For the convenience of concertgoers

the Garden Cafe remains open until 6:oo pm.

The use of cameras or recording equipment during the

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Please note that late entry or reentry of

the West Building after 6:30 pm is not permitted.

Music Department

National Gallery ofArt 

Sixth Street and Constitution Avenue nw

Washington, DC

Mailing address

2000B South Club Drive

Landover, md 20785

unviv.ngfl.gov

cover: Edward Hopper, Two on the Aisle (detail), 1927, oil on canvas, Toledo Museum ofArt,

Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

The Sixty-sixth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art

2,648th Concert

Later the Same Evening

An opera inspired by five paintings of Edward Hopper

Presented in honor of Edward Hopper

December 2, 2007

Sunday Evening, 6:30 pm

East Building Auditorium

Admissionfree
Support for the commissioning of Later the Same Evening was

provided by the Maryland State Arts Council, an agency dedicated to

cultivating a vibrant cultural community where the arts thrive; The Leading

College and University Presenters Program ofthe Doris Duke Charitable

Foundation; and The Morris & Gwendolyn Cafritz Foundation.

Later the Same Evening is performed by arrangement with 

Peermusic Classical, publisher and copyright holder.

Later the Same Evening

An opera inspired by five paintings of Edward Hopper

University of Maryland School of Music 

Maryland Opera Studio 

Leon Major, director

National Gallery Orchestra

Glen Cortese, guest conductor

John Musto, composer

Mark Campbell, librettist

The opera is performed without intermission

CAST

Elaine O’Neill.......

Gus O’Neill...........

Estelle Oglethorpe.

Ruth Baldwin........

Ronaldo Cabral.....

Sheldon Segal.......

Rose Segal............

Thelma Yablonski..

Jimmy O’Keefe.....

Valentina Scarcella

Joe Harland..........

Claire Kuttler

.Andrew Adelsberge 

Melissa Schiel

Onyu Park

Eric C. Black

Eric Sampson

Kara Morgan 

Jenna Lebherz

.Adam Hall

Jenny Chen

Ethan Watermeier
The Exhibition

The paintings, watercolors, and drawings of Edward Hopper (1882-1967)

that are currently on exhibit in the East Building represent the first comprehensive survey ofthe artist’s career to be seen in American museums

outside New York in more than twenty-five years. Focusing on the period 

of Hopper’s great achievements—from about 1925 to midcentury—the 

exhibition features the iconic paintings Automat (1927), Drug Store (1927),

Early Sunday Morning (1930), New York Movie (1939), and Nighthawks (1942).

Edward Hopper’s classic works capture the realities ofurban and rural

American life with a poignancy and beauty that have placed them among the

most enduring and popular images ofthe twentieth century. The exhibition 

reveals Hopper as creator of compelling images who produced remarkably

subtle and painterly effects in both oil and watercolor. Filmmakers and

writers have responded to an implied narrative in the paintings that contain

figures. When more than one person is represented, viewers often perceive

ambiguous relationships fraught with tension. The artist himself did not

encourage such readings ofhis paintings, noting, “The loneliness thing is

overdone.” He preferred to define his paintings in personal terms as when

he wrote, “Great art is the outward expression of an inner life in the artist, 

and this inner life will result in his personal vision ofthe world.”

4

SYNOPSIS

New York City, early evening 1932

scene 1: An apartment in New York

Elaine O’Neill sits at a piano and prattles about her day while figuring out 

the notes to “Whadayasay?” a song from the new Broadway musical, Tell Me

Tomorrow; which she and her husband Gus will see that evening. Gus reads

the paper and ignores her, occasionally interjecting remarks about the news

and his job as an account manager for an advertising firm. Suddenly, they

realize they must get ready for the theater. While Gus leaves the room, Elaine

admits to the estrangement in their marriage, despite the idyllic appearance 

ofit from outside their apartment window. Gus reenters, begging off, and 

Elaine storms out. After she has left, Gus phones someone to meet him at

his favorite bar, Clancy’s.

scene 2: A hotel lobby

Estelle Oglethorpe waits nervously for Mr. Cabral—her first date since the

death of her husband, James. She looks out the hotel lobby window to the

busy street that beckons her to move beyond her insular life in Greenwich.

scene 3: A street

Gus looks forward to Clancy’s, free from the frustrations of his home

life and job, where he manages the advertising account for Pearladent

toothpaste.

