PROGRAM: Bravo 1987-88 Opera

ichigan Opera Theatre t

,

CADILLAC ALLANTE.

World-class, ultro-luxurv Cadillac style.

For those who are for tunate enough towr ite the ir own rules, there is Cadillac A llante .

From the designer of Ferrari and Rolls-Royce.

Cadillac commissioned Pininfarina, SpA of Turin, Italy-designer of the Ferrari Testarossa and Rolls-Royce Camargue -to design and handcraft the coachwork ofAllante. A high-output V8 roadster with European road manners.

Responseis eager, instantaneouswith a sequent ial -port fue linjected VB. And Allante isfirst with the Bosch III anti -lock braking system, standard.

A new concept in two-passenger automobiles: Cadillac comfort. With nearly five feet of shoulder

room,A llante defies the trad it ional space constra ints ofa roadster

Driver and passenger en joy t he custom fitof10-way Recaro seats

Turns the wind into a whisper. Allante redefines open-air motoring, because with the top down at highway speeds,you and your passenger can hold a normal conversat ion.

The world 's first 7-year / 100,000-mile assurance plan. The Allante AssurancePlan applies to the entire cor.' It includes emergency road service.

Your personal invitation.

Call 1-800-338-2473for an Allante test-drive arranged at your convenience.

"Exceptfort ires wh ich arew arranted bythe ir manufactu rer see your Cadill ac dealer forterms and condition s ofthislim ited w arranty.A deductible may apply.

Discover why the Allante isunlike any ultra-luxury roadster that has come before it.

Copyright 2010, Michigan Opera Theatre

CADILLAC ALLANTE. THE ONLY WAY TO TRAVEL IS CADILLAC STYLE.

Copyright 2010, Michigan Opera Theatre

Season Welcome from David DiChiera

Welcometo Michigan Opera Theatre's new season.

AsI contemplate the dramatic growth and national prominence that Michigan Opera Theatre hasrecentlyachieved,Iam continuously "caught by surprise" bythe significant milestones which occur in both our personal lives and the maturation of the institutions withwhichweare affiliated. It wastwentyfiveyearsago that Ibegan producing under theaegis of the Detroit Grand Opera Association, a program called Overture To Opera

Consisting of scenesfromthe various operas that the Metropolitan Opera toured to Detroit, thesesceneswere performed byavery talented group of localsingers and introduced with personal narration, touring throughout southeast Michigan's schools and community centers

What many considered tobean "impossible dream" forthe creation of a professional opera company in Detroit, Overture To Opera'searlyactivitiesprovedtobethe beginning of the "quest:' Many patrons inthe community shared inthisvision and without their dedication and support, today's realitywouldnothave occurred

Itwastwentyfiveyearsago that RuthTownsendwas entrusted withthe leadership of the Detroit Grand Opera Association's Overture To Opera committee, whosemembersservedas volunteers to arrange, market and host each community performance Who canforgetthose wonderful evenings sharing the beauty of opera with audiences insuchdiverseplacesas Hamtramck, Trenton, GrossePointe,RoyalOakandMt.Clemens The friendswe made for opera inthosedays became the foundation for our future growth.

In subsequent years,Ruth's devotion andservicetothesuccess of Overture to Opera extended toher husband Lynn.Togetherthey provided theloyaltyand leadership whichplayeda leading rolein bringing Michigan Opera Theatre toits current status. After twentyfiveyears of dedicated servicetothe company and upon the occasion of Lynn's retirement to emeritus status as Chairman of the Board of Trustees,itseemsonly natural that we should fondly dedicate thisnew opera season to both Ruth and Lynn.

Overthepasttwentyfiveyears,many others have joined MOTinthis journey, adding their ownveryspecial support, leadership and talenttomake our visionareality.Withthe launching of the1987/88 season, we celebrate the manifestation of thesepast endeavors.

Michigan Opera Theatre today is providing our citywithtwofull opera seasons, inthefallatFisher Theatre and a spring grand opera season atthe Masonic Temple.Wenowrankasthe ninth largest company inthe nation inthesize of our operations and asthe seventhlargestinterms of mainstage audience attendance. Thesefiguresdonottakeinto account themany thousands that are annually enriched through our fifteenweek MOT-In-Residence touring program, orthemore than 300 performances presented in schoolsand communities byMOT's Overture to Opera troupe.

Butwemustnotreston our laurels.Intheyearsto come our challenge will continue, sincethetask of fulfilling our mission remains incomplete.Duetothefragile nature of our existence- based onthedelicate balance of individual, corporate, foundation and public support - our firstand immediate challenge isforthe establishment of an endowment that can provide a cushion fortheinevitable fluctuations in our economy and over-dependence onticketsales.Secondly,the creation of the "black boxspace" providing an alternative performing venue,willallowthe company tocreate and experiment withnew works foramore intimate audience whileat thesametime provide vitalitytothe art form of musical theatre and opera.

Andlastbutnotleast,wemustsearchfora permanent home,an opera house, either newor renovated, which can appropriately support thediverse repertory andactivities that characterize agreat opera company.

Together,Iam confident that wecanbuildonthe achievements of thepasttwentyfiveyearsand look forward tothe fulfillment of our newchallenges.

David DiChiera GeneralDirector

Michiean Opera Theatre

The 1971-1988 Repertory A Celebration of Seventeen Seasons

1971-72

NAUGHTYMA RIETTADONGIOVANNI

mSEPH AND THE VictorHerbert

AMAZING TECHNICOW R

DREAMCOAT

AndrewLloyd Webber

andTimRice

THEMAGICFLUTE

Wolfgang Amadeus Mozart

1977-78

LARONDINE REGINA

Giacomo Puccini

Marc Blitzstein

THE P ERFECTFOOL CARMEN

Gustav Holst

1972-73

COSI FAN TUTTE

Wolfgang AmadeusMozart

TOSCA

Georges Bizet

THESTUDENT PR INCE

SigmundRomberg

FAUST

Charles Gounod

Giacomo Puccini A MAHL AN D THE

Wolfgang Amadeus Mozart

RIGOLETfO

Giuseppe Verdi

THEMAGICFLUTE

Wolfgang Amadeus Mozart

SWEENEYTODD

StephenSondheim

FIDELIO AIDA

(inco llaboration withthe Giuseppe Verdi

DetroitSymphony Orchestra)

LudwigvanBeethoven

1985-86

GIANN I SCH ICCHI

T HE PEARLFISHERS GiacomoPuccini

(Midland Festival) I PAGLIACCI

Georges Bizet Ruggiero Leoncavallo

1981-82

TOSCA

GiacomoPuccini

MARTHA

Friedrich vonFlotow

WESTSIDE STORY NIGHTVISITORS

THETELEPHONE AND Gian-Carlo Menotti

THEMEDIUM

CARMEN

Georges Bizet

Leonard Bernstein

TURAN DOf

Gian-Carlo Menotti AN OUSH GiacomoPuccini

1973-74

RIG OLETTO

Giuseppe Verdi

MADAMEBUTTERFLY

Giacomo Puccini

THEMERRY WIDOW

Franz Lehar

1974-75

LAT RAVIATA

Giuseppe Verdi

1978-79

THE P EARLFISHERS

Georges Bizet

SHOWBOAT

(American Premiere)

Armen Tigranian

1986-87

ORPHEUS INTHE

T HE M IKADO UN DERWORLD

J¥.S. Gilbertand Arthur Sullivan

JeromeKern JacquesOffenbach

LATRAVIATA

Giuseppe Verdi

IPAGLIACCI

Ruggiero Leoncavallo

THE EMPERORJONES

Louis Gruenberg

BORI SGODUNOV MADAME BUTTERFLY

Modest Mussorgsky (Midland Festival)

THE ELIXI ROF WVE GiacomoPuccini

Gaetano Donizetti

THE TEN DER LAN D

DIEFLEDERMAUS (Midland Festival)

Johann Strouss II

1975-76

AaronCop land

1979

PORGY ANDBESS THE MOST HAPPYFELLA

George Gershwin Fronk Loesser

PORGYAN DBESS

MADAMA BUTTERFLY

George Gershwin GiacomoPuccini

MYFAI R LADY

1982-83

HAUNTE D CASTLE AlanJayLernerand

(AmericanP remiere)

Stanislaw Moniuszko

Frederick Loewe

TOSCA

LUCIADI LAMMERMOOR GiacomoPuccini

GaetanoDonizetti

IL BARBIEREDISIVIGLIA

TREEMONISHA GioacchinoRossini

ScottJoplin

PO RGY ANDBESS

THEMARRIAGEOFFIGARO GeorgeGershwin

Wolfgang Amadeus Mozart

1987-88

T HE SOUNDOFMUSIC FALSTAFF

RichardRodgersand Giuseppe Verdi

OscarHammerstein

1983-84

MAN OFLAMANCHA

MitchLeigh

LA BOHEME ILTROVATORE LAT RAVIATA KISMET

Giacomo Puccini Giuseppe Verdi

LUC IADI LAMMERMOOR LA BOH EME

Gaetano Donizetti GiacomoPuccini

THE BARBER OF SEVILLE JOAN O FA RC

Gioacchino Rossini

1976 -77

PeterIlyich Tschaikovsky

1980

WAS HINGTON SQUAREDIEFLEDERMAUS

(Wo rld Premiere)

Thomas Pasatieri

JohannStraussII

OFMICE AN DMEN

MADAMEBUTTERFLY Carlisle Floyd

Giacomo Puccini

Giuseppe Verdi

FAUST

Charles Gounod

Robert Wright and George Forrest

ILTROVATORE

Giuseppe Verdi

A LITTLENIGHTMUSIC DIEFLEDERMAUS

StephenSondheim

ANNA BO LENA

GaetanoDonizetti

1984-85

TH E MERRYWIDOW

JohannStraussII

LA BO HEME

GiacomoPuccini

LUCIANO PAVAROTTI

INC ONCE RT

Copyright 2010, Michigan Opera Theatre

FranzLeha r

"MOl's cast of principal singers is superb, more thoughtfully put together than recent productionsin Chicago and New York City."

"Michigan

Ann Arbor News

Act I of Madama

Butterfly starring Maria Spacagna

Copyright 2010, Michigan Opera Theatre

Ann Arbor News

"So wicked and wonderful That's MOT's zany Orpheus" DetroitNews ActII of Orpheus in the Underworld as designed by Gerald Scarfe

"MOT's My Fair Lady anoverall production that is a beauty tosee and hear." KalamazooGazet

Stephen Lehew, Judith Blazerand Simon Jonesin My FairLady

or is playing inthe operatic major league these days, with internationalsuperstarsand jet-setting designers."

Opera Theatre's production of 'Madama Butterfly' was positively soulsatisfying Puccini at hisverybest ."

1986/87 In Review

"On stage and off, Tosca d eserves e nthusiastic applause"

DetroitFree P ress

ActII o f T asca, s tarring Ca rolNeblett

"MichiganOp era

Th eatre'sf inal spring offering,a f ast mo ving,e nergypa ck ed Porgy and B ess"

Ob server andEccentric

Kri ssS t.Hill as S porti n' Life in P orgy

a nd B ess

" The principals embodied one of the fine st collection of musicalthroat s ev er to g racean MOT pr oduction. "

Det roit FreePress

T he finale to Act I of 1/ B arbiere di Sivigli a

Glamorous & Exciting Social Events

" The muchherald ed OperaBall wasthe ultimate of spr ing spec taculars" Detroit News

British cartooni st Gerald Scarfe,designer of MOT' s Orpheusinthe Underworld, chatswith Mr s. WilliamPVititoeat acocktai l receptionprior totheopenin g of t he 1986/87 season.

MOT Trustee Barbara Wrigley (L)join s OperaBall

Co -ChairmenH enrietta Fridholm and S helly Cooper, with compa ny General Director DavidDiChiera

Elaboratetabl es ettings andfe stivefloral arrangements adorned Stro h River Place, u nder thedirection of Co -Chairmen M aryKayCrain and S tephanieK emp.

MOTTru stee

Cherrill Cregar

(L)and MOT Guild P resident Sharon G ioia pa use fora moment in t he company' s P orgyandBess comme morative teeshirtsdur ing th eGu ild' s Po rgy and Bess JazzParty.

Copyright 2010, Michigan Opera Theatre

"IF IT DOEsn'T SIV'II-DELEO: IT DOEsn'T liD InmVIIR:'

- Chuck Yeager

Thecaryoudrive represents abig investment. So doesn't itmake sense tokeepitrunningthewayitwas madetorun?

WithAC-Delcoparts

They're engineeredtomatchtheperformance requirements ofyour car. They don'tjustfit.Theymatch.Deadon.

I'mnotthekindofguytotake chances. Iwanttoknow everyihinqs theway irs supposed tobe Thots whyformorethan40yearsI'vebeenusingAC-Delcoparts Iwouldn'teventhinkof messing withanything else. AndifIdon'twanttotake chances, neithershouldyou

FortheAC-Delcoretailernearestyou,justgivemeacallat 1-800-AC-DELCo.

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

rnem better

A World of Difference.

