CarmenBIZET'S

PRESS KIT

PRESENTS

CarmenOpera in four actsMusic by Georges Bizet

Libretto by Henri Meilhac

and Ludovic Halévy

First performed at the at the

Opéra-Comique in Paris, March 3, 1875.

Sung in French with English supertitles.

Supported, in part, by a grant from the

San José Office of Cultural Affairs.

PRESS CONTACTBryan Ferraro

Communications Manager

Office (408) 437-2229

Mobile (408) 316-2008

ferraro@operasj.org

operasj.org

For additional information go to

http://www.operasj.org/news-events/press-room/press-kit/

4 Opera San José

CAST

IN ORDER OF APPEARANCE

MORALÈS

Daniel Cilli

MICAËLA

Jennifer Forni

ZUNIGA

Kirk Eichelberger

DON JOSÉ

Kirk Dougherty John Lindsey*

CARMEN

Lisa Chavez

FRASQUITA

Christine Capsuto

MERCÉDÈS

Cybele Gouverneur

LILLAS PASTIA

Katherine Trimble

ESCAMILLO

Matthew Hanscom

REMENDADO

Michael Boley

DANCAÏRE

Eugene Brancoveanu

*Appears in the 2/26 and 2/28 performances

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ARTISTIC TEAM

CONDUCTOR

Joseph Marcheso Andrew Whitfield*

STAGE DIRECTOR

Layna Chianakas

CHOREOGRAPHER

Raphaël Boumaïla

FIGHT DIRECTOR

Kit Wilder

SET DESIGN

Giulio Cesare Perrone

COSTUME COORDINATOR

Alyssa Oania

LIGHTING DESIGN

York Kennedy

WIG AND MAKEUP DESIGN

Vicky Martinez

PROPERTIES MASTER

Lori Scheper-Kesel

TECHNICAL DIRECTOR

John Draginoff

ASSISTANT STAGE DIRECTORS

Raphaël Boumaïla Hannah Hudgins

PRODUCTION STAGE MANAGER

Allie Bailey

PRINCIPAL COACH

Veronika Agranov-Dafoe

FRENCH DIALOGUE COACH

Patricia Kristof Moy

CHORUS MASTER

Andrew Whitfield

MUSIC STAFF

Veronika Agranov-Dafoe Victoria Lington

SUPERTITLES

Kelly Mack

TITLE CUEING

Victoria Lington

*Appears in the 2/26 and 2/28 performances

6 Opera San José

Act IIn a town square in Seville, a group of soldiers and townspeople are gathered chatting and moving about, when a young peasant girl name Micaëla questions the soldiers about her love, Don José. The soldiers try to persuade the young girl to stay with them until Don José returns, but she declines and leaves. Soon, Don José arrives just moments before the cigarette factory bell rings and a group of women, including the beautiful gypsy, Carmen, exit the building. The soldiers flirt with the girls and ask Carmen when she will love them. Her reply is given in the famous aria, “L’amour est un oiseau rebella”, the Habanera. When Carmen sees Don José ignoring her she tosses a flower in front of him. Don José picks up the flower and sees Carmen. Shortly thereafter, Mi-caëla returns with a letter and a kiss sent to Don José by his mother. In the letter, Don José’s mother has asked him to marry Micaëla. Don José promises his fidelity and love to Micaëla. Moments later, a fight breaks out in the cigarette factory between Carmen and another woman. Carmen injures the woman before she is restrained by Officer Zuniga. Zuniga commands Don José to escort Carmen to prison. However, Carmen charms Don José into letting her go. When it is discovered that Don José let Carmen escape, he is thrown into jail for one month’s time.

