UW Music faculty Stephen Stubbs and Cyndia Sieden are musical directors for this performance of Ravel’s one-act opera, performed by UW voice students. With stage direction by Deanne Meek.
L’enfant et les Sortilèges
An opera in one act by Maurice Ravel, with libretto by Colette
Co-Directors: Cyndia Sieden and Stephen Stubbs
Stage Director: Deanne Meek
Conductor: Stephen Stubbs
L’enfant/Child Arrianne Noland
Maman/Mother Vivianna Oh
La Bergère/Bergère Armchair Suzanna Mizell
La Tasse Chinoise/Chinese Cup Dakota Miller
Le Feu/Fire Lauren Kulesa
La Princesse/Princess Gemma Balinbin
Le Rossignol/Nightingale Yun Hye Kim
La Chauve-Souris/Bat Erika Meyer
La Chouette/Screech-Owl Maia Thielman
Une Pastourelle/Shepherdess Krissy Terwilliger
Le Fauteuil/Armchair David Wadden
Un Arbre/Tree DJ Jordan
La Théière/Coffee Pot Nic Varela
Le Chat/ Cat
Bête – Tenor/Animal
Le Petit Vieillard/Small Old Man Trevor Ainge
La Rainette/Frog Tasha Hayward
Bête – Soprano/Animal
L’Ecureuil/Squirrel Olivia Kerr
Le Banc/Bench Krissy Terwilliger
Le Canapé/Sofa Yun Hye Kim
Le Pouf/Stool Erika Meyer
La Chaise de Paille/Wicker Chair Tasha Hayward
Flute – Gemma Goday
Cello – Chris Young
Piano Four Hands – Andrew Romanick and Megan McElroy
Stage and Crew
Opera Workshop Co-Directors: Cyndia Sieden and Stephen Stubbs
Stage Director: Deanne Meek
Conductor: Stephen Stubbs
Assistant Conductor: Lorenzo Guggenheim
Rehearsal Pianist: Andrew Romanick
Role Preparation: Cyndia Sieden, Rhonda Kline and Deanne Meek
Costume and Set Design: Deanne Meek
Special Thanks to Hélène Villavela for French Language Coaching
Projection designs created by Lisa Buck and provided courtesy of Robert Swedberg, School of Music, Theatre & Dance, University of Michigan
Deanne Meek, stage direction
Lauded as a “splendid mezzo-soprano” by the Wall Street Journal, Deanne Meek has performed leading roles at home and abroad to critical acclaim. A native of the Pacific Northwest, she began her career as Donna Elvira in Mozart’s Don Giovanna for Dublin Grand Opera, Ireland, followed by seasons with New York City Opera in such roles as Suzuki in Puccini’s Madama Butterfly, Cherubino in Mozart’s The Marriage of Figaro, Zerlina in Don Giovanni and Hansel in Hansel and Gretel. Subsequent New York appearances included debut solo performances with the Metropolitan Opera in productions of Mozart’s Idomeneo, Madama Butterfly, Parsifal and Rusalka. Equally comfortable in the baroque, classical, romantic and contemporary repertoire, the mezzo continues to sing principle roles with many of the great opera companies throughout the world, including Washington Opera, Dallas Opera, Los Angeles Opera, Opera National du Rhin in Strasbourg, Madrid’s Teatro Real, and in Buenos Aires’ Teatro Colon. Under the direction of acclaimed director Sir David McVicar, Deanne’s British debut performance in the role of Octavian in Der Rosenkavalier for Opera North was praised as “breathtaking” by Opera Magazine, and her interpretation of Ruggiero in Handel’s Alcina for English National Opera shortly thereafter received equally strong praise. In another signature role, the mezzo’s performances as Hermia in Britten’s A Midsummer Night’s Dream have brought her to further collaborations with Sir McVicar for La Monnaie in Brussels, and under the direction of Robert Carson, to the Opera de Lyon in France, Teatro alla Scala, Milan, and from the Gran Teatre del Liceu in Barcelona, in a performance that can be seen on Virgin Classics DVD.
Other role highlights for the mezzo include Herodias in Salome and the Komponist in Ariadne auf Naxos in the works of Richard Strauss, Angelina and Rosina in the Rossini repertoire, both Dorabella and Despina in Mozart’s Cosí fan tutte, Bizet’s Carmen, and Bianca in Zemlinsky’s Eine Florentinishe Tragödie. Performances in the baroque repertoire include Nerone in Monteverdi’s L’Incoronation di Poppea for Boston Baroque, Dido in Purcell’s Dido & Aeneas for Spoleto Festival USA and for the University of Washington with the orchestra of Pacific MusicWorks, conducted by Maestro Stephen Stubbs. In the repertoire of Handel, the mezzo has also sung the title role in Rinaldo, Zenobia in Radamisto for Opera Theatre of St. Louis, and Dejanira in Hercules (cover) for Chicago Lyric Opera, as well as both the title role and Sesto in Giulio Cesare (Milwaukee Opera and Boston Baroque). Ms. Meek sang Charlotte in the acclaimed Paris premier of Steven Sondheim’s A Little Night Music for Théâtre du Châtelet in 2009, and in the same year performed the title role in Mark Blitzstein’s Regina for Utah Opera. Further contemporary roles include Jo in Mark Adamo’s Little Women and the creation of the role of Ma Joad in the world premier and recording of The Grapes of Wrath by Ricky Ian Gordon, both for Minnesota Opera.
In concert and recital, Ms. Meek’s performances include appearances with the Seattle, Jacksonville and Birmingham Symphony Orchestras, the Jerusalem Symphony and Luxembourg Philharmonic Orchestras, the American Symphony Orchestra at Avery Fisher Hall, NY and in performances with Boston Baroque, which include recordings of the Bach Magnificat and Vivaldi Gloria. Festival credits include appearances with the Spoleto Festival USA; Bard Music; Opera Theater of St. Louis; Grange Park, UK; fellowships with both the Tanglewood and Ravinia Festivals, and summers with the renowned Bregenzer Festspiele, Austria, where she performed and recorded the role of Inez in Verdi’s Il Trovatore, under the baton of Maestro Fabio Luisi.
A champion of new music, the mezzo is frequently heard with the 21st Century Consort at the Smithsonian in Washington D.C, where she recently premiered and recorded Algebra of Night, a new song cycle for mezzo and chamber ensemble by composer Eugene O’Brien. In New York she has also premiered songs by composer Sheila Silver under the title Beauty Intolerable at Symphony Space, and in the Northwest, has performed composer Jake Heggie’s song cycle Camille Claudel: Into the Fire with the Methow Valley Chamber Music festival. Deanne has also curated and performed several recitals in conjunction with exhibits at the Frye Art Museum. She can be heard in both DVD and Audio format under the BBC, Virgin, PS Classics and Telarc labels.
Ms. Meek is a graduate of Whitman College and of the Peabody Institute of Music, Johns Hopkins, and holds an MFA in Interdisciplinary Arts from Goddard College. She is an AmSat certified teacher of the Alexander Technique and Associate Teacher of the Fitzmaurice Voicework, and has trained extensively in New York City with the Ping Chong and SITI acting companies. She has been a visiting artist with the University of Washington School of Music since 2016, where she gives vocal master classes, directs, and teaches both movement and acting technique to opera singers. In addition to directing Ravel’s L’enfant et le Sortiléges for the University of Washington School of Music Opera Workshop, upcoming 2018 engagements for the mezzo-soprano include return performances with the Frye Art Museum, the Methow Valley Chamber Music Festival, and her company debut performance with Des Moines Metro Opera in Jonathan Dove’s opera Flight.
American soprano Cyndia Sieden moves easily among the Baroque, classical, romantic and contemporary repertoires to worldwide acclaim. In addition, her performances and recordings of his works affirm her status as one of the sovereign Mozart interpreters of the present day.
Highlights of 2011 included performances in Morton Feldman's monodrama Neither for New York City Opera, Ariadne in Wolfgang Rihm's Dionysos at the Netherlands Opera and Soprano I in Luigi Nono's Prometeo at the Salzburg and Berlin Festivals. In contrast to these knotty modern works, she returned to Blondchen in Mozart's Abduction with Frans Brüggen and the Orchestra of the 18th Century at the Concertgebouw in Amsterdam, and on tour throughout Holland.
Sieden has starred at most of the world's great opera houses, including the Munich Bayerische Staatsoper, the New York Met, Paris's Opéra Bastille, the Wiener Staatsoper, Barcelona's Gran Teatre de Liceu, Brussels's La Monnaie, and London's Covent Garden and English National, as well as in Beijing and Australia. Her highly-praised Metropolitan Opera debut was as Berg's Lulu, and her success quickly led to reengagement in 2008 for Die Zauberflöte's Queen of the Night, one of her signature roles.
She is a brilliantly idiomatic interpreter of the works of Richard Strauss. She frequently performs Zerbinetta in Ariadne auf Naxos (Munich, Japan, Vienna), as well as Sophie in Der Rosenkavalier (Paris Châtelet) and Aminta in Die schweigsame Frau (Palermo and Munich).
Her performances in the high-flying role of Ariel in the premiere of Thomas Adès's The Tempest at the Royal Opera House, Covent Garden, ignited rave reviews and an astonished public. She has garnered equal enthusiasm and devotion for her Queen of the Night in Mozart's Die Zauberflöte and Blondchen in Die Entführung aus dem Serail, all over the world. Other specialties are Cunegonde in Leonard Bernstein's Candide, and the operas of Handel.
Sieden is much in demand for Orff's Carmina Burana, the oratorios and masses of Handel, Mozart, and Haydn, and works of Bach, Strauss and Mahler. She has sung with many of the most renowned symphony orchestras in the world, including the Royal Concertgebouw Orchestra, the Los Angeles Philharmonic, the Cleveland Orchestra, the Atlanta Symphony, the Chicago Symphony Orchestra, the London Symphony Orchestra, and at New York's Mostly Mozart Festival. In addition, her Lieder recitals are always highly-anticipated events.
Cyndia Sieden was born in California, USA, and received her first vocal instruction there. The significant milestone in her studies was work with Elisabeth Schwarzkopf in master classes in Carmel Valley, CA in 1982. Schwarzkopf then invited Sieden to become her private student, and also to work with her in master classes at the 1983 Salzburg Mozarteum. Sieden sang in the culminating concert/competition and won first place, the springboard for her first professional engagements.
In 1984, Cyndia Sieden made her European debut in Il Barbiere at the Bavarian State Opera; her American debut also took place in 1984, in La Fille du Regiment, in Tampa, Florida.
After a thirty year career in Europe, musical director and lutenist Stephen Stubbs returned to his native Seattle in 2006. Since then he has established his new production company, Pacific Musicworks, and developed a busy calendar as a guest conductor specializing in baroque opera and oratorio.
With his direction of Stefano Landi’s La Morte d’Orfeo at the 1987 Bruges festival, he began his career as opera director and founded the ensemble Tragicomedia. Since 1997 Stephen has co-directed the bi-annual Boston Early Music Festival opera and is the permanent artistic co-director. BEMF’s recordings of Conradi’s Ariadne, Lully’s Thesee, and Psyché were nominated for Grammy awards in 2005, 2007, and 2009.
Stephen was born in Seattle, Washington, where he studied composition, piano and harpsichord at the University of Washington. In 1974 he moved to England to study lute with Robert Spencer and then to Amsterdam for further study with Toyohiko Satoh and soon became a mainstay of the burgeoning early-music movement there, working with Alan Curtis on Italian opera in Italy, William Christie on French opera in France and various ensembles in England and Germany particularly the Hilliard Ensemble.
With his return to Seattle in 2006 he formed the long-term goal of establishing a company devoted to the study and production of Baroque opera. His first venture in this direction was the creation of the Accademia de’Amore, an annual summer institute for the training of pre-professional singers and musicians in baroque style and stagecraft, now housed at the Cornish College of the Arts.
In 2008 he established Pacific MusicWorks. The company’s inaugural presentation was a revival of South African artist William Kentridge’s acclaimed multimedia marionette staging of Claudio Monteverdi’s penultimate opera The Return of Ulysses in a co-production with the San Francisco Museum of Modern Art. After a warmly received 2010 presentation of Monteverdi’s monumental Vespers of 1610 at Seattle’s St. James Cathedral, PMW presented a full subscription season, opening with a program based on the Song of Songs and ending with two triumphantly successful performances of Handel’s early masterpiece, The Triumph of Time (1707).
As a guest conductor Stubbs has led performances of Gluck’s Orfeo and Handel’s Giulio Cesare in Egitto in Bilbao, Spain, and Monteverdi’s Orfeo at Amsterdam’s Netherlands Opera. Following his successful debut conducting the Seattle Symphony Orchestra in 2011, he was invited back in 2012 to conduct the Symphony’s performances of Messiah. He will also debut with the Edmonton Symphony in Messiah this season.
Stephen Stubbs is Senior Artist in Residence and member of the faculty of the School of Music at the University of Washington.