Florida State University Opera presents
Mozart’s
Così fan tutte
Libretto
April 9, 10, 11, at 7:30 pm
April 12, 2026 at 3:00 pm
Opperman Music Hall
by Lorenzo Da Ponte
Music by Wolfgang Amadeus Mozart
DEAN’S MESSAGE
Dear Friends,
Mozart’s Così fan tutte returns to our stage for the first time in 14 years in this exciting spring production. This romantic comedy was one of Mozart’s final operas, and his final collaboration with one of his most important partners, librettist Lorenzo Da Ponte. The two previously worked together in Vienna during the creation of Le nozze di Figaro (1786) and Don Giovanni (1787), and their final collaboration was set to be one of their most uninhibited efforts so far.
Da Ponte’s libretto places characters in all sorts of compromising positions, with equal measures of humor and angst along the way. Mozart’s music elevates this bawdy story with stretches of elegance, passion, and Turkish exoticism that would have scandalized its premiere audience in Vienna, 1790. More importantly, Mozart challenged his singers with some of his most virtuosic and wide-ranging music, particularly in the role of Fiordiligi that features extremely high and low notes often right next to each other.
This is a great training opportunity for our students as they not only tackle a core piece of the operatic repertoire, but also gain skills that can be used in other pieces. Leading this musical effort is Bernard McDonald, who has been assisted graciously by our collaborative piano coaches, Valerie M. Trujillo and Natalie Sherer, and opera coach Katie Barr. Our students receive an overwhelming amount of training throughout their learning process, but also a variety of perspectives and teaching styles that help make FSU a special place to grow as an operatic singer.
James Marvel leads his fourth production here at FSU and offers a unique spin on Così fan tutte that I am sure you have never seen before. He leads a design team that includes scenic designer Liliana Duque Piñeiro, returning projection designer DJ Pike, lighting designer Allen Hahn, FSU’s own Julia Matteson Bradley, and returning wig and makeup designer Melanie Steele. The cast are able to benefit not only from James’ perspective as a director, but also from his vast connections in the industry that help augment our stellar productions here in Tallahassee.
Thank you for joining us this evening and for witnessing the next generation of opera artists training here at Florida State University.
Sincerely,
M. Todd Queen
FLORIDA STATE OPERA presents
Così fan tutte
Libretto by Lorenzo Da Ponte | Music by Wolfgang Amadeus Mozart
Conductor ..................................................... Bernard McDonald
Stage Director James Marvel
Scenic Designer Liliana Duque Piñeiro
Projection Designer .......................................................... DJ Pike
Lighting Designer........................................................ Allen Hahn
Costume Coordinator........................... Julia Matteson Bradley
Wig and Makeup Designer ................................ Melanie Steele
Language and Musical Preparation .............. J. Bradley Baker
Katie Barr
Douglas Fisher
Felicia Gavilanes
Bernard McDonald
Natalie Sherer
Valerie M. Trujillo
Rehearsal Pianist .............................................. Emma Anderson
Anthony Zamora
Production Stage Manager ............ Katherine Anne Ledbetter
Assistant Director Kate Bishop
Assistant Stage Managers
Talia Boudjemaa
Jenna Moynihan
Cast
(in order of appearance)
Ferrando
Justin Eifert
Samuel Stevenson ^
Guglielmo
Joseph Decker
Troy Sleeman ^
Kalani Yen #
Don Alfonso
Derek Hale ^
Paul Niu
Kristopher Stam #
Isabella Abalo
Jill Brooks
Morgan Cerra
Crew Durrant
Chorus
David Griffith
Grace Hafer
Fiordiligi
Lilian Grusz
Mariah Moran #
Madison Roths ^
Dorabella
Alissa D’Alton ^
Jackie Petichakis #
Leah Shewmaker
Despina
Lexi Barton #
Anna Low ^
Lizzie Robertson
Lauren Haggard
Clement Lee-Sursin
# Indicates cover cast
Anthony Menold
Meg Schiliro
Drew Shapard
Kevin Sotolongo
^ Indicates opening night cast (performances April 9, 11)
Synopsis
Act I
Two young men are in the midst of an argument with an older gentleman, Don Alfonso, who argues that fidelity and constancy are practically imaginary, while Ferrando and Guglielmo defend the faith of their lovers, Dorabella and Fiordiligi. He bets them that he can contrive a scenario in which the young women will be unfaithful within a day’s time if they do as he asks them, and they agree to accept the bet.
