HAWAII OPERA THEATRE

By Charles GounodFebruary 29, March 2 & 4, 2008

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

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We all know the story, the tale of twoyoung lovers from feuding families… afeud that ultimately results in thesenseless deaths of so many. Over thecenturies it has spoken to everygeneration since its creation… it enduresbecause it resonates within each of us,stroking the strings that recall the first heart-pounding moment of16-year-old love. When we were certain that no one had ever feltthis way… when we were certain that love could not be denied orbroken.

When Gounod was writing this opera, he wrote to his wife, tellingher that he felt twenty years younger because he had become soinvolved and connected to the two young lovers. He found theirstory to be buoying and inspirational and went on to write theentire work in three months time. His score is full of youthfulabandon, perfectly capturing that joyful blush of first love.

Romeo et Juliette, is also the story of the tragic fruit of unendinghate. In Shakespeare’s tale, bitter anger has been passed down intwo families over generations. Lost are the reasons for the discord,but time has not diminished the controversy, but has only deeplyworn the patterns of destructive behavior. This blinding fury setsinto motion actions that are irrevocable and disastrous.

Like so many conflicts large and small in the world today, thegenesis of anger is often inexplicable and hate simply becomes aforce of its own… a way of moving through existence that isutterly reactionary and volatile. And, just like the story of our twolovers, ironically only tragedy can break the cycle of hatred. TheCapulets and Montagues only agree to let past injuries go as theyeach face the loss of their beloved children. They find commonground in the ruin and loss that each family must now suffer.

Romeo et Juliette is a one of the greatest love stories of all time. Itis also a story of hope, of loss, and redemption. Let the scoretransport you to an earlier time, a time when you first felt yourheart skip and your face flush from the sheer delight of beingclose to someone. Let it also remind us that finding all-importantcommon ground should be a goal, hopefully not motivated by lossbut by the pursuit of preventing it.

Director’s Notesby KAREN TI LLER

4 ROM EO & J U LI ET

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6 ROM EO & J U LI ET

World Premiere: Paris, France 1876Performed by Hawaii Opera Theatre

Neal S. Blaisdell Concert Hall February 29, March 2, 4, 2008

SopranoErin Bretthauer*

Bambi-Noelani Brock**Phyllis Stahl HainesMaya Mapuana*

Malia Ka‘ai-Barrett**Jane Kerns**

Elizabeth Maddock**Megan Mount**Soo Yeun MyungAmy Rakowczyk**

Kate SarffAbigail Sparling**Joycelynn Trask**Chiho Villasenor**

AltoKathryn Budde-JonesBonnie Chock BurkePatricia I. BushongNatalie Capino**Martha Gomez

Jan Tamiko KamiyaMarita L. Nelson

Patricia Pongasi-Goldson**Moana Sanders

Pauline Taumalolo**Chris Walsh

TenorMark Ah YoDan BarnettFred CacholaClayton Ching

Kawika McGuire**Scott Moura

Christopher PuttockDouglas K. Stiles

Larry WongBradford Yamamoto**

SupernumeraryCalais Nobuhara

BassChuck Anctil

Melvin K. ChangRichard Cheney

Dean F. ConchingDavid Del Rocco**

Bruse EckmannPatrick McNichols**Rhinehardt Pua’a

StelioBill South

Nicholas R. WaltersBenoit Weber**

Chorus Co-Directors Beebe Freitas & Nola A. Na_hulu

Chorus Coordinator: Moana Sanders

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark FlintDirector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Karen Tiller

Sets designed by Eric Fielding for the Utah Symphony & Opera CompanySets contructed by Utah Symphony & Opera Production Studio

Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Dean BeckWig and Make-up Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard SteadCostumer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Helen E. RodgersChoreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Teddy KernFight Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tony PisculliStage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gretchen MuellerEnglish Supertitles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Lata

CASTJuliette, Daughter of Capulet . . . . . . . . . . . . . . . . . . . . . . . . Audrey Elizabeth LunaCapulet, Juliette’s Father. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leslie TennentGertrude, Juliette’s Nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dorothy ByrneTybalt, Juliette’s Cousin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam FlowersParis, Juliette’s Betrothed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jim PriceGregorio, a Capulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patrick P. McNichols

Romeo, Son of Montague. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George DyerMercutio, Romeo’s Cousin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Etienne DupuisStephano, A Page in the Montague household . . . . . . . . . . . Sandra Piques EddyBenvolio, a Montague . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kawika McGuire

Friar Laurence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Marcus BindelThe Duke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Mount

OrchestraThe Cades Foundation

Set & Cargo Transportation Air Canada Cargo

Horizon Lines

SupertitlesAlexander & Baldwin Foundation

ConductorRealtors for Opera

Meet the StarsHermes

Ensemble EveningFirst Hawaiian Bank

Official AirlineContinental Airlines

HospitalityHonolulu Club

*Opera for Everyone intern **Mae Z. Orvis Opera Studio member

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by Char les Gounod

Presented in French with English Supertitles

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Gounod’s opera closelyfollows Shakespeare’s work.Most of the libretto’sdeviations from the playserve to condense the storyand heighten the musical drama. The setting:Verona, 14th century.

