1. art and entertainment
2. music
3. music genres
4. opera

MOZART
DON
GIOVANNI
MAY 1 – 10 | 2015
Esther Nelson, stanford calderwood general & Artistic Director
blo.org
|
David Angus, Music Director
|
John Conklin, Artistic Advisor
A THANK YOU TO
THE CALDERWOOD
CHARITABLE FOUNDATION
FROM THE BOARD
AND STAFF OF
BOSTON LYRIC OPERA
Boston Lyric Opera is proud to announce a
$5 million gift from The Calderwood Charitable
Foundation. This, the largest single institutional gift
in Boston Lyric Opera’s 39-year history, will endow
our General & Artistic Director position, currently
held by Esther Nelson, and be commemorated by
its naming as the Stanford Calderwood General &
Artistic Director.
We are honored to be counted among the
organizations that have benefitted from the
tremendous legacy of Stanford and Norma Jean
Calderwood and extremely thankful to Foundation
Trustees John Cornish and William Lowell, who
have worked tirelessly to realize the Calderwoods’
vision of a strong, collaborative cultural community
in Boston.
“I am honored to be the first to hold the title of Stanford Calderwood General &
Artistic Director at Boston Lyric Opera and humbled by the challenge of keeping
our Company an innovative, driving force in Boston and throughout the opera
world. I trust that this gift will inspire others to support our efforts and, at the same
time, compel all of BLO’s future leaders to push the art form forward.”
Esther Nelson
Stanford Calderwood General & Artistic Director
Welcome
I open this final letter of the Season with a truly special message. For many years,
BLO has counted itself among the organizations supported by the good work of The
Calderwood Charitable Foundation. With the leadership of its Trustees, John Cornish
and William Lowell, and our own Board Chair Steven Akin, the Foundation gave BLO a
challenge to inspire the Company’s donors to help grow the endowment. The resulting
grant is a transformative gift to the endowment, building on its foundation and setting
the course for a strong future for BLO. I am profoundly grateful to these gentlemen for
their vision and dedication, and to The Calderwood Charitable Foundation. Stanford
Calderwood and his wife Norma Jean were longtime patrons of the arts in Boston.
I believe they would both be proud to see all the benefits that their legacy has created
in our community. And going forward, I am honored to bear the title that reflects and
perpetuates their good work.
I also welcome you to the final opera of our Season, Mozart’s Don Giovanni, which has
impassioned audiences and artists alike throughout its history. G.B. Shaw called it “the
opera of operas.” Tchaikovsky, after seeing a performance, wrote, “I could cry out and
weep under the overwhelming stress of the emotional impression.” The French novelist
Stendhal in The Life of Henry Brulard wrote, “I would walk ten miles through the mud,
the thing I hate most in the world, to hear a good performance of Don Giovanni.”
What is the lasting allure of this opera? Most of Mozart’s operas have waxed and
waned in popularity throughout the centuries, but Don Giovanni has enjoyed constant
audience success. Some attribute it to the opera’s easy blend of the comic and serious.
Mozart called the opera a dramma giocoso, a comic or jocular drama. Both Mozart
and his librettist Da Ponte, with whom he also collaborated on The Marriage of Figaro
and Così Fan Tutte, were keen observers of human behavior with a sharp sense of
humor. The Don Giovanni plot pits men against women, nobles against commoners,
individuals against society. I ascribe the opera’s popularity to the charismatic, magnetic,
and complex title character: rake, blasphemer, upper class playboy, an irresistibly
sexy, destructive narcissist. He holds up a mirror (and promise) to our own unfulfilled
fantasies. The 18th-century Giovanni also represented the quintessential old order,
demanding absolute privilege, against which the Enlightenment rose. On the other
hand, he also embodies the autonomous subject, rebelling against the old order, which
was the cornerstone of the Enlightenment. He has no doubts of his own irrevocable
damnation and wins our reluctant admiration by his courageous refusal to be anything
but his true self.
During my conversations with our stage director, Emma Griffin, we discussed how the
allure of the Don Juan idea continues to persist today. But how do we present the idea
of divine punishment or fateful intervention for today’s audiences, and diverse cultures?
Our fear of — or hope for — such retribution and justice is as real as it was in the 18th
century, but it is manifested in many different ways. Emma brings Don Giovanni up
close and turns him into a man, and an idea, of our time. His dangerously attractive
qualities are also not, I dare suggest, limited to men. (Maybe we’ll find a new opera,
a female version: Lady Joanna?) Opera tells emotional truths on many levels.
I hope that you enjoy Don Giovanni and that you will join us once again next Season for
all-new BLO productions of both popular classics and works not often seen in Boston,
all with a distinct French flavor. I look forward to seeing you at intermission.
Sketch by Costume Designer
Tilly Grimes for Don Giovanni
PROGRAM
contents
Welcome1
Board of Directors 3
Don Giovanni Background5
and Interpretations
BLO's 2015/16 Season 6
Meet the Artists 8
BLO's Version of 13
Don Giovanni
Production Staff & 14
Acknowledgments
BLO Staff & Volunteers 15
Donors18
Esther Nelson
Stanford Calderwood General & Artistic Director
Cover: Jennifer Johnson Cano photo by Matthu Placek
O
ben gebo photography
pera, with its full forces of principal singers,
chorus, orchestra, production and more, requires
a tremendous investment. Ticket sales traditionally
cover only a small percentage of those costs. We
rely on the passion and support of our community to
produce truly great opera, to develop this generation’s
talented Emerging Artists, and to bring opera to a
wider audience through community engagement.
At this time of year-end giving, please consider making
a gift to help us reach new heights next Season.
michael blanchard photography
Get Involved
with BLO
After the curtain comes down, there are
still lots of ways to get your opera fix!
PRIMA FOR YOUNG PROFESSIONALS—
MEMBERSHIP IS FREE!
Be in the know with regular news updates, exclusive invitations
to events, behind-the-scenes access, opportunities to meet BLO
artists, and special PRIMA rates for the best available seats at any
performance. Members reap all these benefits with no commitment
or fee! Join Boston’s young arts lovers at blo.org/prima, 617.542.6772,
or boxoffice@blo.org.
JOIN BLO’S ORFEO SOCIETY
Orfeo members provide critical support to the Company. As our
thanks, we give you the red carpet treatment: the opportunity to meet
other opera lovers in congenial settings—like our hospitality wine &
cheese lounge prior to each performance—and insight to the art form
through engagement with stage directors, artists, and the creative
team behind each production. Plus, join Orfeo for the Seasonculminating special performance and celebration (coming up in
June—it’s a “don’t miss”). Orfeo members view performances from the
best seats in the house and have access to concierge ticketing. Patrons
donating $3,000 or more to BLO’s Annual Fund are welcomed into
the Orfeo Society. Learn more at blo.org/support/orfeo-society or
contact Sarah B. Blume at 617.542.4912 x228.
BECOME A SUBSCRIBER
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COMMUNITY PROGRAMS AND EVENTS
BLO is making music happen far beyond the opera house with
engaging events this summer and throughout the year, produced
alongside partners from renowned institutions like the Boston Public
Library and the Museum of Fine Arts, Boston to organizations at the
heart of our community. Whatever your opera background, you’re sure
to be informed and inspired by our Season of diverse programs and
special events. For more information, sign up for the BLO email list,
visit blo.org/events, or email events@blo.org.
MUSIC! WORDS! OPERA!
Every year, hundreds of students experience live opera in their
classrooms through BLO’s school outreach program, Music! Words!
Opera!. Students create and perform their own classroom operas, and
teachers receive professional development training as they implement
this interactive curriculum in their classrooms with the support of BLO
singers and teaching artists. Bring this thriving, free arts program to
your community by encouraging your neighborhood teachers and
schools to get involved at blo.org/learn/music-words-opera.
INTERESTED IN BOARD SERVICE
OR BECOMING A VOLUNTEER?
Become an integral part of the Company by giving your time as a
volunteer or by assuming a leadership role in the future of BLO through
Board service. Contact Sarah B. Blume at 617.542.4912 x228 to inquire.
STAYING CONNECTED WITH US PAYS OFF — RECEIVE EARLY ANNOUNCEMENTS,
SPECIAL OFFERS, AND MORE VIA OUR EMAIL LIST AND BLOG!
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Buy tickets, learn more about these events and others, check out our restaurant partners, and peek behind the
scenes at blo.org.
2 | Boston lyric opera DON GIOVANNI 2015
ABOUT BOSTON
LYRIC OPERA
Both locally and beyond, Boston Lyric
Opera leads the way in celebrating
the art of the voice through innovative
programming and community
engagement initiatives that redefine
the opera-going experience.
Under the vibrant leadership of Stanford
Calderwood General & Artistic Director
Esther Nelson, BLO’s productions have
been described by the magazine Musical
America as “part of
“This midsize the national dialogue”
company has a because of their
welcome new role as entry points
for new audiences.
tempo, new
The New York Times
ambitions, and observed that BLO
new capacities. “clearly intends [its
It should be productions] to
fascinating to catch the interest of
see, as BLO operagoers around
the country.”
approaches its
40th anniversary
in 2017, where it
goes from here.”
This view is shared
by the nearly
40,000 people who
experience BLO each
– the boston globe,
year through dynamic
september 20, 2014
performances,
extensive partnerships with leading
cultural organizations, and programs
throughout our vastly diverse and
exuberant community.
BLO’s programming remains faithful
to tradition while blazing new ground,
building audiences, and creating new
ways to enhance the opera-going
experience. BLO Emerging Artists hone
their craft and prepare to expand their
careers to other world-leading stages.
And BLO’s wide-reaching education
initiatives introduce opera to new
audiences across generations.
Through your support and attendance,
BLO employs nearly 500 artists and
creative professionals annually—vocalists,
artisans, stagehands, costumers, and
scenic designers—many of whom are
members of our own community.
The Company is proud to play a
significant and meaningful role in
Boston’s vibrant arts community.
A MESSAGE FROM THE BOARD CHAIR
Stanford and Norma Jean Calderwood were passionate and
generous supporters of both the arts and their community
during their lifetimes through their personal giving and their
encouragement of philanthropy in others. In this spirit, the Trustees
of The Calderwood Charitable Foundation have continued their
good work, effecting transformational change for cultural
organizations across Boston for many years.
