SeaSon Book - Metropolitan Opera

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Se ason Book
MADISON AVENUE 57TH STREET SOHO SHORT HILLS 800.550.0005 chanel.com
©2014 CHANEL®, Inc.
The 2014–15 Season Book
Metamorphosis, an Hermès story
contents
12
The 2014–15 Season
25
In Season
20
Gallery Met
Peter Saul presents new works
inspired by Le Nozze di Figaro
Radio Broadcasts
Co-hosts Margaret Juntwait and
Ira Siff in conversation Style Blog
Meet the Met’s most fashionable
audience members
Met Chamber Ensemble
James Levine returns to the
Met’s chamber music series at
Carnegie Hall
22
A Conversation
with James Levine
The Met’s music director
prepares for his busiest
season in years.
Golden Glow
In his new production of Le Nozze
di Figaro, conducted by James
Levine, director Richard Eyre
brings to the fore the sensuality of
Mozart’s shimmering masterpiece.
A Note from the
General Manager
Peter Gelb on how the
company is banding together
in service of grand opera.
36
Met Opera on Demand
The company’s streaming service
expands with new features
Live in HD
The Met’s movie-theater
transmissions are now seen in
68 countries 34
And more . . . 40
Behind the Headlines
With The Death of Klinghoffer—his
third recent Met premiere—John
Adams explores the intense,
tangled, and deeply disturbing
underpinnings of one of recent
history’s most shocking events.
2014–15 New Productions
6 |
contents
On the cover: a scene from Bluebeard’s Castle, photographed by Krzysztof Bieliński / Teatr Wielki
« Sangles Hermès »
necklace in gold
and diamonds
1-800-441-4488
Hermes.com
The 2014–15 Season Book
contents (continued)
46
Sparkle and Seduction
Renée Fleming stars in Susan
Stroman’s sumptuous new
production of Lehár’s The Merry
Widow, a romance for grownups set against a glittering
Belle Époque backdrop.
62
Stories of the Operas
92
54
Highland Fling
50
Light and Shadow
In his new production of
Tchaikovsky’s Iolanta and Bartók’s
Bluebeard’s Castle, director Mariusz
Treliński explores the darker
side of a pair of fairy tales with
complicated women at the center.
8 |
contents
One of Rossini’s most brilliant and
influential operas, La Donna del Lago
finally arrives at the Met—
a dazzling vocal showcase for bel
canto masters Joyce DiDonato
and Juan Diego Flórez.
Seating Charts
95
Artist Roster
109
Metropolitan Opera
Administration
111
Metropolitan Opera
National Council
112
Metropolitan Opera Orchestra,
Chorus, and Ballet
58
114
Metropolitan Opera
Board
115
Metropolitan Opera
Guild
Both Sides Now
116
David McVicar’s new production
of opera’s most popular double
bill emphasizes the differences of
Cavalleria Rusticana and Pagliacci,
revealing new dimensions in
each work in the process.
Patrons of the
Metropolitan Opera
144
2014–15 Season
Schedule
LIVE THE LIFE.
MOST HOTELS GIVE YOU A ROOM,
WE GIVE YOU AN ENTIRE CITY.
STA RRI NG
Angela Brown
Dwayne Croft
Eric Owens
Lawrence Brownlee
David Daniels
Dimitri Pittas
William Burden
Michelle DeYoung
Heidi Stober
new Productions
P i e t r o M a s c a g n i / R ugger o Leo ncavallo
Pet er Tch aikovsky / Béla Bart ók
Cavalleria Rusticana / Pagliacci
Iolanta / Bluebeard’s Castle
Conductor
Fabio Luisi
Conductor
Valery Gergiev/Pavel Smelkov
Production
Sir David McVicar
Production
Mariusz Treliński*
Set Designer
Rae Smith*
Set Designer
Boris Kudlička*
Costume Designer
Moritz Junge*
costume Designer
Marek Adamski*
Lighting Designer
Paule Constable
Lighting Designer
Marc Heinz*
Choreographer
Andrew George
Vaudeville Consultant
Emil Wolk*
Production a gift of M. Beverly and Robert G. Bartner,
Mr. and Mrs. Paul M. Montrone, and the Estate of Anne Tallman
Video Projection Designer
Choreographer
Bartek Macias*
Tomasz Wygoda*
Production a gift of Ambassador and Mrs. Nicholas F. Taubman
Major funding from Rolex
Additional funding from Mrs. Veronica Atkins, and
Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi
Additional funding from John J. Noffo Kahn and Mark Addison,
and Paul Underwood
Co-production of the Metropolitan Opera and Teatr Wielki–Polish
National Opera
Live in HD Director: Gary Halvorson
Joh n A d a m s
Franz Leh ár
The Death of Klinghoffer
The Merry Widow
Libretto by Alice Goodman
english translation
David Robertson
Conductor
Sir Andrew Davis / Paul Nadler / Fabio Luisi
Production
Tom Morris*
Production
Susan Stroman*
Set Designer
Tom Pye
Set Designer
Julian Crouch
Costume Designer
Laura Hopkins*
Costume Designer
William Ivey Long*
Lighting Designer
Jean Kalman
Lighting Designer
Paule Constable
Video Designer
Finn Ross
Sound designer
Mark Grey
Choreographer
Arthur Pita*
bookish flair
Jeremy Sams
Conductor
Choreographer
Susan Stroman*
Production a gift of The Sybil B. Harrington Endowment Fund
Co-production of the Metropolitan Opera and English National Opera
G i o a c h i n o R o s s i ni
La Donna del Lago
Wolfgang Amadeus Moz art
Le Nozze di Figaro
Conductor
James Levine / Edo de Waart
Production
Sir Richard Eyre
Conductor
Michele Mariotti
Set & Costume Designer
Production
Paul Curran*
Lighting Designer
Lighting Designer
Kevin Knight*
Duane Schuler
Projection Designer
Driscoll Otto*
Choreographer
Additional funding from Mr. and Mrs. William R. Miller, and
William and Helen Little
Co-production of the Metropolitan Opera and the Santa Fe Opera
Live in HD Director: Barbara Willis Sweete
* Debut
the 2014–15 season
Paule Constable
Sara Erde
Production a gift of Mercedes T. Bass, and Jerry and Jane del Missier
Production a gift of the Betsy and Edward Cohen/Areté Foundation Fund
for New Productions and Revivals, and Dominique and Frédéric Laffont
12 |
Rob Howell
The Corcoran Group is a licensed real estate broker located at 660 Madison Ave, NY, NY 10065
Production a gift of two anonymous donors, in honor of John Adams
Andrew Solomon, John Habich Solomon & Son
Writer & Editor
Greenwich Village, New York
For distinguished writer
Andrew Solomon and editor
John Habich Solomon, home
is where the best stories
begin. At Corcoran, we use
our experience to find the
ideal place to tell your tale.
Because only by reading
your desires can we begin
your family’s narrative.
#livewhoyouare
Repertory Productions
G i us e ppe V e r d i
Giacomo Puccini
Aida
La Bohème
Conductor
Marco Armiliato / Plácido Domingo
Conductor
Riccardo Frizza
Production
Sonja Frisell
Production
Franco Zeffirelli
Set Designer
Gianni Quaranta
Set Designer
Franco Zeffirelli
Costume Designer
Dada Saligeri
Costume Designer
Peter J. Hall
Lighting Designer
Gil Wechsler
Lighting Designer
Gil Wechsler
Choreographer
Alexei Ratmansky
Production a gift of Mrs. Donald D. Harrington
Georges Biz et
Un Ballo in Maschera
Carmen
Conductor
Pablo Heras-Casado / Louis Langrée
Sir Richard Eyre
Conductor
James Levine / TBA
Production
Production
David Alden
Set Designer
Paul Steinberg
Costume Designer
Brigitte Reiffenstuel
Lighting Designer
Adam Silverman
Choreographer
Maxine Braham
Production a gift of the Betsy and Edward Cohen / Areté Foundation
Fund for New Productions and Revivals, and Daisy and Paul Soros
Additional funding from The Gilbert S. Kahn & John J. Noffo Kahn
Foundation, and Mr. and Mrs. William R. Miller
Revival a gift of the Metropolitan Opera Club
G i o a c h i n o R o s s i ni
Il Barbiere di Siviglia
Conductor
Production
Michele Mariotti
Bartlett Sher
Set Designer
Michael Yeargan
Costume Designer
Catherine Zuber
Lighting Designer
Christopher Akerlind
Lighting Designer
Choreographer
Rob Howell
Peter Mumford
Christopher Wheeldon
Production a gift of Mrs. Paul Desmarais Sr.
Revival a gift of Rolex
Live in HD Director: Matthew Diamond
Jacques Offenbach
Les Contes d’Hoffmann
Conductor
Yves Abel / James Levine
Production
Bartlett Sher
Set Designer
Michael Yeargan
Costume Designer
Catherine Zuber
Lighting Designer
James F. Ingalls
Choreographer
Dou Dou Huang
Production a gift of the Hermione Foundation, Laura Sloate, Trustee; and
the Gramma Fisher Foundation, Marshalltown, Iowa
Additional funding from the Estate of Helen F. Kelbert, and
Mr. and Mrs. William R. Miller
Revival a gift of Rolex
Live in HD Director: Barbara Willis Sweete
a trio of treasures featuring yellow sapphires, white and fancy diamonds
TBA: Artist to be announced
14 |
by Ann Ziff
783 Madison Avenue 212-360-7840 www.tamsenz.com
BRIAN ZEGER, Artistic Director
Engelbert Hump erdinck
Don Carlo
Hansel and Gretel
Conductor
Yannick Nézet-Séguin
Conductor
Sir Andrew Davis
Production
Sir Nicholas Hytner
Production
Richard Jones
Lighting Designer
Bob Crowley
Mark Henderson
Production a gift of Mr. and Mrs. William R. Miller
Co-production of the Metropolitan Opera; Royal Opera House,
Covent Garden; and The Norwegian National Opera and Ballet
W o lfg a n g Am a d eus M o zart
Don Giovanni
Conductor
Alan Gilbert
Production
Michael Grandage
Lighting Designer
Choreographer
Christopher Oram
Paule Constable
Ben Wright
Production a gift of the Richard and Susan Braddock Family Foundation,
and Sarah and Howard Solomon
Additional funding from Jane and Jerry del Missier, and
Mr. and Mrs. Ezra K. Zilkha
Lighting Designed by
Choreographer
John Macfarlane
Jennifer Tipton
Juilliard
ELLEN AND JAMES S. MARCUS INSTITUTE FOR
VOCAL ARTS
Linda Dobell
David Pountney
Translation
Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa;
and Karen and Kevin Kennedy
Additional funding from Dr. Coco Lazaroff, and Joan Taub Ades and
Alan M. Ades
Originally created for Welsh National Opera and Lyric Opera of Chicago
Dmit ri Sh ostakovich
Lady Macbeth of Mtsensk
ATTEND
Rossini’s Il turco in Italia
NOVEMBER 2014
Conductor
James Conlon
Britten’s The Rape of Lucretia
Production
Graham Vick
FEBRUARY 2015
Lighting Designer
Choreographer
Paul Brown
Nick Chelton
Ron Howell
Mozart’s Le nozze di Figaro
APRIL 2015
A Master Class with Elly Ameling
OCTOBER 2015
Gaetano Doniz et t i
Ernani
Lucia di Lammermoor
Conductor
James Levine / Paul Nadler
Conductor
Production
Pier Luigi Samaritani
Production
Staged by
Peter McClintock
Set Designer
Pier Luigi Samaritani
Maurizio Benini
Mary Zimmerman
Set Designer
Daniel Ostling
Costume Designer
Mara Blumenfeld
T.J. Gerckens
Costume Designer
Peter J. Hall
Lighting Designer
Lighting Designer
Gil Wechsler
Choreographer
Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa
Revival a gift of Barbara Augusta Teichert
16 |
Daniel Pelzig
SUPPORT
9 out of 10 Juilliard students need
scholarship assistance to attend;
please help these artists attain
their dream.
APPLY
Juilliard develops the complete singer.
www.juilliard.edu/vocalarts
2013 Juilliard Opera production of Handel’s Radamisto (photo by Nan Melville)
Igor St ravinsky
Macbeth
The Rake’s Progress
Conductor
Fabio Luisi
Conductor
James Levine
Production
Adrian Noble
Production
Jonathan Miller
Lighting Designer
Choreographer
Mark Thompson
Jean Kalman
Sue Lefton
Production a gift of Mr. and Mrs. Paul M. Montrone
Additional funding from Mr. and Mrs. William R. Miller;
Hermione Foundation, Laura Sloate, Trustee; and
The Gilbert S. Kahn & John J. Noffo Kahn Endowment Fund
Ju l e s M a s s e n e t
Manon
Conductor
Production
Laurent Pelly
Chantal Thomas
Costume Designer
Laurent Pelly
Lighting Designer
Joël Adam
Choreographer
Peter J. Davison
Costume Designer
Judy Levin
Lighting Designed by
Jennifer Tipton
Production a gift of the Edgar Foster Daniels Foundation
Giusepp e Verdi
La Traviata
Conductor
Marco Armiliato
Production
Willy Decker
Emmanuel Villaume
Set Designer
Set Designer
Lionel Hoche
Lighting Designer
Choreographer
Wolfgang Gussmann
Hans Toelstede
Athol Farmer
Production a gift of Karen and Kevin Kennedy, and
Mr. and Mrs. Paul M. Montrone
Sharing a Spirit
of Excellence
Toll Brothers proudly sponsors . . .
THE TOLL BROTHERS –
METROPOLITAN OPERA
INTERNATIONAL
RADIO NETWORK
Revival a gift of The NPD Group, Inc.
Original production of the Salzburger Festspiele; with thanks to the
Dutch National Opera, Amsterdam
Co-production of the Metropolitan Opera; the Royal Opera House,
Covent Garden, London; Teatro alla Scala, Milan; and Théâtre du
Capitole de Toulouse
R i c h a r d Wa g n e r
Die Meistersinger von Nürnberg
Conductor
Production
James Levine
Otto Schenk
Set Designer
Günther Schneider-Siemssen
Costume Designer
Rolf Langenfass
Lighting Designer
Gil Wechsler
Choreographer
Carmen de Lavallade
Revival a gift of Mr. and Mrs. Corbin R. Miller and
Mr. and Mrs. Charles Scribner III, in honor of Father Owen Lee
Wolfgang Amadeus Moz art
Die Zauberflöte
Conductor
Adam Fischer
Production
Julie Taymor
Set Designer
George Tsypin
Costume Designer
Julie Taymor
Lighting Designer
Donald Holder
Puppet Designers
Choreographer
Julie Taymor and Michael Curry
Mark Dendy
Production a gift of Mr. and Mrs. Henry R. Kravis
Additional funding from John Van Meter, The Annenberg Foundation,
Karen and Kevin Kennedy, Bill Rollnick and Nancy Ellison Rollnick,
Mr. and Mrs. William R. Miller, Agnes Varis and Karl Leichtman, and
18 |
B RINGING M USIC TO H OMES T HROUGHOU T THE W ORLD !
•
A note from the general manager
•
Peter Gelb consults with the Met’s John Sellars during an early technical rehearsal for Le Nozze di Figaro.
The Path Forward
In this preview of the 2014–15 season, General Manager Peter
Gelb describes how the company is banding together to ensure
that grand opera can continue to thrive artistically.
T
his summer was a daunting test for the Met and its
employees as we struggled
to find new agreements that
would address the economic constraints
of presenting grand opera in the 21st century. Happily, those negotiations are now
behind us, and the entire company has
been engaged in preparing for the new
season, which is full of artistic hopes and
expectations.
We will be putting our best artistic
foot forward on Opening Night with our
20 |
in season
new production of The Marriage of Figaro,
in a clever and fanciful staging directed
by Richard Eyre, with no less a Mozart
master than our own James Levine at the
helm. The cast is outstanding, as you will
hear for yourselves. And in the same week
Anna Netrebko will be making her Met
role debut as Lady Macbeth—an auspicious artistic event in itself.
The entire season is filled with artistic
highlights, some old and some very new.
The Death of Klinghoffer, arguably John
Adams’s greatest opera, will premiere on
October 20—the third of his operas to
be produced at the Met. It is one of the
most powerful contemporary operas of
the last 25 years and has been successfully
presented in numerous other theaters
in recent years. Our production, which
premiered in London two seasons ago,
is clear in its staging that the murder of
the innocent Klinghoffer at the hands of
terrorist hijackers was manifestly unjust.
Although there has been a campaign
against Klinghoffer at the Met, we will not
allow this opera to be suppressed, since it
is neither anti-Semitic nor a glorification
of terrorism.
Later in the season, another distinguished returning director will put his
imprint on an enduring staple of the
repertoire: David McVicar, with his new
production of the Mascagni–Leoncavallo double bill of Cavalleria Rusticana
and Pagliacci, with Marcelo Álvarez facing the tenor challenge of singing the
leading role in both operas. Met Principal Conductor Fabio Luisi will be on the
podium.
Three other directors will be making
their Met debuts this season. On New
Year’s Eve, Susan Stroman brings her
Broadway directing and choreographing talents to the Met. The director of
The Producers, Oklahoma!, and Contact, she
will unveil her new vision for Lehár’s The
Merry Widow. Renée Fleming will sing
the title role opposite Nathan Gunn,
and, in her company debut, leading
Broadway star Kelli O’Hara will sing the
part of Valencienne. Stroman’s sumptuous art nouveau staging culminates in
the legendary Maxim’s of Belle Époque
Paris, a can-can spectacle you won’t want
to miss.
Polish director Mariusz Treliński
makes his Met debut with an intriguing
double bill of Tchaikovsky’s Iolanta and
Bartók’s Bluebeard’s Castle in an intense,
film noir–inspired take on an unlikely
pairing of fairy tales—one happy, one
lurid. With Valery Gergiev at the podium
for both, Iolanta will be having its Metropolitan Opera premiere. Anna Netrebko
will sing the title role, another step in her
journey into more dramatic repertoire.
Paul Curran will make his company
debut presiding over the Met premiere of
Rossini’s La Donna del Lago, a vocal tour
de force for stars Joyce DiDonato and
Juan Diego Flórez—two very good reasons to introduce Rossini’s 1819 drama to
the Met. The opera is based on Sir Walter
Scott’s The Lady of the Lake and proved to
be one of Rossini’s most important and
influential works.
Altogether, there will be six new productions and 18 revivals presented during the 2014–15 season—the 130th season
since the Met was founded in 1883.
So, as you can see, we’ve been doing
more than just negotiating this past summer. Preparing for a season like this
requires the commitment of thousands
of people who work behind the scenes
to make sure that when the curtain goes
up on Opening Night, our audience is
treated to the finest performances the
world of opera has to offer. We worked
hard throughout our negotiations to
make this possible.
Essentially, what we were attempting to do together with the unions was
address a fundamental economic question: how can we maintain grand opera
against a background of rising costs
and flat revenues? The answer, as we all
learned through considerable dialogue, is
that everyone has to chip in and do their
part to help reduce costs—without compromising the quality of what we put on
our stage.
There’s no question that this was
only achieved because of the commitment
of all the members of the company, who
take such pride in their work. We have
the world’s finest opera orchestra, chorus,
stagehands, and craftsmen. We invite the
leading singers, conductors, directors,
and designers.
Now we’re all moving forward,
devoted to serving our audiences here and
around the world with grand opera at its
best. —Peter Gelb
“Preparing for a
season like this
requires the commitment of thousands
of people who work
behind the scenes to
make sure that our
audience is treated
to the finest performances the world of
opera has to offer.”
A technical rehearsal for The Death of Klinghoffer
in season
| 21
•
A Conversation with James Levine
•
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Levine’s Full Docket
After a testing-the-waters return season last year, Music Director James Levine now embarks on a jam-packed 2014–15
schedule of six operas, three Met Orchestra concerts, and a
pair of recitals of the Met Chamber Ensemble.
W
hen Music Director James
Levine returned to the Met
podium last fall to conduct
Mozart’s Così fan tutte after
a two-year injury hiatus, the response from
critics and audiences alike was overwhelming. “Having Mr. Levine in the pit at the
Met, his primary domain for more than 40
years, was the real deal,” declared the New
York Times of that historic performance.
“Now, it can truly be said that James Levine
is back.”
If last season marked a triumphant
return, 2014–15 signals a resumption of the
kind of super-active, wide-ranging schedule
for which the maestro has long been famous.
Levine will conduct his 31st Met Opening
Night when a new production of Mozart’s
Le Nozze di Figaro launches the season. A few
months later, he’ll return to Wagner’s monumental human comedy Die Meistersinger
von Nürnberg, which he and the company
last performed in 2007, followed in February by Offenbach’s Les Contes d’Hoffmann.
In March Levine will reunite with the man
he calls his “musical soul brother,” Plácido
Domingo, when Verdi’s Ernani returns to
the stage. Levine has conducted Domingo
more than 300 times at the Met, but he’ll be
collaborating for the very first time with one
of the current generation’s top tenors, Piotr
Beczala, when Verdi’s Un Ballo in Maschera
returns. And he will preside over three performances of Stravinsky’s The Rake’s Progress,
last heard in the 2002–03 season, with, of
course, Levine on the podium.
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Throughout the season Levine will also
conduct three concerts with the Met Orchestra, continuing their acclaimed series at
Carnegie Hall. And if that’s not enough, he’s
also resuming the Met Chamber Ensemble
series at Carnegie Hall.
“It’s a full schedule, to be sure,” Levine
says. “But I’m feeling good, and I get such
enormous energy from these pieces, which
represent so many different styles.”
Of course, for the maestro, it’s not quantity that matters; it’s quality and detailed
artistic improvement that he’s focused on.
“What excites me about this season,”
Levine says, “is the chance to revisit a work
like Figaro, which is so central to our repertory, with new singers and with a fresh
theatrical perspective. And then to bring
back The Rake’s Progress, which our audience knows but perhaps not intimately. This
is one of the many ways a great company
like the Met maintains the highest artistic
standards—by refining our interpretations
of well-known pieces and by presenting
rarer works as regularly as we can so that
the company masters them and audiences
discover an affinity. It’s an ongoing process—and I can’t tell you how rewarding it
is.” —Matt Dobkin
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A scene from Don Carlo
22 |
in season
Photo: ken howard/MetroPolitan oPera
saturday
matinee
Broadcasts
IN SEASON
•
At the Met 2014–15
•
Gallery Met | met chamber ensemble | juntwait & Siff | Met Opera On Demand | Live in hd
The Toll Brothers–Metropolitan Opera
International Radio Network
2014–15 SeaSon
Dec 6
Il Barbiere di Siviglia ROSSINI
Dec 13
Die Meistersinger von NÜrnberg* WAGNER
Dec 20 Le Nozze di Figaro MOZART NEW pRODucTION
Dec 27
La Traviata VERDI
Jan 3
Hansel and Gretel HuMpERDINcK
Jan 10
Aida VERDI
Jan 17
The Merry Widow* LEHÁR NEW pRODucTION
Jan 24
La Bohème puccINI
Jan 31
Les Contes d’Hoffmann* OFFENBAcH
Feb 7
Macbeth VERDI pERFORMANcE FROM FALL 2014
Feb 14
Iolanta* TcHAIKOVSKY /
Bluebeard’s Castle* BARTÓK NEW pRODucTION
Feb 21
Don Giovanni MOZART
Feb 28
Die Zauberflöte MOZART
pERFORMANcE FROM FALL 2014
Mar 7
Carmen BIZET
Make your contribution by calling
1-800-METOPERA or at metopera.org
Mar 14
La Donna del Lago* ROSSINI NEW pRODucTION
The 2014–15 Metropolitan Opera broadcast
season also receives generous long-term
support from The Annenberg Foundation,
The Neubauer Family Foundation,
The Vincent A. Stabile Endowment for
Broadcast Media, and contributions from
listeners worldwide.
Mar 28 Lucia di Lammermoor DONIZETTI
Support the Met Broadcasts
Mar 21 Manon MASSENET
Apr 4
Ernani VERDI
Apr 11
Don Carlo VERDI
Apr 18
Lady Macbeth of Mtsensk SHOSTAKOVIcH
pERFORMANcE FROM FALL 2014
Apr 25
New productions starring (top to bottom) Ildar Abdrazakov in Le Nozze
di Figaro, Renée Fleming in The Merry Widow, Anna Netrebko in Iolanta,
Nadja Michael in Bluebeard’s Castle, Joyce DiDonato in La Donna del
Lago, and Marcelo Álvarez in Cavalleria Rusticana / Pagliacci.
Photos: Anne Deniau / Metropolitan Opera (Le Nozze di Figaro and
Cavalleria Rusticana / Pagliacci); Brigitte Lacombe / Metropolitan Opera (The
Merry Widow); Andrea Kremper / Baden-Baden Festspielhaus Production
(Iolanta); Krzysztof Bielinski / Teatr Wielki Warsaw production (Bluebeard’s
Castle); Ken Howard / Santa Fe Opera Production (La Donna del Lago)
Cavalleria Rusticana* MAScAGNI /
Pagliacci* LEONcAVALLO NEW pRODucTION
May 2
Un Ballo in Maschera VERDI
May 9
The Rake’s Progress STRAVINSKY
* Live in HD Transmission
An exhibition of work by artist Peter Saul, including The Singer (detail), will be on display in Gallery Met.
in season
| 25
IN SEASON
IN SEASON
Duck Dynasty
The Host Files
With his new solo exhibition at Gallery Met, Peter Saul—one of
Pop Art’s preeminent figures—interprets Le Nozze di Figaro with
unprecedented originality (Mozart as a duck?!).
M
ozart’s Le Nozze di Figaro generally
conjures images of 18th-century
décolletage, men in wigs and white
tights, and corsets in various states of undoneness. Seldom (if ever) does one think of singing
sandwiches, neon faces, and Mozart himself
reconceived as a duck. But that’s exactly how
artist Peter Saul has imagined the composer’s
classic comedy with the five new works he has
created for a solo exhibition in Gallery Met,
coinciding with the premiere of the Met’s new
production.
“It’s a question of bringing music—and
bringing Mozart—into the world of modern
art in ways that are unexpected,” Saul says of
his new show, Figaro, which opens in the gallery on September 23. “I thought the paintings
should have a certain visual force to them.”
Over the past decade, Met audiences have come to know and love
announcer Margaret Juntwait. Now she gets up close and personal
with her on-air other half, Saturday radio commentator Ira Siff.
“The paintings Peter has created for this
show flirt with the imagination. They’re so
vivid and animated that you can almost hear
them sing,” says Dodie Kazanjian, the director
of Gallery Met. “And today, when his work is
resonating more than ever with a new crop of
artists, I thought it was the perfect time for him
to have a show at Gallery Met.”
Saul has been making references to cartoons and other elements of pop culture since
the 1950s, when he established himself as one
of the pioneers of Pop Art. Donald Duck, for
example, has been a frequent figure of appropriation for the artist, and even when his paintings address such sober issues as the Vietnam
War or the Civil Rights Movement, the colors
are inevitably lurid and the tone bordering on
vulgar—which is how Saul likes it. (“I usually
exaggerate and go way over the top,” the artist confirms.)
If the resulting work is surprising and surreal, it’s also genuinely funny—making Saul
(who contributed to Gallery Met’s Prince Igor
exhibition last spring) a natural fit for Mozart
and the composer’s often bawdy sensibility.
Certainly, this show will mark the first time in
history that a painting of a vocalizing BLT (“the
tomato becomes two lips”) has evoked the
18th century’s greatest musical genius.
And what of the Mozart Duck painting?
“I saw a painting I made in 1992 in a show
recently—Rembrandt Duck—and I was kind
of impressed!” Saul says. “It looked good. So
I thought, That’s what I need here. It brings
Mozart into our culture. We’ve got this culture
of ducks—we’ve got Donald and Grandpa
and Daisy... They’re hardworking types that
mean well. But my duck has an emanation of
genius—and he’s playing a violin!”
The Arnold and Marie Schwartz Gallery Met is
open Monday–Friday, 6pm through the end of
Margaret Juntwait: As a young opera lover in
the 1960s, attending performances at the Met
on a regular basis, did you also listen to the
matinee broadcasts much?
Ira Siff: They were a very important part of every
single Saturday. A buck-twenty-five for a standing room ticket was a lot to me! The broadcasts
were a way to connect with opera at home at no
charge—and to sing along, of course.
MJ Was there any element of the broadcasts
that especially pulled you in?
IS I was very invested in the broadcast being
a connection between myself and the event
going on, whether it was a big return like
Tebaldi coming back to the house, or Leonie
Rysanek provoking fans of another diva when
she took on Desdemona for the first time at
the Met. You’d tune in, and something would
get you. Even if it wasn’t expected to be a big
event, something might take you by surprise.
MJ You’ve been involved in opera in so
many ways—performer, director, voice teacher,
writer—but could you have pictured yourself
where you are now, in your eighth season as
commentator?
the last intermission; Saturday, noon until the last
Mozart Duck. All images courtesy of Mary Boone Gallery, New York. Photos: Kevin Noble
26 |
in season
intermission of the evening performance.
IS Never in my life. I loved the Met. I grew to
love opera in the old house and then the new
house. And the performing I did as an opera
satirist came from what I saw here. But coming
to it from the outside that way, I never thought
I’d end up working inside the house.
MJ By “opera satirist,” we’re talking about La
Gran Scena, the all-male opera parody company you created…
IS It was tribute as much as parody. It was an
extension of the love. And that’s at the core of
what we try to do on the broadcasts—to let
people feel the affection we have for the art
form and the respect we have for the people
who take part in it.
MJ We’re coming into our 84th season on
the air. When you look at how few people
have been heading these broadcasts—Milton
Cross, Peter Allen, and now me and you—what
are you hoping audiences will get from us?
IS I’m hoping that people will feel we gave
them something informative and enticing and
entertaining that will bring them to the house
and to the art form itself. Our job is on two layers, really: to bring people in and make them
feel included, and at the same time to include
our audience that really knows their stuff—and
give a nod to their devotion.
The Met—24/7
The Met remains the only opera
company in the world with its own
round-the-clock satellite radio
channel: Metropolitan Opera
Radio on SiriusXM channel 74.
The station will launch its ninth
consecutive season when it broadcasts the Opening Night new
production premiere of Mozart’s
Le Nozze di Figaro. As in previous
seasons, Met Opera Radio will
offer several live performances
each week throughout the season,
with classic performances from the
Met’s vast collection the rest of
the time.
Big Ten
The Met’s Saturday radio broadcasts are the longest-running
classical-music series in American
broadcast history—a feat that
would not have been possible
without tremendous global support. So it is an extraordinary milestone that this season’s broadcasts
mark the tenth year of underwriting from Toll Brothers. “We’re
incredibly proud of our ongoing
association with the
Met broadcasts,” says
Robert I. Toll, founder
of the luxury homebuilding company that
bears his name. “The broadcasts
are a national treasure, and making sure they continue long into
the future is an essential undertaking. We’re thrilled to have participated in the broadcasts these past
ten years.” The Saturday matinee
broadcasts, heard over the Toll
Brothers–Metropolitan Opera
International Radio Network,
begin on December 6, 2014, with
Rossini’s Il Barbiere di Siviglia.
in season
| 27
IN SEASON
IN SEASON
Chamber
Made
Music Director James Levine made headlines around the world last season with his
triumphant return to the Met podium after a
two-year absence due to injury. This season,
he not only conducts a full complement of
six operas at the Met, plus three concerts
of the Met Orchestra at Carnegie Hall, he is
also resuming one of his personal favorite
projects—smaller recitals with the Met Chamber Ensemble. Performed at Carnegie’s Weill
and Zankel Halls, these concerts allow Levine
and his players, comprised of members of the
Met Orchestra, to delve into intimate repertoire they ordinarily wouldn’t get a chance
to present before the public. When the
series begins on November 16—with music
Style Networks
More than any other opera company in the
world, the Met uses social media to break
news and share information about what’s
going on at the opera house. Facebook and
Twitter are sources for the latest updates, and
rehearsal photos and backstage snippets are
offered regularly on the company’s Instagram
feed. Last season, the Met even created
a Tumblr, lastnightatthemet.com, inspired
by the style blogs of the fashion world, to
share photos, shot by Rose Callahan, of the
company’s ultra-stylish and wide-ranging clientele. The idea was to convey to newcomers that the Met welcomed everyone, and
the blog’s democratic spirit attracted the
attention of the Wall Street Journal, which
described it as “a buzz-creating social-media
tool [that] serves a practical purpose as well:
answering the perennial question of what to
wear to the opera.”
Maestro Levine performs with the Met Chamber Ensemble in 2006.
by Berg, Webern, and Strauss, followed by
Schoenberg’s Pierrot lunaire—it will mark the
ensemble’s first performance in almost four
years. In addition to works by Stravinsky and
Ives, a spring program, on March 8, features
the world premiere of the late Elliott Carter’s
The American Sublime—written especially for
Maestro Levine.
MANY GUESTS HAVE TAKEN
TO CALLING IT HOME.
Visit lastnightatthemet.com during the 2014–15
season for more snaps of the Met audience before,
during, and after a performance.
When you need a home away from home, The Phillips Club welcomes guests for short - term and extended stays of a night, week, month or more.
Guests enjoy stylish residences, full kitchens, entertainment centers, 24 - hour concierge, private doorman and preferred access to Reebok
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28 |
in season
All photos by Rose Callahan
IN SEASON
IN SEASON
ELEGANT DINING at
THE GRAND TIER
Enjoy sumptuous cuisine and Champagne,
pre-curtain or intermission, set beneath
luminous crystal chandeliers and Chagall murals.
PRE-CURTAIN AND
INTERMISSION BARS
Serving snacks, beverages and cocktails
On the Grand Tier level of the
Metropolitan Opera House
Reservations 212 799 3400
www.grandtierny.com
Meet the Stars
MODERN
CUISINEby
BY
ModernITALIAN
Italian cuisine
The Met Opera Shop is not only the premier destination for classical
music CDs and DVDs, plus one-of-a-kind opera-related gifts and special
items, it’s also where opera’s greatest stars—past and present—meet
their fans. Last season alone such esteemed artists as Joyce DiDonato,
Plácido Domingo, Jonas Kaufmann, Anna Netrebko, and Music Director James Levine signed CDs and pressed the flesh in the shop. Even
legendary soprano Jessye Norman, above, made an appearance, signing
copies of her new autobiography (which features a foreword by Levine).
To learn about upcoming artist visits or to browse the shop collection,
visit metoperashop.org.
CHEF
IN an
AN exquisite
EXQUISITE
ChefJONATHAN
Jonathan BENNO
Benno in
SETTING OFFERING PANORAMIC VIEWS
setting offering panoramic views of
OF LINCOLN CENTER.
Lincoln Center.
American Youth
When The Met: HD Live in Schools program debuted eight years
ago, it was a local New York City program that transmitted a few
of the company’s movie-theater transmissions into one school in
each of the five boroughs of the city. Since then, the program has
continued to grow exponentially, reaching a national audience. Last
season’s transmissions were seen by more than 13,000 students
and teachers across the country; an audience of more than 14,500
is projected for 2014 –15. What’s more, the upcoming season will
reach a total of 36 school districts across the U.S.—the most ever—
including, for the first time, the Wind River Indian Reservation in
Wyoming. “We’re so thrilled that the program continues to expand
and reach more and more kids across the country,” says Met Director
of Education Marsha Drummond. “For many of them, we’re offering
their first-ever experience of opera, an art form they otherwise might
never get to enjoy.” This season, students will get to see Macbeth,
Carmen, The Merry Widow, La Donna del Lago, and the double bill
of Cavalleria Rusticana and Pagliacci. So far, nearly 85,000 students
have participated in the program. For more information go to
metopera.org/education.
Extended Play
Met Opera on Demand—the groundbreaking service offering more than
500 classic Met performances, including more than 75 presentations from
the award-winning Live in HD series—just got even better.
In time for the 2014–15 season, the MOoD iPad app has been redesigned to showcase many exciting enhancements and new features—
including AirPlay, which allows you to watch performances on your HDTV
and listen through your home entertainment system with a connected
Apple TV device. So while you can still watch and listen to performances
wherever you want on your iPad, you can now also enjoy the full hometheater experience. The new app is available for free from the App Store.
To begin your free 7-day trial, visit metoperaondemand.org.
The Met is also expanding its offerings on iTunes to reach a global
audience this season. The catalogue of some 50 titles, including many
HD presentations and radio broadcasts going back to the 1930s, plus
a collection of podcasts and operatic ring tones, is now available internationally in 16 countries for sale and rental. For more information, visit
itunes.com/metopera.
142 WEST 65 TH STREET (AT LINCOLN CENTER)
RESERVATIONS 212 359 6500
142 West 65th Street (at Lincoln Center)
LINCOLNRISTORANTE.COM
Reservations 212 359 6500
IN SEASON
IN SEASON
The HD World of the Met
With the recent addition of Turkey to the Met’s international Live in HD network, a total of 68 countries now
screen the company’s enormously popular movie-theater performance transmissions. (For comparison, the
launch season of 2006–07 was carried by just eight countries.) From Maine to Madagascar, Argentina to Australia, the series today has reached more than 15 million opera lovers on six continents (Antarctica being the one
holdout). As the company prepares for the ninth season of the series, featuring ten live transmissions, we’ve put
together this snapshot of the global reach of Live in HD.
Norway
Russia
7 Theaters
42 Theaters
Tiny Tromsø in the Arctic
Circle is the northernmost
distribution point for
Live in HD and has been
presenting live transmissions
since the inaugural
broadcast of The Magic
Flute in 2006.
Countries like Japan and Australia,
by geographical necessity, take the
Met’s HD transmissions on a delayed
basis, making Russia the country
furthest from Lincoln Center to screen
performances live.
2014–15 Season
October 11, 2014
Macbeth
Verdi
October 18, 2014
Le Nozze di Figaro
Mozart
November 1, 2014
Carmen
Bizet
November 22, 2014
Rossini
December 13, 2014
Die Meistersinger
von Nürnberg
Wagner
United States
750 Theaters
It may not be surprising
that the U.S. is the country
with the greatest number of
theaters. The series launched
in 2006 in just 56 cinemas.
Brazil
18 Theaters
Japan
When it comes to opera, Brazil
is perhaps most famous for the
opera house in remote Manaus,
in the heart of the Amazon.
But the Met also has a growing
profile there, with movie theaters
in such cities as Curitiba, Rio
de Janeiro, and São Paulo
presenting the company’s HD
transmissions live.
January 17, 2015
The Merry Widow
Lehár
January 31, 2015
Offenbach
February 14, 2015
18 Theaters
Thanks to the Met’s
tours to Japan, which
began in 1975 with Joan
Sutherland starring in
La Traviata in Tokyo,
the company has had a
strong reputation with
Japanese audiences for
decades.
Germany
170 Theaters
Tchaikovsky / Bartók
With a rabid audience
for opera and classical
music, Germany has the
greatest number of HD
theaters outside the U.S.
and the U.K.
March 14, 2015
La Donna del Lago
Rossini
April 25, 2015
Mascagni / Leoncavallo
Madagascar
The Met: Live in HD series is
made possible by a generous
grant from its founding
sponsor, The Neubauer
Family Foundation.
Global corporate sponsorship
of The Met: Live in HD is
provided by Bloomberg.
Transmission of The Met:
Live in HD in Canada is made
possible thanks to the
generosity of Jacqueline
Desmarais, in memory of
Paul G. Desmarais Sr.
32 |
in season
Mexico
27 Theaters
Mexico attracts a tremendous audience thanks in large part
to the fact that it’s home to the single largest Live in HD
venue: Mexico City’s Auditorio Nacional, with a seating
capacity of more than 6,000.
T h e M e t : l i v e i n H D C A N B E S E E N I N 6 8 C O U N T R I E S aroun d t h e w or l d • A l b a n i a • A r g e n t i n a
1 Theater
A handful of countries are home to just one
Live in HD movie theater, including the African
island nation of Madagascar, known for its
unparalleled biodiversity, including lemurs,
rare reptiles—and opera fans.
New Zealand
39 Theaters
With theaters in such cities as Auckland, Christchurch,
and Wellington, New Zealand is the world’s
southernmost nation to screen Met HD transmissions.
Ic e l a n d • I n d i a • I r e l a n d • I s r a e l • I ta ly • J a m a i ca • J a pa n • Lat v i a • L e b a n o n • L i t h u a n i a • L u x e m b o u r g • Mac e d o n i a
A u s t r a l i a • A u s t r i a • Ba h a m a s • B e l g i u m • B e r m u d a • B r a z i l • C a n a d a • C h i l e • C h i n a • C o l o m b i a
Ma d a g a s ca r • Ma lta • Ma u r i t i u s • M e x i c o • M o n t e n e g r o • M o r o cc o • N e t h e r l a n d s • N e w Z e a l a n d • N o r w ay • P e r u
C o s ta R i ca • C r o at i a • C y p r u s • C z e c h R e p u b l i c • D e n m a r k • D o m i n i ca n R e p u b l i c • Ec u a d o r
P h i l i p p i n e s • P o l a n d • P o r t u g a l • R e p u b l i c o f K o r e a • R o m a n i a • R u s s i a • S e r b i a • S l o v a k i a • S l o v e n i a • S o u t h A f r i ca
E g y p t • E s t o n i a • F i n l a n d • F r a n c e • G e r m a n y • G r e e c e • G u at e m a l a • H o n g K o n g • H u n g a r y
S pa i n • S w e d e n • S w i t z e r l a n d • T u r k e y • U n i t e d a r a b e m i r at e s • U n i t e d K i n g d o m • U n i t e d s tat e s o f a m e r i ca • U r u g u ay
in season
| 33
new product ions
2014–15
An
rehearsal for Richard Eyre’s new production of Le Nozze di Figaro
34 |early
Newtechnical
Productions
Le Nozze di Figaro
Golden
glow
By matt dobkin
In his new production
of Le Nozze di Figaro,
conducted by James Levine,
director Richard Eyre
brings to the fore
the sensuality of
Mozart’s shimmering
masterpiece.
Ildar Abdrazakov sings the title role in the new Figaro. Photograph by Anne Deniau and Jonathan Tichler
New Productions
| 37
Rob Howell designed both sets (facing page) and costumes (above) for the new production.
I
n Jean Renoir’s enormously influential 1939 film
La Règle du Jeu, an estate in the French countryside serves as the backdrop for a story of marital
discord, secret rendezvous, and illicit liaisons that
cross class lines. The Rules of the Game, as it’s known
in English, is a comedy, but one with a sharp satirical
bent, dark underpinnings, and an ambiguous ending. The film was inspired by Beaumarchais’s La Folle
Journée, the source for Le Nozze di Figaro.
For his new production of Mozart’s classic
human comedy, director Richard Eyre, in turn, has
been inspired by Renoir’s film, setting the opera in
an early-1930s milieu that teems with sensuality. “The
Marriage of Figaro is like very few operas in that it’s
about sex,” Eyre declares. “There are a lot of pieces
about romantic love—very few that are about sexual
love. This is about desire, about attraction, and about
the dividing line between love and lust. So I wanted
to move it to a period that was enormously sexually
charged, and that to me is the late-1920s, early-1930s.
It’s just late enough to believe that there is a count
who insists on exercising the droit de seigneur over the
young girls in his employ.”
“There’s a
kind of detail
of thought,
emotion,
and behavior in both
the music
and the
words—it’s
as if they
were
invented
simultaneously.”
Mattei is the licentious Count, and Met newcomer
a great farcical machine. And I hope it has a kind of
earlier decades, with its focus on royalty from classi-
Amanda Majeski his anguished wife. Mezzo-soprano
visual energy that matches the music.”
cal antiquity over everyday people).
Isabel Leonard is the pageboy Cherubino. They will
If the set keeps the action powering ahead, the
Mozart’s brilliant librettist Lorenzo Da Ponte is
perform under the sure hand of Music Director James
costumes emphasize the sexual force that constantly
due a considerable portion of the credit, as director
Levine, who has conducted Le Nozze di Figaro more
crackles throughout the evening. Susanna wears a
Eyre points out. “One of the things I love about The
than 65 times at the Met, starting in 1985.
slinky black-and-white maid’s uniform; the Count
Marriage of Figaro is that the score and the libretto
Although Eyre moved up the time setting by
is clad in luxurious dressing gowns. The ambiguity
are absolutely inseparable,” he says. “There’s a kind
about 150 years, the place remains the same: an 18th-
of the trouser role of Cherubino appeals to Eyre in
of detail of thought, emotion, and behavior in
century manor house in Seville. The director is once
particular, especially when the young man (played
both the music and the words—it’s as if they were
again collaborating with set and costume designer
by a young woman) takes off his military uniform
invented simultaneously. That’s what’s so exciting—
Rob Howell, his creative partner on the Met’s recent
to disguise himself as a girl and evade capture in
the immediacy, the spontaneity. And it’s the job of
productions of Carmen and Werther. Howell’s set for
the Countess’s bedroom. “It’s the most exquisitely
the director and the conductor to make that spon-
Figaro evokes the Moorish design influence still seen
sexy, naughty, and funny scene,” Eyre says. “And
taneity real.”
all over southern Spain via detailed paneling and
that element of transgressing sexual borderlines runs
lantern light that cast a shadowy glow across the
through the piece.”
proceedings. More importantly, the set has been con-
the first time he and Levine have worked together,
Indeed, Le Nozze di Figaro is today so well loved
structed on a turntable, with the rooms of the house
and such a central part of the operatic repertoire, it
stro. “The legacy of James Levine is present in every
can be easy to forget how revolutionary and trans-
performance at the Met,” he says. “You just have to
As the turntable rotates, the audience will be able to
gressive it was when it premiered in Vienna in 1786.
listen to that orchestra in any performance, and you
follow the action from one room to the next uninter-
If Beaumarchais’s original play was considered an
realize how special and distinctive it is. Levine is a
rupted, thereby enhancing the farce.
even more scandalous depiction of society at the
musical force I revere. And for me, there really can’t
time, Figaro was nevertheless pioneering, thanks to
be a better combination of a great conductor and a
“I think audiences should look for a kind of fluency in the production,” Eyre says. “The production
its emphasis on the servant classes as the morally
moves—it has a sort of constant energy. We have cor-
upright heroes of the story (at a time when most
extraordinary ensemble cast. Bass-baritone Ildar
ridors that lead from the Countess’s bedroom to the
composers were still writing in the dramatic mode of
Abdrazakov, so memorable in the title role of last sea-
large hall where the wedding is going to take place—
son’s Prince Igor, sings Figaro, opposite soprano Mar-
and then there’s the garden. I want to be able to go
lis Petersen as his betrothed, Susanna. Baritone Peter
from one location to another completely fluently. It’s
New Productions
but the director notes his admiration for the mae-
represented by cylindrical towers of varying heights.
The sexual shenanigans will be enacted by an
38 |
In that, Eyre has the ideal partner. Figaro marks
New Production Premiere September 22, 2014
From top: Amanda
Majeski, Marlis Petersen,
Isabel Leonard, Peter
Mattei
MetTalks
great piece of writing.”
matt dobkin is the Met’s creative director of marketing
and editorial.
Director Richard Eyre is joined by the five principal singers for a talk moderated by
General Manager Peter Gelb, on September 16 at 7pm in the Met auditorium.
New Productions
| 39
Behind
the
Headlines
By Thomas May
With The Death of
Klinghoffer—his third
I
n the world of opera, it’s common for a new
work to take some time to establish its place
in the repertoire. Just think of Così fan tutte,
written in 1790 but largely ignored until the mid20th century, or Les Troyens, which didn’t reach the
United States until more than a century after its
composition. A generation has passed since the
recent Met premiere—
1991 premiere of John Adams’s second opera, The
John Adams explores
is still known solely by its controversial reputa-
the intense, tangled,
and deeply disturbing
Death of Klinghoffer, but for the most part the work
tion. Apart from that original production, only two
other full stagings have been seen in the U.S., and
both of these took place within the past three years
(at Opera Theatre of Saint Louis in 2011 and Long
Beach Opera in spring 2014).
But Met audiences will at last have a chance to
underpinnings of one
experience firsthand one of the most talked-about
of recent history’s
pany premiere in Tom Morris’s moving production
most shocking events.
contemporary operas when Klinghoffer has its com(initially staged in 2012 at English National Opera).
With David Robertson conducting and Paulo Szot,
Alan Opie, and Michaela Martens in the principal
roles, Klinghoffer will be the third John Adams opera
to make its way to the Met following the company’s
widely lauded productions of Doctor Atomic in 2008
and Nixon in China in 2010. All three operas were
originally created in collaboration with the director
Peter Sellars, Adams’s longtime artistic partner. To
write the libretto for The Death of Klinghoffer, the pair
turned once again to the poet Alice Goodman, libret-
Metropolitan Opera Premiere October 20, 2014
A
The Death of Klinghoffer at English National Opera
40scene
| Newfrom
Productions
tist for their inaugural opera, Nixon in China.
New Productions
| 41
Alan
OpieProductions
sings the title role.
42 | New
Although never planned as such, together these
cued, the hijackers committed a despicable murder:
three operas might be seen to form an ambitious
they shot an elderly, wheelchair-bound Jewish New
trilogy—a trilogy that addresses some of the major
Yorker, Leon Klinghoffer, tossing his body into the
events responsible for shaping the contemporary
sea. Leon and his wife, Marilyn, had booked the cruise
American psyche. Adams points to the archetypal
to celebrate their 36th wedding anniversary; Marilyn
underpinning shared by all three. The reason behind
must have known it would be their last together, since
his focus on these topics—the dawn of the atomic
she was suffering from terminal cancer.
age, political personality cults and the Cold War
Controversy has swirled around The Death of
confrontation between East and West, and the very
Klinghoffer since it premiered just days after the end
present reality of terrorism—lies in “their ability to
of the First Gulf War. In the wake of 9/11—not to
summon up in a few choice symbols the collective
mention the ongoing conflict in Gaza—the issues
psyche of our time.” And in terms of its musical and
that Klinghoffer embodies seem ever more intractable.
emotional intensity, The Death of Klinghoffer arguably
From the start, the opera’s creative team was accused
represents Adams’s highest artistic achievement in
at best of naive “political correctness” and specious
writing for the stage. According to the late, fiery
moral equivalence for dramatizing the perspective of
critic Alan Rich, Klinghoffer “would be everywhere
the Palestinians and presenting “singing terrorists”;
recognized as a dramatic score of foremost quality”
at worst, the opera has been condemned as “anti-
if it weren’t for the controversy that has distracted
Semitic.” Still other critics have denounced Kling
from focusing on its merits.
hoffer for representing Palestinians as inhuman.
The opera’s plot is based on an event from his-
In an interview for The Guardian during the
tory even closer to the time of its writing than Nixon
ENO production in 2012, Goodman boiled the con-
had been: the terrorist hijacking of the Italian luxury
troversy down to her having dramatized the story in
cruise liner Achille Lauro, which took place in October
such a way that “the bad people in it are not entirely
1985. Four Palestinians had boarded with false iden-
bad and the good people are not entirely good.”
tities; when they were accidentally discovered with
Much of the outcry has been over whether this
weapons while still at sea, they impulsively decided
material is appropriate for the opera house. Ironi-
to hijack the vessel.
cally, one of the earliest criticisms lobbed at Kling
The standoff lasted for three days, and before the
hoffer suggested that its subject had been superficially
passengers (many of whom were Americans) were res-
plucked from the headlines to exploit a “trending”
“It’s not an
easy work,
but I think it
is a profound
work.”
New Productions
| 43
As a result, the real-world violence in
patterns merely appear as one part of a far
Klinghoffer takes place alongside a meta-
more extensive vocabulary.
The Passions of Bach provided an
phorical, more abstract level of reflection.
important structural model, with their
Morris points out that his staging, together
alternation of powerful choruses and
with the set design by Tom Pye and video
intimate, soul-searching arias—an effec-
projections by Finn Ross, aims to con-
tive tool for underlining the shift in focus
vey this dualism of realism and metaphor.
between individual and collective memory.
Laura Hopkins’s costumes, for example,
In place of an overture, for example, the
are realistic, but there is no literal boat
opera begins with a pair of monumental
on stage. “It’s as if we’re in some kind of
choruses: “The Chorus of Exiled Palestin-
mythological space,” Morris says, “and the
ians” and “The Chorus of Exiled Jews.” Not
story is being projected onto that … as if
even Verdi’s Nabucco relies so strongly on
the vivid details of the hijacking are being
the chorus to establish what Adams terms
remembered by people for whom they are
the opera’s “oracular tone.”
“It isn’t just
about this
terrifying
political
event. It’s
about people
in love at the
end of their
lives.”
topic. In fact, before Klinghoffer reached the stage
there had been two docudramas for television based
found work, which dares to examine some aspects
“emphatically an opera,” and indeed it is
The second act in particular includes
on the Achille Lauro hijacking. Yet the real challenge
of one of the most problematic conflicts of our age,”
far from an oratorio, since Adams uses the
some of the most deeply stirring music of
the opera poses is to explore precisely what is miss
says Tom Morris, the artistic director of the Bristol
reflections from the chorus to contrast with
all of Adams’s work, including the “Aria of
ing in our era of instantly accessible information
Old Vic. Morris is especially known for his produc-
the realism of the story. The latter he details
the Falling Body” for the murdered Kling-
and attention-grabbing headlines. Klinghoffer is con-
tion of War Horse, which won him a Tony Award for
as “the brutal, hard facts of the hijacking,
hoffer and two arias for his wife, before and
cerned with what is behind the news—not in confirm-
Best Director. For Klinghoffer, Morris asserts, Adams
with the death of Klinghoffer, and the inter-
after she learns of his fate. Adams explains
ing what we already know.
wider conflict.”
“commands a score of real emotional scale and abso-
actions of the various people on the ship.”
that the effect of Marilyn Klinghoffer’s first
“I didn’t do it to be controversial or to be pro-
lutely wonderful precision. It means that you can
The choruses might also be said to play a
aria, which is about “the sadness of being
vocative,” says Adams. He chose to write Klinghoffer
locate what a single character is doing in terms of
function we tend to think is restricted to
old and the vulnerability of one’s aging
precisely because he believes the material calls out
what they’re singing very, very precisely at the same
arias or smaller ensemble numbers.
body,” is to show that the opera “isn’t just
for the kind of illumination that is possible through
time as having a sense of the enormity of the human
“What makes the opera unique,” says
about this terrifying political event. It’s
opera. “Because opera is the most emotionally
experiences that are being conveyed.”
Morris, “is that you have the combina-
also about people in love at the end of their
lives, suffering, and finding joy in the sup-
he emotional complexity of the mate-
music with very poetic text touching on
port of each other.”
rial prompted Adams to develop a cor-
the mythologies of the Palestinian people
Without question, The Death of Kling
respondingly
psychologically
and the Jewish-Israeli people, mixed with
hoffer takes its audience to a deeply uncom-
or a suicide bomber in Iraq or Afghanistan, those
T
tion of these huge emotional pieces of
resonant musical language. This takes the form of
an incredibly dramatic, vivid, human story
terrorist acts are more than anything else, symbolic.
a darker harmonic palette, more nuanced orchestra-
that is articulated in the scenes.”
