By Larry Hancock

In America, La bohème occupies a unique position; it is the most performed (best attended, most beloved) of all operas. Baz Luhrmann gave that top position an even greater boost when he took the opera to Broadway, where it played eight times a week with rotating casts. Unlike some operas that require at least a smattering of knowledge about politics or religion, history or mythology for the entire import of the message to become clear, La bohème requires nothing more than to have lived, loved, and to have lost someone or something of genuine personal importance. To be deeply moved by La bohème, all you need is to be human. The opera derives from the 1851 memoire Scenes de la vie de bohème by Henri Murger, one of the leading adherents of the Bo-hemian counter-culture, an aesthetic movement of mid-19th cen-tury Paris that influenced all of arts and letters and also involved a way of life: the sharp rejection of middle-class mores. Bohemian culture was as much a revolt against Victorian morality as it was a revolt against the rules that governed artistic endeavor. The accept-ed norm for subject matter, that is, what could be represented in paint, in marble, in the pages of novels, in poetry, etc., was thrown aside along with accepted norms in fashion, sexual practice, and even personal hygiene. Bohemians embraced poverty, artistic free-dom, a freely active love life, and a daily routine that was as much about drunken debauchery as it was about serious artistic endeavor. This break from civil society attracted the attention of the Victorian middle class, as much out of wicked temptation as out of shocked astonishment. Their curiosity sold newspapers, which inspired

IN THIS ISSUELa bohème: Puccini’s Peek at the Scapigliatura ............ CoverLa bohème: Casts and Dates ........................................................3La bohème: Prix Fixe Details .......................................................35th Annual IDVC: Classical Stars in Classical Voice ...........32011 Opera History Course ........................................................4

Artist Interview: Betany Coffland .............................................5Backstage with the Conductor & Stage Director .................6OSJ's Amici Club: Opera Mythbusters.....................................7Has Your Nest Egg Been Scrambled? .......................................7Calendar ......................................................................Back Cover

continued on next page

CH

RIS A

YER

S PHO

TO

La bohÈme: Puccini's Peek at the Scapigliatura

Resident Artist Betany Coffland in the role of Musetta in our upcoming production of Puccini’s La bohème. Read more about Betany in our Artist Interview on Page 5.

MARCH 2011 VOL. 19, NO. 4

2 Opera San Jose Bravo

La bohÈme continued from front page

La bohÈmeTuesday Preview

Opera San José is pleased to present the final Tuesday Preview of the 2010-2011 season at the San Jose Woman’s Club, 75 South 11th Street in downtown San José. Join us on Tuesday, April 12th, for light hors d’oeurves and wine at 6:30pm and an hour-long preview performance and lecture starting at 7pm. Tickets for this event are only $25.

For more information or to reserve your seat at the Tuesday Preview for La bohème, please call our box office at 408-437-4450, or order tickets online atwww.operasj.org.