If you wonder about the differences between hospitals, there's something you should know-there's a nationally respected hospital system in Oakland County : Beaumont.

Known forits personal care , Beaumont is also recognized foritsstaffof specialists, its breakthrough research and its advanced technology Beaumont's medical resources make it poss ible to offer women with breast cancer an alternat ive to rad ical surgery kidney stone patients relief without surgery, and heart attack victims an enzyme treatment that can stop a heart attack in progress. Patients come from around the world to be treated at Beaumont because at Beaumont.

technology and caring go hand-in-hand .

Obstetrics to Geriatrics: Beaumont's 823 Specialists. AS. Beaumont , there is a specialist fo r every area of the body and every stage of life From pre-birth genetic counseling , provided by the Department of Obstetrics, to the study and treatment of age-related concerns that is geriatrics,

re you know, the you feel.

more than eight hu ndred spec ialists from 83 areas of medical spec ialty and subspecialty are avail ab le to yo u

More Heartening News.

Now, research at Beau mont ind icates that there isasa fer, more effec tive trea tme ntfor hea rt attacks that can stop an attack in progress by dissolving blood clots and ope ni ngclo gged arteri es Beau mon t's testing shows that if the experimen tal en zyme tPA is admin is te red with in 12 hou rs after the onset ofpain , it can open blocked arterie s inasma ny as 75%ofpati ents.

Overcomi ng Learning Disorders .

Approximate ly 100,000 children in Mich igan have a lea rning disorder suc h asdifficul tywith read ing orarithmetic. Left untrea ted , th ese chi ldren may experience failure and frustration in school and carry their probl ems into adu lthood Beaum ont's Center for Hu man Developm ent, one of the first clinic sfor learning proble ms to open in the lf .S. has treated more than 5,000 individu al sin 18 years Atthe Center, chil dre nand adults re cei ve an extens ive

neuro-deve lopmental evaluation and an individua lized plan of treatment that could include tutoring , re medial progra ms or psychological testing Th e Center teach es patie nts to deve lop an duse alternate learning strategies that can improve the ir potential for learn ing upto 80%.

HeatingUpthe Waron Cancer. Greatstrides against cancer are bei ng made at Beaumont, giv ing patients awider ra nge oftreatment options From hypert hermia , the treatment that destroys cancer cells byraising their tem perature, to newsurgical tech no logy that allows ph ysicians to remove tum ors and suppress the growth of new cancer cells, Beaumont isa leader in the fight. And Beaumont ha s become nationally recog nized for a ca nce rtreatm ent called brachytherapy Effective against a number of cancers, brachytherapy shows special promise as an alternative to rad ical surgery for wo men with brea stcancer.

Body Rebuilding.

Every day, Bea umon t's in nova tive res earch andleading tec hno logywork t o advance the medical frontier To relieve the crippling effects ofarthritis, Beau mont su rgeon s helped pioneer ceme ntless joint replacem ent for hips

With this pro cedure , the patient's own bone attac hes itself to the repla cem ent jointelimi nat ing the need for "cement"

wh ich can break after seve ra l yea rs , req uiring more su rgery

It's

Good To Know Beaumont.

Every resource Beaumont offers, from its wide ran geof specia lists, breakthrough research and advanc ed technology, to its warm, pe rsona lcare, is dedicat ed togetting you well, and getting you home Wi th expertise like this availab le to you, it makes sense t o get to know Beaumont. The more you know, the better you feel

For more information on Beaumont serv ices , orto find the Beaumont phys ician right for you , call us , toll free at 1-800-633-7371

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Thisyear's opera season features the debut 0 Pegasusinthe Fisher. bringing the delights of Greektown 's original Pegasus Taverna to theatre patrons.

Tryanariad 'entrata from our famousGreek appetizers : Saginaki "Opa"(flaming kassari cheese), Oktapodaki (marinated octopus)or Tzadziki (yogurt-garlic-cucumber spread)onGreek bread

.....'ng,. good

n's Pegasus has been rated #1by both y and Metropolitan Detroit magazines. Try dinner or your next banquet (seating up to100)at the new Pegasus in the Fisher and we'llbe your #1 choice uptown.

Thenchoosea tour-de-force pusfromour repertoire ofGreek countryentrees : Rackof Lamb, Pastisto (macaroni with seasoned ground lamb), Char-broiled Shrimp, orTsipoura(seabass) . AIl preparedin grand tradition by Detroit's virtuosoGreekchefs . Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Distinctive De •

Indulgeyourselfwithanexceptionaldiningexperienceatthe Benchmark. Theelegant decor serves asadramaticbackdropforsuperbcontinental cuisine. fine wines. soft music. tempting dessertsandimpeccable service.

Cocktail and dinner serviceavailable Monday through Saturday, beginningat6p.m. Call 559--6500 for reservations.

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

WXURY FITFORA CHAUFFEUR.

NOWYOUCANENJOY WHAT LIMOUSINES TAKE FOR GRANTED : LEATHER .

Ifyou apprec iate thef iner things inlife, youwillenjoythe touch , e lega nce a nd aroma offine leather appoi ntments available in Capr ice Classic Brougham. Th ey canmakea chauffeur 's day runsosmoot hly SINKINTOTHERICH , HANDCRAFTED LAPOF LUXURY.

High-qual ity tanned leather is h and s ewnfor strength and du rability andavai lableinyour choice ofthree shades that coo rdinate or contras t beaut ifu lly w ith each Caprice exterior.

There 's a subtle smoke gray, a striking amethyst maroon anda deep azureblue

Th ick cushioning materials f it the contours ofyour body and support it in deep-seated comfor t.

EXPERIENCE AFFORDABLE ELEGANCE ONAGRAND SCALE.

Caprice , oneof America 's favoritefull-sizecars , isso spac ious, ithasmore passenger and trunkroomthanany M ercedesBe nz sedan! Its full-per imeter frameandFull Coi l suspension provide a limousine -smooth and quiet ride Butevenw ith allth is , includingthe leather seating area , Caprice C lassic Brougham isa luxury you don 't havetoberoyaltytoafford

Thisyear, nearly 32 million new passenger cars will hit the road worldwide. And a company called TRW will build m ore seat belts f or them than any other i ndependent supplier

TRW hasbeenan i nnovatorinseat belt de sign for 24 years We were a pioneer in emergency locking retractors for seat belts We helped develop the world 's first p assive seat belt system Designed the f irst emergency pretensioner device. And right now, we're hard at work in both North America and Europe , developing advanced inflatable restraint systems.

TRW-where high technology is helping make the world a safer place to drive.

We make seat belts for the world.

The Robertson Rewards

k;livity Photos by Oavid R. Stoeckle in Buying ahome is themost important purchaseyou'llmake.It 's not just shelter it's comfort , community andimage. Witha home built b y Robertson Brothers , there are other rewards. Like quality, ser vice, recognized integrityand reputation. Your newest reward isliving at

The Heathers , an innovative creation of condominium living ina totally planned environment. TheHeathers' ameniti es will enhance your qualit y of life and your Heathers condominium willgive you the s pace, the comfort , the luxury you deserve.

Discover the Robertson rewards at The Heathers.

Square LakeRoad between Opdyke and AdamsRoadsin

Bloomfield Hills

Models open: 12to6p .m daily

Sales: (313) 333 -0300 or call your Realtor

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

This is onecaryoumaywellwant Bosch sequential port fuel injection. to examine from underneath, flat Electronic sensors on camshaft and on your back ona mechanic's creeper. crankshaft determine the exact timing And we welcome such a critique. of fuel input, and the engine's

The firstthing you'll notice isthat Electronic Control Module determines each wheel has itsveryown suspen- the precise amountforoptimum sion system. With each system being performance. totally isolated fromthecar body. Each car is individually inspected Cornering is remarkable, withcon- and test driven upon completion to trolled heel and sway. At legal speeds, assure youthe Touring Sedan isthe the way it handles isalmost illegal. essence of Oldsmobile quality. A Inside is like no Oldsmobile you've certificate personally signed bythe ever sat in. The ergonomicexperts final inspector is delivered with each extended even themselves. Each car. Further assurance is evidenced by seating area is genuine leather. Bothanew6-year/60,000-milepowerfront buckets adjust notonlyforcom-trainwarranty and 6-year/100,000fort, but also for front, side and lumbar mile rust-through protection warranty. support. Every bend ofyour seated See your Oldsmobile dealer forthe body will be braced for all motoringterms and conditions ofthisnew conditions. limited warranty.

And the driver's view is

Ifyou desire more information on magnificent. Genuine Burl Walnut this remarkable new automobile, we'll frames the car's instrumentation and send youafree catalog. Write to: information center. Here, computer Oldsmobile Touring sedan catalog , PO. signals are translated by constant mon-Box 14238, Lansing, Michigan 48901. itoring of the behavior of nearly every Or visit your local Olds dealer and moving part. request atest drive.

A Teves electronic anti-lock brak-The limited edition Touring Sedan ing system features a sensor at each is Oldsmobile Quality initsmost wheel that monitors speed and feeds magnificent form. the data toa microprocessor. In a panic m situation, brake pressure correctsup 111 to 15 times per second, providing smooth, anti-lock braking power.

The engine is a 3.8-literV6 with

Copyright 2010, Michigan Opera Theatre

A Perfect Balance

Consider the Hummingbird. Compact and powerful,it balances power and control with such precision that itcanfly both motionless and backwards - and even invert itselfin flight.

You'llseethis same precise balance atVickers , with our new generation of electrohydraulic systems that support industry today, and anticipate the demands of tomorrow

Applied throughout the world, our systems provide the solutions needed toperfectl y balance motion , power , and control.

For more on how Vickerscanhelp y ou,writeusat 1401 Crooks Rd. , Tro y, MI48084.

The Hummingbird, iamity Troch ilida e h as evo lvedi nto 3 19 wi de-ranging species, foundfro m Tiertn d el Fu egoto La bra dor and A laska ,

IIlclCEI5

Power and Control: A Higher Technology

Copyright 2010, Michigan Opera Theatre

SMILE IF YOU'RE BLUE.

Choosing Blue isa very smart thing todo.You'll have all the health care options without the confusion . You can have Blue Preferred Plan,thePPO with more doctor and hospital choices statewide . Blue Care Network. A group of seven HMO 's located around the state. And finally; Blue TraditionaL with the most recognized card in Michigan, the country and the world

All the choices . All Blue. And all give you the peace of mind of carrying the "caring card:' • tV Blue Cross Blue Shielcl .ofMichigan Blue is better

DODGE DYNASTY

IFYOU'RE LOOKING FOR THE ONLY ALL-NEW FAMILY SEDAN IN THE WORLD THAT GIVES YOU THE UNIQUE COMBINATION OF COMFORTABLE SEATING FOR SIX, RESPONSIVE HANDLING, AVAILABLE V-6 PERFORMANCE AND ANTI-LOCK BRAKES, FRONT-WHEEL DRIVE, PLUS OUR UNBEATABLE 7/70 PROTECTION PLAN ALL AT AN AFFORDABLE PRICE,THEN LOOK NO FURTHER

IT'SGOTTABETHE 7988 DODGE DYNASTY LE. 171701

"'S GOTTABEA •

Copyright 2010, Michigan Opera Theatre

DIVISION OF CHRYSLER MOTORS

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

WHICH EXPENSE REPORT WOUlD YOU RATHER REIIM;'

Th e number o fbills , receipts, a ndd ocum entsge nerated eac h yea rbyTravel &Entertainment iss taggering

How d oyo uredu ce th e paperworka ndimp roveco ntrol w ithout sappingth eex penditure that'ssoc riticalinbuild ingyo ur co mpan y 's busin ess? A co rporate card sys temmaybet he a n swer Infac t, it ca nmak e theT&E inve stment eve n more produ ctive

A corporatecard system p rovides both a c risp o verview a nd aco mpletebreakd own o f a ll yo ur co mpany'sT&Eactivi ty. Reportss um marize yo ur co mpany's ove rall c harges a ndpa yments Th ey d etails pendingbye mployee. A nd theybreako utp ayments,soyo u ca n seeexac tlyh ow mu ch bu siness yo u'red oingwi th a nyo ne s upplier Thi s kindof information h elpsyo uan alyze p olicies andmake futur e plan s Andith elps increase saving sonairfares, h otels, and car renta ls

Largeco mpanies ca n also ge t T&Ereportso n-line.

So s PPJldinginformat ion '1 becomes " instantly accessible . '. .

If yo u ' drath er belooking at th ee xpenserep orto ntop , look int o theA merican Express ' Co rporate Ca rd Svs tem Aftera ll, s houldn't yo u T&E likeyo u manage th e resto f yo urbu siness?

Ca ll u s at Iii

'''

""

"Working together to be the best!'

