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1

Dear Opera-goer,

Let me oer an enthusiastic welcome to all who

are attending this performance! is marks not only the opening of the 47th season of Arizona

Opera, but the inauguration of our McDougall

Arizona Opera RED Series. McDougall RED

seeks to present in more intimate surroundings exciting works of the musical theater we know as “opera" and in particular, works that help show that opera is not a dead art.

Our opening work for McDougall RED is a

20th century work (premiered in 1968) by the Argentine father of the [Argentine] tango, Astor

Piazzolla, the tango opera, Maria de Buenos Aires.

“Tango Opera"? Why not? Richard

Strauss"s Der Rosenkavalier is largely a

waltz opera, why not a tango opera?

It will be the music more than the story,

perhaps, that will move you most. While I have not seen Maria de Buenos Aires, I rst listened to it without libretto or story synopsis on an airplane. All I can say is that my moving to the music created my own mid-air turbulence as I bounced in my seat, seatbelt notwithstanding!

McDougall RED arose from a conscious eort

on the part of the management and my fellow directors on the board of Arizona Opera to be the most artistically exciting opera company we could be. We wanted to satisfy the needs of those who have long supported us by attending our performances (and by oering your much needed nancial support.) At the same time, we wanted to attract new opera attendees, who might have a narrow image of opera, and who would be open to encountering opera through the productions made possible by McDougall RED and its more intimate environs. is initial year"s oerings hint at the range of possibilities in opera as we present the tango sounds of Maria de Buenos Aires followed next month by the jazz inuenced sounds of Charlie Parker's Yardbird. I am not free to divulge the titles for the following season, but Arizonans can anticipate some meaningful oerings in McDougall RED.

But McDougall RED is but one part of the new

structure incorporated in this 2018/19 season, for we shall indeed have three Arizona Opera

Main Stage productions, including two famil-

iar and long popular operas: Verdi"s hummable gem, La Traviata, and Mozart"s masterful ?e

Marriage of Figaro, two of what our President

and General Director refers to as “beloveds." Our commitment to our audience is each year to present such beloveds in productions that are worthy of returning these operas to our Main Stage Series.

But I have named only four operas in a ve opera

season! e other production in our Main Stage

Series, nestled between La Traviata and ?e

Marriage of Figaro, is the Pulitzer Prize winning,

Silent Night, part of the Marlu Allan and Scott

Stallard Modern Masterworks Series. Set on a

Christmas Eve World War I battlefront when German, French and Scottish troops declared a temporary ceasere to celebrate, this production is marvelous, and I cannot adequately encourage you to be sure not to miss this moving event. Opera is alive! It is not a “dead" art form nor do we love it simply as a living museum, but as a vibrant form of entertainment. We come to be entertained, not just to experience history, and entertained I am sure you will be by our 2018/19 season, kicking

o with — literally, and not just guratively — the lively tango sounds of Maria de Buenos Aires.

Enjoy, and feel free to move your

feet in time with the music!

John Johnson

BOARD CHAIR

MESSAGE FROM THE

Board Chair

MARIA DE BUENOS AIRES2

BOARD OF DIRECTORS

OFFICERS

(Rev) John A. Johnson, Chair

Robert S. Tancer, Immediate Past Chair

Sharon Landis, Vice Chair

Scott Stallard, Treasurer

Colonel (Ret) Kimberley Smith, Secretary

DIRECTORS

David J. Bolger

Arlyn M. Brewster

Jean S. Cooper

Barry Fingerhut

Nancy Foster

Karen Fruen

Vikie Hariton

David Heap

Gerardo Higginson

John Hughes

Shirley A. Kaufman

Kimberly J. Kauffman

Dr. Peter Lance

Brendan Mahoney

Carolyn (Kay) McDougall

Dr. Ingrid Miller

Erik Peterson

Jo Kuchai Pulvermacher

Marcelino Quiñonez

Thomas Carlton Rogers, II

Karinn Hamill Rothe

Jeannette Jung Segel

Jesse (Jay) B. Simpson

Anne Y. Snodgrass

Linda Staubitz

Roma Wittcoff

Judith (Judy) G. Wolf, Ph.D.

HONORARY DIRECTORS

Victor Manuel

Treviño Escudero

Deborah Felder

Richard Felder

Thomas M. Foster*

Katherine G. Havas

Luella Hermanson, Ed.D.

Edward H. Hermanson,

Ed.D. *

Nancy Joaquim

Richard Joaquim

Ruth Jones

H. Eugene Jones*

The Hon. Janet Napolitano

Marilyn Papp*

L. Roy Papp*

Ann B. Ritt*

Adib Sabbagh, M.D.

Ellie Shapiro

Glenna Shapiro*

Lawrence Shapiro*

Shoshana B. Tancer

HONORARY LIFETIME

DIRECTORS

Mrs. Alfred J. Booth*

Ms. Patricia Next

A. Fellner

Virginia H. Floyd, Ph.D.*

Mrs. John Gekas*

Mr. and Mrs.

Harvey Nelson*

Kathleen Rector-Wyckoff*

Martha E. Salzman*

Dr. and Mrs. Stephen M.

Seltzer

* In memoriam 3

TABLE OF CONTENTS

1

Message from the Board Chair

2

Arizona Opera Board of Directors

3

Table of Contents

4

Message from the President and General Director

5

About the Creators

6

Cast & Creative Team

8

Synopsis

10 The Birth of Tango Nuevo

12 Artist Pro?les

18 Arizona Opera Sta?

19 Marion Roose Pullin Studio Artists and Sponsors

20 Support Your Opera

21 Production Apprentice Program

22 Maria de Buenos Aires Ensemble

23 Encore Society

24 Arizona Opera Leagues

25 Arizona Opera Education Programs

26 Special Events

27 Annual Donors

30 Corporate Support

31 Corporate Gift Match

MARIA DE BUENOS AIRES4

MESSAGE FROM THE

President &

General Director

Dear Arizona Opera Family Member,

It's an honor and privilege to welcome you

to Arizona Opera"s 2018/19 Season, our

47th season of serving our state with this

incredibly bold, brave, and brilliant art form.

As our company embarks on a new season

model—expanding our performing venues in both Phoenix and Tucson, as well as expanding our artistic horizon with the launch of the

McDougall RED Series—I can think of no

better way to begin our year than with Astor

Piazzolla"s masterpiece, Maria de Buenos Aires,

in a new production created by Arizona Opera in collaboration with San Diego Opera.

On May 8, 1968, Piazzolla, along with librettist

Horacio Ferrer brought this nuevo tango opera

to life in its titular city. Now, fty years later, we"re proud to bring this dark, seductive piece to Arizona for its company premiere. Our new

McDougall Arizona Opera RED Series is

focused on capturing the passion and heart of opera—the very essence of our art form—with works that explore a wide range of musical and thematic languages.

Maria de Buenos Aires is a piece that has

delivered on this promise for ve decades, with an intoxicating combination of elements drawn from both traditional opera, and more modern musical and dramatic worlds.

We"re delighted to present Colombian opera

singer Catalina Cuervo, who holds the distinct honor of having sung in this production morequotesdbs_dbs17.pdfusesText_23