Opera Theatre of Saint Louis 2025 Program Book by Opera Theatre of Saint Louis

Stéphane Denève, Music Director

A SEASON OF DARING IMAGINATION

Experience The Rep from September 3 – April 12. Subscriptions for all 5 Mainstage productions start as low as $150!

May

July

Featuring Tracy Cantin, Chaz’men WilliamsAli, Kayleigh Decker, and Laureano Quant

from the board chair WELCOME

WWelcome to our 50th season of producing opera for the St. Louis community!

elcome to our 50th season of producing opera for the St. Louis community!

Our founders had a remarkable and radical vision for sharing this historically inaccessible art form with this community. They committed to perform all the operas in English and to create a welcoming atmosphere where you could experience opera up close and personal. They created a garden next door to the theater for pre-show picnics and post-show socializing. They invited the rising young stars of the opera world to sing here, and then treated them to genuine “St. Louis-style” hospitality. This commitment to accessibility and welcoming both guests and performers continues today.

The founders also set out to put St. Louis on the opera map by regularly commissioning new works. This was a bold and highly unusual move — clearly, they did not want OTSL to be just another opera company, but one that would attract attention and create excitement both here and far beyond.

This radical formula proved to be a highly successful one for galvanizing community support behind this young opera company. It also thrust St. Louis into a prominent role in the opera world, where OTSL is known for its record of attracting outstanding talent on the stage and beyond, as well as its commitment to innovation.

Over the years, OTSL has greatly expanded its presence outside the theater to reach more individuals in this region. Our education programs introduce approximately 75,000 students annually to all aspects of opera, including singing, storytelling, directing, and costuming. Our aim is to encourage students to explore this art form, just as they would a museum, a botanical garden, or a new sport. It is a joy to watch students of all ages in this region take their turn on the stage with their ﬁ rst performance or to work with others to create a brand-new opera. Beyond education, OTSL brings people together through an extensive array of joint programming with other community organizations.

The presence of OTSL enriches our community in many ways: o ering world-class entertainment, robust education programs, and vibrant community partnerships. In addition, OTSL brings national and international renown to our city. We are thrilled and grateful to be part of St. Louis, and thankful for every one of you who has guided, supported, and cheered us on over the past 50 years. Each of you is a part of our story and part of our success — we hope you enjoy the company and party you have made possible!

With gratitude,

from the general director WELCOME

OOne of my favorite stories of Opera Theatre of Saint Louis’ founding comes from a gentleman who has been a dedicated subscriber since the very ﬁ rst season in 1976. He told me, “I bought a subscription to the ﬁ rst season because I was sure there wouldn’t be a second season.”

ne of my favorite stories of Opera Theatre of Saint Louis’ founding comes from a gentleman who has been a dedicated subscriber since the very ﬁ rst season in 1976. He told me, “I bought a subscription to the ﬁ rst season because I was sure there wouldn’t be a second season.”

I love this story because it highlights just how wonderfully unlikely it might have seemed at the time that this start-up opera venture would survive, let alone become one of the most celebrated opera festivals in the country. And yet, our founders — a small group of dedicated civic leaders and brilliant artistic impresarios about whom you’ll learn more through these pages — had an inspired vision brought to life through sheer determination and hard work, and which has grown and thrived for the last ﬁ ve decades.

This year marks Opera Theatre’s 50th Festival Season, and we are celebrating with a fantastic lineup of productions that pay homage to our unique artistic legacy. We'll continue OTSL's time-honored tradition of presenting new and rarely seen contemporary works, marking our 45th world premiere with This House and staging a new production of A Midsummer Night's Dream by Benjamin Britten, a composer whose work was an integral part of our early decades. We also close a chapter on the disruption of the COVID-19 pandemic, as we bring to the stage the fi nal postponed title from our canceled 2020 Festival Season, Die Fledermaus. And we come full circle by staging Don Pasquale, which opened OTSL’s fi rst season in 1976. Our season includes dozens of returning artists — familiar faces to many of you — ranging from recent alumni of our young artist programs to established singers and directors who appeared here in our very fi rst season.

For the last 50 years, people from all walks of life have come together here to create beauty and enjoy connection. Each season represents a tremendous investment of dedication, generosity, talent, and passion, and I am grateful to everyone — sta , artists, artisans, volunteers, board members, supporters, audiences, and so many others — who come together to make our season possible. I also want to acknowledge my deep debt of gratitude to our inspiring Board Chair, Kim Eberlein. Together, we stand on the shoulders of many previous visionary leaders (multiple generations of general directors, board chairs, artistic trailblazers, and so many more) who built this institution.

The last 50 years have been tremendous, but I know the best at OTSL is still to come and we are full of excitement for an even brighter future. I could not be more grateful to share this momentous season with everyone in the Opera Theatre family. Whether this is your ﬁ rst time here, or you’ve been coming since 1976, thank you for choosing to be here today and thank you for your belief in the power of live opera.

I hope you’ll join us in the gardens after the performance as we toast to 50 years. But ﬁ rst, please enjoy the opera!

Warmly yours,

Kim Eberlein Chair, Board of Directors

Andrew Jorgensen General Director

2025 50th festival season

by JOHANN STRAUSS II

by GAETANO DONIZETTI

by BENJAMIN BRITTEN

BOARD OF DIRECTORS

EXECUTIVE COMMITTEE

Kim Eberlein

Chair

Lelia J. Farr

Vice-Chair

Lori Samuels

Vice-Chair

Mont S. Levy

Treasurer

Ann McFarland

Sullins

Secretary Jim Berges

Cynthia J. Brinkley

Spencer B. Burke**

Adrienne Davis

Gina G. Hoagland

Marcela Manjarrez

Noémi K. Neidorff*

BOARD OF DIRECTORS

Gabe Angieri

Tania Beasley-Jolly

David Hagee

Dr. Lannis Hall

David J. Meiners, M.D.

Mabel L. Purkerson, M.D.

John H. Russell

Robert L. Scharff, Jr.

Janice Seele 

Rex Sinquefield

Stephen Trampe

Timothy Wentworth

Dr. Amber Simpson

Thelma Steward

The Berges Family Foundation believes in the power of the arts to inspire, build understanding, and transform our communities. We are proud to support Opera Theatre of Saint Louis and their 50th Season.

Ashley Budde 

Jane Clark

Richard Cote, M.D.

Jamison F. Craft

Crystal Allen Dallas

Arnold W. Donald

Edes Gilbert

Mrs. Ronald A. Holtman

Frank Jacobs

Barry Kirk

Gene Kornblum 

Kenneth Kranzberg

J. David Levy, Jr.

Dwight McBride, Ph.D.

Win Reed

John Rhea

Ellen von Seggern Richter

Allison W. Roberts

Mary Schoolman

David Sewall, M.D.

Joseph Shepard

Dr. Donald M. Suggs

Mary Susman

Maria Guadalupe Taxman

Mark Throdahl

Franklin F. Wallis

Phoebe Dent Weil

Robin Wentworth

SUPPORTING OUR HEROES � THRIVING ST. LOUIS

LIFE MEMBERS

Mrs. Stephen F. Brauer

Robert M. Feibel, M.D.

Mrs. William B. Firestone

Bettie Johnson

Joanne Kohn 

Charles MacKay

PAST BOARD CHAIRS

Dr. Leigh Gerdine  1976–1978

Mr. Laurance L. Browning, Jr.  1979–1986

Josephine C. Throdahl  1987–1995

David W. Mesker 1996–2001

Gene W. Spector, M.D.

V. Raymond Stranghoener

Roma B. Wittcoff

Janet McAfee Weakley  2002–2003

Donna Wilkinson  2004–2008

Spencer B. Burke 2009–2015

Noémi K. Neidorff 2016–2021

celebrating 50 YEARS

As Opera Theatre of Saint Louis launches our 50th anniversary in 2025, we are excited to kick o a year-long celebration that honors longtime OTSL friends, invites new audiences to experience opera for the ﬁ rst time, and lifts up community partners who have been instrumental in shaping our work.

THIS SPECIAL MILESTONE OFFERS AN OPPORTUNITY TO REFLECT ON OPERA THEATRE’S ACCOMPLISHMENTS AND TO SET THE STAGE FOR THE NEXT 50 YEARS OF INNOVATION:

 OTSL shapes the future of opera by commissioning, developing, and producing new work. This House marks the company’s 45th world premiere in 50 seasons, with additional exciting commissions already planned through 2029.

 OTSL shapes the future of opera by commissioning, developing, and producing new work. This House marks the company’s 45th world premiere in 50 seasons, with exciting commissions already planned through 2029.

 Opera Theatre is nationally known as an incubator for excellence and has nurtured the careers of thousands of singers, theater artisans, and arts administrators. You can catch this season’s rising stars at Center Stage on Tuesday, June 24.

 OTSL contributes to a vibrant St. Louis economy, employing more than 500 individuals at the height of the season and drawing audiences from more than 40 states as well as every zip code in the St. Louis metropolitan area. Next time you’re in the theater, introduce yourself to someone new and ask how they discovered OTSL!

 OTSL contributes to a vibrant St. Louis economy, employing more than 500 individuals the height of the and drawing audiences from more than 40 states as well as every zip code in the St. Louis metropolitan area. Next you’re in the theater, introduce yourself to someone new and ask how they discovered OTSL!

 Since Opera Theatre’s ﬁ rst season in 1976, we have worked to create an experience unlike any other — marrying world-class artistry with an informal, accessible setting that invites artists and audiences to connect. we are committed to continuing to use the stories we tell onstage to create experiences that foster dialogue and greater understanding.

 Since Opera Theatre’s ﬁ rst season in 1976, we have worked to create an experience unlike any other — marrying world-class artistry with an informal, accessible setting that invites artists and audiences to connect. And we are committed to continuing to use the stories we tell onstage to create experiences that foster dialogue and greater understanding.

We hope you will join us across the coming year to enjoy beautiful music, meet talented artists, and make new friends at these 50th anniversary activities the QR code to learn more).

We hope you will join us across the coming year to enjoy beautiful music, meet talented artists, and make new friends at these 50th anniversary activities (scan the QR code to learn more).

THANK YOU TO THE 50TH ANNIVERSARY COMMITTEE MEMBERS FOR THEIR LEADERSHIP

AND SUPPORT:

THANK YOU TO THE 50TH ANNIVERSARY COMMITTEE MEMBERS FOR THEIR LEADERSHIP AND SUPPORT:

Noémi K. Neidor

Chairman

Cynthia J. Brinkley

Chairman Cynthia J. Brinkley

Ashley Budde-Taylor

Spencer B. Burke

Jamie Craft

Jamie

Crystal Allen Dallas

Professor Adrienne Davis

Kim Eberlein

Sara F. Fabick

Lelia Farr

Robert M. Feibel, M.D.

Gina G. Hoagland

Barry Kirk

Mont Levy

Marcela Manjarrez

Mabel L. Purkerson, M.D.

Allison W. Roberts

Lori Samuels

Joseph Shepard V. Raymond Stranghoener

Susman

Mary Susman

Stephen Trampe

SPECIAL THANKS TO THE 50TH ANNIVERSARY SPONSORS WHO MADE SPECIAL ONE-TIME GIFTS TO MAKE THIS CELEBRATION POSSIBLE:

Cynthia J. Brinkley

Crystal & Patrick Dallas

Lelia & David Farr

Lelia David Farr

Robert & Jane Feibel

Diane Paul Jacobson

Diane & Paul Jacobson

J. David & Lucy S. Levy

Karen & Mont Levy

Noémi K. Neidor

Ted & Lori Samuels

Saucy Foundation

Ann McFarland Sullins

Mary Susman & Tom Herm

Mr. Mrs. Mark C. Throdahl

Mr. & Mrs. Mark C. Throdahl

Stephen Trampe & Jenny

Stephen Trampe & Jenny Gupta

CONGRATULATIONS ON 50 YEARS!

2025 festival season schedule

MISSION & VALUES

our shared PROMISE

a community code of conduct

Opera Theatre’s mission is to shape a vibrant future for opera by connecting, inspiring, and entertaining our communities through the power and beauty of the art form; to foster the next generation by empowering a diverse group of artists, artisans, and administrators at the highest level; and to make opera accessible and inclusive through innovative and collaborative storytelling that reflects, engages, and strengthens the St. Louis community, and attracts national and international audiences.

mission is to shape vibrant for opera by connecting, and entertaining our communities through the of the form; to foster the generation by diverse group of artisans, and administrators at the level; and to and inclusive through innovative and collaborative storytelling that reflects, the St. community, attracts national and audiences.

OPERA THEATRE IS COMMITTED

EXCELLENCE

APPROACHABILITY

CIVIC IMPACT

DIVERSITY AND INCLUSION RESPONSIBILITY

WELCOME TO OPERA THEATRE OF SAINT LOUIS!

WELCOME TO THEATRE

Since our founding, we have been dedicated to creating an atmosphere of authentic warmth, joy, and shared appreciation for the beauty of opera. We pledge to make every e ort to make opera-goers feel welcome, respected, and valued. To achieve this, we’ve crafted “Our Shared Promise” — a set of shared, mutual expectations that will foster a positive and inclusive experience for all. We invite you to join us in shaping an environment where everyone can fully enjoy the magic of the performing arts!

Since founding, we creating an atmosphere of authentic warmth, joy, and shared appreciation We to make e ort to opera-goers welcome, respected, and To — a set of expectations that a and inclusive experience all. We invite to join shaping an environment everyone can fully enjoy the performing arts!

When you attend an OTSL performance or engage with our community, we pledge to do our best to ensure you experience:

When attend OTSL or engage our community, we pledge to do our to ensure you experience:

Respect Kindness: We agree treat one another with kindness, respect, and compassion. We in of courtesy and understanding to a space where everyone music, theater, and shared experiences.

Inclusivity: We are proud to an inclusive organization. Discrimination, harassment, or disrespect based any aspect of ability or identity no place at Opera Theatre.

Inclusivity: We are proud to be an inclusive organization. Discrimination, harassment, or disrespect based on any aspect of ability or identity have no place at Opera Theatre.

Fun: We believe that opera is not only a form of artistic expression, but also a source of joy and entertainment. Let’s enjoy a spirit of fun! We hope that together, we can share in moments of laughter, appreciation, and the comradery of a shared artistic experience.

Fun: opera is not only a form source of joy and Let’s enjoy a spirit fun! We that we can moments of laughter, appreciation, and the comradery of a shared

Safe Environment: The safety of our community is our top priority. We ask you to please notify OTSL sta or security if you observe verbal or physical harassment, abusive language, or any form of threatening behavior. We will observe all local health and safety guidelines. Together, we hope to create an environment that respects the well-being of all.

Safe safety our community top priority. We ask you to notify sta or security if you observe verbal or physical harassment, abusive language, or any of threatening behavior. We observe all local Together, we hope an environment well-being of all.

While we believe in the power of shared values, we understand that sometimes misunderstandings can occur. If you witness a situation that goes against “Our Shared Promise” or if you have concerns, please don’t hesitate to reach out to our friendly ushers or any other member of the Opera Theatre team. You can also send us an email at boxo ce@ opera-stl.org, and we’ll be more than happy to assist.

While we believe in the power of shared understand sometimes misunderstandings occur. If you witness that goes against “Our Shared or if you please don’t hesitate to reach out to ushers or member of the Opera Theatre team. You can also send an email ce@ opera-stl.org, and we’ll be more happy assist.

Thank you being a part Opera Theatre Saint Louis. Your is what makes our work meaningful, and we’re thrilled to share this experience with you. Together, let’s make unforgettable! ■

Thank you for being a part of Opera Theatre of Saint Louis. Your presence is what makes our work meaningful, and we’re thrilled to share this experience with you. Together, let’s make every moment at the opera unforgettable! ■ Respect and Kindness: We agree to treat one another with kindness, respect, and compassion. We believe in the power of courtesy and understanding to create a space where everyone can enjoy music, theater, and shared experiences.

Photo © Jessica Flanigan

experience

OTSL

WE HOPE YOU HAVE A FABULOUS TIME WITH US!

At Opera Theatre, we ﬁ rmly believe that opera is for everyone! Whether you’re new to opera or to our festival, we want to do everything we can to make you feel welcome. Here are a few helpful tips on how to navigate OTSL like a pro, from picnicking before the show to taking advantage of our many accessibility services.

For additional information, questions, or assistance (or if you need an accommodation not mentioned on these pages), please contact the Box O ce by calling (314) 961-0644, emailing boxo [email protected], or visit the Patron Services window in our lobby.

BEFORE THE OPERA

Savor a pre-show picnic

Enjoy open-air dining in our beautiful David W. Mesker Festival Gardens, surrounded by your fellow opera-goers. Seating is first come, first served — no reservations required! The gardens open 2.5 hours prior to performances.

Pre-order a picnic box from Ces & Judy’s Catering for an easy and delicious meal. Just visit ExperienceOpera.org/Picnics or call the Box O ce at (314) 961-0644 by 4 p.m. the day before your show to place an order. Craving your favorite recipes or some takeout? You’re also welcome to bring your own food and beverages!

The David W. Mesker Festival Gardens are made possible by the

Get acquainted with opera previews

One hour before every performance, a member of Opera Theatre’s music sta delivers an informal 20-minute presentation on the music and history of the opera you are about to see. Join us for these free previews, which are perfect for both the opera newcomer and the experienced veteran, in the Community Music School just next to the theater.

Enjoy opera in English

At OTSL, there’s no need to brush up on your German or Italian. Since our founding in 1976, all our operas have been performed in English! They’re also accompanied by projected English supertitles, so you’ll never miss a second of the drama.

Wheelchair and scooter seating

Enjoy designated seating with top-notch views!

The Loretto-Hilton Center has wheelchairaccessible seating locations where patrons can either remain in their chairs or transfer to a theater seat. If mobility aids cannot be stored safely within your seating area, or if you prefer to transfer from a wheelchair to a theater seat, those aids will be stored outside the auditorium door as close as possible to your seat and promptly returned to you by an usher at intermission and after the ﬁ nal bows.

Sign language interpretation

OTSL is proud to o er American Sign Language interpretation at Friday evening performances. Patrons interested in using this service can visit ExperienceOpera.org/Accessibility or call the Box O ce to purchase ASL tickets in designated sections with the best view of our interpreters.

Assistive listening devices

A frequency modulate (FM) audio enhancement system is available for all performances. Free headset receivers and magnetic loop

adapters for enabled hearing aids are available for pick-up at the Patron Services window in the lobby. Patrons may also bring their own headphones if they desire.

Audio description

At Friday evening and Saturday matinee performances, patrons can take advantage of audio description services. Patrons can pick up a device prior to the performance or during intermission at the Patron Services window in the lobby, free of charge.

Program notes for low-vision patrons

Complimentary large print and Braille versions of our program notes are available for each opera at the Patron Services window in the lobby.

Sensory-conscious performances

Join us on Wednesday evenings for sensoryconscious performances. People with light, sound, and other sensory sensitivities can enjoy a welcoming and inclusive environment, including relaxed rules on entering and exiting the theater during the performance. Stop by our Patron Services window on these dates to borrow ear plugs, headphones, ﬁ dgets, and weighted lap pads.

Service animals

Service animals are welcome. If you plan to bring a service animal, please inform the Box O ce in advance of your visit.

AFTER THE OPERA

Raise a glass

The night doesn’t have to end when the show is over! We invite you to return to our candlelit gardens after the ﬁ nal curtain call for drinks, dessert, and revelry. We’d love to see you there — everyone is welcome.

Meet the artists

After every performance, the cast of the show joins the audience for cocktails under the stars. Meet the stars of the show, no VIP access required!

Opera Previews

Susman & Tom Herm

Photo © Jessica Flanigan

The Bayer Fund Artists-in-Training Program (AIT) is a nationally acclaimed program that identiﬁ es, coaches, and encourages promising young high school singers both on and o stage. AIT doesn’t just build great artists through rigorous vocal training — it also sets every participant up for success in any ﬁ eld by instilling lifelong lessons about goal-setting, hard work, and perseverance. Every year, approximately 20 students are selected through an audition process. For more than 35 years, AIT alumni have gone on to careers as professional performers, engineers, lawyers, physicians, teachers, and more! Fall auditions are September 18 and 20. Learn more at ExperienceOpera.org/AIT

Former AIT student Miles Waddlington performs for a masterclass. Photo © Eric Woolsey.

DISCOVER MORE DURING OUR FESTIVAL SEASON

DISCOVER MORE DURING FESTIVAL SEASON

BEYOND the stage

The

CAROL L. KIMBALL SPOTLIGHT ON OPERA SERIES

CAROL L. KIMBALL ON OPERA SERIES

Mondays, May 5, 12, 19, & June 2 at 7 p.m.

Kirkwood Performing Arts Center, 210 E. Monroe Avenue

Discover insights into the season’s operas discussions with composers, directors, designers, and special guest speakers. Moderated by General Director Andrew each Spotlight focuses on a di erent production and features live performances of operatic by members of OTSL’s Young Artist Programs.

Discover insights into the season’s operas through panel discussions with composers, directors, designers, and special guest speakers. Moderated by General Director Andrew Jorgensen, each Spotlight focuses on a di erent production and features live performances of operatic excerpts by members of OTSL’s Young Artist Programs.

ExperienceOpera.org/Spotlight

Every Festival Season, more than 20,000 people attend a mainstage performance. But our e orts don’t end there…regardless of the season, Opera Theatre works year-round to make opera as fun and accessible as possible with free and low-cost events featuring the season’s shows, directors, designers, and artists. In total, Opera Theatre reaches more than 100,000 people a year! From inviting students experience live performances, to providing networking opportunities for young professionals, to the intersections visual art and we always aspire to foster meaningful connections through the beauty of art form.

Every Festival Season, more than 20,000 people attend a mainstage performance. But our e orts don’t end there…regardless of the season, Opera Theatre works year-round to make opera as fun and accessible as possible with free and low-cost events featuring the season’s shows, directors, designers, and artists. In total, Opera Theatre reaches more than 100,000 people a year! From inviting students to experience live performances, to providing networking opportunities for young professionals, to exploring the intersections of visual art and theater, we always aspire to foster meaningful connections through the beauty of this art form.

Read on for a snapshot of the many other ways you can engage with Opera Theatre this May and — we hope to see you at one or more of these off-stage events! Everyone is welcome.

Read on for a snapshot of the many other ways you can engage with Opera Theatre this May and June — we hope to see you at one or more of these off-stage events! Everyone is welcome.

OPERA PREVIEWS

May 24 - 29

May 24 - June 29

6:30 p.m. before evening performances

11:30 a.m. before matinee performances

Community Music School, 535 Garden Avenue

One hour before each performance, members of OTSL’s music sta present a free, informative 20-minute talk highlighting the story and music of each opera. Previews take place in the Concert Hall of the Community Music School, located next door to the theater, and are the perfect introduction to the opera you are about to see!

One hour before each performance, members of OTSL’s music sta present a free, informative 20-minute talk the story and of each opera. Previews take place in the Concert Hall of the Community Music School, located next door to the theater, and are the perfect introduction to the you are about to see!

Opera Previews are generously underwritten by Mary Susman & Tom Herm

Previews are generously underwritten by Mary Susman & Tom Herm

YOUNG FRIENDS NIGHTS

May 24, 5, 12, 13, 18, 21, 22, & 28 at 6 p.m.

May 24, June 5, 12, 13, 18, 21, 22, & 28 at 6 p.m.

Loretto-Hilton Center, 130 Edgar Road

Loretto-Hilton Center, Edgar Road

Young Friends events are designed to give patrons ages 45 and under the chance to meet, mingle, and socialize during an unforgettable trip to the opera...without breaking the bank. Participants enjoy an exclusive pre-performance bu et and open bar along with great seats for the opera, all starting at just $59 per person — or even less with a multi-show pass. Visit page 157 to learn more about the Young Friends!

Young Friends events are designed to give patrons ages 45 and under the to meet, mingle, and socialize during an unforgettable trip to the opera...without breaking the bank. Participants enjoy an exclusive pre-performance bu et and open bar along with great seats for the opera, all starting at just $59 per person — or even less with a multi-show pass. Visit page 157 to learn more about the Young Friends!

ExperienceOpera.org/YoungFriends

INTERMEZZO NIGHT AT THE OPERA

June 11 at 5:45 p.m.

11 at 5:45 p.m.

Loretto-Hilton Center, 130 Edgar Road

The Intermezzo Society is dedicated to supporting and celebrating new voices in opera. Four annual events o er opportunities to connect with the St. Louis community and OTSL artists. At this third event of 2025, members enjoy a pre-performance dinner together in the lush David W. Mesker Festival Gardens. Membership starts at $50 per month or $600 annually. Visit page 151 to learn more about the Intermezzo Society!

Intermezzo Society is dedicated to supporting and celebrating new voices in opera. Four annual events o er opportunities to connect with the St. Louis community and OTSL artists. At this third event of 2025, members enjoy a pre-performance dinner together in the lush David W. Mesker Festival Gardens. Membership starts at $50 per month or $600 annually. Visit page 151 to learn more about the Intermezzo Society!

ExperienceOpera.org/Intermezzo

Leadership support for Opera Theatre’s 50th Anniversary Season comes from Noémi Neidor

BEYOND THE STAGE DISCOVER MORE DURING OUR FESTIVAL SEASON

PRIDE NIGHT AT THE OPERA

Wednesday, June 4 at 6 p.m.

Loretto-Hilton Center, 130 Edgar Road

Join us for a loud and proud celebration of Pride Month! Unleash your inner diva, enjoy complimentary drinks, and party with a post-show DJ while you mingle with OTSL’s artists. This fabulous evening features a sexy and stylish midcentury production of Strauss’ comic operetta Die Fledermaus . Special Pride Night tickets range from $45-$160.

ExperienceOpera.org/PrideNight

SING OUT VOCAL CAMP

June 2-6

560 Music Center, Washington University, 560 Trinity Ave

Sing Out is an extension of OTSL’s award-winning Bayer Fund Artists-inTraining Program. High school students receive daily voice lessons, participate in vocal master classes with season artists, and study movement, acting, and audition preparation. Sing Out includes tickets to live performances of Die Fledermaus and This House. The camp culminates with a recital and a fully-staged scene performance.

ExperienceOpera.org/SingOut

Funded in part by

OPERA EXPLORERS

June 2-6 & June 23-27 at Saint Louis Public Libraries (for grades 4-7)

June 23-27 at Manchester United Methodist Church (for grades 2-8)

This popular summer camp introduces young people to the magic of opera. Students will explore the basics of stagecraft, including singing, writing, composing, costuming, stage makeup, and set design. Campers will use their new skills to create and stage their own original mini-opera. After the camp, students and their parents or guardians will have the opportunity to attend a matinee performance of Don Pasquale

ExperienceOpera.org/OperaExplorers

Funded in part by

OPERA TOURS AT THE ART MUSEUM

This House: June 1 & 15 at 1 p.m.

Don Pasquale: June 8 & 22 at 1 p.m.

Saint Louis Art Museum, 1 Fine Arts Drive

In special one-hour tours, Saint Louis Art Museum docents lead guests through the Museum’s collection, highlighting sculptures, paintings, and themes that correspond to Opera Theatre’s productions of This House and Don Pasquale. Tours depart from the Visitor Information Center in the Main Building. All tours are free; no reservations are required.

ExperienceOpera.org/ArtTours

BEYOND THE STAGE DISCOVER MORE DURING OUR FESTIVAL SEASON

JOHN D. & SALLY S. LEVY MASTER CLASSES

May 31, June 8, & June 27 at 2 p.m.

Sally S. Levy Opera Center, 210 Hazel Avenue

Inaugurated by the legendary Eleanor Steber in 1988, these extraordinary master classes o er insights by distinguished artists into the craft of singing and interpretation, featuring performances by select Richard Gaddes Festival Artists and Gerdine Young Artists (GYA). Tickets are $20 and available at the door. Donors at or above the Contributor level ($250) may attend free of charge.

ExperienceOpera.org/MasterClass

Composer

Saturday, May 31 at 2 p.m.

Long Island native Ricky Ian Gordon is one of today’s leading American composers of opera and art song. He studied piano, composition, and acting at Carnegie Mellon University before settling in New York City, where he quickly emerged as an acclaimed writer of vocal music. Mr. Gordon’s songs have been performed and recorded by such internationally renowned singers as Renée Fleming, Nathan Gunn, Kelli O’Hara, Audra McDonald, Kristin Chenoweth, Frederica von Stade, and Nadine Sierra, among many others.

PATRICIA RACETTE

Soprano

Sunday, June 8 at 2 p.m.

Patricia Racette is known as one of the great singing actresses of our time, and she continues to share her artistry with audiences around the world. However, in St. Louis, she is even more beloved for her work as OTSL’s Artistic Director of Young Artist Programs. Every season, she crafts a rigorous curriculum for our young artists that helps push them to new heights of musical and dramatic interpretation — and this master class is the perfect example of that work in action!

RICHARD COX

Tenor

Friday, June 27 at 2 p.m.

American tenor and former GYA Richard Cox has appeared on the stages of the Metropolitan Opera, Washington National Opera, Lyric Opera of Chicago, LA Opera, and many other renowned opera companies. In addition to being an accomplished concert singer and recitalist, Richard is a dedicated teacher and mentor for young artists. He currently serves on faculty at the Bard College Conservatory of Music and makes regular teaching appearances at the San Francisco Opera Center Adler Fellowship Program, Westminster Choir College, and several other universities around the world.

“MUSIC gives a soul to the universe, wings to the mind, flight to the imagination & LIFE TO EVERYTHING.”

~PLATO

The

Proud to support Opera Theatre of Saint Louis & the St. Louis Arts.

Foundation

RICKY IAN GORDON

Famed soprano

Ana María Martínez

coaches GYA Georgia Belmont during a 2024 Levy Master Class.

GIVING THANKS for where we stand

Opera Theatre of Saint Louis acknowledges that we exist and gather on the ancestral homelands of the Osage Nation, Missouria, and Illini Confederacy, who were removed unjustly, and that we in this community are the beneﬁ ciaries of that removal.

Despite centuries of forcible displacement and the loss of many tribal nations, more than 183,400 Indigenous individuals still live in Missouri today. We pay respect to elders both past and present, and we honor them as we live, work, and create art here.

To learn more about the history and legacy of Indigenous peoples, as well as ways to get involved in advocacy, please visit the Alliance for Native Programs & Initiatives at nativealliance.org.

DID YOU KNOW?

This region is home to one of the most advanced prehistoric indigenous civilizations north of Mexico. Known today as Cahokia, this ancient civilization’s original name has been lost to time. At its height in 1250 A.D., Cahokia was larger than the city of London and was a major center for culture and trade, thanks to the nearby conﬂ uence of the Mississippi, Missouri, and Illinois rivers. Cahokia was a mound city, and remnants of approximately 80 manmade mounds can still be seen today at Cahokia Mounds State Historic Site, less than 20 miles from the Loretto-Hilton Center.

To learn more and plan a visit, visit cahokiamounds.org.

OUR HOME ON THE STAGE

Since Opera Theatre’s inaugural season in 1976, Webster University has graciously provided a warm, welcoming home for the company. Dr. Leigh Gerdine, who was the university’s president at the time, was also OTSL’s founding board chairman. Without his advocacy and the university’s decades of support, it is unlikely that Opera Theatre could have grown into the world-class festival it is today.

Each spring, opera fans from around the world make the journey to Webster University’s Loretto-Hilton Center and its idyllic gardens to experience OTSL’s Festival Season. More importantly, our partnership helps develop new generations of talented theater artists who begin their training in Webster’s Conservatory of Theater Arts and later graduate into professional roles with Opera Theatre.

We extend our profound gratitude to Webster University’s board and administration, especially Chancellor Tim Keane and Chairman John Nickel, for their ongoing partnership and support.

OUR HOME IN THE COMMUNITY

The Sally S. Levy Opera Center ﬁrst opened its doors in May 2006, thirty years after OTSL’s founding. With modern new o ces and thoughtfully designed spaces for rehearsals and community events, this building consolidated OTSL’s administrative and artistic functions into one site for the ﬁrst time in the company’s history.

The Opera Center was named after one of our great founding supporters, Sally S. Levy, whose generosity of spirit, resources, and a ection encapsulated the best of the Opera Theatre community. Together with her husband John, Sally inspired an infectious love of opera with her friends, children, and grandchildren, many of whom are still deeply involved with Opera Theatre to this day.

The Loretto-Hilton Center at Webster University.

Ihave loved Opera Theatre of Saint Louis for almost exactly half of its ﬁ fty seasons.

