Sunday, July 15, 2018

Resonance Works Now Offering Reduced Price Subscriptions

Resonance Works Pittsburgh is pleased to announce that season subscriptions for its 2018-19 season, On the Shoulders of Giants, are now on sale!

Why become a subscriber, you might ask? A season subscription to Resonance Works gives you access to all four of our mainstage productions at a 20% discount off the individual ticket price!  Enjoy all of the exciting performances that next season has to offer, with first choice for assigned-seating events, all for incredibly reasonable prices starting at just $80!

This year, for the first time, we are also offering a mini-subscription for our two performances that occur at Westminster Presbyterian Church in the South Hills - A Joyous Sound and Bach's St. John Passion.

Click the link below for more information and to purchase your subscription!  Res Works  can't wait to share with you all of the exciting things that its 2018-19 season has in store!

Become a Subscriber!

Contact Info
Resonance Works Pittsburgh
PO Box 81118
Pittsburgh, 15217

Author to Tell Story of Idlewild Park

Program: History and Memories of Idlewild Park and Ice Cream Social
Speaker:  Jennifer Sopko
Location:  Westmoreland County Historical Society, Calvin E. Pollins LibraryAddress:  362 Sand Hill Road, Greensburg, PA 15601
Date:  Tuesday, July 31, 2018
Time: 7:00 p.m.
Program fee:  WCHS members $2, $7 for others Reservation:  724-532-1935 ext. 210

Program Description: What would summer be without a trip to Idlewild Park?  The music from Idlewild’s graceful carousel, The Old Woman Who Lived  in the Shoe in Storybook Forest, and the invigorating mountain water of the SoakZone, have provided fond summertime memories for generations of southwestern Pennsylvanians.

Jennifer Sopko, author of Idlewild, History and Memories of Pennsylvania’s Oldest Amusement Park, will discuss the origins of the park when the Mellon family developed the stop on the Ligonier Valley Rail Road into a destination in 1878.  City-dwellers flocked to the lush picnic groves to “take time to be ‘idle’ and enjoy the ‘wild’ scenery” of the Ligonier Valley.

Ms. Sopko will discuss the picnic grounds expansion into an amusement park in 1931 under the leadership of C.C. Macdonald, and some of the popular features added in the 1980s - like Mr. Rogers Neighborhood, and the SoakZone - when it became part of the Kennywood Park Corporation.

The Ice Cream Social is another important part of the ‘Good Old Summertime.’  Attendees will be invited torefresh themselves with some ice cream and all the fixings after the program. Idlewild, History and Memories of Pennsylvania’s Oldest Amusement Park will be available for sale,and Ms. Sopko will be delighted to sign copies of her book.Please visit and follow our activities on the Westmoreland County HistoricalS ociety Facebook page, and on Twitter @WCHistory.

Friday, July 13, 2018

One O'Clock Monday to Perrform in Carnegie

One O’Clock Monday will have you singing along! 
This ensemble features original harmonic arrangements to classic rock favorites from the Beatles to the Beach Boys - fun for all ages.  

Last time they performed in the Studio at the Andrew Carnegie Free Library and Music Hall in Carnegie,
a spontaneous conga line broke out! The venue is located at 300 Beechwood Avenue in Carnegie. 

Join them for happy hour and unwind mid-week. 
Complimentary snacks and drinks by donation.

Doors open at 6:00 pm || Concert begins at 6:30 pm

For Tickets CLICK HERE

Listen Locally Downstairs is made possible through the generous
support of the Opportunity Fund

Thursday, July 12, 2018

Theatre Factory Opens "Big Fish" This Evening Now Through July 22

The Theatre Factory in Trafford is proud to  present “ Big Fish ” music and lyrics by Andrew Lippa, based on the book by John August from July 12 through July 22  In this whopper of a tall tail, Edward Bloom entertains friends and family with incredible stories. But when his son Will learns he has limited time with his father, he embarks on a journey through fantastical riverbanks, circuses, and battlefields to find out the truth behind the tales — and to learn who Edward truly is beneath the fiction.  

The Theatre Factory's production of Big Fish is an amazing romp through the imagination of an old man remembering his life exactly how he would like to remember it. Audiences young and old, will be dazzled by the magical town and colorful circus, enthralled by the gentle giant and spellbound with the breathtaking witch. Bring the entire family to this magical tale!

Rob Jessup of Murrysville, plays the inveterate tale teller, Edward Bloom first as a teen, then a middle aged man and finally a senior citizen.

Cast of Big Fish Credit: Courtesy Photo
Come see this heartwarming tale directed by Scott Calhoon musically directed by Michael Rozell and choreographed by Laura Wurzell.

 Performances are Thursdays through Saturdays  at 8 p. m. and Sunday matinees are at 2 p.m.   Tickets are $20 for adults and $18 for seniors and students.  All tickets for Thursday performances are $15. Please call 412 374 9200 or email for reservations and visit for more information.

Take the Challenge of Seeing "Jaws" on a Really Big Screen

You’re going to need a bigger boat, but you won’t need a bigger screen. Jaws, the epic summer blockbuster that catapulted Steven Spielberg’s career and terrified moviegoers in 1975, is coming to The Rangos Giant Cinema, Aug. 9–12. The recently restored classic will feel more real than ever before on Pittsburgh’s largest screen.

“Most theaters can only show Jaws in 2K resolution, but The Rangos Giant Cinema is equipped to show it properly at full 4K resolution," said The Rangos Giant Cinema Senior Director Chad Hunter. “The difference is truly remarkable. The audience will feel as though they’re on Amity Island, waiting in suspense for the shark’s next strike.”

Based on the novel by Peter Benchley, Jaws takes audiences to Amity Island, a resort town scared by the presence of a man-eating great white shark. Determined to end the animal’s vicious spree, a local sheriff, a marine biologist, and an old seafarer team up in a pursuit to hunt down the sea creature. The movie is widely regarded as one of the greatest films in cinematic history.

The 2012 restoration of Jaws was part of a larger project Universal Pictures launched for their centennial celebration. Out of the company’s many classics, Jaws was one of the few that was chosen for a 4K re-scan of the film’s original negatives.

