The Magic Flute Digital Program
This new production by Wolfgang Mozart and Emanuel Schikaneder is directed by NJ Agwuna and conducted by Joseph Colaneri. In this new storybook adaptation by Kelley Rourke, Eric Owens stars in the expanded role of Sarastro, inviting us into a timeless tale of love and wisdom.
“The Magic Flute is a fairytale about finding your own way in the world. This production will be explored through storytelling. We take a look at the classical ways of storytelling, through narration, imagination, and performative action. We are quite literally going from the page to the stage. This story is important to tell in 2021 because we are so inundated with information and opinions influencing our own thoughts and morales. It is time for all of us to seek out our own paths and figure out who we want to be in this world.” — NJ Agwuna
This production runs July 15 through August 17, 2021.
Sarastro, as Narrator, invites us into the timeless tale of love and wisdom, which begins with the entry of a young prince, Tamino. He is being pursued by a monster. Overcome with terror, Tamino faints. At that moment, Three Ladies appear. They vanquish the monster, then inspect the unconscious Tamino. Their boss, the Queen of the Night, is looking for the right guy to take on a mission, and he could be the one.
The Ladies exit, leaving Tamino alone. Just as he begins to come to, a birdcatcher appears, introduces himself as Papageno, and speaks of his quest for love. He also tells Tamino that he is the one who vanquished the monster. Just then, the Three Ladies return. They punish Papageno for his lie by sealing his mouth shut.
Acting on orders from the Queen of the Night, the Ladies produce a portrait of her daughter. They tell Tamino the girl has been abducted by “the evil Sarastro.” Tamino is deeply moved by the tale of the grieving mother and her helpless daughter – not to mention the portrait of beautiful Pamina.
Tamino’s reverie is interrupted by the arrival of the Queen of the Night, who describes her daughter’s abduction and commands Tamino to save her. As the Queen makes a dramatic exit, Papageno begs the Ladies to restore his speech, which they do. A mysterious creature brings forth magical talismans for Tamino and Papageno.
Everyone scatters, looking for Pamina. Monastatos appears. He is a new member of Sarastro’s brotherhood, and he has been charged with taking care of Pamina, but she has fled. Not long after he disappears, continuing his search, Pamina herself appears. Papageno immediately recognizes the girl from the portrait. He explains that he is part of a five-person search party and tells Pamina that no one is more eager to find her than Prince Tamino, who had fallen in love at the first glimpse of her portrait. Pamina and Papageno sing together of their longing for love. When they are surprised by Monastatos, Papageno, thinking quickly, uses his magic bells to charm Monastatos. Just then, the voices of the brotherhood rise up around them.
Sarastro enters the story. Pamina confesses that she tried to run away because she was afraid of Monastatos. Sarastro explains that he abducted Pamina for her own good and warns her that her Mother is dangerous. Just then, Monastatos drags Tamino in. Time stops for Pamina and Tamino, who see their destiny in each other. Monastatos suggests harsh punishment for the trespassers and is surprised when Sarastro punishes him instead.
Meanwhile, the Queen of the Night has stolen into the Narrator’s seat. As she leafs through the book, she is infuriated to see how Sarastro is framing the story. She remembers how her husband left her and disappeared into Sarastro’s community. She fears she will never see her daughter, Pamina, again.
Sarastro believes Tamino is destined to vanquish darkness and ignorance, once and for all. But first, he must undergo a series of trials. If Tamino proves himself worthy, he will have Pamina as reward. The priests offer Tamino and Papageno a series of riddling instructions, admonishing them to speak to no one but each other. Tamino vows to follow their instructions, no matter the cost. The Three Ladies burst into the scene and urge Papageno and Tamino to flee with them, but Tamino is determined to follow the path described by Sarastro and his brotherhood.
Meanwhile, Monastatos, frustrated by his lack of success with women, corners Pamina. The Queen of the Night comes to her daughter’s rescue, but then hands Pamina a knife and demands that she kill Sarastro. When Pamina hesitates, the Queen threatens her daughter with death.
Before Pamina can respond, her mother is gone. Pamina is relieved to see Tamino and Papageno, but when Tamino, determined to follow the priests’ instructions, refuses to speak to Pamina, her joy turns to confusion and despair. Papageno, too, is losing hope of ever finding a true love. Both Pamina and Papageno question whether life is worth living.
