operasj.org 32 The Barber of Seville
2016–2017 Thirty-Third SeasonDonizetti's LUCIA DI LAMMERMOOR September 10-25, 2016
Rossini's THE BARBER OF SEVILLE November 12-27, 2016Puts and Campbell's SILENT NIGHT February 11-26, 2017
Puccini's LA BOHÈME April 15-30, 2017
CONDUCTOR
Andrew Whitfield Dana Sadava 11/22, 11/27
STAGE DIRECTOR
Layna Chianakas
SET DESIGN
Matthew Antaky
COSTUME COORDINATOR
Alyssa Oania
LIGHTING DESIGN
Kent Dorsey
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
PRINCIPAL COACH
Cheryl Lin Fielding
CHORUS MASTER
Andrew Whitfield
MUSIC STAFF
Veronika Agranov-Dafoe Ihang Lin Victoria Lington
SUPERTITLE CUEING
Victoria Lington John McCarthy
The performance will run approximately 3 hours, including one 20-minute intermission.
PRESENTS
The Barberof SevilleOpera in two actsMusic by Gioachino Rossini Libretto by Cesare Sterbini
First performed February 20, 1816 at the Teatro Argentina in Rome, Italy.
Sung in Italian with English supertitles.
Supported, in part, by a grant from Jean Brandt and the San José Office of Cultural Affairs.
November 22 Performance Sponsor: Fred & Peggy Heiman
What's NextWhat’s Next? A better question might be What’s Now? We’re nearing the end of the tax year, and for those who have not made a fall contribution to Opera San José, there’s no time like the present! Without charitable contributions, no performing arts company can exist, and that goes for opera companies, too. If you can, please remember us as the tax year draws to a close. And now I can move on to what’s next.
Silent Night, one of the most inspiring operas com-posed in recent decades, will open in February. It’s an enormous undertak-ing for Opera San José, and we have the generous support from the Carol Franc Buck Foundation to thank for making it possible. Composer Kevin Puts and librettist Mark Campbell, both Pulitzer Prize winners, will be here for the opening, and we are honored to have them join us, speaking about this brilliant contribution to the modern operatic canon. Ours will be a new production of Silent Night, sets, props, costumes, and projections, all new, and on a scale that companies like ours can handle, which will make Silent Night an opera that can be presented in houses like the California Theatre across the nation. Many thanks are due to Carol Franc Buck for her sup-port of this project.
Now for a sales pitch—if you are a person who buys tickets to one opera at a time, or if you have just discovered Opera San José, you might be interested in the great bargain of our 3-opera package. You can convert your Barber of Seville ticket to a 3-opera package and save a great deal of money, and you will see Silent Night and La bohème as well as The Barber of Seville. The cost of Orchestra Dress tickets to each of these three operas amounts to $405, but a 3-opera package costs only $300. A 3-opera package in the mezzanine costs only $190, compared to $225 as single tickets. That math is easy. With the brilliant singers in our resident company, surely you don’t want to miss any of these wonderful operas! So convert your Barber ticket into a 3-opera package and save some money.
On February 10, we will host our third annual General Director’s Dinner on stage here in the California, when we will dine on the set of Silent Night. This elegant, black-tie-optional dinner has been a real hit so far, and this time we hope to present members of Opera San José’s Veterans’ Chorus who will perform some of the rousing tunes that were popular among the soldiers of WWI. This is a very elegant and intimate dinner party, and a bit on the expensive side, but it is a unique experience, dining on the set with the composer, librettist, and former Secretary of Defense, William Perry.
Now, I hope you’re ready to celebrate the 200th anniversary of The Barber of Seville. With sparkling singing and truly comic acting, we hope you will find our efforts to bring this opera to the stage a delight.
Larry HancockGENERAL DIRECTOR
operasj.org 54 The Barber of Seville
Fiorello Babatunde AkinboboyeAlmaviva Kirk DoughertyFigaro Brian James Myer 11/12, 11/17, 11/20, 11/22
Matthew Hanscom 11/13, 11/27
Bartolo Valerian RuminskiRosina Renée RapierBerta Teressa FossBasilio Colin Ramsey Sergeant Sidney Ragland
Chorus
TENOR
Christian Barajas, Tony Ciliberto, Nicolas Gerst, Andy Kwan, Dan Leal, Sidney Ragland
BASS
Clark Brown, Jim Cowing, Malcolm Jones, Michael Kuo, Junbo Zhou
SupernumeryHillary Arnott, Chika Asakawa, Frank Fiscalini, Leah Torres
2016-17 ARTIST FELLOWSHIP SPONSORS
Amici di Musica Bella Brian James Myer Mary and Clinton Gilliland exclusively Kirk Dougherty Profs. John Heineke and Catherine Montfort Sylvia Lee Linda Lee Lester Brian James Myer Izzy Lewis and Phil Park Colin RamseySan Jose Opera Guild Michael ShellDon and Jan Schmidek Matthew HanscomGibson Walters Memorial Fund Ksenia Popova
Cast IN ORDER OF APPEARANCE
1ST VIOLIN
Cynthia Baehr, ConcertmasterAlice Talbot, Asst. ConcertmasterValerie TisdelChinh LeVirginia SmedbergMarie FlexerRochelle Nyguen
2ND VIOLIN
Claudia Bloom, PrincipalSusan Stein, Asst. PrincipalSue-Mi ShinElizabeth CornerSergi Goldman-HullCarol Kutsch
VIOLA
Janet Doughty, PrincipalMelinda RayneRobert SeitzJanet Sims
CELLO
Lucinda Breed Lenicheck, PrincipalPaul HaleJanet WitharmKelley Maulbetsch
BASS
Andrew Butler, PrincipalWilliam Everett
FLUTE
Isabelle Chapuis, PrincipalMary Hargrove
OBOE
Michael Adduci, PrincipalPamela Hakl
CLARINET
Mark Brandenburg, PrincipalAnn Lavin
BASSOON
Deborah Kramer, PrincipalCarolyn Lockhart
FRENCH HORN
Meredith Brown, PrincipalEric Achen
TRUMPET
William B. Harvey, PrincipalJohn Freeman
TROMBONE
Kathryn Curran, Principal
TIMPANI/PERCUSSION
Stan Muncy, Principal
HARPSICHORD
Veronika Agranov-Dafoe
ORCHESTRA MANAGER
Mark Veregge
Orchestra
operasj.org 76 The Barber of Seville
Act ISCENE 1: THE SQUARE IN FRONT OF BARTOLO'S HOUSE
During a visit to Seville, Count Almaviva has glimpsed a beautiful girl, Ros-ina, and has resolved to win her. Rosina, however, is kept a virtual prisoner in the house of her guardian, Dr. Bartolo, who wants to marry her himself. One night, Almaviva comes with a band of musicians to serenade his lady beneath her balcony (Ecco ridente in cielo, “There, laughing in the sky”). When she fails to answer his song, he pays off his accompanists, who thank him profusely. He hides as the barber Figaro bounds in, boasting of his busy life as a jack-of-all-trades (Largo al factotum della città, “Make way for the factotum of the city”). When Almaviva steps forward, Figaro recognizes him; the barber, currently in Bartolo’s employ, promises to help Almaviva win Rosina’s heart. No sooner has Bartolo hobbled from the house to arrange his marriage with Rosina than Almaviva launches into a second serenade to the girl, describing himself as Lindoro, a poor creature who can offer nothing but love (Se il mio nome saper voi bramante, “If my name you claim to know”). Peeking over the balcony, Rosina replies she will take him as he is, but suddenly someone pulls her inside. Figaro sug-gests that Almaviva disguise himself as a drunken soldier to gain access to the house; as Almaviva dwells on his love, the barber happily anticipates his own reward from the count (All’ida di quel metallo, “At the idea of that metal”).
