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Berkeley West Edge Opera | November 2010 3

Table of Contents

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Berkeley WeST eDGe Opera1700 Shattuck Avenue #312

Berkeley, CA 94709(510) 841-1903

Mark Streshinsky,Artistic DirectorJonathan Khuner,Music Director

Elizabeth Wells,Executive DirectorChad Owens,Interim Director of Production

Board of DirectorsPaulSugarman,President

MarianKohlstedt,Vice PresidentClaudeBabcock,Secretary

TimothyR.Blevins,TreasurerRobynDondero-Wren

VinceFogleMicheleMolitorBethSandefurSigmundSiegel

CynthiaWhiteheadLuanneRogers(in memoriam)

Website:www.westedgeopera.org

StaffRogerMcCracken,Director of Marketing

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Box Office510-841-1903

BerkeleyWestEdgeOperaissupportedbytheCivicArtsProgramoftheCityof

BerkeleyandtheNationalEndowmentfortheArts.

Berkeley West Edge Opera is a member of Opera America, Theatre Bay Area, the Berkeley Chamber of Commerce, and the

El Cerrito Chamber of Commerce.

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BoardofDirectors....................................3CastList..............................................7OrchestraList.............................................8ProductionStaff.........................................9FromourArtisticDirector.....................11FromourPresident.................................13OnourPerformanceofXerxes..............15Synopsis...................................................17FromourExecutiveDirector..................19TheTree....................................................23The Artists...............................................25NextSeason.............................................30Volunteer Spotlight................................37Friends of Berkeley Opera..................39


presents

XerxesbyGeorgFriedrichHandel

LibrettobySilvioStampiglia

inItalianwithEnglishsupertitles

XerxespremieredinLondononApril15,1738.

ThiseditionofXerxesisbyMarkStreshinsky,JonathanKhunerandAlanCurtis.

Conducted by AlanCurtisProduction Directed byMarkStreshinskyMusic Preparation byJonathanKhuner

Saturday,November13,8pmFriday,November19,8pmSunday,November212pm

ElCerritoPerformingArtsTheater

540AshburyAvenue,ElCerrito

The performance will last approximately 2 hours, 20 min including one intermission.

SupportoftheXerxesorchestrawasprovidedinpartbyHeliRoihaandTerryMcKelvey.

MediaSponsors


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If it's not play, it's not working.

TheCityofElCerrito,ElCerritoHighSchoolandWestContraCostaSchoolDistrict,CathyHood,SheriGamba,JasonReimann,LeslieWilkins,D’JourFloral&Antiques,ElizabethHaberlin,ChristineFord,GaryEncinosfordonationoftheharpsichord,SeanRobertson,andtoJeffreyDouglass,MarieStreshinsky,FeliciaChen,andtoEvanStreshinskyforloanofteddybears.

Special Thanks to...


XerxesCast

Xerxes...............................................................................................Paula RasmussenRomilda..............................................................................................Angela CadelagoArsamene................................................................................................Ryan BelongieAtalanta.........................................................................................................Anna SlateAmastre...................................................................................................Sonia GariaeffElviro.....................................................................................................Donald SherrillAriodate............................................................................................Roger McCrackenAmastre’sLadyinWaiting....................................................................Mi-Yung RheeXerxes’sbodyguards............................................... Michael Feo and Anna Ginnett

Chorus:JoshCohen,ZoltandiBartolo,KellyEshoff,MichaelFeo,RoseFrazier,AnnaGinnett,ColinHamilton,C.A.Jordan,JerryKaluski,TimMartin,MeghanMcGovern,EmilyPelc,MichellePersoff,PatriciaPrewitt,ElenkaProulx,SableRivera,CathyThompson,IsabelTo,CynthiaWhitehead,WayneWong

Xerxes(cover).......................................................................................Elspeth Franks

LightingDesign.........................................................................................Lucas KrechSetDesign................................................................................Liliana Duque PiñeiroTreeArtist................................................................................................Mark CanepaCostumeDesign..................................................................................Romy Douglass


West Edge Baroque Orchestra performing on period instrumentsViolinLisa Weiss,(leader)anonymous, 19th century;

after Paolo Antonio Testore, Contrada, Larga di Milano, 1730

Chase Spriull,anonymous German, c. 1700

Noah Strick, Celia Bridges, Köln, Germany 1988

Katherine Button, Augustinius Chappuy, Paris 1774

David Sego,(principal2nd) Josefus Pauli, Linz, 1732

Daria D’Andrea,Neapolitan School, c. 1760

Eric Finley,anonymous Italian, c. 1800

ViolaAaron Westman,Dmitry Badiarov, Brussels,

2003; after Antonio Bagatella, Padua, c. 1750

Ondine Young,anonymous German, 18th century

VioloncelloShirley Hunt,(continuo)anonymous, Milan,

1706

Farley Pierce,Tony Rose, 1986 after large pattern Stradivarius, 18th century

BassJosh Lee,John Pickering, Greenmont, New

Hampshire 1743

Oboe & RecorderMarianne Pfau,baroque oboe: Sand Dalton,

1988 after Schlegel, c. 1720; alto recorder: Blezinger, 2000 after Bressan, c. 1720

Curtis Smith, baroque oboe: Sand Dalton, Lopez Island WA, 2004, after J.H. Eichentopf, 1720s; alto recorder: Rob Gilliam Turner, Bloomington, Indiana, 2005 after Peter Bressan, Early-1700s

BassoonKate Van Orden,Peter de Konigh, The

Netherlands, 1986; copy of Thierriot Prudent, Paris, c. 1770

TrumpetJoyce Johnson Hamilton,A. Egger, Basel, c.

1995 after Johann Leonard Ehe, Nuremberg 1664-1724

HornPaul Avril, J.J. Haas, Nurnburg, 1720

Loren Tayerle, Courtois, Paris, 1820

HarpsichordAlan Curtis,after Carlo Grimaldi, 18th

century by Jerome Prager, generously lent from the collection of Gary P. Encinas and James Wright

Gilbert Martinez,after Carlo Grimaldi, 18th century by Kevin Fryer, generously lent from the collection of JungHae Kim

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Conductor.......................................AlanCurtisAssistantConductor.............GilbertMartinezChorusDirector....................JonathanKhunerStageDirector.......................MarkStreshinskyAssociateStageDirector.......CarolineAltmanMusicAssistant.............................DanielAlleyDramaturge..................................PaulS.DoyleSupertitles..............................JonathanKhunerSupertitleOperator......................MargoLeslieSupertitleTech/Videographer...JeremyKnightItalianDictionCoach......ElenaServi-BurgessHair/Make-up............................SachaBadameProps..........................................MaryGallahueProductionDirector....................ChadOwensStageManager......................GretchenMuellerRehearsalPianists.................GilbertMartinez,

