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VOLUME 67 NUMBER 01 | FALL 2026

YO U R G U I D E TO FAU S T PG. 44

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A MESSAGE FROM THE GENERAL DIRECTOR AND CEO

elcome to a spectacular 2026-27 season at Houston Grand Opera—one so full of masterful music, grand productions, and celebrated artists, it truly feels written in the stars. The launch of HGO’s new season marks the official arrival of our Music Director Designate, James Gaffigan, as he conducts our season opener, Carlisle Floyd’s Susannah. I can think of no more fitting way to welcome my new artistic partner than with this landmark opera: a champion of American works, Maestro Gaffigan begins his HGO tenure with Floyd’s masterpiece as we celebrate the centenary of a composer whose legacy has become inseparable from our own. This is Maestro Gaffigan’s very first Susannah, a special moment in itself. HGO audiences also will have the rare opportunity to witness important role debuts from two phenomenal artists—soprano Sylvia D’Eramo as Susannah and baritone Rod Gilfry as Blitch—as they bring Floyd’s devastating story of judgment, hypocrisy, and lost innocence to life through his soaring, folk-infused score. At the helm is none other than opera star Patricia Racette, who has graced the HGO stage many times, but makes her company directorial debut with this powerful production. Showcasing the best of what our city has to offer while inviting Houstonians to experience superlative artistry from around the globe is HGO’s guiding ethos, and it is on proud display at the Wortham this fall. Our other opera this repertory period is Gounod’s Faust, presented in a stunning staging originally created for London’s Royal Ballet and Opera by legendary director David McVicar. Like the glittering score—one of the most beloved in all of French opera—McVicar’s production, revived by Peter Relton, dazzles as it shares the

wicked tale of its title character, who, seeking youth and pleasure, bargains away his own soul. Matthew Polenzani, one of the finest tenors of his generation, returns to our stage as Faust, joined by two internationally revered artists performing with HGO for the very first time: soprano Pretty Yende, a true sensation, in her role debut as Marguerite, and the thrilling bass John Relyea as Mephistopheles. Mezzo-soprano Sun-Ly Pierce, a Butler Studio alumna who has gone on to worldwide acclaim, makes a triumphant return to Houston as Siebel. At the podium is sought-after conductor Giacomo Sagripanti, music director of the Tbilisi Opera House, making his company debut. HGO’s ability to gather artists and creators of this caliber in Houston—so many making major debuts, all in demand at the world’s great houses—is a testament not only to this company, but also to you, our audience. You recognize exceptional talent, embrace ambitious work, and make our artists feel seen and appreciated. That matters more than you know. Thank you for being here. Please enjoy the show.

Khori Dastoor General Director and CEO Margaret Alkek Williams Chair

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Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced under the direction of Chief Marketing and Experience Officer Jennifer Davenport and Director of Communications Catherine Matusow, by Houston Grand Opera’s Audiences Department. Editor

Catherine Matusow Designers

Chelsea Crouse Rita Jia Contributors

Colin Michael Brush Joe Cadagin Khori Dastoor Patrick Summers Advertising

Matt Ross/Ventures Marketing 713-417-6857 For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please email the Customer Care Center at CustomerCare@HGO.org or telephone 713-228-6737. Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc.

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CONTENTS 3

A Message from Khori Dastoor

10 News and Notes

60 Signature Events 65 Butler Studio 72 HGO Supporters 92 Calendar 94 Plan Your Visit

FEATURES 16 Opera’s Shining Stars: A Series

22 Faust Reincarnated

54 R ivers and Trees

18 C arlisle Floyd on Susannah

26 M entor and Maestro

69 Out of Character

Khori Dastoor in conversation with soprano Pretty Yende.

Words from the late composer/librettist on his celebrated opera.

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The legendary soul-seller and his many guises.

Music Director Designate James Gaffigan comes home to Houston.

Show Boat and Susannah at Houston Grand Opera.

Soprano Patricia Racette is loving life as an opera director.

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A GUIDE TO OUR FA LL REPER TO IRE

32 SUSANNAH 32 Program 33 Quick Start Guide 34 Cast & Synopsis 37 Who’s Who

44 FAU S T 44 Program 45 Quick Start Guide 46 Cast & Synopsis 49 Who’s Who

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H G O B OA R D O F D I R E C T O R S 2 0 2 6 – 2 7 O FFI C ER S

James W. Crownover

Astley L. Blair, Jr., Chair of the Board

Khori Dastoor

Claire Liu, Senior Chair of the Board; Governance Committee Chair Allyn W. Risley, Chair Emeritus of the Board Lynn Wyatt*, Honorary Vice Chair of the Board James Loftis, General Counsel; Secretary M EM B ER S AT L A R G E Thomas R. Ajamie Robin Angly* John S. Arnoldy* Christopher V. Bacon, Audiences Committee Chair Michelle Beale Janet Langford Carrig, Philanthropy Committee Chair

Joshua Davidson Marty Dudley

Beth Madison* Sid Moorhead Sara S. Morgan

David Duthu* Warren A. Ellsworth IV, M.D., Butler Studio Committee Chair Benjamin Fink, Finance Committee Chair Joe Geagea Dr. Ellen R. Gritz, Community & Learning Committee Chair

Kristin Muessig, Audit Committee Vice Chair Terrylin G. Neale Ward G. Pennebaker Cynthia Petrello Gloria M. Portela Matthew L. Ringel Kelly B. Rose

Selda Gunsel

Jack A. Roth, M.D.

Matt Healey, Finance Committee Vice Chair

Harlan C. Stai

Richard Husseini José M. Ivo Marianne Kah, Houston Grand Opera Endowment, Inc. Chair

Albert Chao

Bill Kroger, Audit Committee Chair

Louise G. Chapman*

Blair Labatt

Mathilda Cochran*

Bryant Lee

Albert O. Cornelison, Jr.*

David LePori, Governance Committee Vice Chair

Vincent Trapet John G. Turner* Alfredo Vilas Margaret Alkek Williams H O N O R A RY D I R EC TO R S Samuel Ramey Frederica von Stade *Senior Directors

H GO’ S 2 0 2 6 - 2 7

SI GNATURE EVENTS

CONCERT OF ARIAS F R I DAY, F E B R UA RY 2 6 , 2 0 2 7 DENISE REYES AND MAT T HEALEY, CHAIRS

OPERA BALL S ATU R DAY, A PR I L 3 , 2 0 2 7 HALLIE VANDERHIDER, BRIGIT TE KALAI, FARIDA ABJANI, CHAIRS BET TY AND JESSE TUTOR, HONOREES

VISIT HGO.ORG/EVENTS

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JAN 22-FEB 7

Don’t miss director Kaneza Schaal’s stunning, new production starring soprano Ailyn Pérez, coming to Houston this winter.

TICKETS STARTING AT $25 HGO.ORG

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Bravos for the Butler Studio Showcase

Sam Dhobhany and Scarlett Jones performed a duet from The Flying Dutchman.

On September 13, a passionate audience gathered inside the Wortham Theater Center’s Cullen Theater for the company’s annual Butler Studio Showcase, the season’s first performance by the exceptional young artists who are part of this season’s Butler Studio class. The fan-favorite event was an afternoon of inspiration and celebration as the young performers—including five new members (see below)—shared a selection of costumed scenes from across the repertoire, including works by Wagner, Verdi, Puccini, Tchaikovsky, and Mascagni. The talents that earned them coveted spots in HGO’s elite training program were on full display. If you missed this year’s Showcase, make sure to join us next year! And look for these remarkable young artists at HGO throughout the season.

Welcome to HGO! Announcing the season's new Butler Studio artists. Following a rigorous international search, the HGO team is thrilled to welcome the 12 outstanding singers and pianist-coaches who comprise the 2026-27 class of the Butler Studio, one of the world’s most competitive and respected young artist programs. 10

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Elizabeth Hanje and Lauren Randolph sang a scene from Don Carlo.

Ziniu Zhao, Geonho Lee, Sam Dhobhany, and Misael Corralejo shared a comedic moment from La bohème.

“Each of these inspiring emerging artists has demonstrated rare musical gifts with the potential to propel them to the very top of our field,” says General Director and CEO Khori Dastoor. Joining seven returning members—sopranos Alissa Goretsky and Elizabeth Hanje, tenor Luka Tsevelidze, baritone Geonho Lee, bassbaritone Sam Dhobhany,

bass Ziniu Zhao, and pianist/coach Tzu Kuang Tan—are the five new artists at right. Our Butler Studio artists will be receiving major performance opportunities all season long, so make sure to help us cheer them on! Scarlett Jones, soprano, firstplace winner at HGO’s 2026 Eleanor McCollum Competition Concert of Arias

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Missy Mazzoli’s Moment You’re not imagining it! She really is everywhere. Missy Mazzoli has been having quite a year. August brought the release of HGO’s new album of Breaking the Waves—the first-ever recording of her seminal 2016 opera written with librettist Royce Vavrek—and critics are loving it. "This recording of the opera is a stunning example of why contemporary work matters so much," writes the New York Times. "We need such subjects on the classical stage to provoke discomfort, empathy, and more complex conversations about faith, agency, sexuality, and sacrifice."

new opera with Vavrek, The Galloping Cure, premiered at the Edinburgh International Festival to passionate praise. The Times of London called the fantastical exploration of the opioid crisis “one of the most powerfully crafted pieces of music theater to emerge this century.” And the momentum continues. On October 19, another new opera by Mazzoli and Vavrek, Lincoln in the Bardo, made its highly anticipated world premiere at the Metropolitan Opera. Based on the acclaimed novel by George Saunders, the supernatural work

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Composer Missy Mazzoli in the Wortham's broadcast booth.

explores Abraham Lincoln’s grief following the death of his young son, Willie. Find out why everyone’s talking about Missy Mazzoli! Give Breaking the Waves,

the third release on the GRAMMY Award-winning Houston Grand Opera label, a listen today.

Tzvi Bat Asherah, bassbaritone, finalist at Concert of Arias

Maeve Berry, pianist/coach

"The soprano Lauren Snouffer, as Bess, is extraordinary," the review continues. "The other cast members—including the bass-baritone Ryan McKinny, the tenor David Portillo, and the mezzosoprano Maire Therese Carmack—are as affecting." The album came out the same month that Mazzoli’s

Lauren Randolph, mezzosoprano, third-place winner . at Concert of Arias

Misael Corralejo, tenor, second-place and Audience Choice winner at Concert of Arias

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Fun in the Park Music-Stories-OPERA! at Miller Outdoor Theatre In September, HGO took over Miller Outdoor Theatre for three days of art and inspiration! Hundreds of students, teachers, and families from across Houston joined a group of company teaching artists for Music-Stories-OPERA!, a free, interactive introduction to the art form. Young audiences heard favorite arias, put their ears to the test by guessing different languages, and teamed up with the artists to create a brand-new mini-opera on the spot.

CO M M U N I T Y A N D L E A R N I N G F U N D E R S GUA R A N TO R S

H-E-B

The Brown Foundation, Inc.

Houston Livestock Show and Rodeo ™

ConocoPhillips William Randolph Hearst Foundation Sara and Bill Morgan Nabors Industries Vitol Mr. and Mrs. K. C. Weiner The Wortham Foundation, Inc.

Mr. David Montague and Mrs. Diane FerrufinoMontague Powell Foundation Shell USA, Inc. U N D ERWR I T ER S Ruth and Ted Bauer Family Foundation

G R A N D U N D ERWR I T ER S

Ms. Kiana K. Caleb

Joan and Stanford Alexander Family Fund in honor of Claire Liu and Joe Greenberg

The Cockrell Family Fund

Mathilda Cochran

Dr. Laura Marsh

The Elkins Foundation

Vivian L. Smith Foundation

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Rebecca and Brian Duncan Rosemary Malbin

William E. and Natoma Pyle Harvey Charitable Trust S U PP O R T ER S Mr. and Mrs. Robert J. Ardell Adrienne Bond Mr. and Mrs. Lester P. Burgess The Lawrence E. Carlton, MD, Endowment Fund City of Houston through the Miller Theatre Advisory Board James J. Drach Endowment Fund Trish Freeman and Bruce Patterson Mrs. Geraldine C. Gill Rhoda Goldberg

George and Mary Josephine Hamman Foundation Albert & Ethel Herzstein Charitable Foundation Lee Huber Ms. Joan Jeffrey Lowe Foundation Mr. Geoffry H. Oshman Mr. and Mrs. Michael J. Pancherz Texas Commission on the Arts The activities of Houston Grand Opera are supported in part by funds provided by the City of Houston through Houston Arts Alliance.

A perfect first opera experience for children and families alike!

F E BR UA RY 1 3 , 2 02 7 | 1 PM

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PA R T N E R S

Houston Methodist: Where Music and Medicine Meet This season, HGO is proud to celebrate the 30th anniversary of its longtime partner, Houston Methodist’s Center for Performing Arts Medicine (CPAM). A pioneering program unlike any other in the country, CPAM brings world-class medicine together with world-class artistry to address the specialized health and performance needs of elite artists. For three decades, this relationship has supported HGO singers and performers as they meet the demands of the world’s most challenging stages—demonstrating how extraordinary medicine can help make extraordinary performance possible. The partnership between HGO and CPAM extends far beyond artist care. Through creative arts therapies and community-minded programming, this collaboration weaves the healing presence of music into treatment and the hospital environment. At the heart of this relationship is the Margaret Alkek Williams Crain Garden Performance Series, a longstanding program that brings HGO singers and pianists to Houston Methodist’s Texas Medical Center campus to perform live concerts for patients, families, and caregivers in the Crain Garden lobby. Available for livestreaming to the public and throughout the hospital, these intimate performances bring moments of beauty, connection, and joy to people when they may need them most.

Above: HGO's Patrick Summers, CPAM's Dr. Apurva Thekdi, HGO's Khori Dastoor, guest judge Julien Benhamou, HGO supporters Drs. Rachel and Warren Ellsworth IV, and mezzo-soprano/guest judge Sasha Cooke at Concert of Arias 2026. Below: mezzo-soprano/HGO teaching artist Luisana Rivas and pianist Rachel Chao in recital at Houston Methodist's Crain Garden.

As part of CPAM’s 30th anniversary celebration, HGO and CPAM are bringing live, professionally curated performances to every Houston Methodist campus. Building on the beloved tradition of music in the Crain Garden lobby, the 30th Anniversary Series expands this enriching experience across all nine hospitals, creating meaningful moments of comfort, connection and joy for patients, families and staff. The initiative aims to enhance the healing environment while at the same time highlighting the vital role the arts can play in improving care. Events will be livestreamed, and at each stop, creative arts therapists and CPAM artists will spotlight CPAM’s work on that campus, offering a glimpse into how the arts are woven into day-to-day care. HGO is profoundly grateful for Houston Methodist’s enduring partnership and for 30 years of demonstrating that music and medicine belong together.

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H G O

PA R T N E R S

ConocoPhillips: Shaping Art and Culture in Houston ConocoPhillips believes a strong arts and cultural community contributes to Houston’s quality of life and global reputation. Through its charitable investments, the company supports hometown organizations such as Houston Grand Opera that help strengthen the community. For more than four decades, HGO and ConocoPhillips have partnered to shape Houston’s cultural landscape. ConocoPhillips has stood with us across the full breadth of our work—from arts education and special events to Veterans Day celebrations and even the recent commemoration of America’s 250th anniversary. Underlying this partnership is ConocoPhillips’s dedication to every member of the Houston community, especially those who might not otherwise have access to the arts. Its steadfast support of HGO’s community and education programs enables thousands of students of all ages and backgrounds to experience world-class performances each year. ConocoPhillips has also long championed HGO’s Opening Night. The 2026-27 season opens with Carlisle Floyd’s Susannah—a landmark American opera, and a fitting cornerstone for the season as the nation marks its 250th anniversary and the centennial of Floyd’s birth. Sustaining this kind of civic leadership takes tireless advocates. No one embodies that spirit of service more fully than Kelly Rose, a dedicated member of HGO’s Board of Directors who recently retired from a distinguished career at ConocoPhillips. We congratulate Kelly on her retirement and applaud her continued service to the Houston community.

HGO Board member Kelly Rose, pictured with her husband David, and ConocoPhillips are supporting HGO's celebrations of composer Carlisle Floyd's centennial and the nation's 250th birthday.

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O PER A' S S HININ G S TA R S : PA R T 1 O F A S ER IE S

PRE T T Y Y ENDE ON HER FIR S T M A RGUERITE —A ND HER FIR S T ROLE AT HGO. By Khori Dastoor, General Director and CEO

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his fall at HGO, audiences have the extraordinary opportunity to witness what is sure to become a shining moment in our history: Pretty Yende making her company and role debuts on the Brown Theater stage as Marguerite in Gounod’s Faust. When I reach Pretty for our interview over Zoom, straight away, I thank her for accepting our invitation to share this moment with our audiences. “To be in Houston is a dream come true,” she says simply, smiling, “especially for this special debut.” Pretty is a performer in demand at all the world’s great houses, who gets mobbed on the streets of Paris. Who, as the Washington Post writes, “has a voice that can reach for the stars.” Who sang at the reopening of Notre Dame, the Coronation of King Charles III. She is also a performer who draws her artistry from the roots of her story. Those roots reach back to age 16, when she first discovered opera while watching a British Airways ad and, without knowing what this music was, somehow knew it was her destiny. They reach back to her earliest memories of her childhood in South Africa, of singing hymns in the kitchen with her mom and aunts, her uncles harmonizing from the living room; of lessons from her grandmother; of standing before her congregation and singing. “I would see a smile,” she remembers, “and I loved that.” From then to now—whether finishing her studies in Cape Town, winning a string of prestigious prizes, training at La Scala, ascending to the highest echelons of her profession, making a home in Paris and being named a Dior ambassador and a partner with Graff Jewelers—Pretty has remained rooted in that same soil. During our conversation, she tells me about the coronation, a dramatic tale. The night before, Pretty shares, she’d been performing in Vienna when she sprained her ankle. After spending hours in the emergency room, she’d raced through the airport in a wheelchair before making it to Westminster Abbey. Standing on her sore ankle before a global audience of 2 billion—the first African solo artist in history ever to be engaged for such an occasion—Pretty suddenly didn’t feel like a famous opera star. Instead, she was again a joyful little girl growing up in South Africa, who loved her parents, and loved to sing. “I was back in church, singing, and seeing smiles,” she remembers. “That took away the pressure.”

The sweetness of that story—of Pretty’s kindness, faith, and loving nature—guides the conversation back to Marguerite, and how she’s preparing for the role: by reading, thinking, writing, listening, feeling. As we talk, she picks up her notes. “I wrote here, deeply religious village girl who lives a simple, modest life with her brother, Valentin,” she tells me. “She is pure. She is humble, modest, shy, intelligent rather than naïve. She is spiritually grounded, capable of profound love, emotionally resilient until tragedy overwhelms her.” “Too good for this world,” I say. When I ask Pretty about the opera’s dazzling showpiece, the “Jewel Song,” she shares a memory of performing it as a student. “I remember learning to trust the simplicity of the melodic line—that what Gounod has written there is more than enough. You hear it, how he paces it out. Marguerite is reflecting, nostalgic, and then suddenly, it grows and grows. And then, those chords. The world that she knew becomes completely different from then on, after discovering all those jewels.” Marguerite, we agree, contains universes. She requires a soprano of exceptional emotional depth, who commands a vast range, extraordinary stamina, and the ability to fully inhabit not just one, but multiple characters before the opera’s end. “It is one of the greatest soprano roles in the French repertoire because the journey encompasses innocence, madness, purity, simplicity, but also guilt, despair, forgiveness,” says Pretty. “The diction is important. The legato is significant. The delicacy of the French language, the coloratura, the dramatic expansion in later acts, and the emotional honesty are all essential.” Pretty lost both her parents in the past few years. Their absence has brought new meaning to the roots that have sustained her. “These two beings have been incredible in my life. Talking about roots, we have the gifts, but what deepens the meaning of what we do is what happens to us. Understanding that as I enter the next season of my career is so important.” That next season begins, in part, here in Houston. As Pretty, HGO's 2026-27 Lynn Wyatt Artist, prepares to debut here as Marguerite, she is looking forward to taking the Wortham stage with Matthew Polenzani, John Relyea, and the rest of the cast, chorus, and orchestra—and to reuniting with conductor Giacomo Sagripanti, her “brother in music.” The trust between them, she says, will give her the freedom to pour everything she has into a character she describes as the opera’s “emotional and moral heart.” And that is what makes this role, at this moment, feel so right. The little girl who sang hymns, watching for smiles, has become one of the most celebrated opera singers in the world. But Pretty has never left that girl—or the family, faith, and music that formed her—behind. She carries all of it with her onto every stage, and this fall, that stage will be ours. “Gounod’s music is so lyric and so beautiful,” she says, her smile returning. “This is going to be awesome.” 

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CARLISLE FLOYD ON SUSANNAH Hear from the composer/librettist himself, who shared his thoughts about his celebrated opera three decades ago in this very magazine.

his interview with Carlisle Floyd ran without a byline in the Spring 1996 issue of Opera Cues. Floyd had recently retired from his professorship at the University of Houston and moved with his wife Kay back to Tallahassee. But HGO’s 1996 production of Susannah wouldn’t be the end of his involvement with the company. Turn the page to see a timeline that traces his career at HGO, including the five world premieres he composed for the company before his death in 2021. —Joe Cadagin, Audience Education and Communications Manager Opera Cues: For many in this part of the world, your opera must take place in a not unfamiliar setting. Do you remember your Southern upbringing with fondness or nostalgia? Carlisle Floyd: With a bit of both. There was the usual schoolwork and irksome household chores. But by today’s standards, I think children of my generation, in spite of the Depression, were remarkably carefree. However, I disliked intensely the summer revival meetings which, being children of the minister, my sister and I were expected to attend; they were very frightening and deeply disturbing, as I think they are to all children as well as to many adults. OC: Do you identify with the “societal outcast” characters of your works? Is this why you choose such characters as protagonists? Floyd: Again, my answer has to be both yes and no. As the son of a minister I grew up very much included and automatically accepted in the social life of the towns where we lived. On a personal level, I think I felt like something of an outsider in the sense of having interests and talents which were not shared by my friends. On the other hand, I was never treated or viewed as an “outsider” by my friends, primarily because

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I was involved in all the same childhood activities everyone participated in. As a matter of fact, I was only made aware that the theme of the outsider in conflict with the society around him had been dominant in all my operas by an interviewer from Opera News at the time of the premiere of Bilby’s Doll here in Houston. It just had never occurred to me; but, by the time he paraded all of my “outsiders,” Susannah, Heathcliff, George and Lennie, Doll Bilby (not to

Soprano Nancy Gustafson as the title character in HGO’s 1996 Susannah production

mention Willie Stark and Jonathan Wade still to come) as evidence, it was pointless to argue. I wouldn’t presume to know all the reasons this common thread exists. What I do know is that the theme of the “outsider” in conflict with an uncomprehending or uncaring society has been very conspicuous in 20th-century theatrical art, from Wozzeck and Peter Grimes to Blanche du Bois and Willy Loman. Also, given the dramatic friction inherent in the theme, it provides an instant launching pad into an absorbing experience in the theater. OC: Was the “Bible belt” mentality something that had a negative impact on you? Floyd: Definitely. It is inevitably monolithic, both in its mentality and in its concept of morality and prescribed social behavior. In Susannah, Mrs. McLean epitomizes this kind of mentality: she is both absolutely convinced of the rightness of her views and remorseless in the severity of her judgments. She is the self-appointed arbiter of what is condoned and what is condemned in New Hope Valley.

Floyd: That’s true. McCarthyism—as those of us who lived through the period know—became a national contagion, a way of thinking in which accusation becomes tantamount to guilt. It has afflicted us from time to time ever since the Salem witch trials and, I suspect, will continue to do so. America’s social dilemma has always been the same, and it remains unresolved—reconciling the concept of “rugged individualism” with group conformity.

The role is often overplayed, sometimes to the point of caricature, and this always disturbs me since it undercuts the dramatic balance in the opera if we are allowed not to take her too seriously. I urge mezzos who perform the role to work for stillness, physical rigidity, and a mask-like face on which no expression can be read. When I have the opportunity, I refer them to Judith Anderson’s chilling portrayal of Mrs. Danvers in the film Rebecca.

So far, I think there has been enough public admiration and private envy of the “mavericks” among us that the always uneasy balance is still maintained; but we always have to be on guard against the zealots in our midst or those whose need for self-confirmation is fulfilled by allying themselves to such groups. There is really nothing more profoundly frightening than to be confronted with an unquestioning conviction of moral superiority, whether it’s by an individual or a group.

OC: McCarthyism was also a motivating factor in your choice of subject— the witch-hunt mentality, the assumption of guilt until proven innocent.

OC: Hypocrisy is something you must feel strongly about. HGO.ORG

Floyd: Yes, I do, but I think hypocrisy is pretty much universally deplored. A certain amount of false behavior (or behavior at odds with our true feelings) is the price we pay for living in a civilized society, the critical distinctions being the degree of self-awareness involved. If we are the captive of an insufferable bore at a party, for instance, we may smile politely but inwardly be desperate to escape and thoroughly conscious of the fact. The elders and their wives, on the other hand, cannot confront their true feelings of lust or bitter jealousy and therefore become true hypocrites with disastrous results for their victim. OC: Through Sam you could express your philosophy of what was happening and of human nature? Floyd: Sam, I suppose, is my “spokesman,” but primarily because, in distancing himself from the community of New Hope Valley, he is able to view its bigotry and capacity for persecution with total clarity. However, his almost dispassionate acceptance of their behavior leads to a kind of resignation and passivity which again produces tragic consequences. OC: This line from Susannah’s song when followed home by Blitch—“Like a false-hearted lover jes’ like my own / Who made me love him, then left me alone”—does Blitch interpret that as an indication of her guilt, or is it just a song she is singing without significance? Floyd: The “folksong” “The Trees on the Mountains,” was conceived as being the symbol of betrayal throughout the entire opera. It is first stated by the orchestra in the overture, is heard again at the climax of Act I in the orchestra after Little Bat has falsely confessed sexual involvement with Susannah, is sung next in its entirety by Susannah on her way home from the revival meeting where she has been betrayed by Blitch, and is last heard at the opening of the final scene, when it is played in a severe, emotionless, march-like rhythm by the bass clarinet, signifying the change in Susannah and the confrontation to come with Sam over his betrayal of her. OC: Blitch is weak; yes, he is conflicted between his desire to save Susannah spiritually and his susceptibility to her vulnerability. But he is ultimately dishonest and afraid or unwilling to sacrifice himself

to redeem Susannah and thereby also himself. Floyd: I am still annoyed after all these years if Blitch is referred to as being “evil” or “villainous.” I would like to think I created a character whose motives and personality are considerably more complex than that. What people fail to see is that he is even more a victim of the malicious rumors and lies than Susannah, since in accepting them at face value, he pays for it with his life. But even more than that, I see him as a flawed human being, struggling to conform to an impossibly stern moral code imposed, he feels, by an unforgiving and vengeful God. He is unable to take this final step to exonerate Susannah, but to have done that would have meant a complete loss of face and public disgrace for him—a price many people before and after him have found too high to pay. OC: When Susannah is bathing, she sings to herself. What does her phrase mean, “Looka here, little boy, don’t you do that agin!,” or is that just something that makes the elders suspicious? Floyd: Susannah is shot through with dramatic irony, from the use of the name “New Hope Valley” to Susannah’s innocent singing of that final line of the “Jaybird Song,” after unknowingly being spied upon by the elders while

A TIMELINE OF CARLISLE FLOYD AT HGO 1972: HGO stages its first Floyd opera, a free production of Susannah at Miller Outdoor Theatre.

1973: Of Mice and Men

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1976: Susannah

1977: Of Mice and Men

1976: HGO produces its first Floyd world premiere: Bilby’s Doll, set during the Salem witch trials.

1977: Floyd and HGO General Director David Gockley co-found the Houston Opera Studio, a young-artist training program later renamed for donors Sarah and Ernest Butler.

1981: The HGO world premiere of Floyd’s Willie Stark, about a corrupt Southern politician, is broadcast on PBS’s Great Performances.

1991: Floyd revises his 1962 opera The Passion of Jonathan Wade, set in Reconstructionera South Carolina, and directs the worldpremiere production at HGO.

1996: Susannah

bathing. Perhaps most telling is the fact that the elders and wives nod approvingly in the revival meeting when Blitch tells the congregation that God has spoken to him during the afternoon, instructing him to take no text for his sermon. The next morning, however, they agree with Mrs. McLean, who ascribes Blitch’s being told by the same God that Susannah is innocent simply to the devil’s working in “queer ways.”

Nancy Gustafson as Susannah.

OC: The ultimate irony, of course, being Mrs. McLean’s, “You cain’t settle ev’rything with a gun, wench. There’s a higher court o’ justice!” Susannah’s behavior changes so drastically. Is she triumphant, or, as her final actions toward Little Bat seem to imply, does she succumb to her own experience by becoming bitterly cynical and hardened? Floyd: She doesn’t succumb, she triumphs at a terrible cost. A natural, unspoiled, and high-spirited young girl is jolted prematurely into adulthood in the harshest way imaginable and is forced to develop the persona of a hard, invulnerable woman as a consequence. In the final moment with Little Bat, we see that she has also discovered her capacity for cruelty, which, like adopting the persona, is self-protective. Susannah is a survivor and never views herself as a victim or gives way to self-pity. Cheryl Studer, the superb soprano who performs the role on the new recording, remarked that she felt that when the opera first appeared 40 years ago, we weren’t “ready,” as she put it, for a character like Susannah: the “pathetic heroine” was more the rule in opera, and being presented with a strong, triumphant heroine was a little unsettling. Perhaps the most insightful comment on Susannah was made by my favorite aunt, who remarked that initially she had felt sorry for Susannah, but then she realized at the end, as she put it, that “she could take care of herself.” OC: Do you consider Susannah a folk opera? Floyd: At the beginning, I took offense if Susannah was referred to as a “folk opera,” since I felt that such a designation implied the use of preexisting folk materials, or that the score throughout was “folkish” in flavor, neither of which was the case in my opera. In other words, I felt that to describe Susannah as a “folk opera” was both limiting and inaccurate, since much of the score has no folk flavor at all and the words and music,

2000: Patricia Racette stars in the HGO world premiere of Floyd’s Cold Sassy Tree, conducted by Patrick Summers and released on CD.

2001: Floyd is awarded the HGO Artist’s Medal.

2002: Patrick Summers conducts Francesca Zambello’s production of Of Mice and Men, which is released on CD.

2016: HGO performs the world premiere of Floyd’s final opera, Prince of Players, about the 17th-century actor Edward Kynaston.

with the exception of the text of the “Jaybird Song,” were mine. I used folk elements in Susannah for two reasons: to immediately suggest the locale of the opera through the music and because I felt that, at a time during the ’40s and ’50s when American composers were utilizing folk materials in their music in attempting to create a so-called “American sound,” I could do this in a truly authentic way, since it was so much a part of my background. It was important to me; I felt strongly about that movement. 

2022: Following Floyd’s death in 2021, HGO memorializes the composer with a concert featuring selections from five of his operas.

2026: The Butler Studio that Floyd helped to found performs Of Mice and Men in honor of the composer’s 100th birthday. The centenary celebration continues with this fall’s staging of Susannah.

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FAUST REINCARNATED THE LEGENDARY SOUL-SELLER HA S BEEN REBORN IN MAN Y GUISE S , INCLUDING A S COMPOSER CHARLE S GOUNOD IN DAVID MC VIC AR ’ S HGO PRODUC TION OF FAUS T. By Joe Cadagin, Audience Education and Communications Manager

David McVicar’s celebrated Faust production was revived at London’s Royal Ballet and Opera last year. Credit: Marc Brenner

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“F

aust is the common property of all mankind, not a monopoly held by Goethe. … And besides, the subject can be treated in so many different ways that there will never be a conflict.”