Jaws is rated PG. Tickets cost $7.95 for Carnegie Museums of Pittsburgh members and $9.95 for nonmembers. For show times, visit 

About Carnegie Science Center
Carnegie Science Center is dedicated to inspiring learning and curiosity by connecting science and technology with everyday life. By making science both relevant and fun, the Science Center’s goal is to increase science literacy in the region and motivate young people to seek careers in science and technology. One of the four Carnegie Museums of Pittsburgh, the Science Center is Pittsburgh’s premier science exploration destination, reaching more than 700,000 people annually through its hands-on exhibits, camps, classes, and off-site education programs.

Accessibility: Features for All
Carnegie Science Center welcomes all visitors. We work to assist visitors with disabilities in obtaining reasonable and appropriate accommodations, and in supporting equal access to services, programs, and activities. We welcome visitors in wheelchairs on the deck of our USS Requin (SS 481) submarine. Below-deck visits require full mobility. Hearing assistance devices are available for The Rangos Giant Cinema. Please ask when you buy your ticket.

Please note that requests for accommodations should be made at least two weeks prior to your visit. For specific questions about wheelchairs, strollers, or other programmatic or equipment needs, see the ticket counter located on the first floor of the main building or contact Customer Service at 412.237.1641 or Please contact Carnegie Museums of Pittsburgh’s Accessibility Coordinator with concerns regarding accessibility for visitors with disabilities at the museums. On weekdays, call 412.622.6578 or email

Wednesday, July 11, 2018

Pasta Festival at Casbah Next Week

Summer Festa di Pasta, Casbah, 229 S. Highland Ave, Shadyside (Pittsburgh)

Monday-Thursday, July 16-19

Casbah Chef Dustin Gardner presents a menu resplendent with flavorful midsummer vegetables and unique sauces. The variety of small plates encourages sampling and sharing. Try one dish as an appetizer, combine two or three as an entree, or bring friends and order the baker's dozen. Reservations are encouraged. 412.661.5656

Gnudi, jumbo lump crab, sugar snap peas, meyer lemon, pink peppercorn
Fettuccini, rock shrimp, spicy mixed summer bean salad, coriander, chervil
Sweet Corn Agnolotti, chanterelle mushroom, patty pan squash, basil pesto
Baked Rigatoni, cherry tomato, béchamel, basil, mozzarella
Campanelle, corn, heirloom tomato, charred rapini, oregano
Canestri, heirloom tomato, roasted sweet onions, corn, sheep milk ricotta
Bucatini, English peas, squash blossom, trumpet mushroom, egg, Parmigiano Reggiano, crostini
Cappelletti, chicken sofrito, asparagus, lemon, celery, poppy seed
Torchetti, duck lucanica sausage, peaches, Swiss chard, parsley, bread crumb
Pappardelle, rabbit sausage, sun gold tomato, Malabar spinach, benne seed tuile
Mafaldine, lamb merguez, sweet peppers, fennel, feta, oregano
Potato Gnocchi, pancetta, summer beans, corn veloute, orange, hazelnut
Ricotta Tortoloni, raclette, crispy prosciutto, arugula, spicy honey

Tuesday, July 10, 2018

Firday the 13th or Not - You'll Be in Luck with a Ticket to "Rhinegold"

Richard Wagner - Composer of Rhinegold

Sunday 15 July at 2:00 pm
Saturday 21 July at 7:30 pm

Witness the doom of a universe and the dawn of a new era, and share in a pilgrimage that millions have taken, as Pittsburgh Festival Opera transports you to Valhalla for its acclaimed Pittsburgh Ring Cycle.

Before Lord of the Rings and Game of Thrones, there was The Ring, an epic legend of Norse mythology set to music—one of the crowning achievements of Western civilization.

Pittsburgh Festival Opera's Ring is based on the internationally acclaimed version by composer Jonathan Dove which slightly condenses the orchestration and length of the works (none last longer than three hours) while retaining the authenticity of the original. It presents the entire scope of Wagner’s great dramas, making it the perfect version for newcomers as well as Wagner lovers.

Join us for a Wagner weekend from July 13-15 for lectures relating to Rhinegold, a Wagner scenes program, and parties to meet the artists.

Join the cast at the Opening Night Party with light fare immediately following the performance on Friday 13 July.

Pittsburgh’s first Ring… achieved Wagner’s ideal of ‘total theater’, thanks to Jonathan Eaton’s brilliant direction… a triumph… a thrilling experience, the best operatic staging seen in Pittsburgh in a long time…”

“It was Eaton’s direction that bridged the gap from mini to major Ring… he worked magic of his own with the fantastic set and costumes… an excellent introduction to one of the monuments of Western civilization.”

Sung in English with projected titles in English.

This production of Rhinegold is made possible through the generous support of the Ring Leaders.

This production of Rhinegold was originally commissioned by Birmingham Opera Company, and prepared by Jonathan Dove, John McMurray, and Graham Vick

Running time: 2 hours with no intermission. 

Music and Libretto Richard Wagner
English Translation Andrew Porter
Director Jonathan Eaton
Conductor Walter Morales
Pianist and Assistant Conductor Stephen Variames
Pianist Richard Masters
Scenic Design Danila Korogodsky
Costume Design Danila Korogodsky
Lighting Design Bob Steineck 
Hair and Makeup Design Jina Pounds
Assistant Director Colter Schoenfish
Stage Manager Katy Click
Assistant Stage Managers Louise Brownsberger 
  Claire Durr 

Wotan Kenneth Shaw
Loge Robert Frankenberry
Alberich Barrington Lee
Fricka Mary Phillips
Erda Demareus Cooper
Fasolt Adam Cioffari
Fafner Andrew Potter
Donner Alexander Boyd
Freia Brooke Dircks
Woglinde Hanna Brammer Dillon
Wellgunde Emily Hopkins
Flosshilde Kathleen Shelton
Supernumeraries Randi Daffner
  Jehlad Hickson
  Becky Merbler
  Jay Rockwell
  Dennis Sen
  Montaja Simmons
  Carolyn Smith3
  Elizabeth Stamerra
  Peter Stamerra
  Russell Wilner

Scene One—The Riverbed of the Rhine
Albrerich the Nibelung lustily chases the Rhinemaidens, guardians of the Rhinegold. They tell Alberich that if someone should forswear all love, he would be able to forge a ring from the Rhinegold which would make him master of the world. They think Alberich would never forswear love, but they are mistaken. Mad with despair because he has been rejected by the Rhinemaidens, Alberich forswears love, steals the Rhinegold and flees.