Boston Lyric Opera is pleased and proud to be counted among the beneficiaries of
the Calderwoods’ tremendous legacy.
During our long partnership, the Foundation has supported BLO with funding, a
readiness to offer guidance, and a willingness to inspire patronage among others.
This historic $5 million gift to BLO’s endowment was made upon the successful
completion of a challenge from the Foundation to our Board and patrons, and it
reflects our shared commitment to the long-term success of the Company and to
a vibrant arts community for Boston.
My sincere thanks to Foundation Trustees John Cornish and William Lowell for
their vision and commitment, to BLO’s Esther Nelson and Eileen Williston and our
Trustees Bill Kennedy and Tom Gill for their partnership and dedication, and to
all those who helped BLO meet the challenge.
Stanford and Norma Jean Calderwood understood the important role we all play
in creating and ensuring a robust and vital cultural landscape in our community.
May their foresight inspire us all to be patrons of Boston’s arts and carry on their
legacy for future generations.
Steven P. Akin
Chair, Board of Directors
BOARD
CHAIR
Steven P. Akin
Vice-CHAIr
Wayne Davis
Vice-CHAIR & Treasurer
Frank Wisneski
Clerk
Susan Jacobs
Stanford Calderwood
GENERAL & ARTISTIC
DIRECTOR
Esther Nelson, Ex Officio
Jane Akin
Linda Cabot Black
Miguel de Bragança
Alicia M. Cooney
JoAnne Walton Dickinson, Esq.
Alan Dynner
Susan D. Eastman
Andrew Eisenberg
Kenneth L. Freed
Thomas D. Gill Jr.
Barbara Winter Glauber
Anneliese M. Henderson
Mimi Hewlett
Horace H. Irvine II
Amelia Welt Katzen
Maria J. Krokidas
Stephen T. Kunian
Lois A. Lampson
Jeffrey Marshall
Abigail B. Mason
A. Neil Pappalardo
E. Lee Perry
Irving H. Plotkin
William Pounds
Michael J. Puzo
David W. Scudder
Susan R. Shapiro
David Shukis
Ray Stata
Wynne Szeto
Christopher Tadgell
Wat Tyler
Tania Zouikin
BOARD OF
OVERSEERS
Co-CHAIRs
Willa Bodman
L. Joseph LoDato
Lawrence St. Clair
James Ackerman
Kyla Akin de Asla
Elizabeth Barker
Ann Beha
Edward Bell
Debra Taylor Blair
Richard M. Burnes Jr.
Ellen Cabot
Lynn Dale
Carol Deane
Jessica Donohue
Joseph Glenmullen
Catherine E. Grein
Amy Hunter
William Hunter
Louise Johnson
Ellen Kaplan
Pamela S. Kunkemueller
Russell Lopez
Anita Loscalzo
M. Lynne Markus
Shari Noe
Jane Pisciottoli Papa
Samuel Parkinson
Susanne Potts
Carl Rosenberg
Allison Kay Ryder
Jonathan Saxton
Wendy Shattuck
Sandra A. Urie
Mark Volpe
Lydia Kenton Walsh
Robert Walsh
Peter J. Wender
Bert Zarins
EMERITI
David B. Arnold Jr.
J.P. Barger
Sherif A. Nada
Boston lyric opera DON GIOVANNI 2015 | 3
4 | Boston lyric opera DON GIOVANNI 2015
The Women
of Don Giovanni
B
The Garden of Don Juan,
Lajos Gulácsy, 1910
By Magda Romanska, Ph.D., Boston Lyric Opera Dramaturg
y the 18th century, educated women were
beginning to question male freedoms and dominance
of society, and starting to demand similar freedoms
for themselves. Many men were also increasingly
uneasy about their own social and economic privileges, especially
the moral latitude shown toward male sexuality (as opposed to the
constraints placed on female sexuality). The women of Don Giovanni
showcase the many tensions that dominated gender relations of
the era, each representing different aspects of the cultural and
social landscape.
For critics, the most problematic of the three central female
characters is Donna Anna. Her character does not appear at all in
Molière’s play, Don Juan. In Tirso de Molina’s The Trickster of Seville
and the Stone Guest, it is suggested that perhaps Don Giovanni
raped her, with the play revolving largely around the issue of her
honor. At the end, Giovanni confesses that he had not been
successful with her, thus resolving the main dramatic question.
In Mozart’s opera, she figures not so much as one of Giovanni’s
conquests, but foremost as the daughter of the Commendatore
whom Giovanni kills, and who in turn enacts his own supernatural
revenge on the libertine. Anna’s relentless pursuit of Giovanni and
her request to delay the wedding to her fiancé, Don Ottavio, suggest
that perhaps she may have been violated, though some critics note
that she may simply have been traumatized by the death of her
father, who was killed while protecting her honor. In his book on
Mozart’s opera, Edward Joseph Dent argues that Anna and Ottavio,
“were evidently intended by Da Ponte to be the pair of more or less
serious lovers customary in most Italian comic operas.” If Anna and
Ottavio indeed fulfill the function of the Italian innamorati, Irving
Singer points out that her request to wait the conventional year
before marrying is rather normal, and there is no reason for us to
believe that her encounter with the Don had anything to do with it.
Singer suggests that Anna, the dutiful and guilt-ridden daughter,
represents Mozart himself and his own strained relationship with his
father. At the end, Singer notes that “neither the capture of Don
Giovanni nor the comfort of Ottavio’s love can eliminate the sadness
she feels” at the loss of her father.
Of the three women, Zerlina appears to be the most sexually
liberated. She can be portrayed as either an innocent village girl or
a cunning, no-nonsense peasant woman. She most closely parallels
commedia dell’arte’s Colombina, the clever maid stock character that
emerged later. Although Zerlina has no qualms about flirting with
Don Giovanni on the day of her wedding to Masetto, we don’t know
if her interest is genuine and she indeed comes under the spell of the
Don’s charisma, or whether it’s merely her strategy of dealing with
Masetto, making him jealous and by extension more prone to her
influence. As Singer points out, “[S]he knows that the more she is
fickle with Masetto, the more he will dote on her; the more he dotes
on her, the greater her freedom to deceive him.” We also don’t know
if Zerlina really believes in Giovanni’s promises of marriage or merely
pretends to in order to justify the seduction. She is sensual, but she also
understands the social and moral judgment that women must conform
to, and she quickly adjusts her behavior to what Masetto expects,
begging him to “beat your poor Zerlina.” In the end, Masetto doesn’t
beat Zerlina, but Giovanni beats Masetto, which she cleverly blames
on Masetto’s own jealousy. Zerlina is often compared to Papagena
from The Magic Flute, a child of nature who treats sensual pleasure
with casual joy and without the guilt of dominant Christian morality.
Finally, Donna Elvira’s chase of the Don and her drive to “avenge my
deceived heart” is one of the most tragic motifs of the opera. Elvira
is as traditional as possible; believing in the institution of marriage,
she is unable to come to terms with Giovanni’s false promises and
betrayal. If she were a character in an opera buffa, her love-hate pursuit
of her former lover would be farcical, but the music that accompanies
her is always serious, suggesting something darker and perhaps
even pathologically obsessive in her passion. As David Cairns put it,
“[Elvira] is a victim-figure, and her music depicts her obsessiveness,
her continued sexual fascination with Don Giovanni, her lack of
control; but, unlike the Don, it doesn’t deride her. She rises above
the indignities callously heaped on her, and earns our respect.” She is
constantly torn between the reality of her predicament and her fantasy
world. She desperately wants to believe Giovanni’s assertions because
not believing means admitting her own gullibility, but the more she
trusts him, the more she suffers. He deceives her until the very end.
Magda Romanska, Ph.D., BLO Dramaturg, is an award-winning theatre scholar and writer. She is Associate Professor of Theatre and
Dramaturgy at Emerson College, and Research Associate at Harvard University’s Minda de Gunzburg Center for European Studies, and
Davis Center for Eastern European Studies.
Boston lyric opera DON GIOVANNI 2015 | 5
We'll Always
have Paris—
BLO's 2015/16 Season
By Richard Dyer
B
LO’s 2015/16 Season is another way to fly off to Paris. La
Bohème and The Merry Widow are set in the city of light and
love. And while Goethe’s The Sorrows of Young Werther is
set in a suburb of Frankfurt, stage director Crystal Manich
and designer John Conklin plan to transport Werther to a suburb of
Paris and to present it in the visual style of the celebrated French film
director, Jean Renoir. Three strongly contrasting operas written in three
countries within a span of 15 years, but linked in many ways, transport
us to Paris, the city on the Seine, in three different historical periods.
These operas are the kind that audiences take home with them, and
each leaves lifelong impressions. They certainly have for me. My first
Bohème was on May 13, 1953, with the Met tour in Oklahoma City.
I was 11, and I cried my heart out (if I am at a good performance, I
still will). My first Merry Widow was at the Kenley Players in Warren,
Ohio in 1961, when the popular television comedienne Edie Adams
appeared as the widow, astonishing the audience with her legitimate
singing voice (she had studied at Juilliard). The effect was as startling
as Lady Gaga’s performance of excerpts from The Sound of Music at
the Academy Awards this year. Who knew? My first Werther was at
the Opéra Comique in Paris when I was a 19-year-old student, not far
from Werther’s age. I was so overwhelmed that I went to every other
performance that season. First impressions are lasting ones; all three
operas are the kind you live with.
La Bohème is Puccini’s most popular work and is currently the most
popular opera in the world, surpassing even Verdi’s Aida, which held
the record for decades. His source was a series of magazine sketches of
bohemian life that Henri Murger, wrote beginning in 1845; they didn’t
find much of an audience, but later Murger and a collaborator adapted
them into a stage play which became internationally popular. Still later
Murger assembled the sketches into a loose-limbed novel. Murger
knew first-hand the world he was writing about because it was his own—
he lived in the company of ambitious, spirited, and penniless young
artists and musicians, their loves and quarrels, successes and failures, joys
and despairs, intense lives and early deaths. The tragic story of Mimì and
Rodolfo is only one strand in Murger’s narrative collage, but it captured
the imagination of everyone who read it or saw it on stage.
