Costumes for Polly and Macheath designed by Richard Battle

Although Bert Brecht died almost 50 years ago, he’s still considered one of “the moderns” whose style is “challenging.” But it takes very little effort to appreciate Brecht. In fact, while his works, particularly his musical works, don’t have much in common with traditional grand opera, they were definitely written with his audience in mind.

Brecht is no aesthete whose works reflect an art-for-art’s-sake mentality and damn the audience. On the contrary, Brecht was always a man of the people — and The Threepenny Opera is aimed directly at us.

What makes people fear Brecht is the sense that he broke molds and conventions, but this is only partially true. Unlike, say, Stravinsky, who broke with tradition in order to create a sound no one had ever heard before, Brecht broke the Aristotelian “unities” of the well-made play of his day by substituting the language of popular culture instead. The worlds of cabaret, of the ballad and popular song, even the world of film, form the underpinnings of this work. Gone is the teacup realism of Ibsen. In its place we find the bold theatricality of Marlene Dietrich and Charlie Chaplin.

Within a year of Threepenny’s première at the very end of the age of silent films, G. W. Pabst transformed it into a singing movie at the birth of talkies. In fact, two identical versions were shot with two different casts: one in German and one in French. Threepenny immediately became a prime object of the most popular form of popular culture.

Many also view Brecht with a chary eye because of his political and theoretical writings. He was an outspoken Communist; and he tried to create a politically conscious theatre or, as he called it, an Epic Theatre. Brecht’s Alienation Effect, in particular, has gotten a lot of bad press. This was his attempt to force the audience to step outside of the story, to divorce themselves from the emotional haze of the plot, and to focus on the “real” reasons, the political reasons, that characters say and do what they do.

Frederic Ewen in his book on Brecht explains that to create this Alienation Effect, the Epic Theatre broke the main action of the play using “narrative and explanatory devices, such as film, projections, addresses to the audience…. Intermittent titles flashed explanatory texts or other information between scenes, on each side of the stage.” But far from being merely didactic, these devices create an energy one often lacks in more conventional theatre. Indeed, many of Brecht’s supporters claim he was a great playwright in spite of his theories.

While I don’t want to get into the pros and cons of the Alienation Effect, it definitely is true that a certain disconnect exists between the theory on the page and Brecht’s plays on the stage — and particularly in The Threepenny Opera. It is decidedly not a work of doctrinaire orthodoxy. In fact, the Communist press did not approve of the play when it opened. This is hardly surprising because the show presents no dogmatic worldview in which the downtrodden proletariat overcomes its evil masters. On the contrary, all classes of society are depicted as corrupt with man just trying to get by. So, while the masses remained aloof, Threepenny became a must-see ticket among the privileged classes. The intelligentsia, the nobility, and the captains of industry flocked to the Theater am Schiffbauerdamm to see it. Brecht hadn’t alienated his audience — he’d enchanted them.

The primary reason why the cultural elite loved the show was that The Threepenny Opera was exciting. Brecht and Weill had created a work stripped of sentiment that spoke to the new world around them. It reflected the dissonance of an age that had survived “the war to end all wars,” a world where various old forms rubbed shoulders with multitudes of new ones. A world of collage, bare-bones and all-too-human. A minimal work for a minimal world of pimps, whores, beggars, and people just trying to get by.

We may not immediately identify with Brecht’s world; but he created The Threepenny Opera for us.

~ Kenneth Tigar, Stage Director

At last year’s West Bay Opera Gala, auction items included the opportunity to conduct the orchestra, serve as a stage hand, and appear on stage as a super (opera terminology for “extra”) in one of the forthcoming productions. The opportunity to be on stage looking out, as opposed to looking on, is one I could not pass up, since I wished to experience the “behind the scenes action” that ultimately produces the fabulous productions of West Bay Opera.

The original part autioned at the Gala was to be a super in a party scene in Don Giovanni. However, my schedule dictated that I would debut in Lucia di Lammermoor, which was certainly more fitting for this Edinburgh native.

