candide sponsorship opportunities

An all new original production designed and built for Amarillo Opera Sets: Julia Noulin‐Merát, New York

Costumes: Tony award nominee Patricia McGourty

Director: E. Loren Meeker, Houston Grand Opera Conductor: Braden Toan, New York City Opera

PRODUCTION SPONSORSHIP OPPORTUNITIES

David O’Dell, General Director

2223 S Van Buren Amarillo, TX 79109

806.372.7464 www.amarilloopera.org

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TABLE OF CONTENTS

Overture ........................................................................................................................................... 3

Sponsorship Pledge Forms ............................................................................................................... 4

Cast of Candide ................................................................................................................................. 5

The Story of Candide ........................................................................................................................ 6

Meet the Westphalians .................................................................................................................... 9

Production Sponsor ........................................................................................................................ 14

Production Consortium Sponsor .................................................................................................... 15

Principal Artist Sponsor .................................................................................................................. 16

Texas Artist Sponsor ....................................................................................................................... 17

Production Partners and Co-partners ............................................................................................ 18

Additional Sponsorship Opportunities ........................................................................................... 19

Candide Set and Costume Designs ...................................................................................... appendix

February 18, 2013 Dear Friend of Amarillo Opera, Thank you, in advance, for your consideration of supporting Amarillo Opera through our production sponsorship programs. Support from donors like you sustained the company from its infancy and enabled Amarillo Opera to distinguished itself as a true regional resource. Amarillo Opera takes the stewardship of that legacy very seriously and continues to move from one artistic success to another, building a company known for young artistry, quality, inclusiveness, variety and a commitment to education. I’m excited to share news of our upcoming production of Leonard Bernstein’s 1957 masterpiece, Candide which we will present in an all original production designed by international scenic designer Julia Noulin-Merát and Tony award nominated costume designer Patricia McGourty on April 6 and 7 at the Globe-News Center for the Performing Arts. Directed by E. Loren Meeker, a rising star from the Houston Grand Opera who set to make her directorial debut at Lyric Opera of Chicago next season, and conducted by Maestro Braden Toan, who conducted the famed Hal Prince production of Candide at New York City Opera. The all-star cast includes Metropolitan Opera baritone Robert Orth as Voltaire/Pangloss, New York City Opera tenor Matt Morgan as Candide, and the dazzling Rose Sawvel, a recent Rocky Mountain Regional winner of the Metropolitan Opera National Council auditions, as Cunegunde. Joining them will be South African mezzo-soprano Jenni Bank, Jorell Williams, who appeared as Joshua in last season’s Joshua’s Boots and tenor Matt Oglesby and Amarillo Little Theatre favorite Jeni Roller in her Amarillo Opera debut. Following the production, sets and costumes will be available for rent by other opera and theatre companies in North America. Because this will be a compact and highly creative design, we anticipate keen interest in the production from other companies. There’s no doubt that with your help Amarillo Opera can achieve great things. We have proven that we can produce relevant, even world-class musical theatre, on a level with many of the nation’s leading opera companies for a fraction of the costs associated with productions at those companies – all while providing important scholarship stipends to our local and regional singers in the opera’s ensemble. This is an exciting time to be a part of Amarillo Opera. We’re doing magical things here in the Texas Panhandle. I thank you for your consideration, and invite you to be instrumental in our success locally, regionally and nationally by participating in a sponsorship opportunity outlined in this booklet. As always, we promise to spend our resources and your gifts wisely by investing in our region and building a company that is truly representative of the Texas Panhandle – one that you can be proud of for years to come. With sincere appreciation, David O’Dell General Director

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PRODUCTION SPONSOR OPTIONS

Production Sponsor $20,000

Consortium Production Sponsor $10,000

Principal Artist Sponsor $5,000

Texas Artist Sponsor $2,500

Production Partner $1,000

Production Co-Partner $500

Please fill out the form below and return it in the enclosed envelope to Amarillo Opera.

Please check one of the following options:

Yes, I want to sponsor Amarillo Opera’s production of

Leonard Bernstein’s Candide

I am unable to sponsor Amarillo Opera at this time. I would like to enclose a donation. Business/Individual’s Name: ___________________________________________________

Contact Person: _____________________________________________________________

Address: __________________________________________________________________

City: ____________________________ State: ________________ Zip: _____________

Phone: ________________________________ Fax: ______________________________

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Payment Method

Enclosed is $_______________ payable to Amarillo Opera Check No. ____________ Please send an invoice to the above address. Please bill my/our MasterCard or Visa.

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__________________________________________________________________________ Name as you would like it to appear in the program

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Voltaire, Dr. Pangloss, Businessman, Second Gamber (Police Chief), Sage Robert Orth

Candide Matt Morgan

Maximilian Jorrell Williams

Cunegonde Rose Sawvel

Paquette Jeni Roller

Old Lady Jenni Bank

Governor Matt Oglesby

HISTORICAL NOTE

No two productions of Leonard Bernstein’s Candide have presented quite the same work. Since its premiere in 1956, almost every new production has involved major transformations of the original score.

Mr. Bernstein was still several years from assuming command of the New York Philharmonic (1958-69) and had already produced important stage works – On The Town (1944) Trouble in Tahiti (1952) and Wonderful Town (1953) – when he and Lillian Hellman started working out plans for Candide in 1954. Miss Hellman provided the book, and the lyrics were written by Dorothy Parker, John LaTouche and Richard Wilbur. The show opened in December 1956 at New York’s Martin Beck Theatre. By the time the show opened, Mr. Bernstein was already at work on his next and most successful musical, West Side Story.

