Feb 8, 2019 | 7:30 pm
Feb 9, 2019 | 7:30 pm
Feb 10, 2019 | 2 pm
The commissioning of Korine Fujiwara for The Flood received funding from OPERA America’s Opera Grants for Female Composers program, supported by the Virginia B. Toulmin Foundation.
The production of The Flood received funding from OPERA America’s Opera Fund.
The Sunday performance of The Flood will include ASL Interpretation, provided by Stagehands Performing Arts Interpreting.
Lacey Jo BenterAlice
Soprano Melissa Harvey’s impressive stylistic versatility can be heard in operatic and concert repertoire spanning over four centuries. Her recent activity in 20th and 21st century opera includes the world premiere of Douglas Pew’s Lo the Bridegroom Comes, Alice in Unsuk Chin’s Alice in Wonderland, Flora (cover) in New York City Opera’s The Turn of the Screw, three world premieres with the Cincinnati-based NANOWorks Opera, and Lucinda (cover) with Gotham Chamber Opera and Opera Philadelphia for the world premiere of Nico Muhly’s Dark Sisters. Ms. Harvey’s prodigious activity in early music has made her invaluable to concert organizations such as Catacoustic Consort, Collegium Cincinnati, and Bourbon Baroque. With these organizations, she has performed such works as Bach Cantatas BWV 04, 71, 106, 196, Magnificat, and Christmas Oratorio, Handel (Dixit Dominus and various duets), Haydn (Lord Nelson Mass), Mozart (Mass in c minor), and Poulenc (Gloria).
Ms. Harvey’s 2017-2018 Season included performances of Monteverdi’s L’incoronazione di Poppea (Drusilla) with Cincinnati Opera, two CD recordings with Cincinnati-based Catacoustic Consort, performances with the Meininger Staatstheater, and several engagements with Catacoustic Consort, St. Peter in Chains Cathedral, and The Bach Ensemble. During the 2016-2017 Season, Ms. Harvey participated in Cincinnati Opera’s Frida by Robert Xavier Rodríguez and Missy Mazzoli’s Song from the Uproar, as well as the Bach Society of Dayton’s St. John Passion (soprano soloist). She rejoined Collegium Cincinnati for Bach’s St. John Passion and Handel’s Messiah and Catacoustic Consort for two works of Marc-Antoine Charpentier: Le reniement de St. Pierre and the world premiere of his opera La fête du Ruel (1685). Ms. Harvey received her BM and MM in Voice from the University of Cincinnati College-Conservatory of Music (CCM).
Kevin Deas is acclaimed for his portrayal of the title role in Porgy and Bess, having performed it with the New York Philharmonic, Philadelphia Orchestra, National Symphony, St. Paul Chamber Orchestra, Pacific Symphony, as well as at Ravinia, Vail and Saratoga festivals. In 2017-18 he sings the role with Duisberg Phiharmoniker and Reading Symphony. He is soloist in Beethoven’s Missa Solemnis with VoxAmaDeus, Beethoven’s 9th Symphony with Omaha Symphony, Mozart’s Requiem with Boston Baroque, Handel’s Messiah at the National Cathedral, Bach’s St. Matthew Passion at Madison Avenue Presbyterian Church (NYC), and sings in Bernstein’s Wonderful Town with Seattle Symphony. Recent engagements include Messiah with Houston Symphony, Rochester Philharmonic and National Cathedral; Vaughn Williams’ Dona Nobis Pacem with Richmond Symphony, Verdi’s Requiem with Virginia Symphony, Puccini’s Messa di Gloria with Bach Festival Society of Winter Park; Walton’s Belshazzar’s Feast with Buffalo Philharmonic; Elgar’s The Dream of Gerontius with Jacksonville Symphony; Haydn’s Lord Nelson Mass with Baltimore Choral Arts Society; Mozart’s Requiem with VoxAmaDeus; and Rachmaninoff’s The Bells, under JoAnn Falletta. He sang at Italy’s Spoleto Festival in a new production of Amahl and the Night Visitors in honor of Menotti’s eighty-fifth birthday, performed the world premiere of Derek Bermel’s The Good Life with Pittsburgh Symphony and that of Hannibal Lokumbe’s Dear Mrs. Parks with Detroit Symphony. His twenty-year collaboration with jazz legend Dave Brubeck included performing Brubeck’s Gates of Justice in a gala performance in New York. He recorded Die Meistersinger with Chicago Symphony; Varèse’s Ecuatorial with ASKO Ensemble; Bach’s Mass in B Minor and Handel’s Acis and Galatea; Brubeck’s To Hope! with Cathedral Choral Society; Haydn’s Die Schöpfung with Virginia Symphony; and Dvorák in America, the world premiere recording of Dvorák’s “Hiawatha Melodrama” and the composer’s arrangement of “Goin’ Home”, with PostClassical Ensemble.
