Pyotr Ilyich Tchaikovsky

The Maid of Orleans

Oct. 1-10, 2021

THE MAID OF ORLEANS was fully staged with orchestra conducted by Michael Sakir. It was sung in Russian with English subtitles. The opera was presented at Town Hall Theater in Middlebury, Vermont.

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September 26 – Sunday

2:00 pm – Young Artists Recital
Waybury Inn, East Middlebury

Join us for a special afternoon with talented young artists directed by Dawn Pierce of Ithaca College. Waybury Inn, East Middlebury, VT. Outdoors, weather permitting. Appetizers and recital. Cash Bar. Everyone wishing to attend is asked to wear a mask and be vaccinated. Tickets $15.

October 1, 7, 9

6:30 pm – Pre-performance Talks

  • 10/1 – Jim Pugh
  • 10/7 – Douglas Anderson
  • 10/9 – Michael Sakir
    St. Stephen’s Episcopal Church, Main St., Middlebury
  • 7:30 pm – Performances


October 3 – Sunday

  • 1:00 pm – Pre-performance Talk by Jim Pugh
    St. Stephen’s Episcopal Church, Main St., Middlebury
  • 2:00 pm – Performance

 Libretto by the composer
based on Schiller’s Die Jungfrau von Orleans

Please visit the STAFF page to see bios for the creative and production staff.

Joan of Arc Annie Rosen
King Charles VII James Flora
Agnes Sorel Meredith Lustig
Thibaut Daniel Klein
Dunois Joshua Jeremiah
Lionel Paul La Rosa
The Archbishop Isaiah Musik-Ayala
Raymond Lucas Levy
Bertrand/Ensemble Mason Jarboe
Lead Angel/Ensemble Shannon Seymour-Michl
Young Artists
Soprano Sarah Aliperti
study cover Agnes
Ariel Andrew
cover Thibaut
Mark Covey
Tenor Scott Rubén La Marca
Soprano/cover Agnes Aurora Martin
Tenor/cover Raymond Christopher Remkus
cover Joan
Erin Reppenhagen
Bass-baritone/Lore Marcus Schenck
Mezzo-soprano Lindsey Weissman


Mezzo-soprano Annie Rosen (Joan of Arc) recently debuted with The Metropolitan Opera as Ankhesenpaaten in Akhnaten, appeared as Adalgisa in Norma with both Utah Opera and Calgary Opera, sang her first Suzuki in Madama Butterfly with Central City Opera, debuted with Chicago Opera Theater in Iolanta and The Scarlet Ibis, and a returned to the Lyric Opera of Chicago as Wellgunde in her first complete Ring cycle. During the 2020-21 season she appeared in Chicago Opera Theater’s streamed productions of Rimsky Rebooted and Taking Up Serpents. The summer of 2021 and beyond brings a concert appearance with the Bard SummerScape Music Festival, a film version of Hansel and Gretel with Opera Ithacaher role and company debut with Florentine opera in the title role of L’enfant e les sortileges, and returns to the Lyric Opera of Chicago for Proving Up and the Metropolitan Opera for their reprisal of Akhnaten.


American tenor James Flora, (King Charles) hailed for his “resonant, impeccably-trained voice and fearlessness to his singing,” has received acclaim in repertoire ranging from Verdi and Wagner to works by Carlisle Floyd and Daron Hagen. James was a Glimmerglass Young American Artist in 2009 and a Tucker Award Finalist in 2010. He sang at the Metropolitan Opera in productions of Die Meistersinger von Nürenberg and Fidelio. He made his Pittsburgh Opera debut as Fenton in Falstaff, and has since returned for seven productions. James has performed leading roles throughout the United States, including Cavaradossi, Pinkerton, Don José, Alfredo, and Rodolfo, appearing with Washington Concert Opera, Arizona Opera, Glimmerglass Opera, Opera Company of Middlebury, Opera Columbus and many others. He is equally at home on the symphonic stage, singing with Pittsburgh Symphony, Reno Philharmonic, Erie Chamber Orchestra, and Buffalo Philharmonic, and recently debuted with the La Voz Humana: Lenguajes Múltiples festival in Cuba with Maestro Leo Brouwer. This is his eighth role with OCM, and it is always a dream to return. James serves as a voice professor at University of New Mexico in Albuquerque, NM where he makes his home with his wife, Olga Perez Flora, and their two children, Lucia and Ella.