It was not until sixteen years later that Candide reappeared in New York in a new version, conceived by director Harold Prince for the Chelsea Theater Center. For this revival at the Brooklyn Academy of Music, a new book by Hugh Wheeler replaced the Hellman original. Since the story now more closely followed Voltaire, some of the songs required new lyrics, supplied by Stephen Sondheim. Some of the songs from the 1956 version had to be cut, but others that never reached the stage in 1956 were restored by conductor John Mauceri, with Mr. Bernstein’s approval, in this new one-act version. Hershy Kay, who had done the original orchestrations with Mr. Bernstein, reorchestrated the work to suit the special requirements of Mr. Prince’s staging.

This 1973 production was enormously successful, and, after its limited engagement in Brooklyn, moved to Broadway where it ran for close to two years. Its scoring for thirteen-piece ensemble, however, precluded its production in large opera houses, and, consequently, Candide has had few revivals since 1973.

The New York City Opera version, the first to present Candide As an opera, represents a further revision, one which incorporates more of Mr. Bernstein’s music than any previous version, even the first one. Some of the musical material has never been heard before. For this production, dubbed “Candide’s Operatic Premiere” by Mr. Bernstein, the book has been expanded into two acts by Hugh Wheeler, and Richard “Wilbur had contributed additional lyrics. John Mauceri has once again undertaken the musical preparation. His new orchestrations are based on those of the 1956 version.

Charles Rizzuto For the New York City Opera

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CANDIDE Leonard Bernstein AN ALL NEW PRODUCTION DESIGNED FOR AND BUILT BY AMARILLO OPERA

APRIL 6, 2013 APRIL 7, 2013 DIRECTOR: E. LOREN MEEKER (HOUSTON GRAND OPERA, LYRIC OPERA OF CHICAGO) CONDUCTOR: BRADEN TOAN (NEW YORK CITY OPERA) SETS: JULIA NOULIN-MERÁT (NOULIN-MERÁT SCENIC DESIGN, NEW YORK, NY) COSTUMES: PATRICIA MCGOURTY (TONY AWARD NOMINEE – BIG RIVER & THE PIRATES OF PENZANCE) VOLTAIRE/PANGLOSS: ROBERT ORTH (METROPOLITAN OPERA) CANDIDE: MATT MORGAN (NEW YORK CITY OPERA) CUNEGONDE: ROSE SAWVEL (NEW YORK DISTRICT MET AUDITION WINNER) PAQUETTE: JENI ROLLER (AMARILLO LITTLE THEATRE) JORRELL WILLIAMS (OPERA THEATRE OF SAINT LOUIS) OLD LADY: JENNI BANK (OPERA THEATRE OF SAINT LOUIS) GOVERNOR: MATT OGLESBY (AMARILLO OPERA) SYNOPSIS

As the Overture concludes, Voltaire, a very old man, begins to relate the tale of four young people, Candide, Paquette, Maximilian, and Cunegonde, who live in Westphalia in the castle of the Baron Thunder-Ten-Tronck. The noble Candide is a bastard nephews of the the Baron, the sexy Paquette serves as a maid to the Baroness, the beautiful Cunegonde is the Baron’s virgin daughter, and the handsome Maximilian is her self-centered brother. The four, with the Baron and Baroness, describe their perfect existence ("Life is Happiness Indeed"). Voltaire explains that the four young people are introduced to the realities of Life by the wise Dr. Pangloss. Voltaire transforms himself into Dr. Pangloss by putting on an academic cap and gown. He leads his students into the castle schoolroom where, he lectures them on the fact they are living in "The Best of All Possible Worlds." He dismisses everyone but Paquette, insisting she must stay for an advanced physics lesson. As Cunegonde runs off, she observes Pangloss making romantic overtures to Paquette. Pangloss explains he is giving Paquette a lesson in gravity. Candide appears, chinning himself on a tree branch. Cunegonde joins him. He is madly in love with her. She proceeds to give him an advanced physics lesson and they kiss, happily making plans for their future together ("Oh, Happy We"). They are suddenly interrupted by Maximilian, the Baron, the Baroness, Dr. Pangloss, and Paquette. When Candide and Cunegonde state their intention to marry, the Baron says his daughter cannot marry a bastard and Candide is exiled. Candide, sorely grieved, sings of his certainty that this awful turn of events is for the best.("It Must be so"). Two men trick him into drinking to the health of the King of Bulgaria, stuff him in a sack, and drag him off to the Bulgarian Army. Bulgarian soldiers enter and rapidly slaughter the Baron, Baroness, and Maximilian. They carry Cunegonde off, kicking. They plan to sell her to the men of their regiment ("O Miserere"). Candide’s captors have stopped to rest. He is still in the sack. His captors are shot to death by two Westphalian soldiers.

