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FRIDAY, AUGUST 28, 2026 | 12:30PM Boston Public Library (Central) McKim Courtyard

ARTISTS Claire Burreson Juliette Kaoudji Mary Kray

Ricky Lee Owens, Jr. Daniel Lugo Jacob O’Shea

Zizhao Wang Douglas Sumi Alexandra Dietrich

BLO STAFF Carley DeFranco, soprano, and Devon Russo, bass-baritone, perform at BLO’s 2024 Concert in the Courtyard at the Boston Public Library Central Branch.

WELCOME TO CONCERT IN THE COURTYARD 2026/27 WITH BOSTON LYRIC OPERA! We are excited to return to the Boston Public Library to close out the Concert in the Courtyard series! This summer, we have partnered with communities across Boston to bring you fun, free, outdoor concert experiences full of opera’s greatest hits, musical theatre favorites, and more. This summer’s partners have included Inquilinos Boricuas en Acción, Boston Harbor Now, SoWa Boston, the National Parks of Boston, Boston Centers for Youth and Families, the Boston Public Library Central Branch, and more. Thanks for joining us for the adventure! Talk to a friendly BLO staff member and take our survey to share your thoughts about today’s performance, sign up for our email list or check out our website to learn more, and bring a friend with you to our next event! o learn more about Boston Lyric Opera and future events, please visit BLO.org.

Boston Lyric Opera has partnered with the Boston Public Library Central and branches across Boston for over twenty years providing equitable access to quality opera experiences to the community. All programs in partnership with the BPL are made available for free and are open to the public to attend.

MUSICAL PROGRAM Emcees Nina Yoshida Nelsen & Morgan Beckford

“Largo al factotum” from The Barber of Seville Music by Gioachino Rossini Libretto by Cesare Sterbini

“Padlock Quintet” from The Magic Flute Music by Wolfgang Amadeus Mozart Libretto by Emanuel Schikaneder

“Toreador Song” from Carmen Music by Georges Bizet Libretto by Henri Meilhac & Ludovic Halévy

“Card Trio” from Carmen Music by Georges Bizet Libretto by Henri Meilhac & Ludovic Halévy

“Sein wir wieder gut” from Ariadne auf Naxos Music by Richard Strauss Libretto by Hugo von Hofmannsthal

“Voglio dire... Obbligato, ah! sì, obbligato!” from L’elisir d’amore Music by Gaetano Donizetti Libretto by Felice Romani

“Più amabile beltà” from Giulio Cesare Music by George Frideric Handel Libretto by Nicola Francesco Haym

“A Weekend in the Country” from A Little Night Music Music & lyrics by Stephen Sondheim

“Make Our Garden Grow” from Candide Music by Leonard Bernstein Lyrics by Richard Wilbur

BLO | CONCERT IN THE COURTYARD 2026/27

MEET THE PERFORMERS Claire Burreson (she/her) is a soprano from Seattle, Washington, joining Boston Lyric Opera as a Jane & Steven Akin Emerging Artist for the 2026/27 Season. Burreson is quickly gaining recognition on the competition circuit, where she has recently been honored with awards on both coasts, including winning the Metropolitan Opera Laffont Competition in the Washington District, the National Opera Association’s Carolyn Bailey Argento Vocal Competition, the Hans Lewitus Competition, NATS Boston, and the Calliope’s Call Young Singer Competition. As a Boston-based performer, she has been seen in numerous productions including Puccini’s Le Villi with the New Opera Company of Boston, as well as her roles in many Boston Conservatory at Berklee productions, such as Amy in Little Women, Nora in Riders to the Sea, Betsey Morey in Jodi Goble’s new opera Whaling Women, Second Woman in Dido and Aeneas, and Soprano Pig in Michael Ching’s adorable children’s opera Three Pigs Remix. She also covered the roles of Nellie in Summer and Smoke and Laoula in L’etoile. Burreson earned her Master of Music in opera performance from Boston Conservatory in May 2026, studying with Angela Gooch. East Boston native Juliette Kaoudji, mezzo-soprano, joined Boston Lyric Opera in 2025/26 as a Witch in Macbeth, Clara the Maid in Vanessa, and in the ensemble of Mahler’s Symphony No. 3. In 2026/27, she joins BLO as a Jane & Steven Akin Emerging Artist. With the Boston University Opera Institute, her roles have included Minskwoman, Flight; Stéphano, Roméo et Juliette; Ramona, The Eleanors; Zita, Gianni Schicchi; Paula, Florencia en el Amazonas; and Almera, Dark Sisters. She prepared Ginesa in El Caminante in one week for its premiere with the BU Symphony Orchestra and is on the first commercial recording released by Parma Recordings. Other contemporary work premieres include Scientist, Cosmic Cowboys, White Snake Projects and Jacob Shulman’s Role Playing Game, in which she originated the role of Mayrik. Credits with Boston Youth Symphony Orchestra include Ghost of Cassandre, Les Troyens; Lady in Waiting, Don Carlo; and Druid Priestess, Norma. Kaoudji’s postgraduate roles at New England Conservatory included Mère Jeanne, Dialogues of the Carmelites; Nada, Svadba; Maman and Pâtre, L’enfant et les sortilèges; Dido and Sorceress (cover), Dido and Aeneas; Mrs. Grose, The Turn of the Screw; and Chloe, L’arbore di Diana. Mary Kray is a Boston-based mezzo-soprano and returning Jane & Steven Akin Emerging Artist at Boston Lyric Opera. She is thrilled to return for the 2026/27 season, having recently covered the mezzo role in BLO’s staged production of Gustav Mahler’s Song of the Earth. She has performed a wide range of operatic and concert repertoire with local organizations such as the Boston Symphony Orchestra, New England Philharmonic, Boston Opera Collaborative, and NEMPAC Opera Project. Operatic highlights include Orfeo in Gluck’s Orfeo ed Euridice and Marcellina in Mozart’s Le nozze di Figaro. As a concert soloist, she has performed the alto solos in Vivaldi’s Gloria, Bach’s Magnificat, Mozart’s Vespers, Penderecki’s Credo, Beethoven’s Symphony No. 9, and Handel’s Messiah. She has received numerous awards at the Metropolitan Opera National Council Auditions (2018-21) and recognition from the National Society of Arts and Letters. Kray is a proud recipient of BLO’s Stephen Shrestinian Award for Excellence in the 2025/26 season. She holds an M.M. in opera performance from Boston Conservatory at Berklee, teaches musicianship at the Handel and Haydn Society, and maintains a private voice studio. She brings a trauma-informed and compassionate approach to her teaching and performance practice

