MANHATTAN SCHOOL OF MUSIC OPERA THEATER to present ...

MANHATTAN SCHOOL OF MUSIC OPERA THEATER to present The Mother of Us All Music by Virgil Thomson; Libretto by Gertrude Stein Conducted by Steven Osgood; Directed by Dona D. Vaughn Wednesday and Friday, December 11 and 13 at 7:30 p.m. and Sunday, December 15, at 2:30 p.m. in the School’s Borden Auditorium Pre-Performance Talk to take place on Wednesday, December 11at 6:00 p.m. in Greenfield Recital Hall November 12, 2013 -- The Manhattan School of Music Opera Theater will be presenting Virgil Thomson and Gertrude Stein’s “The Mother of Us All” on Wednesday, December 11 and Friday, December 13 at 7:30 pm.; and on Sunday, December 15 at 2:30 p.m. in the School’s Borden Auditorium. Steven Osgood conducts and Dona D. Vaughn, Artistic Director of MSM’s Opera Theater, is the stage director. The artistic team includes Erhard Rom, scenic design; Tracy Dorman, costume design; Christopher Akerlind, lighting design; Dave Bova, hair and makeup design; and Francis Patrelle, choreographer. The projected titles, originally designed for the Glimmerglass Opera, are by Kelley Rourke. This production is funded by the Virgil Thomson Foundation, Ltd., with additional funding made possible by the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. An opening night Pre-Performance Talk with Gordon Ostrowski, assistant dean of opera studies and production will take place on Wednesday, December 11 at 6:00 p.m. in the School’s Greenfield Hall. This Pre-Performance Talk allows interested audience members the opportunity to hear directly from the production’s artistic team on the ins-and-outs of this production as well as hear a sampling of the evening’s music. This event is free and tickets are not required. In 1945, Virgil Thomson was offered a commission to write an opera as recipient of Columbia University’s Alice M. Ditson Fund. He would ask Gertrude Stein to collaborate with him for a second time as the opera’s librettist. (In 1934, Thomson and Stein created Four Saints in Three Acts.) This second opera, The Mother of Us All, tells the story of Susan B. Anthony, leader of the woman’s suffrage movement, tracing her career from her initial struggles to her final victory.

The Mother of Us All includes 26 characters, and in addition to Susan B. Anthony (1820 – 1906), the cast includes many historic figures. John Adams, Anthony Comstock, Ulysses S. Grant, Daniel Webster, President Andrew Johnson, Thaddeus Stevens, Lillian Russell, and Constance Fletcher all make an appearance, as well as Virgil T. and Gertrude S. who serve as narrators. The Mother of Us All is a singer’s opera with the phrasing and rhythms composed to communicate Stein’s libretto. With Gertrude Stein’s passing on July 7, 1946, this libretto would be her last completed work. The opera’s music/orchestration uses a plethora of hymn tunes, parlor songs, marches, waltzes and bugle calls. The Mother of Us All received favorable reviews at its debut on May 7, 1947. Otto Luening conducted the premiere at Columbia University’s Branders Matthews Hall. Other productions include the 1976 Santa Fe Opera production conducted by Raymond Leppard that included sets and costumes designed by Robert Indiana. This production showcased two of MSM’s voice faculty – Mignon Dunn singing the role of Susan B., and Ashley Putnam in the role of Angel More. A Glimmerglass Opera staging in 1998 showcased MSM alumna Joanna Johnston singing the title role. In 2000, Lauren Flanigan, another Manhattan School graduate, revived the role of Susan B. Anthony in the New York City Opera staging conducted by George Manahan (MSM’s Director of Orchestral Activities) joined by MSM alumni, Tara Venditti in the role of Indiana Elliot and Matthew Chellis as John Adams. In 2003, The Mother of Us All opened the San Francisco Opera’s 90th anniversary season. Virgil Thomson, b. November 26, 1896 – d. September 30, 1989, grew up in Kansas City, Missouri beginning piano studies at age 5. In the early 1920’s he attended Harvard University where he sang in the Harvard Glee Club and became acquainted with Erik Satie’s piano music (which would become a lifelong passion) as well as Gertrude Stein’s early prose work Tender Buttons. From 1925 to 1940, he resided in Paris where he met James Joyce, Ernest Hemingway, e.e. Cummings, Aaron Copland, Igor Stravinsky, Pablo Picasso, Orson Welles, and Gertrude Stein, among others. He studied with Nadia Boulanger and published a book, The State of Music. He remained in Paris until the Nazi occupation. After moving to New York, he worked as chief music critic of the New York Herald Tribune and as a conductor and composer for theater and film. He was a mentor to Ned Rorem, Paul Bowles and Leonard Bernstein. Gertrude Stein, b. February 3, 1874 – d. July 27, 1946, was born in West Allegheny (Pittsburgh), Pennsylvania and raised in Oakland, California. In 1903, she moved to Paris where she lived and wrote until her death. Her home on the Left Bank would become renowned as a gathering place for other expatriate American writers, artists, and others in the world of arts and letters. In 1933, she published a best-selling memoir titled, The Autobiography of Alice B. Toklas. Best known as a strikingly original writer who experimented with literary conventions, Stein was also an American art collector. THE CHARACTERS Susan B. Anthony Anne Gertrude Stein Virgil Thomson Daniel Webster Andrew Johnson Thaddeus Stevens Jo the Loiterer Chris the Citizen Indiana Elliot

