dear opera-goer, de buenos aires... · dear opera-goer, let me offer an enthusiastic welcome to all...

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Dear Opera-goer,Let me offer an enthusiastic welcome to all who are attending this performance! This marks not only the opening of the 47th season of Arizona Opera, but the inauguration of our McDougall Arizona Opera RED Series. McDougall RED seeks to present in more intimate surroundings exciting works of the musical theater we know as “opera” and in particular, works that help show that opera is not a dead art.

Our opening work for McDougall RED is a 20th century work (premiered in 1968) by the Argentine father of the [Argentine] tango, Astor Piazzolla, the tango opera, Maria de Buenos Aires.

“Tango Opera”? Why not? Richard Strauss’s Der Rosenkavalier is largely a waltz opera, why not a tango opera?

It will be the music more than the story, perhaps, that will move you most. While I have not seen Maria de Buenos Aires, I first listened to it without libretto or story synopsis on an airplane. All I can say is that my moving to the music created my own mid-air turbulence as I bounced in my seat, seatbelt notwithstanding!

McDougall RED arose from a conscious effort on the part of the management and my fellow directors on the board of Arizona Opera to be the most artistically exciting opera company we could be. We wanted to satisfy the needs of those who have long supported us by attending our performances (and by offering your much needed financial support.) At the same time, we wanted to attract new opera attendees, who might have a narrow image of opera, and who would be open to encountering opera through the productions made possible by McDougall RED and its more intimate environs. This initial year’s offerings hint at the range of possibilities in opera as we present the tango sounds of Maria de Buenos Aires followed next month by the jazz influenced sounds of Charlie Parker’s Yardbird. I am not free to divulge the titles for the following season, but Arizonans can anticipate some meaningful offerings in McDougall RED.

But McDougall RED is but one part of the new structure incorporated in this 2018/19 season, for we shall indeed have three Arizona Opera Main Stage productions, including two famil-iar and long popular operas: Verdi’s hummable gem, La Traviata, and Mozart’s masterful The Marriage of Figaro, two of what our President and General Director refers to as “beloveds.”

Our commitment to our audience is each year to present such beloveds in productions that are worthy of returning these operas to our Main Stage Series.

But I have named only four operas in a five opera season! The other production in our Main Stage Series, nestled between La Traviata and The Marriage of Figaro, is the Pulitzer Prize winning, Silent Night, part of the Marlu Allan and Scott Stallard Modern Masterworks Series. Set on a Christmas Eve World War I battlefront when German, French and Scottish troops declared a temporary ceasefire to celebrate, this production is marvelous, and I cannot adequately encourage you to be sure not to miss this moving event.

Opera is alive! It is not a “dead” art form nor do we love it simply as a living museum, but as a vibrant form of entertainment. We come to be entertained, not just to experience history, and entertained I am sure you will be by our 2018/19 season, kicking off with — literally, and not just figuratively — the lively tango sounds of Maria de Buenos Aires.

Enjoy, and feel free to move your feet in time with the music!

John Johnson BOARD CHAIR

MESSAGE FROM THE

Board Chair

MARIA DE BUENOS AIRES2

BOARD OF DIRECTORS

OFFICERS

(Rev) John A. Johnson, ChairRobert S. Tancer, Immediate Past ChairSharon Landis, Vice ChairScott Stallard, TreasurerColonel (Ret) Kimberley Smith, Secretary

DIRECTORS

David J. BolgerArlyn M. BrewsterJean S. CooperBarry FingerhutNancy FosterKaren FruenVikie HaritonDavid HeapGerardo HigginsonJohn HughesShirley A. KaufmanKimberly J. KauffmanDr. Peter LanceBrendan MahoneyCarolyn (Kay) McDougallDr. Ingrid MillerErik PetersonJo Kuchai PulvermacherMarcelino QuiñonezThomas Carlton Rogers, IIKarinn Hamill RotheJeannette Jung SegelJesse (Jay) B. SimpsonAnne Y. SnodgrassLinda StaubitzRoma WittcoffJudith (Judy) G. Wolf, Ph.D.

HONORARY DIRECTORS

Victor Manuel Treviño EscuderoDeborah FelderRichard FelderThomas M. Foster*Katherine G. HavasLuella Hermanson, Ed.D.Edward H. Hermanson, Ed.D. *Nancy JoaquimRichard JoaquimRuth JonesH. Eugene Jones*The Hon. Janet NapolitanoMarilyn Papp*L. Roy Papp*Ann B. Ritt*Adib Sabbagh, M.D. Ellie ShapiroGlenna Shapiro*Lawrence Shapiro*

Shoshana B. Tancer

HONORARY LIFETIME DIRECTORS

Mrs. Alfred J. Booth*Ms. Patricia Next A. FellnerVirginia H. Floyd, Ph.D.*Mrs. John Gekas*Mr. and Mrs. Harvey Nelson*Kathleen Rector-Wyckoff*Martha E. Salzman*Dr. and Mrs. Stephen M. Seltzer

* In memoriam

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TABLE OF CONTENTS

1 Message from the Board Chair

2 Arizona Opera Board of Directors

3 Table of Contents

4 Message from the President and General Director

5 About the Creators

6 Cast & Creative Team

8 Synopsis

10 The Birth of Tango Nuevo

12 Artist Profiles

18 Arizona Opera Staff

19 Marion Roose Pullin Studio Artists and Sponsors

20 Support Your Opera

21 Production Apprentice Program

22 Maria de Buenos Aires Ensemble

23 Encore Society

24 Arizona Opera Leagues

25 Arizona Opera Education Programs

26 Special Events

27 Annual Donors

30 Corporate Support

31 Corporate Gift Match


MESSAGE FROM THE

President & General DirectorDear Arizona Opera Family Member,It’s an honor and privilege to welcome you to Arizona Opera’s 2018/19 Season, our 47th season of serving our state with this incredibly bold, brave, and brilliant art form.

As our company embarks on a new season model—expanding our performing venues in both Phoenix and Tucson, as well as expanding our artistic horizon with the launch of the McDougall RED Series—I can think of no better way to begin our year than with Astor Piazzolla’s masterpiece, Maria de Buenos Aires, in a new production created by Arizona Opera in collaboration with San Diego Opera.

On May 8, 1968, Piazzolla, along with librettist Horacio Ferrer brought this nuevo tango opera to life in its titular city. Now, fifty years later, we’re proud to bring this dark, seductive piece to Arizona for its company premiere. Our new McDougall Arizona Opera RED Series is focused on capturing the passion and heart of opera—the very essence of our art form—with works that explore a wide range of musical and thematic languages. Maria de Buenos Aires is a piece that has delivered on this promise for five decades, with an intoxicating combination of elements drawn from both traditional opera, and more modern musical and dramatic worlds.

We’re delighted to present Colombian opera singer Catalina Cuervo, who holds the distinct honor of having sung in this production more

than anyone else in its performance history, and who makes her Arizona Opera debut with Maria. Additionally, we’re welcoming back baritone Luis Alejandro Orozco, who you may remember from our 2015 production of Florencia en el Amazonas; as well as greeting a new talented voice on stage, Celeste Lanuza as El Duende.

I want to thank you, our opera family, for being here for this experience, and to thank our talented and hard-working staff and board, without whom this opera season would not be possible. We are so grateful to share the adventure of opera with you.

I hope you enjoy the sultry and surreal world of Maria de Buenos Aires. We look forward to seeing you in November, as we continue the McDougall RED Series, delving into the life and death of an American jazz legend in Charlie Parker's Yardbird.

All the best,

Joseph Specter PRESIDENT AND GENERAL DIRECTOR

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ABOUT THE CREATORS

Astor Piazzolla, ComposerAstor Pantaleón Piazzolla, born March 11, 1921, was an Argentine musician and

a virtuoso on the bandoneón (a

square-built button accordion). He was a

major Latin American composer of the 20th century. His opus, comprising more than 1000 works, a characteristic career and an undoubtedly Argentinian flavor, continues to influence the best musicians in the world of all generations.

He received his first bandoneón at age eight and learned to play both that instrument and the piano as a child. He formed his own orchestra in 1946, composing new works and experimenting with the sound and structure of the tango. Piazzolla's

nuevo tango was distinct from the traditional tango in its incorporation of elements of jazz, its use of extended harmonies and dissonance, its use of counterpoint, and its ventures into extended compositional forms.

