Aida

Berks Opera Workshop presents

Friday, August 9, 2013 • 7:30PM Miller Center for the Arts

Giuseppe Verdi’s

OUR LEADERSHIP

OFFICERS

Jeraldine Kozloff President

Theodore Bassano

Vice President

Kimberly Bergen Secretary

Alison Whalen

Treasurer

COMMITTEE CHAIRS

Nominating Stuart Cohn

Finance

Theodore Bassano Kim Bergen

Artistic

Tamara Black

Strategic Planning Kim Bergen

Marketing

Jeraldine Kozloff Emily Branch

BOARD OF DIRECTORS

Emily Branch Stuart Cohn

Michael Feeney Rosemary Fraley Jeremy Galyon

Penelope Proserpi Matthew Robb

Matthew Samluk

Executive Director Tamara Black

Artistic Director Francine Black

Educational Outreach

David Richie

Thank you! A very special thank you to all of

our board members and volunteers who are so generous with their time,

enthusiasm and endless energy!

If you have interest in becoming a board member, serving on a

committee or just volunteering your time, please email us at

berksoperaworkshop@gmail.com

presents

GIUSEPPE VERDI’S

Aida (Concert Version)

Friday, August 9, 2013

7:30 PM Miller Center for the Arts

Francine Black Artist Director, Conductor, Choirmaster

Tamara Black

Executive Director, Producer

Monica Vanderveen Pianist

Elizabeth Bromley

Supertitles

Please turn off ALL electronic devices. Please be aware of all emergency exits in the event of an emergency.

CAST

Aida Jennifer Check

The King of Egypt Jin Heo

Amneris Lauren Curnow

Radames Noah Stewart

Amonasro Zachary Luchetti

Ramfis Jeremy Galyon

A Messenger Orin Strunk

Voice of the High Priestess Toni Marie Palmertree

Shannon Aloise Anna Baker Devan Ballaguer Jonathan Bingaman Richard Black Ty Botts Elizabeth Bromley Sharon Byrne Michael Celentano Sarah Dungan Joyce Farmer Reagan Flewelling Rachel Folk Emma Henry Lyle Ingram Brett Kenna

Michelle Kissinger Alexander Levicoff Megan Lomonico Matt Mangus Aimee Maurer Mary McCormick Callie Merz Catherine Miller Jarrod Miller Kathy Miller Roderick Nevin Kate Palladino Matthew Samluk Carol Sterner Christopher Sterner Orin Strunk

CHORUS

2012-2013 SEASON SUPPORTERS

PHARAOH $1,000 + Anonymous John P. Feeney Funeral Home Inc. Arthur Judson Foundation Reading Musical Foundation

ROYAL FAMILY $500 - $1,000 Kim Bergen Stuart & Carol Cohn Pete & Paula Desjardins Jerry & Carolyn Holleran Judith Kraines & Dr. Neil Hoffman Dail & David Richie Matthew Robb Larry & Alison Whalen PA Council on the Arts

EGYPTIAN GENERAL $250 - $499 Anonymous Theodore Bassano The Botts Family Bruce & Renee Dietrich Phillip and Rosemary Fraley Anton & Diana Kleiner Jeri & David Kozloff Penny Proserpi Emily B. Whalen Vanguard Financial Inc.

ETHIOPIAN KING/QUEEN $125 - $249 Anonymous Lorraine & Robert Bell Ivan H. Gordon & Pat I. Grove Mike & Sylvia Klett Larry & Alison Rotenberg Elizabeth Bowman Rothermel Sandra Sittler Barbara Spangenberg

ETHIOPIAN GENERAL $75 - $125 Emily Branch Ray & Susan Brubaker Anthony Cataldo Severin Fayerman Runette Gabrielle Austra Gaige Meir & Haia Mazuz The Shapiro Family Carol & Jim Sterner Anthony & Vicky Thompson Susie Yatron

