1998–2008
Tenth
Anniversary
Report =
Table of Contents/Credits =
Editors: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Aurelius Fernandez and Frederic Harwood
Chairman’s
Message =
The magnificent opera analyst, Owen Lee,
Chairman’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jim Holman . . . . . . . . . . .page 1
President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Aurelius Fernandez . . . . . . . . . . .page 2
vibrant cultural institutions in Washington.
once used a single word to describe the
Section 1: Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Editors . . . . . . . . . . .page 3
Section 2: Evelyn Lear and Thomas Stewart Emerging Singers Program
works of Richard Wagner: “indispensable.”
A Journey Towards Excellence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .John Edward Niles . . . . . . . . . . .page 6
Evelyn Lear and Thomas Stewart: Their Impact on the Next Generation . . . . . . . .Compiled by Frederic Harwood . . . . . . . . . . .page 7
The Singers: Selected Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Compiled by Frederic Harwood . . . . . . . . . . .page 8
Section 3: Musical Programs, Symposia, and Seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Compiled by the Editors . . . . . . . . . .page 12
Section 4: A Chronology of Monthly Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bonnie Becker . . . . . . . . . .page 16
Section 5: Wagner in der Wildnis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Aurelius Fernandez . . . . . . . . . .page 20
The Saturday Night Live Libretto Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Betty Byrne . . . . . . . . . .page 21
Section 6: The Bayreuth Festival as a Religious Pilgrimage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Aurelius Fernandez . . . . . . . . . .page 22
Section 7: Ten Years of Membership Growth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lynne Lambert . . . . . . . . . .page 24
Section 8: Publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Editors . . . . . . . . . .page 26
Section 9: Board of Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Editors . . . . . . . . . .page 28
That word has always seemed particularly
munity in many ways — through monthly
lectures, semi-annual concerts, and special
events through a network of collaborating
tion, the German Embassy, and the
Goethe-Institut. We are ready to make even
greater contributions to our community.
apt, whether applied to Wagner, or to any
of the Great Masters. The original
In our second decade, we will extend
the reach of our programs to a growing
membership. We are poised, through the
Emerging Singers Program, to make added
contributions to the training of great Wagner
Mission Statement of our Society — “for
singers. We will encourage and support
Wagner performances around the country
and the world, and are especially looking
the study and enjoyment of Wagner’s art”
forward to the upcoming “American Ring”
of the Washington National Opera. In
short, we remain committed to bring the
— continues to inspire us, and our first
Photo Credits: All photos by Aury Fernandez, except for the following: p. 2 Gwen Lewis; p. 3 Washington National Opera (WNO); pp 4–5
and 25 top Anderson Photography; p. 6 Evelyn Lear; pp 9-11 courtesy of the singers; p. 14 Jeffrey Swann; p. 15 Tim Scanlon; p. 23 dinner
photo courtesy of Tom and Yoko Arthur; p. 23 Bayreuth 2006 group photo courtesy of Bonnie Becker; pp 28-31 courtesy of the subjects.
We are proud to serve the Washington com-
institutions such as the Smithsonian Institu-
Premium Members 1998–2008 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Compiled by Bill Pastor . . .inside back cover
The Editors are grateful to the following for edits and proofreading: Lynne Lambert, Betty Byrne, Prof. Donald Crosby, and Jim Holman.
Nancy O’Hara provided invaluable assistance with proofreading and edits.
With a base of more than 500 members,
our Society has emerged as one of the most
indispensable value of Wagner’s art to an
ever-expanding audience.
decade has also alerted us to opportunities
to expand the mission.
Tenth Anniversary Report
Jim Holman
Chairman
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 1
President’s
Message =
“Weisst Du, wie das wird?”
“What will happen now?” (Second Norn
in Götterdämmerung Prologue)
Awards =
Society has been truly blessed with dedicated
volunteers and loyally active members.
40 Emerging Singers who have the ability to
As I transition to the role of President
sing Wagnerian roles, and completed eight
Emeritus after ten years as President, I share
The question posed by the Second Norn
annual Wagner in der Wildnis weekend re-
with many members much awe at what has
was very much on my mind in May 1998
treats, 15 issues of our twice-yearly Wagner
been achieved. We have a promising future
when I organized a Steering Committee to
on the Potomac newsletter, and the 4 annual
for the “study and enjoyment of Wagner’s
work toward the creation of what became
issues of The Wagner Singer publication de-
art,” as we set forth in our mission statement
the Wagner Society of Washington DC
voted to the Emerging Singers Program.
in August 1998.
(WSWDC). Among those on the Commit-
That we would be affiliated with an
My years as President have been so
tee were Barbara Karn and R G Head who
international publication such as Barry
satisfying, so very educational. I’ve had the
became long time members of the Board of
Millington’s Wagner Journal never occurred
great fortune to meet opera lovers who are
Directors, and others such as Janice Rosen,
to us. We look back in amazement on the
students of Wagner, as well as renowned
who served for a short time.
more than 70 lectures by the world’s leading
authorities, authors, lecturers, musicologists,
The Society formally recognizes notables
in the opera world who have made
extraordinary contributions to the study
Martin Feinstein. Impresario. The late
General Director of the Washington National
Opera made a singular contribution to
developing the staging of opera in the
nation’s capital, including the works of
Richard Wagner. For this reason, he was the
logical first recipient of the Award in June
1999, just before the Society’s first anniversary.
and enjoyment of Richard Wagner’s art.
Nine persons have been so honored by the
Thomas Stewart. Bass Baritone. He was
deservedly Herbert von Karajan’s Wotan of
choice at a time when both were at the height
of their musical careers. In retirement after a
triumphant international opera career, Tom
Society at award banquets and galas.
Stewart settled in the Washington DC area
The Steering Committee decided at the
Wagner musicologists at The George Wash-
singers, and performers from throughout the
outset to seek a Good Samaritan and godfather
ington University’s Funger Hall, more than
world, from our sister Wagner societies, and
to be our chairman. Jim Holman agreed and
ten separate, major musical programs in-
from Bayreuth. I look upon the past with
named in their honor, a partnership with the
the steady growth of our programming and
cluding programs in cooperation with the
heartfelt gratitude and look forward to the
Wagner Society of Washington DC. Tom
membership took off.
Washington National Opera, the Smithsonian
future with great anticipation. I am grateful
received the Award in May 2000. We con-
There were no limits to our imagination
Resident Associates, and the Goethe-Institut,
to all who have helped make the Wagner
tinue to mourn his untimely death in
on the Steering Committee, but none of us
along with the Society’s awards ceremonies,
Society of Washington DC such a remark-
September 2006.
dared imagine that by our 10th anniversary
cast dinners, galas, fund raisers, and so much
able success. And so, as Wagner would have
Placido Domingo. Tenor. The opera
our rolls would count over 500 dues-paying
more. The Society’s development today has
said: Aufwiedersehen, aber nicht leb’ wohl!
world’s foremost living tenor, he has sung the
members! Moreover, we did not imagine that
far exceeded our most fantastic, sweetly un-
(Goodbye, but not farewell!).
role of Sigmund in opera houses throughout
in two short years we would have 15 sets of
reasonable dreams in 1998!
with his wife Evelyn Lear. Together, they
co-founded the Emerging Singers Program,
the world, and, with Nina Stemme, recorded
Bayreuth tickets — 105 in all! — allotted to
As with any volunteer arts organization,
an acclaimed studio version of Tristan und
us for the Festival each year. Nor did we dare
success depends on the commitment and
Isolde in 2005. He is the General Director of
imagine that by our tenth anniversary in
dedication of a diligent working board, to
2008 we would have behind us 17 Concerts
support the big idea policy makers. And we
of the Evelyn Lear and Thomas Stewart
knew that it was equally important in the
Emerging Singers Program, which has men-
long run to have the support of a strong core
tored and promoted the careers of more than
of active members. As it turned out, the
page 2
THE WAGNER SO CIET Y OF WASH INGTON D C
Aurelius (Aury) Fernandez
President Emeritus
Tenth Anniversary Report
Placido Domingo, Selwa “Lucky” Roosevelt, and
Washington National Opera (WNO) Chairman and
Wagner Society Board Member John Pohanka at the
50th Anniversary celebration of the WNO.
Tenth Anniversary Report
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 3
James Morris accepts Wagner Award at Gala Benefit ( June 2005) with Board of Directors. (left to right) Phillip W. Raines, R G Head, John Pohanka, President. Aury Fernandez,
James Morris, Tom Arthur, John Edward Niles, Betty Byrne, Chairman Jim Holman and Lynne Lambert.
the Washington National Opera and the Los
May 2002. The 60th anniversary of his con-
and other arts organizations. Each Washing-
Angeles Opera. He accepted the Award in
ducting career was celebrated in May 2006
ton National Opera season, he records
Society for his lecture-demonstrations at
April 2001; a film clip of the award ceremony
at an event hosted by German Ambassador
commentaries of the season’s operas. His
the annual Wagner in der Wildnis weekend
was screened for members at the Society’s
Klaus Scharioth.
June 2001 banquet.
James Morris, the Wotan and Hans Sachs of the
present generation with Thomas Stewart who “owned”
those roles in the last generation. The two Wagner
Award recipients are seen here at the Third Gala
Benefit ( June 2005).
Evelyn Lear. Soprano. An internationally
Fr. M. Owen Lee. Critic and Author.
celebrated soprano on the opera stages in
Professor of Classics at the University of
Europe and the U.S., she is widely acclaimed
Wagner. He is especially prized by the
commentaries on Wagner’s operas are espe-
retreats and at the concerts he has presented
cially prized. He accepted the award in June
each year. Since 2005 his concerts have in-
2004 at the banquet at the Arts Club.
augurated the Society’s autumn program
James Morris. Bass Baritone. The lead-
season. He accepted the Award in June 2007
Toronto, Father Lee is author of Wagner’s
for her interpretation of the German reper-
ing Wotan and Hans Sachs of his generation,
at a festive awards ceremony at the Arts
Ring:Turning the Sky Around, books on Horace
toire, especially Strauss, Mozart, and Berg.
Mr. Morris is in many respects the heir to
Club, Washington DC.
and Virgil, as well as more than a hundred
With her husband Thomas Stewart she co-
Thomas Stewart. Writing in the New York
articles on both classical and musical subjects.
founded the Emerging Singers Program
Times, Anthony Tommasini noted that
He was a frequent guest on the Metropolitan
(ESP) named in their honor, a partnership
Morris was “born to sing Wotan.” He has
Gerry Perman was honored at the Society’s
Opera/Texaco radio broadcasts. He accepted
with the WSWDC. Ms. Lear generously
sung Wotan in productions at the Met, the
2007 Gala in recognition of his pioneering
the award in December 2001.
Diane Stanley and Yoko Arthur co-chairs of the 2007
Gala Benefit and Awards Ceremony.
Special Award
continues to serve as Artistic Director of the
Vienna State Opera, and the Deutsche Oper,
work in creating and managing the Vocal
Maestro Heinz Fricke. Music Director of
Program, which she has taken to increased
and he has recorded The Ring for Deutsche
Arts Society of Washington DC.
the Washington National Opera, he made
prominence and influence. She accepted the
Grammaphon with James Levine, and for
his company debut in 1992 conducting The
award in June 2003.