Lacey Jo Benter
American opera singer Lacey Jo Benter has been lauded by the New York Times as having a “rich, warm tone” while bringing a “broad emotional palette” to the stage. Native to Cedar Rapids, Iowa she recently completed her young artist residency at LA Opera where she debuted in Corigliano’s The Ghosts of Versailles, sang Clotilde in Norma, Kate Pinkerton in Madame Butterfly and the Alto Solo in Rossini’s Petite Messe Solennelle under the baton of Plácido Domingo. She attended Lawrence University in Appleton, WI before receiving multiple degrees at The Juilliard School. She appeared with Gustavo Dudamel and the LA Philharmonic in Beethoven’s Choral Fantasy, returning for Unsuk Chin’s Alice in Wonderland, which she reprised with the BBC Symphony Orchestra. Last season she was conducted by John Adams with the LA Phil in the recent multimedia performance of his Nixon in China and made her debut with Opera Omaha as “Minskwoman” in their new production of Jonathan Dove’s Flight. While most of her roles to date have been as a mezzo soprano, Lacey Jo is excited by the development of her instrument toward the soprano repertoire of Verdi and Wagner.
Baritone Szymon Komasa, is a graduate of the Opera Studies program at the Guildhall School of Music and Drama in London and the Juilliard School in New York. In the 2017-18 season, Szymon made his debut as Demetrius in “Midsummer night’s dream” by B. Britten in Teatro Massimo in Palermo (Italy), Ford in “Falstaff” (Poland), and King Roger in “King Roger” by K. Szymanowski in Warsaw and Dresden Semperoper. Season of 2016-2017 Mr. Komasa fullfield with roles of Mephistopheles in “Damnation des Faust” by Berlioz in Opera Nova in Bydgoszcz (Poland), Hans Castorp in “Magic mountain” by Mykietyn in Teatro Malta, Morales in “Carmen” by Bizet in Munich Opera Festival. He performed the role of Schaunard in “La Bohème” at the Arena di Verona, (2009) and at the Semperoper in Dresden (2012), the same year he sang a role of Albert in “La Juive” in Semperoper Dresden. Szymon sang roles of Hans Peter in Gisela by Henze at Teatro Massimo in Palermo (2015), Papageno in “Die Zauberflöte“, Figaro in “Le nozze di Figaro” in Lodz, Poland (2009), Pandolfe in “Cendrillon” by Massenet, and the Poet in “Il Turco in Italia” at the Peter Jay Sharp Theater in NYC (2014). He has won several International Competitions in Poland (Halina Halska competition – 1st prize, Duszniki Zdroj – 1st prize, Grazyna Bacewicz – 1st prize, Ada Sari – 3rd prize) Italy (1st prize in G. Puccini competition) and USA (1st prize in Marcella Sembrich competition, 2nd prize at Gerda Lissner Competiton, grand Prize in Giulio Gari Competiton ), and made it to the BBC Cardiff Singer of the World finals, representing Poland. He also sang at Valery Gergiev’s 60th Birthday Gala Concert in Barbican Hall (London), with the honoree conducting, and a recital in Carnegie Hall in New York (2011) and Wigmore Hall in London (2012).
