Volume I I I | 2015-2016 Season

FalstaFF

arizona lady

don Giovanni

Carmen

FlorenCia en el

amazonas

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Why does Copperpoint Care about arizona opera and the arts in general? For us, the answer is simple. As an Arizona-based com-pany with a successful track record of nearly 90 years, we think it is our responsibility to give back to the communities we serve. By supporting Arizona Opera we help ensure that audiences can continue to delight in their magnificent performances for generations to come.

Treasures like Arizona Opera, the ballet, the symphony and the the-atre all help create the heart of our community. These cultural institu-tions do more than inspire and entertain -- they bring people together, from all walks of life, for one special purpose. For when we engage in the arts not only are we enriched by the experience, we are enriched by being with other people who share our passion. That’s where community happens. We believe that the arts help create a true a sense of community and anything that does that is well worth supporting. After all, our 320 employees live here, too!

At CopperPoint, our community support can take many forms but at its core it is about helping to make our cities and towns better places to live, work and play. Whether it’s investing in educational programs, char-itable nonprofits, business development or the arts, we believe that giving back is simply the right thing to do.

Donald A. Smith JrDonald A. Smith Jr. is the CEO, CopperPoint Insurance Companies. He is a 1974 graduate of the University of Notre Dame and carries the designation of Chartered Property and Casualty Underwriter. He earned his law degree in May 2000 from Widener University School of Law in Harrisburg, Pa. He is a past Board member of the Greater Phoenix Chamber of Commerce, and currently serves as vice chair on the executive committee of the Greater Phoenix Economic Council, executive committee of Greater Phoenix Leadership and the Valley of the Sun United Way.

the Heart of our Community!

rizona Opera elevates the transformative power of storytelling through music—cultivating community and strengthening

a state and people as adventurous and diverse as the place they call home.

Arizona Bold, our new community-based artistic initiative, seeks to bring new and exciting stories to Arizona, featuring relevant and intimately familiar tales to our statewide audience. Arizona Bold represents a new frontier for Arizona Opera—presenting thrilling classic productions alongside challenging and innovative programming.

For more information please visit: azopera.org/arizona-bold.

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Presenting Sponsor

2014–15

Cruzar la Cara de la Luna by José “Pepe” Martínez and Leonard Foglia

Eugene Onegin by Pyotr Tchaikovsky

2015–16

Arizona Lady by Emmerich Kálmán

Florencia en el Amazonas by Daniel Catán

2016–17

Riders of the Purple Sage by Craig Bohmler and Steven Mark Kohn

Lost in the Stars by Maxwell Anderson and Kurt Weill

2017-18

Luisa Fernanda by Federico Moreno Torroba

Silent Night by Kevin Puts and Mark Campbell

$1 million $2 million $3 million $4 million $5 million

$3.2 Million (as of Sept. 2015)

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Arizona Lady

Translating Arizona Lady .........................................................6Dates, Production Team and Cast ......................................7Cheating in Good Faith ...........................................................8Making the Invisible Visible ...................................................9

Florencia en el Amazonas

A Conductor’s Perspective ...................................................14Dates, Production Team and Cast ...................................15The Singers Perspective .........................................................16Transcending Boundaries .....................................................17

Carmen

10 Things You Didn’t Know About Carmen ..............26Projecting Drama .......................................................................28Dates, Production Team and Cast ...................................29Our Two Carmens ................................................................... 30A Dream Realized ....................................................................33

Don Giovanni

Breaking Bad ...............................................................................36Dates, Production Team and Cast ...................................37Q & A with Conductor Steven White .......................... 38Defrosting the Ice Queen .................................................... 39

Falstaff

Buon Apetito ............................................................................... 40Dates, Production Team and Cast ...................................41Playing Alice!...............................................................................42

the Heart of our Community ................................. 1

arizona Bold ........................................................ 2

the season Past .................................................... 4

General director’s message .................................... 5

the marion roose Pullin opera studio ...................10

our Chorus master ...............................................12

Where are they now? david margulis ....................13

the season Past part ii ..........................................18

Chair of the Board message ..................................19

Costume shop ..................................................... 20

staging Choreography for an opera .....................21

education ........................................................... 22

event Calendar ................................................... 24

appreciating the arts .......................................... 27

audience member review .................................... 32

apprentice Program ............................................ 34

Wig & make Up ................................................. 35

Phoenix Friends ................................................... 43

tucson Friends..................................................... 44

Prescott Friends ................................................... 45

in this issue

on the cover: Scenes from Arizona Opera’s 2015/16 Season including (top to bottom): Arizona Lady by Emmerich Kálmán (photo: Tim Trumble); Daniel Catán’s Florencia en el Amazonas, (Courtesy of Utah Opera, Kent Miles Photography); Carmen by Georges Bizet (Photo: Des Moines Metro Opera); Mozart’s Don Giovanni (Photo: Rozarii Lynch/Seattle Opera); Giuseppe Verdi’s Falstaff (Photo: Carol Pratt/Wolf Trap Opera)

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The Season PastTop: Cruzar la Cara de la Luna – members of Mariachia Vargas Middle: Rigoletto – Michael Corvino as Rigoletto; members of the Arizona Opera chorus Bottom: Eugene Onegin – David Adam Moore, Calvin Griffin, and Zach Borichevsky; Corinne WintersPhotos: Tim Trumble

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Whether your personal soundtraCk involves the bustle of city streets, the whistle of wind across our desert landscape, or the foot-tapping tunes that complement your daily routine, the music which accompanies our lives is, truly, the score of our shared human experience. In this third annual edition of Soundtracks, we continue to dive deeper into the stories of the people behind the performances and events you see throughout an Arizona Opera season.

This year, in addition to welcoming many returning guest artists, we have 25 new artists joining the roster of Arizona Opera, making their debut on our stages in Phoenix and Tucson. We will be visited by fam-ily members of two celebrated composers: Emmerich Kálmán and Daniel Catán. We will welcome three new members to the Marion Roose Pullin Arizona Opera Studio—now in its ninth season—as well as three new Symchych production apprentices in the Marlu Allan and Scott Stallard Costume Artisan Workshop.

In addition to our guest artists, orchestra, and chorus, we also have an exceptional team of people working behind the scenes to make magic happen when the lights dim and the curtain rises each night. Plus, we are extremely fortunate to have a growing group of supporters and audience members who come together throughout the year to celebrate this incred-ible art form. It is through our combined efforts that a stronger statewide community is created, both inside and outside of the opera house.

I hope you enjoy reading through this edition of Soundtracks. You are helping to make the music in all our lives that much richer, and we are honored to be in your company!

With best wishes for a fantastic season at the opera in Arizona, and continued interest in our bold new productions and events.

Ryan TaylorGeneral Director, Arizona Opera

For more information on Arizona Bold, or how you can help support the capital campaign for this new initiative, please visit azopera.org.

life has a soundtrack!

We are extremely fortunate to have a growing group of supporters and audience members who come together throughout the year to celebrate this incredible art form. It is through our combined efforts that a stronger statewide community is created, both inside and outside of the opera house.

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Arizona’s first poet-laureate, Alberto Álvaro ríos, is the author of ten books and chapbooks of poetry, three collections of short stories, and a memoir. His memoir about growing up on the Mexico-Arizona border—called

Capirotada—won the Latino Literary Hall of Fame Award and, most recently, was designated as the One Book Arizona choice for 2009. Ríos is a Regents’ Professor at Arizona State University, where he has taught for over 30 years.

translating Arizona Ladyby Alberto Ríos, Spanish Translator

W hile working with Arizona Lady, the challenge for me was daunting, but clear. Here was an opera libretto originally written in post-war German, incorporating some question-able Spanish, which now, so many years later, would be

translated into English and reconsidered Spanish. The text I was presented with was in German and English, it needed

to be turned into Spanish, and much of it needed to be music. The kicker, however, was that the Spanish had to emulate the original German in num-ber of syllables, with syntactic emphasis in precisely the same places, and rhymes mimicking the original German. The music, with its flourishes and rhythms, would stay the same, while the libretto would be updated.

German and Spanish don’t play well together, though. They don’t describe the world in the same ways. Trying to duplicate precisely what was being said in the text of the original German songs wouldn’t work. Luckily, I was not constrained by the original plot of the songs. I was free—in the spirit of the opera and the characters and the moment—to rec-reate what the songs would be about, so long as I followed all the original constraints.

Language is not always simply conversation. Sometimes, it is oration, or aria, or prayer. Sometimes, language has to find its better angle, and do an abiding work, something beyond the moment. This was the calling for this piece: to find something beyond the problems, to find what the opera was searching for from its inception.

This is an impossible request, of course, and language that is tweaked so often leads to a great deal of inflated and flowery discourse. Still, what I tried to find was some language that might find its way, language that would make its mark in the heart as much as the mind. Language like this: We don’t simply understand it—we must feel it. This is opera, after all.

What I want to say most is that this challenge is the very stuff of poetry, and more particularly, of poetry called prosody—which is language that very carefully implements constraints of all sorts. Sonnets, for example, and sestinas and villanelles and so on—the forms of poetry, or formal poetry—these all welcome the challenge of constraint. In a sonnet, for example, a line has a set number of syllables, and lines must rhyme in very particular places, and the length is pre-set. Given all these variables, the words must therein be found. This is a careful art, of course, with cen-turies of practice behind it. To move between languages as disparate as Spanish and German was formidable.

That said, the process was a joy. I put it off at first, but then, jumping in, I jumped in all the way. Hearing the first drafts sung by Kathleen Kelly, with her requests on various points—this was all energy. Kathy would send the work that needed to be done, I would write in response, then she would sing what I had written, send it back to me so that I could hear it rather than read it, and we would go from there.

The words created themselves, their necessary selves, as the story found its way, and in the end the language didn’t need a name, but simply a feeling. The best gift of translation is that we might feel something pro-found in the moment because the words have led us there.

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Angela Fout in Arizona Lady

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Performed in German, English and Spanish with English supertitles.

New English/Spanish translation by Kathleen Kelly and Alberto Ríos

Original libretto by Alfred Grünwald and Gustave BeerBy arrangement with Boosey & Hawkes, Inc., Agent in the USA for Josef Weinberger, Ltd., London, publisher and copyright owner.

Running time: 2 hours and 40 minutes with intermission.

Arizona Opera is proud to partner with Phoenix Ballet for Arizona Lady.

Cast & Creatives

Kathleen KellyConductor

Matthew Ozawa Stage Director

Angela Fout Lona Farrell

Robert Orth Sheriff Harry Sullivan

Joshua Dennis Roy Dexter

Andrew Penning Chester Kingsbury

Sarah Tucker Nelly Nettleton

Octavio Moreno Lopez Ibanez

Ian Christiansen Jim Slaughter

Joseph Lattanzi Bill Sanders

Kevin Newell Rex

Paul Nicosia Danny

Calvin Griffin Algernon Galahed Bentschley

Dale Dreyfoos Peligreen

Alyssa Martin Magnolia

Maria Dominique LopezBonita

Tucson Music Hall

October 10 at 7:30 pmOctober 11 at 2:00 pm PHoenix syMPHony Hall

October 16 & 17 at 7:30 pmOctober 18 at 2:00 pm

Emmerich Kálmán

Sponsored by

Robert & Ellie Hamilton

Illustration: Emiliano Ponzi

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i was thrilled when Arizona Opera invited me to conduct Arizona Lady. While working for the Vienna State Opera, I fell in love with the music of Emmerich Kálmán; not well-known

in the USA, he is still treasured in Vienna, and his hits Die Csardasfürstin and Gräfin Maritza are still popular. The chance to do his Arizona-themed opera in Arizona was unique and won-derful. And it posed some big challenges.

Right off the bat, we found that no full orchestra score existed. There were individual parts for the musicians, yes, but no full road map for the conductor. Thanks to the miracle of a computer program (and to the miracle of my professional musician husband!), we were able to do the work of creating the full score, cor-recting many errors in the process. One concern checked off the list: I could prepare for rehears-als knowing that all the musicians would truly be “on the same page.”

Handling the show’s lyrics and spoken dia-logue posed the more complex questions. The original book is, of course, in German, but we knew we wanted to do the show in English. Doing operetta in translation is common prac-tice all over the world. The experience of that kind of story is better in the vernacular. We wanted our audience laughing at Robert Orth’s jokes, not reading a translation above his head!

I needed words that fit with the music. Just as important, I needed words that caught the mean-ings of the original. The colorful characters of the Sunshine Ranch need to sound as feisty and romantic in English as they do in German. All of this is to say that my translation’s not exact, and it could never be. Translation is not an exact

science, which is one of its joys. In this case, I definitely sacrificed word-by-word fidelity in order to stay true to the bigger picture.

For classical musicians, fidelity to the musi-cal score is usually job one. But in the world of operetta, things are a little different. Not only is translation common, but so is playing fast and loose with the story. If the local language enhances the audience’s experience, so does a local setting.

