house program

ROSSINI'S

NOVEMBER 12 – 27, 2016

The Barberof Seville

operasj.org 32 The Barber of Seville

2016–2017 Thirty-Third SeasonDonizetti's LUCIA DI LAMMERMOOR September 10-25, 2016

Rossini's THE BARBER OF SEVILLE November 12-27, 2016Puts and Campbell's SILENT NIGHT February 11-26, 2017

Puccini's LA BOHÈME April 15-30, 2017

CONDUCTOR

Andrew Whitfield Dana Sadava 11/22, 11/27

STAGE DIRECTOR

Layna Chianakas

SET DESIGN

Matthew Antaky

COSTUME COORDINATOR

Alyssa Oania

LIGHTING DESIGN

Kent Dorsey

WIG AND MAKEUP DESIGN

Christina Martin

PROPERTIES MASTER

Lori Scheper-Kesel

TECHNICAL DIRECTOR

John Draginoff

ASSISTANT STAGE DIRECTOR

Hannah Hudgins

PRODUCTION STAGE MANAGER

Allie Bailey

PRINCIPAL COACH

Cheryl Lin Fielding

CHORUS MASTER

Andrew Whitfield

MUSIC STAFF

Veronika Agranov-Dafoe Ihang Lin Victoria Lington

SUPERTITLE CUEING

Victoria Lington John McCarthy

The performance will run approximately 3 hours, including one 20-minute intermission.

PRESENTS

The Barberof SevilleOpera in two actsMusic by Gioachino Rossini Libretto by Cesare Sterbini

First performed February 20, 1816 at the Teatro Argentina in Rome, Italy.

Sung in Italian with English supertitles.

Supported, in part, by a grant from Jean Brandt and the San José Office of Cultural Affairs.

November 22 Performance Sponsor: Fred & Peggy Heiman

What's NextWhat’s Next? A better question might be What’s Now? We’re nearing the end of the tax year, and for those who have not made a fall contribution to Opera San José, there’s no time like the present! Without charitable contributions, no performing arts company can exist, and that goes for opera companies, too. If you can, please remember us as the tax year draws to a close. And now I can move on to what’s next.

Silent Night, one of the most inspiring operas com-posed in recent decades, will open in February. It’s an enormous undertak-ing for Opera San José, and we have the generous support from the Carol Franc Buck Foundation to thank for making it possible. Composer Kevin Puts and librettist Mark Campbell, both Pulitzer Prize winners, will be here for the opening, and we are honored to have them join us, speaking about this brilliant contribution to the modern operatic canon. Ours will be a new production of Silent Night, sets, props, costumes, and projections, all new, and on a scale that companies like ours can handle, which will make Silent Night an opera that can be presented in houses like the California Theatre across the nation. Many thanks are due to Carol Franc Buck for her sup-port of this project.

Now for a sales pitch—if you are a person who buys tickets to one opera at a time, or if you have just discovered Opera San José, you might be interested in the great bargain of our 3-opera package. You can convert your Barber of Seville ticket to a 3-opera package and save a great deal of money, and you will see Silent Night and La bohème as well as The Barber of Seville. The cost of Orchestra Dress tickets to each of these three operas amounts to $405, but a 3-opera package costs only $300. A 3-opera package in the mezzanine costs only $190, compared to $225 as single tickets. That math is easy. With the brilliant singers in our resident company, surely you don’t want to miss any of these wonderful operas! So convert your Barber ticket into a 3-opera package and save some money.

On February 10, we will host our third annual General Director’s Dinner on stage here in the California, when we will dine on the set of Silent Night. This elegant, black-tie-optional dinner has been a real hit so far, and this time we hope to present members of Opera San José’s Veterans’ Chorus who will perform some of the rousing tunes that were popular among the soldiers of WWI. This is a very elegant and intimate dinner party, and a bit on the expensive side, but it is a unique experience, dining on the set with the composer, librettist, and former Secretary of Defense, William Perry.

Now, I hope you’re ready to celebrate the 200th anniversary of The Barber of Seville. With sparkling singing and truly comic acting, we hope you will find our efforts to bring this opera to the stage a delight.

Larry HancockGENERAL DIRECTOR


Fiorello Babatunde AkinboboyeAlmaviva Kirk DoughertyFigaro Brian James Myer 11/12, 11/17, 11/20, 11/22

Matthew Hanscom 11/13, 11/27

Bartolo Valerian RuminskiRosina Renée RapierBerta Teressa FossBasilio Colin Ramsey Sergeant Sidney Ragland

Chorus

TENOR

Christian Barajas, Tony Ciliberto, Nicolas Gerst, Andy Kwan, Dan Leal, Sidney Ragland

BASS

Clark Brown, Jim Cowing, Malcolm Jones, Michael Kuo, Junbo Zhou

SupernumeryHillary Arnott, Chika Asakawa, Frank Fiscalini, Leah Torres

2016-17 ARTIST FELLOWSHIP SPONSORS

Amici di Musica Bella Brian James Myer Mary and Clinton Gilliland exclusively Kirk Dougherty Profs. John Heineke and Catherine Montfort Sylvia Lee Linda Lee Lester Brian James Myer Izzy Lewis and Phil Park Colin RamseySan Jose Opera Guild Michael ShellDon and Jan Schmidek Matthew HanscomGibson Walters Memorial Fund Ksenia Popova

Cast IN ORDER OF APPEARANCE

1ST VIOLIN

Cynthia Baehr, ConcertmasterAlice Talbot, Asst. ConcertmasterValerie TisdelChinh LeVirginia SmedbergMarie FlexerRochelle Nyguen

2ND VIOLIN

Claudia Bloom, PrincipalSusan Stein, Asst. PrincipalSue-Mi ShinElizabeth CornerSergi Goldman-HullCarol Kutsch

VIOLA

Janet Doughty, PrincipalMelinda RayneRobert SeitzJanet Sims

CELLO

Lucinda Breed Lenicheck, PrincipalPaul HaleJanet WitharmKelley Maulbetsch

BASS

Andrew Butler, PrincipalWilliam Everett

FLUTE

Isabelle Chapuis, PrincipalMary Hargrove

OBOE

Michael Adduci, PrincipalPamela Hakl

CLARINET

Mark Brandenburg, PrincipalAnn Lavin

BASSOON

Deborah Kramer, PrincipalCarolyn Lockhart

FRENCH HORN

Meredith Brown, PrincipalEric Achen

TRUMPET

William B. Harvey, PrincipalJohn Freeman

TROMBONE

Kathryn Curran, Principal

TIMPANI/PERCUSSION

Stan Muncy, Principal

HARPSICHORD

Veronika Agranov-Dafoe

ORCHESTRA MANAGER

Mark Veregge

Orchestra


Act ISCENE 1: THE SQUARE IN FRONT OF BARTOLO'S HOUSE

During a visit to Seville, Count Almaviva has glimpsed a beautiful girl, Ros-ina, and has resolved to win her. Rosina, however, is kept a virtual prisoner in the house of her guardian, Dr. Bartolo, who wants to marry her himself. One night, Almaviva comes with a band of musicians to serenade his lady beneath her balcony (Ecco ridente in cielo, “There, laughing in the sky”). When she fails to answer his song, he pays off his accompanists, who thank him profusely. He hides as the barber Figaro bounds in, boasting of his busy life as a jack-of-all-trades (Largo al factotum della città, “Make way for the factotum of the city”). When Almaviva steps forward, Figaro recognizes him; the barber, currently in Bartolo’s employ, promises to help Almaviva win Rosina’s heart. No sooner has Bartolo hobbled from the house to arrange his marriage with Rosina than Almaviva launches into a second serenade to the girl, describing himself as Lindoro, a poor creature who can offer nothing but love (Se il mio nome saper voi bramante, “If my name you claim to know”). Peeking over the balcony, Rosina replies she will take him as he is, but suddenly someone pulls her inside. Figaro sug-gests that Almaviva disguise himself as a drunken soldier to gain access to the house; as Almaviva dwells on his love, the barber happily anticipates his own reward from the count (All’ida di quel metallo, “At the idea of that metal”).

