[NEohioPAL]Oberlin Opera Theater Presents Mozart's Le Nozze Di Figaro

[Marci Janas]

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OBERLIN Opera Theater News


FOR IMMEDIATE RELEASE:=A0=A0
February 24, 2005=A0
MEDIA CONTACT: Marci Janas=A0=A0=A0=A0=A0=A0=A0=A0=A0
440-775-8328 or
marci.janas at oberlin.edu

ACCLAIMED CONDUCTOR EVE QUELER CONDUCTS MOZART'S
CLASSIC COMEDY LE NOZZE DI FIGARO AT OBERLIN COLLEGE'S
HALL AUDITORIUM MARCH 16, 18, 19 & 20

Complimentary Media Tickets: 440-775-8328
Limited Seating Available for Weekend Performances
Call Oberlin College's Central Ticket Service at 440-775-8169


OBERLIN, OHIO -- Eve Queler, music director of the Opera
Orchestra of New York, will guest conduct the Oberlin Opera
Theater production of Wolfgang Amadeus Mozart's classic
comedy of errors, Le Nozze di Figaro. The curtain goes up on
Wednesday, March 16, at 8 p.m. in Oberlin College's Hall
Auditorium, located at 67 North Main St. on Route 58,
between the Oberlin Inn and the Allen Memorial Art Museum.
The opera will be sung in Italian with English supertitles. Eve Queler is
represented by Robert Lombardo and Associates.

Stage direction for Le Nozze di Figaro is by Jonathon Field,
associate professor of opera theater and director of opera
theater productions. One of Mozart's most popular works,
with a libretto by Lorenzo Da Ponte, Le Nozze di Figaro has
delighted centuries of audiences with its memorable
melodies and outrageous plot. "This is one of the more
brilliant operas from one of our more brilliant opera
composers," says Field. "The variety of music and characters
will make for a unique evening of music and theater. And Eve
Queler continues the Oberlin tradition of having first-rate
conductors for our opera students. Her work with
international performers and the Opera Orchestra of New York
make her an authority in the world of opera."

Performances of Le Nozze di Figaro are at 8 p.m. Wednesday,
Friday, and Saturday, March 16, 18, and 19, with a 2 p.m.
matinee on Sunday, March 20. Tickets are $5 for all students;
$8 for those with an Oberlin College I.D. (faculty, staff,
alumni, and parents), area educators, and senior citizens;
and $12 for the general public. All seats are reserved. Tickets
are $3 more when purchased at the door. Call Oberlin's
Central Ticket Service, located in the lobby of Hall Auditorium,
at 440-775-8169. Box office hours are noon to 5 p.m.
Monday through Friday. Hall Auditorium is wheelchair
accessible, parking is free, and hearing enhancement is
available upon request. Le Nozze di Figaro is sponsored by
the Oberlin Conservatory of Music's Opera Theater program
and produced in cooperation with the Oberlin College
Theater and Dance Program with generous support from the
Louis C. Sudler Fund.

Synopsis and Director's Notes
Figaro, the Count Almaviva's valet, and Susanna, the
Countess's maid, are about to be married. Figaro discovers
that the Count is determined to revive an old custom--the
seigniorial right to anticipate the bridegroom on a servant's
wedding night. He vows to outwit his master. Figaro's troubles
multiply as the aging Marcellina attempts, with the assistance
of the lawyer, Dr. Bartolo, to hold Figaro to a marriage
contract he has signed as a promissory note for a loan. The
page Cherubino complicates the situation by overhearing the
Count making advances to Susanna.

The Countess plots to punish her husband for his pursuit of
Susanna by sending Cherubino disguised as Susanna to a
rendezvous with the Count. While Susanna and the Countess
are dressing Cherubino, the Count arrives. Cherubino hides in
the closet. The Count finds the closet door locked and
accuses the Countess of infidelity. Cherubino escapes through
a window and Susanna takes his place. When she emerges the
Count is forced to apologize for his suspicions.