What we try to do in this opera is to penetrate that
tion, remarkably extended lyrical passages, and a
symbolism and to examine the narratives that led
new flowering of one of the composer’s strong suits:
fusion of music with the sonorous and poetic libretto but points
addressing,” Morris says. Klinghoffer “isn’t over at the end. It’s really
up to that.”
about what people think about when they go home.”
charged of all art forms, it is, more than fiction or
address terrorism. Terrorism itself is a symbolic act.
If you think of the attack on the World Trade Center
New Productions
both crystal clear and present within a
Yet Adams feels that Klinghoffer is
film, the most appropriate expressive vehicle to
44 |
Paulo Szot is the ship’s captain.
“It’s not an easy work, but I think it is a pro-
richer,
Michaela Martens sings
Marilyn Klinghoffer.
fortable place. “The most important thing
about this opera is it doesn’t assume that
it has any answers to anything that it’s
Morris has high praise for the opera’s
his writing for chorus. While some elements are
out that this marriage also adds to the challenges of any attempt to
Despite being called foolhardy by some for tak-
reminiscent of the driving energy of Nixon in China,
bring Klinghoffer to the stage. Together, words and music establish
Should opera even be tackling such subjects? “In a world
ing on such a divisive subject, Adams says he was
overall Klinghoffer creates a sound world vastly dif-
a layer of present-tense action that plays out against a more reflec-
where we seem unable to understand the conflicts which continue
impelled “to find out what prompts these individuals
ferent from Nixon’s bright outbursts of Pop Art–
tive layer of memory. The entire opera is in fact framed retrospec-
to manifest themselves, once in a while we should listen to the ways
to do what they do. What in their background, what
tinged “primary colors.” The “Minimalism” tag to
tively (as in Britten’s Billy Budd), with the captain recalling what
in which artists respond to them, because we might understand
in the mythology that they grew up with, forced them
which Adams is often subjected represents a mis-
happened during the hijacking. An even deeper layer of ancient
something new.”
or dared them to take this action, this terrible, brutal
guided way to think about his musical approach
memory is voiced by a series of prominent choruses strategically
Thomas May writes frequently for the Metropolitan Opera and blogs at
decision to kill this man?”
here. That style’s churning pulses and recurring
positioned over the opera’s span.
memeteria.com.
New Productions
| 45
The Merry Widow
sparkle
and
seduction
Renée Fleming stars in Susan Stroman’s
sumptuous new production of Lehár’s
The Merry Widow, a romance for grown-ups set
against a glittering Belle Époque backdrop.
By eric myers
W
hen Franz Lehár’s The Merry Widow had its world premiere at Vienna’s
Theater an der Wien on December 30, 1905, no one knew that it was
ushering in the remarkable so-called “Silver Era” of Viennese oper-
etta. Since the “Golden Era” of such 19th-century hits as Strauss’s The Gypsy Baron
and Millöcker’s The Beggar Student, Sigmund Freud and Carl Jung had come to the
fore, shaking up Europe’s attitudes toward sanity and sex. Vienna, newly clothed
in the vines, tendrils, and flowing-haired maidens of Art Nouveau, had become a
center of ideas and new artistic movements. There was no way that the popular
young operetta composers of the day were going to remain unaffected.
Renée
Fleming
sings the title role opposite Nathan Gunn. Photograph by Brigitte Lacombe
46 | New
Productions
New Productions
| 47
by enlisting him in the army, where, not surpris-
power plays drive the story—but of course true
ingly, Franz wound up playing in his father’s band.
love conquers all.”
At 20, he moved on to lead the Infantry Regiment
and mistaken identity—the fun of it” as essential to
ter in the Austro-Hungarian Empire.
its ongoing allure, and she’s put together a remark-
Before The Merry Widow, Lehár composed
able creative team to bring out all the charm. “My
several operettas, a few of which were failures,
friend [the six-time Tony Award winner] William
a few of which achieved a fair degree of success.
Ivey Long is designing the costumes,” she says. “He
Nobody was expecting The Merry Widow to become
an enormous international hit, least of all the management of the Theater an der Wien. Lehár had been
the second-choice composer of the librettists, Victor
Léon and Leo Stein, when the first fell through. The
operetta was given a sorry production for its world
premiere, with recycled sets and threadbare costumes. And it was by no means an instant hit, despite
good reviews (excepting one critic who found it “distasteful”). But momentum built over the next several
months, and by its 300th performance, it got the
From top left: Broadway’s Kelli O’Hara makes her Met debut as Valencienne. Julian Crouch’s sets evoke the glamour of Belle Époque Paris.
Stroman too cites the operetta’s “sly romance
Band in Hungary, becoming the youngest bandmas-
“William
Ivey Long . . . loves and
understands
dance. His
costumes
move and flow
so well.”
loves and understands dance. His costumes move
and flow so well. I know the performers are going to
love working with him.” Sets are designed by Julian
Crouch (the man behind the Met’s recent unforgettable designs for The Enchanted Island and Satya
graha), with the brilliant Paule Constable creating
the lighting design. The new English libretto is by
Jeremy Sams. Sir Andrew Davis will conduct.
Stroman is not only thrilled to be working with
Fleming, who, she says, “sparkles—she was born to
play this part,” but also Broadway star Kelli O’Hara
lavish new production it deserved. It had become a
(South Pacific, The Light in the Piazza), in her Met debut
box-office bonanza, and soon was being produced by
as Valencienne, and, as Hanna’s love interest, Danilo,
theaters all over the German-speaking world.
baritone Nathan Gunn. “Nathan will be a fabulous
Perhaps the door had been gently opened by Johann Strauss
Widow waltz is known and loved all over the world. But most
It went on to enormous success in London in
himself 30 years before with Die Fledermaus, a tale of upper-class
people don’t realize until they see the whole operetta how many
the West End, and even bigger success in the U.S.,
philandering in a troubled marriage, swathed in humor, revelry, and
other famous tunes come from this piece. And who doesn’t want
where it turned into a phenomenon, taking the coun-
That chemistry is key. The Merry Widow appeals
beguiling song. With the 20th century, the new crop of popular
to be transported back to the glamorous, Belle Époque milieu of
try by storm with countless productions and even
through music, grace, and charm, not to mention
operetta composers like Lehár, Kálmán, and Oscar Straus retained
The Merry Widow—Paris, Maxim’s, grisettes, the can-can? It really is
starting fashion trends. (“Merry Widow” hats and
its nostalgic evocation of a bygone world. But there
the lightness of their predecessors but were unafraid to create char-
everything an operetta should be.” In fact, Fleming gets to sing an
corsets became all the rage.) Nearly a half-dozen film
is an underlying quality that also accounts for its
acters who could sometimes be deceptive, even calculating in their
aria from another Lehár operetta, Paganini, in the production’s final
versions would follow, as would five Broadway reviv-
durable success: a subtle eroticism. This is a story of
pursuit of love, money, and sexual fulfillment. And still, their oper-
moments, and other music of the composer has been added to allow
als, including a legendary 1943 staging with soprano
adults with adult urges. The music swirls; heads spin;
ettas were drenched in a seemingly endless, irresistible flow of mel-
for choreographed transitions.
Danilo,” Stroman says. “Of course, he’s not bad on
the eyes, and he and Renée have a great chemistry.”
Marta Eggerth in the title role of the widow Hanna
hearts are lost. At the end of Act I, Danilo even teas-
ody. Lehár’s The Merry Widow is one of the pinnacles of this school of
Lehár was himself a great admirer of Puccini, and his works
Glawari. (Even Ingmar Bergman dreamed of doing
ingly woos Hanna with his irresistible enticement to
music-theater, and, in the Met’s new production of the work—with
are so full of lush, refulgent tunes that he was unofficially dubbed
his own version of The Merry Widow for the screen,
join him in a waltz. Speaking in her late 90s, soprano
Renée Fleming starring in the title role of Hanna Glawari—Tony
“the Puccini of operetta.” The son of a military bandmaster, he
with new English lyrics to be penned by Stephen
Marta Eggerth—Broadway’s Hanna in 1943—remem-
Award-winning director and choreographer Susan Stroman intends
had grown up surrounded by music. His father hauled Franz
Sondheim. Unfortunately, the project never got
bered well the sexual spell this work could weave.
to embrace all its romance, wit, and melodic charm.
along on assignments all over the Austro-Hungarian empire, and
beyond the discussion stage.)
She sighed, “The Merry Widow is about…well, how
“I’ve always adored the score,” Stroman says. “The music is
Franz became enraptured with the panoply of musical traditions
Clearly, the world’s love affair with The Merry
what I’m most attracted to, especially as I’ll be choreographing as
he was exposed to in places like Hungary, Transylvania, Prague,
Widow whirls on. What makes this 110-year-old piece
well as directing. We have the waltzes, plus Slavic dances, and of
Vienna, and the Balkans. A prodigy, he was already studying at
remain so appealing? “I think a key to its enduring
course the can-can at Maxim’s. Audiences are really going to get
Prague’s Bohemian Conservatory of Music at age 12; while he
appeal is the way it balances sentimentality with
caught up in the beauty and the joy of it all. I know I am, every time
was there, he received encouragement to compose from Antonín
sophistication,” Fleming says. “Flirtation and sexual
I hear the Merry Widow waltz.”
Dvořák. By 18 he was a musician in the Barman-Elberfeld munici-
Stroman’s star is similarly enthusiastic. “The score is just
pal theater orchestra, and soon he was involved in an affair with
packed with unforgettable melodies,” Fleming says. “The Merry
a glamorous singer twice his age. His father put a stop to that
48 |
New Productions
New Production Premiere December 31, 2014
should I say this? Seduction!”
Eric Myers is the author of three books, including Uncle
William Ivey Long makes
his Met debut designing
the production’s costumes.
MetTalks
Mame: The Life of Patrick Dennis, and his writing has
appeared in such publications as Opera News, Time Out,
and The New York Times.
Director Susan Stroman and members of her cast join Peter Gelb for a
discussion in the Met auditorium, on December 10 at 5:30pm.
New Productions
| 49
Iolanta
In his new production of Tchaikovsky’s Iolanta and Bartók’s
Bluebeard’s Castle, starring Anna Netrebko and Nadja Michael,
director Mariusz Treliński explores the darker side of a pair of
fairy tales with complicated women at the center.
Bluebeard’s Castle
Light and
shadow
B y P h i l i pp B r i e l e r
Anna
Netrebko
sings the title role of Tchaikovsky’s Iolanta.
50 | New
Productions
Nadja Michael is the woman in thrall to the
shadowy
Bluebeard.
New
Productions
| 51
A
t first blush, the romantic
ing her acclaimed Tatiana in last
Tales from Past Times (better
character, an archetype of
tale of a blind princess
year’s Eugene Onegin. She is joined
known by their subtitle, Tales
the blind who cannot see
miraculously cured by an
by Piotr Beczala as Vaudémont,
of Mother Goose). Its central
the world around him or her,
exotic doctor and a psychologi-
the man who liberates her. Nadja
character is a wealthy noble-
but has an insight into the
cally charged thriller about a sus-
Michael, who made her Met
man whose previous wives
internal world.” On another
pected serial killer may not seem
debut as Lady Macbeth in 2012,
have disappeared without a
level, Iolanta’s shyness and
like a natural fit for the operatic
stars as Judith, opposite Mikhail
trace. His latest young bride,
longing for love make her a
stage. But for Polish director Mar-
Petrenko as Bluebeard. Russian
while exploring his castle
cousin of Onegin’s Tatiana or
iusz Treliński—the man behind
maestro Valery Gergiev conducts
and its riches, opens a for-
Lisa in The Queen of Spades—
the Met’s new double bill of
both operas.
bidden door and behind it
a familiar type of young
Tchaikovsky’s Iolanta and Bartók’s
When Treliński first decided
finds the bloody bodies of
woman in many works of
Bluebeard’s Castle—this novel pair-
to combine the two works (the
the dead wives. The tale of
19th-century Russian literature and theater.
double bill originally premiered at
Bluebeard has been told and
Warsaw’s Polish National Opera,
retold in many forms and
Treliński explains, “fairy tales
the Met’s co-producing partner, in
genres, including a version
tales of Iolanta and Judith
with a tint of fantasy. Such stories
December 2013), he was struck by
by the Brothers Grimm and
will
usually have a deeper level. Today
the complementary plots. What
Maurice Maeterlinck’s sym-
we’re used to thinking about fairy
appears to be a classic happy end-
bolist drama Ariane et Barbe-
ing makes perfect sense.
“Both operas are fairy tales,”
At the Met, the twin
Netrebko stars opposite Piotr Beczala in Tchaikovsky’s one-act opera.
Mikhail Petrenko sings the title role of Bartok’s dark drama.
unfold
inspired
by
in
a
the
world
visually
powerful films noirs of the
tales as journeys into the depths
ing in Tchaikovsky’s opera—“she
bleu, which served as the basis for Paul Dukas’s opera. There’s even
first half of the 20th century. “To me, both stories lend themselves
of the human psyche. It’s a seem-
escapes with her prince,” in the
an operetta by Jacques Offenbach. But Bartók and his librettist,
to cinematic treatment,” the director explains. “I’ve always been
ingly light, fictional form that con-
director’s words—dovetails with
Béla Balázs, take a minimalist approach: the two characters have no
fascinated with films from the 1940s, and the films of Hitchcock,
tains significant truths. But what
the disturbing finale of Bartók’s
backstory and there is very little outward action. The curtain rises
particularly Rebecca, guided me in creating the mood of this pro-
fascinated me most about these
story. “Judith returns to her
on Judith and Bluebeard entering the castle, and the opening of its
duction.” Innovative use of lighting, unusual camera angles, and
two stories was the situation of
trauma,” Treliński says. “She aban-
seven doors makes up the opera’s main dramatic content. Along
an overall atmosphere of erotic and emotional tension are just some
women in the shadow of a very
dons her peaceful existence to
the way, we witness the fascinating evolution of the protagonists’
of the stylistic touchstones of that cinematic era. Elements and
strong, dominant male figure.”
come to a place that is suspicious,
relationship—shifting and changing to an ending that leaves many
quotes appear in the sets and costumes created by Boris Kudlička
In Iolanta, never before seen
potentially deadly, extremely inse-
questions.
and Marek Adamski, as well as in Marc Heinz and Bartek Macias’s
at the Met, that figure is the title
cure. What kind of force pushes
If, set against the darkly enigmatic world of Bluebeard’s castle,
lighting and projection design. “Both operas are mostly in black
character’s father, a king who
has hidden his daughter away from the world. He
keeps her ignorant of the fact that she’s been blind
since birth, his desire to keep her for himself masking as paternal love. Into the princess’s garden prison
comes a foreign knight who falls in love with Iolanta
and unwittingly reveals her blindness to her—allow-
“Both stories
lend themselves
to cinematic
treatment.”
ing the daughter to break free from her overprotec-
us to such an act? Why would you
Iolanta’s garden seems a considerably brighter place, it is largely
and white,” Treliński adds. “Not just as a reference to old films, but
give up all that is dear to you, everything that is
thanks to Tchaikovsky, who created music of extraordinary beauty
because we wanted both Judith and Iolanta to stand out from their
beautiful, only to enter into a strange and suspi-
and elegance for a story that, nevertheless, is full of painful over-
backgrounds.”
cious relationship with such a dark figure?” The
tones. (The libretto, by the composer’s brother, Modest Tchai-
In the end, all the elements—romance and thriller, screen
score and libretto don’t provide an obvious answer.
kovsky, is based on the 1845 play King René’s Daughter by the Danish
image and stagecraft, mythical past and 21st century—are united in
“I think,” the director adds, “these two operas
poet Henrik Hertz.) Iolanta was Tchaikovsky’s final opera, premier-
a universal goal. “I think all great works of art are created from the
together tell the story of a compulsion to repeat,
ing at St. Petersburg’s Mariinsky Theater in December 1892, less
desire to confront something,” Treliński says. “They’re attempts to
like a curse that comes back to us.”
than a year before the composer’s premature death—at a time when,
discover the truth, to understand who we are, to answer the most
tive father. In Bluebeard’s Castle, the opposite happens: Judith, the
Bartók’s version of the Bluebeard tale—first performed in
according to some biographers, he lived in fear of public exposure
basic questions. For me, that’s what directing opera is all about—to
female protagonist, abandons her fiancé and family to enter into a
Budapest in 1918—stands as one of its most powerful incarnations,
of his homosexuality. Tchaikovsky’s ongoing struggle with his per-
explore the mysteries that surround us. The mysteries of love, of
relationship with a powerful man living in a massive, forbidding
both psychologically and dramatically. Entirely focused on its two
sonal and emotional life, Treliński suggests, could be seen as a sort
contact, of longing to be together with another human being and
castle who, as the libretto suggests, likely killed his other wives.
protagonists and driven by highly expressive music that, for all its
of parallel to his choice of subject. “His fairy tale is an extremely
the inevitable impossibility that hinders our efforts.”
bitter one,” he says. “It’s a curious story about a hypersensitive
Philipp Brieler is the Met’s managing editor.
Guided by director Treliński, these two fascinating women will
early-20th-century edginess, retains a fundamentally lyrical char-
be inhabited by a pair of singing actresses known for their vocally
acter, the opera packs an extraordinary emotional punch in just
and dramatically riveting portrayals. As Iolanta, Anna Netrebko
under an hour. The story, derived from folk tradition, is most famil-
takes on her second Tchaikovsky heroine with the company, follow-
iar in the version Charles Perrault created in 1697 for his Stories or
52 |
New Productions
New Production Premiere January 26, 2015
MetTalks
Mariusz Treliński and members of his cast discuss the new production with
Peter Gelb, on January 21 at 6pm in the Bruno Walter Auditorium.
New Productions
| 53
La Donna del Lago
One of Rossini’s
most brilliant
and inf luential
operas, based on
Sir Walter Scott,
Highland
Fling
By Ellen Keel
La Donna del Lago finally
arrives at the Met—
a dazzling vocal showcase
for bel canto masters
Joyce DiDonato and
Juan Diego Flórez.
Joyce DiDonato is Elena, the titular “lady of the lake.”
New Productions
| 55
for Elena engage in what she calls “an insane
craze for setting Sir Walter Scott to music—
battle of the high Cs” that leaves the audi-
from operas such as Donizetti’s Lucia di Lam
mermoor to other settings of passages from
ence with jaws agape.
Even by Rossini’s standards, La Donna
The Lady of the Lake, such as Schubert’ s “Ave
del Lago was composed in something of a
Maria” and the anthem “Hail to the Chief.”
hurry, to meet a last-minute commission,
Curran, a native of Glasgow, laughs
with an anonymous assistant contributing
when asked if being Scottish gives him any
recitatives and even an aria. But perhaps a
special insights into this opera. “It’s not Scot-
spirit of freewheeling energy encouraged
tish at all—it’s a Romantic idea of Scotland.
Rossini to make adventurous choices with
Historically, this piece is about as accurate
the score, conducted at the Met by Michele
as Asterix the Gaul.” But the knowledge that
Mariotti. There are many bold touches, such
the story is full of details that don’t make
as the striking use of stage bands and offstage
sense on a naturalistic level liberated Curran,
musical effects, the layering of three different
along with set and costume designer Kevin
choirs in the acclaimed Act I finale, and an
unusual fluidity to the structures of the set
pieces. “People are surprised at the musical
Knight, to pursue a more essential approach
Juan Diego Flórez sings the
king-in-disguise.
depth and richness of this piece,” Curran
Although the sophisticated Naples audience at
T
of the climate, the costumes feature leather
and fur, what Curran describes as “a little bit
notes. “It’s really unlike anything that you’ve heard.”
Paul Curran’s production premiered at Santa Fe Opera.
to the setting. In a nod to the cold and damp
the opera’s premiere was a bit nonplussed by its novelties, they warmed to it quickly, and today, La Donna
he bel canto revival that began in the middle of the 20th
mezzo-soprano Daniela Barcellona in the trouser role of Malcolm,
del Lago is considered by many to be one of the com-
century reinvigorated the international repertory with
Elena’s true love; and tenor John Osborn as Rodrigo, chief of the
poser’s most important operas—a major milestone
a slew of previously unheralded diva-centric operas by
Highlanders.
on the way to his final, momentous masterpiece,
“People are
surprised at
the musical
depth and
richness of
this piece.”
more Game of Thrones” than fussy period clothes. The
set is earthy—all of the action takes place on a floor
representing the Scottish countryside, with movable
pieces upon it and projections behind it that can
transform into the banks of a lake or a humble cottage or royal palace.
Whatever the background, Curran is intent on
While the zany situations that occur in Rossini’s comedies
Guillaume Tell. Describing Rossini’s influence on the
and Joan Sutherland. The serious operas of Rossini, though, took a
tend to be taken in stride, his opera seria plots are often brought
operatic conventions of the era, the writer Stendhal
little longer to be fully appreciated—requiring the men of the cast,
up on charges of implausibility. DiDonato, though, is quick to
said, “He enlivened the tediousness of the opera seria
as well as the women, to flaunt bravura coloratura that is not only
defend them. “Those plots are in place to give a landscape for huge
and imparted to it a life and animation to which it
on a small red carpet in the dark is rather thrilling.
technically daunting but integral to the drama. Only when virtuoso
emotions and for huge vocality,” she emphasizes. “We get time to
had before been a stranger.”
What else does she need? She doesn’t need fireworks
Bellini and Donizetti, popularized by such artists as Maria Callas
vocalism is delivered with utter assurance can the audience discover
expand and go very deep into the internal turmoil of each of these
the thrilling theatrical power of an opera like La Donna del Lago.
characters.” Curran, who first worked with DiDonato for the pro-
Paul Curran, who directs the Met premiere of the work, avers, “This
duction’s premiere at Santa Fe Opera in 2013, admires her commit-
was an opera written for superstars, a night out of absolute vocal
ment to this exploration: “She won’t do anything without a reason.
fireworks.”
She’s an artist who’s able to make dramatic sense of all these runs
In 1819, the biggest of those superstars was Isabella Colbran,
and coloratura, and that’s when it really starts to buzz.”
I
keeping the focus on the singers. “The story is told
through the people singing it,” he states simply.
“Quite frankly, having Joyce DiDonato onstage alone
behind her. It’s Joyce. I love working with artists like
t must have helped that Rossini’s literary source
that who are masters of their craft. Joyce and Juan
was a bestseller that was not even a decade old.
Diego are the two top stars in the world today in this
The trend for serious operas was moving away
repertoire.” And in addition to the drama created
from the tradition of setting the same old classical
by the distinguished cast, he appreciates the extra
texts again and again, and toward seeking out fresh
excitement created by the occasion—La Donna del
Rossini’s muse, who would eventually become his wife. Today, it’s
Rossini’s original stars had created multiple roles for him
new inspirations. Curran describes La Donna del Lago
Lago finally arriving on the Met stage. “This type of
mezzo-soprano Joyce DiDonato, who owns the title role of Elena,
before La Donna del Lago, so he was adept at playing to their con-
as “quite a modern story, in a way—a woman who, in
opera was made for those people to be singing on a
the “lady of the lake.” The opera’s story, based on a narrative poem
siderable strengths, as well as using the gladiatorial aspect of their
an old-fashioned sense, knows her place in society,
platform like this. It really is a high-risk showcase
by Sir Walter Scott, places her in the middle of political tumult—
vocal feats in service of the story’s key confrontation scenes. As a
but at the same time decides that she has to follow
thing. If you miss it, you miss a major event.”
clan rebellion in 16th-century Scotland—as well as a full-blown love
result, the music encourages a tantalizing undercurrent of competi-
her heart.” And Rossini kicked off something of a
Ellen Keel is a writer and radio producer for the Met.
quadrangle. The Met has assembled a formidable team of bel canto
tion among the singers, as each strives to use the music to draw the
stars to portray the rivals: tenor Juan Diego Flórez as King James V,
listener to his or her character’s point of view. DiDonato points as
who disguises himself as the humble “Uberto” to woo the heroine;
an example to a trio in the second act, where the two tenors vying
56 |
New Productions
Metropolitan Opera Premiere February 16, 2015
MetTalks
Met radio announcer Margaret Juntwait leads a discussion with stars Joyce DiDonato
and Juan Diego Flórez, on February 11 at 6pm in the Bruno Walter Auditorium.
New Productions
| 57
Cavalleria Rusticana
Pagliacci
Both Sides Now
In his new production of opera’s most popular
double bill, David McVicar emphasizes the differences
of Cavalleria Rusticana and Pagliacci, revealing
new dimensions in each work in the process.
By William Berger
T
he operas Cavalleria Rusticana and Pagliacci together form opera’s most
celebrated one-two punch. The classic double bill has become an entity of
its own, known more often than not (for better or worse) as Cav/Pag, an
operatic compound that has become so essential to opera companies around the
world that it is easy to lose sight of what these works actually are, separate from
one another. But with his new production of opera’s supreme pairing, director Sir
David McVicar underlines their differences rather than the similarities. Marcelo
Álvarez takes on the monumental task of singing both leading tenor roles, opposite Eva-Maria Westbroek and Patricia Racette.
Of the two operas, Pietro Mascagni’s Cavalleria Rusticana came first (1890),
setting the tone not only for Ruggero Leoncavallo’s Pagliacci (1892) but for the
whole genre of verismo opera that followed (including the operas of Puccini,
58 |
New Productions
Marcelo Álvarez is the tortured clown Canio in Pagliacci. Photograph
by Anne Deniau
New Productions
| 59
tion, and it moves quickly,” McVicar says. “It needs
color, vibrancy, light. It needs movement, because
it’s about actors. It’s about clowns. It’s a show about
a show.” Both works are short, and pairing them
together has been traditional for a long time. In fact
it was the Met that first presented them as a double
bill in December 1893. “The effect of bringing the
two operas together in one night was good,” was the
biblical pronouncement of the New York Times review.
McVicar, for his part, is not satisfied with the
point of view that labels both works as “veristic”
and leaves it at that. On the contrary, it may be the
differences that make these two operas work so well
together. “You’re talking about two very different
composers working in quite different styles, although
they’re contemporaries, and telling the stories in very,
very different ways with very different compositional
techniques,” the director notes. In terms of tone and
Álvarez also sings Turiddu in Cavalleria Rusticana. Photograph by Anne Deniau
subject matter, he is struck by how Cavalleria looks
back in time. “Mascagni’s opera is very formalized,
“I’m trying
to . . . find
a different
method of
storytelling that is
appropriate
to what these
composers
are saying.”
60 |
New Productions
Rae Smith, of War Horse fame, designed the sets for the production. Eva-Maria Westbroek sings Santuzza (bottom left).
Patricia Racette is Nedda (bottom right).
who knew both Mascagni and Leoncavallo person-
even in the title—‘Rustic Chivalry.’” Cavalleria is heavy
ally, and not always on the friendliest of terms).
with religion and with codes of honor, with rituals of
only dimly understands. In Pagliacci, there is the “play within the
to actual Sicilian villages (the setting of Cavalleria, while Pagliacci
Based on the equally scorching and revolu-
life and death; it’s about an ancient form of living. In
play”—the commedia dell’arte performance that encases the tragic
was originally conceived as set in nearby Calabria) to create a town
tionary four-page short story of the same name by
McVicar’s production, “we treat Cavalleria as though
climax. In order to achieve the full level of searingly ironic pathos
square that would act as an “envelope” for both operas. The dif-
Giovanni Verga, Cavalleria tells of adultery and mur-
it’s a piece of communal, ritual storytelling. We see
inherent in the opera (these are the archetypal clowns who must
ference is the time setting. McVicar places Cavalleria around 1900,
der in a remote Sicilian village on an Easter Sunday
the community gather in the prelude to perform a
make people laugh while they themselves suffer), this commedia
while Pagliacci is set around 1948, with the same buildings but
morning. The opening night of Cavalleria took its
ceremony about themselves. How many times they’ve
dell’arte must be truly funny. “No clown was ever funny just by
now with electric light and telephone wires. (Interestingly, 1948 is
audience by storm, or rather, slapped it across its col-
performed this ceremony, we don’t know. But it’s a
pratfalling around in a circus ring,” McVicar says. “They have char-
also the year of such films as De Sica’s Ladri di Biciclette, or Bicycle
lective face with an entirely new way of presenting
kind of ritual that they are locked into that will prob-
acters.” A brief but telling bit of dialogue between Canio and his
Thieves, Visconti’s La Terra Trema, and other masterpiece films of the
opera. The music was direct to the point of being con-
ably be repeated and repeated and repeated for gen-
wife, for example, reveals much of what is happening in this mar-
“Neoverismo” genre—so-called because they were a “new” look at
sidered violent—unencumbered by harmony, coun-
erations.” Pagliacci, on the other hand, seems to look
riage. She asks if he is drunk… “again.” “Yes,” he answers bluntly.
the genre originally explored by Mascagni, Leoncavallo, Puccini,
terpoint, or other techniques that focused attention
ahead. The blurring of boundaries between private
“Since midday.” The production uses this as a cue to model his
and others.)
on the artifice (in both negative and positive senses)
emotions and public personae is an old idea, but it
character on a mid-20th century vaudeville comedian famous in
In other words, while Cavalleria focuses on a primitive milieu to
of the composer. This was “dramatic truth” told in
takes on new resonance in the modern world of celeb-
the UK and Europe, Freddie Frinton, whose persona was a clown
explore human issues that never change, Pagliacci presages today’s
a new way, including, as McVicar notes, “masses of
rity culture (not to mention “reality television” and
who drank. It isn’t necessary to know Frinton’s work to appreciate
world to see how those issues play out now. “If you want to see it
orchestral storytelling where no one sings at all,”
the whole phenomenon of social media, which have
the character delineation. The point is that in Pagliacci, characters
as a story of the same community, separated by two generations,
another mode to convey unadorned emotional truth.
further confused the spheres of public and private).
have motivations that are specifically modern and augmented by
that’s absolutely fine,” McVicar says. “What I’m trying to do is find
the prism of “show business.” In Cavalleria, by contrast, the motiva-
a different method of storytelling that is appropriate to what these
tions are ancient, primal, and often subconscious.
composers are saying and to the way they’re telling the stories.”
Pagliacci followed a year and a half later, conducted
That Álvarez will be the featured tenor in both
by the 25-year-old Arturo Toscanini (who did not like
operas is nothing short of a “mammoth, Herculean
it much). This was the story (based on a true incident
undertaking,” according to McVicar. While both
A single set designed by Rae Smith (War Horse) will underscore
from his childhood, Leoncavallo claimed, although
lead roles are jealous and violent men, their dispa-
both the unities and the differences in the works. McVicar turned
many have doubted him) of a husband murdering
rate motivations will be explored in the new staging.
his wife while they were performing a commedia
Turiddu, like the closed society in which he lives, acts
dell’arte routine. “It’s about drama and conversa-
out ancient imperatives whose original purposes he
New Production Premiere April 14, 2015
MetTalks
William Berger, a Met staff writer, radio producer, and commentator, is
the author of Puccini Without Excuses.
Peter Gelb and David McVicar discuss the double bill with members
of the cast, on April 8 at 6pm in the Bruno Walter Auditorium.
New Productions
| 61
stories of t he oper as
2014–15
An early technical rehearsal for Susan Stroman’s new production of The Merry Widow
giuseppe verdi
giuseppe verdi
Aida
Aida
Libretto by Antonio Ghislanzoni
Libretto by Antonio Somma
World premiere: Cairo, Opera House,
December 24, 1871
World premiere: Rome,
Teatro Apollo, February 17, 1859
Conductor
Conductor
Marco Armiliato / Plácido Domingo
James Levine / TBA
Aida
Amelia
Liudmyla Monastyrska / Latonia Moore / Marjorie Owens/ Oksana Dyka
Sondra Radvanovsky
Oscar
Heidi Stober
Amneris
Ulrica Arvidsson
Olga Borodina / Violeta Urmana
Dolora Zajick
Radamès
Marcello Giordani / Antonello Palombi / Carl Tanner / Marco Berti
Amonasro
Željko Lučić / Andrzej Dobber
Ramfis
Dmitry Belosselskiy / Štefan Kocán
The King
Egypt, during the reign of the pharaohs. At
the royal palace in Memphis, the high priest Ramfis
tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to
command his army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter,
and he believes that victory in the war would enable
him to free her and marry her. But Amneris loves
Radamès, and when the three meet, she jealously
senses his feelings for Aida. A messenger tells the
king of Egypt and the assembled priests and soldiers
that the Ethiopians are advancing. The king names
Radamès to lead the army, and all join in a patriotic
anthem. Left alone, Aida is torn between her love for
Radamès and loyalty to her native country, where
her father, Amonasro, is king. She prays to the gods
for mercy.
Act I
In the temple of Vulcan, the priests consecrate
Radamès to the service of the god. Ramfis orders
him to protect the homeland.
Act II Ethiopia has been defeated, and Amneris
waits for the triumphant return of Radamès. When
Aida approaches, the princess sends away her other
attendants so that she can learn her slave’s private
feelings. She first pretends that Radamès has fallen
in battle, then says he is still alive. Aida’s reactions
leave no doubt that she loves Radamès. Amneris,
certain she will be victorious over her rival, leaves
for the triumphal procession.
At the city gates the king and Amneris observe the
celebrations and crown Radamès with a victor’s
wreath. Captured Ethiopians are led in. Among
them is Amonasro, Aida’s father, who signals his
daughter not to reveal his identity as king. Radamès
is impressed by Amonasro’s eloquent plea for mercy
64 |
and asks for the death sentence on the prisoners
to be overruled and for them to be freed. The king
grants his request but keeps Amonasro in custody.
The king declares that as a victor’s reward, Radamès
will have Amneris’s hand in marriage.
On the eve of Amneris’s wedding, Ramfis
and Amneris enter a temple on the banks of the Nile
to pray. Aida, who is waiting for Radamès, is lost
in thoughts of her homeland. Amonasro suddenly
appears. Invoking Aida’s sense of duty, he makes
her agree to find out from Radamès which route
the Egyptian army will take to invade Ethiopia.
Amonasro hides as Radamès arrives and assures
Aida of his love. They dream about their future life
together, and Radamès agrees to run away with her.
Aida asks him about his army’s route, and just as he
reveals the secret, Amonasro emerges from his hiding place. When he realizes that Amonasro is the
Ethiopian king, Radamès is horrified by what he has
done. While Aida and Amonasro try to calm him,
Ramfis and Amneris step out of the temple. Father
and daughter are able to escape, but Radamès surrenders to the priests.
Act III
Act IV Radamès awaits trial as a traitor, believing
Aida to be dead. Even after he learns that she has
survived, he rejects an offer by Amneris to save him
if he renounces Aida. When he is brought before the
priests, he refuses to answer their accusations and
is condemned to be buried alive. Amneris begs for
mercy, but the judges will not change their verdict.
She curses the priests.
Aida has hidden in the vault to share Radamès’s
fate. They express their love for the last time while
Amneris, in the temple above, prays for Radamès’s
soul.
Soloman Howard / Ievgen Orlov
Radio broadcast: January 10, 2015
Gustavo III
Piotr Beczala
Count Anckarström
Stockholm, Sweden. Courtiers await an audience with King Gustavo III, including a group of
conspirators led by Counts Horn and Ribbing. The
king enters. He notices the name of Amelia, wife of
his secretary and friend, Count Anckarström, on the
guest list for a masked ball, and thinks about his
secret love for her. Left alone with Gustavo, Anckarström warns the king of a conspiracy against him,
but Gustavo ignores the threat. The young page
Oscar tells the king about the fortuneteller Madame
Ulrica Arvidsson, who has been accused of witchcraft and is to be banished. Deciding to see for himself, the king arranges for his court to pay her an
incognito visit.
when Anckarström suddenly appears, warning the
king that assassins are nearby. Gustavo makes Anckarström promise to escort the woman back to the
city without lifting her veil, then escapes. Finding
Anckarström instead of their intended victim, the
conspirators make ironic remarks about his veiled
companion. When Amelia realizes that her husband
will fight rather than break his promise to Gustavo,
she drops her veil to save him. The conspirators
are amused and make fun of Anckarström for his
embarrassing situation. Anckarström, shocked by
the king’s betrayal and his wife’s seeming infidelity, asks Horn and Ribbing to come to his house the
next morning.
In a building by the port, Madame Arvidsson
invokes prophetic spirits and tells the sailor Cristiano that he will soon become wealthy and receive
a promotion. The king, who has arrived in disguise,
slips money and papers into Cristiano’s pockets.
When the sailor discovers his good fortune, everybody praises Madame Arvidsson’s abilities. Gustavo
hides as she sends her visitors away to admit Amelia, who is tormented by her love for the king and
asks for help. Madame Arvidsson tells her that she
must gather a magic herb after dark. When Amelia
leaves, Gustavo decides to follow her that night.
Oscar and members of the court enter, and the king
asks Madame Arvidsson to read his palm. She tells
him that he will die by the hand of a friend. Gustavo laughs at the prophecy and demands to know
the name of the assassin. Madame Arvidsson replies
that it will be the first person that shakes his hand.
When Anckarström rushes in Gustavo clasps his
hand saying that the oracle has been disproved since
Anckarström is his most loyal friend. Recognizing
their king, the crowd cheers him as the conspirators
grumble their discontent.
Act III In his apartment, Anckarström threatens to
kill Amelia. She asks to see their young son before
she dies. After she has left, Anckarström declares
that is it the king he should seek vengeance on, not
Amelia. Horn and Ribbing arrive, and Anckarström
tells them that he will join the conspirators. The men
decide to draw lots to determine who will kill the
king, and Anckarström forces his wife to choose
from the slips of paper. When his own name comes
up he is overjoyed. Oscar enters, bringing an invitation to the masked ball. As the assassins welcome
this chance to execute their plan, Amelia decides to
warn the king.
Act I
Act II That night in an abandoned warehouse, Amelia, who has followed Madame Arvidsson’s advice
to find the herb, expresses her hope that she will
be freed of her love for the king. When Gustavo
appears, she asks him to leave, but ultimately they
admit their love for each other. Amelia hides her face
Dmitri Hvorostovsky / Alexey Markov
Radio broadcast: May 2, 2015
Gustavo, alone in his study, resolves to renounce
his love and to send Amelia and Anckarström to
Finland. Oscar brings an anonymous letter warning him of the murder plot, but the king refuses
to be intimidated and leaves for the masquerade.
In the ballroom, Anckarström tries to learn from
Oscar what costume the king is wearing. The page
answers evasively but finally reveals Gustavo’s disguise. Amelia and the king meet, and she repeats her
warning. Refusing to leave, he declares his love one
more time and tells her that he is sending her away
with her husband. As the lovers say goodbye, Anckarström stabs the king. The dying Gustavo forgives
his murderer and admits that he loved Amelia but
assures Anckarström that his wife is innocent. The
crowd praises the king’s goodness and generosity.
| 65
Gioachino rossini
béla bartók
Libretto by Cesare Sterbini, based
on the play Le Barbier de Séville
by Pierre-Augustin Caron de
Beaumarchais
Libretto by Béla Balázs, after a fairy
tale by Charles Perrault
World premiere: Budapest,
Royal Opera House, May 24, 1918
Teatro Argentina, February 20, 1816
Conductor
Valery Gergiev / Pavel Smelkov
Conductor
Judith
Michele Mariotti
Nadja Michael / Michaela Martens
Rosina
Bluebeard
Isabel Leonard
Mikhail Petrenko
Count Almaviva
Live in HD transmission and radio
broadcast: February 14, 2015
Lawrence Brownlee
Figaro
Christopher Maltman
Dr. Bartolo
Maurizio Muraro
Don Basilio
Paata Burchuladze
Seville. Count Almaviva comes in disguise to
the house of Doctor Bartolo to serenade Rosina.
Bartolo keeps her confined to the house, and Almaviva decides to wait until daylight. Figaro the barber, who knows all the town’s secrets and scandals,
arrives. He explains to Almaviva that Rosina is
Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the
Count will disguise himself as a drunken soldier
quartered at Bartolo’s house to gain access to the
girl. Almaviva is excited while Figaro looks forward
to a nice cash pay-off.
Act I
Rosina reflects on the voice that has enchanted her
and resolves to use her considerable wiles to meet the
Count, who she thinks is a poor student named Lindoro. Bartolo appears with Rosina’s music master,
Don Basilio, who warns him that Count Almaviva,
Rosina’s admirer, has been seen in Seville. Bartolo
decides to marry Rosina immediately. Basilio suggests slander as the most effective means of getting
rid of Almaviva. Figaro, who has overheard the plot,
warns Rosina and promises to deliver a note from
her to Lindoro. Suspicious, Bartolo tries to prove
that Rosina has written a letter, but she outwits him
at every turn. Angry at her defiance, Bartolo warns
her not to trifle with him.
Almaviva arrives, disguised as a drunken soldier,
and secretly passes Rosina a note, while Bartolo
argues that he has exemption from billeting soldiers. Figaro announces that a crowd has gathered
in the street, curious about all the noise coming from
inside the house. The civil guard bursts in to arrest
Almaviva but when he secretly reveals his true identity to the captain he is instantly released. Everyone
except Figaro is amazed by this turn of events.
Bartolo suspects that the “soldier” was a spy
planted by Almaviva. The Count returns, this time
Act II
66 |
disguised as Don Alonso, a music teacher and student of Don Basilio. He has come to give Rosina
her music lesson in place of Basilio, who, he says,
is ill at home. “Don Alonso” also tells Bartolo that
he is staying at the same inn as Almaviva and has
found the letter from Rosina. He offers to tell her
that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina
on Almaviva’s behalf. This convinces Bartolo that
“Don Alonso” is indeed a student of Don Basilio and
he allows him to give Rosina her music lesson. She
sings an aria, and, with Bartolo dozing off, Almaviva
and Rosina express their love.
Live in HD transmission:
November 22, 2014
Radio broadcast: December 6, 2014
Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the balcony shutters. Suddenly Basilio shows up looking perfectly
healthy. Almaviva, Rosina, and Figaro convince him
with a quick bribe that he is sick with scarlet fever.
Basilio leaves, confused but richer. Almaviva plots
with Rosina to elope that night while Bartolo gets
his shave. When the doctor hears the phrase “my
disguise,” he furiously realizes he has been tricked
again. Everyone leaves.
The maid Berta comments on the crazy household.
Basilio is summoned and told to bring a notary so
Bartolo can marry Rosina that evening. Bartolo then
shows Rosina her letter to Lindoro. Heartbroken
and convinced that she has been deceived, she agrees
to marry Bartolo and tells him of the plan to elope
with Lindoro. A storm passes. Figaro and the Count
climb over the wall. Rosina is furious until Almaviva reveals his true identity. Basilio arrives with the
notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo appears with soldiers, but it is too late. Almaviva
explains to Bartolo that it is useless to protest and
Bartolo accepts that he has been beaten. Figaro, Rosina, and the Count celebrate their good fortune.
Judith has come to live with Bluebeard, having
left her family home and her peaceful, ordered
existence. Bluebeard’s secret mesmerizes her—she
knows the terrifying rumors, she fears she may be
on a road of no return, yet she decides to enter his
home. The door closes. Judith confesses her love for
Bluebeard, believing that it will change him and
light up his gloomy home. She repeats her profession of love like a mantra as she demands that the
doors to seven rooms be opened. The first one is
a torture chamber, the second an armory. These
rooms fill her with terror. The next doors conceal
a treasury and a garden. Then Bluebeard shows
his empire to Judith. She sees blood everywhere:
on jewels, weapons, flowers. She doesn’t want to
defer to Bluebeard who says, “Love me” and “Ask
no questions.” Judith responds that she does love
him and wants him to open up to her, reveal his
inner self, uncover his fears. She demands that all
the doors be opened. The sixth door, which conceals a sea of tears, is where Judith reaches the limit
of knowledge. That leaves the seventh door. Behind
it is a space beyond life, on the border of life and
death. There are concealed Bluebeard’s previous
wives. Passing through the seventh door, Judith
joins them. She is made a part of Bluebeard’s space
forever. The circle of her journey closes.
Bluebeard’s Castle is performed as a double bill with
Tchaikovsky’s Iolanta. For a synopsis of that opera, turn to page 78.
| 67
Giacomo Puccini
georges bizet
La Bohème
Carmen
La Bohème
Carmen
Libretto by Giuseppe Giacosa and
Luigi Illica, based on the novel Scènes
de la Vie de Bohème by Henri Murger
Libretto by Henri Meilhac and
Ludovic Halévy, based on the novella
by Prosper Mérimée
World premiere: Turin, Teatro Regio,
February 1, 1896
World premiere: Paris,
Opéra Comique, March 3, 1875
Conductor
Conductor
Riccardo Frizza
Pablo Heras-Casado / Louis Langrée
Mimì
Micaëla
Ekaterina Scherbachenko / Hei-Kyung Hong / Kristine Opolais / Angela Gheorghiu
Anita Hartig / Hei-Kyung Hong / Ailyn Pérez
Musetta
Anita Rachvelishvili / Elīna Garanča
Myrtò Papatanasiu/ Susanna Phillips / Sonya Yoncheva
Don José
Carmen
Aleksandrs Antonenko / Roberto Alagna / Jonas Kaufmann
Rodolfo
Act I Paris,
the 1830s. In their Latin Quarter garret,
the near-destitute artist Marcello and poet Rodolfo
try to keep warm on Christmas Eve by feeding the
stove with pages from Rodolfo’s latest drama. They
are soon joined by their roommates—Colline, a philosopher, and Schaunard, a musician, who brings
food, fuel, and funds he has collected from an eccentric student. While they celebrate their unexpected
fortune, the landlord, Benoit, comes to collect the
rent. After making the older man drunk, they urge
him to tell of his flirtations, then throw him out in
mock indignation at his infidelity to his wife. As
his friends depart to celebrate at the Café Momus,
Rodolfo remains behind to finish an article but
promises to join them later. There is another knock
at the door—the visitor is Mimì, a pretty neighbor,
whose candle has gone out on the stairway. As she
enters the room she suddenly feels faint. Rodolfo
gives her a sip of wine, then helps her to the door
and relights her candle. Mimì realizes she lost her
key when she fainted, and as the two search for it,
both candles are blown out. Rodolfo finds the key
and slips it into his pocket. In the moonlight, he
takes Mimì’s hand and tells her about his dreams.
She recounts her life alone in a lofty garret, embroidering flowers and waiting for the spring. Rodolfo’s
friends are heard outside, calling him to join them.
He responds that he is not alone and will be along
shortly. Happy to have found each other, Mimì and
Rodolfo leave, arm in arm, for the café.
Amid the shouts of street hawkers near the
Café Momus, Rodolfo buys Mimì a bonnet and
introduces her to his friends. They all sit down
and order supper. The toy vendor Parpignol passes
by, besieged by children. Marcello’s former sweetheart, Musetta, makes a noisy entrance on the arm
of the elderly but wealthy Alcindoro. The ensuing
tumult reaches its peak when, trying to gain Marcello’s attention, she loudly sings the praises of her
own popularity. Sending Alcindoro off on a pretext, she finally falls into Marcello’s arms. Soldiers
march by the café, and as the bohemians fall in
Act II
68 |
behind, the returning Alcindoro is presented with
the check.
At dawn on the snowy outskirts of Paris, a
customs official admits farm women to the city.
Guests are heard drinking and singing within a
tavern. Mimì arrives, searching for the place where
Marcello and Musetta now live. When the painter
appears, she tells him of her distress over Rodolfo’s
incessant jealousy. She says she believes it is best
that they part. Rodolfo, who has been asleep in the
tavern, comes outside. Mimì hides nearby, though
Marcello thinks she has left. Rodolfo tells his friend
that he wants to separate from Mimì, blaming her
flirtatiousness. Pressed for the real reason, he breaks
down, saying that her coughing can only grow worse
in the poverty they share. Overcome with emotion,
Mimì comes forward to say goodbye to her lover.
Marcello runs back into the tavern upon hearing
Musetta’s laughter. While Mimì and Rodolfo recall
past happiness, Marcello returns with Musetta,
quarreling about her flirting with a customer. They
hurl insults at each other and part, but Mimì and
Rodolfo decide to remain together until spring.
Act III
Act IV Months later in the garret, Rodolfo and Marcello, now separated from their girlfriends, lament
their loneliness. Colline and Schaunard bring a
meager meal. To lighten their spirits the four stage a
dance, which turns into a mock duel. At the height of
the hilarity Musetta bursts in with news that Mimì
is outside, too weak to come upstairs. As Rodolfo
runs to her aid, Musetta relates how Mimì begged
to be taken to Rodolfo to die. She is made as comfortable as possible, while Musetta asks Marcello to
sell her earrings for medicine and Colline goes off
to pawn his overcoat. Left alone, Mimì and Rodolfo
recall their meeting and their first happy days, but
she is seized with violent coughing. When the others return, Musetta gives Mimì a muff to warm her
hands and prays for her life. Mimì slowly drifts into
unconsciousness. Schaunard realizes that she is
dead, and Rodolfo is left desperate.
Bryan Hymel / Ramón Vargas / Jean-François Borras
Escamillo
Massimo Cavalletti / Ildar Abdrazakov / Gábor Bretz
Marcello
Quinn Kelsey / David Bizic / Mariusz Kwiecien
Schaunard
Alexey Lavrov / Alessio Arduini
Colline
David Soar / Matthew Rose / Oren Gradus
Benoit / Alcindoro
Donald Maxwell / John Del Carlo
Spain. In Seville by a cigarette factory, soldiers comment on the townspeople. Among them
is Micaëla, a peasant girl, who asks for a corporal
named Don José. Moralès, another corporal, tells
her he will return with the changing of the guard.
The relief guard, headed by Lieutenant Zuniga, soon
arrives, and José learns from Moralès that Micaëla
has been looking for him. When the factory bell
rings, the men of Seville gather to watch the female
workers—especially their favorite, the gypsy Carmen. She tells her admirers that love is free and
obeys no rules. Only one man pays no attention to
her: Don José. Carmen throws a flower at him, and
the girls go back to work. José picks up the flower
and hides it when Micaëla returns. She brings a letter from José’s mother, who lives in a village in the
countryside. As he begins to read the letter, Micaëla
leaves. José is about to throw away the flower when a
fight erupts inside the factory between Carmen and
another girl. Zuniga sends José to retrieve the gypsy.
Carmen refuses to answer Zuniga’s questions, and
José is ordered to take her to prison. Left alone with
him, she entices José with suggestions of a rendezvous at Lillas Pastia’s tavern. Mesmerized, he agrees
to let her get away. As they leave for prison, Carmen
escapes. Don José is arrested.
Act I
Act II Carmen and her friends Frasquita and Mercédès entertain the guests at the tavern. Zuniga tells
Carmen that José has just been released. The bullfighter Escamillo enters, boasting about the pleasures
of his profession, and flirts with Carmen, who tells
him that she is involved with someone else. After the
tavern guests have left with Escamillo, the smugglers
Dancaïre and Remendado explain their latest scheme
to the women. Frasquita and Mercédès are willing
to help, but Carmen refuses because she is in love.
The smugglers withdraw as José approaches. Carmen
arouses his jealousy by telling him how she danced
for Zuniga. She dances for him now, but when a bugle
call is heard he says he must return to the barracks.
Carmen mocks him. To prove his love, José shows
her the flower she threw at him and confesses how
its scent made him not lose hope during the weeks in
prison. She is unimpressed: if he really loved her, he
would desert the army and join her in a life of freedom
in the mountains. José refuses, and Carmen tells him
to leave. Zuniga bursts in, and in a jealous rage José
fights him. The smugglers return and disarm Zuniga.
José now has no choice but to join them.
November 1, 2014
Radio broadcast: March 7, 2015
Carmen and José quarrel in the smugglers’
mountain hideaway. She admits that her love is fading and advises him to return to live with his mother.
When Frasquita and Mercédès turn the cards to
tell their fortunes, they foresee love and riches for
themselves, but Carmen’s cards spell death—for her
and for José. Micaëla appears, frightened by the
mountains and afraid to meet the woman who has
turned José into a criminal. She hides when a shot
rings out. José has fired at an intruder, who turns
out to be Escamillo. He tells José that he has come to
find Carmen, and the two men fight. The smugglers
separate them, and Escamillo invites everyone, Carmen in particular, to his next bullfight. When he has
left, Micaëla emerges and begs José to return home.
He agrees when he learns that his mother is dying,
but before he leaves he warns Carmen that they will
meet again.
Act III
Act IV Back in Seville, the crowd cheers the bullfighters on their way to the arena. Carmen arrives
on Escamillo’s arm, and Frasquita and Mercédès
warn her that José is nearby. Unafraid, she waits
outside the entrance as the crowds enter the arena.
José appears and begs Carmen to forget the past and
start a new life with him. She calmly tells him that
their affair is over: she was born free and free she
will die. The crowd is heard cheering Escamillo. José
keeps trying to win Carmen back. She takes off his
ring and throws it at his feet before heading for the
arena. José stabs her to death.
| 69
pietro mascagni
jacques offenbach
Libretto by Giovanni Targioni-Tozzetti
and Guido Menasci, based on a story
and play by Giovanni Verga
Libretto by Jules Barbier, based on
the play by Jules Barbier and Michel
Carré (itself based on stories by
E.T.A. Hoffmann)
Teatro Costanzi, May 17, 1890
World premiere: Paris, Opéra
Comique, February 10, 1881
Conductor
Conductor
Fabio Luisi
Yves Abel / James Levine
Santuzza
Olympia
Eva-Maria Westbroek
Erin Morley / Audrey Luna
Turiddu
Antonia / stella
Marcelo Álvarez / Carl Tanner
Hibla Gerzmava / Susanna Phillips
Alfio
Giulietta
Željko Lučić
Christine Rice / Elena Maximova
broadcast: April 25, 2015
Nicklausse / The Muse
Luther’s tavern in a German town. The
poet Hoffmann is in love with Stella, the star singer
of the opera. Lindorf, a rich counselor, also loves her
and has intercepted a note she has written to Hoffmann. Lindorf is confident he will win her for himself.
Entering with a group of students, Hoffmann sings a
ballad about a disfigured dwarf named Kleinzach.
During the song, his mind wanders to recollections
of a beautiful woman. When Hoffmann recognizes
Lindorf as his rival, the two men trade insults. Hoffmann’s Muse, who has assumed the guise of his friend
Nicklausse, interrupts, but the encounter leaves the
poet with a sense of impending disaster. He begins to
tell the stories of his three past loves...
Prologue
The eccentric inventor Spalanzani has created
a mechanical doll named Olympia. Hoffmann, who
thinks she is Spalanzani’s daughter, has fallen in
love with her. Spalanzani’s former partner Coppélius sells Hoffmann a pair of magic glasses through
which he alone perceives Olympia as human. When
Coppélius demands his share of the profits the two
inventors expect to make from the doll, Spalanzani
gives him a worthless check.
