L’Etoile

Boston Conservatory at Berklee’s Voice Department accomplishes the extraordinary, meeting the needs of its community and the evolving industry through relevant curriculum, and through a myriad of exciting opportunities that surface on our campus every day. The scope and variety of annual Voice Department performances and curated offerings testify to the ways Boston Conservatory mentors its students to thrive as artist-citizens in an ever-changing world and marketplace. We continue building on the rich history of our Voice Department, which houses the oldest opera training program in America and has served young artists, the field of singing, and the city of Boston for over 150 years. Indeed, our students, faculty and staff are heirs to a harvest of memory, spirit, dreams, and music that long preceded us. We delve equally into new works that challenge and teach us. This wide-ranging history—and view to the future—sustains and inspires us. 

Now in its second year, the Conservatory’s educational and artist development partnership with our neighbor Boston Lyric Opera (BLO) is in full swing. The partnership unlocks incredible opportunities for Boston Conservatory students and members of BLO’s Jane and Steven Akin Emerging Artists, and includes the Opera Innovators Series—a curated collection of talks and master classes that will now engage some of the most innovative and sought-after figures in the opera world. Additionally, Voice Department classes in art song, vocal pedagogy, and the choral arts will welcome an exceptional lineup of visiting clinicians, each of whom brings their own powerful and distinct voice to bear on our season’s productions and curricula. 

I am so grateful to our generous donors, whose giving provides access to the tools and resources our students need to succeed, here and beyond. Providing a transformative, high level of training is the Conservatory’s reason for being. Inherent in this charge is our faculty and administration’s commitment to foster a genuine sense of community, which defines the Conservatory’s learning and performance environments. There is an ethic of care here that champions people’s goals and aspirations in ways where they feel creative, safe, powerful, and courageous, in and throughout the learning process. We’re helping students build a life for themselves through music that has purpose and that could actually change the world. With a faculty of international renown, an impressive annual lineup of important visiting artists, and a strong commitment to a meaningful list of civic and global initiatives, Boston Conservatory’s Voice Department is an exciting place to be!

I hope you enjoy your experience with us today, and welcome you to join us again often.

—Sara Goldstein, Interim Chair of Vocal Arts

Emmanuel Chabrier’s opera bouffe L’étoile (The Star) is a delightful and whimsical work that holds a special place in the world of French operatic repertoire. Premiered in 1877, this charming comic opera embodies the spirit of nineteenth-century French operetta, featuring a witty libretto and a lighthearted plot, infused with humor and satire. While most audiences today are far more familiar with the operettas by composers Johann Strauss and Jacques Offenbach that defined the genre, L’étoile at its premiere was met with both critical acclaim and popular success. 

L’étoile is set in a fictional kingdom and revolves around the absurd and farcical events that transpire when a wandering peddler named Lazuli falls afoul of the eccentric King Ouf I. The story takes an unexpected twist when Lazuli discovers that he is destined to be the King’s victim, intended to be executed as part of a peculiar ritual linked to the King’s birthday. The story is laced with layers of deception, disguise, and mistaken identities, resulting in a series of comical and absurd situations that keep the audience entertained.

Do a frothy story, fairytale setting, silly characters, and seemingly overt lack of gravitas make such a lighthearted piece relevant in today’s troubled, woeful world? There’s likely no easy answer but that must be made by audiences and artists alike. Worthy of note: The operetta form first appeared in the later half of the nineteenth century and continued to flourish throughout World War I, ultimately laying the groundwork for a genre later to be defined by lyrical theater luminaries Richard Rogers, Jerome Kern, George Gershwin, and Stephen Sondheim. 

Using the movie musical as our springboard, we’ve drawn inspiration from the sublime and somewhat absurd aesthetic of French and French-themed movie musicals, such as The Umbrellas of Cherbourg and An American in Paris. Our production celebrates French iconography throughout the modern and postmodern eras. These movies transport us to another time and place—neither here nor there—and in a world where humanity gives way to humor, and humor (hopefully) gives way to a little bit of humanity.

Et voilà.

