Songbird Digital Program
Overview
The Glimmerglass Festival presents a new adaptation of Offenbach’s La Périchole created by Eric Sean Fogel, James Lowe and Kelley Rourke, which moves the comedy’s action to New Orleans with new musical arrangement and orchestration by James Lowe in the style of 1920s jazz bands. The original libretto is by Henri Meilhac and Ludovic Halévy.
Isabel Leonard and William Burden star as a couple of hard-working musicians who have fallen on hard times. Conducted by James Lowe, co-directed by Francesca Zambello and Eric Sean Fogel, and with costume design by Christelle Matou, the 75-minute adaptation will be performed in English and French with translation by Kelley Rourke.
“If we’ve learned anything this year, it’s that artists — in the face of politics, prohibitions, even pandemics — will always find a way. In the story of Piquillo and Songbird, we see an overnight sensation that has been years in the making, which feels pretty realistic to me. It’s a good reminder that the best is yet to come.” — Eric Sean Fogel
75 Minutes
This production runs July 30 through August 13, 2021.
Made possible with the generous support of Elizabeth M. and Jean-Marie R. Eveillard.
Synopsis
It is Mardi Gras, and the speakeasy owned by Don Pedro is busier than usual. The café is run by three cousins, known as the “Three Muses.” Songbird and Piquillo, a couple of struggling artists, perform a vaudeville number. As they count their paltry tips, Piquillo tells Songbird he is getting weary of life on the road and would like to settle down. Songbird argues that they can’t afford a wedding when they barely make enough to feed themselves. Piquillo goes off to find food.
Don Andrès, the Mayor, has disguised himself — poorly — in order to check up on the citizenry. He puts the moves on Songbird, offering to install her in his mansion. When Don Pedro and Panatellas tell Don Andrès it would not look right for him to employ a single woman, Don Andrès charges them with finding Songbird a sham husband. Meanwhile, the famished Songbird agrees to join Don Andrès for dinner, leaving a letter to explain the situation to Piquillo.
Piquillo, upon reading Songbird’s letter, is distraught and begins drinking heavily. Don Pedro and Panatellas seize the opportunity: the Mayor is looking for a sham husband for his would-be mistress, and Piquillo looks desperate enough to agree to anything. When Songbird returns from her dinner with Don Andrès, she is extremely tipsy. Moments before the arranged wedding, Songbird recognizes Piquillo. He, however, does not recognize her in her new finery. Encouraged by an increasingly drunk crowd, the two say their vows.
As Piquillo begins to sober up, he is horrified to learn he has been tricked into marrying, still not realizing that his “bride” was none other than Songbird. A couple of bystanders mock him. Don Pedro and Panatellas, trying to salvage the situation, offer a sympathetic ear.
The Mayor, now in full regalia as “Rex, King of Carnival,” approaches for the Presentation of the Bride. When Piquillo finally recognizes Songbird, he is furious that she agreed to take part in a sham wedding. She, in turn, is furious at his lack of trust. He responds by publicly insulting her. With that, Don Andrès and the crowd turn on Piquillo and lock him up.
As Piquillo languishes, a Guide appears to him, suggesting freedom is possible but not supplying any tangible help. Panatellas and Don Pedro arrive and tell Piquillo they admire his courage. When Don Pedro and Panatellas exit, Piquillo laments his position. He is near despair when Songbird visits and convinces him of her love. Don Andrès interrupts their reconciliation, but he is so overwhelmed by jealousy that Songbird and Piquillo manage to gain the upper hand. Songbird and Piquillo perform a last number for the customers about the power of love. Don Andrès blesses the marriage of Songbird and Piquillo — for real, this time.