Designers, engineers, lineworkers,sup pliers,dealers. Bluecollar, white collar.Union, management. Allworking together Doing what it takes togetthejobdone be tt er thananybodye lse candoit.And t hen,doingalittle more. Not just forapaycheck,butfora commitment. A commitment toexcellence that doesn't sto p when the whistleblows. Every carcom pany ta

Marsha Lukich SupervisorWindsor AssemblyPlant Wi ndsor, Ontario

levin Verduyn Designer Chrysler Pacifi ca California

George Zagone Product Development Engineer Highland Park, Michi gan

Raymondwaelchli DirectorManufacturing Technologies Detroit , Michi gan

Allen Harris ProductionOperator SterlingHeights Assembly Plant Michi gan

Karen Kronk GroupInsurance Offic e Wirren, Michigan

Forest Farmer Director-Advanced Mfg. Planning Detroit, Michigan

Richard E. Bauch Executive Vice Pre sidentManufacturing Highland Park, Michigan

Many people and their familiesare comforted by the knowledge that preparationsfor interment in White Chapel have been made inadvance.

Should you wish to make suchplans,a competent White Chapel staff member willbepleased to assist you. Pleasecall 564-5475.

White Chapel

MEMORIAL CEMETERY

Prioaie»Non-Sectarian WestLong LakeatCrooks, Tiny t

Copyright 2010, Michigan Opera Theatre

Adofth e Month is a DMB &B/Blo omfi eld Hill s id ea It g ivesr ecognition to top creativeteam sa nd spark s afri endl y comp etition throu gh out th e ag ency. Ke ep s uson our to es, Th e winnin g ad verti sing is display ed in our lobb y and qualifi es for

th ecove ted Ad o f t heYearawa rd .

A ll o fu sa tD 'Ar cy Mas iusB enton & Bowles are proud of thi swor k a nd ofo ur man y tal ent ed p e opl e who produ ced it. A ndwe're proud DMB&B to s hareith ere with you .

Copyright 2010, Michigan Opera Theatre

THE BEST SEATS IN THE HOUSE

AtEnglander's , elegant seating isjustthe beginning We offeryou the best selection of home furnishings , withthefinest manufacturer 's designs and ourexclusive imports Exotic and capitivating. Choose fromp ieces as traditional as Wagner's Tristan und Isolde As boldly contemporary as theinnovati ve melodies ofBernste in's Candide

Thisis Englander's A place that vielNS home decorating as anart Sensiti ve tothe nuances and tones thecolors and textures of your un ique p ersonality. Letourprofess ional interior designers help yo u orchestrate a look and a feelthatreflectsyour most vivid dreams To create a home thatdeserves a standing ovation

A Tribute

Ruth & Lynn Townsend Founding Chairmen of Michigan Opera Theatre

annual Met touring productions Through their strength and determination, Ruth and Lynn inspired much of the organizational framework that ensured the growth of Overture's programs, and helped galvanize the community's greater interest in establishing afulltime, professional opera company for both thecity of Detroit and state of Michigan.

This quest became arealityin 1970withthe formation of Michigan Opera Theatre's first Board of Directors and the appointment of Ruth and Lynnas Chairmen, who wouldoverseethe company's inaugural season one year later atthenewly restored MusicHallCenter.

In the ensuing years,Ruth and Lynnhave maintained a high profile of dedicated serviceto Michigan Opera Theatre, actively participating and contributing tothe dramatic growth of an organization that isnow twenty-five yearsoldin concept.

Withthe launching of the 1987/88 season, Mr.Lynn Townsend willretirefromhis formal activities as Chairman of the Board of Trustees, and will hereafter be acknowledged as Chairman of the Board of Trustees Emeritus, while together, Ruth and Lynnwillbe accorded permanent designation as Founding Chairmen.

In 1962, theDetroit Grand Opera Association appointed Ruth Townsend Co-Chairmen of the fledgling Overture To Opera committee. Sparked by the youthful enthusiasm and vision ofOvertureTo Opera's director, David DiChiera, Ruth Townsend willingly continued onas Chairman of

the Overture Committee for thenextthree seasons.

Ruth's early leadership was nurtured further byher devoted husband Lynn, CEO and Chairman of the Board of Directors for Chrysler Corporation, who possessed a profound interest and lovefor

thegenre of opera. Together with their committee volunteers, Ruth and Lynn dedicated themselves to the success of Overture To Opera's programs which provided school and community audiences withan introduction to opera byway of presenting .scenesfromthe

Copyright 2010, Michigan Opera Theatre

In recognition of Ruth and Lynn Townsend's indefatigable leadership and zealous commitment tothe establishment of the opera company, Michigan Opera Theatre proudly dedicates the 1987/88 Detroit opera season tothesetwo outstanding community luminaries.

Board of Directors and Trustees

BOA RD OF DIRE CTO RS

Mr. Robert E Dewar

C hairman

D r. David D iChiera

P resident

Mr.Cam eron B. Dun can

T rea surer

Mr.J Addi son Bartush Secretar y

Mr s. Rob ynJ Arrington

Mr. Donald J. Atwoo d

Mr s Donald C. A u stin

Mr. Ph ilipE Benton, J r.

M r.RichardA Ca scio

M rs. A vern L. C ohn

Mr s P eter C ooper

Mr. Jame sF. Corde s

Mr. John WDa y

Mr s. Charle s M Endi cott

Mr. John B. FordIII

Mr s. Roger Fridholm

M rs. VitoG ioia

M r. Jo hn C. Grif fin

Mr. David B . H ermelin

M r.W esley R Jo hnson

Mrs Wi lliam E J ohnston

Mr s. Cha rles Kess ler

Mr. RichardPKughn

Dr. R ichardWKulis

Mr Walt on A Lewis

Mr.Jule s L. Pallone

Mr. Andrew M . Savel

Mr s. Richard D Starkweather

Mr. Frank D Stella

M r. C.T homa s To ppin

Mr. RobertC Van derKloot

Mrs W illiamP Vititoe

Mr s Sa mB Williams

Mr. Morton Zieve

DIRE CTORSE

MERITUS

M r. Fr ank WDonovan

Mr. H Jame s Gram

BOARDOFTR USTEES

Mr.Lynn A Town send

C hairman E meritus

Mr. Robert E. Dewar

C hairm an

Dr. & Mr s RogerM Aj luni

Mr. & Mr s Ro bertA A llesee

Dr. Lourdes VAnd aya

Mr. & Mr s J ohn W endell

Ander son II

D r. & Mr s. Agustin Arbulu

H on orable & Mr s Denni s Ar cher

Dr. & Mr s. Rob yn J . Arrin gton

M r. & Mr s Donald 1. Atwood

Dr. & Mr s Don al dC Au stin

M r. & Mr s. J ames M erriam Barnes

M r. & M rs. J Add ison Bartu sh

Mr. L. Kar lBates

Mr. & Mr s. WilliamA Bell II

Mr. & Mr s. WVictor Benjamin

M r. & Mr s Philip E Benton, J r.

Mr. & Mr s John A. Betti

Mr. & Mr s BennettE Bidwell

Mr. & Mr s . Ivan Bloch

M r. Jo hn I. Bloom

Mr. & Mr s .Dougla s Borden

Mr. & Mr s .Donald J Bortz, Jr.

D r.E lkin s L. Bru ce

M r. & Mr s .Philip Ca mpbell

M r. & M rs Ric hardA Cascio

Mr. & Mr s.C larenceG Catallo

Hon & Mr s A vern L. Cohn

Mr. & Mr s. P e terCo oper

Mr. & Mr s Jame s F Cordes

Mr. & Mr s. RodkeyC raighead

M r. & Mr s . Richard E . Cre gar

Ju liaDono vanDarlow & John C orbettO' Mear a

Mr. & M r s. Jo hnWDa y

M r. & M rs S tanleyR Day

Mr. & Mr s Robert DeCraene

M r. & M rs RobertE. Dewar

Mr. Jame s P.Diamo nd

D r. & Mr s .Da vid DiCh iera

Mr. & M rs Frank W Donovan

M r. Lawrence PDo ss

Mr. & Mr s. E rnestDuM ouchelle

Mr. & Mr s Ca meronB Dun can

LadyEa ston

Mr. & Mr s. Leo Egan

M rs. Charles M E ndicott

Mr s. H ilda R .Ette nheimer

Mr. & Mr s .Pa ul E Ew i ng

MaureenFay , O P

M r. & Mr s. AlfredJ Fisher, Jr.

M r. & Mr s C harlesTFi sher III

M r. & Mr s. Lou is P Fontana

H on o rab leGe raldine Bled soe Ford

M r. & Mr s J ohn B Fo rd III

Mr. & Mr s MarvinF renkel

Mr. & Mr s Oli ver Frett er

Mr. & Mr s Roger Fridholm

Mr. & Mr s PaulE G allagher

M r. & Mr s Fr ank R. Ge rbig, Jr.

D r. & Mr s RobertA Ge risc h

Mr. & M rs F rank G ermack, Jr.

M rs Aaro nH. Ger shen so n

D r. & Mr s Pie rre Giammanc o

Mr & Mr s. Al an L. Gorni ck

Mr. & Mr s. H J ames Gram

H onora ble & Mr s. Ra y R G rave s

M rs Kather ine Gr ibbs

Mr. & M r s. J ohnC G riffin

D r. & Mr s Berj H.H a id o stian

M rs RobertM. H amad y

M r. Steven Hand schu

Mr. & Mr s. LeeC. Han son

M r. & Mr s. Hu ghG H arn ess

Mr. & Mr s. E Jan H artmann

M s. Mau reenHa thawa y

D r. & M rs . AlanTHen nessey

M r. & Mr s. Dav idB.H ermelin

H on. & Mr s. Jo seph N. Impastato

D r. & Mr s. David J acknow

D r. & M rs . Arthur Jef ferson

Mr. & Mr s We s leyR J ohnso n

M rs. WilliamE John ston

Mr. & Mr s E rne st A Jo ne s

M r. & Mr s Maxwell J ospey

Mr.Mi tchell I. & D r. Zofia Kafarski

M r. J a mes Kelly

D r. & Mr s Charle s Kessler

Dr. & Mr s. Theodore WKila r

D r.Pau l D Kimball

Mr. & Mr s. Semon E Knud sen

Mr.JayKogan

M s. Reva Kogan

Mr. & Mr s. WilliamKu

Mr. & M rs .RichardP Ku ghn

Dr . & M rs . R ichardW .Ku lis

M r. & M rs Lo uis E Lata if

Dr. & M r s RobertLevi ne

Mr. & Mr s. David B.Lewis

M rs. Leon ar dTLewis

Mr. & Mr s Walton A Lewis

D r. & Mr s. Mr s KimK.Lie

M r. & M rs. Thoma s VLoCi cero

Mr. & M rs. AlanLo ofbou rrow

Mr. & Mr s William Luc as

D r. & Mr s. RobertE Mack

Mr. & Mr s. John M alasky

Mr s J essie B Mann

M r. & Mr s H aroldM a rko

M r. & Mrs F rank S Marr a

M r. & Dr. JackMa rtin

M r. & M rs. John C . M cCabe

Mr. & Mr s .Robert E McC abe

Mr s. Wad e H McCree, Jr.

M r. & Mr s J ohn M cDougall

Mr. & Mr s Ralph TM cElvenny

Mr. & Mr s Pau l S.M irabito

Mr. & Mr s.E C larence Mularoni

Mr. & Mr s. Harr y 1. Nederl ander

Mr. & Mr s. Paul L. N ine

M r. & M rs. RobertO 'Co nnell

M r. & Mr s J ules L. P allone

M r. & M rs . J ohnT Parsons

Mr. & Mr s Da vid P olla ck

Mr. & Mr s. John Prep o lec

D r. & Mr s O scarE Remick

Mr & Mr s HoraceJ Ro d ger s

Mr. & Mr s. Andrew M .Savel

Mr. & Mr s Fred C. Schn eidewind

M r. & Mr s. Alan E .Schwart z

M r. & Mr s William E Scollard

M r. & Mr s. Arthur R Seder, J r.

M r. & Mrs. RichardSloan

Mr. & Mr s.No rman S mith

Ms. P hyllis D Snow

M r & M rs Da v idA St afseth

Mr. & Mr s Richard D Starkweathe r

M r. & Mr s Frank D Stella

Mr. & Mr s C Th omas T oppin

Mr & M r s. Lynn A Town send

M rs .J o sephA.Vance, Jr.

Mr. & M rs . RobertC.VanderKloot

Dr. & M rs. Arth u r Victor

M r. & M rs .W illiamPVit itoe

Mr. & M rs Harol dG W arner

M r. & M rs. Da vid K.W enger

M rs VictorW Wert z

M r. & Mrs.Gar y L. White

H on & Mr s G Me nnen William s

Mr. & Mr. R J amisonWilliam s

Mr. & Mr s Sam B William s

M r. & Mr s. Cha rles Wil son, J r.

M r. & Mr s. Eri c A W iltshire

Mr. & Mr s. Ch arles A.Wollezin,Jr.