EMI with Bernard Haitnik. He is a native of
Flying Dutchman, and shortly thereafter,
page 4
The Third Gala Benefit ( June 2005) silent auction attracted special attention. In the photo, Peggy Jones, Lynne
Lambert and Diana Holman.
Saul Lilienstein. A conductor and musi-
Baltimore and attended the Peabody Con-
in 1993, was named the company’s music
cologist
director. His international reputation as a
Bernstein, Maestro Lilienstein has developed
Wagner conductor, and his extensive discog-
an impressive career in the Washington area
Jeffrey Swann. Pianist. An internation-
raphy, have placed him in the pantheon of
as a lecturer for the Society, the Smithsonian
ally famous pianist, he completed his
great conductors. He accepted the Award in
Institution’s Resident Associates Program,
doctoral dissertation at Julliard on Richard
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
who
studied
with
Leonard
servatory. He accepted the award at the
Society’s 2005 Gala Benefit.
Tenth Anniversary Report
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 5
The Evelyn Lear and Thomas Stewart
Emerging Singers
Program =
A Journey Towards Excellence
In 1999, after a monthly Board meeting
of the WSWDC, Program Director John
Edward Niles approached Chairman
James K. Holman and pointed out that
here in the Washington DC metropolitan
this program was to be on the music of
were determined that the ESP should focus
Richard Wagner. Evelyn and Thomas felt
on developing American singers with the
that the participants in this program MUST
talent to sing the Wagner repertoire.
be at least 35 years old. To call a 35 year old
The Emerging Singers Program has now
singer “young” was both insulting and inac-
grown to become an important element in
curate. So Tom decided on The Emerging
the vocal scene in the United States. Since
Singers Program (ESP).
its inception, the program has received over
Second, it was to be a partnership with
500 applications, has auditioned close to 200
the Wagner Society of Washington DC, but
singers, and has presented over the last 7
it would operate both inter- and intra-
years a total of 17 concerts featuring more
dependently of the main body of the parent
than 40 singers. Even as we enter our tenth
organization.
anniversary, about two thirds of the ESP
Third, it was NOT to be a contest! The
singers actively continue to pursue operatic
singers would be chosen by audition. Those
careers. An even dozen have performed
selected, numbering between two to five
in European opera houses and major sum-
each year, would come to Washington for
mer festivals.
area lived two giants of the operatic world,
one week where they would work intensively
Evelyn Lear and Thomas Stewart began
with the pianist and with Evelyn and Tom.
their association with the WSWDC in 2001.
Evelyn Lear and Thomas Stewart.
At the end of the week, a concert would be
given at the German Embassy. After that,
They had moved to Rockville from Santa
lyn Lear, Thomas Stewart, James Holman,
The iconic photo of Thomas Stewart and Evelyn Lear, Founders and Artistic Directors of the Emerging Singers
Program named in their honor.
ues to work with and inspire emerging
Joan Reinthaler, The Washington Post,
Before moving to Washington, they resided
American singers. She is presently a mem-
September 23, 2003 wrote: “Evelyn Lear and
in Berlin before moving to Santa Fe. During
ber of the faculty of the University of
Thomas Stewart are two of the most distin-
the singers would remain in the program and
those years, they performed in the leading
Maryland School of Music.
guished singers of our time. From the 1960s
continue to work with Evelyn and Tom,
opera houses in the United States and
into the 1980s they sang leading roles in
Evelyn Lear and Thomas Stewart:
Their Impact on the Next Generation
Fe three years earlier. They were already in-
and Niles met in the winter of 2001 at the
who, along with the Wagner Society of
Europe. They were both honored by the City
volved with the Young Artists Program at
L’Ecole du Cuisine Restaurant in Bethesda
Washington DC, would give them support
of Berlin and the City of Vienna with the
the Wolf Trap Opera Company, but Niles
for dinner. On the back of a paper napkin,
both professionally and financially for audition
title of Kämmersängerin and Kämmersänger.
The Wagner Society of Washington is
thought we might approach them about
Thomas Stewart outlined what he and his
trips, lessons, coaching, new photographs,
They conducted many master classes to-
indeed fortunate to have partnered with Eve-
forming a young artists program with the
wife considered to be the basic outline for a
concert wardrobe, and promotional materials.
gether, and together “discovered” and
lyn Lear and Thomas Stewart to develop
leading Wotan and Hans Sachs of the post-
Wagner Society of Washington DC.
Young Artists Program.
Tom and Evelyn, recalling their difficult
mentored many singers now developing in-
new emerging Wagnerian singers. Evelyn
war era. He is the only bass-baritone to sing
every major opera house in the world. Ms.
Lear is renowned for her roles in Strauss,
Mozart, and Berg.
“Mr. Stewart is especially revered as the
The concept was all very vague at that
First, it was NOT to be called a Young
early years when they felt they had to move
ternational careers. After Mr. Stewart’s
and Tom are recognized for their extraordi-
all four operas of The Ring in one week at the
point but, after some initial phone calls, Eve-
Artists Program because the emphasis of
to Europe to gain singing opportunities,
untimely death in 2006, Evelyn Lear contin-
nary work with emerging singers.
Bayreuth Festival, and the only American to
page 6
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
Tenth Anniversary Report
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 7
The Emerging Singers
Charles Robert Austin
Nathan Bahny
Dianne Barton
Valerie Bernhardt
Cory Bix
Allison Bolshoi
Daniel Brenna
Brian Carter
Connie Coffelt
Alma DeLon
Richard Demers
Jason Detwiler
Amy Fuller
Jerett Gieseler
Deidra Palmour Gorton
Othalie Graham
Karen Harman
Lawrence Harris
Michael Hayes
Pavel Izbedsky
Ray Karnes
Ryan Kinsella
Daniel Klein
Matthew Lepold
Amanda Mace
Jay Hunter Morris
Paul Mow
Christopher Owens
Brian Register
Jennifer Roderer
Roxanne Rowedder
Julia Rolwing
Joshua Saxon
David Smith
Jeffrey Springer
Roy Stevens
Jason Stearns
Gail Sullivan
Jason Switzer
Rebecca Teem
Kara Shay Thomson
Thomas Rolf Truhitte
Carolyn Whisnant
Jennifer Wilson
Laura Zuiderveen
bass-baritone
baritone
soprano
soprano
tenor
soprano
baritone
tenor
soprano
soprano
baritone
baritone
soprano
baritone
soprano
soprano
soprano
tenor
tenor
bass
bass-baritone
baritone
baritone
baritone
soprano
baritone
tenor
tenor
tenor
mezzo
mezzo
soprano
tenor
tenor
tenor
heldentenor
baritone
soprano
bass-baritone
soprano
soprano
heldentenor
soprano
soprano
mezzo soprano
2003
2002
2005
2007, 2008
2007
2002
2005
2004
2000
2001
2002
2001
2001
2008
2006
2008
2006
2002
2003, 2007
2005
2001
2007, 2008
2008
2004
2001
2001
2001
2005
2007, 2008
2002, 2004, 2006, 2007
2003, 2004, 2005
2007, 2008
2005
2004, 2006, 2007
2006
2003, 2004
2005, 2006, 2007
2002, 2003, 2006
2004
2005, 2007
2008
2001, 2002
2003
2001, 2004
2000, 2001
sing major roles at Bayreuth for fourteen
Wotan in the historic von Karajan Ring
consecutive years.
recording, are a permanent record of Wag-
“Both Ms. Lear and Mr. Stewart have
ner singing at the highest level.
status of Wagnerian singers, something one
at important opera houses throughout the
attains, if ever, only with considerable phys-
world, including Bayreuth (Amanda Mace),
ical and artistic development.”
the Valencia Ring ( Jennifer Wilson), the
Evelyn Lear with Betty Bullock at the piano rehearse singers for one of the Emerging Singers Concerts.
Tim Smith, The Baltimore Sun, May 7,
Long Beach Ring
2002, wrote: Lear and Stewart “know good
(Nathan Bahny and
well, with a huge, beautiful sound and dra-
“...Jason Stearns ...possesses a vocal in-
Wagner singing when they see it. ...They
Deidre
matic nuance, that she brought down the
strument of uncommon presence — a dis-
Palmour
house.” Anne Midgette, New York Times
help identify, mentor and promote singers
Gorton), New York
who show promise as Wagnerians.” The 4th
City Opera ( Jennifer
Concert “...offered a tantalizing notion that
Roderer, Paul Mow),
beautiful singing was her top priority. This
a new vanguard of Wagnerians just might be
and Spoleto (Thomas
Dutchman marked a Cinderella WNO debut
in the offing.”
Mark Estren, The Washington Post, June
Rebecca Teem
“Jennifer Wilson, as Senta, showed that
for Wilson, returning to a stage where she
places. Jason Stearns, as the Philistine High
sang in the chorus for six seasons before em-
Priest, has a dark and sparkly instrument, all
velvety evil.” Lawrence Johnson, Miami Herald
success is Rebecca Teem, who sang
barking on what is shaping up to be a very
Brünnhilde in the Lübeck, Germany Ring in
nice international career. The buzz is de-
The richness and depth of the Wagner per-
summer, 2008.
served...she sings with a creamy, lyrical
Below are selected reviews from the in-
sound....” Anne Midgette, The Washington Post
“La soprano dramatica Americana Jen-
ternational press.
Thomas Stewart was clearly an inspirational
“Jennifer Wilson suddenly burst onto
nifer Wilson, a Brunhilda del año pasado,
teacher. The concert was a memorial to
the international opera scene by jumping in
regresa con una voz aun mas madura y un
Stewart, who died last month, and a tribute
for Jane Eaglen as Brünnhilde in Wagner’s
criterio musical mas denso para bordar con el
Götterdämmerung, at
tenor las escena con-
the Lyric Opera of
clusiva.” La Nueva
Chicago, just a day
España, Valencia
to his wife of 51 years, Evelyn Lear....”
The Emerging Singers Program:
Achieving Our Mission, Making
an Impact
Selected Reviews
“Moments of pleasure crop up in strange
Society’s most recent
a teacher than the success of his students.
Friday night showed that bass-baritone
Robert Battey, The Washington Post
Rolf Truhitte). The
23, 2006, wrote: “There is no finer tribute to
formances at the German Embassy on
cernible tinge of star quality, if you will. Sterns
dominated the opening night performance.”
Julia Rolwing
Corey Bix
“Sopranos
Julia
after singing the same
“Jason Stearns ...
character in a re-
one had to admire his
Berhnardt,
hearsal of Die Walküre.
firm, wide ranging
with tenor Corey Bix
Rolwing and Valerie
along
left us extensive award-winning discogra-
“In retirement from star-quality careers
phies. In addition to Lulu, Ms. Lear is
on the opera and concert stage, Thomas
The emerging singers are making an im-
Artistry aside, this is
baritone, not to men-
and baritone Ryan
particularly noted for her portrait of Pamina
Stewart and Evelyn Lear, husband and wife,
pact in the opera world, most especially in
a stunning athletic
tion
Kinsella sang, and
in Die Zauberflöte and Marschallin in Der
are passing on the wisdom underlying their
the singing of Wagner. With the coaching
Jennifer Wilson
Rosenkavalier. Mr. Stewart’s performances as
artistry to a new generation of singers.
and career guidance of Thomas Stewart and
only sang the killer leading role of the five-
Hans Sachs with Rafael Kubelik, and as
...What is emerging is the maturing to the
Evelyn Lear, the participants have performed
hour Götterdämmerung, she also sang it so
tan Opera’s La Gioconda.
page 8
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
feat. Ms. Wilson not
his
steadfast
bravado.”
