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The UNCG Musical Arts Guild and UNCG Opera Theatre present Amahl and the Night Visitors and The Medium Music and Libretto by Gian-Carlo Menotti November 19-21, 2010 Aycock Auditorium Amahl and the Night Visitors Cast (in order of appearance) Mother ........................................................................................................... JoAna Rusche * Carmen Prather + Amahl ............................................................................................................... Jake Frazier * John Norris + Kaspar ................................................................................................ C. Blayne Ziegenfuss * Kyle Berkley + Melchior ....................................................................................................... Paolo Pacheco * David Weigel + Balthazar ........................................................................................................... Amon Neely * Michael D. Jones + The Page ................................................................................................ James G. Williams * Jacob Wright + * performing November 19 & 21 + performing November 20 Dancers Dana Boyle, Dereke Clements, Melanie Greene Shepherd and Shepherdesses Susan Adams Kyle Berkley David Boyd Shonda Devine Kristen Gobetz Esha Grover Michael Jones Katarina Kohari Eric Langer Hannah Lomas Jessica Mariskanish Michelle Miller Vivian Neal Amon Neely Will Norris Paolo Pacheco Iloria Phoenix Nicole Ramsey Maclain Thompson Kirby Treadaway Olga Tsipis David Weigel James Williams Jacob Wright Diana Yodzis Blayne Ziegenfuss The Story of Amahl Amahl, a crippled shepherd boy of twelve, lives with his mother, an impoverished widow, in a nearly empty hut. They face a bleak future with little food to eat or wood for fire. The three Wise Men, on their way to Bethlehem, stop at the hut and request lodging for the night. Amahl and his mother welcome them and offer to share what little they have. They are astonished at the splendor of the Kingsʼ robes and the gifts being brought to the newborn child, whom the mother, in her mind, identifies with her own son. The shepherds, led by Amahl, approach and offer gifts and dances for the Kings. Following the departure of the shepherds, all retire for the night. The mother sings of the unfairness of the gifts going to a child whom the Kings do not know, when she has a child who is starving. Under cover of darkness, while the three Kings are asleep, the mother steals some of the gold and is caught in the act by the Page. Amahl awakens and comes to her defense, beating on the Page and urging Kaspar, one of the Kings, to intercede. Kaspar orders the Page to release the mother, and Melchior says that she may keep the gold since the Child they seek has no need of it. The mother is moved by Melchiorʼs description of the Child and returns the gold while lamenting that she does not have a gift of her own to give. Amahl offers his crutch which he lifts and, in so doing, takes a step without it. The Kings give thanks to God for this miracle, and Amahl convinces his mother that he should go with the Kings to present the crutch to the Child himself. As dawn approaches, Amahl sets off with the Kings, and, as the procession moves away, he plays on his pipe the tune with which the opera began. Notes What accounts for the popularity of Amahl over forty years after its premiere on NBC television on December 24, 1951? It continues to receive more performances than almost any other standard or contemporary opera. I would imagine that the circumstances under which it was first presented have something to do with its continuing popularity. Rather than a premiere attended by a few hundred or even several thousand, the Hallmark Hall of Fame was watched by millions in 1951 and the following seven years when the opera was given live televised performances. Few, if any, operas have been afforded such a launching. But beyond that first decade, it has continued to hold the imagination of a public, that, I suspect, wants desperately to believe the operaʼs essential message of hope. Amahlʼs crippled leg does not prevent his portrayal as one to whom both parents and children can relate and empathize. The widowed motherʼs unswerving love for her son, even in the midst of poverty and his tendency to fabricate stories, is as poignant and relevant today as when it was written. Certainly the operaʼs brevity and reduced forces expand both the potential audience, through its appeal to children, and the number of groups that can successfully mount a production of Amahl. But beyond these factors, I remain convinced that Gian-Carlo Menotti has fashioned a miniature masterpiece that holds our attention dramatically and lifts our spirits musically . . . all around a central theme that suggests that it is through giving that we receive Do you believe in miracles? -William W. McIver WARNING: The Medium contains violent action situations potentially disturbing to young children. The Medium Cast (in order of appearance) Madame Flora (Baba) ............................................................................... Candice Burrows * Maggie Schwenker + Mrs. Campi ....................................................................................................... Rebekah Bray Monica ........................................................................................................ Joann Martinson * Chelsea Bonagura + Toby ................................................................................................................. Paolo Pacheco Mrs. Gobineau ........................................................................................... Caroline Oliveira * Dana Boyle + Mr. Gobineau .......................................................................... William Anthony Volney Willis Mrs. Nolan ..................................................................................................... Karen Hayden * Ciara OʼNeill-Mendoza + Circus Clowns ....................................................................................... Jessica Mariskanish Maclain Thompson Rebekah Bray * performing November 19 & 21 + performing November 20 Act I Monica, the daughter of Madame Flora (“Baba”) plays dress up in the parlor with Toby, a mute servant boy that lives with her and her mother. Baba, a medium, returns home drunk and scolds them for not preparing for the next séance. Monica tries to calm her angry mother as they all prepare for the arrival of their three customers. Mr. and Mrs. Gobineau, Babaʼs regular clients, arrive with Mrs. Nolan, a widow and first-time customer. During this fake séance, Monica hides and pretends to be Mrs. Nolanʼs deceased daughter, Doodly, and the Gobineauʼs deceased son, Mickey. Suddenly, Baba stops the séance and sends her customers away, claiming that she has felt “someone” clutch her throat. Horrified and enraged, Baba accuses Toby of playing tricks on her. Monica calms her with a lullaby, as Baba continues to hear the voices of the ghosts. Act II Monica and Toby play and dance together. It becomes obvious that their “play” signifies other feelings. Baba enters, and Monica goes to her room. Baba accuses Toby again of touching her during the séance, and she beats him when he continues to deny it. Just then, the doorbell rings and the Gobineaus and Mrs. Nolan enter, hoping for another séance. Baba gives them back their money, confessing that the séance was a hoax. When they refuse to believe her, Baba furiously chases everyone from the room. Alone, Baba falls asleep drinking whiskey, singing Monicaʼs lullaby and praying. As soon as she is asleep, Toby sneaks back into the room and accidentally wakes her. Toby hides, but Baba demands that he show himself. She shoots, killing him, and hoarsely asks, “Was it you?” Directorʼs Words When David Holley asked me if I was interested in directing The Medium as a double-bill with Amahl and the Night Visitors, I first responded, “Are you crazy?!” The contrasts between the two operas are vast. Amahl is a spiritually uplifting tale. The Medium is anything but. However, placing these two operas on the same evening of performances shows Menottiʼs range as a composer, a dramatist, and a man of the theater. The first performance of this opera was 1947. On the surface, The Medium is a story of fraud, alcoholism, abuse, murder, and other non-redeeming qualities of human existence. According to Menottiʼs vision, Madame Floraʼs business takes place in the outskirts of a large city. Her apartment is wired for fraud: the table floats, the lights flicker, phony appearances of phony ghosts, etc. This opera seems to be a tale of supernatural folly. For many who have seen this opera, it can be a “spooky” experience. It can be an ideal Halloween event, not unlike a haunted house. However, the words and characters of this opera have more significance than the glossy appearance of a supernatural tale. This opera is a snapshot of American realism at its most frightening realization. It is a physical and psychological depiction of an abusive alcoholic and the victimization of the disease of alcoholism. We read examples of this daily in newspapers. We see news reports of child abuse, of fraud, of paranoid black-outs linked to murder, etc. With todayʼs research and multiple studies, we have learned the effects of alcoholism and the vicious cycle of how those that were abused often become abusers. The classic labels of victim, enabler, and care-taker, are evident in this opera. This is a tale that is difficult to watch; however, the events portrayed happen daily. My