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A Bulgarian soldier brings an abused Cunegonde onstage and leaves her for dead. Cunegonde and Candide (who is still inside the sack) sing of their lost innocence, united in spirit, although many miles apart. (Reprise: "Oh, Happy We"). Dr. Voltaire explains that Candide was next released from the sack by a band of strolling players and abandoned in Holland. Cunegonde is moved from brothel to brothel until she catches the attention of Issachar, a very wealthy man in Lisbon, and the Grand Inquisitor, who now share her pleasures. Cunegonde sings of her sordid role in life ("Glitter and be Gay"). A volcano erupts near Lisbon at the same time an earthquake shakes the city. Candide is washed up on the shore of a fishing village. When he suggests that this turn in events casts doubt on the "best of all possible worlds" theory, he is scolded by Dr. Voltaire. Dr. Pangloss appears as a beggar who has lost his nose and several fingers. He tells Candide of the demise of everyone at the castle and informs him that Cunegonde is raped and dead. Candide is distraught. Pangloss assures him everything that has happened is for best. His words are overheard by an agent of the Inquisition. Pangloss and Candide are arrested as heretics. The Inquisition plans to purge the city of heretics to prevent future earthquakes. A crowd of happy, excited citizens gather to witness the trials and executions of the heretics. A splendidly attired Cunegonde and her companion, the Old Lady, watch from a box as the crowd celebrates ("Auto Da Fe'"). Candide and Pangloss are tried by the Inquisitor and recognized by Cunegonde. Pangloss is hung and Cunegonde faints as Candide is flogged. The voice of Dr. Voltaire assures him that "from what is worse, what can come but something better?" The Old Lady blindfolds Candide and leads him to Cunegonde. On the way, he mourns his state ("This World"). The blindfold is removed and he sees Cunegonde ("You Were Dead, You Know"). Both of Cunegonde’s lovers visit her while Candide is there. Candide accidentally kills both men. The Old Lady insists that they must flee to Cadiz. She grabs a box of jewels and they escape. When the jewels are stolen, the Old Lady decides to raise funds by seducing three Old Dons ("I Am Easily Assimilated"). However, they resist her charms and totter away. The gullible Candide is tricked into leading a relief party to rescue the Holy Jesuits of Montevideo from heathen attackers. He is told he will be the captain of a ship that leaves in three hours. Candide, Cunegonde, and the Old Lady celebrate their coming journey to the New World (Reprise: "I Am Easily Assimilated"). In the New World, the swaggering hot-blooded Governor of Cartagena, Colombia, is considering the purchase of two new concubines. The concubines turn out to be Paquette and Maximilian, now dressed as a female. The Governor rejects Paquette and selects Maximilian, for whom he expresses a strong attraction ("My Love"). Over Maximilian’s objections the Governor summons a priest to marry them. During the vows the Governor discovers his "bride" has two pineapples stuffed in his shirt. The Governor orders Maximilian hanged, but the priest offers to buy Maximilian for his Holy Fraternity. On board ship, Cunegonde confesses her growing doubt in the teachings of Dr. Pangloss shortly before the ship is boarded by pirates, who knock Candide unconscious and carry Cunegonde and the Old Lady away. When Candide questions Man’s need to massacre, cheat, and murder, Dr. Voltaire’s voice again scolds him. Candide arrives at the Jesuit’s stronghold where he is joyfully reunited with Paquette and Maximilian, now dressed as monks. When Maximilian learns of Candide’s intention to marry Cunegonde, he assaults

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Candide, who accidentally kills him. Paquette disguises Candide as a monk and they escape into the jungle. After weeks of travel, they come upon the utopian city of Eldorado, where everything is truly for the best. There is no war, no hunger, and no greed. The people and the animals are all wise, gentle and articulate. Two talkative pink sheep converse with a peaceful lion to prove the point ("Eldorado"). Candide and Paquette who are dressed in golden robes soon realize they hate peace and solitude. Candide misses Cunegonde. Candide and Paquette pack the sheep with gold and jewels and leave. In the meantime, the Old Lady is abandoned by the pirates and carried off by a Pygmy. The Pygmy sells her to a German botanist who sells her as a Madam of a brothel. They travel to Cartagena, where they find the Old Lady on the street. They buy her freedom and she tells them Cunegonde is in Constantinople. Spying their riches, the Governor offers to sail them to Constantinople on the frigate Santa Rosalia. He rows them to the frigate on a shaky-looking skiff ("Bon Voyage"). The skiff capsizes; Candide, Paquette, and the Old Lady end up on a tiny desert island with a single palm tree. They have lost their sheep and their new fortune. The sheep find them and they all rejoice (Reprise: "Best of All Possible Worlds"). They see a sail in the distance and know they are saved. They arrive in Constantinople in time to see Cunegonde jump out of a cake dressed as a Muslim slave. Candide and Cunegonde reunite again (Reprise: "You Were Dead, You Know"). He buys her, reserving one bag of gold on Paquette’s advice. Then Maximilian (who wasn’t killed after all), who reappears as a slave, convinces Candide to buy his freedom with the last bag of gold. The Old Lady offers to solve the future for the weary band by leading them to the Cave of a Wise Man. The Sage turns out to be Dr. Pangloss, who prattles on about the meaning of Life. While Pangloss babbles, a stray piece of paper floats into Candide’s hand. The paper states that the natural function of man is "to dig, spin, work without regret for yesterday or hope for tomorrow. For Man it is only work that makes life endurable." Candide says they will buy a farm and cast aside wondering about the meaning of a meaningless world. They will fulfill their natural function working God’s earth from dawn to dusk ("Make Our Garden Grow"). A cow appears, as Candide, Cunegonde, and the company in rustic clothes pick up pitchforks, buckets, and other farm implements. The company sings that Eden can’t be found; the sweetest flowers and the fairest trees are grown in solid ground. They explain: We’re neither pure nor wise nor good. We’ll do the best we know. We’ll build our house and chop our wood. And make our garden grow. As they lift their grateful eyes to God, the cow drops dead of the pox and Dr. Voltaire, back in nightshirt, draws the curtain.