SCENE II: A ROOM IN BARTOLO'S HOUSE

Alone in the house, Rosina muses on Almaviva’s voice, which has touched her heart (Una voce poco fa, “A voice just now”). She resolves to oppose Bartolo by a thousand tricks so as to have her way. Figaro joins her briefly, but they scurry away on hearing footsteps. Bartolo enters, soon joined by the music master Basilio, who announces that Almaviva is a rival for Rosina’s hand and suggests slandering the count’s reputation (La calunnia è un venticello, “Scandal is a little breeze”), but Figaro overhears the plot. Warning Rosina that Bartolo plans to marry her the following day, the bar-ber promises to deliver a note she has written to Lindoro (Dunque io son…tu non m’inganni?, “Then I’m the one…you’re not fooling me?”). Rosina, left alone with Bartolo, is subjected to his suspicious interrogations and pompous boast that he is too clever to be outwitted by her ruses (A un dottor della mia sorte, “To a doctor of my class”). Berta, the maid, goes to the door in answer to violent knocking; she returns with Almaviva, who is disguised as a drunken soldier in search of a night’s lodging. During a long argument with Bartolo, whose name he pretends not to grasp, Almaviva gives a love letter to Rosina; when Bartolo demands to see the paper,

Synopsis

the girl cleverly substitutes a laundry list. Figaro dashes in to warn that a crowd has gathered in the street, attracted by the hubbub within. He is too late; the police arrive to silence the disturbance. As the confused offi-cer in charge is about to arrest Almaviva, the count shows his true identity and is released. Rosina, Berta, Bartolo, and Basilio are all stupefied by this turn of events (Fredda ed immobile, “Cold and unmoving”).

Intermission (20 minutes)Act II SCENE I: A ROOM IN BARTOLO'S HOUSE

Pleased with himself for getting rid of Almaviva, Bartolo admits to the house a young music teacher, “Don Alonso” (Almaviva in a new disguise), who claims to be a substitute for the ailing Basilio. Rosina enters, and quickly recognizing her suitor, begins her singing lesson as Bartolo falls asleep in his chair. Figaro arrives to shave the doctor; when he goes to get his utensils in the next room, breaking several of Bartolo’s best pieces of china in the process, he steals the key to the balcony window. Basilio now comes in, looking the picture of health. Bribed by Almaviva, however, the music teacher feigns illness, and after an elaborate sendoff (Buona sera, mio signore, “Good evening, good Sir”), he departs. Figaro shaves Bartolo while Almaviva and Rosina plan their elopement that night. The lovers are overheard by the suspicious doctor, who drives Figaro and Almaviva from the house and Rosina to her room. He then sends a servant to fetch Basi-lio. Berta, unnerved by all the confusion, complains about the madness of love (Il vecchiotto cerca moglie, “The old fool seeks a wife”).

Bartolo dispatches Basilio to get a notary and then tricks Rosina into believing that “Lindoro” is really one of Almaviva’s flunkies. After a violent thunderstorm during which Rosina grows furious over Lindoro's apparent deception, the count climbs through a window with Figaro to elope with Rosina. At first the girl rebuffs her ‘Lindoro,’ but when he explains that Lin-doro and Almaviva are one and the same, she falls joyously into his arms (Ah! qual colpo inaspettato!, “Ah, what unexpected bliss!). Figaro urges haste; before they can leave, however, their ladder is taken away. Suddenly, Basilio enters with the notary. Though summoned to wed Rosina to Bar-tolo, the official is instructed to marry her instead to Almaviva, who bribes Basilio. Rushing in too late, Bartolo finds his ward already married, and he admits he has been a fool. With the others, he agrees that “all’s well that ends well” (Amore e fede eterna, “Love and eternal faith”!


The Italian operatic establishment did not accept the operas of Mozart, which they found too harmonically complex and heavily orchestrated. Since the 1720s, the days of Scarlatti and Metastasio (composer and librettist, respec-tively), Italian serious opera had depended a great deal on an elevated quality of language, and delivering that noble poetry with perfect clarity was among the chief responsibilities of a composer; transparent and light orchestral ac-companiment was required. In addition, singers began to improvise extended passages, which means that supporting harmonies could never be surprising. If they were, the singer could easily mistake the direction of the harmonic pro-gression and end up in the wrong key. This was especially dangerous in Italy where even new operas received little rehearsal before opening.

For good or ill, Mozart was a principal influence on Gioachino Rossini. While a student in Bologna Rossini discovered string quartets by Mozart and Haydn, which he studied, orchestrated, and adored. His love for Mozart would follow him all his life, and many, many years later he would describe Mozart as the inspiration of his youth, the challenge of his maturity, and the consolation of his old age. Mozart’s rich harmonies and bold orchestral statements inspired Rossini to the point that he was nicknamed the little German at the Liceo. This influence from beyond the Alps would eventually cause more than a little up-set among the teachers and composers of the previous generation.

It is hard for us to comprehend the Italian practice of opera composition and performance in the early 19th century, when a composer could be given less than a month in which to create an entirely new opera. It is also surprising that starring singers in the world-premiere cast were paid more than twice the composer’s fee. Until Beethoven, Verdi, and Wagner, composers were not looked upon as artists in the sense that we have come to view them. In Ros-sini’s time, composers were seen as no more than craftsmen who had no rights at all regarding choice of libretto or cast, had to turn in their work in very short order, and had no copyright protection. Rossini was a model composer for this period, as he was young, desperate for money to support his parents, and was able to turn out exceedingly popular operas in a matter of weeks. In fact, he was so good at his craft he soon became the most sought-after composer in Italy, and within five years, he eclipsed Beethoven in fame throughout Europe, while Beethoven yet lived.

Between November 1810 and December 1813, Rossini composed no less than 12 operas. Even when one considers that many of these were one-act farces, this is a formidable body of work, and Rossini was not yet twenty-one years old. It should also be noted that the last two of these, Tancredi and L’italiana in Algeri, launched him into international fame.

Domenico Barbaja, the most successful opera impresario in the world and na-tive of Milan, made his home in Naples. He eventually controlled two theatres in Milan (one of them La Scala), three theatres in Naples (one of them the largest opera house in Europe) and two theatres in Vienna. In the spring of 1815 the twenty-three-year-old Rossini arrived in Naples at Barbaja’s invitation. He was given charge of two of the theatres there, the enormous San Carlo and the Fondo. He was paid an excellent annual income for finding and producing moneymaking operas throughout the season for both theatres and for com-posing one new opera for each theatre annually.

In Naples he would make formal acquaintance with Isabella Colbran, a dramat-ic-coloratura soprano who was one of the greatest singers of the age. She was

Program Notes

the mistress of Barbaja, and the woman Rossini would marry. His first work for the San Carlo was Elisabetta, regina d'Inghilterra (Elizabeth, queen of Eng-land), and the title role was composed for the commanding Colbran. Though composers who then dominated Neapolitan stages were shaking their heads in disapproval of Rossini’s music, and composition students in the royal conser-vatory were forbidden even to see Rossini’s scores, the Neapolitans, including their king and queen, received the new opera with wholehearted, effusive en-thusiasm, and the king soon overruled the ban on Rossini’s scores at the royal conservatory.