Creators
Songbird
Original Music by Jacques Offenbach
Musical Arrangement and Orchestration by James Lowe
Original Libretto by Henri Meilhac and Ludovic Halévy
Translation by Kelley Rourke
Adaptation Created by Eric Sean Fogel, James Lowe, and Kelley Rourke
Commissioned by The Glimmerglass Festival
Cast & Artistic Team
PRINCIPALS | |
Songbird | Isabel Leonard |
Piquillo | William Burden |
Don Andrès | Michael Pandolfo* |
ENSEMBLE | |
Guadalena | Helen Zhibing Huang* |
Berginella | Emily Misch* |
Mastrilla | Ariana Warren* |
Celeste | Maire Therese Carmack* |
Panatellas | Kameron Lopreore* |
Don Pedro | Peter Morgan* |
A Cleric | Aaron Crouch* |
A Notary | Aaron Jacob Keeney* |
The Guide | Michael Mayes |
COVERS | |
Songbird | Ariana Warren* |
Piquillo | Jonathan Pierce Rhodes* |
Don Andrès | Aaron Jacob Keeney* |
Mastrilla | Maire Therese Carmack* |
MUSIC STAFF | |
Conductor | James Lowe |
Assistant Conductor | Dmitry Glivinskiy* |
Principal Coach | Grant Wenaus |
Ensemble Master | Katherine Kozak |
French Diction Coach | Christopher Devlin |
PRODUCTION PERSONNEL | |
Co-Director | Francesca Zambello |
Co-Director | Eric Sean Fogel |
Set Designer | Peter J. Davison |
Costume Designer | Christelle Matou |
Lighting Designer | Robert M. Wierzel |
Sound Designer | Andrew Harper |
Hair & Makeup Designer | Cassie Williams |
Production Stage Manager | Dustin Z West |
Libretto/Supertitles | Kelley Rourke |
Assistant Director | Ian Silverman* |
Assistant Stage Manager | Danielle Ranno |
Assistant Stage Manager | Sarah Stark |
*Denotes Member of Young Artists Program |
Podcast
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BUT. Here’s a sneak preview!
Photo by Karli Cadel
Explore Songbird
Nick Richardson
Coronavirus put a damper on this year’s Mardi Gras celebrations, but the Festival is bringing the spirit of New Orleans up North with its adaptation of Jacques Offenbach’s operetta La Périchole, or Songbird. Originally set in Peru with French text, Offenbach’s Latin-inspired score of boleros and seguidillas our adaptation takes us to 1920s New Orleans and utilizes both French and English, reflecting the city’s bilingualism and multicultural roots.
Born and raised in Louisiana, Songbird’s librettist and dramaturg Kelley Rourke identified New Orleans as the ideal setting for the operetta’s street performers, masked identities, and unbridled joie de vivre. Offenbach’s Latin-inspired score of boleros and seguidillas sits well in a city once ruled by the Spanish, especially as reimagined by Jim Lowe, whobased the instrumentation and the style on musicians including Louis Armstrong’s Hot Seven, Jelly Roll Morton’s Red Hot Peppers, and the bands of King Oliver, Kid Ory, Clarence Williams and many others.
The original operetta lampooned Napoleon and the Second French Empire’s imperialist hunger, but at its core is a love story in which the common folk outsmart those in charge. As we emerge from our isolated lives to gather once again, it’s exciting to see a story in which love – and music – save the day. Laissez les bon temps rouler! Let the good times roll!
Photo by Karli Cadel
BACKGROUND
Mardi Gras
French for “Fat Tuesday,” Mardi Gras is traditionally a day of feasting and indulgence before the beginning of Lent, a 40-day period during which Catholics fast in preparation for Easter. Mardi Gras may have arrived in the Louisiana Territory with French Catholic settlers, but New Orleans’ distinctive and dynamic Carnival culture, like the culture of the city itself, draws heavily from Indigenous and African cultures.
“Krewes” are exclusive social clubs that organize parades and balls during Carnival season, often with a royal court. Each has its own distinctive rites, symbols and traditions. The Krewe of Rex, featured in our production, first participated in New Orleans Mardi Gras all the way back in 1872. Their website has information on their history, traditions, and philanthropic work.
A brand new Krewe helped keep Mardi Gras alive – and safe – during the pandemic this year. The city of New Orleans cancelled all parades and closed all bars, so the Krewe of House Floats organized a socially distant “Yardi Gras.” Check out these photos from The Atlantic and visit the Krewe’s website for the full map of participants.
Offenbach didn’t just write fun music, he poked fun at contemporary society through his music. (Of course, Offenbach’s satire would be nothing without the wit of his collaborators Henri Meilhac and Ludovic Halévy, who also wrote the libretto for Bizet’s Carmen.) Read more about Offenbach’s reign of laughter in this biography from the American Symphony Orchestra.
From New York to Paris in just one click: The legacy of operetta connects Offenbach to today’s Broadway musicals. Check out this nifty timeline from the English National Opera.