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Meet the Westphalians

Robert Orth is a leading baritone with major opera companies including those in New York City, San Francisco, Chicago, Toronto, Vancouver, Washington, D.C., Houston, Seattle, Los Angeles, Philadelphia, Miami, Portland, Indianapolis, Cleveland and Denver. He was named “Artist of the Year” by both New York City Opera and Seattle Opera. New York City Opera also gave him the Christopher Keene Award for new and unusual repertoire. He has appeared as soloist with the symphony orchestras of Chicago, Cleveland, Milwaukee, Seattle, Denver, Indianapolis, Phoenix and Washington, D.C., in repertoire ranging from Brahms' Requiem to Broadway pops to his most repeated symphonic piece, Carmina Burana. Performing new American operas has brought Mr. Orth great pleasure and acclaim. He was John Buchanan, Jr., in Lee Hoiby's Summer and Smoke (based on the Tennessee Williams play), which was broadcast nationally on Public Television. At the Guthrie Theater in Minneapolis, he was Count Almaviva in the premiere of Rosina. In Milwaukee he was Fantomas in

Stanley Silverman's Hotel for Criminals. He played the Lodger in Dominic Argento's The Aspern Papers in its east coast premiere at the Kennedy Center; and he was the Lecturer in Argento's one-man opera A Waterbird Talk in Chicago. Also in Chicago, he sang the central role of the Father in Hugo Weissgall's Six Characters in Search of an Author in its second professional production. He created the title role in the world premiere of Harvey Milk by Stewart Wallace and Michael Korie in Houston, New York and San Francisco. In 1997 he portrayed Frank Lloyd Wright in Shining Brow, a new opera by Daron Aric Hagen, based on the life of the great American architect. In 2000 he played Owen Hart in San Francisco in the world premiere of Dead Man Walking, with music by Jake Heggie and libretto by Terrence McNally. In 2001 he premiered Michael John LaChiusa's Lover and Friends (Chautauqua Variations) in Chicago. In 2002 he premiered Garrison Keillor's new opera Mr. and Mrs. Olson in St. Paul. In 2004 he was Mr. Parkis in the premiere of Jake Heggie's The End of the Affair. That same year he first portrayed Richard Nixon in John Adams' Nixon in China in St. Louis, and subsequently in Portland, Chicago, Cincinnati, Denver, Vancouver, Toronto, London and Berlin. In 2007 he was Uncle John in the world premiere of Ricky Ian Gordon's The Grapes of Wrath, and Capt. Compson in Midnight Angel by David Carlson. In 2008 he premiered Sinners in San Jose, a song cycle written for him by Craig Bohmler and Marion Adler. That fall he was LBJ in Dallas in the world premiere of Steven Stucky and Gene Scheer's August 4,1964. He was Albert Godby in the world premiere of Andre Previn's Brief Encounter in 2009. And in 2010, he created the role of Mr. Stubb in the world premiere of Jake Heggie and Gene Scheer's Moby Dick. In 2011 he sang two world premieres. He was Mayor Fazzobaldi in the world premiere of John Musto and Mark Campbell's The Inspector with Wolf Trap Opera, and Sir Anthony Absolute in Kirke Mechem's The Rivals with The Milwaukee Skylight Opera. His recordings include The Telephone by Giancarlo Menotti, Nixon in China, Six Characters in Search of an Author, Harvey Milk, Dead Man Walking, Hansel and Gretel, Shining Brow, The Grapes of Wrath, Brief Encounter and The Inspector. Mr. Orth also enjoys performing the most popular and familiar operas and operettas. Figaro in The Barber of Seville and Eisenstein in Die Fledermaus have been his most repeated roles. He has often appeared as Malatesta in Don Pasquale, Danilo in The Merry Widow, Guglielmo in Cosi Fan Tutte, Dandini in La Cenerentola, Germont in La Traviata, and Sharpless in Madama Butterfly. Robert Orth began his career in summer stock doing plays and musicals and continues to do them whenever possible. He has been Billy Bigelow in Carousel, El Gallo in The Fantasticks, Henry Higgins in My Fair Lady, Fredrik in A Little Night Music, and, most often, Don Quixote in The Man of La Mancha.

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Future engagements include the world premiere of Champion by Terence Blanchard and Michael Cristofer for the Opera Theatre of St. Louis, The Pirates of Penzance in Portland, H.M.S. Pinafore in Phoenix, and Tod Machover's Death and the Powers in Dallas.

Having the distinction of making debuts at three of the four theaters at New York's Lincoln Center, Matt Morgan is rapidly establishing himself as the tenor to watch. His New York debut came as Don Gomez in Weber's Die drei Pintos with Leon Botstein and the American Symphony Orchestra. The very same season, his New York City Opera debut occurred in the world premiere of Charles Wuorinen's Haroun and the Sea of Stories. Following these successes, Mr. Morgan debuted with the National Chorale at Avery Fisher Hall as the tenor soloist in Handel's Messiah. In the current season Mr. Morgan returns to Avery Fisher Hall as the tenor soloist in Jazzetti's Il profilo della vita e della fede attraverso le note, the Jacksonville Symphony as the tenor soloist in Handel's Messiah and as the featured soloist for their New Year’s Eve concert. Additionally he debuts with the Dayton Philharmonic as the tenor soloist in Handel's Messiah, performs the role of Max in Lend me a Tenor alongside television legend Jamie Farr, returns to the role of Tamino in the Magic Flute in Santa Fe with Maestro Joe