This opened up the possibilities for us in a very exciting way. If we were translating into English, why not Spanish for our bilin-gual Arizona? Ryan Taylor asked our state Poet Laureate, Alberto Ríos, to work with me on translating some of the songs and dialogue into Spanish. That was a delightful process: Alberto sent me text, and I’d record myself singing it to the music, and he’d make changes where neces-sary. From there we decided to leave in some of the original German, making this a trilin-gual show. We made some changes to the story that we felt were necessary for a contemporary Arizona audience; Kálmán loved the Wild West of the movies, but he got a lot of things wrong about Arizona, and we knew they wouldn’t fly with actual Arizonans. These changes were accomplished during a truly epic corre-spondence between me and director Matthew Ozawa, who deserves all the credit for his cre-ativity, sense of story, and good humor. And we’ve added some popular music and impro-visation, all selected in consultation with our singers, who seem to be game for anything.

And, of course, all of those singers have a close connection to this company and its audi-ence, which is the genius of Ryan Taylor and his team. The result is something very much in keeping with the traditions of operetta: “cheat-ing” on the composer in good faith. But in the end, there’s a rare and wonderful surprise—Emmerich Kálmán himself, undimmed, with his gorgeous melodies and rich orchestration. I hope you’ll love all of our changes, but more than anything, I hope you’re still humming these tunes long after the show!

A R i zo n A L A Dy:

Cheating in Good Faithby Kathleen Kelly, Conductor

Kathleen Kelly enjoys a wide-ranging and dynamic musical life as a pianist, opera coach, conductor, and master teacher. The first woman and first American named as Director of Musical Studies at the Vienna State Opera, Kathleen returned to the United States and is now the first coach/conductor at the University of Michigan.

Translation is not an exact science, which is one of its joys. In this case, I definitely sacrificed word-by-word fidelity in order to stay true to the bigger picture.

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American Stage Director, Matthew ozawa, is the Founder and Artistic Director of Mozawa, a performing arts company that generate creative and cultural hybrid works of art with the aim to break down that barriers that exist between differing artistic media and cultures.

W hat happens when you com-bine a horse, two love stories, two races, three nationalities, Vaudeville, one horse thief, the

Tucson Rodeo, prohibition, a square dance, a colorful cast of characters, and a brilliant mix of musical styles? You get a wild operetta called Arizona Lady, by Emmerich Kálmán!

Kálmán was known for making people laugh through their tears. Arizona Lady, his last oper-etta, is a true testament to a man who deeply understood the pain and joy of life. Born in 1882 Hungary from Jewish ancestors, Kálmán had great success as one of the leading compos-ers of Viennese operetta during the 20th century. His work was seen all over Europe, and even on Broadway. Despite his artistic success, he faced much loss having lived through two world wars: fleeing to America after the Anschluss (annexa-tion) of Austria and losing his two sisters who were Jewish slave laborers during WWII. His moods oscillated between the poles of melan-choly and happiness in his personal life, and these fluctuations became reflected in his compo-sitions. As Kálmán once said, “My musical nature is sanguine; I need great joy, strong passions, stark contrasts; otherwise I can’t make music.”

What makes directing a Kálmán operetta so exhilarating is uncovering the tightrope his works walk between heartfelt comedy and pathos, and insane madness. Kálmán always aimed for grand dramatic impact and theatri-cal effect, despite writing for a genre that rep-resented the latest trends in popular music. Operetta became a global epidemic in theater, and Arizona Lady is a perfect example of this craze; it features an array of musical styles from waltz to Hungarian melodies, Broadway

(notice the riff on “Oklahoma”) to Vaudeville. However, what makes Arizona Lady so unique is the confluence of American, Mexican, and European cultures found within its story. As a result, Kathleen Kelly has adapted the material in a radically modern way, enabling characters to sing and speak in their respective languages of German, English, and Spanish. So when I looked at the libretto to investigate how I would approach the material, I instantly felt a kin-ship to the piece, not only because of my diverse interdisciplinary artistic background, but also because I’m of mixed race, have lived abroad, and have always been surrounded by a multi-cultural landscape.

Directing, in essence, is bringing the page to the stage, making the invisible visible. After tak-ing history, style, and story into consideration, it seemed best to parallel the diversity by drawing upon an array of directing tools which would most effectively bring this operetta to life.

The scenic design is drawn from a Vaudeville theater in1925 (the first year of the Tucson Rodeo and the year when our show takes place). Painted drops, rolling set pieces, footlights, and even mechanical horses heighten this theatrical world. In juxtaposition, the costumes are more realistic, based on historic photos from the era, and reflective of the various clothing styles found in Arizona in the 1920s. Lastly, it felt best to add pizzazz to our zany show with the inclusion of musical theater choreography, zippy comedic dialogue, and tender, romantic scenes. In case you were wondering, Arizona Lady, the horse, will indeed appear onstage!

Ultimately, this smorgasbord captures Kálmán’s passions, creating a delightful and riv-eting theatrical journey unlike any other. Yes, the work is a love story that highlights female strength, but it is also a direct reflection of mod-ern America, underscoring the idea that we need to work together to live in peace. Arizona Lady binds us in a beautiful shared adventure, and boldly celebrates our commonalities and uniqueness through music, story, and dance.

making the invisible visibleby Matthew ozawa, Stage Director

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What is your earliest memory of Opera, when did you come to appreciate it as an art form?

When I moved to New York City in 1965, I often attended the “old” Met. As a country boy from Arizona, I was fascinated with the dramatic stories told through music and song in opera and by seeing and hearing famous opera singers perform. I didn’t have much money at the time, so I was content to enjoy each opera in the standing-room-

only section. Later, I moved just two blocks from Lincoln Center, where I went to the operas at the “new” Met as often as I went to the movies. I guess that is when I became a real opera buff.

How did you come to be involved with the Arizona Opera Studio program?

I made a small donation to the Studio and then I was invited to a party and a master class—the rest is history.

What inspires you to support the growth and development of tomorrow’s opera stars? Why do you believe it is important?

One of my philanthropic goals is youth and career development. For many years, I’ve been a supporter of 4-H programs, both in Arizona and nationally. I have always remembered and appreciated the many people and organizations which provided financial and leadership support to me over the years. I want to provide others with the same support for which I have been so grateful. Considering my deep appreciation of the arts, supporting young opera singers fits in perfectly with my goals for giving; fostering budding artists is both rewarding and fulfilling.

Do you have any favorite memories involving the Marion Roose Pullin Opera Studio?

I have greatly enjoyed meeting the Studio artists, other Studio supporters, and the Arizona Opera staff. In addition to seeing the Artists perform in the season’s operas and various special presentations, I especially relish seeing and hearing each one in the master classes. These classes have become some of my favorite memories.

What are you looking forward to the most this coming season?

Seeing Joseph Lattanzi, who Don Williams and I will co-sponsor this season, perform the lead role in Don Giovanni.

M ar i o n Ro o s e P u l l i nA r i zona Opera

S t u d i O

Question & Answer with Dan Klingenberg, supporter of the Arizona Opera Studio

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Andrew PenningtenorSponsored by Anonymous

HomEtown: St. Paul, MNon our mainstagE: Chester Kingsbury (Arizona Lady), Arcadio

(Florencia en el Amazonas), Remendado (Carmen), Don Ottavio (Don Giovanni), Bardolfo (Falstaff)EDucation: University of Cincinnati College-Conservatory of Music, Lawrence UniversityPrEvious aPPEarancEs: Des Moines Metro Opera, Glimmerglass Festival, Tanglewood Music Festival, Utah Opera

Joseph LattanzibaritoneSponsored by Dan A. Klingenberg and Don Williams

HomEtown: Mableton, GAon our mainstagE:

Bill Sanders (Arizona Lady), Riolobo (Florencia en el Amazonas), Moralès/El Dancaïro (Carmen), Don Giovanni (Don Giovanni)EDucation: University of Cincinnati College-Conservatory of Music, Oberlin Conservatory of MusicPrEvious aPPErancEs: Atlanta Opera, Cincinnati Opera, Merola Opera Program, Seattle Opera

Calvin Griffinbass-baritoneSponsored by Karen Fruen

HomEtown: Columbus, OHon our mainstagE: Algernon Benchley (Arizona

Lady), Capitán (Florencia en el Amazonas), Zuniga (Carmen), Pistola (Falstaff)EDucation: Rice University, The Ohio State UniversityPrEvious aPPErancEs: Aspen Music Festival, Des Moines Metro Opera, Santa Fe Opera, Wolf Trap Opera Studio

Cody Martinpianist/coachSponsored by Sandra Werner and Anonymous

HomEtown: Mascoutah, ILon our music

staff: Arizona Lady, Florencia en el Amazonas, Carmen, Don Giovanni, FalstaffEDucation: Florida State University, Murray State UniversityPrEvious aPPErancEs: Brevard Music Center, Florida State Opera, Virginia Opera

Allen PerrielloHead of Music and Director of the Marion Roose Pullin Opera Studio, Arizona OperaSponsored by Karen Fruen

meet the artistsSarah TuckersopranoSponsored by Norman C. and Donna L. Harbert

HomEtown: Houston, TXon our mainstagE: Nelly

Nettleton (Arizona Lady), Rosalba (Florencia en el Amazonas), Micaëla (Carmen), Zerlina (Don Giovanni)EDucation: University of Cincinnati College-Conservatory of Music, Texas State UniversityPrEvious aPPEarancEs: Crested Butte Music Festival, Des Moines Metro Opera, Gotham Chamber Opera, Opera Fayetteville

Alyssa Martinmezzo-sopranoSponsored by Virginia McGehee Friend and Dr. Judith G. Wolf

HomEtown: Greensboro, NCon our mainstagE:

Magnolia (Arizona Lady), Mercédès (Carmen), Zerlina (Don Giovanni), Meg Page (Falstaff)EDucation: Indiana UniversityPrEvious aPPEarancEs: Des Moines Metro Opera, Opera Theatre of St. Louis, Santa Fe Opera, Virginia Opera

2015/2016 Stud io Art iStSEstablished 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, while receiving well-rounded, personalized instruction designed to propel each artist to the next level. Over 650 applications were received for these six coveted positions, ranking it amongst the most competitive training programs in the United States.

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do you have What it takes to be in the Arizona Opera Studio? Every season, hun-dreds of singers throw their hat into the ring for the chance of being selected for a few very cov-eted positions.

Now in its ninth season, the Marion Roose Pullin Arizona Opera Studio is gaining increased notoriety as one of the most competi-tive training programs for emerging operatic talent. The 2015/16 class of Studio Artists is comprised of three returning and three new art-ists who were vetted through a highly rigorous application and audi-tion process.

In August, we post the application for the following sea-son’s Studio Singer and Pianist positions. Each applicant must submit a headshot, a resume, record-ings of two arias, and a list of three professional references. Last season, we received a record breaking number of applications—679 singers and 12 pianists. Following the application deadline, both me and our Director of Artistic Administration, Zack Hayhurst, go through the resumes and recordings of each applicant to determine who we should hear live. It’s an arduous process, tak-ing many weeks and many late nights in front of the computer reviewing applications. In the end, we cannot grant live auditions to all who apply for the cost prohibitive nature of carry-ing out an audition tour across the country. Last season, over the course of two weeks, auditions took place in San Francisco, Chicago, Phoenix,

and New York. All in all, we heard 249 singers and 9 pianists in live auditions.

Pianist auditions are 20 minutes long. The pianists are provided a list of five operatic excerpts that they must prepare to play AND sing. I need to glean a lot of information in order to know if they have all the skills required to work as an operatic coach: Do they have a solid piano technique? How is their coordination for singing and playing? How are their language skills? Can they follow a conductor? Can they sight-read contemporary repertoire? Are they

easily distracted? We have some fun tricks up our sleeve to test that out.

Singer auditions are broken up into two rounds. In the first round, each singer has five min-utes to sing one aria of their choice. In this

short time, we’re listening for many things: Is the voice beautiful and distinctive? Is the per-formance compelling? Could this singer fit our assignments for next season? If we can posi-tively answer these questions, we call the singer back later that day. We’ll listen to one or two additional arias and ask some questions to help us decide who is best for next season’s positions.

The experience of auditioning hundreds of artists around the country is both exhilarat-ing and exhausting. There is a wealth of young talent in our country, and we are eager to bring artists of the highest caliber to Arizona. We are excited for you to meet the 2015/16 Studio Artists and hear them on stage!

Becoming an arizona opera studio artist

Allen PerrielloHead of Music Staff & Director of the Marion Roose Pullin Opera Studio

The 2014/15 class of the Marion Roose Pullin Arizona Opera Studio with its founder, Marion Roose Pullin.

Last season, over the course of two weeks, auditions took place in San Francisco, Chicago, Phoenix, and New York. All in all,

we heard 249 singers and 9 pianists in live auditions.

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When i arrived in phoenix in 2012, i was completely green. I had never sung a role on a professional stage. Sure, I had done a few things in college and I was able to cover a couple of roles at some fantastic young artist programs, but that was the extent of my experi-ence. By the time I left the Marion Roose Pullin Studio, I had seven new roles and thirty-five performances under my belt (and that’s just counting what I did at AZO). I never could have envisioned where my experience with Arizona Opera was going to lead.

