About The Show
Love and Longing by the Lake
Music by Kamala Sankaram, Rene Orth, and Nicolás Lell Benavides
Libretto by Jerre Dye and Marella Martin Koch
Performance Dates: June 28, July 5, 12, 21
Love and Longing by the Lake
A trio of chamber operas, including two world premieres from The Summer Place, a new opera inspired by oral histories and true accounts of life at Chautauqua Institution across the decades. Conceived to be performed outdoors on the grounds of Chautauqua, The Summer Place is a fitting celebration of Chautauqua in its sesquicentennial year. This hour-long evening of opera is rounded out with the -charming and poignant story of Pepito.
Performance Dates: June 28, July 5, 12 & 21 on the Athenaeum Hotel lawn
Stage Director: Ned Canty
Conductor: Steven Osgood
A.E. Reverie (world premiere)
Music by Kamala Sankaram
Libretto by Jerre Dye
A.E. Reverie unfolds the night after Amelia Earhart gracefully landed her plane at Chautauqua in 1929. After witnessing Amelia’s empowering Amphitheater lecture, a young woman stares at the night sky, dreaming of taking her own life to new heights.
Love, Loss, and the Century Upon Us (world premiere)
Music by Rene Orth
Libretto by Jerre Dye
In Love, Loss and the Century Upon Us, we find young lovers from different worlds strolling beside Chautauqua Lake in 1899. The Athenaeum hotel, ablaze with the brilliance of electricity for the very first time, is the backdrop for their courtship and reflections of the impact of this historic transformation.
Pepito
Music by Nicolás Lell Benavides
Libretto by Marella Martin Koch
In Pepito, written in 2019, a lonely shelter dog is yearning for his old family until a young couple, Camila and David, visit, seeking the ideal canine companion. When Camila immediately forges a bond with the dog, Pepito, the shelter manager, questions whether Camila and David are truly prepared to take on a new pet.
A.E Reverie and Love, Loss and the Century Upon Us were co-commissioned by Chautauqua Opera Company and Opera Memphis, with the generous support of the Chautauqua Opera Guild, Jeanie Mercer and Breen Bland. The libretto of The Summer Place was commissioned in full by the Chautauqua Opera Guild.
Cast:
A.E. Reverie
Young Woman: Öznur Tülüoğlu
Love, Loss, and the Century Upon Us
Young Woman: Perri di Christina
Young Man: Alexander Granito
Pepito
David: Eric Botto
Angie: Hilary Grace Taylor
Camila: Öznur Tülüoğlu
Pepito: Seoyong Lee
Chautauqua Opera Orchestra:
Violin 1
Vahn Armstrong
Violin 2
Diane Bruce
Viola
Carrie Fischer
Cello
Max Oppeltz
Bass
Caitlyn Kamminga
Flute
Kathy Levy
Oboe
Anna Mattix
Clarinet
Dan Spitzer
Bassoon
Jeff Robinson
Horn
Daniel Kerdelwicz
Trumpet
Les Linn
Trombone
Aidan Chamberlain
Percussion
Tom Blanchard
Harp
Beth Robinson
Keyboard
Rick Hoffenberg
Creative:
Stage Director: Ned Canty
Conductor: Steven Osgood
Lighting & Video Designer: Michael Baumgarten
Production Stage Manager: Valerie Wheeler
Technical Director: John P. Woodey
Costume Supervisor: Cristine Patrick
Wig & Makeup Supervisor: Martha Ruskai
Pianist/Coach: Rick Hoffenberg
Diction Coach: Allison Voth
Production:
Asst. Costume Supervisor & Draper: Lucia Callender
Craft Artisan: Mary Coulter
Leadership and Staff:
General & Artistic Director: Steven Osgood
Arts Marketing Specialist: Makayla Santiago-Froebel
Music Administrator/Chorus Master: Carol Rausch
Director of Production: Michael Baumgarten
Manager: Helen Hassinger
Office Manager: Vivian Hunt
Company Scheduler: Rick Hoffenberg
Marketing Associate: Julia Gorske
Opera Guild Intern: Michael Burns
PAVA Intern: Elliot Borden
Music Staff:
Coach/Pianists: Carol Rausch, Allison Voth, Rick Hoffenberg
YOUNG WOMAN- 16, vibrant and restless
The Summer of 1929. Several hours before dawn.