BLO | CONCERT IN THE COURTYARD 2026/27

Ricky Lee Owens, Jr. is a countertenor from Dallas, Texas. His operatic credits include Refugee in Flight, Nerone in L’incoronazione di Poppea, and Caio Silla in Ottone in Villa, with additional portrayals of Giulio Cesare, Oberon, Sesto, Orfeo, and Rinaldo. A two-time Boston District Winner of the Metropolitan Opera Laffont Competition, he has trained with SongFest, the Bayview Music Festival, and LA Opera’s HBCU Opera Career Comprehensive program. He will attend the Ravinia Steans Music Institute in the summer of 2026. Owens holds a B.A. in music from Prairie View A&M University and an M.M. in vocal performance / opera from Carnegie Mellon University. He is a Graduate Diploma student at the New England Conservatory of Music, where he is a student of Bradley Williams. Daniel Esteban Lugo is ecstatic to be joining Boston Lyric Opera for its 50th anniversary season as a Jane & Steven Akin Emerging Artist. A first generation Mexican American tenor from El Paso, Texas, Lugo is now based in Boston. He completed a BM in vocal performance (2020) at Boston Conservatory at Berklee under the tutelage of Monique Phinney. He has since performed with companies across the United States, including roles such as Oronte in Lawrence University’s Alcina, Remendado in Des Moines Metro Opera’s Carmen, Count Almaviva (cover) in Tri-Cities Opera’s The Barber of Seville, and Don Ramiro (cover) in Virginia Opera’s La Cenerentola. Most recently, he played José in Boston Conservatory’s New England premiere of Time to Act by Laura Kaminsky under the baton of Andrew Bizants; and Harry/Zoltan Karpathy in the ensemble of My Fair Lady with Opera Saratoga, music directed by Adam Nielsen. This fall, he will be taking on the role of Rodolfo in La bohème with Boston Conservatory at Berklee. Baritone Jacob O’Shea joins Boston Lyric Opera as a Jane & Steven Akin Emerging Artist for the 2026/27 Season. Previously, O’Shea has been seen as an emerging artist at some of the top programs in the country, including Palm Beach Opera, Des Moines Metro Opera, Central City Opera, Boston University Opera Institute, and as a Renée Fleming Artist at the Aspen Music Festival. Equally at home in standard repertoire and new works, role highlights include Papageno, Die Zauberflöte; Guglielmo, Così fan tutte; Theseus, A Midsummer Night’s Dream; The Sodbuster, Proving Up; and Paul, If I Were You. Originally from Albany, New York, O’Shea completed his BM in vocal performance at Syracuse University and his MM in vocal performance at Boston University. He is currently under the tutelage of Bill McGraw. Chinese-born bass-baritone Zizhao Wang is a Jane & Steven Akin Emerging Artist with Boston Lyric Opera. In BLO’s 2026/27 season, he covers Melchtal and Walter Furst in William Tell and sings Antonio while covering the title role in Le nozze di Figaro. He also appears as Bonzo in Knoxville Opera’s new production of Madama Butterfly and returns to Asia Society Texas Center for The Big Swim, singing Tiger and Rooster in this coproduction with Houston Grand Opera. With BLO, Wang previously performed First Apparition / Assassin / Herald / Valet in Macbeth, covered The Cosmic Weatherman in The Seasons (world premiere), and appeared as Third Man / Baritone Soloist / Sailor in Carousel. During Glimmerglass Festival’s 50th season, he sang Bum Man / Munch / Tree in The House on Mango Street (world premiere) and covered the Sacristan / Jailer in Tosca. Additional engagements include Bartolo, Le nozze di Figaro, Knoxville Opera; Martino, L’occasione fa il ladro, Opera Southwest; Colline, La bohème, New England Conservatory (guest artist); Imperial Commissioner, Madama Butterfly, Virginia Opera; and Yang Yaozu, Country & Home, Chinese National Opera Festival. Wang was awarded Second Place in the 2019 New England Region Finals of the Metropolitan Opera Laffont Competition. BLO | CONCERT IN THE COURTYARD 2026/27