Intermission (20 minutes)

Act IIAt Lillas Pastia’s Inn, Carmen and her friends, Mercédès and Frasquita, are socializing with several soldiers including Officer Zuniga, when the victorious bullfighter, Escamillo, arrives with a celebrating entourage. During the Toreador song, “Votre toast, je peux vos le rendre”, Esca-millo attempts to capture Carmen’s heart. However, his attempts are unsuccessful, as are Officer Zuniga’s, who tells Carmen that he will re-turn to the inn later to meet with her, but Carmen’s heart waits for Don José’s release from prison. A while later, after the crowd has dispersed, the smugglers Dancaïre and Remendado ask for help from Carmen and her two friends. Mercédès and Frasquita agree to help, but Carmen re-fuses as she knows that Don José will be released from prison that day and will meet her at the inn. When he finally arrives, Carmen dances for him. Her dance is cut short when a bugle sounds in the distance, signal-ing Don José to return to the barracks. Carmen mocks his obedience

Carmen Press Kit 7

SYNOPSIS

and tries to persuade him to remain with her. Don José does not give in until Zuniga arrives at the inn searching for Carmen. Zuniga orders Don José to leave, but in a fit of jealousy, he defies his commander’s orders. Dancaïre and Remendado get rid of Zuniga. After this, Don José, hav-ing no choice, stays.

Intermission (15 minutes)

Act IIIDon José, now at the smuggler’s hideout in the mountains, begins to reminisce about his home and his mother. Carmen, who finds him tiresome, takes notice and starts taunting him to leave, but he refuses. Mercédès and Frasquita tell their fortunes with a deck of cards. For the two girls, the cards reveal a life of wealth, love, and luxury. For Car-men and Don José, they reveal only death. After discussing their plans, the smugglers and the girls leave, while Don José guards the hideout. Soon, Micaëla, assisted by a guide, comes looking for Don José. Hear-ing a gunshot she hides behind a mound of rocks. Escamillo enters the hideout and begins telling Don José about his feelings for Carmen. He also tells Don José about Carmen’s relationship with a soldier, not knowing Don José is that soldier. Don José, furious, starts a fight with Escamillo. The smugglers return and stop the fight. Escamillo invites Carmen and the others to his upcoming bullfight as he leaves. Micaëla is found in her hiding place, she tries to convince Don José to return home. She finally persuades him to leave by telling him his mother is dying. Don José promises his return to Carmen and leaves with Micaëla. In the distance, Escamillo can be heard singing.

Act IVMonths later, during the procession of the toreadors, Carmen and Esca-millo are seen arriving together. Mercédès and Frasquita warn Carmen that Don José is in the crowd and plotting to kill her. She tells them that she will speak to him to resolve the matter. While Escamillo enters the bullfighting ring, a desperate Don José meets Carmen outside the arena. He tells her she must commit her love and fidelity to him. She tells him she no longer loves him and throws the ring he gave her to the ground. Don José, insane with rage, pulls his knife and Carmen is killed. Don José confesses his crime and is taken into custody.

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NOTES

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CAST BIOGRAPHY

Michael BoleyTENOR (OHIO)

Remondado. In the 2015-2016 season, Mi-chael returns as a Resident Artist with Opera San Jose, singing in Puccini’s Tosca, Bizet’s Carmen, and Previn’s Streetcar Named Desire. A native of Ohio, Michael began his career with Columbus Opera. Mr. Boley ap-peared there in productions of La bohème, Aida, Rigoletto, Tosca, Carmen, Don Giovanni, Die Zauberflöte, Susannah and Camelot.

An exponent of the romantic French and full-lyric Italian repertoire, recent performance highlights for the tenor include the title role in Les Contes de Hoffmann, Rodolfo in La bohème, Pinkerton in Madama Butterfly, the Duke of Mantua in Rigoletto, Lenski in Eugene Onegin and Tamino in Die Zauberflöte. Career highlights for the tenor include Beethoven’s Symphony No. 9 with Helena Symphony Orchestra, Calaf in Turandot for Dicapo Opera, the world premiere of Anton Coppola’s La Coupe et les Lèvres at the Danny Kaye Playhouse in New York City with Inter-Cities Performing Arts and The Crucible at the National Theatre of Pécs and the Szeged National Theater in Hun-gary with performances telecast internationally. With Dicapo Opera in New York City and on tour with National Lyric Opera, Mr. Boley creat-ed a significant impression in Puccini’s La Fanciulla del West. Further successes include his turn as the Chevalier de Danceny in Susa’s The Dangerous Liaisons, and the Beast in Giannini’s Beauty and the Beast for Dicapo Opera.