Since Cherubino has departed, the Countess decides that she
herself will go, disguised as Susanna, to meet her husband.=A0
The Countess helps Susanna write a letter inviting the Count
to the garden that night.

When Marcellina presses her case against Figaro, she
discovers to her surprise and delight that Figaro is her long-
lost natural son by Bartolo. During a double wedding for
Marcellina and Bartolo and Figaro and Susanna, Susanna
delivers the note to the Count. Figaro notices the Count when
he pricks his finger with the pin sealing the note, causing
Figaro to become jealous and suspicious.

In the darkness of the garden, the Countess and Susanna are
successfully mistaken for each other, and the Count woos his
own wife. When the Count is exposed, he is delighted to
rediscover the playful and clever woman the Countess was
when he first wooed her. He apologizes and recommits
himself to her.

Performers and Production Team
This production of Le Nozze di Figaro features Oberlin
Conservatory students double cast in the principal roles. The
principals alternate performances, with one cast appearing
Wednesday and Saturday, and the other Friday and Sunday.
The principal roles include Count Almaviva (Todd Boyce
'05, Edward Parks '06); Countess Almaviva (Megan Hart '05,
Jennifer Forni '06); Susanna, maid to the Countess (Marie
Masters '05, Colette Boudreaux '06); Figaro, valet to the Count
(Aaron Agulay '06, Jonathan Green '05); Cherubino, the
Count's page (Abigail Peters '05, Kathryn Leemhuis '05);
Bartolo, a doctor (Jason Bayus '05, Damien Pass '06);
Marcellina, Bartolo's housekeeper (Natasha Uspensky '05);
Don Curzio, the magistrate (Michael Sansoni '06); Antonio, the
gardener (Colin Levin '07); Barbarina, Antonio's daughter
(Megan Radder '05); Basilio (Alek Shrader '06).=A0 The members
of the chorus include Brian Coover '06, Jason Eck '08, Alexis
Grenier '06, Jennifer Jakob '07, Sam Levine '07, John Ordu=F1a
'06, Ilene Pabon '07, Alice Teyssier '06, Justin Manalad '08,
Kira McGirr '06, Sheena Ramirez '06, and Kevin Ray '07.

The Oberlin production team of professional staff and
students includes: Assistant Music Director Alan Montgomery;
Assistant Director and Stage Manager Victoria Vaughan;
Scenic Designer Damen Mroczek, lecturer in theater;
Managing Director/Technical Director Michael Louis Grube,
associate professor of theater; Costume Designer Chris
Flaharty, associate professor of theater; Lighting Designer and
Sound Engineer Jen Groseth, lecturer in theater; Elizabeth
Johnson '07 and Carlin Singer '06 are assistant stage
managers; and Sarah Klauer '07 is in charge of properties.

Wolfgang Amadeus Mozart (Composer, 1756-1791) is the
first composer whose operas have never been out of the
repertory. His comprehensive mastery of three genres, opera
seria, opera buffa and Singspiel, is unmatched in operatic
history; and although he wrote no operas in French, opera
comique is represented in translation by Bastien und
Bastienne and trag=E9die lyrique by his first masterpiece,
Idomeneo. This achievement is founded on his genius for
assimilation and in the circumstances of his life and early
experience of operatic genres.=A0 (Information from Grove
Music)

Eve Queler (Conductor), music director of the Opera Orchestra
of New York, has conducted more than 90 operas in concert
at Carnegie Hall. Standing out among her many successes are
Wagner's Rienzi and Tristan und Isolde, Berlioz' Benvenuto
Cellini, Smetana's Dalibor, and Strauss' Die Liebe der
Danae. In 2003 she received one of the highest awards
presented by the French government when she was named a
Chevalier de l'Ordre des Arts et des Lettres by the French
Minister of Culture for her commitment to French
operas and singers. Queler was also recently
presented with the prestigious Touchstone Award from
Women In Music, Inc., in recognition of her visionary spirit as
one of the "Women Who Make a Difference." Queler
has championed many neglected Russian and Czech operas
that are staples in Central Europe but virtually unknown in
America. She was the first conductor here to perform
Mussorgsky's unfinished Khovanshchina with orchestration by
Shostakovich, as well as the first Czech-language
performance of Janacek's Jenufa.