PUBLISHER

Opera San José

2149 Paragon Drive,

San José, CA 95131-1312

408-437-4450 phone

408-437-4455 fax

boxoffice@operasj.org

www.operasj.org

EDITOR

Margot Helm

ASSISTANT EDITORS

Miriam Frazier, Larry Hancock,

Virginia Perry, Elizabeth Santana,

Matt Siek, Lettie Smith

ADVERTISING

Margot Helm, 408-437-4460

BRAVO is published four times

a year in January, March, August,

and October

Murger to chronicle his Bohemian life and the lives of his friends in regular episodes in the news-paper Le Corsaire. Later, these episodes would inspire a play, be published in a collection, and serve as a source for not one but two operas. La bohème was first premiered by Puccini, and in the next year Leoncavallo premiered his version accompanied by a lawsuit against Puccini. The Bohemian movement spread from Paris across Europe and eventually to the United States. In the U.S., Bohemian communities sprang up from Boston to San Francisco and quickly found a center in Greenwich Village, where their influence and creative activity established New York as the center of American Art with a reputation for cultural superiority. In Italy, the Bohemi-ans were known as the Scapigliatura (the disheveled), and Milan was the center of this forward-looking aesthetic revolt. When Puccini arrived as a 21-year-old student in 1880, the most influen-tial members of Milan’s cultural elite were already adherents to this movement. The young man’s poverty forced him to embrace at least that element of the movement’s many codes of honor, and he quite naturally composed music in a manner that satisfied their love of French and German musical innovation. After graduating from the Royal Conservatory in Milan, Puccini composed his first opera, Le Villi, which was produced by La Scala; its successful premiere in 1884 led to Ricordi publish-ing the opera and commissioning another. As Puccini had all but no financial resources, he was giving piano and organ lessons to augment his income. A school friend, Narciso Gemignani, an amateur musician, asked Puccini to give his wife piano lessons. Whether or not from the permis-sive attitudes of the Scapigliatura in Milan, Puccini and Elvira Bonturi Gemignani were soon in a romantic relationship. This relationship went on for some years before Elvira was able to dissolve her marriage to Gemignani and marry Puccini, and in the meantime their relationship brought them a son. Puccini’s poverty was made all the more difficult by the addition of a wife and infant, and made even more miserable as neither the Puccinis nor the Bonturis were Bohemians or artists, and did not accept this free and easy attitude toward marriage and child rearing. The apparent truth of Murger’s Scenes de la vie de bohème may very well find its genesis from the fact that he wrote from personal experience; Murger lived this life and loved these people. Puc-cini continues this vibrant clarity, and due to opera’s necessity of succinct text, brings the essence of these young artists even more clearly into focus. Unrestrained joy in the face of privation, and the ability to endure poverty in order to devote one’s life to creating something of wider value, some-thing of personal meaning, were conditions both Murger and Puccini understood completely. Puccini could have set aside his ambition to become a composer and returned to Lucca after graduation, and assumed his father’s post as principal organist at the cathedral of San Martino. He was also offered a position to teach at the music institute in Lucca where he had been a student. Instead, he went without adequate food, was tossed out of his apartment, pawned his few personal effects, and for years lived without basic necessities in order to create something of merit. Chief among these creations is La bohème, along with Manon Lescaut, Madama Butterfly, Tosca, The Girl of the Golden West, La rondine, Il tabarro, Suor Angelica, Gianni Schicchi, and Turandot. When you attend Opera San José’s current production of La bohème, directed by Timothy Near and conducted by David Rohrbaugh, you might notice the clarity of Murger and Puccini’s understanding of the life of a young artist shining still. One of the reasons is that Timothy Near also knows first hand what it is to be young, in love with art, part of a culture that is at odds with the prevailing mores of society, and one who pursues the dream of becoming an artist despite the hardship of that life.

TRAFFIC ADVISORY: Additional event traffic around the Convention Center may impact opening night (Saturday, April 23); ride VTA or allow extra time to get to the prix fixe dinner and theatre!

Classical Stars in Classical Voicethe Fifth Annual Irene Dalis Vocal Competition

Opera San José proudly presents the Fifth Annual Irene Dalis Vocal Competition at 7pm, May 21, at the California Theatre. Ten finalists will perform twenty of the world’s most beloved opera arias, as they vie for $50,000 in cash prizes. The Irene Dalis Vocal Competition is the culmination of the three-day West Coast Auditions for Singers: more than a hundred talented artists come to San José from all over the country, to perform for representatives from regional opera companies looking to fill roles for the coming season. In

addition to getting a job, these artists come hoping to win big at the Irene Dalis Vocal Competition. Last year’s First Place winner, Danielle Talamantes, was also the Audience Favorite, and went home with $20,000! Since then, Ms. Talamantes was offered a full cover contract with New York’s Metropolitan Opera for the 2010-11 season, where she will be covering the role of Najade in Strauss’ Ariadne auf Naxos this spring. Our distinguished judges have the final word on the top three, but you can help decide our Audience Favorite– the artist selected by popular vote during the final intermission. Tickets for this exciting competition are $100 ($50 tax-deductible) for premium seating plus an opportunity to meet the judges and attend a post-event champagne reception at the Hotel Sainte Claire, or $50 ($25 tax-deductible) for general orchestra seating. Experience classical stars in classical voice – reserve your seats today, by calling 408-437-4450.