Mr. & M rs .R Alexander Wrig ley

M r. & Mr s. Donald E .Young

Ms . Joan E . Yo ung & M r.T homas L. Sc hellenberg

M r. & M rs. M ortonZ ieve

FO UNDING MEMBER S

Mr & M rs. LynnA T ownsend Foundin g Cha irmen

Mr & Mr s. A vern L. Cohn

Mr. & Mr s . John DeCarl o

D r. & Mr s. Da vid DiChiera

Mr. & M r s Aaron H .Ge rshenson

Mr. & M rs DonaldC Gra ves

Honorable & Mr s. RomanS Gri bbs

Mr. & Mr s. Joh n C Griffi n

Mr. & Mr s H arr y L. Jo n es

Honorable & Mr s. Wad e H McCree, Jr.

H arry J Nederl ande r

E. Harwood Rydh o lm

Mr. & Mr s. NeilSnow

M r. & Mr s. RichardSt richart z

Mr. & Mr s Robert C. VanderKl oot

Mr. & Mr s Sam B W illiams

Mr. & Mr s . Theodor e O . Yntema

Mi ch igan Ope ra Theatrewas saddenedrecently by th e recent d eathsof B oard ofTrust eeand Foundin g M embers, th e H onorable Wade H. M cCree, Jr; and E. Har wo od Rydholmwhoseloving d evotion tothe co mpany th rough y ea rs of serv icewill be g reatly m issed.

General Director's Circle

Theprerequisite in gredi ent forMi chigan Op era Theatre 'sstaturea s one o f our s tat e's premier cultural institutions isf iscalre spon sibilit y. Through the s upport of our mo st generou s contributor s-the member s of theGeneral Director' s Circle-the compan y is en sured the financial s tabilitynece ssar y forthe production of thehighest qualit y op era and mu sicalt heatre season after season. Circle member s are pri vileged to enjo y a numb er o f exclu sives ocial occa sion s and benefit s. In formation concerning member ship ma y be obtained by conta cting Jan et Arnold, D irector of Individual Gi ving, at874 -7864

MAJOR BENEFACTOR

Dr. LourdesVA ndaya

Mr. & Mrs J Addison Bartush

Mr. & Mrs.RobertE. Dewar

Mr. & Mrs. LynnA To wnsend

Dr. & Mrs.SamB Williams

BENEFACTOR

Dr & Mrs AgustinArbu lu

Dr. & Mrs. DonaldC. Austin

Mr & Mrs Douglas Borden

Mrs. CharlesM En dicott

S imaBirach

C harlesBishop

Mr. & Mrs .Ivan

M r. & M rs. Donald ;J B ortz

An onymous

M rs.J Law rence Buell, J r.

Mrs artin L. Bu tzel

Sli arr on and C larence Ca tallo ar goa ndM auriceCo hen

H on. & M rs. Ave rn L. Co hn

Th omasCo hn

S helly a ndPet erC ooper

Mr. & Mr s. R odkey Craig head

Mr. & Mrs. RobertG. Ru s"s ell

Mr. & Mrs FredSchnei dewin d

RichardA So nenk ar

Mr . & Mrs. RobertSos nick \ & Mrs Richard Sta rkweather

Clara andRobertVa nderKloot & Mrs.GeorgeC Vincent

SUS TAINER

Dr. & Mrs.RogerM.Aj luni & Mrs RobertA All esee & Mrs Do nald J Atwood

Warren WAustin & Mrs.MarkA lanBaun & Mrs WilliamA .Bell & Mrs WVictor Benjamin & Mrs PhilipE. Benton, J r.

Mr. & Mrs.Ma ndell L. Berman

Edwin Le e Morrell

Ruth M ott Fund

M r. & Mr s E Cl arence Mu laroni

Julia Dono van Darl ow and John Corbett O'Me ara

Mr. & Mr s. Juliu s L. Pallon e

Mr. & Mr s. Kenneth A.P ick I, Jr.

Mr. & Mr s. David Pollack

Mr. & Mr s. John Prepolec

Han s Rog ind

Mr & M rs. I rving Ro se

Jo seph Roth

M r. Mr s. Willi amF. S anko vich

M s Jo anE. Youn ga nd

Mr. T homas L. S chellenber g

Dr 8t I s. Ar thur S chult z

M & .Mrs :-Alan E S chwartz

M r. & Mr s. Donald E. S chwendenann and ylvia-Gershenson --

Soman a F.Sm ith, J r.

Steph en ,Stackpole

Mr. &. Mr s. Mark C.Stev ens

M r. & M rs. Ge orgeSt rumbos

J Anonym ous

M r. &. Mr s. A Alfred Taubman

M r 1& M rs. J ame s J. Trebilcott

M {s. C. Theron Va nDu sen

·M rs. Jo seph A Van ce, Jr.

Mr & Mr s. William PVititoe

M rs Victor W Wert z

Mr. & Mr s. Ga ry L. Whi te

M r. & Mr s. R J amison William s

D iane W and C harles L. W ilson, Jr.

M r. & Mr s R .A lexanderWr igley

Dr. & Mr s.C lydeWu

Mr. & Mr s. Llo yd A Z antop

Administration & Staff

Dr.D avid Di Chiera General D irector

Me lodee A .DuB ois

VicePresident and Managin g Director

J ohn P.F inck

Directo r of Press and Public Relat ions

P atriceA Butkiewicz

Director of D e velopment

Da vid R. Moore

Director of Technical Op erat ions

A DMINISTRATION

NancyL. Dunn Coordinator of Volunteer Activities

N StephenValentine

Assistanttot he Ge neralD irector

BethR. Hewitt

Administrative Assistant

Ca trinaGaney

Receptio nist / Office Assistant

A ndre Dortch

Op erations A ssistant

AU DIENC ED EVEWPME NT

Julia M .Saylor

Audien ce D e v elopmentA ssociate

N icolette T.Konas

GroupSalesMa nager

C OM MUN ITY PROGRAM S

W illiamKirk

Manag er, Ove rture to Opera

S uzanne Acton Depart m enta l Mu sicDi rector

H eidi Herman Assista nttot heDirector

Delore s G.Tobi s Sa les Coo rdinator

D EV EWPM ENT

Janet D. Arnold

D irector of In dividual G iv ing

P atricia Berdan

D irec tor of Corpo rateR elations

S heila F Switzer

Grant s and Foundations Of fi cer

Clo eV Sewell

D evelopment A ssistant

Margaret M. Wittersheim

Mana ger of D onor Records and Research

FI NANCE

Anna Duchnowski

Co mp uterSystemsA d ministrator

There sa D. Mushenski Acco untant

N. E lizabeth S chmoke Research Assista nt

Ka ren DiChi era

D irec to r of Community P ro grams

Patricia M Kirchman

D irec tor of Finance

PRE SS A ND P UBLI C RELATIO NS

Rebecca Happel

Associate Di rector of Pu blic R elations

Jerome Magid

Ph otographer

TICKET OFFICE

Elizabeth Jacoby

S ubscription and Ticke tOf fi ceMa nager

Denise N ikcevich

AssistantTicket Of fi ceMa nager

Patricia Gardenhire

Ticket Of fi ce Assistant

SallyTaylor

T icket Of fi ceA ssistant

Andrew S. Meeker

TicketOf fi ceA ssistant

Arden S argaent

Toni S olomon

Se asonal Assistants

ARTI STIC ADMINI STRATIO N

Dee Dorse y

Pr oductionSc hedule an d

A u dit ion Coo rdinato r

Donna Nezwazky

P roductionA dministrator

Joseph Horan

Eric Cotton

Jimmy Stewart Tra nsportation

CO ST UME DEPARTMENT

Ulla Hettinger

C ostume Coordinator

Ravae S harp

Cost ume Mistress

Catherine Morr

Cos t ume S hop Assista nt

Rhoda E.Pill sbury

Mary France s Plunkett

Cos t ume In terns

MU SIC DEPARTM ENT

David DiChiera

M usicD irec tor

Mark D.Flint

Pr incipal Gu estCo ndu cto r & D irector, Youn gA rtistsProgram

Suzanne Acton

E lizabeth Ec kert

D irector of Artistic A dministration

C hristine Slowinski

Directo r of Audience D e velopment

S heilaM.Ingwers en

D irector of Volunteer A ctivities

Richard Piipo

O rchestra PersonnelMg r.

R Luther Bingaman

M usic Assistant

David Wilson

Pianist

LeAnnL. Overton

Int ern

STAGE MANAGEME NT

Pegg y Imbrie

P roductionS tage Ma nager

Cath y Kubel

St age Manager

John Kennell y

Beth Ann S onne

A sst.Sta ge Managers

Lauren McConnell

Lisa O strich

S tageMa nagement Interns

Sean McGinit y

S tage D ire cting I ntern

TECH NICAL DEPARTM ENT

Wm.m'Arch McCart y

Asst totheDi rector of Technical Operations & H ead of P rop ert ies

Elizabeth MacKinnon

Technical Op erations Asst

Marilyn Rennagel

Li ghting C onsultant

Ken Smith

AssistantLi ghting D esigner

TomBr yant

P roductionE lectrician

Jeffrey B. Moore

David Brock

Mike Litteral

P roductionCa rpenters

TimMiller

Robert Me sinar

John C. John son

A ssista nt E lectricians

Jerry Rathgeb

Patricia S utherland

TechnicalIn terns

W IGS AND MAKE-UP

D EPARTME NT

Karen Heinemann

W ig a nd M ake-upD esigner

S ueSittko

Wig and M ake-up Assistant

Linda Blum

Asst.Mu sic Director & Ch orus M aster

Copyright 2010, Michigan Opera Theatre

W iga

ndM ake-up Int ern

Lyric Comedy inth ree acts

Music b y Giuseppe Verdi

Libretto b y Arrigo Boito

Based on TheMe rry Wives of Windso r

a nd Ki ng Hen ryI V by Shakespeare

First performance:

Milan , Te atro alia Scala, 9 February 1893

Conductor: MA RKD FLINT

Director : L OUIS GAL TE RIO

Se t Designer TIM OTHY JO ZWICK for the opera companie s of Memphis, Indianapolis and Syracuse

Co stumes: MALA BAR LT D.

Lighting D e s igner:KI RKBOO KMAN

Choru s Master: SUZANNE ACf ON

Stage Manager: PEGGY IM B RIE

THE CAST

(ino rder of appe arance)

Dr Caius:

SirJohn Falstaff:

B ardolph: Pisto l:

Mrs Meg P age:

Mrs Alice Ford:

Mrs Quickly: Nannetta:

Fenton: Fo rd:

STEP HEN R OB ER TS

J OHN FI O RIT O and RO NALD HEDLUN D

J OSE PHD ELE ON

D EL-BO URR EE BA CH

KAT HLEEN SE GA R

MA RIANNA C H RIST OS

EILEEN KOYL

LI-CHAN CHEN

G RAN WILS ON LAW RENCE COOP ER

En glish translationusedby arrangement with E Snapp, Inc. , agent for Andrew Po rter

Through a genero us gift, the ope ning night perfor mance of Falstaff is spo nsored byMic higan BellTe lephone Company and Ameritech P ublishing, I nc.

Synopsis

SETT ING: Wind sor, England,in thetime o fHenry IV

ACTONE: S ir Jo hn Falstaffis d ining a ttheGarter Inn Dr Caius entersand a ccusesFalstaff of having brokenintoh is hou se and beating hisservants. Falstaff ignores theDoctor, bu t finally admitsth at hehas d onea ll that Cai us accusesh imof and advises h imnot tot ry to d oa nything a bout it.Falstaff'stwohenchmen,

BardolphandPistol,arealso attackedbyCaius, whocharges thatonthepreviousnightthey hadgottenhimdrunkandrobbed him Falstaff, with mock solemnity,hear s the case andgives his decision: Caiu s' caseis unfounded.Thenhereprimands histwo henchmen,notfort heir offen se, butforhavingcommitted itclumsily. A fter abrief scene witht heinnkeeper, Falstaff tells Bardolph andPi stol thatheis the object oftheaffection s oftwo you ngwives of Windsor-Alice

By Ira J. Blac:1z

Why, one may fairly ask, di d Giuseppe Verdi, who hadn 't writte n a comed y in something like half a century,suddenly turn tothat genre for what he himself, approaching his eightieth year,surel y knew would behislast opera? Itis certainly a s faira question as whydid Puccini, after writing one melodrama after another, strike out innew d irectionsinhislast opera Turandot'l InVerdi's case, the question is more easily answered.

The simple fact of the matter isit wasn't Verdi's idea at all but that of librettist Arrigo Boito. Boito, by dint of almost superhuman efforts of per suasion, had convinced the old man, severalyears before, to come out of retirement to collaborate on Otello, an opera which p roved that neithe r age nor retirement had dimmed Verdi's brilliance. In truth, O tello eclipsed aUhis earlier effort s, as masterful astheywere.

In1889, twoyears after Otello's unalloyed succe ss, Boito proposed another project-a setting of Shakespeare's TheMerry Wives of Windso r. Verdi, asheh add one b efore, played coy Boito, as he had done before, brought uphistwo "big guns:'

FordandMegPage Heo rders themtocarryletters tothetwo women,buttheyrefu se: it' s against the ir honor Falstaff hand s th e letterstoapageandturn s on Bardolpha ndPistolwithan ironic monol ogue abou t Honor.