EGYPTIAN PRIEST/PRIESTESS UP TO $75 Harriet Baskin Craig Bennett Brett Buckwalter Sherry Cameron Eleanor Collins William & Kathleen Cotter Mark Ferrese Richard & Jenis Frederick Rachel Gambone Luanne Ingram Elizabeth Keller Donald Maher Dr. Robert P. Metzger Carol Robinson & Ben White Matthew Samluk Barbara E. Santamour Ruth Shaffer Thomas E. Shultz, MD Tom & Louise Souders Nancy L Snyder Marge & Bill Sturm Takako Templin Richard Ullman Susan Wagner John B. & Georgia L. Wails

Verdi had to be persuaded to write Aida. He had twenty-three operas behind him, regarded the old battles as won and wanted to retire to his farm. But one of his Paris librettists, Camille du Locle, eventually interested him in a four-page synopsis for an opera for Cairo, to be set in ancient Egypt, written--so du Locle implied--by the Khedive of Egypt himself, the munificent Ismail pasha, first of the three viceroys appointed by the Ottoman empire to rule Egypt during and after the construction of the Suez Canal. Du Locle probably got the synopsis from August Mariette, a cataloguist at the Louvre who had found archaeological fame in the Egyptian sands. Mariette had the beginnings of Aida's story in his own experience: he had actually uncovered a walled up skeleton in his own excavations. Du Locle visited Verdi on his Italian farm and in less than a week the four page scenario became, between the two of them, the four acts of Aida, in French prose. Verdi then had the French translated into Italian verse by the man who had already helped with the revision of La forza del destino, Antonio Ghislanzoni. We have thirty-four of the letters that passed between the composer and librettist, so we can still read how Verdi Bullied Ghislanzoni till he got, instead of libretto language, the simple, heartfelt dialogue he wanted. Sometimes, tired of waiting, Verdi simply wrote his own Italian lines and set them to music. So in effect, Verdi is the librettist of Aida. he also suggested some of the best details in the staging, including the split levels in the last act. Since the Cairo premiere, delayed for almost a year when the Franco-Prussian war broke out and all the scenery was closed off in beleaguered Paris, Aida has become of the most popular operas in the world. But a great operatic success does not always mean triumph and fulfillment for its creators. For the creators of Aida, it was almost as if they had inherited the curse laid on those who opened King Tut's tomb. The Khedive was dismissed by the Ottomans for administrative incompetence. Mariette lost his wife and five of his children to cholera and most of his records to the Nile when it flooded his house. Du Locle took over the management of the Opera-Comique in Paris, saw it go bankrupt with the initial failure of Bizet's Carmen, and had a temporary but bitter falling out with Verdi over Money. Ghislanzoni wrote over eighty other librettos, but never had a success remotely like Aida. Finally, Verdi was angered that his new work, while widely admired reminded some critics of Wagner. "If only I had never written Aida!" he said ruefully. "To end up after more than thirty-five years in the theater, an imitator!" We, in hindsight have come to see Aida as not Wagnerian at all but as crafted dramatically along the lines of French grand opera and musically the vindication and renewal of Italian vocal art in the face of the onslaughts of German symphonic drama. but Verdi was so saddened about being praised for the wrong reasons that he went into another period of virtual retirement. When he resurfaced sixteen years later, in his late seventies, after Wagner's death, it was to write the two greatest of all Italian works for the musical stage, the ultimate reconciliation in opera of the vocal and the orchestra--Otello and Falstaff. Lee, Owen M. Aida, The St. James Opera Encyclopedia. Detroit, 1997. 5-7

PROGRAM NOTES

FROM OUR BOARD PRESIDENT

Dear Opera Lover, I hope all of you see yourselves as lovers of this wonderful, all-inclusive art form that unites instrumental and vocal music, art, story, and design. In just seven years Berks Opera Workshop has grown into a respected, publicly and privately-supported arts organization with a unique niche in our community. We present live performances of standard and lesser-known operas and educate folks of all ages about this musical genre about which we are so passionate. Producing an opera like Aida takes enormous dedication, substantial resources, and significant talent. Thanks to our founders, Francine and Tamara Black, dozens of dedicated singers and instrumental musicians, our Board of Directors, and the donors listed in this program, we proudly bring Verdi’s masterpiece to you this evening. BOW hopes you will continue to attend our productions and lectures, support our work, and spread the word to others who can become opera lovers too. Have a wonderful time tonight at Aida Jeri Kozloff

Following this evening’s concert

presentation of Aida, please join us in the lobby for refreshments and to meet the

artists.