Dorabella and Fiordiligi, two sisters, spend time admiring their loves, but they are interrupted by terrible news from Don Alfonso. He tells them that the men have been called away to war, and everyone meets for a tearful departure. The men seem to depart on a boat headed for war, yet the women are unaware that the men aren’t being called to duty at all.
The women return home and are extremely upset following the departure of their lovers. Their servant, Despina, is a wily character who is not entirely sympathetic to the women’s complaints. She encourages them to divert their attention to other men who are available while their lovers are away. The women are disgusted by the idea, but Despina’s outlook on constancy overlaps nearly perfectly with that of Don Alfonso, who bribes her into joining his schemes. Don Alfonso presents Ferrando and Guglielmo in a drastically different appearance as foreigners. They are encouraged by Alfonso to pursue the women, who are extremely resistant to the men’s advances.
Though the men continue to plead their case, Fiordiligi obstinately puts her foot down, saying that her will is solid as a rock. Guglielmo makes a half-hearted attempt to woo the women a final time, but they depart. Both Ferrando and Guglielmo rejoice in the women’s fidelity, though Don Alfonso remains determined to prove his point. He consults with Despina, understanding the two women’s thinking better. The two come up with a new plan to push Dorabella and Fiordiligi away from their departed lovers.
Dorabella and Fiordiligi are still in despair over their lover’s departure, but their moaning is interrupted when Ferrando and Guglielmo – still in disguise – barge in on to the scene and threaten to take their lives with arsenic if the women will not relent. The men drink a fake poison and foolishly writhe around in agony as the women are utterly confused. Despina assumes the identity of a travelling doctor that claims to be able to cure the men. She unveils a magnetic medical device, moving it up and down the men’s bodies to a miraculous effect. The men are even more amorous than before, and the women are utterly shocked by their behavior. The plan has not worked yet, but Alfonso remains committed to his cause.
Act II
Despina continues to prod Dorabella and Fiordiligi towards the men, and in turn behave more like she does, not being particular loyal on any one man for too long. She leaves, and the women discuss her suggestion. Dorabella is more open to amusing herself with the men’s company, while Fiordiligi warms up to the idea more slowly. Each sister chooses a man, with Dorabella going after Guglielmo and Fiordiligi accepting Ferrando as a temporary companion.
Don Alfonso leads Dorabella and Fiordiligi into the garden where Ferrando and Guglielmo are ready to serenade them. The initial meeting between the four is a little shaky at first, but Alfonso and Despina force their pawns into place before leaving them alone. The two couples decide to take separate paths in the garden, and Guglielmo immediately offers a token of his affection to Dorabella in form of a locket. Dorabella is touched by the gesture, returning a portrait of Ferrando in exchange, and Guglielmo is both amazed and shocked that she would betray Ferrando in favor of himself.
Things aren’t going so smoothly for Ferrando and Fiordiligi, who is still repelled by the thought of any intimacies between her and this other man. She forces him to leave and is wracked with guilt over the thought of betraying Guglielmo. Moments later, Ferrando and Guglielmo meet to compare notes on their campaigns. Ferrando tells Guglielmo the good news that Fiordiligi remains true, while Guglielmo reveals that Dorabella accepted his locket. The news shocks and enrages Ferrando, while Guglielmo disparages women saying that Dorabella’s behavior is to be expected.
Don Alfonso encounters the men, accurately tabulating the scorecard. While Guglielmo wants to call off the bet and collect at least half of the award, Don Alfonso has another plan in mind and reminds them of the terms they agreed to in the beginning.
The sisters recount their experience with Despina, and Fiordiligi lashes out at Despina for putting her up to the date in the garden. Despina continues to put pressure on Fiordiligi to give in and think of the current moment rather than waiting for a soldier’s potential return. Fiordiligi sorts out her options and makes plans to reunite with Guglielmo on the battlefield. But before she can leave, Ferrando appears once again asking for Fiordiligi to end his life if she will not take him as a husband. The passion of his argument is overpowering, and Fiordiligi gives in to temptation.
