2 0 1 3 - 2 0 1 4 S e a S o n

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InsIde thIs IssueFrom the General Director ................................ 1

HMS Pinafore ................................................... 2

The Flying Dutchman ........................................ 4

La Bohéme ....................................................... 6

La Traviata ....................................................... 8

Don Pasquale ................................................. 10

Opera Stars: Today and Tomorrow ...................12

2013-2014 Artists ............................................14

Education ........................................................16

Backstage ...................................................... 18

Behind the Scenes .......................................... 20

Our Foundation of Support ............................. 22

We tell epic, awesome, mysterious, passionate, romantic, adventurous, dramatic, murderous, joyous, scandalous stories worth singing.

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at the launch of our 2013–2014 SeaSon, we couldn’t be more grateful to have the privilege of telling powerful stories in music through-out the state of arizona. opera is an important element of the collective cultural blueprint of our shared humanity, and the stories on stage are rivaled only by those played out in pursuit of its creation. long before the lights dim and the curtain rises, hundreds of dreamers—donors, artists, staffers, musicians, ticket buyers, and corporations—have come together to make each satisfying night in the theater a reality. In the premiere issue of our new season guide-book, Sound Tracks, we’ve compiled a sample of this season’s greatest off-stage and backstage tales that are woven into the fabric of this season’s current productions. each of their stories is critical to our success, for each individual carries with them a commitment to the creation of live musical and dramatic experiences for the citizens of arizona.

on the surface, operatic storytelling may appear to have a strong similarity to the modern telenovela, but when you dig a bit deeper, you uncover spec-tacular stories that mirror the drama of our own contemporary experience. our favorite characters on (and off-) stage struggle with poverty, dishonesty, and oppression in the name of love, devotion, and peace. Swap out the names and places, and you’ll find headlines straight from today’s newspapers and similar debates in cyber-chat rooms around the globe.

the opera is a joyful labor of love for many in our community, and it is with pride that we introduce you to some remarkable people with friendly and familiar faces. You can also follow the Sound Tracks blog on the arizona opera website to read more about our featured authors and their relationship to our company, our state, and our art. I hope you are entertained not only by what you see and hear onstage, but also by the stories here in Sound Tracks. whether you are a ticket-buyer, a critic, a donor, a musician, an usher, or a member of our staff, your role in the drama is essential, and we hope to honor your support of arizona opera with unforgettable nights of music and passion. ryan taylor General director, arizona opera

To share a story with us for future editorial consideration, please send an email to soundtracks@azopera.org.

from the General dIrector

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Three Cheers for the Captain of The Pinaforeby Curt Olds, Baritone

the workS of GIlbert & SullIvan make up a larGe percent-age of my performing engagements and I can’t imagine an opera season without G&S in my schedule. I am a self-proclaimed G&S nerd and I have had the opportunity to perform most of the G&S canon, but regarding their three most popular works, I have appeared in 20 productions of Mikado, 12 productions of Pirates of Penzance and 8 productions of HMS Pinafore. with arizona opera, I have appeared in all three of these shows; Pinafore (2013), Pirates (2010), Mikado (2008), Mikado (2003). arizona opera presents these brilliant works in the best possible way; combining artists that sing like opera singers, yet pos-sess the dramatic qualities needed to bring the witty scripts to life.

as a performer, I appear in both the classical music and theatre worlds with credits at north american opera companies and on broadway, so G&S is a perfect meeting point for my skill set. I deeply love operettas and I find these precursors to modern musicals, the works that took us from donizetti and puccini to Show Boat and Oklahoma, to be charming and engaging. operetta is an outgrowth of opera that helps to introduce new audiences to the art form in an accessible way. operetta engages the deep opera lover with an occasional witty confection and, when produced as arizona opera does, these works invite the theatre audience to join their musical-loving friends for an evening’s entertainment. everybody wins with operetta!

my first G&S production was HMS Pinafore back in high school. I remember when the choir director announced the annual musical as Pinafore. I was upset because it wasn’t a show I knew like Bye Bye Birdie or The Music Man. I had no idea how this experience would inform my entire musical future. I was cap-tivated by every moment of HMS Pinafore, from dancing sailors to distraught captain’s daughters, I loved every minute then as I do today.

I am fortunate to spend most of my performing schedule in lighter, comedic productions. I find this repertoire keeps the hustle and bustle of being on the road for so much of each year more enjoyable. last season I was on the road 270 days out of 365. It’s hard to be away from my home so much, but I am fortunate to have the opportunity to entertain people and perform on stage as much as I do. I have also developed adoptive “families” in many cities. I am always happy to return to places like tucson & phoenix with personal connec-tions to chorus, crew and administration. It’s great when you feel “at home” on the road and arizona is one of those places for me. I am thrilled when I get invited to return, especially if Gilbert & Sullivan is on the menu!

CastJosephine ...........................Sara Gartland

Ralph Rackstraw .................. David Portillo

Sir Joseph Porter .................... Robert Orth

Captain Corcoran ......................Curt Olds

Little Buttercup ..................... Susan Nicely

Dick Deadeye .......................Andrew Gray

Boatswain .................................Chris Carr

Cousin Hebe ....................... Beth Lytwynec

Mate .................................... Calvin Griffin

Artists are in all performances

ProduCtIonConductor .................................Rob Fisher

Stage Director ...................... Tara Faircloth

Lighting Designer ............ Douglas Provost

Costume Designer .......AT Jones and Sons, Baltimore

Scenic Designer ....................Gary Eckhart

PhOENix

oct 11, 12 & 13TuCSON

oct 19 & 20

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Baritone robert orth talks G & s My route to opera was roundabout. Musicals were my first love in high school. In college I got a degree in

music education. Then I taught public school music for nine years while, in the summers, I loved doing plays and musicals in summer stock. I kept taking voice lessons and my former college voice teacher sent me to auditions until I did my first opera in 1974—for free—and then became a summer apprentice at Wolf Trap, VA—for money. Offers started coming in to sing with opera companies during the school year, but I couldn’t take them. So I took a leave of absence from teaching, and never went back. At first, I felt like a fraud singing opera. Surely someone was going to find out that I didn’t know what I was doing. But no one ever did, and here I am making my debut with Arizona Opera as Sir Joseph Porter in H.M.S. Pinafore.

This is not my Gilbert and Sullivan debut, however. I’ve done many productions of The Pirates Of Penzance as Major General Stanley, and The Mikado as KoKo, and also Pinafore, when I was younger, as Captain Corcoran. G&S is great fun. The lyrics are so clever, the tunes are so singable, and all of their operettas are so sophisticated and stylish. Usually my biggest challenge is getting the patter songs up to speed. They can be real tongue-twisters, so I start slowly and work hard to make all the words intelligible. I’m happy to say there is more G&S on my upcoming calendar, as well as another world premiere of an American opera.