So wrote Austrian poet Nikolaus Lenau. In 1836, Lenau penned his own retelling of the Faust legend—the story of a 16th-century German scholar who sells his soul to the devil for infinite knowledge and pleasure. But Lenau’s largely forgotten version was overshadowed by that of his contemporary, Johann Wolfgang von Goethe. For many, Goethe’s Faust is the standard version. His massive verse drama—totaling over 12,000 lines—was published in two parts, the first in 1808 and the second in 1832. It remains the cornerstone of German literature and a pillar of Western culture. But however bright, it’s only one star in a vast constellation of Faust retellings from the past four centuries. As Lenau argues, the story isn’t the property of Goethe. Its universal themes of ambition, temptation, corruption, and redemption have remained relevant for over 400 years. The figure of Faust stands for modern man’s obsession with achieving the impossible—to transcend the limits of science and nature, no matter what the cost. Moreover, the Faustian bargain—a devilish deal in which a character exchanges something precious to achieve their deepest desire—has become a ubiquitous trope. You can find it in everything from The Little Mermaid to Rosemary’s Baby. Indeed, the Faust legend has endured precisely because of its endless adaptability. The narrative can be tweaked to address the concerns of a particular period, place, or population. Houston Grand Opera’s production of Charles Gounod’s Faust, created by Scottish director David McVicar, presents one such unique crystallization of the tale. Inspired by the composer’s conflicting sensual and

spiritual sides, McVicar reimagines Faust as Gounod himself. ––––– But first, who was Faust? He may have actually existed. There are several reports between 1500-40 that an astrologer and magician by the name of Faustus was wandering across Germany. Some dismissed him as a boastful fraud—a mere conjurer of cheap tricks. But Martin Luther himself was said to have taken this sorcerer’s powers seriously. Sources attest to Faustus’s dark and miraculous deeds. He sent a spirit to cause havoc in a monastery. He resurrected the heroes of the Iliad during a lecture on Homer. He caused wine to flow from a tavern table. One chronicler mentions a contract with the devil, signed in blood. And Satan evidently came to collect. Multiple accounts describe Faustus’s gruesome death: he was found in bed at an inn, his head twisted backwards. Much like with Robin Hood—another semi-fictional figure—folklore began to accumulate around Faustus. This body of myths was collected into a printed volume by an anonymous German author in 1587. The book, which purported to be a genuine biography, was intended as a Protestant morality tale. Most of the population at the time wholeheartedly believed in witches and demons, and the author repeatedly cautions his readers against communing with infernal forces. But despite its didactic purpose, the so-called Faust Book turned out to be a real page-turner. Faustus’s fantastical adventures with the devil—who goes by the name Mephistopheles—were exciting, entertaining, and even rather titillating. Perhaps unintentionally, Faustus became something of an anti-hero. The Faust Book was wildly popular in Germany and proved equally successful in England, where it was translated around 1590. A few years later,

it became the basis for Christopher Marlowe’s Doctor Faustus, a play that fleshed out the protagonist into a complex and even sympathetic character. Faustus is portrayed as a free-thinker in pursuit of power. While he ultimately regrets sacrificing his immortal soul, he’s doomed all the same—though his damnation takes on a tragic tone. Marlowe’s Doctor Faustus, which had its roots in the German Faust Book, in turn made its way to Germany in translation. Here, over the course of the 17th and 18th centuries, it was absorbed into the Faust lore and retold through an unexpected medium: puppetry. Performed largely at fairs, Faust puppet plays were lowbrow, Punch-and-Judy-style theater. Nevertheless, they contained the core of a good story—one that Goethe sat through transfixed when he saw a Faust puppet show as a boy. Goethe devoted most of his life to a Faust adaption of unprecedented proportions. His philosophical epic took the form of a closet drama—a play that isn’t meant to be staged. (Parts I and II of Faust would together take over 20 hours to perform, and major cuts have to be made when directors do dare to bring it to the stage.) Goethe elevated the story to new heights. Following the Scientific Revolution and the dawn of the Age of Enlightenment, Faust’s thirst for knowledge was no longer cast as a wicked endeavor. Rather, the character came to embody mankind’s willpower and drive to achieve. Faust makes a private wager with Mephistopheles that if he should ever grow complacent, the devil can take his soul at that moment. The name “Faust” (Goethe dropped the Latinized “-us” ending) means “fist” in German— an appropriately forceful symbol for what the character represents. But most importantly, Goethe gave his hero a chance for redemption by introducing the figure of Marguerite. She symbolized Goethe’s concept of the “divine feminine”—that is, HGO.ORG

womanhood in its purest, most ideal form. While Faust drags her into sin, she is ultimately granted salvation at the end of Part I. Through her example, Faust himself manages to break free of his bargain with Mephistopheles and ascend to heaven to join Marguerite at the end of Part II. Faust transformed the world of Western art. Its metaphysical and supernatural themes fired the imaginations of the Romantic generation, especially composers. Every major composer of the 19th century wrote a musical response to Goethe’s Faust. Often, these were small song-settings of texts from the original play, such as those by Beethoven and Schubert. Others were attempts to capture the grand scope of the work in large-scale pieces for orchestra and chorus, like Schumann’s Scenes from Goethe’s Faust, Liszt’s Faust Symphony, and Mahler’s Symphony no. 8. In France, Faust became a favorite operatic subject. Louise Bertin’s 1831

Fausto (by one of the few female composers of the era) was followed in 1846 by Berlioz’s La Damnation de Faust, an innovative work that straddled the line between opera and oratorio. These composers invariably stuck to the Marguerite/Faust narrative of Goethe’s Part I. Part II was far too sprawling—it’s set in several different locations and lacks the dramatic cohesion needed for opera.

tone. More impressively, he managed what few had been able to do before him—to distill Goethe’s Faust into a compelling opera that would appeal to Parisian audiences looking for romance and drama. Moreover, Barbier inspired a tuneful yet sophisticated score from a composer who, as it turns out, faced a rather Faustian dilemma during his life.

Meanwhile, as with German puppet plays of yesteryear, Paris’s popular theaters were exploiting Faust for its entertainment value. Michel Carré’s adaptation of Goethe, Faust et Marguerite, belonged to the genre of “boulevard theater”—light, sentimental melodramas that relied heavily on spectacle and slapstick. It was Carré’s play that served as the basis for Gounod’s 1859 opera, though not without substantial changes from librettist Jules Barbier.

It was in Rome as a young man that Gounod first read Goethe’s Faust— although, he wouldn’t compose his operatic adaptation for another two decades. Equally formative during these years in Italy was the musical and religious awakening he experienced. Profoundly moved by the Renaissance choral music he heard at the Sistine Chapel and influenced by the mystical Catholicism of a former schoolmate living in Rome, Gounod decided to devote his life to the church.

Barbier restored many plot points from the original Goethe, as well as its tragic

Once he returned to Paris in 1843, he started a new post as organist and music director at a chapel near his home. Much to the chagrin of the congregation, Gounod programmed only austere repertoire by Palestrina and Bach. He soon began attending lectures at a local seminary and went so far as to dress in a priestly cassock and sign his name “abbé Gounod”—a clerical title.

Composer Charles Gounod (1818-93) at his organ.

–––––

Yet in spite of all his newfound spiritual fervor, Gounod was never actually ordained. “The theater tempted me,” he later wrote. The world of opera proved far too enticing for an artist of Gounod’s ambition. He recognized that any French composer hoping to make a name for himself would only find fame and fortune on the Parisian stage. And so, in a way, Gounod sold his soul to the theater, abandoning his position with the church and his dreams of becoming a priest. By 1851, he had written his first opera, Sapho, which starred Pauline Viardot. He likely had an affair with the superstar mezzo-soprano. It wouldn’t be his last liaison. Gounod was notoriously sensual. It would earn him nicknames like the “flirtatious 24

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monk.” Fanny Mendelssohn Hensel called him “hyper-romantic and passionate.” His protégé Bizet attested to Gounod’s philandering: “He has a nature that can’t resist.” It’s clear the vow of celibacy had been a major barrier for Gounod to commit himself to the priesthood. We can almost hear Gounod’s intense sexual appetite in the yearning musical phrases he gives to Faust at the beginning of the opera: “give me pleasure and young mistresses, give me their caresses, give me their desires.” Did the composer see himself in this character fallen from grace? Scottish director David McVicar seems to raise this possibility with his intriguing take on Faust. Originally staged for the Royal Ballet and Opera in London, McVicar’s production is making its American premiere at HGO. “David wanted to explore more about Gounod, who was a complicated man,” says revival director Peter Relton. “He was deeply religious and started off writing church music. But that created a conflict within him. Theater is not really a very religious environment. So he devoted his life to art, not to the church. David viewed Faust very much as Gounod.” McVicar has recast Faust as a composer modeled after Gounod himself. In the opening scene of this staging, we see the protagonist leafing through the score of one of Gounod’s early works. “And as he looks through it,” says Relton, “you can see he almost asks himself, ‘Have I wasted my entire life serving art rather than serving God?’” Accordingly, the action is moved from 16th-century Germany to the period when Gounod lived—specifically, to 1870s Paris during the reign of Napoleon III. As Relton explains: “It takes place within the timeframe of the catastrophic Franco-Prussian War, which led to a huge French defeat. In this production, the Soldiers’ Chorus in Act IV represents the soldiers returning

after having been crushed by the Prussians at the Battle of Sedan.”

Faust at the Royal Ballet and Opera. Credit: Marc Brenner

The real-life Gounod fled to England with his family during the war. Here, he devoted himself to composing religious music. At the same time, he carried on a very public affair with an amateur soprano, which forced his humiliated wife Anna to move back to Paris with their children. These two competing sides of Gounod’s personality—the sensual impulse that drove him toward women and the glitter of the theater, and the spiritual impulse that inspired him to compose masses and oratorios—persisted throughout his life. They’re represented onstage in Charles Edwards’s set for McVicar’s production. Stage right is a series of boxes from the Palais Garnier, the famous Parisian opera house that was still under construction in the 1870s. Stage left is the organ loft of Notre Dame Cathedral, where Faust himself is seen playing during the terrifying Scene in the Church. Late in life, Gounod had an organ installed in his study. From its pipes, he hung a medallion bearing an image of Christ, which gazed down upon the composer as he sat at the keyboard. While there was no Marguerite in his life to lead him toward salvation, Gounod—much like Goethe’s Faust—still seemed capable of redemption. In his old age, he gave up opera. He devoted himself to studying scripture, played the organ for services at his local church, and composed a Requiem for his prematurely departed grandson. Sometimes he fondly remembered his days composing for the theater—like when he corrected the tempo of an organ-grinder cranking out Siebel’s Act III aria from Faust. On his deathbed, Gounod thought of the temptation that that opera might have elicited in impressionable audiences. His reflections sound like something Faust himself could have uttered in his final moments: “Yes…I’ve been the cause of many sins. Sometimes I feel remorse…”. 

FURTHER READING Osman Durrani, Faust: Icon of Modern Culture / Fitzsimmons and McKnight, eds., The Oxford Handbook of Faust in Music / 25 James Harding, Gounod

MOUNTAIN GUIDE AF TER A SUMMER MENTORING YOUNG MUSICIANS IN THE ROCKIE S AND THE ALPS , MAE S TRO JAME S GAFFIGAN I S RE ADY TO A SCEND THE APPAL ACHIANS WITH C ARLI SLE FLOY D ’ S SUSANNAH. By Joe Cadagin, Audience Education and Communications Manager

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hen I speak with HGO Music Director Designate James Gaffigan over Zoom, he’s seated on the balcony of a chalet in Switzerland. He turns his phone to show me his view: set against a sunny sky and the silhouetted Alps is an aerial tramway with charming little gondolas running up and down. “This is what I take to work every day,” says Gaffigan.

This page and next: Maestro James Gaffigan inspiring young artists at this summer's Verbier Festival in Switzerland. Credit: Evgenii Evtiukhov

During the opera season, Gaffigan will stay busy with the two companies for which he serves as music director: Komische Oper Berlin and now Houston Grand Opera, with his official post beginning here during the 2027-28 season. But the off-season isn’t exactly vacation time for him. This past summer was spent zigzagging across the country to lead three of the best orchestras in the United States. There was an America 250 celebration with the National Symphony Orchestra in Washington, D.C., where he conducted Copland’s Appalachian Spring. Then two gigs with the Chicago Symphony. And finally, two programs with the San Francisco Symphony—a concert with Yo-Yo Ma and a performance of Beethoven’s Ninth. The latter was a memorial for Michael Tilson Thomas, the orchestra’s late music director. In 2006, Tilson Thomas created the position of Associate Conductor for Gaffigan. “I wanted to be around him because he was such a genius,” says Gaffigan. “He was the definition of a great music director of an American orchestra. He was part of the community, part of the city. So to do Beethoven’s Ninth and thank him through this music by bringing the public together, it was beautiful. It was one of the last pieces he did with the orchestra, too.” After this grand tour, Gaffigan made his way up into the mountains for two major music festivals in Colorado and Switzerland. The Aspen Music Festival and School and the Verbier Festival are prestigious programs dedicated to fostering the next generation of orchestral musicians. Way up in these high altitudes, Gaffigan devoted his time to guiding promising young talent in the same way that Tilson Thomas mentored him 20 years earlier. “I started my whole career in Aspen,” says Gaffigan. In 2000, he participated in the school’s inaugural Conductor Academy. The program gives young conductors invaluable experience at the podium.

“Conductors can’t practice without an orchestra,” explains Gaffigan. “We need people in front of us to react to our physical gestures, to our words, to our facial expressions.” “I always love to give back, because I learned so much there,” he adds. “It was just incredible, all the guest conductors that would come and work with us.” This year, Gaffigan himself served as a guest conductor for the Aspen Chamber Symphony, an ensemble made up of both students and seasoned professionals. “You can’t just conduct the greatest orchestras around the world,” says Gaffigan. “Every musician who’s successful should work with young people. You should share your knowledge of what you’ve learned along the way—and your mistakes. “But also for selfish reasons, I love it because I see them later on in life at my performances or rehearsals, and they’re thanking me. I feel like I played a very crucial role in the beginning of their careers.” In July, Gaffigan bid farewell to Aspen—as well as to HGO Music Director Emeritus Patrick Summers, who heads the festival’s Opera Theater and VocalARTS Program in partnership with Renée Fleming. But Gaffigan had another mountain range to scale this summer. Since 2021, he has served as music director of the Verbier Festival Junior Orchestra. “Verbier is modeled after Aspen,” he explains, “except for the fact that professionals don’t play in the orchestras here.” Young musicians from some 30 different countries convene in this quaint Alpine village, where they play symphonic repertoire and even an annual opera. This year’s opera, La traviata, starred tenor Michael McDermott—a Butler Studio alumnus who was cast in leading roles for HGO’s 2025 Bohème and 2026 Silent Night. “He sang beautifully,” says Gaffigan proudly. The members of the Junior Orchestra benefit immensely from accompanying singers like McDermott. “The difficulty of opera for young orchestras is the constant flexibility,” Gaffigan explains. “You are never on automatic pilot in opera. Young people see um-chuck-chuck, um-chuck-chuck in the score, and they think, ‘Okay, I can tune out.’ But when a singer is being flexible or taking a slight bit of time, you need to listen. The best way to teach people to be great orchestral musicians is through opera, because you have to be hyper-aware—the antennas are up more than in any other art form. HGO.ORG

“ E V E RY M USICI A N W HO ' S SUC CE S SF U L SHOU L D WOR K W I T H YOU NG PE OPL E .”

Credit: Lauren Pasche

“Also, these kids relate to all the drama in this opera. I mean, there’s love, there’s heartache, there’s manipulation, there’s evil, there’s beauty. We tend to forget that teenagers are going through some of the most complex years of their lives, all the changes and all the confusion. It’s a crazy time for them, so why not do some crazy opera?” Back in his new home of Houston, Gaffigan is preparing to conduct Carlisle Floyd’s Susannah in celebration of the composer’s centenary. After a summer making music in the mountains, he’ll be right at home in the Appalachians, where the opera is set. “I think it belongs alongside Porgy,” he says of Susannah. “It’s so fitting that these American masterworks are the first two pieces that I’m doing as I take on this post at HGO.” “So many American composers struggle to have a voice,” he adds. “And only a few actually got that voice. But Floyd is American without any European influence. All these open harmonies and Appalachian themes in Susannah—this is pure Americana. I am really moved by the score.” Gaffigan is especially touched by the tragic title character. He highlights Susannah’s two arias: the hopeful “Ain’t it a pretty night,” in which she dreams of the cities that lie beyond the Appalachian hills, and “The Trees on the Mountains,” a mournful folksong. “You can trace Susannah’s musical arc from innocence to disillusionment,” says Gaffigan. He shows me a tattoo on his left forearm: a doodlelike image of a little girl. It’s a copy of a drawing

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titled X-chen by Swiss artist Paul Klee, which Gaffigan saw at a museum in nearby Lucerne. “I fell in love with it because, even before I had my daughter, I was fascinated by how children are so curious about the world. “And then life happens. Society happens. Now, social media happens. And it puts all this horrible information into a young person’s head about what you should be or what you should look like. It’s what happens to Susannah. She starts out so pure and curious. And then the world destroys her. She goes from sweet and innocent to humiliated and fearing everything. And then, in the end, to anger and isolation.” “I think it’s really important for an American opera company to be doing this opera,” he adds, “especially with Floyd’s ties to the Butler Studio and HGO in general.” Houston may not have any impressive, snow-capped peaks to speak of. But Gaffigan has taken his first steps up a metaphorical mountain as he optimistically embarks on his new position as HGO’s fifth Music Director. At the same time, he’s an experienced climber who will no doubt prove an intrepid guide for the orchestra—not to mention, for the young artists in the Butler Studio. “I see so much potential at HGO,” he says. “I think there’s a big movement that’s about to happen, and I want to be part of that.” 

TAK E HO M E A N EXC LUS IVE M E M ORY TH AT WI L L L A ST AF T E R T H E CURTA I N CLO S E S

F in d it in t h e Gran d Foye r, n ext to th e Café .

HGOGuild.org /HGOGuild

/HGOGuild

SU PPORT A B UTL E R STU DIO ARTIST If you’re interested in helping to support the artists of the Sarah and Ernest Butler Houston Grand Opera Studio through underwriting or financial support, please contact Tessa Larson at TLarson@HGO.org or 713-546-0204.

Butler Studio artist Alissa Gorestsky (right) with supporter Sylvia Barnes.

Butler Studio artists Lauren Randolph (left) and Elizabeth Hanje (right) with supporter Diane Marcinek.

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TRANSFORMATIONAL INVESTMENTS IN HGO’S FUTURE Houston Grand Opera is grateful for the transformational support of our community and honored to recognize the leadership of those who have made gifts of $1 million or more this season. This incredible generosity strengthens HGO’s position as the future of American opera and reinforces the company’s standing as a global leader in the arts.

Sarah and Ernest Butler

Houston Grand Opera Endowment, Inc.

Albert and Anne Chao

Claire Liu and Joe Greenberg

The Cullen Foundation

Sarofim Foundation

Marty Dudley

Dian and Harlan Stai

Houston Endowment

The Wortham Foundation, Inc.

PA R T N E R S I N H O U S T O N ’ S C U LT U R A L F U T U R E Houston Grand Opera is grateful for the support of Houston’s business community for the 2026-27 season. Together, we bring extraordinary art to our stage, expand access to opera throughout our community, and contribute to the cultural vitality that makes Houston a leading global destination. G UA R A N T O R S

G R A N D U N D E RW R I T E R S

U N D E RW R I T E R S

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O c tob er 2 3 , 2 5 m , 3 1 , Novemb er 6 , 8 m A M U S I C A L D R A M A I N T WO AC T S M U S I C A N D L I B R E T T O BY C A R L I S L E F LOY D

A H o u s to n G r an d O p e r a Pro du c t i o n S un g in En gli s h w i th Proj e c te d En gli s h Tex t B row n T h e ate r, Wo r th am T h e ate r C e nte r T h e p e r f o rm an c e l a s t s ap p rox im ate l y 2 h o ur s an d 5 minu te s , w i t h o n e inte rmi s s i o n . T h e a c ti v i ti e s o f H o u s to n G r an d O p e r a are s up p o r te d in p ar t by f un d s p rov i d e d by th e Ci t y o f H o u s to n t hro u gh H o u s to n A r t s A llian c e , a gr ant f ro m t h e Texa s C o mmi s s i o n o n th e A r t s , an d an aw ard f ro m t h e N ati o n al En d o w m e nt f o r t h e A r t s .

Production funded in part by Carlisle Floyd Centennial, ConocoPhillips, Marianne Kah, TheFUNDED Robert and Janice IN PART BY THE CITY OF HOUSTONand McNair Foundation in memory of Janice McNair, HOUSTON ARTS ALLIANCE Margaret Alkek Williams. THROUGH

FUNDED IN PART BY

THE CITY OF HOUSTON THROUGH

HOUSTON ARTS ALLIANCE

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QUICK START GUIDE THE OPERA IN ONE SENTENCE When Susannah is discovered bathing naked in a creek, she’s slandered by the congregation and pressured by the preacher Olin Blitch to atone for sins she never committed.

BACKGROUND Carlisle Floyd composed Susannah when he was a 28-year-old piano instructor at Florida State University, where the opera premiered in 1955. The libretto, written by Floyd himself, is loosely inspired by the story of Susanna and the Elders, an apocryphal chapter of the Book of Daniel. Floyd moved the action from ancient Babylon to 20th-century Tennessee. The fictional town of New Hope Valley resembles the kinds of communities in South Carolina where the composer grew up. As the son of a Methodist minister, the young Floyd was disturbed by the fire-andbrimstone sermons delivered by visiting revival preachers. Later in life, Floyd recognized that Susannah could be read as an allegory for McCarthyism, which was at its height when he wrote the work. Floyd witnessed the hysteria firsthand at FSU, where students and faculty suspected of homosexuality were expelled or

fired. Just as the citizens of New Hope Valley refuse to believe the heroine’s innocence, Floyd pointed out that McCarthyism was “a way of thinking in which accusation becomes tantamount to guilt.”

MUSIC During the cinematic Opening Music, listen for a violent short-long rhythm that hints at the coming turmoil. As the curtain rises, a solo violinist plays a country fiddle tune for the square dance. It’s actually a quotation from Bach’s Violin Partita no. 3, with a little downhome syncopation added. Blitch ceremoniously introduces himself in “I am the Reverend Olin Blitch,” accompanied by a grandiose ensemble of brass instruments. In “Ain’t it a pretty night,” Susannah’s wide, yearning leaps convey her hopes of leaving New Hope Valley. But at the climax of the aria, listen for the foreboding short-long rhythm from the Opening Music. The lyrics for Sam’s “Jaybird” are taken from a real Southern folksong that Floyd’s grandfather used to sing. Later in Act I, he muses on the evils of human nature in his aria “It’s about the way people is made.” Listen for the orchestra’s slow and steady rhythm, which calls to mind a mournful funeral march.

The tune and text of the rousing chorus “Are you saved from sin” in Act II are by Floyd, but it’s a convincing imitation of classic revival hymns. Similarly, Susannah’s haunting “The Trees on the Mountains” isn’t a real folksong. Nevertheless, it resembles the kind of folk ballads that were brought to Appalachia by English and Scottish immigrants. Blitch’s guilt-ridden prayer, “Hear Me, O Lord,” replicates a style of sermonchanting typical of Southern preachers. After Sam shoots Blitch, a vengeful mob can be heard approaching from offstage. Listen for their wordless groaning and cries of “Git out’n the valley,” which are sung on a sinister motive that reappears throughout the score as a symbol for the townsfolk’s cruelty and slander.

FUN FACT Handel composed an oratorio based on Susanna and the Elders, though, unlike Floyd’s opera, it is set in the original time and place. Susanna has also been a favorite subject of painters since the Middle Ages, with notable examples from Tintoretto, Rubens, Gentileschi, and Rembrandt.

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CAST & CREATIVE C AST (in order of vocal appearance)

CR E ATI V E TE A M

Mrs. Gleaton

Conductor James Gaffigan

Elizabeth Hanje †

Ms. Marty Dudley/ Diane Marcinek Fellow

Mrs. Hayes Scarlett Jones †* Drs. Daniel and Ximena

Sessler/ Drs. Ian and Patricia Butler/ Kathleen Moore and Steven Homer Fellow

Mrs. McLean

Deborah Nansteel *

Mrs. Ott

Leia Lensing ‡

Elder McLean

Malcolm MacKenzie *

Reverend Olin Blitch

Rod Gilfry

Elder Hayes

Martin Luther Clark

Elder Ott Ziniu Zhao † Carolyn J. Levy/Dr. Peter

Director Patricia Racette **

Claire Liu and Joe Greenberg Director Chair

Scenery and Projection Designer

Erhard Rom

Costume Designer

Michael Yeargan

Lighting Designer

Eric Southern *

Choreographer

Courtney D. Jones

Fight/Intimacy Director

Olivia Knight

Chorus Director

Richard Bado ‡

English Diction Coach

Jennifer Ringo ‡

Music Preparation

Leslie Dala *

Nicholas Roehler

Madeline Slettedahl Chang and Hon. Theresa Chang and Friends Tzu Kuang Tan † Fellow Melinda and Bill Brunger Elder Gleaton Luka Tsevelidze †* Fellow Ken and Donna Stage Manager Annie Wheeler Barrow/ Barbara and Assistant Director Janine Morita Colletti * Pat McCelvey/ Andrey and Irina Polunin/ Rita Leader / Jill A. Schaar and George Caflisch Fellow Susannah Polk

Sylvia D'Eramo

Little Bat McLean

Aaron Blake *

Sam Polk

Bille Bruley *

First Man

Johnny Salvesen

Second Man

Joseph Rawley *

* Mainstage debut

† Butler Studio artist

** Mainstage directorial debut

‡ Former Butler Studio artist

PRODUCTION CR EDITS English supertitles by Alexa Lietzow. Supertitles called by Tasiah Rodgers. By arrangement with Boosey & Hawkes, publisher and copyright owner. Costumes are part of a co-production with Houston Grand Opera and Lyric Opera of Chicago. The costumes in Susannah are made possible by a generous gift from Abbott Laboratories to the Lyric Opera of Chicago and from Philip Morris Companies, Inc. to Houston Grand Opera as sponsor to its Opera New World program. Scenery and properties originally created by San Francisco Opera. Performing artists, stage directors, and choreographers are represented by the American Guild of Musical Artists, AFL-CIO, the union for opera professionals in the United States. Scenic, costume, and lighting designers and assistant designers are represented by United Scenic Artists, IATSE Local USA-829. Orchestral musicians are represented by the Houston Professional Musicians Association, Local #65-699, American Federation of Musicians. Stage crew personnel provided by IATSE, Local #51. Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896. Ushers are provided by IATSE, Local B-184. This production is being recorded for archival purposes. Houston Professional Musicians’ association

MP A AFM Local 65-699

LOCAL UNION

USHER UNIT IATSE LOCAL B-184 USHER UNIT HOUSTON TEXAS

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ACT I On a sweltering July evening in New Hope Valley, Tennessee, a small Appalachian town gathers for a community square dance. While the church elders’ wives gossip about the beautiful young Susannah Polk, condemning her as a shameless girl raised by her harddrinking brother, the newly arrived Reverend Olin Blitch joins the festivities. A charismatic revival preacher, Blitch has come to lead a series of religious meetings and bring sinners to repentance. He takes particular notice of Susannah and joins her in the dancing. Afterward, Little Bat McLean, the timid and sheltered son of one of the town elders Mr. and Mrs. McLean, escorts Susannah home. Beneath a sky filled with stars, she confides her dreams of a life beyond the valley. Her brother Sam returns from hunting, and the siblings settle in for the night. The next day, while searching for a suitable site for a baptismal service, the elders unexpectedly discover Susannah bathing in a mountain stream. Unable to confront their own desires and shame, they instead resolve to punish her for what they deem scandalous behavior. That evening, at a church potluck, rumors spread quickly. The elders and their wives accuse Susannah of corrupting the community’s young men. When she arrives, she is met with icy silence and open hostility. Hurt and bewildered, she leaves. Little Bat later reveals the reason for her sudden ostracism: under pressure from his parents, he falsely confessed that Susannah had seduced him. As calls grow louder for her expulsion from the valley, Susannah turns to Sam for answers. His only explanation is a bitter truth: people prefer to believe the worst.

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SYNOPSIS Later that night, Blitch visits Susannah at her home. Finding her alone and emotionally exhausted, he again presses her to confess. Instead, he reveals his own loneliness and longing for human connection. What begins as spiritual counsel turns into exploitation as he takes advantage of her vulnerability and assaults her. The following morning, a guilt-stricken Blitch arrives at church desperate for forgiveness. Having learned that Susannah was innocent all along, he pleads with the elders to believe her. Yet, unable to reveal the source of his knowledge, he fails to convince them. Susannah witnesses his confession and his remorse, but when he asks for forgiveness, she can only reply that she has forgotten what the word means. By evening, Sam has returned from a hunting trip. When Susannah tells him what Blitch has done, he vows revenge and rushes off with his shotgun. Moments later, a gunshot echoes through the valley. Little Bat arrives with the news: Sam has killed Reverend Blitch at the baptismal creek. As the townspeople gather outside Susannah’s home, demanding that she leave New Hope Valley, she meets their threats with defiant contempt, driving them back at gunpoint. With her innocence destroyed and her faith in others shattered, Susannah remains alone at her home, transformed from an openhearted dreamer into a powerful yet deeply isolated figure, condemned to a life of self-imposed exile.

HGO PER FOR M A NCE HISTORY HGO previously performed Susannah in the summer 1972, summer 1976, and 1995-96 seasons.

I N T ER M ISSION ACT II Days pass, and Susannah remains isolated from the community that has condemned her. Sam tells her that the townspeople are waiting for her to confess, but she insists she has done nothing wrong. Hoping to demonstrate her innocence, she agrees to attend one of Reverend Blitch’s revival meetings. At the service, Blitch delivers a fiery sermon on sin and damnation, urging the congregation to seek forgiveness. When Susannah refuses to come forward, he singles her out and demands a public confession. Humiliated and overwhelmed, she cries out in protest and runs from the church.

HGO.ORG

ORCHESTRA James Gaffigan, Music Director Designate

V IOL I N

DOU BL E BASS

TROM BON E

Denise Tarrant *, Concertmaster

Dennis Whittaker *, Principal

Thomas Hultén *, Principal

Chloe Kim *, Assistant Concertmaster

Erik Gronfor *, Assistant Principal

Mark Holley *

Natalie Gaynor *, Principal Second Violin

Carla Clark *

Jordan Milek Johnson *

Carrie Kauk *, Assistant Principal Second Violin Miriam Belyatsky * Rasa Kalesnykaite † Hae-a Lee Barnes * Chavdar Parashkevov † Anabel Ramirez * Mary Reed * Erica Robinson * Linda Sanders † Oleg Sulyga * Sylvia VerMeulen * Melissa Williams * Lindsey Baggett Qian Chang

Curry Duffey

T U BA FLU TE

Mark Barton *, Principal

Henry Williford *, Principal Tyler Martin *

TI M PA N I Alison Chang *, Principal

PICCOLO Tyler Martin *

PERCUSSION Christina Carroll, Acting Principal

OBOE

Craig Hauschildt

Elizabeth Priestly Gehrke *, Principal Mayu Isom-Navarro *

HARP Caitlin Mehrtens *, Principal

ENGL ISH HOR N Mayu Isom-Navarro *

CEL ESTE Tzu Kuang Tan

Andres Gonzalez

CL A R I N ET

Lisa Kazami

Eric Chi *, Principal

* HGO Orchestra core musician

Kana Kimura

Justin Best

† HGO Orchestra core musician on leave this production

Mila Neal Jeeyoung Park

BASS CL A R I N ET

Emily Schmitz

Justin Best

Ariya Tai Anne-Marie Wnek

BASSOON Amanda Swain *, Principal

V IOL A

Quincey Trojanowski †

Eliseo Rene Salazar *, Principal

Micah Doherty

Lorento Golofeev *, Assistant Principal Gayle Garcia-Shepard †

CON TR A BASSOON

Erika C. Lawson *

Micah Doherty

Suzanne LeFevre * Matthew Weathers * Meredith Harris Elizabeth Golofeev Sarah Priebe

Sarah Cranston †, Principal Elizabeth Freimuth, Acting Principal Kimberly Penrod Minson † Spencer Park † David Holtgrewe

CEL LO Erika Johnson *, Acting Principal Chennie Sung *, Acting Assistant Principal Dana Rath * Wendy Smith-Butler * Shino Hayashi Kristiana Ignatjeva 36

HOR N

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Aaron Griffin Jacob Speakman Jamie Leff

TRU M PET Tetsuya Lawson *, Principal Randal Adams † Chris Boulais

SUPERNUMERARIES

Richard Bado, Chorus Director Ofelia Adame Tarryn Ballard Sarah Bannon Alyssa Barnes Steve Buza Christopher Childress Jennifer Coffman Patrick Contreras Esteban G. Cordero Pérez Robert Dee Dallas Gray Nancy Hall Sarah Jane Hardin Austin Hoeltzel Adam Holthaus Jon Janacek Katherine Jones Joe Key

Alison King

Nicholas Rathgeb

Elizabeth Carraway

Alexandra Kurkjian

Joseph Rawley

Gavin Moore

Wesley Landry

Brad Raymond

Lucas Sequera

Carolena LaMore

Gabrielle Reed

Emira Sergeant

Sarah L. Lee

Matthew Reynolds

Ephraim Sergeant

Laura Lisk-McCallum

Christina Rigg

Arya Skye

Aarianna B. Longino

Francis Rivera

Amelia Love

Hannah Roberts

Norman Mathews

Emily Louise Robinson

Jeff Monette

Johnny Salvesen

Natasha Monette

Cindy Dajeong Song

Grace Monsanto

Kaitlyn Stavinoha

Leah Moody

Tori Trahan

Iván Moreno

Gabrielle Tyler

Matthew Neumann

Gabriel Walker

Jazmine Olwalia

Miles Ward

Lance Orta

John Weinel

Patrick Perez

Kayla White

Saïd Henry Pressley

Micah Zimmerman

Teresa Procter

WHO'S WHO JA M ES G A FFIG A N (U N ITED STATES) CONDUC TOR

James Gaffigan, HGO’s Music Director Designate for the 2026-27 season, will assume the role of Music Director in fall 2027. This season at HGO, Gaffigan is also conducting the 39th annual Eleanor McCollum Competition Concert of Arias. Elsewhere during the season, he conducts King Roger, The Golden Cockerel, and Porgy and Bess at Komische Oper Berlin. Previously for HGO, Gaffigan conducted Porgy and Bess (2025), Concert of Arias (2025), and The Marriage of Figaro (2011). Born in New York City, Gaffigan has had roots in Houston since his conducting studies with Larry Rachleff at the Shepherd School of Music at Rice University. He rose to prominence in the esteemed houses and concert halls of Europe. He serves as the General Music Director of Komische Oper Berlin, where he leads his fourth season in 2026-27, and as Music Director of the Verbier Festival Junior Orchestra. A champion of new music, Gaffigan has led more than 30 world premieres. His early training in New York City’s public schools instilled a deep belief in music education and access to the arts, inspiring his extensive work with young musicians. Gaffigan earned his undergraduate degree at the New England Conservatory of Music, followed by conducting studies at the Shepherd School of Music, Aspen Music Festival’s Aspen Conducting Academy, and the Tanglewood Music Center. Gaffigan has

conducted for the Metropolitan Opera, Bavarian State Opera, Opéra National de Paris, Zürich Opera, Vienna Staatsoper, New York Philharmonic, Chicago Symphony Orchestra, San Francisco Symphony, Los Angeles Philharmonic, National Symphony Orchestra, Boston Symphony Orchestra, and Trondheim Symphony Orchestra and Opera among many others.

