HENRY V III - THE TUDORS - CAMILLE SAINT-SAËNS - Odyssey Opera
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THE TUDORS C AMILLE SAINT-SAËNS HE N RY V I I I
DIRECTOR’S WELCOME
Bienvenue à vous tous! Welcome to the start of Odyssey Opera’s royal seventh
season. During these years, we have become known for our strong thematic
seasons—The British Invasion, When in Rome, Wilde Opera Nights, Trial by
Fire, Helen of Troy, and GounOdyssey. When we started to plan this season, the
question became “what next?” Then, a particular opera piqued my interest, and
along with an opportunity to produce a world premiere, the theme became clear: to
venture back in time to one of the most intriguing family dynasties, the Tudors.
We will explore this famous family from the perspectives of six very different
composers. Tonight, we present to you Camille Saint-Saëns’s Henry VIII. In
November, we will produce a fully-staged production of Maria, Regina d’Inghilterra
by Giovanni Pacini. Ushering in the new year, we will bring the world premiere of
Arnold Rosner’s The Chronicle of Nine, a semi-staged co-production with the Boston
Modern Orchestra Project (BMOP). The spring season begins with the fully-staged
production of Gioachino Rossini’s Elisabetta, Regina d’Inghilterra, the fi rst of his nine
Neapolitan operas. The season’s fi nal two operas hail from the 20th century: a
concert presentation of Gloriana by Benjamin Britten and a fully-staged production
of Merrie England by Edward German.
The score for Camille Saint-Saëns’s French grand opera, Henry VIII, brilliantly
evokes an early Renaissance sensibility replete with period English melodies and
Elizabethan court music while remaining fi rmly rooted in the French grand
opera tradition. Henry VIII has all the ingredients of a spectacular grand opera!
A sensational historical subject with sweeping vocal melodies and rich orchestral
writing. This guarantees a compelling evening of opera and, with the added bonus
ODYSSEY OPERA’S NEXT RELEASE - of the presentation of music never heard before, a hope you will enjoy this once-in-
a-lifetime experience.
COMING THIS NOVEMBER!
AVAILABLE NOW: Over the years we have established a passion to present works as the composer
originally intended and rediscover lost music. From works as diverse as Mario
Castelnuovo-Tedesco’s The Importance of Being Earnest to Gounod’s Queen of Sheba,
and even Norman Dello-Joio’s television opera The Trial at Rouen, this journey has
proved to be a true Odyssey. Tonight we are fortunate to partner with acclaimed
music scholar Hugh Macdonald, who is here with us this evening, to present the
fi rst ever complete performance of this Grand Opera, a delayed world premiere of a
sort. It is amazing the power that this artform has to bring people together. I am so
glad that you are here on this journey with us.
Bienvenue dans le voyage.
HENRY VIII 3
HENRY VIII
September 21, 2019 at 7:30pm Time: Casting:
NEC’s Jordan Hall 1521 to 1536, during the reign
of Henry VIII Henry VIII Michael Chioldi
Music by Catherine of Aragon Ellie Dehn
Camille Saint-Saëns Place: Anne Boleyn Hilary Ginther
London, England Don Gomez de Feria Yeghishe Manucharyan
Libretto by Le duc de Norfolk Kristopher Irmiter
Léonce Détroyat Act I Cardinal Campeggio Kevin Deas
& Armand Silvestre Le comte de Surrey Matthew DiBattista
INTERMISSION Archbishop of Canterbury David Cushing
Gil Rose, Conductor Lady Clarence Erin Merceruio Nelson
Act II The Garter of Arms Jeremy Ayres Fisher
Presented in concert
INTERMISSION Odyssey Opera Orchestra and Chorus
Version prepared with
the assistance of Hugh Macdonald Act III
Sung in French with English supertitles Act IV
Supertitles prodvided by Danielle Sinclair This performance will run
approximately 3 hours and
30 minutes.
4 HENRY VIII5
ORCHESTRA CHORUS
Gil Rose, Conductor Mariah Wilson, Chorus Master
Anthony D’Amico, Personnel Manager Jeremy Ayres Fisher, Chorus manager
Chuck Furlong, Orchestra Manager Justin T. Blackwell, Rehearsal pianist
VIOLIN 1 VIOLA OBOE TROMBONE SOPRANO MEZZO- TENOR BARITONE
Heidi Braun-Hill Peter Sulski Jennifer Slowik Robert Hoveland Alecia Batson*~ SOPRANO Colin Campbell^ Peter Barkley
Gabriel Boyers Noriko Futagami Catherine Peter Cirelli Danielle Bavli Alexandra Frank Campofelice Stuart Cabral
MaeLynn Arnold Alexander Vavilov Weinfield-Zell Christopher Miriam Carmack Dietrich*~ Hyrum Carmack Peter Cooper
Sarah Atwood Jason Fisher Laura Pardee Beaudry Kristin Fahning*~ Christine Josaphat Contreras Jacob Cooper>
Paola Caballero Emily Rideout Schaefer Jayne Gallagher Duncan*~ Reg Didham Casey Germain
Heather Braun Emily Rome TUBA Oriana Inferrera Sarah Eastman Joel Edwards^< Craig Jurika^
Yumi Okada Anna Griffis CLARINET Takatsugu Patricia Kopko Anne Fanelli Jeremy Ayres Gray Leiper
Piotr Buczek Lauren Nelson Jan Halloran Hagiwara Lyndie Laramore ~ Janice Hegeman Fisher Daniel Malis
Aleksandra Amy Advocat Linda Lowy Julia Jaffe-Reaboi Fran Daniel Allyn McCourt +
Labinska CELLO Gary Gorczyca PERCUSSION Aurora Martin *~ Beverly St. Clair Laucerica> Blair Mellow
Tara Grosett David Russell Craig McNutt Laura McHugh*~ Jessica Tasucu~ Sean Malkus> Andrew Miller >
Keck Nicole Cariglia BASSOON Jonathan Hess Melaina Mills ~ Mauri Tetreault~ Michael Merullo Adrian Ortega
Zoya Tsvetkova Jing Li Jensen Ling Keiko Nakagawa Cindy Vredeveld~ Eiji Miura David Pogue
Lilit Hartunian Katherine Samual Childers TIMPANI Erin Nelson~ Ehimemen Omigie Miles Rind^
Kayaian Margaret Phillips Robert Schutz Kay Patterson*~ Ted Pales Max Rydquist
VIOLIN 2 Velleda Miragias Celeste Pellegrino Sam Pilato James Tice
Colleen Brannen Benjamin Swartz FRENCH HORN HARP Brynne Pulver Srinivasan
Rose Drucker Kevin Owen Judy Saiki Abigail Smith*~ Raghuraman
Mina Lavcheva DOUBLE BASS Whitacre Hill Juli Miller Jennifer Soloway ~ Tom Regan
Sean Larkin Anthony D’Amico Neil Godwin Dave Siktberg
Lisa Goddard Bebo Shiu Alex Stening Larry St Clair
Annegret Klaua David Goodchild
Sasha Callahan Nancy Kidd TRUMPET
Nicole Parks Richard Kelley
Tudor Dornescu FLUTE Andrew Sorg
Robert Curtis Sarah Brady Mary Lynne
Jessica Lizak Bohn
Rachel Braude + Court usher
< Officer
* Dames / Pages
~ Maid of Honor
^ Judges
> Lords
6 HENRY VIII7
A NOTE FROM opera at such a prestigious venue was no easy task, since the entire body of singers,
musicians and staff had personal concerns that often required changes to the score.