Schoolteacher, feminist advocate for women’s right to vote Anthony’s confidante and devoted friend American writer and art collector American composer and critic Lawyer, U.S. Representative, U.S. Senator, U.S. Secretary of State Southern Democrat, 17th President of the United States Radical Republican, U.S. Representative, ardent foe of Andrew Johnson Recently discharged Civil War soldier Recently discharged Civil War soldier A young provincial

Angel More Henrietta M. Henry B. Anthony Comstock John Adams Constance Fletcher Gloster Heming and Isabel Wentworth Anna Hope Lillian Russell Jenny Reefer Ulysses S. Grant Herman Atlan Donald Gallup A. A. and T. T. Negro Man and Negro Woman Indiana Elliot’s Brother

Deceased former sweetheart of Daniel Webster—part angel, part ghost Feminist of 1890 A poetic gentleman of 1870 U.S. Postal Inspector dedicated to Victorian morality Probably John Quincy Adams, 6th President of the United States A gracious lady, based upon an acquaintance of Stein’s Intellectuals of 1890 Feminist of 1900 A famous singer/actress Feminist, close friend of Susan B. and Anne Civil War commander and 18th President of the United States French painter of 1860 College professor, Curator of the Yale Collection of American Literature Page boys Rural laborers of 1860 A Midwestern farmer of 1870

Synopsis Act I, Scene 1 (Prologue): A room in Susan B. Anthony’s house Susan B. and her devoted companion Anne are at home. Susan B. is pasting clippings into a scrapbook and Anne is knitting. Virgil T. and Gertrude S. appear as narrators. Act 1, Scene 2: A political meeting in a tent Virgil T. announces that the meeting’s topic is economic and political injustice. Daniel Webster, Andrew Johnson, John Adams, Ulysses S. Grant, Anthony Comestock, and Thaddeus Stevens are all present. Jo the Loiterer and Chris the Citizen, recently discharged from the Civil War, mock the politicians’ solemnity. Susan B. introduces herself and debates with Daniel Webster. Act 1, Scene 3: A village green in front of Susan B.’s house Andrew Johnson and Thaddeus Stevens argue as political enemies; John Adams and Constance Fletcher sing a flowery love scene, more concerned about etiquette than affection. Jenny Reefer begins waltzing with Henry Atlan, and everyone joins in. Act 1, Scene 4: same place Susan B. meditates on the difficulties of her mission. Act 1, Scene 5: The marriage of Jo the Loiterer and Indiana Elliot; same place The wedding party enters; there is discussion about the ring; John Adams and Constance Fletcher resume their love scene; Daniel Webster, who is to perform the ceremony, starts to address Angel More in sentimental language. Indiana Elliot’s brother bursts in, wishing to prevent the marriage, and Susan B. explains what marriage means to women. General Grant calls for order, and Jo teases him for his pomposity. Susan B. explains why she never married. Daniel Webster quickly pronounces Jo and Indiana married and Susan B. predicts that their children, men and women, will have the vote. Act 2, Scene 1: Susan B. Anthony’s drawing room Susan B. is doing housework when Anne and Jenny Reefer enter to tell her that she has been asked to make a speech at a political meeting. Jo appears, complaining that Indiana won’t take his last name. Susan B. declines to speak, then agrees, hesitates again, and finally goes to the meeting.

Act 2, Scene 2: The same place Anne and Susan B. return from the meeting, where she has spoken so persuasively that the politicians are now afraid of the women’s suffrage movement—they have added the word “male” into the Constitution to prevent women from voting. Jenny Reefer enters, joyfully proclaiming that she has converted Lillian Russell to their cause. Others comment on Lillian’s beauty, which prompts John Adams to insist that Constance Fletcher is more beautiful. Indiana Elliot has decided to take Jo’s last name, and he will take hers; they will become Jo Elliot and Indiana Loiterer. Everyone congratulates Susan B. for her leadership. Act 2, Scene 3 (Epilogue): Some years later; scene of the unveiling of the Susan B. Anthony statue in the Halls of Congress Anne, who is the guest of honor, enters alone and rejoices that women now have the right to vote. All the characters appear talking about women’s suffrage and the ceremony threatens to get out of hand. Virgil T. unveils the statue, revealing Susan B. herself (a ghost), who sings poignantly about her life. The women lay wreaths at her feet and leave, with Jenny Reefer and Anne the last to leave. Alone, Susan B. (as a statue) continues to sing as the stage darkens.