The Three Ladies, newly inspired by the example of Sarastro and his community, prevent Pamina from committing suicide: they lead Pamina to Tamino, and the pair successfully completes the trials together. Next the Ladies turn their attention to Papageno, revealing his perfect mate: Papagena. The Queen and Monastatos make a last, unsuccessful effort to destroy Sarastro’s rule, but they are easily turned away. All who remain celebrate the triumph of wisdom and love.
Cast & Artistic Team
|Pamina||Helen Zhibing Huang*|
|The Queen of the Night||Emily Misch*|
|First Lady||Victoria Lawal*|
|Second Lady||Ariana Warren*|
|Third Lady||Maire Therese Carmack*|
|Papagena/Narrator||Lisa Marie Rogali*|
|Priest #1||Jonathan Pierce Rhodes*|
|Priest #2||Ron Dukes*|
|Priest #3||Peter Morgan*|
|First Lady||Mary-Hollis Hundley*|
|Second Lady||Mia Athey*|
|Third Lady||Mia Athey*|
|Assistant Conductor||Dmitry Glivinskiy*|
|Principal Coach/Ensemble Master||Katherine Kozak|
|Assistant Coach||Christopher Devlin|
|English Diction Coach||Kathryn LaBouff|
|Set Designer||Peter J. Davison|
|Costume Designer||Christelle Matou|
|Lighting Designer||Mark McCullough|
|Sound Designer||Andrew Harper|
|Hair & Makeup Designer||Cassie Williams|
|Production Stage Manager||Dustin Z West|
|Stage Manager||Alex W. Seidel|
|Assistant Director||Alison Pogorelc*|
|Assistant Stage Manager||Sarah Stark|
|Assistant Stage Manager||Kayla Uribe|
|*Denotes Member of Young Artists Program|
In lieu of previews, this summer the Festival is offering the newly launched podcast, The Glimmercast. Hear riveting interviews from various artists and learn more about the season.
The first episode of The Glimmercast features behind-the-music insight into The Magic Flute, by Wolfgang Amadeus Mozart.
This gallery will be added and updated soon! Please check back for more amazing content!
BUT. Here’s a little sneak preview from rehearsals…
Photo: Karli Cadel
Explore the Magic Flute
Is it a fairytale? A romance? A cautionary tale? No matter how you classify it, The Magic Flute remains a lasting favorite of Mozart’s many masterpieces. The opera stages the struggle between forces of darkness and light. As they pursue their destinies, each character must resist base temptations and aspire to the ideals of the Age of Enlightenment: truth, logic, and reason.
But whose story is “the truth”? The Festival’s production this year – a storybook framework with shifting narrators – brings that idea to the fore. It’s a fitting approach in a time when America questions the truth in its own history, media, and political structures. Though truth may be relative, one thing is certain: once the storybook cracks open, you’re in for a thrilling ride.
True love, royalty, and magical creatures await you on the lawn at The Glimmerglass Festival.
Photo: Karli Cadel
- No phones are allowed in theaters, but that doesn’t mean you can’t take the opera with you. In 2020, mobile game developers Opusludus released The Flute based on the first scene of the opera. Players help Prince Tamino take down dragons and other creatures on his quest to rescue Princess Pamina. Mozart’s score serves as the soundtrack. Read about the game on Classic FM, and download the game for iOS or Android.
- Near-death, impoverished, and sickly – the end of Mozart’s life was not a fairytale, and yet he still managed to write a masterpiece. The San Francisco Symphony shares Mozart’s backstory leading up to him composing The Magic Flute.
- Nicolas Cage’s hunt for National Treasure has nothing on these music scholars! Discover the references to Freemasonry in Mozart’s score and Emanuel Schikaneder’s libretto, as explained here by Opera Grand Rapids.
- Ready for a change of scenery? Jonathan Dean, dramaturg at Seattle Opera, tracks the shift from Neoclassical to Romantic visual and scenic arts through set designs from early productions of The Magic Flute.