Hoffmann arrives and Antonia joins him in singing
until she nearly faints. Crespel returns, alarmed by
the arrival of the charlatan Dr. Miracle, who treated
Crespel’s wife the day she died. The doctor claims he
can cure Antonia but Crespel accuses him of killing
his wife and forces him out. Hoffmann, overhearing
their conversation, asks Antonia to give up singing
and she reluctantly agrees. The moment he has left
Miracle reappears, urging Antonia to sing. He conjures up the voice of her mother and claims she wants
her daughter to relive the glory of her own fame.
Antonia can’t resist. Her singing, accompanied by
Miracle frantically playing the violin, becomes more
and more feverish until she collapses. Miracle coldly
pronounces her dead.
Kate Lindsey / Karine Deshayes / Jennifer Johnson Cano
Hoffmann
Vittorio Grigolo / Matthew Polenzani
Four Villains
Thomas Hampson / Laurent Naouri
broadcast: January 31, 2015
Act I
A village in southern Italy. At dawn on Easter Sunday, Turiddu is heard in the distance singing of his
love for Lola, wife of the carter Alfio. She and Turiddu
had been a couple before he went to join the army.
When he returned and found her married to Alfio, he
took up with Santuzza and seduced her, but now has
abandoned her and rekindled his relationship with
Lola. Later in the morning, a distraught Santuzza
approaches the tavern of Mamma Lucia, Turiddu’s
mother, who tells her that her son is away buying
wine. But Santuzza knows that Turiddu has been
seen during the night in the village. Alfio arrives with
a group of men, boasting of his horses—and of Lola.
He asks Mamma Lucia if she has any more of her
good wine. When she says that Turiddu has gone to
get more, Alfio replies that he saw the other man near
his house that same morning. Lucia is surprised but
Santuzza tells her to keep quiet. As the villagers follow the procession to church, Santuzza stays behind
and pours out her grief about Turiddu to Mamma
Lucia. The old woman expresses her pity, then leaves
for mass. Turiddu appears and is confronted by Santuzza about his affair with Lola but denies her accusations. Just then Lola passes by on her way to church.
She mocks Santuzza, and Turiddu turns to follow her,
70 |
but Santuzza begs him to stay and implores him not
to abandon her. Turiddu refuses to listen and leaves,
cursed by Santuzza. Alfio arrives, late for mass. Santuzza tells him that Lola went to church with Turiddu
and reveals that his wife has been cheating on him. In
a rage, Alfio swears to get even and rushes off, leaving
behind the now conscience-stricken Santuzza.
Returning from the church the villagers gather at
Mamma Lucia’s tavern. Turiddu leads them in a
drinking song, but the atmosphere turns tense when
Alfio appears. He refuses Turiddu’s offer of wine
and instead challenges him to a knife fight. Turiddu
admits his guilt but is determined to go through
with the fight, for Santuzza’s sake as well as for his
honor. The two men agree to meet outside the village. Alone with his mother, Turiddu begs her to
take care of Santuzza if he doesn’t come back, then
runs off to the fight. As Mamma Lucia waits anxiously, shouts are heard in the distance. A woman
runs in screaming that Turiddu has been killed.
Cavalleria Rusticana is performed as a double bill with
Leoncavallo’s Pagliacci. For a synopsis of that opera, turn to
page 86.
Guests arrive and Olympia captivates the crowd
with the performance of a dazzling aria, which
is interrupted several times in order for the doll’s
mechanism to be recharged. Oblivious to this while
watching her through his glasses, Hoffmann is
enchanted. He declares his love and the two dance.
Olympia whirls faster and faster as her mechanism
spins out of control. During the melee Hoffmann’s
glasses are broken. Coppélius, having discovered
that the check was worthless, returns in a fury. He
grabs Olympia and tears her apart as the guests
mock Hoffmann for falling in love with a machine.
Act II Antonia sings a plaintive love song filled with
memories of her dead mother, a famous singer. Her
father, Crespel, has taken her away in the hopes
of ending her affair with Hoffmann and begs her
to give up singing: she has inherited her mother’s
weak heart, and the effort will endanger her life.
Act III The Venetian courtesan Giulietta joins Nicklausse in a barcarole. A party is in progress, and Hoffmann mockingly praises the pleasures of the flesh.
When Giulietta introduces him to her current lover,
Schlémil, Nicklausse warns the poet against the
courtesan’s charms. Hoffmann denies any interest in
her. Having overheard them, the sinister Dapertutto
produces a large diamond with which he will bribe
Giulietta to steal Hoffmann’s reflection for him—
just as she already has stolen Schlémil’s shadow. As
Hoffmann is about to depart, Giulietta seduces him
into confessing his love for her. Schlémil returns and
accuses Giulietta of having left him for Hoffmann,
who realizes with horror that he has lost his reflection. Schlémil challenges Hoffmann to a duel and is
killed. Hoffmann takes the key to Giulietta’s boudoir from his dead rival but finds the room empty.
Returning, he sees her leaving the palace in the arms
of the dwarf Pitichinaccio.
Having finished his tales, all Hoffmann
wants is to forget. Nicklausse declares that each
story describes a different aspect of one woman:
Stella. Arriving in the tavern after her performance,
the singer finds Hoffmann drunk and leaves with
Lindorf. Nicklausse resumes her appearance as the
Muse and tells the poet to find consolation in his
creative genius.
Epilogue
| 71
john adams
giuseppe verdi
Don Carlo
The Death of
Klinghoffer
Don Carlo
Original French libretto by François
Joseph Méry and Camille du Locle,
based on the play by Friedrich
Schiller
Libretto by Alice Goodman
World premiere: Théâtre de la
Monnaie, Brussels, March 19, 1991
Italian translation by Achille de
Lauzières and Angelo Zanardini
Conductor
David Robertson
World premiere: Paris, Opéra,
March 11, 1867
Marilyn Klinghoffer
Michaela Martens
Conductor
Molqi
Sean Panikkar
elisabeth de Valois
The Captain
Barbara Frittoli / Lianna Haroutounian
Paulo Szot
Leon Klinghoffer
Princess Eboli
Alan Opie
Ekaterina Gubanova / Nadia Krasteva
Mamoud
Aubrey Allicock
Don Carlo
Yonghoon Lee / Ricardo Tamura
“Rambo”
Ryan Speedo Green
Rodrigo, count of posa
Simon Keenlyside
Philip II
Ferruccio Furlanetto
cruise liner Achille Lauro has been hijacked
just a few hours out of the port of Alexandria, where
a large group of passengers disembarked for a tour
of the pyramids. Those remaining on the ship are
the old, the very young, those desiring a rest amid
the comforts of a floating hotel, the crew and service staff. The hijackers are an unknown number
of young Palestinian men. Not until much later is
it discovered that there are four of them. Their purpose is not clear. Their actions, however, are definite. A waiter has been shot in the leg. The ship’s
engines have been shut down. The first officer has
a gun against his head. Passengers, who had gathered in the dining room for lunch, are transferred to
the Tapestry Room, which is more easily guarded.
Americans, Britons, and Jews are identified. The
Captain urges calm.
Act I The
On the bridge, the Captain is guarded by the teenager Mamoud. Mamoud tunes in to various local
radio stations. He sings of the night, of his love for
this music, and of his memories. The Captain confides his thoughts on the nature of travel. (One passenger, an Austrian woman, has locked herself into
her stateroom, where she will remain for the next
two days.) Just before dawn a bird lands on the ship’s
railing, almost at the Captain’s elbow. He starts.
Mamoud rebukes him.
Act II It is 11.30am. The Achille Lauro awaits permission to enter the Syrian port of Tartus. The air
corridor is deserted, as is the sea-road. Americans,
Britons, and Jews have been moved on deck to the
72 |
Winter Garden, which is the only place a helicopter
might hope to land. Leon Klinghoffer’s wheelchair
cannot be lifted onto the platform, so he sits a little below the others. There is no shade. Differences
among the Palestinians are becoming clearer, as is
their isolation from their commanders. Molqi, the
leader on board the ship, has not revealed his orders.
Everyone is on edge. One Palestinian torments some
of the passengers. Another, Omar, invokes the holy
death he longs for. Mamoud believes that their radio
contacts have betrayed them. Omar and Molqi fight.
Molqi wheels Klinghoffer away.
Klinghoffer is shot. Mrs. Klinghoffer, sitting on the
deck in wretched discomfort, has no idea her husband is dead. The Palestinians announce the murder
to the Captain. He must inform the authorities on
shore and let them know that other hostages will die.
He considers it his duty as Captain to sacrifice his
life for the others. Molqi decides that no further killing is necessary. During the ensuing radio negotiation the Captain assures Abu Abbas, among others,
that no one has died. It is thus agreed that the ship
will proceed to Cairo, where the Palestinians will be
allowed to disembark. As the ship begins to move,
Klinghoffer’s body is thrown over the side. It will
drift ashore in Syria.
The Achille Lauro has docked in Cairo and the Palestinians have disembarked. The Captain calls Mrs.
Klinghoffer to his cabin and breaks the news of her
husband’s death. She will not be consoled.
—Alice Goodman
Act I France, c. 1560. Against the wishes of the Spanish King Philip II, his son and heir, Don Carlo, has
traveled incognito to Fontainebleau, where negotiations are under way for a peace treaty between Spain
and France. He has seen his intended bride Elisabeth, daughter of the French king, and fallen in love
with her on sight. When he meets Elisabeth and her
page, who have been hunting and become lost in the
forest, Carlo offers his protection without revealing his identity. Elisabeth questions him about her
future husband, apprehensive over her marriage to a
stranger. Carlo gives her a miniature portrait of himself, and she realizes that he is the prince. It is clear
to them both that their feelings of love are mutual.
Their happiness ends with news that the treaty
arrangements have been altered and Elisabeth is to
marry King Philip, Carlo’s father. Elisabeth reluctantly accepts. While all around them celebrate the
end of the war, Elisabeth and Carlo are devastated.
Act II Carlo
seeks peace at the monastery of St. Just
in Spain, where he prays at the tomb of his grandfather, Emperor Charles V. He is confronted by
a monk who seems to be the emperor’s ghost. His
friend Rodrigo, the Marquis of Posa, arrives to
remind Carlo of his commitment to the cause of the
Flemish people who are oppressed by Spanish rule.
Both pledge themselves to the cause of liberty and
swear eternal friendship.
In a garden outside the monastery, Princess Eboli
entertains the other ladies of the court with a song.
Elisabeth—now queen—enters, followed by Posa,
who hands her a secret letter from Carlo asking
for a meeting. When he is admitted, Carlo asks the
queen to obtain Philip’s permission for him to go
to Flanders, then suddenly declares his continuing
love. Elisabeth rejects him and Carlo rushes off. The
king enters and, finding the queen unattended, banishes the Countess of Aremberg, who should have
been present.
grand inquisitor
James Morris
Radio broadcast: April 11, 2015
Left alone with the king, Posa challenges Philip to
end his oppression of the Flemish people. Philip
refuses but is impressed by Posa’s courage. He warns
him to beware of the Inquisition and tells Posa about
his suspicions of his wife and Carlo, asking Posa to
watch them. Posa accepts the assignment, knowing
that being in the king’s confidence will help him in
the future.
Carlo has received a letter asking him to a
secret meeting at midnight in the queen’s gardens in
Madrid. He thinks the meeting is with Elisabeth, but
it is Princess Eboli who appears. She is in love with
him. When Carlo discovers her identity and rejects
her advances, Eboli realizes where the prince’s true
feelings lie and swears to expose him. Posa arrives in
time to overhear Eboli and threatens to kill her but
is stopped by Carlo. Eboli leaves. Posa persuades
Carlo he is now in danger and Carlo hands over
some secret papers to him for safekeeping.
Act III
At a public burning of heretics in front of Madrid’s
Basilica of Our Lady of Atocha, Carlo leads a group
of Flemish deputies to Philip. The king rejects their
pleas for freedom. When he also dismisses Carlo’s
own request to rule Flanders, the prince draws his
sword on his father. He is disarmed by Posa and
arrested. In thanks, Philip makes Posa a duke. As a
continued on page 90
| 73
wolfgang amadeus mozart
gioachino rossini
Don Giovanni
La Donna del Lago
Don Giovanni
Libretto by Lorenzo Da Ponte
Libretto by Andrea Leone Tottola,
based on the poem The Lady of the
Lake by Sir Walter Scott
World premiere: Prague, National
Theater (now Estates Theater),
October 29, 1787
World premiere: Naples,
Teatro San Carlo, October 24, 1819
Conductor
Alan Gilbert
Conductor
Michele Mariotti
Donna Anna
Elza van den Heever
Elena
Joyce DiDonato
Donna Elvira
Emma Bell / Jennifer Check
Malcolm Groeme
Daniela Barcellona
Zerlina
Kate Lindsey
Giacomo V (king james)
Juan Diego Flórez
Don Ottavio
Dmitry Korchak
Rodrigo di Dhu
John Osborn
Don Giovanni
Peter Mattei
duglas d’angus
Oren Gradus
Leporello
Luca Pisaroni
Act I Seville, mid-18th century. Leporello, servant to
the nobleman Don Giovanni, keeps watch outside
the Commendatore’s home at night. Suddenly, the
Commendatore’s daughter, Donna Anna, rushes
out, struggling with the masked Giovanni and followed by her father. The Commendatore challenges
Giovanni to a duel and is killed. Giovanni and Leporello escape. Anna asks her fiancé, Don Ottavio, to
avenge her father’s death.
In the morning, Giovanni and Leporello encounter
one of Giovanni’s former conquests, Donna Elvira,
who is devastated by his betrayal. Leporello tells her
she is neither the first nor the last woman to fall victim to Giovanni and shows her his catalogue with
the name of every woman Giovanni has seduced.
Peasants celebrate the marriage of Masetto and Zerlina. Giovanni flirts with the bride, telling her she
is destined for a better life. But Elvira tells Zerlina
to flee her suitor. She also warns Anna, who is still
unaware of the identity of her father’s murderer and
has asked Giovanni for help in finding the man.
Giovanni, for his part, insists that Elvira is mad,
and Anna and Ottavio wonder what to believe.
As Giovanni leaves, Anna suddenly recognizes
his voice as that of the murderer. Devastated but
determined, she once more asks Ottavio to avenge
her. He wonders how to restore her peace of mind.
Giovanni, who has invited the entire wedding party
to his home, looks forward to an evening of drinking and dancing
Outside Giovanni’s home, Zerlina asks Masetto to
forgive her. Giovanni enters and leads them both
inside. Anna, Elvira, and Ottavio appear masked
and are invited in by Leporello. In the ballroom,
Giovanni dances with Zerlina, then tries to drag her
into the adjoining room. When she cries for help,
Giovanni blames Leporello. Anna, Elvira, and Otta-
74 |
vio take off their masks and, along with Zerlina and
Masetto, accuse Giovanni, who is momentarily surprised but manages to slip away.
Having exchanged clothes with Giovanni,
Leporello takes Elvira on a nighttime walk, leaving
his master free to serenade her maid. When Masetto
arrives with a band of peasants to hunt down
Giovanni, the disguised Don sends them off in various directions, then beats up Masetto. Zerlina finds
her bruised fiancé and comforts him.
Act II
Later that night, Leporello—still believed by Elvira
to be Giovanni—is surprised by Anna, Ottavio, Zerlina, and Masetto, who all denounce the supposed
Don. Fearing for his life, Leporello reveals his true
identity before making his escape. Ottavio proclaims that he will take revenge on Giovanni and
asks the others to look after Anna. Elvira thinks
about Giovanni, whom she still loves in spite of
everything.
In a cemetery, Giovanni and Leporello meet the
statue of the Commendatore, who warns Giovanni
that by morning he will laugh no longer. Giovanni
forces the terrified Leporello to invite the statue to
dinner. The statue accepts.
Once again, Ottavio asks Anna to marry him, but
she replies that she will not until her father’s death
has been avenged.
Elvira arrives at Giovanni’s home. She makes a
last desperate attempt to persuade him to change
his life, but he only laughs at her. The figure of the
Commendatore enters and asks Giovanni to repent.
When he boldly refuses he is consumed by flames.
Elvira, Anna, Ottavio, Zerlina, Masetto, and Leporello appear, contemplating their futures and the
fate of an immoral man.
La Donna del Lago
broadcast: March 14, 2015
Masetto
Adam Plachetka
The Commendatore
James Morris / Ievgen Orlov
Radio broadcast: February 21, 2015
Loch Katrine, Stirlingshire, Scotland. Elena,
the Lady of the Lake, makes her daily crossing while
shepherds watch their flocks and men hunt in the
woods. She sings of her love for Malcolm Groeme,
but comes across King James, who has disguised
himself as “Uberto,” hoping to meet the legendary
beauty Elena. Believing the King to be a hunter who
has lost his way, she offers him hospitality and they
depart for her home, while the King’s men search for
their disguised leader.
Act I
King James learns that Elena’s father is Duglas
d’Angus, his former tutor, who has since joined the
Highland Clan that is opposed to James’s rule. He
also learns of Elena’s betrothal to Rodrigo di Dhu,
the chief of the Highland Clan and enemy of the
King, but his jealousy is assuaged by Elena’s lukewarm reaction to the prospect of her marriage. Malcolm, the suitor whom Elena loves, arrives shortly
after James departs. Hidden, Malcolm must endure
overhearing Duglas order his daughter to marry
Rodrigo, as he commands. After Duglas has left,
Malcolm and Elena pledge their love.
The Highland warriors gather to welcome their
leader, Rodrigo, who introduces Elena as his future
bride. Malcolm has now resolved to join the clan
against the King, but his secret bond with Elena is
perceived by Duglas and Rodrigo when they meet.
When news arrives of an attack by the King’s army
and the omen of a meteor passing in the sky, Rodrigo
and his warriors depart for battle. Scotland is at war.
Still disguised as “Uberto,” James searches
desperately for Elena, hoping to protect her from
the coming bloodshed. When he finds her he once
again declares his love, but she rejects his advances.
He then gives her a ring which he claims was given
to him by the King and will secure her protection
from the King’s forces. Rodrigo, who has overheard
the conversation, attempts to have his soldiers kill
the stranger, but Elena intercedes. Rodrigo vows to
duel with “Uberto” himself.
Act II
Meanwhile, Malcolm has left the battle in the hopes
of finding Elena, but is informed she has followed
her father to Stirling Palace to seek peace. Rodrigo
is reported to have been killed and the Highlanders
now face certain defeat. Malcolm declares that he
will save Elena or face his own death. Elena enters
the castle, determined to save the lives of her father,
Malcolm, and Rodrigo. Using the ring given to her
by “Uberto” she gains access to the King’s chambers.
Elena is surprised to see nobles surrounding
“Uberto,” who soon reveals his true identity. His
feelings for her soften his attitude towards her
father, and he pardons both Duglas and Malcolm.
Elena and Malcolm are finally united, and all rejoice
as a new peace reigns in Scotland.
| 75
giuseppe verdi
engelbert humperdinck
Ernani
Hansel and Gretel
Ernani
Libretto by Francesco Maria Piave,
based on the play Hernani by
Victor Hugo
Hansel and Gretel
Libretto by Adelheid Wette, based on
the fairy tale by the Brothers Grimm
English translation by David Pountney
World premiere: Venice,
Teatro La Fenice, March 9, 1844
World premiere: Weimar,
Court Theater, December 23, 1893
Conductor
Conductor
James Levine / Paul Nadler
Andrew Davis
Elvira
Gretel
Angela Meade
Christine Schäfer / Andriana Chuchman
Ernani
Francesco Meli / Luc Robert
Hansel
Plácido Domingo
Christine Rice / Jennifer Johnson Cano
De Silva
Gertrude
Dmitry Belosselskiy
Michaela Martens
The Witch
Don Carlo
Robert Brubaker
Peter
Dwayne Croft
Act I The Bandit
Spain, 1519. Don Juan of Aragon
has lost his title and wealth during a civil war. Taking the name Ernani, he leads a band of outlaws in
the mountains. He tells his men of his love for Elvira
and his daring plan to rescue her from an impending
forced marriage to her uncle, Don Ruy Gómez de
Silva. The men, eager for action, set out with Ernani
for Silva’s castle.
to a duel and is astonished when Ernani reveals
that Carlo is also a suitor for Elvira’s hand. The
two agree to suspend their quarrel to take vengeance against the king. Once they have done so,
Ernani says, his life will be in Silva’s hands. As a
pledge, Ernani gives Silva a hunting horn: when it is
sounded, Ernani will kill himself. Silva agrees and
calls his men in pursuit of Carlo.
As Elvira waits for Ernani in her room, she is visited by Don Carlo, the King of Spain. He declares
his love but then tries to abduct her, and she grabs a
knife in self-defense. Ernani bursts in. The king recognizes him as the notorious outlaw and taunts him
with insults. The men are about to duel when Silva
comes into the room. He is shocked to discover Elvira
with two strangers and threatens them both. When a
messenger reveals the king’s true identity, Silva asks
for forgiveness, which Carlo grants. He needs Silva’s
support in the election for the new Holy Roman
Emperor. The king dismisses Ernani, who is angry
but leaves at Elvira’s urging, vowing revenge.
Act III Clemency At Charlemagne’s tomb in Aachen,
Carlo is waiting for the electors’ choice of the next
Holy Roman Emperor. He thinks about the futility of wealth and power and vows to rule wisely if
chosen. As a group of conspirators led by Ernani
and Silva gathers to plan his assassination, he hides
inside the tomb. Ernani is chosen as the one to kill
the king, and the men look forward to a better future
for Spain. When cannon shots announce that Carlo
has been elected emperor, he emerges from his hiding place and orders the conspirators to be punished. The nobles are to be executed, the commoners
imprisoned. Ernani reveals his true identity and
demands to share the fate of the other noblemen.
Elvira again pleads for his life. Addressing himself
to the spirit of Charlemagne, the new emperor pardons the conspirators and agrees to the marriage of
Ernani and Elvira.
Act II The Guest In Silva’s castle, preparations are
underway for the marriage of Elvira and Silva.
Ernani arrives, disguised as a pilgrim. When Elvira
enters in her bridal dress, Ernani throws off his
cloak and offers his head—which has a price on it—
as a wedding gift. Elvira, briefly left alone with her
lover, assures him that she would rather kill herself
than marry someone else. When Silva returns, he
is furious to find the couple embracing. But at the
arrival of the king, Silva hides Ernani so that he can
take revenge on the outlaw later. Carlo accuses Silva
of concealing a criminal, but the old man refuses
to turn Ernani in and offers his own life as forfeit.
When Elvira enters to ask the king for mercy, he
takes her away as a hostage. Silva challenges Ernani
76 |
Act IV The Mask At his palace in Saragossa, Ernani is
celebrating his upcoming marriage to Elvira. A horn
sounds in the distance, interrupting a brief moment
alone for the happy couple. The horn announces
Silva, who enters demanding that Ernani fulfill his
oath. Sending the terrified Elvira away, Ernani confronts his rival and pleads for a moment of happiness at the end of his miserable life. Elvira returns as
Silva hands Ernani a knife and demands the life that
has been promised to him.
Act I In the
broom-maker’s house. Hansel complains
he is hungry. Gretel shows him some milk that a
neighbor has given them for the family’s supper,
and the children dance. They are interrupted but the
return of their mother, who wants to know why they
have got so little work done. When she accidentally
spills the milk, she angrily chases the children out
into the woods to pick strawberries. The father, a
broom-maker, returns home drunk. He brings out
the food he has bought, to the mother’s delight,
then asks where the children have gone. The mother
replies that she sent them into the woods. Alarmed,
he tells her about the Witch who lives there and that
the children are in danger. The parents rush off to
look for them.
Act II In the woods. Hansel picks strawberries. The
children hear a cuckoo singing. Imitating the bird’s
call, they eat the strawberries, and soon there are
none left. In the silence of the wood, Hansel admits
to Gretel that he has lost the way. The children grow
frightened when suddenly the Sandman appears to
bring them sleep, sprinkling sand over their eyes.
Hansel and Gretel say their evening prayers. In a
dream, they see 14 angels.
Act III The
gingerbread house. The Dew Fairy comes
to wake the children. Gretel rouses Hansel, and they
notice the gingerbread house. The Witch appears
and decides to fatten Hansel up. She puts a spell on
him so he can’t run away, but Gretel has overheard
the Witch’s words and sets Hansel free. When the
Witch asks her to look into the oven to make sure
it’s hot, Gretel pretends she doesn’t know how to:
the Witch must show her. When the Witch peers into
the oven, the children shove her inside and shut the
door. The oven explodes and the enchanted gingerbread children come back to life. The mother and
father, still looking for their children, arrive, and all
express gratitude for their salvation.
| 77
peter tchaikovsky
dmitri shostakovich
Iolanta
Iolanta
Libretto by Modest Tchaikovsky,
based on the play King René’s
Daughter by Henrik Hertz
Libretto by the composer and
Alexander Preis, based on the story
by Nikolai Leskov
World premiere: St. Petersburg,
Mariinsky Theater, December 18, 1892
World premiere: Leningrad (now
St. Petersburg), Maly Opera Theater,
January 22, 1934
Conductor
Valery Gergiev / Pavel Smelkov
Conductor
Iolanta
James Conlon
Anna Netrebko
Katerina Ismailova
Vaudémont
Eva-Maria Westbroek
Piotr Beczala
Robert
Alexey Markov / Maxim Aniskin
Ibn-Hakia
Elchin Azizov / Vladimir Chmelo
René
Alexei Tanovitski
broadcast: February 14, 2015
Act I Katerina,
the young wife of Zinovy Ismailov, is
bored with her life and loveless marriage. Her fatherin-law, Boris, complains that she hasn’t yet produced
an heir and warns her not to take a lover. When
news arrives that a dam on an outlying part of their
property has broken, Zinovy decides to oversee the
repairs himself. Before he leaves, he points out to his
father a new laborer named Sergei. Boris humiliates
Katerina by making her swear in public that she will
be faithful to her husband and by forcing her to her
knees. The cook Aksinya gossips that the handsome
Sergei was dismissed from his previous employment
because the mistress fell for him.
The workers, led by Sergei, molest Aksinya. Katerina intervenes, defending the bravery of women
and berating Sergei. He challenges her to a trial of
strength. They wrestle, clearly attracted to each other,
and Sergei pins her down just as Boris appears. Boris
threatens to tell Zinovy about his wife’s behavior and
sends them all back to work.
Iolanta is blind. She lives a secluded life and is treated
like a doll. A long time ago her father, King René, hid
her from the world and placed her in the care of simple
people, Martha and Bertrand. His greatest concern is
for his daughter never to find out she is blind. He also
doesn’t want the news of Iolanta’s blindness to reach
Robert, her future husband. Iolanta is convinced that
eyes are only for crying. But she is becoming anxious
and has some vague presentiments.
Alméric arrives at Iolanta’s dwelling, announcing a
visit from the King and a famous Moorish physician.
The doctor’s diagnosis is clear: Iolanta must be told
of her disability before treatment can begin. René
says no.
Robert and Vaudémont appear at Iolanta’s house.
They are overawed—the place seems to hide a secret,
danger, they feel threatened. They meet Iolanta, not
knowing who she is. Robert doesn’t realize she is his
betrothed, whom he doesn’t want to marry because
he loves someone else. Vaudémont is enchanted with
the girl while Robert is worried by this mysterious
78 |
place. Enthralled with Iolanta’s beauty, Vaudémont
asks her to give him a red rose as a keepsake. Iolanta
hands him a white one, twice. Vaudémont realizes
that she can’t see. Iolanta has no idea what it means
to see, she isn’t aware of what she is missing. King
René catches Vaudémont talking to Iolanta and
is furious with him for revealing the secret to her.
With no will of her own, Iolanta doesn’t even know
whether she wants to be able to see—she will do anything her father tells her. This only confirms the doctor’s words that without an inner desire, no change
is possible. To awaken her desire to regain her sight,
the King threatens that if the treatment fails Vaudémont will be killed. Iolanta is healed and her father
consents to her marriage to Vaudémont. But regaining her sight doesn’t bring Iolanta the expected
deliverance. Blinded by the world, she can’t believe
that the people she loves look the way they do. Her
love for Vaudémont and the wedding ceremony subdue her fears.
Iolanta is performed as a double bill with Bartók’s Bluebeard’s
Castle. For a synopsis of that opera, turn to page 67.
Lady Macbeth
of Mtsensk
Later in her bedroom, Katerina reflects on her frustrated longings and her despair. On the pretext of
wanting to borrow a book, Sergei knocks on the
door. He seizes her and their embrace leads to passionate lovemaking.
Act II The sleepless Boris keeps watch over the house.
Lost in memories of his youthful amorous adventures and seeing light in Katerina’s room, he decides
to perform his son’s marital duties for him. At that
moment he notices Sergei kissing Katerina goodbye at her window. He seizes Sergei as he climbs
down and summons his daughter-in-law to watch as
he flogs her lover. Locked in her room, Katerina is
unable to defend Sergei, but she eventually climbs
down and hurls herself at Boris. Sergei is locked
in the storeroom. Boris demands food and sends a
message to call Zinovy home. Katerina serves him
mushrooms she has poisoned. Boris cries out for
help and for a priest to hear his confession, but Katerina just takes his keys and goes to release Sergei.
The priest arrives in time to hear Boris accuse his
daughter-in-law of murder, but Katerina mourns so
eloquently that all believe the dying man is raving.
In Katerina’s room, Sergei warns her that Zinovy’s
return will bring an end to their love. As he falls
asleep, she thinks about their future but becomes
terrified when the ghost of Boris appears and curses
her. Her screams wake Sergei, who sees nothing and
calms Katerina. When they hear Zinovy approaching, Sergei hides. Zinovy enters and questions his
wife. She responds with sarcasm, and he starts beating her with Sergei’s belt, which he noticed lying on
the bed. Sergei rushes forward to defend her. Zinovy
tries to escape, but Katerina strangles him with Sergei’s help. The lovers dispose of the body.
Sergei
Brandon Jovanovich / Frank van Aken
Zinovy Ismailov
Raymond Very
Boris Ismailov
Anatoli Kotscherga
On their wedding day, Katerina and Sergei think about the hidden corpse. As they leave
for the ceremony, a drunken peasant, in search of
more liquor, breaks open the door and discovers
the body.
Act III
At the local jail, a police sergeant and his men idly
sing the praises of their profession and complain
about the low pay. They question a teacher who is
accused of being a nihilist, but even this diversion
can’t compensate for the fact that none of them has
been invited to Katerina’s wedding. When the peasant appears with news of having found a corpse at
the Ismailovs’, they hurry off to investigate.
During the wedding feast Katerina suddenly
notices that the lock has been broken. She tells Sergei they must leave immediately. As he goes to get
money from the house, the police arrive. Katerina,
realizing there is no point in resistance, holds out
her wrists to be handcuffed. Sergei tries to escape
but is captured.
Act IV On the road to Siberia, convicts stop by a
river for the night, men and women in separate
groups. Katerina bribes a guard and finds Sergei,
who blames her for ruining his life. Tormented
by his rejection, she returns to her place. Meanwhile, Sergei flirts with another convict, the young
Sonyetka, who promises to be his if he will get her
a new pair of stockings. Sergei goes to Katerina,
pretending he won’t be able to walk further unless
she gives him her stockings. Katerina does and
he immediately takes them to Sonyetka. Katerina
watches helplessly as the other women taunt her. An
officer orders everyone to get ready to continue the
march. Katerina approaches Sonyetka and drags her
off a bridge into the river where both are drowned.
| 79
gaetano donizetti
giuseppe verdi
Lucia di Lammermoor
Macbeth
Lucia di Lammermoor
Macbeth
Libretto by Salvadore Cammarano,
based on the novel The Bride of
Lammermoor by Sir Walter Scott
based on the play by William
Shakespeare
World premiere: Naples, Teatro
San Carlo, September 26, 1835
World premiere: Florence, Teatro
della Pergola, March 14, 1847
Conductor
Maurizio Benini
Premiere of revised version: Paris,
Théâtre Lyrique, April 21, 1865
Lucia
Conductor
Albina Shagimuratova
Fabio Luisi
Edgardo
Lady Macbeth
Joseph Calleja
Anna Netrebko
Enrico
Macduff
Fabio Capitanucci
Joseph Calleja
Raimondo
Macbeth
Alastair Miles / Oren Gradus
Željko Lučić
Banquo
René Pape
Scotland, mid-19th century. An intruder has
been spotted at night on the grounds of Lammermoor Castle, home of Enrico Ashton. Normanno,
the captain of the guard, sends Enrico’s men off
in search of the stranger. Enrico arrives, troubled.
His family’s fortunes are in danger, and only the
arranged marriage of his sister, Lucia, with Lord
Arturo can save them. The chaplain Raimondo,
Lucia’s tutor, reminds Enrico that the girl is still
mourning the death of her mother. But Normanno
reveals that Lucia is concealing a great love for
Edgardo di Ravenswood, leader of the Ashtons’
political enemies. Enrico is furious and swears vengeance. The men return and explain that they have
seen and identified the intruder as Edgardo. Enrico’s fury increases.
Act I
Just before dawn at a fountain in the woods nearby,
Lucia and her companion Alisa are waiting for
Edgardo. Lucia relates that, at the fountain, she
has seen the ghost of a girl who was stabbed by her
jealous lover. Alisa urges her to leave Edgardo, but
Lucia insists that her love for Edgardo brings her
great joy and may overcome all. Edgardo arrives and
explains that he must go to France on a political mission. Before he leaves he wants to make peace with
Enrico. Lucia, however, asks Edgardo to keep their
love a secret. Edgardo agrees, and they exchange
rings and vows of devotion.
Act II It is some months later, the day on which Lucia
is to marry Arturo. Normanno assures Enrico that
he has successfully intercepted all correspondence
between the lovers and has in addition procured a
forged letter, supposedly from Edgardo, that indicates he is involved with another woman. As the captain goes off to welcome the groom, Lucia enters,
continuing to defy her brother. Enrico shows her
the forged letter. Lucia is heartbroken, but Enrico
insists that she marry Arturo to save the family. He
leaves, and Raimondo, convinced no hope remains
80 |
October 11, 2014
for Lucia’s love, reminds her of her dead mother and
urges her to do a sister’s duty. She finally agrees.
As the wedding guests arrive, Enrico explains to
Arturo that Lucia is still in a state of melancholy
because of her mother’s death. The girl enters and
reluctantly signs the marriage contract. Suddenly
Edgardo bursts in, claiming his bride, and the
entire company is overcome by shock (Sextet: “Chi
mi frena in tal momento”). Arturo and Enrico order
Edgardo to leave but he insists that he and Lucia
are engaged. When Raimondo shows him the contract with Lucia’s signature, Edgardo curses her and
tears his ring from her finger before finally leaving
in despair and rage.
Act III Enrico visits Edgardo at his dilapidated home
and taunts him with the news that Lucia and Arturo
have just been married. The two men agree to meet
at dawn by the tombs of the Ravenswoods for a duel.
Back at Lammermoor, Raimondo interrupts the
wedding festivities with the news that Lucia has
gone mad and killed Arturo. Lucia enters, covered in
blood. Moving between tenderness, joy, and terror,
she recalls her meetings with Edgardo and imagines
she is with him on their wedding night. She vows she
will never be happy in heaven without her lover and
that she will see him there. When Enrico returns, he
is enraged at Lucia’s behavior, but soon realizes that
she has lost her senses. After a confused and violent
exchange with her brother, Lucia collapses.
At the graveyard, Edgardo laments that he has to
live without Lucia and awaits his duel with Enrico,
which he hopes will end his own life. Guests coming from Lammermoor Castle tell him that the
dying Lucia has called his name. As he is about
to rush to her, Raimondo announces that she has
died. Determined to join Lucia in heaven, Edgardo
stabs himself.
Act I Scotland. Macbeth and Banquo, leaders of the
Scottish army, meet a group of witches who prophesy the future. They address Macbeth as Thane of
Cawdor and King of Scotland, and tell Banquo
that he will be the father of kings. The two men try
to learn more, but the witches vanish. Messengers
arrive with news that Duncan, the current king of
Scotland, has made Macbeth Thane of Cawdor. The
first part of the witches’ prediction has come true.
Lady Macbeth welcomes the court to the banquet
hall and sings a drinking song, while Macbeth
receives news that Banquo is dead and his son has
escaped. About to take Banquo’s seat at the table,
Macbeth has a terrifying vision of the dead man
accusing him. His wife is unable to calm her unsettled husband, and the courtiers wonder about the
king’s strange behavior. Macduff vows to leave the
country, which is now ruled by criminals.
In Macbeth’s castle, Lady Macbeth reads a letter
from her husband telling her of the events that have
just transpired. She resolves to follow her ambitions.
A servant announces that Duncan will soon arrive at
the castle, and when Macbeth enters, she tells him
that they must kill the king. Duncan arrives. Macbeth
has a vision of a dagger, then leaves to commit the
murder. On his return, he tells his wife how the act
has frightened him, and she tells him that he needs
more courage. They both leave as Banquo enters with
Macduff, a nobleman, who discovers the murder.
Macbeth and Lady Macbeth pretend to be horrified
and join the others in condemning the murder.
Act III The witches gather again, and Macbeth visits them, demanding more prophecies. Apparitions
warn him to beware of Macduff and assure him that
“no man of woman born” can harm him, and that he
will be invincible until Birnam Wood marches on
his castle. In another vision, he sees a procession of
future kings, followed by Banquo. Horrified, Macbeth collapses. The witches disappear and his wife
finds him. They resolve to kill Macduff and his family.
Macbeth has become king. Duncan’s son,
Malcolm, is suspected of having killed his father
and has fled to England. Worried about the prophecy that Banquo’s children will rule, Macbeth and
his wife now plan to kill him and his son, Fleance,
as well. As Macbeth leaves to prepare the double
murder, Lady Macbeth hopes that it will finally
make the throne secure.
On the Scottish border, Macduff has joined
the refugees. His wife and children have been killed.
Malcolm appears with British troops and leads them
to invade Scotland.
Act IV
Act II
Outside the castle, assassins wait for Banquo, who
appears with his son, warning him of strange forebodings. Banquo is killed, but Fleance escapes.
Lady Macbeth is sleepwalking, haunted by the horrors of what she and her husband have done.
Macbeth awaits the arrival of his enemies and realizes that he will never live to a peaceful old age. Messengers bring news that Lady Macbeth has died, and
that Birnam Wood appears to be moving. English soldiers appear, camouflaged with its branches. Macduff
confronts Macbeth and tells him that he was not born
naturally but had a Caesarean birth. He kills Macbeth and proclaims Malcolm king of Scotland.
| 81
jules massenet
richard Wagner
Manon
Manon
Libretto by Henri Meilhac and
Philippe Gille, based on the novel
L’Histoire du Chevalier des Grieux et
de Manon Lescaut by Abbé Prévost
Libretto by the composer
World premiere: Munich,
Court Opera, June 21, 1868
World premiere: Paris,
Opéra Comique, January 19, 1884
Conductor
James Levine
Conductor
Eva
Emmanuel Villaume
Annette Dasch
Manon
Magdalene
Diana Damrau
Karen Cargill
Chevalier des Grieux
Walther von Stolzing
Vittorio Grigolo
Johan Botha
Lescaut
Act I France,
the end of the 19th century. The noblemen de Brétigny and Guillot de Morfontaine are
having dinner with three young women—Poussette,
Javotte, and Rosette—at an inn in Amiens, north of
Paris. People gather for the arrival of the coach to
Paris, among them Lescaut. He is waiting for his
young cousin Manon, who is on her way to enter
a convent. The coach arrives and Manon expresses
her exuberant joy about her first journey away from
home. Enchanted by her, Guillot offers to take
Manon to Paris, but she and his companions laugh
at him. Lescaut reproaches Manon for her behavior,
which could shame their family. Manon gazes with
envy at the elegant clothes of the other girls. The
young Chevalier des Grieux arrives too late to catch
the coach, which has already left for Paris. He falls
in love with Manon at first sight, and when she tells
him that it is her fondness for pleasure that has led
her family to send her to a convent, he is determined
to rescue her from such a fate. They escape together
in Guillot’s coach. The returning Lescaut furiously
accuses Guillot of having kidnapped his cousin, but
then learns from the innkeeper that Manon went off
with a young man. Guillot, mocked by everyone,
swears revenge on the eloping couple.
Act II In
their apartment in Paris, des Grieux writes
to his father for permission to marry Manon. The
maid announces visitors: Lescaut and another
man, who, she warns Manon, is de Brétigny in disguise. Lescaut, using the argument of family honor
offended, berates des Grieux for having abducted
Manon. In fact he is trying to profit by setting her
up with de Brétigny. Des Grieux, to prove his honorable intentions, produces his letter. Meanwhile,
de Brétigny tells Manon that des Grieux’s father is
planning to kidnap his own son that evening; if she
does nothing to prevent it and instead comes to live
with de Brétigny, she can have wealth and luxury.
After Lescaut and de Brétigny have left, des Grieux
goes out to post his letter. Manon realizes she is
unable to resist de Brétigny’s offer and bids farewell
to her life with des Grieux. Des Grieux returns to
find her weeping, but she will not tell him why. He
talks of his dream of an idyllic future together in the
country. When there’s a knock on the door Manon
82 |
begs him not to answer it, but he goes. Looking out
the window, she sees him being abducted.
Act III On
a public holiday, a crowd has gathered at
the Cours-la-Reine. Manon, now living with de Brétigny and the toast of Paris, praises the pleasures of
her luxurious existence. Overhearing a conversation
between de Brétigny and the Count des Grieux, she
learns that the count’s son, following an unhappy
love affair, is about to become a priest and will
preach later that day at the seminary of St. Sulpice.
Manon doesn’t believe that des Grieux could have
forgotten her and leaves the festivities to find him.
At St. Sulpice, des Grieux has attracted much admiration for his sermon. The count tries to dissuade his
son from entering the priesthood in favor of marriage. Des Grieux is adamant but realizes that he
can’t forget Manon. When she appears he angrily
confronts her. She admits her guilt but begs him
to forgive her and to remember their past love. Des
Grieux yields to his feelings and renounces his vows.
Gamblers are gathered at the Hôtel de Transylvanie, among them Guillot and Lescaut. Manon
and des Grieux arrive, and she reminds him that
his fortune has nearly run out. He accepts Guillot’s
challenge to play. Manon, Poussette, Javotte, and
Rosette consider what money might bring them.
Des Grieux wins heavily and Guillot accuses him
of cheating, threatening to inform the count. The
police arrive and des Grieux is arrested. The count
assures his son that he will be released soon. Manon,
as his accomplice, is taken away to prison.
Act IV
Des Grieux and Lescaut have come up with a
plan to rescue Manon, who has been sentenced to
deportation to America, but their paid accomplices
have deserted them. On the road to the port of Le
Havre, Lescaut manages to bribe the guards and
leaves Manon and des Grieux alone together. Ill and
exhausted, she begs des Grieux to forgive her for the
shame she has brought him. While she recalls their
past, he only thinks of their future together. But the
rescue has come too late. As des Grieux assures her of
his forgiveness and love, Manon dies in his arms.
Act V
Die Meistersinger
von Nürnberg
David
Russell Braun / Michael Todd Simpson
Paul Appleby
Hans Sachs
Comte des Grieux
Johan Reuter
Nicolas Testé
Beckmesser
Johannes Martin Kränzle
Pogner
Hans-Peter König
Night watchman
Matthew Rose
Nuremberg, 16th century. At St. Katherine’s
Church, the visiting young knight Walther von
Stolzing approaches Eva, daughter of the wealthy
goldsmith Pogner, who is attending mass with her
companion, Magdalene. Eva tells her admirer that
she is to be engaged the following day to the winner
of a song contest held by the local guild of master
singers. David, Magdalene’s sweetheart and apprentice to the cobbler and mastersinger Hans Sachs,
explains the rules of song composing to Walther, who
is surprised by the complicated ins and outs of mastersinging. Meanwhile David’s fellow apprentices
set up for a preliminary trial singing. The masters
arrive, including Eva’s father, and Walther expresses
his desire to become a mastersinger in order to ask
for Eva’s hand. The pedantic town clerk Beckmesser,
who wants to marry Eva himself, is immediately suspicious of the young knight. As proof that tradesmen value art, Pogner offers his daughter’s hand as
the prize for the next day’s contest and explains that
she can reject the winner, but must marry a mastersinger or can marry no one. Walther introduces himself and describes his natural, self-taught methods
of musical composition, provoking mocking comments from Beckmesser. For his trial song, Walther
sings an impulsive tune in praise of love and spring,
breaking many of the masters’ rules. Beckmesser
vigorously keeps a count of his errors. Rejected by
the masters, Walther leaves, while Sachs reflects on
the unexpected appeal of Walther’s song.
Act I
That evening in front of Pogner’s house,
David tells Magdalene about Walther’s misfortune,
and Eva gets the disappointing news from Magdalene. Across the street, Sachs sits down to work
Act II
in his doorway, but the memory of Walther’s song
distracts him. Eva appears, hoping to learn more
about the knight’s trial. When Sachs mentions that
Beckmesser hopes to win her the next day, she suggests she wouldn’t be unhappy if Sachs himself
won the contest. Sachs, who has known Eva since
she was a child, responds with paternal affection.
Asked about Walther, he pretends to disapprove of
the young man, which leads Eva to reveal her true
feelings and to run off. In the street, she is met by
Walther who convinces her to elope. The two hide
as a night watchman passes. Sachs, who has overheard the lovers’ conversation, decides to help them
but prevent their flight. He lights the street with a
lantern, forcing Eva and Walther to stay put. Meanwhile Beckmesser arrives to serenade Eva. As he is
about to begin, Sachs launches into a cheerful cobbler’s song, much to the clerk’s irritation, claiming
he needs to finish his work. The two men agree that
both would make progress if Beckmesser were to
sing while Sachs marked any broken rules of style
with his cobbler’s hammer. Beckmesser finally sings
his song, directing it at Magdalene who is impersonating Eva at a window of Pogner’s house. Sachs
frequently interrupts with hammer strokes, to Beckmesser’s mounting anger. Walther and Eva observe
the scene from their hiding place, bewildered at
first, then amused. Confusion increases when David
appears and attacks Beckmesser for apparently
wooing Magdalene. Finally the night-shirted neighbors, roused from sleep, join in the general tumult
until the sound of the night watchman’s horn disperses them. Pogner leads Eva inside while Sachs
broadcast: December 13, 2014
| 83
franz lehár
The Merry Widow
Le Nozze di Figaro
The Merry Widow
Libretto by Victor Léon and Leo
Stein, based on the play L’Attaché
d’Ambassade by Henri Meilhac
Libretto by Lorenzo Da Ponte, based
on the play La Folle Journeé, ou Le
Mariage de Figaro by Pierre-Augustin
Caron de Beaumarchais
English translation by Jeremy Sams
World premiere: Vienna, Burgtheater,
May 1, 1786
World premiere: Theater an der
Wien, Vienna, December 30, 1905
conductor
Conductor
James Levine / Edo de Waart
Andrew Davis / Paul Nadler / Fabio Luisi
countess almaviva
Amanda Majeski / Rachel Willis-Sørensen
Hanna Glawari
Renée Fleming / Susan Graham
susanna
Valencienne
Marlis Petersen / Danielle de Niese
Kelli O’Hara/ Danielle de Niese
cherubino
Danilo
Isabel Leonard / Serena Malfi
Nathan Gunn / Rod Gilfry
count almaviva
Camille de Rosillon
The Pontevedrian ambassador in Paris, Baron
Mirko Zeta, is giving a ball at the embassy. His
home country is nearly bankrupt and he hopes
that their Parisian guests will help them raise the
money they need. He’s pleased to see his young
wife, Valencienne, flirt with Camille de Rosillon,
a young Frenchman, assuming she’s trying to win
French support for Pontevedro. In fact, Camille has
declared his love for Valencienne and writes “I love
you” on her fan. Zeta eagerly awaits the arrival of
the guest of honor, Hanna Glawari, a wealthy Pontevedrian widow. He plans to get Danilo Danilovitch,
a womanizing aristocrat and the embassy secretary,
to marry her so that her millions will stay in Pontevedro. Hanna arrives and is showered with compliments by the Parisian men. Valencienne realizes
she has lost her fan with Camille’s incriminating
message and rushes out to look for it. Finally Danilo
arrives, fresh from a night of partying at Maxim’s.
He and Hanna talk, revealing that they were once in
love, but that Hanna was considered too far beneath
Danilo’s status for him to marry her. He tells her
he’s not interested in marriage and will never say
“I love you.” Meanwhile, Zeta’s chief of staff, Kromow, finds Valencienne’s fan and thinks it belongs
to his wife, Olga. Zeta, wanting to spare Olga the
scandal, convinces him it is Valencienne’s. He then
meets with Danilo and orders him to marry Hanna
for the good of Pontevedro. Danilo replies that he
will keep all the Parisian men away from her, but
will not marry her. When the ladies choice dance is
announced, Hanna selects Danilo, and after some
flirtatious bantering the two finally dance.
Act I
Act II The following day, Hanna hosts a party at her
villa. Danilo arrives late, and Zeta commands him
to return to his mission of keeping the Parisian men
from Hanna—particularly Camille. Danilo’s assistant, Njegus, reveals that Camille is already in love
with a mystery woman. Zeta wants to know who
she is in order to marry her off to Camille, leaving
Hanna free for a Pontevedrian suitor. He believes
the fan is the key to her identity and asks Danilo to
84 |
find its owner. When Hanna comes across the fan
and reads its inscription, she assumes it is a gift to
her from Danilo, but he still won’t say “I love you”
and she will not accept him until he does. Their
dance is interrupted by Zeta, who is still trying to
learn the identity of Camille’s secret lover. The men
agree to meet in the pavilion to discuss the matter.
Camille and Valencienne finally find the missing fan,
and this time Valencienne writes “I am a respectable
wife” on it. Observed by Njegus, they disappear into
the pavilion. When Zeta arrives to meet Danilo, Njegus prevents him from entering the pavilion to protect Valencienne’s secret and instead sneaks Hanna
in to take her place. Hanna then emerges with
Camille and announces their engagement. A furious
Danilo departs for Maxim’s, which Hanna takes as
proof of his love.
Arriving at Maxim’s in search of Danilo,
Camille and Valencienne sneak off to one of the
private rooms. Zeta and the other Pontevedrians
appear, and the grisettes—among them a dressedup Valencienne—entertain the crowd. Eventually
both Danilo and Hanna arrive. He forbids her to
marry Camille. When she explains that she was
merely safeguarding another woman’s reputation,
he is delighted but still won’t declare his love. As the
guests reassemble, Danilo announces that Hanna
will not marry Camille, but he will not reveal the
identity of Camille’s secret lover. Njegus produces
the missing fan, which he found in the pavilion. Zeta
finally recognizes it as his wife’s, declares himself
divorced, and proposes to Hanna—who informs him
that, according to her late husband’s will, she will
lose her fortune if she remarries. At this, the other
men lose interest in Hanna, except Danilo, who
finally declares his love and asks Hanna to marry
him. She accepts and amends her account of the will:
upon remarrying her fortune will pass to her new
husband. Valencienne returns and asks Zeta to read
the other side of her fan—she is a respectable wife.
With the couples united, the men are left to wonder
about the mystery of women.
Act III
Le Nozze di Figaro
Peter Mattei / Mariusz Kwiecien
Alek Shrader / Stephen Costello
figaro
Baron Mirko Zeta
Ildar Abdrazakov / Erwin Schrott
Thomas Allen / Alan Opie
October 18, 2014
broadcast: January 17, 2015
Act I A manor house near Seville. In a storeroom
that they have been allocated, Figaro and Susanna,
servants to the Count and Countess Almaviva, are
preparing for their wedding. Figaro is furious when
he learns from his bride that the Count has tried to
seduce her. He is determined to have his revenge
on his master. Dr. Bartolo appears with his former
housekeeper, Marcellina, who is equally determined to marry Figaro. She has a contract: Figaro
must marry her or repay the money he borrowed.
When Marcellina runs into Susanna, the two rivals
exchange insults. Susanna returns to her room and
an adolescent boy, Cherubino, rushes in. Finding
Susanna alone, he tells her he loves her—and every
other woman in the house. The Count appears,
again trying to seduce Susanna, and Cherubino
hides. The Count then conceals himself as well when
Basilio, the music teacher, approaches. Basilio tells
Susanna that Cherubino has a crush on the Countess. This causes the Count to step forward in anger.
He becomes even more enraged when he discovers
Cherubino and realizes that his attempts to seduce
Susanna have been overheard. He chases Cherubino
into the great hall where they are met by Figaro,
who has assembled the entire household to sing
the praises of their master. The Count is forced to
bless the marriage of Figaro and Susanna. To spite
them and to silence Cherubino, he orders the boy to
join the army without delay. Figaro ironically tells
Cherubino what to expect—no flirting with girls, no
fancy clothes, no money, just shells, cannons, bullets, marching, and mud.
Act II In her bedroom, Rosina, the Countess, mourns
the loss of love in her life. Encouraged by Figaro and
Susanna, she agrees to set a trap for her husband:
they will send Cherubino, disguised as Susanna,
to a rendezvous with the Count that night and at
the same time make him believe that the Countess
is having an assignation with another man. Cherubino appears and the two women lock the door, then
begin to dress him up as a girl. While Susanna steps
into an adjoining room, the Count knocks and is
annoyed to find the door locked. Cherubino shuts
himself in the dressing room and the Countess lets
her husband in. When there’s a sudden noise from
the dressing room, the Count is skeptical of his
wife’s story that Susanna is in there. Taking his wife
with him, he leaves to get tools to force the door.
Meanwhile, Susanna, who has re-entered the room
unseen and observed everything, helps Cherubino
escape through the window before taking his place
in the dressing room. When the Count and Countess return, both are astonished to find Susanna in it.
All seems well until the gardener, Antonio, appears,
complaining that someone has jumped from the
window, ruining his flowers. Figaro, who has rushed
in to announce that everything is ready for the wedding, improvises quickly, feigning a limp and pretending that it was he who jumped. At that moment
Bartolo, Marcellina, and Basilio arrive, putting
their case to the Count and waving the contract that
obliges Figaro to marry Marcellina. Delighted, the
Count declares that Figaro and Susanna’s wedding
will be postponed.