A FIFTIETH-ANNIVERSARY TRIBUTE TO OPERA THEATRE

F. Paul Driscoll

My fi rst visit to OTSL’s home base in Webster Groves was in 2000, the year the company was celebrating its twentyfi fth anniversary season. I was then just starting my term as Opera News which had covered OTSL since its inception. I decided to make my fi rst trip to St. Louis for two reasons. First, I was intrigued by the repertory: three of the four operas on o er that spring in St. Louis would be brandnew to me. The second (and more important) reason was that I succumbed to the not-sogentle urging of Maggie Stearns, OTSL’s formidable Director of Communications, who bluntly advised, “You have to get out here — we are I booked my plane tickets, not knowing that a long weekend in St. Louis would be the source of some of the most important personal and professional relationships of my life.

just “so good,” as Maggie told me — they were worldclass, with the great St. Louis Symphony Orchestra in the pit and brilliant set, costume, and lighting designs providing imaginative solutions to the physical challenges presented by company’s home theater, in Webster University’s LorettoHilton Center. The season’s four operas were performed in repertory and sung in English, as remains the company’s policy, by talented, eager young artists, many of whom were then on

I soon learned the 2000 season repertory was a reﬂ ection of the company’s quarter-century of commitment to excellence, innovation, and variety: the shows that year ranged from a new production of to the company premieres of Handel’s Joplin’s the world premiere of Minoru Miki’s epic I discovered that the musical and production values weren’t

To my eye, however, the most extraordinary thing about this whose rapt attention to the measured, stately intrigues of The Tale of Genji seemed as energized as its jubilant reception of Dianne McIntyre’s dazzling choreography for Treemonisha Despite the presence of the international press — Japanese television crews were on campus to record the openingnight festivities for The Tale of — the atmosphere in the auditorium had the warmth of a family reunion. All the St. Louisans I spoke with during that ﬁrst weekend, whether at the company’s justly celebrated pre-show “tent dinners,” or during casual intermission conversations, seemed invested in the success of Opera Theatre and eager to share with me the story of the company’s unlikely beginnings and the long list of its accomplishments.

Treemonisha 2000.

Photo © Ken Howard

Opera Theatre of Saint Louis began with a dynamic group of local civic leaders who wanted to explore the viability of a permanent opera company in St. Louis. Chief among them were Leigh Gerdine, the forward-thinking president of Webster College (as Webster University was then called); James Van Sant, a knowledgeable, voluble opera buff who was president of General Steel Industries; and Laurance L. Browning, vicechairman of Emerson Electric, a generous donor to myriad local arts, civic, and charitable organizations, although not an opera enthusiast. There had been several previous attempts to establish a regular opera company in the city, but none had lasted. However, the warm reception for a series of opera performances at Missouri Baptist College in summer 1975 led Gerdine to believe “there was now an opera audience ready in St. Louis to welcome something of quality if we could mount something of quality,” as he recalled in a 1995 interview.

In November 1975, an offer was made to Richard Gaddes, the artistic administrator of The Santa Fe Opera, to come to St. Louis as a consultant

to evaluate the situation. During his brief trip to St. Louis, for which he was paid $250 plus expenses, Gaddes looked at several venues in the city for the new project and deemed them all unsuitable. In a 1980 Opera News profile by Robert Jacobson, Gaddes remembered it was a chance visit to a dress rehearsal at the Loretto-Hilton Center that gave him “the answer to my dreams, even with the small pit.” In a 1996 interview for the OTSL archives, Gaddes explained, “[At

the Loretto-Hilton], the idea came to me that, given the fact that…they had very little money…that an opera company could be started that would give performing opportunities to young singers…and the way to do it would be to single out young singers whom we believed would become major international artists in future years and present them on the stage in St. Louis.”

Gaddes returned to his home in New York and sent a report to St. Louis

with an outline of his ideas for the new company, recommending more modestly scaled repertory than the backers’ wish list of Aida and other “extravaganzas,” as Gaddes called them. Gaddes heard nothing until early January, when he received a call from Gerdine offering him a position as General Director of the new company. The new season was scheduled to begin some four months away, on May 22 — the eve of Gaddes’ 34th birthday. Gaddes accepted the offer and negotiated

a fee of $2,000 for planning and delivering Opera Theatre’s first season on a budget of $139,000. He did so with the understanding that he was to continue in his job at The Santa Fe Opera, where 1976 performances would not begin until after the OTSL season had ended. Gaddes had the blessing of Santa Fe’s founding General Director, John Crosby, who provided office and budget expertise for the planning of OTSL’s debut season. Gaddes would serve double duty

at the two companies until 1979, when he became Opera Theatre’s full-time General Director.

A native of Wallsend, England, Gaddes was elegant, witty, and energetic, blessed with a keen eye for talent, a natural genius for fundraising, and a vast network of connections in the opera world in the United States and the United Kingdom. He soon won impressive support from an eminent group of individual and corporate donors with sufficient imagination and generosity to make the dream of a new opera company a reality. Gaddes’s first-season repertory was a striking mix of eighteenth–, nineteenth–, and twentieth-century operas — Donizetti’s Don Pasquale, Britten’s Albert Herring and a double-bill of Menotti’s The Medium and Mozart’s The Impresario

Despite valiant efforts in the local press and a half-page editorial mention in the May 1976 Opera News , Opera Theatre arrived as if by stealth: on opening night of Christopher Alden’s staging of Don Pasquale, only 137 seats were sold in a house that seated 924. But good news travels fast: the word

continued on page 37

1979 1975 1978

A group of St. Louis businessmen — led by Dr. Leigh Gerdine, James Van Sant, and Laurence L. Browning — invite a young arts administrator named Richard Gaddes to St. Louis to conduct a feasibility study for a new opera company.

1976

Opera Theatre opens its inaugural festival season on May 22 with Don Pasquale and continues with Albert Herring, and a double-bill of The Medium and The Impresario

The St. Louis Symphony Orchestra becomes the official orchestra for all of Opera Theatre’s Festival Season productions. In this first year, OTSL and the SLSO performed La bohème, Forever Figaro, The Tree of Chastity, and Albert Herring

Opera Theatre commissions its first world premiere, The Village Singer, a oneact by the young composer Stephen Paulus.

1985 2006 1983 1990

Opera Theatre becomes the first American company (and one of only 65 companies worldwide) invited to perform at the prestigious Edinburgh Festival in Scotland. Over the course of two weeks, OTSL offered three operas and one concert.

Colin Graham, an English-born stage director, is chosen as Opera Theatre’s firstever Artistic Director. He served in this role until his passing in 2007.

OTSL launches the Bayer Fund Artistsin-Training Program (originally sponsored by The Monsanto Fund). Now in its 35th year, this landmark program offers talented local high school students collegelevel vocal training and opportunities for college scholarships.

The Sally S. Levy Opera Center opens, providing Opera Theatre’s first united home for administrative, artistic, and educational functions.

Sheri Greenawald and Peter Strummer in Don Pasquale, 1976.

We’ll help keep you talking... except during the performance.

spread that the new company was adventurous and stylish. By the end of OTSL’s three-week, tenperformance season, it was playing to full houses, with Albert Herring providing the company with its first sellout — and with its first television broadcast, when the 1978 revival of Lou Galterio’s production was recorded in an historic collaboration by the BBC and WNET, sponsored by The Monsanto Fund.

In 1977, Opera News and The New Yorker published enthusiastic reviews of the OTSL season, beginning the company’s presence in the national press. Within the next few years, New York magazine, The New York Times , Newsweek, and The Times of London would also make the journey to Missouri; in New York, music critic Alan Rich cited the fledgling company as “one of the true jewels of the operatic firmament.” Beginning in 1978, musical standards rose when the St. Louis Symphony Orchestra began to play in the pit for OTSL performances, replacing the pick-up ensembles of the first two seasons. That same season, Colin Graham joined the company as Director of Productions.

Graham, a protean talent associated with the English Opera Group, Covent Garden, Aldeburgh, Glyndebourne, and English National Opera, was the preferred stage director of Benjamin Britten. Graham’s work on Curlew River, Britten’s 1964 “church parable” adapted from a Japanese Noh play, inspired in him a deep admiration for Japanese classical theater that led to a fruitful collaborative relationship with Japanese composer Minoru Miki. OTSL presented the U.S. premiere of Miki’s An Actor’s Revenge in 1981, followed by the world premieres of Jorūri in 1985 and The Tale of Genji

In the context of storytelling, compassion and understanding can enter the discussion more easily.

in 2000, all staged by Graham, who also wrote the libretti for Jorūri and Genji. OTSL took the latter two works on historic tours to Japan’s Nissay Theater, where they were rapturously received. Graham was named OTSL’s Artistic Director in 1985, and supported the creative identity of the company with meticulous, exacting care until his death, in 2007.

Graham embraced challenges: he delighted in discovering the proper scale for the works presented on OTSL’s smallish thrust stage. As longtime patron and former board chair Noémi Neidorff remembers,

“When Opera Theatre did my favorite Verdi opera, Otello, in 1999, I said, ‘I cannot imagine how they’re going to pull that big opera off on that small stage.’ And when my husband Michael and I entered the auditorium, the first thing I saw was this massive head of a lion on stage — that just instantly resonated with me. And I said, ‘Sure! Otello!’ That was the genius of Colin Graham.”

Another of Graham’s Shakespeareinspired stagings attained legendary status almost immediately: more than forty years later, everyone remembers the serendipitous appearance of real ﬁ reﬂ ies in the theater one night during Beatrice and Benedict ’s sublime Act I “Nocturne,” conducted by OTSL’s soon-to-be music director John Nelson. The long list of other memorable productions during the Richard Gaddes years includes director Frank Corsaro and designer Ron Chase’s multimedia realization of Delius’s Fennimore and Gerda in 1981 and the 1982 U.S. opera debut of director Jonathan Miller, who collaborated with conductor Calvin Simmons on an impeccable Così fan tutte, part of a six-season Mozart

Photo © Ken Howard

OTSL’s production of Albert Herring is the ﬁ rst opera in America to be broadcast by the BBC, 1977.

cycle sponsored by Emerson Electric. The company made a triumphant visit to the 1983 Edinburgh Festival, the first time an American company had been invited there. In 1984, Galterio’s OTSL production of Orfeo was designed by the singular American sculptor Louise Nevelson, executing her first work for the stage at the age of eighty-four.

When Gaddes chose to step down as General Director, he tapped Charles MacKay as his successor. A native of New Mexico, MacKay was thirty-four, but already a veteran of significant administrative positions at The Santa Fe Opera, Spoleto USA, and the Festival of Two Worlds in Spoleto, Italy. MacKay joined OTSL as Executive Director in the fall of 1984 and took Gaddes’s place as General Director in 1985, leading the company for 24 seasons. A lifelong opera fan, Mackay understood sound financial management and was able to maintain OTSL’s admirable tradition of never accumulating a deficit. Under MacKay’s leadership, the company prospered and grew, presenting eight world premieres and 14 U.S. premieres on the company’s mainstage between 1985 and 2008. Opera Theatre expanded its education efforts, bolstered its commitment to professional training on and off stage, and introduced English-language supertitles during performances. One of the most significant achievements of this period was the launch of the company’s first endowment fundraising effort and a capital campaign to make possible the construction of the company’s Sally S. Levy Opera Center, which opened in 2006. Named for a beloved founding member of the OTSL board whose family contributed lead support for the new building, the Levy Center now provides space for the company’s administrative, rehearsal, and

community outreach needs.

Opera Theatre’s leadership never wanted the company to rest on its laurels, believing that the continued financial and artistic health of the company — and of the art form it celebrated — required progressive thinking and unceasing vigilance. MacKay’s chief partners in maintaining OTSL’s harmonious balance of excellence and innovation were Colin Graham; conductor Stephen Lord, the company’s Music Director from 1991 to 2017; and Paul Kilmer, the company’s longtime Director of

Artistic Administration, who served the company for the better part of four decades. Among the most memorable productions of MacKay’s long tenure were Graham Vick’s modernist staging of Samuel Barber’s Vanessa in 1988; the 2002 company premiere of Lucia di Lammermoor, conducted with surpassing sensitivity by Lord; Graham’s 2005 production of Britten’s Gloriana, starring the magnificent Christine Brewer, a former OTSL chorus member; and the electric 2004 staging of John Adams’ Nixon in China, directed by James Robinson.

Christine Brewer as Queen Elizabeth I with members of the company in Benjamin Britten’s Gloriana, 2005.

Photo © Ken Howard

The Tale of Genji, featured traditional Japanese instruments played by Reiko Kimura (left) and Yang Jing (right), 2000.

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Robinson, whose previous OTSL productions included his thrilling 2001 staging of Dominick Argento’s unjustly neglected Miss Havisham’s Fire succeeded Graham as the company’s Artistic Director in 2007.

Just as Gaddes had identified his own successor, MacKay brought fresh leadership to OTSL by approaching thirty-two-year-old Timothy O’Leary about joining the company. O’Leary, then the Director of Operations and Planning at New York City Opera, was an admirer of MacKay’s: “Charles’s palpable sense of decency, compassion, and goodness was a model for the kind of leader I wanted to be. He made everyone feel valuable.” O’Leary arrived at OTSL in January 2008, as Executive Director, and succeeded MacKay as General Director in October 2008.

One of the first projects O’Leary talked about with Robinson was a new staging of John Adams’ controversial The Death of Klinghoffer, a work based on the Palestine Liberation Front’s 1985 hijacking of an Italian passenger liner and the murder of one of its Jewish–American passengers. When O’Leary discussed producing Klinghoffer with Michael and Noémi Neidorff, who were prominent members of the Jewish community in St. Louis, they offered their support but, as Noémi Neidorff remembers, advised O’Leary to “wait a year, until you have developed more relationships in St. Louis.” O’Leary, who believes that “producing art should be a work of community building,” assembled an inter-generational, interfaith group of St. Louisans to engage in exploring Klinghoffer and its underlying issues, in order to “take every step to make sure our intentions were understood.” The meetings were revelatory and civil in equal measure, proof of O’Leary’s conviction that “when people are looking at things through an artistic lens, they tend to show up as the best versions of themselves. In the context of storytelling, compassion and understanding can enter the discussion more easily. Music puts people in that sphere very powerfully.” The preparation paid off: Robinson’s beautiful, humane Klinghoffer production was the triumph of the 2011 OTSL season.

The company’s longstanding commitment to audience building entered a new phase in 2013, with the launch of “New Works, Bold Voices,”

a series of operas dedicated to telling stories that resonated with diverse contemporary audiences. The first opera in the series was Champion, a co-commission with Jazz St. Louis by composer Terence Blanchard and librettist Michael Cristofer. Based on the life of Emile Griffith, a closeted gay Black boxer, the Champion run was preceded by conversations with expert community-building partners — and greeted with a roaring standing ovation on opening night. Both Champion and Terence Blanchard’s second OTSL commission, Fire Shut Up

Davóne Tines (left) and Julia Bullock (right) starred in the nationallyacclaimed world premiere of Fire Shut Up in My Bones , 2019.

Photo © Ken Howard

John Adams’ controversial The Death of Klinghoffer was the triumph of the 2011 OTSL season.

Photo © Eric Woolsey

In My Bones, have now been produced by the Metropolitan Opera and transmitted as part of that company’s The Met: Live In HD series, bringing the fruit of OTSL’s groundbreaking work to millions of opera lovers worldwide.

Current OTSL board member

Crystal Allen Dallas believes that the company’s continuing community work will be a key ingredient in Opera Theatre’s legacy. “I hope the next generation will look back at this work that Opera Theatre is doing now,” she says, “and they will say that organization mattered because they put community first — and they used art to do that.”

O’Leary stepped down from his post at Opera Theatre in 2018, when he was named General Director of Washington National Opera (WNO), passing the Opera Theatre baton to Andrew Jorgensen, then the Interim Executive Director of WNO. Jorgensen, whose résumé included six years at WNO and five years on the artistic staff of the Metropolitan Opera, immediately embraced the unique nature of OTSL’s audience. “Their love for this company is greater than any one success or failure,” Jorgensen says. “Since the very beginning, management and

artistic leadership has delivered things that were worth seeing and has synergistically built up the audience’s faith in us. The stakes are much higher than they used to be, but we still have our responsibility to quality, to community, and to incubating the next generation of talent.”

In 2019, the company’s celebrated young artist programs were placed under the vibrant artistic leadership

of international star soprano Patricia Racette, whose association with OTSL began as Donna Elvira in Don Giovanni in 1993. In 2020, Jorgensen and the OTSL staff faced the unimaginable challenges of guiding the company through the COVID-19 pandemic, canceling the planned season in the Loretto-Hilton Center and pivoting to a program of more than thirty online events. During the pandemic closure, all full-time employees were

retained, and all seasonal employees were offered 50% of their anticipated compensation. In 2021, OTSL returned to live performances, offering a single season on an outdoor stage in the parking lot at Webster University before returning to its regular home. This year, Daniela Candillari, named the company’s Principal Conductor in 2022, will lead OTSL’s fortyfifth world premiere — Ricky Ian Gordon, Lynn Nottage, and Ruby

Aiyo Gerber’s This House — as part of the company’s 50th Anniversary Season in the Loretto-Hilton Center.

Asked to name a favorite OTSL memory, Jorgensen answers immediately: “One of them has to be hearing Leonard Slatkin conduct Gianni Schicchi in our parking lot season in 2021, and hearing Elena Villalón sing “O mio babbino caro” with the St. Louis Symphony Orchestra and

real birds chirping in the trees at the side of the stage. That moment felt like the proverbial dam breaking as we returned to live performance and were able to pull off this unbelievably complicated outdoor parking lot adventure. I will always be incredibly proud of what this organization, this team, this board, were able to do.

“And now we look forward — and we’ll see what’s next.” n

2010 2021 2018 2025 2009 2020 2013 2023

James Robinson, an exciting rising stage director, is appointed Opera Theatre’s second Artistic Director. During his tenure at OTSL, James is a tireless advocate for new opera, guiding works such as Champion and Fire Shut Up in My Bones to the stage.

OTSL invites community leaders into dialogue around John Adams’ The Death of Klinghoffer The group evolves into OTSL’s Engagement & Inclusion Task Force.

OTSL presents the world premiere of Champion, the first opera by jazz trumpeter Terence Blanchard and co-commissioned with Jazz St. Louis. Blanchard would become the first Black composer produced by the Metropolitan Opera eight years later.

Opera Theatre hosts OPERA America’s annual conference, welcoming hundreds of national and international arts administrators, trustees, and artists to St. Louis.

Phyllis Brissenden, one of OTSL’s earliest supporters and most beloved friends, passes away. In her will, Phyllis bequeathes a transformational $48 million gift to OTSL’s endowment. To date, this is the largest gift ever recorded to an American opera company.

After being forced to cancel the 2020 Festival Season due to COVID-19, Opera Theatre returns to live performance with an outdoor Festival Season on a parking lot.

Opera Theatre debuts a bold new community-driven commissioning model, known as the New Works Collective, which wins national acclaim for soliciting open applications from creators and putting decision-making power in the hands of the community.

Even as we celebrate our 50th season, we look forward to the future! May our next 50 years continue to advance opera, serve St. Louis, and inspire new generations of artists and audiences.

Photo

© Eric Woolsey

Gianni Schicchi on the outdoor stage during COVID-19, 2021.

Photo © Eric Woolsey

Photo

© Eric Woolsey

reflections from our founder RICHARD GADDES

Richard Gaddes served as the founding General Director of Opera Theatre of Saint Louis from 1976 until 1985. He went on to run The Santa Fe Opera for nearly two decades. Richard passed away in December 2023, but we’re honored to share some of his memories about the origins of Opera Theatre.

These words come from a 1996 oral interview and have been lightly edited for brevity and clarity.

I’m not one of those people who was in the standing room at Covent Garden from childhood.

I came to opera much later in life, having really been interested in instrumental and chamber music. I had intended to become a teacher of music but while studying I worked at the Wigmore Hall in London, which was a very important concert hall. I worked backstage opening the door for artists and sometimes turning pages when the pianist needed a page turner. And so, to cut a long story short, I drifted into arts administration and in 1967 took a job with an artist’s manager in London who represented a lot of artists and particularly opera singers. At first I only worked with instrumentalists, but one day the firm’s owner said to me, “We are no longer going to represent instrumentalists — only opera singers.” So, in fact, what he

was saying to me was either you get into the opera business or find some other job. So that’s how I got into the opera world.

I worked there in 1967 and in 1968, John Crosby, the General Director of The Santa Fe Opera, came to London for two or three days to audition some of the singers that we represented. As he was leaving, he said to me, “Well, I hope when I come back next year you’ll be here and you’ll be as kind to me as you’ve been this visit.” To which I said, “Well, that’ll be fine but I’m thinking perhaps I might spread my wings a little bit and perhaps get a job with a symphony orchestra or whatever.” And he said, “Well, perhaps we’ll have a job for you at The Santa Fe Opera.” It was one of those remarks that one dismisses and doesn’t take seriously. So, I made

on page 46

Richard Gaddes speaks at the 2012 Spring Gala.

continued

“The wonderful thing about St. Louis is this tremendous enthusiasm. You have a wonderful Board, people who are keen, who are interested, it’s just wonderful. I have no regrets about it. I want it to succeed.”

continued from 45

polite noises and forgot about it. And six months later he called me and I came to Santa Fe to talk about it and that’s how I ended up in America.

I worked very closely with Crosby from the very beginning and, in the same way that I feel that he was the grandfather of Opera Theatre of Saint Louis, he was also in a sense my mentor. Everything that you see in St. Louis today, or rather I should say much of what you see in St. Louis today, springs from his sense of high artistic quality and aesthetic sense, even down to the way the pavilion looks and the geraniums. That all stems from the Santa Fe side of Opera Theatre of Saint Louis. It’s a very strong connection.

In 1975, a group of businessmen met in St. Louis. That group consisted of Leigh Gerdine, Larry Browning, Jim Van Sant, and Frank Peters. Leigh arranged the meeting to discuss how they might form a permanent opera

company in St. Louis. The motivation was a series of opera performances that had happened at Maryville College in the summer of 1975 which, although they were a financial disaster, had drawn a good and enthusiastic audience. Jim left this meeting with a promise to call around and see who he could find as a consultant. He called Margaret Carson, who had been the press and public relations officer in Santa Fe in the early ‘70s, and she recommended me. The fee was $250 plus expenses. For me it was simply a little pocket money.

I flew to St. Louis and it was clear after some discussion that what this group had in mind was large-scale operas: Trovatore, Aida, and so on, in a larger theater. They took me downtown and they showed me the American Theater, Kiel, and the Ambassador. They had no money, obviously, but they were prepared to raise it. The most depressing thing was that there was no theater that was suitable. That Saturday afternoon, Jim was driving

me back to the Breckenridge Hotel and we stopped at the Loretto-Hilton Theatre, where there was a dress rehearsal of a play taking place and Jim mentioned that there was a pit in the theater. It was covered because The Repertory Theatre didn’t use it. So the idea came to me that, given the fact that this opera company had no money, and therefore couldn’t afford extravaganza type pieces, perhaps this company should focus on giving performing opportunities to young singers whom we believed would become major international artists in future years.

So I went back to New York and wrote a report outlining my ideas. And much to my surprise, within days of sending the report, Leigh Gerdine called me. This must have been around January… Leigh called me and said, in effect, “Let’s do it.” Then he asked how much my fee would be to put this all together by May, which was only four months away. I proposed a fee of

continued on page 49

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Audiences picnic in OTSL’s gardens, 1982.

$2,000 to do the whole thing, and he agreed. Now, of course, I was working full time for The Santa Fe Opera so I had to arrange that I could be in St. Louis and treat it as vacation from Santa Fe.

So, in the space of 16 weeks, we put it together. I was the leader but there was a lot of input from colleagues such as Lou Galterio and Frank Rizzo. I think we even called the soprano Ashley Putnam and said, “You know, we’ve got a chance to do a gig here; what would you like to sing?” Ashley had some ideas.

The key to it all was unknown singers who would become famous. Festival repertory. Rotating repertory, not stagioni. In other words, you could hear The Magic Flute on Tuesday and La bohème on Wednesday rather than doing one single opera, running it, and closing it. And unusual repertory, interesting repertory, in combination with standard repertory

“One of the first singers I introduced was Ashley Putnam... within a week of announcing that Ashley was a wonderful singer and you’d be hearing a lot of her, she won the Metropolitan Opera National Council Auditions. She was one of two winners and she sang on the radio. That gave me a bit of credibility.”

such as a Mozart piece. And then, of course, we added premieres to that repertory as well and we started doing four operas.

Leigh Gerdine put together a brilliant board of people. But some senior members of the Board whose operatic education was mainly the Metropolitan Opera and the Saturday afternoon broadcasts were a little apprehensive (perhaps justifiably) about opera in St. Louis. You know, “It would never work in St. Louis. It might work in Santa Fe but this will never work in St. Louis.”

They still helped, though…it was wonderful. It was wonderful working with people who rallied. The accommodation was a real problem. We were using the Garden Apartments for many of our artists.

But I remember the carpeting stank because the university had used them during the year and they were dirty. So there was an army of people who came along with

scrubbing buckets. We scrubbed bathrooms out, made beds, and borrowed sheets and blankets. It was like summer camp.

Here I was promising that we were going to bring in a group of singers who would eventually become big stars and you’d be glad to say, “They made their debuts in St. Louis.” And one of the first singers I introduced was Ashley Putnam. The first great stroke of luck I had was that, within a week of announcing that Ashley was a wonderful singer and you’d be hearing a lot of her, she won the Metropolitan Opera National Council Auditions. She was one of two winners and she sang on the radio. That gave me a bit of credibility.

When it came time to put on the first opera, the most depressing factor was sales. Ticket sales were not good at all…I was beginning to think that perhaps our skeptics were right, that what I wanted to do here was not for St. Louis. We had sold very few

Richard Gaddes with (L to R) sopranos Pauline Tinsley, Sheri Greenawald, and Ashley Putnam under the tent, 1985.

continued from 46

and Interstate 44. It was very hard to work all day and then come home to a motel room. But, of course, there were lots of dinners and things and Leigh Gerdine and his wife Alice were wonderful.

Larry Browning came to Santa Fe later that summer after our ﬁ rst season. We sat at The Santa Fe Opera’s o ces and he said to me, “I want you to sign a contract.” I think he went back to St. Louis very pleased with himself for signing me up to run additional seasons…and I was happy to accept. Suddenly, I was the kingpin, I’d had a success. I was only 31 or 32 years old at the time.

tickets…maybe 150 or 200, certainly no more. But I called Bob Orchard, and he ﬁlled the house by giving tickets away to his employees. We had a very respectable house and it really took o in the ﬁrst act because I think people were agreeably surprised at how good it was. You could feel people realizing, “Oh, this is good!” So, ticket sales skyrocketed. By the last week of the season, it was hard to get a ticket. The reviews were good and Albert Herring was a huge success. That was a spectacular cast and brilliantly directed. It was really the great coup of the season, which was a little ironic because that was the rare piece that we were most apprehensive about.

It was very hard that summer because I had very little money in the budget for my housing. I think I had a borrowed car and there was just no place for me to stay. I ended up staying at a motel by Lindbergh

The following summer when I returned to St. Louis, I ended up in an apartment above the stable at Peasy and Andy Love’s home on Westmoreland Place. And I remember the day I left St. Louis at the end of the second season to return to Santa Fe. There was no break. I’d been at a performance the night before and I had to start it all over again for a di erent company. I’ve never told anyone this before, but I remember sitting on the bed in the morning weeping. I was so exhausted. I didn’t have the energy to pack to get on the plane.

For the ﬁ rst two or three years, I spent my time in Santa Fe listening to all these apprentice singers and I would say to them, “Ok, I’m going to have you sing such-and-such.” It was still somewhat by the seat of our pants then…we tended to fool ourselves into thinking we could wait until the last minute and somebody wonderful would turn up. Which was often the case. But then, the company became the place for a young singer to make a debut so we were deluged with people from everywhere who wanted to sing there. I mean, we had articles in the New Yorker in the second season.

And those articles continued every year. Opera Theatre of Saint Louis had staggering publicity.

By 1978, we had done the television broadcast of Albert Herring, which really sealed everything, because to have BBC, WNET, and Channel 13 trucks there filming an opera — the very first opera BBC ever filmed in this country — that was a big deal. After that, you couldn’t get a ticket… so I moved to St. Louis and stayed ten years with the company.

When we made the decision to perform opera in English, it seemed that there might not be a natural audience in St. Louis and that we

would have to attract people by presenting opera as musical theater, which is what we did. The whole idea the ﬁrst season was even if you hate opera, you’ll love this because the young singers don’t look like the preconceived notion of opera singers and they can act! But the audience in St. Louis has become so very sophisticated…many don’t know how wonderful an audience this is. Other companies should be so lucky as to have this kind of audience.

There were so many miraculous moments in those early years. We were doing Così fan tutte in the second season, and a very famous American

Richard Gaddes (R) with director Colin Graham (L) discussing stage renderings, 1980.

Pictured (L to R): Albert Herring with Pauline Tinsley as Lady Billows and Jan Curtis as Mrs. Herring, 1976.

Pictured (L TO R): Jerry Hadley as Ferrando, Thomas Hampson as Guglielmo, Patricia McCa rey as Dorabella, and Ashley Putnam as Fiordiligi in Così fan tutte, 1982.

Photo © Ken Howard continued on page 53

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“Another memorable moment came later when we did Fennimore and Gerda, which in my view is one of the most beautiful things we ever did.”

singer was singing Don Alfonso. His voice was beginning to give out and if the Alfonso can’t hit the E in the famous Act I trio, it’s excruciating. And he couldn’t. It just wasn’t working. We were in rehearsals. But I knew it was going to be a failure. So we called around and hired another singer, but the replacement just couldn’t get the English into his head in time to sing it. By this time, we’re at the dress rehearsal and everyone is frustrated.

Gimi Beni flew in from New York and he arrived in the theater as the rehearsal was about to begin. He put his suitcases down, walked onto the stage, pulled a handkerchief out of his pocket, and it was as though it was a performance. Everybody just breathed this huge sigh of relief because we didn’t need to stage it, he just knew. It just happened. It was wonderful and he was brilliant.

Another memorable moment came later when we did Fennimore and

Gerda, which in my view is one of the most beautiful things we ever did. (If you talk to people, you’ll either get those who say it was stunning or those who ask why we bothered. I’ve never known an opera which a divided opinion.) Stephen Dickson, who was singing the role of Niels, got laryngitis. Maybe a day before the performance, I said to David Evitts (who was in another opera that season), “You don’t by chance know Fennimore and Gerda, do you?” In retrospect, it was a stupid remark because, I mean, who knows Fennimore and Gerda? But I explained that Stephen had laryngitis and was not able to sing and David learned the part in 24 hours and stood in the orchestra pit. The arrangement was that Stephen would give David the cue if his voice was conking out.

Stephen sang the performance right to the last few pages of music, when David took over and sang from the pit.

No one knew the difference. Stephen mouthed the words and David Evitts sang, and we got through it.

It was a huge effort to bring Opera Theatre of Saint Louis to where it arrived in ten years. We’ve often said that for companies to become so famous, as St. Louis has done, it can take 25 years. And in the first ten years, OTSL was the location of the first American opera filming for BBC, the first American opera company to go to the Edinburgh Festival…the first ten years was a series of miracles. Even just seven or eight years in, St. Louis was boasting, “They made their debuts here.” Singers were being interviewed in Opera News and saying, “My spiritual home is St. Louis.”

It absolutely consumed my life, but even after I moved on, I never regretted it. The wonderful thing about St. Louis is this tremendous enthusiasm. You have a wonderful Board, people who are keen, who are interested, it’s just wonderful. I have no regrets about it. I want it to succeed. My name will always be attached to it, I hope. n

Kathryn Bouleyn in Fennimore and Gerda, 1981.

Photo © Ken Howard

continued from 51

BY THE NUMBERS

35 years of the Bayer Fund Artists-in-Training Program

40 years of the Richard Gaddes Festival Artist and Gerdine Young Artist Programs

45 world premiere operas produced by OTSL as of the 2025 season

500 people employed during the Festival Season

77,913 students reached in 332 schools in 2024

advancing THE NEXT GENERATION

$34,000 in college scholarships awarded annually

$39,000 in professional development funds awarded annually

SHAPING THE FUTURE OF OPERA: NURTURING TALENT ONSTAGE, BACKSTAGE, AND BEYOND THE MABEL DORN REEDER FOUNDATION YOUNG ARTIST EDUCATION & DEVELOPMENT PROGRAMS

When you attend an opera, it’s easy to focus on the magic unfolding onstage — but each performance represents years of unseen preparation and collaboration. The incredible artistry of our singers and musicians is matched by the talent of those who work behind the scenes and in our administrative o ces. For ﬁ ve decades, our mission has been to ensure that opera remains vibrant by helping to train the next generation of artists, artisans, administrators, and appreciators… and we’ve invested deeply in those values. OTSL’s training programs provide emerging talent with transformative opportunities to grow and shine — both here in St. Louis and across the country.

OTSL’s commitment to nurturing talent starts early with pre-college opportunities. Established in 1990, our Bayer Fund Artists-in-Training Program (AIT) identiﬁ es and coaches approximately 24 promising young high school students each year, providing them with the foundation to succeed not only in music, but in life. Through rigorous college-level vocal training and curated arts experiences across St. Louis, students gain conﬁ dence, discipline, and countless transferable life skills.