- Film buffs, rejoice! Film adaptations of The Magic Flute abound. Ingmar Bergman’s Swedish-language made-for-TV movie is a light-hearted departure from his typical dark, psychological subject matter. Kenneth Branagh’s 2006 release sets The Magic Flute in a town of rubble during World War I. Tamino is a soldier, Papageno takes care of the canaries sent into trenches to detect gas, and the fate of the world is in their hands. Currently in post-production is a modern take in which a young music student finds a forgotten passageway into the world of The Magic Flute. (Expected premiere at the end of 2022.)
- Pop goes The Magic Flute! Mozart’s score is featured in movies, television, and even cartoons. Indulge in all of the pop culture references to Flute in this blog post from Seattle Opera.
- A TED Talk for opera lovers! This TED-Ed animation introduces you to the opera’s plot, themes, and some neat music analysis.
- Flute fanatics will enjoy British musicologist Michael Freyhan’s The Authentic Magic Flute Libretto: Mozart’s Autograph or the First Full-Score Edition? He details the differences between the two versions, traces how the first full-score edition became the standard, and makes a case for restoring Mozart’s autograph as the definitive text.
- In Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas, Nicholas Till explores how Mozart’s operas are informed by ideas and discoveries of the Enlightenment, drawing on writings by Richardson, Voltaire, Rousseau, Kant, Goethe, Schiller, and Blake, among others.
- David J. Buch presents a thorough study of sources and influences on magical elements in opera in Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Music Theater. His sites of study range from the Opéra-Comique to London’s Queen’s Theatre to Vienna’s Theater auf der Wieden (where The Magic Flute had its world premiere).
Photo: Karli Cadel
The Magic Flute: A Hero’s Journey
A long time ago, in an opera far, far away…
What do Star Wars and The Magic Flute have in common? They are both archetypal “hero’s journeys” or “monomyths.” In these stories, the protagonist leaves home to go on an epic quest in a world unknown. They face challenges that lead to an ultimate battle. Emerging victorious and transformed, the hero returns home with a new worldview. You might have studied this in your high school English class with the Odyssey. (If this doesn’t ring a bell, consider the bildungsroman, a specific type of hero’s journey focused on the character’s coming of age. Think The Catcher in the Rye by J.D. Salinger or Siddhartha by Hermann Hesse.)
In The Magic Flute, we start with Tamino – our Luke – already on his quest for Enlightenment. Like Luke, Tamino knows there’s something more out there in the galaxy. The ideals of the Enlightenment are the ways of the Jedi of the 1700s; truth, reason, logic, and science will help Tamino reach a higher level of self-realization – of oneness with The Force.
Of course, Tamino can’t complete this quest alone. Every hero’s journey needs a comedic sidekick. This character is a foil to the protagonist. He enhances the hero’s noble qualities and represents the common man at risk should the hero not succeed. Enter the beloved bird-catcher Papageno. Papageno’s only quest in life is to find a wife and a snack. Against his will, he is partnered with Tamino to help him reach his destiny.
We can compare Papageno to C-3PO or R2-D2, for they both provide comedy and allow the viewer to enter the world of the story. C-3PO asks clarifying questions and remarks on the action (usually in shock) so that the viewer knows how to feel about different events. In our production, Papageno is more analogous to Jar Jar Binks – a little daft.
So, with Papageno in tow, who stands in Tamino’s way? Tamino thinks it’s Sarastro, who kidnapped his destined lover, Princess Pamina. That’s what the Queen of the Night wants him to believe. She tries to entice Tamino to defeat Sarastro in exchange for Pamina’s hand.
Plot twist: It’s actually the Queen of the Night who is the Anakin/Vader of this story. Once good, the Queen of the Night has succumbed to the Dark Side. Sure, Sarastro kidnapped Pamina, but only to protect her from her evil mother. The audience learns this at the same time as Tamino and Papageno, putting the “drama” in dramatic irony.
Sarastro helps Tamino distinguish between light and dark, as Yoda teaches Luke. Before Tamino and Luke can face their foes, they must both face trials that challenge their skills and their commitment to the light side. Only after completing this “training” are they equipped to save the world and reap their rewards. Sarastro saves Tamino from the powers of darkness, Tamino saves Pamina from the Queen, and Papageno is rewarded with a wife of his own. With darkness now vanquished, everyone basks in the glow of Enlightenment. Cue the dancing Ewoks.
