PROGRAM: Bravo 1974-75 Opera and Dance

MUSIC HAIL

Copyright 2010, Michigan Opera Theatre

((What we anticipate seldom occurs; what we least expected generally happens."

<0> Benjamin Disraeli <0>

Extra care in engineering ... it makes a difference.

Chrysler Corporation engineers have put together a road act youll really enjoy.

TorqueFlite transmission. An engineering advantage from Chrysler Corporation that sets the stage for no recommended maintenance. It requires no recommended maintenance under normal driving conditions. And we sincerely believe that it's the most reliable automotive transmission on the road.

TorqueFlite transmission. Just one of the engineering differences offered in every Chrysler Corporation car built in this country. Discover all the advantages at your Dodge or Chrysler-Plymouth dealer's before you choose your next car.

Like many men of his generation, Wesley had just graduated from college, and for a job well done his dad gave him a present. A Jordan Speedboy. The Playboy's Motorcar.

The Jordan symbolized the epitome of young romance. Even Jordan advertising satisfied happy cravings and visionary ecstasy.

Of course, all those 1929 Jordan dreams wouldn't have gone far without the automotive parts, from TRW.

parts for most of the eighty car manufacturers around in 1929. TRW has been playing a part in the evolution of the automobile since 1901. Going from our simple beginning in the U.S ., to fourteen major automotive nations around the world, supplying parts for almost every automobile being made.

Proof enough that, when it comes to the worldwide automotive market, TRW has a large part in it.

TRW Automotive Worldwide, TRW Inc., 23555 Euclid Ave., Cleveland, Ohio 44117.

Copyright 2010, Michigan Opera Theatre

TRW played a part in making the Jordan dream a reality with valves, steering linkage and steering gear. Not only for the Jordan, but for the Peerless, the Rollin, the Winton, and the Packard. In fact, TRW made

In the summer of '29 when Wesley Todd III coaxed Lucy B. Stokes into taking a ride in his new Jordan motorcar, we had a small part in it.

The PPG reducing plan.

We can take pounds off cars and trucks.

No magic pill. Just thinner, lighter glass.

The innovators at PPG have developed a process for making thinner tempered sidelights.

Though both shipping racks contain the same number of curved sidelights, the glass on the right weighs over 17% less than the glass on the left. Because it's thinner.

Of course, lighter glass can help make lighter cars. And the real beauty of a lighter car these

days is its smaller appetite for gasoline. Better mileage makes everybody happy from dealer to driver.

Thinner glass is just one outgrowth of the expertise and progressive attitude we've developed from being in the glass business over 91 years.

PPG experts are always searching for ways to improve automotive glass. And we've got a habit of finding them and putting them to good use fast and reliably.

So whether you're hungry

for less weight or greater visIbility, talk to us today about tomorrow.

PPG Industries, Inc. Glass for the automotive industry. In Detroit 444-4760.

PPG: a Concern for the Future

200 Sidelights

200 Sidelights

We want you to drive what you like and like what you drive.

And there could be no more beautiful proof of this than the new small cars we're offering for 1975.

There's our all-new Chevrolet Monza

2+2, Pontiac Astre, Oldsmobile Starfire and Buick Skyhawk-without question some of the sportiest looking cars we've ever built, and all geared for better overall operating economy.

Then there's our Chevrolet Nova , Pontiac Ventura, Oldsmobile Omega and Buick Apollo . They're restyled with a European flair, and feature a big lineup of small engines .

All in all, GM has more than 140 separate models you can choose from this year. Small-size , mid-size and full-size cars Personal models. Stat ,ion wagons. America's only production sports car and convertibles. Plus a large number of vehicles for recreational use, including the GMC Motor Home

So for the widest selection of cars in the business-including more new small cars than anybody-remember General Motors when you ' re shopping around . At GM, we want you to dr ive what you like and like what you drive.

GENERAL MOTORS· MAKER OF CHEVROLET, PONTIAC, OLDSMOBILE, BUICK, CADILLAC AND GMC TRUCKS & MOTOR HOMES

MlCillGAN PERA

OFFICERS

Mr and Mrs. Lynn A. Towns e nd Co- c hairmen, Board of Dir ec tors

Dr. Da v id DiChiera

Pre s ident

Mr. John C. Griffin Treasurer

Mr. Robert M. H e uer II Assistant Treasur e r

Mr. Robert M. H e u e r II Secretary

Mr. E. Harwood R y dholm

Assistant Se c r e t a r y

McClinto c k, Donovan, Carson , & Roa c h

Legal Coun se l

Touche Ros s & Co.

Accountants

TICKET COMMITTEE

Chairman

Mr s P e te r Cooper

T e am Ca pt a ins

Mr s John Ba lchan

Mr s. Juli a n Bec ker

Ms . Yl a ril y n Berman

Mr s. J 1! mes Bird

Ms. Pa tri c ia Burnett

Mr s Edward Bu s h

Mr s. Th e lma E. Connel y

Mr s. Abraham Cooper

Mr s Robert Cu tier

Mr s Julio Davila

Mr s Robert Facko

Mr s. Jerome FeJlrath

Mr s. Ri c hard 1. Frederi c k

Mr s . Edward Frohli c h

BOARD OF DIRECTORS

Mr. and Mrs. Avern L. Cohn

Mr. and Mr s. John H. DeCarlo

Mr. and Mr s . Robert E. Dewar

Dr. and Mrs. David DiChiera

Mr and Mrs. Frank W. Donovan

Mr. and Mrs. Aaron H. Ger s henson

Mr. and Mrs. Donald C. Graves

Mr and Mrs. Roman S. Gribbs

Mr. and Mrs. John C. Griffin

Mr. and Mrs. Harry L. Jone s

The Honorable and Mrs . Wad e H. McCree, Jr.

Mr. Harry 1. Ned e rland e r

Mr. E. Harwood Rydholm

Mr. and Mrs. N e il Snow

Mr. and Mrs. Ri c hard Strichartz

Mr. and Mrs. Lynn A. Townsend

Mr. and Mrs. Rob e rt C. VanderKloot

Mr. and Mrs. Sam B. Williams

Mr. and Mr s Th e odore O. Y ntema

Mr. and Mrs _ Donald E. Young

ADVERTISING COMMITTEE

Mr s. J a mes Gordon

Mr s Eri c GoullaiJd

Mr s. Jo se ph Impastato

Mr s. S h e ldon 1. Jo lgren

Mr s. Thomas V. LoCi ce ro

Mrs Wade McCree

Mr s Scott McKean

Mr s. Carlos Montemay o r

Mr s. Harry 1. Nederland e r

Mr s. Irving Pasman

Mr s John Peabody

Mr s Arthur Rook s

Ms Pat Smith

Mrs Neil Snow

Mrs. Mar y T eac hout

Mrs. Hobert C. Vand e rKloot

Mrs. Ste ven Vic to r

Chairman

Mrs. Lloyd H. Dieh I, Jr .

Mrs. Sidnev Chapin

Mrs. Peter Co o per

Mrs. Robert Cu ti e r

Mr s. Rob e rt E. De wa r

Mrs . Da v id DiChier a

Mr s . Ke nn e th Han so n

Dr. Zofia Kaf a rs ki

Mr. Mit c h ell Ka far s ki

Mrs. Alan Loofbourrow

Mrs. Ne a l M-o or e

Mrs. Harr y J. Ne derlander

Mr. Ne il Sn o w

Mr s. Neil S now

Mr s. Ri c ha rd E. Straith

IVlr s Willi am B. TenEyck

Mr s. Rob e rt C. VanderKloot

Mr s Carl M We ideman , Sr.

In its first year Mustang II ran away from all its so-called "competition" combined.

And for '75, we've made Mustang II more exciting than ever. With a new V-8 available An even more luxurious Ghia model. An even more impressive list of standard features.

An even wider choice of exciting options. Here's one small car that's still so new you've got to see it all over again in 1975. Look close at Mustang II Ghia. From its sleek lines, to its new grille, to its classic opera windows and half vinyl roof, you are looking at a small car with an unusually high level of style and luxury Standard equipment includes 4-speed floor mounted tra n smission, plush bucket seats, quartz crystal digital clock, and thick carpeting. Even carpeting in the trunk . Look close at Mustang II's new standard features. To the already long and impressive list o f Mustang II equipment, we ' ve added two very important economy features for '75:

• Steel - belted radial ply tires for improved gas mileage

• Solid-state ignition , which requires less maintenance than conventional systems.

When you add these to all the other standard

features of the Mustang II, and the wide range of exciting options, you can appreciate why in sales, in quality, in value, this small car is in a class of its own.

Look close at the model and engine choice. (There's even a small V,8.) This year Mustang II offers a choice of three economical engines. A standard overhead cam 4, an optional V-6 or the newly available 302 V-8.

For '75, in addition to the Ghia model, there's also a 2-door hardtop, a 3-door 2+2, and a sporty Mach l.

There's even a sRecial new Ghia. The Silver Ghia. The Silver Luxury Group option makes this Silver Ghia special because of features like the cranberry cru shed velour seating area, silver metallic finish, exclusive trim and a one-way glass moon-roof option. Look close at Ford Mustang II for 1975.

See it at your local Ford Dealer

The closer you look, the better we look

Copyright 2010, Michigan Opera Theatre

"TAOU I THE BEST FREECHECKI I"

Jenkie s, some banks sure have a lot of nerve. They seem to think a checking account should cost you money Even though they say it' s free.

Pshaw, I say

My new Free Checking Plan earns you money. And you don't pay any service charge or so-called special package charge ... i t's free.

Here's how it work s: open a savings account for just $250, and I'll give you Free Checking. The kind where you can write all the checks you want , absolutely free No monthly service charge. No cost-per-check.

And while you're writing all those free checks, your savings will be bu sy, too. Earning the absolute highe s t interest the law allows me to pay.

Frankly, no other bank in town has a better free checking plan. You'll see when you compare it with the others.

NO SERVICE CHARGE.

Some banks ask you to put money in a checking account-then make

you pay to u se it. They charge a dime or l2 Wj: every time you write a check. Then tack on 50Q; or so each month. Some charge you $2.50 each time you write 20 checks.

Pshaw again. My Free C hecking is really free .

NO '3 "PACKAGE

Other banks give you free checking as part of a complicated "package;' that includes many services you'll probably never really need. And for this , they ask you to pay $3 a month.

Pshaw again. You shouldn't have to pay for free checking. With mine you don't

NO "MINIMUM BALANCE" TO KEEP UP.

Other banks go so far as to ask you to keep a healthy sum in your checking account, then they'll let you write "free" checks. You know of course, that healthy sum isn't earning you one dime of interest.

Pshaw again. Banks should help

you earn money, not squander it. With my Free Checking, the money in your savings account earns you the highest interest while eliminating any charge for getting your money ou t of your checking account.

As you can see, my Free Checking is just what it says, free. And that 's quitc an improvement over what other banks seem to be offering as being free. Why don't you drop in and wc'll talk about my new plan. If you want to transfer your present account , leave the details to me.

I can be very gentle in these matters.

1974-75 Season

ADMINISTRATIVE STAFF

Dr. David DiChiera

Ge neral Dire c tor

Robert M. Heu e r, II

Ma naging Dir ec tor

Val e rie A Berna c ki

Admini s trativ e As s is tant

Blan c he M. Robin s on Public Relations

Thoma s J. Cowan

Produ c tion Coordinator

Roman Terl ec k yj Produ c tion Assistant

Ann Mc Pher son Mc Kee Technical Director

Loui se Mack e nzi e Offi c e Manager

Gary M. Grimshaw

Ad ve rt ising and Pr og ram Produ c tion Manag e r

A Message From Our General Director

Dr. David DiChiera

Welcome to MOT's '74-'75 season. We've done a lot of growing over the past few years-from two productions and six performances in our .lirst season at Music Hall in 1971 to our present season of four productions and twenty performances. To my mind it's the most balanced program we have ever presented. Along with La Traviata, a great standard favorite, and Die Fledermaus, the most famous of Viennese operettas, we are pleased to bring to Detroit the first production of Donizetti ' s delightful comedy The Elixir of Love, and our most mammoth production to date, Mussorgsky's great masterpiece Boris Godunov in its seldom heard original version.

Our outstate program is also growing by leaps and bounds. MOT marks its third season in bringing major productions to Kalamazoo and Flint where these performances are always attended by record breaking audiences. The Opera in Residence Program, which last year was successfully piloted with a grant from the National Endowment for the Arts, wilJ be expanded even more thanks to a generous grant from our own state legislature. Plans are now under way to take the opera for a week's stay in nine communities, including Flint, Kalamazoo, Alpena, Traverse City, Livonia, and Plymouth. I can think of no more effective way to build a strong and vital audience for the future of opera.

MOT is looking forward to playing its role in the upcoming celebration of the Bicentennial. There's a good chance that the '75-'76 season will include a production of Treemonisha by Scott JopJin-America's great rag-time composer who is only now being seriously discovered after years of neglect. And most exciting of all is the possibility of opening our 1976-77 season with a world premiere of an opera written especiaJly for us by a major American composer-surely an event which would focus the attention of the musical world on our city. I shall keep you posted as future plans develop.

Our excitement about this and upcoming seasons is mixed with sadness since William C. Byrd, our conductor and music director for nearly five years will not be here to share them with us. Bill's death is a great loss not only to Michigan Opera Theatre but to all the arts in Michigan. In addition to his consummate musical ability, he had a unique way of working with people and winning their confidence as both a conductor and an administrator. Because he had been so much a part of Michigan Opera Theatre's development, we dedicate this season to BiII,whose advice, judgement and above all friendship we shall miss very much. A word of appreciation goes also to you, our audience, for we know it is your enthusiasm and support which enable us to continue presenting quality productions and larger seasons, and we thank you for it.

Copyright 2010, Michigan Opera Theatre

The sensibleness of our uppermost Chevrolet.

We couldn't expect you to change your standards. So we've changed Caprice. Caprice Classic for 1975 still provides you with the elegance and style your taste demands. Plus Chevrolet's new Efficiency System with some very import a nt engineering improvements designed to work together to clean the air and save you money .

Run leaner? Run cleaner? What's that mean?

Run leaner means Caprice is designed to run more economically. By run cl ea ner, we mean the 1975 Caprice Classics are designed to meet the stiffer new Federal emission standards, with engines that stay cleaner internally because of no-lead fuel.

1975 CAPRICE CASSIe D'RUNS LFANER. D' RUNS (U'ANER. D' SAVES YOU MONEY EVERY

economy; thanks to the new Efficiency System, new engine tuning and easyrolling GM-Specification steel-belted radial ply tires.

Surer starting.

High Energy Ignition, standard on all 1975 Caprice Classics, delivers a spark that's up to 85 %

Chevrolet's new catalytic converter, are designed to make the ' 75 Chevrolets better performers than the cars of the last few years. Our new catalytic converter allows Chevrolet engines to go back to doing what you've always expected them to do: Perform smoothly, responsively, efficiently.

Fewer and simpler tune,ups.

as follows: Oil change and chassis lube-every six months or 7,500 miles. Oil filter change-first 7,500 miles, then every 15,000 miles. Automatic transmission fluid change-every 30,000 miles.

AU that and cleaner air.

We've met the new Federal emission reductions : Exhaust hydrocarbons down 50 % from 1974, carbon monoxide reduced 46 % from 1974.

hotter than conventional ignition systems deliver. We wanted to make it easy for you to approach your Caprice with greater confidence on cold, wet mornings.