Douglas Sumi is an American pianist, vocal coach, conductor, composer, and consultant whose work centers on song, opera, and emerging artists. His Boston Lyric Opera engagements include Champion, La Cenerentola, Madama Butterfly, and Mahler’s Das Lied von der Erde. His compositions include Legends from Camp, song settings of Japanese American poetry reflecting experiences of wartime incarceration; and the original score for the documentary Kioku, which preserves the history of a World War II assembly center. He has collaborated with artists including Plácido Domingo, Renée Fleming, Itzhak Perlman, James Conlon, Carol Vaness, Gustavo Dudamel, Joyce DiDonato, Angel Blue, and Ailyn Pérez, and has performed throughout North America and Europe, including at the Kennedy Center. Singers he has coached have earned top prizes in Operalia, the Metropolitan Opera Laffont Competition, and BBC Cardiff Singer of the World. A former music staff member of LA Opera and faculty member at UCLA, Sumi is Senior Lecturer in Music, Vocal Repertoire, and Coaching at Boston University, where he coaches singers and pianists and teaches performance, song literature, lyric diction, and opera for pianists. He is also an MBA candidate at BU’s Questrom School of Business. Puerto Rican American stage director Alexandra Dietrich returns to Boston Lyric Opera as a Jane & Steven Akin Emerging Artist for the 2026/27 Season. Previous BLO credits include Assistant Stage Director, Daughter of the Regiment, Ride of the Valkyries!, Macbeth, The Seasons, and Mitridate; Staging Coordinator, Vanessa (in collaboration with the Boston Symphony Orchestra); and Intimacy Director, The Seasons. This summer, she will be Assistant Stage Director for the 70th anniversary of The Ballad of Baby Doe at Central City Opera. Directing credits include Glory Denied, Opera Company of Middlebury; A Gentleman’s Guide to Love and Murder, Little Women, and A Little Night Music, Marblehead Little Theatre; The Little Prince, Longy School of Music and NEMPAC Opera; and La tragédie de Carmen, Boston Opera Collaborative. She was Assistant Director to Loretta Greco for The Light in the Piazza and The Hills of California at The Huntington, and to James Robinson for Awakenings at Odyssey Opera. With the Boston Modern Orchestra Project, Ms. Dietrich was an Associate Artistic Producer on the GRAMMY®-nominated recording of Anthony Davis’ X: The Life and Times of Malcolm X. She served on the voice faculty at the University of Southern Maine Osher School of Music as an Artist Faculty in Voice from 2019-2025.

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS “Largo al factotum” from The Barber of Seville Largo al factotum della città, Presto a bottega, Chè l’alba è già, Ah che bel vivere, Che bel piacere Per un barbiere di qualità! Ah bravo, Figaro, bravissimo! Fortunatissimo per verità! Bravo! Pronto a far tutto, La notte, il giorno Sempre d’intorno in giro sta. Miglior cuccagna per un barbiere, Vita più nobile, No, non si dà. Rasori e pettini, Lancette e forbici Al mio comando tutto qui sta. V’è la risorsa Poi del mestiere Colla donnetta… La la ran lera— Col cavaliere… La la ran la. Tutti mi chiedono, Tutti mi vogliono, Donne, ragazzi, Vecchi e fanciulle: Qua la parrucca, Presto la barba, Qua la sanguigna, Presto il biglietto! Ehi, Figaro! Ahimè! che furia! Ahimè! che folla! Uno alla volta Per carità! Figaro! Son qua. Ehi, Figaro! Son qua. Figaro qua, Figaro là, Figaro su, Figaro giù! Pronto prontissimo son Come il fulmine; Sono il factotum della città! Ah bravo, Figaro, bravissimo! A te fortuna non mancherà.

Make way for the city’s jack-of-all-trades, Quickly to your shops, For it’s already daybreak! Ah, what a beautiful life, What beautiful pleasure For a barber of quality! Ah, well done, Figaro, very well done! Truly, you are as fortunate as can be! Bravo! Ready to do everything, Night and day, Always out and about. A better feast for a barber, A nobler life, No, it’s not possible. Razors and combs, Lancets and scissors, All of it is here, at my command. There are perks Beyond the job With the little lady… Tra la la la… With the cavalier… Tra la la la. Everyone calls me, Everyone wants me, Women, lads, Old men and young maidens: I need a wig here… Quick, trim my beard! There’s passion here… Quick, a love note! Hey, Figaro! Mercy, what fury! Mercy, what a crowd! One at a time, For pity’s sake! Figaro! I’m here. Hey, Figaro! I’m here. Figaro here, Figaro there, Figaro up, Figaro down! I’m fast, fast as can be, Quick as lightning, I am the city’s go-to man! Ah, well done, Figaro, very well done! Good fortune will not fail you.

