Macbeth
GIUSEPPE VERDI
September 17 – October 16, 2016
New production made possible by generous gifts from the Milan Panic Family, Barbara
Augusta Teichert and The Blue Ribbon.
Additional generous support from Joyce and Aubrey Chernick.
The Source
TED HEARNE
October 19 – 23, 2016, at REDCAT
Support provided by donors to LA Opera’s Contemporary Opera Initiative.
Nosferatu
MATTHEW AUCOIN
October 29 – 31, 2016, at the Theatre at Ace Hotel
Akhnaten
PHILIP GLASS
November 5 – 27, 2016
Production made possible by a generous gift from Ceil and Michael Pulitzer.
Additional support provided by donors to LA Opera’s Contemporary Opera Initiative.
Wonderful Town
LEONARD BERNSTEIN
December 2 – 4, 2016
The Abduction from the Seraglio
WOLFGANG AMADEUS MOZART
January 28 – February 19, 2017
Production made possible by generous support from the Carol and Warner Henry
Production Fund for Mozart Operas.
Underwriting support from the Jane and Peter Hemmings Production Fund, a gift from the
Flora L. Thornton Trust.
Salome
RICHARD STRAUSS
February 18 – March 19, 2017
Production made possible by generous support from Gregory Annenberg Weingarten and
Family, Annenberg Foundation.
The Tales of Hoffmann
JACQUES OFFENBACH
March 25 – April 15, 2017
Production made possible by generous support from the Lloyd E. Rigler – Lawrence E.
Deutsch Foundation.
Tosca
GIACOMO PUCCINI
April 22 – May 13, 2017
Production made possible by generous support from the Seaver Endowment.
Noah’s Flood
BENJAMIN BRITTEN
May 6, 2017, at the Cathedral of Our Lady of the Angels
Thumbprint
KAMALA SANKARAM
June 15 – 18, 2017, at REDCAT
Support provided by donors to LA Opera’s Contemporary Opera Initiative.
OFFICIAL TIMEPIECE OF LA OPERA
PERFORMANCES MAGAZINE P1
DONOR RECOGNITION
25th Anniversary Angels
LA Opera wishes to recognize and thank those who made extraordinary leadership commitments in honor of the company’s
25th Anniversary Season. Following the tradition established by previous Angel campaigns (listed on page P13), the support of the
25th Anniversary Angels ensures LA Opera’s continued artistic excellence and prominence in the worldwide cultural community.
Sebastian Paul and Marybelle Musco
The Seaver Family
Marc and Eva Stern Foundation
The Eli and Edythe Broad Foundation
Colburn Foundation
County of Los Angeles
Ann and Gordon Getty Foundation
Carol and Warner Henry
Alfred and Claude Mann
Flora L. Thornton
Marilyn Ziering
Mr. Harold Alden and Dr. Geraldine Alden
The Annenberg Foundation
Ambassador Frank and Kathy Baxter
The Blue Ribbon
Alex Bouzari
Robert Day
Dunard Fund USA
Malsi Doyle and Michael Forman
Brindell Roberts Gottlieb
The Green Foundation
Bernard and Lenore Greenberg, in honor of Leonard Green
LGHG Foundation
Rosemary and Milton Okun
The Milan Panic Family
Ceil and Michael E. Pulitzer
Lloyd E. Rigler - Lawrence E. Deutsch Foundation
Ronus Foundation
Eugene and Marilyn Stein
Christopher V. Walker
Lenore and Richard Wayne
Ziering Family Foundation
Selim K. Zilkha and Mary Hayley / Selim K. Zilkha Foundation
P2 PERFORMANCES MAGAZINE
PROGRAM
PLÁCIDO DOMINGO, ELI AND EDYTHE BROAD GENERAL DIRECTOR
JAMES CONLON, RICHARD SEAVER MUSIC DIRECTOR
CHRISTOPHER KOELSCH, PRESIDENT AND CHIEF EXECUTIVE OFFICER
PRESENTS
GIUSEPPE VERDI
Macbeth
Libretto by Francesco Maria Piave and Andrea Maffei,
based on the tragedy by William Shakespeare CREATIVE TEAM
CAST
PRODUCTION NOTES
MACBETH,
a general in Duncan’s army
Plácido Domingo
The running time is approximately three
hours, including one intermission.
Darko Tresnjak
LADY MACBETH
Ekaterina Semenchuk
Flames and atmospheric fog and haze are
used in this performance.
CO-SCENIC DESIGNERS
BANQUO,
a general in Duncan’s army
Roberto Tagliavini
Ildebrando D’Arcangelo
Supertitles written by Christopher Bergen.
CONDUCTOR
James Conlon
DIRECTOR
Colin McGurk*
Darko Tresnjak
COSTUME DESIGNER
Suttirat Anne Larlarb*
(OCT 13, 16)
MACDUFF,
Thane of Fife
Arturo Chacón-Cruz
(SEP 17-25)
Joshua Guerrero‡
LIGHTING DESIGNER
(OCT 5-16)
Matthew Richards*
Pre-performance talks by James Conlon. Preperformance talks are generously sponsored
by the Flora L. Thornton Foundation and the
Opera League of Los Angeles. (There is no
pre-performance talk on September 17.)
MALCOLM,
son of Duncan
Josh Wheeker*†
LADY-IN-WAITING
Summer Hassan†
DOCTOR / FIRST APPARITION
Theo Hoffman*†
Scenery and props constructed by Studio
Sereno, Los Angeles. Costumes constructed
by the Los Angeles Opera Costume Shop.
Puppet heads sculpted by Michelle Millay.
Wigs constructed by the Los Angeles
Opera Wig and Make-Up Department.
SECOND APPARITION
Liv Redpath*†
* LA Opera debut
THIRD APPARITION
Isaiah Morgan
† Member of the Domingo-Colburn-Stein
Young Artist Program
VALET
Reid Bruton
Christopher Allen‡
ASSASSIN
James Martin Schaefer
ASSISTANT DIRECTOR
ARTISTS SUBJECT TO CHANGE.
PROJECTION DESIGN
Sean Nieuwenhuis*
CHORUS DIRECTOR
Grant Gershon
FIGHT DIRECTOR
Steve Rankin*
CLIMBING CONSULTANT
Daniel Lyons*
ASSOCIATE CONDUCTOR
Erik Friedman
STAGE MANAGER
Barbara Donner
SUPPORT
HEAD PIANIST / PROMPTER
Production made possible by generous gifts from
Nino Sanikidze
MUSICAL PREPARATION
Milena Gligić†
Miah Im
Susanna Lemberskaya
The Milan Panic Family
Barbara Augusta Teichert
The Blue Ribbon
Additional generous support provided by
Joyce and Aubrey Chernick
‡ Alumnus of the Domingo-Colburn-Stein
Young Artist Program
Please refrain from talking during the performance,
and turn off all cell phones, electronic devices and
watch alarms. If you are using an assistive hearing
device, or are attending with someone who is,
please make sure that it is set to an appropriate
level to avoid distracting audio feedback.