He formed the influential Quinteto Nuevo Tango in 1960 featuring a violin, electric guitar, piano, double bass, and bandoneón. In Argentina Piazzolla’s nuevo tango gradually gained acceptance, and his music influenced a new generation of tango composers and was featured during the 1970s and ’80s in film scores, television programs, and commercials. His later compositions included a concerto for bandoneón and orchestra (1979) and, commissioned by Kronos Quartet, Five Tango Sensations for bandoneón and string quartet (1989).

Towards the end of 1989 he began playing solo with string quartets and symphonic orchestras. He died in Buenos Aires in 1992.

Horacio Ferrer, LibrettistHoracio Ferrer, born June 2, 1933 was a Uruguayan - Argentine poet, broadcaster, reciter and tango lyricist. He is particularly well known for having composed the lyrics for tangos by Astor Piazzolla, such as Balada para un loco and Chiquilín de Bachín.

As a child, his family paid frequent visits to his mother’s brother in Buenos Aires, Argentina where Ferrer learnt to play tangos on the guitar by ear.

Ferrer helped founded El Club de la Guardia Nueva, which organized concerts in Montevideo for musicians revolutionizing tango, such as Aníbal Troilo, Horacio Salgán and particularly Astor Piazzolla and his famous Octeto Buenos Aires. Ferrer’s first meeting with Piazzolla in 1955 would prove an important turning point in Ferrer’s life.

In 1967 he wrote an anthology of poems, Romancero canyengue. Upon hearing a recording of Ferrer reciting these poems, accompanied by the guitarist Agustín Carlevaro, Piazzolla invited

him to collaborate on the writing of Maria de Buenos Aires. The work premiered in 1968 in the Sala Planeta in Buenos Aires with Piazzolla and a ten-piece orchestra, the singers Héctor de Rosas and Amelita Baltar and with Ferrer as reciter in the role of El Duende.

Other songs written by Ferrer and Piazzolla include Canción de las venusinas, La bicicleta blanca and Fábula para Gardel, included in the album Astor Piazzolla y Horacio Ferrer en persona. Ferrer also wrote the lyrics of other tangos, including Balada para mi muerte, El gordo triste and El hombrecito blanco.

He died December 21, 2014.

6Generous support provided by Arizona Commission on

the Arts, and the Phoenix Office of Arts and Culture.Piano Showroom is the official

music partner of Arizona Opera.2018/19 Studio Artist housing

generously provided by:

Arizona Opera would like to thank our 2018/19 Season Sponsor

Catalina Cuervo ............. Maria/Shadow Maria ‡

Luis Alejandro Orozco ........... Payador/Porteno/ Ladron antiguo mayor/

Analista primero/ Voz de Ese Domingo

Celeste Lanuza ................................El Duende ‡

Lester Gonzalez ...................... Featured Dancer ‡

Laurence Gonzalez ................. Featured Dancer ‡

Stephanie Berg ....................... Featured Dancer ‡

Scott Terrell ....................................... Conductor

John de los Santos ........................ Stage DirectorLiliana Duque Piñeiro ...................... Set DesignerChad Jung ................................ Lighting Designer

Abe Jacob .................................. Sound Designer

‡ Arizona Opera Mainstage Debut

MARIA deBUENOS

AIRESOCTOBER 6 & 7, 2018

Approximate Running Time: 90 minutes with no intermission

MARIA DE BUENOS AIRES, Little Opera in 2 Parts

For Orchestra, Narrator and Singers Texts by Horacio Ferrer

Music by Astor Piazzolla

Used in agreement with European American Music Distributors Company, U.S. and Canadian agent for Warner/Chappell Music, Inc., publisher and copyright owner.

MARIA DE BUENOS AIRES is a co-production with San Diego Opera and Arizona Opera.

Costumes provided by San Diego Opera and Arizona Opera.

Maria de Buenos Aires

is brought to you by

The Carol Franc Buck Foundation

The Flinn Foundation

The Bancroft-Clair Foundation

Ole and Teri Thienhaus

Photo: Jeff Roffman of the Atlanta Opera


SYNOPSIS

Alevare As the soul of the unborn Maria watches, El Duende serenades the man and woman fated to be the child’s parents. They bear a little girl, who hears El Duende’s hungry whispering.

Tema de Maria The child Maria watches her parents’ drunken brawling, but is eventually led away by the lullaby of her soul.

Balada Renga Para Un Organito Loco Maria is now a woman and aids her mother with the housework as they listen to the Payador’s ballad on the radio. Maria watches fascinated as two men tango together to attract the attention of a socialite from Buenos Aires.

Yo Soy Maria Maria decides to run away to Buenos Aires, and upon arrival is spellbound by the possibilities.

Milonga Carrieguera Por Maria La Nina Maria meets the Payador in the flesh, and he muses over her confident naivety. She follows him to his flat, where they make love.

Fuga Y Misterio El Duende appears, and watches as a thief searches for an open window to explore. While the Payador sleeps, Maria notices the thief and sneaks out to meet him. They tango, and leave together.

Poema Valseado Maria wanders through the streets observing vendors and other citizens. She gives an apple to a blind leper, and then joins the thief, who is now her lover.

Tocata Rea The leper reveals itself to be El Duende, who oversees an underground cantina. The thief leads

Maria there, and goads her into dancing for the other clients present. When she tries to escape, she is trapped by the men as El Duende holds her down.

Miserere Canyengue De Los Ladrones Antiguos En Las Alcantarillas The Payador wanders, searching for Maria. The denizens of the street sing about Maria’s proficiency as a woman of the night. She enters and plies her trade in front of him. When he moves to her, the thief threatens him with a navaja. The Payador exits as Maria takes the knife and kills the thief.

Contramilonga A La Funerala Por La Primera Muerte De Maria El Duende travels to La Recoleta cemetery, where she meets grieving mothers laying candles on the graves of their children.

By John de los Santos

El Duende - a Latin American “goblin”, prone to mischief, changing its

appearance, and bartering with mothers for possession of their children

Payador - an improvisational singer of popular music

Navaja - Spanish folding blade

Desaparacido - one of the missing, or “disappeared”, victims of Argentina’s Dirty War

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Tangata Del Alba Several more mourners enter the cemetery, and watch a pair of strangers tango. El Duende enters, pulling a wheelbarrow containing the corpse of a desaparecido.

Carta A Los Arboles Y A Las Chimeneas Months have passed. Maria enters, now pregnant, and a shadow of her former self. As she navigates through the graves, melancholy ghosts plead with her to join them.

Aria De Los Analistas A group of construction workers, including the Payador, enter and begin demolishing the graves. The workers try

to console the Payador, who sings sadly about Maria. She answers his questions from far away.

Romanza Del Duende Poeta Y Curda A mass is being held in the Basilica de Nuestra Senora. Sisters and priests chant under the leadership of the Archbishop, who is El Duende. Maria stumbles into the chapel desperate for sanctuary.

Allegro Tangabile Maria begs for help in the streets, but is mocked when she is recognized by her former admirers. She has a contraction, and El Duende hands her a gun.

Milonga De La Anunciacion Maria is deserted in excruciating pain. The Payador finds her on the brink of death. He takes her away as she goes into labor.

Tangus Dei El Duende and its hungry minions are in their lair, awaiting the delivery of Maria’s child. Three politicians enter bearing gifts for the baby. The Payador reluctantly presents the swaddled infant to the corrupt onlookers. El Duende unwraps the swaddle to find that it holds nothing but dead flowers. El Duende screams as it sees Maria holding the living child.

El Duende - a Latin American “goblin”, prone to mischief, changing its

appearance, and bartering with mothers for possession of their children

Payador - an improvisational singer of popular music

Navaja - Spanish folding blade

Desaparacido - one of the missing, or “disappeared”, victims of Argentina’s Dirty War GLOSSARY


OPERA EDUCATION

Maria de Buenos Aires is dazzling audiences the world over after decades of relative obscurity. As new productions increase each year, Maria de Buenos Aires—an enigmatic work—is expanding and reshaping the operatic experience while simultaneously exposing new audiences to the rhythms and moves of tango.

Maria de Buenos Aires has become the synonymous with tango itself. But when Maria de Buenos Aires premiered 50 years ago in 1968, the music of its composer, Astor Piazzolla, was not the quintessential tango experience we know today. In fact, Piazzolla’s music and style were controversial and radical, rejected by tango aficionados. However, Piazzolla’s style won out, and his hybrid form of tango, jazz, and classical music forever changed—and expanded—the world of tango.

The origins of tango are impossible to uncover. Unlike other Western tradi-tions, the history of tango was not hotly debated in newspapers. It was not worked out through contemporaneous notes from founding artists. Instead tango originated in the seedy underbelly of Argentina in the 19th century where it finally coalesced into a vibrant, dance tradition: vertical expressions of horizontal desires.