SkyeAtmanMarketing............................Roger McCrackenPublicRelations.................MarianKohlstendtSupertitleOperator......................MargoLeslieHouseManager/UsherCoordinator..................NicholasAliavaGraphicDesign..........................CreativeMint

OrchestraManager...............GilbertMartinezAdSales....................................JohnMcMullenProgramEditor.................CynthiaWhiteheadProgramDesign/Production.....AnnHigginsCopyeditor/Proofreader...........HeidiBendorfPrinter..................................................Inkworks

Production Staff

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15 virtuosos


I havewantedtodoHandel’sXerxesforquitealongtime.Wethoughtaboutit

afterthefunofAcis and Galateasevenyearsago,andIalsolookedintodoingitafterthesuccessofmyGuilio CesareinKansasCitytwoyearsago.WhenIreconnectedwithPaulaRasmussensoonafteranddiscoveredher“Ombramaifu”onYouTube,Istartedplotting.Paulahassungtheroleallovertheworldandsheconsidersithersignaturerole.AfterPaulaagreedtodotheproduction,alongwithherhusbandDonSherrill,whomIhadhopedtoworkwithaswell,JonathanhadthegreatideaofaskingthenotedHandelexpert,andformerCalmusicprofessor,AlanCurtistoconduct.Wewereabsolutelythrilledwhenheaccepted.MaestroCurtishasaninternationalcareerasbothaconductorandaHandelscholarandit’sarealcouptohavehimwithus.

AsIbeganthinkingaboutthepieceandwhatmakesthisveryoddemperor/dictator/crazypersontick,Istartedrollinghischaractertraitsaroundinmymind:hehasanabsolutelybrilliantmilitaryintellect,heispronetooutbursts,he’sevidentlyobsessedwithbotany,andhehasnoclueastothepersonalfeelingsoremotionsofthepeoplearoundhim.Isuddenlythoughttomyself,“ThisguyhasAspergers’ssyndrome!”ImentionedthistoPaula,whowas,ofcourse,initiallyhorrified,butshesoonrealizedthelogicofthis,especiallywhenItoldherthatwewouldnotgoforan“AllAsperger’s”concept.Ithinkitisjusthelpfultoimaginetheinsandoutsofthisactuallyveryseriousformofautism…andthenmineitforitscomedicpotential!

Soonafterthisrevelation,Isaw,attheYaleRep,anabsolutelybrilliantadaptationofGoldoni’sThe Servant of Two Masters;acommediadell’arteplaythatresonatedwonderfullywiththemodernaudience.Itwassilly,magical,serious,andbeautiful,andoneofthemostsatisfyingeveningsoftheater

Ihavehad.TheplotofXerxes,thoughtakingitstitlecharacterfromhistory,hasalmostnothingelsetodowiththePersianEmpire.It’sreallyaconvolutedcommediaplotwithoutthestockcharacters.Istartedthinkingthatmixingsillysightgags(whichIlove)withmomentsofrealemotionandheart–somethingIneverconsideredpossibleuntilseeingThe Servant of Two Masters–wouldbeperfectforXerxes.

Afinalnoteaboutearly18thcenturydramaturgy:it’simportanttounderstandthatitwasjusttotallydifferentfromwhatweexperiencetodayinmoderntheater.IoftenhearthatHandeloperasarejustaboutthemusicandit’sbestnottopaytoomuchattentiontothestory.Un-doctored,Handeloperasareagreatchallengetoadirectorandtoanaudience.Ibelievethatwearewellwithinourrightstore-imaginethesepiecesforamodernaudience.Cutsand,inthiscase,are-configurationofAct3dowondersfortheplot,avoidingseveralmomentsthatmakemethink“Huh?”AfterthesuccessofmyCesareadaptation,Iamnolongershyaboutdoingthis.IbelievethatthismethodofproducingHandeloperasbringsthemclosertotheaudienceandmakesmagicaleveningsofmusicaltheater.

From the Artistic Director, Mark Streshinsky


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WelcometotheopeningproductionofBerkeleyWestEdgeOpera’s32nd

season–ourfirstseasonoperatingunderournewname,andoursecondseasoninournewhomeattheElCerritoPerformingArtsTheater.Thisseasonwecontinueourtraditionofperformingthreeoperas,oneeachdrawnfromthebaroque/classical,romantic,andcontemporaryeras,presentingsingersfromthenationaloperascenealongwiththebestofthelocalBayAreatalent.

Eachofthisseason’sproductionsepitomizeswhatBerkeleyWestEdgeOperaisallabout.Ouropeningproduction,Handel’sXerxes,affordsBayAreaaudiencesarareopportunitytohearafullystagedbaroquemasterpiece,withanartistwhohassungthetitleroleworld-widetogreatacclaimandanorchestraconductedbyarenownedbaroquemusicexpert.Inoursecondproduction,The Carmen Fixation,wepresentoneofthemostfamiliarofoperas,freshenedandreinventedbyMusicDirectorJonathanKhuner,whoparesittoitsmusicalanddramaticcore.Andforourfinalproductionoftheseason,wecontinueourtraditionofofferingnewworks,inthisinstanceaworldpremiereofClarkSuprynowicz’sandAmandaMoody’sCaliban Dreams.Rarelydoesasmalloperacompanycramsomuchmusicalexcitementintoashort,three-productionseason!

Wearealsoproudtoannouncethelaunchofanewoff-subscriptionseriesthisseason,

Songs from the Edge,twoafternoonsofartsongsperformedincollaborationwithBerkeley’snon-profitFreightandSalvage.ThefirstconcertisscheduledforSunday,December5.TheseconcertswillaffordBayAreaclassicalmusicloversanopportunitytohearBayAreaoperastarsinrecitalinaninformal,intimatevenue.Ticketinformationisavailableonourwebsite.

AsBerkeleyWestEdgeOperagrows,wehaveanever-increasingneedforvolunteers,whocanhelpthecompanyinanynumberofways,fromhostingorprovidingtransportationforguestartists,toassistingwithcostumes,tohelpingoutatrehearsals,tosupportingouradministrativestaff,toushering,andmore.ThereisnobetterwaytobecomeanintegralpartoftheBerkeleyWestEdgeOperafamilythanbydonatingyourtime.Ifyouwouldliketovolunteer,pleasecontactourofficeat510-841-1903.

Finally,wewouldverymuchliketoreinforceourpresenceinElCerritobymovingourofficetoournewhomecommunity.Ifyouknowofofficespace–or,evenbetter,officeandrehearsalspace–thatcouldbemadeavailabletousonapro bono basis,pleasecallouroffice.

ThankyouforsupportingBerkeleyWestEdgeOperabyyourpresenceheretoday.Enjoytheseason!

From the President, Paul Sugarman

30th Anniversary SeasonDecember 4th and 5th

Handel’s Messiah

Nicholas McGegan, conductorPhilharmonia Baroque Chorale

Tickets start at $30Order today!