Opera San Jose Bravo 3

La bohÈme Casts & DatesROLE APR. 23, 28; MAY 1, 3 APR. 24, 30; MAY 6, 8

Rodolfo Alexander Boyer Michael Dailey

Mimì Jasmina Halimic Jouvanca Jean-Baptiste

Marcello Torlef Borsting Krassen Karagiozov

Schaunard Daniel Cilli Daniel Cilli

Colline Isaiah Musik-Ayala Silas Elash

Musetta Betany Coffland Jillian Boye

Benoit Paul Murray Paul Murray

Alcindoro Stephen Boisvert Stephen Boisvert

Parpignol Lee Steward Lee Steward

Enhance Your Experience!Complement your opening night at the opera with the

Opera San José La bohème Prix Fixe Dinner

Antipastif

Insalata del FornaioMixed greens, garlic croutons, shaved parmesan; house vinaigrette

f

Penne Prima Vera Pasta with tomatoes, fresh vegetables and marinara sauce

orPetto di Pollo al Peperoncino

Mesquite-grilled chicken with herbs, white wine & Dijon mustardor

Salmone alla Griglia Mesquite grilled salmon topped with a lemon infused oil

f

Fondente al CioccolatoFlourless chocolate cake

$65 per person ($15 is tax-deductible); limited seating

Palm Room of the Sainte Clare Hotel 302 South Market Street

Reservations: 408-437-4450

Book us for your next event!OSJ artists or speakers can be contracted for weddings, holiday

events, community groups, corporations, or schools.For more information, contact our adult outreach coordinator at

408-437-2229 or santana@operasj.org.

4 Opera San Jose Bravo

400 Years of Opera in Six Evenings

This year, as a part of Opera San José’s commitment to education, we are pleased to offer a six-evening course covering opera through the ages. It’s an inexpensive, enjoyable way to learn more about this dynamic art form, in the company of other interested adults. This popular history series covers opera development from Jacopo Perri’s Euridice in 1600 to Jake Heggie’s Dead Man Walking in 2000 (and perhaps the West Coast premiere of Anna Karenina at Opera San José in 2010). General Manager Larry Hancock will present this overview of opera history on six Tuesday evenings this spring– May 10, 17, 24, 31, June 7, 14– at Opera San José headquarters, 2149 Paragon Drive. Each 1½-hour class begins at 7:30pm. Course content includes the development and changes in the choice of opera subjects, the use of poetry and dialogue in the libretto, styles of musical composition, evolution of the opera orchestra, and changes in performance practice period by period. Hancock is a well-received opera lecturer on both coasts. In addition to this course, he offers the commentary at our Introduction to Opera series– 45-minute discussions before mainstage performances throughout the season– as well as the Tuesday Preview offered prior to each opening. For his informative and entertaining opera history course, he enlivens each quick-paced session with visuals from other art forms, including fashion, architecture, painting, and sculpture, bringing a more complete knowledge of the society that influenced its composers. There are no tests or college credit given. Total cost of this six-session course is $60. Classes are informal, and participants’ questions are encouraged. Space is limited, so remember to reserve your seat at this special summer course today- visit us online at www.operasj.org or call the Box Office at 408-437-4450.

�

Creative Travel Arrangers 650-854-4412carolrabin@gmail.com

www.creativetravelarrangers.com

2011 Santa Fe Opera ToursJuly 12-17, 2011 and August 7-12, 2011

pHosted by Carol Price RabinqAuthor of Music Festivals in America

Carefully planned toursSmall group with personalized service

Exciting opera performances Experienced tour hosts

(Lic# cst 2040042)

Program, where she sang short pieces and learned how to develop her characters. She then completed a Masters Degree at Julliard. “It is a very demanding school,” she says, “I developed a backbone.” In addition to singing and acting classes, her conservatory training involved intensive language study. Singers must take German, Italian and French, and they also take diction classes. After graduation, Betany moved to Italy to perfect her Italian, and she later lived in Prague so she could learn Czech. “At Julliard, we also had to take English diction classes. English is the hardest language to sing in.” Coffland, who keeps track of opportunities to sing and had seen the Opera San José website, was living with her husband in Boise, Idaho, when she met Jason and Michele Detwiler, former OSJ residents. The company was looking for a mezzo-soprano, and luckily for everyone, the Detwilers convinced her to audition. Now a third year resident with Opera San José, she is a George and Susan Crow Fellow and a John M. Heineke and Catherine R. Montfort Fellow. Coffland will sing the role of Musetta in OSJ’s upcoming production of La bohème. “It is really a soprano role, so it will be a challenge.” Typically, she likes non-standard musical works the best. Her favorite opera is Little Women by Mark Adamo, and she would love to sing the role of Jo in it. She also likes Pelleas et Melisande by Debussy and The Rake’s Progress by Stravinsky. Her favorite singer is the now deceased recitalist Jan DeGaetani, perhaps because she too likes to do recitals. “I also like to sing chamber music and art songs, and plan to do some of both after OSJ,” she said. “One of my favorite roles was Dorabella, in Così fan tutte. It was all about being in an ensemble, and I like comic roles.” All the roles she has sung for OSJ have been new ones for her. Coffland believes that authentic, real characters are what make an opera great. When she sees a performance, she searches for honesty and wants to see a person’s soul on stage. She watches to see how the story and the music come together. “A good singer has excellent technique, but that person must also be able to communicate with the audience.” And a good artist is the product of research. He or she must learn about the characters and how they relate and must ask, “Who has done this role before? How can I make it different?” In preparation for her role as Rosina in The Barber of Seville, she read a translation of the play by Pierre Beaumarchais, upon which the opera was based. She and her husband are considering settling permanently in the Bay Area after her residency, though she will continue auditioning for roles in New York and elsewhere. Her husband supports her career- “He promised to do so in our wedding vows.”