As I write this, I’m preparing for the final performance of the season at Wolf Trap Opera. I’m singing Goro in Madama Butterfly with the National Symphony Orchestra, which will be performed for up to 7,000 people at the Filene Center in Vienna, Virginia. I won’t lie: I’m ner-vous. It’s a unique situation—the orchestra is behind us, so we need to rely on TV monitors and our ears. The Filene Center is an outdoor

theater, which means we all have our fingers crossed for nice weather. We only get one shot at it, so the pressure is on. While this is cer-tainly a daunting situation, I know I can rely on the experiences and training I had while at Arizona Opera to make it through and give a great performance!

My journey, both personally and profes-sionally, has taken several interesting turns the past few months. In just one week, I will be making the biggest transition I’ve ever made when I move to Zürich, Switzerland to join the Internationales Opernstudio at Opernhaus Zürich. Again, I’m nervous. I don’t know what to expect, but I know that everything that I’ve done over the last few years has prepared me for this.

I don’t know what the next phase of my career is going to look like. Right now, I’m just taking things as they come. However, I know that thanks to the experiences I had at AZO, I’ll be prepared for whatever challenges come my way.

David Margulisformer Marion Roose Pullin Arizona Opera Studio Artist (2012 – 2014)

Where are they now?

David Margulis as Tamino in Arizona Opera’s 2015 production of The Magic Flute.Ph

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a few months ago, while at home in Philadelphia,

I began my “journey” down the Amazon when I opened the score of Florencia en el Amazonas for the very first time. What a score! The musi-

cal language is reminiscent of Puccini, Debussy, and, at times, Stravinsky and Ravel. Composer Daniel Catán has created a rich sonic world which accompanies the characters on a voy-age of discovery down the Amazon steaming towards Manaus.

As a “curator” of operatic masterpieces, it is my duty to guide the cast, chorus, and orches-tra, while simultaneously remaining true to the intention of the composer. My independent study always begins with the text. The text inspires the music; all great composers of the theater are able to dictate the natural flow of the language while capturing the emotional heartbeat of the action. Catán studied the great theatrical composers (from Monteverdi to Berg), which is evident in his mastery the crucial techniques of storytelling and the genre of Magical Realism.

“Magical realism” is a term associated with the literary style of Gabriel García Márquez, whose works inspire this story, as well as Marcela Fuentas-Berain, the librettist of Florencia. This literary style is described by Alejo Carpentier: “...the marvelous begins to be

unmistakably marvelous when it arises from an unexpected alteration of reality...” The libretto of Florencia en el Amazonas is a celebration of spirit instilled by virtue which holds so very true to the overall aesthetic outline by Carpentier.

Musically, Daniel Catán creates an atmo-spheric orchestral environment that represents the river, the jungle, and the emotional state of the characters. The orchestration is lush and colorful. He uses percussion instruments asso-ciated with Latin music: the marimba, djembe (a goblet drum played with bare hands), and steelpan/steel drums to solidify the Amazonian landscape. There are many subtleties within the orchestra that, when identified and focused upon, evoke a multi-layered, yet transparent, texture. Above this orchestration is exquisite vocal writing, with soaring high notes, com-pletely integrated into the overall composition. Florencia is a feast for the ears.

Daniel Catán and Marcela Fuentes-Berain have given us a story about the transformative nature of love. A story that is set on the steam-boat El Dorado as it navigates the mystical and magical Amazon. Florencia en el Amazonas is journey that is sure to envelope you in the emo-tions of the characters and the lusciousness of the score.

F Lo R e n C i A :

a Conductor’s Perspectiveby Joseph Mechavich, Conductor

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Regarded as a conductor of authority and warmth, Joseph Mechavich is known for his exceptional artistry and infectious energy which he brings to every performance as well as the personal and career-defining relationships he has forged with a number of opera companies and orchestras.

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Sung in Spanish with English supertitles.

Composed by Daniel Catán

Libretto by Marcela Fuentes-Berain

Running time: 2 hours and 10 minutes including one 30 minute intermission.

Arizona Opera is proud to partner with Phoenix Ballet for Florencia en el Amazonas.

By arrangement with G. Schirmer, Inc., publisher and copyright owner.

Cast & Creatives

Joseph MechavichConductor

Joshua BorthsDirector

Sandra LopezFlorencia 11/13, 11/15 & 11/21

Alexandra LoutsionFlorencia 11/14 & 11/22

Luis Alejandro OrozocoRíolobo11/13, 11/15 & 11/21

Joseph LattanziRíolobo11/14 & 11/22

Susannah BillerRosalba11/13, 11/15 & 11/21

Sarah TuckerRosalba11/14 & 11/22

Andrew BidlackArcadio11/13, 11/15 & 11/21

Andrew Penning Arcadio11/14 & 11/22

Levi HernandezAlvaro

Adriana ZabalaPaula

Calvin Griffin Captain

Phoenix SymPhony hall

November 13 & 14 at 7:30 pmNovember 15 at 2:00 pmTucSon muSic hall

November 21 at 7:30 pmNovember 22 at 2:00 pm

Daniel catán

Illustration: Emiliano Ponzi

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m y first step in preparing a new opera is always to figure out what story or stories the librettist and the composer of the opera are trying to tell the audience. There is a superficial story that is easy enough to figure out, but the real story lies

in the relationships between the various characters, what events they are living through, and what, ultimately, is the purpose of telling the story to the public. When we consider what the composer is “saying” with his music, the composer’s feelings and commentary on the characters become much more clear. Is he making them sound vulnerable, imposing, aggres-sive, passive, helpless, desperate? The list of possibilities is endless.

When I first read through Florencia en el Amazonas, my initial impres-sion of the piece was that it had a wonderful feeling of wistfulness, of longing, of profound desire and the human struggle. There are several stories being told in the opera, but they are woven together seamlessly through the context of love, and the complexities of human relationships.

The story takes place onboard a luxury steamship traveling down the exotic Amazon River—this is where we meet our cast of characters: The young lovers, excited by their budding romance and yet afraid to allow themselves the luxury of falling in love and the possible negative con-sequences; the married couple, working through a difficult time in their relationship, feeling resentful and unappreciated, setting out on a vacation to try to revive the spark in their marriage; and the famous diva, return-ing for a triumphant concert in her homeland, but ultimately hoping to recapture the magic of love and the inspiration that ignited her career while confronting the uncertainty that the magic she left behind will not be there waiting for her.

The more time I spend with this opera, the more it speaks to me, as I hope it will the audience. The role of Florencia is extremely demanding, requiring the soprano reach the highest range of the female voice; my goal in preparing this role is that all the challenging vocal acrobatics will con-vey the profound passion she feels both for her musical career—the spe-cial joy in exciting and riveting audiences—and her first love, the young butterfly hunter who showed her the joy and ecstasy of romance.

I think Florencia en el Amazonas is a show that presents infinitely relatable desires and fears we all share. I am extremely excited to discover this opera together with the audiences of Arizona Opera in November. I think the timeless storyline and characters, combined with the exquisite, fresh music of Catán, will bring unforgettable moments to cast, crew and audiences alike!

F Lo R e n C i A :

the singer’s Perspectiveby Sandra Lopez, Soprano

Soprano Sandra lopez de haro has captivated audiences around the world with her critically acclaimed performances in a wide variety of roles. After winning the prestigious Metropolitan Opera National Council Award, Ms.

Lopez de Haro joined The Metropolitan Opera’s Lindemann Young Artist Development Program and makes her Carnegie Hall debut directly before her arrival in Arizona to take the role of Florencia. Currently residing in Miami, Ms. Lopez de Haro is of both Cuban and Ecuadorian descent and is a proponent of Spanish song repertoire and Zarzuela, performing concerts, recitals, galas and fully-staged performances around the world.

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n ext year, Florencia en el Amazonas will be celebrating its 20th Anniversary. Florencia, the first Spanish-language opera to be com-

missioned by a major opera company in North America, premiered in 1996 at Houston Grand Opera. The opera has had a long, vibrant, and robust life.

Daniel Catán lived to create operatic artworks based on stories by some of the Spanish-speaking world’s most beloved writers: Octavio Paz, Gabriel García Márquez, and Pablo Neruda. Daniel dreamed of creating opera in Spanish; he wanted the art form to reflect the Spanish-speaking cul-ture. For him, it was not only a dream, but also his lifelong project and adventure.

As a composer, Daniel was looking for his own voice—a voice that could express his European influence as well as that of his Spanish-speaking roots. Daniel left Mexico at age 13 to study in England, and later went to the University of Sussex. He completed his doctorate at Princeton and eventually returned to Mexico. All his life, he had adored the human voice, poetry, and music—opera was the perfect vehicle to merge his differ-ent passions. Daniel Catán was looking for a way of composing, which would express mesmerizing, seductive and powerful emotions.

His Rappacinni’s Daughter premiered in San Diego in 1994. He dreamed of setting on stage the characters of one of the most beloved writers of Latin America, Gabriel García Márquez. His first opera, Rappacinni’s Daughter, took place in a garden. Then, he began to look for a much big-ger, magical, and more frightening garden.

He found his inspiration in the Amazon. He began to dream about the sounds of the jun-gle, imagining the magical melodies of a lav-ish orchestration: the bright chirping of insects waking up with the first rays of sunlight—the woodwinds accompanied by the harp and the marimba; the steady, gentle ebb and flow of water—the cascading sounds produced by the steel drum, which gives a distinctive timbre to the score; and the ever-present hum of a boat’s engine—the basses, trombones, and bass clari-net. All of these elements come together to create

the dense, lush score which envelopes audiences in the mysterious depths of the Amazon.

The journey of the El Dorado, traveling from Leticia, Colombia to Manaus, Brazil on the Amazon, represents our own journey, as well as the journey of love and relationships at different stages in life. The core of the story is about believ-ing in love’s strength and the transformative power that it has in our lives.

Florencia en el Amazonas describes young love, as personified by Arcadio and Rosalba; mature love, as personified by Paula and Alvaro; the love for the jungle and the spiritual forces, personified by Ríolobo; the love for the boat and one’s profession, personified by the Captain; and finally, the yearning for a lost love and the art of singing, as expressed by the titular Florencia.

For me, the river represents the most impor-tant character, the one that nobody can see but the most present and enigmatic one—the driv-ing force behind this story of passion, anger, tenderness, longing, hope, and strength. It is through the voice of the river that one gets car-ried away into the intense and transformative journey of the Opera.

One of the most thrilling moments in the opera is at the end when Florencia transcends life. Daniel gave us a moment of reflection in the last aria when the diva transforms into a butterfly. There is a fine line between death and life, a moment where these two states blend and disappear into one another. Daniel spoke about the image in the last aria: “I think it is my way of coping with the sadness of separation, my way of transforming it, of understanding the moment when something is no more. Transforming the tragedy into the only thing capable of redeeming it: everlasting beauty.”

I often think about Daniel’s purpose and mis-sion as a composer and wonder if his operas are achieving what he most wanted: to touch the hearts of his singers and audience, and to pave the way for operas in Spanish to flourish.

I believe that he succeeded in his efforts. I leave you with this last quote: “When I confront myself in the mirror, I see a composer who has lived in many places searching for his operas. During my travels, I have thought a great deal about my own culture, about music and opera. I have searched wherever I could to understand them and unravel their mysteries. In the end, I can see it clearly, I’ve been in search of myself, of my place in the world, of my own voice.”

Andrea Puente CatánWife of the late Daniel Catán

transcending Boundaries

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The Season PastTop: Magic Flute – Chad Sloan as Papageno; Sarah Tucker as Pamina; Chad Sloan as Papageno and Rhea Miller as Papagena Bottom: Daughter of the Regiment – Susannah Biller as Marie and David Portillo as Tonio; Susannah Biller as Marie; Stefano de Peppo as Sergeant Sulpice, Susannah Biller as Marie and Margaret Gawrysiak as the Marquise; Didi Conn as the Duchess of KrakenthorpePhotos: Tim Trumble

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Mine is a long assoCiation With Arizona Opera, having joined the Board of Directors in 1992 and serving as its president from 1999 until 2001. I resigned in 2011 due to a variety of commitments, but remained a loyal subscriber and patron. In 2013, when Ryan Taylor was made acting General Director, we met and discussed his vision for the future, including what would eventually become the opera’s new artistic initiative: arizona bold. Exciting change was underway and I wanted to be a part of it. Having started working with Ryan informally, I was invited to rejoin the board in 2014 and was elected chair this year.

Key in the opera’s revitaliza-tion is the arizona bold initia-tive, which embodies what an opera company should be doing in the 21st century. Initially, there is the commitment to broaden the repertoire by intro-ducing contemporary operas and works unfamiliar to our audi-ences. These provide an oppor-tunity for growth by broadening our experience and introducing everyone to new areas of repertoire; a mariachi opera; an opera filled with Czech folk music; a 1950’s German operetta; and an original work, commissioned by Arizona Opera, based on a novel by Zane Grey, Riders of the Purple Sage. Not only do these innovative works provide new music, but in offering them, we invite new groups into the opera house, often for the first time.