—Nathan Troup, Stage Director

Act 1

King Ouf I roams his city in disguise, searching for a suitable subject to execute as a birthday treat. Ambassador Hérisson de Porc-Epic and his wife, Aloès, arrive, accompanied by his secretary, Tapioca, and Laoula, the daughter of a neighboring monarch. They are traveling in disguise, and the princess is being passed off as Hérisson’s wife. Their mission, of which Laoula is unaware, is to marry her to Ouf. Complications arise when Laoula and a poor peddler named Lazuli fall in love at first sight. Wanting to be left alone, Lazuli insults the disguised king, and thus becomes a desired candidate for death by impalement. But Siroco, the king’s astrologer, reveals that the fates of the king and the peddler are inextricably linked; the stars predict that if one dies, the other will follow within a day. His life now precious, Lazuli is pardoned and escorted with honors into the palace.

Act 2

Lazuli, richly clothed and pampered, grows bored with luxury and longs for Laoula. He confesses to Ouf and Siroco that he is in love with a married woman, and they assure him he can pursue her. Ouf, still unaware of the disguises, then imprisons Laola’s supposed husband, Hérisson. Ouf determines to marry Aloès, who is in love with the secretary Tapioca instead, and the lovers depart. However, Hérisson escapes and orders the peddler to be shot. Gunfire is heard. Although Laoula is brought in, there is no sign of Lazuli. He is presumed dead. Ouf bemoans his own impending death.

Act 3

Lazuli, having escaped harm, overhears Ouf, Siroco, and Hérisson discussing the situation, and eventually reveals himself to Laoula. They plan a second elopement. The king and Siroco try to raise their spirits with a large glass of green chartreuse. Ouf, desperate to marry and secure an heir to the throne, decides to marry Laoula, despite only having hours to live. However, when the clocks strike five, Ouf does not die and Lazuli is found. Ouf renounces his claim to Laola, and all rejoice as she is reunited with Lazuli.

Ouverture

Acte 1

No. 1 
Introduction et Reprise – Méfions-nous
Entrée du roi – C’est moi! Le roi! Silence et mystère
Chanson à 2 voix et Chœur – Du monde! Voici le moment
No. 2 
Quatuor – Nous voyageons incognito
Chanson des employés de commerce – Aussitôt que l’aurore
No. 2a 
Sortie – Nous voyageons incognito
No. 4 
Romance de l’etoile – Ô petite étoile!
No. 5 
Trio – Il faut le chatouiller
Couplets du chatouillement – Ah! Ah! Mais au fait j’y pense
No. 3 
Rondeau du colporteur – Je suis Lazuli, le colporteur joli
No. 6 
Scène et Chœur – Jeune homme, tu viens de gifler le roi!
Couplets du pal – Ce fauteuil, qui n’a l’air de rien
Final – Donnez-vous la peine de vous asseoir!

Entracte

Acte 2

No. 7 
Chœur – Ah! Ah! Le charmant garçon!
Brindisi – Vrai dieu, j’ai fait un rêve enchanteur!
No. 7a 
Sortie des Demoiselles d’honneur 
No. 8 
Couplets – Quand on aime, est-il utile
No. 9 
Quatuor – Quand on veut ranimer sa belle
No. 10 
Couplets – Moi, je n’ai pas une âme ingrate
No. 11 
Trio – Maintenant, il faut partir vite!
No. 12 
Chœur – Nous allons donc voir la belle princesse
No. 13 
Chœur – Un coup de feu!
Couplets – Tous deux assis dans la bateau
Chœur des condoléances – Ma foi, ça nous est bien égal!
Final – C’est un malheur

Entracte

Acte 3

No. 14 
Couplets – Enfin, je me sens mieux!
No. 15 
Duetto – Je me sens, hélas, tout chose!
No. 16 
Couplets et Terzetto – Un amoureux, princesse, Doit se pleurer
No. 17 
Couplets – Ainsi que la rose nouvelle
No. 18 
Chœur – Voici venir monsieur le maire!
No. 18a 
Musique de scène 
No. 19 
Couplet final – Nous voici, messieurs, à la fin