Since I had never before appeared on stage, the first rehearsal was a daunting experience, as I did not know what to expect. Any reservations were readily dismissed due to the friendliness and enthusiasm displayed by all those involved. By the time the first scenes were staged, it was clear that this would be a wonderful experience. I was now eager to actually perform in front of an audience.

Being a super in rehearsals allows for a preview of the opera due to the fact that, when not rehearsing ones part, one has a “front row seat.” This gives a fascinating insight into the production of the opera, especially in terms of how the director asks the performers questions about their characters and how they think their characters would feel, and then has them use that as input into their singing and acting.

After the initial rehearsals at the Holt Building, we moved to the theatre and I could sense the excitement building. There I was able to meet the numerous others involved behind the scenes. There are so many people volunteering their time and effort!

During dress rehearsals the tension started to build. Although my servant’s costume was not as glamorous as the ladies of the chorus, it was attire that I was delighted to wear and looked forward to donning at each opportunity. The dressing room was a good deal of fun, what with everyone helping each other with makeup, hair, and the lacing of costumes. As we draw nearer to the actual performance, the excitement builds.

When it came to show time, I was surprised to be calm as I waited in the wings prior to my entrance on stage. However, as soon as the curtain was raised, my heart started to pound with the realization it was time!

Natalie Jackson (center) takes a bow after Lucia di Lammermoor with fellow supers Will Beckett (left) and Jorge Mezei (right) in front of the chorus.

Appearing as a super offers an interesting vantage point when on stage, since the close proximity to the cast allows a person to experience the full effect of the performance and the talent of the cast. It is very difficult to find words to describe the initial performance and, upon reflection, it all seemed to flash by so fast that I do not recall actually noticing an audience.

There was also a social aspect to the experience in the form of cocktail parties, barbecues, and the Super Brunch, which provided an opportunity to truly feel part of the production and to socialize with the cast and crew. In doing so, I gained an understanding of how much preparation is required for each performance.

Having attended West Bay Opera over the last five years, I was always impressed by the performances. Now, having been involved and having been provided an insight into the production process, it highlights the hard work, dedication, teamwork and passion which all combine to perpetuate such a wonderful art form. This was truly an unforgettable experience! I was very fortunate to have made that bid to be involved and look forward to once more appearing in a West Bay Opera production.

~ Natalie Jackson
Photo © Otak Jump

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 Jorge Mezei (2nd from right) in Lucia di Lammermoor.

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

So You Want To Be a Rock and Roll Star!

I have been singing with the West Bay Opera Chorus for three years. I’m currently rehearsing for my sixth show, The Threepenny Opera. I was introduced to the chorus through my then 10-year-old son, who was performing as a member of the children’s chorus in the 2002 production of La bohème. As a result, I chose to audition for the chorus in Tosca, and the rest, as they say, is history.

Lyssa Livingston (2nd from right) in Lucia di Lammermoor.

I find the production process quite fascinating. Actually, staging rehearsals are my favorite part of the production process. That’s where we can observe and participate in the entire creative process taking place right in front of us, and I listen to some of the most heavenly voices in the country. I feel quite privileged to say that I perform with our principals at the beginning of their careers as stars!

So, you can say, “We’re just the singers in a rock ’n’ roll band.”*

~ Lyssa P. Livingston, WBO Chorus
Photo © Lucinda Surber

*Moody Blues: “I’m Just a Singer With a Rock ’N’ Roll Band”

West Bay Opera members Riva Bacon, Mia Lieberman, Laurie Levy, Diane Yeramian, and Joanne Bogart, model their T-shirts prior to a rehearsal. The T-shirts were a special design by Paul Hobson, husband of chorus member Eva Franko.