Learn more at

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On our performance of Serse..by Gilbert Martinez, Assistant Conductor

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Berkeley West Edge Opera’s productionis in joyous collaboration with Baroque

MaestroAlanCurtis,whoisatreasureoftheBayArea.Weareproudtohonorhiswork..Alan Curtis is held in high esteem all overtheworldasaconductor,harpsichordist,andpioneering specialist in early baroque operaperformance, specializing in Rameau, Han-del, Vivaldi and Monteverdi. His participa-tion is a mark of distinction for West EdgeOpera’s bold new step into the forefront ofinnovative opera performances on the WestCoast.

Theothermajorcollaboratorinthisproduc-tion is MusicSources, the Bay Area’s uniquecenter for early music. MusicSources wasfounded in 1987 by Laurette Goldberg, alsothe founder of Philharmonia Baroque Or-chestra.Theorchestrainthisproductioncon-sistsofprofessionalperformersonperiodin-struments,allofthemdrawntotheBayAreaduetothegroundbreakingworkofMaestroCurtisandthepioneeringspiritofGoldberg.

WhydoesourperformanceofSerseincludeinstruments fromHandel’s timeandyetuselighting, performance space, acting styles,anddressofmoderntimes?Handelandhislibrettist updated an earlier 60 year-old li-bretto, byNicolòMinato(1627-1698). Theoriginal Xerse (the spelling was normalizedasXerxesinmoderntimes)wascomposedbyFrancescoCavalli(1602-1676)andpremieredonJanuary12,1654inVeniceattheTeatroSSGiovanni e Paolo. It was adapted by CavalliandsubstitutedatthelastminuteasintriguesdevelopedaroundthepremiereofhisoperaErcole Amante, intended for celebrations ofthemarriageLouisXIVinParis.

Later, Handel’s rival in London, composerGiovanni Bononcini (1670-1747) used a re-vised version of the libretto by Silvio Stam-piglia (1664-1725). Acursoryglanceof theoriginal libretto shows how much choppingandpastingwasdonebyHandel’sanonymouslibrettist/adapter to make the drama morepalatabletoacontemporaryaudience.Sever-alcharactersweredeletedandthedramawas

tightened from complicated Venetian plotsand subplots into a more concise entertain-ment. Hereisasmallexampleintheopen-ingsceneofAct1,nowfamousas“Handel’sLargo”:

(Cavalli’sversion)OmbramaifuDivegetabileCaraedamabile,Soavepiù.

BeiSmeraldicrescenti,fronditenereebelle,diturbinioprocelle

(continued on p. 43)


Act 1.Xerxes,theKingofPersia,isreview-inghistroops.Hisbride-to-be,PrincessAmastre,andhisbrotherArsameneattendhim.Xerxesismoreinterestedinhisbelovedtree,butisdistractedwhenhehearsthevoiceofRomilda,hisbrother’slove.MuchtoArsamene’shorror,XerxesfallsinstantlyinlovewithRomildaandbeginstoshowerherwithgifts.Romilda’ssisterAtalantaismadlyinlovewithArsamenesosheisquitehappywiththis.SeeingAmastreasanobstacletohislove,Xerxeshasherremovedfromthecourt.AfterArsameneprotestshisbrother’sloveforRomilda,Xerxesbanisheshim,alongwithhisservant,Elviro.BecomingfrustratedwithRomilda’sfidelitytoArsamene,XerxesleavestoplanhisconquestofEuropeandRomilda’sheart.

Amastreandherladyinwaitingdecidetoremainincourtindisguise.XerxesmeetsAriodate,Romilda’sfather,whoisthegen-eralofXerxes’army.XerxescongratulatesAriodateonhisrecentvictoriesandoffers,asareward,thathisdaughterRomildashallbemarriedtosomeoneofroyallineage.Ari-odateassumesthatXerxesisreferringtoArsameneandisveryhappy.

Inexile,ArsameneandElvirohaveanewlife,butArsamenecannotstopthinkingofRomilda.HeasksElvirotogoindisguisetodeliveralovelettertoher.Elviroishappytocomply.

RomildaisdiscussingherpredicamentwithhersisterAtalanta.WhenAtalantasuggeststhatinstead,sheherselfcouldmarryArs-amene,Romildaridiculesher.Leftalone,AtalantaplotstoseduceArsamene.

Elviroarrivesbackatcourtdisguisedasaflowerseller.AmastreaskesElvirowhothenewloveofXerxesis.WhensheistoldthatitistheloveroftheKing’sbrother,shecon-tinuestodespair.AtalantarecognizesElvirothroughhisdisguise.Sheofferstodelivertheletter,butliestoElvirothatRomildaiswritingalovelettertotheKing.Furious,Elvirostompsout.Atalantadeliverstheletter

toXerxes,tellinghimthattheletterisfromArsamenetoher.AtalantaasksXerxesforArsameneasahusband,andXerxesagrees.RomildaisunmovedbytheletterandXerxesbecomesfurious.

Act 2.ArsameneandElviromeetupandElvirogivesArsamenethebadnewsthatRomildalovesXerxes.

XerxeshasconstructedabridgeofboatsinordertocrossoverandconquerEurope.ArsamenecontactsXerxesatthebridgesite.XerxesinformshimthathemaymarryAtalantaandArsamenebecomesincensed.XerxesinformsAtalantathatshewillnot

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marryArsameneandElvirohasanaccidentatthebridge.

AsXerxesandAmastresingoftheirsadness,RomildaarrivesandXerxestriestoforcehertomarryhim.ThedisguisedAmastreinter-venesandXerxesordersherimprisoned,butRomildacomestoherrescue.

ArsameneandRomildaarereunitedandrealizethedeceitofAtalantaandthemistakeofElviroasXerxesarrivesandArsamenemusthide.XerxesthreatenstohaveArs-amenekilledandRomildafinallyrelents,askingXerxestogetpermissionfromherfa-ther.Arsameneoverhearsthisand,assumingRomildanowwantstobeQueen,isfurious.

XerxesasksAriodatetoapproveamarriagebetweenRomildaandapersonofRoyallin-eage.AgainassuminghemeansArsamene,Ariodateeagerlyassents.

RomildaasksAmastretohelphertocon-vinceArsamenethatsheisfaithful.AmastreasksRomildatocarryalettertoXerxes.Astheloversclasphandsagain,Ariodatear-rives,bearingthenewsthattheycannowbemarried,andsotheyare.

Xerxesarrives,readytobemarried,andisfurioustofindoutthatRomildahasalreadymarriedArsamene.EveryonecomestoseewhattheshoutingisallaboutandXerxesseestheletterinRomilda’shand.Snatchingitaway,hemakesAriodatereaditandthinks

itisahatefulletterfromRomildauntilthesignatureisread.Xerxesisamazedtoreal-izethatAmastrehasbeenatcourtthewholetimeandseestheerrorofhisways.EveryoneishappyandAtalantavowstolookforanewlover.