In addition to her extensive accomplishments as a conductor
of standard and rare works in both opera and symphonic
repertory, Queler has given critical early exposure to many
young singers who have gone on to become the foremost
artists of our time: Jose Carreras, Ren=E9e Fleming, James
Morris, and Deborah Voigt, to name a few. Eve Queler has
guest conducted worldwide, including: Mazeppa with the
Kirov Opera in St. Petersburg, Russia; Don Pasquale with the
Hamburg Oper; Tancredi with the Frankfurt Oper; Fidelio,
Jenufa and La traviata with Oper Bonn; Der fliegende Holl=E4nder
in Kassel; The Abduction from the Seraglio with the Australian
Opera in Sydney; I vespri siciliani and Parisina d'Este at the
Liceu in Barcelona and Nice Opera; Anna Bolena with the San
Diego Opera; La boh=E8me with the Utah Opera; I puritani in
Royal Festival Hall, London; Lakm=E9 in Caracas; Tales of
Hoffmann in South Africa; and opera gala concerts at the Salle
Pleyel, Paris, and with the Honolulu Symphony and Hong Kong
Philharmonic. Last fall she led Rossini's Elisabetta, regina
d'Inghilterra at Buenos Aires' legendary Teatro Col=F3n. She has
conducted numerous symphony orchestras, including the
Philadelphia Orchestra, Cleveland Orchestra, Rome Opera,
Montreal Symphony, and San Antonio Symphony. A native New
Yorker, Ms. Queler studied conducting with Carl Bamberger at
the Mannes College of Music and with Joseph Rosenstock.
Early in her career, Queler served as rehearsal accompanist and
coach with the Metropolitan Opera Studio and for five years
was assistant conductor to Julius Rudel at the New York City
Opera.

Jonathon Field (Director) has directed more than 90
productions and is becoming one of America's most sought-
after stage directors.=A0 He has directed touring productions for
the Lyric Opera of Chicago of Trouble in Tahiti, Gianni
Schicchi, The Old Maid and the Thief, and The Spanish Hour.
For San Francisco Opera's Western Opera Theatre he directed
La Cenerentola and Die Fledermaus and for Seattle Opera, an
updated version of La Boh=E8me. In San Francisco he has also
directed Tchaikovsky's Eugene Onegin and Mussorgsky's Boris
Godunov in the original Russian.=A0 He has directed 10
productions for the Arizona Opera, being deemed by the
press "their most perceptive stage director." Since coming to
the Oberlin Conservatory of Music in 1997, he has directed
Carmen, Slow Dusk, The Old Maid and the Thief, Rom=E9o et
Juliette, Cos=EC fan Tutte, Manon, Don Giovanni, Coyote Tales,
La Cenerentola, Die Fledermaus, The Rake's Progress, The
Bartered Bride, and Alcina. As artistic director of Lyric Opera
Cleveland, Field directed the 2002 production of Don
Giovanni, which was nominated for the Northern Ohio Live
Award of Achievement in classical music/opera.=A0In the
2004 season Mr. Field directed Cos=EC fan Tutte and artistic
directed Little Women.=A0 During the summer of 2005 Field will
continue in his fifth year as artistic director of Lyric Opera
Cleveland. This summer they will present Rossini's The Barber
of Seville with Rossini expert Francis Graffeo as conductor;
She Loves Me with Jacqi Loewy as stage director, and the Ohio
premiere of the Philip Glass opera The Fall of the House of
Usher. Based on the Edgar Allan Poe story, Usher will be
conducted by Mary Chun, who led their forces in I Was Looking
 at the Ceiling, and Then I Saw the Sky, by John Adams and
June Jordan,  three years ago.