KING OUF I  – Thomas Valenti, Nicholas Alessi*

LAZULI – Grace Heldridge, Darya Narymanava* (Cover: Chirbee Dy)

PRINCE HÉRISSON DE PORC-EPIC – Jason Edelstein, Alec House-Baillargeon* 

LAOULA – Halle Rosemond, Karen Wemhoener* (Cover: Claire Burreson)

SIROCO – David Small, Austin Martin*

TAPIOCA – Robert Kleinertz, Corey Mann*

ALOÈS – Nina Gojcaj, Julia Janowski* (Cover: Lucy Martindale) 

PATACHA – Sam Crosby-Schmidt, Tyler Cesario*

ZALZAL – Jovanni Ferrer

OASIS – Ally Brigley

ASPHODELE – Laura Santamaria-Mendez

YOUKA – Claire Burreson

ZINNIA – Mandy Matthews

KOULOULI – Chirbee Dy

ADZA – Lucy Martindale

LA CHEF DE LA POLICE – Alex Georgopoulos

REPRESENTATIVE OF THE PEOPLE – Andrew Steele

ENSEMBLE – Jayson Banton, Ally Brigley, Claire Burreson, Tyler Cesario, Sam Crosby-Schmidt, Chirbee Dy, Jovanni Ferrer, Alex Georgopoulos, Montserrat Martinez Burganza, Mandy Matthews, Yu Pan, Anthony Paredes, Alex Roges, Laura Santamaria-Mendez, Aoife Schenz, Andrew Steele, Linhuan Wei, Carla Wolfer

*Thursday/Sunday Cast

FLUTE/PICCOLO
Aaron Dore, principal, B.M. '25
Maggie Stuteville, B.M. '27

OBOE
Jesse Myers, principal, B.M. '26

CLARINET
Chenglin Yang, principal, M.M. '23
Hsuan-Hsun Hsu, M.M. '25

BASSOON
Lizzie Sylves, principal, B.M. '25

HORN
Cameron McCarty, principal, B.M. '25
Holly Fullerton, B.M. '26
Zach Watson, B.M. '27

CORNET
Cal Richards, principal, B.M. '25
Charlotte Berube-Gray, B.M. '26

TROMBONE
Aidan Davidson, principal, B.M. '24

TIMPANI
Christian Bartholomew, B.M. '24

PERCUSSION
Yun-Chen Chou, B.M. '24
Jialu Du, B.M. '26
Dennis Smith, B.M. '27

VIOLIN 1
Celeste Di Meo, principal, G.P.D. '24
Isabella Yee, B.M. '26
Annali Wirtz, B.M. '26
Annabelle Lee, B.M. '27
Adrian Atonya, B.M. '26

VIOLIN 2
Lauren Oeser, principal, B.M. '25
Yinfei Li, G.P.D. '24
Nataliia Yeremeichuk, B.M. '27
Leon Baker, B.M. '25

VIOLA
Robert Bruce, principal, M.M. '24
Zeynep Yigitoglu, B.M. '25
Simon Daly, B.M. '26

CELLO
Ricardo Sardiñas, principal, G.P.D '24
Tzu Yi (Tiffany) Yeh, M.M. '25
Bryceton Au, B.M. '26

BASS
David Amouretti, principal, B.M. '25
Leo Martinez, B.M. '25

Andrew Bisantz, conductor, recently joined Boston Conservatory as principal opera conductor and associate professor of music. He has conducted 85 opera productions for over 30 companies around the U.S. Locally, he has conducted four productions for Boston Lyric Opera. He is beginning his seventh season as artistic director and conductor of Eugene Opera, where he has been music director since 2008. Learn more about Bisantz.

Nathan Troup, stage director, joined the Conservatory in 2011 and is an associate professor of opera. His directing projects for the 2023–2024 season include La traviata at Eugene Opera, La bohème at Intermountain Opera Bozeman, and Salome for Des Moines Metro Opera. His additional mainstage directing credits at Boston Conservatory include Susannah, Albert Herring, The Turn of the Screw, Hydrogen Jukebox, Eugene Onegin, Dark Sisters, Alcina, La traviata, Le nozze di Figaro, The Rake’s Progress, The Rape of Lucretia, Transformations, L’enfant et les sortilèges, and L’heure espangole. Learn more about Troup.

