SAN FRANCISCO OPERA

Opening Doors

Vo l u m e I i I • S u m m e r 2 0 1 2

A n I n t e r v i e w w i t h B o a rd M e m b e r a n d C o m m u n i t y Vo l u n t e e r S y l v i a L i n d s e y

Sylvia Lindsey with David Gockley at the 2012 Medallion Society Luncheon

CurtainB E H I N D T H E

A PUBLICATION EXCLUSIVELY FOR

SAN FRANCISCO OPERA CONTRIBUTORS

“I am proud of

the ways we are

nurturing future

opera-goers, and

thankful for people

who act as our

ambassadors to

the community

at large.”

– David Gockley

General Director

Le t te r f rom

Dav id Gock ley

on page two

“S an Francisco Opera has opened doors for me,” declares Opera donor Sylvia Lindsey. “I’ve gotten so much out of

my involvement with this Company.” She’s given back even more. Sylvia has been a member of the Opera’s Board of Directors since 1987, and also serves on the Merola Board. In February at the annual Medallion Society Luncheon, she received the Spirit of the Opera Award – the highest honor San Francisco Opera can bestow upon a supporter. “I was honored for something I enjoy doing,” she says. “I wasn’t sure I deserved it. But David Gockley said, ‘This is long overdue.’” Those who know of her tireless efforts and boundless warmth would agree. Working with young people is near and dear to Sylvia’s heart. “It’s important to keep our school kids engaged, or we are going to lose them,” she explains. “For the recent Das Rheingold, I canvassed local church groups to recruit kids as supernu-meraries, kids who had never been to the Opera

House,” she remarks. “And in 1983, I inaugurated the African-American Theater Party.” Through this annual event, about forty kids, mostly underprivileged, attend an Opera performance and dinner. “Last year we at-tended Carmen for Families and one girl, who is at risk of falling in with gangs, told me, ‘José didn’t have to kill Carmen. He could have made a different choice.’ She got that from the opera.” The Theater Party group has also sponsored several parties, most memorably during the 2008-09 run of Porgy and Bess. “A lot of those performers were from out of town,” Sylvia recalls. “One day I saw a group of them at a café, all homesick and counting pennies. They needed some hospitality, so I got together some volunteers for an old-fashioned Southern barbecue. Everyone told me we were crazy to cook for so many people.” It has gone down as one of the greatest cast parties in Company history. She has twice reprised the barbecue, and plans another for the fall. Having attended San Francisco Opera for over thirty years, Sylvia has more than a few “most memorable”

stories. But one is especially tell-ing. “It was Leontyne Price’s fare-well recital [in 1992],” she re-members. “At dinner afterwards I sat across the table from her. She got this look on her face and said,

‘I’m a country girl from Mississippi. And I’ve sung for kings and queens. Sometimes I have to pinch my-self.’ I was so surprised to hear her say that.” Sylvia can sympathize. “I’m just a country girl from North Carolina,” she beams. “That’s the beauty of the arts: you never know where they will lead you.” Ever modest, however, she can’t help but share the spotlight. “I’m happy to do my part. But I thank our good friends who contribute, especially those who sponsor our kids.” To learn about how you can become a Medallion Society member, contact Nicola Rees, Director of An-nual Giving, at (415) 551-6243 or nrees@sfopera.com.

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“It’s important to keep

our school kids engaged.”

PA G E 2

DEAR FRIEND OF

SAN FRANCISCO OPERA

Part of San Francisco Opera’s mission is to take a leadership role in training, arts education and audi-ence development. Build-ing the next generation of opera-goers is one of my most cherished goals. When I arrived at San Francisco Opera in 2006, I saw an opportunity to make an even greater impact in the community through edu-cation. We hired a new Director of Education, Ruth Nott, formerly with the Metropolitan Op-era Guild, to expand our outreach into schools and create opera education programs for adults. After just three years, our Education Department is making a huge impact on children, teachers, families and newcomers to the art form. In this is-sue, you will meet some of the people whose lives have changed through these extraordinary efforts. This issue also introduces you to special friends who are finding personal ways to share the joy of opera. Board member Sylvia Lindsey is a tireless advocate of our work and this art form, bringing kids from underserved commu-nities like Richmond into the Opera House for rehearsals and live performances. Donors Bob