During much of the early 20th cen-tury, tango was almost exclusively a

form of dance left to lowlifes found in Argentinian clubs, brothels, and bars. But as the elite of Latin America began traveling to Europe on their Grand Tours—and European aristocrats in turn traveled to Argentina—this second-class style was embraced as Argentina’s signature contribution to the world.

By the 1930s, tango was in the midst of its golden age. Until this era, musicians only accompanied the dancers, but as recordings of tango orchestras, bands, and soloist were sold across the world, the musicians of tango became equal collaborators in the dance itself.

However, as tango reached a new level of musical expression and dissemination, it became wrapped up in the politics of its day. As a symbol of Argentina, tango became associated with the nationalist policies of Juan Peron (whose wife Eva is explored in another genre-defying work of the 20th century, Evita). As a con-sequence of this association, tango was banned and encouraged according to political whims. During these uncertain times, tango once again went under-cover, relying on anonymous rebels to keep the flame alive.

In the late 1930s a young bando-neon player, Astor Piazzolla, moved to Argentina from the United States in order to play with and learn from the great tango orchestras. While Piazzolla was born in Argentina to Italian parents,

The Birth of Tango Nuevo By Joshua Borths

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they soon moved to New York City where his global experiences, and exposer to different forms of music helped shape his signature style.

After several years master-ing tango in Buenos Aires, he became restless. He wanted to compose, not just perform, so Piazzolla moved to Paris to study composition with a titan of 20th century music theory Nadia Boulanger. Piazzolla played his tango compositions for Boulanger and—understanding his true talent—encouraged him to combine his two loves: Western classical music and tango.

The result of this labor was nuevo tango: a fusion of tango, jazz, and classical mu-sic. But more importantly, Piazzolla in-troduced tango to the concert hall. Like Gershwin in Rhapsody in Blue, Piazzolla used every genre at his disposal to move tango musicians to the forefront of the tradition. Many tango-lovers were shocked and appalled. For them, tango was about the dance, and this new form of musical expression was anathema to their beloved tradition.

Over the decades, Piazzolla’s popular-ity grew and his mastery of tango and Western classical music—often in the same pieces—won out. With nuevo tango, tango found new life in the second half of the 20th century. Now, with a new cultural interest in social dance across the Western world, tango is thriving once more.

For many opera audiences, Maria de Buenos Aires stretches the definition of opera. But just as tango nuevo was origi-nally rejected only to be accepted as a masterful step forward for the tradition, so too is Maria de Buenos Aires a bold step forward in the operatic canon. By going on this surreal, musical journey audiences are forced to consider the question, “What is opera?” Piazzolla de-fied his traditional boundaries, and do-ing so, brought new audiences to tango and opera alike. Like the unnamed pioneers of tango before him, Piazzolla fused his own experiences, influences, and desires through art, paving a new way forward to those who choose to join the dance. Joshua Borths is the Director of Opera and Musical Theater at Capital University in Columbus, Ohio


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ARTIST PROFILES

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ARTIST PROFILES

Catalina Cuervo, sopranoMARIA / SHADOW MARIA

AZO DEBUT

Maria de Buenos Aires, 2018

NOTABLE ENGAGEMENTS

• Frida Michigan Opera Theater

• Maria de Buenos Aires Cincinnati Opera

• Maria de Buenos Aires Florida Grand Opera

• El Amor Brujo The Atlanta Symphony Orchestra

Known as the "Fiery Soprano", Colombian born Catalina Cuervo holds the distinction of having performed the most productions of Piazzolla's Maria de Buenos Aires. Cuervo has performed the role over 50 times and for numerous prestigious companies including Florida Grand Opera, The Atlanta Opera and Cincinnati Opera, to name a few. Cuervo debuted

in Detroit with much success as Frida Kahlo in the revival of Frida with Michigan Opera Theater in 2015 and then with Cincinnati Opera for their 2017 season. Both ended with sold-out shows and triumphant reviews, one even calling Frida best Opera of the 2015 season. Catalina Cuervo was named one of the five most successful Colombian Sopranos in the Opera World by the Ministry of Culture of Colombia.

Celeste Lanuza, EL DUENDE

AZO DEBUT


NOTABLE ENGAGEMENTS

• West Side Story Candlelight Pavilion Theatre

• Peter Pan Moonlight Stage Productions

• Zoot Suit San Diego Repertory Theatre

• Guys and Dolls Old Globe Theatre

Celeste Lanuza performed the role of El Duende as the first American female actress in Maria de Buenos Aires with the San Diego Opera receiving rave reviews for her “tour de force traversal of the role, morphing easily” (Opera Today). Lanuza was also the Assistant Director/Assistant Choreographer and Cover of El Duende with the Fort Worth Opera. Celeste holds a

BFA in Dance and Musical Theatre from the University of the Arts and an MFA in Choreography from UC Irvine where she was rewarded a full tuition fellowship.

Lanuza has played the role of Anita in West Side Story at the Candlelight Pavilion Theater hailed by Broadway World as “earthy, feisty and human.” Another

favorite role is Tiger Lily in Peter Pan with Moonlight Stage Productions. Follow her music on iTunes and Spotify and Instagram @celeste_lanuza.



Luis Alejandro Orozco, baritonePAYADOR / PORTENO / LADRON ANTIGUO MAYOR / ANALISTA PRIMERO / VOS DE ESE DOMINGO

Lester Gonzalez,FEATURED DANCER

ARTIST PROFILES

AZO DEBUT

Florencia en el Amazonas, 2015

NOTABLE ENGAGEMENTS

• Florencia en el Amazonas Pensacola Opera

• La tragédie de Carmen Des Moines Metro Opera

• Champion Opera Theatre of St. Louis

• Don Giovanni University of Cincinnati’s College - Conservatory of Music

An El Paso Texas native, Mexican-American Baritone Luis Alejandro Orozco has been praised for his “voluminous baritone and beautiful legato.” Luis begins the 2018/19 season with Mill City Summer

Opera as Escamillo in Carmen. He also returns to Opera Santa Barbara and Anchorage Opera as Marcello in La bohème and makes his debut with Pensacola Opera as Riolobo in Florencia en el Amazonas. Orozco was a recent guest soloist with the Evgeny Svetlanov State Symphony in Moscow for Leonard Bernstein’s 100th anniversary tribute concert. Previous notable appearances include performances with, Cincinnati Opera, San Diego Opera, Opera Theatre of St. Louis, Michigan Opera Theater, New Orleans Opera, Fort Worth Opera, Florentine Opera, and Washington National Opera. He is also known as the leading interpreter in the United States for the role of El Payador in Piazzolla’s Maria de Buenos Aires.

Laurence Gonzalez,FEATURED DANCER

AZO DEBUT


NOTABLE ENGAGEMENTS

• Ballet of Cuba’s France tour

• Internacional Festival Dance Tamaulipas México

Laurence Gonzales studied at the National Ballet School of Havana, Cuba. Featured roles include Dracula, The Nutcracker, Diana and Acteon, Spartacus, Desire and Rose Adagio (Sleeping Beauty), Swan Lake, Romeo and Juliet, Don Quixote, A Midsummer Night’s Dream, and Carnival of the Animals. His favorite repertoire includes Dracula and Don Quixote

AZO DEBUT


NOTABLE ENGAGEMENTS

• Ballet of Cuba’s France tour

• Internacional Festival Dance Tamaulipas México

Lester Gonzales studied at the National Ballet School of Havana, Cuba. Featured roles The Nutcracker, Sleeping Beauty. Don Quixote, Silvia, Swan Lake, A Midsummer Night’s Dream, Carnival of the Animals, Le Corsaire, and Romeo and Juliet

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ARTIST PROFILES

Stephanie Berg,FEATURED DANCER

AZO DEBUT


NOTABLE ENGAGEMENTS

• Argentine Tango USA Champion 2014

• La Baldosa Buenos Aires, Argentina 2015

• Southern California Tango Championship 2016

• Judged Rocky Mountain Challenge Tango Competition 2018

Stephanie Berg has performed tango around the world. She has been a dancer all her life, studying ballet as a youth, ballroom as a young adult, and Argentine Tango for the last 8 years. She has always practiced a wide range of dance disciplines, including modern, contemporary, jazz, Charleston and (a personal favorite) West African dance.

Stephanie is currently Professor of Tango at ASU, co-director of a Youth Lindy Hop Team, the current owner of the Z Room Dance and Fitness studio, and trains finalists and champions for the USA Tango National Championship, a competition she won in 2014 with her partner and husband, Nicholas Tapia.