Guglielmo is shocked by what he sees, and Don Alfonso takes great relish in winning the bet completely. Despina arrives and contrives yet another plan, this time scheming to appear as a notary to wed the pair of lovers. Don Alfonso directs servants to organize the wedding site speedily, and the four
lovers make their way to the altar. Both couples – Dorabella and Guglielmo and Fiordiligi and Ferrando – sign marriage contracts. Yet moments later, the military horns sound, meaning that Fiordiligi and Dorabella’s lovers should be back from war. Don Alfonso makes quick moves to dispatch the men so they can return in their original identities. The women are put through a storm of emotions, before ultimately realizing that they have been tricked in an elaborate charade run by Don Alfonso and Despina. In reconciling, they extoll the virtues of accepting life’s good and bad moments with grace.
Director’s Note
Così fan tutte: The School for Lovers
Mozart and Da Ponte’s Così fan tutte carries the subtitle La scuola degli amanti—“The School for Lovers.” This production takes that phrase quite literally, imagining the opera as a kind of behavioral experiment. At the beginning of the story, the four young lovers—Fiordiligi, Dorabella, Ferrando, and Guglielmo—move through the world with a striking degree of naïve certainty. Their identities and romantic ideals are rigid, simplified, and selfassured; they see themselves and one another through a lens of youthful narcissism that renders love reassuringly uncomplicated. Don Alfonso suspects otherwise. What unfolds over the course of the opera is his carefully engineered attempt to prove that human desire, loyalty, and selfperception are far more unstable than the lovers imagine.
In this staging, that experiment takes place in a contemporary research environment—a clinical, sculptural laboratory conceived to observe, record, and manipulate human behavior. Within this space, Don Alfonso becomes less a philosophical cynic than a kind of social scientist. The lovers are monitored continuously, their actions documented through the surveillance infrastructure surrounding them, echoing the atmosphere of observation and psychological control familiar from George Orwell’s 1984. A bank of monitors above the playing area allows both audience and characters to witness intimate behavior transformed into data, spectacle, and evidence.
The architecture of the environment, designed by Liliana Duque Piñeiro, embraces a modernist clarity that emphasizes emotional detachment and analytical observation. DJ Pike’s video design transforms the laboratory in an instant, allowing Don Alfonso to construct seductive or destabilizing environments tailored to provoke particular responses from his subjects. At times, fragments of live action are captured and replayed, turning the lovers
themselves into participants in a constantly shifting feedback loop between observation and performance. Allen Hahn’s lighting design sharpens the sense of what is exposed versus what is hidden, while Julia Bradley’s costumes move between rigidity and whimsy as the characters’ emotional certainty begins to fracture.
A recurring visual motif throughout the production is the use of Rorschach patterns embedded within the costumes and scenic environment. Like the famous psychological inkblot tests, these images resist fixed meaning. What one perceives in them—beauty, symmetry, chaos, or threat—reveals less about the image itself than about the observer’s own internal state. Within the world of Così fan tutte, the Rorschach imagery becomes a metaphor for love itself: each character believes they see truth, fidelity, and certainty in their beloved, only to discover that what they have been seeing may have been a projection of their own hopes and illusions.
As the experiment unfolds, the lovers gradually move from these rigid, twodimensional certainties toward something more complicated and human. Their identities destabilize, their desires shift, and the comfortable narratives they constructed about themselves begin to dissolve. By the end of the opera, each character has confronted the unsettling realization that human psychology is rarely as simple—or as noble—as we might wish.
Così fan tutte has often drawn criticism for the apparent misogyny embedded in its title—commonly translated as “All Women Are Like That.” In this production, however, the experiment intentionally places the behavior of the men under the same scrutiny from the very first moment of the opera. Ferrando and Guglielmo’s confidence in their lovers’ fidelity is matched only by their own eagerness to participate in deception, disguise, and infidelity. The result is a study of universal human vulnerability—revealing how pride, insecurity, curiosity, and desire shape the choices of both men and women alike. Don Alfonso’s methods remain morally dubious, even manipulative. Yet his objective may ultimately be educational rather than cruel. By dismantling the lovers’ illusions, he forces them to confront the uncomfortable complexity of desire, loyalty, and self-knowledge. In this sense, Così fan tutte becomes not merely a comedy of disguise and deception, but a laboratory for emotional truth—where what we believe we see in others ultimately reveals who we are ourselves.
In Memoriam
Ray Hattaway
On January 17, 2026, the FSU College of Music lost one of its beloved members with the passing of Ray Hattaway.
