OPERA WESTERN RESERVE PRESENTS GIUSEPPE VERDI’S
La Traviata
Friday, November 22 – 7:30 pm
Edward W. Powers Auditorium | DeYor Performing Arts Center
Written by Italian composer Giuseppe Verdi, La Traviata is an opera in three acts. The libretto, written by Francesco Maria Piave, is based on the play La Dame aux camélias by Alexander Dumas fils, which itself was adapted from Dumas’ novel of the same name.
Alisa Jordheim, Soprano
Violetta
This season soprano Alisa Jordheim sings Daria in Viva la mamma in a return to Florentine Opera, Adina in L’elisir d’amore with the New Philharmonic, her role debut as Violetta in La traviata with Opera Western Reserve, and sings Carmina Burana in a return to Pacific Symphony. Her recent credits include: Musetta in La bohème (Pacific Symphony); Berginella in Songbird (Florentine Opera); Gilda in Rigoletto (Pacific Symphony, Central City Opera, San Diego Opera, Amarillo Opera); Mahler’s Symphony No. 4 and Prangcharoen’s Endless Tears (Thailand Philharmonic); Susanna in Le nozze di Figaro (Virginia Opera); Adele in Die Fledermaus (Central City Opera); First Maid in Der Zwerg (Enescu Festival); Clothilde in Pacini’s Maria, regina d’Inghilterra (Odyssey Opera); Hannah in The Merry Widow (New Philharmonic); Rossini’s Stabat Mater (Bach Collegium San Diego); Ninetta in Rossini’s La Gazza Ladra (Teatro Nuovo); Mozart’s Exsultate Jubilate (Milwaukee Symphony); Mozart’s Mass in C minor (Bel Canto Chorus); Cunegonde in Candide (Palm Beach Opera); 1st Knappe in Parsifal (Paris Opera); Venus in Venus and Adonis and Belinda in Dido and Aeneas (Florentine Opera); and Rosina in Il Barbiere di Siviglia (Boston Midsummer Opera). Ms Jordheim holds both a Master of Music and Bachelor of Music from the University of Cincinnati College-Conservatory of Music.
Jose Simerilla Romero, Tenor
Alfredo
This season, rising young Argentinian-Spanish-American tenor Jose Simerilla Romero returns to the role of Alfredo in La Traviata in his debuts with both Theater Basel, sings his first performances of Cavaradossi in Tosca in a co-production with Opéra de Limoges and Opéra de Vichy, sings his first performances of Pinkerton in Madama Butterfly in his debut with New National Theater Tokyo, returns to Staatsoper Hannover for staged performances of Verdi’s Requiem, and joins acclaimed soprano Eric Nakamura in concert with Latvian National Opera. Last season he made his English National Opera debut as Alfredo in La Traviata, joined the Neue Philharmonie München in concert, and returned to Staatsoper Hannover for his role debut as Lensky in Eugene Onegin, Nemorino in L’elisir d’amore, and Verdi’s Messa da Requiem. Other recent performances include: Laërte in Hamlet (Komische Oper); Rodolfo in La bohéme, Prince Gwidon in Zar Saltan, and Chevalier de la Force in Dialogues des Carmélites (Staatsoper Hannover); Alfredo in La traviata and Rodolfo in La bohéme (Nederlandse Reisopera); Jaquino in Fidelio (LA Philharmonic); Rodolfo in La bohéme (Grand Tetons Music Festival); Duca in Rigoletto (Florida Grand Opera); and Shepard in Oedipus Rex (San Francisco Syphony). Mr. Romero holds degrees from both Valencia College and Stetson University.
Luis Ledesma, Baritone
Germont
Mexican American baritone Luis Ledesma has established a reputation as a “rich and well controlled baritone” (Opera News). He frequently portrays the heroes and villains of Puccini, Verdi, and the bel canto masters, as well as roles in recent new works in Spanish including Florencia en el Amazonas and El pasado nunca se termina, which featured débuts with Lyric Opera of Chicago, Houston Grand Opera, San Diego Opera, and a return to New York City Opera.
