Performances
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Friday, July 3rd | 6pm @ Hammond Hall
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Sunday, July 5th | 2pm @ Hammond Hall
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Synopsis
Act 1:
Mustafà, the Bey of Algiers, has grown tired of his wife Elvira and schemes to replace her with an Italian woman. Mustafà, tasks his servant with finding him an Italian girl. Following this, he assigns his Italian slave Lindoro the task of escorting Elvira back to Italy—unaware that Lindoro longs to reunite with his beloved Isabella.
Meanwhile, Isabella, a bold and resourceful Italian woman, arrives in Algiers after being shipwrecked with Taddeo, who hopes to win her love. Her arrival quickly attracts Mustafà’s attention. Taddeo decides it is safer for him to play the role of her uncle than a lover. Unlike others at court, Isabella is unimpressed by the Bey’s authority and begins to manipulate him with wit and confidence.
When Isabella and Lindoro are reunited, they immediately recognize one another and resolve to escape together. Mustafà, increasingly infatuated, elevates Isabella’s status in his court, unknowingly giving her greater freedom to carry out her plans. The act ends with a scene of confusion created by this role reversal.
Act 2:
Isabella continues to outmaneuver Mustafà, using his infatuation to gain greater freedom while quietly advancing her escape plan. To impress her, Mustafà elevates Taddeo—whom Isabella presents as her “uncle”—to the honorary title of Kaimakan. Though confused by the honor, Taddeo eagerly accepts. Mustafà instructs him to leave at the sound of a sneeze so he can be alone with Isabella, but Taddeo fails to comply, and Isabella instead reintroduces Elvira, frustrating Mustafà’s intentions.
Meanwhile, Isabella arranges for Lindoro and the Italian captives to prepare for departure. With the plan in motion, the Italians devise a mock ceremony, using Taddeo’s promotion as a pretext, and persuade Mustafà that he must prove himself worthy of joining a fictitious order of Italian men—the “Pappataci” (men who eat, drink, and remain silent).
While Mustafà is absorbed in this absurd ritual—eating, drinking, and ignoring everything around him—Isabella, Lindoro, and the Italians carry out their escape. At the crucial moment, bound by the rules of the ceremony, Mustafà does nothing as they flee.
The opera concludes with the lovers reunited and safely departing, while Mustafà, chastened and somewhat wiser, returns to his loyal wife, Elvira.
Mustafà, the Bey of Algiers, has grown tired of his wife Elvira and schemes to replace her with an Italian woman. Mustafà, tasks his servant with finding him an Italian girl. Following this, he assigns his Italian slave Lindoro the task of escorting Elvira back to Italy—unaware that Lindoro longs to reunite with his beloved Isabella.
Meanwhile, Isabella, a bold and resourceful Italian woman, arrives in Algiers after being shipwrecked with Taddeo, who hopes to win her love. Her arrival quickly attracts Mustafà’s attention. Taddeo decides it is safer for him to play the role of her uncle than a lover. Unlike others at court, Isabella is unimpressed by the Bey’s authority and begins to manipulate him with wit and confidence.
When Isabella and Lindoro are reunited, they immediately recognize one another and resolve to escape together. Mustafà, increasingly infatuated, elevates Isabella’s status in his court, unknowingly giving her greater freedom to carry out her plans. The act ends with a scene of confusion created by this role reversal.
Act 2:
Isabella continues to outmaneuver Mustafà, using his infatuation to gain greater freedom while quietly advancing her escape plan. To impress her, Mustafà elevates Taddeo—whom Isabella presents as her “uncle”—to the honorary title of Kaimakan. Though confused by the honor, Taddeo eagerly accepts. Mustafà instructs him to leave at the sound of a sneeze so he can be alone with Isabella, but Taddeo fails to comply, and Isabella instead reintroduces Elvira, frustrating Mustafà’s intentions.
Meanwhile, Isabella arranges for Lindoro and the Italian captives to prepare for departure. With the plan in motion, the Italians devise a mock ceremony, using Taddeo’s promotion as a pretext, and persuade Mustafà that he must prove himself worthy of joining a fictitious order of Italian men—the “Pappataci” (men who eat, drink, and remain silent).
While Mustafà is absorbed in this absurd ritual—eating, drinking, and ignoring everything around him—Isabella, Lindoro, and the Italians carry out their escape. At the crucial moment, bound by the rules of the ceremony, Mustafà does nothing as they flee.
The opera concludes with the lovers reunited and safely departing, while Mustafà, chastened and somewhat wiser, returns to his loyal wife, Elvira.
The Cast
Isabella |
Lindoro |
Cassandra Petrie, Mezzo Soprano, is thrilled to return to the state at Winter Harbor Music Festival. Passionate about singing a variety of genres, Cassandra frequently sings opera, musical theater, and oratorio. Some of her operatic repertoire includes Elvira in Don Giovanni (2025), Dorabella in Cosí fan tutte (2024), Mrs. Patrick De Rocher in Dead Man Walking (2024), and Hansel in Hansel and Gretel (2024). Cassandra was thrilled to be a part of San Diego Opera's production of Carmen last March. Recently, Cassandra has performed musical theater roles such as Georgia Hendricks in Curtains (2005), Mrs. Lyons in Blood Brothers (2024), and Mrs. Winthrope/Alice in The Secret Garden (2023). A frequent oratorio soloist, Cassandra often sings the alto solos of Handel’s Messiah, most notably with the Berne Mennonite Choral Society. She was recently the alto soloist in Bach's Christmas Oratorio and was the alto soloist in Dan Forrest's Requiem for the Living. Cassandra enjoys singing in the distinguished Chicago Symphony Chorus as an Associate Member. Cassandra holds a BA in Vocal Performance from Olivet Nazarene University and MM in Vocal Performance and Literature from the University of Illinois.
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Based in Albany, NY, Joshua Gurwitz is a versatile lyric tenor known for his work in both opera and concert repertoire. He has appeared in a wide range of operatic roles, including Nemorino in L’elisir d’amore, Ernesto in Don Pasquale, Ferrando in Così fan tutte, and Count Almaviva in Il barbiere di Siviglia. Equally active on the concert stage, Mr. Gurwitz has been featured as a soloist in major works of the choral canon, including Handel’s Messiah, Bach’s Christmas Oratorio, Magnificat, and Christ lag in Todesbanden, as well as Mozart’s Requiem and Orff’s Carmina Burana. His repertoire also extends to contemporary works, including Reena Esmail’s This Love Between Us. In the 2025 season, Mr. Gurwitz made his debut with the Oratorio Society of Queens and returned to Winter Harbor Music as Nemorino in L’elisir d’amore and Eisenstein in Die Fledermaus. Mr. Gurwitz is a prizewinner of the Joel Dolven Vocal Awards (Advanced Division) and has received multiple honors from the Eastern New York chapter of NATS. He holds degrees in vocal performance from the University at Albany, SUNY and the Aaron Copland School of Music at Queens College.
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Taddeo
Bass-baritone Christopher Grundy returns to Winter Harbor Music, where he has performed as a Faculty Artist in the title role in Mozart's Don Giovanni and Dulcamara in Donizetti's L'elisir d'amore. Christopher received DM and MM degrees in Vocal Performance from Indiana University, studying with the celebrated German baritone Wolfgang Brendel. He completed his BA at Yale University, where he was the assistant conductor of the Yale Glee Club and the Yale Russian Chorus. As a recording artist Christopher can be heard on the BIS Records, Naxos Records, and Parma Records labels. He is currently engaged to record an album of songs by Neely Bruce for Neuma Records. This season Christopher performs solo recitals at the Dingle Summer Music Festival in Ireland, and at Iceland's renowned Harpa Hall in Reykjavík; Mozart's Per questa bella mano with the American Chamber Orchestra; Mozart's Requiem with the Stamford Chorale; Schubert's Winterreise at Wesleyan University; Handel’s Belshazzar with the Falmouth Chorale; Messiah with Connecticut Choral Society; Mozart's Coronation Mass with the Fairfield County Chorale; and as a guest soloist with the Union College Orchestra. Previously he has performed as a soloist with the Peninsula Music Festival, Orchestra New England, New Haven Oratorio Choir, Charis Chamber Voices, Cappella Cantorum, Amor Artis, the Taconic Chorale, Danbury Concert Chorus, Bronx Opera, and Connecticut Lyric Opera, among others. Recently he performed Beethoven’s Mass in C with the Greenwich Choral Society, Duruflé's Requiem with the Fairfield County Chorale, Fauré's Requiem with the Mendelssohn Choir of Connecticut, and Mozart’s Vesperae solennes de confessore with Con Brio Choral Society. He made his Carnegie Hall conducting debut with renowned violinist Alexander Markov on the Stern Auditorium/Perelman Stage.Christopher is Assistant Professor of Music and Director of Choral Programs at Sacred Heart University's School of Performing Arts and Director of Music at the Unitarian Society of New Haven. He is also a commercially licensed helicopter pilot and flight instructor.
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Mustafà
Bass-baritone Alexander Adams-Leytes has been recognized for his “transcendental” comic timing and master of patter singing in his 2013 professional debut as Dr. Bartolo in “Il Barbiere di Siviglia” with Pacific Opera Project in Los Angeles. He has since specialized in buffo repertoire, performing staples including Dulcamara in “L’elisir d’amore,” Leporello in “Don Giovanni,” Don Alfonso in “Cosi fan tutte,” Don Magnifico in “La Cenerentola”, the title role in “Gianni Schicchi,” Benoit/Alcindoro in “La Boheme,” and Sagrestano in “Tosca,” as well as operetta roles including Falke and Frank in “Die Fledermaus,” and Cascada in “Die Lustige Wittwe.” His career has spanned companies and venues from Miami Lyric Opera to Theater Rudolstadt in Germany, where he debuted as Dr. Cajus and Herr Reich in “Die Lustigen Weiber von Windsor.” A versatile performer, his repertoire also has included a “Mafia-style” Major General in “Pirates of Penzance.” He holds a master’s degree from the University of Minnesota and trained at Lyric Opera Studio Weimar under the direction of European stage buffo specialist Damon Nestor Ploumis. Now a dual citizen of the U.S. and Germany, he recently joined the roster of the Italy-based MeOpera Artists Management. This summer he debuts Mustafà in Winter Harbor, and in September will sing his first “Don Pasquale” with Florida L’Opera and Zarzuela in Miami.
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Elvira
Sonia Berghoff graduated from the University of Maine with a bachelor’s degree in music with a concentration in vocal performance. Since graduating, she has been an active performer, director, and supporter within the Maine performing arts community. She has performed and directed with Acadia Community Theater, Mount Desert Island High School Drama, The Gilbert and Sullivan Society of Maine, and The Conners Emerson Show Stoppers. Sonia remains engaged with local arts organizations and frequently collaborates with colleagues on concerts, community events, and outreach programs. Recently, Sonia portrayed Zorah in Ruddigore and took on the title role in Princess Ida with the Gilbert and Sullivan Society of Maine. She also sang in the chorus for WHMF’s 2025 summer opera season and was featured as Ida in WHMF’s recent production of Die Fledermaus. Sonia currently lives on Mount Desert Island and is the music teacher at Conners Emerson in Bar Harbor, where she is also the director of the school’s show choir.
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Zulma
Christine Dentato is a New York–based soprano, delighted to be singing Zulma in Winter Harbor’s production of L’Italiana in Algeri and preparing to perform the Countess in Le Nozze di Figaro with Vienna Opera Academy. She recently appeared as Donna Anna in Don Giovanni with New York Opera Forum and made her debut in the title role of Suor Angelica with Prague Summer Nights. Other credits include Mother in Hansel and Gretel, First Lady in Die Zauberflöte, and La Sorella Infermiera in Suor Angelica. A graduate of Hofstra University, she has performed with Hofstra Opera Theater, the Gilbert and Sullivan Light Opera Company of Long Island and trained in young artist programs across the U.S. and Europe.
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Haly
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Chris Jurak is an amateur bass-baritone whose first experience singing opera was in the Metropolitan Opera Children’s Chorus from 1977 to 1982, where he performed in Carmen, La Boheme, Cavellaria Rustincana, Tosca, Werther, Hansel and Gretel, La Giaconda, La Forza del Destino, Die Frau Ohne Schatten and L’Enfant et Les Sortileges. He later attended the Manhattan School of Music Pre-College program from 1985 to 1987, studying classical voice with Ilse Sasse and diction/interpretation with Lynne Vardaman. Since 2024 has studied privately with former Met Opera principal tenor Frank Lopardo. From 2016 to 2025, Chris appeared in principal roles with the Gilbert & Sullivan Light Opera Company of Long Island, including Lord Tolloler (Iolanthe), the Pirate King (The Pirates of Penzance), Colonel Calverley (Patience), Don Alhambra (The Gondoliers), The Mikado (The Mikado), King Gama (Princess Ida), the Lord Chancellor (Iolanthe) and Captain Corcoran (H.M.S. Pinafore), and in smaller review shows as The Baritone (The World According to Gilbert & Sullivan) and the Ghost of Marley (A Gilbert & Sullivan Christmas Carol). He has also performed concert versions of various G&S roles at the NY Gilbert & Sullivan Society, including Pish Tush (The Mikado) and Dick Deadeye (in Utopia Opera’s HMS Pinafore). Since 2022, Chris has been a regular participant at the Winter Harbor Music Festival, performing the roles of Fiorello / The Officer (Il Barbiere Di Siviglia), Bartolo (Le Nozze di Figaro), Don Alfonso (Cosi Fan Tutte) and Leporello (Don Giovanni). He returns this year as Ali in the current production of L’Italiana in Algeri. Chris works professionally as a Physical Therapist and Osteopath, specializing in the treatment of infants and children, adults with chronic pain syndromes, and opera singers, utilizing an integrated approach of manual and movement therapies.
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