X, The Life and Times of Malcolm X

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WELCOME TO OPERA OMAHA

It was only a few short weeks ago that the Nebraska Hall of Fame Commission voted to induct Malcolm X into the Nebraska Hall of Fame, and we are thrilled that our performances of this masterpiece by Anthony Davis, Thulani Davis, and Christopher Davis, coincide with such an auspicious milestone in the celebration of Malcolm X’s life and legacy.

Two years ago, the visionary leaders of Detroit Opera announced they were planning a new production of this opera, and we were delighted when they accepted our offer to join them as a co-producing partner. It seemed fitting that this new production would launch from companies in locations important to Malcolm X: his birthplace and childhood home. The co-producing duet of Detroit and Omaha soon became a quintet with three more of this country’s most famous opera companies: Seattle Opera, The Metropolitan Opera, and the Lyric Opera of Chicago. We are thrilled to partner with these esteemed colleagues. This coalition is a testament to the power of this opera, the incredible creative team and cast of artists assembled to bring it to life, and the ever-pressing, urgent call for human rights at the core of Malcolm X’s message.

I am thrilled to welcome a worldclass ensemble of artists to Omaha for these performances. The production is conceived and directed by Robert O'Hara, a celebrated artist perhaps

known best for his direction of Jeremy O. Harris’s Slave Play, the most Tony Award nominated play in history (including Direction). O’Hara is joined by a creative team featuring choreographer Rickey Tripp, Tony Award-winning set designer Clint Ramos, Tony-nominated costume designer Dede Ayite, lighting designer Alex Jainchill, projection designer Yee Eun Nam, and associate director Nicholas Polonio. The opera is led musically by famed conductor Gil Rose, the founder of Boston Modern Orchestra Project and producer of numerous award-winning recordings, including a recent release of this opera, X, The Life and Times of Malcolm X. Our stellar cast is anchored by baritone Adam Richardson singing the title role. He is joined by impeccable artists including Soprano Whitney Morrison, Mezzo Soprano Ronnita Miller, Baritone Joshua Conyers, Tenor Victor Robertson, Charles Dennis as Young Malcolm, and a phenomenal ensemble of singers, dancers, and instrumentalists.

I am also grateful for a new partnership with Omaha’s Malcolm X Memorial Foundation and the guidance provided to Opera Omaha by their leadership: Executive Director JoAnna LeFloreEjike and Board President Leo Louis II. The Malcolm X Memorial Foundation, located on Malcolm’s birth site in North Omaha, serves to bring residents together to remember the legacy of Malcolm X

Welcome to the Orpheum Theater for Opera Omaha’s historic production of X, The Life and Times of Malcolm X.

through tours, educational programs, town hall forums and special events. JoAnna and Leo joined us for the premiere of this production in Detroit last May and they have advised, planned, and co-created a multitude of events with us, including panel discussions, guest lectures, and performance events, all designed to encourage the community to engage with and explore the history and legacy of Malcolm X. We are proud to partner with the Malcolm X Memorial Foundation and you can learn more about them and schedule a tour by visiting their website: malcolmxfoundation.org.

While our performances of X and much of our related community engagement programming wrap this weekend, there are still numerous opportunities to connect with us. On Tuesday, the Benson Theatre will host a talk-back panel discussion featuring local artists Beaufield Berry, Celeste Butler, and Dana Murray, together with our wonderful moderator, Dr. Diana Martinez. These artists will share their experience of the production and will ask you, the audience, for your thoughts and reflections as well. Baritone Joshua Conyers will extend his stay in Omaha for another week for an Artist Residency including local school visits, a public masterclass at North Omaha Music and Arts (NOMA), and a recital with Opera Omaha’s Head of Music, Sean Kelly, at Gallery 1516. For more information about these events, including dates, times, and locations, please visit our website: operaomaha.org.

This opera is only the first Orpheum Theater production in Opera Omaha’s exceptional 2022-2023 Season and we look forward to welcoming you back in February for Puccini’s poignant one-act opera, Suor Angelica, and again in March

for Mozart’s most famous comedic opera, The Marriage of Figaro. We can’t wait for these lavish productions featuring a number of important company debuts as well as the return of some of Omaha’s favorite operatic artists. It is not too late to join us as a 2022-2023 Season subscriber, unlocking the best seats, behind-thescenes experiences, and introductory discounts. Please visit our website or come see us in person today in the lobby of the theater. We look forward to greeting you and answering any questions you might have.

I’ll conclude on a personal note. As announced earlier this year, I will be wrapping up my tenure as General Director of Opera Omaha this December. I am proud to depart on a monumental and timely production of such an important piece. It has been a joy and privilege to serve in this role over the last 11 years, and to share epic music and storytelling with you. I am filled with gratitude for all of the people and partners that make this such a special company and for the overwhelming support of this generous community. I look forward to joining you in the audience! Thank you.

WHEN THE HOUSE LIGHTS COME UP…

THERE’S SO MUCH MORE TO EACH PRODUCTION THAN WHAT HAPPENS ON STAGE. Opera Omaha is proud to produce multiple opportunities to absorb the breadth, weight, and history of this piece. We seek to expand the audience experience by providing opportunities to further explore the history, community connections, and artistry of X, the Life and Times of Malcolm X

GEOFF POPE WITH MALCOLM X MEMORIAL FOUNDATION

MALCOLM X AND THE POWER OF MEDIA Saturday, November 5 | 11am Omaha North High School

Opera Omaha is partnering with the Malcolm X Memorial Foundation for resources and community programming surrounding X, the Life and Times of Malcolm X Schedule a tour of the Malcolm X birth site on their website, malcolmxfoundation.org

Super Bowl champion, entrepreneur and Malcolm X lecturer and researcher, Geoff Pope, will present a youth lecture to open up conversations with students on the power of media, how Malcolm X used it to his advantage, and why young people should follow his lead.

WHY MALCOLM X IS STILL RELEVANT Saturday, November 5 | 5pm Malcolm X Memorial Foundation

Many of the problems Malcolm X discussed 60 years ago still exist. Join a conversation with Geoff Pop to explore why uplifting Malcolm's message is needed more than ever today.

OPERA IN CONVERSATION: AFTER THE CURTAIN CALL Tuesday, November 8 | 6-7pm Benson Theatre

The final Opera in Conversation will open a response with Omaha artists and creatives reflecting on their experience seeing the production and connecting to their own artistic practice, while encouraging the audience to share their reflections from the opera.

Speakers: Beaufield Berry, Playwright Celeste Butler, Multidisciplinary Artist, Quiltologist, Ceramicist, Fiber & Textile Artist and Designer Dana Murray, Jazz musician and Executive Director, North Omaha Music and Arts Academy Diana Martinez, PhD, Moderator, Artistic Director, Film Streams

MASTERCLASS WITH JOSHUA CONYERS

Wednesday, November 9 | 7-8pm North Omaha Music and Arts Academy

Following the production, Baritone Joshua Conyers, who plays Reginald, will lead a public masterclass for students and the public at NOMA. Join an evening of exploration into the life of an opera professional along with musical selections performed by Mr. Conyers.

GALLERY 1516 RECITAL Sunday, November 13 | 11:30am Gallery 1516

Baritone Joshua Conyers will perform a recital at Gallery 1516. The program will be comprised of selections from his repertoire with Head of Music, Sean Kelly. This is part of Gallery 1516’s Bagels and Sometimes Bach Sunday morning concert series, which is free and open to the public.

AND MORE INFORMATION CAN BE FOUND AT OPERAOMAHA.ORG/EVENTS

BOARD OF DIRECTORS

BOARD OF DIRECTORS CHAIR

Elisa B. Davies

VICE CHAIR Linda Burt Rebrovic

TREASURER Maria Carlson

SECRETARY Carol E. Domina

ADVISORS CHAIR Jim Winner

COMMUNITY PANEL REPRESENTATIVE Camtrice Bexten

Anne Bruckner Kiley Freeman Dr. Ali Khan Dr. Joanne Li Dr. Cheryl Logan Jerry O’Flanagan Terri Sanders

Jara Sturdivant-Wilson

EMERITUS BOARD

Terrence J. Ferguson Robert E. Owen

ADVISORS

Linda Andersen

Jo Bartikoski

Dr. Jawed Bharwani Nicholas Bjornson Sandra Bruns

Dr. Viv L. Ewing David Gardels Lisa Hagstrom

Dr. Fred Hanna Dr. Michael Hilt Carter Jones Mark Allen Maser Sheila McNeil April Nebel

Dr. Debra Reilly-Culver Mary Ann Strasheim Jerry Syslo

Dr. James Tracy Shelby VanNorsdstrand Cindy Weil

OPERA OMAHA GUILD PRESIDENT Deb Peterson

CRAFTSMAN’S GUILD PRESIDENT Chris Gannon-Tombrello

GENERAL DIRECTOR

Roger Weitz

ADMINISTRATION

DIRECTOR OF FINANCE & HUMAN RESOURCES

Jenny Daggett

DIRECTOR OF BELONGING & INCLUSION Andrea Joy Pearson

WEITZ FELLOW Rebecca Chen

OFFICE MANAGER Cydnea Hoff

DEVELOPMENT, MARKETING & PUBLIC RELATIONS

MANAGING DIRECTOR Shannon Walenta

GRAPHIC & DIGITAL MEDIA MANAGER Rachel Austin

AUDIENCE DEVELOPMENT & SALES MANAGER Howard Coffin

DONOR STEWARDSHIP & EVENTS MANAGER

Rebecca Ihnen

DEVELOPMENT DATABASE & ADMINISTRATIVE MANAGER

Laura Jaros

DIRECTOR OF DEVELOPMENT Joe Prickett

DIRECTOR OF MARKETING & COMMUNICATIONS

Kyle Thomas

OPERATIONS

PRODUCING DIRECTOR Kurt Howard

HOLLAND COMMUNITY OPERA FELLOW Taylor Adams

TECHNICAL DIRECTOR Mark Blice

ARTISTIC ADMINISTRATOR Kai Song Chan

DIRECTOR OF PRODUCTION Katherine Clanton

HEAD OF MUSIC Sean Kelly

DIRECTOR OF ENGAGEMENT PROGRAMS Lauren Medici

HOLLAND COMMUNITY OPERA FELLOW Fernando Antonio Montejano

HOLLAND COMMUNITY OPERA FELLOW Charisa Ramsey

HOLLAND COMMUNITY OPERA FELLOW Jaime Marie Webb

WITH GRATITUDE FOR OUR CONTRIBUTORS

Opera Omaha honors Richard D. Holland and the Holland Foundation for unyielding major support over the years and the entire Simon family and Omaha Steaks for their generosity and multi-year sponsorships.

With our sincere gratitude, we acknowledge the following foundations and businesses that make our programming a reality. Opera Omaha would also like to recognize the institutions and corporations that provide operating support or sponsor our community engagement programs, which are designed to educate, uplift and enrich our community.

SEASON SPONSORS

Anonymous

PRODUCTION SPONSORS

ADDITIONAL SEASON SUPPORT

Gilbert M. and Martha H. Hitchcock Foundation

Rose Blumkin Foundation

Robert E. Owen

Cindy & Mogens Bay

Whitmore Charitable Trust

Mammel Family Foundation

Giger Foundation

Heider Family FoundationJetton Charitable Fund

GENEROUS PUBLIC SUPPORT PROVIDED BY

The Nebraska Arts Council, a state agency, has supported this program through its matching grants program funded by the Nebraska Legislature, the National Endowment for the Arts and the Nebraska Cultural Endowment. Visit www.nebraskaartscouncil.org for information on how the Nebraska Arts Council can assist your organization, or how you can support the Nebraska Cultural Endowment.

NOTE

Over 35 years ago, X premiered at New York City Opera to a world that is very different from today, yet shockingly the same. Technology has changed how we present and create opera, yet the racial tensions and inequities still haunt us. Thulani wrote “You have your foot on me, always pressing!” in 1984 and yet the memory of George Floyd a mere two years ago reminds us what has not changed. With this in mind, we present a new vision of the opera for a new audience, a new generation who may not have a living memory of Malcolm X, yet his memory lives in us through music from jazz to hip-hop, through our understanding of Black manhood, through the ongoing struggle.

When I created the music of X, I felt a sense of musical freedom that liberated me from the confines of genre or the musical boundaries that segregated music into oppressive categories. I tried to imagine a musical world where those categories and genres did not exist, in other words, where I could create a musical space that could draw on all of my musical resources. This does not mean ignoring the past or disengaging from the historical continuity of Black expression but to realize that music engages and references the past as means to envision the “new.”