concept of this opera is to place the setting with a travelling circus. At times, circuses would be in residence for a week or two, or maybe a month, or several years. Why not place the events of this opera in a circus? One booth leads to another. An event in one circus ring contrasts with an event in another ring. Therefore, I have added characters to the opera that are not in the score. I wanted to personify the voices that Baba hears. What better way to taunt and tease than to have clowns! I feel the contrasts of pleasant events, in this case, the clownʼs performances, would somehow soften the harsh realities of Babaʼs abusive world, right next door. Comedy and tragedy occur simultaneously every day of our life, right next door. My second response to David Holley when he asked me if I wanted to direct this opera was, “Absolutely!” In 1979, I was a second year graduate student in piano performance (!). I also had the opportunity to sing my first opera role. The opera was “Falstaff”. The role was Pistol. The location was Aycock Auditorium. The conductor was Richard Cox. That experienced change my life and I began a journey into music as a singer. How fitting it is that I make a UNCG directing debut in Aycock Auditorium with Richard Cox as conductor. - Donald Hartmann Artists Kyle Berkley (Kaspar), tenor, has performed the role of Aeneas in Dido and Aeneas and appeared with Opera Cleveland in the ensembles of Don Giovanni, Falstaff and Il Barbiere di Siviglia. He received a BM in Music Education at Kent State University, and is currently pursuing his MM at the University of North Carolina at Greensboro. He is a student of Dr. Nancy Walker. Chelsea Bonagura (Monica), soprano, is a second-year MM student in Vocal Performance studying with Dr. Carla LeFevre. She earned a BM from the Eastman School of Music in her hometown of Rochester, NY, where she was featured as Aloes in Chabrierʼs LʼEtoile, as well as in several newly composed operas. Ms. Bonagura has performed in the United States and Italy, spent several summers studying in Europe (including France, Italy, and Germany), and she has sung with world-renowned tenor Gregory Kunde and his orchestra and chorale in Rochester. She sang the role of the Princess in last Springʼs UNCG Opera Theatre production of Ravelʼs LʼEnfant et les Sortilèges. Dana Boyle (Mrs. Gobineau and Amahl dancer), a native of Alexandria, VA, will graduate with a BM in Vocal Performance from UNCG in May 2011. Ms. Boyle started her performing career as a singer and dancer in many professional musical theatre productions including Kiss Me Kate, George M!, Brigadoon and 1776, in which she played the role of Martha Jefferson. She decided to pursue a career in opera after participating in the summer program OperaFestival di Roma, in Rome, Italy, where she performed in Così fan tutte and The Merry Widow. Ms. Boyle currently studies voice with Professor Clara OʼBrien. Rebekah Bray (Mrs. Campi and a Clown) has performed in the ensemble of numerous UNCG Opera Theatre productions, including Ravelʼs LʼEnfant et les Sortilèges, Gilbert and Sullivanʼs Trial by Jury, Smetanaʼs Bartered Bride, and Menottiʼs Amahl and the Night Visitors. Ms. Bray, a sophomore pursing a BM degree, will study abroad next spring in Germany. Candice Burrows (Baba) has performed numerous roles with the UNCG Opera Theatre, including the Mother in Amahl and the Night Visitors, Mama McCourt in The Ballad of Baby Doe, La Abuela in La vida breve, and Helen Potts in the world premiere of Libby Larsenʼs Picnic. She has sung with the Boston Symphony Orchestra and Pops, New York Philharmonic, Schleswig-Holstein Orchestra, New Jersey Symphony, and the Los Angeles Chamber Orchestra. Earlier in her career, she toured with Leonard Bernstein throughout Europe, Russia and the United States as mezzo soloist for his 70th birthday gala, which culminated at the Tanglewood Music Festival. A passionate teacher, she teaches at the Music Academy of North Carolina and will complete her DMA in Vocal Performance this year. Dereke Clements (Amahl dancer) is a freelance performing artist and French speaker, pursuing degrees in Dance and French at UNCG. A classically-trained musician and dancer, he has studied on scholarship at the Martha Graham Center in New York and was awarded scholarships at the North Carolina Dance Theatre in Charlotte and the Alvin Ailey American Dance Theatre in New York. He has performed at the 92nd St. Y in New York, the American Dance Festival, with the 72nd Anniversary of The Lost Colony and Greensboro Ballet in productionʼs of Nutcracker and Firebird. Dereke is a member of Delta Chi Xi National Honor Society for Dance Arts. Richard Cox (The Medium Musical Director/Conductor) retired from UNCG in 2002 after 42 years as a member of the vocal/choral faculty. Dr. Cox is the author of the Singerʼs Manual of German and French Diction published by ACDA in 1990. He was instrumental in the development of opera at UNCG, initially singing in productions and conducting all major spring productions from 1979 to 1988. Most recently, he served as French diction coach for last Springʼs UNCG Opera Theatre productions of LʼEnfant et les Sortilèges and LʼEnfant Prodigue. In addition, he has prepared choruses for the Eastern Music Festival, the Greensboro Opera Company and the Greensboro Symphony. He was the founding director of the Bel Canto Company and since 1967, he has been Choirmaster as Holy Trinity Episcopal Church. Jake Frazier (Amahl) is a first-place winner of the 2010 Golden Voices of America competition and will be performing at Carnegie Hall in February. A seventh grader at Crest Middle School in Shelby, NC, he has studied voice since age seven at the McDaniel Music Studio. He has been a member of the Cleveland County Honor Choir for two years and, more recently, he has been a member of the North Carolina All-State choir. Liz Frazer (Amahl Stage Director) is pursuing a DMA in Vocal Performance at UNCG, where she won the 2009 Concerto Competition. She is an active recitalist and soloist and recently performed in Mozartʼs Coronation Mass, Haydnʼs St. Nikolai Mass, and A Good Man is Hard to Find, a new opera by David Volk. Miss Frazer received her BA at Northeastern Illinois University in Chicago, where she performed the title role in Tchaikovskyʼs Iolanthe and Abigail in The Crucible by Robert Ward. Her stage credits at East Carolina University, where she received her MM, included a reprise of Abigail in The Crucible, Blanche in Dialogues of the Carmelites and Elisa in Mozartʼs Il re pastore. Melanie Greene (Amahl dancer) is an MFA student in the dance department at UNCG. Beginning her dance career in high school, she has participated in a variety of performance endeavors including North Carolina School of the Arts summer intensive program, Modernextension Dance Company at UNC-Chapel Hill, and the Martha Graham reconstruction of Steps in the Street at UNCG in spring of 2010. As an aspiring teacher, performer, and choreographer, Melanie is excited to continue studies that facilitate the intersection of visual and performing arts, pedagogy, and intellectual scholarship. Donald Hartmann (The Medium Stage Director) has performed in over 125 operatic productions, in over 50 operas, singing over 60 different roles. Engagements have included performances with Opéra de Montreal, Madison Opera, Toledo Opera, Opera Carolina, Michigan Opera Theater, Opera Delaware, and other regional opera companies across the US. In April 2009, he created the role of Howard in the world premiere of Libby Larsenʼs Picnic. In fall 2010, Donald Hartmann sang the Sacristan in Tosca with the newly formed North Carolina Opera company in Raleigh, as well as the Speaker in Greensboro Operaʼs production of Die Zauberflöte. As a stage director, Dr. Hartmann directed the opera program at Eastern Michigan University for sixteen years, including full productions of Così Fan Tutte, The Italian Girl from Algiers, The Medium, and over 15 operas in one act. Donald Hartmann received his BM in Piano Performance and an MM in Vocal Performance from UNCG, and the DMA from the University of Oklahoma, graduating with honors. Karen Hayden (Mrs. Nolan) studies with Dr. Robert Wells while in pursuit of her MM in Vocal Performance. She received her BM degree from the UNC School of the Arts, where she portrayed Lisetta in Haydnʼs Il mondo della luna, Shirley Kaplan in Kurt Weillʼs Street Scene, and Miss Todd in Menottiʼs The Old Maid and the Thief. She has sung as a chorus member with the Magnolia Baroque Festival and in numerous operas with UNCSA and Piedmont Opera. Karen attended the University of Miami Frost School of Music Summer at Salzburg, where she was a winner of the programʼs performance competition. She also appeared in the ensemble of Greensboro Opera's production of Verdi's La Traviata in the fall of 2009. David Holley (Producer/Amahl Musical Director & Conductor) has been the Director of Opera at UNCG since 1992. He produced, directed and wrote the libretto for Libby Larsenʼs Picnic, which was commissioned and premiered by the UNCG School of Music in the Spring of 2009. Mr. Holley performed, lectured and gave Master Classes in universities and concert halls throughout China in 2009 with four winners from the Charles A. Lynam Vocal Competition, which he founded in 2005. His productions at UNCG have consistently won awards in the National Opera Associationʼs Annual Opera Production Competition, including seven first place awards for Susannah (2004), Little Women (2003), Orpheus in the Underworld (2001), The Consul (2000), Dialogues of the Carmelites (1997) Amahl and the Night Visitors (1996), and