Scene Two—An Open Space On a Mountain Top
Wotan (Chief of the Gods) has hired two giants—Fasolt and Fafner—to build him a fortress. He has promised the giants the Goddess of Youth, Freia, as payment. The giants appear; the fortress has been completed and they demand their payment. Freia tries to flee the giants and seeks Wotan for protection.

At that moment, Loge, the God of Fire, appears. He states that Alberich has stolen the Rhinegold and that through the power of the Ring he has acquired vast treasure. The two giants declare that they will accept Alberich’s treasure in exchange for Freia. Meanwhile, they take Freia as a hostage. Loge suggests that Wotan steal the Ring and leads him to Nibelheim, Alberich’s abode.

Scene Three—Nibelheim, Alberich’s Subterranean Realm
In Nibelheim, Alberich has forced his brother, Mime, to forge a magic helmet called the Tarnhelm, which enables its wearer to change shape and become invisible. When Loge and Wotan arrive, Alberich boasts of his great treasure with which he will dominate the world. Loge pretends disbelief in the Tarnhelm’s powers. To prove its might, Alberich dons the Tarnhelm and turns into a huge dragon. Loge pretends to be frightened and asks next whether Alberich could turn into something tiny to evade his enemies. Alberich turns himself into a toad. Loge and Wotan capture the toad, seize the Tarnhelm and leave Nibelheim with Alberich as their captive.

Scene Four—An Open Space On a Mountain Top
Wotan demands that Alberich turn over his entire hoard to pay his ransom. Alberich summons the Nibelungs who pile all his treasures before Wotan. Wotan demands the Ring as well. Crushed, Alberich places a powerful curse on it. Whoever possesses it shall be its slave and ultimately doomed. Alberich is set free as the giants return with Freia. They insist that the treasure fully cover Freia before they release her. When Fasolt claims he can still see Freia’s eyes, Fafner demands that the golden Ring on Wotan’s finger be added to the pile. When Wotan refuses to give up the Ring, the giants refuse to return Freia. At that moment Erda, Mother Earth, appears and warns Wotan to surrender it. She warns of a dark day dawning for the gods. Reluctantly, Wotan follows her advice and gives the Ring to the giants. Immediately, the giants begin to quarrel over dividing the treasure. In rage, Fafner kills his brother Fasolt and takes the treasure. As Wotan leads the gods into Valhalla, the Rhinemaidens’ lamentation over their lost gold can be heard in the distance.

Wagner’s The Ring of the Nibelung was originally conceived as a single opera detailing the death of the Germanic hero Siegfried. However, it became apparent that background was needed, since much of the source material was obscure even for Germans. Thus came into existence Siegfried, known originally as The Boy Who Set Out to Learn Fear. Then, ever expanding his vision, Wagner followed with Rhinegold and The Valkyrie.

The Ring was a work in progress for well over thirty years, during which time Wagner immersed himself not only in German and Norse mythology (including the Middle High German Song of the Nibelung, an elaboration of the saga), but also in the philosophy of Hegel, Feuerbach, and especially Schopenhauer. The conclusion of The Ring is dominated by Schopenhauer’s notion of the negation of the will, where Brünnhilde, enlightened by love, redeems herself from the endless succession of life—birth, anguish, death, and rebirth.

Wagner was equally engrossed in Greek drama, and sought to mold The Ring into a tripartite drama similar to Greek models. Although Rhinegold appears as the first of four operas in Wagner’s mammoth creation, Wagner persisted in calling The Ring of the Nibelung a trilogy with Rhinegold serving as a prologue.

Bayreuth Festspielhaus
At the insistence of King Ludwig II of Bavaria, Wagner’s headstrong but devoted patron, Rhinegold was performed for the first time in Munich’s National Theater on September 22, 1869, disjoined from Wagner’s yet-to-be-completed Ring of the Nibelung. Wagner’s intention had been to withhold it from the stage until the opening of a festival theater constructed for the production of his works in the town of Bayreuth. As might be anticipated, patronage outweighed aesthetic concerns, and Rhinegold finally made its intended debut at Bayreuth on August 13, 1876.

A word about Pittsburgh Festival Opera’s revival of The Ring. Seen here first in the 2005 and 2006 seasons, it is based on a Ring cycle created by Jonathan Dove for the City of Birmingham Touring Opera (now Birmingham Opera Company). The translation is by Andrew Porter. The present version will clock in at about nine hours rather than the sixteen which a full scale Ring demands, and the orchestra has been reduced, allowing the production to be presented in smaller venues. We hope that such an undertaking will introduce non-Wagnerians to the glorious music of The Ring, while devotees will be delighted to revel in its most glorious moments.

—Jerry Clack

Richard Wagner [22 May 1813–13 February 1883] was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his later works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical, and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung).

Richard Wagner
His compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs—musical phrases associated with individual characters, places, ideas, or plot elements. His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music.

Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg).

Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century; his influence spread beyond composition into conducting, philosophy, literature, the visual arts, and theater.


Friday 13 July at 7:30 pm
Sunday 15 July at 2:00 pm
Saturday 21 July at 7:30 pm


Falk Auditorium
Winchester Thurston School
555 Morewood Ave
Pittsburgh PA 15213
(Entrance on Ellsworth Avenue)


Friday 13 July at 9:30 pm
Celebrate the opening night and meet the cast of Rhinegold over a glass of wine and some delectable nibbles.



Cabaret Lounge
Winchester Thurston School
555 Morewood Ave
Pittsburgh  PA  15213

(Entrance on Ellsworth Ave)

Art on Tap This Friday

Art on Tap
Friday, July 13
5-7 pm

Experience happy hour at The Westmoreland on the second Friday of every month! Enjoy music by Glenn Cawood, an art scavenger hunt, light bites and drinks, including beer on tap from All Saints Brewing Company.

This month’s sponsor is Penn State University New Kensington/Penn State University New Kensington Alumni Society and the featured organization is Westmoreland Cultural Trust.

Tickets are available online or by calling 1-888-71TICKETS. Purchase your tickets in advance to save!

$9 members, $12 non-members - in advance
$10 members, $15 non-members - at the door

Buy Now and Save!