Recent engagements include Scarpia for Opera Colorado, a Founders Concert with Maryland Opera, the title role in Gianni Schicchi for On Site Opera in New York, the Payador in Maria de Buenos Aires with Kentucky Opera, Tonio in Pagliacci with Sacramento Symphony, and with the Toledo Symphony, an all-Puccini concert which included the Messa di Gloria and Il tabarro. Last season, Mr. Ledesma was seen as Rigoletto for Portland Opera in the Park, in concert with Opera Omaha, and with South Florida Symphony for Beethoven’s Symphony No. 9. He joins Portland Opera in the Park and Opera Western Reserve this season to sing Germont in La traviata. Other recent engagements include Sharpless in Madama Butterfly with Opera Omaha and Pacific Symphony, Augustino in El pasado nunca se termina with Fort Worth Opera, Carmina Burana with the Acadiana Symphony, and the title role in Macbeth with Syracuse Opera
Rachael Pavloski, Mezzo-Soprano
Flora
Rachael Pavloski is happy to be reprising her role as Flora at Opera Western Reserve. She has a master’s in vocal performance from the Cleveland Institute of Music and a bachelor’s degree in music education from the University of Toledo. Ms. Pavloski has sung professionally with Opera Cleveland, Cleveland Opera, the Akron Symphony, Akron Lyric Opera Theatre, the Canton Symphony, Opera Western Reserve in Youngstown and with the Master Singers Chorale of Northeast Ohio. Roles that she has performed in include: Alisa in Lucia di Lammermoor, Ms. Macmillan in Big the Musical, Flora in La Traviata, Lucy in Threepenny Opera, Johanna in Sweeney Todd, Irene Molloy in Hello Dolly, Kate Pinkerton in Madama Butterfly, and Ramiro in La Finta Giardiniera.
Sarah Joyce Cooper, Soprano
Annina
Sarah Joyce Cooper has received praise for her “meltingly beautiful” (Opera News) singing and “passionate power” (Parterre Box). Highlights for the 2024-25 season include her debut with Seattle Opera as Minnie Tate in the world premiere of Tazewell Thompson’s Jubilee, the role of Tebaldo in Verdi’s Don Carlo with the Boston Youth Symphony Orchestra, and the title role in American Jezebel, a world premiere opera commissioned by Harvard University that tells the story of theologian, midwife, scholar, and co-founder of Rhode Island, Anne Hutchinson. Recent performances include soloist appearances at Carnegie Hall in Poulenc’s Gloria and John Rutter’s Magnificat; the roles of Eva and Gabriel in Haydn’s Creation with the MIT Concert Choir and Handel and Haydn Society Chamber Choir; and her debut with the Ridgefield Symphony Orchestra in Strauss’s Vier letzte Lieder. Operatic credits include Adina in L’Elisir d’amore (Geneva Light Opera), Juliette in Roméo et Juliette (Opera Western Reserve), Clorinda in La Cenerentola (Syracuse Opera), Violetta in La Traviata (MassOpera) and La Charmeuse in Thaïs (Maryland Lyric Opera). In addition to performing, Ms. Cooper serves as Executive Assistant for Help!ComeHome!, a nonprofit dedicated to meeting the needs of under-served communities throughout the US.
Jaehyuk Choi, Tenor
Gastone
Tenor Jaehyuk Choi is currently a Doctor of Musical Arts student in voice performance at the University
of Nebraska-Lincoln, where he holds a Graduate Teaching Assistantship and fellowship. He has won
numerous vocal competitions, including the 14th Lois Alba International Aria Competition (Robin Angly
and Miles Smith Award & 1st Place Max Locher Audience Choice Award), 1st prize at the Greater Houston
NATS Competition, Daegu Vocal Music Competition, and Belvedere International Competition Seoul
chapter, among others.
He has performed opera roles such as Roberto in Le Villi, Alfredo in La Traviata, Alfred in Die
Fledermaus, and Tamino in The Magic Flute. As a soloist, he has performed in Handel’s Messiah,
Schumann’s Requiem, and Bruckner’s Te Deum. He has an upcoming performance of Beethoven’s
Symphony No. 9 with the Symphony of Southeast Texas.
Brian Keith Johnson, Baritone
Barone
Brian Keith Johnson has performed many roles in opera from Figaro in il barbiere di Siviglia to Ford in Falstaff. As a member of Actors’ Equity Association, he has also performed a variety of musical theatre roles ranging from Jim in Big River to Father/God in Children of Eden. His concert repertoire includes most of the major baritone works such as Carmina Burana, Elijah, The Verdi Requiem, Beethoven’s Ninth Symphony, The Brahms Requiem and The Faure’ Requiem. He has performed operatic and musical theatre roles across the United States including performances with The Cleveland Orchestra, Akron Symphony Orchestra, Canton Symphony Orchestra, Cleveland Opera, Lyric Opera Cleveland, Blossom Festival Orchestra, Opera Theatre of Pittsburgh, Opera Western Reserve, Carolina Master Chorale, Charlotte Symphony Orchestra and Porthouse Theatre. Mr. Johnson received his BM Degree from The University of Akron and has also studied abroad at The New Opera Academy of Rome in Rome, Italy and The American Institute of Musical Studies in Graz, Austria. Brian is currently in his 35th year of teaching music in The Akron Public School System. He taught 27 years at Akron Garfield High School as the Choir Director. His current assignment is teaching General Music at Findley CLC. Favorite engagements from this past season include Sweeney Todd and Ragtime (Coalhouse Walker Jr) at Weathervane Playhouse, Dvorak’s Te Deum, Two Concerts with The Cleveland Composer’s Guild, Michael Haydn’s Requiem in C Minor, Willcocks’ From Darkness To Light: A Requiem of Hope, The Messiah, Amahl and the Night Visitors and The Brahms Requiem. This season he will sing two Messiahs, Alice and Her Adventures in Wonderland with Nightingale Opera and Mozart’s C Minor Mass with The Akron Symphony Orchestra and Ragtime, The Concert with The Canton Symphony Orchestra. Brian lives in Cuyahoga Falls with his wife and Akron Public Schools Kindergarten Teacher, Sue. Brian is also an avid motorcyclist.
Jason Budd, Bass
Dottore
Jason Budd is a seasoned singer-actor with a strong reputation for delivering high-quality performances. He has performed in various roles across the United States, Europe, and South America, including a successful debut as Falstaff in São Paulo, Brazil. Budd has received awards from several vocal competitions, including the Opera Columbus Competition, Heinz Rehfuss Competition, Mary Jacobs Smith Singer of the Year competition, and Meistersinger Competition in Graz, Austria. A perennial favorite at Toledo Opera, Jason just returned from their production of Tosca last month. Other recent engagements include performances with Spoleto Festival, Boston Midsummer Opera, Fremont Opera, Opera Project Columbus, Cleveland Opera Theater, and Opera Western Reserve.
Aidan Eddy, Bass
Marchese D’Obigny, Flora’s Servant, Commissioner
Aidan Eddy is a Junior Voice Performance major at Baldwin Wallace University and is originally from Rochester NY. He currently studies under Dr. JR Fralick and some of his most recent credits from BW include King Tiridate in Handel’s Radamisto, Baron Zeta in The Merry Widow and Curio in Giulio Cesare. His recent professional credits also include Smudge in Forever Plaid and King Triton in The Little Mermaid at Tibbits Opera House. He would like to thank Scott Skiba for this opportunity and his parents and loving girlfriend for their continuous support.
Benjamin Burney, Tenor
Giuseppe
The tenor, from Youngstown, Ohio, has performed locally in his hometown and
internationally from the Caribbean Islands to Estonia. Recently, Benjamin performed in the
world premiere of Iphigenia by Wayne Shorter and esperanza spalding, and went on to make his
Kennedy Center debut. His operatic career began with Opera Western Reserve’s Il barbiere di
Siviglia twelve years ago.
Benjamin was a Gilman Scholarship recipient allowing him to study abroad in Milan,
Italy for opera and Italian. He was named a winner of the Montpelier Arts Center Recital
Competition, and a First Prize Winner for the Charleston International Music Competition.
Benjamin received his M.M. at Roosevelt University CCPA, B.M. at Anderson
University, and is an alumnus of the Youngstown Connection.
Act I
Violetta Valéry, a young courtesan, famous in the Parisian high society, throws a party in her home. Here, Gaston, Viscount of Letorières, introduces a new admirer to her, Alfredo Germont. He confesses that the moment he saw her, he was fascinated by her beauty and intelligence, though he has never had the courage to tell her. He toasts in her honor before the whole crowd.
Suddenly, she almost faints and everyone jumps in to help, but she asks them to go away. However, Alfredo remains and sincerely declares his love for her. At first she treats him with indifference, trying to reject him, but then realizes that she has never known true love and wonders whether this provincial, honest young man will be able to convince her to love him.
He whispers words of love, warning her that her adventurous life will ruin her health. Violetta knows this, because she is suffering from tuberculosis, but she does not accept the truth and prefers to continue living in luxury and endless parties.
To have the chance to talk to him again, she gives him a flower telling him to return it when it has faded, in hope that they will meet soon.
Act II
Violetta and Alfredo have been together for three months and have withdrawn to a country house to escape their previous life. Alfredo discovers, however, that Violetta is selling all her belongings to secure their livelihood. Upset that he had not thought of this aspect of their relationship, he decides to go to Paris to raise money.
Meanwhile, Violetta receives an invitation to a ball organized by her firend Flora. But she has abandoned that lifestyle, gave up all parties for Alfredo’s sake, and no longer wishes to assume the role of a courtesan. While Alfredo is away, his father, Giorgio Germont, arrives at the house. Alfredo had hoped that Violetta’s promise to give up her life as a courtesan would persuade Germont to bless their relationship. Even though he discovers that Violetta is a kind and selfless woman, Germont asks her the impossible: to break up with his son. At first, Violetta refuses, but then she finds out that Alfredo has a sister who is getting married and her fiancé would never accept to form an alliance with a family in disgrace. Violetta understands that her status as a courtesan and her relationship with Alfredo could compromise the young girl’s future. Grieved, she decides to give up Alfredo and asks Germont to promise her that after she dies, he will explain to his son the reason why she leaves him now.
Alfredo returns and receives a letter of separation from Violetta. Then, Germont reappears to speak privately with his son. He pleads with him to return home. Unmoved by his father’s request, Alfredo sees Flora’s invitation to the ball and angrily decides to go there to ask her for some explanations.
At Flora’s ball, people are talking about Violetta’s break up with Alfredo. Violetta arrives accompnied by Baron Douphol. Blinded by jealousy, Alfredo appears. Thinking that the Baron is Violetta’s new lover, Alfredo challenges him to play and rebukes him repeatedly. Alfredo is followed by his father, who tries to temper him. Extremely troubled by the encounter with Alfredo, Violetta asks to speak to him privately.
When everyone else retires, Alfredo secretly asks Violetta to run away with him. She refuses, hiding the promise she had made to his father. She lies to him that her new lover is Varon Douphol. In anger, Alfredo publicly humiliates Violetta, throwing money at her feet and saying he has repaid her. Giorgio Germont, who witnessed the scene, along with everyone else, violently rebukes him and the Baron challenges him to a duel.
Act III
Violetta, having spent all of her money, lives her last moments in a modest Paris apartment. The only ones who stay by her side are Annina and Dr. Grenvil, who tells Annina that Violetta has merely a few hours to live. The carnival is underway in the streets of Paris and the cheers of the masqueraders can be heard. Violetta sends Annina to give her last bit of money she has to the poor, so that she may be alone to read a letter from Giorgio Germont.
Full of remorse, he confesses that he had written to his son about her sacrifice and that they will soon come to visit her. Their return occurs too late, because Violetta is going through the final stages of her illness. Alfredo confesses once more his love for Violetta, who dies comforted by the thought that she has received the forgiveness of the man she loved.