5
scene 4: A room in the Hudson Hotel for Young Women

Ruth Baldwin shuts off her radio, broadcasting the Pearladent jingle. She

reads a letter she has just written to her boyfriend explaining that she is

leaving him to move back to her family home in Indianapolis after a failed

career as a dancer. She finishes her packing and stares out her one window 

for the last time. Ruth, Estelle, and Elaine (on her way to the theater), each

convey their need to move on in their lives. Elaine leaves; Mr. Cabral arrives

to accompany Estelle to the theater; Ruth shuts her suitcase and goes.

scene 5: The house ofthe Broadway theater where Tell Me Tomorrow plays

Rose and Sheldon Segal arrive at their seats and bicker, while Valentina 

Scarcella, an elegant woman from Parma who speaks very little English, sits 

reading her program. Elaine arrives; behind her is Jimmy O’Keefe, a young 

man visiting from Lynchburg to whom she has given her extra ticket. The 

usher, Thelma Yablonski, shows them to their seats. Joe Harland enters and

tells Thelma that he is awaiting the arrival of his girlfriend, a dancer, and

that he intends on proposing marriage this evening. Mr. Cabral and Estelle

enter. The theater’s houselights dim. Jimmy expresses his excitement

about his first Broadway show and his first week in New York. Suddenly,

the overture to Tell Me Tomorrow strikes up. Not long after, Joe runs out of

the theater. In a truncated sequence, the members ofthe audience watch 

the musical, conveying in their faces what is happening onstage. The houselights come up and everyone files out ofthe theater. Valentina, speaking

in Italian, vents her frustration at not comprehending the musical she has 

just seen—and life in this strange new country.

6

scene 6: The marquee

Elaine, Jimmy, Rose, Sheldon, Mr. Cabral, Estelle, and later Valentina huddle

under the marquee during a pounding rain. On another street, Joe clutches 

the letter he just received from Ruth, devastated by her departure. Ruth,

on a train nearing Philadelphia, regrets leaving New York, while Jimmy 

makes a decision to move to the city. The various pairings leave, sharing a

cab or walking into the night alone. Elaine is about to go when Gus arrives

inebriated. He breaks down to Elaine about his feelings ofinadequacy as

a husband. After a beat, she takes him home, chattering about the show.

scene 7: An automat

Thelma muses about her life and the odd excitement ofthe city. She is about

to go home when Joe enters, telling her that his girlfriend left him. He

offers to buy her a drink, then a cup of coffee; Thelma has to get home. Joe

asks ifhe can walk her to the subway. She says, “Yes.” The rain has ended.

7
STAFF

Conductor, Glen Cortese

Director, Leon Major

Original scenic design, Erhard Rom

Original lighting design, Nancy Shertler

Costume designer, David O. Roberts

Wig & make-up designer, Jeanne DiBattista Croke

Movement consultant, Virginia Freeman

Music director, Miah Im

Rehearsal pianists, Sun Ha Yoon, Tessa Hartle

Assistant conductor, Daniel Walshaw

Assistant director, Heather Gilles

Pit pianist, Sun Ha Yoon

Production stage manager, Sean Corcoran

Event coordinator, Kyle Rudgers

STUDY COVERS

Elaine O’Neill, Jennifer Forni

Gus O’Neill, Stephen Brody

Estelle Oglethorpe, Alexis Tantau

Ruth Baldwin, Astrid Marshall

Ronaldo Cabral/Joe Harland, Aaron Agulay

Sheldon Segal, Curtis Bannister

Rose Segal/Valentina Scarcella, Gabrielle DeMers

Thelma Yablonski, Stephanie Sadownik

Jimmy O’Keefe, Logan Rucker

Valentina’s aria was translated into Italian by Maurizio Toria

PRODUCTION STAFF

Production coordinator, Laura Lee Everett

Music director, Miah Im

Rehearsal pianists, Sun Ha Yoon, Tessa Hartle

Orchestra personnel managers, Bruno Nasta (National Gallery Orchestra), 

Mark Wakefield (University of Maryland Symphony Orchestra) 