Scott Terrell,CONDUCTOR

AZO DEBUT

The Magic Flute, 2015

NOTABLE ENGAGEMENTS

• Maria de Buenos Aires Arizona Opera

• Trouble in Tahiti Aspen Music Festival and Schoo

• Maria de Buenos Aires Fort Worth Opera

• A Wedding (William Bolcom) Aspen Music Festival and School

Conductor Scott Terrell was appointed Music Director of the Lexington Philharmonic in 2009. During his tenure, Mr. Terrell has re-invigorated and raised the artistic level of the ensemble, expanded collaborations, increased subscriptions and challenged its musicians and audiences with a greater diversity of repertoire and programs. Maestro Terrell has simultaneously

maintained a healthy schedule of recent guest conducting with the Houston Symphony, Baltimore Symphony, Fort Worth Opera, San Antonio Symphony, St. Louis Symphony and Philadelphia Orchestra. Future engagements include the Pittsburgh Symphony, Fort Worth Symphony with return engagements at the Aspen Music Festival and Arizona Opera. Terrell has led with many prestigious international organizations including Opera Colorado, Minnesota Opera, Minnesota Orchestra, Rotterdam Philharmonic, Rochester Philharmonic, Hong Kong Sinfonietta, Milwaukee Symphony, Spoleto Festival, Colorado Symphony, and Naples Philharmonic.


ARTIST PROFILES

Liliana Duque Piñeiro,SET DESIGNER

AZO DEBUT


NOTABLE ENGAGEMENTS

• Madama Butterfly Opera de Colombia

• The Beautiful and Forbidden: a Concert of Censored Opera Cincinnati Opera

• A Midsummer Night’s Dream College-Conservatory of Music, University of Cincinnati

With a background in sculpture, Liliana knows how to combine artistic vision with the practicality of set design. Recent collaborations include The Magic Flute for Teatro Nacional Sucre, Ecuador, Civil War Christmas for Town Hall Theatre, Lafayette CA., Orpheus and Euridice for The Vermont Opera Project, La Cage Aux Folles and Powder her Face for Skylight Music Theatre,

Milwaukee. Her design for Book of Days for Douglas Morrison Theatre was nominated for the Theatre Bay Area Awards. Upcoming projects include Madame Butterfly for Opera de Colombia and The Revolutionists for Town Hall Theatre, Lafayette CA.

John de Los Santos,STAGE DIRECTOR

AZO DEBUT

Daughter of the Regiment, 2015

NOTABLE ENGAGEMENTS

• Maria de Buenos Aires San Diego Opera

• Great Scott Dallas Opera

• The Merry Widow Opera Saratoga

• When Adonis Calls (world premiere) Asheville Opera

Director/choreographer John de los Santos’ productions include the world premiere of The Astronaut Love Show at NYC's Kraine Theater, The Rose & the Knife, Le Comte Ory, and Otello for LoftOpera, La Cage Aux Folles for Skylight Music Theatre, Carousel and South Pacific for Ashlawn Opera, and the world premiere of Pure Country for Lyric Stage. His acclaimed new

production of Maria de Buenos Aires has been seen at the Lexington Philharmonic, San Diego, and Fort Worth Opera companies. His productions of Carmen, The Mikado, and The Pearl Fishers have all opened the Fort Worth Opera Festival. As a librettist, Washington National Opera’s American Opera Initiative commissioned John to create a new work with composer Christopher Weiss. The resulting piece, Service Provider, premiered at The Kennedy Center in 2015, and has since been performed at Urban Arias, Opera Memphis, Hawaii Opera Theatre, and Lake George Music Festival. John’s collaboration with composer Clint Borzoni, The Copper Queen, won the top prize Arizona Opera’s commission program, Arizona SPARK, and has since been successfully workshopped both in Phoenix and NYC.

Chad R. Jung,LIGHTING DESIGNER

AZO DEBUT


NOTABLE ENGAGEMENTS

• JFK Fort Worth Opera

• Leonce & Lena Off Broadway

• Opera Australia

• Atlanta Opera

Jung has designed more than 300 productions for opera, theatre, music, and dance. Opera credits include more than 50 productions for a variety of companies including Atlanta Opera, Dallas Opera, Fort Worth Opera, Opéra de Montréal, Palm Beach Opera, The Opera San Antonio, Opera Tampa and Opera Australia at the Sydney Opera House. As lighting director for the Fort Worth Opera

Festival, Jung has designed a vast repertoire, including the critically acclaimed world premiere of JFK. As a founding member Amphibian Stage Productions, Jung has designed numerous works of theatre including Off Broadway for Leonce & Lena.

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ARTIST PROFILES

AZO DEBUT


NOTABLE ENGAGEMENTS

• A Little Night MusicNew York City Opera

• 110 in the ShadeNew York City Opera

• The Music ManArizona TheatreCompany

• Hair

Abe Jacob,SOUND DESIGNER

The remarkable career of Abe Jacob, a native of Tucson, has spanned five decades and his achievements in theatre sound design virtually brought the field into existence. Major Broadway, opera, touring and world-wide production credits include: Hair, Jesus Christ Superstar, Pippin, A Chorus Line, Chicago, Dancin’, Evita, Cats, Big Deal, and The Gershwins’

Fascinating Rhythm. At New York City Opera, his work there included productions of A Little Night Music, 110 in the Shade, Die Soldaten, Harvey Milk, Sweeny Todd and Candide. Jacob has designed more than 10 productions for Arizona Theatre Company where he is preparing for their production of The Music Man this fall. He is the recipient of the LDI Award for Lifetime achievement in Theater in Theater Sound Design and is pleased in making his debut here at Arizona Opera.

Hector del Curto, BANDONEON PLAYER

AZO DEBUT


NOTABLE ENGAGEMENTS

• Forever TangoBroadway

• Fiesta Iberoamericanode las Artes

• Levitt Pavilion for thePerforming Arts

• The Lincoln Center

Praised by The New York Times as a "splendid player," Grammy Award winning Argentinean bandoneonist Héctor Del Curto's career, spanning for more than twenty–five years, has encompassed the traditional Tango, New Tango, Jazz, Classical and World music. As one of the most sought–after bandoneonist, he has performed with luminaries across

many musical genres including the Tango legends, Astor Piazzolla and Osvaldo Pugliese, latin jazz giant Paquito D'Rivera, jazz violinst Regina Carter, saxophonist Joe Lovano, violinist Cho–Liang Lin and appeared with prestigious orchestras such as The Metropolitan Opera Orchestra, St Louis Symphony Orchestra, National Symphony Orchestra, Orpheus Chamber Orchestra, Rochester Philharmonic Orchestra, Mobile Symphony and Buenos Aires Symphony Orchestra.

Colin Davin,GUITAR PLAYER

AZO DEBUT


NOTABLE ENGAGEMENTS

• Late Show withDavid Letterman

• Carnegie Hall

• The MetropolitanMuseum of Art

• New York PhilharmonicEnsembles

Hailed as “the real thing, a player with a virtuoso’s technique, a deeply expressive musicianship, and a probing imagination” (American Record Guide) who “has the distinct ability to wring the depths of expressiveness from all that he plays” (Classical Guitar Magazine), and for his “precision, musical intelligence and passion” (Cleveland Classical), guitarist

Colin Davin has emerged as one of today’s most dynamic young artists. Recent and upcoming highlights include concertos with the New Mexico Philharmonic, Champaign-Urbana Symphony Orchestra, Elmhurst Symphony, Richmond Symphony, and Orchard Park Symphony; collaborations with Sharon Isbin at the 92nd Street Y and the Cleveland Classical Guitar Society; and performances at the Aspen Musical Festival, the Dallas Fine Arts Chamber Players, and the Maui Classical Music Festival. Davin holds a Master of Music from The Juilliard School.


ARIZONA OPERA STAFF

ARTISTICZackery Hayhurst, Director of Artistic Administration

Christopher Cano, Head of Music & Director, Marion Roose Pullin Opera Studio

Rachel Stanton, Company Manager

Henri Venanzi, Chorus Master

Shawn Campbell Orchestra Manager

Laura Tagawa, Orchestra Librarian

DEVELOPMENTAshley Parks, Director of Development

Jenny St. John, Development Consultant

Samuel Lowry, Associate Director of Development, Institutional Giving & Research

Logan Marshall, Major Gifts Officer

Sarah Smith, Individual Giving Officer

Maxwell Seifert, Manager of Development Operations

MARKETINGCarlotta Soares, Director of Marketing, Communications, and Public Relations

Cece Roeder, Marketing Manager Ashlee Ewell, Marketing Assistant

BOX OFFICERhea Shaffer, Box Office Manager

Sarina Lacina, Assistant Box Office Manager

Christopher Daly, Box Office Associate

Ali Labdon Box Office Associate

EDUCATIONCassie Robel, Director of Education Kyle Homewood, Director of of Community Engagement and Special Programs

Phoenix Teaching Artists: Jenina Gallaway Vanessa Naghdi Xuelai WuTucson Teaching Artists: Diana Olivares Mark Benjamin Hockenberry Michelle Perrier Mitchell Sturges Woan Ching Lim

FINANCE & ADMINISTRATIONJoann Serra, Director of Finance, Administration & Human Resources

Dawn Busby, Staff Accountant

Iryna Comstock, Accounting Associate

Danielle Wetzel, Office Manager & Executive Assistant

Special thanks to I.A.T.S.E. Local 336 and 415 for providing personnel for our performances.

Joseph Specter President & General Director

PRODUCTIONGreg Hirsch, Resident Lighting Designer & Director of Production

Tim Stettler, Technical Director

Alanna Maniscalco, Properties Supervisor

Travis Baldwin, Assistant Lighting Designer

Luke Matlock, Production Operations Administrator Jason Campbell, Sound Operator

I.A.T.S.E LOCALS 336 & 415

Isabel Sorg, Production Electrician

Wyatt Wrisley, Master Electrician

Randall Huot, Head Sound

ARIZONA OPERA SCENIC STUDIOBob Bruner Ryan Bruner Erasmo Vela, Jr. Artisans

Craig Cheply Scenic Painter

Jeff Slim Scenic Studio Painter

STAGE MANAGEMENTKeri Muir, Production Stage Manager

Luci Burdick 1st Assistant Stage Manager Shyla Bonham 2nd Assistant Stage Manager

WIG & MAKEUP

Alita Lopez, Wig and Makeup Manager

Nadia Walsh, Assistant, Wig and Makeup Crew

Christine Gallandt, Shop Assistant, Wig and Makeup Crew

Wig and Makeup Crew: Sasha Wordlaw Gio Sauceda

MARLU ALLAN & SCOTT STALLARD COSTUME ARTISAN WORK SHOP Kathleen Trott, Costume Shop Manager

CeCe Sickler, Lead Cutter/Draper

Becky Giblin, Master Stitcher

Haley Peterson, First Hand

Brooke Arthur, Wardrobe Supervisor

Shelby Joiner, Painter/Dyer

Costume Shop Apprentices: Jessica Lang Emma Jackson Chelsea R. BannanStitcher II: Brenda Coover Paul Elliott Renee RaneyDressers: Jessica Lang Paul Elliott Volunteers: Anne Davies Chiara Zalewski Diane Goullard Grace Wilson Jeanne Winograd Jessica Lang Katie Powers Michele Landsberger

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MARION ROOSE PULLIN ARIZONA OPERA

Established in 2007, The Marion Roose Pullin Arizona Opera Studio helps bridge the gap between academic studies and a professional career. Studio Artists are in residence all season, performing both on our mainstage and throughout Arizona. The Arizona Opera Studio also provides well-rounded, personalized instruction that propels each artist to the next level in their development.

PROGRAM SUPPORTERS

Marion Roose PullinDiana and Henry AsherSeymour and Sandra BaskinDr. Rex and Arlyn BrewsterGinger and Arnold BuchmanMary Jo and David ChristensenJane B. and Bruce H. ColeDrs. Ginger and Tom CollierThomas P. CostelloAnn DaviesA.J. EscoruelaEunice and Carl FeinbergJane and Dennis FennesseyNancy FosterKaren FruenHarold and Ester GoldDeanne and John GrecoHarriet GreenspanNorman C. and Donna L. HarbertWilliam and Silke HoffmannRichard C. Houseworth*Len and Sue HuckHelen HutchisonTom Hutchinson and Nancy Van PeltDonald and Sharon JackleyDan A. KlingenbergSharon LandisJanice and Joe LarsonPeter and Lee LarsonRalie LawrenceDr. Dorothy Lincoln-SmithEster and Antonio MassiminiDonna and James Murphy

Robert and Mary NewsteadShirley OscarsonFrank and Virginia PalamaraShirley S. ReesePam RoadsAmy E. SheltonElaine and Robert ShowerColonel (Ret.) Kimberley SmithLinda StaubitzRobert and Shoshana TancerJoy TevisSandra WernerInez K. and Alexander B. WhiteDon WilliamsRoma WittcoffDr. Judith G. Wolf

COMMUNITY PARTNERS

Arizona Senior AcademyAmerican AirlinesCourtyard MarriottGrayhawk Classic Residents’ FoundationMUSE: Inspired Urban LivingPiano Showroom, ScottsdaleSagewoodTucson International AirportVi at Grayhawk

*In memoriumAs of August 2018

CADIE JORDANSopranoSponsored by Norman C. and Donna L. Harbert

KATHERINE BECKMezzo-SopranoSponsored by Drs. Ginger and Tom Collier

JARRETT PORTERBaritoneSponsored by Roma Wittcoff

MICHAEL LEWISPianist/coachSponsored by Karen Fruen

CHRISTOPHER CANODirector

Sponsored by Karen Fruen

BRANDON MORALESBass-baritone

Sponsored by Dan A. Klingenberg and Don Williams

BILLE BRULEYTenor

Sponsored by Robert and Shoshana Tancer &

Dr. Judith G. Wolf

KAITLYN JOHNSONSoprano

Sponsored by Peter and Lee Larson

Studio Artists

BECOME A DONORYour support makes amazing programs such as these possible:

MARION ROOSE PULLIN ARIZONA OPERA STUDIOBridging the gap between academic studies and a professional career.

ARIZONA OPERA PRODUCTION APPRENTICE PROGRAMA unique opportunity for the next generation of theater technicians.

EDUCATION AND COMMUNITY ENGAGEMENTReaching more than 65,000 students and community members annually.

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The work of Arizona Opera, both on stage and in our communities, is made possible only through the investment of opera lovers like you. When you make a tax-deductible donation to Arizona Opera, you are investing in the growth and cultural well-being of the entire state of Arizona. Through beautiful and thrilling operatic experiences, your gift helps us open our doors to the widest possible audience, and deepens our impact on the statewide communities we serve.

Enhance your

EXPERIENCE

Community Outreach Programs

Marion Roose Pullin Arizona Opera Studio

Show your support for Arizona Opera & make a donationTo learn more visit www.azopera.org or call 602.218.7334

21

Production Apprentice ProgramAs the state’s only professional opera company, Arizona Opera provides a unique opportunity for the next generation of theater technicians to work state-wide in premier venues. Founded during the 2015/16 season through the generosity of Dr. Paul Symchych, the Production Apprentice Program gives apprentices the opportunity to engage in all aspects of what it takes to produce quality performances: lighting design, projections, props, costumes, wigs and makeup, and stage management. In addition to receiving comprehensive, cross-discipline training, our distinctive program provides networking opportunities, masterclasses, and essential portfolio reviews, in which the apprentices’ work is compiled and put to the test. By the end of their time with Arizona Opera, apprentices are ready to launch their professional careers in the competitive world of the performing arts.

2018/19 ARIZONA OPERA PRODUCTION APPRENTICES

Jessica Lang Costume Apprentice

Emma Jackson Costume Apprentice

Chelsea R. Bannan Costume Apprentice

Travis Baldwin Lighting Design Apprentice

Luci Burdick

Stage Management Apprentice (2nd Year)

Interested in impacting the budding careers of the future artists, technicians, and creative innovators of our state? Donate online at www.azopera.org/donate or call 602.218.7334 for further information.