SCENE II: A ROOM IN BARTOLO'S HOUSE
Alone in the house, Rosina muses on Almaviva’s voice, which has touched her heart (Una voce poco fa, “A voice just now”). She resolves to oppose Bartolo by a thousand tricks so as to have her way. Figaro joins her briefly, but they scurry away on hearing footsteps. Bartolo enters, soon joined by the music master Basilio, who announces that Almaviva is a rival for Rosina’s hand and suggests slandering the count’s reputation (La calunnia è un venticello, “Scandal is a little breeze”), but Figaro overhears the plot. Warning Rosina that Bartolo plans to marry her the following day, the bar-ber promises to deliver a note she has written to Lindoro (Dunque io son…tu non m’inganni?, “Then I’m the one…you’re not fooling me?”). Rosina, left alone with Bartolo, is subjected to his suspicious interrogations and pompous boast that he is too clever to be outwitted by her ruses (A un dottor della mia sorte, “To a doctor of my class”). Berta, the maid, goes to the door in answer to violent knocking; she returns with Almaviva, who is disguised as a drunken soldier in search of a night’s lodging. During a long argument with Bartolo, whose name he pretends not to grasp, Almaviva gives a love letter to Rosina; when Bartolo demands to see the paper,
Synopsis
the girl cleverly substitutes a laundry list. Figaro dashes in to warn that a crowd has gathered in the street, attracted by the hubbub within. He is too late; the police arrive to silence the disturbance. As the confused offi-cer in charge is about to arrest Almaviva, the count shows his true identity and is released. Rosina, Berta, Bartolo, and Basilio are all stupefied by this turn of events (Fredda ed immobile, “Cold and unmoving”).
Intermission (20 minutes)Act II SCENE I: A ROOM IN BARTOLO'S HOUSE
Pleased with himself for getting rid of Almaviva, Bartolo admits to the house a young music teacher, “Don Alonso” (Almaviva in a new disguise), who claims to be a substitute for the ailing Basilio. Rosina enters, and quickly recognizing her suitor, begins her singing lesson as Bartolo falls asleep in his chair. Figaro arrives to shave the doctor; when he goes to get his utensils in the next room, breaking several of Bartolo’s best pieces of china in the process, he steals the key to the balcony window. Basilio now comes in, looking the picture of health. Bribed by Almaviva, however, the music teacher feigns illness, and after an elaborate sendoff (Buona sera, mio signore, “Good evening, good Sir”), he departs. Figaro shaves Bartolo while Almaviva and Rosina plan their elopement that night. The lovers are overheard by the suspicious doctor, who drives Figaro and Almaviva from the house and Rosina to her room. He then sends a servant to fetch Basi-lio. Berta, unnerved by all the confusion, complains about the madness of love (Il vecchiotto cerca moglie, “The old fool seeks a wife”).
Bartolo dispatches Basilio to get a notary and then tricks Rosina into believing that “Lindoro” is really one of Almaviva’s flunkies. After a violent thunderstorm during which Rosina grows furious over Lindoro's apparent deception, the count climbs through a window with Figaro to elope with Rosina. At first the girl rebuffs her ‘Lindoro,’ but when he explains that Lin-doro and Almaviva are one and the same, she falls joyously into his arms (Ah! qual colpo inaspettato!, “Ah, what unexpected bliss!). Figaro urges haste; before they can leave, however, their ladder is taken away. Suddenly, Basilio enters with the notary. Though summoned to wed Rosina to Bar-tolo, the official is instructed to marry her instead to Almaviva, who bribes Basilio. Rushing in too late, Bartolo finds his ward already married, and he admits he has been a fool. With the others, he agrees that “all’s well that ends well” (Amore e fede eterna, “Love and eternal faith”!
operasj.org 98 The Barber of Seville
The Italian operatic establishment did not accept the operas of Mozart, which they found too harmonically complex and heavily orchestrated. Since the 1720s, the days of Scarlatti and Metastasio (composer and librettist, respec-tively), Italian serious opera had depended a great deal on an elevated quality of language, and delivering that noble poetry with perfect clarity was among the chief responsibilities of a composer; transparent and light orchestral ac-companiment was required. In addition, singers began to improvise extended passages, which means that supporting harmonies could never be surprising. If they were, the singer could easily mistake the direction of the harmonic pro-gression and end up in the wrong key. This was especially dangerous in Italy where even new operas received little rehearsal before opening.
For good or ill, Mozart was a principal influence on Gioachino Rossini. While a student in Bologna Rossini discovered string quartets by Mozart and Haydn, which he studied, orchestrated, and adored. His love for Mozart would follow him all his life, and many, many years later he would describe Mozart as the inspiration of his youth, the challenge of his maturity, and the consolation of his old age. Mozart’s rich harmonies and bold orchestral statements inspired Rossini to the point that he was nicknamed the little German at the Liceo. This influence from beyond the Alps would eventually cause more than a little up-set among the teachers and composers of the previous generation.
It is hard for us to comprehend the Italian practice of opera composition and performance in the early 19th century, when a composer could be given less than a month in which to create an entirely new opera. It is also surprising that starring singers in the world-premiere cast were paid more than twice the composer’s fee. Until Beethoven, Verdi, and Wagner, composers were not looked upon as artists in the sense that we have come to view them. In Ros-sini’s time, composers were seen as no more than craftsmen who had no rights at all regarding choice of libretto or cast, had to turn in their work in very short order, and had no copyright protection. Rossini was a model composer for this period, as he was young, desperate for money to support his parents, and was able to turn out exceedingly popular operas in a matter of weeks. In fact, he was so good at his craft he soon became the most sought-after composer in Italy, and within five years, he eclipsed Beethoven in fame throughout Europe, while Beethoven yet lived.
Between November 1810 and December 1813, Rossini composed no less than 12 operas. Even when one considers that many of these were one-act farces, this is a formidable body of work, and Rossini was not yet twenty-one years old. It should also be noted that the last two of these, Tancredi and L’italiana in Algeri, launched him into international fame.
Domenico Barbaja, the most successful opera impresario in the world and na-tive of Milan, made his home in Naples. He eventually controlled two theatres in Milan (one of them La Scala), three theatres in Naples (one of them the largest opera house in Europe) and two theatres in Vienna. In the spring of 1815 the twenty-three-year-old Rossini arrived in Naples at Barbaja’s invitation. He was given charge of two of the theatres there, the enormous San Carlo and the Fondo. He was paid an excellent annual income for finding and producing moneymaking operas throughout the season for both theatres and for com-posing one new opera for each theatre annually.
In Naples he would make formal acquaintance with Isabella Colbran, a dramat-ic-coloratura soprano who was one of the greatest singers of the age. She was
Program Notes
the mistress of Barbaja, and the woman Rossini would marry. His first work for the San Carlo was Elisabetta, regina d'Inghilterra (Elizabeth, queen of Eng-land), and the title role was composed for the commanding Colbran. Though composers who then dominated Neapolitan stages were shaking their heads in disapproval of Rossini’s music, and composition students in the royal conser-vatory were forbidden even to see Rossini’s scores, the Neapolitans, including their king and queen, received the new opera with wholehearted, effusive en-thusiasm, and the king soon overruled the ban on Rossini’s scores at the royal conservatory.
One of the freedoms of Rossini’s agreement with Barbaja allowed him to com-pose for other theatres, and in 1816 Rossini was in Rome at Teatro Valle for the premiere of his dismal Torvaldo e Dorliska; it is said that no composer could have overcome that impossibly inane libretto. But more significant than the fiasco was that eleven days before its unfortunate premiere the impresario of Teatro di Torre Argentina commissioned Rossini for another opera scheduled to premiere just seven weeks later. That opera would remain among the most popular of all operas for the next 200 years. This twenty-four-year-old com-poser was about to compose The Barber of Seville.