Assistant stage managers, Stephanie Sadownik, Alexis Tantau

Production assistants, Zain Shariff, Alicia Waller

WARDROBE, WIGS, AND MAKE-UP

Assistant wig and make-up designer, Patricia Portillo

Wardrobe crew, Brittany Graham, Kelly McGuigan

Wig and make-up assistant, Monica Cook Harrison

Costume shop manager, Stephanie Shaw

Costume shop supervisor, Susan Chiang

Costume drapers, Susan Chiang, Emily Hoem, Frank Labovitz

Crafts, Lisa Burgess

Stitchers, Meena Basharyar, Lauren Ciandella, Mia Enns, Brittany Graham,

Alex Keiper, Maeve Kelly, Jackie McGuigan, Josie Wilson

SCENIC

Technical director, Rick Weinard

Master carpenter, Steve Cosby

9
SCENERY CONSTRUCTION

Student scene shop assistants, Angela Campbell, Lex Davis, James Hesla,

Aaron Holmes, Devon Murray, Matt Norman, Sarah Wilby

Professional scene shop assistants, Daniel Deacon, Miguel Garcia,

Chris Insley, Norman Lee, Jacob Rothermel

Scenic charge, Ann Chismar

Properties manager, Timothy Jones

Assistant properties manager, Andrea Moore

Properties construction, Malena Barnhart, Magdalena Jaruga, Todd Mathers,

Ashley McClenon, Jose Nunez, Brooke Shoemaker, Anastasia Stewart

ELECTRICS

Light board operators, Todd StaJJieri

Projector operator, Katherine Pong

Electrics crew, Light shop students

Associate director ofproduction and technology, Kyle Kweder

Electrics assistant manager, Andrew Haag

Electrics coordinator, Jeffrey Reckeweg

Audio manager, Kristine Eckerman

Audio coordinator, James O’Connell

Sound operators, Alex Lakas, Erzhan Maldybayev, Lindsay Walters

Audio crew, Benjamin Fan, Alex Lakas, Erzhan Maldybayev, Lindsay Walters

10

MARYLAND OPERA STUDIO FACULTY AND STAFF

Director of Opera, Leon Major

Music director, Miah Im

Assistant director, Laura Lee Everett

Opera repertory, Carmen Balthrop

Italian diction and opera repertory, Dominic Cossa

Movement and dance, Virginia Freeman

Undergraduate opera workshop, Eugene Galvin

Directing and Shakespeare, Edward Gero

Improvisation, Naomi Jacobson

Mime, Mark Jaster

Stage combat, Michael Jerome Johnson

Costume and period clothing instruction, Marsha LeBoeuf

French diction, Francois Loup

English diction and vocal literature, Linda Mabbs

Acting and directing, Paul Douglas Michnewicz

Directing and scene study, Nick Olcott

Vocal pedagogy, Martha Randall

Movement, Alcine Wiltz

German diction and vocal literature, Delores Ziegler
THE COMPOSER

Composer and pianist John Musto was a finalist for the 1997 Pulitzer Prize

for his orchestral song cycle Dove- Sta Amore. In 2000 he was awarded a

Rockefeller Fellowship for study in Bellagio, Italy, and he has recently been

chosen for a Lakond Award in Music from the American Academy ofArts and

Letters. He has also garnered two Mid-Atlantic Emmys and two cine Awards 

for his scores written for public television. Musto was featured on the Great

Performers series at Lincoln Center in 1995 and the Composer Portrait series

at Columbia’s Miller Theater in 2001. In 2004 the WolfTrap Opera Company

premiered Musto’s comic opera Volpone, written with librettist Mark Campbell,

and earlier this year, presented its second production ofthe opera. Hailed as

a masterpiece by The Washington Post, Volpone has been recorded for release

later this season. Later the Same Evening is Musto’s second opera with Campbell. They are also collaborating on a work for the New York Festival of Song’s

twentieth anniversary season, to be presented in March 2008, and a new

comic opera, co-commissioned by the Opera Theater of St. Louis and the Wolf

Trap Opera, to be premiered in 2010.

THE LIBRETTIST

In 2004 Mark Campbell and John Musto collaborated on Volpone, an opera

commissioned by the WolfTrap Opera Company. Tonight’s opera is Campbell’s second collaboration with Musto. In March 2008 the New York

Festival of Song will premiere two comic operas for which Campbell wrote

the lyrics: Bastianello, with music by John Musto; and Lucrezia, with music

by William Bolcom. Campbell wrote the lyrics for Songsfrom an Unmade Bed,

a theatrical song cycle with music by eighteen composers, which premiered

at the New York Theatre Workshop in 2005. He was the first recipient ofthe

Kleban Foundation Award for Lyricists, and has received two Richard

Rodgers Awards, a New York Foundation for the Arts Playwriting Fellowship,

and a Rockefeller Foundation Award.

12

THE CONDUCTOR

Glen Cortese was recently named music director ofthe Greeley, Colorado,

Philharmonic Orchestra, and will conduct his third season as artistic

director ofthe Western New York Chamber Orchestra, his fifth season as

artistic director ofthe Oregon Mozart Players, and his twenty-first season

as music director ofthe New York Chamber Sinfonia. Cortese was an

assistant conductor for the New York Philharmonic from 1990 to 1992,

resident conductor ofthe Florida Philharmonic for the 2001-2002 season,

and principal conductor and director of orchestral studies at the Manhattan

School of Music from 1988 to 2000. He has been guest conductor for 

the Florida Grand Opera, the New York City Opera, the Cleveland Lyric

Opera, the Bowdoin Summer Music Festival Opera Theater, the Manhattan

School Opera Theater, and the East West International Opera Theater. He

has conducted at numerous summer festivals including American Dance

Festival, the Bowdoin Summer Music Festival, the Brevard Music Center

Festival, Chautauqua, The New York Music Institute, and the Sewanee

Music Festival. He has conducted over 150 premieres and has worked with

composers Milton Babbitt, Elliott Carter, John Corigliano, George Crumb,

Richard Danielpour, Peter Maxwell Davies, and Lukas Foss.

THE DIRECTOR

Leon Major is the artistic director ofThe Maryland Opera Studio for the

University of Maryland, College Park. From 2003 to 2007 Major was the

artistic consultant for Opera Cleveland, and from 1998 to 2003 he was the

artistic director of Boston Lyric Opera. Major has directed opera and theater

throughout the Americas and Europe for companies that include the New

York City Opera and the opera companies ofAustin, Philadelphia, San Diego

Opera, Washington, DC, and Vancouver as well as the Canadian Opera Company, the Florentine Opera, the Glimmerglass Opera, the Opera Festival of

New Jersey, the Opera ofTeatro Municipale (Rio de Janeiro), and the WolfTrap

Opera. In addition to his work as an independent director, Major has given 

master classes in Mexico City, Shanghai, Tel Aviv, and Toronto. He was the
founding and first artistic director ofthe Neptune Theatre in Halifax, Nova

Scotia, and he served as artistic and general director ofToronto Arts Productions (known as Centrestage) at the Saint Lawrence Centre in Toronto, Ontario.

SCENIC DESIGNER

Erhard Rom previously designed the settings for the Maryland Opera

Studio’s productions ofArmide, Clara, Giulio Cesare, La Boheme, Le nozze di

Figaro, Los Contes d’Hoffman, and Transformations. He has designed over ioo

productions nationally and two of his designs were featured in the 2007

Prague Quadrennial, one ofthe world’s pre-eminent scenographic exhibitions. He has designed for companies that include abc Television, bard

Summerscape, the Boston Lyric Opera, Chautauqua Opera, the Cleveland

Opera, the Geva Theatre Center, Indiana Repertory Theatre, the Kentucky

Opera, the Lyric Opera of Kansas City, the Merrimack Repertory Theatre,

the Minnesota Opera, the New Orleans Opera, the Opera Festival of New 

Jersey, the Opera Theatre of Saint Louis, the Ordway Music Theatre, the San 

Francisco Opera Center, Syracuse Stage, Virginia Opera, WolfTrap Opera,

and Woolly Mammoth Theatre. In 1999 and 2003 Rom received the Tribute

to Classical Arts Award for Creative Achievement in Opera.

COSTUME DESIGNER

David O. Roberts has designed costumes for productions of Cosifan tutte at 

the Austin Lyric Opera, the Florida Grand Opera, the San Diego Opera, and

the Teatro Municipal in Rio de Janeiro; Don Giovanni at Boston Lyric Opera;

Don Giovanni, Cosifan tutte, and the world premire of Volpone at the Wolf

Trap Opera; and II Matrimonio segreto, Le Nozze di Figaro, and The Turn of

the Screw at the University of Maryland. Other productions at WolfTrap 

include new designs for the recent revival of La Clemenza di Tito, La Finta

giardiniera, II Turco in Italia, and Volpone. He designed Dream ofValentino

and Romeo et Juliette at the Washington Opera, Faust at the Opera Company

of Boston, Othello at the Philadelphia Drama Guild, Babar, the Little Elephant

and Peter and the Wolffor the Metropolitan Opera Ballet, and The Nutcracker

for the Marin Civic Ballet.

U

WIG AND MAKE-UP DESIGNER

Jeanne DiBattista Croke has worked on Maryland Opera Studio productions

ofArmide, Clara, Giulio Cesare, La Boheme, La Clemenza di Tito, and Les Contes

d’Hojfman. She designed the Baltimore Opera productions of The Barber of

Seville, The Magic Flute, and Turandot. Credits include Peabody Conservatory

productions ofAriadne aufNaxos and Manon, Theatre Project’s The Tragedy

ofCarmen and most recently Eugene Onegin for the Cleveland Opera. She has

also designed for Opera Delaware, Opera Vivente, and the Young Victorian 

Theatre Company.

MOVEMENT CONSULTANT

Virginia Freeman has been a choreographer and movement consultant for 

Maryland Opera Studio productions for more than twelve seasons, choreographing Clara, Les Contes d’Hojfman, Don Giovanni, and more recently

Armide and Transformations as well as cabaret performances of Noel and Cole

and Tale ofTwo Cities. As a Washington-based choreographer, director, and

dancer, Freeman has had an active career in the concert dance field as well 

as in theater, opera, musical theater, film and television. She has taught

at numerous universities and summer dance festivals and is currently on

the faculty ofthe University ofMaryland’s graduate program in opera as a

movement stylist and historical dance choreographer. Her choreography

has been featured in performances at Arena Stage, the Denver Center, the

Folger Theatre, the Kennedy Center, the Smithsonian Institution, Wolf

Trap Summer Opera, and the Opera Theater of Northern Virginia. Her

Broadway credits include Charlie and Algernon, Creeps, and Dance ofDeath.

15
The Cast

Bass Andrew Adelsberger (Gus O’Neill) holds a bachelor ofmusic degree from 

the Catholic University ofAmerica, where he performed Grandpa Moss in 

The Tender Land and the title roles in Gianni Schicchi and Andrew Simpson’s

Agamemnon. Other roles include Bartolo in Le nozze di Figaro, Dulcamara in 

L’elisir d’amore (Opera Bel Cantanti), Oroveso in Norma (Shaker Mountain 

Festival) and the Sprecher/Zweiter Geharnischter in Die Zauberflote (Summer

Opera Theater). He is currently a graduate student with the Maryland Opera

Studio, where he studies with Francois Loup.

Baritone Eric C. Black (Ronaldo Cabral) has performed in the Maryland

Opera Studio’s productions ofArmide as a Choryphee and Dryden and in

Davenant’s The Tempest as Ferdinand. While earning a bachelor offine arts 

degree at Indiana University of Pennsylvania, he performed Dr. Falke in

The Bat, Guglielmo in Women Are Like That, Maximillian in Candide, PoohBah in The Mikado, Umberto in The Maid-Mistress, and the bass solo in

Rene Clausen’s A New Creation. Black is a recipient ofthe Victor Rice

Opera Assistantship.

Soprano Jenny Chen (Valentina Scarcella) a native ofChina, was raised in 

Bethesda, Maryland. She is a graduate ofthe University ofMaryland with

degrees in voice performance and psychology. Currently she is a second-year

master’s degree candidate at the Maryland Opera Studio. Chen has won the

Homer E. Ulrich Award for Solo Performance, and a scholarship as a Maryland

Distinguished Scholar in the Arts. Her operatic roles include Adina in L’Elisir

d’amore, Coryphee in Armide, and La Cugina in Madama Butterfly. Her concert 

credits include Carissimi’s Jephte, Faure’s Requiem, and Handel’s Messiah.

She is a student ofCarmen Balthrop.

16

Tenor Adam Hall (Jimmy O’Keefe) is a master ofmusic degree candidate

in the studio of Francois Loup at the University of Maryland Opera Studio.

His roles there have included El Remandado in Carmen, Ferrando in Cosi

fan tutte, and Harlekin in Der Kaiser von Atlantis. Called “a standout” by The

Washington Post, Adam has performed Borsa in Rigoletto, Spoletta in Tosca,

Zweiter Priester & Erster Geharnischter in Die Zauberflote, and Ruiz in II

Trovatore with The Summer Opera Theater Company. He also sings regularly 

with The Washington National Opera and Baltimore Opera and as a soloist 

with local groups, including Cantate Chamber Singers, Chantry, Choralis, 

and The Washington Chorus.

Soprano Claire Kuttler (Elaine O’Neill), a native of Davenport, Iowa, is

pursuing a master ofmusic degree at the Maryland Opera Studio, studying

with tenor Gran Wilson. In April 2008 Kuttler will perform Fiordiligi in the

studio’s production of Cosifan tutte. Following Cosi, she will sing her first 

Mimi with Bel Cantanti Opera. Other operatic credits include Second Lady

in The Magic Flute with the Fargo-Moorhead Opera. Kuttler has performed

the soprano solos in Vaughan William's Dona Nobis Pacem and in Brahms’

Fin deutsches Requiem.

Mezzo-soprano Jenna Lebherz (Thelma Yablonski), a native of Frederick,

Maryland, is pursuing a graduate degree in opera performance with the

Maryland Opera Studio, where she is a student of Francois Loup. Lebherz

received her bachelor of music degrees in vocal performance and music

education in 2005 from Westminster Choir College, where she played

Florence Pike in Britten’s Albert Herring and Meg in Adamo’s Little Women.

She also performed the role ofJo in Summer Opera Theater Company’s

production of Little Women. In the spring she will sing Dorabella in Maryland Opera Studio’s production of Cosifan tutte. Lebherz is a recipient of

the Victor Rice Opera Assistantship.
Soprano Kara Morgan (Rose Segal), a native Pennsylvanian, received her

bachelor ofmusic degree in vocal performance from Wheaton College.

She subsequently spent two years in France, studying voice at the Conservatoire de Nancy, where she obtained the medaille d’or in 2004. Joining the

Maryland Opera Studio in 2005, Morgan sang the roles ofAnne Sexton in 

Conrad Susa’s Transformations and Sophie in Massenet’s Werther. In the

2006 Aspen Music Festival, Morgan performed the United States premiere

ofArvo Part’s L’Abbe Agathon. Upcoming engagements include the role of

Blondchen in Mozart’s Die Entfuhrung aus dem Serail with Bel Cantanti.