The Oberlin Conservatory of Music, founded in 1865 and
situated within the intellectual vitality of Oberlin College since 1867,
is the oldest continuously operating conservatory in the United States.
It is renowned internationally as a professional music school of the=20
highest
caliber, and its alumni have gone on to achieve illustrious careers in all
aspects of the serious music world. Numerous Oberlin alumni have
attained stature as solo performers, composers, and conductors, among them
Jennifer Koh, Steven Isserlis, Denyce Graves, Franco Farina, Lisa Saffer,=20
George
Walker, Christopher Rouse, David Zinman, and Robert Spano. All of
the members of the contemporary music ensembles eighth blackbird and the
International Contemporary Ensemble (ICE) are Oberlin graduates, and
members of the Mir=F3, Pacifica, Juilliard, and Fry Street quartets, among=20
others,
include Oberlin alumni, who can also be found in major orchestras and opera
companies throughout the world.


=A0THE OBERLIN CONSERVATORY OF MUSIC OPERA THEATER=A0
LE NOZZE DI FIGARO
By Wolfgang Amadeus Mozart
Libretto by Lorenzo Da Ponte

Eve Queler, conductor
Jonathon Field, stage director

Wednesday, March 16 at 8 p.m.
Friday, March 18 at 8 p.m.
Saturday, March 19 at 8 p.m.
Sunday, March 20 at 2 p.m.

RESERVED SEATING TICKETS:
$5 All Students
$8 Oberlin College ID (faculty, staff, alumni, and parents)
$8 Educators
$8 Senior Citizens
$12 Public
ALL TICKETS $3 MORE WHEN PURCHASED AT THE DOOR

CENTRAL TICKET SERVICE
(440) 775-8169
Located in the lobby of Hall Auditorium.
Open Noon to 5 p.m.
Monday -- Friday

HALL AUDITORIUM
Hall Auditorium, 67 N. Main Street on
Route. 58, between the Oberlin Inn and
the Allen Memorial Art Museum.=A0
Free Parking.


FREE OPERA SCENES PROGRAM
4 p.m. & 8 p.m., Saturday, May 16; Finney Chapel
Excerpts from:
Cosi Fan Tutte
Elisir d'Amore
The Ballad of Baby Doe

# # #

MEDIA CONTACT:
MARCI JANAS
440-775-8328
marci.janas at oberlin.edu
www.oberlin.edu/con
www.oberlin.edu/~events
www.oberlin.edu/operathe



Oberlin Conservatory of Music
 Office of Public Relations
 39 West College Street
 Oberlin OH 44074-1576
Phone 440-775-8328
Fax 440-775-5457
CTS Box Office 440-775-8169



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<fontfamily><param>Palatino</param><center><bigger><bigger><bold>OBERLIN =
Opera Theater News</bold>



FOR IMMEDIATE RELEASE:=A0=A0

February 24, 2005=A0

MEDIA CONTACT: Marci Janas=A0=A0=A0=A0=A0=A0=A0=A0=A0  =20

440-775-8328 or=20

marci.janas at oberlin.edu

     =20

<bold>ACCLAIMED CONDUCTOR EVE QUELER CONDUCTS MOZART'S=20

CLASSIC COMEDY <italic>LE NOZZE DI FIGARO</italic> AT OBERLIN COLLEGE'S=20

HALL AUDITORIUM MARCH 16, 18, 19 & 20</bold>


Complimentary Media Tickets: 440-775-8328

Limited Seating Available for Weekend Performances

Call Oberlin College's Central Ticket Service at 440-775-8169



OBERLIN, OHIO -- Eve Queler, music director of the Opera=20

Orchestra of New York, will guest conduct the Oberlin Opera=20

Theater production of Wolfgang Amadeus Mozart's classic=20

comedy of errors, <italic>Le Nozze di Figaro</italic>. The curtain goes up =
on=20

<bold>Wednesday, March 16, at 8 p.m. in Oberlin College's Hall=20

Auditorium,</bold> located at 67 North Main St. on Route 58,=20

between the Oberlin Inn and the Allen Memorial Art Museum.=20

The opera will be sung in Italian with English supertitles. Eve Queler is=20

represented by Robert Lombardo and Associates.