Orforthoseofyoustillreading:

TheKing,whoisplayedbyagirl,fallsinlovewithagirlwhoisinlovewithaboywhosingslikeagirl.TheKing’sgirlfrienddressesuplikeaboytogethimback.Theservantoftheboywhosingslikeagirldressesuplikeagirltogetthegirlfriendoftheboywhosingslikeagirlback.Gotit?


Welcometothe2010–2011BerkeleyWestEdgeOperaSeason!Thisseason

wearenotonlyexcitedtobebringingyouthreewonderfulnewproductionsthatareguaranteedtokeepyoutalkingaboutthem,butwearehappytobeintroducingtwonewmembersoftheBWEOfamilyinOperaLabandSongsfromtheEdge.OperaLabwillbepresentingconcertreadingsoflesser-donemasterworksandtakeplaceinveryintimatesettingssothatouraudiencecancompletelybaskinthebeautyofthesepiecesandthevoicesthatrenderthem.SongsfromtheEdgewillbeawonderfulpresentationoftheothersideofclassicalvocalartistry,featuringartsongrecitals.Whatisthedifferencebetweenoperaandartsong?Inshort,operaisthemusicalsettingofadramaticstoryandartsongisthesettingofgreatpoetrytomusic.Manyofopera’sgreatestcomposershavealsocomposednumerousartsongssettothewordsoftheworld’sgreatestpoets.ArtsongisawonderfullybeautifulandcomplexmusicalformandIhopeyouwilljoinusaswepresentthisfacetofourbelovedartform.InformationaboutOperaLabandSongsfromtheEdgecanbefoundonourwebsiteatwww.westedgeopera.org.

Wehavealsoaddedacoupleofassetstothesemusicalgemsthatwillhopefullyupgradeyourexperiencewithus.Thefirstisanewonlineticketingsystemthatallowsyoutopurchaseandprintticketsfromtheconvenienceofyourownhome.While

wearestillavailabletohelpyoubyphoneifyouneedit,wehopethissystemwillimproveyouroverallticketinganddonatingexperience.AnotheradditionyouarelikelytonoticeisournewDonors’Lounge.TheDonors’Loungewillbeopenduringintermissionandislocatedupstairsbythelibrary.Itofferscomplimentarybeveragesandsnackstodonorsatthe$200-and-abovelevelasaspecialwaytosaythankyouforsupportingBerkeleyWestEdgeOpera.Ifyouarenotcurrentlyadonoratthislevelandwouldliketotakeadvantageofthisbenefit,youmaydosoatanytimebyincreasingyoursupport.

Onceagain,wethankyouforjoiningusthisseasonandhopethatyourexperiencewillprovebothmovingandmemorable.

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InthegardenoftheKingofPersia,theplanetreeinwhoseshadeKingXerxes

singshisfamousaria“Ombramaifu,”wassculptedbyElCerritoartistMarkCanepa,a1977graduateofElCerritoHighSchool.Markrecentlyopenedanewgalleryandreceptionspace;MCArtworks—TheVillageShopsis,inthewordsofthecollaborators,“anartthriving,nojivingcommunityofart-istswhoofferourpassion,ourculturesandourworkwiththeworld.”

Formorethan35years,Canepahasbeencreatingintricatemetalsculpturesofitemsfoundinnature,colorfulpaintingsofani-mals,andintimateportrayalsoftribalchar-acters.HehascreatedsetsforHollywoodmovies,award-winningTournamentofRosesparadefloats,rooftopandotherdis-playsforcompaniessuchasTowerRecords,andfloatsforElCerritoHigh.Hissculpture“Herons”attheAlbanyWaterfrontandBulb

The TreeareawascommissionedbythecityandtheStateCoastalConservation.

Torentspaceforartorevents,contactDyanaBhandariat510-847-9421.Address:10330SanPabloAvenue,ElCerrito.


ArtistsCaroline Altman(Associate Stage Director)worksasadirector,singer,teacher,andcomposer.RecentdirectingcreditsincludeThe Little Prince,The Fairy Queen,andDido and Aeneas(SanFranciscoOperaGuild),The Telephone(ElPasoOpera),Second Weekend in September(CityLights,SanJose),Gentlemen Prefer Blondes(42ndStreetMoon,SanFrancisco)andtheoff-BroadwaypremiereofLysistrata, the Musical.Inadditiontoherprivatestudio,shehastaughtatA.C.T.,MarinTheatreCompany,SanDiegoLyricTheatre,PlayhouseWest;StagedoorManor,TADA!(NewYork),andPineappleStudiosandCoventGarden(London)andtheSummerYouthConservatory.Carolinehaswrittenfivemusicalsandoneopera,andisDirectorofEducationforSanFranciscoOperaGuildwhereshecreatedandimplementedtheaward-winningBooktoBravo!–aclassroommusicaltheatre/operacompositionprogram,andSummerYouthConservatory,atrainingprogramforyoungsingers.ShereceivedherBachelorofArtsdegreeinmusicandcompositionfromtheUniversityofCaliforniaSanDiego.

CountertenorRyan Belongie(Arsamene)beganthe2010-2011seasonsingingtherole

ofOberoninA Midsummer Night’s DreamwithWolfTrapOpera.HewillalsobecoveringtheroleofLychasinHandel’sHerculeswithLyricOperaofChicago,andsingingintheannualSanFranciscoOperaCenter

concert.ConcertappearancesthisseasonincludePurcell’sOde to St. CeciliaandtheSpiritinDido and Aeneas.Heisafirst-yearAdlerFellowwiththeSanFranciscoOperaandwasamemberofthe2009MerolaOperaProgram.HewasasoloistwiththeGrantParkMusicFestivalinBernstein’sMissa

Brevis,andappearedasSecresieinPurcell’sThe Fairy QueenwithMusicoftheBaroque.HewasafeaturedsoloistonpublictelevisioninA Renaissance Christmas.Inadditiontotwicebeingselectedasanationalsemi-finalistintheMetropolitanOperaNationalCouncilAuditions,RyanBelongiewasthewinnerofthe2009LolaFletcherawardfromtheAmericanOperaSocietyandwastherecipientofa2009and2010RichardF.GoldcareergrantfromtheShoshanaFoundation.HeisagraduateoftheVocalHonorsProgramatNorthwesternUniversity.