He was a valued member of the production team that created the amazing opera sets and props which helped make it the magical experience we all have enjoyed for so many years. At times he even appeared onstage, in costume, as part of the larger crowd scenes.
Ray was also a long-time member of the Ruby Diamond production staff and put in countless hours in the presentation of events such as Opening Nights, Orchestra performances, and the Tallahassee Ballet Nutcracker performance every Christmas.
The FSU College of Music wasn’t the only department to feel the loss of his passing. Ray had also taught German at FSU’s Modern Languages for many years and will be remembered by the students as someone who enriched their lives as well as their education.
When not on campus, Ray’s passion turned to the collection and restoration of vintage British motorcycles. He spent his summers traveling the backroads of rural America picking his way through barns and warehouses to bring rusty and dusty memories back to life. Ray will be greatly missed by many in that community as well.
When you met Ray, it always felt like you had a friend. Nobody felt like a stranger in his company. He was truly one of a kind.
Godspeed, Ray.
University Symphony Orchestra
Violin I
Alexander Jiménez, Music Director and Conductor
Masayoshi Arakawa‡
Emily Palmer
Stacey Sharpe
Bailey Bryant
Will Purser
Violin II
Jean-luc Cataquet*
Hayden Green
Tori Joyce
Christopher Wheaton
Carlos Cordero Mendez
Viola
Yey Mulero*
Jeremy Hill
Jonathan Taylor
Spencer Schneider
Cello
Mitchell George*
Param Mehta
Jake Reisinger
Ryan Wolff
Bass
Kent Rivera*
Connor Oneacre
Flute
Nikkie Galindo*
Jordi Banitt
Oboe
Steven Stamer*
Andrew Swift
Clarinet
Charlotte MacDonald*
Daniel Kim
Bassoon
Georgia Clement*
Diego Crisostomo
Horn
Jeason Lopez*
Allison Hoffman
Trumpet
Francesca Stressman*
Evan Workman
Timpani
Darci Wright
Offstage Percussion
Timothy Thomas
Harpsichord
Emma Anderson^
Anthony Zamora ‡ Concertmaster * Principal
^ Opening night cast performances (April 9, 11)
Cast
Alissa D’Alton, Dorabella
Mezzo-Soprano, MM Performance (2nd year)
Hometown: Orlando, FL
Past roles at FSU: Chorus, Die Zauberflöte; Mother, Hänsel und Gretel (outreach); Chorus, Il barbiere di Siviglia, Chorus, Príhody lišky Bystroušky; Hänsel, Hänsel und Gretel; Orfeo, Orfeo ed Euridice; Prince Charmant, Cendrillon
Other credits: Dorabella, Così fan tutte; Meg, Falstaff (scene), Carmen, Carmen (scene)
Joseph Decker, Guglielmo
Bass-baritone, MM Performance (1st year)
Hometown: Niceville, FL
Past roles at FSU: Pandolfe, Cendrillon
Other credits: Figaro, Le nozze di Figaro, Lyric Arts France
Justin Eifert, Ferrando
Tenor, MM Performance (1st year)
Hometown: Alexandria, VA
FSU Debut
Other Credits: Orpheus, Orpheus in the Underworld, Loyola Opera Theater; Azael, L’enfant prodigue, Loyola Opera Theater; Tamino, The Magic Flute, Loyola Opera Theater
Lilian Grusz, Fiordiligi
Soprano, MM Performance (1st year)
Hometown: Deltona, FL
FSU Debut
Other Credits: Lucy, The Billy Goat’s Gruff, Motor City Lyric Opera; Iphigénie, Iphigénie en Tauride (scenes), The University of Michigan; Contessa Almaviva, Le nozze di Figaro (scenes), The University of Michigan
Derek Hale, Don Alfonso
Bass, DM Performance (2nd year)
Hometown: Wortham, TX
Past roles at FSU: Bartolo, Le nozze di Figaro; Basilio, Il barbiere di Siviglia; Parson/Badger, The Cunning Little Vixen; Nick Shadow, The Rake’s Progress
Other credits: Jacob/Crony 4, The Ballad of Baby Doe, Central City Opera; Ufficiale, Il barbiere di Siviglia, Central City Opera
Anna Low, Despina
Soprano, MM Performance (2nd year)
Hometown: Orem, UT
Past roles at FSU: Anne Trulove, The Rake’s Progress; Cendrillon, Cendrillon
Other credits: Contessa, Le nozze di Figaro, Musica Proibita Management; Valencienne, The Merry Widow, Brigham Young University; Nannetta, Falstaff, FIO Italia
