Romeo and Juliet: Shakespeare's star-crossed lovers

| Robert Blocker, Dean | music.yale.edu

Doris Yarick Cross, Artistic Director presents

music by VinCenzo Bellini

CM_postcard.indd 1 1/4/13 3:22 PM

conductor

stage director

set designer

costume designer

lighting designer

wig and makeup designer

musical preparation

production stage manager

chorus master

assistant chorus master

surtitles

Speranza ScappucciMarc VerzattRiccardo HernandezJohn Carver SullivanWilliam B. WarfelJenny Valentine (for Elsen Associates, Inc.)Douglas Dickson and Timothy ShaindlinLee Marc MolnarTimothy ShaindlinJill BrunelleMarc Verzatt

A new Yale Opera production

There will be one twenty-minute intermission following Act IThe approximate running time of the performance is two and a half hours

A lyric tragedy in two acts

Music by Vincenzo BelliniLibretto by Felice Romani

Performed in Italian with projected English translations

I Capuleti e i Montecchi(The Capulets and the Montagues)

yale school of music · robert blocker, deanyale opera · doris yarick cross, artistic director

2 · welcome

Dear Friends,

With much pleasure I welcome you to the

Yale Opera production of I Capuleti e i

Montecchi. This annual School of Music

production in the Shubert Theatre is eagerly

anticipated by New Haven and the

professional opera community in New York

and beyond.

The young singers in Yale Opera have

appeared in performances throughout the

world this past year. Yale Opera returns to

Warsaw in March for performances of Verdi’s seldom-performed first version

of Simon Boccanegra with Maestro Łukasz Borowicz at the Beethoven Easter

Festival.

During the 2012–2013 season, alumni of the Yale Opera program are singing

with such companies as the Metropolitan Opera, San Francisco Opera, Lyric

Opera of Chicago, the Vienna Staatsoper, and the Royal Opera House, Covent

Garden, among many others. The education of our singers is further enhanced

by our internationally distinguished faculty, and guest directors and

conductors, along with the opportunity to perform in the professional

environment of this theater.

We are grateful for your support and encouragement, and I hope you enjoy

this beautiful music sung by our talented young singers.

robert blocker

The Lucy and Henry Moses Dean of Music

welcome from the Deanß

welcome · 3

Dear Friends,

Welcome once again to Yale Opera’s

mainstage production at New Haven’s historic

and beautiful Shubert Theater. It is a

particular pleasure to present this new

production of Bellini’s I Capuleti e i Montecchi,

our first bel canto opera, with our gifted

young singers. Tackling an opera in the bel

canto style was an ambitious project for us,

but you will hear that our singers have risen

beautifully to the challenge.

We are especially pleased that I Capuleti e i Montecchi is under the baton of

Speranza Scappucci. After she wowed audiences last year with Così fan tutte,

we simply had to bring her back again! She brings with her a wealth of

knowledge and love of the bel canto repertoire and a passion for working with

young singers. As always, we are very happy to have Marc Verzatt direct. After

his hugely successful production of The Magic Flute, we know you will love his

vision for I Capuleti e i Montecchi. Our singers have had a wonderful time working

with both Speranza and Marc, and we know that their excitement will translate

to a delightful experience for you, our audience. Additionally we are delighted

to be collaborating with set designer Riccardo Hernandez for the first time.

Riccardo has designed for some of the most prestigious companies in the

world, and we know you will love his stunning sets for I Capuleti.

It is through the support of our audiences and patrons that we are able to

continue to bring professional-level productions to the Shubert Theater. We

thank you for joining us and hope you enjoy the performance.

