Come with us on a voyage across time and place. From ancient Rome and romantic Scotland to the streets of London’s Soho district, this journey couldn’t be more dramatically exciting—or musically engaging. You’ll meet old friends, like Lucia and Mack the Knife, and you’ll discover new ones, like Tito, the emperor of Rome.

We believe this season may be our most exciting voyage yet. In preparation for our 50th year, when we will return to a full, three-opera format, we’re doing things familiar and things new. Along with Donizetti’s beloved Lucia di Lammermoor, we are presenting two West Bay Opera premières: Kurt Weill’s The Threepenny Opera and a stunning new concert version of Mozart’s last opera, La clemenza di Tito. All three feature the wonderful West Bay Opera Orchestra and the remarkable singers, familiar and new, you have come to expect from us. To add to the excitement, the West Bay Opera Superstar competition returns for its second year, bigger and more thrilling than ever. Please join us for this extraordinary musical and dramatic adventure.

~ David Sloss, General Director

West Bay Opera will once again bring a specially adapted, abbreviated version of a well-known opera to elementary schools throughout the Bay Area. This year’s production is Mozart’s renowned fantasy opera The Magic Flute.

The 45-minute program features four young professional singers who perform in costume before a scenic backdrop, to the accompaniment of an accomplished pianist. As always, a highlight of the OITS program is that children from the school are involved in the performance, as actors, stage crew, or part of a chorus singing one of the arias along with the principals. Schools receive an informational packet about The Magic Flute, along with study material appropriate for various age groups.

The cost of presenting the production is heavily subsidized by donations and grants. Every donation received, no matter how small, helps West Bay Opera to perform in additional schools at a reasonable cost to the school. If you would like to donate to this important educational program, or would like more information about it, please contact the school program Administrative Coordinator, Thelma Dry at 408-356-7276, or email .

~ Thelma Dry, Opera in the Schools Coordinator

I made my West Bay Opera stage debut in the spring 1996 production of Bernstein’s Candide. I was the little 8-year old Jewish girl running around singing “What a day, what a day for an auto-da-fé!” I returned to sing in the children’s chorus of Carmen in 1999. When Michele Sullivan, our fabulous production manager, invited me to be a super in La traviata, I couldn’t pass that up! I had a blast and continued the season, supering in Tartuffe—remember the heart dance in the final scene?—and Les contes d’Hoffmann.

I loved being a super, but thought I’d found my place when I joined the chorus for Faust. Then, I was lucky enough to work backstage! I had even more fun learning about stage management for The Marriage of Figaro and was torn between working backstage and performing onstage. I've found my true place doing both! I rejoined the chorus for La bohème, Tosca, Un ballo in maschera, La Périchole, and Don Giovanni, and immensely enjoyed assistant stage-managing in WBO’s 2003 Fall Festival and Il barbiere di Siviglia.

Mia Lieberman (2nd from left) and other chorus members with Tarapote (Eric Wenburg), who is overcome by the news that a street singer is now living at the palace in La Périchole (May 2002).

One of the great advantages to stage managing is being able to intimately learn the nuances of the libretto and music. You interact with the designers, crew, directors, and cast in a very different way than you do working onstage. Stage management is hard work, but is also a ton of fun!

As well as working on individual shows, I help in the office at WBO’s Holt Building. Just recently, I’ve assisted Ali Jennings (our amazing box office manager) in processing all the season ticket orders. I enjoy working in the box office because it enables me to meet the wonderful patrons who enjoy WBO shows. The audience is just as important to the opera as everyone backstage! I’ve enjoyed talking with many of our season subscribers and patrons. Your support helps guarantee the future of West Bay Opera for many years to come!

~ Mia Lieberman, Assistant Stage Manager for Superstar
~ Photo © Lucinda Surber

If you would like to work with our production staff, please let us know. You could help build or paint the scenery, help construct the costumes, or help us when we move into the theatre. You might also work backstage during the run of the show on props, lights, set crew, costumes, or make-up. You will have the pleasure and excitement of seeing your work up on the stage alongside our singers.

