Fall Opera Scenes

OPERA SCENES

Yale Opera

Robert Blocker, Dean

nov2–3

saturday at 7:30 pm • Giulio Cesare in Egitto, Eugene Onegin, Manon, La Bohème, and Les Contes d’Hoffmann

sunday at 2:00 pm • Le nozze di Figaro, Don Quichotte, Les pêcheurs de perles, Susannah, and Eugene Onegin

Morse Recital Hall

MARC VERZATT, STAGE DIRECTOR · DOUGLAS DICKSON & TIMOTHY SHAINDLIN, MUSIC DIRECTORS

Doris Yarick Cross, artistic director

douglas dickson · timothy shaindlin

music directors

marc verzatt

stage director

john carver sullivan

costume designer

william b. warfel

lighting designer

wendall k. harrington

projection design supervisor

Projections designed by students of the Yale School of Drama projection design program

Yale Opera presents

Morse Recital Hall in Sprague Memorial Hall november 2 & 3, 2013 sat 7:30 pm| sun 2:00 pm

saturday: Giulio Cesare in Egitto, Eugene Onegin, Manon, La Bohème, and Les Contes d’Hoffmann

sunday: Le nozze di Figaro, Don Quichotte, Les pêcheurs de perles, Susannah, and Eugene Onegin

OPERA

SCENES

Saturday, November 2

Giulio Cesare in EgittoAugust, 48 BCE, the royal palace in EgyptAct II, scenes 1 & 2

Julius Caesar has conquered Egypt, and the siblings Cleopatra and Ptolemyare each vying for the regency throne. Ptolemy has failed to win Caesar’s favor, for he sent Caesar the severed head of the enemy general, Pompei, husband of Cornelia and father of Sextus. Ptolemy has imprisoned Cornelia and Sextus, while Cleopatra disguises herself as a serving girl in an attempt to win Caesar’s favor without his knowing her true identity. She has invited him to meet her in her chambers.

Ptolemy has tried courting Cornelia, who refuses him, so he swears revenge. Cornelia in distress seeks to kill herself, but her son Sextus stops her. He has been released from prison by Cleopatra’s servant, Nireno.

Cleopatra gets ready to seduce Caesar, but they are interrupted as the servant, Curio, warns Caesar that Ptolemy is planning to have him attacked and assassinated. Caesar goes off to defend himself as Cleopatra prays for his safety.

CorneliaSestoNirenoCleopatraCesareCurio

Performed in Italian with projected English translation

Musical direction by Douglas DicksonProjection design by Caitlin Smith Rapoport

Excerpt from Act IIMusic by G. F. Handel

leah hawkins, mezzo-sopranoevanna chiew, mezzo-sopranosamuel hinkle, baritonealison king, sopranoaleksandra romano, mezzo-sopranohalim shon, tenor

Giulio Cesare in Egitto

cast (in order of vocal appearance)


Act II, Scene 2Russia 1820

Vladimir Lensky is betrothed to his childhood sweetheart, Olga Larin. Hersister, Tatyana, has fallen in love with a cynical neighbor from St. Petersburg, Eugene Onegin. She has written him a long love letter. He has rejected her, telling her that she was living in a childish dream. At Tatyana’s name-day party, Onegin tried to show off his indifference by dancing with Olga. Lensky accused him of dishonorable behavior, and of compromising Olga’s honor. Onegin heatedly denied this, and Lensky challenged him to a duel.

The day of the duel dawned several hours ago, but Onegin has not yet arrived. A retired military officer, Zaretsky, is to serve as Lensky’s second and to see that the rules of dueling are followed. Lensky muses on his lost youth and what his death will mean to Olga.

Onegin and his servant arrive, and Zaretsky is incensed not only that is he late, but that his second is not of his class. Onegin and Lensky wonder aloud how their friendship has turned them into enemies. Zaretsky orders the duel to take place. Onegin shoots Lensky dead.