Faster warm, ups.

With High Energy Ignition, there are no points to replace, and there's no ignition condenser to replace. Spark plugs, instead of lasting 6,000 miles, should now last up ro 22,500 miles.

Tune-ups will be simpler and further apart.

Things that make Caprice Classic, classic. We don't want you to think for a minute that we've forgotten the things that have made Caprice our uppermost Chevrolet. We haven't. In fact, we've added to Caprice Classic's traditional elegance with a new front grille, new taillight arrangement and new rear quarter window design. Plus special sound insulation designed to make Caprice quiet and comfortable on the road. See your Chevrolet dealer soon. See just how sensible our uppermost Chevrolet is for 1975

Improved fuel economy.

For 1975, Caprice's standard V8 engine is designed for better fuel

Caprice for '75 features Early Fuel Evaporation as part of the new Efficiency System. EFE efficiently uses exhaust gases to give you a smoother, shorter warm-up period.

Better performance.

The features we've listed so far, combined with

CHEVROLET MAKES SENSE FOR AMERICA

More miles between oil changes and chassis lubes.

We've extended our recommended maintenance

MU,E.

Leadership in transportation.

We've grown up with transportation ever since John Kelsey and his associates produced the first wheel for the infant automobile industry. In fact. we've led the pace in order to hasten some important innovations vital to the transportation industry from rounder wheels that keep vehicles rolling to disc brake and skid control systems that keep them stopping. We've even worked with precision metals for jet components and space vehicles. Whatever visions these automotive leaders had at the outset, we've stuck with them, working side by side with their successors in order to help mold a portion of their dreams into reality. We've come a long way since 1909 because, much like these automotive giants, we look forward to the future

Kelsev·Haves

Shown above are automotive pioneers Alfred Sloan. Walter Chrysler. George Mason. Henry Ford and John Kelsey.

IF YOU WERE GOING TO TRY TO BUILD THE BE,ST STEEL BELTED RADIAL TIRE IN THB WHOL,E WIDE WORLD!J HOW WOULD YOU GO ABOUT IT? VERY CAREFULLY.

When people discover all the care that goes into a Firestone radial tire, they often have a hard time understanding it at first.

But we start by explaining the complex engineering that goes into our radials. We tell them that even though we build thousands and thousands of tires every day, we want every single one to be as much like the others as possible. Not just humanly possible, either, but as possible as modern electronics and our own exclusive manufacturing techniques can make them.

We're so careful we even build our own machines to measure the machines that measure the tires.

If you want to build the best, you've got to do it with care. After people see and hear how we care, they understand. And they know why we can say:

Firestone's Steel Radial 500. The first American made steel belted radial approved by Detroit.

October 4, 6, 9, II, 12, 1974

LA TRAVIATA

An opera in three acts by Guisseppe Verdi

Libretto

Francesco Maria Piave

English Translation Revisions

Roy Lazarus

Violet ta

Flora Bervoix

Marqui s d ' Obigny

Baron Dou phol

Dr. Grenvil

Ga s tone

Alfredo

Adapted from the novel and play, La Dame aux Camelias, by Alexandre Dumas, Ir.

First performance in Venice, March 6, 1853

CAST

Diana Soviero (October 4, 6, 11 )

Young (October 9,12)

Jan Albright

Davis Gloff

Robert Grey

Paul A. Ferris

Michael Schust

James Schwisow (October 4, 6, 11, 12)

Edward Kingins (October 9)

Annina, Violett a's maid

Giorgio Germont, Alfredo 's father

Rose Burnell

William Walker (October 4, 12)

Michael Ingham (October 6, 9, II)

Time: 1850 Place : Paris

ACT I. Drawing.room in Violetta's hou se in Paris - summer time

Intermission

ACT II. Scene 1. A coun try hou se near Paris - thre e months later

Scene 2. A sa lon in Flora's mansion in Pari s - imm ediat e ly following.

Intermi ssion

ACT III. Viol e tta' s bedroom - a month later

Music Dire c tor / Conductor Director

Choreographer Set De signe r

Costume De s igner

Lighting Desig n er

Chorus Ma s t e r

Dennis Bu'rkh

Roy Lazarus

Iacob Lascu

Franco Zeffire'n'i

Suzanne Mess

Roy Lazarus

Raynold Allvin

Scenery in coo peration with the Dalla s Civic Opera.

Costumes frum Malabar, Ltd. Toronto

All casts sub jec t to chan ge without notic e

Copyright 2010, Michigan Opera Theatre

LA TRAVIATA

La Traviata, first performed in 1853, was a change of style for Verdi who had previously concentrated on patriotic works and grand melodramas. When commissioned to compose an opera for the Fenice Theatre in Venice; he chose La Dame aux Camelias, a play with a contemporary theme featuring as the heroine a frail Parisian courtesan whose personal sacFifices were made in the name of love, not country.

Perhaps it was because the bourgeoisie saw so much of themselves in the story that La Traviata was performed in early 18th century dress and selling, when Verdi had intended it to be played in the dress and style of his day. It may have been this resistance to his production, coupled with the lack of enthusiasm on the part of the premiere cast (for they felt uneasy in an opera which did not feature the characteristic duel scenes and subplots of intrigue) which led to Verdi's fears for the success of his latest opus. Consequently, he saw the opening night as a "total fiasco . . . a disaster."

The critics were not as harsh, however, and it is suspected that the samc pcssimistic temperament which lent itself nicely to Verdi's creation of mournful melodies was responsible for his interpretation of La Traviata's opening as a disaster. In actuality, Verdi was called upon for curtain calls continuously throughout the performance and the critics acclaimed his composition, if not the actual performance.

La Traviata went on to enjoy ten performances in its original run in Venice, only four less than the highly successful II Trovatore one month before. Verdi's technical mastery and the great degree of human emotion expressed in La Traviata classifies this work as one of the world's outstanding musical dramas.

The Story

ACT I. The beautiful but frail courte· san, Violetta Valery, is giving a party in her luxurious Paris apartment. Among the guests just arriving is the nobleman Gastone, who introduces her to a young admirer, Alfredo Germont. Violetta invites her guests to partake of champagne and, at the suggestion of Gastone, Alfredo sings an exuberant drinking song, which is soon taken up by Violetta and the entire company_ Violetta then suggests that they conclude the evening with dancing. However, as her guests are about to move to the adjoining ballroom, she suddenly feels faint, betraying the tuberculosis she has contracted. Assured by their hostess that she will soon join them, they leave her to rest. Alfredo remains discreetly behind to express his concern for hp.r welfare, and in the ensuing conversation confesses that he has loved her ever since he had first seen her a year before. Insisting that she could never return his love, she nevertheless promises to see him the next day. He leaves, and she bids her other guests goodnight. Left alone, she contemplates the love that Alfredo has a ffered her, wondering if she could love him, too. But then she dismisses these thoughts as hopeless fantasies and resigns hersclf to a lonely life of superficial pleasures.

as his son receives the note from Vialetta announcing that she has left him forever. Germont is unable to comfort his son, who s e jealous misinterpretation of her motives prompts him to rush off seeking vengeance.

ACT II, Scene Two. That evening at a party in Flora's richly furnished salon, Flora, Dr. Grenvil and the Marquis d'Obigny gossip about the estrangement of Violetta and Alfredo. After a band of gypsies has entertained the guests, Alfredo strides in and proceeds to play cards. Violetta soon arrives accompanied by he! former admirer, the Baron Douphol, who challenges Alfredo to a game. Alfredo has a winning streak, which is interrupted as everyone leaves for supper in the adjoining room. Violetta returns to the salon, followed by Alfredo, whom she warns not to provoke the Baron. Mistakenly thinking that she fears not for him bu t for the Baron, Alfredo summons the other guests and flings his winnings at her feet, proclaiming that he owes her nothing. Violetta, sick and humiliated, faintly insists on her love for Alfredo as Germont enters in search of his son and reproaches him for his cruelty.

ACT III. Violetta lies dying in her Paris home. Dr. Grenvil tries to cheer her, but to her maid Annina he confides that her mistress has only a few hours to live . When they have gone, Violetta rereads a letter from Germont, telling her that Alfredo has learned of her sacrifice and that together they will soon come to see her. Violetta fears it is too late and, remembering past joys, prays for forgiveness. After a brief interlude in which a street carnival echoes gaily through the window, Alfredo rushes in. H e persuades her to leave Paris with him forever , but, exhausted by emotion, she collapses in a fit of coughing. The alarmed Alfredo sends for the doctor as Violetta appeals to God not to let her die now that happiness seems so near. Germont, contrite, entcrs with the doctor and blesses Violetta, who gives Alfredo a locket as a last token of her love. Suddenly seized by a strange joy, she cries that she feels life returning and falls back dead. Copyright 2010, Michigan

ACT II, Scene One. In a country house at Auteuil, where he has persuaded Violetta to share a secluded life with him, Alfredo rejoices in his happiness. He is shocked, however, to discover that she has been secret Iy seUing her possessions in order to defray their expenses, and he immediately leaves for Paris to put her finan c es in order Violetta enters and reads a letter which has just arrived from her old friend Flora, inviting her to a party that evening. Quite by surprise, Alfredo's father, the elder Germont, arrives from Provence and pleads with her to give up his son. At first Violetta refuses, but, when Germont has convinced her that the impending marriagc of his daughter could be jcopardized by the scandal of their unconventional liaison and that her own love for Alfredo would be futile without the benefit of marriage anyway, she finally consents. Sincerely touched by Violetta's sacrifice, Germont thanks her and retires. Left alone, she sends off an acceptance to Flora's party and then begins a farewell note to Alfredo, who suddenly returns. Perplexed by her sadness and hasty departure, Alfredo await s the expected arrival of his father, who reappears just

It's because most people don't write. And your congressman knows this. So if he gets a little more mail than usual on a subject, it sometimes means quite a few people feel the same way By now you're probably gett'ng the pOint.

Write

Let him know what makes you see red. What makes you smile. You've got more influence than you realize. Use it.

CURTAIN CALL

s i x Ye ar s, Mr. Fe rris se r ve d a s Dir e ctor o f in bot h th e Cath e dr a l of S t. S im o n and Jude and S t. Loui s th e K:n g Church in Phoeni x , Ar izo n a

DENNIS BURKH Musi c Director a nd Co nduct o r for L a Tra v ia ta. De nni s Bu r kh was bo rn in San Francis co, Ca liforn ia and beg an th e s tudv o f mu s ic at th e age of four. In his )' outh he was p r in c ipal ce lli s t of sev eral we s t c oa s t o r c hestr as a nd e n se mbl es, and at 17 was th e fir s t Am e ri c a n a nd t h e yo u n gest " wo rkin g s tudent " a t th e Int e rn a t ion a l Condu c tor 's Co urs es in HoLla nd. He s erv e d as as s is ta nt to Fe rdin a n d Le itn e r at th e S tutt ga rt Stat e Opera a nd th e n to Maes tro Antonin o Vott o a t La Sc ala Op e ra o f Milan. Mr. Burkh ha s co ndu c te d in Czech os lo vaki a, Bulgari a, It a lv, G e rm a nv, De nmar k, Ir c'l a nd, Y ugos la via and E nglan d a nd has a re pert o ire of o ve r thr ee hun d re d an d fift v work s ac tuall y co ndu c t ed on repea'te d oc cas io n s .

ROSE BURNETT S in gs th e rol e of Annina in La Tra v iata.

Ros e Burn e tt, co ntralt o , be g in s h e r third seas on with Mi c hi ga n O pe r a Th eatre . S he has pe rf o rme d n um e ro us ro les in u n iver s it y produ c tions while wo rkin g o n he r BME a nd ma s te r 's d eg re es. M iss Burn e tt has been co ntr a lt o soloi s t for man v De troit a rea ch o ra l g roups a nd is pr ese ntly s in g in g with th e Ca nt a ta Aca d e mv o f Metr o politan Detr o it.

ROBERT GREY S in gs th e role o f Bar on Douph o l in La Tra v ia ta. Bass -barit o n e Ro be rt Gr ev had c omp le ted hi s juni o r year as pr e -m e dical s cien ce major be for e ma kin g th e de c is io n to p ursu e a profe ss io nal ca ree r in s in gin g. Aft er s tudvin g for two yea r s, he won th e Met ro po litan Opera a udition s in S a n Di ego a nd we nt o n to pl ac e in th e W es t e rn R eg ional Fin a ls in Los An ge les He th e n went to Th e Juilliard Opera Theatr e, w he re h e work e d with Gior g io To zz i. Mr. Gr e v ha s s ung with th e Sa n Di ego S y m p hon v, As pen Fes ti va l, Ce nt ra l Cit y Oper a a nd th e Ne ll York Philharm o nic and is pre ,e ntlv on th e [acult v of O a kland l ni ve r s it v

In addition t o bes tol\in g up o n Mr. Laza ru s th e ir unanim o us p ra ise , leadi n g cr itics d ec lar e d hi s work as s ig nif y ing a new mO\' em c nt in th e fi e ld of o pe ra dire c t io n Fo rm e rl y a le adin g ba sso with th e New Yo rk Cit y Opera a nd S a nt a Fe O pe ra, he al so ap pear ed o n th e Broadway s tage wh e r e he intr o du ce d " Stand in ' on th e Corn e r" in th e ori g in a l ca s t of T he I'v/o st Happ y Fella. Mr. La za r u s ha s be en on the [ac uItie s o f Indian a Univer s it v, Th e .J u i!liard S ch oo l a nd Th e O be rlin Conse rvat ory of Mu s ic_ While a t Ob e rlin , he an d dire c ted the n OI\ fa mo us Ob e rlin Mu s ic Theatr e, whi c h was h e ra lded as a leadin g traini ng g round fo r yo un g operati c aspirants.

MI CHAEL SCHUST Sin gs th e ro le o f Ca s t o ll c in L a Traviat a.

Mi c hael Se hu s t , a res id en t of Am her s tbur g, Ontario ma kes hi s oper a ti c d e but wit h iVlOT thi s se a so n He was a st ud e nt a t l\\ 'a\n e S tat e U ni ver s it y whe r e he s tudi e d under A ve ry C re w 'an d pa rti c ipat e d in Ju s tin e Mac ur dv's O pe ra Works h o p. :vIr. Sc hust a ls o pe rfo rm s as a so lo is t with th e Wind so r S y mphon y a nd th e \Va y n e Stat e C horal U ni o n.

PAUL A. FERRIS Sin gs the r o le of Doc tor G r e n vil i n La Tr a viat a. Pa u l A. Fe rri s, ba ss -b a r i ton e , ma kes hi s o perati c debut thi s sea s on Mr. Fe rris rece ived hi s B.A. in voi ce aft e r s tud ving un de r Thom a s L. Th o ma s a nd Jan e Ho bso n at Ma r s hall Uni ve rs itv in W es t Vir g inia. He is a ve teran o' f m us ical co med y a nd s ummer s toc k s tage s all over th e U.S. a nd ha s pc rform e d leadin g rol es in suc h pr o du c tion s as VII' Fa ir L a d y, B a re fo ot in the Pa rk, The Odd Coupl e a nd m a n v oth e r s. For th e pa s t

MICHAEL INGHAM S ing s th e rol e of Gi o rgio Ge rmont in Tra viat a. Mi c hael In g ha m, ba rit o ne, beg an s tud vin g voi ce in T exas . He th e n- s an g tllO sum mer seaso n s with th e Ce ntr a l Cit y Opera , pa rticip a ting in on e world pr e miere. VIr. In g h a m has s un g ma ny li e der rec itals an d it wa s at one of th ese that th e dire c to r of th e Oklahoma U nive rsi t \· Op e ra Theatr e o ffer ed him a full sc holar s hip He r eg ularl y s ang ma jor op e rati c ro les at O _U. for thr ee year s and we nt on t o do th e sam e a t In'di a n a Uni ve r:i itv, wh e re h e al so se rved as a t eac hin g in voi ce. \1r. In g ham made hi s Mi c hi ga n Op e ra Th ea tr e d ebut in 19 72 s in g in g th e ro le of Sc ar pi a i n T as ca. Th e Detr o it Free Pr ess th en d escr ibed him as " a yo un g bar iton e with a voic e o f surpr is in g d e pth a nd rich ness Hi s S c arpi a was of g rea t int e nsity a nd ver y impre ss iv e "

ROY LAZARUS S t ag e Dir ec tor of La Tr av iata.

