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CINDERELLA OCT. 19–NOV. 1
THREE SINGING SISTERS NOV. 2
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October/November 2019 | Volume 44, No. 2
PAUL HEPPNER PresidentMIKE HATHAWAY Senior Vice President
KAJSA PUCKETT Vice President, Sales & Marketing
GENAY GENEREUX Accounting & Office Manager
ProductionSUSAN PETERSON Vice President, Production
JENNIFER SUGDEN Assistant Production Manager
ANA ALVIRA, STEVIE VANBRONKHORST Production Artists and Graphic Designers
SalesMARILYN KALLINS, TERRI REED
San Francisco/Bay Area Account ExecutivesBRIEANNA HANSEN, AMELIA HEPPNER,
SHERRI JARVEY, ANN MANNING Seattle Area Account ExecutivesCAROL YIP Sales Coordinator
MarketingSHAUN SWICK Brand & Creative Manager
CIARA CAYA Marketing Coordinator
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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve performing arts events in the San Francisco Bay Area and Greater Seattle Area. All rights reserved. ©2019 Encore Media Group.
Reproduction without written permission is prohibited.
Seattle Opera 2019/20 Season4
CINDERELLA
22 CINDERELLA: ANCIENT STORY, GLOBAL TALEBy Michelle H. Martin
24 DANDINI, WHO ARE YOU?By Jonathan Dean
26 THREE SINGING SISTERS CONCERT
36 THE MUSIC OF RESILIENCEBy Glenn Hare
Production Essentials
12 Production Sponsor
13 The Cast
14 The Story
16 Artists
20 Orchestra
21 Chorus
44 In the Lobby
Departments
6 From the General Director
8 Board of Directors
11 From the President
11 Service Directory
30 Seattle Opera Staff
31 Staff Chat
32 Individual Donors
38 Programs and Partnerships Sponsors
39 Donor Impact
40 Institutional Donors
40 In-Kind Partners
41 Seattle Opera Foundation
42 Leadership and Producer’s Circles
45 Amusements
45 Seattle Opera Poscast
46 Upcoming Events
Seattle Opera
EditorGlenn Hare
Graphic DesignLarisa Melkumova
Cover ImagePhilip Newton
VOLUME 44 ISSUE 2
Seattle Opera offers large print and Braille versions of this program. Please see coat check for details.
Seattle Opera acknowledges that McCaw Hall and the Opera Center are located on the ancestral homeland of the Coast Salish people. As Seattle Opera strives to create respectful partnerships throughout the Pacific Northwest, we hope to contribute to collective healing and true reconciliation.
5Cinderella
It was wonderful meeting so many of you at last month’s Opera Center Open House. It was an ideal occasion to establish new friendships and showcase our new home. It’s also been a pleasure meeting many of you at various community events and performances throughout the city and here in McCaw Hall. I deeply appreciate the warm welcomes and words of encouragement.
In the many conversations I have had since arriving in August, I’ve received a few questions very frequently, including what changes I will implement at Seattle Opera. The short answer: As a leader, I believe that when it’s not broken, don’t fix it. When I worked in Oman, a local journalist asked—“So what are you going to teach people here?” I responded, “I’m not here to teach.
I am here to learn first, and then apply my experience to work within this particular company. If that includes some change, we’ll figure out what is suitable and necessary.”
Many of you want to know my thoughts about producing Wagner and the Ring. I am a great fan of both Wagner and the Ring. Wagner, in some form or another, will be a part of Seattle Opera’s future. To do any Ring cycle at the level to which Seattle audiences are accustomed requires a great deal of philanthropy from our community in advance. I would only offer a Ring cycle if I felt confident that it could be world-class and financially feasible.
You’ve also asked if I plan to continue our five-production season. This is an interesting question and I will reiterate: I am not here to disrupt Seattle Opera. I am here to make the company grow—to engage our community, increase our audiences, and make supporting Seattle Opera irresistible and necessary. I’m here to advocate for not only Seattle Opera, but also the arts in general. My role is raising the profile of Seattle as a world-class city because of its location, diversity, sports teams, global corporations, and, of course, its arts and cultural institutions.
Many of you have asked what areas of Seattle Opera I would like to enhance. I’d like to more fully utilize Tagney Jones Hall, the glass-box performance space in the Opera Center next door to McCaw Hall. Because the public can literally see inside, Tagney Jones Hall is a link between Seattle Opera and the community. I’d like to have regular—or let’s say, frequent—offerings here: commissions of chamber works, recitals, master classes, lectures, community panel discussions, and more, designed to attract the curiosity of diverse audiences.
With that in mind, I’d like to invite you to The Falling and the Rising, a new chamber opera about service and sacrifice. This is our first fully staged theatrical event to take place at the Opera Center. Seattle Opera is privileged to present this work based on conversations with soldiers and veterans. The story traces a wounded service woman’s inner journey to healing. The Puget Sound region is home to many active duty service personnel, veterans, and their families, and I am proud that we are honoring their experiences with this production. Performances are November 15–24 in Tagney Jones Hall. I look forward to seeing you there.
Christina Scheppelmann
FROM THE GENERAL DIRECTOR
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Seattle Opera 2019/20 Season6
Representatives to the BoardGayle Charlesworth, Seattle Opera GuildCarissa Castaldo, Seattle Opera ChorusEvan Bennett, BRAVO!Eric Jacobs, The Seattle Symphony and Opera
Players’ Organization
Seattle Opera FoundationJeffrey Hanna,
PresidentCharles B. CosséJames D. CullenJay Lapin
Brian Marks, ex officio
Steven C. Phelps Anne M. RedmanMichael TobiasonMoya Vazquez
Advisory BoardConnie BloxomJohn M. Bloxom, Jr.Beverly BrazeauNorma B. CrocoDavid R. DavisBetty Hedreen
Victoria IvarssonLinda Nordstrom Eulalie SchneiderJudy SchuchartVirginia B. Wright
Honorary Life MembersBeverly BrazeauDonald L. Johnson
Duff KennedyMichael M. Scott
Past PresidentsNorma B. CrocoAlbert O. Foster†
Max E. Gellert†
Harold H. Heath†
H. Dewayne Kreager†
Francis A. LeSourd†
James M. McDonald Jr.†
Stanley N. MinorJohn F. Nesholm
Sheffield Phelps†
Steven C. PhelpsMaryanne TagneyRussell F. TousleyRichard S. TwissWilliam T.
WeyerhaeuserHoward S. Wright†
BOARD OF DIRECTORS 2019/20 Season
Vice PresidentsSusan MacGregor
CoughlinJames D. CullenAdam J. FountainA. Richard GemperleBruce E. H. JohnsonBrian LaMacchiaLouise Miller
Jonathan RosoffMartha ShermanStephen A. SprengerMoya VazquezWilliam T.
Weyerhaeuser
DirectorsWillie C. AikensBarry BoldingToby BrightBrenda Bruns, MDSusan BuskeStella Choi-RayCharles B. CosséNatalie de MaarSusan Detweiler, MDCarolyn EaganRobert FriesLeslie GiblettPaul Goodrich Jeffrey HannaKennan
Hollingsworth, MDRon Hosogi Gary Houlahan
Michael HymanTom McQuaidBrendan MurphySteven C. Phelps Tom PuentesJames David RaisbeckJoshua RodriguezJean StarkRussell F. TousleyJudy TsouJames UhlirSusanne Wakefield,
PhDJoan S. WatjenScott Wyatt Lesley Chapin
Wyckoff
Chairman John F. Nesholm
President Brian Marks
Immediate Past President Maryanne Tagney
Treasurer Brendan Murphy
Secretary Milkana Brace
† Deceased
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Seattle Opera 2019/20 Season8
©2019 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.
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Untitled-3 1 4/30/19 12:11 PM
JAVILA CREERPremier Associate | Managing Broker 206 794 5284javila.withwre.com
ERICA CLIBBORNExecutive Premier Director | Broker 206 251 1869ericaclibborn.com
MICHAEL DOYLEPremier Director | Managing Broker 206 669 0203MichaelDoyleProperties.com
SHAWNA ADERExecutive Premier Director | Broker 206 251 2337aderberger.com
AMY SAJERPremier Director | Broker 206 550 8903amysajer.withwre.com
DEIRDRE DOYLEExecutive Premier Director | Broker 206 234 3386deirdre-doyle.com
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Untitled-3 1 10/9/19 10:15 AM
Welcome to Seattle Opera! Thank you for joining us for our presentation of Rossini’s rollicking rendition of Cinderella. This beloved folk tale can be told many different ways; if you’ve never before encountered Rossini’s spin on it, you’re in for a treat. In this version, the evil stepmother has been replaced by a vile stepfather and the glass slippers have been exchanged with a pair of bracelets. In addition, our stage director Lindy Hume is inspired by Charles Dickens. She sets this production in Victorian era London, complete with the opulence and grit associated with the period.
Seattle Opera relies on your support and that of benefactors like Karyl Winn to bring Cinderella to McCaw Hall. Karyl, our 2019/20 season sponsor, was an avid traveler, a dedicated librarian, and a generous Seattle Opera patron for 49 years. Karyl included Seattle Opera in her will and her estate gift supports every mainstage performance you’ll experience this season. We count on the many loyal opera fans just like her to provide the funding needed to ensure we continue to have world-class opera in the Pacific Northwest. We are so grateful for their investment. Last season, 9% of contributed revenue was from legacy gifts.
Gifts to the Seattle Opera Foundation are essential to the financial sustainability of our company. Take the legacy gift of Jim and Gretchen Faulstich as an example. Their thoughtful contribution supports our mission to create life-enhancing experiences that speak to your heart and mind. You can see a complete list of named endowed funds from the Seattle Opera Foundation in this program.
You and I benefit from Karyl’s and the Faulstichs’ gifts and we are incredibly grateful for their forward-thinking philanthropy. Will you think about an estate gift that will support Seattle Opera for years to come?
Whether you are here for the first time or seeing Cinderella for the third time, there are hundreds of people who come together to make this production possible. As we approach the holiday season, please make a personally meaningful gift to Seattle Opera if you value music, joy, and beauty in your life. Your contribution makes opera possible and every gift is valued.
Thank you for joining us tonight for this wonderful presentation of Cinderella and for your continuing support of Seattle Opera.
Brian MarksPresident, Seattle Opera Board of Directors
FROM THE PRESIDENT
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SEATTLE OPERA DIRECTORYUnless otherwise indicated, the following numbers are in the 206 area code.
Seattle Opera Audience ServicesPhone: 389.7676Outside Seattle: 800.426.1619For TTY Service: 800.833.6388Group Sales: 676.5588Website: www.seattleopera.org
Seattle Opera Donor ServicesPhone: 389.7669Email: [email protected] Room reservations: 389.7669 or [email protected]
Seattle Opera Administrative OfficesPhone: 389.7600363 Mercer StreetSeattle, WA 98109-4600Website: www.seattleopera.org
Marion Oliver McCaw Hall Location: 321 Mercer StreetPhone: 733.9725www.mccawhall.comHead Usher: 733.9722 Security Office: 733.9735Restaurant—Prelude: 615.0404Ticket Donations (day of show): 676.5544Lost and Found: 684.7200 Parking: 684.7340Monorail: 905.2620Hall Rental: 684.7103Seattle Center Information: 684.7200
Amusements: Gifts of Artistic ExpressionHours: 5:00 p.m. for evening performances and 11:30 a.m. for matinee performances; during intermissionsPhone: 774.4990Email: [email protected] Shop Manager: Kate FarwellAmusements is operated jointly by Seattle Opera and Pacific Northwest Ballet.
BRAVO! Phone: 389.7676Email: [email protected]
Seattle Opera GuildEmail: [email protected] Opera Guild is an organization independent of Seattle Opera.
11Cinderella
JAVILA CREERPremier Associate | Managing Broker 206 794 5284javila.withwre.com
ERICA CLIBBORNExecutive Premier Director | Broker 206 251 1869ericaclibborn.com
MICHAEL DOYLEPremier Director | Managing Broker 206 669 0203MichaelDoyleProperties.com
SHAWNA ADERExecutive Premier Director | Broker 206 251 2337aderberger.com
AMY SAJERPremier Director | Broker 206 550 8903amysajer.withwre.com
DEIRDRE DOYLEExecutive Premier Director | Broker 206 234 3386deirdre-doyle.com
Private Cl ient & Luxury Rea l Estate
MIDTOWN COLLECTIVE IS A GROUP OF TOP-TIER LUXURY REAL ESTATE BROKERS WHO DELIVER SUPERIOR SERVICE TO THEIR CLIENTS.