ENSEMBLE

CONCERTMASTER

Louise Scott

ASSISTANT CONCERTMASTER

Linda Lambie

VIOLIN 2

Cynthia Baker ∆ Helga Kolosick ◊

VIOLA

Christina Beasley ∆Vivi Erickson ◊

CELLO

Debra Pearson ∆

BASS

Claudia Botterweg ∆

FLUTE

Paula Redinger ∆

BANDONEON

Hector del Curto

GUITAR

Colin Davin

PERCUSSION

Corey Ritter ∆ Dave Walton

PIANO

Michael Lewis

Orchestra

Supernumerary Breanne Trott

∆ Principal◊ Assistant Principal

EnsembleSergio Celis Sarah Feuerborn Ryan Glover Vassilios Miltiades Makavos Miriam Schildkret Melissa Solomon


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ENCORE SOCIETY

Robert Adami*Esther and Stan Alcorn*Carol Auerbach*Marlu Allan and Scott StallardMr. and Mrs. James* BaumRaymond Boley*Carol M. Butler*Robert and Jennifer CarneyElizabeth M. Chadwick*Regina E. Chadwick*Mary Jo and David A. ChristensenThe Family of A. Wallace Denny*Sarah DinhamDonald and Vera M. Dunham*WM Gegg Trust*Ruth Gunston*Terrence M. HansonDelbert J. Harr and Eugene Rueckoldt*The William Randolph Hearst Foundation

Kermit Heinrich*Mary E. Henderson*Rudy and Vivian HernandezMargaret Iglauer*Donald and Sharon JackleyTheodosia P. Joyce*Karen T. Kahler and William L. NelsonDan A. KlingenbergMary and Malcolm LeshinStan and Tochia LevineDr. Dorothy Lincoln-Smith and Dr. Harvey K. Smith*Dr. and Mrs. William J. Mangold, Jr.Dr. and Mrs. John K. MeinertLes and Phyllis MinsukDorothy J. Moor*Wilma Morrison*Christine and Harvey Nelson*The Nestmann Group, Ltd.Robert and Mary NewsteadMildred A. Norman*Betty Orth*

Marilyn Papp* and L. Roy Papp*Julia and Andre PernetDonna C. Powell*Marion Roose PullinWilliam G. and Kathleen Rector*Ann B. Ritt*Lucile J. Roca*Irving and Carol J. RossDr. and Mrs. Thomas C. RotheWanda R. Roy*Carol and Arnold RudoffMartha E. and Ray Salzman*Dr.* and Mrs. Harold B. SegelEvelyn and Howard* ShapiroGlenna and Lawrence Shapiro*Leonard and Angela SingerRosalind Stann*Linda StaubitzThe Joan "Tarke" Sweet Trust*Robert S. and Shoshana B. TancerJessica Spencer WarnerDr. Judith G. WolfGeraldine Young*Denotes those whose Encore gifts have been realized.

As of August 2018

It is with the highest appreciation and gratitude that we acknowledge the members of the Arizona Opera Encore Society. These generous individuals have, through planned giving, created a legacy at Arizona Opera to benefit generations to come. There are many ways to designate special gifts through your estate. Please contact Jenny St. John at 602.266.7464 ext. 347 or [email protected] for more information.

Photo: Tim Trumble

25

ARIZONA OPERA EDUCATION

everything you need to know about opera and weaves together opera’s greatest, musical moments in their original languages. Study guides are available that connect the opera to Arizona arts/curriculum standards.

Recommended for grades 4-8. Perfect for older students eager to experience the arts!

OperaTunity School Tour

The Mini-Magic Flute and Opera 101: September 24 - December 14

We help audiences find and explore their voices through opera. By touring to schools, presenting engaging lectures, and hosting special events, we use innovative programming to enrich our community and help opera lovers of all ages explore their world.

Operatunity School ToursArizona Opera's OperaTunity troupe travels to schools across the state of Arizona, performing all-school assemblies of short adapted operas. OperaTunity is a perfect introduction to opera for your students.

The Mini-Magic FluteExplore the whimsical world of Mozart in The Mini-Magic Flute! Meet Prince Tamino, Princess Pamina, and Papageno as they embark on a magical quest to unite the Sun and the Moon, bringing balance to the Kingdom of Darkness. With colorful characters and timeless melodies, this classic fairytale is sure to engage, enlighten, and empower.

Study guides available for connections to classroom learning. Recommended for grades K-4.

Opera 101This popular, 35-minute program presents a fun, engaging operatic crash-course to students. Through an original story, Opera 101 presents

Student Night not in your city? Contact the Education Department to purchase Main Stage tickets at Student Night Prices! Tickets are subject to availability and additional conditions may apply.

Please visit azopera.org/learn for a complete list of education offerings! Contact Arizona Opera at 602.875.5866 or [email protected] for any questions about the above programming.


SPECIAL EVENTS

Brown Bag OperaThe Opera Guild of Southern Arizona will present free previews of Arizona Opera performances with arias sung by University of Arizona opera students. Bring your own lunch; dessert and coffee will be provided by OGSA.

Charlie Parker's Yardbird Friday, November 9, 2018 at 12:00 p.m.

La Traviata Friday, January 25, 2019 at 12:00 p.m.

Silent Night Friday, March 1, 2019 at 12:00 p.m.

The Marriage of Figaro Friday April 5, 2019 at 12:00 p.m.

Visit azopera.org for more information.

Arizona Opera Book Club2018/19 SEASON

Arizona Opera’s Book Club is a great way to share the love of literature and opera--a wonderful way to meet fellow audience members and discuss, learn, and connect. Membership is free! By signing up, you'll receive notifications regarding events, discussion questions, and more. Individual events outside of regular book club meetings may have a registration fee. Tucson Book Club meetings will be held at the Temple of Music and Art for books related to the McDougall Arizona Opera RED Series, and books related to the Main Stage Series will be held at Tucson Music Hall. Charlie Parker's Yardbird How to Listen to Jazz by Ted Gioia

Temple of Music and Art Friday, November 16, 2018 at 6:00 p.m.

Silent NightAll Quiet on the Western Front by Erich Maria RemarqueTucson Music Hall Lobby Friday, March 8, 2019 at 6:00 p.m.

La Traviata & The Marriage of FigaroA History of Opera by Carolyn Abbate & Roger ParkerTucson Music Hall Lobby Friday, April 12, 2019 at 6:00 p.m.

BONUS BOOKS

Paris: The Novel by Edward Rutherfurd

Kansas City Lightning by Stanley Crouch

Learn more and be the first to know about all upcoming Book Club events at azopera.org/bookclub

Bonus Books for the Arizona Opera Book Club will not have live, scheduled discussions.


Play a role at Arizona Opera with no audition necessary! Consider a membership in one of our three statewide support Leagues and gain access to unique opportunities while meeting fellow opera lovers. League members regularly participate in a variety of fundraising and friend raising activities throughout the season and across the state, sharing their passion and support for Arizona Opera with their friends, family and communities. For more information on memberships, please contact the Development Department at 602.218.7337 or [email protected].

ARIZONA OPERA LEAGUES

Arizona Opera League TucsonFounded in 1973, the Arizona Opera League Tucson is Arizona Opera’s original volunteer and support organization. Serving the city from Oro Valley to Green Valley, Arizona Opera League Tucson members enjoy exclusive events from gourmet dining and cocktail socials, to special concerts and themed fundraisers. This year we are excited to announce our continued management of the Shopera at the Opera, our pre-show and intermission gift shop that showcases crafts and jewelry from some of Tucson’s finest local artisans. Be sure to pay us a visit—all proceeds benefit the magic you see on stage! For a full list of upcoming events, please visit the Arizona Opera League Tucson page at azopera.org/tucsonleague, email inquiries to [email protected], or visit us in the lobby.

Ingrid Miller, President

Ann Hand, First Vice President

Soile Jones, Second Vice President

Laura Reilly, Secretary

Françoise Loubet, Treasurer

Valley Friends of Arizona OperaFounded in 2011, Valley Friends of Arizona Opera is an exciting group of opera lovers who love to socialize with one another and perform volunteer work for Arizona Opera. Valley Friends serves Phoenix and the surrounding cities in the valley. Membership to the league offers unique access to both league parties, Arizona Opera events and fundraising socials. Wine and cheese festivities as well as two large opera parties per year yield the opportunity to hear professional opera singers up close, and to enjoy the company of fellow opera lovers. For a list of upcoming events, please visit the Valley Friends page at azopera.org/valleyfriends, email [email protected] or visit the lobby table at the next opera.

Kimberley Smith, President

Jeff Roames, Vice President

Sharon Jackley, Secretary

Gary Newman, Treasurer

Prescott Friends of Arizona OperaCalling all opera enthusiasts in Prescott! The Prescott Friends of Arizona Opera are looking for like minded lovers of opera for a season of exclusive events, socials and recital concerts! Often hosted in beautiful venues throughout Prescott, enjoy the company of friends, artists and Arizona Opera staff for catered evenings of music and enjoyment. For a full list of upcoming events, please visit the Prescott Friends of Arizona Opera page at azopera.org/prescottfriends, or email [email protected].