6 | Boston lyric opera DON GIOVANNI 2015
In 2002, the filmmaker Baz Luhrmann brought his famous 1990
Australian Opera production of La Bohème to Broadway, and one of
the sopranos rotating in the role of Mimì was Kelly Kaduce, fresh out
of Boston University. Now one of America’s leading sopranos, she
returns to Boston to recreate the role. Jesus Garcia also appeared in the
production as Rudolfo; both he and Kaduce will star in BLO’s new La
Bohème. The production, by Rosetta Cucchi with set designs by John
Conklin, will unfold in Paris at the time of the epoch-defining student
protests in 1968, with a visual style derived from the “New Wave” films
of the same time by Jean-Luc Godard, François Truffaut, and others.
It is difficult today to imagine the scope of the success of Goethe’s
novel, The Sorrows of Young Werther, which he published in 1774 at the
age of 24. It was translated into many languages and read around the
world, defining a whole generation. The protagonist, who reveals his
Notes from BLO Artistic Advisor
John Conklin on Glass's In the Penal
Colony, BLO's 2015/16 Opera Annex
In the world of contemporary opera, Philip Glass is one of the
rare composers to have built a highly acclaimed and ongoing
body of work ... and all with an impressive variety of style and
subject matter.
His opera Satyagraha was a triumph at the Metropolitan Opera,
and one of BLO’s greatest successes was Akhnaten in 2000.
I worked with Philip (and director JoAnne Akalitis) on the world
premiere (2000) of his one-act piece based on the well-known
and dramatically disturbing short story by Kafka. I soon realized
that this was a very powerful, tense, and concentrated composition
(composed for two singers and a string quintet) neatly (almost
inevitably) fusing the obsessive forward-driving energy of Glass
with the subtle yet unstoppable theatricality of Kafka’s vision.
story and pours out his feelings in a series of impassioned letters, is a
notable figure in the history of outsiders, a descendant of Hamlet and
an ancestor of James Dean. He is a passionate romantic who falls in
love with Charlotte, a woman he cannot have.
Jules Massenet responded to the principles and the pain of his two
leading characters with music of profound, self-revealing emotion in an
opera that sweeps the public into a maelstrom of feeling. The music,
of course, is quintessentially French (although the influence of Wagner
in the fluidity of the harmony is obvious). There is also a modern
touch—Massenet introduces the saxophone into the orchestration,
even though it had not been invented at the time of the story. Like
Puccini, he created great roles that continue to attract major singers.
BLO’s production features the debut of the charismatic Canadian tenor
Joseph Kaiser and the return of Company favorite Sandra Piques Eddy
as Charlotte, most recently seen here in Janáček’s Kátya Kabanová.
Eiffel Tower, Jean-Philippe Letarte
Anyone who has ever fallen in love can relate to the story, and hearing
Puccini’s music brings back all the turbulence and ecstasy of youthful
love (Puccini was only 35 years old when he started work on this
opera). This is one reason why older singers can still prove convincing
in the opera—some readers may remember how affecting Carlo
Bergonzi and Pilar Lorengar were on the Met tour here in 1977, when
both of them were old enough to be the grandparents of Mimì and
Rodolfo—and why other productions of the work have effectively set
the story in diverse times and places from 1845 to the AIDS crisis of
the 1980s (the choice of the Broadway musical Rent, which used a
contemporary score by Jonathan Larson to tell the old story again).
Nine years after La Bohème, Franz Lehár’s The Merry Widow had
its premiere and, like La Bohème, it has been performed all over the
world ever since. Lehár’s story, about the attempt of an impoverished
Pontevedrian government to keep the fortune of the country’s
wealthiest new widow from passing into the pocket of a foreign
suitor, comes from a slightly naughty French play by Henri Meilhac.
(Meilhac is remembered today for the libretto he prepared for Bizet’s
Carmen as well as his collaborations with Jacques Offenbach. And
in another link among the Season’s composers, Meilhac co-wrote the
libretto for Massenet’s most popular opera, Manon, another opera
set in Paris.)
We are in a different Paris from that of La Bohème. On the map, the
Café Momus in the Latin Quarter, where the bohemians hang out,
isn’t that far from Maxim’s, on the Rue Royale on the other side of the
Seine. But the revelers at Maxim’s have money—or pretend they do—
and they come from a frivolous world devoted to the pursuit of both
instant pleasure and constant gratification. Indeed, Maxim’s may not
have acquired its legendary and enduring reputation if it had not been
for The Merry Widow.
The plot of The Merry Widow is a contrivance, an intricate framework
onto which Lehár hung a string of vivacious ensembles and seductive
melodies in three-quarter time. The operetta has triumphed on stage
for more than a century. There have been television productions and
two movies—a great one with Maurice Chevalier wooing Jeanette
MacDonald, and a dreadful one with Lana Turner and Fernando
Lamas. The Turner movie, however, did inspire the legendary
undergarment bearing the same name.
Since the premiere, glamorous sopranos have coveted the role of the
merry widow and her haunting song “from her native land,” “Vilja.” In
recent years, the role has become associated with such late-career
divas as Beverly Sills, Joan Sutherland, and Frederica von Stade, who
said she couldn’t imagine a nicer way to take leave of the Met than
to waltz offstage in the arms of Plácido Domingo; just this season,
Renée Fleming and Deborah Voigt have taken on the role. BLO will
break with recent tradition by presenting a widow young enough
to be merry—the Metropolitan Opera’s vivacious Susanna Phillips,
whose early career brought her twice to the Company, in Mozart’s
Don Giovanni and in Benjamin Britten’s A Midsummer Night’s Dream.
Canadian tenor Roger Honeywell will make his debut as the dashing
Count Danilo. The production, again designed by Conklin, promises
lots of sparkle and spectacle while suggesting the fragility of this
artificial world that would soon be swept away by World War I.
The soundtrack for my own student year in Paris—filled with the
joyous, youthful discoveries of Café Momus rather than the heady
glitz of Maxim’s—was written in part by Puccini, Massenet, and Lehár.
I have known each of these works by heart for more than 50 years.
There are some operas you can’t remember, but these are operas
you can’t forget.
RICHARD DYER is a distinguished writer and lecturer. He wrote about music for The Boston Globe for over 30 years, serving as chief
music critic for most of that time. He has twice won the Deems Taylor/ ASCAP Award for Distinguished Music Criticism.
Boston lyric opera DON GIOVANNI 2015 | 7
Boston lyric opera Presents
mozart
don
giovanni
Music Director David Angus
2014/15 Season Sponsor, Linda Cabot Black
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo Da Ponte
A new Boston Lyric Opera production
Sung in Italian with projected English translation
This production is made possible through the
generous support of Paul and Sandra Montrone
Performances:
FRIDAY, MAY 1, 2015 AT 7:30 P.M.
SUNDAY, MAY 3, 2015 AT 3:00 P.M.
WEDNESDAY, MAY 6, 2015 AT 7:30 P.M.
FRIDAY, MAY 8, 2015 AT 7:30 P.M.
SUNDAY, MAY 10, 2015 AT 3:00 P.M.
Conductor
Sponsored by Linda Cabot Black
Stage Director
EMMA GRIFFIN*
Set Designer
LAURA JELLINEK*
Costume Designer
TILLY GRIMES*
Lighting Designer
MARK BARTON*
Fight Director
ANDREW KENNETH MOSS
Wig and Makeup Designer
JASON ALLEN
BOSTON LYRIC OPERA Orchestra Sandra Kott Concertmaster
BOSTON LYRIC OPERA chorus
Michelle Alexander Chorusmaster
DAVID ANGUS
Performed in approximately two hours,
50 minutes with one intermission
Citi performing arts centerSM
shubert theatre
265 tremont street, boston
* Boston Lyric Opera Debut
†
Boston Lyric Opera Emerging Artist
‡
Boston Lyric Opera Emerging Artist Alumnus
Rehearsal Coach/Accompanist
BRETT HODGDON‡
Sponsored by Rusty Rolland and
The Schick Foundation
Assistant Director
ALLEGRA LIBONATI*
Production Stage Manager
CHELSEA ANTRIM
Cast & SYNOPSIS
CAST in order of vocal appearance
Leporello.....................................................................................................................................................................................................................KEVIN BURDETTE
Sponsored by Susan W. Jacobs
Donna Anna........................................................................................................................................................................................................MEREDITH HANSEN‡
Sponsored by Wayne Davis & Ann Merrifield
Don Giovanni............................................................................................................................................................................................................. DUNCAN ROCK*
Sponsored by Mr. & Mrs. E. Lee Perry
Commendatore.......................................................................................................................................................................................................... STEVEN HUMES
Sponsored by Mr. & Mrs. Michael Puzo
Don Ottavio............................................................................................................................................................................................................... JOHN BELLEMER
Sponsored by Katie & Paul Buttenwieser
Donna Elvira.....................................................................................................................................................................................JENNIFER JOHNSON CANO*
Sponsored by Barbara and Robert Glauber
Zerlina...........................................................................................................................................................................................................................CHELSEA BASLER†
Sponsored by Willa and Taylor Bodman
Masetto......................................................................................................................................................................................................................... DAVID CUSHING‡
Sponsored by Linda Cabot Black
SYNOPSIS
ACT I
The masked Don Giovanni pursues Donna Anna, who resists the intruder. Her cries for help arouse her father, the Commendatore, who
struggles with Giovanni and is killed. When a former conquest, Donna Elvira, arrives seeking Giovanni, she is fobbed off on his servant,
Leporello. Giovanni tries to seduce a young bride, Zerlina, and again Leporello is used to distract the bridegroom, Masetto. Giovanni’s
seduction of Zerlina is interrupted by Elvira, who proceeds to warn Anna and her fiancé, Don Ottavio, of Giovanni’s treachery. Anna
recognizes Giovanni as the killer of her father and swears vengeance. Joined by Elvira, Anna and Ottavio confront Giovanni and vow that
justice is at hand.
ACT II
Giovanni and Leporello exchange clothes. Giovanni serenades Elvira’s maid while Leporello (as Giovanni) toys with the deluded Elvira.