Untitled-3 1 10/9/19 10:15 AM
Photo © Philip Newton
Thank you to the caring Seattle Opera donor family —your enduring Annual Fund support fuels this mainstage production and so much more throughout the season.
2019/20 SEASON SPONSORIN MEMORY OF KARYL WYNNPRODUCTION SPONSORMARKS FAMILY FOUNDATION
EXCLUSIVE MAKEUP AND SKINCARE PROVIDER OF SEATTLE OPERA
Cinderella_FullProgram_100919-fixed.indd 12 10/10/19 4:36 PM
† Seattle Opera mainstage debut
A production of New Zealand Opera and Opera Queensland in Co-production with Oper Leipzig.
English captions © Jonathan Dean 2019
The fortepiano is a replica of an Anton Walter instrument (Vienna, 1795) built by Rodney Regier of Freeport, Maine. It is kindly loaned from the keyboard instrument collection of Tamara Friedman and George Bozarth in Seattle.
Opera presentation and production © Seattle Opera 2019. Copying of any performance by camera, audio, or video recording equipment, and by any other copying device, and any other use of such copying devices during the performances is prohibited.
Premiere: Teatro Valle, Rome, 1817 Seattle Opera Premiere: 1977
Performances at Marion Oliver McCaw Hall: Oct. 19, 20, 23, 25, 26, 27, 30 & Nov. 1
Evening Performances 7:30 p.m. Matinees 2:00 p.m.
In Italian with English captions.
Act I: 1 hour 30 minutesIntermissionAct II: 54 minutes
Music by Gioachino RossiniLibretto by Jacopo Ferretti
CONDUCTOR
Gary Thor Wedow
STAGE DIRECTOR
Lindy Hume
PRODUCTION DESIGNER
Dan Potra
LIGHTING DESIGNER
Matthew Marshall
ASSOCIATE STAGE DIRECTOR & CHOREOGRAPHER
Daniel Pelzig
ENGLISH CAPTIONS
Jonathan Dean
CHORUSMASTER
John Keene
ASSISTANT CONDUCTOR
Philip A. Kelsey
MUSICAL PREPRATION
Philip A. Kelsey, David McDade, Jay Rozendaal
STAGE MANAGER
Yasmine Kiss
CAST (in order of vocal appearance)
CLORINDA
Miriam Costa-Jackson †
TISBE
Maya Gour †
CINDERELLA
Ginger Costa-Jackson (Oct. 19, 25, 27, & Nov. 1)Wallis Giunta† (Oct. 20, 23, 26, & 30)
ALIDORO
Adam Lau
DON MAGNIFICO
Péter Kálmán†
PRINCE RAMIRO
Michele Angelini † (Oct. 19, 25, 27, & Nov. 1)Matthew Grills (Oct. 20, 23, 26, & 30)
DANDINI
Joo Won Kang (Oct. 19, 25, 27, & Nov. 1)Jonathan Michie † (Oct. 20, 23, 26, & 30)
CINDERELLA
13Cinderella
Photo © Philip Newton
Thank you to the caring Seattle Opera donor family —your enduring Annual Fund support fuels this mainstage production and so much more throughout the season.
2019/20 SEASON SPONSORIN MEMORY OF KARYL WYNNPRODUCTION SPONSORMARKS FAMILY FOUNDATION
EXCLUSIVE MAKEUP AND SKINCARE PROVIDER OF SEATTLE OPERA
Cinderella_FullProgram_100919-fixed.indd 12 10/10/19 4:36 PM
ACT 1Don Magnifico’s vain daughters, Clorinda and Tisbe, are primping. Their stepsister Cinderella (whose real name is Angelina) sings a song about a long-ago king who chose a good and innocent bride. When a beggar (actually Prince Ramiro’s tutor, Alidoro) appears, the stepsisters chase him away, but Cinderella makes him welcome. There is an announcement that Prince Ramiro, in search of the most beautiful girl in the land to be his bride, will soon pay a visit. The sisters order Cinderella to get them ready to receive him, and their squabbling wakes Don Magnifico. In so doing, they have interrupted a dream, which he interprets to mean that good fortune will soon visit the family. His premonition seems vindicated when he learns of the Prince’s visit. Magnifico exhorts the girls to capture the Prince’s heart to save the family fortunes.
Disguised as his own valet, the Prince arrives alone so that he can observe the women of the household incognito. He meets Cinderella and is enchanted. Dandini (the real valet) arrives disguised as the Prince, enjoying his new status, and invites the fawning sisters to a ball. Cinderella begs her stepfather to take her too but Magnifico brutally orders her to stay at home, to Ramiro’s shock. Alidoro, now in his true identity, questions Don Magnifico about his third daughter. Magnifico tells Alidoro that she is dead. After everyone except Cinderella has left, Alidoro informs her that the pauper from earlier was really him and transforms her for the ball. At the palace, Magnifico discovers the wine cellar. Clorinda and Tisbe continue chasing Dandini, but scornfully reject Ramiro. All are enchanted by the arrival of a mysterious, veiled lady. When she unmasks they are struck by her uncanny resemblance to Cinderella.
INTERMISSION
ACT 2Ramiro is smitten with the newly arrived guest. He overhears Cinderella refusing Dandini’s attentions because she loves his “valet” and delightedly steps forth to declare himself. Cinderella gives him one of a pair of matching bracelets, saying he will find her wearing its twin. Then she rushes away. After she leaves, Ramiro relinquishes his false identity and vows to find her. Dandini, now reduced to his former servant status, smashes Magnifico’s dreams of grandeur and orders him out of the palace.
Returning home, Magnifico and the sisters resume their cruel treatment of Cinderella as a storm hits. Dandini appears at the door telling them that the Prince’s carriage has overturned outside. Cinderella realizes her “valet” is Prince Ramiro; he in turn recognizes her bracelet. Don Magnifico, Clorinda, and Tisbe can hardly believe their ears when Ramiro announces that Cinderella is to be his bride. Cinderella intercedes to protect her stepfather and stepsisters in the face of Ramiro’s anger.
After the wedding, Cinderella persuades the Prince to pardon her family. As the people welcome their new Princess, Cinderella reflects on her dramatic change in fortune and rejoices.
THE STORYCINDERELLA,OR GOODNESS TRIUMPHANT
14 Seattle Opera 2019/20 Season
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Untitled-1 1 2/27/19 1:39 PM
ARTISTSMICHELE ANGELINIPrince Ramiro
Tenor (New York, NY)Seattle Opera DebutRecently: Idreno, Semiramide (Bayerische Staatsoper); Don Ramiro, Cinderella (Teatro dell’Opera di Roma); Count Almaviva,
The Barber of Seville (Théâtre des Champs-Élysées)Upcoming: Count Libenskof, Il viaggio a Reims (Oper Köln); Riccardo Percy, Anna Bolena (Lithuanian National Opera Theatre); Idreno, Semiramide (Netherlands Radio Philharmonic Orchestra)
GINGER COSTA-JACKSONCinderella
Mezzo-Soprano (Palermo, Sicily)Seattle Opera Debut: Dorabella, Così fan tutte (’18)Previously at Seattle Opera: Carmen, Carmen (’19)
Recently: Donna Elvira, Don Giovanni (Ópera de A Coruña); Carmen, Carmen (San Diego Opera); Rosina, The Barber of Seville (Opéra de Toulon)Upcoming: Cherubino, The Marriage of Figaro (La Monnaie); Despina, Così fan tutte (Opéra National de Paris); Musetta, La bohème (Seattle Opera)
MIRIAM COSTA-JACKSONClorinda
Soprano (Salt Lake City, UT)Seattle Opera DebutRecently: Micaëla, Carmen (Phoenicia Festival of the Voice); Queen of the Night, The Magic Flute
(Brigham Young University)
WALLIS GIUNTACinderella
Mezzo-Soprano (Ottawa, Canada)Seattle Opera DebutRecently: Carmen, Carmen (Oper Leipzig); Angelina, Cinderella (Royal Swedish Opera); Cherubino, The
Marriage of Figaro (The Grange Festival)Upcoming: Bradamante, Alcina (Deutsche Oper am Rhein); Sesto, Giulio Cesare (Boston Lyric Opera); Dodo, Breaking the Waves (Metropolitan Opera Orchestra/BAM)
MAYA GOURTisbe
Mezzo-Soprano (Tel Aviv, Israel)Seattle Opera DebutRecently: Lucretia, The Rape of Lucretia (Norwegian National Opera and Ballet); The Stewardess, Flight
(Opera Parallèle); Pippo, La gazza ladra (Teatro Nuovo)
MATTHEW GRILLSPrince Ramiro
Tenor (Newtown, CT)Seattle Opera Debut: Count Almaviva, The Barber of Seville (’17)Recently: Ernesto, Don Pasquale (Berkshire Opera Festival); Belmonte,
The Abduction from the Seraglio (Opera San Jose); Kedril, From the House of the Dead (Bayerische Staatsoper)Upcoming: Count Almaviva, The Barber of Seville (Utah Opera); Loud Stone, Matthew Aucoin’s Eurydice (World Premiere, LA Opera); First Waiter, Der Rosenkavalier (Metropolitan Opera)
Seattle Opera 2019/20 Season16
LINDY HUMEStage Director (Sydney, Australia)
Seattle Opera Debut: Count Ory (’16)Previously at Seattle Opera: Rigoletto (’19); The Barber of Seville (’17) Recently: The Barber of Seville (New Zealand
Opera); Carmen (Oper Leipzig); Don Giovanni (Opera Queensland)Upcoming: The Barber of Seville (State Opera South Australia)
PETER KÁLMÁNDon Magnifico
Bass-Baritone (Budapest, Hungary)Seattle Opera DebutRecently: Bartolo, The Barber of Seville (Théâtre des Champs-Élysées); Mustafà, The Italian Girl in Algiers
(Salzburg Whitsun Festival); Alberich, Der Ring des Nibelungen (Müpa Budapest)Upcoming: Mustafà, The Italian Girl in Algiers (Théâtre des Champs-Élysées); Don Pasquale, Don Pasquale (Salzburger Festspiele); Alberich, Der Ring des Nibelungen (Müpa Budapest)
JOO WON KANGDandini
Baritone (Gunsan City, South Korea)Seattle Opera Debut: Nourabad, The Pearl Fishers (’15)Recently: Figaro, The Barber of Seville (Fort Worth Opera); Ping,
Turandot (San Francisco Opera); Germont, La traviata (Opera Theatre of Saint Louis)Upcoming: Marcello, La bohème (Arizona Opera); Washington National Opera debut
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17Cinderella
ARTISTS CONT.
JOHN KEENEChorusmaster (Lancaster, PA)
Seattle Opera Debut: Chorusmaster, Fidelio (’12)Previously at Seattle Opera: Chorusmaster, Rigoletto (’19), Carmen (’19), The (R)evolution of Steve Jobs (’19)
Upcoming: Chorusmaster, Eugene Onegin, La bohème (Seattle Opera); Judge, Metropolitan Opera National Council Auditions
ADAM LAUAlidoro
Bass (San Francisco, CA)Seattle Opera Debut: Makoto Kobayashi, An American Dream (’15)Previously at Seattle Opera: Kōbun Chino Otogawa, The
(R)evolution of Steve Jobs (’19); Ferrando, Il trovatore (’19); The Speaker, The Magic Flute (’17)Recently: Oroveso, Norma (Utah Opera); Basilio, The Barber of Seville (Portland Opera); Soloist, Verdi Requiem (Carnegie Hall)Upcoming: Raimondo, Lucia di Lammermoor (Lyric Opera of Kansas City); Basilio, The Barber of Seville (Dallas Opera); Soloist, Handel’s Messiah (Carnegie Hall)
MATTHEW MARSHALLLighting Designer (Sydney, Australia)
Seattle Opera Debut: The Barber of Seville (’17)Recently: Athalia, La bohème (Opera Australia, Sydney); Cinderella (Oper Leipzig)
Upcoming: The Turn of the Screw (New Zealand Opera)
JONATHAN MICHIEDandini
Baritone (Rochester, NY)Seattle Opera DebutRecently: Figaro, The Barber of Seville (Oper Leipzig); Count Almaviva, The Marriage of Figaro (Florida Grand
Opera); Donald, Billy Budd (Teatro dell’Opera di Roma)Upcoming: Figaro, The Barber of Seville (Israeli Opera); Graf Rochester, Zum Grossadmiral (Münchner Rundfunkorchester); Marcello, La bohème (Oper Leipzig)
DANIEL PELZIGChoreographer and Associate Director (New York, NY)
Seattle Opera Debut: Salome (’01)Previously at Seattle Opera: Rigoletto (’19); The Barber of Seville (’17); County Ory (’16) Recently: Director, Le médecin malgré
lui (Odyssey Opera); Director, The Mikado (Kentucky Opera); Choreographer, Romeo and Juliet (Huntington Theatre) Upcoming: Professor of Theatre and Dance (Boston Conservatory at Berklee); Director, Holiday Inn (Musical Theatre West); Stage Director, Merrie England (Odyssey Opera)
DAN POTRAProduction Designer (Sydney, Australia)
Seattle Opera Debut: Count Ory (’16)Recently: The Misanthrope (Bell Shakespeare); The Adventures of Peter Pan, Scrooge the Musical (Music Hall Belgium)
Upcoming: Beauty and the Beast (Malmö Opera); Brett Whitely (Opera Australia)
Seattle Opera 2019/20 Season18
GARY THOR WEDOWConductor (LaPorte, IN)
Seattle Opera Debut: Giulio Cesare (’07)Previously at Seattle Opera: The Marriage of Figaro (’16); Semele (’15); Don Giovanni (’14)Recently: Semele (Opera Philadelphia);
Don Pasquale (Pittsburgh Opera); The Coronation of Poppea (Cincinnati Opera)Upcoming: The Abduction from the Seraglio (Opera Omaha); The Barber of Seville (Utah Opera); Giulio Cesare (Boston Lyric Opera)
19Cinderella
ARTISTS CONT.