Find out how to join the chorus by emailing Joanne Bogart at

jrbstanford.edu

~ Photo © Otak Jump

West Bay Opera’s Opera in the Schools program has been the happy recipient of three additional awards to be applied to its active school program. We are grateful to the Palo Alto Weekly Holiday Fund, the Palo Alto Women’s Club, and SDG (Strategic Decisions Group) of Palo Alto. These awards help us to bring our production of an abbreviated opera to elementary schools at a reduced rate.

During this current school season, our artists performed Mozart’s The Magic Flute before 18,500 students in 42 schools throughout the Bay Area. Planned for next year is a specially abbreviated version of Donizetti’s comic opera The Daughter of the Regiment.

Here is a typical letter of thanks from one of this year’s schools:

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

The WBO Board of Directors needs your help! We are seeking volunteers to help us work on a number of important projects in coming years. We’ve set up some 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 email the Board at Committees@WBOpera.org — and someone from the Board 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 publicity materials.

Business Development: We are working to identify organizations or individuals who would sponsor a production, designer, or 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: We are trying to identify ways we can better reach out to the community. In May of 2003 we started inviting music students from local high schools and colleges to a dress rehearsal. Do you have any additional ideas, or can you think of places you’d like to see us perform?

Special Events for the 50th Season: We’re already planning for our big 50th anniversary season, which starts this fall!

Newcomers to West Bay Opera performances, as well as devotes, are cordially invited to a cocktail party preceding the first Saturday performance of The Threepenny Opera.

Save the date of Saturday, May 28 at 6:00 PM, in the home of West Bay Opera’s Past President Tom Gracon, 747 Holly Oak Drive, Palo Alto, located near Lucie Stern Theatre.

Each couple (or single guest) brings a platter of appetizers (last names A-M) or a bottle of wine to share (last names N-Z). The speaker will be Kenneth Tigar, Stage Director of West Bay Opera’s production of The Threepenny Opera. Please RSVP in advance to Tom Gracon, at 650-493-2150 or email tomgracon@yahoo.com.

The brew is bubbling at West Bay Opera! We’re preparing our interpretation of Weill’s one-of-a-kind show, The Threepenny Opera (Is it an opera? Is it theater?? Decide for yourself!) to be presented on May 27-29 and June 3-5. We are also gearing up for our 49th Season Gala Dinner and Auction, A Starry Night. You’ll be regaled by West Bay Opera stars, plied with sparkling champagne and wine, served heavenly appetizers, treated to a sumptuous buffet dinner, and offered unique and seemingly endless opportunities at our truly stellar Silent and Live Auctions. Save the date now — Saturday evening, June 18 — you do NOT want to miss this star-studded affair.

Then there’s our 50th Season, just around the bend. We have a lot to celebrate and you’re invited! Join us for the fabulous Opening Night festivities and performance of Mozart’s all-time favorite, The Magic Flute, on October 14, 2005. Here’s your chance to get this one on your calendar and be part of the kick-off of West Bay Opera’s milestone 50th Season!

And thank you all for your support — past, present, and future — of this sparkling gem of an opera company.

~ Ann Yvonne Walker, West Bay Opera Board President

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

A sparkling summer soirée
featuring West Bay Opera stars,
bubbly champagne, free-flowing wine,
a sumptuous buffet, no-host bar,
live and silent auctions, games, prizes,
and Grand Operatic Entertainment!

Saturday, June 18, 2005 at 6:00 PM
The University Club
3277 Miranda Avenue, Palo Alto

$100 per person ($50 per person tax deductible)

Hors d’oeuvres, wine, & silent auction 6:00 PM
Buffet opens 7:30 PM
Live auction 8:45 PM
Entertainment for a Starry Night 9:15 PM
Cocktail attire

For further information or reservations call 650-424-9999
Monday–Friday, 1:00–6:00 PM

West Bay Opera will celebrate its 50th Birthday during the 2005–2006 season, so we are doing some early celebrating with Kepler’s Bookstore!

During the month of May say “It’s For The Kids!” and Kepler’s will donate 10% of your sale to local public libraries to purchase children’s books. Now, more than ever, it is important that we support our local libraries.

Newsletter Editors: Michele Sullivan, Lucinda Surber, Stan Ulrich

As a child, Henry Holt would sneak into the Vienna Opera House to watch shows. His passion for music was to later result in composing, playing piano, and conducting. He played solo piano performances under the baton of Arturo Toscanini at the Vienna Philharmonic and conducted orchestras in Austria, Germany, and Italy.

After a concert tour in America and enjoying it so, Henry and Maria returned to America, leaving Vienna four months before Hitler invaded Austria. He was drafted into the Army in WWII and served in the cold, foggy Aleutian Island of Adak, on duty with the Army Special Services radio station there. In line in front of him on pay days was author Dashiell Hammett. (I wonder if they ever fantasized collaborating on a “whodunit” opera mystery?) Another soldier stationed there who enjoyed Henry’s piano on the radio was Ray Ruppel, principal of Palo Alto School District’s Adult Education program. Ray encouraged Henry to come to Palo Alto after the war and teach classes on opera and symphony.

Duty in the Aleutians completed, Henry was transferred to duty at an Italian prisoner of war camp at a mountain base in New Mexico, where he continued his work in Special Services. Maria joined him there by taking a civil service job in the motor pool driving trucks. She arranged her last stop of the day to be the church where she delivered painting supplies to the Italians working there. Henry took special delight playing the piano in the church. At the end of the day and into the evening, Henry would play for the gathered Italian prisoners who loved singing their Neapolitan songs and opera choruses and arias.

Their service work done, Henry and Maria came to Palo Alto. Henry contacted Ray Ruppel and soon started teaching symphony and opera classes to adults at the high school. He had 100 students in attendance and created many opera lovers and supporters. Kurt Herbert Adler invited Henry to come to the San Francisco Opera, but Henry declined the offer because he wanted to stay in Palo Alto and “do his own thing” — creating a community love for music that would foster the yet-to-come West Bay Opera.

~ Ben DeBolt, WBO Guild Historian

Why I chose a career in opera? Hmm, hmm … seems we chose each other. When I was a sophomore at Boston Conservatory of Music, I remember saying on one of those tougher days at school, “I never really meant to go this far!”

I have always sung since I can remember. My earliest memory is on the picnic table in the backyard in Waltham, MA, singing into my hairbrush, “You’re just too good to be true, can’t take my eyes off of you.” I was coined a ham at a very young age though I was painfully shy. I remember being the angel in the Christmas Nativity scene year after holding-my-arm-up-for-an-hour year and having my folks tell me that I was the star. I must have gotten bored because, as they recall, I would stand over the manger with a huge Cheshire grin on my face, irreverently flapping my golden wings and beautifully made white sheet and gold-glittered costume over the supposed peacefully resting baby Jesus.

Apparently, I would perform my own mini-operas at home where I would throw myself against the kitchen door if I didn’t want to wear what my mother asked me too wear. She finally caught on and eventually would say, “OK Greta Garbo, put it on, you’re wearing it.”

I began singing in the Trinity Lutheran Choir with my folks and started lessons at age 15 with our Choir Director–Opera Singer, Carol Dawn Winkleman — my first taste of classical music. My first pieces were “This ring upon your finger” by Schubert (in English), and “The Wedding Song” and “The Daisies” by Barber. I got the bug and proceeded to sing the same line up at hundreds of weddings in my home towns of Chelmsford and Westford, MA, from ages 16 to 22.

My goal early in life was to be either a hairdresser or a secretary like my mom, so I went to Burdett School (second floor of the Prudential Building in Boston) for extensive training to be the best Executive Secretary/Administrator I could be. I did my intensive training, won competitions for typing, shorthand, and extemporaneous speaking (surprise), and then took a job with Digital Equipment Corporation at age 18, where I remained for four years.

