Daughter of the Regiment | Digital Playbill

APR 24 - MAY 3, 2026

Emerson Colonial Theatre

DAUGHTER OF THE REGIMENT

Libretto by JULES-HENRI VERNOY DE SAINT-GEORGES & JEAN-FRANÇOIS BAYARD

New English dialogue by KIRSTEN GREENIDGE

Conductor

KELLY KUO

Stage Director

JOHN DE LOS SANTOS

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Learn more about Daughter of the Regiment

t SCAN to open BLO’s Daughter of the Regiment Opera Guide

t SCAN to open BLO’s Daughter of the Regiment Pre-Show Lecture

Join us after curtain on APR 26 & MAY 1 for talkbacks.

From the Directors

Dear Friends of the Opera,

As we transition from our 2025/26 Season into our 18-month celebration of Boston Lyric Opera’s 50th anniversary, our commitment to making opera part of civic life is more vital than ever. This spring, that commitment takes center stage with Daughter of the Regiment — an anchor in BLO’s “Voices of Revolution” initiative for America’s 250th. We are grateful to our statewide partners at MA250 and Everyone250, along with the educators, families, neighbors, and artists who make these gatherings meaningful.

Comedy has always been quietly revolutionary. It can couch critiques in laughter, lift up new ideas in accessible ways, and — sometimes — simply offer joy when it’s needed most. In uncertain times, humor becomes a form of resilience. And opera, at its best, is fun Daughter of the Regiment is, at its core, a comedy and a love story. While military characters feature heavily in this opera, war and its consequences play second fiddle to individual life stories. It’s easy to imagine the soldiers of the Twenty-First, who love and look after Marie — their adopted “daughter” — as tradespeople, farmers, folks from all walks of life, like many who fought for American independence. What shines most is their camaraderie, their good cheer, and their fierce loyalty. Donizetti’s original — and tonight’s new production — give us a radical happy ending: not one defined by wealth or status, but instead the triumph of true love achieved through the solidarity of chosen family.

That spirit of belonging runs through everything BLO does. We create opera with communities, not just for them — making the experience more participatory, more connected, and more relevant to the world around us. This season alone, BLO will reach more than 4,500 young people through free opera-based youth, school, and community programs. Through this work, students build skills in selfexpression, collaboration, and lifting their voices — and the voices of others — together.

And the journey continues: join us this summer for She Was There, a two-day event celebrating women whose stories shaped the Revolution, in partnership with Castle of our Skins, Everyone250, MA250, the Museum of African American History, Roxbury International Film Festival, and the West End Museum, made possible in part by a civic practice grant from OPERA America’s Opera Fund.

Moments like these — onstage and in community — are only possible because people like you choose to be part of them. From all of us at BLO, thank you for being here with us. As our season draws to a close, your support helps sustain free and low-barrier performances, school tours, community partnerships, and more — keeping revolutionary voices singing across the region.

With gratitude,

Bradley Vernatter

Stanford Calderwood General Director & CEO

Nina Yoshida Nelsen Artistic Director

UPCOMING

BLO EVENTS

JUN 13

SHE WAS THERE:

FILM SCREENING & PANEL DISCUSSION

The West End Museum

JUN 14

SHE WAS THERE : CONCERT & RECEPTION

Museum of African American History

JUN - SEP

BLO STREET STAGE

Multiple locations

AUG 10 - 14

OPERA KIDS

Powers Music School

AUG 28

CONCERT IN THE COURTYARD

BPL Central Branch

SEP 25OCT 4

WILLIAM TELL

Emerson Colonial Theatre

OCT 16

THE OPERA GALA

Opera + Community Studios For event

Page 2, from top: Mitridate (2024) and Noah's Flood (2025).

Page 3, from top: Street Stage at Plaza Betances with partners from Inquilinos Boricuas en Acción (2025); Create Your Own Opera participants at Saint Brendan School, Dorchester, MA (2025); and Rodgers & Hammerstein’s Carousel (2025).

COLLABORATION LEARNING BELONGING

Dear Friends,

On behalf of BLO’s Board of Directors and Board of Advisors, welcome to Daughter of the Regiment. We are delighted to have you back at the Emerson Colonial Theatre with a fresh and joyful take on one of opera’s most beloved comedies.

This production arrives at a meaningful moment. As our nation approaches the 250th anniversary of American independence, Boston Lyric Opera is launching “Voices of Revolution,” an initiative that brings opera into civic celebrations unfolding across the country, with programming that is distinctly American and directly connected to our community.

In this spirit, BLO’s new production of Daughter of the Regiment takes the story to Revolutionary-era Boston with a revised libretto by Boston-native playwright Kirsten Greenidge — inspired by the remarkable story of Massachusetts native Deborah Sampson, one of the few women known to have fought in the Continental Army. The result is a production that maintains the opera’s humor, warmth, and virtuosic brilliance while placing it within a hyperlocal context.

This performance is also the beginning of a larger civic conversation that we hope you will continue with us. In June, BLO’s “Voices of Revolution” initiative partners us with Castle of Our Skins for She Was There, a two-day event that explores the stories of Black revolutionary women whose contributions have too often been absent from our shared history.

At Boston Lyric Opera, we believe opera is not only a place for beauty and artistry, but also a space for reflection, curiosity, and connection. We hope that you enjoy the exuberance of Daughter of the Regiment, and we invite you to join us in the months ahead as “Voices of Revolution” continues to explore, honor, and celebrate the many voices that shape our past and guide our future. And we hope that you will join us next season as BLO celebrates its 50th Anniversary and the impact opera has on our communities.

Thank you for being here,

Alicia M. Cooney

Wayne C. Davis Board Chair Board President

Board of Directors

Alicia Cooney

Board Chair

Wayne Davis

Board President

Miguel de Bragança

Vice Chair

Andrew Eisenberg

Vice President

Susan W. Jacobs

Treasurer

Dr. Irving H. Plotkin

Clerk

Board of Advisors

Russell Lopez

Lawrence St. Clair

Lydia Kenton Walsh Co-Chairs

Michael Puzo

Immediate Past Board Chair

Bradley Vernatter

Ex Officio | Stanford

Calderwood General Director & CEO

Timothy Fulham

Christine Goerke

Jack Gorman

Frank Graves

Lisa Hillenbrand

Jennifer Ritvo Hughes

Amelia Welt Katzen

Sally Kornbluth

Maria J. Krokidas

John Loder

Abigail B. Mason

Jo Frances Meyer

Anne M. Morgan

Dr. Susan E. Bennett

Richard M. Burnes, Jr.

Ellie Cabot

Carole Charnow

Carol Deane

Larry DeVito

JoAnne Walton

Dickinson

Laura Dike

Robert Eastman

Willis Emmons

Brian Gokey

Sylvia Han

David Hoffman

Amy Hunter

Louise Johnson

Janika LeMaitre

Lynne Levitsky

Anita Loscalzo

Kathryn McDaniel

Jillian McGrath

Kate Meany

A. Neil Pappalardou

Maria Park

Winfield Perry

Susan Rodgerson

Vincent D. Rougeau

Alex Senchak

Peter Wender

George Yip

Leadership Council

David Scudder Chair

Steven P. Akin

Linda Cabot Black

Willa Bodman

Paul Montrone

Ray Stata

Emeriti

Steven P. Akin

J.P. Bargeru

Horace H. Irvine IIu

Sherif A. Nada

E. Lee Perryu

Elaine Murphy

Jane Pisciottoli Papa

Bill Poduska

Susanne Potts

Stephen Ricci

Carl Rosenberg

Allison Ryder

Simone Santiago

Barbara Senchak

Tricia Swift

Wynne Szeto

Frank Tempesta

Richard Trant

Amy Tsurumi

Archana

Venkataraman

Robert Walsh

Yin-Yin Wang

Tania Zouikin

As of January 30, 2026 uDeceased

OPERA OPENS WITH

A. Neil Pappalardo

A. Neil Pappalardo served on Boston Lyric Opera’s Board of Directors since the spring of 2000. During his many years of service, Neil was a steadfast champion of BLO, leading with integrity, generosity, and genuine curiosity. Alongside his wife, Jane, he was a devoted and long-term supporter of the company. Additionally, through his company, MEDITECH, Neil helped establish one of BLO’s most enduring partnerships — our longest-standing corporate donor — demonstrating a commitment to the arts that extended well beyond his personal involvement. We remember Neil fondly at performances, where he was a familiar and enthusiastic presence for many years, always engaged and eager to support our work. He will be greatly missed as a Board member and friend to BLO.

Richard Milstein

Richard served on BLO’s Board of Oveseers from 2001 to 2008. His leadership and support of BLO reflected a deep commitment to opera, arts education, and the Greater Boston community. A lawyer and philanthropist, Richard was a visionary in the field of continuing legal education and served on the boards of numerous Massachusetts cultural institutions. We are profoundly grateful for his many contributions and lasting impact at BLO and beyond, and we mourn the loss of a remarkable member of our community.

Kenneth Stalberg

Kenneth “Ken” Stalberg was the BLO Orchestra’s Principal Violist, performing with the orchestra for 43 years. For nearly five decades, he was a steady and respected presence in Boston's musical community as a performer and teacher, known for his dedication, musicianship, and sharp sense of humor. Since 1976, Ken was an active freelance musician in the Boston area, performing with leading ensembles including the Boston Ballet Orchestra; Boston Pops Esplanade Orchestra; Boston Lyric Opera; Boston Landmarks Orchestra; and the Bach, Beethoven, and Brahms Society. At the time of his passing, he served as Principal Viola of the latter three orchestras. Since 1991, Ken taught violin and viola students ages four through adult in his home studio, guiding hundreds over the years. Colleagues describe Ken as a crucial member of every ensemble he joined, consistently doing more than was required because he cared that everything be done as well as possible. Ken will be deeply missed by the BLO community, particularly by his friends and colleagues in the BLO Orchestra.