While this program is centered on the voice at fi rst glance, the ripple e ect across St. Louis is profound; nearly 100% of AIT students go on to college and many are the fi rst in their families to do so. Some alumni do pursue careers in music, but even more excel in entirely di erent fi elds, from medicine to law to engineering. Since its inception, AIT has supported nearly 300 students and provided more than $730,000 in scholarships. This initiative doesn’t just develop artists; it shapes well-rounded individuals who carry the lessons of hard work and perseverance into every corner of their lives. This early investment ensures that the art form remains accessible and exciting to new generations.

The impact of these programs can change lives. Take, for example, the journey of mezzo-soprano Mack Wolz. After completing the Bayer Fund Artist-in-Training Program as a high school student, Mack appeared at Opera Theatre as a Gerdine Young Artist in 2018, returned as a Gaddes Festival Artist in 2019, and celebrated a Grand Finals win in the Metropolitan Opera Eric and Dominique La ont Competition in between those two appearances. Mack now lives in Switzerland and performs regularly at Theater St. Gallen.

Alumni of OTSL’s Young Artist Programs have appeared in prestigious opera houses around the world, including but not limited to the following:

The Metropolitan Opera (New York)

Lyric Opera of Chicago (Illinois)

San Francisco Opera (California)

LA Opera (California)

Carnegie Hall (New York)

Royal Opera House (London)

Bayerische Staatsoper (Munich)

Wiener Staatsoper (Vienna)

Oper Frankfurt (Frankfurt)

English National Opera (London)

Teatro Real (Madrid)

Deutsche Oper Berlin (Berlin)

Teatro alla Scala (Milan)

Opéra National de Paris (Paris)

Opera Theatre is proud to have played a small part in the stories of so many artists, and we look forward to another 50 years of discovering and launching young talent!

Katerina Burton and Moisés Salazar perform an aria from La bohème at the Starlit Night Gala, 2024. Photo © Jon Gitcho

gunthersalt_horiz_2.pdf 1 1/25/13 4:01 PM

For emerging opera singers, a critical first step in their professional journey is to audition for and be accepted by a competitive young artist program. Young artist programs are offered by many companies around the country, providing crucial early opportunities for singers just beginning their careers, but few have a longer or more distinguished track record than OTSL’s Gerdine Young Artist and Richard Gaddes Festival Artist Programs (the origins of which date back to 1986). These initiatives are

more than stepping stones — they’re springboards. Gerdine Young Artists and Gaddes Festival Artists perform in our season ensemble, participate in master classes with notable opera stars, understudy leading roles, and receive hours of private coachings and dramatic training. These programs can help launch meteoric transitions from promising talent to stars in demand. In any given year, as many as 60 members of the Metropolitan Opera’s roster are alumni of Opera Theatre.

Mabel Dorn Reeder recipient Joshua Blue in The Magic Flute 2022.

Photo © Eric Woolsey

The Richard Gaddes Festival Artist Program and Gaddes Career Grants are supported by the Richard Gaddes Fund for Young Singers

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Larry & Jinny Browning

Technical Fellowship Career Award

Ariella Leibowitz

Emerson Behind the Curtain Scholarship Awards

Vanessa Buck

Will Everson

Jordan Kerr

Aspen Kinomoto

Isa LoPiccolo-Kleine

Marissa Thompson

Rabbi Dr. Jay & Erika- Goldburg Scholarship Award

Audrey DeHann

Memorial Fund / 2024 / PROFESSIONAL DEVELOPMENT AWARDS FOR TECHNICAL THEATER ARTISANS

BUILDING MAGIC BACKSTAGE

Audiences usually reserve their loudest cheers and applause for the star singers, but the unsung heroes of every opera are the dedicated members of the design, production, and crew teams. At OTSL, we believe that investing in backstage talent is just as important as onstage talent. Through initiatives like the Emerson Behind the Curtain Program, OTSL prepares college students for careers in stagecraft with an immersive introduction to technical theater. Participants gain firsthand experience in everything from set construction to costume design, collaborating directly with seasoned professionals and internationally soughtafter designers.

For those returning as Browning Fellows, named in honor of OTSL founding board member Larry Browning and his wife Jinny Browning, the experience becomes even deeper. Browning Fellowships are offered to promising technicians who are returning after at least one season with the company, progressing through the ranks backstage just as Gerdine Young Artists do onstage. These advanced Browning Fellows attend professional seminars and may receive career grants to support extraordinary potential.

The Larry & Jinny Browning Fund for Technical Fellowships offers advanced training for young artisans pursuing careers in technical theater production and was made possible with a transformative endowment gift from the family of Opera Theatre’s late Board Chairman, Larry Browning . A memorial tribute to Larry’s wife Jinny Browning and a celebration of the Browning family’s lasting impact on Opera Theatre is on page 145. Special scholarships for outstanding college-level assistants in the Emerson Behind the Curtain Program are supported by Emerson gifts from Rabbi Dr. Jay & Erika- Goldburg , and a fund established in memory of Catherine Vail

Production MVP Catherine Good -In Memoriam

Distinguished young designers of OTSL productions are supported by the Alvin R.

Sunflower props from the set of The Barber of Seville , 2024.

Photo © Macy White

LEADERSHIP IN ARTS ADMINISTRATION

As General Director

IN ADMINISTRATION

As General Director Andrew Jorgensen wryly recalls, “For most of my youth, I knew that shows required rehearsals and singers…but it didn’t occur to me that it was someone’s job to make sure everyone showed up for those rehearsals.” Careers in arts administration are often overlooked, which is why OTSL’s Administrative Internship Program was created to help identify future stewards and leaders. Seasonal interns are integral members of the OTSL team, gaining practical experience in areas like marketing, development, finance, education, and production. In addition to their daily duties, they attend brown bag lunch sessions with other departments, participate in seminars led by industry leaders, and gain access to rehearsals and events, offering a comprehensive introduction to arts management.

“For rehearsals and that make sure for those rehearsals.” administration are which is OTSL’s created to help identify stewards are integral team, gaining practical experience in areas marketing, development, production. In to their duties, they departments, led by leaders, events, offering to arts

program alumni careers field, including full-time OTSL’s got their another seven These learning experience of arts practitioners advance

Many program alumni go on to impactful careers in the field, including full-time positions at OTSL itself. (Currently, five members of OTSL’s annual staff got their start as seasonal interns and another seven began on backstage crews.) These early-career opportunities are more than a learning experience — they’re a launchpad for a new generation of arts practitioners who can help advance the opera landscape.

supported made in

SUPPORTING LIFELONG LEARNING

SUPPORTING LIFELONG

OTSL’s dedication end with early-career career awards, continuing support exceptional singers technicians their journeys. pursue advanced training, fund professional travel or auditions, projects. In and 2023 alone, OTSL singers 16

OTSL’s dedication to developing talent doesn’t end with these early-career programs. Through career grants and professional development awards, the company provides continuing support to exceptional singers and technicians throughout their journeys. These grants allow artists to pursue advanced training, fund professional travel or auditions, or take on career-defining projects. In 2022 and 2023 alone, OTSL awarded financial grants to 36 singers and 16 technical theater artisans.

THE FUTURE IS BRIGHT, INDEED

BRIGHT,

Opera is often seen as a near-ancient art form, but at OTSL, opera is anything but static. The only way any art form can survive is through finding new practitioners and devotees. That’s why our training programs are designed not only to pass along best practices and traditions, but also to question the status quo and drive evolution. By investing in early-career talent onstage, backstage, and in the office, OTSL is shaping an opera world that is inclusive, innovative, and thriving… and it all starts right here in St. Louis.

is as form, but is anything but only way is through finding new practitioners and devotees. That’s pass traditions, also the drive evolution. By investing in and in that is inclusive, innovative, and thriving… and it all here in

As OTSL celebrates its 50th Anniversary Season, these programs stand as a testament to the company’s vision: an art form that continues to inspire and enchant, while nurturing the passion and creativity of the next generation. With every aria sung, every set constructed, and every decision made, OTSL is ensuring that opera remains a vibrant force for the 21st century and beyond. n

OTSL celebrates its 50th Anniversary programs as company’s vision: form that the passion creativity the decision made, is that opera for the century and

The Administrative Internship Program is made possible with generous support from Penny Pennington & Michael Fidler Professional development programs are also supported by gifts made in memory of Mrs. John Sausele

Sumner High School

senior Dakota Scott in Adrienne Danrich’s master class, 2024.

Photo © Macy White

Administrative Internship made support Pennington Professional development

CELEBRATING OUR PARTNERS

We wish to acknowledge the many partner organizations have supported our work across the last few We you enjoy hearing from some of recent collaborators.

We wish to acknowledge the many partner organizations who have supported our community work across the last few years. We hope you enjoy hearing from some of our recent collaborators.

“After as chorus master for Arizona Opera’s veterans project a years passion for opera’s transformative power inspired to collaborate OTSL, with The Walk Little Amal and continuing the New Works Collective

At OTSL, I am driven by the power of the arts to unite and crafting operas resonate deeply with diverse communities. Together, we’re shaping a brighter, harmonious future — at a time.”

“After serving as chorus master for Arizona Opera’s veterans project a few years ago, my passion for opera’s transformative power inspired me to collaborate with OTSL, beginning with The Walk with Little Amal and continuing with the New Works Collective At OTSL, I am driven by the power of the arts to unite and transform, crafting operas that resonate deeply with our diverse communities. Together, we’re shaping a brighter, more harmonious future — one performance at a time.”

— Dr.

In 2024 alone, OTSL organized more than 200 diﬀerent community and education activities in 62 unique zip codes across St. Louis, reaching more than 18,000 individuals.

Philip A. Woodmore Artistic Director of Voice & Camps at COCA

Dr. Philip A. , Artistic Director of Voice & Camps at COCA

“OTSL has been a source of inspiration in my activism and helps to broaden my horizons. Not bad for someone who hadn’t been to any prior to 2018! company is also a true community partner walks the walk. OTSL is on the cutting edge of creating new operas and welcoming new artists that reﬂ ect our lived experiences. It is magic to see our stories on stage in a where our histories have often been erased.”

“OTSL has been a source of inspiration in my activism and helps to broaden my horizons. Not bad for someone who hadn’t been to any operas prior to 2018! The company is also a true community partner and walks the walk. OTSL is on the cutting edge of creating new operas and welcoming new artists that reﬂ ect our lived experiences. It is magic to see our stories on stage in a city where our histories have often been erased.”

— Caroline Fan , activist and political consultant

— Caroline Fan , political consultant

centering our COMMUNITY

AAt Saint Louis, we believe that opera is more than just an art form — it’s a way to connect, share stories, and inspire conversation.

t Opera Theatre of Saint Louis, we believe that opera is more than just an art form — it’s a way to connect, share stories, and inspire conversation.

As we celebrate our 50th Anniversary Season, we aren’t just refl ecting fi ve decades of groundbreaking opera productions…we’re also examining how we fulfi ll a year-round to our community. Regardless of age, or your familiarity with opera, opera is for you. You’re welcome here, and you belong.

As we celebrate our 50th Anniversary Season, we aren’t just refl ecting on fi ve decades of groundbreaking opera productions…we’re also examining how we fulfi ll a year-round commitment to our community. Regardless of your age, background, or your familiarity with opera, opera is for you. You’re welcome here, and you belong.

Our investment in community stretches far beyond the conﬁ nes of May and June. While the Festival Season is a highlight of our work, it’s one piece of the puzzle. Throughout the year, OTSL is present in the St. bringing opera to new and creating spaces diverse voices to be heard.

Our investment in community stretches far beyond the conﬁ nes of our festival every May and June. While the Festival Season is a highlight of our work, it’s just one piece of the puzzle. Throughout the year, OTSL is present in neighborhoods across the St. Louis region bringing opera to new audiences and creating spaces for diverse voices to be heard.

REACHING BEYOND THE STAGE

Our work stop when the performance ends. We actively seek to engage with communities in corner of the St. Louis metro area — from downtown to North County, from City to rural areas the outskirts. Whether through pop-up performances in or classroom visits, we the art directly to people where they live, work, and play. In 2024 alone, OTSL organized more than 200 di erent community and education activities in 62 zip codes across St. Louis, more than individuals.

Our work doesn’t stop when the performance ends. We actively seek to engage with communities in every corner of the St. Louis metro area — from downtown to North County, from South City to rural areas on the outskirts. Whether through pop-up performances in parks or classroom visits, we bring the art form directly to people where they live, work, and play. In 2024 alone, OTSL organized more than 200 di erent community and education activities in 62 zip codes across St. Louis, reaching more than 18,000 individuals.

GATEWAY FOR DIALOGUE

Opera is an art form and stories are a powerful way to connect people. At OTSL, we use the operatic voice not just to entertain, to open doors for deeper conversations. In 2010, Opera Theatre convened a group of faith leaders to the themes of John Adams’ The Death of Klingho , resulting in what the media called “an outbreak of interfaith understanding and civility” in St. Louis, and launching a new model of engagement the that encourages dialogue and builds understanding. This work continued each year by embracing topics inspired by the work on our stage, encompassing race, gender, sexual identity, and social justice. These programs invite people from walks of life to come together and share their thoughts, experiences, and perspectives in a space where music and conversation intersect.

Opera is an art form built on storytelling, and stories are a powerful way to connect people. At OTSL, we use the operatic voice not just to entertain, but to open doors for deeper conversations. In 2010, Opera Theatre convened a group of faith leaders to explore the themes of John Adams’ The Death of Klingho er, resulting in what the media called “an outbreak of interfaith understanding and civility” in St. Louis, and launching a new model of engagement for the company that encourages dialogue and builds understanding. This work has continued each year by embracing topics inspired by the work on our stage, encompassing race, gender, sexual identity, and social justice. These programs invite people from all walks of life to come together and share their thoughts, experiences, and perspectives in a space where music and conversation intersect.

We are also deeply committed to amplifying the work of Whether through collaborations with local organizations, or nonproﬁ ts, we aim to share our resources to support and strengthen the of those already serving our community and help bring their missions to life. And we’re excited to o er artistcurated programs like Our Songs that allow an opportunity to share that reﬂ ects their experiences and continues to them.

We are also deeply committed to amplifying the work of others. Whether through collaborations with local organizations, schools, or nonproﬁ ts, we aim to share our resources to support and strengthen the work of those already serving our community and help bring their missions to life. And we’re excited to o er artistcurated programs like Our Songs that allow singers an opportunity to share music that reﬂ ects their lived experiences and continues to inspire them.

“The Artwork and Arias partnership I feel fortunate to steward with Contemporary Art Museum St. Louis (CAM) has unfolded so many layers of inspiration. I enjoy watching artists light up seeing connections between the visual and performing arts. I’ve witnessed opera transcend boundaries and create deeper community connections. OTSL has impacted my own perspective. Before coming to St. Louis in 2020, I considered opera as not really ‘for me.’ I often share a story of the ﬁrst soundcheck we hosted, when I asked if the artist needed a microphone. Everyone smiled and said, ‘That won’t be necessary.’ When the aria began, I felt my spirit move and have been drawn to opera ever since! Happy anniversary, OTSL!”

“The Artwork and Arias partnership I fortunate to steward with Contemporary Art Museum St. Louis (CAM) has unfolded so many layers of inspiration. enjoy watching artists light up seeing between the visual and performing arts. I’ve witnessed opera boundaries and create community connections. OTSL impacted my own perspective. Before coming to St. Louis in 2020, I considered opera not really ‘for me.’ share a story of the ﬁrst soundcheck we hosted, when I asked if the needed a microphone. smiled and ‘That won’t be necessary.’ When the aria began, I felt my move and been drawn to opera ever since! Happy anniversary, OTSL!”

— Michelle Dezember, Director of & Engagement at the Contemporary Art Museum St. Louis

— Michelle Dezember, Director of Learning & Engagement at the Contemporary Art Museum St. Louis

“The Center for the Study of Race, Ethnicity & Equity is proud to partner with OTSL. together on programming that the exploration of race and in opera has a highlight of our arts and culture initiatives. Working together has both rewarding transformative. Together, we have been able to lift up and the varying and talented voices of scholars, singers, and musicians. We truly grateful and proud of this partnership.”

“The Center for the Study of Race, Ethnicity & Equity is proud to partner with OTSL. Working together on programming that fronts the exploration of race and ethnicity in opera has been a highlight of our arts and culture initiatives. Working together has been both rewarding and transformative. Together, we have been able to lift up and celebrate the varying and talented voices of scholars, singers, librettists, and musicians. We are truly grateful and proud of this partnership.”

— Tila Neguse , Senior Associate Director at the Center for the Study of Race, Ethnicity & Equity at Washington University in St. Louis

Tila Neguse , Associate Director at the Center for the Study of Race, Ethnicity & Equity at Washington St. Louis

Mezzo-soprano Michelle Mariposa and pianist Marika Yasuda perform Artwork & Arias at the Contemporary Art Museum St. Louis (CAM), 2024. Photo © Macy White

BREAKING DOWN BARRIERS AND EXPANDING ACCESS

A core part of our community engagement is ensuring that opera is accessible to everyone, regardless of background, ability, or experience. We strive to break down stereotypes and make opera welcoming for first-time operagoers, people with disabilities, and communities that may not have traditionally had access to the arts.

In 2022, Opera Theatre launched a revolutionary approach to commissioning with the New Works Collective. This initiative inverts the traditional opera model by moving decision-making power out of the company’s hands and into the community through a collective of St. Louis residents. This group of ten local artists, advocates, and community leaders annually reviews more than 100 applications and selects composers and librettists to create 20-minute operas that resonate with the St. Louis community — welcoming new creators to the art form and bringing stories of joy, empowerment, and love to our stage.

Whether through community-led artistic practice, sensory-conscious performances, free concerts, or educational outreach programs, we are committed to removing the barriers that can prevent people from experiencing the beauty and power of opera.

“I choose to collaborate with Opera Theatre because it is a joy! am a musicologist, and a lot of my teaching happens through lectures and student discussions. However, I believe that a healthy arts discourse should extend past the classroom and into local communities, and OTSL consistently sparks a conversation that achieves those goals. By collaborating with the creators involved with the New Works Collective I am able to engage incredible music and interesting people beyond a strictly academic context, and that participation enriches my own experience of the music.”

— Lauren Eldridge Stewart, Ph.D. Assistant Professor in the Department of Music, Washington University in St. Louis

“OTSL is a leader among arts organizations, both in St. Louis and nationally, thanks to its Community Engagement & Inclusion Council. ﬁrst joined that council in my capacity as the Diversity Chairperson for STL250, our city’s birthday celebration. Our Council and Board e orts have since grown, impacting all aspects of OTSL and reinvigorating opera as the living art form it is meant to be. OTSL has brought that spirit to the selections on its stage, to its community and education programs, and to the broadening diversity of its artistic and administrative sta . Together, we are St. Louis.”

— Philip Deitch , Board President of the St. Louis

New Works Collective, Cook Shack 2023. Photo © Eric Woolsey

LGBTQ Chamber

Commerce

“OTSL’s commitment to artistic excellence and engaging educational experiences is a transformative force for St. Louis. The outstanding productions they deliver every year, coupled with innovative educational programs, have inspired countless students and residents alike. We are proud to partner with them to advance community building and a vibrant cultural environment. OTSL has helped make this city an even better place to live, fostering a deeper appreciation for the arts and strengthening our collective identity.”

We hope to contribute to a St. Louis that’s just as vibrant and creative, as it is inclusive, connected, and inspired.

— Michael V. Smith , Ph.D. Director at the Des Lee Fine Arts Education Collaborative at University of Missouri St. Louis

“Our work with OTSL has been gamechanging for Gateway Music Outreach. Through our joint initiatives, GMO students have participated in OTSL’s Arts Intensives and Opera on the Go! programs, reaching students who might never otherwise have the opportunity to experience opera. OTSL’s innovative approach to music education has elevated our programming and inspired new teaching methodologies. This partnership exemplifies the power of arts organizations working together to create a lasting impact in our community.”

— James McKay, Co-Founder/Music Director at Gateway Music Outreach

“Three years ago, I ﬁrst experienced Opera Theatre of Saint Louis through the New Works Collective and instantly understood how incredibly vital this work was for our community. Afterwards, I purchased season tickets and continued growing my understanding of just how critical art is to our humanity through the beautiful operas performed that year.

Never would I have imagined that I would come to love the opera so much, but Opera Theatre does an amazing job connecting the talented gifts of performers, composers, and librettists to those who are receiving the stories. In addition, the intentionality behind each opera is what makes them so important to our community.

INSPIRING YOUTH THROUGH EDUCATION

Education is an integral part of our commitment to the community. We believe in nurturing the next generation of artists, audiences, and advocates for opera. Our education programs work with students, families, and educators to provide learning experiences that don’t just promote a love of opera or the arts — they spark curiosity, open-mindedness, and joy across disciplines. Through school residencies, arts intensives, touring shows, master classes, and performance opportunities, we cultivate a love for the arts that will carry on for generations. Last year alone, Opera Theatre served 74 schools across our region.

Throughout its history, Opera Theatre has been a pioneer in creating new works for young people, having commissioned six operas from professional composers and librettists. Each of these commissions has the unique formula of featuring students in principal roles performing for student audiences. Additionally, OTSL has taken the creative process to students in the classroom, who are led by an

OTSL Teaching Artist in creating their own operas. Students experience ﬁ rsthand the worlds of composers, librettists, designers, directors, and performers, bringing their original works to life on the stage for their student peers.

At OTSL, we know that opera’s true magic lies in its ability to bring people together, to transcend boundaries, and to create a sense of belonging. As we look ahead to the next 50 years, our commitment to St. Louis will only grow stronger. We pledge to deepen our presence across the region — bringing opera to more neighborhoods, more often, and in new ways that resonate with the lives and stories of our diverse community. We hope to contribute to a St. Louis that’s just as vibrant and creative, as it is inclusive, connected, and inspired. This is our vision for the future: an opera company that’s not just at the forefront of the city’s cultural landscape, but a vital force that makes St. Louis an even more exciting and welcoming place to call home. ■

As a local educator, Opera Theatre is even more vital because they continue to introduce learners to a world of inﬁ nite possibilities. It’s a world where you can chase your dreams, literally, and see people who look like you on stage or playing the instruments or writing, directing or composing the stories. OTSL has allowed students to experience the incredible talent of local artists both in theaters and in our school.

Opera Theatre could choose to take the easy road, but they choose to be an organization that grows and welcomes all people into the audience to enjoy their productions. I’m grateful not just for the partnership for all of our schools, but also for our greater community.”

— Dr. Grace Lee , Dean of Faculty at MICDS

Pictured (L to R): Danielle Singleton as Rosemary Red and London Morrow as Grandma Vivian in Little Red, The Musical as part of an arts intensive with Grand Center Arts Academy at the Sun Theater, 2023.

PATRICIA SINGS PIAF

FEATURING PATRICIA RACETTE AND CRAIG TERRY THURSDAY, OCTOBER 9, 2025

SPONSORED BY OPERA THEATRE OF SAINT LOUIS

PRESENTED BY THE SHELDON

JAN

& ELLEN RICHTER our steadfast friends

Jan Richter vividly remembers meeting Richard Gaddes, Opera Theatre’s founding director, after watching the 1978 production of La bohème — the ﬁ rst OTSL production he ever attended.

“As I came out of that La bohème and I was looking around the lobby, some Englishman stepped up to me, reached out a hand and said, ‘Glad to see you here tonight. I hope you enjoyed it, and I hope you’ll consider coming again.’”

That warmth and openness instantly persuaded Jan to come back. Two years later, he would be joined by his wife, Ellen, who recalls that “that friendly, welcoming, open connection has been a characteristic of the company from early on.”

Since 1999, the Richters have attended every Opera Theatre season and have shaped Opera Theatre’s very identity, adding their own distinctive warmth to the mix.

“Jan was already a volunteer with Opera Theatre and so I happily joined him. Eventually, I became co-chair and then head of the Guild’s transportation committee,” Ellen remembers.

Their love for Opera Theatre’s productions, particularly the newer works and world premieres, led them to establish the libretto committee to compile and print public copies of the libretto, or script, for each opera.

“This was way back in the nineties. It was really a pity that some of these interesting new works were being done and there was, in a sense, no record of it,” Ellen explains. An early 1990s National Public Radio story about a new piece of technology known as DocuTech inspired them to remedy that. “It was a way to do instant printing for the ﬁrst time. In one or two minutes, you could get this 50-page libretto printed out. And if you needed another 27, or however many, you could do it all in one day,” they recall.

Among their many contributions has been expanding OTSL’s audience. While working at McDonnell Douglas —

then a major aerospace manufacturer in St. Louis — Jan organized evenings designed to turn his colleagues into OTSL patrons.

“For most of the 1990s, we capitalized on the picnic tradition,” Jan recalls. A special arrangement with the box o ce paired with the promise of dessert proved to be a winning combination. “After the performance, we’d come back to the garden for long parties and several times we closed them out. We introduced more than 200 people to Opera Theatre over most of a decade,” Jan says.

While work obligations led the Richters to relocate to Washington D.C., geographic distance never deterred them. They joined OTSL’s National Patrons Council — Ellen becoming a co-chair in 2024 — and have remained our steadfast friends.

As Jan remarks, “Opera Theatre just sells itself to you. If you give it even a third of a chance, it will show you a good time.”

In his free time, John

is also a proliﬁ c painter. This painting commemorates

OTSL’s 50th Anniversary Season with miniature references to every mainstage opera ever produced here. How many can you identify?

JOHN LESSER : the greatest opera fan

JJohn Lesser has seen not just every production, but every single performance Opera Theatre has staged since its inaugural 1976 season. On one occasion, he even walked through a ﬂ ood to make it to the theater. “You can never see an opera too many times,” he explains. “It’s never going to be the same show twice.” Opera o ers what he calls “a sensory overload,” and watching a production numerous times gives him the chance to concentrate on a single element at a time. “Every performance is a new experience.”

ohn Lesser has seen not just every production, but every single performance Opera Theatre has staged since its inaugural 1976 season. On one occasion, he even walked through a ﬂ ood to make it to the theater. “You can never see an opera too many times,” he explains. “It’s never going to be the same show twice.” Opera o ers what he calls “a sensory overload,” and watching a production numerous times gives him the chance to concentrate on a single element at a time. “Every performance is a new experience.”

His introduction to opera came early and almost by accident. When he was 15, his grandmother was gifted a recording of Medea. Since she didn’t have a record player, she gave it to John. “I’d never heard of Maria Callas, whoever that was. I’d never heard of Tulio Seraﬁ n, or Teatro alla Scala. I didn’t know Cherubini.” Yet he immediately connected with the music. “I took the record home, I put it on, and I took the libretto out. And then Callas made her entrance into my living room. She opened her mouth, delivered the ﬁ rst line, and I put the libretto down. I didn’t need it. Everything she felt was in the sound,” he recalls.

Surprisingly, for someone who has never missed a show, he had to be persuaded to attend the ﬁ rst one, Opera Theatre’s original production of Don Pasquale. “My mom had just died, and I was not in the best of shape, so I decided I’d stay home.” A phone call from a friend changed that.

“I had such a good time. It brought me out of my crummy mood.” That very night, he decided to get a ticket for the next performance, and then the next one after that.

Surprisingly, for someone who has never missed a show, he had to be persuaded to attend the ﬁ rst one, Opera Theatre’s original production of Don Pasquale “My mom had just died, and I was not in the best of shape, so I decided I’d stay home.” A phone call from a friend changed that. “I had such a good time. It brought me out of my crummy mood.” That very night, he decided to get a ticket for the next performance, and then the next one after that.

Soon, he became an integral part of the Opera Theatre community. “I always talk about

‘us’ when I talk about Opera Theatre. It feels like family,” he explains. “One of the great advantages of Opera Theatre is being able to go up to the tent after the performance. And then the singers come up and we get to meet them and talk to them. We have opportunities to interact that you just don’t get in any other company.”

Along with his love of opera, John has an abiding love for vintage opera posters, which he avidly collects. In fact, the walls of the Sally S. Levy Opera Center (OTSL’s o ce and rehearsal facility) are lined with items from his astounding collection, made up of over 1,000 pieces. He is particularly fond of his world premiere posters, which often reﬂ ect or give clues about the original staging. “I always say it’s as close as I can get to opening night.”

As much as he values opera history, he is just as invested in its future. “I sit there at master classes, watching young singers, and crying my eyes out because I just think, this is so exciting. The art form that I love most is in good hands.” ■

In his free time, John Lesser is also

50th Anniversary Season with miniature references to every mainstage opera ever produced here. How many can you identify?

FACES OF OTSL

John Lesser with fellow patrons Georgia Pettus (left) and Phyllis Brissenden (middle).

Lesser

CAROL & HARRY MOPPINS our first call

You might have seen Harry Moppins on stage as a supernumerary — or non-singing performer — throughout the years at Opera Theatre. His stage credits include The Grapes of Wrath (2017), Regina (2018), and Awakenings (2022).

“The ﬁrst production I did was The Grapes of Wrath. I was the father that was dying. And it’s at the very end of the opera.” In the scene, the lead soprano must hold him as she sings. “It’s really something to have a soprano singing in your ear, especially if she’s doing a crescendo,” he recalls humorously. Harry has gotten as close as one can get to the magic of opera.

Harry and his wife, Carol, perfectly embody the warmth and dedication of the OTSL Guild, the volunteer organization dedicated to supporting the company. “You can always give your time and talent,” Harry remarks. They have lived up to that as volunteers since Opera Theatre’s second season.

Carol and Harry have held many roles throughout the years. They have lightwalked (i.e., stood in for actors onstage as the lighting designer builds their cues), greeted guests, managed the boutique, transported artists, and served as members of the concierge committee. Alongside the Guild, they have helped welcome performers and craftspeople each festival season. If an emergency arises, the Moppins are often the ﬁrst call and eager to assist.

Carol and Harry crossed paths long before they truly met; they took piano classes together as children where their robust love of music began. Carol has been a distinguished piano teacher for almost 30 years, and Harry is also an experienced pianist. Harry says, “I was the accompanist for my high school choir, and I took piano through my sophomore year of college just to keep my skills up so I can always use that to accompany people.”

In high school, Harry sang in a musical with Grace Bumbry — the trailblazing St. Louis-born opera star. Like Bumbry, Harry attended Charles Sumner High School and studied

is an integral part of the

“Our kids have always been involved with music. We wanted them to experience things like I did growing up,” Harry explains, remembering the time he and Carol took their daughter, Missy, then ﬁve years old, to see Opera Theatre’s 1982 production of The Pirates of Penzance. Decades later, Missy was by her parents’ side as they met Charles Blow, the author of the Fire Shut Up in My Bones memoir that inspired OTSL’s 2019 world premiere opera of the same title.

A tender backstage moment clearly exempliﬁes the special place the Moppins occupy within our Opera Theatre community. Carol and Harry were backstage during a performance of Regina when Carol asked the performers to join her in wishing her mother a happy 90th birthday. The whole chorus joined in on the phone call to sing “Happy Birthday,” a ﬁtting tribute to the Moppins’ generous tenure as Guild members and as true Opera Theatre family.

with the much-storied music teacher Kenneth Brown Billups. Music

Moppins’ legacy.

Courtesy of the Moppins

FACES OF OTSL

ALLISON FELTER a champion for our community

As our Director of Education and Engagement, Allison Felter is a resolute advocate for Opera Theatre’s music education initiatives. When she began working in our education department in 1994, she embraced the challenge of helping grow and steward our world-class resources for our communities in St. Louis and beyond.

Her interest in music began in the sixth grade. Shortly after moving to a new town in Kansas, Allison’s mom signed her up for band to help her make friends. Allison chose the French horn, which opened countless doors both as a student and later as a professional. She studied music and business throughout college, establishing her network through ensemble experiences like high school band to a summer internship with the Spoleto Festival.

While a member of the McDonald’s All-American High School Band, Allison found herself drawn to the administrative side of her musical experiences. For example, how exactly did more than 100 students from around the country make it to the Macy’s Day and Rose Bowl Parades? Who bought their plane tickets, picked their musical selections, and made sure everyone showed up on time?

“That was a transformative experience that showed me that you could pair your interests and your passions together. It informed me there were other ways to make a living that included music.”

At Opera Theatre, Allison pairs her love for music and passion for education to bolster and enhance our community.

“We would not have such amazing artists onstage or behind the scenes if not for the teachers introducing the incredible world of music, drama, and art in the classroom. And it is OTSL’s job to support and enhance this essential work at every opportunity. We are teachers’ greatest fans, as we know their work contributes to every kid’s learning, understanding, and being a productive, happy citizen in this world.”

Allison is incredibly proud of new works that invite students in and celebrate their accomplishments, such as the commissioned work Joshua’s Boots from 1999. Inspired by a discussion at a teachers’ workshop, the opera featured Bayer Fund Artists-in-Training alumnus Jermaine Smith in the title role. It is that exciting spirit of innovation that inspires every day of Allison’s work.

“The best way I can describe it is that every year, the frame is the same, but the canvas is blank, and you get to populate it with new ideas, programs, people, and possibilities. This area is so dynamic, and it has opportunity after opportunity to create something brand new to help kids and audiences make discoveries about opera and about themselves.”

“Not everybody gets to be happy about waking up to their job every day, and not that there are not hard moments, but it is such a privilege and a joy to do something you genuinely love. Introducing great kids and audiences to great art will never get old.”