Martin
all of them did so
Bernheimer, Financial Times, re: Metropoli-
superbly.... Rolwing
Jason Stearns
Tenth Anniversary Report
Ryan Kinsella
had all the spacious
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 9
The 10th ESP Concert, the German Embassy (May
2005) Left to right: Bass-baritone Charles Robert
Austin, Thomas Stewart, Soprano Rebecca Teem,
Soprano Dianne Barton, Baritone Nathan Bahny,
Evelyn Lear, Bass Pavel Izbedsky, Tenor Joshua Saxon
and Baritone Daniel Brenna.
exuberance and vocal flexibility needed for
Gorton (who could very well go on as a
Jeffrey Springer was “a sensational Des
Whisnant’s voice possesses a rich bloom
dante. Roderer’s chesty sound and impas-
Wagner’s Elizabeth in Tannhäuser. Bix de-
Wagnerian) tearing up the stage as a tom-
Grieux, a passionate dramatic tenor with a
capable of conveying Tosca’s volatile person-
sioned performance perfectly conveyed this
livered a confident, impassioned version of
boy and singing with confident beauty.”
surprisingly powerful and clear-voiced qual-
ality, combined with expressive gestures.”
character’s hollow dread....” Opera magazine
Walther’s prize song for Die Meistersinger
Opera West
ity. Jeffrey Springer received the major
Opera News
with golden resonance.
Opera Theater of Pittsburgh “cast singers
who could act and it paid off in the rapport
Paul Mow “Now a regular fixture at the
New York City Opera, Mow possesses a
Ring in Austria, 2004:
tone
pain by Tristan’s betrayal, his song resonated
her
with potency and line, and in addition to an
throughout
range; neither the
apollonian ethos, perfect pitch and moving
Mow is a greatly gifted young singer with a
memorable.” Michael Kennedy, The London
ballad’s
nobility.” El Nuevo Dia, San Juan PR
bright future.” Grammophone magazine
Sunday Telegraph
Amanda Mace
jumps nor the high
“The best finding
Bs in the love duet
in this concert was
register
Rolf
“Gail Sullivan was a magnificent actress
Truhitte “sings with
and I am eager to hear her again.” Eloise
Caroline Whisnant
and finale posed the
Charles Austin who
power,
Bouye, San Francisco Classical Voice
least threat to her vocal security.” Opera News
sang Koenig Marke.
Thomas
“Roy Stevens macht Loge zur schillern-
“Bernhardt has a molten mezzo quality
pressing his disenchantment and highest
plangent lyric tenor with a clarion top. ...Paul
cher Loge” —Der Standard
Bryan Register
focused
beautiful discovery in this premier. When ex-
vibrant,
Gail Sullivan
“Roy Stevens war ein wunderbar zynisMichael Hayes
played
and Brünnhilde (Deidre Palmour Gorton).”
Roy Stevens, heldentenor, at the 24-hour
Whisnant “...dis-
portion of the evening’s applause.” Westdeutsche Zeitung
between Wotan (Charles Robert Austin)
Pittsburgh Post-Gazette
“Charles Robert Austin represented a
conviction,
musicianship and the
“The American soprano Amanda Mace
“Amneris was mezzo-soprano Jennifer
The graceful voice
and a lovely high range, and Kinsella re-
“Roy Stevens, ein ausgezeichneter,
requisite Wagnerian
turned in an outstanding performance as
Roderer, singing with plush, muscular tone
and the way he sang
sponded with sonorous bass tones. Though
durchtriebener Loge” —Wagner Verband
steeliness. (His) Tris-
Sieglinde.” Lietuvos Rytas-Vinius, Lithuania
and fierce dramatic
to express the sadness
not listed in the program, Michael Hayes
Bamberg Kritik (Germany)
tan has a fine, firm
National Opera
instincts.... (She dis-
den figur.” —Kronen Zeitung
tenor voice of consid-
patched) a dazzling
Charles Robert Austin
erable heft and am-
tersinger, “Amanda Mace’s sweet-voiced
account of the opera’s
thing which stands out in him.” Minoru
Eva...” —Bloomberg News
last act.” The San
Okamoto, Grand Opera/Tokyo
and Bryan Register added some gorgeous,
“Die Auffuehrung wurde zudem von
full-bodied Wagner singing to the evening.”
ganz hervorragenden Saengerleistungen
Thomas Rolf Truhitte
Cecelia Porter, The Washington Post
getragen. Uberragend Roy Stevens.” —Neue
plitude; thankfully, he can sing softly too, and
Freie Zeitung
made much of the rapt, ecstatic urgency of the
Nathan
Bahny
Francisco Chronicle
“Charles Robert Austin brought a big,
“...but it is the
solid, colorfully shaded voice, not to mention
“Spoleto has a tradition of astute talent
when betrayed or perversion when tempted.
mezzo-soprano Jen-
a commanding presence, to the role of
spotting, and it produced a Lohengrin in the
The high point of this performance was at
Jennifer Roderer
nifer Roderer, as the
Hunding.” Tim Smith, Opera News
person of Truhitte. Not since Peter Hof-
Vanessa’s realization that Erika was still alive,
witch, who makes the show come alive; she
“It was dazzling to hear Charles Robert
pressively acted and
mann’s brief and unforgettable prime have
the single word ‘Yes’ repeated unaccompa-
sings and cackles in equal measure, to de-
Austin bring so many colors and effects out
sung throughout ...by
I heard this role sung with such grace
nied in Whisnant’s thrilling upper-middle
lightfully creepy effect.” The New Yorker on
of his baritone. His singing soars on an un-
Nathan Bahny. ...We
of voice and phrasing. His tone was un-
range.” Opera News
New York City Opera’s Hansel & Gretel.
also got two terrific
forced in forte passages and his high
“...The soprano’s beautiful young diva
“Every bit her match was the mezzo
tessitura in the pianissimo moments was
displayed every emotion expected of her....
Jennifer Roderer as Susanna’s terrified confi-
and Deidre Palmour
love duet.” Tim Page, The Washington Post
Opera’s 2006 Ring:
“Albrecht was im-
Brünnhildes — the first, Deidre Palmour
page 10
“Caroline Whisnant has a glorious, all
that he has some-
knowing instrument that can deliver rage
Gorton, Long Beach
Nathan Bahny
of the king showed
As Eva in Bayreuth’s 2007 Die Meis-
Jeffrey Springer
THE WAGNER SO CIET Y OF WASH INGTON D C
Paul Mow
Tenth Anniversary Report
Tenth Anniversary Report
derlying power.” Daniel Ginsberg, The
Washington Post
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 11
Musical Programs,
Symposia,
and
Seminars =
In addition to the Emerging Singers
Program concerts, the Society is an
increasingly prominent performing arts
Society members have come to anticipate
and appreciate that Jeffrey’s brilliant artistry
will be accompanied by his equally brilliant
explication of the composition. He does not
disappoint. Mr. Swann’s programs included:
Tristan and the Mystic Experience: the
influence of Wagner’s spirituality and sense
of mysticism on his compositions. April
organization. It sponsors concerts, sym-
2004 at the German Embassy.
posia, and events that extend knowledge
by Chopin, Liszt, and Berg, and piano tran-
Major Works Influencing Wagner and
Major Works Influenced by Wagner: Works
scriptions of Wagner works by Karl Tausig
about the music of Richard Wagner.
and Jeffrey Swann, Ferocious Busconi, and
the Zoess/Swann transcription of the Prelude to Götterdämmerung. December, 2005,
The Wagner Society inaugurates its au-
educator, and his pitch-perfect knowledge of
tumn season with a concert by Jeffrey Swann.
the Wagner canon. This relationship is well
Chopin as the Proto Wagnerian: the subtle
In addition, throughout the year, the Society
founded. Writing in The New York Times of
connections between the works of these con-
co-sponsors programs with some of the lead-
July 19, 2008, Allan Kozinn noted: “Lectur-
summate composers. September 2006 at the
ing arts organizations in the Washington
ing is something performers need to think
German Embassy.
German Embassy.
Tristan und Isolde Seminar at Smithsonian Institution (2005): The inimitable musicologist and brilliant teacher
Maestro Saul Lilienstein explains the Tristan Chord with the help of his self-made teaching aid.
The World of Nature: Wagner, Schu-
presented the Society’s first musical program,
moderated by Chairman J. K. Holman
mann, Liszt, Debussy and Messiaen:
playing his own paraphrases and transcrip-
• Keynote Speaker: Speight Jenkins,
Comparing and contrasting the works of
tions of Wagner’s operas, including Tristan
und Isolde, Götterdämmerung, and Parsifal.
area, including the Washington National
about seriously before embracing: too much
The Art of Piano Transcription: Intimate
Opera, the Smithsonian Resident Associates
chattiness can try an audience’s patience if
Expression of the Grand: Drawing on works
Wagner’s contemporaries Schumann and
Program, the Goethe-Institut, and the
the musician doesn’t have the talent for it or
by Mahler, Verdi, Liszt, and transcriptions of
Liszt, as well as 20th-century works of
National Museum of Women in the Arts.
hasn’t prepared. Mr. Swann doesn’t have that
Wagner works by Liszt, Friedman, and
Claude Debussy and Olivier Messiaen. Sep-
problem ... because his comments, however
Swann, Mr. Swann illustrated the challenges
tember 2008, at the German Embassy.
lengthy, are packed with both obscure and
of transcribing orchestral arrangements into
Pianist Stefan Mickisch: WSWDC’s
Concerts by Jeffrey Swann
Events with Arts Organizations
Smithsonian
Institution
Resident
Associates Program (RAP)
Smithsonian RAP-Wagner Society of
The Wagner Society’s relationship with
commonplace information and are clearly
music for the piano. September 2007, Wash-
Jeffrey Swann, which dates from 2002, is
prepared carefully, even though they give the
ington National Opera Recital Hall.
Mickisch, a Bayreuth lecturer at the time of
Washington DC Symposium: Wagner’s
his performance at the German Embassy,
Epic Vision September 19–21, 2003,
page 12
impression of being off the cuff.”
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
• Donald Crosby, Professor Emeritus of
German, University of Connecticut;
Inaugural Musical Program: In 1999, Mr.
grounded in his artistry, his erudition as an
General Director, Seattle Opera
Tenth Anniversary Report
• Iain Scott, Canadian opera commentator
and author;
• Saul Lilienstein, musicologist, WNO
commentator;
• Carolyn Abbate, Professor of Music,
Princeton University;
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 13
U.S. Supreme Court Justice Sandra Day O’Connor
hosted at the Supreme Court an Emerging Singers
Recital with soprano Jennifer Wilson and tenor David
Smith. In the photo (left to right) Thomas Stewart,
Evelyn Lear Justice O’Connor, John O’Connor and
Jim Holman.