I had many guides in composing the music for the opera. From 10th grade in Italy reading Nietzsche’s The Birth of Tragedy and Kierkegaard’s Either/Or, I was introduced to the idea of opera, what opera could be. When Nietzsche described the binary of the Apollonian and Dionysian in Greek tragedy, I imagined an American opera that drew equally from the African diaspora and the European, where the immediacy of the improvised and subversive spirit of the blues meet the form and structure of a post-tonal harmonic language of Berg and Stravinsky. In creating the musical world of Boston, I could draw on what Malcolm would hear in the 1940s, from the Lionel Hampton Orchestra with a young Charles Mingus on bass and Louis Jordan and Tympany Five, to Billie Holiday, Fats Waller, Duke Ellington, and Billy Strayhorn. Later, when he joins the Nation of Islam, his conversion invokes the modal world of John Coltrane, Miles Davis, and McCoy Tyner. In setting words to music, I studied Billie Holiday to understand the elasticity of time, the poly-rhythmic play that allows the voice to rise and swing to assert its independence. Lastly, it was my goal to create a “rhythmic drama” that compels you toward the inevitable. The rhythm of voices, the interplay of polyrhythms conveys the unsettling reality that we are always on that train that doesn’t stop, that there are forces beyond us we can’t control, yet we can find light in the heroic defiance of Malcolm X.

NOTE

X had its first performances in Philadelphia in the American Music Theater Festival, 1985, and its world premiere was September 28, 1986 at the New York City Opera and sold out its performances. This year marks the 36th anniversary of the premiere and over 40 years since we started work on it. It appears now in a much-changed landscape, given the proliferation of new operas by people of color and, notably, the production last year of Terence Blanchard’s Fire Shut Up in My Bones at The Metropolitan Opera—the first by an African American composer and an African American librettist in its history. When we auditioned singers in the early 1980s, Black singers commonly told us they made their living performing Porgy and Bess, the 1935 work by George and Ira Gershwin and DuBose Heyward, and Showboat, the 1927 musical by Jerome Kern and Oscar Hammerstein II. Thomas Young had been in 13 Porgy productions when we hired him. These shows, of course, brought to prominence a long list of great African American singers. I saw the second generation of those stars in the 1960s in productions starring Leontyne Price, Grace Bumbry, William Warfield, Shirley Verrett, and Simon Estes, and later, Kathleen Battle. But what stunned me in the 80s was how many singers we saw coming in multiple times to get a spot in an untested work; hundreds came to audition for X. The desire to perform parts created by Black artists, and even better, to originate roles, continues to be a driving force in the concert work of singers. Today, there is another, larger generation of talent, not just singers, of which there is a glorious profusion, but also of orchestra performers, conductors, designers, and, ever so slowly, Black directors, hired in opera. The composers and librettists continue to emerge from various streams of American music, bringing musical and narrative innovations that enrich the sounds and stories of this most complex form of musical theater. I, for one, no longer feel odd as a Black woman who cannot sing, walking into the stage door of an opera house.

Another change in the intervening years is that we know much more about the life of Malcolm X today than decades ago. Among others, two Pulitzer Prize–winning books have come out in recent years. In keeping with earlier decades and earlier books, the contents of these works continue to be debated, and he is still news. What happened to him still matters and not just because he was a fascinating and charismatic human being, who, like others in our history, took what he knew to be a dangerous journey to speak for those who could not be heard, but because there are still so many living with similar realities and without a powerful voice articulating the needed change. What is most important then is what has not changed: the relevance of the journey taken by Malcolm Little to

AND

OF MALCOLM

LIBRETTIST'S NOTE (CONT.)

Malcolm X to El Hajj Malik El-Shabazz. The story of this man born in Nebraska, raised in Michigan, incarcerated and converted in Massachusetts, reborn in Africa, and killed in New York still resonates in each of its phases with the stark realities of the present moment. There were people born long before Malcolm with whom the story would resonate and so many younger generations now across the world for whom the story continues to ring with familiarity. The performances of the opera today were imagined before the COVID pandemic, and before George Floyd’s murder shocked a nation sitting at home with their families as the country shut down. It was being discussed as the biggest and most widespread demonstration that took place across the country despite the pandemic and the political divide that sharpened in 2020—protests in most places arising out of community and without famous leaders. We meet as protests have continued to emerge over the murder of innocent individuals in their homes or cars or sleeping on someone else’s couch, and as young people invoke earlier activism. It is a gift for artists to be able to reconsider how an older work can resonate with “the changing same” of human rights struggle along with the more usual fare that connects us to the trials of love, death, the loss of possible futures, war, and the myths of human life, all of which still play out around us. It has been a privilege to be challenged to make opera with masks on, in digital conferences, and by email with people we have never seen in person, or at the very least, not in years. It has never been just a revival.

The opera today is tighter than it was in 1986. It opens with more immediacy, rather than the simple calling of young Malcolm’s name. We have chosen to replace one of Betty’s arias with the original words. The music is the same. I wrote the second version to the same notes in 1986 because so many people in the seats were still suffering the loss of the man in the opera and others killed during the late 60s. And though we used some spoken word passages to share Malcolm’s speaking style and rhythms, some of his public speaking is now sung and the language lifted to be more anthemic. We have added a few lines of singing in places that were musical interludes. In this volume I have also tightened scene descriptions, added some specific information younger audiences may need, and caught a few errors I missed as we rushed to print then. Character specifics, such as “postman” and “numbers runner,” have been removed to allow the director to envision the people in various communities as they choose. Welcome to X ’s second century!

OMAHA

THE BLACK EXPERIENCE IN OMAHA EARLY 1900s: A MAJOR HUB OF CULTURAL ACTIVITY IN THE MIDWEST

The timing of Malcolm’s birth and his familial presence in Omaha could not have been more significant. During the period 1910 to 1920, Omaha experienced a major growth in the size of the African American population concomitant with the growth of the meat packing industry and its recruitment of African Americans as employees. These newly minted residents faced a quandary. Segregation was not formally legislated, but it was commonly practiced in public places. You have then the juxtaposition of a large and growing population, with high levels of employment and increasing political and economic power, “the irresistible force,” meeting the “immovable object” of historical discrimination. While this situation was becoming intolerable for all African Americans, it was particularly resented among a population when it occurred against an “official” backdrop of equality. A flashpoint was the public lynching of Willy Brown in 1919, who was accused of raping a white woman. A riotous mob stormed the Douglas County Courthouse, took Brown by force, and he was lynched in the middle of downtown. Like most organized race-based violence, it had the desired short-term effect of chilling African American initiative and interaction with the majority population. But also like such violence, it had the long-term effect of exposing the deep-seated ethnic antagonisms under the surface and setting the stage for much more formal agitation and sociopolitical organization for change.1 In fact, in 1921 Claude L. Nethaway, an Omaha city council candidate, insisted that the protection of women and prevention of riots was linked to disenfranchising African Americans and maintaining segregation. 2

It is within the context of this local population with political voice and unique cultural perspective to express, possessing the resources to sustain more sophisticated sociopolitical organization, the threat of “race”-based violence and intimidation and the backdrop of the pre-existing context for nationalist ideologies that Reverend Earl Little comes in the 1920s to establish the Omaha chapter of the Universal Negro Improvement Association (UNIA).

The Littles were involved in Marcus Garvey’s movement, UNIA. Rev. Earl Little as one of Garvey’s Christian ministers who help spread the movements unique fusion of African repatriation ideology and orthodox Christianity and Mrs. Louise Little as a member of many of the auxiliary associations of the movement including the women’s association and the association in charge of the newspaper publication and distribution. 3 “Garveyism” eventually evolved into a religion of success, inspiring millions of black people worldwide who sought relief from racism and colonialism.

This activism was not without risk; as noted in The Autobiography of Malcolm X the political activities of Earl Little were dangerous. Soon after Malcolm’s birth in their home in Omaha in 1925, the family was terrorized and threated by the Ku Klux Klan. The Little Family moved from Omaha approximately 18 months later.

Provided by The Malcolm X Memorial Foundation JoAnna LeFlore-Ejike, Executive Director Leo Louis II, President

1 Camille Steed, A Street of Dreams (Documentary), (Lincoln, NE: Nebraska ETV Network, University of Nebraska at Omaha, and Nebraska Humanities Council, 1994). For full film see: http://netnebraska.org/interactive-multimedia/television/street-dreams.

2 “Claude L. Nethaway to Charles Bryan,” March 5, 1923, Charles W. Bryan Papers, Nebraska State historical Society, Lincoln Nebraska.

3 Ted Vincet, “The Garveyite Parents of Malcolm X”. The Black Scholar , 20(2), 10–13. (1989) https://drive.google.com/drive/folders/1rZ3BUKfFs75uQXOQh4m7DS8StMSOUvP

Malcolm X is one of the most pivotal figures in American history. His powerful words captured the attention of a country, encouraging empowerment and inspiring pride in Black heritage.

The Malcolm X Memorial, which is located on Malcolm’s birth site in North Omaha, serves to bring residents together to remember the legacy of Malcolm X through tours, educational programs, town hall forums and special events.

“Malcolm was seeking a unified front among Black people. A unified front is a cohesive thing that everybody can understand. But even though they can understand it, it’s something that’s hard to activate and make a reality. We’re still seeking a unified front to this day. It’s going to take a longer approach to see the film, see the opera, read the book, read the speeches, but after that, you have to have those conversations at the dinner table, you have to have those conversations at the city council meetings and at the church to really figure out what that unified front looks like today.”

For more information and to schedule a tour at the Malcolm X Memorial Foundation, go to malcolmxfoundation.org

-JoAnna LeFlore-Ejike, Executive Director, MXMF

MISSION: The Malcolm X Memorial Foundation is focused on preserving the human rights legacy of Malcolm X (El Hajj Malik El-Shabazz) while prioritizing self-reliance & determination through radical movement building.

VISION: We aim to educate with a focus on the African Diaspora and providing liberation through incubation of grassroots transformative programming. We envision an empowered community of self and family, thriving in equity, leading as a creative common ground for Afro-American centered action-oriented activism and leadership development.

VALUES: Our core values are rooted in: civic engagement, direct action, economic empowerment, scholarship and service, and liberation of the human spirit.

Amplifying the Black Experience, A.B.E., at Opera Omaha is a space that is unboxing the operatic experience in exciting and inclusive ways. We seek to honor, celebrate, and bring awareness to the multifaceted stories of the Black community through art, music, and multimedia with an intentional focus on the community here in Omaha, Nebraska.

WHAT IS OPERA?

A.B.E. showcases the multidimensionality of Black people and opera by providing opportunities for voices and creativity to be expressed authentically. We are amplifying the Black experience - past and present.

Throughout the 2022 season, combinations of classical voice, poetry, dance, animation, music production, visual arts, film and more have been showcasing wonderful Black artists from right here in our own community, creating modern opera.

WHO IS OPERA FOR?

Opera is the space where the arts come together to play; it is a multifaceted highly versatile artform that has the ability to withstand the test of time. To me, opera at its core is about creative artists coming together to tell stories. Stories that speak to them, connect them, and inspire them.

WHO CAN CREATE OPERA?

Opera can be for anyone! If you are a creative, there is a place for you in opera. How exciting is that?! Amplifying the Black Experience is for All. We cultivate spaces where everyone is welcome to come just as they are. No previous experience necessary.

All ages, all backgrounds are invited to come, to experience, to create with us!

JOIN THE MOVEMENT!

You CAN. We can! A.B.E. is evolving the operatic ecosystem by focusing on Black stories and Black artists. We produce trailblazing digital content that is continually pushing the boundary of what we call opera today. If you are fortunate enough to be in Omaha, Nebraska, we curate dynamic and engaging live experiences that amuse and amaze.

Check out operaomaha.org/abe for more information and upcoming dates.

CAST MALCOLM

DANCERS

DIRECTOR'S STATEMENT & SYNOPSIS

We are contextualizing the opera by centering a radical Black imagination that embodies who Malcolm X was and what he means to us today. Imagining ourselves into the future is a powerful mechanism for dealing with our present. This concept has allowed the design team to dream about how to tell this story for a new generation, a generation that X never saw but a generation he ultimately spoke to and continues to challenge. Imagine a world where Marcus Garvey’s Black Star Line is a spaceship that is able to transport our story instantaneously through the narrative: locations appear and disappear; they overlap and multiply. How can we maintain a sense of wonder while facing the brutality of American history and the legacy of X’s life here on earth? What if that final gunshot was not the end of a legend but the beginning of a liberation? —Robert O’Hara

ACT ONE

Scene 1 I 1931, Lansing, Michigan

At the home of Reverend Earl Little and his wife Louise, a meeting is taking place of the local chapter of Marcus Garvey’s Universal Negro Improvement Association, and Rev. Little is late. Louise has been tense all day and members of the meeting are concerned about active white supremacist groups terrorizing local people. Louise remembers past attacks that haunt her. A policeman arrives to say that Rev. Little was killed in a streetcar accident. The neighbors ponder what may have really happened and Louise becomes distraught, sings to herself, and shortly becomes unreachable. A social worker comes to the home sometime later and declares the Little children to be wards of the state. Malcolm tries to reach his mother who does not react to him. (She is hospitalized.) His older half-sister appears to take him to her home in Boston.