The scenechanges tothegarden ofFord' s hou se. Theletters ha ve arri ved andMegandAlice, comparingt hem,findthem identical except forthenames.

Alice's daughter Nannetta and Mistress Quickly

Copyright 2010, Michigan Opera Theatre

jo inthem in a plantot rick Falstaff. Th eygoo utand Ford enters,together with Bardolph P istol, Dr Caius a ndFenton. beseigeFord withthetaleof Falstaff'splanofsed ucinghis wife. Ford vows to keepca refu watch.Allth eo thersleave, w Nannetta(whose father want s to marryt he elderlyDr.Caius staysbehindwithherreal love Fenton, toexchange kisses. Tilt wives meanwhilehavepe rfect th eir p lans: Mistress Quicklys be th ego-between inarran gin g

Johann Gottlob Kirchner, Joseph Froehlich, CourtJester of Augustus theStrong Courte sy of The Detro it Institute of Art s

"A of true minds'

Verdi's wife Giuseppina and his publisher Giulio Ricordi. Their powers ofpersuasion notwithstanding, the one voice which convinced Verdi belonged toa man who had been dead for more than250years-William Shakespeare.

Verdi loved theplays of Shakespeare. Hekepta volume of them, in translation, athisbed side. In1847he premiered his opera adaptation of Macbeth and for many years had toyedwithth e notion ofanoperaon KingLear (not until Aribert Reimann , almost acentur y later, would a composer havethemu sical vocabulary tomatch that play's terrifying vision of Chaos)

What wasitthat attracted Verdito Shakespeare?

Temperamentall y, both menwere very much alike. Both had , a s Verdi described himself, "toiled in the galleys 'i-Verdi in popular opera, Shakespearein popular theatre. Both were hard-headed theatrical pragmatists who created what might be called "mainstreamart:'Neitherwas an experimenter, atlea st not consciously, butboth transcended the mainstream by treating familiar themesand characters with fresh insights. While both may have beendealingwith emotional and attitudinal commonplaces (as compared withthe work of more cerebral anists), yettheysound uncliched coming from charac ters who areimbued with the dimensions of reallife.

Both menwere conscious of their craft and what it demanded of them. Shakespeare's playsare littered withhis own thoughts on what theatre wasor should be:Verdi's letters on the state of opera show howwellhehadbeen paying attention to what wa s going onaroundhim. Bernard Shaw called Shakespeare the "greatest composerof word-music inthe English language:" in 1884, Verdi wasskeptical of anew trend in opera awa y from the primacy ofthewords and voices-the poetr y and its effecti ve expression-andtowardmore orchestral color and " aural tade: ' irrespective of dramatic content.

1Ne might alsoaddthatbothmen retired in the fullness of their powers-Shakespeare "broke his staff, drowned hi s book :' and moo hometobuildthebiggest house in Stratford: Verdigave p being theobjectof lionization inthemusic capitals of Europe become agentleman-farmerin Sant' Agata. Both men came t ofretirementfortwofinal collaborations each (for peare, thehardly memorable TheTwo Noble Kinsmen

ousbetween Alice and ff. Ford, too, has d eviseda under afalse name,h e will imself Falstaff inaneffortto :how his dastardly plan s ar e ing. Thewomenandmen in inanensemble whichen ds as Mistress Quickly sets r t heGarterInn

00: Mistress Quickly at theGarterwithmessages

thAlice andMeg Alice

rd thatherhu sband is afternoonfromtwo

o'cloc ku ntilth ree.M egonthe

c ontrary se ndswordt hat h er hu sb and isa lmostn evera bsent

Fal staff cro sses Qui ckly's palm

a nda ssures herth eyo ung wo men

w illn ot b e di sapp ointed M istress

Q uicklyleaves. Then Ford is a nnounced, und er th ena me of Brook (Font anai nItalian) He as ksFalstaff's helpinhi s

co urtship of Nan nett a(andgives Falstaff a b ag of go ld to e ncourage him) T hefatkn ight ass ure s h im that h e him self h asa rendezvous w ith M istre ssFo rd

and The History of Henry VIII-for Verdi, the immortal Otello and Falstaff)

Stillthe question mu st bea sked: of all Shakespeare's playswhy didVerdi turn toa comedy? As Pro spero comes to realize in The Tempest, which wastohave been Shakespeare's lastplay,Verdi no doubt recognized that after one haslivedafull , creative, public li fewhilestill maintaining one' s equilibrium and c ircumspection, one must come tothe conclu sion that allthe s uperheated passions and brow-furrowing anxieties are only the s tuff of thestage. The world, that is real life, isa jest, as Falstaff tellsu s inthe opera , and he does laugh best who laugh s last. Comedy is a matter of keeping one's perspecti ve and proportion. I'd liketobelieve that Verdi sawa reflection of that comic sense in Boito's libretto

Ir ving Kolodin s uggests tha t Otello repre sents Verdi's properly t ragic fi naletoallthe opera s which comprisedhi s career to that po int-a s ummation of ever ything he had thought or felton that common pa ssionate subject. Falstaff i s, perhaps, the comic epilogue, much asthe ancient Greek tragedian s followed their tragic trilogies with a satyr-playor comic treatment of the same subject. After aho st of Verdian Romanti c heroe s who testthe irresi stibility of their noble purpo ses b y rushing headlong against immovable opposition, only tofail and s hatter completely, Falstaff is the utterly resistible anti-hero who amble s headlong tofulfillhi s ignoble purpose onl y tofail and bounce

Having afair idea, then, wh y Verdi might have cho sen a c omedy forhi s farewelltothe opera-house, thenext question tobe answered iswhyhe and Boito chose Shakespeare's saga of the oldfat knight getting his comeuppance atthe hands of a pair of w ily townswomen For Boito's part , we might a ssume he chose it becau se itwasa rollicking good story and seemedlikea s ure-fire opera property-as Antonio Salieri, Otto Nicolai , Adolph Adam, and Michael Balfeall thought before him and Ralph Vaughan Williams and Gu stav Holst (not to mention Jim Bernhard) would after him Fal staff is,simply,thegre atest comic figureevercreated-and you cantakeEli zabeth Tudor's word for that.

Verdi,we might besure,saw something more than ju st the " jig and tale of bawdry" From t hevery outset of the project, Verdi

wit hin theho ur a nd wi ll a rrange eve rything H ehu rries off to dress inhi sfi nest,whil e Ford remains b ehind to denounce the faithle ssness of womenin avio lent soliloquy.

T he scene move s toFo rd's ho u se. T he w ives a rereadyfo r Fa lstaff. Se rvantscome inwith a hu ge ba sketo f so iled cl othes. "Wh en I ca ll yo u:'Ali cete lls t he ser va nt s, "e mpty t heb a s ketin to the gutter.' Fa ls taff arrives an d beg in s hi s imp etuousco urt sh ip of Alic e,bu t Megent ers to say that Fordis

c oming ho me. Fa ls taff h ides b ehindascree n, w henceh esee s Fo rd s tormin,to gether withDr C aius, Bardolph a ndPi stol. Wh en t hemen scattert osearchth e h ouse, th ewo men sq ueez e Fal st aff's hu ge bulk int ot he bas ket, co veringh im w ith d irt y clothe s. Fordre turn s and hear s the loud s mack of a ki ssfromb ehind th escr een Furi ous, he calls h is co mpanions, t hen overtu rns the sc reen, o nlyto fin d h is d aughter and Fenton,wh om h e h a s forbidden herto see.Wh en the

indicated that his Falstaff wouldn't bemerel y theoverweight lothario of TheMerryWives of Windsor. Inhi s responseto Boito' s proposed scenario drawnfrom that comedy,Verdiwrote that beforereadingithewouldreread Shakespeare's original version, aswellasboth Henry IV and Hen ry V.

What Verdihaddivinedwas that the Falstaff of the history play s wasnotthesameman of thecomedy.Whilethe Jack Falstaff of TheMerryWives of Windsor isthelovable reprobate whois rendered impotent (pun intended) through aserie s of funny encounters withagang of "local characters;' Shake speare imbued himwithmuchmore serious purpose inthehistoryplays which actually predate thecomedy.

Falstaff did start out , in Henry IV;PartI, aslittlemore than an old deadbeat toservemerelyasa contrast forthe other characters' morenoble attributes Veryquickly,itwouldseem , Shakespeare realized Falstaff wasn'tgoingtobe satisfied asa cardboard cutout butneededtohavea three-dimensional , breathing personality (Verdicametothesame realization when facedwiththe stock Romantic bombasticators of his age.)

Shakespeare, likemost thoughtful men of hisday,wasacutely conscious of what governance entailed-what commoners owed the monarch and more importantly, whatthe monarch owedh is subjects.The history playswere intended asan exploration of that very important question, couched withinavast panoramic view of England during its "time of trouble s's-fhe tumultuou s yearsfromthe ouster of RichardII through theWars of the Rosestothefall of RichardIII and the establishment of the Thdor dynasty on Bosworth Field.Thetwo Henry IV plays (which together could be subtitled "The Education of Prince Hal"), withtheirsequel,are intended asa portrait of one of England's greatestandmost popular kings , Henry V.

What was Hal suppo sed tohave learned tomakehimtherare monarch hewas?Fromhisfather, Henry IV(whohad deposed RichardII) , Hallearned responsibility and howtowieldpower withconsi stency and impartiality However,healsomighthave learnedhowtoremove himself fromhis subject s inthename of Statematters.Such alienation and isolation could makehim forgetthe human beingsover whom herule s. Fromhis father 's nemesis, Harry Hotspur, Hal learned about honor and howone mightbebraveinthename of ajustcause However,healso mighthave learned howtobeheedless of consequences in that cause and eventolosesight of thecauseitself through the momentum of the occasion. Combining thosenegative qualities, youhavethe makings of a tyrant forwhomends justify means and themeansinevitablyrequire countless dead ordying s ubjects.

Enter Sir John Falstaff,theleavening ingredient inthe recipe, In theworld of courtly manners and code s of chivalry,he representsbaldfacedrealism.Heknowsaboastisonly good as longasnoonecallsyouonit and, if someone does , the

pragmatic manfindsawaytosavesomeface without spilling any blood (his aria on honor inthe opera isa paraphrase of a speechin Henry IV;Part I). Falstaff isan incomparable liarbut tono damaging effect,unlikethe intriguers at court whowreak theirhavoc behind mask s of noblerectitude. Falstaff isa drunkard anda glutton, merelyexcesses of appetites shared by mo st men of hisestate. Yet howmuchmore inhuman and villainous ishe than thesoberly calculating power brokers surrounding thethrone?

Forakingtobegreat, Shakespeare seemstosay,hemusthave the common touchandasense of mortality Thisis Falstaff's lesson. Thereisa brilliant scenein Henry IV;PartI whichbrings into sharpfocusthe recognition thatan appreciation of weaknes s isascrucialasthe possession of strength. Inthe second act, Prince Hal's carousings with Falstaff are interrupted witha summons to return home.Thispresentsthe company at the Garter Innwithanewgame.First, Falstaff willplaytheking soHalcan practice hisanswers Intheking 's voice, Falstaff rightlyaccusestheboy of wastinghisyouthinbad company, but proposes hefollowjustone of his companions.

"A virtuous man:' hesays,"a good portly man,anda corpulent , of acheerfullook , a pleasing eye,andamostnoble carriage:' In aname, Falstaff, of course.

ButHal turns thetablesand rather brutally,forallhis honesty Nowpla ying hi s father and Falstaff him,Halaccuses : Thereis adevil haunts theeinthelikeness of anoldfat man; Why dost thou conversewiththat trunk of humours, that bolting hutch of beastliness , that swoll'n parcel of dropsies,thathuge bombard of sack, that stuffed cloakbag of guts, that roasted manningtree ox witha pudding inhis belly, thatreverendVice,thatgrey Iniquity, that father Ruffian , that Vanityinyears?

Halgoesonabit further withwhatisafairly accurate but incomplete picture of theoldFalstaff. It doe s giveusa good idea, though, of howeasilyhemight,asking,lose that allimportant sense of perspective.Now Falstaff respond s, coyly, "Whom mean s your Grace?" Theanswer, "That villainou s, abominable mi sleader of youth,Falstaff,thatold white-bearded Satan:' Asidefromthespecificreference,thesamechargewas made of Socrates,whodiedforit. Falstaff nowbecomesquite seriousandweseethe point towardwhich Shakespeare was driving. Falstaff defends himself ashehopesHalwill defend himbeforetheking:

That heis old(themorethepity),hiswhitehairsdo witnes s it;butthatheis(savingyourreverence)a whorema ster, that Iutterlydeny.Ifsugarandsackbea fault,Godhelpthewicked!Iftobeoldandmerrybea s in thenmanyanoldhost that Iknowis damned. If tobefat betobe hated, then Pharoah's leankinearetobeloved.

men ru sh out ag ain,Al ice s ummonsthe se rvants a nd o rders themto dump thelaundr y int o the g utter.Alic e tak es her husband b y t heh anda ndleads himto th e window.