Illick, returns to off-Broadway in the Title role in the premiere of Big Jim and the small time investors, makes his New Jersey Symphony Orchestra debut as the tenor soloist in their Gilbert and Sullivan Gala, returns to San Antonio as Ernesto in Don Pasquale, and headlines the major Italian festivals of Milwaukee, Tampa, and Vandergrift. He has performed at New York City Opera for four consecutive seasons to great audience and critical acclaim in a variety of repertoire ranging from Rameau's Platee to works of the 20th century. Most recently he appeared in their new production of The Pirates of Penzance where Mr. Morgan was as an “endearing and loveable” Frederick “with the right hero looks and a wonderful tenor voice”. Among his many appearances at Lincoln Center his other New York successes include his remarkable portrayal of Britten’s anti-hero in Gotham Chamber Opera’s wildly successful production of Albert Herring. Outside of New York City, Mr. Morgan has appeared with Pittsburgh Opera, Opera Colorado, Fort Worth Opera, Portland Opera, New Orleans Opera, Dayton Opera, Toledo Opera, and many others in a variety of repertoire. His performances have included Nemorino in L'elisir d'amore, Ernesto in Don Pasquale, Tamino in Die Zauberflote, Ferrando in Cosi fan tutte, Don Ottavio in Don Giovanni, Almaviva in Il Barbiere di Siviglia, Ramiro in La Cenerentola, Romeo in Romeo et Juliette, as well as many works of modern opera and musical theater. A much sought after interpreter of this repertoire he has most recently starred at New York City Opera as Frederick in their new production of The Pirates of Penzance, after previously taking part in their premieres of The Mines of Sulphur, and The Little Prince. He also appeared recently with Fort Worth Opera as Curly opposite Anthony Dean Griffey in Of Mice and Men and as Tony in West Side Story with New Orleans Opera. His busy concert schedule has taken him to sing with some of the country's leading symphony orchestras and concert organizations including the Pittsburgh Symphony Orchestra, the American Symphony Orchestra, the National Chorale, and the Bard Music Festival in a variety of repertoire ranging from the works of Handel to music of the 20th century. During the 2008-2009 season, Mr. Morgan made debuts at Opera Colorado as Ferrando in Cosi fan tutte, Greenwich Music Festival as Der Soldat in Viktor Ullmann's Der Kaiser von Atlantis, and Sacramento Opera as Frederick in The Pirates of Penzance. After successes as Laurie in Little Women, he returns to Dayton Opera as Camille in The Merry Widow. He also makes return appearances at Avery Fisher Hall for performances of Handel's Messiah, Opera Theater Pittsburgh, and the Johnstown Symphony 80th. In the 2009-2010 season Mr. Morgan returned to New York City Opera for Chabrier's L'etoile, created the role of

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Hamlet in Herschel Garfein's Rosencrantz and Guildenstern are Dead, made his role and house debut as Faust with Opera Idaho, the tenor soloist in Dvorak's Stabat Mater with Danbury Symphony, a new productions of Bernstein's Mass with The Virginia Arts Festival, continued the creation of the role of Pan in Kamran Ince's new opera The Judgment of Midas, and made his role debut as Nadir in Bizet's Pearl Fishers. In the 2010-2011 season Mr. Morgan made his company debuts with the Jacksonville Symphony Orchestra as Frederick in The Pirates of Penzance, Syracuse Opera as Nanki Poo in The Mikado, makes his role debut as Ruggiero in La Rondine, and created the role of Pan in Kamran Ince's opera The Judgment of Midas. On the concert stage he made his Kennedy Center debut with the Washington Chorus as the tenor soloist in Mahler's Das Klagende Lied, appeared with Opera Idaho, Milwaukee's Festa Italiana, the Allegheny Valley Concert Association, and in the PBS television special Opera Masters. Additionally he returns to Avery Fisher Hall, the Jacksonville Symphony, and the Dayton Philharmonic as the tenor soloist in Handel's Messiah. He rounds out his year appearing as a guest master teacher at Pittsburgh, Louisiana State University and Idaho. Equally at home on television as he is on the stage, Mr. Morgan is currently featured on three PBS television specials, Matt Morgan in Concert, which has been awarded two international television Accolade Awards, Opera Louisiane, alongside operatic superstars Susan Graham and Paul Groves and the newly released Opera Masters. His esteemed reputation as a crossover artist has made him a favorite performer for many public and private organizations, allowing him to perform for countless heads of state and captains of industry. Mr. Morgan tours North America regularly, most recently playing to crowds of tens of thousands at the two largest Italian festivals in North America- (Milwaukee Festa Italiana and the Upper Ohio Valley Italian Festival). As a recording artist his DVD’s and CD’s are distributed internationally and are carried by every online music service and music seller worldwide. Mr. Morgan is an alumnus of the Pittsburgh Opera Center, National Opera Company, and Louisiana State University. He is based in New York City and continues his studies with Bill Schuman.

Few upcoming artists are as celebrated for their artistry and stage presence as soprano Rose Sawvel, who brings a glittering, silvery tone with outstanding agility and brilliance, along with the skills of an adept actress to each role she portrays. This summer, she made her debut with San Francisco Opera's Merola Opera Program as Serpetta in La finta giardiniera, covering the role of Lady with a Hand Mirror in Postcard from Morocco and performing scenes at the Merola Grand Finale concert from Orphée aux enfers, The Rape of Lucretia, L'Elisir d'amore, Semele and La Rondine. Engagements for the 2012-2013 season include her debut with Opera Fort Collins as Marie in Daughter of the Regiment and her debut with Amarillo Opera as Cunegonde in Candide. Recent roles include La Fée in Cendrillon, Adina in Elixir of Love, Blondie in The Abduction of Figaro, Despina in Cosí fan tutte, Amy March in Little Women, Dew Fairy and Sandman in Hansel and Gretel, Mabel in The Pirates

