PUCCINI'S La bohème · PDF fileLa bohème Press Kit 7 PRES CORN 6 Opera San...

PUCCINI'S

PRESS KIT

La bohème

PRESENTS

La bohèmeOpera in four acts

Music by Giacomo Puccini

Libretto by Luigi Illica and Giuseppe Giacosa

First performed February 1, 1896 at

the Teatro Regio in Turin Italy.

Sung in Italian with English supertitles.

Supported, in part, by grants from

the San José Office of Cultural Affairs

and Applied Materials.

Costume Sponsor

Mary & Clinton Gilliland

PRESS CONTACTBryan Ferraro

Communications Manager

Office (408) 437-2229

Mobile (408) 316-2008

[email protected]

operasj.org

For additional information go to

https://www.operasj.org/about-us/press-room/

La bohème Press Kit 5

ARTISTIC TEAM

4 Opera San José

CAST

IN ORDER OF APPEARANCE

RODOLFO

Kirk Dougherty

MARCELLO

Matthew Hanscom

COLLINE

Colin Ramsey

SCHAUNARD

Brian James Myer

BENOIT

Carl King

MIMÌ

Sylvia Lee 4/15, 4/20, 4/30 Julie Adams 4/16, 4/23, 4/28

PARPIGNOL

Yungbae Yang

MUSETTA

Vanessa Becerra

ALCINDORO

Vagarsh Martirosyan

CONDUCTOR

Joseph Marcheso Andrew Whitfield 4/28, 4/30

STAGE DIRECTOR

Michael Shell

SET DESIGN

Kim A. Tolman

COSTUME DESIGN

Alina Bokovikova

COSTUME DIRECTOR

Alyssa Oania

LIGHTING DESIGN

Pamila Z. Gray

WIG AND MAKEUP DESIGN

Christina Martin

PROPERTIES MASTER

Lori Scheper-Kesel

TECHNICAL DIRECTOR

John Draginoff

ASSISTANT STAGE DIRECTOR

Hannah Hudgins

PRODUCTION STAGE MANAGER

Allie Bailey

CHORUS MASTER

Andrew Whitfield

MUSIC STAFF

Veronika Agranov-Dafoe Victoria Lington

SUPERTITLE CUEING

Victoria Lington


ORCHESTRA

6 Opera San José

1ST VIOLIN

Cynthia Baehr, ConcertmasterAlice Talbot, Asst. ConcertmasterMatthew SzemelaValerie TisdelChinh LeVirginia SmedbergDebra FongMichael Grossman

2ND VIOLIN

Claudia Bloom, PrincipalSally Dalke, Asst. PrincipalSusan SteinSue-Mi ShinElizabeth CornerSergi Goldman-Hull

VIOLA

Chad Kaltinger, PrincipalJanet Doughty, Asst. PrincipalMelinda RayneRobert Seitz

CELLO

Lucinda Breed Lenicheck, PrincipalPaul Hale, Asst. PrincipalMichael GrahamJanet Witharm

BASS

Andrew Butler, PrincipalWilliam Everett, Asst. Principal

FLUTE

Isabelle Chapuis, PrincipalMary Hargrove

PICCOLO

Laurie Camphouse

OBOE

Patricia Mitchell, PrincipalMichael Adduci

ENGLISH HORN

Pamela Hakl

CLARINET

Mark Brandenburg, PrincipalAnn Lavin

BASS CLARINET

Mara Plotkin

BASSOON

Deborah Kramer, PrincipalCarolyn Lockhart

FRENCH HORN

Deborah McCracken, PrincipalMeredith BrownEric AchenCaitlyn Smith

TRUMPET

William B. Harvey, PrincipalJohn FreemanOwen Miyoshi

TROMBONE

Kathryn Curran, PrincipalBruce Chrisp

BASS TROMBONE

Christian Behrens

TIMPANI

Mark Veregge, Principal

PERCUSSION

James Kassis

HARP

Karen Thielen, Principal

ORCHESTRA MANAGER

Mark Veregge


SYNOPSIS

8 Opera San José

Program NoteThough few in the audience ever notice it, Acts I and II of La bohème are set on Christmas Eve. Our production will be just a little different than usual, opening on the first Christmas after the Great War. Our old and dear friends are having their first Christmas together after the armistice, and are reunited with their old friends at the Cafe Momus, where they mingle with Nijinsky, Stravinsky, Coco Channel, Picasso and others who made Paris between the wars one of the most glittering and illuminating decades in history. Join our bohemians at the start of the most optimistic time in the 20th century, in one of the most fasci-nating cities in the world.