When Carol Dawn moved away for her own operatic career and child bearing, my friend and I began lessons with a tenor named Sebastian Lima. He told me my voice was born to sing opera. He offered me his recording of Shirley Verrett’s “Che faro senza Eurdice” from Gluck’s Orfeo and I listened, got the score from the library, and learned it for the next lesson (Italian and all). My young ears thought I sounded just like her and I fell in love with opera, something I may never have come across had it not been for Sebastian Lima. I began taking two lessons a week and fell in love with opera — opera was just like me, sensitive, passionate, sometimes over the top, dramatic, and expressive — and the Opera Muse, and I have been courting ever since. So we did choose each other, perhaps like any destined relationship would! My favorite prose around my choice of this career is on my website.

~ Donna Olson, Mrs. Peachum in The Threepenny Opera

Marnie Breckenridge (Title role in this season’s Lucia di Lammermoor)
Ms. Breckenridge was recently a soloist at the San Francisco Song Festival, where she sang “Four Ben Johnson Songs” by Martin Hennessy, and “To an Absent Love” by San Francisco composer Kirke Mechem. She reprised the role of Lucia for the Indianapolis Opera earlier this May, and will sing Cunegonde in Bernstein’s Candide this August for Festival Opera of Walnut Creek.

Jordan Shanahan (Enrico in this season’s Lucia di Lammermoor)
Mr. Shanahan is will be covering the role of Ping in Turandot for the Santa Fe Opera this summer. In September, he will be singing Cimarosa’s Il maestro di capella with the Portland Chamber Orchestra. He will also be covering Nathan Gunn in the Metropolitan Opera’s world premiere of Tobias Picker’s An American Tragedy. In February, he will debut with Orlando Opera as Belcore in The Elixir of Love.

Patrice Houston (Alisa in this season’s Lucia di Lammermoor)
Ms. Houston recently sang Ulrica in San Francisco Lyric Opera’s production of Un ballo in maschera. She will be reprising the role in July for Festival Opera of Walnut Creek.

Sonia Gariaeff (Annio in this season’s La clemeza di Tito)
Ms. Gariaeff is currently singing Amoroso in Carnival in Venice with Donald Pippin’s Pocket Opera. On June 12, she will be giving a solo recital in San Francisco. Next year, she will be studying in England with several acclaimed mezzo-sopranos, including Anne Howells.

John Minágro (Basilio in last season’s Il barbiere di Siviglia)
Mr. Minágro sang Banquo in Berkeley Opera’s concert version of Macbeth earlier this May.

John Zuckerman (Almaviva in last season’s Il barbiere di Siviglia)
Mr. Zuckerman has been one of four young artists in Baltimore Opera’s Opera Studio program. On the Baltimore Opera stage, he has sung the roles of the Second Jew (Salome), Remendado (Carmen), Don Curzio (Le nozze di Figaro) and most recently Nathanael and Cochenille (Les contes d’Hoffmann).

Roberto Gomez (Viceroy Don Andrès in La Périchole, Spring ’03)
Mr. Gomez recently sang Angelotti for Opera San Jose’s production of Tosca. He will be singing Figaro in The Barber of Seville with Sacramento Opera this September.

Brett Colby (Piquillo in La Périchole, Spring ’03)
Mr. Colby is currently singing Spoletta (Tosca) for Opera Illinois. Other recent roles include his debut with Opera Delaware in the role of Beppe (Pagliacci) and the Four Servants (Hoffmanns Erzählungen) for the Theater Görlitz in Germany.

Elspeth Franks (Nicklausse in Les contes d’Hoffmann, Spring ’01)
Ms. Franks sang Suzuki in Madama Butterfly for San Francisco Lyric Opera earlier this May. She will be a featured soloist at the Carmel Bach Festival this July, and will sing Berta in The Barber of Seville for Sacramento Opera this September.