One of the freedoms of Rossini’s agreement with Barbaja allowed him to com-pose for other theatres, and in 1816 Rossini was in Rome at Teatro Valle for the premiere of his dismal Torvaldo e Dorliska; it is said that no composer could have overcome that impossibly inane libretto. But more significant than the fiasco was that eleven days before its unfortunate premiere the impresario of Teatro di Torre Argentina commissioned Rossini for another opera scheduled to premiere just seven weeks later. That opera would remain among the most popular of all operas for the next 200 years. This twenty-four-year-old com-poser was about to compose The Barber of Seville.

Rossini’s Il barbiere di Siviglia had one of the most notorious world premieres in opera history. Before Mozart composed Le nozze di Figaro, the second of Beaumarchais’s famous set of plays based on the lives of Figaro, Count Almaviva, Rosina, Bartolo and the rest, Giovanni Paisiello had composed the first one, Il barbiere di Siviglia, and to great acclaim. Paisiello, by now retired, had become all but a patron saint in Rome. That an upstart from Pesaro would have the audacity to reset this treasured opera was an affront that would not go unchallenged. Of course Rossini had nothing to say about the selection of his assigned libretto, still, the first performance went all but unheard. The audience made such a cacophony of shouts, whistles, and catcalls that they drowned out both singers and orchestra. After the performance, which he was required to conduct, Rossini fled the theatre through a back way, and on the second night he called in sick.

The Paisiello cabal did not attend the second performance, or if they did they kept quiet; the opera was heard and recognized to be of the finest of its kind. When the curtain rang down on that performance, the audience marched to Rossini’s hotel to give him a torchlight parade, a Roman triumph. Rossini, believing that they were coming to lynch him, hid in the stable while the crowd broke the hotel windows in annoyance.

The Barber of Seville went on to become amazingly popular, and was the first opera to be sung in Italian in the United States. A few years later, Barbaja sent Rossini to Vienna where he met Beethoven who admonished him to “give us more Barbers!” Many years later, after Rossini retired due to serious health problems and his works began to pass into obscurity, only The Barber of Seville weathered all storms. It has been continually performed to the present day, and for many years was hailed as the finest opera buffa of them all. Today, The Barber must share that status with Don Pasquale and Falstaff, all three of which share Rossini’s keen social insight, his musical vivacity, and his wit, though it must be admitted that Rossini’s natural charm glitters more brightly. And so we celebrate the 200th anniversary of The Barber of Seville.

— Larry Hancock


Cast and Artistic Team

Babatunde AkinboboyeBARITONE (NIGERIA)

Fiorello. Babatunde Akinboboye appears as Fiorello in Opera San José’s production of Rossini’s The Barber of Seville. A native of Nigeria, Mr. Akinboboye is known for his enthralling stage presence. He has performed with the Los Angeles Opera, Opera Santa Barbara, Long Beach Opera, and Center Stage Opera, and has sung the roles of Guglielmo in Mozart’s Così fan tutte, Horace Tabor in Moore’s The Ballad of Baby Doe, Henry Davis in Weill’s Street Scene, Aeneas in Purcell’s Dido and Aeneas, Bartolo in Mozart’s The Marriage of Figaro, Sharpless in Puccini’s Madama Butterfly, and the Wolf/Cinderella’s Prince in Sondheim’s Into the Woods.

Kirk DoughertyTENOR (NEW YORK)

Almaviva. This season, resident company member Kirk Dougherty appears as Almaviva in Rossini's The Barber of Seville, Nikolaus Sprink in Puts and Campbell's Silent Night, Rodolfo in Puccini's La bohème, and most recent-ly as Edgardo in Donizetti's Lucia di Lammermoor. Mr. Dougherty will also appear as Rodolfo at Wichita Grand Opera and the Duke in Verdi's Rigoletto at Opera Las Vegas. Last season, Mr. Dougherty performed the roles of Cavaradossi in Tosca, Don Jose in Bizet's Carmen, and Mitch in Previn's A Streetcar Named Desire at Opera San Jose, and Don Jose in Carmen at Anchorage Opera. Dur-ing the 2014-15 season he appeared as the Duke in Rigo-letto, Tamino in Mozart's The Magic Flute, and as Philip in the World Premiere of Where Angels Fear to Tread.

Teressa Foss MEZZO SOPRANO (CALIFORNIA)

Berta. Teressa Foss returns as a guest artist appearing as Berta in Rossini’s The Barber of Seville. Ms. Foss recently appeared as the Nurse and Old Relative in Previn’s A Streetcar Named Desire and Marcellina in Mozart’s The Marriage of Figaro. Prior to appearing with Opera San José, she appeared with the Bay Area company Verismo Opera, singing the title roles of Donizetti’s Lucia di Lam-mermoor, Puccini’s Madama Butterfly, Bellini’s Norma, as well as Micaela (Bizet’s Carmen), Nedda (Leoncavallo’s Pagliacci), Lola (Mascagni’s Cavalleria rusticana), and Genovieffa (Puccini’s Suor Angelica). Other roles per-formed include Fiordiligi in Mozart’s Cosi fan tutte (West Bay Opera) and Oscar in Verdi’s Un ballo in maschera (Casa Italiana).

Matthew HanscomBARITONE (MINNESOTA)

Figaro 11/13, 11/27. Resident company member Mat-thew Hanscom performs the roles of Figaro in Rossini’s The Barber of Seville, Lt. Gordon in Puts and Campbell’s Silent Night, and Marcello in Puccini’s La bohème, and most recently Enrico in Donizetti’s Lucia di Lammermoor. Roles performed in 2015-16 included Scarpia in Puccini’s Tosca, Figaro in Mozart’s The Marriage of Figaro, Esca-millo in Bizet’s Carmen and Stanley in Andre Previn’s A Streetcar Named Desire. In his debut season as a mem-ber of Opera San José’s resident company 2014-15, Mr. Hanscom was featured in the title role of Verdi’s Rigo-letto, Taddeo in Rossini’s The Italian Girl in Algiers, Gino Carella in Mark Weiser’s Where Angels Fear to Tread, and Papageno in Mozart’s The Magic Flute.

Brian James MyerBARITONE (NEVADA)

Figaro 11/12, 11/17, 11/20, 11/22. Brian James Myer returns to Opera San José as a principal artist in the resident company, appearing as Figaro (Rossini’s The Barber of Seville), Ponchel (Kevin Put’s Silent Night), and Schau-nard (Puccini’s La bohème). Roles performed previously with Opera San José include Angelotti (Puccini’s Tosca), Gino, and Alessandro/Enrico in the world premiere of Mark Weiser’s Where Angels Fear to Tread and 2nd Ar-mored Man in Mozart’s The Magic Flute. Mr. Myer made his company debut during the 2013-14 season, perform-ing the role of Masetto in Mozart’s Don Giovanni.

Sidney RaglandTENOR (CALIFORNIA)

Sergeant. Sidney Ragland makes his company debut ap-pearing as the Sergeant in Rossini’s The Barber of Seville. Mr. Ragland is a recent graduate of the SF Conservatory of Music where he received a Post-Graduate Diploma in Vocal Performance. Recent performances include Fer-rando in Mozart’s Così fan tutte, Don Ottavio in Mozart’s Don Giovanni, Arpad Laszlo in She Loves Me, and Henry Crawford in the Conservatory’s World Premiere of Jona-than Dove’s Mansfield Park.


Colin RamseyBASS (CALIFORNIA)

Basilio. Bass-baritone and resident company member Colin Ramsey appears as Basilio in Rossini’s The Barber of Seville, Father Palmer in Puts and Campbell’s Silent Night, and Colline in Puccini’s La bohème, and most re-cently as Raimondo in Donizetti’s Lucia di Lammermoor. Mr. Ramsey has performed with Seattle Opera, Austin Lyric Opera, Sarasota Opera, Wolf Trap Opera, Opera Santa Barbara, Des Moines Metro Opera, The Green Mountain Opera Festival, Pacific Music Works, and The St. Paul Chamber Orchestra.