Reception sponsored by Elsayed "Steve" Elmarzouky

Queen City Family Restaurant, 100 Lancaster Ave., Reading Wyomissing Family Restaurant, 1245 Penn Ave., Wyomissing Heidelberg Family Restaurant, 910 W. Penn Ave., Robesonia

OPERA SYNOPSIS

ACT I: In Memphis, Ramfis and Radames are conversing about Ethiopia’s imminent invasion of Egypt. Radames hopes to be named General of the armies, at which time he would ask to marry Aida, the Ethiopian slave. Amneris enters and declares her love for him. When a messenger announces Amonasro’s invasion of Egypt, the King declares war and names Radames as general. The people call for war, but Aida is conflicted over her love for Radames and the war that could destroy her homeland. In the temple of Vulcan, priests and priestesses call on the god Phtah for help and protection. Ramfis presents the sacred sword to Radames as all join in prayer for victory. ACT II: Egypt has defeated Ethiopia’s armies and Amneris’ slaves prepare her for the victory parade. A jealous Amneris suspects that Aida loves Radames and tricks her into revealing it. A huge crowd gathers at the gate of Thebes to welcome Radames and his victorious army. Aida recognizes her father among the prisoners. Amonasro cautions her not to expose his identity as King. He begs for mercy for his fellow prisoners, echoed by Radames. The King agrees, but keeps Aida and Amonasro hostage. He also offers Radames Amneris’ hand in marriage, ensuring his future as Egypt’s next King. ACT III: Night descends on the Nile as Amneris and Ramfis enter the temple of Isis to pray for her marriage to Radames. Unknowingly, Radames plans to meet Aida at the same place. Aida arrives first and is met by her father, who exerts enormous pressure on her to get information about Egyptian troop movements from Radames, as the Ethiopians are plotting a counterattack. When Radames appears, Amonasro hides. Aida asks Radames to run away with her to her home and asks him for a safe way out of Egypt. He tells her reluctantly, revealing his army’s position. Amonasro steps out, revealing his and Aida’s true identities. Amneris and Ramfis emerge from the temple in time to hear Radames help Aida and Amonasro escape. A horrified Radames surrenders to Ramfis and the guards. ACT IV: Aida has escaped, Amonasro is dead, and Radames stands accused of high treason. Amneris offers to save Radames if he renounces Aida, which he refuses to do. Ramfis and priests question Radames, and as he refuses to answer, they condemn him to death. Amneris begs them to spare him, but they turn a deaf ear. She curses them for this bloodthirsty crime against an innocent man, a man she loves. Radames is entombed alive in a crypt beneath the altar of Vulcan and discovers that Aida has stowed away to die with him. Their beautiful death song, filled with hope for an afterlife of joy, interweaves with Amneris’ prayer for peace and the priests and priestesses invocation to Almighty Phtah.

Recent engagements include a world premiere concert of Shakespeare sonnets set to music by composer, Victor Fenigstein. As a former member of the Ryan Opera Center, Ms. Curnow has been heard at The Lyric Opera of Chicago in many roles including Marcellina in Le Nozze di Figaro, Berta in Il Barbiere di Siviglia and the Fox in The Cunning Little Vixen, which has become a signature role in the mezzo's repertoire. Additional performances of the Fox have included debuts at the Saito-Kinen Festival and Maggio Musicale Fiorentino under the baton of Seiji Ozawa. Ms. Curnow has also performed the Folksongs of Luciano Berio conducted by Sir Andrew Davis. Past operatic engagements have included the role of Elle in La Voix Humaine with the Wexford Festival Opera, Hansel in Hansel und Gretel with The Opera Philadelphia and Donna Elvira in Don Giovanni at Austin Lyric Opera.

Orin Strunk is an undergraduate senior vocal performance major from Boyertown, PA. He currently studies at Westminster Choir College with Lindsey Christiansen. Past vocal teachers include Tamara Black and Patrick Marques, who both attended Westminster for their vocal studies. Orin has also studied with voice teacher, Lorraine Nubar, while attending Juilliard’s Pre-College program for voice. Past performances with Berks Opera Workshop include Orpheus in

the Underworld, Carmen, Don Giovanni, Thaïs, and Die Entführung aus dem Serail.