Travel  and  Box  Office  Information   Tickets are priced at $30; $15 for seniors and students. The Manhattan School of Music Box Office is open Monday through Friday from 10:00 a.m. to 5:00 p.m., and one hour before curtain for ticketed events. For an up-to-date concert schedule, please call the Concert Line at 917-493-4428. For a complete calendar of concerts and events, visit the Manhattan School of Music web site at www.msmnyc.edu. Manhattan School of Music is located at the northwest corner of 122nd Street and Broadway and is accessible by public transportation. The entrance for ticketed concerts is at 132 Claremont Avenue (on Claremont Avenue). The Concert Entrance will open one hour prior to ticketed events only. A handicap entrance is located on Claremont Avenue at 120 Claremont Avenue. For all other events, please use the main entrance at 122nd Street and Broadway. As a result of construction, the intersection at West 122nd Street & Broadway will be closed until further notice. Cars will not be able to cross Broadway at West 122nd Street. There will also be no parking on Broadway in front of Manhattan School of Music. Any cars parked on Broadway in front of the school will be fined. The M4 and M104 buses will not stop at West 122nd Street & Broadway (in either direction). During the construction, the bus stops closest to Manhattan School of Music will be La Salle Street & Broadway and West 120th Street & Broadway.

Bios   Steven Osgood, Conductor Steven Osgood is a sought after conductor throughout North America, having proven his expertise in repertoire ranging from the Baroque through this century’s most challenging scores. He conducted the world premieres of Tan Dun’s Peony Pavilion, Jonathan Sheffer’s Blood on the Dining Room Floor, Janice Hamer‘s Lost Childhood, Paula Kimper‘s Patience and Sarah, Xenakis's Oresteia, and Missy Mazzoli‘s Song from the Uproar. In November 2012, he made his debut with Sarasota Opera leading the world premiere of Daron Hagen’s Little Nemo in Slumberland. Maestro Osgood is former Artistic Director of American Opera Projects where he created the company’s nationally recognized Composers and the Voice Workshop Series. Additionally, he led workshops of

dozens of works in development, including Herschel Garfein’s Rosencrantz and Guildenstern are Dead, Tarik O’Regan’s Heart of Darkness, Conrad Cummings’ The Golden Gate, and Séance on a Wet Afternoon by Stephen Schwartz. Maestro Osgood joined the music staff of the Metropolitan Opera in 2006 as assistant conductor for the world premiere of Tan Dun’s The First Emperor, and added productions of La Traviata, Nixon in China, Phillip Glass' Satyagraha and Muhly’s Two Boys, to name a few. In recent seasons he conducted productions with De Nederlands Opera, Ft. Worth Opera Festival, New York City Opera, Wolf Trap Opera, Opera Memphis, Edmonton Opera, Chautauqua Opera, and Juilliard Opera. Maestro Osgood has led concerts with the ICE Ensemble, Chautauqua Symphony, Kitchener-Waterloo Symphony and Wintergreen Festival Orchestra. In 2012-2013 he served on the review board for Fort Worth Opera’s Frontiers program, which is designed to identify and introduce new, unpublished operatic compositions. Steven Osgood’s long relationship with Manhattan School of Music has included productions of John Corigliano’s The Ghosts of Versailles, Lukas Foss’ Griffelkin, and Lee Hoiby’s A Month in the Country and Summer and Smoke. Recordings of both Hoiby operas are available on Albany Records. Dona D. Vaughn, Stage Director Dona D. Vaughn, Artistic Director of Opera Programs at Manhattan School of Music, also serves as Artistic Director of PORTopera, a summer festival in Portland, Maine. From 1998 to 2010 she was Stage Director/Acting Coach for The Metropolitan Opera’s Lindemann Young Artist Development Program. A graduate of Brevard College (voice) where she currently serves on the board of trustees, she received her BA in music (vocal performance) from Wesleyan (Outstanding Alumni Award), an MA in theater (directing) from Hunter College, and an honorary doctorate of music from the University of Southern Maine. She studied acting with Lee Strasberg and Uta Hagen, and dance with Martha Graham. She began her career as a performer in the original Broadway productions of Company, Jesus Christ Superstar, and Seesaw. She was Assistant to Producer Kermit Bloomgarden for the Broadway productions of Equus and Hot l Baltimore, Associate Producer for Pavel Kohout’s Poor Murderer and ABC Television’s All My Children, Dramaturge for the O’Neill Conference on Opera and Musical Theater, HB Playwright’s Unit, and the University of Kansas New Play Season, and Assistant Director for the original production of Tennessee Williams’s Red Devil Battery Sign. Directing credits include New York City Opera, Michigan Opera Theater, Wolf Trap, Palm Beach Opera, Ensemble Studio Theater, Lincoln Center Playwrights’ Festival, New York Repertory Company, Kennedy Center, Minerva Productions, Peterloon Festival, Heritage Theater (Calgary, Canada), DiVivreVoix (Vivonne, France), Florida Arts Festival, and many colleges and universities across the country. She directed the premieres of Roberto Hazon’s L’Agenzia Matrimoniale, Robert Sirota’s Holy Women, Francis Thorne’s Mario and the Magician, Ray Luc’s Drowne’s Wooden Image and The Bullfrog, New York premieres of Milton Granger’s Talk Opera and The Proposal, the Off-Broadway production of Murphy Guyer’s World of Mirth, and the European premiere of Carlisle Floyd’s The Flower and the Hawk. Formerly a member of the voice faculties at SUNY-Plattsburgh and Marymount Manhattan College, she often conducts master classes across the U.S., Asia, and Europe, and serves as an adjudicator for vocal competitions including The Metropolitan Opera National Council, The Richard Tucker Foundation, Denver Lyric Opera, Palm Beach Opera, The Jenson Foundation, The Opera Theatre of Saint Louis Artist-inTraining Program, and Premio Spiros Argiris International Competition (Italy). She has written for Opera News and Italy’s Musicale! Manhattan School of Music Opera Theater productions she has directed include the Weill/Brecht Aufstieg und Fall der Staat Mahagonny (2013); Cosi fan tutte (2011); Lee Hoiby’s Summer and Smoke (2010), Mozart’s Le nozze di Figaro (2010) Johann Strauss’ Die Fledermaus (2009) and Britten’s A Midsummer Night’s Dream (2003). With the MSM Senior Opera Theater she has directed Offenbach’s Orphée aux enfers (2013); Schubert’s Die Verschworenen (2012); Giovanni Paisiello’s Nina (US premiere, 2011); Handel’s Il Pastor Fido (2010), Britten’s The Beggar’s Opera (2009) and Purcell’s Dido and Aeneas (2008).