Meredith Lustig (Agnes Sorel). Praised for her “radiant soprano” and “outstanding dramatic presence,” Ms. Lustig has established herself as an artist of great versatility and sophistication. Favorite roles include: Blanche DuBois/A Streetcar Named Desire (Opera Company of Middlebury), Gianetta/L’Elisir D’Amore, Cephisia/Orpheus (New York City Opera), Laurie/Oklahoma (Mac-Hayden Theater), Eurydice/Orpheus in the Underworld (Virginia Opera), Fiona/Brigadoon (Gulfshore Opera), Megan/The Whole Truth (American Modern Ensemble), Musetta/La Bohème (Syracuse Opera). Papagena/Magic Flute, Zina/Dark Sisters, Carolina/Il Matrimonio Segreto, Clorinda/Cenerentola (Pittsburgh Opera), Daisy/The Great Gatsby (Aspen Opera Theater), and Bella/An American Tragedy (Glimmerglass). She has held residence at the Ravinia Steans Institute, Caramoor, New York Festival of Song, Town Hall Theatre, Glimmerglass, and Pittsburgh Opera. Symphonic appearances include Candide (Philadelphia Orchestra), Carmina Burana (Erie Philharmonic), Serenade to Music (Chicago Symphony), Bernstein’s Mass (Ravinia Festival, Philadelphia Orchestra), and as a headliner for the Dallas Symphony, Detroit Symphony, Steamboat Springs Symphony, The Virginia Arts Festival and Canada’s Centre National Des Arts. Television appearances include The Late Show with Stephen Colbert and PBS Great Performances’ presentation of Mass. She is thrilled to be reunited with her beloved OCM family!


Daniel Klein (Thibaut) has been hailed by the New York Times for his “stentorian bass-baritone” and “unusually dark and steely voice.” Audiences and critics alike have found his performances imaginative, adventurous, and occasionally even downright terrifying. Recent appearances include Thorvard in Jeffrey Leiser’s movie-opera Freydis and Gudrun, a “blazingly intense” Caspar in Der Freischütz with Heartbeat Opera, Spencer Coyle in the New York Premier of Benjamin Britten’s Owen Wingrave with the Little Opera Theater of New York, Judge Moriarty in the New York Premier of Huang Ruo’s Bound, and the title role in Verdi’s Falstaff with the International Summer Opera Festival of Morelia, Mexico. Previous roles with OCM include Marcello in La Bohème, Ping in Turandot, Mustafa in L’Italiana in Algeri and Rambaldo in La Rondine.


Praised by The Wall Street Journal for being “remarkably loud,” tenor Lucas Levy (Raymond) is gaining recognition for bringing “operatic power” (Tampa Bay Times) to his portrayals, for his “suave and dark” voice (La Scena Musicale), and for being “a joy to watch” (Broadway World). His 2021-22 season begins with debuts at Berkshire Festival Opera and Opera Company of Middlebury. The 2019-20 season saw Mr. Levy in an immersive production of Rigoletto at infamous New York City nightclub The Box. The 2018-19 season featured his return to St. Petersburg Opera as Rinuccio in Gianni Schicchi, and to Opera Maine for their 25th anniversary season as Monostatos in Die Zauberflöte, where Opera News noted his “vocally forward and strong” performance. He was also seen in performances of Haydn’s Creation, Schubert’s Mass in G major, and Mozart’s Requiem. Other performance highlights include Falstaff with Opera Omaha, La traviata and Les contes d’Hoffmann with St. Petersburg Opera, and Otello with LoftOpera. An alumnus of the young artist programs of Opera Theatre of Saint Louis, Sarasota Opera, and Opera Maine, he received his Bachelor of Music degree from Oberlin Conservatory, and his Master of Music degree from Westminster Choir College. Mr. Levy currently resides in New York City.