and Laura Cory are personally underwrit-ing tickets for groups of local teachers and students. And last fall, Board member Viv-ian Stephenson and her spouse Margarita Gandia purchased tickets for young people from Larkin Street Youth Services, a neigh-borhood organization serving at-risk youth, who, I have heard, left a performance of Xe-rxes “singing faux arias in falsetto con brio!” Truly we are blessed at San Francisco Opera. Those of us who love opera know that it is an art form with wide appeal. But it is also expensive, which is why we are fortunate to earn the generous support of people and organizations who direct their giving toward education and community outreach. Our endowment fund includes gifts to fund school programs and student ticket discounts. Nothing makes me more certain of this Company’s future legacy than our deep commitment to education. World-class organizations make an invest-ment in the next generations. I am proud of the ways we are nurturing future opera-goers, and thankful for people who act as our ambassadors to the community at large.

David Gockley, General Director

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SUMMER 2012 , I SSUE NO . 6

Behind the Curtain is a

publication for contributors to San Francisco Opera.

EDITORS:

N icola Rees

Randi Lund Paul

WRITERS:

Mark Hernandezwww.blazingstage.com

DESIGN:

Janette Cavecchewww.cavecchegraphics.com

David GockleyGeneral Director

Nicola Luisott iMusic Director

Behind the Curtain is published semi-annually by the Development Department at San Francisco Opera. If you have any address changes or would prefer not to receive this publication please contact:

San Francisco OperaDevelopment Department

301 Van Ness AvenueSan Francisco, CA 94102

C O N TA C T U S :

General Member: (415) 565-6416

Medall ion Society Information: (415) 565-6401

Donor Benefits Hotl ine: (415) 551-6308

membership@sfopera.com

Visit us on the web at:sfopera.com

C O M PA N Y S P O N S O R SAnn and Gordon Getty Foundation

John A. and Cynthia Fry GunnFranklin and Catherine Johnson

Mrs. Edmund W. LittlefieldBernard and Barbro Osher

Jan Shrem and Maria Manetti Shrem

S E A S O N S P O N S O R

CORPORATE PARTNERS

San Francisco Opera is sponsored, in part, by a grant from Grants for the Arts/San Francisco Hotel Tax Fund

RE VENUE$69,293,203

** does not include unrestricted bequests*** includes $25M ticket sales

O perating Revenue*** 40%

Contributions** 48%

EndowmentD raw 12%

S A N F R A N C I S C O O P E R A 2 0 1 0 - 1 1S E A S O N F I N A N C I A L S U M M A R Y

F O R M O R E F I N A N C I A L I N F O R M AT I O N G O TO S F O P E R A . C O M / F I N A N C E G O V E R N A N C E

EXPENSES$71,094,620

* includes Media and Opera Center

Produc tion & Ar tist ic*77%

Market ing andB ox O �ce 9%

Adminis t rat ive andG enera l O perat ions 8%

Fundra is ing6% Foundat ions

19%

G ui ld2%

IndividualD onors 70%

Corporat ions5%

G overnment2%

CONTRIBUTIONS$33,345,806

In-k ind2%

San Francisco Opera 2010-11 Season Financial Summary Expenses $71,094,620 Production & Artistic* 77% Marketing & Box O�ce 9% Administrative & General Operations 8% Fundraising 6% * Includes Media and Opera Center Revenue $69,293,203 Contributions** 48% Operating Revenue*** 40% Endowment Draw 12% ** Does not include unrestricted bequests

*** includes $25M tickets Contributions Detail $33,345,806 Individual Donors 70% Foundations 19% Corporations 5% Government 2% Guild 2% In-kind 2%

W hen asked to describe San Francisco Opera’s school pro-grams, Director of Education

Ruth Nott says simply, “It comes down to meeting needs.” “When David Gockley made education a priority,” Ruth remembers, “I spent almost a year talking to teachers and administra-tors. They told us what they needed and we responded.” After a semester of piloting programs with elementary, middle and high schools, the result was ARIA (Arts Resources in Action), a unique suite of programs making a real difference in local public schools. “We don’t dictate exactly what the program is,” Ruth explains. “Instead, we work with teachers to determine what will benefit their stu-dents. Every classroom is different, and we tailor pro-grams appropriately. These multi-interaction programs teach the whole child, engage the teacher as a participant, use the Opera’s resources, and help teachers connect learning about opera to classroom curricula.” “We start with professional development for teachers,” Ruth says. “They learn about what we do at the Opera and help us make connections with the subjects they teach.