Don Giovanni (1994) and three second place designations for La vida breve (2008), Albert Herring (1997), and Gianni Schicchi (1993). Michael D. Jones (Balthazar) is a senior pursuing a BA at UNCG in the studio of Dr. Donald Hartmann. His operatic credits include Colline in La Bohème, Fiorello in the Il Barbiere di Siviglia, Count Paris in Roméo et Juliette, Tom in Un Ballo in Maschera, King Theseus in the musical A Midsummer Nightʼs Dream and The Usher in Trial by Jury. In addition, he has been a member of educational outreach programs with the University of North Carolina at Greensboro and Opera Carolina. As a concert violinist, Michael has toured Europe and performed throughout the Southeastern United States and served as the concertmaster of the West Shore Symphony. Jessica Mariskanish (Clown) is a junior pursuing a Bachelor of Music degree at the University of North Carolina at Greensboro. As part of the UNCG Opera Theatre, she has participated in the ensembles of numerous productions including Ravelʼs LʼEnfant et les Sortilèges, Gilbert and Sullivanʼs Trial by Jury, Smetanaʼs Bartered Bride, and Menottiʼs Amahl and the Night Visitors. Joann Martinson (Monica) has performed numerous operatic roles including Barbarina, Yum-Yum, Adele, Norina, Violetta. She has also participated in productions of The Merry Widow, La Bohème, and La Traviata with the Western Plains Opera and Emerald City Operaʼs Artist Institute. Most recently, she performed the role of Le Feu in Ravelʼs LʼEnfant et les Sortilèges with the UNCG Opera Theatre. Her numerous awards include the 2009 Bel Canto Institute Orchestral Performance Award and First Place in the 2010 NC NATS auditions. As one of the winners of the 2010 UNCG Student Artist Competition, she will appear as a soloist with the UNCG Symphony Orchestra in December. Ms. Martinson is a student of Dr. Robert Bracey. Amon Neely (Balthazar) is a first-year Masters student at the University of North Carolina at Greensboro. He recently performed the role of Adrian in Smokey Joeʼs Café. Mr. Neely has also performed with Virginia Opera in the ensemble of Porgy and Bess and Tosca. A graduate of Hampton University, Mr. Neely holds a Bachelor of Arts degree in Music Education. He is a student of Dr. Donald Hartmann. John Norris (Amahl) is a 6th grader at Caldwell Academy. He is a member of the Greensboro Youth Chorus as well as his school choir at Caldwell. He recently performed the role of Joseph in Joseph from the Pit to the Palace at Lawndale Baptist Church. He has also been a soloist with Bel Canto. Jeff Neubauer (Amahl Lighting Designer & Technical Director) has been involved with UNCG Opera Theatre's production of Amahl and the Night Visitors since 1995, filling various roles as flyman, master electrician, technical director and lighting designer (2006). This 2010 production will be particularly special for Jeff since he will be bringing his 3 year old daughter Emily to see Amahl for the first time. Other UNCG Opera credits include work on Albert Herring, The Mighy Casey (on the Grasshopper field in downtown Greensboro) and The Will (Gianni Schicchi). In his full time job, Jeff is the Director of Technical Production for Westover Church in Greensboro. Caroline Oliveira (Mrs. Gobineau) is currently pursuing her MM in Vocal Performance at UNCG, after graduating in 2008 with her BM from Florida State University. While pursuing her undergraduate degree, she was involved in productions of Gluckʼs Orphée et Eurydice and Gilbert and Sullivanʼs The Mikado. As a part of scenes programs, Caroline has sung the roles of Adina from Lʼelisir dʼamore, Blonde from Die Entführung aus dem Serail and the title role in Patience. In January of 2010, she performed with the Palm Beach Opera in their production of Verdiʼs Otello, and in July, she performed with Theater a La Carte as Lily Garland in Cy Colemanʼs On The Twentieth. Ciara OʼNeill-Mendoza (Mrs. Nolan) is a soprano from Vestal, New York. After earning a BM from the State University of New York at Fredonia, she is pursuing an MM from the University of North Carolina at Greensboro where she studies with Dr. Robert Wells. Ms. OʼNeill-Mendozaʼs operatic roles include Gertrude in Hansel and Gretel and the First Lady in Mozartʼs Die Zauberflöte. Additionally, she has participated in the opera chorus of numerous productions such as Gilbert and Sullivanʼs Trial by Jury and Ravelʼs LʼEnfant et les Sortilèges. She recently performed in the chorus of Die Zauberflöte with Greensboro Opera. Kelly Ozust (Amahl Choreographer) is currently earning her MFA in choreography at UNCG, after earning her undergraduate degree from the University of Georgia. She choreographed the dances in LʼEnfant et les Sortilèges and LʼEnfant Prodigue last spring for the UNCG Opera Theatre. Originally from San Diego, CA, her work has been seen at The Community Theatre of Greensboro, Amberʼs House of Dance, and the UNCG Theater, as the choreographer for the Theater for Young People's Go Dog, Go!, and as the assistant choreographer for Evil Dead the Musical. Paolo Pacheco (Toby and Melchior) has performed roles in operas, operettas, and musicals. His most recent roles include Guglielmo in Così fan tutte, Zurga in Les pêcheurs de perles, Marcello in La Bohème, Papageno in Die Zauberflöte, Le Chat in LʼEnfant et les Sortilèges and Siméon in LʼEnfant Prodigue. He has performed with the Janiec Opera Company, Central Piedmont Community College Opera Theatre, and Opera Carolina. Paolo is a student in the studio of Dr. Robert Wells. Carmen Prather (Mother) is an MM student in Vocal Performance and studies with Dr. Carla LeFevre. She received her BM in Vocal Performance and Music Education from Shorter College. While singing with the Shorter Chorale, Carmen performed on Cathedral tours in England and Italy, singing in notable venues such as St. Mark's and St. Peter's Basilicas. Her previous roles include Angelina in Trial by Jury and La Chauve-Souris in LʼEnfant et les Sortilèges with the UNCG Opera Theatre, as well as Dianna in Orpheus in the Underworld and the title roles in Suor Angelica and Dido and Aeneas. Since moving to Greensboro, Carmen has served as a Choral Scholar for Wesley Memorial United Methodist Church. JoAna Rusche (Mother), mezzo-soprano, has performed and competed regionally, nationally and internationally. Her recent operatic roles include Fidalma in Il Matrimonio Segreto, Babs in Daron Hagenʼs Just for the Night, and LʼEnfant in Ravelʼs LʼEnfant et les Sortilèges. She has performed with Long Leaf Opera Company and also with the Greensboro Opera Company in the ensemble of La Traviata and Die Zauberflöte. Her oratorio performances include Vaughan Williamʼs Serenade to Music, Haydnʼs Lord Nelson Mass, and Handelʼs Messiah. This past summer, Ms. Rusche attended SongFest in California and the Franz-Schubert-Institut in Austria as a scholarship recipient of both programs. More recently, she was a Semi-Finalist in the 2010 Charles A. Lynam Competition. She holds BM degrees in Vocal and Piano Performance from UNC Chapel Hill. A student of Clara OʼBrien, Ms. Rusche will graduate from UNCG with an MM in Vocal Performance in the spring. Maggie Schwenker (Baba) has performed in oratorios in Tennessee, Missouri and throughout Kentucky. She has appeared in many musical theatre and operatic productions, from Dido and Aeneas to South Pacific. Last spring, Ms. Schwenker performed the role of Un Pâtre in UNCG Opera Theatreʼs LʼEnfant et les Sortilèges. She has also performed with Greensboro Opera in the chorus of La Traviata and Die Zauberflöte. Ms. Schwenker has been a winner of NATS competition in the Senior Womenʼs category, and a semi-finalist in the MTNA Collegiate Artist Southern Division Auditions. She received her BA from Murray State University under Dr. Randall Black and continued her voice study at the University of Louisville with Daniel Weeks. She is currently pursuing an MM at UNCG where she is a student of Levone Tobin-Scott. Erin Stevie (The Medium Lighting Designer & Production Stage Manager) has been involved with UNCG Opera Theatre since 1996. She has filled the role of lighting designer for shows such as The Consul, HMS Pinafore and The Mikado and has served as stage manager for shows such as Amahl and the Night Visitors, Hansel and Gretel and Trial by Jury. Erin is a 2001 graduate of UNCG with a BFA in Design & Technical Theatre. She and her husband Eric (UNCG Class of 2001) own Imagine Design & Production Services Inc. in Greensboro. In her free time Erin enjoys trips to visit family at Oak Island Beach and hanging out with six-month old daughter, Taylor. Maclain Thompson (Clown) is a sophomore pursuing a BM at UNCG as a recipient of the Alyse Smith Cooper Music Scholarship. In 2009, Mr. Thompson competed in the Mid- Atlantic Regional competition of the National Association of Teachers of Singing. He recently performed in the ensemble of Greensboro Operaʼs Die Zauberflöte. He is a student of Dr. Robert Wells. Matthew Webb (Amahl Chorus Master), a native of North Carolina, is an active conductor, collaborative pianist, and church musician. He has degrees in music and philosophy from Wake Forest University and an MM from UNCG, where he is currently completing the DMA in Choral Conducting. In addition to being a Graduate Assistant at UNCG, Mr. Webb is the Assistant Conductor of the Choral Society of Greensboro, the Organist at Canterbury School, and the Director of Traditional Music at Westminster Presbyterian Church. He previously appeared with the UNCG Opera Theatre in the ensemble of La vida breve. David Weigel (Mechior), baritone, is a first-year Masterʼs student at UNCG. David received