When talking about life as a singer, people always mention how brutal it can be—the cost to our egos from so many auditions and mean critics, the financial cost from all the lessons and coaching, the cost to our families from so much separation. And all of that is true. But for me, it’s about the wonderful people I’ve met and worked with on transcendent art written by the world’s great geniuses.

Eating an Elephantby Tara Faircloth, Stage Director

GettInG the call to dIrect an opera, eSpecIallY wIth a “new-to-me” company, evokes an immediate Sally field response: “You like me! You really like me!” this wave of excitement and happiness is followed almost immediately by a sense of creeping desperation: “but how will I do it?” the next year or so is spent riding the highs and lows of this emotional roller coaster, with no real sense of resolution until the final curtain on opening night. Such is the life of a young opera director. a friend of mine describes our role as “co-pilot” (along

with the conductor), steering the dramatic and visual landscape of the entire production. I think of myself as the ultimate negotiator. long before the singers gather to begin rehearsals, I’ve negotiated schedules and casting issues with the company administration; looks, colors and intent with the costume designer; use of space and the physical world with set design-ers and the technical department; and most impor-tantly, an understanding of the world we are creating

in a constant negotiation with the sometimes unruly elements of music, historical practice, modern sensibility, and my own creative ideas.

but how is this done? It is like eating an elephant: one bite at a time. I love a good system, and I am constantly refining my process for putting a show together. this is generally how it goes: Get an offer, enjoy moment of jubilation. obtain music score and a few recordings, listen. wallow in personal angst, listen more. write in translation, and if possible, watch a video recording or see a live show (I like to see as many productions as I can to get a sense of both the traditions and also wacky modern takes on the piece). procrastinate (actually a key element...I think of it as putting all the ideas in a pot and letting it stew). keep listening, begin to think I will never have a good idea again. then one day, when I least expect it: bam! the Germ of an Idea. for me this is often a color palette, or maybe a specific image, but whatever form it takes, I get excited about the show again. negotiations ensue (see above). as we get closer I actually sit down with a calendar and plan very specific study...“I will work out scene 5 on tuesday.” and then, before you know it, we are in the rehearsal room and off we go!

hmS pInaforebY GIlbert & SullIvan

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Wagner’s Little Italian Opera Der fliegende Holländer by Conductor Joseph Rescigno

at ItS premIere, rIchard waGner’S DeR fliegende Holländer was performed in a single act. later, the composer adapted it to be performed in three acts with changes in the orchestration. I have studied the original and have happily used the final version in each of the productions I have conducted, as I will in this one. while restoring the original one-act performing edition may give the opera great sweep and line, the original orchestra-tion is a bit crude and brass-heavy. wagner’s revi-sions over several decades reflect his ever-growing mastery of his art.

for example, pay special attention to the orchestra when Senta first sees the dutchman in act II. wagner’s original idea called for brass and timpani, but he finally chose only woodwinds and pizzicato strings followed by solo timpani playing softly. the timpani also plays an irregular rhythm, perhaps echoing Senta’s excited heartbeat. also notable is wagner’s longer and more sophisticated ending in his revision; in it we hear the orchestra solo, if you will, in a manner that would become a hallmark of his work. In this conclusion, the orches-tra is tasked with rhapsodizing on a theme that the composer would explore throughout his career: love brings transcendence, but also death.

Holländer’s harmony is forward-looking as we might expect of wagner, and its melodic interest is

present in the orchestra at least as much as in the voice, which is also characteristic of his later work. we can also clearly see the com-poser moving toward a through-composed

work dominated by motives and comprised largely of sung dialogue.

Still, insofar as the melodies call for the most ardent lyrical approach, they bring to mind the music of Italy; hence, the nickname, “wagner’s Italian opera.”

apart from its arias, duets, and ensembles in a sometimes-Italian flavor, the opera is anchored in other traditional forms that supply lyricism and vitality. for example, wagner uses dance forms to unite the work; they contain rhythmic patterns that keep reappearing. the norwegian sailors have two hornpipes, one in act I (about fair sailing conditions) and one in act III (addressing the helmsman). both are very like the traditional celtic “Sailor’s hornpipe.” the norwegian maidens’ “Spinning chorus” shares this rhythm as well, but it is a ländler, a dance a little slower than a hornpipe.

Standard forms are something of a gift to conductors, since they help guide us toward correct tempos. If we understand the hornpipe or ländler, even though the scene seems relatively upbeat, we will not push the speed much faster than humans can reasonably dance. Similarly, if we are familiar with chopin or brahms ballades, wagner’s metro-nome indication for Senta’s aria—less bodeful than some would have it—makes perfect sense.

this is a pivotal opera in richard wagner’s career and the earliest work in the repertory of the opera house in bayreuth dedicated to his work. It is in this opera that we first hear him tossing out conventions in his career-long quest for a fusion of music and drama. Der fliegende Holländer was a harbinger of compositions that would stun the musical world over the next few decades.

the flYInG dutchmanbY rIchard waGner

“Wagner was clear about his admiration for the Italians in general and Vincenzo Bellini in particular…He simply expressed the wish that his fellow Germans would take a little inspiration from the Italians.”

– Joseph Rescigno, Conductor

Initial rendering of Arizona Opera’s new Flying Dutchman production

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mY love affaIr wIth opera and plaY-ing in a pit orchestra begin years before I joined the arizona opera. I was born and raised right here in arizona—specifically in the east valley. I started playing piano at 5 and violin at 8. It was when I got to high school that I played in a pit orchestra for the first time—in my high school musical production of course. one production and I was hooked. I knew I wanted to spend my professional life in an orchestra pit. when I went to my first summer music camp at the age of 15, the camp production that sum-mer was HMS Pinafore, the same show I will get a chance to play again at the start of our 2013-2014 season.

I graduated from aSu in aug. of 1982 with my shiny new music performance degree. along the way I had also picked up a husband (James, who currently plays co-principal trumpet in the arizona opera orchestra) and a baby (the first of my 8 children). that next fall I began my association with arizona

opera. I have played with the company off and on since then.

as a now seasoned (okay, lets be hon-est—old) member of the arizona opera orchestra, one who has prepared for and played in many productions, I still like to prepare my part by playing through the entire piece first. when I do that I mark all the spots that are going to require more work. Subsequent practice sessions involve addressing those prob-lematic parts exclu-sively. by the time I get to the first rehearsal, I need to know how to

get around all of the difficult passages as well as the easy ones. It’s what we call musical integrity. the audience may not know if I make a mistake. but I will know, and I don’t want it to happen.

then the real work of putting all the separate parts together begins. It’s like working the most intricate jigsaw puzzle you can imagine. my techni-cal performance has to match and compliment that of my stand partner first. I consider one of my most important jobs to be that of making my stand partner feel comfortable and giving him the chance to play his best without interference from me. then as a pair we have to match and compliment the rest of the violin section. our section in turn has to match perfectly with the rest of the string sections and/or any other sections of the orchestra that are playing with us at the time. the orchestra as a whole has to understand and reproduce the conduc-tor’s vision of the score and in turn the conductor must be a master at using the orchestra to enhance the performance of the singers on stage.

additionally, I need to be aware of the differ-ences in style and approach and really even the dif-ference in the function of a second violin part when I am playing say mozart as opposed to wagner. all of this comes from years of experience working with various conductors on a varied repertoire of operas. It’s very exacting work and fraught with many pitfalls—so many ways that things could go wrong. Yet most of the time, things go right and the music combined with the drama on stage transports the audience and me (even though I have never Seen the drama on stage) to an emotional high that can’t be equaled by any other art form.