doris yarick cross

Artistic Director, Yale Opera

welcome from the Artistic Directorß

4 · performers

Galeano Salas f, suNikhil Navkal sa

Nathan Milholin f, suDavid Leigh sa

Alexander Hahn f, suStephen Daniel sa

Vivien Shotwell f, suAleksandra Romano sa

Claudia Rosenthal f, suAlison King sa

tebaldo Betrothed to Giulietta capellioChief of the Capulets,father of Giulietta

lorenzoDoctor and retainer of the Capulets

romeoHead of the Montagues

giuliettaIn love with Romeo

f = Friday sa = Saturday su = Sunday

cast in order of vocal appearanceß

yale opera chorus

Victor AltshulTerrence Chin-LoyJordan CostaRyan FoleyAngel HerreraBrian KirshenbaumNoah KleinbergErik LandryReed MorganGabe PetegorskyShi Xao

performers · 5

ß

violin iHen-Shuo ChangBenjamin HoffmanSun Kyung BanEun Kyung ParkBarbara KolarovaBetty Zhou

violin iiAlissa CheungMattheus Garcia SouzaMann-Wen LoGo Woon ChoiHeewon UhmMelanie Clapies

violaIsabela MenszBenjamin BarteltHyeree YuSara Rossi

celloSohyang YooAlan OhkuboBo Zhang

the philharmonia orchestra of yale

bassNoah CotlerJonathan Hammonds

fluteBo Hee KimIsabel Gleicher

oboeKristin KallHsuan-Fong Chen

clarinetDavid PerryTianyu Zhang

bassoonElizabeth GarrettMichael Zuber

hornZachary QuortrupSarah Au Wing Lam

trumpetGerado MataRobby Moser

managerAndrew W. Parker

music librarianRoberta Senatore

production assistantKate Gonzales

conducting fellowsPaolo BortolameolliJonathan Brandani

assistantsPhilip BrowneJean Laurenz

tromboneTimothy Hilgert

timpaniDoug Perry

percussionGarrett ArneyVictor CacceseMari Yoshinaga

harpAntoine Malette-Chénier

Act I

scene 1A hall in the Capulet palaceThe family and supporters of Capulet assemble at dawn, fearing an attack from their rivals, the Montagues. In the latest fight between these opposing factions, Romeo, the Montague leader, has killed Capulet’s son. The Capulets declare their determination to obtain their revenge for this outrage. Capulet rejects Lorenzo’s advice to end the feud with the Montagues, and announces that Tebaldo will marry his daughter Juliet later that day.

Romeo (who is pledged to Juliet) enters posing as his own ambassador. He offers terms for peace, which is to be sealed by the marriage of Juliet to Romeo. The offer of peace is rejected as the Capulets call for war. Romeo warns them that though the Montagues will fight, it will be the Capulets who must take the blame for the loss of life.

scene 2A room in Juliet’s apartmentAlone and miserable, Juliet reflects on the contrast between the preparations for her wedding to Tebaldo and her unfulfilled love for Romeo. Lorenzo enters: he has brought Romeo with him. Romeo urges Juliet to escape with him, but she argues that, in spite of loving him, she must be a dutiful daughter, and do her father’s bidding.

scene 3An internal courtyard in the Capulet palaceThe celebrations for Tebaldo and Juliet’s wedding are underway. Romeo, in disguise, reveals that his men will soon attack the palace and prevent the marriage. Lorenzo is torn between his loyalty to Capulet and his affection for the lovers. Suddenly the noise of battle is heard, and Romeo rushes off to join the fight. During the commotion Romeo once again pleads with Juliet to elope with him, but they are discovered by Capulet and Tebaldo, who recognize Romeo as the enemy’s ambassador, but when Romeo reveals his true identity, the Montagues swarm in to rescue him.

Intermission

6 · synopsis

i capuleti e i montecchi: Synopsisß

Act II

scene 1An internal courtyard in the Capulet palaceJuliet worries about the outcome of the latest skirmish between the Capulets and the Montagues when Lorenzo brings news: Romeo is safe, but Giulietta will soon be taken to Tebaldo’s castle. He proposes a plan: she must take a sleeping potion that will counterfeit death; she will then be interred in the Capulet family vault, but when she awakes Romeo will be with her. Despite her anxiety about never waking up, she swallows the sleeping draught as Capulet and his entourage enter. He orders Juliet to prepare for her wedding to Tebaldo. The sleeping draught begins to work. But although she tells her father that she is close to death, Capulet remains unmoved by her pleas.

scene 2In the grounds of the palaceRomeo believes that Lorenzo has abandoned him. He comes face to face with Tebaldo and the two rivals are about to duel when they are interrupted by Juliet’s funeral cortège.

scene 3The tombs of the CapuletsRomeo comes to the vault to mourn Juliet. He is left alone to bid farewell to her in private. Believing Juliet dead, Romeo takes poison in order to join her in death. Juliet awakes and Romeo learns, for the first time, of Lorenzo’s scheme. He dies in her arms and she kills herself with his dagger. Capulet arrives too late, and Lorenzo accuses him of their deaths.

synopsis · 7

yale opera donorsß

This list is current as of February 11, 2013. We regret if any donors have been excluded due to our publishing schedule.