his BM in Vocal Performance from Furman University, where he performed the roles of Death in Holstʼs Savitri, as well as the role of Balthazar in Amahl and the Night Visitors. Earlier this month, David sang in the chorus for Greensboro Operaʼs production of Die Zauberflöte. Mr. Weigel has also been the bass soloist in Bachʼs Cantata No. 4, Bachʼs Mass in B minor, Handelʼs Messiah and Vaughan Williamsʼ Dona Nobis Pacem. He is currently pursuing an MM in Vocal Performance as a student of Dr. Robert Wells. James G. Williams (The Page) is pursuing a BM in Vocal Performance at UNCG, where he studies with Dr. Robert Wells. His previous roles as part of the UNCG Opera Theatre include Daredevil in The Bartered Bride, the Foreman in Trial by Jury and LʼAbre in LʼEnfant et les Sortilèges. He is a graduate of the South Carolina Governorʼs School for the Arts and Humanities where, under the tutelage of Tom Dickinson, he participated in various opera scenes from Mozartʼs Così fan tutte and The Marriage of Figaro. William Anthony Volney Willis (Mr. Gobineau), baritone, earned a BA in Vocal Performance from Salisbury University. In 2006 and 2007, he placed in the top three in his categories in the Maryland-Washington, D. C. NATS Competition. Mr. Willisʼ stage and oratorio credits include roles in Dido and Aeneas and The Boyfriend, as well as Mendelssohn's Elijah, Mozart's Requiem, and the Bach Magnificat. Prior to coming to UNCG to work on his MM degree, he served on the faculty of Delaware State University as an adjunct voice instructor. In addition to singing, he is a second-degree black belt instructor in Takido at Martial Arts United and holds a yellow belt in Hapkido. Jacob Wright (The Page) is making his UNCG Opera Theatre debut in the role of the Page. He appeared as Tamino in Die Zauberflöte and Anthony in Sweeney Todd as part of the UNCG Student Opera Scenes Production last August. He has recently performed with Greensboro Opera in the ensemble of Die Zauberflöte. A student of Dr. Robert Bracey, Mr. Wright is currently pursuing a BM in Vocal Performance at UNCG. C. Blayne Ziegenfuss (Kaspar) has performed numerous roles as part of the UNCG Opera Theatre including Edwin in Trial by Jury and the Circus Ringmaster in The Bartered Bride. He also sang in the ensembles of The Mikado and Amahl and the Night Visitors. Originally from Hendersonville, NC, his stage credits include appearances with the Greensboro Opera in the ensembles of La Traviata and Die Zauberflöte, as well as leading roles in musicals such as Guys and Dolls and A Funny Thing Happened on the Way to the Forum. Mr. Ziegenfuss, a senior pursuing a BM in Vocal Performance, is a student of Dr. Donald Hartmann. Last spring, he won third place in the NC NATS auditions. Orchestra David Holley (Amahl) and Richard Cox (The Medium), Conductors Violins Eve Hubbard, Concertmistress (Amahl) Jane York, Concertmistress (The Medium) Colleen Chenail Amanda Matthews Julianne Odahowski Violas Diane Neal* Maria Valencia Cellos Diane Bonds* Kellie Burgess Bass Rebecca Marland Harp Bonnie Bach † Piano Jack Jarrett Ben Blozan ** Flute/Piccolo Jared Edmiston Oboes Thomas Pappas Thomas Turanchik † Clarinet Shawn Copeland Bassoon Mark Hekman Horn Kate Hopper Trumpet Allyson Keyser Percussion Mike Austin *principal † Amahl only ** The Medium only Production Staff Producer David Holley Stage Director Liz Frazer (Amahl); Donald Hartmann (The Medium) Musical Director/Conductor David Holley (Amahl); Richard Cox (The Medium) Technical Director Jeff Neubauer Lighting Designer Jeff Neubauer (Amahl) #; Erin Stevie (The Medium) Production Stage Manager Erin Stevie Scene Designer Robert Hansen (Amahl); Donald Hartmann (The Medium) Scenic artist (Medium scrim) Jennifer OʼKelley Costume Designer Deborah Bell (Amahl); Juanita Dunlap, Eastern Costume (The Medium) Make Up and Wig Supervisor Trent Pcenicni Chorus Master Matthew Webb Rehearsal Pianists Jack Jarrett, Ben Blozan, Megan Muthersbaugh Choreographer Kelly Ozust Sound Engineer Kyle Welch Aycock Auditorium Manager Brian Fuller Aycock Technical Director James Goins II Additional Stage Crew provided by Imagine Design and Production Aycock Auditorium Staff # Mr. Neubauerʼs lighting design is based on the original lighting design of James R. Hullihan. Muscial Arts Guild Officers William P. Carroll President Nanette Hurley Price Vice President and President Elect Christy Elkins Secretary Bill Stephens Treasurer Special Thanks Jeff Gillis Chad Hain Chip Haas Jody Cauthen Rachel Williams Suzanne Williams Rebekah Kates Chris English Erin Stevie The Frazier family The Norris family Blondie Johnson Ann Doyle Tom Shelton James R. Hullihan Janet Hullihan Jack Jarret Megan Muthersbaugh Kevin Geraldi Noah Hock Amanda Hughes Amy Moore Dianna Carter Dr. Welborn Young Wyndell Earles JoAna Rusche David Weigel Brian Fuller James Goins II Dennis Hopson Ben Blozan Classical Voice North Carolina William Walker Kevin Estes Music Department Move Crew John Locke Lucas Cecil James Keith The UNCG Opera Theatre extends special thanks to the Microtel Inn, 4304 Big Tree Way, Greensboro for its special housing of Jack Frazier. Upcoming Opera Events at UNCG February 3-6, 2011 Die Fledermaus Aycock Auditorium March 31, April 1 & 3, 2011 Hansel and Gretel Aycock Auditorium On July 1, 2010, the performing arts units at UNCG were reorganized into a newly formed School of Music, Theatre and Dance. By joining these academic areas, the university created a vibrant and thriving performing arts community, which has enhanced visibility through their combined resources. From a total population of approximately 17,000 university students, the UNCG School of Music, Theatre and Dance serves approximately 1,200 majors with a full-time faculty and staff of over one hundred, making the UNCG School of Music, Theatre and Dance one of the largest such schools in the South. Many performances are presented in UNCGʼs Aycock Auditorium, a classic structure that recently underwent a $19 million renovation. UNCG has long been recognized for having one of the elite music institutions in the United States. Fully accredited by the National Association of Schools of Music since 1938, the School offers the only comprehensive music program from undergraduate through doctoral study in both performance and music education in North Carolina. The Music Departments occupy a $26 million building that is among the finest music facilities in the nation. A large music library with state-of-the-art technology, research, and study facilities houses all music reference materials. Other features of the building include two recital halls, a computer lab, a psycho-acoustics lab, electronic music studios, a recording studio, and expanded rehearsal, classroom, studio, and practice room space. A multi-level parking deck adjoins the music building to serve students, faculty, and concert patrons. The Theatre Department offers a full range of liberal arts and professional degree programs that prepare students for a variety of career opportunities in theatre. The degrees, which are accredited by the National Association of Schools of Theatre, provide students with a vital mix of coursework that combines both theory and practice and allows for the development of skills and talents. The Theatre Departmentʼs curriculum is matched by an extensive co-curricular program that includes performance opportunities open to majors and non-majors alike. The department occupies space in the Taylor, Brown, Aycock, McIver and Curry buildings on campus. The Dance Department offers degrees that provide professional preparation in technical and creative skills balanced with liberal education for a variety of career outcomes. The Dance Department is an accredited institutional member of the National Association of Schools of Dance. The department occupies space in the Health and Human Performance building and presents performances in the UNCG Dance Theatre and Aycock Auditorium. Living in the artistically thriving Greensboro—Winston Salem—High Point “Triad” area, students enjoy regular opportunities to attend and perform many local and regional arts organizations. In addition, UNCG students interact first-hand with some of the worldʼs major artists who frequently schedule performances, master classes, open rehearsals, and informal discussions at UNCG. Costs of attending public universities in North Carolina, both for in-state and out-of-state students, represent a truly exceptional value in American higher education. This fact, coupled with the eminent reputation enjoyed by the UNCG School of Music, Theatre and Dance, renders an education at UNCG one of the “best buys” on the college scene today. For further information regarding the UNCG School of Music, Theatre and Dance, please write: Dr. John J. Deal, Dean UNCG School of Music, Theatre & Dance P.O. Box 26170 Greensboro, NC 27402-6170 (336) 334-5789 On the Web: http://performingarts.uncg.edu
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Title | 2010-11-19 Amahl Medium [recital program] |
Date | 2010 |
Creator | University of North Carolina at Greensboro. School of Music, Theatre and Dance |
Subject headings | University of North Carolina at Greensboro. School of Music, Theatre and Dance;University of North Carolina at Greensboro |
Place | Greensboro (N.C.) |
Description | Summer and Fall 2010 programs for recitals by students in the UNCG School of Music. |
Type | Text |
Original format | programs |
Original publisher | Greensboro N.C.: The University of North Carolina at Greensboro |
Contributing institution | Martha Blakeney Hodges Special Collections and University Archives, UNCG University Libraries |