Kathleen Boyce

Kathy was a lifelong educator of learners with disabilities, a performing arts enthusiast and patron, and an opera lover. She sang alto in choirs around Massachusetts and New Hampshire, including many summers with the Tanglewood Festival Chorus. A subscriber and avid supporter of Boston Lyric Opera, Kathy was a beloved member of our community. We enjoyed a special moment with her last season, when she attended a rehearsal of BLO’s 2025 production of Carousel, which was her first show as a stage manager with the student-run theatre group “Silver Masque” at Northeastern University. We will miss her faithful and enthusiastic attendance at BLO with her friends and family.

DAUGHTER OF THE REGIMENT

Music by GAETANO DONIZETTI

Libretto by JULES-HENRI VERNOY

DE SAINT-GEORGES & JEAN-FRANÇOIS BAYARD

Performed in French and English with English surtitles

David Angus, BLO Music Director

2025/26 Season Sponsor Linda Cabot Black

PERFORMANCES

FRI, APR 24 | 7:30PM SUN, APR 26 | 3:00PM

FRI, MAY 1 | 7:30PM SUN, MAY 3 | 3:00PM

Running time: 2 hours 50 minutes, with one 20-minute intermission

EMERSON COLONIAL THEATRE

106 Boylston Street Boston, MA 02116

W Boston Lyric Opera Debut

C Boston Lyric Opera Principal Debut

l Boston Lyric Opera Jane & Steven Akin

Emerging Artist

t Boston Lyric Opera Jane & Steven Akin

Emerging Artist Alum

CREATIVE TEAM

Conductor

KELLY KUO*

Stage Director & Choreographer

JOHN DE LOS SANTOS*

New English Dialogue

KIRSTEN GREENIDGE

Set Designer

LILIANA DUQUE PIÑEIRO*

Costume Designer OANA BOTEZ*

Lighting Designer REZA BEHJAT*

Wig & Makeup Designer EARON CHEW NEALEY

Intimacy Director/Fight Choreographer

ANGIE JEPSON

Boston Lyric Opera Orchestra

ANNIE RABBAT Orchestra Leader

Boston Lyric Opera Chorus BRETT HODGDON t Chorus Director

Rehearsal Coach/Pianist

JI YUNG LEE

Diction Coach LILY SMITHW

The participation of Kirsten Greenidge is supported in part by an anonymous donor.

Performed in English based on the G. Schirmer, Inc. Translation by Ruth & Thomas Martin. Revised for this production by John de los Santos.

CAST

Marie BRENDA RAE

Tonio

SPENCER BRITTEN*

Colonel Sulpice

KENNETH KELLOGG*

Widow Birkenfeld

SANDRA PIQUES EDDY

Hortensia

ANGELA YAMl

The Duchess Crakenthorpe

NEAL FERREIRAt

Corporal

DEVON RUSSOl

SYNOPSIS

Marie was orphaned on a battlefield and adopted by a regiment of soldiers, growing up under their protection. Now a young woman working alongside them, she has fallen in love with Tonio, who saved her life the day they met. Her affectionate but overprotective “fathers” in the regiment initially disapprove, so Tonio joins the regiment to win them over. All seems well until the Widow Birkenfeld — who has fallen on hard times — arrives, claiming that she is Marie’s long-lost aunt, and whisks her off to learn how to be “a proper lady.” Irrepressible and tomboyish Marie struggles to adapt to a life of navigating high-society manners and expectations, singing lessons, and — worst of all — a looming arranged marriage, but Tonio and the regiment are determined to save the day.

ABOUT THIS PRODUCTION

This production of Daughter of the Regiment moves the story from the Swiss Tyrol region during the Napoleonic Wars to colonial Boston during the American Revolution. The plotline itself remains very similar to that of the original opera, with some details adjusted. For example, in a brief tableau added to the beginning, the orphaned Marie is found by Sulpice beneath the Liberty Tree that once stood on Boston Common. The grown-up Marie reads Phillis Wheatley and other authors contemporary to colonial America. While Boston Lyric Opera’s version of Marie draws inspiration from Deborah Sampson — the Massachusetts native who dressed as a man to serve in the Continental Army — this production is not a biographical or historical representation of true events. It remains, at heart, a comedy.

Playwright Kirsten Greenidge — who collaborated with BLO on The Anonymous Lover in 2024 — has created a new English dialogue for the spoken French scenes that connect sung portions of the opera. Most of this production is sung in English, with a few notable exceptions that use the original French. This is done intentionally: this version of Tonio, Marie’s lover, is of French origin and therefore initially considered an outsider by the American regiment — until he is able to win them over.

For more context about this production, check out the articles in our Opera Guide! You can access the Guide via the QR code on the inside front cover of this playbill.

BLO

is Celebrating 15 Years of the Jane & Steven Akin Emerging Artists Initiative!

The pursuit of a successful career in opera is a challenging and expensive undertaking. BLO proudly provides opportunities and funding for Emerging Artists to hone their talents with regular coaching and mentorship, to expand their repertoire by preparing new roles, and to be heard by diverse audiences in BLO productions and community events. More than 50 artists have benefited from this initiative since its inception.

2025/26 JANE & STEVEN AKIN EMERGING ARTISTS

First row, from left: Alexandra Dietrich director | Mary Kray mezzo-soprano

Josie Larsen soprano | Morgan Mastrangelo tenor

Second row, from left: Devon Russo bass-baritone | Laura Santamaria soprano

Zizhao Wang bass-baritone | Angela Yam soprano

Presented in partnership by Boston Lyric Opera & Boston Conservatory at Berklee, the Opera Innovators Series brings together visionary artists & creative leaders in opera for a dynamic educational & professional development program. This series offers BLO’s Jane & Steven Akin Emerging Artists and BCB voice students unparalleled access to groundbreaking perspectives, fostering the next generation of opera’s innovators.

Thank you to David & Janet McCue for their generous support of BLO in presenting the Opera Innovators Series this season.

The Who-ness of Marie

by Anne Bogart, BLO Artistic Associate

In 1782, a young Massachusetts farm woman bound her chest, took the name of Robert Shirtliff, and walked into a recruiting office to enlist in George Washington’s Continental Army. For seventeen months, Deborah Sampson lived and fought as a man; her survival and service depended upon a continuous, disciplined act of performance, of recalibrating gesture, stance, and speech in ways that convinced officers, comrades, and enemies alike. Her story is not just an anecdote of patriotic courage; it reveals how a person might reshape what is visible and possible, testing and adjusting her own “who” in order to enter a world that was closed to her as a woman.

Boston Lyric Opera’s Daughter of the Regiment nods to Deborah Sampson but does not aim to tell her story literally. The connection is intentionally loose — a spark rather than a blueprint — an imaginative way of placing Donizetti’s opera in Revolutionary-era Boston and asking what happens when a young woman grows up with a regiment of men. In this adaptation, the central character — Marie — is still the irrepressible foundling claimed by a battalion of surrogate fathers, but she also stands, faintly, in the shadow of a rebel who fashioned a new name, a new uniform, and a new way of appearing in public.

As a cornerstone of Boston Lyric Opera’s “Voices of Revolution” programming initiative that celebrates America’s 250th anniversary, Daughter of the Regiment centers comedy as a vital force. Laughter in this setting is not an escape from difficulty, but instead a way of holding it together: a rehearsal for courage, a way to stay human in the midst of upheaval. In this staging, laughter is its own kind of small revolution, a joyful form of resistance that lets Marie and the regiment push back against hierarchy, loosen the grip of class and convention, and imagine a world where a young woman can claim space in the ranks and in the story. When the soldiers cheer her on, when the music gathers into exuberant ensembles, we

see a community remaking itself in real time and testing a more generous idea of who belongs. This production of Daughter of the Regiment leans strongly into comic energy. Marie’s life in the regiment is full of jokes, mishaps, and physical exuberance: she learns to march and salute, to drink and banter, to shoulder a musket and scramble over obstacles, often with more enthusiasm than precision. The men around her are likewise engaged in self-fashioning, former farmers and artisans who now wear uniforms that align them with a cause larger than their individual lives. Their rough affection for Marie, their drinking songs, their protective bluster — all of these echo her own struggle to belong. Yet where they find stability in rank, ritual, and hierarchy, Marie remains fluid, her identity shaped by the instability of war, of love, and of her own quicksilver impulses.

I am currently writing a book entitled Who-ness: The Story of Building a Character. It grows out of my curiosity about what we call character, and my lifelong attention to how actors build a character in rehearsal that is then legible onstage to an audience. Rather than treating a character as a stable self, identity, or persona, I use the term “who-ness” to describe a process — how a person is made and revealed in relation to the world around them: their histories, the roles they inhabit, the bodies they move in, the expectations that press upon them, and the gestures, choices, and accidents that shape how they appear to others. I am less interested in the inner, private self than in the porous, changing figure who emerges in particular historical and social circumstances, whose identity is continually adjusted by family, community, politics, and place. We may not become entirely different; yet circumstance invites different choices, and each choice subtly alters our contours. In my mind, this capacity for variation is where “who-ness” becomes visible.

Opera is an especially vivid place to see “who-ness” in action. Singers do not simply “have” characters; they build them through posture, costume, phras-

ing, breath, and timing. The way a singer stands in relation to another character, the precision of a salute, or the choice to speak a line rather than sing it can all clarify who that character is becoming in a story. Comedy heightens that process. When someone stumbles, goes off script, or reacts more openly than they meant to, we suddenly see their “who-ness” more sharply and watch how a single public moment can change how they are perceived.

Donizetti’s score gives Marie a voice that is impossible to ignore. Even when she is disguised in uniform, her singing refuses to “pass” as anything other than gloriously herself, and the audience willingly accepts the convention. Though her voice does not sound like a man’s, we accept the fiction, collaborating in her act of self-creation. In this shared act of pretending, of agreeing to see her as a “daughter of the regiment,” we help shape the reality she embodies. Her voice reshapes the space she inhabits, staking a sonic claim to her “who-ness,” one that exceeds the disguise and compels recognition.

Daughter of the Regiment also reminds us that “who-ness” is never solitary. Marie becomes herself not in isolation but through relationships — with her surrogate fathers in the regiment, with the aristocratic suitor who loves her, with the mother

who claims her by blood. Each encounter pulls her towards a different version of self, and Donizetti’s layered score holds all these possibilities without forcing a simple resolution. She is at once dutiful and defiant, cherished and free, foundling and fighter, shaped by contradictions she inhabits rather than resolves.

Like Deborah Sampson marching beside her comrades, Marie discovers her fuller humanity through friction and solidarity, but here that discovery is filtered through laughter, love, and song. We watch a woman — and, by extension, a young country — experiment with freedom in real time, using comedy as a way to test new roles, new loyalties, and new forms of belonging. In this production, we see not only one woman’s transformation, but also how our fullest selves can emerge when we dare to redefine ourselves — and one another — in response to urgent circumstances, and to do so with joy.

Rae (Marie, Daughter of

Getting Into Opera

GBH Music partnered with Boston Lyric Opera (BLO) and New England Conservatory (NEC) to explore the artistry behind opera in a dynamic video series featuring legendary singers Patricia Racette, Susan Graham, and Davóne Tines. Designed for newcomers and seasoned enthusiasts alike, Getting into Opera reveals how powerful performances are shaped through vocal coaching, stage direction, and artistic mentorship.

Filmed in front of a live audience in GBH’s acoustically acclaimed Fraser Performance Studio, each episode showcases rising talents from BLO’s Jane & Steven Akin Emerging Artists Initiative and NEC’s opera program. Episodes are available on GBH Music’s YouTube channel.

SCAN FOR MORE INFO

SAVE THE DATE! June - September 2026

Boston Lyric Opera continues its beloved program of fun, free, outdoor concert experiences all summer long, full of opera’s greatest hits, American songbook favorites, and more. Coming soon to neighborhoods all over Boston!

Locations include Villa Victoria, Rose Kennedy Greenway, Piers Park, JP’s Curtis Hall, Charlestown Navy Yard, Moakley Park, Titus Sparrow Park, and more.

KELLY KUO | Conductor

Currently Music Director of the Reno Chamber Orchestra and Associate Artistic Director of American Lyric Theater, Kelly Kuo has consistently championed the development of the next generation of musical talent and demonstrated a commitment to innovative programming, creative initiatives, and advocacy for underrepresented voices in the concert hall. Maestro Kuo brings a dynamic versatility and nuance to a diverse repertoire. Highlights of recent seasons include productions with Lyric Opera of Chicago, Seattle Opera, Minnesota Opera, Des Moines Metro Opera, The Glimmerglass Festival, and concerts with the Memphis Symphony Orchestra, Sunriver Music Festival, Indianapolis Chamber Orchestra, Walla Walla Symphony, Olympia Symphony Orchestra, and Ballet Fantastique. Maestro Kuo is the first conductor of Asian descent to lead a performance at the Lyric Opera of Chicago. He was also named Emeritus Artistic Director of the Oregon Mozart Players after having served the longest tenure in the organization’s history. Kuo continues to concertize as a keyboardist as the only pianist to have studied with two pupils of the Russian virtuoso Vladimir Horowitz.

JOHN DE LOS SANTOS |

Stage Director & Choreographer

Director/choreographer John de los Santos’ productions include Sweet Potato Kicks the Sun, Santa Fe Opera (world premiere); Ghosts (San Diego Opera, world premiere); Don Giovanni and Carmen, Wolf Trap Opera; Before Night Falls, Opera Southwest; L’heure espagnole, New Camerata Opera; Frida, Opera Orlando; Maria de Buenos Aires, Fort Worth Opera; and La fille du regiment, Minnesota Opera. He has directed for The Julliard School, The Yale School of Music, and Manhattan School of Music. As a librettist, his collaborations with composer Clint Borzoni include When Adonis Calls, Asheville Lyric Opera; The Copper Queen, Arizona Opera; and The Christmas Spider, Opera Louisiane. His commission by Washington National Opera’s American Opera Initiative with Christopher Weiss, Service Provider, premiered at the Kennedy Center and has since had twenty productions nationwide. In 2020, UrbanArias commissioned John and Marc Migó to write an operatic film for the Decameron

Opera Coalition. Their piece, The Roost, was added to the Library of Congress archives. De los Santos’ and Jorge Sosa’s opera Ofrenda won Austin Opera’s Opera ATX Residencies for Latinx Creatives. De los Santos is a librettist with Minnesota Opera’s New Works Initiative, where he and Kamala Sankaram are creating an opera of Stephen King’s Misery

KIRSTEN GREENIDGE |

New English Dialogue Village Voice/Obie and PEN America/ Laura Pels winner Kirsten Greenidge is the author of The Luck of the Irish, Milk Like Sugar, Our Daughters Like Pillars and Common Ground: Revisited, an adaptation of J. Anthony Lucas’ Pulitzer Prize-winning book about Boston’s desegregation efforts in the 1970s. A hallmark of Greenidge’s work is her focus on the nexus of race, class, and gender in the U.S. Recent work includes Matilde: A Fable, last seen at the 2025 DNA Festival at La Jolla Playhouse; and her libretto adaptation for Boston Lyric Opera’s 2024 production of Joseph Bologne’s The Anonymous Lover, which was subsequently presented at Opera Philadelphia in winter 2025. Greenidge is an Associate Professor of theatre at the School of Theatre at Boston University, where she oversees the playwriting track of study and serves as the school’s director. She attended Wesleyan University and the Playwrights’ Workshop at the University of Iowa. She is currently working on commissions from Plays-inPlace, A.R.T., and Fourth Wall Theatricals, for which she is developing the musical Shelter, based on the journalism of Lauren Sandler, with music and lyrics by Crystal Monee Hall and direction by Lorin Latarro. Shelter will be workshopped at New York Stage and Film in summer 2025.

LILIANA DUQUE PIÑEIRO | Set Designer

Liliana Duque Piñeiro is a set designer and sculptor. Recent opera productions include Dolores, co-produced by West Edge Opera, Opera Southwest, and San Diego Opera; Farolitos and Before Night Falls for Opera Southwest; Zorro and Florencia en el Amazonas for Opera San José; Carmen for Charlottesville Opera; Le Comte Ory for the Merola Opera Program; Don Giovanni for Minnesota Opera; Julius Caesar and Ariane & Bluebeard for West Edge Opera; Thumbprint

and Tosca for Chautauqua Opera; La traviata for Fort Worth Opera; The Copper Queen, a film produced by Arizona Opera; Il postino, co-produced by Virginia Opera, Opera Southwest, and Chicago Opera Theatre; the world premiere of Sweet Potato Kicks the Sun for Santa Fe Opera; and the world premiere of If I Were You by Jake Heggie and Gene Scheer for the Merola Opera Program. Upcoming productions include Romeo and Juliet for Opera Theatre of St. Louis and Rinaldo for West Edge Opera.

OANA BOTEZ |

Costume Designer

Oana Botez is a Romanian American costume designer working in theatre, opera, film, and dance. She is a recipient of the Lucille Lortel, Obie, Henry Hewes, Princess Grace, and Barrymore Awards, and a participant in the NEA/TCG Career Development Program. Her US theatre credits include projects for BAM, The Public Theater, LCT3, Signature Theatre, Playwrights Horizons, Soho Rep, The Kitchen, The Joyce Theater, Arena Stage, Hartford Stage, and Wilma Theater. In the realm of opera, she has designed for Detroit Opera, The Industry LA, Alice Tully Hall/Lincoln Center, Minnesota Opera, Glimmerglass Festival, Portland Opera, Pittsburgh Opera, Prototype NY, National Sawdust, REDCAT, BAM, Wolf Trap Opera, NY Philharmonic, and Château de Versailles. Internationally, she has worked with Bucharest National Theatre, The Old Vic, Théâtre National de Chaillot, Les Subsistances, Budapest National Theatre, The International Festival of Contemporary Theatre (Turkey), Le Quartz (France), La Filature (France), and Exit Festival/Maison des arts de Créteil (France). Ms. Botez teaches at the David Geffen School of Drama at Yale in the Design Department.

REZA BEHJAT |

Lighting Designer

Reza Behjat is an Obie Award-winning lighting designer based in New York City. He began his career in Iran, collaborating with the country’s most prominent theatre artists before transitioning to the U.S. His work has been seen on Broadway, Off-Broadway, and at regional theaters nationwide, including the Brooklyn Academy of Music, Atlantic Theater

Company, Playwrights Horizons, The Public Theater, Steppenwolf, Guthrie Theater, Berkeley Rep, Seattle Rep, and Actors Theatre of Louisville. While his primary practice is theatrical design, Behjat’s storytelling is deeply rooted in his background as a director. This dual perspective allows him to look beyond the visual, bringing a sharp sensitivity to dramaturgy and directorial vision. Dedicated to the development of new work and devised theatre, he balances his passion for directing with his career as a collaborative designer. Behjat won an Obie Award in the design category for his work on two productions of English and Wish You Were Here in 2023. Additionally, alongside the cast and the creative team of English, he received a Special Citation from the Obie Award. Other accolades include the Knight of Illumination award for Nina Simone: Four Women and nominations for the Drama Desk, Henry Hewes Design Awards, and Jeff Awards.