of Penzance, the title role in Patience, Kate Pinkerton in Madama Butterfly, Anne Page in The Merry Wives of Windsor, Susanna in Le nozze di Figaro, and excerpts as Cunégonde in Candide and Gretel in Hänsel und Gretel. Her concert performances include Handel's Messiah, Mozart's Requiem, Mozart's Regina coeli K. 108, Saariaho's Lohn, Villa-Lobos' Bachianas Brasileiras No. 5, Ticheli's Angels in the Architecture, Rogers' Three Japanese Dances, A. Scarlatti's Christmas cantata and Berio's Sinfonia. Rose is a finalist in the 2013 Eastern Region Metropolitan Opera National Council Auditions, was a semi-finalist in the 2012 Irma M. Cooper Opera Columbus International Vocal Competition, Regional Finalist in the 2012 and 2011 Metropolitan Opera National Council Auditions, 2011 Denver Lyric Opera Guild competition finalist and won the

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2006 Rocky Mountain Competition. She is also the recipient of a Bel Canto Institute Performance Award and New York Opera Project Performance Award.

“Other prize-winners who made a strong impression were…baritone Jorell Williams, who showed a solid vocal core and easy, natural production in Leiben Hassen from Ariadne auf Naxos;” - Opera News, Gerda Lisner International Competition. During the 2009-2010 season, Jorell sang as a guest artist with the Verein Opera in Zürich, performing in a Gala concert of opera under the direction of international tenor Francisco Araiza. He created the role of Tomás Cabral in the premiere of composer John David Earnest’s The Theory of Everything with Encompass New Opera Theater, performed as a guest artist at the Cathedral of St. John the Devine’s Concert for Peace with sopranos Lauren Flanigan and Amy Burton under the baton of Maestro Glen Cortese, and created the role of the Presenter of the Church in a workshop reading of composer Nico Muhly’s Two Boys, which was a co-production with the Metropolitan Opera and Lincoln Center Opera Theatre. He also had the

honor of performing with the Chorale Le Chateau of New York in A Celebration of America in the Kennedy Center’s Eisenhower Theater on the occasion of the Presidential Inauguration of Barack Obama and Martin Luther King, Jr. Day on Monday, January 19, 2009. He finished the season with the Opera Company of Brooklyn as Dr. Falke in Die Fledermaus at the American Ballet Theater, led by award-winning dancers Pierre Dulaine and Yvonne Marceau, Papageno in Die Zauberflöte at the Aaron Copland School of Music, a concert series with the Career Bridges Foundation at the Gerhard Theater at the Osterreicische Gesellschaft für Musik in Vienna, and participated as a Young Artist at the Caramoor International Music Festival performing the role of de Fiesque in Donizetti’s Maria di Rohan. Mr. Williams is a graduate from the Manhattan School of Music, where he sang the roles of le Directeur in Francis Poulenc’s Les Mamelles de Tiresias, the title roles in Robert Sirota’s The Tailor of Gloucester and Puccini’s Gianni Schicchi, Tarquinnius in The Rape of Lucretia, Gabriel von Eisenstein (Cover) in Johann Strauss’s Die Fledermaus, Milord Arespighn in Cimarosa's rare comic opera L'italiana in Londra, Ronaldo Cabral in John Musto’s New York premiere of Later the Same Evening, and Robert Garner in a preview of Richard Danielpour's New York premiere of Margaret Garner with the production team of New York City Opera. Jorell received his undergraduate education at SUNY Purchase Conservatory of Music, where he performed the title role in Le Nozze di Figaro, le Marquis de la Force and le Geôlier in Poulenc’s les Dialogues des Carmélites, Aeneas in Dido and Aeneas, King Melchior in Amahl & the Night Visitors, Peter (cover) in Hänsel und Gretel, Escamillo in La Tragédie de Carmen, and Pontevedrian Councellor Kromov in Lehar’s The Merry Widow. Other performances include the Sergeant of Police in Gilbert and Sullivan’s Pirates of Penzance, Sciarrone (cover) in Puccini’s Tosca, and Henry Davis in Kurt Weill's Street Scene, with Chautauqua Opera, Cal (cover) in Mark Blitzstein’s Regina with Des Moines Metro Opera, Ko-Ko in The Mikado, Dr. Stone in Menotti’s Help! The Globolinks, and Dromio of Ephesus/Syracuse in Richard Roger’s Musical The Boys from Syracuse with EnCanta Opera, Ping (cover) in Turandot with Opera North, L'horloge Comtoise & Le Chat in Maurice Ravel’s L’Enfant et les Sortilèges with the Project Opera of Manhattan. As a concert artist, he has sung the Fauré Requiem, Brahm’s Requiem, the Bach Magnificat, BWV 243, Vaughn Williams’ Dona Nobis Pacem, Haydn’s Missa in tempore belli (Paukenmesse), and excerpts from Handel’s Messiah and J.S. Bach’s B minor Mass and St. Matthews’ Passion. Jorell is a recipient of multiple awards, including second place in the Gerda Lissner International vocal competition, second place in the Harlem Opera Vocal Competition, the Harold Bauer award from Manhattan School of Music, an

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Encouragement award grant from the Lotte Lenya Foundation, the Schuyler Career Bridges Foundation, a Hermann Lissner Foundation Scholar, David Adams art song competition, National Association of Negro Musicians Competition, winner of the Charles A. Lynam Vocal Competition, and a Liberace Foundation Scholar.