Source collection | UA9.2 School of Music Performances -- Programs and Recordings, 1917-2007 |
Series/grouping | 1: Programs |
Finding aid link | https://libapps.uncg.edu/archon/index.php?p=collections/controlcard&id=608 |
Rights statement | http://rightsstatements.org/vocab/NoC-US/1.0/ |
Additional rights information | NO COPYRIGHT - UNITED STATES. This item has been determined to be free of copyright restrictions in the United States. The user is responsible for determining actual copyright status for any reuse of the material. |
Object ID | UA009.002.BD.2010FA.999 |
Digital publisher | The University of North Carolina at Greensboro, University Libraries, PO Box 26170, Greensboro NC 27402-6170, 336.334.5304 |
Full Text | The UNCG Musical Arts Guild and UNCG Opera Theatre present Amahl and the Night Visitors and The Medium Music and Libretto by Gian-Carlo Menotti November 19-21, 2010 Aycock Auditorium Amahl and the Night Visitors Cast (in order of appearance) Mother ........................................................................................................... JoAna Rusche * Carmen Prather + Amahl ............................................................................................................... Jake Frazier * John Norris + Kaspar ................................................................................................ C. Blayne Ziegenfuss * Kyle Berkley + Melchior ....................................................................................................... Paolo Pacheco * David Weigel + Balthazar ........................................................................................................... Amon Neely * Michael D. Jones + The Page ................................................................................................ James G. Williams * Jacob Wright + * performing November 19 & 21 + performing November 20 Dancers Dana Boyle, Dereke Clements, Melanie Greene Shepherd and Shepherdesses Susan Adams Kyle Berkley David Boyd Shonda Devine Kristen Gobetz Esha Grover Michael Jones Katarina Kohari Eric Langer Hannah Lomas Jessica Mariskanish Michelle Miller Vivian Neal Amon Neely Will Norris Paolo Pacheco Iloria Phoenix Nicole Ramsey Maclain Thompson Kirby Treadaway Olga Tsipis David Weigel James Williams Jacob Wright Diana Yodzis Blayne Ziegenfuss The Story of Amahl Amahl, a crippled shepherd boy of twelve, lives with his mother, an impoverished widow, in a nearly empty hut. They face a bleak future with little food to eat or wood for fire. The three Wise Men, on their way to Bethlehem, stop at the hut and request lodging for the night. Amahl and his mother welcome them and offer to share what little they have. They are astonished at the splendor of the Kingsʼ robes and the gifts being brought to the newborn child, whom the mother, in her mind, identifies with her own son. The shepherds, led by Amahl, approach and offer gifts and dances for the Kings. Following the departure of the shepherds, all retire for the night. The mother sings of the unfairness of the gifts going to a child whom the Kings do not know, when she has a child who is starving. Under cover of darkness, while the three Kings are asleep, the mother steals some of the gold and is caught in the act by the Page. Amahl awakens and comes to her defense, beating on the Page and urging Kaspar, one of the Kings, to intercede. Kaspar orders the Page to release the mother, and Melchior says that she may keep the gold since the Child they seek has no need of it. The mother is moved by Melchiorʼs description of the Child and returns the gold while lamenting that she does not have a gift of her own to give. Amahl offers his crutch which he lifts and, in so doing, takes a step without it. The Kings give thanks to God for this miracle, and Amahl convinces his mother that he should go with the Kings to present the crutch to the Child himself. As dawn approaches, Amahl sets off with the Kings, and, as the procession moves away, he plays on his pipe the tune with which the opera began. Notes What accounts for the popularity of Amahl over forty years after its premiere on NBC television on December 24, 1951? It continues to receive more performances than almost any other standard or contemporary opera. I would imagine that the circumstances under which it was first presented have something to do with its continuing popularity. Rather than a premiere attended by a few hundred or even several thousand, the Hallmark Hall of Fame was watched by millions in 1951 and the following seven years when the opera was given live televised performances. Few, if any, operas have been afforded such a launching. But beyond that first decade, it has continued to hold the imagination of a public, that, I suspect, wants desperately to believe the operaʼs essential message of hope. Amahlʼs crippled leg does not prevent his portrayal as one to whom both parents and children can relate and empathize. The widowed motherʼs unswerving love for her son, even in the midst of poverty and his tendency to fabricate stories, is as poignant and relevant today as when it was written. Certainly the operaʼs brevity and reduced forces expand both the potential audience, through its appeal to children, and the number of groups that can successfully mount a production of Amahl. But beyond these factors, I remain convinced that Gian-Carlo Menotti has fashioned a miniature masterpiece that holds our attention dramatically and lifts our spirits musically . . . all around a central theme that suggests that it is through giving that we receive Do you believe in miracles? -William W. McIver WARNING: The Medium contains violent action situations potentially disturbing to young children. The Medium Cast (in order of appearance) Madame Flora (Baba) ............................................................................... Candice Burrows * Maggie Schwenker + Mrs. Campi ....................................................................................................... Rebekah Bray Monica ........................................................................................................ Joann Martinson * Chelsea Bonagura + Toby ................................................................................................................. Paolo Pacheco Mrs. Gobineau ........................................................................................... Caroline Oliveira * Dana Boyle + Mr. Gobineau .......................................................................... William Anthony Volney Willis Mrs. Nolan ..................................................................................................... Karen Hayden * Ciara OʼNeill-Mendoza + Circus Clowns ....................................................................................... Jessica Mariskanish Maclain Thompson Rebekah Bray * performing November 19 & 21 + performing November 20 Act I Monica, the daughter of Madame Flora (“Baba”) plays dress up in the parlor with Toby, a mute servant boy that lives with her and her mother. Baba, a medium, returns home drunk and scolds them for not preparing for the next séance. Monica tries to calm her angry mother as they all prepare for the arrival of their three customers. Mr. and Mrs. Gobineau, Babaʼs regular clients, arrive with Mrs. Nolan, a widow and first-time customer. During this fake séance, Monica hides and pretends to be Mrs. Nolanʼs deceased daughter, Doodly, and the Gobineauʼs deceased son, Mickey. Suddenly, Baba stops the séance and sends her customers away, claiming that she has felt “someone” clutch her throat. Horrified and enraged, Baba accuses Toby of playing tricks on her. Monica calms her with a lullaby, as Baba continues to hear the voices of the ghosts. Act II Monica and Toby play and dance together. It becomes obvious that their “play” signifies other feelings. Baba enters, and Monica goes to her room. Baba accuses Toby again of touching her during the séance, and she beats him when he continues to deny it. Just then, the doorbell rings and the Gobineaus and Mrs. Nolan enter, hoping for another séance. Baba gives them back their money, confessing that the séance was a hoax. When they refuse to believe her, Baba furiously chases everyone from the room. Alone, Baba falls asleep drinking whiskey, singing Monicaʼs lullaby and praying. As soon as she is asleep, Toby sneaks back into the room and accidentally wakes her. Toby hides, but Baba demands that he show himself. She shoots, killing him, and hoarsely asks, “Was it you?” Directorʼs Words When David Holley asked me if I was interested in directing The Medium as a double-bill with Amahl and the Night Visitors, I first responded, “Are you crazy?!” The contrasts between the two operas are vast. Amahl is a spiritually uplifting tale. The Medium is anything but. However, placing these two operas on the same evening of performances shows Menottiʼs range as a composer, a dramatist, and a man of the theater. The first performance of this opera was 1947. On the surface, The Medium is a story of fraud, alcoholism, abuse, murder, and other non-redeeming qualities of human existence. According to Menottiʼs vision, Madame Floraʼs business takes place in the outskirts of a large city. Her apartment is wired for fraud: the table floats, the lights flicker, phony appearances of phony ghosts, etc. This opera seems to be a tale of supernatural folly. For many who have seen this opera, it can be a “spooky” experience. It can be an ideal Halloween event, not unlike a haunted house. However, the words and characters of this opera have more significance than the glossy appearance of a supernatural