Jayden Goldberg, student assistant director, is distinguished for her thoughtful dramatism, musicality, and dedication to excellence. In addition, Goldberg is noted for her event planning and organizational skills. As a soprano, Goldberg has performed with a variety of organizations, including Opera Theater St. Louis, Fort Worth Opera, and Seagle Festival. Her recent roles include Susanna in Le nozze di Figaro and the title role in Cendrillon.

Chloe Moore, costume designer, is a Boston-based educator, costume maker, and designer. Her contributions include recent productions at Central Square Theater, A.R.T., American Players Theater in Spring Green, Wisconsin, Boston Early Music Festival, Boston University’s School of Theatre and Opera Institute, and Emerson Stage, where she also serves as faculty in the costume design program. Learn more about Moore. 

Jeff Adelberg, lighting design, is responsible for over 300 productions in New England and beyond. His recent work includes El matrimonio secreto (Florida Grand Opera); Topdog/Underdog and Describe the Night (the Gamm Theatre); Heroes of the Fourth Turning and People, Places, & Things (Speakeasy Stage); Ain’t Misbehavin’ (Central Square Theatre); and Venus and Adonis (Cambridge Chamber Ensemble). Adelberg attended the University of Connecticut and teaches at Harvard University and Boston College. He is a member of United Scenic Artists 829. Learn more about Adelberg.

Rachel Padula-Shufelt, wig designer, has Broadway credits that include Glass Menagerie and Waitress. Padula-Sheufelt’s regional credits include Life of Pi, Macbeth in Stride, Moby Dick (Elliot Norton Award, Best Design), Black Clown, Waitress, Fingersmith (Elliot Norton Award, Best Design), Natasha, Pierre and the Great Comet of 1812 (Elliot Norton Award, Best Design), Marie Antoinette, and Crossing at the American Repertory Theater, as well as Joy & Pandemic and The Colored Museum at Huntington Theatre Company. Padula-Shufelt is the hair and makeup supervisor for Boston Ballet and the resident hair and wig designer for North Shore Music Theatre.

Cristina Todesco, stage designer, works in both theater and film and has collaborated with Actors Shakespeare Project, Company One, Capital Rep, Commonwealth Shakespeare Company, Huntington Theatre, New England Conservatory, Shakespeare and Company, and the Boston Symphony Orchestra, among many more. She is the recipient of four Elliot Norton Awards and one IRNE Award for outstanding design. Todesco also teaches at Boston University.

Nicholas Alessi (M.M. '24, opera; B.M. '22, voice) is a Boston-based tenor. His principal opera credits include the title role in Benjamin Britten’s Albert Herring and Elder Gleaton/ Sam (cover) in Carlisle Floyd’s Susannah. Alessi currently studies in the voice studio of Frank Kelley. 

Jayson Banton (M.M. '25, vocal pedagogy) is from Kissimmee, Florida and received his bachelor’s degree from Rollins College. His most recent credits include Don Basilio/Don Curzio in Mozart’s Le nozze di Figaro. He currently studies with Kerry Deal. 

Ally Brigley (G.P.D. '24, opera) grew up in Alberta, Canada. She is currently studying with soprano Sara Goldstein, and is very excited to be in Boston! Her recent credits include Barbarina in Mozart’s Le nozze di Figaro, Soprano Pig in Michael Ching’s Three Little Pigs Remix, and Mab in Jonathan Dove’s The Enchanted Pig.

Claire Burreson (B.M. '24, voice, opera emphasis) is from Seattle, Washington. She has recently worked with Seattle Opera as well as the Seattle Gilbert and Sullivan Society. Burreson received first place at NATS Boston and the Calliope’s Call Young Singer Competition. She currently studies with Angela Gooch.

Tyler Cesario (M.M. '24, vocal pedagogy) is from Winslow, New Jersey and received his bachelor’s degree from Westminster Choir College. Past roles include Israelite Man/Messenger in Cambridge Chamber Ensemble’s Samson and Don Basillio/Don Curzio with the NEMPAC opera project, as well as Romboidal in The Island of Tulipitan and Elder Hayes in Floyd’s Susannah at Boston Conservatory. 

Sam Crosby-Schmidt (M.M. '24, voice), originally from Woodbury, Minnesota, is passionate about performing new works as well as music by composers with marginalized identities. Their recent opera/operetta roles include Basilio (Le nozze di Figaro), Little Bat (Susannah), and Frederic (Pirates of Penzance), and they perform frequently with the Boston Conservatory Conductors Choir.

Chirbee Dy (B.M. '24, voice) is from Quezon City, Philippines. Her most recent roles include Harry in Britten’s Albert Herring and chorus in Floyd’s Susannah. She currently studies with Kathryn Wright. 

Jason Edelstein (M.M. '25, opera) is from Paramus, New Jersey and received his bachelor’s degree from Indiana University’s Jacobs School of Music. His recent credits include Dr. Falke in Strauss’s Die Fledermaus, Giuseppe in Gilbert and Sullivan’s The Gondoliers, and Booth in Sondheim’s Assassins. Edelstein will be the baritone in Matthew Peterson’s Voir Dire this February. He currently studies with David Small. 

Jovanni Ferrer (M.M. '25, voice) is a bass-baritone currently studying with David Small. This is his first mainstage production at Boston Conservatory.

Nina Gojcaj (M.M. '25, voice) is a mezzo-soprano from Detroit, Michigan and received her bachelor’s degree from Oakland University. Her most recent roles include Polyphemus in Handel’s Acis and Galatea, Jane in Gilbert and Sullivan’s Patience, and the First Prioress in Poulenc’s Dialogues of the Carmelites. She currently studies with Patty Thom. 

Alex Georgopoulos (B.M. '24, voice) is from Newburyport, Massachusetts, and this is his first mainstage production at Boston Conservatory. His most recent credits include Don Ottavio (cover) and chorus in Mozart’s Don Giovanni at the Vienna Opera Festival, and the Witch (study) and chorus in Humperdinck’s Hansel and Gretel at the Vienna Opera Festival. He currently studies with Frank Kelley. 

Grace Heldridge (P.S.C. '24, voice) is a mezzo-soprano from Omaha, Nebraska and a student of Rebecca Folsom. She is a graduate of the University of Kansas (B.M. '21, voice). Her credits at the Conservatory include Cherubino in Le nozze di Figaro, Annio in La Clemenza di Tito, Nancy in Albert Herring, Mrs. Ott in Susannah, and Hannah Older in As One.

Alec House-Baillargeon (M.M. '25, opera) is from Gouverneur, New York, and received his bachelor’s degree from the the Crane School of Music at SUNY Potsdam. His most recent roles include the Baker in Sondheim’s Into the Woods and Morales in Bizet’s Carmen with Brevard Music Center. He currently studies with David Small.

Julia Janowski (M.M. '24, opera) is a mezzo-soprano from Marquette, Michigan. She recently performed Cherubino in Le nozze di Figaro, Mrs. McLean in Susannah, Zita in Gianni Schicchi, and the Sandman in Hansel and Gretel. She currently studies with Rebecca Folsom.

Robert Kleinertz (M.M. '25, opera) is a tenor from Hopewell Junction, New York. Kleinertz studied music education and vocal performance at SUNY Fredonia. His most recent credits include Nearco in Donizetti’s Poliuto and Count Almaviva in Rossini’s Il barbiere di Siviglia. He currently studies with Bradley Williams, and would like to thank his cat, Beef, for supporting him.

Darya Narymanava (P.S.C. '24, voice) is a mezzo-soprano from Borisov, Belarus. She is currently a student of Monique Phinney. Her most recent credits include Hannah Older in As One, Marcellina in Le nozze di Figaro, and Arbate in Mitridate. This year, Narymanava was named a Boston District Winner of the Metropolitan Opera Laffont Competition.

Corey Mann (M.M. '24, voice) is a tenor originally from Kansas City, Kansas, enrolled in the second year of his master’s degree in vocal performance. He studied at Emporia State University under Scott Wichael before coming to Boston Conservatory, where he is currently studying with David Small. 

Austin Martin (M.M. '22, opera) has appeared previously in the Conservatory’s productions of Le nozze di Figaro, Albert Herring, La clemenza di Tito, and Don Pasquale. He also has performed with the Bar Harbor Music Festival, Painted Sky Opera, Bay View Music Festival, and Hawaii Performing Arts Festival. Martin earned his B.M. in vocal performance at Oklahoma City University.

Lucy Martindale (B.M. '24, voice, opera emphasis) is from Berryville, Virginia, and studied previously at the University of Evansville. In their time at Boston Conservatory, they have performed as Mezzo Pig in Ching’s Three Pigs Remix and ensemble in Floyd’s Susannah; and they will be premiering and directing their original one-act opera After Eve this spring. They study with Angela Gooch.

Montserrat Martinez Burganza (B.M. '24, voice) is from the state of Veracruz, Mexico, and she will receive her bachelor’s degree from Boston Conservatory this spring. She is excited to make her mainstage debut in L’etoile, and currently studies with Marilyn Bulli.

Mandy Matthews (M.M. '24, vocal pedagogy) is a mezzo-soprano currently studying with Marilyn Bulli. Originally from Colorado, she received a vocal performance degree in 2018 from Northern Arizona University. Matthews recently covered Orlofsky in Die Fledermaus with Bar Harbor Music Festival and Cherubino in Le nozze di Figaro at Boston Conservatory. She also sang Mezzo Pig in the children’s opera Three Pigs Remix.

Yu Pan (M.M. '24, voice) is from China and received her bachelor’s degree from Shanghai Conservatory of Music. In the summer of 2023, she attended the Opera Viva program in Italy, where she performed operatic scenes and sang sacred music. She currently studies with Monique Phinney.

Anthony Paredes (B.M. '24, voice) is from New York City and will receive his bachelor’s degree in vocal performance from the Conservatory in May. His recent credits include ensemble in Susannah, and the original cast recording of the song cycle Diary of a Payphone. He will sing “Out There” with the Berklee Motion Picture Orchestra in December. He currently studies with Michael Hanley.

Alex Roges (B.M. '24, voice) is from Orange County, California. This is Roges’s first operatic role, and she has enjoyed every step of the process! She began performing musical theater, but later studied classical music. She is currently applying for her Master of Music degree, and is excited about the next steps in her career. She studies with Kathryn Wright.

Halle Rosemond (M.M. '24, opera) is excited to be making her mainstage debut in L’Etoile. An Iowa native, Halle received her bachelor’s degree from Drake University and enjoys working as a swim instructor, tutor, marketing assistant, and freelance performer. Rosemond is an avid swimmer, Tetris player, and cuddler of her adorable cat, Hildegard. She studies with Rebecca Folsom.

Laura Santamaria-Mendez (M.M. '25, opera; B.M. '23, voice) is a Colombian American soprano from West Palm Beach, Florida currently studying with Patty Thom. Her recent credits include Young Juana in With Blood, With Ink, Barbarina in Le nozze di Figaro, and Mercury in Pluto. She’ll be performing Lucinda in Lucinda y las Flores de la Nochebuena in November at Seagle Festival.

Aoife Schenz (B.M. '24, voice, opera emphasis) is from Santa Monica, California. She recently performed as Tisbe in a children’s version of Rossini’s La Cenerentola, Ceres in Offenbach’s Orphée aux enfers, and in the ensemble of Copland’s The Tender Land and Donizetti’s L’elisir d’amore. She currently studies with Kerry Deal.

Andrew Steele (B.M. '24, voice) is from Rochester, Massachusetts, and is in his fourth year at Boston Conservatory. His recent credits include Little Bat in Floyd’s Susannah and roles in a variety of scenes for last spring’s Opera Scene Program. He studies with Bradley Williams. Outside of performance, Andrew teaches fitness for the Boston community at [solidcore].

David Small, baritone, is an associate professor of voice at the Conservatory. Originally from Fort Wayne, Indiana, he earned his B.M. in voice performance from DePauw University and his artist diploma and M.M. in voice from the University of Cincinnati’s College-Conservatory of Music. He is honored to celebrate his 42nd year as a professional singer by joining the inspiring young artists of the Conservatory’s Opera Program!

Thomas Valenti (M.M. '24, opera) is a tenor from Weston, Connecticut, who received his bachelor’s degree from the University of Miami. When he is not performing operatic, choral, or chamber repertoire, he is partnering with other composers both as a performer and a poet. When not making music, he enjoys sailing on the Charles or doting on his cat, Giacomo Pussini.

Linhuan Wei (M.M. '24, voice) is from China and graduated from Shenyang Conservatory of Music. Her most recent credits are in opera scenes from Nicolai’s Merry Wives of Windsor as Alice, Mozart’s La finta giardiniera as Sandrina, and Verdi’s Falstaff as Nannetta. She currently studies with Kathryn Wright.

Karen Wemhoener (M.M. '24, opera) is a soprano from Dallas, Texas. She currently studies with Kathryn Wright and received a B.M. from the University of Tennessee. Most recently, she performed the roles of Dewfairy/Sandman in Hansel and Gretel with the Narnia Vocal Arts Program and premiered the role of Landsis in Ourland with the San Jose Chamber Orchestra. 

Carla Wolfer (B.M. '24, voice) is a tenor currently studying with Bradley Williams. She participated in the ensemble of Carlisle Floyd’s Susannah last season at Boston Conservatory.

CREATIVE TEAM:
Artistic Director – Isai Jess Muñoz
Conductor – Andrew Bisantz
Stage Director – Nathan Troup
Student Assistant Director – Jayden Goldberg
Scenic Designer – Cristina Todesco^
Costume Designer –  Chloe Moore
Lighting Designer – Jeff Adelberg^
Assistant Lighting Designer – Amanda Fallon
Wig, Hair, and Make-Up Designer – Rachel Padula Shufelt
Choreographer – Danny Pelzig
Assistant Choreographers – Mia Nolte, Tricia Dietrick, Ana G. Delgado, Penn Burrall, Jackson Bradford
Surtitle Designer – Cori Ellison
Surtitle Operator – Emma Shelton
Coaching and Musical Preparation – Jean Anderson, Andrew Bizantz
Rehearsal Pianists – Maja Tremiszewka, John Elam

^Member of United Scenic Artists, Local U.S.A. 829 of the IATSE, the union representing scenic, costume, lighting, sound, and projection designers in live performance

PRODUCTION STAFF:
Director of Performance Services and Producer – Hanna Oravec 
Assistant Director of Production – Rebecca Donald
Principal Stage Manager – Bethany Rachel
Production Stage Manager – Ash Strange
Production Assistant Stage Manager – Emily Hanson 
Technical Director, Mainstage – Taylor Kaufman
Assistant Technical Director – Caleb Harris
Costume Shop Manager – Alison Pugh
Assistant Costume Shop Manager – Leah Foley
Draper/Stitcher – Sam Martin, Caroline Seeley
Stitcher – Maegan Pate, Lindsey Weaver
Costume Shop Intern – Analise Colón
Wardrobe Manager – Blue Barber
Wardrobe Assistant – Liv Curnen
Audio Supervisor – Steve Deptula
Audio Engineer – Maddy Poston
Lighting Supervisor – Matthew Martino
Assistant Lighting Supervisor – Gabe Goldman
Props Manager – Larry Dembski
Stage Supervisor – Avery Hunt

STUDENT PRODUCTION STAFF:
Student Assistant Stage Manager – Sarah Mesibov  
Production Assistants – Olivia Monarch, Aidan Rufer, Bri Chang, Preston Milne
Run Crew – Angelina Ortiz, Katie Grgecic, Cris Sack, Gabby Bubrick, Lila Kay, Tyler Keough, Mika Wurf
Costume Assistants – Maya Boyce, Samantha Fleeter, Amber Lew, Olivia Martinez

CONCERT SERVICES STAFF:
Senior Manager of Concert Services – Luis Herrera 
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov