toledo opera
toledo opera, toledo symphony, wayne f. anthony, vanessa, valentine theatre
45% of your event registration is a tax deductible gift benefitting the programs of the toledo symphony & toledo opera .
please call the toledo opera offices for additional information: 419 - 255 - 7464 .
not all the funds raised by the toledo opera go toward mainstage productions, and the coming young artist program may offer the most optimistic view of the future for opera in toledo .
jennifer rowley sings the title role in toledo opera' s staging of' vanessa.'
renay conlin' s resignation letter to president of the toledo opera board of directors andy stuart .
add - on the winter opera gala ($ 300 each or $ 150 each for toledo opera guild members or those under 40 years old) and the toledo symphony orchestra kathleen battle concert at the peristyle ($ 75) to your subscription with exclusive sections specifically for toledo opera subscribers. please contact the toledo opera box office for additional information (419 - 255 - 7464) .
as a subscriber, you receive 20% off additional ticket you purchase for toledo opera performances .
so many people have given so much to sustain and advance live opera in toledo through the toledo opera that it is important the company be given every chance possible to survive this recent economic downtown ,
said meena, who for 14 years was artistic director and conductor of the toledo opera .
the production is a staged concert rather than a full grand opera. the toledo symphony, under the baton of conductor sara jobin, sits on stage in full view of the audience with the toledo opera chorus behind .
the toledo opera’s spring production of samuel barber’s vanessa is, in short, art with a capital “a. ”
a significant portion of the toledo symphony’s annual income derives from rehearsals and performances for the opera. venues like the valentine theatre and the toledo museum of art also count on revenue from productions
the toledo symphony is likely to play an even larger part in the reformed toledo opera. principal conductor stefan sanderling is eager to conduct performances and symphony staff conductor robert mirakian will lead rehearsals .
please return payment by mail to: toledo symphony orchestra p. o. box 407 toledo, ohio 43697 indicate golf outing on the memo line
join us for this unique outing featuring a scramble format and distinctive play - along - the - way experiences including cigar rolling, whiskey, and of course music from toledo symphony and toledo opera .
arts executives such as kathy carroll from the toledo symphony and brian kennedy at the toledo museum of art signaled a readiness to commit to greater involvement .
block added :
we must continue supporting the toledo opera because we’ve had it for so long. it defines us at a higher level. we cannot backslide because it will hurt toledo’s image .
awarded the pulitzer prize in 1958 after an unqualified success at the metropolitan opera in new york, vanessa marks the third year of toledo opera’s commitment to staging works by contemporary american composers .
renay conlin, who served 10 years as general director of the toledo opera association, would like to stay on as artistic director .
the final installment in toledo opera’s “season of three barbers” opens this week with samuel barber’s vanessa, one of the darkest operas ever written .
a student night at the opera performance will be 7 p. m. wednesday sponsored by the andersons; tickets are $ 5. interested students and teachers should contact the toledo opera box office .
“kristine mcintyre from the staff of the met is making her debut as stage director for the toledo production, ” jobin said. “she has a specialty in american opera, and we’re pleased to invite her to toledo. ”
toledo opera is very dear to my heart ,
cresswell said .
a great deal of my childhood came from the toledo opera. i sang in the children' s chorus every sunday night. we would perform at the galas. and there was the summer camp .
the first former toledo opera co - worker rorick recalled was loviah aldinger, an educator and administrator with a ph. d. , a laid - back foil for rorick’s deep intensity. jenny cresswell, now artistic administrator, went into high gear with the annual opera on wheels program — the only part of the toledo opera operation fully funded .
conlin said she would be willing to stay on as artistic director of the toledo opera, but she no longer wants to oversee the business operations .
heather buck, left, is zerbinetta and markus beam is harlekin in a toledo opera production of' ariadne auf naxos' in september, 2010 .
in line with the new team spirit of the toledo opera, they will make a brief appearance saturday afternoon during the crosby festival of the arts .
the toledo symphony orchestra has events all year round. view our upcoming performance schedule now .
when the toledo opera in march announced the cancellation of its final 2010 - 2011 production, verdi’s la traviata, the pessimists predicted the demise of this region’s proud 50 - plus - year tradition of presenting live opera .
current board member valerie garforth disagreed with sordyl' s characterization and said that conlin and her husband, tom, who served as the opera' s principal conductor, helped toledo go through a
renaissance
in opera .
brown, a banker, said that in the past two months the toledo opera has secured pledges to cover all the debt except for the line of credit .
pianist and coach kevin bylsma, a major figure in the region’s operatic life, will rejoin the toledo opera to work with the chorus and do staging. and singers from the all - volunteer opera chorus have already begun working .
what i think is important is that the community support and work through whatever changes are coming ,
cresswell said of the toledo opera' s current turmoil .
those philosophical differences are typical in arts organizations, said keith burwell, president of the toledo community foundation .
after 10 years as general director of the toledo opera association, renay conlin is taking a job as president and chief executive officer of the napa valley museum in yountville, calif .
meena, who will be back in town to conduct the performances for the toledo opera, helped steer his own company through budget - driven cutbacks which have allowed it to move forward .
if you would like to order a 2017 - 2018 season subscription by phone or to renew your current subscription, please call the toledo opera box office at 419 - 255 - 7464 .
i can do it from anywhere, but i would maintain a residence in toledo ,
she said .
from opera carolina in raleigh, executive director james meena got in touch at once. so did michigan opera theatre’s founder and artistic director, david dichiera .
every opera tells a story and if you were looking for a lively plot, you could find it within the 52 year - old toledo opera association. its current season has bubbled not only with professionally staged productions but also with explosive behind - the - scenes drama .
please call toledo symphony gift coordinator kim ferguson at 419. 418. 0021 to process your registration by credit card .