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BerkeleyWestEdgeOperaneedsyourtalentsandsupporttothriveandshareourloveofoperawithnewaudiences.Inparticular,weneed:

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Angela Cadelago(Romilda),soprano,madeherdebutinthetitleroleofDonizetti’s

Lucia di LammermoorwithFestivalOpera.ShehasappearedwithBerkeleyWestEdgeOperaasthefourheroinesofThe Tales of Hoffmann,andAdina(L’Elisir d’Amore).OtherrolesincludeSusanna(Le nozze di Figaro),Norina

(Don Pasquale),Adele(Die Fledermaus),andRosina(Il Barbiere di Siviglia).UpcomingengagementsincludeHandel’sMessiahwiththeOratorioSocietyofQueens,J.S.Bach’sThe Passion According to St. MatthewwiththeLaJollaSymphony,andKonstanzeinMozart’sThe Abduction from the SeragliowithTownsendOpera.A2005MetropolitanOperaRegionalAuditionfinalist,and2007VirginiaBestAdamsFellow(CarmelBachFestival),Ms.CadelagohasperformedbothinItaly,attheSpoletoFestivaldeidueMondi,andinDenmark,asafeaturedstudentofIleanaCotrubas.Asaconcertsoloist,AngelahassungwithorchestrassuchastheYoungMusiciansFoundationDebutOrchestra.

Mark Canepa(Tree Artist)isametalsculptor,painterandwellknownartistonthewestcoast.HisworkhasbeenfoundatprominentgalleriessuchasthePalace

ofFineArtsinSanFranciscoandtheLosAngelesMuseumofFineArt,aswellasathisowngalleryTheVillageShops,inElCerritoCalifornia.HislargeclientbaseincludesmanyfamousHollywoodactorsandmusicians.Hiscommercialworkhasbeenseeninmovies,TV,andadvertisements,aswellassomeofLosAngeles’andSanFrancisco’sfinestshoppingcenters.HehasalsowonmanyawardsfornumerousparadefloatsintheTournamentofRoses.http://markcanepa.com

Alan Curtis(Conductor)isanotedAmericanharpsichordist,musicologist,andconductorofbaroqueopera.AftergraduatestudiesattheUniversityofIllinois(PhD,1960),hestudiedinAmsterdamwithGustavLeonhardt,withwhomhesubsequentlyrecordedboththeBachconcertiforthreeharpsichords.Inthe1960sand1970shemadeanumberofgroundbreakingrecordingsofsoloharpsichordmusic,includingalbumsdedicatedtothekeyboardmusicofRameauandBach,andafamoussetoftheGoldberg Variationsona1728ChristianZellharpsichord.FollowinganacademiccareerdividedbetweenUCBerkeleyandEurope,Curtisnowdevoteshistimetoperformingdramaticmusic.Hecommissionedboththefirstchitarroneandthefirstchromatic


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(split-key)harpsichordtobebuiltinthe20thcenturyandinaproductionofHandel’sAdmeto(1978)hemadethefirstsuccessfulattempttoreviveHandel’soperaorchestra,includingthenowwidelyaccepteduseofthearchlute.Hehasbeenattheforefrontofnumeroussuccessfuloperaticrevivalsandreconstructions.HecurrentlydirectstheEuropeanensembleIlComplessoBarocco,withwhomhehasrecordedmorethanadozenHandeloperas,includingbothAlcinaandAriodantewithJoyceDiDonatointhetitleroles.TheircollaborationwiththecrimenovelistDonnaLeonon“AHandelBestiary”hasjustbeenreleasedinEuropeandwillbeissuedintheU.S.earlynextyear.

Romy Douglass(Costume Designer)returnstoBerkeleyWestEdgeOperaafterdesigning

costumesforthecompany’s2009-2010season–Don Giovanni,The Tender Land,andLegend of the Ring.RomyalsocostumedthemusicalAnything GoesfortheYouthMusical

TheaterCompany,inOctober.ShereceivedaBachelorofArtsdegreeinFashionDesignfromFloridaStateUniversity.ThisishersecondseasonwithBerkeleyOpera.

Paul S. Doyle(Dramaturge)debutswithBerkeleyWestEdgeOperainXerxes.Heisafreelancedramaturgeanddevelopmentprofessional.Aftergraduatingfrom

MiddleburyCollege,Vermont,in2007,heworkedonCaliforniaShakespeareTheater’s

rebuildingprojectattheirOrindafacility,whichopenedtothepublicin2010.AtMiddlebury,heworkedonavarietyofproductionsasdramaturge,producer,andsound

designer;highlightsincludePeterBarnes’sThe Bewitched,NaomiWallace’sOne Flea Spare,andPaulaVogel’sThe Baltimore Waltz.HelivesinOakland.

Elspeth Franks(Xerxescover)performsawidearrayofoperaticandconcertroles

throughoutthemezzo,altoandsopranorepertoires. ShehassungHaydn’sHarmoniemesseinMunich,Prague,BudapestandVienna.AwardedaVirginiaBestAdamsFellowshipat

theCarmelBachFestivalforthe2002and2003seasons,Franksreturnedtherein2005assopranosoloist.ShesangPrinceOrlofsky(Die Fledermaus)withtheBerkeleyOperaandVirginiaOpera,andCommère(Four Saints in Three Acts)withtheMarkMorrisDanceGroupinNewYork.ShestudiedvoiceatEngland’sRoyalNorthernCollegeofMusicinManchester,andasaRotaryInternationalFoundationScholarattheUniversityofMichigan,AnnArbor.Recent

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A new adaptation by Mark Streshinsky and Jonathan Khuner

of Bizet’s Carmenwith Buffy Baggott as Carmen

Performances on 5, 11, 13 March 2011

World Premiere of Clark Suprynowicz’sand Amanda Moody’s new opera:

Caliban Dreams with John Duykers as CalibanPerformances in August 2011

Still to Come This Season


engagementshaveincludedPurcellandVivaldisoloswithPhilharmoniaBaroqueOrchestra,Handel’sDixit Dominus andScarlatti’sSt. Cecilia Mass,both withtheBayChoralGuild,andJunoinHandel’sSemelewithSanFranciscoCityChorus.Futureengagementsinclude:J.C.Bach’sDies IraewiththeSONOSChamberOrchestrainNewYork,andthetitleroleinRinaldowithPocketOpera.

MezzosopranoSonia Gariaeff(Amastre)hassungRosinainIl Barbiere di Sivigliawith

EugeneOpera,andwassoloistintheworldpre-miereofTheaMusgrave’sVoices of Power and ProtestinNewYorkCity.OtherrolesincludeCherubinowithHouston’sOperaintheHeights,StephanowithOp-

eraSanJoseandPreziosillawithDaCornetoOperainChicago.ShewontheGrandPrizeintheCarmelMusicSocietyVocalCompe-tition,wasNationalGrandFinalistintheLorenL.ZacharyCompetition(2002,2004)andwasadistrictfinalistintheMetropolitanNationalCouncilAwards(2000,2003,and2004).ShewasaresidentartistwiththeSanFranciscoOperaCenterinthe2005and2006season,andwasawardedtheVirginiaBestAdamsFellowshipattheCarmelBachFestival.ShehassungTheCourteseaninStravinsky’sLe RossignolwiththeSanFran-ciscoSymphony,St.Theresa2inFour Saints in Three ActswiththeMarkMorrisDanceGroupinNewYork,andArielinSibelius’sThe TempestSuiteswiththeSONOSCham-berOrchestra.SheperformedSchoenberg’sBrettl-liederattheOlympicMusicFestivalinWashington.ShereceivedherMaster’sdegreefromtheSanFranciscoConservatoryofMusicandherBachelor’sdegreefromtheUniversityofCalifornia,SantaCruz.