ORCHESTRA
Violin IEduardo Rios, ConcertmasterMariel BaileyBlayne BarnesCecilia Poellein BussTimothy Garland, Asst. ConcermasterElizabeth PhelpsClark StoryJeannie Wells Yablonsky
Violin II Kathleen Boyer, PrincipalSydney AdedamolaBrittany BreedenArtur Girsky, Asst. PrincipalCaitlin KelleyVictoria Parker
ViolaSusan Gulkis Assadi, PrincipalTimothy Hale, Asst. PrincipalAaron Conitz Kayleigh MillerLaura RenzRachel Swerdlow
CelloMeeka Quan DiLorenzo, PrincipalBruce BaileyRoberta Hansen Downey, Asst. PrincipalWalter Gray
BassJordan Anderson, PrincipalSam CassedayWilliam Langlie-Miletich, Asst. Principal
Flute/PiccoloJeffrey Barker, PrincipalRobin Peery
OboeBen Hausmann, PrincipalStefan Farkas
ClarinetEmil Khudyev, PrincipalLaura DeLuca
Plan your next opera adventure:
GIACOMO PUCCINI
MADAMABUTTERFLY
OCT 25, 27m, 31, NOV 2, 2019KELLER AUDITORIUM
—MARCH—ANTONIO VIVALDI
BAJAZET
—MAY—A SPECIAL CONCERT
BIG NIGHT
—JUNE—RUGGERO
LEONCAVALLO
PAGLIACCI
—JULY—JAKE HEGGIE
THREE DECEMBERS
PORTLANDOPERA.ORG 503.241.1802
For tickets, special lodging offers, and dining recommendations, contact [email protected].
Internationally acclaimed soprano
Hiromi Omura makes her
U.S. debut as Cio- Cio-San.
Seattle Opera 2019/20 Season20
ORCHESTRABassoonLuke Fieweger, PrincipalDana Jackson Bliss
HornMark Robbins, PrincipalJonathan Karschney
TrumpetAlexander White, PrincipalMichael Myers
TromboneKo-ichiro Yamamoto, Principal
FortepianoPhilip A. Kelsey
Personnel ManagerScott Wilson
Assistant Personnel ManagerKeith Higgins
Rotating members of the string sections are listed alphabetically.
The Orchestra is composed of members of the Seattle Symphony Orchestra.
CHORUS
Tenor
Nathan Barnes Benjamin Cleveland Joel Cummings Andrew Etherington Jon Farmer William Gardner Anthony James Tim Janecke Stephen Wall
Bass/Baritone
Michael Dunlap Craig Garretson Craig Grayson Ben Kramer Dierre Lopez Zachary Martin Julian Reisenthel Jonah Spool Revere Taylor TICKETS
MEANYCENTER.ORG206-543-4880
THE PACO DE LUCÍA PROJECTOctober 29
JONATHAN BISSCELEBRATING BEETHOVEN, PART 1
November 5
DANISH STRING QUARTETNovember 7
PILOBOLUSNovember 14–16
JONATHAN BISSCELEBRATING BEETHOVEN, PART 2
December 11
JOMAMA JONESDecember 12–14
Fall Highlights at MEANY CENTER
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CINDERELLA: ANCIENT STORY, GLOBAL TALE
When you hear the name Cinderella, do the lyrics “Bibbidi-bobbidi-boo” come to mind, along with doting mice and a kindly fairy godmother? For many viewers the Disneyfication of this folktale has eclipsed its rich global variations, leaving only a weak and toothless residue of these fascinating age-old stories, some of which would make Disney’s fairy godmother blush.
Cinderella tales, according to folklorist and children’s book writer Judy Sierra, “can be found in more parts of the world, told in more languages and in more different ways than any other folktale.” Estimates range from 350 to over 3,000 variants. The Aarne-Thompson index of tale types identifies two main Cinderella structures: one with a jealous and destructive stepmother, which is most familiar to contemporary audiences; and another featuring a father whose incestuous desire for his daughter after the death of her mother motivates the child to flee.
AN ANCIENT CHINESE TALE Folktales emerged from oral tradition, which makes it difficult to identify “the original version” of any tale, but some scholars consider Greece or China the origination point for Cinderella.
Yeh-Hsien (also spelled “Yeh-Shen”), an ancient Chinese Cinderella first published in the Tang dynasty (618–907 CE), exemplifies the first type of Cinderella tale. The protagonist’s mother dies and her father remarries two wives, one of whom also dies and returns as a fish that comforts Yeh-Hsien. Through deceit, the remaining stepmother kills and eats the fish. But a magical being tells Yeh-Hsien to pray to the bones, which grant her riches, such as gold shoes, that enable her to attend the ball—in this story, a cave festival. In the end, Yeh-Hsien marries the prince, and her stepmother and stepsister are “struck by flying stones” and die. As with many folktales, justice for the wicked characters is swift, unforgiving, and final.
By Michelle H. Martin, PhD
THE DONKEY THAT POOPS GOLD COINS Donkeyskin, an example of the alternate Cinderella tale type, was written by the 17th century French aristocrat Charles Perrault (1628–1703), best known for Tales of Mother Goose (1697). A king obtains his wealth from a donkey that poops gold coins. On her deathbed, the queen makes the king promise to remarry only if he can find a woman more appealing than she… and their daughter is the only one he can find. After attempting to dissuade her father she flees, wearing the skin of her father’s slaughtered magic donkey (hence her nickname). She becomes a scullery maid elsewhere and makes a cake into which she bakes her tiny ring for the prince to find. When other women attempt to fit the ring, one scrapes her finger “as if it were a radish,” another slices off a piece of her finger, and a third uses skin-melting liquid. When only Donkeyskin’s delicate finger fits the ring, she wins the prince. Unlike Yeh-Hsien’s evil stepmother, this lustful, incestuous father avoids death by flying stones. Instead, he sees the error of his ways and attends the wedding.
Yeh-Hsien, an ancient Chinese Cinderella, was first published in the Tang dynasty.
Donkeyskin was written by the 17th century French aristocrat Charles Perrault, who was best known for his Tales of Mother Goose stories.
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A GRIMM FABLE German folklorists Jacob (1785–1863) and Wilhelm Grimm (1786–1863) collected their own well-known Cinderella variant, Aschenputtel. This protagonist gets her nickname from so often being dirtied by ashes while tending the fire. Her father gives her a branch from a hazel tree which, when it grows, holds a magic white dove. Cinderella plants the tree on her mother’s grave and waters it with her tears. Her stepmother dumps lentils into the fire’s ashes and says that only once they’ve all been picked out can Cinderella attend the ball. Birds help her find the lentils, the white dove provides the dress, and off to the ball she goes—until midnight, when she leaves her gold-covered shoe behind. When the stepdaughters try on the shoe, their mother advises one to cut off her toe and the other a piece of her heel, for, “Once you’re queen you won’t need to go on foot anymore.” Each time, the doves reveal the fraud. Cinderella’s foot fits perfectly, and, while the stepsisters attend her wedding, the doves peck out their eyes “so they were punished for their wickedness and malice with blindness for the rest of their lives.” We tend to think of folktales ending with “happily ever after,” but that happiness is generally reserved for the good-hearted. The wicked get their proper comeuppance.
GLOBAL INTERPRETATIONS Contemporary renditions offer a kinder, gentler sense of justice and, like their predecessors, comment on their time and culture. For instance, in John Steptoe’s Mufaro’s Beautiful Daughters (1987), a South African version, the prince appears as a little green garden snake before transforming into a handsome brown-skinned young man; and this story emphasizes the importance of respecting elders and sharing what one has with the less fortunate. In Jouanah, a Hmong Cinderella (1996), Jouanah’s mother asks to be turned into a cow because the family cannot survive without one to plow the fields. When the husband remarries, his cow-wife dies of a broken heart. Culturally-specific items like hot rice soup, a bamboo flute, and embroidered clothing give this story a stronger sense of place than many other Cinderella tales have. This is also true of Robert D. San Souci’s Cendrillon (1998), illustrated by Brian Pinkney, a Caribbean version which includes many French Creole words and traditions of Martinique.
Michelle H. Martin is the Beverly Cleary Endowed Professor for Children and Youth Services and Chair of the Master of Library and Information Science Program in the Information School at the University of Washington, where she teaches current and future Children’s Services librarians.
Folktales belong to the public domain and therefore require no permissions for reproducing. Widely known, they are perfect for spoofing and fracturing. Prince Cinders (1987), for instance, features a scruffy male Cinderella whose big, hairy brothers torment and abuse him but get punished by being turned into house fairies. In “Cinderumpelstiltskin” or “The Girl Who Really Blew it,” from John Scieszka and Lane Smith’s The Stinky Cheese Man and Other Fairly Stupid Tales (1992), Rumplestiltskin shows up while Cinderella is crying about not being able to attend the ball and taunts her to guess his name. Cinderella can’t be bothered. But when she tells her stepmother and stepsisters about the little man, they change her name to Cinderumpelstiltskin. These amusing retellings of Cinderella comment on popular culture and keep the tales relevant to their audiences.
Nearly every culture in the world has a Cinderella story. In all her variations, Cinderella emphasizes the importance of remaining good-hearted and patient even in the face of unfair adversity, and, when a magic bird or a fairy godmother fails to intervene, taking the initiative to make the life you seek. As you will see in tonight’s production, Gioachino Rossini and Jacopo Ferretti remain true to these same motifs.
Robert D. San Souci’s Cendrillon is a Caribbean Cinderella tale which includes many French Creole words and traditions of Martinique.
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DANDINI, WHO ARE YOU?LA CENERENTOLA IS CINDERELLA...ALMOST.Rossini’s opera differs from most of the world’s many Cinderella stories because of a few key features: there is no magic, the traditional evil stepmother and fairy godmother are replaced with male counterparts, and the prince identifies Cinderella thanks to a bracelet, not a slipper. And then, of course, there’s Dandini, the prince’s clever and mischievous servant. He isn’t part of the standard Cinderella-story cast list. What is he doing in this opera? He provides a much-needed reality check; while in real life there are people as virtuous as Cenerentola, or as awful as Magnifico, mostly there are people like Dandini.
Dandini owes his inclusion neither to Rossini nor to his credited librettist, Jacopo Ferretti. These two collaborators threw this opera together in a last-minute rush. Rossini owed Rome’s Teatro Valle an opera, which was supposed to premiere on December 26, 1816. Delayed by a new opera for Naples, unpredictable travel, and the ever-interfering censors, Rossini and Ferretti finally chose the Cinderella story as a subject on December 23 and, miraculously, the opera did in fact open on January 25, 1817. Rossini saved time by recycling some music he had composed for other operas and farming out the recitatives (and a couple little arias) to another composer, Luco Agolini. Ferretti saved time by stealing the cast list and scene structure created by French playwright and librettist Charles Guillaume Étienne for Maltese composer Nicolò Isouard, whose French opéra-comique about Cinderella had been a hit in Paris in 1810. (Rossini had enjoyed an Italian adaptation given in Milan in 1814.) Dandini appears as a servant in this costume drawing by Production Designer Dan Potra.
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Dandini’s name and plot function thus originate with Étienne. But Étienne’s Dandini is little more than a decoy for the prince; he’s a costume, not a character, and has no personality to speak of. In Nicolò Isouard’s 1810 opera, Dandini barely sings.
DANDINI, ROSSINI’S ALTER EGO The Dandini you’ll meet in this show, on the other hand, has personality in excess. This outrageous character all but stops the show with his over-the-top entrance aria— a ludicrous parody of "noble" poise, diction, carriage, and elaborate coloratura—enacted by a cheeky underling who can’t resist this once-in-a-lifetime opportunity to mock the upper crust. As in Étienne, he’s there as a decoy, to prove that Clorinda and Tisbe are attracted only by the trappings of nobility, while Cenerentola/Cinderella recognizes its essence in the disguised Ramiro.
But Dandini is so charming and delightful, Rossini and Ferretti kept him around for later scenes where, honestly, he doesn’t have all that much to do. Instead, he ends up addressing the audience directly, sometimes making sarcastic comments about the show; he becomes a cross between a fourth-wall-breaking Harlequin and The Muppet Show’s Statler & Waldorf. The story doesn’t really need the scene in which Dandini torments the foolish, wicked Don Magnifico by stringing him along and then bursting his bubble; but their ridiculous buffo duet is one of the
opera’s highlights, a welcome bit of Barber of Seville-style zaniness sandwiched between more sentimental numbers sung by the lovers.
With Dandini, Rossini wrote himself into this beloved old story. Dandini’s sparkle and wit, his irrepressible élan (enthusiastic verve), his infectious joie de vivre, are the essence of Rossini. (Why does the French language have more words for this spirit than either English or Italian? If there's an answer, it may also explain why Rossini eventually left Italy and lived the rest of his life in Paris!) Like Dandini, Rossini came from humble origins but had to behave as though he belonged among the rich and powerful. Like Dandini, Rossini was no saint. Whereas Giuseppe Verdi stuck it out in Italy through the chaotic wars of Italian unification, helping forge a nation and becoming a national hero for his efforts, Rossini was enjoying life up in Paris, “living large,” as they say. In retirement, Rossini became well-known as a gourmand (that’s like a glutton, only wealthier). Dandini speaks for Rossini in the Act One finale when, first catching a glimpse of all the food at the feast, he sings, "Since I’m playing the Prince today, I’ll eat enough for four!”
Rossini’s first biographer, the French novelist Stendhal, complained that La Cenerentola lacked idealism. But another way of saying that might be, the character of Dandini rings so true, it requires a truly spectacular
mezzo-soprano in the title role to steal this opera back from him. It’s up to the singer playing Cenerentola to remind us that the opera’s subtitle is “Goodness Triumphant.” She provides the idealism, Dandini the reality. And as for Rossini, I think the gourmand/composer just hopes we’ll savor the delicious feast he has cooked up for us.
WHY NO FEMALE CHORUS MEMBERS? There was no female chorus at the Teatro Valle for the opera season of 1816/17, so Rossini wrote only for tenor and bass. Director Lindy Hume has chosen to add female characters, played by the male chorus, to this production as part of her interpretation. “In Victorian England, women and men played important roles in the aristocracy households, as well as, obviously, in the population as a whole. It doesn't make sense that they wouldn't be represented here,” Hume says. As a result, some of the female characters in this production are sung by men.
Rossini wrote himself into this Cinderella story as the character Dandini.
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THREE SINGING SISTERSsibling revelry
SATURDAY, NOVEMBER 27:30 PMMCCAW HALL
Photo © Amy Fae Photography
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Tickets are still available for this concert. SEATTLEOPERA.ORG/SINGINGSISTERS
THREE SINGING SISTERS
OPERALa bohème
Carmen
The Tales of Hoffmann
Lakmé
Samson et Dalila
La traviata
MUSICAL THEATERLes Misérables
West Side Story
Carousel
My Fair Lady
NEAPOLITAN AND FAVORITE ITALIAN SONGS “Mamma son tanto felice”
“Non ti scordar di me”
“Santa Lucia”
“Funiculi Funicula”
“O sole mio”
FEATURINGGinger Costa-Jackson, Mezzo-SopranoMarina Costa-Jackson, SopranoMiriam Costa-Jackson, Soprano John Keene, Piano
Program to include selections from:
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GINGER COSTA-JACKSON MEZZO-SOPRANO (PALERMO, SICILY) Seattle Opera Debut: Dorabella, Così fan tutte (’18) Previously at Seattle Opera: Carmen, Carmen (‘19) , Cinderella, Cinderella ('19)Recently: Rosina, The Barber of Seville (Opévra de Toulon); Carmen, Carmen (New National Theatre Tokyo); Maddalena, Rigoletto (LA Opera) Upcoming: Cherubino, The Marriage of Figaro (La Monnaie); Despina, Così fan tutte (Opéra National de Paris); Musetta, La bohème (Seattle Opera)
MARINA COSTA-JACKSON SOPRANO (LAS VEGAS, NV) Seattle Opera Debut: Fiordiligi, Così fan tutte (’18) Recently: Desdemona, Otello (Savonlinna Opera Festival); Elisabetta, Don Carlo (Grange Park Opera); Mimì, La bohème (LA Opera) Upcoming: Amelia, Simon Boccanegra (Washington Concert Opera); Nedda, Pagliacci (Michigan Opera Theater); Mimì, La bohème (Opéra National de Paris)
DAN WALLACE MILLER STAGE DIRECTOR (SEATTLE, WA) Seattle Opera Debut: The Combat (’17)Previously at Seattle: Opera: Stage Director, Il trovatore (’19); Assistant Director, The (R)evolution of Steve Jobs (’19), Carmen (’19)Recently: Director, Carmen (Kentucky Opera); Director, Apprentice Artists Scenes Program (Central City Opera); Director, Il Trovatore (Seattle Opera) Upcoming: Director, Don Giovanni (Opera Naples)
JOHN KEENEPIANO (LANCASTER, PA) Seattle Opera Debut: Chorusmaster, Fidelio (’12) Previously at Seattle: Chorusmaster, Rigoletto (’19), Carmen (’19), The (R)evolution of Steve Jobs (’19) Upcoming: Chorusmaster, Eugene Onegin, La bohème (Seattle Opera); Judge, Metropolitan Opera National Council Auditions
CONCERT ARTISTS
MIRIAM COSTA-JACKSON SOPRANO (LAS VEGAS, NV) Seattle Opera Debut: Cinderella (’19)Recently: Micaëla, Carmen (Phoenicia Festival of the Voice); Queen of the Night, The Magic Flute (Brigham Young University)
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Tonight, enjoy art on the stage. Tomorrow come find art for your floor!
SEATTLE OPERA STAFF
ADMINISTRATIONDominica Myers
Associate Director of Administration
ARTISTICMary Brazeau
Artistic Administration ManagerMeggie Watson
Associate Director of Artistic Planning
Jonathan DeanDramaturg
Paula PodemskiCompany Manager
Emmy Ulmer Titlist
MUSICJohn Keene
Head of Music Staff and Chorusmaster
Philip A. Kelsey Assistant Conductor
David McDade Head of Coach-Accompanists
Jay RozendaalCoach-Accompanist/Orchestra Librarian
Emily Cabaniss Company Librarian/Archivist and Music Associate
Stephen Wall Chorus Personnel Coordinator
Beth Kirchhoff Chorusmaster Emeritus
STAGE MANAGEMENTYasmine Kiss
Production Stage ManagerCatherine Costanzo, Julianna Brei-Crawley
Assistant Stage ManagersTeresa Micheletti
Production Assistant
DEVELOPMENTHong Chhuor
Associate Director of DevelopmentChris Burkett
Individual Giving OfficerJulia Curns-Welch
Institutional Giving OfficerCaitlyn Davis
Stewardship and Events Associate
Matt LiderIndividual Giving Officer
Stephanie MatsunagaDevelopment Operations Coordinator
Tosha Mayo Development Coordinator
Erica McIntyreDevelopment Operations Manager
Catherine MerloSr. Individual Giving Officer
Anna Nolan Institutional Giving Associate
Ahana SenStewardship and Events Associate
Isabel Thomas Research and Database Manager
Caroline Webb Stewardship and Events Manager
FINANCEMarissa Betz-Zall
Associate Director of FinanceRandee Byrd
Payroll ManagerVictoria Campbell
Accounts Payable/Receivable Associate
Lindsey O’ConnorSenior Accountant
Trevor TorresPayroll Assistant
FACILITIESTodd Clark
Facilities ManagerMark Nebel
Facilities Coordinator
INFORMATION SYSTEMSIain Quigley
Desktop User Support Technician Stuart McLeod
SQL Developer and CRM Administrator
MARKETING AND COMMUNICATIONSBrittany Rall
Associate Director of MarketingArryn Davis
Marketing CoordinatorGabrielle Nomura Gainor
Communications and Public Engagement Manager
Glenn HareSenior Communications Manager
Ed Hawkins Marketing Manager/Copywriter
Larisa MelkumovaGraphic Designer
Erika Norris Web Producer
Meg StoltzDigital Marketing Manager
SALES AND SERVICESMichelle M. Carrasquillo
Associate Director of Marketing, Sales and Services
Gregory Schell Ticket Operations Manager
Kristin McCarthyAudience Services Manager
Corrie YadonPatron Experience Manager
Debra McKinneyGroup Sales Coordinator
Katrina Finder, Alexander HawkerAudience Services Lead
Erin Buck, Yoojeong Cho, Katrina Fasulo, Leonie Fogle, Shelly Traverse, Emma Wahl, Cassie Willock
Audience Services Representatives
DIRECT SALESEd Boyd
Direct Sales ManagerMegan Bailey
Direct Sales AssistantMary Hobbs
Senior Account RepresentativeAngie Bolivar, Virginia Jackson, Dorothea Kopta, Cheryl Nance, Claudio Remirez, Gail Sage, Albert Sanders, Toni Zeigler
Account Representatives
PRODUCTIONRussell Crosbie
Technical Director Alicia Moriarty
Assistant Production DirectorConnie Yun
Assistant Lighting DesignerMaria Sasse
Assistant Production Manager Chris Reay
Projection Coordinator
COSTUMESSusan I. Davis
Costume DirectorHeidi Zamora
Costume Show Manager, Design Coordinator
Ieva OhaksCostume Rental-Stock Coordinator
Hannah TyoCostume Assistant
Denise BarryLead Cutter
Miriam Goodman-MillerCrafts Supervisor
Shanna SincellCutter
Cynthia Abbott, Kim Dancy First Hands
Laura Girardot, Caton Hamrick, Kate Hartman, Rose Hope, Becky Kaufman, Emma Lodgard, Amara Madeo, Yoko Niendorf, Abby Oster
StitchersCheyenne Smith
CraftspersonCarrie Steficek
Wardrobe HeadChristy Kazimour
Assistant Wardrobe HeadScott Arend, Scott Gray, Mark Sanchez, Charley Trowbridge, Jenn Oaster, Keri Young
Wardrobe Attendants
HAIR AND MAKEUPLiesl Alice Gatcheco
Hair and Makeup ManagerAshlee Naegle
Wig MasterJulia Wing-Krafft
Wig AssistantAshlee Naegle
Lead Principal Hair and Makeup Artist
Calli Dey, Trisha Partida, Julia Wing-Krafft
Principal Makeup ArtistsAnne McGowan, Allegra Rege, Terry Wright
Hair and Makeup ArtistsCheryl del Rosario Lavarias
Hair and Makeup Assistant
STAGE CREWCharles T. Buck
Master Stage CarpenterJason Balter, Bruce Warshaw
Assistant Master Stage CarpentersJustin Loyd
Head FlymanAdam Lantz, Matthew Lint, Robert Millard, Jason Wagoner
Assistant Stage CarpentersJim Nash
Master ElectricianMartin Cunningham
Assistant Master ElectricianMolly Brindley, Chris Dimoff, Jim Gable
Assistant ElectriciansChris Reay
A/V SupervisorHannah Fenske
Properties MasterSandy Burke
Assistant Properties MasterPetrude W. Olds Jr.
Assistant PropertiesCandy Solie
Lightboard OperatorJack Burke
Master Sound Technician
PROGRAMS AND PARTNERSHIPSRachelle Adams
Operations ManagerNaomi André
Scholar in ResidenceT.J. Callahan
Programs Communications Coordinator
Courtney ClarkSchool Programs Manager
Sara LitchfieldYouth & Family Programs Manager
Lokela Alexander MinamiCommunity Engagement Manager
Britney Schroeder Production Manager, Community Projects
Stephanie SintefTour & Productions Coordinator
Miriam Anderson, Courtney-Savali Andrews, Jessica Andrews, Andrew R. Coopman, Li-Cheng Hung, Kayla Johnson, Chelsea LeValley, Debra McKinney, Christine Menschner, Kathryn Van Meter, Erin Murphy, Rachel Nofziger, Melissa Plagemann, Tasha Smith, Kristen Swenson, Ta Wei Tsai, James Walters, Lyndee White, Cassandra Willock
Teaching Artists
Principals, stage directors, choristers, stage managers, assistant stage managers, and assistant directors employed in this production are members of the American Guild of Musical Artists AFL-CIO.The musicians are represented by the Seattle Symphony and Opera Players’ Organization, a Chapter of the International Guild of Symphony, Opera, and Ballet Musicians. Scenery construction and stage crew work is performed by employees represented by I.A.T.S.E., Local #15.Costume and wardrobe work is performed by employees represented by I.A.T.S.E., Local #887.Scenic artists and hair/makeup work is performed by employees represented by I.A.T.S.E., Local #488.