HUGH MACDONALD Much was altered before the first night on March 5, 1883, and more revisions were
imposed during the successful run of thirty-four performances that season. It was
HUGH MACDONALD revived at the Opéra in 1886, 1888, 1889, 1891, 1892, and, to Saint-Saens’s great
satisfaction, in 1917, when the composer was eighty-two.
After Samson and Delilah, the opera Henry VIII has been the most frequently
performed of all Saint-Saëns’s eleven operas. This may seem strange today since in In the course of his long life, Henry VIII was performed in Prague, Frankfurt,
recent years it has only been performed at wide intervals in far-flung opera houses Ghent, Milan, Moscow, Madrid, London, The Hague, Antwerp, Cairo, Barcelona,
and is entirely unfamiliar to many people who regard themselves as experienced Algiers, Monte Carlo, and half a dozen French cities. Since his death in 1921, all his
opera-goers. The twin reasons for this are, first: the other nine operas are even operas except Samson and Delilah disappeared almost entirely from European stages,
more rarely revived today, and, second: Henry VIII enjoyed wide popularity in the a bitter twist of fate caused by the fact that he lived into the post-war age when taste
forty years following its opening in 1883, approximately the remaining years of the and fashion radically changed. The era of cars and airplanes had no room for relics
composer’s long life. Around 1900 it was heard all over Europe and was revived in of the previous century. This fate was shared by Saint-Saëns’s great rival Massenet,
Paris until 1917. but whereas Massenet’s operas have eventually won back the recognition they
deserve, Henry VIII and its companions have not yet been so fortunate.
Saint-Saëns was very proud of it. It was his first opera to be played at the Paris
Opéra, but by no means his first opera. He had great difficulty in persuading Since 1921 Henry VIII has been seen on the stage only in Brussels in 1935, in San
Parisians that he was capable of composing opera at all, since his steady production Diego in 1983 (the American premiere), in Compiègne, France, in 1991, and in
of symphonies and concertos, his brilliance as a solo pianist, and his celebrity as Barcelona in 2002. We are promised a stage revival in Brussels in 2021 to mark
organist at the church of the Madeleine all seemed to suggest that opera was not the centennial of the composer’s death. In addition there have been concert
his field, when in truth there was no musical activity in which he was not unusually performances of the opera in Montpellier, France, in 1988, and at the Bard Festival
gifted. He was a virtuoso pianist and organist, a conductor, and a sound critic and in 2012. Tonight’s revival in Boston will be of special interest since it includes
proficient administrator as well. He wrote poetry and plays and studied astronomy certain passages and scenes that have not been heard since 1883 and in some cases
and classical literature in his spare time. have never been heard at all.
His first opera, a Hoffmannesque fantasy called The Silver Bell, was composed in *****
1864 but not performed until 1877; his second opera was Samson and Delilah, yet
although it was destined for worldwide fame, this too was not performed until 1877, The process of revision affected the second and third acts primarily, leaving Acts
and then not in France. It was staged through Liszt’s agency in Weimar, Germany, I and IV more or less unchanged. Act I introduces the Spanish ambassador Don
and its first appearance in France was in 1890, in Rouen, finally being heard at Gomez who is in love with Anne Boleyn. A cloud over this relationship is caused by
the Paris Opéra in 1892. That stage has since made up for its slow acceptance of a the rumor that King Henry has his eye on Anne himself. He has appointed her to
masterpiece by keeping it in the repertory ever since, but at the time Saint-Saëns be Lady in Waiting to Queen Catherine in order to have her nearer to him at court.
was resentful that his home city should be so reluctant to recognize his standing as Gomez has a letter from Anne which confirms her love and has consigned it to his
an opera composer. Another important opera, Étienne Marcel, was first performed in compatriot the Queen for safe-keeping. Such strategies as incriminating letters are
Lyon in 1879, but it has never been played at the Paris Opéra. familiar from opera plots, and it provides a crucial twist at the end of this opera.
So for that house to commission Henry VIII from him was a late sign of recognition The Queen’s scene with the King brings out the tension in their relationship,
which the composer deeply appreciated, and he put his finest effort into composing especially when she pleads for the life of the Duke of Buckingham, condemned
the score. As Verdi had learned to his cost with Don Carlos in 1867, staging an to death for treason. Her failure to produce a son causes Henry to question the
8 HENRY VIII9
validity of their marriage since she was earlier married to Henry’s elder brother Act IV is set first in Anne Boleyn’s quarters. She is now Queen, while Catherine,
Arthur, who died young. The Queen, being Spanish and a devout Catholic, cannot ex-Queen, has been sent to Kimbolton Castle, sixty miles north of London. We
imagine that divorce is in Henry’s mind, and since she holds proof of Anne’s love learn that Anne is not happy, while the King is wildly jealous of her relationship
for Gomez, does not yet suspect that Henry would see her as his second wife. with Gomez. The second scene is in Kimbolton. The pathos of Catherine’s fate
is beautifully expressed in her solo scene. A duet with Anne is un-historical but
Act II is set in Richmond Park, a little outside of London. Anne and Gomez are effective, while the climax of the opera comes in the final scene when Henry arrives
now on uneasy terms, and a scene for Henry and Anne reveals his desire to take determined to extract from Catherine the evidence that Anne and Gomez are
her as his wife. The prospect of the throne brings out her underlying ambition, and lovers. It is too much for Catherine, who casts the fateful letter into the fire and then
a confrontation between Anne and the Queen emphasizes the Queen’s moral right expires. Henry darkly warns Anne that he still has the option of the ax.
and Anne’s unconcealed ambition to replace her. Consisting of a series of duets,
this act needs an ensemble to conclude it, a need supplied by Saint-Saëns with *****
an impressive Septet (in fact there are eight voices, not seven) which was dropped
in 1883 as a concession to the soprano singing the role of the Queen and never The opera is long, like most French grand opera, and later editions of the vocal
replaced. It has never been performed until today, although audiences will surely score after the first introduced a number of cuts. The printed orchestral score did
agree that it is a strong movement that nobly concludes the act. the same. None of these revisions can be easily explained since the records do not
tell us whether it was the composer who decided to make a particular cut, or the
The ballet, which was an indispensable part of all grand opera in Paris, comes at conductor, or the theatre director, or one of the singers, whether is was an issue
this point, featuring seven varied dance movements. Saint-Saëns was particularly of time or money or stage management, or whether there was a problem in the
gifted in the field of ballet music, which exhibits his skill in different types of dance orchestra. In certain cases, such as the Septet at the end of Act II, Saint-Saëns
movement and in colorful orchestration. protested many times that it was omitted both from performances and from printed
scores against his will. At other times, the composer may himself have suggested an
The first scene of Act III is set in the King’s apartments. Consisting of seven short improvement or he may have been persuaded to accept a revision against his better
scenes in which the characters stake their positions ever more clearly, the main judgment.