Lucas Benjaminh Krech(Lighting Designer)isadesignerforopera,dance,theater,installationandperformance.PreviouscollaborationswithMark

StreshinskyincludeBerkeleyOpera’sDon Giovanni,Legend of the RingandtheCru-cible’sDracul: Prince of Fire.PreviouslyatBerkeleyOperahedesignedThe Tender LandandAida.Lucashasworkedasalightingas-sistantatSanFranciscoOpera,ChicagoOp-eraTheater,VirginiaOpera,andGlimmer-glass.Off-Broadwaycreditsinclude:PerryStreetTheater,St.Clement’s,TheClurman,PlayersTheatre,andmore.Regionalcreditsinclude:TheMagic,MarinTheatreCom-pany,andTheBarter.LucashasdesignedinRomania,PuertoRico,andtheUK.HehascollaboratedondancewithNicoloFonte,MatthewNeenan,SeanCurran,JohannesWeiland,GemzeDeLappe,DonaldMahler,SallieWilson,PaulSutherland,ViktorKaba-niaev,TrebienPollard,AnandhaRay,DavidBrickandBenLevy.HereceivedhismastersinfineartsfromNewYorkUniversity.www.lucaskrech.com

Gilbert Martinez(Assistant Conductor/Harpsichord)istheArtisticDirectorof

MusicSources,CenterforHistoricallyInformedPer-formance,Inc.inBerkeley.Duringhisfiveyearsasdirector,hehasexpandedMusicSources’concertsintoaseriesfeaturingscholars,performersandstudents

fromaroundtheworld.Hestudiedharpsi-chordwithMusicSourcesFounderLaurette

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GoldbergattheSanFranciscoConservatoryofMusic,andsubsequentlytookmasterclasseswithKennethGilbert,TonKoopman,andAlanCurtis.Locallyhehasproducedseveralstagedproductionsofopera,courtballetsandmasques,includingalavish,fullystagedreconstructionofDelizie di Posilipo Biscareccia e Maritime(1620),involvingmorethan50performers,dancers,andac-torsincollaborationwiththeUniversityofCalifornia,SantaCruzTheaterArtsDepart-mentandMusicSources.IntheMusic-SourcesConcertSerieshewillbeconductingareconstructionofaSpanishRenaissancevespersservice,withmusicfordoubleandtriplechoirsofTomasLuisdeVictoriaandhiscontemporaries.www.musicsources.org

Bass-baritoneRoger McCracken(Ariodate)hasperformedleadingroleswithcompaniesthroughouttheUnitedStates,includingEugeneOpera,OperaNevada,PocketOpera,OperaSanJose,SanFranciscoLyric,WestBayOpera,Tulsa,NewOrleans,NorthBayOpera,LivermoreValleyOpera,andFestivalOpera.HisrolesincludeDonPasquale,KezalinThe Bartered Bride,Sarastro,Sparafucile,DonBasilioinIl Barbiere di Siviglia,RaimondoinLucia di Lammermoor,andCollineinLa bohème.HerecentlysangOsmininBerkeleyOpera’sAbduction from the Seraglio,andhealsosangtheroleofFrankinOperaLab’srecentpresentationofPuccini’sEdgar.

Gretchen Mueller(Stage Manager)hasstage-managedforSanFranciscoOpera,LosAngelesOpera,TheWashingtonOpera,SeattleOpera,OperaTheatreofSt.Louis,HawaiiOperaTheatre,WolfTrap,BanffSchoolofFineArts,andTanglewoodMusicCenter.Althoughshespecializesinoperaproduction,shehasalsodesignedlightsforsmalldancecompanies,andhasservedasthecompanymanager,stage-manager,andproductionliaisonfortoursofTheRustaviCompanyofTbilisi,Georgia,andofThePekingOperaofChongching,China.Mostrecently,Gretchenstagemanagedanewver-sionofPeter Panwhichfeatured360degreeCGI(computer-generatedimaging)frommultiplecomputers.

Liliana Duque Piñeiro(Set Designer)isasculptorandsetdesignerfromColombia.ShecametotheUnitedStatesonaFulbrightschol-arshiptocontinueherstud-iesinFineArts.Shereceivedhermaster’sdegreesinfineartsinbothsculptureandsetdesignfromtheUniver-sityofCincinnati.Herca-reerassetdesignerincludes:VolleygirlsandRIOTforA.C.T.AmericanConservatory,MudandThe Death of The Last Black Man In


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The Whole Entire WorldforTheCuttingBallTheaterinSanFrancisco;The Beautiful And Forbidden: A Concert Of Censored OperafortheCincinnatiOpera;Marriage of Figaro,Romeo and Juliet,Madama Butterfly,Don PasqualeandLa Vie ParisienneforOperadeColombia;Elixir of Love,Sweeney Todd,Car-men,andDido And AeneasforTeatroNacio-nalSucreinEcuador.In2007,herco-designforAriodanteparticipatedinthePragueQuadriennaleUSAexhibition.In2005,hersetdesignforThe Life of GalileowonthePeggyEzekielsAwardinDesignandTechni-calAchievement-USITTOhioRegion.

Mezzo-sopranoPaula Rasmussen(Xerxes)isrecognizedforherperformancesinor-

chestralmusicandopera.ShehasworkedwithOperaNationaldeParis,OperderStadtKöln,GlyndebourneFestival,GrandTheatredeGeneva,WelshNationalOpera,theLiceuinBarce-lona,LosAngelesOpera,

DallasOpera,GlimmerglassOpera,NewYorkCityOpera,theBostonSymphonyOrchestra,St.PaulChamberOrchestra,LosAngelesPhilharmonic,theHoustonSym-phony,ClevelandOrchestra,SanFranciscoSymphony,andAtlantaSymphony.Con-ductorsshehascollaboratedwithincludeChristophRousset,AlainLombard,JamesConlon,ChristophvonDohnanyi,Esa-PekkaSalonen,HughWolff,IvorBolton,EvelinoPido,ChristopherHogwood,Rich- ardBonynge,HansGraf,GrahamJenkins

andJaneGlover.TheroleofXerxesisPaula’ssignaturerole;shehasperformeditinLosAngeles,Cologne,Geneva,Dresden,Chica-go,Ludwigshafen,andFrankfurt.PaulaalsorecordedthecriticallyacclaimedMichaelHampeproductionofXerxeswhichisavail-ableonDVD.