Rossini’s Il barbiere di Siviglia had one of the most notorious world premieres in opera history. Before Mozart composed Le nozze di Figaro, the second of Beaumarchais’s famous set of plays based on the lives of Figaro, Count Almaviva, Rosina, Bartolo and the rest, Giovanni Paisiello had composed the first one, Il barbiere di Siviglia, and to great acclaim. Paisiello, by now retired, had become all but a patron saint in Rome. That an upstart from Pesaro would have the audacity to reset this treasured opera was an affront that would not go unchallenged. Of course Rossini had nothing to say about the selection of his assigned libretto, still, the first performance went all but unheard. The audience made such a cacophony of shouts, whistles, and catcalls that they drowned out both singers and orchestra. After the performance, which he was required to conduct, Rossini fled the theatre through a back way, and on the second night he called in sick.
The Paisiello cabal did not attend the second performance, or if they did they kept quiet; the opera was heard and recognized to be of the finest of its kind. When the curtain rang down on that performance, the audience marched to Rossini’s hotel to give him a torchlight parade, a Roman triumph. Rossini, believing that they were coming to lynch him, hid in the stable while the crowd broke the hotel windows in annoyance.
The Barber of Seville went on to become amazingly popular, and was the first opera to be sung in Italian in the United States. A few years later, Barbaja sent Rossini to Vienna where he met Beethoven who admonished him to “give us more Barbers!” Many years later, after Rossini retired due to serious health problems and his works began to pass into obscurity, only The Barber of Seville weathered all storms. It has been continually performed to the present day, and for many years was hailed as the finest opera buffa of them all. Today, The Barber must share that status with Don Pasquale and Falstaff, all three of which share Rossini’s keen social insight, his musical vivacity, and his wit, though it must be admitted that Rossini’s natural charm glitters more brightly. And so we celebrate the 200th anniversary of The Barber of Seville.
— Larry Hancock
operasj.org 1110 The Barber of Seville
Cast and Artistic Team
Babatunde AkinboboyeBARITONE (NIGERIA)
Fiorello. Babatunde Akinboboye appears as Fiorello in Opera San José’s production of Rossini’s The Barber of Seville. A native of Nigeria, Mr. Akinboboye is known for his enthralling stage presence. He has performed with the Los Angeles Opera, Opera Santa Barbara, Long Beach Opera, and Center Stage Opera, and has sung the roles of Guglielmo in Mozart’s Così fan tutte, Horace Tabor in Moore’s The Ballad of Baby Doe, Henry Davis in Weill’s Street Scene, Aeneas in Purcell’s Dido and Aeneas, Bartolo in Mozart’s The Marriage of Figaro, Sharpless in Puccini’s Madama Butterfly, and the Wolf/Cinderella’s Prince in Sondheim’s Into the Woods.
Kirk DoughertyTENOR (NEW YORK)
Almaviva. This season, resident company member Kirk Dougherty appears as Almaviva in Rossini's The Barber of Seville, Nikolaus Sprink in Puts and Campbell's Silent Night, Rodolfo in Puccini's La bohème, and most recent-ly as Edgardo in Donizetti's Lucia di Lammermoor. Mr. Dougherty will also appear as Rodolfo at Wichita Grand Opera and the Duke in Verdi's Rigoletto at Opera Las Vegas. Last season, Mr. Dougherty performed the roles of Cavaradossi in Tosca, Don Jose in Bizet's Carmen, and Mitch in Previn's A Streetcar Named Desire at Opera San Jose, and Don Jose in Carmen at Anchorage Opera. Dur-ing the 2014-15 season he appeared as the Duke in Rigo-letto, Tamino in Mozart's The Magic Flute, and as Philip in the World Premiere of Where Angels Fear to Tread.
Teressa Foss MEZZO SOPRANO (CALIFORNIA)
Berta. Teressa Foss returns as a guest artist appearing as Berta in Rossini’s The Barber of Seville. Ms. Foss recently appeared as the Nurse and Old Relative in Previn’s A Streetcar Named Desire and Marcellina in Mozart’s The Marriage of Figaro. Prior to appearing with Opera San José, she appeared with the Bay Area company Verismo Opera, singing the title roles of Donizetti’s Lucia di Lam-mermoor, Puccini’s Madama Butterfly, Bellini’s Norma, as well as Micaela (Bizet’s Carmen), Nedda (Leoncavallo’s Pagliacci), Lola (Mascagni’s Cavalleria rusticana), and Genovieffa (Puccini’s Suor Angelica). Other roles per-formed include Fiordiligi in Mozart’s Cosi fan tutte (West Bay Opera) and Oscar in Verdi’s Un ballo in maschera (Casa Italiana).
Matthew HanscomBARITONE (MINNESOTA)
Figaro 11/13, 11/27. Resident company member Mat-thew Hanscom performs the roles of Figaro in Rossini’s The Barber of Seville, Lt. Gordon in Puts and Campbell’s Silent Night, and Marcello in Puccini’s La bohème, and most recently Enrico in Donizetti’s Lucia di Lammermoor. Roles performed in 2015-16 included Scarpia in Puccini’s Tosca, Figaro in Mozart’s The Marriage of Figaro, Esca-millo in Bizet’s Carmen and Stanley in Andre Previn’s A Streetcar Named Desire. In his debut season as a mem-ber of Opera San José’s resident company 2014-15, Mr. Hanscom was featured in the title role of Verdi’s Rigo-letto, Taddeo in Rossini’s The Italian Girl in Algiers, Gino Carella in Mark Weiser’s Where Angels Fear to Tread, and Papageno in Mozart’s The Magic Flute.
Brian James MyerBARITONE (NEVADA)
Figaro 11/12, 11/17, 11/20, 11/22. Brian James Myer returns to Opera San José as a principal artist in the resident company, appearing as Figaro (Rossini’s The Barber of Seville), Ponchel (Kevin Put’s Silent Night), and Schau-nard (Puccini’s La bohème). Roles performed previously with Opera San José include Angelotti (Puccini’s Tosca), Gino, and Alessandro/Enrico in the world premiere of Mark Weiser’s Where Angels Fear to Tread and 2nd Ar-mored Man in Mozart’s The Magic Flute. Mr. Myer made his company debut during the 2013-14 season, perform-ing the role of Masetto in Mozart’s Don Giovanni.
Sidney RaglandTENOR (CALIFORNIA)
Sergeant. Sidney Ragland makes his company debut ap-pearing as the Sergeant in Rossini’s The Barber of Seville. Mr. Ragland is a recent graduate of the SF Conservatory of Music where he received a Post-Graduate Diploma in Vocal Performance. Recent performances include Fer-rando in Mozart’s Così fan tutte, Don Ottavio in Mozart’s Don Giovanni, Arpad Laszlo in She Loves Me, and Henry Crawford in the Conservatory’s World Premiere of Jona-than Dove’s Mansfield Park.
operasj.org 1312 The Barber of Seville
Colin RamseyBASS (CALIFORNIA)
Basilio. Bass-baritone and resident company member Colin Ramsey appears as Basilio in Rossini’s The Barber of Seville, Father Palmer in Puts and Campbell’s Silent Night, and Colline in Puccini’s La bohème, and most re-cently as Raimondo in Donizetti’s Lucia di Lammermoor. Mr. Ramsey has performed with 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.