Soprano Onyu Park (Ruth Baldwin) holds an Opemdiplom from the Frankfurter Musikhochschule in Germany. She studied with Christa Ludwig at the 

Academie de Villecroze in France and with Claudia Pinza in Italy. A magna

cum laude graduate of Seoul National University, she is a Fulbright scholar,

currently pursing her doctor ofmusical arts degree under the auspices of

Linda Mabbs at the University of Maryland. Onyu made her operatic debut

as Agathe in Der Freischutz. A keen recitalist, she worked with Graham

Johnson and Martin Katz at Songfest in Malibu, California.

Eric Sampson (Sheldon Segal) is a lyric tenor from northern New Jersey.

Sampson has performed many opera roles including Benedict in Beatrice

and Benedict, Laurie in Mark Adamo’s Little Women and the title role in 

Werther by Massenet. He was recently a winner ofthe Metropolitan Opera 

National Council Auditions in the Washington, DC, district. Most recently 

Sampson performed the role of Gastone and covered the role ofAlfredo

in Verdi’s La Traviata with the Cleveland Opera. Sampson has performed

with the New Jersey Opera Theatre, the New York Philharmonic Orchestra,

and Spoleto Festival usa. He is a student of Francois Loup.

18

Mezzo-soprano Melissa Schiel (Estelle Oglethorpe) is a native ofToronto,

Ontario, Canada. She is currently pursuing her doctor ofmusical arts degree

at the University of Maryland, studying with Martha Randall. A past performer

with the Aspen Music Festival and the Tanglewood Music Festival, Schiel has

performed a broad spectrum of concert and song repertoire. She sang with the 

Brott Music Festival in Bruckner’s Te Deum and Beethoven’s Ninth Symphony.

Her opera credits include Dinah (Trouble in Tahiti), Dritte Dame (Die ZauberJlote), The Fox (The Cunning Little Vixen), Igma (Opera erotique), Mrs. Herring

(Albert Herring), Oberon (A Midsummer Night's Dream), The Old Lady (Candide),

and Zita (Gianni Schicchi).

Baritone Ethan Watermeier (Joe Harland) most recently performed as a lead

soloist with Ricky Ian Gordon in Bright Eyed Joy as part ofthe Hawaii Performing Arts Festival. His roles include Baobab, the Geographer, and the Hunter

in Houston Grand Opera’s world premiere of The Little Prince, Javert and the 

Factory Foreman/Combeferre in the Broadway national tour of Les Miserables,

Masetto in the Santa Fe Opera’s Don Giovanni, and Tarquinius in The Rape of

Lucretia at the Theatre Municipal in Castres, France. He is the winner ofthe 

2002 Kurt Weill/Lotte Lenya International Competition and winner ofthe 

2002 Anna Case Mackay grant. He holds a bachelor ofmusic degree from 

Northwestern University, a master ofmusic degree from the Manhattan 

School of Music, and is currently a candidate for the doctor ofmusical arts

degree at the University of Maryland. He is a proud member ofActors’

Equity Association.

J9
Production Staff

MUSIC DIRECTOR

Miah Im currently holds the music director position for the Maryland Opera

Studio. Previously she was on the staff ofthe Juilliard School of Music as a

vocal coach and pianist. She is also a member ofthe music staff at the Opera

Theatre of Saint Louis and WolfTrap Opera. As a faculty member at the

Aspen Music Festival and School, Im has taught, performed and served as

principal coach and chorus master for their opera productions. Im was also

appointed the youngest music director in history ofthe San Diego Opera

Young Artists Ensemble. Im has worked with such esteemed conductors as

James Conlon, Stephen Lord, George Manahan, Eduardo Muller, and Julius

Rudel. Her principal teachers were Martin Katz, Warren Jones, and Louis 

Nagel. She was the inaugural recipient ofthe Marilyn Horne Foundation

Award for Excellence in Vocal Accompanying.