tale. This opera is a snapshot of American realism at its most frightening realization. It is a physical and psychological depiction of an abusive alcoholic and the victimization of the disease of alcoholism. We read examples of this daily in newspapers. We see news reports of child abuse, of fraud, of paranoid black-outs linked to murder, etc. With todayʼs research and multiple studies, we have learned the effects of alcoholism and the vicious cycle of how those that were abused often become abusers. The classic labels of victim, enabler, and care-taker, are evident in this opera. This is a tale that is difficult to watch; however, the events portrayed happen daily. My concept of this opera is to place the setting with a travelling circus. At times, circuses would be in residence for a week or two, or maybe a month, or several years. Why not place the events of this opera in a circus? One booth leads to another. An event in one circus ring contrasts with an event in another ring. Therefore, I have added characters to the opera that are not in the score. I wanted to personify the voices that Baba hears. What better way to taunt and tease than to have clowns! I feel the contrasts of pleasant events, in this case, the clownʼs performances, would somehow soften the harsh realities of Babaʼs abusive world, right next door. Comedy and tragedy occur simultaneously every day of our life, right next door. My second response to David Holley when he asked me if I wanted to direct this opera was, “Absolutely!” In 1979, I was a second year graduate student in piano performance (!). I also had the opportunity to sing my first opera role. The opera was “Falstaff”. The role was Pistol. The location was Aycock Auditorium. The conductor was Richard Cox. That experienced change my life and I began a journey into music as a singer. How fitting it is that I make a UNCG directing debut in Aycock Auditorium with Richard Cox as conductor. - Donald Hartmann Artists Kyle Berkley (Kaspar), tenor, has performed the role of Aeneas in Dido and Aeneas and appeared with Opera Cleveland in the ensembles of Don Giovanni, Falstaff and Il Barbiere di Siviglia. He received a BM in Music Education at Kent State University, and is currently pursuing his MM at the University of North Carolina at Greensboro. He is a student of Dr. Nancy Walker. Chelsea Bonagura (Monica), soprano, is a second-year MM student in Vocal Performance studying with Dr. Carla LeFevre. She earned a BM from the Eastman School of Music in her hometown of Rochester, NY, where she was featured as Aloes in Chabrierʼs LʼEtoile, as well as in several newly composed operas. Ms. Bonagura has performed in the United States and Italy, spent several summers studying in Europe (including France, Italy, and Germany), and she has sung with world-renowned tenor Gregory Kunde and his orchestra and chorale in Rochester. She sang the role of the Princess in last Springʼs UNCG Opera Theatre production of Ravelʼs LʼEnfant et les Sortilèges. Dana Boyle (Mrs. Gobineau and Amahl dancer), a native of Alexandria, VA, will graduate with a BM in Vocal Performance from UNCG in May 2011. Ms. Boyle started her performing career as a singer and dancer in many professional musical theatre productions including Kiss Me Kate, George M!, Brigadoon and 1776, in which she played the role of Martha Jefferson. She decided to pursue a career in opera after participating in the summer program OperaFestival di Roma, in Rome, Italy, where she performed in Così fan tutte and The Merry Widow. Ms. Boyle currently studies voice with Professor Clara OʼBrien. Rebekah Bray (Mrs. Campi and a Clown) has performed in the ensemble of numerous UNCG Opera Theatre productions, including Ravelʼs LʼEnfant et les Sortilèges, Gilbert and Sullivanʼs Trial by Jury, Smetanaʼs Bartered Bride, and Menottiʼs Amahl and the Night Visitors. Ms. Bray, a sophomore pursing a BM degree, will study abroad next spring in Germany. Candice Burrows (Baba) has performed numerous roles with the UNCG Opera Theatre, including the Mother in Amahl and the Night Visitors, Mama McCourt in The Ballad of Baby Doe, La Abuela in La vida breve, and Helen Potts in the world premiere of Libby Larsenʼs Picnic. She has sung with the Boston Symphony Orchestra and Pops, New York Philharmonic, Schleswig-Holstein Orchestra, New Jersey Symphony, and the Los Angeles Chamber Orchestra. Earlier in her career, she toured with Leonard Bernstein throughout Europe, Russia and the United States as mezzo soloist for his 70th birthday gala, which culminated at the Tanglewood Music Festival. A passionate teacher, she teaches at the Music Academy of North Carolina and will complete her DMA in Vocal Performance this year. Dereke Clements (Amahl dancer) is a freelance performing artist and French speaker, pursuing degrees in Dance and French at UNCG. A classically-trained musician and dancer, he has studied on scholarship at the Martha Graham Center in New York and was awarded scholarships at the North Carolina Dance Theatre in Charlotte and the Alvin Ailey American Dance Theatre in New York. He has performed at the 92nd St. Y in New York, the American Dance Festival, with the 72nd Anniversary of The Lost Colony and Greensboro Ballet in productionʼs of Nutcracker and Firebird. Dereke is a member of Delta Chi Xi National Honor Society for Dance Arts. Richard Cox (The Medium Musical Director/Conductor) retired from UNCG in 2002 after 42 years as a member of the vocal/choral faculty. Dr. Cox is the author of the Singerʼs Manual of German and French Diction published by ACDA in 1990. He was instrumental in the development of opera at UNCG, initially singing in productions and conducting all major spring productions from 1979 to 1988. Most recently, he served as French diction coach for last Springʼs UNCG Opera Theatre productions of LʼEnfant et les Sortilèges and LʼEnfant Prodigue. In addition, he has prepared choruses for the Eastern Music Festival, the Greensboro Opera Company and the Greensboro Symphony. He was the founding director of the Bel Canto Company and since 1967, he has been Choirmaster as Holy Trinity Episcopal Church. Jake Frazier (Amahl) is a first-place winner of the 2010 Golden Voices of America competition and will be performing at Carnegie Hall in February. A seventh grader at Crest Middle School in Shelby, NC, he has studied voice since age seven at the McDaniel Music Studio. He has been a member of the Cleveland County Honor Choir for two years and, more recently, he has been a member of the North Carolina All-State choir. Liz Frazer (Amahl Stage Director) is pursuing a DMA in Vocal Performance at UNCG, where she won the 2009 Concerto Competition. She is an active recitalist and soloist and recently performed in Mozartʼs Coronation Mass, Haydnʼs St. Nikolai Mass, and A Good Man is Hard to Find, a new opera by David Volk. Miss Frazer received her BA at Northeastern Illinois University in Chicago, where she performed the title role in Tchaikovskyʼs Iolanthe and Abigail in The Crucible by Robert Ward. Her stage credits at East Carolina University, where she received her MM, included a reprise of Abigail in The Crucible, Blanche in Dialogues of the Carmelites and Elisa in Mozartʼs Il re pastore. Melanie Greene (Amahl dancer) is an MFA student in the dance department at UNCG. Beginning her dance career in high school, she has participated in a variety of performance endeavors including North Carolina School of the Arts summer intensive program, Modernextension Dance Company at UNC-Chapel Hill, and the Martha Graham reconstruction of Steps in the Street at UNCG in spring of 2010. As an aspiring teacher, performer, and choreographer, Melanie is excited to continue studies that facilitate the intersection of visual and performing arts, pedagogy, and intellectual scholarship. Donald Hartmann (The Medium Stage Director) has performed in over 125 operatic productions, in over 50 operas, singing over 60 different roles. Engagements have included performances with Opéra de Montreal, Madison Opera, Toledo Opera, Opera Carolina, Michigan Opera Theater, Opera Delaware, and other regional opera companies across the US. In April 2009, he created the role of Howard in the world premiere of Libby Larsenʼs Picnic. In fall 2010, Donald Hartmann sang the Sacristan in Tosca with the newly formed North Carolina Opera company in Raleigh, as well as the Speaker in Greensboro Operaʼs production of Die Zauberflöte. As a stage director, Dr. Hartmann directed the opera program at Eastern Michigan University for sixteen years, including full productions of Così Fan Tutte, The Italian Girl from Algiers, The Medium, and over 15 operas in one act. Donald Hartmann received his BM in Piano Performance and an MM in Vocal Performance from UNCG, and the DMA from the University of Oklahoma, graduating with honors. Karen Hayden (Mrs. Nolan) studies with Dr. Robert Wells while in pursuit of her MM in Vocal Performance. She received her BM degree from the UNC School of the Arts, where she portrayed Lisetta in Haydnʼs Il mondo della luna, Shirley Kaplan in Kurt Weillʼs Street Scene, and Miss Todd in Menottiʼs The Old Maid and the Thief. She has sung as a chorus member with the Magnolia Baroque Festival and in numerous operas with UNCSA and Piedmont Opera. Karen attended the University of Miami Frost School of Music Summer at Salzburg, where she was a winner of the programʼs performance competition. She also appeared in the ensemble of Greensboro Opera's production of Verdi's La Traviata in the fall of 2009. David Holley (Producer/Amahl Musical Director & Conductor) has been the Director of Opera at UNCG since 1992. He produced, directed