The 2011/2012 season included Scriabin’s Symphony No. 1 with Helena Symphony Orchestra, Eurofest with Opera Naples and Carmen with Denyce Graves in a critically acclaimed production for Opera Charles-ton. The 2012/2013 season featured the tenor as Cléon in Gluck’s rarely performed The Reformed Drunkard for Little Opera Theater of New York, Lenski in Eugene Onegin for Opera Company of Middlebury and Rodolfo in La bohème with Staten Island Philharmonic among others.

Michael holds a BA in vocal performance from the College of Wooster and an MM in vocal performance from the University of Akron.

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NOTES

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CAST BIOGRAPHY

Eugene BrancoveanuBARITONE (ROMANIA)

Dancaïre. Mr. Brancoveanu made his com-pany debut during Opera San José’s 2013-14 season, appearing as Leporello in Don Giovanni. Recent engagements for Mr. Brancoveanu include Lancelot in Camelot with Virginia Opera; “Songs of a Wayfarer” in a return to Peninsula Symphony Orchestra; was baritone soloist in Mozart’s Requiem with Fresno Philharmonic Orchestra; directed La bohème and sang Marcello for Livermore Valley Opera; and sang in recital at Brookings Harbor Friends of Music.

Recent appearances include the Philadelphia Orchestra, the New World Symphony, and the New York Philharmonic at Carnegie Hall, in Mi-chael-Tilson Thomas’ The Tomashevskys, conducted by the composer, a work which he premiered at Carnegie Hall, has reprised with the New World Symphony, the San Francisco Symphony, the Los Angeles Phil-harmonic, and at the Tanglewood Music Center under Seiji Ozawa. He recently returned to the Santa Cruz County Orchestra in Beethoven’s Symphony No. 9, sang as soloist in Carmina Burana with Spokane Sym-phony Orchestra, sang as Marcello in La bohème with Virginia Opera, Gonzalvo in Schreker’s Die Gezeichneten with Los Angeles Opera, the title role in Don Giovanni with Berkeley Opera, Yeletzky in Pique Dame with the Israeli Opera, soloist with Peninsula Symphony Orchestra, in recital with California’s San Francisco Performances concert series, returned to San Francisco Opera as Belcore in L’elisir d’amore, sang Karnak in Lalo’s Le Roi d’ys with the American Symphony Orchestra, Count in Le nozze di Figaro with Livermore Valley Opera, and as soloist in Elijah with University of California/Davis.

Mr. Brancoveanu is a graduate of the American Institute of Musical Studies in Graz and the Universität Mozarteum Salzburg. He is also a re-cent winner of the National Young Opera Singer Competition in Leipzig, the International Music Award in Loenberg, and the International Opera contest “Ferruccio Tagliavini”.

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NOTES

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CAST BIOGRAPHY

Christine CapsutoSOPRANO (CALIFORNIA)

Frasquita. Ms. Capsuto made her company debut as the Dew Fairy in Humperdinck’s Hansel and Gretel during the 2013-14 sea-son. Roles performed recently include Gilda (Rigoletto) for West Bay Opera, Miss Nord-strom (A Little Night Music) for American Conservatory Theater, Clorinda (La Cener-entola) at Townsend Opera Company, and Narrator (Cover)/Dancer/Ensemble with the Utah Festival Opera Company’s production of Joseph and the Amazing Technicolor Dreamcoat. In 2014, Ms. Cap-suto returned to Townsend Opera to appear in the role of Musetta (La bohéme).

Other recent performances include ensemble/cover work in Otello and Der fliegende Holländer, Jasmine (Aladdin: A Musical Spectacular! at Disneyland), Franca (The Light in the Piazza), Ethel Levy (Pazzazz! The Musical), Galinda (Wannabe Wicked! Universal Studios), Poppea (L’Incoronazione di Poppea), Rosa Constanza (The Clever Mistress), and First Lady (The Magic Flute). On the concert stage, she appeared as a soloist a Tribute to Irving Berlin concert.

Ms. Capsuto is a graduate of both San Jose State University in Vocal Performance and The American Musical and Dramatic Academy (LA and NY) in Musical Theatre, Drama and Dance.

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NOTES

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CAST BIOGRAPHY

Lisa ChavezMEZZO SOPRANO (CALIFORNIA)

Carmen. While a member of Opera San José’s resident ensemble, Ms. Chavez ap-peared as Maddalena (Rigoletto), Isabella (The Italian Girl in Algiers), Harriet Herriton (Where Angels Fear to Tread), the Third Lady (The Magic Flute), Meg Page (Falstaff), Hansel (Hansel and Gretel), Suzuki (Madama Butterfly), and Donna Elvira (Don Giovanni). Other recent performances for Ms. Chavez include the Seventh Annual Irene Dalis Vocal Competition, where she was named Third Prize Winner. Operatic roles performed recently include Dinah (Trouble in Tahiti), Geraldine (A Hand of Bridge) and Lorca (Ainadamar) with Opera Parallèle of San Francis-co, Madame Larina (Eugene Onegin) with Opera Company of Middle-bury, the Secretary (The Consul) for Dicapo Opera, and Suzuki (Mada-ma Butterfly) for Shreveport Opera.

Awards received by Ms. Chavez include First Place and Audience Favor-ite in the Irma M. Cooper Competition (2013), and Fourth Place winner in the Shreveport Singer of the Year Competition (2011). In November 2008, she was a finalist in the worldwide Opera Competition with Mez-zo TV, and was featured performing the role of Elizabeth Proctor (The Crucible) in over 40 European countries.

Ms. Chavez, who was a resident artist with Dicapo Opera from 2007-2009, as well as a Young Artist with New Jersey Opera (2008-2009), received her MM from the Manhattan School of Music and her BA from California State University Hayward.

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NOTES

Carmen Press Kit 17

CAST BIOGRAPHY

Daniel CilliBARITONE (CALIFORNIA)

Moralès. While a principal baritone 2006-2010 at Opera San José, Mr. Cilli performed the roles of Count Almaviva in Le Nozze di Figaro, Guglielmo in Cosí fan tutte, Papageno in Die Zauberflöte, Onegin in Eugene Onegin, Mercutio in Roméo et Juliette, Dandini in La Cenerentola, Figaro in Il Barbiere di Siviglia, Albert in Werther, Belcore in L’Elisir d’amore, and Marullo in Rigoletto. Mr. Cilli maintains an active schedule performing in premieres and standard repertoire like the Thames Captain in the American premiere of Heart of Darkness by Tarik O’Regan at Opera Parallèle, Drugz Bunny in Oakland Opera’s collaboration with HOODSLAM! of Weill’s Mahagon-ny, Harlekin in Ariadne auf Naxos with Festival Opera, the role of The Cellist in world premiere performances of Death with Interruptions by Kurt Rhode with Left Coast Chamber Ensemble, Le Directeur in Les mamelles de Tirésias also with Opera Parallèle, and Inspector Javert in Les miserables at Utah Festival.

During 2015-2016 Mr. Cilli continues with new works like River of Light by Jack Perla at Festival Opera, Ghosts of Alhambra by George Crumb with the Left Coast Chamber Ensemble, and in historical works like Rossini’s L’italiana in Algeri, Bizet’s Carmen, and Finzi’s in Terra Pax.

As a Studio Artist at the Houston Grand Opera, Daniel Cilli was involved in four productions including two world premieres: performing in Mark Adamo’s Lysistrata and covering the role of Chucho in Daniel Catan’s Salsipuedes. He has also appeared as a Young Artist with Utah Opera, Central City Opera and Des Moines Metro Opera.

He holds vocal performance degrees from the New England Conserva-tory of Music and Stetson University, and has also studied Lieder at the Franz Schubert Institute of Baden bei Wien, Austria.

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NOTES

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CAST BIOGRAPHY

Kirk DoughertyTENOR (CALIFORNIA)

Don José. Mr. Dougherty has and will appear this season as Mario Cavaradossi (Tosca), and Mitch (A Streetcar Named Desire). He made his first appearance at Opera San Jose as a Resident Artist during the 2014-2015 season, as the Duke (Rigoletto), Tamino (Die Zauberfloete), and Philip in the world pre-miere of Mark Weiser’s Where Angels Fear to Tread.

As Don Jose (Carmen), he returned in 2015 to Anchorage Opera, where he previously sang the roles of Pinkerton (Madama Butterfly), Arturo (Lucia di Lammermoor) and Joseph Treat in the world premiere of Victoria Bond’s Mrs. President.

He made his company debut at the Sarasota Opera’s 2014 Winter Festival, singing ten performances of Manrico in an uncut version of Il Trovatore. Kirk Dougherty was recently a soloist with the American Symphony Orchestra in Bruch’s oratorio Moses at Carnegie Hall and with the Glacier Symphony in Das Lied von der Erde. He also appeared in concert with Opera Delaware and as Manrico at Baltimore Concert Opera during the 2013-2014 season.

In past seasons, he has performed with many notable musical organi-zations, such as the Castleton Festival, Central City Opera, Utah Festi-val Opera and Musical Theatre, Opera Naples, Helena Symphony, Salt Marsh Opera, Duluth Festival Opera, Manhattan Concert Productions at Carnegie Hall, and many others.

A graduate of the Eastman School of Music, he began his professional training as an Master of Music student at Eastman Opera Theatre, as an AGMA apprentice artist at Central City Opera, and as a festival artist at Utah Festival Opera. He was more recently a resident artist at Tri-Cities Opera and at Opera San Jose.

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NOTES

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CAST BIOGRAPHY

Kirk EichelbergerBASS (CALIFORNIA)

Zuniga. Recent engagements for Mr. Eichel-berger include the Irene Dalis Memorial Con-cert in 2014-15, the role of The Emperor in Tan Dun’s Tea with Opera Company of Phila-delphia, Mephistopheles in Faust with Opera Grand Rapids, Sparafucile in Rigoletto with Vancouver Opera, and Ferrando in Il trova-tore with Opera Manitoba. He also appeared as Don Fernando in Fidelio with the Opera Company of Philadelphia, The Four Villains in The Tales of Hoffman with Opera Theatre of Saint Louis, the title role in Le Nozze di Figaro for Opera Memphis, and Alidoro in La Cenerentola with Sacramento Opera.

In the 2011-12 season, Mr. Eichelberger was a featured soloist with the Midsummer Mozart Festival in a performance of Mozart’s Great Mass in C minor. In 2010, he appeared as Méphistophélès (Faust) with Dayton Opera, a role he repeated in 2011 with Opera Birmingham. During the summer of 2010, Mr. Eichelberger appeared as Raimondo in Festival Opera’s production of Lucia di Lammermoor, and returned to Opera San José in the fall to perform the role of Alexei Karenin in the compa-ny’s production of Anna Karenina.

Mr. Eichelberger returned to Opera San José in the 2006–07 season as a guest artist to perform the roles of Frère Laurent (Roméo et Juliette) and Basilio (Il barbiere di Siviglia). In 2005–06, Mr. Eichelberger sang the roles of Reverend Hale (The Crucible), Count Warting (A Masked Ball), Schaunard (La bohème), and Leporello (Don Giovanni). Mr. Eichel-berger also appeared as soloist in Mendelssohn’s Elijah for the San Francisco Choral Society, and was a featured soloist with Silicon Valley Symphony in their performance of Mozart’s Requiem.

Other engagements include the roles of Ferrando in Monterey Opera’s production of Il trovatore, Il re in Aida with Festival Opera, the title role in West Bay Opera’s production of Don Giovanni, Sarastro in Die Zau-berflöte with Virginia Opera and the title role in Le nozze di Figaro for Opera Memphis.

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NOTES

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CAST BIOGRAPHY

Jennifer ForniSOPRANO (CALIFORNIA)

Micaëla. Ms. Forni returns to sing Micaëla, a role she recently performed for Portland Opera in February 2015. Other recent en-gagements for include Anna in Weill’s Street Scene with Springfield Opera. She was also a featured artist in the Irene Dalis Memorial Concert in 2015.

Ms. Forni joined the Opera San José resident ensemble during the 2013-14 season, ap-pearing as Alice Ford (Falstaff), Cio-Cio-san (Madama Butterfly), and Donna Anna (Don Giovanni).

Most recently, she made her Metropolitan Opera debut in the role of the First Esquire in their production of Wagner’s Parsifal, which was broadcast in movie theaters around the world. For Springfield Region-al Opera, she made her role debut as Micaëla (Carmen) in 2012, and performed the role of Nannetta (Falstaff) as part of Santa Fe Opera’s Apprentice Program. Other recent engagements include Bernstein’s Trouble in Tahiti, Monteverdi’s Il Combattimento di Tancredi e Clorin-da, and Humperdinck’s Hansel and Gretel, all with the Portland Opera Studio.

On the concert stage, she has been a featured soloist in performanc-es of the Faure and Rutter Requiems with MidAmerica Productions at Carnegie Hall, Vaughn William’s A Sea Symphony with the New York Choral Society, and Barber’s Knowville: Summer of 1915 with the Ore-gon Mozart Players.

Ms. Forni received her MM from the University of MD, and her BM from the Oberlin Conservatory of Music.

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NOTES

Carmen Press Kit 25

CAST BIOGRAPHY

Cybele GouverneurMEZZO SOPRANO (CALIFORNIA)

Mercédès. Former resident artist Cybele Gouverneur returns to sing in Carmen. Recent engagements for Ms. Gouverneur include her role debut as Dulcinée in Don Quichotte with Festival Opera and the title role of Carmen with Livermore Valley Op-era, as well as her performance at the Irene Dalis Memorial Concert on May 16, 2015. The prior season saw her return to San Francis-co Opera for the new Francesca Zambello production of Wagner’s Der Ring des Nibelungen as Schwertleite (Die Walküre) and Mercedes (Carmen) as well as the major role debuts of Dalila in Samson et Dalila and Amneris in Aida with West Bay Opera. Other recent performances for Ms. Gouverneur featured her as a soloist in Mozart’s Requiem with the Modesto Symphony in Spring of 2012 and Mercedes in Carmen for Families under the auspices of San Francisco Opera.

During the 2009 – 2010 season, Ms. Gouveneur appeared as soloist in Sacramento Philharmonic’s performance of Beethoven’s Ninth Sympho-ny and Verdi’s Requiem with the Modesto Symphony Orchestra. Other recent engagements included her performance with la Orquesta Sin-fónica Simón Bolivar de la Juventud at the Sala José Felix Ribas, Teatro Teresa Carreño in Caracas, Venezuela.

During her artist residency at OSJ, Ms. Gouverneur performed the roles of Olga (Eugene Onegin), Dorabella (Così fan tutte), and the title role in Carmen. Ms. Gouverneur joined Opera San José’s resident company during the 2007 – 2008 season, performing the roles of Alisa (Lucia di Lammermoor), Charlotte (Werther), Maddalena (Rigoletto), and the Second Lady (The Magic Flute).

Ms. Gouverneur is a graduate of Manhattan School of Music, Mannes College of Music and the University of Houston – Moores School of Music.

26 Opera San José

NOTES

Carmen Press Kit 27

CAST BIOGRAPHY

Matthew HanscomBARITONE (MINNESOTA)

Escamillo. In his second year as a member of Opera San José’s resident ensemble, Mat-thew Hanscom performs the roles of Scarpia (Tosca), Figaro (The Marriage of Figaro), Escamillo (Carmen) and Stanley (A Streetcar Named Desire). Last season, Mr. Hanscom was featured in the title role of Rigoletto, Taddeo (The Italian Girl in Algiers), Gino Carella (Where Angels Fear to Tread), and Papageno (The Magic Flute).

Mr. Hanscom began 2014 in his sixth season at Sarasota Opera, appear-ing as Comte de Toulouse in Verdi’s Jérusalem and covering Figaro in Il barbiere di Siviglia. Highlights from past seasons include Schaunard in Puccini’s La bohème, a “fully realized portrait” of Slim in Carlisle Floyd’s Of Mice and Men, and Ping in Puccini’s Turandot.

Awards and accolades received include being named international fi-nalist in the Neue Stimmen International Singing Competition in Güter-sloh, Germany. He is a former national semi-finalist in the Palm Beach Opera Vocal Competition as well as a former national semi-finalist in Houston Grand Opera’s Eleanor McCollum Competition for Young Sing-ers. In consecutive years he was a district winner, followed by a national semi-finalist in the Metropolitan Opera National Council Auditions and can be seen in the documentary film “The Audition”.

Possessing both bachelor’s and master’s degrees in music from North-western University in Evanston, IL, Mr. Hanscom is an alumnus of many of premiere training programs such as Wolf Trap Opera’s Filene Young Artist Program, the Santa Fe Opera, the Merola Opera Program, Opera Theatre of St. Louis’ Gerdine Young Artist Program, Chicago Opera Theater, Sarasota Opera Studio, and Central City Opera.

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NOTES

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CAST BIOGRAPHY

John Robert LindseyTENOR (COLORADO)

Don José 2/26, 2/28. Tenor John Robert Lindsey makes his Opera San José debut in Carmen. Recent performances for Mr. Lind-sey include the Third Jew (Salome), Nick (La Fanciulla del West), Marvin Heeno in the world premiere of the revised Dream of Val-entino by Dominic Argento, Malcolm (Mac-beth), Count Elemer (Arabella), Edmondo (Manon Lescaut), Pang (Turandot), Ismaele (Nabucco), and Jonathan Dale in the Pulitzer Prize winning production of Silent Night by Kevin Puts.

On the concert stage, he has performed as Tenor Soloist in Sympho-ny No. 9 by Beethoven, Verdi’s Requiem, Parables by Robert Aldridge and Herschel Garfein, the Mozart Requiem, the Mozart Mass in C Minor, and The Messiah by Handel. In the summer of 2015, he was invited to participate in the International Competition for Wagnerian Voices in Bayreuth, Germany. Future engagements include debuts with Austin Opera, and Michigan Opera Theater.

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NOTES

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CAST BIOGRAPHY

Katherine TrimbleMEZZO SOPRANO (CALIFORNIA)

Lillas Pastia. Katherine Trimble makes her company debut in Carmen. Ms. Trimble is a graduate of Chapman University where she received a Bachelor in Music. While at Chapman Ms. Trimble appeared in the roles of Mum Herring (Albert Herring), Zita (Gi-anni Schicchi), and Cecily (La Divina) and performed arias and duets in the Fall Opera Scenes programs from 2006-2009. Recently she stared as Phoebe Meryll in Yeomen of the Guard at the Sierra Madre Playhouse/Opera San Luis Obispo.

CONTENTS OF USB DRIVE

OSJ Carmen Calendar Release

OSJ Carmen News Release

OSJ Carmen Press Kit

OSJ Carmen Program

California Theatre History

Georges Bizet Bio

Henri Meilhac Bio

Ludovic Halévy Bio

Headshots

Production Images

For additional information go to

http://www.operasj.org/news-events/press-room/press-kit/