In addition to the operas themselves, we cre-ate festivals for the community based on our main stage works, focusing on the environment in which the operas were created. These events are available to all (most free to the public) and are exceedingly diverse: musical programs by composers, like Arizona Lady’s Kálmán,

suppressed by the Nazis, book reviews by authors whose works are thematically represented by operas in the 2015-16 season, films, lectures, con-certs, and school tours. In implementing arizona bold, we are fulfilling our mission: “elevat[ing] the transformative power of storytelling through music—cultivating community and strengthen-ing a state and people as adventurous and diverse as the place they call home.”

Our arizona bold works this season begin with Emmerich Kálmán’s Arizona Lady, an operetta com-posed by a Jewish refugee from Hungary. It is a story about rais-ing a Kentucky Derby winner on a ranch near Tucson, and its music has the vibrancy and joy-ful spirit of a 1950s movie. Our second opera will be Florencia en el Amazonas, a contempo-rary Latin-American opera by the late Daniel Catán—a tale of lost and found love in the Amazon. Catán’s libretto is heavily influenced by the great Colombian author Gabriel García Márquez, a Nobel Prize

winner acclaimed for his use of magical real-ism and exotic locations.

Our three remaining operas for the season are Carmen, Don Giovanni, and a first for Arizona Opera: Verdi’s Falstaff. Although representative of more traditional repertoire, these productions will bear the stamp of innovative spirit you have come to expect from Arizona Opera.

On behalf of Arizona Opera, it is my privi-lege to welcome you to our 2015-16 season. I know that you will enjoy both our on stage per-formances and the variety of special events sur-rounding each of them. Please don’t be bashful; participate to the fullest of your ability and see your life enriched.

Thank you for being part of our opera family.

a Word from the Chair

Bob TancerChairman, Arizona Opera Board of Directors

Key in the opera’s revitalization is

the arizona Bold initiative, which

embodies what an opera company

should be doing in the 21st century.

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F lorencia en el Amazones is a dream project for a costume designer: An extraordinary love story which takes place in the mystical and vibrant rainforests of South America. When the characters begin their voyage, they wear turn-of-the-century clothes in crisp creams

and white. However, as the story progresses through the rainforest, the colors and spirit of the Amazon creep in, enlivening clothing and loosen-ing silhouettes; this is especially true for our prima donna, who eventually becomes a part of the world around her.

It was important to us to make certain the audience felt the Latin American authenticity in the costumes. The Victorian silhouette automati-cally conjures thoughts of Europe, so we were careful to pay close atten-tion to the small details which would connect each costume to turn of the century Colombia—these details make themselves known in articles of clothing likes collars and hats. Additionally, some of the workers on the boat have a much more traditional look from the region of Colombia in which Florencia takes place.

The opera also features six dancers, who surround the boat as it make its way down the Amazon. When approaching the costume design for these dancers, we decided they should encompass the spirit of the Amazon, instead of making them look like indigenous people. The backdrop of the set is incorporated into the tattooing on the dancers, bringing in the luscious colors and the texture of the rainforest.

Florencia en el Amazonas is a story of love and transformation, and that story unfolds not simply through the orches-tration and singing, but also through the lush, magical realism embodied in the cos-tuming, providing a feast for the eyes to compliment the opera’s delicious score.

Finishing touchesby Adriana Diaz, Costume Designer

Costume Designer Adriana Diaz’ creations for Florencia en el amazonas will amaze audiences at the November company premiere. Originally from Tulsa, OK, Adriana studied under designer Helen Huang and

received her MFA from the University of Maryland. Her designs have been seen at Studio Theatre Second stage in DC, Adventure Theatre in Bethesda Maryland, Phoenix Theatre, Light Opera Oklahoma, and numerous other companies.

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A 2000 graduate from the Ballet Pedagogy at the Frederic Chopin Academy of Music in Warsaw, Slawomir Wozniak’s professional debut took place in 1986 at the Wroclaw Opera where he danced the Prince in Cinderella

choreographed by Teresa Kujawa. From 2000 he has been the principal dancer of the company, performing all leading male parts, and also gives guest performances at many theatres in Poland and abroad. He was a Guest Artist with Bulgarian National Ballet, Greek National Ballet, Arena Di Verona Ballet and many others.

i am truly looking forward to the collaboration between Arizona Opera and Phoenix Ballet for Arizona Lady and Florencia en el Amazonas this season. The striking music and intriguing storylines of these two very different operas serve as the perfect platform to showcase my

passion for choreographing. I am also quite elated to share the talents and artistry of our dancers with Arizona Opera’s audience. For Arizona Lady, the pleasure will be in choreographing multiple lively dances wherein more than eight different styles will be created and performed. For Florencia en el Amazonas, the premise is much different, and choreo-graphing for this opera will be an emotional journey that will reflect the drama of the beautiful, mystical world of the opera.

It is my goal to exceed each director’s vision of ballet within these operas by creating beautiful dances that will enhance each scene and cre-ate an overall experience, one where the audience could not imagine the opera without the ballet.

In today’s modern world, people are accustomed to seeing images at the speed of light and at the touch of a button. For this reason, in live art productions, it is now more important than ever to surprise the audi-ence by giving them unique experiences. I find an inspiring uniqueness in going back to the traditional roots of opera, yet evolving them for the modern audience to give viewers a new way to elicit and excite all of the senses. By adding the physical, lyrical element of dance and ballet to the strength, beauty of voice, and orchestra of opera, I invite viewers to lose themselves in the ephemeral, yet profound emotions that dance will bring to each of these operas.

staging Choreography for an operaby Slawomir Wozniak, Choreographer

i find an inspiring uniqueness in going back to the traditional roots of opera, yet evolving them for the modern audience to give viewers a new way to elicit and excite all of the senses.

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Find your voice!

Joshua BorthsEducation Manager, Arizona Opera

arizona opera is not just an arts organization. Arizona Opera is a community service organization that brings people—of diverse backgrounds—together. Just as opera once had the power to spark revolutions and change nations, it now has the power create conversations and strengthen communities. Arizona Opera truly is Arizona’s Opera.

What do we mean when we say we are a community service organization, though? How does Arizona Opera have a tangible impact on the communities we serve?

Last fall, fifty students from Genesis City Academy, a school for at-risk youth, saw Cruzar la Cara de la Luna. Karen Callahan, Genesis City’s Executive Director, was astounded as her

normally stoic students were moved to tears upon seeing their stories unfold onstage—sto-ries they found profoundly relatable. This unexpectedly emotional experience led to the creation of the Find Your Voice Workshop.

Find Your Voice, a new collaboration between Arizona Opera, Arizona Theatre Company, and Genesis City Academy, works with students who have had little exposure to the arts. Every Wednesday, students receive rotating instruction in dance, music and theater. They participate in life-skills classes that use the arts as a vehicle to examine and improve their lives. After several months of instruction, they create and premiere original works using the skills and tools they learned. Each student, in one way or another, finds their voice.

This program is just one example of how opera creates a real impact on our commu-nity. Last season, over 20,000 students expe-rienced opera either through Student Night or OperaTunity School Tours. Over 1,000 peo-ple learned about different cultures—or cel-ebrated their own—at Arizona Opera’s Cultural Festivals, and an additional 8,000 experienced opera-related lectures and special events.

This season, we celebrate Jewish compos-ers through our Rediscovered Voices Festival, explore magical realism through our Latin American Cultural Festival, listen to the music of Native American composers through our Stories We Tell collaboration, and look at the intersection of literature and performance with the new Arizona Opera Book Club.

Opera is called the “ultimate artform” because it includes every kind of art-making and, thus, is infinitely relatable to all. Everyone has a story to tell and a voice to be heard, and I have seen these cultural encounters lead to real change and a stronger community. Opera has the power to make people more empathetic, more passionate, and more vulnerable—every story is worth singing, including yours.

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• More than 20,000 students experience opera through OperaTunity Tours, Student Nights, and special student programs.

• More than 100 schools participate in education programs at Arizona Opera.

• More than 75 lectures, talk backs, and community events occur each year across the state.

“The opera has inspired

me to sing… to be strong and

beautiful.”LOURDES, 7TH GRADER

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Phoenix EventsBrown Bag Lunch at arizona opera center September 17, 2015October 15, 2015November 19, 2015January 21, 2016February 18, 2016March 17, 2016April 21, 2016at 12:15 – 12:45 pmarizona opera center 1636 n. central ave, Phoenix

arizona opera Book club Kick off Party September 17 at 6:30 pm changing Hands Bookstore 300 w camelback rd., Phoenix

ARIZONA LADY EvEnts

Rediscovered Voices FestivalThe Rediscovered Voices Project is funded in part by the Jewish Community Foundation of Greater Phoenix

rediscovered voices: the music and stories of the west September 24 at 6:00 pmscottsdale museum of the westProject Partner: The Center for Jewish Studies at Arizona State University

Brundibár September 27 at 1:00 pmvalley of the sun Jewish community center, 12701 n scottsdale rd, scottsdaleProject Partner: Phoenix Boys Choir

coffee @ Kerr Arizona Lady September 30 at 10:30 am asu Kerr cultural center

opératif – Arizona Lady October 2 at 6:30 pmarizona opera center Tickets: $25 per person

rediscovered voices: the music and stories of Jewish composers October 7 at 7:00 pmcongregation Beth israel

arizona opera Book club: Lazy B: Growing Up on a Cattle Ranch in the Southwest October 12 at 7:00 pmchanging Hands Bookstore 300 w camelback rd., Phoenix

rediscovered voices film festival

Calamity Jane October 13 at 7:00 pmarizona opera center

Cowgirls: Portrait of American Ranch Women October 15 at 7:00 pmarizona opera center *Conversation with filmmaker following film

Project Partner: No Festival Required

Arizona Lady by Emmerich KálmánOctober 16 & 17 at 7:30 pm & October 18 at 2:00 pmsymphony HallTickets: www.azopera.org

FLORENCIA EN EL AMAZONAS EvEnts

Latin American Cultural Festival coffee @ Kerr Florencia en el Amazonas October 28 at 10:30 am asu Kerr cultural center

Latin american film November 3 & 5 at 7:00 pmarizona opera center Project Partner: No Festival Required

the art of Latin america November 4 at 7:00 pmPhoenix art museum

opératif – Florencia en el Amazonas November 7 at 6:30 pmarizona opera centerTickets: $25 per person

arizona opera Book club: Love in the Time of Cholera November 9 at 7:00 pmchanging Hands Bookstore 300 w camelback rd., Phoenix

magical realism: a conversation with alberto “tito” ríos November 9 at 7:00 pmarizona opera center

marion roose Pullin arizona opera studio artist concert November 10 at 2:30 pmsagewood

Latin american mercado November 11 at 7:00 pmarizona opera center

student night at the opera: Florencia en el Amazonas November 12 at 7:00 pmsymphony HallRegistration is required.**

Florencia en el Amazonas by Daniel catánNovember 13 & 14 at 7:30 pm & November 15 at 2:00 pmsymphony HallTickets: www.azopera.org

CARMEN EvEnts

coffee @ Kerr Carmen January 13 at 10:30 am asu Kerr cultural center

opératif – Carmen January 22 at 6:30 pmarizona opera centerTickets: $25 per person

arizona opera Book club: Carmen February 1 at 7:00 pmchanging Hands Bookstore 300 w camelback rd., Phoenix

Carmen by georges BizetFebruary 5 & 6 at 7:30 pm & February 7 at 2:00 pmsymphony HallTickets: www.azopera.org

DON GIOVANNI EvEnts

coffee @ Kerr Don Giovanni February 10 at 10:30 am asu Kerr cultural center

opératif – Don Giovanni February 19 at 6:30 pmarizona opera centerTickets: $25 per person

arizona opera Book club: Mozart’s Women February 22 at 7:00 pmchanging Hands Bookstore 300 w camelback rd., Phoenix

student night at the opera: Don Giovanni February 24 at 7:00 pmsymphony HallRegistration is required.**

Don Giovanni by wolfgang amadeus mozartFebruary 26 & 27 at 7:30 pm & February 28 at 2:00 pmsymphony HallTickets: www.azopera.org

Save The Date! ARIZONA OPERA

gaLa LuncHEonArizona Ladies

Feb 18

FALSTAFF EvEnts

coffee @ Kerr Falstaff March 16 at 10:30 am asu Kerr cultural center

Exploring verdi Lecture series March 17, 24 & 31 at 7:00 pmarizona opera center atriumTickets: $60 for the series

opératif – Falstaff March 25 at 6:30 pmarizona opera centerTickets: $25 per person

arizona opera Book club: The Merry Wives of WindsorMarch 28 at 7:00 pmchanging Hands Bookstore 300 w camelback rd., Phoenix

student night at the opera: FalstaffMarch 30 at 7:00 pmsymphony HallRegistration is required.**