8 · donors

BenefactorsAnonymousRobert J. Alpern & Patricia A. PreisigLaura & Victor AltshulGordon & Lucy AmbachDr. David & Mrs. Karen AstrachanRobert & Serena BlockerCarole & Arthur BroadusWalter & Mary Beth BuckBarbara & Bill ButlerAnne & Guido CalabresiMr. & Mrs. Douglas CrowleyWilliam CurranAnne CurtisAndrew Drabkin & Brian HughesSusan ForsterMaija Jansson & Paul BushkovitchRichard & Jane LevinStephanie & Joseph LimLinda K. Lorimer & Charles EllisGeorge MillerJim & Marcia MorleyDinny & Lester MorseRonald & Susan NetterDr. & Mrs. Timothy NiemiCesar Pelli Kathy & George PriestJim & Nancy RemisDr. Michael RigsbyCarol & Stephen RossBarbara A. Shailor & Harry W. BlairDr. & Mrs. Robert SherwinLorraine Siggins & Braxton McKee

PatronsBurton AlterPaul and Joanne BaileyKerry & Paul BoulianLinda & Robert BurtLinda BriggsJoe & Phyllis CrowleyBob & Priscilla DanniesAnne & Tony FitzgeraldJoy & Brin FordCatherine & John ForrestPeter GisolfiWilliam M. GoldbergCheryl MacLachlan & Fred GorelickRosamond HamlinDrs. Richard Kibbey & Marie Helene PouliotDrs. James & Hannah LeckmanSandy & Curly LieberTobé & Steve MalawistaKatherine McKenzie & Craig CrewsFiona Scott Morton & Stephen LathamDrs. Gerald I. Shulman & Kitt Falk PetersenAlec & Drika PurvesMaggie & Herb ScarfKaterina & Michael SimonsDavid & Lisa TotmanLawrence Zukof

FriendsAngelo AlonzoR. Kemerer and Phoebe EdwardsRichard GardToddie & Chris GetmanMary GreerNazzareno GrestiniMaurice Mahoney & Blanche KatzCharles-Henri & Marguerite Mangin

10 · artistic & production team

Speranza Scappucci is taking her place as a dynamic new conductor on the opera scene after having built a successful international career as pianist, coach and Assistant Conductor in some of the most prestigious houses on both continents and next to some of the greatest conductors of our time, such as Riccardo Muti, Zubin Metha, and Seiji Ozawa, among others. She returns to Yale Opera for Bellini’s I Capuleti e i Montecchi after last year’s successful production of Così fan tutte, in which she led the Yale Philharmonia from the harpsichord.

Upcoming engagements for the Rome-born conductor include a staged version of Pergolesi’s Stabat Mater in the new double bill production Passion at Glimmerglass Opera in 2013, and Mozart’s Così fan tutte at the Teatro Arriaga Bilbao. A graduate of the Juilliard School (CRT, M.M.) and the Santa Cecilia Conservatory in Rome, she has worked as coach and Assistant Conductor at the Vienna State Opera for six seasons as a specialist in Italian repertoire ranging from Mozart to bel canto, Verdi and verismo. She has been on the music staff of several American companies: New York City Opera (2001–2005), Chicago Lyric Opera, Chicago Opera Theater, Santa Fe Opera, and Glimmerglass Opera. In 2007 she joined the staff of the Metropolitan Opera, working with James Levine on the new production of Lucia di Lammermoor. She was subsequently invited every year at the the Met as Assistant Conductor on several productions, including the 2010 Attila under Riccardo Muti and most recently the 2011–12 season opener, Anna Bolena.

