A Streetcar Named Desire

Friday, April 6, 2018 • 7:30pm
Sunday, April 8, 2018 • 2:30pm

Performed at The Egyptian Theatre
“Made in the USA”

Click here for tickets

Music: André Previn
Libretto: Philip Littell
Premiere: September 19, 1998, San Francisco Opera
Adapted from Tennessee Williams’s Pulitzer Prize-winning 1947 play of the same name.


Blanche DuBois • Soprano Julie Adams
Stanley Kowalski • Baritone Gregory Gerbrandt
Stella Kowalski • Micaëla Oeste
Harold “Mitch” Mitchell • Casey Candebat
Eunice Hubbell • Michele Detwiler
Steve Hubbell • Andrew Peck
Newspaper Boy • Cody Bray
Mexican Woman • Kristine Nunes
Nurse • Emily Hammond
Doctor • Casey Lebold
Pablo Gonzales • Fernando Menéndez

Conductor • Alasdair Neale
Director • Walker Lewis

Click here for bios


Streetcar: From Play to Movie to Opera
by General Director Mark Junkert

Thursday, March 22, 2018, 6:00pm – 7:30pm
The Community Library, 415 Spruce Ave, Ketchum, ID 83340

Opera Idaho General Director Mark Junkert will follow Tennessee Williams’ 1947 Pulitzer Prize-winning play, A Streetcar Named Desire, as it becomes a movie in 1951 and then in 1998 an opera by Andre Previn, which Opera Idaho will perform in Boise on April 6 and 8 at the Egyptian Theatre.

Sunday, March 25, 2018, 1:00pm – 2:00pm
Barnes & Noble, 1315 N Milwaukee St, Boise, ID 83704

This second lecture will take place on the first day of the Opera Idaho Bookfair at Barnes & Noble. On this day and the 5 days following, mention Opera Idaho at checkout when you purchase items from Barnes & Noble including food and beverages at the Cafe and Opera Idaho will receive a percentage of the sale!


TIME: 1940s
PLACE: the home of Stanley and Stella Kowalski at Elysian Fields, New Orleans.

Act I, Scene 1
Blanche DuBois has suffered the loss of both her ancestral home and her job when she arrives in New Orleans to visit her sister Stella, who has married Stanley Kowalski, an ex-G.I. trucker.

Scene 2 a few days later
Stanley, infuriated by Blanche’s artificial airs, her suggestive behavior, and what he regards as her loss of his wife’s birthright, is determined to expose Blanche’s lies about her past-which is more tragic and sordid than he is able to imagine.

Scene 3 that night
During a poker game Blanche meets Harold Mitchell (Mitch), a workmate of Stanley’s, very much tied to his mother’s apron strings. Blanche sets her sights on him. Stanley, drunk, breaks up the evening and strikes Stella, whom he regards as siding against him with Blanche. After this violence, and against Blanche’s advice, Stella returns to Stanley’s bed. The next morning Stanley overhears Blanche entreating her sister to leave him.

Act II, Scene 1 some weeks later
Stanley tells Stella that he has a friend who is making inquiries about Blanche in her hometown of Laurel. When he and his now-pregnant wife go out for the evening, Blanche attempts to seduce a young paper boy, pulling back at the last minute. She later goes out with Mitch on a date.

Scene 2 that night
An amorous Mitch unburdens his heart to Blanche, who in turn tells him of her brief marriage to a young homosexual and how she blames herself for his suicide.

Act III, Scene 1 some weeks later, Blanche’s birthday
Mitch is late for the party. Stanley, who feels that his home and marriage are both threatened by Blanche, breaks up the celebration when he reveals that his friend has discovered Blanche’s unsavory reputation in Laurel for seducing young men, and the fact that she had been told to leave town. He hands Blanche a one-way ticket back home and tells her that Mitch now knows everything and will not be coming around again. Thus begins the fragmentation of Blanche’s mind.

Scene 2 later that night
Stella has been taken to a hospital for a premature delivery. Mitch, drunk, invades the apartment and bitterly reproaches Blanche: just as her desperate hopes lie with him, his had lain with her. They have both lost their emotional refuge. His denunciation of her as someone too unclean to enter his mother’s house and the appearance of a Mexican woman selling flowers for the dead are the triggers that start to unhinge Blanche’s mind.

Scene 3 later
Blanche’s fragmentation is completed when Stanley rapes her.

Scene 4 some days later
Blanche prepares to leave for a visit to a fictitious old admirer. In fact Stella, unable to believe in Blanche’s accusations against Stanley, is packing Blanche’s clothes for her to take to the asylum when the doctor arrives. Now she depends — in a new way — on “the kindness of strangers.”

Cast Bios

Julie Adams [Blanche DuBois] is making her Opera Idaho debut. A winner of the 2014 Metropolitan Opera National Council Auditions, 2015 George London Award, 2015 Elizabeth Connell prize for aspiring dramatic sopranos, and recipient of a 2015 Sara Tucker Study Grant, soprano Julie has been praised by the New York Times for possessing a voice that is rich, full and slightly earthy in an expressive way. In the 2016-2017 season Julie returned to San Francisco Opera as Mimi in La bohème, conducted by Carlo Montanaro, Kate Pinkerton in Madama Butterfly, Kristina in Makropulos Case, and covering Princess Jia in the world premiere of Dream of the Red Chamber. In 2015-2016, she also performed with San Francisco Opera as a second year Adler Fellow with roles including First Lady in the Jun Kanako production of Die Zauberflöte, and Cesira in the world premiere of Marco Tutino’s La Ciociara. She also covered both the role of Eva in Die Meistersinger von Nürnberg and the title role in Jenůfa. Orchestral engagements included Barber’s Knoxville: Summer of 1915 with Contra Costa Wind Symphony, and a chamber concert with San Francisco Opera musicians as part of SF Opera Lab’s Chamberworks Concerts, with repertoire including Morgen! by Strauss, Previn’s Vocalise, Eternamente by Ponchielli, and Chausson’s Chanson Perpetuelle.

Gregory Gerbrandt [Stanley Kowalski] made his Opera Idaho debut in as Pish Tush in The Mikado, 2006. Gregory has performed with opera and symphonic organizations on five continents, singing for ambassadors and other officials from all over the world. Prior to earning the degree of Master of Music from the University of Cincinnati-College Conservatory of Music, Gregory obtained a Bachelor of Music from the University of Northern Colorado, where he was twice awarded the prestigious distinction of Scholar of the Year. Gregory was also given the highest recognition by his high school alma mater: induction into the Greeley West Hall of Fame. In addition to four World Premieres, Gregory can be found on the original cast recording of Kamran Ince’s opera Judgment of Midas, which was released last year on Albany Records. By contrast, Gregory is in high demand to perform the prominent standards of Italian, French, and Russian opera.
One of Gregory’s company debuts this year is with Piedmont Opera, where he performs the role of Lieutenant Gordon in Kevin Puts’ Pulitzer Prize-winning opera, Silent Night, based on the screenplay (and true story based on the 1914 Christmas truce of WWI) Joyeux Noël. Gregory makes a return to one of his signature roles, Marcello, in a new production of La bohème with Mobile Opera in Alabama. Additional company debuts this season include: First Coast Opera in St. Augustine, Florida to perform Silvio in Pagliacci and Sam in The Stranger’s Tale; the Colorado Springs Philharmonic for Some Enchanted Evening: Rodgers And Hammerstein, in which Gregory is the headlining soloist; the Billings Symphony Orchestra and Chorale for a staged production of Carmen, in which he sings the role of the confident, if not egotistical bullfighter, Escamillo; the Hays Symphony/Fort Hays State University for Carmina Burana in which he will sing the baritone solos.

Micaëla Oeste [Stella Kowalski] is making her Opera Idaho debut. In the 2017-18 season, Micaëla made her debut at Lincoln Center’s David Geffen Hall with the Strauss Symphony of America for the Salute to Vienna concert series. She joined Plácido Domingo for concerts in Odense, Denmark in the Sparkekassen Fyn Arena and in Ljubljana, Slovenia at the Arena Stozice. Micaëla will also return to Opera de Monte-Carlo as Niece 1 in Benjamin Britten’s Peter Grimes and will make her Berlin debut with Stone Opera as Musetta in La bohème. Micaëla is a former Young Artist with Washington National Opera, where she met Plácido. She has become a frequent guest artist during many of Plácido’s recitals. She is a graduate of Northwestern University and grew up playing piano and french horn. On the opera stage, Micaëla has been seen with LA Opera as Zerlina in Don Giovanni, Washington National Opera as Oscar in Un Ballo in Maschera and Nannetta in Falstaff, Opera Santa Barbara as Stella in A Streetcar Named Desire, and Chicago Opera Theater as Creuse in Charpentier’s Medee. She has also debuted with Polish National Opera, Opera de Monte-Carlo, Teatro de Maestranza in Seville, Palau de les Arts Reina Sofia, San Diego Opera, Savannah Music Festival, Gotham Chamber Opera and Opera National de Montpellier.