Joshua Jeremiah (Dunois) returns to OCM for his fourth season with Candide in spring 2021 and now The Maid of Orleans. Previously, he was heard in OCM’s Thaïs (Athanaël), and also the title roles in Macbeth and Gianni Schicchi. Appearances last season included the title role of Rigoletto with Houston Grand Opera, Amonasro (Aida) with Virginia Opera and Opera Tampa, Melchior (Amahl and the Night Visitors) with On Site Opera, and Lionel (The Maid of Orleans) with New Orleans Opera. Other notable performances include: Horstmayer (Silent Night), Minnesota Opera; Col Von Kalle (Mata Hari), LA Opera; Lassiter (Riders of the Purple Sage), Arizona Opera; Demetrius (A Midsummer Night’s Dream), Hawai’i Opera Theater; Rigoletto, Arizona Opera; John Sorel (The Consul), Opera Santa Barbara; Don Pedro (La Périchole), and Deputy Mayor (Anna Nicole), New York City Opera. His recording of the title role in John Musto’s Volpone at Wolf Trap Opera received a Grammy Nomination for Best Opera in 2010.

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Paul La Rosa (Lionel). In 2019 Mr. La Rosa made role and company debuts with Gulfshore Opera (Malatesta in Don Pasquale and Germont in La traviata), with Angel’s Share as Aeneas in Dido and Aeneas, and with Fort Worth Opera in El pasado nunca se termina. 2018 saw a return to San Diego Opera as El Payador in Maria de Buenos Aires and his Princeton Festival debut as Sharpless in Madama Butterfly. Highlights from recent seasons include his return to the Lyric Opera of Chicago in The Merry Widow, debuts at Houston Grand Opera, San Diego Opera, the Boston Symphony Orchestra at the Tanglewood Festival, the Los Angeles Philharmonic, the Cleveland Orchestra, the Los Angeles Opera, and with the Lyric Opera of Kansas City as Falke in Die Fledermaus, Jud Fry in Oklahoma! at the Lyric Opera of Chicago, and a role debut as Jack Rance in La fanciulla del West with Lorin Maazel.


Isaiah Musik-Ayala (The Archbishop). American bass-baritone Isaiah Musik-Ayala returns to OCM, after having appeared in Macbeth in 2016. Known for his “burly and resonant tone” (New York Times), Isaiah recently made his New Amsterdam Opera debut as Phanuel in Hérodiade before singing Colline in New York City Opera’s La Bohème In The Park and then again in Union Avenue Opera’s La bohème. In addition to a dozen roles at Opera San Jose over the course of seven seasons, Isaiah has also performed with Sarasota Opera, Opera Tampa, Savannah Opera, Chautauqua Opera, West Bay Opera, Loft Opera, Opera San Luis Obispo, Tel Aviv Summer Opera, and On Site Opera. Recent highlights include Banquo in Macbeth, Basilio in The Barber of Seville, Escamillo in Carmen, Elmiro in Otello (Rossini), Oroveso in Norma, the French General in the new American opera, Silent Night, and numerous festival and concert appearances. He is an alumnus of Oberlin Conservatory where he studied with the late Richard Miller.


Mason Jarboe (Bertrand) is a Baritone from Fort Worth, Texas. He was most recently seen as Sweeney Todd with Music Theatre Denton, and before that as Signor Naccarelli with the Town Hall Theater/Middlebury College J-Term production of The Light in the Piazza. Other recent engagements include Count di Luna with Regina Opera, Figaro with BARN Opera, and Enrico with Hudson Opera Theatre. Mr. Jarboe had his debut with OCM in the Ensemble of the filmed production of Candide this spring. He is also the chef and co-owner of Rose Valley Farm in Pittsford, VT.


Shannon Seymour-Michl (Lead Angel/Ensemble) is thrilled to return to the OCM stage following performances in the recent productions of Cendrillon and Tosca. Her coloratura soprano has been praised for its “beautiful clarity, technique, and soaring, fluid lines” (Times Argus). Shannon has performed around the world in roles ranging from Mabel (The Pirates of Penzance), Susanna (Marriage of Figaro), Musetta (La Bohème), Sophie (Der Rosenkavalier), and Baby Doe (The Ballad of Baby Doe). She also performs as a concert soloist and holds degrees from Mount Holyoke College, The National Conservatory of Greece, and The Boston Conservatory. Shannon resides in Weston, CT and when not singing, enjoys skiing and traveling with her husband and young son.