Stage direction for <italic>Le Nozze di Figaro</italic> is by Jonathon =
Field,=20

associate professor of opera theater and director of opera=20

theater productions. One of Mozart's most popular works,=20

with a libretto by Lorenzo Da Ponte, <italic>Le Nozze di Figaro</italic> =
has=20

delighted centuries of audiences with its memorable=20

melodies and outrageous plot. "This is one of the more=20

brilliant operas from one of our more brilliant opera=20

composers," says Field. "The variety of music and characters=20

will make for a unique evening of music and theater. And Eve=20

Queler continues the Oberlin tradition of having first-rate=20

conductors for our opera students. Her work with=20

international performers and the Opera Orchestra of New York=20

make her an authority in the world of opera."


Performances of <italic>Le Nozze di Figaro</italic> are at <bold>8 p.m. =
Wednesday,=20

Friday, and Saturday, March 16, 18, and 19, with a 2 p.m.=20

matinee on Sunday, March 20. Tickets are $5 for all students;=20

$8 for those with an Oberlin College I.D. (faculty, staff,=20

alumni, and parents), area educators, and senior citizens;=20

and $12 for the general public. All seats are reserved. Tickets=20

are $3 more when purchased at the door.</bold> Call Oberlin's=20

Central Ticket Service, located in the lobby of Hall Auditorium,=20

at 440-775-8169. Box office hours are noon to 5 p.m.=20

Monday through Friday. Hall Auditorium is wheelchair=20

accessible, parking is free, and hearing enhancement is=20

available upon request. <italic>Le Nozze di Figaro</italic> is sponsored by =


the Oberlin Conservatory of Music's Opera Theater program=20

and produced in cooperation with the Oberlin College=20

Theater and Dance Program with generous support from the=20

Louis C. Sudler Fund.


<bold>Synopsis and Director's Notes</bold>

Figaro, the Count Almaviva's valet, and Susanna, the=20

Countess's maid, are about to be married. Figaro discovers=20

that the Count is determined to revive an old custom--the=20

seigniorial right to anticipate the bridegroom on a servant's=20

wedding night. He vows to outwit his master. Figaro's troubles=20

multiply as the aging Marcellina attempts, with the assistance=20

of the lawyer, Dr. Bartolo, to hold Figaro to a marriage=20

contract he has signed as a promissory note for a loan. The=20

page Cherubino complicates the situation by overhearing the=20

Count making advances to Susanna.


The Countess plots to punish her husband for his pursuit of=20

Susanna by sending Cherubino disguised as Susanna to a=20

rendezvous with the Count. While Susanna and the Countess=20

are dressing Cherubino, the Count arrives. Cherubino hides in=20

the closet. The Count finds the closet door locked and=20

accuses the Countess of infidelity. Cherubino escapes through=20

a window and Susanna takes his place. When she emerges the=20

Count is forced to apologize for his suspicions.


Since Cherubino has departed, the Countess decides that she=20

herself will go, disguised as Susanna, to meet her husband.=A0=20

The Countess helps Susanna write a letter inviting the Count=20

to the garden that night.


When Marcellina presses her case against Figaro, she=20

discovers to her surprise and delight that Figaro is her long-

lost natural son by Bartolo. During a double wedding for=20

Marcellina and Bartolo and Figaro and Susanna, Susanna=20

delivers the note to the Count. Figaro notices the Count when=20

he pricks his finger with the pin sealing the note, causing=20

Figaro to become jealous and suspicious.


In the darkness of the garden, the Countess and Susanna are=20

successfully mistaken for each other, and the Count woos his=20

own wife. When the Count is exposed, he is delighted to=20

rediscover the playful and clever woman the Countess was=20

when he first wooed her. He apologizes and recommits=20

himself to her.