interaction is between the King and the Papal Legate who takes the Queen’s side in
insisting that the Pope will not allow a divorce. But Henry is determined to defy the Odyssey Opera, in bringing this work to life for the present performance, was
Pope in proclaiming himself the head of the English church, seen by many as an anxious to recreate the opera as it was first performed in 1883, in a version
unthinkable schism with God’s church, or a breach with Rome’s authority, or, shall enshrined in the piano/vocal score published at that time. Since that score contains
we say it, an early version of Brexit. many passages that were omitted from the printed full score and the orchestral
parts, it has been my task to provide the missing material by going back to the
This scene was cut from all editions of the vocal score after the first in 1883 but will composer’s autograph score, now preserved in the library of the Paris Opéra, along
be heard in its entirety in tonight’s performance. with all the choral and vocal parts used in 1883. One day, perhaps, a new critical
edition of the opera will make available all the alternative versions that were ever
The second part of Act III required spectacular staging, being situated in the a part of it. One day, perhaps, the opera houses of the world may recognize the
magnificence of Westminster Hall (still unchanged today) with a large body of extraordinary musical richness of this work. Its colorful setting at the court of one
singers representing church and government dignitaries and the common people. of the famous, or notorious, kings of England, with religious and political issues of
The King’s case for a breach with Rome and for divorcing the Queen is supported permanent relevance at the core of the action, will surely attract opera-goers and
by Cranmer, Archbishop of Canterbury, although the Queen is allowed to plead win back for the opera the popularity it deserves and once enjoyed.
her case. Gomez threatens that Spain will declare war, a move that causes outrage
in the English lords that a foreigner should threaten them so. The judges declare
Henry’s marriage to be null and illegitimate, after which the Legate’s protest and
anathema fall on deaf ears.
10 HENRY VIII11PROGRAM NOTES of dance. At one 1875 event in Moscow, Nikolai Rubenstein played Pygmalion and
Galatea, while Saint-Saëns danced Galatea and Tchaikovsky (aged 35) “appeared as
BY LAURA STANFIELD PRICHARD Pygmalion” (no witness reports survive). By the 1880s, Saint-Saëns had turned to
orchestral showpieces and opera. After playing most of Mozart’s piano concertos, he
THE COMPOSER edited Mozart’s sonatas, and became almost pathologically restless, incorporating
exotic themes and melodies (e.g. the Africa Fantasy and “Eg yptian” Piano Concerto). He
Camille Saint-Saëns (1835, Paris –1921, composed the first film score in 1908.
Algiers) was a short, witty, sarcastic
French composer remembered mainly THE GENESIS OF HENRY VIII
for his opera Samson and Delilah and the
orchestral showpieces Danse macabre In 1879, Saint-Saëns proposed as a new version of his overtly political Etienne
(Gaspard-Felix Tournachon, 1820-1910)
and Carnival of the Animals. He began as Marcel and a new work based in Merovingian Gaul to the Paris Opéra. The new
a child prodigy, picking out tunes on conservatoire-trained general manager Vaucorbeil countered with an offer to
Saint-Saëns photographed by Nadar
the piano at two and making a public collaborate with the wealthy patron (and his recent competitor for the job of Opéra
début as a pianist at five. Soon after, his director) Léonce Détroyat (1829-1898), as edited by poet Paul-Armand Silvestre
parents took him to a Parisian symphony (1837-1901). Saint-Saëns tried to win over his librettists to an historical French
concert; he enjoyed the string serenade, subject. After four operas with limited success, the next would make or break his
but cried out at the brass entrance, career in the theatre, and Saint-Saëns still keenly remembered how his college friend
“Make them stop. They prevent my Bizet suffered due to the harsh critical response to Carmen.
hearing the music.” He was removed.
Eventually Détroyat (a republican military officer and ardent loyalist) persuaded
Saint-Saëns was an enthusiastic admirer Saint-Saëns to develop a play he had already drafted, a Henry VIII based on Pedro
of ballet, and liked to dance socially. Calderón de la Barca’s La Cisma de Inglaterra (The schism in England); they had
He entered the Paris Conservatoire at age fifteen, winning prizes in every class and initially offered it to Charles Gounod and Victorin Joncières. In March 1880, the
studying under the Parisian-Jewish composer Jacques Halevy (1799-1862). Charles Jesuit order was banned and by the summer, the Archbishop of Paris sought to
Gounod and Georges Bizet (who married Halévy’s daughter) were his closest friends break the seal on the Jesuit Chapel in the rue de Sèvres and remove the Host to St.
at the Conservatoire. All three young composers publicly admired the progressive Sulpice. Leading ministers pressed for the re-establishment of divorce, and politicians
elements of Berlioz, Liszt, and especially Wagner’s music, but their compositions began to call for restrictions on Church influence in education. Silvestre had been
tended to be characterized as arch-conservative for their opposition to Debussy, reading his edits of the libretto to high-ranking politicians, and Saint-Saëns (a devout
late Strauss, and Stravinsky (Saint-Saëns walked out of the premiere of Le sacre du Catholic and prominent church organist) called the stressful situation “a Calvary
printemps). which I would not mount again even to have a piece performed at the Opéra.” Henry
VIII was perfectly timed politically: divorce became legal in France in 1884.
From 1857-1876, he worked as Head Organist at the famed Madeleine Church in
Paris. Franz Liszt remarked, “His organ playing was not merely of the first rank, Calderón’s Spanish play required substantial changes due to its complex court
but incomparable...no orchestra is capable of creating a similar impression.” Notable intrigues. Cardinal Volseo (Wolsey) was eliminated, as was a court jester-narrator
works from this period include piano concertos (one inspiring Ravel’s jazzy G Major added by the librettists to the first draft: Saint-Saëns felt it was too similar to Verdi’s
Piano Concerto) and Samson et Dalila, which Liszt sponsored in Weimar. By the age Rigoletto. The large Synod scene in Act III expanded the plea of Queen Catalina
of forty, Saint-Saëns was a world traveler, conducting and playing his own works. (Catherine) to her husband and the subsequent church council ruling in favor of
His wit and compositional approach fascinated Tchaikovsky, who shared his love King Henry. Saint-Saëns supported this approach, as long as it was not too similar to
the council chamber scene in Act I of Meyerbeer’s L’Africaine. Gounod had actually
12 HENRY VIII13Henry) are represented by multiple leitmotifs, combined and layered by Saint-Saëns
to express duplicity. However, Saint-Saëns still organized the larger structure of the
opera around conservative set pieces such as superfluous choruses (opening Act II), a
large concertato passage in the Synod scene (Act III), duets in Act II and IV that end
with cabalettas, and ternary arias.
Saint-Saens poured his frustrated feelings toward his own wife Marie into the
childless and abandoned character of Catherine: their strained marriage had resulted
in a permanent separation by 1881. The yearning melody embodying Henry’s lustful
desires is a master-stroke, both by its shape and its lack of satisfactory completion:
it speaks of desire for freedom from a failed marriage and the call of an alternative
longing.