Alejandra Valarino BoyerDirector of Programs and Partnerships
Aren Der HacopianDirector of Artistic Administration and Planning
Kristina MurtiDirector of Marketing and Communications
Doug ProvostDirector of Production
Allison RabbittDirector of Development
Jane RepensekChief Financial Officer/ Chief Operations Officer
Nancy Del Villar VivéDirector of Human Resources
CHRISTINA SCHEPPELMANN, GENERAL DIRECTOR
30 Seattle Opera 2019/20 Season
STAFF CHAT: TIM BUCK
Tim Buck has worked at Seattle Opera since 1990. As our Master Stage Carpenter, he leads our set construction, stage operations, and set maintenance teams. Tim’s passion for theater started as a teenager in Idaho and Eastern Washington State. Since then his career has taken him to theaters all over the country, to major film locations, and to the backstage of McCaw Hall.
DO YOU REMEMBER YOUR FIRST THEATER EXPERIENCES? I acted in high school. I was a male lead in Feiffer’s People, one of the brothers in Arsenic and Old Lace, and the Stage Manager (Narrator) in Our Town. I did five shows probably, all in the 11th and 12th grades. I’m not sure if I was any good. Honestly, I didn’t like memorizing lines.
IS THAT THE REASON YOU FOCUSED ON WORKING BACKSTAGE?I sort of fell into it, really. After I got out of the army, I was adrift like many people when they get out of the army. I went to Eastern Washington University to study chemistry. One day, I was walking through the Theatre and Film Department when a guy asked if I was interested in theater. I told him that I’d done a little bit of acting in high school, but it was no big deal. He said I could get a stipend if I studied theater. It wasn’t much money, I think $30 a month. Eventually, I changed majors and studied technical theater. I worked at several large theaters after graduating. I did a few films for Warner Brothers Studios and I worked at Seattle Rep for a short time. I also went back to school and earned a master’s in technical theater.
HOW WOULD YOU DESCRIBE YOUR JOB?I like to put it this way: Building sets is kind of like putting together jigsaw puzzles. The difference is that the pieces come in 53-foot trailers, and some of the pieces weigh thousands of pounds.
WHAT ARE SOME OF THE HIGH POINTS OF YOUR CAREER AT SEATTLE OPERA? The Ring cycle that launched in 2000 was the Super Bowl of opera for me. From concept to execution, it was definitely a high point. There were numerous special effects, likes the flying of the Rhine daughters, Brünnhilde’s cliff fire, and the big elevator at the end when they travel to Valhalla.
Parsifal (2003) was another high point. The 62-foot tower practically disappeared from the stage; it collapsed into the stage floor in less than two seconds. It was amazing—a triumph, especially considering that most of the effects hadn’t been done before.
WHAT FILMS DID YOU WORK ON?I was a member of the special effects team and gaffer on Always, a film by Steven Spielberg, and the second Die Hard film starring Bruce Willis—Die Harder. I had good time on that film. In one shot, we were simulating a fight scene on the wing of a 747 jet. We were filming at night, and the special effects supervisor asked me to make the wing vibrate. I walked out to the edge of the wing and start jumping up and down on it to make it move as the plane rolled down the runway. In another shot, I had to remove a door from the jet fuselage. A guy from the Federal Aviation Administration got really upset. He said I wasn’t certified to do that. After we finished the shot, we had to get a certified mechanic from Boeing to put the door back on.
WHAT ARE KEYS TO YOUR SUCCESS AND LONGEVITY AT SEATTLE OPERA?One of the big reasons this company has been so successful over the years—at least from a technical aspect—is that we have the best stage crew that I’ve ever seen anywhere. I’m always amazed at what they can do. I’ve been to a lot of theaters—Chicago, LA, Miami, Calgary, Melbourne, Tel Aviv. There is more talent here than any place in the world.
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SEATTLE OPERA INDIVIDUAL DONORSSeattle Opera is incredibly grateful for your donor support—as an investor in our season of programs, you make our community a better place to live, work, learn, and enjoy. Thank you!
The list below reflects Annual Fund donors at the Jade level and higher ($1,500 and more) beginning July 1, 2018 through August 16, 2019.
GENERAL DIRECTOR’S CIRCLE
$500,000 +In Memory of Karyl Winn
$250,000–$499,999Lenore Hanauer • Brian Marks and Carol Maione • Barbara Stephanus • Ann P. Wyckoff
$100,000–$249,999Anonymous ^ • Tagney Jones Family Fund at Seattle Foundation • James and Sherry Raisbeck ^
PLATINUM CIRCLE
GOLD $50,000–$99,999Anonymous (2) • Chap and Eve Alvord • Toby Bright and Nancy Ward ^ • Estate of I. Sharon Bunnell ^ • Estate of Natalie Gendler ^ • Gary and Parul Houlahan • Gene and Jean Stark • John Sullivan and Paula Stokes • Jay and Susanne Wakefield ^
SILVER $25,000–$49,999Anonymous (3) • Warren and Anne Anderson • Marshall and Jane Brown † ^ • Susan Buske • David and Linda Cornfield • Susan M. Coughlin and John K Lauber † • Christopher and Carolyn Eagan † • Richard and Mary Beth Gemperle ^ • Eric Hawley and Gwen Lowery • Adrian and Jane Hobden • Dr. Kennan Hollingsworth ^ • Geraldine Lindsey and Don Froomer • Mr. Everil Loyd, Jr. ^ • Bruce R. McCaw Family Foundation • Tom McQuaid ^ • Brendan Murphy • Erika Nesholm • John F. and Laurel Nesholm ^ • Kirsten Nesholm • Bill and Sally Neukom • Jeff and Martha Sherman • Estate of Marion G. Stamper ^
BRONZE $15,000–$24,999Anonymous (2) ^ • John Bates and Carolyn Corvi • The late Eileen M. Birge • Jack and Connie Bloxom ^ • Dr. Susan E. Detweiler and the late Dr. Alexander Clowes ^ • Janice C. Condit ^ • James and Wendy Cullen ^ • Sandra B. Dunn • Paul Goodrich and Shannon Sperry • Jeffrey and Rosario Hanna ^ • Mr. and Mrs. Richard C. Hedreen • Victoria Ivarsson • Dr. Brian A. LaMacchia • Gavin Lambie • Anne M. Redman ^ • Dr. Lupe Salazar and Barry Bolding • Dr. Jay D. Sprenger with Stephen A. Sprenger • Judy Tsou and David Carlson • Sally Anne West
CROWN DONOR SOCIETY
DIAMOND $10,000–$14,999Anonymous ^ • Mr. and Mrs. Willie C. Aikens † • Richard R. and Constance Albrecht • Linda and Tom Allen ^ • Paula Begoun • Milkana and Colin Brace • William B. and Ann S. Burstiner ^ • Drs. Darlene and Gregory Chan ^ • Susan and Alfred Chandler • Theodore and Patricia Collins • Charles and Sandra Cossé ^ • John Delo and Elizabeth Stokes ^ • Tim Dreyling • Robert Fries and Debra Dahlen • Leslie Giblett ^ • John Goodfellow • Dave and Cheryl Hadley • Hylton and Lawrence Hard • Ann and Glen Hiner • J. Marilyn Holstad ^ • Michael and Zhenya Hyman • Bruce E.H. Johnson and Sandra E. Davis • Marshall and Kelly Johnson • The late Betty Jane
Kreager ^ • Frances J. Kwapil ^ • Winnie and Ven T. Lee • Laura Lundgren • Marcella McCaffray • Sarah Navarre ^ • Steven C. Phelps ^ • Warren Bakken and Jocelyn Phillips • Stella and Christopher Ray • Jonathan Rosoff and Kristin Winkel • Eric and Margaret Rothchild • Matthew Segal and Corrie Greene • John Starbard ^ • Russell F. and Sarah M. Tousley ^ • Jim and Camille Uhlir • Moya Vazquez ^ • Joan and the late Craig Watjen • Susan Winokur and Paul Leach • Virginia and the late Bagley Wright • Scott and Jenny Wyatt
SAPPHIRE $7,500–$9,999Anonymous (2) • James and Carol Bowditch • Brenda Bruns, M.D. • Marc D. and Maria Erlitz • Dr. Martin L. Greene and Kathleen Wright ^ • Drs. Mary and Marvin Hoffert • John and Pamela Jolley • Rebecca and Laird Malamed • Dale and Shirley Martin • David Mattson ^ • Karen Rose Mitchell • Mary and D. Pat Patterson • Mary Pigott • Judy and Lellius Rose • Janet and Thomas Seery • Mr. and Mrs. James Solimano • Rose M. Southall ^ • Donald and Gloria
Swisher ^ • Beryl A. Thompson ^ • Hans van der Velden • Raleigh Watts ^
EMERALD $5,000–$7,499Anonymous (7) ^ • Pamela and the late Dr. Harold Amoss • Kim A. Anderson • Kathy Andeway • Martha K. Bargren • Joshua and Megan Barnard • Ralph and Catherine Bauman • Lynly Beard • Sheryl and Ross Beirne • John and Joyce Bozeat • Gary Bromberg • Bonnie Daniels and the late Brian Bross • Melanie A. Burton • Cy and Kathleen Butler • Joe and Dorothy Canavan • Jonathan Caves and Patricia Blaise-Caves • Gerry & Fran Conley • Dow Constantine and Shirley Carlson † • Sandra and Richard Counts • Collett Cox and William Arraj • The late Norma Cugini • Marc and Maud Daudon • The late Jane and David R. Davis • Suzanne DeWitt and Ari Steinberg • David and Helén Dichek • Michael G. Dryfoos and Ilga Jansons ^ • Kenneth Duncan and Tanya Parish • Lois Gamble Duncan and the late George Rolfe • Kristina M. Erickson • Bernard Evans and the late Martha Himber • Adam and Emily
“Seattle Opera has been there for me since the beginning of my professional career. As I was transitioning out of the young artist world, Seattle Opera reached out and took a chance on me. We started small and grew from there. Each role helped to expand my vocal and dramatic skills. I’m so grateful for the opportunities the company has given me.” —Adam Lau, Bass
Seattle Opera 2019/20 Season32
Fountain • Diana Gale and Jerry Hillis ^ • Phyllis Golden • Paul and Becky Haley • In honor of Adina Meyer † • Jenny Hartley ^ • Peter D. Hiatt • Connie and Dan Hungate • Jeanne Kanach • Gilla Kaplan • H. David Kaplan ^ • Jon and Eva LaFollette • Aidan Lang and Linda Kitchen • Jay and Linda Lapin • Carla and Don Lewis • Anamaria Lloyd • Kathleen Lofstedt and Susan Lofstedt • Kerry Lowery • Jon Magnussen • Paul and Yaffa Maritz • William B. Maschmeier and Patricia Haggerty ^ • Peter A. Mathisen • Terry McCarthy • Sarah McCoy and Jim Buchanan ^ • Mr. and Mrs. Dean A. McManus • Dolly and Dave Milkowski • Stafford and Louise Miller • Richard Mills and Karen Covington • Egon and the late Laina Molbak • Sue Montgomery • Christopher L. Myers and Judith Schoenecker ^ • John W. Nemanich, M.D. and Ellendee Pepper, M.D. ^ • Ralph and Wanda Nuxoll ^ • Diana C. and Angela C. Oberti • Drs. Lester and Keiko Permut • Barbara B. Peterson • Carolyn J. Purnell and Wes C. Uhlman • Alice and Dick Rapasky • Dana Rasmussen ^ • Braiden Rex-Johnson and Spencer A. Johnson ^ • Nicholas Roberts and Yvonne Chang • Joy Rogers and Bob Parker • Cornelius and Penny Rosse † ^ • Paul L. Rowe and R. Michael Sereno • Peggy Savlov • Mr. and Mrs. Frederick B. Scheetz • Jean E. Schweitzer • Carolann and Gary Steinhoff • Jane Stevens ^ • Charles and Delphine Stevens • Howard and Vivienne Strickler • R. Patton Swaim • Pamela and Ronald Taylor • Jennifer Thill • Thomas and Lisa Tocher • Terrence Turner • Vilma Vojta • Dr. and Mrs. Mike Waring • Bill and Carol Warren ^ • Ruth and Todd Warren • David and Romayne Watt • Norman Weeks • Julie Wieringa ^ • Kathryn Williams • Mary A. and David L. Williams • Jeff Wood and Diane Summerhays • Jerry and Nancy Worsham