OSJ patron Carolle J. Carter was a professor emerita at Menlo College, and is a retired lecturer in history, San José State University.

“I’m always impressed by how much work goes into putting an opera together and how much physical and emotional energy the singers invest in their voice lessons, coachings, outreach programs and rehearsals in order to make the magic that we finally see happen on stage. They don’t do it for the money, and that is why the program at Opera San José and its network of supporters are so beneficial to budding professionals.” -Joseph Coffland

by Carolle J. Carter, OSJ Volunteer

Talented singers like mezzo-soprano Betany Coffland frequently come from families that value music in all its forms. “Everyone in my family sings,” Coffland says, “though not professionally. Mom was an amateur opera singer and often sang famous soprano arias around the house.” Betany and her siblings sometimes entertained the family, performing as a quartet. Born in a small Kansas town, Betany’s family moved to Kansas City, Missouri, when she was four. At fifteen, she auditioned for Brigadoon and got the role of Fiona. “My parents began to participate in shows with me, since I was too young to drive myself to rehearsals.” As a teenager, Coffland also participated in the first year of the Missouri Fine Arts Academy. Each high school could nominate one person, and she was selected from her school. For 100 students, it was three weeks concentrating on song, dance, mask-making and other subjects. “It was the defining moment that convinced me I wanted a career as a singer,” Coffland said. Two summers ago she went back to the Academy, now internationally respected, and lectured on what the students there can expect as they move into their chosen careers. Coffland’s undergraduate studies were at the New England Conservatory of Music in Boston, an institution she says is very protective of their singers. She auditioned and was accepted for their Graduate School Opera Workshop

Betany Coffland: following a dream beyond the rainbow

Opera San Jose Bravo 5

Mezzo-soprano Betany Coffland and her husband Joe make time in their busy schedules to go for hikes and spend time outdoors.

OSJ: Many people name La bohème as their favorite opera- what do you think makes it so endearing to fans?

ROHRBAUGH: Each time I conduct a Puccini opera, I am enthralled with his use of orchestration to underscore the drama happening on the stage. In the magnificent and much loved

opera La bohème, Puccini layers the sumptuous music with themes that drive the action and excitement, the light-hearted comraderie between the young friends and the passionate volatility of Musetta and Marcello’s relationship. Then he takes those same themes, and languidly and lyrically captures the tender romance of Mimì and Rodolfo. La bohème’s universal appeal comes as Puccini captures our attention with its beautiful music, and theme of passionate love and the deep sorrow of loss. The storyline connects on a personal level as most of us have been at sometime idealistic and in love. Puccini seems to be talking to us individually, describing through his music our own emotions and experiences. Like many people, the first opera I ever experienced was La bohème. In 1962 there were very few regional opera companies. I went downtown to an old movie theater in Tiffin, Ohio to see an old grainy movie of La bohème, and I was mesmerized. This was followed by my attendance of several performances of the Met on tour at the cavernous Public Hall in Cleveland Ohio; 10,000 seats. Hardly the intimate experience one would hope for, but nonetheless, I was hooked. On the basis of these experiences, I decided this was the profession for me. I’ve sung several of the baritone parts in La bohème, and have conducted many performances of this wonderful opera and I never tire of it!