Cast Biographies (alphabetical order): Amelia Berry (Jenny Reefer and Susan B. Anthony cover) Soprano Amelia Berry is a Professional Studies candidate under the tutelage of Ashley Putnam. Previous credits include Don Giovanni (Zerlina) with NBR New Zealand Opera, Aufstieg und Fall der Stadt Mahagonny (Jenny) with Manhattan School of Music Opera Theater, Hansel and Gretel (Mother) with Manhattan School of Music Opera Outreach, Pagliacci (Nedda) for New Zealand Opera in Schools, Il viaggio a Rheims (Corinna) for Days Bay Opera, La clemenza di Tito (Annio) with the Auckland Opera Studio, and the title role in Semele with the New Zealand School of Music. Scene work includes the title role in Alceste with Manhattan School of Music. Kasia Borowiec (Angel More) Soprano Kasia Borowiec is a second-year Master’s degree candidate studying with Mark Oswald. Previous credits include Faust (Marguerite) with Tom Muraco’s Opera Repertory Ensemble, Die Zauberflöte (Erste Dame) with New York Lyric Opera Theatre, and The Turn of the Screw (Miss Jessel). Her concert work includes Mahler’s 4th Symphony, Beethoven’s Mass in C, and Bach’s Cantata no. 140. Rachael Braunstein (Anna Hope) Mezzo-soprano Rachael Braunstein is a Master’s degree candidate studying with Edith Bers. Previous credits include concert performances with Orford Academy of the Arts in Québec, Cendrillon (Fifth Spirit) with MetroWest Opera; scenes from Werther (Charlotte), The Ballad of Baby Doe (Augusta), Carmen (Carmen), and La Cenerentola (Cenerentola) with Crittenden Opera Studio’s Summer Program. Kendra Broom (Isabel Wentworth) Mezzo-soprano Kendra Broom is a first-year Master’s degree candidate studying with Joan PatenaudeYarnell. Previous credits include Orphée aux Enfers (Cupidon) with Manhattan School of Music; The Long Christmas Dinner (Genevieve) with enCANTA Collective; and A Hand of Bridge (Sally) in a studentproduced ensemble. Scenes include Giulio Cesare (Sesto) with SongFest; Little Women (Jo), Into the Woods (Witch), Il barbiere di Sivilgia (Rosina), Vanessa (Erika), Le nozze di Figaro (Cherubino), and Die lustige Witwe (Valencienne) with Manhattan School of Music. Future engagements include Hänsel und Gretel (Hänsel). Ms. Broom is the recipient of the Birgit Nilsson Scholarship at MSM. John Callison (Donald Gallup) Baritone John Callison graduated with his Master’s degree in vocal performance from Manhattan School of Music last spring. With the Manhattan School of Music Opera Theater he appeared in the choruses of Aufstieg und Fall der Stadt Mahagonny and Thaïs. Scene credits include Lady in the Dark (Charlie Johnson) and Il ritorno d’Ulisse in patria (Ulisse). John was a young artist with Ohio Light Opera from 2010 through 2012 and is currently performing with the USO Show Troupe. Chanae Curtis (Negro Woman and Chorus) Soprano Chanae Curtis is a second-year Master’s degree candidate studying with Joan PatenaudeYarnell. As soloist with orchestra, Ms. Curtis has performed Handel’s Messiah, the Bach Magnificat, several Bach cantatas, and Mendelssohn’s Elijah. Recent credits include Fiordiligi in Così fan tutte with the Oberlin in Italy festival. At Manhattan School of Music, she has performed with the Opera Theater Repertory Ensemble’s production of Gounod’s Faust. This spring, Ms. Curtis will make her debut with the Ashland Symphony Orchestra as the soprano soloist in Fauré’s Requiem in D Minor. Noragh Devlin (Susan B. Anthony) Mezzo-soprano Noragh Devlin is a first-year Master’s degree candidate under the tutelage of Cynthia Hoffmann. Previous credits include Orphée aux enfers (L’Opinion Publique and Junon) with Manhattan School of Music, and Giulio Cesare in Egitto (Giulio Cesare) with the Bay Area Summer Opera Training Institute. Scene work includes The Crucible (Elizabeth Proctor), Die Zauberflöte (Dritte Dame), Così fan tutte (Dorabella), The Rape of Lucretia (Female Chorus), La Clemenza di Tito (Annio), and Les contes d’Hoffmann (Nicklausse). She has performed as a soloist in Rossini's Petit Messe Solennelle, Pergolesi’s Magnificat, Brahm’s Neueliebeslieder, and the Requiem by Nunes Garcia. Ms. Devlin spent the summer of 2013 studying at the Franz Schubert Institute, working with master teachers such as Rudolph Jansen, Julius Drake, Elly Ameling and Roger Vignoles.