So it really doesn’t matter that I have played at least a dozen productions of La bohème. rather than threatening to become boring, this January’s produc-tion will afford me more of those sublime moments that transport me to a higher plane. I guess that’s part of what keeps me coming back to opera season after season. It can be brutally tiring physically and mentally to play a 3 hour show, but the sublime musi-cal moments are worth all the effort.

CastDutchman ........................... Mark Delavan

Senta ........................................Lori Phillips

Daland .............................. Raymond Aceto

Erik ............................................ Corey Bix

Steersman ........................Christian Reinert

Mary ................................... Beth Lytwynec

Artists are in all performances

ProduCtIonConductor ........................Joseph Rescigno

Stage Director ......................Bernard uzan

Lighting Designer ............ Douglas Provost

Costume Designer ..... AT Jones and Jones, Baltimore

Scenic Designer ...............Peter Dean Beck

Projection Designer ......... Douglas Provost

PhOENix

nov 15, 16 & 17TuCSON

nov 23 & 24

Orchestra Strings

Sing!by Priscilla Benitez,

Violinist, Arizona Opera Orchestra

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Opera RomanceCorinne Winters & Zach Borichevsky—A Real Life Opera Couple

Zach and I are delIGhted to be back at arIZona opera for a second season together. we had a blast last year as romeo and Juliet, and we are even more excited to play the lovers in our favorite opera, La bohème. Since our last time in arizona, we have performed all over the world (literally): Zach has been in aspen, amsterdam, Santiago, where he reprised the role of romeo, and in our home city of philadelphia with opera philadelphia. I have been in “traviata land,” performing violetta in La traviata in hong kong, ottawa, washington dc, and london. I’m writing now from louisville where I’m rehearsing La bohème, and Zach is in boston for The Magic Flute. next, Zach and I reunite for La traviata in detroit.

being an operatic couple is not always as romantic as it sounds, but we have been fortunate to share many incredible experiences on and off stage.

when we did Romeo and Juliet together last year, it was our first time performing the roles, and our first time working together professionally. the instant chemistry and comfort level on stage was thrilling- most of the time we weren’t even acting! I saw Zach’s eyes fill with tears during the death scene, and then I started breaking down. thankfully there wasn’t much left to sing after that!

the best part of working together for us, though, is having this concentrated time together off stage. we spend less than one month home

per year, and we usually only see each other every four to six weeks when we’re on the road. we love singing together, but most of all we miss cooking, watching our favorite tv shows, and coming home to each other, just as any couple does. I cook and Zach does the dishes; I make the morning coffee and he does the navigating on our way to work. working and living together in the same city is our little taste of normalcy!

unfortunately, the times apart are more frequent than the times together. Skype, facetime, and frequent flier miles are lifesavers! Sometimes we get depressed and quite often we’re lonely, but as a result, our time together is that much sweeter. we are so thankful to arizona opera for having us back this season for La bohème, and I suspect that we’ll see mimì and rodolfo in a new light as we explore the characters together.

CastMimi .................................. Danielle Pastin*

Mimi ............................... Corinne Winters†

Rodolfo ..............................Jason Slayden*

Rodolfo ......................... Zach Borichevsky†

Marcello ................................ Cory Crider*

Marcello ............................... Daniel Teadt†

Musetta ..........................Anya Matanovic*

Musetta ......................... Andrea Shokery†

Colline .................................. Ryan Kuster*

Colline ............................... Calvin Griffin†

Schaunard ................................Chris Carr

Benoint/Alcindoro ........ Thomas hammons

* 1/24, 1/26 (mat), 2/2 (mat) † ..1/25, 2/1

ProduCtIonConductor ............................... Joel Rezven

Stage Director ................... Candace Evans

Lighting Designer ............ Douglas Provost

Costume Designer .......AT Jones and Sons, Baltimore

Scenic Designer ...............Peter Dean Beck

PhOENix

Jan 24, 25 & 26TuCSON

feb 1 & 2

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la bohèmebY GIacomo puccInI

Conductor Laureate Joel RevzenJoel revZen made hIS arIZona opera debut in 2003. Since then he has conducted over thirty different operas and 150 performances with arizona opera in repertoire as varied as from the classical, romantic, baroque, and contemporary genres. audiences recall fondly his productions of The Consul in 2005, Semele in 2006 (with Stephanie blythe as Juno), and Salome in 2009 (with Greer Grimsley as John the baptist). last season, he led the final three productions of the season, Tosca, Il trovatore, and Le nozze di Figaro.

In his decade-long association with arizona opera, maestro revzen has served the company in several capacities as artistic director, General director, and principal conductor. as the com-pany welcomes Joel back to arizona for a much-anticipated run of La bohème, his contributions to the company have been honored by naming him conductor laureate. “we are grateful for the gen-erosity of Joel’s spirit and his legacy with arizona opera,” says ryan taylor, General director. “he has worked with our community and our artists for many years, and Joel continues to lend his expertise and counsel to the organization.”

revzen has conducted opera productions with the national theatre of mannheim, washington national opera, theatre erfurt, norwegian opera, minnesota opera, hawaii opera theatre, and the orlando philharmonic. at the invitation of maestro valery Gergiev, he conducted performances of berlioz’ La Damnation du Faust, Romeo et Juliette, Le nozze di Figaro, and Il barbiere di Siviglia for the white nights festival in St. petersburg, russia. In addition, he was invited to join the conducting staff of the metropolitan opera in 1999 where he remained for eight seasons helping to prepare repertoire including prokofiev’s War and Peace, dvorak’s Rusalka, and Strauss’ Der Rosenkavalier. recently, maestro revzen was appointed artistic director and principal conductor of the lake tahoe Summerfest. he contin-ues his association with the metropolitan opera and returns to the orlando philharmonic later this season.