Whether you used to work in theater, enjoyed the stage in college, or have always wanted to see what “backstage” really means, find out firsthand while working with a long-established company in the community.

Michele Sullivan, Production Manager
Phone: 650-843-3903
email:

West Bay Opera’s Costume Shop is open for Halloween costume rentals on…
Tuesday, October 26th through Friday, October 29th, 5:00–9:00 PM
Saturday, October 30th, noon–9:00 PM

Are you a Violetta, Carmen, or Juliet?
Perhaps Rodolfo, Don Giovanni, or Mustafa?

Our creative volunteers will help transform you for your Halloween Festivities.

Cinderella, a gypsy fortune teller, a nun?
A count, a soldier, a bishop?
A geisha, a sultan?

Costumes for WBO’s La Périchole (2003) designed by Richard Battle.

Possibilities are limitless within our large inventory of costumes.
Marie Antoinette?
Napoleon?
A French maid?
An ‘Iron Chef’?

For further information, please call 650-843-3902 during the days and hours listed above. To volunteer for the event, or to get information in advance, contact Riva Bacon by phone (408-736-7387) or email .

~ Photo © Lucinda Surber

Megan Dey-Toth (Sesto in La clemenza di Tito): “Butterfly in Madama Butterfly. It was the first opera I ever saw. My family had a picnic at Stern Grove and we saw it there. My mom and I used to sing “Un bel di” along with a recording she had. I would want to sing Butterfly so that I could sing “Un bel di” and also because I would enjoy killing myself on-stage in such a dramatic fashion.”

On behalf of the entire West Bay Opera Association—the artists, musicians, crew, volunteers, staff, and the Board of Directors—I want to thank our community for making the recently completed 48th season a great one for all of us. We achieved our goal of making a small net profit, paying off what little debt we had, and starting our 49th season, with a small cash reserve. While it will take a few more years to nurse our finances back to complete health, this was a great start, and for that we thank you!

I’d like to mention four items in particular:
   •With goodwill and a lot of spirit, the entire community supported our novel Fall Festival with its nontraditional collection of operatic events. In particular, thanks are due to all the artists, musicians, directors, and crew who donated their services. In the Festival, we actually made a profit on ticket sales alone—normally, ticket income only covers half the costs of a production. We were able to add money to our reserves instead of drawing them down. The many enjoyable evenings of beautiful music gave us the resources for full staging of the remaining two operas.
   •Attendance figures were up for the opera productions last year. Both Il barbiere di Siviglia and Don Giovanni saw a 10% increase in seat occupancy, nearly returning to the levels of a few years ago, prior to the economic downturn. The audience was rewarded with two magnificent productions. Bravo to all!
   •The spring Gala was magical and successful! Held at the historic Grand Auditorium on Sun Microsystems Agnews campus, we had our best attendance and raised our largest income ever from this event.
   •Most importantly, personal donations, many in response to the two-year Hewlett Challenge Grant, were at an all-time high. The financial impact of your giving is appreciated, but the emotional impact of your fantastic generosity and encouragement is sustaining all of us as we rebuild our financial health.

So, it was a very good year! See you at the theater…

~ Tom Gracon, 48th Season Board President

Recently the WBO Board of Directors approved a committee structure that is intended to encourage our community to assist in the continuing efforts to return our company to complete fiscal health and energize our upcoming season. We are seeking volunteers to help us work on a number of important projects in the next year or two.

The Board has created a number of special committees in the hope that you will find an opportunity that fits your interests and availability. If you’d like to participate in one of the following activities please — and we will call or email you with more detail. Please provide your name, areas of interest, and contact information.

Publicity: Can you help us get published more often? Or do you have ideas on how to better distribute posters, flyers, etc.? Perhaps you have thoughts on improving the impact of our various materials (e.g., the new “card” format we are using for La clemenza di Tito instead of the traditional flyer).