ZaretskyLenskyOneginGuillot

Performed in Russian with projected English translation

Musical direction by Timothy ShaindlinProjection design by Joey Moro

Excerpt from Act IIMusic by P. I. Tchaikovsky

david leigh, bassnikhil navkal, tenorbrian vu, baritonehalim shon, tenor

Eugene Onegin



Act III, Scene 2Paris, 1731, the church of Saint Sulpice

Manon was destined to be sent to a convent by her family, but en route she met the Chevalier des Grieux, who took her to live with him in Paris. His father, the Count des Grieux, opposed the marriage and kidnapped his son, while Manon was taken under the protection of the wealthy De Brétigny. Many months have passed since Manon left des Grieux, but during a promenade in the Tuileries Gardens Manon overhears the Count des Grieux speaking about his son, who is about to be ordained.

At the church, before the ceremony, des Grieux prays that he may turn hismind completely to God and forget Manon. She arrives, however, and begshim to take her back and leave with her.

intermission

Chevalier des GrieuxManon

Performed in French with projected English translation

Musical direction by Timothy ShaindlinProjection design by Caitlin Smith Rapoport

Excerpts from Act IIIMusic by Jules Massenet

jorge prego, tenorclaudia rosenthal, soprano

Manon



Act IIIParis, 1830

Mimì and Rodolfo have been living together, but it has been a difficult time for them. She walks from the city to the suburbs of Paris to seek advice from Marcello, Rodolfo’s friend, who is working at an inn with his girlfriend, Musetta. Marcello tells her that Rodolfo arrived the night before, and advises Mimì not to make a scene but to go back home. Rodolfo at first tells Marcello that he wants to break up with Mimì, because she flirts with everyone. Mimì returns to overhear him change his story: Rodolfo tells Marcello that Mimì is extremely ill, and he can’t afford to take care of her. Mimì breaks down at hearing this. Rodolfo tries to deny what he said. Musetta is heard laughing, and Marcello uses this as an excuse to leave them alone. Mimì tells Rodolfo she will move out, but that he can keep a bonnet that he bought her at Christ- mas. As Musetta and Marcello bring their argument out onto the street, Rodolfo and Mimì agree not to separate until the springtime.

MarcelloMimìRodolfoMusetta


Musical direction by Douglas DicksonProjection design by Shawn Boyle

Excerpt from Act IIIMusic by Giacomo Puccini

stephen daniel, baritonenicole percifield, sopranoesteban cordero, tenoralison king, soprano

La Bohème



Act IIThe home of Councilor Crespel, Munich, early 1800’s

E.T.A. Hoffmann (1776–1822) was a German Romantic author of fantasy and horror, a jurist, composer, music critic, draftsman, and caricaturist. His stories form the basis of Jacques Offenbach’s Les Contes d’Hoffman.

The second act tells of one of Hoffmann’s several ideal love interests. Antonia is the daughter of an opera singer, who died and seemingly bequeathed Antonia with her gift of a singing voice. Antonia’s father fears that his daughter, too, will be taken from him if he allows her to sing. But, Antonia has been encouraged to sing by her lover, Hoffmann, who composes songs for her. Fearing both Hoffmann and a mysterious Dr. Miracle, who attended his wife as she died, Crespel has moved his household to Munich. Not only has Hoffmann tracked Antonia and her father down, but so has Dr. Miracle, who horrifies Hoffmann and Crespel by summoning Antonia’s spirit and then taking her pulse and ask- ing her to sing. Crespel drives him off. Hoffmann urges Antonia never to sing again and hastily leaves. Antonia resolves to obey her father and her lover. Miracle returns and battles with her will. Antonia invokes her mother to protect her, and Miracle seizes on the moment to cause her to appear. Excited by her vision, Antonia bursts into wild song, encouraged by Miracle. She collapses to the floor, and dies in her father’s arms.