During the same period, Saint-Saëns also wrote the music and texts for the
intimate a cappella choruses Calme des Nuits and Les Fleurs des Arbres. He composed
church anthems (two settings of the O Salutaris) and a Deus Abraham motet, which he
dedicated to the soloists of Henry VIII. He researched old Tudor music and movement
Sketch for the Synod tableau for the first production of Henry VIII
(especially mime) from Anne Boleyn’s time at court and incorporated several English,
suggested this expansion, and Henry’s repudiation became an epoch-defi ning action, Scottish, and Irish folk melodies into his score. For the mob chorus ending Act III
with a mob lending popular weight to the event at “C’en est donc fait!”. and heard in the Prelude, he quoted “The Carmen’s Whistle” from William Byrd’s
Fitzwilliam Virginal Book, hand-copied in the British Royal Library. When asked by
Vaucorbeil and the rehearsal director François-Joseph Regnier also helped to reshape Queen Victoria in 1898 about the British melodies, the composer replied that he had
the opera. There were so many changes to Calderón’s original story that Joncières found them “buried under a tangle of arabesques.”
noted (in his 12 March 1883 La Liberté review of the premiere) that he “hardly
recognized the work.” As the main plot is shaped by the rise and fall of Anne Boleyn, FRENCH ACT III BALLETS
Henry’s jealousy drives the story to its Act IV conclusion. Calderón had introduced
the idea of an incriminating letter from Anne to Henry (delivered by the Spanish Despite the Revolution of 1830, the Paris
A page from the autograph manuscript of Henry VIII
ambassador to Catherine in Act I), and the letter (with its leitmotif) was brought back Opéra remained under government
in Act IV, when Henry tries unsuccessfully to wrest it from Catherine’s hands. A fi fth control, specializing in five-act French
act was proposed and then cut; it would have featured a funeral march for Anne and grand opera. Words, music, religious
the presentation of Jane Seymour as the new queen (“Dès demain vous aurez une processions, crowds, executions, sunrises,
novelle reine”). Since this was a production destined for the Paris Opéra, Calderón’s revolutions, sunsets, and ballet were
play also required the addition of a thirty-minute ballet divertissement. combined to maximum spectacular
effect. The official Commission de
THE MUSIC Surveillance demanded “grandeur,”
but restricted Opéra scenarios to those
Saint-Saëns’s progressive use of leitmotifs surpassed Massenet’s and Chausson’s use “drawn from mythology or history;
of this technique, but he did not develop them over time in the manner of Wagner. principal subjects are kings or heroes.”
Some leitmotifs threatened (dotted rhythms), and others mocked (when Catherine
sings some of Henry’s music back to Anne). The most self-indulgent characters (like The Opéra was particularly notorious
for collaborative pressures such as asking
14 HENRY VIII 15composers to truncate five-act operas to four (due to a second act ballet requirement)
and four-act operas to three (to pair with a ballet from the repertory). Saint-Saëns’
Henry VIII was subjected to both of these requests (the first for the premiere in 1886,
19BMOP20
jordan hall at new england conservatory GIL ROSE,ARTISTIC DIRECTOR
the second in 1889). These practical, market-driven concerns trumped Wagnerian The Roaring Twenties FRI., OCT. 4, 2019 — 8pm
ORCHESTRAL SERIES
(and Berliozian) support of artistic coherence. Although Parisian grand operas Dalit Warshaw, Joseph Schillinger, John Alden Carpenter, Kurt Weill,
preferred an Act III ballet, Wagner’s Rienzi was the first to use a ballet-pantomime in with Carolina Eyck, theremin
Act II as a crucial dramatic sequence, and Saint-Saëns followed this example. When Klezmer Madness SAT., NOV. 23, 2019 — 8pm
the Opéra’s new general manager Vaucorbeil, who had studied under Cherubini Matthew Rosenblum, Wlad Marhulets, Osvaldo Golijov, Avner Dorman,
and even taught the Conservatoire’s Vocal Ensemble, first approached Saint-Saens, with David Krakauer, clarinet
it was for a one-act ballet. The composer refused, replying, “an opera must come The Chronicle of Nine SAT., FEB. 1, 2020 — 7:30pm
first.” Gounod, whose opera Tribute of Zamora had suffered dozens of rewrites due to Arnold Rosner’s opera starring soprano Megan Pachecano
Vaucorbeil’s “suggestions,” offered the following warning: “Even Saint-Saëns has the Co-presentation with Odyssey Opera
right to enjoy a failure at the Opéra.” Joseph Schwantner Portrait SAT., MAR. 28, 2020 – 8pm
In October 1882, the Maître de Ballet produced a scenario portraying the loyalty
Music of the Spheres FRI., MAY 22, 2020 – 8pm
Yu-Hui Chang, Henri Lazarof, Holst, Colin Matthews, Brett Dean,
of Henry’s subjects. Although it was anomalous to include Scotland in Henry’s Matthias Pintscher, Kaija Saariaho, Mark-Anthony Turnage
dominions, Saint-Saëns plucked melodies from a collection of Irish and Scottish
B O S T O N M O D E R N O R C H E S T R A P R O J E C T | 781.324.0396 | BMOP.org
airs belonging to Mme. Détroyat. He completed the Act II ballet in time for the first
stage rehearsal (2 December) and titled it Fête populaire. The ballet follows the arrival
of the Papal Legate: Henry casually notes that the court will hear the visitor the
following day, and proposes that Anne amuse herself through dance: “Soyons tout
a plaisir!” In early versions of the opera, a complex septet also preceded the ballet
(with Catherine as a mezzo soprano), but when Rosine Bloch became unavailable
Saint-Saens enlarged the role and made Queen Catherine a higher soprano than
Anne. Eventually, Saint-Saëns cut the whole septet number in rehearsal, noting that
Gabrielle Krauss, who premiered the role of Catherine, preferred to save her voice
for the later, more spectacular numbers. BALL
Throughout April 1883, the première danseuse, Mlle. Sobra, had a sprained foot
SQUARE
and was missing from the ballet, a serious matter at the Opéra. Saint-Saëns left Paris FILMS
immediately after the premiere, traveling south: the ballet from Henry VIII and his
Danse Macabre were played at the inauguration of the Nice Casino, and he eventually
returned to Paris to sit on the Prix de Rome jury that awarded Claude Debussy first
prize.
©2019 Laura Stanfield Prichard
ballsquarefilms.com
Proud to journey with Odyssey Opera since 2013
16 HENRY VIII17GIL ROSE
ARTISTIC AND GENERAL DIRECTOR, CONDUCTOR
Acknowledged for his “sense of style and sophistication” by Opera News, noted recording symphonic music of the twentieth and
as “an amazingly versatile conductor” by The Boston Globe, and praised for twenty-first centuries. Under his leadership, BMOP
conducting with “admiral command” by The New York Times, Gil Rose is a has won fourteen ASCAP awards for adventurous
musician helping to shape the future of classical music. Over the past two decades, programming and was selected as Musical America’s
Mr. Rose has built a reputation as one of the country’s most inventive and versatile 2016 Ensemble of the Year, the first symphony
conductors before the public. His dynamic performances and many recordings orchestra to receive this distinction. An active
have garnered international critical praise. recording artist, Mr. Rose serves as the executive
PHOTO CREDIT: LIZ LINDER
producer of the BMOP/sound recording label. His
In September 2013 he introduced a new company to the Boston opera scene, extensive discography includes world premiere
Odyssey Opera, dedicated to eclectic and underperformed operatic repertoire. recordings of music by John Cage, Lukas Foss, Charles
Since the company’s inaugural performance of Wagner’s Rienzi, which took the Fussell, Michael Gandolfi, Tod Machover, Steven
Boston scene by storm, Odyssey Opera has continued to receive universal acclaim Mackey, Evan Ziporyn, and many others on such
for its annual festivals with compelling themes and unique programs, presenting labels as Albany, Arsis, Chandos, ECM, Naxos, New
fully staged operatic works and concert performances of overlooked grand opera World, and BMOP/sound.
masterpieces. In its first five years, Mr. Rose has brought 22 operas to Boston,
and introduced the city to some important new artists. In 2016 Mr. Rose founded He has led the longstanding Monadnock Music Festival in historic Peterborough,
Odyssey Opera’s in-house recording label with its first release, Pietro Mascagni’s New Hampshire. Since his appointment as Artistic Director in 2012. Mr. Rose
Zanetto. Future projects include a double disc of one act operas by notable American has conducted several premieres. He made his opera stage directing debut in
composer Dominick Argento, and the world premiere recording of Mario two revivals of operas by Dominick Argento as well as conducting, directing and
Castelnuovo-Tedesco’s The Importance of Being Earnest. producing the world premiere recording of Ned Rorem’s opera Our Town.