Falstaff by giuseppe verdiApril 1 & 2 at 7:30 pm & April 3 at 2:00 pmsymphony HallTickets: www.azopera.org

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Tucson Eventsarizona opera Book club Kick off Party September 16 at 6:30 pmantigone Books, tucson

ARIZONA LADY EvEnts

Rediscovered Voices FestivalBrundibár September 20 at 3:00 pmtucson JccProject Partner: Phoenix Boys Choir

rediscoverd voices: the music and stories of the west September 26 at 11:00 amtucson museum of artFree AdmissionProject Partner: Jewish History Museum, Tucson Museum of Art

rediscovered voices: the music and stories of Jewish composers Saturday September 26 at 2:00 pm tucson museum of art

say Hello to opera: Arizona Lady September 30 at 3:00 pmoro valley Library

rediscovered voices film – celebrating arizona Ladies

The Brothers WarnerSeptember 30 at 7:00 pmtucson Jcc

Brown Bag opera: Arizona LadyOctober 2 at 12:00 pmoro valley Library

Arizona Lady gala October 4 at 5:00 pmskyline country club, tucsonTickets are $125 per person.

arizona opera Book club: Lazy B: Growing Up on a Cattle Ranch in the Southwest October 5 at 7:00 pmantigone Books, tucson

“translation” with alberto “tito” ríos October 6 at 7:00 pmuniversity of arizona Poetry centerProject Partner: University of Arizona

opératif – Arizona Lady October 8 at 6:30 pmtucson music HallTickets: $25 per person

student night at the opera: Arizona Lady October 8 at 7:00 pmtucson music Hall Registration is required.**

Arizona Lady by Emmerich KálmánOctober 10 at 7:30 pm & October 11 at 2:00 pmtucson music HallTickets: www.azopera.org

FLORENCIA EN EL AMAZONAS EvEnts

Latin American Cultural Festival arizona opera Book club: Love in the Time of Cholera November 16 at 7:00 pmuniversity of arizona

magical realism – a conversation with the univ. of arizona Department of the Humanities November 16 at 7:00 pmuniversity of arizona Poetry center

say Hello to opera: Florencia en el Amazonas November 18 at 3:00 pmoro valley Library

Latin american film November 18 at 7:00 pmuniversity of arizona Poetry center

Latin american mercado November 18 at 7:00 pmtucson museum of art

Brown Bag opera: Florencia en el Amazonas November 20 at 12:00 pmgrace st. Paul’s Episcopal church, tucson

Florencia en el Amazonas by Daniel catánNovember 21 at 7:30 pm & November 22 at 2:00 pmtucson music HallTickets: www.azopera.org

CARMEN EvEnts

say Hello to opera: Carmen January 19 at 3:00 pmoro valley Library

Brown Bag opera: Carmen January 22 at 12:00 pmgrace st. Paul’s Episcopal church, tucson

Tucson Desert Song Festival Jamie Barton & amber wagner in recital January 23 at 7:30 pm Crowder Hall

Daniela mack & alek shrader in recitalFebruary 2 at 7:30 pm Crowder Hall

arizona opera Book club: Carmen January 25 at 7:00 pmantigone Books, tucson

opératif – Carmen January 28 at 6:00 pmtucson music HallTickets: $25 per person

student night at the opera: Carmen January 28 at 7:00 pmtucson music HallRegistration is required.**

Carmen by georges BizetJanuary 30 at 7:30 & January 31 at 2:00 pmtucson music HallTickets: www.azopera.org

DON GIOVANNI EvEnts

coffee @ Kerr say Hello to opera: Don Giovanni February 24 at 3:00 pmoro valley Library

Brown Bag opera: Don Giovanni February 26 at 12:00 pmgrace st. Paul’s Episcopal church, tucson

Quest for the Best February 27 at 1:00 pmuniversity of arizonaGeneral Admission: $60Students & Fine Arts Faculty: $20

arizona opera Book club: Mozart’s Women February 29 at 7:00 pmuniversity of arizona

Don Giovanni by wolfgang amadeus mozartMarch 5 at 7:30 pm & March 6 at 2:00 pmtucson music HallTickets: www.azopera.org

cPac Presents the marion roose Pullin arizona opera studio March 13 at 7:00 pmcommunity Performance and art center. green valley

FALSTAFF EvEnts

Brown Bag opera: Falstaff March 25 at 12:00 pmgrace st. Paul’s Episcopal church, tucson

say Hello to opera: Falstaff March 30 at 3:00 pmoro valley Library

arizona opera Book club: The Merry Wives of Windsor April 4 at 7:00 pmuniversity of arizona

Falstaff by giuseppe verdiApril 9 at 7:30 & April 10 at 2:00 pmtucson music HallTickets: www.azopera.org

The Ring Cycle Lecture series April 7, 14 & 21 at 7:00 pmtucson museum of artTickets: $60 for the series

film screening

book club meeting

live music

marketplace

drinks will be served

coffee will be served

a lecture will be given

mainstage performance

All events free unless otherwise noted.

** Students must register through Education Dept

For further information, visit azopera.org

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Stage director tara Faircloth’s work has been seen in opera houses around the nation. She has directed two world premieres with the Houston Grand Opera’s East+West series (Her name means the sea and the Bricklayer)

and has a thriving career in regional houses such as Wolf Trap Opera, Utah Opera, Arizona Opera, Tulsa Opera and Opera Colorado. The baroque repertoire is of special interest to Ms. Faircloth, who made her directorial debut with Ars Lyrica Houston’s production of Cain: Il primo omicidio in 2003, and has since designed and directed a number of shows for the company, including Charpentier’s actéon and la descente d’orphée aux enfers.

1. French composer Georges Bizet wrote over 30 operas, but Carmen is the only one that is performed with any regularity.

2. After its premiere in 1875, Carmen was critically panned, and many believe the poor reception led to Bizet’s early death at age 36. He would die without knowing just how beloved his opera would become.

3. The leading man in the story, Don Jose, had trained to be a priest. As a youth, he got into a fight after a game of paume (kind of like tennis) and killed a man. He fled his homeland and joined the military.

4. Micaela, Don Jose’s hometown sweetheart, usually has blond hair. She and Jose are from the Basque region of Navarre, in the northern part of Spain. The Navarrese were often quite fair.

5. When Don Jose attacks Escamillo in the mountains, he uses a Navaja knife. This large folding knife could lock open, and was favored for its easy concealment...very popular among the criminal element.

6. The most famous song in the opera features a completely made up word: “Toreador.” The proper term is “torero,” but Bizet needed another syllable to fit his tune.

7. Matadors often came from a very poor background and chose the sport as a way to get out of poverty. In early days, the prize for killing a bull was an ear (or two for an excellent performance!). This also meant the bullfighter could claim the meat of the bull. Finding a patron to act as a sponsor was the quickest way out of poverty.

8. Our production features a parade of large puppets called “Gigantes,” which wear the costumes of the Alguacil (kind of like a referee) as well as the bull-fighting “assistants” from the different stages of the fight: the picador, chulo, and the banderilleros. Each of these assistants has a very specific role during each stage of the fight. Escamillo is the matador, the star of the last stage of the bull fight: Tercio de Muerte, the “part of death.”

9. A great quote from the beleaguered Bizet: “Ah, music! What a beautiful art! But what a wretched profession!”

10. Georges Bizet never set foot in Spain during his lifetime.

10 Things you didn’t Know about Carmenby Tara Faircloth, Stage Director

Carmen is one of the most beloved

and frequently performed operas

in the world, and even if you’ve

never set foot in an opera house, you

probably already know the big tunes.

However, here are ten things that you

may not know about this opera.

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arizona publiC serviCe (aps) has a record of service in Arizona that goes back more than 125 years, and we believe that as one of the state’s earliest businesses, we have a long-standing obligation to be good stewards of our home. Corporations, entrepreneurs, government, and individual citizens all play a role in helping Arizona thrive. We cannot continue to grow as a state without a healthy economy, strong schools, burgeoning neighbor-hoods, and a vibrant arts community.

Since the arts make our state an attractive des-tination for tourists and new business, the success of arts organizations in Arizona is critical, and APS has made it a priority to support such orga-nizations’ programs. In addition to economic benefit to our state, the community benefits are profound as well; for example, studies show that children exposed to the arts are more confident, engaged, and successful in school.

Last year, APS donated more than half a million dollars to arts programs in Arizona, primarily for education purposes. Because of our support, hundreds of students are being

exposed to performing and visual arts, which is becoming ever more critical as schools continu-ally have funding limited or cut for arts educa-tion. Our partnership with the Arizona Opera, for example, exposed students to Cruzar la Cara de la Luna, the world’s first Mariachi opera and the first artistic production under the Opera’s arizona bold initiative. We are continuing that support this year with a donation which will

enable students to see Florencia en el Amazonas.

APS specifically sup-ports the arts because it is an investment in our children’s and our state’s future, but we support

many other initiatives as well. Last year, APS invested nearly $10 million in Arizona’s non-profit community on programs which serve vul-nerable populations, protect the environment, teach STEM education, and work to keep our citizens engaged, in addition to helping create a vibrant arts scene.

Philanthropy is part of the fabric that makes APS who it is, and we plan on investing in Arizona for years to come. A thriving Arizona is good for everyone.

Philanthropy is part of the fabric that

makes APS who it is, and we plan on

investing in Arizona for years to come.

A thriving Arizona is good for everyone.

appreciating the arts

Tina Marie TentoriDirector, Community Affairs & Executive Director, the APS Foundation

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s ince Carmen was originally performed at Wolf Trap Opera (on a large 80 ft x 20ft screen), it’s been an exciting endeavor to remake the video for a fresh

new production at Arizona Opera. My associate, Robert Figueira, and I are working together to customize the piece for a more integrated stage approach. The main function of the video is not only to specify the scenic location, but also find moments to help illustrate Carmen’s emotional state and emphasize the gorgeous, familiar music.

Video is such an exciting medium in opera: It assists the audience in recognizing familiar

musical themes by using visual storytelling and it helps breathe new life into an art form that has an extensive history. When I approach a new project, the music is always the first point of inspiration. Video and projection design’s relationship with opera is at its best when it connects and enhances the aural experience. Because I come from a fine art background (not a theatrical or musical one) I’ve worked really hard at learning how to read music. When I begin a project like Carmen, I start by listen-ing to the music over and over again until it becomes extremely familiar. Then Tara, the director, tells me what moments she most wants to be enhanced by video. Together, we sketch a structure that helps to enhance her staging, ties in with Rooth Varland’s beautiful costumes, enhances the familiar and beautiful music, and helps make the world of Carmen more magical.

We are elated to bring this production of Carmen to Arizona Opera!

Katy TuckerProjection Artist

Projecting drama

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Screen projections from Wolf Trap Opera’s production of Carmen.

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Cast & Creatives

Keitaro HaradaConductor

Tara FairclothDirector

Daniela MackCarmen1/30, 2/5 & 2/7

Beth Lytwynec Carmen1/31 & 2/6

Adam DiegelDon Jose1/30, 2/5 & 2/7

Scott QuinnDon Jose1/31 & 2/6

Ryan KusterEscamillo

Karen WolvertonMicaela1/30, 2/5 & 2/7

Sarah TuckerMicaela1/31 & 2/6

Joseph LattanziEl Dancairo/Morales

Andrew PenningEl Remendado

Amy MahoneyFrasquita

Alyssa MartinMercedes

Calvin GriffinZungia Tucson Music Hall

January 30 at 7:30 pmJanuary 31 at 2:00 pm PHoenix syMPHony Hall

February 5 & 6 at 7:30 pmFebruary 7 at 2:00 pm

Sung in French with English supertitles.

Composed by Georges Bizet

Libretto by Henri Meilhac and Ludovic Halévy

Running time: 3 hours and 20 minutes.

Carmen is part of the 2016 Tucson Desert Song Festival

georges Bizet

Illustration: Emiliano Ponzi

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by Daniela Mack

C armen is one of the greatest roles in opera, let alone one of the greatest for a mezzo-soprano. While I certainly enjoy ingénues and pants-roles, portraying this iconic heartbreaker (and title character!) was always an aspiration of mine from my first days

as a student. Like so many of her admirers in the piece, her charisma and complexity drew me in! Pair that magnetism with the masterful music of Bizet and who wouldn’t want to portray La Carmencita?

I began my journey with Carmen as a cigarette girl in the opera my freshman year at LSU. Following that, I sang several scenes from the opera as Mercedes, as well as Carmen herself. As a graduate student, I performed as Carmen in Peter Brook’s La Tragédie de Carmen. Finally, in the sum-mer of 2014, I debuted the role at Santa Fe Opera. Every time I have had the pleasure of revisiting Carmen, she evolves, and I evolve along with her.