Business Development: We are working to identify organizations in industry that might sponsor a production, a designer, or a principal singer, or who might provide matching grants. Do you have any suggestions for achieving these goals? Can you introduce us to potential sponsors?

Outreach Programs: A small group is trying to identify ways we can better reach out to you, our community. For example, this last year we started inviting music students from the local high schools and colleges to be our guests at a dress rehearsal. Responses from students and their teachers have been very positive. Do you have any additional ideas, or can you think of places you’d like to see us perform? Another example: through contacts with the Chamber of Commerce, we were asked to be part of the entertainment at Palo Alto’s Black & White Ball. What other venues would showcase WBO?

Gala for This Season: Join a very motivated team to identify location, entertainment, theme, decor, caterers, etc. for our 48th Season. Many hands do make labor light, and it’s a fun group. Learn to throw a great party!

Special Events for the 50th Season: Yes, it’s time to start planning for our big 50th anniversary season, which starts in the fall of 2005. Among current ideas being explored:
   • A 50th reunion for past singers, musicians, crew, and volunteers, along with current supporters.
   • A Black Tie reception for opening night.
   • Providing our Opera in the Schools program to a larger group of schools, including every elementary school in Palo Alto.

West Bay Opera Board Member Tom Gracon and his wife Helen are continuing to host potluck cocktail parties at their home before opera performances on the first Saturday night of each production, starting at 6:00 PM and running until about 7:30, when it’s time to head for Lucie Stern Theatre.

These parties are opportunities for opera lovers to get acquainted and enjoy a closer look at one aspect of our West Bay Opera community. A guest speaker from the cast or production team will be on hand to talk about the opera.

If you’re interested in attending before the October 16 performance of La clemenza di Tito, call Marlene Cowan (408-578-4168) or Tom Gracon (650-493-2150).

Ann Yvonne Walker, President • Riva Bacon, Vice President
Jeraldine Johnson, Secretary • Richard Bogart, Treasurer

Members: William Beckett, Joel Blank, Marlene Cowan, Tom Gracon, Margaret Haneberg, Constance Howard, Stan Ulrich

Concert Performance: The Chorus Perspective

How much difference can it make to the chorus whether or not the production is staged? Of course, we always try to give our dramatic all, and we are fortunate to have stage directors who encourage us. Still, let’s face it: with or without staging, the chorus is not usually in the spotlight.

However, as this figure demonstrates, being seen is not the only factor to be considered!

We’re looking forward to these concert performances with, for once, a clear view of the conductor at all times!

If you are the sort of singer who likes to stand and sing, or one who would like a good look at the costumes, even if from the rear, find out how to join the chorus by contacting me at .

~ Joanne Bogart, Chorus Manager
~ Drawing © Paul Hobson

In this issue, Super Spot interviews one of our regular and dependable supernumeraries, Jorge Mezei, whom most of you will remember from many past productions at West Bay Opera.

Super Spot: How did you get involved with West Bay Opera?
Jorge Mezei: A friend and colleague I worked with at Lockheed told me about his experience as a super at the San Francisco Opera. It sounded like a wonderful way to be able to take part in opera without adversely affecting the music, but the idea of midnight commutes to San Francisco was daunting. I proposed to find out whether the well-known and respected WBO could use us as supers, and the rest is history.

Super Spot: Did you have any previous opera or theater experience?
Jorge Mezei: No, but I developed an appreciation for opera by attending West Bay Opera performances frequently with my late mother. Among the productions I recall Die fliegende Holländer, Macbeth, and Der Freischütz.

Super Spot: What was your favorite role—so far?
Jorge: Tosca—which gave me the opportunity to start as a cardinal, and work my way down, through corrupt judge, to a member of an execution squad! Another opera that called for multiple roles from the supers was Carmen, in which I alternated between an infantryman and Lillas Pastia, the innkeeper with a miraculous skill of balancing incredible piles of bottles on his tray. The Italian Girl in Algiers was memorable for testing all the supers’ abilities to dress and undress the principal singers on stage.