Renée RapierMEZZO-SOPRANO (NEW YORK)

Rosina. Renée Rapier makes her company debut ap-pearing as Rosina in Rossini's The Barber of Seville. Roles performed recently include Mercédès in Carmen at San Francisco Opera, Cherubino in both The Ghosts of Versailles and Le Nozze di Figaro at LA Opera, as Mrs. Bass in Emmeline with Opera Theatre St. Louis, and as Cornelia in Giulio Cesare at Wolf Trap Opera. Upcom-ing engagements include returns to the San Francisco Symphony, Opera Parallèle, Opera Theatre St. Louis, the LA Philharmonic and Seattle Opera.

Valerian RuminskiBASS-BARITONE (NEW YORK)

Bartolo. Valerian Ruminski makes his company debut performing the role of Dr. Bartolo in Rossini’s The Barber of Seville. Mr. Ruminski has appeared with The Metropoli-tan Opera, NYCO, Seattle Opera, Florida Grand Opera, The Canadian Opera Company, Michigan Opera Theatre, Portland Opera, Opera de Quebec, Opera de Montreal, Calgary Opera, Opera Ireland, Opera de Monte Carlo, New Israeli Opera, Kansas City Lyric Opera and Santa Fe Opera among others and made his Carnegie Hall debut in La Juive with the NY Opera Orchestra. He is a winner of a Richard Tucker Award, a Gerda Lissner Grant and is the recipient of the Year 2000 Lincoln Center Martin Segal Award. Since 2009 Mr. Ruminski has been the founder and director of Nickel City Opera in Buffalo NY.

Cast and Artistic Team CONTINUED

Andrew WhitfieldCONDUCTOR, CHORUS MASTER (NEW YORK)

Andrew Whitfield, Resident Conductor and Chorus Master, has been on staff at Opera San José for five seasons and has worked on 17 productions. He made his conducting debut at Opera San José in a double bill of La voix humaine and Pagliacci, and has subsequently returned to the podium for The Pearl Fishers, Il trovatore,

Hansel and Gretel, Rigoletto, L’Italiana in Algeri as well as Falstaff for which he served as principal conductor. In addition, Mr. Whitfield has conducted Lucia di Lammermoor at Festival Opera, La bohème and La traviata at the Virago Theater, Il Barbiere di Siviliglia at the Amore Opera as well as a con-cert of opera arias and scenes for Monterey Opera. He assisted Ian Rob-ertson for the preparation of the chorus for the Verdi Requiem conducted by Donald Runnicles at the The Grand Teton Music Festival, and has also worked with Robertson on San Francisco Opera’s recent production of Lo-hengrin. Andrew moved to the Bay Area five years ago from New York City, where he served as music director for Amato Opera, conducting nearly two hundred performances.

Dana SadavaASSISTANT CONDUCTOR (CALIFORNIA)

Dana Sadava is happy to make her debut with Opera San Jose this season as Assistant Conductor for The Barber of Seville and Lucia di Lammermoor. Ms. Sadava earned an undergraduate degree in aeronautics from Caltech before delving into musical life, and has since worked as a conductor and coach at UCSD, Wexford

Opera (Ireland), Indianapolis Opera, Pensacola Opera, Festival Opera, and Pasadena Opera, where she is Artistic Director. She has also served on the faculties of Banff Opera as Theatre and the Napa Music Festival. As Music Director of the Community Women’s Orchestra, she created their first Side-by-Side program with Oakland Public Schools and recently led a “No Dead White Guys” concert.


Layna ChianakasDIRECTOR (ILLINOIS)

Layna Chianakas is in her ninth year as Associate Profes-sor of Voice, and the Director of Opera Theatre at San José State University. Known for "vocal talents which are matched by her poignancy as an actress" (Des Moines Register) she has portrayed many leading opera roles including over 50 performances of Carmen, as well as

Santuzza in Cavalleria Rusticana, Donna Elvira in Don Giovanni, Angelina in La Cenerentola, Sesto in Giulio Cesare, Suzuki in Madama Butterfly, The Woman in Poulenc's La Voix humaine, the title role in La Perichole, and countless Cherubino in Le nozze di Figaro. Her most current performances have included Amneris in Verdi’s Aida with Dayton Opera and Orphée in Gluck’s Orphee et Eurydice with Opera Santa Barbara. Most recently, she directed Gluck’s Orfeo ed Euridice and Argento’s Postcard from Morocco for the San José State Opera Theater, and Hansel & Gretel and Carmen for Op-era San José. As an active participant in the San José music community, she is the Director of Opera San José’s Summer Program for Singers which goes into its second year in Summer 2017 and will continue her position as Stage Director for Vivace Youth Chorus’ Summer Youth Opera. Ms. Chianakas re-cently made her Carnegie Hall debut, sang the alto solos in the Lord Nelson Mass with the Limerick Music Festival in Limerick, Ireland, was the mezzo-soprano soloist for Dayton Opera’s Season Opening Spectacular in October, and looks forward to returning to the Dayton Philharmonic Orchestra as the alto soloist in Bernstein’s Jeremiah Symphony No. 1 next season. She will also perform the second soprano solos in Rossini’s Stabat Mater with the Sac-ramento Choral Society and Orchestra and be the featured master clinician and recitalist as part of next year’s Music Teachers Association Conference held in Santa Clara, CA. She lives in San José, California with her husband and two children, who are her greatest productions.

Matthew AntakySET DESIGNER (NEW YORK)

Matthew Antaky designed the scenery for Rossini’s The Barber of Seville. Mr. Antaky’s designs have been fea-tured in several Opera San José productions, including lighting designs for Mozart’s Così fan tutte, Ward’s The Crucible and Verdi’s Un Ballo in maschera. For over 30 years, he has created and collaborated on both scenic

and lighting designs for all of the performing arts including theater, opera, dance, and music. His work has been presented throughout the United States and in many countries around the world. For opera and music, Mr. An-taky has designed multiple productions for Opera Parallele, Utah Opera and Symphony, Opera Pacific, Festival Opera, Oakland Symphony, Dallas Sym-phony, Opera San José, The Cabrillo Music Festival and the San Francisco World Music Festival.

Cast and Artistic Team CONTINUED

Alyssa OaniaCOSTUME DIRECTOR (CALIFORNIA)

Opera San José Costume Director Alyssa Oania is cos-tume coordinator for Rossini’s The Barber of Seville. Ms. Oania has been designing and creating costumes for Opera San José since 2002. Her work has been featured in Carmen, The Marriage of Figaro, La Cenerentola, Manon, La bohème, Tosca, La voix humaine, The Pearl

Fishers, and Madama Butterfly. Other costume credits include work for Bal-let San José, San José Repertory Theatre, and American Musical Theatre of San José.

Kent DorseyLIGHTING DESIGNER (CALIFORNIA)

Kent Dorsey returns to Opera San José as the lighting designer for Rossini’s The Barber of Seville. Previously, Mr. Dorsey’s designs have been featured in Opera San José’s productions of Puccini’s Madama Butterfly, Suor Angelica and Gianni Schicchi, David Carlson’s Anna Karenina, Puccini’s Tosca, The Barber of Seville and La

bohéme. His opera work includes scenery, projection and lighting design for the world premiere of Myron Fink’s The Conquistador (San Diego Opera). Sir Peter Maxwell Davies’ The Lighthouse directed by Jack O’Brien (San Di-ego Opera & Chicago Opera Theatre), La bohéme and Saint-Saen’s Samson et Dalila (Palm Beach Opera) Wagner’s The Flying Dutchman directed by Lillian Garret-Groag (Virginia Opera) and Donizetti’s Lucia di Lammermoor directed by Colin Graham (Greensboro Opera).

Christina MartinWIG AND MAKEUP DESIGNER (CALIFORNIA)

Christina Martin makes her company debut as wig and make-up designer for Rossini’s The Barber of Seville. Miss Martin graduated from San Jose State University in 2007 and began working for Opera San José that same year. Miss Martin is a Bay Area native who has been working in the wig and makeup industry throughout

Northern California for companies such as San Francisco Ballet, American Conservatory Theater, and Opera Parallel. She is currently employed with the San Francisco Opera as a principle makeup artist, show foreman, and wig shop artisan. As a Regional Member of Hollywood’s Makeup Artists and Hairstylists guild IATSE Local 706, Christina has had the pleasure of working for film, television, and multimedia, along with opera and theater. Miss Martin is enjoying her new role in the Opera San José family.

operasj.org 17

PUTS AND CAMPBELL’S

SilentNight

FEBRUARY 11–26, 2017

For tickets go to operasj.org or call 408 437 4450

Date: Evening of Friday, February 10th

Location: On the stage of the California Theatre

Price: $500 per place

Attire: Black tie optional

Join us on the set of Silent Night for

THE GENERAL DIRECTOR’S DINNER

FOR INFORMATION PLEASE CALL 408 437 4460

OPERA HAS BEENPART OF YOUR LIFE.MAKE IT PART OF YOUR LEGACY.

In addition to the satisfaction that comes from knowing you have made a difference in the lives of others, the best gift plans combine your philanthropic giving with your financal needs and tax-planning strategies. Through creative gift planning, you can secure your own future, as well as ours.

There are many ways to remember Opera San José in your estate plans. You can name Opera San José as a beneficiary in your will or trust, or bequeth an insurance policy or an IRA/401(k) account. You can even establish a charitable gift annu-ity, which will provide you with a monthly payment and immediate tax deduction, with the remainder of the trust becoming a gift to the company after your passing. Nam-ing Opera San José in your estate plan also qualifies you to become a member of the Irene Dalis Legacy Society.

For more information about planned giving and the Irene Dalis Legacy Society, please contact Nori Okada, Individual Giving Manager at 408-437-4460, or Opera San José Trustee Jeanne McCann at 408-268-6681.

To ensure that your gift accom-plishes your goals according to your wishes, we recommend that you obtain the professional counsel of an attorney who specializes in estate planning.

THE IRENE DALIS LEGACY SOCIETY

(as of September 30, 2016)

CHERYL ADAMSTRICIA & TIM ANDERSONMAGDALENE ARLOCKBARBARA BARRETTMARTHA BESTROBERT & DIANE CLAYPOOLWERNER COHNROSE CRIMIGEORGE & SUSAN CROWWENDY DEWELLDOROTHY & RICHARD DORSAYCAROLYN MARIE DOWNEYJAMES & SUSAN DYERHOWARD GOLUBFRED & PEGGY HEIMANJAMES JACKSONJEANNE MCCANNKEVIN MCGIBONEY & NANCY LUTZOWD.G. MITCHELLHEIDI MUNZINGERDR. H. ANDREA NEVESNANCY NIELSENW. D. PERKINSELIZABETH POINDEXTERLEE & SHIRLEY ROSENMARTHA SANFORDJAN & DON SCHMIDEKJOHN SHOTTVICKI SLICHTERDR. LARRY STERNROGER & ISOBEL STURGEONMARILYN EVE TAGHONLAWRENCE A. & GENEVIEVE H. TARTAGLINOJAN TELESKYMELITA WADE THORPEMARGARET & DICKSON TITUSJULIAN H. UNGERALBERT J. VIZINHOBRADFORD WADE & LINDA RIEBELSHERYL WALTERSMICHAEL & LAURIE WARNERMR. & MRS. C. WHITBY-STREVENSRICHARD & PHYLLIS WHITNEYONE ANONYMOUS


Artistic/MusicARTISTIC PLANNING DIRECTOR, COURTESY OF THE PACKARD HUMANITIES INSTITUTE

Khori Dastoor

ARTISTIC ADMINISTRATOR

Elliot Yates

RESIDENT CONDUCTOR

Andrew Whitfield

GUEST CONDUCTORS

Ming Luke Dana Sadava

HEAD OF MUSIC STAFF

Veronika Agranov- Dafoe

COACHING/ACCOMPANYING STAFF

Cheryl Lin Fielding Ihang Lin Victoria Lington

ORCHESTRA LIBRARIAN

Tim Spears

SUPERTITLE CUEING

Victoria Lington John McCarthy

Larry Hancock GENERAL DIRECTOR

Joseph Marcheso MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR

Production/TechnicalTECHNICAL DIRECTOR

John Draginoff

COSTUME DIRECTOR

Alyssa Oania

PRODUCTION MANAGER

Kelly Mack

STAGE DIRECTOR

Layna Chianakas

SET DESIGNER

Matthew Antaky

LIGHTING DESIGNER

Kent Dorsey

WIG AND MAKEUP DESIGNER

Christina Martin

PRODUCTION ASSISTANT

Gilda Herrera

PRODUCTION STAGE MANAGER

Allie Bailey

ASSISTANT STAGE DIRECTOR

Hannah Hudgins

ASSISTANT STAGE MANAGERS

Steven Fetter Phil Jacke

MASTER ELECTRICIAN

Nick Kumamoto

ELECTRICIANS

Joseph Hidde Alyssa Glenn Carolyn Guggemos Harris Meyers

SCENE SHOP SUPERVISOR

Ariel Lacey

CARPENTERS

Christopher Kesel Ariel Lacey Kyle Langdon Chris Tucker

SCENIC CHARGE ARTIST

Renee Jankowski

SCENIC ARTISTS

Migi Oey Alexis Snyder

PROPERTIES MASTER

Lori Scheper-Kesel

PROPERTIES ARTISAN

Christopher Kesel

IATSE LOCAL 134 CREW

Kevin Driggs Bob Moreno Cindy Parker Bob Smay Lesley Willgohs Patrick Wollard

PROPERTIES RUNNER

Alison Froke

STAGE HANDS

David Chambers Raymond Garcia- Welch Eddie Gilbert Christopher Graham

SCENE SHOP ADMIN VOLUNTEER

Barbara Brosch

Staff

CUTTER/DRAPER

Emma Vossbrink

FIRST HAND

Kitty Wilson Larisa Zaiko

STITCHER

Neliy Davood Pireh Anhar

WARDROBE CREW

Christine Huynh David Radosevich Emma Vossbrink

WIG AND MAKEUP SUPERVISOR

IATSE LOCAL 706

Christina Martin

WIG AND MAKEUP ASSISTANTS

Sharon Peng

IATSE LOCAL 706

Lisa Poe

Resident CompanyKirk Dougherty Matthew Hanscom Sylvia Lee Brain James Myer Ksenia Popova Colin Ramsey

Guest Artists/CoversBabatunde Akinboboye Teressa Foss Nicolas Gerst Sylvia Lee Ksenia Popova Sidney Ragland Renée Rapier Valerian Ruminski Junbo Zhou

AdministrationDIRECTOR OF FINANCE

Donna Lara

ACCOUNTANT

James Wei

HR ADMINISTRATION

Gilda Herrera

DevelopmentWEBMASTER, EDUCATION, GRANTS

Lettie Smith

INDIVIDUAL GIVING MANAGER

Noritaka Okada

DEVELOPMENT MANAGER

Michelle D’Alo

DEVELOPMENT PLANNING CONSULTANT

Greg Parry

MarketingMARKETING DIRECTOR

Scott Gripenstraw

COMMUNICATIONS MANAGER

Bryan Ferraro

ART DIRECTOR

Kevin Herman

PHOTOGRAPHERS

Pat Kirk Robert Shomler

Box OfficeMANAGER

Michael Cheatwood

BOX OFFICE ASSISTANTS

Yumiko Harada Judi Rizzuto


OFFICERS

Laurie WarnerPresident & Co-Chair of Development Committee

N. Eric JorgensenSr. Vice President

Gillian MoranVice President & Chair of Governance Committee

Jan TeleskyInterim Chair of Finance Committee; Treasurer

Glen GouldBoard Secretary

Fred HeimanVice President & Chair of Long Range Planning Committee; Chair of Nominating Sub-Committee

Jeanne L. McCannVice President & Chair of Planned Giving and Events

Dr. H. Andrea NevesVice President & Co-Chair of Development Committee

Gerard L. SeeligVice President & Chair of Auditing Committee

TRUSTEES

Richard Dorsay, M.D.

Frank Fiscalini

Glen Gould

Fred Heiman

Peggy Heiman

Rita Elizabeth Horiguchi

N. Eric Jorgensen

Jeanne L. McCann

Gillian Moran

Dr. H. Andrea Neves

Linda Riebel

Gerard L. Seelig

Jan Telesky

Vijay Vaidyanathan

Dr. Brian Ward

Laurie Warner

PAST PRESIDENTS

Maxwell Bloom1983–1984

Frank Fiscalini1984–1987

Gordon Brooks1987–1989

Kitty Spaulding1989–1992

Michael Kalkstein1992–1994

Mary Reber1994–1995

Martha Sanford1995–1998

Richard O. Whitney1998–2001

Frank M. Veloz2001–2004

Joe Pon2004–2007

George Crow2007–2010

Board of Directors

Mission Statement

Opera San José is dedicated to maintaining a resident company of opera singers with whom we present compelling, professional opera performances, while creating and providing cultural and educational programs that both enrich the opera-going experience and encourage future generations of artists and audiences. Opera San José also provides technical assistance to other organizations.

Founded in 1984, Opera San José is unique in that it is the only year-long resident opera company in the nation. Members of the resident company form the core of the artistic staff for main-stage productions as well as educational programs.

Bravo! To our donors, the lifeblood of Opera San José! This listing reflects cumulative cash donations, pledges and matching gifts recorded October 1, 2015 to October 15, 2016.

EXCLUSIVE UNDERWRITING PARTNERS

$50,000 and aboveApplied Materials Foundation

CORPORATE PARTNERS

$10,000 to $49,999Empire Broadcasting

$500 to $999MWT Associates, Inc.

CORPORATE MATCHING

Many corporations match charitable contributions made by their employees. Please check with your employer and inform Opera San José of the process required by your company for this meaningful support, if available.

$5,000 and aboveGE Foundation

IBM Corporation

$1,000 to $9,999Google

Hewlett Packard

Hewlett Packard Enterprise

Under $999Applied Materials

Brocade Communica-tions Systems, Inc.

Chevron

Cisco

eBay

Harris Bank

The William and Flora Hewlett Foundation

Johnson & Johnson

Microsoft

Netflix

Nvidia

Oracle

SAP Software & Solutions

Synopsys

Texas Instruments

Volkswagen

Donors

Thank You, Opera San José Century Club Members!

Opera San José Century Club celebrates our loyal donors who have surpassed $100,000 in cumulative giving to Opera San José.

We applaud your remarkable generosity and loyalty. We thank you for your outstanding investment preserving the culture of our community

and the continued health of Opera San José.

We are deeply grateful to you.

Bravissimo!

Tricia & Tim Anderson

Jean Brandt

Catherine Bullock

Werner Cohn

George & Susan Crow

Mary & Clinton Gilliland

Howard W. Golub

Doreen James

Mary Louise Johnson

Robert S. Kieve

Jeanne L. McCann

Mrs. Averill Q. Mix

Pamela & David W. Packard

Martha Sanford & Gary Hong

Jan & Don Schmidek

Roger & Isobel Sturgeon

Dave & Carol Thompson

Michael & Laurie Warner

Richard & Phyllis Whitney

Six anonymous gifts

C E N T U R Y C L U B


Donors CONTINUED

FOUNDATIONS

$100,000 and aboveThe William and Flora Hewlett Foundation

$50,000 to $99,999The David and Lucile Packard Foundation

$10,000 to $49,999The Ann and Gordon Getty Foundation

The Kieve Foundation

The Packard Humanities Institute

Lorraine and Gerard Seelig Foundation

Hugh Stuart Center Charitable Trust

$5,000 to $9,999Rotary Club of San Jose Foundation

$1,000 to $4,999The William H. Cilker Family Foundation

Farrington Historical Foundation, Inc.

The Greenside Foundation

Italian American Heritage Foundation

The Markkula Foundation

Simon Strauss Foundation

One anonymous gift

Under $999Amazon Smile

Larson Family Fund

The Leeson Foundation

Metro C2SV Community Fund

PUBLIC SECTOR

City of San José

ORGANIZATIONS/CLUBS

$5,000 and aboveAmici di Musica Bella

San José Opera Guild

$1,000 to $4,999Silicon Valley Gives

Under $999Assured Life Association

City of Cupertino Senior Center

Friends of Opera San José

Nova Vista symphony Association Inc.

Opera And Ballet Club Of Rossmoor

Opera Bridge

San José Woman’s Club

INDIVIDUAL GIVING

PRODUCERS CIRCLE

$50,000 and aboveJean Brandt

Mary & Clinton Gilliland

David Valenta

One anonymous gift

GENERAL DIRECTOR'S CIRCLE

$25,000 to $49,999Thelma Dry

CONDUCTORS CIRCLE

$15,000 to $24,999Tricia & Tim Anderson

Jim Beatty

Glen Gould & Bunny Laden

Norman Lariviere & Carolyn Lund

Jeanne L. McCann

Mrs. Averill Q. Mix

DESIGNERS CIRCLE

$10,000 to $14,999Barbara G. Akin

George & Susan Crow

Fred & Peggy Heiman

Prof. John M. Heineke & Prof. Catherine R. Montfort

Rita Elizabeth Horiguchi

Doreen James

Marjorie Johnson

Linda Lee Lester

Izzy Lewis & Phil Park

Tom & Gillian Moran

Dr. H. Andrea Neves

Richard & Hannelore Romney

Jan & Don Schmidek


One anonymous gift

THEATRE CIRCLE

$5,000 to $9,999Elizabeth F. Adler

Mandy Behe

Prudence Brown

Doris & Alan Burgess

Mimi & Eric Carlson

Marilyn & Frank Dorsa

Dorothy & Richard Dorsay

Eric Jorgensen

Cathy & Dick Lampman

Dr. Jakob Nielsen & Hannah Kain

Don & Gretchen Nymoen

Ahmad & Ruth Orandi

Jackie Pighini

Alma Taylor

Jan Telesky

Bradford Wade & Linda Riebel

Dr. Brian Ward


Dr. & Mrs. C. Whitby-Strevens

Richard & Phyllis Whitney

One anonymous gift

PARAGON CIRCLE

$2,000 to $4,999Drs. Charlene Archibeque & Robert Melnikoff

Nevenka & Nebojsa Avdalovic

Anna M. Bagniewska & Denis St. Jean

Nancy C. Bean

Didier Benoit

Andrew & Brenda Birrell

Barbara F. Borthwick

Roger Bourland & Daniel Shiplacoff

Mary Esther Candee

Carolle J. Carter & Jess Kitchens

John & Agnes Caulfield

Paul & Marijane Chestnut

Kathy & Al DiFrancesco

Tom & Clara DiStefano

Maureen Ellenberg

Frank Fiscalini

Mr. & Mrs. Argo Gherardi

Janice & Mel Goertz

The Guth Family

Andrea & Volker Hampel

Mr. & Mrs. William H. Harmon, Jr.

Jim & Pat Jackson

Dr. William R. Lambert

Mr. & Mrs. Robert Leeper

Phil & Judy Livengood

Sylvia & Paul Lorton, Jr.

Mr. & Mrs. Denis Lynch

Joan Mansour

William McCraw & Janet Muscio

Barry & Rosemarie Mirkin

Mr. & Mrs. Thomas G. Moore

Heidi Munzinger & John Shott

Drs. Henry & Cynthia Nattrass

Diane K. Nelson & Marshall Marlowe

Kent Owen

Lisa M. Pereira

Randy Presuhn & Timothy Nguyen

Jean Reiner

Mr. & Mrs. Joseph J. Rizzuto

Richard & Barbara Roof

Patricia & James Schaaf

J.H. Silveira M.D.

Alice & Robert Skurko

Dr. Pieter & Jacqui Smith

Richard & Jo Anna Strawbridge

Melita Wade Thorpe

Dr. May Loo & Dr. William Thurston

Jeanne Torre

Janice Toyoshima

Marcia & Gordon Vosti

Alice Weigel

Dr. Herbert Weil & Dr. Anabel Anderson Imbert

Mariquita West, MD

Nancy & Kenneth Wiener

Dennis & Marianne Wilcox

Two anonymous gifts

SHOWCASE CIRCLE

$1,000 to $1,999Cheryl Adams

Jane Alejandro

Joyce Allegro & Gerald Sheridan

Jeanne & Michael Althouse

Daniel & Priscilla Amend

Richard J. Andrews

Adu Bagley

Dr. Alfonso Banuelos & Suzanne Wittrig

A. Bayman & M. Arlock

Elfi Berkowitz & Thomas Geisler

Emily & Stephen Berman

Bill & Ginny Berner

Donna & William Biretta

Josef & Phyllis Bismanovsky

Peter Bloom

Marlene Bollhoffer

Leon Bonner & Redge Meixner

Michele Bonnett

Ken Borelli

Nina Boyd

James & Margaret Brady

Robert & Mara Bronstone

Rick Callison & Shauna Mika

Pamela & Craig Carper

Ms. Linda Cato

Judy Chamberlain

Park & Joan Chamberlain

Isabel Chiu, CPA

Helen Conway

Alfio & Gerry Crema

Rose Crimi

Adnan & Patricia Daoud

Richard & Doris Davis

Jane Decker

Robert Dennis

Dr. James & Susan Dyer

Geoffrey & Norma Egan

Donald & Janice Elliott

Mr. & Mrs. John P. Eurich

Mary Mary Feldman

Bob & Alice Fenton

Georgiana & John Flaherty

Mehdi Gasmi & Gregory Parry

Michael & Judith Gaulke

Mr. & Mrs. Eduardo Grisetti

Lindy Hayes

Mitzi G. Henderson

Cheryl Holt

David G. Hough

Dr. & Mrs. Pearce Hurley

Mary Idso

Linda Izquierdo

Pat Janes

Ray & Laurel Kaleda

Ms. Bonnie Lee Kellogg

Anders Kugler

Doug & Rasha La Porte

Cathy & Steve Lazarus

Barbara & David Leeson

Rob Lenicheck

Morton & Elaine Levine

Sophia Liu

Sally & Tom Logothetti

Scott Lurndal

Jeanne Lyons

Philip & Margaret Ma

Tom MacRostie

Kevin McGiboney & Nancy Lutzow

A. Kirk McKenzie

Mr. & Mrs. McKnight

Chris & Katie Metzger

Stephen & Janet Miller

Barbara Molony & Thomas Turley

David Muhlitner & Peggy Kilduff

Tom Myers & Hartono Sutanto

Olga & Tony Nespole

Cynthia & Ken Newton

Paul & Jo O'Neil

Marshall & Jeanne O'Neill

Denise Owen

Bob & Bonnie Peterson

Nancy Pyeatt

Alice Ramsauer

Stephen & Denise Rawlinson

Marian Rees

Carol Richardson Cole

Donald & Marilyn Richardson

Joy Sakai

Lucinda Sanchagrin & Dennis McLean

Jack & Judy Schneider

MaryLou Schoone

Connie & David Sealer

Mort & Alba Sherin

Mr. & Mrs. R.W. Shomler

Colette A. Siegel

Betty Soennichsen

Ms. Laura Sternberg

Jim Stuhlbarg

Mary Alice & David Thornton

Neil Wilhelm & Laura Hill

Chip & Bonnie Williams

Susan & Jonathan Wittwer

Susan Yost

Five anonymous gifts


SUPPORTERS CIRCLE

$500 to $999Matthew & Marcia Allen

Joseph & Frankie Armstead

Shirley E. Bailey

Ray & Lynda Barbieri

Martha Beattie

Mario & Rose Belotti

Donald H. Bentsen

Walter Bentson

Gene Bernardini

Ms. Jane Bernasconi

Mr. Theodore J. Biagini

Dr. Arthur & Susan Biedermann

Matthew W. Bien & Grace T. Lee

Rob & Letty Block

Nadia & Christophe Bodin

Judith Borlase

David & Hildegard Borror

Patti Bossert & Charles Chew

Ms. Kathleen Bowden

Edward & Nancy Bowen

Jim & Carolyn Bowen

Larry & Sally Brandt

Ann Brown

Virginia L. Brown

Steve & Vicky Brozovich

Penny & Preston Brunst

Catherine Bullock

David Burke & Victoria Burton Burke

Dick & Pat Calfee

Virginia A. Carpio

Erie Carruthers

Deal & Nancy Christensen

Jonathan R. & Anne W. Cross

Elena & Ron Danielson

Ed Dantzig

Dr. & Mrs. J.H. Davies

Robert A. Davies III & Diane Church-Davies

Mr. & Mrs. Richard & Maureen DeBolt

Victor & Suzanne DeMattei

Joe & Carolyn Dickinson

Meredith & Carl Ditmore

Ellen Donnelly

Deborah Edginton

John Ehrman & Tineke Graafland

Shirley J. Foreman & Alberta Brierly

Barbara Frank

Carolyn & Brian George

Drs. Lucia & Jack Gilbert

David & Janice Gilman

Roger K. Gould

Christopher Greene

Gryphon Financial Group, Inc.