John Hughes, President

Candace Tomlinson, Vice President

Hans Clugston, Treasurer

Teresa Ogle, Secretary

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ANNUAL DONORS

Bravo Impresario$50,000+

Stan and Esther Alcorn*Marlu Allan and Scott Stallard SPARK Anonymous (3)Marlys A. BeiderDr. Rex and Arlyn BrewsterCarol Franc Buck FoundationThe Flinn FoundationKaren FruenMichael and Beth KasserManley Films & MediaRon and Kay McDougall SPARK OPERA AmericaMarion Roose PullinCharles F., Jennifer E. and John U. SandsDr. Harold B.* and Mrs. Jeannette J. SegelRobert S. and Shoshana B. Tancer SPARK

Virginia G. Piper Charitable TrustDr. Judith G. Wolf SPARK

Bravo Producer$25,000

Arizona Commission on the ArtsArizona Opera League - TucsonBlue Cross Blue Shield of ArizonaNancy FosterBillie Jo and Judd HerbergerPeter and Lee LarsonPhoenix Office of Arts and CultureSRPThe Tucson Desert Song FestivalWells Fargo

Bravo Diva$10,000+

American AirlinesThe Arizona Community FoundationArizona Public Service CompanyThe Bancroft-Clair FoundationRobin Pavlich Blackstone, MDJake and Salvador Bretts-JamisonDrs. Ginger and Tom CollierJean S. CooperA. J. EscoruelaStephen O. and Arduth Evans SPARK Eunice and Carl FeinbergPamela and Barry Fingerhut

Elly and Steve HammermanNorman C. and Donna L. HarbertTed and Vikie HaritonEllen and Stewart HorejsiArlyn ImbermanThe J. W. Kieckhefer FoundationJohn A. Johnson and Patricia Coyne-JohnsonMilo and Kim KauffmanElizabeth and Peter LanceSharon Landis SPARK The Natalie S. Lang TrustRalie LawrenceJim and Linda LeeLewis Roca Rothgerber Christie, LLPHeather Strickland and Kevin MaskellMatt and Ann Melsheimer SPARK Sherry and George* MiddlemasDrs. Stephen and Barbara MunkNational Endowment for the ArtsThe Pakis Family FoundationErik B. PetersonPiano ShowroomHelen J. PiersonThe Prescott Friends of Arizona OperaJo Kuchai PulvermacherThomas Carlton Rogers IIKarinn Hamill and Thomas C. RotheColonel (Ret.) Kimberley SmithAnne Y. SnodgrassLinda StaubitzPaul S. Symchych, M.D.Ole and Teri ThienhausValley Friends of Arizona OperaInez K. and Alexander B. White

Bravo VIP$7,500+

Invest in Kids Charitable Gift FundDan A. KlingenbergDr. and Mrs. Morton E. MunkRita and Mel SorensenSandra WernerDon Williams

Bravo Backstage $5,000+

The Arizona RepublicAnonymousDavid and Mary Lynn Bolger SPARK

John and Bonnie BoumaJane Maienschein and Richard CreathDonley Service CenterCol. (Ret.) Martin L. Dresner, MD, FACSDiane and John EcksteinAndrew and Jane EvansFennemore Craig, P.C.Jane and Dennis FennesseyTheresa and John ForsytheThe Fred and Christine Armstrong FoundationBarbara and Peter N. Giovan, M.D.Mel and Sally GoldbergJennifer Gross - Jerry LeFevre*Beverly GrossmanKasey and Fred* HavasDavid and Carol* Busath HeapCorolla Hoag & Kevin HorstmanJames and Patience HuntworkAlison and Richard JohnstonDr. Dorothy Lincoln-Smith and Dr. Harvey K. Smith*❺

Judy MagnusonThe Margaret T. Morris FoundationShirley OscarsonJody PelusiHugh and Marcia RuddockDr. and Mrs. Adib H. SabbaghElaine and Robert ShowerJay Simpson and Naomi ValadezDr. and Mrs. Robert F. SpetzlerArthur ThompsonMary Lou Forier and John E. WahlBarbara and Gerald Yasutake

Bravo$2,500 +

J. Phoebe and David AmanteAnonymousGwynne J. AutreyDr. Karen BahnickJulia R. Swanson-Balding and John BaldingSusan and Lee BerkJohannes Buchel and Ger KrabbendamAnne and Fred ChristensenEdward* and Arlene CohenCarole and Cliff CorneliusCox CharitiesAnn DaviesRobert DixonJim and Betsy Donley


ANNUAL DONORS

Thor EckertThe James Huntington FoundationAlan and Linda EnglanderCarolyn FolksJenny Ford and David KinzerThomas and Pamela FrameCatherine Bikos and Robert N. GavlakElton Gilbert ❺The Grayhawk Classic Residents’ FoundationDeanne and John GrecoDouglass and Elin GuentherMr. Karl HirshmanWilliam and Silke HoffmannPaul and Elizabeth HommertJohn Hughes and Carol FontanaNikhil and Tara IyengarDonald and Sharon JackleyJennifer L. JacobsJim Johnson and Lucy JonesShirley KaufmanJudith Kelley, M.D.Carlton and Susan KingJ. Peter Kline and Julio C. Padin, Jr.Keith Lane and Ben Ragunton SPARK Nils Lindfors and Marilyn KlugeDr. Ruskin R. and Mrs. Sandra R. LinesDr. James Lowell and Linda A. RickertBrendan Mahoney and Gordon P. Street IIIWarren and Felicia Sanders MayDorothy and Roy MayeskeTimothy McBreenRandy McDonaldBarbara D. MolotskyRobert and Mary NewsteadMorton Myles and John OttoFrank and Virginia PalamaraIrene and George PerkowThe Julia Pernet Community FundMarlene Rausch and Tom Phinney SPARK Slobodan Popovic and Janie ShapiroChristine Nielsen and R. Keith RaneyRichard and Joy RiceSergio RiveroJeanne Wilcox and Joe RodyAlice and Bill RoeLois Ann and John E. Rogers

Robert RogersShannon and Paul RosenblattDrs. Herschel and Jill RosenzweigHarold L. Saferstein, M.D. and Doreen SafersteinDr. John P. Schaefer and Dr. Helen S. SchaeferNan C. SchubelBill SchumanFred and Arleen SchwartzEugene and Marlene ShapiroThe Glenna and Lawrence Shapiro Family FoundationJanice SmithJeanne and Martin* SoursNancy SwansonJoy TevisHao and Michelle Wang FoundationSue G. WilcoxMr. and Mrs. Bruce C. WilliamsJeanne and Stephen Winograd SPARK Drusilla D. WylieJohn and Dana WyssKen and Liz Zebal

Crescendo Plus$1,500+

M. George and Gloria V. Allen Fund of The Saint Paul FoundationDiana and Henry AsherJoe and Debbie BarberSandra and Seymour BaskinBright Funds FoundationDr. Dale and Pat BowenCharm and Eddie BowersHuggy One and John BruskyJeanne ChisholmTom and Wendy CollinsBetty FeinbergKaren L. FordLinda J. FulgenziSkip and Char GjersdalPaula and Robert HardisonBrad HarrisCharlotte HenrichRichard C. Houseworth*Sarah and William HuffordTom and Jan LathropGregory and Emma MelikianBarbara and Donald OttosenPaul A. PappalardoJohn and Ann Racy

Sharon ReShirley S. ReeseIda Rhea ❺

Philip and Carolyn RobbinsMary Jane Rynd SPARK

Amy E. SheltonKate and Joe SpecterSusan SwickCommunity Foundation for Southern Arizona--William E. Hall FoundationDel and Diana Worthington

Crescendo$1,000+

Jeanne AckerleyMakenna and Mike Albrecht ❺Megan and John Anderson ❺

Ellen Andres-Schneider and Ralph M. Andres ❺

Anonymous (4)Maggie and Fred ArbonaKeith and Mara AspinallKate BakerShannon and Elise BardPeter and Cherry BaumbuschMaureen R. BerknerMarshall and Dale BlockNancy and Joe Braucher ❺Marna BroidaRhett* and Kay Butler ❺Sandy Chamberlain and Dr. David KestSermin Boysan and Jeffrey ClarkJane B. and Bruce H. ColeMarianne and Joe ColeDeborah and Richard Cookson ❺

Robin J. CoonMary DickmanJo Anne Doll ❺Adrienne DrellSusanne DurlingAnn Ewen and Mark EdwardsJudith and John Ellerman ❺

Mary M. EmersonPat EngelsMaureen and Tom Eye ❺

Shera FarnhamDale and Mary Fedewa ❺

Deborah and Richard FelderLynn FerrisDr. Katalin Festy-SandorPamela Slaten and Price FishbackEric Ellison

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* In Memoriam

❺ 5 Arts Member

SPARK Arizona Opera SPARK – Commissioners Club

As of August 2018

Dr. and Mrs. Wayne R. General, Ph.D.Angela and Jeffrey Glosser ❺Harold and Esther GoldDr. and Mrs. Stanley J. GoldbergJudy and William Goldberg ❺

Wendy and Peter Gordon ❺

Donita GrossJackie and Larry Gutsch ❺

Phil Haggerty and Edith GobleKurt HalversonAnna Lise and Erik HansenSandra and Elliott HeimanDr. Marilyn HeinsDrs. John G. Hildebrand and Gail D. BurdHoward and Lori Hirsch ❺

Paul D. Hopkins and Gerardo RamirezLynda and Arthur Horlick ❺

Mimi and David Horwitz ❺

Len and Sue HuckJo Anne and Bob HungateHelen HutchisonAdele W. KayserKiwanis of LitchfieldPhilip and Kay KornGloria and Edward J. KovalWendi and Brian KushnerIris and David LaceyBarbara J. LashmetJames and Kathryn LibbyDick and Debbie LochridgeJeffrey and Tiia Mandell ❺Fran ManleyDawne Walczak and Geoffrey ManoilMichael Wayne MattinglyBrock and Chantal McCamanPat McKennonJanet and John Melamed ❺

Victoria and Anthony Miachika ❺

Doris and Eliot Minsker ❺Ruth Ann and Kent MoorePatricia and Bill NaumannJuliana OsinchukRose and Harry Papp ❺

Mary and David Patino ❺

Elisabeth PehlivanianCarol A. Poore, Ph.D.Julie and Conrad Prusak ❺

Missy RomanoffLaura and Herb RoskindBetsy Ross Retchin ❺

Merle and Steve Rosskam ❺

Sandra and Earl Rusnak ❺

Val and Ray Sachs ❺

Estelle SaltzmanStella and Mark Saperstein ❺

Carol and Randy Schilling ❺

Rita and Steven SchlosserDr. and Mrs. Stephen M. SeltzerAnn ShannonEvelyn G. and Daniel J. SimonSandra and James SingletonRaj SivananthanKatherine SmithElizabeth StanislavTheodore R. StephanMrs. Gregg SwihartAnne and Steve ThomasPat and Phil Turberg ❺

Karen WadmanSusan Lee and Robert C. WallingWestport Properties, Inc.Gretchen and Dick Wilson ❺

Bonnie WinnAdam Zweiback and Kimberly Marshall

Benefactor $500+

Anna and Brice AkridgeThe Shirley and David Allen FoundationAda AnbarHerschel V. AndersonJ. Christine AndersonAnonymous (3)Susan J. WrightPolly & Steve BarbaroCharles and Janice BellTony BischofEugene R. Bleecker M.D.Christine BohannonRandy and Mary BolsterDonald W. BonneauJill Christenholz ❺

City of TempeDrs. Nancy Grimm & Scott CollinsDerek Davis and Nancy ElkinsPaul and Flo EcksteinAnita and Joseph* Fishman ❺

Mary E. FladnessJo Flitte ❺

Nancy FreemanSuzanne Friedman ❺

Alexandra Furlong and Donn DubéDorothy GaynorLloyd Gerlach and Joyce BroanLouis Giesler and Cynthia TancerPatrick L. GormanHarriet GreenspanJeffrey and Robin GreesonPam GrissomJerome and Anita GutkinLes and Suzanne Hayt

Dolores D. HillenbrandSidney and Marsha HirshKaren and Robert HodgesHelen HollidayInman-Bond TrustKenady and Jordan Jobe ❺

Patricia A. JohnstonDr. and Mrs. J. Timothy KolosickChristine and Richard Kovach ❺

Charles* and Pat MacGillivrayTheodore MaynardAlice* and Fred MazoyerIngrid U. Miller, Ph.D.Daniel M. Morson and Diana LauriaJordan and Jean NerenbergTed and Joan PhillipsEric PittmanBruce Rittmann and Marylee MacDonaldJohn A. Roberts, Jr.Sherry RobinsonAllen and Julia SaterbakNancy and James SchamadanJudy and Lee SchusterTrudy and Howard J. SchwartzSusie and Dave ScogginsArlene and Morton ScultJean ShaulisCharles and Rowena Simberg ❺

Joyce and James SmithJonathan StaleyOtto Stanislaw ❺

Mark Stapp ❺

Mary Ellen StinskiEllen StraneyLois and Maury Tatelman ❺

Jack and Sue ThompsonRudy and Muriel TroikeVera Tucker, DVMJanet WalshDrs. Mary Ellen and Jonathan WeisbuchNancy and James* WhitneyWilliam G. and Kathleen Rector TrustDr. and Mrs. Thomas WiltbankAmy and Stephen J. Young, Esq.


CORPORATE SUPPORT

Arizona Opera is pleased to acknowledge the following corporations and agencies for their commitment to building a vibrant community. For more information on participating as a corporate sponsor, please contact Ashley Parks, Director of Development at 602.218.7337 or at [email protected].

Official Airline of Arizona Opera

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Abbott LaboratoriesAetna Health Inc.Alliant Techsystems, Inc.American ExpressAppleApplied MaterialsARCOArizona Public Service CompanyThe Arizona RepublicAvon Products Inc.Bank of America CorporationBlack & Decker CorporationBoeingBP FoundationBridgestone Firestone, Inc.Bristol Myers SquibCardinal HealthCharles Schwab & Company, Inc.Chevron CorporationCIGNA CorporationThe Coca-Cola CompanyColgate-Palmolive CompanyCopperPoint Mutual Insurance Costco WholesaleDesert Life Rehabilitation & Care CenterDiscover Financial ServicesEcolab, Inc.Eli Lilly & CompanyExxonMobil CorporationFord FoundationFreeport-McMoRan, Inc.Gannett Company, Inc.Gap, Inc.GEICO CorporationGeneral ElectricGeneral Mills CorporationGraingerGTE CorporationHarley DavidsonHome DepotIBM CorporationJohnson and Johnson

Jostens, Inc.J.P. Morgan Chase & Co., Inc.Kimberly-Clark CorporationKinder Morgan CompaniesKraft Foods Group, Inc.The 3M CompanyMcDonald’s CorporationMcGraw-Hill Companies, Inc.MedtronicMerrill LynchMicrosoft CorporationMorgan Stanley Smith BarneyNabisco Newmont Mining CorporationNorthern Trust CorporationPepsiCo, Inc.Pfizer CorporationPinnacle West Capital CorporationQuaker Chemical CorporationThe Quaker Oats CompanyRaytheon Missile SystemsReader’s Digest Association, Inc.Rockefeller Group, Inc.

Shell Oil CompanySoros Fund ManagementState Farm CompanyState Street CorporationTime Warner, Inc.The Travelers CompaniesUS BancorpVanguard Group, Inc.Verizon CommunicationsVulcan Materials CompanyWalmartWells FargoXerox Corporation

DOES YOUR COMPANY

Gift Match?Many

donors can increase their support

and membership standing with Arizona Opera through their company’s matching gift

program, in which the company matches the gift of the donor.

Nearly 1,000 companies match contributions for employees, their spouses, retirees and

directors dollar for dollar!

Learn more and purchase at azopera.org/tickets or come see us during intermission at the staff table!

Discover the surreal world of Maria de Buenos Aires as sultry scenes pair the thrill of opera with the freedom of tango.

Delve into the life and death of a jazz legend as he searches for redemption from personal demons in Charlie Parker’s Yardbird.

Ignite your passion through the tragic affair of a courtesan and the man she loves in the classic La Traviata.

Immerse yourself in the Christmas Eve truce of Silent Night as the horrors of World War I are tempered by the compassion of the human heart.

Return to Seville for The Marriage of Figaro where unjust demands and wily antics ultimately give way to forgiveness and true love.

BOLD.BRAVE.BRILLIANT.ON SALE NOW!It’s everything that you’ve come to love from Arizona Opera, complete with a bold new chapter of artistic vibrancy that will excite both longtime opera lovers and newcomers alike.

MARIA DE BUENOS AIRES

CHARLIE PARKER’S YARDBIRD

LA TRAVIATA

SILENT NIGHT

THE MARRIAGE OF FIGARO

dear opera-goer, de buenos aires... · dear opera-goer, let me offer an enthusiastic welcome to all...

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