ACT THREE: We findFal staff ag aina t the Gart er,sa d a ndweary a fterhi s expe riencea tFor d's, callingformulledwine Mi stress Quickly arrives witha letter from Al ice,se tting a midni ght re ndezvous.Falstaff fallsintoth e t rap.H e is togot o Wind sor Park ,

d isguisedast heBlack Hunt sman , a ndwait for Al iceat H erne's O ak. Th e tw og o o fft o di scuss theplan , whileallth e others enter and talk ove rth e de tails of t heirnew prank agains t Fa lstaff Fordalso promi ses Dr.C aiusthatwhenthe funis over,h es hall marr y Nannett a.

The clo singscene a t Herne's O ak find s the younglovers to gether Nannett ais di sguisedast heFairy Queen and Fenton is instru cted to wear a bl ack cloak Th ey go out a s

th e clock stri kes t welve a nd Fals taff en ters to m eet Al ice. Falstaff b egins h iseager court ship, but is interrupt ed by t he a rrival o f M eg, wh ocriest hat t he fairies ar e coming.Fa lstaff falls to th e g round,terrified,a ndhide s hi s face, si ncet oseethe fairiesmeans de ath. Th e wh ole band ent ers, di sguisedasfai ries,imp s and wit ches Falling upon Sir John , th ey b elabor himwithbl owsa nd p inch himu ntil h e b egsfo rm ercy an d promi sesto mend h is ways. He ca tches o ntothe joke onl y

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wh en h e recognizes Bard olph , wh ose maskfallsd own. Meanwhil e the women , intr iguing to helpNannetta and Fenton, h ave co nfusedthemen b y mi xing up th e d ifferent d isguises. Thu s we find Bardolph dre ssed a s theFairy Queen , h and in hand withDr Caiu s;Na nnetta,n ow d isguised a s an ymph,e nterswithFent on inhis bla ck clo ak. Ford unite s thetwo couples i n marria gea nd a ll unm ask To th e h orror of D r. Cai us a ndthe embarra ssment of Ford , the latter discover s heha s -

No, mygoodLord: bani sh Peto, bani sh Bardolph , ba nish Poins; bu tfor sweetJa ck Fal staff, k ind Ja ck Fal staff,true J ack Falstaff,valiantJa ck Fal staff,a ndthe refore m ore valiant bein g, a s h e is, o ld Jack Fal staff, ban ishn ot h im thy Harr y'scompany. Bani sh plump Jack an db anish alltheworld !

Well , his pointis made and taken-Hal pau ses, makesgoo d o n theoldman' s late st run-in withthelaw, and evengi ves him a regim ent of infantry forthe battle whichre sults in Hot spur 's vainglorious death and Hal's reconciliation withhi s fathe r. Yet he never forgets that whileFalstaff ha s pla yed an important rol e inhiseducation , the old kni ght iss tillpo ssessed o f allth ose negative qualitie s of whichheac cused him Con sequently, when Halbecomes thekin g a t theendo f Henry I V, Part 2, hed oes break withhis oldta vern gang and, catchingFal staffi n t he full bloom ofhisexpectations, return st heoldkn ight's effusive greetingwith, " Ikno wt hee not , old man: fallto t hypra yers:'

The newly anointed king does grant Fals taff a modest pen sion butbanishes himtoa radiu s of tenmile sf romhi s royal p erson. Thelast,vividpicturewehave of Falstaff is not of a merr yfat man butofa suddenly sad,verymu ch deflated oldfoo l.

IfShakespeare had had hi s druthers, h e would ha vego ne straightto Henry Vbut , insteadhi s monarch demanded h e fulfill her druthers-a pla y about Fa lstaffinlo ve. Hen ce, that pleasant , bucoliclittlet rifle, TheMerry WiVe5 ofWindsor. H is heart wasn't init,t hough, s o that wh en Shake speare did getto Henry Vhe guaranteed no more re surrec tion s of the fat kn ight by killing him off StillFalstaff had had a profound e ffecto n him and,instead of j ust shrugginghim off p eremp torily, Shakespeare gives us a touching de scription o f ap ath etic, forgottenfigure sufferingcold, delirium , and heart -break

One may wonderwhy, if Verdi' s opera is ba sed on TheMe rry Wi vesof Windsor, we ha ve belabored th e Henry conn ection Itis a fair guess (andonl y ague ss)t hat had Verdi not know n th at other, infinitelymor esubstantialFal staff, he would no t h ave agreed todotheop era. A fterso man yyears and so m any operas , would Verdi have been satisfied w itha run-o f-the-mill bassobuffoon ? Verd i's Falstaff,as wi th all t he oth erc h aracters inthe opera, resonate thatessential humanit y whi ch hea ppreciatedin Shake speare andhad t riedto breathe intohi s own characters, as best ashisgenrewould a llow.

It's worth noting, in conclusion, that a s Verdiwentba ckto Shakespeare's morehum an Fal staff tofle sh ou t the characterin Merry Wi ves, inonerespect, Verdi,onhi s ownin itiative, a ctually wentShakespeare on e be tterinhi s p ortrayal of Ford. Shakespeare's jealou s hu sband come s a cross a s a prototy pical paranoid , would-becuckold, constantly soliloquizing an d ch asingafterphan toms. He is, inm anyres pects,a bigger bu ffoon thanFalstaffinth atheismo nomaniacally serious in marriedhis daughtertoFenton. ut he now relents inhis ppositio nto Fentona nd b lesses he two happy lovers. T he opera d with abrilliant fugueby es and orchestra. Itstheme: vno nel mondo e burla-the hole world isbut ajoke:'

direct contrast to Falstaff's unfailing flexibility of humor Onthe other hand, there is nothing funny about Verdi'sFord Hisisa jealousy not tobe taken lightly, evenifitisnoless unjustified than Shakespeare's original 's. InVerdi'sversionwe hear the passionate rumblings of an Otello and theicycynicism of an l ago,so bering echoes which darken the comedy. Still, because in this opera this potentially tragic (oratleast dangerously melodramatic) action isresolved harmlessly, the composer's conclusion about lifeisgiven added confirmation.

Th ew hole worldisajest; man was b ornagreatjester, pus hed thiswayan d that byfai th inhishea rt orby reason. Allare cheated! Every mortal b eing laughs atevery other one,but h e laughs best who laughs thefinal laugh •

B ornand rearedin Brooklynandtrainedasateacherand theatre critic, Ira 1. Blackhasbeena resident of Houstonsince 1973, duringwhichtimeherelinquishedtheclassroomforthe microphoneand stage. H ehas lectured extensivelyonthe p erformingarts u nder theauspices of several of Houston'smajor arts o rganization,h asperfo rmed as an actor and narrator with th e H ouston S ymp hon y O rchestra, Museum of Fine Arts, Music Cl ef Co ncerts, and Mai n St.T heat re; andfortenyearswaswith th efonner KLEF asartscommen tator, program producer, CulturalAffairs Directo r, and Operations Manager. Heis presently afreelancewriterontheartsandisengagedin reactivating hissomewhatneglectedcareer asteacherandstage performer.

R eprintedwithpermissionbythe author and Houston

G rand Opera

Copyright 2010, Michigan Opera Theatre

A rtist Unknown, ElizabethI,Queen of England, C. 1588. Courte sy of The Toledo Museum of Art.

an of La Mancha

AMu sical Pla y b y DaleWa sserman

Mu sic b y Mitch Leigh

Lyri cs by Joe Darion

Original produ ction s tagedb y Alb ert Marre

Or iginally produced by Albe rt W.Selde n and Hall Jame s

Ba sed onthelife and work s of Miguelde Cervante s

Fir st performance : Ne w York , Anta Washington Square Theatre , 22 November 1965

Condu c tor : Directo r and Choreograph er: Set s and Co stume s:

Lighting De signer:

Choru s M aster: Stage Mana ger:

DonQuixote : San cho: A ldonza: Th e Innk eeper:

Antonia : TheBarber:

Th e Hou sekeeper: M aria/Innk eeper's Wife: Dr.Carrasco/ Knight of th e Mirror s:

DAVID ABELL

TED FORLOW

MERRIMACK VALLEY

STAGING TECHNIQUES

MAIDIE GREER SUZANNE ACTON C ATHYKUB EL

RICHARD FREDRICKS

SAMUEL RENI

CHRIS CALLEN

MARK COLES

LAURIE MEEKER

TED FORLOW

CAITLIN MC NEIL ROCHELLE ROSENTHAL

SCOTT NEUMANN

Th rougha generou s gi ft,t he opening night performance of Man of LaMan cha iss ponsoredb y ANR P ipeline Company

Synopsis

SE TT ING: A dungeon in Seville, Spain, late16th cent ury, and various placesin t he i maginatio n of Migue l de Cervan tes.

Miguelde Cervantes, aginga nd an utter failureinhisvariedcareersas playwright, poetandtax collector forthe government, hasbeen thrown intoa dungeon inSeville toawaittr ial byt heInquisitionfor anoffe nse aga inst t he C hurch.

There heishailed before a kangaroo court of hisfellow p risoners: th ieves, cutthroats a nd t rollops wh o prop ose to confiscate h is meagre po ssessions. On e o f th ese po ssessions is the uncompleted m anuscript of a novel ca lledDon Quixote, a ndCer vantes, seeking tosaveit, propo ses to offer adefenseint he fo rm of an ente rtainment whichwillexpla in himselfa nd his a ttitude towardlife. Th e"co urt" acc edes, a ndb efore the ireyes,d onning m akeup and cost ume, C ervantesandhi sfaithful

manservant transform themselves into Don Quixote and Sancho Panza, proceedi ng top lay outt he story withtheinvolveme nt a nd participation of t hep risonersas o ther charac ters

Qu ixotea nd Sa ncho taketot he road,singing Man of La Man cha (I, D onQ uixote) ina campa ign to resto re t he age of chival ry, to battleevila nd rig ht allwrongs Th efa mous encou nter wit h t he windmill s follows, butQui xote as cribesh is de feat to th e

Copyright 2010, Michigan Opera Theatre

machinatio ns of hisenemy, d ark Enchanter, whomone will meetin morta l combat. Qu ixoteand h issqui re are en toa d istantroa dside inn-w t heDoninsists to Sa nchois acast le-Aldonza, t he inn's serving-gi rl an dpart-timetro pro positioned a nd taunted by group of roughmuleteers and repliesthat"onepair of anTIS like another, I t's All The Same. Upona rrival att he inn Q uixote, inh issplendid if IUn! vision, sees Ald onzaas th e d

Jaco bIsaakszva nRuisdael, Landscape with Windmill

ideal whom hewillworshipa nd serve evermore, Dulcinea A ldonza is co nfused andangered by Quixote's refusal torecognize her for what she really is

In the country homewhich Quixote left behind , his niece Antonia andhis housekeeperseek out the neighborhood Padreto onsider how this madness may be 1 be dealt with. However, th e Pad re find s thattheir concernis more with embarrassm ent to th emselves thanwiththewelfare

How "Man of La Mancha" Came to be Written

By Dale Wasse nna n

Iwasin Madrid that summer, writingamo vie that had noth ing todowith Madrid whenmyeye caught aniteminthe newspapers which stated that my purpo seinSpainwas research forastageversion of DonQuixote

That was a c hucklingmatter,forlikemo st peoplewhoknow DonQuixote, Ihadnotevenreadit. Thetimeandplace seemed appropriate fo r repair of that omission, however,soI setforth onthetwovolume journey and arrivedatitsendwithtwofirm conclu sions; thefir st was that this archtypical work could not an d should not be adapted forthestage The secondhadtodeal notwiththenovelbutwithits author

Iwasaware, of course ,t hat DonQuixotehad been attempted for the theatre scores of time s. Ha ving seensomedozen of tho se attempts-ballet, motion picture,play and opera-I wasaware, too , that the attempts invariablyfailed.Thereasonwas plain; tryingto capture thisworkin dramatic formwasmuchlike attempting toforcetheseaintoabu cket; ambitiou s but impractical. Butwhat continued to haunt my thought s was n ot thenovelbutthe shadowy figure behind it.

Miguelde Cervante s y Saavedra ... whowas he? What manner of man could pour intoa magnum opusso incredible awealth of wit and wisdom,couldrangesowidelyoverthe spectrum of human behavior that nearlyallliving literature is stillinhis de bt? Withinterest that wasto become verynearl y obse ssive,I setout in search of Cervante s.

I learned that his lifewasscarcelyless mysterious than that of his contemporary, WilliamShakespeare.Afew documents atte st to hisexistence a bapti smal certificate of October 9, 1547; a record of arm yservice, disablement, en s laveryforfive yearsin A lgiers, embroilment s withthelawwhich netted h im atleast three prison terms,an excommunication bythechurch, a failed marriage, an illegitimate daughter-but thelist of mi sfortune s b eginstoo verwhelm.

Misfortune, infact , was the pattern o f hi s life H ewasde alt blo w after blowbytheblindmalice of fate.Failure and di saster; thi sis the record-until inhi s fifties ,shamefullypoor,in firm of b ody and with dimming eyesight, he undertook thewr iting of a book whichhe hoped mightbr ing himea se inhi s remainin g year s

of Qui xote a sthe t hree sing I'm

O nly T hinking Of Him. Th e Padre

an dDr SansonCarrasco, Anton ia'sfiance,aredelegat ed to pur suet hemadmana ndbringhim

b ack home Meanwhile, Qu ixote

d ispatches Sancho to Aldonza witha " missive"d eclaring his everlasting devo tion to Dulc inea

Aldon za, bein gevenmo re confus ed, que stions Sancho a s to whyhe so fa ithfully follo ws Quixo te. Sancho repl ies,simply,in the song, IR eally Like Him

WhileQuixote isstanding vigilin thecourtyardofthe innin preparation for hisoffic ialdubb ing asaknight , Aldon za acco sts him directly, ask ing inso ng, WhatD o You Want Of Me ? Qu ixote then en counters, durin g Th e Barber's Song , anit inerant barber wearing hisshavingbasin a s ahattoward o ff the sun . Qu ixote confi scates th e shavingba sin ina comicinterlude, convincedtha titis th e miraculou sly p rotective Gold en H elmet ofMambrinoa nd is cere moniousl y c rownedwit hthe

Copyright 2010, Michigan Opera Theatre

a id of t hemu leteers,p layin g al ong with hi m, a ndtheincredulous b arber,who co mes to believe that h is basin may,indeed, bet he celebrated he lmet.

A brie f interlud e.

T hePadrea ndDr. Carrasco, hav ing fai led i n their m ission, gri mlyp lana new attempt tobring Quixo te to h issenses T he Padre hopest hat "t he c urewillnotprove

Here,IdiscoveredthedesignforaplayIwantedtowrite.Notan adaptation of Don Quixote, buta tribute tothespirit of his creator.Toblend and mergetheir identities-for whatI had learned was that inallessentialwaysMiguelde Cervantes was DonQuixote.Theupsets of existencenever dimmed the brightness of hisvision,never soured his compassion norhis humor,never stripped him of hisfaith.

The motif of the attempt Ifoundina quotation by another brilliant writer,Miguel Unamuno, whosaid: "Only hewho attempts the ridiculous mayachievetheimpossible:'In that Quixotespirittheplaywaswritten,a deliberate denial of the prevailingspirit of our owntimewhichmightbeexpressedas aesthetic masochism and whichfindsits theatrical mood in black comedy and the deification of despair

Butthosearesubjectivereasons.Mostsimply, Man of La Mancha ismyway of paying tribute tothe indomitab le soul of Miguelde Cervantes, themanwhowasDonQuixote. •

DaleWassermanisthe author of the musical play Man of La Mancha and haswritten more than 47 works for thestage and television.

Miguel de cervantes

AudiencesattheFisher Theatre willbeabletosharethe delights of theatregoers allovertheworldin experiencing themusical interpretation of theworld'sfirst modern novel, Don Quixote of LaMancha.

Until1605whenMiguelde Cervantes wrotethistale of an addlepated Spaniard whorefusedtobelievethatthedays of medieval chivalryhad ended, anddeclinedto adjust tothenewtimes of hisera, literature had included epicpoemsliketheIliad, and romances like The Song of Roland, butneveranovelinthesense of thepresentday books of fiction. Don Quixote wasnotonlya turning pointinworld literature because of itsgreat quality asa storyfilledwith laughter andtears,butalsobecauseit instituted anewform.

Man of La Mancha isthemusicalversion of thisepoch -making novelmade360years after Cervantes published thefirst part of hiswork. It hada phenomenally successfulruninNewYork of fiveyears,1965to 1970-surpassing the original runs of Oklahoma! and South Pacific-and scored truimphs similarlyin other largecities of theU.S. and Canada and in28 major capitals around theworld.

Inthe "two-hours traffic of thestage"andmore than 20rousing songhits,theshowcrystallizesthe thousand episode-crammed pagesinwhich Cervantes exposedthe absurdities of hisday.He createdanineptherowhoissteepedintheexaggerated romances of knight-errantry that hadbeenthe popular literature of previoustimes. Attired inhis great-grandfather's rusted armor, hegoesforthinquest of adventure, determined toredressall grievances,rightwrongs and "purchases everlasting honor and renown:'

worse than thedisease"inthesong ToEachHisDulcinea. Atthis point,replyingto Aldonza's question about doingthethingshe does,Quixoteexplainshemust followhisquestandsingsherhis credo, The Impossible Dream(The Quest) Aldonza then encounters themuleteers loafing nearthe courtyard well,andtheyteaseand taunt her during asongcalled, LittleBird, LittleBird. Following thePadre'sandDr. Carrasco's departure, Quixotedefend s Aldonza's honor ina

successful battle withthemuleteers, anda s hisrewardisformally knighted bythe Innkeeper in The Dubbing.

Now,having caught thefeverof Quixote'sidealism, Aldonza attempts toputitintopractice,but forher efforts sheiscruelly beaten and carried 0 ffbythemuleteersas LittleBird,LittleBird becomes The Abduction Disillusioned, Aldonza passionately denounces Quixote and hisdreams,whichhave

brought heronly anguish, inthe highly dramatic Aldonza Now appears The Enchanter, fantastically costumed asThe Knight of the Mirrors He challengesQuixoteto combat, forcinghimtolookintothe mirror of realitywhereQuixotesees reflectedafoolanda madman Quixoteis defeated but Aldonza, awitnesstohis destruction, feelsadeepsense of loss.TheKnight of Mirrorsreveals himselfasDr. Carrasco.

Copyright 2010, Michigan Opera Theatre

Athomeagain,theoldmanwho oncecalled himself Don Quixote, dying . Hisfaithfulmanservant, whohasbeenhisSancho,attemp tocheerhimupwith ALittle Gossip. Aldonza, having followed, forcesherwayintotheroom, pleadswithhimtobecomeDon Quixoteoncemoreandrestore the visionofglorysheheldso briefly. Poignantly,sheurgeshimto remember thatheoncecalledher by another name, Dulcinea. As she helpshimrecallthewordsof The Quest,

PietroTacca, Philip IV of Spainon Horseback Courtesy of The Del Institute of Arts.

Under thedelusion that h e is a courtl y knight,hetilt s witha windm illthat hetakes tobeagiantind isguise, and embark s on co untless equally ridiculousforays,mistakingthe coarse, mockingpeasants he encounters forgentlelord s andladies. Eventuallythe patheticbut noble-hearted creaturereturn s home toregain hissanity,an dd iesq uietly inbed.

Cervantes' picaresque madman whoresolutely ignore s realit y has much incommonwithmanya modern theatre-of-theab su rdcharacter Samuel Beckett, Tom Stoppard, EdwardAlbee and other contemporary playwrightsc reated protagonist s in co nstant andalways un successfulstrugglewithrealitiest hey re fu sedto recognize. lonescoand P interhaveevokedawesome un real wo rlds thatsomehowma nage toseemmorerealthanthe one we experience everyday.

Cervantes would bevery muchathomeinthe company of the se mod ern writers whosebitingcomicinvention s exposethe an xietiesofourtimes

Th e story of Man of La Mancha present s a dramatic contra st between the live s ofthehapless16th century writera nd the pixil ated cavalier whobroug ht him immortality

The mu sic alopenswithCervantesbeing t hrust intoa dungeon (the authorwasactually imprisonedby th e Inquisitionforso me Questionable opinions). Th ere h e mu st defend him selfan dh is manu scr iptagainstthe thievesa nd m urderers who arehisfellowpri soners. Hed oessoby recreatingfor th em hisstory of Don Quixote. Thatthisdu alityo f heroes works theatr ically is pro ved not only by theenorm oussuccessof Manof La Man cha in product ionsallover th eworld,b ut a lso bythefact that out of the more than 200other kn own dramatizations of theta le-on stage, on scree nand aso pera -t his is the firsttoenjoys uch enormou s popular app eal.

Cervantes, thebitter soldier of fortune,isknowntohave end ured at leastthreejailtermsforhis financialsho rtcoming s. It may besurmised thathewould haveapproved of t hed evice of shuttlingthenarrative betweenthe grandiose delusion s of the Ques ting knight and sordid ironies of his ownabjectlife.Inhis pre fa ceto" Don Quixote", the Spaniard notedthat"every produ ctionmustresembleits a uthor.'

Cervantes' life was a story of failure.Hewas a soldierandhelost his le ft hand -o r theuse ofhis lefta rm, we don't know which- wit h the firstshot attheBattle of Lepa nto in1571. H e joinedthe household staffof Cardina l Aquavivaandwas pro mptlydismissed

On a vo ya ge toAfrica,hewas seized b y Barbarypirate s and impriso ned for seven years. H isfamilylostalltheirmoney payi ng his ransom One sisterbecameanun,the other a prost itute to payoff thefamily debts.

Hisgreatlovewas thetheatre.For20years hewas a strolling p layer Hewrote some30plays, of whichon ly two survive.Hi s playswereundistingui shed andthe company withwhichh e acted,directedandwrote,was unimportant. Thenameof Cervanteswouldneverbeknownwereitnotforthenovelthat waspu blished whenthe author was58yearsold Withthe publication of D on Quixote camefame,butverylittleintheway of financialrewards.

The author ofwhatiswidelyregardeda s theworld 's firstand possi bly greate st novel,diedin 1616, withintendays of Shake speare's death , amanbrokeninbod y and s pirit.His burial placeis unknown.Buthi s bookwillneverdie.Itwas thefirst storytodealwithillusionandreality,andit's protagonist is perhapsthemostmemorab le character inallofliterature.Hi s namebegatourword"quixo tic" todescribeapersonoraction impo ssibly idealistic. •

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Ie,stirred to the old fire, rises his bed, ca lli ng fo r his armor sword so that he, Sancho, and may once more set out thei rmiss ion Butin the t of rea ffi rma tion, duringa . of Man 0/ La Mancha, he dying. While the Padre, has bee n at Quixote's bedside, The Psalm over the life less Aldonza, having see nthe once more, refuses to ledgeQuixote's death . ''A died He seemed a good man, J did not know him", she

contests, "DonQuixote is not dead:' WhenSancho questions her,shereplies, "My name is Dulcin ea" Quixote, having considered her throughoutan individual of uniqueworthand value,has litera lly transformed her

Back inCervantes' dungeon, the prisoners, dregs ofhumanity t hough theya re, have beendeeply affectedby his story andrestoreto himhisprecious m anu script , and as he leaves to face his realtrial,

they unitetosing the word s of Cervantes-Quixote's TheQuest.

Reprinted f rom t he or iginal cas t recording, Kapp Re cord s,Inc ., New York, N Y

Copyright 2010, Michigan Opera Theatre

ArtistUn known , Page's Su it of H alf-Armo r, Italian,c. 1605.Courtesy of The Detroit Institute of Art s

Man of La Mancha onBroadway

Sincethe death of Cervantes in 1616, more than 200 adaptations of the DonQuixote novelhavebeenmade, including operas, plays,films,ballets, and televisionshows,butnone have matched the popularity of themusical theatre masterpiece, Man of La Mancha. Dale Wasserman's television drama, I, Don Quixote (a1960Emmy nominee) ledtotheeventualwriting of themusicalversion,byfirst enlarging histelevisionscriptintoa stageplay.Itwasatonce optioned fora Broadway production.

Wasserman was persuaded tore-writethestageplayagainin order to incorporate music and lyricsas written byMitchLeigh and Joe Darion. Man of La Mancha embarked onapreBroadway tryoutata Connecticut summer theatre inEast Haddam (the Goodspeed Opera House), andit triumphed fora limitedrun of fourweeks.

Instead of usinga standard proscenium-type theatre, the producers of theshow mounted itattheANTA Washington Square Theatre inNewYork'sGreenwichVillage,an open stage theatre that had beenbuiltasa temporary home forthe Repertory Theatre of LincolnCenter. Man of La Mancha opened on November 22,1965withthesamecast that had playedthe summer tryout. The morning after itspremiere, showeredwith superlative reviews, Man of La Mancha was suddenly the hottest ticketintown.Theworkwonallthe major theatre awardsforthe season, including bestmusicalandfive Tonyawards.

The production movedintoa proscenium-type theatre on Broadway in1968, and by December 27,1969, Man of La Mancha reachedits1800th uninterrupted NewYork performance, surpassing the Broadway runs of South Pacific and The Sound of Music. The work's enduring popularity has takenit abroad to audiences of Spain,Israel , England, Sweden, Denmark, South America, Czechoslovakia, Australia and Finland. In1972, Man of La Mancha became thethird American musicaltobe performed intheSoviet Union (the other twowere Jfest SideStory and My FairLady). Official Communist Party re-workingshowedaDonQuixotewhowasa buffoon, and more,the dramatic representation of theSoviet concept of the superfluous manwhodoesnosociallyusefulwork Man of La Mancha wasrevivedon Broadway in1977, and ranforan additional 124 triumphant performances.