If Star Wars isn’t your fandom, you can find the hero’s journey in many other books and movies. The hero’s journey is a common narrative trope (though maybe without Mozart and Schikaneder’s plot twist). Compare the plot elements of Flute with The Lord of the Rings, the Harry Potter series, The Wizard of Oz, or even Rocky or The Emperor’s New Groove. You can take a hero’s journey in a boxing ring in Philadelphia or in a galaxy far, far away.
(Ready for your own hero’s journey? Play as Tamino in The Flute, a mobile game based on the first scene of the opera. Take down dragons and other creatures on your quest to save Princess Pamina. You can download the game for iOS or Android.
Photo: Karli Cadel
You Staged The Magic Flute How?!
Think the Star Wars parallels are a stretch? Think again. The Norwegian National Opera set their 2015 production of Flute squarely in George Lucas’s universe, and the production photos will make your jaw drop. Texas State University and Biola University have also taken an intergalactic approach to the opera.
Other fun and wild spins on The Magic Flute include Pacific Opera Project’s Nintendo-inspired production with Tamino as Link and Pamina as Zelda. (Don’t worry, Mario and Peach are also on stage as Papageno and Papagena.) Get a taste of “SuperFlute” with this clip, then settle in to watch the whole production with commentary from Artistic Director Josh Shaw.
Theatre technicians will love the projections in this production from Komische Oper Berlin and British arts company 1927. Staged against a giant blank wall, the opera comes to life through projected animations that combine the aesthetics of black-and-white silent films with 1930s German Expressionism. It first premiered in Berlin in 2012 and has since been staged by opera companies around the world over the last decade.
The Magic Flute has also been adapted for film. The classic is Ingrid Bergman’s Swedish-language made-for-TV movie, a light-hearted departure from his typical dark, psychological subject matter. Kenneth Branagh’s 2006 direction sets The Magic Flute in a town of rubble during World War I. Tamino is a soldier, and Papageno is at war too, but still among the birds. He takes care of the canaries sent into trenches to detect gas attacks. Premiering in Europe at the end of 2022 is a modern take in which a young music student at Mozart’s conservatory in Austria finds a forgotten passageway into the world of The Magic Flute. An American release date has yet to be announced.
Photo: Karli Cadel
|Artistic & General Director||Francesca Zambello|
|Music Director & Conductor||Joseph Colaneri|
|Executive Director||Andrea Lyons|
|Director of Accounting||Karen Flanagan|
|Director of Artistic Administration||Amra Catovic|
|Acting Director of Artistic Administration||Gail P. Luna|
|Director of Communications||Brittany Lesavoy|
|Director of Company Management||Merritt Schifano|
|Director of Development||Caryn Reeves|
|Director of Production||Abby Rodd|
|Advisor to the EDI Committee and Coordinator for EDI Initiatives||Jessica Jahn|
|Artistic Advisor||Eric Owens|
|Head of Stage Movement & Choreography||Eric Sean Fogel|
|Director of Young Artists Program||Allen Perriello|
|Head of Music Staff||Christopher Devlin|
|Administration & Operations|
|Assistant to Francesca Zambello||Dianne Ciano|
|Production/Communications Assistant||Wyatt Nyman|
|Information Technology Manager||Austin Bloomfield|
|Accounting Associate||Frederick Fall|