and wrote the libretto for Libby Larsenʼs Picnic, which was commissioned and premiered by the UNCG School of Music in the Spring of 2009. Mr. Holley performed, lectured and gave Master Classes in universities and concert halls throughout China in 2009 with four winners from the Charles A. Lynam Vocal Competition, which he founded in 2005. His productions at UNCG have consistently won awards in the National Opera Associationʼs Annual Opera Production Competition, including seven first place awards for Susannah (2004), Little Women (2003), Orpheus in the Underworld (2001), The Consul (2000), Dialogues of the Carmelites (1997) Amahl and the Night Visitors (1996), and Don Giovanni (1994) and three second place designations for La vida breve (2008), Albert Herring (1997), and Gianni Schicchi (1993). Michael D. Jones (Balthazar) is a senior pursuing a BA at UNCG in the studio of Dr. Donald Hartmann. His operatic credits include Colline in La Bohème, Fiorello in the Il Barbiere di Siviglia, Count Paris in Roméo et Juliette, Tom in Un Ballo in Maschera, King Theseus in the musical A Midsummer Nightʼs Dream and The Usher in Trial by Jury. In addition, he has been a member of educational outreach programs with the University of North Carolina at Greensboro and Opera Carolina. As a concert violinist, Michael has toured Europe and performed throughout the Southeastern United States and served as the concertmaster of the West Shore Symphony. Jessica Mariskanish (Clown) is a junior pursuing a Bachelor of Music degree at the University of North Carolina at Greensboro. As part of the UNCG Opera Theatre, she has participated in the ensembles of numerous productions including Ravelʼs LʼEnfant et les Sortilèges, Gilbert and Sullivanʼs Trial by Jury, Smetanaʼs Bartered Bride, and Menottiʼs Amahl and the Night Visitors. Joann Martinson (Monica) has performed numerous operatic roles including Barbarina, Yum-Yum, Adele, Norina, Violetta. She has also participated in productions of The Merry Widow, La Bohème, and La Traviata with the Western Plains Opera and Emerald City Operaʼs Artist Institute. Most recently, she performed the role of Le Feu in Ravelʼs LʼEnfant et les Sortilèges with the UNCG Opera Theatre. Her numerous awards include the 2009 Bel Canto Institute Orchestral Performance Award and First Place in the 2010 NC NATS auditions. As one of the winners of the 2010 UNCG Student Artist Competition, she will appear as a soloist with the UNCG Symphony Orchestra in December. Ms. Martinson is a student of Dr. Robert Bracey. Amon Neely (Balthazar) is a first-year Masters student at the University of North Carolina at Greensboro. He recently performed the role of Adrian in Smokey Joeʼs Café. Mr. Neely has also performed with Virginia Opera in the ensemble of Porgy and Bess and Tosca. A graduate of Hampton University, Mr. Neely holds a Bachelor of Arts degree in Music Education. He is a student of Dr. Donald Hartmann. John Norris (Amahl) is a 6th grader at Caldwell Academy. He is a member of the Greensboro Youth Chorus as well as his school choir at Caldwell. He recently performed the role of Joseph in Joseph from the Pit to the Palace at Lawndale Baptist Church. He has also been a soloist with Bel Canto. Jeff Neubauer (Amahl Lighting Designer & Technical Director) has been involved with UNCG Opera Theatre's production of Amahl and the Night Visitors since 1995, filling various roles as flyman, master electrician, technical director and lighting designer (2006). This 2010 production will be particularly special for Jeff since he will be bringing his 3 year old daughter Emily to see Amahl for the first time. Other UNCG Opera credits include work on Albert Herring, The Mighy Casey (on the Grasshopper field in downtown Greensboro) and The Will (Gianni Schicchi). In his full time job, Jeff is the Director of Technical Production for Westover Church in Greensboro. Caroline Oliveira (Mrs. Gobineau) is currently pursuing her MM in Vocal Performance at UNCG, after graduating in 2008 with her BM from Florida State University. While pursuing her undergraduate degree, she was involved in productions of Gluckʼs Orphée et Eurydice and Gilbert and Sullivanʼs The Mikado. As a part of scenes programs, Caroline has sung the roles of Adina from Lʼelisir dʼamore, Blonde from Die Entführung aus dem Serail and the title role in Patience. In January of 2010, she performed with the Palm Beach Opera in their production of Verdiʼs Otello, and in July, she performed with Theater a La Carte as Lily Garland in Cy Colemanʼs On The Twentieth. Ciara OʼNeill-Mendoza (Mrs. Nolan) is a soprano from Vestal, New York. After earning a BM from the State University of New York at Fredonia, she is pursuing an MM from the University of North Carolina at Greensboro where she studies with Dr. Robert Wells. Ms. OʼNeill-Mendozaʼs operatic roles include Gertrude in Hansel and Gretel and the First Lady in Mozartʼs Die Zauberflöte. Additionally, she has participated in the opera chorus of numerous productions such as Gilbert and Sullivanʼs Trial by Jury and Ravelʼs LʼEnfant et les Sortilèges. She recently performed in the chorus of Die Zauberflöte with Greensboro Opera. Kelly Ozust (Amahl Choreographer) is currently earning her MFA in choreography at UNCG, after earning her undergraduate degree from the University of Georgia. She choreographed the dances in LʼEnfant et les Sortilèges and LʼEnfant Prodigue last spring for the UNCG Opera Theatre. Originally from San Diego, CA, her work has been seen at The Community Theatre of Greensboro, Amberʼs House of Dance, and the UNCG Theater, as the choreographer for the Theater for Young People's Go Dog, Go!, and as the assistant choreographer for Evil Dead the Musical. Paolo Pacheco (Toby and Melchior) has performed roles in operas, operettas, and musicals. His most recent roles include Guglielmo in Così fan tutte, Zurga in Les pêcheurs de perles, Marcello in La Bohème, Papageno in Die Zauberflöte, Le Chat in LʼEnfant et les Sortilèges and Siméon in LʼEnfant Prodigue. He has performed with the Janiec Opera Company, Central Piedmont Community College Opera Theatre, and Opera Carolina. Paolo is a student in the studio of Dr. Robert Wells. Carmen Prather (Mother) is an MM student in Vocal Performance and studies with Dr. Carla LeFevre. She received her BM in Vocal Performance and Music Education from Shorter College. While singing with the Shorter Chorale, Carmen performed on Cathedral tours in England and Italy, singing in notable venues such as St. Mark's and St. Peter's Basilicas. Her previous roles include Angelina in Trial by Jury and La Chauve-Souris in LʼEnfant et les Sortilèges with the UNCG Opera Theatre, as well as Dianna in Orpheus in the Underworld and the title roles in Suor Angelica and Dido and Aeneas. Since moving to Greensboro, Carmen has served as a Choral Scholar for Wesley Memorial United Methodist Church. JoAna Rusche (Mother), mezzo-soprano, has performed and competed regionally, nationally and internationally. Her recent operatic roles include Fidalma in Il Matrimonio Segreto, Babs in Daron Hagenʼs Just for the Night, and LʼEnfant in Ravelʼs LʼEnfant et les Sortilèges. She has performed with Long Leaf Opera Company and also with the Greensboro Opera Company in the ensemble of La Traviata and Die Zauberflöte. Her oratorio performances include Vaughan Williamʼs Serenade to Music, Haydnʼs Lord Nelson Mass, and Handelʼs Messiah. This past summer, Ms. Rusche attended SongFest in California and the Franz-Schubert-Institut in Austria as a scholarship recipient of both programs. More recently, she was a Semi-Finalist in the 2010 Charles A. Lynam Competition. She holds BM degrees in Vocal and Piano Performance from UNC Chapel Hill. A student of Clara OʼBrien, Ms. Rusche will graduate from UNCG with an MM in Vocal Performance in the spring. Maggie Schwenker (Baba) has performed in oratorios in Tennessee, Missouri and throughout Kentucky. She has appeared in many musical theatre and operatic productions, from Dido and Aeneas to South Pacific. Last spring, Ms. Schwenker performed the role of Un Pâtre in UNCG Opera Theatreʼs LʼEnfant et les Sortilèges. She has also performed with Greensboro Opera in the chorus of La Traviata and Die Zauberflöte. Ms. Schwenker has been a winner of NATS competition in the Senior Womenʼs category, and a semi-finalist in the MTNA Collegiate Artist Southern Division Auditions. She received her BA from Murray State University under Dr. Randall Black and continued her voice study at the University of Louisville with Daniel Weeks. She is currently pursuing an MM at UNCG where she is a student of Levone Tobin-Scott. Erin Stevie (The Medium Lighting Designer & Production Stage Manager) has been involved with UNCG Opera Theatre since 1996. She has filled the role of lighting designer for shows such as The Consul, HMS Pinafore and The Mikado and has served as stage manager for shows such as Amahl and the Night Visitors, Hansel and Gretel and Trial by Jury. Erin is a 2001 graduate of UNCG with a BFA in Design & Technical Theatre. She and her husband Eric (UNCG Class of 2001) own Imagine Design & Production Services Inc. in Greensboro. In her free time Erin enjoys trips to visit family at Oak Island Beach and hanging out with six-month old daughter, Taylor. Maclain Thompson (Clown) is a sophomore pursuing a BM at UNCG as a recipient of the Alyse Smith Cooper Music Scholarship. In 2009, Mr. Thompson competed in the Mid- Atlantic Regional competition of the National Association of Teachers of Singing. He recently performed in the ensemble of Greensboro Operaʼs Die Zauberflöte. He is a student of Dr. Robert Wells. Matthew Webb (Amahl Chorus Master), a native of North Carolina, is an active conductor, collaborative pianist, and church musician. He has degrees in music and philosophy from Wake Forest University and an MM from UNCG, where he is currently completing the DMA in Choral Conducting. In addition to being a Graduate Assistant at UNCG, Mr. Webb is the Assistant Conductor of the Choral Society of Greensboro, the Organist at Canterbury School, and the Director of Traditional Music at Westminster Presbyterian Church. He previously appeared with the UNCG Opera Theatre in the ensemble of La vida breve. David Weigel (Mechior), baritone, is a first-year Masterʼs student at UNCG. David received his BM in Vocal Performance from Furman University, where he performed the roles of Death in Holstʼs Savitri, as well as the role of Balthazar in Amahl and the Night Visitors. Earlier this month, David sang in the chorus for Greensboro Operaʼs production of Die Zauberflöte. Mr. Weigel has also been the bass soloist in Bachʼs Cantata No. 4, Bachʼs Mass in B minor, Handelʼs Messiah and Vaughan Williamsʼ Dona Nobis Pacem. He is currently pursuing an MM in Vocal Performance as a student of Dr. Robert Wells. James G. Williams (The Page) is pursuing a BM in Vocal Performance at UNCG, where he studies with Dr. Robert Wells. His previous roles as part of the UNCG Opera Theatre include Daredevil in The Bartered Bride, the Foreman in Trial by Jury and LʼAbre in LʼEnfant et les Sortilèges. He is a graduate of the South Carolina Governorʼs School for the Arts and Humanities where, under the tutelage of Tom Dickinson, he participated in various opera scenes from Mozartʼs Così fan tutte and The Marriage of Figaro. William Anthony Volney Willis (Mr. Gobineau), baritone, earned a BA in Vocal Performance from Salisbury University. In 2006 and 2007, he placed in the top three in his categories in the Maryland-Washington, D. C. NATS Competition. Mr. Willisʼ stage and oratorio credits include roles in Dido and Aeneas and The Boyfriend, as well as Mendelssohn's Elijah, Mozart's Requiem, and the Bach Magnificat. Prior to coming to UNCG to work on his MM degree, he served on the faculty of Delaware State University as an adjunct voice instructor. In addition to singing, he is a second-degree black belt instructor in Takido at Martial Arts United and holds a yellow belt in Hapkido. Jacob Wright (The Page) is making his UNCG Opera Theatre debut in the role of the Page. He appeared as Tamino in Die Zauberflöte and Anthony in Sweeney Todd as part of the UNCG Student Opera Scenes Production last August. He has recently performed with Greensboro Opera in the ensemble of Die Zauberflöte. A student of Dr. Robert Bracey, Mr. Wright is currently pursuing a BM in Vocal Performance at UNCG. C. Blayne Ziegenfuss (Kaspar) has performed numerous roles as part of the UNCG Opera Theatre including Edwin in Trial by Jury and the Circus Ringmaster in The Bartered Bride. He also sang in the ensembles of The Mikado and Amahl and the Night Visitors. Originally from Hendersonville, NC, his stage credits include appearances with the Greensboro Opera in the ensembles of La Traviata and Die Zauberflöte, as well as leading roles in musicals such as Guys and Dolls and A Funny Thing Happened on the Way to the Forum. Mr. Ziegenfuss, a senior pursuing a BM in Vocal Performance, is a student of Dr. Donald Hartmann. Last spring, he won third place in the NC NATS auditions. Orchestra David Holley (Amahl) and Richard Cox (The Medium), Conductors Violins Eve Hubbard, Concertmistress (Amahl) Jane York, Concertmistress (The Medium) Colleen Chenail Amanda Matthews Julianne Odahowski Violas Diane Neal* Maria Valencia Cellos Diane Bonds* Kellie Burgess Bass Rebecca Marland Harp Bonnie Bach † Piano Jack Jarrett Ben Blozan ** Flute/Piccolo Jared Edmiston Oboes Thomas Pappas Thomas Turanchik † Clarinet Shawn Copeland Bassoon Mark Hekman Horn Kate Hopper Trumpet Allyson Keyser Percussion Mike Austin *principal † Amahl only ** The Medium only Production Staff Producer David Holley Stage Director Liz Frazer (Amahl); Donald Hartmann (The Medium) Musical Director/Conductor David Holley (Amahl); Richard Cox (The Medium) Technical Director Jeff Neubauer Lighting Designer Jeff Neubauer (Amahl) #; Erin Stevie (The Medium) Production Stage Manager Erin Stevie Scene Designer Robert Hansen (Amahl); Donald Hartmann (The Medium) Scenic artist (Medium scrim) Jennifer OʼKelley Costume Designer Deborah Bell (Amahl); Juanita Dunlap, Eastern Costume (The Medium) Make Up and Wig Supervisor Trent Pcenicni Chorus Master Matthew Webb Rehearsal Pianists Jack Jarrett, Ben Blozan, Megan Muthersbaugh Choreographer Kelly Ozust Sound Engineer Kyle Welch Aycock Auditorium Manager Brian Fuller Aycock Technical Director James Goins II Additional Stage Crew provided by Imagine Design and Production Aycock Auditorium Staff # Mr. Neubauerʼs lighting design is based on the original lighting design of James R. Hullihan. Muscial Arts Guild Officers William P. Carroll President Nanette Hurley Price Vice President and President Elect Christy Elkins Secretary Bill Stephens Treasurer Special Thanks Jeff Gillis Chad Hain Chip Haas Jody Cauthen Rachel Williams Suzanne Williams Rebekah Kates Chris English Erin Stevie The Frazier family The Norris family Blondie Johnson Ann Doyle Tom Shelton James R. Hullihan Janet Hullihan Jack Jarret Megan Muthersbaugh Kevin Geraldi Noah Hock Amanda Hughes Amy Moore Dianna Carter Dr. Welborn Young Wyndell Earles JoAna Rusche David Weigel Brian Fuller James Goins II Dennis Hopson Ben Blozan Classical Voice North Carolina William Walker Kevin Estes Music Department Move Crew John Locke Lucas Cecil James Keith The UNCG Opera Theatre extends special thanks to the Microtel Inn, 4304 Big Tree Way, Greensboro for its special housing of Jack Frazier. Upcoming Opera Events at UNCG February 3-6, 2011 Die Fledermaus Aycock Auditorium March 31, April 1 & 3, 2011 Hansel and Gretel Aycock Auditorium On July 1, 2010, the performing arts units at UNCG were reorganized into a newly formed School of Music, Theatre and Dance. By joining these academic areas, the university created a vibrant and thriving performing arts community, which has enhanced visibility through their combined resources. From a total population of approximately 17,000 university students, the UNCG School of Music, Theatre and Dance serves approximately 1,200 majors with a full-time faculty and staff of over one hundred, making the UNCG School of Music, Theatre and Dance one of the largest such schools in the South. Many performances are presented in UNCGʼs Aycock Auditorium, a classic structure that recently underwent a $19 million renovation. UNCG has long been recognized for having one of the elite music institutions in the United States. Fully accredited by the National Association of Schools of Music since 1938, the School offers the only comprehensive music program from undergraduate through doctoral study in both performance and music education in North Carolina. The Music Departments occupy a $26 million building that is among the finest music facilities in the nation. A large music library with state-of-the-art technology, research, and study facilities houses all music reference materials. Other features of the building include two recital halls, a computer lab, a psycho-acoustics lab, electronic music studios, a recording studio, and expanded rehearsal, classroom, studio, and practice room space. A multi-level parking deck adjoins the music building to serve students, faculty, and concert patrons. The Theatre Department offers a full range of liberal arts and professional degree programs that prepare students for a variety of career opportunities in theatre. The degrees, which are accredited by the National Association of Schools of Theatre, provide students with a vital mix of coursework that combines both theory and practice and allows for the development of skills and talents. The Theatre Departmentʼs curriculum is matched by an extensive co-curricular program that includes performance opportunities open to majors and non-majors alike. The department occupies space in the Taylor, Brown, Aycock, McIver and Curry buildings on campus. The Dance Department offers degrees that provide professional preparation in technical and creative skills balanced with liberal education for a variety of career outcomes. The Dance Department is an accredited institutional member of the National Association of Schools of Dance. The department occupies space in the Health and Human Performance building and presents performances in the UNCG Dance Theatre and Aycock Auditorium. Living in the artistically thriving Greensboro—Winston Salem—High Point “Triad” area, students enjoy regular opportunities to attend and perform many local and regional arts organizations. In addition, UNCG students interact first-hand with some of the worldʼs major artists who frequently schedule performances, master classes, open rehearsals, and informal discussions at UNCG. Costs of attending public universities in North Carolina, both for in-state and out-of-state students, represent a truly exceptional value in American higher education. This fact, coupled with the eminent reputation enjoyed by the UNCG School of Music, Theatre and Dance, renders an education at UNCG one of the “best buys” on the college scene today. For further information regarding the UNCG School of Music, Theatre and Dance, please write: Dr. John J. Deal, Dean UNCG School of Music, Theatre & Dance P.O. Box 26170 Greensboro, NC 27402-6170 (336) 334-5789 On the Web: http://performingarts.uncg.edu |
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