Donald Sherrill(Elviro),bass-baritone,hasperformedaroundtheworldinoperas,mu-sicals,plays,films,andtelevision,includingperformancesatCarnegieHallandLincolnCenterinNewYork,BeijingMu-sicFestival,andwiththeHongKongPhilharmonic,ontourwiththeYeka-tarinburgSymphony,the


MexicoCityPhilharmonic,SanFranciscoOpera,HoustonGrandOpera,SantaFeOp-era,MetropolitanOperaGuild,LosAngelesMusicCenterOpera,DallasOpera,PortlandOpera,OperaPacific,OperaTheatreofSt.Louis,AtlantaSymphony,NationalChamberOrchestra,SummerOperaofWashington,D.C.,andtheFloridaGrandOpera.Donaldhasreceivedseveralawardsandhonorsdur-inghiscareer,includingTheStettnerAwardatSantaFeOperaandTheRichardF.GoldCareerGrant.TheSummerOperaofWash-ington,D.C.chosehimasTheArtistoftheYearin2004.Mr.Sherrill’sworkinfilmandtelevisionincludesAnalyze ThatwithRobertDeNiroandBillyCrystal,PGwithJasonRit-ter,andatelevisionpilotLittle Mozart.

Anna Slate(Atalanta)isarecentgradu-atefromtheUniversityofWisconsin-Madison,whoismakingherprofessionaldebutinthisperformance.ShehasrecentlyundertakentherolesofLiesgeninBach’sCoffee Cantata,ObertoinHandel’sAl-cina.ShewasthesopranosoloistinHandel’sMessiah,andinBach’sMass in B Minor.OtheroperaticroleshaveincludedCrobyle(Thaïs),FrouFrou(The Merry Widow),andÄnnchen(Der Freischutz).AnnahasbeentherecipientofnumerousawardsandscholarshipsincludingtheUWOperaPropsAwardandtheRobertandLoisDickAward.Sheplaced3rdinthe2009NationalAsso-ciationofTeachersofSingingCompetition

andwasafinalistinthe2008SchubertClubCompetition.Thispastsummersheat-tendedtheBayAreaSummerOperaTheaterInstitute(BASOTI).

Mark Streshinsky(Stage Director)becameArtisticDirectorofBerkeleyOperain2009,

anddirectedDon Giovanni andLegend of The Ringin2010.HepreviouslystagedfourproductionsforBerke-leyOpera:Eugene Onegin,Acis and Galatea,Chrysalis,andtheoriginalLegend of

The Ringin2005.Asanoperastagedirector,heisindemandatlargeoperacompaniesaroundthecountry.HehasdirectedthreeoperasforCincinnatiOperaandnextyear,willtransformhisEugene Oneginintoalarge-scaleproductionforthem.HerecentlydirectedproductionsforTheSeattleOpera,TheDallasOpera,MichiganOperaTheaterinDetroit,BostonLyricOpera,LyricOperaofKansasCity,FloridaGrandOpera,andOperaTheaterofSt.Louis.Inacademia,hehasworkedwithstudentsofTheSanFran-ciscoConservatoryofMusicandtheYaleUniversitydepartmentofopera.Heiscur-rentlyworkingwithacomposeronhisfirstlibretto,thefireoperaMachine,whichhewilldirectforTheCrucibleinOakland.HedirectedhisBerkeleyOperaproductionofDon GiovanniforLivermoreValleyOperainOctober.InSpring,2011,hewilldirectanewproductionofLe nozze di FigaroforKansasCityOpera,aswellasreturningforanotherprojectatYale.

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WithhisbackgroundasaSeniorMan-agementAnalystfortheCityof

BerkeleyandaTrusteeofthePeraltaCom-munityCollegeDistrict,TomBrougham’stenureonBerkeleyOpera’sboardmarkedarealupgradeinourfinancialreportingsystems.Whilewehadalwaysbeenvigilantaboutourbookkeeping,astreasurerTomintroducedwaysoflookingatthecashflowthathavemadeasubstantialcontributiontothemoreefficientfinancialmanagementofthecompany.Thishelpedbuildthesoundfinancialpositionweenjoytoday.Tomalsomadeahugecontributionbymanagingtheticketsalesformostoflastseason.We

Spotlight on our Volunteers — Tom Brougham & Beth Sandefurcouldn’thavedoneitwithouthim.Thankyou,Tom!

BoardmemberBethSandefurworksasDo-norRelations&SpecialEventsManagerforCaliforniaShakespeareTheater,producingtheirannualMarchgala.Alifelongdevoteeoftheperformingarts,Bethhassungwithavarietyofvocalensembles,andhasmanagedtheatercompaniesinTexasandKaiserslautern,Germany.Whenwedecidedtomovetoamoresophisticatedticketingservice,BethvolunteeredtodotheresearchanddecidedonTicket Turtle.Bethisanex-pertinelectronicdatabasemanagement,andspentdaysandnightsconvertingtothenewweb-basedticketingsystem,finishingjustintimeforour2010-2011subscriptionrenew-als.(Haveyouboughtyoursyet?)Wewillbethankingherformanyyearstocome.Thankyou,Beth,forallyoudoforBerkeleyWestEdgeOpera!

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Berkeley West Edge Opera wishes to acknowledge and thank the following individuals, businesses, foundations, and government agencies whose generous donations help make our productions possible. Listed below are those whose gifts and pledges were received by October 20, 2010.

FOUNDATION AND GOVERNMENT GRANTSCivicArtsProgramoftheCity

ofBerkeleyAnn&GordonGetty

FoundationTheGoodmanFamily

SupportingFoundationNationalEndowmentforthe

ArtsBernardOsherFoundationWagnerSocietyofNorthern

California

BUSINESS COUNCILPlatinum Members415MediaCBS5OutdoorCreativeMintEastBayExpressMechanicsBankPostMeridian

Gold MembersD’JourFloral&AntiquesFidelityInsurancePanoramicInterestsTheVillageShops/MCGallerySilver MembersJudithL.Bloom,CPAFairmountElectricR.Kassman,PurveyorofFinePianosHenryC.Levy,CPA

INDIVIDUAL DONORSAngels ($2500 - $4999)JeremyKnight&BarbaraAdair TheEstateofLuanneRogers

Sustaining Patrons ($1250 - $2499)

ThomasBroughamMarianKohlstedt&GarySmithWalterRexHeliRoiha&TerryMcKelveyRobert&TheresaRyanPaul&SusanSugarman

Sponsors ($650 - $1249)ClaudeBabcock HelenKingBurkeKarenFairclothRobertGilchristRitaD.Haberlin&PatriciaA.KuldaDanielHeartzSusanHoneMargoLeslieJohn&BerniceLindstromD.G.Mitchell

Friends of Berkeley West Edge Opera

AnnO'Connor&EdwardCullenClaudineTorfs

Patrons ($250 - $649)AnonymousDavid&ChristineBalabanianTimothyBlevinsJoellenBreanThomas&JaneCoulterHelga&RoyCurryBlairDean&RobertCooterMargaret&ReidDennisRobertEpstein&AmyRothMichaelFischer&IreneKiebertDouglas&MargaretFuerstenauDonald&RebeccaGretherSteve&LaurieHollandRosalieHoltzJoanMcDonoughCatherine&FrankMercurioPamela&RichardRiggDaleRobards&Robert

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510.652.3879


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We do our best to list your name accurately. If it is incorrect or you would prefer to have it listed another way, please call (510) 841-1903 and leave a message to that effect.

To advertise in the

Berkeley West Edge

Opera Program,

call John McMullen

(510) 652-3879


importunitormentinonv’affligganomailacarapace,NéguingaaprofanarviAustrorapace.

OmbramaifuDivegetabileCaraedamabile,Soavepiù.

(Handel’sversion)FrondetenereebelleDelmioPlatanoamato,PervoirisplendailFato.Touni,Lampi,eProcelleNonvioltragginomailacarapace,NéguingaaprofanarviAustrorapace.

OmbramaifuDivegetabileCaraedamabile,Soavepiù.

Inthecontemporarywordbook,readbytheoriginalaudiencemembersoftheKing’sThe-ater in theHaymarket, it is curious to seeanote “To the Reader: The contexture of thisDrama is soveryeasy, that itwou’d (sic)betroublingthereadertogivehimalongargu-menttoexplainit.Someimbicilities,andthetemerityofXerxes(suchashisbeingdeeplyenamour’dwithaplanetree,andthebuildingabridgeovertheHellesponttouniteAsiatoEurope)arethebasisofthestory,therestisfiction.”

WhilestagedirectorMarkStreshinskyknowsandvaluesthebeautyofperiodstagecraft,inthis production, he has made an attempt tomakethesecharacters,whoarefamiliarintheCommediadelArtestyle,understandablebymodernaudiences.

Hehasdonethisbyensuringthatthedramaflows fromthemusicand integrity ismain-tained between the needs of contemporarytheaterandperiodperformancepractice.

(continued from p. 15)

On our performance of Serse..by Gilbert Martinez, Assistant Conductor

Songsfrom the

EDGE-presents-

Nicolle Foland Thomas Glenn Emma McNairy

in recital with reknowned accompanist Steve Bailey

Come share a night of some of the world’s greatest songpresented by three of today’s leading interpreters!

featuring songs by Beethoven, Debussy, Obradors, Rachmaninov, and HeggieDecember 5 @ 2 p.m.

Freight & Salvage Coffee House, 2020 Addison Street, Berkeley

for tickets, click: WESTEDGEOPERA.ORG or call 510.841.1903


BerkeleyOperawasfoundedin1979bybaritoneRichardGoodman,alsoan

EngineeringProfessorattheUniversityofCaliforniaatBerkeleywhoisnowArtisticDirectorEmeritus.JonathanKhunerwasArtisticDirectorfrom1994.-2009,whenhewasbecameMusicDirectorandwasjoinedbyMarkStreshinskyasArtisticDirector.ThecompanybecameBerkeleyWestEdgeOperain2010.

Thecompanytakesprideinlookingatoperainafreshandinnovativeway,whichenhancestheexperienceforbothperformersandaudience.

Nowinits32ndseason,BerkeleyWestEdgeOperahaspresentedsixty-sevencompleteoperasbyforty-twodifferentcomposers.Thecompany’sofferingsencompassawiderangeofrepertoire,includingboththenewandunusualaswellasfavoriteandlesser-knownworksbywell-knowncomposers.

Productionshaverangedfromthemostfamiliar–Madama Butterfly, Carmen, La Bohème–totheunfamiliar–Boughton’sThe Immortal Hour, E.T.A.Hoffmann’sUndine, VivianFine’sThe Women in the Garden. Amongourmostpopularworkshavebeencriticallyacclaimednewtranslation/adapta-tionsbyDavidScottMarley,includingThe Tales of Hoffmann,Berlioz’Beatrice and Benedick, Bat Out of Hell (Die Fledermaus),

The Riot Grrrl on Mars (The Italian Girl in Algiers), Carmen andThe Girl of the Golden West.

The companyhasalsopresentedtheWestCoastpremieresofLeonore (theoriginalversionofBeethoven’sFidelio), andFauré’sPénélope, theAmericanpremiereofDavidSeaman’sreductionofWagner’s“Ring”cycle,Legend of the Ring,andtheworldpremieresofJohnThow’sSerpentina andofClarkSuprynowicz’ Chrysalis,withalibrettobyplaywrightJohnO’Keefe.

In2010,BerkeleyWestEdgeOperamovedtothenewElCerritoPerformingArtsThe-ater,a600-seatstate-of-the-artfacilityatElCerritoHighSchoolinBerkeley’sneighbor-ingcity.Althoughnearlytwicethecapacity,thisnewtheatermaintainstheintimacyofthecompany’spreviousvenue,Berkeley’sJuliaMorganTheater.

About Berkeley West Edge Opera

BerkeleyWestEdgeOperapresentsoperaaslively,compellingmusicaltheater,fusingmusicanddramatodelight,move,andchallengeouraudiences,whileremainingaccessible,affordableandengaging.

Our Objectives include

4providingqualityperformancesthatrespecttheuniquespiritofeachworkwhilepresentingitinawaythatisfreshandmeaningfultoouraudiences

4appealingtoawideaudienceofallages,rangingfromseasonedoperaloverstothoseexperiencingitforthefirsttime.

4promotingcommunityinvolvementthrougheducation,outreach,andopportunitiestoparticipateinavarietyofways

4providingtheopportunityforemergingtalenttogainexperienceandexposure

Berkeley West Edge Opera’s Mission

to advertise in theBerkeley Opera Program

call John McMullen510.652.3879


Thursday, December 2, 2010, 8pm

Enrico Chapela Private Alleles (World Premiere)Peter Lieberson Neruda SongsManuel de Falla El amor brujo;

Rachel Calloway, mezzo soprano

Thursday, January 20, 2011, 8pm

Du Yun New Work for Strings (World Premiere)Olivier Messiaen Oiseaux exotiques (Exotic Birds)Beethoven Symphony No. 6 in F major, Op. 68, Pastoral

Natasha Paremski, piano

Thursday, March 10, 2011, 8pm

Stravinsky Symphonies of Wind InstrumentsShostakovich Chamber Symphony, Op. 110aJames MacMillan Last Seven Words from the Cross;

with chorus

All concerts at UC Berkeley Zellerbach Hall

Tickets: $20, $40, and $60.

For complete season program, visit www.berkeleysymphony.org or call 510.841.2800 ph

oto

by D

uart

e M

exia

2-Concert Mix & Match starting at $36 / Pick 2 from our 3 remaining concerts.

10 | 11 season: The adventure continues as Joana and Berkeley Symphony explore the cutting edge of classical music!Joana Carneiro

Music Director


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