Sam Levine is a radical voice in opera. The “wonderfully appealing,” “ardent tenor” (The New York Times) regularly performs new and contemporary works to great acclaim, while collaborating with cutting-edge directors and presenters to explore new ways of performing the standard repertory. Recent highlights include Opera Philadelphia’s inaugural Festival O, as Testo and Noah in the Monteverdi/Beecher double bill War Stories; Opera Omaha’s inaugural ONE Festival, as Lurcanio in Ariodante; Handel’s Messiah with The Houston Symphony under the baton of Paul Agnew; and his European debut as Bertoldo in a new production of Enrico at Oper Frankfurt.
A champion of new music, Mr. Levine originates his 12th operatic role with The Flood, and has sung premieres with Boston Lyric Opera, Nashville Opera, Houston Grand Opera East + West, Opera Theatre of Saint Louis, Wexford Festival Opera, and Gotham Chamber Opera at the Metropolitan Museum of Art. Other recent highlights include Narraboth in Salome with Virginia Opera; Iris at Bard SummerScape; Joe and Marcus in Three Way at the Brooklyn Academy of Music, the title role of Frankenstein (installed in an abandoned factory) with West Edge Opera, and the title role in the world premiere of Mara: A Chamber Opera at the Rubin Museum. A 2017 graduate of the Juilliard School, Mr Levine received the Artist Diploma in Opera Studies and the Novick Career Advancement Grant, appearing as Le Mari in Les Mamelles de Tirésias, Kudrjas in Kat’a Kabanova, and in concert with Steven Blier in NYFOS@Juilliard. @samlevinesinger.
NAOMI LOUISA O’CONNELL made her professional debut in 2012, starring on London’s West End as Sharon Graham in Terrence McNally’s Tony Award-winning play Master Class. A singer, actress and cabaret artist, her recent engagements include recitals at Carnegie Hall, Stanford University and Rockefeller University, Bernstein’s Jeremiah Symphony with l’Orquestra Jovem do Estado de São Paulo, her one-woman German cabaret FRAU at New York’s Neue Galerie, a workshop of Richard Nelson’s new play Oblivion with Lincoln Center Theater and performances with Geneva Opera, Opera Omaha, and Spoleto Festival USA.
Last season, she appeared with the Cincinnati Symphony as Mélisande in the Maeterlinck play Pelléas & Mélisande and will return for the same role in the opera of Debussy this October, conducted by Louis Langrée. Notable operatic roles include Monteverdi’s Poppea with Opera Frankfurt, Cherubino with Welsh National Opera and Atlanta Opera, and Offenbach’s La Périchole with Garsington Opera.
As an actress, she made her US stage debut as Rosine/Countess Almaviva in The Figaro Plays of Beaumarchais at the McCarter Theatre and recently played the role of Lilli Vanessi/Kate in Cole Porter’s Kiss Me, Kate. Prizes include 1st Prize in Operetta in the 2008 International Hans Gabor Belvedere Competition, and 1st Prize in both the Caruso/Altamura International Singing Competition and Concert Artists Guild Competition in 2011.
Hailed by The New York Times as “a natural in the recital format” for her Carnegie Hall debut recital entitled ‘Witches, Bitches, and Women in Britches’ at Weill Recital Hall, she has performed in concert venues across the USA, and maintains an active recital career. A proud graduate of The Juilliard School and Royal Irish Academy of Music, Ms. O’Connell is currently based in New York City.
Amanda Lynn Bottoms, from Cheektowaga, N.Y., currently studies at the Curtis Institute of Music with Marlena Kleinman Malas, as the proud recipient of the Gene and Jean Stark Annual Fellowship. Prior to entering Curtis, she received a Bachelor of Music degree from SUNY Fredonia, where she studied with Laurie Tramuta, and a Master of Music degree from the Juilliard School, where she studied with Marlena Kleinman Malas as a Kovner Fellowship and Toulmin Foundation Grant recipient.
A mezzo-soprano, Ms. Bottoms’ past roles include Baba (The Medium), Anita (West Side Story), Olga (Eugene Onegin), Older Woman (Flight), Der Trommler (Der Kaiser von Atlantis), and Bianca (The Rape of Lucretia), in addition to numerous concert appearances at the Juilliard School; Frau Reich (Die Lustigen Weiber von Windsor), La Principessa (Suor Angelica), and Cenerentola (La Cenerentola) as part of the Hillman Opera at SUNY Fredonia; Ariodante (Ariodante), Third Lady (Die Zauberflöte), and Maddalena (Rigoletto) with the Chautauqua Institution; and Dinah (Trouble in Tahiti) with the Western New York Chamber Orchestra, among others.
In 2017–18 Ms. Bottoms debuted with the Philadelphia Orchestra, Lansing Symphony Orchestra, Columbus Symphony Orchestra, and the NHK Symphony Orchestra for a production of West Side Story in Tokyo. She has earned awards from renowned organizations including the Opera Index Vocal Competition, Gerda Lissner Foundation and Classical Singer Vocal Competition. Ms. Bottoms has participated in master classes with Alan Gilbert, Fabio Luisi, Patricia Racette, Emmanuel Villaume, and other prominent artists.
Anita YavichCostume Designer
Charles CorcoranSet Designer
BROADWAY DESIGN CREDITS: FOOL FOR LOVE, VENUS IN FUR. CHINGLISH, AND ANNA IN THE TROPICS.
NEW YORK DESIGN CREDITS: THE VIEW UPSTAIRS AT LYNN REDGRAVE THEATER; THE MOORS AT PLAYWRIGHTS’ REALM; TUMACHO AT CLUBBED THUMB; THE LEGEND OF GEORGIA MCBRIDE, THE SUBMISSION, CORALINE THE MUSICAL , THE WOODEN BREEKS AT MANHATTAN CLASS COMPANY NATHAN THE WISE, THE CAUCASIAN CHALK CIRCLE, ORLANDO, VENUS IN FUR, NEW JERUSALEM, AND TEXTS FOR NOTHING AT CLASSIC STAGE COMPANY; BIG LOVE, KUNG FU, GOLDEN CHILD, AND IPHIGENIA 2.0 AT SIGNATURE THEATER; THE OLDEST BOY AT LINCOLN CENTER THEATER; TALES FROM RED VIENNA, AND THE EXPLORER’S CLUB AT MANHATTAN THEATER CLUB, LIVES OF THE SAINTS, ALL IN THE TIMING AT PRIMARY STAGES; MACBETH, CORIOLANUS AND SVEJK AT THEATER FOR A NEW AUDIENCE; MEASURE FOR PLEASURE, KIT MARLOWE, THE WINTER’S TALE, CIVIL SEX, AND PERICLES AT THE PUBLIC THEATER. SHE HAS DESIGNED FOR MANY REGIONAL THEATER ACROSS THE COUNTRY.
OPERA CREDITS : AIDA AT SAN FRANCISCO OPERA, CYRANO DE BERGERAC AT LA SCALA, METROPOLITAN OPERA, AND ROYAL OPERA HOUSE-COVENT GARDEN; LES TROYENS AT METROPOLITAN OPERA; FACING GOYA AT SPOLETO FESTIVAL AND SINGAPORE FESTIVAL; LA HIJA DE RAPPACCINI WITH GOTHAM CHAMBER OPERA, THE RAPE OF LUCRETIA AT HOUSTON GRAND OPERA; AINADAMAR AT TANGLEWOOD; THE GAMBLER AT OPERA ZUID-HOLLAND, STEVE REICH’S THREE TALES INTERNATIONAL TOUR; SALOME, FIDELIO , DIE WALKURE AND DAS RHEINGOLD AT WASHINGTON NATIONAL OPERA; ARSACE II SAN FRANCISCO OPERA; MADAME BUTTERFLY HOUSTON GRAND OPERA AND GRAND THEATRE DE GENEVE; DER FLIEGENDE HOLLANDER SPOLETO FESTIVAL; THE SILVER RIVER SPOLETO AND LINCOLN CENTER FESTIVAL.
PUPPET AND COSTUME DESIGNER: THE SOUND OF MUSIC AT SALZBURGER MARIONETTEN THEATER. ALADDIN AT DISNEYLAND; LION, WITCH AND WARDROBE AT MINNEAPOLIS CHILDREN’S THEATER.
AWARDS: DRAMA DESK AWARD, LUCILLE LORTEL AWARD, OBIE AWARD, HENRY HEWES AWARD, AND IRENE SHARRIF YOUNG MASTER AWARD.
Wadsworth’s productions of Aeschylus’ Oresteia, Wagner’s Ring cycle, a series of Marivaux comedies, the Beaumarchais trilogy, and plays and operas by Shakespeare, Molière, Handel, Goldoni, Mozart, Shaw, Wilde, and Coward, have established him as a master of the classical repertoire and one of the most influential directors in the American theater. He has also directed plays by John Guare (Dallas Theatre Centre), Beth Henley (Roundabout), Anna Deavere Smith (Long Wharf), and Terrence McNally (Master Class on Broadway and in London’s West End, starring Tyne Daly) and during the 1990s reintroduced the work of Marivaux to the U.S. in a series of translations and productions of three plays (published by Smith and Kraus as Marivaux: Three Plays). His translation and production of Molière’s Don Juan (Shakespeare Theatre, Old Globe, Seattle Rep, McCarter) reimagined a lost text and excited great interest in the French academy, as well as on American stages. He has also translated and adapted theater works by Monteverdi, Goldoni and Handel, and worked as writer and dramaturg on many new operas and plays. He has three productions in the repertoire of the Metropolitan Opera (Rodelinda, Boris Godunov, and Iphigénie en Tauride, all telecast in HD to movie theaters worldwide), and he’s directed opera in Milan, Vienna, London, Edinburgh, Amsterdam, San Francisco, Los Angeles, Santa Fe, and notably in Seattle, where his famous production of Wagner’s Ring cycle last played in summer 2013. He wrote the opera A Quiet Place with Leonard Bernstein (Grammy nomination). For his work on Marivaux and Molière he was named a Chevalier of the Order of Arts and Letters by the French government, he was a Harman/Eisner Artist in Residence at the Aspen Institute, and a 2013 Fellow at the Sundance Institute Playwrights Retreat at Ucross. He is the James S. Marcus Faculty Fellow at the Juilliard School, where he started the world’s first and only intensive acting program for singers, and he has taught in the Met’s Lindemann Young Artist Development Program for over 30 years.
Productions of Aeschylus’ Oresteia, Wagner’s Ring cycle, a series of Marivaux comedies, the Beaumarchais trilogy, and plays and operas by Shakespeare, Molière, Handel, Goldoni, Mozart, Shaw, Wilde, and Coward, have established him as a master of the classical repertoire and one of the most influential directors in American theater. He has directed plays and reintroduced the work of Marivaux in a series of productions of three plays. His translation and production of Molière’s Don Juan reimagined a lost text and excited interest in the French academy and American stage. He has translated theater works by Monteverdi, Goldoni and Handel, working as writer and dramaturg. He has three productions in the repertoire of the Metropolitan Opera, directing internationally, notably in Seattle, with his famous production of Wagner’s Ring cycle. He wrote the opera A Quiet Place with Leonard Bernstein (Grammy nomination). He was named a Chevalier of the Order of Arts & Letters and a Harman/Eisner Artist in Residence at the Aspen Institute, and a Fellow at the Sundance Institute Playwrights Retreat at Ucross. Wadsworth is the James S. Marcus Faculty Fellow at the Juilliard School with over 30 years of teaching experience in the Met’s Lindemann Young Artist Development Program.
Korine Fujiwara is a violinist, violist, composer, and co-founder of Carpe Diem String Quartet. Her music has been performed to critical acclaim throughout the world in venues including Carnegie’s Weill Hall, New York; Suntory Hall, Tokyo; the Aichi Prefectural Art Theater Concert Hall, Nagoya; and the Palazzo Chigi Saracini in Siena, Italy. Named one of Strings Magazine’s “25 Contemporary Composers to Watch,” critics say of her music, “The ear is forever tickled by beautifully judged music that manages to be sophisticated and accessible at the same time… contains a very rare attribute in contemporary classical music: happiness.” (Fanfare) “She knows how to exploit all the resources of string instruments alone and together; her solo violin writing is fiendishly difficult.” (Strings) “Epic.” (Columbus Dispatch) Korine is on the faculty of Pacific Lutheran University. She holds degrees from Juilliard and Northwestern University, and is in great demand for master classes and clinics.
Opera: The Turn of the Screw (Opera Columbus), Fidelio (Santa Fe Opera), Cosi Fan Tutte, The Bartered Bride (co-production Metropolitan Opera/ Juilliard) Hippolyte et Aricie, Katya Kabanova, The Marriage of Figaro, Don Giovanni (Juilliard), L’Opera Seria (Wolftrap Opera), The Magic Flute, The Bartered Bride (Music Academy of the West).
New York: The Seafarer, Shining City, The Quare Land (Origin, First Irish Award), The Emperor Jones (Hewes design award nomination), The Weir (Irish Repertory Theatre), Billy and Ray (Vineyard Theatre), The Last Smoker In America (Westside Theatre), A Perfect Future (Cherry Lane Theatre), Exits And Entrances (Primary Stages), Smash, The Triumph of Love (Juilliard), The Bully Pulpit (Beckett Theatre), Straight (Acorn Theatre)
Regional: A Comedy of Tenors (Outer Critics Circle Award) (Cleveland Playhouse / McCarter Theatre), Vanya & Sonia & Masha & Spike (The Goodman Theatre), The Barber Of Seville, The Marriage Of Figaro (The McCarter Theatre), The Importance of Being Earnest, Ma Rainey’s Black Bottom, Absurd Person Singular, Lives of Reason (Two River Theatre), Without Walls (Center Theatre Group), The 25th Annual Putnam County Spelling Bee (Buck’s County Playhouse), Bad Jews (Ensemble Theatre Company/English Theatre of Frankfurt /George Street Playhouse))
TV: Full frontal with Samantha Bee (TBS), Mozart in the Jungle (Amazon), Madam Secretary (CBS), The Last OG (TBS), Believe (NBC)
Steven Osgood is in his third season as General and Artistic Director of the Chautauqua Opera Company, which in 2018 features productions of Don Giovanni, Candide, and As One. As Artistic Director of American Opera Projects (2001-2008) he founded the company’s acclaimed Composers and the Voice Fellowship program. He has conducted the world premieres of over twenty operas, including Breaking the Waves by Missy Mazzoli and Royce Vavrek for Opera Philadelphia, and JFK by David T. Little and Mr. Vavrek with the Fort Worth Opera Festival. He returns as conductor mentor for Washington National Opera’s 2019 American Opera Initiative, where in 2017 he conducted the premieres of Adam, Lifeboat, and What Gets Kept at the Kennedy Center. He has been on the music staff of the Metropolitan Opera since 2006. Recent productions include Jonathan Dove’s Flight at the Juilliard School, The Long Walk with Utah Opera, The Turn of the Screw at Opera Columbus, JFK with L’Opera de Montreal, Dead Man Walking at Lyric Opera of Kansas City, and the US Stage Premiere of Respighi’s realization of Monteverdi’s L’Orfeo in Chautauqua Opera’s 2017 season. The coming season includes a return to Opera Columbus to lead the world premiere of The Flood by Korine Fujiwara and Stephen Wadsworth.
IN THE NEWS
Opera, orchestra team up to tell story of 1913 Ohio flood
– Chicago Tribune