“We are grateful for the generosity of Joel’s spirit and his legacy with Arizona Opera.”– Ryan Taylor, General Director

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Arizona Opera’s La Boheme, Photo: Tim Fuller

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Being Germontby Mark Walters, baritone

LA TraVIATA IS near and dear to mY heart and I have per-formed in it more times than any other opera. It is also the show in which I made my professional operatic debut. as I was finishing my master’s degree at the cleveland Institute music, I worked as a Young artist for cleveland opera—singing in the chorus and in educational operatic performances in the local schools. during this time, cleveland opera entrusted me with pivotal

role of the messenger in La traviata. (keep an eye out for the messenger delivering a note to alfredo during act II of aZ opera’s performances). Since that first nervous performance under the baton of the renowned and exacting Italian conductor anton coppola, I have had the opportunity to sing the main baritone role of the opera, Germont, through-out the united States. I have also had the great fortunate to study La traviata, along with most of the verdi repertory under the guidance of one of the great verdi interpreters—Sherrill milnes.

I recently made my european debut in La traviata in bergen, norway. bergen is a medieval port surrounded by a ring of mountains and in my free time, I was able to do quite a bit of hiking and explore the beautiful old city. our performances were during the summer and bergen is so far north that the sun never really sets at that time of the year. So it was still completely light when our performances on an outdoor stage ended at midnight. there is a tradition of having all-night-parties in Scandinavia during the well-lit summers called nachtspiels. whenever I am working in a new place I always try to eat the local foods, drink the local drinks and take part in the local activities, but I realized after 2 nights of nachtspieling that one night would have been more than enough!

It’s pleasure to come back to arizona opera for my third production with the company. my sister’s family, three young boys, one husband and various pets, live in tempe and I look forward to visiting and playing with them and also partaking in the great hiking around the region. If anyone knows of any nachtspiels happening in the area, let me know!

la travIata bY GIuSeppe verdI

“There is a tradition of having all-night-parties in Scandinavia during the well-lit summers called nachtspiels… I realized after 2 nights of nachtspieling that one night would have been more than enough”

– Mark Walters

Arizona Opera’s La Traviata

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Violetta’s “Waking Life”by John Hoomes, Stage Director

early in the story of verdi’s La Traviata, the heroine, violetta valery, appears to be a woman with everything to live for. unfortunately, that is not her destiny. as we soon discover, violetta’s very being is ruled by an unforgiving illness that will ultimately bring about her untimely demise.

In her lonely, final days, confined to her sick bed with only annina, her nurse, for companionship, violetta has time (far too much time, in fact) to reflect on the past events of her life. time to review all the mistakes that were made. too much time to ponder different choices and options that could have or should have been taken.

and then, or course, too much time to sleep, and to dream.

the human mind, when wracked with fever and pain, tends to play strange tricks on the body. In the over-heated command of fever, sleep often becomes less a time of rest, and more a time of tormented dreams and anguish. feelings of regret, guilt, and hope blend together to refract and diffuse the past until memories of certain events appear reflected in a hazy, fragmented mirror.

In this fever-dream state, violetta’s “waking life”, the past becomes present, and the present fades into a dream of what was or what could have been.

the only constant in this dream world is violetta’s intense love for alfredo...a love that is “mysterious, yet wonderful... a love that causes the heart great pain, but also great joy.”

a love so powerful it can almost defeat death.

almost.

CastVioletta ................................ Caitlin Lynch*

Violetta ................................ Ambur Braid†

Alfredo.......................... Adriano Graziani*

Alfredo.........................Patrick O’halloran†

Germont ...............................Mark Walters

Gastone .............................David Margulis

Doctor Grenville .................. Calvin Griffin

Flora Bervoix ...................... Beth Lytwynec

Annina ............................. Andrea Shokery

Marquis d’Obigny .....................Chris Carr

Baron Douphol .................. Stefan Gordon

* 2/28, 3/2 (mat), 3/9 (mat) † 3/1, 3/8

ProduCtIonConductor ............................ Steven White

Stage Director ......................John hoomes

Lighting Designer ............ Douglas Provost

Original Co-Production of Opera Colorado and Boston Lyric OperaScenery

Costumes and Props provided by Nashville Opera

PhOENix

feb 28, mar 1 & 2TuCSON

mar 8 & 9

“The only constant in this dream world is Violetta’s intense love for Alfredo...”

–John hoomes

Arizona Opera’s La Traviata

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dear frIendS,

I write to you from my dressing room while on break during a falstaff rehearsal. as I sit here in my bald cap, giant strawberry sideburns and blubberous fat suit, I wish you could see how my current mastication of a piece of licorice looks simply hilarious. I love my job. portraying incor-rigible old men is certainly part of my calling.

I am so thankful after all these years to have returned to comedy and by “returned” I refer to my first theatrical training which was for comedic improv in los angeles. my friends from those early years almost entirely still work in comedy, whether it be television, film or sketch comedy. I regularly see them on commercials and sitcoms and for a while there was a big part of my heart that regretted being the black sheep of the group, having switched into music full-time. there has also been a big part of my wallet that has regretted it but I love sharing my inner-self throughout the richness of music and I still find that music reaches the deepest level of abstract communication possible.

In the last two years I have finally begun to marry singing and comedy within my career and the reward is sweet. comedy embraces and unites joy and tragedy, strength and weakness. It would be easy to pass off comedy as mere foolishness but I have found that as an actor and as a man, comedy is the stitching that holds together my extremes. for me, portraying comedy is the pinnacle of theatrical expression due to its comprehension of complexity.

comedy allows my soul to radiate in a unique way and when paired with music I feel fully actualized. So as for the fat suits and the sweat and the endless prosthetic glue stuck in my hair, I am honored to be a buffoon. I am proud to be a vessel for wit and juxtaposition and I am so thankful to get to share in the joy of making comedy with you in this season at arizona opera.

most sincerely,craig colclough

CastDon Pasquale ..................Craig Colclough

Norina ............................ Andrea Shokery

Ernesto ..............................David Margulis

Malatesta .................................Chris Carr

Notary ................................. Calvin Griffin

Artists are in all performances

ProduCtIonConductor .............................Gary Wedow

Stage Director .................... Chuck hudson

Lighting Designer ............ Douglas Provost

Costume Designer ...............Kathleen Trott

Scenic Designer ....................... Peter Nolle

Projection Designer ...........Douglas Povost

Letter from Pasquale

Craig Colclough as Falstaff, Wolftrap Opera

PhOENix

apr 2 - 19TuCSON

apr 26 & 27

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Norina in Don Pasquale: Donizetti’s version of “I’m Every Woman”by Chuck Hudson, Stage Director

one of the trIckIeSt thInGS about the opera Don Pasquale is that there is only one female character, norina. when we meet her, we are not introduced to a girl but to a woman; one we have heard about before meeting her and one who is specifically different from most soprano Ingénue roles. She is not an Ingénue at all in fact early in the show she is described as a young widow. She is neither innocent of the ways of men nor innocent of the ways of the world—she is a woman of some experience.