Paul Niu, Don Alfonso
Baritone, DM Performance (1st year)
Hometown: China
Past roles at FSU: Chorus, Cendrillon
Other credits: Sergeant of Police, Pirates of Penzance, Pensacola Christian College; Elijah, Elijah, Pensacola Christian College
Lizzie Robertson, Despina
Soprano, BM Performance (4th year)
Hometown: Marietta, GA
Past roles at FSU: Chorus, Příhody lišky Bystroušky; Chorus, Hänsel und Gretel; Papagena, The Magic Flute (outreach); Euridice, Orfeo ed Euridice Other credits: Soloist, Die Welt von Robert Stolz, American Institute of Musical Studies; Gretel, Hänsel und Gretel (scene), American Institute of Musical Studies; soprano soloist, Duruflé Requiem, St. John’s Episcopal Church
Madison Roths, Fiordiligi
Soprano, DM Performance (1st year)
Hometown: Salina, KS
Past roles at FSU: Bystrouška, Příhody lišky Bystroušky; Anne Trulove, The Rake’s Progress
Other credits: Soprano 1, A Solaria Solstice, Solaria; Soprano Soloist, Mendelssohn Psalm 42/Bernstein
Chichester Psalms, Tallahassee Community Chorus; Soprano Soloist, Meditations on Death, Festival Singers of Florida
Leah Shewmaker, Dorabella
Mezzo-soprano, DM Performance (1st year)
Hometown: Smithfield, VA
Past roles at FSU: Lapák, Příhody lišky Bystroušky; Mother, Hänsel und Gretel; Baba the Turk, The Rake’s Progress; Madame de la Haltière, Cendrillon
Other credits: Soloist, Missa in angustiis, Tallahassee Community Chorus; Soloist, Elijah, Tallahassee Community Chorus; Siebel, Faust, James Madison University
Troy Sleeman, Guglielmo
Baritone, MM Performance (1st year)
Hometown: Miami, FL
Past roles at FSU: Le Premier Ministre, Cendrillon
Other credits: Conte Almaviva, Le nozze di Figaro, La Musica Lirica
Samuel Stevenson, Ferrando
Tenor, BA Music (4th year)
Hometown: Goose Creek, SC
Past roles at FSU: Tom Rakewell, The Rake’s Progress
Other credits: Don Ottavio, Don Giovanni, Varna International; Matteo Borsa, Rigoletto, Holy City Arts & Lyric Opera; Shadrach, Daniel and the Kings, Oh Pray Productions
Opera Staff
Dean, Executive Producer ............................................................
M. Todd Queen
Director of Opera Activities Bernard McDonald
Stage Director/Director of Opera Workshop ...............................James Marvel
Director of Orchestra Activities Alexander Jiménez
Opera Program Manager ................................................................. Matt Cooksey
Technical Director.......................................................................Ken Frederickson
Orchestra & Band Administrative Assistant Chelsea Blomberg
Orchestra Manager .......................................................................... Za’Kharia Cox
Orchestra Stage Manager ............................................ Carlos Cordero Mendez
Orchestra Librarians ......................................................................... Matt Cooksey
Mitchell George
Library Bowing Assistant Masayoshi Arakawa
Mitchell George
Musical Coaching ......................................................................... J. Bradley Baker
Katie Barr
Douglas Fisher
Felicia Gavilanes
Bernard McDonald
Natalie Sherer
Valerie M. Trujillo
Rehearsal Pianists ........................................................................
Master Carpenter ........................................................................
Emma Anderson
Anthony Zamora
Cameron Hanmer
Carpenters ...........................................................................................
Scenic Artist ....................................................................................
Scott Freese
Ray Hattaway
Amanda Holton
Sydney Nichols
Opperman Music Hall Support Staff ..............................................
Grace Atkins
Ethan Bigelow
Cameron Downs
Russ Marsh
Eugene McGuinness
Opperman Crew ............................................................................