Mezzo-soprano, Jenni Bank, was born in Johannesburg, South Africa and grew up in Binghamton, New York. She attended The Peabody Conservatory of Johns Hopkins University in Baltimore, Maryland. Ms. Bank has attended Young Artist Programs at Seattle Opera, where she performed Dryad in Ariadne auf Naxos, Opera Theatre of Saint Louis for two seasons, where she covered the roles of The Marquise in Daughter of the Regiment, Petra in A Little Night Music and Filippevna in Eugene Onegin, Des Moines Metro Opera, covering Berta in Il Barbiere di Siviglia and performing La Zia Principessa in Suor Angelica and Zita in Gianni Schicchi with the apprentice program, and Opera New Jersey where she covered Ruth in Pirates of Penzance. Ms. Bank has also performed in Ireland as a member of the Wexford Festival Opera where she covered Martinka in Smetena’s The Kiss. Some of Ms. Bank’s other performances include Marcellina The Marriage of Figaro, Dame Quickly in Falstaff, Frugola in Il Tabarro, Third Lady in The Magic Flute, Miss Todd in The Old Maid and the

Thief, The Witch in Hansel and Gretel, Martha in Faust, Giulietta in Tales of Hoffmann, mezzo solos in

the Verdi Requiem, Mozart Requiem, Bruckner Te Deum, Beethoven’s 9th Symphony and Mendelssohn’s Elijah. Ms. Bank was recently awarded The Sullivan Foundation’s Grand Prize and Career Development Award, won first place in the Harold Haugh Comic Opera Competition, second place in the Shreveport Opera Singer of The Year Competition, was a semi-finalist in the Houston Grand Opera Eleanor McCollum Competition, and was awarded a Career Encouragement award from the Metropolitan Opera National Council Auditions. This spring Ms. Bank sang her first Azucena in Verdi’s Il Trovatore with Opera in the Heights in Houston, Texas and will be spending a third consecutive season performing with Opera Theatre of Saint Louis, where she will perform The Duchess in the American Premier of Alice in Wonderland and cover the role of Mrs. Lovett in Sondheim’s Sweeny Todd. She will then reprise her critically acclaimed performance of Katisha with the Young Victorian Theatre Company of Baltimore.

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PRODUCTION SPONSOR

FUNDING REQUEST: $20,000 minimum

PURPOSE: To be the Title Sponsor of an entire production on Amarillo Opera’s season at the Globe-News Center for the Performing Arts. Amarillo Opera productions are known for their beauty, elegance, and innovative approach to the repertory. Sets, additional lighting equipment, and costumes are just a few of the important elements underwritten by production sponsorship.

RECENT SPONSORS: Joseph and Arlene Pool, Richard and Barbara Davis, Amarillo College.

SPONSOR BENEFITS:

• Sponsor’s name will appear on the Title Page of the program for the sponsored production.

• Sponsor’s name will appear on the supertitle roll, shown prior to the opera and at intermission.

• Sponsors name will appear on a display in the lobby of the Globe-News Center at all performances of sponsored production.

• Sponsor will be recognized in an announcement from the stage prior to the performance.

• Sponsor will receive complimentary tickets at the General Director’s table at the pre-performance dinner.

• Sponsor will receive invitations to the General Director’s welcome party for members of the cast on the rim of the Palo Duro Canyon.

• Invitations to the cast party following the production held in honor of production sponsor.

• Sponsor gets billing on all sponsor lists with acknowledgement that gift has made production possible.

• Sponsor will be acknowledged in press releases and in print ads for sponsored production.

• Sponsor will receive ten complimentary tickets in the Director’s Box for the sponsored production (on request), and priority assistance in obtaining additional premium seats.

• Sponsor’s employees will receive 25% discount on tickets to sponsored production.

• Sponsor will be recognized and profiled in Amarillo Opera’s newsletter distributed locally and nationally.

• Sponsor will receive invitations to VIP events throughout the year.

• Sponsor will be acknowledged in Amarillo Opera’s Annual Report.

Amarillo Opera’s sponsorship programs are tailored to fit the individual needs of our sponsoring partners. To the best of our abilities, we will coordinate our efforts to maximize the marketing potential of each

sponsorship project.

Future productions may require a higher level of underwriting.

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CONSORTIUM PRODUCTION SPONSOR


PURPOSE: Consortium production sponsorship is an affordable way to work with others in the community to underwrite an Amarillo Opera production. Sets, additional lighting equipment, and costumes are just a few of the important elements underwritten by production sponsorship. Hosting a performance at the opera is an ideal way to participate in the life of the community.

RECENT SPONSORS: Richard and Barbara Davis, Josephine Anderson Charitable Trust, Sybil B. Harrington Living Trust.

SPONSOR BENEFITS:


• Sponsor’s name will appear on the Title Page of the program for the sponsored production.

• Sponsor’s name will appear on the supertitle roll, shown prior to the opera and at intermission.

• Sponsors name will appear on a display in the lobby of the Globe-News Center at all performances of sponsored production.


• Sponsor will receive complimentary tickets at the General Director’s table at the pre-performance dinner.


• Invitations to the cast party following the production held in honor of production sponsor.

• Sponsor gets billing on all sponsor lists with acknowledgement that gift has made production possible.

• Sponsor’s name will appear in at least 4,000 season programs.

• Sponsor will be acknowledged in press releases and in print ads for sponsored production.

• Sponsor will receive ten complimentary tickets in the Director’s Box for the sponsored production (on request), and priority assistance in obtaining additional premium seats.