Formerly, Mr. Rose led Opera Boston as its Music Director starting in 2003, and in Mr. Rose maintains a busy schedule as a guest conductor on both the opera
2010 was appointed the company’s first Artistic Director. He led Opera Boston in and symphonic platforms. He made his Tanglewood debut in 2002 and in 2003
several American and New England premieres including Shostakovich’s The Nose, he debuted with the Netherlands Radio Symphony at the Holland Festival. He
Weber’s Der Freischütz, and Hindemith’s Cardillac. In 2009, Mr. Rose led the has led the American Composers Orchestra, Warsaw Philharmonic, National
world premiere of Zhou Long’s Madame White Snake, which won the Pulitzer Prize Symphony Orchestra of the Ukraine, Cleveland Chamber Symphony, Orchestra
for Music in 2011. della Svizzera Italiana, and National Orchestra of Porto. In 2015, he made his
Japanese debut substituting for Seiji Ozawa at the Matsumoto Festival conducting
Mr. Rose also served as the artistic director of Opera Unlimited, a contemporary Berlioz’s Béatrice et Bénédict, and in March 2016 made his debut with New York
opera festival associated with Opera Boston. With Opera Unlimited, he led the City Opera at the Appel Room at Jazz at Lincoln Center. He has since returned to
world premiere of Elena Ruehr’s Toussaint Before the Spirits and the New England City Opera in 2017 (as Conductor and Director) and 2018 conducting a Double Bill
premiere of Thomas Adès’s Powder Her Face, as well as the revival of John Harbison’s of Rameau & Donizetti’s Pigmalione. In 2019 he made his debut with the Juilliard
Full Moon in March, and the North American premiere of Peter Eötvös’s Angels in Orchestra.
America.
In 2007, Mr. Rose was awarded Columbia University’s prestigious Ditson Award
In 1996, Mr. Rose founded the Boston Modern Orchestra Project (BMOP), as well as an ASCAP Concert Music Award for his exemplary commitment to new
the foremost professional orchestra dedicated exclusively to performing and American music. He is a four-time Grammy Award nominee.
18 HENRY VIII19THE CAST
MICHAEL CHIOLDI (HENRY VIII) ELLIE DEHN (CATHERINE OF ARAGON)
Odyssey Opera Credits: Cavaliere di Belfiore in Odyssey Opera debut
Un giorno di Regno, 2014; Ford in Sir John in Love, 2015;
Le Roi in Le Cid, 2015 American soprano Ellie Dehn has been praised by
critics as “a revelation” (Chicago Sun-Times), acclaimed
American baritone Michael Chioldi has quickly gained for her “great stage presence and a voice combining
the reputation as one of the most sought-after dramatic metallic clarity and sensual richness” (Wall Street
baritones of his generation. He has performed at nearly Journal). In the 2019-2020 season, Ms. Dehn will
every major American opera house, including The debut with Michigan Opera Theater in her acclaimed
Metropolitan Opera, San Francisco Opera, Houston portrayal Donna Anna in Mozart’s Don Giovanni, and
Grand Opera, Washington National Opera, Los with Arizona Opera as Mimi in La bohéme. She joins
Angeles Opera, New York City Opera, Utah Opera, the roster of the Metropolitan Opera covering the role
Virginia Opera, Michigan Opera Theater, Palm Beach Opera, Arizona Opera, of Amelia Grimaldi in Verdi’s Simon Boccenegra, and debuts Boston’s Opera Odyssey
Glimmerglass Festival, Ft. Worth Opera. He has also appeared internationally in for concert performances of Catherine of Aragon in Saint-Saëns’ Henry VIII, a
opera productions at the Gran Teatre del Liceu (Barcelona), Opera de Oviedo, role she previously recorded for commercial release with the American Symphony
the Saito Kinen Festival in Japan, and Macau International Music Festival. Orchestra. Concert appearances include debuts with the St. Louis Symphony for
Chioldi has performed with symphony orchestras around North America and Beethoven’s Ninth Symphony under the baton of Music Director Stéphane Denève,
Europe, including the New York Philharmonic and National Symphony Orchestra San Antonio Symphony for Mozart’s Requiem, and North Carolina Symphony for
(Washington D.C.) under Mo. Leonard Slatkin, as well as the New Jersey, New Handel’s Messiah. In the 2018-2019 season, she made an important role debut as the
Haven, and Houston Symphony Orchestras, the Santa Fe Concert Association; the title role in Strauss’ Arabella with the San Francisco Opera, and returned to Opera
Städtisches Orchester Pforzheim and the Oviedo Philharmonia. Performances in Colorado as the Countess in Le Nozze di Figaro. On the concert stage, she joined
the 2019-20 season include his debut with Atlanta Opera as Sharpless in Madama the San Francisco Gay Men’s Chorus as the soprano soloist in Kristopher Jon
Butterfl y, his return to Utah Opera as Germont in La Traviata, the title of role of Anthony’s Requiem, When We No Longer Touch, commemorating the organization’s
Eugene Onegin at Palm Beach Opera, the title role of Rigoletto at Austin Opera, 40th anniversary, performed Mozart’s Davide Penitente with San Diego’s Mainly
Scarpia in Tosca with Opera San Antonio, the title role of Henry VIII with Odyssey Mozart, and sang Mimi in Puccini’s La bohème with the Boston Youth Symphony.
Opera, as well as performances with Portland Opera. Chioldi has been the Her discography includes Ravel: Intimate Masterpieces, released on the Oberlin Music
recipient of numerous competition awards and honors, including The Metropolitan label and distributed by Naxos America, live recordings of Saint-Saëns’ Henry VIII
Opera National Council Auditions, MacAllister Vocal Awards, Licia Albanese- and Weber’s Euryanthe at the Bard SummerScape Festival.
Puccini Foundation, Sullivan Foundation, and the Anna Case-MacKay Award.
Mr. Chioldi makes his home in New York City.
20 HENRY VIII 21HILARY GINTHER (ANNE BOLEYN) Korsakov’s Tsar’s Bride, Shostakovich’s The Nose, Argirio in Tancredi, Armida, Gerald in
Lakme, Leidcester in Mara Stuarda, Pylade in Gluck’s Iphigenie en Tauride, Don Ruiz in
Odyssey Opera debut Maria Padilla, Don Ottavio in Don Giovanni, Rodrigo in La Donna del Lago, Ricardo
in Maria di Rohan, Nadir in The Pearl Fishers, Lensky in Eugene Onegin, the Duke in
Throughout the 2017–2018 season, Ms. Ginther made Rigoletto, Tamino in Die Zauberfloete, Leicester in Maria Sturada, Arturo in I Puritani,
a series of auspicious debuts on both coasts. She joined Belmonte in Die Entführung aus dem Serail, Cassio in Otello, Count Almaviva in Il
MidAmerica Productions on a program of Haydn barbiere di Siviglia, Don Ramiro in La Cenerentola, Tito in La clemenza di Tito, Potosi in
and Forrest for her Carnegie Hall debut, followed by Donizetti’s Elizabeth, Rinuccio in Gianni Schicchi and Saro in Tigranian’s Anoush. On
her New York City Opera debut as Laureen in the US the concert Stage he has performed the Berlioz Requiem. Verdi Requiem, Beethoven’s
premiere of Charles Wuorinen’s Brokeback Mountain, Missa Solemnis and 9th Symphony, Dvorak Stabat Mater, Brucknr’s Te Deumand and
and concluding with her Los Angeles Opera debut Lukas Foss’ Griffelkin.
performing a double bill of Gordon Getty’s operas
Usher House and Canterville Ghost in both New York KRISTOPHER IRMITER (LE DUC DE NORFOLK)
and Los Angeles. Ms. Ginther looks forward to reprising the title role of Bizet’s
Carmen, which she had debuted earlier in her career, with Fargo-Moorhead Opera Odyssey Opera Credits: Kardinal Orvieto
and making her Fort Worth debut as Judy in Rachel Peters’ Companionship, in Rienzi 2013; Count Gil in Il segreto di Susanna, 2014;
both in the spring of 2019. Next season she debuts the role of Joan of Arc in Le Comte de Gormas in Le Cid, 2015
Tchaikovsky’s Maid of Orleans at New Orleans Opera as well as debuting Olga in
Eugene Onegin with Opera Omaha in 2021. Next fall she will also debut the role of A Grammy Nominated artist who has performed in
Anne Boleyn in Saint-Saens’s Henry VIII in Boston. all 50 states and throughout Canada, and in Italy,
Bass Kristopher Irmiter is one of the most sought after
YEGHISHE MANUCHARYAN low voices in North America. He has appeared with
(DON GOMEZ DE FERIA) San Francisco Opera, L’Opera de Montreal, Lyric
Opera of Chicago, Houston Grand Opera, Atlanta
Odyssey Opera credits: Edoardo in Un Giorno di Regno, Opera, Pittsburgh Opera, Arizona Opera, and Florida
2014; Lucio Silla in Lucio Silla, 2016; Raymond, The Grand Opera among many others. With 114 performed roles in his repertoire, Mr.
Maid of Orléans, 2017 Irmiter has exhibited a vast range both vocally and dramatically, earning broad
critical acclaim; Opera News - ”a large and personable presence, his bass-baritone
Yeghishe Manucharyan has performed at the alternately stentorian and tender”, New York Times - ”Irmiter was excellent, richly
Metropolitan Opera, New York City Opera, Carnegie expressive.“, KDHX St. Louis - ”Speaking of vocal power, Kristopher Irmiter,
Hall, Avery Fisher Hall at Lincoln Center, Opera as Horace, displays a lower register that has the kind of punch not always found
Boston, Boston Concert Opera, Minnesota Opera, in deeper voices.”. Notable successful portrayals include Horace - opposite Susan
San Diego Opera, Tulsa Opera, Toledo Opera, Graham - in Regina with Opera Theater of Saint Louis, Scarpia in Tosca with Lyric
Baltimore Opera, Knoxville Opera, Tanglewood Opera of Chicago, Escamillo in Carmen with San Francisco Opera, Mephistopheles
Festival, Teatro San Carlo of Naples, Italy, Wexford Festival in Ireland, Armenian in Faust with Austin Lyric Opera, Utah Opera and Baltimore Opera, the title
National Opera as well as the New York Choral Society, Opera Orchestra of New role in Der Fliegende Hollander with Arizona Opera and Michigan Opera Theater,
York, Masterworks Chorale, Caramoor International Music Festival, the Dallas Athanael in Thais with Florida Grand Opera, Mr. Redburn in Billy Budd with
Symphony, Baltimore Symphony, Boston Modern Orchestra Project and Orquesta Pittsburgh Opera, and under the baton of Richard Bonynge he made his Opera
Sinfonica del Estado de Mejico. In opera he has appeared in such roles as Alfredo Pacific debut as Sulpice in The Daughter of the Regiment. With Atlanta Opera, Utah
in La Traviata, Rodolfo in La Boheme, Cavaradossi in Tosca Lykov in Rimsky- Opera, Opera Omaha and Lyric Opera of Kansas City he performed the lead role
22 HENRY VIII23of Rucker Lattimore in Carlisle Floyd’s Cold Sassy Tree. Mr. Irmiter is fortunate MATTHEW DIBATTISTA (LE COMTE DE SURREY)
to have worked often with Carlisle Floyd and Olin Blitch in Susannah, was the
vehicle of his Canadian Opera debut with Opera Ontario. Susannah was also Odyssey Opera credits: Sir Hugh Evans in Sir John in
the opera of his debut with Houston Grand Opera and he returns to Manitoba Love, 2015; Amrou in La Reine de Saba, 2018
Opera this fall to again perform Blitch.
Described as “brilliant” by Opera News, tenor
KEVIN DEAS (CARDINAL CAMPEGGIO) Matthew DiBattista, is continually in demand on some
of the world’s most prestigious stages having performed
Odyssey Opera debut opera and concert works throughout the United States
and Europe. He has sung with such conductors as
Kevin Deas has gained international renown as one of Charles Dutoit, Seiji Ozawa, Keith Lockhart, Sir
America’s leading bass-baritones. He is perhaps most Andrew Davis and Andris Nelson. Known for an
acclaimed for his signature portrayal of the title role exceptionally varied repertoire, Mr. DiBattista has
in Porg y and Bess, having performed it with the New performed over 60 different roles to date spanning the entire operatic repertoire.