Nick Smith
Emma Finnegan
Raeed Gangat
Nathan Hoekman
Marjorie Jerez
Roy Nishimoto-Rivera
Malinda Perera
Additional Crew David Bernstein
Kinsley Mitchell
Grason Peterson
Barbara Roberts
Dylan Valdes
Devin Walmsley
Costume Shop Manager ................................................. Julia Matteson Bradley
Assistant Shop Manager Christina Marullo
Wardrobe Supervisor .......................................................................... Sungwon An
Wardrobe Crew ................................................................................ Virginia Harley
Ryan Mace
Sebastian Quintero
Stitchers .................................................................................................Kate Bishop
Tobi Sponsler
Wig & Makeup Crew .......................................................................... Erica Dowling
Marlena Trudnak
Supertitle Operator ........................................................................... Matt Cooksey
Graphic Designer..........................................................................
Marketing Team
Natalie De Clerk
Megan Mowery
Natalie De Clerk
Wendy Smith
Director of Special Programs ............................................................. Kim Shively
Thank you to Opperman Music Hall Front of House Staff. Thank You
Patricia C. Applegate • Florence Helen Ashby • Ramona D. Bowman
Malcom A. Craig • Sandy and Jim Dafoe
Richard Dusenbury and Kathi Jaschke • Debra Gifford
Kirby W. and Margaret-Ray Kemper • Anne van Meter and Howard Kessler
Joan Macmillan • Victoria Martinez • Bob Parker
David and Joanne Rasmussen • Laura and Sam Rogers
Karen and Francis C. Skilling • Donna C. Tharpe • Ralph V. Turner
UNIVERSITY MUSICAL ASSOCIATES
2025-2026
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Les and Ruth Ruggles Akers
Dr. Pamela T. Brannon
Richard Dusenbury and Kathi Jaschke
CarolAline Flaumenhaft
Joyce Andrews
Louie and Avon Doll
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Albert and Darlene Oosterhof
Jim Lee
Paula and Bill Smith
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Bob Parker
Todd and Kelin Queen
Jim and Betty Ann Rodgers
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Sustainer
Stan and Tenley Barnes
Kathryn M. Beggs
Karen Bradley
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Brian Causseaux and David Young
James Clendinen
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Carol J. Cooper
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F. Marshall Deterding and Dr. Kelley Lang
Diane and Jack Dowling
Aaron and Caroline Ellis
John S. and Linda H. Fleming
Joy and James Frank
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Ruth Godfrey-Sigler
Michael and Marsha Hartline
Ken Hays
Melanie Hines and Dudley Witney
Dottie and Jon Hinkle
Todd S. Hinkle
The Jelks Family Foundation, Inc.
Emory and Dorothy Johnson
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Anne van Meter and Howard Kessler
Dennis G. King, Esq.
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William and Gayle Manley
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Ann W. Parramore
Almena and Brooks Pettit
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Edward Reid
Mark and Carrie Renwick
Stephen and Elizabeth Richardson
Lawrence and Lisa Rubin
Patrick J. Sheehan
Dr. James and Ruth Anne Stevens
Richard Stevens and Ron Smith
Sustainer cont’d
Marshall and Nell Stranburg
William and Ma’Su Sweeney
Martin Kavka and Tip Tomberlin
Steve Moore Watkins and Karen Sue Brown
Stan Whaley and Brenda McCarthy
Kathy D. Wright
Mary S. Bert
Joe and Susan Berube
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Dean and Lyndsey Caulkins
Bonnie and Pete Chamlis
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Bonnie Fowler, Armor Realty
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Arline Kern
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Patrick Malone
Victoria Martinez
Stephen Mattingly
Ann and Don Morrow
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Karalee Poschman
Mary Anne J. Price
Julian and Betty Proctor
Carol Ryor
Ken and J.R. Saginario
Magda Sanchez
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George Sweat
Ed Valla
Scott and LaDonna Wagers
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Patron
Patricia C. Applegate
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The Boyett Family
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Drs. Linda O’Neil and Sebastian Alston
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Lifetime Members
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Beethoven & Company
Corporate Sponsors
Ron Erichson/Beth
Frederick
Business Sponsors
WFSU Public Broadcast Center
The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 850-645-5453.
The Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at 850-644-3424 at least five business days prior to a musical event if accommodation for disability or publication in alternative format is needed.
FSU OPERA UPCOMING EVENTS
Opera Workshop Scenes Showcase
Opperman Music Hall
April 26, 2026
Dark Sisters
Opperman Music Hall
May 29, 30, 2026
Of Mice and Men
Ruby Diamond Concert Hall October-November, 2026