The opera opens on the Capulet’smasked ball (Shakespeare’s fifth scene). Among theguests is Romeo, who, upon seeing Juliette, thedaughter of Lord Capulet, falls madly in love. Juliette,

however, has been betrothed (without her knowledge) tothe Count Paris. When told of her impending marriage shewants no part of it, but moments later, having met Romeo,she finds love. Juliette’s cousin Tybalt believes that themasked stranger who has caught her attention is aMontague, sworn enemies of the Capulets, but is restrainedand is powerless to prove it.

The balcony scene unfolds much as it does inShakespeare’s work. Juliette proposes marriage to Romeowho agrees, and the couple is twice interrupted, finishing thescene with the familiar lines, "parting is such sweet sorrow."

Having decided to marry, the lovers come to the cell of FriarLawrence, intent on exchanging vows in a secret ceremony.Believing that the marriage might end the two families’ bitterfeud, the Friar agrees and the young lovers are married. After

the wedding, a non-Shakespearian character appears, the pageStephano. The young Stephano has insulted the Capulets, anda fight erupts between the two families. Tybalt challengesRomeo, who having just married into the family, refuses tofight. Another Montague, Mercutio, takes up the challenge

and is quickly slain. No longer able to restrain himself,Romeo attacks Tybalt, killing him. Lord Capulet

arrives with the Duke of Verona. The Duke banishesRomeo from the town and from his beloved Juliette.

The young lovers spend their wedding night together,knowing Romeo will be forced into exile. He has been warnedthat if he is found within the town’s walls, he will pay with hislife. Romeo departs just as dawn breaks. Juliette’s father arrivesand tells her that she must marry Count Paris immediately. Sheseeks advice from Friar Lawrence, who produces a potion anda plan. The potion will make Juliette appear to be dead forforty-two hours, and in that time, the Friar will return withRomeo. She promptly drinks. Lord Capulet returns to urge herto marry, and Juliette protests, claiming death a more attractiveoption. The potion has begun to work, and she falls to thefloor, seemingly dead.

Juliette is placed in the family crypt. Through a series ofmiscommunications, Romeo believes her to be dead, and stealsinto her tomb. In his anguish, he drinks poison; a moment laterJuliette awakens. Romeo is ecstatic to learn that Juliette is alive.But the poison begins to take effect and Romeo tells Juliettewhat he has done. Juliette seizes a dagger and mortally woundsherself, and the lovers die in each other’s arms.

Synopsis provided by Detroit Opera

8 ROM EO & J U LI ET

Syno

psis

...

The Story of

L O U I S V U I T T O N

P R E S E N T S :

Hawaii Opera Theatre’s

2008 Summer Season

by Stephen SondheimAugust 1, 3, 9 & 10

"One cannot trifle with love. […] Juliette has entwined mewith the famous silk thread meant to capture Romeo,"wrote Gounod while composing Roméo et Juliette for LéonCarvalho’s Théâtre-Lyrique in 1865. But Gounod may havebeen under the spell of Shakespeare’s play ever since 1839when he heard Berlioz’s dramatic symphony on this subject.Like Berlioz, he opens with a choral prelude narratingShakespeare’s tragedy and has a brilliantly orchestratednumber for Mercutio’s Queen Mab speech. Gounod alsodescribed his act-endings in terms that evoke a symphonicaesthetic: Act 1 "brilliant"; Act 2 "tender and dream-like";Act 3 "animated and grand with its duels and the sentenceof exile for Romeo"; Act 4 "dramatic"; and Act 5 "tragic."At the same time, however, Roméo includes set piecesdesigned to appeal to the French opera-going public of theSecond Empire.

Gounod’s librettists, Jules Barbier and Michel Carré, focusmore on the central couple than does Shakespeare andwhittle away the political background of the Capulet-Montague feud. Juliette also awakens before Romeo hasdied, permitting the last of four duets that stand at the coreof this work. Highlighting the young lovers’ story fromtheir first meeting to the tomb allows Gounod to showcasemelody, his strongest gift.

