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OPERAMESE MARIANOMusic by Umberto GiordanoLibretto by Salvatore di GiacomoLE VILLIMusic by Giacomo PucciniLibretto by Ferdinando FontanaSung in Italian with English supertitlesFirst PerformancesMese Mariano: March 17, 1910; Teatro Massimo, Palermo, ItalyLe Villi: May 31, 1884; Teatro dal Verme, Milan, ItalyCollege of Charleston Sottile TheatreMay 25, 27, 29, and 31; June 2, 4, and 7 at 7:00pmSPONSORED BY BMW MANUFACTURING CO.ConductorDirectorSet DesignerCostume DesignerLighting DesignerChoreographerMaurizio BarbaciniStefano VizioliNeil PatelRoberta Guidi di BagnoMatt FreyPierluigi VanelliCAST (in order of vocal appearance)MESE MARIANOSuperioraSuor PazienzaCarmelaSuor CristinaSuor CelesteSuor MariaLa ContessaSuor AgneseDon FabianoSupernumerariesChildren’s ChorusLinda Roark-StrummerAnn McMahon QuinteroJennifer RowleyYanzelmalee RiveraAllison Faulkner*Nicole Fragala*Shari Perman*Anne Marie Stanley*Justin Su’esu’e*Kathleen Lushman*, Allison Miller*Julian Ford, Olivia Gould, Adelaide Harper, Jillian Hethcox, Emma Joyce,Simone Kavarana, Natasha Kavarana, Alexandra Key, Maggie McKay,Meagan Mims, McKenna Simmons, Davis Varnado, Dorothy Yaun*Members of the Westminster ChoirLE VILLIGuglielmoAnnaRobertoFairiesLevi HernandezJennifer RowleyDinyar VaniaCaroline Abbott, Maggie Bailey, Ashley Padgett, Alexis Temkin,Jennifer Altman, Kristen Burgsteiner, Stephanie Bussell,Renee Mattson, Ann Davis Moore, Starla WoodSpoleto Festival USA OrchestraWestminster ChoirAssistant ConductorAssistant DirectorVocal CoachMusical PreparationChoral PreparationChildren’s Choral PreparationProduction Stage ManagerDancefx CharlestonSupertitlesCostume ConstructionSergei PavlovPierluigi VanelliDiane RichardsonBénédicte JourdoisJoe MillerAmanda CastelloneBecca EddinsJenny BroeChadwick Creative ArtsSartoria Farani di Roma29

OPERAMESE MARIANO LE VILLIANN MCMAHON QUINTERO’S (mezzo-soprano, Sour Pazienza, Mese Mariano)2012–13 season includes the roles of Maryin Der fliegende Holländer with BostonLyric Opera; Mistress Quickly in Verdi’sFalstaff with Virginia Opera; Amneris in Aidawith Annapolis Opera; and Messiah withBoston Baroque. Career highlights includeAzucena in Il trovatore with Opéra Royal deWallonie; Old Lady in Candide with Portland Opera; Hippolytain A Midsummer Night’s Dream with Boston Lyric Opera; Verdi’sRequiem with Buffalo Philharmonic Orchestra; La Haine in Gluck’sArmide; Marquise Melibea in Il viaggio a Reims with New IsraeliOpera; Baba the Turk in The Rake’s Progress with Angers NantesOpéra; Auntie in Peter Grimes, Tisbe in La Cenerentola, and ThirdLady in Die Zauberflöte with Washington National Opera; OlgaOlsen in Street Scene with Opera Theatre of Saint Louis; Isabellain L’italiana in Algeri with Palm Beach Opera; Glasa in KátyáKabanová with The Santa Fe Opera; the title role in Vivaldi’sJuditha Triumphans with Boston Baroque; and Beethoven’sSymphony No. 9 with the Columbus Symphony.YANZELMALEE RIVERA (soprano, SuorCristina, Mese Mariano) is a graduate of theConservatory of Music of Puerto Rico andthe University of Illinois. She has participatedin master classes with Montserrat Caballé,Justino Díaz, Sherill Milnes, and JoanDornemann. With the University of IllinoisOpera, she has sung Susanna from Le nozzedi Figaro, Despina from Così fan tutte,and Beatriz from Daniel Catán’s La hija de Rappaccini. After herrecent debut as Pamina in Die Zauberflöte through the MartinaArroyo Foundation Young Artist Program in New York City, TheNew York Times praised her as “a lush-sounding soprano.” Duringthis past season, Rivera was a resident artist of Teatro NacionalSucre in Quito, Ecuador, and in 2012 she sang the soprano soloin Beethoven’s