AntoniaCrespelFrantzHoffmannMiracleThe voice


Musical direction by Timothy ShaindlinProjection design by Kristen Ferguson

Excerpt from Act IIIMusic by Jacques Offenbach

emily workman, sopranodavid leigh, bassjorge prego, tenorhalim shon, tenorbrad walker, bass-baritoneleah hawkins, mezzo-soprano

Les Contes d’Hoffmann


Sunday, November 3

Act ISeville, 1788

Figaro and Susanna, servants to the Count and Countess Almaviva, are pre- paring for their wedding day. Susanna tells Figaro that the Count has offered to pay to sleep with her. Marcellina, servant to Dr. Bartolo who is the Countess’s former guardian, tells him that she lent Figaro a sum of money, which he agreed in writing to either pay back or he would marry her. Cherubino tells Susanna that the Count has dismissed him because he was found alone with Barbarina, another servant. The Count tries to get Susanna to agree to an assignation, but he hides when Basilio, Susanna’s music teacher, comes to tell her that the whole household knows that Cherubino is secretly in love with the Countess. The Count threatens to throw Cherubino out of the house and then discovers him hiding in the room. Figaro interrupts, to beg the Count to place Susanna’s wedding veil on her head, symbolizing his blessing of their marriage, but the Count makes up an excuse to delay the gesture. Figaro describes the glory and horror of military life to Cherubino.

FigaroSusannaBartoloMarcellinaCherubinoCount AlmavivaBasilio


Musical direction by Douglas DicksonProjection design by Kristen Ferguson

Excerpt from Act IMusic by Wolfgang Amadeus Mozart

brad walker, bass-baritoneclaudia rosenthal, sopranodavid leigh, bassleah hawkins, mezzo-sopranoaleksandra romano, mezzo-sopranosamuel hinkle, baritonejorge prego, tenor

Le nozze di Figaro


Sunday, November 3

Scene from Act IV, Act V completeSpain:1600’s, Dulcinea’s mansion

The many adventures of Don Quixote and his squire, Sancho Panza, have included tilting at windmills, believing they are giants, and a flock of sheep, thinking they are friars. In the Massenet opera, these adventures come about because Quixote has idealized a beautiful (and wealthy) courtesan named Dulcinea. She sends him on a “quest” to recover her stolen pearl necklace. Quixote and Sancha were captured by the bandits who stole the necklace, and who intend to kill them both, but Quixote’s simple faith and fervent prayer melted the captors’ hearts, and they gave him the stolen pearls.

The scene opens at a party at Dulcinea’s house, during which Quixote returns her pearls and proposes that Dulcinea marry him. At first, she openly laughs at the idea, but seeing his grave disappointment, she sympathizes with him and tells him she is unworthy of his esteem. He forgives her for her honesty. Sancho defends Quixote from the derision of the guests.Quixote knows that he is dying, and thanks Sancho for his devotion. As the voice of his ideal, Dulcinea, seems to be calling for him, he dies transfigured.

intermission

Dulcinée Don QuichotteSancho Ensemble


Musical direction by Douglas DicksonProjection design by Joey Moro

Excerpts from Acts IV & VMusic by Jules Massenet

evanna chiew, mezzo-sopranodavid leigh, bassstephen daniel, baritonenicole percifield, leah hawkins, esteban cordero, brian vu

Don Quichotte


Sunday, November 3

Scene from Act I The island of Ceylon, 1800’s

Zurga, the chief of a village of pearl fishers, and Nadir, an errant mercenary, are reunited after many years’ estrangement. In their youth, they both fell in love with a temple virgin, but parted in friendship. Nadir comes to the village to renew his friendship with Zurga and to settle down.

Every year, a temple priestess is chosen and brought to the village. Leïla, the priestess, is to pray for the success of the pearl harvest, but must remain veiled and unknown to everyone.

The new priestess arrives, and swears to obey the law. Nadir recognizes her through her veil. He muses on his enduring infatuation with her. Leïla sings to invoke the spirits of water and wind to protect the fishers. Nadir takes ad- vantage of her isolated prayer to reveal his presence to her.

ZurgaNadirLeïla


Musical direction by Timothy ShaindlinProjection design by Shawn Boyle

Excerpts from Act IMusic by Georges Bizet

samuel hinkle, baritonenikhil navkal, tenoralison king, soprano

Les pêcheurs de perles


Sunday, November 3

Act II, Scene 3America, Appalachia, 1930’s

As families have come to town for the annual summer revival meetings, theReverend Olin Blitch, an itinerant preacher, has arrived to preside. The town itself is ruled by a group of Elders of the church. Susannah Polk is an orphan who lives in a mountain cabin with her brother. While she is taking a bath in a creek on her property, the Elder men come looking for a baptism creek and see her naked.

