in the Grand Ballroom of The Engineers Club
What critic Joseph Kerman initially dubbed Puccini’s “shabby little shocker” has become one of the most oft-performed works in the operatic canon. Tosca remains as gripping and relevant as ever, a classic battle of good against evil turned on its ear, and the title character’s cri de coeur “Vissi d’arte” (“I lived for art”) remains one of the most powerful testimonials for the artist who struggles against an uncaring system.
Tickets: $65, $45, $35, $25
* BCO is hosting its festive annual Silent Auction in conjunction with performances of Puccini’s Tosca on November 30th and December 2nd. This great opportunity for holiday shopping (and self-gifting) has been expanded this year to include online bidding for two weeks prior to the live event, giving patrons and friends maximum opportunity to bid and win! With this early start, BCO hopes to meet this year’s goal of $12,500, supporting its mission to keep opera alive. This year’s silent auction is currently online and has many categories from gift certificates to specialty items. All listings are displayed with a picture and details and payments are accepted by credit card. Bidders also have proxy bidding and Buy It Now options available in case they’re unable to come to a performance. Online bidding will end at 9:00 PM on Thursday, November 29th, but final live event bidding will occur at the two performances of Puccini’s Tosca.
Join us in the Grand Ballroom for a pre-concert lecture at 7pm on Friday, and 2:30pm on Sunday, to learn more about the opera before the performance.
Buy in Advance And Enjoy Complimentary Hors D’Oeuvres at evening performances!
If you have any trouble purchasing tickets online, or have any questions about tickets, please feel free to leave us a message at 443.445.0226, and one of our representatives will return your call to assist you with your ticket purchase. Those who buy their tickets in advance are welcome to join us for complimentary hors d’oeuvres (Friday only) and a pre-concert lecture. If we are not sold out in advance, we will sell tickets at the door. As a guest of the Baltimore Concert Opera, you are also welcome to make dining reservations at the club via the BCO (view dining options). Dress code at The Engineers Club is business casual.
Elizabeth Brooks as Tosca
Ms. Brooks received her Bachelor’s of Music in Vocal Performance from the University of North Carolina Greensboro in 2000. There she studied with Charles Lynam and performed in the ensembles of the opera productions each year. Ms. Brooks received her Master’s of Music in Vocal Performance and Literature from the Eastman School of Music in 2002. There she studied with renowned soprano, Ashley Putnam. While at Eastman, Ms. Brooks performed the title roles in Barber’s Vanessa (scenes) and Puccini’s Suor Angelica. She also performed the role of Musetta in Puccini’s La boheme. Ms. Brooks has participated in many Young Artist Programs such at the Seagle Music Colony, Aspen Music Institute, Opera Colorado Outreach Ensemble, Des Moines Metro Opera, and Utah Festival Opera. Her favorite roles include Helena from Britten’s A Midsummer Night’s Dream, Donna Anna from Mozart’s Don Giovanni, Desdemona from Verdi’s Otello, and the Witch in Humperdink’s Hansel and Gretel. Ms. Brooks covered the role of Santuzza in Mascagni’s Cavalleria Rusticana and performed the role of Nimue in Camelot with the Utah Festival Opera in 2009. In her second season with Utah Festival Opera, Ms. Brooks was seen as Annina in La Traviata and Sister Margaretta in The Sound of Music. Ms. Brooks also won the Michael Ballam International Vocal Competition, resulting in competing in another competition in Alexandria, Italy. In the summer of 2011, Ms. Brooks participated in the AIMS in Graz singing program in Graz, Austria. There, she was a selected soloist in the Voices of Summer concert series and an Honorable Mention in the Meistersinger competition.
Ms. Brooks currently resides in New York City and studies with Mark Oswald.