ASSISTANT CONDUCTOR

Daniel R. Walshaw is active as a conductor and composer. He currently serves 

as codirector ofthe University ofMaryland Repertoire Orchestra. He previously

held the position of assistant conductor ofthe Pontiac Oakland Symphony. In

2008 he will premiere his composition Brig Og Ni Mhaille with the Maryland

Repertoire Orchestra. Walshaw completed his undergraduate studies in

composition at Oakland University in 2006, where he graduated summa cum

laude. During his time at Oakland he received numerous grants and awards

including the Meritorious Achievement Award. Walshaw is currently pursuing

a master ofmusic degree in conducting at the University ofMaryland under

the direchon ofJames Ross.

20

ASSISTANT DIRECTOR

Heather Gilles has collaborated with the Atlanta Opera, Cincinnati Opera,

Dayton Opera, Glimmerglass Opera, and the WolfTrap Opera Company.

She has directed Lily—Her Life, His Music (Kurt Weill Revue) and done

scene work at Glimmerglass Opera. Upcoming projects include the Wolf

Trap educational piece Instant Opera! with sing for hope in upstate New

York. She earned a bachelor ofmusic degree in vocal performance from

The Juilliard School and has studied at The Peabody Conservatory of Music

and the University ofCincinnati College Conservatory of Music.

ASSISTANT WIG AND MAKE-UP DESIGNER

Patricia Portillo first learned how to set a wig during a production of The

Rake's Progress in 1999. Since then she has worked as a make-up artist and

hair designer for The Imagination Stage Dance Ensemble. She was the

assistant make-up artist for Les Contes d’Hoffman at the Peabody Conservatory and Armide with Maryland Opera Studio. She was most recently hired

as the make-up artist for Tovah Feldshuh.

REHEARSAL PIANIST

Sun Ha Yoon, a native of Seoul, Korea, received her bachelor ofmusic

degree from Seoul National University and he master’s degree from the

Juilliard School of Music, studying with Jonathan Feldman, Margo Garrett,

and Brian Zeger as a merit scholarship student. Yoon has performed as a

collaborative pianist in Alice Tully Hall, Merkin Hall, the Peter Jay Sharp

Theater, and Weill Recital Hall at Carnegie Hall. As a member of New 

Juilliard Ensemble, she performed for the Hungarian Music Festival in

2007. Yoon is a recipient ofthe Robert McCoy graduate assistant in collaborative piano, established by Nancy Peery Marriott.

21
REHEARSAL PIANIST

Tessa Hartle is a second-year master’s degree candidate in collaborative

piano at the University of Maryland, where she is a student of Rita Sloan.

Prior to her studies at Maryland, Tessa graduated with highest honors from

the University of Michigan with a bachelor ofmusic in piano performance.

Her principal teachers were Louis Nagel and Katherine Collier and she

also worked with Martin Katz. Hartle has spent two summers at the Aspen

Music Festival and School as a collaborative artist, where she primarily

worked as a vocal pianist.

NATIONAL GALLERY ORCHESTRA

Violin I

Jonathan Mott

Violin II

Bruno Nasta

Viola

Marta Howard

Violoncello

David Shumway

Bass

Frank Papajohn

Piccolo/Flute

Jon Baumgarten

Oboe/English Horn

Sara Quade

Clarinet

Kyle Coughlin

Clarinet/Bass Clarinet

Anne Ament

Bassoon

Maude Fish

Trumpet

William Thayer

French Horn

Emil George

Lisa Emerich

Bass Trombone

Paul Schultz

Percussion

Mike Gatti

Shari Rak

22

Next Week at the National Gallery ofArt

National Gallery Orchestra

Music by Edvard Grieg

Presented in connection with the

Norwegian Christmas Festival at Union Station

December 9, 2007

Sunday Evening, 6:30 pm

West Building, West Garden Court