In her introductory aria we spy norina revisiting the fairy tale romance that she and all young girls are taught to believe in, and she knows from experi-encing life that this is not what real love is. perhaps she was married off to a rich old man who died—but no, we know she does not have a lot of money. perhaps it was an arranged marriage that was more economic than personal. In our own post-romantic world where even disney princesses have more chutzpah than their barbie doll predecessors, we the audience meet an intelligent and educated young woman who has experienced life, and yet is not so jaded by that experience that she no longer believes in love. norina really is in love with ernesto.

Similar to the relationship between rosina and figaro in rossini’s Il barbiere di Siviglia, the instructive baritones of both operas never tell their respective sopranos what to do. Instead, they actually value and support the cleverness and intel-ligence of their protégées. dr. malatesta is quite Socratic his instruction, leading his favorite pupil to discover her own solutions to problems by thinking them out logically. In the age of reason, that was a man’s role. he even trusts norina to be a creative problem Solver—to improvise her own text and actions disguised as the sassy Sofronia, who is more of a shrew than even Shakespeare’s creature.

If norina is the only woman, she is therefore every woman. we at least have the servant-class berta in barbiere to compare with the upper-class rosina. donizetti only gives us the occasional female chorister with no name for comparison with norina. on her own and from the first scene norina must embody every woman you have met. In the 1980s many women believed they must be “bitchy” to appear strong and to survive working in a man’s world. but if the real norina is in any way shrewish, then she is not in disguise as the shrew Sofronia, and what does that say about all women? no, norina is written as a three dimen-sional character; a woman who possesses flaws as well as talents. we may not even agree with some of her choices, especially when she resorts to physical violence. restoring our faith in a woman who has just slapped an old man to the ground is challenging enough; restoring the comedy from that dark situation is a pivotal moment in the show. perhaps norina goes too far, and she must recognize this, too. or what does that say about every woman?

what would justify an intelligent young woman to slap a frustrated old man to the ground, and for us to remain on her side? for that matter, what would bring an educated man like malatesta to cheat his friend out of money and to set up his young protégée to gain from it? Is he onlY machiavellian or is there something more to him, too? over my several productions of the opera I have created two SecretS in my direction—one for malatesta and one for norina. no one but the artists singing those roles knows what those secrets are—and perhaps a handful of singers who have taken my advanced acting master classes! watching closely, perhaps you can figure them out!

don paSqualebY Gaetano donIZettI

Don Pasquale Brand neW ProduCtIonArizona Opera’s April new production of Don Pasquale will be updated to 1950s Hollywood,—contrasting the stodgy Don Pasquale’s black and white “Silent Film Era” to Norina’s vivacious brilliant Technicolor world.

“She is neither innocent of the ways of men nor innocent of the ways of the world—she is a woman of some experience.”

– Chuck hudson, Stage Director

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14

for almoSt aS lonG aS I can remem-ber, music has been a huge part of my life. I got my start when the florida Singing Sons boychoir came to my elementary school to audition all of the boys in my grade. the director plunked out a few notes and asked me to sing them back to him. I guess I must have been good enough, because not long after that, my parents got a phone call saying that they wanted me to join the choir. I was part of that organization up until my voice changed, and by then, it was almost time for high school. I wanted to stay with it, so I auditioned for new world School of the arts in miami. they must have also liked what they heard, because I was offered a spot in the vocal program. I just kept going, wanting to see how far I could make it, up through undergrad and grad school, until eventually, I ended up at the Jacobs School of music at Indiana university. It was there that I really started to hone my skills.

coming out of school, you’re usually told that the next step is to try and get into one of the few year

long residency programs that are affiliated with opera companies in the country, so that you can get a taste of what it’s like to be a professional singer while still continuing your training. aZo was just one of a dozen or so american companies that I applied to. on the day of my audition, I was sick as a dog. I honestly wasn’t sure how I was going to be able to get myself together in time to sing, but a combination of a cocktail of cold medications and pure adrenaline gave me just enough to get through the audition. thankfully, the audition panel saw what they wanted to see from me, and I was offered a spot in the marion roose pullin opera Studio.

my first year in phoenix was a crash course in what it is like to be a professional opera singer. I was no longer juggling daily rehearsals, coachings and costume fittings with classes. my entire day was now devoted to making great art. which meant that now instead of studying for a language exam, I was now spending my off time studying my score and translations, or combing through my music to work out the trouble spots technically, or develop-ing my character. and for all of this, there never seemed to be enough hours in the day.

I’m not entirely sure what to expect in my sec-ond season with aZo. I do know that I’m excited to see what lies ahead, and that I look forward to taking on each new challenge as they come.

opera StarSToday & Tomorrow

David Margulis, Tenor

marIon rooSe pullIn opera StudIo

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Andrea Shokerysoprano

hometoWn: Gahanna, OHon our maInstaGe: Musetta (La Bohème), Annina (La Traviata), Norina (Don Pasquale)eduCatIon: College-Conservatory of Music, University of CincinnatiPrevIous aPPearanCes: Des Moines Metro Opera, Kentucky Opera, Opera Theatre & Music Festival of Lucca, Wolf Trap Foundationroles Performed: Adina (L’elisir d’amore), Pamina (Die Zauberflöte), Rosina (Il barbiere di Siviglia)aBout me: I love to curl up in fleecy sweatpants and read after a long day! I’m a HUGE fan of Harry Potter. I love pumpkin spice creamer, The West Wing, and Ohio State Buckeyes Football! My husband Robbie and I have been married for five years and have a crazy Morkie named Charlie.

Beth Lytwynecmezzo-soprano

hometoWn: Ilion, NYon our maInstaGe: Cousin Hebe (HMS Pinafore), Mary (The Flying Dutchman), Flora Bervoix (La Traviata)eduCatIon: The Boston ConservatoryPrevIous aPPearanCes: Chautauqua Opera, Fort Worth Opera, Glimmerglass Festival, Nashville Operaroles Performed: Jo (Little Women), Maddalena (Rigoletto), Romeo (I Capuleti e i Montecchi)aBout me: When I’m not singing, I enjoy spending time with family, eating great food, watching college basketball, taking long walks, and catching up with friends. Some fun facts: my new favorite road is 89A coming from Flagstaff to Phoenix, I used to play year-round soccer, dark chocolate rocks my socks, and my two front teeth are fake!

David Margulistenor

hometoWn: Plantation, FLon our maInstaGe: Gastone (La Traviata), Ernesto (Don Pasquale)eduCatIon: Indiana University, University of Washington, Florida State UniversityPrevIous aPPearanCes: Arizona Opera, Des Moines Metro Opera, Opera Theater of St. Louis, Santa Fe Operaroles Performed: Arturo (Lucia di Lammermoor), Ferrando (Così fan tutte), Italian Singer (Der Rosenkavalier)aBout me: I’m a huge college football fan. How Florida State does in their game usually has a lot to do with how good or bad my week will be. I’ve been doing CrossFit since last March. I’m having a love/hate relationship with it.

Chris Carrbaritone

hometoWn: Quasqueton, IAon our maInstaGe: Bill Bobstay (HMS Pinafore), Schaunard (La Bohème), Barone Douphol (La Traviata), Malatesta (Don Pasquale)eduCatIon: University of Missouri-Kansas City, Simpson CollegePrevIous aPPearanCes: Central City Opera, Des Moines Metro Opera, Merola Opera Program, Lyric Opera of Kansas Cityroles Performed: Conte Almaviva (Le nozze di Figaro), Don Giovanni (Don Giovanni), Tarquinius (Rape of Lucretia)aBout me: Outside of opera I’m finding more and more things I’m passionate about. I’ve started small hobbies like whittling wood carving, but I’ve also developed a love for motorcycles and mechanical. I also recently really got involved with the world of Crossfit, which has become a big part of my day to day life. I’ve always loved reading, gaming, and will always be up for a good night in at home.

Calvin Griffinbass-baritone

hometoWn: Columbus, OHon our maInstaGe: Bob Becket (HMS Pinafore), Colline (La Bohème), Dottore Grenvil (La Traviata), Notary (Don Pasquale)eduCatIon: Rice University, The Ohio State UniversityPrevIous aPPearanCes: Aspen Music Festival, Des Moines Metro Opera, Opera Columbus, Wolf Trap Opera Studioroles Performed: Don Alfonso (Così fan tutte), Gianni Schicchi (Gianni Schicchi), Volpone (Volpone)aBout me: When I’m not working I really love the feeling of being out on the golf course. I look forward to seeing what kind of golf Phoenix has to offer. I also enjoy spending quality time with friends and loved ones playing games, watching movies, and just enjoying good

Nyle Matsuokapianist/coach

hometoWn: Austin, TXon our musIC staff: HMS Pinafore, La Bohème, La Traviata, Don PasqualeeduCatIon: The University of Texas at Austin, Utah State UniversityPrevIous aPPearanCes: Wolf Trap Opera, Spotlight on OperaCoaChInG exPerIenCe: Così fan tutte, Die Fledermaus, Suor Angelica, Die ZauberflöteaBout me: I enjoy things like kayaking, floating down the river, video games, movies, volleyball, yoga, and am a self-confessed foodie.

marIon rooSe pullIn opera StudIo

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JosephineSara Gartland

Ralph RackstrawDavid Portillo

Sir Joseph PorterRobert Orth

Captain CorcoranCurt Olds

Little ButtercupSusan Nicely

Dick DeadeyeAndrew Gray

BoatswainChris Carr

hmS pInafore caSt

DutchmanMark Delavan

SentaLori Phillips

DalandRaymond Aceto

ErikCorey Bix

SteersmanChristian Reinert

MaryBeth Lytwynec

ConductorJoseph Rescigno

the flYInG dutchman caSt

MimiDanielle Pastin

Mimi Corinne Winters

RodolfoJason Slayden

RodolfoZach Borichevsky

MarcelloCory Crider

MarcelloDaniel Teadt

MusettaAnya Matanovic

la bohème caSt

ViolettaCaitlin Lynch

ViolettaAmbur Braid

AlfredoAdriano Graziani

AlfredoPatrick O’halloran

GermontMark Walters

GastoneDavid Margulis

Doctor GrenvilleCalvin Griffin

la travIata caSt

Don PasqualeCraig Colclough

Norina Andrea Shokery

ErnestoDavid Margulis

MalatestaChris Carr

NotaryCalvin Griffin

ConductorGary Wedow

Stage DirectorChuck hudson

don paSquale caSt

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Cousin HebeBeth Lytwynec

MateCalvin Griffin

ConductorRob Fisher

Stage DirectorTara Faircloth

Stage DirectorBernard uzan

Musetta Andrea Shokery

CollineRyan Kuster

Colline Calvin Griffin

SchaunardChris Carr

Benoint/AlcindoroThomas hammons

ConductorJoel Rezven

Stage DirectorCandace Evans

Flora BervoixBeth Lytwynec

Annina Andrea Shokery

Conductor Steven White

Stage DirectorJohn hoomes

2013-2014 artIStS

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Imagination is a thing of wonder.SharInG our ImaGInatIon createS safe spaces and teaching how to express one’s imagination is a gift. In the 2013–14 Season, the u.S. airways department of education and community engagement at arizona opera is putting initiatives into place to celebrate those who teach the art of imagination. we offer new and ongoing opportunities to highlight imaginative expression through all the art forms that thrive under the umbrella of live opera!

throughout this season of education opportuni-ties, we have three major areas of focus; engage, create and produce.

Starting with our youngest opera goers both in the classroom and in the music hall we offer three main programs, opera in the Schools assemblies and tours featuring our two OperaTunity troupes, community night at the opera bringing the

educatIon

Lori Fisher, Director of education & Community engagement

opportunity to student groups to see the final dress rehearsals, and original opera projects.

our growing adult education offerings Opera dell’arte: The Craft of Opera and the new Opératif program are designed to strengthen the experi-ence of attending the opera for both the first time attendee and the lifelong fan.

for more information on all of our education pro-grams, please visit our website at azopera.org or pick up our education brochure at a table in the lobby.

we hope that you find new and engaging ways to enhance your opera experiences this year.

See you at the opera!

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Opera Addict by Renee Summers, Arizona Opera Chorister

mY opera addIctIon beGan when I was 18. throughout high school I was involved in music. I was an instrumentalist as well as a singer. I participated in orchestra, marching band, choir, girl’s chorus and madrigals (a small, auditioned, a capella group which sang in the community). I also was chosen for all regional and all State choruses. I was destined to be music major in college. In the spring of my senior year, my choir director sug-gested I audition for the virginia opera’s summer opera in the park. I auditioned and was accepted though I knew absolutely nothing about opera. we performed La Traviata (in english) at the outdoor amphitheater in July. In spite of the oppressive humidity and mosquitoes the size of small birds, I was hooked.

after graduation, I moved to tucson and began singing again, this time with a community chorus. Several of the members of the group were also members of the arizona opera chorus. they sug-gested I audition. I did and the rest is history.

I have had many interesting and amusing experi-ences with the company. I will not go into detail about the shark sightings in village fountains, the unique and often pornographic items on buffet tables, strange goings on behind doors that were opened or the strange places we would see the rub-ber chicken. I will relate two of my favorite opera memories. during my first production of L’elisir d’amore, I was a village grape crusher. So, make-up painted my legs purple from the knees down. I fainted on stage, but was able to finish the perfor-mance. I went directly to the er, was immediately taken back and slept on and off during my wait. I awoke to find 5 er doctors at the foot of my bed. they had pulled the sheet up to my knees and were giving my lower legs concerned looks. one said

“I’ve never seen anything like it!” another spoke, “this would make an amazing research study!” a third said excitedly, “we could get published in the emergency med journal!” when I stopped laughing, I told the docs that no, I did not have some new, exotic skin disease, but stage paint on my legs. I had told the rn this, but apparently the information was not passed along. even during a stressful situa-tion, I got a laugh, courtesy of the opera.

the next memory is from a performance of La Gioconda. It was the beginning of the ball scene, but the king (a baritone) is sitting on his throne in the empty ballroom. he was supposed to sing his aria and end downstage directly in front of the conductor. the chorus and ballet dancers waited in the wings to come on for the scene that included the “dance of the hours” music of “fantasia” fame (think dancing elephants and alligators in purple tutus). he was almost finished with his aria when the lights went out on stage, followed by the lights in the pit and the hall! there were a few moments of confusion backstage. we heard cursing from the stage manager and running feet. the lights finally came back on. there was a moment of silence. the baritone looked at the conductor, shrugged and then said to the audience “let’s try that again”. he swung his train over his arm, walked back to his throne, sat and arranged his train to his satisfaction, then pointed at the conductor, said “hit it” and began to sing. he completed his aria to a several minute standing ovation! when the chorus swept onstage, our conversation was all about the bari-tone’s save. It all was a great success!

this year will be my 24th season with the company. I have so enjoyed being a part of the opera family. I have many cherished memories like the above and hope to have many more.

backStaGe

“My many interesting and amusing stories include a trip to the emergency room and a mid-performance black out.”

–Renee Summers

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Supernumeraries: Opera’s Extrasby Francisco Pérez-González

Francisco Pérez-González has been a supernumerary for several seasons with Arizona Opera, appearing in a wide range of characters on the stage, from Egyptian soldier, a member of the Montague family, Scottish huntsman, Roman prison guard to Italian juggler and Japanese villager.

as a supernumerary, I get to witness the world of opera. Supernumeraries are actors that have no lines nor singing parts during the opera but help estab-lish the scene where the action takes place. the staging is simple but precise and there is plenty of waiting between my entrances . the endeavor can be so time consuming but the time is well spent. I have the opportunity to familiarize myself with the styles and tastes of many stage directors and conductors, to be up close to see the process of our principle singers, and to appreciate the endless wrangling of the performers required by the stage manager and chorus master. It’s like a little internship and it’s pretty awesome.

I had been a season ticket holder with arizona opera and a couple of seasons ago, friends of mine had mentioned that the company was looking for supernumeraries for the upcoming season. In particular, the company was looking to cast jugglers or gymnasts for Pagliacci, the verissimo opera about the struggles of a troupe of clowns. I had taken some modern dance and ballet classes and I had performed in plays and musical theater in the past. luckily, everything turned out quite well and I joined the cast of Pagliacci. the opera was intense, both emotionally and physically demanding. and I got hooked! now, I am taking more voice lessons and refining my music skills—I learned that opera is tough but its majesty is captivating and its possibilities are endless.

behInd the SceneS

“I get to witness the world of opera”

–Francisco Pérez-González

HMS Pinafore photo courtesy of Lyric Opera of Kansas City Arizona Opera’s Aida

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Electrifying the StageMaster Electrician & Light Boardby Ian Fritz

mY name IS Ian frItZ and I work for arIZona opera In the capacity of master electrician and computerized light board operator. I super-vise crews of about a dozen lighting technicians in tucson and phoenix for the load-in, set-up and run of each of arizona opera’s five shows each year. I work with the lighting designer to light the singers and the set, navigating the challenges of working around flying and rolling scenery, tight production schedules and hard to reach positions, in an effort to create a “look” on stage that will capture the imagination of audience members and allow them to be transported to a differ-ent time and place.

opera scenery is often massive and changes throughout the show, so lighting it all requires that we hang, focus, and gel often more than three hundred individual lighting instruments, and literally miles of cable to power them.

my favorite part of working for the opera is watching the progression from the first dress rehearsal, when the performers and all of the technical depart-ments are still working out the kinks and the whole thing looks terribly rough, to opening night when the whole piece has been polished to perfection and it looks to all the world like we’ve been doing this piece for years.

I had never been an opera fan before joining this production crew, but I have grown to appreciate the art form. I will never forget my first opera, program-ming the lighting console, when I inadvertently renumbered all of the pre-programed lighting cues, thoroughly confusing the designer and irritating stage management. I woke up every morning for weeks singing verdi’s “la donna è mobile” in my head.

associate Conductor Keitaro harada & messito, aZo’s unofficial mascot Keitaro was selected by the League of American Orchestras as one of only six conductors for the Bruno Walter National Conductor Preview, a prestigious showcase that occurs biennially in an effort to promote gifted, emerging conductors to orchestra industry leaders. In addition to Arizona Opera and his guest conducting out of Arizona, he is the Music Director & Conductor of Phoenix Youth Symphony, Principal Guest Conductor for Sierra Vista Symphony Orchestra and leads the Tucson Symphony Orchestra new series at the Fox TucsonTheatre.

messito is a two year old crested gecko and has travelled from coast to coast with Keitaro. Messito frequents the Arizona Opera rehearsals and calls the Opera Center his Arizona home.

On social media, you can follow Messito The Gecko’s travels using hashtag #Messito.

Keitaro posts many photos of Messito with instruments and famous opera stars on his Fanpage at facebook.com/KHConductor

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Why support the arts?by Dave Howell, Director Government Relations, Wells Fargo

whY Support the artS? that’S not a new question, but it is one that has been heard

more frequently over the last five years as the u.S. economy went into a deep recession and has been slow to recover.

at a personal level the reason to support the arts for many of us is emotional, almost visceral. a college friend of mine once described beethoven’s 9th Symphony as “the closest to the word of God man has ever been allowed to hear.” for me

that statement has always embodied the gut-level passion arts can inspire. the step from that passion to active financial support of arts organizations that touch one’s soul is small; an easy decision to make.

but for corporations and foundations it’s not that simple. very few of them make their giving decisions on the basis of pure emotion. a more rational case has to be made, right brain as well as left brain. that case hasn’t always been easy for the artists and their ardent supporters to articulate, but it can be made. and the companies and foundations that take a thoughtful and comprehensive approach to their philanthropy will listen.

first of all the arts are a core element of what gives any community its character. they’re what can make the city stand out from its municipal peers. the iconic image of chicago is picasso’s afghan sculpture; for philadelphia it’s the “love” piece or, maybe, the rocky balboa bronze. In minneapolis it’s the Guthrie theater and the vibrant theater

community that revolves around it. phoenix and Scottsdale are known worldwide as a center for western and native american art.

and city identities are often inexorably linked to the reputations of their performing arts organiza-tions. Great arts are part of what makes a great city.