Megan Gillis (Gertrude Stein) Soprano Megan Gillis is a first-year Master’s degree candidate studying under Joan Patenaude-Yarnell. This past summer, Megan sang the role of Francesca in the Philadelphia premiere of Rachmaninoff’s Francesca da Rimini with the Russian Opera Workshop. Her previous credits include Le nozze di Figaro (Countess), Die Zauberflöte (First Lady), and Les contes d’Hoffmann (Voice of the Mother) with the University of Georgia Opera Theatre. Scene work includes Cosi fan tutte (Fiordiligi) and The Old Maid and the Thief (Laetitia). She has attended various summer training programs including the FrancoAmerican Vocal Academy in Salzburg, Austria. Addison Hamilton (Constance Fletcher) Soprano Addie Hamilton is a first-year Master’s degree candidate under the tutelage of Marlena Malas. Her credits include Pirates of Penzance (Mabel), L'incoronazione di Poppea (Drusilla), Die Fledermaus (Ida), and Chicago (Mary Sunshine). Concert appearances include the soprano soloist in Carmina Burana and Handel’s Messiah. This past summer she played the role of Valencienne in Festival of International Opera of the Americas’ production of The Merry Widow in Campinas, Brazil. In 2012, Ms. Hamilton received a Metropolitan Opera National Council Auditions (GA Division) Encouragement Award. Alexander Frankel (Jo the Loiterer) Tenor Alexander Frankel is a third-year student studying under Catherine Malfitano. Previous credits include Fanciulla del West (Nick cover) with the Castleton Festival, Aufstieg und Fall der Stadt Mahagonny (Jack cover /Chorus) with Manhattan School of Music Opera Theater, Don Giovanni (Don Ottavio) with Livermore Valley Opera, Pagliacci (Beppe) with Sonoma City Opera, The Mikado (Nankipoo) with Lyric Theater of San Jose, Die Zauberflöte (Monostatos) with New York Lyric Opera Theatre, Zaide (Sultan Soliman) with Berkeley Opera, and La bohème (Parpignol) with Opera San Jose. Sol Jin (T. T. and chorus) Baritone Sol Jin is a first-year Master's candidate studying under Maitland Peters. Previous credits include Le nozze di Figaro (Il Conte) and Così fan tutte with Yonsei University. Scene work includes Rigoletto (Rigoletto) and La bohème (Marcello) with Yonsei University, and Die Zauberflöte (Papageno) and Il barbiere di Siviglia (Figaro) with Staats Oper Hannover. Kim Johansen (Ulysses S. Grant) Mr. Johansen is a Professional Studies candidate studying with Patricia McCaffrey. Operatic roles includes Leporello from Don Giovanni, Junius from The Rape of Lucretia, Dr. Falke from Die Fledermaus, Vater and Alaska Wolf Joe in Weill’s Die sieben Todessünden and Aufstieg und Fall der Stadt Mahagonny, Simone from Gianni Schicchi, and Talpa in Il Tabarro. Cameron Johnson (Chris the Citizen) Baritone Cameron Johnson is a second-year Master’s degree candidate studying with Maitland Peters. His credits include Le nozze di Figaro (Antonio), with the Center for Opera Studies in Italy, and Little Women (Professor Bhaer) with the Acadia University Performance Ensemble. Scene work includes La Cenerentola (Dandini) with Manhattan School of Music. Mr. Johnson has performed many recitals and been a soloist in various works, including the Fauré Requiem and Vivaldi’s Dixit Dominus. Paull-Anthony Keightley (Gloster Heming) Paull-Anthony Keightley is a first-year Master’s degree candidate studying with Maitland Peters. Previous credits include Rev. Mr. Jones, Major Peter Labelliere, Alderman Birch, Phillip Thicknesse, and Mr. Worrall in Malcolm Williamson’s English Eccentrics, Baptista in the Australian premiere of Hermann Goetz’s The Taming of the Shrew, and the roles of Littore, Famigliari, and Consolo in L’incoronazione di Poppea with the Manhattan Summer Voice Festival. His scene work includes Count Almaviva from Le nozze di Figaro, Dr. Malatesta from Don Pasquale, and Papageno from Die Zauberflöte. James Ludlum (Thaddeus Stevens) Tenor James Ludlum is a first-year Master’s degree candidate at Manhattan School of Music studying with Maitland Peters. The Mother of Us All marks his operatic debut. Previous credits include Julius Caesar (Cassius), The Maids (Solange), Richard III (Richmond), and Twelfth Night (Orsino/Antonio).

Juan Daniel Melo (Herman Atlan) Baritone Juan Daniel Melo is a first-year graduate student studying with Neil Rosenshein. Recent performances include the role of Dr. Grenvil in La traviata and Masetto in Don Giovanni. Additional credits include Keanu in the premiere of Trade and L’arbe from L’enfant et les sortilèges. Scene work includes Don Alfonso from Così fan tutte, Sam in Un ballo in maschera, and Papageno in Die Zauberflöte. Nicholas Meyer (Indiana Elliot’s Brother) Baritone Nicholas Meyer is a second-year Master’s degree candidate under the tutelage of Mark Oswald. Previous credits include Papageno in Die Zauberflöte with the Astoria Music Festival and covering the principal role of Beaumarchais in The Ghosts of Versailles with Manhattan School of Music Opera Theater. Upcoming performances include Tarquinius in The Rape of Lucretia with Ken Merrill’s seminar at Manhattan School of Music. Nick Miller (A. A. and Chorus) Baritone Nick Miller is a first-year Master’s degree candidate studying with Ashley Putnam. Previous credits include Oliver! (Bill Sykes) and The Wizard of Oz (Tin Man) with Rosetown Playhouse and A Little Night Music (Count Carl-Magnus) and Iolanthe (Strephon) with Texas Tech University Opera Theater. Scene work includes La Cenerentola (Alidoro). Nick Miller has also made chorus appearances in Pagliacci and Carmen with the Fargo-Moorhead Opera. Carlton Moe (John Adams) Carlton Moe is a first-year Master’s degree candidate under the tutelage of Mark Oswald. In May 2013, Mr. Moe made his Carnegie Hall debut with the Detroit Symphony Orchestra as the Brother in Kurt Weill’s The Seven Deadly Sins. He has performed as soloist in Verdi’s Requiem, Beethoven’s Ninth Symphony, Mozart’s Requiem, and Handel’s Messiah. Previous opera credits include The Elixir of Love (Nemorino), Hansel and Gretel (The Witch), The Marriage of Figaro (Don Curzio) with the Student Opera Association of Portland State University; Dialogues des carmélites (Chevalier de la Force), Street Scene (Lippo Fiorentino), Falstaff (Bardolfo), and The Merry Widow (St. Brioche) with Portland State University Opera; and Die Zauberflöte (Monostatos/Second Priest/First Armored Man) with the Astoria Music Festival. Thomas Mulder (Andrew Johnson) Thomas Mulder is a second-year Master’s degree candidate studying with Mark Oswald. Recent credits include La clemenza di Tito (Tito) with New York Lyric Opera, L'elisir d'amore (Nemorino) with Opera MODO, and Les Vêpres Sicilliennes (Mainfroid) with Bel Canto at Caramoor, where he was an apprentice artist. At Manhattan School of Music he has performed The Rape of Lucretia (Male Chorus), scenes from Two Boys (Brian) and The Tempest (Ferdinand), as well as in the choruses of Thaïs, Die Aufstieg und Fall der Stadt Mahagonny, and Faust. He graduated in 2012 from Vanderbilt University where he performed Così fan tutte (Ferrando), The Marriage of Figaro (Don Curzio), and Nicolai's The Merry Wives of Windsor (Fenton), as well as the tenor soloist in Mozart’s Requiem and Haydn’s Lord Nelson Mass with Vanderbilt's Symphonic Choir and Orchestra. Margaret Newcomb (Lillian Russell) Soprano Margaret Newcomb is a second-year Master’s degree candidate studying with Ashley Putnam. This past summer Ms. Newcomb sang the role of Contessa di Almaviva in Le nozze di Figaro at the Conservatorio S. Pietro a Majella in Naples, Italy. She also performed the role of Poppea in L’incoronazione di Poppea at the Manhattan Summer Voice Festival. Other credits include Die Zauberflöte (Pamina) and Don Giovanni (Donna Elvira) with Lyric Opera Studio Weimar, Germany, the title role of Alcina with New York Lyric Opera Theater, and the title role in the U.S. premiere of Paisiello’s Nina, o sia la pazza per amore at Manhattan School of Music. Gina Perregrino (Indiana Elliot) Mezzo-soprano Gina Perregrino is a fourth-year student under the tutelage of Mignon Dunn. Previous credits include the title role in La Dolorosa, Carmen (Mercédès), Der Rosenkavalier (Octavian), Die Zauberflöte (Third Spirit), Rigoletto (Maddalena), and Susannah (Mrs. Ott) under the musical direction of Carlisle Floyd. Scene work includes Vanessa (Erika), La Clemenza di Tito (Annio), and War and Peace (Sonya) in Russian at the International Vocal Arts Institute.