What does the British music hall have to do with Mardi Gras? The British music hall song “If Ever I Cease to Love” featured prominently in the first parade held by the Krewe of Rex. WWOZ shares a romantic origin story that helped cement this song as the anthem of Mardi Gras.
There are multiple recordings of “If Ever I Cease to Love” by New Orleans musicians, each with a unique flair. Kingsroe’s rendition is brassy with a tempo perfect for walking down the street. Jazz singer Leigh Harris (“Little Queenie”) makes her cover an acoustic ballad. Johnny Wiggs takes his band through a more lilting cover, while Jimmy Maxwell and his Orchestra play a more formal parade march.
Have you experienced Mardi Gras beyond Canal Street? Weaving through the Tremé neighborhood are Mardi Gras Indians. This Black masking tradition entwines the Catholic holiday with Indigenous and African American heritages. Hear from Mardi Gras Indians in this interview from NPR and in this short documentary by the Tzu Chi Foundation. (For more, see Joseph Roach’s book below.)
Going goo-goo for Mardi Gras: Black women began masking as “Baby Dolls” in 1912, dressing as babies or toy dolls and shaking their bodies down the street. NPR covers the history of this fun yet serious Black New Orleans tradition with scholar Kim Vaz-Deville. (For more on Baby Dolls, see Vaz-Deville’s books below.)
Can you do the can-can? Offenbach could! At least, he could write it. His most famous can-can comes from his 1858 operetta Orphée aux enfers (Orpheus in the Underworld), but the dance itself originated in French music halls even earlier in the 1800s. Hear and see the can-can in this clip from the 1952 movie Moulin Rouge. This performance in 2010 by the Deutsches Showballett Berlin adds electronic beats – and male dancers – to the can-can. Enjoy more modern can-cans from Baz Luhrmann’s Moulin Rouge film and Broadway musical.
Photo by Karli Cadel
For the Bookworm
We know Mardi Gras for its parades and revelry, but what about its dancing? Dance plays a crucial role in affirming the identity of the Krewe of Rex, from its founding in 1872 to its survival today. Jennifer Atkins explores the dance histories of Rex and other early Krewes in her book New Orleans Carnival Balls: The Secret Side of Mardi Gras, 1870-1920.
Extra gaga for your goo-goo: Kim Vaz-Deville documents the legacy of the “Baby Dolls” and their resurgence post-Katrina in The “Baby Dolls”: Breaking the Race and Gender Barriers of the New Orleans Mardi Gras Tradition. She followed that book with Walking Raddy: The Baby Dolls of New Orleans, a collection of essays and visual art by New Orleans scholars and artists.
Beads are practically synonymous with New Orleans Mardi Gras, even more so for the Mardi Gras Indians, who use beads to tell stories of resistance and resilience in their elaborate suits. See examples of these designs and read about the Mardi Gras Indians’ performance traditions in Joseph Roach’s book Cities of the Dead: Circum-Atlantic Performance.
Photo by Karli Cadel
Company Credits
Administration |
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Company Leadership | ||
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 | |
Dramaturg | Kelley Rourke | |
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 | |
Finance | ||
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 | |
Legal Counsel | Law Office of Douglas H. Zamelis | |
Development | ||
Development Officer | Mark Conchie | |
Development Officer | Amy Tompkins | |
Development Assistant | Kathy Buck | |
Development Assistant | Jessica Montgomery | |
Development Assistant | Lauren Taylor | |
Advancement Advisor | Joan Desens | |
Artistic Administration | ||
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 | ||
Communications Associate | Mykai Eastman | |
Communications Associate | Charlotte Maskelony | |
Photographer | Karli Cadel | |
Videographer | Lucas Godlewski | |
Marketing Consultant | NeverDark | |
Graphic Designer | Katherine Ehle | |
Website Design | Gameflow Interactive | |
Box Office | ||
Box Office Manager | Liz Diamond | |
Box Office Staff | Nikki Golebiowski | |
Box Office Staff | Connor Lange | |
Box Office Staff | Madeline Jane Malinowski | |
Company Management | ||
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 | ||
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 | ||