E D U C A T I O N

Learning Opera for LifeA n I n t e r v i e w w i t h D i r e c t o r o f E d u c a t i o n R u t h N o t t

Together we create original coursework. Our teaching artists facilitate opera learn-ing in the classroom.” The Opera ARIA Network program re- quires a major time commitment from the schools involved. “Teachers undertake pro- fessional development on their own time,” Ruth emphasizes. “On top of that, they allot us precious class hours. This program can involve up to 40 sessions per class per year. But teachers see results: students unearth their own creativity, use arts learning to increase understanding of other subjects, and show improvements in par-ticipation, teamwork, empathy, mood and

more.” Shorter, less commit- ment-heavy programs are provided as well. “ARIA Network students write libretti, compose music, and build sets, costumes and props,” Ruth says. “And,

of course, they perform. The way these elements are structured makes the pro-gram unique.” Each ARIA experience may vary but the techniques are familiar. Students work with the best in the business – mainstage professionals at San Francisco Opera, from Adler Fellows to Props and Costume Shop staff and trained teaching artists.

D i re c t o r o f

E d u c a t i o n

R u t h N o t t

“We want the experience to be intimate,” Ruth says. Learning any art and con-necting it with what the kids are already learning in class takes a hands-on ap-proach. There are no shortcuts.” The Opera’s Overture workshops for adults are also hands-on. Ruth explains, “Overture participants do a writing exer- cise when we explore the journey from novel to libretto. We’ve sat in on a chorus rehearsal, but also learned an ex-cerpt from an opera chorus by actually singing with our chorus. Participants tell me over and over how much more they get out of going to the opera after they take the four-session course.” There is a definable benefit to the Com- pany as well. “After attending Overture, patrons tend to go to the opera more fre-quently, bring friends to performances and some increase their donations,” Ruth says. “They become ambassadors for San Francisco Opera.” “We have programs for families but we want to provide more,” Ruth says. “And I would love to connect with more uni-versity students.” “As for the future,” she concludes, “I want to see our programs grow, but at the same time maintain the level of high quality and intimacy. Any true love of art begins with discovering what speaks to you. We can help with the discovery.”

“Students

unearth their own

creativity.”

PA G E 3

S t u d e n t s e n j o y a

v i s i t w i t h s c e n e

s h o p s t a f f .

Lighting crew finalize pro-jections during a technical

rehearsal.

“This year we created a mini-opera set during the American Revolution. No lecture by me could have given students the depth of understanding that they gained through their own, self-guided research. I cannot imagine teaching without ARIA.” — EMILY DAHM, FIFTH GRADE TEACHER, WEST PORTAL ELEMENTARY SCHOOL

S C H O O L S

“W hen Dav id Gockley came to town, he

told us he wanted to create ed-ucation programs that would be the envy of the nation,” Susan Stauter recalls. “It was a grand statement. In my job, I hear a lot of promises. I remember thinking it would take a lot to keep this one. He did.” As Artistic Director of the San Francisco Unified School District, Susan coordinates arts programs for all San Francisco schools. Her appreciation of opera is palpable. “Opera is eclectic, with applications for other kinds of arts and many areas of study,” she marvels. “Twenty-first century skills require thinking out of the box, solving problems, working together – all of this and more happens on the opera stage. Consider this: when we talk about how the arts can be applied, all we have to do is visit San Franciso Opera’s Prop Department. Within two minutes, it’s clear how art and science merge.” “The Opera’s programs stand out for their depth,” she observes. “We get professionals at the top of their game working directly with our kids to help them learn the skills needed to create their own work. Students come to view opera not as something someone else does, but rather as something they do.”

S F U S D A r t i s t i c D i r e c t o r P r a i s e s O p e r a E d u c a t i o n

Inspiring School Partnership

The professional develop-ment required of participating teachers “is a lot of extra work but most who participate end up falling in love with the program,” Susan says. “All of them have stories – about how it was final exam week, for example, but some-how they made the time. And it was worth it.” In 2006-07, the School District adopted the Arts Education Master Plan.

“The central notion is that the whole city of San Francisco is a campus, and all of our schools and arts organizations are parts of that campus,” Susan explains. “The word you’ll see most often is ‘partnership.’