FRIENDS OF SEATTLE OPERA
RUBY $3,000–$4,999Anonymous (7) • Ignacio Alvarado • Jere L. Bacharach and Barbara Fudge • Dr. Aaron Barnes • Peter Barrett • Peter and Jane Barrett • Jillian Barron and Jonas Simonis • Barbara G. Bedell • Mr. Arnold and Mrs. Judith Bendich • Rebecca Black • Molly Bostic and Mark Reiners • Rebecca Boyd • Beverly and the late Phillip Brazeau • Thomas and Virginia Brewer • Alec and Maddy Brindle • Dr. Boyce Burdick • Betty R. Carter ^ • Leslie Chihuly • Heinke Clark ^ • Carol and Carl Corbin ^ • James Crouse and Lee Oatey-Crouse • Rachel Crum • Laurie and William Daniel ^ • Pearline Davis • Peter DeLuca • Steve and Sandy Driscoll • Michael Emanuel & Heather Danso • Laura and Robert Emmerichs • Judith Z. Feigin and Colin Faulkner • Jack and Marsha Firestone ^ • Steve and Susan Ford • Jim Fox • Alan and Linda Freyd • Donald and Ann Frothingham • Cheryl Gagne • Ruth Gerberding • Brian and Lynn Grant • Richard H. Haase • Catherine and Samuel Hardy • Dr. and Mrs. Fred I. Hasegawa • Catherine Hayes • Terrill and Jennifer Hendrickson • Eileen Hershberg • B. Lane Hill • Michael R. Huber and Danielle E. LaVilla ^ • Dr. Gary and Janice Hudak • T Jeffrey Keane and Martha J Noerr • Daniel Kerlee and Carol Wollenberg • Ed Kim • Michael Klein and Catherine Melfi • Alyssa Kreider • Eric and Janice Lamers ^ • Don and Kristi Larson • Frank Lawley • Jeanne Marie and the late Rhoady Lee • Andrea C. Lewis • Lex Lindsey and Lynn Manley • Stephen Lordon • Robert & Tammie Mack • Fowler Martin and Barbara Warren • Steve and Estela Martinez
† = Donor to Programs and Partnerships= Opera Star Monthly Donor^ = Encore Society Member
SPONSORED IN PART BY
NOV 7 – DEC 29Issaquah (425) 392-2202
JAN 3 – FEB 2Everett (425) 257-8600
VillageTheatre.org
2019-2020 SEASON
4 SHOW SUBSCRIPTIONSNOW AVAILABLEGUYS & DOLLSSHE LOVES MEHANSEL & GRETL & HEIDI & GÜNTER THE WEDDING SINGER
33Cinderella
• Barbara J. Mauer • Dorothy E. McBride • Steven McCarty • Diane McDade • Gunda and Uwe Meissner • Greg Meldahl ^ • Susan and Furman Moseley • Beth Naczkowski • Diana Neely • Sharon L. Nelson • Susan and Gary Neumann • Lev and Isabella Novik • Gordon H. Orians • Joan Ostendorff • Estate of Helen A. Overton ^ • Tomas Perez • Dr. Mary Lee Peters • Shane and Janet Peterson • Megan and Greg Pursell ^ • Catherine Ramsey and Thomas Ball • Chris Randall • Buddy Ratner and Cheryl Cromer-Ratner • Dennis Reichenbach • Christopher and Jennifer Roberts • Koryn Rolstad • Ivan and Helen Rouzanov • Ronald and Susan Runyon • Marguerite Russell † • Irwin Sarason, in memory of Barbara Sarason ^ • Eckhard Schipull • Dr. Anita Shaffer • Christopher and Cameron Snow • Yana Solovyeva and Igor Zverev • Ronald and Dawnelle Spaulding • Cindy and Peter Sprenger • Anne Steele • Joan Underwood • Manijeh Vail • George and Jean Wagner • Barbara and John Ward • Katherine and Rob Watson • Christian and Joyce Zobel
JADE $1,500–$2,999Anonymous (16) ^ • Alberda Family • Elena Aleksandrova-Perelman † • Robert and Ali Alexander • Paul and Karin Allen • Hemda Arad • In Memory of Robert L. Autrey • Phillip Baldwin and Layne Goldsmith • Redmond J. and Suzanne Wilson Barnett • Michael Barras • Evelyn and Richard Bateman • Barbara Beatty • Cheryle Beighle and Stephen Schroeder • Alan and Sherry Bennett • Jason Bergevin and Kelly Abner • Lisa E. Bergman and David L. Fluharty • Ellen Bierman • Joseph Borden and Sara Marks • J. Cleve and Judith Borth • Anitra Breit • Stephen Brenner • Bonita and David Brewer • Marilyn Brockman • Lindsay Brown and David Zapolsky • Julia Buck and BJ Last • Lydia Budak and Bruce Kincy • Carl Bunje and Patricia Costello • R K Burk and Meg Murch • Kent R. Burnham • Irene Campbell • Jeanne and Jon Cantalini • Elizabeth and Spark Corwin • Greg and Regina Crumbaker • Robert Cumbow • Bob and Wendy Darby • Corey Darlington • Mary Dickinson • Clint Diener and Diane Lasko • Blair and Laura Dillaway • Corinne Dixon • Johanna and Bill Dock • Aileen Dong • Nicholas Dorman and Allison Rabbitt ^ • Patricia Dubrow † ^ • Glenn and Bertha Eades • Joan Eklof • Russell Elliott † • K. Carole and the late William Ellison • John Erickson • Harlan Falkin • Charles and Rose Ann Finkel • Robert Fisher • Gerald B. Folland • Ernest and Elizabeth Scott Frankenberg ^ • Jim Fridley and Elaine Scott • Sonia Gabrielson • Dr. and Mrs. Robert Gibbons ^ • Dr. Charles Simrell and Deborah Giles • Adam Goldin • Kristopher K. Gould • Allen and Carol Gown • Janet Graeber • Lyn and Jerry Grinstein • Karlie and Christopher Gross • Richard and K. Diane Haelsig • Kristina Haight • Catherine Haley • Dr. M. Elizabeth Halloran • Steven T. Haney • Wolfram and Linda Hansis • William Harleston and Coral Hanevold • Gini Harmon ^ • Dr. H. Hasche-Kluender and H. Shahri • Janice Hayes • Roger Hensley • Ms. Jean Large and Mr. Fred Herzberg • Drs. Raquel and Russell Hicks • Andrew & Delney Hilen • Jana C. Hollingsworth • Dr. and Mrs. William B. Hood, Jr. • William Hoppin ^ • Rick and Carole Horwitz • Gerald and Gladys Hoshijo • Mr. and Mrs. Robert L. Houston III • Lembhard G. Howell •
INDIVIDUAL DONORS CONT.
† = Donor to Programs and Partnerships= Opera Star Monthly Donor^ = Encore Society Member
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ENC INDIVIDUAL DONORS LIST
Tracing the inner journey of a comatose soldier after she suffers a roadside attack, The Falling and the Rising is an operatic story of service and sacrifice. As the soldier moves through her unconscious dreamscape, the audience will serve as both companion and witness, sharing powerful encounters with fellow service members along the way. Originally created from interviews with active-duty soldiers and veterans, the opera serves as an ode to American soldiers, shining a light on their often untold stories. The intimate production will be the first presented in the new 200-seat glass box space at the Opera Center.
Performed in EnglishEvenings 7:30 PMSundays 2:00 PM
A CHAMBER OPERA
TAGNEY JONES HALLAT THE OPERA CENTER206.389.7676SEATTLEOPERA.ORG/RISING
The Falling and the Rising is a new American opera conceived by the U.S. Army Field Band and Soldiers’ Chorus.
MUSIC BY ZACH REDLER | LIBRETTO BY JERRE DYE
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Kathleen Huckabay • Pamela Hughes and Robert Munoz • Bruce and Judy Hutchison • Donald Immerwahr • John and Annick Impert • Darrell and the late Ruth Jackson • Renan Jeffereis and Gail Kaminishi • Warren and Mary Jane Jessop • Mark J. Johnson • Allan and Miriam Johnston • Ken and Karen Jones • Paul and Pat Kaald • Michael and Nancy Kappelman • Donna G. Kaufman • Travis and Suzanne Keeler • Margaret Keenan • Nancy J. King • Dan and Pat Kinney • Maritta Ko † • Albert and Elizabeth Kobayashi • Christopher Kodama • Karen Koon • Laura and Scott Kosinski • Kathy Kreps • Melissa Lattimore • Barbara Laughlin • M. Adler and M. Lebas • Margaret Leiberton and Dr. R. Venkatesan • Nancy K. Lennstrom • Mr. & Mrs. Alan Levy • Henry Li • Thomas Edwin Long • Mark P. Lutz • Jim Lyle • Duncan Maclean • Edith Maffeo ^ • Todd Martin • Jim Martinek • Kathryn McAuley • Judy McBroom • D. P. M. McCann • David McClure ^ • Dr. John and Susie McFatridge • Mr. and Mrs. James P. McGough • James and Karen Mhyre • Ann H. Milam † ^ • Barbara and Jim Miller • Ronald E. Miller and Murl G. Barker • Connie Missimer Carlson • Paul and Elizabeth Mitchell • David Monteith • Meg and David Mourning • Don and Lynn Murphy • James and Pamela Murray • Eunice Nakao and Roy Tribelhorn ^ • Linda and J. Patrick Naughton • Lois H. North • Pamela A. Okano ^ • Mark and Leslie Olson • John W. O’Meara • Elmer Pacardo • Soo Park and Jeff Rosenfeld • Nancy Peacock • Kathryn Pearson • Martha Pendergast • Donald Pogoloff • Lynda and Dan Porter • Jack and Carolynn Prelutsky • Tom and Gretchen Puentes • Jeffery and Paula Pyatt • K. Carolyn Ramamurti • Judith Ramey • Russell and Julia Reid • Steven and Fredrica Rice • Lucy Richard • Dr. Alex and Mr. Bruce A. Ritzen • Bonnie and the late Richard Robbins • Richard and Nancy Robblee • Paul and Mary Ann Roberts • Robert and Eleanor Roemer • Darcy Roennfeldt • Joanna Ryan and Rebecca Ross • Jesse S. • Carl Sanders • Ruth and Garry Schneider • Judith and Joseph Schocken • Nancy Scurlock and Tracey Yonick • Janet Sears ^ • Virginia Senear and the late Allen Senear ^ • Christine Seyfried and William Catterall • Kathlyn Shaw • Suzanne Sheppard • Alison Shuler • Bernard and Susan Silbernagel • Don and Goldie Silverman • Susan Simons • Novae Simper • Chuck Sitkin • Douglas Smith and Stephanie Ellis-Smith • Evelyn and Leroy Smith • Sarah Soutter • David and Jannie Spain • Alan and Bonnie Steele • Sheila and Craig Sternberg • Lisa and John Stewart • Paula Stewart • Charles and Susan Stillman • Philip R. Stoller • Bert Sullam • Kristina Susser • Herschel Tabiando • Marvin Theimer • Theresa T. Thoman • Tamlyn P. Thomas • Ian L. Thompson, M.D. ^ • Mary Anne Thorbeck • Patricia Thorpe • Patricia Torode • Nanette Toyoshima • John and Anne Trench • Evelyn M. Troughton ^ • Harold and Tish Tukey • Dave and Stephanie Twigg • Marjorie and Thomas Tyler • Mr. and Mrs. Stanley W. Vail • Alice and Bill Van Pelt • Betty L. Wagner ^ • Cynthia Walk • Mary and Findlay Wallace • John G. Wallace • Estate of Herbert Warrick ^ • Judith Warshal and Wade Sowers ^ • Richard Wetmore • John Wiley • Kevin Wilson and Emily Evans • Pat Wilson • Carolyn and Vincent Wirkman • Steven and Gail Wish • Mark and Judy Wittlinger • Albert and Angelina Yen • Charles A. Zaragoza ^
We are grateful for your support and every effort was made for accuracy but sometimes we make a mistake. Please let us know if we missed your name or your recognition was not as you expected. Contact Donor Services at [email protected] or 206.389.7669.