Westmoreland Museum of American Art
221 North Main Street
Greensburg, PA 15120

Monday, July 9, 2018

Summer Tasting Menu at Eleven

The focus is on the tomato

Monday-Sunday, July 9-15
The first three courses of Eleven's seasonal tasting menu show our unabashed love of tomatoes: flavorful, versatile and luminous with the warm glow of summer. The five-course feast is topped with a cherry, the official pie of July. Reservations may be made online or by calling 412.201.5656


Who Cooks For You Farm Heirloom Tomatoes
warmed heirloom tomatoes, cherry tomato salad, basil seed vinaigrette, crispy shallots 
Cleto Chiarli Lambrusco Brut de Noir Spumante Rosé , Treviso, Italy

Anson Mills Semolina Spaghetti
Sungold tomato, zucchini, basil, garlic, Pecorino Romano, crispy artichoke 
2014 Domaine Michel Bregeon Sur Lie Muscadet, Sevre-et-Maine, Loire Valley, France

Wild Alaskan Halibut 

golden tomato & Parmesan custard, green beans, shallot, puffed spelt 
2015 Frog's Leap Chardonnay, Napa Valley, California

Grilled New York Strip Steak
corn pudding, potato gnocchi, chanterelle mushrooms, sweet pepper jam, crispy cheese curds 
2014 Duckhorn Paraduxx, Napa Valley, California

Cherry Pie
mascarpone ice cream, lime 
2002 Smith Woodhouse LBV Porto, Portugal

Celebration of Summer Tasting Menu $65
Optional Wine Pairing $45

Eleven Contemporary Kitchen

Brigadoon at the Benedum July 17-22

Pittsburgh CLO is proud to bring Lerner and Loewe's BRIGADOON from the Scottish Highlands to the Benedum Center stage July 17 – 22. As part of its ongoing mission to celebrate musical theater, Pittsburgh CLO often revives classics, thus introducing new audiences to the masterpieces of Broadway’s golden age. BRIGADOON ’s popularity spans generations; and is so admired, that Pittsburgh CLO has produced it once in each of its seven decades. This year’s production features an enchanting cast of Pittsburgh CLO and Broadway stars, as well as choreography influenced by Agnes DeMille’s Tony Award®-winning work. Pittsburgh CLO and overall theatrical legend, Lenny Wolpe, returns as Mr. Lundie for his 18th appearance with the organization. Tickets are now available at, at the Theater Square Box Office or by calling 412-456-6666.

When New Yorkers Tommy Albright and Jeff Douglas lose their way during a vacation to the Scottish Highlands, they stumble into the mythical village of Brigadoon on the one day every hundred years it appears. Tommy, who is engaged back in New York, falls head over heels for villager Fiona, while Jeff enjoys a harmless flirtation with Meg Brockie. But a twist of fate reveals the complicated truth — if any resident leaves Brigadoon, the town and the people in it will be lost forever. Tommy is forced to choose between returning to the world that he knows or taking a chance on life and love in a mysterious new place. Including such famous hits as “Heather on the Hill” and “Waitin’ for my Dearie,” Lerner and Loewe’s BRIGADOON has a score sure to sweep you off your feet. It’s “Almost Like Being in Love.”


JASON BABINSKY (Jeff Douglass) is returning to Pittsburgh CLO where he was last seen in Doctor Dolittle. He has been seen on Broadway in Billy Elliot (also First National Tour) and Ghost. Off-Broadway credits include: Caucasian Chalk Circle (Classic Stage Company) and A Man's a Man (Classic Stage Company). Select Regional credits include: three seasons in repertory at the Contemporary American Theater Festival, Alley Theatre, Repertory Theatre of St. Louis, Milwaukee Repertory Theater, McCarter Theatre, Williamstown Theatre Festival, Huntington Theater, Stageworks Hudson, Syracuse Stage, North Shore Music Theater, Theatre Under the Stars, Utah Shakespeare Festival and Paper Mill Playhouse. Film credits include: You Were Never Really Here, A Cure for Wellness, The Wizard of Lies (HBO), Contagion, You Don't Know Jack (HBO) and Law Abiding Citizen. Television credits include: The Good Wife, Unbreakable Kimmy Schmidt, House of Cards, Billions, Law & Order: SVU, Madam Secretary, Shades of Blue, Blue Bloods, The Knick, Person of Interest, Unforgettable, American Odyssey and Forever.

KEVIN CAROLAN (Andrew MacLaren) has been seen in multiple Broadway/National Tours including Disney’s Newsies (Roosevelt), Chicago (Amos - 10th Anniversary) and Dirty Blonde (Charlie u/s). World Premiere: Baloo in Disney’s The Jungle Book, directed by Mary Zimmerman (Goodman/Huntington-Winner, IRNE Award, Best Supporting Actor). Television: Gotham, Orange Is The New Black, The Good Wife, The Middle, Law & Order: SVU, Curb Your Enthusiasm, Boardwalk Empire and Vinyl (both directed by Martin Scorsese). Film: Bear With Us (2016), Disney’s Newsies (2017) and Can You Ever Forgive Me (2018, with Melissa McCarthy).

DEANNA DOYLE (Jean MacLaren) has been seen on Broadway in Phantom of the Opera (Meg Giry) and Tuck Everlasting (Astaire Award Nomination for 17-year-old Winnie). National Tour, An American in Paris (Lise Alternate). Other favorites include: On the Town (Ivy Smith) and On Your Toes (Vera). Metropolitan Opera and Kansas City Ballet: principal roles by Donald McKayle, Paul Taylor, Agnes de Mille and Twyla Tharp. She has been featured at the Astaire Awards and Career Transitions for Dancers.

NATALIE CHARLE ELLIS (Meg Brockie) is making her Pittsburgh CLO debut having just concluded a three-year run as an original cast member of School of Rock on Broadway. Credits include: Les Misérables (Original cast member - 2014 revival), Forbidden Broadway: Alive and Kicking (OBC Off-Broadway), 9-5 the Musical (First National Tour), Lizzie the Musical (TUTS), Cinderella in Into the Woods, Millie in Thoroughly Modern Millie, Irene Molloy in Hello, Dolly! (starring Beth Leavel) and Master of None (Netflix).