Roy Laza ru s fir s t cam e to nati o na l att e n'ti o n on th e orcas ion o f hi s Ne w York dir ec torial d e but at th e Juilli a rd Sch oo !.

Copyright 2010, Michigan Opera Theatre

JAMES SCHWISOW S in gs th e rol e o f Alfr e do G e rmont in La T ra viat a Jam es Schwi so w, teno r , was born in Hin s dal e, Illinoi s This ha nd s om e s ixfoo ter n ow res id es in Ne w York Cit y and is pe rh a;' s th e co untr y's most di sc u sse d em e rg in g te n o r ta len t, as we ll a s th e younge s t. Hi s voi ce ha s bee n ca ll e d .. . "v o c al go ld, " by c riti c By ron Be lt writing fo r Opera News. Mr. S c hwi s ow has a pp ea red a t the Ob e rlin Mu s ic Th ea tr e in th e titl e ro le o f The T a l es of H o ffman, Freddi e i n Ni y Fa ir L a d y, 'an d " Ralph Ra c ks traw in II. /Vi S Pin a fo re. Thi s year he a pp e ar e d with th e ' Ke nt u cky Opera Ass ociati o n as Ca varad oss i in Tasca a nd re turn s th e re to re pe at hi s rol e o f Alfr e d o follo win g hi s pe rf o rman ces with Mi c hi ga n O pe ra Th ea tr e.

Copyright 2010, Michigan Opera Theatre

La Traviata with the Goldovsky Opera Theatre.

WILLIAM WALKER Sings the role of Giorgio Germont in La Traviata. William Walker, baritone, was born in T exas. He wore custom-made western style c lothes long before the world of "haute couture" mad e them the "in" thing, and he loves nothing better than a good backyard Texas barbeque . He

DIANA SOVIERO Sings the role of Violetta in La Traviata

Diana Soviero, soprano, was born In North Bergen, l\'ew Jersey. Her fath e r's indirect involvement with opera anrl theatre (he is an ornamental pla s terer, who completerl the new Metropolitan Opera proscenium balconv) generated her early enthusiasm for music. She won scholarships to the Juilliard School of Musie and Hunt e r College Opera Workshop in Man hat tan. Miss Soviero made her New York City opera debut as Nedda in Pagliacci, and also sang the role of Yum-Yum in City Opera 's revival of The Mikado. In 1973 her interpretation of the lead in Delius' A Village Romeo and Juliet with the St. Paul Opera Company won rave reviews and she earned t he same overw helming reception from c ritic s nationwide for her recent interpretation of the title role in Massanet's Manon. Immediat e ly followin g her performance with MOT Miss Soviero returns to New York City Opera to perform in The Mikado and then tours

mad e his operatic debut with the Fort Worth Opera as Sehaunard in La Roh eme. i\lr. Walker ha s been a star member of th e Metropolitan Opera rost e r since winning th e Met auditions. He has performed learling roles both at the Met and on th e ir national tours , ranging from Papa ge no in Mozart's Ma!{ic Flute to Prince ¥ eletsky in Tchaikovsky's Queen of Spades (Pique Dame). His Met performance of Figaro in The Barber of Seville served also as his radio debut when the prorluction was broadcast on the Metropolitan's weekly program. Last summer Walker won accolad es for singingG e rmont in the Santa Fe Opera production of La Traviata

SYBLE YOUNG Sings the rol e of Violetta in La Tra via ta

Soprano Syble Youn g grarl uated from th e Juilliard School with honors and we nt on to becom e a learling soprano from the New York City Opera perfroming Zerlina in DOll Giovanni, t he Qu ee n of th e Nig ht in The /\IIagir Flute and others. She has also performed major roles with the Kentucky Opera Association, the Aspen Music Festival, Caramoor anrl t he American Opera Center where her recent interpretation of Zerbinetta in Ariadne auf Naxos won wide acclaim. Vliss Young' has appeared as a soprano so loist in concert with the Loui svi lle Orchestra and with the New York Philharmonic, wh ere she sang Gottachalk's "Esce nas Campestrea" under the direction of Andre Kostelanetl

For inform a tion about Jan Albright, Ua\ ' is Gloff and Edward Kin g in s, please see the cas t notes for Die Fledermau5, pa ge 43.

COATINGS

November 1,3,6,8,9, 1974

BORIS GODUNOV

An opera In three acts by Modeste Mussorgsky

Libretto

Modeste Mussorgsky

Based on Dramatic Alexander Pushkin's Chronicle of the Translation John Gutman same name and Karamzin's History of the Russian Empire.

First performance in St. Petersburg, January 27, 1874.

CAST

A Police 0 ffic c r Mitiukha, a peasant Shchclkalov, SecretarY to the Boyar Council

Prince Vassily Ivanovich Shuiskv

Boris Godunov

Pimen, a monk

Grigor y (Gri s hka) Otrepiev, a novice

The Host css of the Inn

Varlaam] d' f !Vlissail men Icant rIar s

Xenia ] 'B ., ChJd Feodor OriS s iren

The Nurse

A Boyar in Attcndance

A Simpleton

William Dansby

Albert Shont

Harlan jennings

Alan Crofoot

jerome Hines (November 1,3, 8, 9)

William Dansby (November 6)

Saverio Barbieri

Edward Kingins

Eleanor Felver

Roger Havranek

jack Morris

Deborah Ann Spitler/joan Tallman

Richard Gordon/Deborah Ann Spitler

Arlene Koenig

Jim Anderson

Gene Wabeke

Time: 1598-1605

Place: Russia

ACT r. ( 1598)

ACT II (1601)

Scene 1. The Courtyard of the Novodievichv Mona s ter y Scene 2. The Cathedral of the Ass umption, \IIo scow I nlermis .sio n

Scene 1. A cell in the Ch udov Mona s terv, Moscow

Scene 2. An inn ncar the Lithuanian I nl e rm iS$ion

ACT III. Scene 1. The Tsar' s apartments in the 'Moscow Kremlin (1603-05) Scene 2. Near the Cathedral of 51. Basil the Bl essed, Mo scow

Scene 3. The Council Chamber in the Mo sco l\ Kremlin

Mu s ic Director /Co ndu c tor Director .( ss is tant Dir ec tor

Set De sig ner

Costume Desi gne r

Lighting Designer

Chorus Master

Scenery in cooperation with OPERA, America

Melvin Strauss

Frank Rizzo

Christopher Alden

Ming Cho Lee

Suzanne Mess

Thomas Bryant

Raynold Allvin

Costumes from Malabar, Ltd. Toronto

All casts subject to change without notice

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

BORIS GODUNOV

Mussorgsky's opera. Although Boris Godunov occupies a secure place in the standard repertoire, the version known to most audiences reflects lillie of the composer ' s original conception of the work. During 1868-1869, Mussorgsky set seven episodes from Pushkin's play and offered the completed opera to the management of the imperial theater. When the score was rejected, he was persuaded to revise it for conventional tastes: he cut and rewrote portinns of the existing material, and to provide "love interest" and a leading female role (features lacking in the original), he composed the "Polish act," in which Grigory/Dmitri woos and wins the daughter of an influential Polish lord; moreover, he suppressed the S1. Basil episode and added the Kromy Forest scene -to be played after Boris's death -in which the False Pretender's ultimate victory is clearly indicated. This second version was offered to the S1. Petersburg public in 1874, and although it enjoyed a modest success during the last seven years of the composer's life, it was not until the turn of the century that Boris began to win the widespread popularity it now enjoys.

By then, Nicolai Rimsky-Korsakov had published his own reworking of the 1374 edition, involving the abridgement and reordering of scenes, alteration of the vocal line and its underlying harmonies, and re-orchestration of the entire score. Although Rimsky's efforts may well have saved Boris from temporary oblivion, this version has been increasingly condemned for distorting and obscuring Mussorgsky's own intentions. For it is now apparent that, in his approach to harmony and instrumentation, Mussorgsky was less a musical primitive than a bold and brilliant innovator, and in his

spare, laconic treatment of the plot, an authentic prophet of modern dramaturgy.

In producing Boris in its original form, Michigan Opera Theatre seeks both to honor M ussorgsky's first and most powerful inspiration, and to reveal him, in his proper context, as a musical dramatist of extraordinary genius.

Historical background . In November, 1581, in a fit of ungovcrnable rage, Ivan IV of Russi a (known in history as Ivan the T e rrible), killed hi s eldest s on ami h e ir. Accordingly, on Ivan' s d ea th thr ce years lat e r, the succession devolved on his surviving sons - th e dimwitted Feodor and his infant half-brother, Dmitri. Although Feodo r ruled as tsar for thirteen ye ars, the affairs of state we re condu c ted by a regent - Boris Goduoov - a ci viI servant of Tatar origin who had flsen to promin enc e durin g Ivan 's reign

When, in 1591, the child Dmitri was found dead under myst e rious c ir cu mstances, it was wid e ly believ e d that Bori s, with the complicit y of certain boyars (th e lea ding nobles), had ordered the tsarevich put to death. As the pathetic feodor had no heir, the r egen t was hi s only logical successor: Boris would then be tsar in fact as well as fun ct ion.

Although many modern historian s have dismi ssed this view of Bori s as "a Russian Macbeth ," Pushkin's drama, and the opera which Mu sso rgsky fa s hioned from it , hold him guilty of Dmitri's murder, implying that his crime-the tragic flaw in an otherwise heroic and enlightened ruler - was th e sec ret cause of th e calamiti es which befell him, his famil y, and the entire Ru ss ian nation.

The Story. The opera op e ns with Boris 's acce ssi on to the thron e. feodor ha s died , and Boris, see mingly reluctant to become t sa r, is secl uded in the Novodievichy Monaster y. Under orders from the bo ya rs (l ed by the s h rewd and scheming Shuisky), the imperial police compel the people to beg Boris t o accept the c rown. Shchelkalov tells the crowd th a t Bori s remains adamant and urges them to pray for the salvation of Rus s ia. Bowin g finally to the popular will, Bori s is crowned tsar, but his hope for a beneficent reign is clouded by his sec ret guilt over the murder of Dmitri.

Three years lat e r, Pi men, an aged monk-historian, tell s the novi ce Grigory how Bori s came to power. The yo un g man, learning th a t the murdered t sa re-

vich, had he liv ed, would now be his own age, hatch es an audacious plan: he will c laim to be Dmitri , saved miraculously from death and come to se ize his ri g htful throne from Boris Escaping from the monastery, he mak es his way to a border inn, e ludes the police sen t to tra ck him down, and crosses into Lithuania.

Two years pass. De s pite his ea rnest wish to govern Russia well, Bori s is bese t by failure and frustration. The bo yars, eager to recapture pow e r , conspire against him, and as famine s preads throughout the land, th e people see in him the cau se of all th e ir wo es. To strengthen foreign allian ces, he has betrothed his daughter Xenia to the crown prince of Denmark, but this roval match ha s ended with the s udden of thc prospective bridegroom. It is on Iv in his son, the t sa revich Feodor, that Boris can find consolation. Fresh anxieties arise when Shuisky warns him that Grigory's fal se claim t'o the throne, alr eady bolst e red by unfriendly foreign powers, has begun to win s upport from the disaff ec ted Rus s ian people. As Shuis ky slyly plays on his tormented conscience and hi s fear of insurrection, Bori s gives way to despair.

Marching on the capital, th e False Pretender gathers adherents to hi s ca use, and even as his name is anathematized in SI. Basil's Cathedral , the people see m pr epa red to accept him as the t sa revich Dmitri. Leaving the ca t hed ral, Boris is accosted by a s impleton who, to the horror of the onlookers, r e proach es him with hi s bloody crime.

Meeting in coun c il, the bo ya rs debate their course of action again s t the false Pretend e r. Bori s, now half-crazed bv fear and guilt, hears Pimen's a cco un't of a seeming miracle worke d at Dmitri's tomb. The t sa r, overcome, suffers a s troke. He exhorts feodor to rule wisely in his s t e ad, prays God ' s dies - yielding a throne usurped from a helple ss child to his own equally vulnerable so n.

A half-cenfpry before we developed the firSt American-made radial, we developed tires for the first automobile sold in America. We can't claim to have invented the wheel, but were sure helping people make good use of if.

CURTAIN CALL

went to New York where h e performed with the Bel Canto Opera, Young Artists Op e ra and Princ e ton Op e ra Assoc iation.

H e also a ttended Boris Goldovsky's summer workshop. Sin ce then he' has appeared with the Santa Fe Op e ra, Th e Minnesota Op e ra , the Eastern Op e r a Theatr e and th e Fort Worth Opera .

SAVERIO BARBIERI Sing s th e role of Pimen in Boris Godlln ov.

A native f\ell Yorker, Sav erio Barbi e ri wa s rai se d in Florida where h e atlend e d the U n i versit v of \-li a mi. Opera houscs and c ompanies with whi c h he h as pe rformed in c lud c the Te a tro d e Bell as Artc s in thc Domini ca n H.epublic (S parafu ci le in Rifiolello), th e Saint Paul Op e ra Asso c iat ion (\Iart i in A I illaf'e Romeo and .Illliet), The Hawaii Opera Theatre (Colline in La Boh em e) and the ivletropolitan Opera Studio (C o llinc, Simone in Gianni Schi cr hi , and Don Basi Iio in Th e Barbe r of S ell ille). Th is past yca r Mr. I:larbi e ri Carm e n and Rifio l ello with the i\ell York Citv Opera, and cre a te d i\ourabad in 7lt e Pearl Fisher s with the Hartford Opera Theatre. Early in 197 5 he will be si n g in!( Monteron e in Ri fio lello in Da yto n and Toledo.

ALAN CROFOOT Sings the role' of Prince Sh u isk v In Boris GodunOI ) Alan Crofoot, te nor , ha ils from Toronto , Canada wh e re he receil'eci all o f his earlv trainin g und e r the tutelage of th e h ea d of the Canadian Opera, Herm a n Geiger-Torel. He ha s s un g opera with such major co mpani es as San Fran cis co, Sadler's Wells in London, San Antonio, Ne w Orleans, Va ncouv e r and Pittsbur!!h. His mo s t famous rol e is that of Kin g He rod in Salome which he ha s done with great success in manv c ities.

