIPTIONS STARTING AT $90