Scene 2 I About 1940, Boston

Still very much a country boy, Malcolm is introduced to Ella’s middle-class black Boston, and through his discovery of the music there, finds himself in the local after-hours life, with his guide, a character named Street. But as a young adult, he gets involved with some people who rob a wealthy home, and he is arrested.

Scene 3

In an interrogation room, Malcolm reveals the anger over the troubles that have long plagued people like him.

ACT TWO

Scene 1 I 1946–48

Malcolm broods in jail when his brother Reginald comes to visit. Reginald tells him about Elijah Muhammad, leader of the Nation of Islam, whose teachings he thinks will help his brother. Malcolm begins to study the Nation’s teachings and to read many books. He becomes a serious and more hopeful man. Malcolm X is born.

1952

The jail recedes as Malcolm hears and then sees Elijah. It is as if the words remove the bars. They come face to face.

Elijah embraces Malcolm like a son. He tells him he has much to learn, to spread Allah’s word, and sends him out to start temples. He is an electrifying speaker.

INTERMISSION

Scene 2 I 1954–63

Malcolm begins his ministry, helping to found temples in Boston, Philadelphia, Springfield, Hartford, Atlanta, and New York. This scene spans several years in telescopic fashion. The period includes some of the heights of the civil rights era and closes with the assassination of President John F. Kennedy. Malcolm is seen speaking on various Harlem street corners as time passes. He always takes the crowd.

Scene 3

Malcolm warms to his task when speaking before more and more exuberant crowds and decries some of the peaceful protests in the South as Malcolm defines his own political position.

Scene 4

He leads an anthem declaring “We are a nation.” At the end he is asked about Kennedy’s death and makes a remark lacking in sensitivity to the nation’s mourning. Elijah is enraged.

Scene 5

Malcolm and Betty briefly discuss his upcoming meeting with Elijah. They express the hope that their children will be free to dream without fear.

ACT THREE

Scene 1 I 1963

Malcolm is called to see Elijah, who is both disturbed that this spokesman for the Nation may have put the organization in jeopardy and that he may have become too powerful. Malcolm is disparaged by other Muslims as he comes to the meeting. The Nation is splintering into vying factions. Elijah silences Malcolm for three months and Malcolm consents to the will of his leader.

Scene 2

He visits with his family, disheartened by the turmoil dividing his community and reporters hounding his every step. Betty hands him a ticket and tells him to go to Mecca, to spend time alone, and find his way. He decides to simply trust in Allah and ask for His help. Malcolm is in Mecca, dressed in the simple cloths of a hajji, and awaiting word as to whether he will be permitted in as a convert and not a man born in Islam. The call to morning prayer is heard and people there begin to go through the traditional motions of prayer, which are new to him. He watches, imitates the others, and tries to learn the orthodox ritual. He has a larger vision of people across the world united together in faith, rather than by a single ideology.

Scene 3 I 1964–65

Just before he returns to Harlem, a riot breaks out there. He returns, now a changed man, but outwardly the same. He is greeted by reporters who question him about the rioting.

Scene 4

Later, he delivers a speech before his own newly formed group, the Organization of Afro-American Unity. He tells his supporters what he has learned in Africa—that they are a part of a larger movement against colonialism and racism. He is warned of death threats. He is not concerned with the fear so evident around him.

Scene 5

He arrives to give a speech at the Audubon Ballroom in Harlem. After greeting his audience, he is gunned down.

Making a difference.

Blackwell proudly supports Opera

Anthony Davis Composer

Anthony Davis returns to Opera Omaha, having last presented the world premiere of his opera, Wakonda’s Dream in 2007. Mr. Davis is considered “A National Treasure,” for his pioneering work in opera. His music has made an important contribution not only in opera, but in chamber, choral and orchestral music. He has been on the cutting edge of improvised music and jazz for over four decades and continues to explore new avenues of expression while retaining a distinctly original voice. He has composed eight operas, including X, the Life and Times of Malcolm X with a libretto by Thulani Davis, which had its world premiere at the New York City Opera in 1986. A new recording of the opera was recently released on BMOP Records. His most recent opera, The Central Park Five with a libretto by Richard Wesley, was awarded the Pulitzer Prize in Music in 2020 and was presented at Long Beach Opera in 2019. A graduate of Yale University in 1975, Mr. Davis is currently a distinguished professor of music at the University of California San Diego. He has been honored by the American Academy of Arts and Letters, the New York Foundation of the Arts, the National Endowment of the Arts, the Massachusetts Arts Council, the Carey Trust, Chamber Music America, Meet-the-Composer Wallace Fund, the MAP fund with the Rockefeller Foundation and OPERA America. He has been an artist fellow at the MacDowell Colony, Civitella Ranieri and at the Rockefeller Foundation’s Bellagio Center in Italy

Christopher Davis has worked as an actor and director, in addition to his role as storywriter for X, the Life and Times of Malcolm X. He performed the role of Malcolm X in El Hajj Malk: A Play about Malcolm X by N.R. Davidson for theater companies in both New Haven, Connecticut and Jamaica, Queens as well as creating the role of Nate Turner in Against the Sun by Ihsan Bracy. Since 1990 Mr. Davis has worked in market research for Ipsos NA, a multi-national French-held firm where he is Director of Insights for the Ipsos Affluent Intelligence Group. He is thrilled to see X, the Life and Times of Malcolm X return for a whole new generation of artists and audiences.

Librettist Thulani Davis is an interdisciplinary artist and scholar whose work includes poetry, theater, journalism, history, and film. While a student at Barnard College, the Virginia native began a life of performance that would have her put words to music by Cecil Taylor, Joseph Jarman, Juju, Arthur Blythe, Miya Masaoka, David Murray, Henry Threadgill, Tania León, and others. In the 70s, she worked for the San Francisco Sun-Reporter, before returning to New York as a critic and editor for the Village Voice for over a decade. Ms. Davis has collaborated with her cousin, composer Anthony Davis, writing the libretti for the operas X, The Life and Times of Malcolm X and Amistad, and wrote the scripts for the film Paid in Full, as well as several award-winning PBS documentaries. In 1993, her writing for Aretha Franklin’s Queen of Soul – The Atlantic Recordings made her the first woman to win a Grammy for liner notes, and her bibliography additionally includes My Confederate Kinfolk, novels 1959 and Maker of Saints, and several works of poetry. She is currently an Associate Professor in the Department of African American Studies and a Nellie Y. McKay Fellow at the University of Wisconsin. Ms. Davis’ most recent works include The Emancipation Circuit: Black Activism Forging a Culture of Freedom (Duke University Press) and the poetry collection Nothing but the Music: Documentaries from Nightclubs, Lofts, Dance Halls & A Tailor’s Shop in Dakar (Blank Forms Editions).

Robert O'Hara makes his Opera Omaha debut in X. Mr. O'Hara is the Tony Award-nominated director of Slave Play and is currently working on several film, television, and theater projects. He is a two-time Obie Award and two-time NAACP Award Winner whose work has been seen around the country.

Gil Rose makes his Opera Omaha debut in X. Mr. Rose is a global leader in American contemporary music. He is the founder of the performing and recording ensemble the Boston Modern Orchestra Project (BMOP) as well as the founder of Odyssey Opera. In addition to conducting, Mr. Rose is leading the charge for the preservation and advancement of underperformed works through recordings on his label, BMOP/ sound, having won and been nominated for five GRAMMY® awards. Beyond Boston, Mr. Rose enjoys a busy schedule as a guest conductor and educator. Equally at home on the podium in both symphonic and operatic repertoire, he has led performances by the Tanglewood Opera Orchestra, the Netherlands Radio Symphony, the American Composers Orchestra, the National Symphony of Ukraine, the Matsumoto Festival of Japan, the New York City Opera, and the Juilliard Symphony, among others.

Rickey Tripp makes his Opera Omaha debut in X. As a Director/ Choreographer Mr. Tripp has worked on RENT at Boston Conservatory at Berklee and The Temptations Tribute. As a choreographer Mr. Tripp’s work has been seen in Kinky Boots with Broadway at Music Circus, X: The Life and Times of Malcolm X at Detroit Opera, RENT at Signature Theater, the world premiere of A Wonderful World at Miami New Drama, In the Heights with Dallas Theatre Center and Broadway at Music Circus, and Dreamgirls at DTC, for which he received the Irma P. Hall Black Theater Award for Best Choreography. His TV/Film credits include “Eileen” (Universal Pictures), and “A Thousand and One” (Universal Pictures). He is also a Zena Rommett FloorBarre® Technique Certified Mentor/Instructor. Mr. Tripp received his B.A. in Dance from San Jose State University.

Nicholas Polonio makes his Opera Omaha debut in X. He has served as Robert O'Hara's Associate Director on over a dozen productions including Slave Play, A Raisin in the Sun, Richard III, A Streetcar Named Desire, and Long Day's Journey Into Night. Nicholas is an alum of the Drama League Directing Fellowship, the Roundabout Directors Group, the Young Vic Genesis Directors Program, and the National YoungArts Foundation. He received his BFA in Directing from Rutgers Mason-Gross School of the Arts.

Clint Ramos is a stage and film designer, advocate, and creative producer. He has designed sets and/or costumes for over two hundred theater, opera, and dance productions. Recent memorable designs for the stage include Slave Play, Eclipsed, Once On This Island, Torch Song, Here Lies Love. Film credits include: Production Design for Lingua Franca by Isabel Sandoval for Netflix; and costume design for RESPECT, the Aretha Franklin biopic starring Jennifer Hudson for MGM. He is the recipient of a Tony Award for his designs for Eclipsed. He is also a 5-time Tony Award nominee. Other honors include 2 Obie Awards, Drama Desk, three Lucille Lortel, two American Theatre Wing Henry Hewes, and the Ani Ng Dangal Presidential Medal for Dramatic Arts from the Republic of the Philippinesan honor received twice. Clint is the Producing Creative Director for NYCC Encores!

Dede Ayite Costume Designer

Dede Ayite makes her Opera Omaha debut in X. Ms. Ayite is a two-time Tony Award nominated costume designer working in theater, opera and film. Her most recent Broadway credits include Topdog Underdog, American Buffalo, How I Learned to Drive, A Soldier’s Play, Slave Play, Chicken & Biscuits, American Son, and Children of a Lesser God. Her select OffBroadway credits include Richard III and Merry Wives at The Public Theater; Seven Deadly Sins at Tectonic; Secret Life of Bees and Marie and Rosetta at the Atlantic; By The Way and Meet Vera Stark at the Signature; Nollywood Dreams, BLKS, School Girls… at MCC; Bella: An American Tall Tale at Playwrights Horizons; The Royale at Lincoln Center; Toni Stone at Roundabout. Regionally, Ms. Ayite’s work has appeared at Oregon Shakespeare Festival, Steppenwolf, Arena Stage and more. She has worked in television with Netflix, Comedy Central, and FOX Shortcoms. Ms. Ayite earned her MFA at the Yale School of Drama and has received a TDF/Kitty Leech Young Master Award, Obie, Drama Desk, Lucille Lortel, Helen Hayes, Theatre Bay Area, and Jeff Awards.

Alex Jainchill Lighting Designer

Alex Jainchill makes his Opera Omaha debut in X. Mr. Jainchill’s credits include Richard III at The Public’s Shakespeare in the Park, Don Giovanni at Berkshire Opera Festival, Long Day’s Journey Into Night with Audible/Minetta Lane, Gun and Powder at Signature Theatre, D.C., A Raisin in the Sun at Williamstown, BLKS at MCC, Black Super Hero Magic Mama at Geffen Playhouse, Mankind at Playwrights Horizons, Uni/ Son at OSF. Associate lighting design engagements include Significant Other at the Booth and Old Times at American Airlines Theater. Recent installation work includes the Museum of Future Experiences in Brooklyn and Watershed Moment for Lyndhurst Mansion.

Yee Eun Nam Projection Designer

Yee Eun Nam makes her Opera Omaha debut in X. Ms. Nam is a visual artist and a media designer for live performances. Her recent collaborations for Opera/Music projects include Detroit Opera, LA Opera, Opera Saint Louis, Boston Lyric Opera, San Francisco Symphony, Los Angeles Chamber Orchestra, New World Center and The Soraya. Her Theatre projects include Audible Theatre, Ma-Yi Theater Company, SohoRep, South Coast Rep, Center Theatre Group, Pasadena Playhouse, Geffen Playhouse, Kansas City Rep, Wallis Annenberg Center for the Performing Arts, Latino Theater Company and many more. Ms. Nam was nominated for The Lucille Lortel Awards for her work on Long Day’s Journey Into Night in 2022 and is a winner of LADCC Theatrical Excellence for CGI/Video in 2020. She is a member of United Scenic Artists, Local 829. She received her MFA in Theater Design at UCLA.

Baritone Adam Richardson makes his Opera Omaha debut in X. Mr. Richardson's recent engagements include singing Sciarrone in Tosca at Cincinnati Opera, a Liederabend with Beth Morrison Projects, joining the cast of Ricky Ian Gordon's Intimate Apparel at Lincoln Center Theater, his debut with Linton Chamber Music, a concert tour with the Brooklyn Art Song Society, and a return to Extensity Concert Series. Mr. Richardson’s other previous credits include the virtual Night of Black Excellence gala with Fort Worth Opera, The MOVE Project with the University of Utah, and a debut recital titled Stand the Storm with Extensity Concert Series. He has also been seen at Opera in the Heights in Così Fan Tutte as Guglielmo, and with Opera Philadelphia, The Apollo, and the Dutch National Opera in We Shall Not Be Moved. He made his debut with Amarillo Opera in the title role of the opera Joshua's Boots and a workshop production of Fire Shut Up in My Bones. Additional performance highlights include Sciarrone in Tosca and Horace Tabor (Family Performance) in The Ballad of Baby Doe with Central City Opera, concerts with the Caramoor Festival, and a successful international concert debut as a soloist in 2014 with the American Spiritual Ensemble.

Victor Robertson Elijah/Street

Tenor Victor Ryan Robertson makes his Opera Omaha debut in X. Mr. Robertson’s recent engagements include singing the role of Elijah/Street with Detroit Opera, then for Boston Modern Opera Projects in a concert that was recorded for an upcoming commercial release. He also recently performed as Raymond Santana in Anthony Davis’s The Central Park Five at Portland Opera, Alfredo in La traviata at Orlando Opera, and Hosea in I Dream with Opera Carolina. In the world premiere of Champion, Mr. Robertson inaugurated the role of Benny “Kid” Paret at Washington National Opera, and later sang it at Detroit Opera and at Opéra de Montréal. In 2017, he made his Metropolitan Opera debut in The Merry Widow as Raoul de St. Brioche, and his Broadway debut in The Phantom of the Opera, as Piangi. Other significant highlights include the title role in Candide with Opera National de Lorraine, the title role in Orpheus at New York City Opera, Sportin’ Life in Francesca Zambello’s production of Porgy and Bess, and Rodolfo in Zambello’s La bohème at London’s Royal Albert Hall.

Soprano Whitney Morrison makes her Opera Omaha debut in X. A Chicago native and recent alumna of the Ryan Opera Center, Ms. Morrison champions the African American aesthetic in classical music, embracing a style of performance that blends classical singing technique with elements of the gospel singing tradition. She recently appeared as Leonie Baker in the world premiere of Freedom Ride at Chicago Opera Theater and Sister Rose in Dead Man Walking at the Lyric Opera of Chicago. While at the Ryan Opera Center, She performed as Countess Ceprano in Rigoletto, Gerhilde in Die Walküre, First Cretan Woman in Idomeneo, and Confidante in Elektra

Mezzo-Soprano Ronnita Miller makes her Opera Omaha debut in X. This season, Ms. Miller makes returns to San Francisco Opera as Filippyevna in Eugene Onegin and to Atlanta Opera as Erda in Das Rheingold. In concert, she joins Oberlin College at Carnegie Hall as the mezzo soloist for Dett’s The Ordering of Moses and the Indianapolis Symphony for Handel’s Messiah. Last season, she returned to the Metropolitan Opera as Big Stone in Matthew

Aucoin’s Eurydice, joined the San Diego Symphony and North Carolina Symphony for Beethoven’s Symphony No. 9, appeared in recital with the New World Symphony, and sang Schwertleite in Die Walküre with the Los Angeles Philharmonic at The Hollywood Bowl.

Baritone Joshua Conyers makes his Opera Omaha debut in X. He has also appeared as Reginald in X at Detroit Opera and Odyssey Opera/Boston Modern Orchestra Project. In the 2022-2023 season, Mr. Conyers makes his English National Opera debut in Blue, which he has also performed with Seattle Opera; makes his Indianapolis Symphony debut as soloist in Handel’s Messiah; and returns to Brooklyn Art Song Society for a series of concerts.

Other career highlights include Germont in La traviata with Washington National Opera, Jason in the world premiere of Matt Boehler’s 75 Miles, his Carnegie Hall debut in 2018 as the baritone soloist in Mozart’s Regina Cœli, K. 276, and Vaughn Williams’ Serenade to Music

Charles Dennis makes his Opera Omaha debut in X. Dennis has studied dance at Rhythm-NJump Dance Academy in St. Clair Shores, Michigan, where he is currently a member of the competitive dance team. He has earned several awards and scholarships at both regional and national competitions and currently holds the title of Detroit Teen Elite Dancer. He is currently an honor roll student at Jefferson Middle School and loves spending time with his friends. Mr. Dennis would like to thank his two older sisters, his parents, grandparents, and his dance family for being a major part of the village that has supported him as he follows his performing arts dreams.

Soprano Karina Brazas makes her Opera Omaha mainstage debut in X. Recent engagements include joining the Omaha Symphony as the soprano soloist for their Choral Collaborative program and as a pops soloist, Young Alyce in Glory Denied with Union Avenue Opera in Saint Louis, and as the Soprano 1 soloist in Mozart's C Minor Mass with Résonance Vocal Ensemble. Other credits include Pamina in The Magic Flute with Shreveport Opera, the soprano soloist in Stravinsky's Pulcinella with the Omaha Symphony, and Zerlina in Don Giovanni, also with Union Avenue Opera. Ms. Brazas is an alumna of Central City Opera’s apprentice program and the Shreveport Opera resident artist program. Upcoming performances include her role debut as the Mother in Amahl and the Night Visitors and joining Opera Omaha for performances of Suor Angelica.

Tenor Drew Duncan returns to Opera Omaha after last appearing in La Fanciulla del West. Originally from Okoboji, IA, Mr. Duncan has sung with Lyric Opera of Chicago, Des Moines Metro Opera, Virginia Opera, Sarasota Opera, Castleton Festival, Chicago Opera Theater, Chamber Opera Chicago, Ash Lawn Opera, Opera for the Young, Virginia Consort, Dubuque Symphony Orchestra and was a Central Region Finalist in the Metropolitan Opera National

Council Auditions in 2010. Since moving to Nebraska in 2012, he regularly sings with Opera Omaha, Lincoln's Symphony Orchestra, Abendmusik, The Nebraska Wind Symphony, First-Plymouth Church, Trinity Episcopal Church, Saint Cecelia Cathedral, UNO, Creighton University, TADA Productions, and sings the National Anthem for the UNO Maverick Hockey team, the College World Series and the Olympic Swim Trials and Curling Trials.

Tenor Martin Luther Clark makes his Opera Omaha debut in X. In 2019 Mr. Clark sang in concert with the Russian Opera Workshop, as Vaudemont in Iolanta, and King Charles in The Maid of Orleans Other appearances include Lyric Opera of Kansas City as a Resident Artist, University of North Texas Opera in numerous roles and galas, The Dallas Opera, Charlottesville Opera, Opera in Concert, Opera North, and Wolf Trap Opera.

For Lyric Opera of Chicago’s 2020–2021 virtual programming, Clark performed in Lawrence Brownlee and Friends: The Next Chapter, Creating The Factotum, Sole e Amore, Magical Music Around the World, and Rising Stars in Concert. In 21–22 with the company, he performed as First Armored Man in Die Zauberflöte, and Adult William and Chicken Plucker in Terence Blanchard’s Fire Shut Up in My Bones. Most recently, he served as a Britten-Pears Young Artist in the Britten-Pears Young Artist Program. This spring, Mr. Clark will debut with Tulsa Opera as Matthew Gurney in Tobias Picker's Emmeline

Brandon Coleman Ensemble/Garvey Preacher

Baritone Brandon Coleman makes his Opera Omaha debut in X. Recently, Mr. Coleman made his German debut as Mutter in Die Sieben Todsunden at Stuttgart Opera. He has also performed with Hawaii Opera, Kentucky Opera, Utah Opera Festival, Connecticut Opera, Connecticut Concert Opera, Opera New Jersey, Sarasota Opera, Tuscia Opera Festival, Dicapo Opera Theatre, Opera North, Toledo Opera, Central City Opera, Opera on the James, Tri-Cities Opera, Middlebury Opera, and Syracuse Opera.

Mr. Coleman is most recognized for his portrayal of Mephistopheles in Faust, Crown in Porgy and Bess, and Joe in Showboat. This winter he will be performing the role of L'Homme in La Flambeau with the Orchestre Classique de Montreal.

Bass Edwin Jhamal Davis makes his Opera Omaha debut in X In 2014, Mr. Davis made his professional debut with the Mississippi Opera singing Simone in Puccini’s Gianni Schicchi. He has since become the national winner of the Marian Anderson Vocal Arts Competition hosted by the National Association of Negro Musicians in its centennial celebration and became the first African American to win one of the top two prizes in the Opera

Columbus Cooper-Bing Competition in 2021, second only to Denyce Graves. He is a Metropolitan Opera Eastern Region award winner and he recently served as Resident Artist with the Portland Opera Association for the 20–21 season. His previous season included debuts with On Site Opera, Florentine Opera, the Merola Opera Program, and Detroit Opera. Most recently, Mr. Davis made his Carnegie Hall debut as bass soloist in Verdi’s Requiem with the Masterworks Chorus and Worcester Chorus.

Mezzo-Soprano Chantelle Grant makes her Opera Omaha debut in X. Ms. Grant joined the extra chorus of the Metropolitan Opera in the 2021–2022 season for four productions including the historic production of Terence Blanchard’s Fire Shut Up in My Bones. She made solo debuts with City Lyric Opera in The Medium and Riverside Opera Company in 2019. She has also sung with Trilogy: An Opera Company as Erda in Wagner’s Siegfried, Waltraute in Götterdämmerung, and Monisha in Scott Joplin’s Treemonisha, as well as performed on such illustrious programs as the American Song Book series at Lincoln Center, the Kennedy Center Honors, and the Metropolitan Opera summer concerts in Damrosch Park. Ms. Grant holds a Bachelor of Music degree from the University of Windsor, an Artist Diploma from The Glenn Gould School, and a Professional Studies Diploma from Mannes College.

Tenor Bernard Holcomb makes his Opera Omaha debut in X Most recently, Mr. Holcomb returned to the Dallas Symphony Orchestra as a soloist in Lush Life: Duke Ellington and Billy Strayhorn after making his début there in 2019 with Dancing in the Street: The Music of Motown. He also appeared in On Site Opera’s Diary of the One Who Vanished and What Lies Beneath, Elmwood Concert Singers' virtual Messiah, and appeared in workshops for Beth Morrison Projects and Washington National Opera. This upcoming season Mr. Holcomb will take part in the workshop of a new piece with Santa Fe Opera, perform Mendelssohn's Elijah with Hilton Head Symphony Orchestra and join a holiday concert with the Cincinnati Pops under the baton of Mo. John Morris Russel. In January 2023, Mr. Holcomb will return to Damien Geter’s An African American Requiem with Fort Worth Opera after its world premiere in 2022.

Olivia Johnson Ensemble

Mezzo-Soprano Olivia Johnson makes her Opera Omaha debut in X. Ms. Johnson was most recently seen with Chautauqua Opera as Gertrude Stein in Virgil Thomson’s Mother of Us All as well as Girlfriend 3 in Detroit Opera’s production of Jeanine Tesori and Tazewell Thompson’s, Blue. She completed a Fellowship at the Vocal Institute of Music Academy of the West in Santa Barbara, California, where she received an Encouragement Award for the 2021 Marilyn Horne Art Song Competition. After being a Resident Artist at Toledo Opera in 2020–2021, Ms. Johnson became the new Artist-in-Residence for ÆPEX Contemporary Performance. She has appeared with Detroit Opera as Wellgunde in Twilight: Gods, La Ciesca in Gianni Schicchi, and in Buoso’s Ghost, and made soloist appearances with Opera MODO, Rackham Choir, and the Detroit Symphony Orchestra. Ms. Johnson completed a master’s degree in voice performance at the University of Michigan in 2017.

Soprano Emily Mwila makes her Opera Omaha debut in X Ms. Mwila recently completed her graduate studies at Mannes School of Music in New York, receiving a Master of Music and Professional Studies Diploma in Voice. In 2021, she appeared in the chorus of Porgy and Bess at the Metropolitan Opera. She made her operatic debut in New Zealand at Eternity Opera as Zerlina in Don Giovanni. Other roles include Susanna in Le nozze di Figaro, Mae Jones in Street Scene, and Euridice in Orfeo ed Euridice. In 2022 Emily made her house debut with Lyric Opera of Chicago performing the role of Evelyn in Terence Blanchard’s Fire Shut Up in My Bones

Tenor Elliott Paige makes his Opera Omaha debut in X. Most recently, Mr. Paige performed with On Site Opera in their production of What Lies Beneath and made his Portland Opera debut in Anthony Davis’s The Central Park Five. In previous years, he has sung with the Metropolitan Opera in Der fliegende Holländer and was an Apprentice Artist with the Santa Fe Opera, where he sang the role of Parpignol in La bohème. Other recent credits include performing as an Apprentice Artist with Palm Beach Opera; being a Young Artist with Glimmerglass Opera, where he performed as Giacomo de Wisants in L'assedio di Calais; and being a Gerdine Young Artist with Opera Theatre of Saint Louis, where he sang the role of Bombur Yambarzal in the world premiere of Jack Perla’s Shalimar the Clown. He also performed as Duncan in Bloch’s Macbeth and Orlando in Haydn’s Orlando Paladino

Markel Reed Ensemble

Baritone Markel Reed makes his Opera Omaha debut in X. A passionate conveyor of the operatic repertoire, Mr. Reed engages in both standard and contemporary works. At the Metropolitan Opera, Mr. Reed performed with the ensemble in productions of Terence Blanchard’s Fire Shut Up in My Bones and sang in their GRAMMY® Awardwinning Porgy and Bess in 2019. That same year, he created the role of Chester in Fire Shut Up in My Bones in its premiere at Opera Theatre of St. Louis. 2022 highlights include singing as Young Emile in Terence Blanchard’s Champion with Boston Lyric Opera, and soloist performances in Carmina Burana with the Omaha Symphony Orchestra, Wozzeck with the Boston Symphony Orchestra, and with the Cecilia Chorus of New York at Carnegie Hall.

Kimberli Render Ensemble

Soprano Kimberli Render makes her Opera Omaha debut in X. Ms. Render recently made her Off-Broadway debut in the Lincoln Center Theater’s critically acclaimed premiere of Intimate Apparel. She made her Metropolitan Opera debut as a featured chorus soloist in the GRAMMY® Award–winning cast of James Robinson’s new production of Gershwin’s Porgy and Bess. Previous roles include Liu in Turandot, Donna Anna in Don Giovanni, Hanna Glawari in The Merry Widow, Elisetta in Il matrionio segreto, the Governess in The Turn of the Screw, and Lucinda in Into the Woods. As an extra chorister in the Metropolitan Opera, she has been seen in Turandot, Die Meistersinger, and Boris Godunov. She completed a Master of Music degree in Vocal Performance at Colorado State University and two Bachelor of Music degrees in Music Education and Vocal Performance at Columbus State University’s Schwob School of Music.

Tenor Nathan Rodríguez makes his Opera Omaha debut in X Comfortable with opera and musical theater repertoire, role highlights include Magaldi in Evita, Mr. Lindquist in A Little Night Music, El molinero in El gato con botas, John Brooke in Little Women, Belcore in L'elisir d’amore, Figaro in Le Nozze di Figaro, Morales in Carmen, Constantine in The Seagull, and Frank in Die Fledermaus. Mr. Rodríguez has been featured by premiere arts organizations such as the Fulton Theatre, Beth Morrison Projects, Emerson Arts, Odyssey Opera, Boston Modern Orchestra Project, Juventas New Music Ensemble, Boston Youth Symphony Orchestra, OperaHub, and MassOpera. By day, he works in operations and research funds management at a leading biomedical institute.

Tenor Edward Washington II makes his Opera Omaha debut in X. Born in England, raised in Saudi Arabia, and living in New York City, Mr. Washington studied voice at Stetson University and later received his master’s degree from Morgan State University. He has been a soloist with the United States Air Force Band, Jacksonville Symphony Orchestra, Orlando Philharmonic, Baltimore Symphony Orchestra, Morgan State University Choir, Vox Fortura, and the American Spiritual Ensemble. Along with three Carnegie Hall performances, Mr. Washington has performed with Orlando Opera, Central Florida Lyric Opera, Opera Orlando, International Festival of the Voice, Detroit Opera, New York City Opera, Lyric Opera of Chicago, and the Metropolitan Opera. Mr. Washington was formerly the Music and Education director of the “Negro Spiritual” Scholarship Foundation in Orlando, Florida where he directed their professional choral ensemble, Master Singers. He is also a member of Phi Mu Alpha Sinfonia.

Dorse Brown Dancer

Dorse Brown makes his Opera Omaha debut in X. Mr. Brown began his dance career at the age of seven in his hometown of Little Rock, Arkansas. A graduate of the University of Memphis, while training, Mr. Brown received a Young Artist Talent Scholarship to attend the American Dance Festival; he also appeared and competed on the fifth season of TV’s So You Think You Can Dance From 2011 to 2015, he danced with the Dayton Contemporary Dance Company. Mr. Brown performed as an aerialist while being a hip-hop soloist for Royal Caribbean Cruise Lines. He was also a Specialty Performer with Cirque Dreams Productions on Norwegian Cruise Lines. Recently, he was selected for the Emerging Black Choreographer Incubator presented by Mojuba Dance Collective and was a dancer in Fire Shut Up in My Bones at the Metropolitan Opera. He is currently in his first season with Camille A. Brown & Dancers.

Christopher Jackson Dancer

Christopher Jackson makes his Opera Omaha debut in X Mr. Jackson’s previous credits include Alvin Ailey American Dance Theater - Ailey II, Camille A. Brown & Dancers, Elisa Monte, River North Dance Chicago, New Jersey Dance Theater, and Victory Dance Project. His theater credits include Disney’s The Lion King (National Tour), the Broadway 40th Anniversary Concert of The Wiz, Dreamgirls with DTC, Dorothy Dandridge The Musical, Let There Be Light and On The Town. He has also been featured in Porgy and Bess and Fire Shut Up in My Bones at the Metropolitan Opera. Mr. Jackson’s choreography credits include Assistant Choreographer for Porgy and Bess at the Metropolitan Opera in 2020; Associate Choreographer for Toni Stone at Roundabout Theatre Company, Mighty Real: A Fabulous Sylvester Musical, and A Soulful Christmas: A Groovy Musical.

Cordè Young Dancer

Cordé Young makes his Opera Omaha debut in X. New York born and raised, Mr. Young has studied and trained in all styles of dance since he was 8 years old, under the direction of Anthony Borello. He is currently represented by Clear Talent Group and can be seen in The Marvelous Mrs. Maisel Season 5, Annie Live (NBC), Macy's Thanksgiving Day Parade 2021, Demon High (Lil Uzi Vert), Get on Pointe (Awesomeness TV) and more. He has performed in well-known venues such as Madison Square Garden, the Dome at America’s Center, The Wall Street Theatre, Arthur Ashe Stadium, and the Avalon Theatre. Mr. Young is very thankful for all of his teachers, mentors, family, and friends that have inspired and supported him through all of his endeavors

Jay Staten Dancer/Dance Captain

Jay Staten makes his Opera Omaha debut in X. Originally from Washington DC, Mr. Staten is a multi-talented artist and community activist whose dance company for African American youth has served more than 200 children and raised over 4 million dollars in scholarships. Mr. Staten’s associate choreographer credits include Toni Stone with Arena Stage and ACT and Fire Shut Up in My Bones at Lyric Opera of Chicago. His performance credits include After Midnight on Broadway, Fire Shut Up in My Bones at the Metropolitan Opera and Lyric Opera of Chicago, Shuffle Along (Workshop), Super Fly The Musical (Workshop), Cabin in the Sky at New York City Center, and New York Spring Spectacular at Radio City Music Hall. His film and TV credits include Smash (NBC), A Capitol Fourth (PBS), and Amici (Canale 5/Italy). His dance company affiliations include Spectrum Dance Theatre in Seattle and The Philadelphia Dance Company in Philadelphia. Mr. Staten is currently a member of Camille A. Brown & Dancers where he also works in the capacity of artistic associate.

Mikhail Calliste Dancer/Swing

Dancer Mikhail Calliste makes his Opera Omaha debut in X. A native of the beautiful islands of Trinidad and Tobago, Mr. Calliste never saw dance as his way of being. With there being such a rich and lively culture, Mr. Calliste’s understanding of movement derived at a very young age watching local carnivals and folk-dance performances presented for public display, entertainment, as well as live history. After moving to New York City, Mr. Calliste was able to fully indulge inside his love and appreciation for the arts, where there was room for exposure to different forms of movement languages that were new, but familiar. It is his hope to continue to indulge in movement creation and research with the intention to further cultivate and define their artistry. Mr. Calliste is thrilled to be joining Opera Omaha for this production of X, the Life and Times of Malcolm X.

SUPERNUMERARIES

POLICEMAN/REPORTER

Aaron Spracklin* Zdenek Voprada*

FRIENDS OF LOUISE Tiffany Smiley*

LINDY HOP DANCER/REPORTER Jennifer Para*

JAZZ COMBO

RHYTHM BASS James Giles

REEDS Rajiv Halim Paul Haar Peter Hess

TRUMPET

Darryl White

TROMBONE Shawn Bell

JAZZ VIBRAPHONE

Robert O'Brien

DRUMS Derek Dreier

KEYBOARD Barry Spatz

*Opera Omaha Debut

ARTISTIC & PRODUCTION STAFF

STAGE MANAGER

Jeron Dooling*

ASSISTANT DIRECTOR

Melanie Bacaling

ASSISTANT CHOREOGRAPHER

Arianne Meneses*

ASSISTANT STAGE MANAGER

Jessie Mhire

ASSISTANT STAGE MANAGER

Derek Copenhaver

PRODUCTION ASSISTANT Katie Blice

PRINCIPAL REHEARSAL ACCOMPANIST

Brendon Shapiro*

REHEARSAL ACCOMPANIST Josh Quinn*

ASSOCIATE SCENIC DESIGNER

Diggle*

PROPERTIES SUPERVISOR

Laura Peters

ASSOCIATE COSTUME DESIGNER

Heather Stanley

ASSISTANT LIGHTING DESIGNER Paige Seber*

LIGHTING PROGRAMMER

Ben Fichthorn*

ASSISTANT PROJECTION DESIGNER

Elizabeth Barrett

VIDEO ENGINEER/PROGRAMMER John Costa*

COSTUME SUPERVISOR

Amanda Jones

SUPERTITLE OPERATOR

Kai Song Chan*

ASSISTANT TECHNICAL DIRECTOR Chad Curran+

HEAD PRODUCTION CARPENTER Al Dusek+

HEAD PRODUCTION ELECTRICIAN Scott Wasson+

*Opera Omaha Debut

+IATSE Local 42

Stagehand Services are provided by IATSE Local 42. Wardrobe Services are provided by IATSE Local 831.

Opera Omaha is a member of OPERA America.

Ankush Kumar Bahl, Music Director

Ernest Richardson, Resident Conductor & Principal Pops Conductor

1ST VIOLIN

Susanna Perry Gilmore, Concertmaster

Ahra Cho, 1st Associate Concertmaster

Henry Jenkins, 2nd Associate Concertmaster

Christopher Hake, Assistant Concertmaster

Rebecca Kia-Mills

Phyllis Duncan Scott Shoemaker

Tracy Dunn Anne Nagosky Ricardo Amador Melissa Pruss

Juliet Yoshida

2ND VIOLIN

Keith Plenert, Principal

Frank Seligman, Associate Principal Kevin Tompkins, Assistant Principal Dan Fletcher Michael Keelan

Lucy Duke David Neely

VIOLA

Thomas Kluge, Principal Tyler Sieh, Associate Principal Margo Romig-Motycka Judy Divis

Bozhidar Shopov Sherrie Goeden Sarah Curley Alexa Brown

CELLO

Paul Ledwon, Principal

Gregory Clinton, Associate Principal Samuel Pierce-Ruhland, Assistant Principal

Timothy Strang

Mark Motycka Holly Gullen-Stout

InYoung Park Trevor Petersen

BASS

Nate Olson, Principal William Ritchie, Assistant Principal Dani Meier

Robert Scharmann James Giles

Michael Swartz FLUTE Maria Harding, Principal Patrick Tsuji, Assistant Principal Lisa Meyerhofer

OBOE

Alexandra Rock, Principal Heather Baxter, Assistant Principal Angela Christine Sallas

CLARINET

Carmelo Galante, Principal Jaewon Kim, Assistant Principal Madison Freed

BASSOON

James Compton, Principal Nicholas Nelson, Assistant Principal Karen Sandene

HORN

Brett Hodge, Principal

Austin Ruff, Associate Principal Steven Schultz Garrett Law

TRUMPET Scott Quackenbush, Principal

Federico Montes, Associate Principal Chris Haas

TROMBONE

Patrick Pfister, Principal Jason Stromquist Jay Wise

TUBA Craig Fuller, Principal

TIMPANI

Jack Rago, Principal

PERCUSSION

Robert O’Brien, Principal Derek Dreier, Assistant Principal

KEYBOARD

Christi Zuniga, Principal

ARTISTIC OPERATIONS

Jennifer Boomgaarden, President & CEO

Kyra Hansen, Director of Operations & Production

Marshall Carby, Operations & Production Manager

Emily E. Duffin, Orchestra Personnel Manager

Lindsay Corbin, Operations Coordinator

Sara Baguyos, Head Librarian

Tracy Bass, Librarian

Mark Haar, Assistant Librarian

John Coate, Stage Manager

Jeff Baron, Assistant Stage Manager

Opera Omaha productions are made possible, in part, with significant support from the Craftsman’s Guild.

Samantha Antes

Mark & Cindy Baumer

Betty Beach

Jenny Bruce Ian Bugeja

Tom Burton

Carusi

Kristen Drescher

Melissa Fritz

Chris & Kate Gannon-Tombrello

Bill Gaus

Nora Mae & John Gibson

Saprina Hansen

Julie Harmon

Patti Jaynes Mark Kalal Christine Lund Julie Mead

Christine & Patrick Peters

Hilarie Price

Dick Serpan

Margret Sexton

Cathy Schaefer

Rebecca Schaefer

Snell

Vann

Weber

The Opera Omaha Guild is a dedicated group of men and women who actively support Opera Omaha’s fundraising, community engagement and education programs. Members plan and promote events such as Cotillion (etiquette classes for area sixth graders), social luncheons, educational activities, opera study groups, and pre-performance parties. If you are interested in joining the Opera Omaha Guild, please call (402) 346-7372 or visit www.operaomaha.org for additional information. We appreciate your interest and look forward to hearing from you soon!

EXECUTIVE COMMITTEE

Deb Peterson

ELECT

Sample

PAST PRESIDENT

Sanford

EDUCATION

Josie Wadman

VP FUNDRAISING

April Nebel

VP MEMBERSHIP

Connie Kinnear

AT LARGE BOARD MEMBERS

VP SOCIAL Lora Kaup

CORRESPONDING SECRETARY Vivian Davis

RECORDING SECRETARY

Mark Maser

TREASURER

Gwen Olney

COTILLION LIAISON

Lisa Hagstrom

TAYLOR ADAMS

Taylor is a multiple awardwinning scenic designer focused in creating community through art.

Charisa is a teaching artist, actor, director, and playwright.

The Holland Community Opera Fellowship works collaboratively with community partners to co-create programming that helps individuals, organizations, and communities reach their goals, serving as a creative and artistic resource to the community.

HCOF is transformational, and as a result supports the creation of an inventive, creative, empathetic and inclusive community that inspires joy, self-discovery, kinder discourse, and opportunity for all.

COMMUNITY PARTNERS & PROGRAMMING

We bring our artistic talents and resources to the table to partner with experts in the field who are actively working to solve the most pressing issues in our communities, like homelessness, income disparity, immigration, and segregation. We create responsive programming that acknowledges the specific strengths of each participating individual or community partner. Opera is our toolbox and all forms of art and creativity that make up opera make their way into programming.

22/23 FALL PROGRAMMING PARTNERS

THE COMMUNITY PANEL

The HCOF Community Panel represents a cross-section of the community including organizations, businesses, neighborhoods, and community groups. Those serving on the Community Panel develop a partnership with Opera Omaha to engage in meaningful conversations around community issues, program development, potential partners and opportunities across different neighborhoods and sectors.

SARPY COUNTY JUVENILE JUSTICE CENTER

22/23 COMMUNITY PANEL

Camtrice Bexten, NU Foundation

Tiffiny Clifton, Gotta Be Me

Rachel Morgan, Nebraska Arts Council

Rita Paskowitz, Storyteller

Paula Wallace, Artist/Hot Shops

Gwyn Williams, Independent Leadership Coach

Nancy Williams, No More Empty Pots

As of 10/1/22

APPLICATIONS FOR 23/24 HCOF FELLOWS WILL OPEN IN LATE NOVEMBER.

Opera artists of any discipline who have an interest in impacting and engaging community are encouraged to apply.

FIND MORE INFORMATION AT OPERAOMAHA.ORG/FELLOWSHIP

It is our honor to recognize community members who, through their generosity to Opera Omaha’s Annual Fund, enable the company to create this season's large-scale opera productions and deliver groundbreaking, free community programming, including the nationally acclaimed Holland Community Opera Fellowship, that engage tens of thousands of people in meaningful, artistic experiences.

This listing reflects gifts received between March 1, 2021 — September 1, 2022

CHAIRMAN’S CIRCLE

$100,000+

Anonymous Richard D. Holland*

Annette and Paul Smith

PRESIDENT’S CIRCLE

$50,000- $99,999

Anonymous

Sharee and Murray Newman Robert E. Owen Mary and Richard Parrish Anne and Alan* Simon Betiana and Todd Simon Stacy and Bruce* Simon Kate and Roger Weitz Joan Gibson and Donald Wurster

PRODUCER

$25,000-$49,999

Anonymous

Cindy and Mogens Bay

Catherine and Terry Ferguson

Joan and Richard* O'Brien Meredith and Drew Weitz Julie M. Schroeder

Katie Weitz, PhD and Tim Wilson

BACKER

$10,000-$24,999

Anonymous

Sharon and Randy Blackburn

Anne and Stephen Bruckner Sandi and Bill Bruns

Debra Reilly-Culver and Robert Culver, Jr.

Carol E. and David A. Domina Kyoko and Jonathan Fuller

Vivian and Allen Hager Vernie and Carter Jones Vicki and David Krecek Janet and H. Frederick Kuehl Susan and Michael Lebens

Ann Mactier Pauline Quinn

BENEFACTOR

$5,000-$9,999

Anonymous

Sara and Jawed Bharwani Roger Blauwet

Betty Foster Linda and David Gardels Joanne Li and Frank Stalla Rita and Donald Otis Linda Burt Rebrovic and John Rebrovic Shirley and Michael Sorrell Ann and Kenneth Stinson Mary Ann Strasheim Janet and Jerry Syslo Dr. and Mrs. James Tracy Mary Beth and James Winner

GUARDIAN

$3,500-$4,999

Linda and Jerome Gordman Jo Bartikoski and Don Westling Ann and Paul O'Hara

Dr. Betty L. Beach Barbara Person and Scott Burger Jerry C. Gose

Constance Ryan Phyllis and Delmer Toebben Silvia Greene Roffman

SUSTAINER

$1,500-$3,499

Emma and Lee Addams Linda Matson Andersen Maria Carlson

Janet and Samuel Cohen Linda and Tim* Daugherty Elisa and Drew Davies Devin J. Fox, MD Belle and Ryan Hansen Carol and James Healy Mary Jetton

Mr. and Mrs. James H.* Keene III Alfred G. Kelley Deana and Michael Liddy Carolina and Michael Mapes Paul Ledwon and Mark Allen Maser

Sharon McGill Sheila McNeill

Joan and Robert Miller Connie and H. Don* Osborne Kim and James Simon Kara and Joe Spitzenberger Anne Stoddard Ginger Talbot

Terry Tomcsik Cindy Weil

PATRON

$750-$1,499

Laura and Bryan Alexander Samuel M. Bierner

Teri and David Black Ann and David Burkholder Murray Joseph Casey Jennifer and James Davenport Hillary Nather-Detisch and John R. Detisch Viv and John Ewing Dr. Jon Flanagin Diana and Robert Foster Bill L. Gaus

Jeffrey Grinnell and Daniel Gallagher Lisa Hagstrom

Dr. Gerald Christensen* and Ms. Mary Clare Haven Clara and Harold Hoover Dr. Linda Matson and Mr. Michael Howland Jeffrey Johnston

Sandra and Jon Kayne Ali Khan

Barbara and Marshall Kushner Cheryl and Luke Matranga

Tom Richter

Ana Lopez Shalla and Hassan Shalla

Donald Slaughter

Donna and Coyner Smith

Janet Strauss*

Sherry and Jeff Taxman Susan Thomas and Steven Hutchinson Shelby VanNordstrand Gail and Irving Veitzer

Patricia Victor Barbara and Wallace Weitz

Ann and John Williamson Sarah and Adam Yale

ADVOCATE $300-$749

Anonymous

Eileen and Timothy Arkebauer Kathleen Joan Bradley

Janet* and Donald Bumgarner Clare and Tom Burton

Thomas Carr

Carol Casey

Tom Chandler and Bill Schaffer

Melanie and Jeffrey Chapman

Tiffiny Clifton

Cora and Maurice Conner

Daniel Cox Melissa and John Dahir

Vivian and Spencer Davis

Mary Dragoo

Helga and Clark Fensterman

Sarah Marie Ferneding Mary Fieber

Judith and Craig Fuller Elizabeth and John Fullerton Kate and Chris GannonTombrello Carol Gutchewsky and Leslie Valentine

Carey and Brian Hamilton

Dr. James and Dawn Hammel

Marilyn and Robert Hansen Shari Hofschire

Bonnie and David Jaros

Vibeke Jensen

Donna and James Kalar Sally and Gary* Kaplan Marilyn and Mark Kirchhoff Joanne and David Kolenda Wende and John Kotouc Barbara Kuhn Heike and Adam Langdon Julie and Joseph Lecci Lourdes Secola and Sheldon Lerner

Cheryl Logan Deborah and John McCollister

Kenneth McGill Dorothy* and Daniel McKinney Kristine and Craig McVea Angenette and Bob Meaney Christine and Jim Medici Jane and Philip Meyer Karen and Paul Mullen Karen and Larry Nelsen Michele Okon Gwendolyn Olney and Scott Peters

Polly and Frank Partsch Sandra and Jeffrey Passer Elizabeth and Jerry Powell Casimiro Rangel and Erik Henningsen Cynthia and David Rector Greta Vaught and John Ritland Victoria and Edward Roche Thompson Rogers

Dr. Debra J. Romberger Kathleen and Robert Rose Jane and Ralph Ross Carol and Richard Russell Susan and Craig Seamands

Joan and Charles Shapiro Kay M. Shilling, M.D. Sissy Katelman Silber

Andrew R. Smith

Joan H. Squires Ann Stephens and John Vasiliades Jaymi Victor Raymond W. Vondrak Sarah Watson

Verne Weber Anne and Arnold Weitz Laura Wilwerding

Timothy Held and Jay Worden Melanie and John Wright Sara and John Young

FRIEND $1-$299

Anonymous (6)

Laureen Ackermann Megan Addison

Elvira Lizeth Ahkothe Elaine and Chris Allen Marian Andersen Carolyn Owen Anderson Jon Anderson Ann Antlfinger Cheryl Arends Nancy and Richard Babcock Ronald Bailey Mary and Richard Barmore Joshua Bassan Katie and Chad Bauerly Marti Baumert and Richard Jeffrey Susan Baumert Erna Beach

Lorraine Beadell and Greg Love Susan Grant and Rex Beck Janelle Bender Alicia Bennett Denise and Robert Bennett Mayrene Bentley Laila Berre Franz Blaha Patricia Boettger Crystal Bothel Lyn and Stephen Bouma Frank Bramlett Lisa and Martin Braun Mary Brennan Katie and Corey Broman Matthew Bross and Chad Eacker Kate W. Brown

Kelleen Browning Jenny Bruce Rob Buckley Janice and Mario Buda Gertrude L. and Donald Burge Judeen Bursovsky

Thad Call

Karen and David Campbell Leanne and Mark Carlson Joan Carnaby Edward Chaperon Susan and Robert Chenoweth Tina and John Cherica Lynne Chesire Bob Chilcoat

Jay Chlebinski

Donna Christian Philip Chung Holly and John Cimino Joan and Don Cimpl

Joshua Cink

Joseph Clanton

Julie Clawson

Patricia Cody

Mary Jo and Richard Coffey Elizabeth A. Collins Lindsay Coppock Miller Kara Cordell

Martha and Jon Crane Eileen Crinklaw

Alexander Dahlquist Susan Schonlau and David Danielson

Timothy F. Daugherty Jaclyn Joan Davis

Michelle Davis Carole DeBuse Mark Draper Linda and Charles Duckworth Rosemary and Bernard Duhaime Michael Eason

Martha Elias Amanda and Alex Ely Delores Ericson Karla Ermel

Karen and Richard Everett Mary and Ronald Ferdig Kim and Adrian Ferguson James Fitzgerald Sherry Fletcher

Hon. Marcena Hendrix and Dr. Howard Fox Laura Franz Andrew Frost Kyle Galas Theresa and Myles Gart Carolyn R. Gehringer Mary and Barry Gerken Lauren T. Anderson Rose Glock Ann and Donald Goldstein Sarah E. Goucher

Sonya and Christian Gray John K. Green Mary Green Barbara Mueting and Herman Greenwald

Jan Grimes Taylor Gunnels Carol and Peter Gwilt Suzanne Hafey

Nancy and Randall Hanson Ellen Hargus

Stephanie and Tom Hartig William and Gretchen Harvey Adam Haverman

Mary Jo Havlicek

Jane and Edward Hawks Cheryl and Joe Hazel

Constance Heiden and Henry Kammandel

Jason Helleloid Jennifer Helms

Mary Helms and Kenneth Olson

Michael Hennessy Ann and Gary Henningsen Eddiy Hilliard Jefferson Hillman Connie Hinman Marilyn Hoegemeyer T Hepfinger Courtney Holland Rose Homan

Stanton Hoppe Margaret Horvath Ann and Don Hosford Emily Hough Kurt Howard

Annette and Steven Huff Karyn and William Huffman Susan and Craig Ihnen Christopher Jackson Stephen Jensen Kelly M Johns Nancy Johnson Barbara Johnston Mark Johnston Patricia and Elden Jonas Beverly Jones Emili Carter Jones

Zachary Kallman Robin and Henry Kammandel Sally and Kenneth Kampfe Sean Kelly and Sam Tepanossian Kendra and Victor Kelly Lauren Thomas-Kincaid LaNita Kirby Victoria Kirilloff Julia Kleinschmit Krysten Knott Dr. Merlyn Knudson and Mr. James F. Davis Maria Knudtson Paul Koenig Victoria and Joe Kohout Derek Kordash

Robert Kreiser Brad Krieger Elaine Kruse

Eugenia Kuhn Leslie Kuhnel

Robert Kuzelka

Dr. Timothy J. Crowley and Ms. Celann LaGreca

Carole and Wayne Lainof Julie Langholdt Pattie Anderson Gary Oscar Laun Shan Lawton

O'Terrell Dane Leatherman

DONORS

Della and Jack Lee

Elaine Leise

Patricia Leuschen

Ryan P. Lewis

Sherryl and Hiram Lilley Emily and Tom Lischer Douglas Little Megan Loberg Kathleen and John Lohr Jeffrey B. Loomis Jan and Blake Lund Masood Mahdavifar Nicole Makovec Candi Marcantel Charles Mason Mary Mattingly Catherine and Marcus Maydew Frank McBride

Joan and Ed McCarthy Bruce McKeefry and Geoff Yeoman Nicholas McMIllan

Melissa and Scott McMullen

Lauren Medici Ann Jansen Michelson and Brent Michelson Christina Miller

James Miller Robert Miller Cindy Miserez Patricia and John Mitchell Mary Mitchell and John C. Mitchell, Sr. Donald Moran Richard Morris Sue Moskovits Matthew Munderloh Rose Ann Murphy Tari Hendrickson and Clayton Naff Anne Nagosky

April and Jonathan Nebel Ann Nelson Heath Nopens Tirimba Obonyo Neil Odonnell

Tom Olsen Sean Otterberg Carmen and Toma Ovici Jeanie and Donald Owen Jennifer and Thomas Pansing Jessica and Dennis Pate Diane and Robert Peabody Michael Pellecchia Susan Petersen

Deb and Eric Peterson

Rick Peterson

Janet and Louis Pol Tiffany Powell Amie Prendes H. Margo Prentiss Mary and David Pumphrey James Pyrzynski Susan Rabb Barbara K Rainey Silva Raker Patricia and Robert Ranney Jenene and Herman Rauth Toni Reese Laurance Ring Patricia and William Ritchie Molly Romero Emmanelle and Allen Rose Steven Roselli

Susan and Clark Rosenlof John Rosman and Rod Carlson Mark Rousseau Ralph Roza Courtney Rudick Rev. David Rykwalder Sawsan Saeed

Judy* and Larry Sampier Erin Sample Linda and Paul Sather Kathryn Riesz Schapper and Aaron Schapper Rita and Dean Schechinger Susan Scherl Nancy Schultz Lindsey and Scott Semrad Margaret Sexton Lila Cassandra Shakur Joseph W. Shea MacKenzie Shinbara Nicole and Chris Shonka Jean and Thomas Sitzman Scott Slegl Kim Smith-Ferguson Erin Sobansky Kim Sosin Sandra Spellmire Mary Spurgeon Eileen Stark

John Stavropoulos Glenda and George Steinsberger Anna Stone Mary A. Sturek Elizabeth Sturgeon

Renee Sullivan

Anna and Rock Sumner Elaine Sundberg Tyler Swain Cathy Swanson Susan Swindells

Geralyn Terwey

Monte and Duane Thompson Patricia Thompson

Judy Torrens Donaciano Torres Anne and Charles* Trimble Dorothy and Allan Tubach Jerry Tyrrell

Judi Unger Ann Van Hoff Holly Vander Anthony Vargas Alison Vaughan Bonny Venditte Mary Lee and John Vitton Windy Vo Natalie N Wallace Annika and Allen Weber Carolyn B. Weber Robert Weinacht Stanley A. Wileman Jr. Nancy Williams James Wink Terrie L Wood Cody Joseph Wooldrik Jowanda Wright Mary* and Anthony Yonkers Judy and Frederic Youngscap Edith and Robert Zahniser Susan and John Zeilinger Michael Zimmerman

Seize the day and prepare to prosper.

You’re a creative spirit who strives for both a solid performance and a solid financial plan. We applaud you, we celebrate you, and we’re here to help you prepare for the journey ahead. Plan. Invest. Prosper.

Start today at /wealth

CORPORATE, FOUNDATION & GOVERNMENT DONORS

CHAIRMAN’S CIRCLE

$100,000+

Anonymous

Douglas County Board of Commissioners

Holland Foundation

Peter Kiewit Foundation

Small Business Administration

Weitz Family Foundation

PRESIDENT’S CIRCLE

$50,000-$99,000

Bailey Lauerman

Omaha Steaks

PRODUCER

$25,000-$49,999

First National Bank of Omaha

Heider Family Foundation

Iowa West Foundation

Mutual of Omaha National Endowment for the Arts

Nebraska Arts Council

Nebraska Cultural Endowment

Omaha Magazine

BACKER

$10,000-$24,999

Conagra Brands Foundation Gilbert M. and Martha H. Hitchcock Foundation HDR, Inc.

Jetton Charitable Fund

Kinghorn Gardens

Mammel Family Foundation Kiewit Corporation

Union Pacific Corporation

University of Nebraska Medical Center Valmont Industries, Inc.

BENEFACTOR

$5,000-$9,999

Fraser Stryker Giger Foundation Husch Blackwell LLP

Nebraska Tourism Commission Omaha Star Rose Blumkin Foundation Inc.

RSM US LLP

University of Nebraska Omaha Whitmore Charitable Trust

ADVOCATE $1-$4,999

Backer Family Charitable Trust Barnhart Press

Classical 90.7 KVNO

Cobank

Edward and Lida Robinson Charitable Trust Humanities Nebraska Koley Jessen P.C., LLC

Lincoln Financial Group Minnesota Opera Network For Good OPERA America

Paypal Giving Fund

Stowell, Geweke & Piskorski

The Fred and Sally Bekins Foundation TisBest Philanthropy U.S. Bank

A tangible legacy – investment in the future of both Opera and Omaha

Members of Opera Omaha’s Fortissimo Society have made arrangements to support Opera Omaha and its innovative role in the cultural vibrancy of our region for generations to come. By establishing bequests, gifts of life insurance, IRAs, trusts, and other estate plans, Fortissimo Society members demonstrate their commitment to the transformative power of opera in our community. Their legacies are tangible investments in our cutting-edge, human-centered work that is leading and redefining the future of opera.

We proudly recognize the following Fortissimo Society Members

Peppy* and Norman* Bahr Jo Bartikoski and Don Westling Betty L. Beach, PhD

Kathleen Joan Bradley Sandra L.E. and William C. Bruns

Debra and Bob Culver Ike and Roz Friedman Foundation Linda and David Gardels Connie and Geof* Heiden Mary and Charles* Heider Mary* and Richard* D. Holland Aline Hosman* Sally and Gary* Kaplan

Joanne and David Kolenda Graham Lusk* Ann and Allan* Mactier

Sharee and Murray Newman Ephraim L. Marks* and David M. Rice* Mark Allen Maser

Joan F. and Richard L.* O’Brien Ann and Paul O'Hara Mr. and Mrs. Robert E. Owen Mary and Richard Parrish

Thompson H. Rogers Ruth and William Scott Eve and Fred* Simon Dr. and Mrs. Michael Sorrell Dr. Judith Stoewe*

Mary Ann and Jerrold* Strasheim Janet and Jerry Syslo Bruni and Roy* Thylin Mary Beth and James Winner

We are grateful to the following individuals who designated a portion of their estate to support Opera Omaha, upon their passing.

Rabbi Myer S.* and Dorothy Kripke* Pauline D. Nelson* Howard Silberg* Margaret Wiltse* Annie F. Zinn*

SPECIAL FUNDS

We thank the donors who have established restricted funds to honor a family, friend and loved one. These named funds provide important ongoing support through Opera Omaha’s endowment.

For

give, sample language for bequests, or to inform us of your

of Opera Omaha in your estate plans, please reach Joe Prickett, Director of Development at (402) 661-8435 or jprickett@operaomaha.org.

*Deceased

OMAHA

about all of

Magazine publishes stories about interesting people who live next door and fascinating former Omahans. It is the place to read stories about the arts, the food, the music, and the events that are making Omaha the cultural epicenter of the Midwest.

MEMORIALS & TRIBUTES

Donors who made gifts to the Annual Fund in honor or in memory of a loved one are recognized below. This listing reflects gifts received between March 1, 2021 — September 1, 2022.

IN MEMORY OF:

HARRIET BECKENHAUER Anonymous

Carol Casey Kara Cordell Mary Dragoo Martha Elias Delores Ericson Sarah Marie Ferneding Mary Clare Haven Stephen Jensen Mary Jetton Kelly M Johns Victor and Kendra Kelly Krysten Knott Mary Ellen Mulcahy Stowell, Geweke & Piskorski

EDWARD CARUSI Gina Carusi

ANDA HOWE

Tom Chandler and Bill Schaffer

DIANNE L. JONES

Jon Anderson

Tom Chandler and Bill Schaffer

SALLY LUSK

Tom Chandler and Bill Schaffer

Joanne and David Kolenda Sheila McNeill Mary Ellen Mulcahy

HELEN AND FRANK MATTHEWS

Joan and Robert Miller

RICHARD O'BRIEN Joanne and David Kolenda Kate and Roger Weitz

BETSYE PARAGAS

Tom Chandler and William Schaffer Sharon Hofschire Kate and Roger Weitz

ROBERT G. RUETZ Bill Gaus Joanne and David Kolenda

CHERYL SANWICK Betty L. Beach Clare and Thomas Burton Annika and Allen Weber

MARY SCHROEDER Ruth Keene

FRED SIMON Carmen and Toma Ovici

IN HONOR OF:

TOM CHANDLER AND BILL SCHAFFER Sissy Katelman Silber

JOYCE DIXON AND JOHN KIDD Mary Mitchell

HAL FRANCE Anonymous

RICHARD PARRISH’S BIRTHDAY Betty L. Beach Mary Jetton

KELLY AND MARK SANFORD Taylor Gunnels

ROGER WEITZ Minnesota Opera Mary and Richard Parrish

SARA YOUNG Betty Foster Ellen and Richard Shubart

REPERTOIRE HISTORY

1958-59

Madama Butterfly Tosca Oklahoma!