Jeffrey Swann, internationally renowned pianist,
recipient of the Wagner Award, inaugurator of the
Society’s autumn program seasons.
• Peter Mark, conductor and artistic
director, Virginia Opera;
• Maestro
Jennifer Wilson, soprano, were inter-
• Winnie Klotz, photographer, Metropolitan Opera;
viewed live by Tim Page, music critic, The
Washington DC Board Member;
Scheppelmann,
Lilienstein,
WNO
• Peter Mark, Conductor and Artistic
Director, Virginia Opera;
• The weekend’s events were concluded by
• Professor John de Gaetani, Hofstra
the 7th Evelyn Lear and Thomas Stewart
Director
Emerging Singers Concert featuring so-
of Artistic Operations, Washington
prano Caroline Whisnant, tenor Roy
National Opera;
Saul
Commentator;
Washington Post;
• Phillip W. Raines, Wagner Society of
• Christina
• Thomas Stewart, bass baritone, and
Stevens, and baritone Charles Robert
University;
• Dean Jeffrey Buller, Florida Atlantic
University;
• Winnie Klotz, Metropolitan Opera
Austin. The singers were accompanied by
photographer.
Orchestra under the baton of Maestra
WSWDC-Smithsonian
Washington National Opera perform-
Dramaturge;
sics, Mary Baldwin College;
page 14
Orchestra, discussed the challenges of
The Museum sponsored four programs
WNO debut in the role of Senta.
conducting a Wagner orchestra. Maestro
under the theme “Women in Opera: What
• Chairman Holman presented a lecture
Ross, in addition to playing a Wagner
Were They Thinking?” The symposia ex-
titled “Wagner’s Great Leap Forward”
tuba, presented a lecture-demonstration
plored the idea of opera as drama where
at the John F. Kennedy Center for the
on conducting, with active audience
nasty men are doing despicable things that
participation.
affect the lives of good women.
the presentation focused on Senta of Der
• Musicologist
and
Wagner
recipient Saul Lilienstein presented an
Doc, Discussion/Reception at The Goethe-
fliegende Holländer, featuring Evelyn Lear
Center Opera House;
Institut, 2007
and Jennifer Wilson, who was singing Senta
Institution
• A Wagner Society-Goethe-Institut joint
program with Francesca Zambello and
members of the cast at the Institut;
• Lecture for the Society by Saul Lilienstein
• A cast dinner with members of the Wagner
Washington National Opera has targeted
Society after the matinee performance
young professionals, ages 18–35, as “Gener-
was organized by WSWDC Board Mem-
ation O,” with special programs and ticket
offers that help build audience interest. One
Emerging Singers Program participants,
at The George Washington University
ber Betty Byrne and Office Manager
Thomas Rolf Truhitte in the role of Tristan,
Funger Hall;
Jackie Rosen.
and Charles Robert Austin in the role of
• Presentation by Francesca Zambello and
King Marke. Society members enjoyed a cast
cast members to the Society at The George
dinner party following the performance.
Washington University Funger Hall;
WSWDC Chairman Jim Holman moder-
• Kennedy Center Millennium Stage, lecture
by Society Chairman Jim Holman;
• Carolyn Abbatte, Professor of Music,
• An opening night performance followed
by WNO cast dinner at the home of the
• Iain Scott, Canadian opera author
and critic;
THE WAGNER SO CIET Y OF WASH INGTON D C
Betty Byrne of the WSWDC organized
Award
Opera Insights lecture at the Kennedy
Princeton University;
• Jeffrey Buller, (then) Professor of Clas-
Program and long time Washington National
Opera chorus member, made a triumphant
the Arts, 2008.
directed by Francesca Zambello, 2006
ated the program.
• Cori Ellison, New York City Opera
The National Museum of Women in
University of Maryland Symphony
ance of Die Walküre and The American Ring
in connection with Virginia Opera perform-
Lea McDaniel and Board Member Frederic Harwood,
Development Committee Co-Chair, at the Tristan und
Isolde Seminar.
• Maestro James Ross, conductor of the
WNO “Generation O” What’s Opera,
Symposium February 11-12, 2005 was held
ance of Tristan und Isolde, featuring two
Jennifer Wilson, a participant in the Evelyn
Lear and Thomas Stewart Emerging Singers
Performing Arts Millennium Stage;
The Friday Morning Music Club
Sylvia Alimena.
Washington National Opera presentation of Der fliegende Holländer March 2008.
Tenth Anniversary Report
German ambassador.
WSWDC-Goethe-Institut: The Wagner
Orchestra, May 2008.
A daylong program featuring three
leading authorities:
• Jeffrey Swann described the instrumentation in Wagner’s major works.
in the WNO production.
The U.S. Supreme Court Recital hosted
by Justice O’Connor, 2004
such program occurred in 2007 at the
As a gesture of encouragement and support
Goethe-Institut. A showing of the Warner
for the Society, Justice Sandra Day O’Connor
Brothers cartoon What’s Opera Doc? that fea-
joined Chairman and Mrs. Holman in hosting
tures the Ride of the Valkyries was followed by
a recital and reception at the U.S. Supreme
a reception and informal question and an-
Court for Society members, and friends and
swer between the “O”s and Board members
employees of the Court. Emerging Singers
Nancy O’Hara, R G Head, Betty Byrne and
Program participants Jennifer Wilson and
Aury Fernandez.
David Smith sang before the reception.
• Saul Lilientstein, a concert trombonist,
Justices Ruth Bader Ginsburg and Stephen
described the musical styles of the era
Bryer, both subscription holders of the
that influenced Wagner’s orchestrations.
WNO, also attended the recital.
Tenth Anniversary Report
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 15
Donald Arthur: “Hans Hotter — An
1998–2008
A Chronology of
Monthly Programs =
Since the founding of the Wagner Society
of Washington DC (WSWDC) in 1998,
monthly meetings have featured some of
the world’s leading Wagner scholars,
musicologists, writers, and musicians.
usually held in Funger Hall at The George
Washington University and included
lectures, films, videos, recordings, discussions, and other activities supporting the
Society’s mission: “the study and enjoyment of Wagner’s art.”
page 16
THE WAGNER SO CIET Y OF WASH INGTON D C
shared thoughts on poetry, music, literature
Operatic Giant” Opera singer and author de-
Carolyn Abbate: “New Perspectives on
scribed his experiences working with the fa-
The Flying Dutchman” Harvard Professor of
Phillip W. Raines: “The Music Drama
mous German bass-baritone on his memoirs.
Music showed connections between opera
in Which Nothing Happens” WSWDC
and film music, illustrating use of Wagner
Board member described difficulties in stag-
The 2006–2007 Season
ing Tristan und Isolde which is a great drama
themes in cinema.
Alfred Turco: “Nobody’s Perfect—
and the arts.
John Edward Niles: “Carriers of the
but is quite static.
George Bernard Shaw as Wagnerite”
Wagner Flame” Artistic Director for the
Simon Morrison: “Tchaikovsky’s Mira-
Wesleyan professor described Shaw as
Opera Theatre of Northern Virginia de-
cle” Princeton author told why, only seven
Wagner interpreter and advocate in 1890
scribed composers Humperdinck, Pfitzner,
years after Wagner’s death, Tchaikovsky’s
publication The Perfect Wagnerite.
and others as Wagner’s musical successors.
Sleeping Beauty was the antithesis of
David Levin: “Four Directors, One Ring”
Simon Williams: “Coming to Terms
New Opera Quarterly editor discussed a
with History: Nietzche and The Ring” Pop-
Paul Fryer:“Wagner in Silent Film” British
Wagner’s music teachings.
The early programs offered by the Society
project that had multiple stage directors and
ular author of Richard Wagner and Festival
expert on opera and silent-films presented a
were held in a small back room of the Middle
production teams working on one new
Theater explored relationship between Niet-
lecture-screening of the 1912 silent film Life of
C Music Store. Donald Crosby, professor of
production of The Ring.
zsche and The Ring.
Richard Wagner with a new orchestral score.
German at the University of Connecticut,
Thomas May: “Visualizing Die Walküre”
spoke to the first gathering on “The Literary
Sources of Tristan und Isolde.” The world’s
Irwin Shainman: “Wagner and Strauss
Oswald George Bauer: “False Prophet:
Author of Decoding Wagner showed how dif-
Songs: Women and Love” Kennedy Center
Le Prophète and Denunciation” Bayreuth
ferent designers and directors, such as Appia,
lecturer compared Wagner’s Wesendonck
insider proposed that Wagner’s reaction
greatest authority on Wagner performances in
Eisenstein, and Wieland Wagner envisioned
Lieder to Richard Strauss’ Four Last Songs.
against Meyerbeer’s opera motivated him to
Russia between 1840 and 1991, Rosamund
Die Walküre.
Alan Walker: “Liszt as Wagner’s
write The Ring.
Bartlett, discussed “Wagner on the Russian
Donald Crosby: “Wagner in Switzerland:
Cultural Ambassador” Canadian music pro-
John DiGaetani: “Wagner and Suicide”
Stage” for the second meeting, and our
Genius in Residence” Wagner’s productive
fessor spoke about the help Liszt gave to
Author of Richard Wagner and the Modern
future chairman James K. Holman spoke on
“Switzerland years” included the Wesendoncks,
Wagner in the 1860s that Wagner himself
British Novel gave background for title of his
“Wagner’s Ring: Listening to Leitmotivs”
the von Bülows, Semper, and Nietzsche.
acknowledged.
latest book, Wagner and Suicide.
at the third. Below is a summary of 72
Presentations open to the public were
The 2005–2006 Season
programs that followed these beginnings.
The 2007–2008 Season
Paul Schofield: “Parsifal as the Fifth
Tim Page: “The Artistry of Thomas
Phillip W. Raines: “Magical Moments
Stewart” Washington Post music critic and
and Video Moments in Wagner” WSWDC
Evelyn Lear led memorial tribute to Thomas
Board member shared personal “magical mo-
Irmgard Wagner: “Where is Wagner’s
Stewart featuring recordings of his Wotan
ments” from a video collection of famous
Faust?” American Goethe Society president
and other great roles.
productions.
explained why Wagner never composed
Ring Opera” Wagner scholar and Buddhist
Donald Collup: “The Life and First New
Iain Scott: “Inspiration of Italy on
The 2003–2004 Season
music to Goethe’s Faust despite parallels in
monk asked if Parsifal is the re-born
York Career of Astrid Varnay” Filmmaker
Richard Wagner” Canadian opera expert
Siegfried in The Ring, thus reflecting
commented on the documentary he pro-
showed how travel in Italy inspired Klingsor’s
Edward R. Haymes: “The Two Rings:
Wagner’s belief in Buddhism.
duced about this legendary soprano.
garden, the E-flat chord of Das Rheingold,
Tolkien’s and Wagner’s” Author of Heroic
and other ideas.