Francine Black, Artistic and Music Director, is co-founder of BOW and is a professional singer, pianist, linguist, conductor and composer, who has taught and coached hundreds of voice students over the course of her career. She is a former music teacher in the Boyertown Area School District, the Pennsbury School District, and several private schools, and was the Music Director for the Main Street Theatre in Quakertown for many years. She has performed as a guest soloist with the Reading

Symphony Orchestra, as a recitalist and an oratorio soloist and conducted performances of major choral masterpieces including Handel’s Messiah, Mendelssohn’s Elijah, and Mozart’s Grand Mass in C Minor. Most recently, she has conducted numerous works for the Berks Opera Workshop and Theater including Bizet’s Carmen and Pearl Fishers, Menotti’s Amahl and the Night Visitors, Puccini’s La Boheme, Offenbach’s Orpheus in the Underworld, Mozart’s Abduction from the Seraglio, and Floyd's Susannah.

Visit us online at www.berksoperaworkshop.org

Jin Heo, Baritone, recently performed the baritone solos in Brahms Requiem, and Vivaldi’s Gloria and Magnificat. He has also sung Handel’s Messiah, Mendelssohn’s Elijah and Beethoven’s Symphony No.9 in Japan. Opera credits in Korea include Marcello in La Boheme, Guglielmo in Cosi fan Tutti, and Conte in Le Nozze di Figaro. In New York he has sung Guglielmo in Cosi fan Tutti and Schaunard in La Boheme with Mannes Opera;

Ramphis in Aida and Leporello in Don Giovanni with the Amato Opera Company. Mr. Heo also covered Ramphis, the King, and Amonasro in Verdi’s Aida for the Opera Pa Skaret Festival in Sweden and appeared in a program of operatic excerpts.

Toni Marie Palmertree delights audiences in concert and on the opera stage. Caryl Huffaker of The Kennett Paper describes: “[she]...wowed the audience. They appreciated her complete vocal mastery and technique… and had the audience in the palm of her hand. With her technical expertise, personality and powerful but effortless singing, she is a major force”. Ms. Palmertree holds many awards: This season she was a

winner of the Metropolitan Opera National Council District Awards and a finalist in the Classical Singer Magazine Voice Competition. Previous awards include: first place in the Long Leaf Opera Voice Competition, Kennett Square Symphony Voice Competition, and the Marcella Sembrich Competition. She also placed third in the James Parkinson Opera Competition and was the second place winner of the Sylvia Green Voice Competition. At the age of 21, Toni Marie was a finalist in the International Moniuszko Voice Competition in Warsaw, Poland. Ms. Palmertree is currently the Executive Director of The Bel Canto Children's Chorus, vocal coach for the Reading Choral Society, and soloist/section leader for Emmanuel Lutheran Church in Pottstown, PA. Toni Marie received a Bachelor of Music degree from Peabody Conservatory of Music in Baltimore, Maryland. During her studies, she studied with Phyllis Bryn-Julson.

Mezzo-soprano Lauren Curnow, is one of today's most exciting up and coming artists. Recently she made her debut with Boston's Concord Women's Chorus in a concert honoring women composers. This season Ms. Curnow joined the members of Chicago's Second City in Lyric Opera of Chicago's production of The Second City Guide to the Opera. Upcoming engagements include the

song cycle She Sings, written by Dr. Douglas Ovens, as part of the concert "Love Songs and Other Wonders" at Muhlenberg College in Allentown, PA, and a performance of a rare Azerbaijani Operetta in Los Angeles this fall.