Theodore Chletsos as Cavaradossi
Theodore Chletsos, tenor, has performed the roles of Pinkerton in Madama Butterfly, Rodolfo in La Bohème, il duca in Rigoletto, Alfredo in La Traviata, Anatol in Vanessa, the title role in Les Contes d’Hoffmann, Don José in Carmen, Edgardo in Lucia di Lammermoor, Rinuccio in Puccini’s Gianni Schicchi and Michael Ching’s recent sequel: Buoso’s Ghost, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Tom Norman in the North American premiere of Joseph Merrick, the Elephant Man. Mr. Chletsos performed to much acclaim throughout the Netherlands and Belgium, performing in tours of Madama Butterfly, La Bohème, and Rigoletto, where he was universally praised for his “ringing high notes” and dramatic talents. Theodore made his Carnegie Hall and New York City Opera debut in Samuel Barber’s Antony and Cleopatra, conducted by George Manahan. Mr Chletsos has performed with Minnesota Opera, Pittsburgh Opera, Central City Opera, Indianapolis Opera, Utah Opera, Opera New Jersey, Baltimore Concert Opera, Chautauqua Opera, the Minnesota Orchestra, and the Oregon Symphony, among others. Chletsos performed in the world premiere (and can be heard on the original cast recording) of Ricky Ian Gordon’s The Grapes of Wrath with Minnesota Opera, Utah Opera, and Pittsburgh Opera.
Chletsos’ concert work includes Verdi’s Requiem, Handel’s Judas Maccabaeus and Messiah, Rossini’s Petite Messe Solonnelle and Stabat Mater, Mozart’s Requiem, Beethoven’s Missa Solemnis, Bach’s Christmas Oratorio and B Minor Mass, and Dvorak’s Mass in D, among many others. Awards include the Shoshana Foundation’s Richard F. Gold Career Grant and the Metropolitan Opera National Council Auditions National Semi-Finalist.
Mr. Chletsos has lent his singing and dancing talents to numerous Broadway-style revues, cabaret performances, and operettas, including a concert with Marvin Hamlisch and starring Susan Lucci (All My Children), a musical revue produced by Jerry Adler and featuring the music of (and a performance by) Stephen Schwartz, a “musical pageant” based on Purcell’s King Arthur directed/choreographed by Mark Morris for New York City Opera, and a special preview of the Tony Award-winning musical Ragtime with composer Stephen Flaherty.
Ron Loyd as Scarpia
Recognized for his “consistent vocal ease and dramatic flair,” Ron Loyd is praised for his thoughtful portrayals and versatility on operatic, concert, and musical theatre stages across the US.
Recent engagements include concerts of Handel’s Israel in Egypt with The Collegiate Chorale and The American Symphony Orchestra under the baton of James Bagwell (featuring Brian Asawa, Sari Gruber, and Rufus Müller) where Opera News complimented his “solid baritone,” and of Brahms’ Ein Deutches Requiem with The Choral Society and Orchestra in New York City. Also in 2010, Mr. Loyd “dominated the theater with his double-takes, his asides and tack-sharp comic timing that made a simple raised eyebrow speak volumes” (Connecticut’s The Day) in his role debut as Dulcamara in L’Elisir d’Amore with Salt Marsh Opera and received a personal invitation to sing with the Metropolitan Opera Guild Lecture series for a masterclass on Light Opera as well as a concert of excerpts from Le Comte Ory for a private MET patron audience. Ron ended the 2010-11 season singing Marcello in La Bohème for his company debut with Baltimore Concert Opera and returned to Nevada Opera as Figaro in Le Nozze di Figaro.
In 2011-12, Mr. Loyd returns to Baltimore Concert Opera as Sharpless in Madama Butterfly and Mobile Opera as Max von Mayerling in a concert performance of Andrew Lloyd Webber’s most lyrical musical, Sunset Boulevard. This spring, Ron debuts at off-Broadway’s 59E59 Theatres as Louis in Gustav Holst’s rarely performed opera The Wandering Scholar in the little OPERA THEATRE of NY’s presentation of TRAVELERS: The Wandering Scholar & Savitri before returning to LOOK Musical Theatre to perform as Psuedolus in Sondheim’s A Funny Thing Happened on the Way to the Forum, Herbie in Gypsy, and Brian in the Tony Award winning Avenue Q. Finishing out 2012, Mr. Loyd returns this fall to Salt Marsh Opera in Connecticut for his title role debut of Verdi’s vengeful court jester, Rigoletto.