that reputation is more than just a bragging point. It is a critical economic development tool. a good reputation makes convincing a company to come to or expand in a specific city easier. a nega-tive reputation makes it that much more difficult. banks, utility companies, professional sports and many other organizations understand this. they know their own success depends on the success of the communities they serve. to steal (and twist) an old line, “what’s good for our community is good for our company”.

there are many other components of the rational case for supporting the arts, but I’ll focus on just one more: the role of the major professional arts organizations and the artists who work for them, in supporting education. and I don’t mean simply arts education, although that is certainly a big part of it. the evidence is very compelling and convincing. Students who get a rich and deep arts experience in perform better on all subjects.

engaging in the arts develops creativity and abstract thinking. In the performing arts it also builds teamwork and leadership skills. those are skill sets in heavy demand by virtually all employ-ers. and with the pressures on school budgets these days, arizona arts educators and arizona families lean more heavily on the major arts organizations and their teams of artists that they ever have before.

the arts may need us, but all of us need them more.

our foundatIon of Support

“The arts are a core element of what gives any community its character. They’re what can make the city stand out from its municipal peers.”

–Dave howell

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our foundatIon of Support Byron and Mary

Richards have lived in Tucson since 1998 and are devoted Arizona Opera fans, as season ticket holders, members of the Bravo Society and the Tucson Opera League.

As busy health professionals and owners of Wellness Resources, Inc. (www.wellnessresources.com) we are thrilled with the wide variety of art and entertainment options Tucson has to offer—perfect evenings out to relax and unwind. At the very top of our list is the Arizona Opera, which we have thoroughly enjoyed for a number of years.

The Arizona Opera brings the feeling of a large and vibrant city to Tucson. It provides world-class opera performances with many of the most famous artists of the day. We have found their seasons to be consistently entertaining, professional and high in quality. This opera company is a true jewel in the desert.

We are strong believers that support for arts organizations should extend beyond the tickets purchased to unforgettable performances. In addition to being season ticket holders and members of the Bravo society, an individual giving program, we have also enjoyed years supporting the Tucson Opera League. This is a group of like-minded opera lovers that provide social gatherings and one-of-a-kind events to help fundraise on behalf of the company.

We encourage everyone to enjoy the performances that the AZ Opera brings to Tucson, and also be a supporter that helps make their future possible.

Another season of excitement, humor, passion, tragedy, and fine talent, we eagerly anticipate. Thank you Arizona Opera for providing us and our city, year to year, with stellar performances. You help lead the way in defining the unique cultural fabric that makes Tucson a great place to live.

Byron & mary richardsVolunteer Extraordinaire:Kim smithmY love affaIr wIth opera Started 15 years ago and it was love at first sight! I was totally smitten and quickly bought tickets for the rest of the season. then and there I decided that I should see as many operas as possible since I had to make up for all those years without opera.

this experience came at the end of my 26 years in the uS army including two long tours in Germany. all that opera, and I hadn’t seen any of it. I retired in 1999 as a colonel in the ordnance corps and moved to arizona since I actually like the hot weather and wanted to be close to family.

when I moved here, the first thing I did was get a subscription to arizona opera. Just between us, I only really liked the Italian operas in the beginning because my opera palette was not well developed. but over time I have become a fan of all types of opera and I am delighted that there are so many opportunities to enjoy and learn about opera.

In addition to opera, I also love to paint with oil painting my medium of choice. landscapes are my favorite subjects but I do the occasional new York painting too. and, because I do love lincoln

center and the met, I have painted several city scenes including the met at night.

two years ago, in 2011, I was asked to start a phoenix based arizona opera support group, valley friends. although this was out of my comfort zone, I said yes because I am passionate about opera and I want others to discover it too. fortunately for me there were a number of people who helped me put together our valley friends board of directors and together, we recruited people to join. valley friends is a labor of love.

the best part of valley friends of aZo is our members—they are the essence of who we are. they are really fun people who welcome new members while enjoying opera. whether it is a pot luck to welcome our marion roose pullin Studio artists or a mini-recital by opera stars, our events are great fun with interesting people that you will want to meet. So come give us a try—you won’t be sorry. call me and let’s talk.

“When I moved here, the first thing I did was get a subscription to Arizona Opera.”–Kim Smith

$5000 + annual donors to arizona operaMarlu Allan and Scott StallardRobert and Amelia AndersonAnonymous*AnonymousChristine and Fred Armstrong*David and Mary Lynn BolgerBlandy and Joanne BoocockDr. Rex and Arlyn BrewsterMary Jo and David A. ChristensenJonathan ClarkThe Honorable Jean S. CooperDaphne and Robert CoulterDavid E. DodgeDrake D. Duane, M.D.George A.V. DunningAndrew and Jane EvansMary Lou Forier and John E. WahlNancy Foster

Gretchen Frazier FundBeverly GrossmanRobert H. HamiltonElly and Steve HammermanDr. Israel and Vandi HaninNorman C. and Donna L. HarbertEllen and Stewart HorejsiJohn A. Johnson and Patricia Coyne-JohnsonAlison and Richard JohnstonTheodosia P. Joyce*Milo and Kim KauffmanDan A. KlingenbergSharon LandisJay and Alexandra LangnerJim and Linda LeeLily MeijerMichael Nowakowski and Delia Ortega-NowakowskiFrancis J. PalamaraMarilyn Papp and L. Roy Papp *Julia C. PatrickMarion Roose PullinDeborah C. Quirk

Lucile J. Roca*Dr. and Mrs. Thomas C. RotheDr. and Mrs. Adib H. SabbaghBahar and Mark SchippelDr. and Mrs. Harold B. SegelJay Simpson and Naomi ValadezColonel (Ret) Kimberley SmithAnne Y. SnodgrassDr. and Mrs. Robert F. SpetzlerLinda Staubitz Paul S. Symchych, M.D.Robert S. and Shoshana B. TancerBettina and Mark VangeSue G. WilcoxDr. Judith G. and Edwin H. WolfAdam Zweiback and Kimberly Marshall

*In Memoriam

Your donation makes a difference!To learn more about supporting the Arizona Opera and its Studio Artists, please contact the Development Office:

phone: 602.218.7337e-mail: msaville@azopera.orgweb: azopera.org/support/donate-now As of September 13, 2013

In special recognition of those who donate at the Sustainer membership level and above, Arizona Opera extends its deepest gratitude and profound appreciation.

Hms Pinafore | Phx oct 11, 12 & 13 tuC oct 19 & 20

tHe flying DutcHman | Phx nov 15, 16 & 17 tuC nov 23 & 24

la BoHème | Phx Jan 24, 25 & 26 tuC feB 1 & 2

la traviata | Phx feB 28, mar 1 & 2 tuC mar 8 & 9

Don Pasquale | Phx aPr 2 - 19 tuC aPr 26 & 27

2013-2014 SEASON

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