Ms. Scappucci spent six summers (2001–2006) at the Glyndebourne Festival where she worked with conductors Vladimir Jurowski, William Christie, Charles Makkeras, Emmanuelle Haim, Philippe Jordan, and Louis Langree. In 2007 she started working at the Salzburg Whitsun Festival next to Riccardo Muti, and taking part in the Maestro’s discovery and revival of rare Neapolitan School operas, assisting the Maestro and playing continuo in the the world premieres in modern times of operas by Cimarosa, Paisiello, Jommelli, and Mercadante in Salzburg, Ravenna, Piacenza, Paris, Madrid, and Buenos Aires. She has also been working with Maestro Muti at the Salzburg Summer Festival on productions of Verdi’s Otello, Rossini’s Moïse et Pharaon, Gluck’s Orfeo ed Euridice, Verdi’s Macbeth, the Rome Opera’s productions of Moïse et Pharaon, Nabucco, Macbeth, Attila, and Simon Boccanegra, as well as the CSO concert performance of Otello.

Ms. Scappucci, a brilliant pianist, has also been an active vocal recitalist. She has played at Carnegie Hall and Alice Tully Hall at Lincoln Center. She has played Liederabends at the famous Musikverein in Vienna and performed as a

artistic & production team

Conductor

ß

pianist with members of the Vienna Philharmonic, as well as recitals with the concertmaster of the Vienna Philharmonic, Rainer Kuchl. With the Vienna Philharmonic she played continuo in performances of Così fan tutte under Riccardo Muti in Tokyo and Le nozze di Figaro at the Wiener Staatsoper.

Ms. Scappucci has a particular passion for working with young singers and is regularly invited by companies over the world to work with Young Artists Programs, including the Met Lindemann Program/Juilliard School, The Chicago Lyric Ryan Opera Center, the Los Angeles Opera young artists, the Florida Grand Opera, the Conservatory Giuseppe Verdi in Parma.

A stage director and acting coach, Marc Verzatt maintains an active career directing opera, operetta, and musical theater throughout the United States, South America, and Europe. He made his professional directing debut with a production of Offenbach’s Tales of Hoffmann with Opera Columbus. He has since directed productions with the Teatro Colón, Buenos Aires, Chicago Lyric Opera, Houston Grand Opera, Florida Grand Opera, and the opera companies of Fort Worth, Lake George, Madison, Arizona, Toledo, Atlanta, Kansas City, Baltimore, Idaho, and Mississippi. For the Austin Shakespeare Festival, he directed Shakespeare’s Much Ado About Nothing. Recent stagings have been Toledo Opera’s Candide and Turandot and concert stagings of Verdi’s Macbeth and Mozart’s Don Giovanni for the Boston Youth Symphony Orchestra. This season he has directed both Il barbiere di Siviglia and Eugene Onegin for the Academy of Vocal Arts. Mr. Verzatt has taught and directed at Philadelphia’s Academy of Vocal Arts, Indiana University, Ohio State University, and Notre Dame University. He has directed many Yale Opera productions, including Britten’s A Midsummer Night’s Dream for Orchestra Verdi in Milan, as well as five one-act operas in Sprague Hall, and Puccini’s Gianni Schicchi and Suor Angelica, Strauss’s Die Fledermaus, and Mozart’s Die Zauberflöte at the Shubert Theater. In 2005 he returned as guest artist to the Metropolitan Opera for an acting role in Strauss’s Ariadne auf Naxos. In 2006 he was named Outstanding Stage Director of the Year by Classical Singer magazine. He is a member of the faculty of the American Institute for Musical Studies in Graz, Austria. In 2002 he joined the faculty of the Yale School of Music, where he teaches acting and movement.