With regard to traditions and expectations (both musically and physically), I want my Carmen to be able to fit the mold—if that’s what she decides to do. It’s her duality that makes the character riveting after all these years. Carmen is a mix of familiarity and discovery. She is not merely a Gypsy seductress; she wields her sexuality with a greater purpose—freedom. Depending on the day, “freedom” might mean desire, control, even playfulness. I think Carmen herself would balk at any attempt to define her.

The most impor-tant aspect of portray-ing Carmen is to find the combination of tradition and inven-tion that keeps her alive and interesting. Carmen should never feel like a routine, like an old story, like you know what to expect. In fact, she would very much enjoy toying with any such expectations, drawing you in all the while.

While the premiere of Carmen was not a universal success, I find the story and the particulars of how it unfolds to be fascinating. Spoken dia-logue lower-class characters, a focus on vice—the aspects of the opera which appeal to modern audiences would have been unexpected in 1875 at the Opéra-Comique. Even more unexpected would have been for the title character to die! However, every singer I know loves a good death scene, and hopefully you will be just as entranced as you watch the drama and passion play out on the stage!

our Two

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (san Francisco Chronicle). In the 2015/16 season, Daniela Mack returns to the San Francisco Opera to reprise her performances as Rosina in il barbiere di siviglia and creates the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera.

Carmen is a mix of familiarity and discovery. she is not merely a Gypsy seductress; she wields her sexuality with a greater purpose—freedom.

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Carmensby Beth Lytwynec

s uccessfully tackled by many great mezzo-sopranos and sopranos alike, Bizet’s leading lady has presented challenges and offered a tremendous opportunity to performers since the opera’s 1875 premiere at the Opéra Comique in Paris. As distinguishable as

she is elusive, Carmen has long been a character I have held at a distance. After performing a few scenes and arias from the opera over the years, my intrigue surrounding Carmen increased, along with my confusion, hesita-tion, and respect for pieces of a whole that I did not yet understand.

Last spring, a 1963 edition of Prosper Mérimée’s Carmen caught my eye while I was visiting The Book Stop on 4th Avenue in Tucson. The translation revealed many of the most defining characteristics of Carmen. Much is to be gained from Bizet’s source material, and though the com-poser and the librettist created their very own Spanish gypsy through music, a key element of my interpretation first materialized upon read-ing the novella. Mentioned over fifteen times in amusing detail over the course of the brief three-chapter narrative, the element that resonated with me the most was laughter:

“She uttered one of those crocodile laughs.”“And she threw herself back on the sofa, laughing heartily...”“As for Carmen she was...always the same… laughing uproariously.”“Carmen begins to dance and laugh like someone possessed.”“Señor, when that girl laughed, there was no talking sense. Everyone

laughed with her.” Having grown up a tomboy, many of the character traits associated with

Carmen do not reflect my everyday life. My favorite outfit consists of jeans, a t-shirt, and a baseball cap—a far cry from the skirt, blouse, and corset tra-ditionally worn by Carmen. However, her sense of humor, attitude, and grit are characteristics with which I can identify. After all, a skirt is just a skirt until she sways her hips; a movement propelled by an attitude, a spirit, and strength of character. Carmen dares to do what most people do not for fear of consequence. While an average employee may become frustrated with her co-worker and silently seethe, Carmen takes action and attacks! Couples exchange small gifts like flowers as tokens of affection, but Carmen demands an upheaval of Don Jose’s entire life to prove his love. When most would cower, Carmen walks willingly to meet her fate, her independence intact, no matter the cost. She laughs in the face of danger, chuckles at for-mality and tradition, and finds the humor in every challenge.

Needless to say, after taking the time to study, I feel silly having doubted the hype until now. Fierce, intelligent, and sharp-tongued,

Carmen possesses a rarely seen tenacity and tremendous sense of humor. I’m thrilled to have the opportunity to perform this role. My hope is that when you leave the theater, after the drama has been resolved, the high notes have faded, the sweat and blood have dried, you will think to yourself, “Everyone laughed with her.”

American mezzo-soprano Beth lytwynec most recently returned to The Glimmerglass Festival, singing the role of Dryad in Francesca Zambello’s new production of ariadne in naxos. Following her first season as a member of the Marion Roose Pullin Opera Studio at Arizona Opera, Ms. Lytwynec returned to Arizona Opera for the 2014/15 season, singing the roles of Maddalena in rigoletto, Olga in eugene onegin, and Second Lady in The Magic Flute. The 2013/14 season marked Ms. Lytwynec’s debut performances with The Phoenix Symphony, singing excerpts from Bizet’s Carmen, West side story, and Beethoven’s ninth symphony.

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Cold Mountain The Santa Fe OperaReviewed by Jean Cooper

I travel a lot to see opera, and this summer was no exception. Between June and August I saw eleven operas, including three premieres. The premieres were “Two Women” in San Francisco, “Scalia/Ginsburg” at the Castleton Festival, and Cold Mountain in Santa Fe. Cold Mountain is the opera I cannot shake off. Its emotional heft, its staging, its performances: all were memorable in the truest sense of the word —the memory of them has still not left me, and comes back to me at the oddest moments.

Cold Mountain tells the story of Inman, a Confederate soldier who deserts during the Civil War. Inman is desperately trying to get home to his sweetheart, Ada, in North Carolina. His adventures and trials during his odyssey back to North Carolina seem inspired by Homer but are set in the war-torn American South. The opera‘s composer is Jennifer Higdon, who is not normally a composer

travelers’ pickA Summer of Operas with a Memorable Standout

of operas, and the librettist is Gene Scheer, who is no stranger to writing librettos, or “texts,” for successful modern operas based on literary works.

Cold Mountain also tells the story of Ada and Ruby. Ada was raised as a sheltered belle, but she learns how to fend for herself and run a farm from Ruby, a backwoods girl who was deserted by her father and has had to fend for herself since childhood. The women join forces to become a pair to be reckoned with, even for the murderous Home Guard who kill and torture at will. Nathan Gunn was Inman, Isabel Leonard was Ada, Emily Fons was Ruby, Kevin Burdette was Ruby’s father, and Jay Hunter Morris was the leader of the bloodthirsty Home Guard. What a cast! Superb acting and singing by all.

I found the opera to be breathtaking in scope, with comedy and tragedy falling upon one another in quick succession. I was most moved by the chorus sung by those who had died along Inman’s journey, when they rise from their graves to sing of war and their fate. Inman cannot forget them, and neither can I. The opera gave Cold Mountain the spine-tingling gravitas that neither the book nor the movie had held for me. After Cold Mountain, I was ready to go home, even though I had another opera to attend the following night. When an opera affects me this viscerally, I want time to cherish it before my attention is drawn elsewhere, even if it the next opera on my schedule is a masterpiece by Verdi.

Isabel Leonard (Ada) and Nathan Gunn (Inman) in Cold Mountain with Santa Fe Opera.

Photo: Ken Howard for Santa Fe Opera

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Keitaro harada, conductor, is increasingly recognized at the highest levels for his artistic abilities. A student of Lorin Maazel at Castleton Festival and Fabio Luisi at Pacific Music Festival, recipient of the Seiji Ozawa Conducting Fellowship at

Tanglewood Music Festival, Bruno Walter National Conductor Preview, and The Solti Foundation U.S. Career Assistance Award, Harada’s credentials are exemplary and, at the age of 30, his achievements are those of a seasoned conductor.

a dream realizedby Keitaro Harada, Conductor

W hen we were finalizing the 2015-2016 opera selections, I had my eyes on Carmen and kept my fingers crossed...

I was introduced to Georges Bizet in high school with the saxophone solo in L’Arlésienne Suite during my stud-

ies as a saxophone and conducting student at Interlochen Arts Academy. During the preparation, I sampled many recordings that left a great impression on me. Bizet’s melodies, harmonies, and orchestration tech-niques are so dramatic and memorable. I continued to study Bizet and was soon introduced to Carmen.

I have always wanted to conduct Carmen. The closest I have ever gotten has been Bizet’s Carmen Suite in orchestral concerts. I absolutely love the Suite, and it continues to be one of my favorite pieces to program. I also had an opportunity to conduct “La fleur que tu m’avais jetée” (The Flower Song) with tenor Dominic Armstrong at a gala concert for Maestro Lorin Maazel’s Castleton Festival.

Even though Carmen is one of the most performed operas around the world, I have somehow missed every opportunity to see a live perfor-mance. I plan to keep it that way so that the first time I get to experience the performance, it will be from the podium—the best seat in the house! Keeping myself uninfluenced by other interpretations will allow me to approach the score with a fresh mind. It will help me dig deeply into Bizet’s actual intentions instead of simply relying on recreating traditions. As part of the process of dissecting the score, I enjoy reading Bizet’s biog-raphies to gain a closer relationship with his spirit.

At Arizona Opera, we are fortunate to have an international superstar cast: a wonderful mix of seasoned singers who have performed in Carmen before as well as those who are diving into it for the first time, like myself. Director Tara Faircloth has previously produced magical performances on our stage, and I am extremely excited to collaborate with her again.

I’m glad I crossed my fingers tightly—I am truly thrilled to be able to conduct Carmen this season.

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Arizona Opera’s 2010 production of Carmen

the first time i get to experience the performance, it will be from the podium—the best seat in the house!

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the inCredible suCCess of the Marion Roose Pullin Opera Studio Artist Program led former Arizona Opera (AZO) board member Dr. Paul Symchych to ask, “Wouldn’t it be great to have something like that for the Production Department?” This question spawned the inau-guration of a technical production apprentice program, a program is designed to train the next generation of theatre technicians, strengthening the Arizona arts work force. Dr. Symchych’s generous gift will fund three seasonal costume apprentice-ships, master classes, portfolio reviews, and cross-discipline expo-sure that will benefit the entirety of the arts community.

Following the announcement of the new apprentice program, AZO began receiving appli-cants both locally and nationally. We were thrilled to see so much interest and enthusiasm for our new program, especially from local applicants. Throughout the course of the apprenticeship, apprentices will assist in the preparation of all costumes throughout the season, learn about the necessary paperwork that is generated by a pro-fessional costume shop and wardrobe depart-ment, and have the opportunity run wardrobe during performances.

Arizona Opera will also be providing master classes in specific areas so that each apprentice is exposed to, and learns about, specialized skill sets within the industry. AZO is currently plan-ning master classes in fabric dyeing, puppetry,

and crafts/hat making. The master classes will be led by professionals, who are highly special-ized in their discipline, working in and out of Arizona. Arizona Opera will be opening the master classes, on a limited basis, to outside individuals and students seeking to improve their craft.

We are also collaborating with several other local performing arts organizations to allow

our apprentices to perform in-depth studies within those organizations’ art disciplines. The apprentices will study with the Ballet during the Nutcracker technical period and Phoenix Theatre during one of their productions for the 2015-16 sea-son. These weeklong work-studies will allow our apprentices to showcase their skill sets and net-work with potential employers within our community. It is our

hope that upon completion of the program, the apprentices will be able to quickly and effec-tively enter into the workforce.

The production department has a long-range plan to expand the program to include appren-ticeships in production management, stage management, wig and makeup design, props, lighting, and video design. The growth of the program will be directly influenced by individ-ual and community support. Donations to the program will have a significant impact on the budding careers of the future artists, techni-cians, and creative innovators of our state.

apprenticeship: a modern, time-Honored tradition

Doug ProvostDirector of Production

throughout the course of the apprenticeship, apprentices will assist in the preparation of

all costumes throughout the season, and have the opportunity run wardrobe during performances.

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Alita CamachoWig & Makeup Manager

for eaCh opera, every perforMer needs a hairstyle appropriate for his or her char-acter. Some singers, usually men, are able to use their own hair because they are able to cut or style it to fit the character. Others will need a wig to achieve the desired look. Hair styles for a show are dependent upon the time period of the opera. In order to craft the appropriate wig, the director and I discuss the character, style, and color needed. Once these decisions are made, the real work begins.

First, singers are scheduled for wig fittings. I make a “head tracing” by covering their head with plastic wrap and tape, drawing their hair-line onto it, and measuring their head. Once

this is done, I either find a wig out of our stock that fits or I build one. Building a wig involves transferring the hairline from the singer’s trac-ing onto a head form or wig block. The wig’s foundation is built with a special lace. One to three strands of human hair will get tied on to the lace with a small hook in a process called ventilating; this tedious process is repeated until the wig has a full and flowing hair. Now comes the fun part: styling! The wig is set in rollers to give it body and curl. The hair is then arranged in a creative way to ensure that Lucia’s look is as crazy as she, or that The Queen of the Night is as beautiful as the aria she sings!

styling the stars

Wig and make-up crew: Debra Simonson and Alita Camacho

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Breaking Badby Morgan Smith

m any consider Don Giovanni the original bad boy—a pure rake, carelessly leaving behind a wake of pain and destruction. I see him as a guy who is a victim of his own desires and who is predominantly a slave to his own inadequacy, trying des-

perately to fill the hole in his heart. This is made manifest through insidi-ous, compulsive, and exceptionally self-indulgent behaviors.