Renée RapierMEZZO-SOPRANO (NEW YORK)
Rosina. Renée Rapier makes her company debut ap-pearing as Rosina in Rossini's The Barber of Seville. Roles performed recently include Mercédès in Carmen at San Francisco Opera, Cherubino in both The Ghosts of Versailles and Le Nozze di Figaro at LA Opera, as Mrs. Bass in Emmeline with Opera Theatre St. Louis, and as Cornelia in Giulio Cesare at Wolf Trap Opera. Upcom-ing engagements include returns to the San Francisco Symphony, Opera Parallèle, Opera Theatre St. Louis, the LA Philharmonic and Seattle Opera.
Valerian RuminskiBASS-BARITONE (NEW YORK)
Bartolo. Valerian Ruminski makes his company debut performing the role of Dr. Bartolo in Rossini’s The Barber of Seville. Mr. Ruminski has appeared with The Metropoli-tan Opera, NYCO, Seattle Opera, Florida Grand Opera, The Canadian Opera Company, Michigan Opera Theatre, Portland Opera, Opera de Quebec, Opera de Montreal, Calgary Opera, Opera Ireland, Opera de Monte Carlo, New Israeli Opera, Kansas City Lyric Opera and Santa Fe Opera among others and made his Carnegie Hall debut in La Juive with the NY Opera Orchestra. He is a winner of a Richard Tucker Award, a Gerda Lissner Grant and is the recipient of the Year 2000 Lincoln Center Martin Segal Award. Since 2009 Mr. Ruminski has been the founder and director of Nickel City Opera in Buffalo NY.
Cast and Artistic Team CONTINUED
Andrew WhitfieldCONDUCTOR, CHORUS MASTER (NEW YORK)
Andrew Whitfield, Resident Conductor and Chorus Master, has been on staff at Opera San José for five seasons and has worked on 17 productions. He made his conducting debut at Opera San José in a double bill of La voix humaine and Pagliacci, and has subsequently returned to the podium for The Pearl Fishers, Il trovatore,
Hansel and Gretel, Rigoletto, L’Italiana in Algeri as well as Falstaff for which he served as principal conductor. In addition, Mr. Whitfield has conducted Lucia di Lammermoor at Festival Opera, La bohème and La traviata at the Virago Theater, Il Barbiere di Siviliglia at the Amore Opera as well as a con-cert of opera arias and scenes for Monterey Opera. He assisted Ian Rob-ertson for the preparation of the chorus for the Verdi Requiem conducted by Donald Runnicles at the The Grand Teton Music Festival, and has also worked with Robertson on San Francisco Opera’s recent production of Lo-hengrin. Andrew moved to the Bay Area five years ago from New York City, where he served as music director for Amato Opera, conducting nearly two hundred performances.
Dana SadavaASSISTANT CONDUCTOR (CALIFORNIA)
Dana Sadava is happy to make her debut with Opera San Jose this season as Assistant Conductor for The Barber of Seville and Lucia di Lammermoor. Ms. Sadava earned an undergraduate degree in aeronautics from Caltech before delving into musical life, and has since worked as a conductor and coach at UCSD, Wexford
Opera (Ireland), Indianapolis Opera, Pensacola Opera, Festival Opera, and Pasadena Opera, where she is Artistic Director. She has also served on the faculties of Banff Opera as Theatre and the Napa Music Festival. As Music Director of the Community Women’s Orchestra, she created their first Side-by-Side program with Oakland Public Schools and recently led a “No Dead White Guys” concert.
operasj.org 1514 The Barber of Seville
Layna ChianakasDIRECTOR (ILLINOIS)
Layna Chianakas is in her ninth year as Associate Profes-sor of Voice, and the Director of Opera Theatre at San José State University. Known for "vocal talents which are matched by her poignancy as an actress" (Des Moines Register) she has portrayed many leading opera roles including over 50 performances of Carmen, as well as
Santuzza in Cavalleria Rusticana, Donna Elvira in Don Giovanni, Angelina in La Cenerentola, Sesto in Giulio Cesare, Suzuki in Madama Butterfly, The Woman in Poulenc's La Voix humaine, the title role in La Perichole, and countless Cherubino in Le nozze di Figaro. Her most current performances have included Amneris in Verdi’s Aida with Dayton Opera and Orphée in Gluck’s Orphee et Eurydice with Opera Santa Barbara. Most recently, she directed Gluck’s Orfeo ed Euridice and Argento’s Postcard from Morocco for the San José State Opera Theater, and Hansel & Gretel and Carmen for Op-era San José. As an active participant in the San José music community, she is the Director of Opera San José’s Summer Program for Singers which goes into its second year in Summer 2017 and will continue her position as Stage Director for Vivace Youth Chorus’ Summer Youth Opera. Ms. Chianakas re-cently made her Carnegie Hall debut, sang the alto solos in the Lord Nelson Mass with the Limerick Music Festival in Limerick, Ireland, was the mezzo-soprano soloist for Dayton Opera’s Season Opening Spectacular in October, and looks forward to returning to the Dayton Philharmonic Orchestra as the alto soloist in Bernstein’s Jeremiah Symphony No. 1 next season. She will also perform the second soprano solos in Rossini’s Stabat Mater with the Sac-ramento Choral Society and Orchestra and be the featured master clinician and recitalist as part of next year’s Music Teachers Association Conference held in Santa Clara, CA. She lives in San José, California with her husband and two children, who are her greatest productions.
Matthew AntakySET DESIGNER (NEW YORK)
Matthew Antaky designed the scenery for Rossini’s The Barber of Seville. Mr. Antaky’s designs have been fea-tured in several Opera San José productions, including lighting designs for Mozart’s Così fan tutte, Ward’s The Crucible and Verdi’s Un Ballo in maschera. For over 30 years, he has created and collaborated on both scenic
and lighting designs for all of the performing arts including theater, opera, dance, and music. His work has been presented throughout the United States and in many countries around the world. For opera and music, Mr. An-taky has designed multiple productions for Opera Parallele, Utah Opera and Symphony, Opera Pacific, Festival Opera, Oakland Symphony, Dallas Sym-phony, Opera San José, The Cabrillo Music Festival and the San Francisco World Music Festival.
Cast and Artistic Team CONTINUED
Alyssa OaniaCOSTUME DIRECTOR (CALIFORNIA)
Opera San José Costume Director Alyssa Oania is cos-tume coordinator for Rossini’s The Barber of Seville. Ms. Oania has been designing and creating costumes for Opera San José since 2002. Her work has been featured in Carmen, The Marriage of Figaro, La Cenerentola, Manon, La bohème, Tosca, La voix humaine, The Pearl
Fishers, and Madama Butterfly. Other costume credits include work for Bal-let San José, San José Repertory Theatre, and American Musical Theatre of San José.
Kent DorseyLIGHTING DESIGNER (CALIFORNIA)
Kent Dorsey returns to Opera San José as the lighting designer for Rossini’s The Barber of Seville. Previously, Mr. Dorsey’s designs have been featured in Opera San José’s productions of Puccini’s Madama Butterfly, Suor Angelica and Gianni Schicchi, David Carlson’s Anna Karenina, Puccini’s Tosca, The Barber of Seville and La
bohéme. His opera work includes scenery, projection and lighting design for the world premiere of Myron Fink’s The Conquistador (San Diego Opera). Sir Peter Maxwell Davies’ The Lighthouse directed by Jack O’Brien (San Di-ego Opera & Chicago Opera Theatre), La bohéme and Saint-Saen’s Samson et Dalila (Palm Beach Opera) Wagner’s The Flying Dutchman directed by Lillian Garret-Groag (Virginia Opera) and Donizetti’s Lucia di Lammermoor directed by Colin Graham (Greensboro Opera).