• Sponsor’s employees will receive 25% discount on tickets to sponsored production.

• Sponsor will be recognized and profiled in Amarillo Opera’s newsletter distributed locally and nationally.






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PRINCIPAL ARTIST SPONSORSHIP


PURPOSE: To sponsor a conductor, stage director, or singer. Amarillo Opera brings acclaimed artists from around the world to the Globe-News Center for the Performing Arts stage during the annual Subscription Season..

RECENT SPONSORS: Patricia Fisher, Richard and Barbara Davis, Bill and Sandra Gilliland, Larry and Sharon Oeschger. Anonymous.

SPONSOR BENEFITS:


• Sponsor will receive prominent mention on the cast page of the production’s Program Book.


• Invitation to and recognition at opening night reception with Principal artists who directly benefit from the sponsor’s generosity.

• Sponsor will receive six complimentary tickets (on request) in the General Director’s Box and priority assistance in obtaining additional premium seats.

• Sponsor’s employees will receive 25% discount on tickets to season performances.


• Sponsor’s name will appear in all donor listings for the 2010-2011 or 2011-2012 season.

• Sponsor will be recognized in Amarillo Opera’s newsletter.


• Sponsor will receive complimentary tickets to VIP events throughout the year.




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TEXAS ARTIST SPONSORSHIP


PURPOSE: To support the development of Texas singers, designers, and production personel. This very important sponsorship affords regional artists top-quality experiences with established artists from the international world of opera. Sponsoring a Texas artist propels the art form forward and ensures that the next generation of outstanding operatic artists are represented by a core of Texans.

RECENT SPONSORS: Hastings Entertainment, Dr. Victoria Thompson, Bert and Marlies Ballengee, James and Pamela Beckham, Claudette Landess.

SPONSOR BENEFITS:


• Sponsor will receive prominent mention on the cast page of the production’s Program Book.


• Invitation to and recognition at opening night reception with Texas artists who directly benefit from the sponsor’s generosity.

• Sponsor will receive four complimentary tickets in the Director’s Box for an Amarillo Opera production (on request) and priority assistance in obtaining additional premium seats.

• Sponsor’s employees will receive 25% discount on tickets to season performances.



• Sponsor will be recognized in Amarillo Opera’s newsletter distributed locally and nationally.






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PRODUCTION PARTNERS and CO-PARTNERS

FUNDING REQUEST: $1,000 and $500

PURPOSE: Production Partnership and Co-Partnership offers community members an entry into the sponsorship programs of Amarillo Opera. Sets, additional lighting equipment, and costumes are just a few of the important elements underwritten by production partners and co-partners. Hosting a performance at the opera is an ideal way to participate in the life of the community.

RECENT SPONSORS: Branch and Carajean Archer, Kevin and Roxann Ball, Estevez Christian Foundation, H.R. and Thelma Fulton, Robert and Nancy Josserand, Patricia Menke, Mr. and Mrs. William Quackenbush, Pat and Al Smith, Joe and Laura Street, William and Patti Summerhill, Patrick and Roni Swindell.

SPONSOR BENEFITS:

• Sponsor will receive prominent mention on the Production Partner page of the production’s Program Book.

• Invitation to and recognition at opening night receptions where sponsors might meet artists who directly benefit from the sponsor’s generosity.

• Sponsor will receive two complimentary tickets for the production and priority assistance in obtaining additional premium seats.

• Sponsor’s employees will receive 10% discount on additional single tickets to season performances.



• Sponsor will be recognized in Amarillo Opera’s newsletter.






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Additional Sponsorship Opportunities

Whenever possible, Amarillo Opera will tailor a sponsorship opportunity for your specific marketing or charitable needs. Consider using our performances as a platform for launching a new product or service, or to entertain important clients or other important guests. Pre and post opera dinners and parties are an ideal way to make a lasting impression on your guests. Special cocktail parties are only one of the many ways Amarillo Opera can help you achieve your marketing or philanthropic goals.

Here are only a few of the additional sponsorship opportunities that can serve as a platform for your special night at the opera.

Set Sponsor $17,500

Costume Sponsorship $17,500

Orchestra Sponsorship $15,000

Website Sponsorship $10,000

Chorus Sponsorship $7,500

Supertitles Sponsorship $5,000

Call the Amarillo Opera Office at 806.372.7464 and let us create a sponsorship benefit package for you or your business.

Amarillo Opera is a Professional Company member of

Costume thoughts for

CANDIDE

Westphalia

18th Century pulled from stock

Voltaire – Dr. Pangloss

Costumes pulled from stock Incidentals are purchased

LisbonThe Jew

The Grand Inquisitor The JudgeThe Agents

Hats & Masks purchased – Costumes pulled from stock

Auto De Fe Lisbon

Black & White costumes pulled from stock – Ruffs made , masks purchased

CadizThe Dons

Costumes from stock – Hats, fans & mustaches are purchased

Montevideo

Monk’s robes from stock – Hats & aprons may have to be purchased

Eldorado

The Lion

The Singing Sheep

Lion wig is purchased – Costume from stock The Sheep costumes are built

Cartegena

Women’s Costumes are purchased – Men’s Sombrero Tricorns & Serape Sashes are purchased

The Chorus

Costumes are mostly pulled from stock There will be many more variations Several tops and hats may be purchased Some Ruffs will have to be made Masks are painted on

candide sponsorship opportunities

Documents

enabled amarillo opera

original production

production partners

production consortium

candide set

dear friend of amarillo

lyric opera of chicago

houston grand opera