Hansel and Gretel 1959-60 Carousel Pagliacci/Quivera 1960-61

Die Fledermaus La Traviata 1961-62

The Merry Widow La bohème 1962-63

Carmen La Périchole 1963-64

Aida

The Barber of Seville 1964-65

Lucia di Lammermoor

The Marriage of Figaro 1965-66

Rigoletto Madama Butterfly 1966-67

Il Trovatore

The Ballad of Baby Doe 1967-68

Tosca La bohème 1968-69

La Traviata Carmen 1969-70

Faust Cavalleria Rusticana/ Pagliacci 1970-71

Aida Die Fledermaus

1971-72

Rigoletto

The Tales of Hoffmann 1972-73

Madama Butterfly Romeo and Juliet Un Ballo in Maschera 1973-74

Tosca

The Marriage of Figaro The Elixir of Love 1974-75

La bohème Lucia di Lammermoor

La Périchole 1975-76

La traviata Manon Bilby’s Doll

The Barber of Seville 1976-77

Aida

The Merry Widow Don Pasquale Don Giovanni 1977-78

Madama Butterfly

The Abduction from the Seraglio*

The Bartered Bride 1978-79

The Barber of Seville Werther La bohème 1979-80

Die Fledermaus* La Traviata*

The Pirates of Penzance 1980-81

Così fan tutte Susannah Rigoletto 1981-82

The Daughter of the Regiment Carmen The Magic Flute

1982-83

Don Pasquale Faust

Madama Butterfly 1983-84

Aida*

The Tales of Hoffmann Don Giovanni 1984-85

Tosca Falstaff Gianni Schicchi/Pagliacci 1985-86

Turandot Lucia di Lammermoor

The Marriage of Figaro 1986-87

La Traviata

The Barber of Seville Porgy and Bess 1987-88

The Turn of the Screw*

The Juniper Tree* Where’s Dick?

Amahl & the Night Visitors* Carmen La bohème 1988-89 Oklahoma! Partenope+

The Diary of One Who Vanished White Rose

A Celebration of Bel Canto Rigoletto Manon 1989-90 Plácido Domingo in Concert Show Boat

Madama Butterfly Romeo and Juliet*

1990-91

Carousel

Angelina Reaux in “Stranger Here Myself”

Maria Padilla+

The Golem+ Il Trovatore*

The Magic Flute 1991-92

My Fair Lady Tosca Don Giovanni* 1992-93

Ermione+

The Gardens of Adonis*** Autumn Valentine*** Eugene Onegin*

The Flying Dutchman 1993-94

Vive Toulouse!

Requiem Variations*** Fidelio

The Pirates of Penzance 1994-95

The Merry Widow La Traviata Carmen 1995-96

The Daughter of the Regiment* Turandot

The Barber of Seville 1996-97

Così fan tutte* La bohème Faust 1997-98

Don Pasquale Madama Butterfly La Cenerentola Opera Omaha 40 1998-99

Eric Hermannson’s Soul***† Aida

The Marriage of Figaro

1999-00

Samuel Ramey in “A Date with the Devil”

Samson et Dalila Tosca* 2000-01

Amahl & the Night Visitors* Carmina Burana/Pagliacci Falstaff Man of La Mancha 2001-02

All-American! Concert Amahl & the Night Visitors Otello Little Women Don Giovanni 2002-03

Richard Rodgers’ America Concert Carmen The Turn of the Screw* H.M.S. Pinafore Bloodlines***†

2003-04

La bohème Lucia di Lammermoor Cold Sassy Tree* 2004-05

The Threepenny Opera*

The Tender Land* Dream of the Pacific***† Turandot La Traviata 2005-06

Paul Bunyan Madama Butterfly*

The Abduction from the Seraglio* 2006-07

Tosca Wakonda’s Dream***†

The Barber of Seville 2007-08

All The King’s Men*

The Tragedy of Carmen* Aida*

2008-09

The Blizzard Voices***†

The Pirates of Penzance

La bohème 2009-10

Night for American Song Pagliacci Brundibár

The Marriage of Figaro So in Love with Broadway*

2010-11

Opera for the Cure* Don Giovanni Madama Butterfly 2011-12

This is Opera!* Hansel and Gretel*

The Marriage Contract* The Mikado 2012-13

La Traviata The Magic Flute* Bluebeard’s Castle* 2013-14

Opera Outdoors* Carmen Agrippina* La cenerentola 2014-15

Opera Outdoors* Rigoletto*

A Flowering Tree* Fidelio 2015-16

Opera Outdoors*

The Barber of Seville

La fanciulla del West Semele* 2016-17

Opera Outdoors*

La bohème Così fan tutte* Flight*

Stranger from Paradise***†

2017-18

Opera Outdoors* Tosca* Falstaff* Medea* Proving Up*†

ONE Festival***

2018-19

Opera Outdoors* Pagliacci

The Elixir of Love (L’elisir d’amore)

Les Enfants Terribles* Faust*+ ONE Festival***

2019-20

Opera Outdoors* Madama Butterfly

The Abduction from the Seraglio

2020-21 Opera Outdoors Broadcast dwb++

Miranda++

MODULATION++

Concert with the Omaha Symphony: Bizet, Mahler and Chausson Opera Under the Stars* La boheme ++ 2021-22

Opera Outdoors*

The Capulets and the Montagues*

Sweeney Todd: The Demon Barber of Fleet Street* Eugene Onegin* 2022-23

Opera Outdoors*

X, The Life and Times of Malcolm X*

Suor Angelica

The Marriage of Figaro

New production

American Premiere

World Premiere

Commissioned Work

Film/Digital Premiere

OMAHA PERFORMING ARTS

BOARD AND ADMINISTRATION

OMAHA PERFORMING ARTS

Omaha Performing Arts is the local non-profit arts organization that manages the Orpheum Theater and owns and operates the Holland Performing Arts Center.

BOARD OF DIRECTORS

Jack Koraleski, Chair

D. David Slosburg, Vice Chair

Michael S. Cassling

Dr. H. Dele Davies

Margaret Lauritzen Dodge

Scott C. Heider

Todd L. Johnson

Rodrigo López

Carl G. Mammel

Sharlon Rodgers

John Gottschalk, Chair Emeritus

John K. Boyer, Secretary

STAFF

Joan H. Squires, President

Arnold Reeves, Senior Vice President and CFO – Finance and Administration

Bianca Harley, Vice President of Human Capital & Inclusion

Sabrina Weiss, Vice President of Development

Aaron Ott, Director of IT

Bev Carlson, Director of Public Relations and Communications

Andy Cassano, Vice President of Programming and Education

Ryan Murray, Director of Operations

Alyssa Stieren, Director of Finance

Lee Turkovich, Vice President of Marketing and Communications

Ashley Voorhees, Associate Vice President of Administrative Services

Charles Shanahan, Director of Food & Beverage Operations

ARTS

GENERAL INFORMATION

COVID PRECAUTIONS

Nothing is more important than the health Nothing is more important than the health and safety of our patrons, staff, artists, volunteers and community. To ensure the safety of those who work at and visit our venues, we’ve implemented a number of changes to provide the best performing arts experience.

• Masks are recommended for this performance

• Enhanced cleaning and sanitation

• Virus filtering heating and cooling

• Staff and patron precautions

• Touchless experience

For more information, please visit o-pa.org/covid. Thank you for your cooperation in helping us create a safe and enjoyable experience for all.

FOOD SERVICES

The Orpheum Theater and Holland Center are served exclusively by O-pa Food and Beverage Services, who deliver a range of offerings, including pre-performance and intermission service. Beverages with lids purchased in the lobbies may be brought into halls at both venues. Menus are available for private parties, special events and meetings that are tailored to individual needs and event budgets. For more information or to book an event in either venue, contact (402) 345-0202 or events@o-pa.org.

IN CASE OF EMERGENCY

Doctors, parents or patrons expecting phone calls are advised to leave their seat location (shown on the ticket) with the appropriate parties and with the house manager or head usher. The emergency telephone number during performances is (402) 661-8555. The attendant will forward calls to the appropriate venue.

PARKING

Orpheum Theater – nearby and conveniently located garage parking is available at OPPD with entrances on Howard Street between 16th and 17th streets and on 17th Street. OPPD garage closes one hour after final curtain. Surface lot and street parking are also available.

Holland Performing Arts Center – easyaccess garage parking is available in Omaha Park 8 directly north of the Holland Center with entrances on Dodge or Capitol streets. Park 8 closes one hour after final curtain. Street parking is also available.

FIRE OR TORNADO NOTICES

In the event of fire, tornado or other emergency, patrons will be given instructions regarding evacuation of the facility or relocation to areas of refuge. Please do not run; walk to the designated areas as directed.

LOST AND FOUND

Lost articles may be retrieved by speaking with an usher. If you have already left the venue, please call Omaha Performing Arts Security: (402) 661-8555.

ACCESSIBILITY FEATURES

Omaha Performing Arts is committed to ensuring every patron’s performance experience is convenient, safe and remarkable. Both the Orpheum and Holland offer a wide range of accessibility features. Unique requests may be accommodated by contacting Ticket Omaha in advance.

• Accessible seating throughout the hall.

• Accessible parking adjacent to the theater.

• Accessible restrooms.

• Accessible backstage accommodations for performers and technicians, including accessible entries, dressing rooms and restrooms.

• American Sign Language interpretation and Outlook Nebraska audio description is scheduled on select Saturday Broadway matinee performances at the Orpheum but may be arranged in advance of other performances by calling Ticket Omaha.

• The Orpheum is equipped with hearing loop technology. Assistive Listening Devices (ALDs) are also available for all performances in both venues. Ask the house manager or usher for assistance.

• GalaPro for closed captioning for select Broadway performances and other performances can be requested in advance via box office.

• Guide and service dogs are welcome. If you have any special requests or concerns, please contact Ticket Omaha, toll free at 866.434.8587 or locally at 402.345.0606. Or email ticketomaha@o-pa.org. We are pleased to assist you with your needs.

TICKET OMAHA

Tickets for all performances at the Orpheum Theater and Holland Performing Arts Center are purchased through Ticket Omaha online at TicketOmaha.com; by mail at 1200 Douglas Street, Omaha, NE 68102; by phone toll free at (866) 434TKTS (8587) or (402) 345-0606, Monday through Friday 8 a.m. to 8 p.m.; or in person at the Ticket Omaha box office, 13th and Douglas streets, Monday through Friday from 10 a.m. to 5 p.m.

ENTRY INSPECTION

All guests attending events at our venues are subject to visual and bag inspections conducted by Omaha Performing Arts security. Visit TicketOmaha.com/faqs for a list of items not permitted in the Holland Center and Orpheum Theater.

INVOLVED

Without the dedication and perseverance of outstanding volunteers and support groups, our productions would not be as beautiful, our bottom line would not be as sound, and our sense of community would not be as strong. For these, and many other reasons, we extend a heartfelt thank you to the following organizations.

We invite you to get involved and become a volunteer or member of one of our support groups.

For more information about the following opportunities, please visit: www.operaomaha.org/get-involved or email opera@operaomaha.org.

OPERA OMAHA GUILD

The Opera Omaha Guild is a dedicated group of men and women who actively support Opera Omaha’s fundraising and community engagement and education activities. Members plan and promote events such as Cotillion (etiquette classes for area sixth graders), social luncheons, educational activities, opera study groups and pre-performance parties. If you are interested in joining the Opera Omaha Guild please call us at (402) 346-7372 or visit our website for additional information.

CRAFTSMAN’S GUILD

Integral to Opera Omaha’s success since 1962, the Craftsman’s Guild members donate stagecraft skills in the areas of wardrobe, makeup/wigs, concessions, and parties. Focused on meeting the backstage needs of guest artists and the production, members enjoy the camaraderie and reward of helping to create top notch performances for the Omaha community.

VOLUNTEERS

Volunteers help Opera Omaha complete essential tasks like assisting with community events, ushering at concerts, or providing additional office support. It is clear without their help, Opera Omaha would not be able to bring world class opera to Omaha stages or the community. Students can also fulfill required community service hours for groups like National Honor Society by volunteering with Opera Omaha. For more information, please fill out the inquiry form at operaomaha.org.

SUPERNUMERARIES

Supernumeraries appear on stage in non-speaking, non-singing roles, much like being an extra in a movie. Being a “super” takes some time and patience, but is a lot of fun and a great learning experience. Super roles are varied but might include servants, soldiers, peasants, priests and priestesses, dancers, bartenders, waiters, ragamuffins, pickpockets, and sometimes even animals! All ages, including children, are needed.

OPERA OMAHA CHORUS

The Opera Omaha Chorus is comprised of professional singers from Omaha, Lincoln and surrounding communities. Please contact the company for the next audition date. You must be at least 18 years old to audition. Prospective candidates will be assigned a time slot and asked to present two selections; one in a foreign language, one in English, and neither selection can exceed five minutes in total. Arias, art songs, or church solos are all acceptable as audition pieces. Please provide printed music for the accompanist, who will be available at no cost.

TWEET SEATS

Social media savvy people with great knowledge of the Twitterverse attend the final dress rehearsal of each opera and tweet throughout the production offering real-time reviews of the productions before opening night.

ADVERTISING

For Opera Omaha program book advertising, please contact: Gil Cohen, Omaha Publications Executive Vice President Sales and Marketing 402.884.2047- O 402.612.9378- C gil@omahapublications.com