Latecomers will be seated at the discretion of the
house management. Members of the audience who
leave during the performance will not be shown
back into the theater until the next intermission. The
use of cameras and recording equipment is strictly
prohibited. Your use of a ticket acknowledges your
willingness to appear in photographs taken in public
areas of the Music Center and releases the Center
and its lessees and others from liability resulting
from use of such photographs. Any microphones
onstage are used for recording or broadcast purposes only; onstage voices are not amplified.
PERFORMANCES MAGAZINE P3
SYNOPSIS
ACT ONE
Macbeth and Banquo, generals in the
army of King Duncan of Scotland,
encounter a band of witches, who hail
Macbeth as Thane of Cawdor and as
future king, and hail Banquo as father of
kings thereafter. Messengers from
Duncan approach, proclaiming Macbeth
the new Thane of Cawdor, thus fulfilling
the first prophecy. Amazed at this turn of
events, Macbeth muses on his chances of
achieving his ambition to be king (“Due
vaticini compiuti”).
Lady Macbeth reads a letter from her
husband describing his meeting with the
witches. Exulting in the prospect of power
(“Vieni, t’affretta!”), she vows to add her
own cunning and boldness to Macbeth’s
ambition. When a servant brings word
that the king will spend that night in the
castle, she invokes powers of darkness to
aid her aims. Macbeth enters, and his wife
persuades him to murder Duncan that
night. Duncan arrives, retiring at once.
Macbeth, dreading his task, imagines a
dagger before his eyes (“Mi si affaccia un
pugnal?”). As a night bell sounds, he
steals into the royal chamber, returning
shortly afterward to tell Lady Macbeth
that the deed is done. Taking the dagger
from his hands, she coolly goes to smear
blood on the sleeping royal guards, thus
incriminating them. There is a knock at the
gate, and the couple withdraws. Macduff
and Banquo enter, discover the murder
and awaken the court. Led by the hypocritical couple, the assembled crowd
invokes God’s vengeance.
ACT TWO
Macbeth is now king. Duncan’s son
Malcolm, whom many suspect of his
father’s murder, has fled to England.
Macbeth and his wife plot the murder of
Banquo and his son, lest the latter gain the
crown as the witches prophesied. After her
husband leaves, Lady Macbeth reaffirms
their pursuit of power (“La luce langue”).
A group of assassins awaits Banquo.
Troubled by a foreboding of evil (“Come
dal ciel precipita”), he is set upon and
killed, but his son Fleance escapes.
At a state banquet, Lady Macbeth
toasts her guests in a drinking song (“Si
colmi il calice”). Macbeth is secretly
informed that Banquo’s murder has been
accomplished. When he suddenly sees the
general’s ghost, his horrified reaction
astonishes his guests. Lady Macbeth
chides her husband, who momentarily
regains his calm as she sings a reprise of
the drinking song. But the bloody specter
continues to haunt him, and the guests
notice his guilty behavior.
I N TER M I SSI ON
ACT THREE
Macbeth visits the witches to learn his fate.
At his insistence, they conjure up a series of
three apparitions. The first, a warrior, tells
him to beware Macduff; the second, a
bloody child, assures him that no man born
of woman can harm him; finally, a crowned
child reveals that he will rule invincible until
Birnham Wood marches against him.
Somewhat reassured, Macbeth asks the
witches if Banquo’s sons will ever reign in
Scotland; in reply, they invoke a procession
of future kings, followed by Banquo. As
Macbeth faints in dread, the witches disappear. Lady Macbeth finds him; together
they vow to kill all of their enemies.
ACT FOUR
Near Birnham Wood, a band of Scottish
refugees bewails its oppressed homeland,
caught in the grip of Macbeth’s tyranny.
Macduff joins them, grieving over his wife
and children, murdered on Macbeth’s
orders (“Ah, la paterna mano”). Duncan’s
son Malcolm arrives at the head of an
English army. Determined to liberate
Scotland from tyranny, Malcolm instructs
the soldiers to cut branches from the forest as camouflage for an attack on
Costume design by Suttirat Anne Larlarb
for Lady Macbeth.
Macbeth’s castle. Malcolm and Macduff
unite with the crowd in a call to arms.
A doctor and lady-in-waiting observe
the guilt-wracked Lady Macbeth as she
wanders the castle in her sleep, wiping
imaginary blood from her hands
(“Una macchia è qui tuttora”).
During the siege of the castle, Macbeth
clings to the hope he can withstand the
forces of Malcolm and Macduff, but he is
soul-weary and curses his fate (“Pietà,
rispetto, amore”). Word of his wife’s death
reaches him.
Messengers bring the astounding news
that Birnam Wood seems to be advancing
upon them. Macbeth leads his men to battle. Macduff seeks out Macbeth and,
crying that he was not born of woman but
torn prematurely from his mother’s womb,
fights the tyrant. Macbeth falls, mortally
wounded (“Mal per me che m’affidai”).
Rejoicing, the army and assembled populace hail Malcolm, Duncan’s rightful
successor, as their new king.
In fond memory of Tara Colburn, supertitles are underwritten by Dunard Fund USA.
P4 PERFORMANCES MAGAZINE
A NOTE FROM MUSIC DIRECTOR JAMES CONLON
Why Verdi’s Macbeth is Important
In 1847, Giuseppe Verdi stood the world of Italian opera on its head with his tenth opera. In writing
Macbeth, he made a major leap into the future—his future, Italian opera’s future, our future. It would
take half a century for the logical consequence of Macbeth to be fully drawn, and another 50 or 60
years before its significance was fully recognized.
With this opera, Verdi began the long process of dismantling the forms he inherited
from Rossini and the bel canto period. In so
doing, he irrevocably transformed Italian
opera. Dramatic coherence became dominant. It is in Macbeth that he stipulates, with
an insistence and virulence beyond what he
had demonstrated in the past, what the
singers must do to serve the drama. The
opera is not a series of formulaic scenes
designed to showcase the vocal prowess of
the performers, but a concentrated distillation of the dramatic essence. As he
instructed baritone Felice Varesi, his first
Macbeth: “I will not cease to recommend
that you study the dramatic situations and
the words: the music will follow on its own.”
Verdi articulated an attitude that was
fundamentally contradictory to all of the
contemporary tenets of bel canto. He
admired soprano Eugenia Tadolini, the proposed prima donna for a revival in Naples,
but he wrote that her qualities were “too
great for this role… [She] is a fine figure of
a woman, and I would like Lady Macbeth to
look ugly and malignant. [She] sings to
perfection and I would rather that Lady
didn’t sing at all…I would rather the voice
were rough, hollow, stifled. [Her] voice has
something angelic in it. Lady’s should have
something devilish…there are two chief
pieces in the opera, the duet between Lady
and her husband and the sleepwalking
scene, and these pieces must not be sung
at all—they must be acted and declaimed
in a voice that is hollow and veiled.”
No doubt there is some exaggeration
and hyperbole in these instructions, but it
was meant to be a potent antidote for the
self-absorption and excessive vanity of
the typical singer of that time as well as
an indication of the path that he—and his
singers—would follow.
Compared to Otello and Falstaff—
Verdi’s late-career masterpieces, similarly
drawn from Shakespeare—his Macbeth
seems less consequential. But that is only
because we judge it by the measure of a
standard set by the composer himself.
Viewed in comparison with the composer’s contemporaries, and with many of his
owns works of the period, it looms large.
Had Verdi died or ceased to compose
after Macbeth, it would stand today as a
towering work of the Italian repertoire.
in detail is beyond the scope of this
essay. But here’s one major innovation
that exemplifies the radical nature of his
vision: Macbeth is a loveless opera.
George Bernard Shaw’s adage that
“Italian Romantic operas are about a
tenor and a soprano who want to make
love, and a baritone who won’t let them”
is utterly unseated. There is, in fact, no
antagonist. The only desire expressed in
this opera is the desire for power. There
is no battle of equals, only an inner con-
“Be guided by this, there are three roles in this
opera and three roles only: Lady Macbeth, Macbeth
and the chorus of the Witches.” –GIUSEPPE VERDI
The composer has been accused of
trivializing and simplifying Shakespeare’s
original tragedy. In his defense, all composers have pillaged and plundered the
great literary works as their muses dictated. But few composers did so with
Verdi’s profound attachment and reverence. Literature, prose theater and opera
are completely separate genres, each
with its own rules, necessities and exigencies. An opera is a work of art in
itself, which will sink or swim according
to the composer’s ability to justify it on
its own terms. It cannot be the original; it
should be its own “original.” Verdi put it
this way: “To copy reality is a good thing,
but to invent reality is better, much better. A contradiction may seem to exist in
these three words ‘to invent reality,’ but
just ask Papa Shakespeare.”
To show the many aspects of Verdi’s
evolving musical and dramatic language
flict with arrogance and insatiable
ambition, and the corrupting lust for
power. It has also been observed that
Verdi’s opera is a tragedy for the royal
couple, but a comedy for the witches.
Throughout his life, Shakespeare
loomed large for Verdi, who always kept a
volume of the Bard’s works at his bedside.
The composer created three operas based
on his plays. He wrote Macbeth for
Florence in 1847 and he revised the opera
for Paris in 1865. Decades later, a venerable and venerated master, he wrote Otello
(1887) and Falstaff (1893).
Fascinatingly, another Shakespeare play
haunted his mind for much of his life: King
Lear. In 1865, Verdi had a complete libretto,
but for a variety of reasons, he seems never
to have gotten very far with the music. The
prospect of a Verdi Re Lear remains perhaps the most tantalizing “what might
have been” in the opera-loving world.
PERFORMANCES MAGAZINE P5
UNDERWRITER RECOGNITION
The Milan Panic
Family
PHOTO BY STEVE COHN PHOTOGRAPHY
LA Opera is grateful to
the Milan Panic family
for their generous production support of
Macbeth. With a history of production
sponsorship going
back to the company’s
2002 production of
The Girl of the Golden
West, the Milan Panic
family has sponsored
last year’s season-opening
production of Gianni
Schicchi and Pagliacci,
and earlier productions of La Damnation de Faust (2003),
Eugene Onegin (2011), The Two Foscari (2012) and the world
premiere production of Il Postino (2010). One of LA Opera’s
most devoted supporters, Mr. Panic has not only underwritten
opening night productions in 15 different seasons, he also
recently joined the new 30th Anniversary Angels campaign
with a special leadership gift. Elected to the board of directors
in 2002, he currently serves as vice chairman, and has additionally been instrumental to the company as a generous
contributor to the earlier 25th Anniversary, 20th Anniversary,
and Domingo’s Angel campaigns.
Mr. Panic is a committed philanthropist whose support
includes LA Opera and many other performing arts
organizations, including The Orange County Performing Arts
Center and Opera Pacific, as well as museums, universities,
and research programs, and international relief organizations
for humanitarian aid. An entrepreneur, statesman, global
businessman and former Olympic competitor in cycling, Mr.
Panic is the founder and CEO of MP Biomedicals LLC and the
former chairman, president and CEO of ICN Pharmaceuticals,
Inc. A native of Belgrade, Mr. Panic financed the inoculation of
more than 200,000 children in Kosovo and helped his native
land regain its sense of national pride when he received
special permission from President George H. W. Bush to serve
as prime minister of the Federal Republic of Yugoslavia from
1992 to 1993.
“I am deeply grateful to Milan Panic for his longtime
commitment to LA Opera,” said Plácido Domingo. “He is a
man of dedicated leadership and impassioned generosity,
and he has truly been instrumental to the company’s growth
and success.”
P6 PERFORMANCES MAGAZINE
ARTISTS
James Conlon
CONDUCTOR
From: New York City.
LA Opera: debut conducting La
Traviata (2006); 49 different
mainstage operas and over 300
total performances to date. This
season, he will also conduct The
Abduction from the Seraglio,
Salome and Tosca. He has been
Richard Seaver Music Director
since 2006.
Career highlights: He has led
virtually every major North
American and European orchestra and over 270 performances at the Metropolitan Opera. This
season, he became principal conductor of the National
Symphony Orchestra of the RAI in Torino. He previously was
music director of the Ravinia Festival, summer home of the
Chicago Symphony (2005-2015), principal conductor of the
Paris National Opera (1995-2004), general music director of the
City of Cologne (1989-2002), music director of the Rotterdam
Philharmonic (1983-91), and music director of the Cincinnati May
Festival (1979-2016). He has two Grammy Awards and was
awarded France’s Légion d’Honneur. (JamesConlon.com)
Darko Tresnjak
DIRECTOR
From: Zemun, Serbia.
LA Opera: The Broken Jug / The
Dwarf (2008, debut), The Birds
(2009), The Ghosts of Versailles
(2015).
Career highlights: Since 2011, he
has been the artistic director of
Hartford Stage, where he has
directed many productions
including A Gentleman’s Guide
to Love & Murder, subsequently
presented on Broadway (winning four 2014 Tony Awards,
including Best Musical and Best Direction of a Musical) and
Anastasia, which will open on Broadway in 2017. He was the
artistic director of the Old Globe Shakespeare Festival in San
Diego from 2004 to 2009. His directing career began at the
Williamstown Theatre Festival and he has also directed at the
Joseph Papp Public Theater, Theatre for a New Audience,
Oregon Shakespeare Festival, Chicago Shakespeare Theater,
Vineyard Theatre Company and Blue Light Theater Company.
From 2002 to 2004 he was director in residence at Boston’s
Huntington Theatre Company.
ARTISTS
Colin McGurk
Suttirat Anne Larlarb
CO-SCENIC DESIGN
COSTUME DESIGN
From: New York City. LA Opera: debut. Career
highlights: New York credits include Application
Pending, Mother’s Day, Stilled, Iyom, Blood
Privilege, Zelda at the Oasis and Rio. He has
designed at the New London Barn Playhouse in New Hampshire,
the Muhlenberg Summer Musical Theater in Pennsylvania and at
the Shadowland Theatre in Ellenville, New York. MFA from UC
San Diego, received his BA in theater from Lehigh University in
2006 where he returned as a design apprentice in 2007. He has
exhibited his fine art in the U.S. and Italy, and his scenic design
for The House of Bernarda Alba was exhibited at the Prague
Quadrennial 2011. (makethespace.com)
From: New York, via Los Angeles. LA Opera:
debut. Career highlights: She is a frequent collaborator with Danny Boyle on projects for film,
television and theater including the London
2012 Olympic Opening Ceremony (Emmy Award for Outstanding
Art Direction), Slumdog Millionaire (Costume Designers’ Guild
Award), 127 Hours (Art Directors Guild Award nom.) and Trance,
Sunshine and Frankenstein at London’s National Theatre. Other
films include The Walk directed by Robert Zemeckis and three
films for directors Shari Springer-Berman and Bob Pulcini: 10,000
Saints, The Extra Man and Cinema Verite (Emmy nom.). Broadway
credits include Finding Neverland, Of Mice and Men and Waitress.
Matthew Richards
Sean Nieuwenhuis
LIGHTING DESIGN
PROJECTION DESIGN
From: New York City. LA Opera: debut. Career
highlights: He made his Broadway debut with
Holland Taylor’s 2013 Ann. Off-Broadway credits
include A Funny Thing… (Manhattan Class Co.),
Absolute Brightness of Leonard Pelkey (Westside Arts), Informed
Consent (Primary Stages), Tamburlaine, The Killer (Theatre for a
New Audience); and productions for Brooklyn Academy of Music,
Lincoln Center, Playwrights Horizons and TheatreworksUSA. He
has designed for Actors Theatre of Louisville, Arena Stage, Ford’s
Theatre, The Goodman, Hartford Stage, The Huntington, La Jolla
Playhouse, Long Wharf, The Old Globe, Shakespeare Theatre and
Yale Repertory Theatre. (MatthewRichardsDesign.com)
From: Vancouver, B.C. LA Opera: debut. Career
highlights: His work on Broadway includes projection and video designs for the 2012 revival of
Jesus Christ Superstar and the 2015 musical
Doctor Zhivago. Other recent credits include Faust at the
Metropolitan Opera, The Magic Flute for Vancouver Opera, Rear
Window for Hartford Stage, Cabaret and Don Juan at the Stratford
Shakespeare Festival, The Manchurian Candidate for Minnesota
Opera, the opening and closing ceremonies of the 2010 Paralympic
Winter Games and a production of Nixon in China seen in San
Francisco, Stockholm, Kansas City and Vancouver. He is the owner
of Sensory Overload Productions. (SeanNieuwenhuis.com)
Grant Gershon
Steve Rankin
CHORUS DIRECTOR
FIGHT DIRECTOR
From: Alhambra, California. LA Opera:
Resident Conductor since 2012, he made his
LAO conducting debut with La Traviata in
2009, followed by the world premiere of Il
Postino in 2010. He has conducted nine productions to date,
including, most recently, Gianni Schicchi (2015). This season he
will conduct Wonderful Town and Tosca. Career highlights: La
Bohème, La Traviata, Carmen and Madama Butterfly at Wolf Trap
Opera with the National Symphony Orchestra, John Adams’ The
Gospel According to the Other Mary at the Ravinia Festival,
Vivaldi’s Griselda at the Santa Fe Opera, many appearances with
the LA Philharmonic. He is Artistic Director of the Los Angeles
Master Chorale, where he is now in his 16th season. He has led
world premieres by John Adams, Steve Reich and Esa-Pekka
Salonen, among others.
From: Burbank. LA Opera: debut. Career highlights: Broadway: Memphis, Jersey Boys
(worldwide), The Farnsworth Invention, Henry IV,
Twelfth Night, Guys and Dolls, The Real Inspector
Hound, Anna Christie, The Who’s Tommy. Metropolitan Opera:
Rodelinda, Faust, Iphigénie en Tauride, Boris Godunov. Stratford
Festival: Henry V, Romeo and Juliet, Macbeth, Caesar and Cleopatra.
He plays mandolin with The Susie Glaze New Folk Ensemble.
Daniel Lyons
CLIMBING CONSULTANT
From: Los Angeles. LA Opera: debut. Career
highlights: He competed at USA Climbing’s SCS
National Championship. He is a production and
development executive for film, television and
stage at Holding Pictures and Treehouse Films in Santa Monica. He
worked on the 2012 Broadway production of Bring It On: The
Musical and the 2015 Hartford Stage production of Rear Window.
PERFORMANCES MAGAZINE P7
ARTISTS
Plácido Domingo
Roberto Tagliavini
MACBETH
BANQUO
From: Madrid, Spain.
LA Opera: debut as Otello
(1986); 28 roles to date including, most recently, the title role
in Gianni Schicchi (2015). He
has conducted 22 LA Opera
productions and will conduct
The Tales of Hoffmann later this
season. A vital presence in LA
Opera from its birth, he served
as Artistic Consultant (since
1984) and Artistic Director
(2001-2003) before he was
named Eli and Edythe Broad General Director in 2003.
Career highlights: He has been at home on the world’s greatest stages for over half a century, with over 800 performances
at the Metropolitan Opera. He has sung 147 roles and conducted more than 500 operatic and symphonic performances, and
he is the recipient of 12 Grammy Awards. He is founder of the
international vocal competition Operalia. His many singing
engagements this season include Nabucco and La Traviata at
the Met and Macbeth in Vienna, and he will conduct at The
Met and in Vienna and St. Petersburg. (PlacidoDomingo.com)
Ekaterina Semenchuk
LADY MACBETH
From: Saint Petersburg, Russia.
LA Opera: Fricka in Die Walküre
(2010, debut); Olga in Eugene
Onegin (2011).
Career highlights: A leading soloist of the Mariinsky Theater, she
appears frequently in recital with
Helmut Deutsch. She performs
Amneris in the new Warner
Classics recording of Aida with
Anja Harteros, Jonas Kaufmann
and Sir Antonio Pappano. Recent
appearances include Marina in
Boris Godunov at the Metropolitan Opera; Azucena in Il Trovatore
and Lady Macbeth, with Plácido Domingo, in Valencia; Azucena at
Covent Garden, Salzburg Festival, Paris Opera, La Scala and San
Carlo; and Eboli in Don Carlo with Pappano at the Salzburg Festival,
released on DVD. With Valery Gergiev, she performed Didon in Les
Troyens at the Mariinsky Theater, Carnegie Hall, Edinburgh Festival
and Tokyo’s Suntory Hall; Giovanna Seymour in Vienna, Amneris at
La Scala and in San Carlo; and Carmen at Arena di Verona,
released on DVD. This season’s engagements include Dalila at the
Mariinsky, Amneris in San Francisco and Eboli at La Scala.
P8 PERFORMANCES MAGAZINE
From: Parma, Italy. LA Opera: Figaro in The
Marriage of Figaro (2015, debut). Career highlights: Earlier this year, he made his Metropolitan
Opera debut as Colline in La Bohème. Other
recent performances include Giorgio in I Puritani and Loredano in
The Two Foscari in Madrid, Alidoro in La Cenerentola in Torino,
Rossini’s Stabat Mater in Edinburgh; Elmiro in Rossini’s Otello, Le
Gouverneur in Le Comte Ory, Lord Sidney in Il Viaggio a Reims and
Ferrando in Il Trovatore at La Scala; and Don Basilio in The Barber
of Seville and the King in Aida at the Arena di Verona. He has performed the title role of Maometto II in Rome, the title role of Attila
in Verona, Berlin, St. Petersburg and Shanghai, and Lord Sidney in
Amsterdam. This season, he performs the four Tales of Hoffmann
villains, Alidoro and Escamillo in Carmen, all with Opéra National
de Paris, and Zaccaria in Nabucco in Berlin and Vienna.
Ildebrando D’Arcangelo
BANQUO (OCT 13, 16)
From: Pescara, Italy. LA Opera: Guglielmo in
Così fan tutte (2011, debut), Don Giovanni (2013),
Escamillo in Carmen (2013). Career highlights:
He is particularly noted for his interpretations of
Mozart’s Don Giovanni, Figaro and Leporello, and his repertoire
also includes a vast selection of roles from the bel canto era and
the baroque repertoire. He is a regular guest at La Scala, the
Vienna State Opera, the Liceu in Barcelona, Covent Garden, the
Opéra Bastille, Metropolitan Opera, Lyric Opera of Chicago and the
Salzburg Festival. This season’s engagements include Fiesco in
Simon Boccanegra in Vienna, Banquo in Munich and Madrid,
Méphistophélès in Faust in Berlin, Méphistophélès in La Damnation
de Faust in Liège, Leporello in Dresden, Count Almaviva in The
Marriage of Figaro in Berlin, and Don Giovanni in San Francisco.
Arturo Chacón-Cruz
MACDUFF (SEP 17-25)
From: Sonora, Mexico. LA Opera: Verdi Requiem
(2007), Rodolfo in La Bohème (2007, mainstage
debut), Alfredo in La Traviata (2014), Arcadio in
Florencia en el Amazonas (2014), Rinuccio in
Gianni Schicchi (2015). Career highlights: Recent appearances
include Werther in Budapest and Don José in Carmen in Zurich
and Lyon. In 2014 he performed Jacopo Foscari in The Two Foscari
opposite Plácido Domingo at Vienna’s Theater an der Wien. Other
appearances include the Duke in Rigoletto in San Francisco,
Hoffmann at La Scala and in Vienna, and many leading roles in
Munich. He was a 2005 winner of Operalia. Later this season, he
will perform Macduff in Vienna, Alfredo in La Traviata in Valencia
and Rome, Faust in La Damnation de Faust at in Moscow, and
Rodolfo in La Bohème in San Francisco. (ArturoChaconCruz.com)
ARTISTS
Joshua Guerrero
Summer Hassan
MACDUFF (OCT 5-16)
LADY-IN-WAITING
From: Los Angeles. LA Opera: Normanno in
Lucia di Lammermoor (2014, debut); Steve in A
Streetcar Named Desire (2014); Count Almaviva
in The Ghosts of Versailles (2015), Greenhorn in
Moby-Dick (2015). He is an alumnus of the Domingo-ColburnStein Young Artist Program. Career highlights: Later this season,
he will reprise Macduff for his debut at the Zurich Opera. He will
also debut at English National Opera as the Duke in Rigoletto. In
concert, he will sing Haydn’s The Creation with Gustavo Dudamel
and the LA Phil, and Beethoven’s 9th Symphony with Marin Alsop
and the Baltimore Symphony Orchestra. Last season, he made his
European operatic debut as Gabriele Adorno in Simon Boccanegra
at Opéra National de Bordeaux, followed by Nemorino in The
Elixir of Love at Seville’s Teatro de la Maestranza and Roméo in
Roméo et Juliette at Santa Fe Opera. A 2014 Operalia winner, he is
a 2016 recipient of the Richard Tucker Career Grant from the
Richard Tucker Music Foundation.
Josh Wheeker
MALCOLM
From: Kettering, Ohio. LA Opera: debut. He
is a member of the Domingo-Colburn-Stein
Young Artist Program. Career highlights:
A graduate of the University of Cincinnati’s
College-Conservatory of Music, the tenor was a district winner
of the 2013 and 2015 Metropolitan Opera National Council
Auditions. He recently was a studio artist with Kentucky
Opera, and he has also performed with Opera Theatre of Saint
Louis, Des Moines Metro Opera, Dayton Opera and Opera
Iowa. He has performed roles including Rinuccio in Gianni
Schicchi, the School Master in The Cunning Little Vixen,
Carlson in Of Mice and Men, Howard Boucher in Dead Man
Walking and Nemorino in The Elixir of Love.
Liv Redpath
SECOND APPARITION
From: Edina, Minnesota. LA Opera: debut. A
member of the Domingo-Colburn-Stein Young
Artist Program, she will return in Akhnaten.
Career highlights: In the summer of 2016,
Ms. Redpath performed Echo in Ariadne auf Naxos with Opera
Theatre of Saint Louis and Héro in Béatrice et Bénédict with
Aspen Opera Center. She just finished studies for her Master of
Music at The Juilliard School, where her roles included Thérèse in
Les mamelles de Tirésias, the Queen of the Night in The Magic
Flute, Barbarina in The Marriage of Figaro, and Diane in Iphigénie
en Aulide with MET + Juilliard. She has spent summers with Wolf
Trap Opera, Houston Grand Opera’s Young Artists Vocal
Academy and Opera Theatre of Saint Louis. (LivRedpath.com)
From: Raleigh, North Carolina. LA Opera:
Second Lady in Dido and Aeneas (2014, debut),
Ghost Quartet in The Ghosts of Versailles (2015);
several roles in Hercules vs. Vampires (2015);
Second Lady in The Magic Flute (2016). She is a member of the
Domingo-Colburn-Stein Young Artist Program and will return this
season in Akhnaten. Career highlights: Her most recent appearances include Musetta in La Bohème with Wolf Trap Opera and a
recital with Steven Blier at The Barns at Wolf Trap. Other engagements include her Carnegie Hall debut as the Second Niece in
Peter Grimes with the St. Louis Symphony, as well as her debut
with Opera Theatre of Saint Louis, where she was a Gerdine Young
Artist, as the Second Lady in The Magic Flute.
Theo Hoffman
DOCTOR / FIRST APPARITION
From: New York City. LA Opera: debut. A member of the Domingo-Colburn-Stein Young Artist
Program, the baritone will return this season in
Salome and The Tales of Hoffmann. Career
highlights: Last season, he performed Papageno in The Magic
Flute and the Director in Les Mamelles de Tirésias at Juilliard, and
he debuted with the Atlanta Opera as Schaunard in La Bohème. A
regular performer with the New York Festival of Song, he made
his professional debut with Opera Theatre of Saint Louis. He made
his Carnegie Hall debut with the Cecilia Chorus of New York in
Beethoven’s Choral Fantasy and appeared with the Portland
Symphony Orchestra as the Jailer in Dialogues of the Carmelites.
Isaiah Morgan
THIRD APPARITION
From: Los Angeles. LA Opera: Gherardino in
Gianni Schicchi (2015, debut). Career highlights:
He has worked with Cuba Gooding, Jr., in the
film Summoned, appeared on television in
Major Crimes and The Voice with contestant Hannah Kirby,
worked with the Lythgoe family in holiday plays alongside Ben
Vereen and Ariana Grande, has appeared in commercials and
has been the face for Disney Store national campaigns.
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PERFORMANCES MAGAZINE P9
ARTISTIC PERSONNEL
LA OPERA CHORUS
LA OPERA ORCHESTRA
SOPRANO
FIRST VIOLINS
BASS
TUBA
Roberto Cani
Frances Liu Wu
James Self
STUART CANIN
CONCERTMASTER
PRINCIPAL
PRINCIPAL
Christina Borgioli
Jamie Chamberlin
Lisa Crave*
Emma-Grace Dunbar
Nicole Fernandes
Terri Hill*
Anna Schubert
Renee Sousa*
Lori Stinson
Courtney Taylor
Rebecca Tomlinson*
Sunjoo Yeo
Armen Anassian
Natalie Beck**
Aleta Braxton**
Sara Campbell*
Veronica Christenson*
Michelle Fournier**
Kelly Krantz
Adriana Manfredi
Julia Metzler
Helene Quintana*
Adrien Raynier**
Bonnie Snell Schindler
Jennifer Wallace**
TENOR
Stephen Arel**
Daniel C. Babcock
Omar Crook
Adam Faruqi
Arnold Livingston Geis
James Guthrie
Steven Harms
John Kimberling*
Charles Lane**
Francis Lucaric**
Sal Malaki**
Mark David Miller**
George Sterne**
Todd Strange
BASS
Mark Beasom**
Reid Bruton*
Gregory Geiger*
Michael Geiger*
Abdiel Gonzalez
Robert Hovencamp*
Mark Kelley*
David Kress*
E. Scott Levin
Gabriel Manro
Garth Neustadter
Steven Pence
James Martin Schaefer
Tim Smith**
ASSOCIATE PRINCIPAL
ASSOCIATE CONCERTMASTER
Lisa Sutton
ASSISTANT CONCERTMASTER
ALTO
Don Ferrone
Margaret Wooten
Olivia Tsui
Loránd Lokuszta
Tina Chang Qu
Radu Pieptea
Tammy Hatwan
Hana Kim
Kathleen Sloan
Elizabeth Hedman
Tim Eckert
James Bergman
Geoff Osika
Thomas Harte
PRINCIPAL
PRINCIPAL
Angela Wiegand, piccolo
SECOND VIOLIN
Ana Landauer
PRINCIPAL
PRINCIPAL
Jennifer Johnson, English horn
CLARINET
Stuart Clark
Donald Foster
BASSOON
PRINCIPAL
Tony Cronin (King Duncan)
Pancho Cardeña
Peter Wylie
CHILD SUPERNUMERARIES
Amelia Hemmings
Hayden James Farrell-Katseanes
P10 PERFORMANCES MAGAZINE
Isaiah Morgan (Fleance)
Rowena Hammill
ASSOCIATE PRINCIPAL
Dane Little
Xiao-Dan Zheng
Nadine Hall
Trevor Handy
Charlie Tyler
Erin Breene
CLARINETS
Steve Piazza
Laura Stoutenborough
Josh Ranz
PRINCIPAL
Judith Farmer
BASSOON
HORN
Bill Wood
Andrew Klein
Samantha Duckworth,
contrabassoon
PRINCIPAL
CELLO
Sarah Beck
Michele Forrest
PRINCIPAL
Yi Zhou
Karie Prescott
Dmitri Bovaird
Kate Vincent
Alma Fernandez
Gina Coletti
Aaron Oltman
BANDA
OBOE
ASSOCIATE PRINCIPAL
Florence Titmus
Leslie Katz
Michele Kikuchi
Cynthia Moussas
Jayme Miller
Irina Voloshina
Susan Rishik
Shelly Shi
John Wakefield
Leslie Reed
Marisa Sorajja
John Walz
SUPERNUMERARIES
PERCUSSION
Theresa Dimond
ASSOCIATE PRINCIPAL
Sierra Puett
Jean Michelle Sayeg
(dance captain)
Annie Sherman (swing)
Yvette Tucker
Gregory Goodall
PRINCIPAL
Andrew Picken
Eboni Adams
Lisa Gillespie
Natalie Iscovich
Nehara Kalev
Sarah M. Moser
Meredith Ostrowsky
PRINCIPAL
Heather Clark
William May
DANCERS
JoAnn Turovsky
TIMPANI
FLUTE
OBOE
VIOLA
* Has appeared in 50 or more productions
** Has appeared in 100 or more productions
HARP
Steven Becknell
PRINCIPAL
Daniel Kelley
Jenny Kim
ASSOCIATE PRINCIPAL
James Atkinson
TRUMPET
Ryan Darke
PRINCIPAL
David Washburn
ASSOCIATE PRINCIPAL
TROMBONE
William Booth
PRINCIPAL
Alvin Veeh
Terry Cravens, bass trombone
HORN
Kristy Morrell
Nathan Campbell
Stuart Canin
Concertmaster Chair
made possible by a
deeply appreciated gift
from Dunard Fund USA.
PRODUCTION STAFF
ASSISTANT LIGHTING DESIGNER
Azra King-Abadi
ASSOCIATE CHORUS MASTER
Jeremy Frank
ASSISTANT STAGE MANAGERS
Lisa Kable-Blanchard
Erin Thompson-Janszen
STAGE MANAGEMENT INTERN
Morgan Zupanski
SUPERTITLE PREPARATION/CUER
Linda Zoolalian
WARDROBE
Lee Smilek
HEAD OF WARDROBE
Mary Basile
Charlyn Trenier
WARDROBE ASSISTANTS
Wendell Carmichael
Rosendo Fuentes
Shelley Graves-Jimenez
Leslie Rehm Hunt
Mary Lehman
Deona Offield
SEASONAL DRESSERS
STUDIO TEACHER
Marie Wilson-Rogers
WIGS AND MAKE-UP
COSTUME SHOP
Darren K. Jinks
WIGMASTER
Heather Bair
Maria De La Mora
Raquel Bianchini
ASSISTANT CUTTER/DRAPERS
Randy Hozian
FIRST HAND
J. Christina Huh
SECOND HAND
Alexzandra Granath
Gloria Guerrero
Megan Millikin
Blanca Miranda
Hortencia Santos
Anna Wong
Rachel Young
SEAMSTERS
Laina Babb
HEAD OF TAILORING
Wing Cheung
CHIEF TAILOR
Rafael Avila
Manuel Medina
Robbie Monsod
Rene Santos
Identifying and encouraging talented young artists with
enormous potential is essential to the future of opera. Since
the company’s inception, LA Opera has been committed to
nurturing a resident ensemble of young singers who would
benefit from long-term professional development. The
Domingo-Colburn-Stein Young Artist Program, which builds
on the success of the company’s earlier, highly respected
Resident Artist Program, has the goal of developing the
talents of exceptionally gifted young artists to become
performers of potentially international stature, whose first
loyalty would be to LA Opera.
The Domingo-Colburn-Stein Young Artist Program is
generously underwritten by the Colburn Foundation and
Eugene and Marilyn Stein. Special support for young artist
stipends is graciously provided by The Lenore and Richard
Wayne Young Artist Fellowship. The program was created
with funding from the Flora L. Thornton Foundation.
ASSOCIATE WIGMASTER
CUTTER/DRAPERS
Florencia Carrizo
Ademir Serrano
THE DOMINGO-COLBURN-STEIN
YOUNG ARTIST PROGRAM
Brandi Strona
2016/17 PARTICIPANTS
CREW FOREMAN
Renee Horner
Lisa Reitano
Nicole Rodrigues
Aurelia Andrews
PIANIST
Migran Agadzhanyan
SENIOR WIG & MAKE-UP ARTISTS
TENOR
Linda Cardenas
Nicholas Brownlee
LEAD STYLIST
BASS-BARITONE
Milena Gligić
PIANIST
STAGE CREW
Summer Hassan
SOPRANO
Harold E. Conroy
OPERA CARPENTER
Thomas Laurence Conroy
ASSISTANT OPERA CARPENTER
Steve Williams
OPERA ELECTRICIAN
Stan Williams
OPERA ASSISTANT ELECTRICIAN
Allen Tate
OPERA PROPERTY MASTER
Sheldon Ross
Theo Hoffman
BARITONE
Brian Michael Moore
TENOR
Liv Redpath
SOPRANO
Carlos Enrique Santelli
TENOR
Michelle Siemens
MEZZO-SOPRANO
Josh Wheeker
TAILORS
ASSISTANT OPERA PROPERTY MASTER
Meredith Miller
Emily Smith
Bryant Villasana
Heather Orozco
Kihun Yoon
OPERA AUDIO ENGINEER
BARITONE
Elizabeth Zharoff
CRAFTSPERSONS
Misty Ayres
Jeannique Prospere
DOROTHY CHANDLER PAVILION
HOUSE STAFF
COSTUME DESIGN MANAGERS
Timothy L. Conroy
Julie Carr
Learon Inbar
COSTUME ASSISTANTS
Darya Shkipina
PRODUCTION ASSISTANT – BUYER
Amanda-Sue Enloe
PRODUCTION ASSISTANT - WAREHOUSE
TENOR
MASTER CARPENTER
Gary Earl
HOUSE HEAD ELECTRICIAN
James Draper
MASTER OF PROPERTIES
Todd Reynolds
HOUSE HEAD AUDIO
Jim Payne
HOUSE MANAGER
Robert Devis
Demetra Willis
HEAD USHERS
Carolyn Van Brunt
VICE PRESIDENT OF GUEST SERVICES
VARI*LITE AUTOMATED
LIGHTING PROVIDED BY
SOPRANO
Special thanks to the staff of the Music Center. Directors,
singers, choreographers, stage managers, ensemble
members and assistant directors in this production are
represented by the American Guild of Musical Artists.
Orchestra musicians are represented by the American
Federation of Musicians, Local 47. The following
employees are represented by the International Alliance
of Theatrical Stage Employees, Moving Picture Machine
Technicians, Artists and Allied Crafts of the United States
and Canada, AFL-CIO, CLC,: Stage Crew, Local 33;
Treasurers and Ticket Sellers, Local 857; Wardrobe Crew,
Local 768 ; Makeup Artists and Hair Stylists, Local 706.
Interns in the Technical Department are students at
California Institute of the Arts (Valencia, California). All
editorial materials copyright Los Angeles Opera, 2016.
The opinions expressed in this program do not necessarily
represent those of Los Angeles Opera. Recorded welcome
announcements voiced by Jamieson K. Price.
Vari-Lite Inc.
PERFORMANCES MAGAZINE P11
LA OPERA
Plácido Domingo
Alisa Lapidus
Molly Trainor
ELI AND EDYTHE BROAD
GENERAL DIRECTOR
PRODUCTION MEDIA MANAGER
INDIVIDUAL GIVING ASSISTANT
James Conlon
PROPERTIES COORDINATOR
INSTITUTIONAL GIVING
Melissa Ficociello
Damon Schindler
Tess Weinberg
RICHARD SEAVER MUSIC DIRECTOR
Christopher Koelsch
PRESIDENT AND
CHIEF EXECUTIVE OFFICER
John P. Nuckols
EXECUTIVE VICE PRESIDENT
Faith Raiguel
VICE PRESIDENT, CHIEF FINANCIAL OFFICER
Lisa Coto
LIGHTING ASSISTANTS
VICE PRESIDENT, MARKETING AND
COMMUNICATIONS
COSTUMES
Rebecca Roman
PAYROLL MANAGER
Denice Behdad
INSTITUTIONAL GIVING ASSISTANT
SENIOR ACCOUNTANT
Courtney Rizzo
SPECIAL EVENTS
Lana Rosen
SENIOR EVENT PLANNER
Diane Rhodes Bergman, APR
ACCOUNTS PAYABLE MANAGER
Allison Soto-Morales
TECHNICAL PAYROLL OFFICER
Katelan Braymer
Jenn Burkhardt
Jeannie Jones
INSTITUTIONAL GIVING COORDINATOR
RESIDENT LEAD SCENIC ARTISTS
Chris Carey
FINANCE
Michael Chavez
EVENT PLANNER
BUDGET MANAGER
Lisa Robertsen
STAFF ACCOUNTANT
Christian Arter
PAYROLL CLERK
Stacy C. Brightman, Ph.D.
VICE PRESIDENT, EDUCATION &
COMMUNITY ENGAGEMENT
Jennifer Green
COSTUME DIRECTOR
Gregory White
EDUCATION & COMMUNITY
ENGAGEMENT
COSTUME DEPARTMENT MANAGER
Grant Gershon
RESIDENT CONDUCTOR
Rupert Hemmings
SENIOR DIRECTOR, PRODUCTION
Gerrie Maloof
John Bishop
SENIOR CUTTER / DRAPER
Melinda Brown
PRODUCTION, STOCK AND RENTAL
COORDINATOR
SENIOR DIRECTOR, LABOR RELATIONS
AND HUMAN RESOURCES
Manuel Garcia
Patricia McLeod
John Musselman
SENIOR DIRECTOR, DEVELOPMENT
Carl Ries
CONTROLLER
WAREHOUSE MANAGER
ADMINISTRATIVE ASSISTANT
Neal Anderson
MAINTENANCE ASSISTANT
Sarah Sturdivant
SENIOR DIRECTOR, FINANCE
Joshua Winograde
SENIOR DIRECTOR, ARTISTIC PLANNING
PRODUCTION
Lyla Forlani
PRODUCTION STAGE MANAGER
ARTISTIC ADMINISTRATION
Michelle Magaldi
PRODUCTION AND TECHNICAL MANAGER
Susan Lang
ARTIST SERVICES MANAGER
Jacob H. Shideler
MANAGER, ARTISTIC OPERATIONS
Nicki Harper
REHEARSAL ADMINISTRATOR
Jennifer Babcock
Nathan Rifenburg
Janelle Cabrera Torres
EDUCATION MANAGER
DATABASE SUPPORT TECHNICIAN
Tony Roman
Tommy Mam
PRODUCTION AND TOUR MANAGER,
EDUCATION & COMMUNITY ENGAGEMENT
BUSINESS APPLICATIONS TECHNICIAN
Matthew Schroeder
BOX OFFICE
Erin Alford
Tom Bucher
RESEARCH AND ADMINISTRATIVE
ASSOCIATE
BOX OFFICE TREASURER
Takuya Matsumoto
FIRST ASSISTANT TREASURER
SYSTEMS ASSOCIATE, EDUCATION AND
COMMUNITY ENGAGEMENT
Alexandra Vergun
COMMUNITY ENGAGEMENT ASSOCIATE
SECOND ASSISTANT TREASURERS
Carmen Recker
Susan Wong
Bruce Hall
Anabel Romero
COMMUNITY ENGAGEMENT COORDINATOR
RESIDENT STAGE DIRECTOR
Hannah Goodman
EDUCATION ASSOCIATE
KT Somero
Marlinda Menashe
DIRECTOR, INSTITUTIONAL GIVING AND
GOVERNMENT RELATIONS
ORCHESTRA PERSONNEL MANAGER
Christina Ward
Jill Michnick
PUBLIC RELATIONS
DIRECTOR OF PUBLIC RELATIONS
Ignazio Terrasi
Janneke Straub
DIRECTOR, LEADERSHIP GIFTS
ASSOCIATE DIRECTOR OF
COMMUNICATIONS, PUBLICATIONS
Howard Moss
Karen Bacellar
HEAD COACH, DOMINGO-THORNTON
YOUNG ARTIST PROGRAM
Miah Im
HEAD OF MUSIC STAFF
CONTENT MANAGER
Robin Green
Amisha Patankar
SOCIAL MEDIA SPECIALIST
ADMINISTRATION
Nadine Bedrossian
HUMAN RESOURCES /
PRODUCTION ADMINISTRATOR
TECHNICAL DEPARTMENT
Jeff Kleeman
TECHNICAL DIRECTOR
Carolina Angulo
DESIGN MANAGER
Margie Schnibbe
TECHNICAL PRODUCTION COORDINATOR
P12 PERFORMANCES MAGAZINE
SALES AND MARKETING
ANNUAL FUND
Eric Bornemann
Josh Harrold
Keith J. Rainville
ANNUAL FUND MANAGER
BRAND MANAGER
INDIVIDUAL GIVING
Janey K. Campbell
DIRECTOR OF MARKETING
Marivi Valcourt
MARKETING AND ADVERTISING MANAGER
Matthew Dorado
SENIOR MAJOR GIFTS OFFICER
PARTNERSHIPS & EVENTS MANAGER
Peter W. Indall
Rashi Saxena
SENIOR MAJOR GIFTS OFFICER
DATA ANALYST
Vanessa Wheeler
Allison Moore
RESEARCH MANAGER
BLT Communications
AD DESIGN
Stephen King
HEAD OF VOCAL INSTRUCTION
DOMINGO-COLBURN-STEIN
YOUNG ARTIST PROGRAM
Matchbox Studio
Drew Hull
DEVELOPMENT OPERATIONS
COORDINATOR
CONSULTANTS
Mark Lyons
SENIOR PLANNED GIVING OFFICER
EXECUTIVE ASSISTANT
Jennifer Harper
Robert Harrington
Joseph Howells
Rosa Ochoa
Brenda Roman
Joseph Selway
TICKET SELLERS
DIRECTOR OF BOARD RELATIONS AND
SPECIAL EVENTS
Nino Sanikidze
THIRD ASSISTANT TREASURERS
Fran Rizzi
PERSONAL ASSISTANT TO JAMES CONLON
MUSICAL ASSISTANT TO JAMES CONLON
Shane K. Morton
Dale Bridges Johannsen
Michael Meyer
Shawnet Sweets
Andrew Tomasulo
Marlow Wyatt
Eli Villanueva
Brady Steel
NETWORK MANAGER
TECHNICAL COORDINATOR, EDUCATION &
COMMUNITY ENGAGEMENT
MANAGER OF CHORUS, DANCERS
AND SUPERNUMERARIES
MUSIC LIBRARIAN
DIRECTOR OF INFORMATION TECHNOLOGY
Michael Masuda
SPECIAL PROJECTS MANAGER
DEVELOPMENT
Richard Comito
ASSOCIATE DIRECTOR OF EDUCATION &
COMMUNITY ENGAGEMENT
Gretchen Meyerhoefer
MUSIC ADMINISTRATION
INFORMATION TECHNOLOGY
GRAPHIC / INTERACTIVE DESIGNER
GRAPHIC DESIGN
Studio Fuse
GRAPHIC DESIGN