Symphony No. 9 with the National SymphonyOrchestra of Ecuador.LINDAROARK-STRUMMER(soprano,Superiora, Mese Mariano) has sung rolesthat include Abigaille in Nabucco andLucrezia in I due Foscari with the Teatro allaScala; the title role in Tosca with the Arenadi Verona; Odabella in Attila and Lina inStiffelio with the Teatro La Fenice; Leonorain Il trovatore with the Vienna State Opera;Minnie in La fanciulla del West and Herodiasin Salome with New York City Opera; Lady Macbeth in Macbethwith the Teatro Massimo Bellini in Catania, the Teatro Municipalin Santiago, and L’Opéra de Montréal; the title role in Giovannad’Arco in Verona; the title role in Turandot with Portland Opera;the title roles in Tosca and Jenůfa with Opernhaus Zürich; and theMother Abbess in The Sound of Music with Tulsa Opera. RoarkStrummer has also appeared in concert with The PhiladelphiaOrchestra at Carnegie Hall, Orchestre Métropolitain, the NashvilleSymphony, the London Philharmonic Orchestra, and the NationalSymphony Orchestra.32JENNIFER ROWLEY (soprano, Carmela,Mese Mariana and Anna, Le Villi), winnerof the 2012 Richard Tucker Career Grant,burst onto the international scene as alast-minute replacement in the title roleof Donizetti’s Maria di Rohan at the 2010Caramoor International Music Festival. Shefollowed with successes at the NorwegianNational Opera as Musetta in La bohème(released on DVD), and at the Savonlinna Opera Festival as DonnaAnna. Other recent engagements include her Carnegie Hall debut;her New York City Opera debut as Queen Orasia in Telemann’sOrpheus; and a return to Savonlinna as Lucifer in Free Will. Shejoined the roster of the Metropolitan Opera this season and willmake her debut there as Musetta next season. She will also returnto Savonlinna this summer to make her role debut as Violetta inLa traviata, and she is engaged to perform at Covent Garden infuture productions.DINYAR VANIA’S (tenor, Roberto, LeVilli) career highlights include Pinkerton inMadama Butterfly with Pensacola Opera andKnoxville Opera; Don Jose in Carmen withLyric Opera of Kansas City; Duke in Rigolettowith Opera Grand Rapids and KnoxvilleOpera; Rodolfo in La bohème with New YorkCity Opera, Harrisburg Symphony Orchestra,Dayton Opera, Madison Opera, and KnoxvilleOpera; Nemorino in L’elisir d’amore with Sacramento Opera;Alfredo in La traviata with Opera Cleveland; Edgardo in Lucia diLammermoor with Syracuse Opera; Cavaradossi in Tosca withDallas Opera, Sacramento Opera, and Toledo Opera; and a concertwith Boston Landmarks Orchestra. Vania was named SyracuseOpera’s “Artist of the Year,” won first place in the Giulio GariInternational Vocal Competition, won second prize in the LiciaAlbanese-Puccini Competition, and was a semi-finalist in PlacidoDomingo’s Operalia. In 2013–14 he makes his debut with VirginiaOpera as Don Jose in Carmen.MUSIC STAFFBÉNÉDICTEJOURDOIS(musicalpreparation) is a graduate of the LindemannYoung Artist Development Program at theMetropolitan Opera and is currently onfaculty at the Curtis Institute of Music andthe Manhattan School of Music. An activefestival musician, Jourdois has been workingat the Chautauqua Institution Summerprogram since 2008 and at the CastletonFestival and Spoleto Festival USA since 2011. Jourdois hasperformed both as a soloist and collaborative pianist in numerousvenues in Europe and in the United States, including Alice TullyHall and Carnegie Hall in New York, and has worked in such majorNorth American opera houses as the Pittsburgh Opera and theHouston Grand Opera. Born in Paris, Jourdois holds degreesfrom the Conservatoire National de Region de Saint-Maur, theConservatoire National Superieur de Musique de Lyon, MannesCollege, and The Juilliard School.

OPERAMESE MARIANO LE VILLIof Chicago; Madama Butterfly at Teatro dell’Opera di Roma; SuorAngelica and Cavalleria rusticana at the Opera Theatre of SaintLouis; Rigoletto at Parma’s Verdi Festival; Simon Boccanegra at TheSanta Fe Opera; Vivaldi’s Montezuma at the São Carlos NationalTheatre in Lisbon; Samson et Dalila at the St. Galler Festpiele;Rigoletto at the National Centre for the Performing Arts in Beijing;Il barbiere di Siviglia at Théâtre du Capitole de Toulouse; Acis andGalatea at the Macao International Music Festival; and I Lombardialla prima crociata at Teatro Colon in Buenos Aires. Among hismany activities dedicated to social work, Vizioli has directedMenotti’s Amahl and the Night Visitors in the Pagliarelli prison.MATT FREY (lighting designer), designer for Spoleto FestivalUSA’s 2012 production of Feng Yi Ting, has designed lights fortheater, opera, multimedia performances, and dance. Recentwork includes The Rite of Spring with Ridge Theater and ThePhiladelphia Orchestra; Appropriate, directed by Gary Griffin, andGnit, directed by Les Waters, with Actors Theatre of Louisville;Dog Days, directed by Robert Woodruff, with Peak Performances;The Martyrdom of Saint Sebastian with the San FranciscoSymphony; What Rhymes With America, directed by Daniel Aukin,with Atlantic Theater Company; Golden Child, directed by LeighSilverman, with Signature Theatre; and Long Day’s Journey IntoNight, directed by Les Waters, with Actors Theatre of Louisville.Frey has also collaborated with Brooklyn Academy of Music,Atlanta Symphony Orchestra, Brooklyn Philharmonic Orchestra,The Corn Exchange in Dublin, Steppenwolf, Soho Rep, PlaywrightsHorizons, Naked Angels, The New Group, Manhattan ClassCompany, New York Theatre Workshop, Second Stage Theatre,and Paper Mill Playhouse, as well as many other regional andinternational theaters.NEIL PATEL (set designer) is an award-winning designer practicing in disciplinesincluding theater, opera, dance, film,television, and live events. He is bestknown for developing new work and boldinterpretations of classic texts. Past creditsinclude Side Man for Broadway, London’sWest End, and The Kennedy Center; Dinnerwith Friends in New York and on nationaltour; the world premiere of Bright Sheng’s Madame Mao at TheSanta Fe Opera; Amon Miyamoto’s production of Cos fan tutte atthe Nissay Theatre in Tokyo, which earned a Japanese NationalArt Festival Award; production design for HBO’s In Treatment; andPilobolus Dance Theatre’s Shadowland in Europe. He has twicebeen recognized with an Obie Award for sustained excellence andhas been the recipient of the Helen Hayes Award and numerousHenry Hewes and Drama Desk nominations. He is a graduate ofYale College and the University of California at San Diego.ROBERTA GUIDI DI BAGNO (costumedesigner) has a worldwide reputation as aset and costume designer. She has workedfor many major opera houses and balletcompanies around the world, includingTeatro alla Scala, Teatro di San Carlo, Teatrodell’Opera di Roma, Spoleto Festival USA,Royal Albert Hall, Lyric Opera of Chicago,Pacific Northwest Ballet, San FranciscoBallet, Joffrey Ballet, Tulsa Ballet, Houston Ballet, Deutsche OperBerlin, Semperoper Dresden, Chorégies d’Orange, Opéra de Nice,Royal Danish Ballet, Shanghai Ballet, Hong Kong Ballet, SydneyEntertainment Centre, and Maggio Musicale Fiorentino. In 1997,Guidi di Bagno was awarded the Leonide Massine Prize for balletfor her artistic achievement. Other credits include Don Pasquale,conducted by Riccardo Muti; Otello; L’incoronazione di Poppea;Parsifal; La belle Hélène; Nabucco; John Cranko’s Eugene Oneginstarring Roberto Bolle; The Taming of the Shrew; Don Quixote;The Nutcracker; Sleeping Beauty; Afternoon of a Faun starringRudolf Nureyev; and Cinderella.PIERLUIGI VANELLI (choreographer andassistant director) studied dance in Florence,London, Paris, and New York, and hasworked in Italy as a dancer, choreographer,and teacher. He was a member of the CarlaFracci Ballet Company for two years, dancingat Teatro dell’Opera in Rome, Gran Teatro LaFenice in Venice, Maggio Musicale Fiorentinoin Florence, and Teatro Massimo in Palermo.Vanelli was also a soloist at Teatro Massimo Bellini in Catania for18 years. As choreographer and assistant director, he has workedin Italy, Spain, Korea, and Slovenia. His productions include Labohème, Madama Butterfly, La rondine, La traviata, Un ballo inmaschera, Rigoletto, Tosca, Turandot, Nabucco, Lakmé, I puritani,Adriana Lecouvreur, and La sonnambula, among others. In 2002,he worked for Baltimore Opera Company with their productionsof Rigoletto and Lakmé. He is an esteemed ballet teacher and haswon several awards for his choreography.CASTLEVI HERNANDEZ (baritone, Guglielmo,Le Villi) is a sought-after artist on the operaticstage, having been seen with the Lyric Operaof Chicago, Houston Grand Opera, and LosAngeles Opera. In the 2012–13 season,Hernandez returned to the MetropolitanOpera for Carmen, sang Sharpless in MadamaButterfly for Nashville Opera, appeared withOpera Memphis as Marcello in La bohème,and sang Handel’s Messiah with the El Paso Symphony Orchestra.Other recent highlights include a reprise of Sharpless in MadamaButterfly with both Minnesota Opera and Intermountain Opera;Tobias Mill in La cambiale di matrimonio with Opera Omaha; hisEuropean debut as Tomski in Pique Dame with Komische OperBerlin; and his South American debut as Dulcamara in L’elisird’amore with the Teatro Nacional Sucre in Ecuador. He also sangwith Houston Grand Opera and Virginia Opera as Sharpless inMadama Butterfly, as well as the role of Leporello in Don Giovanniwith Opera Theatre of Saint Louis.31

OPERAMESE MARIANO LE VILLITHERE WILL BE ONE INTERMISSION.Additional support is provided by the Brand Foundation of New York, Inc.Opera programming is endowed by the Arthur and Holly Magill Foundation.These performances are made possible in part through funds from the Spoleto Festival USA Endowment, generously supported byBlueCross BlueShield of South Carolina.Mese Mariano is performed by arrangement with Theodore Presser Company, agents for Casa Musicale Sonzogno, publisher andcopyright owner. Le Villi is performed by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, Sole Agent in the U.S.,Canada, and Mexico for Casa Ricordi/Universal Music Publishing Ricordi S.R.L., publisher and copyright owner.SYNOPSESMESE MARIANOOn a Sunday morning in May at an orphanage in Naples, childrensing for the countess, the patron of the orphanage, and receivepresents. As they take the gifts back to their rooms, Carmelaenters the orphanage with a cake for her son who has been livingthere. Carmela asks Suor Pazienza if she can see him and, unableto shoulder her guilt alone any longer, tells her how her son cameto live there: as a young girl, she was seduced by a man, becamepregnant, and was then deserted to raise her baby alone. Whenshe married, her new husband would not allow another man’s childin his house, so she was forced to send her son to the orphanage.While Carmela prays alone in the chapel, Mother Superior learnsthat her child has died the night before, but decides to tell her thathe is rehearsing for the Mary’s Month celebration and cannot besummoned. Carmela leaves in tears. 2013 Leah HarrisonLE VILLIVillagers are celebrating the engagement of Roberto and Anna,daughter of the head forester, Guglielmo. Roberto is about toleave the village to collect an inheritance. Anna brings him a posyof forget-me-nots to keep him mindful of their vows (“Se comevoi piccina”). In their duet (“Tu dell’infanzia mia”), he tells her todoubt the existence of God himself rather than his own constancy.All join in a prayer (“Angiol di Dio”) to send him on his way.At the beginning of the second scene, a verse of poetry describeshow Roberto has fallen into the clutches of a siren and during thefirst intermezzo (“L’abbandono”), we see the desperation of theforgotten Anna, who has gone mad with grief.A second intermezzo (“La tregenda”) depicts the Willis, avengingspirits of maidens forsaken by their lovers. Outside his cottage,Guglielmo grieves for his daughter and inveighs against herfaithless lover (“Anima santa della figlia mia”). Roberto returnspenniless and devoured by remorse, recalling his love for Anna(“Torna ai felici dì”). After seeing Anna and the ghosts of theabandoned women, guilt drives Roberto to his death.Based on an entry in Oxford Music Online by Julian Budden30CREATIVE TEAMMAURIZIOBARBACINI(conductor)is one of today’s most sought-after operaconductors. In a distinguished career, hehas appeared with New York’s MetropolitanOpera, Vienna State Opera, Bavarian StateOpera, Deutsche Oper Berlin, and theKomische Oper Berlin. In addition, he hasheld positions as principal conductor ofthe Finnish National Opera and the OperaCompany of Philadelphia. Engagements in recent seasons includeMadama Butterfly with Semperoper Dresden; Il turco in Italia,Madama Butterfly, Don Pasquale, and Un ballo in maschera withBavarian State Opera; La traviata and Don Pasquale with KomischeOper Berlin; Turandot with Opera Company of Philadelphia; Labohème and Carmen with New National Theatre, Tokyo; TheRape of Lucretia and Lucia di Lammermoor with Oper Frankfurt;Il trovatore with Teatro Verdi Trieste; Manon Lescaut and Labohème with Paris Opera; La traviata and Aida with DeutscheOper Berlin; La traviata and L’elisir d’amore with the MetropolitanOpera; Tosca, L’elisir d’amore, and Il barbiere di Siviglia, with SanFrancisco Opera; Manon Lescaut and Falstaff with CincinnatiOpera; Il turco in Italia with Bavarian State Opera; and Rigolettowith Deutsche Oper am Rhein. Barbacini has made a number ofrecordings, including a disc of opera arias with Denyce Graves andthe Munich Radio Orchestra, which is available on the RCA RedSeal label. Before becoming a conductor, he enjoyed a successfulcareer as a singer and sang the role of Gaston in Franco Zeffirelli’sfilm of La y recognized opera director,debuted at the Opera Barga Festivalwith Domenico Sarro’s L’impresario delleisole Canarie in 1979. Collaborating withoutstanding artists and designers, he takesa special interest in contemporary opera,unknown baroque masterpieces, andproducing opera for wider audiences. Viziolidirected the first Italian performances of Rimsky-Korsakov’sMay Night, Douglas Moore’s The Devil and Daniel Webster, andDominick Argento’s Casanova’s Homecoming. His production ofIl barbiere di Siviglia with Ferrara Musica conducted by ClaudioAbbado and Don Pasquale with Teatro alla Scala conductedby Riccardo Muti are still performed all over the world. He hasbeen a visiting professor at the University of Cincinnati, IndianaUniversity’s School of Music, and the University of Texas in El Paso.His work in recent seasons includes Rigoletto at the Lyric Opera

OPERAMESE MARIANO LE VILLIJOEMILLER (choral preparation) isconductor of two of America’s mostrenownedchoralensembles—theWestminster Choir and the WestminsterSymphonic Choir. As director of choralactivities at Westminster Choir Collegeof Rider University, he also oversees anextensive choral program that includeseight ensembles. In addition to their annualresidency at Spoleto Festival USA, Miller’s 2012-13 season withthe Westminster Choir included a concert tour of the upperMidwest, several national radio broadcasts, performances at theAmerican Choral Directors Association National Conference inDallas, concerts in Princeton, a new recording project. He will alsoconduct the Westminster Symphonic Choir and the WestminsterFestival Orchestra in a performance of Mendelssohn’s Elijahin Princeton. As conductor of the Westminster SymphonicChoir, Miller has collaborated with some of the world’s leadingorchestras and conductors, earning him critical praise. After aperformance of Mahler’s Symphony No. 2, “Resurrection” withthe Cleveland Orchestra and Franz Welser-Möst, The New YorkTimes wrote, “Joe Miller’s Westminster Symphonic Choir wassubtle when asked and powerful when turned loose.” Miller isalso founder and conductor of the Westminster Chamber Choir,a program that offers professional-level choral and vocal artiststhe opportunity to explore challenging works for two weeks eachsummer on the Westminster campus in Princeton. Additionally,he leads the annual Westminster Choral Festival, which welcomessingers and conductors to study and perform a major choralwork with orchestra. In demand as a guest conductor andclinician, his recent residencies have included Baldwin-WallaceConservatory of Music, Temple University, and the Berlin RadioSymphony Chorus.THE WESTMINSTER CHOIR is composed of studentsat Westminster Choir College, a division of Rider University’sWestminster College of the Arts in Princeton, New Jersey. Settingthe standard for choral excellence for 92 years, it has beenthe chorus-in-residence for Spoleto Festival USA since 1977,performing both in concert and as the opera chorus. In addition toits residency at the Festival, the ensemble’s 2012–13 season hasincluded a concert tour of the upper Midwest, two performancesat the American Choral Directors Association’s NationalConvention, a recording project and performances and broadcastsat its home in Princeton. The Westminster Choir has released tworecordings with Maestro Joe Miller. Noël, a collection of FrenchChristmas music and sacred works, also features Westminsteralumna Jennifer Larmore, the most recorded mezzo-sopranoof our era, and organist Ken Cowan. The recording was thecenterpiece of the PRI Radio broadcast “Noël – A Christmas fromParis,” hosted by Bill McGlaughlin. The choir’s debut recordingwith Maestro Miller, Flower of Beauty, received four stars fromChoir & Organ magazine and earned critical praise from AmericanRecord Guide, which described the Westminster Choir as “thegold standard for academic choirs in America.” The SymphonicChoir’s 2012–13 season included a performances of Verdi’sRequiem and Bach’s St. Matthew Passion with The PhiladelphiaOrchestra conducted by Yannick Nézet-Séguin; Berg’s Wozzeckwith the London Philharmonia conducted by Esa-Pekka Salonen;and Villa-Lobos’s Chôros No. 10 and Estévez’s Cantata Criolla withthe Simón Bolívar Symphony Orchestra of Venezuela conductedby Gustavo Dudamel.DIANERICHARDSON (vocal coach)received degrees in music from OberlinCollege and Columbia University. Shecontinued her professional training at TheJuilliard School, where she studied pianowith Adele Marcus and vocal repertoirewith Sergius Kagen and Robert Starer. Shealso trained abroad at the Mozarteum inSaltzburg and L’Università per Stranieri inPerugia, Italy. Skilled in operatic and lieder repertoire, Richardsonhas toured extensively with leading artists throughout theUnited States and Europe. For more than a decade, she was anassistant conductor with New York City Opera and subsequentlytaught at the Yale School of Music. She also served as assistantconductor for the Festival dei Due Mondi in Spoleto, Italy, and hasbeen associated with Spoleto Festival USA since its first season.Richardson holds concurrent faculty appointments at The JuilliardSchool and Binghamton University.THE SPOLETO FESTIVAL USA ORCHESTRA appearsat the Festival in many different configurations, performing inopera, symphonic, choral, chamber, and contemporary musicperformances. Formed anew each year through nationwideauditions, the orchestra is largely comprised of youngprofessionals or players in advanced degree programs. Alumni ofthe Spoleto Festival USA Orchestra are on the rosters of leadingorchestras throughout the world, including the MetropolitanOpera Orchestra, Chicago Symphony Orchestra, The ClevelandOrchestra, and San Francisco Symphony, among others.33

Symphony No. 9 with the Columbus Symphony. YANZELMALEE RIVERA (soprano, Suor Cristina, Mese Mariano) is a graduate of the . Pacific Northwest Ballet, San Francisco Ballet, Joffrey Ballet, Tulsa Ballet, Houston Ballet, Deutsche Oper . Rigoletto, Tosca, Turandot, Nabucco, Lakmé, I puritani, Adriana Lecouvreur, and La sonnambula, among others .

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