<bold>Performers and Production Team</bold>

This production of <italic>Le Nozze di Figaro</italic> features Oberlin=20

Conservatory students double cast in the principal roles. The=20

principals alternate performances, with one cast appearing=20

Wednesday and Saturday, and the other Friday and Sunday.=20

The principal roles include Count Almaviva (Todd Boyce=20

'05, Edward Parks '06); Countess Almaviva (Megan Hart '05,=20

Jennifer Forni '06); Susanna, maid to the Countess (Marie=20

Masters '05, Colette Boudreaux '06); Figaro, valet to the Count=20

(Aaron Agulay '06, Jonathan Green '05); Cherubino, the=20

Count's page (Abigail Peters '05, Kathryn Leemhuis '05);=20

Bartolo, a doctor (Jason Bayus '05, Damien Pass '06);=20

Marcellina, Bartolo's housekeeper (Natasha Uspensky '05);=20

Don Curzio, the magistrate (Michael Sansoni '06); Antonio, the=20

gardener (Colin Levin '07); Barbarina, Antonio's daughter=20

(Megan Radder '05); Basilio (Alek Shrader '06).=A0 The members=20

of the chorus include Brian Coover '06, Jason Eck '08, Alexis=20

Grenier '06, Jennifer Jakob '07, Sam Levine '07, John Ordu=F1a=20

'06, Ilene Pabon '07, Alice Teyssier '06, Justin Manalad '08,=20

Kira McGirr '06, Sheena Ramirez '06, and Kevin Ray '07.


The Oberlin production team of professional staff and=20

students includes: Assistant Music Director Alan Montgomery;=20

Assistant Director and Stage Manager Victoria Vaughan;=20

Scenic Designer Damen Mroczek, lecturer in theater;=20

Managing Director/Technical Director Michael Louis Grube,=20

associate professor of theater; Costume Designer Chris=20

Flaharty, associate professor of theater; Lighting Designer and=20

Sound Engineer Jen Groseth, lecturer in theater; Elizabeth=20

Johnson '07 and Carlin Singer '06 are assistant stage=20

managers; and Sarah Klauer '07 is in charge of properties.


<bold>Wolfgang Amadeus Mozart</bold> (Composer, 1756-1791) is the=20

first composer whose operas have never been out of the=20

repertory. His comprehensive mastery of three genres, <italic>opera=20

seria, opera buffa</italic> and Singspiel, is unmatched in operatic=20

history; and although he wrote no operas in French, <italic>opera</italic>=20

<italic>comique</italic> is represented in translation by <italic>Bastien =
und=20

Bastienne</italic> and <italic>trag=E9die lyrique</italic> by his first =
masterpiece,=20

<italic>Idomeneo</italic>. This achievement is founded on his genius for=20

assimilation and in the circumstances of his life and early=20

experience of operatic genres.=A0 (Information from <italic>Grove</italic>=20

<italic>Music</italic>)


<bold>Eve Queler </bold>(Conductor), music director of the Opera Orchestra=20

of New York, has conducted more than 90 operas in concert=20

at Carnegie Hall. Standing out among her many successes are=20

Wagner's <italic>Rienzi</italic> and <italic>Tristan und Isolde</italic>, =
Berlioz' <italic>Benvenuto</italic>=20

<italic>Cellini</italic>, Smetana's <italic>Dalibor</italic>, and Strauss' =
<italic>Die Liebe der</italic>=20

<italic>Danae</italic>. In 2003 she received one of the highest awards=20

presented by the French government when she was named a=20

<italic>Chevalier de l'Ordre des Arts et des Lettres</italic> by the French =


Minister of Culture for her commitment to French=20

operas and singers. Queler was also recently=20

presented with the prestigious Touchstone Award from=20

Women In Music, Inc., in recognition of her visionary spirit as=20

one of the "Women Who Make a Difference." Queler=20

has championed many neglected Russian and Czech operas=20

that are staples in Central Europe but virtually unknown in=20

America. She was the first conductor here to perform=20

Mussorgsky's unfinished <italic>Khovanshchina</italic> with orchestration =
by=20

Shostakovich, as well as the first Czech-language=20

performance of Janacek's <italic>Jenufa</italic>.


In addition to her extensive accomplishments as a conductor=20

of standard and rare works in both opera and symphonic=20

repertory, Queler has given critical early exposure to many=20

young singers who have gone on to become the foremost=20

artists of our time: Jose Carreras, Ren=E9e Fleming, James=20

Morris, and Deborah Voigt, to name a few. Eve Queler has=20

guest conducted worldwide, including: <italic>Mazeppa</italic> with the=20

Kirov Opera in St. Petersburg, Russia; <italic>Don Pasquale</italic> with =
the=20

Hamburg Oper; <italic>Tancredi</italic> with the Frankfurt Oper; =
<italic>Fidelio</italic>,=20

<italic>Jenufa</italic> and <italic>La traviata</italic> with Oper Bonn; =
<italic>Der fliegende Holl=E4nder </italic>

in Kassel; <italic>The Abduction from the Seraglio</italic> with the =
Australian=20

Opera in Sydney; <italic>I vespri siciliani </italic>and <italic>Parisina =
d'Este</italic> at the=20

Liceu in Barcelona and Nice Opera; <italic>Anna Bolena</italic> with the =
San=20

Diego Opera; <italic>La boh=E8me</italic> with the Utah Opera; <italic>I =
puritani</italic> in=20

Royal Festival Hall, London; <italic>Lakm=E9</italic> in Caracas; =
<italic>Tales of</italic>=20

<italic>Hoffmann</italic> in South Africa; and opera gala concerts at the =
Salle=20

Pleyel, Paris, and with the Honolulu Symphony and Hong Kong=20

Philharmonic. Last fall she led Rossini's <italic>Elisabetta, regina =
</italic>

<italic>d'Inghilterra</italic> at Buenos Aires' legendary Teatro Col=F3n. =
She has=20

conducted numerous symphony orchestras, including the=20

Philadelphia Orchestra, Cleveland Orchestra, Rome Opera,=20

Montreal Symphony, and San Antonio Symphony. A native New=20

Yorker, Ms. Queler studied conducting with Carl Bamberger at=20

the Mannes College of Music and with Joseph Rosenstock.=20

Early in her career, Queler served as rehearsal accompanist and=20

coach with the Metropolitan Opera Studio and for five years=20

was assistant conductor to Julius Rudel at the New York City=20

Opera.


<bold>Jonathon Field</bold> (Director) has directed more than 90=20

productions and is becoming one of America's most sought-

after stage directors.=A0 He has directed touring productions for=20

the Lyric Opera of Chicago of <italic>Trouble in Tahiti</italic>, =
<italic>Gianni</italic>=20

<italic>Schicchi</italic>, <italic>The Old Maid and the Thief</italic>, and =
<italic>The Spanish Hour</italic>.=20

For San Francisco Opera's Western Opera Theatre he directed=20

<italic>La Cenerentola</italic> and <italic>Die Fledermaus</italic> and for =
Seattle Opera, an=20

updated version of <italic>La Boh=E8me</italic>. In San Francisco he has =
also=20

directed Tchaikovsky's <italic>Eugene Onegin</italic> and Mussorgsky's =
<italic>Boris</italic>=20

<italic>Godunov</italic> in the original Russian.=A0 He has directed 10=20

productions for the Arizona Opera, being deemed by the=20

press "their most perceptive stage director." Since coming to=20

the Oberlin Conservatory of Music in 1997, he has directed=20

<italic>Carmen, Slow Dusk, The Old Maid and the Thief, Rom=E9o et </italic>

<italic>Juliette, Cos=EC fan Tutte, Manon, Don Giovanni, Coyote Tales, =
</italic>

<italic>La Cenerentola, Die Fledermaus, The Rake's Progress</italic>, =
<italic>The</italic>=20

<italic>Bartered Bride</italic>, and <italic>Alcina</italic>. As artistic =
director of Lyric Opera=20