The YOUNG WOMAN pretends to be asleep in a room full of other boarders at The Aldine Hotel.
YOUNG WOMAN
Day long gone.
Night pours in.
The sound of wings inside my head just will not stop.
Will not stop.
How could a body sleep at all,
knowing that you are somewhere near.
You’re so near.
And I wonder… are you restless too?
Just like me?
Me… like you… like you.
She is startled by a light in a distant window at The Atheneum.
Is that a light?
She accidentally wakes up her bunkmate.
(Hushed into the darkness)
It’s just me. I need… a glass of water. Go back to sleep.
She wraps herself in a quilt from her bed and makes her way quickly and quietly from the bedroom. She arrives outside, looking around to make sure she’s all alone, then scampers barefoot across the lawn.
To think that you are right up there!
In THAT hotel.
Across THIS lawn!
You are so near.
An Athenaeum upper room,
to stay “a day or two”, they say,
before you’re off into the sky
to fly away to God knows where… to God knows where!
If I could catch just one more glimpse…
even just a silhouette of you up there
inside your hotel window,
I think that I might faint.
She chuckles at her own ridiculousness and walks even closer to the hotel window.
When you touched down upon that shore,
I thought my heart might leap right out.
And then this afternoon…The Amphitheatre…
your tales of Trans-Atlantic flight have sent me in a tailspin since
and I can’t think of anything or anyone but you, Amelia.
(Discovering the sound of the word)
Amelia… Amelia… Amelia… Amelia… Amelia… Amelia…
Amelia… ahhh… ahhhh…
(Sudden solution!)
That’s it! I’ll find a little rock and toss it up…
a “click” upon your windowpane,
to let you know I’m down below here looking up… looking up.
She looks frantically on the ground for a stone in the darkness.
Grabs it. Feels the weight. Ready to throw…
Do you dare?
She stops herself.
No… I can’t.
She tosses the stone in anger in another direction instead.
Frustrated, she begins pacing.
Some girls they say their prayers at night
and sit upright and bat their eyes like Kewpie dolls
with Ps and Qs for all to see, but that’s not me.
That’s not me.
Some girls, they sew and knit and fuss
and fit inside the world just so,
and rest their hands upon their laps,
their futures mapped without consent,
meant simply to be well-behaved,
enslaved for life by circumstance,
a game of chance,
the great expanse alluding them… evading them.
But that’s not me. That’s not me!
(Remembering… relaxing a bit)
She walks away from the window. She sits in the cool, nighttime grass, imagining.
When I was a little girl,
knees all skinned, tangled hair,
I’d hide inside the summer grass
and watch the grand parade of clouds…
a show way-up there framed in blue,
gentle fingers tracing shapes
of all the clouds that stayed awhile…
an elephant,
a circus clown,
hosts of angels looking down.
I’d lie there sometimes all day long
until the winds dispersed the white,
erase the visions from my sight
to leave me dreaming all alone… all alone… all alone.
(imitating)
“Head in the clouds!” Father says.
As if it were a SIN to dream!
To set the mind towards reverie!
Pull from azure something true!
Mystery… veracity!
A rendezvous with destiny!
She picks up another stone with intensity— tosses it up and catches it.
Look for answers in the sky,
just like the scripture tells me to!
And you did too! You do too!
I need to go away with you
for dinners with some dignitaries,
ticker tapes and tea and talks
with kings and queens of foreign shores.
Please, take me with you!
TAKE ME WITH YOU!
Lift me up into the sky,
where all the fearless long to go.
She bends down to find another rock.
Host of angels looking down.
Not just above, but all around.
All around you… all around us.
Amelia… Amelia!
She gathers her energy and throws the rock at the window!
The aria gives way to another room, another time.
The NEWCOMER remains sleeping as the scene happens around her.
YOUNG MAN
Thank you for accompanying me this evening for our little stroll.
I thought it might be nice to watch The Athenaeum come to life.
Electric light! A miracle!