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Sarah Aliperti (Soprano) graduated from Ithaca College in 2020 and is originally from Geneva, NY. Her Ithaca College credits include Dido in Dido and Aeneas and Mrs. Nolan in The Medium. Her other credits include Evita in Evita with the Geneva Theatre Guild. Her chorus experience includes La Bohème and Pagliacci with Opera Ithaca and most recently, Sally Lamb McCune’s We Wear The Sea Like A Coat as Second Tern and chorus with Opera Ithaca.


Ariel Andrew (Soprano/study cover Agnes) was most recently seen as Erste Dame in Mozart’s Die Zauberflote with Opera Steamboat OAI. Her past endeavors have included the title role of Rusalka with LAHSOW and Pamina with Spooky Goose Opera. Miss Andrew is excited to join Opera Company Middlebury as a Young Artist for this production. She continues to actively perform and is in the pursuit of launching her operatic career. She is currently studying with Mark Schnaible while living in Chicago, IL.


Originally from Monterrey, Mexico, bass-baritone Mark Covey (Soldier/cover Thibaut) has been described as “a virtuoso” (Opera Today). He has performed extensively throughout the United States, as well as in Germany, France, and Italy. Recently, he appeared as Simone in Puccini’s Gianni Schicchi with Festival Napa Valley under the baton of Kent Nagano. He was a 2020 semi-finalist in the prestigious Shreveport Opera Mary Jacobs Singer of the Year Competition. He resides in San Antonio, TX and serves as Assistant Professor of Voice at Angelo State University.


Scott Rubén La Marca is an American tenor in his senior year at The Aaron Copland School of Music, and will graduate with a Bachelor’s degree in Music Performance. Scott has been on the rosters of numerous training programs, including Classic Lyric Arts, and Classical Singing & New York in June. Scott has studied with Baritone Sidney Outlaw. Past studies include workshops at The Westchester Summer Vocal Institute. Scott has studied under the tutelage of Corradina Caporello, Reed Woodhouse, Glenn Morton, Donna Gill, and others.


Aurora Martin (Soprano/cover Agnes) is quickly becoming recognized along the east coast for her colorful and sparkling soprano. She completed her Master’s in Vocal Performance at The New England Conservatory. Notable performances since then include Pamina in Die Zauberflöte, Micaëla in Carmen, and Noèmie in Cendrillon, Madame Silvertone in The Impressario and Liesgen and Mieke in Bach’s Coffee and Peasant Cantatas. Her love of concert work led her to performances of Erik Satie’s Socrates, Mahler’s Das Knaben Wunderhorn, Beethoven’s Mass in C Major, and Saint-Saëns’ Christmas Oratorio. She sings routinely with Odyssey Opera, The Boston Modern Orchestra Project, the Arlington Philharmonic Society, Opera del West, and Boston Opera on Tap. Born and raised in Northern Virginia, Aurora received her Bachelor’s degrees in Music and Chemistry from Virginia Tech. She made her professional operatic debut as Inez in Il Trovatore in 2011 as a Young Apprentice Artist with Opera Roanoke.

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Tenor Christopher Remkus (cover Raymond) was recently seen at Nahant Summer Music Festival debuting the role of Charlie Bucko in the World Premiere of Francine Trester’s Keepers of the Light. Christopher received his Graduate Diploma at New England Conservatory. At NEC: the title role in Bernstein’s Candide, Jimmy in Later the Same Evening,Gherardo in Gianni Schicchi. At Hubbard Hall Opera Theater: Goro in Madama Butterfly and Scorpio in La Pizza con Funghi. He holds a Masters from Bard College where he studied under Dawn Upshaw. Performances at Bard: Tamino in Die Zauberflöte; tenor soloist for Mozart’s Coronation Mass and Handel’s Messiah.


Mezzo-soprano, Erin Reppenhagen (cover Joan), recently graduated from the Manhattan School of Music (MSM) with her Master’s degree in Vocal Performance. Before finishing her Master’s degree, Ms. Reppenhagen was a featured soloist in Ralph Vaughn Williams’ Serenade to Music at MSM’s Carnegie Hall Gala Concert. Her previous credits include Meg/Aunt Cecilia (Little Women), Mrs. Bass (Emmeline), Monitor (Suor Angelica), La Madre di Mariuccia (I due Timidi), Witch (Hänsel und Gretel), Fortuna/Mercurio (L’incoronazione di Poppea), and Little Buttercup (H.M.S. Pinafore).


Marcus Schenck (Lore) is a Boston-based bass-baritone. Notable performances include Don Bartolo (The Marriage of Figaro) with Boston Opera Collaborative, The King (The Little Prince) with NEMPAC Opera Project, the workshop premiere of Mr. Twister and the Tale of Tornado Alley by Marc Hoffeditz in the title role, and Le Gouverneur (Le comte Ory) with Lowell House Opera. In August 2017, he co-founded the Promenade Opera Project and now serves as the Executive and Artistic Director.


Lindsey Weissman is a mezzo-soprano from Latham, New York. She recently graduated from Ithaca College with a Bachelor’s of Music in Voice/Outside Field in Musical Theater and minor in Jazz Studies. Past credits include Menotti’s The Medium (Baba), Suor Angelica (La Zia Principessa), Dido and Aeneas (the Sorceress), Cenerentola (Tisbe cover), and scenes from Britten’s The Rape of Lucretia (Lucretia) and A Midsummer Night’s Dream (Oberon). Lindsey’s Facebook Page

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Joan of Arc (the Maid): Mezzo-Soprano

Charles VII, King of France: Tenor

Agnes Sorel, his Mistress: Soprano

Thibaut, Joan’s Father: Bass

Dunois, a French Soldier: Baritone

Lionel, a Burgundian Soldier: Baritone

The Archbishop: Bass

Raymond, a young man in love with Joan: Tenor

Bertrand, an old peasant: Bass

An Angel Voice: Soprano

A Soldier (Voyn): Bass

Lore, a wounded soldie: Bass


Act I – Joan d’Arc, a humble shepherdess, is torn between the claims of a normal life versus a sense of divine mission. News of two English defeats of French troops and the siege of Orleans decides her. She foretells the death of the English leader, Salisbury, and she leads the people in a prayer for victory and peace. She then bids farewell to her familiar world. A heavenly choir confirms her calling and predicts she will save France.

Act II – French King Charles is demoralized by France’s disastrous defeats and, despite the exhortations of the knight Dunois, wishes for nothing except the love of his mistress, Agnes Sorel. By now Joan has led French troops to a great victory and she comes before the King. Having heard of her victories and how the Virgin appeared to her and revealed her destiny, the King entrusts his armies to her leadership, and she receives the archbishop’s blessing.

Act III – Scene 1 – On the battlefield Joan encounters and defeats the knight Lionel, a French nobleman who had defected to the English. But she now falls in love with him.  Scene 2 – Joan leads the King to his coronation in Rheims Cathedral, but Thibaut, her father, denounces her as an agent of the devil. She refuses to answer his question, ‘Are you pure and holy?’ and all turn against her. She is banished.

Act IV – Scene 1 – Torn between her love for Lionel and her divine mission, Joan meets him, but their joy is shattered by a heavenly chorus condemning her. They are discovered by English soldiers. Lionel dies defending her and she is taken.  Scene 2 – In Rouen Joan is led to the stake. Angels bid her to come to Heaven.

Suggested recordings by J. Scott Morrison

The Maid of Orleans on CD

The Maid of Orleans on DVD

YouTube complete performance: from the Bolshoi production of 1993.

YouTube performance of Joan’s first act aria:
‘Farewell, you native fields and forests’
Elena Obraztsova, mezzo

Opens October 1, 2021

A rare chance to see Tchaikovsky’s epic treatment of the story of Joan of Arc. A huge cast and orchestra bring this sumptuous score to life.

If this opera won’t be a masterpiece in general,” wrote Tchaikovsky. “it will be my masterpiece.”

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