This character is all about attracting others. As Giovanni, you want the women to want you and the men to want to be like you; that starts with how you walk and how you carry yourself. To play any character effec-tively, there needs to be empathy on the part of the audience. You need to form a compelling connection between performer and audience. If, after Giovanni is gone at the end of the opera, the audience doesn’t miss him, then I haven’t done my job. There is a degree of humanity in every charac-ter ever written, and it is essential that the artist portray that humanity so that the audience can relate—either to qualities they see in themselves, or see in those around them.

While it is tempting to categorize him as lecherous, I never want to box him into this overly simplified archetype. It’s dangerous if you start trying to play a character like the person you think they are. If you simply hone in to what’s on the page, the rest will take care of itself. I play Giovanni without rendering my own judgment and let the audience decide.

Giovanni’s relationship with Leporello provides critical foil. Leporello is something of a moral version of Giovanni, and serves as his con-science—the Jiminy Cricket to his Pinocchio. A palpable rapport needs to exist between the two characters; the audience needs to see their own best friend in that relationship. The strength of this camaraderie determines whether the opera succeeds or fails. The opera could have been called “Leporello,” really. Many directors have taken this concept even further—having the singers playing Don Giovanni and Leporello switch roles from one evening to the next.

Don Giovanni is a profoundly complex character who is both fascinat-ing to play and enthralling to watch. I look forward to stealing the hearts of everyone in the audience this February!

American baritone, Morgan Smith, began the 2014-15 Season as Escamillo in Carmen at Vancouver Opera in Canada, a role he reprised later in the season at Pittsburgh Opera. He sang the title role of don Giovanni at Austin Opera, and joined Music of Remembrance in Seattle for another world-premiere: this time in the role of Picasso in after life, a new commission by Tom Cipullo, with performances in Seattle, San Francisco, and Santa Barbara.

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Cast & Creatives

Steven WhiteConductor

Jose Maria CondemiDirector

Morgan SmithDon Giovanni2/26, 2/28, 3/5 & 3/6

Joeph LattanziDon Giovanni2/27

Melinda WhittgtonDonna Anna2/26, 2/28 & 3/5

Andrea ShokeryDonna Anna2/27 & 3/6

Jennifer Johnson CanoDonna Elvira2/26, 2/28 & 3/5

Sarah LarsenDonna Elvira2/27 & 3/6

Andrew StensonDon Ottavio2/26, 2/28 & 3/5

Andrew Penning Don Ottavio2/27 & 3/6

Joseph Baron Leporello2/26, 2/28 & 3/5

Matthew Burns Leporello2/27 & 3/6

Sarah TuckerZerlina2/26, 2/28 & 3/5

Alyssa MartinZerlina2/27 & 3/6

Ryan KusterMasetto

Peter VolpeCommendatore

Phoenix SymPhony hall

February 26 & 27 at 7:30 pmFebruary 28 at 2:00 pmTucSon muSic hall

March 5 at 7:30 pmMarch 6 at 2:00 pm

Sung in Italian with English supertitles.

Composed by Wolfgang Amadeus Mozart

Libretto by Lorenzo Da Ponte

Running time: 3 hours and 25 minutes.

wolfgang amadeus mozart

Illustration: Emiliano Ponzi

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SW: Thank you for taking the time to answer these questions about Mozart’s great opera Don Giovanni. By the way, do you mind if I call you Steven, or do you prefer Maes—

SW: PLEASE do call me Steven…with a “v.” Thanks for asking.

SW: Ok, Steven…so, where does Don Giovanni rank, as it were, with the other great operas in the so-called “canon”? And, forgive the naiveté of this question, but is it as great as, greater than, or not as great as Le nozze di Figaro?

SW: Well, to your first question, let’s acknowledge that there are many ways to measure greatness. One way is to look at a work’s influence. I don’t think it would be an exaggeration to say that Don Giovanni was by far the most influential opera before Tristan. And, like Tristan, its influence can’t be measured merely in operatic terms alone. Indeed, E. T. A. Hoffmann stated something along the lines of Romanticism itself began at the moment Don Giovanni clasped the hand of the Stone Guest. It was seen by early nineteenth-century composers as a kind of “call to the daemonic,” my phrase, which reinforced many of their expressive proclivities. Don Giovanni gave them permission to dabble with the dark side.

SW: Are you talking about composers of opera alone? What about others—Beethoven, for example—for whom opera was not their only artistic outlet?

SW: Beethoven’s attitude towards all three of the Da Ponte/Mozart masterpieces (speaking now of Le nozze di Figaro, Don Giovanni and

Conductor steven white interviews himself about Don Giovanni.

Così fan tutte) is somewhat amusing. He protested that he did not find them appealing because he thought their plots and libretti too licentious and frivolous. Die Zauberflöte, as one would expect, was the great influence on Fidelio. However, and this is no mere speculation, the spirit of Don Giovanni permeates Beethoven’s works from his very earliest piano trios through to the Ninth Symphony. The opening movement of the Ninth could not possibly exist without the D minor opening of the Don Giovanni overture and its recapitulation in the opera’s climax. Do you know the Brahms D minor Piano Concerto?

SW: Um, yes.

SW: Ok, then. Same thing. In the scene in which Giovanni mortally wounds the Commendatore, Mozart’s music is poignantly romantic—“Brahmsian,” even. It’s startling to think that this music was composed in late 1786 and early 1787. Look, it would be easier to name—if you could find them—the composers who could not trace some significant lineage to the musical and aesthetic psychology of Don Giovanni. Get this: Someone once asked Rossini to name his personal favorite of HIS OWN operas. Do you know what he said?

SW: Enlighten me, please.

SW: DON GIOVANNI!

SW: Well that’s silly, isn’t it—kind of like Rossini himself?

SW: Rossini was not being disingenuous. He was expressing not only reverence of the highest order, but also an acknowledgement that, without Mozart—Don Giovanni in particular—Il barbiere di Siviglia, La Cenerentola, Il Turco in Italia, etc., could not have existed. Gounod’s Faust is also a direct descendant of Don Giovanni in innumerable ways, most particularly in its mixture of comedy and tragedy. Additionally—and this is a subject of at least two dissertations—don’t forget Stravinsky’s The Rake’s Progress. This particular masterpiece is almost Don Giovanni in so many respects.

Let me just finish up this particular subject regarding influence by quoting something that Tchaikovsky said: “It is thanks to Mozart that I have devoted my life to music. Above all I love Don Giovanni, as it was thanks to this work that I found out what music is.”

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SW: Wow. That’s quite powerful. So, back to my Figaro vs. Giovanni question that I posed at the top.

SW: Well, it’s a question that irresponsibly excludes Così fan tutte from the discussion, but I think I understand the reason behind it. For years—decades, even— Così was not as popular as Le nozze di Figaro and Don Giovanni. There are those—I count myself in that number—who feel that Così is a masterpiece as significant as the other two. In fact, I don’t think it’s an exaggeration to say that Mozart’s deployment of instrumental forces in Così makes it the greatest orchestral piece of the eighteenth century.

The Figaro-Giovanni comparison is similar in some ways to the comparison between the St. Matthew Passion and the B Minor Mass of J. S. Bach. We all know that we are talking about certifiable pillars of civilization. There are those who offer analysis indicating that the St. Matthew Passion is more nearly “human” (therefore more sentimental, in ways) than the B Minor Mass, with its crystalline symbolism and clinical perfection. Le nozze di Figaro is as “human” an opera as has ever been written. I suppose it could be a vaguely acceptable stretch to say that Don Giovanni correlates to the symbolic and psychological overtones of the Mass, but only vaguely. It’s absurd, in my opinion, to argue over which is greater. I couldn’t imagine life without any of these four works.

SW: Any final thoughts?

SW: I’m exceedingly grateful to be conducting Don Giovanni with Arizona Opera. I try to find a way to conduct Mozart—somewhere—at least once every season. There is no higher manifestation of mankind’s ability to rise above the squalor of routine than through the sublimely insightful beauty that Mozart has bequeathed us.

defrosting the ice Queenby Melinda Whittington

i am thrilled to be performing my first Donna Anna with Arizona Opera this coming season! Digging into a character—what drives her, who she is, and how the answers to those questions can be expressed via song—is what really makes me tick as an artist. Donna Anna? She could keep me busy researching, and experiment-

ing for years! I find the collaborative process in the rehearsals very exciting, and I can’t wait to explore Donna Anna with our director, Jose Maria Condemi! Of course, I always remain open to differing interpre-tations (that’s part of the fun), but I do have a few of my own idea about the character:

I take issue with the common portrayal of Donna Anna as welcoming of Don Giovanni’s advances and frustratingly stone cold to her betrothed, Don Ottavio; she comes across as narcissistic and unwilling to consider their future together. I have found many interpretations of Anna to be shockingly misogynistic. Her final aria to Don Ottavio, “Non mi dir,” is truly a beautiful expression of love, full of hope for their future together in its final section. Beyond the overt expressions of love and fidelity in the text, the orchestration is full of warmth, the vocal line is sumptuous, and I find it no coincidence that she joins Ottavio in his signature key, F major. She expresses her grief over a cruel world that stands in the way of their love, and is torn between her love for her father and her betrothed.

Critics of Donna Anna often dismiss all of the above as half-hearted excuses to justify her disinterest in marrying Don Ottavio. However, on the heels of her father’s murder and her own sexual assault, her reticence in the face of marriage is both understandable and realistic! That music could never be associated with coldness, in my opinion.

Ultimately, Donna Anna flies in the face of the stock operatic hero-ine, whose appeal “depends greatly on her efforts to maintain, even to the point of self-destruction, an explicit emotional connection with a male character, usually a lover or a husband” (Kristi Brown-Montesano, Understanding the Women of Mozart’s Operas). She doesn’t follow this path; instead remaining, while honest in her love for Don Ottavio, some-what disconnected from him at the end. She is unrelenting in the pursuit of her goal through-out the entire opera: revenge. Brown-Montesano says it well, “Elvira forgives, Zerlina forgets, but Anna does neither... She neither pines for nor pardons the ‘hero,’ Don Giovanni.”

Her inability to buy into the idea that love can heal all wounds, paints her as one of the most realistic characters in the opera; per-haps that is why we find her so disturbing and polarizing. Like all of the characters in Don Giovanni, except the evil and unrepentant Don himself, she is complicated with nuanced and complex motivations. In other words, Donna Anna is human.

Steven White is one of North America’s premiere conductors of both operatic and symphonic repertoire. In 2010 he made his acclaimed Metropolitan Opera debut conducting performances of La traviata starring Angela Gheorghiu. He returns to the Met in 2015 to assist James Levine in Stravinsky’s The Rake’s Progress.

Melinda Whittington is finishing her final year as a resident artist at the Academy of Vocal Arts in Philadelphia, and looking forward to the future! She is also thrilled to be making her debut with Arizona Opera in February of 2016, singing Donna Anna in don Giovanni.

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i ’ve got a belly… I know that culturally we don’t usually discuss our body fat, but Falstaff, through the wisdom of Shakespeare, Verdi and Boito, has given me the blessed

gift of looking my belly strait in the button and saying, “Hi, old friend. I know we’ve had our differences in the past but it’s finally time for you and I to let bygones be bygones. If you’re ready to forgive, I’m ready to start loving you, for in truth, you complete me.”

My belly has been right under my nose for a decade now, but I wasted most of that time pre-tending that it would (and more importantly, yearning for it to) go away. Granted with diet and exercise, some months it’s been a little big-ger and some months a little smaller, but it has persisted regardless of my effort.

The biggest obstacle to my denial thus far was in my earlier years, before my time as an opera singer, when I was a kindergarten teacher. If you’ve ever worked with four and five-year-olds, you know that they are not yet heavy laden with self-criticism and social pressures, nor do they compensate for those who are. With sweet innocuous eyes, they would playfully pat on my tummy and say, “Mr. Colclough, you have a big belly!” As my heart would crunch under the weightless foot of their sincerity, I would plead logic to aid in my escape yet would find none. In my student’s assertion, there was neither malice nor ill-intention; in those moments, I would feel utterly alone, being the only person in the room who had learned the bitter art of self-hate. In Falstaff, however, I have found salvation.

The character of Falstaff does not share our common list of inward disappointments. He has rejected every institution that could pos-sibly result in the demotion of his self-esteem. He has maintained his internal child-self, not through naïveté, but rather through an intel-lectual refusal to submit to societal pressures and norms. He is, in a way, enlightened. He is beyond the trappings of our emotional battle-field. Yet in being free, in being an adult-child, he is left as a buffoon within our society and a buffoon for the purpose of our story.

Falstaff validates every body, not just the rotund. He is the distillation of our ego, our pas-sions, our carnal power trapped inside a decay-ing body. His spirit is the voice inside each of us that secretly tells us we are valuable and that our dreams are real. He is Shakespeare’s Don Quixote, and a more realistic one at that for his primary concerns are self-serving. Though scared and mortal, he refuses to let external reality dissuade him from the truth that he is a fertile, virile creature of the earth. He is the vic-tor of death by forcing purpose into what could become a purposeless life.