It’s not just ‘I tell you what to do and you do it.’ Partnership means just that – between organizations, schools, parents, principals, teachers and students. With-in the framework of the

Master Plan, the Opera’s programs stand out. And increasingly they’re seen as a model for the nation.” Susan adds, “Even in hard times, the grand nature of opera remains an inspiration, a reminder of what we can accomplish together. In that sense, the Opera’s education programs become the place for big ideas to become manifest in a compelling way.”

“The Opera’s

programs stand out

for their depth.”

PA G E 4

OPERA EDUCATION

BY THE NUMBERS*

Number of students (K-12 & University): 12,975

Number of schools (K-12 and University): 163

Number of Opera performers, production staff and teaching artists employed / Number of

man hours: 46 / 2,046

Number of hours of professional development

available to educators: 123

Number of original mini-operas created by students: 47

Number of family members served: 2,751

Number of adults at Pre-Opera Talks: 39,938

Number of adults at work-shops and symposia: 1,404

Directions the program can take, depending on the needs of teachers and their

students: Unlimited

The impact on the lives of everyone who

participates: Incalculable

* T O TA L S F O R 2 0 1 0 - 1 1

( N O T I N C L U D I N G

O P E R A G U I L D P R O G R A M S )

S u s a n S t a u t e r

“This year we created a mini-opera set during the American Revolution. No lecture by me could have given students the depth of understanding that they gained through their own, self-guided research. I cannot imagine teaching without ARIA.” — EMILY DAHM, FIFTH GRADE TEACHER, WEST PORTAL ELEMENTARY SCHOOL

Inspiring School Partnership

PA G E 5

Madeleine Haas Russell (1915-1999), the great grandniece of Levi Strauss, was one of San Francisco’s most revered philanthropists. She served on the San Francisco Opera

Board of Directors from 1973 until 1998. In 1940, Mrs. Russell and her brother William established the Columbia Foundation, which continues to support a wide range of environmental, cultural and social causes. In memory and honor of Mrs. Russell, the trustees of the

Columbia Foundation made a generous endowment grant to San Francisco Opera offering Bay Area students and educators the opportunity to attend – free of charge – a final dress rehearsal of a mainstage production in the War Memorial Opera House. Since its inception in 2000, close to 22,000 students have attended Madeleine H. Russell Night at the Opera, the majority of whom experienced the

dynamic art form of opera for the very first time. Endowment gifts offer a stable resource for the Company to meet current priorities as well as exciting new opportunities as they arise. They provide both immediate funding and long-term financial security for the Opera, benefiting future generations of opera-goers in San Francisco. To learn more about endowment giving, contact Mark Jones at (415) 565-3206 or email him at mjones@sfopera.com.

OPERA IN THE CLASSROOMOpera ARIA (Arts Resources in Action) integrates learning about opera into the classroom.

• The Opera ARIA Network (K-8) covers one or more semesters. Teachers participate in professional development and collaborate with San Francisco Opera teaching artists to connect Company resources to their curriculum in highly personalized ways.• The Opera ARIA Residency (K-8) focuses on connecting one creative element of opera with classroom curricula over four to twelve visits.• PEAK (grades 9-12) integrates opera’s multi-disciplinary characteristics, for four to twelve visits, using a specific opera as a prism to explore the connection of a number of subjects to a single artwork.• Through Opera ARIA Professional Development for Educators, K-12 educators gain tools to connect the study of opera to their classrooms. Educators also bring students to select Dress Rehearsals.

LIFE-LONG LEARNING AT THE OPERA

Throughout the season, the Education Department conducts programming for adults and families.

• Overture Workshops (including one-time workshops and a four-part series) help adults understand opera by investigating specific aspects of the creative and performance processes, including libretto writing, composition, stage direction, singing and costume/set/prop making.• Interactive, multi-generational Family Workshops help prepare people of all ages to attend family-oriented performances.• The Opera in an Hour series, featuring edited movies of San Francisco Opera mainstage performances, is a perfect introduc-tion to the magic of opera. Movies are screened in K-12 class-rooms and at free family events. Titles include: The Magic Flute, The Elixir of Love and Girl of the Golden West. Carmen will be next!• Pre-Opera Talks, Symposia and collaborations with community partners on lectures and events take participants deep into specific works and topics.• University Programs foster connections between opera and coursework with partner universities and professors.