York Philharmonic, Philadelphia Orchestra, National He has been on the roster of the Metropolitan Opera and performed with Lyric
Symphony, St. Paul Chamber Orchestra, Pacific Opera of Chicago, the Boston Symphony Orchestra, Glimmerglass Opera, Santa
Symphony, as well as the most illustrious orchestras Fe Opera, Cincinnati May Festival, Florida Grand Opera, New Orleans Opera,
on the North American continent, and at the Ravinia, Palm Beach Opera, Opera Omaha, Tulsa Opera, Opera Boston, Virginia Opera,
Vail and Saratoga festivals. 2018-19 season highlights Opera Colorado, Tanglewood Music Center, Long Beach Opera, Chicago Opera
include performances of Beethoven’s Symphony No. 9 with Orquesta Sinfonica de Theatre, Minnesota Orchestra, Michigan Opera Theatre, Odyssey Opera,
Mineria and the Buffalo Philharmonic, Elgar’s Dream of Gerontius with the National Boston Lyric Opera, Dayton Philharmonic, Milwaukee Chamber Orchestra, and
Symphony Orchestra of Mexico, Porg y and Bess with the Florida Orchestra, has appeared for eight out of nine straight seasons as principal artist with Opera
performances of Handel’s Messiah with the National Cathedral and Virginia Theatre of Saint Louis. Upcoming engagements include a production of Madama
Symphony, Bach’s St. John Passion with the Louisiana Philharmonic, Joe Horowitz’s Butterfly with Lyric Opera of Chicago, Beppe in I Pagliacci with Michigan Opera
“Dvorak in America” project with the Las Vegas Philharmonic, and Verdi’s Theatre and Monostatos in Die Zauberflöte at Santa Fe Opera. Mr. DiBattista
Requiem with the National Philharmonic. In the 2017-18 season he was a soloist in has taught voice and masterclasses at Boston University, The Boston University
Beethoven’s Missa Solemnis with VoxAmaDeus, in Mozart’s Requiem with Boston Tanglewood Institute (currently serving on the Strategic Planning Committee),
Baroque, Handel’s Messiah at the National Cathedral, and Bach’s St. Matthew Passion The Cincinnati College-Conservatory of Music, DeSales University, Lehigh
at Madison Avenue Presbyterian Church (NYC). He also sang the title role in Porg y University and Boston College High School (Currently serving on the Arts
and Bess with Duisberg Phiharmoniker; in Porg y and Bess: A Symphonic Picture with the Advisory Board). He maintains a private voice studio in Boston. A recent nominee
Reading Symphony Orchestra, and in a tour of Asia with the Pacific Symphony; for Best Performance in Opera for his portrayal of the Witch in Hänsel und Gretel
sings in Bernstein’s Wonderful Town with the Seattle Symphony; and was a soloist with Michigan Opera Theatre, he can be heard as soloist in Ned Rorem’s Our
with the Delaware and El Paso symphony orchestras, and with the PostClassical Town (New World Records) and as the title role in Kamran Ince’s Judgment of Midas
Ensemble, with which he was Artist in Residence. (Albany Records).
24 HENRY VIII25DAVID CUSHING (ARCHBISHOP OF CANTERBURY) West, Bea in Jake Heggie’s Three Decembers with t.b.d. opera projects, and First Lady
and Papagena in The Magic Flute with the Nahant Music Festival. Erin was also
Odyssey Opera debut featured in Odyssey Opera of Boston’s production of Strauss’ Die äg yptische Helena
and covered the role of Cunégonde in Opera del West’s production of Bernstein’s
David Cushing’s versatile bass-baritone range is Candide. An avid performer of new music, Erin recently premiered the chamber
effortlessly demonstrated in a variety of roles including work Tide Flowers by Geoffrey Gibbs at the University of Rhode Island as the
the title roles of Don Pasquale and Le nozze di Figaro, soprano soloist. This past November, she was thrilled to be a fi nalist in the Vermont
Frère Laurent in Roméo et Juliette, and Bottom in A Vocal Competition in Brandon, VT. Other recent performances include Gretel in
Midsummer Night’s Dream. Of a recent performance, Humperdinck’s Hansel and Gretel, Frasquita in Bizet’s Carmen, Almirena in Handel’s
the Boston Herald exclaimed, “his portrayal of Rinaldo, Clorinda in Rossini’s Cinderella, Helena in Britten’s A Midsummer Night’s
hoodwinked old Pasquale, fi lled with pathos and Dream, and Kupava in Rimsky-Korsakov’s beloved fairy-tale, Snegurochka.
unself-conscious humor, was a revelation. He could
easily specialize in Italian opera’s wealth of foolish-old- JEREMY AYRES FISHER
man roles and become the basso buffo of his generation.” Last season, Mr. Cushing (THE GARTER OF ARMS)
performed the role of Commander in The Handmaid’s Tale with Boston Lyric Opera,
Mr. Peachum in The Beggar’s Opera with Emmanuel Music, Colline in La bohème Odyssey Opera credits: Gamekeeper in The Picture of
with the Boston Youth Symphony Orchestra and Basilio in Il barbiere di Siviglia Dorian Gray, 2016; The Soldier in The Trial at Rouen,
with Mobile Opera. Next he will perform as a soloist in Mozart’s Requiem with 2017; Delil in Giovanna d’Arco, 2018
Savannah Philharmonic, sings Bruckner’s Te Deum with Commonwealth Chorale,
and is participating in a workshop for a new work with White Snake Projects. Praised for the “sheer beauty and melody” of his voice
Other recent engagements include performances in numerous productions with the and his “elegant” and “telling” characterization,
Boston Lyric Opera, The Threepenny Opera, Angelotti in Tosca and Donald in The tenor Jeremy Ayres Fisher is singing his fourth role
Nefarious, Immoral But Highly Profitable Enterprise of Mr. Burke & Mr. Hare; sang the title with Odyssey Opera. After his debut in Dorian
role of Don Pasquale with Bar Harbor Music Festival; performed Banquo in Macbeth Gray, he returned to sing the Soldier in the world
and reprised the role of Basilio in Il barbiere di Siviglia with Opera Tampa; created premiere of Dello Joio’s The Trial at Rouen, as well as
the role of Sun Tze in the world première of Rev. 23 with White Snake Projects; and Delil in Giovanna d’Arco. This season, Jeremy will be making his company debut
sang Tiresias in Stravinsky’s Oedipus Rex with Emmanuel Music. He also performed with Chicago Lyric Opera in the ensemble of Götterdämmerung. Recent roles
Basilio in Il barbiere di Siviglia with Boston Midsummer Opera and joined the include Pinkerton in Madama Butterfl y with the Janiec Opera Company, Blindt
Boston Symphony Orchestra at Tanglewood for their in MassOpera’s Die Fledermaus, and Prince Charmant in Viardot’s Cendrillon with
production of La bohéme under Mo. Andris Nelsons. the Cambridge Chamber Ensemble. Jeremy made his Boston debut with Boston
Opera Collaborative in the title role of Albert Herring. He spent two summers as
ERIN MERCERUIO NELSON (LADY CLARENCE) an Apprentice Artist with Opera Saratoga, where he was seen as Arturo in Lucia
di Lammermoor, Borsa in Rigoletto, and Fireball Snedeker in The Mighty Casey. As an
Odyssey Opera debut Apprentice Artist with Sugar Creek Symphony and Song, he performed Camp
Williams and covered Will Tweedy in Carlisle Floyd’s Cold Sassy Tree. He conducted
Hailed as “secure and sonorous” with a “bright, his graduate studies at Northwestern University, where he sang Eisenstein in Die
flexible voice” (Boston Musical Intelligencer), soprano Fledermaus, as well as Des Grieux and Lensky in selections from Manon and Eugene
Erin Merceruio Nelson performs actively throughout Onegin. He was the house tenor at Prairie Fire Theatre for a number of years,
New England and beyond. Her 2018/2019 season singing the leads in the major Gilbert and Sullivan operettas.
performances include Margaret in Leanna Kirchoff ’s
The Clever Artifice of Harriet and Margaret with Opera del
26 HENRY VIII 27MARIAH WILSON PRODUCTION STAFF
(ASSISTANT CONDUCTOR AND CHORUS MASTER)
Amanda Michelle Fisher ......................... Production Stage Manager
Odyssey Opera credits: Assistant Conductor and Anna Baronas .......................................... Stage Manager
Chorus Master: L’assedio di Calais, 2017, The Trial at Eliza Block ................................................ Music Librarian
Rouen, 2018; Giovanna d’Arco, 2018; La Reine de Saba, 2018; Mariah Wilson ......................................... Supertitle Operator
Le médecin malgré lui, 2018; Paride ed Elena, 2019; Die Antonio Oliart ......................................... Audio Recording
äg yptische Helena, 2019; La belle Hélène, 2019
With special thanks to Hugh Macdonald for his tireless and invaluable assistance.