~ Mia Lieberman, Production Assistant

For this edition, West Bay Opera Production Manager Michele Sullivan talked to Steve Lowens about his experiences at West Bay Opera:

Spotlight: What was your background in opera before you volunteered?
Steve Lowens: I was a confirmed opera nut. I’ve enjoyed opera from the audience for over 30 years, in companies large and small, and all over the world, from Pocket Opera and West Bay Opera to the Met, La Scala, Vienna Staatsoper, and many others. I have a database that says I’ve seen over 650 opera performances, about 250 different operas (not counting the ones I’ve worked for West Bay Opera). I’ve sat in on master classes and rehearsals as part of San Francisco Opera’s Merola Opera Program. I’ve followed a couple of sopranos around the world (legally, of course!). I was an amateur opera critic for a journal called “Opera Guide” from 1988 to 1992. But all of it was from the viewpoint of the audience. I didn’t really know what was happening behind the curtain.

Spotlight: What have you learned “behind the curtain?”
Steve: I’ve learned how much hard work is going on by a wide range of talented people, how the teamwork we practice is really necessary to get the show on the stage, how incredibly nice the artists are (contrary to the stereotype of the diva and divo), and how important each one of our contributions is.

Spotlight: What are your main functions here at West Bay Opera?
Steve: I wear a three-cornered hat. I started on the scenic running crew, and have been doing that throughout my five years with the company. That includes everything from mopping the stage to moving scenery to escorting sopranos up a treacherous flight of steps in the dark. A few years ago, you asked me to help with the orchestra, and so I serve as the company’s “Pit Viper” (my own title), getting the pit ready before each performance and helping orchestra members with individual needs. This season, I’ve been learning the supertitles function as a backup to titles operator Stan Ulrich.

Spotlight: What parts of your jobs do you like the most?
Steve: I really like working with and supporting the artists. Our artists have a wide range of temperaments, and a kind word from someone on the crew at the right time can really help some of them. I have a pretty good ear for an amateur, and I like to listen to what they are doing vocally. When I hear something special, I like to let them know that someone other than their colleagues heard it. It helps them know that all their hard, detailed work has an appreciative audience.

Spotlight: Do you have any advice for someone thinking about volunteering?
Steve: Jump in with both feet! This is an incredibly nice group of people doing something they love and believe in. It’s easy to get started, and you can go anywhere your talents lead you. I’ve learned so much in my five years with the company, and continue to feel I’ve learned more than I’ve given back.

~ Interviewed by Michele Sullivan, Production Manager

Community theater productions are the result of hundreds of hours of volunteer effort. There are many areas available to participants of all ages and skill levels, including painting and decorating the sets you see onstage, constructing the costumes our singers wear, and even working backstage along with our crew and performers. There is no part of a production untouched by valued, irreplaceable volunteers.

The rewards of volunteering are countless. The satisfaction of helping with a project that enhances your community and entertains your friends, the fun of making new friends, the excitement of learning new skills, and a broadened awareness of the theater and the world are just a part of what you receive back.

On Wednesday, May 4th, West Bay Opera was the lucky recipient of the help of some very community-minded volunteers. “The Packard Foundation’s Executive Assistant group, comprised of all the executive assistants at the Foundation, chooses one volunteer event each year in which to participate,” says Susie Allen, a member of the group. “This year, we chose West Bay Opera. Helping their technical director, scenic artist, and set designer in painting the set for their upcoming The Threepenny Opera was an activity that the group could do together, during the workday, and which was located close to the Foundation. We had so much fun and felt so productive. Technical Director Jean-François was a great organizer and we felt like he really managed our day well.”

Volunteers from the Packard Foundation painting the scenery for The Threepenny Opera. Shown left to right are: Eunice Delumen, Heather Lilly, Susie Allen, Brad Colby, Tina Tan-Zane, Catharine Crane, and Cathy Winter.

West Bay Opera has a 50-year history of community involvement and volunteerism in all areas of the company. We appreciate the Packard Foundation’s help in continuing that tradition.

So get involved and be a part of our family. We’ll be waiting to hear from you!