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS “Padlock Quintet” from The Magic Flute Papageno Hm! Hm! Hm! Tamino I plainly see what you must suffer; your tongue is under lock and key. But there’s no help that I can offer; I have no way to set you free! First Lady Our Queen has heard your anxious plea; at her command I set you free. Papageno Now Papageno’s free to chatter. Second Lady No lying! That’s a serious matter. Papageno I’ll never tell another lie. Three Ladies This padlock warns you not to try. All If lying lips could all be fettered, if such a lock could close them tight, then slander, hate, and lies would vanish, and all would live in love and light. First Lady O Prince, receive this gift from me. Our Queen bestows it by my hand. This magic flute she deigns to send you. In danger’s hour it will defend you. Three Ladies And by this flute great powers are granted, all human souls can be enchanted; for those who grieve forget their pain, and stony hearts grow mild again. All No precious jewel or shining gold has greater worth. By its spell, this magic flute can increase our joy on earth. 6

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS Papageno Now, you lovely ladies, tell me: may I take my leave of you? Three Ladies Not until you’ve heard us tell you what the Queen would have you do: you must go with Prince Tamino to Sarastro’s mighty castle. Papageno No, I thank you; no, not I! You yourselves have made it plain that he’s like a savage beast. If Sarastro’s guards should catch me, he would have me plucked and roasted, or he’d feed me to his dogs. Three Ladies Then join the Prince and have no fear, for you’ll be safe when he is near. Papageno Oh, may the devil take the stranger! I have no wish to die; and at the slightest sign of danger, I am sure he will fly. First Lady But see what I have brought for you! Papageno Ai! Ai! Whatever can it be? Three Ladies Do you not hear its merry jingling? Papageno It sets my fingertips a-tingling! Three Ladies And you can play it when you please! All Bells of silver, flute enchanted! Sure defense to you is granted. Fare you well! Your task is plain. Fare you well! We’ll meet again. Tamino But fairest ladies, tell me, pray... BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS Papageno Who’ll be our guide and show the way? Three Ladies Three spirits young and wise will guide you, along your road they’ll stay beside you; and if their counsel you obey, then from your path you’ll never stray. Tamino & Papageno Three spirits young and wise will guide us, along our road they’ll stay beside us? Three Ladies And if their counsel you obey, then from your path you’ll never stray. Tamino & Papageno So fare you well! Our task is plain. Farewell, farewell! We’ll meet again.

Music by Gioachino Rossini Libretto by Victor-Joseph Étienne de Jouy & L.F. Bis SEP 25 – OCT 4 | Emerson Colonial Theatre BLO.org/tell | Box Office 617.542.677

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS “Toreador Song” from Carmen Votre toast, je peux vous le rendre, señors, car avec les soldats, oui, les toréros peuvent s’entendre, pour plaisirs ils ont les combats! Le cirque est plein, c’est jour de fête, le cirque est plein du haut en bas. Les spectateurs perdant la tête, les spectateurs s’interpellent à grand fracas. Apostrophes, cris et tapage poussés jusques à la fureur! Car c’est la fête du courage! c’est la fête des gens de coeur! Allons! en garde, allons, ah!

Your toast I can return to you, gentlemen, for with soldiers, yes, toreros can understand one another, for fighting is their game! The arena is full, it’s a day of fiesta, the arena is full from top to bottom. The spectators, losing their wits, yell at each other with a great racket. Exclamations, yells, and uproar carried to a furor! For it is a celebration of courage! A celebration of the stout-hearted! Let’s go, on your guard!

Toréador, en garde! Et songe bien, oui, songe en combattant qu’un oeil noir te regarde et que l’amour t’attend.

Bullfighter, on your guard! And think well, yes, think while you’re fighting that a dark eye watches you, and that love awaits you.

Tout d’un coup on fait silence... ah, que se passe-t-il? Plus de cris, c’est l’instant! Le taureau s’élance, en bondissant hors du toril! Il s’élance! il entre, il frappe! Un cheval roule, Entraînant un Picador, “Ah! bravo! Toro!” hurle la foule! Le taureau va, il vient et frappe encor! En secouant ses banderilles, Plein de fureur, il court! Le cirque est plein de sang! On se sauve, on franchit les grilles! C’est ton tour maintenant! Allons! en garde, allons, ah!

All of a sudden, they are silent... ah, what is happeing? No more shouts, it’s the moment! The bull hurls itself, bounding out of the bullpen! It charges, it enters, it strikes! A horse rolls over, dragging down a picador, “Ah, brave bull!!” shouts the crowd, The bull goes... it returns... and strikes again! Trying to shake off its banderillas, it runs around, full of fury! The arena is full of blood! Men leap... bound over the barriers! It’s your turn now! Let’s go, on your guard!

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS “Card Trio” from Carmen Mercédès & Frasquita Mêlons! Coupons! Bien, c'est cela. Trois cartes ici… quatre là!