EARON CHEW NEALEY

| Wig & Makeup Designer

Earon Chew Nealey returns to Boston Lyric Opera, having previously served as Wig & Makeup Designer for BLO’s Carousel (2025), The Seasons (2025), and La bohème (2022). Her numerous design credits include Fat Ham and Waterfall, WP Theater; Almost Famous and Jersey Boys, ACT of Connecticut; Huzzah, The Old Globe; Camelot and Blues for an Alabama Sky, Barrington; Two Strangers and Diary of a Tap Dancer, A.C.T.; The Grove, Sojourners, Toni Stone, Fat Ham, and Joe Turner’s Come and Gone, The Huntington; Bad Kreyól and Three Houses, The Signature Theatre; Table 17 (Makeup Design), MCC Theater; A Midsummer Night’s Dream, Malvolio, and Twelfth Night, Classical Theatre of Harlem; Hamlet, The Harder They Come, Fat Ham, Cullud Wattah, and Mojada, The Public Theater; Dames at Sea and Kinky Boots, Bucks County Playhouse; The Last Supper, SOPAC; On Killing, Soho Rep; Little Girl Blue, Goodspeed and New World Stages; Meet Vera Stark and Matilda, Colorado University; On Sugarland, NYTW; Nina Simone: Four Women, Berkshire Theatre Group; Little Women, Dallas Theater Center; Oklahoma!, and Always… Patsy Cline, Weston Playhouse; Memphis and Dream Girls, Cape Fear Regional Theatre; and Cadillac Crew and Twelfth Night, Yale Rep.

ANGIE JEPSON | Intimacy

Director/Fight Choreographer

Angie Jepson is an intimacy director, fight choreographer, and professor based in the Boston area. She is thrilled to return to the BLO after serving as the fight choreographer and intimacy director for Song of the Earth, Macbeth, Mitridate, and Carousel, as well as the intimacy director on The Anonymous Lover, La Cenerentola, and Bluebeard’s Castle | Four Songs Her fight and intimacy work has been seen onstage at theaters including the Manhattan Theatre Club, the Huntington Theatre Company, Trinity Repertory Company, Merrimack Repertory Theatre, Gloucester Stage, Commonwealth Shakespeare Company, SpeakEasy Stage Company, Greater Boston Stage Company, Central Square Theater, and at several universities in the Boston area. She is currently on the faculty at the Boston Conservatory at Berklee, where she teaches in the theatre and opera departments. She is a certified intimacy director with Intimacy Directors and Coordinators, and a certified teacher with the Society of American Fight Directors. She holds an MFA in acting from Brandeis University.

BRENDA RAE | Marie

With dazzling coloratura and an unflinching dramatic commitment to the eclectic roles she brings to life, Brenda Rae continues to triumph on the world’s leading stages. She returns to Boston Lyric Opera after her electric debut as Aspasia in BLO’s 2024 production of Mitridate. This season brings important new challenges for Rae at Teatro Real and Palau de la Música, where she sings Petra in the world premiere of Francisco Coll’s setting of Ibsen’s An enemy of the people. At the Grand Theâtre de Genève, she embraces the surreal world of Frank Zappa’s 200 Motels making its Swiss premiere. Back home in the United States, Rae returns to her bel canto roots as Rossini’s Madame Cortese in Il viaggio a Reims for Opera Philadelphia and as Donizetti’s high-flying eponymous Marie in Daughter of the Regiment for Boston Lyric Opera. Recent European highlights include a long-awaited return to Oper Frankfurt as Lulu in Nadja Loschky’s new production conducted by Thomas Guggeis, as well as Aminta in Jan Philipp Gloger’s new production of Die schweigsame Frau for Staatsoper Unter den Linden under Christian Thielemann. Elsewhere, Rae returned

to the role of Gilda in Rigoletto for Deutsche Oper Berlin under Michele Spotti, and Opernhaus Zürich with Andrea Sanguineti.

SPENCER BRITTEN | Tonio

A former member of the International Opera Studio at Staatsoper Unter den Linden in Berlin, Chinese-Canadian tenor Spencer Britten sang numerous roles there, including Janek Prus in a new production of The Makropulos Affair, Erste Priester in Die Zauberflöte, Haushofmeister bei Faninal in Der Rosenkavalier, Silango in Le cinesi, Kalil in Die Arabische Nacht, Postiglione in La Fanciulla del West, Offizier in Ariadne auf Naxos, and Borsa in Rigoletto Britten also recently made his house and role debut at the Bregenzer Festspiele in Austria, singing the role of Lindoro in L’Italiana in Algeri. Following a summer covering Don Ottavio at The Glyndebourne Festival, Britten’s 2023-2024 season included a debut at the Hungarian State Opera in L’Italiana in Algeri, a cover of Tonio in La fille du régiment at the Lyric Opera of Chicago, Handel’s Messiah with Yannick Nézet-Séguin and Orchestre Métropolitain at the Notre Dame Basilica in Montreal, and a house and role debut as Pepe/Official in Opera Southwest’s production of Before Night Falls. Engagements for the most recent season include Handel’s Messiah with the Vancouver Bach Choir under the baton of Leslie Dala, and with the Philadelphia Orchestra for a return collaboration with Yannick Nézet-Séguin.

KENNETH KELLOGG | Colonel Sulpice

Bass Kenneth Kellogg’s recent career highlights include his recent Wagner debut as Fafner in a celebrated new production of Das Rheingold at Seattle Opera, where he also made his debut in the title role in X: The Life and Times of Malcolm X. Other recent appearances include Il Re in Aida in concert at Detroit Opera, Sir John Falstaff in The Merry Wives of Windsor at Pocket Opera, and Logger in Bulrusher at West Edge Opera. Current season appearances include Ramfis in Aida at Daytona Opera, Kourouscha in Dédé’s rarely heard Morgiane in a co-production between Louisiana Philharmonic and Opera Lafayette, and in his return to Washington National Opera in his debut as Crown in Porgy and Bess. A significant feature of Kellogg’s

MEET

last three seasons is the role of Father in Blue, named the best new opera of 2020 by the Music Critics Association of North America, a role written for him by Jeanine Tesori and Tazewell Thompson. Kellogg sang the role in its world premiere at Glimmerglass Festival, then at Detroit Opera, Toledo Opera, Seattle Opera, Pittsburgh Opera, Washington National Opera, and Lyric Opera of Chicago, with international appearances at Dutch National Opera in Holland, and at London’s English National Opera.

SANDRA PIQUES EDDY |

Widow Birkenfeld

Sandra Piques Eddy returns to Boston Lyric Opera after her enthusiastically received performance as Dorothée in BLO’s 2024 production of The Anonymous Lover. Past roles with BLO include Dorabella, Così fan tutte; Charlotte, Werther; Varvara, Kátya Kabanová; Idamante, Idomeneo; and her company debut in 2000 as Kate Pinkerton, Madama Butterfly. Ms. Eddy is a Boston native whose operatic career has taken her to renowned stages worldwide. Recently, she sang Carmen, Carmen, Opera in the Park in Portland, Oregon; Little Buttercup, HMS Pinafore, Opera Grand Rapids; and Aunt March, Little Women, Boston Conservatory at Berklee. Ms. Eddy’s career is marked by standout performances including Rosina, Il barbiere di Siviglia; Isabella, L’italiana in Algeri; Paula, Florencia en al Amazonas; Poppea, L’incoronazione di Poppea; Orfeo, Orfeo ed Euridice; Cherubino, Le nozze di Figaro; Maddalena, Rigoletto; and Desirée, A Little Night Music at companies such as Vancouver Opera, Los Angeles Opera, Opera Colorado, Atlanta Opera, Boston Lyric Opera, Canadian Opera Company, Chicago Opera Theatre, Michigan Opera Theatre, Austin Opera, Portland Opera, Opera North UK, New Zealand Opera, and Hyogo Performing Arts in Japan. A celebrated Carmen, Ms. Eddy has performed the role with numerous companies and orchestras, most notably two tours of Japan with legendary Maestro Seiji Ozawa.

ANGELA YAM | Hortensia

Angela Yam returns as a BLO Jane & Steven Akin Emerging Artist for the 2025/26 Season as Second Apparition in Macbeth and Hortensia in Daughter of the Regiment, also covering Marie. Her debut as Ismene in BLO’s 2024 production of Mitridate was awarded the Boston Globe’s Best

Breakout Performance in a Supporting Role and featured on the cover of Opera Magazine. Her 2024/25 season included the title role in La Calisto, Opera Memphis; Liesgen, Coffee Cantata, Boston Baroque and North Star Baroque; Horse and Rabbit, The Big Swim, Asia Society Texas/Houston Grand Opera; and Heavenly Friend 1 and Carrie Pipperidge (cover), Carousel, Boston Lyric Opera. Past roles include Johanna, Sweeney Todd, Chautauqua Opera and Opera Saratoga; Josephine Young (cover), An American Soldier, PAC NYC; Cobweb, A Midsummer Night’s Dream, Santa Fe Opera; and Diana, Iphigénie en Tauride, Boston Baroque. Yam was a New York City District winner in the 2023 Metropolitan Opera Laffont Competition, and her self-directed visual recital was awarded 3rd place in the 2022 American Prize Competition. As a composer, Yam’s output includes art songs, chamber/dance works, and operas for Nightingale Vocal Ensemble, Catalyst New Music, Boston Opera Collaborative, songSLAM NYC, Robert Moses’ Kin, SMFA at Tufts, and DREAMGLOW.

NEAL FERREIRA |

The Duchess Crakenthorpe

Neal Ferreira is a nationally recognized lyric tenor known for his dynamic stage presence and cultivated vocalism. A recipient of the 2009 Stephen Shrestinian Award for Excellence and a member of the inaugural class of the Jane & Steven Akin Emerging Artists Initiative, he has appeared with Boston Lyric Opera in more than 25 productions. Favorite roles with the company include Loud Stone in Eurydice, Auctioneer/Taylor in Omar, Jazz Trio in Trouble in Tahiti, The Visitor in In the Penal Colony, Monostatos in The Magic Flute, and Tancredi in The Inspector. Most recently, he was the Emcee for BLO’s Opera Gala 2025. Ferreira regularly sings with the Boston Symphony Orchestra and this past summer performed as Spoletta in Tosca at Tanglewood under the baton of Maestro Andris Nelsons. He recently appeared with the Boston Modern Orchestra Project as Aubrey in Ulysses Kay’s Frederick Douglass and with Odyssey Opera as Alpheus/Ares in Mark Adamo’s Lysistrata. This season, he returned to the Commonwealth Shakespeare Company as Fezziwig in A Christmas Carol, and sang Iopas in Les Troyens à Carthage with the Boston Youth Symphony Orchestras. Ferreira is an Assistant Professor of Voice at Berklee College of Music.

DEVON RUSSO | Corporal

Bass-baritone Devon Russo performs frequently as a soloist and ensemble member in opera, contemporary music, and early music throughout the United States and abroad. He has performed with The Metropolitan Opera, Handel & Haydn Society, Boston Lyric Opera, the Santa Fe Desert Chorale, Seraphic Fire, Boston Baroque, Trinity Repertory Company, the Chorus of Westerly, and the Rhode Island Civic Chorale. He is also a current choral fellow at Marsh Chapel and is the 2023 winner of the American Prize in Voice (Friedrich & Virginia Schorr Memorial Award Men’s Division). He has participated in the Internationalen Sommerakademie am Mozarteum Salzburg, Tafelmusik Baroque Summer Institute, Source Song Festival, Orford Musique, Voces8 Scholars Programme, Aspen Music Festival & School, and the Boston Early Music Festival Young Artist Program. Russo earned his Doctorate of Musical Arts from Boston University, his master’s degree

in vocal performance from the Manhattan School of Music, and bachelor’s degree in vocal performance and education from the University of Rhode Island. Russo is currently an Artist-Teacher in Classical Voice and director of Opera Theatre at the University of Rhode Island; he is also the Director of Choral Activities at Bryant University. devonrusso.com

BRADLEY

VERNATTER | Stanford Calderwood General Director & CEO

Bradley Vernatter is the Stanford Calderwood General Director & Chief Executive Officer of Boston Lyric Opera, the company’s top leadership role. Now in his 13th year with BLO and leading the company since 2021, he has guided BLO’s recovery from the pandemic, driven the funding campaign for and the move into its Opera + Community Studios, and shaped the organization’s strategic plan, which will lead BLO into its 50th anniversary season in 2026/27. Throughout his

career, Vernatter has produced a range of operas, multi-disciplinary performances, and media productions. In 2020, he was recognized by Boston Business Journal as one of Boston’s “40 Under 40” rising young leaders. He was a member of the YW Boston LeadBoston 2022 cohort and served on the board of advisors at Artists For Humanity, a non-profit that empowers teens through employment in the arts. Additionally, he contributes to social entrepreneurship projects addressing access to basic services. Previously, Vernatter served as BLO’s Acting General and Artistic Director, after having served as the company’s Chief Operating Officer. Before BLO, he was Director of Operations for Opera Omaha and Associate Producer for the company’s ONE Festival. He held artistic and management positions with Wexford Festival Opera, Chicago Opera Theater, the Castleton (VA) Festival, and the Miller Theatre at Columbia University. Vernatter holds a Master of Business Administration from the IE-Brown MBA program (Madrid/Providence, R.I.), a Bachelor of Arts from Otterbein College, and a certificate in professional fundraising from Boston University. He is an alumnus of the OPERA America Leadership Intensive, through which he has participated in the Civic Action Group and as a grant reviewer.

NINA YOSHIDA NELSEN |

Artistic Director

Nina Yoshida Nelsen (she/her) made her Boston Lyric Opera debut in 2021 as Mamma Lucia, Caval-

leria Rusticana. She was featured as a singer and storyteller in the filmed documentary-concert B., which marked an artistic culmination of BLO’s “The Butterfly Process.” She joined the company as an Artistic Advisor in 2021, participating in artistic discussions and decisions, company auditions, and more. Most recently, she served as dramaturg for BLO’s widely acclaimed 2023 production of Madama Butterfly. Nelsen has performed traditional and contemporary operatic roles throughout North America and Europe, including performances with Washington National Opera, Lincoln Center, Lyric Opera of Chicago, Houston Grand Opera, and Avery Fisher Hall. She continues to perform actively with companies across the United States and Canada. Recent and upcoming work includes classic and contemporary repertoire with regional and nationally recognized opera houses. As CoFounder of the Asian Opera Alliance, Nelsen has worked to uplift Asian artists and to advocate for greater representation within the industry. She was recently featured in TIME Magazine and was the subject of an NHK World documentary centered on Jack Perla and Jessica Murphy Moo’s opera An American Dream and Nelsen’s origination of the role of Hiroko Kobayashi at Seattle Opera. A Boston University alumna, Nelsen received undergraduate degrees in violin and psychology, and a master’s degree in voice. She also holds an Artist Diploma from Philadelphia’s Academy of Vocal Arts.

BLO ORCHESTRA

Violin

Annie Rabbat

Orchestra Leader

Sarah Atwood

Principal Second Violin

Stacey Alden

Heather Braun-Bakken

Heidi Braun-Hill

Colin Davis

Rohan Gregory

Jodi Hagen

Yeolim Nam

Zoya Tsvetkova

Hikaru Yonezaki

Viola

David Feltner

Acting Principal

Noriko Futagami

Donna Jerome

Don Krishnaswami

Cello

Melanie Dyball

Acting Principal

Hyun-ji Kwon

Jacqueline Ludwig Selby

Aron Zelkowicz

Bass

Barry Boettger Principal

Kevin Green

Flute

Linda Toote Principal

Ann Bobo

Piccolo

Ann Bobo

Oboe

Nancy Dimock Principal

Grace Shryock

English Horn

Grace Shryock

Clarinet

Jan Halloran Principal

Nicholas Brown

Bassoon

Ronald Haroutunian

Principal

Rachel Juszczak

Horn

Whitacre Hill

Acting Principal

Barbara Hill

Dirk Hillyer

Iris Rosenstein

Trumpet

Dana Oakes

Acting Principal

Jesse Levine

Trombone

Drew Robertson

Principal

Hans Bohn

Cameron Owen

Timpani

Robert Schulz

Acting Principal

Percussion

Nancy Smith Principal

William Manley

John Tanzer

Fortepiano

Ji Yung Lee

The artists and stage managers employed on these productions are members of the American Guild of Musical Artists. All musicians are members of the American Federation of Musicians of the United States and Canada. Many of the scenic, costume, and lighting designers are members of United Scenic Artists, Local USA-829 of the International Alliance of Theatrical Stage Employees (IATSE). Stagehands are represented by Local #11 of IATSE. Wardrobe crew are represented by Local #775 of IATSE. BLO is a member of OPERA America, the national service organization for opera in the US and Canada.

BLO CHORUS

Brett Hodgdont Chorus Director

Soprano

Melynda Davis

Josie Larsen l

Kay Patterson

Laura Santamaria l

Simeng Wu

Alto

Rebekah Daly

Jaime Korkos

Mary Kray l

Sara Mitnik

Arielle Rogers-Wilkey

COVERS

Angela Yaml Marie

Morgan Mastrangelol Tonio

Devon Russol Colonel Sulpice

PRODUCTION STAFF

Tenor

Leo Balkovetz

Ethan Bremner

Tyler Cesario

Morgan Mastrangelo l

Fausto Miro

Patrick Starke

Bass

Michael Aoun

Junhan Choit

Benedict Hensley

Craig Juricka

Devon Russo l

Ron Williams

Michael Janney Stage Manager

Alexandra Dietrichl Assistant Stage Director

Adrian Speth Assistant Stage Manager

Jolie Frazer-Madge Assistant Stage Manager

Gail Buckley Costume Director

Emme Shaw Properties Supervisor

Alexander Graham Assistant Scenic Designer

Juno Jacobs Assistant Costume Designer

Alayo Oloko Assistant Lighting Designer

Natalia St Jean Surtitle Designer & Operator

Shira Gitlin Gender Consultation

PRODUCTION CREW

Michael Geoghegan Head Production Carpenter

TJ Willis First Assistant Production Carpenter

Ari Huy Head Production Electrician

Sumner Ellsworth Lighting Programmer

Harrison Nicol First Assistant Production Electrician

Emily Picot Head Production Properties

David Picot First Assistant Properties

Bryan Ritchie Audio/Video Supervisor

Chris Norman Head of Production Video

Joshua DeChristopher Head of Production Audio

Dianna Reardon Head Wardrobe Supervisor

Erin Vadala First Assistant Wardrobe

Melinda Abreu Head Hair & Makeup Supervisor

Sharon Bonvini First Assistant Hair & Makeup

MUSIC STAFF

William Manley Orchestra Contractor & Music Librarian

ACKNOWLEDGMENTS

Boston Lyric Opera extends its gratitude to the following vendors, partners, individuals, community organizations, and school partners for their extraordinary courtesy in making our 2025/26 Season possible:

4Wall Entertainment | Rui Alves, Mike Texeira

Acentech, Inc. | Carl Rosenberg, Jonah Sacks, Khaleela Zaman

Allison Voth

American Repertory Theater

Artists for Humanity

ArtsBoston

Arts Connect International

ArtsEmerson

Ball Square Films | Kathy Wittman

Beth Harris | Fortepiano Tuner

Boston Centers for Youth & Families

Boston Children’s Museum

Boston Conservatory at Berklee College of Music

Boston Harbor Now

Boston Properties

Boston Public Library

Boston Public Schools Visual & Performing Arts Office

Boston Symphony Orchestra

Boston University | College of Fine Arts

C3 Commercial Construction Consulting, Inc. | Doug Anderson

Capron Lighting & Sound Co. | Jeff Antonellis, Ryan Frost

Cartage America | Tim Riley

Castle of Our Skins

The Catered Affair

Charlestown Navy Yard

City of Boston Mayor’s Office of Arts and Culture

Constangy, Brooks, Smith & Prophete, LLP |

Andrew Eisenberg

Costume Works, Inc. | Liz Perlman

Cultural Equity Incubator

Devon Lumber

Dynamix, Inc.

East Cambridge Piano | James Nicoloro

Emerson College

Emmanuel Music

Everyone250

First Parish Brookline

Flansburgh Architects

Fly Over the City

The Friends of Titus Sparrow Park

Furnished Quarters

GBH

Gilbane Building Company

Groundwater Arts

HallKeen Management |

Jennifer Zarrella, Randy Pelletier

Hibernian Hall | Harris Lefteri

High Output

HILB Group

HUB International

The Huntington Theatre

HYM Investment Group

IATSE Local #11 JACET |

Colleen Glynn

InnoPsych, Inc. |

Dr. Charmain Jackman

Inquilinos Boricuas en Acción

Janet Buecker

JCA Arts Marketing

Jim Jenson

JKJ Retirement Services |

Ben Hall, Jack McDonald

Les Éditions Buissonnières

Music Publishing

Louis A. Gentile Piano Service

MA250

MASARY Studios

Massachusetts Department of Conservation and Recreation

Massachusetts Rivers Alliance

Massachusetts Women’s History Center

Megan Gilron | Staging Research

Midway Artist Studios |

Raber Umphenour

Mike Marchetti

Mike Mejia

Andrew Motta

Museum of African American History

Museum of Science

Myles Standish Business Condominiums

National Parks of Boston

NEPS Primary Freight

New England Conservatory of Music

Nile Hawver/Nile Scott Studios

North Shore Music Theatre

Production Advantage

ProPrint

Tony Rickard

Robert Silman Associates

Structural Engineers |

Ben Rosenberg, Steven Au Yeung

The Rose Kennedy Greenway

Rosebrand, Inc.

Roxbury International Film Festival

Ryder Transportation

Sew What, Inc. | Andrea Fraser

Seyfarth Shaw, LLP |

Brian Michaelis

Sika Consulting | Kemarah Sika

Smartpress

SoWa Boston

Starburst Printing & Graphics, Inc.

Stone Living Lab

Tarlow, Breed, Hart & Rodgers, P.C. | Michael Radin

TDF | Theatre Development Fund

Ten31 Productions

Tessitura

Think Outside The Vox

Truro Historical Society

The Trustees of Reservations

TYGER Design + Production

United Parish Brookline

United Staging & Rigging | Eric Frishman

Vantage Technology Consulting

Group | Geoffrey Tritsch

The West End Museum

Wetherbee Creative |

Wendy Wetherbee

WBUR

YW Boston | Anouska Bhattacharyya

BOSTON LYRIC

LEADERSHIP

Bradley Vernatter Stanford Calderwood

General Director & Chief Executive Officer

Nina Yoshida Nelsen Artistic Director

David Angus Music Director

Anne Bogart Artistic Associate

Vimbayi Kaziboni Artistic Advisor

ARTISTIC & COMMUNITY

Ben Richter Senior Director of Producing Operations

Lisa Hanson Director of Producing Operations

Roxanna Myhrum Director of Programs & Events

Nancy McDonald Director of Business Operations

Morgan Beckford Director of Learning

Scot Burckhardt Director of Production

Brett Hodgdon Head of Music & Chorus Director

Ian Rouillard Assistant Director of Production

Kimberly Sabio Manager of Artistic Operations

V Brancazio Programs & Events Manager

Natalie Main Artistic Coordinator

Michael Janney Production Associate

Kacie Brown Resident Teaching Artist

Sepehr Davallou Resident Teaching Artist

Laura Nevitt Resident Teaching Artist

Hannah Shanefield Resident Teaching Artist

Ji Yung Lee Coach/Pianist

Brendon Shapiro Coach/Pianist

Douglas Sumi Coach/Pianist

ADMINISTRATION

Lizabeth Malanga Senior Director of Administration

Caterina Pina Director of People Operations

Eboni Bell Executive Administrator

Erika Dooley Senior Office Administrator

FINANCE

Jarrell Perkins Chief Financial Officer

Michelle Rawding Finance Manager

PHILANTHROPY

Ishan Johnson Chief Philanthropy Advisor

Amy Gingle Campaign Director

Laura Jekel Director of Annual Giving & Philanthropy

Charlotte Porter Senior Philanthropy Advisor

Shelly Cornell Senior Philanthropy Advisor

Randy Biagas-Hill Philanthropy Coordinator

Katherine Leary Prospect Researcher

EXTERNAL AFFAIRS

Julia Propp Senior Director of External Affairs

Alfredo Muñoz Director of Marketing & Sales

Ryan Cannister Marketing & Communications Manager

Hannah Cassell CRM & Database Administrator

Amy Advocat Manager of Institutional Communications & Philanthropy

Charley Gibson Audience Services Manager

Lauren Florek Senior Patron Services Coordinator

Natalia St Jean Editorial Coordinator

Wren Rodziewicz Database Coordinator

Natalie Barnaby Patron Services Associate

Nicole DeGrandpre Marketing Associate

JMK PR Public Relations

Leapfrog Arts Graphic Design

Mouth Media Website

JCA Consulting CRM Applications

Russell Philanthropies Consultant

Phillip C. Song, MD Consulting Laryngologist

Division Chief of Laryngology at Massachusetts

Eye and Ear

Dr. Charmain Jackman

Mental Health & Wellbeing Consultant | InnoPsych

Art & Soul Consulting Equity, Diversity & Inclusion

EMERITUS

ARTISTS

John Conklin Artistic Advisor & Designer Emeritus u u Deceased

As of April 15, 2026

We’re almost there — help BLO reach the finish line!

We’re proud to share that over $10 million has already been raised toward Boston Lyric Opera’s $11 million goal to establish our Opera + Community Studios — BLO’s new civic arts space in Fort Point where artists and communities will create, connect, and collaborate. Opera + Community Studios is more than a building — it’s a civic investment in Boston’s cultural future.

Help BLO raise the final $900,000 to bring this shared arts space to life by 2026.

Scan the QR code to make a donation

A heartfelt thank you to everyone who has contributed to the development of the Opera + Community Studios through your presence and your gifts. Your generosity is deeply appreciated.

$1,000,000+

Anonymous (1)

Alicia M. Cooney & Stephen Quigley

Wayne Davis & Ann Merrifield

Barbara & Amos Hostetter

The Paul & Sandra Montrone Family

Mr. & Mrs. Ray Stata

$500,000 - $999,999

Miss Wallace Minot Leonard Foundation

$100,000 - $499,999

Willa & Taylor Bodman

Miguel & Suki de Bragança

Mr. Lawrence M. DeVito

Massachusetts Cultural Council

Movement Arts Creation Studio

Lise Olney & Tim Fulham

David W. Scudder & Betsy Ridge

Dr. Robert Walsh & Lydia Kenton Walsh

$50,000 - $99,999

Anonymous (1)

Rick Burnes

Cabot Family Charitable Trust

Andrew L. Eisenberg & John Vetrano

Mimi Hewlett

John M. Loder

Mayor’s Office of Arts & Culture

Anne M. Morgan

Winfield & Linda Perry

Stephen & Geraldine Ricci

$25,000 - $49,999

Family of John M Conklin

Sylvia Han & Bruce Rubenstein

Maria Krokidas & Bruce Bullen

Abigail B. Mason

Christine & Michael Puzo

Allison Ryder & David Jones

Rumena & Alexander Senchak

Andrew Sherman & Russ López

Bradley Vernatter

Peter J. Wender

$10,000 - $24,999

Robert Eastman

Flansburgh Architects

Jack D. Gorman

Susan W. Jacobs

Kate Meany

Mr. Carl Rosenberg

Mr. & Mrs. Vincent & Robin Rougeau

George & Moira Yip

Ms. Tania Zouikin

$1 - $9,999

Anonymous (1)

Stacy Brenner

Ms. Ellen Cabot

Anne Lyons Dolan in memory of Susan Eastman

Alan & Lisa Dynner

Gift made in honor of Boston Lyric

Opera Staff

Gift made in honor of Midway Artist

Studios Residents

Lisa Hillenbrand

Jennifer Ritvo Hughes & Marcus Hughes

Ms. Louise Johnson

Amelia & Joshua Katzen

Courtney Keller

Drs. Lynne & Sidney Levitsky

Gregory E. Moore & Wynne W. Szeto

Jeff Nelsen & Nina Yoshida Nelsen

Ms. Rebecca Nemser

Mr. Anthony Pangaro & Ms. Creelea Henderson

Jane Pisciottoli Papa

Janet & Irv Plotkin

Nicholas G. Russell

Ms. Tricia Swift

Mr. & Mrs. Frank Tempesta

Yin-Yin Wang

Janice Blair Yoshida

We are honored to recognize our donors who generously support Boston Lyric Opera through gifts to our annual fund and The Opera Gala. We are deeply grateful for the following contributions made to BLO between contributions made to BLO between July 1, 2024 and March 1, 2026. Our fiscal year runs from July 1 through June 30, and we list donors at the level of their total giving made during a fiscal year — either this fiscal year or last — whichever is highest.

MEMBERS ($100 - $2,999) | We are grateful for the commitment of our members, the largest community of supporters at BLO. Members enjoy opportunities to explore opera and engage with others who share their passion through invitations to special events and other exciting benefits.

ORFEO SOCIETY ($3,000 +) | The Orfeo Society supports Boston Lyric Opera in all our endeavors, from stage to film to community programs. These aficionados come together regularly to hear artists perform and to learn about our groundbreaking productions from the creative teams, all while providing invaluable direct support to BLO.

GOLDOVSKY SOCIETY | Membership is given in recognition of those who have made a provision in a will, living trust, deferred gift plan, or retirement plan that will benefit Boston Lyric Opera.

ENDOWMENT | We recognize donors to our endowment, who believe in BLO’s fiscal sustainability.

For more information or to make a gift, please contact Ishan Johnson, Chief Philanthropy Advisor, at ijohnson@blo.org or 617.702.8961.

Please note that if your donation was received or adjusted after the dates above, it may not be reflected until the next playbill due to publication deadlines. If you note that your donation is not reflected correctly in this playbill, please contact Ishan Johnson, Chief Philanthropy Advisor, at ijohnson@blo.org or 617.702.8961.

CRESCENDO ($100,000+)

Jane & Steven Akin

Barr Foundation

Linda Cabot Black

Willa* & Taylor Bodmanl

Katie & Paul Buttenwieser

Gerard & Sherryl Cohen

Alicia M. Cooney* & Stephen Quigleyl

Wayne Davis* & Ann Merrifieldl

Andrew L. Eisenberg* & John Vetranol Gardner Hendrie

Marilee Wheeler Trust Charitable Fund

Mattina R. Proctor Foundation

Christine & Michael Puzo*l

David W. Scudder & Betsy Ridgel Wendy Shattuck & Sam Plimpton

VIVACE ($50,000 - $99,999)

Anonymous (1)

Rick Burnes*

Miguel* & Suki de Bragançal

John H. Deknatel & Carol M. Taylor

ALLEGRO ($10,000 - $24,999)

Anonymous (3)

The Acorn Foundation

BPS Arts Expansion Fund at EdVestors

Ms. Ellen Cabot*l

Ms. RoAnn Costin

Alberto Cribiore & Kristin Sebastian

Barbara & Amos Hostetter

Susan W. Jacobs*l

Abigail B. Mason*

Massachusetts Cultural Council

Miss Wallace Minot Leonard

Foundation

The Paul & Sandra Montrone Family

Mrs. E. Lee Perry

Winfield* & Linda Perryl

The Poduska Family Foundation

Helen Pounds

Stephen* & Geraldine Riccil

PRESTO ($25,000 - $49,999)

Anonymous (1)

Mr. John W. Brewer

Mr. Mark H. Dalzell

Alan & Lisa Dynner

Jack D. Gorman*l

The Joseph & Robert Cornell

Memorial Foundation

Maria Krokidas* & Bruce Bullenl

Priscilla Deck & Sean Kelly

Susan Denison

Robert Eastman*l

Estate of Emily C. Hoodu

Frank Graves & Christine Dugan

Kathy & Ron Groves

The Hamilton Company Charitable Foundation

Janika* & George LeMaitre

John M. Loder*l

Mayor’s Office of Arts & Culture

David & Janet McCue

Anne M. Morgan*l

Kristine A. Moyer Higgins & Robert F. Higgins

Elaine Murphy in memory of Buck Haberkornl

Lise Olney & Tim Fulham*l OPERA America

Mr.u & Mrs. A. Neil Pappalardo

Ms. Maria Park

Janet & Irv Plotkin*l

Polaris Capital Management

William & Lia Poorvu

Erinn Rhodes & Jason Rhodes

Allison Ryder* & David Jones

Mr.* & Mrs. Ray Statal

Virginia Wellington Cabot Foundation

HarborOne Bank

Mimi Hewlett

Mr. Keith Higgins

Lisa Hillenbrand*l

Mr.u & Mrs. Edward C. Johnson

Amelia* & Joshua Katzen

Milling Kinard

Lincoln & Therese Filene Foundation

Dr. Joseph & Mrs. Anita Loscalzo*l

Nagesh Mahanthappa & Valentine Talland

Massachusetts Emergency Management Agency

MEDITECH

Jo Frances Meyer* & Carl Herbert

National Endowment for the Arts

Mr. & Mrs. Richard Olney III

Paul & Edith Babson Foundation

Melinda & James Rabbl

Peter & Suzanne Read

Mr.* & Mrs. Vincent & Robin Rougeaul

Russell Philanthropies

Barbara* & Andrew Senchak

Rumena & Alexander Senchak*l

Andrew Sherman & Russ López*l

Larry* & Beverly St. Clairl

Andrew Szentgyorgyi, Nicholas Szentgyorgyi & Nancy Brickhouse

Bradley Vernatter

Dr. Robert Walsh* & Lydia Kenton Walsh*l

Peter J. Wender*l

Jerry Wheelock & Elizabeth Wood

The Wilson Family Charitable Fund

Michael Wyzga & Judy Ozbun

George* & Moira Yip

Ms. Tania Zouikin*

ADAGIO ($5,000 - $9,999)

Anonymous (2)

Anonymous in memory of James W. Boynton

Mark & Pam Alcaide

Nancy Altschuler

Mr. Peter Ambler & Ms. Lindsay Miller

Bill & Vicki Barke

Drs. Susan E. Bennett* & Gerald B. Pierl

Roger Berman

Kathy Boyceu

The Chay Family

Ms. Mei Po Cheung

Mr. Lawrence M. DeVito*l

Ms. JoAnne Dickinson*l

Laura Dike & Vaughn Miller*

Dr. Jordan S. Ruboy Charitable Fundu

Martin Elvis & Giuseppina Fabbiano

Kathryn G. Freed in memory of Dean & Patti Freed

Fremont Giving Fund

Gilbane Building Company

Melissa Gilliam & William Grobman

Dr. Kurt D. Gress &

Mr. Samuel Y. Parkinson

Nick & Marjorie Greville

Mr. Joseph Hammer

Sylvia Han* & Bruce Rubensteinl

David Hoffman* & Deborah Friedman

Morton Hoffman in loving memory of Sandy Hoffmanu

Amy Hunter* & Steven Maguirel

Ms. Louise Johnson*

Ellen & Robert Kaplan

Butler & Lois Lampson

Drs. Lynne* & Sidney Levitsky

Liana Enterprises

Ms. M. Lynne Markus*

Kathryn McDaniel*l

Kate Meany*l

Gregory E. Moore & Wynne W. Szeto*l

Mario & Nancy Nicosia

Jane Pisciottoli Papa*l

Anthony & Katharine Pell

Dr. Douglas Reeves

Mr. Carl Rosenberg*

Stephen & Peg Senturia

R. S. Steinberg

Ms. Tricia Swift*l

Mr.* & Mrs. Frank Tempestal

Dr. Nelson Thaemert &

Mr. Brian Gokeyl

Mr. Richard Trant*

Ms. Amy Tsurumi*l

Yin-Yin Wang*l

GRAZIOSO ($3,000 - $4,999)

Anonymous (1)

John Barstow & Genie Ware

Michael Barza & Judith Robinson

Tamara P. & Charles H. Davis II

Elaine Epstein & Jim Krachey

Mr. & Mrs. Dozier Gardner

Anne Giudice

David Kirkl

Dr. Maydee G. Lande in memory of her father

Alice Levine & Paul Weissman

Shari & Christopher Noe

Nick Russo

John & Debra Sculley

Mr. John Stevens &

Ms. Virginia McIntyre

Ernst Ter Haar

Michael Young

ADVOCATE ($1,000 - $2,999)

Anonymous (9)

Mr. Bernard Aserkoff

George & Hillery Ballantyne

Ms. Nesli Basgoz

Christine Bassett & Carey Alexander

Richard & Mahala Beams

John & Molly Beard

John Belchers

Sherie & Walter Bush

Ms. Jane Carr & Mr. Andrew Hertig

Michael & Bernie Caruso in honor of

Barbara Case Senchak

Tip & Nino Catalano

Ms. Nina Cohen

Marjorie B. & Martin Cohn

William & Ellen Cross

Pamela & Belden Daniels

Marianne DePamphilis & Ronald Caccavaro

Valerie Dixon

Anne Lyons Dolan in memory of

Susan Eastman

Mr. Mark Donohoe

Ms. Priscilla Douglas

Zach Durant-Emmons & Willis Emmons

Edmund & Betsy Cabot

Charitable Foundation

Eran & Yukiko Egozy

Johannes Eijmberts & Wiebe Tinga

Mark Elefante & Amy Selinger

Eli Lilly & Company Foundation

Ms. Kathleen Emrich & Mr. Robert Sherwood

Assia Khellaf Eyüboglu & Vedat Eyüboglu

Lawrence & Atsuko Fish

Christopher & Hilary Gabrieli

Nathaniel & Nancy Gardiner

Mrs. G. Peabody Gardner

Gatling Family Giving Fund

Temple Gill & Christopher Yens

Bill Glazer & Tom Smith in honor of Russ López & Andrew Sherman

Dr. David Golan & Dr. Laura Green

Dr. Joan Goldberg

Susan Goldberg & Geoffrey Etnire

Barbara & Steve Grossman

HarborOne Foundation

The Hargrove Pierce Foundation

Mr. & Mrs. John Henn

Dr. Robert J. Henry, M.D.

Art & Eloise Hodges

Ms. Jeannette Hsu

Mr. Craig S. Hughes

Susan Graham Johnston

Mr. Adrian Jones

Eva R. Karger

Stan & Sandy Keller

Helen Kim & Colin Warwick

Ms. Lucy LaFleche

Pam Lassiter

Paul Lee

Marilyn Levitt & Andrew Friedland

Maestro Keith Lockhart & Ms. Emiley Zalesky Lockhart

Joe & Pam LoDato

Tod Machover & June Kinoshita

Steven Maler & Anthony Liquori

Mr. Joseph Mari

Rob & Danny McBride

Jillian* & Andrew McGrath

The Michaud Family

Ms. Kati Mitchell

Rumiko Mizuuchi-Adamowicz & Laurent Adamowicz

Mark & Caroline Murphy

Mary & Sherif Nada

Esther Nelson & Bernd Ulken

Jean & Bryan Olson

Mr. Anthony Pangaro &

Ms. Creelea Henderson

Heidi & Lewis Pearlson

The Prone Family Foundation

Michael Raizman

William Reinfeld

Art & Elaine Robins

Elizabeth Ross & William O’Reilly

Lee Sandwen

John Sasso & Mary Jo Adams

Mr. & Mrs. Robert Schechter

Ellie Schmidt

Michael Schwartz & Claudia Aronow

Lisa Serafin Sheehan & Brian Sheehan

Annie Short

Mrs. Sarah D. Billinghurst Solomon

Susan Stamler

Richard Starbuck & Deane Hall

Campbell Steward

Myles Striar

Rev. Nancy Taylor

Ms. Melissa Tully

Ms. Paula Tyack

Mrs. Wat Tyler

Mary Verhage

Roderick J. Wagner

Thomas Watson

Albert & Judith Zabin

SUSTAINER ($500 - $999)

Anonymous (11)

Anonymous in honor of Hans Eijmberts & Wiebe Tinga

Daren Bascome

Nina & Donald Berk

Dr. Nancy Berkowitz

Garen Bohlin & Diana Sorensen

Amy & Ethan d’Ablemont Burnes

Ms. Bettina Burr in honor of Irv Plotkin

James F. Crowley, Jr.

Gene & Lloyd Dahmen

Joanna Humphrey Flynn & Bryan Flynn

Carl Folta & Molly Lemeris in honor of Maria Krokidas

Arthur & Gloria Fox

Ms. Christine G. Hannon

Pauline Ho Bynum in memory of

Susan Eastman

Fred Hoppin

Thomas & Sonja Ellingson Hout

Martin Kalilow

Ricardo & Marla Lewitus

Mr. Merrill Mack

Eric Mankin

Tyler B. Martin

John & Christina McCormick

Ms. Virginia Meany

Silvio Micali & Daniela Caruso-Micali

Giampaolo Nicosia

Robert & Carolyn Osteen

Mr. William Pananos

John Parisi

Mr. Gene Pokorny

Mr. Jack Reynolds in memory of Stevie Giacalone

Patricia Romeo-Gilbert

Simon Rosenthal & Nouri Newman

Mr. Michael Schaefer

Jay Scheib

Patrick Seaver

Mr. Robert Shapiro

Lesley Silvester & E.J. Kahn III

Sanjay & Amanda Talluri

Ann B. Teixeira

Michael & Judith Thoyer in honor of Erinn Rhodes

Judith Verhave

Linda & Harvey Weiner

Steve Weiner & Don Cornuet

Angela & Christopher Winchenbaugh

Ed & Keryn Wojosecki

Mr. & Ms. Douglas Woodlock

Joan & Michael Yogg

Harvey Young & Heather Schoenfeld

CONTRIBUTOR ($250-$499)

Anonymous (10)

Anonymous in honor of Susan Eastman

Anonymous in memory of Thomas Duffy Gill, Jr.

Anonymous in honor of

Benedict Hensley, baritone

Anonymous in honor of Chris Noe

Dean Anderson & Jean Scarrow

Camille Batarekh & Ann O’Rourke

Peter Bienstock

Sarah B. Blume in honor of

Linda Cabot Black

C. Anthony Broh & Jennifer L. Hochschild

Rebecca Bowen & Toby Bottorf

Ms. Janet Buecker

Mr. & Mrs. Philip Cantillon

Sangita Chandra

Connie Chin

Sharon Daniels

Ms. Kathryn Disney

Lisa Dobberteen

Anne & Gary Dunning

Svetlana Evdokimova

Jack Fabiano & Noel McCoy

Mr. Lloyd Fillion

Kate Gilbert & Chris Colbert

Sandra Gilpatrick

Prof. James A. Glazier

Sylvia Hammer

Mr. & Mrs. James J. Harper

Yael & Eliot Heher

Anneliese Henderson

William Hess in honor of Thomas Hess

Wendy Hull

Elinore & Herbert Kagan

Courtney Keller

Carol Kemp

Mr. Anthony & Mrs. Susan Kiernan

Blade Kotelly

Robert W. Kruszyna

York Lo & Rebecca Pearson Lo Quinn MacKenzie

Andrew Magdanz & Susan Shapiro Magdanz

Ken Maillar & Annie Grear

Bruce Malin

Ms. Deena Matowik

Marc Maxwell in honor of Russ López & Andrew Sherman

Margaret McDormand in memory of

Anna Elizabeth McDormand

Evelyn McFadden in memory of George Seaman

Ms. Diane Ota

Paul Hart Miller Foundation

Luke & Susie Perry

Ted Pietras

Ms. Helen R. Pillsbury

R. Lynn Rardin & Lynne A. O’Connell

Jim & Sandy Righter

Robert & Iris Fanger Family Foundation

Susan Rodgerson*

Nicholas G. Russell

Mr. Frank Santangelo

John & Ruth Schey

Schrupka Fund

Lauren Schultes

Michael Skatrud

Otto & Dorothy Solbrig

Ellie Starr

John & Mary Tarvin

Glen & Andrea Urban

Steve Walch & Linda Williams

Jerome Weinstein

Polly Pitt Whiteside in honor of Richard Trant

Susan Wing & Thomas Lavin

SUPPORTER ($100-$249)

Anonymous (3)

Alan Benenfeld

Stuart & Dorothy Bless

Carol V. Brown

Charles & Sheila Donahue

Jacqueline G. Haslett, EdD

James & Caroline McCloy

Newell & Betty Hale Fund of Greater Worcester

Susan Porter & Robert Kauffman

Susan Wheltle

Ms. Jennifer Yanco

Ms. Cynthia Yee

*Board Member lLyric Circle Member (those with multi-year commitments to our annual fund) uDeceased

THE BORIS GOLDOVSKY

SOCIETY FOR PLANNED GIVING

Anonymous (1)

Ms. Diana Abrashkin

Michael Barza & Judith Robinson

Linda Cabot Black

Rick Burnes

Mr. David Cole-Rous &

Ms. Norma Greenberg

Alicia M. Cooney & Stephen Quigley

Gene Dahmen

Tim Daughters

Tamara P. & Charles H. Davis II

Wayne Davis

Janice Mancini Del Sesto

Mr. Lawrence M. DeVito

Anne Lyons Dolan in memory of Susan Eastman

Dr. Jordan S. Ruboy Charitable Fundu

Mr. Dan Durou

Alan & Lisa Dynner

Margaret Eagle & Eli Rapaport

ENDOWMENT

Anonymous (3)

Ms. Ann Beha & Mr. Robert A. Radloff

Linda Cabot Black

Timothy Blodgett

Dr. & Mrs. Eric & Elaine Bucher

Katie & Paul Buttenwieser

Mr. & Mrs. John Cabot

Robert Eastman

Martin Elvis

Ms. Anne Ewers

Kathryn G. Freed in memory of Dean & Patti Freed

Catherine & Frederick Grein

Allison Groves

Gillian Stuart Hamer

Mr. Joseph Hammer

Mr. & Mrs. John Henn

Mimi Hewlett

Ms. Myrna F. Howe

Amy Hunter & Steven Maguire

Susan W. Jacobs

Ellen & Robert Kaplan

Eva R. Karger

Courtney Keller

Ms. Mary Kiley

Robert W. Kruszyna

Mr. David Latham

Joe & Pam LoDato

Russell López & Andrew Sherman

The Calderwood Charitable Foundation

Alicia M. Cooney & Stephen Quigley

Wayne Davis & Ann Merrifield

Miguel & Suki de Bragança

Alan & Lisa Dynner

Jody Gill

Abigail B. Mason

Janet & Irv Plotkin

INSTITUTIONAL PARTNERS

Mr. Stephen Lord

Ms. M. Lynne Markus

Christopher Marrionu

Abigail B. Mason

Domenico Mastrototaro

Richard S. Milstein, Esq.u

Mary & Sherif Nada

Jane Pisciottoli Papa

Marie E. Pereto-Hedin

Janet & Irv Plotkin

Sandy & Herb Pollacku

Christine & Michael Puzo

Peter & Suzanne Read

Stephen & Iris Taymore Schnitzer

David W. Scudder

Wendy Shattuck & Sam Plimpton

Mrs. Lois Silverman

Mr. Michael Tronic

Peter J. Wender

Mrs. Marillyn Zacharis

Ms. Tania Zouikin

Helen Pounds

Sheila W. & Samuel M. Robbins

David W. Scudder & Betsy Ridge

Wendy Shattuck & Sam Plimpton

Virginia Wellington Cabot Foundation

Ms. Tania Zouikin

Boston Lyric Opera’s 2025/26 season is supported in part by the Barr Foundation; The HarborOne Foundation; the Lincoln and Therese Filene Foundation; the Mattina R. Proctor Foundation; Miss Wallace Minot Leonard Foundation; the Poduska Family Foundation; BPS Arts Expansion at EdVestors; the Paul & Edith Babson Foundation; Hamilton Company Charitable Foundation; OPERA America; the National Endowment for the Arts; the Mayor’s Office of Arts and Culture; and Mass Cultural Council, a state agency. Corporate sponsors include Constangy, Brooks, Smith & Prophete; MEDITECH; Metropolis + Channel Center Garage; Analog Devices Inc.; Polaris Capital Management; Gilbane Building Company; Flansburgh Architects; and The Residence Inn by Marriott (Boston Downtown/Seaport). Boston Lyric Opera also acknowledges the incredible support of its Board of Directors, Board of Advisors, and other donors and patrons.

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OPERA INNOVATORS

PRE-SHOW OPERA LECTURES

DECONSTRUCTING OPERA

STREET STAGE: SUMMER 2025 CONCERT IN THE COURTYARD

OPERA CREATION BOOT CAMP

OPERA ON TOUR: DAUGHTER OF THE REGIMENT

OPERA NIGHT AT THE BOSTON PUBLIC LIBRARY

MIDDLE SCHOOL MUSICAL THEATRE WORKSHOP

All performances begin on time. To respect the enjoyment of others, BLO observes a no-late seating policy. While we understand that traffic conditions, public transportation, weather, and other factors can have unexpected effects on your arrival, we wish to minimize disruptions for our seated patrons and for our artists on stage. Additionally, if you must leave during the performance, reentry may be prohibited.

As a courtesy to the artists and for the comfort of those around you, please turn off mobile phones, watch alarms, and other devices with audible signals prior to the start of the performance. The use of cameras or recording devices in the theater is strictly prohibited. For BLO productions & subscriptions, visit BLO.org or call BLO Audience Services at 617.542.6772,

Wheelchair access is available at the main entrance to the building on Boylston Street. Please request wheelchair seating from a sales representative at time of purchase. Designated ADA seating locations are located on the Orchestra level of the theatre. An ADA accessible restroom is also located on the Orchestra level. There is no elevator access in the building. Please contact us at 888.616.0272 or email infocolonial@atgentertainment.com for assistance.

Mask wearing is no longer required for most performances & events, but strongly encouraged at all times while in the theater. For Emerson’s policies, go to artsemerson.org/visit/public-health.