Michele Sullivan, Production Manager
Phone: 650-843-3903
email: Michele@WBOpera.org

On March 18th this year, West Bay Opera was again fortunate to receive the volunteered help of Castilleja School. This marks the tenth year that Castilleja School girls have chosen West Bay Opera as one of the recipients in the local community for their Community Service Day.

Ten students and one teacher arrived bright and early that Friday morning, and stayed cheerful all day while doing various projects for our Costume Shop. Many of the girls were eager to tackle repair jobs, and set to work fixing bodices, skirts, and pants that had rips, missing snaps, and other problems that made them unwearable. Other girls took on the task of organizing and labeling the props, and other teams started sizing our garments and labeling them.

Castilleja volunteers “inspect” the costumes.

It was a wonderful day, and the help of the Castilleja School and their students was very much appreciated. Because of their annual participation, we can continue to offer costumes in the best possible state of repair to local theatre companies, our audience, and the general public looking for a period costume.

The Costume Shop is open Fridays from 1:00-4:00 PM and by special appointment by calling 650-843-3902 or emailing Costumes@WBOpera.org.

~ Heather Patterson, Costume Shop Supervisor
Photo © Heather Patterson

West Bay Opera is completing its third season of open dress rehearsals for West Bay Area high school and college students. Our rehearsals have been attended by students from choruses, music classes, drama workshops, and opera clubs in various public and private high schools and colleges, Peninsula Teen Opera, Ragazzi Boys Chorus, and some home-schooled high school students.

Our program allows them to see a fully staged opera. It also gives them the opportunity to meet with and hear an informal talk given by the director of each production.

The last three seasons have been rewarding for all concerned: students, their instructors, and the dedicated volunteers who are responsible for making this program a success. We have received many verbal and written expressions of appreciation from students and instructors. For most, this has been their first experience with live opera, and for many their first experience with opera in any form.

It has been quite exciting and rewarding to our volunteers to see the impact our program is having on the students, to witness their appreciation of opera and to allow instructors an opportunity to expand their curriculum. It is also rewarding to know we have shown opera to be an accessible art form.

Our Opera Education program has presented to us the added bonus of helping to create the next generation of opera audiences.

We are grateful to our volunteers for creating and distributing posters and invitations to the schools involved. We thank our volunteers who act as hosts during the dress rehearsals. We also thank Trader Joe’s, Menlo Park and Mountain View, for their generous donation of refreshments provided for students during intermissions.

The Threepenny Opera open dress rehearsal for students is on Wednesday, May 25. Lobby doors will open at 6:30 PM. Sonia Gariaeff, mezzo-soprano, will speak at 6:45. Students will be seated by 7:15, to hear an introduction by Kenneth Tigar, stage director.

Teachers and students interested in participating should email the following information to Education@WBOpera.org: high school, district, principal’s name or college name; contact person’s name, school address and telephone, evening telephone (if available), and email address.

~ Riva Bacon
High School & College Opera Education Coordinator
Photo © Otak Jump

On May 6, the West Bay Opera Guild broke with tradition and went to a public venue, the University Club on Foothill Expressway, to have their spring general meeting. The group was treated to a fantastic performance by Jessica Deardorff, mezzo soprano, accompanied by Paul Caccamo. Jessica was the winner of the 2004 Henry and Maria Holt Memorial Scholarship, and she gave a beautiful, entertaining performance of arias and an art song. Her accompanist treated the audience to a piano solo he had prepared for an upcoming recital by composer, Carl Czerny-more familiar to audiences as the writer of finger exercises than solo repertoire.

An important piece of business taken care of at this meeting was the election of new officers for 2005-06. Pat Campbell will continue as President. Andrea Smith will be the new Vice President. Rudy Kuehn, Treasurer, and Pam Trainer, Recording Secretary, will continue in their positions another year. Betsy Rose will be the Corresponding Secretary for the upcoming season, rounding out the complement of Guild officers.

The current Guild board is busy working with a consultant to put together a dynamic series of fundraising opportunities to support West Bay Opera during its 50th Anniversary Season.

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: