the two foscari cinderella - la opera · cinderella (la cenerentola) libretto by the jacopo...

The Two Foscari(I Due Foscari)GIUSEPPE VERDI

September 15 – October 9, 2012

October 1, 2012, at Segerstrom Center for the Arts

Conlon, Strassberger, Knight, Ullrich, Poet;

Domingo, Meli, Poplavskaya, Orlov, Cox, Bliss

Production made possible by a generous gift from the Milan Panic Family.

Special additional funding from Barbara Augusta Teichert.

Don GiovanniWOLFGANG AMADEUS MOZART

September 22 – October 14, 2012

Conlon/Domingo, Stein/Fortner, Wögerbauer, Bickel, Schuler,

Hickey; D’Arcangelo, Bizic, Di Giacomo/Meade, Isokoski,

Constantinescu/Oeste, Dunaev, Bloom, Orlov

Production made possible by generous gifts from The Carol and Warner Henry Production Fund for Mozart Operas and Marilyn Ziering.

Special additional funding from Mark Dalzell and Leslie and John Dorman.

Madame ButterflyGIACOMO PUCCINI

November 17 – December 9, 2012

Gershon, Daniels, Yeargan, Strawbridge; Dyka, Jovanovich, Kitic,

Owens, Rosel, Szkafarowsky, Kim

Production made possible by generous gifts from Brindell Roberts Gottlieb and Eva and Marc Stern, in honor of Stephen Rountree and his extraordinary leadership of LA Opera.

Renée Fleming and Susan Graham in RecitalJanuary 19, 2013, at Walt Disney Concert Hall

Presented in partnership with the Los Angeles Philharmonic.

The Flying Dutchman(Der fliegende Holländer)RICHARD WAGNER

March 9 – 30, 2013

Conlon, Lehnhoff/Dooner, Bauer, Schmidt-Futterer, Schuler,

Sayers; Tómasson, Makerov/Matos, Bix, Creswell, Plenk, Miller

Production made possible by a generous gift from The Pacific Theaters Foundation, Malsi and Michael Forman, and Margaret and Christopher Forman, in honor of Dorothy Forman.

Cinderella(La Cenerentola)GIOACHINO ROSSINI

March 23 – April 13, 2013

Conlon, Font, Guillen, Faura, Dorca; Lindsey/Kemoklidze,

Barbera, Priante, Corbelli, Tappan, Miller, Ulivieri

Special underwriting support from The Seaver Endowment and the Jane and Peter Hemmings Production Fund, a gift of the Flora L. Thornton Trust.

Additional support provided by a special grant from the National Endowment for the Arts.

Noye’s FluddeBENJAMIN BRITTEN

April 19 - 20, 2013, at the Cathedral of Our Lady of the Angels

Conlon, Villanueva, Stone/Angulo, Scott/Higgins, Hernandez;

Yi, Miller

This production made possible by a generous grant from the Dan Murphy Foundation.

Special production support also received from the Britten-Pears Foundation, the City of Los Angeles, Department of Cultural Affairs, and Mr. and Mrs. Joseph A. Saunders.

WORLD PREMIERE

Dulce RosaLEE HOLDRIDGE

May 17 – June 9, 2013, at the Eli and Edythe Broad Stage

Domingo, Sparks, Pardess, Wood, Militello, Okun; Antúnez,

Daza, Fedderly, Colclough, Southwell, Bliss

Production made possible by a generous gift from Rosemary and Milton Okun.

ToscaGIACOMO PUCCINI

May 18 – June 8, 2013

Domingo, Caird, Christie, Schuler; Radvanovsky, Berti, Ataneli,

Bloom, Cokorinos, Rosel, Armstrong

Production made possible by a generous gift from the Alfred and Claude Mann Fund, in honor of Plácido Domingo.

An Evening of Spanish Zarzuela and Latin American MusicJune 7, 2013

Domingo, Antúnez, Brugger, Guerrero

PERFORMANCES MAGAZINE P1

PLÁCIDO DOMINGOELI AND EDYTHE BROAD GENERAL DIRECTOR

JAMES CONLONRICHARD SEAVER MUSIC DIRECTOR

OFFICIAL TIMEPIECE OF LA OPERA

25th Anniversary AngelsLA Opera wishes to recognize and thank those who made extraordinary leadership commitments in honor of the Company’s 25th Anniversary Season, a milestone achievement. Following the tradition established by previous Angel campaigns (listed on page P14), the support of the 25th Anniversary Angels ensures LA Opera’s continued artistic excellence and prominence in the worldwide cultural community.

Sebastian Paul and Marybelle Musco

The Seaver Family

Marc and Eva Stern Foundation

The Eli and Edythe Broad Foundation

Colburn Foundation

County of Los Angeles

Ann and Gordon Getty Foundation

Carol and Warner Henry

Alfred and Claude Mann

Flora L. Thornton

Marilyn Ziering

Mr. Harold Alden and Dr. Geraldine Alden

The Annenberg Foundation

Ambassador Frank and Kathy Baxter

The Blue Ribbon

Yuki and Alex Bouzari

Kelly and Robert Day

Dunard Fund USA

Malsi Doyle and Michael Forman

Brindell Roberts Gottlieb

The Green Foundation

Bernard and Lenore Greenberg, in honor of Leonard Green

LGHG Foundation

Mr. and Mrs. Milan Panic

Ceil and Michael E. Pulitzer

Ronus Foundation

Eugene and Marilyn Stein

Christopher V. Walker

Lenore and Richard Wayne

Ziering Family Foundation

Selim K. Zilkha and Mary Hayley / Selim K. Zilkha Foundation

P2 PERFORMANCES MAGAZINE

DONOR RECOGNITION


PLÁCIDO DOMINGO, ELI AND EDYTHE BROAD GENERAL DIRECTORJAMES CONLON, RICHARD SEAVER MUSIC DIRECTORCHRISTOPHER KOELSCH, PRESIDENT AND CHIEF EXECUTIVE OFFICER

PRESENTS

program

Please turn off all cell phones, electronic devices and watch alarms. Latecomers will be seated at the discretion of the house management. Members of the

audience who leave during the performance will not be shown back into the theater until the next intermission. The use of cameras and recording equipment is

strictly prohibited. Your use of a ticket acknowledges your willingness to appear in photographs taken in public areas of the Music Center and releases the Center

and its lessees and others from liability resulting from use of such photographs. Any microphones onstage are for recording or broadcast purposes only, and are

not associated with any amplification.

GIOACHINO ROSSINI

Cinderella(La Cenerentola)Libretto by the Jacopo Ferretti

The running time is approximately

two hours and 55 minutes,

including one intermission.

This production features strobe

lights and smoke effects.

Supertitles written by Chris Bergen.

Pre-performance talks by James

Conlon. Pre-performance talks are

generously sponsored by the

Flora L. Thornton Foundation and

the Opera League of Los Angeles.

By arrangement with Hendon

Music, Inc., a Boosey & Hawkes

company, sole agent in the U.S.,

Canada and Mexico for Casa

Ricordi/Universal Music Publishing

Ricordi S.R.L., publisher and

copyright owner.

La Cenerentola is a co-production

of Houston Grand Opera

Association, Welsh National

Opera, Gran Teatre del Liceu and

Grand Théâtre de Genève.

Additional costumes constructed

by the Los Angeles Opera

Costume Shop. Wigs constructed

by the Los Angeles Opera Wig &

Make-Up Department.

* LA Opera debut

† Alumna of the Domingo-

Thornton Young Artist Program

ARTISTS SUBJECT TO CHANGE.