Described as “a most versatile musician” with
“exceptionally rare talent,” Mariah has established
herself as an emerging conductor and performer in ADMINISTRATIVE STAFF
the area. She continues to inspire audiences with her
extraordinary musicality, red hair, creativity, and grace. Her musical training began Gil Rose Artistic & General Director
at age 4 at the Paris Conservatory on the violin. A few years later, she picked up the Linda O’Brien Director of Production
piano and harp, and was performing professionally on all three by age 13. Struggling Linda Osborn Director of Artistic Operations
to choose only one instrument, she realized her real passion was in collaborative Amanda Michelle Fisher Operations Manager
music making, which led her to study conducting. She has conducted Cantorum Glorivy Arroyo Development & Patron Services Manager
Chamber Choir, Boston’s Back Bay Chorale, Harvard’s Radcliffe Choral Society, Chuck Furlong Box Office
Brigham Young University Singers, and Boston University: Singers, Treble Chorus, Kathy Wittman/Ball Square Films Videography & Photography
and Choral Society. She has been chorus master and music director/assistant April Thibeault Public Relations
conductor for: Utah Lyric Opera, Brigham Young University Opera, BU’s Opera eeWee Productions, LLC Social Media Management
Institute, and is delighted to collaborate with Odyssey Opera again this season. & CRM Services
Mariah has sung with the Oregon Bach Festival, Handel + Haydn Society, Voices Opus Affair Graphic Design
21C, and the Brookline Consort, has coached at BU’s Tanglewood Institute summer
vocal program, has performed piano concertos with the Waukeshaw Symphony,
and composed a full length musical that premiered this year in California. She
has studied orchestral conducting in Berlin, Vicenza, and Paris, where she was
recognized for highest honors in every subject. Her degrees are in Piano Performance
and Choral Conducting from Brigham Young University, and her doctorate is in
Choral Conducting from Boston University, where her dissertation project was on ODYSSEY OPERA
how choral music illuminates the cancer experience. This year, she also begins to
juggle a faculty position directing the choirs Boston University. Odyssey Opera presents adventurous and eclectic works that affirm opera as a
powerful expression of the human experience. Its world-class artists perform the
operatic repertoire from its historic beginnings through lesser known masterpieces
to contemporary new works and commissions in a variety of formats and venues.
Odyssey Opera sets standards of high musical and theatrical excellence and
innovative programming to advance the operatic genre beyond the familiar and
into undiscovered territory. Odyssey Opera takes its audience on a journey to
places they’ve never been before.
28 HENRY VIII29ODYSSEY OPERA DONORS Maryanne King Anne Poulet
Michael Klein Vinay Prabhakar
We gratefully acknowledge the following individuals for their Jo Hanna Kurth Wendy & Enid Ricardo Quiñones
generous support of Odyssey Opera (as of September 10th, 2019). Kate and Tom Kush Anita Reiner
Yuriko Kuwabara Julie Rohwein & Jonathan Aibel
Alice Adler John H. Deknatel & Carol M. Taylor Sandra Larson & Nicolas Minutillo Emily Romney & George Hein
Ryan Allen Susan Denison Susan Lewinnek B. Joshua Rosen
Martin Arick Larry DeVito Steve & Mary Lee Ledbetter Nicholas Russo
Heather Ayres Kathryn Disney David Lewis, Jr. Lawrence A. Ruttman, Esq.
in memory of Fletcher Robert W. Doane Richard Lindzen Ronald G. Sampson
& Margaret Gurney Charles & Sheila Donahue Cynthia Livingston Joanne Zervas Sattley
Jeannine Ayotte Diane L. Droste John M. Loder Lynn & Mary Schultz
Manuel Balderas Helen A. Edwards Robert L. & Traute M. Marshall David & Marie Louise Scudder
Dr. Donald Barker David Elliott Domenico Mastrototaro Stephen & Peg Senturia
& Rosanne Stein Marie- Pierre & Michael Ellmann Arthur Mattuck Drs. John & Elizabeth Serrage
Kate & Gordon Baty Mark Emery Catherine Mazza Stanley & Eileen Shaffran
Lawrence Bell Thomas R. Engel Michael J. & Mary E. McConnell Sandra Shapiro & John Kirsch
Anne Benaquist Kevin Fallon & Jesse Huang Wm. Shaw McDermott Chuck Sheehan
William Ira Bennett Jean Fuller Farrington Cynthia & Michael McKee Rita & Harvey Simon
Lawrence M. Berman Dr. Christopher Fincham Christine McKenna Diane Sokal
Jerry Bernhard Newell Flather David McMurtry Melinda & Lewis Spratlan
Barbara & John Bishop Paula Folkman Charles Medler Paul Stiga
Libby Blank Robert Frank & Jennifer Coplon Amy Merrill Ronald W. Stoia
Elizabeth S. Boveroux Edw. S. Ginsberg Stephen Michaels Mary Stokey
Samuel & Deborah Bruskin Barbara & Robert Glauber Michael J. Moran Charles F. Stone III
Mr. & Mrs. Timothy Cabot Barrie Gleason in memory of Francis D. & Theresa M. Stone
Katherine Cain Ronald A. Goodman & Marcella A. Moran Peter Sulski
Cynthia Carle Barbara Goodwin Papesch Therry Neilsen-Steinhardt Gerard & Mary Swope
Renata E. Cathou Winifred P. Gray Arthur Ness Mia Unson
Mary Chamberlain Mary Alice Grellner W. Newman & M. Nienhuis Eva Vanisova
Carole Charnow & Clive Grainger Anthony R. Hayward Nancy Nitikman Robert C. Volante
Brian J. & Barbara Clifton Joseph & Margaret Heery Marilyn Nutter Charles Warren
David J. Collins Catherine Henn Jane Osgatharp Leslie Warshaw
in memory of Gerald C. Merson Petie Hilsinger Eugene Papa Harvey & Jöelle Wartosky
Patricia G. & Peter V. Cooper Leslie M. Holmes Richard B. Parker Marilee Wheeler
Nancy Crown Jacobson Keith L. & Catherine B. Hughes Leslie & William Patton Beverly Woodward & Paul Monsky
& Ann J. Parks Vikram Kachoria Karen J. Peirce Isabel C. Yoder
Paul Curtis James C. Kaddaras Thomas Peller Bertram Zarins
Belden & Pamela Daniels Richard M. Kagan Anne & Bruce Philbrick Peter & Susan Zuger
Timothy P. & Lisa Davis Louis Kampf Helen R. Pillsbury Anonymous (4)
Terry Decima Eva Karger Gene & Margaret Pokorny
30 HENRY VIII31You can also read