|Finance Advisor/Payroll & HR Manager||Tammy Crossway|
|Auditors||Grossman St. Amour, Certified Public Accountants, PLLC|
|Legal Counsel||Whiteman, Osterman & Hanna LLP, M. Anne O’Connel|
|Development Officer||Mark Conchie|
|Development Officer||Amy Tompkins|
|Development Assistant||Kathy Buck|
|Development Assistant||Jessica Montgomery|
|Development Assistant||Lauren Taylor|
|Advancement Advisor||Joan Desens|
|Music Operations Manager||Emmet Sellars|
|Artistic Associate||Justin E. Bell|
|Music Librarian||Kristen Butcher|
|Scheduling Manager||Meg Morrill|
|Orchestra Personnel Manager||Jerry Bryant|
|Piano Technician||Eric Mazarak|
|Music Staff||Kirill Kuzmin|
|Music Staff||Kevin J. Miller|
|Music Staff||Grant Wenaus|
|Communications Associate||Mykai Eastman|
|Communications Associate||Charlotte Maskelony|
|Graphic Designer||Katherine Ehle|
|Website Design||Gameflow Interactive|
|Box Office Manager||Liz Diamond|
|Box Office Staff||Nikki Golebiowski|
|Box Office Staff||Connor Lange|
|Box Office Staff||Madeline Jane Malinowski|
|Company Administration Manager||Rebecca Gill|
|Company Management Administrator||Matthew Sycle|
|Company Management Supervisor||Erin Cluckie|
|Company Management Supervisor||Rachael Ellis|
|Company Management Supervisor||Matthew van Bruggen|
|Housekeeping Staff||Jessie LaBudde|
|Housing Coordinator||Jeffery Wilcox|
|Facilities Supervisor||Leon Roseboom|
|Assistant Facilities Supervisor||Bill Fort|
|Facilities Staff||Sheldon Jacobson|
|Facilities Staff||Elijah Jordan|
|Facilities Staff||Jeffrey Salamone|
|Facilities Staff||Connor Scheffler|
|Front of House|
|Patron Experience Manager||Christian Schaefer|
|Assistant Patron Services Manager||Sydney Wunder|
|Lawn Leader||Susan Boss|
|Lawn Leader||Sarah Cohea|
|Lawn Leader||Mary Sisson Eibs|
|Lawn Leader||Samuel Evans|
|Lawn Leader||Leigha Ashley Hall|
|Lawn Leader||Max Montgomery|
|Lawn Leader||Nathaniel C Savoie|
|Lawn Leader||Nasim Vargha|
|Parking Manager & Operations Assistant||Lizzy Mott|
|Parker||Dakoda Kell House|
|Parker||Jillian E. Rockwell|
|Production Coordinator||Erica Ayala|
|Production Administrator||Mary Emily Landers|
|Production Administrator||Vanessa Toro|
|A/V Coordinator||Joel T. Morain|
|Assistant A/V Engineer||Alex Loving|
|A/V A1||Elyssa Kohen|
|A/V Staff||Tate Abdullah|
|A/V Staff||Colin Kless|
|A/V Staff||Ally Lenihan|
|Costume Director||Deborah L Shippee|
|Associate Costume Director||Lynne Hinman|
|Costume Administrator||Peter J. Orkiszewski|
|Costume Administrative Coordinator||Daphnee McMaster|
|Costume Shopper||Nicole M DeLucia|
|Draper||Erica S Fire|
|First Hand||Isabella Dixon|
|First Hand||Samantha Shields|
|Crafts Manager||Danielle Jordan|
|Crafts Assistant Manager||Kirsten Walsh|
|Costume Crafts Artisan||Molly Doan|
|Assistant Dramaturg/Titles Operator||Nick Richardson|
|Costume Designer – The Magic Flute, Songbird, Il Trovatore||Christelle Matou|
|Costume Designer – The Passion of Mary Cardwell Dawson||Jessica Jahn|
|Lighting Designer – The Passion of Mary Cardwell Dawson||Amith Chandrashaker|
|Lighting Designer – The Magic Flute, To The World||Mark McCullough|
|Lighting Designer – Songbird, Il Trovatore, Gods and Mortals||Robert Wierzel|
|Set Designer – 2021 Season||Peter J. Davison|
|Sound Designer – 2021 Season||Andrew Harper|
|Assistant Costume Designer – The Passion of Mary Cardwell Dawson||Jasmine Canjura|
|Assistant Costume Designer – Il Trovatore||Heather C. Freedman|
