Le nozze di Figaro (The Marriage of Figaro)

Boston Conservatory at Berklee’s Voice Department accomplishes the extraordinary, meeting the needs of its community and the evolving industry through its 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 of 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 more than 100 years. Indeed, our students, faculty and staff are heirs to a harvest of memory, spirit, dream, and music that long preceded us and that now nourishes and sustains us.

Just this past September, the Conservatory announced a new educational and artist development partnership with our neighbor, Boston Lyric Opera (BLO). 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. This academic year also welcomes several new faculty members, and my arrival as chair and artistic director of the Voice Department.

I am so grateful to our generous donors, whose giving provides access to the tools and resources our students and faculty 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 goodness, breathing familial inspiration through our Conservatory’s hallways and learning spaces. There is an ethic of care here that is distinct, and that champions people’s goals and aspirations in ways where they feel creative, safe, powerful, and courageous, in and through the learning. We’re helping students build a life for themselves through music that has purpose and could actually change the world. With a faculty of international renown, a stealthy 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 this evening, and welcome you to join us again often.

Isaí Jess Muñoz
Chair and Artistic Director of Voice

ACT I

Figaro and Susanna, both servants to Count Almaviva, are soon to be married. Susanna is worried that the Count will exercise his feudal right to bed any of his servant girls before the night of their wedding, but Figaro vows to outmaneuver the Count’s advances.

The old house keeper, Marcellina, demands that Figaro repay his overdue loan. She reminds him that he had vowed to marry her, if unable to pay.

The Count’s page, Cherubino, asks Susanna for help. The Count had caught him with the gardener’s daughter and, as punishment, intended to send him away for military service.

ACT II

Figaro sends an anonymous letter to the Count, warning him of adulterers, in the hopes of distracting him during the wedding that evening.

The Countess is lamenting her husband’s infidelity when Susanna arrives with Cherubino, planning to disguise him as a woman and entrap the Count in an act of infidelity. As they are finding a dress for him, the Count suddenly appears, highly suspicious after reading Figaro’s letter. Cherubino only just escapes.

Marcellina arrives to demand that Figaro honor his promise and marry her. The Count happily announces that the wedding is postponed until Figaro’s debt is resolved.

ACT III

The Count orders Figaro to honor his promise and marry Marcellina. However, Figaro argues that he cannot marry without the permission of his parents, which he cannot obtain because he was stolen from them as a baby. Marcellina comes to realize that Figaro is, in fact, her own long-lost son. Everybody rejoices, and Figaro’s debt is called off.

Susanna and the Countess hatch a plan of their own to entrap the Count. They send him a letter, inviting him to meet Susanna that night in the garden.

ACT IV

The Countess and Susanna swap clothes in order to fool the Count. When he arrives in the garden and sees his wife disguised as Susanna, he declares his love for her. Figaro arrives and recognises his bride disguised as the Countess. The Count witnesses Figaro proudly declaring his love to her and, fooled by the disguise, shouts for the guards.

Everybody flocks to the commotion as the Count demands that Figaro be arrested for seducing his wife. Suddenly, the real Countess appears, revealing her true identity; and the Count, realizing he’s been caught red-handed, begs for forgiveness.

FIGARO – Christopher Humbert, Austin Martin+*
SUSANNA – Emily O’Connor, Jayden Goldberg* (Cover: Viola Kovacs)
COUNT ALMAVIVA – Joel Clemens, Jackson Holtcamp*
COUNTESS ALMAVIVA – Nina Anderson, Susannah Hardwick* (Cover: Kayla Kovacs)
CHERUBINO – Grace Heldridge, Julia Janowski* (Cover: Mandy Matthews)
MARCELLINA – Darya Narymanava, Mary Kray*
BARTOLO – Craig Juricka^ (Cover: Shouzheng Wei)
BARBARINA – Ally Brigley, Paulina de la Fuente*
BASILIO – Sam Crosby-Schmidt, Teddy Edgar*
DON CURZIO – Corey Mann
ANTONIO – Vaughn Nesmith

* Friday/Sunday cast
+ guest alum
^ faculty member

FLUTE
Megan McCafferty, B.M. '23, Principal
Aaron Dore, B.M. '25

OBOE
Coleton Morgan, B.M. '26, Principal
Jesse Myers, B.M. '26

CLARINET
Rose Lao, B.M. '24, Principal
Marco Chen, G.P.D. '24

BASSOON
Carson Saponaro, B.M. '26
Gustavo Lopes, Guest Artist (BCM)