CONDUCTOR

James Conlon

DIRECTOR

Joan Font*

SCENERY AND COSTUME DESIGNER

Joan Guillén*

LIGHTING DESIGNER

Albert Faura*

CHORUS DIRECTOR

Grant Gershon

CHOREOGRAPHER

Xevi Dorca*

ASSOCIATE CONDUCTOR

Bruno Cinquegrani

ASSISTANT DIRECTOR

Tanya Kane-Parry

STAGE MANAGER

Lisa Kable-Blanchard

MUSICAL PREPARATION

Jeremy FrankRenate RohlfingTamara Sanikidze

PROMPTER

Tamara Sanikidze

CAST (in order of vocal appearance)CREATIVE TEAM PRODUCTION NOTES

CLORINDA Stacey Tappan

TISBE Ronnita Nicole Miller†

ANGELINA, Kate Lindsey (MARCH 23, 28, 31)KNOWN AS Ketevan Kemoklidze* (APRIL 3, 7, 13)“CINDERELLA”

ALIDORO Nicola Ulivieri*

DON MAGNIFICO Alessandro Corbelli*

DON RAMIRO René Barbera*

DANDINI Vito Priante*

Special underwriting support from

The Seaver Endowment and

The Jane and Peter Hemmings Productions Fund, a gift of the Flora L. Thornton Trust.

Additional support provided by a special grant from the

National Endowment for the Arts.

SUPPORT


In fond memory of Tara Colburn, supertitles are underwritten by Dunard Fund USA.

SYNOPSIS

ACT IIn the crumbling home of Don Magnifico,

his daughters Clorinda and Tisbe bicker

while their step-sister Angelina, known

as Cinderella, does her chores. As she

scrubs the floor, she sings a folk song

about a king who marries a simple girl

because she has a good heart. The

sisters mock her for being so sentimental

and continue their chatter. When a

beggar knocks at the back door, the

sisters treat him badly, but Cinderella

offers him bread and coffee. What no

one knows is that the beggar is really

Alidoro, Prince Ramiro’s tutor, on a fact-

finding mission for the prince, who is in

the neighborhood looking for a bride.

A group of courtiers arrive and

announce that Ramiro will soon arrive to

take the ladies to his palace, where he

will choose his bride. The sisters

immediately begin tormenting Cinderella,

demanding that she prepare them for

the evening. The noise wakes Don

Magnifico, who describes his dream: he

was a donkey and his daughters were

royalty. The prince arrives disguised as

his valet, Dandini. He is in search of

Cinderella, whose kindness his tutor

Alidoro has related. He surprises

Cinderella, causing her to drop the

dishes she’s carrying, and the two find

themselves attracted to one another.

Dandini arrives, declaring himself to

be the prince with exaggerated pomp.

Cinderella asks her step-father to let her

go to the palace with her step-sisters,

but he cruelly refuses. When Ramiro and

Dandini ask Magnifico where the third

daughter of the household is, he claims

that she is dead. Everyone struggles to

untangle the situation. Alidoro enters,

again disguised as the beggar. He

reveals his identity to Cinderella and

invites her to the ball.

The company has assembled at the

palace, where Dandini, still playing the

prince, appoints Don Magnifico master of

the wine cellar in appreciation of his

ability to consume vast quantities of

alcohol. Magnifico immediately proffers a

decree forbidding the dilution of wine.

Dandini and the real prince share their

encounters with Magnifico and his slightly

warped family. They can’t imagine

which of his two dreadful daughters

Alidoro could have been praising. They

devise another test in which the

disguised Dandini offers the hand of his

valet, played by the real prince, to

Clorinda and Tisbe. Both women refuse

in disgust. The unexpected arrival of a

beautiful stranger—who bears an

amazing resemblance to Cinderella—

heightens everyone’s anxiety.

ACT IIAt the palace after the feast, Don

Magnifico tries to reassure himself that

one of his daughters will still marry the

prince, despite their lackluster

performance that evening. He imagines

himself laden with royal appointments,

bestowing his favors only to pretty ladies

willing to grease the wheels with a small

cash donation. Annoyed by the constant

attentions of Dandini (who is still

disguised as the prince), Cinderella tells

him that she would rather marry the

prince’s “valet.” Ramiro’s heart leaps at

this declaration, and he tells Cinderella

his true identity. She tells him that if he

really loves her, he must come find her,

giving him a bracelet that matches one

she always wears. Magnifico corners

Dandini, and demands that the “prince”

choose a daughter. Dandini tells

Magnifico to be patient, and then reveals

that he is really just a valet, a confession

that bewilders the Don.

Back at Don Magnifico’s house,

Cinderella sings her folk song again, and

Magnifico and the step-sisters return

from the palace. Alidoro and the prince,

meanwhile, search for Cinderella, and a

fortuitous storm causes the prince’s

carriage to get stuck outside Magnifico’s

house. The two take shelter inside, and

Ramiro immediately recognizes his

beloved. Cinderella begs Ramiro to be

kind to Magnifico and his daughters,

who, even though they treated Cinderella

despicably, deserve forgiveness. At the

wedding banquet in the prince’s palace,

Cinderella rejoices at her happy fate.

Don Magnifico celebrates his appointment as master of the prince’s wine cellar.

PH

OT

O C

OU

RT

ES

Y O

F H

OU

ST

ON

GR

AN

D O

PE

RA

a note from music director james conlon


On the occasion of LA Opera’s production of Cinderella, and in a departure from my customary style, I am writing more personally; in particular, the story of my love for the music of Gioachino Rossini.

The bel canto operas (a term used to

loosely denote the Italian operas of the

first half of the 19th century) have an

important place in the repertory of LA

Opera. Every opera theater must

produce works in many different styles,

speaking to all tastes. It must offer a

balance of known and unknown works

in the Italian, German, French, Anglo-

Saxon, English-American and Russo-

Slavic repertories. It must include 18th-,

19th- and 20th-century works, along

with contemporary opera. Beyond

serving the public, we—all of us who are

devoted to opera—are responsible in

the long term for keeping the art form

alive and healthy.

In the Italian repertory, the heart of

the theater is a tripod consisting of bel

canto, (Rossini, Donizetti and Bellini),

Verdi and verismo (primarily Puccini).

Whatever else is performed, any

international opera company must be

able to perform with appropriate

stylistic sensibilities in each of these

three categories.

I have been devoting myself to the

bel canto repertory for the past several

years, and will continue to do so. There

are two reasons for this.

First, it is important that these operas

be recognized as the great works that

they are. The art of singing, conducting

and playing bel canto operas must be

learned and mastered. Knowledge of

both tradition and modern critical trends

is necessary to conduct these works. The

preservation of this now “classical” art

and its style is highly important. For the

orchestra, performing a Rossini opera

demands the same elevated level of

transparency, clarity and wit as a Haydn

symphony. Whatever charms a theatrical

production can provide for these

marvelously entertaining and amusing

works, nothing justifies mechanical or

indifferent musical performances,

whether emanating from the stage or

the orchestra pit. No theatrical virtues

can compensate for a rendition deficient

in any of the demands of the bel canto

style. Beauty of tone, limpidity of

phrasing, brilliant fioratura and clarity of

text are neither optional nor dispensable.

Second, in the many years of my

professional life, I have largely missed

out on the personal satisfaction of

conducting much of this repertory. The

fact is, at the tender age of 11, Rossini

became my favorite composer after I

saw The Barber of Seville. It was only

the second opera I attended, but it,

more than any other, was responsible

for a rapid metamorphosis in my life,

which drew me inextricably into the

overwhelming embrace of classical

music. To amuse myself in the summers,

I twice organized little performances of

the Barber with my friends. Producing

them with the limited means and

abilities of youngsters, we made up in

enthusiasm whatever else we lacked in

ability and training (which was just

about everything).

In the following years, as a sort of

apprenticeship to learn the ropes in an

opera theater, I volunteered to work

backstage whenever the opportunity

presented itself, including several bel

canto operas: The Turk in Italy,

Cinderella and The Elixir of Love. I came

to know them from the inside out. I got

my first opportunity to conduct Don

Pasquale at the Juilliard Opera Theater

when I was 22, and a year later, to my

great joy, The Barber of Seville. My

dream had come true: I was conducting

the very opera that had set me on my

path a little more than ten years before.

Seven performances in five days with a

double cast (Frederica von Stade and

Maria Ewing sharing the role of Rosina),

conducting from the harpsichord at the

Washington Opera, provided one of the

high points in my life thus far. I thought

to myself afterwards, “How wonderful,

now that I know how to conduct The

Barber, I can do so all of my life.” And

then, irony of ironies… I never did again.

In fact, until now, I had only conducted

Rossini operas at 20-year intervals:

Semiramide at the Metropolitan Opera

in 1990 with Marilyn Horne, June

Anderson and Samuel Ramey, and LA

Opera’s Turk in Italy in 2011. Aside from

the numerous concert performances of

overtures, the Stabat Mater and the

Petite messe solennelle, there were no

more Rossini operas.

Spending so much time on the

concert podium and plunging into

“big” operatic repertory, the bel canto

simply remained on the sidelines.

There were inevitable choices to be

made: Boris Godunov or Norma?

Pelléas et Mélisande or La Sonnambula?

Tristan or I Puritani? The irresistible

pull toward Wagner, Verdi, Mozart,

Mussorgsky and Puccini had the effect

of putting it all on hold.

Three seasons ago, when I conducted

The Elixir of Love, I enjoyed myself so

thoroughly that I expressed my desire

to personally oversee all the bel canto

productions here at LA Opera. This

prospect gives me the opportunity to

reunite myself with several works that

I have loved since childhood but never

conducted. In doing so, I have rekindled

a source of excitement and satisfaction

within myself, a source neglected for

far too many years.

To paraphrase Giuseppe Verdi,

sometimes to make progress we have

to return to the beginning. I am, with

Cinderella, reliving a part of my youth,

and, who knows, maybe I will even

conduct The Barber of Seville again.

Cinderella


James ConlonCONDUCTOR

One of today’s pre-

eminent conductors,

James Conlon has

cultivated a vast

symphonic, operatic

and choral repertoire.

Since his 1974 New York Philharmonic

debut, he has been a guest conductor

with virtually every major North

American and European orchestra

and a frequent guest conductor at the

Metropolitan Opera where he has

conducted over 250 performances. In

addition to being Richard Seaver Music

Director of LA Opera, he is music

director of both the Ravinia Festival,

summer home of the Chicago Symphony

Orchestra (since 2005), and the

Cincinnati May Festival (since 1979).

He was principal conductor of the Paris

National Opera (1995-2004); general

music director of the City of Cologne

(1989-2002); and music director of the

Rotterdam Philharmonic (1983-1991). In

an effort to raise public consciousness

for the works of composers who were

suppressed by the Nazi regime, he has

devoted himself to extensive program-

ming of this music in North America and

Europe. He has been honored with the

Zemlinsky Prize, the Music Institute of

Chicago’s Dushkin Award and the Anti-

Defamation League’s Crystal Globe, and

he has received honorary doctorates

from the Juilliard School, Chapman

University and Brandeis University. He

was awarded France’s highest distinction,

the Légion d’Honneur, by then-President

Jacques Chirac. In 2005 he was one

of five recipients of the inaugural Opera

News Awards. In 2009, he won two

Grammy Awards (Best Classical

Recording; Best Opera Album) for LA

Opera’s Rise and Fall of the City of

Mahagonny, released on DVD on

EuroArts. He is engaged in a three-year

homage to Benjamin Britten in obser-

vation of the 2013 centenary of the

composer’s birth, conducting symphonic

and choral works and six operas, includ-

ing LA Opera’s upcoming Noye’s Fludde

and Billy Budd. He will lead a cycle of

Britten’s three church parables in

collaboration with the Rome Opera and

will return to the Metropolitan Opera

to conduct Britten’s A Midsummer

Night’s Dream.

Joan FontDIRECTOR

A graduate of

Barcelona’s Institut del

Teatre, he also studied

at Paris’ Jacques

Lecoq School. As

the director and

founder (in 1971) of Comediants, he has

participated in the creation of more than

30 stage productions presented on five

continents. He has worked on special

projects for the Festival d’Avignon, and

Venice’s Biennale, as well as other

projects in Paris, New York, Chicago,

Bogotá, Sydney, Tokyo, Dublin, Edinburgh,

London, Hannover and Beijing, among

other cities. In the field of opera, he has

directed The Magic Flute (Gran Teatre del

Liceu, Barcelona), The Little Magic Flute

and Orfeo ed Euridice (Peralada Festival),

La Verbena de la Paloma (Granada

Festival), La Cenerentola (a co-production

of the Welsh National Opera, the Houston

Grand Opera, Barcelona’s Gran Teatre del

Liceu and the Grand Théâtre de Genève)

and the premiere of Faust-Bal for

Madrid’s Teatro Real. In 2009, he directed

L’Italiana in Algeri for Madrid’s Teatro

Real, a co-production of Houston Grand

Opera, Opéra National de Bordeaux and

Florence’s Maggio Fiorentino. In 2010

he directed a new version of The Magic

Flute for the Auditorio de Murcia, as

well as a puppet show for the 25th

anniversary of the theater company

Marduix. In 2010 he directed L’Italiana

in Algeri at the Opéra National de

Bordeaux. In 2011 he directed the original

play Persephone for Moscow’s Chekhov

Festival, which was later presented at

Madrid’s Centro Dramático Nacional and

Barcelona’s Teatre Lliure. He began the

current season with The Barber of Seville

in Bordeaux, followed by L’Italiana in

Algeri in Houston, Waiting for Godot in

Seville, and La Cenerentola in Seattle. He

is currently working on the Comediants’

40th anniversary celebration, with a series

of artistic events that will continue

throughout 2013, including the filming of

a documentary about the company.

Joan GuillénSCENERY AND COSTUME DESIGNER

Joan Guillén, who

makes his LA Opera

debut with this

production, has

designed sets,

costumes, masks and props for opera

and theater. His many designs include this

celebrated production of La Cenerentola

that has been presented at the Houston

Grand Opera, the Théâtre de la Monnaie

in Brussels, the Grand Théâtre de Genève,

the Gran Teatre del Liceu in Barcelona,

the Welsh National Opera in Cardiff, the

Seattle Opera and currently at LA Opera;

L’Italiana in Algeri at the Teatro Real in

Madrid, Teatro Comunale of Florence, the

Grand Théâtre de Bordeaux and Houston

Grand Opera; The Barber of Seville at

Houston Grand Opera and the Grand

Théâtre de Bordeaux; the world premiere

of Faust-bal by Leonardo Balada at the

Teatro Real in Madrid; Book of Beasts

produced by Comediants in 1995; Colors

with Javier Mariscal at the Peralada

Festival in 1999; The Magic Flute at the

Gran Teatre del Liceu in Barcelona;

Wonders of Cervantes for the Compañía

Nacional de Teatro Clásico in Madrid in

2000; and Bi: Two Worlds, Two Looks

produced by Comediants for the SXXI

Theater in Beijing in 2001. Mr. Guillén

has been a teacher for 40 years in the

School of Dramatic Art at Barcelona’s

Theater Institute and has been a

visiting professor at many schools and

universities around the world. He also

works in the fields of painting, sculpture,

illustration and satirical drawings for

various Spanish media. In 1999 he

received the gold medal in costume

design at the Prague Quadrennial of

Performance Design and Space, the

world’s largest exhibition in the field of

scenography and theater architecture,

and the Prize of the City of Barcelona in

1983 and 1985 for his journalism.

ARTISTS


Albert FauraLIGHTING DESIGNER

Albert Faura, a native

of Barcelona, makes

his LA Opera debut.

He has a degree in

lighting design from

the Theater Institute

of Barcelona, and has also participated in

an international course of theatrical

lighting organized by the British Council

in London. He has designed for opera

and theater companies that include the

Gran Teatre del Liceu in Barcelona,

Centro Dramático Nacional, Teatro Real

in Madrid, Teatre Nacional de Catalunya

SA, Focus SA, Bitó Produccions, Teatro

Filarmonico in Verona, Teatro de la

Zarzuela in Madrid, Festival de Perelada,

Otel·lo Produccions, Festival Grec de

Barcelona, Comediants, Festival Ruhr

Triennale, La Fura dels Baus, Teatro de la

Maestranza in Seville, Casino de Mallorca,

Maggio Musicale Florentina, Teatro Colón

in Buenos Aires, Opéra National de Paris,

Houston Grand Opera, Welsh National

Opera, Grand Théâtre de Genève and

Opera de La Coruña. His work in opera

includes La Cenerentola (Houston Grand

Opera, Welsh National Opera, Grand

Théâtre de Genève, La Monnaie, Gran

Teatre del Liceu, Canadian Opera

Company, Seattle Opera); The Barber

of Seville (Opéra de Bordeaux, Houston

Grand Opera); The Magic Flute (Gran

Teatre del Liceu, La Fura dels Baus,

Opera National de Paris, Teatro Real in

Madrid, Ruhr Triennale Festival); Turandot

(Opéra d’Orange, Opéra de Monte Carlo,

Palau de les Arts in Valencia); Tristan

und Isolde (La Fura dels Baus, Opéra

National de Lyon); The Marriage of

Figaro (Gran Teatre del Liceu, Teatro

Real in Madrid); Persephone (Chekhov

Festival, Moscow); Simon Boccanegra

(Grand Théâtre de Genève, Gran Teatre

del Liceu) and productions of Aida, Anna

Bolena, The Queen of Spades, Roberto

Devereux and Il Viaggio a Reims for the

Gran Teatre del Liceu.

Grant GershonCHORUS DIRECTOR

Newly appointed as

LA Opera’s Resident

Conductor, Grant

Gershon has

conducted LA Opera

performances of La

Traviata (2009), the world premiere of

Daniel Catán’s Il Postino (2010),

Handel’s L’Allegro, il Penseroro ed il

Moderato (2011) and Madama Butterfly

(2012), and he will conduct performances

of Carmen next season. Last July, he

conducted Il Postino at the Teatro

Municipal in Santiago, Chile. This year,

he conducted John Adams’ The Gospel

According to the Other Mary at the Los

Angeles Philharmonic. He made his

2011 Santa Fe Opera debut conducting

Vivaldi’s Griselda. At the Hollywood

Bowl he led the 2010 opening concert

of the Los Angeles Philharmonic’s

Classical Series. In 2007, he conducted

the Minnesota Opera’s world premiere

of Ricky Ian Gordon’s The Grapes of

Wrath, and led subsequent performances

of the work with the Utah Symphony.

He has been Music Director since 2001

of the Los Angeles Master Chorale,

which the Los Angeles Times has

proclaimed “the most exciting chorus

in the country under Gershon’s

leadership.” He has conducted nearly

100 performances with the Master

Chorale at Walt Disney Concert Hall,

including virtually all of the major

choral works and numerous world and

American premiere performances. His

discography includes two Grammy-

nominated recordings, Sweeney Todd

and Ligeti’s Grand Macabre, as well as

five CDs with the Master Chorale,

including the newly released Górecki

Miserere. Upcoming engagements

include La Traviata at Wolf Trap Opera,

John Adams’ The Gospel According to

the Other Mary at Ravinia and concert

performances of Phillip Glass’ The Civil

Wars with the LA Philharmonic.

Xevi DorcaCHOREOGRAPHER

Xevi Dorca, who

makes his LA Opera

debut, completed

his studies at the

Institut del Teatre in

Barcelona, where he

specialized in choreography and

interpretative techniques of dance.

He was awarded a scholarship by the

Madrid Choreographic Competition as

“Best Dancer,” which earned him a

position with the Transitions Dance

Company at the Laban Centre in

London. As a dancer, he has worked

with companies that have included Sol

Pico, Lindsay Kemp, Carlos Santos,

Mar Gomez, Ballet Contemporani de

Barcelona, Meekers Dance Company,

Andrés Lima, Búbulus, Iliacan,

Comediants and Alex Rigola, among

others. He was one of the directors of

Chicos Mambo, where he was a

choreographer and actor. Recent work

in opera includes choreography for

this production of Cinderella (La

Cenerentola) which premiered at the

Houston Grand Opera and has been

subsequently presented at Welsh

National Opera, Grand Théâtre de

Genéve, Gran Teatre del Liceu

(Barcelona), La Monnaie (Brussels),

Canadian Opera Company, Seattle

Opera and currently in Los Angeles;

the world premiere of Faust-Bal, a new

opera by Leonardo Balada, at the

Teatro Real in Madrid; L’Italiana in Algeri

at the Teatro Real in Madrid and

subsequently presented at the Maggio

Musicale Fiorentino, Opéra National de

Bordeaux and Houston Grand Opera;

and The Barber of Seville at the

Houston Grand Opera and Opéra

National de Bordeaux. XeviXaviXou is

the name of his new dance company,

co-directed with Xavi Estrada. Their

new show, entitled From Lost to the

River, premieres in Spain in April 2013.

ARTISTS


Kate LindseyCINDERELLA (MARCH 23, 28, 31)

Mezzo-soprano Kate

Lindsey made her LA

Opera debut in 2011

as Zaide in The Turk

in Italy, and she

subsequently performed the role of Mrs.

Noye in Noye’s Fludde in LA Opera’s

performances at the Cathedral of Our

Lady of the Angels. Earlier this season,

she returned to the Metropolitan Opera

as Annio in La Clemenza di Tito, and she

will make her debut this summer at the

Glyndebourne Opera Festival as the

Composer in Ariadne auf Naxos. She has

already appeared in many of the world’s

prestigious opera houses, including the

Metropolitan Opera, Santa Fe Opera,

Seattle Opera, Royal Opera House

Covent Garden, Bavarian State Opera,

the Aix-en-Provence Festival, Lille Opera,

and the Théâtre des Champs-Élysées.

Her growing repertoire includes Rosina

in The Barber of Seville, Cherubino in

The Marriage of Figaro, Zerlina in Don

Giovanni, Idamante in Idomeneo, Hansel

in Hansel and Gretel, and Nicklausse in

The Tales of Hoffmann. She also created

the title role in the premiere of Daron

Hagen’s Amelia at the Seattle Opera.

An accomplished concert singer, Ms.

Lindsey sang the premiere performances

of a new commission by John Harbison

with James Levine and the Boston

Symphony Orchestra. She has also

appeared with the New York

Philharmonic, Cleveland Orchestra, St.

Louis Symphony Orchestra, Met

Chamber Orchestra (in Carnegie Hall),

and at the Tanglewood and Mostly

Mozart festivals, and has worked with

many of the world’s most distinguished

conductors. In recital, she has been

presented by the Metropolitan Museum

of Art and Rockefeller University in New

York City. Ms. Lindsey recently starred in

the Metropolitan Opera’s HD broadcast

of its new production of The Tales of

Hoffmann. She was also featured in its

broadcast of The Magic Flute which

was subsequently released on DVD.

(www.KateLindsey.com)

Ketevan KemoklidzeCINDERELLA (APRIL 3, 7, 13)

In high demand by

theaters around the

world, Georgian

mezzo-soprano

Ketevan Kemoklidze makes her LA

Opera debut. She studied at Tbilisi

Conservatory and at the La Scala

Academy. She was a winner of Plácido

Domingo’s Operalia and the Belvedere,

Toulouse, Georgian national and

Obraztsova competitions. In 2002, while

still a conservatory student, she made

her debut in Rigoletto, Otello and

Amadigi. Subsequent appearances

included Rosina in The Barber of Seville

in Berlin, Toulouse, Parma, Palermo,

Montpellier, Düsseldorf, Marseille and in

Washington. She made her Covent

Garden debut in 2010 in Roméo et

Juliette. After winning a special prize

at the Belvedere Competition from

Barcelona’s Gran Teatre del Liceu, she

appeared there in Otello, Linda di

Chamounix and Faust. She returned to

Spain for The Marriage of Figaro and

L’Arbore di Diana in Madrid. Her

appearances in Italian theaters include

Così fan tutte, Rigoletto, Ascanio in Alba,

Salome, Manon, The Barber of Seville

and A Midsummer’s Night Dream at La

Scala; Roméo et Juliette in Verona and

Venice; Così fan tutte in Ancona; Thaïs in

Torino; and Così fan tutte and Faust at

the Sferisterio Festival, directed by Pier

Luigi Pizzi. She performed in Nabucco

and in The Love for Three Oranges in

Graz, Maria Padilla at the Wexford

Festival, Giulio Cesare for her Greek

debut in Thessaloniki, and won particular

acclaim as Cherubino in The Marriage

of Figaro in Santiago and Monte Carlo.

She made her film debut as Adriana

Ferrarese in Spanish director Carlos

Saura’s Io Don Giovanni. She is also

actively engaged as a concert soloist,

in repertoire ranging from baroque to

contemporary, and she regularly

collaborates with the world’s leading

orchestras, conductors and directors.

(www.KetevanKemoklidze.blogspot.com)

René BarberaDON RAMIRO

Tenor René Barbera,

who makes his LA

Opera debut, is a

graduate of Lyric

Opera of Chicago’s

Ryan Opera Center,

and has swiftly established himself as a

young artist on the rise. At Plácido

Domingo’s Operalia 2011 in Moscow, he

was awarded First Prize for Opera, First

Prize for Zarzuela and the Audience

Prize. He was the first artist to be the

sole recipient of all three awards since

that competition began in 1993. Earlier

that year, he triumphed as Tonio in The

Daughter of the Regiment for Opera

Theatre of St. Louis. This season, he has

continued to make important company

debuts throughout North America. He

opened the season in his company and

role debut as Elvino in La Sonnambula

with Washington Concert Opera,

followed by his debut with Michigan

Opera Theater as Count Almaviva in

The Barber of Seville and his return to

Lyric Opera of Chicago for his role

debut as Ernesto in Don Pasquale. He

made his debut with Seattle Opera as

Don Ramiro in La Cenerentola shortly

before these LA Opera debut

appearances in the same role. He will

soon be heard as Count Almaviva at

the Stanislavsky Music Theater in

Moscow. This summer, he makes his

Santa Fe Opera debut as Rodrigo in

Rossini’s La Donna del Lago. Last

season, he was heard on the Lyric

Opera of Chicago stage as Arturo in

Lucia di Lammermoor, Brighella in

Ariadne auf Naxos and as Tamino in

student matinee performances of The

Magic Flute. Mr. Barbera made his

company and role debut with

Vancouver Opera as Count Almaviva,

his company debut with Canadian

Opera Company as Rinuccio in Gianni

Schicchi and his debut as Tamino in The

Magic Flute with James Conlon and the

Chicago Symphony Orchestra at the

Ravinia Festival. He was a 2008 winner

of the Metropolitan Opera National

Council Auditions.

ARTISTS

PH

OT

O B

Y D

AR

IO A

CO

STA

PH

OT

O B

Y P

AR

UL

AV

A

PH

OT

O B

Y K

RIS

TIN

HO

EB

ER

MA

NN

Vito PrianteDANDINI

Italian bass-baritone

Vito Priante makes

his U.S. debut in this

production. The

rising operatic star

has performed in the

most important European theaters

including La Scala, Covent Garden,

Vienna State Opera, Bavarian State

Opera in Munich, Deutsche Oper Berlin,

Teatro San Carlo in Naples, Opéra de

Lyon, Gran Teatre del Liceu in Barcelona,

Teatro dell’Opera di Roma and the

Salzburg and Edinburgh festivals, in

appearances with internationally

renowned conductors such as Riccardo

Muti, Daniel Barenboim, Ivor Bolton and

Daniel Harding among others. Upcoming

engagements include performances as

Figaro in The Marriage of Figaro in

Munich, Belcore in L’Elisir d’Amore in

Torino, and Lescaut in a concert version

of Manon in Luxembourg. Recent

highlights include his debuts at the

Maggio Musicale in Florence as Figaro in

The Barber of Seville, at Berlin’s

Staatsoper im Schiller as Figaro in The

Marriage of Figaro conducted by Daniel

Barenboim and as the poet Prosdocimo

in The Turk in Italy at the Nederlandse

Opera. In the last few seasons, he has

appeared in the title role of Corghi’s Il

Dissoluto Assolto at La Scala, Leone in

Handel’s Tamerlano with Plácido

Domingo at the Gran Teatre del Liceu in

Barcelona, and Figaro in The Marriage

of Figaro at the Théätre des Champs

Elysées in Paris led by Marc Minkowsky,

at the Salzburg Festival, and at La

Fenice in Venice, where he also

performed Leporello in Don Giovanni.

He has performed Silvio in Pagliacci in

Salerno and Publio in La Clemenza di

Tito in Lyon. Future seasons will include

returns to Vienna, Madrid, London and

Barcelona and his debut with the Lyric

Opera of Chicago. His discography

features Handel’s Rodelinda and

Floridante (DGG), Donizetti’s Pietro il

Grande (Dynamic), Cherubini’s Lo Sposo

di Tre e Marito di Nessuna (Dynamic)

and Vivaldi’s Motezuma (DGG).

Alessandro CorbelliDON MAGNIFICO

The Italian baritone

Alessandro Corbelli,

who makes his LA

Opera debut, is one

of today’s most

prominent interpreters of the bel canto

and Mozart repertoires. He has sung in

all the major opera houses, including La

Scala (Così fan tutte, The Marriage of

Figaro, Don Giovanni, La Cenerentola,

Le Comte Ory, Lodoïska, Fedora);

Covent Garden (L’Italiana in Algeri, La

Cenerentola, Così fan tutte, Don

Pasquale, Il Turco in Italia); Paris Opera

(La Cenerentola, L’Italiana in Algeri, Così

fan tutte, Madama Butterfly, Gianni

Schicchi); Vienna State Opera (Così fan

tutte, The Marriage of Figaro, I Puritani);

and the Metropolitan Opera (La

Cenerentola, L’Italiana in Algeri, L’Elisir

d’Amore, Gianni Schicchi). He has also

sung in Munich, Cologne, Geneva,

Madrid, Barcelona, Toulouse, Rome,

Naples, Bologna, Florence, Torino, as

well as at such important festivals as

Glyndebourne, Edinburgh, Salzburg and

the Rossini Opera Festival in Pesaro.

Last season’s engagements include the

title role of Don Pasquale in Santiago,

Chile, and at the Théâtre des Champs-

Elysées in Paris; the title role of Falstaff

in Toulouse; Dulcamara in L’Elisir

d’Amore at the Metropolitan Opera and

Don Magnifico in Munich. Other recent

engagements included returns to the

Paris Opera for Taddeo in L’Italiana in

Algeri, Michonnet in a new production

of Adriana Lecouvreur at Covent

Garden, Dulcamara in L’Elisir d’Amore

in Munich; Don Alfonso in Così fan

tutte in Vienna, and Bartolo in The

Barber of Seville in Toulouse. He began

the current season returning to the

Paris Opera as Sulpice in La Fille du

Régiment and to the Vienna State

Opera as Don Magnifico in a new

production of La Cenerentola. Future

appearances include the title role in

Don Pasquale at Glyndebourne, and

Bartolo in The Barber of Seville in

Palermo, San Francisco and Chicago.

Stacey TappanCLORINDA

Soprano Stacey

Tappan continues to

distinguish herself as

a world-class musical

artist. In stellar

reviews for her “witty

and sexy” Adele in Die Fledermaus with

the Glyndebourne Festival Opera, she

was praised for the production’s “most

polished singing... her coloratura bright

and well-focused.” In 2008 she made

her French debut with Opéra de Lille

as Gilda in Rigoletto, which she

reprised with the Opéra de Dijon in

2010. Other recent engagements

include Adina in L’Elisir d’Amore and

Despina in Così fan tutte with the

Jacksonville Symphony, Woglinde and

the Woodbird in Ring cycles in Los

Angeles, San Francisco and Chicago,

and a return to Lyric Opera of Chicago

for multiple roles in Die Frau ohne

Schatten and as Nannetta in Falstaff.

Last season’s appearances included the

Charmeuse in Thaïs at the Edinburgh

Festival and Miss Wordsworth in LA

Opera’s Albert Herring. She began the

current season singing the title role of

Lucia di Lammermoor with Arizona

Opera. She recently appeared with

the Los Angeles Philharmonic singing

Wing on Wing, composed and

conducted by Esa-Pekka Salonen, and

Mahler’s “Symphony of a Thousand” at

the Hollywood Bowl. She sang in the

inaugural concert of LA Opera’s

Recovered Voices series under the

baton of James Conlon, subsequently

joining Mr. Conlon at the Ravinia Festival

for songs of Zemlinsky and Schreker.

She has appeared with LA Opera as the

Wren in The Birds (released on DVD),

Virtú and Pallade in L’Incoronazione di

Poppea and the Dew Fairy in Hansel

and Gretel. She has appeared with the

Lyric Opera of Chicago as Bella in

Tippett’s The Midsummer Marriage

and, while with the Lyric Opera Center

for American Artists, she created the

role of Isis in LaChiusa’s Lovers and

Friends: Chautauqua Variations.

(www.StaceyTappan.com)


ARTISTS


Ronnita Nicole MillerTISBE

Mezzo-soprano

Ronnita Nicole Miller

is an alumna of LA

Opera’s Domingo-

Thornton Young

Artist Program. In 2011, she made her

San Francisco Opera debut in the Ring

cycle, appearing as Erda in Das

Rheingold and Siegfried and the First

Norn in Götterdämmerung. Last

summer, she appeared with the Ravinia

Festival as the Third Lady in The Magic

Flute, conducted by James Conlon.

Her many appearances with LA Opera

include Mary in The Flying Dutchman,

Florence Pike in Albert Herring,

Gertrude in Roméo et Juliette, Filipievna

in Eugene Onegin, Marcellina in The

Marriage of Figaro, Flosshilde in both

Das Rheingold and Götterdämmerung,

Schwertleite in Die Walküre and Berta

in The Barber of Seville, among others.

An alumna of the Merola Opera

Program, she is also a graduate of the

Juilliard Opera Center. With the Wolf

Trap Opera Company, she has appeared

as Ascalax in Telemann’s Orpheus,

Ragonde in Le Comte Ory, Marcellina

in The Marriage of Figaro, the Prison

Matron in John Musto’s Volpone, and

the Third Lady in The Magic Flute. At

Alice Tully Hall she performed Mozart’s

Requiem with the New York Symphonic

Ensemble and appeared in the world

premiere of Richard Owen’s Rain. On

April 19 and 20, she will appear with

LA Opera as Mrs. Noye in community

performances of Britten’s Noye’s

Fludde at the Cathedral of Our Lady of

the Angels. Other future appearances

include a return to the Cincinnati May

Festival as Jocaste in Oedipus Rex,

and returns to LA Opera as Dame

Quickly in Falstaff and as the Third

Lady in The Magic Flute. In the 2013/14

season, she will join the permanent

company at the Deutsche Oper Berlin

to sing principal roles.

Nicola UlivieriALIDORO

Bass Nicola Ulivieri

makes his LA Opera

debut. Born in Arco

(Trento) in the

northeast of Italy, he

graduated from the

Conservatory of Bolzano under the

leadership of Vito Maria Brunetti. In 1993

he made his debut in Wolf-Ferrari’s I

Quattro Rusteghi with Associazione

Lirica e Concertistica in Milan. In Italy he

has performed at La Scala, Teatro

Comunale in Florence, Teatro Massimo in

Palermo, La Fenice in Venice, the Rossini

Festival in Pesaro, Teatro Comunale in

Bologna, Teatro Carlo Felice in Genoa,

Teatro Lirico di Cagliari, Teatro San Carlo

in Naples, Teatro Regio in Turin, Teatro

Verdi in Trieste, Teatro Petruzzelli in Bari,

Teatro dell’Opera in Roma and the

Academy of Santa Cecilia. Elsewhere, he

has performed at the Salzburg Festival,

the Gran Teatre Liceu in Barcelona,

Dresden Festival, Welsh National Opera,

Royal Philharmonic Orchestra, Munich

Chamber Orchestra, the Edinburgh

Festival, Festival of Strasbourg, Festival

de Canarias, Teatro de las Palmas and

Tenerife, Lugano Spring Festival,

Wexford Festival, Vienna Konzerthaus,

Vienna’s Theater an der Wien, Aix-en-

Provence Festival, Hamburg State Opera,

Radio France, the Tel Aviv Philharmonic,

the Teatro Colón in Buenos Aires, the

Teatro Real in Madrid, Palau de les arts

in Valencia, Strasbourg, Lyon, Brussels

and Cologne, Tokyo’s Bunka Kaikan and

Biwako Hall in Otsu. In 2006 he won the

prestigious Abbiati Prize, an award given

by the Italian critics in recognition of his

Mozart performances. Earlier this season,

he performed the title role in Don

Giovanni with the Hamburg State Opera

and he made his Metropolitan Opera

debut as the Tutor in Rossini’s Le Comte

Ory. His future engagements include

Leporello in Don Giovanni in Venice and

Doctor Dulcamara in L’Elisir d’Amore in

Torino and with Washington National

Opera, and Count Rodolfo in La

Sonnambula in Barcelona.

ARTISTS

LA OPERA CHORUS

TENOR

Stephen Arel*Omar CrookRafael DuranSteven HarmsJohn Kimberling*Francis Lucaric*Mark David Miller**Gabriel Reoyo-PazosDaniel SukJan-Kees van der Gaag* BASS

Gregory GeigerMichael Geiger*Robert Hovencamp*Mark Kelley*David Kress*Gabriel ManroSteven PenceJames Martin SchaeferTim Smith*Arthur Wand*

DANCERS

Laurie Baron PeeblerRichard BuldaStephen HuesJee TeoJohn ToddLis VizcarraSeth Belliston (swing)

*Has appeared in 50 or more productions

**Has appeared in 100 or more productions


artistic personnel

LA OPERA ORCHESTRA

FIRST VIOLIN

Roberto Cani STUART CANIN CONCERTMASTER

Jessica GuideriASSOCIATE CONCERTMASTER

Lisa SuttonASSISTANT CONCERTMASTER

Jinny Leem Olivia Tsui Tamsen Beseke James Stark Armen Anassian Loránd LokusztaTina Chang Qu SECOND VIOLIN

Ana Landauer PRINCIPAL

Florence Titmus ASSOCIATE PRINCIPAL

Leslie Katz Michele Kikuchi Cynthia Moussas Jayme Miller Marina ManukianRadu Pieptea

VIOLA

Mara Gearman PRINCIPAL

Andrew Picken, ASSOCIATE PRINCIPAL

Karie Prescott Shawn Mann Dmitri Bovaird Matt Funes

CELLO

John WalzPRINCIPAL

Dane LittleASSOCIATE PRINCIPAL

Kim ScholesXiaodan Zheng

BASS

David YoungPRINCIPAL

Ann AtkinsonASSOCIATE PRINCIPAL

Frances Liu Wu

FLUTE

Heather ClarkPRINCIPAL

Angela Wiegand

OBOE

Leslie ReedPRINCIPAL

Lelie Resnick

CLARINET

Stuart ClarkPRINCIPAL

Steve Piazza

BASSOON

William MayPRINCIPAL

Judith Farmer

HORN

Steven BecknellPRINCIPAL

Daniel Kelley

TRUMPET

Marissa BenedictPRINCIPAL

Andy Ulyate

TROMBONE

Bill BoothPRINCIPAL

HARPSICHORD

Jeremy Frank

Stuart Canin Concertmaster Chair made possible by a deeply appreciated gift from Dunard Fund USA.

Cinderella arrives at the ball.

PH

OT

O B

Y B

RE

TT

CO

OM

ER

/H

OU

ST

ON

GR

AN

D O

PE

RA


ASSISTANT LIGHTING DESIGNER

Azra King-Abadi

ASSOCIATE CHORUS MASTER

Karen Cooksey

DANCE CAPTAIN

John Todd

ASSISTANT STAGE MANAGERS

Barbara DonnerWhitney McAnally

STAGE MANAGEMENT INTERN

Kyra Hansen

SUPERTITLE PREPARATION/CUER

Linda Zoolalian COSTUME SHOP

Allison AchauerLaina BabbHeather BairLeslie Ann SmithCUTTER / DRAPERS

Reina Alirez Jennifer ShawASSISTANT CUTTER / DRAPERS

Ainsley AndersonSECOND HAND

Allison DillardYuan Anne HuaBlanca MirandaHortencia SantosPamela WaltAnna WongSEAMSTERS

Camilla HansenCRAFTSPERSON

Sharon McGunigleHEAD TAILOR

Wing CheungASSISTANT TO THE HEAD TAILOR

Rafael AvilaManuel MedinaRene SantosTAILORS

Misty AyresJeannique ProspereCOSTUME SUPERVISORS

Claudia AdelinaCOSTUME ASSISTANT

Manuel GarciaASSISTANT PRODUCTION & STOCK COORDINATOR

Stefanie CytronPRODUCTION ASSISTANT – BUYER

Melinda BrownPRODUCTION ASSISTANT – STOCK

WARDROBE

Lee SmilekCharlyn TrenierWARDROBE ASSISTANTS

Shelley Graves-JimenezMary LehmanKathleen MelcherMartin MorseLaura OswaldAngelo RiveraSEASONAL DRESSERS

WIGS AND MAKE-UP

Darren K. JinksWIGMASTER

Samantha WootenASSOCIATE WIGMASTER

Brandi StronaCREW FOREMAN

Renee HornerLisa ReitanoNicole RodriguesSENIOR WIG & MAKE-UP ARTISTS

Linda CardenasLEAD STYLIST

STAGE CREW

Harold E. ConroyOPERA CARPENTER

Thomas Laurence ConroyASSISTANT OPERA CARPENTER

Steve WilliamsOPERA ELECTRICIAN

Stan WilliamsOPERA ASSISTANT ELECTRICIAN

Allen TateOPERA PROPERTY MASTER

Sheldon RossASSISTANT OPERA PROPERTY MASTER

Todd ReynoldsOPERA AUDIO ENGINEER

DOROTHY CHANDLER PAVILION HOUSE STAFF

Timothy L. ConroyMASTER CARPENTER

Gary EarlHOUSE HEAD ELECTRICIAN

James DraperMASTER OF PROPERTIES

Jeff Des EnfantsMASTER AUDIO

Jim PayneHOUSE MANAGER

Robert DevisDemetra WillisHEAD USHERS

Carolyn Van BruntVICE PRESIDENT OF GUEST SERVICES

VARI*LITE AUTOMATED LIGHTING PROVIDED BY

Vari-Lite Inc. THE DOMINGO-THORNTON YOUNG ARTIST PROGRAM

Identifying and encouraging talented young artists

with enormous potential is essential to the future of

opera. Since the Company’s inception, Los Angeles

Opera has been committed to nurturing a resident

ensemble of young singers who would benefit from

long-term professional development. Inaugurated in

2006, the Domingo-Thornton Young Artist Program

builds on the success of the Company’s highly

respected Resident Artist Program.

Named in recognition of a generous gift from the

Flora L. Thornton Foundation, the Domingo-Thornton

Young Artist Program has the goal of developing the

talents of exceptionally gifted young artists to

become performers of potentially international

stature, whose first loyalty would be to LA Opera.

Generous support also provided by the Colburn

Foundation and Lenore and Richard Wayne.

Additional support from the Hanna and Leo Orsten

Fund for Emerging Artists.

2012/13 PARTICIPANTS

Christopher AllenASSISTANT CONDUCTOR

Ben BlissTENOR

Hae Ji ChangSOPRANO

Tracy CoxSOPRANO

Joshua GuerreroTENOR

D’Ana LombardSOPRANO

Rebecca NathansonSOPRANO

Hunter PhillipsBARITONE

Amanda WoodburySOPRANO

Special thanks to the staff of the Music Center. Directors, singers, choreographers, stage managers, ensemble members and assistant directors in this production are represented

by the American Guild of Musical Artists. Orchestra musicians are represented by the American Federation of Musicians, Local 47. The following employees are represented by

the International Alliance of Theatrical Stage Employees, Moving Picture Machine Technicians, Artists and Allied Crafts of the United States and Canada, AFL-CIO, CLC,: Stage

Crew, Local 33; Treasurers and Ticket Sellers, Local 857; Wardrobe Crew, Local 768; Makeup Artists and Hair Stylists, Local 706. Interns in the Technical Department are students

at California Institute of the Arts (Valencia, California). All editorial materials copyright Los Angeles Opera, 2013. The opinions expressed in this program do not necessarily

represent those of Los Angeles Opera. Recorded welcome announcements voiced by Jamieson K. Price.

production staff

Plácido DomingoELI AND EDYTHE BROAD GENERAL DIRECTOR

James ConlonRICHARD SEAVER MUSIC DIRECTOR

Christopher KoelschPRESIDENT AND CHIEF EXECUTIVE OFFICER

John P. NuckolsVICE PRESIDENT, ADVANCEMENT

Faith RaiguelVICE PRESIDENT, CHIEF FINANCIAL OFFICER

Diane Rhodes Bergman, APR VICE PRESIDENT, MARKETING AND COMMUNICATIONS

Sarah Al-AtrakchiSENIOR DIRECTOR, FINANCE

Stacy C. Brightman, Ph.D.SENIOR DIRECTOR, EDUCATION & COMMUNITY PROGRAMS

Grant GershonRESIDENT CONDUCTOR

Rupert HemmingsSENIOR DIRECTOR, PRODUCTION

Gerrie MaloofSENIOR DIRECTOR, LABOR RELATIONS AND HUMAN RESOURCES

Patricia McLeodSENIOR DIRECTOR, DEVELOPMENT

Joshua WinogradeSENIOR DIRECTOR, ARTISTIC PLANNING

ARTISTIC ADMINISTRATION

Susan LangARTIST SERVICES MANAGER

Jessie KimARTISTIC AND OPERATIONS ASSOCIATE

MUSIC ADMINISTRATION

Mark FabulichMUSIC LIBRARIAN

Felino Jason VasquezASSISTANT LIBRARIAN

Brady SteelORCHESTRA PERSONNEL MANAGER

William GorinPERSONAL ASSISTANT TO JAMES CONLON

Ignazio TerrasiMUSICAL ASSISTANT TO JAMES CONLON

Nino SanikidzeHEAD COACH, DOMINGO-THORNTON YOUNG ARTIST PROGRAM

ADMINISTRATION

Laura BennettHUMAN RESOURCES AND FINANCE COORDINATOR

TECHNICAL

Jeff KleemanTECHNICAL DIRECTOR

Carolina AnguloDESIGN MANAGER

Margie SchnibbeTECHNICAL PRODUCTION COORDINATOR

Alisa LapidusPRODUCTION MEDIA MANAGER

Lisa CotoPROPERTIES COORDINATOR

Tony RevelesMelissa FicocielloRESIDENT LEAD SCENIC ARTISTS

Chris CareyTECHNICAL PAYROLL OFFICER

Katelan BraymerLauren TietzWALLY RUSSELL LIGHTING INTERNS

COSTUMES

Jennifer GreenCOSTUME DIRECTOR

Gregory WhiteCOSTUME DEPARTMENT MANAGER

John BishopSENIOR CUTTER / DRAPER

Hallie DufresneSENIOR CRAFTSPERSON

Gloriana SimanPRODUCTION & STOCK COORDINATOR

John MusselmanADMINISTRATIVE ASSISTANT

Neal AndersonMAINTENANCE ASSISTANT

Janine AllenHEAD OF WARDROBE

PRODUCTION

Lyla ForlaniPRODUCTION STAGE MANAGER

Claire FridayREHEARSAL ADMINISTRATOR

Gretchen MeyerhoeferMANAGER OF CHORUS, DANCERS AND SUPERS

DEVELOPMENT

Marlinda MenasheDIRECTOR, INSTITUTIONAL GIVING AND GOVERNMENT RELATIONS

Jill Michnick DIRECTOR OF BOARD RELATIONS AND SPECIAL EVENTS

Robin GreenEXECUTIVE ASSISTANT

ANNUAL FUND

Margo McAdamsASSOCIATE DIRECTOR OF DEVELOPMENT, ANNUAL FUND

Nicole Debbini Sophia SanchezMelanie UnderhillDEVELOPMENT ASSISTANTS, INDIVIDUAL GIVING

INDIVIDUAL GIVING

Christine WeilASSOCIATE DIRECTOR OF DEVELOPMENT, MAJOR GIFTS

Janey K. CampbellMAJOR GIFTS OFFICER

Terri BobadillaRESEARCH MANAGER

INSTITUTIONAL GIVING

Samantha LeoASSOCIATE DIRECTOR, CORPORATE SPONSORSHIP

Ondrea AckermanGRANTWRITER AND DEVELOPMENT COMMUNICATIONS MANAGER

Nicole MichelaINSTITUTIONAL GIVING ASSISTANT

SPECIAL EVENTS

Juliet BrownASSISTANT DIRECTOR, SPECIAL EVENTS

Emily LawyerSPECIAL EVENTS COORDINATOR

EDUCATION & COMMUNITY PROGRAMS

Jennifer BabcockASSOCIATE DIRECTOR OF EDUCATION & COMMUNITY PROGRAMS

Jill BurnhamEDUCATION MANAGER

Anthony JonesCOMMUNITY PROGRAMS & TOUR MANAGER

Carmen ReckerSPECIAL PROJECTS MANAGER

Nandani SinhaRESEARCH ASSISTANT

Mariana SilvaEDUCATION PROGRAMS ASSISTANT

Jacob H. ShidelerEDUCATION AND COMMUNITY PROGRAMS COORDINATOR

Eva SobolevskiCindy VargheseCOMMUNITY PROGRAMS ASSOCIATES

Eli VillanuevaRESIDENT STAGE DIRECTOR

Natalie BuickiansEDUCATION AND COMMUNITY PROGRAMS ASSISTANT

Marissa ButlerINTERN

PUBLIC RELATIONS

Gary W. MurphyDIRECTOR OF COMMUNICATIONS AND PUBLIC RELATIONS

Mark LyonsASSOCIATE DIRECTOR OF COMMUNICATIONS, PUBLICATIONS

Shannita WilliamsASSOCIATE DIRECTOR OF COMMUNICATIONS, SOCIAL MEDIA

SALES AND MARKETING

Julia Graham RiveraDIRECTOR OF MARKETING

Mark A. RiceASSOCIATE DIRECTOR OF MARKETING

Keith RainvilleBRAND MANAGER

Jolane WeistMARKETING DATA AND PRICING ANALYST

Garrett CollinsCOMMUNICATIONS COORDINATOR

Patricia WayneMARKETING AND COMMUNICATIONS COORDINATOR

FINANCE

Denice BehdadSENIOR ACCOUNTING MANAGER

Stephen MoriyamaFINANCE AND OPERATIONS ADMINISTRATOR

Kathleen MartinACCOUNTS PAYABLE MANAGER

Andrea DanowskiPAYROLL AND BENEFITS MANAGER

Jeannie JonesACCOUNTS PAYABLE ASSISTANT

Mary SchultzSPECIAL PROJECTS MANAGER

INFORMATION TECHNOLOGY

Michael MasudaNETWORK MANAGER

Richard ComitoMANAGER OF DATA SERVICES

Thomas HandTESSITURA ADMINISTRATOR

BOX OFFICE

James M. BellBOX OFFICE TREASURER

Tom BucherKimberly PriceFIRST ASSISTANT TREASURERS

Dale Bridges JohannsenShane K. MortonMichael MeyerShawnet SweetsSECOND ASSISTANT TREASURERS

Susan WongBruce HallTHIRD ASSISTANT TREASURERS

Robert HarringtonJoseph HowellsMargaret PrillBrenda RomanJoseph SelwayMarlow WyattTICKET SELLERS

CONSULTANTS

Matchbox StudioGRAPHIC DESIGN

Studio FuseGRAPHIC DESIGN

Robert MillardPHOTOGRAPHY

los angeles opera company staff


the two foscari cinderella - la opera · cinderella (la cenerentola) libretto by the jacopo...

Documents