Stage Director

artistic & production team (continued)ß

artistic & production team · 11

Riccardo Hernandez (Scenic Design) Broadway: The Gershwins’ Porgy and Bess (Tony 2012 Best Musical Revival), The People in the Picture (Studio 54), Tony Kushner’s Caroline, or Change, Topdog/Underdog, Elaine Stritch at Liberty, Noise/Funk (also National Tour and Japan), Parade (Tony/Drama Desk Noms), Hal Prince director, The Tempest, Bells are Ringing. Recent: La Mouette, Jan Karski, Mon Nom Est Une Fiction (both for Avignon Festival: Cour d’Honneur, Opera Theatre, France), The Dead (Abbey Theater, Dublin), Il Postino (L.A. Opera, PBS Great Performances), Philip Glass’ Appomattox (San Francisco Opera), Lost Highway (London’s ENO/Young Vic). Over 200 productions U.S./Internationally: New York Shakespeare Festival/Public Theater, BAM, Lincoln Center Theater, NYTW, CSC, Second Stage, Atlantic Theater Company, ART, Guthrie, Goodman, Taper, Lyric Opera Chicago, New York City Opera, HGO, OTSL, Santa Fe Opera, Theatre du Chatelet, Festival Automne, Paris; Vienna’s Theater an der Wien, Opera de Nice, Oslo National Theater, MXAT Moscow, Teatr Polski, Warsaw; London’s National, Old Vic, Royal Court. Princeton Lecturer.

John Carver Sullivan returns to Yale Opera, where he has designed the past two season’s opera scenes productions, as well as La Tragédie de Carmen and Le Rossignol. His long association with Colin Graham and Opera Theatre of St. Louis has included designs for world premiere productions of The Woodlanders, The Village Singer, and The Postman Always Rings Twice, among many others. He has also designed the Broadway production of Moose Murders, off-Broadway productions at the York Theatre of The Musical of Musicals – The Musical, Little By Little, and The Jello is Always Red, and multiple productions for the Juilliard School and Manhattan School of Music. His theatrical work includes productions for Goodspeed Opera, the Alley Theatre, Berkeley Rep, and the Folger Library Theatre. Mr. Sullivan currently serves as the chair of the theatre department at Southern Connecticut State University.

William B. Warfel has done lighting design and production management for over 30 Yale Opera productions since 1978. He was the co-chair of design and professor of lighting at the Yale School of Drama from 1967 to 1993 and is currently in private practice as a lighting designer and theater consultant in Hamden. A graduate of both Yale College and the School of Drama, Mr. Warfel taught at Dartmouth College and Long Island University and worked in the lighting profession in New York City prior to returning to the New Haven area. He has lectured and taught in Finland, China, Egypt, Iceland and Sweden and has worked on consulting projects in Scotland, Nigeria, and Ecuador. Mr. Warfel is a founding member of the International Association of Lighting Designers.

Set Designer

Costume Designer

LightingDesigner

12 · artistic & production team

artistic & production team · 13

A native of New York City, Timothy Shaindlin joined the Yale School of Music faculty in 2008. After studies at The Juilliard School and Indiana University, he worked for the Metropolitan Opera, New York City Opera, the Lyric Opera of Chicago, Washington National Opera, San Diego Opera, Wolf Trap Opera, Chicago Opera Theater, and Pittsburgh Opera. He has also coached for Glimmerglass Opera, Sarasota Opera, and Hawaii Opera Theatre. In Europe, he worked for Barcelona’s Gran Teatre del Liceu and played master classes for Tito Gobbi. He has played classes and coachings for such artists as Joan Sutherland, Birgit Nilsson, Beverly Sills, Marilyn Horne, Natalie Dessay, Ben Heppner, Luciano Pavarotti, Eleanor Steber, Samuel Ramey, Regine Crespin, Carlo Bergonzi, Sherrill Milnes, Thomas Hampson, and Frederica von Stade. Mr. Shaindlin’s work on the podium includes conducting engagements with the Wolf Trap Opera Festival, Hawaii Opera Theatre, Pittsburgh Opera, Chicago Opera Theater, Chicago Light Opera Works, and Eugene Opera. He has assisted such renowned conductors as Christoph Eschenbach, Sir Andrew Davis, Daniel Barenboim, Valery Gergiev, Richard Bonynge, Bruno Bartoletti, Donato Renzetti, Louis Langrée, Edoardo Müller, Yves Abel, Daniele Gatti, Antonio Pappano, and Paul Gemignani. Mr. Shaindlin chorus-mastered 40 operas at Pittsburgh Opera and was director of the Children’s Chorus at Lyric Opera of Chicago.

Douglas Dickson received his B.A. degree from Princeton University and his M.M.A. from the Yale School of Music. On various occasions the Washington Post has called him an “intelligent, sensitive” pianist with “super technique,” a “skillful pianist,” and has praised him for the “finely integrated oneness” he achieves as an accompanist. Mr. Dickson has performed in the U.S., Europe, Asia, and South America in venues ranging from Japan’s Expo Hall to the Cincinnati Coliseum.

While still in college, he was the accompanist for the American Boychoir. As part of Duodecaphonia, a prize-winning piano duo, he has performed at the Kennedy Center and elsewhere. Mr. Dickson has been music director for productions at Quinnipiac University, the Yale School of Drama, Opera Theater of Connecticut, and Connecticut Experimental Theater. He was music director and conductor for Yale Opera’s production of Britten’s The Rape of Lucretia, and he conducted a concert featuring Yale Opera with the Orchestra Verdi in Milan. He has taught at Quinnipiac University since 1993, and joined the Yale faculty in 1998. He made his Carnegie Hall debut in an all-Ives concert at Weill Recital Hall. For Naxos, he has recorded more than eighty Charles Ives songs.

Chorus Master & Musical Preparation

Musical Preparation

artistic & production team (continued)ß

Wigs & Makeup

Production Stage Manager

Jenny Valentine designs for Elsen Associates Inc., wig and makeup designers for various companies, theatres, and institutions including Washington National Opera, Glimmerglass Opera, Wolf Trap, Opera New Jersey, Opera Omaha, Des Moines Metro Opera, Syracuse Opera, Sarasota Opera, Yale University, Carnegie Mellon University, Manhattan School of Music, Shakespeare Theatre /Washington, DC, the Kennedy Center, and McCarter Theatre. International Festivals include Edinburgh, Jerusalem, and Spoleto (U.S.A., Italy, and Australia).

Lee Marc Molnar has been the Director of Production for New Orleans Opera; Production Stage Manager for Virginia Opera for four seasons including the premieres of Tristan und Isolde, Elektra & Die Walküre. He also worked on the American Premiere of Sophie’s Choice at Washington National Opera. Other companies Mr. Molnar has worked for include Palm Beach Opera, Jacksonville Symphony, Shreveport Opera, Pensacola Opera, & the Indiana Opera Theatre at Bloomington.

14 · artistic & production team

Stephen Daniel • baritone • LorenzoFreeport, CTB.M., Westmister Choir College of Rider UniversityLescaut in Manon*, Capellio in I Capuleti e i Montecchi*, Elmiro in Otello, Major General in The Pirates of Penzance*

The Speaker in Die Zauberflöte (Westminster Opera Theatre)

Ibn Hakia in Iolanta (Yale Opera).

Alexander Hahn • bass-baritone • LorenzoFranklin Lakes, New JerseyB.M., Mannes College of MusicCommendatore in Don Giovanni, Candy in Of Mice and Men*, Pistola in Falstaff*, Enrico VIII in Anna Bolena*, Leporello in Don Giovanni, The Sorcerer in Dido and Aeneas, Bartolo in Il barbiere di Siviglia*, Narbal in Les Troyens*, and Tolomeo in Giulio Cesare*, Don Alfonso in Così fan tutte, Dulcamara in L’elisir d’amore, Colline in La bohème, The Pirate King in The Pirates of Penzance*

Banquo in Macbeth, Quince in A Midsummer Night’s Dream, Frère Laurent in Roméo et Juliette, Pistola in Falstaff (Chautauqua Opera Young Artist scenes), title role in Le nozze di Figaro, Masetto in Don Giovanni, Mustafà in L’Italiana in Algeri, Father Trulove in The Rake’s Progress (Mannes opera scenes)

Pietro in Simon Boccanegra (Beethoven Easter Festival of Warsaw), King René in Iolanta (Yale Opera), Monterone in Rigoletto (Opera Theater of Connecticut)