With Thomas Edison HIMSELF sitting just inside! Imagine!
YOUNG WOMAN
Lucky us.
YOUNG MAN
Lucky day. Quite a lucky century.
Edison has changed the world!
YOUNG WOMAN
Perhaps we’ll catch a glimpse of Thomas patting himself upon his back.
(She reluctantly catches herself)
That was terse. Pardon me.
(formality)
I’m grateful for your invitation.
A stroll at dusk. Just the thing.
The lake at sunset sings.
YOUNG MAN YOUNG WOMAN
(referring to her) (referring to the lake)
Beautiful. the lake… eventide upon the water
So azure, crimson, amber billow
beautiful. transmutations infinite
YOUNG MAN
On all matters beautiful, I certainly defer to you.
Chautauqua Lake was nothing much
until you stepped upon its shore.
She stares at him with look of disbelief.
YOUNG MAN
(changing the subject and pointing)
Over there. Beyond that oak.
How ‘bout we find a resting spot?
Ideal vista for the show.
YOUNG WOMAN
“Ideal”, if you like those things.
They stroll towards their spot.
YOUNG MAN
I take it you are not impressed by Edison’s great masterpiece.
YOUNG WOMAN
Electricity a masterpiece?
How does that square with Mozart, sir? Beethoven? Chopin?
YOUNG MAN
I’d say, quite well, to tell the truth.
I never met a body yet that didn’t like electricity.
He spreads out a blanket on the grass.
YOUNG WOMAN
Like it? Sure. Dazzled? No.
Modernity is masterful,
but I will miss my candlelight… the lamplight.
Dancing shadow mystery.
Light that draws one close.
I do fear, (forgive the pun)
we’re blinded by the light, sometimes.
Blinded by our blasted progress.
She sits.
YOUNG MAN
(another subject change)
A tad bit balmy, don’t you think?
YOUNG WOMAN
(sarcasm)
A subject change… how apropos.
YOUNG MAN
I hate to be indelicate, but my suit coat is drenched clean-through.
Would it be rude if I removed it?
YOUNG WOMAN
Would that us ladies had that choice.
(indicating other men on the grounds)
Other men have shed their coats,
but my watchful Aunt might disagree.
They both look, discretely, at the chaperone watching closely, a stone’s throw away.
YOUNG MAN
Would your Aunt think me a brute?
Her Aunt looks on sternly.
YOUNG WOMAN
That grizzled look’s an attribute.
Her face, I fear, was drawn that way…. perpetual, complete distain.
YOUNG MAN
She watches like a hawk.
YOUNG WOMAN
Nothing gets past Bernie dear.
When Father sends in Aunt Bernice, he’s sending in the cavalry.
They both wave at Aunt Bernice.
YOUNG MAN
A terrifying chaperone.
YOUNG WOMAN
You should see her at canasta.
(pause)
I wouldn’t fret. Not overly.
You’ve several yards to stroll, just yet, to prove yourself the gentleman.
YOUNG MAN
Perhaps I’ll keep my jacket on.
YOUNG WOMAN
A gentleman that takes advice.
Virtues vast and varied, sir.
YOUNG MAN
You’re awful smart… and awful bright.
YOUNG WOMAN
And AWFULLY immune to flattery.
Which sometimes makes for AWFUL dates
with AWFULLY rude, presumptuous men.
(amending)
Present company excluded.
(a brief, but awkward silence)
You think I am difficult.
YOUNG MAN
No, I…
YOUNG WOMAN
Most men prefer I hold my tongue.
YOUNG MAN
To hold one’s tongue is counterfeit.
I’m not fond of counterfeit.
YOUNG WOMAN
Except, of course, electric light.
Counterfeit, right to the core.
She pulls his bow tie. It unfurls at his neck. They chuckle.
Your optimism is appealing.
She looks towards the sky. He watches, retying his tie.
But… don’t you wonder… “what of the night?”
The Moon, the stars, the candlelight?
Will Thomas Alva Edison make all that magic disappear?
All that magic disappearing…
I think that it might break my heart.
Don’t you fear the future, somewhat?
YOUNG MAN
Honestly?
YOUNG WOMAN
Honestly.
YOUNG MAN
Honestly… I do.
Forever falling forward.
YOUNG WOMAN
Forever stumbling forward.
YOUNG MAN
I also think we’re fortunate to live in such a time as this.
YOUNG MAN
Though progress can be dizzying. YOUNG WOMAN
Too fast.
Such change.
So fast.
Miraculous!
What a thing to see unfold What a thing to see unfold.
before your eyes.
Overwhelming.
Magnificent.
The future could
The future might…
the future could be… the future could be…
They look at one another.
YOUNG MAN YOUNG WOMAN
beautiful. beautiful.
THE LIGHTS SUDDENLY come on inside and outside The Athenaeum Hotel, startling them both– the lawn is aglow with electric light!
YOUNG MAN YOUNG WOMAN
Take my breath away! Take my breath away!
(A moment to take it all in)
YOUNG MAN
What of the future do you fear?
YOUNG WOMAN
Extravagance is a distraction.
Progress has a price.
I fear we will not know the cost ‘til what is lost is lost for good.
Darkness… just a memory.
It rather makes me melancholy.
YOUNG MAN YOUNG WOMAN
Beautiful, but melancholy. Beautiful, but melancholy.
A sudden cascade of music interrupts the moment. The distant sound of a live quartet tumbles from The Amphitheater towards the couple by The Lake.
YOUNG WOMAN
Listen! Can you hear that?
She waits for the sound of the quartet to settle in a bit– relishing.
YOUNG MAN
Music YOUNG WOMAN
tumbling towards the shore.
Music The violins get caught, somehow,
inside the trees inside the trees
and linger there.
YOUNG MAN
Not unlike electric light.
YOUNG WOMAN
Touche’
YOUNG MAN and YOUNG WOMAN
two worlds collide… two worlds collide
YOUNG WOMAN
music
YOUNG MAN
electricity
YOUNG WOMAN
electricity and doleful strings
YOUNG MAN
past and present
YOUNG WOMAN
old meets new
YOUNG MAN and YOUNG WOMAN
the century collides in you
the century collides
the century collides for you
the century collides… collides
They share a look.
YOUNG WOMAN
Music, holy in itself, calls out to holy…
YOUNG MAN
like to like
YOUNG MAN and YOUNG WOMAN
to light our path from dusk to night
and carry us ‘til dawn
carry us ‘til dawn
They touch hands.
YOUNG MAN and YOUNG WOMAN
Carry us ‘til dawn.
YOUNG MAN
and on
YOUNG MAN and YOUNG WOMAN
Carry us ‘till dawn.
(pause)
The NEWCOMER walks home after an evening concert, unseen by the two.
NEWCOMER
Chautauqua late at night.
Concert’s over.
Bones so tired.
People saunter wordlessly
down narrow streets,
silent trees and little houses, side by side.
You catch some whispered conversation floating on the air, maybe.
You can feel the dream begin
before you even reach your bed.
The past and present seem to touch.
My past and present touch, somehow.
(PEPITO is lying down.)
PEPITO
Woof! Woof!
(whining) Hmm… Hmm…
(howling) Ah—oo!
Some days, I can smell my old life.
All those roses Papa bought for Mama…
And Abuela’s tamales!
And the grrr—ruff!—sweaty—grrr—ruff!—mailman?!
Grrr…
I can smell my old life!
Where is it now?
(howling) Ah—oo!
My mouth waters!
Smoke mixed with carnitas!
Oh!! Some days I can smell my old life!
Ah—oo!
I can smell—
(CAMILA and DAVID enter together, arguing.)
PEPITO
(sniffing) —money?
And (sniffing) sadness…
DAVID
I don’t know why you’re so upset.
We were supposed to meet at 5.
CAMILA
It’s 5:45.
5:45, David!
I thought we both wanted this.
DAVID
Honey, I told you,
the market was crazy!
I’m sorry!
(CAMILA, upset, moves away from DAVID.)
CAMILA
You’re always sorry!
PEPITO
I smell… compromisos rotos. (I smell… broken promises.)
(DAVID approaches ANGIE.)
DAVID
Excuse me, what time do you close?