As Falstaff, the “imperfections” of myself are made invaluable, and Boito and Verdi built this masterwork so expertly I can share this joy. Now, I have the opportunity to stand on stage and say to the audience, “You, too”! “You, too, can laugh, be free, and love the spice that your frailty brings to this world”—that is Falstaff.

Buon appetitoby Craig Colclough

craig colclough began his career at the Los Angeles Opera. After two seasons appearingcompany in various roles, Mr. Colclough joined Florida Grand Opera’s Young Artist Studio, and in 2012, became a Filene Young Artist at the Wolf Trap Opera Company.

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Cast & Creatives

Eric MelearConductor

Chuck HudsonDirector

Craig ColcloughFalstaff

David Adam Moore John Ford

Karen SlackAlice Ford

Joélle HarveyNannetta

Javier AbreuFenton

Dana Beth MillerDame Quickly

Alyssa MartinMeg Page

Andrew Penning Bardolfo

Calvin GriffinPistola

Kevin NewellDr. Caius

Phoenix SymPhony hall

April 1 & 2 at 7:30 pmApril 3 at 2:00 pmTucSon muSic hall

April 9 at 7:30 pmApril 10 at 2:00 pm

Sung in Italian with English supertitles.

Composed by Giuseppe Verdi

Libretto by Arrigo Boito

Running time: 2 hours and 50 minutes.

giuseppe verdi

Illustration: Emiliano Ponzi

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a t last I get to be funny! I am very excited to finally play on stage, show my comedic flare and to top it off sing arguably the most challenging music Verdi has ever written. Falstaff’s Alice is a fantastic role that sopranos tend to play either early

in their career or later, because it’s a huge ensemble piece and the pressure to “carry the show” doesn’t rest with a single character or a few famous arias. Unlike all the other Verdi heroines I’ve had the immense pleasure to perform on stage (Aida, Leonora, Violetta, Luisa Miller), the only tears I plan on shedding for this role are from LAUGHTER! Boito has written a brilliant libretto to accompany Verdi’s comically masterful music, the last of his twenty-eight operas. In many ways, he saved the best for last, as Falstaff is perfection!

When I was in undergrad at the Curtis Institute of Music in Philadelphia, I was asked by Susan Ashbaker, Music director of Opera Company of Philadelphia (OCP) at the time, to study/cover Alice Ford. OCP had no Young Artist Program, so they developed an internship with students from Curtis. I couldn’t believe I have been given such a HUGE opportunity—to watch Christine Goerke as Alice and Stephanie Blythe as Quickly in rehearsal everyday was sheer perfection. Being that it has been many years since I’ve cracked open this genius score, and given that this season’s AZO appearance will be my first professional turn at Alice, I mostly look forward to working with my fellow Merry Wives of Windsor, my castmates, our fantastic director, and wonderful conductor.

The ensembles are terribly difficult, with many tempi/ key changes that shift the plot, unpredictable entrances of characters, and (my god!) so many notes and words! This piece certainly keeps you on your toes. Flastaff doesn’t include many of the motives, grand dramatic ensembles, or lush, soaring, expansive lines for which Verdi is so famously known. In Falstaff, it is the text that carries the drama while the comedic music bursts throughout the score. Of course, you must have a cast that can act, too! In learning Alice this time around, I decided to learn the score back to front. The famous fuge “Tutto nel mondo è burla” is probably the most intricate in the score. The entire cast and chorus all together in a rous-ing finale…tricky entrances. I think I just made myself even more excited! What a joy and pleasure it will be to bring this perfect opera to the incred-ible AZO audience! See you there!

Playing alice!By Karen Slack

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American soprano Karen Slack has performed with major conductors in opera houses and concert halls around the world. She was most recently seen as both tosca and Leonora in il trovatore with Arizona Opera,

Beethoven’s 9th with Alabama Symphony, a feature on the silver screen and soundtrack in Tyler Perry’s movie “For Colored Girls” as the Operatic Diva, and as Serena in Porgy and Bess with both San Francisco Opera and Washington National Opera.

Karen Slack in West Bay Opera’s production of Aida

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valley friends of arizona opera is a great organization that not only supports Arizona Opera, it provides members and their friends with many ways to enjoy opera and meet new people. Valley Friends events are designed to offer fun experiences and create a more per-sonal atmosphere around opera singing and opera singers. Our members enjoy a number of opportunities to see and hear singers in an intimate setting accompanied by friends, wine, hors d’oeuvres, and fellow opera lovers. We also provide people with a chance to become a part of Arizona Opera by volunteering to help with anything from stuffing envelopes to assisting with chaperoning at Student Nights, to volun-teering in the Opera Shop during performances.

We start the season out with a pot luck lunch where we welcome the new Marion Roose Pullin Studio Artists to Arizona Opera. Then, we will hear Studio Artist Calvin Griffin at our Wine and Cheese party in October. In November, we will have a wonderful opera party at the spec-tacular Waterfront in Scottsdale, but that is only

the beginning of the season! Lots of fun, great parties, and opera that is much more personal-ized: It doesn’t get any better than that!

Furthermore, the money we raise at events and from our membership goes to support Arizona Opera, and because we keep our expenses very low, we are able to donate 95% of the money raised. Our board members donate everything to put on spectacular parties, and our events are always well attended. We even have a fascinating event called “Behind the Scenes at the Opera,” where we invite people to a presen-tation about a particularly fascinating part of staging an opera. These events are always sold out, so we encourage people to sign up early.

A single membership to Valley Friends of Arizona Opera is only $50, and couples are just $75. For more information, or to join Valley Friends, contact Kim Smith at 480-510-3517. Please join us for a season of good people, good wine, and good fun!

Kim SmithPresident, Valley Friends

valley Friends of arizona opera

to learn more about valley Friends of arizona opera or join our email list, contact us at valleyfriends@azopera.org or call Kim smith at 480-510-3517. Come and join us!

Valley Friends Events: (below left) Mary Lynn Bolger, Mischa Semanitzky, Karen Ford and Marylee Toay at the Fall Party at the Shemer Art Museum; (below right) Deborah Voigt at Arizona Opera’s Big Date Night; (right) Kathy and Jim Libby at the Wine & Cheese Recital.

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arizona opera league tucson

noW in its third year, arizona opera League Tucson’s Shopera at the Opera contin-ues to be a highlight for all who attend perfor-mances at Tucson Music Hall. A truly unique gift shop, the Shopera has a constantly rotating selection of one-of-a-kind pieces from a variety of talented, local artists.

Founded as an innovative way to both assist the Opera while enhancing the experience of those that come to delight in its performances, the Tucson League manages all aspects of its Shopera. League members are always on the lookout for wonderful wares and artisans to showcase; from Tubac to Oro Valley, meaning all purchases benefit both the opera company you love and the community we call home. One hour prior to the start of each opera, as well as during intermissions, patrons can visit the Shopera to browse the wide selection of beautiful merchandise provided by our artists. Not only does the Shopera allow local artists to shine, but a portion of the gross sale from each purchase is donated to the League, which is a certified non-profit working for a great cause: Supporting the arts and art education in Southern Arizona!

Tucson League volunteers have a lovely time assisting these artists in the sale of their work, which is provided on consignment, while also selling official Arizona Opera merchandise, like CDs, DVDs, opera glasses, and more.

Our loyal team of artists and volunteers are delighted to participate in the continued suc-cess of Arizona Opera through the Shopera, so the next time you join us for a show, please take a moment to venture into the Shopera at the Opera and explore one of Tucson’s most unique shopping experiences!

Patricia Coyne-JohnsonHead of Shopera, Tucson League

We would be happy to answer any questions that you may have, please give us a call at 520-399-8232 or email us at tucsonleague@azopera.org.

shopping at the shopera

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John HughesPresident, Prescott Friends

For information on any upcoming events or if you would like to be included on our patron list, please contact John Hughes at jchughes46@mac.com or at 928-237-5710.

music is the Heart and soul of Prescott!

a Wide variety of MusiCal genres Can be found in the city: country and western music, folk, bluegrass, jazz and rock, but opera? We are delighted to report that if you are an opera fan they are changing rapidly for the better!

Four years ago, a handful of opera devotees in the Prescott area came together to discuss their shared passion for opera and what they could do bring the art form about which they felt so strongly to as many people in the city as possi-ble. Other than the Phoenix Symphony performing at a local college, there were few outlets for classical music, let alone opera. However, opera lovers are nothing if not per-sistent, and so an enterpris-ing band of opera devotees approached Arizona Opera with a request to become an auxiliary group, similar to the existing Tucson League and Valley Friends. Arizona Opera, which serves the entirety of the state, was happy to help. The Prescott Friends of Arizona Opera started with a house concert and reception and has never looked back.

As we enter the 2015-16 season, our patron list has grown from a handful of locals to sev-eral hundred enthusiastic opera fans. While our first season started with in-home perfor-mances by Arizona Opera singers, we now aug-ment these intimate, domestic performances with bus trips to Phoenix to attend main stage performances, fundraising dinners, and galas. Our first gala was presented in partnership

with a local community theater and featured professional singers from Arizona Opera. A particular attraction that we added was “Meet the Artists,” an exclusive reception follow-ing performances during which gala attend-ees could converse with the singers—it is an opportunity much appreciated by both patrons and artists. However, we do warn patrons not to get between the performers and the refresh-ments after the music stops! Joking aside, it

is clear singers relish the chance to perform for an enthusiastic audience and converse with a passionate group of opera lovers.

Having outgrown our original venue, this season we will present our gala at the newly renovated Elks Opera Theater: a beauti-ful, historic building in downtown Prescott. The program promises to be particularly special this season with selections

from opera, operetta, classic Broadway, and the Great American Songbook.

The majority of the proceeds from our events become charitable donations to Arizona Opera Company, and so the importance and generosity of donors, sponsors, and members underwriting events cannot be overstated—our most sincere gratitude is extended to all those charitable persons.

If you find yourself in the area, please join us for a wonderful season of exclusive selections in the high desert of Prescott this season!

As we enter the 2015-16 season, our patron list has grown

from a handful of locals to several

hundred enthusiastic opera fans.

Official Air l ine Off ic ial Hotel Off ic ial Piano

1636 noRTH CenTRAL Avenue, PHoeniX, ARizonA 85004

2015/16 SEASON PRESENTED BY

$5000+ Annual Donors to Arizona OperaAnonymous (2) Marlu Allan and Scott StallardAllyn Family FoundationArizona Commission on the ArtsArizona Opera League - TucsonArizona Public Service CompanyThe Fred and Christine Armstrong FoundationBlue Cross Blue Shield of ArizonaJohn and Bonnie BoumaArlyn and Rex BrewsterCarol Franc Buck FoundationCalifornia Community FoundationThe Honorable Jean S. Cooper George A.V. Dunning, Ph.D.

Fennemore Craig, P.C.Flinn FoundationMary Lou Forier and John E. WahlNancy FosterGretchen Frazier FundVirginia McGehee FriendKaren FruenAnn and Gordon Getty FoundationMary S. Gorin Fund at the Community Foundation for Southern ArizonaBeverly GrossmanRobert H. and Ellie Hamilton Elly and Steve HammermanNorman C. and Donna L. HarbertHazel HareTed and Vikie HaritonBillie Jo and Judd Herberger

Corolla Hoag and Kevin HorstmanEllen and Stewart HorejsiJewish Community Foundation of Greater Phoenix, Inc. John A. Johnson and Patricia Coyne-JohnsonAlison and Richard JohnstonMilo and Kim KauffmanJ. W. Kieckhefer FoundationDan A. KlingenbergSharon LandisPeter and Lee LarsonRalie LawrenceJim and Linda LeeLewis Roca RothgerberJane Maienschein and Richard CreathLily Meijer

Matt and Ann MelsheimerBarbara D. MolotskyMargaret T. Morris FoundationPakis Family FoundationMarilyn Papp and L. Roy Papp* Phoenix Office of Arts and CultureHelen J. PiersonVirginia G. Piper Charitable TrustThe Prescott Friends of Arizona OperaMarion Roose PullinKarinn Hamill and Thomas C. RotheDr. and Mrs. Adib H. SabbaghDr. and Mrs. Harold B. SegelThe Glenna and Lawrence Shapiro Family FoundationColonel (Ret) Kimberley Smith

Snell & WilmerAnne Y. SnodgrassDr. and Mrs. Robert F. SpetzlerSRPLinda StaubitzPaul S. Symchych, M.D.Robert S. and Shoshana B. Tancer Tucson Desert Song FestivalTwiford FoundationValley Friends of Arizona OperaWells FargoSandra WernerDon WilliamsDr. Judith G. WolfGerald and Barbara YasutakeAdam Zweiback and Kimberly Marshall

*In Memorian

As of September 2015

Your donation makes a difference!There are many ways to help Arizona Opera. Join the Bravo society or inquire about our planned giving options through estate planning! For more information, please call:

mallory robertsDirector of Developmentarizona opera602-218-7337mroberts@azopera.org

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

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