Elliott Page (Negro Man and Chorus) Tenor Elliott Paige is a first-year graduate student under the instruction of Mark Oswald. His credits include in Gianni Schicchi (Rinuccio) with the Luray Opera Theater in Virginia,The Mikado (Pish Tush) and Die Fledermaus (Dr. Blind) with the James Madison University Opera. He has also been a soloist with the Shenandoah Choral Society and the Masterworks Chorus of the Shenandoah Valley. Scott Russell (Daniel Webster) Bass Scott Russell is a first-year Master’s degree candidate studying with Mignon Dunn. His credits include La Périchole (cover of Don Andrès, Vice-Roi) with New York City Opera, the world premiere of Jack and the Beanstalk (The Giant) with Nevada Opera, the world premiere of Quartet (Bear) at Carnegie Hall, Don Giovanni (Masetto) with Nevada Opera, Susannah (Rev. Olin Blitch) with the International Vocal Arts Institute in Israel and Virginia, La bohème (Colline) with Sherill Milnes’s V.O.I.C.Experience, and the revue It’s a Grand Night for Singing (“Leading Man”) with Washington D.C. Savoyards. Megan Samarin (Anne) Mezzo-soprano Megan Samarin is a fourth-year student under the tutelage of Ashley Putnam. This past summer she attended the Houston Grand Opera Young Artist Vocal Academy. Credits include Eugene Onegin (Madame Larina), The Three Little Pigs (Cherubino), Albert Herring (Cis) with Seagle Music Colony; Dialogues of the Carmelites (Soeur Mathilde) and H.M.S. Pinafore (Cousin Hebe) with Brevard Music Center; Hansel and Gretel (Hansel) with the New York Lyric Opera Theater and Orphée aux enfers (Vénus). Scene credits include Dialogues of the Carmelites (Mère Marie) and The Turn of the Screw (Mrs. Grose). Future engagements include Farnace in Manhattan School of Music Senior Opera Theater’s production of Cavalli’s La Doriclea. Nicholas Smith (Anthony Comstock) Bass-Baritone Nicholas Smith is a fourth-year student under the tutelage of Ashley Putnam. Previous credits include Gianni Schicchi (Betto) with Opera on the Avalon, Die Zauberflöte (Papageno and Sprecher) with Lyric Opera Studio Weimar, and Orphée aux enfers (Dr. Morpheus) with Manhattan School of Music Senior Opera Theater. Scene work includes Street Scene (Mr. Olsen), The Pirates of Penzance (Major General), and Orphée aux enfers (Jupiter). He has performed as a soloist in Mozart’s Requiem with Opera on the Avalon and the Jongen Mass with Manhattan School of Music. Future engagements include La Doriclea (Surena) with Manhattan School of Music Senior Opera Theater. Chad Sonka (Virgil Thomson) Baritone Chad Sonka is a second-year Master’s degree candidate studying with Mark Oswald. Previous credits include the choruses of Thaïs and Aufsteig und Fall der Stadt Mahagonny, Faust (Wagner), and Elijah (Elijah) with Manhattan School of Music; Amahl and the Night Visitors (King Melchior) with Nevada Opera; Così fan tutte (Don Alfonso), Street Scene (Henry Davis), and The Telephone (Ben) at Luther College. Mr. Sonka was chosen as a participant in Dolora Zajick’s Institute for Young Dramatic Voices, as well as Sherrill Milnes’s VOICE Studio at the Savannah Voice Festival. Upcoming performances include Carmen (Dancairo) with the Cedar Rapids Opera Theatre and The Rape of Lucretia (Junius) with Ken Merrill's Vocal Accompanying Seminar. Kathleen Spencer (Henrietta M.) Kathleen Spencer is a second-year Master’s degree candidate studying with Hilda Harris. Recent roles include Le nozze di Figaro (Cherubino) with the Vancouver Summer Opera Studio and La Cenerentola (Cenerentola) with the Oberlin in Italy scenes program. She has been seen in the choruses of Aufstieg und Fall der Stadt Mahagonny and Thaïs at Manhattan School of Music. She will also be performing the title role in The Rape of Lucretia with Ken Merrill's Vocal Accompanying Seminar at MSM. Jonathon Thierer (Henry B.) Baritone Jonathon Thierer is a junior studying under Maitland Peters. Previous credits include soloist in Monteverdi’s Vespers and supernumerary in Manhattan School of Music’s production of Thaïs. He has performed scenes from Don Pasquale (Dr. Malatesta) with Manhattan School of Music and Carmen with Carnegie Mellon University Summer Festival.

The Manhattan School of Music Opera Theater, Dona D. Vaughn, Artistic Director is recognized as one of the foremost opera training programs in the world, Manhattan School of Music’s Opera Program attracts some of the most talented young singers from the United States and more than forty countries. Students in the program refine their technique and develop artistry under the guidance of a faculty of eminent artist-teachers while gaining exposure before New York City audiences through performances in opera scenes, community outreach programs, and two fully-staged productions each year. The Manhattan School of Music Opera Program has a long and proud tradition of producing some of the finest operatic artists in America and abroad. The School’s opera productions have been praised as a significant contribution to operatic life in New York City, and many students have gone on to major careers. Among notable alumnae are sopranos Pamela Armstrong, Elaine Alvarez, Alexandra Deshorties, Lauren Flanigan, Olivia Gorra, Kathleen Kim, Catherine Malfitano, Tonna Miller, Laquita Mitchell and Dawn Upshaw; mezzo-sopranos Kate Aldrich, Beth Clayton, Jennifer Dudley, Susan Graham, and Dolora Zajick; countertenor Anthony Roth Costanzo; tenors Matthew Chellis and Brandon Jovanovich; and baritone Scott Altman. Margaret Juntwait, the first woman announcer who is the voice of the Metropolitan Opera broadcast, is also a graduate. The Manhattan School of Music Opera Theater has issued a vast discography including Lee Hoiby’s Summer and Smoke (recorded at MSM in December 2010) as well as Ned Rorem’s Miss Julie, Benjamin Britten’s Albert Herring, Gaetano Donizetti’s Il campanello di notte, Leonard Bernstein’s Trouble in Tahiti, Gustav Holst’s Savitri, Nicolas Flagello’s The Piper, Ludwig Spohr’s Beauty and the Beast, the world premiere recordings of Daniel Catan’s Rappaccini’s Daughter, William Mayer’s A Death in the Family, Scott Eyerly’s The House of Seven Gables, Robert Ward’s Roman Fever, Thomas Pasatieri’s The Seagull, Lee Hoiby’s A Month in the Country, and John Musto’s Later the Same Evening.

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Opera  Studies   Dona D. Vaughn, Artistic Director Gordon Ostrowski, Assistant Dean/Opera Producer Daniel Benavent, Opera Studio Manager/Associate Producer Anne Shikany, Assistant to the Director William Tracy, Head Coach Mark Janas, June Murano-Murray, LeAnn Overton, Scott Rednour, and Elizabeth Rodgers, Vocal Coaches Jorge Parodi, Vocal Coach and Music Director of Senior Opera Theater

Voice  Faculty   Maitland Peters, Chair; Edith Bers, Joan Caplan, Mignon Dunn, Hilda Harris, Cynthia Hoffmann, Marlena Kleinman Malas, Spiro Malas, Catherine Malfitano, Patricia Misslin, Mark Oswald, Joan Patenaude-Yarnell, Ashley Putnam, Neil Rosenshein and Lynn Owen (voice faculty emeritus)

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