Christina MartinWIG AND MAKEUP DESIGNER (CALIFORNIA)
Christina Martin makes her company debut as wig and make-up designer for Rossini’s The Barber of Seville. Miss Martin graduated from San Jose State University in 2007 and began working for Opera San José that same year. Miss Martin is a Bay Area native who has been working in the wig and makeup industry throughout
Northern California for companies such as San Francisco Ballet, American Conservatory Theater, and Opera Parallel. She is currently employed with the San Francisco Opera as a principle makeup artist, show foreman, and wig shop artisan. As a Regional Member of Hollywood’s Makeup Artists and Hairstylists guild IATSE Local 706, Christina has had the pleasure of working for film, television, and multimedia, along with opera and theater. Miss Martin is enjoying her new role in the Opera San José family.
operasj.org 17
PUTS AND CAMPBELL’S
SilentNight
FEBRUARY 11–26, 2017
For tickets go to operasj.org or call 408 437 4450
Date: Evening of Friday, February 10th
Location: On the stage of the California Theatre
Price: $500 per place
Attire: Black tie optional
Join us on the set of Silent Night for
THE GENERAL DIRECTOR’S DINNER
FOR INFORMATION PLEASE CALL 408 437 4460
OPERA HAS BEENPART OF YOUR LIFE.MAKE IT PART OF YOUR LEGACY.
In addition to the satisfaction that comes from knowing you have made a difference in the lives of others, the best gift plans combine your philanthropic giving with your financal needs and tax-planning strategies. Through creative gift planning, you can secure your own future, as well as ours.
There are many ways to remember Opera San José in your estate plans. You can name Opera San José as a beneficiary in your will or trust, or bequeth an insurance policy or an IRA/401(k) account. You can even establish a charitable gift annu-ity, which will provide you with a monthly payment and immediate tax deduction, with the remainder of the trust becoming a gift to the company after your passing. Nam-ing Opera San José in your estate plan also qualifies you to become a member of the Irene Dalis Legacy Society.
For more information about planned giving and the Irene Dalis Legacy Society, please contact Nori Okada, Individual Giving Manager at 408-437-4460, or Opera San José Trustee Jeanne McCann at 408-268-6681.
To ensure that your gift accom-plishes your goals according to your wishes, we recommend that you obtain the professional counsel of an attorney who specializes in estate planning.
THE IRENE DALIS LEGACY SOCIETY
(as of September 30, 2016)
CHERYL ADAMSTRICIA & TIM ANDERSONMAGDALENE ARLOCKBARBARA BARRETTMARTHA BESTROBERT & DIANE CLAYPOOLWERNER COHNROSE CRIMIGEORGE & SUSAN CROWWENDY DEWELLDOROTHY & RICHARD DORSAYCAROLYN MARIE DOWNEYJAMES & SUSAN DYERHOWARD GOLUBFRED & PEGGY HEIMANJAMES JACKSONJEANNE MCCANNKEVIN MCGIBONEY & NANCY LUTZOWD.G. MITCHELLHEIDI MUNZINGERDR. H. ANDREA NEVESNANCY NIELSENW. D. PERKINSELIZABETH POINDEXTERLEE & SHIRLEY ROSENMARTHA SANFORDJAN & DON SCHMIDEKJOHN SHOTTVICKI SLICHTERDR. LARRY STERNROGER & ISOBEL STURGEONMARILYN EVE TAGHONLAWRENCE A. & GENEVIEVE H. TARTAGLINOJAN TELESKYMELITA WADE THORPEMARGARET & DICKSON TITUSJULIAN H. UNGERALBERT J. VIZINHOBRADFORD WADE & LINDA RIEBELSHERYL WALTERSMICHAEL & LAURIE WARNERMR. & MRS. C. WHITBY-STREVENSRICHARD & PHYLLIS WHITNEYONE ANONYMOUS
operasj.org 1918 The Barber of Seville
Artistic/MusicARTISTIC PLANNING DIRECTOR, COURTESY OF THE PACKARD HUMANITIES INSTITUTE
Khori Dastoor
ARTISTIC ADMINISTRATOR
Elliot Yates
RESIDENT CONDUCTOR
Andrew Whitfield
GUEST CONDUCTORS
Ming Luke Dana Sadava
HEAD OF MUSIC STAFF
Veronika Agranov- Dafoe
COACHING/ACCOMPANYING STAFF
Cheryl Lin Fielding Ihang Lin Victoria Lington
ORCHESTRA LIBRARIAN
Tim Spears
SUPERTITLE CUEING
Victoria Lington John McCarthy
Larry Hancock GENERAL DIRECTOR
Joseph Marcheso MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR
Production/TechnicalTECHNICAL DIRECTOR
John Draginoff
COSTUME DIRECTOR
Alyssa Oania
PRODUCTION MANAGER
Kelly Mack
STAGE DIRECTOR
Layna Chianakas
SET DESIGNER
Matthew Antaky
LIGHTING DESIGNER
Kent Dorsey
WIG AND MAKEUP DESIGNER
Christina Martin
PRODUCTION ASSISTANT
Gilda Herrera
PRODUCTION STAGE MANAGER
Allie Bailey
ASSISTANT STAGE DIRECTOR
Hannah Hudgins
ASSISTANT STAGE MANAGERS
Steven Fetter Phil Jacke
MASTER ELECTRICIAN
Nick Kumamoto
ELECTRICIANS
Joseph Hidde Alyssa Glenn Carolyn Guggemos Harris Meyers
SCENE SHOP SUPERVISOR
Ariel Lacey
CARPENTERS
Christopher Kesel Ariel Lacey Kyle Langdon Chris Tucker
SCENIC CHARGE ARTIST
Renee Jankowski
SCENIC ARTISTS
Migi Oey Alexis Snyder
PROPERTIES MASTER
Lori Scheper-Kesel
PROPERTIES ARTISAN
Christopher Kesel
IATSE LOCAL 134 CREW
Kevin Driggs Bob Moreno Cindy Parker Bob Smay Lesley Willgohs Patrick Wollard
PROPERTIES RUNNER
Alison Froke
STAGE HANDS
David Chambers Raymond Garcia- Welch Eddie Gilbert Christopher Graham
SCENE SHOP ADMIN VOLUNTEER
Barbara Brosch
Staff
CUTTER/DRAPER
Emma Vossbrink
FIRST HAND
Kitty Wilson Larisa Zaiko
STITCHER
Neliy Davood Pireh Anhar
WARDROBE CREW
Christine Huynh David Radosevich Emma Vossbrink
WIG AND MAKEUP SUPERVISOR
IATSE LOCAL 706
Christina Martin
WIG AND MAKEUP ASSISTANTS
Sharon Peng
IATSE LOCAL 706
Lisa Poe
Resident CompanyKirk Dougherty Matthew Hanscom Sylvia Lee Brain James Myer Ksenia Popova Colin Ramsey
Guest Artists/CoversBabatunde Akinboboye Teressa Foss Nicolas Gerst Sylvia Lee Ksenia Popova Sidney Ragland Renée Rapier Valerian Ruminski Junbo Zhou
AdministrationDIRECTOR OF FINANCE
Donna Lara
ACCOUNTANT
James Wei
HR ADMINISTRATION
Gilda Herrera
DevelopmentWEBMASTER, EDUCATION, GRANTS
Lettie Smith
INDIVIDUAL GIVING MANAGER
Noritaka Okada
DEVELOPMENT MANAGER
Michelle D’Alo
DEVELOPMENT PLANNING CONSULTANT
Greg Parry
MarketingMARKETING DIRECTOR
Scott Gripenstraw
COMMUNICATIONS MANAGER
Bryan Ferraro
ART DIRECTOR
Kevin Herman
PHOTOGRAPHERS
Pat Kirk Robert Shomler
Box OfficeMANAGER
Michael Cheatwood
BOX OFFICE ASSISTANTS
Yumiko Harada Judi Rizzuto
operasj.org 2120 The Barber of Seville
OFFICERS
Laurie WarnerPresident & Co-Chair of Development Committee
N. Eric JorgensenSr. Vice President
Gillian MoranVice President & Chair of Governance Committee
Jan TeleskyInterim Chair of Finance Committee; Treasurer
Glen GouldBoard Secretary
Fred HeimanVice President & Chair of Long Range Planning Committee; Chair of Nominating Sub-Committee
Jeanne L. McCannVice President & Chair of Planned Giving and Events
Dr. H. Andrea NevesVice President & Co-Chair of Development Committee
Gerard L. SeeligVice President & Chair of Auditing Committee
TRUSTEES
Richard Dorsay, M.D.
Frank Fiscalini
Glen Gould
Fred Heiman
Peggy Heiman
Rita Elizabeth Horiguchi
N. Eric Jorgensen
Jeanne L. McCann
Gillian Moran
Dr. H. Andrea Neves
Linda Riebel
Gerard L. Seelig
Jan Telesky
Vijay Vaidyanathan
Dr. Brian Ward
Laurie Warner
PAST PRESIDENTS
Maxwell Bloom1983–1984
Frank Fiscalini1984–1987
Gordon Brooks1987–1989
Kitty Spaulding1989–1992
Michael Kalkstein1992–1994
Mary Reber1994–1995
Martha Sanford1995–1998
Richard O. Whitney1998–2001
Frank M. Veloz2001–2004
Joe Pon2004–2007
George Crow2007–2010
Board of Directors
Mission Statement
Opera San José is dedicated to maintaining a resident company of opera singers with whom we present compelling, professional opera performances, while creating and providing cultural and educational programs that both enrich the opera-going experience and encourage future generations of artists and audiences. Opera San José also provides technical assistance to other organizations.
Founded in 1984, Opera San José is unique in that it is the only year-long resident opera company in the nation. Members of the resident company form the core of the artistic staff for main-stage productions as well as educational programs.
Bravo! To our donors, the lifeblood of Opera San José! This listing reflects cumulative cash donations, pledges and matching gifts recorded October 1, 2015 to October 15, 2016.
EXCLUSIVE UNDERWRITING PARTNERS
$50,000 and aboveApplied Materials Foundation
CORPORATE PARTNERS
$10,000 to $49,999Empire Broadcasting
$500 to $999MWT Associates, Inc.
CORPORATE MATCHING
Many corporations match charitable contributions made by their employees. Please check with your employer and inform Opera San José of the process required by your company for this meaningful support, if available.
$5,000 and aboveGE Foundation
IBM Corporation
$1,000 to $9,999Google
Hewlett Packard
Hewlett Packard Enterprise
Under $999Applied Materials
Brocade Communica-tions Systems, Inc.
Chevron
Cisco
eBay
Harris Bank
The William and Flora Hewlett Foundation
Johnson & Johnson
Microsoft
Netflix
Nvidia
Oracle
SAP Software & Solutions
Synopsys
Texas Instruments
Volkswagen
Donors
Thank You, Opera San José Century Club Members!
Opera San José Century Club celebrates our loyal donors who have surpassed $100,000 in cumulative giving to Opera San José.
We applaud your remarkable generosity and loyalty. We thank you for your outstanding investment preserving the culture of our community
and the continued health of Opera San José.
We are deeply grateful to you.
Bravissimo!
Tricia & Tim Anderson
Jean Brandt
Catherine Bullock
Werner Cohn
George & Susan Crow
Mary & Clinton Gilliland
Howard W. Golub
Doreen James
Mary Louise Johnson
Robert S. Kieve
Jeanne L. McCann
Mrs. Averill Q. Mix
Pamela & David W. Packard
Martha Sanford & Gary Hong
Jan & Don Schmidek
Roger & Isobel Sturgeon
Dave & Carol Thompson
Michael & Laurie Warner
Richard & Phyllis Whitney
Six anonymous gifts
C E N T U R Y C L U B
operasj.org 2322 The Barber of Seville
Donors CONTINUED
FOUNDATIONS
$100,000 and aboveThe William and Flora Hewlett Foundation
$50,000 to $99,999The David and Lucile Packard Foundation
$10,000 to $49,999The Ann and Gordon Getty Foundation
The Kieve Foundation
The Packard Humanities Institute
Lorraine and Gerard Seelig Foundation
Hugh Stuart Center Charitable Trust
$5,000 to $9,999Rotary Club of San Jose Foundation
$1,000 to $4,999The William H. Cilker Family Foundation
Farrington Historical Foundation, Inc.
The Greenside Foundation
Italian American Heritage Foundation
The Markkula Foundation
Simon Strauss Foundation
One anonymous gift
Under $999Amazon Smile
Larson Family Fund
The Leeson Foundation
Metro C2SV Community Fund
PUBLIC SECTOR
City of San José
ORGANIZATIONS/CLUBS
$5,000 and aboveAmici di Musica Bella
San José Opera Guild
$1,000 to $4,999Silicon Valley Gives
Under $999Assured Life Association
City of Cupertino Senior Center
Friends of Opera San José
Nova Vista symphony Association Inc.
Opera And Ballet Club Of Rossmoor
Opera Bridge
San José Woman’s Club
INDIVIDUAL GIVING
PRODUCERS CIRCLE
$50,000 and aboveJean Brandt
Mary & Clinton Gilliland
David Valenta
One anonymous gift
GENERAL DIRECTOR'S CIRCLE
$25,000 to $49,999Thelma Dry
CONDUCTORS CIRCLE
$15,000 to $24,999Tricia & Tim Anderson
Jim Beatty
Glen Gould & Bunny Laden
Norman Lariviere & Carolyn Lund
Jeanne L. McCann
Mrs. Averill Q. Mix
DESIGNERS CIRCLE
$10,000 to $14,999Barbara G. Akin
George & Susan Crow
Fred & Peggy Heiman
Prof. John M. Heineke & Prof. Catherine R. Montfort
Rita Elizabeth Horiguchi
Doreen James
Marjorie Johnson
Linda Lee Lester
Izzy Lewis & Phil Park
Tom & Gillian Moran
Dr. H. Andrea Neves
Richard & Hannelore Romney
Jan & Don Schmidek
Dave & Carol Thompson
One anonymous gift
THEATRE CIRCLE
$5,000 to $9,999Elizabeth F. Adler
Mandy Behe
Prudence Brown
Doris & Alan Burgess
Mimi & Eric Carlson
Marilyn & Frank Dorsa
Dorothy & Richard Dorsay
Eric Jorgensen
Cathy & Dick Lampman
Dr. Jakob Nielsen & Hannah Kain
Don & Gretchen Nymoen
Ahmad & Ruth Orandi
Jackie Pighini
Alma Taylor
Jan Telesky
Bradford Wade & Linda Riebel
Dr. Brian Ward
Michael & Laurie Warner
Dr. & Mrs. C. Whitby-Strevens
Richard & Phyllis Whitney
One anonymous gift
PARAGON CIRCLE
$2,000 to $4,999Drs. Charlene Archibeque & Robert Melnikoff
Nevenka & Nebojsa Avdalovic
Anna M. Bagniewska & Denis St. Jean
Nancy C. Bean
Didier Benoit
Andrew & Brenda Birrell
Barbara F. Borthwick
Roger Bourland & Daniel Shiplacoff
Mary Esther Candee
Carolle J. Carter & Jess Kitchens
John & Agnes Caulfield
Paul & Marijane Chestnut
Kathy & Al DiFrancesco
Tom & Clara DiStefano
Maureen Ellenberg
Frank Fiscalini
Mr. & Mrs. Argo Gherardi
Janice & Mel Goertz
The Guth Family
Andrea & Volker Hampel
Mr. & Mrs. William H. Harmon, Jr.
Jim & Pat Jackson
Dr. William R. Lambert
Mr. & Mrs. Robert Leeper
Phil & Judy Livengood
Sylvia & Paul Lorton, Jr.
Mr. & Mrs. Denis Lynch
Joan Mansour
William McCraw & Janet Muscio
Barry & Rosemarie Mirkin
Mr. & Mrs. Thomas G. Moore
Heidi Munzinger & John Shott
Drs. Henry & Cynthia Nattrass
Diane K. Nelson & Marshall Marlowe
Kent Owen
Lisa M. Pereira
Randy Presuhn & Timothy Nguyen
Jean Reiner
Mr. & Mrs. Joseph J. Rizzuto
Richard & Barbara Roof
Patricia & James Schaaf
J.H. Silveira M.D.
Alice & Robert Skurko
Dr. Pieter & Jacqui Smith
Richard & Jo Anna Strawbridge
Melita Wade Thorpe
Dr. May Loo & Dr. William Thurston
Jeanne Torre
Janice Toyoshima
Marcia & Gordon Vosti
Alice Weigel
Dr. Herbert Weil & Dr. Anabel Anderson Imbert
Mariquita West, MD
Nancy & Kenneth Wiener
Dennis & Marianne Wilcox
Two anonymous gifts
SHOWCASE CIRCLE
$1,000 to $1,999Cheryl Adams
Jane Alejandro
Joyce Allegro & Gerald Sheridan
Jeanne & Michael Althouse
Daniel & Priscilla Amend
Richard J. Andrews
Adu Bagley
Dr. Alfonso Banuelos & Suzanne Wittrig
A. Bayman & M. Arlock
Elfi Berkowitz & Thomas Geisler
Emily & Stephen Berman
Bill & Ginny Berner
Donna & William Biretta
Josef & Phyllis Bismanovsky
Peter Bloom
Marlene Bollhoffer
Leon Bonner & Redge Meixner
Michele Bonnett
Ken Borelli
Nina Boyd
James & Margaret Brady
Robert & Mara Bronstone
Rick Callison & Shauna Mika
Pamela & Craig Carper
Ms. Linda Cato
Judy Chamberlain
Park & Joan Chamberlain
Isabel Chiu, CPA
Helen Conway
Alfio & Gerry Crema
Rose Crimi
Adnan & Patricia Daoud
Richard & Doris Davis
Jane Decker
Robert Dennis
Dr. James & Susan Dyer
Geoffrey & Norma Egan
Donald & Janice Elliott
Mr. & Mrs. John P. Eurich
Mary Mary Feldman
Bob & Alice Fenton
Georgiana & John Flaherty
Mehdi Gasmi & Gregory Parry
Michael & Judith Gaulke
Mr. & Mrs. Eduardo Grisetti
Lindy Hayes
Mitzi G. Henderson
Cheryl Holt
David G. Hough
Dr. & Mrs. Pearce Hurley
Mary Idso
Linda Izquierdo
Pat Janes
Ray & Laurel Kaleda
Ms. Bonnie Lee Kellogg
Anders Kugler
Doug & Rasha La Porte
Cathy & Steve Lazarus
Barbara & David Leeson
Rob Lenicheck
Morton & Elaine Levine
Sophia Liu
Sally & Tom Logothetti
Scott Lurndal
Jeanne Lyons
Philip & Margaret Ma
Tom MacRostie
Kevin McGiboney & Nancy Lutzow
A. Kirk McKenzie
Mr. & Mrs. McKnight
Chris & Katie Metzger
Stephen & Janet Miller
Barbara Molony & Thomas Turley
David Muhlitner & Peggy Kilduff
Tom Myers & Hartono Sutanto
Olga & Tony Nespole
Cynthia & Ken Newton
Paul & Jo O'Neil
Marshall & Jeanne O'Neill
Denise Owen
Bob & Bonnie Peterson
Nancy Pyeatt
Alice Ramsauer
Stephen & Denise Rawlinson
Marian Rees
Carol Richardson Cole
Donald & Marilyn Richardson
Joy Sakai
Lucinda Sanchagrin & Dennis McLean
Jack & Judy Schneider
MaryLou Schoone
Connie & David Sealer
Mort & Alba Sherin
Mr. & Mrs. R.W. Shomler
Colette A. Siegel
Betty Soennichsen
Ms. Laura Sternberg
Jim Stuhlbarg
Mary Alice & David Thornton
Neil Wilhelm & Laura Hill
Chip & Bonnie Williams
Susan & Jonathan Wittwer
Susan Yost
Five anonymous gifts
operasj.org 2524 The Barber of Seville
SUPPORTERS CIRCLE
$500 to $999Matthew & Marcia Allen
Joseph & Frankie Armstead
Shirley E. Bailey
Ray & Lynda Barbieri
Martha Beattie
Mario & Rose Belotti
Donald H. Bentsen
Walter Bentson
Gene Bernardini
Ms. Jane Bernasconi
Mr. Theodore J. Biagini
Dr. Arthur & Susan Biedermann
Matthew W. Bien & Grace T. Lee
Rob & Letty Block
Nadia & Christophe Bodin
Judith Borlase
David & Hildegard Borror
Patti Bossert & Charles Chew
Ms. Kathleen Bowden
Edward & Nancy Bowen
Jim & Carolyn Bowen
Larry & Sally Brandt
Ann Brown
Virginia L. Brown
Steve & Vicky Brozovich
Penny & Preston Brunst
Catherine Bullock
David Burke & Victoria Burton Burke
Dick & Pat Calfee
Virginia A. Carpio
Erie Carruthers
Deal & Nancy Christensen
Jonathan R. & Anne W. Cross
Elena & Ron Danielson
Ed Dantzig
Dr. & Mrs. J.H. Davies
Robert A. Davies III & Diane Church-Davies
Mr. & Mrs. Richard & Maureen DeBolt
Victor & Suzanne DeMattei
Joe & Carolyn Dickinson
Meredith & Carl Ditmore
Ellen Donnelly
Deborah Edginton
John Ehrman & Tineke Graafland
Shirley J. Foreman & Alberta Brierly
Barbara Frank
Carolyn & Brian George
Drs. Lucia & Jack Gilbert
David & Janice Gilman
Roger K. Gould
Christopher Greene
Gryphon Financial Group, Inc.
Mike & Jane Guerra
Jim & Linda Hagan
Kathryn Hall & Richard Neilson
Charles F. Hanes
Helen Helson
Kali & Narada Hess
Fred & Leelane Hines
Ilene & Ken Imboden
Maria & Klaus Jaeger
Bill & Danielle James
Jeraldine Johnson
Dale & Jane Jordan
David Kaun
Paul & Darina Kavanagh
Jason Paul Kazarian
Mary M. & Harry Kelly
Sheryl Kelly
Victoria Knox
Paul & Jackie Kuckein
Ms. Sue Larson
Shirley Leisses & Hicks Williams
M. Lewis & Kristin Fryklund
Russell Lindgren
Don Lowry & Lynore Tillim
Jonathan Lynam
Pamela & Steve Lyons
Anne & Dave Mack
Karen & David MacQueen
Peter Marra
Steve Martin
Patrick & Darle Maveety
Richard & Junetta McKewan
Howard McKinney
David & Erika Meinhardt
George Menzoian
D.G. Mitchell
Mr. & Mrs. Dennis Nelson
Mr. Patrick O'Connor
Ken Odom
Dr. & Mrs. Hans Orup
Donald & Lona Packwood
Joseph Palmer & Nikki Kim
Janice Paull
Joyce E Peloian & Gary McCrea
Marilyn Perry
Dr. Lorna Pierce
Stephen Powell
Tom Ranweiler
Marjorie Rauch
Pamela & Jim Robson
Bryan Rodriguez & Jean-Marie White
Mr. & Mrs. Richard Rolla
Mr. & Mrs. Lee Rosen
Mr. & Mrs. Laurence L. Rosier
Doron & Miriam Rotman
Fred Sanders & Lynn Evans
Robert Savoie
Norma & Charles Schlossman
Joyce & Campbell Scott
Ursula Shultz
Darby Siempelkamp & Michael Kresser
Robert & Carmen Sigler
Regina Sleater & Dean Dunsmore
Todd & Sandy Smith
Frank & Diane Snow
Sandra M. Sobie
Jim Stauffer
Susan & Peter Talbot
Beth Kay Taylor
H. James Tellefson
Jeff & Catherine Thermond
Anne &Peter Thorp
Louise Tighe
Mr & Mrs. Robert Torrano
Nancy Valencia
Mr. & Mrs. John S. Vineyard
Sheryl Walters
Karlette Warner & Ward Hoffman
Channell Wasson
Mrs. Geri Weimers
Mr. & Mrs. Lawrence Williams
Penelope Williams & Richard Bruner
Brian & Linda Winter
Elizabeth Wolf
Chien-Gsueb Wu
Ellen C. Wynn
June C. Yamamoto
Bassam Zahra
William & Patricia Zahrt
Drs. Robert & Antonette Zeiss
Mr. William Zschaler
Ieva Zvargulis & William Robertson
Five anonymous gifts
Donors CONTINUED
DEDICATED DONATIONS
Mr. Robert Applebaum in memory of Rosalyn Applebaum
Sonia DeHazes in memory of Ruth Laine Bauer
Peter Bloom in honor of Maxwell H. Bloom
Prudence Brown in memory of David A. Brown
Virginia A. Carpio in memory of Willa & Ignacio Carpio
Nancy Boitano, Julian H. Unger, Nancy & Kenneth Wiener in memory of Irene Dalis-Loinaz
Nina Boyd, Stan & Elaine Gould, Mike & Jane Guerra in honor of Frank Fiscalini
Phil & Judy Livengood, Richard L. Sogg, M.D., Four anonymous gifts in memory of Lea Frey
Cheryl & Steve Kole in honor of Peggy Heiman
Joan Stucker in memory of Frank Johnson
Randy Earle in memory of Lise la Cour
Joan B. Bose in honor of Judy Leahy
Ralph Cizmar & Marie Lindgren in honor of Russell Lindgren & Stephanie Leong
Dennise & JoAnne Nelson in memory of Gretchen Nymoen
One anonymous gift in memory of Mary Reber
E. Kletter in memory of Helene Rock
Gerry and Marita Trobough in honor of Terrence Trobough
Sonia DeHazes in memory of Doug Weber
Marsha & David Pollak, Susan Yost in memory of Phil Yost
IN MEMORY OF OLGA NESPOLE
Mrs. Elvira Aloia
Ms. Marlene Avel
Janet Bastovan & David Davies
Ms. Janis Black
Nina Boyd
Dr. & Mrs. Donald Joseph Cariani
Dr. James Chang
Mr. Edward M. Cheng
Joan R. Chisholm
Mrs. Gladene Clarke
James & Anne Cook
Ms. Lorrain Daigneault
Rhonda Dern
Mr. Michael Destro
Wendy Dewell
Dr. James & Susan Dyer
Mr. & Mrs. John P. Eurich
Deborah Gould
Fred & Peggy Heiman
Howarth Family
Dr. Clara Lasala
Mary Pat & Jerry Lass
Judy & Allan Lavetter
Lourdes Lazatin
Dr. Tony Lie
Ms. Janis A. McGibbon
Dr. Elizabeth Menkin
Mrs. Averill Q. Mix
Dr. H. Andrea Neves
Mrs. Anne Pollard
Richard & Hannelore Romney
San Jose Opera Guild
Ms. Tina Santucci
Norma & Charles Schlossman
Dr. Vincent K. Seid
J.H. Silveira M.D.
Nancie Sowin
Cheri Strempel
Howard & Marcia Summers
Dave & Carol Thompson
Mrs. Davin P. Torre
Paul Traynor
Carl Voss
Michael & Laurie Warner
Alex Gelber & Linda Wolf
Dr. Lorna Yamaguchi
Hanley & Mary-Anne Yoffee
Two anonymous gifts
operasj.org 2726 The Barber of Seville
In KindOpera San José would also like to thank the following donors for their generous in-kind goods and services:
Services: Chris Ayers, Diane Claypool, Citti’s Florist, San Jose Convention Center, N. Eric Jorgensen, Ms. Bonnie Lee Kellogg, Phil Park, Betty Poin-dexter, Linda Riebel, R.W. Shomler, Telesky Financial Services, one anony-mous gift.
Supplies & Equipment: Barbara Barrett, Nance C. Bean, Elfi Berkowitz, Joseph George Wines, Diane K. Nelson & Marshall Marlowe, Nancy Nielsen, Robert & Lois Rew, one anonymous gift.
Friends of Opera San José!Opera San José thanks Friends of Opera San José for their service to the company. To become a member of our volunteer auxiliary, Friends of Opera San José, and experience its many benefits, please send an email to [email protected] or sign up at operasj.org/sup-port/volunteering.
Special Thanks
Linda Riebel PresidentJeanne Lyons Vice PresidentJanice Toyoshima TreasurerRenee Anderson NewsletterBarbara Brosh EventsBrenda Davis VolunteersNancy R. Divine Hospitality TableJim Stauffer Cultural OutingsNancy Valencia CommunicationBonnie Williams Membership
Brad Wade Opera at your doorstepAnna BagniewskaBill BartzNancy BeanDidier BenoitWalter BentsonJudith BorlaseCarolyln BowenJames D. BowenPamela CarperCorinne CarterAdnan & Pat DaoudWendy DewellRichard DorsayShirley ForemanLaura Hill
Rita Elizabeth HoriguchiAmelia JacksonEd JajkoPam JajkoJoann JohnsonSheryl A. KellyColeen KohtzLee LedererOlive LeeperLucy LoganMichael MastreAnn Mayers Kathleen McCabe-MartinJeanne McCannPat MillerTom Miller
Lynn MunroMeera PrahladSally PyleJoyce SakaiSuzanne SarroDelia SchizzanoShirley Shoup-HowardFrank & Diane SnowDenis St.JeanMike & Laurie WarnerDiane WerpDennis & Marianne WilcoxFern Jaffe WollrichBobbi Wolner
Dick & Pat CalfeeCarolle CarterBarry CohenLaVonne FraboniFred & Peggy Heiman
Rita HoriguchiOlive LeeperJudy LivengoodPhil LivengoodLorraine Mazzeo
Pat MillerHeidi MunzingerJudi RizzutoJim StaufferKathryn Veregge
Sheryl WaltersBobbi Wolner
VolunteersOpera San José thanks the following volunteers for their service to the company. To offer your assistance as a volunteer, please visit operasj.org/support.
A REQUEST TO OUR DONORS: If we have made a mistake or omission, kindly bring it to our attention so that we may correct it. Please call Individual Giving Manager Noritaka Okada at (408) 437-4460.
Supported, in part, by a CulturalAffairs grant from
the City of San José.
The official piano of Opera San José.Opera San José’s pianos are supplied by
Yamaha Peninsula Music, San José.
Top Related