ByWolfgang

Amadeus MozartJanuary 29, 31

& February 2, 2010

N E A L S . B L A I S D E L L C O N C E R T H A L L

Always

HAWAII OPERA T HEATRE

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philpotts.net 808 523 6771

Timeless design with a New Cast

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091224_Aria_Ad_Flanders.pdf 1/4/2010 2:40:01 PM091224_Aria_Ad_Flanders.pdf 1/4/2010 2:40:01 PM

AnonymousSteve and Linn Alber

Estate of Ruth BallardEstate of Nancy BannickNanna BradfordDr. Roger and Felice BraultRobert & Patsy BunnHenry ClarkEstate of Conrad G. Conrad, IIIMichael DabneyLuryier DiamondEstate of Hope DoyleSally EdwardsSuzanne Engel

Tom and Gloria HuberRay GalasEstate of Marguerite E.

GonsalvesDaniel and Jane KatayamaEvelyn LanceEstate of Mireille LeitichTom and Natalie MahoneyPeter and Luanna McKenneyMargaret MontgomeryEstate of Leon J. MunsonMarita L. Nelson, Ph.D.Norma NicholsJoyce QuigleySarah RichardsJean E. RollesMajor General Cecil A. Ryder, Jr.Stephen and Dana Wilson

Anniversary Messagefrom the Board President

by Jim McCoy

It is my great pleasure to welcome you to Hawaii OperaTheatre’s 50th Anniversary Season. It’s incredible to thinkthat 50 years ago a fledgling opera company was gearingup for the first performance in its history, MadamaButterfly at McKinley High School. A lot has changedover these past five decades - a small company with aboard that worked backstage and behind the scenes hasgiven way to a fully professional company featuring someof the greatest voices of our time.

Over 400 people work directly on the productions thatyou will see in this season. Many of those are paidprofessionals hailing from all areas of the globe…directors, conductors, designers, artists and musicians…all at the height of their craft. Another very large cadre ofthis number will be made up of community volunteers,from the chorus and supernumeraries on the stage to thehospitality, wig and makeup, and security detailbackstage. HOT has a long tradition of volunteers fillingkey roles during the season activities and we believe it isone of the greatest assets of the company. The sense ofohana that has come from this close-knit, committedgroup is truly extraordinary as well. Visiting artists oftencall years in advance to be considered for a return trip tothe HOT stage… not only because they want to workwith our world-class artists and musicians, but alsobecause HOT hospitality is legendary in the opera field.

As we pass this milestone we believe our future is brighterthan ever. Many of you know we moved into newheadquarters on Beretania Street this past spring. If youhave not had a chance to see the newly minted HawaiiOpera Plaza (HOP) and the opera offices, please drop by;it’s a wonderful space. We also have plans to continue ourexpansion at HOP with a new rehearsal hall that will bebuilt on the roof of the existing parking structure. It’s anexciting new chapter as we embark upon our next 50years… and of course, all of these exciting projects andproductions could not take place without all of you, ourpatrons and donors.

We have always enjoyed great support from thiscommunity and have worked hard to make sure that thedollars you graciously offer to support us are used wisely.We would not be here today without you, our volunteersand board, our artists and staff… and all of those whoplayed each of those roles before.

Thank you all and enjoy this season’s performances!

Alexander & BaldwinMrs. Ruth BallardBank of HawaiiMr. & Mrs. Robert E. BlackMr. & Mrs. Robert BrilliandeMr. & Mrs. Elliott H. BrilliantMr. & Mrs. Robert B. BunnCades, Schutte, Fleming & WrightMr. & Mrs. J. Russell CadesMr. & Mrs. Donn W. CarlsmithDr. & Mrs. Percival CheeMr. & Mrs. Henry B. Clark, Jr.Mr. & Mrs. Hal ConnableMr. & Mrs. Conrad G. Conrad IIIMr. & Mrs. Richard A. Cooke, Jr.Mr. & Mrs. James M. CribleyCronin, Fried, Sekiya, Hale & KekinaEdward C. DolbeyErnst & WhinneyMr. & Mrs. Edward EuDr. & Mrs. John Henry FelixMrs. Gerald W. FisherRobert S. Flowers, M.D.Mr. & Mrs. James F. GaryMrs. L.A.R. GasparMr. & Mrs. Richard L. GriffithMr. & Mrs. Ernest C. Hickson

Mr. & Mrs. John V. HigginsBruce & Pegge HopperMrs. Cecily F. JohnstonDr. Arthur & Libbie KamisugiMr. & Mrs. Peter A. LeeGalen & Didi LeongDr. & Mrs. Michael J. MeagherMr. & Mrs. T. Clifford Melim, Jr.Mr. & Mrs. James F. MorganMr. & Mrs. Arthur MurrayDr. & Mrs. Nobuyuki NakasoneMr. & Mrs. Edward A. O’NeillOrthopedic Associates of Hawaii, Inc.Mrs. Arthur E. OrvisMr. & Mrs. Elmer PatmanDr. & Mrs. G. Manning RichardsJames K. SchulerMr. & Mrs. Clarence R. ShortDr. & Mrs. Arthur Y. SpragueDr. & Mrs. E.C. SterlingKosta Stojanovich, M.D.Mr. & Mrs. Clifton D. TerryMrs. C. W. TrexlerMr. & Mrs. Thurston Twigg-SmithDr. & Mrs. Kazuo UgajinMr. & Mrs. Charles R. WichmanJuliet Rice Wichman

HOT Founders

Legacy Society gifts help to secure the artistic and financialstrength of Hawaii Opera Theatre for future generations. If operahas been a part of your life, make it a part of your legacy. Askyour financial advisor about the significant tax benefits ofincluding HOT in your estate plans. HOT staff can alsorecommend confidential consultation with an estate planningexpert who can answer your questions about planned giving.

Opera Legacy Society benefits include:• Exclusive Annual Legacy Society Brunch and other specialprograms and event invitations. • Recognition, with your approval, in the HOT annual report andin season programs, Aria.

For more information, contact Karen Tiller, Executive Director ofHawaii Opera Theatre at 596-7372 x 201.