Monet, Renoir, Degas, and Their Circle
French Impressionism and the Northwest
EXHIBITION OPENSSeptember 28, 2019www.TacomaArtMuseum.org
35Cinderella
36 Seattle Opera 2019/20 Season
Since early September, Joseph Riley has been among a small group meeting regularly at the Opera Center. This newly formed chorus is preparing for its debut in The Falling and the Rising, a new American opera conceived by the U.S. Army Field Band and Soldiers’ Chorus. A story of service, sacrifice, and resilience, the opera features five professional singers and a small orchestra. It will open November 15 at the Opera Center.
The chorus members have very little performance experience, and many will be in front of an audience for the first time in their lives. However, all have served in the US military. And all have experienced trauma.
Joseph, a Seattle native, was briefly in the U.S. Air Force. Based in Texas, he dreamed of becoming a pilot. A diagnosis of bipolar disorder ended his military aspirations. “The air force discharged me,” he said.
His mental illness also made it hard to keep a steady job. “I worked construction from time to time. But when I wasn’t working I would fall into being homeless.”
Mental illness, unemployment, drug addiction, domestic abuse—these experiences are familiar to all the members of the chorus and many veterans as well. Resilience is also part of their story, a similarity they share with characters in The Falling and the Rising. The chorus members have come to this production through a partnership with Path with Art, a local non-profit that transforms the lives of people recovering from trauma by harnessing the power of creative engagement.
Research shows that engagement with the arts significantly improves the quality of life for people recovering from trauma, said Jacques Pugh, a Path with Art board member and an army veteran who has experienced post-traumatic stress. “The arts provide a bridge for us to reconnect with ourselves in a positive way. They also help to reconnect us with the community and society. I’ve had several episodes of suicidal ideation. Through filmmaking, I’ve experienced the power of art making.”
With only a few weeks until opening night, Joseph is eager to get this rehearsal started. The scene is different from the choir practices at Path with Art, where he’s been singing for a few years, he said. “There’s a lot less chatter at this rehearsal. And, of course, there’s our shared past of being in the military. There’s a level of acceptance here.”
Jacques echoes this feeling. He attends each practice to support the chorus members and to be a liaison between the opera staff and the singers. “The fact that we’ve all worn the uniform and have committed to the common defense of our nation is one thing that veterans will recognize in each other.”
Starting with a brief check in, the rehearsal begins. After vocal warm ups, practicing pitch control, diction, and other vocal techniques, the singers get down to the business of learning the finale chorus—their moment to shine in The Falling and the Rising. “I think we sound pretty good,” Joseph said.
When asked if he’s nervous about opening night. Joseph doesn’t hesitate. “No, I don’t think so,” he replied. “All of us will be together, instead of one person standing in front of an audience alone.”
And that’s the point of The Falling and the Rising. No veteran stands alone.
Tickets are available for The Falling and Rising. SEATTLEOPERA.ORG/RISING
This group of Seattle veterans will make its Seattle Opera debut in The Falling and the Rising November 15.
By Glenn Hare
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2020 SPRINGSEASON
tchaikovskyEUGENE ONEGINschnyder | wimberlyCHARLIE PARKER’SYARDBIRDpucciniLA BOHÈMELEARN MORE AND BUY TICKETS! Our spring season features an elegant Russian romance from the Nutcracker composer, the West Coast premiere of an innovative American bebop opera, and a passionate production of a beloved classic. Become a subscriber to experience it all and enjoy savings of up to 40% over the cost of single tickets—as well as many other exclusive benefits. Visit the subscription desk in the Grand Lobby today!
SEATTLEOPERA.ORG/SUBSCRIBE
CALL: 206.389.7676 TICKET OFFICE: 363 MERCER ST.MON–FRI 10 AM–6 PM
2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN Photo © Philip Newton
$25,000 AND MOREClassical KING FM 98.1Grousemont FoundationSeattle Opera Foundation *†True-Brown Foundation The Wallace Foundation ◊
$5,000–$24,999Anonymous Anonymous, in honor of Adina MeyerThe Boeing Company Marshall and Jane BrownCostco Wholesale *Susan MacGregor Coughlin and
John Lauber *◊The Foster Foundation †The Hot Chocolate FundThe Seattle Foundation:
Poncho Legacy FundSeattle Opera Guild Union Bank †The Peg and Rick Young Foundation
$1,000–$4,999Mr. and Mrs. Willie C. Aikens Elena Aleksandrova-PerelmanArtsLEAF
PROGRAMS AND PARTNERSHIPS SPONSORS
ArtsWA | Washington State Arts Commission ◊ †Dow Constantine and Shirley Carlson Russell ElliottMaritto KoD.V. and Ida J. McEachern Charitable Trust *Ann H. MilamCornelius and Penny Rosse Marguerite RussellTrilogy Musical Notes Club *
ENDOWED FUND SUPPORTC. Keith Birkenfeld Memorial Trust
for EducationThe Clowes Fund In-School Education
Programs EndowmentCarmen Elizabeth Delo Endowed Fund for
EducationWilliam Randolph Hearst Endowed Fund
for Educational Outreach at Seattle Opera
Perry Lorenzo Fund for In-School Education
Dr. Stanley M. Pier Endowed Fund for In-School Education
Cecilia Schultz Music Foundation Fund for Educational Scholarships
Gertrude E. Sprenger Education Endowment
Your support fuels the programs and community partnerships that enrich the lives of opera lovers across the Pacific Northwest!
Gifts toward Programs and Partnerships at Seattle Opera make it possible to connect with classrooms and neighborhood centers all across Washington State, sharing opera with 70,000 people each year outside of our mainstage programming. We are grateful for the following donors who have made a commitment of $1,000 or more between July 1, 2018 and August 16, 2019.
* denotes Youth Program support† denotes In-School Program support◊ denotes Chamber Opera support
This summer, nearly 50 kids and teenagers created and performed their own original opera stories and presented excerpts from Mozart’s The Magic Flute during Seattle Opera’s Summer Camp at the Opera Center.
© P
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YOUR INVESTMENTS SUPPORTS GREAT SINGING When you invest in Seattle Opera, you launch the careers of great singers of the opera world. Two years ago, Frederick Ballentine—the impressive tenor who wowed us with his performance in last season’s Carmen—got his professional start in Seattle. “The Magic Flute performance was my first professional contract,” he recalls. “That opportunity really lifted my spirits.” The role was just what Ballentine needed to build his confidence and to move his career forward. Since then his career has catapulted to leading roles at the Metropolitan Opera, English National Opera, Washington National Opera, and LA Opera. He will perform the title role in our production of Charlie Parker’s Yardbird in February.
Your support of Seattle Opera means we can advance the careers of singers like Frederick Ballentine to the next level. This season, more than 30 performers will make their Seattle Opera debut. Please share your appreciation for Seattle Opera by making an end of year gift by December 31.
SEATTLEOPERA.ORG/DONATE
“Seattle Opera gave me the first ego boost that I needed to continue in this business.”
—Frederick Ballentine, tenor
Frederick Ballentine performs as Don Jose in Seattle Opera's 2019 production of Carmen.
This season, Meredith Arwady makes her Seattle Opera debut in Eugene Onegin and Jonathan Tetelman makes his debut in La bohème.
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INSTITUTIONAL DONORSSeattle Opera is exceedingly grateful for the following cumulative contributions in support of Seattle Opera at the Center and the Annual Fund. The impact of these organizations keeps opera and the arts thriving in our community.
MATCHING GIFTSAetna • Alaska Airlines • Apple Inc. • AT&T • Bank of America • Bill & Melinda Gates Foundation • BlackRock, Inc. • BECU • Cambia Health Foundation • Chevron • Costco Wholesale • Expedia Inc. • ExxonMobil • Frontstream • General Electric • Google, Inc. • IBM • Intel Corporation • Johnson & Johnson • King County Employee Giving Program • Microsoft • Morgan Stanley • Network for Good • Northern Trust • Oracle Corporation • Quaker Hill Foundation • Royal Dutch Shell • City of Seattle, Seattle Shares • Starbucks • Texas Instruments • The Boeing Company • The Coca-Cola Company • The Polyclinic • T-Mobile USA, Inc. • Thrivent Financial • UnitedHealth Group • Verity Solutions • Washington State Combined Fund Drive
$15,000–$24,999 The Boeing Company • Cossé International Securities, Inc. • Heartland • Tucker Family Foundation • Wagner and More
$10,000–$14,999Anonymous • Janet Wright Ketcham Foundation • Seattle Opera Guild • Union Bank
$5,000–$9,999ArtsWA | Washington State Arts Commission • Badgley Phelps • Creelman Foundation • The Dabney Point Fund • La Biosthétique • M.A.C. Cosmetics • Richard B. and Barbara B. Odlin Foundation • The Performing Arts Readiness Project • Wyman Youth Trust
$3,000–$4,999Davis Wright Tremaine • Peter F. Donnelly Merit Fund • Fales Foundation Trust • Garvey, Schubert, & Barer • Parker, Smith, & Feek, Inc. • Charles Maxfield and Gloria F. Parrish Foundation • Perkins Coie • Ryan, Swanson & Cleveland, PLLC
$1,500–$2,999ArtsLEAF • Trilogy Musical Notes Club
$1,000–$1,499Colymbus Foundation • Leathercare, Inc. • The Reed McClure Firm • The Seattle Foundation: Poncho Legacy Fund • Talking Rain
DONOR ADVISED FUNDSAyco Charitable Foundation • BNY Mellon Charitable Gift Fund • The Boston Foundation • Community Foundation of Utah • The Dallas Foundation • Edward Jones • Fidelity Charitable Gift Fund • Fiduciary Charitable Foundation • MyICON Foundation • Inland Northwest Community Foundation • Innovia Foundation • Jewish Federation of Greater Seattle • Oklahoma City Community Foundation • Saint Paul Foundation • Schwab Charitable Fund • The Saratoga Charitable Foundation • Seattle Foundation • TIAA Charitable • U.S. Charitable Gift Trust • United Way of King County • Vanguard Charitable
OFFICIAL IN-KIND PARTNERS
$500,000–$999,999True-Brown Foundation
$250,000–$499,999C.E. Stuart Charitable Trust
The Chisholm Foundation
Joshua Green Foundation
John Graham Foundation
$100,000–$249,999Sunderland Foundation
Peach Foundation
The Hot Chocolate Fund
Grousemont Foundation
The Foster Foundation
$25,000–$49,999The Peg and Rick Young Foundation
Pacifica Law Group
Ned and Kayla Skinner Arts Enrichment Fund
BNSF Railway Foundation
D.V. and Ida J. McEachern Charitable Trust
$50,000–$99,999
$1,000,000 AND MORE
Anonymous Seattle Opera Foundation
State of Washington– Building for the Arts
Tagney Jones Family Fund at Seattle Foundation
Nesholm Family Foundation
Bruce R. McCaw Family Foundation
Norcliffe Foundation
Anonymous
Anonymous
Costco Wholesale
Nuckols-Keefe Family Foundation
40 Seattle Opera 2019/20 Season
Seattle Opera’s strong foundation of support is thanks to donors like you who create a lasting legacy gift with an endowed fund.
ENDOWMENT FOR SEATTLE OPERA AT SEATTLE OPERA FOUNDATIONThe Seattle Opera Foundation manages donations directed to the Endowment for Seattl Opera. A permanent investment fund, the endowment creates a perpetual source of support for Seattle Opera and its mission to create and its mission to create life-enhancing experiences that speak deeply to people’s hearts and minds. While gifts of all sizes to our general fund are helpful and appreciated, named funds are particularly special in that they provide donors with an opportunity to designate their gifts for a particular cause that is most meaningful, allowing us to honor family legacies in a more personal way. With a minimum gift of $100,000, we would be honored to recognize your fund along with the special donors listed on this page. To learn more about Seattle Opera Foundation and the Endowment for Seattle Opera, visit seattleopera.org/legacy or contact Donor Services at 206.389.7669 or [email protected].
PROGRAMS & PARTNERSHIPSC. Keith Birkenfeld Memorial Trust for EducationTo support Kitsap County education and opera programs.The Clowes Fund In-School Education Programs EndowmentTo support Seattle Opera’s educational programs.Carmen Elizabeth Delo Endowed Fund for EducationTo support Seattle Opera’s current and future education and community engagement school-based programs.Paul and Susan Flack Endowment FundTo provide tickets to Seattle Opera performances for low-income individuals.William Randolph Hearst Endowed Fund for Educational Outreach at Seattle OperaTo support educational outreach programs and scholarships.Perry Lorenzo Fund for In-School EducationTo support in-school education programs.Dr. Stanley M. Pier Endowed Fund for In-School EducationTo support current and future education and community engagement school-based programs. Cecelia Schultz Music Foundation Fund for Educational ScholarshipsTo support educational scholarships.Gertrude E. Sprenger Education EndowmentTo support the Director of Programs & Partnerships position at the Seattle Opera.
