The Island of Tulipatan

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 that 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 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 fostering 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 that 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

Imagine that you are a composer in 1868 who loves to poke fun at societal norms and to do so in such a way that the audience doesn't know they are learning a life lesson. Jaques Offenbach was just that composer, arguably the most popular and subversive composer of his day. His pieces are filled with risqué humor (often about sexual intrigue), filled with satiric barbs as well as gorgeous and joyful melody. With The Island of Tulipatan (l’ile de Tulipatan in French), Offenbach explores a topsy-turvy world in which gender norms are explored. The premise of a male child being raised as a female and a female child being raised as a male is the starting point for this fast-paced comedy.

In 2017, the Light Opera of New York (LOONY) did a production and recording of this piece. Kevin Clarke of the Operetta Research Center in Berlin, Germany, reviewed the recording, noting the modern relevance of this piece: "We need to talk about Offenbach, seriously and right now. Is it a sign of our gender-queer times that of all the possible operettas out there in the world, it's Offenbach's 1868 mini-opéra bouffe L’île de Tulipatan that gets a brand new recording?" Clarke wrote. "Because it finally allows operetta as a genre to be a full part of these discussions in the English-speaking world."

For me, what is remarkable for a piece of this time period is that our two protagonists maintain their total love for each other, even as the "truth" of their gender reveals itself. It simply doesn't matter to them, as they are perfect for each other. It is their unenlightened parents who are horrified by events.

All this relevance, wrapped up in a riotous comedy worthy of a Marx Brothers movie! Enjoy!

Duke Cacatois is planning the wedding of his son Alexis to Hermosa, the daughter of Grand Marshal Romboidal, yet he meets unexpected resistance. What the duke does not know is that his son is in fact his third daughter, born in his absence and brought up by his wife as crown prince. Romboidal knows about the deceit, but his wife, Theodorine, also has reasons to avert the marriage. Her husband, in his turn, does not know that their daughter is in truth a son who, in order to prevent his conscription, was brought up as a girl. Of course the young people have already fallen in love with each other, a fact which does not change when the cross-gender role playing comes to light. Now there is nothing to stop the marriage.

Alexis – Jordyn Younger, Molly Blumenfeld* (Cover: Karen Wemhoener)
Hermosa – Charles Aurand, Nicholas Alessi*
Theodorine – Natalie Barnaby, Mary Kray*
Romboidal – Tyler Cesario, Tom Valenti*
Duke Cacatois – Joshua Vavases, Teddy Edgar*

* Denotes Sunday cast

FLUTE
Hannah Elizabeth Tobias, M.M. '23, Principal
Chenmeng Lin, B.M. '23

OBOE
Christian Paniagua, B.M. '23, Principal

CLARINET
Maxwell Reed, B.M. '24, Principal
Daniel Meza, M.M. '23

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

HORN
Amber Dai, M.M. '24, Principal
Holly Fullerton, B.M. '26

TRUMPET
Max Ignas, Guest Artist, Principal
Robert Adams, M.M. '22

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

PERCUSSION
William Shi, B.M. '23, Principal
April Ong, B.M. '24

VIOLIN I
Steven Kim, M.M. '24, Concertmaster
Kathryn Pappalardo, G.P.D. '23
Elizabeth Taylor, B.M. '25

VIOLIN II
Armando Ortiz Montenegro, G.P.D. '23, Principal
Selena Vega, M.M. '24
Caden Burtson, B.M. '25

VIOLA
Renee Chan, M.M. '23, Principal
Simon Daly, B.M. '26

CELLO
Lilya Arustamyan, B.M. '25, Principal
Brycerton Au, B.M. '26

BASS
Leo Martinez, B.M. '25

David Gately, stage director, joined the faculty of Boston Conservatory at Berklee 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.

Sahar Nouri, conductor, appears in her first collaboration with Boston Conservatory. Nouri is the music director of Lamont Opera Theater at the University of Denver. She also serves at Opera Colorado as assistant conductor/chorus master. Nouri is the founder of Dandelion Opera Institute, a summer training program for young opera singers, pianists, and conductors. Learn more about Nouri.

Evan Adamson, scenic designer, is an award-winning set designer for theater and live entertainment, with 20 years of experience designing productions throughout the United States, Europe, and Asia. He is delighted to be welcomed into the Boston Conservatory at Berklee community. Evan is an adjunct professor at Purchase College and a credited contributor to the textbook Designer Drafting and Visualizing for the Entertainment World. Learn more about Adamson.

Paul Marr, lighting designer, is a freelance  design professional based in Boston, working with numerous companies including Boston Conservatory's Dance Division, Tufts University, and the Boston Center for the Arts, to name a few. When not designing, Paul works full time with Blue Man Group as the electrics supervisor.

Chloe Moore, costume designer, 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.

Charles Aurand, tenor, is a Master of Music in Opera Performance student from Pennsylvania, in the studio of Bradley Williams. He completed his bachelor's degree  in voice performance at Indiana University of Pennsylvania. His most recent credits include Sam Polk in Susannah, Mr. Upfold in Albert Herring, Monastatos in Die Zauberflöte, and Don Ottavio in Don Giovanni.

Nick Alessi, tenor, is a first-year Master of Music in Opera Performance student who has been attending Boston Conservatory since 2017. His chorus credits include Dead Man Walking, Eugene Onegin, and Dialogues des Carmelites. Principal credits include the title character in Albert Herring and Elder Gleaton in Susannah. Nick is a student of Frank Kelly.

Jordyn Younger, soprano, is a Master of Music in Opera Performance student from Jefferson, South Dakota. She completed her bachelor's degree in vocal performance and musical theater at Oklahoma City University, and she currently studies with Dr. Kerry Deal. Her most recent credits include Mrs. Hayes in Susannah, Miss Wordsworth (cover) in Albert Herring, and Adele in Die Fledermaus. 

Molly Blumenfeld, soprano, is an emerging young opera artist, originally from El Paso, Texas. She is currently studying with Dr. Rebecca Folsom. Her most recent credits include Pamina in Die Zauberflöte and Mrs. Hayes in Susannah. She prides herself on being a versatile artist who is passionate about making opera accessible and approachable for all audiences.  

Karen Wemhoener, soprano, currently studies with Katheryn Wright. Originally from Dallas, Texas, she received a bachelor's degree in vocal performance from the University of Tennessee. Most recently, Karen premiered the role of Landsis in Ourland with the San José Chamber Orchestra. 

Tyler Cesario, tenor, is a graduate student in vocal pedagogy, and specializes in teaching and singing diverse and versatile repertoire. Cesario received his undergraduate degree in music education from Westminster Choir College, and his most recent credit at the Conservatory was Elder Hayes in Susannah.  

Thomas Valenti, tenor, is a first-year Master of Music in Opera Performance student from Weston, Connecticut. He recently graduated from the Frost School of Music with a bachelor's degree in vocal performance. Most recently, he sang the roles of Gherardo in Gianni Schicchi and the Minstrel in Once Upon a Mattress at the Seagle Festival.

Natalie Barnaby, mezzo-soprano, is an aspiring stage director currently obtaining her Master of Music in Opera Performance at Boston Conservatory, studying with Dr. Kerry Deal. Her most recent achievements include making her directorial debut with Donizetti's L’elisir d’amore and assistant directing Floyd's Susannah (directed by Nathan Troup). This spring she will assistant direct Le nozze di Figaro (directed by David Gately).

Mary Kray, mezzo-soprano, is a Master of Music in Opera Performance student from Las Vegas, Nevada. Kray 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.

Joshua Vavases, tenor, is a Master of Music in Vocal Performance student from Atlanta, Georgia. He completed his undergraduate degree in music education and vocal performance at Reinhardt University. His most recent credits include the Magician from The Consul, the First Shepherd in Venus and Adonis, and Elder Hayes in Boston Conservatory's production of Susannah. He is under the tutelage of David Small. 

Teddy Edgar, tenor, is a Master of Music in Opera Performance student from Hopkinton, Massachuestts. He currently studies voice with Bradley Williams. He obtained his bachelor's degree in vocal performance and musical theater at Oklahoma City University. Edgar will portray Basilio in Le nozze di Figaro in April. His past credits include Sam (Susannah), Mr. Upfold (Albert Herring), Mr. Cladwell (Urinetown), and Sir (Side Show).

CREATIVE TEAM
Artistic Director – Isai Jess Muñoz
Conductor – Sahar Nouri
Assistant Conductor – Brendon Shapiro
Stage Director – David Gately
Scenic Designer – Evan Adamson
Costume Designer – Chloe Moore
Lighting Designer – Paul Marr
Surtitle Designer – Emma Shelton
Coaching and Musical Preparation – Jean Anderson-Collier, James Myers
Rehearsal Pianists – Maja Tremiszewska, Liya Nigmati 

PRODUCTION STAFF
Interim Director of Performance Services and Producer – Hanna Oravec
Production Stage Manager – Bethany Rachel
Staff Assistant Stage Manager – Emily Hanson
Technical Director – Greg Rishoi
Associate Technical Director – Taylor Kaufman
Technical Directing Consultant – Audrey Kimball
Costume Shop Manager – Alison Pugh
Assistant Costume Shop Manager – Leah Foley
Drapers/Stitchers – Caroline Seeley, Sam Martin
Stitcher – Carly Wilcox
Wardrobe Manager – Kiara Escalera
Audio Supervisor – Steve Younkins
Lighting Supervisor – Matthew Martino
Production Electrician – Gabe Goldman
Props Manager – Larry Dembski
Stage Supervisor – Avery Hunt 

STUDENT PRODUCTION STAFF
Student Assistant Stage Manager – Kira Weaver
Light Board Programmers – Lori Newsom, Olivia Monarch
Light Board Operator – Abi Zellner
Spotlight Operators – William Morris, Lily Counihan
Wardrobe Crew – Nicole Jones
Run Crew – Maddox Bane 

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