2010-11-19 Amahl Medium [recital program]

              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