PATR ICI A R ACETTE (U N ITED STATES) DIREC TOR

Claire Liu and Joe Greenberg Director Chair

GRAMMY Award-winning soprano Patricia Racette is making her HGO directorial debut. Her onstage roles at HGO include Madame de Croissy in Dialogues of the Carmelites (2022); the title role in Tosca (2010); Alice Ford in Falstaff (2005); Cio-Cio-San in Madame Butterfly and the title role in Jenůfa (2004); Elisabetta de Valois in Don Carlo (2001); Love Simpson in Cold Sassy Tree (2000); Margherita in Mefistofele (1999); and Violetta in La traviata (1999). Racette made her directorial debut in 2018 with a new production of La traviata at Opera Theatre of Saint Louis, where she was recently named Artistic Director, in addition to serving as the Artistic Director of OTSL’s Gerdine Young Artist and Richard Gaddes Festival Artist programs, which she has led since 2019. In 2026, she directed a new production of A Streetcar Named Desire for the company. Other recent productions Racette HGO.ORG

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HGO CHORUS

directed include Romeo and Juliet at Arizona Opera, Don Giovanni for the San Francisco Opera’s Merola Program, The Ghosts of Versailles at Rice University, The Consul for San Francisco Conservatory, the Lindemann Patron Scenes Concert for The Metropolitan Opera Lindemann Program, and both Rising Stars and An Evening of Scenes for the Ryan Center at Lyric Opera of Chicago. Among her recognitions are an Opera News Award, the prestigious Richard Tucker Award, and the Marian Anderson Award. Racette received the 2017 GRAMMY Award for Best Opera Recording for her performance in LA Opera’s production of The Ghosts of Versailles.

ER H A R D ROM (U N ITED STATES) SCENIC AND PROJEC TION DESIGNER

Erhard Rom made his HGO debut in 2018 serving as set designer for Rigoletto. Rom’s designs span more than 250 productions worldwide over a career of more than three decades. In both 2025 and in 2015, he was named as a finalist in the Designer of the Year category for the International Opera Awards in London. His designs have been featured in the Prague Quadrennial International Design Exhibition and at the National Opera Center in New York City. His extensive design credits include productions for San Francisco Opera, Royal Swedish Opera, Lyric Opera of Chicago, Los Angeles Opera, Seattle Opera, Dallas Opera, Washington National Opera, Wexford Festival Opera, Glimmerglass Festival, Vancouver Opera, Minnesota Opera, Opera Theatre of Saint Louis, Wolf Trap Opera, and Atlanta Opera, among many others. One of his most notable recent achievements is creating the sets and projections for a complete Ring cycle for Atlanta Opera. In 2014, Rom designed the European premiere of Silent Night for the Wexford Festival Opera, which was honored by The Irish Times Theatre Awards as both Audience Choice and Best Opera Production of the year. Rom earned a Bachelor of Arts degree in Music from the University of Washington and a Master of Fine Arts degree in Design from New York University’s Tisch School of the Arts. He teaches design in the Department of Theatre and Dance at Montclair State University.

ER IC SOU T H ER N (U N ITED STATES) LIGHTING DESIGNER

Eric Southern is making his company debut. Southern is an Obie Awardwinning designer working in theater, opera, music, and dance. Recent projects with Opera Theatre of St. Louis include A Streetcar Named Desire (with director Patricia Racette); Galileo, Galalei and Tosca (with director James Robinson); Don Pasquale (with director Christopher Alden), and Julius Caesar (with director Elkhanah Pulitzer). With Boston Lyric Opera, he has designed Macbeth, William Tell, and John Conklin’s adaptation of Romeo and Juliet. His designs have also been seen at Lincoln Center, Virginia Opera, Playwrights Horizons, Opera Omaha, The Public Theater, The Goodman Theater, Brooklyn Academy of Music, Manhattan Theater Club, Baltimore Symphony, Pittsburgh Symphony, The Kennedy Center, Atlantic Theater Company, Center Theater Group, Carnegie Hall, Audible Theatre, and The Guthrie Theater, among others. Internationally, his projects have been presented in London, Paris, Avignon, Seoul, Japan, Athens, Australia, Hannover, and Zurich. He received both his Bachelor of Fine Arts and Master of Fine Arts degrees at New York University and teaches at Northwestern University.

M ICH A EL Y E A RG A N (U N ITED STATES)

COU RT N EY D. JON ES (U N ITED STATES)

COS TUME DESIGNER

CHOREOGR APHER

Previously at HGO, Michael Yeargan's scenic and costume designs were seen in Cavalleria rusticana / Pagliacci (2008), Cold Sassy Tree (2000), Susannah (1996), Atilla (1995), and The Juniper Tree (1986), with his set designs seen in Rigoletto (2014, 2009, 2001, 1994), Beatrice and Benedict (2008), Simon Boccanegra (2006), Madame Butterfly (2004, 1998), The Merry Widow (2003), Nabucco (2000), and Carousel (1989). Elsewhere this season, Yeargan’s set 38

designs will be seen in Rigoletto with Berlin State Opera and Das Rheingold with San Francisco Opera. Yeargan’s designs for the Broadway musical The Light in the Piazza earned him a Tony Award, a Drama Desk Award, and a Henry Hewes Award. He designed sets for the world premieres of Previn’s A Streetcar Named Desire and Heggie’s Dead Man Walking for San Francisco Opera, and Harbison’s The Great Gatsby for the Metropolitan Opera. His work has been seen at Royal Ballet and Opera, Covent Garden (Attila, Simon Boccanegra, Stiffelio, and Aida); Glimmerglass Opera (Madame Butterfly, Tosca and La finta giardiniera), the Gran Teatre del Liceu (I puritani), Lyric Opera of Chicago (The Pirates of Penzance, The Great Gatsby, Attila, Susannah, Antony and Cleopatra, and Nabucco) and Florida Grand Opera (La finta giardiniera). Yeargan is a professor of stage design at Yale School of Drama.

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Courtney D. Jones previously collaborated with HGO as a choreographer/ movement director for The Snowy Day (2021); movement director for Madame Butterfly (2015) and The Passenger (2014); and as a dancer in Die Fledermaus and Show Boat (both 2013). She has performed and choreographed with numerous Houston arts organizations, including Stages Theatre (Auntie Mame, In the Next Room), Theatre Under the Stars (South Pacific, Ain’t Misbehavin’),

OL I V I A K N IGHT (U N ITED STATES) FIGHT/INTIMACY DIREC TOR

Olivia Knight serves as fight/intimacy director for each production in HGO’s 2026-27 season. Last season for the company, Knight served as fight/intimacy director for the Butler Studio Showcase and Porgy and Bess, fight director for Hansel and Gretel, and intimacy director for Silent Night; and during the 2024-25 season, she served as intimacy director for Il trovatore and La bohème. Knight has also served as fight/intimacy director for the Rice University Shepherd School of Music, with credits including Alcina, The Magic Flute, The Ghost of Versailles, and Falstaff. She serves as a movement instructor for HGO’s Butler Studio, leading movement, fight, and intimacy workshops, and teaches at Houston educational institutions at both the college and high school levels. Knight was awarded the VCUarts Research Grant in 2021 for her work on The Penelopiad. She was named to the Houston Press Ones to Watch list (2025-26) and awarded Best Breakthrough (2025) for her performance as Una in Blackbird with Dirt Dogs Theatre Co. Previous theatrical credits include Hedda Tesman in Hedda Gabler (Shafer Alliance Lab., 2020); Ash in Wolf Play with Rec Room Arts (2023); Helena in A Midsummer Night’s Dream (Houston Shakespeare Festival, 2024); Ursula in Much Ado About Nothing and First Witch/ Lady Macduff in Macbeth (Houston Shakespeare Festival, 2023); Emilia in Othello (Classical Theatre Company, 2026); and Vanda in Venus in Fur (Dirt Dogs Theatre Co., 2026).

R ICH A R D BA DO (U N ITED STATES) CHORUS DIREC TOR

Richard Bado made his professional conducting debut in 1989 leading Houston Grand Opera’s acclaimed production of Show Boat at the newly restored Cairo Opera House in Egypt. Since then, Bado has conducted at Teatro alla Scala, Opéra National de Paris, HGO, New York City Opera, the Aspen Music Festival, Tulsa Opera, the Russian

National Orchestra, the Florida Philharmonic, the Montreal Symphony, Wolf Trap Opera, and has conducted the Robert Wilson production of Virgil Thomson’s Four Saints in Three Acts at the Edinburgh Festival. During the 2026-27 season, Bado will conduct performances of Show Boat for HGO and The Nutcracker for Houston Ballet. Last season, he conducted performances of Porgy and Bess for HGO and The Nutcracker for Houston Ballet. Bado—who holds music degrees from the Eastman School of Music, where he received the 2000 Alumni Achievement Award, and West Virginia University—has studied advanced choral conducting with Robert Shaw. He is the Chief Artistic Officer and Chorus Director for HGO, where he received the Silver Rose Award in 2013. He has appeared on A Prairie Home Companion with Garrison Keillor. For 12 years, he was the Director of the Opera Studies Program at Rice University’s Shepherd School of Music. Bado has served on the faculty of the Aspen Music Festival and School, the Dolora Zajick Institute for Young Dramatic Voices, the International Vocal School in Moscow, the Texas Music Festival, and has served on the music staff of the Metropolitan Opera, Seattle Opera, the Bolshoi Opera Young Artist Program, Opera Australia, Santa Fe Opera, Opera Theatre of Saint Louis, Utah Opera, Chautauqua Opera, and Wolf Trap Opera.

SY LV I A D’ERAMO (U N ITED STATES) SOPR ANO — SUSANNAH

Sylvia D’Eramo made her HGO debut last season as Anna Sørensen in Kevin Puts and Mark Campbell’s Silent Night. Elsewhere this season, with Theater St. Gallen, D’Eramo reprises Susannah and debuts as Antonia in Offenbach’s Les contes d’Hoffmann and Desdemona in Verdi’s Otello, all of which are new productions. In her company debut with Seattle Opera, she reprises one of her signature roles, Mimì in Puccini’s La bohème, in James Robinson’s production with Roberto Kalb on the podium. On the concert stage, D’Eramo appears as soprano soloist in Beethoven’s Symphony No. 9 with the Sinfonieorchester St. Gallen under Cornelius Meister and gives a recital in Crans-Montana, Switzerland. Among D’Eramo’s most recent operatic highlights are her acclaimed house and role debut as Marta in Weinberg’s Die Passagierin at Dutch National Opera, and role debuts as Chrysothemis in Elektra at Theater St. Gallen and Gutrune in Wagner’s Götterdämmerung with the Atlanta Opera. D’Eramo returned to the role of Gerda Wegener—which she created in the world premiere of Tobias Picker’s Lili Elbe at Theater St. Gallen—for the work’s American premiere at Santa Fe Opera. Her Mimì in La bohème has been heard at Dallas Opera under Emmanuel Villaume, at Santa Fe Opera in James Robinson’s production with Iván López-Reynoso, at the Verbier Festival under James Gaffigan, and most recently at Theater St. Gallen. Also at St. Gallen, she has appeared as Elvira in Verdi’s Ernani under Modestas HGO.ORG

S U S A N N A H

and A.D. Players (Fiddler on the Roof). She also danced professionally in New York with Jennifer Muller/The Works. Additional credits include the First National Tour of Wicked and Ain’t Misbehavin’ at the Lyric Theatre of Oklahoma. Jones’s work has been commissioned by CounterCurrent Festival, METdance Company, YES! Dance Invitational, DanceNOW Festival, Barnstorm Dance Fest, Colorado Mesa University, and the Dance Gallery Festival. She previously served as adjunct faculty at the University of Houston and continues to freelance as a guest teacher and choreographic artist through her CDJ Dance Project, teaching at universities, workshops, and arts initiatives nationwide. She is the Chair of the Dance Department at Kinder High School for the Performing and Visual Arts.

Pitrenas and as Maddalena in Andrea Chénier. Further highlights include Kitty/Vanessa in the world premiere of Kevin Puts’s The Hours and Musetta in La bohème at the Metropolitan Opera, Donna Elvira in Don Giovanni at North Carolina Opera, and Micaëla in Carmen at Santa Fe Opera and with the Jacksonville Symphony.

ROD GI L FRY (U N ITED STATES) BARITONE— RE VEREND OLIN BLITCH

Previously at HGO, two-time GRAMMY award nominee, singer, and actor Rod Gilfry performed the roles of Scarpia in Tosca (2023), Marquis de la Force in Dialogues of the Carmelites (2022), and Mr. Gower/Mr. Potter in the 2016 world premiere of Jake Heggie’s It’s a Wonderful Life. Elsewhere during the 2026-27, season he will sing Monsieur de Brétigny in Manon at the Metropolitan Opera and Franklin Delano Roosevelt in Opera Theatre of St. Louis’s world premiere of Tobias Picker’s new opera Safe Haven. In the 2025-26 season, Gilfry returned to the Metropolitan Opera as the Father-in-Law in Saariaho’s Innocence and the Lyric Opera of Chicago as Don Alfonso in Così fan tutte, in addition to performing as Owen Hart in Jake Heggie’s Dead Man Walking with San Francisco Opera and the Old Doctor in Barber’s Vanessa at the Spoleto Festival Dei Due Mondi. Gilfry’s most recent GRAMMY Award nomination was for his performance in the title role of Messiaen’s monumental opera Saint François d’Assise in Amsterdam. With an 80-role repertoire, Gilfry sings music from the baroque to that composed expressly for him. Gilfry’s discography of 28 audio and video recordings includes the DVD and CD of his one-man show My Heart is So Full of You. His radio program, Opera Notes on Air, aired on K-Mozart105.1 FM in Los Angeles for over three years.

BI L L E BRU L EY (U N ITED STATES) TENOR — SAM POLK

Bille Bruley is making his company debut. Elsewhere this season, he performs as Steve Wozniak in The (R)evolution of Steve Jobs with Utah Opera and as the tenor soloist in Messiah with Santa Fe Symphony. Highlights of Bruley’s 2025-26 season included debuts as the First Jew in Salome with Orquesta Sinfónia de Minería and with Lyric Opera of Chicago, and A Streetcar Named Desire with Opera Theatre of St. Louis. The 2024-25 season saw Bruley’s Metropolitan Opera debut for Claus Guth’s new production of Salome and his Carnegie Hall debut as tenor soloist in Handel’s Messiah. Bruley is an alumnus of young artist programs at The Santa Fe Opera, The Glimmerglass Festival, and Central City Opera. He has received awards including the 40

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Richard Tucker Memorial Award from the Santa Fe Opera and the Iris Henwood Richards Memorial Award from the Central City Opera House Association. He received his undergraduate training at Baylor University, completed his graduate work at Indiana University’s Jacobs School of Music, and earned his Doctorate of Musical Arts at Arizona State University. He serves on the voice faculty at the young artist summer training program Opera in the Ozarks, and as Assistant Professor of Vocal Arts at the University of California’s Thornton School of Music. He is an alumnus of HGO's Bauer Family High School Voice Studio.

A A RON BL A K E (U N ITED STATES) TENOR — LIT TLE BAT MCLE AN

Aaron Blake is making his company debut. A GRAMMY Award-winning artist, Blake made his Metropolitan Opera debut in Verdi’s La traviata and has since appeared with the company in repertoire ranging from Offenbach and Mozart to Bizet and Glass. With the Metropolitan Opera, he performed the role of High Priest of Amon in Akhnaten and most recently joined the company for productions of The Amazing Adventures of Kavalier & Clay and Carmen. He is noted for creating the role of Timothy Laughlin in Gregory Spears’s Fellow Travelers and performing Michel in Martinů’s Julietta, which has become one of his signature roles. The only living artist to have essayed this work in all of its translations, he first performed the role in its 2019 U.S. premiere at Carnegie Hall in Czech, followed by his debut at Oper Frankfurt in the German translation, and at Opéra Nice Côte d’Azur in the original French text of Georges Neveux. Most recently, Blake reprised the role to critical acclaim at Bard for their 2025 festival, “Martinů and His World.” In recent seasons he has appeared as Don Ottavio in Don Giovanni with Cincinnati Opera; Nadir in The Pearl Fishers with Vancouver Opera; and Tamino in The Magic Flute and Nemorino in The Elixir of Love with The Israeli Opera. Additionally, he has appeared with Komische Oper Berlin, New York City Opera, Minnesota Opera, Utah Opera, The Dallas Opera, Santa Fe Opera, the Los Angeles Philharmonic, Opera Orchestra of New York, Atlanta Symphony Orchestra, Dallas Symphony Orchestra, and the New York Philharmonic.

DEBOR A H NA NSTEEL (U N ITED STATES) MEZ ZO -SOPR ANO — MRS . MCLE AN

Deborah Nansteel is making her HGO debut. Also this season for the company, she performs the role of Dame Marthe Schwerlein in Faust. During the 2025-26 season, Nansteel returned to the Metropolitan Opera as Teresa in La sonnambula, made her house debut with Minnesota Opera for the world premiere production of B.E. Boykin and Harrison David River’s My

M A LCOL M M ACK ENZIE (U N ITED STATES) BARITONE— ELDER MCLE AN

Malcolm MacKenzie is making his company debut . Elsewhere during the season, he will cover Father-inLaw in Innocence and perform as Alcindoro in La bohème at the Metropolitan Opera. Engagements from previous seasons included a return to the Metropolitan Opera to sing the role of Stubb in Moby-Dick and for Innocence; singing as Sharpless in Madame Butterfly with both Austin Opera and Opera San Antonio; performing as Pandolfe in Cendrillon with North Carolina Opera; and appearing with Austin Opera for their 40th Anniversary Gala concert celebration. Additional recent engagements include his performance as Mark Torrence in The Shining with Atlanta Opera, Germont in La traviata with both Eugene Opera and Knoxville Opera, Uncle John in Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath with MasterVoices for his Carnegie Hall debut, and a cover of Owen/Johnson in San Francisco Opera’s production of Omar. MacKenzie has been heard at houses throughout the U.S. and Europe, appearing at the Metropolitan Opera, New York City Opera, Paris Opera (Bastille), Finland’s Savonlinna Festival, Washington National Opera, Los Angeles Opera, Glimmerglass Opera, San Diego Opera, Arizona Opera, Fort Worth Opera, and Pittsburgh Opera, in roles including Simon Boccanegra, Iago, Tonio, Baron Scarpia, Don Giovanni, Count di Luna, Renato, Jack Rance, Marcello, Germont, and Count Almaviva.

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Opera, where he sang the role of Don Magnifico in Cinderella. In 2025, he was a winner of the San Francisco District in the Metropolitan Opera Laffont Competition and sang Leporello in a concert version of Don Giovanni at the National Centre for Performing Arts in Beijing. Zhao was a member of the Opera Talent Training Program of the China National Arts Foundation and has won several prestigious awards, including first prize at the Colorado International Music Competition, the Rossini Singing Award at the Fiorenza Cedolins Opera Competition in Italy, and the Maria Callas Award at the Vincerò International Opera Competition, also in Italy. He holds a bachelor’s degree from the Central Conservatory of Music in Beijing, where his operatic roles included the title role in Don Pasquale, Colline in La bohème, and Don Alfonso in Così fan tutte.

L EI A L ENSI NG (U N ITED STATES) MEZ ZO -SOPR ANO — MRS . OT T

Previously for HGO, Butler Studio alumna Leia Lensing performed the roles of The Abbess in Suor Angelica (Il trittico) (2025) and Mary in The Flying Dutchman (2018). During the summer of 2026, she returned to Glyndebourne Festival Opera as Prosperina in L’Orfeo. She recently made her Metropolitan Opera debut as the Fifth Unborn in Die Frau ohne Schatten and has also joined the company for its productions of The Queen of Spades, The Magic Flute, and La traviata. With Staatsoper Stuttgart, she has sung the Third Wood Nymph in Rusalka, Waltraute in Die Walküre, and the Third Secretary in Nixon in China. Lensing joined Ars Lyrica Houston for Bach’s BWV 170: “Vergnügte Ruh, beliebte Seelenlust” and BWV 134: “Ein Herz, das seinen Jesum lebend weiß,” as well as a program of Handel and Bach centered upon the Hercules myth. On the concert stage, she has also sung Haydn’s Theresienmesse with the Waterloo/Cedar Falls Symphony. Lensing was the 2018 first prize winner of HGO’s Eleanor McCollum Competition and won first prize in Shreveport Opera’s Mary Jacobs Smith Singer of the Year in 2020. She is a former Apprentice Artist of Santa Fe Opera and Des Moines Metro Opera.

BA SS — ELDER OT T

Carolyn J. Levy/ Dr. Peter Chang and Hon. Theresa Chang and Friends Fellow

A third-year Butler Studio artist from Shandong, China, Ziniu Zhao was the second-place winner at HGO’s 2024 Eleanor McCollum Competition Concert of Arias. In HGO’s 2026-27 season, he also sings the role of Sarastro in Family Day for The Magic Flute. Past roles for the company include Maestro Spinellocchio in Gianni Schicchi (Il trittico), the French General in Silent Night, Candy in the Butler Studio production of Of Mice and Men, Don Magnifico in Family Day for Cinderella, and Reinmar von Zweter in Tannhäuser. In summer 2026, Zhao was a Filene Artist at Wolf Trap

M A RTI N LU T H ER CL A R K (U N ITED STATES) TENOR — ELDER HAYES

During HGO’s 2026-27 season, Martin Luther Clark also performs as the Innkeeper in Der Rosenkavalier. He made his company debut as Walther von der Vogelweide in Tannhäuser (2025). Also during the 2026-27 season, he returns to the Metropolitan Opera for its production of Silent Night. Future engagements include a debut at Glyndebourne Festival Opera and a return to Seattle Opera. Last season, Clark returned to Dallas Opera as the HGO.ORG

S U S A N N A H

Name Is Florence, performed Mrs. Miller in Doubt for Opera Parallele, and returned to North Carolina Opera to sing as Azucena in Il trovatore. Recent awards include Second Place in the Sun Valley Opera Vocal Competition in Seattle, the Andrew White Award and Seybold/Russell Award in the Corbett Opera Scholarship Competition, and a National Orpheus Vocal Competition Award. She also recently earned the highly esteemed Betty Allen Award and a grant from the Sullivan Foundation.

Chavalier in Dialogues of the Carmelites, Madison Opera as Ferrando in Così fan tutte, Teatro Nuovo as Don Ottavio in Don Giovanni, and debuted at the Metropolitan Opera as Pang in Turandot. He created the role of CJ in the world premiere of Will Liverman and DJ King Rico’s opera The Factotum for the Lyric Opera of Chicago and returned to the company as Luis Griffith in Champion. Other recent engagements include the title role of Candide (Madison Opera), Jonathan Dale in Silent Night and the Brother in Weill’s Seven Deadly Sins (Wolf Trap Opera), Frederick Loudin in Jubilee (Seattle Opera), Master Slender in Sir John in Love (Bard Music Festival), Tenor 3 in Davis’s X: The Life and Times of Malcolm X (Detroit Opera, Opera Omaha), Rapunzel’s Prince in Into the Woods (Tulsa Opera), and Britten’s Canticle II: Abraham and Isaac and Canticle V: The Death of Narcissus at the Aldeburgh Music Festival. He is a former member of the Lyric Opera of Chicago’s Ryan Opera Center, where he sang the First Armed Man in The Magic Flute and Adult William and the Chicken Plucker in Blanchard’s Fire Shut Up in my Bones.

SC A R L ETT JON ES (U N ITED K I NGDOM)

2025-26 season. Prior to that, he won second place at HGO’s 2025 Eleanor McCollum Competition Concert of Arias. Elsewhere during HGO’s 2026-27 season, Tsevelidze performs the roles of Messenger in Aida, Second Priest/ First Armored Man in mainstage and Family Day performances of The Magic Flute, and Faninal’s Majordomo in Der Rosenkavalier. In summer 2026, Tsevelidze was an Apprentice Artist at Des Moines Metro Opera, where he sang the role of the Ballad Singer in Of Mice and Men. He made his operatic debut as Tamino in The Magic Flute with the Tbilisi State Conservatoire Opera Studio. He also performed as Alfredo (Act III) in La traviata at the Tbilisi Opera and Ballet Theater, as Nemorino in scenes from The Elixir of Love, and as Malkhaz in Daisi. In 2024, Tsevelidze performed in a concert in Kassel, Germany, and in 2023 he performed in a Laureate Concert in Prague. Tsevelidze pursued his Bachelor of Music degree from Tbilisi State Conservatoire.

EL IZ A BET H H A N JE (U N ITED STATES) SOPR ANO — MRS . GLE ATON Ms. Marty Dudley/ Diane Marcinek Fellow

SOPR ANO — MRS . HAYES

Drs. Daniel and Ximena Sessler/ Drs. Ian and Patricia Butler/ Kathleen Moore and Steven Homer Fellow

A first-year Butler Studio artist from Ruthin, Wales making her HGO debut, Scarlett Jones was the first-place winner at HGO’s 2026 Concert of Arias. Other roles this season include First Lady in mainstage and Family Day performances of The Magic Flute and a Noble Orphan in Der Rosenkavalier. In summer 2026, Jones was an Apprentice Singer with The Santa Fe Opera. While at The Juilliard School, Jones performed as Gertrude in Hansel and Gretel and covered Miss Jessel in Britten’s The Turn of the Screw. She also covered Ariadne in Ariadne auf Naxos with Dramatic Voices Berlin. At Trinity Laban Conservatoire, she performed the title role in Errollyn Wallen’s Dido’s Ghost, Waltraute in Wagner’s Die Walküre, and Wellgunde in Götterdämmerung with the school’s Postgraduate Opera Scenes program. Jones holds a Bachelor of Music degree from Trinity Laban Conservatoire in London, and a Master of Music degree from The Juilliard School, where she was a recipient of the prestigious Kovner Fellowship and Higley Scholarship.

LU K A TSEV EL I DZE (GEORGI A) TENOR — ELDER GLE ATON

Ken and Donna Barrow/ Barbara and Pat McCelvey/ Andrey and Irina Polunin/ Rita Leader/ Jill A. Schaar and George Caflisch Fellow

A second-year Butler Studio artist from Tbilisi, Georgia, Luka Tsevelidze is making his HGO mainstage debut after appearing as the Ballad Singer in the Butler Studio production of Of Mice and Men in the 42

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Third-year Butler Studio artist Elizabeth Hanje, a TanzanianAmerican soprano from Vestavia Hills, Alabama, was the first-place winner at HGO’s 2024 Eleanor McCollum Competition Concert of Arias and is a 2022 alumna of HGO’s Young Artist Vocal Academy. During HGO’s 202627 season, Hanje also sings the roles of Priestess in Aida, Second Lady in mainstage and Family Day performances of The Magic Flute, and a Noble Orphan in Der Rosenkavalier. Previously for HGO, Hanje performed the roles of Strawberry Woman in Porgy and Bess, First Alms Sister in Suor Angelica (Il trittico), Madeleine Audebert in Silent Night, Gertrude in Family Day for Hansel and Gretel, and Ines in Il trovatore. In summer 2026, she was a part of the Voice Residency at Festival d’Aix-enProvence. Previously, Hanje has served as an Apprentice Singer at The Santa Fe Opera (2025), a Young Artist at Merola Opera Program (2024), and an Apprentice Artist with Des Moines Metro Opera (2023). In 2022, she performed the role of Lyra in Alice Tierney in her debut with Opera Columbus. Hanje is a 2026 National Winner of the Metropolitan Opera Laffont Competition. Other awards include winner of the 2023 Duncan Williams Voice Competition, winner of the 2022 George Shirley Vocal Competition, the 2021 Richard Miller Award for Fine Singing, and a 2021 YoungArts Award. Hanje holds a Bachelor of Music degree from Oberlin Conservatory.

JAN 29-FEB 14

Mozart's family-friendly classic as you've never seen it!

TICKETS STARTING AT $25 HGO.ORG

O c to b er 3 0, Novemb er 1m , 7, 13 , 15m A N O P E R A I N F I V E AC T S MU S I C BY CH A R L E S G O UN O D L IB R E T TO BY J UL E S B A R B IER A ND MI CHEL C A R R É

Pro du c e d in A s s o c iati o n w i th th e R oy al B all e t an d O p e r a an d O p é r a d e M o nte - C arl o , O p é r a d e L ill e , an d Te atro Ve rdi Tri e s te T hi s p ro du c ti o n w a s f ir s t s e e n at th e R oy al O p e r a H o u s e , L o n d o n o n J un e 1 1 , 2 0 0 4 . S un g in Fre n c h w i th Proj e c te d En gli s h Tr an s l ati o n B ro w n T h e ate r, Wo r th am T h e ate r C e nte r T h e p e r f o rm an c e l a s t s ap p rox im ate l y 3 h o ur s an d 1 5 minu te s , w i th o n e inte rmi s s i o n . T h e a c ti v i ti e s o f H o u s to n G r an d O p e r a are s up p o r te d in p ar t by f un d s p rov i d e d by t h e Ci t y o f H o u s to n thro u gh H o u s to n A r t s A lli an c e , a gr ant f ro m th e Texa s C o mmi s s i o n o n th e A r t s , an d an aw ard f ro m t h e N ati o n al En d ow m e nt f o r th e A r t s .

Production funded in part by HGO’s FUNDED IN PART BY CITY OF HOUSTON Young Patrons, The Robert and THE Janice HOUSTON ARTS ALLIANCE McNair Foundation in memory of Janice McNair, and Leonard A. Goldstein and Helen B. Wils. THROUGH

FUNDED IN PART BY

THE CITY OF HOUSTON THROUGH

HOUSTON ARTS ALLIANCE

FALL 2026

FAU S T

QUICK START GUIDE THE OPERA IN ONE SENTENCE Faust sells his soul to the devil for youth and love, but in his pursuit of pleasure, destroys the life of the chaste Marguerite.

BACKGROUND The Faust legend originated in 16th-century Germany, where an astrologer and magician by the name Faustus may have actually lived. Fictional tales of his dealings with demons and his fantastical adventures were popularized by a 1587 novel and Christopher Marlowe’s play of the 1590s. Countless adaptations of the story followed, but the most influential was the verse play by German poet Johann Wolfgang von Goethe, published in two volumes in 1808 and 1832. His philosophical retelling, which was the first to include the character of Marguerite, fired the imaginations of Romantic artists. Nearly every major composer of the 19th century penned their own take on Goethe’s play. The best known of these remains French composer Charles Gounod’s 1859 opera. Jules Barbier’s libretto is based on Michel Carré’s play Faust et Marguerite, which in turn is adapted from the Goethe. HGO’s production, created by Scottish director David McVicar, moves the opera’s action from 16th-century Germany to 1870s

Paris and reimagines Faust as a composer in the pattern of Gounod himself.

WHAT TO LISTEN FOR Listen closely during the brooding orchestral interlude to Act I—one of its themes returns in Act II as Valentin’s aria “Avant de quitter ces lieux” (Before departing this place), a prayer for the sister he’s leaving behind as he goes off to war. It’s followed by Mephistopheles’s diabolical “Song of the Golden Calf,” a whirling bacchanale in praise of the false idols humanity worships. The act ends with the chorus “Ainsi que la brise légère” (Like the light breeze), a buoyant waltz number that frames Faust’s fateful first meeting with Marguerite.

In “Faites-lui mes aveux” (Convey my confessions to her) from Act III, Siebel’s adolescent infatuation with Marguerite bursts forth in joyful 6/8 phrases. Compare it with Faust’s more restrained expression of love, his aria “Salut! demeure chaste et pure” (Greetings, chaste and pure abode), in which he tenderly addresses the home where Marguerite resides. During Marguerite’s “Song of the King of Thulé,” listen for the rustic woodwind accompaniment that lends this fairytale number a folksy or medieval quality. It transitions into Marguerite’s iconic “Jewel Song”—listen for the virtuosic trills and coloratura runs that represent Marguerite’s girlish laughter as she

dons glittering bracelets and necklaces. During her soaring, starlit duet with Faust, “Il se fait tard, adieu!” (It’s getting late, farewell), listen for the passage where Marguerite plays “he loves me, he loves me not.” The Act IV “Scene in the Church” features a spooky organ accompaniment and the terrible cries of unseen demons. Valentin and his comrades return from war to the strains of the soldiers’ chorus “Gloire immortelle de nos aïeux” (Immortal glory of our ancestors), a rousing military march. During the climactic trio at the end of Act V, listen for Marguerite’s three repetitions of the glorious melody “Anges purs, anges radieux” (Pure angels, heavenly angels), each time sung a step higher—as if Marguerite is ascending toward heaven.

FUN FACT In Gaston Leroux’s 1910 novel The Phantom of the Opera, the phantom sabotages the prima donna Carlotta’s performance as Marguerite when his favorite singer, Christine Daaé, is cast in the smaller role of Siebel. Faust also features in Edith Wharton’s 1920 novel The Age of Innocence, which opens on a production of the opera at the Academy of Music in New York starring real-life soprano Christine Nilsson.

HGO.O HR GG O.ORG

CAST & CREATIVE C AST (in order of vocal appearance)

CR E ATI V E TE A M

Faust Matthew Polenzani

Conductor

Mephistopheles

Original Director David McVicar Claire Liu and Joe Greenberg

John Relyea *

Wagner Sam Dhobhany † Dian and Harlan Stai Fellow Valentin Sean Michael Plumb Siebel Sun-Ly Pierce ‡ Marguerite Pretty Yende * Lynn Wyatt Great Artist Dame Marthe Schwerlein

Deborah Nansteel

Giacomo Sagripanti *

Director Chair

Revival Director

Peter Relton *

Scenic Designer

Charles Edwards

Costume Designer

Brigitte Reiffenstuel

Original Lighting Designer

Paule Constable

Revival Lighting Designer

Michael James Clark

Original Choreographer

Michael Keegan-Dolan

Revival Choreographer

Amit Noy *

Fight/Intimacy Director

Olivia Knight

Chorus Director

Richard Bado ‡

French Diction Coach

Patricia Kristof Moy

Music Preparation Maeve Berry †* Diana Strassmann and Jeffrey Smisek Fellow

Keith Chambers Leslie Dala Peter Pasztor ‡ Stage Manager

Brian August

Assistant Director

Ian Silverman

* Mainstage debut † Butler Studio artist ‡ Former Butler Studio artist

PRODUCTION CR EDITS English supertitles by Scott F. Heumann, adapted by Alexa Lietzow. Supertitles called by Sarah Neal. Performing artists, stage directors, and choreographers are represented by the American Guild of Musical Artists, AFL-CIO, the union for opera professionals in the United States. Scenic, costume, and lighting designers and assistant designers are represented by United Scenic Artists, IATSE Local USA-829. Orchestral musicians are represented by the Houston Professional Musicians Association, Local #65-699, American Federation of Musicians. Stage crew personnel provided by IATSE, Local #51. Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896. Ushers are provided by IATSE, Local B-184. This production is being recorded for archival purposes.

Houston Professional Musicians’ association

MP A AFM Local 65-699

LOCAL UNION

USHER UNIT IATSE LOCAL B-184 USHER UNIT HOUSTON TEXAS

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FAU S T

SY NOPSIS ACT I Disillusioned with life, the aged Faust prepares to poison himself. Before drinking, he summons the devil, who arrives in the form of a dashingly dressed gentleman bearing the moniker Mephistopheles. He offers his infernal services to Faust, who wishes for youth and love. But there’s a price: Mephistopheles will do Faust’s bidding on earth, but “down there,” Faust belongs to the devil. When Faust hesitates, Mephistopheles tempts him with a vision of the lovely and chaste Marguerite. Set on finding this enchanting girl, Faust eagerly signs the contract in his own blood and swallows the poison, which Mephistopheles has transformed into an elixir of youth.

ACT II On a busy city square, citizens drink and chatter. Among them is the soldier Valentin, preparing to leave his sister Marguerite and go off to war. He displays the protective medallion she gave him and says a prayer for her. Some students ask for a drinking song, and Mephistopheles, who has been lurking nearby, obliges with a wild ballad. However, his satanic behavior disturbs the onlookers. When Mephistopheles proposes a toast to Marguerite, Valentin takes offense and draws his sword, but his weapon magically breaks. Sensing something hellish afoot, Valentin brandishes two swords in the form of a cross to ward off Mephistopheles. The devil joins Faust again, who is yearning to finally meet Marguerite. She emerges from a crowd of dancers and revelers, and Faust offers her his arm, but she bashfully declines his advances.

ACT III That evening, outside Marguerite’s house, Siebel tries to gather a posy for Marguerite. But Mephistopheles has placed a curse on him so that every flower he picks wilts. Siebel manages to reverse the curse with holy water and leaves a little bouquet before exiting. However, Mephistopheles has a far more enticing gift—a casket full of jewels, which he places in front of Marguerite’s door while he and Faust withdraw. Marguerite comes home, fondly recalling the handsome stranger she met. Just then, she spies the casket and can’t help trying on its glittering treasures. She’s joined by her neighbor, Dame Marthe, who assures her the jewelry must come from an ardent admirer. Mephistopheles and Faust reenter, and the devil distracts Marthe so that Faust can be alone with

Marguerite. They profess their love for one another and part for the night—that is, until Faust overhears Marguerite pining for him at her window and joins her inside.

I N T ER M ISSION ACT I V Marguerite, pregnant with Faust’s child, goes to church to beg God for mercy for her sins. As she prays, she’s accosted by the voices of Mephistopheles and his demonic horde, who tell her she’s damned forever. Meanwhile, Valentin has returned from war and rushes to see his sister. Faust, too, has longed to see Marguerite, whom he abandoned after impregnating. Mephistopheles sings a serenade to call the girl, but Valentin comes out instead. Having learned that Faust corrupted his sister, Valentin challenges him to a duel. But because Valentin, disgusted with Marguerite, has torn off his protective medallion, Mephistopheles is able to use his power to help Faust mortally wound him. Marguerite returns from church to find her brother dying. With his last breath, Valentin blames his death on her debauchery and curses her.

ACT V On Walpurgis Night, when witches and spirits run amok, Mephistopheles tries to take Faust’s mind off Marguerite by resurrecting beautiful queens and courtesans of the past. But Faust sees a vision of Marguerite in prison with a red ribbon—as thin as an axe blade—around her throat. He insists that Mephistopheles take him to her. Driven to insanity, Marguerite has murdered the child she bore by Faust and is awaiting execution. Faust urges her to flee with him, but she refuses. Her life waning, Marguerite asks God for forgiveness and prays for angels to lift her heavenward. As she dies, Mephistopheles triumphantly announces that she is damned, but a chorus of angels proclaims the truth: she has been saved.

HGO PER FOR M A NCE H ISTORY HGO previously performed Faust in the 1961-62, 1966-67, 1975-76, 1985-86, 1990-91, 1996-97, 2006-07, 2016-17 seasons.

HGO.ORG

HGO ORCHESTR A James Gaffigan, Music Director Designate

V IOL I N

FLU TE

HARP

Denise Tarrant *, Concertmaster

Henry Williford *, Principal

Caitlin Mehrtens *, Principal

Chloe Kim *, Assistant Concertmaster

Tyler Martin *

Natalie Gaynor *, Principal Second Violin Carrie Kauk *, Assistant Principal Second Violin Miriam Belyatsky * Rasa Kalesnykaite † Hae-a Lee Barnes * Chavdar Parashkevov †

PICCOLO Tyler Martin *

OBOE Elizabeth Priestly Gehrke *, Principal Mayu Isom-Navarro *

Anabel Ramirez *

ENGL ISH HOR N

Mary Reed *

Mayu Isom-Navarro *

Erica Robinson * Linda Sanders * Oleg Sulyga * Sylvia VerMeulen *

CL A R I N ET Eric Chi *, Principal Adam Floyd

Melissa Williams *

BASSOON

Andres Gonzalez

Amanda Swain *, Principal

Will Joseloff

Quincey Trojanowski †

Kana Kimura

Micah Doherty

Hanke Li Fiona Lofthouse Mila Neal Sean O'Neal Emily Schmitz Anne-Marie Wnek

V IOL A

HOR N Sarah Cranston †, Principal Spencer Park *, Acting Principal Kimberly Penrod Minson † David Holtgrewe Jamie Leff Jacob Speakman

Eliseo Rene Salazar *, Principal Lorento Golofeev *, Assistant Principal Gayle Garcia-Shepard * Erika C. Lawson * Suzanne LeFevre *

TRU M PET Tetsuya Lawson *, Principal Randal Adams † Chris Boulais

Matthew Weathers *

COR N ET

Elizabeth Golofeev

Tetsuya Lawson *

Sarah Priebe

Chris Boulais

CEL LO

TROM BON E

Erika Johnson *, Acting Principal

Thomas Hultén *, Principal

Chennie Sun *, Acting Assistant Principal

Mark Holley *

Dana Rath *

Jordan Milek Johnson *

Wendy Smith-Butler * Shino Hayashi Cirdan Vonnahme

DOU BL E BASS Dennis Whittaker *, Principal

T U BA Mark Barton †

TI M PA N I Alison Chang *, Principal

Erik Gronfor *, Assistant Principal

PERCUSSION

Carla Clark *

Christina Carroll, Acting Principal

Hunter Capoccioni

Robert McCullagh Karen Slotter

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ORG A N Thomas Marvil * HGO Orchestra core musician † HGO Orchestra core musician on leave this production

CORPS DANCERS

Richard Bado, Chorus Director

Abigail Baden

FAU S T

HGO CHORUS

Alison Bartels

Ofelia Adame

Wesley Landry

Jasmine Burns

Tarryn Ballard

Carolena LaMore

Sarah Bannon

David Le

Kahlil Cabble, Featured Cabaret Dancer

Alyssa Barnes

Sarah L. Lee

Megan Berti

Aarianna B. Longino

Brennan Blankenship

Heath Martin

Alan Boudreaux

Norman Mathews

Steve Buza

Erica Vanessa Menasco

Jadon Campos

Jason Milam

Christopher Childress

Jeff Monette

Gabriel Chona Rueda

Natasha Monette

Jennifer Coffman

Leah Moody

Patrick Contreras

Iván Moreno

Esteban G. Cordero Pérez

Patrick Perez

Callie Denbigh

Saïd Henry Pressley

Jacob DeSett

Teresa Procter

Gloria M. Deveraux

Nicholas Rathgeb

Ashly Evans

Brad Raymond

Dallas Gray

Matthew Reynolds

Sarah Jane Hardin

Christina Rigg

Austin Hoeltzel

Francis Rivera

Nathan Holmes

Hannah Roberts

Jon Janacek

Emily Louise Robinson

James R. Jennings

Johnny Salvesen

Cole Jones

Valerie Serice

Katherine Jones

Kade I. Smith

Joe Key

Andrew Surrena

Alison King

Rebecca Tann

Melissa Krueger

Tori Trahan

Alexandra Kurkjian

Joe Carl White

Gavin Cabote Risa D'Souza Cole Hinson Angela Joy Macy Keen Grace Lopez Donald Sayre Raegan Noëlle Taylor Ainsley Waguespack Aniya Wingate Izzy Wolf

SUPERNUMERARIES Alessandro di Bagno Chandler Bonton Hazel Carver Amelie Gagnon Mayuka Hauschildt Paisley Rayne Richmond Amoney Smith Armani Smith LuisPablo de la Torre

WHO'S WHO GIACOMO SAGRIPANTI (ITALY) CONDUCTOR

Giacomo Sagripanti is making his company debut. Elsewhere this season, Sagripanti conducts Samson and Delilah with the Metropolitan Opera, La bohème with Gran Teatre del Liceu, Manon Lescaut with Vienna State Opera, and The Barber of Seville with Teatro Real de Madrid. In the 2025-26 season, Sagripanti conducted The Daughter of the Regiment with the Metropolitan Opera, La bohème with Vienna State Opera, La traviata with London’s Royal Ballet and Opera, Il trovatore with

Opéra de Monte-Carlo, Macbeth with Oper Frankfurt, and Norma at Bavarian State Opera. Acknowledged as Best Young Conductor at the 2016 International Opera Awards, he works regularly in theaters such as the Opéra National de Paris, London’s Royal Ballet and Opera, Madrid’s Teatro Real, Vienna State Opera, as well as at the festivals like Pesaro Rossini Opera Festival, Choregies d’Orange, and Aix-en-Provence. He regularly collaborates with symphonic orchestras such as the RAI Orchestra in Turin, the WDR Funkhausorchester Köln, the Orchestra of the Théâtre du Capitole in Toulouse, Orchestre de chambre de Paris, Münchner Rundfunkorchester, Real Orquesta Sinfónica de Sevilla, Seattle Symphony Orchestra, and Sinfónica Siciliana.

HGO.ORG

DAVID MCVICAR (UNITED KINGDOM) ORIGINAL DIRECTOR

Claire Liu and Joe Greenberg Director Chair

In addition to Faust, David McVicar was the original director for HGO’s Manon (2003) and Elektra (2018). McVicar was born in Glasgow and trained as an actor at the Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of Scotland). He was knighted in 2012 for his services to opera and made Chevalier de L’Ordre des Arts et des Lettres by the French Government. His productions staged across the U.K. include The Marriage of Figaro, Salome, Adriana Lecouvreur, Aida, Les Troyens, and Death in Venice (Royal Ballet and Opera); Der Rosenkavalier, The Turn of the Screw, and Médée (English National Opera); and Giulio Cesare, Die Meistersinger von Nürnberg, and The Abduction from the Seraglio (Glyndebourne Festival). His Scottish Opera credits include Il trittico, Falstaff, Pelléas et Mélisande, The Rake’s Progress, Così fan tutte, La traviata, Madame Butterfly, Der Rosenkavalier, and Idomeneo. He has worked extensively in Europe including at Théâtre des Champs-Élysées, Paris Opera, Opéra National du Rhin Strasbourg, Gran Teatre del Liceu, Royal Danish Opera House, the Aix-en-Provence and Salzburg festivals, and La Scala, Milan, where he is directing a new Ring cycle. Elsewhere, he has directed productions at the Metropolitan Opera, including Fedora, Medea, Don Carlo (also Lyric Opera of Chicago), Anna Bolena, Il trovatore, Maria Stuarda, Giulio Cesare, Cavalleria rusticana and Pagliacci, Roberto Devereux, Tosca, and Norma; LOC; San Francisco Opera; Santa Fe Opera; Canadian Opera Company; and Opera Australia.

PETER RELTON (UNITED KINGDOM) REVIVAL DIRECTOR

Peter Relton, making his HGO debut, has been an opera director for more than 30 years. Most recently he has remounted La bohème for Grange Festival Opera. Also this year, he remounted Akhnaten for LA Opera and Così fan tutte for English National Opera. Last year, he remounted David McVicar’s Faust at London’s Royal Ballet and Opera. He was the associate director for the world premiere of The Hours at the Metropolitan Opera and has a long-standing working relationship with the director Phelim McDermott, whom he has assisted on renowned productions of Akhnaten, Satyagraha, and Così fan tutte. He has remounted productions at the Metropolitan Opera, LA Opera, San Francisco Opera, The Royal Ballet and Opera, and ENO. Other revivals at ENO include The Barber of Seville and The Marriage of Figaro. He directed Tosca for Grange Park Opera to open their new Opera House at West Horsley Place. He has directed Nabucco and La bohème (Dorset Opera); Die Fledermaus (Fulham

FALL 2026

Opera); La bohème, Falstaff, and La rondine (Opera North); Cavalleria rusticana and I Pagliacci (Festival de la Vezere); La voix humaine (Les Azuriales Opera Festival); La Cenerentola and Tosca (Opera Brava); The Pearl Fishers and Nabucco (Northern Opera); and The Marriage of Figaro, La traviata, The Magic Flute, and Tosca (Opera Nova).

CHARLES EDWARDS (UNITED KINGDOM) SCENIC DESIGNER

Previously for HGO, Charles Edwards designed the sets for Macbeth (1997), Katya Kabanova (2000), and Jenůfa (2004) and designed sets and lighting for Werther (2023). Elsewhere during the 2026-27 season, he designs the sets for Turandot for Scottish Opera. Edwards has collaborated with directors and choreographers David Alden, Christopher Alden, David McVicar, Karolina Sofulak, Annabel Arden, Matthew Eberhardt, John Savournin, and Dane Hurst, designing for Opera North, English National Opera, Teatro alla Scala, the Metropolitan Opera, London’s Royal Ballet and Opera, Lyric Opera of Chicago, and Hamburgische Staatsoper. Edwards designed sets for ENO’s production of Jenůfa, which won the Olivier Award for Best New Opera Production in 2007. Opera North’s Little Greats season, for which Edwards was overall set and lighting designer, won the 2018 What’s On Stage Award for Event of the Year, and was nominated for the 2018 Manchester Theatre Award for Opera. The Verdi Trilogy, for which Edwards designed the sets at the Hamburgische Staatsoper, won the 2014 Anniversary Production International Opera Award. La Scala’s 2021 production of La Calisto, for which Edwards created the set, won the design prize of Premio Abbiati.

BRIGITTE REIFFENSTUEL (GERMANY) COSTUME DESIGNER

Previously for HGO, Brigitte Reiffenstuel was the costume designer for Macbeth (1997). Recent productions include La sonnambula at the Metropolitan Opera and The Italian Girl in Algiers and Julius Caesar for Deutsche Oper Berlin. Born in Munich, Reiffenstuel attended the London College of Fashion and St. Martin’s School of Art, where she studied with the acclaimed illustrator Howard Tangue. Initially focusing on fashion, she briefly worked as a stylist before gravitating toward costume design. In 2014, Reiffenstuel designed the costumes for the acclaimed Kate Bush Before the Dawn concerts in London. Today her career continues to expand into the wider fields of musicals and theater. Reiffenstuel has been nominated for several prestigious awards including the Oscar della Lirica for Achievement in Costume Design presented at the International Opera

PAULE CONSTABLE (UNITED KINGDOM)

trovatore (2013); La bohème, La traviata, and The Rape of Lucretia (2012); The Marriage of Figaro (2011); the world premiere of Cruzar la Cara de la Luna (2010); and numerous outdoor productions. Clark also has designed lighting for Teatro La Fenice, San Francisco Opera, the Canadian Opera Company, Stages Repertory Theatre, Theatre Under the Stars, Rice University, and the 2007 Prague Quadrennial. He holds a degree in lighting design from the University of North Carolina School of the Arts.

ORIGINAL LIGHTING DESIGNER

Paule Constable’s work has been seen at HGO in The Marriage of Figaro (2023, 2016), Rusalka (2016), and Manon (2003). Constable has won six Olivier Awards for Best Lighting, for Oliver! (2025), The Ocean at the End of the Lane (2020), The Curious Incident of the Dog in the Night Time (2013), The Chalk Garden (2009), Don Carlos (2006), and His Dark Materials (2005), and Tony Awards for Best Lighting for The Curious Incident of the Dog in the Night Time (2015) and War Horse (2011). She was the recipient of the Hospital Award for Contribution to Theatre, won the L.A. Drama Desk Award for Les Misérables, War Horse, and Sleeping Beauty, and received both the New York Critics Circle Award and Drama Desk Award for War Horse on Broadway. In 2025, Constable was awarded the WhatsOnStage Services to UK Theatre Award and the Richard Pilbrow Lifetime Recognition Award. Her opera productions include many designs for London’s Royal Ballet and Opera, English National Opera, Glyndebourne Festival, Opera North, Scottish Opera, and Welsh National Opera. For the Metropolitan Opera, she has designed lighting for productions including Satyagraha, Anna Bolena, Don Giovanni, and Giulio Cesare. She is an associate of Matthew Bourne’s New Adventures.

MICHAEL JAMES CLARK (UNITED STATES) REVIVAL LIGHTING DESIGNER

Previously for HGO, Michael James Clark served on the creative teams for The Barber of the Seville (revival lighting designer, 2026); La bohème (lighting designer, 2025); Cinderella (revival lighting designer, 2024); The Big Swim (lighting designer, 2024), Parsifal (revival lighting designer, 2024); Falstaff (lighting designer, 2023); The Marriage of Figaro, Werther, and Tosca (associate lighting designer, 2022-23 season); The Magic Flute (assistant lighting designer, 2022); the world premiere of The Snowy Day (lighting designer, 2021); Carmen (associate lighting designer, 2021); Aida (revival lighting designer, 2020); mainstage and Miller Outdoor Theatre productions of La bohème (lighting designer, 2018-19); and the world premiere of The Phoenix (lighting designer, 2019). He lit the HGO world premieres of Some Light Emerges (2017), After the Storm (2016), and O Columbia (2015); mainstage productions of Otello (2014); Die Fledermaus, Aida, and Il

MICHAEL KEEGAN-DOLAN (IRELAND) CHOREOGRAPHER

Previously for HGO, Michael KeeganDolan served as the choreographer for Ariodante (2002) and Manon (2003). Dolan is the founder of Teaċ Damsa, known for raw, visually arresting works that blend dance, theater, and music, and the former director of Fabulous Beast Dance Theatre. His acclaimed productions include Giselle, The Bull, Rian, Swan Lake / Loch na hEala, MÁM, Nobodaddy, How to Be a Dancer in Seventy-Two Thousand Easy Lessons, and 1975 | Naoi déag seachtó cúig. His work has toured globally and received major recognition, including a Bessie, Irish Times Theatre Awards, UK Dance Awards, a Sky Arts nomination, and four Olivier nominations. Keegan-Dolan lives and works in West Kerry Gaeltacht.

AMIT NOY (UNITED STATES) REVIVAL CHOREOGRAPHER

Raised between Hawai’i and New Zealand, and currently based in France, Amit Noy is making his HGO debut. Noy’s work has been commissioned and presented by Théâtre de la Ville—Paris, Festival Montpellier Danse, Sadler’s Wells London, and the Pina Bausch Zentrum, among others. In 2022, Noy received the Pina Bausch Fellowship for Dance and Choreography to study with Miguel Gutierrez and Deborah Hay, and was made a Springboard laureate by the Arts Foundation of New Zealand. Since 2019, Noy has danced with Michael Keegan-Dolan’s company Teaċ Damsa (MÁM, Nobodaddy, 1975, and The Only Tune), performing at La Biennale di Venezia, the Athens Epidaurus Festival, Santiago a Mil-Chile, and Taipei International Festival of the Arts, among others. He also writes about dance and performance for publications including Artforum, BOMB Magazine, The Brooklyn Rail, and Gagosian Quarterly.

OLIVIA KNIGHT (UNITED STATES) FIGHT/INTIMACY DIRECTOR

For more information about Olivia Knight, see page 39. HGO.ORG

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Awards. In 2015, she received the Dora Mavor Moore Award for Outstanding Costume Design. She has won a 2023 Tony for Best Costume Design of a Play for Leopoldstadt and was nominated for a 2025 Tony for Best Costume Design of a Play for Stranger Things: The First Shadow.

RICHARD BADO (UNITED STATES) CHORUS DIRECTOR

For more information about Richard Bado, see page 39.

MATTHEW POLENZANI (UNITED STATES) TENOR—FAUST

Matthew Polenzani made his HGO debut in 2023 in the title role of Werther. Elsewhere during the 2026-27 season, he performs as Don José in Carmen with Semperorer Dresden; Tito Vespasiano in La clemenza di Tito at Opéra National de Paris; and Chevalier des Grieux in Manon, Italian Singer in Der Rosenkavalier, and Cavaradossi in Tosca at the Metropolitan Opera. In the 2025-26 season, he returned to the Lyric Opera of Chicago, reprising his portrayal of Giasone in Sir David McVicar’s production of Medea, and returned to the Metropolitan Opera as Pinkerton in Madame Butterfly and Don José in Carmen, a role he reprised later in the season at Teatro alla Scala; he also performed in Verdi’s Requiem at Müpa Budapest and made his role debut as Riccardo in A Masked Ball at the Opéra Bastille. He performed in Massenet’s Werther with Gran Teatro del Liceu and as Florestan in Fidelio with Bavarian State Opera. Polenzani performed in recital at Philadelphia’s Perelman Center, singing selections by Mozart, Beethoven, and Schubert, accompanied by pianist Ken Noda. To date, Polenzani has starred in more than 400 performances at The Met, with highlights including the premieres of Bartlett Sher’s production of The Elixir of Love, Sir David McVicar’s production of Maria Stuarda (issued on DVD by Erato), and McVicar’s new production of Donizetti’s Roberto Devereux, which was featured on PBS’s Great Performances at the Met.

PRETTY YENDE (SOUTH AFRICA) SOPRANO—MARGUERITE Lynn Wyatt Great Artist

Pretty Yende is making her HGO debut. Elsewhere during the season, Yende performs as Countess Almaviva in The Marriage of Figaro with Vienna State Opera; Adina in The Elixir of Love with Vienna State Opera and Opéra National de Paris; Leila in The Pearl Fishers with Théâtre des ChampsElysées; and Mimì in La bohème at Gran Teatre del Liceu. In the 2025-26 season, she performed as Adina in The Elixir of Love with Gran Teatre del Liceu, Countess Almaviva in The Marriage of Figaro with Vienna State Opera, Leonora in Il trovatore at Opéra de Monte-Carlo, Violetta Valéry in La traviata with Opéra National de Paris, 52

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Liù in Turandot with San Carlo Theater, and Micaëla in Carmen with Tiroler Festspiele Erl. Yende’s honors and accolades include an award from the South African government, The Order of Ikhamanga in Silver, for her excellent achievement and international acclaim in the world of opera. She serves as a role model to aspiring young musicians and recently became a recipient of the Italian Knighthood, Ordine Stella d’Italia for her work in building extraordinary relations between Italy and other countries, making her the youngest South African ever awarded this accolade. In 2024, she made a historic appearance singing “Amazing Grace” at the ceremonial reopening concert of Notre Dame Cathedral in Paris. In 2023, Yende became the first African solo artist to perform at a coronation of a British monarch, for King Charles III’s coronation at Westminster Abbey. In 2022, she was honored with an Order of Arts and Letters.

JOHN RELYEA (CANADA/UNITED STATES) BASS—MEPHISTOPHELES

John Relyea is making his HGO debut. With a career spanning 30 years, Relyea has appeared in many of the world’s most celebrated opera houses including the Metropolitan Opera, San Francisco Opera (where he is an alumnus of the Merola Opera Program and a former Adler Fellow), Lyric Opera of Chicago, Seattle Opera, Canadian Opera Company, Teatro alla Scala, The Royal Ballet and Opera, Paris Opera, Bayerische Staatsoper, Hamburg State Opera, Vienna State Opera, Teatro dell’Opera di Roma, Teatro di San Carlo in Naples, Teatro Massimo in Palermo, Theater an der Wien, and the Mariinsky Theatre. He has been seen at the Metropolitan Opera in over 240 performances since his debut as Alidoro in Rossini's La cenerentola in 2000. He has sung a vast repertoire of major roles throughout his career, from the operas of Handel, Mozart, Rossini, Donizetti, Verdi, Wagner, Britten, Shostakovich, Stravinsky, and many more, and he is also in high demand throughout the concert world. Other roles during the 2026-27 season include Wurm in Luisa Miller and the Grand Inquisitor in Don Carlos at Vienna State Opera, Philip II in Don Carlo at Semperoper Dresden, Fiesco in Simon Boccanegra at Teatro Real in Madrid, Hermann in Tannhäuser at Bayerische Staatsoper, and Sarastro in The Magic Flute at Gran Teatre del Liceu. During the 2025-26 season, Relyea performed Gurnemanz in Parsifal at Glyndebourne Festival, Hunding in Die Walküre at Salzburg Festival, the Cardinal in The Maid of Orleans at Dutch National Opera, Alvise in La Gioconda at Gran Teatre del Liceu, Arkel in Pelléas et Mélisande at Teatro alla Scala, and Timur in Turandot at the Met.

HGO’s 2020 Eleanor McCollum Competition Concert of Arias and the 2019 Marilyn Horne Song Competition.

BARITONE—VALENTIN

Previously for HGO, Sean Michael Plumb performed as Albert in Werther (2023). Other roles for the 2026-27 season include Papageno in The Magic Flute with Festival d’Aix-en-Provence, Dandini in Cinderella with La Monnaie-De Munt, Marcello in La bohème with Semperoper Dresden, the title role of Eugene Onegin with Irish National Opera, and Melot in Tristan and Isolde with Tiroler Festspiele Erl. In the 2025-26 season, Plumb performed the title role in Billy Budd in both a new production at the Opéra de Lyon and in a debut at the Teatro Colón; returned to the Metropolitan Opera as Schaunard in La bohème, which was also streamed around the world for the Met Live in HD Series; made his debut at the Semperoper Dresden as Marcello in La bohème and returned as Papageno in The Magic Flute; and sang Papageno in a new production of The Magic Flute at the Festival d’Aix-en-Provence. Winner of a 2022 Career Grant from the Richard Tucker Music Foundation, Plumb was honored by President Obama as a U.S. Presidential Scholar in the Arts at a ceremony at The White House. He has garnered a multitude of awards including the Grand Prize of the 2016 Metropolitan Opera National Council Auditions and top prize at the 2016 Gerda Lissner Foundation International Vocal Competition.

SUN-LY PIERCE (UNITED STATES) MEZZO-SOPRANO—SIEBEL

Previously for HGO, Butler Studio alumna Sun-Ly Pierce performed the roles of Suzuki in Madame Butterfly (2024); Jack in The Wreckers (2022); Mercedes in Carmen, Sister Mathilde in Dialogues of the Carmelites, 2nd Lady in The Magic Flute, and Stephano in Romeo and Juliet (all during the 2021-22 season); and Liesl in My Favorite Things: Songs from The Sound of Music and Hansel in HGO Digital’s Hansel and Gretel (both in the 2020-21 season). Elsewhere during the 2026-27 season, she performs as Rosina in The Barber of Seville at Santa Fe Opera and Cherubino in The Marriage of Figaro at Boston Lyric Opera. Concert engagements include Houston Symphony, Boston Baroque, Orchestre Philharmonique de Radio France, and Les Musiciens du Louvre. During the 2025-26 season, Pierce performed as Rosa Saks in the world premiere of Mason Bates’s The Amazing Adventures of Kavalier & Clay with the Metropolitan Opera; Nefertiti in Akhnaten with LA Opera; Suzuki in Madame Butterfly with Semperoper Dresden and the Santa Fe Opera; Dorabella in Così fan tutte with Madison Opera; and Diana in La Calisto with Théâtre de Caen and Théâtre des Champs-Élysées. Pierce was the third-prize winner of the 2024 Operalia competition, and first prize winner in

DEBORAH NANSTEEL (UNITED STATES) MEZZO-SOPRANO—DAME MARTHE SCHWERLEIN

For more information about Deborah Nansteel, see page 40.

SAM DHOBHANY (UNITED STATES) BASS-BARITONE—WAGNER Dian and Harlan Stai Fellow

A third-year Butler Studio artist from Brooklyn, New York, Sam Dhobhany received the Ana María Martínez Encouragement Award at HGO’s 2024 Eleanor McCollum Competition Concert of Arias, and he is a 2022 alumnus of HGO’s Young Artist Vocal Academy. Elsewhere during HGO's 2026-27 season, he performs the roles of Second Armored Man/Priest in mainstage and Family Day performances of The Magic Flute and Police Commissioner in Der Rosenkavalier. Previously at HGO, Dhobhany sang the roles of the Undertaker in Porgy and Bess, the Notary in Gianni Schicchi (Il trittico), British Major in Silent Night, George Milton in the Butler Studio production of Of Mice and Men, Sergeant in The Barber of Seville, Alidoro in Family Day for Cinderella, and Terry in Breaking the Waves. In 2026, Dhobhany was an Emerging Artist at the International Meistersinger Akademie. In 2025, he performed the roles of Zuniga in Carmen and Bartolo in The Marriage of Figaro at Wolf Trap Opera, where he served as a Studio Artist in 2021. In 2024, Dhobhany sang the role of Angelotti in Tosca with Dayton Opera. He was a 2023 and 2024 Apprentice Singer with Santa Fe Opera, where he performed Un Médecin in Pelléas et Mélisande and Marchese d’Obigny in La traviata. Dhobhany was the second-place winner of the 2025 Rocky Mountain Region of The Metropolitan Opera Laffont Competition. He holds a Bachelor of Music degree in Vocal Performance from the University of Cincinnati College-Conservatory of Music.

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SEAN MICHAEL PLUMB (UNITED STATES)

SHOW BOAT AND SUSANNAH AT HOUS TON GR AND OPER A By Patrick Summers, Music Director Emeritus, Houston Grand Opera

Taken together, the two American operas that bookend Houston Grand Opera’s 2026-27 season—Jerome Kern and Oscar Hammerstein II’s 1927 Show Boat and the gamechanging opera composed a generation later by Carlisle Floyd, his 1955 Susannah—illustrate something fascinating, visible only in hindsight. These two operas may seem far from each other in tone and substance, but all of the roots of the rich world of current contemporary opera can be found within them. Those obsessed with classification may blanch at a description of Show Boat as an opera, since it premiered in a commercial theater (as did Mozart’s The Magic Flute) and not within a traditional opera house—but in its ambition and narrative scope, Show Boat unquestionably belongs on the operatic stage. Only the musical and vocal resources of an opera company can present Show Boat in a way that Jerome Kern would have recognized as his composition, with accomplished trained voices, a virtuosic orchestra, and a large chorus. Show Boat was an incredible epiphany in American theatrical storytelling—nothing was ever the same after it—and it also ignited conversations about subjects that needed American discussion then and now. Show Boat’s plot covers roughly 40 years of post-Civil War America, from the 1880s into the 1920s. Racism had certainly been depicted on American stages before, but never before had the actual day-to-day human experience of race been told so poignantly (and daringly for its time), nor with such unforgettable music. Show Boat has been viewed quite differently in each of its ten decades; it is a mirror of every age.

Francesca Zambello’s Show Boat at San Francisco Opera in 2014.

The cultural world into which Show Boat emerged was an intensely hierarchical one, with high, middle, and low art hardly ever mixing. Indeed, lower and middle art of that time often parodied high art—think of the Gilbert and Sullivan operettas that lampooned operas by Verdi and Wagner. “Serious” music at the time was totally dominated by Arnold Schoenberg’s Second Viennese School, which was itself a reaction to the challenges posed by the operas of Richard Wagner—very heady and interesting stuff, but it risked slipping music and opera into ever-smaller categories and theories, and no audience has ever bought a ticket to a theory. The performing arts a century ago were like those beautiful, old multi-story department stores that had their most expensive and aspirational goods on the top floor. Culture here in this second quarter of the 21st century is no longer so hierarchical, for a number of reasons. Culture is now more like a superstore, leveled to one story, with opera in aisle 4, politics in aisle 7, the Kardashians in aisle 10, etc.

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“ S USANNAH IMMEDIATELY SPOKE TO A PUBLIC THAT WAS EAGER FOR AN OPERA WITH TUNES, AND IT QUICKLY BECAME THE MOST SUCCESSFUL AMERICAN OPERA OF ITS ERA.“

The composer of Show Boat, Jerome Kern, was born in 1885 in Sutton Place on Manhattan’s East Side, and showed early melodic gifts. He studied counterpoint and composition for two years in Heidelberg, Germany, from 1903 to 1905, heyday years for Germanic music, as it was the height of Richard Strauss’s early notoriety—his Salome premiered in 1905 and remained the avant-garde musical event for many years, and even now. Kern used his expert old-world musical training to compose artful Tin Pan Alley songs, and he was responsible for some of the most enterprising early experiments in musical theater and operetta in his series of musicals for New York’s Princess Theater during the 1910s—the Princess sat symbolically on 39th Street and 6th Avenue, a block from the old Metropolitan Opera House. Kern, always seeking interesting subjects to turn into musicals, was only halfway through Edna Ferber’s 1926 novel Show Boat when he contacted her for permission to turn it into an opera without even knowing how it ended. The stern Ferber was reluctant to musicalize her novel until she found out Kern’s choice of librettist: the grandson of the opera impresario Oscar Hammerstein I, named precisely after him and styled “Hammerstein II,” who was then in his early thirties. Show Boat was first heard and seen in the final days of 1927 at the Ziegfeld Theater in New York City, just ahead of sliced bread and the invention of penicillin in 1928, and shortly before the world entered years of cascading human misery: the 1929 stock market crash, the political rise of the Nazis and their horrific Holocaust, the Battle of Britain, the attack on Pearl Harbor, WWII, a vast revolution in China that resulted in a three-year war in Korea—all within a couple of decades. 56

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But at the very time all of those tragedies were unfolding, throughout the 1930s and ’40s, all sorts of creative forces began to gather in the United States, where many artists sought refuge from Europe, and entertainment of all kinds reached the first of several summits. As Show Boat was in rehearsal in New York, more than 30 years after the dawn of cinema, movies with sound appeared and electrified the public. The Jazz Singer, the first major “talkie,” as early nonsilent films were called, was very famous in its day. It began Hollywood’s first golden era, which had its first artistic peak in 1939, the year of Gone with the Wind, The Wizard of Oz, and Stagecoach. In that era, 80 million movie tickets were sold every week, something unimaginable now.

No subject has played a larger role in American life than religion, and a great part of the success of the opera Susannah is the way it dramatizes another reality of such a religious nation: charlatan preachers who prey on the young. Susannah is based on a contested chapter in the Biblical Book of Daniel, the story of Susanna and the Elders, which is part of the Apocrypha—scriptures accepted by some denominations and rejected by others, making Susannah a story with contention built into it. Carlisle Floyd, born in Latta, South Carolina in the summer of 1926, became a student of the American composer Ernst Bacon in the 1940s, first at Converse College, then at Syracuse University. Bacon, born in 1898, had studied in Vienna, but was one of the first serious American composers to reject Schoenberg’s Second Viennese School. His more-famous contemporary, Aaron Copland, studied with the leading compositional pedagogue in Europe who was not Second Viennese School, Nadia Boulanger. Carlisle was an expert pianist, always interested in composition. He tested himself in his first opera, composed in the late 1940s when he was still a graduate student, Slow Dusk, about a couple struggling to stay together despite deep religious differences, the roots of the opera Susannah. Carlisle wrote his own libretto for Susannah, as he did for his other 10 operas, relocating the Biblical story to Appalachia. His

operatic subjects were largely American, with a few exceptions: a marvelous opera on Wuthering Heights; a thrilling monodrama, Flower and Hawk, based on an hour in the life of Eleanor of Aquitaine; and his final opera, Prince of Players, an HGO commission set in Restoration England, which he admirably persisted in composing, though his powers were understandably waning as he entered his nineties.

Raymond Aceto as the Reverend Blitch in Susannah at San Francisco Opera in 2014.

Susannah immediately spoke to a public that was eager for an opera with tunes (of which it has an abundance), and it quickly became the most successful American opera of its era, along with Gian Carlo Menotti’s lovely Amahl and the Night Visitors. Successful with the American operatic public, yes, but almost never with critics. What was the operatic world into which Carlisle emerged? World events severed forever the long line of European operatic creativity, a world that included Bach, Handel, Mozart, Beethoven, Goethe, Schiller, and Wagner. Though, dear old Richard Strauss, who lived into the late 1940s, kept writing operas in an old-world style, perhaps the most bizarre of which, or at least the most tone-deaf to its times, was one he composed in Germany in 1935, the height of the Nazi era: Die schweigsame Frau (The Silent Woman), the lightest of operatic comedies plonked down into the middle of a political and human calamity. If one can ignore when it was written— which of course, one can’t—it is actually quite a sweet opera with an incredible score and a lovely libretto by the brilliant Austrian writer Stefan Zweig, who would eventually flee the Nazis and take his own life in Brazil before WWII was over. New European operas in Carlisle’s youth were rare, for obvious historical reasons. But there were a few: just after the European war was ending in May of 1945 (the Pacific War would end in August), Benjamin Britten premiered his opera Peter Grimes in London, reopening the Sadler’s Wells opera house, which had been closed since 1939. Despite lore to the contrary, Peter Grimes was more popular in that London season than Madame Butterfly or La bohème. Leonard Bernstein conducted the American premiere of Peter Grimes at Tanglewood in 1946, and the opera featured at the Metropolitan in 1948, where Carlisle Floyd first encountered it. The “outsider” story of Peter Grimes deeply affected the development and structure of Susannah. Bernstein, of course, would compose his own genre-defying West Side Story in the middle of the 1950s.

The biggest single artistic outcome of Show Boat is also the most obvious: the Gershwins’ 1935 Porgy and Bess. The source novels of both works were published within a year of one another, and Gershwin revered Jerome Kern and Show Boat. Without Kern and Hammerstein’s brave storytelling, Porgy and Bess would never have been composed. Kern, Hammerstein, and both Gershwin brothers easily mixed within the worlds of cinema, Broadway, and opera, and the cultural amalgamation of genres began with them. HGO.ORG

Right in the middle of America’s involvement in WWII, in 1943, the first collaboration of Rodgers and Hammerstein took Show Boat’s innovations (which were Hammerstein’s) a step further. Oklahoma!, a show that feels so quaint now, upended everything in its day, not from any single innovation within it, but because of the total integration of all of its elements, the very thing to which opera had long aspired. They followed Oklahoma! with a string of shows that led a Broadway golden age for the next few decades: Carousel, South Pacific, The King and I, Cinderella (which helped launch Julie Andrews to worldwide fame), Flower Drum Song, and The Sound of Music. With Rodgers and Hammerstein dominating the commercial theater, and with major high-art European composers Stravinsky, Schoenberg, and Rachmaninoff all living in Los Angeles, worlds that had long been separated started merging. Film composers often went secretly to Schoenberg’s Brentwood home to discover how to make their music better. And Stravinsky was asked to write a film score for, of all things, the ultimate non-Stravinsky type of story: The Song of Bernadette, part of which he composed, though it was never used in the film—instead it became the middle movement of his extraordinary Symphony in Three Movements. The German composer Kurt Weill, who in his youth was identified as the successor to Wagner and Strauss in composing German operas, emigrated to America and found himself composing Broadway shows like Lady in the Dark and One Touch of Venus, as well as quasi-operas like Street Scene and Lost in the Stars. The influx of European musicians to American shores in the mid-century—and there were countless numbers of them besides these mentioned giants—began to seriously alter the creative forces of opera, and many works began to expand the borders of what had always been designated as an opera, operetta, or a musical. Gian Carlo Menotti, an Italian composer who spent his long life writing 25 American operas, each to his own libretto, composed an opera for commercial Broadway,

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The Consul, that was a significant hit in its time—and opera companies have never shied away from it. Menotti and Floyd were immigrant and native versions of what American opera might become, and each was successful in their respective and non-overlapping worlds. In the 1950s, middlebrow was becoming the cultural destination of all American art, as the way for a new future was paved by a combination of Broadway and European opera, and Carlisle Floyd was there to provide it. Susannah was styled as folk opera, as was Porgy and Bess, and the public responded. They loved it. They still love it.

These two operas, Show Boat and Susannah, are jewels of the early years of American opera in the last century, harbingers of the diversity in American opera that we are seeing now. Kern mentored Hammerstein, who in turn mentored Stephen Sondheim. Floyd mentored several generations of operatic artists, including countless singers (especially the soprano Phyllis Curtin, herself an important pedagogue), David Gockley, with whom he founded the Butler Studio, HGO’s peerless chorus director Richard Bado, and me, as I conducted the premiere of his marvelous Cold Sassy Tree, as well as the production and recording of Of Mice and Men at the Bregenz Festival and at HGO. Carlisle composed so few operas because of his devotion to teaching; most of his life was spent teaching and mentoring. He was the guardian angel of Houston Grand Opera for half a century, and though he never directly ran the company, his imprint was everywhere within it. Carlisle composed five operas for HGO and advised on every company commission during his lifetime. His relationship with HGO was rivaled only by Verdi’s half-century relationship with Milan’s La Scala in the 19th century. Susannah received one quiet moment of approbation that meant more to Carlisle than stacks of newspaper reviews: The

librettist of both Show Boat and Oklahoma!, Oscar Hammerstein II, saw Susannah in its first New York performances at New York City Opera, and he told Carlisle that he’d found a wonderful new direction for American opera. Nothing ever said about Susannah meant more to him. It echoes a long-ago sentiment uttered by the Czech composer Antonín Dvořák, who—after spending significant time in the United States, including a summer in Spillville, Iowa—said that truly American music would only emerge within the folk music that naturally arose from our culture. Carlisle Floyd’s Susannah gave American opera a voice of its own, one that began deep within Show Boat's first act, with the very famous song “Ol’ Man River,” so perfectly crafted that many people to this day think it’s a folk song. So the worlds of Show Boat and Susannah, seemingly so far apart, are directly connected, just as they are connected now in our 21st century: when Susannah appeared, music critics had no idea what do make of it because they had no criteria with which to analyze it. The lodestar of classical music criticism had solely been early 20th-century European modernism, yet Susannah was a large success despite being neither European nor from that era—what to do? Carlisle was young when Susannah premiered, just 28, so what he witnessed across the course of his long life was remarkable. He saw the creative worlds of commercial theater and American opera reverse themselves, with Rodgers and Hammerstein’s innovations, almost invisible in post-WWII opera, visible and audible now through the hundreds of new American operas that have been composed thus far in the 21st century. Meanwhile, innovation in the commercial theater has nearly disappeared.

successors. Carlisle lived long enough to comprehend the amazing reality that his kind of operatic theater would live on in younger composers, as it has and does. The careers of Matthew Aucoin, Ricky Ian Gordon, Kevin Puts, Jake Heggie, and so many others would have been impossible without Carlisle.

1927 was a year of many extraordinary events, including one of the biggest news stories in history, Charles Lindbergh’s solo flight across the Atlantic. It was also the year of the most destructive flood in American history, of “Ol’ Man River” himself, the Mississippi, which directly affected nearly a million Americans. A century ago, when Show Boat was first heard, Houston had an estimated population of 250,000 people, and the only opera seen in the city that year was a touring production that played a single performance of Bizet’s Carmen. A hundred years later, in 2027, the 10-county Houston metropolitan area includes nearly 8 million people, and neither Kern nor Hammerstein, walking into the frigid New York air of that long-ago December day when Show Boat premiered, could possibly have imagined what their experimental opera would come to symbolize: a country profoundly in need of knowing its past, hoping for a better future. Nor could Carlisle Floyd, just a bit over a year old when Show Boat premiered, ever have imagined that his beloved Susannah would open the opera season of one of the most artistically important opera companies in the United States, in such an unlikely place as Texas. 

One of a few exceptions to this broad statement, Hamilton, wonderfully entertaining as it is, cannot yet be considered particularly innovative, since it essentially has stood alone in the decade since it premiered, with no successors nor successful imitators, while Rodgers and Hammerstein, Stephen Sondheim, and Carlisle Floyd had countless

This page: Show Boat at San Francisco Opera in 2014. Opposite: SFO's 2014 production of Susannah starring Patricia Racette, director of HGO's 2026 production.

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O PE R A BA LL 2 0 2 6 April 11, 2026 John G. Turner and Hango G. Fischer, Chairs Patrick Summers, Honoree Brilliance Ball: A Celebration of Light and Legacy was an unforgettable evening celebrating artistic excellence, philanthropy, and the extraordinary legacy of Maestro Patrick Summers, who at the end of last season became HGO’s Music Director Emeritus. Chaired by John G. Turner and Hango G. Fischer, the event raised an impressive $1.8 million in support of the company’s mission.

Jack Swanson, José and Teresa Ivo, Ambassador David Satterfield, Daniela Mack

More than 450 guests gathered at the Wortham Theater Center, where The Events Company transformed the Grand Foyer into a luminous setting inspired by the evening’s theme. Guests enjoyed an elegant cocktail hour featuring a martini bar, individual caviar service from Cates Caviar, and live fashion illustrations by Alisa Maxime Studio, capturing attendees and their glamorous Opera Ball looks. John G. Turner and Hango G. Fischer

James Gaffigan and Marta Wasilewicz-Gaffigan

The evening paid tribute to Maestro Summers, who was presented with HGO’s prestigious Silver Rose Award in recognition of his remarkable tenure and enduring impact on the company. Internationally acclaimed soprano Renée Fleming, accompanied on piano by Richard Bado, delivered a captivating performance featuring selections from A Streetcar Named Desire, Gianni Schicchi, Andrew Lippa’s The Diva, and the moving finale, “You’ll Never Walk Alone” from Carousel. Following an exquisite dinner by City Kitchen, guests danced late into the evening to the sounds of The Big Beyond and bid on extraordinary auction items, including a Steinway Spirio piano signed by Fleming.

Patrick Summers, Renée Fleming, Khori Dastoor

This season’s Opera Ball— chaired by Hallie Vanderhider, Brigitte Kalai, and Farida Abjani, and honoring Betty and Jesse Tutor—will take place on Saturday, April 3, 2027. Photography by Michelle Watson and Dave Rossman Hallie Vanderhider, Brigitte Kalai, Farida Abjani

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Tony and Cynthia Petrello

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Jesse Tutor, Bobby Dees

Britt Bowker, Amanda Saunders, Hance Hughes

Tania Kanga, Nancy Gonzalez, Denise Reyes, Ona Alicia Okeke, Destiny Fernandisse

Hallie Vanderhider and Bobby Dees

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Lauren Paine, Beth Muecke

Adam and Brittany Clark, Zane and Brady Carruth

Beth Madison and Steven Hamilton

Ilana Walder-Biesanz and Ellen Liu

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John G. Turner and Hango G. Fischer

Patrick Summers, Louisa Sarofim

Tracy Maddox and John Serpe, Gemma New

Rebecca Claybourn, Roya Gordon

Cody and Kelly Nicholson

Terrylin Neale, Kristy Bradshaw

Doug Hirsch and Maureen Semple-Hirsch

Harlan and Dian Stai

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Bobby and Phoebe Tudor

Matt Healey and Denise Reyes

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PATRO N S C I RC LE R EC ITA L May 4, 2026 Houston Grand Opera’s annual Patrons Circle Recital, sponsored by Frost Bank, was a night to remember at the Junior League of Houston. Internationally acclaimed mezzo-soprano Daniela Mack, star of the company’s spring production of The Barber of Seville, captivated audiences with an intimate recital. For more information on how to access an array of experiences like this one through Patrons Circle membership, contact Miguel Robles at Philanthropy@HGO.org. Photography by Michelle Watson

Mezzo-soprano Daniela Mack

Daniel and Ximena Sessler

Sharon Ley Lietzow and Bob Lietzow, Susan Thompson

Cindy Childress and Jack Charles

Ilana Walder-Biesanz, Crystal Wreden, Constance Rose-Edwards

Malcolm and Jackie Mazow, Leonard Goldstein and Helen Wils

Jeff Nuckols, John Taylor, Michelle Huth, and John Paul Arellano of Frost Bank

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AN ALUMNA COMES HOME MEZ ZO -SOPR ANO SUN-LY PIERCE , SIEBEL IN FAUS T, ON HER TIME IN THE BUTLER S TUDIO, AND ALL THAT HA S COME AF TER . By Colin Michael Brush, Butler Studio Director

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ince graduating from the Butler Studio in 2022, mezzosoprano Sun-Ly Pierce has been building an impressive career. In 2024, she placed at one of the most important international competitions, Operalia, in addition to returning to Houston to sing Suzuki in Madame Butterfly. In 2025, she created the role of Rosa Saks in the world premiere of Mason Bates’s The Amazing Adventures of Kavalier & Clay at the Metropolitan Opera. Earlier this year, she made her LA Opera debut as Nefertiti in Akhnaten, and also sang Suzuki at Santa Fe Opera. Now she triumphantly returns home to Houston Grand Opera as Siebel in Faust. But none of this success was written. In fact, when Sun-Ly arrived in Houston in the fall of 2020 for her first year with the Studio, it was to a world turned upside down. The pandemic had closed the theater, and in place of a normal season was an empty building and an unusual amount of time. What she chose to do in that situation explains a lot about the career she has built since. We spoke with Sun-Ly shortly before she began rehearsals for Faust. Let’s start at the beginning. You came into the Studio in 2020. What was that experience like? The pandemic split it right down the middle. That first year everything was digital, and since few guest artists came in, a lot of the performance responsibilities shifted toward us Studio artists. In a way, it was a create-your-own-adventure. We had all of these resources available to us and no other time constraints. The musical coaches were entirely at our disposal, without any other obligations, because there were no mainstage performances happening. So I took the opportunity to really put my head down. I coached repertoire en masse, worked on many roles, whether or not they had been assigned to me, and took voice lessons, because I wanted my vocal technique in a place where I felt confident going into a busy mainstage season the following year. That year gave me the experience of being my own battery, of providing my own structure and my own deadlines. Setting my own expectations, rather than meeting an institution’s, helped me develop the work ethic and the level of discipline I would need once I was establishing a career on my own. I know that isn’t usually the experience in a young artist program, but with any program like this one, it really is what you make of it. If the resources are there, it’s up to you to decide how you’re going to take advantage of them. Tell us about your second year, when live performance resumed. I was given so many great opportunities all at once, and they required a great deal of multitasking. I sang in recitals and performed Mercédès in Carmen, Stéphano in Roméo et Juliette, Second Lady in The Magic Flute, and Sister Mathilde in Dialogues

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"IF THE R ESOURCES A R E THER E, IT’S UP TO YOU TO DECIDE HOW YOU’R E GOING TO TA K E A DVA NTAGE OF THEM." des Carmélites, in addition to studying the role of Blanche. And what made it possible to succeed was that first year of focus. It gave me a chance to practice working at a high capacity with a smaller responsibility load, which felt like training for the eventual marathon. It taught me what it means to focus on your current project while you are preparing the following ones, and how to stay fully prepared while continuing to develop my craft with weekly voice lessons, repertoire coachings, foreign language tutoring, and acting and movement classes. Those are resources I still call upon. What did your time at HGO teach you that you’re still carrying around? Your best may look different from one day to the next, because we’re human beings. Houston taught me that consistency over time matters far more than one single amazing day of singing, and that it’s about showing up every single day. The artists I remember most

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from my time in the Studio were the ones whose dedication was evident every day. The other thing my time at HGO taught me is that though the opera industry can feel overwhelmingly large and global, it is actually quite small, and very much like a family. It’s important to try your best to be a respectful and positive contributor. When you’re in a young artist program, you encounter all kinds of people and working environments in a short period of time. In a single season, you may work on five different shows with five completely different casts and creative teams. It gives you a real appreciation for healthy working environments where everybody is working positively toward the same shared goal. Your career has really taken off since you left. Tell us about a moment that stands out. Placing in Operalia. Having spent most of my developmental time in the United States, and knowing that this art form is fundamentally international, I understood that I needed an opportunity to put myself in front of international colleagues. I knew that Operalia is one of the biggest and most respected international opera competitions, and that it often opens important doors for the singers who place in it. I had never done a major international audition tour, and had competed in only few competitions. I thought, you may as well go big or go home. I applied, hoped, and it worked out well enough to get me recognized by many important international opera houses and colleagues. What you can tell our audiences about Kavalier & Clay at the Met? I believe strongly in the power of writing down your manifestations and your long-term goals. I keep a note on my phone with my dream roles, my goals for repertoire and for my technique. A main goal of mine ever since I was in school was to premiere a role at the Metropolitan Opera, to create something from scratch at a

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house of this level. Opening the Metropolitan Opera season with a principal role in The Amazing Adventures of Kavalier & Clay realized that goal. The room was unlike any I have ever worked in. So many people were involved: the composer, librettist, director, assistant director, diction coach, dramaturg. Feedback arrived from every direction at once, which could be overwhelming. What the piece taught me was patience with myself, and trust in the process. Singers want to please, to prove on the first try that they can deliver perfection. That is impossible in a piece being written as you rehearse it. Music was edited and cut while we worked, and we would stage the whole thing only to go back and restage it. What I learned was to give myself some grace, and to recognize that opening night is what truly matters. The process was long and demanding, and everyone gave it everything they had, which made what came next all the more satisfying. Many of the initial performances sold out, and the day after opening, my manager called to say the Met was adding performances in February. Opera houses almost never revive a production in the same season. It meant we had a hit on our hands!

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Now you’re coming home to HGO. Tell us about what you’re looking forward to.

What advice would you give our current Studio artists?

I love Faust, and I love pants roles! I performed Siebel once before, so of course I am excited to bring my interpretation to my home company. Coming back to the house where you trained for so long is a strange thing, because it is hard to separate yourself from the young artist you were back then. Returning as a professional is also exciting for exactly that reason. The time away has let me work out who I am as an artist on my own terms.

It’s easy to worry about the future at any stage of one’s career. I still do it myself, and I’m in the earliest days of mine. You wonder whether you’ll find management, and if the work will come. What I tell myself is that if I have time to worry, I have time to practice. Go to the practice room instead. Work on a language. I know how boring that sounds, and I’m not always a workaholic! There is plenty outside of music that fulfills me. But I’ve come around over the last couple of years to a simple idea: consistent work gets noticed, and the right opportunity finds the person doing it. At some point, you have to trust that it will happen when it’s meant to.

What I took for granted while I was in Houston was the community you are handed at HGO. You walk into work and your friends are already there, people you have been alongside for months. Then you enter the “real world,” and you find that you are a bit of a lone ship, responsible for building that community yourself while navigating a new working environment every two months. More than anything, I’m excited to see my people here. I remain close with my Studio underwriters, Charlene and Chuck Nickson, as well as John Serpe and Tracy Maddox. They still travel around to see my shows and have even gifted me airline miles to help with flights for auditions. I’ve seen them and their kids in New York. They invite me to their Christmas party every year, and every single time I’ve been working, so I’m happy to be back and spend some time with them. What about Houston, as a city? Being back, I am of course very ready to eat, especially at my favorite place, Uchi. I miss H-E-B and our giant Texas grocery stores, especially now that I’m working more in Europe and having to fish through the small options in the cute little supermarkets there. Houston’s Asian food scene is a big part of my excitement too, because there are so many great Asian supermarkets here. As a half Asian person, that’s really important to me, and difficult to find in a lot of the places where I work.

When I was in the Studio, I was always treating the next hurdle as the last one. Once I get through this rehearsal, I’ll be able to relax. Once I’ve learned this piece, I’ll be able to relax. But there was always a next challenge. Leaving a young artist program only makes it harder, and the only thing you can do is get stronger at carrying the pressure. So work hard, and get as good as you possibly can at being uncomfortable. 

An HGO favorite: Pierce as Jack in The Wreckers (2022), Mercedes, left, in Carmen (2021), 2nd Lady, center, in The Magic Flute (2022), Snake in The Big Swim (2024), and Suzuki in Madame Butterfly (2024).

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BUTLER STUDIO ARTISTS 2026 –27 Tzvi Bat Asherah, Bass-Baritone

Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr./ Leonard A. Goldstein and Helen B. Wils/ Josh and Mindy Davidson/ Elaine Finger Fellow

Elizabeth Hanje, Soprano

Tzu Kuang Tan, Pianist/Coach

Scarlett Jones, Soprano

Luka Tsevelidze, Tenor

Ms. Marty Dudley/ Diane Marcinek Fellow

Maeve Berry, Pianist/Coach

Diana Strassmann and Jeffrey Smisek Fellow

Drs. Daniel and Ximena Sessler/ Drs. Ian and Patricia Butler/ Kathleen Moore and Steven Homer Fellow

Misael Corralejo, Tenor

Geonho Lee, Baritone

Alejandra and Héctor Torres/ Cody and Kelly Nicholson/ Michelle Beale and Dick Anderson Fellow

Sam Dhobhany, Bass-Baritone Dian and Harlan Stai Fellow

Alissa Goretsky, Soprano

Gloria M. Portela/ Susan Bloome/ James M. Trimble and Sylvia Barnes Fellow

Mr. and Mrs. James W. Crownover/ Dr. and Mrs. Miguel Miro-Quesada/ Dr. John Serpe and Tracy Maddox Fellow

Melinda and Bill Brunger Fellow

Ken and Donna Barrow/ Barbara and Pat McCelvey/ Andrey and Irina Polunin/ Rita Leader/ Jill A. Schaar and George Caflisch Fellow

Ziniu Zhao, Bass

Carolyn J. Levy/ Dr. Peter Chang and Hon. Theresa Chang and Friends Fellow

Lauren Randolph, Mezzo-Soprano

Elizabeth Schwarze/ Diana Strassmann and Jeffrey Smisek/ Dr. Laura E. Sulak and Dr. Richard W. Brown Fellow

B U T L E R S T U D I O FAC U LT Y & S TA F F Colin Michael Brush, Director

Sponsored by Christopher Bacon and Craig Miller, Mr. Jack Bell, Mr. Eliodoro Castillo and Dr. Eric McLaughlin, Lynn Gissel, and Ms. Lynn Des Prez

Maureen Zoltek, Music Director

Peter Pasztor, Principal Coach

Sponsored by the Mr. and Mrs. James A. Elkins Jr. Endowment Fund

Nicholas Roehler, Assistant Conductor Madeline Slettedahl, Assistant Conductor

Mr. and Mrs. Albert B. Alkek Chair

Nadya Mercado, Program Assistant

Kiera Krieg, Manager

Christa Gaug, German Instructor

Connor Behrmann, Interim Manager

Enrica Vagliani Gray, Italian Instructor

Stephen King, Director of Vocal Instruction

Sponsored by Jill and Allyn Risley, Janet Sims, and the James J. Drach Endowment Fund

John Churchwell, Head of Music Staff

Alley Theatre, Drama Instruction Patrick Summers, Conducting Instructor and Guest Musical Coach Mo Zhou, Guest Drama Instructor Stephen Neely, Guest Drama Instructor Nino Sanikidze, Russian Diction Coach Warren Jones, Guest Musical Coach

Sponsored by Marsha Montemayor

Margo Garrett, Guest Musical Coach

Neda Zafaranian, English Instructor

Pierre Vallet, Guest Musical Coach

Seti Ghadimi, French Instructor

Francesca Zambello, Guest Drama Instructor

Brian Connelly, Piano Instructor

BUTLER STUDIO SUPPORTERS The Sarah and Ernest Butler Houston Grand Opera Studio is grateful for the underwriting support of Ms. Marty Dudley, Drs. Rachel and Warren A. Ellsworth IV, Mrs. Estela Hollin-Avery, Mr. and Mrs. Richard J. Langenstein, Stephanie Larsen, and Jeff Stocks and Juan Lopez. The Butler Studio is also thankful for the in-kind support of the Texas Voice Center and for the outstanding support of the Magnolia Houston hotel. Additional support for the Butler Studio is provided by the following funds within the Houston Grand Opera Endowment, Inc.:

James J. Drach Endowment Fund

Mary C. Gayler Snook Endowment Fund

The Evans and Portela Family Fund

Tenneco, Inc., Endowment Fund

Carol Lynn Lay Fletcher Endowment Fund

Weston-Cargill Endowed Fund

William Randolph Hearst Endowed Scholarship Fund Jackson D. Hicks Endowment Fund Charlotte Howe Memorial Scholarship Fund Elva Lobit Opera Endowment Fund Marian and Speros Martel Foundation Endowment Fund Erin Gregory Neale Endowment Fund

Michelle Beale and Dick Anderson Endowed Studio Fund

Dr. Mary Joan Nish and Patricia Bratsas Endowed Fund

The Gordon and Mary Cain Foundation Endowment Fund

John M. O’Quinn Foundation Endowed Fund

Marjorie and Thomas Capshaw Endowment Fund

Shell Lubricants (formerly Pennzoil Quaker State Company) Fund

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The Young Artists Vocal Academy (YAVA) is generously supported by Ms. Donna Saurage, Mr. and Mrs. Robert N. Wakefield, Gwyneth Campbell, and David and Norine Gill. Additional in-kind support is generously provided by the Magnolia Houston hotel.

OUT OF CHARACTER By Catherine Matusow

he great soprano Patricia Racette made her HGO debut in 1999 in one of her signature roles: Violetta Valéry in La traviata. By then, she was a decade into a soaring career that had garnered her myriad awards and brought her to the Metropolitan Opera each season, in addition to engagements at houses across the country and the world. It’s no surprise that the soprano’s Violetta at HGO became her “latest triumph,” as the Houston Press put it, writing that she “practically sizzles between rasping coughs.” As it happened, that same Traviata was also the HGO debut of another important figure at the company, one Maestro Patrick Summers, who would make sure Houston audiences experienced Racette’s sublime voice again and again over the ensuing years: they were treated to her insightful interpretations of Cio-Cio-San in Madame Butterfly, the title characters in Jenůfa and Tosca, Alice Ford in Falstaff, Madame de Croissy in Dialogues of the Carmelites, and other iconic roles. It was back in 2000 that Racette originated a role for an HGO world premiere: Love Simpson in Carlisle Floyd’s Cold Sassy Tree. “We had great mutual respect,” she says, recalling her relationship with the late composer. “He was just brilliant. He was warm, with a wonderful heart—so unbelievably

Credit: Katy Anderson

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skilled and talented, and so clearminded about what he wanted.” Now, in 2026, Racette is returning to Houston for a different role altogether: she’s making her HGO directorial debut for Floyd’s Susannah. The composer’s masterpiece is close to Racette’s heart, as she is celebrated not only for her own portrayal of the title character, but for directing the opera at houses including the Opera Theatre of Saint Louis, where today she serves as Artistic Director, in addition to leading that company’s Gerdine Young Artist and Richard Gaddes Festival Artist programs. During a fascinating Zoom conversation about her life and career, she told us more… I read that you performed as Susannah when you were in college. Yes, I was a sophomore at the University of North Texas, but they were doing it at Fort Worth Community College. I was approached to perform the role, and I had to pay to supposedly take a class in order to participate. (laughs) It was 45 minutes away, and I didn’t have a car, so the woman playing Mrs. McLean was kind enough to drive me back and forth to rehearsals. I also did a competition, and the two arias that I sang were Susannah’s—“Trees on the Mountains” and “Ain’t It a Pretty Night?” And do you know who one of the judges was? Phyllis Curtin, the original Susannah. Patrick Summers says every soprano wants to sing Susannah. Why is that? Well, it’s her journey, theatrically speaking. It’s her trust and innocence in what is good, juxtaposed against this narrow-minded community around her that teaches her otherwise. There are gorgeous melodies to sing; powerful storytelling; and the appeal of portraying a character that is so, so deeply human. That, I think, is the real draw. There’s a power, and a freedom about this human being that, unfortunately, we see oppressed and almost snuffed out. It’s a really riveting journey.