As she celebrates over thirty years on our annual sta , we salute and thank Allison Felter, our great champion of education and engagement, and wish her and her education department colleagues continued success at Opera Theatre.

FACES OF OTSL

Photo

Eric Woolsey

OPERA IN THREE ACTS

English translation by Ruth & Thomas Martin

Presented under license by G. Schirmer, Inc. and Associated

Die Fledermaus

First

creative team

Diane Machin

Seán Curran Choreographer

Assistant Stage Director

Andrew Whitﬁ eld Chorus Master

Cindy Knight Stage Manager

Erie Mills

English Diction Specialist

Steven Aguiló-Arbues* Assistant Conductor

Valerie J. Clatworthy

Assistant Stage Manager

Emily Sta ord

Assistant Stage Manager

Emma Kay Staunton*

Vicari

Wig & Makeup Designers

Jonathan Heaney* Repetiteur

Intern Assistant Stage Manager

This performance will last approximately 2 hours and 25 minutes, including one 25-minute intermission.

Music by Johann Strauss II

Libretto by Carl Ha ner and Richard Genée, after Henri Meilhac and Ludovic Halévy’s Le réveillo n

Die Fledermaus is underwritten by Roma B. Wittco

THE CAST

(in order of appearance)

(in order of vocal appearance)

ALFRED

Joshua Blue +○

ADELE

Deanna Breiwick

ROSALINDE

Sara Gartland*

GABRIEL VON EISENSTEIN

Edward Nelson*

DR. BLIND

Gregory V. Sliskovich*

Gregory V. Sliskovich

DR. FALKE

Johnathan McCullough○

Johnathan McCullough

FRANK

Robert Mellon +○

Robert Mellon

SALLY

Sophia Baete*

Sophia Baete

PRINCE

PRINCE ORLOFSKY

Kelsey Lauritano

IVAN /FROSCH

Oscar Olivo*

ACT II

II

Outside the Eisenstein residence, Alfred serenades his former lover, Rosalinde, who is now married to Gabriel von Eisenstein. Rosalinde’s housemaid, Adele, wishes she could attend the glamorous party that Prince Orlofsky is throwing. When Rosalinde refuses to give her the night o , Adele pretends her aunt is sick. Alfred continues to profess his love, and although Rosalinde initially resists, she eventually agrees to a rendezvous later.

Outside the Eisenstein residence, Alfred serenades his former lover, Rosalinde, who is now married to Gabriel von Eisenstein. Rosalinde’s housemaid, Adele, wishes she could attend the glamorous party that Prince Orlofsky is throwing. When Rosalinde refuses to her the night o , Adele pretends her aunt is sick. Alfred continues to profess his love, and although Rosalinde initially resists, she eventually agrees to rendezvous later.

to champagne and brotherhood as the revelry continues late into the early hours of the morning, when Eisenstein must rush o to jail.

to champagne and brotherhood as the revelry continues late into the early hours the morning, when Eisenstein must rush o to jail.

At Prince Orlofsky’s extravagant party, guests gossip about their enigmatic host. Orlofsky is skeptical when Falke promises him an entertaining evening, but he agrees to see where the night takes them.

At Prince Orlofsky’s extravagant gossip their enigmatic host. Orlofsky is skeptical when Falke promises him an entertaining evening, but he to see where the night takes them.

ACT III

Eisenstein returns home with his lawyer, Dr. Blind, after having just been sentenced to eight days in jail for hitting a police o cer.

His friend Falke urges him to delay jail for a night so they can both attend Orlofsky’s party. Unbeknownst to Eisenstein, Falke also invites Rosalinde, o ering her the chance to catch her husband ﬂ irting with other women. When Eisenstein departs for “prison,” Rosalinde bids him farewell.

His friend Falke urges him to delay jail a night they can both attend Orlofsky’s party. Unbeknownst to Eisenstein, Falke also invites Rosalinde, o ering her the chance to catch her husband ﬂ irting with other women. When Eisenstein departs for Rosalinde bids him farewell.

Alfred returns for a romantic nightcap, but they are interrupted by the prison warden Frank, who has come to arrest Eisenstein. To protect her reputation, Rosalinde convinces Alfred to pose as her husband and leave with Frank.

Adele shows up and surprises her sister Sally, who is a professional dancer, by posing as a mysterious named Tanya. Eisenstein is masquerading as a Frenchman. He recognizes Adele but she manages to preserve her disguise. One of the other partygoers is the prison warden Frank, who to be a producer to Sally and Adele.

Adele shows up and surprises her sister Sally, who is a professional dancer, by posing as a mysterious starlet named Tanya. Eisenstein is masquerading as a Frenchman. He recognizes Adele but she manages to preserve her disguise. One of the other partygoers is the prison warden Frank, who pretends to be a producer to impress Sally and Adele.

Rosalinde makes her entrance in a mask and costume, she is incensed to see her husband indeed ﬂ irting with other women. She slyly steals his favorite pocket watch after capturing As midnight Falke recounts the story of nickname, Dr. Fledermaus (“Dr. Bat”), he received courtesy of a past prank by Eisenstein. The crowd toasts

When Rosalinde makes her entrance in a mask and costume, she is incensed to see her husband indeed ﬂ irting with other women. She slyly steals his favorite pocket watch after capturing his attention. As midnight approaches, Falke recounts the story of his infamous nickname, Dr. Fledermaus (“Dr. Bat”), which he received courtesy of a past prank by Eisenstein. The crowd toasts

At the jail, the grumpy warden Frosch is annoyed by Alfred’s non-stop singing. Frank arrives, slightly inebriated and reminiscing about the previous night’s escapades. Adele and Sally come to the prison hoping that Frank can help them advance their stage careers.

At the jail, the is annoyed Alfred’s non-stop singing. Frank arrives, inebriated and reminiscing about the previous night’s escapades. Adele and Sally come to the prison hoping that Frank can help them advance their stage careers.

When Eisenstein arrives at the jail, he is surprised to discover his cell is already occupied by a man who was found with his wife. Eisenstein disguises himself as Blind in order to confront the imposter. Rosalinde rushes in, seeking Alfred’s release. When Eisenstein reveals himself to Rosalinde, she defi antly produces his watch as proof of his own would-be infi delity. The scene dissolves into a brawl, and Orlofsky arrives to break it up. As peace is restored, the entire party sings a fi nal toast to the pleasures of champagne and love. ■

When Eisenstein arrives at the jail, he is surprised to discover his cell is already occupied by a man who was with his wife. Eisenstein disguises himself as Blind in order to confront the imposter. Rosalinde rushes in, seeking Alfred’s release. When Eisenstein himself to Rosalinde, she defi antly produces his watch as proof of his own would-be infi The scene dissolves into a brawl, and Orlofsky arrives to break it up. As peace is restored, the entire party sings a fi nal toast to the pleasures of champagne and love. ■

A man dressed as Napoleon enjoys the attention of female party-goers at a costume party.

Photo © Creative Commons

COSTUME SKETCHES

a note from THE CONDUCTOR a note from THE DIRECTOR

by Shawna Lucey

SStrauss’ gem of an operetta, whose title translates to “The Revenge of the Bat,” has infidelities, saucy maids, operatic tenors, a costumed ball, a jail, and Russian nobility…all set to the music of the “Waltz King.”

trauss’ gem of an operetta, whose title translates to “The Revenge of the Bat,” has infidelities, saucy maids, operatic tenors, a costumed ball, a jail, and Russian nobility…all set to the music of the “Waltz King.”

In thinking about Rosalinde and Eisenstein, who are hungry for a little entertainment, Orlofsky’s imperial gender-bending and pleasure-seeking nature, and Dr. Falke’s extraordinary revenge plan led me to the year 1959, when the first Playboy Bunny Club opened in New York City. This happy couple living in the suburbs just might find their way to a naughty Halloween party in Greenwich Village, with

by George Manahan by Shawna Lucey

by George Manahan

IIflashes of Stonewall just a few years on the horizon.

flashes of Stonewall just a few years on the horizon.

Our beloved characters are walking a razor’s edge between absurdity and dignity, making them comedic fodder and oh-so-painfully human. And much like life, no one in this operetta is absolutely right or exactly wrong. In assuming life can be made perfect, we are all exposed for our foolishness.

Best just pour out some bubbles, raise a glass, and enjoy every moment of this life with a generous heart and open mind. For as the Russian proverb warns, she who does not risk does not drink champagne. 

GETTING TO KNOW VIENNESE OPERETTA

Die Fledermaus is one of the beloved examples of an operatic sub-genre called “Viennese operetta.” Learn what that means and what elements to listen for as you watch the performance!

Since its premiere in 1874, no Viennese operetta has come close to eclipsing Die Fledermaus in popularity. This style (a direct precedessor to modernday musical theater) was extremely popular in the decades leading up to World War I, not only for its charming and memorable music, but also for its lighthearted yet satirical social commentary.

t is a joy to return to Opera Theatre of Saint Louis for the opening production of its 50th Anniversary Season. It’s hard for me to believe, but this is my sixth time conducting at Opera Theatre since 2003 — and most of my previous operas here were new or contemporary works, such as Champion, Emmeline, and Treemonisha

So what is it about a classic title like Die Fledermaus (which premiered in 1874) that made me eager to return for this project, you might ask? Simply put, this opera is a joy to work on each and every time. It was created in a mad whirlwind with a very short timeline…the entire score was composed in just 42 days! Strauss tended to write faster than his librettist partners and for this particular opera, he composed several chunks of scenes before the

words had even been written, which is quite unusual in opera.

This frenetic energy, where the music and the text lead and propel each other in equal measure, translates to a fast-paced and thoroughly delightful evening of music and theater. The score is both catchy and sumptuous, highlighting the best parts of the Viennese waltz tradition, although what you’ll see tonight is a slightly more contemporary imagining from our brilliant stage director, Shawna Lucey. I’m delighted for this opportunity to work once again with the members of the St. Louis Symphony Orchestra, the quality and reputation of which is truly unmatched in the world of opera.

I hope you enjoy the music and comedy of our Die Fledermaus — all hail the joys of love, brotherhood, and champagne! 

Die Fledermaus ’ composer, Johann Strauss II (not to be confused with Richard Strauss) was also known as “The Waltz King.” He composed more than 500 waltzes, polkas, and other dance tunes during his lifetime and his music was widely enjoyed everywhere from Moscow to Boston.

Die Fledermaus composer, Johann Strauss II (not to be confused with Richard Strauss) was also known as “The Waltz King.” He composed more than 500 waltzes, polkas, and other dance tunes during his lifetime and his music was widely enjoyed everywhere from Moscow to Boston.

During the opera, you’ll hear elements of these various dances, from the swaying “12-3” beat of the waltz to the ever-increasing pace of the Hungarian csárdás, which is prominently featured in Rosalinde’s dramatic Act II aria. In addition to popular dance music, you’ll also hear rich and sweeping melodies common to the Romantic era, punctuated by rousing ﬁ nales featuring the full ensemble. 

Photo © Ken Howard/Opera San José

Richard Bowditch

Sketches courtesy of costume designer Robert Innes Hopkins.

OPERA IN TWO ACTS

THE CAST

(in order of vocal appearance)

YOUNG IDA

Brandie Inez Sutton

MILTON

Sankara Harouna*

LUCY

Aundi Marie Moore*

BEULAH

Krysty Swann*

UNCLE PERCY

Victor Ryan Robertson

IDA

Adrienne Danrich

LINDON

Justin Austin+

ZOE

Briana Hunter ○

GLENN

Brad Bickhardt ♦

Brad Bickhardt

THOMAS

Christian Pursell

SYNOPSIS

ACT I

Voices of generations past whisper through the Walker home in Harlem’s Sugar Hill neighborhood. Ida shoos the voices away as her son works painting. Outside, approaches the house with her husband Glenn. Zoe is overwhelmed by childhood memories as she looks out over the block. Zoe asks Glenn to let her enter the house alone — she hasn’t visited Ida and Lindon in years.

Voices of generations past whisper through the Walker home in Harlem’s Sugar Hill neighborhood. Ida shoos the voices away as her son Lindon works on a painting. Outside, Ida’s daughter Zoe warily approaches the house with her husband Glenn. Zoe is overwhelmed by childhood memories as she looks out over the block. Zoe asks Glenn to let her enter the house alone — she hasn’t visited Ida and Lindon in years.

The family’s reunion is uneasy. Lindon’s brotherly banter is a tad too sharp, Ida is quick to question her daughter’s motivations, and Zoe can’t stop pointing out items in need of repair. But where Zoe sees decay, Ida and Lindon see their family history. Ida remembers her own sister Lucy and all the trouble they used to get into together as young girls despite their mother’s strict rules.

Ida is pulled back to the present when Zoe reveals that she’s pregnant, but Ida isn’t pleased. She’s agitated by the ghostly ﬁ gures of Lucy, her husband Milton, and her mother Beulah lingering in the background. Zoe can’t see the ghosts, who crowd around the Walkers as the house pressures a reluctant Ida to tell Zoe the truth.

Ida brings to life the history and former inhabitants of the house. Originally purchased by Minus Walker, the son of a sharecropper,

the house passes in the 1930s to Ida’s Uncle Percy, who lives fast, wild, and far beyond his means. Beulah begs her brother not to squander the fruit of their father’s hard work. As Percy’s recklessness spirals out of control, he begins selling all their possessions to keep his creditors at bay. Desperate not to lose their home, Beulah commits an act of violence to protect their father’s legacy.

ACT II

Ida begs an aloof Milton for love, but he warns her not to ask for more than he can give.

Thomas, Lindon’s boyfriend, drops by the house with some shopping and a ectionately greets Zoe. Like Zoe, Thomas is eager to get Lindon out of the house and suggests a trip to Valencia, Spain. The two lovers’ argument blends with another ghostly couple’s…young Ida begs an aloof Milton for love, but he warns her not to ask for more than he can give.

Zoe is getting some fresh air on the stoop when Glenn the corner.

confesses that she’s having second thoughts about their plan to move into the brownstone, but Glenn begs her

Zoe is getting some fresh air on the stoop when Glenn returns from a co ee shop around the corner. She confesses that she’s having second thoughts about their plan to move into the brownstone, but Glenn begs her

not to give up on their dream. Zoe goes back inside and asks Lindon once again to let her renovate their home. Ida cryptically accuses Zoe of being too much like her aunt Lucy.

We travel to the past where Lucy leads a Black nationalist meeting at the house. Young Ida has brought her ﬁ ancé Milton home to meet her family, painfully unaware that Milton and Lucy are about to fall in love with each other. Later, Beulah confronts Lucy, who is pregnant with twins. Lucy views motherhood as an obstacle to her future dreams, but Milton desperately wants to be a father. Lucy begrudgingly gives birth, but then refuses to feed or care for the infants. As Milton tries to comfort the screaming babies, Young Ida argues with Lucy to disastrous results.

Ida has fi nally revealed all her secrets to her horrifi ed daughter. Worried, Glenn enters the house to fi nd a distressed Zoe, who emotionally confronts her mother and brother. After one last stunning revelation, Zoe is forced to make her peace with the past so she and Glenn can step into the future. ■

Beautifully restored brownstones look out over West 120th Street in Harlem.

Photo © Lee Snider, 2007

a note from THE COMPOSER a note from THE LIBRETTISTS

by Lynn Nottage & Ruby Aiyo Gerber

by Lynn

by Ricky Ian Gordon

TTfamily inhabit a majestic Harlem brownstone, once home to salons and rich social

Walker

the external world continues to revolve around them. Outside, the devoured Black lost disappearance such, become resistance; a repository of family history and occupants, family, are times sure are or protectors.

wo generations of the Walker family inhabit a majestic Harlem brownstone, once home to salons and rich social gatherings. Now it keeps its inhabitants suspended in time as the external world continues to revolve around them. Outside, the surrounding neighborhood is being devoured by gentriﬁ cation and Black displacement, Black homes and histories erased — lost to gut renovations, the sterile chill of central A.C., and the disappearance of traditions that once deﬁ ned Harlem’s heartbeat. Yet, this house refuses to surrender. As such, the house has become a form of resistance; a repository of family history and memories. The occupants, the Walker family, are tethered to the brownstone, but at times they are not sure whether they are prisoners or protectors.

At the heart of the opera is a conversation between generations. As collaborators —and as mother and daughter — we found an intimate, expansive, and emotional vocabulary to excavate the rich lives of the Walker family. In doing so, we also found a way to explore our own relationship: the tensions and tenderness, the inheritance of memory, and the weight of what it means to hold on — or to let go.

It has been a joy watching composer Ricky Ian Gordon awaken the inhabitants of the Walker brownstone and bring them so gloriously to life with his evocative, soulful, and

heart is between expansive, vocabulary to excavate the rich of a to explore the memory, and the weight of what it inhabitants of the Walker brownstone so ability emotional We be with James Robinson, whose vision have helped into

beautiful music. Ricky is a brilliant storyteller with the rare ability to illuminate the emotional depths of his characters through sound. We are so thankful to be in collaboration with James Robinson, whose vision and artistry have helped to shape this opera into something truly special. ■

WAiyo Gerber deserves an essay of own. of the expertise are to

orking with a mother and daughter the likes of Lynn Nottage and Ruby Aiyo Gerber deserves an essay of its own. Few would dispute that Lynn is one of the most brilliant and celebrated playwrights in the world. Her expertise at plot construction, character development, and the overall sca old that keeps a play a taut and compelling creation are unquestionable. But her instinct to bring her brilliant poet daughter into our process, and her trust that it was Ruby’s idea we should musicalize — a play Ruby had written at Brown University, where Lynn also went — ended up being gold.

a play Ruby had written at Brown gold.

unique at a house inhabitants

This unique look at a century-old house in Harlem and its inhabitants — a long line of colorful characters in compelling and moving situations — a orded me a way to get out my entire palette and paint each character in a musical vocabulary that I felt, instinctively, suited them: jazz, ragtime, serialism, American popular song, stride piano, hard rock…you name it, basically, a musical walk through a century and a quarter. So often, I would be setting absolutely beautiful text to music, and I would write to Lynn and ask, “Who wrote this?” And she would always write back, “The magic of Ruby.” What a privilege it has been to create this opera with two such jewels.

compelling way that I jazz, ragtime, serialism, American name walk a century would beautiful text to music, and I would has been jewels.

contemplate raising their family in the house Zoe grew up in. We meet them on the stoop of the brownstone. More, I cannot say, except this: it gives new meaning to the phrase, “If these walls could talk.” Even the house sings!

based on degree the pandemic.

This House is based on a piece Gerber began during her undergraduate degree at Brown University during the COVID-19 pandemic.

There is far too great a risk of revealing spoilers when writing about this opera. A young couple, Zoe and Glenn, are expecting a child, and they

Su ce it to say, I am very excited to bring This House to you with our tremendous cast, the wonder of my dear friend, Jim Robinson, directing our fourth collaboration! The great Daniela Candillari conducting, Allen Moyer designing the set (my ﬁ fth opera with him)! And…there is my

There is far too great a risk of writing and their the house to House my dear friend, Jim Robinson, directing Candillari Allen ﬁ him)!

dear friend, almost brother, Bruce Coughlin, who works with me on my big operas when we orchestrate together, whose ears I would not want to be in a world without. And all the new and wondrous people I have met creating This House. That’s how it is. A composer sits alone in his room for a few years — which can be lonely, frustrating, and isolating — but at the end, there is a room full of people, and you can be satisﬁ ed knowing you have created this rich and varied community. I am overwhelmed with gratitude to bring this to you. ■

friend, who I would in his a few — be lonely, end, there is a room full of people, I

Two-time Pulitzer Prize winner Lynn Nottage and her daughter, poet and writer Ruby Aiyo Gerber, are teaming up to write the libretto of This House

Photo © Jasmine Clarke

Ruby

Nottage daughter,

Gerber, are teaming up

This House

This is Ricky Ian Gordon’s second collaboration with Nottage, following the 2022 opera, Intimate Apparel (based on Lynn Nottage’s play of the same name).

Photo © Fay Fox

a note from THE CONDUCTOR a note from THE DIRECTOR

by James Robinson

In the winter of 2022, I had the great pleasure of attending a performance of an opera at Lincoln Center Theater Company — Intimate Apparel by my longtime collaborator and composer Ricky Ian Gordon and Lynn Nottage, a playwright who had reigned supreme in my theater-going memory for years.

Written for a small ensemble of singers and scored for only two pianos, this opera, based on Lynn’s play of the same name, was a bit of a revelation for me. I knew, of course, that Ricky had produced a string of brilliant operas including two for OTSL, but how was it that this was Lynn’s first foray into the operatic world? She was a natural librettist. It didn’t take long for me to reach out to Lynn and Ricky and invite them to create another opera for St. Louis. But I had one request: Please write something on an original subject, not an adaptation of an existing play. They both enthusiastically agreed. Lynn, however, suggested that she collaborate with her daughter, Ruby Aiyo Gerber, an early-career writer, and went so far as to offer up an idea for the libretto that Ruby had been kicking around for a few years.

This House a story about a multigenerational family living in a Harlem brownstone, seemed like the perfect tale for a motherdaughter collaboration. Ricky was obviously inspired by this story and he quickly set to work. Over the ensuing months, This

House began to emerge as a unique and passionate opera and one that inspired me and my entire creative team, all present or former inhabitants of New York City brownstones. Thoughts of former inhabitants of these buildings occupied my time living in Brooklyn and I often wondered what stories the walls could tell.

This House, with its complex family dynamics, its painfully revealed secrets, and the blurred lines between reality and fantasy, past and present is an opera I have been looking forward to directing since the idea for it was hatched. It is befitting that This House, which connects history with the present day, is the world premiere for Opera Theatre’s 50th Anniversary Season. n

Working on a new opera is always a thrilling experience. We get to enjoy the incredible privilege of working with the composer and the librettist in real time. I have been a fan of Ricky Ian Gordon’s music since my student days at Indiana University. When Ricky expressed his wish to work with me on his newest opera, I was thrilled.

Shortly after our first conversation, Ricky shared the libretto with me and I remember being completely drawn to the story and the characters. I found myself wanting to learn more about each one of our protagonists and being completely invested in everything they were facing. The duet between Thomas and Lindon brought tears to my eyes and I simply couldn’t wait to get to see the full score and start my discovery of Ricky’s shaping of the musical world.

From the stoic hymn-like melodies in the brass in the opening, to the light and airy textures in the winds, to the returning motif that symbolizes the house as a character, Ricky’s score and orchestration are filled with details, precision, and complexity. His incredible dedication to the text and word painting are shown through quick tempo changes, which always follow the speed of the language and — in a way — remind me of the shapes of Richard Strauss’ conversation operas. When Lucy says “time has no place,” the orchestra paints the passage of time with ticking

by Daniela Candillari

even eighth notes, starting in the strings and then gradually building throughout the orchestra, only to ease out into the nostalgic sound of harp and celesta, which then serve as a carpet for the rhythmic textures in the woodwinds. Rich, romantic harmonies and the harmonic shifts always direct our attention to the next dramatic moment, thereby making the orchestra not just the support for the stage, but an active participant in every dramatic beat.

Through all these musical elements — including stylistic shifts that encompass swing, habanera, and ragtime, among others — and impeccable timing of character

and mood changes, I believe This House will be an evening filled with joy, curiosity, heartbreak, hope, and perhaps most importantly, a question of how we create our worlds and what roles are adopted by the spaces in which we reside. I hope you will join me in celebrating and participating in our 45th world premiere! n

Did you know?

As Principal Conductor, Candillari works to shape the music direction and ensure the highest quality of musical preparation for each production.

After 16 years as OTSL’s Artistic Director, Robinson joined Seattle Opera as their newest General and Artistic Director in September 2024. Robinson brings his collaborative, innovative spirit to lead to This House in 2025.

Photo © David Jaewon

OPERA IN THREE ACTS

Music by Gaetano Donizetti

Libretto by Giovanni Ru ni and the composer

English translation by Phyllis Mead

translation Phyllis

Don Pasquale was ﬁrst performed at Théâtre Italien , Paris on January 3, 1843

First performed by Opera Theatre of Saint Louis on May 22, 1976

First

English Diction Specialist

Balleza

Steward Family Foundation

Pasquale supported by gift honoring the memory of Sally S. Levy from The Saucy Foundation by her children: & J David Diane & Paul Jacobson, and Karen & Levy

THE CAST

(in order of vocal appearance)

DON PASQUALE

Patrick Carﬁ zzi

DR. MALATESTA

Kyle Miller ○

ERNESTO

Kyle Miller ○ ERNESTO

Did you know?

Charles ○

Charles Sy ○

NORINA

Susanne Burgess*○

NOTARY

Sheri Greenawald

Don Pasquale

Opera Theatre ever produced! It opened our inaugural season

Don Pasquale was the ﬁrst opera that Opera Theatre ever produced! It opened our inaugural season on May 22, 1976.

SYNOPSIS

ACT I

The wealthy bachelor Don Pasquale is furious that his nephew Ernesto has fallen in love with a penniless widow. Pasquale decides to get married himself so he can disinherit his disobedient nephew and produce a new heir. Pasquale consults Dr. Malatesta, who suggests his own sister as a bride. Elated, Pasquale instructs Malatesta to arrange the meeting. Ernesto arrives and once again deﬁ es his uncle’s orders to choose a more suitable bride. Pasquale shares his own marriage plans and kicks Ernesto out of the house. The young man is devastated by the loss of his inheritance and his future with Norina.

The wealthy bachelor Don Pasquale is furious that his nephew Ernesto has fallen in love with a penniless widow. Pasquale decides to himself so he can disinherit his disobedient nephew and produce a new heir. Pasquale consults Dr. Malatesta, who suggests his own sister as a bride. Elated, Pasquale instructs Malatesta to arrange the meeting. Ernesto arrives and once again deﬁ es his uncle’s orders to choose a more suitable bride. Pasquale shares his marriage plans and Ernesto out of the house. The young man is devastated by the loss of his inheritance and his future with Norina.

Malatesta visits Norina and lays out his plan: she will pretend to be his sister, marry Pasquale in a mock and then make him so miserable that he would do anything to be rid of her. Norina accepts.

Malatesta visits Norina and lays out his plan: she will pretend to be his sister, marry Pasquale in a mock ceremony, and then make him so miserable that he would do anything to be rid of her. Norina accepts.

ACT II

Oblivious to the plan, Ernesto mourns the loss of Norina and his impending exile. Meanwhile, Pasquale can’t wait to meet his new bride. Malatesta arrives and introduces Pasquale to his timid sister “Sofronia.” Pasquale is smitten and decides to hold the wedding immediately.

Just as the ceremony begins, Ernesto bursts in, accusing Norina of betrayal. Malatesta discreetly explains the plan to Ernesto, who then agrees to witness the marriage. Once the contract is signed and Pasquale hands over his fortune, Norina sheds her demure façade and declares herself the master of the household. Pasquale is left stunned.

ACT III

As Norina indulges in lavish spending, Pasquale is infuriated at his growing mountain of bills. Norina mocks Pasquale, but in her heart of hearts, she begins to feel some sympathy for the old man. As she leaves for the theater, she drops a letter for Pasquale to ﬁ nd, suggesting a secret rendezvous with a lover. Alarmed, Pasquale calls for Malatesta, who assures Pasquale that they will catch “Sofronia” in a compromising situation.

As Norina indulges in lavish spending, Pasquale is infuriated at his growing mountain of bills. Norina mocks Pasquale, in her heart of hearts, begins to feel some sympathy for the old man. As she leaves for the theater, she drops a letter for Pasquale to ﬁ nd, suggesting a secret rendezvous with a lover. Alarmed, Pasquale calls for Malatesta, who assures Pasquale that they will catch “Sofronia” in compromising situation.

Ernesto serenades Norina, and they profess their love for each other. Pasquale and Malatesta arrive too late to catch Ernesto, who slips away as Norina plays the dutiful wife. Malatesta then announces that Ernesto plans to introduce his bride to Pasquale, who has no idea that Norina is, in fact, the widow that Ernesto loves. “Sofronia” acts enraged at the idea of sharing her home with another woman, leading Pasquale to joyfully permit Ernesto to marry Norina and restore his inheritance. When the truth about “Sofronia” is revealed, Pasquale accepts the outcome with good humor and gives the couple his blessing. ■

(L to R) Peter Strummer as Don Pasquale, Ron Raines as Dr. Malatesta, Sheri Greenawald as Norina, and Vinson Cole as Ernesto in Opera Theatre’s ﬁ rst-ever production, Don Pasquale

Photo © Bill Smith, 1976

MEMORIES

FROM 1976

by Sheri Greenawald

This season’s production of Don Pasquale features a cameo appearance by soprano Sheri Greenawald as the Notary. Sheri sang the role of Norina in OTSL’s inaugural 1976 performance and kindly oﬀered us these memories of that ﬁrst season.

Richard Gaddes brought together such a bright group of young talent, and we were all enthused to help launch the company. I was lucky enough to know dear Richard already from The Santa Fe Opera, so I didn’t hesitate to accept the contract to sing at his new company.

I also was very close friends with our stage director Christopher Alden; in fact, during that ﬁrst season, Christopher and I shared an apartment at the lovely Garden Apartments (just down the street from the theater), which is where most of the young artists were housed. It had a somewhat dormitory feel! Even after all these years, I can still recall the sound of the train that ran by the Garden Apartments around about 4 a.m. and always woke me up. And I’ll never forget the smell of honeysuckle that grew outside the back door of our apartment!

We artists hung out together constantly. It was the best part of “festival” work…to be able to establish such close relationships with one’s colleagues and to simply have communion

a note from THE DIRECTOR

IIn Act I, an aging patriarch clings to his last shreds of dominance, refusing to cede his power to the next generation. In Act II, an empowered female crashes through the glass ceiling and shoves the patriarch o his throne. In Act III, the deposed monarch, confused and befuddled by the mysterious ways of his successors to the throne (Gens X, Y, and Z), ﬁnally lets go of his drive to assert his authority, turns on the metaphorical TV, and gives way to the joys of retirement.

n Act I, an aging patriarch clings to his last shreds of dominance, refusing to cede his power to the next generation. In Act II, an empowered female crashes through the glass ceiling and shoves the patriarch o his throne. In Act III, the deposed monarch, confused and befuddled by the mysterious ways of his successors to the throne (Gens X, Y, and Z), ﬁnally lets go of his drive to assert his authority, turns on the metaphorical TV, and gives way to the joys of retirement.

The fates could not have chosen a more fitting way to celebrate the 50th anniversary of Opera Theatre of Saint Louis than by bringing back Don Pasquale, the first piece ever performed by this illustrious company. Donizetti’s evergreen masterpiece, arguably the greatest opera buffa ever composed, sings wittily of the joys and pains of ageing, of the ever-shifting relationship between young and old, and, finally, of the satisfaction which comes from accepting one’s mortality. It’s pretty amazing that I was only seven years old when I directed that first Don Pasquale a half century ago, no? OK, I was actually 25 at the time, which means I’m now…well, you do the math! In any event, there have been a lot of developments during

by Christopher Alden

in what is often a very lonely profession.

I can’t remember where we rehearsed that summer, as rehearsal spaces often changed…from school auditoriums to spaces in shopping malls. But we got the job done! I suppose I was surprised when I moved into the theater to ﬁ nd the thrust stage and the vomitoria. But I came to enjoy waiting in the “voms” for my entrances. Vinson Cole and I could be very naughty waiting there… one could make faces at someone on stage, but the audience couldn’t see us!

those 50 years, beginning with the ways in which opera designers and directors like Marsha Ginsburg and I approach the timeless masterpieces which have been handed down to us.

“Having now become, in Andrew Jorgensen’s words, ‘a distinguished senior statesman in the opera world,’ Alden returns to helm this new production.”

“Having now become, in Andrew Jorgensen’s words, ‘a distinguished senior statesman in the opera world,’ Alden returns to helm this new production.” - ST LOUIS POST - DISPATCH

- ST . LOUIS POST - DISPATCH

Take a look at the photos of the 1976 production on these pages and compare them to the aesthetic of the current one, which replaces period-specifi c picture postcard realism with a more open-ended fl uidity, in an attempt to conjure up a psychic space in which the eternal confl ict between young and old

can be seen from di erent shifting perspectives. Perhaps some of you are saying to yourselves, “Hmmm...I kind of prefer how the ’76 production looked,” but the heady controversy circling around tradition versus innovation has played a key role in keeping the mad art form called opera provocative, challenging, and lively during these past 50 years.

The dynamic young singers in the cast of Don Pasquale those many years ago were stellar members of an exciting new generation of American opera singers who, with the looks and acting chops of movie stars, suddenly began to be snapped up by the opera houses of the world: Ron Raines, Vinson Cole, Peter Strummer, and Sheri Greenawald, one of

“The fates could not have chosen a more ﬁtting way to celebrate the 50th anniversary of OTSL than by bringing back Don Pasquale , the ﬁrst piece ever performed by this illustrious company.”

the reigning divas of OTSL. Their careers were lovingly supported and developed by OTSL, as were the careers of countless singers, conductors, directors, coaches, designers, stage managers, etc. of the succeeding generations, who have been fortunate enough to take part in the brilliant ﬁ rst half century of Opera Theatre of Saint Louis. ■

I came to love the thrust stage and the intense proximity of the audience, who could see every nuance of one’s acting choices. That proximity is what makes Opera Theatre so special. Nowhere else can you feel so connected to the people for whom you are performing, and we could sense that from day one. We sang our hearts out, and, ah, what we did for love and OTSL! ■

Photo courtesy of Christopher Alden

Photo © Larry Williams, St. Louis Post-Dispatch

Sheri Greenawald as Norina in Don Pasquale

Photo © Bill Smith, 1976

Photo courtesy of Christopher Alden

Photo © Larry Williams, St. Louis Post-Dispatch

The cast of OTSL’s 1976 Don Pasquale (pictured L to R): Ron Raines, Sheri Greenawald, Peter Strummer, and Vinson Cole with director Christopher Alden as he explains blocking.

Michael F. Neidorff Chamber Concert Series

Masters of Vienna

Monday, September 22, 7:30

Experience the timeless brilliance of Vienna’s musical heritage.

French Impressions:

A Tale of Two Cities

Monday, October 13, 7:30

A musical journey connecting Sister Cities St. Louis and Lyon.

Halloween Spooktacular

Monday, October 27, 7:30

A hauntingly fun musical journey with mysterious and macabre melodies.

Echos of Germany

Monday, November 17, 7:30

Celebrating St. Louis and Stuttgart Sister Cities.

Gypsy Spirit

Monday, December 1, 7:30 Composers inspired by the passion of Romani music.

Silent is Golden Monday, December 15, 7:30

Unfinished Business

Monday, January 26, 7:30 Unfinished, yet the music continues to resonate.

AdDouble-feature silent films on the big screen as we perform the music live at the Hi-Pointe Theatre.

Love Notes

Monday, February 16, 7:30

Our signature Valentine’s Lovefest program returns: music inspired by love and romance.

An Evening With Nicholas McGegan

Monday, March 9, 7:30

Our St. Louis favorite graces our stage for another enchanting night of music.

Swing Into Spring

Monday, March 30, 7:30

Shake

duo Stephanie Trick and Paolo Alderighi.

Night at the Opera

Monday, April 20, 7:30 Chamber music by opera composers.

May the 4th Be With You Monday, May 4, 7:30 All things 4 on the 4th of May.

a note from THE CONDUCTOR

by Kensho Watanabe

Icome to this production of Don Pasquale following recent experiences with Puccini’s dramatic operas La bohème and Madame Butterfly, as well as contemporary works like Terence Blanchard’s Champion and Kevin Puts’ The Hour s. Don Pasquale is a fascinating contrast to these works, and presents an opportunity for me to immerse myself in Donizetti’s mastery of bel canto opera, where comedic timing, lightness, and sensitive support of the singer from the pit are essential.

One of the real highlights of Don Pasquale is its overture, which beautifully showcases the St. Louis Symphony Orchestra in the pit. A particular point of interest is the gorgeous cello solo at the beginning which gives a glimpse into the opera’s tender lyricism. Beyond the overture, audiences should also listen for Donizetti’s brilliant ensemble writing as well as the quick, witty exchanges that make this opera such a delight.

What an honor it is to be invited to be a part of this important anniversary with the work that

started it all at OTSL! I’m also thrilled to be collaborating with Christopher Alden, who directed the auspicious production 50 years ago.

My wish is that our audience finds this Pasquale as engaging and

charming as it was received at its premiere in Paris in 1843, when it was hailed as a comedic masterpiece. As times change and society evolves, revisiting masterpieces like this can also be an act of discovery for all of us, performers and audience alike. n

About the composer Gaetano Donizetti

Gaetano Donizetti (1797–1848) was an Italian composer during the Romantic period in the 19th century. During his life, he wrote over 70 operas ranging from tragedies to comedies to historical works. Since our opening in 1976, we’ve performed Donizetti pieces in nine of our seasons: The Daughter of the Regiment (1990, 2011), The Elixir of

(1982, 2014), Lucia di Lammermoor (2002), The Night Bell (1981), and Don Pasquale to open our inaugural season, again in 1998, and now in our 50th Anniversary Season.

off winter blues with jazz piano

Photo © Abigel

Kralik

Love

OPERA IN THREE ACTS

Music by Benjamin Britten

Libretto by Peter Pears and the composer, after William Shakespeare’s play

Used by arrangement with B&H Music Publishing Inc. d/b/a Boosey & Hawkes , publisher and copyright owner.

A Midsummer Night’s Dream was ﬁrst performed at Aldeburgh Jubilee Hall , Su olk , on June 11, 1960.

First performed by Opera Theatre of Saint Louis on June 11, 1992 .

Assistant Stage Director

Zachary

Jessie Mhire

This performance will last approximately 2 hours and 45 minutes, including one 25-minute intermission.

THE CAST

(in order of vocal appearance)

COBWEB

Emilie Kealani *

MUSTARDSEED

Veronica Siebert *

PEASEBLOSSOM

Laura Santamaria*

MOTH

Zoe Brooks

PUCK

Matisse Carmack* TYTANIA

Jana McIntyre*

OBERON

James Laing*

LYSANDER

Anthony León*

Jennifer Johnson Cano

Theo Ho man

Teresa Perrotta*

Robert Mellon

Dylan Gregg

Adam Partridge*

Christian Sanders

Sam Krausz*

Ben Brady *

Jose Olivares*

Michelle Mariposa

SYNOPSIS

ACT I

Oberon, the Fairy King, is quarreling with his queen Tytania over a young mortal boy she has adopted. Until she agrees to hand over the boy, he has set the seasons awry — summer can become winter and spring can become fall. Oberon sends his sprite Puck to fi nd a magic fl ower whose juice can cause a person to fall in love with the fi rst creature they see upon waking. He plans to use this to trick Tytania into giving up the boy.

The two young lovers Lysander and Hermia have run away from Athens to elope; Hermia’s father wants to use the strict Athenian laws to force her to marry another suitor named Demetrius. Demetrius chases after the couple, pursued by Helena, who is hopelessly in love with him despite his cruel rebu s. Oberon feels for Helena and orders Puck to use the magic ﬂ ower to make Demetrius fall in love with her.

Elsewhere in the woods, a group of workers meet in secret to discuss a play they hope to perform at the wedding of Theseus, Duke of Athens, and Hippolyta, Queen of the Amazons. After much persuasion by Quince, the director of the play, Bottom and Flute agree to play the roles of the star-crossed lovers Pyramus and Thisbe. The group plans to meet for rehearsal later that night.

Lysander and Hermia are lost in the woods. Exhausted, they lie down to sleep. Puck mistakenly thinks he has found Demetrius and sprinkles the ﬂ ower’s juice onto Lysander’s eyelids. Helena happens upon them and wakes Lysander. When he immediately professes his love for her, she assumes he’s mocking her and storms o . Lysander follows, leaving Hermia alone.

In Tytania’s bower, the fairies soothe their queen to sleep. Oberon silently appears to put her under the ﬂower’s spell.

ACT II

Quince and the players meet to rehearse. Puck amuses himself by turning Bottom into a donkey. The other players are terriﬁ ed and ﬂ ee the woods, but Bottom doesn’t quite understand what has happened. He begins to sing to comfort himself, awakening Tytania, who falls helplessly in love with him.

Oberon’s delight in Tytania’s enchantment is short-lived. When Demetrius appears still looking for Hermia, Oberon realizes Puck’s mistake and puts the juice of the ﬂ ower on Demetrius’ eyes as he sleeps. Helena and Lysander stumble upon Demetrius and wake him, causing both men to now swear their love for Helena. Hermia arrives and chaos erupts as all four lovers quarrel viciously. Oberon gives Puck an antidote to the magical ﬂ ower and orders him to lure the young lovers to sleep once more. Once they’ve collapsed with exhaustion, Puck applies the antidote to Lysander’s eyelids.

ACT III

As the sun begins to rise, Oberon gives Tytania the antidote. She is horriﬁ ed by the ass she has taken to her bed and is happily reconciled with Oberon. The four young lovers awaken to a world that makes sense once more — Demetrius loves Helena, and Lysander and Hermia are reunited. Bottom wakes up, no longer a donkey but a man once again, convinced the previous night was just a strange dream. He ﬁ nds his friends and they learn that their play has been chosen to be performed at Theseus’ wedding.

After returning to Athens, the four lovers appear before Theseus to ask his forgiveness for transgressing city laws. Theseus magnanimously invites them to be married alongside him and Hippolyta. Quince and the players perform their tragedy of “Pyramus and Thisbe,” and as midnight strikes the three happy couples retire to bed. Oberon, Tytania, and the fairies arrive to bless the sleeping lovers.

renderings for the chorus of fairies, courtesy of

Love’s spell is cast in OTSL’s 1992 production of A Midsummer Night’s Dream.

Photo © Ken Howard, 1992

a note from THE CONDUCTOR

“If we shadows have oﬀended, Think but this, and all is mended, That you have but slumbered here While these visions did appear.”

Gentle Puck, did you really think that you and your company would actually insult us? These words have been with us for more than four hundred years, and still, they delight our minds, ears, and senses. With so many variations on the theme, with ballets, incidental music, ﬁ lms, and reworkings, one would think that operatic adaptations would be plentiful. But there have only been ﬁ ve and Britten’s is the only one to actually follow the entire play.

That is a slight misstatement. In opera, sung text is about three to four times slower than the spoken word. If the entire play were set, we would be in the theater for ten hours. To get it into a more conventional format, Britten and his librettist, Peter Pears, cut about half of the dialogue. As the composer said, “The original Shakespeare will survive.”

But there are 20 characters to deal with and this is where Britten’s incredible score comes literally into play. Although there are no arias in the sense that we are used to, each one of the members of the cast has an almost equal role. Only Oberon, assigned to the countertenor, would appear to be the main protagonist.

There are numerous challenges for all the musicians. At OTSL, one of them

by Leonard Slatkin

is simply ﬁ guring out where to put the orchestra. With a rather outsized ensemble, one has to be creative in order to meet the score’s demands. It is worthwhile for audience members to have a look in the pit to see where the musicians are situated.

The stylistic elements employed are quite diverse. They range from nods to Purcell and Mendelssohn to the prevailing modernism of the 1960s. Britten provides atmosphere and his usual orchestral brilliance throughout, starting with those amazing glissandos representing the forest. The chaos of Pyramus and Thisbe is a wonder of musical manipulation.

From its ﬁ rst performance, A Midsummer Night’s Dream

was recognized as an operatic masterpiece. With a composer at the height of his powers, a perfect story, and a receptive public, we do not have to count ourselves as being among the insulted. Rather, both Shakespeare and Britten have elevated our conscience with this brilliant stage work. I look forward to all the performances and am happy to welcome you to enjoy our take on these visions. ■

Did you know?

For Slatkin, Conductor Laureate of the SLSO, A Midsummer Night’s Dream marks his ﬁfth time conducting at OTSL during our 48year partnership with the SLSO.

an introduction to BENJAMIN BRITTEN

English-born Benjamin Britten (1913–1976) ranks among opera’s most-performed 20th century composers. Fans will recognize his works Peter Grimes (1945), War Requiem (1962), and The Young Person’s Guide to the Orchestra (1945), among many others. Because Britten wrote operas in English, his works have always been a natural ﬁ t for our stage, easing the language barrier for new audiences and welcoming those who are just discovering their love of opera. Britten loved to use stories that were relatable to the general population...such as A Midsummer Night’s Dream, based on the Shakespeare play of the same name.

Originally premiered in 1960, A Midsummer Night’s Dream was composed and conducted by Britten. He adapted it together with his longtime collaborator and partner Peter Pears. During their incredibly faithful adaptation process, only one non-Shakespearean line was added.

Britten holds a special place in Opera Theatre lore. Throughout our 50 seasons in St. Louis, we have produced 11 of his 16 operas. This is no coincidence — Britten was a close friend of our former Artistic Director, Colin Graham, who served at Opera Theatre from 1985 until his passing in 2007. In a 1988 article titled “Stage Directions,” Graham reﬂ ected on

how his work with Britten shaped his career and approach.

“There’s no question,” Graham said, “that Benjamin Britten has been my greatest inﬂ uence; being invited to work with him so soon on Noye’s Fludde introduced me to his methods, which meant always having the director and the designer (I was both) involved in an opera right from the start, so he could integrate their ideas into the ﬁ nished composition.”

“Through Britten, it became part of my blood that what ﬁ nally causes a production to live or die

is its response to the composer’s intention,” Graham continued. “Music is not just an accompaniment but the springboard of the emotions — it must dictate one’s approach to what happens onstage — and I cannot, therefore, impose a concept on a work unless I feel it will illuminate the message of the text.”

Even as we honor OTSL’s historical ties to Britten, we are excited to share this new production of A Midsummer Night’s Dream and to celebrate the fresh perspective that each artist brings these treasured works. ■

Albert Herring, 1976, 1978 Billy Budd, 1993 Curlew River, 1986

Gloriana, 2005 A Midsummer Night’s Dream, 1992 Noah’s Flood, 1990

Paul Bunyan, 1984

Peter Grimes, 1990 The Prodigal Son, 1987

The Rape of Lucretia, 1996

The Turn of the Screw, 1980

Photo © OTSL Archives Benjamin Britten (L) with former OTSL Artistic Director Colin Graham (R) at the Red House, 1973.

As Opera Theatre of Saint Louis celebrates our 50th Festival Season, we honor a composer with a long history on our stage.

Opera Theatre’s history with Benjamin Britten

A SHOWCASE CONCERT

featuring our Richard Gaddes Festival Artist and Gerdine Young Artists

Tuesday, June 24 at 7:30 p.m.

Accompanied

Accompanied onstage by members of the St. Louis Symphony Orchestra creative team

Daniela Candillari

Andrew

This

This performance will last approximately 2 hours and 20 minutes, including one intermission.

RICHARD GADDES

FESTIVAL ARTIST

RICHARD GADDES FESTIVAL ARTIST

Mezzo-soprano

Michelle Mariposa

GERDINE

YOUNG ARTISTS

in alphabetical order by voice part

Sopranos

Laura Elena Fernández

Emilie Kealani

Tess Levine

Jouelle Roberson

Laura Santamaria

Soﬁ a Scattarreggia

Anna Thompson

Mezzo-sopranos

Sophia Baete

Zoe Brooks

celebrating TEN YEARS of

Imara Ashton Miles

Isabel Randall

celebrating TEN YEARS ofCENTER STAGE

Veronica Siebert

Kim Stanish

Countertenor

Elijah English

Tenors

Levi Adkins

Carlos Ahrens

Brad Bickhardt

Sam Krausz

Micah Perry

Gregory V. Sliskovich

Baritones

Cole Bellamy

Sean Holshouser

Adam Partridge

Emilio Vásquez

Patrick Wilhelm

Bass-baritones

Dylan Gregg

Jose Olivares

Nathan Savant

ABOUT CENTER STAGE

Since its founding in 1976, Opera Theatre of Saint Louis has built a reputation for identifying, nurturing, and promoting the operatic world’s most promising early-career singers. This commitment to young talent was formalized in 1986 with the launch of a dedicated young artist program, which has since grown into today’s current Gerdine Young Artist and Richard Gaddes Festival Artist Programs.

Patricia Racette, these programs span nine weeks during the Festival Season and o er artists extensive vocal coaching, master classes with renowned opera artists, understudy opportunities, and onstage experience in both the ensemble and featured supporting roles.

Together, these two programs cultivate the next generation of promising opera talent by o ering invaluable professional experience to emerging young singers. Led by Artistic Director of Young Artist Programs Patricia Racette, these programs span nine weeks during the Festival Season and o er artists extensive vocal coaching, master classes with renowned opera artists, understudy opportunities, and onstage experience in both the ensemble and featured supporting roles.

As many as 1,200 singers apply annually to Opera Theatre’s young artist programs. This year, only 28 were selected for the Gerdine Young Artist Program, and just one was o ered a spot in our Richard Gaddes Festival Artist Program, an honor reserved for

exceptionally remarkable young singers. In addition, two apprentice assistant directors was chosen to participate in and support the young artist programs.

Ten years ago, Opera Theatre introduced the ﬁ rst Center Stage concert to celebrate its young artists. This one-night-only event gives these wonderful singers a chance to claim the spotlight with excerpted scenes from opera’s cherished classics and rare gems, sung in their original language and accompanied onstage by the Grammy Award-winning St. Louis Symphony Orchestra. Look around you at this concert — amidst the audience are dozens of artist managers, artistic administrators, and opera practitioners who have traveled here from around the country to discover the next rising stars.

Many OTSL alumni go on to starring roles here and on the world’s most renowned stages. Last year alone,

ten principal artists in the 2024 Festival Season began their careers in OTSL’s young artist programs. At the prestigious Operalia Competition, two of the top prizes for 2024 were awarded to former GYAs Kathleen O’Mara and Meridian Prall. In addition, our alumni have appeared everywhere from the Royal Opera House at Covent Garden to the Metropolitan Opera and include singers such as Jamie Barton, Christine Brewer, Lawrence Brownlee, Christine Goerke, Kate Lindsey, Erin Morley, Paula Murrihy, Matthew Polenzani, Morris Robinson, Michael Spyres, Russell Thomas, Corinne Winters, and many more.

Opera Theatre’s commitment to supporting earlycareer singers has been at the heart of our success since our founding. It’s a true privilege to work with a new class of young artists every year — our Festival Season wouldn’t be possible without them! ■

Lucy Evans, Laura Santamaria, John Godhard Mburu, and Justin Ramm-Damron perform a scene from The Marriage of Figaro in Center Stage

Photo © Eric Woolsey, 2024

A note from the ARTISTIC DIRECTOR of YOUNG ARTIST PROGRAMS

WELCOME TO STAGE!

WELCOME TO CENTER STAGE!

Each season, of Saint brings new music, and perhaps most importantly, new artists to introduce our community.

Each season, Opera Theatre of Saint Louis brings new stories, new music, and perhaps most importantly, new artists to introduce to our community.

As the Artistic Director of Artist Programs, I you to talent of our Richard Gaddes Artist Gerdine Young Artists beloved event. represent of opera, as they are the who will keep the art form vibrant many years to Center Stage is a highlight of every Opera season, encapsulating mission to the next artists exceptional professional and community engagement.

s the Artistic Director of Young Artist Programs, I invite you to celebrate the talent of our Richard Gaddes Festival Artist and Gerdine Young Artists at this beloved event. These singers represent the future of opera, as they are the ones who will keep the art form vibrant for many years to come. Center Stage is a highlight of every Opera Theatre season, perfectly encapsulating our mission to develop the next generation of artists through exceptional professional development and community engagement.

For me, Center Stage epitomizes the “boots on stage” work that is crucial to artists bridge the gap between their and their blossoming

For me, Center Stage epitomizes the “boots on stage” work that is crucial to help young artists bridge the gap between their academic successes and their blossoming professional careers.

We focus our curriculum on practical and dramatic instruction that will help these artists develop their own unique artistic voices — no two are alike.

We focus our practical and dramatic instruction that will these artists own artistic — are

From a pool of 1,100 video applications, we invite approximately live auditions in seven cities across the country. We chosen singers to our young artists on journey of intense professional development. Through young artist program, these singers to cover leading roles, supporting roles, and create of opera’s Each mainstage production has a staged cover in which young artists perform their cover in its for a small but appreciative audience of administrators, community, and peers.

From a pool of 1,100 video applications, we invite approximately 400 singers for live auditions in seven cities across the country. We have chosen 29 singers to join us as our young artists on a nine-week journey of intense professional development. Through our young artist program, these singers have the chance to cover leading roles, perform supporting roles, and create one of opera’s finest choruses. Each mainstage production has a staged cover run, in which our young artists perform their cover role in its entirety for a small but appreciative audience of administrators, community, and peers.

During their time at Opera Theatre, our young artists have access to our gifted musical staff as well as world-renowned guest artists and industry professionals who join us throughout the festival season. We have created a focused curriculum centering on musical style, linguistic nuance, stage deportment, vocal technique, and repertoire exploration. We also offer guidance on building a sustainable career in this art form that helps protect and enrich their lives as artists, both on and offstage.

WELCOMING BACK OUR YOUNG ARTIST ALUMNI

WELCOMING BACK YOUNG ARTIST ALUMNI

Not only OTSL hire dozens of young artists we to return in principal roles! Below are former young artists performing in our 2025 Festival Season.

Not only does OTSL hire dozens of young artists each season, we also invite alumni to return in principal roles! Below are the former young artists performing in our 2025 Festival Season.

Center Stage may be a one-night only performance, but it represents the culmination of extensive planning and preparation on behalf of these young artists. I want to thank my main co-conspirator, my fellow curator and Opera Theatre’s Director of Artistic Administration, Yvette Loynaz. She carried the lion’s share of work related to this special evening. Yvette and I also thank Daniela for her contributions as we help nourish a full and bright future for these artists!

Center Stage one-night only performance, represents the culmination of and on behalf young artists. I want to thank my main co-conspirator, my fellow curator and Opera Theatre’s Director of Yvette Loynaz. She carried the lion’s share of work related to Yvette and I also thank Daniela for her contributions we help and these artists!

To our young artists, we thank you for your dedication and hard work, and we celebrate your accomplishments here at Opera Theatre. We support you now, and we cannot wait to witness what comes next! n

Center Stage offers our young artists the opportunity to cultivate and grow their interpretive skills through a fully invested performance. While most young artist concerts in this industry are accompanied by piano, Opera Theatre welcomes the world-class St. Louis Symphony Orchestra on stage under the direction of our own Principal Conductor, Daniela Candillari.

During their at Opera Theatre, young artists have to gifted musical staff as well world-renowned guest artists and professionals who us throughout the festival season. a focused centering on style, stage vocal and repertoire exploration. also offer guidance on in art form that protect and enrich their as artists, both and Center Stage young artists the opportunity cultivate and grow their interpretive skills through a fully performance. While most young artist concerts in industry accompanied by piano, Opera Theatre welcomes the Symphony Orchestra stage under the direction of our Principal Conductor, Daniela Candillari.

To young artists, we you for your and hard work, we celebrate your accomplishments here at Opera Theatre. We support now, and cannot wait to what comes n

Patricia Racette Artistic Director of Young Artist Programs

ROBERT MELLON +

Racette Artistic Director of Young Artist Programs

ROBERT MELLON

Center Stage 2024

Photo © Eric Woolsey

SOLO ARTISTS

Justin Austin+

Sophia Baete*♦

Brad Bickhardt♦

Joshua Blue + ○

Ben Brady*

Deanna Breiwick

Zoe Brooks*♦

Susanne Burgess*○

Patrick Carfizzi

Matisse Carmack*

Adrienne Danrich

meet our 2025 ARTISTS

Sara Gartland*

Sheri Greenawald

Dylan Gregg*♦

Sankara Harouna*

Theo Hoffman ○

Briana Hunter ○

Jennifer Johnson Cano ○

Emilie Kealani*♦

Sam Krausz*♦

James Laing*

Kelsey Lauritano ○

RICHARD GADDES FESTIVAL ARTIST

MEZZO-SOPRANO

Michelle Mariposa

GERDINE YOUNG ARTISTS

SOPRANOS

Laura Elena Fernández

Emilie Kealani

Tess Levine

Jouelle Roberson

Laura Santamaria

Sofia Scattarreggia

Anna Thompson

MEZZO-SOPRANOS

Sophia Baete

Zoe Brooks

Imara Ashton Miles

Isabel Randall

Veronica Siebert

Kim Stanish

Anthony Leόn*

Michelle Mariposa ■

Johnathan McCullough ○

Jana McIntyre*

Robert Mellon+ ○

Kyle Miller ○

Aundi Marie Moore*

Edward Nelson*

Jose Olivares*♦

Oscar Olivo*

Adam Partridge*♦

Teresa Perrotta*

Christian Pursell

Victor Ryan Robertson

Christian Sanders

Laura Santamaria*♦

Veronica Siebert*♦

Gregory V. Sliskovich*♦

Brandie Inez Sutton

Krysty Swann*

Charles Sy○

ARTISTIC STAFF

ARTISTIC DIRECTOR OF YOUNG ARTIST PROGRAMS

Patricia Racette

PRINCIPAL CONDUCTOR

COUNTERTENOR

Elijah English

TENORS

Levi Adkins

Carlos Ahrens

Brad Bickhardt

Sam Krausz

Micah Perry

Gregory V. Sliskovich

A MIDSUMMER NIGHT’S DREAM CHILDREN’S CHORUS

(from the St. Louis Children’s Choirs, led by Dr. Alyson Moore, Artistic Director)

Andrea Altadonna

Lucca Badino

Bryndis Bryan

Benji Chu

Axel Jones

Mazie Menkhus

Emily Musarra

August Phillips

Jack Pitlyk

BARITONES

Cole Bellamy

Sean Holshouser

Adam Partridge

Emilio Vásquez

Patrick Wilhelm

BASS-BARITONES

Dylan Gregg

Jose Olivares

Nathan Savant

Ana Ramirez

Lucia Schnare

Keziah Speicher

Daniela Candillari

CONDUCTORS

Daniela Candillari

George Manahan

Leonard Slatkin

Kensho Watanabe

STAGE DIRECTORS

Tim Albery

Christopher Alden

Shawna Lucey

James Robinson

CHOREOGRAPHER

Seán Curran

DESIGNERS

Krystal Balleza

Montana Levi Blanco*

Marcus Doshi

Greg Emetaz

Marsha Ginsberg

Robert Innes Hopkins*

Emma Kingsbury*

Allen Moyer

Eric Southern

Will Vicari

HEAD OF MUSIC

Darwin Aquino

CHORUS MASTER

Andrew Whitfield

ENGLISH DICTION SPECIALISTS

Kristen Kemp*

Erie Mills

ASSISTANT CONDUCTORS

Steven Aguiló-Arbues*

Darwin Aquino

REPETITEURS

Jonathan Heaney*

Nicholas Roehler

Eric Sedgwick

William Woodard*

Lindsay Woodward*

APPRENTICE ASSISTANT STAGE DIRECTORS

Erica Ferguson*

Dennis Oliveira*

LEVI ADKINS

Tenor

Margery Fort Armstrong Endowed Tenor

Gerdine Young Artist OTSL DEBUT

Parpignol, La bohème 2024 PAST

The Magic Flute, La bohème, The Atlanta Opera; The Barber of Seville, OTSL

STEVEN AGUILÓ-ARBUES

Assistant Conductor

Die Fledermaus Don Pasquale OTSL DEBUT

Amahl and the Night Visitors Central City Opera;

CARLOS AHRENS

Tenor

Phoebe Dent Weil Artist

Gerdine Young Artist

FUTURE

Lincoln in the Bardo (workshop), Chautauqua Opera

PAST

Scalia/Ginsburg Charlottesville Opera; Candide The Glimmerglass Festival; A Midsummer Night’s Dream Cincinnati Conservatory of Music Opera; The Magic Flute, Queen City Opera

TIM ALBERY

Stage Director

Mr. & Mrs. Harvard K. Hecker Endowed Artist

A Midsummer Night’s Dream

OTSL DEBUT

The Coronation of Poppea 2019 PAST Grimes on the Beach Aldeburgh Festival; The Ring Cycle Scottish Opera; The Flying Dutchman Royal Opera House, Covent Garden; Billy Budd, English National Opera; Les Troyens Lyric Opera of Chicago

CHRISTOPHER ALDEN

Stage Director

Don Pasquale

OTSL DEBUT

Don Pasquale 1976 FUTURE

Il sogno di Scipione, OrpheusPDX; Rigoletto Canadian Opera Company

PAST

Un giorno di regno Garsington Opera; 2009 Olivier Award Winner, Partenope English National Opera; The Flying Dutchman Lyric Opera of Chicago

DARWIN AQUINO

Head of Music & Assistant Conductor This House A Midsummer Night’s Dream

DEBUT 2022 Festival Season

PAST

Viva Rachmanino Saint Louis Philharmonic Orchestra; Doña Clementina, Opera Southwest; New Works Collective Center Stage OTSL; George Balanchine’s Western Symphony & Serenade Saint Louis Ballet

JUSTIN AUSTIN

Baritone

Dr. James Hinrichs & Mary Schoolman Artist Lindon, This House OTSL DEBUT Pyarelal Kaul, Shalimar the Clown 2016 FUTURE The Barber of Seville San Francisco Opera;

SOPHIA BAETE

Mezzo-soprano

Steve Trampe & Jenny Gupta Endowed Artist

Sally, Die Fledermaus Gerdine

KRYSTAL BALLEZA Wig & Makeup Designer 2025 Festival Season OTSL DEBUT 2023 Festival Season PAST Orlando, Signature Theatre; Galileo Galilei, OTSL; Émigré New York Philharmonic; White Christmas Paper Mill Playhouse CONTINUES AS Real Women Have Curves: The Musical Broadway

COLE BELLAMY

Baritone Gerdine Young Artist

PAST

Così fan tutte Rinaldo, La traviata Detroit Opera; The Righteous (world premiere), The Santa Fe Opera

DANIELA

SUSANNE

with Ryan McKinny as the Dutchman, Julie Adams as Senta, Joseph Dennis as Erik

with Hera Hyesang Park as the Vixen, Roland Wood as Forester, Sun-Ly Pierce as the

with Jonas Hacker as Tom Rakewell, Joélle Harvey as Anne Trulove, Sam Carl as Nick Shadow

ARTIST PROFILES

SARA GARTLAND Soprano

Josephine & Monte Throdahl Endowed Artist

Rosalinde, Die Fledermaus

OTSL DEBUT

FUTURE

La traviata Opera Colorado PAST

Macbeth The Atlanta Opera; La traviata The Dallas Opera; Salome Des Moines Metro Opera

JONATHAN HEANEY

Repetiteur

Die Fledermaus

OTSL DEBUT

PAST

New Works Collective, OTSL; The Turn of the Screw On Site Opera; The Merry Wives of Windsor Juilliard Opera

SHERI GREENAWALD

Soprano

Notary, Don Pasquale

OTSL DEBUT

Norina, Don Pasquale 1976

PAST

A Quiet Place (world premiere), Teatro alla Scala; The Woman at Otowi Crossing (world premiere), OTSL; Der Rosenkavalier, Welsh National Opera; La traviata The Santa Fe Opera; Manon San Francisco Opera

THEO HOFFMAN

Baritone

Demetrius, A Midsummer Night’s Dream OTSL DEBUT

Thierry, Dialogues of the Carmelites 2014 PAST

Manon Staatsoper Hamburg; Grounded The Metropolitan Opera; Platée Opernhaus Zürich; Pelléas and Mélisande National Symphony Orchestra, Taiwan; Iphigénie en Tauride Opéra-Comique

SEAN HOLSHOUSER

Baritone

Gerdine Young Artist PAST The Magic Flute Opéra Bastide; The Merry Widow Sondheim on Sondheim Die Fledermaus Moores Opera Center; The Pirates of Penzance The Gilbert and Sullivan Society of Houston

DYLAN GREGG

Bass-baritone

The Berges Family Foundation Endowed Artist

Snug, A Midsummer Night’s Dream

Gerdine Young Artist

OTSL DEBUT PAST

The Marriage of Figaro Romeo and Juliet Palm Beach Opera; Der Rosenkavalier, The Santa Fe Opera; The Barber of Seville The Rape of Lucretia Academy of Vocal Arts

BRIANA HUNTER

Mezzo-soprano

Janet McAfee Weakley Memorial Artist Zoe, This House

OTSL DEBUT

Flora Bervoix, La traviata 2018; Pvt. Stanton, An American Soldier 2018 PAST Fire Shut Up in My Bones Carmen Il trovatore The Metropolitan Opera; Blue (world premiere), The Glimmerglass Festival; Carmen Washington National Opera

ARTIST PROFILES

JOSE OLIVARES Bass-baritone

Carla Myerson Artist

Theseus, A Midsummer Night’s Dream Gerdine Young Artist

OTSL DEBUT

FUTURE

Rigoletto Finger Lakes Opera PAST

The Barber of Seville Sarasota Opera; Gianni Schicchi Finger Lakes Opera; Romeo and Juliet Lyric Opera of Kansas City;

DENNIS OLIVEIRA

Apprentice Assistant Stage Director

OTSL DEBUT PAST Die Walküre Norma New Jersey Opera Theater; Mitridate re di Ponto Opera Neo; The Magic Flute Florida State Opera Outreach

ADAM PARTRIDGE

Baritone

Sondra & Milton Schlesinger Artist

Starveling, A Midsummer Night’s Dream

Gerdine Young Artist

OTSL DEBUT

PAST La bohème Wolf Trap Opera; The Rape of Lucretia Eugene Onegin The Shepherd School of Music at Rice University; 2024 Western Region Special Encouragement Award, The Metropolitan Opera Eric and Dominique La ont Competition

CHRISTIAN PURSELL Bass-baritone

Maggie & Ron Holtman Artist Thomas, This House

OTSL DEBUT

Escamillo, Carmen 2022 PAST Don Giovanni Cincinnati Opera; Tosca The Metropolitan Opera; Carmen Des Moines Metro Opera; The Grapes of Wrath MasterVoices; Othello Opera Philadelphia

OSCAR OLIVO

Actor Ivan/Frosch, Die Fledermaus

OTSL DEBUT

PAST Paradise Theater Münster; Ein Volksfeind Schauspiel Frankfurt; Queen Lear Maxim Gorki Theater; Orlando Schauspiel Hannover; Karl May Volksbühne Berlin

PATRICIA RACETTE

Artistic Director of Young Artist Programs

Robin & Tim Wentworth Artist OTSL DEBUT

Donna Elvira, Don Giovanni 1993 FUTURE

Stage Director, Houston Grand Opera; Dialogues of the Carmelites The Dallas Opera; Patricia Sings Piaf Seattle Opera, OTSL; Susannah Opera Omaha PAST

The Ghosts of Versailles The Shepard School of Music at Rice University; 2024 Winner, Outstanding Production of an Opera, Susannah, St. Louis Theatre Circle Awards

GREGORY V. SLISKOVICH

Tenor

Dr. Blind, Die Fledermaus

Gerdine Young Artist

OTSL DEBUT PAST

Lucia di Lammermoor Carmen Nashville Opera; Scalia/Ginsburg Fargo-Moorhead Opera; Rigoletto IN Series Opera; Falsta Knoxville Opera

KIM STANISH

Mezzo-soprano

Gerdine Young Artist PAST Matilde Opera Southwest; Madame Butterﬂ y Iolanthe Opera Naples

BRANDIE INEZ SUTTON Soprano Emma Coulter Ware Artist Young Ida, This House OTSL DEBUT

KRYSTY SWANN Mezzo-soprano

Fred Wehrle, Jr. Memorial Artist Beulah, This House OTSL DEBUT PAST

Dead Man Walking Champion The Metropolitan Opera; Blue Lyric Opera of Chicago; Intimate Apparel (world premiere), Lincoln Center Theater

DONNA SOLVERUD

Teaching Artist, St. Louis Children’s Choirs

A Midsummer Night’s Dream

OTSL DEBUT

PAST Choir Director, Laramie High School; Choir Director, Boltz Middle School; VP for Choral Activities, Wyoming Music Educators Association

CONTINUES AS

Choir Director, Choristers, St. Louis Children’s Choirs; Choir Director, Francis Howell Central High School

ERIC SOUTHERN

Lighting Designer

Die Fledermaus Don Pasquale

OTSL DEBUT

Tosca Susannah 2023

PAST

Galileo Galilei Julius Caesar OTSL; Paul’s Case Prototype Festival, UrbanArias; Candide Baltimore symphony Orchestra; The Good Swimmer Brooklyn Academy of Music

CHARLES SY Tenor

Ernesto, Don Pasquale

OTSL DEBUT

Adolfo, La rondine 2015 PAST

La sonnambula The Elixir of Love Staatsoper Stuttgart; Don Giovanni Deutsche Oper am Rhein; La Cenerentola Vancouver Opera; La ﬁ nta giardiniera Badisches Staatstheater Karlsruhe

ANNA THEODOSAKIS

Resident Assistant Stage Director

Don Pasquale A Midsummer Night’s Dream

OTSL DEBUT

Così fan tutte 2023 FUTURE

Carmen Opéra de Montréal PAST

La bohème Manitoba Opera; Don Giovanni Calgary Opera; Così fan tutte University of Toronto Opera; Carmen Edmonton Opera

for the ages A PARTNERSHIP

Marie-Hélène Bernard President and CEO, St. Louis Symphony Orchestra

Since 1978, the St. Louis Symphony Orchestra and Opera Theatre of Saint Louis have built a treasured and unique artistic relationship. It is a privilege to create art alongside such an inspiring and dedicated institution — an unparalleled joint venture between an opera festival and a major orchestra in our country.

The shared accomplishments over our nearly 50-year history are numerous. From our very ﬁ rst performances together, our partnership has centered on providing unforgettable experiences, showcasing new productions and works by American composers, and nurturing emerging talent. Introducing new works and productions — with more than 40 world and U.S. premieres — has fueled our collaboration. Giving life to important new operas — including in recent years, Terence Blanchard’s Champion and Fire Shut Up in My Bones, Unsuk Chin’s Alice in Wonderland, Tobias Picker’s Emmeline and Awakenings, and Stewart Wallace’s Harvey Milk — holds a special place in our hearts as they enrich the repertory for generations to come.

In 2015, our shared interest in propelling the future of the art form took another step forward with the inauguration of the now-yearly Center Stage concert, featuring the Richard Gaddes Festival and Gerdine Young Artists on stage alongside our great orchestra. We are honored that each Festival Season culminates with a showcase of such astonishing talent.

Together, we have witnessed and navigated great change. Like symphonic music, opera has become more inclusive through community building and learning experiences for all. We weathered the challenge of a global pandemic with memorable outdoor performances of William Grant Still’s Highway 1, U.S.A., led by SLSO Conductor Laureate Leonard Slatkin.

Beyond the stage, our partnership has expanded to schools throughout the St. Louis region. For the past ﬁ ve years, our Arts Intensive collaborations have given students the tools to express their creativity through the development of an original musical production. Seeing the students’ ideas come to life in their ﬁ nal performances alongside SLSO musicians brings us immense joy.

Opera speaks to the core of humanity, delivering moving stories of love, life, loss, and humor. The uniﬁ ed vision between our two institutions elevates St. Louis as one of the ﬁ nest operatic and symphonic destinations in the country.

All of us at the St. Louis Symphony Orchestra congratulate Opera Theatre of Saint Louis on its 50th anniversary.

THE ORCHESTRA FOR DIE FLEDERMAUS AND DON PASQUALE

FIRST VIOLIN

Celeste Golden Andrews

Hannah Ji

Yoojin Lee

Joo Kim

Emily Ho

Jessica Hellwege

Kyle Lombard

Melody Lee

SECOND VIOLIN

Kristin Ahlstrom

Eva Kozma

Seul Lee

Siyu Zhang

Asako Kuboki

Marin Osawa

Nicolae Bica

VIOLA

Alejandro Valdepenas

Michael Casimir

Andrew Francois

Xi Zhang

Davis Perez

Amy Greenhalgh

CELLO

Daniel Lee

Jennifer Humphrey

Yin Xiong

James Czyzewski

Alvin McCall

BASS

Erik Harris

Brendan Fitzgerald

Ron Mobley

Teddy Gabrielides

HARP

Megan Stout

FLUTE

Jennifer Nichtman

Ann Choomack

OBOE

Jelena Dirks

Xiomara Mass

CLARINET

Robert Walker

Jeanine Garesche

Dana Hotle

BASSOON

Andrew Cuneo

Julia Paine

THE ORCHESTRA FOR THIS HOUSE AND A MIDSUMMER NIGHT’S DREAM

FIRST VIOLIN

David Halen

Erin Schreiber

Charlie Lin

Ann Fink

Angie Smart

Xiaoxiao Qiang

Yoojin Lee

Sooah Jung

Rebecca Hamilton

SECOND VIOLIN

Alison Harney

Andrea Jarrett

Janet Carpenter

Shawn Weil

Jessie Chen

Nathan Lowry

VIOLA

Beth Guterman Chu

Jonathan Chu

Susan Gordon

Shannon Williams

Chris Tantillo

CELLO

Melissa Brooks

David Kim

Elizabeth Chung

Bjorn Ranheim

BASS

Aleck Belcher

David DeRiso

Sarah Kaiser

HARP

Sarah Fuller

Megan Stout

ST. LOUIS SYMPHONY ORCHESTRA TEAM

MARIE-HÉLÈNE BERNARD

President and Chief Executive Officer

MAUREEN BYRNE

Vice President, Education and Community Programs

ARTISTIC ADMINISTRATION

Eliza Caperton

Ian Kivler

OPERATIONS

Chris Aman

Margaret Bailey

Ann Slayton

Alana Szeles

FLUTE

Andrea Kaplan

Jennifer Gartley

OBOE

Phil Ross

Cally Banham

CLARINET

Scott Andrews

Aleksis Martin

Tzuying Huang

BASSOON

Andy Gott

Ellen Connors

SAXOPHONE

Christopher Bartz

HORN

Roger Kaza

Tod Bowermaster

UNITEY KULL

Chief Marketing and Communications Officer

SCOTT LANNING

Chief Financial Officer

ORCHESTRA PERSONNEL

Craig Hahn

Justin Kang

STAGE CREW

Ron Bolte, Jr.

Nigel DeLuca

Franklin Horvath

Adam Sheppard

HORN

Thomas Jostlein

Blaine Dodson

Victoria Knudtson

Julie Thayer

TRUMPET

Steven Franklin

George Goad

TROMBONE

Jon Reycraft

Ed Jacobs

Jason Sato

TIMPANI

Kevin Ritenauer

PERCUSSION

Charles Renneker

Sasha Luthy

Kim Shelley

TRUMPET

Omri Barak

Mike Walk

TROMBONE Amanda Stewart

BASS TROMBONE James Martin

TIMPANI

Shannon Wood

PERCUSSION Will James Michael Metz

KEYBOARD Peter Henderson Eric Sedgwick (OTSL)

Lindsay Woodward (OTSL)

PAUL PIETROWSKI

Chief Operating Officer

ALEX SHAPIRO

Chief Philanthropy Officer

MUSIC LIBRARIANS

Katie Klich

Henry Skolnick

Amanda Tallant

Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 145th year with the 2024/2025 season and its sixth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music. Orchestra lists complete as of April 7, 2025.

About the St. Louis Symphony Orchestra

While there are less than 50 members of Opera Theatre’s annual staff, during each Festival Season our team grows into the many hundreds as we welcome seasonal staff, artists, interns, and volunteers to bring these alluring operas to life!

ANDREW JORGENSEN General Director PATRICIA RACETTE Artistic Director of Young Artist Programs DANIELA CANDILLARI Principal Conductor NICOLE AMBOS FREBER Managing Director

ALLISON FELTER Director of Education & Engagement ANH LE Director of Marketing & Public Relations

YVETTE LOYNAZ Director of Artistic Administration MICHELLE MYERS Director of Administration & Finance

STEPHEN RYAN Director of Production & Operations LINDA SCHULTE Director of Development & Campaign Strategy

SAMANTHA GINOPLOS Community Partnership Coordinator BRYNNA NEWLYN Manager of Board Relations

BOX OFFICE

ALYSSA GOVE PRZYGODA

Associate Director of Box Office & Patron Services

DEVELOPMENT

SARA ACKERMAN Manager of Donor Communications

STACEY BREGENZER Senior Manager of Donor Engagement

REPRESENTATIVES

MONICA ROSCOE Box Office Systems & Operations Manager BOX OFFICE Douglas Barron Caroline Bush Julie George Isabella Hodges Carol Hodson Kristy Kannapell Erin Mathiesen Zahria Moore

BRITTAINY BROWN Event Coordinator TYLER MCKENZIE Manager of Volunteer Engagement

JENNA PIEPER Data Assistant

Taijha Silas Celene Totry

TORI REZEK Deputy Director of Development, Institutional Giving & Events RACHEL SINCLAIR Manager of Institutional Giving ANNA FRID ∆ Patron Services Intern SAM VARNON Events Intern

MARKETING & PUBLIC RELATIONS

KELLY GLUECK Graphic Designer & Brand Manager

STEPHANIE NIGUS

Associate Director of Artistic Operations

MICAELA GRIFFIN Communications Manager

BRADY HARDIN Web & E-Marketing Manager

AMBER NICOLE SWEET Artistic Assistant

CAMERON TYLER Company Manager

JAYNIE CHATMAN Graphic Design Intern HUMAM MAALA Press & Communications Intern AL-NISA MUHAMMAD Social Media Intern

EDUCATION & ENGAGEMENT

MORGAN FISHER Education & Engagement Manager

KEVIN NICOLETTI Teaching Artist Coordinator MEGAN AUSTIN Education Intern

ADMINISTRATION & FINANCE

TARA BENNETT HR Assistant RHONDA HENDERSON Controller MARIE JOWETT Senior Accountant ANGEL NIHELLS Accounting Clerk ASHLEY STEED Payroll & Benefits Administrator JOSHUA GOLDMAN Finance Intern

PRODUCTION & OPERATIONS

MAGGY BORT Production Manager

LUCIE GARNETT Archive & Concierge Coordinator STACY HARRIS Costume Shop Manager

GINA PEARSON Production Administrator JACK RUSHEN Technical Director OREVIA VONGSA Office Manager ERIC WOOLSEY Operations Manager

SEASONAL PRODUCTION STAFF

PRODUCTION ADMINISTRATION

ASSOCIATE TECHNICAL DIRECTOR Emilie WeilbacherMcMu llan

SCENERY IATSE STAGE CARPENTERS

Marc Huggins

Daniel McCarthy

ASSISTANT

ASSOCIATE

IATSE SHOP CARPENTERS

Eli Barrera

Jeff Berry

Kenya Lockett

Dave McCarthy

Dan Roach Jr.

Rick Shetley

PROPERTIES

PROPERTIES MANAGER

CHARLOTTE ULMER Company Scheduler

ANA CABALLERO UMANA Artistic Intern

Ralphie Thompson

ASSISTANT PROPERTIES MANAGERS

Catherine Good

PROPERTIES

LIGHTING/VIDEO/SOUND/ORCHESTRA OPERATIONS

IATSE

PRODUCTION

ELECTRICIAN

Peggy Thierheimer

IATSE DECK

ELECTRICIAN

Chris Shetley

IATSE BOARD

PROGRAMMER

Meike Schmidt

IATSE NETWORK

ELECTRICIAN

Eric Elz

ASSISTANT DECK

ELECTRICIAN

Chuck Immer 

WIGS & MAKEUP

WIG & MAKEUP

ARTISANS

Lucy Garlich

Pelle Melio

Bekah

ELECTRICS CREW

Ella Hamlin*

Jules Houston

Alistair Reardon

Cameron Smith

IATSE AUDIO

ENGINEER

Boris Golynskiy

IATSE AUDIO

ASSISTANT

Savannah Gipson

IATSE VIDEO ENGINEER

Garrett Barati

IATSE ORCHESTRA SUPERVISOR

Michael Lynch

ORCHESTRA OPERATIONS

ASSISTANT

Allyson Sims

ORCHESTRA OPERATIONS

CREW

Piper Holley*

Jennifer Hong*

FRONT OF HOUSE

HOUSE MANAGER

Atticus Schlegel

COSTUMES

ASSISTANT

COSTUME SHOP

MANAGER

Spencer Lawton

COSTUME DESIGN

ASSISTANTS

Stephanie Gall**

Zachary Payne

WARDROBE

SUPERVISOR

Calyn Roth+

HEAD DRAPER

Robert Trump

DRAPERS

Paula Buchert

Elizabeth Eisloeffel

Ginny McKeever

Richard Tuckett

FIRST HANDS

Elena Jaquez

Enrique Landa

Bruk Longbottom

Carrisa Sexton

ASSISTANT

WARDROBE

SUPERVISOR

Virginia Parkinson

WARDROBE

Anna Beshoar

Teagan Karetski-

Smythe

Emma Miller

Arison Shopfer

Domonique Stubbs*

STITCHERS

Blake Blanning

Genevieve Collins

Emily Cosma

Jen Goldstein

Kit Griffith

Adriaen Hobgood

Hannah LiberatoreSchreiber 

STAGING STAFF

PRODUCTION STAGE MANAGER

Kimberley S. Prescott

RESIDENT ASSISTANT

STAGE

DIRECTORS

Diane Machin

ASSISTANT HOUSE MANAGERS

Sarah DeBroux

Tiesha K’Nuckles

PATRON

ACCESSIBILITY

MANAGER

Carl Wickman

GARDEN MANAGER

Trisha Schmersahl

Ces & Judy’s Catering

Rahsaan Andrews

Daniel Brodsky

Ronald Jethroe

Jeffery Miller

Brittany Ware

Pearl Modine

Shreya Patel

Carrigan Ring

Calyn Roth

Bria Trachsel

Evelyn Weaver

Anna Theod os akis ASSISTANT

Michelle Cuizon

Olivia Gacka

Clatworthy

DESIGN SUPPORT STAFF

COSTUME

ASSOCIATE

Benjamin Burton

COSTUME ASSISTANT

Beth Goldenberg

SCENIC

ASSOCIATE LIGHTING

Max Grano de Oro Cheyenne Sykes

VOLUNTEERS

DRESSERS

Ann Fusz

Ellen Fusz

Christi Maginn

Chris Saulter

LIGHTWALKERS

Betzy Barnes-Wilson

Connie Emge

Mark Engelhardt

Ann Fusz

Ellen Fusz

Gail Hafer

Kirsten Jacobson

Jean Kennedy

Pam Lewis

Pam Mahoney

Jim Morrell

Harriet Scholle

Lizanne Schraer

Kathleen Sitzer

Rowena Van Dyke

Anne Williams

SUPERNUMERARY

Julian Russell

DONORS: ANNUAL FUND 2024–2025

Opera Theatre acknowledges with gratitude the spirit and generosity of the following individuals, corporations, foundations, and public agencies, whose investments at all levels provide invaluable support for the company’s mission. Their philanthropy allows Opera Theatre to maintain its fiscal soundness and high level of artistic achievement. Thank you to the following current members:

THE COUNCIL FOR ARTISTIC EXCELLENCE

The Council for Artistic Excellence recognizes donors who have made significant leadership commitments in support of the 2025 season.

LEADERSHIP CIRCLE $100,000+

Anonymous Donor (1)

Jim Berges & Elizabeth Mannen

Berges & Berges Family Foundation

Robert & Jane Clark

Clayco

Edward Jones

Lelia & David Farr

Alfred Korn * 

The Mellon Foundation

Missouri Arts Council

Noémi K. Neidorff

Regional Arts Commission

The Saigh Foundation

Ted & Lori Samuels

DIRECTORS’ CIRCLE $50,000-$99,999

Anonymous Donors (2)

Bayer Fund

Mrs. Laurance L. Browning, Jr.*  &

The Pulley Foundation

Kim & Tim Eberlein

Emerson

Mr. & Mrs. Irl F. Engelhardt & Engelhardt Family Foundation

THE PATRON PROGRAM

The FS Foundation

The Margaret Blanke Grigg Foundation

Diane & Paul Jacobson

William T. Kemper Foundation

The Levy Family & The Saucy Foundation

J. David & Lucy S. Levy *

Dr. Jeanne & Rex Sinquefield

David & Thelma Steward & Steward Family Foundation

Robin & Tim Wentworth

Whitaker Foundation

Roma B. Wittcoff

World Wide Technology Foundation

Karen & Mont Levy

National Endowment for the Arts

Penny Pennington & Michael Fidler

Roy Pfautch

Emily Rauh Pulitzer

Saint Louis Mental Health Board

The Patron Program recognizes donors who make annual gifts of $2,500-$49,999. These donors make possible the work at the heart of Opera Theatre’s mission — mainstage productions, education, community engagement programs, and more.

PRODUCTION UNDERWRITER PATRONS $25,000-$49,999

Anonymous Donor (1)

Boniface Foundation

Cynthia J. Brinkley

Phoebe & Spencer Burke *

Robert & Jane Feibel

Alison & John Ferring

Focus Partners Wealth

Edes P. Gilbert

Nancy & Ken Kranzberg & Kranzberg

Family Charitable Foundation

Clemence S. Lieber Foundation

Robert J. Lieber Charitable Trust

Pershing Charitable Trust

PNC Arts Alive

Mabel L. Purkerson, M.D.

John H. Russell

Mary Schoolman & Jim Hinrichs

Dr. David Sewall & Jeff Kapfer

Stifel

Ann McFarland Sullins

Mary Susman & Tom Herm *

Mr. & Mrs. Mark C. Throdahl

Stephen Trampe & Jenny Gupta * & Flying Cloud Charitable Foundation

Robert & Julie Vitale

Franklin F. Wallis *

Webster University+

Wells Fargo Advisors

Edward H. & Rosemary Young

Fund of the St. Louis Community Foundation

Ann Ziff

$15,000-$24,999

David & Melanie Alpers

Bryan Cave Leighton Paisner LLP

Crawford Taylor Foundation

Dorothy & Billy Firestone

Edward Chase Garvey Memorial Foundation

Greg Heckman & Tracey Hanfling

Gina & Lee Hoagland

Bettie S. Johnson

Gene Kornblum  MacCarthy Foundation

SPONSOR PATRONS $10,000-$14,999

Ameren

Dr. John T. Biggs

Catherine Binns

Chapman & Co.+

Dr. & Mrs. Richard Cote

Mrs. Robert H. Craft, Jr.

Sara Epstein

Ann Faget *

Keith & Ann Fischer

Roxanne H. Frank 

Mrs. Ronald A. Holtman

Heather Hunt-Ruddy

Mary Ranken Jordan & Ettie A. Jordan Charitable Foundation

Mr. & Mrs. David W. Kemper & Kemper Family Foundation

Barry Kirk & Andrew Martin

Gerald M. Kowarsky *

Mr. & Mrs. Lawrence Langsam *

John Frank Lesser *

Leigh & Jean Mason

Randy McDonnell & Mr. & Mrs. Sanford N. McDonnell Foundation

Dr. & Mrs. David Meiners

John & Christy Nickel

Adrienne Warren Patton

PRODUCER PATRONS $7,500-$9,999

Anonymous Donor (1)

Louis D. Beaumont Fund No. 1 of the St. Louis Community Foundation

Crystal & Patrick Dallas & Excel Business Concepts

Greg & Prissy Evans

Mrs. Joseph F. Gleason

David & Angie Hagee

Andrew Jorgensen & Mark Stuart-Smith

Liz * & Brian Mischel

Missouri Humanities

BENEFACTOR PATRONS $5,000-$7,499

Anonymous Donors (2)

Donna & Harvey Allen

Steven Arenberg

Susan Arenberg

Pam Belloli & Dave Shimek

Lee & Alexandra Benham

Mr. & Mrs. Stephen F. Brauer

Lee Broughton & Christine

Taylor Broughton

Marcela Manjarrez

Robert & Carla Myerson *

Mr. & Mrs. Robert L. Scharff, Jr.*

The St. Louis Trust Company

Nina Coulter Ware

Ellen & Bill Yeckley

Georgia C. Pettus

Lee & Nancy Reycraft

Allen & Merry Richon

Jan Paul Richter & Ellen von Seggern Richter

Allison W. Roberts

Sondra Schlesinger *

Shoshana Tancer

Phoebe Dent Weil *

Dr. Virginia V. Weldon  &

Mr. Francis Austin

Susan & David Young

Sharon & Elliot Zucker *

Phyllis R. Hyken

Andrew S. Love

Selby & Richard McRae Foundation

Sedgwick Mead, Jr. & Catherine Perry

Lisa Mechele

Dr. James A. Morrell

Peggy Ritter

John R. Roberts

PATRONS $2,500-$4,999

Anonymous Donors (2)

William Aitken

Robert C. Anderson

Gailya & John Barker

Tania Beasley-Jolly & William Jolly

Dr. Martin J. Bell *

Marie-Hélène Bernard & Douglas Copeland

Rudi J. Bertrand

Dr. Irene Bettinger

June R. Bierman

Elaine & Harold Blatt

Catherine S. Bollinger

Mary I. Brown

Buron F. Buffkin & Donn Kleinschmidt, M.D.

Mrs. Robert L. Rosenheim & Rosenheim Charitable Family Foundation

Dr. Mary Anne Rudloff *

Linda & Bruce Ryder

Mrs. Edward L. Salmon, Jr.

Janice & Stephen Seele

Linda Seibert

Jenny Shifrin

Mary Strauss

Donald M. Suggs

Susan & Ben Uchitelle

Josephine & Richard Weil & Sage Charitable Foundation

Peter J. Wender

Miriam Wilhelm

Katherine K. Young

Marti & Bob Fowler

Jeffrey & Lotta Fox

Don & Margie Franz

Nicole & Keith Freber

Mr. & Mrs. Jeff Gershman & Gershman Foundation

Graybar Electric Company, Inc.

Jan & Ronald Greenberg & The Greenberg Gallery

Michael L. & Paula E. Gross

Mrs. Gerard K. Gunther, Jr.

Kit & Patricia Heffern & Elleard Heffern Fine Jewelers

Carolyn Henges & Jay Henges

Charitable Trust

Arnold & Myrna Hershman *

Dr. John E. Mazuski

Jack Austin Miller

Heidi & Win Reed

Marti Reichman

Alan J. Savada & Will Stevenson

Esther G. Schweich

Kathy Sears — in memory of Frances & Walter Sears & Florentine Friedman

Edward Seidel

Sudie Shinkle

Ray M. Simon & Mel Pashea

Dr. Jamie Spencer & Anna Ahrens

Mr. & Mrs. V. Raymond Stranghoener

Mr. & Mrs. Warren G. Sullivan

Peggy Walter Symes

Pinnell Foundation

Marsha & William C. Rusnack

Tom & Ulrike Schlafly

Annemarie & Matt Schumacher

James V. & Susan S. Stepleton

Paul Cambridge & Amanda Trudell Cambridge

Tobie Chapman

Elaine Coe

Mrs. P. Terence Crebs

Michael & Susan Darcy

DM 3 Fund

Dr. & Mrs. James W. Donnelly

Anne W. Hetlage

Alfred & Marilyn Holtzer

Dr. Alan W. Hopefl

Jeannette R. Huey *

W.W. & Anne Jones

Anne & Craig Jorgensen

Elma Kanefield

Brian & Mary Jane Kinman

Maria & Philip Taxman

Mr. & Mrs. E. R. Thomas, Jr.

Douglas M. & Sherida E. Tollefsen

Susan & Peter Tuteur

George & Betsy Vogt

Robert & Nancy Wagoner

Drs. Craig & Terri Weldon

James & Barbara Willock

Pamela Buell *

Sara Burke

Ces & Judy's Catering Commerce Bank

Terry E. Crow * & Gateway Clippers Holdings

Professor Adrienne Davis

Bill Dolan & Suzanne Bromschwig Dolan *

Enterprise Bank & Trust

Melanie & Anthony Fathman, M.D.

John Forestner & Brad Alford

Rabbi Dr. Jay & Erika  Goldburg *

C. R. Grigg

Rik & Gail Hafer

Dr. Lannis E. Hall

Janet & Andy Hoyne

Sarah Duffy

Jane & Chuck Ettelson

Sara Fabick

Alan R. Fiddleman *

Lance & Marcy Fortnow

Mrs. Newell S. Knight

Mr. & Mrs. David Kowach

Stephen E. Kraft

Jim & Pam Krekeler

Joe & Alice Maffit

Melissa Wohlwend

Stuart & Susie Zimmerman

FRIENDS OF THE FESTIVAL

Friends of the Festival make generous gifts of $50-$2,499 to support Opera Theatre’s annual operations. These wonderful partners make Opera Theatre’s work possible through essential unrestricted support.

GUARANTORS $1,000-$2,499

Anonymous Donors (4)

Gwen E. Adams

H. Dieter & Karla Ambos

Gabe Angieri

Linda Apicello

Mrs. Walter F. Ballinger II

Elizabeth Barnes-Wilson

Anthony Bassett

Mr. & Mrs. Barry Beracha

Sharon Biegen & Brian Vandenberg

Sally Brayley Bliss & Jim Connett

Drs. Nanci & James Bobrow

Eugenie R. Bonte

Dr. Michael R. Borts & Dr. Mary Gorman

Martha Brewer & Calvin Bentley

Charitable Foundation Trust

Richard Brickson

Ashley Budde-Taylor & Dr. Matthew Taylor

Brandy Burkhalter

Linda Burns

Nelda Carlisle-Gray

Dr. Anne Carman

Beverly Clarkson

Vicki & Brian Clevinger

Karen Coburn

Joseph E. Corrigan *

Dr. Carlos C. Daughaday

Richard M. Dolphus

Mr. & Mrs. Arnold W. Donald

Dr. & Mrs. Wm. Claiborne Dunagan

Bill Durham 

Dr. & Mrs. Gerald Early

Hope Edison & Julian I. &

Hope R. Edison Foundation

Richard L. Egilsrud

Barbara Enneking & Henry Puch

Helen Etling

Phyllis L. Evans

James Florczak & Nancy Friedland

Janice & Bill Forsyth

Gerard Frankenfeld

Don & Darlene Freber

Ann M. Fusz *

Ellen M. Fusz *

Mr. & Mrs. Martin E. Galt III & The Jackes Foundation

Dr. James Gandre & Dr. Boris Thomas

Ann Carole Gaspar

Joseph E. Geist

Ann & Randy Getz

Gary Goodman

Anne P. Grady

E. Reuben & Gladys Flora Grant

Charitable Trust

Miran & David Halen

Mr. & Mrs. Hugh Harrington

Donna & Robert Heider

Shirley A. Heiman *

Dr. & Mrs. John W. Hubert

Margaret & Martin Israel

Gayle Jackson

Frank Jacobs & Marylen Mann

Nanette Johnson & Glen Yonetani

Alice Jorgensen

Richard & Shirley Knight

Ronald Levin

Diane Levine & Dr. Jim Jenkins

Rosalyn & Charles Lowenhaupt

Mr. & Mrs. John Peters MacCarthy

Mr. & Mrs. Mark McCallum

Pat & Brigid McCauley

Diane McCullough *

Brenda K. Melson

LaVerna Meyer

Andrew J. & Roxanne T. Miller

Erie Mills * & Thomas Rescigno

Jane & Steve Mitchell

Alice Montgomery

Mr. & Mrs. James R. Moog

Wilhelm & Ingrid Neuefeind

Dr.  & Mrs. Matthew Newman *

Bob & Kara Newmark

Robert & Carol Nordman

Martha C. Nussbaum

Mr. & Mrs. John Oliver

John Howard Percy

Mr. & Mrs. Raymond W. Peters

Harriet & Philip Polster

Lynn Post

Judy & Paul Putzel

Brian Abel Ragen

Susan & John Rava

Charles & Marian Rice

Richard Robb

Jane & Bruce Robert

David Roberts & Sue Fischlowitz

Leon & Ann Robison

John Ross

Philip & Reggie Roy

Ann R. Ruwitch & John Fox Arnold

Dr. & Mrs. Joseph Ruwitch

Jo-Ellyn M. Ryall, M.D.

Saligman Family & The Linda & Harvey Saligman Charitable Foundation

Alice Sargent

Ann Scheuer

Jerry & Sue Schlichter

Harriet Scholle

Sandy Schonwald

Thomas Sehr & Margaret A. Wayne

Drs. Andrey Shaw & Cynthia Florin

Natalea Simmons Beaudean

Eve Simon

Dr. Amber Simpson &

Kenneth Simpson

Kenneth  & Marjorie Smith *

Dr. John Sopuch

Mary Ann & Andrew Srenco

Bill & Karen Stebelski *

Molly Strassner

SUPPORTERS

$500-$999

Lester Anderson

Susan Frelich Appleton & Robert O. Appleton, Jr.

Drs. Jennifer & Robert Arch

Steven Bain

Christy Beckmann & Jim Vykopal

Sarah Bernard

Mr. & Mrs. David Bishop

Ruth M. Blundell

Jane & Charlie Brader

Dr. & Mrs. Alan Braverman

Gregory Burley Brown

Elsbeth Brugger

Mr. & Mrs. Stephen Brunkhorst

Ralph H. Bruns

Barbara M. Bryant

Hap & Mary Burke

Rodney & Elaine Carlson

Jerry & Anne Carlson

Marie Casey & Kenn Entringer

Pat Church & Jim Daues

Katie & Charlie Claggett

John Michael Clear & Isabel Marie Bone

Dr. & Mrs. Edward Cohen

Shereen Corbett

Ann M. Corrigan

Laura & William Courtney

Anthony Cutaia

Diane Dark

Quintus L. Drennan, Jr.

J. Kennard Streett

Rev. Dr. Pamela Stuerke *

James P. Tobin & Virginia E. Heagney

Mr. & Mrs. Gregory Trapp

Arlie & Eileen Traughber

Rowena B. Van Dyke

Barbara & David Ware

Mr. & Mrs. John D. Weil & Pershing Place Foundation

Mei Chen Welland

Ms. K. E. Wentzien

Ellen White

Bill & Diann Wichman

Gerald Wilemski

Mr. & Mrs. Richard Wilt

Barbara McAfee Wohltman

Donna Zoeller

Connie Emge

Mary Karen Engel & Mark Engel

Kimberly Faulhaber

Benjamin Kozower & Nikki Fedoravicius

Mary Ferguson

Dr. Kathleen Ferrell

Marjorie & Terry Franc

Gerard Frankenfeld

Mary Jane Fredrickson

Ronald & Cheryl Fromm

Casey Gardonio-Foat

Elaine Gernstein

Barbara Gervais

Leslie S. Gewin

Amy & Amrit Gill

Gail Glenn

Gerald & Dr. Colette Gordon

Dr. & Mrs. Kevin Graepel

Darrell Grant

Miran & David Halen

Mr. & Mrs. Stephen C. Hall

Mr. & Mrs. Scott J. Hammann

Steven Harpole

Anna Harris

Louis Hawn

Mr. & Mrs. John Hensley

Ian Hinchliffe & Marjorie Shapiro

Luise N. Hoffman

Philo Holcomb

Mr. & Mrs. David H. Hutchinson

Margaret & Martin Israel

Mark Jacobs

Suzanne & Jim Johnson III

Marjorie Eddy Johnson

Tamara Keefe

Mr. & Mrs. Steve Kidwell

Harry Knopf

Laura & Anthony Lancia

Mark & Ginny Lawson

Anh Le & Ryan Kulage

Peggy & Don Lents

Laurie & Sean Lock

Antonio Longrais & Marisa Human

Charles MacKay

Kellie J. Mandry

Dr. & Mrs. David Margolis

Michele M. Maue

The McGregor Family

Virginia McKeever

Laura & John Meyer

Richard J. Mitchell

Lucy Morris

Wynne & Randy Moskop

Michelle Myers

Bruce J. Nelson

Dianne C. Nichols

Carolyn & John Odom

Ruth Orth

Dr. Gwendolyn D. Packnett & Mr. John Moten, Jr.