Alison King • soprano • GiuliettaPortland, OregonB.M., University of Southern CaliforniaGiulietta in I Capuleti e i Montecchi, Leïla in Les pêcheurs de perles*

Marilyn Horne Recital Series at Carnegie Hall, Music Academy of the West Resident artist 2011 & 2012, Rosina in Il barbiere di Siviglia (cover), Ann Trulove in The Rake’s Progress, Tatyana in Eugene Onegin, Magda de Civry in La rondine, Mélisande in Pelléas et Mélisande

Soprano soloist in Dvorák’s Stabat Mater with Helmuth Rilling & Yale Philharmonia

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about the artists · 15

David Leigh • bass • Capellio New York, NYB.A., Yale College; M.M., Mannes College of MusicBasilio in Il barbiere de Siviglia, Zuniga in Carmen, Lorenzo in I Capuleti e i Montecchi, Sergeant in The Pirates of Penzance*

Chautauqua Opera Young Artist 2012, Commendatore in Don Giovanni (Mannes Opera and IVAI-TEL Aviv), Raimondo in Lucia di Lammermoor (Mannes Opera)

King René in Iolanta (Yale Opera)

Nathan Milholin • baritone • Capellio Greensboro, NCB.M., University of North Carolina School of the ArtsFigaro in Il barbiere di Siviglia*, Guglielmo in Così fan tutte*; Guglielmo in Così fan tutte, Junius in The Rape of Lucretia; Zurga in Les pêcheurs de perles*, Marcello in La Bohème*

Performances of Handel’s Messiah with the Waterbury Symphony Orchestra, Central City Opera Apprentice Artist summer 2012-Marcello in La Bohème (cover), Ike Skidmore in Oklahoma!, Tom/John in The Face on the Barroom Floor

Robert in Iolanta (Yale Opera)

Nikhil Navkal •tenor • Tebaldo Andover, MAB.M., Indiana University; M.M., Mannes College of MusicCount Almaviva in Il barbiere di Siviglia*, Otello in Otello*, Frederic in The Pirates of Penzance*

Performances of Handel’s Messiah with the Waterbury Symphony Orchestra; 2012 Central City Opera Studio Artist – Toby in The Medium, Count Almaviva in Il barbiere di Siviglia* (Central City Opera); Ernesto, Don Pasquale* (Mannes Opera 2012); Normanno, Lucia di Lammermoor (Indiana University 2010)

Tenor soloist in Dvorák’s Stabat Mater with Helmuth Rilling and the Yale Philharmonia, Almeric in Iolanta (Yale Opera)

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16 · about the artists

* scenes productions

about the artists · 17

Aleksandra Romano • mezzo-soprano • Romeo New Haven, CTB.A., Bard CollegeRosina in Il barbiere di Siviglia*, Mercédès in Carmen* Performances of Handel’s Messiah with the Waterbury Symphony Orchestra; Wolf Trap Studio Artist 2011 and 2012 – Nicklausse (cover) in The Tales of Hoffmann; Despina in Così fan tutte, Antonia’s Mother in The Tales of Hoffmann (Connecticut Lyric Opera)

Laura in Iolanta (Yale Opera), Central City Opera Apprentice Artist summer 2013 – Rosina in Il barbiere di Siviglia.

Claudia Rosenthal • soprano • GiuliettaScarsdale, NYB.A., Yale College; B.M., Hartt School; M.M., Mannes College of MusicDesdemona in Otello*, Sophie in Werther*, Edith in The Pirates of Penzance*

Performances of Handel’s Messiah with the Hartford Symphony Orchestra; Norina in Don Pasquale and Nannetta in Falstaff (The Mannes Opera); Wolf Trap Opera Studio Artist 2011 – Stella in Les Contes d’Hoffmann* and Cobweb in A Midsummer Night’s Dream*

Yale in New York at Carnegie Hall

Galeano Salas • tenor • TebaldoHouston, TXB.M., Moores School of Music, University of Houston in Vocal PerformanceCount Almaviva in Il barbiere di Siviglia*, Rodolfo in La bohème*, Iopas in Les Troyens*, Ferrando in Così fan tutte; Nemorino in L’elisir d’amore*, Remendado in Carmen*, Tebaldo in I Capuleti e i Montecchi, Gondolier/Rodrigo in Otello*