ORCHESTRA

Violin I Vladimir Aleksandruk, concertmaster Valerie Levicoff Chris Cinquini** Alan Racadag Kathleen Stevens

Violin II Robert Kuntz Christie Curley* Amanda Bewley* Gillian Irwin

Viola Kyle Miller, principal** Bethany Bechtel* Daniel Wallace*

Cello Doug McNames, principal Eric Coyne Kaylee Black

Bass Olivia Steinmetz*

Horn Joe Santanello, principal** Derek Maseloff*

Trumpet Paul Breidenstein, principal Jim Spangler * BOOT Camp participants **BOOT Camp assistant

Trombone Clair Socci, principal** Brandon Buterbaugh*

Tuba John Leibensperger

Flute I Nicole Schroeder, principal Kim Reichley Natalie Harper* Elizabeth Rohde*

Oboe Ko Kaiden

Clarinet Brian Tracey, principal** Neil Hoffman

Bassoon Aaron Scarberry, principal Garrett Brown*

Celesta/Harp/Piano Monica Vanderveen

Timpani Dave Stauffer

Percussion Jim Lien

FRANCINE BLACK—CONDUCTOR CHRIS CINQUINI-ASSISTANT CONDUCTOR

credits include the title role in Gianni Schicchi, the Pirate King in Pirates of Penzance, Colline in La Bohème, Zuniga in Carmen and Palemon in Thaïs. In 2011, Mr. Luchetti attended the Bay Area Summer Opera Theater Institute in San Franscisco. While on the west coast he performed numerous opera scenes and recitals in addition to singing the role of Publio in their mainstage production of La clemenza di Tito. As a concert soloist, Mr. Luchetti has been featured in Mozart's Requiem, Dubois' Seven Last Words of Christ, Handel's Messiah and Vaughan Williams' Dona Nobis Pacem. He presented Mahler's Lieder eines fahrenden Gesellen for Pittsburgh's Eclectic Laboratory Orchestra's inaugural concert in 2008. In 2006 he sang the world premiere of a concert of new music written for him at Cornell University. A firm believer in creating opportunities and bringing opera to rural areas, Mr. Luchetti has organized and performed in many special projects and initiatives. As a graduate student at Duquesne University, he organized the Pittsburgh area premiere of Puccini's first and seldom performed opera Le Villi, in which he sang Guglielmo. The project, in addition to serving as a fundraiser for rural performing arts organization, drew the largest crowd the company had seen and gave 25 children the chance to perform and experience opera in practice. As an undergraduate at St Vincent College, he founded the St Vincent Gilbert and Sullivan Players. While singing roles such as Strephon in Iolanthe and Pish-Tush in The Mikado, he also served as artistic director, musical director and production manager. Upcoming events include Belcore in L'elisir d'amore, Malatesta in Don Pasquale, and the bass solos in Handel's Messiah.

Jeremy Galyon is returning to Reading after singing Osmin in Abduction from the Seraglio, Olin Blitch in Susannah and Nourabad in Pearl Fishers. Mr. Galyon has joined The Metropolitan Opera for their productions of Madama Butterfly, Rigoletto, Ernani, Der Rosenkavalier, La Sonnambula and The Nose. After being a member of the Merola Program of The San Francisco Opera, he was given an Adler Fellowship, during which

time his performances included Nick Shadow in The Rake's Progress, Lincoln in the world premiere of Appomattox with the composer conducting, Sarastro in family performances of The Magic Flute as well as their productions of Macbeth, Rigoletto, Der Rosenkavalier and Un Ballo in Maschera. Galyon has also sung with Houston Grand Opera, Opera Theater of St. Louis, Florida Grand Opera, Chicago Opera Theater, Glimmerglass Opera, Tri-Cities Opera, Midsummer Mozart Festival and Marlboro Music Festival. On the concert platform, Mr. Galyon has performed with orchestras including Orquestra Sinfonica Nacional de Mexico, San Francisco Symphony, Houston Symphony, American Bach Soloists, Los Angeles Philharmonic and with MidAmerica Productions at Carnegie Hall in the Requiems of Brahms, Faure and Mozart.

Noah Stewart’s debut album for DECCA has become a sensation in the United Kingdom. Anne Midgette of the Washington Post has praised his, ‘white hot talent and conviction’ whilst Opera Britannia noted that, ‘Stewart is built like a dancer and sings like an angel! The voice has a dark, lustrous Italianate quality with effortless, gleaming top notes’. In Spring 2012, he made a critically-lauded

debut at Covent Garden as Hassan in Judith Wier’s Miss Fortune, a role he premiered at the Bregenzer Festspiele in the summer of 2011. A 2007-8 Adler Fellow, Noah Stewart’s roles at San Francisco Opera include: Macduff and T. Morris Chester in the World Premiere of John Adam’s Appomattox. Further North American engagements include: the Prince (A Flowering Tree) at Chicago Opera Theater; Cavaradossi, Ismaele and Rodolfo for Michigan Opera Theater; Luigi (Il Trittico) under the baton of Maestro Lorin Maazel for the Castleton Festival; Rodolfo with Opera Carolina and with the Orlando Philharmonic; and Narraboth at the Arizona Opera, Don Jose in South Africa, Pinkerton at Opera North, Nadir at Michigan Opera Theater. In concert, recent appearances include Beethoven’s Mass in C with the Gulbekian Orchestra in Lisbon and world premiere of Steven Stucky’s The Stars and the Roses with the Berkeley Symphony. Mr. Stewart won a 2008 Encouragement Award from the Sullivan Foundation, first place in the 2008 Mario Lanza vocal competition, second prize in the Leontyne Price Competition and the George London Competition, and received the Marian Anderson Encouragement Award, an Opera Index Award, a Licia Albanese–Puccini Foundation Study Grant, and first prize in the Florida Grand Opera Competition. He is a graduate of the Juilliard School and the Academy of Vocal Arts. Recent engagements include Radames at Glimmerglass Opera, Don Jose at Florentine Opera as well as the Royal Albert Hall. Future engagements include debuts at The Eistedffod Music Festival in Wales this summer, Teatro Real in Purcell’s Indian Queen, directed by Peter Sellers, the title role of Faust with Atlanta Opera, Rodolfo with Florentine Opera and Pinkerton at the Royal Opera Covent Garden.

Zachary Luchetti, baritone, joins Berks Opera Workshop once again after singing Silvio in their concert presentation of I pagliacci. A versatile singer, Mr. Luchetti's repertoire spans nearly 40 roles. He most recently sang the Toreador in Carmen, as well as Figaro in Il barbiere di Siviglia, the title role in Don Giovanni and Blitch in Susannah. Other

ACKNOWLEDGEMENTS

The Berks Opera Workshop would like to thank the following organizations for their funding, which has made this evening’s concert possible.

Arthur Judson

Foundation

ADDITIONAL ACKNOWLEDGEMENTS

Arthur Judson Foundation Reading Musical Foundation Betty Moriarity, National Penn Bank Christ Episcopal (Chorus Rehearsals) Sandy Kelsch Vicki Haller Graff Kate Palladino Sandi McCarthy Richard Black Rachel Folk Tom McCarthy Taste Buds on the Avenue Sarah Dungan Aimee Maurer Reading Symphony Orchestra Justina Merz Elsayed “Steve” Elmarzouky Karen Haver, Berks Arts Council Ann Sheehan, BCTV

Leah Rotenberg Robyn Jones, Berks County Living Jack Catwell, KAPP Advertising Jim Cotter, WRTI-Harrisburg Ellen Rissinger Dr. Tony Kleiner Reading Public Museum Judy Henry, Judy’s on Cherry Michael Leifer, The Peanut Bar Alison Ramos (Intern) Donna Samluk WEEU The Reading Eagle Andrew Cygan, Miller Center Box Office Judy Hartman Shirley Riegel-Ferreri

Celebrated by the New York Times for her “rare talent that can send chills down a listener's spine even in familiar music,” Jennifer Check recently sang her first performances of Lady Macbeth in Macbeth with Opéra de Nancy et de Lorraine, Elisabeth in Don Carlos at the Caramoor International Music Festival, and Leonore in Il trovatore with

Utah Opera. This season she returned to the Metropolitan Opera to reprise the High Priestess in Aida in addition to joining the company for its production of Dialogues des Carmélites. A frequent presence at the Metropolitan Opera, Ms. Check has previously joined the company as Liu in Turandot in the company’s famed Parks performances, Voce dal Ciel in Don Carlos, Nella in Gianni Schicchi, Marianna in Der Rosenkavalier, Dorotea in Stiffelio, the Fifth Maid in Elektra, Lisa in Cyrano de Bergerac, as well as productions of The Nose, Don Giovanni, Lucia di Lammermoor, and on tour at the Salzburg Festival as the Flower Maiden in Parsifal. A former member of the prestigious Lindemann Young Artists Development Program, she made her company debut as Clotilde in Norma. In the 2011-12 season, she created the role of Almera in the world premiere of Nico Muhly’s Dark Sisters with Gotham Chamber Opera and sang subsequent performances in her return to the Opera Company of Philadelphia. She made her debut with Nederlandse Opera as Sirin in The Legend of the Invisible City of Kitezh. That season she also sang Verdi’s Requiem with the Reno Philharmonic, Magna Peccatrix in Mahler’s Symphony No. 8 at the Virginia Arts Festival and with the Grand Rapids Symphony, and the Fifth Maid in Elektra with the Philadelphia Orchestra. Other recent performances include a triumphant debut as Iphigenie in Iphigénie en Tauride, the title role of Norma with Palm Beach Opera and the Opera Company of Philadelphia, Madame Lidoine in Dialogues des Carmélites, Lady Billows in Albert Herring under the baton of Lorin Maazel at the Castleton Festival, and Clorinda in La Cenerentola. On the concert stage, Ms. Check has excelled in performances of Verdi’s Requiem, Strauss’ Vier Letzte Lieder; James Levine at the Verbier Festival for Mahler’s Symphony No. 2, Beethoven’s Symphony No. 9, Mendelssohn’s A Midsummer Night’s Dream, Beethoven’s Mass in C, Rossini’s Stabat Mater and Orff’s Carmina Burana. She made her Carnegie Hall debut singing Messiah with the Oratorio Society of New York. Additionally, she made debuts in Carnegie Hall’s Zankel Hall and The Kennedy Center presenting solo recitals on the Young Concert Artists series.

Jennifer Check is an alumnus of The Academy of Vocal Arts in Philadelphia and received a Bachelor of Music Degree in Voice Performance from Westminster Choir College. Future engagements include her debut at the Royal Opera House at Covent Garden and Washington National Opera as well as returns to the Metropolitan Opera.

BIOGRAPHIES

FROM OUR EXECUTIVE DIRECTOR

Dear Friends, I am amazed at the growth our company has experienced from our modest beginnings in 2006. With each passing season, BOW has continued to improve and surpass its previous artistic achievements. This is wholly due to a dedicated group of supporters, who believe in our vision and their willingness to give their time, talents and financial resources. Thanks to the commitment and diligence of these motivated individuals, we are able to present opera as a part of Reading’s rich musical fabric. We are pleased to offer you a full season of opera in the upcoming year. In addition to two full productions, we offer a humorous lecture series in conjunction with the MET Live in HD Broadcasts and intimate performances at local venues. Stay tuned for more information about these events. BOW is deeply grateful to our financial supporters and volunteers who have made this evening’s program possible. It is our hope to offer you a fully staged production here at the Miller Center next August, but this will only be possible with your assistance. If you enjoy this evening's program, I encourage you to get involved in our organization. Help us grow our audience by telling your friends and neighbors, attend our events, and support us financially if you are able. We also invite you to join the BOW family by becoming part of the production process through our newly established opera league. I am truly astounded at the outpouring of support BOW has received over the past few years. I hope you will leave today’s concert excited about the beauty and power of the human voice, and touched by the honesty of this beautiful music. With deepest gratitude, Tamara Black Executive Director

David Richie and the BOW are working hard preparing this energetic line up of Unleashing in conjunction with the

MET HD Broadcast Series! Our October 25th presentation will also be our big Fall Fundraising Event!

Met HD Broadcast Opera

Tchaikovsky Eugene Onegin Shostakovich The Nose Puccini La Boheme Dvorak Rusalka Massenet Werther Mozart Cosi fan Tutte

Unleashing Presentation Title He’ll get over it some day Union of Soviet Socialist Satirists Paris-Love-Puccini-What’s not to like? The Little Czech Mermaid He won’t get over it, ever What do heroines really want?

Met Broadcast Date

October 5

October 26

April 5

February 8

March 15

April 26

Unleashing Event Date

October 4

October 25 (Fall Fundraiser)

January 16

February 7

March 14

April 25