JEFFREY HOWELL (Archie Beaton) is a long-time Pittsburgh CLO alum whose latest projects include Citizens Market at City Theatre and A Funny Thing Happened on the Way to the Forum at the Pittsburgh Public Theater. Last summer, he appeared in Damn Yankees at Sacramento Music Circus and Disney’s Newsies at Pittsburgh CLO. His more than eighty productions at CLO also include: Bells Are Ringing, Hello, Dolly!, Sunset Boulevard, South Pacific and Me and My Girl. Other productions include: Souvenir, Choir Boy, Tigers Be Still, Worksong and Red Herring. Television: All My Children, The Young and the Restless. Film: The Dark Half, The Cemetery Club.

JEFF KREADY (Tommy Albright) has multiple Broadway credits including: A Gentleman’s Guide to Love and Murder (Monty Navarro), Billy Elliot (Tony), Sunday in the Park with George and Les Misérables (Jean Valjean u/s). His regional credits include: Thoroughly Modern Millie (Jimmy) at Paper Mill Playhouse, Carousel (Mr. Snow, Connecticut Critics Circle award nomination) at Goodspeed Opera House and David Sedaris’s one-man-show Santaland Diaries at Hartford TheaterWorks. TV: The Good Fight (CBS), Elementary (recurring - CBS), Boardwalk Empire (HBO).

ERYN LECROY (Fiona MacLaren) has been seen Off-Broadway in Sweeney Todd (Barrow Street Theatre). City Center Encores! Off-Center: Assassins. World Premiere: Sousatzka. National Tour: Jekyll and Hyde. Regional: My Fair Lady and Nice Work If You Can Get It (Mac-Haydn Theatre). She received a B.M from Oklahoma City University and is a National YoungArts Foundation alumna.

CHRIS PELUSO (Charlie Dalrymple) was a member of the original cast of Beautiful: The Carole King Musical at the Stephen Sondheim Theatre. His Broadway/NY credits include: Assassins at Studio 54, Mamma Mia! (Sky) at Winter Garden Theatre, Elton John’s Lestat at Palace Theatre and The Glorious Ones at Lincoln Center. West End/UK credits include: Show Boat (Gaylord Ravenal) at New London Theatre, Miss Saigon (Chris) at Prince Edward Theatre, Death Takes a Holiday (Death) at Charing Cross Theatre, Funny Girl (Nick Arnstein) UK Tour and The Woman in White (Sir Percival Glyde) at Charing Cross Theatre. Other theatre credits include: Wicked (Fiyero) US National Tour, West Side Story (Tony) at Barrington Stage Company, Les Misérables (Marius) at Marriott Lincolnshire, Frank Wildhorn’s Bonnie and Clyde (Ted Hinton) at La Jolla Playhouse, Romeo and Juliet (Romeo) at Gulfshore Playhouse and Sunset Boulevard (Joe Gillis) at Music Theatre of Wichita.

GAREN SCRIBNER (Harry Beaton) is making his Pittsburgh CLO debut. Broadway and National Tour: An American in Paris (Jerry). Former soloist: San Francisco Ballet and artist of Nederlands Dans Theater I.
ERICA WONG (Maggie Anderson) has been seen on Broadway in M. Butterfly and The King and I. She has also been seen on the National Tour of An American in Paris. Regional credits include: Jerome Robbins Broadway (The Muny) and In Your Arms (The Old Globe). Ballet Companies include: Milwaukee Ballet and Ballet Theatre of Maryland.

LENNY WOLPE (Mr. Lundie) returns to Pittsburgh CLO for his 18th production with the organization. Broadway: Bullets Over Broadway, Wicked, The Drowsy Chaperone, The Sound Of Music, Mayor, Into The Light, Copperfield, Onward Victoria. I: Old Jews Telling Jokes, Marry Harry, Radio City Spring Spectacular. National Tours: Wicked, Little Shop of Horrors, South Pacific, Guys and Dolls, Forum. Regional: Paper Mill, Goodspeed, St Louis Rep, McCarter, Muny, Denver Center, Pasadena Playhouse, Barrington, Coconut Grove, TUTS, Hollywood Bowl, Sacramento, Westport, Cape Playhouse, Dtc, Bucks County, KC Rep. Nearly 100 TV guest spots ranging from ER, L.A. Law, And The Band Played On, to Roseanne, The Golden Girls and Chapelle’s Show.

BRIGADOON features a talented ensemble including Katie Anderson, Croix Dilenno, Jerome Doerger, Joseph Domencic, Alex Dorf, Courtney Echols, Tion Gaston, Luke Halferty, Cameron Anika Hill, Jessica Ice, Caroline Kane, Lily Kaufmann, Chloe Rae Kehm, Hunter Mikles, Quinn Patrick Shannon, Allan Snyder, Sarah Quinn Taylor, Becki Toth, Olivia Vadnais, Davis Wayne, Madeline Dalesio, Will Sendera, Lauren Ivory Vail, Grace Vensel and Mario Williams.


DONTEE KIEHN (Director) is joining Pittsburgh CLO for the first time. Her previous credits include: An American in Paris - Associate Director/Choreographer (Broadway, National Tour, London and upcoming Japanese production), Next to Normal - Associate Choreographer (Broadway, National Tour, Japan, Korea), The Addams Family - Associate Director/Choreographer (Broadway, National Tour, Australia, Brazil, Argentina and Mexico City), The Winter’s Tale - Choreographer (NY Public Theater), A Doll’s House and Ten Cents a Dance - Choreographer (Williamstown Theater Festival), The Nightingale and the Rose - Director/Choreographer (Metropolis Opera Project), 42nd Street- Choreographer (Casa Mañana), The Fabulous Lipitones - Choreographer (Wellfleet Theater). Ms. Kiehn has appeared onstage in the original Broadway revival companies of Gypsy (starring Bernadette Peters) and 42nd Street.

MARK ESPOSITO (Choreographer) returns to Pittsburgh CLO where his work has been seen in over 12 productions over the years. His other choreographic work has been seen at York Theater in NY, Signature Theater in NY, Two River Theater in NJ, Sacramento Music Theater, Music Theater of Wichita, North Shore Music Theater, Casa Mañana and Bass Hall, Blowing Rock Stage Company, Ogunquit Playhouse, Musical Theater West, La Mirada Theater in CA, Reprise series in LA, Hollywood Bowl, Pasadena Playhouse in CA, CV Rep Theater, Radio City Music Hall Christmas Spectacular,Yuletide Celebration with the Indianapolis Symphony Orchestra, Globus Theatre Company in Russia, Tokyo Disney Sea in Japan, Universal Studios in LA, Point Park College, University of Michigan, UCLA and New York University.

JAMES CUNNINGHAM (Musical Director) is back for his second season as Music Director for Pittsburgh CLO. His New York credits include: Avenue Q (Conductor), Music Director for Bunnicula (TheaterworksUSA and original cast recording) and Happy Birthday (TACT). National Tours: Irving Berlin’s White Christmas, Spamalot, Evita and Cats. Regionally, he has conducted productions for Arena Stage, Casa Mañana, North Carolina Theatre, Sharon Playhouse, Shakespeare Theatre Company, The Engeman Theater, Paper Mill Playhouse, The MUNY and Cape Fear Regional Theatre. He holds degrees from Manhattan School of Music and New York University.


BRIGADOON was the first successful show of the famous musical team Lerner and Loewe. It opened in 1947 and won multiple awards, including the Tony Award® for Best Choreography. In 1954, Vincent Minelli and Arthur Freed’s film version was released, starring Pittsburgh’s own Gene Kelly as Tommy, Cyd Charisse as Fiona and Van Johnson as Harry. Despite not being a box-office success, the film was nominated for three Academy Awards and won a Golden Globe. The Broadway production has subsequently been revived an astounding five times, including a 1957 production starring Pittsburgh CLO alum Shirley Jones and her then-husband, Jack Cassidy as Fiona and Tommy. In 1966, a television version of the show was released with Peter Falk, Sally Ann Howes and Robert Goulet. In the fall of 2017, a limited engagement of Brigadoon played New York City Center starring Patrick Wilson and Kelli O’Hara as well as Robert Fairchild and Sara Esty of An American in Paris fame. 


ALAN JAY LERNER (Book & Lyrics) was born in New York City. He attended Harvard University and wrote for the annual Hasty Pudding Musicals. In 1942, he met Frederick Loewe and began to collaborate. Their first hit Brigadoon opened in 1947 and was followed by Paint Your Wagon. He went on to win three Academy Awards, including Best Original Screenplay for the 1951 film An American in Paris. With Loewe, he wrote My Fair Lady, Camelot, Gigi and The Little Prince. He also won two Golden Globes, three Tony Awards®, two for My Fair Lady, two New York Drama Critics Awards and a Johnny Mercer Award.

FREDERICK LOEWE (Music) was born in Berlin, Germany. He moved to New York and took odd jobs, including cattle punching, gold mining and prize fighting. He eventually found work playing piano in German clubs and in movie theaters as the accompanist for silent films. In 1947, his first successful show, Brigadoon, opened on Broadway. He composed the scores for some of the American theater's most memorable musicals, including My Fair Lady, Camelot, Paint Your Wagon and Gigi.  

ROBERT LEWIS (Original Director) was an American actor, director, teacher, author and founder of the influential Actors Studio in New York in 1947. In addition to his accomplishments on Broadway and in Hollywood, Lewis' greatest and longest lasting contribution to American theater may be the role he played as one of the foremost acting and directing teachers of his day. He was an early proponent of the Stanislavski System of acting technique and a founding member of New York's revolutionary Group Theatre in the 1930s. In the 1970s, he was the Head of the Yale School of Drama Acting and Directing Departments.

AGNES DE MILLE (Original Choreographer) was born in Harlem in 1905. In 1942, she created Rodeo for the Ballet Russe de Monte Carlo and Three Virgins and A Devil for the American Ballet Theater. Also that year, she was asked by Rodgers and Hammerstein to create the dances for what would become their ground breaking musical, Oklahoma! Over the next two decades, she went on to choreograph such landmark Broadway musicals such as: One Touch Of Venus, Carousel, Allegro (which she also directed), Brigadoon, Gentlemen Prefer Blondes, Paint Your Wagon, Goldilocks and Juno.

Performance Schedule for BRIGADOON
Tuesday July 17 7:30 pm
Wednesday July 18 7:30 pm
Thursday July 19 7:30 pm
Friday July 20 8:00 pm
Saturday July 21 2:00 pm & 8:00 pm
Sunday July 22 2:00pm & 7:00 pm


Tickets are available online at, by calling 412-456-6666 or at the Box Office at Theater Square. Tickets start at $25. Groups of 10 or more enjoy exclusive discounts and specialty packages. Call our Group Sales Hotline at 412-325-1582 for more information. Visit for further information.

Friday, July 6, 2018

La Boheme Warhola Opens This Evening

Pittsburgh Born Andy Warhol’s 1960s Factory Inspires Pittsburgh Festival Opera’s La Bohème Credit: Courtesy Photo

WHO:      Pittsburgh Festival Opera 

WHAT:   La Bohème Warhola, Pittsburgh Festival Opera’s 41st Season opener 

WHERE:    Winchester Thurston School    Falk Auditorium 555 Morewood Ave!Pittsburgh PA 15213 

WHEN:   Friday 6 July at 7:30 pm Sunday 8 July at 2:00 pm Thursday 12 July at 7:30 pm Saturday 14 July at 7:30 pm Thursday 19 July at 7:30 pm 

TICKETS:  $25-$65 can be purchased at  La Bohème Warhola is sung in English, with surtitles. 
Running time: 2 hours and 30 minutes with one intermission. 

Pittsburgh Festival Opera will open its 41st season on July 6th 2018, with La Bohème Warhola, Giacomo Puccini’s classic La Bohème, reimagined in a new era and influenced by one of Pittsburgh’s most famous natives.  La Bohème tells the story of four friends, living a Bohemian life filled with art and love, living in an 1800s Parisian garret.  Pittsburgh Festival Opera’s new production sets the action in the revolutionary artistic ambience of New York City in the 1960s, specifically Andy Warhol’s famous Factory. 

 La Bohème Warhola is directed by Louisa Proske, conducted and arranged by Daniel Schlosberg, and stars Jonathan Tetelman and Jessica Sandidge as the ill fated lovers, Rudolph and Mimi.  Orchestrations are co-commissioned with Heartbeat Opera, NYC. Five performances will take place throughout the Festival, performing at Winchester Thurston School’s Falk Auditorium in Shadyside, 555 Morewood Avenue, Pittsburgh, PA 15213.  

ABOUT PITTSBURGH FESTIVAL OPERA: Pittsburgh Festival Opera, founded in 1978 as Opera Theater of Pittsburgh by internationally renowned mezzo-soprano Mildred Miller Posvar, presents innovative opera, including American works, reinterpretations of older works, and new works, for the widest possible audience. The company focuses on diversity in programming and casting, on crossing boundaries and bringing together talents from all the arts, on encouraging new talent, and on broadening audiences through outreach and education, to create a body of work that is original, entertaining, contemporary and relevant. 

Re-imagine the antics and love affairs of four ‘Bohemian’ artists, set not in a nineteenth-century Parisian garret, but instead in the revolutionary artsy world of 1960s New York.

La Bohème Warhola
Maybe even imagine it set in The Factory, the tin foil-covered loft where Andrew Warhola became Andy Warhol, the father of pop art as well as an artistic symbol of a new era.

Pittsburgh Festival Opera's production is inspired by Andy and created by an innovative New York-based team. They will transform Puccini’s fabulous opera, in a radical, intimate, modern metamorphosis… but Puccini’s heart will still beat as strongly and his music sing as truly and unmistakably as ever.

Join the cast at the Opening Night Party with light fare immediately following the performance on Friday 6 July.

Want more Warhol? Plan a visit to Pittsburgh's Warhol Museum, which tells Andy Warhol’s story and explores his legacy through the largest collection of Warhol art and archives in the world. The Museum is just a few miles from the Falk Auditorium.

ACTS 1 and 2
New York City, 1960s, Christmas Eve: At their unheated “factory” studio, Rudolph the writer and Marcel the painter try to keep their minds off the gruelling winter cold by bitching about love. They are joined by their friends Colline the philosopher and Schaunard the musician. The latter has managed to hustle up some money, which will allow them to hang out at their favorite artist spot: Max’s Kansas City!

But first the landlord shows up, demanding back rent. By boozing and buttering him up, the resourceful artists manage to send him packing.

As the friends leave for Max’s, Rudolph stays behind to finish an article. He is interrupted by a neighbor whom he has never seen before - a fragile, fascinating woman called Mimì, asking for a light for her candle. She’s in bad shape and faints briefly, losing her key on the floor. As they both look for it in the dark, their hands touch and they fall for each other. They decide to spend Christmas together and leave to join Rudolph’s friends.

At Max’s Kansas City, New York’s artists, hustlers, and beauties mingle and get high. The four friends spend their money freely and still order a lot of food. Rudolph introduces his new girl to his friends. Their toast is interrupted by Musetta, Marcel’s ex, who is parading herself with her new sugar daddy Alcindoro. The whole bar watches eagerly as she wages war against Marcel’s resolve to ignore her. She craftily fans the flames of her former lover’s desire. She sends Alcindoro on an errand and hooks up with Marcel once more. In the confusion of the raucous celebration, the four friends and their girls slip away, leaving the bill for the hapless Alcindoro to pay.

ACTS 3 and 4
About a year has passed. Rudolph and Mimì have moved in together but are quarrelling constantly. After a particularly bitter fight, Rudolph has left in the middle of the night. Mimì seeks out the back alley of a seedy club where Marcel and Musetta are staying, hoping to enlist Marcel to help her deal with Rudolph’s pathological jealousy, but his only advice is: separate! She learns that Rudolph is here and flees, but then overhears the two friends talking. 

Rudolph lies to Marcel that he is tired of Mimì. Moments later, he breaks down and admits that he is actually terrified of Mimì’s advancing illness. The men find Mimì, hiding and sobbing. Marcel escapes the uncomfortable situation by launching into a vicious fight with Musetta. Mimì tells Rudolph it’s better to separate now, as friends. 

Months later, the four artist friends are back in their studio—once again single, still poor, cold and living on jokes and theatrics. Musetta bursts in—she has found Mimì near death on the street, asking to be reunited with Rudolph. She brings Mimì in and they put her to bed. Musetta sells her jewelry to get a doctor and some medicine. Mimì reminds Rudolph of their happiness together. Rudolph is in denial and convinces himself that she will get better, but Mimì dies before the doctor arrives.

This most popular opera, surprisingly, saw the light of day under somewhat contentious conditions triggered by a chance encounter between Puccini and Leoncavallo in a Milan café. Puccini had recently enjoyed a triumph with the staging of Manon Lescaut as had Leoncavallo with Pagliacci.

During their conversation Puccini casually mentioned that he was working on a new opera based on episodes from Henry Murget’s fifty-year old novel, Scènes de la Vie de Bohème (known in English by the awkward title Bohemians of the Latin Quarter). Considerably piqued, Leoncavallo reminded Puccini that he was already working on a Bohème and that Puccini had rejected the libretto some time before.

Thus began a bitter rivalry fraught with such recriminations that brief notes cannot recount in detail. Leoncavallo was the first to offer his creation to the public. It was a moderate success, but with the production of Puccini’s somewhat different version of the same tale it fell into oblivion. It is a pity, since Leoncavallo’s version has charm and deserves more that the occasional production it receives.

In addition to its sumptuous music, much credit for the success of Puccini’s opera can attributed to its talented librettists, Giuseppi Giacosa and Luigi Illica. The concision of the text is the work of Illica, who has offered four scenes of immediate appeal although they omit much that is pertinent to development of the story. Giacosa was the poet, supplying the kind of text which generates empathy with the joys and sufferings of young love.
Teatro Regio in Turin Credit: Courtesy Photo

Teatro Regio
La Bohème was presented to the public on February 1, 1896 at the Teatro Regio in Turin. The conductor was Arturo Toscanini. Surprisingly the reception was mixed. It was not until the opera was produced some months later in Palermo that enthusiasm for Puccini’s effort began to grow.

For the lovers of La Bohème it should be pointed out that it is not Mimi who coughs her last in Murget’s bohemians’ garret, but Francine, Marcel’s mistress. Mimi does die but with an unspecified malady in Saint Lazare, the poorhouse, unattended by her friends because of an erroneous report of her death they receive from one of the hospital attendants.

In addition to Leoncavallo’s treatment of the subject, there is a lively zarzuela by Amadeo Vives, entitled, not inappropriately, Los bohemios. It is a romantic vignette with a happy ending, a one-acter in what is termed el género chico. Appearing in 1904, it was clearly attempting to bask in the fame of Puccini’s effort.

In more recent times there have been not infrequent adaptations of Puccini’s effort such as The Black Bohème in an adaptation by Hal Shaper performed with considerable success in South Africa, and Rent, a reworking of La Bohème by Jonathan Larson which hit the Broadway circuit in 1996.

—Jerry Clack

Giacomo Puccini

[born 22 December 1848; died 29 November 1924]

Giacomo Antonio Domenico Michele Secondo Maria Puccini was born on December 22, 1858, in Lucca, Italy, where since the 1730s his family had been tightly interwoven with the musical life of the city, providing five generations of organists and composers to the Cathedral of San Martino, Lucca’s religious heart. It was therefore taken for granted that Giacomo would carry on this legacy, succeeding his father, Michele, in the role first held by his great-great grandfather. However, in 1864 Michele passed away when Giacomo was just 5 years old, and so the position was held for him by the church in anticipation of his eventual coming of age.

Giacomo Puccini portrait
But the young Giacomo was uninterested in music and was a generally poor student, and for a time it seemed that the Puccini musical dynasty would end with Michele. Giacomo’s mother, Albina, believed otherwise and found him a tutor at the local music school. His education was also subsidized by the city, and over time, Giacomo started to show progress. By the age of 14 he had become the church organist and was beginning to write his first musical compositions as well. But Puccini discovered his true calling in 1876, when he and one of his brothers walked nearly 20 miles to the nearby city of Pisa to attend a production of Giuseppe Verdi’s Aida. The experience planted in Puccini the seeds of what would become a long and lucrative career in opera.

From Milan to Manon
Motivated by his newfound passion, Puccini threw himself into his studies and in 1880 gained admission to the Milan Conservatory, where he received instruction from noted composers. He graduated from the school in 1883, submitting the instrumental composition Capriccio sinfonico as his exit piece. His first attempt at opera came later that year, when he composed the one-act La villi for a local competition. Although it was snubbed by the judges, the work won itself a small group of admirers, who ultimately funded its production.

The Big Three
With their accessible melodies, exotic subject matter and realistic action, Puccini’s three best-known compositions are considered to be his most important; over time they would become the most widely performed in opera history. The result of another collaboration between Puccini, Giacosa and Illica, the four-act opera La Bohème was premiered in Turin on February 1, 1896, again to great public (if not critical) acclaim. In January 1900, Puccini’s next opera, Tosca, premiered in Rome and was also enthusiastically received by the audience, despite fears that its controversial subject matter (from the novel of the same name) would draw the public’s ire. Later that year, Puccini attended a production of the David Belasco play Madam Butterfly in New York City and decided that it would be the basis of his next opera. Several years later, on February 17, 1904, Madama Butterfly premiered at La Scala. Though initially criticized for being too long and too similar to Puccini’s other work, Butterfly was later split up into three shorter acts and became more popular in subsequent performances.

His fame widespread, Puccini spent the next few years traveling the world to attend productions of his operas to ensure that they met his high standards. He would continue to work on new compositions as well, but his often-complicated personal life would see to it that one would not be immediately forthcoming for some time.

Personal Scandals
The period between 1903 and 1910 proved to be one of the most difficult in Puccini’s life. After recovering from a near-fatal auto accident, on January 3, 1904, Puccini married a woman named Elvira Gemignani, with whom he had been having an illicit affair since 1884. (Gemignani had been married when she and Puccini started their liaisons.) The couple had been living in the small, quiet fishing village of Torre del Lago since 1891, but over the years, Elvira had grown increasingly unhappy, due to the numerous other women that Puccini became involved with.

Matters reached a dramatic apex worthy of one of Puccini’s operas when Elvira’s jealousy led her to accuse a servant girl named Doria Manfredi of having an affair with her husband, publicly threatening her and harassing her in the village. In 1909, the distraught Doria killed herself by ingesting poison. After a medical examination proved that she had been a virgin, her family brought charges of slander and persecution against Elvira.

Mortified by what Elvira had done, Puccini separated from her and sent her away to live in Milan. She was eventually tried, found guilty and sentenced to five months in prison. Ultimately though, Puccini intervened in the matter, taking Elvira back and paying a substantial sum to Doria’s family to convince them to drop the charges.

Fading Success, Failing Health
While dealing with the ongoing crises in his personal life, Puccini continued composing. On December 10, 1910, six years after his last opera, The Girl of the Golden West premiered at the Metropolitan Opera House in New York City. Though the initial production—which featured world-renowned tenor Enrico Caruso in the cast—was a success, the opera failed to achieve any lasting popularity, and over the course of the next decade, a string of relative disappointments followed.

In 1912, Puccini’s faithful supporter and business partner Guilio Ricordi passed away, and shortly thereafter, Puccini began work on a three-part opera (realistic, tragic and comedic) that Ricordi had always been against titled Il Trittico. Puccini then refocused his efforts when representatives from an Austrian opera house offered him a large sum to compose ten pieces for an operetta. However, work on the project was soon complicated by their respective countries’ alliances during World War I, and for a time the compositions foundered. When La Rondine was finally performed in Monaco in 1918, it was moderately successful, but like its predecessor, it failed to make a lasting impact. The following year, Il Trittico debuted in New York City, but it too was quickly forgotten.

Seeking to achieve his former glory in the face of fading popularity, Puccini set out to write his masterwork in 1920, throwing all of his hopes and energies into the project, which he titled Turandot. But his ambitions would never be fully realized.

In 1923, Puccini complained of a recurring sore throat and sought medical advice. Though an initial consultation turned up nothing serious, during a subsequent examination he was diagnosed with throat cancer. As the cancer had by that point progressed beyond where it could be operated upon, Puccini traveled to Brussels in 1924 for an experimental radiation treatment. Too weak to endure the procedure, he died in the hospital seven days later, on November 29, 1924. At the time of his death, Puccini had become the most commercially successful opera composer of all time, worth the equivalent of an estimated $200 million.

After an initial burial in Milan, in 1926 his body was moved to his Torre del Lago estate, where a small chapel was constructed to hold his remains. An opera celebration called “Festival Puccini” is held in the town every year in honor of its most famous resident.