Act ICHRISTMAS, 1918 – PARIS

In their cold attic, two of the four bohemian inhabitants are trying to keep a fire going in their stove: Marcello, a painter, is prevented from burning a chair by Rodolfo, a poet, who instead sacrifices one of his manuscripts. They are joined by Colline, a philosopher. Their friend Schaunard, a musician, arrives with food and drink. After foiling a visit by Benoit, their landlord, who demands payment of their overdue rent, all except Rodolfo leave for the Café Momus. Rodolfo answers a knock at the door to find a neighbor, Mimì, seeking a light for her candle. Be-fore leaving, she is seized by a fit of coughing and begins to faint. Ro-dolfo revives her and she leaves, but returns a moment later for her lost key. As she and Rodolfo look for it, their hands touch. He tells her about himself and his dreams, and at his request she follows with a narration of her own life and longings. They embrace, declaring their love as they hear Rodolfo’s friends calling from the street.

Act II SAME EVENING, CAFÉ MOMUS IN THE LATIN QUARTER

After Rodolfo buys Mimì a little bonnet as a present, they join their friends at the café, which is situated in a square filled with a holiday crowd. Marcello is angered when his former lover, Musetta, arrives with her wealthy “protector” Alcindoro. She watches him and sings a provocative song deliberately directed at Marcello; after sending Alcin-doro on an errand, she joins Marcello and his friends at their table. The bohemians depart, leaving Alcindoro with the bill.

Intermission (20 minutes)

Act III MIDWINTER, AT ONE OF THE CITY’S GATES

Marcello is now living with Musetta at an inn on the outskirts of Paris. Mimì, sick and distraught, arrives looking for him. She tells him how difficult life has become with Rodolfo’s jealousy. Aware that Rodolfo is about to come outside, Mimì starts to leave but then hides when she hears his voice. She overhears him tell Marcello of his fear that her illness is fatal and he can’t afford to care for her. A sudden coughing fit reveals Mimì’s presence. Musetta and Marcello begin to quarrel. Mimì and Rodolfo agree to remain together until spring.

Intermission (15 minutes)

Act IVTHE ATTIC

Now separated from their sweethearts, Rodolfo and Marcello attempt to work while commiserating in their loneliness (O Mimi, tu piu non tor-ni – Oh Mimi, will you not return?). Schaunard and Colline bring some food and drink, and for a while the four friends forget their hardships with a few moments of levity. Musetta arrives abruptly, and tells them that Mimi is outside, too weak from her illness to come upstairs. Ro-dolfo hurries to help her, and the friends try to make her comfortable in the attic. Musetta, taking Marcello with her, hurries to sell her jewelry in order to buy a muff to warm Mimi’s hands. Colline offers to sell his only coat to buy some medicine (Vecchia zimarra – Old coat), and urges Schaunard to give the lovers some time together. Left alone, Rodolfo and Mimi wistfully recall their first meeting and happy days together (Sono andati? – Have they gone?). The friends return with medicine and the muff, but they are too late – Mimi dies peacefully, surrounded by her friends and her beloved Rodolfo.


NOTES

10 Opera San José

CAST BIOGRAPHY

Julie AdamsSOPRANO (CALIFORNIA)

Mimì. A winner of the 2014 Metropolitan Op-era National Council Auditions, 2015 George London Award, 2015 Elizabeth Connell prize for aspiring dramatic sopranos, and recipient of a 2015 Sara Tucker Study Grant, soprano Julie Adams has been praised by the New York Times for possessing a voice that is “rich, full and slightly earthy in an expressive way.” In the 2016 – 2017 season Ms. Adams will return to San Francisco Opera as Mimi in La Bohème, conducted by Carlo Montan-aro, Kate Pinkerton in Madamda Butterfly, Kristina in Makropulos Case, and covering Princess Jia in the world premiere of Dream of the Red Chamber.

Last season saw Ms. Adams return to San Francisco Opera as a second year Adler Fellow with roles including First Lady in the Jun Kanako production of Die Zauberflöte, and Cesira in the world premiere of Marco Tutino’s La Ciociara. She also covered both the role of Eva in Die Meistersinger von Nürnberg and the title role in Jenufa. Orchestral engagements included Barber’s Knoxville: Summer of 1915 with Contra Costa Wind Symphony, and a chamber concert with San Francisco Op-era musicians as part of SF Opera Lab’s Chamberworks Concerts, with repertoire including Morgen! by Strauss, Previn’s Vocalise, Eternamente by Ponchielli, and Chausson’s Chanson Perpetuelle. A native of Bur-bank, California, Ms. Adams holds both Bachelor of Music and Master of Music degrees from the San Francisco Conservatory of Music where she was awarded the Phyllis C. Wattis Memorial Scholarship.


NOTES

12 Opera San José

CAST BIOGRAPHY

Vanessa BecerraSOPRANO (CALIFORNIA)

Musetta. Vanessa Becerra makes her compa-ny debut during the 2016-17 season, per-forming the role of Musetta in Puccini’s La bohème. A native of Fort Worth, Texas, Ms. Becerra is a recent graduate of the acclaimed Domingo-Colburn-Stein Young Artist Pro-gram at LA Opera. Roles performed there recently include Papagena in Mozart’s The Magic Flute, Barbarina in The Marriage of Figaro, Annina in Verdi’s La traviata, Gossip 2 in Corigliano’s The Ghosts of Versailles, and in concert with bass-baritone Erwin Schrott.

The summer of 2016 brought her return to the Glimmerglass Festival as Musetta in La bohème, and she will return to the festival next summer as Laurey Williams in Oklahoma! In 2014, she made her professional debut with the Fort Worth Opera in the world premiere of With Blood, With Ink.

Shortly following her debut, Ms. Becerra received her master’s degree from The Boston Conservatory where she performed Musetta in La bohème, Pamina in The Magic Flute and the title character in Janacek’s The Cunning Little Vixen.

Ms. Becerra received her bachelor’s degree in Vocal Performance at Texas Christian University where she was the recipient of the distin-guished Nordan Fine Arts Award and performed Adele in Strauss’s Die Fledermaus and Papagena in The Magic Flute.

The 2016-2017 season holds debuts for Ms. Becerra with the San Anto-nio Symphony and North Carolina Opera.


NOTES

14 Opera San José

CAST BIOGRAPHY

Kirk DoughertyTENOR (NEW YORK)

Rodolfo. In his third season as a member of OSJ’s resident company, Kirk Dougherty ap-pears as Edgardo (Donizetti’s Lucia di Lam-mermoor), Almaviva (Rossini’s The Barber of Seville), Nikolaus Sprink (Kevin Puts’ Silent Night) and Rodolfo (Puccini’s La bohème). Last season, Mr. Dougherty performed the roles of Mario Cavaradossi (Puccini’s Tosca), Don José (Bizet’s Carmen), and Mitch (Pre-vin’s A Streetcar Named Desire). He made his first appearance as a member of the resident company during the 2014-15 season as the Duke (Verdi’s Rigoletto), Tamino (Mozart’s The Magic Flute), and the leading role of Philip in the world premiere of Mark Weiser’s Where Angels Fear to Tread.

Mr. Dougherty made his company debut at the Sarasota Opera’s 2014 winter festival, singing ten performances of Manrico in an uncut ver-sion of Verdi’s Il trovatore. He also appeared as Manrico at Baltimore Concert Opera during the 2013-14 season. As Don José (Carmen), he returned in 2015 to Anchorage Opera, where he previously sang the roles of Pinkerton (Puccini’s Madama Butterfly), Arturo (Lucia di Lam-mermoor) and Joseph Treat in the world premiere of Victoria Bond’s Mrs. President.

Mr. Dougherty was recently a soloist with the American Symphony Or-chestra in Bruch’s oratorio Moses at Carnegie Hall and with the Glacier Symphony in Das Lied von der Erde. He also appeared in concert with Opera Delaware and with Helena Symphony.

In past seasons, he has performed with many notable musical organi-zations, such as the Castleton Opera Festival, Central City Opera, Utah Festival Opera, Opera Naples, Salt Marsh Opera, Duluth Festival Opera, Manhattan Concert Productions at Carnegie Hall, and many others.


NOTES

16 Opera San José

CAST BIOGRAPHY

Matthew HanscomBARITONE (MINNESOTA)

Marcello. Matthew Hanscom began this sea-son as Enrico in Lucia di Lammermoor fol-lowed by Figaro in The Barber of Seville, Lt. Gordon in Silent Night, and finally Marcello in La bohème. Previous roles with Opera San Jose include Escamillo in Carmen, Stanley Kowalski in A Streetcar Named Desire, the ti-tle role in Rigoletto, Scarpia in Tosca, Taddeo in Rossini’s L’Italiana in Algeri, Gino Carella in the world premiere of Mark Lanz Weiser’s Where Angels Fear to Tread based on the novel of the same name by E.M. Forster, Papageno in Die Zauberflöte, and Conte Almaviva in Le nozze di Figaro. Highlights from recent sea-sons include a “vocally and dramatically compelling” Comte de Tou-louse in Verdi’s Jérusalem, a “fully realized portrait” of Slim in Carlisle Floyd’s Of Mice and Men, and a “most expressive, technically secure, and vocally commanding” Ping in Turandot, all with Sarasota Opera. Matt has enjoyed success at the highest levels of national and interna-tional competition. He was an international finalist in the Neue Stimmen International Singing Competition in Gütersloh, Germany. He is a former national semi-finalist in the Palm Beach Opera Vocal Competition as well as a former national semi-finalist in Houston Grand Opera’s Eleanor McCollum Competition for Young Singers. In consecutive years he was a district winner, followed by a national semi-finalist in the Metropolitan Opera National Council Auditions and can be seen in the documentary film “The Audition”.

Possessing both bachelor’s and master’s degrees in music from North-western University in Evanston, IL, Matt is an alumnus of many of the nations premier training programs such as Wolf Trap Opera’s Filene Young Artist Program, the Santa Fe Opera, the Merola Opera Program, Opera Theatre of St. Louis’ Gerdine Young Artist Program, Chicago Op-era Theater, Sarasota Opera Studio, and Central City Opera.


NOTES

18 Opera San José

CAST BIOGRAPHY

Brian James MyerBARITONE (NEVADA)

Schaunard. Baritone Brian James Myer has been praised as a stage animal of “both voice and character to make him stand out in the crowd” (Sarasota Observer). Mr. Myer joins Opera San José as a Member of the Resi-dent Company during the 2016–2017 season, performing Figaro in Il barbiere di Siviglia, Ponchel in the West Coast premiere of Kevin Puts and Mark Campbell’s Silent Night, and Schaunard in La bohème. Previous roles with Opera San José include Angelotti in Tosca, Papageno and Second Priest in Die Zauberflöte, Masetto in Don Giovan-ni, and the roles of Alessandro/Enrico and Gino Carella in the world premiere production of Mark Weiser’s Where Angels Fear to Tread. For his interpretation of the tragic character of Gino, Mr. Myer was hailed as “a name to look for in the future” (San José Metblogs).

Other recent engagements include Figaro in Il barbiere di Siviglia with Florida Grand Opera; Silvio in Pagliacci with Sarasota Opera; Le Dan-caïre in Carmen, Yamadori in Madama Butterfly, and Masetto in Don Giovanni with Opera Las Vegas; and the Marchese in La traviata, Pish-Tush in The Mikado, Yakusidé in Madama Butterfly, and Albert in The Ballad of Baby Doe with Chautauqua Opera.

On the concert platform, Mr. Myer has appeared as soloist in Mozart’s Requiem and Coronation Mass, Milhaud’s Cantate de Psaumes, Bach’s Magnificat and Christmas Oratorio, Rutter’s Mass of the Children, and Brahms’ Liebeslieder Walzer in venues across North America. He has recently made his Opera Orlando debut as part of their Opera in the Park summer concert series, performing as a member of “The Three Baritones” to sold-out audiences and joining the group in the recording studio for their upcoming album “Christmas Around the World”.


NOTES

20 Opera San José

CAST BIOGRAPHY

Carl KingBARITONE (CALIFORNIA)

Benoit. Carl King returns during the 2016-17 season to perform the role of Benoit and cover for the role of Alcindoro in Puccini’s La bohème. His previous appearances with the company include the role of the Sacris-tan in Puccini’s Tosca, covering the role of Mustafà in Rossini’s The Italian Girl in Algiers, Don Geronio in Rossini’s Il turco in Italia, Dr. Bartolo in Rossini’s The Barber of Seville, Dulcamara in Donizetti’s The Elixir of Love, Leporello in Mozart’s Don Giovanni and Mo-rales in Bizet’s Carmen.

Mr. King’s recent performances include Fiorello in Il barbiere di Siviglia and Betto di Signa in Gianni Schicchi (Sacramento Opera), Benoit/Al-cindoro in La bohème (Livermore Valley Opera), Don Magnifico in La Cenerentola (Townsend Opera) and Dulcamara in L’elisir d’amore, The Bonze in Madama Butterfly, Dr. Bartolo in Il barbiere di Siviglia, Figaro in Le nozze di Figaro (Center Stage Opera Los Angeles).

Mr. King joined the roster of The San Francisco Camerata where he cre-ated the role of The Doctor in the world premiere of Carlos Franzetti’s Corpus Evita. He went on to reprise the role in the 2005 Grammy nom-inated recording for Amapola Records. Mr. King is also featured as Ole Mole in Ardecy Music’s studio recording of Rhett DeVelay’s Little Lives.

Mr. King has sung with Phoenix Opera, Long Beach Opera, Opera Pa-cific, Arizona Opera, Festival Opera, Springfield Regional Opera, Opera in the Ozarks, and The Opera Festival of Oklahoma. His credits include Dr. Bartolo in Le nozze di Figaro, The Four Villains in Les contes d’Hoff-mann, The Husband in Amelia Goes to the Ball, Frank in Die Fleder-maus, Henry Davis in Street Scene, and the title roles in The Mikado, Gianni Schicchi, and Verdi’s Falstaff.


NOTES

22 Opera San José

CAST BIOGRAPHY

Sylvia LeeSOPRANO (SOUTH KOREA)

Mimì. Sylvia Lee joins Opera San José’s resident company during the 2016-17 sea-son, appearing in the title role of Donizetti’s Lucia di Lammermoor, and Mimì (Puccini’s La bohème). Recent engagements for Ms. Lee include joining the roster of the MET opera in the new production of Alban Berg’s Lulu di-rected by William Kentridge. She also recent-ly performed Gilda in Verdi’s Rigoletto with the Virginia Opera and Lucia di Lammermoor with Musica Viva in Hong Kong. She was Ilia in Mozart’s Idomeneo with Mo. Myung-Whun Chung and the Korea National Opera, and sang the roles of Pamina in Mozart’s The Magic Flute and Lucia with the Korean National Opera. Engagements in 2014-15 included Gilda in Rigoletto in Hong Kong, plus the Queen of the Night with Boston Youth Symphony Orchestra and Opera Tampa.

Recent concert engagements include Gala Cristina Deutekom 80 Jaar with Mo. Ramon Tebar and a Gala Concert at the Koninklijk Theater Carré in Amsterdam, the Netherlands; an Opera Gala in Antwerp and the Annual Opera Gala Concerts with Korea National Opera conducted by Mo. Marco Balderi. She also performed the Brahms Requiem and Carl Orff’s Carmina Burana with the Southwest Florida Symphony and Handel’s Messiah with the New Jersey Symphony.

Ms. Lee is a winner of the 2007 Metropolitan Opera National Coun-cil Auditions for the Eastern Region. She also received awards from the National Opera Association Competition, the Olga Koussevitzky Competition of the Musicians’ Club of New York, the Connecticut Opera Guild’s Young Artist Scholarship Competition.

She holds a bachelor’s degree in music from Seoul National Univer-sity and a master’s degree in music from Mannes College of Music. In addition, she completed a one-year professional studies course at the Manhattan School of Music.


NOTES

24 Opera San José

CAST BIOGRAPHY

Colin RamseyBASS-BARITONE (CALIFORNIA)

Colinne. Bass-baritone Colin Ramsey joined Opera San José’s resident company as a principal artist this season, appearing as Rai-mondo (Donizetti’s Lucia di Lammermoor), Basilio (Rossini’s The Barber of Seville), Father Palmer (Puts and Campbell’s Silent Night), and Colline (Puccini’s La bohème). Mr. Ramsey has performed with many compa-nies including Seattle Opera, Austin Lyric Opera, Sarasota Opera, Wolf Trap Opera, Opera Santa Barbara, Des Moines Metro Opera, The Green Mountain Opera Festival, Pacific Music Works, and The St. Paul Chamber Orchestra. The 2014-15 season featured his debut as a soloist in Handel’s Messiah with the St. Paul Chamber Orchestra with conductor Paul Agnew of Les Artes Florissants, and a return to the Pacific Northwest’s premier early music orchestra, Pacific Musicworks, for his role debut as Sarastro in Mozart’s The Magic Flute with Grammy Winner Stephen Stubbs conducting.

Other recent engagements include Menotti’s The Consul with Seat-tle Opera and Opera Santa Barbara, Collatinus (Britten’s The Rape of Lucretia) with Vespertine Opera, Somnus/Cadmus in Handel’s Semele with Pacific Musicworks, and a debut with Austin Lyric Opera as Il Frate in Verdi’s Don Carlo, as well as his debut with Green Mountain Opera Festival reprising Alidoro in Rossini’s La Cenerentola.

Mr. Ramsey recently took 3rd Prize in the Metropolitan Opera National Council Auditions in the Rocky Mountain Region and an Encourage-ment Award in the Western Region in 2011. He has won prizes from the Pasadena Opera Guild, a grant from the Opera Buffs and is the 2011 Hugh Ross Award recipient at Manhattan School of Music, an award which is given every year to a graduating singer of ‘unusual promise.’


NOTES

26 Opera San José

CAST BIOGRAPHY

Vagarsh MartirosyanBASS-BARITONE (CALIFORNIA)

Alcindoro. Vagarsh Martirosyan was born in Armenia, where he graduated from the R. Melikyan Music College in Yerevan, Armenia. He continued his studies at the Maimonides State Jewish Classical Academy, returning to Armenia where he had additional stud-ies with Armenian tenor Gregam Grigoryan. Beginning in 2006, he was engaged as a so-loist-trainee in the Opera House at Yerevan. Moving in 2009 to Nuremberg, Germany, he continued his vocal studies at the Hoch-schule für Musik. In that same year, he made his professional debut in the title role of Figaro in Mozart’s Le nozze di Figaro. He continued to be invited back to Armenia and Russia for various performances and concerts.

Since his debut in Germany, he has sung performances in the Rostock Opera House having appeared as Dr. Bartolo in Le nozze di Figaro, as Sparafucile in Verdi’s Rigoletto, Leporello in Mozart’s Don Giovan-ni in Nuremberg. Other roles have included Zuniga in Carmen at the Chiemgauer Opern Festival (Germany), Fasolt in Das Rheingold (Nurembert), Oroveso in Norma (Yerevan State Opera), Rene in Iolanta (also Yerevan State Opera), Gremin in Eugene Onegin (Moscow) and numerous other roles in Armenian operas.

While in Europe, he was represented by Opern und Konzertagentur Renich in Düsseldorf and Agentur Klein in München.

In 2014, Mr. Martirosyan moved to the United States. While awaiting his visa approval, he performed a number of concerts primarily in Southern California, where he now makes his home. His first role in the Unit-ed States was in Opera San Luis Obispo’s production of Puccini’s La bohème, singing Colline, in October 2016.


NOTES

28 Opera San José

CAST BIOGRAPHY

Yungbae YangTENOR (CALIFORNIA)

Parpignol. Yungbae Yang made his Opera San José debut this season, appearing as Normanno in Lucia di Lammermoor and Parpignol in La bohème. Recent engage-ments for Mr. Yang include Riccardo (Un ballo in maschera) and the title role in Faust. As a concert artist, Mr. Yang has performed Mozart’s Requiem with Distinguished Con-certs International New York at Carnegie Hall and Handel’s Messiah at Lincoln Center.

Mr. Yang’s early career was marked by winning awards in several of the major American vocal competitions, including the Licia Albanese / Puccini Foundation Competition, Marian Anderson Prize for Emerging Classical Artists, Opera Index Competition, Loren L. Zachary Society Competition, the Liederkranz Foundation Vocal Competition, and the Metropolitan Opera National Council auditions. He began his profes-sional operatic career as a baritone, with engagements throughout the United States and Asia, successfully transitioning to tenor in 2011.

Mr. Yang earned his Bachelor of Music at Hanyang University in his native Korea and was accepted as a Resident Artist at Philadelphia’s prestigious Academy of Vocal Arts (AVA).

30 Opera San José

CONTENTS OF USB DRIVE

OSJ La boheme Calendar Release

OSJ La boheme News Release

OSJ La boheme Press Kit

OSJ La boheme Program

California Theatre History

Giacomo Puccini Bio

Luigi Illica Bio

Giuseppe Giacosa Bio

Headshots

Production Images

For additional information go to

https://www.operasj.org/about-us/press-room/

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