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4 LE NOZZE D I F IGARO

World Premiere: Vienna, May 1, 1786

Performed by Hawaii Opera Theatre atNeal S. Blaisdell Concert Hall

January 29, 31 & February 2, 2010

Bambi Brock*Naomi CastroStephanie ConchingChristine EilersDiane KoshiPamela L. MaiavaCarena MontanyRosanna K. U. Perch*Rebecca RamosNicole SakataWinnie So*Angela VitroChris WalshKyna Williams

Mark Ah YoDan BarnettDavid Del RoccoPhil M. HidalgoKeane Ishii*Scot IzukaGary KawasakiDaniel James KunkelStelioNicholas R. Walters*Benoit Weber*Chad Williams*

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ivan TörzsDirector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hans Nieuwenhuis

Sets designed by Susan Benson for the Banff Centre for the Performing ArtsScenic Elements Constructed by the Banff Centre

Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Peter Dean BeckCostumer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Helen E. Rodgers

Costumes designed by Allen Charles Klein made available by special arrangement with Malabar, Ltd.Additional costumes provided by Malabar, Ltd.

Wig and Make-up Designer . . . . . . . . . . . . . . . . . . . . . . . . .Richard SteadStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gretchen MuellerCoach/Rehearsal Pianist . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Beebe FreitasEnglish Supertitles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Matthew Lata

Presented in Italian with English Supertitles

Production: John Young Foundation

Orchestra: The Cades Foundation

Set Transportation: Horizon Lines

Costume Transportation: Air Canada Cargo

Supertitles: Alexander & Baldwin Foundation

Conductor: Realtors® for Opera

Costumes: Dentists for Opera

Meet the Stars Party: Salvatore Ferragamo

Official Airline: Continental Airlines

Hotel Co-Sponsors: Aston Hotels & ResortsHawaii Prince Hotel Waikiki

Hospitality: Honolulu Club

Lanai Lectures: First Insurance Company of Hawaii, Ltd.

Season Rehearsal: ALTRES

Wine: The Wine Stop

Season Finale: Tod’s*Mae Z. Orvis Opera Studio member

SPONSORS

Chorus of peasants, villagers, servantsHOT Chorus Co-Directors: Beebe Freitas & Nola A. Na

_hulu

Chorus Coordinator: Chris Walsh

The Marriage of Figaro by Wolfgang Amadeus Mozart

Women Men

CASTFigaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Leon WilliamsSusanna, chambermaid to the Countess . . . . . . . . . . . .Shawnette SulkerCount Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Michael ChioldiRosina, Countess Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . .Inna DukachCherubino, the Count’s page . . . . . . . . . . . . . . . . . . . . . . . . .Buffy BaggotBartolo, a doctor from Seville . . . . . . . . . . . . . . . . . . . . . . .Valerian RuminskiMarcellina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Victoria LivengoodBasilio, music master/Curzio, a judge . . . . . . . . . . . . . . . . . . . .James PriceAntonio, the Count’s gardener and Susanna’s uncle . . . . . . . . . John MountBarbarina, Antonio’s daughter . . . . . . . . . . . .Rosanna Perch*/Winnie So*

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Honolulu

Ala Moana Center(808) 947-3789

Royal Hawaiian Center(808) 922-5780

Hermes.com

W I N T E R AT L A S T !

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6

From the day The Marriage of Figaro was created by Wolfgang Mozartand Lorenzo da Ponte in May 1786, the opera has never disappearedfrom the standard opera repertoire all over the world. Its genius was

immediately recognized by audiences and singers alike and today every season a lot of newFigaro-productions are created in North America, Europe, South America and more and morealso in Asia.

Mozart and Da Ponte took a risk when they chose a notorious play by French playwrightBeaumarchais for their libretto. King Louis XVI of France himself ordered his censors to forbidperformances of the play because he found it ……’a mockery of everything that had to berespected’. The King was afraid that plays like Figaro’s Marriage would undermine theposition of the French nobility including himself. He was right and only three years later hewas removed from his throne during the French revolution and later executed together withhis wife Marie Antoinette, daughter of the Emperor of Austria.

I do not think Mozart and Da Ponte intended to make a political statement with theiradaptation of the Beaumarchais play. They actually removed some of the most explosivepolitical passages. In particular, Da Ponte replaced Figaro's climactic speech against inheritednobility and assured the Emperor himself that Mozart and he had no intention to insultanybody.

So, why were Lorenzo and Wolfgang so attracted to the play? The answer lies in the othertwo operas they created together: Don Giovanni and Così fan tutte. In their first collaboration,they introduce the theme that returns in their two other works: the force of physical attractionor simply said, lust versus love. In Figaro, not only are the page Cherubino and the Countcontrolled by their hormones, but the Countess and Susanna are also trapped in a situationthat involves physical attraction. In the last play of Beaumarchais about Figaro (The GuiltyMother 1792) we can read that the Contessa has a child not from her husband but from….Cherubino. Such a development would not have been strange in “Dynasty” or “Dallas” orany other soap opera.

Mozart’s Marriage of Figaro has a second title that most people do not know: La follejournée…The crazy day. I find that subtitle very important because our story starts earlymorning and ends about 24 hours later in a park. Within this time span, we witness anincredible amount of funny, crazy, tragic, unbelievable and unpredictable events. Mozart andDa Ponte called the work an ‘opera buffa’. It is indeed a brilliant comedy and, like comediesby Shakespeare, it is not only funny but also tells us a lot about how men and women dealwith the power of love and lust…. This is not only found in Da Ponte’s text but most of all inMozart’s music. We can hear extensively what the characters feel or think through theirmusic. That was Mozart’s music revolution because with his genius he makes every personin the opera a three dimensional and real human being.

Director’s Notesby Hans Nieuwenhuis �

David & Verne Takagi

salute the

Hawaii Opera Theatre

in its 50th season,

inspiring us with works

of the highest caliber

and helping to make

Honolulu the

artistic center

of the Pacific.

