The Anonymous Lover
Music by Joseph Bologne,
Chevalier de Saint-Georges
Libretto by Desfontaines-Lavallée
A co-production with
Boston Lyric Opera and Opera Philadelphia.
The Huntington Theatre
Friday, February 16, 2024 | 7:30PM
Saturday, February 17, 2024 | 7:30PM
Sunday, February 18, 2024 | 3PM
Sung in French with English dialogue and surtitles
Running time: 90 minutes, no intermission
Orchestra parts for The Anonymous Lover are provided by arrangement with Opera Ritrovata in conjunction with the publishers and copyright owners, engravers and editors: George N. Gianopoulos, Stephen Karr, Leila Núñez-Fredell, and Mishkar Núñez-Fredell.
Celebrate Valentine’s Day with a comic love story for the ages! Written in 1780 by the virtuoso Joseph Bologne, Chevalier de Saint-Georges, the chamber opera The Anonymous Lover tells the story of Léontine, a wealthy young widow disenchanted with the notion of love, who starts receiving letters from an anonymous admirer. In this joyful new co-production by Boston Lyric Opera and Opera Philadelphia, Bologne’s stirring music is complemented by a fresh book adaptation from the pen of Obie Award-winning Boston playwright Kirsten Greenidge, mixing English dialogue with the original French singing. Don’t miss an evening of lighthearted mishaps, heartfelt melodies, and endearing characters that will inspire you to root for true love!
The third of Bologne’s six operas, The Anonymous Lover was his most successful opera, and the only one that has survived to this day. The work holds a significant place in the annals of music history, standing as one of the first known operas composed by a Black artist. Learn more about the works and life of Joseph Bologne, Chevalier de Saint-Georges in our Dive Deeper links below!
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David Angus | Conductor
Prior to his time at BLO, Angus was music director of The Glimmerglass Festival and Chief Conductor of the Symphony Orchestra of Flanders. He has led orchestras and choirs throughout Europe, particularly in Scandinavia, including the Lahti Symphony Orchestra and several Danish orchestras. Born in England, he has conducted most of the major orchestras in Great Britain, including the London Philharmonic, the Royal Philharmonic Orchestra, the Hallé Orchestra, most of the BBC orchestras, the London Mozart Players, and the Scottish Chamber Orchestra. He recently debuted with the Toscanini Orchestra in Parma and the Porto Symphony Orchestra in Portugal. He returned to Wexford Festival Opera, the Hong Kong Philharmonic, the LPO, and the Huddersfield Choral Society, as well as to his former orchestra in Belgium. Angus was a boy chorister at King’s College under Sir David Willcocks and read music at Surrey University. He was a conducting fellow at the Royal Northern College of Music in Manchester, where he won several prizes for opera conducting.
Dennis Whitehead Darling | Stage Director
Other works include Susannah, University of Kentucky; Sweeney Todd, Chautauqua Opera; The Cunning Little Vixen, Manhattan School of Music; Ride the Cyclone, Ramapo College of New Jersey; María de Buenos Aires, Opera Columbus; Jelly’s Last Jam, Long Wharf Theatre; The Falling and the Rising, Arizona Opera; Lost in the Stars, Annapolis Opera; Hansel and Gretel, Playground Opera; La bohème, Opera Columbus; Giulio Cesare in Egitto, Carnegie Mellon University; The Gershwins’ Porgy and Bess, Red Mountain Theatre; Independence Eve, Opera Birmingham; Lady Day at Emerson’s Bar and Grill and Ain’t Misbehavin’, HaZloo Theatre/Spazio Teatro No’hma, Milan; The Parchman Hour, Sunset Baby, and Marcus; or the Secret of Sweet, HaZloo Theatre; Intimate Apparel, University of Memphis; Movin’ Up in the World and Blue Viola, Opera Memphis; and James and the Giant Peach, Circuit Playhouse. Associate Directing credits include The Mountaintop, Geffen Playhouse; Arts in the Armed Forces on Broadway, Studio 54; The Last of the Love Letters, Atlantic Theatre; Light’s Out: Nat “King” Cole, Geffen Playhouse; and Skeleton Crew, Geffen Playhouse.
Driscoll Otto | Lighting Designer
Otto received his MFA from New York University’s Tisch School of the Arts.
Leslie Travers | Costume Designer
Multi-award-winning designer LESLIE TRAVERS trained at the Wimbledon School of Art and is recognized as one of the leading stage designers of his generation. He was recently honored by Liverpool Institute of the Performing Arts, where he was made a “Companion of LIPA” (Honorary Doctorate). His current and most recent operatic projects include major designs in many of the leading opera houses of Europe, the US, the UK, and beyond. His most recent ventures have taken him to La Scala, Bucharest, Santa Fe, Greek National Opera, and Opera North, where he recently designed their “Sustainable Season”. Outside the opera theatre, Travers’ most recent projects include such diverse creations as film, a theme park, a new cruise ship theatre, an immersive game, and a production with NASA to celebrate the anniversary of man walking on the Moon.