Word spreads throughout the town, and what was an innocent act on Susannah’s part becomes a scandal which ostracizes her from the community.

Her brother has urged her to attend one of the revival meetings, and during a fires-of-hell-and-brimstone sermon, Reverend Blitch invited Susannah to confess her “sin” to the congregation. Susannah runs out of the church.

Walking home, she sings a song that her reflects her loneliness. Blitch comes, determined to get her to confess, but Susannah refuses. He then tells her his real reason in coming to see her on this evening.

SusannahBlitch

Performed in English with projected English translation

Musical direction by Douglas DicksonProjection design by Shawn Boyle

Excerpt from Act IIMusic by Carlisle Floyd

emily workman, sopranobrad walker, bass-baritone

Susannah


Sunday, November 3

Act III, Scene 2St. Petersburg, 1821

A year or so after the Act II duel, Onegin has returned to St. Petersburg, haunted by the death of Lensky. He attends a court ball and meets Prince Gremin, who tells him of his love and marriage to Tatyana. Onegin realizes that he now loves her.

The next morning, Tatyana is still unsettled after meeting Onegin at the ball. Onegin arrives unannounced, and she reminds him how he once trivialized her feelings for him. She warns him that she knows he merely wants to make a conquest of her that he can boast about to his cynical friends. Onegin protests his love for her, and they admit that happiness together was once possible. For Tatyana, however, the past is irrevocable, and she insists she will remain faithful to her husband. She asks Onegin to leave, but he refuses, telling her that he wants to be with her forever. Tatyana finally tells him that she still loves him, but that his outpouring of devotion only increases her firm decision to remain with her husband.

TatyanaOnegin

Performed in Russian with projected English translation

Musical direction by Timothy ShaindlinProjection design by Kristen Ferguson

Excerpt from Act IIIMusic by P.I. Tchaikovksy

nicole percifield, sopranobrian vu, baritone

Eugene Onegin


Biographies

Marc Verzatt stage director

A stage director and acting coach, Mr. Verzatt maintains an active career directing opera, op- eretta, and musical theater, and teaching acting in seminars and private coachings, throughout the United States, South America, and Europe. He made his professional directing debut with a production of Offenbach’s The Tales of Hoffmann with Opera Columbus. He has since directed productions with the Teatro Colón (Buenos Aires), Chicago Lyric Opera, Houston Grand Opera, Florida Grand Opera, and the opera com- panies of Fort Worth, Lake George, Madison, Arizona, Toledo, Atlanta, Kansas City, Baltimore, Idaho, and Mississippi. For the Austin Shakespeare Festival, he directed Shakespeare’s Much Ado About Nothing. Recent stagings have been Toledo Opera’s Candide and Turandot and concert stagings of Verdi’s Macbeth and Mozart’s Don Giovanni for the Boston Youth Symphony Orchestra. Last season he directed both Il Barbiere di Siviglia and Eugene Onegin for The Academy of Vocal Arts. Mr. Verzatt has taught and directed at Philadelphia’s Academy of Vocal Arts, Indiana University, Ohio State University and Notre Dame University. He has directed many Yale Opera productions, including Britten’s A Midsummer Night’s Dream for Orchestra Verdi in Milan, as well as five one-act operas in Sprague Hall, and Puccini’s Gianni Schicchi and Suor Angelica, Strauss’s Die Fliedermaus, Mozart’s Die Zauberflöte, and Bellini’s I Capuleti e i Montecchi at the Shubert Theater. In 2005, he returned as guest artist to the Metropolitan Opera for an acting role in Strauss’s Ariadne auf Naxos. In 2006, he was named Outstanding Stage Director of the Year by Classical Singer magazine. He is a member of the faculty of the American Institute for Musical Studies in Graz, Austria

and the Mediterranean Opera Studio in Palermo, Sicily. He joined the Yale School of Music faculty in 2002 where he teaches acting and movement.

John Carver Sullivancostume designer

John Carver Sullivan returns to Yale Opera, where he has designed costumes for I Capuleti e i Montecchi, the 2010 and 2011 opera scenes productions, La Tragédie de Carmen and Le Rossignol. His long association with Colin Graham and Opera Theatre of St. Louis has included designs for world premiere productions of The Woodlanders, The Village Singer, and The Postman Always Rings Twice, among many others. He has also designed the Broadway production of Moose Murders, off-Broadway productions at the York Theatre of The Musical of Musicals – The Musical, Little By Little, and The Jello is Always Red, and multiple productions for the Juilliard School and Manhattan School of Music. His theatrical work includes productions for Goodspeed Opera, the Alley Theatre, Berkeley Rep, and the Folger Library Theatre. Mr. Sullivan currently serves as the Chair of the Theatre Department at Southern Connecticut State University.

William B. Warfel lighting designer

William B. Warfel has done lighting design and production management for over 30 Yale Opera productions since 1978. He was Co-chair of Design and Professor of Lighting at the Yale School of Drama from 1967 to 1993 and is currently in private practice as a lighting designer and theater consultant in Hamden, CT. A grad- uate of both Yale College and the School of Drama, Mr. Warfel taught at Dartmouth College and Long Island University and worked in the

Biographies

lighting profession in New York City prior to returning to the New Haven area. He has lec- tured and taught in Finland, China, Egypt, Iceland and Sweden and has worked on consul- ting projects in Scotland, Nigeria, and Ecuador. Mr. Warfel is a founding member of the Inter- national Association of Lighting Designers.

Douglas Dickson musical direction and accompaniment

Douglas Dickson received his B.A. degree from Princeton University and his M.M.A. from the Yale School of Music. On various occasions the Washington Post has called him an “intelligent, sensitive” pianist with “super technique,” a “skillful pianist,” and has praised him for his “finely integrated oneness” he achieves as an accompanist. Mr. Dickson has performed in the US, Europe, Asia, South America in venues ranging from Japan’s Expo Hall to the Cincinnati Coliseum.

While still in college, he was the accompanist for the American Boychoir. As part of Duodecaphonia, a prize-winning piano duo, he has performed at the Kennedy Center and elsewhere. Mr. Dickson has been music director for productions at Quinnipiac University, the Yale School of Drama, Opera Theater of Connecticut, and Connecticut Experimental Theater. He was music director and conductor for Yale Opera’s production of Britten’s The Rape of Lucretia, and he conducted a concert featuring Yale Opera with the Orchestra Verdi in Milan. He has taught at Quinnipiac University since 1993, and joined the Yale faculty in 1998. He made his Carnegie debut in an all Ives concert at Weill Recital Hall. For Naxos, he recorded more than eighty Charles Ives songs.

Timothy Shaindlinmusical direction and accompaniment

A native of New York City, Timothy Shaindlin joined the Yale School of Music faculty in 2008. After studies at The Juilliard School and Indiana University, he worked for the Metropolitan Opera, New York City Opera, the Lyric Opera of Chicago, Washington National Opera, San Diego Opera, Wolf Trap Opera and Pittsburgh Opera. He has also coached for Glimmerglass Opera, Sarasota Opera and Hawaii Opera Theatre. In Europe, he worked for Barcelona’s Gran Teatre del Liceu and played master classes for Tito Gobbi. He has played classes and coachings for such artists as Joan Sutherland, Birgit Nilsson, Beverly Sills, Marilyn Horne, Natalie Dessay, Ben Heppner, Luciano Pavarotti, Eleanor Steber, Samuel Ramey, Regine Crespin, Thomas Hampson, Frederica von Stade and Carlo Bergonzi. Mr. Shaindlin’s work on the podium includes conducting engagements with the Wolf Trap Opera Festival, Hawaii Opera Theatre, Pittsburgh Opera, Chicago Opera Theater, Chicago Light Opera Works and Eugene Opera. He has assisted such renowned conductors as Christoph Eschenbach, Sir Andrew Davis, Daniel Barenboim, Valery Gergiev, Richard Bonynge, Bruno Bartoletti, Donato Renzetti, Louis Langrée, Edoardo Müller, Yves Abel, Daniele Gatti, Antonio Pappano, and Paul Gemignani. Next June, he will conduct The Mikado for Hawaii Opera theatre.

Biographies

Wendall K. Harrington projection design supervisor

Wendall K. Harrington’s career has embraced diverse disciplines including projection design for theatre, publishing and video production. Broadway designs include: Driving Miss Daisy, Grey Gardens, They’re Playing Our Song, The Elephant Man, My One and Only, The Heidi Chronicles, The Will Rogers Follies, Having Our Say, Company, Racing Demon, Ragtime, John Leguizamo’s Freak, The Capeman, Putting it Together, and The Who’s Tommy. Off Broadway work includes: Angels in America, Hapgood, A Christmas Carol at the Paramount; Merrily We Roll Along (three times!) and the ill-fated Whistle Down the Wind. Opera design: Julie Taymor’s The Magic Flute in Florence, Italy; A View from the Bridge at Chicago Lyric and the Met, Die Gezeichneten at LA Opera, The Photographer at BAM, Transatlantic, Grapes of Wrath, Rusalka, and Wuthering Heights for Minnesota Opera. Ms. Harrington is the recipient of the Drama Desk Award, the Outer Critics Circle Award, the American Theatre Wing Award, the TCI Award for Technical Achievement and the Obie Award for Sustained Excellence of Projections. Ms. Harrington has been lecturing on Projection Design for the Yale School of Drama since the early ‘90s.

Evanna Chiew mezzo-soprano B.M. University of British Columbia; Young Artist Programs: Opera NUOVA

Esteban Cordero tenor B.M. Conservatorio de Música de Puerto Rico; Young Artist Programs: Israel Vocal Arts Institute, Martina Arroyo’s Foundation Prelude to Performance

Stephen Daniel baritone B.M. Westminster Choir College of Rider University

Leah Hawkins mezzo-soprano B.A. Morgan State University; Young Artist Programs: Houston Grand Opera Young Artist Vocal Academy, Martina Arroyo’s Foundation Prelude to Performance

Samuel Hinkle baritone B.M. Mannes College of Music; Young Artist Programs: Siena Music Festival

Alison King soprano B.M. University of Southern California; Young Artist Programs: Music Academy of the West, Chautauqua Opera

David Leigh bass B.A. Yale College; M.M. Mannes College of Music; Young Artist Programs: Chautauqua Opera, Music Academy of the West

Nikhil Navkal tenor B.M. Indiana University; M.M. Mannes College of Music; Young Artist Programs: Central City Opera

Student Profiles

Nicole Percifield soprano B.M. New England Conservatory, M.M. Manhattan School of Music; Young Artist Programs: Minnesota Opera

Jorge Prego tenor B.M. Vigo Conservatory (Spain); A.D. Yale University; M.M. Hartt School of Music; Artist Diploma Roosevelt University; Young Artist Programs: Santa Fe Opera, Chicago Opera Theater

Aleksandra Romano mezzo-soprano B.A. Bard College; Young Artist Programs: Aspen Music Festival, Wolf Trap Opera, Central City Opera

Claudia Rosenthal soprano B.A. Yale College; B.M. Hartt School; M.M. Mannes College of Music; Young Artist Programs: Wolf Trap Opera

Halim Shon tenor B.M. Seoul National University, M.M. Peabody Institute of Music

Brian Vu baritone B.A. UCLA; Young Artist Programs: Chautauqua Institution Voice Program, Wolf Trap Opera

Brad Walker bass-baritone B.M. Michigan State University; M.M. Kansas University; Young Artist Programs: Chautauqua Opera