Cleveland, Field directed the 2002 production of <italic>Don</italic>=20

<italic>Giovanni</italic>, which was nominated for the Northern Ohio Live=20

Award of Achievement in classical music/opera.=A0In the=20

2004 season Mr. Field directed <italic>Cos=EC fan Tutte</italic> and =
artistic=20

directed <italic>Little Women</italic>.=A0 During the summer of 2005 Field =
will=20

continue in his fifth year as artistic director of Lyric Opera=20

Cleveland. This summer they will present Rossini's <italic>The =
Barber</italic>=20

<italic>of Seville</italic> with Rossini expert Francis Graffeo as =
conductor;=20

<italic>She Loves M</italic>e with Jacqi Loewy as stage director, and the =
Ohio=20

premiere of the Philip Glass opera <italic>The Fall of the House of =
</italic>

<italic>Usher</italic>. Based on the Edgar Allan Poe story, =
<italic>Usher</italic> will be=20

conducted by Mary Chun, who led their forces in <italic>I Was Looking

 at the Ceiling, and Then I Saw the Sky, </italic>by John Adams and=20

June Jordan,<italic> </italic> three years ago.


<bold>The Oberlin Conservatory of Music</bold>, founded in 1865 and=20

situated within the intellectual vitality of Oberlin College since 1867,

is the oldest continuously operating conservatory in the United States.=20

It is renowned internationally as a professional music school of the =
highest=20

caliber, and its alumni have gone on to achieve illustrious careers in all=20

aspects of the serious music world. Numerous Oberlin alumni have=20

attained stature as solo performers, composers, and conductors, among them=20

Jennifer Koh, Steven Isserlis, Denyce Graves, Franco Farina, Lisa Saffer, =
George=20

Walker, Christopher Rouse, David Zinman, and Robert Spano. All of=20

the members of the contemporary music ensembles eighth blackbird and the=20

International Contemporary Ensemble (ICE) are Oberlin graduates, and=20

members of the Mir=F3, Pacifica, Juilliard, and Fry Street quartets, among =
others,=20

include Oberlin alumni, who can also be found in major orchestras and opera =


companies throughout the world.



<bold><underline>=A0THE OBERLIN CONSERVATORY OF MUSIC OPERA =
THEATER</underline></bold>=A0      =20

<bold><italic>LE NOZZE DI FIGARO</italic></bold>

By Wolfgang Amadeus Mozart

Libretto by Lorenzo Da Ponte


Eve Queler, <italic>conductor</italic>

Jonathon Field, <italic>stage</italic> <italic>director</italic>


<bold>Wednesday, March 16 at 8 p.m.

Friday, March 18 at 8 p.m.

Saturday, March 19 at 8 p.m.

Sunday, March 20 at 2 p.m.</bold>


<bold>RESERVED SEATING TICKETS:</bold>

$5 All Students

$8 Oberlin College ID (faculty, staff, alumni, and parents)

$8 Educators

$8 Senior Citizens

$12 Public

<italic>ALL TICKETS $3 MORE WHEN PURCHASED AT THE DOOR</italic>


<bold>CENTRAL TICKET SERVICE

(440) 775-8169</bold>

Located in the lobby of Hall Auditorium.

Open Noon to 5 p.m.

Monday -- Friday


<bold>HALL AUDITORIUM</bold>

Hall Auditorium, 67 N. Main Street on

Route. 58, between the Oberlin Inn and

the Allen Memorial Art Museum.=A0

Free Parking.



<bold>FREE OPERA SCENES PROGRAM</bold>

4 p.m. & 8 p.m., Saturday, May 16; Finney Chapel

Excerpts from:

<italic>Cosi Fan Tutte

Elisir d'Amore

The Ballad of Baby Doe</italic>


<color><param>9999,6666,9999</param># # #

</color>

MEDIA CONTACT:

MARCI JANAS

440-775-8328

marci.janas at oberlin.edu

www.oberlin.edu/con

www.oberlin.edu/~events

www.oberlin.edu/operathe




Oberlin Conservatory of Music=20

 Office of Public Relations=20

 39 West College Street=20

 Oberlin OH 44074-1576=20

Phone 440-775-8328 =20

Fax 440-775-5457

CTS Box Office 440-775-8169



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