HORN
Jack Krugman, B.M. '23
Connor Strauss, B.M. '25

TRUMPET
Robbie Adams, guest artist
Charlotte Berube-Gray, B.M. '26

PERCUSSION
Jin Cho, B.M. '26

HARPSICHORD
Joseph Mechavich, Conductor

VIOLIN I
Mira Steenbrugge, B.M. '23, Concertmaster
Rose Coomes, B.M. '26
Clara Mazo, B.M. '23
Xueqi Hu, M.M. '24
Yana Onufriychuk, M.M. '23

VIOLIN II
Annali Wirtz, B.M. '26, Principal
Sai Tang, G.P.D. '24
Brittany Sterling Young, M.M. '23
Leon Baker, B.M. '25

VIOLA
Colton Slaven, B.M. '23, Principal
Maria Dupree, M.M. '23
Zhaofeng Tang, M.M. '23

CELLO
Luis Tovar, B.M. '24, Principal
Casey Johnson, M.M. '24
Tristan Hernandez, B.M. '24

BASS
David Amouretti, B.M. '24
Olive Haber, B.M. '23

David Gately, stage director, joined the faculty of Boston Conservatory in 2022 as associate professor of opera. He previously served on the faculty of Philadelphia's Academy of Vocal Arts and as director of the opera studio at Texas Christian University. He maintains an active professional career, which includes more than 300 productions at over 60 opera companies, symphony orchestras, theater companies, and opera training programs worldwide. Learn more about Gately.

Joseph Mechavich, conductor, has demonstrated passion and commitment to excellence in the artform, forging long-lasting and career-defining relationships with numerous opera companies, composers, and orchestras in the United States and abroad. He has conducted productions for Calgary Opera, San Diego Opera, Utah Opera, the Atlanta Opera, the Aspen Music Festival, and many others.

Michael Strauss, assistant conductor, has been active in the Boston area as a performer, accompanist, conductor, and vocal coach for the past 35 years. He has recorded with various chamber music ensembles for WGBH radio and has toured with the Boston Music Theater. Strauss was an opera coach and lecturer with the Opera Department at New England Conservatory from 2001 to 2022, and a professor on the faculty of Boston Conservatory from 1992 to 2022.

Chloe Moore, costume coordinator, is a Boston-based educator, costume maker, and designer for opera, theater, and dance. Her recent work includes credits with Boston Playwrights Theater, Boston University's School of Theater and Opera Institute, Boston Early Music Festival, A.R.T., and American Players Theater in Spring Green, Wisconsin. Learn more about Moore.

Kevin Gregory Fulton, lighting design, is currently an M.F.A. candidate in lighting design at Boston University. His recent work includes Let the Right One In, Mankind, and COLOSSAL at Boston University School of Theatre; Così Fan Tutte at Boston University Opera Institute; and The Silence and The One You Feed at MIT Theater Arts.  

Miguel Flores, stage manager, has been a theater professional for the last 20 years. A versatile educator and stage manager, he has worked throughout the United States. He is currently the associate director of production at Huntington Theatre Company, and continues to work with local opera companies as a production stage manager. 

Danielle Ibrahim, scenic coordinator, is a theatrical and visual artist based in Boston, who has worked with opera and theater companies throughout the Northeast, including the Glimmerglass Festival, Boston University, Tufts University, Boston Playwrights Theatre, and more. Ibrahim is grateful to be working with the wonderful team at Boston Conservatory, and thanks Mitchell, Charles, and Gene for their support. 

Austin Martin (M.M. '22), bass-baritone, has previously played Figaro with Bay View Music Festival (2018) and Oklahoma City University (2017), as well as the role of Antonio with Hawaii Performing Arts Festival (2016). Martin’s other credits include Albert Herring and Don Pasquale (Boston Conservatory), and the world premiere of Thomas Pasatieri’s The Vaudevillian (Oklahoma Opera and Musical Theater Company).

Christopher Humbert (M.M. '22), bass-baritone, hails from Akron, Ohio, and completed his undergraduate studies from Capital University in Columbus, Ohio. Recently, Humbert appeared as Olin Blitch in Boston Conservatory's production of Susannah. He also has performed with Minnesota Orchestra, Lubbock Symphony, and Palm Beach Opera, and will join the Lyric Opera of Chicago's Ryan Opera Center for the 2023–2024 season.

Emily O’Connor (M.M. '24), soprano, completed her bachelor's degree in vocal performance at Ithaca College. Her recent credits include Mrs. Gleaton in Susannah and Mrs. Wordsworth in Albert Herring (both at Boston Conservatory) and Frasquita in Carmen at Brevard Music Center.

Jayden Goldberg (M.M. '22), soprano, is from Southlake, Texas, and has performed with a variety of companies and organizations, including Opera Theater St. Louis, Fort Worth Opera, and Seagle Festival. Her recent credits include the title role in Cendrillon, Pamina (cover) in The Magic Flute, and Servillia in La Clemenza di Tito.

Joel Clemens (M.M. '22), baritone, is from Northern Virginia, and is completing his professional studies certificate in opera performance with Dr. Rebecca Folsom. He completed his master's degree in opera performance at the conservatory in 2022. His recent credits include Hannah Before in As One, Hawkins Fuller in Fellow Travelers, Sid in Albert Herring, and Publio in La Clemenza di Tito.

Jackson Holtkamp (M.M. '23), baritone, is originally from Austin, Texas and currently studies with Dr. Rebecca Folsom. He earned his bachelor's degree in vocal performance from Oklahoma City University, where he was seen as Enrico in Lucia di Lammermoor and Eisenstein in Die Fledermaus. Recent credits at the Conservatory include the Vicar in Albert Herring and Elder McLean in Susannah.

Susannah Hardwick (M.M. '24), soprano, studies opera performance with Angela Gooch. She previously earned a bachelor's degree in voice from the Royal College of Music, London. Upcoming engagements include the role of Donna Elvira with the Prague Summer Nights program and a vocal fellowship/chorus artist position with the Spoleto Festival.

Nina Evelyn Anderson (M.M. '23), soprano, is from Baltimore, Maryland and received her bachelor's degree from the University of Maryland. Her most recent credits include the title role in Susannah and Lady Billows (cover) in Albert Herring. This summer, she will join the Opera Theatre of Saint Louis as a young artist and will debut as Micaela in Carmen with Opera North. 

Kayla Kovacs (M.M. '24), soprano, is a first-year opera student in the studio of Dr. Rebecca Folsom. She completed her bachelor's in music performance at the Crane School of Music. Her most recent performances include Ms. Mullin in Carousel, Contessa in Le Nozze di Figaro, and Jo in Mayo—all performed with the Crane Opera Ensemble.

Grace Heldridge (M.M. '23), mezzo-soprano, is from Omaha, Nebraska and studies with Dr. Rebecca Folsom. She is a graduate of the University of Kansas. Heldridge's credits at Boston Conservatory include Annio (La Clemenza di Tito), Nancy (Albert Herring), Mrs. Ott (Susannah), and Hannah Older (As One). This summer, Heldridge will cover Lois Lane (Kiss Me, Kate!) at Central City Opera.

Julia Janowski (M.M. '24), mezzo soprano, is from Marquette, Michigan. Her recent roles include Mrs. McLean in Susannah, Zita in Gianni Schicchi, the Sandman in Hansel and Gretel, and Sally in Die Fledermaus. She studies opera performance with Dr. Rebecca Folsom.

Mandy Matthews (M.M. '24), mezzo-soprano, is studying for her master's in vocal pedagogy with Dr. Marilyn Bulli. Originally from Colorado, she completed her bachelor’s in vocal performance in 2018 at Northern Arizona University. Matthews covered the role of Mrs. McLean in Susannah last fall and recently appeared as Mezzo Pig in Boston Conservatory’s children’s opera Three Pigs Remix.

Darya Narymanava (M.M. '23), mezzo-soprano, is from Borisov, Belarus, and currently studies with Monique Phinney. Her most recent credits include Mrs. Ott in Susannah and Hannah After in As One. Darya recently was named a finalist in the New England Region of the Metropolitan Opera Laffont Competition. 

Mary Kray (M.M. '23), mezzo-soprano, is from Las Vegas, Nevada. She received her bachelor's degree in vocal performance at Northern Arizona University in 2020 and is currently under the tutelage of Dr. Rebecca Folsom. Kray has performed lead roles in various operas by Mozart and Puccini, and has performed as the alto soloist in oratorios by Vivaldi, Bach, and Handel.

Craig Juricka (M.M. '18), baritone, joined Boston Conservatory in 2021 as a faculty member in the musical theater and voice/opera programs. He is an active soloist and/or chorister with Handel and Haydn Society, Boston Baroque, Boston POPS, and Marsh Chapel Choir. Learn more about Juricka.

Shouzheng Wei (B.M. '24), bass, studies voice with Frank Kelly. His most recent role is Dr. Bartolo in Le Nozze di Figaro.

Ally Brigley (G.P.D. '24), soprano, studies opera performance with Sara Goldstein. She completed her undergraduate and master's degrees at the University of Alberta in her home country, Canada. Brigley most recently appeared as Mab/Adelaide in the Canadian premiere of Jonathan Dove's The Enchanted Pig.

Sam Crosby-Schmidt (M.M. '24), tenor, is a first-year master's student in voice performance, studying with Michael Hanley. They previously studied vocal performance with Dr. Dawn Padula at the University of Puget Sound. Their past Boston Conservatory roles include Little Bat (Susannah) and Tenor Pig (Three Little Pigs Remix).

Teddy Edgar (M.M. '23), tenor, is from Hopkinton, Massachusetts, and currently studies voice with Bradley Williams. He obtained his bachelor's degree in vocal performance and music theater at Oklahoma City University. His past Boston Conservatory credits include Sam (Susannah), Duke Cacatois (L’île de Tulipatan), and Mr. Upfold (Albert Herring). He will portray Peter Grimes in the Opera Scenes Program in May.

Corey Mann (M.M. '24), tenor, is in his first year of the graduate program in vocal performance at Boston Conservatory, studying with David Small. He received his bachelor’s degree in vocal performance from Emporia State University, under the tutelage of Scott Wichael. This is his third production at the conservatory.

Vaughn Nesmith (B.M. '24), baritone, is a voice performance student with an emphasis in opera, currently studying with Michael Hanley. He is originally from South Carolina and graduated from South Carolina Governor's School for the Arts and Humanities as a voice student. His first few credits include Elder Ott in Susannah and the Wolf from Michael Ching's Little Pigs Remix. 

CREATIVE TEAM
Director – David Gately
Conductor – Joseph Mechavich
Assistant Conductor – Michael Strauss
Stage Director – David Gately
Scenic Coordinator – Danielle Ibrahim
Costume Designer – Glenn Avery Breed 
Costume Provider – Wardrobe Witchery
Costume Coordinator – Chloe Moore
Lighting Designer – Kevin Gregory Fulton
Surtitle Designer – Emma Shelton
Coaching and Musical Preparation – Jean Anderson, James Myers
Rehearsal Pianists – Maja Tremiszewska, John Elam
Student Conductor – Julian Gau

Production created for the Maryland Lyric Opera
Scenery Designed by Carmen Castañon
Made available courtesy of Maryland Lyric Opera

PRODUCTION STAFF
Director of Performance Services – Hanna Oravec
Stage Manager – Miguel Flores
Assistant Stage Manager – Zachary Sayre
Intimacy/Fight Consultant – Bethany Rachel
Technical Director – Taylor Kaufman
Technical Directing Consultant – Audrey Kimball
Costume Shop Manager – Alison Pugh
Assistant Costume Shop Manager – Leah Foley
Draper/Stitcher – Caroline Seeley, Sam Martin
Stitcher – Carly Wilcox
Wardrobe Manager – Blue Barber
Wardrobe Assistant – Kiara Escalera, Lindsey Weaver
Audio Supervisor – Steve Younkins
Audio Assistant– Maddy Poston
Lighting Supervisor – Matthew Martino
Production Electrician – Gabe Goldman
Props Manager – Larry Dembski
Stage Supervisor – Avery Hung

STUDENT PRODUCTION STAFF
Student Assistant Directors – Natalie Barnaby
Student Assistant Stage Managers – Kira Weaver, Alex Voss
Run Crew – Scotty Atienza, Deja Breitfeller, Warren Maness
Production Assistants – Olivia Monarch, Lori Newsom, Grayson Reed, Brianna Chang
Lighting Programmers – Aidan Rufer, Meghan Hoey 

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