Roméo et Juliette was a huge success from the time of itspremiere on 27 April 1867 during the Exposition universelle.Gounod had wanted spoken dialogue between the musicalnumbers, but bowed to pressure by his publisher for acompletely sung, exportable version. Late in rehearsals heaccommodated Caroline Miolan-Carvalho with a valse-ariette (Je veux vivre Act 1), a vehicle for her brillianttechnique, but Juliette’s superb grand air in Act 4 (Amourranime mon courage), too dramatic for Miolan-Carvalho’slight voice, was not performed at the premiere.

Despite its success, Roméo et Juliette has been revised orcut repeatedly. For the revival at the Opera-Comique in1873, Gounod himself altered the finales of Acts 1 and 3.For the Opéra in 1888, he added a chorus on Romeo’smemorable phrase "Ah, jour de deuil" in Act 3 and a balletfor Act 4. The four duets of Romeo and Juliette have notundergone such revision, and they mark the nodal points ofthe drama.

When they meet in Act 1 the young protagonists use theprecious language of the madrigal, sometimes taken wordfor word from Shakespeare. With a minuet-like rhythm,Gounod underlines the formality of their dialogue. At theend of the brief piece, the two duet for the first time,symbolizing that they have become one soul. Before thebalcony scene in Act 2, we hear Romeo’s memorableItalianate cavatina (Ah! lève-toi soleil!). In a duet of tenderpassion Juliette agrees to marry Romeo, and the two partreluctantly in a restrained cabaletta. At the climax of theopera in Act 4 a sensuous prelude opening with four cellosexpresses the rapture of the couple after their weddingnight. They sing much of their Andante in mellifluousparallel sixths. Later Juliette tries repeatedly to deny thatthe morning lark is announcing the end of their timetogether, rising in pitch as she tries to extend the night.Finally in the last act the two are alone and uninterruptedafter Juliette awakens. Extensive thematic recall heightensthe poignancy of the scene. They ask for divine clemencyas they die, and a motif from their love theme, nowtranscendant, sounds in the orchestra.

With four superb duets and a well-paced score, Gounodnever "trifles" with his affection for Shakespeare’s younglovers, but he does thoroughly entwine us in their tale withsome of his finest music.

10 ROM EO & J U LI ET

Entwine in Shakespeare’s Musical Tale BY LESLEY A. WRIGHT

Princeton University Professor of Music and Graduate Chair of UH Manoa Music Department,Dr. Wright is an internationally-known music historian and has served as consultant to the

Metropolitan Opera, English National Opera and Hawaii Opera Theatre.

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Audrey Elizabeth Luna, Soprano (Juliette)Soprano Audrey Elizabeth Luna makes her HOT debut as Juliette with upcomingappearances as Anne in A Little NightMusic and Blonde in Abduction of theSeraglio. She was recently seen as TheController in Jonathan Dove's Flight andQueen of the Night in Die Zauberflote

with The Pittsburgh Opera. Ms. Luna's other roles includeRosina in Il barbiere di Siviglia with the Portland OperaMusic Festival, Gilda with Aspen Opera and Adina with Bel Canto Northwest. Ms. Luna was awarded first place inthe Altamura/Caruso Competition and the Eleanor LieberAwards, and prizes from the George London Foundation,the Elardo Competition, the Liederkranz Foundation, theGerda Lissner Foundation, The Bel Canto Competition, The Orpheus Competition and the Metropolitan OperaCompetition.

Leslie Tennent, Baritone (Capulet)Leslie Tennent, who appeared last seasonas Sharpless in Madama Butterfly withHOT on Maui, performs the role ofCapulet, followed by an upcoming debutin the 2008 summer season as CarlMagnus in A Little Night Music.Internationally recognized as a versatile

performing artist, highlights include Marcello in La Bohèmewith NYCO, Gerard in Andrea Chenier with Santa Fe,Amfortas in Parsifal in Mallorca, Emile DeBeque on thenational tour of South Pacific and a Carnegie Recital debut.As a guest with Hannover Staatsoper and principal baritonewith Stadttheater Hildesheim, Mr. Tennent’s diverse rolesincluded Don Carlo, Germont, Stankar, Michele, CountAlmaviva, Capulet and Moses in Mahagonny. A frequentguest soloist with the Honolulu Symphony, recentappearances include Beethoven’s Ninth and Elijah.Currently a professor of voice at Chaminade, Mr. Tennentalso teaches privately.

Dorothy Byrne, Mezzo-soprano (Berta)Grammy-nominated mezzo-sopranoDorothy Byrne has appeared with LyricOpera of Chicago as Mrs. MacLean/Susannah, Mrs. Olsen/ Street Scene andGertrude/Romeo et Juliet. She hasperformed with Houston Grand Opera(Marcellina/Le nozze di Figaro),Glimmerglass Opera (Ruth/The Pirates of

Penzance, Leda/Mrs. Traxell/The Mines of Sulphur,Clementine/Bluebeard), Minnesota Opera, Boston LyricOpera, Hawaii Opera Theatre, Lyric Opera of Kansas City,and Chicago Opera Theater in such roles as, Larina/EugeneOnegin, Gertrude/Hamlet, Venus/Arianna, CeciliaMarch/Little Women, Orlofsky/Die Fledermaus, Katisha/TheMikado, Ma Moss/The Tender Land, and Zita in GianniSchicchi/Buoso’s Ghost. Her Broadway credits include Paradeand The Phantom of the Opera. Upcoming engagementsinclude her international debut with The Wexford Festival asLeda/The Mines of Sulfur; this season for HOT she appearsas Gertrude/Romeo et Juliette and Berta/Il barbiere diSiviglia; Opera Theatre of St. Louis as Susanna/The Ghostsof Versailles; Minnesota Opera/Jezibaba in Rusalka; andFlorida Grand Opera as Duigne/Cyrano and Marcellina/Lenozze di Figaro.

Adam Flowers, Tenor (Tybalt)Northern California native Adam Flowersrecently reprised the role of Rodolfo inPuccini’s La Bohème in October of 2007 forhis company debut at Opera Idaho inBoise. Other roles include: Macduff inMacbeth; Gherman in Pique Dame andCamille de Rosillon in Lehar’s The Merry

Widow at West Bay Opera; Ferrando in Cosi fan tutte atRimrock Opera in Billings, Montana; and Lord Lechery,Interpreter and Mr. By-Ends in Vaughan Williams' Pilgrim'sProgress with Trinity Lyric Opera. In July of 2006, Mr. Flowerscompleted a five year Artist-In-Residency for Opera San Josein which he appeared in over 30 roles, including Don Ottavio

in Mozart's DonGiovanni; Ferrando inCosi fan tutte; Nemorinoin L'Elisir D'Amore;Tamino in The MagicFlute; Faust in Faust;Pinkerton in MadamaButterfly; Chevalier desGrieux in Manon; Fentonin Falstaff; Don Jose inCarmen; MarioCavaradossi in Tosca;Turridu in CavalleriaRusticana; and Manrico inIl Trovatore.

29ROM EO & J U LI ET

Principal CastHawaii Opera Theatre The House of Capulet

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DATAHOUSE looks forward to an exciting2008 season and is proud to partner with

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Jim Price,Tenor (Paris)Versatile tenor JamesPrice has performed inconcert with OperaHong Kong, the LotteLehmann Foundation,and the Maui Civic

Light Opera. He has also sung in concertsand conventions in Las Vegas, New York,Santa Fe, Chicago, and throughout Hawaii.Mr. Price sang live excerpts in the title rolein Albert Herring on WFMT Chicago. He’sperformed with the Hawaii Opera Theatrefor five seasons in various roles includingTriquet in Eugene Onegin; Pang inTurandot; Roderigo in Otello; and Kasparin Amahl and the Night Visitors. Recentactivities include Nanki-Poo in The Mikadowith the Music Institute of Chicago(concert), a soloist for the Waldorf Astoria’sAnnual Debutant Ball in New York, aconcert with Pacific Opera in New Jersey,and as the featured soloist for the 12 IrishTenors in their world premiereperformances in Holland and Belgium.

Patrick P. McNichols, Baritone (Gregorio)Originally from LagunaBeach, California, Mr.McNichols has beenraised, educated, andemployed in Hawai'isince 1970. He has

performed locally throughout the yearsin various venues including the HawaiiVocal Arts Ensemble,Kawaiolaonapukanileo, Kona Associationfor the Performing Arts, the HonoluluSymphony and Chorus and many HOTperformances. Mr. McNichols joined theHawaii Opera Theatre Chorus in 1998and made his comprimario debut as theImperial Commissioner in HOT’sproduction of Madama Butterfly, 2000season. He has been a HOT Mae Z.Orvis Opera Studio Scholarship recipientsince the year 2000 and has performedas a soloist in the following HOTproductions:, L'Enfant et les Sortileges, La Traviata, Amahl and theNight Visitors, The Magic Flute, LaBohème, Otello, The Merry Widowand Susannah.

30 ROM EO & J U LI ET

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George Dyer, Tenor (Romeo)George made his professional debut withNew York City Opera in 1996 and hassince been engaged in leading roles withcompanies all across the US and Canada.Most recently he has performed RalphRackstraw in HMS Pinafore; Don Jose inCarmen with the Wildwood Festival;

Frederick in Pirates of Penzance and Prunier in La Rondinewith Utah Symphony and Opera; and Pinkerton in MadamaButterfly with Toledo Symphony and Opera. This will be his5th appearance with Hawaii Opera Theatre, previously beingheard as Lenski in Eugene Onegin, Ferrando in Cosi fan tutte,Frederick in The Pirates of Penzance and Don Ottavio in DonGiovanni. In concert Mr. Dyer has performed with TheLiverpool Royal Philharmonic, The Estonia NationalOrchestra, The Jerusalem Symphony, The KrakowSymphony Orchestra, Utah Symphony and The ToledoSymphony among others. He is also an accomplishedrecording artist with 3 CDs on the Shadow Mountain Label.

Etienne Dupuis, Baritone (Mercutio)As a member of l'Atelier Lyrique del'Opéra de Montréal, Mr. Dupuisperformed Escamillo and Dancaïre inCarmen and Peter in Hänsel und Gretel.During the 2004-2005 season of l'Opérade Montréal, he obtained roles in everyproduction including Mandarino in

Turandot, Aeneas in Dido and Aeneas and Dancaïre inCarmen. Mr. Dupuis performed the roles of Lescaut inPuccini's Manon Lecaut at the New Israeli Opera, Bob inThe Old Maid and the Thief with I Musici of Montreal andMarcello in Bohème with l’Opéra de Québec. He recentlysang the roles of Papageno and Silvio for Vancouver Opera,

Mercutio for l’Opéra de Québec and made his debut atl'Opéra de Paris in Capriccio and l'Opéra de Marseille asFigaro in Il Barbiere di Siviglia. Mr. Dupuis will be singingPapageno for l'Opéra de Tours and Johnny Rockfort in theopera version of Starmania.

Sandra Piques Eddy, Mezzo-soprano (Stephano)

In 2007-08 Sandra Piques Eddy singsCherubino in Le nozze di Figaro with bothCanadian Opera Company and AtlantaOpera, and has been engaged by theMetropolitan Opera for their performances ofLe nozze di Figaro and War and Peace.

Recent performances include Lola in Cavalleria Rusticana(Metropolitan Opera), Dorabella in Così fan tutte (New York CityOpera), and Rosina in Il Barbiere di Siviglia (Austin Lyric Opera).She has performed Cherubino, Rosette in Manon, Mercédès inCarmen, Zulma in L’italiana in Algeri, Dragonfly in L’Enfant et lessortileges, and Flower Maiden in Parsifal all for the MetropolitanOpera. She has also sung Cherubino (Los Angeles Opera,Chicago Opera Theater); Dorabella (Pittsburgh andGlimmerglass Operas); Isabella in L’italiana in Algeri (ArizonaOpera); Don Ramiro in La finta giardiniera (New York CityOpera, Florida Grand Opera); and Meg in Little Women(Kentucky Opera, Glimmerglass Opera, Fort Worth Opera).

Kawika McGuire, Tenor (Benvolio)Kawika has had a passion for music froman early age. The child and grandchild ofHawaiian entertainers, Kawika has alwaysbeen surrounded by those who havehelped to develop his love of music. Hewas a part of the select concert glee clubof the Kamehameha Schools and has in

31ROM EO & J U LI ET

Principal CastHawaii Opera Theatre The House of Montague

recent years pursued his love of classical music as ascholarship recipient of the Mae Z. Orvis Opera Studio.Some of Kawika’s studio experiences have included singingfor Renee Fleming’s master class as well as coaching withMark Morash of the San Francisco Opera’s Merolaprogram. Kawika is a past winner of the Lotte Lehmann ArtSong Competition and has been a member of the HawaiiOpera chorus since 2004. He is a student of Neva Regoand Betty Grierson and is honored to be working with thecompany in his role tonight.

John Marcus Bindel, Bass-baritone (Friar Laurence)Mr. Bindel performs frequently with theWashington Opera and the New York CityOpera, where he has performed the Kingin Aida, Zuniga in Carmen, Sparafucileand Monterone in Rigoletto, the ReverendJohn Hale in The Crucible, Ferrando in Il

Trovatore, Pietro in Simon Boccanegra, Commendatore inDon Giovanni, Lord Walton in I Puritani, the bass roles inBoris Godunov, Klingsor in Parsifal, First Nazarene inSalome, Sourin in Pique Dame, and Colline in La Bohèmeamong others. He has also performed with WashingtonOpera on tour in Japan. He has appeared in Germany, inMexico, and with the Spoleto Festival Italy. Mr. Bindel was aregional finalist with the Metropolitan Opera National

Council Auditions and was an apprentice with Santa FeOpera. He recently sang Cecil in Maria Stuarda for theDallas Opera and the Baltimore Opera.

John Mount, Bass-baritone (The Duke)John Mount is Professor of Music andDirector of the opera workshop at TheUniversity of Hawaii at Manoa. John is veryactive on the opera stage having sung over75 roles with Hawaii Opera Theatre andalso numerous mainland opera companiesincluding the San Francisco Opera, Santa Fe

Opera and the Houston Grand Opera. Previous recent HOTappearances include Monterone in Rigoletto, Dr. Spinaloccioand The Notary in Gianni Schicchi, Sarastro in The MagicFlute, Lodovico in Otello and Benoit and Alcindoro in LaBohème Mr. Mount is a former finalist in the MetropolitanOpera Auditions, The San Francisco Opera Auditions, and theInternational competition for Verdian Voices in Busetto, Italy.He has been soloist with the Honolulu Symphony and OahuChoral Society in such major works as The Messiah, Elijah,The Brahms Requiem, Verdi Requiem, and the MozartRequiem as well as the Beethoven 9th. Symphony. As ateacher, Mr. Mount’s students have sung in opera housesthroughout the world in opera and musical theater works onBroadway and in Europe. He is also music director at KailuaUnited Methodist Church.

Principal CastHawaii Opera Theatre

Honolulu Symphony OrchestraAndreas Delfs,

Principal ConductorMatt Catingub, Conductor,

Honolulu Symphony Pops

VIOLIN IIgnace Jang, ConcertmasterClaire Sakai Hazzard,

Associate ConcertmasterJudy Barrett,

Assistant ConcertmasterRami GepnerKatharine Hafner**Mio HerzogSasha Margolis**Emma PhilipsMaile ReevesNikki Kurata Routman †Amanda SchubertSheryl ShohetNancy Shoop-WuJames Stanford

VIOLIN IIHung Wu, PrincipalDarel Stark, Associate PrincipalLaurilyn ButinJoan HaydenHelen HigaAnn KrinitskyTimothy LeongDaniel PadillaFumiko WellingtonGregory Wrenn †Duane WhiteIolani Yamashiro

VIOLAMark Butin, PrincipalSteven Flanter,

Associate PrincipalNancy HeadleeJean-Michel JacquonEthan Pernela †Teresa SkinnerLynn Tamayoshi †Melvin WhitneyAnna Womack *Sandra Wong

CELLOMark Votapek, PrincipalAndrew Eckard,

Associate PrincipalPauline Ping BaiKaren BechtelLouise Kefford ChingJoanna FlemingKaren FujimotoNancy Masaki-HathawayJoanna Morrison

BASSKirby Nunez, PrincipalMichael Gorman,

Associate PrincipalLeon BurtonDavid Chiorini †John GallagherJohn KolivasGeoffrey Stone

FLUTESusan McGinn, PrincipalAmy Taylor, Associate Principal †Claire Starz

PICCOLOAmy Taylor †

OBOEJ. Scott Janusch, Principal

Lynne Johnson ChairBrian Greene,

Associate Principal*William Parrish †Jason Sudduth *

ENGLISH HORNWilliam Parrish †Jason Sudduth *

CLARINETScott Anderson, PrincipalJames Moffitt,

Associate PrincipalNorman Foster

E-FLAT CLARINETNorman Foster

BASS CLARINETJames Moffitt

BASSOONPaul H. Barrett, Principal,

Musician RepresentativeMarsha Schweitzer,

Associate PrincipalPhilip Gottling III

CONTRABASSOONPhilip Gottling III

HORNWade Butin, PrincipalGeorge Warnock,

Associate PrincipalJonathan Parrish, AssistantMichiko SinghRobert Johnson †Eric Kop

TRUMPETMichael Zonshine, PrincipalMark Schubert,

Associate PrincipalMike BakerKenneth HafnerDon Hazzard

TROMBONEEric Mathis, Principal **Jeffrey Merriman,

Associate Principal †

BASS TROMBONEGraeme Mutchler †Michael Szabo*

TUBAAdam Snider, Principal †David Saltzman, Principal*

PERCUSSIONEric Shin, PrincipalRiely Francis, Associate PrincipalStephen Dinion

TIMPANIStuart Chafetz, PrincipalStephen Dinion,

Associate Principal

HARPConstance Uejio, PrincipalNyle Hallman

HARPSICHORDMary Dibbern

ORCHESTRA LIBRARIANKim Kiyabu, Librarian

ORCHESTRA PERSONNELNancy Headlee,

Personnel ManagerAndrew Eckard, Assistant

Personnel Manager/Auditions Coordinator

Kenji Stevens, Director of Concert Operations

Paul Mawhar, Production/Stage Manager

* on leave** one-year change of positionor title† one year position

32 ROM EO & J U LI ET

Mark Flint, ConductorMark D. Flint returns for his 14th seasonwith HOT, having led last year’s Samson etDalilah and such recent productions asThe Flying Dutchman, Rigoletto and TheTales of Hoffmann. Currently ArtisticDirector of the Augusta Opera in Georgia,he has conducted in leading opera houses