Act III Later in the day in the great hall, Susanna leads
the Count on with promises of a rendezvous that
night. He is overjoyed but then overhears Susanna
conspiring with Figaro. In a rage, he declares he will
have revenge. Marcellina, supported by a lawyer,
Don Curzio, demands that Figaro pay his debt or
| 85
ruggero leoncavallo
igor stravinsky
Pagliacci
Pagliacci
Libretto by the composer
Libretto by W.H. Auden and
Chester Kallman
World premiere: Milan, Teatro
dal Verme, May 21, 1892
World premiere: Venice, Teatro
La Fenice, September 11, 1951
Conductor
Fabio Luisi
Conductor
James Levine
Nedda
Patricia Racette
Anne Trulove
Layla Claire
Canio
Marcelo Álvarez / Carl Tanner
Baba the Turk
Stephanie Blythe
Tonio
George Gagnidze
Tom Rakewell
Paul Appleby
Silvio
Lucas Meachem / Alexey Lavrov
Nick Shadow
Gerald Finley
broadcast: April 25, 2015
Trulove
Brindley Sherratt
Radio broadcast: May 9, 2015
In the garden of her father’s country house,
Anne Trulove and her fiancé, Tom Rakewell, celebrate springtime. Trulove, who has doubts about
Tom’s character, has arranged an accountant’s job
for him in the city, but Tom declines the offer. Alone,
he declares his intention to trust his good fortune
and enjoy life. When he expresses his wish for
money, a stranger appears and introduces himself as
Nick Shadow. He tells Tom that a forgotten uncle
has died, leaving him a fortune. Anne and Trulove
return to hear the good news. Shadow suggests
accompanying Tom to London to help settle his
affairs, and Tom agrees to pay him for his services
in a year and a day. As they leave, Tom promises to
send for Anne as soon as everything is arranged.
Shadow turns to the audience announcing, “The
progress of a rake begins.”
Act I
Prologue Tonio
the clown announces that what the
audience is about to see is a true story and that actors
have the same joys and sorrows as other people.
Act I A village in southern Italy. A small theatrical company has just arrived and Canio, the head
of the troupe, advertises the night’s performance to
the gathered crowd. One of the villagers suggests
that Tonio is secretly courting Canio’s young wife,
Nedda. Canio warns them all that he will not tolerate any flirting offstage—life and theater are not the
same. As the crowd disperses, Nedda is left alone,
disturbed by her husband’s jealousy. She looks up
to the sky, envying the birds their freedom. Tonio
appears and tries to force himself on her but she
beats him back and he retreats, swearing revenge. In
fact, Nedda does have a lover—Silvio, a young peasant, who suddenly appears. The two reaffirm their
love and Silvio persuades Nedda to run away with
him that night. Tonio, who has returned and overheard the end of their conversation, hurries off to
alert Canio, but Silvio manages to slip away unrecognized. Canio violently threatens Nedda but she
refuses to reveal her lover’s name. Beppe, another
member of the troupe, restrains Canio, and Tonio
86 |
advises him to wait until the evening’s performance
to catch the culprit. Alone, Canio gives in to his
despair—he must play the clown even though his
heart is breaking.
Act II That evening, the villagers assemble to watch
the performance, Silvio among them. Beppe plays
Harlequin, who serenades Columbine, played
by Nedda. He dismisses her buffoonish servant
Taddeo, played by Tonio, and over dinner the two
sweethearts plot to poison Columbine’s husband,
Pagliaccio, played by Canio. When Pagliaccio unexpectedly appears, Harlequin slips away. Taddeo
maliciously assures Pagliaccio of his wife’s innocence, which ignites Canio’s jealousy. Forgetting his
role and the play, he demands that Nedda tell him
the name of her lover. She tries to continue with the
performance, the audience enthralled by its realism,
until Canio snaps. In a fit of rage he stabs Nedda
and then Silvio, who rushes to her aid. Turning to
the horrified crowd, Canio announces that the comedy is over.
Pagliacci is performed as a double bill with Mascagni’s Cavalleria
Rusticana. For a synopsis of that opera, turn to page 70.
In a brothel in the city, Tom recites the catechism
Shadow has taught him to the madam, Mother
Goose: to follow nature rather than rules and to
seek beauty and pleasure. When asked about love,
he becomes momentarily terrified. He is eager to
escape as the clock strikes one, but Shadow turns it
back an hour and assures Tom that time is his. Tom
responds with reflections on love, which he feels he
has betrayed, but then accepts Mother Goose’s offer
to spend the night with her.
As night falls, Anne wonders why she hasn’t heard
from Tom. She leaves her father’s house, determined
to find him.
Act II Tom, in his house in the city, is bored and
disillusioned with his decadent life and no longer
dares to think of Anne. He pronounces his second
wish: for happiness. Shadow appears and shows
him a poster of Baba the Turk, a bearded lady on
display at the fair. He suggests that Tom marry her
to express his freedom and thus know true happiness. Amused, Tom agrees.
Anne comes to Tom’s house, surprised to see servants enter with strangely shaped packages. Tom
arrives in a sedan. Startled at the sight of Anne, he
declares himself unworthy and asks her to leave and
forget him. Baba calls out from the sedan, and Tom
admits to the astonished Anne that he is married.
Both wonder what might have been, while Baba
interrupts with impatient remarks. Anne faces reality and leaves, as a crowd of passers-by hails Baba.
In his morning room, Tom sits sulking while Baba
chatters away. When he refuses to respond to her
affection, she complains bitterly. Tom silences her,
then falls into an exhausted sleep, as Baba remains
motionless. Shadow wheels in a strange machine
that seems to turn stones into bread. Tom awakes,
saying “I wish it were true”—only to realize that the
machine is what he saw in his dream. Elated, he wonders if in return for doing one good deed he might
again deserve Anne. Shadow points out the device’s
usefulness in fooling potential investors.
Act III Tom’s business venture has ended in ruin and
his belongings—including Baba, who has remained
in the same position—are up for auction. As gossiping customers examine the objects, Anne enters
looking for Tom. The auctioneer, Sellem, begins
to hawk various articles. When the crowd bids for
Baba, she suddenly resumes her chatter and, indignant at finding her possessions up for sale, tries to
order everyone out. She advises Anne to find Tom,
who still loves her. Tom and Shadow are heard singcontinued on page 90
| 87
giuseppe verdi
La Traviata
Die Zauberflöte
La Traviata
Die Zauberflöte
based on the play La Dame aux
Camélias by Alexandre Dumas, Jr.
Libretto by Emanuel Schikaneder
World premiere: Vienna, Theater auf
der Wieden, September 30, 1791
World premiere: Venice,
Teatro La Fenice, March 6, 1853
Conductor
Adam Fischer
Conductor Pamina
Marco Armiliato
Pretty Yende / Miah Persson
Violetta Valéry Queen of the Night
Marina Rebeka / Marina Poplavskaya
Ana Durlovski / Kathryn Lewek
Tamino
Alfredo Germont Toby Spence
Stephen Costello / Francesco Demuro
Papageno
Markus Werba
Giorgio Germont Ludovic Tézier
Speaker
Ryan McKinny
Sarastro
René Pape / Tobias Kehrer
A mythical land between the sun and the
moon. Prince Tamino, pursued by a serpent, is
saved by three ladies in the service of the Queen
of the Night. After they have left, the birdcatcher
Papageno enters. He explains to Tamino that he is
given food and drink by the Queen’s ladies in return
for his birds and claims that it was he who killed
the serpent. The ladies return to give Tamino a portrait of the Queen’s daughter, Pamina, who they say
is being held prisoner by the evil Sarastro. Then
they padlock Papageno’s mouth for lying. Tamino
falls in love with Pamina’s portrait at first sight.
The Queen appears. She grieves over the loss of her
daughter and asks Tamino to rescue her. The ladies
hand Tamino a magic flute to ensure his safety on
the journey. Papageno, who is to accompany him, is
given magic silver bells. Three spirits are appointed
to guide them.
Act I
Violetta Valéry knows that she will die soon,
exhausted by her restless life as a courtesan. At a
party she is introduced to Alfredo Germont, who
has been fascinated by her for a long time. Rumor
has it that he has been enquiring after her health
every day. The guests are amused by this seemingly
naïve and emotional attitude, and they ask Alfredo
to propose a toast. He celebrates true love, and Violetta responds in praise of free love. She is touched
by his candid manner and honesty. Suddenly she
feels faint, and the guests withdraw. Only Alfredo
remains behind and declares his love. There is no
place for such feelings in her life, Violetta replies.
But she gives him a camellia, asking him to return
when the flower has faded. He realizes this means
he will see her again the following day. Alone, Violetta is torn by conflicting emotions—she doesn’t
want to give up her way of life, but at the same time
she feels that Alfredo has awakened her desire to be
truly loved.
Act I
Act II Violetta has chosen a life with Alfredo, and
they enjoy their love in the country, far from society. When Alfredo discovers that this is only possible because Violetta has been selling her property,
he immediately leaves for Paris to procure money.
Violetta has received an invitation to a masked
ball, but she no longer cares for such distractions.
In Alfredo’s absence, his father, Giorgio Germont,
pays her a visit. He demands that she separate from
his son, as their relationship threatens his daughter’s impending marriage. But over the course of
their conversation, Germont comes to realize that
Violetta is not after his son’s money—she is a woman
who loves unselfishly. He appeals to Violetta’s generosity of spirit and explains that, from a bourgeois
point of view, her liaison with Alfredo has no future.
Violetta’s resistance dwindles and she finally agrees
88 |
to leave Alfredo forever. Only after her death shall
he learn the truth about why she returned to her old
life. She accepts the invitation to the ball and writes
a goodbye letter to her lover. Alfredo returns, and
while he is reading the letter, his father appears to
console him. But all the memories of home and a
happy family can’t prevent the furious and jealous
Alfredo from seeking revenge for Violetta’s apparent betrayal.
At the masked ball, news has spread of Violetta and
Alfredo’s separation. There are grotesque dance
entertainments, ridiculing the duped lover. Meanwhile, Violetta and her new lover, Baron Douphol,
have arrived. Alfredo and the baron battle at the
gaming table and Alfredo wins a fortune: lucky at
cards, unlucky inlove. When everybody has withdrawn, Alfredo confronts Violetta, who claims to be
truly in love with the baron. In his rage Alfredo calls
the guests as witnesses and declares that he doesn’t
owe Violetta anything. He throws his winnings at
her. Giorgio Germont, who has witnessed the scene,
rebukes his son for his behavior. The baron challenges his rival to a duel.
Violetta is dying. Her last remaining friend,
Doctor Grenvil, knows that she has only a few more
hours to live. Alfredo’s father has written to Violetta, informing her that his son was not injured in
the duel. Full of remorse, Germont has told his son
about Violetta’s sacrifice. Alfredo wants to rejoin her
as soon as possible. Violetta is afraid that he might
be too late. The sounds of rampant celebrations are
heard outside while Violetta is in mortal agony. But
Alfredo does arrive and the reunion fills her with a
final euphoria. Her energy and exuberant joy of life
return. All sorrow and suffering seem to have left
her—a final illusion, before death claims her.
Act III
In Sarastro’s palace, the slave Monostatos pursues
Pamina. He is frightened away by the arrival of
Papageno, who tells Pamina that Tamino loves her
and is on his way to save her.
Led to Sarastro’s temple, Tamino learns from a priest
that it is the Queen who is evil, not Sarastro, and
that Pamina is safe. He plays on his flute, charming
the animals with the music and hoping that it will
lead Pamina to him. When he hears the sound of
Papageno’s pipes, he rushes off to follow it. Monostatos and his men chase Papageno and Pamina but
are rendered helpless by Papageno’s magic bells.
Sarastro, entering in ceremony, promises Pamina
eventual freedom and punishes Monostatos. Pamina
is enchanted by a glimpse of Tamino, who is led into
the temple with Papageno.
Sarastro tells the priests that Tamino will
undergo initiation rites. Papageno and Tamino are
Act II
sworn to silence. The three ladies appear and have
no trouble derailing Papageno from his course of
virtue, but Tamino remains firm.
Monostatos tries to kiss the sleeping Pamina but
is chased away by the arrival of the Queen of the
Night. She gives her daughter a dagger and orders
her to murder Sarastro. Pamina is left alone in tears
and consoled by Sarastro who explains that he does
not seek vengeance against the Queen.
Papageno is quick to break a new oath of fasting and
jokes with a flirtatious old lady, who vanishes when
he asks for her name. Tamino remains steadfast,
breaking Pamina’s heart: she cannot understand his
silence.
The priests inform Tamino that he has only two more
trials to complete his initiation. Papageno, who has
broken his oath, is eliminated from the trials. Pleading for a wife he eventually settles for the old lady.
When he promises to be faithful to her she turns into
a young Papagena but immediately disappears.
Despairing over Tamino’s apparent indifference,
Pamina is about to commit suicide but is saved by
the three spirits. She finds Tamino and walks with
him through the ordeals of water and fire, protected
by the magic flute. Papageno also is saved from a
halfhearted attempt at suicide by the spirits, who
remind him that if he uses his magic bells he will
find true happiness. When he plays the bells, Papagena appears and the two are united.
The Queen of the Night, her three ladies, and
Monostatos attack the temple but are defeated and
banished. Sarastro joins Pamina and Tamino as
everybody praises the gods Isis and Osiris and the
triumph of courage, virtue, and wisdom.
| 89
Don Carlo
continued from page 73
group of heretics is led to the stake, a celestial
voice welcomes their souls into heaven.
Act IV In his study at night, the king reflects
on his life with a wife who doesn’t love him.
He consults with the old and blind Grand
Inquisitor, who consents to the death sentence for Carlo: as God sacrificed his son to
save mankind so Philip must stifle his love for
his son for the sake of the faith. The Inquisitor also demands that Posa be handed over
to him. As he leaves, Philip wonders if the
throne must always yield to the altar. Elisabeth enters, having discovered that her jewel
case has been stolen. Eboli, who knows that
Elisabeth keeps a portrait of Carlo in it, had
taken the box and given it to the king. Philip
now shows the box to Elisabeth, takes out the
portrait, and accuses her of adultery. Elisabeth collapses and the king calls for help.
Eboli and Posa rush in, he to express amazement that a king who rules half the world
cannot govern his own emotions, she to feel
remorse at what her jealousy has brought
about. Alone with Elisabeth, Eboli confesses
that she not only falsely accused her but that
she has been the king’s mistress. Elisabeth
orders her from the court. Eboli laments her
fatal beauty and swears to spend her final day
in Spain trying to save Carlo.
Posa visits Carlo in prison to tell him that he
has used the secret papers to take upon himself the blame for the Flemish rebellion. He
is now a marked man, so Carlo must take up
the cause of liberty for Flanders. Posa is shot
by agents of the Inquisition. As he dies he
tells Carlo that Elisabeth will meet him at the
monastery of St. Just and declares he is happy
to have sacrificed his life for a man who will
become Spain’s savior.
Act V Elisabeth has come to the monastery,
wanting only her own death. When Carlo
appears, she encourages him to continue
Posa’s quest for freedom in Flanders and they
hope for happiness in the next world. As they
say goodbye, Philip and the Grand Inquisitor
arrive. As the agents of the Inquisition move
in on Carlo, the Emperor Charles V materializes out of the darkness to insist that suffering
is unavoidable and ceases only in heaven.
drags Walther and David into his shop. The
night watchman passes through the suddenly deserted street.
Act III The next morning in Sachs’s workshop, David apologizes for his unruly behavior. Alone, Sachs reflects on the madness of
the world. Walther arrives to tell Sachs of
a wondrous dream he had. Recognizing a
potential prize song, Sachs takes down the
90 |
words and helps Walther to fashion them
according to the rules of mastersinging.
When they leave to dress for the contest,
Beckmesser appears. He notices Walther’s
poem and, mistaking it for one of Sachs’s
own, pockets it. The returning cobbler tells
him to keep it. Certain of his victory with
a song written by Sachs, Beckmesser leaves.
Now Eva arrives, pretending there is something wrong with her shoe. Walther returns,
dressed for the festival, and repeats his prize
song for her. Eva is torn between her love
for Walther and her affection for Sachs, but
the older man turns her toward the younger.
When Magdalene arrives, Sachs promotes
David to journeyman and asks Eva to bless
the new song. All five reflect on their happiness—Sachs’s tinged with gentle regret—
then leave for the contest.
Guilds and citizens assemble in a meadow
outside the city. The masters enter and the
people cheer Sachs, who responds with a
moving address in praise of art and the coming contest. Beckmesser is the first to sing.
Nervously trying to fit Walther’s verses to
his own music he makes nonsense of the
words, earning laughter from the crowd.
He furiously turns on Sachs and runs off.
Walther then steps forward and delivers the
song. Entranced, the people proclaim him
the winner, but Walther refuses the masters’
necklace. Sachs convinces him to accept—tradition and its upholders must be honored, as
must those who create innovation. Youth and
age are reconciled, Walther has won Eva, and
the people once again hail Sachs.
Le nozze di figaro
marry her at once. Figaro replies that he can’t
without the consent of his parents for whom
he’s been searching for years, having been
abducted as a baby. When he reveals a birthmark on his arm Marcellina recognizes him
as her long-lost son, fathered by Bartolo. Seeing Figaro and Marcellina embrace, Susanna
thinks her fiancé has betrayed her, but she
is pacified when things are explained. The
Countess, alone, recalls her past happiness.
She is determined to go through with the
conspiracy against her husband, and she and
Susanna compose a letter to him confirming
the rendezvous with Susanna that evening in
the garden under the pine trees. Cherubino,
now dressed as a girl, appears with his girlfriend, Barbarina, the daughter of Antonio.
Antonio, who has found Cherubino’s cap in
the garden, also arrives and unmasks the
young man. The Count is furious to discover
that Cherubino has disobeyed him and is still
in the house. But his anger is punctured by
Barbarina—who reveals that the Count, when
he attempted to seduce her, promised her
anything she wanted. What she wants now is
to marry Cherubino. The Count is forced to
agree. A march is heard and the household
assembles for Figaro and Susanna’s wedding.
While dancing with the Count, Susanna
hands him the letter, sealed with a pin.
CR e AT e A n oPeR AT IC leGAC y
Act IV At night in the garden, Barbarina is in
despair: she has lost the pin that the Count
has asked her to take back to Susanna. When
Figaro and Marcellina appear, Barbarina tells
them about the planned rendezvous between
the Count and Susanna. Thinking that his
bride is unfaithful, Figaro rants against all
women. He hides when Susanna and the
Countess arrive, dressed in each other’s
clothes. Alone, Susanna sings of love. She
knows that Figaro is listening and enjoys making him think that she’s about to make love to
the Count. Then she also conceals herself—in
time to see Cherubino try to seduce the disguised Countess. The boy is chased away by
the Count who wants to be alone with the
woman he believes to be Susanna. Figaro, by
now realizing what is going on, joins in the
joke and declares his passion for Susanna in
her Countess disguise. The Count returns.
Finding Figaro with his wife, or so he thinks,
he explodes with rage. At that moment, the
real Countess steps forward and reveals her
identity. Ashamed, the Count asks her pardon.
After many moments of agonizing doubt, she
forgives him and both couples are reunited.
the rake’s progress
ing in the street and Anne rushes out after
them while Baba makes a dignified exit.
Shadow has led Tom to a graveyard with a
freshly dug grave and reminds him that a
year and a day have passed and his payment
is due. Tom must end his life by any means he
chooses before the stroke of midnight. Suddenly, Shadow offers an alternative: they will
gamble for Tom’s soul. Placing his trust in
the Queen of Hearts, Tom calls upon Anne as
her voice is heard, thus defeating Shadow. In
retaliation, Shadow condems Tom to insanity
and disappears. As dawn breaks, Tom imagines himself Adonis, the lover of Venus.
In an insane asylum, Tom awaits his wedding to Venus, mocked by the other inmates.
The keeper admits Anne. Believing her to
be Venus, Tom confesses his sins, and for a
moment they imagine timeless love in Elysium. Tom asks her to sing him to sleep. The
other inmates are moved by Anne’s voice.
Trulove comes to fetch his daughter and
Anne bids the sleeping Tom farewell. When
he wakes to find her gone, he cries out for
Venus as the inmates mourn Adonis.
The principals gather to tell the
moral of the story. Anne warns that not every
man can hope for someone like her to save
him; Baba warns that all men are mad; Tom
warns against self-delusion, to Trulove’s
agreement; Shadow mourns his role as man’s
alter ego. All agree that the devil finds work
for idle hands.
Epilogue
A scene from Verdi’s Aida.
Photo: Mart y Sohl /MetroPolitan oPera
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Seating Chart
Seating Chart
FAMILY
FAMILY
CIRCLE
CIRCLE
FAMILY
FAMILY
CIRCLE
CIRCLE
BALCONY
BALCONY
BALCONY
BALCONY
DRESSDRESS
CIRCLE
CIRCLE
DRESSDRESS
CIRCLE
CIRCLE
GRAND
GRAND
TIER TIER
GRAND
GRAND
TIERTIER
PARTERRE
PARTERRE
PARTERRE
PARTERRE
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
Orchestra
Orchestra
Seating
Seating
Capacity
Capacity
Grand
Grand
TierTier
Seating
Seating
Capacity
Capacity
RowsRows
A–EEA–EE
1,5831,583
Standing
Standing
places
places
100 100
RowsRows
A–G A–G
382 382
Grand
Grand
Tier Boxes
Tier Boxes
30–39
30–39
60 60
Standing
Standing
Places
Places
30 30
Rows ARows
& B, A
seats
& B,108
seats
& 109
108 are
& 109 are
marked
marked
“Behind
“Behind
Conductor”
Conductor”
Partial Partial
View: Grand
View: Grand
Tier Boxes,
Tier Boxes,
seats 4,seats
5 & 64, 5 & 6
Available
Available
to the public
to the public
duringduring
ballet only
ballet only
FAMILY
FAMILY
CIRCLE
CIRCLE
FAMILY
FAMILY
CIRCLE
CIRCLE
BALCONY
BALCONY
BALCONY
BALCONY
DRESSDRESS
CIRCLE
CIRCLE
DRESS
DRESS
CIRCLE
CIRCLE
GRAND
GRAND
TIER TIER
PARTERRE
PARTERRE
GRAND
GRAND
TIER TIER
15
15
PARTERRE
PARTERRE
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
Parterre
Parterre
Seating
Seating
Capacity
Capacity
Dress
Dress
Circle
Circle
Seating
Seating
Capacity
Capacity
Center
Center
Boxes
Boxes
13–29
13–29
128 128
Side Side
Boxes
Boxes
1–12 1–12
92 92
RowsRows
A–G A–G
386 386
DressDress
CircleCircle
Boxes
Boxes
1–12 1–12
68 68
Standing
Standing
Places
Places
40 40
Partial Partial
View (Opera):
View (Opera):
Boxes Boxes
1 & 2, seats
1 & 2,5seats
&6 5&6
Partial Partial
View (Ballet):
View (Ballet):
Boxes Boxes
1 & 2, seats
1 & 2,4,5,
seats
& 6,
4,5, & 6,
Boxes Boxes
3 –12, seats
3 –12,7seats
&8 7&8
General
General
Manager’s
Manager’s
Box not
Box
included
not included
in capacity
in capacity
Seats 5Seats
and 65 are
andseparated
6 are separated
by height
by height
and a and a
railing railing
from other
fromseats
otherinseats
the same
in thebox
same box
Partial Partial
View: Boxes
View: Boxes
1–4, seats
1–4,1seats
& 2, 1 & 2,
Boxes Boxes
3–12, seats
3–12,5seats
&6 5&6
Available
Available
to the public
to the public
duringduring
ballet only
ballet only
The Metropolitan
The Metropolitan
OperaOpera
HouseHouse
offers offers
wheelchair-accessible
wheelchair-accessible
seating.
seating.
For information,
For information,
pleaseplease
call 212.362.6000.
call 212.362.6000.
92 |
| 93
Seating Chart
Artist Roster
As of August 29, 2014
FAMILY CIRCLE
Ildar Abdrazakov
Maxim Aniskin
BALCONY
Bass-Baritone (Ulfa, Russia)
Baritone (Novopolotsk, Belarus)
Bass-Baritone (Pittsburgh, Pennsylvania)
Debut Masetto, Don
Debut Riccardo
Debut Ensemble, The
DRESS CIRCLE
Repertory Figaro, Le
Giovanni, 2004
Nozze di Figaro;
Joseph Barron
Forth, I Puritani, 2014
Repertory Robert, Iolanta
Repertory Flemish
Piotr Beczala
Nose, 2013
Deputy, Don Carlo
Escamillo, Carmen
GRAND TIER
PARTERRE
ORCHESTRA
Yves Abel
Aleksandrs Antonenko
Conductor (Toronto, Canada)
Tenor (Riga, Latvia)
Tenor (Czechowice-Dziedzice, Poland)
Debut Il
Debut Prince, Rusalka, 2009
Debut Duke, Rigoletto, 2006
Repertory Don
Repertory Count
Barbiere di Siviglia, 1994
Repertory Les
Contes d’Hoffmann
José, Carmen
Balcony
Seating Capacity
Rows A–G 362
Balcony Boxes 1–14 (partial view) 80
Seats 5 & 6 are separated by height and
a railing from other seats in the same box
Tristan Vaudemont, Iolanta;
King Gustavo, Un Ballo in Maschera
Roberto Alagna
Paul Appleby
Emma Bell
Tenor (Clichy-sous-Bois, France)
Tenor (South Bend, Indiana)
Soprano (Stratford-upon-Avon, England)
Debut Rodolfo, La
Debut Brighella, Ariadne
Debut Countess, Le
Repertory Don
Bohème, 1996
José, Carmen
auf Naxos, 2011
Nozze di Figaro, 2009
Repertory David, Die
Meistersinger von
Nürnberg; Tom Rakewell, The Rake’s Progress
Repertory Donna
Elvira, Don Giovanni
Kyle Albertson
Alessio Arduini
Rachel Marie Bell
Bass-Baritone (Ankeny, Iowa)
Baritone (Desenzano, Italy)
Mezzo-Soprano (San Diego, California)
Debut Season
Repertory Schaunard, La
Bohème
Sir Thomas Allen
Marco Armiliato
Baritone (Seaham, England)
Conductor (Genoa, Italy)
Bass (Pavlograd, Ukraine)
Debut Papageno, Die
Company Debut Il
Debut Zaccaria, Nabucco, 2011
Repertory Baron
Zauberflöte, 1981
Mirko Zeta,
House Debut La
Trovatore, 1998
Bohème, 1998
The Merry Widow
Repertory Aida, La
Traviata
Dmitry Belosselskiy
Repertory Ramfis, Aida; Old
Convict,
Lady Macbeth of Mtsensk; de Silva, Ernani
Aubrey Allicock
Elchin Azizov
FAMILY CIRCLE
Bass-Baritone (Tucson, Arizona)
Baritone (Baku, Azerbaijan)
Conductor (Faenza, Italy)
Debut Season Debut Season
Debut L’Elisir
BALCONY
Repertory Mamoud, The
Repertory Ibn-Hakia, Iolanta
Repertory Lucia
Marcelo Álvarez
Noah Baetge
Richard Bernstein
Tenor (Cordoba, Argentina)
Tenor (Seattle, Washington)
Bass (Brooklyn, New York)
Debut Alfredo, La
Debut Officer, Ariadne
Debut Zuniga, Carmen,
Death
Maurizio Benini
d’Amore, 1998
di Lammermoor
of Klinghoffer
DRESS CIRCLE
GRAND TIER
PARTERRE
ORCHESTRA
Traviata, 1998
Repertory Turiddu, Cavalleria
Canio, Pagliacci
Family Circle
Seating Capacity
Rows A–K 591
Family Circle Boxes (partial view) 42
Standing Places 75
Rusticana;
auf Naxos, 2011
Repertory Malcolm, Macbeth; First
Armed Man, Die Zauberflöte; Moser,
1995
Repertory Murderer, Macbeth; Prison
Guard,
Lady Macbeth of Mtsensk; Zuniga, Carmen
Matthew Anchel
Ilya Bannik
Marco Berti
Bass (New York, New York)
Bass (Nikolaev, Ukraine)
Tenor (Como, Italy)
Debut Pinkerton, Madama
Butterfly, 2004
Repertory Radamès, Aida
Score Desks 1– 24 available only through the
Metropolitan Opera Guild Education Department.
Totally obstructed view.
Michele Angelini
Daniela Barcellona
Tenor (New York, New York)
Mezzo-Soprano (Trieste, Italy)
Guest Artist (Winter Haven, Florida)
Debut Maddalena
Debut Ambrogio, Il
(Act III, Rigoletto),
pening Night Gala, 2001
O
Repertory Malcolm
Rob Besserer Barbiere di Siviglia, 2006
Repertory Ambrogio, Il
Barbiere di Siviglia
Groeme, La Donna
del Lago
94 |
ARTIST ROSTER
ARTIST ROSTER
| 95
Anne-Carolyn Bird
Johan Botha
Joseph Calleja
Anna Maria Chiuri
Sara Couden
Edo de Waart
Soprano (New York, New York)
Tenor (Rustenburg, South Africa)
Tenor (Attard, Malta)
mezzo-Soprano (Alto Adige, Italy)
Debut Young
Debut Canio, Pagliacci,
1997
Mezzo-Soprano (San Francisco,
California)
Debut Die
Repertory Walther, Die
Meistersinger
Repertory Macduff, Macbeth; Edgardo,
Lindeman Young Artist Development Program
Repertory Le
John Del Carlo
Lover, Il Tabarro, 2007
Repertory Poussette, Manon
von Nürnberg
Conductor (Amsterdam, Netherlands)
Zauberflöte, 1998
Nozze di Figaro
Lucia di Lammermoor
Nicole Birkland
Russell Braun
David Cangelosi
Vladimir Chmelo
James Courtney
Mezzo-Soprano (Moorland, Iowa)
Baritone (Frankfurt, Germany)
Tenor (Cleveland, Ohio)
Baritone (Lučenec, Slovakia)
Bass-Baritone (San José, California)
Bass-Baritone (San Francisco, California)
Debut Dr.
Debut Mime, Das
Debut Short
Prisoner, From the House
of the Dead, 2009
Debut Monk, La
Debut Kothner, Die
Repertory Ibn-Hakia, Iolanta
La Traviata
Falke, Die Fledermaus, 1995
Repertory Lescaut, Manon
Rheingold, 2004
Repertory Zorn, Die
Meistersinger
von Nürnberg
Gioconda, 1979
Repertory Doctor, Macbeth; Dr.
Grenvil,
Meistersinger
von Nürnberg, 1993
Repertory Dr.
Bartolo, Le Nozze di Figaro;
Benoit/Alcindoro, La Bohème
Jordan Bisch
Gábor Bretz
Fabio Capitanucci
Andriana Chuchman
Richard Cox
Francesco Demuro
Bass (Vancouver, Washington)
Bass-Baritone (Budapest, Hungary)
Baritone (Sabaudia, Italy)
Soprano (Winnipeg, Canada)
Tenor (Chattanooga, Tennessee)
Tenor (Sassari, Italy)
Debut Second
Debut Season
Debut Marcello, La
Debut Adina, L’Elisir
Debut First
Debut Season
Repertory Escamillo, Carmen
Repertory Enrico, Lucia
Knight, Parsifal, 2006
Bohème, 2010
di Lammermoor
d’Amore, 2014
Repertory Gretel, Hansel
Armed Man, Die Zauberflöte, 2006
and Gretel
Repertory Alfredo, La
Traviata
David Bizic
Yefim Bronfman
José Carbó
Layla Claire
David Crawford
Kiri Deonarine
Baritone (Belgrade, Serbia)
Pianist (Tashkent, Uzbekistan)
Baritone (Sydney, Australia)
Soprano (Penticton, Canada)
Bass-Baritone (Sewickley, Pennisylvania)
Soprano (Chicago, Illinois)
Debut Albert, Werther, 2014
Company Debut Met
Debut Tebaldo, Don
Debut Warrior, Macbeth, 2007
Debut Polovtsian
Repertory Marcello, La
Hall Concert, 2012
Repertory Warrior, Macbeth; Ortel, Die
Repertory Frasquita, Carmen
Bohème
Repertory Soloist,
Orchestra at Carnegie
Repertory Anne
Carlo
Trulove, The Rake’s Progress
Met Orchestra Concert at
Maiden, Prince Igor, 2014
Meistersinger von Nürnberg; Hermann/
Schlémil, Les Contes d’Hoffmann; Count
Horn, Un Ballo in Maschera
Carnegie Hall
Jennifer Black
Lawrence Brownlee
Karen Cargill
Philip Cokorinos
Dwayne Croft
Karine Deshayes
Soprano (Freemont, California)
Tenor (Youngstown, Ohio)
Mezzo-Soprano (Arbroath, Scotland)
Baritone (Cooperstown, New York)
Mezzo-Soprano (Rueil-Malmaison, France)
Debut Cretan
Debut Count Almaviva, Il Barbiere
di Siviglia, 2007
Debut Waltraute, Götterdämmerung, 2012
Debut Doctor, Macbeth,
Debut Fiorello, Il
Debut Siébel, Faust, 2006
Repertory Magdalene, Die
Repertory Antonio, Le
Repertory Count
von Nürnberg
Woman, Idomeneo, 2006
Almaviva, Il Barbiere
Meistersinger
1988
Nozze di Figaro
Repertory Peter, Hansel
and Gretel; de
Repertory Nicklausse/The
Brétigny, Manon
d’Hoffmann
Barbara Dever
Muse, Les Contes
di Siviglia
Benjamin Bliss
Robert Brubaker
Massimo Cavalletti
James Conlon
Diana Damrau Tenor (Prairie Village, Kansas)
Tenor (Manheim, Pennsylvania)
Baritone (Luca, Italy)
Conductor (New York, New York)
Soprano (Günzburg, Germany)
Mezzo-Soprano (Carlisle, Pennsylvania)
Lindemann Young Artist Development Program
Debut Zorn, Der
Debut Schaunard, La
Debut Die
Debut Zerbinetta, Ariadne
Debut Siegrune, Die
Debut Season Nürnberg, 1993
Repertory Vogelgesang, Die
Meistersinger
Meistersinger von
Bohème, 2010
Repertory Escamillo, Carmen
Repertory Witch, Hansel
Zauberflöte, 1976
Repertory Lady
Macbeth of Mtsensk
auf Naxos, 2005
Walküre, 1992
Repertory Manon, Manon
and Gretel
von Nürnberg
Stephanie Blythe
Janai Brugger
Brandon Cedel
Salvatore Cordella
Annette Dasch
Nikolay Didenko
Mezzo-Soprano (Mongaup Valley,
New York)
Soprano (Darien, Illinois)
Bass-Baritone (Hershey, Pennsylvania)
Tenor (Cupertina, Italy)
Soprano (Munich, Germany)
Bass (Moscow, Russia)
Debut Liù, Turandot, 2012
Debut Leicester, Maria
Debut Countess, Le
Sponsored by Annette Merle-Smith
Repertory Eva, Die
Meistersinger von
Company Debut 2013
Nürnberg
Debut Voice, Parsifal,
Repertory Baba
1995
the Turk, The Rake’s Progress
Stuarda, 2013
Summer Recital Series
House Debut Watchman, Die
Frau ohne
Schatten, 2013
Repertory Porter, Lady
Macbeth of Mtsensk;
Flemish Deputy, Don Carlo
Matt Boehler
Jane Bunnell
Paul Corona
Sir Andrew Davis
Bass (Minneapolis, Minnesota)
Mezzo-Soprano (Madison, New Jersey)
Bass (Elk Grove, Illinois)
Conductor (Ashridge, England)
Mezzo-Soprano (Kansas City, Missouri)
Debut Ensemble, The
Debut Annio, La
Debut Doctor, Pelléas
Debut Salome,
Recipient of the 2006-07 Beverly Sills Award,
Nose, 2013
Repertory Bertrand, Iolanta
Clemenza di Tito, 1991
Repertory Mamma
Lucia,
et Mélisande, 2010
Repertory First
1981
Priest, Die Zauberflöte;
rison Officer, Lady Macbeth of Mtsensk;
P
Gentleman, La Traviata; Jago, Ernani; Keeper
of the Madhouse, The Rake’s Progress
Repertory Hansel
and Gretel,
The Merry Widow
Joyce DiDonato
established by Agnes Varis and Karl Leichtman
Debut Cherubino, Le
Repertory Elena, La
Donna del Lago
Olga Borodina
Paata Burchuladze
Luis Chapa
Ginger Costa-Jackson
Kathryn Day
Mezzo-Soprano (St. Petersburg, Russia)
Bass (Tbilisi, Republic of Georgia)
Tenor (Monclova, Mexico)
Mezzo-Soprano (Palermo, Italy)
Mezzo-Soprano (Magna-Vista, Maryland)
Baritone (Wiecbork, Poland)
Company Debut Concert,
Debut Ramfis, Aida,
Debut Rosette, Manon
Debut Girl, Rise
Debut Amonasro, Aida, 2007
1997
House Debut Marina, Boris
Godunov, 1997
Repertory Don
1989
Basilio, Il Barbiere di Siviglia
Repertory Amneris, Aida
Act II (Opening Night
Andrzej Dobber
Gala), 2008
and Fall of the City of
Mahagonny, 1995
Repertory Mercédès, Carmen; Lola,
Repertory Maid, Manon
Repertory Amonasro, Aida
Jean-François Borras
Janinah Burnett
Jennifer Check
Stephen Costello
Danielle de Niese
Tenor (Grenoble, France)
Soprano (Los Angeles, California)
Soprano (Woodbridge, New Jersey)
Tenor (Philadelphia, Pennsylvania)
Soprano (Melbourne, Australia)
Tenor (Madrid, Spain)
Debut Werther, Werther, 2014
Debut Bianca, La
Debut Clotilde, Norma, 2001
Debut Arturo, Lucia
Debut Barbarina, Le
Company Debut Turiddu, Cavalleria
Repertory Priestess, Aida; Donna
Repertory Alfredo, La
Repertory Rodolfo, La
Bohème
Rondine, 2013
Elvira,
on Giovanni; Voce dal Ciel, Don Carlo
D
di Lammermoor, 2007
Traviata; Camille de
Rosillon, The Merry Widow
Repertory Susanna, Le
Nozze di Figaro;
Valencienne, The Merry Widow
Plácido Domingo
House Debut Maurizio, Adriana
Repertory Don
Rusticana, 1966
Lecouvreur, 1968
Carlo, Ernani
Conducting Debut Tosca,1991
Conducting Repertory Aida
96 |
ARTIST ROSTER
ARTIST ROSTER
| 97
Tyler Duncan Christopher Feigum
Stephen Gaertner
Alan Gilbert
Vittorio Grigolo
Theodora Hanslowe
Baritone (Prince George, Canada)
Baritone (Denver, Colorado)
Baritone (Atlanta, Georgia)
Conductor (New York, New York)
Tenor (Arezzo, Italy)
Mezzo-Soprano (Ithaca, New York)
Debut Huntsman, Rusalka, 2014
Debut Jaroslav
Company Debut Marullo, Rigoletto, 2006
Debut Doctor
Debut Rodolfo, La
Debut Rosina, Il
Repertory Millhand, Lady
2012
House Debut Enrico, Lucia
Repertory Don
Macbeth
Prus, The Makropulos Case,
Repertory First
of Mtsensk
Officer, The Death
di Lammermoor,
Atomic, 2008
Giovanni
Bohème, 2010
Repertory Hoffmann, Les
Contes
d’Hoffmann; Chevalier des Grieux, Manon
2007
Repertory Austrian
Woman, The Death of
Klinghoffer; Alisa, Lucia di Lammermoor
of Klinghoffer
Mary Dunleavy
Gerald Finley
George Gagnidze
Rod Gilfry
Ekaterina Gubanova
Lianna Haroutounian
Soprano (Old Saybrook, Connecticut)
Baritone (Montreal, Canada)
Baritone (Tbilisi, Republic of Georgia)
Baritone (Covina, California)
Mezzo-Soprano (Moscow, Russia)
Soprano (Yerevan, Armenia)
Debut First
Debut Papageno, Die
Debut Rigoletto, Rigoletto, 2009
Debut Demetrius, A Midsummer Night’s
Dream, 1996
Debut Hélène
Debut Season
2007
Repertory Danilo, The
Repertory Princess
Sprite, Rusalka, 1993
Repertory Nick
Zauberflöte, 1998
Shadow, The Rake’s Progress
Repertory Tonio, Pagliacci
Merry Widow
Bezukhova, War and Peace,
Repertory Elisabeth, Don
Carlo
Eboli, Don Carlo
Ana Durlovski Adam Fischer
Andrew Gangestad
Ingeborg Gillebo
Lori Guilbeau
Soprano (Shtip, Macedonia)
Conductor (Budapest, Hungary)
Bass (Cheongju, South Korea)
Mezzo-Soprano (Lillehammer, Norway)
Soprano (Golden Meadow, Louisiana)
Baritone (New York, New York)
Debut Season
Debut Otello,
Debut, Servant, Lulu, 2001
Debut Priestess, Aida, 2012
Debut Flemish
Repertory Queen
of the Night,
1994
Repertory Die
Zauberflöte
Keith Harris
Deputy, Don Carlo, 2010
Repertory Priestess, Aida
Die Zauberflöte
Oksana Dyka
Renée Fleming
Martin Gantner
Marcello Giordani
Nathan Gunn
Holli Harrison
Soprano (Zhytomer, Ukraine)
Soprano (Rochester, New York)
Baritone (Freiburg, Germany)
Tenor (Augusta, Italy)
Baritone (South Bend, Indiana)
Soprano (Chattanooga, Tennessee)
Debut Yaroslavna, Prince
Debut Countess, Le
Debut Season
Company Debut Nemorino, L’Elisir
Debut Berta, The
established by Agnes Varis and Karl Leichman
Repertory Aksinya, Lady
Igor, 2014
Repertory Aida, Aida
Repertory Hanna
Glawari, The Merry Widow
Repertory Kothner, Die
Meistersinger
House Debut Rodolfo, La
von Nürnberg
d’Amore,
1993
Bohème, 1995
Debut Ensemble, The
Barber of Seville, 2013
Macbeth of Mtsensk
Ghosts of Versailles,
1995
Repertory Danilo, The
Merry Widow
John Easterlin
Juan Diego Flórez
El na Garanča
Wallis Giunta
Cecelia Hall
Tenor (Miami, Florida)
Tenor (Lima, Peru)
Mezzo-Soprano (Riga, Latvia)
Mezzo-Soprano (Ottawa, Canada)
Mezzo-Soprano (Durham, North Carolina)
Soprano (Bistrita, Romania)
Debut Fourth
Debut Count
Debut Rosina, Il
Debut Countess
Debut Second
Debut Mimì, La
Jew, Salome, 2004
Almaviva, Il Barberie di Siviglia,
2002
Repertory Carmen, Carmen; Soloist,
Repertory Giacomo
V, La Donna del Lago
Ceprano, Rigoletto, 2013
Repertory Olga, The
Merry Widow
Anita Hartig
Priestess, Iphigénie en Tauride,
2011
Bohème, 2014
Repertory Micaëla, Carmen
Repertory Javotte, Manon
Met Orchestra Concert at Carnegie Hall
Ashley Emerson
Barbara Frittoli
Natalia Gavrilan
Allan Glassman
Diana Haller
Martin Harvey
Soprano (Bangor, Maine)
Soprano (Milan, Italy)
Mezzo-Soprano (Chisinau, Moldavia)
Mezzo-Soprano (Rijeka, Croatia)
Principal Dancer (Swindon, England)
Debut Bridesmaid, Le
Debut Micaëla, Carmen,
1995
Debut Ghost
Carlo
of Chorèbe, Les Troyens, 1983
Debut Carmen, 2009
Repertory Bloody
Child, Macbeth;
Papagena, Die Zauberflöte; Barbarina,
Le Nozze di Figaro
Repertory Elisabeth, Don
Repertory The
Shabby Peasant,
Shirin Eskandani
Riccardo Frizza
Gabriela Georgieva Katharine Goeldner
Catherine Hamilton
Nicole Haslett
Mezzo-Soprano (Tehran, Iran)
Conductor (Brescia, Italy)
Soprano (Vidin, Bulgaria)
Mezzo-Soprano (Sigourney, Iowa)
Mezzo-Soprano (Northbrook, Illinois)
Soprano (Mount Laurel, New Jersey)
Debut Rigoletto, 2009
Debut Wardrobe
Debut Season Repertory La
Lulu, 2002
Bohème
Mistress/Schoolboy/Page,
Repertory Carmen
Repertory Margot, The
Merry Widow
Ying Fang
David Salsbery Fry
Valery Gergiev
Oren Gradus
Thomas Hampson
Pablo Heras-Casado
Soprano (Ningbo, China)
Bass (Mount Joy, Pennsylvania)
Conductor (Moscow, Russia)
Bass (Brooklyn, New York)
Baritone (Spokane, Washington)
Conductor (Granada, Spain)
Debut Otello,
Debut Guardian
Debut Count, Le
Debut Rigoletto, 2013
Company Debut 2013
Repertory Iolanta,
Repertory Four
Villains, Les Contes
Repertory Carmen
Debut Madame
1994
Podtochina’s Daughter,
The Nose, 2013
of Orest, Elektra, 2002
Repertory Duglas
d’Angus, La Donna del
Lago; Raimondo, Lucia di Lammermoor;
Colline, La Bohème
d’Hoffmann
Repertory Barbarina, Le
Nozze di Figaro;
Dew Fairy, Hansel and Gretel
Amelia Farrugia
Andrew Funk
Hibla Gerzmava
Susan Graham
John Hancock
Levi Hernandez
Soprano (Sydney, Australia)
Bass (Fresno, California)
Soprano (Pitsunda, Russia)
Mezzo-Soprano (Roswell, New Mexico)
Baritone (New York, New York)
Baritone (El Paso, Texas)
Debut Antonia/Stella, Les Contes
d’Hoffmann, 2010
Debut Second
Debut The Gendarme, Les Mamelles de
Tirésias, 2002
Debut Spinelloccio, Gianni
Repertory Antonia/Stella, Les
Lady, Die Zauberflöte, 1991
Repertory Hanna
Glawari, The Merry Widow
Schicchi, 2009
Contes
d’Hoffmann
Greg Fedderly
Ferruccio Furlanetto
Angela Gheorghiu
Ryan Speedo Green
Meredith Hansen
Ethan Herschenfeld
Tenor (Fort Bragg, North Carolina)
Bass (Sacile, Italy)
Soprano (Adjud, Romania)
Bass-Baritone (Suffolk, Virginia)
Soprano (Cohasset, Massachusetts)
Bass (New York, NY)
Debut Don
Debut Grand
Debut Mimì, La
Company Debut 2011
Basilio, Le Nozze di Figaro, 2003
Repertory Don
Basilio, Le Nozze di Figaro
Inquisitor, Don Carlo, 1980
Repertory Philip
II, Don Carlo
Bohème, 1993
Repertory Mimì, La
Bohème
House Debut Mandarin, Turandot, 2012
Repertory “Rambo”, The
Death of
Klinghoffer
98 |
ARTIST ROSTER
ARTIST ROSTER
| 99
Leah Hofmann
Heather Johnson
Adam Klein
Johannes Martin Kränzle
Dísella Làrusdóttir
Ao Li
Mezzo-Soprano (St. Louis, Missouri)
Mezzo-Soprano (St. Paul, Minnesota)
Tenor (Setauket, New York)
Baritone (Augsburg, Germany)
Soprano (Mosfellsbaer, Iceland)
Bass-Baritone (Dezhou, China)
Debut Season
Company Debut 2011
company Debut Yniold, Pelléas
Debut Season
Debut Garsenda, Francesca
Repertory Frou-Frou, The
Merry Widow
House Debut Flower
Maiden, Parsifal, 2013
et Mélisande,
1972
Repertory Beckmesser, Die
house Debut Elemer, Arabella,
2001
di Rimini, 2013
Meistersinger
von Nürnberg
Kelly Cae Hogan
Jennifer Johnson Cano
Amanda Kloots-Larsen
Nadia Krasteva
Margaret Lattimore
Soprano (Cedar Rapids, Iowa)
Mezzo-Soprano (St. Louis, Missouri)
mezzo-soprano (Canton, Ohio)
Mezzo-Soprano (Sofia, Bulgaria)
Mezzo-Soprano (Port Jefferson, New York)
Mezzo-Soprano (Richmond, Virginia)
Debut Gerhilde, Die
Debut Bridesmaid, Le
Debut Season
Debut Dorotea, Stiffelio,
Debut Javotte, Manon, 2005
Walküre, 2008
Repertory Convict, Lady
Macbeth of Mtsensk
Repertory Mercédès, Carmen; Hansel,
Repertory Princess
Eboli, Don Carlo
ansel and Gretel; Nicklausse/The Muse, Les
H
Contes d’Hoffmann
1993
Repertory Third
Lady, Die Zauberflöte;
raskowia, The Merry Widow; Antonia’s
P
Mother, Les Contes d’Hoffmann; Mother
Goose, The Rake’s Progress
Kate Lindsey
Repertory Nicklausse/The
Muse, Les Contes
d’Hoffmann; Zerlina, Don Giovanni
Haeran Hong
Eric Jordan
Štefan Kocán
Edyta Kulczak
Alexey Lavrov
Synthia Link
Soprano (Kamg-Won, South Korea)
Bass (Davis, California)
Bass (Trnava, Slovakia)
Mezzo-Soprano (Siedice, Poland)
Baritone (Pechora, Russia)
Mezzo-Soprano (Lindenhurst, New York)
Debut Crowned
Debut Flemish
Debut King, Aida, 2009
Debut Flora, La
Debut Flemish
Debut Season
Child, Macbeth, 2012
Traviata, 2003
Repertory Ramfis, Aida
Repertory Schaunard, La
Bohème; Silvio,
Repertory Lolo, The
Merry Widow
Pagliacci
Hei-Kyung Hong
Brandon Jovanovich
Mikhail Kolelishvili
Robert Künzli
Mary-Jane Lee
Anders Lorentzson
Soprano (Kang Won Do, South Korea)
Tenor (Billings, Montana)
Bass (Moscow, Russia)
Tenor (Ramstein, Austria)
Soprano (Lethbridge, Canada)
Bass (Ambjörnarp, Sweden)
Debut Servilia, La
Debut Don
Debut Season
Repertory Mimì, La
Bohème; Micaëla,
José, Carmen, 2010
Repertory Sergei, Lady
Macbeth of Mtsensk
Repertory Priest, Lady
Company Debut 2014
Macbeth of Mtsensk
Carmen
Debut Season
Repertory Tebaldo, Don
Carlo
Soloman Howard
Anthony Kalil
Hans-Peter König
Mariusz Kwiecien
Yonghoon Lee
Inna Los
Bass (Washington, District of Columbia)
Tenor (Goshen, Indiana)
Bass (Düsseldorf, Germany)
Baritone (Kraków, Poland)
Tenor (Seoul, South Korea)
Soprano (Tiraspol, Moldavia)
Debut Season
Debut Sarastro, Die
Debut Kuligin, Káta
Debut Don
Debut Voice of a Young Man, Die Frau ohne
Schatten, 2013
Repertory Pogner, Die
Repertory The
King, Aida
Repertory First
Zauberflöte, 2010
Meistersinger
Kabanová, 1999
Repertory Count, Le
von Nürnberg
Marcello, La Bohème
Nozze di Figaro;
Carlo, Don Carlo, 2010
Repertory Don
Carlo, Don Carlo
Armed Man, Die Zauberflöte
Dmitri Hvorostovsky
Jonas Kaufmann
Brian Kontes
Maya Lahyani
Isabel Leonard
Alexandra Loutsion
Baritone (Krasnoyarsk, Russia)
Tenor (Munich, Germany)
Bass-Baritone (Ridgeway, Pennsylvania)
Mezzo-Soprano (Hod-HaSharon, Israel)
Mezzo-Soprano (New York, New York)
Soprano (Pittsburgh, Pennsylvania)
Debut Yeletsky, The
Debut Alfredo, La
Debut Ensemble, The
Debut Kate
Repertory Count
Queen of Spades, 1995
Anckarström, Un Ballo in
Repertory Don
Traviata, 2006
José, Carmen
Maschera
Repertory Foltz, Die
Nose, 2010
Meistersinger
von Nürnberg
Pinkerton, Madama Butterfly,
2014
Repertory Palestinian
Woman, The Death of
Klinghoffer; Flora, La Traviata; Rosette, Manon
Debut Stéphano, Roméo
et Juliette, 2007
Repertory Cherubino, Le
Nozze di Figaro;
Rosina, Il Barbiere di Siviglia
Bryan Hymel
Simon Keenlyside
Dmitry Korchak
Valeriano Lanchas
James Levine
Željko Lučic´
Tenor (New Orleans, Louisiana)
Baritone (London, England)
Tenor (Moscow, Russia)
Bass (Bogotá, Colombia)
Music Director and Conductor
Baritone (Zrenjanin, Serbia)
Debut Belcore, L’Elisir
Debut Season (Cincinnati, Ohio)
Debut Barnaba, La
Repertory Rodrigo, Don
Debut Tosca,
Repertory Macbeth, Macbeth; Amonasro,
Debut Aeneas, Les
d’Amore, 1996
Carlo
Repertory Don
Ottavio, Don Giovanni
Troyens, 2012
1971
Repertory Le
Bohème
Enrico Giuseppe Iori
Tobias Kehrer
Anatoli Kotscherga
Louis Langrée
Bass (Parma, Italy)
Bass (Dessau, Germany)
Bass (Winnitza, Ukraine)
Conductor (Mulhouse, France)
Debut Sparafucile, Rigoletto, 2013
Debut season
Debut Ivan
Debut Iphigénie
Repertory Sarastro, Die
Zauberflöte
Khovansky, Khovanshchina, 2012
Repertory Boris
Ismailov, Lady Macbeth of
Nozze di Figaro, Ernani, Die
Meistersinger von Nürnberg, Les Contes
d’Hoffmann, Un Ballo in Maschera, The Rake’s
Progress, Met Orchestra Concerts at Carnegie
Hall, Met Chamber Ensemble Concerts at
Carnegie’s Weill and Zankel Recital Hall
en Tauride, 2007
Ricardo Lugo
Bass (Ponce, Puerto Rico)
Gioconda, 2006
Repertory Schwarz, Die
Mtsensk
Meistersinger
von Nürnberg
Keith Jameson
Quinn Kelsey
Jesse Kovarsky
Jenny Laroche
Kathryn Lewek
Tenor (Greenwood, South Carolina)
Baritone (Honolulu, Hawaii)
Principal Dancer (Chicago, Illinois)
Mezzo-Soprano (Fort Lauderdale, Florida)
Soprano (East Lyme, Connecticut)
Principal Conductor (Genoa, Italy)
Debut Staff
Debut Schaunard, La
Debut Season
Debut Season
Debut Queen
Debut Don
Officer/Footman at the Ball,
ar and Peace, 2007
W
Repertory Alméric, Iolanta; Le
Bohème, 2008
Repertory Marcello, La
Bohème
Repertory
Omar, The Death of Klinghoffer
Repertory Clo-Clo, The
Merry Widow
Rememdado,
of the Night, The Magic Flute,
2013
Fabio Luisi
Carlo, 2005
Repertory Macbeth, National
Repertory Queen
Carmen
of the Night,
Die Zauberflöte
Council
Concert, Cavalleria Rusticana, Pagliacci,
The Merry Widow
Christopher Job
Jihee Kim
Maria Kowroski
Sarah Larsen
Alexander Lewis
Audrey Luna
Bass (Anaheim Hills, California)
Soprano (Seoul, South Korea)
Mezzo-Soprano (Roseville, Minnesota)
Tenor (Sydney, Australia)
Soprano (Salem, Oregon)
Debut Ensemble, The
Debut Unborn, Die
Principal Dancer (Grand Rapids,
Michigan)
Nose, 2013
Repertory Servant, Macbeth; Flemish
Deputy, Don Carlo
100 |
Aida; Alfio, Cavalleria Rusticana
Debut Monk, La
Repertory Carmen
Gioconda, 2006
ARTIST ROSTER
Frau ohne Schatten, 2013
Repertory Crowned
Child, Macbeth
Debut First
Guard, Manon, 2012
Debut Carmen 2009
Repertory Raoul
Repertory Carmen
The Merry Widow
de St. Brioche,
Debut Queen
of the Night, The Magic Flute,
2010
Repertory Olympia, Les
Contes d’Hoffmann
ARTIST ROSTER
| 101
Caitlin Lynch
Ayk Martirossian
Robert McPherson
Alastair Miles
Erin Morley
Laurent Naouri
Soprano (Detroit, Michigan)
Bass (Yerevan, Armenia)
Tenor (Seattle, Washington)
Bass (Harrow, England)
Soprano (Salt Lake City, Utah)
Bass-Baritone (Paris, France)
Debut Madrigal, Manon
Debut Sharpless, Madama
Debut Biancofiore, Francesca
da Rimini, 2013
Debut Sparafucile, Rigoletto,
Repertory Raimondo, Lucia
1996
di Lammermoor
Lescaut, 2008
Repertory Olympia, Les
Contes d’Hoffmann
Repertory Four
Butterfly, 2012
Villains, Les Contes
d’Hoffmann
Malcolm MacKenzie
Nicholas Masters
John McVeigh
Keith Miller
James Morris
Baritone (Woodland, California)
Bass (Philadelphia, Pennsylvania)
Tenor (Portland, Maine)
Bass-Baritone (Ovid, Colorado)
Bass-Baritone (Baltimore, Maryland)
Bass-Baritone (Cuyahoga Falls, Ohio)
Debut, Dancaïre, Carmen, 2010
Debut Pang, Turandot,
Company Debut Ceprano, Rigoletto, 2006
Debut King, Aida
Debut Season
Repertory Le
Repertory Gastone, La
House Debut Commissioner, Madama
Repertory The
Commendatore, Don
Giovanni; Grand Inquisitor, Don Carlo
Repertory Second
Anna Netrebko
Daincaïre, Carmen
1997
Traviata; First Guard,
Manon
Butterfly, 2006
Repertory Zuniga, Carmen; Count
Rod Nelman
1971
Ribbing,
Armed Man,
ie Zauberföte; Steward, Lady Macbeth
D
of Mtsensk
Amanda Majeski
Peter Mattei
Lucas Meachem
Kate Miller-Heidke
Christophe Mortagne
Soprano (Gurnee, Illinois)
Baritone (Pietå, Sweden)
Baritone (Raleigh, North Carolina)
Soprano (Gladstone, Australia)
Tenor (Le Mans, France)
Soprano (Krasnodar, Russia)
Debut Season
Debut Count, Le
Debut General
Debut Season
Debut Guillot
Debut Natasha
Repertory Countess, Le
Nozze di Figaro
Repertory Count, Le
Nozze di Figaro;
on Giovanni, Don Giovanni
D
Rayevsky, War and Peace,
2007
Repertory British
Repertory Silvio, Pagliacci
of Klinghoffer
Dancing Girl, The Death
de Morfontaine, Manon, 2012
Repertory Guillot
de Morfontaine, Manon
Rostova, War and Peace, 2002
Repertory Lady
Macbeth, Macbeth; Iolanta,
Iolanta
Olga Makarina
Jeff Mattsey
Angela Meade
Alison Mixon
Tamara Mumford
Soprano (Archangelsk, Russia)
Baritone (Blue Island, Illinois)
Soprano (Centralia, Washington)
Mezzo-Soprano (Shaker Heights, Ohio)
Mezzo-Soprano (Tabor, Canada)
Conductor (Montreal, Canada)
Debut Fire, L’Enfant
Debut Hermann/Schlémil, Les Contes
d’Hoffmann, 1998
Debut Season
Debut Laura, Luisa
Debut Carmen, 2009
Repertory Dodo, The
Repertory Vicomte
Debut Elvira, Ernani, 2008
et les Sortilèges, 2002
Repertory Albina, La
Donna del Lago
Cascada, The Merry
Miller, 2006
Merry Widow
Repertory Don
Carlo
Repertory Elvira, Ernani
Widow
Serena Malfi Elena Maximova
Harold Meers
Daniel Mobbs
Maurizio Muraro
Milijana Nikolic
Mezzo-Soprano (Naples, Italy)
Mezzo-Soprano (Moscow, Russia)
Tenor (Bloomington, Illinois)
Bass-Baritone (Louisville, Kentucky)
Bass-Baritone (Como, Italy)
Debut Season
Debut Olga, Eugene
Debut Cascada, The
Debut Dr.