Parking Manager & Operations Assistant | Lizzy Mott | |
Parker | Emma Alicajic | |
Parker | Liz Burr | |
Parker | Brooke Cavaco | |
Parker | Jacob Colta | |
Parker | Burr Elizabeth | |
Parker | Landon Hamilton | |
Parker | Dakoda Kell House | |
Parker | Brandon Lundy | |
Parker | Jessica Lundy | |
Parker | Sarah Mancuso | |
Parker | Molli McCarty | |
Parker | Jessica Montgomery | |
Parker | Evan Osterberg | |
Parker | Liz Osterberg | |
Parker | Maya Pandit | |
Parker | Jillian E. Rockwell | |
Parker | Chris Salamone | |
Parker | Jeffery Salamone | |
Parker | Julia Salamone | |
Parker | Leanne Smith | |
Parker | Diann Tompkins | |
Parker | Sean Webster | |
Production |
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Production Administration | ||
Production Coordinator | Erica Ayala | |
Production Administrator | Mary Emily Landers | |
Production Administrator | Vanessa Toro | |
Meteorologist | Jason Cadwalader | |
Audio/Video | ||
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 | |
Costumes | ||
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 | Ellen Danforth | |
Draper | Erica S Fire | |
First Hand | Isabella Dixon | |
First Hand | Samantha Shields | |
Stitcher | Sara Busch | |
Stitcher | Aubrey Dearen | |
Stitcher | Connor Sullivan | |
Stitcher | Jenna Travis | |
Costume Crafts | ||
Crafts Manager | Danielle Jordan | |
Crafts Assistant Manager | Kirsten Walsh | |
Costume Crafts Artisan | Molly Doan | |
Dramaturgy | ||
Assistant Dramaturg/Titles Operator | Nick Richardson | |
Design | ||
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 | |
Paints | ||
Scenic Charge | Sasha Glinski | |
Scenic Artist | Lydia Jane Anderson | |
Scenic Artist | Carleigh Wagner | |
Props | ||
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 | |
Scenery | ||
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 | ||
Safety Manager | Josh Carroll | |
Assistant Safety Coordinator | James Bleecker Jr. | |
Stage Management | ||
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 | |
Stage Operations | ||
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 | ||
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 | |
Orchestra |
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Violin | ||
Concertmaster | Ruotao Mao | |
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 | |
Viola | ||
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 | |
Cello | ||
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 | |
Bass | ||
Principal Bass | David Irvin | |
Section Bass, Acting Principal Bass FLU | Jon Pascolini | |
Flute | ||
Principal Flute | Yevgeny Faniuk | |
Flute 2 | Linda Greene | |
Oboe | ||
Principal Oboe | Eileen Whalen | |
Acting Principal Oboe | Nancy Dimock | |
Substitute Oboe 2 | Karen Hosmer | |
Clarinet | ||
Principal Clarinet | Pascal Archer | |
Clarinet 2 | Thomas Slavinsky | |
Substitute Clarinet 2 | KeriAnn DiBari-Oberle | |
Bassoon | ||
Principal Bassoon | Spencer F. Phillips | |
Bassoon 2, Acting Principal Bassoon (KNO) | Mark Timmerman | |
Substitue Bassoon 2 | Daniel Hane | |
Horn | ||
Principal Horn | Dan Wions | |
2nd Horn | Martin Burki | |
4th Horn | Aaron Brask | |
Trumpet | ||
Principal Trumpet | Jerry Bryant | |
Trumpet 2 | Ben Aldridge | |
Trombone | ||
Principal Trombone | Greg Spiridopoulos | |
Trombone 2 | Dan Martin | |
Trombone 3/Bass Trombone | Frank Meredith | |
Tuba | ||
Principal Tuba |
David Saltzman | |
Acting Principal Tuba | Brendan Ige | |
Timpani | ||
Principal Timpani | Matthew Kibort | |
Percussion | ||
Principal Percussion | Matthew McClung | |
Section Percussion, Acting Principal Percussion (TRO, MUS) | Jeffrey D Grubbs | |
Guitar/Lute | ||
Principal Guitar/Lute | Michael Leopold | |
Harp | ||
Principal Harp | André Tarantiles | |
Vocalists & Pianists |
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Coaches | ||
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 Artists | ||
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 |
Songbird Credits
Made possible with the generous support of Elizabeth M. and Jean-Marie R. Eveillard.
The Producers wish to thank the TDF Costume Collection Rental Program for its assistance in this production.
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.
2021 Glimmerglass Merchandise
This season, we are offering unique Glimmerglass on the Grass 2021 Merchandise options for you to purchase at the Glimmerglass Festival. See the options below!