“the opera cannot continue like this, there’s no way, ” lucille said .
mr. stuart, general manager of clear channel communications inc. ’s toledo radio operation, was not able to convince his company to financial support the opera two years ago, offering free radio time instead. block communications, however, is a major financial supporter of the opera .
jennifer cresswell, who grew up in the toledo opera when james meena was general and artistic director, has returned to run the coming series of school programs designed to build a new generation of audiences .
copy the ticket order form to your computer and email the completed form to lovialdinger @ toledoopera. org. you can also mail the form to toledo opera, loviah aldinger, associate director, 425 jefferson ave. suite 601, toledo, oh 43604. for more information, call 419 - 255 - 7464 x 3 .
she studied voice at mannes college in new york city, then the manhattan school of music, and has performed professionally, including with the toledo opera. she and her husband, wgte - fm classical music director brad cresswell, moved to toledo when they started their family, in part because of the active arts scene here .
her resignation will be effective the day after the final production of the season, la traviata, at the toledo museum of art peristyle .
i would be happy to stay because i love toledo opera as the artistic director... , but after 10 years i' m tired [ of the general director job ], to be honest ,
she said .
conlin’s departure follows the mass resignation of members of the opera’s nancial committee on feb. 15 .
a member of the board since 2009, brown understood that the opera, like nearly all performing arts, cannot sustain itself on ticket sales alone. nor can presenting live opera be the only purpose of a regional company such as toledo’s .
we need a model that emphasizes education, outreach, and performances that attract new audiences ,
brown said .
as conservatories and music schools churn out more and more highly trained singers, opera companies like toledo’s gain a new role, aldinger added .
we are a training ground for careers, not just singing but producing, designing, staging, directing .
“musically i would tell the audiences to come ready for a post - romantic, gothic adventure, ” said sara jobin, associate conductor of the toledo opera. “the score is powerful and beautiful, and it’s in english, but don’t expect rossini. ”
the new century has not been an auspicious time for opera companies across the united states, noted meena .
latecomers policy toledo opera encourages all patrons to allow ample time for pre - opera dining as well as traffic, parking and weather conditions. owing to the unique nature of operatic performances, latecomers may not be seated until intermission or an appropriate interval. friday performances begin at 8: 00 p. m. ; sunday matinee performances begin at 2: 00 p. m .
performances begin at 7: 30 p. m. today and 2 p. m. sunday at the valentine theatre, 400 n. superior st. tickets are $ 40 - $ 90 and available from the toledo opera box office at 419 - 255 - 7464 or urltoken .
public performances are 7: 30 p. m. friday and 2 p. m. sunday at the valentine thetare, 410 adams st. , toledo. tickets are $ 40 to $ 90 and available at the opera box office at 419 - 255 - 7464 or urltoken .
her resignation from the general director job with the opera comes amid criticism from some former opera board members that the organization' s finances are in shambles. the six - person finance committee recently resigned en masse, saying in a joint resignation letter that the opera is
following an untenable business model and cannot pay its obligations to various vendors .
individual tickets are available to order online, by phone at 419 - 255 - 7464, or by visiting our offices in downtown toledo on tuesday, september 6th at 9am .
since 1982, the percentage of adults attending live opera has dropped to 4. 9 million americans, about 2 percent of the population. moreover, the report noted, the age of opera fans is rising as fast as attendance is falling .
to allan block, chairman of block communications, inc. , the parent company of the blade, , a serious promoter of the city, and a long - time fan and supporter of the toledo opera, the answer to the question of the company’s continued existence was unequivocably ,
yes .
carroll at the toledo symphony also worked with her board and musicians to adjust costs so the 65 - year - old orchestra could continue in its central artistic role for the region .
even in toledo, where ticket prices are far lower than in larger cities, single tickets start at $ 30, and those sales don' t cover the cost of the production .
in their resignation letter they said that the opera is
poorly governed and poorly managed
and that the organization is effectively insolvent .
announced at the feb. 12 toledo opera gala, the next season is to include verdi' s don giovanni in the valentine theatre, plus frank loesser' s the most happy fella, a broadway hit often considered to be operatic; the annual gala, and beethoven' s rarely heard fidelio, all in the peristyle .
the board will have to decide whether she stays on in that position and they were to be informed of her napa valley job tuesday night. moving from running an opera to a museum is not a huge leap for conlin, who was commissioner of west virginia' s division of culture and history for three years before coming to toledo .
i think toledo is extremely lucky to have her and tom here. you don' t need to go to the met, you have excellent opera right here on the doorstep. i would not support her if i didn' t believe that. i wouldn' t support it if it were not excellent ,
she said .
they believe the opera has serious problems with cash - flow shortages and has earned a reputation in the community for not paying its bills .
the toledo native brought decades of organizing and fund - raising experience in some of the area’s most respected not - for - profit operations as well as deep experience in the for - profit sector to her new role .
toledo opera brings to your school everything that is necessary for the production, including four vocal artists, a collaborative pianist, a piano, scenery and costumes. you only need to provide a space - we love to perform in gymnasiums! for many k - 8 students, this is a first step toward developing a life - long love for opera and theater performed live. students’ rapt attention during performances shows that they are amazed by all that is happening; they are caught up in the story and in awe of the talent, both singing and acting, that the artists display. the word, awesome, appears frequently in young students’ responses to an opera on wheels performance .
not only was the toledo opera, like violetta valery, verdi’s tragic libertine heroine, in debt up to its wigs and false eyelashes, but its longtime general and artistic director renay conlin, who received international praise for the quality of local productions, had departed for a new career. she took with her thomas conlin, her husband, who had been chorus master and conductor .
your contribution will help us empower young people with the toledo symphony' s superb music education programs, igniting a lasting appreciation of music and the arts, enhancing overall academic achievement, and opening doors to a world of opportunities .
we came back because we care about the opera. we’re a scrappy little team. we stopped the bleeding at the right moment ,
added rorick .
we' re lucky if ticket sales cover one - third of the cost ,
said ann sanford, a financial manager and longtime opera board member .
the latest twist occurred tuesday when renay conlin, in her 10th season as general and artistic director of the opera, suddenly announced her resignation, effective april 2 .
a regional casting call attracted music faculty and artists from the university of toledo, bowling green state university, the cincinnati college conservatory of music, the indiana university jacobs school of music, and educational institutions in ann arbor and pittsburgh, among others .
their key concern is that the organization’s finances are a mess and they’re not getting any better until the opera adopts what sordyl described as a “ financially viable business model. ”
our financial statements are from financial reports from the opera and information that renay supplied us, and if in fact she' s saying it' s not true, then why didn' t she give us different information ?
he said .
and secondly, if things are so rosy with the opera why did she seek employment elsewhere ?
even with the departure of the finance committee members, the president and his remaining board members knew they would have to move quickly to draft a future for the beleaguered opera company .
opera has significantly lost market share in the past decade, according to a 2008 study published by the national endowment for the arts and based on u. s. census data .
“i had to take a slow and deliberate approach to learning this opera, ” she said. “the music is full of meter changes, difficult entrances, and tough intervals. ”
the opera board of directors was in an uproar. regular staff had all but vanished through cutbacks. raising money was hampered by an f grade given in 2008 by the better business bureau because of incomplete and inconsistent financial reporting. and the opera owed not only $ 150, 000 in unpaid bills but also had a sizable balance due in its bank line of credit .
in a society obsessed with money, status, and gadgets, opera can be a harder sell than, say, a high - profile artist with a packaged show on a tour .
senior tickets senior discount tickets are available for 10% off regular ticket prices and are available online, over the phone, and in person during regular business hours at the opera offices .
vanessa flees with anatol, and erika is left to face the baroness alone. as the opera ends, the mirrors are once - again covered. it is erika’s turn to wait .
vanessa will be presented in a semi - staged format: action, costumes, and set pieces will be paired with projected images to establish the scenes. as with porgy and bess last season, the toledo symphony will share the stage with the singers; jobin will conduct .
“many students appreciated the vocal talent and power of the singers, as well as the accompaniment of the keyboard player. [ opera on wheels ] will long be remembered at raymer elementary school. ”
when the opera faced a substantial deficit last year, block communications stepped up first to provide $ 30, 000, with matching contributions rolling in from keybank, health care reit, and the andersons .
vanessa is sung by ohio native jennifer rowley, who on monday heads off to the new york met. she stopped off this week to sing her inaugural vanessa in toledo. she exquisitely crafts barber’s excruciatingly difficult vocal lines into emotional vehicles which at times border on neurotic madness. she is brilliant .
mike sordyl, an opera board member for four years who was one of the finance committee members who stepped down, said he stands by the group' s position on the organization' s fiscal standing .
together and with support from opera lovers in the business and performing worlds, they began drafting new directions for the company. in the opening to what has become a manifesto for reform, they addressed the key issue :
horace tabor builds an opera house in the mining town of leadville, colorado in douglas moore’s most famous and frequently performed opera from 1956. what follows is a distinctly american tale of scandal and betrayal; love and beginning anew; and the loss of a fortune. peppered with real figures from u. s. history like president chester a. arthur and william jennings bryan, the ballad of baby doe is also known for the beauty of its heroine’s arias .
my whole take on this thing is it was miscommunication - - members of the financial committee who didn' t understand how the opera works. they made a bigger deal out of it than was warranted ,
she said .
individual tickets for the 2016 - 17 season will go on sale starting tuesday, september 6th at 9am through our box office located at 425 jefferson ave, suite 601 in downtown toledo by calling 419 - 255 - 7464. please email collin stegeman, box office manager, for any questions or if you have any difficulties at boxoffice @ toledoopera. org .
it' s an expensive art form ,
said jori jex, who has been general manager at the valentine theatre since last may. last spring conlin estimated the price of a full production of an opera at $ 200, 000 .
the opera wasn’t that broken. it was our reputation in the community that was in trouble ,
said suzanne rorick, former development director under conlin, who was brought in by the board to fill the executive director position within a few weeks .
it' s very intangible ,
said board member valerie garforth .
it' s not something you can grab hold of easily. opera is a personal experience and draws from a collective memory. any kind of performing art is like that .
students will be both thrilled and challenged by a live arts performance that combines music, drama and story elements. what are the academic benefits? when opera on wheels comes to your school, students have the opportunity to achieve a variety of standards, including :
this was an amazing event for my students [ i dream ]. it sparked more thoughts and dialogue than i could have ever imagined. plus, as an opera format, it gave them a new experience that they truly enjoyed. thank you !
“rowley is certainly one of the main attractions vocally; she heads straight to the met after the second performance is over, ” jobin said. “everyone in toledo should hear her, know who she is, and look forward to following her career. vanessa is a powerhouse role for a soprano, and it’s great that we are able to give her a first shot at it. ”
appointed director of education in december, a part - time position, cresswell, 30, has auditioned singers and musicians, written an adaptation of giacomo rossini' s comic opera, the barber of seville, and supervised creation of moveable sets and easy - on costumes .
as an introduction to the work, the opera will host a free talk samuel barber: from adagio to vanessa at 5: 30 p. m. tuesday in the secor gallery at registry bistro, 425 jefferson ave. a wine reception ($ 10) will follow .
“there are so many questions that i get to creatively answer for myself. the most interesting to me being, if history really did repeat itself full circle in the opera, did vanessa have a child at one point as well? was it ever born? what made her cover the mirrors and windows to shut out reality — all reality? there is also her sanity, and if what happens in the opera is even happening, or if it is some sort of altered state that she lives in? so many questions and so many possible answers! ”
rorick calls opera
the extreme sport of performance art .
to pull off even a seemingly simple production requires careful collaboration and split - second coordination among the many elements involved: singers and instrumentalists, costume, set, and lighting designers, directors, conductors, and backstage crew .
intimate in scope, the opera features a cast of only seven characters: vanessa, erika (her niece), the baroness (vanessa’s mother), anatol (the son of vanessa’s former lover), and three others (the doctor, nicholas the majordomo, and the footman) .
having accepted conlin' s resignation, and considering her offer to stay on in a consulting role as artistic director, stuart was sure of one thing .
we are pursuing this with the intention of the toa continuing to produce high - quality opera. we will produce traviata ,
stuart said .
stuart' s view of the opera is surprisingly sanguine .
it' s a complicated problem, and solving it won' t be easy ,
he said .
however, we can do it. i' m looking forward to solving this situation and leading us into the future .
nearly a dozen opera companies have gone out of business since fall, 2008. they all exhibited the same traits: poor programming decisions, leadership being behind the curve in recognizing and / or acknowledging the problem is long - term and not short - term, and a lack of financial resources to weather the storm .
vanessa is a haunted work, filled with music that demands absolute focus and concentration by all involved: the singers on stage, the orchestra in the pit, and the conductor who must navigate the metrically shifting, complex score. the libretto was written by another american composer, gian carlo menotti, a giant of modern opera composition in his own right .
financial forms filed with the internal revenue service show that the organization' s revenue fell from $ 2, 038, 363 in 2008 to $ 936, 294 in 2009. part of the loss can be attributed to the end of the capital campaign and the collapse of the local economy, but saggese said the opera should be able to withstand those factors to offset the drop in revenue .
foil to her is christine amon singing vanessa’s naive - but - soon - to - know - better niece, erika. she performs the most famous aria from the opera, “ah! must the winter come so soon, ” with heartfelt purity. her slow transformation into the tormented lover betrayed by her own inner struggles is conveyed in a sea of vocal timbres which move expertly from simple and lyric to darkly dramatic .
the composer georges bizet would also embrace a form of opera that incorporated spoken dialogue for his iconic carmen. written a little overa century after the magic flute, carmen continues to be one of the most beloved and performed operas. arias like habanera and the toreador song are at once familiar, but also fascinating to see in their original context. the audience witnesses the “cigarette girl” carmen’s full range of emotion - - savage fierceness, beguiling sensuality and tragic indifference. the soldier don josé and carmen have a relationship that is, well, complicated. is carmen a feminist hero? a victim without freedom ?
she will begin the job in the
next month ,
she said in a phone interview tuesday from the museum' s offices .
the museum tracks the culture and history of california' s napa valley, a region north of san francisco known for its abundant vineyards. yountville is in the heart of the region, southeast of sacramento and north of oakland .
the artistic director oversees production of the operas, scouts for talent, and selects each season' s repertory, among other things .
conlin disputed that characterization although she cited the
discord
in her resignation letter to board president andy stuart .
while i greatly appreciate the support of so many members of the board and executive committee, given the discord that has occurred these last several months, i no longer feel able to continue in this dual capacity ,
she wrote .
tuesday she said the finance committee was
completely wrong and misguided in their statement .
another board member, ann sanford, said that renay conlin was
probably underpaid
at about $ 100, 000 a year and said the finance committee was off base in its concerns .
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that’s when the optimists stepped up, gathered the many loose ends, and began to generate forward momentum .
that attitude — pragmatism tempered by a vision of the city continuing to exist as a cultural center amidst a prolonged and deep national and local recession — was essential, said rorick .
she, aldinger, and the new board were surprised and gladdened to learn how many people were ready to pitch in on this project .
board leadership was cut from 40 to 20 members; former board chairman andy stuart resigned, and existing and new members stepped up to leadership posts. banker maureen brown and businessman chuck mira took over leadership of the finance committee. the new acting board chairman is ann sanford .
a single production typically costs $ 100, 000 to $ 200, 000 from an annual budget of $ 1. 5 million. however, unlike touring entertainment of all kinds, much of that money stays in the community .
we need to build bench strength ,
aldinger said .
we are supposed to be serving the community. we need to do more than just put on productions. we’re looking to emphasize education, hold master classes, and perhaps start a children’s chorus .
fund - raising has begun to launch the 2011 - 2012 season with la traviata in mid - october at the valentine theatre .
“while i greatly appreciate the support of so many members of the board and executive committee, given the discord that has occurred these last several months, i no longer feel able to continue in this dual capacity, ” wrote conlin from yountville, calif. , where she already had accepted the president and chief executive officer position at the napa valley museum .
in a multipage letter detailing their grievances — with detailed financial documents attached — board members joel r. gorski, lucille f. gorski, brian kennedy, malcolm richards, ken saggese, and michael sordyl stepped down from their positions .
their recommendations were to cancel the remaining production of the season, go into hiatus for the 2011 - 2012 season, and to lay o ff the general director and development director .
“there comes a point where the train is heading down the tracks and it’s time to get o ff, ” joel gorski said .
his mother, lucille, and father, ted, have given the organization about $ 3 million over the years, including $ 1 million for the recent crescendo capital campaign, but they no longer plan to donate unless significant changes are made in the business model and accounting procedures .
adding to the upheaval was conlin' s decision to leave. scrambling to salvage operations and achieve financial stability, board president andy stuart was blindsided by her resignation .
we have work to do and we are doing it ,
stuart said .
the board [ tuesday ] created a handful of scenarios that i' m going to pursue .
stuart said he expects to have results of his investigations at a meeting scheduled for tuesday .
by moving all but one production out of the valentine and by cutting back on sets and costumes, conlin had estimated that the next season would cost $ 300, 000 less than the current one .
that covers artist and director fees and expenses; set and costume rental, rental and royalties for music, printing and rental of supertitles, advertising, box office, and leasing of the hall, and stage crew and union charges .
we' re always trying to raise money to pay for operas ,
she said .
there' s a different operating paradigm than what a lot of for - profit worlds use .
nonprofits always have to rob peter to pay paul ,
sanford added .
it' s typical to use next year' s ticket money to pay bills this year .
this model is unacceptable to members of the finance committee, several of whom are accountants and financial advisers .
it does not have the capability to pay its current bills, and the likelihood of raising funds, relative to projections, is not likely based on history ,
they wrote .
they also argue that the organization
has developed a reputation for fiscal irresponsibility within the community, produced by frequent late payments to vendors and persistently high levels of debt .
he acknowledged that there was a split on the board between members who are financially oriented and those who leaned more toward the artistic side of the operation, but he does not accept the
rob peter to pay paul
argument .
you can' t simply say that it' s an arts organization and we' re immune or excused from our obligations to run it in a professional manner ,
he said .
running it as a business will help it succeed in its artistic mission ,
he said .
when you' re doing it by the seat of your pants, the art product suffers because of the lack of predictability and stability in the financial situation .
they' re ongoing... you have those who lean more toward culture and art and the price tag doesn' t matter - - they want a good performance, good visual art, a good experience culturally ,
he said .
and you have the other side of the equation that says that' s all good, but we have to pay for it. and that' s always the ying and yang and struggle in these organizations .
her budget is between $ 25, 000 and $ 30, 000 for the two - month project. a chunk of that funding provides free visits to schools that cannot afford to pay for the production .
indeed, as budgets are being slashed in public schools locally and around the country, children' s first - hand experiences with all the arts are one of the first programs to go .
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urltoken
fans of the 1984 film amadeus will remember the raucously enthusiastic audience reception of the magic flute. why? written in german and incorporating spoken dialogue, mozart’s 1791 masterpiece captured the imagination of the viennese at the end of the 18th century. it continues to captivate today. prince tamino seeks to save the sweet pamina from the high priest sarastro, who has stolen her away from her mother the queen of the night. through trials and song, he and his comic relief sidekick papageno attempt to navigate a brilliant fantasy world and save the day .
season add - on! for information and to purchase tickets, contact the box office at 419 - 255 - 7464 .
highest priority for selecting the best seats in the house. keep or upgrade your seats from year to year .
save up to $ 66 over single ticket prices by subscribing to our three performance series .
we know that things come up, and we are there for you. simply call the box office before the performance (48 hours in advance) to exchange your seat for another date or event (some fees may apply; some restrictions may apply) .
all tickets are mailed to you prior to the start of the season. if you should lose a ticket, we will re - print it for free, even the day of the performance! subscribers get first priority when it comes to all ticketing situations .
that reinvents the don himself as the infamous big bad wolf. little red riding hood and the three little pigs must work together to show the wolf the error of his ways. using the music and themes from one of mozart’s greatest operas, young audiences learn the dangers of bullying, the power of friendship, and the ability of music to bring people together .
for grades k - 8 ■ cost: $ 500 ■ duration: 45 minutes ■ max. audience: 500
“this was the best performance ever! the kids laughed so much and loved the experience. the costumes were so beautiful and the voices were lovely. thank you! ”
listening to, identifying and responding to music of different composers, historical periods and world cultures .
for additional information, please contact loviah aldinger, associate director, 419 - 255 - 7464 or email lovialdinger @ toledoopera. org .
students were impressed with the quality of the performance [ bizet' s the pearl fishers ], aesthetically and linguistically .
this was a remarkable experience. our students were so appreciative of and moved by this performance [ douglas tappin' s i dream ] .
group rates bring the entire ensemble! groups of 10 or more receive special single ticket discount prices at our performances. call 419 - 255 - sing (7464) for more information .
student rush - $ 10 cash no reservations will be taken for student rush tickets; they will be sold on an “as available” basis until all remaining tickets are sold. student rush tickets may be obtained only at the valentine theatre box office, 30 minutes before curtain time on the date of performance. students must show a valid, current student id in order to purchase student rush tickets. please call ahead to check availability. cash only ($ 10) .
english translations what a brilliant idea! with english “supertitles” projected above the stage for foreign language operas, you’ll know exactly what’s going on – and what’s going on is great! audiences love it, and you will too .
special needs wheelchair seating is available. please be sure to indicate your special needs when ordering your subscription. if you have other special needs throughout the season, please let us know at least 72 hours in advance .
parking parking is available for a reasonable fee directly across the street from the valentine theatre. additional paid parking is available within a block from the theatre. limited on - street parking is available in the vicinity of the theatre; on - street parking is free weekdays after 5pm and on the weekends .
( v) orchestrate or arrange (a piece of music), typically for a specified instrument or instruments .
editor’s note: the role of the old baroness was performed by diane scoff .
this riveting drama lays, brick by brick and note by note, a masterful framework of musical genius that leaves the listener at curtain call wondering whether to sit weeping at its pathos or stand speechless at its beauty .
the evening is a dark and seething morass of intrigue and tension. stage director kristine mcintyre has made brilliant artistic choices which underscore why the 1958 musical drama won the pulitzer prize .
the action takes place on the stage apron. the extremely minimalist set consists of one wingback chair, an ottoman, a small table, and two side chairs. video projections designed by michael baumgarten create the illusion of space and mood .
the music begins and within two minutes the mind fills in everything that is missing. the orchestra disappears. as if by magic, the audience finds itself lost in a mansion somewhere in the middle of europe. snow and ice are everywhere, both on the ground and in the hearts of those whose lives we are soon to plumb .
the drama unfolds and the lack of stage decoration pushes the emotional grinding forward with a palpable intimacy, demanding the audience’s attention .
the all - star cast, only seven singing roles, interacts with ferocious tension that can be cut with a knife .
tenor sean panikkar plays the rakish anatol with a panache that is heartbreaking for its effect on vanessa and erika. his ability to milk every high b for the drama it deserves is outstanding .
complimenting this trio are three characters who add depth to the story. the doctor, kenneth shaw, is a robust basso with the ability to conjure ennui and nostalgia with touching sadness. the old baroness, diane scoff, a last - minute addition to the cast, has an evil eye which could drop a horse at 50 feet. nicholas, the major domo, provides comic relief with his passionate love of fur coats over women .
particular mention should be made of two exquisite dramatic moments: the second - act scene where vanessa and erika share the glory of grand ballroom dances gone by, and the quintet finale that prophetically reveals the awaiting fate of each of the principals .
conductor jobin’s musicianship at the head of the orchestra is sensitive and balanced, to the point that the ensemble dissolves into the web of the evening’s spell .
there is the occasional video image that approaches the edge of puerility, and vocal and instrumental lines that suffer from the sheer difficulty of their own execution. yet the whole of this vanessa packs an aesthetic impact that approaches artistic perfection .
editor’s note: this story has been corrected to show the correct ticket prices for the show .
barber is a dark horse among the canon of recognized 20th century writers. though not vast, his output has had a remarkable effect on american classical music. his celebrated works include the overture for the school for scandal, the essays for orchestra, and the nostalgic american vocal portrait knoxville summer of 1915, to name a few. he is probably best known, however, for his adagio for strings, which came to national attention when it was played at the funeral of president john f. kennedy .
the baroness and vanessa have lived together for years without speaking in vanessa’s country house, where every mirror is covered and the curtains are always drawn. vanessa awaits the return of anatol, her former lover and the apparent reason for the estrangement between the mother and daughter .
anatol arrives only to reveal to the niece erika that he is actually the son of vanessa’s ex - love. he proceeds to seduce erika, then woo a now close - to - deranged vanessa. when erika realizes she is pregnant, she attempts to end the life of the child she carries .
ohio native jennifer rowley, singing the title role, concurs: “i am enjoying figuring out who vanessa is as a person and a character. what fascinates me most is what happened in the past with the elder anatol to make her the way she is .
“this is clearly a family with a history full of juicy secrets, and the libretto doesn’t give us many clues about how these characters came to be where they are, ” amon said. “i have enjoyed the challenge of inventing what those family secrets might be, and i think the audience will as well. ”
one hour before both weekend performances, bgsu musicologist eftychia papanikolaou will give an introductory talk to interested ticket holders in the grand lobby of the valentine theatre .
vanessa is made possible by the generous support of the lavalley family foundation and elizabeth t. wolfe for the wolfe family foundation.
the toledo opera is an american opera company based in toledo , ohio . founded in 1959 , the company 's first general director was lester freedman with conductor joseph hawthorne of the toledo symphony orchestra serving as music director . in 1960 freedman founded the dayton opera and for many years he led the two organizations simultaneously - an arrangement which cut down on production costs for both companies . in 1983 freedman was forced out of his position by the toledo opera 's board after several years of financial problems and in-fighting among the company 's leadership . several interim directors kept the company going over the next three years , including david bamberger and johan van der merwe . in 1986 conductor james meena became the company 's new permanent director . in 1994 a major financial boon was given to the company by toledo philanthropists theodore and lucille gorski who gave a 1 million dollar challenge grant to the company which enabled them to establish an endowment for the organization . that same year the company played a major role in supporting the renovation of the historic valentine theatre in toledo ; a decision which saved the theatre from demolition . the renovations of the theater took several years , and toledo opera could not move into its new permanent home until 1999 . the company had the honor of opening the newly renovated theater for toledo opera 's 40th season gala night on october 22 , 1999 with a production of giacomo puccini 's tosca , featuring diana soviero in the title role . in 2000 renay conlin succeeded meena as the director of toledo opera after he left to become director of opera carolina . her husband , thomas conlin , is a grammy award winning conductor who conducted several operas for toledo opera during his wife 's tenure . their daughter , mezzo-soprano vanessa conlin , has also performed several roles with the company . during conlin 's tenure the company premiered many 20th-century operas including the turn of the screw , susannah , candide , the crucible , sweeney todd , the rake 's progress , ariadne auf naxos and the rape of lucretia , along with standard repertory . david shengold in opera magazine , london uk , february 2006 , vol 57 , no 2 issue said that " toledo 's proudest legacy of its glory days of glass and automobile manufacturing is its astonishing museum of art , free to all and with a collection to make strong curators weak . but operatically-minded visitors should not overlook the worthy toledo opera , housed in the impressive yet intimate valentine theatre , a beautiful 900-seat house built in 1895 . as general director since 2000 , renay conlin has promulgated high standards and valiantly performed 20th-century repertory .... " . charles parsons in american record guide , vol 74 , no 2 march/april said of toledo opera 's production of the rake 's progress that " under the dynamic leadership of general and artistic director renay conlin , toledo opera has entered a brave new world . now the name of the game is quality . in opera magazine in september 2009 , a review states that toledo opera " owes its place among north america 's finest smaller companies to the high artistic standards and casting shrewdness of the intendant , renay conlin . " in 2005 , conlin launched a capital campaign to increase the endowment and was able to raise $ 2 million . ms. conlin was also able to secure the company 's first nea grant . in march 2011 , conlin resigned from toledo opera to take a position as ceo of the napa valley museum in california . her departure followed the resignation of some members of the toledo opera board 's financial committee who were working on behalf of the valentine theatre to take over the opera . they alleged that the company had " serious problems with cash-flow shortages " and had " earned a reputation in the community for not paying its bills . " . the toledo opera board rallied against this group and demanded their resignation . the board of directors appointed a former development director , suzanne rorick , as toledo opera 's new executive director . under rorick 's leadership , the company has focused on fundraising and has undergone an artistic re-organization that saw the return of several former toledo opera colleagues , including james meena , who currently serves as guest conductor and artistic adviser . 
the toledo opera is an american opera company based in toledo, ohio. founded in 1959, the company's first general director was lester freedman with conductor joseph hawthorne of the toledo symphony orchestra serving as music director. in 1960 freedman founded the dayton opera and for many years he led the two organizations simultaneously - an arrangement which cut down on production costs for both companies. in 1983 freedman was forced out of his position by the toledo opera's board after several years of financial problems and in-fighting among the company's leadership. several interim directors kept the company going over the next three years, including david bamberger and johan van der merwe. in 1986 conductor james meena became the company's new permanent director. in 1994 a major financial boon was given to the company by toledo philanthropists theodore and lucille gorski who gave a 1 million dollar challenge grant to the company which enabled them to establish an endowment for the organization. that same year the company played a major role in supporting the renovation of the historic valentine theatre in toledo; a decision which saved the theatre from demolition. the renovations of the theater took several years, and toledo opera could not move into its new permanent home until 1999. the company had the honor of opening the newly renovated theater for toledo opera's 40th season gala night on october 22, 1999 with a production of giacomo puccini's tosca, featuring diana soviero in the title role. in 2000 renay conlin succeeded meena as the director of toledo opera after he left to become director of opera carolina. her husband, thomas conlin, is a grammy award winning conductor who conducted several operas for toledo opera during his wife's tenure. their daughter, mezzo-soprano vanessa conlin, has also performed several roles with the company. during conlin's tenure the company premiered many 20th-century operas including the turn of the screw, susannah, candide, the crucible, sweeney todd, the rake's progress, ariadne auf naxos and the rape of lucretia, along with standard repertory. david shengold in opera magazine, london uk, february 2006, vol 57, no 2 issue said that " toledo's proudest legacy of its glory days of glass and automobile manufacturing is its astonishing museum of art, free to all and with a collection to make strong curators weak. but operatically-minded visitors should not overlook the worthy toledo opera, housed in the impressive yet intimate valentine theatre, a beautiful 900-seat house built in 1895. as general director since 2000, renay conlin has promulgated high standards and valiantly performed 20th-century repertory.... ". charles parsons in american record guide, vol 74, no 2 march/april said of toledo opera's production of the rake's progress that " under the dynamic leadership of general and artistic director renay conlin, toledo opera has entered a brave new world. now the name of the game is quality. in opera magazine in september 2009, a review states that toledo opera " owes its place among north america's finest smaller companies to the high artistic standards and casting shrewdness of the intendant, renay conlin. " in 2005, conlin launched a capital campaign to increase the endowment and was able to raise $ 2 million. ms. conlin was also able to secure the company's first nea grant. in march 2011, conlin resigned from toledo opera to take a position as ceo of the napa valley museum in california. her departure followed the resignation of some members of the toledo opera board's financial committee who were working on behalf of the valentine theatre to take over the opera. they alleged that the company had " serious problems with cash-flow shortages " and had " earned a reputation in the community for not paying its bills. ". the toledo opera board rallied against this group and demanded their resignation. the board of directors appointed a former development director, suzanne rorick, as toledo opera's new executive director. under rorick's leadership, the company has focused on fundraising and has undergone an artistic re-organization that saw the return of several former toledo opera colleagues, including james meena, who currently serves as guest conductor and artistic adviser.
the toledo opera is an american opera company based in toledo, ohio. founded in 1959, the company's first general director was lester freedman with conductor joseph hawthorne of the toledo symphony orchestra serving as music director. in 1960 freedman founded the dayton opera and for many years he led the two organizations simultaneously - an arrangement which cut down on production costs for both companies. in 1983 freedman was forced out of his position by the toledo opera's board after several years of financial problems and in-fighting among the company's leadership. several interim directors kept the company going over the next three years, including david bamberger and johan van der merwe. in 1986 conductor james meena became the company's new permanent director. in 1994 a major financial boon was given to the company by toledo philanthropists theodore and lucille gorski who gave a 1 million dollar challenge grant to the company which enabled them to establish an endowment for the organization. that same year the company played a major role in supporting the renovation of the historic valentine theatre in toledo; a decision which saved the theatre from demolition. the renovations of the theater took several years, and toledo opera could not move into its new permanent home until 1999. the company had the honor of opening the newly renovated theater for toledo opera's 40th season gala night on october 22, 1999 with a production of giacomo puccini's tosca, featuring diana soviero in the title role. in 2000 renay conlin succeeded meena as the director of toledo opera after he left to become director of opera carolina. her husband, thomas conlin, is a grammy award winning conductor who conducted several operas for toledo opera during his wife's tenure. their daughter, mezzo-soprano vanessa conlin, has also performed several roles with the company. during conlin's tenure the company premiered many 20th-century operas including the turn of the screw, susannah, candide, the crucible, sweeney todd, the rake's progress, ariadne auf naxos and the rape of lucretia, along with standard repertory. david shengold in opera magazine, london uk, february 2006, vol 57, no 2 issue said that " toledo's proudest legacy of its glory days of glass and automobile manufacturing is its astonishing museum of art, free to all and with a collection to make strong curators weak. but operatically-minded visitors should not overlook the worthy toledo opera, housed in the impressive yet intimate valentine theatre, a beautiful 900-seat house built in 1895. as general director since 2000, renay conlin has promulgated high standards and valiantly performed 20th-century repertory.... ". charles parsons in american record guide, vol 74, no 2 march/april said of toledo opera's production of the rake's progress that " under the dynamic leadership of general and artistic director renay conlin, toledo opera has entered a brave new world. now the name of the game is quality. in opera magazine in september 2009, a review states that toledo opera " owes its place among north america's finest smaller companies to the high artistic standards and casting shrewdness of the intendant, renay conlin. " in 2005, conlin launched a capital campaign to increase the endowment and was able to raise $ 2 million. ms. conlin was also able to secure the company's first nea grant. in march 2011, conlin resigned from toledo opera to take a position as ceo of the napa valley museum in california. her departure followed the resignation of some members of the toledo opera board's financial committee who were working on behalf of the valentine theatre to take over the opera. they alleged that the company had " serious problems with cash-flow shortages " and had " earned a reputation in the community for not paying its bills. ". the toledo opera board rallied against this group and demanded their resignation. the board of directors appointed a former development director, suzanne rorick, as toledo opera's new executive director. under rorick's leadership, the company has focused on fundraising and has undergone an artistic re-organization that saw the return of several former toledo opera colleagues, including james meena, who currently serves as guest conductor and artistic adviser.