Mercédès & Frasquita Shuffle! Cut! Good, that’s it. Three cards here… four there!

Et maintenant, parlez, mes belles, de l'avenir donnez-nous des nouvelles; dites-nous qui nous trahira, dites-nous qui nous aimera. Parlez, parlez!

And now, speak, my pretties, give us news from the future; tell us who will betray us, tell us who will love us. Speak, speak!

Mercédès Moi, je vois un jeune amoureux qui m'aime on ne peut davantage.

Mercédès Me, I see a young lover who loves me with all his might.

Frasquita Le mien est très riche et très vieux mais il parle de mariage!

Frasquita Mine is very rich and very old, but he talks of marriage!

Mercédès Je me campe sur son cheval, et dans la montagne il m'entraîne.

Mercédès I settle onto his horse, and he takes me into the mountains.

Frasquita Dans un château presque royal, le mien m'installe en souveraine.

Frasquita In an almost royal chateau, mine installs me as sovereign.

Mercédès De l'amour à n'en plus finir, tous les jours nouvelles folies!

Mercédès There is no end to love, and new follies every day!

Frasquita De l'or tant que j'en puis tenir, des diamants... des pierreries.

Frasquita As much gold as I can hold, and diamonds... precious stones.

Mercédès Le mien devient un chef fameux, cent hommes marchent à sa suite.

Mercédès Mine becomes a famous chef, with a hundred men at his command.

Frasquita Le mien... en croirai-je mes yeux? Oui... il meurt! Ah, je suis veuve et j'hérite.

Frasquita Mine... can I believe my eyes? Yes... he dies! Ah, I’m a widow, and I inherit.

Mercédès & Frasquita Parlez encor, parlez, mes belles, de l'avenir donnez-nous des nouvelles;

Mercédès & Frasquita Speak again, speak, my pretties, give us news from the future;

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS dites-nous qui nous trahira, dites-nous qui nous aimera. Parlez, parlez!

tell us who will betray us, tell us who will love us. Speak, speak!

Frasquita Fortune!

Mercédès Amour!

Mercédès Love!

Carmen Voyons, que j'essaie à mon tour. Carreau, pique... la mort! J'ai bien lu... moi d'abord. Ensuite lui... pour tous les deux, la mort!

Carmen Let’s see, I’ll try my turn. Diamonds, spades... death! I’ve read it... I go first. Then him... for both of us, death!

En vain pour éviter les réponses amères, en vain tu mêleras. Cela ne sert à rien, les cartes sont sincères et ne mentiront pas. Dans le livre d'en haut, si ta page est heureuse, mêle et coupe sans peur: la carte sous tes doigts se tournera joyeuse, t'annonçant le bonheur! Mais si tu dois mourir, si le mot redoutable est écrit par le sort, recommence vingt fois, la carte impitoyable répétera: la mort! Oui, si tu dois mourir, recommence vingt fois, la carte impitoyable répétera: la mort! Encor! Encor! Toujours la mort.

In vain to avoid bitter answers, in vain you will shuffle. It is useless, the cards are sincere and do not lie. In the heavenly book, if your page is a happy one, shuffle and cut without fear: the card beneath your fingers will turn over joy, announcing happiness! But if you’re marked for death, if the terrible word is written by fate, twenty times over the ruthless card will repeat: death! Yes, if you’re marked for death, twenty times over the ruthless card will repeat: death! Again! Again! Always death.

Mercédès & Frasquita Parlez encor, parlez, mes belles, de l'avenir donnez-nous des nouvelles; dites-nous qui nous trahira, dites-nous qui nous aimera. Fortune! Amour!

Mercédès & Frasquita Speak again, speak, my pretties, give us news from the future; tell us who will betray us, tell us who will love us. Fortune! Love!

Carmen Encor! Le désespoir! La mort, encor! Toujours la mort!

Carmen Again! Despair! Death, again! Always death!

All Encor!

All Again! BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS “Sein wir wieder gut” from Ariadne auf Naxos Sein wir wieder gut. Ich sehe jetzt alles mit anderen Augen! Die Tiefen des Daseins sind unermeßlich! Mein lieber Freund! Es gibt manches auf der Welt, Das läßt sich nicht sagen. Die Dichter unterlegen ja recht gute Worte, Jedoch Mut ist in mir, Mut Freund! Die Welt ist lieblich Und nicht fürchterlich dem Mutigen. Was ist denn Musik? Musik ist eine heilige Kunst zu versammeln alle Arten von Mut wie Cherubim Um einen strahlenden Thron Und darum ist sie die heilige unter dem Künsten Die heilige Musik!

Let us be reconciled! I see everything now with newly opened eyes! The depths of existence are boundless! My dear friend! There are many things in the world That cannot be expressed in words. The poets have indeed put down good words, Courage is in me, my friend! The world is beautiful. and not frightening to the daring. What, then, is Music? Music is a holy art that unites all who are daring, like cherubim around a gleaming throne! And that is why she is the holiest of arts. Sacred Music!

“Voglio dire... Obbligato, ah! sì, obbligato!” from L’elisir d’amore Nemorino Voglio dire... lo stupendo elisir che desta amore...

Nemorino I mean to say... the stupendous elixir that awakens love...

Dulcamara Ah! sì, sì, capisco, intendo. Io ne son distillatore.

Dulcamara Ah! Yes, yes, I understand. I distill it myself.

Nemorino E fia vero?

Nemorino Really?

Dulcamara Sì... se ne fa gran consumo in questa età.

Dulcamara Yes... it’s very much in use nowadays.

Nemorino Oh! fortuna! E ne vendete?

Nemorino Oh! What luck! And do you sell it?

Dulcamara Ogni giorno a tutto il mondo.

Dulcamara Every day to everyone.

Nemorino E qual prezzo ne volete?

Nemorino And what price do you ask for it?

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS Dulcamara Poco... assai...

Dulcamara Little... indeed...

Nemorino Poco?

Nemorino Little?

Dulcamara Cio è... secondo...

Dulcamara That is... according to...

Nemorino Un zecchin... null’altro ho qua...

Nemorino A sequin... that’s all I have here...

Dulcamara È la somma che ci va.

Dulcamara That’s just the right amount.

Nemorino Ah! prendetelo, dottore.

Nemorino Ah! Take it, Doctor.

Dulcamara Ecco il magico liquore.

Dulcamara Here is the magic potion.

Nemorino Obbligato, ah! sì, obbligato! Son felice, son contento. Elisire di tal bontà, benedetto chi ti fa!

Nemorino Much obliged, ah yes, much obliged! I am happy; I am content. Elixir of such goodness, blessed be your maker!

Dulcamara (Nel paese che ho girato più d'un gonzo ho ritrovato, ma un eguale, in verità, non si trova, non si dà.)

Dulcamara (In the lands that I have traveled, I have found more than one fool, but in truth, no other fool like this one can be found anywhere.)

Nemorino Ehi... dottore... un momentino... In qual modo usar si puote?

Nemorino Hey... Docor... one little moment... How does one take it?

Dulcamara Con riguadro, pian pianino, la bottiglia un po' si scuote... poi si stura... ma si bada... che il vapor non se ne vada. Quindi al labbro lo avvicini e lo bevi a centellini, e l'effetto sorprendente non ne tardi a conseguir.

Dulcamara Very gently, with great care, shake the bottle a bit... then uncork it... but take care... that the aroma does not escape. Then bring it to your lips and take little sips, and you won’t have to wait long to feel its surprising effect.

Nemorino Sul momento?

Nemorino Right away?

Dulcamara A dire il vero,

Dulcamara To tell the truth, BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS necessario è un giorno intero. (Tanto tempo sufficiente per cavarmela e fuggir.)

you need a whole day. (Just enough time for me to get going and flee.)

Nemorino E il sapore?

Nemorino And the flavor?

Dulcamara Eccellente ... (È Bordò, non elisir.)

Dulcamara Excellent... (It’s Bordeaux, not an elixir.)

Both (Obbligato, etc.) (Gonzo, etc.)

Both (Much obliged, etc.) (A fool, etc.)

Dulcamara Giovinotto! ehi? ehi?

Dulcamara Young man! Hey? Hey!

Nemorino Signore?

Nemorino Sir?

Dulcamara Sovra ciò... silenzio... sai? Oggidì spacciar l'amore é un affar geloso assai: impacciar se ne potria un tantin l'Autorità.

Dulcamara About this... keep quiet... you know? These days, to dispense love is a very secret matter: the authorities could be a bit disturbed over this.

Nemorino Ve ne do la fede mia: neanche un'anima il saprà.

Nemorino I give you my word: not a soul will learn of it.

Dulcamara Va, mortale fortunato; un tesoro io t'ho donato: tutto il sesso femminino te doman sospirerà. (Ma doman di buon mattino ben lontan sarò di qua.)

Dulcamara Go, fortunate mortal; I have given you a treasure: every woman around will be pining for you tomorrow. (But tomorrow at early dawn I’ll be well away from here.)

Nemorino Ah! dottor, vi do parola ch'io berrò per una sola: nè per altra, e sia pur bella, nè una stilla avanzerà. (Veramente amica stella ha costui mandato qua.)

Nemorino Ah! Doctor, I give you my word that I will drink for one woman alone: Not a drop will remain for another, no matter how beautiful she may be. (Truly, a lucky star has led him to me.)

Both (Ven do fede, etc.) (Ma doman di buon mattino, etc.)

Both (I give you my word, etc.) (But tomorrow at early dawn, etc.)

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS

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“Più amabile beltà” from Giulio Cesare Cleopatra Caro!

Cleopatra Dearest!

Cesare Bella!

Cesare Beauty!

Both Più amabile beltà mai non si troverà del tuo bel volto.

Both No sweeter beauty will ever be found than in your lovely face.

In me (in te) non splenderà né amor né fedeltà, da te (da me) disciolto.

Neither love nor fidelity shine for me (for you) except when they come from you (from me).

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS “A Weekend in the Country” from A Little Night Music Petra Look, Ma'am, an invitation, Here, Ma'am, delivered by hand. And, Ma'am, I notice the stationery's engraved and very grand. Anne Petra, how too exciting! Just when I need it! Petra, such elegant writing, so chic you hardly can read it! What do you think? Who can it be? Even the ink – No, here, let me. "Your presence…" Just think of it, Petra! "…is kindly…" – it's at a chateau! "…requested…" – etcetera, etcetera, "…Madame Leonora Armf–" Oh, no! A weekend in the country! Petra We're invited? Anne What a horrible plot! A weekend in the country… Petra I'm excited!

Anne No, you’re not!

Petra A weekend in the country, just imagine… Anne It's completely depraved. Petra A weekend in the country! Anne It's insulting.

Petra It’s engraved!

Anne It's that woman, it's that Armfeldt! Petra Oh, the actress? 16

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS Anne No, the ghoul! She may hope to make her charm felt, but she's mad if she thinks I would be such a fool as to weekend in the country. Petra How insulting!

Anne And I’ve nothing to wear.

Both A weekend in the country… Anne Here! The last place I'm going is there. Petra Guess what? An invitation! Anne Guess who? Begins with an "A." Armfeldt… is that a relation to the decrepit Désirée? Petra Guess when we're asked to go, sir? See, sir, the date there? Guess where? A fancy chateau, sir! Anne Guess, too, who's lying in wait there, setting her traps, fixing her face… Fredrik Darling, perhaps a change of pace – Anne Oh, no! Fredrik A weekend in the country would be charming, and the air would be fresh. Anne A weekend with that woman? Fredrik In the country –

Anne In the flesh.

Fredrik I've some business with her mother. BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS Petra See, it's business. Anne Oh, no doubt! But the business with her mother would be hardly the business I'd worry about. Fredrik & Petra Just a weekend in the country – Fredrik Anne Smelling jasmine… Watching little things grow. Fredrik & Petra A weekend in the country.

Anne Go!

Fredrik My darling, we'll simply say no.

Anne Oh!

Anne A weekend! A weekend!

Charlotte How very amusing. But also inept.

A weekend! Of course, we're refusing.

Au contraire, you must accept!

Oh, no!

A weekend in the country.

But it's frightful!

No, you don’t understand.

Charlotte A weekend in the country is delightful, if it's planned. Wear your hair down and a flower, don't use makeup, dress in white. She'll grow older by the hour and be hopelessly shattered by Saturday night. Spend a weekend in the country. Anne We'll accept it.

Charlotte I’d a feeling you would.

Anne & Charlotte A weekend in the country – Anne Yes, it's only polite that we should.

Charlotte Good!

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS Carl-Magnus Charlotte Well? I’ve an intriguing little social item. What? Out of the Armfeldt family manse. Well, what? Charlotte Merely a weekend; still, I thought it might amuse you to know who's invited to go, this time with his pants. Carl-Magnus Charlotte You don't mean... I’ll give you three guesses. She wouldn't...

Reduce it to two.

It can't be...

It nevertheless is.

Egerman!

Right! Score one for you.

Both A-ha! Carl-Magnus A weekend in the country… we should try it. Charlotte How I wish we'd been asked. Carl-Magnus A weekend in the country… peace and quiet… Charlotte We'll go masked. Carl-Magnus A weekend in the country... Charlotte Uninvited? They'll consider it odd. Carl-Magnus A weekend in the country. I'm delighted! BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS Charlotte Oh, my god. Carl-Magnus And the shooting should be pleasant, if the weather's not too rough. Happy birthday, it's your present. Charlotte But – Carl-Magnus You haven't been getting out nearly enough. And a weekend in the country – Charlotte It's perverted!

Carl-Magnus Pack my quiver and bow.

Both A weekend in the country – Carl-Magnus At exactly 2:30, we go.

Charlotte We can’t.

We shall!

We shan’t!

Carl-Magnus I'm getting the car, and we're motoring down. Charlotte Yes, I'm certain you are, and I'm staying in town. Carl-Magnus Go and pack my suits!

Anne We'll go.

Charlotte I won't!

Petra Oh, good!

Carl-Magnus My boots! Pack everything I own that shoots!

Fredrik We will?

Anne We should. Pack everything white.

Charlotte No!

Carl-Magnus Charlotte!

Petra Ma'am, it's wonderful news!

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS Charlotte Fredrik I'm thinking it out. Are you sure it's alright? Anne Fredrik We'd be rude to refuse. Then we’re off! Petra We are?

Charlotte There’s no need to shout.

Fredrik Charlotte We'll take the car! All right, then. Fredrik, Petra, Anne We'll pack champagne and caviar! All We're off on our way, what a beautiful day for a weekend in the country. How amusing, how delightfully droll. A weekend in the country, while we're losing our control. A weekend in the country! How enchanting, on the manicured lawns. A weekend in the country, with the panting and the yawns. With the crickets and the pheasants and the orchards and the hay, with the servants and the peasants, we'll be laying our plans while we're playing croquet for a weekend in the country, so inactive that one has to lie down. A weekend in the country, where – Henrik A weekend in the country, the bees in their hives, the shallow worldly figures, the frivolous lives. The devil's companions know not whom they serve. It might be instructive to observe. All (Repeating various lines from before, overlapping) A weekend in the country, where – we're twice as upset as in.. ...town!

BLO | CONCERT IN THE COURTYARD 2026/27

TEXT & TRANSLATIONS “Make Our Garden Grow” from Candide Candide You've been a fool and so have I but come and be my wife. And let us try before we die to make some sense of life. We're neither pure nor wise nor good; we'll do the best we know. We'll build our house and chop our wood, and make our garden grow. Cunegonde I thought the world was sugar cake, for so our master said. But now I'll teach my hands to bake our loaf of daily bread. Both We're neither pure nor wise nor good; we'll do the best we know. We'll build house and chop our wood, and make our garden grow. All Let dreamers dream what worlds they please; those Edens can't be found. The sweetest flowers, the fairest trees are grown in solid ground. We're neither pure nor wise nor good; we'll do the best we know. We'll build our house and chop our wood, and make our garden grow

BLO | CONCERT IN THE COURTYARD 2026/27

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(L-r) Spencer Britten, Brenda Rae, and Kenneth Kellogg in Boston Lyric Opera's Daughter of the Regiment, 2026.

BLO | CONCERT IN THE COURTYARD 2026/27

BUILD YOUR 50TH SEASON — TODAY. MAKE THIS SEASON YOURS. WILLIAM TELL (GUILLAUME TELL) Music by Gioachino Rossini Libretto by Victor-Joseph Étienne de Jouy & L.F. Bis

SEP 25 - OCT 4, 2026 Emerson Colonial Theatre

A new BLO production

THE OPERA GALA Featuring Michael Fabiano

A STREETCAR NAMED DESIRE Music by André Previn Libretto by Philip Littell Based on the play by Tennessee Williams

OCT 16, 2026 Opera + Community Studios NOV 5 - 8, 2026 Emerson Cutler Majestic Theatre

A new co-production with BLO and Opera Theatre of Saint Louis

THE QUEEN OF SPADES (PIQUE DAME) Music by Pyotr Ilyich Tchaikovsky Libretto by Modest Tchaikovsky

JAN 29 - 31, 2027 Symphony Hall

Presented by the Boston Symphony Orchestra in collaboration with BLO

THE MARRIAGE OF FIGARO (LE NOZZE DI FIGARO) Music by Wolfgang Amadeus Mozart Libretto by Lorenzo Da Ponte A new BLO production

MAR 12 - 21, 2027 Emerson Cutler Majestic Theatre

This is your season. The stories that stay with you. The voices that move through you. The music that brings us together. SUBSCRIBER BENEFITS: Priority seating | 10% off tickets Free exchanges | Early access to special events

LAWRENCE BROWNLEE & ERIN MORLEY IN RECITAL

APR 16, 2027 New England Conservatory’s Jordan Hall

Presented by Vivo Performing Arts in association with BLO

BOSTON’S COMMUNITY OPERA

MAY 8, 2027 Symphony Hall

Music by Carlos Simon Libretto by Tracy K. Smith

Co-commissioned by BLO and the Boston Symphony Orchestra

NADINE SIERRA IN RECITAL

JUN 2, 2027 New England Conservatory’s Jordan Hall

Presented by BLO in association with Vivo Performing Arts

AYRE

Music by Osvaldo Golijov A new BLO production

JUN 17 - 20, 2027 Opera + Community Studios

SECURE YOUR SEATS FOR THE 2026/27 SEASON SUBSCRIBE TODAY BLO.ORG/SEASON

VISIT US FOR THE REST OF 2026! Deconstructing Opera: William Tell @ Opera + Community Studios September 10 | 5:00pm Opera Innovators: George Gagnidze @ Opera + Community Studios September 13 | 3:00pm Street Stage @ Titus Sparrow Park September 13 | 4:00 - 5:00pm William Tell @ Emerson Colonial Theatre September 25 - October 4 | Tickets on sale now! Opening Night Party: Celebrating 50 Years of BLO @ The Four Seasons September 25 | 10:30pm Vocal Auditioning Basics @ Opera + Community Studios October 10 & 11 | 10:00am Opera Innovators: Michael Fabiano @ Opera + Community Studios October 14 | 7:00pm The Opera Gala @ Opera + Community Studios October 16 | 6:00pm A Streetcar Named Desire @ Emerson Cutler Majestic Theatre November 5 - 8 Deconstructing Opera: A Streetcar Named Desire @ Opera + Community Studios October 28 | 5:00pm Opera Innovators: Patricia Racette @ Opera + Community Studios November 1 | 3:00pm A Streetcar Named Desire @ Emerson Cutler Majestic Theatre November 5 - 8 | Tickets on sale now! Learn more about upcoming events at BLO.org/events.

BRADLEY VERNATTER

Stanford Calderwood General Director & CEO NINA YOSHIDA NELSEN Artistic Director

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VIMBAYI KAZIBONI Artistic Advisor

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