|Assistant Costume Designer – Songbird||Brynne Oster-Bainnson|
|Assistant Costume Designer – The Magic Flute||Megan Rutherford|
|Assistant Lighting Designer – Songbird, Il Trovatore, Gods and Mortals||Eric Norbury|
|Assistant Lighting Designer – The Magic Flute, To The World||Avi Sheehan|
|Assistant Set Designer – 2021 Season||Jimmy Rotondo|
|Assistant Sound Designer – 2021 Season||Norman “Boomer” Bardo|
|Producer – The Knock||Tonya McKinny|
|Director of Photography – The Knock||Ryan McKinny|
|Costume Designer – The Knock||Trevor Bowen|
|Director of Photography – On Trac|<||Lucas Godlewski|
|Hair & Makeup|
|Hair & Makeup Designer/Supervisor||Cassie Janay Ann Williams|
|Hair & Makeup Assistant Supervisor||Caroline Schettler|
|Lighting & Electrics|
|Lighting Director||Stoli Stolnack|
|Lighting Supervisor||Sydney Becker|
|Production Electrician||Josh Taylor|
|Assistant Production Electrician||Jake Roberts|
|Staff Electrician||Aaron Gubler|
|Staff Electrician||Bryson Kiser|
|Staff Electrician||Marina Oakley|
|Scenic Charge||Sasha Glinski|
|Scenic Artist||Lydia Jane Anderson|
|Scenic Artist||Carleigh Wagner|
|Properties Manager||Erik Lindquist|
|Properties Manager||Connor M O’Leary|
|Prop Shop Foreman||Emily Tabler|
|Props Artisan||Emily Davis|
|Props Artisan||Chloe Scheel|
|Props Artisan||Belle Smith|
|Technical Director||Ross Rundell|
|Assistant Technical Director- Scenery||Kyle Ludwig|
|Lead Carpenter||Allison Spanyer|
|Staff Carpenter||Aaron Graham|
|Staff Carpenter||Emily Hill|
|Staff Carpenter||Jason Neighbour|
|Staff Carpenter||Dylan Stratton|
|Staff Carpenter||Meredith C Wilcox|
|Staff Rigger||Matthew Beecher|
|Safety Manager||Josh Carroll|
|Assistant Safety Coordinator||James Bleecker Jr.|
|Production Stage Manager||Dustin Z West|
|Stage Manager||Alex W. Seidel|
|Assistant Stage Manager||Danielle Ranno|
|Assistant Stage Manager||Sarah Stark|
|Assistant Stage Manager||Kayla Uribe|
|Assistant Technical Director- Stage Operations||Katie Kahut|
|Assistant Stage Ops Manager||Val Partenheimer|
|Assistant Stage Ops Manager||Sam Spear|
|Stage Ops Staff||Kacey Bradshaw|
|Stage Ops Staff||Shannon Dodson|
|Stage Ops Staff||Manuel Marroquin|
|Stage Ops Staff||Dana Sokolov|
|Wardrobe Manager||Rebecca Christian|
|Assistant Wardobe Manager||Elsa Bean|
|Assistant Wardobe Manager||Hannah Gabriel|
|Wardrobe Staff||Mollie Lipkowitz|
|Wardrobe Staff||Victoria Lowell|
|Wardrobe Staff||Ashlynn Swauger|
|Wardrobe Staff||Amanda Winters|
|Associate Concertmaster, Acting Concertmaster MUS, Acting Principal Second Violin (KNO)||Heather Wittels|
|Assistant Concertmaster||Raymond Zoeckler|
|Section Violin, Acting Principal Second Violin (WAG), Acting Associate Concertmaster (FLU)||Fritz V. Krakowski|
|Section Violin, Acting Principal Second Violin (TRO), Acting Assistant Concertmaster (FLU)||Sasha Margolis|
|Section Violin, Acting Principal Second Violin (MUS)||Joseph Lorang|
|Section Violin, Acting Principal Second Violin (FLU), Acting Assistant Concertmaster (WAG)||Esther Sanders|
|Section Violin, Acting Associate Concertmaster (MUS)||Michael Cleveland|
|Section Violin||Jennifer Reuning Myers|
|Section Violin||Ann-Marie Barker Schwartz|
|Section Violin||Elizabeth Silver|
|Section Violin||Ubaldo Valli|
|Principal Viola||Katrina Smith|
|Section Viola, Acting Principal Viola (TRO)||Alexandra VandeGeijn|
|Section Viola||Megan Newman Dyer|
|Section Viola||Dee Dee Fancher|
|Section Viola||Christine Ims|
|Principal Cello||Janet Nepkie|