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8 LE NOZZE D I F IGARO

ACT I. A country estate outside Seville, the servants' quarters. Whilepreparing for their wedding, the valet Figaro learns from the maidSusanna that their employer, Count Almaviva, has designs on her. Atthis the servant vows to outwit his master. Before long Doctor Bartoloenters with his housekeeper, Marcellina, who wants Figaro to marryher to cancel a debt he cannot pay. After Marcellina and Susannatrade insults, the amorous adolescent page Cherubino, arrives,reveling in his infatuation with all women. He hides when the Countshows up, who is furious because he caught Cherubino flirting withBarbarina, the gardener's daughter. The Count pursues Susanna butconceals himself when music master Don Basilio enters the room.

The Count steps forward, however, when Basilio suggests that Cherubino has a crush on the Countess. Almaviva is enraged further when hediscovers Cherubino in the room. Figaro returns with fellow servants, who praise the Count's progressive reform in abolishing the right of anoble to take a manservant's place on his wedding night. Almaviva assigns Cherubino to his regiment and leaves Figaro to cheer up theunhappy boy.

ACT II. Boudoir of Countess Almaviva. The Countess laments her husband's waning love but plots to chasten him, encouraged by Figaro andSusanna. They will send Cherubino, disguised as Susanna, to a romantic assignation with the Count. Cherubino, smitten with the Countess,appears, and the two women begin to dress the page for his farcical rendezvous. While Susanna goes out to find a ribbon, the Count knocks atthe door, furious to find it locked. Cherubino quickly hides in a closet, and the Countess admits her husband, who is skeptical of her story thatSusanna is inside the wardrobe. He takes his wife to fetch some tools with which to force the closet door. Meanwhile, Susanna, having observedeverything secretly, helps Cherubino out a window, then takes his place in the closet. Both Count and Countess are amazed to find her there.All seems well until the gardener, Antonio, storms in with crushed geraniums from a flowerbed below the window. Figaro, who has run in toannounce that everything is ready for his wedding is ready, pretends it was he who jumped from the window, faking a sprained ankle. Marcellina,Bartolo and Basilio burst into the room waving a court summons for Figaro, which delights the Count, as this gives him an excuse to delay thewedding.

ACT III. In an audience room. Susanna leads the Count on with promises of a rendezvous in the garden. The nobleman, however, growsdoubtful when he spies her conspiring with Figaro; he vows revenge. Marcellina is astonished but thrilled to discover that Figaro is in fact herlong-lost natural son by Bartolo. Mother and son embrace, provoking Susanna's anger until she too learns the truth. Finding a quiet moment,the Countess recalls her past happiness, then joins Susanna in composing a letter that invites the Count to the garden that night. Later, duringthe marriage ceremony of Figaro and Susanna,the bride manages to slip the letter, sealed with ahatpin, to the Count, He drops the pin by accidentbut Figaro retrieves it.

ACT IV. A corrider, later in a moonlit garden.Barbarina, after trying to find the lost hatpin, tellsFigaro and Marcellina about the comingassignation between the Count and Susanna.Figaro inveighs against women and leaves,missing Susanna and the Countess, ready for theirmasquerade. Alone, Susanna rhapsodizes on herlove for Figaro, but he, overhearing, thinks shemeans the Count. Susanna hides in time to seeCherubino woo the Countess — now disguised inSusanna's dress — until Almaviva chases himaway and sends his wife, who he thinks isSusanna, to an arbor, to which he follows. By nowFigaro understands the joke and makesexaggerated love to Susanna in her Countessdisguise. The Count returns, seeing, or so hethinks, Figaro with his wife. Outraged, he callseveryone to witness his judgment, but then thereal Countess appears and reveals the ruse.Grasping the truth at last, the Count begs herpardon. So ends this "crazy day" at the court ofthe Almavivas.

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Synopsis...

90664_Figaro:p 1/18/10 1:16 PM Page 8

Opera Insightson The Marriage of Figaroby Kelley Rourke, Opera America Magazine

Le Nozze di Figaro keeps regular company with the bloodier operasusually found on the operatic "Top 10" and, next to favorites like Toscaand Rigoletto, it seems like a sweet — even bland — throwback. Butthis work, the combined effort of a revolutionary, a rake, and a rascallygenius, contains some pointed social commentary — not to mentionvirtually perfect musical characterizations and groundbreaking use ofthe ensemble.

In 1784, the playwright Beaumarchais penned La Folle journée ou LeMariage de Figaro, a sequel to his successful Le Barbier de Séville (laterset to music by Rossini and Paisiello). The play, with its pointed barbsat the ruling class, caused an uproar, predictably exciting the peopleand infuriating the nobles.

Although the play was banned from the Viennese stage, Mozart andhis librettist, Lorenzo Da Ponte, recognized a good story when theyfound one and were not the types to shrink from controversy. (Theywere also clever enough to fashion a libretto that could pass musterwith the censors.) Da Ponte, the well-read, social-climbing son of atanner, wrote numerous libretti for Mozart, Salieri, Soler, and othercontemporary composers. He also left memoirs, poems, numeroustranslations and assorted prose. If his memoirs are to be believed,his prodigious verbal output was matched only by his romanticconquests, but most remember him chiefly for the three librettihe provided for Mozart: Le Nozze di Figaro, Così fan tutte andDon Giovanni.

Le Nozze di Figaro was Mozart and Da Ponte's first operaticcollaboration. Mozart began work on the music in 1785; the operahad its premiere in Vienna the following year. Its treasures are many,beginning with arias reflecting the many facets of love: Cherubino'seager adolescent yearning, the Countess's bittersweet recollection of a

love lately lost and finally Susanna's seductive invitation, "Deh vieni,"which manages to be both archly teasing and sweetly sincere. Othersketches are equally deft, from jealous Figaro's malicious minuet, "Sevuol ballare," to silly Barbarina's mock-tragic lament over a lost pin.(Mozart also composed two brilliant musical parodies in fourth-act starturns for Marcellina and Basilio; however, these are often cut on thegrounds that they slow the movement toward the denouement.) Forall the glories in the procession of arias, the real magic lies in theensembles. Figaro's plot is a maze of misunderstandings, disguisesand machinations; Mozart neatly untangles the knots (or furtherconfuses things, when appropriate), all the while weaving togetherseveral voices, each with perfect musical-emotional pitch.