Legends of the North showed commonalities
Jeffrey Buller: “Die Meistersinger: A
Robert Bailey: “The Valkyries and Their
Dream No Longer a Dream” A man on a
Infamous Ride” NYU Professor of Music
journey and a stranger coming to town are
showed how “The Ride of the Valkyries” re-
the eternal two stories entwined in Wagner’s
lates thematically to Act III of Wagner’s
only “official” comedy.
opera Die Walküre.
Jessica Quillin: “Wagner, Shelley, and
Saul Lilienstein: “Appropriation of
Musico-Poetics of Lyric Drama” Cambridge
Wagner: Germany in 1930s” Smithsonian
their dramas.
between themes in Tolkien’s Lord of the Rings
The 2004–2005 Season
and Wagner’s Ring.
William Berger: “Wagner Without Fear”
James McCourt: “Beware of Wagner
National Public Radio author of Verdi with
Heroines!” Author of the 1971 cult classic
a Vengeance shared the secrets addressed in
Mawrdew Czgowchwz explained why some
his book Wagner Without Fear.
Wagner heroines are out to kill the men they
scholar showed Wagner’s musico-literary
lecturer told how Wagner’s music was caught
Dana Gioia: “Can Poetry Matter?—Role
inheritance from British Romantic poets,
up in artistic currents and political develop-
of Poetry in Popular Culture” Poet and
Jeffrey Buller,“Siegfreid:The WurmTurns”
particularly Shelley.
ments of 1930s.
National Endowment for the Arts Chairman
Classics and opera expert explained three
Tenth Anniversary Report
Tenth Anniversary Report
seem to love.
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 17
perspectives on Siegfried and why the dragon
Die Walküre’s influence on German novelist
Fafner says “you don’t know who you are.”
Thomas Mann.
Nicholas Vazsonyi: “The Wagner Indus-
Saul Lilienstein: “Uncommon Resonance: Wagner’s Long Reach” Wagner and
Evelyn Lear: “An Evening with Evelyn
his music influenced composition and liter-
try and Audience of the Future” German
Lear” Using video and recordings, legendary
ature in Europe and America in the
professor asserted Wagner planned a market
Lulu soprano shared her career highlights
post-Wagner generation.
for his unique musical works and “artwork of
and favorite memories of famous friends.
the future.”
Washington Post music critic Tim Page with Professor
Donald Crosby and Bonnie Becker. Mr. Page wrote and
narrated a memorial program inspired by Jim Holman
titled “The Artistry of Thomas Stewart.” In 1998, Professor Crosby presented the Society’s very first lecture,
at the Middle C Music Store on Wisconsin Avenue.
Heinz Fricke: “Conducting the Works of
Richard Wagner” Conductor of the Wash-
Wagner Night at the Movies! The Golden
The 2001–2002 Season
ington National Opera talked about
Ring, BBC documentary about making the
Winnie Klotz: “Photographer at the
first complete Ring (Solti) was shown, also a
Metropolitan Opera” An official photogra-
film featuring Wagner satirist Anna Russell.
pher for the Met presented an illustrated
James K. Holman: “Wagner: The Power
Cori Ellison: “A Ride with the Valkyries”
lecture about singers and conductors per-
of Two” Wagner Society Chairman and au-
forming Wagner.
thor of Wagner’s Ring: A Listener’s Companion
NY City Opera dramaturg explained what
Valkyries are and why they and Brünnhilde
are imprinted on our culture.
The 2002–2003 Season
John Pohanka: “Wagner, the Mystic”
Carol Berger: “Dialectics in Die Meistersinger — Sacred Rituals” Musicologist
and other Wagner operas.
and Concordance, shared insights into
Wagner’s music.
explored the philosophical, psychological,
Frank Ruppert: “Schubert and Wagner
and artistic network forming this complex
— A Better Mystery of Life” Schubert
Wagner drama.
scholar spoke on the relationship of Schubert
WSWDC Board member explained that the
Donald Crosby: “Die Meistersinger in
mystical reaction listeners may have to Wag-
Historical Contexts” German professor
ner’s music is an intended result of Wagner’s
described 16th century guilds of master
metaphysics.
Carol Berger: “At the Heart of Die
conducting WNO’s production of Parsifal
and Wagner, showing similarities that suggest common inspiration.
The 1999–2000 Season
showed the entire Tony Palmer miniseries about
explained the relationship between architec-
Richard Wagner, starring Richard Burton.
ture and Wagner’s art.
Penelope Turing: “Parsifal at Bayreuth”
Henry-Louis de La Grange: “Mahler,
singers, contemporaries of Luther, Dürer,
British music critic and historian of
Champion and Disciple of Wagner” French
Jeannie Williams: “Jon Vickers — A
Marie Travis: “Siegfried, the Fritz Lang
and the historical Hans Sachs.
Bayreuth Festival shared her knowledge
musicologist and Mahler biographer ana-
Hero’s Life” Author of the first biography of
Classic Movie” George Washington Univer-
about the changing production styles
lyzed the relationship between works of
Jon Vickers discussed legends and facts about
sity professor presented the classic film by
for Parsifal.
Mahler and Wagner.
the great 20th century heldentenor.
Fritz Lang.
Walküre — Forgiveness vs. Redemption”
Elise Kirk: “Wagner’s Influence on
Musicologist spoke about philosophical and
American Composers” American Opera
psychological aspects of Die Walküre.
author explained Wagner’s influence on the
Janice Rosen: Backstage Tours In coop-
Paul Heise: “The Ring des Nibelungen”
Andrew Gray: “Wagner Says NO!”
Joan Grimbert: “Misconceptions of the
aesthetics, dramaturgy, and musical ideology
eration with Washington National Opera,
Wagner scholar viewed The Ring as allegory
Translator of Richard Wagner’s autobiogra-
Medieval Tristan Legend” The Liebestod
of American composers.
WSWCD Steering Committee member
for the real world vs. imagination, and con-
phy Mein Leben defended Wagner against
theme is found in medieval legend but mod-
hosted backstage tours for Parsifal at the
flict of objective science vs. artistic and
“continuing distortions and sheer nonsense
ern lovers have different ideas of forbidden
Kennedy Center.
religious thought.
... in public forms.”
love and death.
Jeffrey Buller: “Sleep in the Ring” Classics professor and author of Classically
Romantic: Classical Form in Wagner’s Ring
Phillip W. Raines: “Human Dramatic
spoke about sleep as metaphorical and philo-
Elements in Die Meistersinger” WSWCD
sophical principle.
Board member illustrated how Wagner’s
Jonathan Lewsey: “Parsifal Insights”
Saul Lilienstein: “Die Meistersinger von
Speight Jenkins: “Wagner in Seattle”
words and music explain opera’s characters
British singer, director, author, and lecturer
Nürnberg — A Fresh Look” Popular lecturer
Quarter century General Director of the
the Ring Disc, a computerized hyperlinked guide
and their relationships.
shared his perspectives on Parsifal gained
for WNO “Opera Insights” series provided
Seattle Opera shared his experiences with
to The Ring, demonstrated interactive over-
from his career in opera.
new perspectives on a familiar masterpiece.
and ideas about producing The Ring every
lays of analyses, scores, and audio recordings.
Carolyn Abbate: “Die Walküre and the
Dream of the Secret” Princeton professor of
Monte Stone:“The Ring Disc” Creator of
music examined how Wagner used the
Iain Scott: “Baptism of the Morning
theme of secret knowledge in plots and as a
Dream — Die Meistersinger Quintet”
Phillip W. Raines: “Parsifal: A Visual
Phillip W. Raines: “Tannhäuser — Video
musical device.
Canadian expert on Wagner shared what
Journey” WSWDC Board member showed
and Discussion Program” Video scenes
Thomas Stewart: “An Evening with
Wagner Performances” Former General Di-
makes Die Meistersinger his favorite opera.
three visual approaches to Parsifal with
provided a comparison of Munich’s avant
Thomas Stewart” Renowned bass-baritone
rector of the Washington National Opera
scenes from Met and Bayreuth productions
garde production with the Met’s resolutely
and co-founder of the Emerging Singers
reminisced about his experiences producing
and the Syberburg movie.
traditional production.
Program shared his experiences singing his
Wagner operas.
Phillip W. Raines: “A Productional Ride
through Die Walküre” WSWDC Board
member illustrated the difficulties in
staging Die Walküre, using numerous video
examples.
The 2000–2001 Season
Paul Fryer: “Opera Singers and Silent
Lou Santacroce: “Parsifal: A Christian’s
Iain Scott: “Tannhäuser” Canadian expert
Film” At Library of Congress, British expert
View” National Public Radio host asked if
on Wagner analyzed the opera’s structure,
Martin Feinstein: “Reminiscences of
four years.
Penelope Turing: “Wolfgang Wagner’s
favorite opera roles.
Productions in New Bayreuth” Author of
The 1998–99 Season
Saul Lilienstein: “Die Walküre on the
on opera and silent films showed the 1904
Nietzsche was right in describing Wagner as
demonstrating his points with audio excerpts.
Mind of Mann” Narrator of Washington
Edison version of Parsifal, the first film of a
sinking “helpless and broken, before the
Phillip W. Raines: The Richard Burton
William L. Berger: “Wagner and Archi-
National Opera Commentaries, discussed
Wagner opera.
Christian cross.”
Wagner Film WSWDC Board member
tecture” Author of Wagner Without Fear
page 18
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
Tenth Anniversary Report
The New Bayreuth and Hans Hotter outlined
changes at Bayreuth during the Wolfgang
Wagner era.
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 19
The cast for the Saturday night libretto reading for Die
Meistersinger ( June 2005) (left to right) Maria Prytula
(Apprentices), Phil Pulaski (Meisersinger), Jean Lauderdale (Magdalena), Victoria Cordova (David), Jeffrey
Swann (orchestra at the piano!), Betty Byrne (director),
Bob Misbin (Beckmesser), Carole Hoover (Eva), Simon
Williams (Hans Sachs and lecturer on drama), R G
Head (Walter), Henry Bardach (Hans Sachs Act 1),
Jack Sulser (Polgner), and Mark Golden (Kothner).
Wagner
in der
Wildnis =
The inspiration for the Wagner in der
Wildnis weekend retreats came directly
California Santa Barbara and author of
Richard Wagner and Festival Theater has been
Festival. It was Wagner’s idea that a
bustling big city with all its distractions —
study and enjoyment of his art. And so it
among the volunteers. The background,
setting of the scene, and between the acts
• Why Did Wagner Make So Many Revi-
Wildnis 2009, Betty Byrne’s briefing on the
musical interludes are provided by Jeffrey
sions of Tannhäuser? —Jeffrey Swann
WNO upcoming Ring, Frederic Harwood’s
Swann. Simon Williams gets the male lead
mension to the program. Together they
• What
Did
Wagner
Revise
in
Tannhäuser? —Jeffrey Swann
became the Society’s “dream team,” so called
• Music of Opposing Poles — How
for the depth of understanding and sheer en-
Tannhäuser Anticipates Lohengrin, Tris-
joyment they have brought to the retreats.
for this members-only event noted: “ We arrive at Wagner’s Tannhäuser, this year
building on the success of our seven previous
Wildnis weekends including The Ring des
Nibelungen: Das Rheingold (2001), Die
is the best setting for the contemplative
The weekend closed with Lynne Lambert’s discussion of topics for Wagner in der
a lecturer since 2001. In 2002 he was joined
The flier announcing the 2008 program
village in the bucolic countryside — not a
—Jim Holman
by the concert pianist and Wagnerian scholar
Jeffrey Swann, who added the musical di-
from Richard Wagner and his Bayreuth
• Tannhäuser, Wagner’s Contest of Song
demonstration of The Ring Disc, and his
role. There have been many light-hearted
briefing on the WSWDC vision and plans.
moments: Tim Scanlon using a wash bucket
As with previous Wildnis weekends, Aury
to produce a very effective Fafner dragon and
Fernandez served as moderator.