|Section Cello, Acting Principal Cello MUS, KNO||Ruth Berry|
|Section Cello, Acting Principal Cello WAG||Benjamin Whittenburg|
|Section Cello||Susan Ruzow Debronsky|
|Principal Bass||David Irvin|
|Section Bass, Acting Principal Bass FLU||Jon Pascolini|
|Principal Flute||Yevgeny Faniuk|
|Flute 2||Linda Greene|
|Principal Oboe||Eileen Whalen|
|Acting Principal Oboe||Nancy Dimock|
|Substitute Oboe 2||Karen Hosmer|
|Principal Clarinet||Pascal Archer|
|Clarinet 2||Thomas Slavinsky|
|Substitute Clarinet 2||KeriAnn DiBari-Oberle|
|Principal Bassoon||Spencer F. Phillips|
|Bassoon 2, Acting Principal Bassoon (KNO)||Mark Timmerman|
|Substitue Bassoon 2||Daniel Hane|
|Principal Horn||Dan Wions|
|2nd Horn||Martin Burki|
|4th Horn||Aaron Brask|
|Principal Trumpet||Jerry Bryant|
|Trumpet 2||Ben Aldridge|
|Principal Trombone||Greg Spiridopoulos|
|Trombone 2||Dan Martin|
|Trombone 3/Bass Trombone||Frank Meredith|
|Acting Principal Tuba||Brendan Ige|
|Principal Timpani||Matthew Kibort|
|Principal Percussion||Matthew McClung|
|Section Percussion, Acting Principal Percussion (TRO, MUS)||Jeffrey D Grubbs|
|Principal Guitar/Lute||Michael Leopold|
|Principal Harp||André Tarantiles|
Vocalists & Pianists
|Chorus Master/Music Staff||Katherine Kozak|
|English Diction Coach||Kathryn LaBouff|
|Youth Chorus Master||Aurelia Andrews|
|Artists in Residence|
|Artist in Residence||William Burden|
|Artist in Residence||Isabel Leonard|
|Artist in Residence||Eric Owens|
|Guest Artist||Raehann Bryce-Davis|
|Guest Artist||Denyce Graves|
|Guest Artist||Ian Koziara|
|Guest Artist||Gregory Kunde|
|Guest Artist||Michael Mayes|
|Guest Artist||Latonia Moore|
|Guest Artist||Alexandria Shiner|
|Guest Artist||Amanda Castro|
|Members of the Young Artists Program|
|Young Artist||Mia Athey|
|Young Artist||Maire Therese Carmack|
|Young Artist||Armando Contreras|
|Young Artist||Aaron Crouch|
|Young Artist||Ron Dukes|
|Young Artist||Dmitry Glivinskiy|
|Young Artist||Kamna Gupta|
|Young Artist||Spencer Hamlin|
|Young Artist||Mary-Hollis Hundley|
|Young Artist||Aaron Jacob Keeney|
|Young Artist||Victoria Lawal|
|Young Artist||Kameron Lopreore|
|Young Artist||Emily Misch|
|Young Artist||Peter Morgan|
|Young Artist||Michael Pandolfo|
|Young Artist||Alison Pogorelc|
|Young Artist||Jonathan Pierce Rhodes|
|Young Artist||Lisa Marie Rogali|
|Young Artist||Stephanie Sanchez|
|Young Artist||Ian Silverman|
|Young Artist||Ariana Warren|
|Young Artist||Helen Zhibing Huang|
Company Sponsors & Gifts
The Glimmerglass experience is made possible through the generosity of donors who share our commitment to the development of emerging talent, imaginative productions, and stimulating cultural and educational programs. We take this opportunity to thank and recognize those individuals who have made gifts of $100 or more to The Glimmerglass Festival during our 2020 fiscal year (October 1, 2019-September 30, 2020) or thus far this year (October 1, 2020-June 30, 2021). Space limitations do not permit us to list contributions under $100, but to these good friends and all of our supporters we extend our most sincere gratitude.
To learn more about privileges and benefits associated with giving to Glimmerglass – as well as designated opportunities, such as sponsoring a production, a principal singer, an intern, a second stage program, an education project or a Young Artist – please call The Glimmerglass Festival Development Department at (607) 547-0700, ext. 238 or ext. 212.