NEAR: Puccini had a passion for traveling the world, eating too much and he was a demon driver and loved fast cars. You can feel his lust for life in every note of La bohème. He writes fearlessly and with such great longing. The characters in La bohème are young and smart and they live life

voraciously and without caution. They are audacious and reckless and for them everyday (when they wake up) is a fun filled improvisation. When they walk in the café, everyone knows the party is about to begin. They look poverty in the face with nonchalance. Love is their muse; as long as they don’t lose their muse, life is swell and even winter feels like April. Living in a frenzy of whim and passion is seductive, but it can spell tragedy for the most fragile. Suddenly youth which was burning so hot, is nothing but a little smoke and beautiful memories.

OSJ: What can our audiences look foward to experiencing at this production of La bohème? NEAR: Bohème reads like a play. The characters, their relationships and their dilemmas are psychologically sophisticated and complex. The OSJ company is uniquely suited for the roles allowing for an exciting union of the singers' own experiences and those of these true to life characters. The play takes place in Paris, but the muscular energy is Italian, so we will attack the text with great Italian gusto. And of course, Puccini is brilliant at detailing the emotional arcs of his characters. You can tell from the music when they are remembering another time, when they are smiling at each other, when they are keeping a secret. And it’s hard to listen to sections of La bohème without dancing. Well, I imagine it was hard to live in the Latin Quarter in 1840 without dancing! So dance will come into the production when the spirit moves us. Art, love, passion, heartbreak, beauty, joie d’vivre! That is La bohème, and I can’t wait!

Editor’s Note: Join us for a free and informative 45-minute talk, An Introduction to Opera, by General Manager Larry Hancock before each performance (except opening night) at the California Theatre! For more details, refer to the Calendar on page 8.

with Conductor David Rohrbaughand Stage Director Timothy Near

GET EVEN MORE INFORMATION AND PHOTOS ONLINE AT WWW.OPERASJ.ORG

6 Opera San Jose Bravo

Want more? Join the conversation online!

HAS YOUR NEST EGG BEENSCRAMBLED?

by Jim Jackson, OSJ Trustee & Financial Advisor If your thoughts about the interest rate on your most recent certificate of deposit are unprintable in a family publication, then it might be time to look into a gift annuity- it’s better than sliced bread! Sliced bread makes good toast but you can’t pay your bills with it, and the same thing is probably true of the interest on your certificate of deposit. A gift annuity is a contract under which a non-profit organization, in return for a transfer of cash, marketable securities or other assets, agrees to pay a fixed amount of money to one or two individuals, for their lifetime. The rate you’ll be paid is both fixed and better than current CD rates, and you’ll also get an income tax deduction on a portion of the payments. As an illustration, if you are 65 and put $25,000 into a gift annuity instead of a CD, you’ll receive $1,375 per year (5.5% at current ACGA rates, fixed for your lifetime), and only 40% of the annual payment will be taxable on your income tax return. You’ll also get an income tax deduction this year of $8,500. The frosting on the cake is that your charitable organization (Opera San José!) can be named to receive the balance of your account after you’re gone. If we have piqued your interest, please feel free to call Virginia Perry, Senior Director of Marketing & Development, at 408-437-4463 or Jeanne McCann, Trustee at 408-268-6681 for more information. We have consultants who can explain the benefits of a gift annuity and how it would affect you at absolutely no cost or obligation.

Opera San Jose Bravo 7

OSJ’s Amici Club:Opera Mythbusters

“I’ve always wondered how people get into the opera. Do I have to be the descendant of a singer? Do I have to be born with a silver spoon in my mouth? I now think that the opera is akin to a social event like a rock concert, or a hobby like rock climbing. It’s entertainment, it’s value, and it’s not for everyone, but I’d recommend people to put it on their ‘things to experience’ list.”

- Ivan Lee

by Margot Helm, OSJ Amici Club coordinator There are a lot of misconceptions about opera, especially among young adults, and it’s up to us, their opera-loving friends, to help clear things up. There are the concerns that they won’t understand it (hooray for English supertitles!), that they’ll have to dress up (it’s not a night club– we won’t kick you out for wearing jeans), or that operas are really long (not including the intermission, most operas are about the same length as a movie). But mostly, they think it’s too expensive, or that no one their age goes to the opera.

To help dispel these myths, Opera San José created the Amici Club. Designed for younger opera fans (under 35 this year, but expanding next season to include fans aged 26-40!), Amici members can purchase discounted tickets to Thursday night performances, receive special invitations to exclusive Amici Club events during the season, and get an OPERA America Young Friends of Opera card entitling them to special offers with opera companies nationwide.

Opera San José has also made a concerted effort to make opera more accessible to the young professionals of Silicon Valley. This season, we've visited corporate campuses with outreach performances and lectures, and we hosted two special "Google Night at the Opera" events in conjunction with the Amici, prior to performances of Tosca and The Barber of Seville. One participant emailed to say, “My husband and I attended our first performance at the SJ Opera last night. It was a lovely evening! Thank you for making live opera affordable. The reception (was) also a really nice touch. What a great way to mingle with other Googlers and find out about their interests!”

If you are ready to join the Amici Club, or would like more information about other options including corporate outreach, matching or group discounts, call 408.437.4460 or email helm@operasj.org.

Special Thanks

Supported, in part, by a Cultural Affairs grant from

the City of San José.

Non-Profit OrganizationU.S. Postage

PAIDPermit 4206San José, CA

2149 Paragon DriveSan José, CA 95131-1312408-437-4450www.operasj.org

IRENE DALIS,GENERAL DIRECTOR

DAVID ROHRBAUGH, MUSIC DIRECTOR

MARCH

25; April 22, May 27, June 24, July 22 Duplicate Opera Bridge 7pm. $5. Call Alma Taylor, 408-269-2395

28; April 25, May 30, June 27, July 25 Daytime Party Opera Bridge, 12:30pm. $5. Call Alma Taylor, 408-269-2395

APRIL

12 Preview/Lecture, La bohème 2

nd Floor, Room 225/229, Dr. Martin

Luther King, Jr. Library, 4th and San Fernando Streets, San José. Noon. Free.

12 Preview, La bohème San José Woman’s Club, 75 South 11th St., San José. Wine and light hors d’ oeuvres, 6:30pm; lecture and singing, 7pm. $25. Reservations required: 408-437-4450

Calendar of Events

24 San José Woman’s Club Opera with the Stars Luncheon San José Woman’s Club, 75 South 11th St., San José. Hospitality, 11:30am; luncheon, 12 noon; program, 1pm. $40; $20 tax-deductible. RSVP by phone 408.294.6919, or email events@sjwomansclub.org

JUNE

14 Season Preview Santa Cruz Central Library, 224 Church StreetSanta Cruz. 2pm. Free.

JULY

14 Season Preview Sunnyvale Library, 665 West Olive Avenue, Sunnyvale. 7pm. Free.

16 Santana Row Summer Concert On the outdoor stage at the Park Valencia, near Maggiano’s. 7pm. Free.

23 Prix Fixe Dinner, La bohème Palm Room of the Sainte Clare Hotel, catered by Il Fornaio Restaurant, 302 South Market Street, San José. $65pp. (Details, p.3) Reservations are required: 408-437-4450.

23, 24m, 28, 30; May 1m, 3, 6, 8m (m=matinee) La bohème California Theatre, 8 pm; matinees, 3pm. Tickets: 408-437-4450 or operasj.org

24m, 28, 30; May 1m, 3, 6, 8m (m=matinee) Introduction to Opera Free 45-minute talk by General Manager Larry Hancock. California Theatre, 6:30pm; matinees,1:30pm.

24 “Meet the Artists” After the matinee, stay for a Q&A with the conductor, director, and members of the cast.

28 Phantoms of the Opera Guild Night, La bohème Dinner downtown at 6pm, followed by the performance at the California Theatre at 8pm. Call Alice Skurko, 408-356-7651

MAY

10, 17, 24, 31; June 7, 14 Opera History Course 1.5 hour lecture by General Manager Larry Hancock. 2149 Paragon Drive, San José. 7:30pm. $60 (Details, p. 4) Reservations required: 408.437.4450.

14 Commnuity Shopping Day at Macy's Valley Fair Mall Proceeds benefitting Opera San Jose. 10am-8pm. To purchase a special shopping pass ($10), call 408-437-4450. Visit www.macys.com/csd for more info.

21 Fifth Annual Irene Dalis Vocal Competition California Theatre, 7pm. $100 or $50 (Details p. 3)Tickets: 408-437-4450