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Does a role like this take an emotional toll? My personal approach to things is, if I’m not devastated by the end of the evening, I haven’t done my job. So, yes, I like being inside a given character in totality. And I think that’s what transports our viewers, our listeners, and also serves the art form and the work at its best—when we offer our life’s blood in what we do—and we need that, you know? We need that more than ever now. Do the themes in Susannah still resonate today? In this opera, we watch an innocent young woman lose her faith in the people around her through the weaponization of religion, and the

"THE JOKE WAS THAT I' VE ALWAYS BEEN DIRECTING... BECAUSE I HAD A HARD TIME MINDING MY BUSINESS AS A LEADING L ADY."

cherry-picking of the truth through dogmatic, narrow-minded, intolerant thinking. Unfortunately, when intolerant narrow-mindedness finds company, it ends up being the lowest common denominator of behavior. And even those who might want to dissent succumb to the peer pressure. That is still very much relevant today. And the lesson in that, sadly, does not get resolved in this story. But I think we like seeing our stories on stage. We like seeing what we, as human beings, experience in life. We like seeing that up there. It’s cathartic, and I think it’s important. What can you share about your approach to directing Floyd’s opera? Well, I sang Susannah at San Francisco Opera in 2014, and what’s interesting is, when you’re a leading lady and you’re doing the eponymous character, you’re very mono-minded, focused on Who am I? What do I have to say? How do I relate to my scene partners? But as a director, you have to broaden that lens and look at the entire visual narrative and how it unfolds theatrically. And so, for this production, I’m backing up a few thousand feet and considering, what do I want the story to tell? And the way I approach the storytelling is treating the chorus—the community, I should say—almost as a singular entity because of the mob mentality. My focus is going to be articulating the realities of the people in this community visually— through lighting and staging, conjuring the physical behavior of the mob. Since making your directorial debut in 2018, you’ve become known as a collaborative director. I would say, not only collaborative, but I also insist on drawing out very specific individualized performances from my artists, because from that side of the curtain, that’s what I have valued: articulating in a very specific, nuanced, invested, individualized way, any given moment, and any given character. It’s also important, I think, for a director to work from a single gesticular and

Racette created the character of Love Simpson in the world premiere of Carlisle Floyd's Cold Sassy Tree at HGO in 2000.

physical palette, so that the storytelling all makes sense—you have to be able to guide not only the performances of each individual, but also the audience’s eye to the story you’re telling. Tell us about Floyd’s score. Simply put, every note serves the drama. He always used the orchestra to illuminate the psychological states and the emotional undercurrents. In a way, the orchestra becomes a storyteller in and of itself. And the music is so accessible while also having complexity and maintaining a sophistication. I consider myself to be a very musical director. The music tells me what my staging is. It tells us how we feel before we have words for it. That’s the magic of opera, in my view, the magic of that other language that attaches to what we think and feel. And Carlisle was a master. He’s a true American treasure. What was it like being together with him in Houston for Cold Sassy Tree? I remember one instance, when Carlisle came up to me. It was the church scene,

and the pitch levels were very punishing. They’re in the passaggio—the transition into another register. It’s usually sort of in the upper part of the voice before you get into the really high notes. And those are always tricky to traverse. And he came up to me after one of the rehearsals, and he said, That’s a bit punishing, isn’t it? I said, Uh-huh. (laughs) So he made an adjustment there. That was an amazing, amazing score, as well. You talked about broadening the lens as a director. Now in your new role with Opera Theatre of St. Louis, you’re broadening it even further. It’s embracing something bigger. I’ve been there seven years now. My first capacity was as the artistic director of the young artist programs, and when I was approached about the artistic director position, I made it clear. I said, I’m not abandoning that. My passion for working with young artists burns brightly. I consider them my younger colleagues. They’re the people who are going to take the reins, and so I’m

excited to help in their development. I frankly have a lot to offer them through 38 years of experience. The artistic director position broadens the scope—lets me put my arms around the entire company. And having just had my first season, I love it. I love having the opportunity to contribute and comment on how this art form should be realized. It’s safe to say you love being a director. I love it. I love it. I really do. The joke was that I’ve always been directing, even when I’m singing, because I had a hard time minding my own business as a leading lady. But I’ve always valued the real totality of this art form. I’ve never been a singer who just wants to make sound. For me, in fact, I didn’t find opera appealing until I realized, Oh, my God, this is theater, and how incredible to lift it and enhance it through music. So, this was a no-brainer for me. Frankly, I’ve felt like a duck in water from my very first outing.

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SU PP ORTERS

HGO SUPPORTERS HGO is deeply grateful to our transformative supporters whose generosity reinforces our position as a beacon of 21st-century opera. These philanthropic partners enable critical initiatives across our organization—from commissioning groundbreaking new works to producing Grammy Award-winning recordings—that advance the future of opera on the world stage. Through their remarkable commitment, they shape the cultural landscape of our city. For more information on joining this esteemed group, please contact Darcy Douglas, chief philanthropy officer, at 713-546-0209 or DDouglas@HGO.org.

PR E M I E R G UA R A NTO R ($ 1 M+) S A R A H A N D ER N E S T B U T L ER

HGO subscribers for over 35 years, Sarah and Ernest made the largest gift to HGO in company history in 2023, creating a new fund within the HGO Endowment valued at $22 million and becoming the naming partner for the Sarah and Ernest Butler Houston Grand Opera Studio. They are also the lead underwriters for the company’s digital artistic programming. Ernest and Sarah reside in Austin and are longtime supporters of Ballet Austin, Austin Opera, Austin Symphony Orchestra, the Texas Cultural Trust, and the University of Texas Butler School of Music, which has carried their name since 2008. Sarah and Ernest are world travelers, and they never miss an opportunity to see opera in the cities they visit. A N N E A N D A L B ER T C H AO

Anne and Albert have been subscribers and supporters of HGO for over 20 years. While serving as Executive Chairman of the Board of Westlake Corporation, Albert finds time for numerous cultural causes including serving on the board of Rice University and the Asia Society Texas Center. He is a member of the HGO Board of Directors and was the co-chair of Inspiring Performance—The Campaign for Houston Grand Opera. Over the years, the Chaos have sponsored HGO signature events, the Butler Studio, Song of Houston, and mainstage productions. The couple has also supported the HGO Endowment. In April 2023, they chaired the Opera Ball. T H E CU L L EN F O U N DAT I O N

For more than three decades, The Cullen Foundation has been a vital member of the HGO family. Established in 1947, the Foundation has a long history of giving generously to education, health care, and the arts in Texas, primarily in the Greater Houston area. HGO is grateful for the Foundation’s longstanding leadership support of HGO’s season activities.

MS. MART Y DUDLEY

Ms. Marty Dudley became a lover of HGO when she started subscribing and attending HGO signature events in 2023. A member of the HGO Board of Directors, Marty currently serves as the vice president and secretary of the Dudley Family Foundation and believes deeply in funding research and education at Houston Methodist Hospital, Inova Health System, and Purdue University, to name a few. Her profound love of education and young artists make Marty a wonderful supporter of the Butler Studio. This season, Marty is underwriting third-year Butler Studio artist and 2024 First Prize Concert of Arias winner Elizabeth Hanje. H O U S TO N EN D OWM EN T

Houston Endowment is a private foundation established in 1937 by Jesse H. Jones and his wife, Mary Gibbs Jones, to improve the quality of life for everyone in Greater Houston. Today, it has more than $2 billion in assets and invests about $100 million a year in strengthening public education, increasing civic engagement, enhancing the region's arts sector, and growing Houston's greenspaces-as well as addressing emerging opportunities in our region. Working with fellow Houstonians, Houston Endowment pursues bold goals, builds partnerships, and invests in innovative solutions to create a vibrant region where all have the opportunity to thrive. H O U S TO N G R A N D O PER A EN D OWM EN T, I N C .

Established and incorporated in 1982, the Houston Grand Opera Endowment (HGOE) is a vital financial management tool that ensures HGO has a reliable, regular source of income. Today, the Endowment contains over 50 named funds, both unrestricted and restricted, and annually distributes 4.5 percent of the Endowment’s average market value to HGO, making it the company’s largest single annual funder. The HGOE Board is led by Marianne Kah. C L A I R E L I U A N D J O E G R EEN B ER G

Claire and Joe have subscribed to HGO for many seasons and are members of HGO’s Founders Council for Artistic Excellence. Claire, a current member and former Chair of the HGO Board of 72

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HGO Directors, serves a Senior Chair of the Board and Chair of the Governance Committee. She is retired from LyondellBassell Industries, where she led the corporate finance team, and was formerly a managing director with Bank of America. Joe is founder and CEO of Alta Resources, L.L.C., a private company involved in the development of shale oil and gas resources in North America. Claire and Joe support many organizations, with particular emphasis on educational organizations including YES Prep and Beatrice Mayes Charter School. An avid runner, Claire has completed marathons in all 50 states. S A R O FI M F O U N DAT I O N

Established by Fayez Sarofim, Sarofim Foundation was created in gratitude for the opportunities that this country and Houston provided him as an emigrant from his native Egypt. The Foundation has had a significant, lasting impact on Houston and beyond, particularly in education, healthcare, and the arts. HGO is grateful to the Sarofim Foundation for its continued dedication to the arts and the unique power of opera. D I A N A N D H A R L A N S TA I

Harlan, a member of the HGO Board of Directors, and Dian are charter members of HGO’s Founders Council for Artistic Excellence. Their leadership support has touched every part of HGO, including mainstage productions, the Butler Studio, the HGO Endowment, and signature events. The Stais have also sponsored Butler Studio artists, and they host annual recitals featuring Butler Studio artists at Mansefeldt, their renowned Fredericksburg ranch. HGO was privileged to recognize Dian and Harlan as the honorees of Opening Night 2008, as well as the 2014 Concert of Arias and the 2025 Opera Ball. T H E WO R T H A M F O U N DAT I O N , I N C .

In the 1980s, the Wortham Foundation contributed $20 million to lead the capital campaign for the Wortham Theater Center, guided by businessman Gus S. Wortham’s early recognition of the vital role of the arts in making Houston an appealing place to live and work. During their lifetimes, Gus and his wife, Lyndall, were dedicated to improving the lives of Houstonians. The Foundation continues to support HGO through the Wortham Foundation Permanent Endowment and generous annual operating support. This leadership support has been vital to the Opera’s growth and commitment to excellence.

PR I N CI PA L G UA R A NTO R ($ 5 0 0 K+) T H E CU L L EN T R U S T F O R T H E PER F O R M I N G A R T S

The Cullen Trust for the Performing Arts has been a lead underwriter of HGO’s mainstage season for

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over 40 years. The Trust was established from assets of The Cullen Foundation to specifically benefit Texas performing arts institutions, particularly those within the Greater Houston area. The Cullen Trust has provided lead support for memorable productions including HGO’s Family Opera Series and, most recently, has funded an expansion of partnerships with MacGregor Park and other Third Ward organizations. HGO is grateful to the Trust for their many years of steadfast support. T H E B R OWN F O U N DAT I O N , I N C .

The Brown Foundation, Inc., established in 1951 by Herman and Margarett Root Brown and George R. and Alice Pratt Brown, has been a treasured partner of HGO since 1984. Based in Houston, the Foundation distributes funds principally for education, community service, and the arts, especially the visual and performing arts. HGO is tremendously grateful for The Brown Foundation’s leadership support, which has been critical to the company’s unprecedented growth and success in recent years. C I T Y O F H O U S TO N / H O U S TO N ARTS ALLIANCE

Houston Arts Alliance partners with HGO to bring operatic excellence to Houston. A subsidiary of the City of Houston, Houston Arts Alliance works to implement the City of Houston’s vision, values, and goals for its arts grantmaking and civic art investments. HGO is also grateful to Houston Arts Alliance for their civic leadership and generous support. SAR A AND BILL MORGAN

Sara and Bill have been supporting HGO since 2002. Sara is a co-founder of the Houston Center for Contemporary Craft, where she currently serves on the board. Bill is a co-founder of the Kinder Morgan companies and the retired vice chairman and president of Kinder Morgan, Inc., and Kinder Morgan Energy Partners, LP. The Morgans support Community & Learning initiatives, HGO’s signature events, and mainstage productions. HGO is thrilled to have Sara serve on the HGO Board of Directors and as a member and past chair of the Community & Learning Committee. L AU R A M C WI L L I A M S

A devoted HGO subscriber for over 35 years, Laura McWilliams has long been a passionate advocate for the company, a joy she shared until recently with her late husband, Brad. A longtime Trustee, Laura previously served on the HGO Finance Committee and chaired the Annual Fund Drive. She currently serves on the Laureate Society Council. Laura and Brad’s generosity has touched nearly every area of the company, including its signature events—they chaired the 32nd Annual Concert of Arias in 2020. Most recently, they created the McWilliams Fund for Artistic Excellence to underwrite HGO’s HGO.ORG

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mainstage operas for the 2022-23, 2023-24, and 2024-25 seasons. Brad’s commitment to HGO was deeply felt, and his presence is profoundly missed.

G R A N D G UA R A NTO R ($ 2 5 0 K+) J O E A N D M A R I A N N E G E AG E A

Joe and Marianne have been supporters and subscribers of HGO since 2022. After a distinguished 40-year career with the Chevron Corporation, Joe retired in June 2022 as Executive Vice President and Senior Advisor to Chevron’s Chairman and CEO. Joe and Marianne love all manner of art and support institutions such as the Museum of Fine Arts, Houston and the Houston Ballet where Marianne serves on the board of trustees. Joe has been on the HGO Board of Directors for three years and is currently leading our strategic planning committee. H U M PH R E Y S F O U N DAT I O N

Based in Liberty, Texas, the Humphreys Foundation has been a major underwriter of HGO’s mainstage season since 1980. Geraldine Davis Humphreys (d. 1961), a member of the pioneer Hardin family of Liberty, Texas, bequeathed her estate to Humphreys Foundation, which was formally established in 1959. The Foundation provides support for performing arts in Texas and college scholarship funding for students in the arts. Linda Bertman, Louis Paine, and Jeff Paine serve as trustees of Humphreys Foundation. The Foundation is a lead supporter of HGO’s musical theater series, including last season’s critically accalimed production of West Side Story.

T H E R O B ER T A N D JA N I C E M C N A I R F O U N DAT I O N

Established in 1988, the Robert and Janice McNair Foundation invests in Houston as a place of opportunity. Support of HGO's 2026-27 season is dedicated to the memory of Janice McNair, who deeply loved the opera and wanted others to have the opportunity to love it too. From supporting radio broadcasts and the creation of Community and Learning initiatives to helping launch the company's holiday opera series, the McNairs' generosity brought HGO into the lives of generations of audiences who might not otherwise have encountered it. The McNair Foundation continues to champion a city where all residents have access to world-class experiences through ongoing support of HGO's student and family programming. N OV U M EN ER G Y/ M A R C I A A N D A L FR ED O V I L A S

Alfredo Vilas is a passionate lover of opera, serves on the HGO Board of Directors, and together with his wife Marcia chaired HGO’s unforgettable “Cielito Lindo” Opera Ball in 2019. Vilas is the President and Chief Executive Officer of Novum Energy, a global supplier and logistics group of companies founded in 2011 with its original operations focused on Latin America. Novum Energy has been a leading corporate sponsor of HGO for more than a decade, and the Vilases, Novum Energy, and the Novum Foundation recently have expanded their partnership to support HGO’s Latin American initiatives, including making possible the company's Novum Fellowship program, which each season brings a group of outsanding Latin American artists to Houston for intensive training.

EL IZ A B E T H A N D R I C H A R D H U S S EI N I

We like to think that HGO helped “set the stage” for Elizabeth and Richard Husseini’s love story. When a set malfunction at the end of the first act of HGO’s The Flying Dutchman forced Maestro to re-start the opera from the top, the two seatmates bonded in their shared delight that they got to hear more Wagner! The two got engaged one year later (at HGO, of course). Richard is a tax partner at Kirkland & Ellis, a generous HGO corporate supporter, and a member of both the HGO Board of Directors and the HGO Endowment Board. Elizabeth, who serves on the HGO Philanthropy Committee, retired from Baker Botts as a corporate and securities partner and supports organizations including Catholic Charities of the Archdiocese of Galveston-Houston, Preservation Houston, the Junior League, and River Oaks Baptist School, which the Husseinis’ two sons attend. Enthusiastic supporters of the young artists and alumni of the Butler Studio, the couple chaired the 2019 Concert of Arias.

FALL 2026

J O H N G . T U R N ER & H A N G O G . FI S C H ER

John and Hango, based in Baton Rouge, Louisiana, travel around the world to experience the best that opera has to offer. HGO subscribers and donors for over a decade, the couple’s leadership support of Wagner’s Ring cycle (2014-17) was the largest gift ever made to the company for a single production. John, a shareholder at Turner Industries Group, is a senior member of the HGO Board of Directors and past chair of the Butler Studio Committee. Hango is a board member of Baton Rouge Symphony Orchestra. In recent years, John and Hango have supported HGO mainstage productions, the Butler Studio, and signature events. They are members of the Founders Council for Artistic Excellence, and John is a member of the Laureate Society. Most recently, they chaired the 2026 Opera Ball.

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I M PR E SA R I O S C I RC LE ($ 1 0 0 K+) T HE J OA N A ND S TA NFO RD A LE X A ND ER FA MILY FUND

The Stanford and Joan Alexander Foundation has been a steadfast supporter of HGO for more than two decades. The Foundation’s deep commitment to Houston’s community is exemplified by their support of public programs such as Giving Voice and HGO’s student performances, which expand access to the arts for young people and families across the city. In addition to championing these vital community initiatives, the Foundation has helped make possible HGO’s world-class productions, ensuring that opera remains accessible and inspiring for all Houstonians.

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Janet and John have been HGO supporters and subscribers since 2007. Both worked at ConocoPhillips before retiring, Janet as Senior Vice President and John as President and Chief Operating Officer. Active members of their community, Janet and John serve on many boards including the advisory board of the National Association of Corporate Directors, the Council of Overseers for the Jesse H. Jones Graduate School of Business at Rice University, and The Alley Theatre in Houston. Janet also serves on the HGO Board of Directors, where she is the Philanthropy Committee Chair. The company is grateful to Janet and John for helping underwrite our 2026-27 season. LO U I S E G . C H A PM A N

R O B I N A N G LY A N D M I L E S S M I T H

HGO subscribers Robin and Miles joined the Founders Council in 2010. The company is honored to have Robin as a senior member of the HGO Board of Directors and a member of HGO’s Laureate Society. The couple is familiar with the view from the HGO stage as well—both are former singers in the HGO Chorus. Robin and Miles have been donors to HGO signature events, the Young Artists Vocal Academy, and HGO’s Ring cycle, as well as Community & Learning Initiatives. They are charter members of the Impresarios Circle and generously underwrite a mainstage production each season.

Louise Chapman of Corpus Christi, Texas, a longtime supporter of HGO, is a senior member of the HGO Board of Directors. Louise’s late husband, John O. Chapman, was a South Texas agricultural businessman and philanthropist. In addition to HGO, the Chapmans have supported numerous organizations in health, education, and the arts, including Texas A&M University, the Corpus Christi Symphony, and the Art Museum of South Texas. CO N O CO PH I L L I P S

ASTLEY BL AIR

An HGO subscriber for over 20 years, Astley is the current Chair of the HGO Board of Directors. He is currently the CFO of the Marine Well Containment Company, and his experience is built on years of technical education with the Association of Accounting Technicians. Active throughout Houston, Astley gives his time to Houston Food Bank, United Way, and initiatives to support STEM education. He is the past chairman of the Center for Houston’s Future and a board member of the Houston Airport System Development Corporation. Astley is an enthusiastic supporter of HGO signature events and chaired the Opening Night Dinner for the 2014-15 season. T H E C A R O L FR A N C B U C K F O U N DAT I O N

The Carol Franc Buck Foundation has generously supported HGO since 1986. Carol was an avid adventurer and supporter of the arts, and she fondly remembered going to the San Francisco Opera with her mother as a child. Since her passing in 2022, the Foundation has continued her vision of supporting the arts across the United States, with a special emphasis on Wagner’s operas. The Foundation supported HGO’s production of Wagner’s Tannhäuser in the 2024-25 season, as well as Kevin Puts’s Silent Night in 2025-26.

For over 40 years, ConocoPhillips has supported various programs at HGO, from signature events to mainstage productions, including a long-standing tradition of supporting HGO’s season-opening operas. In 2009, the company gave a major multi-year grant to establish ConocoPhillips New Initiatives, a far-reaching program that allows the Opera to develop new and innovative education and community collaboration programs. Kelly Rose, general counsel and SVP, serves on the HGO Board of Directors. M O L LY A N D J I M C R OWN OV ER

Molly and Jim have been HGO subscribers for over 30 years and are members of the Laureate Society. Jim has been a member of HGO’s Board of Directors since 1987, including service as chairman from 2016-18 and on the Executive, Governance, Development, and Finance Committees. In 1998, Jim retired from a 30-year career with McKinsey & Company, Inc. and has served on myriad corporate and non-profit boards including Rice University (past board chair), United Way (past campaign chair), and most recently as M.D. Anderson Foundation President. Molly serves on the Butler Studio Committee. She also serves on the Advisory Board of The Shepherd Society at Rice University and the Houston Ballet Board of Trustees (past Executive Committee and Ballet Ball chair). In addition to chairing both Concert of Arias and Opening Night Dinner, Molly and Jim have been honorees at both events. HGO.ORG

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SU PP ORTERS J O S H A N D M I N DY DAV I D S O N

Josh and Mindy Davidson have been season-ticket holders and supporters of HGO since 1986, making them among HGO’s most enduring advocates. Josh serves on the HGO Board of Directors. He retired as a partner from Baker Botts at the end of 2024 having spent 39 years at the Firm as a corporate securities lawyer. He is still active with the Firm as senior counsel. Josh currently serves as a Vice Chair of the Board of Directors of the Houston Zoo. Mindy also had a long legal career, including most recently as the Executive Director of the Houston Bar Association before she retired in 2024. Mindy currently serves on the Boards of Directors of the Houston Area Women’s Center and Mercury Chamber Orchestra. HGO is deeply grateful for their longstanding generosity, including their enthusiastic support of HGO’s Signature Events. T H E EL K I N S F O U N DAT I O N

This year marks the 26 years of HGO’s partnership with The Elkins Foundation. Each year since 1956, The Elkins Foundation has contributed to numerous organizations serving Houston and the Greater Gulf Coast. They are guided by a belief that a community’s strength lies in the vision of its people and the health of its institutions. The Elkins Foundation’s support for HGO’s Community & Learning programs makes it possible for thousands of children across greater Houston to experience the transformative power of opera and the arts. The Foundation also supports HGO’s thrilling musical theater series, introducing families and newcomers to the magic of HGO. WI L L I A M R A N D O L PH H E A R S T F O U N DAT I O N

The William Randolph Hearst Foundation is a national philanthropic resource for organizations working in the fields of culture, education, health, and social services. The Foundation identifies and funds outstanding nonprofits to ensure that people of all backgrounds in the United States have the opportunity to build healthy, productive, and inspiring lives. A dedicated supporter of HGO’s Community & Learning initiatives, the Foundation helps Houstonians of all ages to explore, engage, and learn through the inspiring art of opera. FR O S T B A N K

Frost Bank has supported HGO for over a decade, helping bring to life some of the world’s most treasured operas as well as sponsoring one of the company’s most beloved events, the Patrons Circle Recital. Since Frost’s founding in 1868, the bank has invested in the communities it serves through hard work, customer service, and support of the arts, education, economic development, and health and human services. Michelle Huth, Executive Vice President, serves on the HGO Corporate Council.

FALL 2026

D R S . L IZ G R I M M A N D JAC K R OT H

HGO subscribers since the 2013-14 season, Liz and Jack have both committed themselves to cancer research and patient care through their work at The University of Texas MD Anderson Cancer Center. Jack is a member of the HGO Board of Directors and served as Butler Studio Committee Chair. Liz and Jack were generous underwriters of the company’s historic, first-ever Ring cycle and lead supporters of its German repertoire, including Elektra. Additionally, Liz and Jack chaired the 2018 Opera Ball and the 2022 Concert of Arias. M AT T H E A L E Y

Matt Healey serves on the HGO Board of Directors. He is Senior Vice President, Finance and Treasury, at Cheniere Energy, responsible for budgeting, capital planning, forecasting, and capital raising. He also owns El Segundo Swim Club, a full-service bar and swimming pool in the historic Second Ward. Matt became a huge fan of HGO the moment the curtains opened on the water tank Rhinemaidens in Das Rheingold in 2014. Although he has seen the Ring cycle in Chicago, New York, and San Francisco, the HGO production is by far his favorite. A passionate fan of German repertoire, he underwrote Salome in the 2022-23 season, Parsifal in the 2023-24 season and Tannhäuser in the 2024-25 season. H - E- B

For over 115 years, H-E-B has contributed to worthy causes throughout Texas and Mexico, a tradition proudly maintained today. And for over 20 years, H-E-B has been a lead supporter of HGO’s arts education programs for Houston area students. H-E-B’s partnership helps over 145,000 young people experience the magic of opera each season. Always celebrating Houston’s cultural diversity, H-E-B supports thrilling programming like HGO’s Giving Voice concert and various Community & Learning initiatives. H O U S TO N M E T H O D I S T

For over ten years, Houston Grand Opera has partnered with Houston Methodist, the official health care provider for HGO. Houston Methodist’s Center for Performing Arts Medicine (CPAM) is the only center of its kind in the country, comprising a specialized group of more than 100 physicians working collaboratively to address the specific demands placed upon performing artists. In addition to the first-rate medical care CPAM provides HGO artists, Houston Methodist also generously supports HGO’s mainstage season and partners frequently on Community & Learning collaborations. HGO is fortunate to have Dr. Warren Ellsworth and Dr. Apurva Thekdi serve as Houston Methodist’s corporate trustees.

HGO MARIANNE K AH

Marianne Kah has been a dedicated supporter of HGO since 2009. After a distinguished 25-year career as Chief Economist at ConocoPhillips, she now lives in Santa Fe with her husband Jeff, where she also serves on the Santa Fe Opera Board. As an advisor or board member to both educational and publicly traded entities, Kah brings her strategic expertise to HGO as Chair of the Endowment Board and member of the Executive Committee of the Board of Directors. Her commitment to advancing the art form is evident in her five-year pledge to support contemporary works at HGO, including Silent Night during the 2025-26 season.

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T ER RY L I N N E A L E

Terrylin has dedicated over five decades to volunteer fundraising in Houston, approaching each cause with passion and strategic vision. Her transformational impact on HGO began in 1976 when she joined the board, serving as chair from 1981 to 1983. She was instrumental in raising funds to build the Wortham Theater Center, and she established the HGO Endowment, which today holds over $125 million in assets. Terrylin has participated in every fundraising campaign since then, helping HGO become one of the nation’s top opera companies. K EL LY A N D DAV I D R O S E

M . D. A N D ER S O N F O U N DAT I O N

The M. D. Anderson Foundation has provided general operating support to HGO for more than 30 years, as well as several innovative investments to advance HGO’s digital infrastructure. The Foundation was established in 1936 by Monroe Dunaway Anderson, whose company, Anderson, Clayton and Co., was the world’s largest cotton merchant. While the Foundation started the Texas Medical Center and was instrumental in bringing to it one of the premier cancer centers in the world, the Foundation’s trustees also looked to improve the wellness of communities through the arts. HGO is privileged to have such a longstanding and committed partner in enhancing the quality of life for all Houstonians.

Kelly and David Rose have been supporters of HGO since 2005, most recently becoming members of the Founders Council. Together they have served HGO in many capacities, including Kelly’s tenure on the HGO Board of Directors and David’s work as a member of the Vanguard Committee. Kelly was the Senior Vice President and General Counsel of ConocoPhillips, where she oversaw legal matters, corporate governance, and the company’s charitable investments. Though retired, she continues to champion HGO’s Community and Learning programs and Signature Events, helping to extend the company’s support in ways that reflect her own deep belief in opera’s power to engage and inspire.

BETH MADISON

Beth has been a supporter of HGO for more than two decades. A past chair of the HGO Board of Directors, she is now a senior director of the HGO Board of Directors, serves on the Butler Studio Committee, and is an active member of HGO’s Founders Council. She was the honoree at the 2017 Concert of Arias. Beth generously supports the Butler Studio, signature events, and mainstage operas. She has been inducted into the Greater Houston Women’s Hall of Fame and serves on the University of Houston System Board of Regents. NABORS INDUSTRIES

Nabors Industries is a leading provider of advanced technology for the energy industry. The company owns and operates one of the largest land-based drilling rig fleets and is a provider in numerous international markets. By leveraging its core competencies, Nabors aims to innovate the future of energy and enable the transition to a lower carbon world. HGO is grateful to Nabors, and Tony and Cynthia Petrello, for generously supporting HGO’s first and second annual Family Day productions.

T E X A S CO M M I S S I O N O N T H E ARTS

The mission of the Texas Commission on the Arts (TCA) is to advance our state economically and culturally by investing in creative projects and programs. TCA supports a diverse and innovative arts community in the state, throughout the nation, and internationally by providing resources to enhance economic development, arts education, cultural tourism, and artist sustainability initiatives. Over the years, TCA has provided invaluable support to many HGO projects, including mainstage productions and a wide array of Community & Learning initiatives. V I N S O N & EL K I N S L L P

HGO has been privileged to have the support of international law firm Vinson & Elkins LLP for 40 years. For more than 100 years, Vinson & Elkins LLP has been deeply committed to empowering the communities in which it serves. The firm has enriched the cultural vibrancy of Houston by supporting HGO through in-kind legal services and contributions to signature events and mainstage productions. V I TO L

Established in 2006, The Vitol Foundation was created to make a difference in people’s lives. For the past three years, Vitol has made that HGO.ORG

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difference through its support of HGO’s Community & Learning programs. Vitol’s commitment to education gives children in the greater Houston area the opportunity to experience the magic of opera no matter their background, including through HGO’s partnership with YES Prep Public Schools, where students benefit from attending dedicated performances. HGO is grateful to Vitol for underwriting Opera Ball in 2022, 2023, 2024, and 2025, as well as Concert of Arias in 2026. M A RY- O LG A A N D J O H N WA R R EN

Mary-Olga and John Warren met in law school and are a trial lawyer and entrepreneur, respectively. Their love of opera and the performing arts stems back to MaryOlga’s childhood, listening to recordings of her cousin, who was a singer, as well as Maria Callas and many other opera greats. They generously underwrote the performance of bass Alexandros Stravakakis as Landgraf in Tannhaüser, in honor of their shared Greek heritage. Mary-Olga and John have a deep love for HGO and its work in both our community and on the world stage.

M A R G A R E T A L K EK WI L L I A M S

Margaret, a longtime singer, possesses a deep affinity for all music, and especially opera, and has supported HGO for over 30 years. Currently, Margaret continues her parents’ legacy as chairman of their foundation, where her son Charles A. Williams serves as president. HGO is humbled by Margaret’s incredible generosity and dedication to the company, both as an individual donor and through her family’s foundation. She has endowed the Margaret Alkek Williams Chair, held by HGO General Director Khori Dastoor, and is a member of HGO’s Laureate Society. A valued member of the HGO Board of Directors, Margaret was the honoree of the 2009 Opera Ball and chairman of the 2014 Ball. She also generously chaired the 2018 Hurricane Harvey benefit concert, HGO and Plácido: Coming Home! Margaret chaired the most successful Opera Ball in HGO’s history in 2025.

“ A STUNNING EXAMPLE OF WHY CONTEMPORARY WORK MATTERS SO MUCH.”