M a d e l e i n e H . R u s s e l l N i g h t a t t h e O p e r a

Student Rehearsals

Mrs. Russell

was one of San

Francisco’s

most revered

philanthropists.

Students enjoying a Carmen

rehearsal on Madeleine H.

Russell Night at the Opera.

ARIA students performing their own opera.

PA G E 6

N ot everyone comes from an opera-going family. With arts programs cut from school budgets, and an explo-

sion of new entertainment options, a young person might find going to the opera about as unlikely as catching a rocket to the moon. San Francisco Opera presents a variety of education and community outreach pro-grams – and is fortunate to have loyal donors who believe in them. But some- times, the best way to in-troduce a young person to the opera is simply to invite her. Board member Bob Cory and his wife Laura are longtime supporters of opera and classical music organizations. They also have a personal commitment to arts education, which they show through their support for the San Francisco Conservatory of Music and especially, San Francisco Opera’s Education Program. “Being exposed to opera in the schools is the best way to start a lifelong love of the art form,” Bob says. “School programs provide a fundamental grounding in an art form that is truly elemental. The stories, char- acters, music, visual artistry: opera can con-nect up with everything in a young person’s

life and be deeply meaningful.” Bob and Laura enthusiastically sup-port the initiatives launched by the San Francisco Opera Education De-partment. But they also know that outside of school, live opera remains unreachable to many of the people who participate in these programs. They are making a habit of purchasing groups of tickets for students and teachers, at a discounted advanced rush rate. Last fall, thanks to the generosity of the Corys, small groups enjoyed performances of Don Giovanni and Carmen, and this summer, a group of thirty teachers and students have enjoyed Attila, Nixon in China and The Magic Flute. Recent stories about bullying moved Vivian Stephenson, another San Fran-

cisco Opera Board member, to consider whether opera might offer a ray of hope to a young person with profound questions about life. In particular, Vivian wanted to reach out to at-risk LGBT youth, to provide for them not only role models in the opera world, but an opportunity to enjoy the thrill of an art form that deeply draws people together. “Handel’s Xerxes might not be your first thought as a way to engage at-risk LGBT

kids in the community,” Vivian says. “But our friends in the art pro- gram at Larkin Street Youth Services were

willing to give it a try. It all started with private access for the youth to an Adler Fellow master class led by the amazing David Daniels.” Mr. Daniels chatted with the youth after the class, and they left the Opera House on fire with excitement. Vivian knew they were primed for live performance, and with her spouse Marga-rita Gandia, purchased ten tickets to Xerxes. The experience for these young people was so powerful, there are plans to further involve Larkin Street Youth with Rigoletto this fall. “It’s easier than we think to engage a young person with opera,” Vivian says. “And when we do, it can be pure magic!”

“Not everyone comes from

an opera-going family.”

Spreading the JoyD o n o r s F i n d P e r s o n a l W a y s t o D r a w N e w c o m e r s

Youth from Larkin Street Youth Services attending an Adler Fellow master class led by countertenor David Daniels.

C O M M U N I T Y Community of Support

San Francisco Opera is grateful to the following individuals and organizations who recently have provided major support for Education Department programs

and initiatives:

Robert and Laura Cory S.H. Cowell Foundation Gap Foundation Walter & Elise Haas FundThe Kimball FoundationMichelson Family FoundationSan Francisco FoundationSingh-Anderson FoundationUnion BankWells Fargo

Zellerbach Family Foundation

If you would like to learn more about designating your contribution to a specific program or initiative at San Francisco Opera, please contact Judith Frankel at (415) 551-6226 or jfrankel@sfopera.com.

UNION BANK SUPPORTS ARIA

San Francisco Opera is proud to welcome Union Bank, our newest multi-year sponsor for the Opera ARIA Program. Through its generous support, this suite of K-12 educational programs brings opera into the classroom and expands the collaboration between educators, Opera teaching artists and students.

PA G E 7

P a r t n e r O r g a n i z a t i o n s M a k e a n I m p a c t i n A r t i s t

a n d C o m m u n i t y E d u c a t i o n

Meeting the Mission

T he Opera is fortunate to partner with many organizations to help advance its commitment to train-

ing, arts education and audience de-velopment. Here are three extraordin- ary examples:

Merola Opera Program

Named for San Francisco Opera’s first General Director, the Merola Opera Pro-gram seeks out the finest young opera talent and develops those singers into pro- fessional artists of the highest caliber. Following a rigorous annual audition pro-cess of more than 800 young hopefuls from around the world, the program invites approximately 23 singers, five coaches and one stage director to participate in its sum- mer apprenticeship. Training includes both classes and public performances that provide a rig- orous, comprehensive education. Many graduates of the Merola program have gone on to international careers, in-cluding renowned artists like Anna Netrebko, Patricia Racette, Deborah Voigt and Thomas Hampson.