ELEANOR FELVER Sings the role of th e Host ess in B o ris Godunov. El ea nor Fe lver, co ntralto, was born and educated in S co tland a nd is a Licentiate o"f the Roval Academy of \Iusic in London, England. She 'has s tudied with [r e ne H ess ner, Bernard Diamant and 'vlarjori e Gordon \Ii ss Fe lve r now makes her homc in Wind so r, Ont a rio and has re cei ved a Canadian Arts Coun c il grant to continue he r s tudi cs . She has m ade numerous appearan ces in th e U.S. with the Piccolo Opera Comp a ny and mad e he r U.S. c oncert dcbu t IV it h t he Ph i ladelphia Orchestra.

politan Oper a Comp a ny and sang III Bori s Godunov for his initi a l app ea rance. Hi s remark a ble voice, artistry, wizardry with mak e -up - for which he is worldrenowned - and hi s imposing ph ys ical app ea ran ce have established him as a favo rite with a udien ces and criti cs throu g hout th e world. His basso voice has bee n heard in o pera hou s es around th e world including Cov e nt Garden in London, Teatre Colon in Buenos Aires, Bavarian Stat e Op e ra in Munich, La Scal a in Milan, and the lea din g opera hou ses in the Soviet Union, including Moscow where, for hi s magnifi c ent pe rform a nce of Czar Boris at th e hei g ht of the Cuban c risis , h e recei ve d a standing ovation led bv Premi e r Kru sc hev. A g raduat e of U t.L.A. in science, he has writt e n book s on operational ma themati c s. He is, among other things, a pi o neer skin-diver a nd und e rwat e r spear fi s herm a n, an accomplished ice skater, a part -time preacher, bio-ch e mist, sc ulptor and composer, a nd an e'pert h y pnoti s t. Mr. Hines re g ularl y sings th e role of Chri s t in th e oper a I Am lh e If a y, which he composed as part of a religious trilogy s till in progre ss.

WILLIAM DANSBY Sings the role of Nikiti c h in Bori s Godunov and s ings the role of Boris at the matinee pe rforman ce_ William Dan s by, ba s s, was born in Bryan, Texa s. He re ce ived hi s Bach e lor of Music d eg ree from Southwestern Universit y and then sang in the ens embl e of the Dalla s Summer Vlu s ica ls and the Dallas Civic Op e ra . VIr. Dan sby then

RICHARD ANDREW GORDON

Sings the rolc of Feo dor in Boris Godllnol!. Richard Gordon, one of Detroit's outstanding bo y so prano s , received chorister training at SI. Paul' s Cathedral. Hc ha s performed th e role s of Ham in'\oy<, s fluddI' a nd Hu g h ic in Brit ten's Chimney SWl'ep Master Gordon spends hi s s ummer s at Choir Camps in \Iichigan, Toronto and Montreal.

HARLAN JENNINGS Sings th e role of 5hchclkalo\ in Roris Godunol'.

Ha rlan J e nnin gs, baritone, studied voi ce with ltalo Tajo at th e Cincinn a ti Coll eg eHe h a s app ea red with a number o f companies including SI. Loui s :Vluni e ipal Opera , the Cincinnati Op e ra and th e Op e ra Assoc iation of Greatn Lan s ing. ,<Jr. Jcnning s is currentlv on th e voi ce facult y at :Vli c higan State" University a nd reee ntiv pe rform c d t he role of S ha 'r ple ss in HlIlIerfhat thc Op e ra Assoc iation of W es tern ':vii c higan

JEROME HINES Sin gs the role of Bori s in Boris Godunov.

ARLENE KOENIG Sings the rol e of the Nur se in Bori s Godllnotl

Copyright 2010, Michigan Opera Theatre

Jerom e Hines made his op e ra tic d e but with the San francisco Op e ra in 1941. In 194 6 h e was e n gaged by th e 'vl e tro-

Arlene Ko e nig, contralto, tea c hes voi ce in Birmingham a nd sing s with th e choir of the Kirk in the Hills and the John co lllinll ed on pitfie 29

Dova ras Sin ge rs. Mi ss Koeni g pe rf o rmed th e role o f Baba in Th (' \iI edium in s ix Mi c hi gan com muniti es as pa rt o f ylichigan Op e ra T h ea tre's O pe ra in Re siden ce pro g r am las t s pring.

ROGER HAVRANEK Sin gs t h e ro le o f Va rla am i n Bo ri s Godun ov. Roger Hav r ane k rec e i ve d hi s underg radu a t e deg ree in mu sic fr o m Ob e rlin Con serva t o r y a nd h is g ra duate d eg ree fr o m I nd ia na U ni ve r s itv wher e h e is n ow an as sociat e of mu s ic in vo ice a nd c hairm a n o f th e voice d epar tm e n t. Fo r me rly a ssocia ted with R obert S h aw a n d his Cl eve la n d c horal o rganizati ons , h e ha s bee n a bass so lo is t w ith symp h onv o rc h es t ras throu g h o ut th e mi d wes t. M r. Ha vr a nek ha s appea r ed wi th m a n y o pe ra com pan ies thr oug h o ut th e Un it ed S tat es and h as a r e p e rt o r y o f 50 o pe ratic ro les rang ing fr o m the ti t le ro le in Don P as qu a l e to G urneman z in Pa rs ifal.

FRANCIS RIZZO S tage Dir ec to r fo r B o r is Godun ov.

F ranc is Ri zzo was bo rn in Ne w Yo rk C it y and s t u d ied a t Ham i1t on Co ll ege a nd th e Ya le Sc h oo l o f Dr ama. In 1964 , a ft e r a season ' s app re n t ices hip in pr odu c ti o n wo r k at Sant a Fe O pe ra, h e becam e th e pe rso nal ass is ta nt to G ia n Car lo

Yl eno lli In 19 67, Ylr. Ri zzo was a ppo int e d dir ec to r o f the Am e ri ca n scc tor o f thc Spol eto Fes ti va l of Tw o Wo rl ds. He th e a b ecame Pr o du c ti on Coo rdin ato r fo r t h e Wolf T rap Fou ndation in 19 72 a nd was a ppoint e d A rti s ti c Administr a tor of th e found a t ion in 1973_ Al so o ve r th e pa s t s ix yea r s, h e h as co ntr ib u ted a rticles t o O pe ra Ne ws.

DEBORAH ANN S PITLER Alt erna t es i n th e r o le s of Xen ia a nd Feo d o r In Bo ris Go dullo l'. De bora h Ann S pitler. a vo un g sop ra no, is a rece n t g raduat e of Ce ntral Mic hi gan U ni ve rs ity with a d eg ree in o. pe ra pe rf o rman ce S h e is makin g h e r Mi c hi gan O pera Th ea t re de but with h e r pe rf or m a n ce of Xen ia in B o ri s God ll nov. Bo th a d a n ce r a n d a n ac tr ess, s h e h as to h e r c redit s th e ro les of J osep hin e in H. \iIS Pin a f o re, Mo nica in Th r 'v/ (' dium , Ros ie in Ch a ril y a nd va ri o u s or atori o ro les.

MELVIN STRAUSS Mu s ic Dir e ct o r a nd Co ndu cto r o f Bori s Goduno!!. Mel v in S t ra u ss was born in Ne w Jer sey and h e rece ive d hi s Bac h e lo r o f Art s d eg ree fr o m Rut ge r s U niver s it y a nd a Mas te r o f Art s in M u sico logy fr om Ne w Yo r k U niver s it y. H e was form e rl y ass ista nt co n d u c t or o f th e NBC- TV opera , Mu s ie Dir ec tor o f th c Tur na u Opera Player s a n d t h e Oratori o Soc ie t y o f Ne w J e r sey. H e serve d as th e Assoc iat e Co ndu ctor a nd th e n t h e con ductor-in -res id e n ce o f the Bu ffa lo Philharmoni c O rc h es t ra from 1967 to 1973 Mr S tr a u ss is cu rr e ntl y Pres ide nt of th e Co rnish Sc hool o f Alli ed A rts in Sea ttl e, Wa shin g ton.

Fo r inf o r ma t ion o n J oan Ta llman pl ease see th e .cas t not es fo r The Eli x ir oj LOlle, page 3 5.

Fo r inf o rm at ion a b o ut Ed wa rd Kingi ns a nd C e n e Wabe ke plea se see t h e ea st n o te s for Die f 'l ede rmau s, page 43

OPERA LOVERS-MORE THAN 350 DIFFERENT OPERAS IN STOCK

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Libretto

January 17, 19, 22, 24, 25, 1975

THE ELIXIR OF LOVE

A comic opera 10 two acts by Gaetano Donizelli

Felice Romani

Tran s lation

Ruth and Thomas Martin

Based upon the play L e Philtre, by Eugene Scribe.

First p erformance in Milan, May 12, 1832.

CAST

Giannetta, a countr y g irl

Nemorin o, a you ng cowhand

Adina, owne r o f a prosper o u s ranch

Be l core , Se rgean t of the town garrison Dr. Dulcamara, a tr ave lli ng quack do ctor

joan Tallman

Patti Dell

William McDonald

Linda Cook

Forrest Lorey

Andrew Foldi

Time: 1845 Plac e: The Wild West

ACT I. Sce n e l. Entrance to a Ranc hyard

Scene 2. Town Squ are I nl er mi ss inn.

ACT II. Scene I. In s id e Adina's Ran c h Scene 2. T own Sq uare

Nt usic Directo r / Conducto r

S ta ge Director

Desig n er

Te c hni ca l Direc tor

Co st u me Designer

Li g htin g De s igner

Chorus Master

jonathan Dudley

james de Blasis

Henry Heymann

Roy Hopper

Suzanne Mess

Thomas H Mendenhall

Raynold Allvin

Thi s production of THE ELIXIR OF LOVE is made possibl e by a mo s t generou s g ift fr o m the C o rb e tt Foundation.

Costumes from Malabar , Ltd. Toronto

Scener y fr om th e Cincinnati Opera Association

All casts s ubject t o c hanF!e without noti ce.

Copyright 2010, Michigan Opera Theatre

3067

windsor

THE ELIXIR OF LOVE

Gaetano Donizetti shared the spotlight with Rossini and Bellini as one of the Big Three of early 19th century Italian opera composers. The total number of his operatic settings is so enormous that current biographers can only estimate them as numbering 'about seventy.'

In 1832, when he was thirty-six years old and had already composed as many operas, Donizetti was approached by the management of the Canobbiana Theatre of Milan to compose an opera for them in the incredibly short span of two weeks. Proud of his lengendary fecundity at composition, he immediately accepted the commission as a challenge, and managed to come up with not only an acceptable score, but a masterpiece of its kind. The opera, The Elixir of Love, is a truly Italianate blend of opera buffa and bel canto lyricism.

Although Donizetti, who was displeased with the original cast of Elixir, had expected the premiere to be a failure, it was nevertheless an instant success, and the opera continued to run for an additional thirty-one performances. The American premiere of The Elixir of Love was June 18, 1838 at the Park Theatre in New York City. The Metropolitan premiere of January 23, 1904 had a star-studded cast featuring Caruso as the lovesick Nemorino.

Of the MOT production of The Elixir of Love, the director James de Blasis has the following to say: "Originally this Italian comicopera by Donizetti was placed in a small Italian village during the early 1800's. In that our production today is in English and in that Donizetti's music has the spirit, the freshness, and the life similar to a new state in the Union, it was decided to place the opera with all its sunny colors in Texas, 1845."

The Story

ACT I, Scene One. Adina, a wealthy beauty, her friend Giannetta and a group of neighbors elude the midday sun beneath a shade tree in the c ountry. From a distance Nemorino, a young cow hand watches the scene, lamenting that he has nothing to offer Adina but his love Adina reads them a story about how Tristan softened the heart of Isolde with a magic love potion. No sooner has she done so than Sergeant Belcore swaggers in with his troop. The soldier's conceit amuses Adina , but this does not prevent him from asking her hand in marriage. Promising to think the offer over, she orders refreshment for his weary comrades. When Adina and Nemorino are left alone, she tells him that his time would be better spent looking after his ailing uncle than mooning over her, for she is fickle as a breeze.

ACT I, Scene Two. In the town square, villagers excitedly hail the arrival of Dr. Dulcamara, who enters and proclaims the patent medicine he is selling. The foppish quack pronounces the potion capable of curing anything; since it is inex pensi ve, t he vi Ilagers bu yeager! y. When they have gone, Nemorino asks Dulcamara if he sells the elixir of love described in Adina's book Showing the youth a bottle of wine, the charlatan convinces him that this is the very potion. Though it costs him his last dollar , Nemorino buys the wine and hastily drinks it. Adin"a enters to find him quite tipsy; certain that he will win hcr love , he pretends indifference toward her. To punish him, Adina flirts with Belcore who, informed that he must return 10 his garrison, persuades her to marry him at once. Horrified , Nemorino begs Adina to w'ait one more day, but she ignores him and invites the entir e village to her wedd ing feast. As t he village neighbors shout taunts, Nemorino rushes away, moaning that he has been ruined by Dulcamara's elixir.

has postponed the wedding until nightfall; when he s pies Nemorino, he asks why he is so sad. The youth explains his financial plight, whereupon the sergeant persuades him to join the army, for a bonus awaits all volunteers. Having lost a rival and gained a recruit, Belcore leads the perplexed Nemorino off to sign the necessary documents.

The village girl s , gathered in the square, learn from Giannetta that Nemorino's uncle has died and willed him a large fortune. When Nemorino reels in, still giddy from the wine, they be· siege him with attention; unaware of his new wealth, he believes that th e elixir has finally begun to take effect. Adina and Dulcamara arrive in time to see him 'leave with a bevy of beauties, and she, angry that he has sold his freedom to Belcore, grows doubly furious. Scenting a new sale, Dulcamara explains to her that Nemorino's popularity is due to the magic elixir. Replying that she doesn't need a magic potion to win him back, Adina leaves, followed by the doctor. Nemorino enters in a pensive mood. He laments the tear that he has seen on Adina's cheek, hut when she returns, he again feigns indifference Undone, she confesses that she has purchased his enlistment papers because she loves him. Soon Belcore marches in to find Adina engaged to Nemorino; declaring that thousands of women wait for him, he accepts the situation philosophically. Attributing Nemorino' s happiness and inheritance to the elixir, Dulcamara quickly se lls many more bottles of the wine before making his escape to another town with his medicine show.

Copyright 2010, Michigan Opera Theatre

ACT II. At Adina's home, the prewedding supper is in progress. Dr. Dulcamara, self-appointed master of ceremonies, sits with the bridal couple. "What a pity Nemorino cannot see how happy we are," thinks Adina. Her mind is distracted hy the doctor, who suggests that they blend their voices in a duet. When the duet ends, the girl goes with Belcore to another room to sign the marriage contract; the guests disperse. Remaining to eat more, Dulcamara is joined by Nemorino, who begs for another bottle of the elixir; his pleas are rejected because of his lack of funds. Belcore returns, annoyed because Adina

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Wishes to the Michigan Opera Theater for a successful

CllRTAIN CALL

JAMES de BLASIS Stage Director for The Elixir oj Love.

James de Blasis was born in Ohio and received his bachelor's and master's degrees of fine arts in drama and opera from Carnegie-Mellon University in Pittsburgh. Until 1972, Mr. de Blasis was head of the drama department of Onondaga Community College and head of the opera workshop at Syracuse University both in Syracuse, New York. He made hi s professional operatic directing debut in 1962 with Ri cha rd Tucker in . La Boheme, for the Florida Symphon y Orchestra. Since that time, he has directed for more than two dozenU .S. opera companies. Mr. de Bla sis is currently General Director of the Cincinnatti Oper a and serves The Corbett Found a tion as consul.tant and advi se r on operatic activitie s

JONATHAN DUDLEY Music Director and co ndu cto r for The Elixir of Love. Jonathan Dudle y was born in Ohio, and studied at Denison Univer sit y, Boston University, Vienna' s Academy of Music and the National Schoo l of Opera in London. He has been the Music Dire c tor and Principal Conductor of the Metropolitan Opera Studio until this year when he left the post to become the General Director o[ the Omaha Opera Comp any.