Nancy Patten

Kimberly Perry

Linda Horne & Daniel Phillips

Jeffrey A. Pierce

Mrs. B. Franklin Rassieur, Jr.

Patricia Rice-Hellmuth & George Hellmuth

Laverne Riebold Moseley & Willard Moseley

Mary Riebold

Dr. Carol L. Roslund

Anne Marie Ruhlin

Jennifer A. Sage

Mrs. Gideon H. Schiller

CONTRIBUTORS $250-$499

Anonymous Donors (4)

Abreu Family

Audrey Adreon

Natalie Alberici

Scott Amelung

M. J. Aneskievich

Pippa & Dave Barrett

Michael G. Biggers

Dr. Ellen F. Binder

Lynn Bodicky

Kenneth & Ann Bohm

Ellen Bonacorsi

Sharon Bower

Mr. & Mrs. Robert C. Boyd

Patricia Brasher

Breadsmith of St. Louis +

Joan T. Briccetti

Richard & Sujata Buck

Heather Burenga

Carol Carlson

Robert & Connie Carr

Shandy & Kristine Casteel

Mr. & Mrs. Jim Castellano

Christopher Chan

Dr. Lewis R. Chase

Christopher L. Cimijotti

Dr. Janet Congdon

Linda E. Schulte

Linda Schwartz

Mr. & Mrs. James Shafter

Drs. Barry & Marilyn Siegel

Kathleen & William Sitzer

Jermaine Smith & Family

Janet Spencer

Deanna Stevenson

John & Jolly Stewart

Louise Flick & William True

Alicia Underwood

Vance Urick

Brian Corry & Sue Arnold

Kathianne & David Crane

Dr. & Mrs. James P. Crane

Cravings +

George L. Crow

Rand Dankner

David Kirkland Catering

Dr. Debbie Depew & Brad Moore

David & Susan Dobmeyer

Robert & Jamie Driver

Kay & Larry Dusenbery

Luke J. Elmer

Explore St. Louis +

Gary & Susan Fletcher

Forest Park Forever+

Peter & Sally Franzmann

Mr. & Mrs. Anthony Garnett

Dr. Bill L. Gaus

Mr. & Mrs. James Gavin

John Gedrick

Scott Gill

Marianne Gillis

James Glazier

Deborah J. Goldstein

Marc Goldstein & Elizabeth Zucker

Katie Gray

Dr. & Mrs. Garry Vickar

Ellen A. Wallace

Roy Wehrle & Vonnie Hinesley

Michael W. Weisbrod

Matthew & Sara Wheeler

Kathryn R. White

Beverly Field Whittington

Mary Wittry

Douglas & Lynn Yaeger

Dr. & Mrs. Myles Yanta

Bree Yard

George Yeh

Great Harvest Bread Company+

Robert & Catherine Gresick

Susan L. Hahn

Mr. & Mrs. Keith Hamilton

Glenda Hares

Dr. Nanette Hegamin

Mr. & Mrs. David Wismar Herman

Michael Herron

Mr. & Mrs. Paul Hirth

Virginia A. Hoeper

Kathy Hoffman

Mark & Peggy Holly

Ms. Cathy Hooper

Margie Horowitz

Mr. & Mrs. Patrick Huber

Thomas Incrocci

Mr. & Mrs. Joel S. Iskiwitch

Barbara Jenkins

Katherine Johnson

Mary H. Karr

Dr. Michelle E. Kemp

Gerry & Ginge Kettenbach

David Kimball & Laura Arnold

Steve & Margie Knapp

Mr. & Mrs. Richard Kniep

Christie Kovac

Jack & Mary LaBarge

Douglas R. Lane

Bob & Marcia Lange

Patricia Leontsinis

Fran & Norman Leve

Dr. & Mrs. Frederick Lewis

Mary Jo & Jerry Liberstein

Brad Liebman

Dr. George A. Lodoly

Melvin Loeb

Carolyn W. Losos

Cindy & Gregg Lueder

Bruce & Sharon MacKenzie

Dr. Jerald & Jane Maslanko

Massage Luxe Rock Hill +

Mrs. Lansden McCandless, Jr.

Susan McCorkell

MaryAnn McCormick

Hugh A. McGaughy

Meridith McKinley

Shawn Merys

Mr. & Mrs. Jeff Miller

Judy & David Milton

Missouri Historical Society+

Mr. & Mrs. Jean-Paul Montupet

Harry & Carol Moppins

Mr. & Mrs. Edward Morris

June C. Mueller

Rose Marie Nester & James Heine

David Newburger

Lee Nickelson & Lynda Dautenhahn

O+O Hospitality Group +

Francis & Peggy Oates

Kim Oliver

Gloria Park

June Pellarin

Alan & Dr. Sunny Pervil

Lisa Pestronk

Heinz Peter

Nancy Phillips

Ann Podleski

Donald Prahlow

Alan Pregozen

Mr. & Mrs. J. L. Price

Steve & Sue Rakel

Stanley Ransom

Mr. & Mrs. Derek K. Rapp

Elizabeth Raschbaum

Trevor D. Reese, Jr.

Dr. Valerie C. Reichert

Beth Rogers

Dr. Randolph Roller & Charles Cross

Larry Rosen

Mr. & Mrs. Alan C. Rosenkoetter

J. Michael & Susan Ryan

Stephen Ryan & Judi Jewell

Anthony & Darlene Scaglione

Mark V. Scharff

Becky Scherer

Whitney Scherr

Maria Schlafly & David Aholt

Leann & Andrew Schuering

Mary Ann & Richard Shaw

Jim Shumate

Gerry Shaikun & Laurie Smith *

Dr. & Mrs. L.D. Smith

John & Nancy Solodar

St. Louis Magazine +

Kevin T. Staley

Gary L. Stansbery

Kirk Stein

Maxine Stone *

Lynne Tatlock & Joseph Loewenstein

Ted Drewes Frozen Custard +

Megan E. Thornberry

Sarah Trulaske

Thomas Turnbull & Darrell Smith

Mr. & Mrs. James von der Heydt

Steven Weber

Michael Weeda & Joanne Michalski

Mr. & Mrs. Ted Weinberg

Marlita Weiss

Ann Carroll Wells

Klair White

Jim Wilson

Alan & Susan Witte

Daniel E. Woodward

World Chess Hall of Fame +

Kay E. Wunder

Dr. Allan & Mrs. Deborah Zacher

Aleene Zawada

Mr. & Mrs. Warren G. Sullivan

Photo

decades of GENEROSITY

As we celebrate Opera Theatre of Saint Louis’ 50th Festival Season, we are mindful of the many who have invested in this company’s success every year for the past 20, 30, or even 40 or more years. Thank you to all the current donors on this list, and to all who have supported the company across the last 50 years. We appreciate your loyalty and dedication to Opera Theatre!

40-50 CONSECUTIVE YEARS OF GIVING

Anonymous Donor (1)

Audrey Adreon

David & Melanie Alpers

Mrs. Walter F. Ballinger II

Louis D. Beaumont Fund

No. 1 of the St. Louis

Community Foundation

Dr. Martin J. Bell

Lee & Alexandra Benham

Rudi J. Bertrand

June R. Bierman

Elaine & Harold Blatt

Mrs. Merle N. Blundell

Drs. Nanci & James Bobrow

Mrs. Laurance L. Browning, Jr.



Mrs. Laurance L. Browning, Jr. 

Phoebe & Spencer Burke

Paul & Elissa Cahn

Mary & Elliott Chubb

Elaine Coe

Mary Diboll

Bill Dolan & Suzanne

Bromschwig Dolan

Quintus L. Drennan, Jr.

Jane & Chuck Ettelson

Robert & Jane Feibel

Dorothy & Billy Firestone

Keith & Ann Fischer

John Forestner & Brad Alford

Edward Chase Garvey

Memorial Foundation

Joseph E. Geist

Mrs. Joseph F. Gleason

Rabbi Dr. Jay Goldburg

Rik & Gail Hafer

Arnold & Myrna Hershman

Anne W. Hetlage

Alfred & Marilyn Holtzer

Mr. & Mrs. Lawrence J. Horgan

Phyllis R. Hyken

Margaret & Martin Israel

Diane & Paul Jacobson

Bettie S. Johnson

Mary Ranken Jordan & Ettie A. Jordan

Charitable Foundation

Mary H. Karr

Richard & Shirley Knight

Harry Knopf

Dr. Stuart Kornfield

Gerald M. Kowarsky

Nancy & Ken Kranzberg

Mr. & Mrs. Lawrence Langsam

John Frank Lesser

Fran & Norman Leve

J. David & Lucy S. Levy

Karen & Mont Levy

Carolyn W. Losos

Charles MacKay

Mrs. Lansden McCandless, Jr.

Hugh A. McGaughy

LaVerna Meyer

Jack Austin Miller

Wilhelm & Ingrid Neuefeind

Mrs. Matthew Newman

Adrienne Warren Patton

Georgia C. Pettus

Laura & Rick Pfeiffer

Mr. & Mrs. J. L. Price

Emily Rauh Pulitzer

Marti Reichman

Jan Paul Richter & Ellen von Seggern Richter

Mrs. Robert L. Rosenheim

Mr. & Mrs. Alan C. Rosenkoetter

Dr. Mary Anne Rudloff

Ann R. Ruwitch & John Fox Arnold

Mr. & Mrs. Robert L. Scharff, Jr.

Sondra Schlesinger

Jerry & Sue Schlichter

Dr. Mim Shelden & Lou Kinsey

Jim Shumate

Drs. Barry & Marilyn Siegel

Eve Simon

Stephen W. Skrainka

Brian & Jane Smith

James V. &

Susan S. Stepleton

J. Kennard Streett

Peggy Walter Symes

Mr. & Mrs. E. R. Thomas, Jr.

Stephen Trampe &

Stephen Trampe & Jenny Gupta

Jenny Gupta

Susan & Peter Tuteur

Franklin F. Wallis

Whitaker Foundation

Ellen White

Jim Wilson

Roma B. Wittcoff

Sharon & Elliot Zucker

30-40 CONSECUTIVE YEARS OF GIVING

Anonymous Donor (1)

Robert C. Anderson

M. J. Aneskievich

Bayer Fund

Kenneth & Mary Biskup

Eugenie R. Bonte

Ralph H. Bruns

Mr. & Mrs. John J. Corbett

Joseph E. Corrigan

Mrs. P. Terence Crebs

Rand Dankner

Mr. & Mrs. Irl F. Engelhardt

Sara Epstein

Melanie & Anthony

Fathman, M.D.

Mary Ferguson

Alison & John Ferring

Janice & Bill Forsyth

Mary Jane Fredrickson

Ann M. Fusz

Ellen M. Fusz

Deborah J. Goldstein

Donna & Robert Heider

Jan Hermann

Luise N. Hoffman

Mrs. Ronald A. Holtman

Nanette Johnson & Glen Yonetani

Mrs. Alexander Kalin

Rosalyn & Charles Lowenhaupt

Dr. John E. Mazuski

Pat & Brigid McCauley

Diane McCullough

Sedgwick Mead, Jr. & Catherine Perry

The Andrew W. Mellon Foundation

Liz & Brian Mischel

Robert & Carla Myerson

Rose Marie Nester & James Heine

Francis & Peggy Oates

John Howard Percy

Judy & Paul Putzel

Stanley Ransom

John & Nancy Rice

Patricia Rice-Hellmuth &

George Hellmuth

Patricia Rice-Hellmuth & George Hellmuth

Richard Robb

Dr. Carol L. Roslund

Dr. & Mrs. Joseph Ruwitch

Thomas Sehr &

Margaret A. Wayne

Thomas Sehr & Margaret A. Wayne

Dr. David Sewall & Jeff Kapfer

Gerry Shaikun & Laurie Smith

Drs. Andrey Shaw & Cynthia Florin

Jenny Shifrin

Sudie Shinkle

Dr. & Mrs. L.D. Smith

Dr. Jamie Spencer & Anna Ahrens

Mr. & Mrs. Warren G. Sullivan

Lynne Tatlock & Joseph Loewenstein

Dr. & Mrs. Paul M.

Vandivort, Jr.

Dr. & Mrs. Paul M. Vandivort, Jr.

George & Betsy Vogt

Phoebe Dent Weil

Marlita Weiss

Peter J. Wender

Barbara McAfee Wohltman

In Memoriam

DECADES

20-30

Anonymous Donors (6)

Scott Amelung

Ameren

Susan Frelich Appleton &

Robert O. Appleton, Jr.

Mary M. Bannister

Gailya & John Barker

Anthony Bassett

Pam Belloli & Dave Shimek

Jim Berges & Elizabeth Mannen Berges

Sharon Biegen & Brian Vandenberg

Michael G. Biggers

Sally Brayley Bliss & Jim Connett

Catherine S. Bollinger

Jane & Charlie Brader

Mr. & Mrs. Stephen F. Brauer

Martha Brewer

Mary I. Brown

Elsbeth Brugger & Gretchen Vender Meulen

Buron F. Buffkin & Donn Kleinschmidt, M.D.

Carol Carlson

Rodney & Elaine Carlson

Belinda Carstens-Wickham

Richard & Margaret Christenson

Beverly Clarkson

Commerce Bank

Grace Crews Corbin

Ann M. Corrigan

Mrs. Robert H. Craft, Jr.

Jill Cumming

Beverly Curtis

Anthony Cutaia

Diane Dark

Dr. Carlos C. Daughaday

David & Susan Dobmeyer

Mr. & Mrs. Arnold W. Donald

Dr. & Mrs. James W. Donnelly

Sarah Duffy

Kay & Larry Dusenbery

Kim & Tim Eberlein

Fay Schubert Eckert

Hope Edison

Edward Jones

Richard L. Egilsrud

Connie Emge Enterprise Holdings Foundation

Phyllis L. Evans

Sara Fabick

Alan R. Fiddleman

Tom & Debbie Fishwick

Nicole & Keith Freber

Nora Frein

Charlotte Frisbie

David R. Ganz

Mr. & Mrs. Anthony Garnett

Robert & Catherine Gresick

Michael L. & Paula E. Gross

Susan L. Hahn

Mark Hartnagel

Shirley A. Heiman

Carolyn Henges

Gina & Lee Hoagland

Dr. Alan W. Hopefl

Mr. & Mrs. Alvin Horst

Janet & Andy Hoyne

Mr. & Mrs. David H. Hutchinson

Silvian Iticovici & Cathy Ifune

Gayle Jackson

Frank Jacobs & Marylen Mann

Marjorie Eddy Johnson

William T. Kemper Foundation

Steve & Margie Knapp

Mr. & Mrs. Richard Kniep

Mrs. Newell S. Knight

Stephen E. Kraft

Jim & Pam Krekeler

Jack & Mary LaBarge

Douglas R. Lane

William Larson & Christopher Harlow

Mary Jo & Jerry Liberstein

David Linzee

Jim & Connie Lippert

Melvin Loeb

Iona A. Long-Baldwin

Cindy & Gregg Lueder

Dr. & Mrs. Carl A. Lyss

Mr. & Mrs. John

Peters MacCarthy

Joe & Alice Maffit

Elizabeth Mahony

Marcela Manjarrez

Mr. & Mrs. Paul Marsh

Dr. Jerald & Jane Maslanko

Leigh & Jean Mason

The McGregor Family

Patricia McHugh

Laura & John Meyer

Erie Mills & Thomas Rescigno

Judy & David Milton

Richard J. Mitchell

Mr. & Mrs. James R. Moog

Lucy Morris

Jo Anne Morrow

Noémi K. Neidorff

James Nicholson

Martha C. Nussbaum

William Paul

Pershing Charitable Trust

Alan & Dr. Sunny Pervil

Mr. & Mrs. Raymond W. Peters

Pinnell Foundation

Mr. & Mrs. Mike Pishko

Harriet & Philip Polster

Mabel L. Purkerson, M.D.

Brian Abel Ragen

Susan & John Rava

Dr. Valerie C. Reichert

Allen & Merry Richon

Fredric Rissover

Kurt Rupe

Marsha & William C. Rusnack

John H. Russell

Alan & Marilyn Sachs

Jennifer A. Sage

The Saigh Foundation

Maria Schlafly & David Aholt

Damaris Schmitt

Kathleen & William Schnyder

Harriet Scholle

Mary Schoolman & Dr. James Hinrichs

Linda Schwartz

Mrs. Henry L. Schweich

Linda Seibert

Dr. Jeanne & Rex Sinquefield

Jurgen Skoppek

Marjorie Smith

John & Nancy Solodar

Dr. John Sopuch

Janet Spencer

Kevin T. Staley

Kendall Stallings

Stifel

Rabbi Jeffrey & Dr. Arlene Stiffman

Maxine Stone

Mr. & Mrs. V. Raymond Stranghoener

Molly Strassner

Mary Strauss

Donald M. Suggs

Ann McFarland Sullins

Mary Susman & Tom Herm

Maria & Philip Taxman

James P. Tobin & Virginia E. Heagney

Douglas M. & Sherida E. Tollefsen

Arlie & Eileen Traughber

Madge Treeger

Susan & Ben Uchitelle

Rowena B. Van Dyke

Robert & Nancy Wagoner

Mr. & Mrs. John D. Weil

Josephine & Richard Weil

Drs. Craig & Terri Weldon

Mr. & Mrs. Darrell Yearwood

Ellen & Bill Yeckley

George Yeh

Edward H. & Rosemary

Young Fund of the St.

Louis Community Foundation

Stuart & Susie Zimmerman

THE GOLDEN CIRCLE: MAJOR CONTRIBUTORS TO THE ENDOWMENT

Opera Theatre’s high standards of performance and, indeed, the company’s survival in the future depend on building a substantial endowment. To ensure the quality of this institution for succeeding generations, individuals, foundations, and corporations in the Golden Circle have made major gifts to Opera Theatre’s endowment fund. For their commitment to the company’s continued artistic excellence and community service, we express our deepest gratitude.

DONORS OF $1,000,000 & ABOVE

Anonymous Donors (3)

Phyllis Brissenden 

Mr. & Mrs. Laurance L. Browning, Jr.

Salvatore  & Dagnija  Comado

The Ford Foundation

This list includes current donors (as of April 1, 2025) who have made a membership level gift ($50+) every year for the past 20 years or more. It reflects the best of our knowledge, but it may not be perfect across 40 years of records. If we have missed you or someone you know, please reach out to the Development team at (314) 963-4228, and we will correct future lists.

Mr. & Mrs. Harvard K. Hecker & The Hecker Family Charitable Fund

Ann Lee  & Will  Konneker

Gene Kornblum

Sally S. Levy  & Family

DONORS OF $500,000-$999,999

Anonymous Donor (1)

Rex  & Phyllis  Brown

Susan Brown 

Rudolph W. Driscoll  & The Driscoll Foundation

Mr.  & Mrs.  E. Desmond Lee

DONORS OF $250,000-$499,999

Jim Berges & Elizabeth Mannen

Berges & The Berges Family Foundation

Adelaide Cherbonnier

Emerson

Lelia & David Farr

Dr. & Mrs. Leigh Gerdine

Margaret B. Grigg 

Dorothy Kelley

Mr. & Mrs.  L. Max Lippman, Jr.

Sarah Bryan Miller

Mr. & Mrs. Reuben M. Morriss III

Robert W. Schaefer 

DONORS OF $100,000-$249,999

Anonymous Donors (4)

Mrs. Norris H. Allen

Paul M. Arenberg

Barry Family Trust

Bayer Fund & Monsanto Fund

Gertrude & William A. Bernoudy Foundation

Ruth Palmer Blanke 

Mr. & Mrs. Donald L. Bryant, Jr.

Gertrude B. Busch

Mr. & Mrs. William H.T. Bush

Margaret Crumpacker, M.D.

The Robert H. & Lorraine F. Duesenberg Foundation

Mrs. Ernest A. Eddy, Jr.

Enterprise Holdings Foundation

Clark & Jeanette Gamble Trust

Colin Graham, O. B. E.

Mr. & Mrs. Anthony L. Guerrerio

The William Randolph Hearst Foundation

William T. Kemper Foundation

Mr. & Mrs. Stanley Lopata

Mrs. Charles W. Lorenz 

Morton J. May Foundation

Mr. & Mrs. Sanford N. McDonnell

Mr. & Mrs. William B. McMillan, Jr.

David W. Mesker  The Mabel Dorn Reeder Foundation — Mabel L. Purkerson, M.D., Trustee The Saigh Foundation

National Endowment for the Arts Noémi & Michael  Neidorff

David & Thelma Steward & The Steward Family Foundation

Jack C. Taylor 

Fred J. Wehrle, Jr.

Whitaker Foundation

Dr. Richard D. Yoder

Arthur Osver  & Ernestine Betsberg Osver

Mr. & Mrs. Emmanuel C. Paxhia

Emily Rauh Pulitzer

Mr. & Mrs. Robert L. Scharff, Jr.

Mrs. William H. Sheffield

Dr. Jeanne & Rex Sinquefield

Mrs. Leif J. Sverdrup

Mr. & Mrs. Monte Throdahl

Janet McAfee Weakley

Professor Emeritus

Charles M. Weiss

Marjorie Wyman

IN MEMORIAM

“Sanctum”

I built a tiny garden In a corner of my heart. I kept it just for lovely things And bade all else depart. And ever was there music, And flowers blossomed fair; And never was it perfect Until you entered there.

- Beulah B. Malkin

Virginia “Jinny” Browning

Donald L. Bryant, Jr.

Nicholas Clifford

Robert Cole, Jr.

Ian Cruickshank

Bertram Culver III

Robert Duesenberg

Robert W. Duffy

Bill Durham

Edgar Ellermann

Sam Fox

Roxanne Frank

Mattie French

Stephen Hereford

Carl Hermann

Nancy Kalishman

Joanne Kohn

Alfred Korn

Gene Kornblum

Dianne Lazaroff

Sally Lefler

Ann Mandelstamm

Theresa McKee

Jane Miller

John Nelson

Jill Petzall

Nancy Pollnow

Bill Sciortino

Suzanne Sessions

Bonnie Shopper

Jane Shumate

Michael Simpson

Kenneth Smith

Peter Strummer

Lois Trowbridge

Colette Walsh

Dr. Virginia Weldon

remembering VIRGINIA “JINNY” BROWNING

BROWNING

Opera Theatre is deeply saddened by the passing of Virginia “Jinny” Browning earlier this year. We have known no greater friends than Jinny, her late husband Larry, and the Browning family.

Before the assembly of Opera Theatre’s founding board and before Richard Gaddes was engaged to become the company’s ﬁrst General Director, a small group of St. Louis civic leaders launched the e ort that led to the founding of OTSL. Larry and Jinny Browning were among those leaders. Larry was a founding Board member and the company’s second Board Chair. Opera Theatre was a family a air, and Jinny was right there beside Larry, critical in her own right to launching the company.

Jinny was pivotal in founding the Opera Bu s, the predecessor to the OTSL Guild, and launched much of the work that our Guild continues today, including artist transportation and housing. Jinny also volunteered in the o ce in the early days, helping to set up Richard Gaddes’ ﬁ ling system. Devoted not only to the company but to its people, the Brownings were known for hosting pool parties at their home, inviting artists and artisans to escape the St. Louis summer heat on company days o , and helping to create the warm sense of community that endures today.

The Brownings are largely responsible for OTSL’s deep commitment to ﬁ scal discipline. They helped to instill a culture that lives on, advocating tirelessly not only for our artistic success but also for balanced budgets.

Larry and Jinny were also devoted to OTSL through their generous philanthropic investment in many initiatives, including the Larry and Jinny Browning Fund for Technical Fellowships, which supports artisans who work and learn backstage. Indeed, the very theater in which Opera Theatre now performs — the Virginia Jackson Browning Theatre at the Loretto-Hilton Center — was named in recognition of Jinny’s impact on Webster University, the Repertory Theatre of St. Louis, and OTSL.

Jinny’s involvement in the community was wide and deep, extending to the Community Music School, Saint Louis Science Center, St. Louis Symphony Orchestra, Central Institute for the Deaf, Circus Flora, and others. She was a lifelong lover of theater and music, and she shared that passion widely through her work in the community.

After 37 years in St. Louis, Larry and Jinny returned home to Maysville, Kentucky in 2010. They stayed engaged with OTSL throughout the rest of their lives.

We will remember Jinny this season as we celebrate our 50th anniversary — a birthday that certainly would not have been possible without her lifelong dedication. ■

Virginia “Jinny” Browning and her husband Larry.

Opera Theatre gratefully acknowledges the following gifts to the Tribute Fund in honor/memory of the following special individuals.

In Honor of Mary Akers

William Anderson

In Memory of Donald Bryant

Abreu Family

Mike & Carolyn Kolman

Paul & Judy Putzel

In Memory of John R. Buckley

Sarah & Michael David Smith

In Honor of Phoebe & Spencer Burke

John Ross

Ann Cady Scott

In Memory of Bob Cole

Margaret Wald

In Memory of Bob Craft

Tom & Ulrike Schlafly

Sharon & Elliot Zucker

In Memory of Bertram “Terry” Culver

Carolyn & Ernest Clarke

Dr. & Mrs. Philip G. George

Mr. & Mrs. Stephen C. Hall

Jane S. Mackey

Mr. & Mrs. Kimball R. McMullin

Francis & Peggy Oates

Mr. & Mrs. Raymond W. Peters

Patricia Rice-Hellmuth & George Hellmuth

Kathy Smith

J. Kennard Streett

In Memory of Theodore B. Curtiss

Cathy Curtiss

In Memory of Bill Durham

Ron Bozzay

Katie & Charlie Claggett

Steve Degnan

Marjorie & Terry Franc

Mr. & Mrs. Harold Helmkampf

Ted & Jane Simmons

John Stevenson

J. Kennard Streett

Ellen A. Wallace

Dennis E. Walsh

In Honor of Kim Eberlein

Marie Casey

Rosalyn & Charles Lowenhaupt

In Honor of Kim & Tim Eberlein

Mrs. Walter F. Ballinger II

Jerry & Anne Carlson

Mr. & Mrs. Jim Castellano

Dr. & Mrs. Will Chapman

In Honor of Luke Elmer

Anonymous Donor

In Honor of Barb Enneking & Hank Puch

Jinny & Jim Gender

Jim & Karen Gender

Susan Kaiser

CJ Larkin

In Honor of Lelia & David Farr

Roy Pfautch

In Honor of Bob & Jane Feibel

Charles & Marian Rice

In Honor of Jane Feibel

Byron Kerman

Sharon & Elliot Zucker

In Memory of Mary Feldmeier

Peter Kelly

In Honor of Allison Felter

Mr. & Mrs. Scott J. Hammann

Marilyn E. Votaw

In Honor of Morgan Fisher

James A. Morrell

In Honor of Nicole Freber

Donna & Harvey Allen

Allen & Merry Richon

In Memory of Mattie French

Roxanne Hazelwood & Elizabeth Hazelwood

Arnold Jacobson

Scott & Pamela Kibler

Karen & Andy Wasserman & Family

In Memory of Richard Gaddes

Elma Kanefield

The Patriot Foundation

In Honor of Emilie Hensley

Mr. & Mrs. John Hensley

In Memory of Carl Hermann

Madelyn Harris & Peter Wilson

In Honor of Andrew Jorgensen & Mark Stuart-Smith

Anonymous Donor

Marie-Hélène Bernard & Douglas Copeland

Sharon & Elliot Zucker

In Honor of Andrew Jorgensen, Mark Stuart-Smith, & Caterina Anne Stuart-Smith

Ann McFarland Sullins

In Honor of Amy Kaiser

Robert & Jane Feibel

In Honor of Claire Kaufman

Rebecca Melander

In Memory of Gene Kornblum

Robert & Jane Feibel

Anne W. Hetlage

J. David & Lucy S. Levy

Susan & John Rava

In Honor of Anh Le

Ryan Kulage

In Memory of Sally Lefler

Junior League of St. Louis - Drue Webster Committee

In Honor of Lucy Levy

Robert & Jane Feibel

Karen & Mont Levy

In Honor of Mont Levy

Elinore Weinhaus

In Honor of Marcela Manjarrez Ellen Franzel

In Honor of Tyler McKenzie

James A. Morrell

In Honor of Harry Moppins

Georgia C. Pettus

In Honor of the National Patrons Council

Jamie Craft

In Honor of Noémi Neidorff

Dr. & Mrs. Alan Braverman

Dr. James Gandre & Dr. Boris Thomas

John Roberts

In Honor of Jenna Pieper

Kaitlin Evans

Jakob Mueller

Jonathan & Rachel Pieper

In Honor of Patricia Racette

Alice Jorgensen

In Honor of Patricia Racette & Beth Clayton

W.W. & Anne Jones

In Memory of Catherine Raney

Anonymous Donor

Jan Paul Richter & Ellen von Seggern Richter

In Honor of Susan & John Rava

Susan & Ben Uchitelle

In Honor of Jan Paul Richter & Ellen von Seggern Richter

Marilyn Meeker

In Honor of James Robinson

Mr. & Mrs. David W. Kemper

In Memory of Maynord Rosen

Larry Rosen

In Honor of John Russell & Darryl Redhage

Amy & Amrit Gill

In Honor of Steve Ryan and the Production & Operations Team

Robert & Jane Feibel

In Memory of Charla Sausele

Anonymous

In Honor of Bob & Martha Scharff

Dr. & Mrs. Edward Cohen

In Honor of Linda Seibert

Robert & Jane Feibel

In Memory of Suzanne Sessions

Scott Gill

Wynne & Randy Moskop

In Memory of Bonnie “Bunny” Shopper

Marsha Alent

Barbara J. Feldacker

Jim & Lorraine Harris

Sandy Kaplan

In Memory of Jane Shumate

Mr. & Mrs. Richard C. Bradley, Jr.

Jane Otto

In Honor of the Sign Language Interpreters

Mary Gann

In Memory of Kenneth Smith

Richard & Shirley Knight

Georgia C. Pettus

In Honor of Jamie Spencer

Kate S. Pitman & The Pitman Family

In Honor of Caterina Anne Stuart-Smith

Janet & Andy Hoyne

Jan Paul Richter & Ellen von Seggern Richter

In Honor of Maria & Phil Taxman

Lisa Pestronk

In Honor of Mark & Sudie Throdahl

Ann Carroll Wells

In Memory of Tani Wolff

Linda Seibert

In Memory of Sue Wright

Janet Mulroy

The list of Opera Theatre contributors was complete at press time and indicates those who made tribute fund gifts before April 1, 2025. Donors who made gifts later will be recognized during the 2026 Festival Season. To honor or remember a loved one, please call (314) 963-4228 or visit us online at ExperienceOpera.org/Tributes.

Understanding Starts

When Culture Is Seen

St. Louis Public Radio brings context and humanity to the stories that a ect life in the metro area.

THE 50TH ANNIVERSARY GALA

Opera Theatre’s 50th anniversary kicked o on May 8, 2025, with a wondrous celebration 50 years in the making.

The 50th Anniversary Gala was chaired by Noémi Neidor and featured artists with deep connections to Opera Theatre: baritone Justin Austin, tenor Joshua Blue, soprano Deanna Breiwick, mezzo-soprano Jennifer Johnson Cano, pianist Christopher Cano, and pianist Eric Sedgwick. The evening ended with a surprise performance from the 2025 Richard Gaddes Festival Artist and Gerdine Young Artists.

Opera Theatre is profoundly grateful to the donors whose generosity supported an unforgettable 50th anniversary celebration. All funds raised will support accessible arts experiences for all ages, living wages for artists in our community, and awe-inspiring performances that bring acclaim to St. Louis.