Scarpia (Scott Bearden) bows before the Cardinal (Jorge Mezei) in Tosca (October 2002).

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Scarpia (Michael Morris) orders Roberti the Torturer (John Briery), Spoletta (Gary Ruschman), the Judge (Jorge Mezei), and the Clerk (Rudy Schroeter) to take Cavaradossi away for questioning in Tosca.

Super Spot: That does sound like fun. What do you do when you are not on the WBO stage?
Jorge: Enjoy the Peninsula area, now that I am retired from software engineering. My background was the mathematics of automata theory, and electrical engineering before that. I am very happy to admire the talents I meet as a super.

Super Spot: Do you have a favorite opera?
Jorge: That is a hard one: I love Il trovatore, The Barber of Seville, and Don Giovanni. They all have gripping storylines and gorgeous music, and I have good associations with them, having been on stage in each.

Super Spot: Do you have a favorite director at WBO?
Jorge: Ken Tigar, whom I worked with in Don Giovanni, Tosca, and La bohème. I admire his broad experience as an actor and film director and his people skills.

Super Spot: Tell us about the T-shirts you design to wear at load-in and strike for each WBO opera—most of our readers don’t get to see them.
Jorge: I thought it would be fun to remember being part of an opera by wearing on a T-shirt some puzzling but recognizable phrase from the libretto—like “Pappataci!” on the front and “Kaimakan!” on the back from The Italian Girl in Algiers (October 1998). There are lines in operas that seem created for T-shirts, take for example “Quel canto scurrile, mi muove la bile!” or “La scure al figlio, e alla madre il rogo!”

Super Spot: Do you have any advice for anyone considering becoming a WBO supernumerary?
Jorge: Be prepared for hazards of the job: like carrying trays full of champagne glasses through a crowd of revelers on a stage that is strongly raked (La traviata) or wearing period costume breeches with the opening in the back instead of the front.

Super Spot: Tell us about one of your more interesting costumes.
Jorge: I wore a man-sized Mickey Mouse outfit, head included, in the finale of The Rise and Fall of the City of Mahagonny (May 2000). I kept thinking, “What do I do if a matching size of cat shows up?” This was before mountain lions were being shot within walking distance from Lucie Stern Theater.

Super Spot: Thanks for the memories and advice, Jorge—we’ll be watching for you in upcoming productions!

~ Lucinda Surber & Stan Ulrich
~ Photos © Lucinda Surber

Supernumeraries are the folks playing non-singing roles—affectionately known as “supers.” Almost all opera productions need supers. What better way to experience an opera than to be in it? Requirements for supers are usually established by the stage director about three months before the performance.

Super Emma Davis smiles as Don Giovanni (Kirk Eichelberger) meets Zerlina (Kimarie Torre) in the May 2004 production of Don Giovanni.

If you are interested in holding a tray or carrying a spear or other interesting object, please contact Will Beckett, Supers Captain, at 650-269-7011 or email . Parts are usually assigned based on size and appearance; give Will some background so he has a visual to work with. Supers usually have fewer rehearsals in the beginning, they get to see more of the opera, and have some great parties. So join in the fun!

~ Photo © Lucinda Surber

Thelma Dry, Guild member since 1985, joined a roster of five Honorary Members when she was elected to the position and installed on September 12. Only members of outstanding service are recommended for this infrequently bestowed designation.

The extraordinary contribution that Thelma has made, and continues to make, is her tireless management of West Bay Opera’s outreach program, Opera in the Schools (OITS). Her involvement began 13 years ago, helping Maria Holt run the program. After Maria’s death, Thelma stepped in as a volunteer to fill the void, perpetuating the OITS program. Since then, and to a great extent through Thelma’s hard work, OITS has grown in scope and sophistication to where today it is a private-donor/grant driven program, offering a different opera, adapted for elementary school children, every school year.