LINDA COOK Sin gs the role of Adina in The Elixir oj Love

Linda Cook, sop rano, is the re cipient of a Fullbright Grant and a Corbett Fellows hip for study in Europe (Germany) , and is in her fourth season with ihe Krefeld Opera in German y. Ms. Cook holds a bachelor's degr ee in voice from the College-Conservatory of Music in Cincinnati. She has performed in the Uni ted State s with the National Opera Company, the Chautauqua Summer Opera, the Cincinnati Summer Opera and the Civic Opera of the Palm Bea c hes. During 1975, Ms. Cook will perform Adina in Palm Bea c h , Portland and Pittsburgh as well as here in Detroit. In Novem ber 1975, s he s ings t he role o f Thamar in the U.S . premiere o f Ernst Krenek ' s opera The Life of Orestes in Portland, Oregon.

ANDREW FOLDI Sings the role of Dulcamara in The Elixir oj Love Andrew Foldi, bass baritone, who makes hi s Metropolitan Opera debut in February 1975 as Alberich in Wagner's Das Rheingold, was born in Budapest and rais ed in the United S t ates . Audiences from Vienna's State Opera and Milan's La Scala to San Francisco and Chicago have cheered hi s performances in roles ranging from Mozart's Leporello, Rossini's Bartolo, Donizetti's Don Pasquale to Verdi's Falstaff, and Strauss ' Baron Ochs. Mr. Foldi has made many records in Europe and was invited by Igor Stravinsky to si ng in the American premiere of his A braham and Isaac.

FORREST LOREY

Sings

th e role of Belc o re in The Elixir oj Love

Forre s t Lorey, baritone from Oklahoma, made his professional debut in 1971 with the Syracuse Symphony Opera s in ging the rol e of Silvio in Pa gliacci. He has repeated this role with the Baltimore Op era and th e Mississippi Opera . A g raduate of New York's Manhattan School of Musi c, Mr. Lorey received his early stage experience in tours of the Metropolitan Opera Studio and as a member of th e Bel Canto Trio. After singing Belcore with MOT this season,Mr. Lorey will perform the role with the Mi ami International Opera and again for his Pittsbur g h Opera debut.

WILLIAM McDONALD Sin,gs the rol e of ;\emorino in The Elixir of Love. William YlcDonald, t e nor, was bOrr! in Illinois and was a s tudent of th e fame d Charles Kullman during undergraduate yea rs at Indi ana t:niversity. After gradua tion , Mr. McDonald audi tioned [or, and was acce pted by, the United State s Armv Chorus in Fort Mv e r , Vir,ginia. he ha s s un g with the i\ ew York City Opera, the Opera Society of Washin gto n , the Kansas Cit\ Lrri c Theatre, th e Goldovs ky Opera' Theater , th e 'San Antonio opera, and man\' other s

JOAN TALLMAN Si ngs the rol es of Giannetta in [he E li x ir of Love and Xenia in Hori s Godl/lwl'.

Soprano .Joan Tallman , forme rlv of Pitt s bur p:h , nOli resid es in Koval' Oak. Alth ouf!: h s he has be e n ill th e metropolitan ar ea fo r less than a \'ea r s he is no\\' th e so lo is t at Temple First Church of Ch rist S,i pnt is t , Koval Oak and the Cantata '\cad em\'. Bel'ore arri\ing in Dctroit , \-li ss Tallman \\'a s a principal soprano II ith the Pitt s burgh Opera Comp anvand the Penn s,han ia Opera Fe s ti\ a l. She ha s' been seen in th e c h orus of \-IOT la s t se ason and a s S \' hi a lle ill Th e Jlerry II idoU'.

Copyright 2010, Michigan Opera Theatre

For in format ion about Patt i Dell pleas e se e the Cordes Sc holar s hip artic le, page 45.

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Libretto

February 21, 23, 26, 28 and March I, 1975

DIE FLEDERMAUS

An operetta In three acts by Johann Strauss

Carl Haffner and Richard Genee

Translation

Ruth and Thomas Martin

After Meilhac and Halevy's Le ReveiLlon from Roderich Benedix's play Das GeJaengnis

First p e rJormance in Vi e nna, April 6, 1874.

CAST

Rosalinda Ad e le

Gabriel Eisenstein

Alfred Or. Blind Or. Falke

Frank

Sally Frosch

Prince Orlof s ky

To Be Announced

Sally Wylie

Jan Albright

Charles Roe

Edward Kingins

Gene Wabeke

Joel Kyle Ebersole

Davis Glorf

Cheryl Stewart

To Be Announced

To Be Announced

Time: 1874 PLace: Bab IschL, Austria

ACT I. A ro o m in Herr Gabriel vo n Ei sc n s tein's house in Vienna Int ermis sion

ACT II At Prin ce Orlofsky's part y Inl ermiss ion

ACT III. Frank' s office in the jail

Musi c Dir ec tor / Conductor Director

Set Des ig n e r

Co s tum e Designer

Li g htin g Des igner

Choru s Master

To Be Announced

To Be Announced

To Be Announced

Suzanne Mess

Thomas Bryant

Raynold Allvin

This production of Di e Fl ederrnaus is made possibl e in part b y a mo s t ge ne rou s g ift from Mr. and Mrs. J. Addison Bartush.

Costumes from Ma lab a r, Ltd. Toronto

All casts subject t o c h a nge without noti ce

Copyright 2010, Michigan Opera Theatre

Additions and Changes

CAST:

ROSALINDA •.••.•.•••.• Catherine Christensen (Feb. 21, 23, & Mar. 1)

ROSALINDA •••.•....•.• Mary Wakefield (Feb. 26 & 28)

ADELE •••••••.•.•.••.. Jan Albright (Feb. 21, 23, & Mar. 1)

ADELE •••..•....•.•.•• Sa11y Wylie (Feb. 26 & 28)

FROSCH .•.•.•.••.•.••• Richard Paul Schmitz

PRINCE ORLOFSKY ...... Jack Faxon

MUSIC DIRECTOR/CONDUCTOR ...•.. Thomas Booth

STAGE DIRECTOR •.......•.....•. David Bamberger

CHOREOGRAPHER ...••...•.....••. Iacob Lascu

STAGE MANAGER .......•...•.•••• Va1erie Bernacki

SET DESIGNER .........•..•.•••. Jay Kotcher

SCENERY .•....•.•...•..••••••.. Lake George Opera Festival

BALLET:

The ballet company for Die FZedermaus is made up of members of Dance Detroit and consists of excerpts from their production of CoppeZia by De1ibes. The Dancers costumes were designed by Nancy Missimi.

SPECIAL THANKS TO:EJr.rUeVu}.{auc.heLe.e,JeNl.Y EaJr.1.e Ftow:t, FJz.eclJU.c.k. Jwe1.e/L6 06 Btoom6ietd, Fned Hop6etd & Co. Inc.., Ron Kelty, Pontiac. Po:tteny.

COMING UP NEXT YEAR....

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HIGHLIGHTING THE SEASON: Puccini's La Boheme in November

Donizetti's Lucia di in January

MAIL the enclosed today for our 1975-76 season b , rochure •.. DON T BE LEFT THE AISLE.

Copyright 2010, Michigan Opera Theatre

'DAVID BAr-1BERGER, is internationally known as a director in both the operatic and non-operatic worlds. At the New York City Opera, he was stage director for the "The Barber of Seville", "The Magic Flute", and "Der Rosenkavalier". He has also directed for the National Opera of Chile, the Cincinnati Summer Opera, the Augusta Opera, the Pittsburgh Opera, Hartford Opera, and the Lake Erie Opera Theater in Cleveland. As director of the Oberlin Music Theater,he has presented works ranging from the standard repertoire, such as "Don Giovanni", to Virgil Thomson's "Four Saints in Three Acts" and the first performance anywhere after its . world premier of Gian Carlo Menotti's newest opera, "Tamu-Tamu". This sununer, as Director of the Music Theatre of Ohio, he will stage "Madame Butterfly" and "The Barber of Seville". lis non-musical credits include "Much Ado liliout Nothing" for the National Shakespeare Company and the first major New York production of Sophocles' "Oedipus at Colonus".

, JACK FAXON, state senator, school headmaster, painter, art collector, auctioneer makes his operatic debut with Michigan Opera Theatre.

A ten year veteran of the Michigan Legislature fyom northwest Detroit, Senator Faxon is a champion of consumer legislation, accountability in education and a staunch supporter of the arts. There is no question in his mind that the State of Michigan has a commitment to support the arts in its various forms by legislative action, attendance and participation. As a member of the Michigan Senate, he is currently serving as assistant president protempore, chairman of the Committee on Education, vice-chairman, of the Committee on Health Social Services and Retirement, chairman of the Subcommittee on Retirement and a member of both the Labor Committee and the Colleges and Universities Committee.

'I'HOMAS BOOTH, composer-conductor, is music:al director of both Eastern Opera Theatre imd the New York Lyric. He also serves as principal conductor for Artists Interna':ional of Providence, R...'1ode Island, where he annually conducts three operas with such l.nternational stars as Mignon Dunn, James HcCracken and Mary Costa. In addition to his conducting activities, Mr. Booth has been active in New York's concert halls as solo pianist and recital accompanist for Metropolitan Opera singers John Alexander and William Walker. As a composer he has written for the San Antonio Symphony and has composed a short opera entitled "Gentlemen in Waiting" which has been performed in New York and Texas.

RICHARD SCHMITZ, has had extensive experience in acting, singing, directing and production design. He is an active member of the Dearborn Players Guild, Grosse Pointe Theatre, Music Theatre of Mount Clemens, the Dearborn Civic Theatre and has appeared in productions that include "Kismet", "Carousel", "West Side Story", "Carnival" and "Anything Goes". He is the 1973-74 recipient of the Dearborn Civic Theatre's Kenneth Hansen award for the best performance by a supporting actor. Mr. Schmitz appears with Michigan Opera Theatre for the first time as the comic jailer, Frosch.

CATHERINE CHRISTENSEN, Rosalinda, returns to Detroit after completing an engagement at Chicago's Forum Theatre as Inizabeth Barrett Browning in the musical "Robert and EliZabeth". Detroit audiences \\1ill remember her as the glamorous widow in last season's M.O.T. production of "The Merry Widow". Her recent recording of Bianca in "Taming of the Shrew" has won her the attention and praise of opera critics Miss Christensen made her operatic debut in • 1964 with the Santa Fe Opera in "Carmen" and has appeared with the nation's leading companies, including San Francisco, Boston, Fort Worth and New York City, She has performed, in concert the Los Angeles Philharmon1C, the Israe11 Philharmonic, the New YOrk Chamber Orchestra and the Paris Chamber ( } r ";he§tra

MARY WAKEFIELD, alternates in the role of Rosalinda. She is equally at home on the grand opera stage, as the musical stage. A former voice teacher at Indiana University, Miss Wakefield has studied under Richard Fredericks and Julius Berger in New York. She has performed in New Hampshire and Michigan in such operas as "La Boheme", "Der Fledermus" and "Martha" and has sung in productions of "Carousel" and "How to Succeed In Business Without Really Trying".

Copyright 2010, Michigan Opera Theatre

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DIE FLEDERMAUS

Johann Strauss, Jr., already preeminent in the composition of at least one facet of 19th century popular music, the waltz, had always been reluctant to try his hand at another, the operetta. But at the suggestion of Jacques Offenbach and with the hardly subtle prodding of his wife Jetty, he made his first attempt in 1871 with Indigo und die vierzig Rauber, followed in 1873 by Der Karneval in Rom. In 1874, Strauss wrote and produced his masterpiece, Die Fledermaus.

When Strauss was presented with the libretto of Die Fledermaus, he was immediately. taken with its possibilities for charming characterizations and piquant situations as well as its suitability to his penchant for waltz melodies. The composition soon became an obsession with him, taking forty-three frenzied days to complete.

The premiere took place shortly after the Austrian economic crisis of 1873, and it was an unusually sober Viennese public which allowed Die Fledermaus an initial run of only sixteen performances. Returning to the repertoire that same year, however, it finally triumphed, as it has since then all over the world.

Imbued with the Strauss genius for Viennese waltz, Die Fledermaus became the first truly authentic Viennese operetta, setting a standard and style for many decades.

ACT I. A room in Eisenstein's house in Vienna. Alfred, a former suitor of Rosalinda, sings of his love for her in the garden. (He is waiting for her husband to leave home ) In s ide, Adele, the maid, who has received an invitation to a ball that night, pretends to her mistress that her aunt is sick. Rosalinda does not give her the evening off, for Adele is not so good an act ress as she thinks she is. Lawyer Blind enters with h is client Eisen s tein who has been sentenced to jail for five days for insulting a government official. Due to the bungling efforts of Dr. Blind , however, his sentence has now been extended to eight days. Blind advises him to go to jail and get it over with . Rosalinda assures her husband that she'JI be inconsolable without him.

Falke, Eisenstein's old friend and drinking companion, comes to call, inviting him secretly to a ball to be given that night at Prince Orlofsky's: he can go to jail afterward. (Falke, who has been named Fledermaus, or the Bat, ever since Eisenstein led him home in broad daylight from a costume party dressed as a bat, plans to get even at Orlofsky's ball, for he has also secretly invited Rosalinda and her maid.) Rosalinda bids her husband a sad farewell, and he goe s off with Falke, presumably to prison.

Alfred, who has been waiting for Eisenstein's departure, seizes his opportunity, enters the house, and to Rosalinda'sannoyance, makes himself at home in her husband's dressing gown and sits down at the table set for dinner. He persuad e s her to drink and forget everything, for life is a comedy. Naturally, Adele receives belated permission to visit her "sick aunt."

Frank, the chief warden of the jail, come s to Eisensten's house to claim his prisoner and assumes that Alfred is his man. To save her honor, Rosalinda convinces Alfred to keep up the deception After many farewell caresses, Alfred tears himself away from his "wife" and goes off to jail with Frank.

grandly , only to see her husband r1irting with her maid and others She decides to teach him a le ss on and flirts wiih him herself, making certain not to remove her mask. In a game of counting their love-speeded heartbeats she makes away with his jeweled watch In her role of Hungarian countess, s he sings a Czardas for the guests. Carried away with music and champagne, the guests decide on forming a brotherhood to last to eternit y. The tipsy Eisenstein makes a final attempt to retrieve his watch from Rosalinda, but she is saved by the clock's ringing six. Both Eisenstein and Frank, equally drunk, become alarmed, for they should have been elsewhere before dawn, Eisenstein in jail and Frank in his office. Not knowing ea c h other's identity, they stagger out together

ACT III. Frank's office in the jail. Frosch, a jailer, has taken advantage of the warden's absence and gotten himself royally drunk. Alfred, who has had enough of being a gallant, calls for a lawyer to get him out. Frosch sends for Dr. Blind. Frank, still feeling the champagne, arrives at the jail, with Adele showing up soon after. Eisenstein comes to give himself up, only to learn that someone else has already been arrested at his home in his place. When Dr. Blind comes to see Alfred, Eisenstein takes the lawyer's robe and wig and decides to find out what is what. Rosalinda, knowing that her husband will show up in jail, has arrived, too, wondering how to hide her indiscretion. Together with Alfred, she lays the facts before the lawyer (Eisenstein in disguise). When Eisenstein upbraids her, she flares up at him for taking the husband's side instead of hers. He removes his disguise, confronts her, and demands vengeance, whereupon Rosalinda takes out his watch, proving that she was his Hungarian countess When all is confusion, Falke arrives with Prince Orlofksy and the party guest s and explains that it was all a trick of his to even scores with Eisenstein for the bat episode . Rosalinda makes up with Eisenstein; Adele, who had offered herself to Frank, is led away by the Prince for himself; and everyone agrees that champagne was at the bottom of all their troubles.

Copyright 2010, Michigan Opera Theatre

ACT ll. At Prince Orlofsky's Party. Adele, dressed in her mistress' gown and pretending to be an actress, flirts with Prince Orlofsky, a rich dandy who believes everyone should have a good time, each in his own way. Eisenstein is s truck with Adele's resemblance to his wife's maid, but she coquettishly finds it all a laughable mistake. Frank, thinking hi s prisoner to be safe in jail, arrives disguised as a nobleman and pays court to Adele. Rosalinda, disgu ised as a Hungarian countess and masked, enters

This

SINCE

CURTAIN CALL

Fr a nk in Di e

Da vis Gloff , bariton e, is a nativ e Detroiter a nd is a mu s ic education graduate of Wayne State Univer s ity He ha s been a frequent so loist with the Univer s it y's Ch o ra l Union a nd a m e mb e r of it s Gradu a te Program in Ly ri c Theatre , for whi c h he sa n g the titl e role in DDn Pa s quale. A former musi c tea c her, IV/r. Glorr has s un g with th e Detroit Symph ony and appeared reg ularly with Michigan Op e ra Theatre .

CHERYL STEW ART Sings th e role o f Sally in Di e Fled erm aus.

JAN ALBRIGHT Sings the roles of Adele in Die Fledermaus and Flora In La Tra via ta.

Jan Albright did her undergraduate work in mu s ic at Indiana Univ ers it y and return ed there later for opera s tud y with Vera Scammon. Mi ss Albright made her debut at Indiana a s Lau re tta in Gianni Schicchi and perform ed ex ten s iv e ly in Ge rman y, bef o re co min g to De t ro it to make her home. Sbe made he r Michi ga n Opera Th ea tre debut as Y ve tte in La RDndine a nd appeared last se ason as Kate P.ink e rton in Madame Butt erfly and as Ol ga in The Merry fV idDW. Mi ss Albright is a fr equ en t soloist with lo ca l sy mphon y orches tras, a major pe rform e r with The Pi cc olo Op er a Company and is c urrently on th e vo ice fa c utly of Oakland Universit y

EDW ARD KING INS Sings th e roles o f Alfr ed in Die Fl ed e rmalls, Alfredo in La Traviata and Grigory in B Dris GDdunDV.

Edward Kingin s ha s been a leadin g t e nor with Michi ga n Opera Th ea tre for many years. He received his education at the A merican Conservatory of Music, Heidelb e rg Coll ege a nd Wayn e Stat e Univer s it y Th e Detroit resident received the Ma rtha Baird Rockef e ll e r Award, enablin g him to s tud y with Bori s Goldov s ky. He has sung IVith the De s Moines Civic Opera, the Buffalo Philharmonic Orch es tra and has made numerous con ce rt and mu s ica l comedy appe a ra nces. Mr. Kingins perform e d th e rol e of Camille la s t seas on in MOT's pr od uction of The M erry WidDW.

Cheryl Stew art is a s tudent of Marcella Fau s tm a n at W este rn Mi c hi ga n Univer sitv Ms. Stewart is also a tal e nt ed tap d;n ce r and s ingin g actress wh o has had a number of mu s ica l theatr e leads in c luding Man Df La Man cha., Oliver and CDmpany. Sh e has appeared in summer s to c k at Gre en field Vill ag e and in Indi a n a.

JOEL KYLE EBERSOLE Sing s the rol e o f Dr. Fa lke in Die Fled ermaus.

Jo e l Kyle Eb e rso le wa s born in Springfield , Ohio, and studied at the University of Cincinnati and at Indiana Universitv wh e re he rec eived a n M.M. in vo ice'an d mu s ic e ducation H e ha s appea red at th e Bre vard Music Fest ival in North Carolina, th e K e ntucky Opera and the Star Theatre in Flint , Mi c higan. Mr. Eb e r so le is currently c hairman of the Music Departm e nt of Me r cy Coll ege.

GENE A. WABEKE Sings the rol es of t he S impleton in BDri s GDdunDv a nd Dr Blind in Die Fl ed ermaus.

Gene W a beke, tenor, is a mu s ic educator in th e Livonia Publi c S c hools. H e sings with a number of organizations in c luding the K e n Jew e ll Choral e a nd wa s a soloist for the Cranbrook Ma y Fes tival las t s pring Mr. Wab eke has appeared in past MOT produ c tions of La RDndin e, Beauty and the Bea st , RigolellD, Madame BlLtl e rfly and The Merry Wido w.

Copyright 2010, Michigan Opera Theatre

CHARLES ROE Si n gs th e role of Eisenst e in in Di e Fl edermau s. Charl es Roe, barit o ne, mad e his Ne w York City Opera debut this pa s t fall sin g ing thre e major rol es in c ludin g that of Eisenstein In 1966, Mr. Ro e was runner-up in the National Sin ge r of the Year co mp e tition in Washin gton, D.C. He came to Yp s ilanti in 1968, and join ed the fa c ulty of Eastern Mi c higan University.Sincethat time he has frequ e ntly appeared in Michigan Opera Th ea tre productions includin g the role of Guglielmo in CDsi Fan Tull e, Angelotti in TDs ca , Sharpl ess in Madame Bull erfly, a nd he alternated with John Rea rdon as Danilo in last seaso n's ver y s u ccess ful oper e tta The Merry Widow.

SALLY WYLIE Sin gs th e role of Adele in Die Fled ermaas.

Sally W y li e, coloratura soprano, was the winner of the Grinnell Award this past yea r . She resi d es in Birmin g ham and is c urrently workin g on her Do ctorat e of Mu s ic at th e University of Mi ch iga n with Dr. Eva Likova Miss Wylie ha s also won th e Rackham Grant a nd The Eli zabeth Gardener Award of the Cranbrook Music Guild . She ha s appear e d in prin c ipal rol es in seven U of M opera productions in c ludin g th e role of Blonda in Mozart' s The A bduction from the Seraglio thi s past s ummer.

DAVIS GLOFF S in gs the rol es of Marqui s D' Obigny in L a Traviata and

MIOllCAN PERA

PRODUCTION STAFF

Ann McPherson McKee

Technical Director

Thoma s 1. Cowan

Stage Manager

Roman TerIeckyj

Assistant to the Directors

Scott Bergeson

Vocal Coach and Accompanist

Beve rly LaButa

Reh ears al Accompanist

Mrs. Neil Snow

Season Tick e t Coordinator

Karen DiChiera

Production Assistant

Mrs. Scott McKean

Wardrob e Mistress

David Roosma

Property Master

Jam es D . Segadi

Orchestra Pit Renovation

Th e Flint Symphony Orchestra Orchestra

MICH1GAN OPERA THEATRE DANCERS

Michigan Opera Theatre Dan ce rs are mem be rs of the University of DetroitMarygrove College Dance Progr a m

Domini c Missimi

Dan ce Coordinator

Marlin Andrews Sieve Raplis Donna Morris

Sieve Calagias Li z Bailon Renee Pa ren l

Da v id Guzman Deborah Chase T e rri Seko ra

Eric John slon Debbie Kakub a Sue S heare r

Charle s K ra use Zo e Ann Ke ro s Je nnif er Vigor

Anloine McCoy Barbara Masak Mi che ll e Wilkin s

Rodney Pilman Karen Mills Donn a Zalorski

Baldwin is the official piano of Mi c hi ga n Opera Theatre and th e Musi c Hall Cent e r for th e Performing Arts.

MICHIGAN OPERA THEATRE CHORUS

Chorus Master

RaynoJd Alivin

Sopranos P a tricia Smit h *

Kate Anderson De borah Spit ler

Dorot hy Berry * Mad e l y n Summ e r

Jacquelin e Brannon Joan Tallman*

Patti Dell * Loui se Warnke

M. Oirleen Dull Gail White

Carole Earl

Lisa Gibson Altos

Iren e Gordon Pat Appleman

Terry H a n ks Patricia Barkum e

Carol Holappa Carol Bourdon

Barb a ra Jack so n Harriet Bre y

Cindy J ac kso n * Emil y Bristah

Irene Jordon Leata Dockett *

Eli za beth Kana s t y Carrie Hend rick s

Ellen Kill ee n Astra Kalanis

Collette Ma c K e n zie Shirley Norwood

Toni McClur e Dorthea Pullen

Kellee O 'N eil De borah Salliote

Rita Opdyke Delores Shah een

Fa ye Owen s Sh irley Slachter

Kaye Ritting e r Cheryl Stewart*

Marge Ruby Dian e Moskal

Chorus Manager

Roman TerJeckyj

Tenors

Jam es Anderson *

Ja c k Morri s *

Karl Multhaup

J ustih Parrott *

Robert f Pirie

Paul P ysa renko

Michael Shust

Jo se ph Siciliimo

Gene Wabeke*

Bass

Mi c ha e l Albright *

Mark Huibregts e

Steven Jacobs

Dal e Ja sc h

Ke nn e th Piatrow s ki

Wesley Powell *

Ri c hard Paul Schmit z

Albert Shont

Stasys Slizys

Jerome Tomasz yck i

*Core Members oj th e Michigan Op era Th ea tr e Chorus

THE JULIE CORDES MEMORIAL SCHOLARSHIP

One of last season's c hori s ter s, Julie Cordes, met with a fatal · auto accident ju s t after the seaso n e nded. She had been a s tudent in voi ce and mu s ic education at Oakland University and display ed a dedicated and creative interest in opera and in Michigan Opera Theatre itselr. In the s pirit of Julie's love of opera and her enthusiastic parti c ipation in MOT productions a memorial scholarship was be g un. The scholarship program consists of th eor y and performance co urse s at Oakland University and performance 111 all production s of th e c urrent MOT seas on.

We ' d like yo u to mee t thi s ye ar's two scholarship winners:

PATTI DELL, a 22 ye ar old soprano, has s tudied voice at the University of Southern California and at Oakland University where s he co ntinues with the memorial sc holarship. Patti has tour ed with the USO with her tap-dancing family, The Dancing Dells, but now plans a performance career in opera. She will be see n this se ason as Giannella in Th e Elixir of Love and in the c horu s of the other productions

Copyright 2010, Michigan Opera Theatre

WESLEY POWELL, bass, ha s been singing for most of hi s twent y yea rs, and was awarded an exce llent rating in both the di s trict and regional Solo and En se mble Fe s ti va ls in 1971. Of the sc holar s hip pro g ram We s says, "I'm r ea ll y glad to have this c han ce to work with MOT I never dreamed that a co mbination of music and drama could be so r ewarding. Opera is a fulfillment of both." Wes al so' plan s a career in op e ra performance and w ill be seen in all four MOT produ c tions this year.

American Institute of Interior Designers

National Society of Interior Designers

Joy Adcock

Chester J. Allshouse

Linda Anger

Joy Armandruff

William A. Austin

Julie Baba

Jack Bazell

Jack E. Beardsley

John R Beckwith

Paul E. Birdsall

Thomas L. Blakey

Thomas J Blaser

Annie K. Blessed

Thelma M. Blow

Frankie C. Bolling

Michael Borkowski, Jr.

F. C. Boucheron

Donna Bracy

Roger L. Bracy

Sandra K Bremer

Robert L. Bridges

Dion Burkard

Donald Patric Burrows

Patricia Calhoun

Robert Clayton Callaway, III

Stanley Carlson

Robert C. Carr

William R. Castile

Louise H. Christoffers

Daniel E. Clancy

Russell H Cole

Lynda Couturier

Yvonne Fix Daniels

Henry G. Demant

William H. Denier

Joyce Dew

Mary L. Dill

Dale D Doehr

Albert Leighton Dotson

Ken K . Driebelbeis

John James Ducey

Ann McGuiness ,Dykstra

Jack F. Ehlinger

Lois Woita Erickson

Harry R. Esling

Helen M Esling

Susan Fei nberg

Albert I. Fill

Georgiann Francis

Rolland G. Frey

Patricia Fugate

Virginia Gaipa

Harold A Gluckman

Rohn M Goldman

Joseph A. Hager

James W. Hall

Roy A Hankis

Jeanne C . Harper

Betty F. Hase

Janet Marie Henke

Jeanne Henkel

Betty Hess

C J. Hewlitt

Jacob Holleman

Suzanne Holt

Richard B Hough

Florence P. Hunting

Donnie A. Johnson

Sandra C Johnstone

Donald C Joseph

Joan Kahn

Patrick J. Kavanaugh

Yatish Kini

Helen M Kelley

Anna Kenedi

Charles P. Klingensmith

Roy D Klomparens

Paige Kohler

Thomas C. Krebs

Suzanne N. Kregel

Pamela J Kruis

Sonja Novina Kwiatkowski

Geraldine Laetz

Stephany Landt

Jill Lange

Alan R Lant

Carl Lautzenheiser

Thomas H Layman

John K. Lee

Robert Edgar Lee

L. M Leonard

Naomi Stone Levy

Graten C. Little

Robert J Lowhy

Gene Luther

Edgar T. Major

John S Manns

Susan Marie Marra

Thomas R. Martin

Sarah Marie Mason

Bonnie L. McAnany

Robert J McComb

Don E McDonald

A . Jack McDougall

F. McKenna

Jane B McMillen

Leonard Meise

Dale E. Meternich

Toni Michal

Cecila E. Miller

Anna T Mirkovich

John Mitchell

Alfred C Mondello

Richard Moore

Ben Morganroth

Mark Morganroth

Philip Morganroth

George P. Moutsatson

Rosalyn B Muskovitz

Gene Myers

Karen Narsavage

Marco Nobili

Thomas Nothaft

Miriam Nutt

Albert Oppenheim

Leonard A. Pacetti , Jr.

Shirley Parkllan

Joanne Perko

James S Phares

Linda Piet

Robert E. Plourde

Dahlene Podpulucri

James Quinlan

Jon V. Raymond

Gerhardt F. Remus

Robert Rindge

Elaine M. Rodel

Irving Rosen

Rae Ruskin

Peter K Ryan

Douglas Sands

Arnold Sandubrae

Cathryn Heine Sanford

Lewis J Sappington

Frederick A Sargent

Martha Sauzedde

Bernadette L. Sawkins

Eleanor Schneider

N Ellene Schoenly

Ruth Schwartz

Robert W Tagge

Jean M. Teahan

Terence J. Tennant

Clarence F. Thompson

Caroline Paklaian Torley

Armond I. Travis

J N. Van Der Veen

Susan Van Dyke

J Van Vlaenderen

Herman K Vande Reit

Victoria R Bruhn Verplank

Oliver T Weidokal

Calvin G White

William A Wieland

Kay Elizabeth Werner

Judith Whaley

Irma Wiese han

Dorothy Leonard Willey

Rita Yang

Gay Weissmiller Yankee

Sona Yavurian

Elliot A. Zeldes

Harry Zucker

AFFILIATE MEMBERS

Irving J. Auslander

Erwin L. Berman

Thomas Russell Borman

Karen Bradfield

Brian Collins

Mary Ann Corbett

Beverly Ann Duffy

Michael A . Gooel

John Hanink

Norman Lacoff

Shirley Reis

Kathy Simpson

Patricia Duryea Conrad Schwarz

Nan Lee Scott

Neil E Scott

Robert Siegel

Martha Y. Shinn

Richard A. Sires

David Sklar

Nancy Smith

Stanley P. Smith , Jr

Blanche L. Snyder

M . J . Somerville

Marna H Spence

Dennis G Standhardt

Robert Steffel

Robert L. Stevenson

Pipsan Saarinen Swanson

Lill i an Syner

Robert D Szotko

Copyright 2010, Michigan Opera Theatre

FRIENDS

Michigan Opera Theatre is grateful to Mr. and Mrs. J. Addison Bartush for their contribution to help with the production of Die Fledermaus, to the Corbett Foundation for its grant to help with the production of The Elixir of Love, to Detroit's Department of Parks and Recreation for its support of the Michigan Opera Theatre Chorus as the official chorus of the City of Detroit, and to the Michigan Council for the Arts and The National Endowment for the Arts for their support of our educational and outstate tourtng programs.

SPONSORS SUSTAINERS

Mr. and Mrs. J. Addison Bartush

Mr. and Mrs. Frederick Colombo

Mr. and Mrs. Aaro'n H. Gershenson

Mr. and Mrs. William T. Gossett

Mr. and Mrs. Donald C. Graves

Dr. and Mrs. William E. Johnston

Mr. and Mrs. Louis A. Mackenzie

Mrs. C. S. Mott

Mr. E. Harwood Rydholm

Mr. and Mrs. Neil Snow

Mr. and Mrs. Lynn A. Townsend

Mr. and Mrs. Robert C. VanderKloot

Mr. and Mrs. John H. Wilson

Mr. and Mrs. Theodore O. Yntema

PATRONS

Mr. and VI rs. Gordon E. Areen

Miss \II. A. Baranowski

Mr. and \Irs. CarlO. Barton

\l1r. and \llrs. Henry S. Booth

Kathrvn V. Bovard

Mr. Ha rrv Brow ne

Mr. and Mrs. Emil A. Capano

Mr. and Mrs. Rov D. Chapin, Jr.

Mr. and Mrs. Walker Cisler

Mrs. Abraham Cooper

Dr. and :\Irs. Ralph R. Cooper

Pat ricia Cromwell

\l1r. and Mrs. Robert E. Dewar

Mr. Buell Doelle

Dr. Laurel S. Eno

Mr. W. Hawkins Ferry

\Ir. and Mrs.' Anthonv C. Fortunski

Mr. and Mrs. Alan L. Gornick

\llr. and Vlrs. Gerald W. Hepp

'vIr. and "Irs. Edwin i\. Homer

\Ir. and Mrs. Henry C. Johnson

'vIr. and Mrs. Harrv L. Jones

\llr. and Mrs. Kurt R. Keydel

Dr. and Mrs. i\ed N. Kuehn

\l1r. and Mrs. Henrv Ledvard

\l1r. Find \llrs. Alan Loofbourrow

Mr. and Mrs. Wilbur Had'ley Mack

VIr. and Mrs. Frank Marra

\l1r. and Mrs. John C. McCabe

McGraw Foundation

Mr. and Mrs. Arthur Merrigan

Mr. and Mrs. Bernard T. Brodsky

Mr. and Mrs. A vern L. Cohn

Mr. and Mrs. Frank W. Donovan

Mr. and Mrs. Elliott M. Estes

Dr. and Mrs. Edward T. Glowacki

Mr. and Mrs. H. James Gram

Mr. and Mrs. John C. Griffin

Mr. and Mrs. Samuel Hamburger

Mr. and Mrs. John J. Riccardo

Mr. and Mrs. Ross Roy

Mr. and Mrs. Arman R. Simone

Justice and Mrs. G. Mennen Williams

Judge and Mrs. Arthur E. Moore

Mr. and Mrs. Thomas F. Morrow

Mrs. Harry 1. Nederlander

Dr. Lou isa I. Piccone

Mrs. H. A. Powell

Dr. and Mrs. Ralph D. Rabinovitch

Mr. and Mrs. Paul A. Reger

Mrs. NI. E. SI. Aubin <

Dr. and Mrs. William T. Sallee

Mr. and Mrs. Saul S. Saulson

Ivan C. Schatten, M.D.

Mr. and Mrs. Robert B. Semple

Dr. and Mrs. Robert 1. Sillery

Mrs. Carl 1. Sn yder

Herbert Sott

Mr. and Mrs. Frank D. Stella

Mr. and Mrs .. George Strumbos

M r. and Mrs. Joseph A. Vance, J r.

M r. and Mrs. Harold G. Warner

Mr. and Mrs. R. Jamison Williams

Mr. and Mrs. Donald E. Young

James Mills Zeder

CONTRIBUTORS

Miss Emily Adams

Mrs. Morris Adler

Mr. Rodger Alexander

Mr. and Mrs. Mark T. Allen

Dr. and Mrs. R. H. Ambrose

.Joyce Anderson

John P. Argenta

Dr. and "/lrs. Allan A. Ash

Mr. and Mrs. 1. Merriam Barne's

Mr. and Mrs. Everett L. Baugh

Mr. Robert A. Beebe

Eric Billes, D.D.S.

Mrs. James 1. Bird

Mrs. Robert Bockemuehl

Mr. and Mrs. Paul E. Boel

John F. Bowen

Dr. and Mrs. Murray Brickman

Mr. and Mrs. 1. Lawrence Buell, Jr.

Mr. and Mrs. David P Burgovne

M r. and Mrs. Elmer E. Capellari

Mr. and Mrs. Grant Chave

Dr. and Mrs. Melvin Cherno

Mrs. R. Ban ks Clarke

iVI r. and Mrs. Thbmas Cleven

Mrs. Howard H. ,Colby

Dr. Victor Colombini

Mr. and Mrs. David Cooper

Mr. and Mrs. Edmond B. Cooper

Mr. and Mrs. Peter Cooper

Mr. and Mrs. Robert Cooper

Mr. and Mrs. Fred H. Cowin

Miss Ella Mae Crossley

Mr. and Mrs. John V. Deaver

Mr. and Mrs. John H. DeCarlo

M r. Loren A. Deer

Mr. and Mrs. Arthur H. Delmege

Marjorie A. DeVlieg

R. C. Dickenman, M.D.

Miss Irene Townsend Dudley

Copyright 2010, Michigan Opera Theatre

Mr. and Mrs. Earl R.

Dr. John A. Emanuelsen

Mr. and Mr s Charles M Endicott

Mr. and Mr s. Roland Ev a n s

Dr. He rb e r'! S Fe ld s te in

Mr. and Mr s. Charle s Fin e

Mr. John Fl e ming

Richard W . Fr e y

Dr. and Mr s. William R. Ful genzi

Mar y Ann Fulton, Attorne y

Dr . a nd Mr s. Ha rold A. Furlong

Mr s. Lo ui s Gas parott

Mr. and Mr s. Hans Gehrk e , J r.

Mr. and Mr s . Robert S. Go ld

Dr. a nd Mr s . He rbert Gold s t e in

Mr. a nd Mr s. Dani e l W Good e nou gh

S idn ey Goo se n

Mr. and Mr s G Gualti e ri

Mr and Mr s. Carleton Heal y

Ma r y A He lin

Mr. and Mr s Frank He nd e rso n

Mr. an d Mr s . W . A. He ndri c kson

Ja mes Hu g h a nd Vera He nr y

Mrs . W. Paul Hoenle

S he ridan and Tob y Holzman

Mr. Fr ed e r ic k G . L. Hu e tw e ll

Mr. a nd Mr s. L. Ga y lord Hulb e rt

Dr. and Mr s Wa y ne N J ac obu s

Mr. and Mr s. Donald L. Ja c qu es

Mr. and Mr s. Raymond L. John son

Mr. and Mr s . Hugh W . lohn s ton

Mr s. Ge rald lordan

Ms . E J Jo ss

Mr s . Ha rr y Ka sabach

Mr. Edw a rd A. Kazak

Mr. and Mr s. Robert D. Kilby

Carl H Kindl

Mr s C. H Koe bbe

Mr. Ri c ha rd Koko c hak, PLS

Mi ss Se lm a Korn

Mr. and Mr s J. S. Kosky

Mr. and Mr s. Sheldon B. Kr a u se

Dr. and Mr s. Alfred M Kr e indl e r

Dr. and Mr s. Lawren ce Kru ge l

Dr. and Mr s . Robert E. Kuhn

Mr. and Mr s Clifford 1. La ve rs

Ms . Barb a ra Lee per

Mr. and Mr s. Robert G Legge t t

Dr and Mr s Leonard H. Le rn e r

Dr. and Mr s. Robert S Lev in e

Edward C Le vy Foundati o n

Mrs. G. O . Le wi s

Mr. and Mr s . Le onard T. Lew is

Dr. and Mr s Kim K Li e

Mr. a nd Mr s Archi e E

Mr. and Mr s. Mark D Littl er

Mr. and Mr s. Thoma s V Lo Ci ce ro

Dr. and Mr s. Leon Lu c a s

Dr. and Mr s Robert Lu gg

Dan P Lutz e ie r

George G Ma tish

Earl R. Matt he ws

Dr. and Mr s . Paul W. Ma ttman

Ms. Elizab e th 1. McClur e

Mr. and Mr s S cott H. McKe an

Mr. and Mr s. An g u s 1 Mc Mill a n

Mr . and Mr s. Lo ui s Me nk

Th e Re v and Mr s F R. Meye rs

Mr and Mr s. J e rr y M Mill e r

Mr and Mr s. J o hn P Mill e r

Mr a nd Mr s Fr a n c is W Mi sc h

Mr and Mr s Philip M Mis tr e tt a

Mr. and Mr s C ha rl es R Moo n

Mr . a nd Mr s . Be rnd E Mu e ll e r

Dr . a nd Mr s . Do na ld D O'D ow d

Me lvin O we n s

Mr and Mr s Leo nard S Pal e rmin o

Mr . a nd Mr s. E!fri ed F H P e nn e kamp

Mr . a nd Mr s . Ro be rt E P e n s ka r

Ms Donna J P e rry

Mr s Edwin P e t e r son

Ms. Ir e n e Pi cco n e

Mr and Mr s Ra lph Pi e rce

He nry H. Pi xley

Mr a nd Mr s. Da vid Polla c k

Dr and Mr s Red e r

Mr . and Mr s . May fo rd L. Ro a rk

Mr . and Mr s . J ac k A. Robin so n

Dr . a nd Mr s . Arthur Ro se

S he ila Ross

Mr . a nd Mr s . C . K . Ru s h

Dr . and Mr s. Th o ma s E. Ryan

Mr Re ub e n Rydin g

Dr and Mr s. Willi a m H. Sa lo t

Mr . a nd Mr s. H P Sa ttl e r

J a r vis 1. Sc hmidt

Mr and Mr s. Jam es Sc hn e id e r

Mr a nd Mr s Al a n E. S c hwartz

Mr . a nd Mr s . Arthur R. Se d e r , Jr .

Mr s . Rob e rt H . S ha fe r

Mr a nd Mr s. Ri c ha rd S. Sh a nnon

Mi ss Vivi a n E. S h e lton

l a n e t E. Sc hult z

Mr s. G e ra rd R. S la tt e r y

Mr. and Mr s. Lo re n C . S pa d e ma n, Jr.

Mr s John S pe nce r

Mr s Lo ui se S pe r

Mr s. Ch a rl es B. Spittal

Willi a m G S t e igel y

Dr. a nd Mr s. S he ld o n D S te rn

Mr. a nd Mr s. Al ex and e r C. Su c ze k

Dr. and Mr s. Ma rc us H. Su ga rman

Dr. a nd Mr s. Ha rry H. S zma nt

Fr ed H Ta ylor

Mr s Jan e H T ay lor

Mr. G ui do T e nag li a

Mr. a nd Mr s. Willi a m B. T e n Eyc k

Ju li a a nd l oe Tit o ne

Dr. a nd Mr s Ga rfi e ld Tourn ey

Mr s. C y nth ia A Trabue

Mr. a nd Mr s Elli o tt H Val e nt in e

Mr. a nd Mrs HiJl a ir e VanH o ll e be ke

Mr. Ro be rt Van Walle ghe m

F. K. Ve tt e r

Mr. and Mr s. Ca rl A Warn oc k

Mi ss Kath e rin e W ass erfall e n

Mr. Palm e r Watlin g

Mr. and Mrs Harr y F. W e in e r

Dr. and Mr s Charles E. Wh eatl ey

Mr. Jam es W Whitney

Mr s. Ge rtr ud e Widman

Mr. and Mr s Warren Wilkin son

Ba rr y L. Wolf e

Mr. a nd Mr s. C. A. Wollenzin, Jr.

Mr , a nd Mrs. D F Woodward

Mr a nd Mr s . J ose ph R. Zan e tti

Dr. a nd Mr s Wolf W Zu e lze r

An o n y mou s

MEMBERS

Mr and Mr s. A L. Abbott

Dr . a nd Mr s J0hn V All e n

C R Arm stron g

Dr Myron T At a ma n

Don a ld C. Au s tin, M D.

Mr Ralph B Ba rn a

Marian Bas se y

J ea n Be ck

Mr and Mr s Rob e rt A. Be n yas

Dr. and Mrs. Lar y Be rkow e r

Ms Marilyn Berm a n

Mr and Mrs Mo rtim e r Be rnhardt

Dr Andrew H. Be rr y

Mr . and Mr s. Pi e rr e Bi a rn es

Rev. and Mr s Simon Be rmani s

Mr and Mrs. M W Biddulph

Alvin E. Bohm s

Ms. Ali c e M. Bo n e

Dr. a nd Mr s. Mi c hae l Bo n cz ak

Ho wa rd Bond y

Mr. a nd Mrs Ge rald Bri g ht

E David Bro c km a n

Mr Harve y F Bro wn

Mr. William E. Bro wn

Mr . and Mr s. Willi am E. Brund so n

Fi o ra M. Bu cc e ll a to

Patri c ia and Harr y Burn e tt

John A. By rd

Al a n C. Calkin s

Dr A J. Ce le rin

Car o l S. Chadwi c k

Mr. and Mrs. R Ch a fe tz

Rabbi and Mr s Ern s t J. Conr a d

Mr. and Mr s . Ro be rt Court e r

Mr. and Mr s . Ga r y L. Cow a n

Mr s. H e le n Cull e n

Ga r y M Cummin gs

Mr. and Mr s . T . F . Cru sinb e rr y

William R. Da rmody

Ro be rt B. Da vi son

Miss Marl e ne I. De Le?

Dr. Eu ge ni e d eU rb a n

Mr. Vi c to r Jo hn De ptn e r

Mr. La wr e nce M DuCh a rm e

Mr. and Mr s. H. W. Duda

Mr. a nd Mr s Ga r y R. Dzid o ws ki

Ms. Cam ill e Ea ma n

Mr. a nd Mr s Willi a m H Ehlh a rd t

Mr. Geo r ge T. Eldi s

Maya Elm e r

Mr s . Re la nd S. Ev a n s

Mr. Wa yne C E ve rl y

Mr. S t eve n G Fa rk as

Mr Dav id Fe rge r

Mr s Ruth B. Fe tt

lan J Find e r

Mr. a nd Mr

MEMBERS

Velma Froude

Mrs. Edward J. Gall

Mrs. Ann K. Gardner

Mrs. W. T. Gase

Mrs. Edgar Gilbert

Mr. and Mrs. George D. Gilliotte

Mr. Richard A. Golden, J.D.