Baron E. Pugh | Scenic Coordinator
Off-Broadway: shadow/land (associate designer), The Public Theater. NYC: King Lear, The Tempest, The Juilliard School, Drama Division. Regional: Million Dollar Quartet and B.R.O.K.E.N code B.I.R.D switching, Berkshire Theatre Group; ABCD, Barrington Stage Company; Trouble in Mind, Hartford Stage; K-I-S-S-I-N-G (associate designer) and The Bluest Eye (associate designer), The Huntington Theatre; Tiny Beautiful Things and Radio Golf, Trinity Repertory Company; Detroit ’67, The Elaborate Entrance of Chad Deity, and School Girls, TheatreSquared; Assassins, The Light, Breath and Imagination, and The Wiz, Lyric Stage Company of Boston. Baron received his MFA in scenic design from Boston University and is a proud member of United Scenic Artists Local 829.
April Gerbode | Wig and Makeup Designer
Gerbode holds a degree in special make-up effects from Tom Savini’s Special Make-up Effects program, where they studied theatrical makeup, wig making and styling, mold making and casting, prop and costume fabrication, prosthetic design and application, digital sculpting, and animatronics. They are currently based in New York City, where they work as a hair, makeup, and wardrobe technician.
Favorite projects include White Girl in Danger (world premiere), Second Stage (HMU Run Crew; JOY (world premiere), George Street Playhouse (Hair and Make-up Supervisor); Other World (world premiere), Delaware Theatre Company (HMU Run Crew); Assassins, Mountain Community Theater (Hair and Make-up Designer); and Isaac’s Eye, Sidereal Theater Company (Hair and Make-up Designer).
Brett Hodgdon | Chorus Director
Hodgdon serves on the full-time opera faculty of the New England Conservatory of Music. Additionally, he teaches courses including diction and vocal repertoire at the Boston Conservatory at Berklee.
In addition to his work at BLO and as an educator, Hodgdon has been a rehearsal pianist for the Boston Symphony Orchestra and Tanglewood Festival Chorus since 2008, having rehearsed and coached vocal programs for music director Andris Nelsons and many guest conductors, including performances at Symphony Hall, Tanglewood, and Carnegie Hall. He has also been rehearsal pianist and coach for the Emmanuel Music Bach Cantata Series since 2006.
Hodgdon spends his summers as Head of Music at Si Parla, Si Canta! in Arona, Italy and serves on the coaching faculty of the Boston Wagner Institute.
He received a DMA in collaborative piano from the New England Conservatory and holds degrees from the University of North Carolina at Greensboro.
Angie Jepson | Intimacy Director
Kirsten Greenidge | Book Adaptation
Ms. Greenidge is known for work that places hyper-realism onstage, examining the nexus of race, class, gender, and the Black American experience. Her work has been developed and produced at the Huntington, American Repertory Theatre, La Jolla Playhouse, LTC3 (Lincoln Center), Yale Repertory Theatre, The Kennedy Center, and more. Works include Feeding Beatrice: A Gothic Tale; Bossa Nova; Sans-Culottes in the Promised Land; Roll, Belinda, Roll; and an episode of Boston Lyric Opera’s desert in, an episodic opera.
An alum of Wesleyan University and University of Iowa, Ms. Greenidge believes strongly in the importance of community and collaboration in theatre-making, working to uplift and center the stories of those who have not traditionally seen themselves onstage. As an associate professor at Boston University, she founded and maintains the theatre program’s New Works, which includes First Pages, Springboard Reading Series, and Next Stage Workshops and Productions.
Costumes for this production were constructed by Kansas City Costume Company.
Costumes provided by Lyric Opera of Kansas City, Opera Philadelphia, San Diego Opera, and Palm Beach Opera with original design by Leslie Travers.
Brianna J. Robinson | Léontine
In the 2023/24 season, Ms. Robinson makes her Carnegie Hall debut with The Cecilia Chorus of New York in Vaughan Williams’ Dona nobis pacem. She returns to Boston Lyric Opera as Jeannette, The Anonymous Lover, also covering the role of Léontine. Last season, she made multiple concert debuts with several orchestras, including the Akron Symphony Orchestra, Claflin Hill Symphony Orchestra/New World Chorale, and Crossing the Deep with the Handel and Haydn Society. She was named a finalist in the Benjamin Matthews Vocal Competition with Opera Ebony and awarded first prize at the 6th Getting to Carnegie Competition. She has participated in the Berlin Opera Academy and Opernfest Prague, and made her international debut in Ruse, Bulgaria in 2021, creating the role of Ophelia in the world premiere of Joseph Summer’s Hamlet.
Ms. Robinson is a proud graduate of Ohio Wesleyan University and the Eastman School of Music.
Omar Najmi | Valcour
After Najmi’s first opera composition, En la ardiente oscuridad (2019), sold out, he was invited to be Boston Lyric Opera’s first Emerging Composer, working with Boston Youth Poet Laureate Alondra Bobadilla to create the song cycle my name is Alondra (2021). Other composing credits include The Last Invocation (Emmanuel Music), More Than Our Own Caves (Juventas New Music Ensemble), and This Is Not That Dawn (Catalyst New Music). He is currently working on Jo dooba so paar, a short opera exploring the intersection of Queer and Muslim identity (White Snake Projects). His opera-in-progress The Fermi Paradox is a semifinalist with Opera Theatre of St. Louis’ New Works Collective.
Evan Hughes | Ophémon
Recent highlights include Somnus, Semele, Opéra de Lille; Figaro, Le Nozze di Figaro, Vienna Volksoper, Sächsische Staatsoper, and San Diego Opera; Monster, Venere e Adone, Hamburgische Staatsoper; Virgil, Il Viaggio, Dante, Aix-en-Provence Festival; Masetto, Don Giovanni, Teatro Massimo; Papageno, Die Zauberflöte, Komische Oper Berlin; Theseus, A Midsummer Night’s Dream, Opera Philadelphia; and Astolfo, Orlando Furioso, State Chamber Orchestra of Russia. Concert and recital work has led him to collaborations with San Diego Symphony, BBC Scottish Symphony, Aspen Music Festival, and more.
A champion of contemporary music, Mr. Hughes has appeared in Syringa with the Met Chamber Ensemble and the Tanglewood Music Festival; Three Explorations (world premiere) with the Axiom Ensemble; and On Conversing with Paradise as part of Ascending Dragon, a festival of cultural exchange, in Los Angeles, Hanoi, and throughout Vietnam.
An alumnus of the Metropolitan Opera’s Lindemann Young Artist Development Program, Mr. Hughes attended the Curtis Institute of Music. He is a previous winner of the Marilyn Horne Foundation Competition and a national semi-finalist of the 2010 Metropolitan Opera National Council Auditions.
Ashley Emerson | Jeannette
Previous roles with The Metropolitan Opera include Laura Fleet, Marnie (North American premiere); Brigitta, Iolanta; Papagena, The Magic Flute, Giannetta, L’elisir d’amore, and Barbarina, Le nozze di Figaro. She has appeared in major roles with On Site Opera, Opéra National de Bordeaux, Théâtre du Capitole de Toulouse, Dallas Opera, Washington National Opera, Atlanta Opera, Los Angeles Opera, Pittsburgh Opera, and others.
Ms. Emerson is a graduate of the Lindemann Young Artist Development Program and has appeared in over 200 Metropolitan Opera performances. She trained at Marlboro Music Festival, Verbier Festival, and Opera Theatre of Saint Louis as a Gerdine Young Artist. Ms. Emerson is a graduate of the University of Southern Maine School of Music
Zhengyi Bai | Colin
In 2022/23, Bai covered Valzacchi, Der Rosenkavalier, Metropolitan Opera; and performed as a Resident Artist with Opera San José, singing Basilio, Le nozze di Figaro; Dr. Caius, Falstaff; Hunchback, Die Frau ohne Schatten; and Goro (cover), Madama Butterfly, San Francisco Opera.
Bai’s recent roles include Fong See, On Golden Mountain, Los Angeles Opera; First Prisoner, Fidelio, San Francisco Opera; Dancing Master/Lamplighter, Manon Lescaut, San Francisco Opera; Remendado, Carmen, San Francisco Opera; and Alessandro, Il Re Pastore, Merola Opera. In recitals and concerts, he has performed in the Schwabacher Recital Series in San Francisco and the Adlers showcase “The Future is Now” concert with the San Francisco Opera Orchestra.
Born and raised in Shandong province of China, Bai began his studies as a piano performance student and collaborative pianist. With a solid musical foundation of piano study, Bai flourished in his vocal studies, beginning in Shandong, China and continuing his opera training in the United States. Bai was a participant of the Merola Opera Program, and then invited to join the renowned Adler Fellowship Program at San Francisco Opera.
Sandra Piques Eddy | Dorothée
Past highlights include Dinah, Trouble in Tahiti, Opera North (UK) and six role debuts: Meg Page, Falstaff, Opera Colorado; Euridice, Orfeo ed Euridice, Portland Opera; Suzuki, Madama Butterfly, Inland Northwest Opera; Paula, Florencia en el Amazonas, Pittsburgh Opera; Adalgisa, Norma, Boston Lyric Opera; and Mistress Revels, Prince of Players, Florentine Opera, the recording of which was nominated in 2018 for a Grammy Award. A highlight of Miss Eddy’s career is her work in Japan: invited by Maestro Seiji Ozawa, she appeared at his Tokyo Music Academy in her signature role of Carmen and toured with the production in two separate seasons.
“A sweet treat! With attractive, colorful sets…snappy stage-directing, an agile orchestra…and a new and witty English adaptation by Boston playwright Kirsten Greenidge.”
– The Boston Globe
Feb 18, 2024
“A joyous delight! Funny, romantic, and splendidly sung!”
– Broadway World
Feb 17, 2024