Masetto, seeking revenge, is tricked and beaten by Giovanni in disguise. Leporello, still dressed as the Don, is confronted by a furious Anna,
Ottavio, Zerlina, and Masetto; he reveals his true identity and escapes. Giovanni encounters the figure of the Commendatore and scornfully
invites him to dine. The Commendatore accepts, but when he arrives, Giovanni boldly refuses to repent.
Boston lyric opera DON GIOVANNI 2015 | 9
Artists
DAVID ANGUS Conductor
Tilly Grimes Costume Designer
BLO: Kátya Kabanová, The Love Potion, Lizzie Borden,
I Puritani, The Magic Flute, The Flying Dutchman,
Clemency, Macbeth
BLO: Debut
Recent Highlights: Concerts: London Philharmonic,
Symphony Orchestra of Flanders, Pro Arte Chamber
Orchestra of Boston; Salome, Wexford Festival;
Messiah, Huddersfield Choral Society, Opera North (U.K.)
Recent Highlights: The Irish Arts Design Award
for Caligua, Twelfth Night, Present Laughter, NYU;
Oregon Shakespeare Festival; Trinity Repertory
Company; New World Stages; La MaMa; HERE Arts
Centre; guest artist and designer at Juilliard, NYU,
Trinity College Dublin; Co-Artistic Director of SavageCharm
Upcoming: La Bohème, Werther, BLO; Concerts: London Philharmonic,
Orchestra of Opera North (U.K.), Filarmonico Arturo Toscanini
Orchestra
Mark Barton Lighting Designer
BLO: Debut
EMMA GRIFFIN Stage Director
BLO: Debut
Recent Highlights: Out Cold & Zippo Songs, BAM’s
Next Wave Festival; Removable Parts (winner of
“Outstanding Performance Art Production,” NY
Innovative Theater Awards), The Cunning Little Vixen,
Les Mamelles de Tirésias, Juilliard; Wozzeck, Opera
Philadelphia/Curtis Opera Theater; Artistic Director of the OBIE Awardwinning Salt Theater: Stage Door (FringeNYC Excellence Award as Best
Director), The Cherry Orchard
Upcoming: Three Decembers, Atlanta Opera; Professor of Opera Stage
Direction, College Conservatory of Music at the University of Cincinnati
Recent Highlights: The Cunning Little Vixen, Juilliard;
Owen Wingrave, The Magic Flute, Idomeneo, Wozzeck,
The Rake’s Progress, Ainadamar, Postcard from Morocco,
La Voix Humaine, L’Ormindo, Albert Herring, Curtis
Opera Theater; Broadway: The Real Thing, Violet,
The Realistic Joneses; Off-Broadway: Roundabout; Playwrights Horizons;
Public Theater; Elevator Repair Service; Signature; Soho Rep; Theater for
a New Audience; Young Jean Lee; MCC; Target Margin; New Georges;
Clubbed Thumb; P.S. 122. Other NYC: Encores! Off-Center. Regional:
Guthrie; A.R.T.; Actor’s Theater of Louisville; La Jolla Playhouse; Yale Rep;
Perseverance; Long Wharf; South Coast Rep; Berkeley Rep; Syracuse
Stage. Obie Award for Sustained Excellence.
Upcoming: Encores! Off-Center 2015, New York City Center; John,
Signature Theater; Fondly, Colette Richland, Elevator Repair Service;
L’Occasione Fa il Ladro, Gotham Chamber Opera
Laura Jellinek Set Designer
BLO: Debut
Andrew Kenneth Moss Fight Director
Recent Highlights: Dialogues of the Carmelites,
Owen Wingrave, Opera Philadelphia; The Cunning
Little Vixen, Opera Philadelphia; Romeo et Juliette,
Palm Beach Opera; Messiah (staged), Pittsburgh
Symphony; The Cunning Little Vixen, Les Mamelles
de Tirésias, Juilliard; Ghosts, San Francisco Ballet; Buzzer, The Public
Theater; The Nether, MCC (Lortel Nomination); Small Mouth Sounds,
Ars Nova; multiple projects with Daniel Fish, The Debate Society, and
The Mad Ones. Adjunct Faculty at Tisch School of the Arts at NYU,
Graduate Department in Design for Stage and Film; 2013 Obie Award
for Sustained Excellence in Design.
BLO: I Puritani
Upcoming: Three Decembers, Atlanta Opera; Oklahoma!,
Bard Summerscape; Marjorie Prime, Playwrights Horizons
Recent Highlights: Armida, Metropolitan
Opera; Dead Man Walking, West Side Story, Carmen,
Seven Deadly Sins, Rinaldo, Oklahoma!, Show Boat,
Central City Opera; Forever Dusty, New World
Stages; SAFE, 59E59, The Edinburgh Fringe
Festival; Porgy and Bess 75th Anniversary International Tour, Dicapo
Opera Theatre; West Side Story, Adger Teater Kilden, Norway
JASON ALLEN Wig and Makeup Designer
BLO: Resident Designer since 2003
Recent Highlights: The Colored Museum, Huntington Theatre Company;
The Manchurian Candidate, Minnesota Opera; Sense and Sensibility,
The Dallas Theatre Center; La Fancuilla del West, Minnesota Opera;
Tosca, Mill City Summer Opera; Swan Lake, Boston Ballet; Awake and
Sing!, Huntington Theatre Company
Upcoming: The Marriage of Figaro, The Princeton Festival; Carmen,
Minnesota Opera; Kiss Me, Kate, Hartford Stage
10 | Boston lyric opera DON GIOVANNI 2015
Artists
KEVIN BURDETTE Bass
Leporello
STEVEN HUMES Bass
Commendatore
BLO: Death and The Loudspeaker, The Emperor of
Atlantis
BLO: First Soldier, Salomé; Second Man in Armor,
Die Zauberflöte
Recent Highlights: Stefano, The Tempest, Metropolitan
Opera (DVD by Deutsche Grammophon won 2014
Grammy Award, “Best Opera Recording”); Beck
Weathers, Everest (world premiere), Dallas Opera; Herr Puff, The
Impresario, Chamberlain, Le Rossigno, Santa Fe Opera; Respectable
Lady’s Son, The Nose, Metropolitan Opera; Soloist, Messiah, Seattle
Symphony; Dulcamara, L’Elisir d’Amore, San Diego Opera; Doktor,
Wozzeck, The Philharmonia Orchestra; Henry B. Isaacson, Oscar (world
premiere), Santa Fe Opera; Leporello, Don Giovanni, Los Angeles
Philharmonic
Recent Highlights: Alaska-Wolf Joe, double Grammywinning Mahagonny, Los Angeles Opera; Vodník,
Rusalka, Teatro Roma; Oroveso, Norma, Ramfis, Aïda,
Wurm, Luisa Miller, Bayerische Staatsoper; Rocco, Fidelio, Daland, Flying
Dutchman, Torino; König Heinrich, Lohengrin, Beijing Opera; Fafner,
Reingold, Siegfried, Bayerishe Staatsoper, Grand Théâtre de Genève;
Commendatore, Don Giovanni, Théatre des Champs Élysées; Teatro
Real, Madrid; The Bolshoi Theatre; Salzburg Festival
Upcoming: Sulpice, La Fille du Régiment, Stobrod/Blind Man, Cold
Mountain (world premiere), Santa Fe Opera; Eric Gold/The Ghost of
Vittorio Bazzetti, Great Scott (world premiere), Dallas Opera; Pirate King,
The Pirates of Penzance, Atlanta Opera
MEREDITH HANSEN Soprano
Donna AnnA
BLO: First Lady, The Magic Flute; Beatrice, The
Inspector; Frasquita, Carmen
Recent Highlights: Lady Macbeth of Mtsensk (cover),
Metropolitan Opera; Soloist, A Child of Our Time,
Choral Society of Durham; Polovtsian Maiden
(cover), Prince Igor, Woglinde (cover), Götterdämmerung, Das Rheingold,
Metropolitan Opera; Musetta, La Bohème, Cedar Rapids Opera; Soloist,
Beethoven’s Choral Fantasy, Boston Symphony Orchestra
Upcoming: Trainbearer, Elektra, Boston Symphony Orchestra
Upcoming: König Marke, Tristan, Théatre des Champs Élysées; Banco,
Macbeth, St. Gallen Switzerland; König Heinrich, Lohengrin, Royal
Opera of Copenhagen; Soloist, Joan of Arc (Honnegger), New York
Philharmonic; Dvořák, Stabat Mater, Herrenchimsee Festival, Germany
JOHN BELLEMER Tenor
Don Ottavio
BLO: Sandy/Officer, The Lighthouse; Don José,
Carmen and Carmen on the Common
Recent Highlights: Toni, Elegy for Young Lovers, Teatro
la Fenice, Teatro Arriaga; Gabriele, Cristina, Regina
di Svezia, Wexford Festival Opera; Male Chorus,
The Rape of Lucretia, Maggio Musicale; Sali, A Village Romeo and Juliet,
Wexford Festival Opera; Alfredo, La Traviata, Florida Grand Opera;
Riccardo, Maria di Rohan, Buxton Festival; Ferrando, Così Fan Tutte,
Opéra de Rouen, Opéra National de Bordeaux; Don José, Carmen,
Opera Grand Rapids
Upcoming: Evangelist, Saint Matthew Passion (James Newton’s world
premiere), Turin Jazz Festival; Lysander, A Midsummer Night’s Dream,
Hawaii Opera Theater; Carmina Burana, Teatro Regio di Torino
DUNCAN ROCK Baritone
Don Giovanni
BLO: Debut
Recent Highlights: Tarquinius, The Rape of Lucretia,
Deutsche Oper, Berlin, Glyndebourne Festival;
Marullo, Rigoletto, Royal Opera, Covent Garden;
English Clerk and Guide, Death in Venice, Teatro Réal;
Don Giovanni, Don Giovanni, Welsh National Opera; Papageno,
The Magic Flute, English National Opera; Billy Bigelow, Carousel,
Théâtre du Châtelet; Soloist, BBC Symphony Orchestra at the BBC
Proms with Sir Andrew Davis; Winner of the 2012 Chilcott Award
Upcoming: Demetrius, A Midsummer Night’s Dream, Glyndebourne
Festival; Marcello, La Bohème, Royal Opera, English National Opera;
Mountjoy, Gloriana, Teatro Réal; Billy Bigelow, Carousel, Houston
Grand Opera; Billy Budd, Billy Budd, The Bolshoi Theatre
Boston lyric opera DON GIOVANNI 2015 | 11
Boston lyric opera Orchestra
Artists
JENNIFER JOHNSON CANO Mezzo-Soprano
Donna Elvira
BLO: Debut
Recent Highlights: Finalist in 2015 International
Opera Awards; Mércedès, Carmen, Emilia, Otello,