Performances of Handel’s Messiah with the New Haven Symphony Orchestra and Hartford Symphony Orchestra, Central City Opera Apprentice Artist 2012 – Will Parker in Oklahoma!; Wolf Trap Opera Studio Artist 2011

Vaudemont in Iolanta (Yale Opera), Central City Opera Apprentice Artist Summer 2013 – Stage Manager in Our Town (cover)

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ßyale opera artist bios

Vivien Shotwell • mezzo-soprano • RomeoHalifax, Nova Scotiab.a. Williams College; m.a. University of Iowa; m.f.a. University of Iowa Dido in Les Troyens, Rosina in Il barbiere di Siviglia*, Cesare in Giulio Cesare*, Lucretia and Bianca in the Rape of Lucretia, Charlotte in Werther*, Romeo in I Capuleti e i Montecchi

Performances of Handel’s Messiah with the Newfoundland Symphony Orchestra, Concert Soloist with Orchestra New England

Marta in Iolanta (Yale Opera), Visiting Artist Recital and Masterclass at Williams College, Mozart Requiem and Solemn Vespers with the Cathedral of All Saints Choir of Men and Boys, Albany

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18 · about the artists

ManagerProduction CoordinatorTechnical Director & Lighting DesignerStage ManagerAssistant Stage ManagerProperties MasterLighting AssistantSurtitle OperatorPublicity GraphicsProduction PhotographerStudent Assistants

Manager of Concert Programs Concert Office CoordinatorConcert Office LeadCommunicationsProgram DesignPromotional Video ProductionOperations ManagerOperations CoordinatorRecording Studio

Erika NiemiKatrina OlsonWilliam B. WarfelLee Marc MolnarKate CudworthMelissa ErdmanJohn ChaseJenna SiladieChrista DouyardDylan CrossKelly HillGaleano SalasJenna Siladie

Krista JohnsonCarol JacksonJulie BlindauerDana AstmannMonica Ong ReedAustin KaseTara DemingChristopher MelilloEugene Kimball

Scenery built by Tom Carroll Scenery, Jersey City, NJ

personnel · 19

yale opera production staff

yale school of music staff

southern connecticut state universitytheatre department

yale school of drama

american repertory theatre

hartford stage

Janna BatyCarole Broadus and the Gala CommitteeDavid ChambersJohn ChaseLiz DiamondDr. Teresa GemmeMichael GilbertsonDoug HarryRobert HeltzelKelly HillAustin KaseJohn RoachRick SordeletThali New Haven

ßspecial thanks

20 · special thanks

ßyale opera

February 26 masterclass with alan heldTue, 7 pm, Morse Recital HallFree admissionThe renowned bass-baritone from the Metropolitan Opera works with students in the Yale Opera program.

May 3 & 4 iolantaFri & Sat, 8 pm, Morse Recital HallTickets $10–15 , Students $5Yale Opera presents a new production of Tchaikovsky’s Iolanta with stage direction by Michael Gieleta and musical direction by Timothy Shaindlin.

Student Recitals Free Admission

catherine affleck mcphail, soprano | February 23, 5 pm, Sprague Hall

alexander hahn, bass-baritone | March 1, 8 pm, Sprague Hall

galeano salas, tenor | March 8, 5 pm, Sprague Hall

vivien shotwell, mezzo-soprano | March 8, 8 pm, Sprague Hall

claudia rosenthal, soprano | April 1, 4 pm, Sudler Hall

nikhil navkal, tenor | April 1, 5:30 pm, Sudler Hall

kelly hill, mezzo-soprano | April 6, 5 pm, Sprague Hall

brian vu, baritone | April 8, 4 pm, Sudler Hall

alison king, soprano | April 8, 5:30 pm, Sudler Hall

esteban cordero, tenor | April 15, 4 pm, Sudler Hall

david leigh, bass | April 15, 5:30 pm, Sudler Hall

aleksandra romano, mezzo-soprano | April 22, 4 pm, Sudler Hall

stephen daniel, baritone | April 22, 5:30 pm, Sudler Hall

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