SEATTLE OPERA AT THE CENTERMarian Lackovich Fund To support Seattle Opera at the Center through 2020, and to support education programming.
ARTISTIC & PRODUCTIONKreielsheimer Endowment Fund for Mainstage To support at least one production in each Seattle Opera season.Eulalie Schneider Fund for Artistic ExcellenceTo support Seattle Opera’s artistic excellence on an annual basis..Lundgren Endowment for New WorksTo support the creation of new opera by paying for composer and librettist fees.Diana Blackmore Endowed Fund To support the Artistic Development Endowment at the Seattle Opera Foundation.Braiden Rex-Johnson and Spencer A. Johnson Endowed Artist FundTo support compensation for artists performing on the mainstage.Hartmut B. Gottschau Endowed Fund supporting German Operas To support Seattle Opera’s production of German operas.
GENERAL ENDOWMENTMax E. Gellert Memorial Fund To support Seattle Opera’s general endowment.Speight Jenkins Endowed Fund Permanent endowment to be used as the Seattle Opera Board of Directors deems most useful to the company.Dr. Phyllis Badgi and Dr. Kennan Hollingsworth Endowed Fund To support the General Director’s Discretionary Fund at Seattle Opera.Jim and Gretchen Faulstich Endowed Fund To support Seattle Opera’s general endowment.Mary F. Stowe Endowed FundPermanent fund to be used as the Seattle Opera Board of Directors deems most useful to the Opera.
We salute Jim and Gretchen Faulstich for their legacy gift to Seattle Opera.
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YOUR SUPPORT: LIVE ON THE MAINSTAGE!Express your passion for Seattle Opera by sponsoring a production, artist, event, or program that resonates with you. Get to know the artists and the behind-the-scenes work that bring your favorite opera productions to life!
LEADERSHIP CIRCLEThrough a multi-year Annual Fund commit-ment of $100,000 or more, Seattle Opera’s most visionary supporters help realize an unbounded vision for Seattle Opera’s future. Leadership Circle membership gives you premium recognition, provides personalized access to your opera company, and allows you to create a lasting impact on the art you love.
We give profound thanks to the following Leadership Circle members (as of August 16, 2019):
AnonymousToby Bright and Nancy Ward Eric Hawley and Gwen LoweryGary and Parul HoulahanCarol Maione and Brian MarksJohn and Laurel NesholmJames and Sherry RaisbeckJeff and Martha ShermanEugene and Jean StarkMaryanne Tagney and David JonesTrue-Brown FoundationJay and Susanne WakefieldGail and William T. WeyerhaeuserAnn P. Wyckoff
PRODUCER'S CIRCLEThe Producer’s Circle recognizes donors who have made a three-year Annual Fund com-mitment of $60,000–$99,999. This new tier of customized giving brings more possibilities than ever before to ensure the present and future of your opera company. Make your pledge today and enjoy memorable behind-the-scenes experiences with Seattle Opera!
We are so grateful for the following Produc-er’s Circle members (as of August 16, 2019):
Marshall and Jane BrownChristopher and Carolyn EaganDr. Kennan H. Hollingsworth John Sullivan and Paula StokesSally Anne West
Customized sponsorship benefits make for a truly unforgettable experience. Contact Donor Services for more information at [email protected] or206.389.7669.
Leadership Circle members Nancy Ward and Toby Bright (center) backstage with Marina Costa-Jackson (left) and Ginger Costa-Jackson (right).
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EUGENEONEGINJANUARY 11–25
A DECADENT RUSSIAN ROMANCEFor Tatyana, it’s love at first sight. She stays up all night baring her soul in a passionate letter to Onegin, only to suffer crushing heartbreak the next day. When he finally returns her affections, it’s too late—a rival has appeared. With breathtaking music by Tchaikovsky (The Nutcracker, Swan Lake, 1812 Overture) and a story based on Alexander Pushkin’s masterful verse novel, Eugene Onegin is poignant Russian romance at its finest. Lush orchestrations, elegant ballroom dances, grand sets, and elaborate period costumes bring 1800s Russia to life on the McCaw Hall stage for the first time in this achingly beautiful tale of longing, remorse, and love unfulfilled.
In Russian with English subtitles.Evenings 7:30 PMSundays 2:00 PM
Featuring the Seattle Opera Chorus and members of Seattle Symphony Orchestra.
MCCAW HALL206.389.7676SEATTLEOPERA.ORG/ONEGIN
2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN PRODUCTION SPONSOR: SEATTLE OPERA FOUNDATION
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THOMAS DAUSGAARD, MUSIC DIRECTOR
Haydn The Creation
APRIL 30 & MAY 2
Thomas Dausgaard conductorJulia Lezhneva sopranoKenneth Tarver tenor Benjamin Appl baritoneSeattle Symphony Chorale
Kenneth Tarver’s performances are supported by the Melvyn Poll Tenor Fund.
Thomas Dausgaard’s performances sponsored by the Scan|Design Foundation by Inger and Jens Bruun.
For Tickets:
seattlesymphony.org
Julia lezhneva
Kenneth tarver
Seattle Symphony Chorale thomaS DauSgaarD
BenJamin appl
IN THE LOBBYA folktale doesn't end; it just takes new forms. The name "Cinderella" may conjure images of Disney princesses riding in magical pumpkins, but similar parables of graceful deliverance from hardship can be found in nearly every corner of the globe. There's Rossini's tale focusing on love and forgiveness, the brutal Brothers Grimm version of the story, and many others— check out our lobby displays to learn more!
Illustration from The Sleeping Beauty and Other Tales From the Old French drawn by Edmund Dulac, 1910.
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LIMITED EDITION CINDERELLA T-SHIRTSDesigner Kitty Kough has created this exclusive illustration for our uplifting new production of Rossini’s heartfelt fairytale adaptation. A high-flying sky blue butterfly recalls Angelina’s rags-to-riches transformation, doubling as her identity-concealing mask worn to the Prince’s masquerade party. Delicate letters spell out the opera’s title as if embroidered in silken thread, all against a royal blue background. Available in men’s and women’s long sleeve. Prices vary.
LA CENERENTOLA CDBring home the music of Rossini’s enchanting version of the Cinderella story with this specially priced 1972 Deutsche Grammophon release. Featuring Teresa Berganza as Cenerentola and Luigi Alva as Don Ramino. Claudio Abbado conducts the London Symphony Orchestra and Scottish Opera Chorus. 2-CD set includes complete opera recording and track-by-track synopsis booklet. $19.95.
LA CENERENTOLA DVDPaolo Montarsolo, Frederica Von Stade, Francisco Araiza, and Claudio Desderi star in this widely heralded La Scala production staged, directed, and designed by Jean-Pierre Ponnelle. Claudio Abbado conducting the Orchestra E Coro Del Teatro Alla Scala. $39.95.
CINDERELLA STORIES AROUND THE WORLDOnce upon a time, in Mexico…in Ireland…in Zimbabwe…there lived a girl who worked all day then spent the night by the hearth, sleeping among the cinders. Her name is Ashpet, Sootface, Cendrillon…Cinderella. Her story has been passed down the centuries and across continents. The quintessential rags-to-riches story exists in many cultures. Discover the many versions in a special collection of storybooks recounting Italian, Chinese, Irish, and African takes on the familiar tale. Assorted prices.
ADORNMENTS AND ACCESSORIESGoing to the Prince’s Ball? In search of the perfect Halloween accent? Browse our fanciful and fabulous collection of seasonal costumes, jewelry, scarves, and masks to add to the festivities. Prices Vary.
Located on the Kreielsheimer Promenade Level of McCaw Hall. Open for two and a half hours prior to curtain and during intermission.
AMUSEMENTSGifts of Artistic Expression
SHOP AMUSEMENTS ONLINE AT SEATTLEOPERA.ORG/SHOP
Learn more about the wild and wonderful world of opera with Seattle Opera Podcasts, a co-production with KING FM hosted by our resident dramaturg Jonathan Dean. Short, 15-minute introductions to every opera in our 2019/20 season are now available. Additional podcasts will be released by opening night which explore additional topics. Check iTunes or your favorite podcast provider and subscribe today!
SEATTLE OPERA PODCAST Can you hear the difference between Rossini, Bellini, and Donizetti? How does jazz (not to mention bebop) become opera?
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HALLOWEEN BACKSTAGE PARTY HOSTED BY BRAVO! SATURDAY, OCTOBER 26 FESTIVITIES START AFTER THE PERFORMANCE Join us for a one of a kind backstage party after Cinderella, complete with food drinks, dancing, and more. Costume encouraged! Age 21+ SEATTLEOPERA.ORG/HALLOWEEN
THE FALLING AND THE RISING A SOLDIER’S OPERATIC ODYSSEY NOVEMBER 15—24 OPERA CENTER The Falling and the Rising is a new American chamber opera that tells a story of service, sacrifice, and connection inside uncertainty. Based on interviews with active duty soldiers and veterans, the opera traces the inner journey of a comatose soldier after she suffers a roadside attack. Tickets on sale now. SEATTLEOPERA.ORG/RISING
OPERA TALKS WITH JONATHAN DEAN NOVEMBER 19 AT 7:00 PM OPERA CENTER FREE, OPEN TO THE PUBLIC Deepen your knowledge of opera with our free Opera Talk series. Each month, join Seattle Opera Dramaturg Jonathan Dean for an entertaining look at this unique art form, with topics ranging from opera’s rich literature and history to behind-the-scenes insights into how we put these grand productions on stage. SEATTLEOPERA.ORG/OPERATALKS
OPERA TIME AT THE CENTER SECOND SATURDAY OF EACH MONTH AT 10:30 AM FREE, OPEN TO AGES 7 AND UNDER WITH PARENT/GUARDIAN On the second Saturday of every month, Seattle Opera hosts drop-in sessions of Opera Time at the Opera Center, our early learning program that introduces young ones to opera through interactive songs and stories. These sessions are an exciting and free way to start off the weekend! SEATTLEOPERA.ORG/EARLYLEARNING
LASER OPERA FEBRUARY 1, 2020 PACIFIC SCIENCE CENTER FAMILY SHOW, 6:30 PM 21+ SHOW, 8:30 PM Opera takes over the Pacific Science Center Laser Dome for one night only! This annual BRAVO! tradition features a live laser show choreographed to a soundtrack of operatic favorites.
WILDE TALES FEBRUARY 7, 8, AND 9, 2020 CORNISH PLAYHOUSE AT SEATTLE CENTERIn this parable based on the works of Oscar Wilde, a gilded statue of a beautiful Prince suddenly comes to life. The Prince, realizing the destitute state of the home he once ruled, enlists the help of an unassuming Swallow to deliver gifts to those in need. Observing the charity of the Prince and his new feathered friend, the townsfolk newly realize the importance of generosity and empathy. This colorful and heartwarming presentation of the Youth Opera Project is performed by youth ages 7–18. SEATTLEOPERA.ORG/WILDETALES
SEATTLE OPERA’S BIG OPERA PARTY FRIDAY, FEBRUARY 28, 2020 OPERA CENTER & MCCAW HALL Calling all cool cats to the hippest joint in town! The “Big Opera Party” is back! Guests will be transported back in time to Manhattan’s legendary jazz club, Birdland, to experience the life and times of jazz great and bebop innovator, Charlie Parker. Enjoy musical experiences in the Opera Center, and dine on stage at McCaw Hall amid the set of Charlie Parker’s Yardbird. Bid on special opera experiences in our Live Auction or pick your favorite when you win the Golden Raffle. Cap off the night on the dance floor. Make a difference by supporting Seattle Opera’s programs while having fun! The Big Opera Party is Seattle’s most exciting arts event of the year and a night you do not want to miss. SEATTLEOPERA.ORG/BIGOPERAPARTY
LA BOHÈME FAMILY DAY SUNDAY, MAY 10, 2020 AT 2:00 PM MCCAW HALL For this special designated performance, students age 18 and under pay only $20 for almost any seat. Family Days also feature special student-oriented activities during intermission. SEATTLEOPERA.ORG/FAMILYDAY
UPCOMING EVENTS
CALLING ALL COOL CATS TO THE HIPPEST JOINT IN TOWN:
THE “BIG OPERA PARTY” IS BACK! Enjoy one-night-only musical experiences in Seattle Opera’s state-of-the-art Opera Center, and dine on stage at McCaw Hall surrounded by the scenery of Charlie Parker’s Yardbird.
February 28 will be a night you won’t want to miss. Make a difference and support all of Seattle Opera’s programs—while having fun!
More information:[email protected]
RSVP now: seattleopera.org/bigoperaparty
big operapartyF R I D A Y, F E B R U A R Y 2 8 , 2 0 2 0
S E A T T L E O P E R A’ S
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