San Francisco Opera Guild

San Francisco Opera Guild brings K-12 education programs into nearly 200 schools throughout the San Francisco Bay Area each year. Teaching artists visit classrooms to present interactive music and theatre experiences that introduce students to classic operas as they learn about storytelling, singing, stage practice and the social relevance of art. Students are also guided in the process of imagining, writing and performing their own original operas, based upon classroom curricula or current world events. Summer Conservatory gives teens an intense opera camp experience to deepen their musical and performance skills while learning acting, movement, language and history. The Guild also provides adult edu- cation programs including regular insight panel discussions, preview lectures and tours of the War Memorial Opera House.

San Francisco Conservatory of Music

San Francisco Opera’s Education De-partment will be offering for the first time this fall a course for San Francisco Con- servatory of Music students called “Teach- ing Artistry 101.” Students will be intro-duced to the arts education field, learn the skills required of a teaching artist and put those skills into practice by assisting San Francisco Opera teaching artists working in schools. Education Director Ruth Nott says, “We are thrilled to be partnering with SFCM and to provide students with information and skills about a job, and possibly a career, that they can perform in addition to their music-making.” For more information about the Merola Opera Program and the Opera Guild, go to sfopera.com. To learn more about the San Francisco Conservatory of Music, go to sfcm.edu.

ENGAGE WITH US. Like us and leave your comments on our Facebook page (facebook.com/sfopera), follow us and

tweet back on Twitter (twitter.com/sfopera), watch opera previews and interviews with cast members and production staff

on our YouTube channel (youtube.com/sfoperamedia), and read what our singers, supers, staff and David Gockley have to

say on the Company blog, Backstage at San Francisco Opera (sfopera.com/blog).

Melody Moore and Thomas Hampson: two Merolini in the Heart of a Soldier world premiere.

Conservatory students perform for kids at George Peabody Elementary School.

Engaging deeply with education.

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Julie Dickson with Adler Fellow Sara Gartland at the 2011 Adler Gala.

Recent Event Highlights

Board member Sylvia Lindsey with Conrad Sweeting at the 2012 Medallion Society Luncheon.

M E D A L L I O N S O C I E T Y

ADLER GALA

Board member Ann Johnson with countertenor David

Daniels at Carolands.M e m b e r s h i p e v e n t s a r e s u b j e c t t o c h a n g e .

G o t o c a l e n d a r a t s f o p e r a . c o m f o r u p d a t e s .

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JULY JULY 1, 2012KDFC radio broadcast of Carmen by Georges Bizet8pm – 90.3 in San Francisco; 89.9 in the North & East Bay; 104.9 in the Peninsula and South Bayonl ine kdfc.com

AUGUST

AUGUST 5, 2012KDFC radio broadcast of L istener’s Choice8pm – 90.3 in San Francisco; 89.9 in the North & East Bay; 104.9 in the Peninsula and South Bay

onl ine kdfc.com

AUGUST 19, 2012Opera at Stern Grove Fest ival2pm – Sigmund Stern Grove

SEPTEMBER

SEPTEMBER 2, 2012KDFC radio broadcast of Att i la by Giuseppe Verdi8pm – 90.3 in San Francisco; 89.9 in the North & East Bay; 104.9 in the Peninsula and South Bay onl ine kdfc.com

SEPTEMBER 7, 2012

Opening Night Gala5pm – War Memorial Opera House

SEPTEMBER 9, 2012

Opera in the Park1:30pm – Sharon Meadow, Golden Gate Park

SEPTEMBER 15, 2012

Opera at the Bal lpark

Simulcast of Rigoletto

8pm – AT&T Bal lpark

Left to right, Adler Fellow Maya Lahyani with Marina Nelson, Liza Vakhrusheva,

Brian Gustafson, and Board member Ben Nelson.

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Board member Joan Traitel and husband David with mezzo-soprano Susan Graham at Carolands.

CAROLANDS

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