in both the U.S. and Canada, including New York CityOpera, Michigan Opera Theatre, L’Opéra de Montreal,Edmonton Opera, Nashville Opera and Orlando Opera.Recently, he conducted the world premiere of the DavidDiChiera opera Cyrano, for which he wrote theorchestration and which will perform in Philadelphia andMiami. In 2008 he conducts The Merry Widow/ FlorentineOpera; Il Trovatore/ Nashville Opera La Traviata/ LakeGeorge Opera; and La Tragedie de Carmen and I Pagliacciat Augusta Opera. Most recently, he conducted Samson etDalilah with Denyce Graves/Orlando Opera; the worldpremiere of Ned Rorem’s Our Town/Lake George Opera;and La Bohème/Edmonton Opera.

Karen Tiller, DirectorKaren is currently Executive Director ofHawaii Opera Theatre. She served as theManaging Director of Music-TheatreGroup in New York; General Director ofOpera Festival of New Jersey; Director ofProduction and finally the ExecutiveDirector of Opera Memphis. She began

her career at Virginia Opera. An accomplished stagedirector, Ms. Tiller has directed several critically-acclaimedproductions including Gluck’s Orfeo ed Euridice and BurningBright at Opera Festival New Jersey; Carmen, Tosca,Madama Butterfly, Werther, Gianni Schicchi/Buoso’s Ghost,The Turn of the Screw, Tales of Hoffmann, CavalleriaRusticana and I Pagliacci. For HOT, she directed MadamaButterfly, Tosca and Susannah. In 2006 she staged Samsonet Dalila at Opera Memphis. Ms. Tiller currently serves asan on-site evaluator for the National Endowment for theArts; served as head of the Theatre Panel for the TennesseeArts Commission; served on the Arts and Industry Panel forthe Mississippi Arts Commission; and has served as a boardmember and frequent panelist for Opera America. She wasalso named one of the “40 Under 40 in business” by PacificBusiness News in 2005. Ms. Tiller is a graduate of theCollege of William and Mary in Williamsburg, VA.

Peter Dean Beck,Lighting DesignerBeck has designed scenery and/orlighting for over 250 productions aroundthe country. During his twenty-plusprevious seasons with Hawaii OperaTheatre, he has designed the sets for 38productions and the lighting for 63,

among them: La Bohème, Eugene Onegin, The Tales ofHoffmann, Tristan and Isolde, Electra, Macbeth, L’italiana inAlgeri, and Samson and Dalila. Among his other operacredits are Falstaff, Turandot, Manon, Madama Butterfly,Hansel and Gretel, A Midsummer Night’s Dream, andRomeo et Juliette for such companies as Atlanta Opera,Florida Grand Opera, Glimmerglass Opera, Virginia Operaand Chautauqua Opera. His musical theater credits includeWest Side Story, Guys and Dolls, Candide, The King and I,and Fiddler on the Roof. He recently did a double bill of leRossignol, and Cavalleria Rusticana for Sakai City Opera inJapan (built and painted by HOT Scene Shop) and litCavalleria Rusticana/I Pagliacci in Macao, China.

Richard Stead, Wig & Make-up DesignerThis season, Mr. Stead celebrates his 26thconsecutive season with HOT. He hasbeen Wigmaster at The San FranciscoOpera where he won an EmmyNomination. He has worked withNetherlands Opera, Royal Shakespeare

Company, Central City Opera, Utah Opera, Boston Opera,Minnesota Opera, American Conservatory Theatre, SpoletoFestival USA, Bolshoi Ballet, San Francisco Ballet, BalletHawaii, films and television. He was on the faculty of SanFrancisco State University and University of California. Mr.Stead operates his own wig and make-up company.

Helen E. Rodgers, CostumerHelen Rodgers has designed costumes forHOT for several major productionsincluding The King and I, Susannah, LaBohème and Cosi fan tutte in addition toher work as Costumer for the company.Recent work at other companies includescostume design for Good Evening at

Florida Studio Theatre, Magic Flute for Mannes Opera,Stiffelio and Susannah for Chautauqua Opera, and LaBohème for Opera Memphis, Chautauqua Opera andMannes Opera.

Teddy Kern, ChoreographerTeddy Kern is a master teacher, dancestylist, and choreographer, equally skilledin social and theatrical dance forms. Sheis co-owner and Artistic Director of DanceManhattan. Her choreography isrepresented in the Dance Archives of theLibrary and Museum of Performing Arts

in Lincoln Center. She has been a faculty member of theJuilliard School, Eastman School of Music, Baruch CollegeDance Division, and Butler School of Dance and Institute forSocial Dance Studies. She has choreographed for Santa FeOpera, Kansas City Lyric Opera, Eastman Opera Theatre,

Principal Artistic TeamHawaii Opera Theatre

33ROM EO & J U LI ET

34 ROM EO & J U LI ET

Pittsburgh Opera and Chautauqua Opera. In addition,Teddy has taught Master classes for the Young ArtistsPrograms, the Mae Z. Orvis Opera Studio of Hawaii OperaTheatre, and Lyric Opera of Chicago. She haschoreographed for Broadway, Off-Broadway and cabaretacts, and – for 24 years – the annual Viennese Opera Ballat the Waldorf Astoria. In 2004 Teddy was inducted intothe Living Legends of Dance.

Tony Pisculli, Fight ChoreographerTony Pisculli is Hawaii's premiere fightdirector. He has been teaching anddirecting stage combat in Hawaii for overten years and has worked at every majortheatre on Oahu and teaches annualworkshops in Honolulu and Tokyo. Heholds an MFA in Directing from the

University of Hawaii at Manoa and directs and producestheatre locally and is the co-founder and producer of theHawaii Shakespeare Festival. He has previouslychoreographed fights for Romeo et Juliette (1998) andOtello (2004) for Hawaii Opera Theatre.

Gretchen Mueller, Stage ManagerMs. Mueller has stage-managed for SanFrancisco Opera, Los Angeles Opera, TheWashington Opera, Seattle Opera, OperaTheatre of St. Louis, Hawaii OperaTheatre, Wolf Trap, Banff School of FineArts and Tanglewood Music Center.During her career she has worked on two

productions of The Ring Cycle, two productions of War andPeace, other Russian epics including Boris Godunov andKhovanshchina, and world premieres written by OsvaldoGolijov, Robert Zuidam, Minoru Miki and Paul Schofield.Although she specializes in opera production, she has alsoserved as Company Manager, Stage Manager, andTechnical Liaison for International Attractions' tours of TheRustavi Company of Tbilisi, Georgia and of The PekingOpera of Chongching, China. This year she will bereturning "full-time" to San Francisco Opera, but is pleasedthat she “will be able to continue to work with HOT, thewonderful company that it is.”

Beebe Freitas, Rehearsal Pianist, Co-Chorus DirectorA graduate of Oberlin College, Ms. Freitasreceived her Master's Degree from BostonUniversity and was in the Special StudiesProgram at Juilliard. She has been soloistwith several orchestras including theBoston 'Pops', the Youngstown and the

Honolulu Symphonies. She has performed with suchrenowned soloists as Yo Yo Ma, Leonard Rose, and DavidShifrin; has been rehearsal pianist for many conductors

such as Leonard Bernstein, Thomas Schippers, Robert Shaw,and William Steinberg. She has been the recipient ofhonors bestowed by the National Society of Arts andLetters, the YWCA, a Honpa Hongwanji Mission's LivingTreasure Award, the City and County of HonoluluCommission on Culture and the Arts Award, and theHawai'i Arts Alliance's prestigious Alfred Preis Award.

Nola A. Na_hulu, Co-Chorus Director

Ms. Nahulu is a native of Makaha, O'ahu.She received her education from WaianaeElementary School, Kamehameha Schools,Whitman College (B.A. Psychology) andUniversity of Hawai'i, Manoa (M.A. MusicEducation, Choral). Ms. Nahulu has beeninvolved as a music educator/director in

choral music here in Hawaii since 1977. Organizations shehas served include the Unitarian Church, Bishop MemorialChurch of the Kamehameha Schools, Molokai Children'sChorus, Hawaii Children's Chorus and the KamehamehaAlumni Glee Club. She is presently choral director for PearlHarbor Hawaiian Civic Club (since 1977), KawaiahaoChurch (since 1990), Hawaii Opera Theatre Chorus (since1992), and Kawaiolaonapukanileo (since 1997). She ispresently the interim director for the Honolulu SymphonyChorus. She is also lecturer in Hawaiian Choral music atthe University of Hawaii, Manoa, Music Department (since1982) and the Executive & Artistic Director for the HawaiiYouth Opera Chorus (since 1986).

Principal Artistic TeamHawaii Opera Theatre

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