Mike & Jane Guerra

Jim & Linda Hagan

Kathryn Hall & Richard Neilson

Charles F. Hanes

Helen Helson

Kali & Narada Hess

Fred & Leelane Hines

Ilene & Ken Imboden

Maria & Klaus Jaeger

Bill & Danielle James

Jeraldine Johnson

Dale & Jane Jordan

David Kaun

Paul & Darina Kavanagh

Jason Paul Kazarian

Mary M. & Harry Kelly

Sheryl Kelly

Victoria Knox

Paul & Jackie Kuckein

Ms. Sue Larson

Shirley Leisses & Hicks Williams

M. Lewis & Kristin Fryklund

Russell Lindgren

Don Lowry & Lynore Tillim

Jonathan Lynam

Pamela & Steve Lyons

Anne & Dave Mack

Karen & David MacQueen

Peter Marra

Steve Martin

Patrick & Darle Maveety

Richard & Junetta McKewan

Howard McKinney

David & Erika Meinhardt

George Menzoian

D.G. Mitchell

Mr. & Mrs. Dennis Nelson

Mr. Patrick O'Connor

Ken Odom

Dr. & Mrs. Hans Orup

Donald & Lona Packwood

Joseph Palmer & Nikki Kim

Janice Paull

Joyce E Peloian & Gary McCrea

Marilyn Perry

Dr. Lorna Pierce

Stephen Powell

Tom Ranweiler

Marjorie Rauch

Pamela & Jim Robson

Bryan Rodriguez & Jean-Marie White

Mr. & Mrs. Richard Rolla

Mr. & Mrs. Lee Rosen

Mr. & Mrs. Laurence L. Rosier

Doron & Miriam Rotman

Fred Sanders & Lynn Evans

Robert Savoie

Norma & Charles Schlossman

Joyce & Campbell Scott

Ursula Shultz

Darby Siempelkamp & Michael Kresser

Robert & Carmen Sigler

Regina Sleater & Dean Dunsmore

Todd & Sandy Smith

Frank & Diane Snow

Sandra M. Sobie

Jim Stauffer

Susan & Peter Talbot

Beth Kay Taylor

H. James Tellefson

Jeff & Catherine Thermond

Anne &Peter Thorp

Louise Tighe

Mr & Mrs. Robert Torrano

Nancy Valencia

Mr. & Mrs. John S. Vineyard

Sheryl Walters

Karlette Warner & Ward Hoffman

Channell Wasson

Mrs. Geri Weimers

Mr. & Mrs. Lawrence Williams

Penelope Williams & Richard Bruner

Brian & Linda Winter

Elizabeth Wolf

Chien-Gsueb Wu

Ellen C. Wynn

June C. Yamamoto

Bassam Zahra

William & Patricia Zahrt

Drs. Robert & Antonette Zeiss

Mr. William Zschaler

Ieva Zvargulis & William Robertson

Five anonymous gifts

Donors CONTINUED

DEDICATED DONATIONS

Mr. Robert Applebaum in memory of Rosalyn Applebaum

Sonia DeHazes in memory of Ruth Laine Bauer

Peter Bloom in honor of Maxwell H. Bloom

Prudence Brown in memory of David A. Brown

Virginia A. Carpio in memory of Willa & Ignacio Carpio

Nancy Boitano, Julian H. Unger, Nancy & Kenneth Wiener in memory of Irene Dalis-Loinaz

Nina Boyd, Stan & Elaine Gould, Mike & Jane Guerra in honor of Frank Fiscalini

Phil & Judy Livengood, Richard L. Sogg, M.D., Four anonymous gifts in memory of Lea Frey

Cheryl & Steve Kole in honor of Peggy Heiman

Joan Stucker in memory of Frank Johnson

Randy Earle in memory of Lise la Cour

Joan B. Bose in honor of Judy Leahy

Ralph Cizmar & Marie Lindgren in honor of Russell Lindgren & Stephanie Leong

Dennise & JoAnne Nelson in memory of Gretchen Nymoen

One anonymous gift in memory of Mary Reber

E. Kletter in memory of Helene Rock

Gerry and Marita Trobough in honor of Terrence Trobough

Sonia DeHazes in memory of Doug Weber

Marsha & David Pollak, Susan Yost in memory of Phil Yost

IN MEMORY OF OLGA NESPOLE

Mrs. Elvira Aloia

Ms. Marlene Avel

Janet Bastovan & David Davies

Ms. Janis Black

Nina Boyd

Dr. & Mrs. Donald Joseph Cariani

Dr. James Chang

Mr. Edward M. Cheng

Joan R. Chisholm

Mrs. Gladene Clarke

James & Anne Cook

Ms. Lorrain Daigneault

Rhonda Dern

Mr. Michael Destro

Wendy Dewell

Dr. James & Susan Dyer

Mr. & Mrs. John P. Eurich

Deborah Gould

Fred & Peggy Heiman

Howarth Family

Dr. Clara Lasala

Mary Pat & Jerry Lass

Judy & Allan Lavetter

Lourdes Lazatin

Dr. Tony Lie

Ms. Janis A. McGibbon

Dr. Elizabeth Menkin

Mrs. Averill Q. Mix

Dr. H. Andrea Neves

Mrs. Anne Pollard

Richard & Hannelore Romney

San Jose Opera Guild

Ms. Tina Santucci

Norma & Charles Schlossman

Dr. Vincent K. Seid

J.H. Silveira M.D.

Nancie Sowin

Cheri Strempel

Howard & Marcia Summers


Mrs. Davin P. Torre

Paul Traynor

Carl Voss


Alex Gelber & Linda Wolf

Dr. Lorna Yamaguchi

Hanley & Mary-Anne Yoffee

Two anonymous gifts


In KindOpera San José would also like to thank the following donors for their generous in-kind goods and services:

Services: Chris Ayers, Diane Claypool, Citti’s Florist, San Jose Convention Center, N. Eric Jorgensen, Ms. Bonnie Lee Kellogg, Phil Park, Betty Poin-dexter, Linda Riebel, R.W. Shomler, Telesky Financial Services, one anony-mous gift.

Supplies & Equipment: Barbara Barrett, Nance C. Bean, Elfi Berkowitz, Joseph George Wines, Diane K. Nelson & Marshall Marlowe, Nancy Nielsen, Robert & Lois Rew, one anonymous gift.

Friends of Opera San José!Opera San José thanks Friends of Opera San José for their service to the company. To become a member of our volunteer auxiliary, Friends of Opera San José, and experience its many benefits, please send an email to [email protected] or sign up at operasj.org/sup-port/volunteering.

Special Thanks

Linda Riebel PresidentJeanne Lyons Vice PresidentJanice Toyoshima TreasurerRenee Anderson NewsletterBarbara Brosh EventsBrenda Davis VolunteersNancy R. Divine Hospitality TableJim Stauffer Cultural OutingsNancy Valencia CommunicationBonnie Williams Membership

Brad Wade Opera at your doorstepAnna BagniewskaBill BartzNancy BeanDidier BenoitWalter BentsonJudith BorlaseCarolyln BowenJames D. BowenPamela CarperCorinne CarterAdnan & Pat DaoudWendy DewellRichard DorsayShirley ForemanLaura Hill

Rita Elizabeth HoriguchiAmelia JacksonEd JajkoPam JajkoJoann JohnsonSheryl A. KellyColeen KohtzLee LedererOlive LeeperLucy LoganMichael MastreAnn Mayers Kathleen McCabe-MartinJeanne McCannPat MillerTom Miller

Lynn MunroMeera PrahladSally PyleJoyce SakaiSuzanne SarroDelia SchizzanoShirley Shoup-HowardFrank & Diane SnowDenis St.JeanMike & Laurie WarnerDiane WerpDennis & Marianne WilcoxFern Jaffe WollrichBobbi Wolner

Dick & Pat CalfeeCarolle CarterBarry CohenLaVonne FraboniFred & Peggy Heiman

Rita HoriguchiOlive LeeperJudy LivengoodPhil LivengoodLorraine Mazzeo

Pat MillerHeidi MunzingerJudi RizzutoJim StaufferKathryn Veregge

Sheryl WaltersBobbi Wolner

VolunteersOpera San José thanks the following volunteers for their service to the company. To offer your assistance as a volunteer, please visit operasj.org/support.

A REQUEST TO OUR DONORS: If we have made a mistake or omission, kindly bring it to our attention so that we may correct it. Please call Individual Giving Manager Noritaka Okada at (408) 437-4460.

Supported, in part, by a CulturalAffairs grant from

the City of San José.

The official piano of Opera San José.Opera San José’s pianos are supplied by

Yamaha Peninsula Music, San José.

house program

Documents