Melody Bunting (Mrs. Swann), playing
tan and Parsifal —Jeffrey Swann
Siegfried, getting into the spirit by bursting
• Wagner, Biedermeier, and the Crisis of
Romantic Sexuality —Simon Williams
• Tannhäuser: The Modern Orpheus
—Simon Williams
• Tannhäuser Staged Across the Ages
—Simon Williams.
The Saturday Night Live Libretto Reading
into German as the young Siegfried enters
Starting as a semi-staged “production,”
with the bear. The audience is very much a
the libretto reading has evolved into one of
part of the reading, and there were even a few
the weekend’s most popular events. Anyone
tears as the final chorus, “The grace of God
wanting a role gets one, but the hard-driving
to the sinner is given, his soul shall live with
director (Ms. Byrne) assigns roles from
the angels in Heaven,” ends Tannhäuser.
Walküre (2002), Siegfried (2003), Götterdämmerung
(2004),
Die Meistersinger
Wagner in der Wildnis VII (2007) Lohengrin (left to
right) Board members and speakers: Lynne Lambert,
Jeffrey Swann, Melody Bunting (Mrs. Swann), Jim
Holman, Simon Williams, Aury Fernandez, Nancy
O’Hara, Betty Byrne, R G Head and Office Manager
Jackie Rosen (missing from photo: Board members Bill
Pastor and Guillermo Schultz).
(2005), Parsifal (2006), and Lohengrin
(2007). The weekend includes lecture and
discussion sessions in the meeting rooms,
is in rural West Virginia, near the town of
and collegial conversations in the corridors
and the restaurant. Saturday night live involves the reading of the libretto in English
Berkeley Springs.
by Wildnis participants, in assigned roles, a
highlight of the weekend.”
The term “Wildnis” in the title of this
proposed a retreat to explore the challenging
The lectures are videographed by Tim
program is double-headed. While a direct
outer reaches of Wagner’s musical, dramatic
Scanlon or Mark Golden, and the DVDs are
translation of the German language term is
and psychological genius.
available to participants.
“wilderness” referring to the setting for the
Eight Wildnis weekend retreats have been
To give a sense of the weekend, the top-
event, the term has a wider meaning as in-
staged since 2001. Simon Williams, Profes-
ics addressed in the 2008 Tannhäuser
spired by member Ilse Niedermeyer who first
sor of Dramatic Art at the University of
program are as follows:
page 20
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
Tenth Anniversary Report
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 21
The Bayreuth Festival as a
Religious Pilgrimage =
Although the Society was but six-months
In his classical history of the Bayreuth
old, with about 50 members, the Society in-
Festival, Frederic Spotts mentions that
for an audience of over 130 persons in the
vited Wolfgang to give a talk, which he did
Kennedy Center atrium. In a further act of
generations of Wagnerians treat a trip to
the event as a religious pilgrimage.
daring, the Board, including Jim Holman,
Barb Karn, R G Head, and Aury Fernandez
invited Wolfgang and Gudrun to lunch,
which, surprisingly, they accepted. Barb, R G
and Aury, seated with Gudrun at one table,
When, in 1998, the Steering Committee
organizes a dinner party for the cast and at-
suggested a ticket allotment, and Gudrun as-
that led to the creation of the Wagner Soci-
tendees. Also for the third cycle, the Wagner
sured them that the Society would get tickets
ety set forth its goals, procuring Bayreuth
Society of New York sponsors a series of
at some indeterminate future date. Wolf-
tickets was highest on the list of desires and
lectures, often by Jeffrey Swann or Simon
gang, seated with Jim at another table,
lowest on the list of expectations. As Spotts
Williams, on the ensuing evening’s program.
agreed, for in a few weeks an application ar-
reported in his book, by the early 1990s
Other Wagner societies from throughout
rived from Bayreuth, and shortly after that,
nearly half a million people were applying for
Europe sponsor lectures in German, French,
the allotment.
the 58,000 available tickets.
and sometimes Italian. After each evening’s
The tickets are offered to our members
The pilgrimage to Bayreuth is the dream
performance, many from the North Ameri-
according to established criteria. No member
of many a Wagnerian. The opera house with
can societies gather for dinner and more
may attend more than once every three years
its matchless acoustics, designed and built by
conversation. By the end of the day, atten-
if any qualified applicant has not previously
Richard Wagner, along with the quality of
dees who started with the morning lecture
received tickets. Points are awarded based
the playing and singing, the educational and
have been immersed in Wagner for 14 exhil-
upon length of membership, attendance at
social events held in conjunction with the
arating hours.
Society events, the extent of the applicant’s
event, and the camaraderie among attendees,
The Society’s annual ticket allotment
volunteer activity for the Society, and the
makes Bayreuth an unforgettable experience.
came about as the result of coincidence,
applicant’s membership category. A selection
For one entire week, participants are im-
boldness, and good luck. Wolfgang Wagner
committee prioritizes applicants based upon
mersed in Wagner.
and his wife Gudrun visited Washington in
the criteria. In all, more than 140 members
On the opening night of the third cycle,
February 1999 for the Washington National
have had the Bayreuth experience.
The Wagner Society of Southern California
Opera’s performance of Tristan und Isolde.
page 22
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
Some of the members of the Bayreuth Class of 2006 (front row left to right) Peggy Jones, Janet Fernandez, Betty Byrne, Cathleen Fuller, Cathy and Richard Soderquist, Aury
Fernandez and Richard Fuller. (Back row) R G Head, Carole Hoover, Bonnie Becker, Donald Crosby, Lynne Lambert, Sally Lund, Frederic Harwood and Lea McDaniel.
Yoko (far left) and Board member Tom Arthur (center) hosted in Munich a dinner in winter 2008 with friends in
honor of Bayreuth Festival chief consultant Klaus Schultz (far right) and singer Robert Dean Smith (center right)
with Wagner Society members from Germany and Switzerland.
Tenth Anniversary Report
Aury Fernandez with Gudrun Wagner
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 23
Ten Years of
Membership Growth =
The Society is proud of its 500-plus
Members actively support the Society’s
events, which have increased substantially in
number and quality over the past ten years.
members, making The Wagner Society
of Washington DC the second largest
Wagner Society in the United States.
A core of about 300 members participates in
six or more events per year. The membership
renewal rate is above 80%, indicating a high
James Morris and Thomas Stewart greet long-time members Cathy and Dick Soderquist at the Third Gala Benefit
( June 2005)
degree of satisfaction with the Society’s
programs and activities. Two examples: The
crease support for a more ambitious Emerg-
generals and admirals, research scientists,
Wildnis weekend in West Virginia started in
ing Singers Program. The Guild currently
and a federal judge.
2001 with twenty-five participants; by 2008,
has 10 members, a number that the Society
Membership is promoted by flyers, the
attendance grew to more than 70 with a
hopes to double in two years. In addition, for
newsletter, and inserts in programs of
waiting list. The Emerging Singers concerts
many years, generous contributions from Jim
Washington arts organizations, including
regularly play to capacity audiences, and con-
Holman, John Pohanka, Guillermo Schultz,
all performances of Wagner operas at
sistently earn high praise from Washington’s
and Frederic Harwood have ensured the
Washington National Opera and at other
music critics.
financial stability of the Society.
east coast venues. A program sponsored with
Financial support from members rose
Who are the Society’s members? As in
even more rapidly than membership itself,
many arts groups, the majority is over the age
brought in 130 new members in 2003. A
as members, recognizing the quality of the
of fifty. More members are employed by or
priority for the future is extending outreach,
Society’s programs, renew their memberships
retired from the Department of State than
including to younger audiences and, espe-
at steadily higher levels of support. Currently,
any other institution, about 12 percent of all
cially, to Washington’s opera-going public
about 35% of members belong at the $150
members. The membership also includes
in preparation for the Washington National
Patron level and above, and the Society seeks
several prominent Washington philanthro-
Opera’s upcoming production of Wagner’s
to increase that to 45% within two years.
pists, physicians, university professors,
The Ring.
the
Smithsonian
Resident
Associates
Evelyn Lear extends Wagner’s appeal to young members,
appearing here with Peter and Midori St. Onge at an
Emerging Singers concert.
Until 2005, the top membership category
was Sponsor at $500 a year. In 2005, the
Golden Ring level at $1,000 a year per
couple was inaugurated, and there are currently 36 Golden Ring members. In 2007,
The youth demographic meets The Dutchman, portrayed here by Tim Scanlon, at the Third Gala Benefit. Students
from the George Washington University Law School have created their own “Junior Wagner Society” and take part
regularly in Society programs.
page 24
THE WAGNER SO CIET Y OF WASH INGTON D C
the Meistersinger Guild was formed, at
$5,000 a year per couple, primarily to in-
Tenth Anniversary Report
Tenth Anniversary Report
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 25
Publications =
The Society advances the knowledge and
and annotator of Wagner Moments, A Cele-
appreciation of Wagner’s music by spon-
Pohanka’s upcoming book, Wagner the
bration of Favorite Wagner Experiences
(Amadeus Press, Portland OR, 2007). John
soring and archiving scholarly presentations
Mystic, is expanded from a presentation he
made to the Society in 2003.
Press releases, publicity notices and fliers
are regularly sent to a mailing list of over
and supporting scholarly publications.
1400, plus 150 arts organizations and electronic and print media outlets for the
Society’s public events, including the Emerg-
Wagner, is partially supported by the Soci-
ing Singers Programs, monthly presentations
concerts: The Society videotapes, for archival
ety, which serves as the US distributor and
at The George Washington University, and
and reference purposes, the monthly presen-
funds the Journal’s Website.
the Jeffrey Swann recitals. As a result of these
Videotape archives of programs and
tations at The George Washington University
Wagner on the Potomac, a twice-yearly
efforts, the Society’s concerts regularly sell to
and the lectures and discussions at the an-
newsletter, and the annual The Wagner Singer
capacity, and they are regularly reviewed by
nual Wagner in der Wildnis weekend retreats.
newsletter, keep members, other societies,
the Washington media, most prominently
Professional-quality CDs of the Evelyn
and the press updated on the Society’s up-
The Washington Post. Fliers are drafted and
Lear and Thomas Stewart Emerging Singers
coming
lectures. Since
distributed by Betty Byrne with the help of
Programs are provided to the Society’s mem-
their inception, both have been edited by
Board members. Media relations and public-
bers and to the singers, who use the CDs to
Aury Fernandez.
concerts
and
ity are managed by Tom Arthur, who initially
advance their careers. In addition, the Society
Scholarship: Society members are actively
sends CDs to agents and to the artistic direc-
involved in the scholarship concerning the
tors of a number of opera companies in the
music of Richard Wagner. Chairman J K
carried out this function under the tutelage
of Aury Fernandez.