PRESENTING SPONSORS

Noémi K. Neidor

UNDERWRITERS Jim Berges & Elizabeth Mannen Berges

Cynthia J. Brinkley

SUSTAINERS

Robert & Jane Clark

Penny Pennington & Mike Fidler

Phoebe & Spencer Burke

Kim & Tim Eberlein

Lelia & David Farr

Mr. Joseph Shepard & The Honorable Claire McCaskill

Robin & Tim Wentworth

BENEFACTORS

Crawford Taylor Foundation

Karen & Mont Levy

Stephen Trampe & Jenny Gupta

Roma B. Wittco

GUARANTORS

Gina & Lee Hoagland

Barry Kirk & Andrew Martin

John & Christy Nickel

Lori & Ted Samuels

Dr. Jeanne & Rex Sinqueﬁeld

WITH UTMOST GRATITUDE, OPERA THEATRE ACKNOWLEDGES

THE MEMBERS OF THE CRESCENDO CIRCLE

Anonymous Donors (4)

Susan Ahl

Dr. Martin Bell

Robert A. Bilzing

Mrs. Laurance L. Browning, Jr. 

Pamela Buell

Phoebe & Spencer Burke

Carolyn Kehlor Carr

Earl Charvet

Salvatore  & Dagnija Comado 

Mrs. James Corrigan

Joseph E. Corrigan

Irene Cortinovis

Bill Dolan & Suzanne Bromschwig Dolan

Ann Faget

Alan R. Fiddleman

Ann M. Fusz

Ellen M. Fusz

Richard Gaddes 

David R. Ganz

Rabbi Dr. Jay & Erika  Goldburg

Joan Goodson 

Richard & Susan Hancey

Shirley A. Heiman

Mr. & Mrs. Arnold Hershman

Jane House

Jeannette R. Huey

Amy Kaiser

Alfred Korn 

Gene Kornblum 

Gerald M. Kowarsky

Michael Kramer

George B. Kyle

Mr. & Mrs. Lawrence Langsam

Dianne Lazaroff 

Sally Gene Lefler 

John Frank Lesser

J. David & Lucy S. Levy

Barry Arthur Litwin

Charles MacKay

Helen McCallie

Diane McCullough

William D. Merwin 

Erie Mills & Tom Rescigno

Liz Mischel

Robert & Carla Myerson

Dr.  & Mrs. Matthew Newman

Timothy & Kara Graziano O’Leary

Peggy Otto

Dr. Robert Packman 

Stanley Ransom

Dr. Mary Anne Rudloff

Joy Ryan

Mr. & Mrs. Robert L. Scharff, Jr.

Sondra Schlesinger

Mr.  & Mrs. Arthur Seltzer

Mrs. Donald J. Sher

Dr. Monica Minkoff Siegfried

Kenneth  & Marjorie Smith

Laurie K. Smith & Gerald L. Shaikun

Mrs. James P. Stearns

Bill & Karen Stebelski

Maxine Stone

Pamela S. Stuerke

Mary Susman & Tom Herm

Isolde Thalmann

Dr. Patrick R. Thomas

Stephen Trampe & Jenny Gupta

Franklin F. Wallis

Phoebe Dent Weil

Sharon & Elliot Zucker

CO-CHAIRS

Top (L to R): Bass-baritone Phillip Lopez, mezzo-soprano Gabriela Linares, and soprano Laura Santamaria raise a glass at the Hispanic Heritage Month Celebration.

Left (L to R) Intermezzo Society CoChairs Crystal Allen Dallas and Marcela Manjarrez with General Director Andrew Jorgensen at the Hispanic Heritage Month Celebration.

Crystal Allen Dallas Marcela Manjarrez

MEMBERS

Drs. Jennifer & Robert Arch

Pam Belloli & Dave Shimek

Sam C. Bertolet & Helen Ziercher

Ashley Budde-Taylor & Dr. Matthew Taylor

Brandy Burkhalter

Paul Cambridge & Amanda Trudell

Cambridge

Laura & William Courtney

Patrick Dallas

Michael & Susan Darcy

Diane Dark

Connie Emge

Mary Karen Engel & Mark Engel

Jane & Chuck Ettelson

Sara Fabick

Gerard Frankenfeld

Casey Gardonio-Foat

Barbara Gervais

Leslie S. Gewin

Amy & Amrit Gill

David & Angie Hagee

Miran & David Halen

Steven Harpole

Margaret & Martin Israel

Mr. & Mrs. David Kowach

Benjamin Kozower & Nikki Fedoravicius

Laura & Anthony Lancia

Mark & Ginny Lawson

Anh Le & Ryan Kulage

Laurie & Sean Lock

Led by Crystal Allen Dallas and Marcela Manjarrez, the Intermezzo Society is dedicated to supporting and celebrating new voices in opera. Members discover new artists, attend social events, and enjoy behindthe-scenes access — all while making new connections throughout the St. Louis community.

Membership starts at $600 ($50 per month) and includes complimentary tickets to four events throughout the year: a Winter Brunch in January, A Toast to Opera in March, Intermezzo Society Night at the Opera in June, and a Hispanic Heritage Month Celebration in the fall.

Membership is also open to any current donor of Opera Theatre who has given $600 or more in the past year. Intermezzo Society membership may impact the tax-deductibility of your gift. For more information or to sign up, please contact Tori Rezek, Deputy Director of Development, Institutional Giving and Events, at (314) 963-4223 or [email protected].

Kellie J. Mandry

Kimberly R. McAllister

Diane McCullough

Brenda K. Melson

Tisha & Ahmeed Micko

Liz & Brian Mischel

Michelle Myers

Dianne C. Nichols

Dr. Gwendolyn D. Packnett & Mr. John Moten, Jr.

Lynne Puetz

Xiuli Ren

Allison W. Roberts

Anne Marie Ruhlin

Mrs. Edward L. Salmon, Jr.

Alan J. Savada & Will Stevenson

Annemarie & Matt Schumacher

Janice & Stephen Seele

Linda Seibert

Dr. Amber Simpson & Kenneth Simpson

Mary Ann & Andrew Srenco

Bill & Karen Stebelski

J. Kennard Streett

Alicia Underwood

Rowena B. Van Dyke

Mei Chen Welland

Gerald Wilemski

Bree Yard

George Yeh

NATIONAL PATRONS COUNCIL

Opera Theatre’s National Patrons Council (NPC) is a group of donors from around the country whose involvement directly supports OTSL’s mission. Their input allows Opera Theatre to further enhance artistic quality, raise the company’s national proﬁ le, and advance outstanding young artists.

Through NPC, patrons who may not have a direct connection to St. Louis can ﬁ nd a dedicated community of opera fans that share in their enjoyment of Opera Theatre’s year-round programming.

National Patrons Council members enjoy special beneﬁ ts throughout the year, including a dedicated weekend of unique events during the Festival Season, involvement in strategic planning questions, and company updates from Opera Theatre’s leadership. Membership is available with an annual gift of $2,500. Additional levels of support are available at $5,000 (NPC Gold Circle) and $7,500 (NPC Platinum Circle).

-We are always interested in growing our community of National Patrons Council members. If you would like to learn more about this program, please contact Linda Schulte, Director of Development & Campaign Strategy, at (314) 963-4227 or [email protected].

Opera Theatre is deeply grateful for the support of the following National Patrons Council, NPC Gold Circle, and NPC Platinum Circle members.

CO-CHAIRS

Jamie Craft Washington, D.C.

COUNCIL MEMBERS

Robert C. Anderson California

Jamie Craft Washington, D.C.

Bill Dolan & Suzanne Bromschwig Dolan Oregon

Ann Faget Texas

John Forestner & Brad Alford Texas

Lance & Marcy Fortnow Illinois

Diane & Paul Jacobson Minnesota

Ellen von Seggern Richter Maryland

Marilyn Meeker Michigan

Robert & Carla Myerson Pennsylvania

Jan Paul Richter & Ellen von Seggern Richter Maryland

Marsha & William C. Rusnack California

Alan Jay Savada & Will Stevenson Washington, D.C.

Sondra Schlesinger California

Kathy Sears Washington, D.C.

Eve Simon Nebraska

Shoshana Tancer Arizona

Drs. Craig & Terri Weldon Missouri

Ellen & Bill Yeckley New York

Susan Staley Young California

Sharon & Elliot Zucker Missouri

Members of Opera Theatre’s NPC come from around the nation, and gather annually in St. Louis.

OPERA THEATRE OF SAINT LOUIS GUILD

Thank you to all of our 2025 volunteers!

Gwen Adams

Susan Adams

Lenessa Age

Anna Ahrens

Gabe Angieri

Darwin Aquino

Lekha Bala

Gailya Barker

John Barker

Betsy Barnes-Wilson

Victor Barrios

Tania Beasley-Jolly

Martin Bell

Pamela Belloli

Elisa Bender

James Berges

Laura Bezona

Kekoa Blakemore

Lynn Bodicky

Ashley Bolden

Eugenie Bonte

Celia Bouchard

Allison Bowers

Geoff Bowers

Jane Brader

Kimmy Brauer

Stephen Brauer

Marilyn Brickson

Cindy Brinkley

Be.Be Brown

Ashley Budde-Taylor

Rebecca Buffington

Phoebe Burke

Sara Burke

Spencer Burke

Tim Burnham

Amanda Cambridge

Paul Cambridge

Carol Carlson

Anne Carman

Pat Church

Jane Clark

Beverly Clarkson

Patricia Codden

Lyna Colombo

Janet Congdon

Laura Cooper

Kevin Corpuz

Ann Corrigan

Richard Cote

Michaeleen Cradock

Jamison Craft

Karen Crebs

Jill Cumming

Crystal Dallas

Patrick Dallas

Jim Daues

Adrienne Davis

Philip Deitch

Michelle DeMumbrane

Lisette Dennis

Vickie Denson

Mary Desloge

Ann Divine

Arnold Donald Noreen D’Souza

Sally Eaton

Kim Eberlein

Timothy Eberlein

Fay Eckert

Holly Eggert

Connie Emge

Sue Engelhardt

Cecily Erker

Helen Etling

Sara Fabick

Caroline Fan

David Farr

Lelia Farr

Anthony Fathman

Melanie Fathman

Jane Feibel

Robert Feibel

Alan Fiddleman

Dorothy Firestone

Ann Fischer

Vincent Flewellen

Gerard Frankenfeld

Mary Franzen

Barbara Fraser

Marie Furrer

Ann Fusz

Ellen Fusz

Casey Gardonio-Foat

Anne Gerst

Ann Getz

Randy Getz

Edes Gilbert

Mary Gordon

Sol Guber

Delores Guyton

Gail Heyne Hafer

Rik Hafer

Angie Hagee

David Hagee

Susie Hahn

Lannis Hall

Sally Hanson

C.J. Harlan

Magan Harms

Patricia Heffern

Robert Heider

Shirley Heiman

John Herget IV

Tom Herm

Michael Herron

Arnold Hershman

Myrna Hershman

Victoria Herwig

Britny Hill

Gina Hoagland

Virginia Hoeper

Neil Hoffsten

Mark Holly

Peggy Holly

Ken Holmes

Diane Holt

Maggie Holtman

Ann Holton

Jim Holton

Naretha Hopson

Jane House

Andrew Hoyne

Janet Hoyne

Leigh Anne Huckaby

Jeannette Huey

Laura Huff

Marilyn Humiston

Heather Hunt-Ruddy

Phyllis Hyken

Chakita Jackson

Glenn Jackson

Ingeborg Jackson

Dorothy JacksonDurity

Franklin Jacobs

Laura Jarasek

Bettie Johnson

James Johnson

Jordan Jones

Jessica Kaiser

Richard Kammenzind

Patrice Kaplan

Heather Kartal

Mark Kent

Ruth Kim

Barry Kirk

Donn Kleinschmidt

Margie Knapp

Steve Knapp

Joanne Kohn

Kenneth Kranzberg

James Krekeler

Pamela Krekeler

Shirley Kronemer

Anthony Lancia

Joyce LaFontain

Douglas Lane

Teresa Lane

William Lawler

Grace Lee

Sally Lefler

John Lesser

J. David Levy

Karen Levy

Mont Levy

Cora Lippi

Charles MacKay

Christi Maginn

Betsy Mahoney

Pamela Mahoney

Erin Mahony Simon

Kellie Mandry

Marcela Manjarrez

Susan Markovich

Nancy Marron

Andrew Martin

Roz Marx

Helen McCallie

Diane McCullough

David Meiners

Marilyn Meeker

Susan Mello

Ezra Meyer

Karen Miller

Kenny Miller

Diona Mills

Carl Mitchell

Eliza Mitchell

Ursula Moeller

Jessica Moore

Carol Moppins

Harry Moppins

Jim Morrell

Kimberly Morton

Sheryl Moschner

Judy Muckerman

Vimal Nair

Noémi K. Neidorff

Rose Marie Nester

Liah Neudecker

Ingrid Neuefeind

Linda Nguyen

James Nicholson

Amanda Niehaus

Ryan Niehaus

Melany Nitzsche

Tammy O’Donnell

Carol O’Keefe

Kristen O’Keefe

Regis O’Keefe

Kaitlin Page

Gloria Park

Sue Paster

Douglas Pedersen

June Pellarin

Kathy Petersen

Jeanitta Perkins

Georgia Pettus

Chuck Phillips

Barbara Piper Green

OPERA THEATRE OF SAINT LOUIS GUILD

Colleen Potratz

Nartana

Premachandra

Jessica Price

Mabel Purkerson

Kevin Raines

Meryl Raines

Basim Raza

Win Reed

John Rhea

Patricia

Rice-Hellmuth

Ellen Richter

Jan Paul Richter

Anthony Riley

Christina Rios

Allison Roberts

Brenda Rodi

Charles Rodi

John Rorris

Robert Ruddy

Ann Marie Ruhlin

John Russell

Kéelin Russell

Louisa Russell

Jo-Ellyn Ryall

Sharon Ryan

Joseph Samocha

Lori Samuels

Chris Saulter

Mark Scharff

Robert Scharff

Christine Scherzinger

Christopher Schmid

Damaris Schmitt

Harriet Scholle

Mary Schoolman

Ellie Scott

Janice Seele

Stephen Seele

Linda Seibert

Jason Sellers

David Sewall

Charles Shannon

Joseph Shepard

Sudie Shinkle

Anne Shultz

James Shumate

Jane Shumate

Anna Simms

Cary Simowitz

Amber Simpson

Rex Sinquefield

Kathleen Sitzer

Marjorie Smith

Gene Spector

Jamieson Spencer

Janet Spencer

Linda Stark

Kirk Stein

Caitlin Stephen

Deanna Stevenson

David Steward

Thelma Steward

Raymond Stranghoener

Donald Suggs

Ann Sullins

Cay Sullivan

Mary Susman

Peggy Symes

Pamela Tapsell

Maria Taxman

Phillip Taxman

Elise Tegtmeyer

Jacqueline Thompson

Mark Throdahl

Sudie Throdahl

Alonzo Townsend

Stephen Trampe

Eileen Traughber

Emily Underwood

Rowena Van Dyke

Linda Vandivort

Alexandria Vanover

Nancy Wagoner

Robert Wagoner

Franklin Wallis

Robert Waugh

Phoebe Weil

Michael Weisbrod

Keith Welsh

Robin Wentworth

Tim Wentworth

Sara Wheeler

Beverly Whittington

Kay Whittington

Cathie Wille

Gerald Wille

Anne Williams

Anne L. Williams

Diane Wilson

Tina Wisdom

Roma Wittcoff

Alan Witte

Philip Woodmore

Roslyn Wylie

Rick Yakimo

George Yeh

Jessie Youngblood

Nancy Zander

Elliot Zucker

Sharon Zucker

The volunteers of the Opera Theatre of Saint Louis Guild provide vital support for OTSL’s Festival Season, community and education programs, special events, and off-season activities.

Guild volunteers coordinate transportation, housing, and welcome bags for our artists, publish bi-annual newsletters, manage the lobby boutique, advocate for the arts to legislators, give talks to schools and adult education groups, support dress rehearsals and performances, publish opera libretti and commentary, help staff community events, offer administrative support in the main offices, and much more.

The Opera Theatre of Saint Louis Guild is the envy of opera companies around the world. The Guild was formed in 1976 under the name of “Opera Buffs” with Ed Etheredge and Jinny Browning serving as Presidents. In 1978, the “Buffs” became the Opera Theatre of Saint Louis Guild, and in 1982, it took on its current structure featuring an Executive Committee and Vice Presidents. The Guild has had more than 30 committees over the years, each serving the company in unique ways. Today, the Guild has over 300 members serving across 22 committees.

Since the company’s founding, Opera Theatre has been able to rely on the unwavering support, dedication, and passion of the Guild. Our heartfelt thanks to each volunteer.

GUILD EXECUTIVE COMMITTEE

PRESIDENT Janice Seele

IMMEDIATE PAST PRESIDENT/ NOMINATING CHAIR

Linda Seibert

SECRETARY

Elliot Zucker

TREASURER

Pat Codden

ADVISORS

Gailya Barker

Sara Fabick

Ann Fusz

Ellen Fusz

Janet Hoyne

Mary Susman

Peggy Walter Symes

Bob Wagoner

COMMITTEE CHAIRS

ADVOCACY

Diane McCullough

ARTISTS-IN-TRAINING

Mark Kent

Beverly Whittington

BOUTIQUE

Gerry Frankenfeld

Susie Hahn

CONCIERGE

Margie Knapp

Harry Moppins

DOCENTS

Rose Nester

Kathleen Sitzer

DRESS REHEARSAL REFRESHMENTS

Tammy O’Donnell

DRESSERS, SUPERS, & LIGHTWALKERS

Ann Fusz

Ellen Fusz

GREETERS

Gail Hafer

Mark Scharff

GUILD EVENTS

Gloria Park

GUILD RECRUITMENT

Sara Fabick

GUILD RELATIONS

Deanna Stevenson

HISTORIANS

Pat Codden

Casey Gardonio-Foat

HOUSING

Janice Seele

LIBRETTI

Ellen Richter

Jan Richter

George Yeh

MARKETING

Kay Whittington

VICE PRESIDENT OF ARTISTIC SUPPORT

Gerry Frankenfeld

VICE PRESIDENT OF COMMUNITY ENGAGEMENT

Harriet Scholle

VICE PRESIDENT OF MEMBERSHIP

Gloria Park

MET AUDITIONS

Connie Emge

Gerry Frankenfeld

NEWSLETTER

Jane Brader

Deanna Stevenson

OFFICE SUPPORT

Sara Fabick

SPOTLIGHT ON OPERA

Genie Bonte

Jan Congdon

TEMPOS

Connie Emge

TRANSPORTATION

Peggy Holly

Steve Seele

VOLUNTEER RECORDS

Steve Knapp

Learn more about volunteering at OTSL by visiting ExperienceOpera.org/Volunteer or contact Tyler McKenzie, Manager of Volunteer Engagement, at (314) 963-4225 or [email protected].

YOUNG FRIENDS STEERING COMMITTEE

Opera Theatre’s Young Friends Steering Committee was formed in 2009 to build interest, appreciation, and passion for opera by engaging an exciting new generation of opera-goers for the 21st century.

The Steering Committee is an enthusiastic group of young professionals who support Opera Theatre in a variety of ways. Feedback from the group has helped to shape not just the group’s signature in-season Young Friends events, but many other past and current OTSL programs, from Opera Tastings to Kids’ Club to Pride Night. By serving as ambassadors for OTSL among their friends and professional networks, the Steering Committee is instrumental in helping the company reach new audiences year-round.

To learn about this year’s in-season Young Friends events, see page 23.

YOUNG FRIENDS STEERING COMMITTEE

CHAIR VICE-CHAIRS COMMITTEE

Ashley Budde Ryan Niehaus, Recruitment

Casey Gardonio-Foat, Season Events

Christina Rios, Social Activities

Ashley Bolden

Rebecca Buffington

Kevin Corpuz

Patrick Dallas

Diona Daniels

John Herget

Joyce LaFontain

Teresa Lane

Kenny Miller

Amanda Niehaus

Kaitlin Page

Jeanitta Perkins

Basim Raza

Anthony Riley

Ellie Scott

Cary Simowitz

Alexandria Vanover

Sara Wheeler

Jessie Youngblood

If you are interested in joining the Young Friends Steering Committee, please contact Anh Le, Director of Marketing & Public Relations, at (314) 963-4294 or [email protected].

COMMUNITY ENGAGEMENT & INCLUSION COUNCIL

Opera Theatre’s Community Engagement & Inclusion Council first began in 2011 as the “Engagement & Inclusion Task Force,” an informal network of supporters and volunteers who came together to promote interfaith dialogue around the staging of John Adams’ The Death of Klinghoffer. In the fall of 2012, the group formalized its commitment to helping Opera Theatre grow an audience that more fully reflects the rich diversity of the St. Louis region and in 2022, adopted the current name to make clear its enduring role in advising Opera Theatre’s community work.

The Council is committed to creating stronger and more authentic relationships between OTSL and local collaborators across the St. Louis region. Members come from a diverse cross-section of our community and are dedicated to a flexible and respectful approach to community engagement. The Community Engagement & Inclusion Council is grounded in a belief that by connecting people through a shared experience, and by embracing active participation from diverse individuals and groups, we can create opportunities for meaningful partnerships that will ultimately strengthen our region.

MEMBERS OF THE 2024–2025 COMMUNITY ENGAGEMENT & INCLUSION COUNCIL

Elisa Bender

Sara Burke

Philip Deitch

Lisette Dennis

Vickie M. Denson

Kim Eberlein

Caroline Fan

Vincent Flewellen

Dr. C.J. Harlan

Magan Harms

Naretha Hopson

Ruth Kim

Linda Nguyen

Nartana Premachandra

Maria Taxman

Emily Underwood

If you are interested in becoming involved with this group, please contact Samantha Ginoplos, Community Partnership Coordinator, at [email protected].

OVER THE YEARS, THE GROUP HAS HELPED PLAN A WIDE RANGE OF EVENTS

Residencies with acclaimed artists such as authors Charles Blow and Salman Rushdie; composers Terence Blanchard, Ricky Ian Gordon, Huang Ruo, and Damien Sneed; librettists David Henry Hwang, Rajiv Joseph, Kasi Lemmons, and Royce Vavrek; singers Julia Bullock, Jennifer Johnson Cano, and Kendall Gladen; and director/designer Isaac Mizrahi

The “Belonging in Opera” series , a multi-year exploration of race and opera, created with Washington University’s Center for the Study of Race, Ethnicity, and Equity and the Department of Music

Artist-curated performances such as “Artwork & Arias” in collaboration with the Contemporary Art MuseumSt. Louis (CAM)

The LGBTQ Chamber of Commerce series of Pride events celebrating the world premiere of Harvey Milk in 2022.

Collaborations with local partners including Arts & Faith St. Louis, the Diversity Awareness Partnership, Harris-Stowe State University, Jazz St. Louis, the Jewish Community Center, John Burroughs School,

The Links Incorporated, Missouri History Museum, the OCA, the Saint Louis Club, the St. Louis Press Club, St. Louis Public Radio, Saint Louis University, Urban League Young Professionals, and Wells Fargo Advisors

And many more!

To learn more about other in-season community events, please see pages 22-26.

THANK YOU TO OUR 2025 PROGRAM BOOK ADVERTISERS

‘12 FESTIVAL SEASON

CARMEN

Georges Bizet

SWEENEY TODD

Stephen Sondheim

COSÌ FAN TUTTE

Wolfgang Amadeus Mozart

ALICE IN WONDERLAND

Unsuk Chin

‘13 FESTIVAL SEASON

THE PIRATES OF PENZANCE

Sir Arthur Sullivan

IL TABARRO

Giacomo Puccini

PAGLIACCI

Ruggero Leoncavallo

CHAMPION

Terence Blanchard

THE KISS

Bed ich Smetana

OFF-SEASON

THE VERY LAST GREEN THING

Cary John Franklin

Touhill Performing Arts Center

‘14 FESTIVAL SEASON

THE MAGIC FLUTE

Wolfgang Amadeus Mozart

THE ELIXIR OF LOVE

Gaetano Donizetti

“27”

Ricky Ian Gordon

DIALOGUES OF THE CARMELITES

Francis Poulenc

‘15 FESTIVAL SEASON

THE BARBER OF SEVILLE

Gioachino Rossini

LA RONDINE

Giacomo Puccini

RICHARD THE LIONHEART

George Frideric Handel

EMMELINE

Tobias Picker

‘16 FESTIVAL SEASON

LA BOHÈME

Giacomo Puccini

MACBETH

Giuseppe Verdi

ARIADNE ON NAXOS

Richard Strauss

SHALIMAR THE CLOWN

Jack Perla

‘17 FESTIVAL SEASON

MADAME BUTTERFLY

Giacomo Puccini

THE GRAPES OF WRATH ★

Ricky Ian Gordon

THE TRIAL

Philip Glass

LA CLEMENZA DI TITO

Wolfgang Amadeus Mozart

‘18 FESTIVAL SEASON

LA TRAVIATA

Giuseppe Verdi

REGINA

Marc Blitzstein

AN AMERICAN SOLDIER

Huang Ruo

ORFEO AND EURIDICE

Christoph Willibald Gluck

‘19 FESTIVAL SEASON

THE MARRIAGE OF FIGARO

Wolfgang Amadeus Mozart

RIGOLETTO

Giuseppe Verdi

THE CORONATION OF POPPEA

Claudio Monteverdi

FIRE SHUT UP

IN MY BONES

Terence Blanchard

‘20 FESTIVAL SEASON

Cancelled due to COVID-19

‘21 FESTIVAL SEASON

GIANNI SCHICCHI

Giacomo Puccini

HIGHWAY 1, U.S.A.

William Grant Still

LA VOIX HUMAINE

Francis Poulenc

NEW WORKS, BOLD VOICES LAB ON THE EDGE

Laura Karpman

MOON TEA

Steven Mackey

THE TONGUE & THE LASH

Damien Sneed

‘22 FESTIVAL SEASON

CARMEN

Georges Bizet

THE MAGIC FLUTE

Wolfgang Amadeus Mozart

AWAKENINGS

Tobias Picker

HARVEY MILK ★ Stewart Wallace

‘23 FESTIVAL SEASON

TREEMONISHA ★

Scott Joplin (Damien Sneed edition)

TOSCA

Giacomo Puccini

COSÌ FAN TUTTE

Wolfgang Amadeus Mozart

SUSANNAH Carlisle Floyd

OFF-SEASON

NEW WORKS COLLECTIVE

COOK SHACK

Del’Shawn Taylor

SLANTED: AN AMERICAN

ROCK OPERA

Joe X. Jiang & Simon Tam MADISON LODGE

Tre’von Griffith

‘24 FESTIVAL SEASON

THE BARBER OF SEVILLE

Gioachino Rossini

LA BOHÈME

Giacomo Puccini

JULIUS CAESAR

George Frideric Handel

GALILEO GALILEI

Philip Glass

OFF-SEASON

NEW WORKS COLLECTIVE UNBROKEN

Ronald Maurice MECHANISMS

J.E. Hernández ON MY MIND

Jasmine Arielle Barnes

‘25 FESTIVAL SEASON

DIE FLEDERMAUS

Johann Strauss II THIS HOUSE

Ricky Ian Gordon

DON PASQUALE

Gaetano Donizetti

A MIDSUMMER NIGHT’S DREAM Benjamin Britten

This special program book for our 50th Anniversary Season is made possible through the generosity of our advertisers. We hope you will join us in using their services and let them know how you have enjoyed seeing their advertisements in print.

Thank you to our current advertisers that have supported the program book for ten years or more:

Elleard Heffern Fine Jewelers (48)

Webster University (48)

IATSE Local #6 Stagehand Union (43)

St. Louis Symphony Orchestra (40)

The Muny (40)

Ces & Judy’s Catering (39)

Janet McAfee (39)

The Repertory Theatre of St. Louis (36)

Saint Louis Art Museum (32)

Gunther Salt Company (29)

STAGES St. Louis (29)

Wildflowers (24)

ADVERTISER INDEX

Advertiser’s Printing, 21

Arts & Faith St. Louis, 59

Assistance Home Care, 48

Bayer Fund Artists-in-Training Program, 20

Berges Family Foundation, 10

Castle Design, 48

Central City Opera, 66

Ces & Judy’s Catering, 38

Chamber Music Society of St. Louis, 98

Chase Park Plaza, 14

Clayco, 27

Cyrano’s Café, 98

The Davey Tree Expert Company, 98

Des Moines Metro Opera, 116

Elleard Heffern Fine Jewelers, 1

The Fabulous Fox, 30

Green Door Art Gallery, 120

Gunther Salt Company, 56

IATSE Local #6 Stagehand Union, 56

Janet McAfee Real Estate, 40

Jazz St. Louis, 66

Kirkwood Performing Arts Center, 76

Lewis Rice, back cover

Link Auction Galleries, 76

Marsh McLennan Agency, 60

MindsEye Radio, 120

The Muny, 60

Nine PBS, 132

Regional Arts Commission (22)

St. Louis Public Radio (22)

Des Moines Metro Opera (20)

The Saint Louis Chamber Chorus (20)

Central City Opera (19)

Union Avenue Opera (19)

Cyrano’s (15)

Siteman Cancer Center (14)

St. Louis Magazine (14)

Advertiser’s Printing Company (13)

Chase Park Plaza (13)

Marsh McLennan Agency (12)

Opera Edwardsville, 3

Plancorp Wealth Management, 70

Regional Arts Commission, 24

The Repertory Theatre of St. Louis, 2

Saint Louis Art Museum, 47

The Saint Louis Chamber Chorus, 59

Saint Louis Dance Theatre, 158

Sarasota Opera, 74

The Sheldon Concert Hall, 70 Siteman Cancer Center, 6

The St. Louis Children’s Choirs, 120

St. Louis Magazine, inside back cover

St. Louis Public Radio, 148

St. Louis Symphony Orchestra, inside front cover

St. Louis Symphony Orchestra Chorus, 52

STAGES St. Louis, 58

Stray Dog Theatre, 52

Trinity Griffin Events, 120

Union Avenue Opera, 156

Upstream Theater, 152

Washington University Voice & Airway Center, 36

Washington University Great Artists Series, 74

Webster University, 14

Wildflowers, 28

Wolfgram Law, 76

World Chess Hall of Fame, 44

World Wide Technology, 8

We are grateful to STL Programs for their outstanding efforts and dedication to the success of the 2025 Program Book.

PROGRAM BOOK

EDITORS

Micaela Gri n

Anh Le

DESIGNER

Kelly Glueck

CONTRIBUTORS

Sara Akerman

Christopher Alden

Daniela Candillari

F. Paul Driscoll

Kim Eberlein

Nicole Ambos Freber

Ruby Aiyo Gerber

Ricky Ian Gordon

Sheri Greenawald

Micaela Gri n

Andrew Jorgensen

Anh Le

Shawna Lucey

George Manahan

Tyler McKenzie

Lynn Nottage

Patricia Racette

James Robinson

Leonard Slatkin

Kensho Watanabe

PRINTER

Advertisers Printing

ON THE COVER: TIÉLERE CHEATEM

This season’s program book features an original painting by St. Louis artist Tiélere Cheatem, commissioned by OTSL on the occasion of the 50th Festival Season. Cheatem is a multifaceted artist and performer whose vibrant and emotionally charged artistry is showcased both on stage and in art galleries across the United States. Recent awards include the St. Louis Artists’ Guild’s Anne Metzger Memorial Biennial Exhibit Award (2023) and LOTTIES “Best Supporting Performer in a Comedy” Award (2023). Learn more at tcheatemstudios.com.

THEATER POLICIES AND INFORMATION

To ensure the enjoyment of our audience, and out of respect for our artists, Opera Theatre will not seat latecomers until there is a predetermined break in the opera. However, latecomers are invited to watch the performance via closed-circuit television in the lobby. Patrons who leave the auditorium during a performance will be allowed to return to their seats at predetermined breaks in the opera.

All patrons are welcome at Opera Theatre. Please notify the Box O ce as early as possible to arrange special seating if you have a service animal or any accessibility needs, as these seats are limited (please see pages 18-19 for more information on our accessibility services).

INFORMATION

If you would like to receive future communications from Opera Theatre, please leave your contact information with the Box O ce, or sign up for our mailing list at ExperienceOpera.org.

Opera Theatre of Saint Louis 210 Hazel Ave. St. Louis, MO 63119

Administrative O ces: (314) 961-0171

Box O ce: (314) 961-0644

Email: [email protected]

Website: ExperienceOpera.org

All cell phones and other electronic devices must be turned o during the performance. Any use of smartphones for texting, browsing, or recording is prohibited, as is the use of any cameras or other recording equipment not previously authorized by Opera Theatre management.

Left something behind? Lost articles may be claimed at the House Manager’s O ce, or you can call (314) 246-8009 after 10 a.m. the next performance day.

All casting is subject to change.

In the event of a ﬁ re, please walk to the nearest exit. In the case of any other emergency, please follow the direction of OTSL ushers and sta .

The scenic, lighting, and costume designers of Die Fledermaus This House Don Pasquale and A Midsummer Night’s Dream are represented by United Scenic Artists, Local USA 829 of the IATSE.

All Scenic Artists employed by Opera Theatre of Saint Louis are represented by United Scenic Artists, IATSE Local USA 829, AFL-CIO, CLC.

Wigs supplied by The Wig Associates.

Performing Artists, Stage Directors, Choreographers, and Stage Managers are represented for collective bargaining purposes by the American