Mezzo-Soprano (Sremska Mitrovica,
Serbia)
Repertory Cherubino, Le
Nozze di Figaro
Onegin, 2013
Repertory Giulietta, Les
Contes d’Hoffmann
Merry Widow, 2003
Repertory Kromow, The
Merry Widow
Bartolo, Le Nozze di Figaro, 2005
Repertory Dr.
Bartolo, Il Barbiere di Siviglia
Christopher Maltman
Donald Maxwell
Francesco Meli
Liudmyla Monastyrska
Fikile Mvinjelwa
Zurab Ninua
Baritone (Cleethorpes, England)
Baritone (Perth, Scotland)
Tenor (Genoa, Italy)
Soprano (Kiev, Ukraine)
Baritone (Capetown, South Africa)
Baritone (Tbilisi, Republic of Georgia)
Debut Harlequin, Ariadne
Debut Hortensius, La
Debut Aida, Aida, 2012
Repertory Ernani, Ernani
Repertory Figaro, Il
auf Naxos, 2005
Barbiere di Siviglia
Fille du Régiment, 2008
Repertory Benoit/Alcindoro, La
Bohème
Debut Baron
Douphol, La Traviata, 2013
Megan Marino
MaryAnn McCormick
Raúl Melo
Brian Montgomery
Olga Mykytenko
Mzia Nioradze
Mezzo-Soprano (New York, New York)
Mezzo-Soprano (Pittsburgh,
Pennsylvania)
Tenor (Havana, Cuba)
Baritone (Seattle, Washington)
Soprano (Zhytomyr, Ukraine)
Debut Rodrigo, Don
Debut Lauretta, Gianni
Mezzo-Soprano (Tbilisi, Republic of
Georgia)
Debut Unborn, Die
Debut Ensemble, The
Ghosts of Versailles,
Repertory Le
Carlo, 1992
Schicchi, 2007
Debut Matriosha, War
Dancaïre, Carmen
1991
and Peace, 2002
Repertory Marta, Iolanta
Repertory Giovanna, Ernani
Michele Mariotti
Ian McEuen
Susanne Mentzer
John Moore
Paul Nadler
Conductor (Urbino, Italy)
Tenor (Bethesda, Maryland)
Baritone (Milford/Okoboji, Iowa)
Conductor (Chicago, Illinois)
Bass (Sverdlovsk, Russia)
Debut Carmen, 2012
Mezzo-Soprano (Philadelphia,
Pennsylvania)
Debut Fiorello, Il
Debut Rigoletto,
Debut Police
Repertory La
Debut Cherubino, Le
Repertory Moralès, Carmen; Nachtigall,
Donna del Lago, Il Barbiere
Repertory Marcellina, Le
di Siviglia
Nozze di Figaro
Repertory The
Vladimir Ognovenko
1989
Merry Widow, Ernani
Sergeant, Lady Macbeth of
Mtsensk, 1994
Repertory Police
Sergeant, Lady Macbeth
of Mtsensk
Alexey Markov
Maureen McKay
Sarah Mesko
Latonia Moore
Antonio Nagore
Baritone (Vibord, Russia)
Soprano (Atlanta, Georgia)
Mezzo-Soprano (Hot Springs, Arkansas)
Soprano (Houston, Texas)
Tenor (Tucson, Arizona)
Debut Prince
Andrey, War and Peace, 2007
Repertory Robert, Iolanta; Count
Kelli O’Hara
Soprano (Elk City, Oklahoma)
Debut, Aida, Aida, 2012
Debut Season
Repertory Valencienne, The
Merry Widow
Anckarström, Un Ballo in Maschera
Michaela Martens
Ryan McKinny
Nadja Michael
Liam Moran
Ronald Naldi
Alan Oke
Mezzo-Soprano (Seattle, Washington)
Bass-Baritone (Los Angeles, California)
Soprano (Berlin, Germany)
Bass (Brookline, Massachusetts)
Tenor (Bound Brook, New Jersey)
Tenor (Edinburgh, Scotland)
Debut Aunt, Jenůfa, 2007
Debut Lt.
Debut Lady
Debut Major-Domo, Der
Debut Gandhi, Satyagraha, 2008
Repertory Marilyn
Repertory Speaker, Die
Klinghoffer, The Death
of Klinghoffer; Gertrude, Hansel and Gretel;
Judith, Bluebeard’s Castle
102 |
ARTIST ROSTER
Ratcliffe, Billy Budd, 2012
Zauberflöte
Macbeth, Macbeth, 2012
Repertory Judith, Bluebeard’s
Castle
Rosenkavalier, 1983
Repertory Don
Basilio, Le Nozze di Figaro
ARTIST ROSTER
| 103
Alan Opie
René Pape
Kyle Pfortmiller
Robert Pomakov
Jukka Rasilainen
Jennifer Rowley
Baritone (Redruth, England)
Bass (Dresden, Germany)
Baritone (Elgin, Illinois)
Bass (Toronto, Canada)
Bass-Baritone (Helsinki, Finland)
Soprano (Cleveland, Ohio)
Debut Balstrode, Peter
Company Debut Don
Debut Marquis, La
Debut Monterone, Rigoletto, 2013
Grimes, 1994
Repertory Leon
Fernando, Fidelio, 1992
Edward Parks
Lori Phillips
Franco Pomponi
Marina Rebeka
Soprano (Riga, Latvia)
Baritone (Indiana, Pennsylvania)
Soprano (Providence, Rhode Island)
Baritone (La Crosse, Wisconsin)
Soprano (Riga, Latvia)
Baritone (Chicago, Illinois)
Debut Magda, La
Debut Fiorello, Il
Debut Senta, Der
Debut Gambler, The
Debut Donna
Debut Amonasro, Aida, 2004
Bohème
Traviata
Bohème, 2014
Kristine Opolais
Repertory Mimì, La
Repertory Marquis, La
Debut, Musetta, La
House Debut Speaker, Die
Rondine, 2013
Zauberflöte, 1995
Traviata, 2010
Klinghoffer, The Death of
Klinghoffer; Baron Mirko Zeta, The Merry
Widow
Repertory Innkeeper, Manon
Repertory Banquo, Macbeth; Recital;
Sarastro, Die Zauberflöte
Repertory Flemish
Fliegende Holländer, 2010
Gambler, 2001
Deputy, Don Carlo
Anna, Don Giovanni, 2011
Repertory Violetta, La
Mark Rucker
Traviata
Ievgen Orlov
Brenda Patterson
Susanna Phillips
Marina Poplavskaya
Johan Reuter Tatyana Ryaguzova
Bass (Donetsk, Ukraine)
Mezzo-Soprano (Seattle, Washington)
Soprano (Huntsville, Alabama)
Soprano (Moscow, Russia)
Bass-Baritone (Copenhagen, Denmark)
Soprano (Voron Olbast, Russia)
Debut Oroveso, Norma, 2013
Debut Sprite, Rusalka, 2009
Debut Natasha
Repertory Violetta, La
Repertory Old
Convict, Lady Macbeth of
Mtsensk; The Commendatore, Don Giovanni;
King, Aida
Debut Musetta, La
Rostova, War and Peace, 2007
Traviata
Bohème, 2008
Debut Jaroslav
Prus, The Makropulos Case,
2012
Repertory Sachs, Die
Repertory Musetta, La
Bohème; Antonia/
Stella, Les Contes d’Hoffmann
Meistersinger
von Nürnberg
John Osborn
Ailyn Pérez Luca Pisaroni
Marcelo Puente
Christine Rice
Issachah Savage
Tenor (Sioux City, Iowa)
Soprano (Chicago, Illinois)
Bass-Baritone (Ciudad Bolivar, Venezuela)
Tenor (Buenos Aires, Argentina)
Mezzo-Soprano (Manchester, England)
Tenor (Philadelphia, Pennsylvania)
Debut Fourth
Debut Season
Debut Publio, La
Company Debut Met
Debut Season
Repertory Micaëla, Carmen
Repertory Leporello, Don
Jew, Salome, 1996
Repertory Rodrigo
di Dhu, La Donna
Orchestra Concert at
Carnegie Hall, 2011
Giovanni
del Lago
Repertory Don
Riccardo, Ernani
Debut Season
Repertory Hansel, Hansel
and Gretel;
Giulietta, Les Contes d’Hoffmann
Sidney Outlaw
Miah Persson
Dimitri Pittas
Emily Pynenburg
Rebecca Ringle
Emalie Savoy
Baritone (Brevard, North Carolina)
Soprano (Örnsköldsvik, Sweden)
Soprano (Brantford, Canada)
Mezzo-Soprano (Los Alamos, California)
Soprano (Schenectady, New York)
Debut Sophie, Der
Debut Herald, Don
Debut Season
Debut Rossweisse, Die
Debut Kristina, The
Rosenkavalier, 2009
Repertory Pamina, Die
Carlo, 2005
Zauberflöte
Repertory Jou-Jou, The
Walküre, 2013
Merry Widow
Makropulos Case, 2012
Repertory Sylviane, The
Merry Widow
Marjorie Owens
Dennis Petersen
David Pittsinger
Patricia Racette
Julien Robbins
Soprano (Portsmouth, Virginia)
Tenor (Iowa City, Iowa)
Bass-Baritone (Clinton, Connecticut)
Soprano (Manchester, New Hampshire)
Bass (Harrisburg, Pennsylvania)
Soprano (Frankfurt, Germany)
Debut Season
Debut Shabby
Peasant, Lady Macbeth
of Mtsensk, 1994
Debut Trulove, The
Debut Musetta, La
Debut King, Aida,
Debut Lulu, Lulu, 2001
Repertory Sergeant, Il
Barbiere di
Siviglia; Nathanaël/Spalanzani, Les Contes
d’Hoffmann
d’Hoffmann
Nicholas Pallesen
Marlis Petersen
Adam Plachetka
Anita Rachvelishvili
Luc Robert
Baritone (Riverside, California)
Soprano (Sindelfingen, Germany)
Bass-Baritone (Prague, Czech Republic)
Tenor (Noranda, Canada)
Debut Lysander, The
Debut Adele, Die
Debut Season
Mezzo-Soprano (Tbilisi, Republic of
Georgia)
Debut Season
Debut Micaëla, Carmen, 2013
Debut Carmen, Carmen, 2011
Repertory Ernani, Ernani
Repertory Mimì, La
Enchanted Island, 2014
Fledermaus, 2005
Repertory Susanna, Le
Nozze di Figaro
Rake’s Progress, 1997
Repertory Luther/Crespel, Les
Repertory Masetto, Don
Contes
Giovanni
Bohème, 1995
1979
Repertory Nedda, Pagliacci
Christine Schäfer
Repertory Gretel, Hansel
and Gretel
Ekaterina Scherbachenko
Bohème
Repertory Carmen, Carmen
Antonello Palombi
Mikhail Petrenko
Matthew Plenk
Camillo Radicke
Irene Roberts
Trevor Scheunemann
Tenor (Spoleto, Italy)
Bass (St. Petersburg, Russia)
Tenor (Lindenhurst, New York)
Pianist (Dresden, Germany)
Mezzo-Soprano (Sacramento, California)
Baritone (Columbia, Maryland)
Debut Season
Debut Bolkonsky’s
Debut Sailor’s
Repertory Debut Bridesmaid, Le
Debut Curio, Giulio
2002
Valet, War and Peace,
Voice, Tristan und Isolde, 2008
Repertory Arturo, Lucia
Repertory Bluebeard, Bluebeard’s
Repertory Laura, Iolanta
Castle
Cesare, 2007
Repertory Moralès, Carmen; Cristiano,
Sean Panikkar
Lyubov Petrova
Matthew Polenzani
Sondra Radvanovsky
David Robertson
Tenor (Bloomsburg, Pennsylvania)
Tenor (Evanston, Illinois)
Soprano (Berwyn, Illinois)
Conductor (Santa Monica, California)
Tenor (West Point, Wisconsin)
Debut Edmondo, Manon
Debut Zerbinetta, Ariadne
Debut Countess
Debut The
Debut Season
Repertory Amelia, Un
Repertory Molqi, The
Lescaut, 2008
auf Naxos, 2001
Death of Klinghoffer
Debut Boyar
Ceprano, Rigoletto, 1996
Ballo in Maschera
Makropulos Case, 1996
Repertory The
Death of Klinghoffer
Gregory Schmidt
Repertory Bertram, La
Donna del Lago
Kruschov, Boris Godunov, 1997
Repertory Hoffmann, Les
Contes d’Hoffmann
Myrtò Papatanasiu
Olesya Petrova
Maurizio Pollini
Ron Raines
Matthew Rose
Mark Schnaible
Soprano (Larissa, Greece)
Mezzo-Soprano (St. Petersburg, Russia)
Pianist (Milan, Italy)
Baritone (Nacogdoches, Texas)
Bass (Brighton, England)
Bass-Baritone (Moville, Iowa)
Debut Season
Debut Madelon, Andrea
Repertory Soloist,
Bohème
Repertory Antonia’s
d’Hoffmann
104 |
René Pape Recital
di Lammermoor
ARTIST ROSTER
Chénier, 2014
Mother, Les Contes
Carnegie Hall
Met Orchestra Concert at
Debut Colline, La
Bohème, 2011
Repertory Colline, La
Bohème;
ightwatchman, Die Meistersinger
N
von Nürnberg
ARTIST ROSTER
| 105
Mark Schowalter
Amy Shoremount-Obra
Toby Spence
Danielle Talamantes
Frank van Aken
Oksana Volkova
Tenor (Wauwatosa, Wisconsin)
Soprano (Edison, New Jersey)
Tenor (London, England)
Soprano (Arlington, Virginia)
Tenor (The Hague, Netherlands)
Mezzo-Soprano (Minsk, Belarus)
Debut Young
Debut Season
Debut Laërte, Hamlet, 2010
Debut Unborn, Die
Debut Siegmund, Die
Debut Maddalena, Rigoletto, 2013
Repertory Tamino, Die
Repertory Frasquita, Carmen
Servant, Elektra, 1999
Repertory Monostatos, Die
Zauberflöte;
Bogdanowitsch, The Merry Widow;
Nathanaël/Spalanzani, Les Contes
d’Hoffmann; Judge, Un Ballo in Maschera
Repertory First
Lady, Die Zauberflöte
Zauberflöte
Walküre, 2012
Repertory Sergei, Lady
Macbeth of Mtsensk
Repertory Sonyetka, Lady
Macbeth
of Mtsensk
Erwin Schrott
Alek Shrader
Carolyn Sproule
Ricardo Tamura
Elza van den Heever
Amber Wagner
Bass (Montevideo, Uruguay)
Tenor (Cleveland, Ohio)
Mezzo-Soprano (Montreal, Canada)
Tenor (São Paulo, Brazil)
Soprano (Johannesburg, South Africa)
Soprano (Santa Barbara, California)
Debut Colline, La
Debut Ferdinand, The
Debut Season
Debut Cavaradossi, Tosca, 2013
Debut Elisabetta, Maria
Debut Anna, Nabucco, 2011
Repertory Don
Repertory Donna
Bohème, 2000
Repertory Figaro, Le
Nozze di Figaro
Repertory Camille
Tempest, 2012
de Rosillon,
Repertory Sandman, Hansel
and Gretel
Carlo, Don Carlo
Stuarda, 2012
Anna, Don Giovanni
The Merry Widow
Cameron Schutza
Gary Simpson
Christophoros Stamboglis
Carl Tanner
Dinyar Vania
Claudia Waite
Tenor (Houston, Texas)
Baritone (Alexandra, Virginia)
Bass (Athens, Greece)
Tenor (Arlington, Virginia)
Tenor (Syracuse, New York)
Soprano (San Mateo, California)
Debut Season
Debut Don
Repertory Pritschitsch, The
Merry Widow
Basilio, Il Barbiere di Siviglia, 2009
Repertory Frate, Don
Carlo
Debut Dick
Johnson, La Fanciulla del West,
Debut First
2010
Lady, Die Zauberflöte, 1998
Repertory Lady
in Waiting, Macbeth; Berta,
Repertory Radamès, Aida; Turiddu,
Cavalleria Rusticana; Canio, Pagliacci
Angie Schworer
Michael Todd Simpson
Taylor Stayton
Alexei Tanovitski
Ramón Vargas
Mezzo-Soprano (Mitchell, Kentucky)
Baritone (Gastonia, North Carolina)
Tenor (Sidney, Ohio)
Bass (Minsk, Belarus)
Tenor (Mexico City, Mexico)
Bass-Baritone (New Orleans, Louisiana)
Debut Hermann/Schlémil, Les
Debut Riccardo
Debut Frate, Don
Debut Edgardo, Lucia
Debut Grégorio, Roméo
Contes
Percy, Anna Bolena, 2011
d’Hoffmann, 2009
Carlo, 2010
Alfred Walker
di Lammermoor, 1992
Repertory René, Iolanta
et Juliette, 1998
Bohème
Repertory Lescaut, Manon
Scott Scully
Tyler Simpson
Jason Stearns
Renée Tatum
Serban Vasile
Tenor (Houston, Texas)
Bass-Baritone (Sabeth, Kansas)
Mezzo-Soprano (Orange, California)
Baritone (Bucharest, Romania)
Baritone (Shenzhen, China)
Debut Young
Debut Flemish
Baritone (Washington, District of
Columbia)
Debut Inez, Il
Debut Ford, Falstaff, 2013
Debut Barnaba, La
Repertory Second
Prisoner, From the House
of the Dead, 2009
Repertory Flemish
Deputy, Don Carlo
Repertory Don
Curzio, Le Nozze di Figaro;
Teacher, Lady Macbeth of Mtsensk; Amelia’s
Servant, Un Ballo in Maschera
Repertory Baron
Gioconda, 2008
Trovatore, 2010
Company Debut 2014
Lady, Die Zauberflöte
Douphol, La Traviata
Debut Season
Repertory Fiorello, Il
Barbiere di Siviglia;
Flemish Deputy, Don Carlo
Albina Shagimuratova
Donovan Singletary
Andrew Stenson
Nicolas Testé
Cassandra Zoé Velasco
Bass-Baritone (Crestview, Florida)
Tenor (Rochester, Minnesota)
Bass-Baritone (Paris, France)
Mezzo-Soprano (Mexico City, Mexico)
Debut Queen
Debut Second
Debut Colline, La
2010
Sponsored by the Kern Family, in memory of
Repertory Comte
Repertory Lucia, Lucia
Ralph W. Kern
of the Night, Die Zauberflöte,
Yunpeng Wang
Nazarene, Salome, 2008
di Lammermoor
Debut Quartet, The
Bohème, 2014
Markus Werba
Baritone (Kärnten, Austria)
Debut Harlequin, Ariadne
des Grieux, Manon
auf Naxos, 2010
Repertory Papageno, Die
Zauberflöte
Enchanted Island, 2012
Repertory Beppe, Pagliacci
Jane Shaulis
Pavel Smelkov
Tony Stevenson
Ludovic Tézier
Fabian Veloz
Mezzo-Soprano (Millsville, New Jersey)
Conductor (St. Petersburg, Russia)
Tenor (Greenville, South Carolina)
Baritone (Marseille, France)
Baritone (Buenos Aires, Argentina)
Debut Cretan
Debut The
Debut First
Debut Escamillo, Carmen, 2002
Debut Sieglinde, Die
Repertory Second
Priest, Die Zauberflöte;
Eisslinger, Die Meistersinger von Nürnberg;
Four Servants, Les Contes d’Hoffmann;
Sellem, The Rake’s Progress
Repertory Germont, La
Repertory Katerina
Woman, Idomeneo, 1991
Nose, 2010
Repertory Iolanta/Bluebeard’s
Castle
Prisoner, Fidelio, 1993
Traviata
Eva-Maria Westbroek
Soprano (The Hague, Netherlands)
Walküre, 2011
Ismailova, Lady Macbeth
of Mtsensk; Santuzza, Cavalleria Rusticana
Chad Shelton
David Soar
Heidi Stober
Richard Troxell
Hugo Vera
Katherine Whyte
Tenor (Orange, Texas)
Bass (Worksop, England)
Soprano (Waukesha, Wisconsin)
Tenor (Thurmont, Maryland)
Tenor (El Paso, Texas)
Soprano (Toronto, Canada)
Debut Masetto, Don
Debut Gretel, Hansel
and Gretel, 2011
Debut Trin, La
Debut Elf, Die
Repertory Oscar, Un
Ballo in Maschera
Giovanni, 2012
Repertory Colline, La
Bohème
Fanciulla del West, 2010
Ägyptische Helena, 2007
Repertory Brigitte, Iolanta
Brindley Sherratt
Garrett Sorenson
Stefan Szkafarowsky
Violeta Urmana
Raymond Very
Bass (Lanchasire, England)
Tenor (Lubbock, Texas)
Mezzo-Soprano (Kazlu Rodos, Lithuania)
Tenor (Pittsburgh, Pennsylvania)
Bass (Charlotte, North Carolina)
Debut Season
Debut Itulbo, Il
Debut General
Debut Kundry, Parsifal, 2001
Debut Matteo, Arabella, 2001
Debut Jailer, Tosca, 2011
Repertory Amneris, Aida
Repertory Zinovy
Repertory Trulove, The
Pirata, 2002
Rake’s Progress
Yermolov/French Officer,
ar and Peace, 2002
W
Harold Wilson
Ismailov, Lady Macbeth
of Mtsensk
Oxana Shilova
Nora Sourouzian
Paulo Szot
Eduardo Valdes
Emmanuel Villaume
David Won
Soprano (Tashkent, Usbekistan)
Mezzo-Soprano (Montreal, Canada)
Baritone (São Paulo, Brazil)
Tenor (Santurce, Puerto Rico)
Conductor (Strasbourg, France)
Baritone (Seoul, South Korea)
Debut Kovalyov, The
Debut Gondolier, Death
Debut Madama
Debut Grégorio, Roméo
Repertory The
of Klinghoffer
106 |
ARTIST ROSTER
Nose, 2010
Captain, The Death
Repertory Le
in Venice, 1994
Remendado, Carmen;
Messenger, Aida; Gastone, La Traviata;
Serano, La Donna del Lago; Normanno, Lucia
di Lammermoor; Lerma, Don Carlo
Butterfly, 2004
Repertory Manon
Repertory Second
et Juliette, 2005
Guard, Manon
ARTIST ROSTER
| 107
Amanda Woodbury
Soprano (Crestwood, Kentucky)
Administration
Peter Gelb
General Manager
James Levine
Margaret Jane Wray
Music Director
Soprano (San Antonio, Texas)
Fabio Luisi
Debut Annina, La
Principal Conductor
Traviata, 1987
Pretty Yende Soprano (Piet Retief, South Africa)
Debut Adèle, Le
Comte Ory, 2013
Repertory Pamina, Die
Zauberflöte
Sonya Yoncheva
Soprano (Plovdiv, Bulgaria)
Debut Gilda, Rigoletto, 2013
Bohème
Mezzo-Soprano (Salem, Oregon)
Debut Azucena, Il
Trovatore, 1988
Repertory Ulrica, Un
Ballo in Maschera
Maria Zifchak
Mezzo-Soprano (Smithtown, New York)
Debut Kate
Pinkerton, Madama Butterfly,
2000
Repertory Swiss
Grandmother, The Death of
Klinghoffer; Annina, La Traviata
Nicholas Doumanoff
Head of Construction
Catherine Mallary
Production Coordinator
Douglas F. Lebrecht
Chargeman Scenic Artist
Lenore Rosenberg
Associate Artistic
Administrator
Analise Hartnett
Associate Production
Coordinator
William Malloy
Wardrobe Supervisor
Paul Cremo
Dramaturg / Director of Opera
Commissioning Programs
Kristin Niemiec
Executive Assistant
Gillian Brierley
Marketing & Communications
Sissy Strauss
Artist Coordinator
Diana Fortuna
Finance
Judith Montgomery
Artistic Liaison
Elena Park
Creative Content
Stewart Pearce
Operations
Veronika Arkhangel
Emily Cornelius
Associate Rehearsal
Administrators
Robert Rattray
Artistic
Robert Sutherland
Chief Librarian
John Sellars
Production
Jennifer Johnson
Àngels Martinez
Melissa Robason
Assistant Librarians
Lee Abrahamian
Director of Communications
Kenneth Hunt
Ken Noda
Assistants to the Music
Director
Julie Borchard-Young
Director of Worldwide HD
Siu Li GoGwilt
Executive Assistant
Peter E. Clark
Press Director
Donna Lampasso
Assistant Company
Manager—Contracts
Matt Dobkin
Creative Director, Marketing
& Editorial
Jonathan Friend
Artistic Administrator
Agnes Fercowicz
Executive Assistant,
Production Administration
Steven Losito
Chorus Administrator
Ann Marie Hackett
Director of Human Resources
& Labor Relations
Terri Horak
Music Staff Administrator
Judith Helf
Director of Development
Alicia Edwards
Children’s Administrator
Ioan Holender
Artistic Consultant
Rachel Hocking
Office Manager—Orchestra
Kendall Hubert
Director of Leadership Gifts &
Special Campaigns
Samuel Gelber
Artistic Assistant
Mary Ann Martini
David Strobbe
Elizabeth Mills
Milan Dale
Benjamin L. Motter
Project Managers
Stephanie Haggerstone
Technical Finance Manager
Carolyn Ferrell
Technical Operations Manager
Meghan Duffy
Technical Archivist
Sean Kelso
Assistant Production
Coordinator
Eva Santiago
Administrative
Assistant / Construction Shop
Sean Harris
Administrative
Assistant / Costume Shop
Sylvia Nolan
Resident Costume Designer
Mitchell Bloom
Assistant Resident Costume
Designer
David Ellertson
Assistant Resident Scenic
Designer
Tom Watson
Resident Wig & Makeup
Artist
STAGE DIRECTORS
David Knuess
Executive Stage Director
SUPERNUMERARIES
Cassandra Powell
Production Assistant
STAGE MANAGEMENT
Richard Holmes
Administrator
Raymond Menard
Production Stage Manager
James Naples
House Manager
Gillian Smith-Esposito
Associate Administrator
Gayletha Nichols
Director of National Council
Auditions
LINDEMANN YOUNG ARTIST
DEVELOPMENT PROGRAM
James Darrah
Gary Dietrich
Theresa Ganley
Cristobel Langan
Margo Maier-Moul
Scott Moon
Jonathan Waterfield
Stage Managers
Eva Wagner-Pasquier
Senior Artistic Advisor
Brian Zeger
Executive Director of
Lindemann Young Artist
Development Program
NATIONAL COUNCIL
AUDITIONS
Melissa Wegner
Associate Director
PRODUCTION
Paul Masck
Production Manager
MET TITLES
Michael Panayos
Met Titles Supervisor
Cecilia Sparacio
Met Titles Assistant
EXECUTIVE OFFICE
Rachael Walkinton
Sr. Executive Assistant
ADMINISTRATION
Brian Hurst
Production Administrator
Robert Tuggle
Director of Archives
Juliet Veltri
Assistant Head of Wigs
Aaron Sporer
Keri Thibodeau
Eric Larson
Assistant Resident Lighting
Designers
Christopher Kennedy
Resident Piano Technician
Sean Guerrier
Administrative Associate
Borhan Ahmed
Timothy Church
Assistants to the Costume
Shop Head
Kelly Davis
Administrative Assistant
Administrative Assistants
Clare Avery
Administrative Director
Bryant Hoven
First Tailor
DESIGN
John Lanasa
Director of Marketing
Craig Rutenberg
Director of Music
Administration
Regina Schuster
First Draper
John Froelich
Resident Lighting Designer
Peter McClintock
Stage Director
Joe Barnes
Director
Elissa Iberti
Costume Shop Head
Jenna Ahrens
Executive Assistant
Dodie Kazanjian
Director of the Arnold &
Marie Schwartz Gallery Met
Laura Mitgang
Director of Production
Administration
ARTIST ROSTER
Eric Gautron
Technical Director
John Hauser
Rehearsal Department
Director
Henry A. Lanman
General Counsel
108 |
ARTISTIC
ADMINISTRATION
Stephen A. Brown
Company Manager
ASSISTANT
GENERAL MANAGERS
Mia Bongiovanni
Media
Coralie Toevs
Development
Dolora Zajick
As of August 29, 2014
STAGE & SHOP OPERATIONS
Stephen A. Diaz
Master Carpenter
Philip J. Volpe
Master Electrician
James Blumenfeld
Properties Master
DEVELOPMENT
Rachel Cappy
Diana Katz
Development Associates
INSTITUTIONAL RELATIONS
Kate Martinez
Director
Kelly Barrows
Assistant Director
Romy Kushnick
Coordinator
MAJOR GIFTS
Marita Altman
Director
Naomi Weinstock
Deputy Director
Angie Calderwood
Sharmin Mahmud Price
Major Gifts Officers
John T. Schuler
Manager
Sophia Dumaine
Coordinator
Alan Lane
Assistant
PATRON &
INDIVIDUAL GIVING
Lisa Hayward
Director
Jerry Parra
Manager, Membership &
Promotions
Laura Michelson
Manager
Aznil Azar
Belmont Room Hostess
Elizabeth Heidere
Patron Lounge Hostess
PLANNED GIVING
Angela Marroy Boerger
Education Outreach Manager
Victoria Rey
Education Coordinator
MARKETING & ADVERTISING
Meghan Goria
Associate Marketing Director
Gabriel Burnham
Legal Associate
Joe Tropia
Sales Manager
Marsha Pierson
Associate
John Casavant
Brian Tran
Marketing Coordinators
RESEARCH
Susan Reed
Director
Jennifer DeVine
Associate Director
Molly Wassermann
Research Associate
Brittany Retty
Research Assistant
SPECIAL CAMPAIGNS
Eric Bernard
Broadcast Campaign Director
SPECIAL EVENTS &
DEVELOPMENT SERVICES
John Banta
Director
Shannon Preston
Deputy Director
Katharine Andrew
Special Events
Promotions Manager
Ryan Brodlieb
Senior Special Events
Promotions Coordinator
Emily McKenna
Special Events Coordinator
TELEFUNDING
Alexandra Danay
Marketing & Advertising
Assistant
MARKETING SERVICES
Ronni Brown
Director
Anthony Marinelli
Marketing Services Manager
GRAPHIC DESIGN
Rex Bonomelli
Director of Graphic Design
Burns Magruder
Senior Graphic Designer
WEBSITE
Suzanne Gooch
Director, Website &
Presentations
Eric Becker
Senior Website Manager
Gordon Thorpe
Website Coordinator
MERCHANDISING
Hope Van Winkle
Director of Merchandising
Jennifer Widdifield
Store & Operations Manager
Ian Zimmerman
Director
Yessika Siccardi
Merchandising Manager
Kevin Groob
Associate Director of
Telefundraising
George Flanagan
Buyer, Music & Books
Mark Berkowe
Gregory Elfers
Shelley O’Connor
Telefunding Supervisors
CUSTOMER CARE & DONOR
RELATIONS
Susan Hayes
Director
Courtney Lum
Telefunding Assistant
Gary Feinstein
Director, Subscriptions &
Special Services
MARKETING &
COMMUNICATIONS
Mary-Lynn Musco
Manager, Subscriptions &
Special Services
ADMINISTRATION
Alyssa De Alesandro
Executive Assistant
COMMUNICATIONS
Sam Neuman
Associate Press Director
Barbra Lach
Director, Membership &
Promotions
Eva Chien
Senior Manager, Live in HD
Press and Marketing
Anthony Busti
Associate Director, Donor
Information
Silja Tobin
Press Representative
Nancy Digonis
Patron Office Manager
EDUCATION
Marsha Drummond
Director of Education
David Martin
Director, Charitable Gift &
Estate Planning
Ashley Parks
Deputy Director
Rebecca Collora
Assistant Director
Jonathan Tichler
Photo Editor
EDITORIAL
Philipp Brieler
Managing Editor
Charles C. Sheek
Editor
CALL CENTER &
FULFILLMENT
Maryann Gallagher
Director, Call Center &
Donor Relations
Diane Cipriano
Director, Revenue Processing
& Data Entry
John Rodriguez
Manager
Michael DeMarco
Marilyn Farmer
Alexandria Finerson
Deyond Patrick
Brooke Perrin
Supervisors
| 109
Metropolitan Opera National Council Eleanor Robson Belmont (1878-1979), Founder
Sue Sweet
Executive Assistant
Robert Huott
Production Engineer
Asifa Omer
Amy Santo
Assistants
Yolanda Williams
Media Associate
E-MARKETING
Elizabeth Svokos
Media Production Assistant
Victoria D’Angelo
Director
Gesa Kudlack
Radio Production Assistant
Janette D’Angelo
Kirstyn Soles
Associate E-Mail Producers
Franklin, Weinrib, Rudell &
Vassallo, P.C.
Media Counsel
Megan Hildebrand
Andrew Price
Alisa Reich
Nancy Wilkens
Associates
CUSTOMER SYSTEMS
SUPPORT
Cristina Castilla
Lead Support Specialist
Elsa Allen
Lisa Joseph
Jamielyn LoBello
Niharika Samdruala
Associates
HUMAN RESOURCES &
LABOR RELATIONS
Jill Boyd
Associate Director Labor
Relations
Michele Rufrano
Manager
Frank DiMaiolo
Karla Faggard
Senior Administrators
Denise Abraham
Associate
Diandra Reyes
Molly Sellars
Assistants
Proskauer Rose LLP
Labor Counsel
LEGAL
Lauren Sierchio Wolf
Associate General Counsel
Richard Rainville
Board Liaison & Paralegal to
General Counsel
MEDIA &
PRESENTATIONS
Louisa Briccetti
Victoria Warivonchik
Producers
John Kerswell
Operations Director
Grace Row
Digital Music Production
Specialist
Justin P. Fuhs
Senior Manager, Website &
Online Media
Steven Carter
Digital Asset Manager
Lee Ellen Hveem
Associate Radio Producer
Alexandra Eastman
Associate Producer, Media
Special Projects
Michael Griebel
Tape Librarian / Archivist
Ed Hartley
Senior Broadcast Engineer
110 |
CREATIVE CONTENT
(LIVE IN HD, RADIO &
SPECIAL PROJECTS)
Margaret Juntwait
Radio Host / Announcer
Ira Siff
Radio Commentator
Hilary Ley
Director of Audience
Initiatives & Special Projects
Mary Jo Heath
Senior Radio Producer
Ellen Keel
Senior Radio Editor / Live in
HD Writer
William Berger
Writer / Radio Producer
Joseph Dietrich
Artistic System Project
Manager
George King
Senior Applications Support
Specialist
Eliza Urbanik
Staff Accountant
Dallas Hayes
Philip San Filippo
Managers
Mary Comiskey
Cash Accountant
Cathy Ballester
Supervisor, Development
Finances
Barbara Zaid
Accounts Payable Manager
Hans Howard
Linneman‑Schmidt
Assistant Payroll Manager
Tara Collins
Lalanie Guido
Carol Helps
Albert Marrero
Julia Vitebsky
Payroll Assistants
Teresa Lugo
Data Entry Clerk
HOUSE MANAGEMENT
Jenna Reyes
Daniel Valdes
Associate House Managers
Michael G. Marotta
Security Director
Matthew Principe
Associate Producer, Live in
HD & Radio
James Trainor
Assistant Security Director
Wendy Fisher
Gallery Met Assistant
Eric Tress
Chief Engineer
Steven Ambrioso
Purchasing Manager
FINANCE
Ilan Kravic
Director of Planning &
Operations Analysis
Charles Retty
Office Services Manager
Monique Quinn
Controller
Deborah Jackson
Reception Manager
Scott Schneider
Director, Financial Systems
Karol Wolniewicz
Administrative Assistant
Leslie McKinley
Director, Development
Finances
PERFORMANCE
MANAGEMENT
Elasha Salzgaber
Director, Financial Accounting
John Flaherty
A. Cosmo Venneri
Performance Managers
Peter D’Amico
Accounting Manager
Hector Garcia
Chief Usher
Neal Davis
Payroll Manager
Jennifer Bachini
Jasminka Kovacevic
Assistant Chief Ushers
Janett Sanchez-Peralta
Director, Media Finances &
Financial Monitoring
Katrina Cronburg
Manager of Financial Analysis
Ingrid Cronburg
Sr. Budget Analyst
Justin Weatherby
Budget Analyst
Jack Clark
Checkroom Manager
BOX OFFICE
Mark Schreiber
Robert Begin
James Maguire
Assistant Head Treasurers
MEDICAL SERVICES
Margaret Lundin
Director, Business Support
Anthony F. Jahn, MD
Medical Director
Angela Dunbar
Business Process &
Applications Manager
Linda Shene, RN
Company Nurse
Daynessa McMillan
Senior Accountant—Financial
Accounting, Investment and
Compliance
Karen Stansifer
Business Systems Analyst
Min Lew
Financial Analyst
INFORMATION SYSTEMS
Joe Caiola
Director, Information Services
& Technology
Scott Trapani
Deputy Director, Information
Systems
Aron Kiperman
Doriam Sanchez
Specialists
ARCHIVES
John Pennino
John Tomasicchio
Archivists
MUSIC STAFF
Assistant Conductors
Matthew Aucoin
Thomas Bagwell
Lydia Brown
Gregory Buchalter
Gildo Di Nunzio
Joan Dornemann
Steven Eldredge
Dennis Giauque
Jeffrey Goldberg
Joshua Greene
Linda Hall
Vlad Iftinca
Derrick Inouye
Carol Isaac
J. David Jackson
Natalia Katyukova
John Keenan
Jonathan Kelly
Hemdi Kfir
Yelena Kurdina
Marie-France Lefebvre
Caren Levine
Roger Malouf
Denise Massé
Liora Maurer
Gareth Morrell
Robert Morrison
Paul Nadler
Steven Osgood
Nimrod Pfeffer
Laura Poe
Donna Racik
Miloš Repický
Joel Revzen
Dan Saunders
Irina Soboleva
Pierre Vallet
Bryan Wagorn
Howard Watkins
Steven White
PROMPTERS
Thomas Bagwell
Gregory Buchalter
Joan Dornemann
Joshua Greene
Vlad Iftinca
Carol Isaac
Yelena Kurdina
Marie-France Lefebvre
Caren Levine
Donna Racik
LINDEMANN YOUNG
ARTIST DEVELOPMENT
PROGRAM
Robert Cowart
Head of Linguistic Studies
OFFICERS
REGIONAL CHAIRPERSONS
COMMITTEE OF ADVISORS
Mitchell L. Lathrop
President
David O’Connor
Central
Mrs. David Domina
R. Joseph Barnett
Chairperson of the Executive
Committee
Lara Marcon
Eastern
Mrs. Frédéric Laffont
Camille LaBarre
National Council Chairperson
Mary Berlow
Dianne Rubin
Great Lakes
Mrs. Alvina O’Brien
David Paul
German Instructor
O. Delton Harrison, Jr.
Chairperson of the
Nominating Committee
Diane S. Dupin
Dr. E. Quinn Peeper
Gulf Coast
Nathaniel Murray
Fitness Instructor
Eleanor N. Caulkins
Member-at-Large
Eleanor M. Forrer
Middle Atlantic
Stephen Wadsworth
Head of Dramatic Studies
Natalia Katyukova
Staff Music Coach
John Fisher
Renata Scotto
Master Teachers
Benjamin Bliss
Brandon Cedel
Sponsored by
Annette Merle‑Smith
Sara Couden
Ekaterina Deleu
Dimitri Dover
Ying Fang
Lachlan Glen
Anthony Kalil
Mary-Jane Lee
Sophia Muñoz
Andrew Stenson
Sponsored by the Kern Family,
in memory of Ralph W. Kern
Mrs. Charles H. Dyson
Mr. Fernand Lamesch
national ADVISOR
Eric Owens
Mark Ensley
Mid-South
Ronald and Barbara Glass
Midwest
Pauline Ho Bynum
New England
Melvyn Poll
Northwest
Dr. Stephen Dilts
Rocky Mountain
Margaret Talmadge
Southeast
Connie Fullmer
Lynda Sharbrough
Upper Midwest
Molly Siefert
Western
Daniel Stewart
Sava Vemić
Yunpeng Wang
STAGE DIRECTORS
GUEST STAGE DIRECTORS
James Bonas
Eric Einhorn
Laurie Feldman
Gregory Keller
Gina Lapinski
Jonathon Loy
Yefim Maizel
Sarah Ina Meyers
Louisa Muller
Stephen Pickover
Christian Räth
J. Knighten Smit
Kathleen Smith Belcher
Paula Suozzi
Paula Williams
ASSISTANT STAGE DIRECTORS
Sara Erde
Gregory Anthony Fortner
Daniel Rigazzi
Elise Sandell
LANGUAGE COACHES
Marianne Barrett
Loretta Di Franco
Erie Mills
Craig Rutenberg
Yefim Shnayder
Network Operations Manager
| 111
Metropolitan Opera Orchestra
James Levine
Music Director
Fabio Luisi
Principal Conductor
Robert Sirinek
Orchestra Manager
Kingsley J. Wood
Assistant Orchestra Manager
VIOLINS
David Chan
Concertmaster
Laura Hamilton
Acting Co-Concertmaster
Nancy Wu
Associate Concertmaster
Bruno Eicher
Assistant Concertmaster
Wen Qian
Amy Kauffman
CELLOS
Jerry Grossman
Principal
The Edward E. and
Betsy Z. Cohen Chair
Rafael Figueroa
Principal
The Judith-Ann Corrente and
Willem Kooyker Chair
Dorothea Figueroa
Associate Principal
Metropolitan Opera Chorus and Ballet
OBOES
Elaine Douvas
Principal
Nathan Hughes
Principal
Susan Spector
Pedro R. Díaz
ENGLISH HORN
Pedro R. Díaz
Ming-Feng Hsin
Joel Noyes
Assistant Principal
Yoon K. Kwon
Marian Heller
Caterina Szepes
Kari Jane Docter
Yurika Mok
Julia Bruskin
Samuel Cohen
James Kreger
Catherine Sim
Sam Magill
Daniel Khalikov
DOUBLE BASSES
Leigh Mesh
Acting Principal
Dean J. LeBlanc
James Ognibene
Jeremy McCoy
Acting Associate Principal
BASS CLARINET
James Ognibene
The Jacqui and Grant Smith
Chair
Yang Xu
Qianqian Li
Miran Kim
Sarah Vonsattel
Shirien Taylor-Donahue
Principal
Sylvia Danburg Volpe
Associate Principal
Karen Marx
Assistant Principal
Catherine Ro
The Richard and Elizabeth
Gilbert Chair, in memory of
Ralph Gilbert
Katherine T. Fong
Elena Barere
Laura McGinnis
Ann Lehmann
Toni Glickman
Kingsley J. Wood
Jessica Phillips Rieske
Acting Principal
The Ruth and Harvey R. Miller
Charitable Fund Chair
Daniel Krekeler
Rex Surany
Brendan Kane
BASSOONS
Patricia Rogers
Principal
FLUTES
Stefán Ragnar Höskuldsson
Principal
The Lila Acheson Wallace
Chair
William Short
Principal
Denis Bouriakov
Principal
The Beth W. and Gary A.
Glynn Chair, in honor of
Michael Parloff
CONTRABASSOON
Mark L. Romatz
Maron Anis Khoury
Daniel Shelly
Mark L. Romatz
HORNS
Joseph Anderer
Principal
Stephanie C. Mortimore
Erik Ralske
Principal
PICCOLOS
Stephanie C. Mortimore
Principal
E. Scott Brubaker
Jeehae Lee
VIOLAS
Michael Ouzounian
Principal
CLARINETS
Boris Allakhverdyan
Principal
The Karen A. and
Kevin W. Kennedy Chair
Maron Anis Khoury
Brad Gemeinhardt
Anne Marie Scharer
TRUMPETS
David Krauss
Principal
The Beth W. and
Gary A. Glynn Chair
ASSOCIATE MUSICIANS
Billy R. Hunter, Jr.
Principal
Lesley Heller
VIOLINS
Leszek Barnat
Shem Guibbory
Narciso Figueroa
Raymond Riccomini
Annamae Goldstein
Gareth Flowers
Jin-Kyung Koo
Peter Bond
BASS TRUMPET
Denson Paul Pollard
TROMBONES
David Langlitz
Principal
Demian Austin
Principal
Weston Sprott
Patmore Lewis
Abraham Appleman
CHORUS
Mary Hughes
BASSES
Carla Jablonski
Daniel Hoy
SOPRANOS
Melissa Lentz
Edward Albert
Carole Latimer
Aaron Ingersoll
Joseph Lawson
Assistant Chorus Master
Jean Braham
Kurt Phinney
Chorus Manager
Stephen Paynter
Assistant Chorus Manager
Anthony Piccolo
Children’s Chorus Director
The William D. Rollnick Chair,
in honor of Fred Rollnick
Deborah Cole
Maria D’Amato
Angela DeVerger
Karen Dixon
Suzanne Falletti
Laura Fries
Samantha Guevrekian
Christoph Franzgrote
Constance Green
Hansaem Lim
April Haines
Margaret Magill
Ellen Lang
Rosemary Nencheck
Ross Benoliel
Francesca Lunghi
Jonathan Kimple
Alexandra Newland
Scott Dispensa
Shoshanah Marote
Kwang Kyu Lee
Annette Spann-Lewis
Kenneth Floyd
Mary Petro Noonan
Richard Lippold
Patricia Steiner
Edward Hanlon
Sara Louise Petrocelli
Joseph Mace
Rosalie Sullivan
Jason Hendrix
Elizabeth Pojanowski
Patrick Miller
Christina Thomson Anderson
Robert Maher
Sahoko Sato
Wright Moore
Gloria Watson
Seth Malkin
Amanda Tarver
Thomas Mulder
Meredith Woodend
Brandon Mayberry
Jennifer Tiller
Shea Owens
Timothy Breese Miller
Carla Wesby
Gary Pate
TENORS
Glenn Alpert
Joseph Pariso
Sarah Wolfson
Douglas Purcell
Raymond Aparentado
Earle Patriarco
Olga Xanthopoulou
Ivan Rivera
Sam Savage
Joanna Maurer
Seunghye Lee +
Nathan Carlisle
Richard Pearson
Sun A Yeo
Xiao-Dong Wang
Ashley Logan
Gregory Cross
Daniel Peretto
Paul An
Michael Scarcelle
VIOLAS
Kate Mangiameli
David Frye
Christopher Schaldenbrand
Brian Anderson
Yoonsoo Shin
David Cerutti
Marvis Martin
Bryan Griffin
Mark Sullivan
Steve Norrell
Nardo Poy
Jeremy Aye
Vladimir Shvets
Juli McSorley
Denson Paul Pollard
Christian Jeong
John Trybus
Dov Scheindlin
Nathan Bahny
Byron Singleton
Anne Nonnemacher
Marco Antonio Jordão
Joseph Turi
Markus Beam
Matthew Smith
BASS TROMBONES
Steve Norrell
CELLOS
Belinda Oswald
Danrell Williams
Judith Currier
Juhwan Lee
Joshua Benevento
George Somerville
Lynn Taylor
Yohan Yi
David Heiss
Jeremy Little
Wojciech Bukalski
Erik Sparks
Denson Paul Pollard
Marie Te Hapaku
Jacqueline Mullen
Gregory Lorenz
EXTRA CHORISTERS
Jason Coffey
Lee Steiner
Jennifer Rossetti
Elizabeth Anderson
Stephen Ballou
Dustin Lucas
Daniel Collins
Scott Tomlinson
Danielle Walker
David Lowe
Kristina Bachrach
Ellen Westermann
Chase Cornett
Michael Webb
Elaine Young
Craig Montgomery
Maria Dolan Barnes
Kevin Courtemanche
Max Wier IV
DOUBLE BASSES
ALTOS
Jeffrey Mosher
Stephanie Benkert
Stephen Paynter
Donna Breitzer
Marc Persing
Lianne Coble
Kurt Phinney
Natalie Conte
Salvatore Rosselli
Aixa Cruz-Falu
Daniel Clark Smith
Edith Dowd
John Smith
Christina Girvin
Gregory Warren
Sara Heaton
TUBA
Christopher John Hall
TIMPANI
Duncan Patton
Principal
The Rosalind Miranda Chair, in
memory of Shirley and Hilliard
(Bill) Cohen
Jason R. Haaheim
Principal
PERCUSSION
Gregory Zuber
Principal
Robert L. Knopper
Jacqui Danilow
Elizabeth Brooks
Charles Urbont
Rebecca Carvin
Bradley Aikman
Stephanie Chigas
Marji Danilow
David Rosi
Catherine MiEun Choi
Steckmeyer
FLUTE
Andrea Coleman
Koren McCaffrey
Elizabeth George
OBOE
Marty Coyle
Bray Wilkins
Chad Cygan
Steven Williamson
James Flora
Maksin Zhdanovskikh
Robert Garner
Alexander Gounko
+on leave of absence
Benjamin Harris
Patrick Hogan
Sharon Meekins
CLARINET
HARP
Mariko Anraku
Acting Principal
Pavel Vinnitsky
BASSOON
Richard Vrotney
Craig Mumm
Associate Principal
Michelle Baker
The Rosalind Miranda Chair
TRUMPET
Milan Milisavljević
Assistant Principal
Javier Gándara
Frank Hosticka
Barbara Jöstlein
TUBA
Marilyn Stroh
Julia A. Pilant
Stephen M. Johns
Waldemar QuinonesVillanueva
Joseph Fritz
Dance Director
ballet
Gillian Abbott
Michelle Joy
Anna Schon
William Cannon
Erin Kernion
Rachel Schuette
Jay Carlon
Andrew Robinson
Deputy Dance Director
Natalia Alonso
Megan Krauszer
Danielle Schultz
Jace Coronado
Elliott Reiland
Steven Mitchell
Staff Pianist
Elizabeth Alvarez
Loni Landon
Ariel Shepley
Jovan Dansberry
Andrew Robinson
Malin Andreasson
Emery LeCrone
Kristen Stevens
Seth Davis
Tanner Schwartz
Leah Barsky
Sharon Livardo DuMaine
Karilyn Surratt
Tobin Eason
Bradley Shelver
Sarah Blodgett
Alyssa Maksym
Jennifer Sydor
David Gonsier
Justin Sherwood
Junio Teixeira
Désirée Elsevier
PERCUSSION
Vincent Lionti
Lynn R. Bernhardt
Ira Weller
Rafael Guzman
Jennifer Cadden
Gabrielle Malone
Yara Travieso
James Graber
Mary Hammann
Benjamin Harms
Selina Chau
Meghan Manning
Allison Ulrich
Chris Houston
Kei Tsuruharatani
Katherine Anderson
CELESTE / ARMONICA
Alison Clancy
Morgan McEwen
Michelle Vargo
Seth Ives
Scott Weber
Garrett Fischbach
Cecilia Brauer
Kristen Clotfelter
Christine McMillan
Sarah Weber-Gallo
Roger Jeffery
Jonathan Royse Windham
HARP
Nicole Corea
Anne O’Donnell
Samarah Williams
Nicholas Katen
Lukasz Zieba
Susan Jolles
Catie Cuan
Laura Otto
Bonnie Wright
Kentaro Kikuchi
GUITAR / LUTE
Bryn Dowling
Maria Phegan
Elizabeth Yilmaz
Niall Lessard
STAFF PERFORMERS
Brian J. Baldwin
Frank Colardo
Linda Gelinas
Dance Captain
Fred Hand
Elizabeth Dugas
Katya Preiser
Cesar Abreu
Amir Levy
MANDOLIN
Sara Erde
Oriada Islami Prifti
Christopher Adams
Justin Lynch
Florencio Cora
Melanie Gallo
Wendy Reinert
Nile Baker
Jeremy McQueen
Anne Dyas
Abby Gavezzoli
Amy Ruggiero
Anthony Bocconi
Slim Mello
Mike Gomborone
Linda Gelinas
Danielle Russo
Casey Boyle
Mark Mindek
Richard Guido
Alexandra Gherchman
Melissa Sadler
Dwayne Brown
Jose Moreno
Ed Harrison
Alexandra Gonzalez
Allison Sale
Gregory Brown
Shane Ohmer
Matthew Kernisky
Christine Hamilton
Alexandra Sawyier
Kelby Brown
Ilia Pankratov
Zephyrus White
Mary Beth Hansohn
Kristen Schoen-Rene
Nicholas Bruder
Joyce Rasmussen Balint
112 |
Donald Palumbo
Chorus Master
| 113
Metropolitan Opera Board
Metropolitan Opera Guild Eleanor Robson Belmont (1878–1979), Founder
Ann Ziff
Chairman
managing
directors
Mercedes T. Bass
advisory
directors
Josef Ackermann
Members of
the Association
Mahmoud M. Abdallah
OFFICERS
Winthrop Rutherfurd, Jr.
Chairman of the Board
Kevin W. Kennedy
President and
Chief Executive Officer
Frank A. Bennack, Jr.
Marcos Arbaitman
Tonio Arcaini
Susan S. Braddock
M. Beverly Bartner
R. Joseph Barnett
Richard J. Miller, Jr.
President
Betsy Cohen
Ellen S. Berelson
Jane Beasley
Leonard S. Coleman, Jr.
Stanley M. Bergman
Mrs. Thomas S. Brush
Judith-Ann Corrente
Glen W. Bowersock
Eleanor N. Caulkins
Rena De Sisto
Jacques E. Brand
Dr. Patrizia A. Cavazzoni
Mercedes T. Bass
Vice Chairman
William C. Morris
Chairman of the
Executive Committee
Judith-Ann Corrente
Secretary
Betsy Cohen
Treasurer
Frayda B. Lindemann
Vice President
Christine F. Hunter
Honorary Chairman
James W. Kinnear
Honorary Chairman
Paul M. Montrone
President Emeritus
Mrs. Ezra K. Zilkha
Vice Chairman Emerita
Jerry del Missier
Ms. Angela Chao
Robert J. Cubitto
Mrs. Paul Desmarais Sr.
Nabil N. Chartouni
Mrs. Bryant Reeve Dunn
Misook Doolittle
Christopher H. Cheever
Brian Duperreault
Stephanie T. Foster
Daniel C. Cochran
Robert G. Edge
Marina Kellen French
Alberto Cribiore
Beatrice Esteve
Joan Granlund
Gary B. Flom
Sanford H. Fisher
Eugene P. Grisanti
Gordon P. Getty
Eugene M. Grant
Ekkehart Hassels-Weiler
Nancy A. Green
G. Morris Gurley
Rolf Heitmeyer
Ephraim Greenwall
Mrs. Randolph H. Guthrie
Marlene Hess
Beth A. Grosshans
Agnes Hsu-Tang, Ph.D.
Ray J. Groves
Erik Hartmann
Thomas J. Hubbard
Chairman Emeritus
BOARD OF DIRECTORS
Judith H. Auchincloss
EX-OFFICIOS
Kevin W. Kennedy
Dr. Susan Battley
Ann Ziff
Robert E. Bierman
Susan S. Braddock
Mrs. Schuyler G. Chapin
Susan S. Braddock
President Emeritus
Oscar de la Renta
Theodore A. Kurz
Chairman, Executive
Committee and First Vice
President
John Hargraves
Sandra S. Joys
Vice President
Sandra S. Joys
Louis Miano
Vice President
Dr. Cora Koppe-Stahrenberg
Christopher S. Moore
Treasurer
Edmée de M. Firth
Kate Webb Harris
Stuart H. Johnson, III
Mrs. Kerryn King
Stephen C. Koval
Theodore A. Kurz
Elizabeth S. Tunick
Secretary
James S. Marcus
Stewart Pearce
Managing Director
Jules Miller
Thomas M. Martin
Assistant Treasurer
Louis Miano
Christine F. Hunter
H. Alexandra Kauka Hamill
Henry H. Hoyt, Jr.
Frederick Iseman
William A. Haseltine
Mattiwilda Dobbs Janzon
Mrs. Peter H. Nicholas
John J. Noffo Kahn
Thomas J. Hubbard
Mrs. Martin S. Kimmel
Dr. Ebbie Parsons, III
Kevin W. Kennedy
Linda E. Johnson
Mrs. Joan C. Long
Lowell W. Robinson
Christopher S. Moore
James W. Kinnear
Tod Johnson
Sandra Ourusoff Massey
Bruce Kovner
Klaus Kleinfeld
John L. McGraw
Christopher Serbagi
Camille D. LaBarre
Dr. Herbert G. Kloiber
Marc S. Solomon
Mrs. Walter J. Laughery, Jr.
Dr. David G. Knott
Dr. Steve Prystowsky
Ellsworth George Stanton III
Harry T. Lee
Meyer G. Koplow
Sharon Robinson
Patricia F. Sullivan
Jeanette Lerman-Neubauer
Theodore A. Kurz
Hartley R. Rogers
Elizabeth S. Tunick
Frayda B. Lindemann
Dominique Laffont
Joan C. Schwartz
Langdon Van Norden, Jr.
Dafna Meitar-Nechmad
Mitchell L. Lathrop
Cynthia D. Sculco
George C. White
Mrs. Corbin R. Miller
Dr. Coco Lazaroff
Mrs. William F. Sondericker
William R. Miller
Helen Y. Little
Jackson Tai
William C. Morris
Andrew J. Martin-Weber
Barry Tucker
Elena A. Prokupets
Dr. Richard J. Massey
Mrs. Robert Wagenfeld
Laura J. Sloate
Anne Welsh McNulty
Mrs. Ralph M. Wyman
Howard Solomon
Harvey R. Miller
and all the Directors
Hon. David A. Straz, Jr.
Amb. Nicholas F. Taubman
Vivian Milstein
Mrs. Wilmer J. Thomas, Jr.
Linda Mirels
Young associate
directors
Agnieszka R. Balaban
Robert I. Toll
Ellen F. Oelsner
Alexa Bator Chae
Robert L. Turner
Katharina Otto-Bernstein
Diego De Giorgi
Ann Ziff
Joseph R. Perella
Heather H. Georges
honorary
directors
Bruce Crawford
Miss Leontyne Price
Matthew G. Hurd
Vikas Kapoor
Sana H. Sabbagh
Yung Hee Kim
Edgar Foster Daniels
Jacqui Smith
Joshua Kindler
Emily Fisher Landau
Daisy M. Soros
Melissa Ko
Mrs. Alexander M. Laughlin
Richard S. Tedlow
So-Chung Shinn Lee
Laurence D. Lovett
John J. Veronis
Helen Lee-Warren
James S. Marcus
Arete S. Warren
Paul M. Montrone
ARTISTS’ COUNCIL
Martina Arroyo
Harolyn Blackwell
Rosalind Elias
Michael Fabiano
Susan Graham
Thomas Hampson
Eric Owens
Roberta Peters
Frederica von Stade
EMERITUS COUNCIL
Diana Russell Deacon
Mrs. Richard Durkes
Mrs. Anthony L. Geller
Mrs. Randolph H. Guthrie
Mrs. James R. Houghton
GENERAL ADMINISTRATION
EDUCATION
Stewart Pearce
Managing Director
Stuart Holt
Director of School Programs
and Community Engagement
Thomas M. Martin
Director of Finance and
Administration
Katherine R. Delaney
Director of Development
Paul Toomey
Controller
Jamielyn LoBello
Application Support Associate
Monica Danilov
Executive Assistant
Amanda Lee
Development Coordinator
PUBLIC PROGRAMS
Paul Gruber
Executive Director,
Program Development
Kimberly Goodis
Public Programs Manager and
Travel Coordinator
Mrs. James B. Hurlock
Dimitrios G. Kontos
Public Programs Manager and
Board Liaison
Mrs. Alexander M. Laughlin
PUBLICATIONS
Lawrence D. Lovett
Diane M. Silberstein
Publisher
Thomas J. Hubbard
Maria M. Moore
Mary G. Rockefeller
F. Paul Driscoll
Editor-in-Chief
Brian Kellow
Features Editor
Gregory Downer
Art Director
Joseph Hudson
Manager of Urban Voices and
University Partnerships
Carianne Bennett
Access Opera Manager
Aliza Greenberg
Manager of Students
Compose Opera and
Teaching Through Opera
Nick Lamm
School Programs
Administrative Coordinator
COMMUNITY ENGAGEMENT
Lacey Upton
Manager of Community
Engagement
Elspeth Davis
Coordinator of Community
Engagement
Rebecca Sullivan
Community Engagement
Assistant
Kyle Homewood
Community Engagement
Fellow
Jane Marsh
Artistic and Program
Consultant
Naomi Barrettara
Program Development
Consultant
ACCOUNTING
Elizabeth Diggans
Editorial Production Director
Kisha Walton
Accountant
Louise T. Guinther
Senior Editor
Fred Reissig
Network Administrator
Adam Wasserman
Online Editor
Henry Stewart
Assistant Editor
Maria Mazzaro
Editorial Assistant
Fred Cohn
Research Associate
Beth Higgins
Advertising Sales
Representative
Mariah Wakefield
Advertising Production and
Social Media Coordinator
Pedro Magalhães
Julie Warner McAskin
Dr. M. Lee Pearce
Evelyn M. M. Popp
Mrs. Ezra K. Zilkha
Itai Shoffman
Langdon Van Norden, Jr.
Shivani Vora
Rebecca Wui
Satoko Yahata
Simon Yates
114 |
| 115
The Campaign for the Met Mercedes T. Bass, Chairman
The Campaign for the Met was conceived to provide the critical support needed to sustain the Met through the launch
of a series of exciting new initiatives, including more than 50 new productions; innovative new media programs, such as
the extraordinarily successful movie theater series The Met: Live in HD; modernizing the stage equipment; and the creation
of the Arnold and Marie Schwartz Gallery Met. The Met is now more artistically vibrant and appealing than ever before,
and we are grateful to the Campaign’s leadership donors for their support.
$50 MILLION
$15 MILLION
$5 MILLION
Ann Ziff and
the Ziff Family
Judith-Ann Corrente and
Wim Kooyker
$30 MILLION
Mercedes and Sid Bass
1 Anonymous Donor
Karen and Kevin Kennedy
Gramma Fisher Foundation,
Marshalltown, Iowa
Suzie and Bruce Kovner
Mary and Michael Jaharis
Jeanette Lerman-Neubauer and
Joseph Neubauer
Frayda and George Lindemann
William C. and Susan F. Morris
†
†
Dr. Agnes Varis and
Karl Leichtman
The Andrew W. Mellon
Foundation
Ambassador and Mrs.
Nicholas Taubman
$10 MILLION
1 Anonymous Donor
The Annenberg Foundation
$2.5 MILLION
Betsy and Edward Cohen / Areté Foundation Fund for
New Productions and Revivals
1 Anonymous Donor
$7.5 MILLION
Beth and Gary Glynn
Bloomberg
Hermione Foundation,
Laura Sloate, Trustee
The Jaharis Family Foundation
Mrs. Betty Wold Johnson
Francis Goelet Trusts
John Noffo Kahn and
Mark Addison
Howard and Sarah Solomon
Mr. and Mrs. Wilmer J. Thomas, Jr. Mr. and Mrs. Paul M. Montrone
†
Robert W. Wilson
The Dr. M. Lee Pearce
Foundation
Elena and †Rudy Prokupets
Marvin Schein
Robert L. Turner
1 Anonymous Donor
116 |
$1 MILLION
$500,000
$100,000
Arthur F. and Alice E. Adams
Charitable Foundation
Supporting Foundation
Adrienne Arsht
Richard and Susan Braddock
Family Foundation
Judy and Russell Carson
Simona and Jerome A. Chazen
Jane and Jerry del Missier
Harry and Misook Doolittle
Elizabeth M. and Jean Marie R. Eveillard
Mr. and Mrs. Anthony B. Evnin,
in honor of Sarah Billinghurst
The Horace W. Goldsmith Foundation
William Randolph Hearst Foundation
Frederick Joseph Iseman
Cindy and Tod Johnson
The Kapnick Foundation
James W. Kinnear
The Kirsh Family Foundation
Dominique and Frédéric Laffont
Manhattan Borough President
Harvey R. and Ruth Miller
Charitable Fund
Vivian Milstein
New York City Council
New York City Department of
Cultural Affairs
The Lloyd E. Rigler–
Lawrence E. Deutsch Foundation
William Rondina
The Fan Fox and Leslie R. Samuels
Foundation, Inc.
Arnold and Marie Schwartz Fund
†
Mr. and Mrs. Paul Soros
The Starr Foundation
In memory of Edouard Stern
Mrs. Bert S. Turner
Wyncote Foundation as
recommended by Frederick R. Haas
and Daniel K. Meyer, M.D.
1 Anonymous Donor
Beverly and Robert G. Bartner
Jacob Burns Foundation, Inc.
Edgar Foster Daniels Foundation
The Diller–von Furstenberg
Family Foundation
Mr. and Mrs. David H. Elliott
Richard and Elizabeth Gilbert,
in memory of Ralph Gilbert
Carol Colburn Grigor
Dr. David G. Knott and
Ms. Françoise Girard
Dr. Coco Lazaroff
Bertita and Guillermo L. Martínez
The Richard J. Massey Foundation
for the Arts and Sciences
The Zvi and Ofra Meitar Family Fund
The †Shirley Cohen and
Rosalind Miranda Trust
The Ambrose Monell Foundation
Maria Shustorovich
Grant and Jacqui Smith
The Honorable and
Mrs. David A. Straz, Jr.
Joan Taub Ades and Alan M. Ades
Dr. Magdalena Berenyi,
in memory of Dr. Kalman Berenyi
Stanley and Marion Bergman
Family Charitable Fund
The Booth Ferris Foundation
Mr. and Mrs. Donald Bryant, Jr.
Mr. and Mrs. Stephen L. Green
Mr. and Mrs. Ray J. Groves
Yvonne and Kenneth H. Hannan, Jr.,
in honor of James Levine
Mr. and Mrs. Sidney Kimmel
William and Helen Yee Little
William and Aimée Maroney
Mr. Andrew J. Martin-Weber
Mr. and Mrs. A. C. McKellar
John P. and Anne Welsh McNulty
Foundation
Mr. and Mrs. Corbin R. Miller
The New York State Music Fund
Socrates Nicholas and Gerard F. Bell
Mr. Juan Antonio Pérez Simón
The Peter Jay Sharp Foundation
3 Anonymous Donors
$250,000
American Express
Mrs. Veronica Atkins
T. T. & W. F. Chao Foundation
Vincent and Angelina Grimaldi Cioffari
Eugene and Emily Grant
Mr. and Mrs. C. H. Jenkins, Jr.
The Link Foundation
Annette Merle-Smith
Metropolitan Opera Club
Rosalind Miranda and John McLintock
Charles and Lisa Simonyi Fund
for Arts and Sciences
Katherine Farley and Jerry I. Speyer
Barbara Augusta Teichert
Paul Underwood
Yves Saint Laurent
1 Anonymous Donor
| 117
Council for Artistic Excellence
Public Support
The Metropolitan Opera expresses its deepest gratitude to the members of the Council for Artistic Excellence for their
extraordinary leadership support. Council members, who contribute $100,000 or more annually, enjoy a personal
involvement in the life of the Met. The outstanding generosity of Council members enables the company to achieve the
highest artistic standards in the world. The Metropolitan Opera recognizes the role of the Council through an individually
tailored program that offers each member exceptional privileges and benefits. For further information, please contact
Marita Altman, Director of Major Gifts, Metropolitan Opera, Lincoln Center, New York, NY 10023. Telephone 212.870.7685.
The Metropolitan Opera is deeply
grateful to the government agencies
and elected representatives listed
below for their support of our current
season.
Founders
($500,000 or more)
Benefactors
($250,000 or more)
Sponsors
($100,000 or more)
Mercedes T. Bass
Edward E. and Betsy Z. Cohen
Judith-Ann Corrente and Wim Kooyker
Estate of Alice Dunn
Francis Goelet Trusts
Marshalltown, Iowa
Mary and Michael Jaharis
John Noffo Kahn and Mark Addison
Suzie and Bruce Kovner
Jeanette Lerman-Neubauer and
Joseph Neubauer
William C. and Susan F. Morris
Estate of Donald Sisler
Mr. and Mrs. Howard Solomon
Estate of Anne Tallman
Ambassador and
Mrs. Nicholas Taubman
Robert L. Turner
Lila Acheson and DeWitt Wallace
Endowment Fund
Ann Ziff
1 Anonymous Donor
Mr. and Mrs. Richard S. Braddock
Mr. and Mrs. Bruce Crawford
Jerry and Jane del Missier
Misook Doolittle
Stephanie and John Foster
The Horace W. Goldsmith Foundation
Joan Granlund
Estate of Joel A. Grinker,
in memory of Joyce Grinker
Estate of Joan Green Harris
Ekkehart Hassels-Weiler
Rolf Heitmeyer
Marlene Hess and James D. Zirin
Agnes Hsu-Tang, Ph.D. and Oscar Tang
Frederick Iseman
Charles and Ann Johnson Foundation
Estate of Ellen Kaufman
The Zvi and Ofra Meitar Family Fund
The Ambrose Monell Foundation
Mr. and Mrs. Donald Newhouse
Mr. and Mrs. S. I. Newhouse, Jr.
The Dr. M. Lee Pearce Foundation
Elena Prokupets, in memory of
Rudy Prokupets
Ingeborg and Ira Leon Rennert
Mrs. Julio Mario Santo Domingo
The Honorable and Mrs. David A. Straz, Jr.
Mr. and Mrs. Wilmer J. Thomas, Jr.
The Agnes Varis Trust
Estate of Robert F. Westall
2 Anonymous Donors
Supporting Foundation
Elisabete and Marcos Arbaitman
Adrienne Arsht
The Theodore H. Barth Foundation
M. Beverly and Robert G. Bartner
Frank A. Bennack, Jr.
Glen W. Bowersock
Ms. Angela Chao
Samantha and Nabil Chartouni
Christopher H. Cheever
Alberto Cribiore
Dunard Fund USA
The Enoch Foundation
Trust of Marion O. McCaw Garrison
Mr. and Mrs. Gordon P. Getty
Beth and Gary Glynn
The Faith Golding Foundation
Mr. and Mrs. Stephen L. Green
Alexandra Kauka Hamill
Perk Hixon and Marguerite Lee
Miss Gillian Attfield and Mr. and
Mrs. Thomas J. Hubbard
Mr. Robert Huffaker
Linda E. Johnson
Alexandra Krofta Jones
Estate of Lydia Jorgensen
Max Kade Foundation, Inc.
Estate of Eva M. Kasziba
Christian Keesee Charitable Trust
Mr. and Mrs. Donald M. Kendall
The Kern Family, in memory of
Ralph W. Kern
James W. Kinnear III
Dr. Herbert G. Kloiber
118 |
City of New York
Bill de Blasio, Mayor
Meyer and †Ellen Koplow
Dr. Coco Lazaroff
Dr. and Mrs. Peter J. Linden
Jacqueline Badger Mars
Mr. Andrew J. Martin-Weber
The Richard J. Massey Foundation
for the Arts and Sciences
The Elizabeth B. McGraw Foundation
John P. and Anne Welsh McNulty
Foundation
Annette Merle-Smith
Harvey R. and Ruth Miller
Charitable Fund
Vivian Milstein
Linda Mirels
Katharina Otto-Bernstein and
Nathan Bernstein
Irene Pollin
The Fan Fox and Leslie R. Samuels
Foundation, Inc.
Mr. and Mrs. Charles Scribner III,
in honor of Father Owen Lee
The Shubert Foundation, Inc.
Grant and Jacqui Smith
†Mr. and Mrs. Paul Soros
Mr. Dennis Stattman and
Mrs. Beth Grosshans
Marc and Eva Stern Foundation
Donna and Richard Tedlow,
in loving memory of
Mr. and Mrs. Samuel L. Tedlow
Mr. and Mrs. John J. Veronis
John and Barbara Vogelstein
Foundation
George Weiss
2 Anonymous Donors
New York City Council
Melissa Mark-Viverito, Speaker
Helen Rosenthal, Council Member
Borough of Manhattan
Gale Brewer, President
New York City Department
of Cultural Affairs
Tom Finkelpearl, Commissioner
New York State Council on the Arts
Lisa Robb, Executive Director
National Endowment for the Arts
Jane Chu, Chairman
| 119
Production Funders
The Golden Horseshoe
The Metropolitan Opera acknowledges with gratitude and appreciation the generous donors whose contributions have
helped make possible this season’s new and returning productions. The Met offers its production underwriters many
benefits and privileges, including opportunities to observe the development of new works through various stages.
For information about participating in the Production Fund and the privileges accorded to members, please contact
Coralie S. Toevs, Assistant General Manager—Development, Metropolitan Opera, Lincoln Center, New York, NY 10023.
Telephone 212.870.7661.
The Metropolitan Opera is deeply grateful to its Golden Horseshoe donors, whose three-year commitments of $200,000
help provide the financial stability necessary to maintain the highest levels of artistic excellence throughout each season.
We are pleased to recognize the current participants in the Golden Horseshoe program. For further information,
please contact Marita Altman, Director of Major Gifts, Metropolitan Opera, Lincoln Center, New York, NY 10023.
Telephone 212.870.7685.
NEW PRODUCTIONS
Revivals
Rolex
M. Beverly and Robert G. Bartner
Mr. and Mrs. Corbin R. Miller,
The NPD Group, Inc.
Mr. and Mrs. Charles Scribner III,
Rolex
John J. Noffo Kahn and Mark Addison
Paul Underwood
2 Anonymous gifts,
in honor of John Adams
La Donna del Lago
Betsy and Edward Cohen / Areté Foundation Fund for New Productions &
Revivals
Eric E. and Dr. Tracy Aanenson
The Cameron and Jane Baird
Foundation
Joe W. Bratcher III
Michele J. Cestone
Daniel C. Cochran and
Gregory B. Sutphin
†
Mr. and Mrs. Arthur G. Cohen
Ray and Barbara Dalio
Charles and Helen Dolan
Elizabeth and Jean-Marie Eveillard
Mr. and Mrs. Austin T. Fragomen, Jr.
Mr. and Mrs. John French III
The L. W. Frohlich Charitable Trust
Seifi and Ellen Ghasemi
Richard Gilder
The Grace and Mercy Foundation
Kenneth H. and Yvonne Hannan, Jr.
Francena T. Harrison Foundation Trust,
in memory of Malcolm T Graff
William A. Haseltine
†
Mr. and Mrs. James Owen Herlands
Mr. Howard Holt
Mr. and Mrs. C. H. Jenkins, Jr.
The Honorable Thomas H. Kean
The Kingsley Foundation
Jane Kober
The Elroy and Terry Krumholz
Foundation
Mr. and Mrs. Laurence L. Lampert
Mr. and Mrs. Walter J. Laughery, Jr.
Mr. and Mrs. Alexander M. Laughlin
Dr. Betsy and Hunt Lawrence
†
Mr. and Mrs. Mitch Leigh
Ruth and Leonard Litwin
Nancy G. and C. Richard MacGrath
Fund of the New York
Community Trust
William and Aimée Maroney
Henry and Lucy Moses Fund, Inc.
The Frederick and Anne O’Brien
Charitable Trust
Amy and Joseph Perella
The Lloyd E. Rigler—
Lawrence E. Deutsch Foundation
Dr. and Mrs. Raymond R. Sackler
Paul Underwood
Mary Ellen and Karl von der Heyden
The New York Community Trust—
Wallace Special Projects Fund
Mr. and Mrs. Sedgwick Ward
Roberto Wellisch
1 Anonymous Donor
†
†
William and Helen Little
Ambassador and Mrs. Nicholas F. Taubman
Dr. Magdalena Berenyi,
in memory of Dr. Kalman Berenyi
The Merry Widow
The Sybil B. Harrington Endowment Fund
Le Nozze di Figaro
Mercedes T. Bass
Jerry and Jane del Missier
120 |
| 121
Support the Met Broadcasts
Support the Met Broadcasts continued
The Metropolitan Opera International Radio Broadcasts are in their ninth decade, and the Met proudly recognizes the
following donors of $2,500 or more who have helped secure the long-term future of the Met Broadcasts. Please visit the
Met’s website at metopera.org for a complete list of donors of $150 and above.
The Met is honored to acknowledge Toll Brothers, America’s luxury home builder®, for its corporate sponsorship
of the 2014–15 broadcast season. The company remains deeply grateful to The Annenberg Foundation, the Neubauer
Family Foundation, and the Vincent A. Stabile Endowment for Broadcast Media for their generous long-term support,
and for the contributions from listeners worldwide.
For further information on making a gift to the Support the Met Broadcasts Campaign, please contact
Eric Bernard, Broadcast Campaign Director, The Metropolitan Opera, New York, NY 10023. Gifts may be made by
telephone at 1.800.METOPERA or online at metopera.org/radio. Inquiries concerning leadership gifts may be made
by calling 212.870.4505 or at campaign@metopera.org.
Mr. and Mrs. Henry Christensen III
Theodore Chu
Emily and John Corry
Meredith Griffiths, in memory of Anne K. Dahl
and Clarence Klopsic
Estate of Norma Gross
Mrs. Halina Jamner
Christian A. Johnson Endeavor Foundation
The Kligerman Family Foundation
Mr. and Mrs. Dennis W. LaBarre
Joseph Masteroff, in memory of Beverly Sills
Dr. Thomas H. Powell, in memory of
Dr. William W. More
Prince Charitable Trusts
Trust of Robert W. Schaefer
The Cynthia R. Tremblay Foundation
2 Anonymous Donors
$1,000,000 OR MORE
$100,000 OR MORE
2014–15 Corporate Sponsor
Toll Brothers–Metropolitan Opera
International Radio Network
Charles Simonyi Fund
for Arts and Sciences
The Alice Tully Foundation
Dr. Agnes Varis and Karl Leichtman
1 Anonymous Donor
The Reverend and Mrs. Victor L. Baer, DD
Mr. and †Mrs. John R. Doss
Robert K. Johnson Foundation
Ann Tenenbaum and Thomas H. Lee
Estate of Alfred Manheim
Trust of Suzanne Poole
The Robins Family Foundation
In memory of Elizabeth D. Schumacker
In memory of William K. Tell, Jr.
†
Dr. Agnes Varis, in memory of Beverly Sills
†
Mrs. Mona Webster
Toll Brothers, Inc.
The Neubauer Family
Foundation
The Vincent A. Stabile
Endowment for
Broadcast Media
Campaign Leadership
†
†
$500,000 OR MORE
Estate of Alan D. Aberbach
Rita Allen Foundation, in memory of
Milton and Lucette Cassel
The Cameron and Jane Baird
Foundation
The Bauman Foundation
Judith and Russell Carson
The E.H.A. Foundation
Gould Family Foundation,
in memory of Jo Copeland
Marshalltown, Iowa
The Starr Foundation
In memory of Frank E. Taplin, Jr.
Estate of Maria Yauger
1 Anonymous Donor
$250,000 OR MORE
Trust of Robert W. Schafer
Chads C. Skinner
Wallis Foundation
1 Anonymous Donor
†
$50,000 OR MORE
Estate of Victor Baer
Steffi Berne, in memory of Rhoda Mokotoff
Estate of Henry C. Bryant
Michael and Miriam Burnside,
in memory of Anne M. Burnside
Hope A. Curtis
†
James W. Ellington
The Farkas Family Foundation,
in memory of Florence Roth Farkas
In memory of Anna R. Harms
Reuben Herzfeld Fund of
The Greater Cincinnati Foundation
Estate of Lois Hilgeman
The Geoffrey C. Hughes Foundation
Jane Stieren Lacy, in memory of Arthur T. Stieren
Mr. and Mrs. Edward Merrin
The Dr. M. Lee Pearce Foundation
Estate of Barbara Rosenthal
Estate of Virginia Sayre
Estate of Dietrich Schwerdtfeger
Ellen Sherman
Estate of Phyllis Kyle Stephenson
Professor Richard S. Tedlow and
Dr. Donna M. Staton
Mrs. John Todd
2 Anonymous Donors
$25,000 OR MORE
Arnhold Foundation
Stanley Asrael, in memory of Evelyn Asrael
Richard and Carol Boas, in memory of
Edith Marks Baldinger and Ruth Boas
122 |
$10,000 OR MORE
Edward M. Acton
Nancy and Jim Barton
Estate of Robert E. Beck
Marian Brenner
Mrs. Walter F. Brissenden
M. Elizabeth Brothers
Mr. and Mrs. Evan Buck
Malcolm H. and Ann Cole
Nan Cullman
Elizabeth de Cuevas
Mrs. Myron H. Downs
Gonzalo Escalante,
in memory of Martha B. Escalante
Joan and Donald Fried
Glied Family, Toronto and New York
Judith Harris and Tony Woolfson / CCAR
Maura Harway and Richard Mark
Barbara Shifrin Hass,
in memory of William K. Hass
Dr. George S. Heyer, Jr.
Alfred G. Kelley
Mr. and Mrs. Stephen E. Kitchen
†
Selwyn and Marilyn Kudisch
Mrs. James F. Lincoln, Jr.
Walter H. Lippincott, Jr.
C. Jerome Lombardo Family Foundation,
in memory of Louis D’Angelo and
Louise D’Angelo Lombardo
Elizabeth McFall
Dr. Arthur M. Mellor
Leonard and Sally Michaels,
in memory of Sylvia and Seymour Rosenberg
Lia and William Poorvu
Mr. and Mrs. Patrick T. Quagliano
Mrs. Jack L. Ratzkin
In memory of Mona McMillan Reid
Mr. and Mrs. William B. Rudner
Ann Schwendener
Antoinette Farrar Seymour
Jill S. Slater
Marcia Sprules
Lynn G. Straus
Robert and Patricia Ross Weis
Mr. and Mrs. Horace H. Wilson
Trust of Judith C. Wolf
Ralph and Toni Wyman
Ursule Phaeton Yates,
in memory of Savari A. Phaeton
3 Anonymous Donors
$5,000 OR MORE
Marilyn Adams, in honor of Raymond Carlyle
William D. Adams
Anderson-Paffard Foundation
Gail Asper, in memory of my mother, Babs Asper
The Barker Welfare Foundation
N. Sue Barnes
Batir Foundation
Mr. and Mrs. Charles Becker
Jane C. Bergner, in honor of the
staff of the Metropolitan Opera
Mr. and Mrs. Hy Bloom
The Boston Foundation
Mr. and Mrs. William Cammack
Jacques and Emy Cohenca Foundation
Gregory and Marcia L. Coleman
C. W. and Dorothy A. Comer,
in memory of Richard F. Monges, Jr.
Ronald E. Compton
Robert J. Cook, in honor of Birgit Nilsson
and the music of Richard Wagner
Mrs. Philip Dieffenbach
Thomas Doran
Carol A. Dyer, in memory of Gene Gordon
Donna Z. Eden
Suzanne B. Engel
Ellen and Rod Eyster
Firestone Family Foundation
William A. Fleig
Mary A. Flynn, MD
Steve Forrester
Rhoda L. Frank
Lorraine Gallard
Janie Giacomini and Peter Van Olinda
Lance J. Gotko and Paul A. Caddell
Mort Greenberg, in honor of James King
Dr. Mona June Hagyard
Rebecca Hansen
Gary Harris
Jerry Hawke
Barbara Haws and William Josephson,
in honor of Beverly J. Ross
Mrs. Margaret Holbrook,
in memory of Morton Holbrook
Barbara D. Horgan
Mr. and Mrs. John R. Hupper
Mary A. Flynn, M.D.
Bruce and Kathleen Johnson
Franklin P. and Catherine H. Johnson
Mr. and Mrs. Paul D. Kaplan
Deirdre D. Kieckhefer
Mrs. Thomas S. Knight, Jr.,
in memory of Mary Lee Craig
Nancy Krakow,
in memory of Charles Kullman–Tenor
Nancy Langsan, in memory of
Lillian and Ira Langsan
Louise Stillman Lehrman,
in memory of Ada Latimer Stillman
Michael A. Leone, in memory of
Marion Talley, coloratura soprano
Cathy Lincoln
Dr. Leonard M. Lipman
Robert Littman, in memory of Helene MacLean
Jacqueline Badger Mars
Dr. and Mrs. Mark Mergen
The Mosaic Foundation, to honor the
MET Opera Lovers, Peter and Stella Sichel
Diane A. Nixon, in honor of Gillian Attfield
Mr. and Mrs. Gerald W. Padwe
Stewart Pearce and Kevin Kellogg
James L. Perzik, in honor of Judi Perzik
Anna M. Pontecorvo
M. W. Pete Pully
Edward J. Quinlan
Laura Rainey
Anna K. Reimann
Claire Richardson
Donald W. Richman, M.D.
Mary S. Risley
Anthony Rubin, in memory of Joseph Salomon
†
Mr. and Mrs. Harry A. Russell
Dr. and Mrs. Hans P. E. Sachse
Patsy Savage
Jesse and Rochelle Shereff
Richard and Jeannette Sias
Floyd Smith
Heddy M. Theimer
Virginia Tse
Heidi Ulrich, in memory of Ursula Bisconer
Mrs. Langdon Van Norden
In memory of Gertrude K. Voss
Mr. and Mrs. Norman R. Wagner,
in memory of Josephine Ebner
Warters Family Fund of the Community
Foundation of New Jersey
Lucille Werlinich
Michael Williams
Marguerite A. Wyman
Julia Yang
2 Anonymous Donors
$2,500 OR MORE
Grant and Nelda Adamson,
in honor of Licia Albanese
Madeline and Stephen Anbinder,
in memory of Gussie Anbinder
Kelley and Susan Anderson
Helen Aring, in memory of Beverly Sills
Ann Askew
| 123
Support the Met Broadcasts continued
T. R. Baird
Dianne Balfour
Celia Barteau
Mr. and Mrs. John Baumgardner
Ann Bender
Mr. and Mrs. Avie Bennett
Jan R. Birsch, in memory of Harry E. Erdley
Mr. and Mrs. Hy Bloom
Elizabeth E. Bowman
Gretchen D. Breiling
Elizabeth Brisk, in memory of David C. Brisk
William N. Buffett, in memory of Dr. Willa Norris
Mr. and Mrs. Richard Bullen
Caroline Walker Bynum
Dr. Sharron M. Capen, in memory of
Charles C. Capen
Mr. and Mrs. Fred Colin
Barbara Coussement, in memory of
Elizabeth G. and Robert V. Jones
Forrest S. Crawford
Rigney and Robert J. Cunningham,
in memory of Rita S. Rigney
Maude S. Davis
Igor Dawid
Julia W. Dayton
Amos Deinard
Betty Lou Dubois
Edmund Duffy, in honor of Helen Duffy
Linda Durham, Ph.D.,
in memory of Anne K. Roddey
Evelyn Ericson
Marvin Fletcher, in memory of Hilary Fletcher
Rosemary Franck, in memory of Robert Bagar
Gerald Frauwirth
Dr. Stuart L. Fuld
Kenneth Furrier, in memory of
John and Rose Furrier
Thomas Gahlon, in memory of
Emerson Cammack
Theodore Garelis
Pat and Ralph Gilby
Mr. and Mrs. Ely Gonick
†
Mary and Gordon Gould
Marianne Gourary, in honor of
Laurie Graham
124 |
Robert Gray
Kathleen Grierson
Frank Grossman, in memory of
Fernando Corena
Charles J. Haughney
Richard L. Hay
Fay J. Henry
Patrick S. Hobin
Dorothea H. Hoffman
Eva Holzer, in memory of Erich Holzer
Mrs. Lyman Hoover
Maisie Houghton
Spencer C. Hunt
Elizabeth Huxtable
George M. Knauf
C. A. Kuper
Christian Lange
Dr. and Mrs. John C. La Rosa
Dr. Harry and Mrs. Joyce Letaw
Mr. and Mrs. Richard A. Liddy
LTC David Lindauer, U.S. Army Retired, in
memory of Col. Harry Lindauer, U.S. Army, Ret.
Rebecca Lipman
Mr. and Mrs. Herbert M. Lobl,
in memory of Minnie Lobl
Robert T. Long
Susan Lynner, in memory of Helen Dalby
Dr. and Mrs. Wilbert Lyons
Mr. and Mrs. Hisaharu Matsuura
Mr. and Mrs. Thomas J. McGonigle
Elizabeth L. McKeever
Perry McLelland
Mr. and Mrs. Jeremy McNamara,
in honor of Robert Joseph McNamara
Mr. and Mrs. Philip B. Miller
Dr. Robert I. Misbin
Karl Moller
William and Susan Morris,
in memory of R. Bryan Miller
Peter J. Musto
Jaylyn Olivo
John F. Olson
Mr. and Mrs. Ronald Ostrow
Jane Pak
William J. Pananos
Joseph and Victoria Persky
The Met Opera Corporate Special Projects Program
Samuel Plimpton and Wendy Shattuck
Dr. and Mrs. Peter I. Pressman
Cheryn Purcell, in memory of my mother,
Louise P. Cox
Ms. Rebecca Richardson
Ms. Kathleen Ritch
Karen and Gary Rose
Professor and Mrs. Richard Rose
Mrs. Sandra P. Rose
Nancy Rosenblum
Seymour S. Rubak, in memory of Jane Rubak
Vivianne Russell, in memory of
Norman F. S. Russell, Jr.
Beverly Sackler, in memory of Mildred Gardner
Robert St. Onge and Richard Austin-Williams,
in honor of Joseph Illick
Lillian T. Savage
Hans Schmidt
William and Gerie Schumann
Melvin and Susan Schwarzwald
Eric Sellen
Jeanne Serrill, in memory of George Robertson
Arthur Siler
Edith D. Sillman
Dr. and Mrs. Joel L. Siner
Wolfram Skibbe, in honor of
Christine Weidinger and Catherine Gayer
Fred Smith
Dr. Virginia Smith, in memory of Roslyn Sarezky
David Sommerfield
Albert Spengler, in memory of
Russell H. Behrens and Russell S. Behrens
Heidi Steffen, in honor of Dmitri Hvorostovsky
Gary L. Strawn
Janet Toshach
Suzanne Trazoff
Barbara J. Trimble
Samuel A. Tucker
Margrit W. Vanderryn
Mr. and Mrs. Ralph B. Wagner
Thomas C. Wallace
Charles S. and Jacqueline M. Warren
Barbara Weldon
Mrs. W. J. Wilkinson
3 Anonymous Donors
Companies participating in the Metropolitan Opera’s Corporate Special Projects Program provide financial support for
outreach projects at the Met. These programs broaden the Met’s audience to include a cross-section of opera lovers of
all ages and backgrounds. Special projects include the Summer Recital Series, The Met: HD Live in Schools education
program, the Lindemann Young Artist Development Program, and the Great Performances at the Met telecast series.
We are pleased to extend a variety of benefits to corporations participating in this program. These benefits include the
Employee Discount Ticket Program and use of the opera house for private business functions. For additional information
on joining this program, please call 212.870.7396.
$500,000 OR MORE
$15,000 OR MORE
BAMCO, Inc.
$250,000 OR MORE
Foros
Nippon Steel & Sumitomo Metal U.S.A.
PwC Strategy&
R.C. Consulting
Rolex
Deutsche Bank
$10,000 OR MORE
Toll Brothers, Inc.
Yamaha Corporation
of America
The Metropolitan Opera acknowledges
with great appreciation its Global
Sponsors.
Bloomberg
Bank of America
$100,000 OR MORE
Alcoa Foundation
The Hearst Corporation
Henry Schein, Inc.
The Lincoln Motor Company
The NPD Group, Inc.
$50,000 OR MORE
CHANEL
DOLCE & GABBANA
MasterCard
$35,000 OR MORE
Mitsubishi UFJ Financial Group
1 Anonymous Donor
$25,000 OR MORE
Mercantil Servicios Financieros
Patina Restaurant Group
Sony Corporation of America
Sotheby’s Preferred
Takasago Europe Perfumery
Laboratory
White & Case LLP
Macy’s Merchandising Group
Meyer Sound Laboratories, Inc.
Mitsubishi Corporation (Americas)
Mitsui U.S.A. Foundation
Nomura Americas Foundation
Pfizer Inc
Stepan Company
$7,500 OR MORE
Siena College Opera Trips
$5,000 OR MORE
Act 1 Tours
American Airlines
Elan Chemical Co.
Four Seasons Hotel New York
Japan Arts Corporation
Nippon Life Group
Sojitz Corporation of America
Sumitomo Corporation of
America Foundation
Target Health Inc.
TOTE, Inc.
| 125
The Lindemann Young Artist Development Program
Leadership Funding for Media Programs
The Metropolitan Opera is grateful to the following donors for their generous support of the Lindemann Young Artist
Development Program. For more information, please call Marita Altman, Director of Major Gifts, at 212.870.7685.
The Metropolitan Opera is proud to recognize the following donors for their generous support of the company’s media
programs, which include high-definition transmissions into movie theaters, plazacasts at Lincoln Center and Times
Square, PBS telecasts, Metropolitan Opera Radio on SiriusXM, and live streaming on the website.
$500,000 OR MORE
$35,000 OR MORE
$10,000 OR MORE
Frayda and George Lindemann*
The Starr Foundation**
The Theodore H. Barth Foundation
Estate of Viola Dunn
Epstein Teicher Philanthropies,
in memory of Milton S. Teicher
Mitsubishi UFJ Financial Group
Jane P. Long Endowment Fund**
$100,000 OR MORE
$25,000 OR MORE
Alcoa Foundation
Estate of Charles E. Carter
William Randolph Hearst Foundation**
Max Kade Foundation, Inc.
Annette Merle-Smith
The Hildegard Behrens Foundation
Eleanor N. Caulkins
Fondation Rumsey-Cartier
Jephson Educational Trusts
Daniel and Janet Mordecai Foundation, Inc.
Estate of Ella Upsher
Susan A. Babson Opera Fund
for Emerging Artists
Louise G. Chapman
Ms. Susan Petersen Kennedy
Jeannette and H. Peter Kriendler
Charitable Trust
Margaret Mellon Hitchcock Foundation
The Nancy Peery Marriott Foundation
Nichols Foundation, Inc., in memory of
C. Walter Nichols and Adelaide B. Nichols
Edward John Noble Foundation, Inc.**
C. F. Roe Slade Foundation
Mrs. Walter Taussig, in memory of
Maestro Walter Taussig
Hans J. Heinz and Tatiana Troyanos
Memorial Fund**
1 Anonymous Donor
$250,000 OR MORE
$50,000 OR MORE
The Bodman Foundation
Anthony B. and Judith W. Evnin Fund,
in honor of Sarah Billinghurst**
The Sybil B. Harrington Endowment Fund**
The Erich P. Holzer Charitable Remainder Trust**
The Kern Family, In Memory of Ralph W. Kern
The Elroy and Terry Krumholz Foundation
The Alice Tully Foundation**
*Annual contributions and income on
designated endowment funds
**Income on designated endowment funds
†
In Memoriam
The Met: HD Live in Schools
The Metropolitan Opera is grateful to the following donors for their generous support of The Met: HD Live in Schools
program. For more information on making a gift to the Met’s Education Programs, please contact Kendall Hubert,
Director of Leadership Gifts and Special Campaigns, at 212.870.4181.
$500,000 OR MORE
$35,000 OR MORE
$10,000 OR MORE
Bank of America
O’Donnell Foundation
Dr. Louis & Anne B. Schneider Foundation
Ms. Marian Brenner
The Elroy and Terry Krumholz Foundation
Mitsui & Co. (U.S.A.), Inc.
Anna and Franco Muggia
Nomura Americas Foundation
Nina Bogosian Quigley and Matthew Quigley
$50,000 OR MORE
†
Henry and Marilyn Taub Foundation
$25,000 OR MORE
Phil and Norma Fine Foundation
Tiger Baron Foundation
Otto and Fran Walter Foundation
$15,000 OR MORE
Judith Fisher, Charlotte and Leana Fisher
126 |
$5,000 OR MORE
Meryl and Alfred Norek
Debra Raskin and Michael Young
Kenneth and Hazel T. Roe Foundation
Mr. Warren Siegel
Solon E. Summerfield Foundation
TOTE, Inc.
$1,000,000 OR MORE
$250,000 OR MORE
$100,000 OR MORE
Bloomberg
Jacqueline and †Paul G. Desmarais Sr.
The Neubauer Family Foundation
Toll Brothers, Inc.
Charles E. Culpeper Foundation*
Ford Foundation
The Sybil B. Harrington
Endowment Fund*
Vincent A. Stabile Endowment
for Broadcast Media*
Metropolitan Opera Guild
National Endowment for the Arts
*Income on designated endowment funds
The Met Opera International Council
The Metropolitan Opera acknowledges with deep appreciation the generous gifts of the members of its International
Council. For more information, please call Naomi Weinstock, Deputy Director of Major Gifts, at 212.870.4500.
Mr. and Mrs. Bengt Agerup
H.H. Prince Mubarak F. S. Al Sabah
Modesto and Clotilde Álvarez
Elisabete and Marcos Arbaitman
Luciano and Giancarla Berti
Carla Bossi-Comelli and Marco Pecori
Teresa A. L. de Bulgheroni
Mrs. Ann Casement
Alfonso and Myriam Cortina
Nesrin and Ahmet Esirtgen
Mr. and Mrs. J.A. Esteve
Madeleine and Erik Hartmann
Mr. and Mrs. Dmitri Kanovich
Dr. Clive Potter and Harry T. Lee
Mr. Peter Luerssen and Mrs. Heike Luerssen
Mr. and Mrs. Pedro Magalhães
Bertita and Guillermo L. Martinez
Zvi and Ofra Meitar
Dafna Meitar-Nechmad and Amir Nechmad
Juan Antonio Pérez Simón
Maria Guasch and Mariano Puig
Helena Revoredo
Michelle Rohe
Dr. Kurt and Chiona Schwarz
Luis B. and Nelly Soux
Tonney and Chris Thunnessen
Carmen Tonanni
Nina and Lothar von Maltzahn
Elise and Cees Wessels
Ulrike Winkler and family
Satoko Yahata
Esther Baronin von Salis-Samaden
Director
Álvaro Cañil
Advisor
Met Titles
The Metropolitan Opera is deeply grateful to the Consulate General of Italy in New York for its leadership of this special
project and acknowledges with appreciation the following donors who made contributions in support of Met Titles in
Italian for the Italian Language operas in the repertory.
DOLCE & GABBANA
Mr. and Mrs. Stefano Acunto
Frank Bisignano and Family
Columbus Citizen Foundation
Alberto Cribiore
The DeSena-Trennert Family
Massimo and Chiara Ferragamo
The Hon. Frank J. Guarini
NIAF—National Italian American Foundation
NOIAW—National Organization of
Italian American Women
Lucio A. Noto
OSIA—NYS Grand Lodge Foundation, Inc.
Amy and Joseph R. Perella
Baronessa Mariuccia Zerilli-Marimò
1 Anonymous Donor
| 127
Rush Tickets
The Major Gifts and Patron Programs
The Metropolitan Opera is deeply grateful to the donors listed below for their support of our Rush Tickets program. Their
generosity has enabled the Met to offer Orchestra and Grand Tier seats to students and community members at drastically
reduced prices throughout the season.
The Metropolitan Opera acknowledges with deep appreciation the extraordinary support of its Major Donors and Patrons,
who each season help ensure the Met’s high artistic and performance standards. In gratitude for this generosity, the Met
extends exceptional privileges and benefits, including advance ticketing, priority ticket service; complimentary coat check
and use of the Patron Lounge; and invitations to dress rehearsals, working rehearsals, MetTalks, young artist recitals, and
other events with Met management, production staff, and artists. Please consider supporting the Met as a Patron. To join
today or to request additional information, contact the Patron Program, Metropolitan Opera, Lincoln Center, New York,
NY 10023. E-mail patronprogram@metopera.org. Telephone 212.870.4502.
Agnes Varis Trust
Mr. and Mrs. Richard S. Braddock
Betsy and Ed Cohen
Betsy and Alan D. Cohn
Judith-Ann Corrente and
Wim Kooyker
Marshalltown, Iowa
Marlene Hess and James Zirin
Ambassador and
Mrs. Nicholas F. Taubman
Richard S. Tedlow
Mrs. Bert S. Turner
Robert L. Turner
Barbara Walters
Ann Ziff
The Russell Berrie Foundation
1 Anonymous Donor
The MET Orchestra at Carnegie Hall
The Metropolitan Opera expresses its deepest appreciation
to the lead underwriters of the MET Orchestra concert
series:
The company also thanks the following donors
who made gifts in support of this series:
Hermione Foundation, Laura Sloate, Trustee
Beth and Gary Glynn
John Noffo Kahn and Mark Addison
Yvonne and Kenneth Hannan, Jr.,
in honor of Maestro James Levine
Mercedes T. Bass
Alexa and Michael Chae
Judith-Ann Corrente and Wim Kooyker
Ann Ziff
1 Anonymous Donor
Mr. and Mrs. John French III
The Richard J. Massey Foundation for the Arts and Sciences
1 Anonymous Donor
128 |
SILVER CIRCLE
($50,000 OR MORE)
The Arcaini Family
In memory of Mrs. Clarisse Arnhold
Estate of Sidney Aron
Charles W. Banta, in honor of
Ms. Jane Beasley
Mr. and Mrs. Charles Becker
Mr. and Mrs. Paul Bogoni
Lady Bordiga and †Benno, Lord Bordiga
Dottie Litwin Brief and Dr. Donald Brief
Dr. Patrizia A. Cavazzoni
Estate of Sophie Chatwell
Jacques and Emy Cohenca Foundation
John M. De Ciccio
Mr. and Mrs. Brian Duperreault
Mr. and Mrs. David H. Elliott
Rosemary and Roger Enrico
Mr. and Mrs. J. A. Esteve
Joan and Donald Fried
Rosalind and Eugene J. Glaser Foundation
Madeleine and Erik Hartmann
Richard H. Holzer Memorial Foundation
Estate of Hugh Johnston Hubbard
Estate of Merrie L. Jensen
William W. Karatz
Frank A. Lenti
Mr. and Mrs. A. Bruce Mainwaring
Bertita and Guillermo L. Martínez
Michael and Sandra Ourusoff Massey
David H. Murdock
Greg Olsen
Panwy Foundation
Estate of Mary Elizabeth Perry
Dr. and Mrs. Stephen D. Prystowsky
In memory of Mrs. Antonina S. Ranieri
Mr. and Mrs. Hartley R. Rogers
Estate of Barbara Rosenthal
The Morris and Alma Schapiro Fund
Arnold and Marie Schwartz Fund
Joan C. Schwartz
Estate of Dietrich Schwerdtfeger
Dr. and Mrs. Thomas P. Sculco
Mrs. Philip A. Straus
Mr. and Mrs. Jackson Tai
Life Income Plan of John Thomison
Mrs. John Todd
Cynthia C. Wainwright and Stephen Berger
Estate of Elizabeth Baumeister Watson
The Weismann Foundation
Mrs. Charles B. Wrightsman
2 Anonymous Donors
†
PRESIDENT’S CIRCLE FELLOWS
($35,000 OR MORE)
The Frances & Benjamin Benenson Foundation
Roxanne Brandt
†
Robert and Christa Brown
Simon and Eve Colin Foundation, Inc.
Douglas S. Cramer / Hubert Bush
Robert J. Cubitto and Ellen R. Nadler
Mr. and Mrs. Frank P. Diassi
Clarence and Anne Dillon Dunwalke Trust
The Einhorn Family Foundation
Estate of Megan Elder
Epstein Teicher Philanthropies,
in memory of Milton S. Teicher
Mr. and Mrs. Anthony B. Evnin
Fondation Rumsey–Cartier
Celia and Walter Gilbert
Richard and Elizabeth Gilbert
†
Allen and Lola Goldring
Anne and John Hall
Russel Hamilton
Mr. Michael Heaney
Estate of Bernice R. Hess
Mr. and Mrs. J. Tomilson Hill
†
Frank and Lisina Hoch
Dr. Waine and Deanna Johnson
Nancy Louise Jones
Mr. and Mrs. Vikas Kapoor
Ms. Susan Petersen Kennedy
Yung Hee Kim
†
Immanuel and Vera Kohn
Liz and George Krupp
Ms. Laurie J. Landeau
Diana and Peter Marcus
Nina B. Matis
Lucio and Joan Noto
Dr. Kazuko K. Price
Sibylle M. Reyniak
Virginia S. Risley Fund / New York Community Trust
Jeannette and Jonathan Rosen
The Ted Snowdon Foundation
The Seth Sprague Educational
and Charitable Trust
Charitable Remainder Unitrust of
Michael Stamatakos
Mr. and Mrs. Edward Streim
John G. Turner and Jerry G. Fischer
Estate of Robert Tuthill
Marica and Jan Vilcek
David Warren and Helen Lee-Warren
Satoko Yahata
Simon Yates
Robert and Victoria Zoellner
3 Anonymous Donors
PRESIDENT’S CIRCLE SPONSORS
($25,000 OR MORE)
Joseph & Sophia Abeles Foundation
Mrs. Peter W. Allport
Elinor Appleby
Argos Fund
Mr. and Mrs. James K. Asselstine
Avery Family Trust
Mr. Lawrence T. Babbio Jr.
Cornelia T. Bailey
Mr. and Mrs. Robert C. Baker
Agnieszka and Witold Balaban
The Hildegard Behrens Foundation
Dr. Magdalena R. Berenyi
Mrs. Morris H. Bergreen
The Honorable and †Mrs. Max N. Berry
Mr. Mark Bertolini
John and Penelope Biggs
Mr. and Mrs. Robert Bond
Robert Brenner
Mr. and Mrs. Jeffrey K. Brinck
Mrs. Thomas S. Brush
William Buffet and Susan Kennedy
Mrs. Kathleen B. Buggenhagen
Mr. and Mrs. Van V. Burger
†
Mr. and Mrs. James E. Burke
Tarquin M. Callen
Mr. Richard A. Cantor and Dr. Pamela Cantor
Estate of Carol LeTendre
†
Mr. and Mrs. George P. Caulkins, Jr.
Mr. and Mrs. John Ceriale
Patricia and John Chadwick
The Honorable Mrs. H. B. Chapin
Louise G. Chapman
Diana Reid and Marc Chazaud
| 129
Simona and Jerome A. Chazen
Joseph M. Cohen
Bruce and Nancy Cooper
Franci Neely Crane
Frank Critz
Mr. and Mrs. Diego De Giorgi
Marie G. Dennett Foundation, Inc.
Mrs. Vincent de Roulet
Bob Doorenbos
Mr. and †Mrs. John R. Doss
Mrs. Walter G. Dunnington, Jr.
Dr. and Mrs. Dean S. Edmonds, Jr.
Stephanie and David Eisenberg
Richard and Donna Esteves
Mr. and Mrs. Hart Fessenden
Sonia Florian
J. Christopher Flowers
George and Marie Frazza
Ryo Toyonaga and
The Alvin E. Friedman‑Kien Foundation
Eugene H. and Anne D. Gardner
The Sarah and Gideon Gartner Foundation
Mr. and Mrs. Andrew Georges
Mr. and Mrs. John D. Gilliam
Barbara and Robert Glauber
Allan H. and Marilyn Glick
Peggy and Matt Gluck
In memory of Hope Perry Goldstein
Lorna and Edwin Goodman
†
Joseph L. Gossner
Mr. and Mrs. Floyd D. Gottwald, Jr.
Randall A. Greene
Monika and Peter Greenleaf
Estate of Roger Gross
Sarah and Geoffrey Gund
G. Morris Gurley
Melissa Ko Hahn & Doug Hahn
The Stephen P. Hanson Family Foundation
Patricia and Rodes Hart
Mr. and Mrs. Louis Hering
Alan Howard
Mr. and Mrs. Henry H. Hoyt, Jr.
Mr. and Mrs. David M. Huggin
Matthew Hurd and Shari Shepard
The Isenberg Family Charitable Trust / Gene and Ronnie Isenberg,Trustees
Cerise Jacobs for Charles
Jephson Educational Trusts
Franklin P. and Catherine H. Johnson
Dr. Joseph E. Johnson IV and Dr. Karen C. Diaz
John Kander
Dr. and Mrs. Joel J. Kassimir
Akiko Katayama
Eugene Keilin and Joanne Witty
Mr. and Mrs. Thomas Ketchum
Joshua Kindler and Sasha DeWitt
Mrs. William T. Knight III
Seymour H. Knox Foundation
Mr. and Mrs. Fernand L. Lamesch
†
Mr. and Mrs. W. Loeber Landau
130 |
Maribelle and Stephen Leavitt
Philanthropic Fund
So-Chung Shinn Lee and Tony W. Lee
Drs. Martin and Sarah Leibowitz
Barbara and Ira A. Lipman
William and Diane Lloyd
Mrs. Joan C. Long
Audrey Love Charitable Foundation
Dr. Adel Mahmoud and Dr. Sally Hodder
Mrs. Joseph L. Mailman
Andrew and Elizabeth Smith Malik
Mr. and Mrs. Jeffrey Manocherian
Mr. and Mrs. James S. Marcus
Nancy A. Marks
Adrienne B. Mars
Sylvia and Leonard Marx
Matthew and Julie McAskin
Mrs. Gwynne G. McDevitt
Sonny and Gita Mehta
Louis Miano
Daniel and Janet Mordecai Foundation, Inc.
Trifon and Despina Natsis
Dr. and Mrs. Irwin J. Nudelman
The O’Grady Foundation
Ambassador and Mrs. John D. Ong
James M. and Nora C. Orphanides
Howard S. Paley
Daniel and Rita Paul
John and Jenny Paulson
Michael and Colleen Perlis
Ms. Elizabeth Peyton
Caryl D. Philips
Kathleen Kimiko Phillips
Ken and Jane Pigott
Judy and Jim Pohlman
Evelyn and John G. Popp
Dr. and Mrs. James S. Reibel
Ted and Betsy Rogers
Susan Sulzberger Rolfe
Daniel and Joanna S. Rose
Tony Rosenthal and Ruth Ganister
Barbara and Alan Rosenzweig
Mr. and Mrs. Jon W. Rotenstreich
Milton B. Rubin
Paul Sack and Shirley Davis
Donna and Marvin Schwartz
Elinor & †Sheldon Seevak / Seevak Family Foundation
Eiko and Gary Seevers
Florence L. Seligman
Jane and David Shapiro
Natalie and Howard Shawn
Gil Shiva
Mr. Itai Shoffman
Stephanie and Fred Shuman
Mrs. Constantine Sidamon-Eristoff
Jim and Marilyn Simons
Mrs. William F. Sondericker
Michael W. Sonnenfeldt
Annaliese Soros
Garry, Susan and Melanie Spector
Mark and Tracy Spitzer
Ted and †Vada Stanley
Mr. and Mrs. Eugene E. Stark, Jr.
Alan and Kathryn Stone
Dr. and Mrs. Michael and Beth Stone
Mr. and Mrs. Richard A. Strauss
Grace M. Tanaka
Mrs. Thomas E. Taplin
†
Henry and Marilyn Taub Foundation
Mr. and Mrs. A. Alfred Taubman
William and Karen Tell
Bethany Thomas and Frederick Powers
in memory of Thomas P. Lueders
Judith and Michael Thoyer
Evelyn G. Tielking
Robert and Jane Toll
Mr. and Mrs. Stephen Traynor
The Richard Tucker Music Foundation
Dr. and Mrs. P. Roy Vagelos
Mr. and Mrs. Langdon Van Norden, Jr.
Shivani and Mahir Vora
The Woods’ Charitable Foundation,
at the recommendation of
Ambassador (ret.) Marilyn Ware
Sandra and †Bert W. Wasserman
Linda and Bob Weber
Mr. and Mrs. Lorne Weil
Sue Ann Weinberg
The Isak and Rose Weinman Foundation, Inc.
Robert and Patricia Ross Weis
Mr. Leonard Weiss
Elaine Werner and Donald Wilkinson
Neil Westreich
Wingate / Ostrow Family
The Wise Family Fund
Rosalyn Kempton Wood
Mrs. Helen M. Wright
Rebecca Wui and Raymond Ko
Mr. and Mrs. Leonard Zigelbaum
14 Anonymous Donors
Premiere Circle Benefactor
($20,000 or more)
Mr. and Mrs. Georg Albers-Schonberg
Mr. and Mrs. Peter A. Aron
In memory of Ilse Bargmann
Dr. Arnold T. Berman
Mr. and Mrs. Robert J. Callander
Estate of Glenn Carley
Abby Joseph Cohen and David Cohen
Judith and Stewart Colton
The Jim Cox, Jr. Foundation
Ms. Virginia M. Doty
Mr. Carl W. Duyck and Dennis J. Flood
Barbara and Joseph Friedman
Dr. Keith Gianni
The Robert Goelet Foundation
Dr. and Mrs. Raul M. Gutierrez
Dr. Harry D. Harper
Ms. Emily C. Hood
John and Sylvia Hughes
Mr. and Mrs. John R. Hupper
Carl Jacobs Foundation
Alice Kaplan
Mr. William T. and Mrs. Mary Kerr
Andrea Klepetar-Fallek
Jeannette and H. Peter Kriendler
Charitable Trust
Ms. Linda Lewis and William Buford Lewis
†
Mr. and Mrs. Regis B. Lippert
Richard M. Lorenzo
Sam and Emily Mann
Mr. Robert W. Messerschmidt
Mr. and Mrs. Joseph J. Morrow
Oceanic Heritage Foundation
Antonia Pew
Mary Ann and Bruno A. Quinson
Roberta and †Irwin Schneiderman
Mr. Christopher Serbagi
Fredric A. Silberman and Sharon Kim Siegfriedt
Klara and Larry Silverstein
M. Patricia Simmons
Trust of John Skelly
Richard A. Sprague
Jeffrey H. Squire
Mrs. Frederick A. Stebbins
Mrs. Walter Taussig, in memory of
Maestro Walter Taussig
The Doris M. and Peter S. Tilles Foundation
Matthew Trombadore and †Joanne Wood
Sandra Tucker
The Jeffrey David Wallerstein Foundation,
Ronald M. and Gail T. Walerstein, Trustees
Laurie and David I. Weiner
Dr. Micha Ziprkowski
6 Anonymous Donors
($15,000 or more)
Ann B. Alford
Dr. Robert Alpern and Dr. Patricia Preisig
Lamberto Andreotti
Wayne I. Baden and †Drayton Grant
Mrs. Agnes M. Baldassarre
†
Maurice and Lillian Barbash
Penny and Bill Bardel
Klara Barna
John E. Baumgardner, Jr.
Beech Street Foundation
Benjamin and Patricia Beiler
Mr. and Mrs. Frederick Beinecke
Joan S. Beir
The Dr. William Benenson Family Foundation
Paul P. Bernstein and Peggy Jennings Bernstein
Emma and Eli Bluestone
Luther W. Brady
Mr. and Mrs. Nicholas F. Brady
Robert Jean Campbell MD, KCSJ,
Chev. Cesare L. Santeramo, KCSJ
Thomas J. Carroll
Geraldine V. Chavez
Mr. and Mrs. Henry Christensen III
Peter Christensen and Mark Hummell
Theodore Chu
Mr. and Mrs. Salvatore A. Cingari
Mr. Jim Collier
Michèle Beigel Corash and Laurence Corash
Dr. Laura A. Coruzzi and Dr. Robert J. Schneider
Melvin M. Cox
Pamela and Bill Craven
Mrs. Mary Sharp Cronson
Robert and †Debra de Rothschild
Mr. and Mrs. Joseph De Feo
Jennie L. and Richard K. DeScherer
Mr. and Mrs. K. F. Etzold
Mr. and Mrs. Peter M. Fahey
Mr. and Mrs. James T. Fang
Carol and Robin L. Farkas
Rebecca and Roger Fine
Mrs. Leonard K. Firestone
†
James J. Fischer and Anne McB. Curtis
Larry Flamholtz and Michael Payton
Arthur Fleischer, Jr. and Susan Fleischer
Joel and Naomi Freedman
Mr. and Mrs. Jeffrey Friedman
Kenneth J. Furrier
Futernick Family in loving memory of
Dr. Benjamin and Hadassah Futerni
The Honorable Rudolph W. Giuliani
and Judith S. Giuliani
Dr. Marianne Goodman
Mr. Lance J. Gotko and Paul A. Caddell
Ann Gottlieb
Dr. Brian Grady
Kenneth and Doreen Gray
Great Performance Tours
Renee L. Greenberg
Ms. Carmen Grossman
Stanley and Nancy Grossman Family Foundation
Edward D. Heffner
Ms. Gene A. Heller
Gardner Hendrie and Karen Johansen
Drs. Andrew and Irma Hilton
Judith M. and Richard S. Hoffman
Steven L. Holley
Barbara D. Horgan
Joel Horovitz & Niki Flacks
Mr. and Mrs. James R. Houghton
Judith Hull
Dr. Betty Iu
JJR Foundation
Dr. Leonard Karasyk
Mr. and Mrs. William L. & Valerie A. Keefauver
Garrison Keillor and Jenny Lind Nilsson
Mr. Whitmore Kelley
Lawrence A. Kern
Mr. and Mrs. Michael L. Kettenbach
Mrs. Martin S. Kimmel
Mr. and Mrs. Charles D. Klein
Kenneth L. and Eve B. Klothen
Anela Kolohe Foundation
Mr. Terence Kooyker
Dr. Prem Lachman and Joyce Falini
Nanette L. Laitman
Carolyn W. W. and Thomas P. Larsen
Mr. and Mrs. Perry and Lenore Lerner
Leon Levy Foundation
Cynthia Wong and David Lippe
The Nancy Peery Marriott Foundation
Catie and Don Marron
Barbara Martinsons
Page and Otto Marx Jr. Foundation
The Pierre and Tana Matisse Foundation
Barbara McCullough
Dr. Patricia A. McFate
Susan Merinoff
Merrick Family Fund
Ms. Ellen A. Michelson
Allison and Roberto Mignone
Martin C. Mihm, Jr.
Mr. Thomas F. Moore
The Flora F. Morrell Charitable Trust
William F. and Mary B. Murdy
Ms. Nancy A. Nasher and
Mr. David J. Haemisegger
Antonio and Carla Navalon
Mr. and Mrs. Claude Nicaise
Nichols Foundation, Inc., in memory of
C. Walter Nichols and Adelaide B. Nichols
Fred and Gilda Nobel Foundation
Mr. and Mrs. Edward C. Oelsner III
In memory of Dr. Denis Joseph O’Leary, Sr.
Francis Q. O’Neill
The Oni Zazen Collection
Janice C. Oresman
Mr. Hamish Parker
David and Maria Patterson
Susan, Alan and Austin Pearce
Frederick A. B. Perlberg
John A. Pirovano
George Poisal III
Cynthia Hazen Polsky and Leon B. Polsky
Anna M. Pontecorvo
Mrs. Frederick H. Prince
Mr. and Mrs. Lutz R. Raettig
†
Janet and John Raggio
Carey Ramos and Catrina Bentley
Mary S. Riebold & Helen T. Murphy
Ms. Susan Riley
Sir Simon and Lady Robertson
Kenneth and Ellen Roman
Karen and Gary Rose
JJR Foundation
The Sagner Family Foundation
In honor of Horacio Saldarriaga
Maureen and Edwin Schloss
Jon and NoraLee Sedmak
John Leland Sills and Elizabeth Papadopoulos
Mr. and Mrs. Martin Sosnoff
Mrs. Frederick M. Stafford
Marjorie and Michael Stern
Jay H. Tanenbaum and Family
Aso O. Tavitian
| 131
Barbara and Donald Tober
Gerald F. Tucci
Mr. and Mrs. Ronald Ulrich
Ann and Bill Van Ness
Mr. and Mrs. S van der Zwan
Estate of Lillian Verderber
Joyce P. and Diego R. Visceglia
Ms. Cynthia Walk
†
Mr. and Mrs. George Weissman
Mr. and Mrs. Mitchell G. Williams
Janet Yaseen and the
Honorable Bruce M. Kaplan
†
John and Mary Young
Donald and Barbara Zucker
10 Anonymous Donors
Premiere Circle Sponsor
($12,500 or more)
Trina Allison
Nelson Ascher and Patricia Upton
Josef Bauer and Eileen Berman
Mr. Norman Berman
Desolie and John Boys
Mrs. Mildred C. Brinn
Mrs. Walter F. Brissenden
Barbara and John J. Burns, Jr.
Mr. and Mrs. Bruce R. Burton
Mr. and Mrs. Calvin Cafritz
Ms. Andree Caldwell
Drs. Steven and Deborah Cavalier
Mr. Stuart H. Coleman
Ralph P. Craviso
Sally E. Cummins
Bernadine DeCarlo
Mrs. Ervin Entrekin
Fiorello’s Cafe
Fribourg Foundation
Ms. Miriam Goldman
Michael Gordon
Estate of Richard Gorr
Marife Hernandez and Joel Bell
The Hite Foundation
Estate of William Holloway
The Irwin Family
Lori Kaufman and Robert Rankell
Bicky and George Kellner
Barbara Guss Kemp and Gil Kemp
Mr. and Mrs. Mark Kingdon
Mr. and Mrs. Stephen E. Kitchen
Kleinschmidt Family Foundation
Lynn Krominga
Mr. and Mrs. Mitchell L. Lathrop
Lyman L. Leathers
Georgia J. Lind and David Waldman
The Family of Vera G. List
Carmen Lopez
Vicente A. Madrigal and Ann E. Harrison
Edwin E. McAmis
Toni and Martin McKerrow
John C. Meditz and Gloria Marder
Ms. Julia Meech
132 |
Bruce Meyers
Leonard and Sally Michaels
Dr. and Mrs. Franco Muggia, MD
The Paula and Gerard Munera Foundation
Dr. Carmen Neu
Dr. and Mrs. William H. Olson
Dr. and Mrs. Edward L. Paul
Amy and John Peckham
Samuel Plimpton and Wendy Shattuck
Margitta Rose
Mr. Jeffrey J. Rosen
Dr. and Mrs. Hans Sachse
Mr. and Mrs. Rudi E. Scheidt
Dr. Donald Schwarz
Ms. Amelia T.R. Starr and Mr. Matthew P. Ziehl
Dr. Cynthia Stauffacher
Mr. and Mrs. Ronald Stewart
Walter and Alice Strine, Esqs.
Bonnie M. Turner
Lynn Warshow
Earl D. and Gina Ingoglia Weiner
Jean D. Wilson, M.D.
Ursule Yates Wolski
Dr. Francis A. Wood
Jean and Charles O. Wood
6 Anonymous Donors
($10,000 or more)
Constance Abrams and Ann Verber
Mr. and Mrs. Christoph Adamski
Charles H. Adler
In Honor of Kurt Adler
Laura and Victor Altshul
Mr. and Mrs. Burnside E. Anderson III
David W. Anstice and Ana-Maria Zaugg
Marilyn Appel and †Gordon Gould
Mr. and Mrs. Robert H. Asplundh
Atlanta Music Festival Association
Mr. Richard N. Aumiller
Mr. Steven K. Aurand
Susan A. Babson Opera Fund for
Emerging Artists
Cynthia Bagby
Susan Baker and Michael Lynch
David Baldwin and Helen Milner
Luis H. Ball and Helena Blohm Ball
R. Joseph Barnett
Donald and Donna Baumgartner
†
Mr. and Mrs. Jay I. Bennett
Dr. Stephanie Bennett-Smith
Estate of Laura M. Berdon
Mr. and Mrs. Stanley N. Bergman
Mr. and †Mrs. Bernard Berkowitz
William A. Bernie, M.D.
Ms. Elaine Bernstein
The Reverend Terence Blackburn
Mr. and Mrs. Kenneth Breglio
Jonathan Brezin and Linda Keen
Ms. Priscilla E. Browning
Mr. and Mrs. Donald Bryant Jr.
Jodi Larcombe Burke
Mrs. Coleman P. Burke
Ms. Carol W. Byrd
Mr. Luigi Caiola and Mr. Sean McGill
Mr. and Mrs. Vincent A. Calarco
Mrs. Susan Carmel Lehrman
Vincent and Angelina Grimaldi Cioffari
Dena and David Clossey
Mr. Teddy Coe
Prof. Daniel I. A. Cohen
Malcolm H. and Ann Cole
Dr. Lee Combrinck-Graham
Dr. Antonio Convit
Sandra Cooksey and C. Robert Tully
Helen Frank and Hal Coon
Richard Costello
Rose Marie Cozzarelli
Ronnie and Sheila Cresswell
Ms. Barbara Crosby
Mary S. Cross
Hope A. Curtis
Mr. Mark Dalzell
The Dana Foundation
Ariane Dandois and Ondine de Rothschild
Richard David and Mark Held
Sylvia de Cuevas, in honor of Sissy Strauss
Dr. Maitland DeLand
The Helen Matchett DeMario Foundation, Inc.
Mr. and Mrs. Robert Desjardins
Aashish and Dinyar Devitre
Dr. and Mrs. Lawrence D. Devoe
Rosalind Devon
The Fairleigh S. Dickinson, Jr. Foundation, Inc.
In memory of Strachan Donnelley
Jean and Louis Dreyfus Foundation
Mr. Craig A. Drill
Stefan Edlis and Gael Neeson
Paul and Susan Efron Foundation
Dr. Kenneth Eisold
Amparo Espinosa
Trust of Alice Shaw Farber
Pamela Farr and Buford Alexander
In Memory of Patricia Farrell by
Ann and Lewis Roscoe
Mr. and Mrs. Kenneth R. Feinberg
Estate of Hortense F. Feldblum
Annette Fisherman
Pamela E. Flaherty
David and Judy Fleischer
Marvin and †Hilary Fletcher
Hollis and Jeffrey Freimark
Richard Gaddes
Mrs. Margaret Poyner Galbraith
Mr. Maurice P. Galli
Fred and Gael Gardner
Ms. Lynn Gilbert
Mr. and Mrs. Thomas D. Gill
Gregory Gilmartin
Max and Elisabeth Gitter
Stuart and Alice Goldman
Ms. Lesley Goldwasser
Mildred Weber Grauman Memorial Fund
Mr. and Mrs. Brian Greeff
Joanne T. Greenspun
William R. Griffith
Mr. Jean Claude Gruffat
Mr. and Mrs. Jorge Guasch
Agnes Gund
Ms. Irina Gurland
Dr. Thomas B. Hakes and Henrietta P. Hakes
Mrs. Paul Hallingby, Jr.
Eva Teig Hardy
Mrs. Ethel Harris / CCAR
Mrs. Kitty Webb Harris
Ms. Lynn Harris
Dr. Lynne B. Harrison
Denise Harvey and Kenneth Edgar
Ms. Catherine Heckett
†
Mr. and Mrs. James A. Heller
Ms. Huguette M. Hersch
The DuBose and Dorothy Heyward
Memorial Fund
Dr. Carol Hilfer
Diane and Kenneth Hipkins
Carol and †Howard Holtzmann
Lois and John Horgan
Mrs. Peter Dahl Humleker, Jr.
Sally D. Hurlbut
Lawrence Inserra, Jr.
J. E. Issler and Heather Jeltes
Susan and Steven Jacobson
Dr. J. Jafar
Amy and David Jaffe
The Jesselson Family
Marguerite R. Jossel
Ms. Marianne Kah
Mike and Joan Kahn
Dr. Alice Kandell
Mr. and Mrs. Gilbert E. Kaplan
Mr. and Mrs. Robert Kargman
Shelly and Michael Kassen
Mr. Aron Katz
Robert M. Kaufman
Mary and Howard Kelberg
Ken Lin Fund
Mary Rossick Kern and Jerome H. Kern
Dr. Hootan Khatami and Mr. Daryl H. Fox
Ms. Injoa Kim
Temma and Alfred D. Kingsley
William G. Kirkland
Mark A. Kirsch
Klorfine Foundation in honor of Gary Feinstein
Mrs. Lynne G. Klyde
Jeff and Gail Kodosky
Latifa Kosta
In memory of Elena Kraus
Mr. and Mrs. Theodore A. Kurz
George Labalme, Jr.
Ronald H. Lamey
Anthony and Cynthia Lamport
Barbara Landis-Seid and Barre Seid
Lane & Seidman LLP
Lee and Peter Larson
Nancy N. Lassalle
In memory of Louise S. Leaf
Mimi and †Mortimer Levitt
Mary D. Lindsay
Mr. Chien Cho Liu
John Liu and Barbara Page
Jane Lombard
Mr. and Mrs. John W. Loose
Karen Lotman
Dr. and Mrs. Michael B. Love
Nita and Stephen Lowey
Mr. and Mrs. Lawrence F. Lunt
Richard Lynn and Joseph Evall
Mrs. Nicholas M. Lyras
MacArthur Family Charitable Foundation
Mr. James Macri
Mr. and Mrs. Peter L. Malkin
Mr. and Mrs. William H. Mann
Carl and Helen Marbach
Dr. Robert J. Mascitelli and Ms. Nigi Sato
Dennis and Gail Mathisen
Bryan L. McCalister
Ms. Ann McDonald
The Curtis W. McGraw Foundation
Mr. Walter Mead
Alice Meyer and Elliott Saunders
Jonathan S. Miller and Nessa Picker
Donald Mills
Gale and Vil Mirzayanov
Sandra Mitchell
William E. Mitchell
Dr. Enrique H. Monsanto and
Dr. Barbara Monsanto
Mr. and Mrs. Thomas A. Moore
Mr. James Mulally
Dorothy Musche
Dr. and Mrs. Robert A. Myers
The Dorothy and Arnold Neustadter Foundation
Anthony D. Nicastri, M.D.
Roy and Jenny Niederhoffer
Anne and Chuck Niemeth
Mrs. Greenway O’Dea
Cynthia O’Leary
Mrs. Mimi A. Ohmer
Mrs. Diane Pachetti-Ciampi
Mrs. Edward J. Parker
Richard and Lynne Pasculano
Nancy Peretsman and Robert Scully
The Perkins Charitable Foundation
Anne and Frank Petralito
Eduardo R. Plantilla, M.D. and
Lina S. Plantilla, M.D.
Harry Pontone
Dr. Kalmon D. Post and Mrs. Linda Farber Post
Dr. and Mrs. William Powlis
Anne and Bertram Price
Mr. Richard Ravitch
Dr. Cosmo John Re and Mr. Charles Palmer
Susan and Arthur Rebell
Ivy and Stanley T. Relkin
Donald W. Richman. M.D.
Mr. and Mrs. Leonard Riggio
Heidi and Lee Rigney
Ms. Marcia Riklis
In memory of Khalil Rizk
Mary and Don Roberts
Mr. and Mrs. Felix Rohatyn
Mr. and Mrs. Michael E. Rolland
Esther H. Rose
Susan and Elihu Rose Foundation
Eileen Rosenau
Rona and Arthur E. Rosenbaum
In Memory of Anna Rosenshine
Professors David and Sheila Rothman
Mr. and Mrs. Winthrop Rutherfurd, Jr.
Anne M. Ryan
Mr. and Mrs. P. G. Ryan
Mr. and Mrs. Bradley K. Sabel
Mr. and Mrs. Vladimir Sadov
Dr. and Mrs. Edward M. Salgado
Ms. Alice Saligman
Mr. and Mrs. John M. Samuels
Mr. Roland Scahill
Betty and Jack Schafer
Rachel R. Schneider
The Schonberger Family Foundation,
in memory of Lois Schonberger
Betsy Schumacker
Michael W. Schwartz
Robert G. Schwartz, Jr.
Mr. and Mrs. William C. Scott
Joan and Arnold Seidel, Kantor Charitable Trust
Michael Sekus and Bianca Russo
Thea Semanoff and David Semanoff
Mr. and Mrs. Paul Shiverick
Mr. David Shustak
Ben Paul Siino
Jack Silversin and Mary Jane Kornacki
Mrs. David B. Skinner
Amy Sklar and Ronald B. Kremnitzer
C. F. Roe Slade Foundation
Jeffrey Sosnick and Albert A. Carucci
In memory of Edouard Stern
Mary K. and Gary Stern
Michael R. Stinchcomb
Mary Stowell
Marie and John Sussek
Dr. Arthur R. and Mrs. Gladys Szeglin
Mr. Mark Talve
Dr. Mark and Lois Taubman
Mr. and Mrs. Daniel F. Terry, Jr.
Maureen and Noel Testa
Mr. and Mrs. Petr A. Thorson
Mr. and Mrs. Charles M. Tiar
Mr. and Mrs. David M. Tobey
Richard Treibick and Christine Lanoe
Elizabeth S. Tunick
Stephen Van Dolsen
Mrs. Langdon Van Norden
Carl and Dawn von Bernuth
| 133
Mary Wallach
Marian M. Warden
Charles S. and Jacqueline Warren
Larry A. Wehr
Hannelore Weinberger
Stephen M. Weiner
George R. Weinhouse, M.D.
Barbara Ann Weiss
Marcia Whitaker
Mr. and Mrs. William S. White
Francis Williams
Mr. and Mrs. James D. Wolfensohn
Ward and Diane Zumsteg
18 Anonymous Donors
Benefactor Patrons
($8,500 or more)
Mark and Judy Bednar
Mr. and †Mrs. John B. Beurket
Dr. and Mrs. Allan Blau in honor of
Cornerstone Day School
Drs. Eugene and Margit Bleecker
Joan and Hy Bloom
Mr. Keith Bremer
Carol F. Buck
The Revds Sarah Buxton-Smith and
Stephen J. S Smith
Donna and Peter Calamari
Dr. and Mrs. Michael Chen
Mr. and Mrs. Nicholas G. Ciriello
Richard Cunniff
Mr. and Mrs. Arthur Dellheim
Ms. Penelope Foley
Mr. and Mrs. Michael E. Gellert
Dr. Melvin Gilbert
John A. Graham
Lucy Grollman
Dr. Ingrid Hollinger
Patricia Hyde
Martha R. Ingram
Theodore Israel, Jr. and Laurel Cutler
Mr. and Mrs. Maurice Jacobs
Dr. Laurence Jewell / CCAR
Mr. John Kallir
Pat and Paul D. Kaplan
Mr. and Mrs. Mark Kator
Arnold F. Kaulakis
Younghee Kim-Wait
Mrs. Kerryn King
Aalan Kobritz
Anne C. Kolker, M.D.
In memory of Esther and Leonard Kurtz
Arthur L. Loeb
Lawrence Maisel and Susan Grant
Patricia Cosgrove Mangini
Dr. Roberta A. Marlowe
Jim McCaughan
Rita Z. Mehos
Ms. Inga-Britta Mills
Sandra and Lowell Mintz
134 |
Mr. James Moffitt
Dr. Francis J. O’Brien and Thomas Fazio
Dr. and Mrs. Albert H. Owens, Jr.
Eugene A. Papay
Barbara Patocka
Mr. and Mrs. Adolfo Patron
Charles and Vicki Raeburn
Candace and Gary Ridgway
Mrs. Audrey Rose
William and Gerie Schumann
Mrs. C. Meteer Schwab
James Roy Seitz, Jr.
Kenneth and Barbara Seplow
†
Harris and Shirley Shapiro
Dr. Leroy R. Sharer
Richard and Jeannette Sias
Dr. Jan Siegmund and Ben Maddox
Estate of Virginia Skinner
Mrs. Earl E.T. Smith
Catherine Sweeney
Elise C. and Marvin B. Tepper
Tierney Family Foundation
Judith Tuchman
Mr. Sheldon Turley
Ambassador Bienvenido Tantoco
Quatt Associates, Inc.
Henrietta and David Whitcomb
Marguerite C. Whitney
5 Anonymous Donors
($7,500 or more)
Dr. and Mrs. Richard Ancona
Mr. and Mrs. Stephen D. Bach
Mr. and Mrs. Otto P. Badenhausen
Dianne Balfour and Carl Adkins
Susan Barbash and Eric Katz
Anne H. Bass
Frances B. Bauer
Anka and Louis Begley
Mel Bergstein and Jane Reisen
Mr. and Mrs. Mortimer Berkowitz III
Mr. Albert and Dr. Gretchen R. Besser
Lauren Blum
Judy Brady and Drew W. Browning
Mr. Brian Bromstead and Mrs. Dara Hartman
Amb. and Mrs. W. L. Lyons Brown, Jr.
Catherine and Paul Buttenwieser
Alfred and Susan Esco Chandler
Kimball and Patrizia Chen
Jim Chervenak
Judith G. Churchill
Mr. and Mrs. Gary Churgin
Scott Clemons and Karyn Joaquino
Ms. Sylvia Cline
Ms. Karen Cole
Drs. Thomas and Virginia Collier
Sydney M. Cone III
Roberta B. Connolly and Arthur M. Miller
Dr. Alejandro Cordero
The Frederic R. Coudert Foundation
Mr. and Mrs. Trayton M. Davis
Arnold and Selene Davis
Mr. and Mrs. Kenneth A. DeGhetto
Anthony Della Salla
DeRosa Research
Mrs. Myron H. Downs
Amy R. Drill
Mary Ellen Dundon
Dr. Janice P. Dutcher
Ms. Jane Dweck
Linda and Alan Englander
Ms. Quince Evans
Robert and Helen Evanson
Mr. and Mrs. Edward Fichtner
Ms. Nancy Dotterer Field
Dr. and Mrs. Donald J. Filip
Ms. Elinor Tomback Fine
Ann and Robert Fippinger
Heather and Justin Frank
Mr. and Mrs. Edward A. Friedman
Mr. Baryn Futa
The Gage Fund
Flavia M. Gale
Mrs. Maxfield S. Gibbons
Mr. Prosser Gifford
Mr. and †Mrs. Clinton Gilbert, Jr.
Dr. Sue M. Gilvin
Dr. R. Barbara Gitenstein and Dr. Donald Hart
Sarah and Seth Glickenhaus
Mr. and Mrs. Charles Goodman
Nancy H. Green
Paula S. Greenman
Tatjana Grgich
John M. Grimes and Henry M. Lewis
Mr. Leo Guthart
Dr. Brett B. Gutsche
†
Robert and Caroline Halmi
Mr. and Mrs. William Haney
Robert Hanley and George Snead
Dr. and Mrs. James M. Hartsuck
Mr. and Mrs. Carlos M. Hernandez
Lucille and Charles Hess
Mr. and Mrs. Arie Hochberg
Joel and Gloria Hoffman
Susan Horowitz and Harvey A. Weiss
David Ingbar and Mary Meighan
Elihu and Harriet Inselbuch
Alfred and Sally Jones
James P. Jones
Bob and Kelly Jordan
Dr. Joseph Kass
Mr. and Mrs. Gerald Katcher
Mrs. Joan E. Kend
Sidney R. Knafel and Londa Weisman
Frederick R. Koch
In memory of Alvin Krauss
Frederick D. Kroon
Selwyn and Marilyn Kudisch Fund
Mr. and Mrs. Howard Lepow
Rosanne and Martin Leshner
Nathan Leventhal and Katherine E. Brown
Mr. and Mrs. Richard A. Liddy
Cathy Lincoln
Mr. and Mrs. Herbert M. Lobl
Mark Loewen
Lucy Foundation
Mr. and Mrs. Nelson J. Luria
Dr. Carol Lynn MacGregor
The Honorable and Mrs. Earle I. Mack
Dr. Catherine Macleod
Anita and Michael Malina
Mr. and Mrs. Alan J. Marantz
Dr. Aran Maree
Dr. Michael R. McGarvey
Drs. William and Deborah McGuire
Mr. and Mrs. Leroy L. McLeod
Mr. Gerard M. Meistrell
Vincent A. Memoli, M.D.
Ken Miller
Attila and Patricia Molnar
Etsuko O. Morris
Ms. Maryanne Mott
Mr. and Mrs. David Nader
Ellen B. Nenner
Drs. George and Marilynn Nereo
Christopher and Mary Nicholas
Yasuko Noguchi and George Shelden
Ottombrino / Saposnick
Mr. and Mrs. Carlos Palomares
Mr. and Mrs. Aldo Papone
Mr. Stephen Peterson
Ms. Penelope Petrone
Rosy and Jose Luis Prado
Mr. and Mrs. David Pratt
Peter E. Quijano
Mr. Joaquin Quirante
Pascale and Ernest Raab
Lynn and Michael Reichgott
Meshulam Riklis
Mr. and Mrs. Sidney S. Rosdeitcher
Tom Roush
David M. Rubin and Tina Press
Dr. Beth Sackler
Joseph V. Salzano
The Schiff Foundation
A. Catharina and Richard M. Schlanger
Jay Schwamm
Mr. and Mrs. Robert Schwartz
Steven Shareshian and Helga L. Shareshian
Leslie and Stephen Shatz
Mrs. Thelma Siben, in memory of Aaron Siben
Barbara Bartlett Sloan
Mr. Eric Sloan and Dominique Bravo
Mr. and Mrs. Jan K. Smeets
Floyd and Jane Smith
Robert F. Smith
Paget and Gary Stanco
Ellsworth George Stanton III
Mr. and Mrs. Joseph H. Stein, Jr.
Mary Stone
David and Linda Strauss
Peter Sullivan and Mary Krueger
Margaret M. Szymczak
Roxanne Taylor
Ms. Terry A. Thompson
Patricia Truscelli and E. N. Ellis IV
S. Utkus and A.R. MacFarlane
Ms. Joanne Waldstreicher
Ms. Elaine Weis
Alan and Frances Wiener
Mr. and Mrs. Alfred G. Wilke
Life Insurance Policy of W.E. Williams
Mr. and Mrs. Horace H. Wilson
Mrs. Migs Woodside
Dr. Diane Young
Claire and Albert Zuckerman
13 Anonymous Donors
Sponsor Patrons
($6,000 or more)
Simi Ahuja and Kumar Mahadeva
Carolyn F. Aldredge, M.D.
Mr. Donald J. and Dr. Marie Z. Amoruso
John T. Andrews, Jr. and Elizabeth Lambert
Mr. and †Mrs. Gerald Appel
Dr. Marvin and Danielle Appel
Walter Arnheim and Marsha Rehns
Mr. and Mrs. Frank J. Avellino
Mr. Rocco Aversa
Pamela J. Awad
The Ayres / Baechle Foundation
Mrs. Margot K. Baldwin
Mr. and Mrs. Randall J. Barbato
Mr. and Mrs. Jeffrey Barist
Mr. Mark Steven Barres
Sam and Marion Bass
Mr. and Mrs. George B. Beitzel
Jane C. Bergner
Mr. Peter Berley
Diana Davenport and John Bernstein
P. M. Billings
Susan L. Blair
The Cornelius N. Bliss Memorial Fund
in memory of Anthony Bliss
John and Marjorie Blodgett
Samuel and Paulette Bobrow
Jill and Sheldon Bonovitz
Ms. Maria Boucher
Barbara Britt
Mrs. Leona Brochin
Elizabeth Brody
Elizabeth A. R. and Ralph S. Brown, Jr.
Mr. and Mrs. Kenneth Buckfire
Joan Burchenal
Mrs. John C. Burton
Marion Cameron
Linda and Arthur Carter
Drs. David and Jean Case
Dr. Zeno Chicarilli and Maureeen Corcoran
Mr. and Mrs. John S. Clark III
Steven A. and Alexandra M. Cohen Foundation
Frederick and Joan Cohen
Ida Cole
Ms. Margaret Conner
Dr. Martha A. Cotter
Elizabeth M. Cregger, Alexis Cregger
Mrs. Lauri Crockett
Nancy A. Cruikshank
Ms. M Victoria Cummock
Lester J. Czukor
Don F. Dagenais
Dr. Ralph and LeiLanie D’Agostino
Mr. Derin Dayigil
Mr. John Deans
Danielle DeMaio and Michael A. Paskin
Mrs. Joy C. Denman
Mr. and Mrs. William T. Dentzer, Jr.
Terry S. Desser
Dr. Stephen Dilts
Drs. Dennis W. and Marie Radna Donnelly
Richard R. Downey and Mary Ann Serra
Ms. Diane C. Dunne
Joan Eliasoph, M.D.
Ms. Jeanne Ellis
Mr. and Mrs. Paul J. Elston
Arthur F. Ferguson
Dr. Marilena Fotino
Stephen J. and Fredrica S. Friedman
William and Joan Layton-Furth
Alice Gantcher
Vincent and Nicole Garrow
Dr. Rochel Gelman
Mr. and Mrs. Vincent Q Giffuni
Ms. Margaret Gilliam
Ms. Elaine Glass
In memoriam of Mr. and
Mrs. Joseph W. Gleicher
Mark R. and Patricia A. Gordon
†
Mary and Gordon Gould
Jane Graham
Mary and Nicholas Graves
Joel and Julie Greenblatt
Dr. and Mrs. Michael L. Gross
Dr. Hildegard Gruenbaum-Katz
Elizabeth Fisher Hadley
Judith and Itzhak Haimovic
John Hargraves and Nancy Newcomb
Ruby P. Hearn
Joel Herman and Milt Sleeter
Mr. and Mrs. Reinaldo Herrera
Susan Hoeltke-Ward and Craig W. Ward
Markus Hoffman and Ulrike Nostadt
Mr. and Mrs. Richard Hokin
Mr. and Mrs. John Hunt
Marion Huxley and Carol Gillespie
Theodore “Ted” H. Jacobsen
Ms. Jane Johnson
Irene and Jacob Judd
Ms. Gilla Kaplan
Lynne Karen
Ms. Yukako Kawata
William S. Keating
Mr. Norman K. Keller
Mr. and Mrs. Gerd H. Keuffel
| 135
Mr. Robert C. King
Alan & Peggy Kligerman
Dr. Michael S. Kogan
Mr. and Mrs. Daniel F. Kolb
Joel and Sharon Koppelman
J. Douglas Korney and Marieta Bautista
Mr. and Mrs. Eric Krasnoff
Michael S. and Carol A. Kurtz
Terrance J. Kyle and Charles T. Stanley
Mr. Francois Lang
Dr. Carolyn F. Leary
Stephen and Suzette Lemson
Ms. Pamela R. Landau Lessing and
Dr. Judith Lessing Landau
Dr. and Mrs. Clinton N. Levin
Dr. and Mrs. Jerome H. Levy
Erik and Lisa Lindauer
Jill and Jean-Pierre Linder-Resnick
Mr. and Mrs. James E. Loer, Jr.
Alan Lopez and Georgia Blair
Miss Caroline Lowndes
Dayna Lucas
Mrs. Gabrielle Lurie
Mr. and Mrs. William Macaulay
Dr. Frank P. Maggiacomo and Mr. John S. Metz
Dr. Pamela Marron
Ms. Bonnie Matthaeus
Enken and Jerry Mayer
Dr. Robert H. McDowall
Ms. Margaret McGillivray
Mr. and Mrs. J. Kent McHose
Marilyn Mead
Drs. Isaac O. and Mary Mehrez
Judith and Irwin Miller
Mr. and Mrs. Robert D. Miller
Karl Moller
Mr. and Mrs. Richard K. Moore
Mr. and Mrs. Edward L. Morse
The Vincent Mulford Foundation
Mrs. Bobbi Newman
David Nolan Foundation
Ms. Constance O’Brien
Mr. John F. Olson
Kevin Park and Steven Raihl
Kazuyo T. Parsch
Mr. and Mrs. J. Geddes Parsons
Mr. Ricardo Pascoe
Mr. and Mrs. Martin D. Payson
Christa Percopo
Peter and Nancy Philipps
Peter Pilotti
Emily S. Pines
Thomas and Gretchen Pomeroy
Mr. and Mrs. William A. Raabe
The Dolly and Robert K. Raisler Foundation, Inc.
Dr. and Mrs. Peter B. Randolph
Anna K. Reimann
Jim and Nancy Remis
Alix L. L. Ritchie
Mr. and Mrs. Roman Rome
Mr. and Mrs. Benjamin M. Rosen
136 |
David and Debra Rosner
Peter and Laraine Rothenberg
Meredith and Michael Rotko
Howard J. Rubenstein
Mr. and Mrs. Reade H. Ryan, Jr.
Ms. Barbara S. Samuelson
Mr. and Mrs. Andrew S. Sardanis
Dr. and Mrs. Daniel E. Schapiro
Jack Schenker
Dr. Guillermo and Cecilia Schultz
Dr. Tamara Seidmann
Ms. Jean L. Shafiroff in honor of
Mercedes T. Bass
Robert V. Sillars and Mildred G. Worthington
Ms. Bertie Deming Smith
Frederick M. R. Smith
Kevin and Joanne Smith
Mrs. Charles F. Smithers
Denise R. Sobel
Mr. and Mrs. Leonard Solondz
Morton and Estelle Sosland
Ms. Noriko Sparta
Karen Sprogis
Patricia and Andrew Steffan
Ellen and Seth Stein
Dr. Joseph and Lillian Stiefel Foundation, Inc.
Dr. and Mrs. Mack C. Stirling
Carol and Hans Storr
Dr. and Mrs. Fouad Surur
Robert W. Taft and J. Philip Moloney
Ms. Marilyn Taylor
Ms. Ann F. Thomas and Mr. Daniel L. Rabinowitz
Mr. Charles E. Thomas
Dr. Tony Tripodi
Dr. and Mrs. Joseph S. Turi
Beth Uffner and Robert Goldfarb
Mr. and Mrs. Howard L. Walker, Jr.
Mr. John Walsh
Dr. Michael Warhol
Andrea Watt and Robert Teitelbaum
Mr. Paul W. White
J. Randall and Beverly C. Wilson
Mr. and Mrs. Frederic G. Withington
Dr. Thomas Witomski
Mr. and Mrs. C. Angus Wurtele
Reverend Wendy Young and
Dr. Mark R. Killingsworth
Ms. Nadia Zilkha
11 Anonymous Donors
($5,000 or more)
Dr. and Mrs. Sander M. Abend
Mrs. Vicki Abrams
Alan and Annie Agle
Linda and Stephen Agus
Mrs. Margaret Alldredge
Mimi and Barry J. Alperin
Ruth M. Amster
Wilson J. Andrews
Valerie T. Angel & Nancy Tate Jones
in memory of Dr & Mrs. Fred U.Tate
Mark and Gail Appel
Mr. Gregory F. Appel
Byron H. and Arlene C. Arison
Marcia N. Atcheson
Estate of Athena Anestes
Mr. and Mrs. Steven Ausnit
Muriel E. Ayres
In memory of Peter Ballesteros
Dr. and †Mrs. Donald P. Barker
Douglas W. Barnert
Mary Ellin Barrett
Renato and Beverly Baserga
Lea O. Battiato
Robert Bausmith & Jill Peters-Gee, MD
Mr. Norton Belknap
Mr. Joseph Bell and Mr. Peter Longo
Alan and Leslie Beller
Mr. and Mrs. Roy L. Belli
Jay and Jeanne Benet
Estate of Alma Bennett
Mrs. Constance Benoliel-Rock
Ms. Andrea J. Berger and Mr. Robert M. Berger
Daniel and Amy Berkower-Weiss
Tina-Maria, Marco and Marina Birch
Ms. Adrienne Birnbaum
Dr. and Mrs. William C. Black
Athena and Timothy Blackburn
Dr. and Mrs. Melvyn Bleiberg
Lynne and Lawrence Block
Ms. Joanne Bober
H. S. Beau Bogan and Elliot M. Friedman
Kenneth C. Bohringer and Lidia I. Serova
Suzanne Henry Boies
Dr. and Mrs. Markus Bolsinger
Dr. and Mrs. Robert Bookchin
Gaia and Gianni Borra
Mr. and Mrs. Robert Bosch
Susan Ollila Boyd
The Braddock Family
Amanda Brainerd
William B. and Jane Eisner Bram
Mr. and Mrs. Kenneth Brand
Mr. and Mrs. Ludwig Bravmann
Jan and Marilyn Breslow
George and Nancy Brodie
John N. Brogard
Edward Brown
Mr. Morton R. Brown
Dr. Natalie L. Brown
Dr. and Mrs. Irving Buterman
Ms. Nancy Byers
Mr. Cesar Cadena
Mr. and Mrs. Woodrow W. Campbell
Peter Canellos
Mr. Edward Canora and Ms. Lois Canora
Michael Caruso and Leslie Newman
Valleau and Robert Caruthers
Clifford P. Case and Karen B. Dubno
Fernando H. Caso
Dr. Ricardo Castaneda
Mr. and Mrs. Lionel Chaikin
Marcy Chambers
Mrs. Joyce E. Chelberg
Mr. Ilya Chemakin
Marc and Evelyn Cherno
Raymond Chinn
Mr. Edward Chorley
Moon Bae and Jaeyeon Chung
John S. Cogswell and Richard W. Hutton
Craig and Deborah Cogut
Mr. and Mrs. Irwin B. Cohen
Betsy and Alan D. Cohn
Mrs. Elizabeth Coleman
Tony and Sue Ann Converse
Lois Conway
Ana and Robert Cook
Emily and John Corry
Donald and Zoe Cosgrove
Nathalie and Marshall Cox
Mr. and Mrs. Gerald Craig
Susan and Stephen Crane
Patricia and Hamilton Crawford
Brian A. Cromwell
Susan R. Cullman and John J. Kirby, Jr.
Drs. Joseph Cunningham and Bruce Barnes
Barbara D. Currier
George Daly
Patricia Daniels
Mr. and Mrs. L. Anderson Daub
Dr. Deborah S. David
Mr. and Mrs. Jack David
Richard Davidson and Linda Golden
Dr. David Karl Davis
Dr. and Mrs. Vincent De Caprio
Mr. Reg DeConti
Elizabeth De Cuevas
Georgia and Michael de Havenon
Drs. Jeffrey and JoAnn Deitz
Dr. Gregory J. del Zoppo
G. H. Denniston Jr and Christine Thomas
Ms. Mary DesJardins
Dr. and Mrs. R. J. Desnick
Mr. and Mrs. Jerome Deutsch
John M. Dewey
Mr. and Mrs. Thomas E. Dewey, Jr.
Gale and Stephen Dinces
Dr. Judith E. Doctor
Carol E. and David A. Domina
Ms. Shawn M. Donnelley and
Dr. Christopher M. Kelly
Estate of Dorothy N. Shaw
Kathleen Dressel and Todd Petzel
Mr. and Mrs. James R. Duffy
Mr. and Mrs. Edward B. Dunn
Kathryn B. Dyer
Estate of Mary Eagan
Mr. and Mrs. Bruno Eberli
†
Mr. and Mrs. Herbert H. Egli
Mr. and Mrs. Robert Ehrhorn
Ms. Ann Elliman
Sherry Emery
Dr. Maureen Empfield
Jacqueline Thibaut Eubanks
Michelle Everett
Angela Falgons
Patricia H. Falk
Mr. and Mrs. Frank J. Farella
Ms. Nancy L. Farrell
Ms. Gabriela Febres-Cordero
Edward and Ronnie Fein
Carol J. Feinberg
Norman Feit and Mr. and
Mrs. Roger S. Begelman
†
Hortense F. Feldblum
Harvey and Lenore Feldman
Mr. James A. Feldman
Dr. John M. Ferguson
Ms. Pilar Ferreira
Carl and Merle Fieser
Mr. and Mrs. Timothy M. Finnegan
Nancy Fischbach and Martin Wolman
Mark A. Fischer and Marney Fischer
Mrs. Richard B. Fisher
Mr. Winston C. Fisher
The Lawton W. Fitt &
James I. McLaren Foundation
Mrs. Lucille M. Flanagan
Joel L. Fleishman
Mrs. J.T. Forrestel
Ms. Emily F. Franchina
Allen R. Freedman and Judy Brick Freedman
Dillon Freeman
Robert and Dolores Freidenrich
Adaline Frelinghuysen
Josabeth Fribourg
Martin Fridson and Elaine Sisman
Alice L. and Lawrence N. Friedland
Marilyn and Lawrence Friedland
The Dorothy M. Froelich Charitable Trust
Mr. Robert Gach
Mr. Malcolm J. Gammie
Dr. and Mrs. John N. Gardner
Phyllis and Seymour Gartenberg
Ms. Barbara Gast
Mr. and Mrs. Milton Gatch
Mr. Jay David Gayner and Ms. Claudia Gropper
Mr. Charles D. Geiger
Dr. Joel C. Gelbman
The Geoffrion Family
Barbara and Peter Georgescu
Elinor M. Georgopulo
Brigitte Gerney
Drs. Anne and Michael Gershon
James Gill
Lorna Jury Gladstone
Linda and David Glickstein
Bruce A. Gober, M.D.
Dr. William M. Goldberg
†
Mr. and Mrs. Henry J. Goldschmidt
Drs. David and Marcella Goldsmith
Ms. Barbara Goldsmith
Mr. and Mrs. Ely Gonick
Ms. Marian Goodman
Alexander M. Goren and Brooke W. Kroeger
Paul Graf
Helen M. Granatelli
Anne Marie Greco
Mrs. Elaine Greenbaum
Lenore S. and Bernard A. Greenberg
Stephen and Marilyn Greene
A. L. Greenfield
Mrs. Robert M. Greenhood
Mr. and Mrs. Guenther Greiner
Tricia and Richard Grey
Mr. and Mrs. Paul B. Gridley
Mr. Terry Grossman and Ms. Kathy Speer
Andrew and Eva Grove
Robert Groves
Dr. and Mrs. Randolph H. Guthrie
Gunilla N. Haac
Dr. Alden N. Haffner
Dr. Mona June Hagyard
In memory of Dr. Cyrille R. Halkin
Mr. John Hammaker
Dr. Edward Hanin
D. Keith Hargreaves
Marshall and Henrietta Harrison
Wade and Ann Harrison II
John D. Hawke, Jr.
Richard L. Hay
Ms. Nancy Lloyd Hayward
In Honor of Christine Krehbiel Helwig
Dr. and Mrs. Wylie C. Hembree
Michael and Marilyn Hendricks
Mr. Leonardus Hendrikx
Mrs. Shirley Herron and Mr. Jack Herron
William E. Higgins
Dr. Howard C. Hines
Mr. and Mrs. Jay L. Hirshfield
Elizabeth and John Hitz
Mr. and Mrs. G. Raymond Hodil, Jr.
Dale and Stephen Hoffman
Joy M. Holz
Dr. and Mrs. H. Friedrich Holzapfel
Dr. Edward A. Horowitz
Beth and Larry Horowitz
†
Mr. and Mrs. Richard F. Horowitz
Clif and Nina Hotvedt
Dr. Leslie M. Howard
Pamela Howard Family Foundation
Craig Howie
Ms. Lily Hsieh
Ms. Julie L. Hu
Roy A. Hunt Foundation
Mr. Marcus Hutchins
K. D. Irani
Mr. Horace H. Irvine II
Mr. James Jackson
Edna and Pieter Jacques
Lola Jaffe
Mrs. Halina Jamner
Anna S. Jeffrey
Ms. Elizabeth J. Johnson and
Mr. Leslie Rose / CCAR
| 137
Mr. and Mrs. John A. Johnson
Dr. and Mrs. Kenneth P. Kahaner
Ms. Connie Kaiserman
In memory of Susan Kallenbach
Susan E. Kane
Mr. and †Mrs. Robert Kaplan
Mrs. Sally B. Kaplan
Janet Kardon
Esther Kashkin and Dr. Kenneth Kashkin
Mr. Chaim and †Dr. Shulamit Katzman
Anita and Jay Kaufman
Henry and Elaine Kaufman Foundation
Mrs. John Kazanas
Carl T. Kelley and Chung-Wei K. Ng
Mr. and Mrs. Eugene Kelly
Ms. Patricia L. Kelly and Dr. Colleen A. Kelly
Patricia A. Kelly
Alfred D. Kennedy and William R. Kenny
Harold and Terry Kent
Mr. William D. Kern and Ms. Mariye Inouye
Estate of Virginia Kerr
Nelda and Fred Kilguss, Jr.
Mrs. William J. (Ann Pfohl) Kirby
Mr. and Mrs. Werner Klinkau
Mr. and Mrs. William J. Kneisel
Mr. David L. Knox
Dr. Marvin and Rosalind Kochman
Dr. George D. Kofinas
Ms. Louisa Konstantino
Mr. Kameron Kordestani
Tom and Ann Korologos
Richard P. Krasnow and Nancy Meyrich
Mr. and Mrs. Robert D. Kroll
Ms. Mary Jane Kroon
The Krupman Family Foundation
Judith and Douglas Krupp
Judith G. and Richard T. Kuhlmann
Mr. Steve Kuhn
Pamela S. Kunkemueller
C. Thomas Kunz
Paul C. Lambert
Dr. Marcia Landy and Dr. Stanley Shostak
Helen S. Lang
Mr. Christian Lange
Susan Langreth Merryman
Mr. Roger W. Langsdorf
Mr. and Mrs. Stephen Lans
Lee and Richard Laster
Debbi and Max Lebersfeld
Dr. Harold E. Lebovitz and Dr. Janet E. Norton
Ron and Mollie Ledwith
Joan C. Lessing
Mr. Michael Levesque
Kathleen Levin
Bernard and Averill Leviton
Dr. Zvi and Joy Levran
Dr. Edward D. Levy, Jr.
Paul S. and Karen M. Levy
Ms. Donna Lewis
Nancy V. Lewis
Mr. Fred J. Leyboldt
138 |
Mr. and Mrs. Paul Libin
The Milton and Jeannette Lieberman
Philanthropic Fund
Mrs. Myra Lieblich
Ms. Barbara G. Lifton
Belda and Marcel Lindenbaum
Mr. and Mrs. Robert I. Lipp
Marjorie and Caroline Loeb
Jo Loesser
Robert E. and Mary Logan
Don and Harriett Long
Dr. and Mrs. James Lowman
Elizabeth G. Lutz
Mr. and Mrs. Samuel Macfarlane
Mr. Peter Magistro
Claudine B. Malone
†
Nancy Malone and Linda Hope
In memory of Sylvia Mandelbaum
Peter and Jane Marino
James, Marjorie and Emily Marker
Michael and Cynthia Marks
James C. and Marie Nugent-Head Marlas
Mr. Richard Massimi
Barbara and Sorrell Mathes
David W. Mayger
John and Carlyn McCaffrey
Catherine A. McCollum
John A. McFarlane
Dr. Thomas Melançon
Shelley and †Oliver Mendell
Mr. and Mrs. Jack Mendelson
Mr. Eugene Mercy, Jr.
Dr. and Mrs. Larry Miller
Mr. George Miller and Ms. Anne Tichich
The Miller-Khoshkish Foundation
Dr. Anoush Miridjanian
Ms. Jude Montassir
Mr. and Mrs. Clark T. Montgomery
Mark and Linda Moore
Ms. Martha Moore
Mr. and Mrs. Lester S. Morse, Jr.
Dr. and Mrs. Solomon Moshe
Ms. Eileen Murray
Mr. and Mrs. James J. Murtha
Helen Nash
Mr. Alexander Nehamas and Ms. Susan Glimcher
Mr. and Mrs. Benjamin R. Neilson
Renee Nelson
Lynn Nesbit
Mr. Michael Nesbitt
Mr. Harvey Neville
Dr. and Mrs. James A. Newcomb
Mr. and Mrs. David W. Niemiec
Diane Allen Nixon
Mrs. Eliot C. Nolen
Robert J. Norton
Dr. Samuel Nun
Ruth Nussdorf
Robert C. O’Brien
Ms. Odessa Ofstad
Hiro and †Betty Jean Ogawa
Drs. Nancy Olson and Charles DiSabatino
Mr. Constantine Orbelian
Dr. Catherine A. Orentreich
Mrs. Charles Orlando
Foster S. Osborne, Jr.
David and Edie Owen
Mr. Robert Owen
Alex Pagel
Mr. Alexandre Pagliano
Dr. and Mrs. Costa Papastephanou
Mr. Antonio Pargana
Dr. Catherine Worsley Parham
Mr. Kyu Park
Gordon B. Pattee
Mrs. John A. Pepper, Jr.
The Honorable and Mrs. Lawrence T. Perera
Mr. David Perry and Ms. Rene Haas
Mr. and Mrs. John Petts
Pheasant Hill Foundation
Beth G. Pierce
Ms. Irene Pletka
Dr. and Mrs. Lester N. Ploss
Jean and Henry Pollak
Jane H. Poole
Eva Popper
Dr. and Mrs. Peter I. Pressman
Ms. Marcia Price
Mr. and Mrs. Howard L. Printz
Sandra Pierson Prior
Mr. and Mrs. Felipe Propper de Callejon
Mr. and Mrs. Mark Ptashne
Marc and Karen Putterman
Mr. Morris Raker
Leclare Ratterree III and Elizabeth R. Rea
Harry L. Reed
William and Martine Reed
Dr. and Mrs. George N. Reeke
Ms. Jane Rehmke
Kathryn Reis
Mr. and Mrs. Charles Revson, Jr.
Walter Ricciardi
Mr. David Richenthal
Mr. and Mrs. Kevin J. Rigby
Mr. and Mrs. Miguel Riglos
Philip W. Riskin Charitable Foundation
Ms. Barbara Robinson
Dr. and Mrs. Morton J. Robinson
Linda and Lawrence Rodman
Mr. John Forest Roemer
Mrs. Frances Rogers
Sigmund A. Rolat
Mr. Joseph S. Romaninsky and
Ms. Maria J. Alves
Mrs. Linda Romita
Mrs. Christina Rose, Mrs. Marisa van Bokhorst,
Alan and Maxine Rose
Mr. and Mrs. Michael Rosenbaum
Burton X. and Sheli Rosenberg
Mr. and Mrs. Thorn Rosenthal
Mr. and Mrs. James M. Ross III
William S. Rubin and Phyllis Hattis
Mr. and Mrs. Richard S. Rudick
Alfred and Ann Ruesch
Suzanne S. Salomon
Sandler Family Fund
In honor of Elizabeth Serrill Saypol and
Colin George Saari
Judith and Timothy Schafer
Martin Schanback
Sarah I. Schieffelin Residuary Trust
Micki and Dohn Schildkraut
Mr. Donald A. Schmidt
Mr. John Schmidt
Mr. David Schulenburg
David Seeler and Ngaere Macray
Leonora Seid and Larry Fischer
Mr. Leigh Seippel and Ms. Susan H. Patterson
Mr. Michael V. Seitzinger
Martin Selig
Lisa and Michael Senter
Samuel J. Serata
Ted and Renee Serure
Ms. Rosemarie Nugent Setubal
Mr. and Mrs. Robert L. Shafer
Mrs. Beatrice Shainswit
Mr. and Mrs. John Shalam
Eugene and Frieda Shapiro
Lois and Leonard Sharzer
Mr. David Sheehan
Martha and Robert Shepard
Ms. Elizabeth S. Sheppard
Jay Sherwood
Dr. Ling Yu Shih
Thea Siegel
Robert B. Silvers
Judy and Fred Simon
Bonnie Ward Simon
Carl and Fay Simons
In memory of Ellen Hope Singer
Mr. and Mrs. John R. Siragusa
Mr. John Sirak
Howard and Reba Sitzer
Mr. and Mrs. W. Sklarz
Jacqueline R. Slater
Judith and Morton Sloan
Dr. and Mrs. Clifton Smith
Cynthia L. Smith
Margaret Jackson Smith
†
Mr. and Mrs. Park B. Smith, Sr.
Dick and Cathy Soderquist
Mr. and Mrs. Richard P. Solomon
The Barbara S. and
Benjamin M. Cardozo Foundation
Dr. Mark Spatola and Dr. Mihaela Ionescu
Mrs. Eryk Spektor
Sebastian Squire
In Memory of Charlotte K. Stadler
Anna Wozniak Starak
Dr. and Mrs. Glenn Steele, Jr.
Mrs. Nancy C. Steiner
†
Mr. Gilles Stellardo
Mr. and Mrs. Campbell Steward
Margaret and Trevor R. Stewart
Nancy and Robert Stone
Bente L. Strong
†
Dr. and Mrs. Kenneth G. Swan
Dr. H. Lee Sweeney
William Sweeny
Mr. and Mrs. Kevin Tagami
Mr. and Mrs. Gerard Taillon
Gloria and Philip Talkow
Mr. and Mrs. Curtis S. Tamkin
Mr. and Mrs. David J. Tananbaum
John C. Thomas, Jr.
Mr. and Mrs. Jere R. Thomson
Malcolm Thomson
Mr. and Mrs. Lawrence J. Toal
Mr. and Mrs. Terrence A. Tobias
Mr. Theow Tow
Ms. Corinne Troiano
Ellen Trokel
Dr. and Mrs. Fredrick A. Valauri
Carol Van Wijnen and Anandah Carter
Raymond and Priscilla Vickers
Mr. and Mrs. Joaquin Viso
The Rudolph and Lentilhon G.
von Fluegge Foundation, Inc.
Baron and Baroness Mortimer von Zitzewitz
Nora Ann Wallace and Jack Nusbaum
Brian and Stephanie Walsh
Mrs. Stark Ward
Stephanie Rice Warren
Mr. and Mrs. Stanford Warshawsky
William and Joan Weiant
Dr. and Mrs. John G. Weiger
Elaine and Alan G. Weiler
Mr. and Mrs. Lester Weindling
Charles M. Weis
Ms. Marilyn Weitzman and Mr. Thomas Kahn
Bert Wells and Laura Walker
Mary H. White
Robert W. White
Charles S. Whitman III
Mr. and Mrs. Malcolm Hewitt Wiener
Mr. and Mrs. Jarvis G. Wilcox
Leonard A. Wilf
Richard Winger and Michael Lucas
Helen and Nat Wisch
Drs. Harvey and Mary Wolfman
Chip and Jean Wood
Mr. and Mrs. Kenneth R. Woodcock
Ann Eden Woodward Foundation
Richard B. Worley
Ms. Tacie Yoon and Kevin Kampshroer
Prudence and Stephen Younger
Judith and Stanley Zabar
Mark D. and Barbara A. Zand
Judy Francis Zankel
Dr. Jacquelyn M. Zavodnick
Dr. Carol Zeits
Baronessa Mariuccia Zerilli-Marimò
Sarah Zubatkin
Mr. and Mrs. Barry L. Zubrow
Uzi Zucker
38 Anonymous Donors
The Metropolitan Opera wishes to
acknowledge the generous support
of more than 2,000 Patrons who
make annual contributions of $2,500
to $4,999. We regret that space
limitations constrain us from listing
these valued donors individually. The
Metropolitan Opera also relies upon
the support of more than 45,000
Guild Members who make annual
membership gifts of $75 or more. For
information about supporting the
Met with an annual membership gift,
please visit metopera.org/membership.
| 139
Young Associates
The Encore Society
The Metropolitan Opera Young Associates is a group of opera lovers age 45 and under who support the Met with annual
gifts of $600 or more. Members enjoy special events and activities to learn about opera and socialize all year round. For
more information, please call 212.870.4587 or email ya@metopera.org.
The Metropolitan Opera is pleased to recognize the Associates of the Encore Society, a group of friends who have included
the Met in their long-range financial and estate plans. Their generosity and thoughtful support are deeply appreciated.
For confidential gift planning information and assistance, please contact the Office of Planned Giving, The Metropolitan
Opera, Lincoln Center, New York, NY 10023.Telephone 212.870.7388. E-mail: EncoreSociety@ metopera.org.
Committee Members
Lara Marcon and J.V. Kodali
So-Chung Shinn Lee
Terence Kooyker
Chairman
Matt Enos
Michelle Everett
Frank Exposito
Amy Lee
Julie McAskin
Sonia McMillan
Kathleen Phillips
Chad Shampine
Itai Shoffman
Carson L. Sieving
Kristen Spensieri
Tina Tang
Shivani Vora
Rebecca Wui
Jennifer Johnson Cano
Edward Parks
Honorary Artist Members
Kameron Kordestani
Jeff Kovach
Dr. Grace Kwon and
David Kubacki
Tomislav Kundic
So-Chung Shinn Lee and
Tony W. Lee
Stephen Lee
Amy and Sung Lee
Mr. and Mrs. Dante Leone
Marion Leydier
Lara Marcon and J.V. Kodali
Dr. Aran Maree
Matthew and Julie McAskin
Bryan L. McCalister
Sonia McMillan
Jay Mirostaw
Melissa and Alfred Morris
Philip Munger
James Murano
Michelle Murphy
Best Friend
($2,500 or more)
Andy Nahas
Agnieszka and Witold Balaban
Julia Nusseibeh
Robert Bierman
Cheryl and Micah Orifici
Joseph J. Brukner
Elizabeth Owens
Cori Dollette Peele
Jay Chin
Kathleen Kimiko Phillips
Good Friend
($1,250 or more)
Jason Banfelder
Christopher Cardona
Page Cassin
EveAnn Cassis
Vincent Coriale
Anne Keffer
Michael and Kate Schaper
Ana Giulia Costa
Gregory Keilin
Chloe Schuyler
Anita Rosenfield
Mr. and Mrs. James Steinberg
Bryan Johnson
Jason Cover
David King
Yiyi Shi
Ms. Alva-Gay Sheridan
Thomas W. Streeter
T. Michael Johnson
Katherine Cox
Alla Kleyner
Oleg Shorokhov
Richard W. Solomon
Dr. and Mrs. James Tillotson
Mr. and Mrs. Daniel Krueger
Ariel Davies
Casey Kohlberg
Zal Shroff
Michael J. Tucker
Mrs. C. Dickson Titus
Michael C. Lee
Maureen Angeles Deboo
Alexandra Kolod
Michael Simonetti
2 Anonymous Associates
Michael E. Tully
Dr. Frank Lombardo
Phillip Dobrin
Christopher Laconi
Michael L. Simpson
James S. and Gayle G. Tunnell
Ma Gabriela Martinez
Jennifer Dorre
Stephen Lean
Stephen and Jessica Sinaiko
ARKANSAS
Minnie Carson
Albert J. Vizinho
Marie Isabelle Palacios-Hardy
Brian A. Douglas
E. J. Lee
Samantha C. Smith
H. McMaken Hamilton
Gary Waba
Beth Prullage
Robin D’souza
Jeanette Lee
Diane Kesling
Joan and Marco Weiss
Peter Ruane
Ria Dutta
Jisun Jamie Lee
Paul Snatchko and
Eric Scrimshaw
Andrea Theresa Sanseverino
Galan
Colleen Cusick Endick
and Daniel Endick
Bismarck Lepe
Maria Solis
Anatoly Levshin
Anne Marie Sowder
Helen Serebin
Sharon Fan
Sophia Lin
Alexa Spears
Tina Tang
Andrea Fascinetto
Olga Lioliou
Savannah Stevenson
Richard Thomas
Claire and John Flynn
Ryan Looper
Tina Storper
Vaughn Whittaker
Julia Q. Flynn
Praveen Maddela
Edward Stringham
Ryan Zimmerman
Kristine Foldats
Sarara Maeda
Giulia Suarato
Maria Forero
Aditi Mahendroo
Tiffany Sullivan
Candace Frazier
Mikhail Malamud
Mr. and Mrs. David Tabora
Willa Freer
Kim Mallett
Francois-Xavier Terrasse
Francesca Galesi
Michaele Manigrasso
Ricardo Tessarotto
Susannah Gilbert
Guido Marandella
Jeffrey Thompson
Christine Ginfrida
Hilton Marcus
Andrew Throdahl
Matthew Glickman
Erika Martinez
Joseph Tiger
Jesse Gold
Frank Martire
Kevin Oniichan Towers
Michelle Grasparil
Kerean Celeste Matthews
Marissa Tracey
Dominik Grau
Vaughn Mauren
Dimitrios Tsementzis
Charles Greene
Patrick Mauro
Thomas Tuffy-Joao
Christian Gutierrez
Matthew McCahill
Julia and Daniel Tulovsky
Dr. Jose Gutierrez and
Pierre Losson
Jane McClenahan
Vanessa Uzan
Rory McCorkle
Timothy Valz
Kimberly Guy
Michael Meltzer
Stefanie Van Steelandt
Sahang-Hee Hahn
Barbara Merola
Adam von Poblitz
Istvan Hajdu
Hanqi Katsumi Miao
Dr. Emily Waisbren
Lee Hallman
Zach Miller-Frankel
Daniel Weick
Scott and Stephenie Handler
Victoria Miningham
Sean R. Weissbart
Friend
($600 or more)
Marisa Rose van Bokhorst
Matt and Kristina Enos
Martin Rozenblum
Sara Arlin
Pauline Eveillard
Roland Scahill
Morris Arlos
Michelle Everett
Julie Schultz
Ryan Bailes
Frank Exposito
Chad Shampine
Gregory Baldwin
Mr. and Mrs. R. Gordon Faux
Itai Shoffman
Deborah and
Kenneth C. Baron
Peter Storm
Amanda Topaz
Carlton Greer
Mr. and Mrs. Langdon
Van Norden, Jr.
Battushig Batbold
Alexis Bebear
John Benson
Catherine Bernardo
Raymond Bielun
James Blanco
Michael Blount
Kimberly Hastie
Jillian Boeni
Stephanie Heintzeler and
Stefan Freckmann
Carl Bolleia
Heather Beth Henson
Melissa Ko Hahn and
Doug Hahn
Shivani and Mahir Vora
Jonathan Boschetto
Deborah Hertz
David Waldes
Andrew Boyd
Mr. Martin Hollander
Matthew Hurd and
Shari Shepard
David Warren and
Helen Lee-Warren
Samantha and Richard Brand
Cedric Hubert
Lisa Brichta-Tretler
Nathaniel Hudson
Michael Jacobs
Daniel Watts
Jung Eun Ha
George and Carolyn P. Thane
R. David Townley
Bill Hoover
Bob Doorenbos
Mr. and Mrs. Brian Greeff
Renee Zinn
Lindsay Hardie
Rena Andoh
John Stuart Gordon
Federico Sandino
Dr. Raymond and
†
Hannah H. Schneider
Dorothy Fitch and
John Munier
Luis Amaya
Dr. Ingo Stork-Wersborg
Meghan Julia Clark
ALASKA
1 Anonymous Associate
Austin Scarlett
Andy Romer
Kristen Spensieri
Danielle Salerno
Mrs. Marion Speer
Slava Kaushan
Thomas Dixon
Mr. and Mrs. Trevor B. Gibbons
Alanna Kaivalya
Karl Sparber
Dr. Symond Yavener
Mr. and Mrs. Allen Katz
Jacqueline Akiva
Adam Goodman
Victor Chiu
Ralph and Toni Wyman
Elizabeth Loucks Samson
Giordano Contestabile
Christopher Rivers
Benjamin Small
Jacqueline Sale
Mrs. William A. Reeves
Taylor Cohen
Mr. and Mrs. Diego De Giorgi
Mr. and Mrs. Andrew Georges
Sarah Jones
Dr. and Mrs. Robert G. Ford
Valerie Gareau
Nelson Abramson
Joseph Smaldino
Anthony Chiodi
ALABAMA
Joel Erickson
Cheryl Pierce
Dr. Joel C. Gelbman
Yasar Sahin
Mr. Amir Satvat and
Miss Jessica Leight
Evelyn and John G. Popp
Carson Lundquist Sieving
Michael Johnson
Joseph Claro
Suzanne Dance
Siddhartha Shukla
Michelle Russell
Lee Chen
Michael S. Emanuel and
Christie Gibson
James R. Copland
Kari and Stephen Gauster
Enrique Jinete
J.E. Johnson V
Kostas D. Katsiris and
Melinda Orlie-Katsiris
Jill E. Abramson and
Jonathan Malamy
Four Bears
Arie Rubenstein
Scott Carpenter
Elizabeth Chang
Katherine Brown
Linda Hui
Antonella Montagna
Emily Wells
Charles Moore
Aili Whelan
Laura J. Mueller
Jonathan Yao
Marie Obegi
Yici Zhao
Henrik Onarheim
Jenna Papaz
ARIZONA
Deborah L. Ensell
Marilyn B. Hassenbusch
Mr. and Mrs.
Christof E. Schwab
Rickard L. Simon
†
Irv and Branna Sisenwein
Mr. and Mrs. Joseph H. Stein, Jr.
Fran Pearson, MD
COLORADO
CALIFORNIA
Mrs. George P. Caulkins, Jr.
Margot Shinnamon Bach
Dr. H. Roberts Coward
Herbert M. Berk
Robert C. and Mary Sue Hawk
Lorna Blancaflor
Virginia E. Hawkins
Christopher and Renee Bowen
Cynthia R. Kruse
Martin J. Brickman
Stanley Luft and
Eleanor Shearer
Katherine F. Brush, in memory
of Thomas S. Brush
Mr. and Mrs. Paul Sinsar
Cita and Irwin Stelzer
Michael and Miriam
Burnside, in memory of
Anne M. Burnside
Richard Buth and
James Schull
Cornelia and Glenn Bailey
Jacqueline and Henry K. Cahn
Mrs. John Lawrence Bala
Carol Jean Delmar
W. Allan Edmiston, MD
Mrs. Carroll N. Bjornson
Litzie Friedman
William and
Hildegard Brosseau
Louis B. Gagliardi
†
Allan S. and Betty Golant
Stuart R. Grant
Mrs. Robert M. Greenhood
Tricia and Richard Grey
CONNECTICUT
Patricia W. Chadwick
Deborah de Roo
Joyce Roper Nye
Mr. and Mrs.
Robert L. Peterson
Dr. Ernst Prelinger
Mr. and Mrs. William A. Raabe
Cerra Cardwell
Rie Ito
Fiorella Polanco
The Reverend David F. Pace
H. Edward Spires and
David A. Rosenberg
Clark Rahman
Mr. and Mrs. James L. Perzik
Edie Walton G. Van Syckle
Ihryung Rhyee
Kenneth Rashid
Colton Carothers
Seok Yoon Jeong
Jessica Rodgers
Robert E. Rabourn
140 |
1 Anonymous Donor
Vera M. Ratner
†
Grace G. and Bruce H. Avery
Beverly K. Schaffer
Jane C. Bergner
Elise Cloutier
HAWAII
Ronald K. Rydell
Dr. and Mrs.
Frank W. Sharbrough III
Ray Galas
David J. Kleinke
Nancy Louise Jones
Mrs. William T. McCabe
IDAHO
†
Miles and Virginia Willard
ILLINOIS
Richard Best
Dr. Boone and
Andrea Brackett
H. S. Beau Bogan and
Elliot M. Friedman
Stephen F. Condren
Terrence M. W. Ellsworth
Dr. William B. Evans
Jodi Larcombe Burke and
Roger E. Burke
Larry Hollenberg
Dr. and Mrs. John W. Carrier
Janet Jones
Carl Clark and
Dr. Ruth E. Clark
Mr. and Mrs.
William S. Phillips
Roberta W. Hahn
J. Peter Aubé
R. Joseph Barnett
M. Elizabeth Brothers
John A. Graham
Mr. and Mrs. Wayne Field
†
Ruth Kiewe
†
Walter and Millicent Leibfritz
Barbara and David Morowitz
Dr. and Mrs.
J. Frederic Mushinski
David and Linda Osburn
Beth Green Pierce
Ellen and Norman Plummer
Violette Reedy
David Stern
†
Victoria Clark Waidner
Dr. Judith A. Weller
MASSACHUSETTS
John and Rosemary Ashby
MISSISSIPPI
James F. Barnett
Joe and Becky Stockwell
MISSOURI
Miss Wendy A. Bie
Joseph E. Corrigan
Doris and Emil Lorz
Ms. Ann T. Reed
Brian and Jane Myers Smith
Ervin Walker
MONTANA
Alan F. Blakley
NEBRASKA
Noyes W. Rogers
Michael A. and
Susan K. Reiter, in memory
of Samuel Kolbrener
Flavio Campos
David Jacobsen
Jack and Peggy McDowell
Carol Butz
Nancy and William Child
Shirley Jaffe
Susan Hummel
Farnaz Jamshidi
G. Richard Albanese
Joseph J. Albanese
Louis L. Lawson
David and Rachel Abraham
Eugene J. Wait, Jr.
Robert Isaacs and Sheila
Noorollah
Rebecca Carlson
FLORIDA
MARYLAND
†
Donald C. Dervis, in memory
of Dianne Dervis
Charles Butler
Nathan Carlisle
Karyl-Lynn Zietz
John W. Hunt, Sr.
Stanley Ransom
Laura Budzelek
Simon Yates
Jonathan Terrell
MINNESOTA
Maynard D. Boos
J. Brian Greis, MD
Rita Z. Mehos
Ronald Yim
Louise Austin Remmey
Richard W. Thompson
Thomas Watson
Joel D. and Ellen S. Fedder
Robert G. McClellan, Jr.
Yung Hee Kim
Ruth Ann Kurzbauer
G. Leslie and
Jo Phelps Fabian
Gordon and Yvonne Hessler
Nancy Krakow in memory of
Charles Kullman, tenor
Joshua Kindler and
Sasha DeWitt
Robert Emmet Jordan
†
Mrs. David H. E. Laumann
Dr. Matthew Witten
Satoko Yahata
Margaret C. Jones
Connie J. Van Antwerp
Mr. and Mrs. Robert G. Edge
David J. Chavolla
Judy Williams
Rebecca Wui and Raymond Ko
Louise E. Hobbs
Marilyn G. Gallatin
Mr. and Mrs. Richard M. Silven
Miss Mary D. Bray
George M. Middlemas
Mr. and Mrs. Vikas Kapoor
Seulki Kim
Holidae Hart Hayes
Kenneth Sawyer Recu
†
Brian E. Jorde
Nancy Karpf and Scott Brady
Mr. and Mrs. John O. Forrer
Thomas H. Franks, PhD
GEORGIA
Dr. John E. Fay
Nelda V. Kilguss
Mr. and Mrs. Arne G. Ostensoe
DISTRICT OF COLUMBIA
Daniel H. Bearss
Jean A. Bastian
H. L. Boudreau
Jean Ellen LeSure
Craig Phillips
MAINE
Susan Foss Hoctor, in memory
of Edmund W. Hoctor
Bill Melamed, Jr.
Lawrence A. Kern
Andrew O’Connell
Dr. George E. Voegele
MICHIGAN
George R. Young
Mr. and †Mrs. Robert C. Marks
James W. Kinnear III
Eric E. Peterson
Lloyd L. Thoms, Jr.
†
Arianna Kalian
Barbara Mortensen
In memory of
Amalia and Maria
LOUISIANA
Beth A. Lodal
Carolyn Kimball Holmquist
Alexander Perros
Mrs. Robert S. Lovett II
Cynthia and Jerry Weinbrum
Marie T. Wuillaume
Dr. Alan B. Weitberg
Marguerite A. Wyman
Carlos J. Dominguez, MD
Peter G. Hickox, MD
Sandy Pellerano
Mary E. Howard
Dr. & Mrs. Clifton Smith
Stephen G. Traynor
Laura Tutino
Jean-Jacques Illi
Dr. Paul E. LeMal
Mr. and Mrs. Harry S. Glaze
Mrs. Alfred J. Lacazette
Ronnie B. Szeszler
Deborah Fuller
Dr. Christopher J. Guérin
Vera Leven
Pat and Ralph Gilby
Mrs. Roger Wade
Bruce L. Kleinschmidt
Hana Sittler
Mildreth L. George
Jack and Shirley Herron
Michael Papincak
Dr. and Mrs. Jan Feidel
June Rose Garrott, PhD,
in honor of Risë Stevens
Mr. and Mrs.
William R. Schumann
Mary M. Barringer, in honor
of Laura Parsons Pratt and
Mary Pratt Barringer
Mr. and Mrs.
William P. Hassett
Janice and the
Hon. James V. Lacy
DELAWARE
Dr. and Mrs. Costel Denson
Beverly Spottswood Voelbel,
in memory of
Virginia Spottswood Steele
KENTUCKY
Dr. and Mrs.
Gilbert H. Friedell
Drs. Morton and Lynn Reiser
†
Walter and Sabina Slavin
†
Talbot H. Waterman
Barbara Boothby Wendt
Leon Fassler
Todd B. Jaffe, MD
Kishan Khanna
Charles C. Lichtenwalner
George and Colette Nozicka
Elisabeth J. Quale
Mrs. Jack L. Ratzkin
Ms. Yova Van Ness Remsen
Raymond E. O’Neill
Joan M. Skepnek
Carla M. Thorpe
Florence Winters
Dr. Debra L. Zahay
INDIANA
Dr. and Mrs.
Morton J. Robinson
Mary M. Hagopian
Carol Lynne Ruhl
IOWA
Diane Ryu
Rinda K. Kramme
Lynn Joy Sapoff
Dr. Marianne Trent
Manfred H. and
Barbel M. Siebke
Wilda and Hal Sandy
Sandra Ann Spafford
KANSAS
Mr. Thomas M. Driscoll
Nancy S. Finnie
Joseph Gifford
Dr. Richard M. Hunt
Sally D. Hurlbut
NEVADA
Yonni R. Coleman
NEW HAMPSHIRE
Alfred and Karen Blum
John B. Hebard
†
Martha R. and
W. Jost Michelsen
Ella Ingraham
Mr. and Mrs.
Paul M. Montrone
Jo Ann Klein
Amy Hadden Nicholls
Pamela S. Kunkemueller
Carolyn K. Rockwell
David Lapin
Mrs. Michael E. Rolland
Judith Lowe
Karen Metcalf
Richard S. Milstein
John S. Reidy
Mrs. John W. Ressner
†
Dr. Jordan S. Ruboy
| 141
NEW JERSEY
Philip Salmieri
Nancy R. Armstrong
†
Muriel E. Ayres
Mr. and Mrs.
Joseph K. Barbara
Dennis J. Bernat
The Reverend
Terence Blackburn
Mr. and Mrs.
Mitchell A. Sieminski
Mrs. Harold Smith
Mr. and Mrs.
John W. Strahan III
Mary P. Stuermer
Mr. and Mrs. John B. Swift
The Rev. Chawanda Charae
Dr. and Mrs. John B. Haney
Alice Meyer
Rosa L. Schupbach
†
Gail Chesler
Dr. Edward Hanin
Barbara A. Millar
John Seaman
John and Elzbieta Zawisny
Daniel C. Cochran and
Gregory B. Sutphin
Eva Hartman
Jody and Alison Shapiro
Carol R. Zeits, PhD
Jacquelyn Harvey
Eleanor Louise Miller
David Shustak
Maurice B. Zucker
Howard S. Cohn
Mark Hefter
Dr. Adrienne Siegel
Charles Edward Cole
Marilyn Hoffman
In memory of
Frank D. Congelosi
Frederic A. Silberman and
Sharon Kim Siegfriedt
NORTH CAROLINA
Burt Holtzman
Robert J. Mockler and
Dorothy G. Dologite
Joy M. Holz
Anne Marie Morris
Marc L. Silverman, Esq.
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Robert D. Patton
Mr. and †Mrs.
Winthrop R. Munyan
Edwin and Ruby Smith
Ed Blaumeiser
Alan E. Tasoff, MD
Catherine Ann Conneally
Robert and Anne Bosch
Mrs. Donald E. Turnell, in
memory of John C. Hamell
Sue Ann and
Tony Converse Trust
Marilyn Van Houten
Frances Costas
Ms. Stephanie Zagoren
†
Robert Brenner
Mr. and Mrs.
Robert J. Callander
†
Mr. and Mrs.
Manuel F. Castells
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Ms. Judith Zecher
NEW MEXICO
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NEW YORK
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Atsuko Imamura
†
Mr. and Mrs.
Martin J. Murphy
Judy Nadelson
Dr. and Mrs. Martin L. Nass
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Joseph Spadafora
Mr. and †Mrs. K. F. Netter
Irene and Stanley Spiegelman
Dr. Margeaux R. Cvar
Hannah Jacobson
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Harrison R. T. Davis
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Dr. and Mrs.
Sidney Nearenberg
Maude S. Davis
Jane Uetz Johnson
†
Gioia Del Campo
Alexandra Jones
Stanley Newman
Stephen J. Delehanty
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von Nordmann
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Morton C. Kimball
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Joan Anderson
William F. Draper
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Patricia Stumpp
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Kazuyo Parsch
Liz Susman
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Kevin Kellogg
Audrey J. Sutton
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Mrs. Benjamin C. Baron
Joan Castaño Ferioli
Julia Kubis
Corrine Barsky
Ms. Olga M. Ficarra
Mrs. Dorothy K. Piepke
Thomas R. Kuhns, MD
Carolyn Gutbrod
James F. Baumann
Adrienne G. Fischier
Patricia A. Pike
Anne and Robert Ladau
Stuart M. Fischman
Mr. and Mrs. Robert G. Pilnick
William J. Hevert
Anne Noël Bayer
Betty Kranzdorf
Christa Percopo
Mr. and Mrs. K.F. Etzold
Petra B. Krauledat and
Peter Hansen
John L. Peschel
Marcia Feldman
†
Mr. and Mrs. Alvin Krauss
Miss Hildegarde D. Becher
Norma C. Fisher
Dominique and
Frédéric Laffont
Victoria Hillebrand, in memory
of Dorothy Kirsten
Irma L. Beckley-Maloney
Ruth G. Fitzmorris
Ronald H. Lamey
Mr. and †Mrs. Norton Belknap
Richard J. Foley
Carol and Alfred Landess
Dr. and Mrs.
H. Friedrich Holzapfel
Suzanne Bennett
Rosemarie Förner
Cherokee La Scala
Ms. Josephine Berger-Nadler
Robert E. Fowlow
Bernard Kaplan, in memory
of Sarah Shklear
Stanlee and Florence Kissel
Werner and Evelyn Kruck
Russell V. Lee
Simon and Bonnie Levin
Marilyn J. Liebowitz
Linda Newman Manuel
C. Papastephanou
Eugene A. Papay
Mrs. John A. Pepper, Jr.
Ms. Susan J. Puder
Ivy Reade Relkin
David L. Rhody
Mr. and Mrs. Joshua A. Rich V
Roberta M. Rothschild
142 |
Patrick Tavernia
Anthony C. Theodore
Kathleen Thielens
Aurora Keith Pajeau, MD
M. W. Pete Pully
Mr. and Mrs.
William C. Rustin, Jr.
Marjorie A. Satinsky
David C. Stewart
OHIO
†
Mr. and Mrs. Henry Barratt
Margaret Kunka Conner
†
Milada and †Duane Dunlap
Jeremiah T. Herlihy
Pat and Steve Kutay
Mr. and Mrs.
Dennis W. LaBarre
Lyman L. Leathers
Cathy Lincoln
Lois Anton Mann
Ms. Laura Arpiainen
Dr. Arthur M. Mellor
Holcombe A. J. Hughes, Sr.
Drs. Carol and David Cass
Susan Teiser and
Patrick Giacomini
TEXAS
G. Ronald Kastner, PhD
Robert and Marian Cumming
Lt. Col. James M. Alfonte
David Kunca
Dr. and Mrs. Dean G. Dover
Raynette and Ned Boshell
Margaret Ann Linn
James W. Healy
OREGON
Honorable Gerald M. Tierney
and Mrs. Sarah M. Tierney
Dr. Mona Hersh-Cochran
Richard B. Warren
Robert I. Misbin, M.D.
Mrs. Henry M. Shafer
Scott H. Cytron
D. Angus Vail
John R. Wilson, Jr.
Susan E. North
Marilyn Randle Davis
CHINA
Ursule Yates Wolski
W. Larz Pearson
Dorette P. S. Luke
Dr. James E. Eastman
Kazuko K. Price
Dr. and Mrs. Harvey Evans
DENMARK
Dr. Donald W. Richman
Donald Spoto
Carroll C. Staton
Mrs. William Stephenson
Mr. and Mrs. Milton E. Wallace
Louiezon Young
PENNSYLVANIA
The Reverend and Mrs.
Victor J. Baer, DD
†
Dr. Luther W. Brady
George P. Brinklis
†
Dr. and Mrs. M. J. Stamatakos
PUERTO RICO
Gabriele B. Gruschkus
Fernando H. Caso
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RHODE ISLAND
Rosemarie McCulloch Hughes
J. Allan Cain
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Mrs. Eva-Maria Coffey
Robert H. Devoe
Stirling Swanson Miller
Carl H. Feldman
Edward S. Feldman
Richard E. Norris
Frederick C. Kilguss, Jr.
M. E. Fetsko
Janet R. Frick
Gene Gladstone, in loving
memory of Kaki Gladstone
Robert Dodd Greene
Dr. Brett B. Gutsche
Mr. and Mrs. Oliver Hazan
Dr. Marilyn E. Hess
†
Mr. and Mrs.
Jerome A. Weinberger
Michael Lauver and friend
Charles M. Weis
Virginia B. Kerr
A. Bruce Mainwaring
Margaret Mainwaring
Jim McClelland
Kevin B. Stone
WASHINGTON
FRANCE
Susan S. Kuntz
ITALY
Garner Tullis
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JAPAN
Robert J. Saccacio
Catherine Maccora
Celika Storm
Hiroshi Okano
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SOUTH CAROLINA
Sandra Tucker
David Holdsworth
Sue T. Borland
CDR Jack O. Walker,
USN (Ret.)
Betty Keisler
Dr. Betty Bramlett, in memory
of Dr. Charner W. Bramlett
David G. Byrd
†
Dorothy A. and
James A. Fisher
Mr. and Mrs.
Delman Macpherson
June and Clinton C. Marshall
Kevin McClendon
Cornelius and Penelope Rosse
UTAH
Allison Laurel Schumer
Dr. Nancy Futrell
Arthur J. Kerr, Jr.
Naomi G. Singer
†
Mr. and Mrs.
Lawrence W. Clarkson
James L. Ryhal, Jr.
Eva Popper
Mr. and Mrs.
Wilmer J. Thomas, Jr.
Mary M. Tierney
Patricia C. Compton
WEST VIRGINIA
Carol Bryan
C. T. Bundy 2d
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Joseph V. Braddock
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Mr. and Mrs. W. Stanton Smith
Mrs. Irma L. ten Kate
James M. Compton, COL,
USA (Ret.)
Ms. Jessie W. Bynum
MEXICO
Jerry Lester, MD
SWITZERLAND
Robert J. Cubitto
Ellen R. Nadler
Dora Tassopoulos
UNITED KINGDOM
J. Robert Brown
WISCONSIN
VIRGINIA
†
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WYOMING
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†
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of Bob Brann
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Gil Turchin and Indigo
Credits
John G. Brewer, Jr.
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Sunny Crawford von Bülow
Trust
Norman I. Brock
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Mary S. Riebold
Dr. and Mrs.
Alexander Broden
Marianne Gill
Catherine Lomuscio
Stephen Wagley
Ms. Kathleen Ritch
Mrs. Joan C. Long
Carol and †Henry Walker
Jacqueline Goldenberg
Robert Ritch, MD
Florence C. Golly
Patricia Long
Melinda Wang
Gloria Roma
Marian M. Warden
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Florence P. Lynch
Philipp Brieler
Managing Editor
Marilyn Rosen
Robert Grandt
Joseph J. Mancini
Sheila M. Rosen
Mr. and Mrs.
Howard Warshower
Ralph Augustus Manna
Charles C. Sheek
Editor
Jay and Gladys Rosenthal
Cynthia Webster
Judith Grebin
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Dr. Sorosh Roshan
Hildegard G. Weigel
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Photo Editor
Estelle Greco
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Ann Russell
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William Berger
Jesse D. Greenberg, MD
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Bradley Sabel
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David W. Martin
Ellen Keel
A. L. Greenfield
Mr. and Mrs. Edward J. Sack
George R. Weinhouse, MD
The Rev. Raymond M. Rafferty
J. W. van Bergen
Henegouwen
William R. Reader, In memory
of Lester Bowman
Mrs. T. I. Varen
Editorial
design
production
advertising
William John Vicic
Gillian Brierley
Assitant General Manager,
Marketing & Communications
Rex Bonomelli
Director of Graphic Design
Ronni Brown
Marketing Services Director
Diane Silberstein
Publisher
Brigid Burke
Designer
Anthony Marinelli
Marketing Services Manager
JudyAnn Hasel
New Business Development
Director
Dr. Ann Gregory
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of Esther Greif
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†
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Russell E. Canora
CANADA
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Santeramo, KCSJ
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†
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THE BAHAMAS
Dr. and Mrs. John N. Gardner
VERMONT
Dr. Roberta Leff
Eliane Bukantz
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Dr. Allen Overton Battle
Jerome J. and
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TENNESSEE
Dr. Harry Rosenthal
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James H. Hudson
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†
OKLAHOMA
Dr. and Mrs.
James M. Hartsuck
William R. Thierfelder, PhD
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Barry Presser
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Robert Melnick
Barbara and †Sidney Pollack
Mark and Lois Taubman
Dr. Ira M. Hardy II
James J. Lebosco
Mrs. Winifred Zenorini Marion
Marcia C. Maytner
Antonia Pew
Tina Tang
Anne Prince Cuddy
Mr. and Mrs.
Walter J. Laughery, Jr.
Francine J. Berry
Mr. and Mrs.
Elchanan Bronstein
Mr. and Mrs.
Frederick Massimi, Sr.
Roberta Peters
Susan and Jeffrey Tabak
Robert M. Tamiso
Terrell G. Allen
David Freedman
†
Paul R. Manzon
†
Barbara Stanton and
Lari Stanton
Dorothy Boroughs Donovan
Susan Greene
Dr. and Mrs. Irwin Honigfeld
Stanley R. Stangren
Adnan Divjan
Peter Graefe
Eva and †Erich Holzer
†
Joseph T. Amodeo
Mrs. William P. Barbeosch
Robert W. Hewitt
Matthew Sprizzo
Ann Kennedy
Morris and Anna Barbanell
†
Dr. Burton Spiller
France-Michèle and
J. David Adler
Dr. Joan Eliasoph
Mrs. Jaroslaw Grubow
†
Stephen DiCarmine
M. J. Eger and M. J. Osborne
†
Harvey M. Spear
Ms. Frances Kazan
Robert Barach
Carl D. Goldenberg, in
memory of Selma M. Gerdes
Lydia Soifer, in memory
of Fred Soifer
Dr. and Mrs. David T. Nash
Mrs. Wilbur Daniels
†
Charles B. Slutzky
Lydia Soifer, in memory
of Leonard Soifer
Beverly Arnette
Emily and William Gindin
†
Ralph M. Wynn, MD
Matt Dobkin
Creative Director, Marketing
& Editorial
Burns Magruder
Senior Graphic Designer
Beth Higgins
Sales Representative
Mariah Wakefield
Advertising Production
Coordinator
Krzysztof Bieli ński / Teatr Wielki (cover, 51, 52 (bottom
image), 67); Jonathan Tichler / Metropolitan Opera (20,
27, 36: background); Cory Weaver / Metropolitan Opera
(21, 34–5, 38, 53: Petrenko, 61: sets, 70, 85); Naomi
Vaughan / Metropolitan Opera (22); Kevin Noble / Mary Boone
Gallery (25, 26); Rose Callahan (28); Richard Termine (29); Rex
Bonomelli / Metropolitan Opera (30); Anne Deniau / Metropolitan
Opera (36, 59, 60, 86); Rob Howell (39: costume sketches);
Ken Howard / Metropolitan Opera (39: Petersen, Mattei; 45:
Szot; 61: Westbroek, Racette; 65, 66, 69, 73, 80, 81, 82, 88);
Marty Sohl / Metropolitan Opera (39: Leonard, 57, 64, 68, 71,
74, 76, 77, 89); Dan Rest / Lyric Opera of Chicago (39: Majeski);
Richard Hubert Smith / English National Opera (40, 42, 43, 44,
45: Martens, 72); Brigitte Lacombe / Metropolitan Opera (46,
84); Joan Marcus (48: O’Hara); Beth Bergman / Metropolitan
Opera (48: sets; 62–3); William Ivey Long (49); Juliusz
Multarzyński / Baden-Baden Festival (50, 52 (top image), 53:
Netrebko / Beczala); Ken Howard / Santa Fe Opera (54, 56, 75);
Andrea Kremper / Baden-Baden Festival (78); Beth Bergman (79,
87); Beatriz Schiller / Metropolitan Opera (83)
Mr. and Mrs.
David A. Wingate
Carol Lenora Woodward, in
honor of Risë Stevens
| 143
SEP Mon 22 Le Nozze di Figaro
6:15PM
Tue 23 La Bohème
Wed 24 Macbeth
Thu 25 Le Nozze di Figaro
Fri 26 La Bohème
Sat MAT 27 Macbeth
sat eve 27 Le Nozze di Figaro
Mon 3 Die Zauberflöte
Tue 4 Aida
Wed 5 The Death of Klinghoffer
thu 6
Fri 7 Aida
Sat mat 8 Die Zauberflöte
Tue 30 Carmen
OCT wed 1
no performance
sat eve 4 La Bohème 8:30PM
Tue 11 The Death of Klinghoffer
Tue 7 Le Nozze di Figaro
Wed 8 Macbeth
Thu 9 Carmen
Fri 10 Le Nozze di Figaro
Thu 13 Lady Macbeth of Mtsensk
Fri 14 La Bohème
Sat mat 15 The Death of Klinghoffer
Mon 17 Lady Macbeth of Mtsensk
Tue 18 Il Barbiere di Siviglia
Tue 14 Le Nozze di Figaro
Wed 15 Macbeth
Thu 16 Die Zauberflöte
Fri 17 Carmen
Fri 21 Lady Macbeth of Mtsensk
hd
Mon 24 La Bohème
Tue 25 Lady Macbeth of Mtsensk
Wed 26 Il Barbiere di Siviglia
Fri 28 La Bohème 8:30PM
Sat mat 29 Lady Macbeth of Mtsensk
sat eve 29 Il Barbiere di Siviglia 8:00PM
DEC Mon 1 La Bohème
Tue 2 Die Meistersinger
von Nürnberg 6:00PM
Mon 20 The Death of Klinghoffer
Tue 21 Die Zauberflöte
Wed 22 Le Nozze di Figaro
Thu 23 Carmen
Fri 24 The Death of Klinghoffer
Sat mat 25 Die Zauberflöte
sat eve 25 Le Nozze di Figaro 8:00PM
Tue 28 Carmen
Wed 29 The Death of Klinghoffer
Thu 30 Aida
Fri 31 Die Zauberflöte
NOV Sat mat 1 Carmen hd
sat eve 1 The Death of Klinghoffer
8:00PM
Wed 3 Il Barbiere di Siviglia
Fri 5 La Bohème 8:00PM
Sat mat 6 Il Barbiere di Siviglia †
12:00PM
Mon 8 Le Nozze di Figaro
Tue 9 Die Meistersinger von Nürnberg 6:00PM
Wed 10 La Bohème
Thu 11 La Traviata
Fri 12 Le Nozze di Figaro
Sat mat 13 Die Meistersinger von Nürnberg † hd 12:00PM
144 |
Sat eve 6 Die Meistersinger von Nürnberg 6:00PM
Mon 22 La Traviata
Tue eve 23 Die Meistersinger SAT EVE 13 La Bohème 9:00PM
Tue 3 Iolanta / Bluebeard’s Castle
no performance
thu 25
no performance
Wed 4 Don Giovanni
Thu 5 Les Contes d’Hoffmann
Fri 6 Carmen
Sat mat 27 La Traviata †
Sat mat 7 Don Giovanni 12:30PM
SAT Eve 27 Hansel and Gretel
Sat eve 7 Iolanta / TUE EVE 30 La Traviata
Wed 31 The Merry Widow 7:00PM
JAN Thu 1 Hansel and Gretel 6:00PM
Fri 2 Aida
Mon 9 Carmen
Thu 9 Aida 8:00PM
Sat mat 3 Hansel and Gretel †
Sat Eve 3 The Merry Widow 8:00PM
Fri 6 Don Giovanni
Wed 11 Don Giovanni
no performance
Sat Eve 7 La Donna del Lago
sat eve 11 Ernani 8:30PM
Sat mat 14 Iolanta / Thu 8 Hansel and Gretel
Fri 9 The Merry Widow
Sat Eve 14 Don Giovanni 8:00PM
Tue 10 La Donna del Lago
Pagliacci 8:00PM
Wed 11 Les Contes d’Hoffmann
Thu 12 Manon
fri 13
no performance
Sat mat 10 Aida
†
sat eve 10 La Traviata 8:30PM
Mon 16 La Donna del Lago
8:00PM
Mon 12 Les Contes d’Hoffmann
Tue 13 The Merry Widow
Sat mat 18 Don Carlo 12:00PM
Sat eve 18Cavalleria Rusticana / Sat eve 14 Les Contes d’Hoffmann
Pagliacci 8:30PM
Mon 16 Lucia di Lammermoor
Tue 17 Manon
Wed 18 Les Contes d’Hoffmann
Thu 19 Lucia di Lammermoor
Fri 20 Ernani
Sat mat 21 Manon † 12:30PM
Sat mat 21 Don Giovanni 12:30PM
Sat Eve 21 Iolanta / Bluebeard’s Castle
Sat Eve 17 La Traviata 8:00PM
8:00PM
Mon 19 La Bohème
Wed 21 La Traviata 8:00PM
Sat mat 24 La Bohème †
Sat eve 24 La Traviata 8:00PM
Mon 23 Carmen
Tue 24 Don Giovanni
Wed 25 La Donna del Lago
Thu 26 Carmen
Fri 27 Don Giovanni
Sat mat 28 La Donna del Lago
Sat eve 28 Les Contes d’Hoffmann
8:00PM
Tue 21 Cavalleria Rusticana / Pagliacci
Wed 22 Don Carlo 7:00pm
Thu 23 Un Ballo in Maschera
Sat mat 25 Cavalleria Rusticana / Pagliacci † hd 12:30PM
sat eve 25 Don Carlo 7:00PM
3:00pm
Mon 23 Ernani
Tue 24 Lucia di Lammermoor
Mon 27 The Merry Widow
Tue 28 Un Ballo in Maschera
Wed 29 Cavalleria Rusticana / Pagliacci
Thu 30 The Merry Widow
Wed 25 Manon
May Fri 1 The Rake’s Progress
Thu 26 Ernani
Sat mat 2 Un Ballo in Maschera †
Sat Eve 2 Cavalleria Rusticana / no performance
Sat mat 28 Lucia di Lammermoor †
Pagliacci 8:30PM
12:00PM
Sat Eve 28 Manon 8:00PM
Mon 30 Don Carlo 7:00PM
Mon 4 The Rake’s Progress
Tue 5 Cavalleria Rusticana / Pagliacci
Wed 6 Un Ballo in Maschera
APR Wed 1 Lucia di Lammermoor
Thu 7 The Merry Widow
Thu 2 Don Carlo 7:00PM
Tue 31 Ernani
fri 3 Mon 20 Aida
sat eve 21 Les Contes d’Hoffmann
†
Thu 15 La Bohème
Sat mat 17 The Merry Widow † hd
8:00PM
Fri 20 La Donna del Lago
Wed 14 La Traviata
no performance
Fri 17 Aida
Thu 19 Carmen
Fri 16 Les Contes d’Hoffmann
Wed 18 Iolanta / Wed 15 Don Carlo 7:00PM
thu 16
Sat mat 14 La Donna del Lago † hd
fri 27
Tue 17 Don Giovanni
Tue 14 Cavalleria Rusticana / Wed 7 La Traviata
Mon 13 Aida 7:30pm
Mon 9 Manon
grand finals concert
Sat mat 11 Don Carlo † 12:00PM
12:30PM
Mon 5 Aida
Fri 10 Lucia di Lammermoor
Sat mat 7 Carmen †
sun mat 22 national council
Fri 13 Carmen
Bluebeard’s Castle † hd
Tue 10 Iolanta / thu 12
Tue 7 Lucia di Lammermoor
Wed 8 Ernani
Mon 6 Don Carlo 7:00pm
Tue mat 30 Hansel and Gretel 11:00am
Wed 4 Carmen
Mon 29 Aida
8:00PM
Tue 3 La Donna del Lago
8:00PM
wed 24
Fri 26 Aida 8:00PM
mar Mon 2 Don Giovanni
no performance
no performance
Sat mat 18 Le Nozze di Figaro hd
sat eve 18 Macbeth 8:30PM
Sat eve 31 The Merry Widow
8:00PM
Thu 20 La Bohème
thu 27
sat eve 11 Die Zauberflöte 8:00PM
Mon 13 Carmen
Sat mat 31 Les Contes d’Hoffmann † hd
feb mon 2
8:00PM
no performance
sat eve 22 Aida 8:00PM
Thu 29 Iolanta / Bluebeard’s Castle
Tue mat 23 Hansel and Gretel 11:00am
Wed 19 Aida
Sat mat 22 Il Barbiere di Siviglia
Tue 27 Les Contes d’Hoffmann
Wed 28 The Merry Widow
fri 30
Sat eve 20 Die Meistersinger 8:00PM
Sat mat 11 Macbeth hd
Fri 19 La Traviata 8:00PM
Wed 12 Aida
sat eve 15 Aida 8:00PM
Mon 10 Lady Macbeth of Mtsensk
Thu 18 Hansel and Gretel
Sat mat 20 Le Nozze di Figaro †
Mon 26 Iolanta / 8:00PM
8:00PM
Sat mat 4 Carmen 12:00PM
Wed 17 Die Meistersinger 12:00PM
Fri 3 Macbeth
Mon 29 La Bohème
Tue 16 La Traviata 8:00PM
sat Eve 8 The Death of Klinghoffer
sun mat 28 rené pape in recital
Mon 15 Le Nozze di Figaro
no performance
8:00PM
4:00pm
no performance
Fri 8 Cavalleria Rusticana / Pagliacci
Sat mat 9 The Rake’s Progress †
sat eve 4 Lucia di Lammermoor
Sat eve 9 Un Ballo in Maschera
8:00pm
8:00PM
Sat mat 4 Ernani †
Evening performances begin
at 7:30pm; matinees at 1:00pm,
unless otherwise noted.
hd
†
HD transmission
Saturday Live Radio Broadcast
| 145

SeaSon Book - Metropolitan Opera

Transcription

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