Emily Workman soprano B.M. Brigham Young University

Yale Opera Production Staff

Special Thanks

marc verzattStage Director

john carver sullivanCostume Designer

william b. warfel Lighting Designer

shawn boyleProjection Programmer and Operator

craig harlowProperties Master and Designer

aleksandra romano brad walker

brian vuStudent Assistants

Richard Cross

John Roach

Yale School of Drama

Broken Umbrella Theatre

Long Wharf Theatre

Southern Connecticut State University

Wendall K. Harrington and her production design students

Michael Trudeau

erika niemiManager

janie alexanderProduction Coordinator

jeromy huntStage Manager

doug harryMaster Electrician

catherine masonWardrobe Assistant

jill brunelleSurtitle Operator

Yale Opera 2013-14 Season

Master Class with Matthew Polenzanidecember 2

Morse Recital Hall | Mon | 7 pmWorld-famous tenor and Yale Opera

alumnus Matthew Polenzani presents a public master class with the

students of Yale OperaFree Admission

Master Class with Alan Helddecember 9

Morse Recital Hall | Mon | 7 pmThe renowned bass-baritone from the

Metropolitan Opera works with students in the Yale Opera program

Free Admission

La Bohèmefebruary 14–16

Shubert Theatre | Fri & Sat 8 pm | Sun 2 pm Yale Opera announces a new production of Puccini’s La Bohème, conducted by Giuseppi

Grazioli and directed by Michael Gieleta. Tickets start at $19 • Students $13

Now on sale at www.shubert.com or 203-562-5666

Cenerentolamay 2 & 3

Morse Recital Hall | Fri & Sat | 8 pm Yale Opera presents a new production of

Rossini’s Cenerentola, with stage direction by Ted Huffman and musical direction by

Douglas Dickson and Timothy Shaindlin. Tickets start at $10 • Students $5

Yale Opera

LA BOHÈMEfebruary 14–16

Tickets are now on sale at www.shubert.com or 203-562-5666.

Call and use code “early bird” to get a 10% discount on tickets purchased by January 12. Dont wait: we expect

La Bohème to sell out!

P.O. Box 208246, New Haven, CT · 203 432-4158 music.yale.edu

Robert Blocker, Dean

Finckel-Han-Setzer Trionovember 5

Morse Recital Hall | Tuesday | 8 pm Oneppo Chamber Music Series

Beethoven: Trio in G major, Op. 1, No. 2;Shostakovich: Trio in E minor, Op. 67;

Dvorák: Trio in E minor, Op. 90, “Dumky”Tickets Start at $30 • Students $12

Lunchtime Chamber Musicnovember 6

Morse Recital Hall | Wednesday | 12:30 pm Chamber music for a variety of ensembles.

Free Admission

Kyung Yu, violin &Elizabeth Parisot, piano

november 6Morse Recital Hall | Wednesday | 8 pm

Faculty Artist SeriesBeethoven: Sonata No. 8 in G major, Op. 30,

No. 3; Brahms: Sonata No. 1 in G major, Op. 78; Tchaikovsky: Sérénade Mélancolique;

Bartók: Rhapsody No. 1Free Admission

Poems for a Sunday Afternoonnovember 10

Trinity Lutheran Church, 292 Orange Street Sunday | 4 pm

Yale Camerata with Yale BandMusic of Lutoslawski and Olson

Free Admission

Hagen String Quartetnovember 12

Morse Recital Hall | Tuesday | 8 pm Oneppo Chamber Music Series

Beethoven: String Quartets in E-flat major, Op. 127, and A minor, Op. 132

Tickets start at $30 • Students $12

Leon Fleisher, pianonovember 13

Morse Recital Hall |Wednesday | 8 pm Horowitz Piano Series

Music by Bach, Takács, Kirchner, Brahms, Ravel, and Schubert. With Katherine

Jacobson Fleisher, piano.Tickets start at $20 • Students $10

Concert Programs & Box Office: Krista Johnson, Carol JacksonCommunications: Dana Astmann, Monica Ong Reed, Austin Kase

Operations: Tara Deming, Chris MelilloPiano Curators: Brian Daley, William Harold

Recording Studio: Eugene Kimball

WSHU 91.1fm is the media sponsor of the Yale Opera at the Yale School of Music.

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Transcript of Fall Opera Scenes