(ANGIE watches the seconds tick by on her watch.)
ANGIE
In fifteen minutes.
CAMILA
Ay, Dios mio!
ANGIE
(watching the seconds tick by on her watch) Mmm… fourteen minutes.
DAVID
(to both) We’ll come back tomorrow.
CAMILA
(to DAVID) I can’t come back tomorrow!
My client goes to court!
You know that!
(DAVID is stuck.)
DAVID
I know.
(returning to ANGIE with urgency) Can we see all of your puppies, quickly?
ANGIE
The puppies are overstimulated.
DAVID
Ha! So am I.
(ANGIE looks at DAVID.)
ANGIE
Is this funny to you?
DAVID
…No! No, I—
ANGIE
These are puppies! Rescues!
Think of what these puppies have been through?
Think of all the pain they have faced!
Please show some respect?
Have some compassion, will you? Please?!
It's late in the day!
They don't want to play!
They have been completely inundated!
The puppies are overstimulated!
DAVID
I’m sorry.
CAMILA
He is.
He’s always sorry.
ANGIE
Can you always be sorry?
(An uncomfortable pause. This may have been a joke. ANGIE sighs.)
ANGIE
I can show you a dog.
(pointing at PEPITO There.
(Everyone stares at PEPITO. PEPITO is unsure if he is in trouble.)
PEPITO
(whining) Hmm hm hm hm…
¿Hola?
CAMILA
Hmm…
DAVID
Hmm?
ANGIE
What do you think?
PEPITO
¿Qué piensas?
CAMILA
Hmm…
PEPITO
(cocking his head) Hmm?
CAMILA
I was just hoping for something cuter…
PEPITO
I can be cuter.
CAMILA
Littler…?
(Everyone stares at PEPITO. DAVID’s phone rings. DAVID looks at his cell phone.)
CAMILA
David.
DAVID
I have to take this call.
CAMILA
David!
ANGIE
Sir! No phones!
DAVID
It’s work—sorry!
(DAVID steps away.)
CAMILA PEPITO
(an eyeroll) Ay, David… (an eyeroll) Ay, David…
ANGIE
You get four minutes alone with the dog.
CAMILA
Really?
ANGIE
To see if there is chemistry.
(ANGIE sets her timer.)
CAMILA
Wait—I don’t even know his name.
ANGIE
And… go.
(ANGIE returns to the counter a few steps away, leaving CAMILA and PEPITO alone.)
CAMILA
Hello, dog.
My name is Camila.
PEPITO
Camila.
CAMILA
My husband and I came here for a puppy, but we could settle for the right dog.
Are you the right dog?
Are you the one?
PEPITO
I don’t know.
I love you.
CAMILA
It’s important to know in advance.
It’s important to know in advance if you are the right dog.
There is nothing to gain from an imperfect match.
Trust me, I know. I have been wrong before.
PEPITO
What is “wrong”?
I love you.
CAMILA
Will you bark all night long?
Pee inside?
Will you bite?!
Will you tear up the rug?
Chew on mulch?
Do you drool?
It’s important to know in advance.
It’s important to know in advance if you are the right dog.
Are you the one?
PEPITO
What is “right”?
I love you.
Do you know how to fetch? I love you!
Dig a hole? Te quiero!
Can you sit?
Will you heel?
Walk a child home from school?
PEPITO
In the past, I would walk Diego home from school.
CAMILA
Not now, but in the future?
PEPITO
I can still smell him.
I don’t know where he is.
I miss him.
CAMILA PEPITO
Look, are you the right dog? What is “right”?
Would you tell me if not? I love you.
Would you know? Te quiero.
Would you even know?! ¡Te quiero!
Is there a right dog?
How would I know?
(CAMILA cries a little.)
PEPITO
Don’t cry. No llores.
CAMILA
Dios, what am I doing?
I’m going loca.
(to PEPITO) Come.
Come here, dog.
(PEPITO hesitates, confused.)
CAMILA
Come here, pobrecito! (Come here, you poor thing!)
(PEPITO perks up.)
PEPITO
Woof!
CAMILA
Ven acá. (Come here!)
PEPITO
Woof woof!
(CAMILA notices that PEPITO likes Spanish.)
CAMILA
¡Ven aca! (Come here!)
(PEPITO trots over to CAMILA. CAMILA pets PEPITO.)
CAMILA
You speak Spanish!
PEPITO
¡Guau Guau!
CAMILA
(taking his paw in a handshake) Mucho gusto. (It’s a pleasure to meet you.)
PEPITO
¡El gusto es mío! (The pleasure is mine!)
(ANGIE returns.)
ANGIE
That’s four minutes.
CAMILA
(to ANGIE) He likes it when I speak Spanish!
(DAVID returns and overhears.)
DAVID
I love it when you speak Spanish.
It reminds me how hot you are!
PEPITO
Woof. (Woof.)
CAMILA
David, look at this dog!
DAVID
He’s cute.
But we want a puppy, right?
(An awkward pause.)
CAMILA & ANGIE & PEPITO
The puppies are overstimulated!
CAMILA
David, watch! He speaks Spanish, just like his Mama!
(crouching down to PEPITO) Dame besitos, perrito! (Give me little kisses, little dog!)
PEPITO
¡Con gusto!
(PEPITO kisses CAMILA. CAMILA and PEPITO play together.)
DAVID
Dogs don’t speak Spanish, Camila.
CAMILA
Why shouldn’t they speak Spanish?
PEPITO
¿Por qué no?
DAVID
Dogs don’t understand language.
(assuming CAMILA’s demeanor) Come here, stupid.
PEPITO
¡Oye!
ANGIE
Sir!
CAMILA
(to DAVID, firmly, as to a dog) No!
You must be kind to him.
You must be kind to our dog.
DAVID
I’m sorry!
He doesn’t know.
CAMILA
He makes me feel… something…!
ANGIE
I know this look. DAVID
You’re glowing. You are glowing.
CAMILA
I can breathe again.
ANGIE DAVID
She’s glowing! She’s glowing!
CAMILA
I feel so full I could die right now—
My heart is so full, I am alive!
The air feels like magic!
DAVID & ANGIE & PEPITO
Magic…?
CAMILA
I am so full I could die right now!
My heart is so full!
I am afraid!
I am excited!
My skin tingles.
PEPITO
Ah-oo!!!
I can smell destiny!
Destiny!
CAMILA
I’ll name you Pepito!
CAMILA & PEPITO
Pepito!!!
CAMILA
¡Pepitititito!
PEPITO
¡Guau guau!
CAMILA
¡Pepititititititititito!
PEPITO
Woof woof!
(CAMILA and PEPITO embrace.)
DAVID
(mispronounced, oblivious) Pahpitoe?
PEPITO
Woof.
CAMILA
(gentle but firm) Listen...
His name is Pepito!
Pepito!
CAMILA & PEPITO
Pepito!
DAVID
Got it. Puhpitoe.
CAMILA & PEPITO
Dios.
ANGIE
Wait! Hold up!
There’s an interview.
I have to screen you.
You have to be screened.
CAMILA
But we have chemistry!
PEPITO
Ruff!
CAMILA
Chemistry!
PEPITO
Ruff ruff!
ANGIE
(cutting CAMILA off) Look.
You seem like a good person.
But a lot of good people let dogs down.
Love is not all a dog needs.
Love is not always enough.
(opening up a little) Our hearts do not hold every answer.
Our hearts do not know right from wrong!
(back to business) Plus, we’re closed.
CAMILA
No!!!
DAVID
Please—This is all my fault.
I have never seen her like this.
CAMILA
I am so ready to adopt this dog!
ANGIE
Are you ready to put him first?
Are you ready to tell him no?
Are you ready to watch him fail?
Are you ready to someday let him go?
PEPITO
Woof?
ANGIE
(to PEPITO) We don’t deserve dogs.
ANGIE CAMILA
Are you ready? I feel so full
Are you ready? I could die right now! DAVID
Are you ready? Are we ready? PEPITO
My heart is so full, I’m sorry! What is
“ready”?
I love you.
I’m sorry
I’m alive! I was late! I can smell my
I am so I can change! new life!
ready! I am so
ready—ah-oo!
Are we okay?
ANGIE
Are you ready—to show me your paperwork?
CAMILA
Yes – here is a copy of the lease,
bank statements,
references.
DAVID
…Wow!
ANGIE
This will take me a minute.
(ANGIE goes to the back room. CAMILA, DAVID, and PEPITO stand in silence.)
DAVID
Are we okay?
(PEPITO whimpers.)
CAMILA
(to PEPITO) I know, pobrecito. (I know. Poor thing.)
(CAMILA pets PEPITO.)
DAVID
I want to know what you’re thinking.
I want to know what you want.
You feel so far away from me…
So far away from us…
Is it my fault?
What do you want? CAMILA
I want this to work! You never listen.
Please come home. You put everything else first.
I see you pulling away from me... I don’t want to do this anymore.
I am so lost.
CAMILA
This is not what I want.
DAVID
But Pepito will change things!
PEPITO
What is “change”?
CAMILA
He already has.
ANGIE
You guys are:
approved.
You can take Pepito home.
(CAMILA and PEPITO embrace in triumph as DAVID watches.)
PEPITO
Woof woof!
ANGIE
Goodbye, and good luck, dog.
PEPITO
¡Que te vaya bien! (Take care!)
(ANGIE hands DAVID the leash.)
CAMILA
Thank you.
DAVID
Come here, dog.
Come here, (pronouncing it correctly for the first time) Pepito…
Uh… come… veni…?
(PEPITO cocks his head and stares at DAVID, then CAMILA.)
DAVID
Veni…?
CAMILA
(gently correcting DAVID) Ven acá. (Come here.)
DAVID
(mirroring her) Ven acá. (Come here.)
(DAVID goes to CAMILA. PEPITO cocks his head to one side, listening to the Spanish.
PEPITO approaches them and offers his neck to DAVID. DAVID attaches the leash to
PEPITO and hands it to CAMILA. They leave together. The end.)
Thank you to our generous supporters!
The Peggy and Andy Anderson Family Fund for Opera
John E. Anderson Opera Endowment
A. Chace & Josephine B. Anderson Opera Endowment Fund
The Cynthia Auerbach Fund for Opera
Bemus Endowment for Opera
Loretta E. Bower
Anne and John Burden Opera Fund
John Burden
Chautauqua Opera Endowment Fund
Chautauqua Opera Guild
The Chautauqua Opera Guild Endowment
Thomas and Kathleen Clingan Fund for Opera
The Connolly Family Fund For Opera
The John A. and Emily McKnight Corry Opera Fund
The Barbara Baldwin DeFrees Opera Fund
Renee Evans
The Walter F. Ferchen Opera Fund
The Eleanor B. Franks Fund for the Opera
Christopher Gibbs
The James and Elisabeth Groninger Fund for Opera
The Jane A. Gross Opera Endowment
The Kay Frantz Israel Fund for Opera
The Mildred Lesenger Fund for Opera
The Kay H. Logan Opera Fund
Beth Madison
Ernest Mahaffey
The Annette Pickens Malvin Memorial Fund for Opera
The Christopher and Susan Martin Opera Fund
The Margaret Clark Mercer Fund for Opera
The Ralph E. Miller and Paul E. Cawein Fund for Opera
The Steve Z. and Mary G. Mitchell Family Fund
The Reverend Lloyd V. Moffett Opera Endowment Fund
National Endowment for the Arts
The Robert G. and Lillian Vitanza Ney Family Opera Fund
Northern Chautauqua Community Foundation
Sheila Penrose
The Joseph A. and Anne T. Prezio Opera Endowment Fund
The Reis Foundation, Inc.
Pamela P. Reis
The Richards Family Opera Fund
Mrs. Bartlett Richards
The Molly Rinehart Fund for Opera
Rotary Club of Jamestown
The Larry and Carol Sewell Opera Scholarship
Adele M. Thomas Charitable Foundation, Inc.
The Wadsworth Fund
Charles Weaver and Family Fund for Opera
Dr. Fred R. Whaley and Helen A. Whaley Fund for Opera
Katherine Karslake White
The Robert and Virginia Young Opera Fund
Zemsky Endowment For Opera