Casey Candebat [Harold “Mitch” Mitchell] is making his Opera Idaho debut. A recent two-time participant in the illustrious Merola Opera Program, Casey performed in Mozart’s La Finta Giardinera and sang scenes from Werther and La Rondine to high acclaim on the Merola Grande Finale. In 2014 he performed the role of Mitch in Andre Previn’s A Streetcar Named Desire and a highly acclaimed scene from Mascagni’s L’amico Fritz for Merola Opera. Recently, Casey has been heard as Georg in Der Vampyr with New Orleans Opera and Mitch in Streetcar with Opera Grand Rapids. He was also featured in New Orleans Opera’s productions of Salome, Madama Butterfly, Rigoletto, Il Trittico, Manon Lescaut, La bohème, and Turandot. Casey has been a young artist at Chautauqua Opera in their 2009 and 2010 seasons. He has also been a young artist at Opera North where he performed the role of Dr. Cajus in Verdi’s Falstaff. Equally at home in concert work and oratorio, Casey recently performed Verdi’s Messa da Requiem with the New West Symphony in Los Angeles. He has also performed the tenor solos in Beethoven’s Ninth Symphony, Mozart’s Coronation Mass, and Schubert’s Mass in E-flat, to name a few. Casey has won several prestigious vocal competitions, including the Grand Prize in the Bel Canto Foundation Voice Competition, 2011, a four-time regional finalist at the Metropolitan Opera National Council Auditions, and the Chautauqua Opera Guild’s Encouragement Award, 2010. Casey is a graduate of Northwestern University and Loyola University New Orleans.

Walker Lewis [Stage Director] made his Opera Idaho debut directing Glory Denied, 2016. Known for his fresh approach to the classics and for creating thrilling world premieres, his recent productions of The Apprentice Scenes at Santa Fe Opera, The Threepenny Opera at Amarillo Opera, The Companion at American Opera Projects/American Modern Ensemble, Tamar da Timna and Il campanelo with Garden State Opera, La clemenza di Tito with dell’Arte Opera Ensemble and Radamisto and The Marriage of Figaro with Manhattan Opera Studio have garnered significant critical acclaim. Walker won the Tobin Director-Designer Showcase grant from Opera America for his concept of The Rise and Fall of the City of Mahagonny. He also worked with Andrei Serban on Verdi’s Otello at the Paris Opera, starring Renee Fleming and Alexander Antonenko. Walker is passionate about creating new and innovative works and has developed several recent new pieces with composers Nizan Leibovich, Robert Paterson, and Francesco Santelli. Recent world premieres include Gods and Goddesses (Matt Van Brink), Momo (Colin McGrath), Monsterland (Rami Vamos/Greg Pierce) and The Gooseflesh Niteclub Circus (Zach Layton). Walker is a regular contributor to the Indie Opera Podcast at indieopera.com where he engages with composers, librettists and other artists from the opera world.

Alasdair Neale [Conductor] is making his Opera Idaho conducting debut. He is Music Director of the Sun Valley Summer Symphony (SVSS) and Music Director of the Marin Symphony. In his twenty-three years as Music Director of the SVSS, Alasdair has propelled this festival to national status: it is now the largest privately funded free admission symphony in America. As Music Director of the Marin Symphony since 2001, Alasdair has been hailed for invigorating the orchestra and establishing it as one of the finest in the Bay Area. He has guest conducted numerous orchestras around the world, including the New York Philharmonic, Dallas Symphony, Saint Louis Symphony, Houston Symphony, Toronto Symphony, Seattle Symphony, St. Paul Chamber Orchestra, Honolulu Symphony, Fort Worth Symphony, Kansas City Symphony, Colorado Symphony, Nashville Symphony, San Antonio Symphony, Florida Orchestra, New Haven Symphony, Phoenix Symphony, Royal Scottish National Orchestra, Orchestre National de Lyon, Sydney Symphony, Real Filharmonia de Galicia, l’Orchestre Métropolitan du Grand-Montréal, Radio Sinfonie Orchester Stuttgart, Auckland Philharmonia, Orchestra of St. Gallen (Switzerland), MDR Leipzig, NDR Hannover, Trondheim Symphony, Orchestre du Capitole de Toulouse, Ensemble Orchestral de Paris, and at the Aspen Music Festival.