Mrs. Paul D. Grubbs

Peter A. Haas, M.D.

Mr. and Mrs. Philip Halper

Mrs. David S. Hamel

Mr. and Mrs. Daniel Hayes

Harriet M. Helms

Mr. and Mrs. Frank Henderson

Frederick C. Hertel

Mrs. Stanley Hewett

Miss Christie Hewlett

Ruth K. Hill

Mr. and Mrs. Donald Hines

Mr. and Mrs. John E. Hinman

Mr. and Mrs. Heinz Hintzen

Donna M. Holtz

Mr. and Mrs. James L. How lett

John Earl Hudson

Mr. and Mrs. George C. Hunt

Dr. and Mrs. $. J. Hyman

Mr. and Mrs. Eugene T. Ignasiak

Mr. and Mrs. Irek F. Imirowicz

Mr. and Mrs. John W. Jickling

Dr. Norman F. Josaitis

Mr. and Mrs. Raymond 1. Jovick

Aimo O. Kartinen

Mr. and Mrs. Alexander Kaufman

Mr. and Mrs. Sidney Kelly

Mr. and Mrs. Jerome B. Kelman

Susan Klein

Mr. Kenneth C. Kreger

Miss Gertrude Kuhlman

Dr.and Mrs. James Labes

Miss Dolores Laker

Mr. and Mrs. Robert F. Lang

Mr. and Mrs. Thomas E. Langelier

Mr. and Mrs. Darwin Larson

Mr. and Mrs. Kent R. Clouse

Walter W. Lloyd

Eugene Loren

Ms. P. A. Losinski

Frank D. Luik

Esther M. Luke

Mrs. J10hn MacLellan

Norma C. MacDonald

Mr. Robert B. Mackay

Mrs. Harry L. Mampel

Mrs. Jessie B. Mann

Mr. and Mrs. Richard H. May

Joseph C. McCarty

Mrs. Robert M. McKercher

Mrs. Garbis P. Mechigian

Katherine A. Myslowski

Mr. and Mrs. Philip G. Moon

Anne A. Mouroun

Mr. and Mrs. Earl A. Mossner

Mr. and Mrs. R. W. Myres

Mrs. Jannie H. Nash

Mr. and Mrs. Lester A. Nelson

Dr. and Mrs. Warren O. Nickel

Mr. John A. Novak

Mrs. Lee H. Olmstead

Dr. and Mrs. F. D. Ostrander

Dr. and Mrs. Claus Petermann

Mrs. Floyd R. Peterso"n

Mrs. Nancy I. Peterson

Mr. and Mrs. Daniel G. Piesko

Sophie Pfister

Dr. and Mrs. Edward E. Potter

Dr. and Mrs. Roger A. Potter

Mrs. Pat Powder

Mr. and Mrs. Milton L. Prag

Mr. Nelson M. Prins

Joseph Quinn

Dr. and Mrs. Ronald Rakecky

Mr. and Mrs. Robert W. Reitz

Mr. and Mrs. James T. Roberts, Sr.

Mrs. Gladys P. Roscoe

Dr. and Mrs. Seymour R. Rosen

Mrs. Mary Ellen Rotay

Mr. and Mrs. Gerald Row inski

Mr. Michael W. Rozkowski

Mr. and Mrs. Joseph E. M. Ryan

HUSTON HARDWARE CO.

Established in 1956 as a PRIVATE and INDEPENDENT school for girls, grades 7 to 12, Bloomfield Country Day offers small classes, outstanding teachers, and academic excellence.

In light of the changing roles of women in society today, Bloomfield Country Day provides a personal and superior approach to the educational experience. Bloomfield prepares its students to meet the academic, personal, and work challenges which lie ahead. For further information contact the Admissions Director.

Mr. and Mrs. Donald V. Sabbe

Mr. and Mrs. Jacob Sauls

Mrs. Martha Schaefer

Mr. and Mrs. Kurt Scheuer

Dr. and Mrs. Bernard Schmidt

Mr. and Mrs. James S Schultz

Mrs Lillian R. Scrimgeour

Mrs. Taylor Seeber

Dr. and Mrs. Andrew E. Segal

Mr. and Mrs. Vernon Severson

James Sharkey

Mr. and Mrs. Robert Silver

Miss Frances Singer

Mr. Lee William Slazinski

Amy R. Smith

Mr. and Mrs. Robert E. Smith

Mr. N. L. SmokIer

Jennifer Snow

Jonathan Snow

Mr. Robert A Stahlman

Edward R. Stanko

Mr. Ralph Stannard

\1iss Mary Louise Stencel

Harold Stiller

Mr. and Mrs. Herbert Stoorman

Mr. and Mrs. William F. Sturner

Ms. Shirley Suni

Mr. Robert P. Thibodeau

George W. Tobias

Dr. and Mrs. John Toton

M. T Tribble

M. H. Trygar

Ms. Dorothy Turkel

Mrs Scotty Tuttle

T Twardochleb

Sophie lilanoff

Dr. and Mrs. Leonard L. Veatch

Mr. and Mrs. Gerald S. Viedrah

Ms. Ethel J. Viney

Mrs. Carson M. Wallace

Edith W. Wehbe

Mr. and Mrs Bernard Weisberg

Mr. and Mrs. Hugh Wells

Mr. and Mrs. William F. Williams

Mrs. F. R. Whelan

Ms Dorothy A. Wilkerson

Mr. and Mrs Donald S Windeler

Mrs Isadore Winkelman

Mr. and Mrs. Stanley Wollams

Mr. William Wolfolk

Barbara Yakes

Dr. and Mrs. Aram Yavruyan

Dr. and Mrs. Aram Zanardi

Ms. Ann Zirulnik

Miss Mary Zoto

THE IRENE AND EDW ARD WELLOCK MEMORIAL FUND

We fondly remember Mr. and Mrs. Edward S. We:)Jock, dear friends and supporters of Michigan Opera Theatre since its conception. Special thanks are given to Mr. and Mrs. John D. Benfield who, through their generous contribution, have begun a memorial fund in the name of the Wellocks. Memorial contributions to this fund or other memorial gifts are gratefully accepted.

We regret that contributions received after the closing date of this program book could not be included in these listings. We are indeed grateful for these contributions.

CORPORATE SPONSORS

Burroughs Corporation

Chrysler Corporation

Ford Motor Company Fund

General Motors Corporation

S. S. Kresge Company

National Bank of Detroit

Touche Ross & Co.

CORPORATE SUST AINERS:

Arthur Andersen & Co.

BASF Wyandotte Corporation

Detroit Bank and Trust Company

First Federal Savings and Loan Association of Detroit

Price Waterhouse & Co.

CORPORATE PATRONS

Alexander and Alexander

Allied Chemical Corporation, Automotive Products Division

Bank of the Commonwealth

The Budd Company

City National Bank

First Independence National Bank

John E. Green Plumbing and Heating Co., Inc.

Grey Advertising, Inc.

Honigman, Miller, Schwartz & Cohn

The 1. L. Hudson Company

IBM Corporation

Kuhlman Corporation

McCord Corporation

Michigan Bell Telephone Company

Michigan Consolidated Gas Company

C. A. Muer Corporation

Peat, Marwick, Mitchell & Co.

Rockwell International Corporation

Rogind-Parker, Inc.

Smith, Hinchman and Grylls Associates, Inc.

Sperry Rand Corporation

The Taubman Company

1. Walter Thompson Company

The Timken Company

Winkelman Brothers Apparel Foundation

Anonymous

Mary

Joseph Bulone

David Einstein

Francis .de Erdely

Mrashall M. Fredricks

Jean Lamouroux

Carol Steen

Waller

Wallace Mitchell

Arthur Schneider

Zollan Sepeshy

Nicholas Snow CERAMISTS

Otto Natzler

COMPLIMENTS OF:

GOLDSMITHS

Ernest Blythe

Arnold Frew

Charles March

Gilian Packard

Ronald Pearson

David Thomas

PAl NTERS ·SCU.LPTORS Glen Michaels

Jane Bigler

Midener

5hoppe

1516 SOJ1h crarbrook road briTlngham m:chgan 48009 Youth and adult classes in crafts, fine arts, and art history. exhibitions. tours. programs. social events. community service s rental of original art works. open to the general public.

THE POLYSTEEL RADIAL FROM GOODYEAR

Bigfoot is surefooted in the rain for some very gripping reasons.

Eight specially designed wide grooves help keep water from building up under the tire by channeling it away.

And a high-traction rubber tread gives Bigfoot enough muscle to grab on roads wet or dry.

Plus, seven wide ribs for plenty of bite to help resist skidding or losing control in a sudden down! pour, or when you're going through an unexpected deep pudd Ie.

And more.

Two steel belts that help guard against damage from potholes and sharp objects. A polyester cord body for a smooth , soft ride.

And since Bigfoot is a Goodyear radial, you're getting the highest standard in tire deSign. Stability. Handling. And long mileage.

In fact, Bigfoot will be standard eguipment, or optional, on many 1975 cars.

See Bigfoot, the Custom Polysteel Rad ia I. at you r nea rby Goodyea r dealer or store

BIGFOOT, THE POlYSTEEl RADIAL

8 WIDE GROOVES SOTHE TIRE RIDES ON THE ROAD. NOT ON THE WATER

If you've never found yourself part of a standing ovation, you probably haven't had the Music Hall Experience.

6

* NATIONAL THEATRE OF BRITAIN in Shakespeare's "As You like It"

Thurs. , Oct. 17-501., Oct. 19 01 8 ,30 p.m.

Sal., Oct. 19 01 2,00 p.m.

BARBARA RUSH in "FATHER'S DAY"

Man., Dec. 2· Sal. Dec. 7, 01 8,30 p.m.

Wed., Dec. 4 & Sal., Dec. 7, 01 2,00 p.m.

CRITICS CHOICE

FOR THE PRICE OF 4

* "GODSPElL"

* THE CITIZEN'S THEATRE OF GLASGOW

Man., Apr. 21·501., Apr. 26, 018,30 p.m.

., Apr. 23 & sal., Apr. 26, 01 2,00 p.m.

* CRITICS CHOICE also hopes 10 in·

LEONARD BERNSTEIN'S "MASS" elude BEN GAZZARA in "HUGHIE" Man., Mar. 17·501., Mar. 22, 01 8,30 p.m.

Wed., Mar. 19 & Sal., Mar 22, 012 ;00 p.m.

Man., May 19·501., May 24, 01 8,30 p.m.

Wed., May 21 & Sal., May 24, 01 2;00 p.m.

MARVELOUS MIX SHOW STOPPERS

"LEAVES OF GRASS"

Fri., Sept. 27, ! ••• 8 :30 p.m.

NATIONAL THEATRE OF BRITAIN in Shakespeare's "As You Like It"

Fri Oct. 18,8 :30 p m

with Myrna loy, Werner Klemperer, Ricardo Montalban and Edward MUlhare.

INDEX OF ADVERTISERS

Aac tr on, In c

Academ y o f t he Sacr ed Hea rt

Adle r/ Sc h nee

Advance P rilli ing I nc

Alli ed Chemi cal Co r p.

B F. Cood ri ch

Bick e lman n Ant iques

Birm ingha m.B loo mf ie ld Ar t Assn.

Bi rm ingha m Ca ll e ry Inc.

Bloom

Bloom fie ld Coun t ry Day Sc hoo l

Bout ique Pon tc hart rain ·

Budd Co.

Bur roughs Co rp.

Carl H. Schmid t Co

Cel a nese Coat in g Co.

C. F Hann a Charles W. Wa rr en

Chev rolet

Ch rysle r Co r p.

Cit y Na t ional Ban k

Cla ir e Pearone

Co lon ia l Fede ra l Sa vin gs

Co rsi ' s Res tau ra nt

Count ry P edd ler

Da Igleis h Cad ill ac Inc

Dan a Co rp back

Dav id son's

Dearborn Underw rit e rs Inc

De t roi t Art Dea le rs Ass n

Detro it Ba ll Bear ing Co.

De tr o it Ban k and T ru s t

De tr oit C rand Opcra Assn.

De tr oi t 'S)' mp hony O rches t ra

Dore Ag e ncy

Doug las & Lomason Co.

Emile Salon

Fas hi o n Two T wen t v

Faye Fie ld s

F D. Ste lla P rod uc t s Co

Fo rd Mo to r Co

Fra mi ng Ca ll ery of C rosse Pointe

Fra nk B. Ha ll a nd Co.

Furs by Hobe rt

Ca il' s Office Supp ly Co.

Ca ll e ry 22

Ce nera l Mo t ors Co r p.

Coodvea r

C ree ,i fie ld Lu mbe r Co.

C rey In c.

Hac k Shoe Co.

Hal e Hawai i

Ha rr v So lomon I nc

He li ,; Tack le Co.

Houda ill e Indu str ie, Inc.

Huston Ha rdwa re Co.

Interio r De co ra tor s

ITT

l ack BO il Sales In c

l acob son's

li m's Ca rage

1. Lee Hackell Co.

l u li a n 's Fine Food

Ke lsey- Ha)'es

Kla\'icr Ba roque In s tr uments

Ko wa lski Sausage Co

Kurt z Bri ck Co

La ke l e wele rs

League S ho p Inc.

Le wis & Thompso n Agency Inc

Libbev-Owen s -Fo rd

Libe riv Mus ic

Li lli e ' Caesar>

Li llI e Ga ll erv

Mach us Fox ' Hes tau rant s

Man u fact ur e rs Ba n k

Ma rgaret Diamo nd' s Shop Inc.

Mar ia Dinon

Ma r il vn Shoppe

Masako Kondo Fl owers

\1c Lcod Carpe t Co

M. Ell ene Sc hoe nl y

Mic higa n Mu t ua l In s urance G roup

Mine r 's of Bloomfie ld

Mis te r Hepo rt c r

Mo lmec Inc. Ass ocia t es Ill c.

Mo se ley's

Moss Li pins ki

M- H Produc t s Inc.

Music Ha ll Cen t er

\a t iona l Bank of Det roit

Od\' ss ev T ravcl

Pee rle ss In d uct ion Co.

Pe racc h io Asso c iates

Po la nd Toda "

Po li sh Fes t i,:a l

Ponc ha rt ra in Wine Ce ll a rs

Pont iac

PPG

P roc to r Home r Wa rren, In c.

Pupko's

Quar ton Ma rke t / Mar kc t Bas ke t

H A. Ha n kis Des ign Assoc iates

Re fl ectio ns o f t he Pas t

He llim Crea ti ons

Ho ll ins Furs

Hoss Rov Inc.

Seb ro Plastics In c.

Shalea Inn

Sm il ey Br o t hers

Some rse t Ma ll

St alke r a nd Boo s

Tad ross an d Za h lou te

Tee tlel Co.

The Gree nh ou se

T he O t he r Place

The T ime S hop

The 831 Ga ll er ),

T RW

T h unde rbird T o)' Shop

Un ir ova l Pr ec ision Inc.

Vim Vigor In c

Wa ll ich l. umbe r Co.

W ick and Will ow

W ic lan d 's Int e ri or s

Will. l e ffr ev Ga ll erv

Wo lvc r ine \ Ia rb le Co.

\'high t Kay

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