Le Nozze di Figaro was apparently well-received from the start. The emperorsaw the need to ban excessiveencores during performance.Before the end of the 18thcentury, it had been seen inFlorence, Amsterdam and Paris,as well as Prague, Leipzig,Graz and Frankfurt. To thisday, it remains a favoriteamong opera loversworldwide.

Frankie AndersonBrian BentonMargo BrowerJackie Collins-BuckToan DoranPamela & Fred

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90664_Figaro:p 1/13/10 11:29 AM Page 25

26

Hawaii Opera Theatre’s 50th Anniversary OrchestraVIOLIN IIgnace Jang, ConcertmasterClaire Sakai Hazzard,

Associate ConcertmasterJudy Barrett,

Assistant ConcertmasterJohanna BourkovaRami GepnerKatharine HafnerElaine LuSasha MargolisSheryl Shohet

VIOLIN IIHung Wu, PrincipalDarel Stark, Associate PrincipalAnn Krinitsky Timothy LeongDaniel PadillaNikki Kurata RoutmanDuane White

VIOLAMark Butin, PrincipalSteven Flanter,

Associate PrincipalJean-Michel JacquonMelvin WhitneyAnna Womack Sandra Wong

CELLOAndrew Eckard, PrincipalKaren BechtelLouise ChingJoanna FlemingJoanna Morrison

BASSKirby Nunez, PrincipalMichael Gorman,

Associate PrincipalJohn GallagherGeoffrey Stone

FLUTEClaire Starz Butin, Principal Matthew Roitstein,

Associate PrincipalDaniel Alexander

PICCOLODaniel Alexander

OBOEJ. Scott Janusch, Principal Pavel Morunov,

Associate PrincipalCatherine Weinfield

ENGLISH HORNCatherine Weinfield

CLARINETScott Anderson, PrincipalJames Moffitt, Associate PrincipalNorman F. Foster

BASSOONPaul H. Barrett, PrincipalMarsha Schweitzer,

Associate PrincipalPhilip Gottling III

CONTRABASSOONPhilip Gottling III

HORNGeorge Warnock, PrincipalJonathan Parrish,

Associate PrincipalMichiko SinghMatthew EckenhoffMellissa Lund

TRUMPETKenneth Hafner, PrincipalDonald HazzardRussell Ishida

TROMBONEJason Byerlotzer, Principal

BASS TROMBONEJared Lantzy

TUBAJason Doherty, Principal

TIMPANIStephen Dinion, PrincipalStan Muncy, Associate Principal

PERCUSSIONEric Shin, PrincipalJordan Schifino,

Associate Principal

HARPConstance Uejio, Principal

90664_Figaro:p 1/13/10 11:29 AM Page 26

Leon Williams, Baritone (Figaro)American baritone Leon Williams enjoys a finereputation on several continents for hisdistinctive voice, charismatic personality andsuperb musicianship. Concert appearancesinclude Mendelssohn’s Elijah with the HonoluluSymphony; Orff’s Carmina Burana with theFlorida Orchestra, Baltimore, Reading, Alabama,Westchester, Grand Rapids, Hartford and

Colorado Symphonies, National Philharmonic, and at the BerkshireChoral Festival; Britten’s War Requiem, the Mozart and FauréRequiems and Haydn’s Creation with the Colorado Symphony;Vaughan-Williams’ A Sea Symphony with the Portland and IllinoisSymphonies and Florida Orchestra; Fauré’s Requiem with RaymondLeppard and the Kansas City Symphony; Brahms’ Requiem with theAlabama and Santa Barbara Symphonies; Haydn’s Il Ritorno di Tobiaand Harold Farberman’s War Cry on a Prayer Feather with theAmerican Symphony Orchestra at Alice Tully Hall, Lincoln Center;Weill’s Lindberghflug with Dennis Russell Davies and the AmericanComposers Orchestra at Carnegie Hall.

Shawnette Sulker, Soprano (Susanna)Shawnette Sulker has been described by theSan Francisco Chronicle as a singer“…displaying a bright, superbly controlledsoprano with perfectly placed coloratura.” Anative of Guyana, Ms. Sulker has been afeatured artist in two San Francisco Operaproductions: The Mother of Us All and Louise.She was also a part of the joint production of

Dido and Aeneas between San Francisco Opera and The Crucible,singing the roles of Second Woman and Second Witch. This youngsoprano has sung leading roles with many other companies,including Union Avenue Opera, Natchez Opera Festival, West BayOpera, Berkeley Opera, North Bay Opera, San Francisco LyricOpera, Livermore Valley Opera, Cinnabar Opera Theater, andOakland Opera Theater. She performed concert versions of theAmerican classic Porgy and Bess, first in the role of Clara withRedwood Symphony and then in the role of Serena with theMendocino Music Festival.

Michael Chioldi, Baritone (Count Almaviva)Michael Chioldi, baritone, known for his"riveting stage presence and beautiful, powerfulvoice" (The New York Times), has performedleading roles across the United States andthroughout the world. He made hisMetropolitan Opera debut in 1996 with LucianoPavarotti, and has also performed with the SanFrancisco Opera, Houston Grand Opera, New

York City Opera (over 150 performances), Santa Fe Opera,Washington National Opera, LA Opera, San Diego Opera, SpoletoUSA, Minnesota Opera, Glimmerglass Opera, Macau InternationalMusic Festival China, L'Opera de Montpellier in France, Opera deOviedo in Spain, Tokyo Japan (tour with Maestro Seiji Ozawa),Canada's Opera Atelier, the Stadtteater Pforzheim in Germany andnumerous other companies. Upcoming performances include:Nixon/Nixon in China with Long Beach, The Prince in La GrandDuchesse with Opera Boston, Escamillo in Carmen with L'OperaNational de Bordeaux, France, and a return to WNO for Sharplessin Butterfly conducted by Placido Domingo.

Inna Dukach, Soprano (Countess Almaviva)Born in Moscow and raised in New York,soprano Inna Dukach made her Covent Gardendebut as Musetta this past winter. Her repertoireincludes Mimì (New York City Opera), for whichThe New York Times praised her as“understated, with warm corners to a voice thatmoved smoothly up and down the staff and wasenlisted in the service of the acting”, and for

which Opera News commended her as “golden-toned” with“appealing emotional vulnerability.” She recently performed Violetta(Croatian National Opera), Liù (Savonlinna Opera Festival), Tatiana(Opera Lyra Ottawa), Donna Anna (Orlando Opera and OperaCarolina), Pamina (Opera Hong Kong), and Xenia in Boris Godunov(San Diego Opera). Ms. Dukach’s international concert appearancesinclude Beethoven’s Missa Solemnis and Ninth Symphony, Strauss’Vier Letzte Lieder, Shostakovich’s Songs from Yiddish Folk Poetry,Rachmaninov’s The Bells, Verdi’s Requiem, and Brahms’ Requiem.Plans include Walter in La Wally (Concertgebouw, Amsterdam),Marguerite (Opera New Jersey) and Strauss’ Vier Letzte Lieder(Reading Symphony).

Buffy Baggot, Mezzo-Soprano (Cherubino)California-native Buffy Baggott has gainedrecognition throughout the U.S. as anaccomplished and versatile mezzo-soprano. Sheis an alumnus of the prestigious Lyric OperaCenter for American Artists and has appearednumerous times on the Lyric Opera of Chicago’sstage. Notable performances there includeCarmen (Carmen), Stephano (Roméo et Juliette),

Dryade (Ariadne auf Naxos), Siegrune (Die Walküre) and ) and a trioof characters: The Dresser, Schoolboy and Groom in Lulu. Otherperformances include Schwertleite (Ring Cycle), Sonyetka (LadyMacbeth of Mtsensk), Flora (La Traviata) and Maddalena (Rigoletto)for the Canadian Opera, Mrs. Lovett (Sweeney Todd) for ArizonaOpera, Flosshilde (Das Rheingold) for San Francisco Opera andFlosshilde (Das Rheingold) for Indianapolis Opera. Ms. Baggott’supcoming performances include Siegrune (Die Walküre) for the LosAngeles Opera Ring Cycle and she serves as Mezzo SopranoVocalist and faculty for the Bay View Music Festival in NorthernMichigan.

Valerian Ruminski, Bass (Bartolo)Valerian Ruminski is a graduate of The Academyof Vocal Arts in Philadelphia. He has appearedwith the Metropolitan Opera, NYCO, DallasOpera, Florida Grand Opera, Seattle Opera,Santa Fe Opera, Opera Oreland, Opera deMontreal, Vancouver Opera, New Israeli Operaand many more. His Carnegie Hall debut was inLa Juive with the Opera Orchestra of NY. Mr.

Ruminski has been featured in the PBS broadcast of I Puritani withthe Metropolitan Opera which is available on DeutscheGrammaphone and on the Naxos CD Night at the Opera.Upcoming engagements include Boris Godunov at the MetropolitanOpera, Lucia di Lammermoor with Hawaii Opera Theatre, Rigolettowith Nickel City Opera (Buffalo) and Il Trovatore with Opera deMontreal. Mr. Ruminski is adjunct Professor at SUNY- WestchesterCC in NY and is Artistic Director of Nickel City Opera in Buffalo, NY.

Principal CastHawaii Opera Theatre

27LE NOZZE D I F IGARO

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Victoria Livengood,

Mezzo-Soprano (Marcellina)Career highlights include the title role inCarmen, Herodias in Salome, Orlovsky in DieFledermaus, Hélène in War and Peace, MadameAkhrosimova in War and Peace, Madame Larinain Eugene Onegin, Sonetka in Lady MacBeth ofMtsensk, and Waltraute in Die Walküre with theMetropolitan Opera; Lampito in Lysistrata with

Houston Grand Opera and New York City Opera; Jocasta inOedipus Rex with the Salzburg Festival; title role in La LenoritaCristina with Madrid’s Teatro Real; title role in The Medium withL’Opéra de Monte Carlo; Ortrud in Lohengrin with Italy’s SpoletoFestival; the Old Prioress in The Dialogues of the Carmelites with FortWorth Opera; Klytämnestra in Elektra with Las Palmas Opera; andthe Witch in Hansel and Gretel with Kentucky Opera. Upcomingengagements include the Marquise in La Fille du Regiment withBarcelona’s Gran Teatre del Liceu and Marcellina in Le Nozze diFigaro with Washington National Opera.

James Price, Tenor (Basilio/Curzi)Versatile American tenor James Price’s 2008-2009 engagements included Gherardo/GianniSchicchi for Macau International Music Festival,Handel’s Messiah/Central Union Church,Lamplighter and Hairdresser/Manon Lescautand Dancäire/Carmen for HOT, MetropolitanOpera Chorus/Götterdämmerung. Concert andconvention requests have taken Mr. Price

around the world including Santa Fe, New York, Chicago, Hawaii,and Las Vegas in the US, and Belgium, England, Hong Kong andHolland abroad. His 2009-2010 engagements includeAldolpho/The Drowsy Chaperone for Diamond Head Theatre,returning to Macau as Curzio/Marriage of Figaro, TenorSoloist/Beethoven’s Ninth with the Honolulu Symphony, a debutwith Finland’s Savonlinna Festival as Goro/Madama Butterfly andconcerts throughout Hawaii. Mr. Price is Artistic Administrator ofHawaii Opera Theatre and Artistic Advisor of Nickel City Opera inBuffalo, NY. To engage Mr. Price for stage engagements, voicelessons, or artistic consultation, please visit www.jamesprice.com.

John Mount, Bass (Antonio)John Mount, bass-baritone is Professor of Musicand Director of Opera Workshop at theUniversity of Hawaii at Manoa. John has sungnearly eighty roles with HOT as well asnumerous mainland companies. In SeptemberJohn sang in Don Carlo with Opera Hong Kongand staged The Mini Opera, a short educationalopera created by John and his wife Lorna. The

Mini Opera is being presented in several Hong Kong area schools.Previous HOT appearances include A Little Night Music, Don Carlo,Otello and Die Zauberflöte. John has been bass soloist with theHonolulu Symphony in such works as the requiems of Verdi,Mozart and Brahms, Beethoven’s 9th Symphony and Mendelssohn’sElijah. As a teacher, his students have sung in opera housesthroughout the world and musical theater on Broadway and inEurope. He is also Director of Music at Kailua United MethodistChurch.

Rosanna Perch, Soprano (Barbarina)Rosanna Perch is a young emerging artist. Shereceived her bachelor's degree in vocalperformance from the University of Hawaii atManoa. As a member of the Hawai‘i OperaTheatre Mae Z. Orvis Opera Studio, Rosannahas performed extensively with the OperaExpress and Opera Residency educationalprograms, portraying such roles as Gretel from

Hansel and Gretel, Mabel from the Pirates of Penzance and mostrecently, the Witch from Hansel and Gretel and Carmen; she madeher company debut as the Nursing Sister in Suor Angelica. Rosannahas also performed with the Hawai‘i Vocal Arts Ensemble, theHonolulu Symphony, numerous University of Hawaii Ensembles, theManoa Voices and as an adjunct lecturer at the ChaminadeUniversity of Honolulu; she enjoys singing a wide variety ofrepertoire including Spirituals, Gospel, Hawaiian Music and Jazz.While continually developing her skills, Rosanna strives towardsartistic excellence and building a serious performance career.

Winnie So, Soprano (Barbarina)After singing in Spoleto, Italy this summer,soprano Winnie So returns to HOT’s mainstagewhere she has sung the roles of the Mother inMadama Butterfly and the Celestial Voice in DonCarlo. As a member of the Mae Z. Orvis OperaStudio, Ms. So is a frequent performer with theHOT Opera Express, singing the roles ofCinderella in Cenerentola, Gretel in Hansel and

Gretel, Rosina in The Barber of Seville, and Yum Yum in TheMikado. Ms. So has also performed in Bay Area Summer OperaTheater Institute’s production of Monteverdi’s L’Orfeo. Mostrecently, she sang in Spoleto Vocal Arts Symposium’s scenesprogram, appearing as Nannetta in Falstaff, Euridice in Orfeo edEuridice, and Cunegonde in Candide. Ms. So holds a Master’sdegree in Vocal Performance from The Boston Conservatory.

28 LE NOZZE D I F IGARO

Principal CastHawaii Opera Theatre

General & Artistic Director . . . . . Henry G. AkinaExecutive Director . . . . . . . . . . . . . . . . . Karen TillerAssociate Artistic Director . . . . . . . . . Beebe FreitasArtistic Administrator. . . . . . . . . . . . . . . . . Jim PriceDirector of Finance. . . . . . . . . . . . . . . . . . . Sue RuizDirector of Development . . . . Suzanne WatanabeDevelopment Associate . . . . . . . . . . . Nikki NielsenDirector of Education . . . . . . . . . . . . Erik D. HainesEducation Coordinator . . . . . . . . . . . . Kristin StoneEducation Assistant . . . . . . . . . . . . . . . . Eric SchankOffice Manager. . . . . . . . . . . . . . . . . Tracy JeffersonBox Office Manager . . . . . . . . . . Gayleen WilliamsBox Office Assistants . . . . . . . . . . . . Lorelei Ramiro

& Robert PierceDirector of Production . . . . . . . . . . . . . T. H. StettlerProduction/ Operations Manager . . Barett HooverProduction Coordination . . . . . . S. Beth CrumrineHOT Orchestra Librarian . . . . . . . . . . . Kim KiyabuMarketing . . . . . . . . . . . LaReaux Communications

H AWA I I O P E R A T H E AT R E

Staff & Associates

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Ivan Törzs, ConductorAmerican by birth, Ivan Törzs has lived andworked in Europe since 1985. From 2002through 2008 he was music director ofFlanders Opera in Antwerp, Belgium. Prior tothat, he served as principal conductor andartistic director of the Mecklenburg StateTheater in Schwerin, Germany. As a guestconductor, Törzs has appeared at the Vienna

State Opera, Hamburg State Opera, and in Stuttgart, Düsseldorf,Nüremberg, Strasbourg, Prague, Budapest, Moscow, Warsaw,Tirana and many other cities. His conducting of Wagner’s RingCycle was hailed as “sensational” in the German press. When noton the podium, Ivan Törzs is in demand as a pianist. He has playedrecitals of Lieder with such artists as Cheryl Studer, Kurt Moll, andEdda Moser. Ivan Törzs holds a conducting diploma from theMannes College of Music and a B.A. in mathematics from PrincetonUniversity. Marriage of Figaro is his ninth production for HOT.

Hans Nieuwenhuis, DirectorHans Nieuwenhuis began his internationalcareer in 1981, staging the USA premiere ofPhilip Glass' Satyagraha for the BrooklynAcademy of Music and the Art Park Festival(Lewiston, NY). He’s directed over a hundredproductions for L’Opéra de Nice in France,The Canadian Opera Company, ManitobaOpera, L'Opéra de Montreal, Opera

Colorado, Long Beach Opera, San Francisco Opera, WesternOpera Theater, Opera Omaha, Lincoln Center New York, PacificOpera Victoria, Bangkok Opera. He has taught and directed forthe Canadian Opera Company Ensemble, the San FranciscoOpera Merola Program, the Curtis Institute of Music, YaleUniversity, Michigan University, McGill University in Montreal,and the music conservatories in Utrecht, Amsterdam, andMaastricht in the Netherlands, the Sichuan Conservatory inChengdu (China), the Tchaikovsky Conservatorium in Moscowand the Music Conservatory in Tomsk. Mr. Nieuwenhuis isfounder and General Director of Opera Studio Nederland inAmerstdam.

Peter Dean Beck, Lighting DesignerPeter Dean Beck is happy to be returning toHOT for his twenty-ninth season. He hasdesigned scenery and/or lighting for overtwo hundred fifty productions around NorthAmerica. Among his opera credits areFalstaff, Turandot, Manon, Don Giovanni,Madama Butterfly, Hansel and Gretel, AMidsummer Night’s Dream, and Romeo et

Juliette for such companies as Atlanta Opera, Florida GrandOpera, Glimmerglass Opera, Virginia Opera, Edmonton Opera,and Chautauqua Opera. He has also been designing operaproductions for the University of Colorado for sixteen seasons.He designed Firebird and Petrushka for Eugene Ballet in Oregonand Nutcracker for Ballet Hawaii. He designed a double bill ofLe Rossignol, and Cavalleria Rusticana for Sakai City Opera inJapan (built and painted by HOT Scene Shop), lit CavalleriaRusticana/I Pagliacci in Macao, and Don Carlo in Hong Kong.

Principal Artistic Team

29LE NOZZE D I F IGARO

Singers Beyond Borderspresents

Opera Rocks!A Benefit Concert for Hawaii Theatre Center

Thursday, March 11, 20107:30 p.m. at the Hawaii Theatre

En route to their tour in Asia, this remarkable group of

opera singers brings their exciting new program to the

Hawaii Theatre stage. Opera Rocks! is a musical journey

encompassing five languages and seven countries in an

eclectic program of famous arias, jazz and pop classics, and

even hit songs from favorite Disney films.

A delight for music-lovers of all genres!

Featuring:

Lea Woods Almanza, Soprano

Fenlon Lamb, Mezzo-Soprano

Victor Ryan Robertson, Tenor

Ryan Taylor, Baritone

Joseph Li, Piano

Wes Yoakam, Guitar

$45 & $75 Reserved Seating

$150 Preview Package (includes buffet dinner and concert preview with the artists at a

private home on March 9 plus premium orchestra seating for the concert)

Hawaii Theatre Box Office(808) 528-0506

www.hawaiitheatre.com

90664_Figaro:p 1/18/10 2:35 PM Page 29

Helen E. Rodgers, CostumerHelen E. Rodgers is delighted to return to HawaiiOpera Theatre. She has designed costumes formany productions here, including A Little NightMusic, Il Barbiere di Siviglia, The King & I, IlTrittico, Susannah, La Bohème, and Così fan tutte.Work at other companies includes costumedesigns for Così fan tutte and Le Nozze di Figarofor Chautauqua Opera, Street Scene for

Chautauqua and Manhattan School of Music, and Il Tabarro andGianni Schicchi for Mannes Opera in New York. Ms. Rodgersdesigned costumes for a Wild West production of Don Pasquale forthe San Diego Opera, which has since been presented at companiesacross the United States and Canada. Other company creditsinclude Hong Kong Opera, Lincoln Center Festival, BaryshnikovProductions, New Orleans Opera, Sarasota Opera, Canadian OperaCompany, Virginia Opera, Opera Memphis, Utah Festival Opera,Miami City Ballet, and Radio City Music Hall.

Richard Stead, Wig & Make-up DesignerThis season, Mr. Stead celebrates his 28thconsecutive season with HOT. He has beenWigmaster at The San Francisco Opera wherehe won an Emmy Nomination. He has workedwith Netherlands Opera, Royal ShakespeareCompany, Central City Opera, Utah Opera,Boston Opera, Minnesota Opera, AmericanConservatory Theatre, Spoleto Festival USA,

Bolshoi Ballet, San Francisco Ballet, Ballet Hawaii, films and television.He was on the faculty of San Francisco State University andUniversity of California. Mr. Stead operates his own wig and make-up company.

Gretchen Mueller, Stage ManagerMs. Mueller has stage-managed for SanFrancisco Opera, Los Angeles Opera, theWashington Opera, Seattle Opera, OperaTheatre of St. Louis, Hawaii Opera Theatre,Wolf Trap, Banff School of Fine Arts, andTanglewood Music Center. During her careershe has worked on two productions of TheRing Cycle, two productions of War and Peace,

and other Russian epics including Boris Godunov andKhovanshchina, and world premieres written by Osvaldo Golijov,Robert Zuidam, Minoru Miki, and Paul Schofield. Recently, shespent two years as the Scheduling Manager for the San FranciscoOpera. Although she specializes in opera production, she has alsoserved as Company Manager, Stage Manager and TechnicalLiaison for International Attractions’ tours of The Rustavi Companyof Tbilisi, Georgia, and of The Peking Opera of Chongching,China. This year Gretchen also stage-managed severalpresentations of modern dance in the Bay Area.

Beebe Freitas, Coach/Rehearsal Pianist, Co-Chorus DirectorA graduate of Oberlin College, Ms. Freitasreceived her Master's Degree from BostonUniversity and was in the Special StudiesProgram at Juilliard. She has been soloist withseveral orchestras including the Boston 'Pops',the Youngstown and the Honolulu Symphonies.She has performed with such renowned soloists

as Yo Yo Ma, Leonard Rose, and David Shifrin; has been rehearsalpianist for many conductors such as Leonard Bernstein, ThomasSchippers, Robert Shaw, and William Steinberg. She has been therecipient of honors bestowed by the National Society of Arts andLetters, the YWCA, a Honpa Hongwanji Mission's Living TreasureAward, the City and County of Honolulu Commission on Cultureand the Arts Award, and the Hawaii Arts Alliance's prestigious AlfredPreis Award.

Nola A. Na_hulu, Co-Chorus Director

Ms. Nahulu is a native of Makaha, Oahu. Shereceived her education from WaianaeElementary School, Kamehameha Schools,Whitman College (B.A. Psychology) andUniverstiy of Hawai'i, Manoa (M.A. MusicEducation, Choral). Ms. Nahulu has beeninvolved as a music educator/director in choralmusic here in Hawaii since 1977. Organizations

she has served include the Unitarian Church, Bishop MemorialChurch of the Kamehameha Schools, Molokai Children's Chorus,Hawaii Children's Chorus interim director for the HonoluluSymphony Chorus and the Kamehameha Alumni Glee Club. She ispresently choral director for Pearl Harbor Hawaiian Civic Club (since1977), Kawaiahao Church (since 1990), Hawaii Opera TheatreChorus (since 1992), and Kawaiolaonapukanileo (since 1997). She isalso lecturer in Hawaiian Choral music at the University of Hawaii,Manoa Music Department (since 1982) and the Executive & ArtisticDirector for the Hawaii Youth Opera Chorus (since 1986). She withher family are owners of Bete Muu.

Principal Artistic TeamHawaii Opera Theatre

30 LE NOZZE D I F IGARO

Happy BirthdayHappy

AnniversaryThank You

Hey, Let’s Go Out!

...say it with a HOT Gift Card!

Give a HOT Gift Card, good towards the purchaseof opera tickets! Available in any amount.

Contact the HOT Box Office at 596-7858 or go towww.hawaiiopera.org

90664_Figaro:p 1/13/10 11:44 AM Page 30

31

by Charles GounodJan 28, 30 & Feb 1, 2011

by Gaetano DonizettiFeb 11, 13 & 15, 2011

Early Savings Deadline: March 31, 2010!

HOT Box Office: 596-7858Ask about HOT’s “Save My Seat” Guarantee!

by Giuseppe VerdiFeb 25, 27 & Mar 1, 2011

2011 Early Bird Renewal Discount!Renew your same seats for next year at the lowest discount price

Now through March 31, 2010

3 Grand Operas ~ 1 great price! Savings $$ Today. Call the Box Office for Details.

Theatre Staff & Volunteers Director of Production

T. H. Stettler

Security

Kiekie Productions

Assistant Stage

Managers

Kale OkazakiFigaro & La Bohème

Jason IchiyamaDie Walküre

2nd Asst.

Stage Managers

Dana AndersonFigaro

Sarah EgglestonDie Walküre

Soni NandoskarLa Bohème

Assistant Costumer

Jessie June Shipley

Master Carpenter

Al Omo

Master Electrician

Sandy Sandelin

Master Flyman

Kepoi Lyons

Prop Master

Gen Boyer

Sound & Video

Charles Roberts

Wardrobe Mistress

Terri Lynn Laigo

Scenic Artist

M. Emi Yabuta

Construction Crew

Ed KoshiE. Kahi LoganC. Kahea ChockB. Wayne KekuewaMathew Chang

I.A.T.S.E. Union

Steward

Al Omo

Running Crew

I.A.T.S.E..Local 665

Assistant to Wig &

Make-up Master

David Kasper

Wig & Make-Up Crew

Charles MonoikiAhNee

Terry Ah YoSusan L. ArnettMarjorie AuWade E. BahnBirgit Ball-EisnerDianne BoonsJulie Bernardino BoydEm CarnettJuliana ChaizeLida G. ChaseHannah CordillEliana CrestaniLyn Hamamura

Ginet U‘ilani HayesSue E. HubbardLinda KaneshiroCarole KasamotoLindsay Kemp*Peter LeeLesley-Ann Y. LoonTyesha B. Looper*Diego A. Maldonado-

SantosJanice OlbrichIlona Penzes-PaczolaySarah RobinsonSarah ShanahanJoy SilverthornJan Marie SmithMorris UmenoJanet WeickLaurie Wong

Wardrobe Crew

Rowena AdachiArnold AlbiarSharon AmoyCarol BarrettoBeth E. BarrySandy ChandlerCassandra deKramerMook Lan FanJanice HenryMichele M. IkedaCarol A. JenkinsYukiko KiriuLari KogaStan KuniyukiWinnie LawVana LeeDennis LynchSharon NakasoneJanice Olbrich

Vickie SakaiChristine SakihamaDouglas K. StilesLauren Stoecker-SylviaBeti SuetsuguSharon TakaraKathy TeruyaChristine VallesAnne VitroAbby WilliamsonCarlynn WolfeGregory WongLaurie WongMarcia B. WrightPearl Yamanouchi

Music Readers

Eleanore G. AkinaGlenn NagatoshiJoanne Watanabe

Supertitles

Ann Ogino MacNeillNeva RegoChiori Shively

Light Walkers

Dana AndersonGus GustafsonKiku KealohaPatricia Meyer

Notetakers

Robbie BrandtSister Grace CapellasRandy EncarnacionArlene KohMarita L. Nelson

Backstage Hospitality

Janet ArchyGeoffrey HowardChristina IwaidaGloria Z. KingEdean KitamuraElaine LamDiana LeeAgnes LeongNobu NakamuraJean OkinoJanice OlbrichJoshua OlbrichNate OlbrichWilliam R. OmanBabette SimonJean SimonStephanie M. L. WongEugenia WoodwardNorma J. WrightWilliam Yee

Backstage Security

Coordinator

Miu Lan Oman

Backstage Security

Romy AlexanderLouise BarrBetsy BehnkeChuck BerrySimone CarerraGeorgia CismilJim ConnorsMary DixonRegina V. EwingDon E. FlaminioCarolyn HiltonJames HiltonGwyneth Hinostroza

Jonathan HughesElaine JayJeffrey JayMary JuddBridget KanakaoleApril KatsuraMary Alice KordofJerome LandfieldJura LandfieldWinnie LeeCharles LindbergPauline LindbergJane LippGail LongstrethRobert LongstrethRudy McIntyreDavid MurrayTom MurrayVivian MurrayDavid OmanLetty PangThomas PangConnie PattonMichael RiordanPenny RogersRichard RogersRaymond TrombleyHarriet WeissmanIleen WongShOpera

Martha ChockEileen CooneyBertha C. FongBeatrice KongLucille MaloucheLinda MendoncaJennifer Miele

Lucille MistysynAlina MorrowJean SeuHelen Zane

Special Events

Ann ArnoneCharlotte CorriganAnn DankulichKathy DoeringMary GabrielsonJanice HenryErik HerschendValerie KatoLouann KromerSusan P. LambLinda MendoncaRenate RyanShari SakamiRichard SullivanJoy TenganJennifer WaiheeElizabeth Zack

Production Runners

Jim DennyGus Gustafson

HOT also wishes to acknowledge those volunteers who graciously offered their services after Aria went to print. and could not appear on this list.

* Opera For Everyone participant

Always

HAWAII OPERA T HEATRE

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