Wellgunde, Waltraute, The Ring Cycle, Hansel, Hansel
and Gretel, Nicklausse, Les Contes d’Hoffmann, Meg
Page, Falstaff, Bersi, Andrea Chénier, Metropolitan Opera; The Sharp
Eared Fox, The Cunning Little Vixen, Cleveland Orchestra; Diana, La
Calisto, Cincinnati Opera; Soloist, Pittsburgh Symphony, Baltimore
Symphony, New York and Los Angeles Philharmonics, San Francisco
Symphony, Orchestra of St. Luke’s; 2012 Richard Tucker Career Grant
and George London Winner; member of the Met’s Lindemann Young
Artist Development Program since 2008
Upcoming: Dido, Dido & Aeneas, Opera Saratoga; Emilia, Otello,
Metropolitan Opera; Donna Elvira, Don Giovanni, Arizona Opera
CHELSEA BASLER Soprano
ZERLINA
BLO: Glasha, Kátya Kabanová; Isolt the Fair, The Love
Potion; Flora Bervoix, La Traviata; Margret Borden, Lizzie
Borden; Countess Ceprano, Rigoletto; Papagena, The
Magic Flute
Recent Highlights: Soloist, Exultate Jubilate, Atlantic
Symphony Orchestra; Recital at the National Opera Center, New York;
Josephine, HMS Pinafore, Opera Saratoga; Curley’s Wife, Of Mice and
Men, Sarasota Opera
Upcoming: Valencienne, The Merry Widow, BLO; Sara, Cold Mountain
(world premiere), Santa Fe Opera
DAVID CUSHING Bass-Baritone
MASETTO
BLO: Duke Hoël, The Love Potion; Doctor Grenville,
La Traviata; Count Monterone, Rigoletto; Sarastro,
The Magic Flute; The Bonze, Madama Butterfly;
Adolfo, The Inspector; Don Basilio, The Barber of
Seville
Recent Highlights: Tom, Un Ballo in Maschera, Boston Youth Symphony
Orchestra; The Speaker, The Magic Flute, Opera Tampa; Dulcamara,
L’Elisir d’Amore, Opera North; The Great Gatsby, Emmanuel Music; Tom,
Un Ballo in Maschera, Sparafucile, Rigoletto, Opera Tampa
VIOLIN I
Sandra Kott, Concertmaster
Colin Davis
Heidi Braun-Hill
Natalie Favaloro
Gerald Mordis
Pattison Story
Stacey Alden
Cynthia Cummings
VIOLIN II
Annie Rabbat, Principal
Jodi Hagen
Peter Hanly
Robert Curtis
Rohan Gregory
Tera Gorsett
VIOLA
Kenneth Stalberg, Principal
David Feltner
Donna Jerome
Abigail Cross
Don Krishnaswami
CELLO
Loewi Lin, Principal
Jan Pfeiffer-Rios
Melanie Dyball
Jolene Kessler
BASS
Robert Lynam, Principal
Barry Boettger
OBOE
Nancy Dimock, Principal
Lynda Jacquin
CLARINET
Jan Halloran, Principal
Steven Jackson
Bassoon
Donald Bravo, Principal
Elah Grandel
Horn
Kevin Owen, Principal
Dirk Hillyer
Trumpet
Paul Perfetti, Acting Principal
Greg Whitaker
Trombone
Robert Couture, Principal
Hans Bohn
David Hagee
Timpani
Jeffrey Fischer, Principal
FortePiano
Brett Hodgdon
Mandolin
Gerald Mordis
FLUTE
Linda Toote, Principal
Iva Milch
Boston lyric opera Chorus
Michelle Alexander, Chorusmaster
Soprano
Maggie Finnegan
Eunhee Kang
Dana Lynne Varga
ALTO
Heather Gallagher
Lee Sullivan
Vera Savage
Upcoming: Sir Tristram, Martha, Boston Midsummer Opera; Leporello,
Don Giovanni, Opera Tampa
TENOR
Stefan Barner
Frank Levar
Chris Maher
Thomas Oesterling
Brad Raymond
BASS
Ryne Cherry
Jeremy Collier
Carlton Doctor
Ian Pomerantz
Ron Williams
SUPERNUMERARIES
Sean Paul Cormier, Kathryn DePaola, Paulo Lapa
12 | Boston lyric opera DON GIOVANNI 2015
BLO’s Version of Mozart’s Don Giovanni
by Magda Romanska, Ph.D., Boston Lyric Opera Dramaturg
D
uring preparations for the Prague premiere of Don
Giovanni in October of 1787, Mozart was, as ever, heavily
involved with all aspects of the production, from the music
and the staging to writing the libretto. In fact, he continued
writing and rewriting until the opening and even after. The second
production, in Vienna, which opened in May of 1788, included many
changes in the libretto and score. First, Mozart added two new arias;
second, but more importantly, he made a number of cuts in the Finale,
eliminating repetitive lines by the Commendatore and Don Giovanni
and cutting the final epilogue, in which the couples discuss their postDon Giovanni plans for the future. Thus, the Viennese version ended
with the grand scene of condemnation — Don Giovanni disappearing
into the pit of fire, carried away by demons. Mozart believed such an
ending was more powerful because it culminated with the terrifying
vision of Hell and condemnation, leaving the audience in a state of
awe and horror. As Don Giovanni’s story concluded, there was no
need to bring back the couples for the epilogue.
In BLO’s version, we are honoring Mozart’s revisions of the opera
by cutting the final epilogue and tightening the libretto for more
intense dramatic effect. Thanks to these cuts, we are able to execute
the classic (and neo-classical) vision of the opera’s dramatic structure,
ascribing to the Greek rule of the three unities: time, space, and action.
Our version of the opera takes place within 24 hours, in Don Giovanni’s
home, following all of the characters in one continuous swoop, part
cinéma verité and part ensemble piece. Our Don Giovanni is a man of
means, and his house parties, as claustrophobic as they can get, serve
as a way for high society to interact, entertain, and destroy each other.
With his wealth and charisma, the Don wields the power of the house
master, moving his guests, both men and women, like chess pieces on
the board. This fishbowl setting emphasizes the divide between the
public world of social and moral rules that govern men and women’s
sexuality and the private world of bedrooms, where official boundaries
are tested and transgressed. Dramatically, the opera follows Thomas
Hobbes’ vision of the boudoir as a battlefield, with man (the rake, the
libertine) pursuing woman (the fortress of virtue and temptation) until
she’s conquered.
By tightening the libretto (as Mozart intended with his Vienna
revisions) and staging the opera within the neo-classical model
of the three unities (as was customary in Mozart’s Age of
Enlightenment), we are able to solve a number of structural problems,
while heightening the dramatic tensions and emotional impact of the
opera. And by focusing on the ensemble, we create a world of power
and sexuality that is as alluring and seductive as it is dangerous and
destructive.
Boston lyric opera DON GIOVANNI 2015 | 13
Production staff
ACKNOWLEDGMENTS
Chelsea Antrim Production Stage Manager
Rachel S. Arditi Assistant Stage Manager
Lauren Wong Assistant Stage Manager
Anderson Nunnelley Production Assistant
Jeremy Smith Head Production Carpenter
Bryan Salmon First Assistant Production Carpenter
Joseph St. Croix Second Assistant Production Carpenter
B. Alix Lopes Head Production Electrician
Jenny Ciaffone First Assistant Production Electrician
Mike Condon First Assistant Production Electrician
Justin Brady Second Assistant Production Electrician
Patrick Glynn Head of Production Properties
Emily Picot Second Assistant of Production Properties
James R. McCartney Head of Production Audio
Dianna Reardon Wardrobe Supervisor
Gail Astrid Buckley Costume Supervisor
Lynn Jeffery Costume Supervisor
Patricia Torpey Properties Supervisor
Bailey Costa Assistant Lighting Designer
Aja Jackson Lighting Intern
Dane Palmer Technical Assistant
Rachel Padula-Shufelt Wig-Makeup Artist
Susie Moncousky Wig-Makeup Artist
Kelley Rourke Surtitle Designer
Allison Voth Surtitle Operator
Kate Ellingson Music Librarian
Maynard Goldman Orchestra Personnel Manager
Boston Lyric Opera extends its gratitude to the following individuals
and organizations for their extraordinary courtesy in making our
productions possible:
The Artists and Stage Managers employed on this production are
members of the American Guild of Musical Artists. All musicians are
members of the American Federation of Musicians of the United States
and Canada.
The scenic, costume, and lighting designers are members of United
Scenic Artists, Local USA-829 of the IATSE. Stagehands are represented
by Local #11 of the International Alliance of Theatrical Stage Employees.
Boston Lyric Opera is a member of OPERA America, the national
service organization for opera in the U.S. and Canada.
Acentech, Inc. | Carl Rosenberg
Advanced Lighting and Production Services | Jim DeVeer
AKA
Alexander Aronson Finning
Susan Bennett, M.D., Company Physician Consultant
Associate Physician, Massachusetts General Hospital
Boston Business Printing
Boston Center for Adult Education
Beacon Hill Seminars
Boston Public Library
Catherine Truman Architects | Catherine Truman
Citi Performing Arts CenterSM
Constangy, Brooks, Smith & Prophete, LLP |
Andrew Eisenberg and Will Krasnow
Costume Works, Inc. | Liz Perlman
Denka Trucking | Dick Butler
Lance A. Douglas
Elderhostel, Inc./Road Scholar
Eric Antoniou Photography
Four Seasons, Boston
Goodman Media International, Inc.
Mark Howard
IATSE Local #11 JACET | Colleen Glynn
IRN Internet Services | Jay Williston
Leapfrog Arts | Melissa Wagner-O’Malley
Massachusetts Bay Transportation Authority
Museum of Fine Arts, Boston
Myles Standish Business Condominiums
NEPS
Primary Freight
Production Advantage
ProPrint Boston
Quality Graphics, Inc.
The Revere Hotal
Ryder Transportation | Scott Berry
Robert Silman Associates | Robert Silman and Michael Auren
Santander
Starburst Printing
Somerville Theatre
Mia Tavan
Tessitura
United Staging & Rigging | Eric Frishman
WGBH/WCRB
Wheelock Family Theatre
Winston Flowers
Scenery constructed by American Repertory Theatre and BLO
Lighting Equipment provided by Advanced Lighting &
Production Services, Inc.
Costumes supervised by Costume Works, Inc., Somerville, MA
14 | Boston lyric opera DON GIOVANNI 2015
PERFORMANCE
& VENUE INFORMATION
Boston lyric opera Staff
Esther Nelson Stanford Calderwood General
& Artistic Director
David Angus Music Director
John Conklin Artistic Advisor
Artistic
Nicholas G. Russell Director of Artistic
Operations
Jennifer Feldman Artistic Coordinator
Nancy McDonald Artistic Associate
Production
Bradley Vernatter Director of Production
Anna B. Labykina Technical Director
Jessica Johnson Production Administrator
Julia Noulin-Mérat Associate Producer
Magda Romanska Dramaturg
FINANCE AND ADMINISTRATION
Karen Frost Director of Finance and
Administration
Kristin Dwyer Executive Assistant to the
General & Artistic Director
David J. Cullen Accounting Manager
Reingard Heller Finance Manager
Juan Rodriguez Office Associate
PATRON RELATIONS
Eileen Nugent Williston Director of Institutional
Advancement
Riley Cameron Institutional Advancement
Assistant
Sarah B. Blume Director of Major Gifts
Cathy Emmons Director of Institutional Gifts
Danielle Schmidt Special Events Manager
Annalise Baird Patron Services Coordinator
Erica Leung Audience Services Manager
Rebecca Kittredge Audience Services Coordinator
Goodman Media International, Inc.
Public Relations
Elizabeth Mullins Manager of Education Programs
Lacey Upton Manager of Community Programs
Brendan Buckley Resident Teaching Artist
Heather Gallagher Resident Teaching Artist
Andrew J. Moreau Analytics and Project Manager
Robin Schweikart Database Administrator
Vanessa Wheeler Research and Database
Coordinator
INTERNS
Queenie Fang
Océanne Fry
Paige Revens
Michael Szeto
VOLUNTEER CORPS
Sharon Barry
Lynn Bregman
Jane Cammack
Stephen Chan
Ashley Chang
Jeannie Ackerman Curhan
Ann D’Angelo
Karla De Greef
Jaclyn Dentino
Marsha de Poo
Mary DePoto
Frances Driscoll
Marian Ead
Susan Eastman
Hugh Fitzgerald
Audley Fuller
Ralph Gioncardi
Mencken Graham
Bruce Houston
Eva Karger
Milling Kinard
Jo Anna Klein
Nicholas Kopp
Esther Lable
Melissa Lanouette
Nancy Lynn
Domenico Mastrototaro
Terri Mazzulli
Diane McGary
Patti McGovern
Anne McGuire
Amy Molloy
Meg Morton
Katherine Nash
Kameel Nasr
Gail Neff
Amy O’Connell
Meghan O’Connor
Cosmo Papa
Jane Papa
Barbara Papesch
Elizabeth Sarafian
Jutta Scott
Alexandra Sherman
Barbara Trachtenberg
Jessica Tybursky
Amy Walba
Gerry Weisenberg
Debbie Wiess
Beverly Wiggins
Alfred Williams
Joe Williams
Lynn Williams
Sybil Williams
Late Seating
At the request of our patrons, Boston Lyric Opera
observes the national opera standard of a no-late
seating policy. While we understand that traffic
conditions, public transportation, weather, and other
factors can have unexpected effects on your arrival,
we wish to minimize disruptions for our seated
patrons and for our artists on stage. Latecomers will
be asked to wait in the lobby until the earliest possible
break in the performance, which in some cases may
be intermission. Should you arrive late, the Company
provides a video monitor in the lobby where you may
view the performance until you are seated.
As a courtesy to the artists and for the comfort of
those around you, please turn off all mobile phones,
pagers, watch alarms, and any other device with
audible signals prior to the start of the performance.
Patrons who leave the theatre during the performance may not be seated again until intermission.
The use of cameras or recording devices
in the theatre is strictly prohibited.
In consideration of Boston Lyric Opera patrons,
children under six will not be admitted.
Citi Performing Arts Center℠ Shubert Theatre is
not entirely wheelchair-accessible. For patrons with
disabilities, wheelchair-accessible and companion
seating, as well as removable-arm chairs, are available
in a variety of locations and prices on the Orchestra
level. There is no elevator in the Shubert Theatre;
staircases are available for access to the Mezzanine
and Balcony level seating areas. A wheelchair-accessible restroom and concession station are located off
the main lobby. A wheelchair-accessible telephone is
located in the box office lobby. The Shubert Theatre
is equipped with an FM assistive listening device
for patrons with hearing impairments; headsets are
available free of charge at the Head Usher’s desk. A
pay-TTY device for deaf patrons is located in the box
office lobby. Patrons requiring assistance should contact Citi Performing Arts Center℠ in advance of their
visit. Please call 617.482.9393 or (TTY) 617.482.5757.
Patrons who are deaf are encouraged to use the
Massachusetts Relay Service at 800.439.2370 for
purchasing tickets to BLO productions. Please direct
inquiries and requests for ADA guidelines to: Access
Services Administrator, Citi Performing Arts Center℠,
270 Tremont St., Boston, MA 02116.
TICKET INFORMATION
For information on Boston Lyric Opera productions, subscriptions and tickets, visit blo.org, call
BLO Audience Services at 617.542.6772, or visit
the Shubert Theatre box office, open Tuesday
through Saturday, noon to 6:00 p.m., also available by telephone at 866.348.9738 or (TTY)
888.889.8587.
CROSSING
A NEW AMERICAN OPERA
MAY 26–JUNE 6
SHUBERT THEATRE
IN
THE MOOD
A 1940S MUSICAL REVUE
MAY 12–24
EMERSON COLONIAL THEATRE
ZOLTÁN
MÁGA
FROM BUDAPEST WITH LOVE
OCTOBER 26
SHUBERT THEATRE
ELF THE BROADWAY
MUSICAL
NOVEMBER 17–DECEMBER 6
WANG THEATRE
RUDOLPH THE REDNOSED
REINDEER
THE MUSICAL
DECEMBER 1–6
SHUBERT THEATRE
ONCE
DECEMBER 8–27
SHUBERT THEATRE
LOVE
LETTERS
STARRING ALI MACGRAW
AND RYAN O’NEAL
From the creative mind of artistic producer
DEKE SHARON ( Pitch Perfect, The Sing-Off ) comes
the all-new live concert event that takes
a cappella to a whole new level!
FEBRUARY 2–7
SHUBERT THEATRE
VOCALOSITY
THE ACA-PERFECT
CONCERT EXPERIENCE
FEBRUARY 16
SHUBERT THEATRE
CAN’T DECIDE?
Wang Theatre • Shubert Theatre • Emerson Colonial Theatre
Your gift card. Your choice.
CITI CENTER GIFT
CARDS ARE THE
PERFECT GIFT FOR
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take a moment to view the
emergency exit locations on
each floor.
Orchestra
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16 | Boston lyric opera DON GIOVANNI 2015
Mezzanine
Balcony
PHOTO BY FRANK OCKENFELS | ORIGINAL BROADWAY CAST
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DECEMBER 8–27 AT CITI SHUBERT THEATRE
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CITI PERFORMING ARTS CENTER
IS MORE THAN THE WORLD-CLASS
CONCERTS AND THEATRICAL
PERFORMANCES ON STAGE
In addition to the performance you are
about to see, we provide arts education
to our city’s youth, present the bi-annual
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large, and preserve the majesty of our
historic theatres! But we cannot do it
without your support.
Become a member of our Entourage
and enjoy a 100% tax-deduction and
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MAKE A GIFT TODAY!
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Citi opera
Performing Arts
Center
is a 501(c) (3) institution.
Boston lyric
DON
GIOVANNI
2015 | 17
Individual donors
We are honored to recognize our donors who generously support the mission of Boston Lyric Opera to build curiosity, enthusiasm, and support for opera by
creating musically and theatrically compelling productions, events, and educational resources for our community and beyond. We are deeply grateful for the
following contributions made to Boston Lyric Opera between April 1, 2014 and April 1, 2015.
Crescendo ($100,000 and above)
Anonymous (2)
Jane and Steven Akin*†
Barr Foundation
Linda Cabot Black*†§
Willa and Taylor Bodman*†
Miguel and Suki de Bragança*†
The Calderwood Charitable Foundation
Jody and Tom Gill*†
Horace H. Irvine II*†§
The Klarman Family Foundation
Mr. and Mrs. Jeffrey Marshall*†
Ms. Abigail Mason*†§
Paul and Sandra Montrone
Mr. and Mrs. E. Lee Perry*†
David and Marie Louise Scudder*†§
Wendy Shattuck and Samuel Plimpton*
Wallace Minot Leonard Foundation
Mr. and Mrs. Ray Stata*†
Lynn Dale and Frank Wisneski*
Fioritura ($66,666 to $99,999)
Fay Chandler†‡
Wayne Davis and Ann Merrifield*†
Alan and Lisa Dynner*†§
Mattina R. Proctor Foundation
Susan and Dennis Shapiro*
Vivace ($33,333 to $66,665)
Anonymous
Ms. Ann Beha and Mr. Robert A. Radloff*†
Nonnie and Rick Burnes*§
Gerard and Sherryl Cohen
Mr. John Conklin
Alicia Cooney*†§
Robert and Susan Eastman*†§
Susan W. Jacobs*
Maria Krokidas and Bruce Bullen*†
Pamela S. Kunkemueller*§
Massachusetts Cultural Council
National Endowment for the Arts
Mr. and Mrs. Neil Pappalardo*
William and Helen Pounds*
Mr. and Mrs. Michael Puzo*†
Springstep Inc.
Dr. Christopher Tadgell and Lady Juliet Tadgell*
Faith and Joseph W. Tiberio Foundation
Presto ($25,000 to $33,332)
Anonymous
Dorothy and David Arnold§
Timothy and Rebecca Blodgett
Mr. and Mrs. Thomas Blumenthal
Katie and Paul Buttenwieser
Ted Cutler
Karen Johansen and Gardner Hendrie
Mimi and Roger Hewlett*§
Mr. and Mrs. Amos B. Hostetter, Jr.
Cerise Lim Jacobs, for Charles
Ellen and Robert Kaplan*†§
Butler and Lois Lampson*
Mr. David Shukis*†
Larry and Beverly St. Clair*†
Ms. Tania Zouikin*
Dr. Joseph and Mrs. Anita Loscalzo*†
Dr. Maura McGrane
Esther Nelson and Bernd Ulken
Mr. and Mrs. George Sakellaris
Susan A. Babson Opera Fund for Emerging Artists
The Orfeo Society and Friends of BLO make up
BLO’s core community of supporters. Members
share a passion for opera and receive exclusive
access to a range of benefits that enrich the
operatic experience. BLO gratefully acknowledges
their generous support.
This list includes gifts and pledges made to
the Annual Fund, restricted funds, and event
sponsorships through April 1, 2015.
For more information or to become a member
of the Orfeo Society or Friends of BLO, please
call Sarah Blume at 617.542.4912 x228.
Con Brio ($15,000 to $24,999)
BPS Arts Expansion Fund at EdVestors
Dr. and Mrs. Eric and Elaine Bucher†
Mr. and Mrs. John Cabot
Mr. and Mrs. Timothy and Jessica Donohue*
Harold Alfond Foundation, in honor of Steve Akin
Tom and Anneliese Henderson*
Ms. Amelia Katzen*†
MEDITECH
Anne M. Morgan
Mr. and Mrs. Richard Olney III†
Janet and Irv Plotkin*†
John and Susanne Potts*†
Rona and Arthur Rosenbaum
Allison K. Ryder and David B. Jones*†
Gregory E. Moore and Wynne W. Szeto*
Mr. and Mrs. Wat Tyler*
Sandra A. Urie and Frank F. Herron*
Allegro ($10,000 to $14,999)
Anonymous
Sam and Nancy Altschuler
Boston Private Bank & Trust Company
Ms. Ellen Cabot*
Mr. and Mrs. Thomas D. Cabot, Jr.
Cabot Family Charitable Trust
The Catered Affair
Dr. Charles Dickinson and Ms. JoAnne Dickinson*
Mr. Len Davenport
Esther B. Kahn Charitable Foundation
Frank Reed & Margaret Jane Peters Memorial Fund I, Bank of America, N.A., Trustee
Mr. Kenneth Freed*
Catherine and Frederick Grein*§
Nick and Marjorie Greville
Emily C. Hood
Mr. and Mrs. William T. Kennedy
Stephen and Lois Kunian*
Karen Levy
Joe and Pam LoDato*†§
18 | Boston lyric opera DON GIOVANNI 2015
Adagio ($5,000 to $9,999)
Anonymous (5)
Advanced Lighting & Production Services, Inc.
Ann and Gordon Getty Foundation
Bank of New York - Mellon
Be Our Guest
Dr. Peggy and Edward Bell*
Bessie Pappas Charitable Foundation, Inc.
Ms. Deb Taylor Blair*
Mrs. Edmund Cabot
Judge and Mrs. Levin H. Campbell
Citi Performing Arts CenterSM
Ms. Elizabeth Coleman
Mr. David Cole-Rous and Ms. Norma Greenberg§
Corning Incorporated Foundation
Dr. and Mrs. Richard J. de Asla*
Mr. Edwin Firestone
Firestone and Parson Jewelers
William C. and Joyce K. Fletcher
Mr. and Mrs. Don and Pat Hillman
Mr. and Mrs. Charles Hood
Amy Hunter and Steven Maguire*§
Mr. William Hunter*
Ms. Louise Johnson*
Ms. Christine Letts
Andrew Sherman and Russ Lopez*
Ms. M. Lynne Markus*§
Judith K. Marquis and Keith F. Nelson
Mr. and Mrs. Tom and Elena Matlack
Ms. Faith Moore
Ms. Sandra Moose
Mary and Sherif Nada†§
Shari and Christopher Noe*
Mr. and Mrs. John O'Brien
Dr. Kurt D. Gress and Mr. Samuel Y. Parkinson*
William and Lia Poorvu
Robert and Elizabeth Pozen
Suzanne and Peter Read
Mr. and Mrs. John Remondi
Rusty Rolland & The Schick Foundation†
Santander
Mr. Jonathan F. Saxton*
John H. Deknatel and Carol M. Taylor
Dr. Robert Walsh and Lydia Kenton Walsh*
Peter Wender*§
Drs. Bertram and Laima Zarins*
Grazioso ($3,000 to $4,999)
Anonymous
Mr. Frederic Alper and Donna Mager
Charles and Christina Bascom
Mr. Martin S. Berman
Annabelle and Benjamin Bierbaum
Carolyn Bitetti and Chris Donnelly
Ronald and Ellen Brown
Mr. and Mrs. Lewis Cabot
Ms. Jane Carr and Mr. Andrew Hertig
Mr. and Mrs. Linzee Coolidge
Dr. Nicholas J. DiMauro
Ms. Winifred F. Ewing
Mr. and Mrs. Ron Feinstein
Mr. and Mrs. Tim and Lisa Fulham
Dr. Alfred Goldberg and
Dr. Joan Goldberg
Ron and Kathy Groves
Mr. Joseph Hammer
Mr. and Mrs. Morton Hoffman†
Dr. Maydee G. Lande,
in memory of her father
Mr. Edward J. Leary†
Mr. and Mrs. David S. McCue
D. Cosmo and Jane P. Papa*
Dr. Douglas Reeves and
Amy Feind Reeves
Stephen and Geraldine Ricci
Elizabeth Ross and William O'Reilly
Dr. Jordan S. Ruboy Charitable Fund §‡
Tee Taggart and Jack Turner
Takeda Employee Giving Program
Mr. Richard Trant
Jeannie Ackerman Curhan and
Joseph C. Williams
Winston Flowers Inc.
Bravissimo ($2,000 to $2,999)
Anonymous
Anchor Capital Advisors
Boston Cultural Council
Mr. and Mrs. John Bradley
Cabot Corporation
David J. Chavolla, in honor of
Pamela Kunkemueller
Mr. Arthur Clarke
John F. Cogan, Jr. and Mary L. Cornille
Marjorie B. and Martin Cohn
Nancy and Laury Coolidge
Jonathan and Margot Davis
Eli Lilly and Company Foundation, Inc.
Kathryn G. Freed
Mr. James Geraghty
Ms. Elizabeth Gorman and
Mr. Mark Kritzman
Mr. Matthew Hurley
Eva R. Karger§
Pam Lassiter
Mark and Caroline Murphy
OPERA America
Mr. Winfield Perry, in memory of
Shirley and Kenneth Perry
Dr. and Mrs. John William Poduska, Sr.
Dr. and Mrs. Edward Roberts
Mr. Max Russell
Mr. and Mrs. Maximilian Steinmann
Encore ($1,000 to $1,999)
The Acorn Foundation
Ms. Nancy W. Adams and
Mr. Scott A. Schoen,
in honor of Lynn Dale
John and Rosemary Ashby
Sarah E. Ashby
AV Presentations
Mr. and Mrs. David Bakalar
Mr. John Barstow and Ms. Eugenia Ware
Michael Barza and Judith Robinson
Mr. and Mrs. Hugh Bennett
Drs. Susan E. Bennett and Gerald B. Pier
Eric and Trimble Augur Bluman
Dorothy and Hale Bradt
Veronika and Bert Breer
John and Irene Briedis
Dr. Peter Campisano
Harold Carroll
Chris and Lynne Chiodo
Rachel and Thomas Claflin
Mr. John Cornish
Mr. Fred Daum
Mr. Len Davenport
Wendy Driscoll and Thomas Driscoll
Mr. Frazor Edmondson
Andrew L. Eisenberg*
Mr. Peter C. Erichsen
Elizabeth and Stephen Fantone
Dr. and Mrs. Lawrence Franko
Mr. and Mrs. Dozier Gardner
Charles and Merrill Gottesman
The Guttag Family Foundation
Mr. and Mrs. Richard Hamilton
Arthur and Eloise Hodges
Holly and Bruce Johnstone
Ms. Elizabeth Kastner
Kevin and Kimberly Kavanaugh
Mr. Stephen Kidder
Milling Kinard
Mr. Dan Kramer
Yuriko Kuwabara and Sunny Dzik
William B. Lawrence III†
Richard and Mary Jane Lewontin
Ms. Amy Merrill
Mr. Benedict Miceli
Mr. Clint Moon
Bill Nigreen and Kathleen McDermott§
The Netherland-America Foundation
Paul and Elaine O'Connell
Barbara Goodwin Papesch,
in honor of Sarah Blume
The Honorable and Mrs. Lawrence Perera
Mr. and Mrs. Richard S. Perkins, Jr.
Finley and Patricia Perry
Pamela E. Pinsky Memorial at the
Silicon Valley Community Foundation‡
Mr. and Mrs. Patrick and Ute Prevost
Melinda and James Rabb
Mr. Malcolm Rogers
Mr. Carl Rosenberg*
Donald and Abby Rosenfeld
Ms. Diane Rotenberg
Robert and Dianne Rottenberg
Nicholas G. Russell
John and Ruth Schey
Dr. and Mrs. R. Michael Scott
Mr. and Mrs. Jeremiah Shafir
Mr. John Spooner
Mr. and Mrs. Peter Stanton
Edward H. Tate II
The Donald Taylor Family Foundation
Mike and Susie Thonis
Ms. Antra Thrasher
Leonce Welt and Michele Buchbauer
Mr. Mark White
Temple Gill and Christopher Yens
Ensemble ($500 to $999)
Anonymous
Shoma Aditya and Constantin von Wentzel
Mr. Mark Alcaide
Elizabeth Barker*
Mr. and Mrs. Douglas Benjamin
Leonard and Jane Bernstein
Ms. Sarah Biller
Ms. Sophie Cabot Black
Ms. Joan Bok
Mr. and Mrs. Kenyon C. Bolton III
Ms. Sally T. Brewster
Pam and Lee Bromberg
Mr. Thomas Burger
John and Kathleen Cabot
Timothy and Sara Cabot
Mr. and Mrs. John Conley
Mr. Eugene Cox
Rita and George Cuker
Mr. and Mrs. Joseph and Wendy Czarnecki
Gene and Lloyd Dahmen
Dr. Amos Deinard
Mr. James DeVeer
Soren and Carlyn Marcus Ekstrom
Mr. Daniel Ford
Mr. Lee Forker
Mr. Edward N. Gadsby
Ms. Sonchu Gavell
GE Foundation
Mr. Joseph Glenmullen*
Dr. David Golan and Dr. Laura Green
Luba Greenwood
Mr. Stephen Grubaugh and
Ms. Carol McGeehan
Anne and Neil Harper
Bette Ann Harris
Mr. Joseph M. Herlihy
Mr. and Mrs. Thomas High
Mr. John M. Hills
Mr. Roger Hinman
Mr. Ted and the Rev. Cannon
Cynthia P. Hubbard
Doris and Howard Hunter
Miss Sally Hurlbut
Elizabeth V. Foote and
Howell E. Jackson
Mr. Doug Johnston and
Ms. Susan Fagerstrom
Mr. and Mrs. Eric Lerner
Michael and Dora Lewin
Mr. and Mrs. Carl and Karin Lieberman
Mr. JR Lowry
Mr. Anthony S. Lucas
Mr. Tod Machover
Peter and Betsy Madsen
Robert Patterson and
Jane Manopoli Patterson
Ms. Trish Marinilli
Dr. Harold Michlewitz &
Ms. Dina Celeste Marshall
Dr. and Mrs. Nicholas Mastroianni
Margaret McDormand, in memory
of Anna Elizabeth McDormand
Tim and Dell Mitchell
Melissa and David Norton
Robert and Carolyn Osteen
The Pannell Family Charitable Fund
Mr. Eugene Papa
Eric and Jane Philippi
Jim and Jeannette Post
Mr. and Mrs. E. Ricardo Quinones
Mrs. Adrienne Rabkin
Peter and Sheila Rawson
James Edward Reulbach
Clay and Emily Rives
Simon Rosenthal and Nouri Newman
Dr. and Mrs. Stefan Schatzki
Mr. Robert and Ms. Natalie Schlundt
Drs. John and Elizabeth Serrage
Sayre Sheldon and Eldridge Morgan
Gess Donor Fund
Mr. Chip Storey
Mr. Andrew Szentgyorgyi
Mr. Wheeler Thackston
Mr. and Mrs. Ian Tjornhom
Michael and Helen Tomich
Mr. Nicholas Tranquillo
UBS Financial Services, Inc.
Mrs. David Vogler
Tarlton Watkins and Janet Atkins
Ms. Mary Wolfson
Aria ($250 to $499)
Anonymous (6)
Susan Alexander and Jim Gammill,
in honor of Susan Howe
Mr. Peter Ambler and Ms. Lindsay Miller
Mr. Mark Anderson
Ms. Alison Arshad
Mr. Bernard Aserkoff
Ms. Kim Barba
Marc and Carol Bard
Mr. and Mrs. Paul Barringer
Ms. Enid Beal
John and Molly Beard
Dr. and Mrs. Martin Becker
Elaine Beilin and Robert Brown
John Belchers
Mr. Clark Bernard
Mr. Andrew Binns
Ms. Elizabeth Bjorkman
Dr. Paul Bleicher and Dr. Julia Greenstein
Dr. Roger Boshes
Ms. Christine Bradt
Mr. Rich Calame
Ms. Sarah Carleton
Mr. and Mrs. Chris Carrigan
Ms. Mary Chamberlain
Ms. Mei Po Cheung
Patricia Comeau and John Adams
The Commonwealth Fund
Paul Cravedi
James F. Crowley, Jr.
Mr. Paul Curtis
Deborah L. Cushing
Mr. Terry O. Decima
Ms. Margaret DePopolo
Ms. Pauline Dessertine
Mr. Mark Donohoe
Willis and Zach Durant-Emmons
eBay Inc. Foundation
Marie-Pierre and Michael Ellman
Bill and Susan Elsbree
Louis Esposito
Jack Fabiano and Noel McCoy
Ms. Sally Fay Cottingham
Mr. Fabien Fieschi
Michael S. Flier and David E. Trueblood
Katherine and Richard Floyd
Mr. Julio Frenk
Mr. David Friend and Ms. Margaret Shepherd
Robert and Kathleen Garner
Mr. Tim Garrison
Mr. Clayton Geiger
Mr. David Glen
Mr. John B. Glore
Dr. Philip L. Goldsmith and Melissa Boshco
Mr. Eric Green
Ms. Sandra Steele and Mr. Paul Greenfield
Ms. Ghislaine Grenier
Ms. Joan P. Gulovsen
Mr. Kurt Hakansson
Mr. and Mrs. James J. Harper
Ms. Sue Harrington
Dr. and Mrs. Peyton R. Harris
Boston lyric opera DON GIOVANNI 2015 | 19
Mr. Harvey Hayashi
Ms. Jasjit Heckathorn
Dr. and Mrs. Bernhard Heersink
Mr. and Mrs. John Henn
Richard Hermon-Taylor and Southie Bundy
Pauline Ho Bynum
Fred and Caroline Hoppin
Mr. Thomas Hotaling
Ms. Maisie Houghton
Ms. Janet Isenberg
Dr. and Mrs. Steven E. Janko
Ms. Ann Johnson
Ms. Elizabeth Karpati
Khaled Khalil
Mr. Robert Kiely
Mr. Richard Kimball
Dr. Lester Kobzik
Jonathan and Deborah Kolb
Dr. David Korn
Mary Jane Kornacki
Mr. and Mrs. Brian Lyson
Mr. Jackson Madnick
Mr. and Mrs. Stuart E. Madnick
Mr. Domenico Mastrototaro§
Mr. James M. McCloy
Mary and Michael McConnell
Mr. and Mrs. Kilmer McCully
Ms. Carol McKeen and Mr. John Dunton
Mr. and Mrs. Don McLagan
Kate Meany
Ms. Karen Metcalf
Dr. and Mrs. Douglas Moore
Toni and Jeff Musser
Mr. Kameel Nasr
Mr. and Mrs. Geoffrey Nunes
Mr. Justin O'Connell and
Ms. Danielle Sheer
Ms. Suzanne Ogden and
Mr. Peter Rogers
Mr. Richard Ortner
Mr. and Mrs. David Parker
David and Beth Pendery
Ms. Anne Peretz
Mr. and Mrs. Jonathan and Lois Pond
Gerald Powers
Ms. Florence Poy
David and Joan Preston
Mr. Jack Reynolds
Mr. Evan Ricker and Ms. Mara Bonde
Mr. Allan Rodgers
Donald and Nancy Rosenfield
Mark and Lori Roux
David and Jocelyn Sand
Aviva Sapers and Judith Sydney
Ms. Diane Savarese
Michael Schwartz,
in honor of Amelia Katzen
Mr. and Mrs. John Sculley
Mr. Javier Segovia
Stephen and Peg Senturia
Varda and Dr. Israel Shaked
Robert V. Sillars and
Mildred G. Worthington
Mr. Richard W. Smith
Mr. Paul Snider
Diane Young-Spitzer and
Adelbert Spitzer
Mr. Harold Stahler
Ms. Joan Suit
Marcos and Faith Szydlo
John and Mary Tarvin
Abigail Ostow and Arthur Telegen
Diane C. Tillotson
Mr. Konstantin Tyurin and Ms. Kirstin Ilse
Eric Ulken
Mr. Anton Vrame
Mr. Joe Weber
Linda and Harvey Weiner
Ms. Ruth Wells
The Whitley-Singer Family, in memory
of Kevin Gustavson
Ms. Ashley Wisneski and William Heward
Mr. Stephen Wohler
Mr. and Mrs. Robert Wulff
Mr. Evan Xenakis
Joan and Michael Yogg
Albert and Judith Zabin
Norma and Gunars Zagars
Cheryl and Mark Zarrillo
Dr. and Mrs. Jeffrey Zilberfarb
Board Member
*
Lyric Circle Member
†
Goldovsky Society Member
§
Deceased‡
Institutional partners
Boston Lyric Opera’s programs are funded, in part, by a grant from the
Massachusetts Cultural Council, a state agency.
A SEASON OPENING CELEBRATION
Friday, October 2, 2015
Boston Lyric Opera recognizes
with gratitude those donors
committed to supporting our
Emerging Artists throughout
the Season.
Willa and Taylor Bodman
Robert and Susan Eastman
Rona and Arthur Rosenbaum
Save the Date! Join BLO as we launch our Season of high
passion with the premiere of an electrifying new production of
Puccini’s poetic masterpiece, La Bohème, reimagined against the
backdrop of the 1968 Paris student revolution. Inspired by the films of
the French New Wave, particularly those of Jean-Luc Godard, this
theatrically and musically-vivid new production transforms Puccini’s
classic characters from bohemians to “The Children of Marx and
Coca Cola,” and transports them to an adrenaline-driven Paris,
fueled by sexual liberation, intense passion, and burning idealism.
The performance is preceded by a grand, pre-opera dinner
celebration at the Citi Performing Arts CenterSM Wang Theatre
and followed by a sparkling after-party with the cast.
The Opera Gala supports Boston Lyric Opera and its work with
Emerging Artists.
For additional details visit blo.org/gala or
facebook.com/bostonlyricopera or contact
Danielle Schmidt, Events Manager, at
617.542.4912 x229 or dschmidt@blo.org
Season ad to come