Past engagements include Peter in Hansel and Gretel with Nevada Opera; Sharpless in Madama Butterfly with El Paso Opera, Mobile Opera, Opera Southwest, and the Holder’s Festival in Barbados, West Indies; Ping in Turandot with Mobile Opera and Pensacola Opera, Falke in Die Fledermaus with Salt Marsh Opera; Marcello in La Bohème and Figaro in Le Nozze di Figaro with Opera Southwest; Schaunard in La Bohème with Des Moines Metro Opera, Pensacola Opera and National Lyric Opera; Papageno in Die Zauberflöte with Pensacola Opera and Opera Southwest; Monterone in Rigoletto with Pensacola Opera; and Germont in La Traviata with Bronx Opera and the New Operafestival di Roma Symphony in Rome, Italy. He created the role of Guido in the world stage premiere of Un Racconto Fiorentino (Louis Gioia) with New Jersey Verismo Opera and has appeared with the Natchez Festival of Music as Pooh-Bah in The Mikado and Baron Zeta in The Merry Widow; and Pensacola Opera and Opera Southwest as Don Bartolo in Il Barbiere di Siviglia.
In concert, Mr. Loyd has appeared as baritone soloist in Beethoven’s Ninth Symphony with the Pensacola Symphony Orchestra; Viva Verdi! with the Chautauqua Symphony under the baton of Joseph Colaneri; Palm Beach Opera’s Music for the Mind concert series; Holiday Pops concerts with the Charlotte Symphony (FL) and the Gulf Coast Symphony (FL); and West Side Story in Concert with the Fort Worth Symphony. Mr. Loyd has also joined The Dessoff Choirs in New York City for an exploration of 19th to 20th Century American Works and has appeared with the Berkshire Bach Society as the bass soloist in Bach’s Weihnacts-Oratorium and with The Stonington Choral Society as the baritone soloist Handel’s Messiah.
A dynamic actor and strong proponent of the Golden Age of American musicals, Mr. Loyd has enjoyed a long relationship with LOOK Musical Theatre (formerly Light Opera Oklahoma). After a critically acclaimed debut as Emile Debeque in South Pacific garnering “a remarkable performance – his voice warm, resonant, and powerful” from The Tulsa World, Mr. Loyd was immediately invited back to take on Stephen Sondheim’s demon barber Sweeney Todd where The Tulsa World subsequently wrote that his performance was “electrifying in its intensity” and “stunning in its ferocity” and voted the show as Tulsa’s “Best Night of Theatre” in 2007. Mr. Loyd has since been seen in Tulsa as The Pirate King in Pirates of Penzance; Captain in Candide; The Baker in Sondheim’s Into the Woods where “his warm baritone offered one of the production’s greatest musical pleasures” (The Sondheim Review); and as Fredrik in A Little Night Music, where The Sondheim Review again praised his “opulent baritone and nuanced phrasing.” Conquering the Shaw-inspired dialogue, Mr. Loyd’s Henry Higgins in My Fair Lady earned “his gorgeous, booming voice was accentuated by fine acting. His portrayal of Higgins as a cantankerous but lovable bachelor was spot-on” from Urban Tulsa. For his fifth consecutive season at LOOK, Mr. Loyd portrayed Fred in Cole Porter’s Shakespeare inspired Kiss Me, Kate and Bunthorne in Gilbert & Sullivan’s Patience before finishing the summer with Broadway themed concerts in Connecticut, Rhode Island, and New York.
Ron made his professional operatic debut as Horace Tabor in The Ballad of Baby Doe with Amarillo Opera upon graduating from West Texas A&M University. After moving to New York City, he spent two seasons touring with Opera Iowa as Belcore in L’Elisir d’Amore and as Figaro in Il Barbiere di Siviglia in the US and China before apprenticing with Chautauqua Opera, Sarasota Opera, and Lake George Opera performing mainstage roles and cover assignments that included Germont and Baron Douphol in La Traviata, Falstaff in Falstaff, Morales in Carmen, Peter in Hansel and Gretel, and Miller in Verdi’s Luisa Miller.
The youngest of five boys, Ron Alfonse Loyd was born in Tennessee to an Italian mother (thus, Alfonse) and a Welsh father (thus, Loyd), raised in Texas, and currently makes his home in New York City.
Jason Hardy as Sacristan
Of Jason Hardy’s debut with New York City Opera in Acis and Galatea, Opera News remarked that the role of Polyphemus was “brilliantly played.” In his return to New York City Opera, he gave a highly-acclaimed performance as Leporello in their new production of Don Giovanni.
Mr. Hardy’s operatic engagements include the title role in Le nozze di Figaro with Madison Opera, Opera Cleveland, Michigan Opera Theater, Opera Omaha, and Opera Birmingham, Cadmus and Somnus in Semele with Florentine Opera, Leporello in Don Giovanni with Connecticut Opera and Orlando Opera, Colline in La bohème with Nashville Opera, Berkshire Opera, and Palm Beach Opera, and Don Magnifico in La cenerentola with Connecticut Opera, Birmingham Opera, and Wolf Trap Opera. Other engagements include Basilio in Barber of Seville, Sparafucile in Rigoletto, Dulcamara in L’elisir d’amore, and Don Alfonso in Così fan tutte. Upcoming engagements include Don Giovanni with Portland Opera, La cenerentola with Nashville Opera, La traviata with Atlanta Opera, Le nozze di Figaro with Arizona Opera, and King for a Day (Verdi) with
The bass was a Regional Finalist in the Metropolitan Opera National Council Auditions, National Finalist for the Lyric Opera of Chicago Center for American Artists, Grand Prize-winner of both the Florida Grand Opera Competition and the Heinz Rehfuss Singing Actor Competition, and a winner in the Liederkranz Foundation, Palm Beach Opera, Fort Worth Opera, Opera Birmingham, Connecticut Opera, and the Oratorio Society of New York vocal competitions. He is also the recipient of a Sullivan Foundation Career Grant.
On the concert platform, Mr. Hardy has given performances at Carnegie Hall, The Kennedy Center, Avery Fisher Hall, and has appeared with the Los Angeles Philharmonic, National Symphony Orchestra, National Chorale, New York Choral Society, New York City Ballet, Pacific Symphony, Kansas City Symphony, Richmond Symphony, and the Baltimore Symphony Orchestra.
He has offered solo recitals at the prestigious Marlboro Festival and the Southeastern Festival of Song. He has also been presented in numerous recitals under the auspices of the Marilyn Horne Foundation. His first solo CD, entitled “Youth and Love”, is available worldwide.
Eric Bash as Angelotti
Eric Bash is a native of Spartanburg, South Carolina. He is a graduate of the University of Cincinnati-College Conservatory of Music where he received both his Bachelor of Music and Master of Music in Vocal Performance. Mr. Bash also served 4 years active duty and was honorably discharged from the United States Navy. He has performed with companies throughout the country including Lyric Opera of Baltimore, Cincinnati Opera, Opera Festival di Lucca, and Converse Opera Theater. His favorite roles include Gianni Schicchi and Spinelloccio in Puccini’s Gianni Schicchi and Count Almaviva in Le Nozze di Figaro. This will be his debut role with Baltimore Concert Opera. He now lives in Philadelphia, PA.
Thank you to his family and friends for his love of music and entertaining.
Jarrod Lee as Sciarrone
Jarrod Lee, Bass Baritone, hails from Sylacauga, Alabama. Opera Today and Washington Post says Jarrod has a “rich baritone voice that glides effortlessly through even the most demanding passages.” Jarrod earned a Masters of Music from the Maryland Opera Studio and studies voice with Elizabeth Daniels. Jarrod was a featured soloist for President Barack Obama and the first family’s visit to Metropolitan A.M.E Church in D.C. Operatic roles include: Basilio and Fiorello in Barbiere di Siviglia with Maryland Opera Studio and Baltimore Concert Opera respectively, Marchese in Traviata, Simon in Naughty Marietta, Man with the Cornet Case/Puppet Master in Postcard, Jaggers in Havisham’s Fire, Talpa in Tabarro, Officer in Amelia, Joe Louis in the world premier of Shadowboxer, based on the life of Joe Louis, The Duke/Capulet cover in Romeo et Juliette, Mikado and Pish-Tush in Mikado, Samuel in Pirates, Second Yeoman in Yeomen, Captain/Zaretsky in Eugene Onegin, Dulcamara in L’elisir d’amore, Jailer in Tosca, Sergeant in Boheme, and Falstaff in Merry Wives. Jarrod earned a B.A. in Music Education from Jacksonville State University and studied voice with Dr. Richard Armstrong.
David Sadlier as Spoletta
David Sadlier, tenor, has been praised for both his vocal and dramatic abilities. David’s opera credits include appearances with Chicago Opera Theater, Glimmerglass Opera, Opera Theatre of St. Louis, New Orleans Opera, Opera Circle of Cleveland, and Opera North. Fortunate to be involved in many new works, David has performed several world premieres including Loss of Eden (Opera Theater of St. Louis), the title role in Thamos: King of Egypt (Opera Circle of Cleveland), and Our Town and the collegiate debut of A View From the Bridge (Indiana University). Most recently, David returned to Opera Circle of Cleveland as Edrisi in Szymanowski’s Krol Roger where he also performed Tebaldo in I Capuletti e i Montecchi, and the role of Fritz Kobus in L’Amico Fritz. In addition, the tenor covered the role of Siegmund in Virginia Opera’s 2011 production of Die Walküre. Concert appearances include Britten’s Serenade under the baton of Richard Hughey, Handel’s Messiah with the Southern Mississippi Chamber Orchestra, Mozart’s Requiem with the Battle Creek Symphony, Britten’s Saint Nicolas with the Kokomo Symphony Orchestra, Haydn’s Lord Nelson Mass and Brahms’ Liebeslieder Walzes with the Lafayette Bach Chorale, and Vaughan Williams’ Serenade to Music with the Indianapolis Symphony. Equally at home on the recital stage, David has performed many major works including Die schöne Müllerin, Dichterliebe, An die ferne Geliebte, On Wenlock Edge, and Finzi’s Oh fair to see. Upcoming engagements include performances with the Baltimore Concert Opera, and recitals at The Church of St. Martin in the Fields (London) and the Jacqueline du Pre Music Room (Oxford).
David currently serves as Assistant Professor of Voice at Christopher Newport University in Newport News, VA where his duties include Studio Voice, Foreign Language Diction, OperaCNU and the CNU Men’s Chorus. During the 2011-12 year David served as both the stage director and conductor for OperaCNU’s Die Fledermaus. Before his work at CNU, David was an Assistant Professor of Voice at Baylor University where he taught Studio Voice, Operatic Role Preparation, and served as the Interim Director of Baylor Opera Theater. David’s students have distinguished themselves as winners of regional competitions, and through admittance to nationally and internationally recognized summer training programs and leading graduate programs such as the Manhattan School of Music and the Jacobs School of Music at Indiana University. Previous to his work at Baylor, David served as a Visiting Professor of Music at Taylor University where he taught studio voice and language diction. While at Taylor he served as the Director of Taylor Opera Theater making his directing and conducting debuts with Mozart’s Cosi fan tutte. David continues to serve as a guest clinician and recitalist at universities and institutes throughout the country; most recently at the Interlochen School for the Arts, Montana State University, Western Illinois University, Albion College, and the Baldwin-Wallace Conservatory.
In the summer of 2011, David founded The Cornish American Song Institute (CASI) based in Falmouth, Cornwall, UK. The Institute is a two-week study of art-song for singers, pianists, composers, and, beginning in 2012, string players and woodwinds. The Institute provides applied music lessons, musical coachings, English Music Classes, several tours of Cornwall, and several concerts. In addition, CASI offers a four-day residency in Oxford and the opportunity to engage in lectures and master classes with Oxford faculty.
David earned the Doctor of Music degree from the The Jacobs School of Music at Indiana University where he studied with Andreas Poulimenos and Giorgio Tozzi. While at IU he served as an Associate Instructor of Voice for four years. David also holds a Masters degree in vocal performance from Indiana University as well as a Bachelor of Music from Loyola University in New Orleans.
David is married to fellow CNU faculty member, and pianist, Lelia Molthrop Sadlier, with whom he regularly appears in recital. The couple has two daughters, Ada Morgan and Bronwyn McFarlane.
Michael Borowitz Conductor
American conductor and pianist Michael Borowitz is currently in his fourth year as Music Director of LSU Opera, where this season he will conduct performances of Romberg’s The New Moon and Britten’s The Turn of the Screw, and serve as musical director for productions of Bizet/Brooks La tragédie de Carmen and Debussy/Brooks Impressions de Pelléas.
As Music Director with Opéra Louisiane, he will conduct performances of Verdi’s Falstaff (in a reduced, chamber version), Humperdinck’s Hansel and Gretel, and Donizetti’s L’elisir d’amore, and for AVA Ballet he will lead performances of Peter Pan.
For eight seasons he was Artistic Director for Nevada Opera, for 5 seasons the Music Director for Ohio Light Opera, for nine seasons he was Assistant Conductor and coach with Des Moines Metro Opera, and for five seasons he was Director of Musical Studies with Pittsburgh Opera. From 1997 to 2000 he was Artistic Director (and founder) of Cleveland Concert Opera.
He has been a guest conductor for Baltimore Concert Opera, Pensacola Opera, Eastman School of Music, Opera Southwest, Rimrock Opera, Opera Columbus, The Reno Philharmonic, as well as assistant conductor with The Metropolitan Opera, Indianapolis Opera and Cleveland Opera, and has studied extensively at the Istituto Donizettiano in Bergamo.
James Harp Chorus Master and Pianist
James Harp is well known in the Baltimore area as a pianist, organist, stage director, singer, composer, lecturer, writer and conductor. He began his musical career at age 7 as a church soloist, and has concertized in Italy, France, Greece, Israel, the Bahamas, and extensively throughout his native Southern United States. Among his more unusual musical experiences include singing “My Old Kentucky Home” as a soloist on National Television at the 1981 Kentucky Derby, coaching Lily Tomlin in arias from Aida for an Emmy-nominated “Homicide” segment, and nearly drowning after falling backwards into the Sea of Galilee while conducting madrigals.
He is the Artistic Director of Lyric Opera Baltimore, a new grand opera company for Baltimore being supported by the Lyric Opera House, where he oversees opera productions in the theatre as well as directs a significant program of education/outreach programs. He is also heavily involved in pursuing and nurturing partnerships and collaborations with arts organizations both locally and nationally in order to sustain the art forms of opera and music for perpetuity.
He holds Bachelor’s and Master’s degrees from the Peabody Conservatory of Music. He was the Artistic Administrator of the Baltimore Opera Company beginning in 1989 and was the Chorus Master since 1993. Since 1983 he has served as organist for the Baltimore Symphony Orchestra, and since 1987 has been the Cantor (Organist/Choirmaster) for Baltimore’s historic St. Mark’s Lutheran Church, where he also serves as Artistic Director of the St. Cecilia Society Concert Series. He formerly served as Music Director of the Baltimore Men’s Chorus from 1989-1995 and was the accompanist for the Baltimore Symphony Chorus from 1982-1999. He is very proud to be the Principal Accompanist and Chorus Master for Baltimore Concert Opera since Spring of 2009.
Knowledgeable in many areas of music, he has lectured extensively on opera in many venues, including the Towson Arts Festival, the Maryland Opera Society, the Biblical Archaeology Society, and the Joy of Opera Series. He is on the faculty of the Johns Hopkins School of Continuing Education. Successful as a writer of operatic children’s programs, he and his work Puppets & Pagliacci were featured on a PBS documentary. His reworking and staging of Puccini’s Gianni Schicchi, changed from Florence, Italy in 1299 to Florence, Alabama, in 1929 and retitled The Tale of Johnnie S. Kickey, has been well received and performed in several regional opera companies and universities. He has served on several national advisory boards as a consultant and advocate for arts agencies.
As a stage director he has directed many operas for Artscape, Baltimore’s summer festival of the arts, including The Medum, Too Many Sopranos, Slow Dusk, and Beauty and the Beast. He has directed The Sorcerer, HMS Pinafore, The Gondoliers, Iolanthe and The Pirates of Penzance with the Young Victorian Opera Company. He has also staged operas at Anne Arundel Community College, where his version of The Elixer of Love, transplanted to Tennessee during Prohibition, was well received, as well as his productions of The Magic Flute and Die Fledermaus.
Sought after as an orchestral musician and accompanist, he has been featured as soloist with the Baltimore Symphony Orchestra in works ranging from Saint-Saens Organ Symphony to Lloyd Webber’s The Phantom of the Opera. He has appeared as continuo (harpsichord/organ) soloist with many local orchestral and choral groups, where his informed and histrionic realizations of baroque figured bass have won acclaim. Accompanist to many local singers, many of whom feature his own compositions, he has also accompanied such artists as Leontyne Price, Marilyn Horne, Sherrill Milnes, Licia Albanese, Anna Moffo, Chris Merritt, Lucine Amara, and Paul Plishka.
An aficionado of gardening, theology, genealogy and all things Victorian, he lives in the Bolton Hill neighborhood of Baltimore with his three gregarious pugs, Vivian, Jewell, and Woodrow.