Early in the season, based on the funds donated, Thelma advises the artistic team of its available budget. The artists then move the process along: selecting a youth-friendly opera, shrinking it down to 45 minutes, retaining significant arias — and writing in parts for the school children participants; hiring two teams of four singers and an accompanist. Meanwhile, WBO management arranges for the design and construction of the costumes and the building of portable sets. At this point, Thelma is back into play, overseeing and coordinating a telephone team that canvasses over a hundred local schools to line up a schedule.

Once a school commits to purchasing an OITS program, there are teaching materials to create and mail and close coordination with each school regarding the participation of student volunteer actors, as well as distribution of schedules and locations to the performers. After all this is accomplished, then Thelma needs to be available 24/7 for the five months of performances to solve the inevitable last-minute glitches.

To Thelma’s credit, each year these presentations win raves from the schools that are served. These productions are so well liked that there are more schools wanting the program than can be served. The fee charged the schools covers less than half the cost of each performance. Consequently, the amount of donations and grants each year determines the number of schools that OITS can serve.

So, to honor Thelma for the thousands of hours she has invested in OITS over the past 13 years, the West Bay Opera Guild elected her a member for life; their newest Honorary Member.

As mentioned, this program relies exclusively on grants and designated donations. Anyone interested in making a tax-deductible contribution to this school outreach is invited to forward a check to: West Bay Opera Guild, referenced “Ellie Silver Fund” (this is the Guild account designated for OITS) at 221 Lambert Street, Palo Alto, CA 94306.

~ Betsy Rose, Guild Vice President

Local opera lost a great champion with the passing of Ellie Silver in June. Ellie and her husband Al have a long history of close ties to WBO. Ellie was one of Maria Holt's dear friends. She has been a mainstay of the WBO Guild for many years, and served two terms as Guild President. Ellie and Al were major contributors to the Holt Building Fund years ago, and more recently have helped enormously to support our Opera in the Schools program, as well as funding the annual Ellie Silver Scholarship with the Holt Foundation.

The West Bay Opera Board of Directors voted at its July 2004 meeting to designate the rehearsal hall at the Holt Building as “Ellie’s Room” in her honor.

Ellie first became involved with the Guild in 1974, after taking a class in Opera Appreciation taught by Don Straka, who conducted 17 WBO productions in the 1970s. “I decided at that time that this was the charitable organization I wanted to do volunteer work with,” she wrote in a 1997 reminiscence. Ellie was also active in the development of many Guild fundraising ventures during her long service.

Ellie Silver’s family has requested that all funds in her memory be donated to the Opera in the Schools (OITS) program. The Guild has established the Ellie Silver Fund for acceptance of donations to the OITS program. Donors may send a check, noting the “Ellie Silver Fund,” to the West Bay Opera Guild, 221 Lambert Avenue, Palo Alto, CA 94306.

Have you ever thought about becoming a member of the West Bay Opera Guild? This is one way you can assist with the operas and be a part of it all. We usher at all the performances, take tickets, sell refreshments, and put on a party for the cast, orchestra, and production crew on opening night, in addition to assisting with fund-raising projects. Members have the privilege of attending free dress rehearsals, general meetings with dynamic guest speakers or entertainers, the Opening Night Cast Party, and Holiday, Year-End, and Overture parties. Annual dues are: for Active Members $25, Sustaining Members $35, and Patrons of the Guild $50.

For more information, please contact one of the Guild Officers:

Opera maven Rick Bogart writes about the Roman emperor Titus and Mozart’s La Clemenza di Tito. Read all about it here.

Someone asks: What’s with the capitalization anyhow? Why don’t you write “Bohème” and why isn’t it “Clemenza (capitalized) di Tito”?
Answer:WBO generally follows the New Grove Dictionary of Opera style, which follows the capitalization rules of the language used

Download the Fall 2004 Newsletter in PDF format (requires Adobe Reader software).

Newsletter Editors: Michele Sullivan, Lucinda Surber, Stan Ulrich
Visit the West Bay Opera Website: http://www.wbopera.org