The Society Website is an up-to-date
Holman has authored Wagner’s Ring: A Lis-
resource for upcoming programs and is an
The Wagner Journal, Barry Millington’s
tener’s Companion and Concordance (Amadeus
archive of past activities and events.
quarterly dedicated to the art of Richard
Press, Portland OR, 1996) and is the editor
U.S. and Europe to promote ESP singers.
page 26
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
Tenth Anniversary Report
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 27
Board of Directors =
The Board of Directors was established in
1998, succeeding the Steering Committee
that initially explored the feasibility of a
Ring: A Listener’s Companion and Concordance
University of Texas at Austin, Tom joined the
(Amadeus Press, 1996), and the editor of
Peace Corps, first as a volunteer in Thailand
Wagner Moments (Amadeus, 2007). He has
and then as associate director in South Korea.
in
of
He has co-owned a nightclub in Washing-
written numerous articles and lectured fre-
He holds master’s degrees from the Florida
Federal
Tax
ton, which led to his founding the DC
quently on the works of Richard Wagner. He
State University and Harvard University’s
Legislative
and
Nightlife Association and becoming active
is a past Board member of the Washington
John F. Kennedy School of Government. He
Regulatory Serv-
in the city’s legislative process. Co-author of
National Opera and the American Friends
manages press releases for the Society.
ices and Director
Just Promoted (McGraw Hill, 1989), he holds
of the Tax Gover-
a PhD from the University of Minnesota,
Harry L. Gutman
of the English National Opera. He retired
Society dedicated to the art and music of
Richard Wagner.
in 2002 as a Managing Director of The Car-
Betty Byrne
lyle Group, based in Washington. He is a
tional, an international management conThe Principal
Charge
sulting firm in the pharmaceutical industry.
nance Institute at
and was on the faculty of Temple University
A member of
KPMG LLP in
in Philadelphia for 15 years. He co-chairs the
graduate of Princeton (BA) and Harvard
the
WSWDC
Washington, Hank currently serves as the
Society’s Development Committee, and is
(MA) Universities.
Board since 2000,
Vice President-Finance and Treasurer of the
co-editor of the Tenth Annual Report.
Betty
manages
Washington National Opera. He is a gradu-
publicity except
ate of the Woodrow Wilson School of
for press releases,
Public and International Affairs at Princeton.
is
He received a B.A. in Jurisprudence from
The Board was conceived as a working
Bayreuth tickets. R G Head, with Carol
Directors
body, with each member fulfilling specific
Hoover, has organized and managed the an-
Thomas L. Arthur
responsibilities. Jim Holman plans program-
nual banquets and awards ceremonies. The
ming, Hank Gutman attends to legal affairs,
late Phillip W. Raines, a noted Wagner
the
WSWDC
reading director
Tom Arthur drafts press releases, Betty
archivist and popular lecturer, recorded and
Board since 1999,
at Wildnis, serves
Byrne does fliers, Lynne Lambert attends to
archived the Society’s monthly lectures and
Tom has been
on the Bayreuth selection committee, and is
founding member of the Wagner Society of
do consulting for
membership matters, Nancy O’Hara serves
ESP concerts.
active in Wash-
the liaison with the Goethe-Institut and the
Washington, he oversees the Society’s tax
the Department
ington’s musical
Washington National Opera. She helped
filings and regulatory documentation.
of
scene since his
establish a partnership program between the
retirement from
WNO and the DC public schools, and she
the
of
has developed and presented programs to
Former exec-
A member of
as Webmeisterin, Bill Pastor maintains the
data base, Frederic Harwood chairs the De-
The Board of Directors
velopment Committee with Guillermo
Chairman, J. K. Holman
the
libretto
Lynne Lambert
A
recently
retired
Foreign
University College, Oxford University, and
Service
Officer
his LLB from Harvard Law School. A
who continues to
State
on
counter terrorism,
Frederic Harwood
Lynne is the re-
Schultz, and to date President Emeritus
Jim Holman
Aury Fernandez has edited the Wagner on the
became the first
Management and Budget in the Executive
thousands of elementary and high school
utive director of
Secretary of State’s Distinguished Service
Potomac newsletter, and The Wagner Singer.
Chairman of the
Office of the President, where he worked on
students in the Washington area. During
the Association of
Award. As a Foreign Service Officer, she
Jackie Rosen is Office Manager.
Wagner Society
Presidential budgets for over 20 years. He
her professional career she worked in the
Clinical Research
served in Budapest, London, Brussels, Paris,
Former Board members have con-
upon its organi-
currently chairs the endowment committee
domestic and international communications
Pr o f e s s i o n a l s ,
Athens, Tehran, and Washington. She makes
tributed much to the growth of the Society.
zation in 1998.
of the Board of The Vocal Arts Society, and
industry. She holds a degree in Statistics
Washington DC,
her home in the District, where she is a
Barbara Karn created the initial member
He is the author
is a volunteer for Opera Lafayette for which
from Stanford University and has studied
Frederic
court-appointed children’s advocate. She is a
database, the Website, and secured, along
of
award-
his wife, Yoko, serves as president and chief
music with Alan Curtis and Margaret
co-founder
of
graduate of Smith College and Johns
with R G Head and Aury Fernandez, the
winning Wagner’s
operating officer. Upon graduation from the
Mason.
Barnett Interna-
Hopkins University. Serving on the Board
page 28
THE WAGNER SO CIET Y OF WASH INGTON D C
the
Tenth Anniversary Report
Office
Tenth Anniversary Report
was
cipient of numerous awards, including the
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 29
since 2001, she manages membership for the
research at UC,
Society and is on the Bayreuth selection
Santa
committee.
with the ARPA
Wildnis and the Society’s Bayreuth briefings
Barbara
John J. Pohanka
Since
John
Washington DC in the mid 70s, from San-
A graduate of the
tion, primary organizer, and moderator of
tiago, Chile, and graduated from George
National Univer-
Wagner in der Wildnis.
Mason University with a degree in Business
of
sity of Mexico, he
Aury is a retired (USIA) Foreign Service
Administration and Computer Science. She
holds an MBA
Officer with postings in Santiago (Chile),
was President of the Fairfax Public Schools
from
Director
the Internet. Pri-
tival. For eight years he has been the inspira-
the Wagner Soci-
Net, precursor to
John Edward Niles
counseling firm.
1981
vate-sector work
ety
Stanford
Bucharest, Vienna, London, and Paris. In re-
PTA, and she worked as a Parent Liaison
Edward
includes Boeing
founding in 1998,
University and a
tirement he served on the Board of
with the Spanish-speaking population.
since
its
Niles has been
and
of
he concurrently
PhD in Finance
Governors of the American Foreign Service
the artistic direc-
America. Nancy
serves as Chair-
from
Association (AFSA). He was the founding
tor/conductor of
is a member of the Vocal Arts Society, Opera
man of the Board
He serves on the Board of the Washington
Secretary and Executive Director of the In-
the Opera The-
Lafayette, and The Guild for Washington
of
National Opera, the Youth Orchestra of the
ternational Media Fund. He holds master’s
ater of Northern
Concert Opera.
Bank
Virginia. He has
also
conducted
Bill Pastor
for the Ithaca (NY ) Opera Association, the
Manager
Washington
Harvard.
In Memoriam: Phillip W. Raines
In 1998, after
delivering
the
National Opera
Americas, and belongs to the Friends of
degrees in international affairs from the Co-
second lecture in
and as a member of its executive committee.
Bayreuth and Friends of Salzburg. He co-
lumbia University School of International
the WSWDC’s
A native of Washington, he is a graduate of
chairs the Society’s Development Committee.
and Public Affairs and the Tufts University
monthly
Fletcher School of Law and Diplomacy. He
Phil was elected
President Emeritus
is the co-editor of the Tenth Anniversary
to the Board. In
Aurelius (Aury) Fernandez
Report with Frederic Harwood.
all, he made seven
of
Princeton University. His company, Pohanka
Bel Canto Opera of New York City, and Vir-
WSWDC ’s
Automotive Group, founded by his father in
ginia Opera, was invited to conduct at the
membership and
1919, is one of the nation’s largest and most
50th anniversary memorial in Krakow, and
mailing database,
successful networks of automotive dealer-
Aury Fernan-
has served as musical director of the Europe-
Bill was elected
ships. John is a former President of the
dez organized the
Office Manager
Fest in Prague. He is a graduate of
to the Board in
National Automobile Dealers Association,
Steering
Jacqueline Rosen
Carnegie-Mellon University, and holds a
2003. A manager
and in 1972 he founded and was the first
mittee that led to
Com-
series,
presentations to
the Society, and lectured to many other opera
groups. He provided the audio support for
As
office
the Society’s lectures and for the early ESP
Masters in Music from the University of
in
quality
chairman of the National Institute for Auto-
the creation of
manager, Jackie is
concerts. Born in Munich of a Japanese
Cincinnati. He serves the Society as program
improvement de-
motive Service Excellence (ASE). John has
the Wagner Soci-
responsible for fi-
mother and American father, at age 17 he
the
director of the Evelyn Lear and Thomas
partment
in
lectured on topics including Wagner the Mys-
ety of Washing-
nancial accounts,
made the first of several pilgrimages to
Stewart Emerging Singers Program
Washington, DC, he has received several
tic, delivered to the Society in May 2003.
ton DC in 1998,
preparing budg-
Bayreuth, the last being 2006 with
and
Nancy O’Hara
at
Children’s
Hospital
awards including the 2005 Race for Results
That topic is the subject of a book he is in
as
ets and financial
WSWDC. A graduate of the University of
for his work in reducing infections in surgi-
the process of completing.
President until August 2008. His home of-
reports, and man-
Maryland, for 30 years he was a Speech
fice was the “secretariat” where the Society’s
aging
arrange-
Therapist for Montgomery County (MD)
Guillermo Schultz
telephone, fax, and files were maintained. He
ments for musical
Schools. Phil loved both Wagner and
served
Elected to the Board in 2006, Nancy
cal procedures. He has published papers in
serves as the Society’s Webmeisterin. A
professional health care journals and pre-
graduate of UC, Berkeley with a Masters
sented at national conferences. Bill also has
Appointed to the Board in 2007,
has edited the Society’s newsletters, The
and educational programs. For the past ten
baseball. He passed away peacefully on July
degree in Economics from UCLA, Nancy
served on Boards of local chapters of The
Guillermo worked for an affiliate of the
Wagner Singer and Wagner on the Potomac,
years she has served as Volunteer Manager
3, 2008 listening to his favorite recording of
has worked with computer software for the
American College of Healthcare Executives
World Bank for 20 years, before founding
maintained extensive video and print
for the WNO, responsible for scheduling
Wagner’s Siegfried. At his memorial service
Congressional Budget Office and the Social
and the National Association of Healthcare
International
Management
archives of Society activities, and has been
and supervising 130 volunteers, who work
mourners sang a chorus of “Take me out to
Security Administration. She participated in
Quality. He has given talks at Wagner in der
Corporation, a Washington-based investment
the Society’s liaison with the Bayreuth Fes-
about 12,000 hours a year. She came to
the ball game.”
page 30
THE WAGNER SO CIET Y OF WASH INGTON D C
Tenth Anniversary Report
Investment
Tenth Anniversary Report
THE WAGNER SO CI ET Y OF WASH INGTON D C
page 31
Premium Members 1998–2008 =
MEISTERSINGER GUILD
Frederic Harwood & Lea McDaniel
J K & Diana Holman
Christine Hunter
John & Lynn Pohanka
Guillermo & Cecilia Schultz
The Cafritz Foundation
Wolfgang Wagner met with selected members of the first WSWDC Board of Directors at the Kennedy Center after his discussion program with Society members in February
1999. Left to right: Jeffrey Roames, Aury Fernandez, Janice Rosen, Wolfgang Wagner, R G Head, John Green, Jim Holman and John Edward Niles.
Others who have served on the WSWDC Board are:
Michel Krisel, Assitant to Placido Domingo and
Society Chairman Jim Holman.
Barbara Karn
As a member of
the Steering Committee that preceded
the Board, and as a
Board member Barbara designed the
Society’s membership database, and
helped attain the
Bayreuth allotment. A PhD in biology, she leads
the EPA’s research grants program for nanotechnologies, and is lead editor of Nanotechnology and
the Environment (Oxford University Press, 2005).
R G Head
A member of the
Steering Committee
that preceded the
Board, R G served
on the Board until
2008. With his wife
Carole Hoover, he
managed the Society’s banquets, and
helped with Awards. A Brigadier General in the
USAF(Ret), he holds a PhD from Syracuse University. He and Carol were 2008 recipients of the
San Diego Opera Champions of Opera Award.
Cecilia and Guillermo Schultz with singer Tom
Truhitte at the cast party after the Virginia Opera
Tristan und Isolde performance in 2005.
page 32
THE WAGNER SO CIET Y OF WASH INGTON D C
Bill Kugler
A member of the
Board for three
years, Bill operated
an opera tour group,
Kugler Tours, for 20
years. Fluent in
Russian, he worked
as an intelligence analyst and researcher.
He holds a Masters degree from the Russian
Institute at Columbia University, and was a
Fulbright Scholar in Berlin.
Other members who served on the Steering
Committee and the first Board include Janice
Rosen, Justin Swain, and the late John Green. An
active and productive role on the first Board was
played by Jeffrey Roames, then registrar at the
School of Medicine of The George Washington
University. His talented wife, Myra Feldman,
designed the Society’s first logo.
John and Lynne Pohanka with James Morris.
Tenth Anniversary Report
GOLDEN RING
Thomas & Yoko Arthur
Thomas C. Brennan
Betty Byrne
Antonio Civit & Chelo Andreu
Aurelius & Janet Fernandez
Kathleen & Richard Fuller
Mark & Annette Golden
Walter & Brent Goo
Harry Gutman
R G Head & Carole Hoover
Louis & Barbara Hering
Lynne Lambert
Marc & Jacqueline Leland
John Edward Niles
Nancy O’Hara
Bill & Cathy Pastor
Phillip W. Raines & Martha E. Kern
Maika Siebeck
Richard Soderquist & Cathy Noogard
Thomas & Diane Stanley
Mark L. Villamar & Esther Milsted
Frederic Wolff & Catherine Chura Wolff
SPONSORS
Donald R. Allen
Jim Allison
Walter Arnheim & Marsha Rehns
Philip Baten
Carol Berger
Alfred & Patricia Boyd Jr.
David & Miriam Browning
Stephen Case & Margaret Ayers
Donald Crosby & Bonnie Becker
Daniel D’Aniello
John E. Dixon
Colin Dunham
Kathryn Faith
Kenneth R. Feinberg
Heinz Fricke
Jose Garcia & Norman I. Miller
William H. Greene
Todd Hasson
Cragg Hines
Flynn & Daniel Holman
Paul & Nancy Ignatius
Carol & Terry Ireland
Margaret C. Jones
Dr. Barbara Karn
Alfred G. Kelley
Albert Lauber & Craig Hoffman
Eliot & Blaine Marshall
William & Nancy McConnell
Janet C. Meyer
Michael D. Moore
Etsuro K. Motoyama & Linda Nardone
Ilse Niedermeyer
Kent & Ruth Obee
Richard & Kathleen Riether
Janice Rosen
Francois Roy
Barbara & Keith Severin
Dan Sherman
Harold Silkwood
Richard & Marie Sippel
Vito & Patricia Spitaleri
Edward & Cindy Stegemann
William & Karen Tell, Jr
Giselle Theberge & John Jeppson
Lawrence & Margot Young
DONORS
Peter R. Agnew
Jean Arnold
Henry & Cynthia Bardach
Daniel H. Bearss
Robin A. Berrington
Beatrice Bobotek
Chris Boutlier & Aaron Flynn
Maija Budow
Jessie W. Bynum & Delores H. Kucha
Kenneth W. Carter
H. Roberts Coward
Linda Cromption
Jere & Jacqueline Daum
Mark Davenport
William & Mary Drew
Carolyn Duignan & Milan Valuch
Joy Dunkerley
Robin Elwood
James & Marta Evans
Steven Gathman
Benno Gerson
John A. Graham
John & Rita Grunwald
Jack Harwood & Elizabeth Miles
Basil & Anne Henderson, Jr
Joan H. Jackson
William Jegl & Linda Carducci
Henry & Helen Justi
Alexandra Kauka
Barton A. Keiser
Patricia & Paul Kirkham
Stephen Kitchen
J. Martin Lebowitz
Jan & Elizabeth Lodal
Peter Longstreth
Samuel J. Lowe
Sally Lund
Howard Lynd
William Malone
Dan Marsh
William Martin & Maria L. Wagner
Susan M. McConnell
Ingrid & Lew Meyer
Robert I. Misbin
Ruth Mitchell
Allen & Myrna Mondzac
Irene S. Morgan
Gerald Perman
Maureen Polsby & Alessandra Marc
Kenneth Quandt
James & Henrietta Randolph
Louise Austin Remmey
Akos & Kinga Revesz
Jeff Roames & Myra Feldman
Randall Roe
Robert & Suzanne Rooney
Jacqueline Rosen
Joachim Roski & Victor Perea
Mark J. Rozell
Philip & Ann Ruppe
Michael & Martha Rushlow
David Ryan
Betty Sams
Lili-Charlotte Sarnoff
Peter & Midori St. Onge
Pedro Taborga
Oliver Transue
Adele Waggaman
Dorothy Wexler
William Zeile & Maria Yang
PATRON
Joseph W. Abell
Judith Andrews Agard
Ali Al-Daftari
William Allman
Florence Ashby & Laird Anderson
Claudia & Jessica Assmann
Roger E. Avebe & Shirley D. Shockey
Merribel Ayres
Adele Baker
Kenneth Ballen
David & Nancy Barbour
Douglas Barnert & John Mainz
Lucile Beaver
Virginia Martino Bland
Richard Bleiberg
Donn W. Block
Sheila Bloom
Marilyn Sue Bogner
Roy W. Boyce
Arturo Brillembourg
Ivy Broder
Tom Brumbach
John & Polli Brunelli
Donnie L. Bryant
Carlos Camargo
Scott Carlton
Timothy Carlton
Christopher K. Chapin
Donald Clagett & Charlotte Hollister
Nelson T. Clapp
Victoria Cordova
Gandolfo & Frances Corradino
Robert & Jamie Craft, Jr.
Anne-Marie Crawford
William Crocker
Karon N. Cullen
George W. Darden
Oliver Dib
Anne & Edward Dillon
Earl & Rita Donaldson
Darrell Rico Doss
Paul du Quenoy
William R. Eckhof
Hilda & Fred Ederer
Lee M. Edwards
Charles Elliott
Larry L. Ellis
Vernona Elms
John Feather
Marcia Feinstein
Charles & Theresa Feldmayer
Jay Fellows
Ann Fenton & Dennis Moore
Mark & Lauren Fernandez
Jonathan Fine
Sherman & Marty Finger
Russell Fisher
Jerry & Thomas Floyd
Jerry & Janet Fodor
Herbert A. Fogel
Louis & Marie-H Forget
Keith & Catharine Fretz
Robert Galbraith
Barbara Gauntt
Marilyn Wong Gleysteen, Ph.D
Elizabeth Graves
J.F. Greene
Anne Hackl
Joyce & Charles Hagel-Silverman
Cynthia Haggard & Georges Rey
Daniel Harmon
Hermann Helgert
Anne G. Hodge
Dorothy Holman
Marcel & Ann Humber
Thomas Illgen
Robert Inglis
Mark & Anastasia Joelson
Carolyn Johnson
Kenneth B. Johnston
Paul Kearney
Leslie Kiefer
Jean-Blaise Kikudi
Elise K. Kirk
Elizabeth Kocmur
Richard W. Krimm
William & Joan Kugler
Jean & Jules Lauderdale
Michael Lauver
Robert Lawrence
Thomas Leahey
Claire Lent
Arthur Carl LeVan
Daniel & Luna Levinson
Laurence & Kiyomi Lueck
Daniel & Maeva Marcus
Nina Matheson
David Mayger
Mary Lynne McElroy
Stephen & Tara McKenna
Maurice & Ann Meneguzzi
Richard & Suzanne Morton
Raymond Oneson & Francine Decary
Frank Pierce
David Pozorski & Anna Romanski
Larry & Harriet Pressler
Courtney & Joseph Price
Richard J. Price & Trent Tucker
Philip & Susan Pulaski
Ralph H. Redford
John S. Rodgers
Bruce E. Rosenblum & Lori Laitman
Gerald B. Rosenstein
Frank Ruppert
Thelma M. Santee
Peter Scherer
Jan Schlotthus
Edward T. Schnoor
Marcus Sgro
Jane Sloat
Frank & Jane Snyder
Michael Southwick
Paul & Mimi Spielberg
Allan Starkey
Cita Stelzer
John Stocker
Larry Sullivan
Jack Sulser & Sally Greer
William H. Taft IV
Julia Thompson
Robert Torres
Jason & Kelly Trumpbour
Ingrid Valtin-Kern
Wendell J. Van Lare
David G. Van Ormer
Fernando & Stephanie van Reigersberg
James & Elinor Vaughter
David Vespa
Mary Jo Veverka
Gesa & Klaus Vogt
Anastasios Vrenios
Charles & Charlotte Walker
John & Frances Webb
Ralph & Katheryne West
Adelaide & Duncan Whitaker
Michael Wiedman
H. Lawrence Wiggins
Dennis Winstead & Edwin Foster
Marlene Wojahn
Kenneth & Dorothy Woodcock
Jennifer Choate Woods
Leslie D. Zupan
P.O. Box 58213
Washington, DC 20037
Tel. 703-370-1923
www.wagner-dc.org