– The New York Times

F UL L A L B U M ST R E A M I N G N OW

FALL 2026

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S UPP O RT E R S

I N D I V I D UA L S U P P O R T E R S The bedrock of HGO's giving community, these donors' annual contributions are vital to our artistic excellence and shared commitment to bringing transformative opera experiences to families and students across Houston. Our dedicated supporters enjoy exclusive benefits such as Green Room access, behind-the-scenes experiences, and personalized ticket service. For more information, please contact Philanthropy@HGO.org or 713-546-0276. P R E M I E R G UA R A N T O R — $1,000,000 OR MORE

G R A N D U N D E RWR ITE R — $50,000 OR MORE

James M. Trimble and Sylvia Barnes

Prof. and Mrs. D. Nathan Meehan

Sarah and Ernest Butler

Thomas R. Ajamie

Mr. and Mrs. Jesse B. Tutor

Sharyn and Jerry Metcalf

Anne and Albert Chao

Joan Alexander

2 Anonymous

Ms. Marty Dudley

Dr. Susan Saurage-Altenloh

Dr. and Mrs. Miguel Miro-Quesada

Claire Liu and Joe Greenberg

Dr. Dina Alsowayel and Mr. Anthony R. Chase

U N D E RW R I T E R — $25,000 OR MORE

Christopher Bacon and Craig Miller

Dr. Saúl and Ursula Balagura

Jill and Allyn Risley Dian and Harlan Stai

Ken and Donna Barrow PRINCIPAL GUARANTOR— $500,000 OR MORE

Michelle Beale and Dick Anderson

Laura McWilliams

Mr. Jack Bell

Sara and Bill Morgan

Susan Bloome

G R A N D G UA R A N T O R — $250,000 OR MORE Marianne and Joe Geagea Elizabeth and Richard Husseini

Mr. Eliodoro Castillo and Dr. Eric McLaughlin Jane Cizik Mathilda Cochran Ms. Lynn Des Prez Misook Doolittle

Mr. and Mrs. Frank N. Barnes Meg Boulware and Hartley Hampton Melinda and Bill Brunger Drs. Ian and Patricia Butler Catherine Cabrera Ms. Kiana K. Caleb Dr. Peter Chang and Hon. Theresa Chang Mr. and Mrs. Michael Clancy Shelly Cyprus Rebecca and Brian Duncan

Mr. and Mrs. Alfredo Vilas

Mrs. Nancy Dunlap

Mr. John G. Turner and Mr. Hango G. Fischer

Elaine Finger

Drs. Rachel and Warren A. Ellsworth IV

Jennifer and Benjamin Fink

Duke Ensell

Amanda and Morris Gelb

Mr. and Mrs. Russell M. Frankel

Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr.

Dr. and Mrs. Ronald Galfione

IMPRESARIOS CIRCLE— $100,000 OR MORE Robin Angly and Miles Smith Astley Blair

Dr. Selda Gunsel and Mr. Don Pferdehirt

Lynn Gissel Leonard A. Goldstein and Helen B. Wils

Marsha L. Montemayor Sid Moorhead Cody and Kelly Nicholson Mr. and Mrs. Charles G. Nickson Beverly and Staman Ogilvie Susan and Ward Pennebaker Elizabeth Phillips Gloria M. Portela Ms. Katherine Reynolds Mr. Lee Riley and Mrs. Charlos Ward Ms. Constance Rose-Edwards Matthew L. Ringel Mr. Mike Rydin Jill A. Schaar and George Caflisch Drs. Daniel and Ximena Sessler Jeff Stocks and Juan Lopez Dr. Laura E. Sulak and Dr. Richard W. Brown Rhonda Sweeney Mr. Scott B. Ulrich and Mr. Ernest A. Trevino

Janet and John Carrig

Janet Gurwitch and Ron Franklin

Louise G. Chapman

Dr. Linda L. Hart

Mr. and Mrs. James W. Crownover

Gary Hollingsworth and Ken Hyde

Josh and Mindy Davidson

Mr. and Mrs. Blair Labatt

Drs. Liz Grimm and Jack Roth

Diane Marcinek

Matt Healey

Barbara and Pat McCelvey

Mr. and Mrs. Richard J. Langenstein

Marianne Kah

Amy and Mark Melton

Stephanie Larsen

Alan and Frank York

Carolyn J. Levy

Mr. David Montague and Mrs. Diane FerrufinoMontague

Lori and David LePori

Nina and Michael Zilkha

Rita Leader

2 Anonymous

Beth Madison Kathleen Moore and Steven Homer

Andrey and Irina Polunin

Terrylin G. Neale

Dr. John Serpe and Tracy Maddox

Kelly and David Rose

Elizabeth Schwarze

Mary-Olga and John Warren

Merrill Shields and Ray Thomasson

Margaret Alkek Williams Anonymous

Diana Strassmann and Jeffrey Smisek Alejandra and Héctor Torres

Mrs. Estela Hollin-Avery Michelle Klinger and Ruain Flanagan Dr. Alexandra Ikeguchi in memory of Joan Edith Ross

Mr. Bryant Lee Judy Ley Sharon Ley Lietzow and Robert Lietzow Mrs. Rosemary Malbin Renee Margolin Muffy McLanahan Janice Feistel McNeil and Sabrina D. Kesler

John C. Tweed Laura and Georgios Varsamis Mary Lee and Jim Wallace Ms. Susan Winokur and Mr. Paul Leach Mr. Trey M. Yates

TRUSTEE— $10,000 OR MORE Dr. Tom Anderson Chris and Michelle Angelides Surpik Angelini Blanche S. and Robert C. Bast, Jr., MD Dr. Gudrun H. Becker

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Mr. and Mrs. James Becker

Ms. Julia Gwaltney

Drs. Robert S. and Nancy Benjamin

Dr. Carols R. Hamilton Jr.

Stephanie and Dom Beveridge Meg Boulware and Hartley Hampton Nancy and Walt Bratic Dr. Janet Bruner Mollie and Wayne Brunetti Mr. and Mrs. Lester P. Burgess Mrs. Carol Butler Mr. Richard Calvert Ms. Gwyneth Campbell Patricia and Jess Carnes Drs. Danuta and Ranjit Chacko

Dr. Douglas J. Hirsch and Maureen Semple-Hirsch Ann Hightower Alan and Ellen Holzberg Lee M. Huber Linda Katz Ann and Stephen Kaufman Mr. and Mrs. George B. Kelly Ms. Carey Kirkpatrick Mr. and Mrs. William H. Knull III Mr. and Mrs. Frederick Kolb

Dr. Laurence Corash and Ms. Michele Corash

Mr. and Ms. Frank Liu

Dr. and Mrs. Roupen Dekmezian Ms. Elisabeth DeWitts Jeanette and John DiFilippo Dr. William F. Donovan Joanne and David Dorenfeld Mr. James Dorough-Lewis and Mr. Jacob Carr Mr. Bob Ellis Mr. and Mrs. Richard Finger Ms. Mary Foster Mr. John E. Frantz Caroline Freeman Trish Freeman and Bruce Patterson Gina and Scott Gaille Dr. and Mrs. David P. Gill Mrs. Geraldine C. Gill Nancy Glass, M.D. and John Belmont, M.D.

Mr. and Mrs. Jay Watkins Mr. and Mrs. K.C. Weiner Mr. and Mrs. David Weekley Dr. Courtney Williams

Mr. and Mrs. C. Clifford Wright, Jr.

Dr. and Mrs. Ernst Leiss

Dr. Elaine DeCanio

Mr. and Mrs. Yuichi Watanabe

Mr. and Mrs. David S. Wolff

Mr. and Mrs. Robert Collier

Anna M. Dean

Mr. and Mrs. Robert N. Wakefield

Mr. and Mrs. Randall B. Lake Alfred W. Lasher III

Ms. Sasha Davis

Robert and Ellen Vladem

Elizabeth and Bill Kroger

Mr. and Mrs. Robert L. Clarke

Jayne and Peter Davis

Mr. and Mrs. John Untereker

Ann Koster

Mr. Alejandro Langarica

Mr. Robert L. Cook and Mrs. Giovanna Imperia

Dr. David Tweardy and Dr. Ruth Falik

Loretta and Lawrence Williams

Mr. Robert N. Chanon

Julie and Bert Cornelison

Mr. and Mrs. Robert B. Trainer, Jr.

Mr. and Mrs. John W. Wright Rini and Edward Ziegler 3 Anonymous

Ms. Michele Malloy Mr. and Mrs. Tony Massoud Mary Marquardsen Mr. R. Davis Maxey Chadd Mikulin and Amanda Lenertz Dr. and Mrs. William E. Mitch Diane K. Morales Erik B. Nelson and Terry R. Brandhorst Geoffry H. Oshman Susan and Edward Osterberg Mr. David Peavy and Dr. Stephen McCauley Kevin Potter Dr. Angela Rechichi-Apollo

YO U N G T R U S T E E — $5,000 OR MORE

Mrs. Carol W. Byrd, Wetumka, OK Mr. and Mrs. Cabrera Franklin, TN Hon. Griffin Collie, Dallas, TX Dr. Thomas S. DeNapoli and Mr. Mark Walker, San Antonio, TX Mr. and Mrs. Samuel Evans, Coldspring, TX Jack Firestone, Miami, FL Mr. Raymond Goldstein and Ms. Jane T. Welch, San Antonio, TX Mr. Charles Hanes, San Jose, CA Brian Hencey and Charles Ross Jr., Austin, TX

Emily Bivona and Ryan Manser

Mr. and Mrs. Geoffrey S. Kay, Austin, TX

Ms. Constance Rose-Edwards

Mrs. Judy Kay, Dallas, TX

Meredith and Joseph Gomez

Ms. Masami Kojima, Arlington, VA

Ms. Ellen Liu and Ms. Ilana Walder-Biesanz Rachael and Daniel MacLeod Emily and Adrian Melendez Dr. Nico Roussel and Ms. Teresa Procter Mr. Parashar Saikia and Ms. Lori Harrington Jennifer Salcich

Dr. and Mrs. Morton Leonard Jr., Galveston, TX Paul and Judy Lerwick, Asheville, NC Cathleen C. and Jerome M. Loving, Bryan, TX Barbara and Camp Matens, Baton Rogue, LA

Melanie Smith

Mr. Kenton McDonald, Corpus Christi, TX

Mr. and Mrs. Walter Ritchie

Mrs. Stella Tang and Mr. Steven Tang

Judy Miner, San Francisco, CA

Mr. and Mrs. Jeremy Rosen

Dr. Yin Yiu

Mr. David Rowan

1 Anonymous

Ms. Heidi Munzinger and Mr. John Shott, Coronado, CA

N AT I O N A L T R U S T E E — $5,000 OR MORE

Mr. John P. Muth, Wimberly, TX

Ms. Alissa Adkins, Corpus Christi, TX

Dr. James F. Nelson and Mr. Yong Zhang, San Antonio, TX

Mr. Todd Reppert Ed Rinehart

Adel and Jason Sander Judy Sauer Mrs. Helen P. Shaffer Ms. Janet Sims Mr. and Mrs. Aaron J. Stai Mr. Jake D. Stefano

Ms. Jacqueline S. Akins, San Antonio, TX

Sandy Godfrey

Kathy and Richard Stout

Mr. Murray Beard, Cordova, TN

Meredith and Joseph Gomez

Dr. and Ms. Paul Subrt

Mrs. Gwynn F. Gorsuch

Mr. Minas and Dr. Jennifer Tektiridis

Jorge Bernal and Andrea Maher Bogota, Colombia

FALL 2026

Mr. Tom Burley and Mr. Michael Arellano, Philadelphia, PA

Edward and Patricia Hymson, San Francisco, CA

Bruce Stein

Mr. Richard E. Boner and Ms. Susan Pryor, Austin, TX

Mr. Robert Anderson

Mr. Wesley Goble

Ms. Dianne L. Gross

Dr. Dennis Berthold and Dr. Pamela Matthews, College Station, TX

Kristin and Peter Muessig, Amherst, NH

Grace Noyes, New York, NY Ms. Claire O’Malley, San Antonio, TX Kathy Boyle and James Parsons, Dallas, TX

HGO Mr. and Mrs. Don Patterson San Francisco, CA

Dr. Beth Chambers and Mr. J. Michael Chambers

Matilda Perkins, Santa Fe, NM

Alejandra Chamorro

Ms. Wanda A. Reynolds, Austin, TX

Dr. Cindy Childress and Mr. Jack Charles

James and Nathanael Rosenheim, College Station, TX

Judy Clark

Mr. Bruce Ross, Los Angeles, CA Mr. and Mrs. Bob Ryan, San Francisco, CA Alexander Sanger, New York, NY Donna Saurage, Baton Rouge, LA

Mr. and Mrs. Richard T. Clark Janet Clark Dr. and Mrs. J. Michael Condit

Dr. Patricia Holmes

Jean Palmer

Mr. and Mrs. John H. Homier

Mrs. Maria Papadopoulos

Dr. and Mrs. Gabriel N. Hortobagyi

Linda Peterson

Dr. Kevin Hude Ms. Heather Hughes Mr. and Mrs. Paul Jacob Mr. and Mrs. Malick Jamal

Dr. Nancy I. Cook

Mr. David Jaqua and Mr. John Drewer

Mr. and Mrs. Sam Cooper

Ms. Joan Jeffrey

Mr. and Mrs. Larry Dooley

Mr. and Mrs. Basil Joffe

Mr. and Mrs. Daniel Dubrowski

Dr. Susan John and Mr. Darrell John

Mrs. Eliza Duncan

Mrs. Carolyn A. Seale and Mrs. Carol Lee Klose, San Antonio, TX In memory of Mrs. Ora Lee Seale

Mr. John Egbert and Mrs. Kathy Beck

Charlotte Jones Mrs. Robert J. Kauffman

Kellie Elder and David Halbert

Mr. Anthony K.

Mrs. James A. Elkins III

Mr. and Mrs. Hugh Rice Kelly

Mr. Jerre van den Bent, Dallas, TX

Ms. Thea M. Fabio and Mr. Richard Merrill

Mr. and Mrs. Albert Kidd

Mr. Peter J. Wender Cambridge, MA

Ms. Ann L. Faget

David Woodcock, College Station, TX Drs. Edward Yeh and Hui-Ming Chang Little Rock, AR

Mr. Brian Faulkner and Ms. Jackie Macha Mary Ann and Larry Faulkner Ms. Vicki Schmid Faulkner Ms. Ursula Felmet Mr. and Mrs. Dennis Fish

PAT R O N S C I R C L E — $5,000 OR MORE Ms. Jacquelyn M. Abbott

Wanda and Roger Fowler Mr. and Mrs. William B. Freeman Jr.

Mr. Lannis E. Kirkland Ms. Rie Kojima Angeli

Peggy and Anthony Livanios Mr. and Mrs. James Loftis Ms. Eileen Louvier Mr. Glenn Lowenstein

Dr. Layne O. Gentry

Heather and Richard Avant Nancy and Paul Balmert

Ms. Cora Sue Mach

Dr. Eugenia George

Mr. Rob Mason and Mr. James Olson

Mr. and Mrs. Damian Gill

Dr. and Mrs. Malcolm Mazow

Rhoda Goldberg

Shawna and Wynn McCloskey

Mr. Thomas K. Golden and Mrs. Susan Baker Golden

Gillian and Michael McCord

Sue Goott Dr. and Mrs. David Y. Graham

Ms. Judith Raines Dr. David Reininger and Ms. Laura Lee Jones William and Constanza Restrepo Ms. Gwyn Richardson Mr. Robert Richter Jr. Drs. Alejandro and Lynn Rosas Dr. and Mrs. Franklin Rose Mrs. Shirley Rose Dr. and Mrs. Sean Rosenbaum Dr. and Mrs. Steve Rosenbaum

Mr. and Mrs. Charles Shearouse

Mr. Richard Leibman

Alfredo Tijerina and JP Anderson

Mary Frances Gonzalez

The Radoff Family

Dr. Debora Sciscoe

Mr. and Mrs. Paul A. Lynn

Mr. Neely Atkinson

Mr. and Mrs. Vinay Puvvada

Mr. and Mrs. Stephen Le

Dr. Alice Gates and Dr. Wayne Wilner

Mr. and Mrs. Robert J. Ardell

Mr. and Mrs. Elvin B. Pippert Jr.

Dr. Helen W. Lane

Mrs. Nancy C. Allen

Dr. Julia Andrieni and Dr. Robert Phillips

Mr. and Mrs. Harry C. Pinson

Mr. David D. Schein and Ms. Karen Somer

Ms. Lynn Luster

Shaza and Mark Anderson

Mr. and Mrs. Jerod Pierce

Dr. and Mrs. Lary R. Kupor

Mr. Mauro Garcia-Altieri

Mr. W. Kendall Adam

S UPP O RT E R S

Yana McFatter Dr. Mary Fae McKay Mr. Bob McLaughlin

Dr. Ruth Simmons Hinda Simon Ms. Diana Skerl Mr. and Mrs. George Sneed Kris and Chris Sonneborn Dr. and Mrs. C. Richard Stasney Mr. Per A. Staunstrup and Ms. Joan Bruun Richard P. Steele and Mary McKerall Drs. Adaani E. Frost and Wadi N. Suki Ellen Susman Ms. Karen Tell Ms. Susan L. Thompson Mr. and Mrs. Charles Tobias

Ms. Dianne Halford

Elizabeth and Keith McPherson

Mr. and Mrs. Thomas C. Halsey

Kay and Larry Medford

Fiona Toth

Dr. and Mrs. Joel M. Berman

Mrs. Mary Hankey

Mrs. Anne C. Mendelsohn

Mr. and Mrs. Stephen D. Bickel

Mr. Frank Harmon III and The Honorable Melinda Harmon

Terry and Hal Meyer

Dr. Elizabeth Travis and Mr. Jerry Hyde

Mr. William Bartlett H. M. F. Beaudoin Family Foundation

Dr. Joan Hacken Bitar Dr. Jerry L. Bohannon Mr. Chester Brooke and Dr. Nancy Poindexter

Mr. and Mrs. A. John Harper III Ms. Kathleen Henry Mr. and Mrs. Melvyn Hetzel

Mr. Leslie Brown

Pam Higgins

Joan M. C. Bull, M.D.

Rosalie and William M. Hitchcock

Mrs. John R. Castano

Dr. Holly Holmes

Ms. Shannon Morrison Ms. Linda C. Murray Mr. and Mrs. Michael Nassif Mrs. Bobbie Newman Ms. Lisa L. Ng

Mr. and Mrs. Tym Tombar

Mr. Alvin Tucker Mr. and Mrs. Larry Veselka Greg Vetter and Irene Kosturakis Ms. Vera D. Vujicic

Ms. Geri Noel

Geoffrey Walker and Ann Kennedy

Drs. John and Karen Oldham

Diane and Raymond Wallace

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Mr. and Mrs. John Wallace

Miguel Guevara Ms. Sabrina Kesler

N AT I O N A L PAT R O N — $2, 500 OR MORE

Mr. Brian Hackfeld, Dallas, TX

Jesse Weir Ms. Pippa Wiley

Alexander (Sasha) Klebnikov

Mr. Murray Beard, Cordova, TN

Randa Duncan Williams and Charles Williams

Mr. Brett Lutz and Mrs. Elizabeth Lutz

Tom and Kay Brahaney, Midland, TX

Ms. Alison D. Kennamer and Joyce Kennamer, Brownsville, TX

Ms. Jane L. Williams

Tara and Liam McElhiney

Geraldina and Scott Wise

Mr. and Mrs. Paul Muri

Dr. Bernd U. Budelmann, Galveston, TX

Jeff and Gail Kodosky, Austin, TX

Ms. Debra Witges

Madeline Nassif Lucas and Jonathan Lucas

Ms. Marion Cameron-Gray, Chicago, IL

Wendy Lee-Graham, West Sussex, United Kingdom

Ms. Louise Cantwell, San Antonio, TX

Mr. and Mrs. Spencer Mehrens, Longview, TX

Ms. Morgan A. Pfeil

Mr. and Mrs. Joseph Carvelli, Dhahran, Saudi Arabia

Ms. Chris Miller and Mr. Gary Glaser, Fort Worth, TX

Khalil Pillai and Natalia Johnson

Dr. Raymond Chinn, San Diego, CA

Mr. Juan Moreno, Dhahran, Saudi Arabia

Ms. Nicole Rennalls

Mr. and Mrs. Terry Cloudman, Boulder, CO

Mr. William Nicholas, Georgetown, TX

Mr. Arthur A. Crais Jr., New Orleans, LA

John and Elizabeth Nielsen-Gammon, College Station, TX

Dr. Randall Wolf Ms. Cyvia Wolff Crystal Wreden Mr. and Ms. Min Zheng John L. Zipprich II 6 Anonymous

YO U N G PAT R O N — $2, 500 OR MORE Nikki Sue Alston Mr. and Mrs. Christian Carrion Mr. Michael Daus Dr. Mhair Dekmezian Ms. Karen Ding Mr. and Mrs. Earl Flowers Mr. Albert Garcia Jr.

Ms. Aprill Nelson Renee Palisi

Mr. Justin Rowinsky and Ms. Catarina Saraiva Cortnee and Josh Sabio

Mr. Mark Jacobs, Dallas, TX

Mr. Jeff Taylor

Ms. Susan English and Mr. Michael Kalkstein, Los Gatos, CA

Joshua and Rebekah Wilkinson

Dr. and Mrs. Marvin A. Fishman, NM

Mr. James R. Rogers, College Station, TX

Mr. and Mrs. Jamie Yarbrough

Dr. Wm. David George, Austin, TX

Mr. Victor E. Serrato, Pharr, TX

Ms. Gabriella Tantillo

Mr. Kenneth Young and Mrs. Emmelie Young

Ms. Gabriella M. Guerra, San Antonio, TX

James Parsons and Kathy Boyle, Dallas, TX

Ms. Alice Simkins, San Antonio, TX

f rom cu r ta i n c al a l l to l la ast st c all. BECAUSE EVERY GREAT NIGHT DESERVES ONE MORE POUR. MAKE YOUR WAY TO PRESS & POUR, THE NEWEST CULINARY DESTINATION AT MAGNOLIA HOTEL HOUSTON, OPEN DAILY FROM 6 AM TO 11 PM.

M AG N O L I A H OT E LS .CO M / H O U STO N | 1 1 0 0 T EXA S AVE N U E , H O U STO N , TX 7 70 02 | 7 1 3 . 2 2 1 .0 01 1

FALL 2026

HGO Mr. and Mrs. Thomas Stoddard Fort Smith, AR Ms. Lori Summa, Lancaster, NH Dr. David N. Tobey and Dr. Michelle Berger, Austin, TX

Jody Meraz Mr. Nicolo Messana Mr. and Mrs. Gerald Moynier Mr. and Mrs. Marvin H. Mueller Ms. Maria C. (Macky) Osorio

Mr. Tom Turnbull and Mr. Darrell Smith, Eunice, LA

Suzanne Page-Pryde and Arthur Pryde

Heide Walker, San Antonio, TX

Drs. Mauricio Perillo and Luján Stasevicius

Jacqueline and Kirk Weaver, Washington, D.C. Martin R. Wing, Oklahoma City, OK

Mr. Rick Pleczko Ms. Felecia Powell-Williams Dr. and Mrs. Florante A. Quiocho

A S S O C I AT E PAT R O N — $2,000 OR MORE

Mr. and Mrs. Risher Randall

Ms. Cecilia Aguilar

Mr. Edgar Rincon

Mr. and Mrs. V. G. Beghini

Ms. Jo Ann W. Schaffer

Ms. Sonja Bruzauskas and Mr. Houston Haymon

Christopher B. Schulze, M.D.

Kenneth T. Chin

Ms. Sandy Xu

Vicki Clepper

Bin Yu

Mr. Jerry Conry Ms. Joyce Cramer

Drs. William and Huda Yahya Zoghbi

Ms. Linnet Frazier Deily

3 Anonymous

Mr. and Mrs. Richard Reynolds

Ms. Elizabeth D. Williams

Dr. James E. Griffin III and Dr. Margo Denke Mr. and Mrs. Ira Gruber Mr. and Mrs. David Guenther The Guha Zaidi Family

Mr. Herbert Simons

Mr. and Mrs. Cordell Haymon

Len Slusser

Dr. Ralph J. Herring

Mr. Cooper Smith

Dr. Janice L. Hewitt

Ms. Linda F. Sonier

Kay and Michael W. Hilliard

Mr. Leon Strieder

Deronica Horn

Mr. Kiyoshi Tamagawa and Mr. Bill Dick

Mr. Brian Horrigan Greg Ingram Mr. Francisco J. Izaguirre The Jewels Mr. and Mrs. John Jordan Rachel Keen Lynda and Frank Kelly Dr. Milton and Gail Klein Mr. and Mrs. John Lattin Mr. Marshall Lerner

Mrs. Linda Alexander

Susan Giannatonio and Bruce Winquist

Mr. and Mrs. Neil Ken Alexander

Onalee and Dr. Michael C. McEwen

Mr. Michael Gillin and Ms. Pamela Newberry

Dr. Robert E. Anderson

Mr. and Mrs. Ernie McWilliams

Mr. Robert K. Arnett Jr.

Mr. David Gockley

Ms. Dorothy B. Autin and Mr. Daniel Coleman

Keith and Shawntell McWilliams

Dr. and Mrs. Carlos R. Hamilton, Jr.

Dr. Carlos Bacino

Mr. and Mrs. Michael F. Henderek

Ms. Jessica Burton

Mr. Steven Jay Hooker Dr. Alan J. Hurwitz Mr. and Mrs. Richard A. Jackson

Ms. Donna Van Fleet Mr. Arie Vernes Mr. Albert T. Walko Dr. Jackie Ward J. M. Weltzien Kay Wilson Mr. Tim Wright Robert and Michele Yekovich 3 Anonymous

Dr. Robyn T. Lincoln

Monica Fulton

Mr. Stanley A. Hoffberger

Ms. Joan M. Shack

Mr. Donald Hang

Travis Fenstermaker

Ms. Susan Hirtz

Dr. Paul E. Setzler Mr. Nick Shumway and Mr. Robert Mayott

Mr. and Mrs. Oscar Y. Lui

Ruzena Gordon

Ms. Valerie Serice

Mr. and Mrs. Philip Gunnels

CONTRIBUTING F E L L OW —$1,000 OR MORE

Mr. and Mrs. Blake Eskew

Ms. Lynda G. Seaman

Mr. Robert Lorio

Elena Delauney Peggy DeMarsh

S UPP O RT E R S

Mrs. Deborah S. Bautch Clayton Cannon Dr. Claude Cech Mr. and Mrs. James Collins Mr. and Mrs. Larry Corona Mr. George Crow Mr. Carl R. Cunningham

Ms. Nancy Manderson Dr. and Mrs. Moshe H. Maor

Dr. Gilda McFail

Mr. and Mrs. Mike Newman Mr. Eugene Nosal and Mrs. Grace Phillips Barbara Paull Mr. Rawley Penick and Mrs. Meredith L. Hathorn Mr. and Mrs. Dennis Phillips Susie and Jim Pokorski Ms. Helen B. Preddy Dr. Eamonn Quigley Mr. and Mrs. William Rawl

Mr. John Keville

Mr. and Mrs. Hiram Davis

Mr. Kenny Kurtzman

Mr. and Mrs. Warren Dean

Lynn Lamkin

Dr. John Edwards

Ms. Nadine Littles

Mr. and Mrs. Peter J. Ferenz

Dr. Robert Louis

Israel and Pearl Fogiel

Mrs. J. Stephen Marks

Mr. Blake Frere

Ana María Martínez

Mr. Enrico R. Giannetti

Mrs. Barbara Mayer

Mr. and Mrs. Kirk Girouard

Kenneth and Deborah Scianna

Mr. James L. McNett

Mr. and Mrs. Eugene Goldgar

Mr. Alan Schmitz

Mr. William K. Rice Mr. Jack Rooker Sharon Ruhly Dr. Mo & Mrs. Brigitte Saidi Kathleen and Jed Sazama Mr. Frederick Schacknies

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gaillelaw.com 84

FALL 2026

Luke Riel THE UNIVERSITY OF CHICAGO LAW SCHOOL

HGO

S UPP O RT E R S

F O U N DAT I O N , G OV E R N M E N T, A N D C U LT U R A L PA R T N E R S Houston Grand Opera’s foundation, government, and cultural partners make it possible for HGO to create and share great art with our community. We are incredibly proud to work with these organizations and grateful for all they do. For information on joining HGO’s valued team of foundation, government, and cultural supporters, please contact Claire Padien-Havens, senior director of institutional partnerships, at CPadienHavens@HGO.org.

FOUNDATIONS AND GOVERNMENT AGENCIES

GRAND GUARANTOR— $250,000 OR MORE

GRAND UNDERWRITER— $50,000 OR MORE

Samuels Family Foundation

PREMIER GUARANTOR— $1,000,000 OR MORE

Humphreys Foundation

The Carlisle Floyd Centennial

Sterling-Turner Foundation

The Robert and Janice McNair Foundation in memory of Janice McNair

Houston Livestock Show and Rodeo™

The Cullen Foundation Houston Endowment Houston Grand Opera Endowment Inc. Sarofim Foundation The Wortham Foundation, Inc Anonymous PRINCIPAL GUARANTOR— $500,000 OR MORE The Brown Foundation, Inc. City of Houston through Houston Arts Alliance The Cullen Trust for the Performing Arts Packard Humanities Institute Anonymous

GUARANTOR— $100,000 OR MORE Joan and Stanford Alexander Family Fund in honor of Claire Liu and Joe Greenberg

John P. McGovern Foundation Mellon Foundation National Endowment for the Arts

Stedman West Foundation

SPONSOR— $10,000 OR MORE Albert & Ethel Herzstein Charitable Foundation

The Powell Foundation

MEMBER— $1,000 OR MORE

The Alkek and Williams Foundation

UNDERWRITER— $25,000 OR MORE

M.D. Anderson Foundation

Ruth and Ted Bauer Family Foundation

City of Houston through the Miller Theatre Advisory Board

Carol Franc Buck Foundation The Elkins Foundation Novum Foundation William Randolph Hearst Foundation Dr. M. Lee Pearce Foundation Texas Commission on the Arts

Cockrell Family Fund Marvy Finger Family Foundation Lowe Foundation

The Aaron Copland Fund for Music, Inc. George and Mary Josephine Hamman Foundation OPERA America

William E. and Natoma Pyle Harvey Charitable Trust

CULTURAL PARTNERS

Vivian L. Smith Foundation

Consulate General of Italy in Houston Italian Cultural Institute in Los Angeles

CO R P O R AT E PA R T N E R S Houston Grand Opera’s corporate partners make it possible for HGO to create and share great art with our community. We are incredibly proud to work with these organizations and grateful for all they do. For information on joining HGO’s valued team of corporate supporters, please contact Gabriella Wise Smith, assistant director of institutional partnerships, at GWiseSmith@HGO.org. GRAND UNDERWRITER— $50,000 OR MORE

MEMBER— $1,000 OR MORE

SPONSOR— $15,000 OR MORE

Ajamie L.L.P.

CAPTRUST

Kirksey Gregg Productions

Nana Booker and Booker · Lowe Gallery

Baker Botts L.L.P.

Texas Mutual Insurance Company

ConocoPhillips

Kirkland & Ellis L.L.P

CORPORATE SUPPORTERS GUARANTOR— $100,000 OR MORE

Frost Bank H-E-B Houston Methodist JPMorgan Chase & Co.

Bank of America Latham & Watkins Shell USA, Inc.

Nabors Industries

UNDERWRITER— $25,000 OR MORE

Novum Energy

Tokio Marine HCC

Vinson & Elkins L.L.P.

Westlake Corporation

Vitol, Inc.

SPONSOR— $10,000 OR MORE

USI Insurance Services IN-KIND CONTRIBUTORS TO OPERATIONS AND SPECIAL EVENTS GUARANTOR— $100,000 OR MORE Steinway & Sons UNDERWRITER— $25,000 OR MORE

CO-SPONSOR— $7,500 OR MORE Elegant Events and Catering by Michael Medallion Global Wine Group BENEFACTOR— $5,000 OR MORE The Corinthian at Franklin Lofts David Peck

City Kitchen Catering

The Lancaster Hotel

Capgemini

The Events Company

Infosys

Jackson & Company Catering

Masterson Design/ Mariquita Masterson

Anonymous

Magnolia Hotel Houston

Shaftel Diamond Co. HGO.ORG

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EQT Foundation

Shell USA, Inc. Foundation

Shoocha Photography

ExxonMobil Foundation

The Boeing Company

Fannie Mae

Union Pacific

CORPORATE MATCHING

Hewlett-Packard Company

Williams Companies

Baker Hughes Foundation

IBM Corporation

Gittings Portraiture

Bank of America Charitable Foundation

Illinois Tools Works Inc.

Glade Cultural Center

BP Foundation

LyondellBasell Chemical Company

Hayden Lasher

Chevron Humankind

Macquarie

The Hotel ZaZa

CITGO Petroleum

Microsoft Employee Giving

La Colombe d’Or Hotel

Coca-Cola North America

Nintendo of America

Las Terrazas Resort & Residences

ConocoPhillips

Quantlab Financial, LLC

Encana

Raytheon Technologies

EOG Resources, Inc.

Salesforce

MEMBER— $1,000 OR MORE Brasserie du Parc Dar Schafer Art Elliott Marketing Group Ellsworth Plastic Surgery

Lavandula Design

L AU R E AT E S O C I E T Y The Laureate Society comprises individuals who have helped ensure the future of Houston Grand Opera by remembering the Opera in their wills, retirement plans, trusts, or other types of estate plans. The Laureate Society does not require a minimum amount to become a member. Planned estate gifts to the Houston Grand Opera Endowment can be used to support general or specific Opera programs. HGO is deeply grateful to these individuals. Their generosity and foresight enable the Opera to maintain its growth and stability, thus enriching the lives of future generations. For information regarding charitable estate gift planning and how it might positively impact you, your loved ones, and HGO, please contact Tessa Larson, associate director of philanthropy, at 713-546-0204 or TLarson@HGO.org. LAUREATE SOCIETY MEMBERS Ms. Gerry Aitken Margaret Alkek Williams Page S. Allen Mr. William J. Altenloh and Dr. Susan Saurage-Altenloh Margery Anderson Robin Angly and Miles Smith Bill A. Arning and Aaron Skolnick Christopher Bacon and Craig Miller

Susan Bloome

Mr. Jim O. Connell

Dr. Donna Fox

Jerry L. Bohannon

Mrs. Christa M. Cooper

Dr. and Mrs. Jules H. Bohnn

Mr. Efraín Z. Corzo and Mr. Andrew Bowen

Dr. Alice Gates and Dr. Wayne Wilner

Adrienne Randle Bond Ms. Lynda Bowman Mr. and Mrs. Harry W. Bristol Catherine Brock Myra Brown Mr. Logan D. Browning Dr. Bernd U. Budelmann Mr. Richard H. Buffett

Mr. and Mrs. James W. Crownover Shelly Cyprus Mr. Karl Dahm Dr. Lida Dahm Mr. Darrin Davis Ms. Sasha Davis Ms. Anna M. Dean

Gilbert Baker

Mr. Tom Burley and Mr. Michael Arellano

Dr. Saúl and Ursula Balagura

Mr. Ralph Byle

Mr. William Bartlett

Ms. Gwyneth Campbell

Ms. Elisabeth DeWitts

Mr. James Barton

Roxi Cargill and Peter Weston, M.D.

Jane H. Egner Larry and Amy Dooley

Jess and Patricia Carnes

Elois Jean Eley

Ms. Janet Langford Carrig

Mr. and Mrs. Samuel Evans

Marcheta Leighton-Beasley

Sylvia J. Carroll

Jack Bell

Drs. Danuta and Ranjit Chacko

Ms. Thea M. Fabio and Mr. Richard Merrill

Mrs. Natalie Beller

Ms. Nada Chandler

Dr. James A. Belli and Dr. Patricia Eifel

Mr. Robert N. Chanon

Mr. Lary Dewain Barton Michelle Beale and Dick Anderson

Mr. and Mrs. Stanley C. Beyer Dr. Joan Hacken Bitar Larissa Bither 86

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Ms. Virginia Ann Clark Mathilda Cochran Mr. William E. Colburn Mr. and Mrs. Paul L. Comstock

Peggy DeMarsh Ian Derrer and Daniel James

Ms. Ann L. Faget Ms. Vicki Schmid Faulkner Jack Firestone Julie Fischer Nancy Fischer Mr. Bruce Ford

Lucy Ann Gebhart Dr. Layne O. Gentry Mr. Michael B. George Dr. Wm. David George Dr. and Mrs. David P. Gill Lynn Gissel Mr. Wesley Goble Mr. David Gockley Rhoda Goldberg Leonard A. Goldstein and Helen B. Wils Mary Frances Gonzalez and Ross I. Jackson Jon Kevin Gossett Mr. and Mrs. Fred Gott Claire Liu and Joe Greenberg Dr. Nichols Grimes Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr. Mr. Jas A. Gundry Mr. Claudio Gutierrez Mr. and Mrs. William Haase Dr. Linda L. Hart Ms. Janet Hassinger

HGO Mrs. Brenda Harvey-Traylor Nancy Haywood Teresita and Michael Hernandez

Emily Bivona and Ryan Manser Mrs. J. Landis Martin Ms. B. Lynn Mathre

Ed and Janet Rinehart

Mr. Gordon D. Watson

Gregory S. Robertson

Ms. Rebecca Weaver

Edward N. Robinson

Mr. Jesse Weir

Mrs. Shirley Rose

Mr. Geoffrey Westergaard

Constance Rose-Edwards

Pippa Wiley

Mr. John C. Rudder Jr.

Ms. Jane L. Williams Mr. and Mrs. David S. Wolff

Dr. Ralph J. Herring

Ms. Nancy Wynne Mattison

Mr. and Mrs. Robert C. Hewell

Dr. and Mrs. Malcolm Mazow

Pam Higgins

Mrs. Dorothy McCaine

Mr. Edward L. Hoffman

Mrs. Sarah McCollum

H. Clifford Rudisill and Ray E. Wilson

Gary Hollingsworth and Ken Hyde

Deirdre McDowell

Mr. and Mrs. Tom Rushing

Muffy McLanahan

Dr. Mo & Mrs. Brigitte Saidi

Mr. Allen McReynolds

Mr. and Mrs. Terrell F. Sanders

Ms. Maryellen McSweeney

Ms. Wanda Schaffner

Mr. and Mrs. D. Bradley McWilliams

Mr. Chris Schilling

Alan and Ellen Holzberg Mr. Frank Hood Ms. Ami J. Hooper Lee M. Huber Robert and Kitty Hunter Greg Ingram José and Teresa Ivo Brian James Spencer A. Jeffries and Kim Hawkins Ms. Charlotte Jones Thomas M. Jones and Pamela S. Higgins

Christianne Melanson and Durwin Sharp Mr. and Mrs. Robert Menzie Ms. Georgette M. Michko Drs. Indira and Jason Mills Ms. Suzanne Mimnaugh Kathleen Moore and Steven Homer Sid Moorhead

Kenneth and Deborah Scianna Mr. and Mrs. Charles Senuta

Ann and Stephen Kaufman

Mr. and Mrs. Marvin H. Mueller

Colden A. Snow

Charles Dennis and Steve Kelley

Heidi Munzinger and John Shott

Ms. Linda F. Sonier

Mr. Anthony K.

Ms. Linda C. Murray

Ms. Virginia E. Kiser

Terrylin G. Neale

Ann Koster

Erik B. Nelson and Terry R. Brandhorst

Geoffry H. Oshman

Carolyn J. Levy

Ms. Maria C. (Macky) Osorio

Mr. and Mrs. W. H. Liesner

Susan and Edward Osterberg

Sharon Ley Lietzow and Robert Lietzow

Suzanne Page-Pryde and Arthur Pryde

Mr. Michael Linkins

Mr. and Mrs. Richard A. Percoco

Ellen Liu and Ilana Walder-Beisanz Virola Jane Long Mr. and Mrs. Karl R. Loos Mrs. Marilyn Lummis Dr. Jo Wilkinson Lyday Mr. and Mrs. Paul A. Lynn David Maib Mrs. Rosemary Malbin Dr. Brian Malechuk and Mr. Kevin Melgaard Ms. Michele Malloy

Mauricio Perillo, PhD and Luján Stasevicius, PhD Sara M. Peterson Mark and Nancy Picus Mr. and Mrs. Harry C. Pinson Susie and Jim Pokorski Gloria M. Portela Dr. Angela Rechichi-Apollo Mr. Todd Reppert Conrad and Charlaine Reynolds

John L. Zipprich II 25 Anonymous

Mr. Joseph Sims and Ms. Janis Doty Stephen Skaggs and Jay Kleine

Ms. Michele LaNoue and Mr. Gerald Seidl

Mrs. Lorena Zavala

Ms. Janet Sims

Mr. and Mrs. Sidney S. Moran

Beverly and Staman Ogilvie

Mr. and Mrs. Mark Yzaguirre

Ms. Susan Simpson

Juan R. Morales

Dr. Lynn Lamkin

Alan and Frank York

Mr. Herbert Simons

Mrs. Robert J. Kauffman

Mrs. Tassie Nicandros

Lynn Wyatt

Hinda Simon

Ms. Marianne Kah

Mrs. Bobbie Newman

Jo Dee Wright

Ms. Sue A. Shirley-Howard

Diane K. Morales

Dr. Helen Lane

Dr. Fabian Worthing

Mrs. Helen P. Shaffer

Cynthia J. Johnson

David Krohn

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Dian and Harlan Stai Ms. Darla Y. Stange Dr. and Mrs. C. Richard Stasney Jake D. Stefano Catherine Stevenson Patrick Summers Rhonda Sweeney Susan Tan Mrs. Carolyn Taub Mr. Quentin Thigpen and Ms. Amy Psaris Fiona Toth Mr. and Mrs. William Tsai Mr. John G. Turner and Mr. Hango G. Fischer Mr. and Mrs. Paul Turner Mr. and Mrs. Jesse B. Tutor Birgitt van Wijk Mr. and Mrs. Alfredo Vilas Mrs. Rons Voogt James and Mary Waggoner Dean Walker Mr. William V. Walker Shirley Warshaw

Ms. Wanda A. Reynolds HGO.ORG

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“When it came to including HGO in our estate plans, it was just common sense. I have been subscribing since 1971, and I want to pass that love on to other people. Join me in keeping HGO grand for the next generation!” —Jesse Weir, Laureate Society member

Please consider a gift to HGO’s Laureate Society so future generations will continue to experience world-class operatic productions. For more information about HGO’s Laureate Society, please contact Philanthropy@HGO.org or 713-546-0204.

Left: Soprano Renée Fleming and Jesse Weir. Right: Weir at a Laureate Society Recital.

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H O U S T O N G R A N D O P E R A E N D OW M E N T The Houston Grand Opera Endowment, Inc., is a separate nonprofit organization that invests contributions to earn income for the benefit of Houston Grand Opera Association. The Endowment Board works with CAPTRUST, an independent investment counsel, to engage professional investment managers. An endowed fund can be permanently established within the Houston Grand Opera Endowment through a direct contribution or via a planned gift such as a bequest. The fund can be designated for general purposes or specific interests. For more information about HGO’s Laureate Society, please contact Philanthropy@HGO.org or 713-546-0204. HGO acknowledges with deep gratitude the following endowed funds. BOARD OF DIRECTORS O FFI C ER S

The Gerald and Bobbie-Vee Cooney Rudy Avelar Fund

Kitty King Powell Endowment Fund

Marianne Kah, Chair

The Renee and Benjamin Danziger Endowed Fund In loving memory: Gail and Milton Klein Family and Leslie Danziger

Glen Rosenbaum Endowment Fund

Mark Poag, Vice Chair Carolyn Galfione, Secretary; Treasurer Yolanda Knull, Senior Chair Tom Rushing, Chair Emeritus M EM B ER S AT L A R G E Thomas R. Ajamie Astley Blair Khori Dastoor Richard Husseini Stephen Kaufman

Mindy and Joshua Davidson Endowed Fund Mary Jane Fedder Endowed Fund Linda K. Finger Endowed Fund Robert W. George Endowment Fund Harold Gilliland Endowed Fund

Scott Wise

The Leonard Goldstein and Helen Wils Fund for the Future

G EN ER A L EN D OWM EN T FUNDS

Adelma Graham Endowed Fund

Susan Saurage-Altenloh and William Altenloh Endowed Fund

Frank Greenberg, M.D. Endowment Fund

Terrylin Neale

The Rudy Avelar Patron Services Fund Barrow Family Endowed Fund Charles T. (Ted) Bauer Memorial Fund Sandra Bernhard Endowed Fund The Stanley and Shirley Beyer Endowed Fund Ronald C. Borschow Endowment Fund

Roberta and Jack Harris Endowed Fund Jackson D. Hicks Endowment Fund General and Mrs. Maurice Hirsch Memorial Opera Fund

Rowley Family Endowment Fund The Ruddell Endowment Fund Sue Simpson Schwartz Endowment Fund Shell Lubricants (formerly Pennzoil—Quaker State Company) Fund Dian and Harlan Stai Fund The John and Fanny Stone Endowment Fund Dorothy Barton Thomas Endowment Fund John G. Turner and Hango G. Fischer Endowed Fund John and Sheila Tweed Endowed Fund Marietta Voglis Endowed Fund Bonnie Sue Wooldridge Endowment Fund The Wortham Foundation Permanent Endowment Fund

Ann Holmes Endowed Fund

PR O D U C T I O N F U N D S

Ira Brown Endowment Fund

Edward and Frances Bing Fund

Elizabeth Rieke and Wayne V. Jones Endowment Fund Leech Family Resilience Fund

Tracey D. Conwell Endowment Fund

Mary Frances Newton Bowers Endowment Fund

Lensky Family Endowed Fund

David Gockley Fund for American Opera

Pat and Daniel A. Breen Endowment Fund

Mary R. Lewis Endowed Fund

The Wagner Fund

Beth Madison Endowed Fund

The Brown Foundation Endowment Fund

Frances Marzio Fund for Excellence

Joan Bruchas and H. Philip Cowdin Endowed Fund

Franci Neely Endowed Fund

Sarah and Ernest Butler Endowment Fund Jane and Robert Cizik Endowment Michael and Mathilda Cochran Endowment Fund Douglas E. Colin Endowment Fund

Constantine S. Nicandros Endowment Fund Barbara M. Osborne Charitable Trust Cynthia and Anthony Petrello Endowed Fund Mary Ann Phillips Endowed Fund C. Howard Pieper Endowment Fund

PR I N C I PA L A R T I S T S FUNDS Jesse Weir and Roberto Ayala Artist Fund

Mr. and Mrs. James A. Elkins Jr. Endowed Chair: Peter Pasztor Mr. and Mrs. Albert B. Alkek Chair: Maureen Zoltek James A. Elkins Jr. Endowed Visiting Artist Fund EL EC T R O N I C M ED I A FUND The Ford Foundation Endowment Fund S A R A H A N D ER N E S T B U T L ER H O U S TO N G R A N D O PER A S T U D I O FUNDS Michelle Beale and Dick Anderson Endowed Studio Fund Audrey Jones Beck Endowed Fellowship Fund/ Houston Endowment, Inc. The Gordon and Mary Cain Foundation Endowment Fund Marjorie and Thomas Capshaw Endowment Fund Houston Grand Opera Guild Endowment Fund James J. Drach Endowment Fund Evans and Portela Family Endowed Chair Carol Lynn Lay Fletcher Endowment Fund William Randolph Hearst Endowed Scholarship Fund Jackson D. Hicks Endowment Fund Charlotte Howe Memorial Scholarship Fund Elva Lobit Opera Endowment Fund

The Lynn Wyatt Great Artist Fund

Marian and Speros Martel Foundation Endowment Fund

EN D OWED C H A I R S A N D FEL LOWS H I P S

Laura and Brad McWilliams Endowed Fund

Margaret Alkek Williams Chair: Khori Dastoor, General Director and Chief Executive Officer

Erin Gregory Neale Endowment Fund Dr. Mary Joan Nish and Patricia Bratsas Endowed Fund HGO.ORG

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John M. O’Quinn Foundation Endowed Fellowship Fund Shell Lubricants (formerly Pennzoil—Quaker State Company) Fund

The Schissler Family Foundation Endowed Fund for Educational Programs O U T R E AC H FU N D S

CENTRAL TEXAS INVESTMENT OPPORTUNITY

Guyla Pircher Harris Project

Mary C. Gayler Snook Endowment Fund

Spring Opera Festival Fund Shell Lubricants (formerly Pennzoil—Quaker State Company) Fund

Dian and Harlan Stai Fund Tenneco, Inc. Endowment Fund

CO N C ER T O F A R I A S

Weston-Cargill Endowed Fund

Eleanor Searle McCollum Endowment Fund

ED U C AT I O N FU N D S

CO M M U N I T Y A N D LE ARNING

Bauer Family Fund Sandra Bernhard Education Fund

Geoffry Hillel Oshman Community and Learning Fund

Lawrence E. Carlton, M.D., Endowment Fund Beth Crispin Endowment Fund

PR O FE S S I O N A L D E V ELO PM EN T FU N D

James J. Drach Endowment Fund Fondren Foundation Fund for Educational Programs

Terrylin Neale Fund for Philanthropy Excellence

The Harold E. Gilliland Education Fund

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HGO

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AT THE OPE R A H OUS E

Each season, HGO invites Houston-area students to our mainstage productions at the Wortham Theater Center through subsidized and discounted tickets. More than 1,000 Houston-area students join us at the opera for just $25 every year, and you can too! Secure your student tickets today— visit the Discounted Tickets section at HGO.org/Tickets. T H A N K YO U F O R YO U R PA R T N E R S H I P

HGO.ORG

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OCT. 23

Opening Night Dinner: HGO celebrates the launch of the 2026-27 season following the opening performance of the company’s production of the Floyd’s Susannah. Wortham Theater Center. Sylvia Barnes and Jim Trimble, chairs. For more info, visit HGO.org/ OpeningNight, or contact Special Events at SpecialEvents@HGO.org or 713-546-0700.

OCT. 23, 25M, 31, NOV. 6, 8M

Performances of the Floyd’s Susannah. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Pre-show and intermission receptions for audience members under 40 years old at Under 40

Friday at the Nov. 6 performance.

OCT. 30, NOV. 1M, 7, 13, 15M

Performances of Gounod’s Faust. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Pre-show and intermission reception for members of Opening Nights for Young Professionals at the Oct. 30 performance, Overture at the Nov. 7 performance, and audience members under 40 years old at Under 40 Friday at the Nov. 13 performance. 2

NOV. 8M

Military Appreciation Day, a special day honoring veterans and active-duty service members, at Susannah.

NOV. 13

Masquerade Night for Faust, taking place on Friday the 13th, invites all guests to come in costume and enjoy themed entertainment.

DEC. 4 & 6

Rienzi Recitals: HGO’s Butler Studio artists perform an intimate one-hour recital at the Museum of Fine Arts, Houston’s Rienzi Collection. Dec. 4 at 7:30 p.m. and Dec. 6 at 5 p.m. 3

DEC. 12

Carols on the Green, an evening full of opera, holiday hits, mariachi, and more at Discovery Green. 7 p.m. Family-friendly and free!

JAN. 22, 24M, 27, 30, FEB. 3, 5, 7M

Performances of Verdi’s Aida. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Opera Insights lectures,

held in the Brown’s Orchestra section 45 minutes prior to each performance. Pre-show and intermission receptions for audience members under 40 years old at Under 40 Friday and members of Opening Nights for Young Professionals at the Jan. 22 performance.

JAN. 29, 31M, FEB. 4, 6, 10, 12, 14M

Performances of Mozart’s The Magic Flute. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Pre-show and intermission receptions for Overture at the Feb. 6 performance, and audience members under 40 years old at Under 40 Friday at the Feb. 12 performance.

FEB. 3

Noche de Ópera, a celebration of Houston’s Hispanic and Latin American communities, at Aida.

FEB. 12

Student Matinee: HGO hosts a bilingual English-Spanish performance of The Magic Flute for students grades 6-12 and their chaperones. Wortham Theater Center’s Brown Theater. 10 a.m. For 92

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information, email Community@HGO.org. 4

FEB. 13

HGO Family Day Presents The Magic Flute: a 90-minute, bilingual English-Spanish, relaxedenvironment performance, with pre-show and intermission Grand Foyer activities. Wortham Theater Center’s Brown Theater. 1 p.m.

FEB. 19

Giving Voice: HGO’s 8th annual concert celebrates Black artists in opera and song. 7:30 p.m. The Fort Bend Church. Tickets go on sale this winter. HGO.org/Giving Voice

FEB. 26

Concert of Arias and Dinner: The 39th annual Eleanor McCollum Concert of Arias, an evening of music featuring the most talented emerging artists in opera. Wortham Theater Center’s Cullen Theater. 7 p.m. Concert tickets start at $30. Gala dinner will follow the performance. Denise Reyes and Matt Healey, chairs. For more info, visit HGO.org/ ConcertofArias, or contact Special Events at SpecialEvents@HGO.org or 713-546-0700.

MAR. TO MAY

for audience members under 40 years old at Under 40 Friday at the May 7 performance.

MAY 9

APR. 30, MAY 2M, 6, 8, 9M, 14, 15M, 15, 16M

MAY 15

Opera to Go! Presents The Velveteen Rabbit! HGO’s touring production for students and families presents the story of a toy rabbit who dreams of being real, with music by Mary Carol Warwick and libretto by Kate Pogue. Recommended for children grades 2-8. To book this show at your school, community center, or other venue, email OperaToGo@ HGO.org or visit HGO.org/OperaToGo.

APR. 3

Opera Ball: Enjoy cocktails, dinner, a silent auction, dancing, and more! 6 p.m. Wortham Theater Center. Hallie Vanderhider, Brigitte Kalai, and Farida Abjani, chairs. Betty and Jesse Tutor, honorees. Visit HGO.org/OperaBall.

APR. 23, 25M, MAY 1, 5, 7 5

Performances of R. Strauss’s Der Rosenkavalier. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Pre-show and intermission receptions

Performances of Kern and Hammerstein II’s Show Boat. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Pre-show and intermission receptions for audience members under 40 years old at Under 40 Friday and members of Opening Nights for Young Professionals at the Apr. 30 performance.

Mother’s Day presentation of Show Boat. Celebrate Mom with a day at the opera!

Pride Night, a celebration of Houston’s LGBTQIA+ community, at Show Boat.

THROUGHOUT THE 2026-27 SEASON 7

Storybook Opera: HGO brings children’s books to life through song as teaching artists present an engaging and enjoyable introduction to opera at locations including Levy Park and branches of the Houston Public Library and Harris County Public Library systems. Grades PK-2. Visit HGO.org for information.

MAY 3

Patrons Circle Recital: HGO presents a private recital for Patrons Circle Members. 6 p.m. The Junior League of Houston.

MAY 4

High School Night: Bring your students to HGO for Kern and Hammerstein II’s musical masterpiece Show Boat. Tickets are discounted for group sales. 7 p.m. For information, email Community@HGO.org.

Stay in the know on everything HGO. Sign up for our email newsletter!

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MAKE IT MEMORABLE

Access more info on visiting the Wortham Theater Center from our friends at Houston First:

OUR G UI D E TO A FANTAST IC OPERATI C EXPE RI EN CE

KNOW B E FO R E YO U G O : VI S I T H G O.O R G

ENJOY THE WORTHAM

Take advantage of the company’s user-friendly one-stop shop for everything HGO. Resources include:

We encourage our guests to make full use of the Wortham Theater Center when they come to the opera. You’re invited to:

Your all-access guide to performances,

on the mainstage and in the community: HGO.org/On-Stage The Backstage Pass blog, for taking a deep dive into the season’s operas, company artists, and more: HGO.org/Backstage-Pass

Relax and reflect: Find a spot in one of the Wortham Theater Center’s Brown or Cullen alcoves, or another area in the concourse—now with expanded seating!

from parking options, to hotel recommendations, to FAQs, and more: HGO.org/Plan-Your-Visit

Explore our Stories to Stage Gallery: Don’t miss the chance to learn more about HGO’s winter operas, with history displays, behind-the-scenes looks at productions, and more. Now on view in the Grand Foyer East Wing.

HGO’s Customer Care Center,

Browse the merchandise: Volunteers

including performance information, ticket assistance, and more: HGO.org/Contact-Us

from the HGO Guild operate a gift and souvenir boutique in the Grand Foyer.

P lan Your Visit information,

S oak in the scene over lunch or dinner:

And much more!

YO UR AUDIEN C E G U IDE Tips for a great night out with your community 94

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Make sure to build in time to enjoy the Wortham before the show—and get to your seats. Late seating may take place at designated moments

Food services are available prior to each

during each act’s first 20 minutes, either in an alternate location in the theater or, in some cases, a TV viewing area in the Grand Foyer. Latecomers may take their ticketed seats after the next intermission.

Have a bite in the lobby, not in the theater, but do enjoy a drink at your seat—just make sure it’s in a special container from the bar.

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performance in the Grand Foyer. For something quick, find parfait kits, naan sandwiches, and much more at the Grab N Go station. Have a drink: The lobby bars are open before each performance and during intermission. Don’t forget—premium wine selections are available in the center bar of the Grand Foyer. And don’t miss Happy Half Hour—guests receive $2 off all beer, wine, and cocktails at all bars for the first 30 minutes the theater is open (each bar begins service 90 minutes before performance time).

Pro-tip: Pre-order beverages for intermission at any of the bars when you arrive at the theater, and your drinks will be waiting for you! Dine at the Founders Salon: Enjoy a prix-fixe, seasonally inspired menu. Reservations are required, with a priority reservation window open for Patrons Circle members up to 72 hours before the performance date. Reservations then open to full-season subscribers. To reserve, call 713-533-9318 or email Cafe@ElegantEventsByMichael.com. Attend a free Opera Insights lecture:

Brush up on the day's opera during one of HGO's popular pre-show talks, presented this fall and winter by Audience Education and Communications Manager Joe Cadagin. Join us on the Orchestra level of the Brown Auditorium 45 minutes before curtain time. Enjoy music from solo instrumental artists. Tunes fill the lobby both before

each show and during intermission.

Unwrap candies and cough drops before curtain, and remain popular with your peers!

Silence or turn off your phone and other devices such as smart watches, then put them away. You’ll avoid blinding lights, distracting noises, and vexing your neighbors.

Save conversation for intermission or after the show. You can break down the performance with your neighbor at the break!

Bring the young arts lover in your life to the opera. Just remember: disruptors, however cute, should be escorted to the lobby.

More info at HGO.org/Plan-Your Visit

H O U S T O N

G R A N D

Khori Dastoor General Director and CEO Margaret Alkek Williams Chair James Gaffigan Music Director Designate Patrick Summers Music Director Emeritus * Robert and Jane Cizik Music Director Emeritus Chair EXECUTIVE LEADERSHIP GROUP Richard Bado, Chief Artistic Officer/ Chorus Director * Kristen E. Burke, Director of Production * Jennifer Davenport, Chief Marketing and Experience Officer Darcy Douglas, Chief Philanthropy Officer Elizabeth Greer, Chief Financial Officer OFFICE OF THE GENERAL DIRECTOR Mary Elsey, Associate Director of Board Relations and Executive Hospitality Audrey Hurley, Executive Assistant to the General Director and CEO Monica Thakkar, Director of Strategic Initiatives Joel Thompson, Composer-in-Residence ARTISTIC Stephano Baldasseroni, Italian Diction Coach Michael Banwarth, Assistant Conductor Colin Michael Brush, Director of the Butler Studio Anja Burmeister, German Diction Coach Matthew Carrington, Music Administrator & Orchestra Personnel Manager Keith Chambers, Pianist/Coach John Churchwell, Head of Music Staff Les Dala, Assistant Conductor Jonathan Friend, Casting Consultant Joseph Gil, Assistant Conductor Joel Goodloe, Director of Artistic Operations Clemens Jüngling, Assistant Conductor Matthew Kalmans, Rehearsal Coordinator Emma Kosht, Principal Music Librarian Kiera Krieg, Butler Studio Manager Mark C. Lear, Associate Artistic Administrator * Alexa Lietzow, Artistic & Music Coordinator Nadya Mercado, Butler Studio Program Assistant Patricia Kristof Moy, French Diction Coach Reagan Nattinger, Artist Services Coordinator Lucas Nguyen, Music Librarian

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Jorge Parodi, Spanish Diction Coach Peter Pasztor, Principal Coach * Karen Reeves, Children’s Chorus Director * Jennifer Ringo, English Diction Coach Nicholas Roehler, Assistant Conductor Jack Ruffer, Rehearsal Planning Administrator Madeline Slettedahl, Assistant Conductor Lisa Vickers, Bauer Family High School Voice Studio Manager Maureen Zoltek, Butler Studio Music Director Mr. & Mrs. Albert B. Alkek Chair AUDIENCES Carlos Angel, Guest Experience Coordinator Thomas Avalos, Patron Services Manager Vince Balkcom, Jr., Box Office Representative Inaija Butler, Box Office Representative Joe Cadagin, Audience Education and Communications Manager Nicholas Chavez, Sr. Group Sales Coordinator Julia Choo, Marketing Manager Chaz Corder, Account Executive Chelsea Crouse, Sr. Creative Manager Bella Cutaia, Box Office Representative Joy Germany, Account Executive Jessica Gonzalez, Associate Director of Marketing Shannon Huang, Audience Data Coordinator Scott Ipsen, Sr. Director of Ticketing and Experience * Rudy Avelar Chair Rita Jia, Sr. Graphic Designer Ashlyn Killian, Communications Coordinator Brittany Lau, Social Media Content Coordinator Tory Lieberman, Director of Marketing Dawn Malone, Director of Community Impact Colton Marek, Box Office Manager Aaron Marsh, Guest Experience Manager Catherine Matusow, Director of Communications Matt McKee, Associate Director of Sales and Service Brian Mitchell, Archivist and Content Administrator, The Genevieve P. Demme Archives and Resource Center * Cayla Pena, Box Office Representative Mary Phillips, Content Manager Kiki Pocasangre-Cooper, Graphic Designer Michelle Russell, Ticketing & Marketing Data Manager Eva Torres, Box Office Representative Chris Wolff, Marketing Coordinator

S TA F F

FINANCE AND OPERATIONS Fernando Barajas, Employee Records and Payroll Administrator Christian Davis, Associate Director of Human Resources Ariel Ehrman, Business Intelligence Manager Luis Franco, Office Services Coordinator * Matt Gonzales, Associate Director of Information Systems * George Heathco, Operations Projects Manager Joshua Jemio, IT Support Specialist Elia Medina, Payroll Manager Jeremy Patfield, Director of Finance Laura Powell, Controller Sarah Saulsbery, Accounts Payable Clerk Martha Serrano, Revenue and Receivables Administrator Denise Simon, Human Resources Coordinator * Christopher Staub, Director of Operations & Institutional Projects * Ahna Walker, Human Resources Manager, Recruiting and Retention Chaedron Wright, Information Technology Assistant Joy Zhou, Director of Information Services PHILANTHROPY Stephen Beaudoin, Director of Individual Giving Bree Bridger, Assistant Director of Foundation Giving Gray Campbell, Institutional Partnerships Coordinator Katherine Cunningham, Associate Director of Signature Events Ross S. Griffey, Director of Philanthropy Strategy and Communications Sofia Heggem, Signature Events Manager Austin Hinkle, Manager of Philanthropy Lindsay Klotz, Manager of Donor Experience David Krohn, Sr. Director of Philanthropy Tessa Larson, Associate Director of Individual Giving Olivia Lerwick, Philanthropy Writer Ana Llamas, Manager of Prospect Strategy Claire Padien-Havens, Sr. Director of Institutional Partnerships Patrick Long-Quian, Philanthropy Operations Manager Miguel Robles, Manager of Annual Giving Anyoleth Sanchez, Director of Signature Events Eleana Thornton-Hagerty, Director of Philanthropy

Sarah Wahrmund, Director of Philanthropy Operations Gabriella Wise Smith, Assistant Director of Institutional Partnerships PRODUCTION Noe Aparicio, Costume Technician Philip Alfano, Lighting Associate & Principal Draftsman * Brian August, Stage Manager Dung Bui, Junior Stitcher Joel Burkholder, Associate Technical Director Isabella Cabrera, Costume Coordinator Michael James Clark, Head of Lighting & Production Media * Andrew Cloud, Properties Manager * Janine Colletti, Assistant Director Norma Cortez, Costume Director * Esmeralda De Leon, Costume Coordinator * Heather Rose Ervin, Wig and Makeup Assistant Caitlin Farley, Assistant Stage Manager Joseph B. Farley, Production Manager David Feheley, Technical Director Vince Ferraro, Head Electrician * Jaimie Flowers, Props Shopper Bridget Green, Wig and Makeup Assistant Hope Griffin, Assistant Stage Manager David Heckman, Costume Coordinator Assistant John Howard, Head Carpenter * Isaí Leal, Assistant Stage Manager Nara Lesser, Costume Production Assistant * Claire Mayo, Assistant Stage Manager Melissa McClung, Technical and Production Administrator Tatyana Miller, Junior Draper Amanda Mitchell, Wig & Makeup Design Director Cam Nguyen, Costume Technician Sara Rodriguez, Assistant Technical Director Colter Schoenfish, Assistant Director Ian Silverman, Assistant Director Rachel Smith, Assistant Head Electrician and Board Operator Stephanie Smith, Assistant Director Kathleen Stakenas, Assistant Director Dotti Staker, Principal Wig Maker and Wig Shop Manager * Lorna Stephens, Assistant Stage Manager Bryan Stinnet, Assistant Carpenter/Head Flyperson Paully Tran, Sr. First Hand * Phillip Tyler, Head of Sound Myrna Vallejo, Associate Costume Director * Sean Waldron, Head of Props * Annie Wheeler, Production Stage Manager *denotes 10 or more years of service

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