Mitch Leigh

MitchLeigh,composer,was born in1928 and grewupin Brooklyn, intheBrownsvillesection,a poor neighborhood that harbored such infamousorganizations asMurder,Inc.He learned toplaybaseball and the clarinet and used both talentsto gettoYalewherehe studied music under Paul Hindemith.

Afteran unpromising start intheNewYorkmusicfield,hewas offeredatrial assignment towritethemusicfora hair-spray commercial. Thelargefeehereceivedforthis effort decided Leighto plumb thisarea.He formed MusicMakers,Inc.in 1957 tosell background "motivational" music,andineightyearsbuilt a chain of elevenshow-business companies turning out advertising music, promotional campaigns for products and packaged TVandradioshows

Forthe theatre Mr.Leigh provided incidental musicfortwo plays,"TooTruetoBe Good" and"NeverLiveOveraPretzel Factory;'before composing thefullscorefor "Man of La Mancha. A second musicalcomedy, "Chu Chern" closedoutof townbeforeitsscheduled1966Broadway opening Histhird venturewasamusicalbasedontheplay "Hogan's Goat" thathe called "Cry ForUsAll;' scheduled foraBroadwaypremierein early1970,withMr.Leighactingnotonlyas composer for William Alfred's book and lyrics,butalsoas producer of the show,a function he announced hewould assume forallfuture showshewrites . His other interestisinfeaturefilm production.

Copyright 2010, Michigan Opera Theatre

Artist Unknown, Recumbent Knight. Courtesy of The Detroit Institute of Arts

AMusical Arabian Night

Music and Lyric s

by Robert Wright and George Forrest

Based ontheme s of Alexander Borodin

Bookb y Charle s Lederer and Luther Davi s, ba sed onthep lay by Edward Knoblock

First p erformance: NewYorkCity , Ziegfeld Theatre, 3 D ecember 1953

Conductor : Director and Choreographer:

SetDesigner:

C ostumes:

Lighting Designer: ChorusMa ster : Stage Manager :

DON JONES

THEO DORE PAP PAS

JAMES NOONE, CANA DIAN OPE RA COM PANY

MALA BAR LTD

MARILYN RENNAGEL

SUZANNE ACTON PEGGY IMBRIE

THE CAST (inorde r 0/ appearance)

The P oet, later called Hajj:

Marsinah, h is dau ghter :

Jawan:

The Wazir 0/ Police:

Lalume: TheCaliph:

DAVID CHANEY

BEVERLY LAMBE RT

ROBERT GROSSMAN

AVERY SALTZMAN

KIMC RISWELL

BRENT BARRETT

Kismetis pr esented throu gh a specialarran gement with Music Theatre In t ernational, 545 Ei ghth A ve nue, New York ,N .Y 10018

Throu ghagenerous gi ft,the opening night performance of Kism et issponsoredbythe Michigan Opera Theatre Guild

Sy nopsis

SETTING: A d ayino ld

Baghdad, 14thcentury

ACT ONE (Fro m daw nt o du sk): lman,a n o ldman inBa ghdad, sets the scenefor t hemornin g marketplace wheret he b eggars of the cityprepareforwork (Sa nds of Time). A poeten ters selli ng rhymes (Rhymes H a ve f) W hen the poetsits o nth esteps of t he mosqueinbeggar H ajj' s pla ce, he is astonishedto receive coinsand

The Stage Play, the film, The Musical

Kismet, themusical that first introduced the memorable and haunting "Stranger inParadise ", whichwas the nation's top song-hit throughout themid-1950's, hadalongand popu lar life beforeits pre sent mu sicalversion.Itfirst emergeda s aplay,sans mu sic, byEdwardKnoblockandwas presentedin London on April19, 1911 ,starring Gordon A sch Th es tagepla y K ismet provedtobean enormous successandwas followedbyaNew YorkpremiereonChri stmas Day of that same year.

comment s on th et urn of event s, (Fate) Mi stakenfor H ajj, h eis ca rried off t oa d esert en campment b yvillainso f J awan, wh o pl ano nto rturin g him until h e removesac urse that Hajj ha s pl acedo nJ awan Heag rees to removet he c urse ift hevillains will p aythe s u m of 100go ldp ieces

It seem s that J awan'son ly so n was sto len f romhim fiftee n years ago , immediately afte rHa jj' sc urse. T hep oet promi ses Ja wan hewill f indhi s so n tha t d ay inBa ghdad .

Since J awanisa robber, heis not safee ntering thecity but does so inh opes of fi nding hisheir

InBaghdad , a tt hepa lace , t he Wazir's wi fe, Lalurn e,si ngs of t he e nchantment of t he ci tytot hree h omesick p rincesses (Not S ince Ni nevah) whohavea rrived at court. Th e p rincessesaret he d aughters of t he Sheik of Arabu, tow hom La lume ha s promised wealthym atesfo r t he pri nce sses in returnfo r a loan t oe nrichth e Wazir's tre a sury

Copyright 2010, Michigan Opera Theatre

T he poetmeet s hi s lovel y daughter Marsinah inthe bazaar, g iveshe r t he go ld a nd urgesher t o bu y so me p retty things a nd t h eho use s heh asa lways wanted Sheis imm ediatelysurroundedb y merchantswho di splayavar iety of t rinket s (Baubles , Ban gles and B eads)

The poetis captured b y the Wazir' s police,wh oseehim carrying a moneybag bearing the insignia of afamil y thatwa s ro bbed.W hen h emis takenly

Arti st Unknown, QuajarTiles/or WallFountain, d etai/. Courtes y of theDetroitIn stitute ofArt s.

TheNewYorkversion starred famed American actor O tis Skinner, providing himwithhisgreate st stagerole and becoming one of thelegends of the American theatre. Skinner made something of alifeworko f theplay(justasEugene O'Neill's fatherdidwith The Count of MonteCristo), actinginitfo r fo ur years uninterruptedly onthe stage, and making twomovie version of it-a silentonein1920 and a "talking " onein 1930. The1930filmwasrevised againin1944,butthistime starred Ronald Coleman asthepoet Hajj, and featured Marlene Dietrichasthe alluring ladyHajjwins onhis way uptofortune. Inevitably sopicturesque and popular aplaywas turned intoa musical after this version-which is nowtobe presented hereat theFisher Theatre -achieved its notable stagerunfrom1953 to 1955.Itwasmadeintostilla fourth movingpicture, starring Howard Keela nd Ann Blyth Kismet hasthusenjoyedro ughly a half-century of continuing popularity

Kismet, whichmean s "Fate" or "DestinY,' is thestory of a dauntle ss d' Artagnan of ol d Baghdad, abeggarwhosellspoem s out side a mosque an dlivesontheedge of starvation "A man;' heexplain s, "cansell anythi ng buta poe m:' H ista le isa n example of the strangene ss and u npredictabi lity of hu manlife

For,with luck , a udacity, ag ile wita nd e loquent to ngue,h e isa ble torise from h is pen niless stateto b ecomet he Em ir of Ba ghdad ina s ingleday,d isposing of hi s e nemy, t he fierce Wazir of Police, inthe course of his exuberant a dventure s an d a lso ta king over

m ention s J awan ' sna me, t hey take himtot heWazir

M arsinahisfollo wed tot he ga rden of a h ouseshewa nts too wnb y t he yo ung Cali ph, w hois fascinatedby h er (Strangerin Parad ise) Th eyag ree to meett he n ext n ight,even t houghneith er kn owst he o ther 's true id entity.

Later th at da ya tth e p alace, the Ca liph o rdersOm ar, hi sservant, tose nd a wayhi s concubines and prep are forhim to marr y thegirl

h e has met in t heg arden (He'sin L ove)

The p oet is brought before the Wazir, who want s the poet 's right hand cutoff,the usual puni shment for theft, but H ajj pla ys on Lalume'ssy mpathiesand con vinces themtogivehima hearing (Ge sticulate) befo re passingsentence. J awan, dragged inbythepolice , curse s H ajjfor being afake, but spying an amulet hanging fromt heWazir ' s neck , he reali zes h ehas found hi sson,an d

Artist Un known, Bron ze Oil Lamp, Persian, 12th Century. Co urte of Th e Detroit In stitute o f Ar ts.

the Wazir ' sa lluring wifea nd arranging th e marriage of hi s cha rmingd aughtertotheCali ph, noless,o nh is wayupto emi nence.

Th eco ntinuingpop ularity o f th estory of Haj jfor ap proximatelyha lf a century canb e a ccounted forp artly byt he p icturesqueness of a ta lelaidincolo rful Baghdad andp artly by t hefacttha t audien ces ar efascinatedby amischievous,slickerty peh ero.

Th is H ajj o f K ismet ma y no t be exactlyafiguretobeheldup for emulation ina Sunday-school cla ss. Heis a scoundrellybeggar whob y mean s o f quickwitand audacity getslovefromladies andmone y and po sition frommenbysheer cunning H e is bl ood broth er to s uchoth er da shing adventurers longbelo ved by t heatre-goersa s D 'Artagnan, Cyrano,TillEulen spiegel, Davey C rockett,thewall-climbin gc haracters Douglas Fairbank s u sed to po rtrayinsilentfilm s,o rt he flambo yant heroe s o f Sab atini. Sincet he legend of Till goesba ck tomedie val times,t hereis apparently awidespreadhum an weakne ss forfolk -rascals

prai ses Ha jj'ss killa sa prophe t. The Wazir panic s atthi s new s, for Ha jj has c ursedh im m oment s before. Hebeg s Hajj to remove t he c urse and a grees torai se h im to a n Emir ifhewill s topthe youngC aliph' s weddin g tothe unknown girlfromthe g arden.

ACT II (F romdu sk todawn ): Th e Calip h is onhi s way tomeet Marsi nah (Night of My Ni ghts), but shenever arrives , for H ajj, fea ring they m aybek illed w hen he is u nableto s toptheCal iph' s

Copyright 2010, Michigan Opera Theatre

weddin g, ha s hidden herinthe harem The C aliph brokenheartedl y return s tothe palace and theWazir is overjoyed to discover that his newEm ir is reall y a wizard (Wa s I Wazir).

Lalume and the harem g irls e ntertain thenew Emir (Rhadlakum). H ajj comforts Marsinah asshe d e scribes her los: love,while in anot her part ofthe palace, the Caliph d escribes M arsinahtothe Wazir (And This Is My B eloved)

Arti st Unkown Dragon of M arduk Courte sy of TheDetroitIn stitute of Arts

Artis t Unknown,

Hajj and Omar exchange some poetic verses (The Olive Tree).

he \\alir, discovering that larsinah isinhisharem,prepares marry her before theCaliph lizes her true identity. Hewill do this inorder to guaranteethe Caliph's marriagetooneofthe heik's daughters

When the Wazir,notrealizing Marsina h is Hajj'sdaughter,tells him he is goi ng tomarryherand have her poisoned,Hajjdrowns

himinthepalacepool.Mar sinah andthe Caliph areun ited, and Lalumeandthepoetagreeto spendtherest o f the ir d ays ona desertoa sis.

In Kismet , againsta background of old Baghdad wherecaliphs andwazirsare all-powerful and givessentences of "Off with theirhead s" as casually a s a modem tycoonissues aninteroffice memorandum, Hajjrisesfrom s treetbeggarto court officialwithinaday'sspan,andinthecourse of hisriseshows thatwithhis eloquent tongue hecantalkhim self intoorout of anything.

American s ha ve alway s likedstorie s ofclever opportunists like this, self-mademenwithan audacious flair,whobuild fortunes ona shoestring.

Copyright 2010, Michigan Opera Theatre

Quajar Tilesjor WallFountain,detail. Courtesy of TheDetroit Institute of Arts.

EdwinLester, General Director of theLosAngelesCivicLight Opera Association firstconceivedtheidea of doing amusical Kismet, and presented itonAugust17,1953inLosAngeles.Its successthere and inSan Francisco ledtoaNewYork opening on December 3,1953,attheZiegfeld Theatre.

OftheNewYork opening, itwasone of fewshowsin history to open without any written reviews,forit opened inthemidst of a newspaper strike.Butthe comments that were broadcast on radio and televisionthenextdaywereso enthusiastic, and soalso wasthe word-of-mouth acclaim spread bythosewho attended the opening night, that longlines of ticket-buyerswere strung out atthebox-officeasifallthe newspaper criticsintown had written columns of praise.Weekslater,withthestrikesettled,the enthusiastic newspaper reviews appeared in print, but seemed irrelevantsince Kismet had already become anovernight success.

Oddly enough, thesame situation existedwhen Kismet opened

in London some17 months laterinApril1955,whentheBritish capital wasalsointhethroes of a newspaper strike that preventedasingle edition being printed. "Fate" onceagaintook itscourse,andthe London production of Kismetprovedtobe an enormous successwiththepublic.

Kismet ranto capacity audiences inNewYorkfor17months,to achieveatotal of 805 performances beforeitsetoutonalong coast-to-coast tour of other cities.Inthe 40-odd other cities where Kismet was subsequently performed byitsNewYork company,thejinx of the newspaper strikesdidnotinterferewith the publication of reviews.Fromoneend of the continent tothe other,these non-Broadway criticswerelavishintheir commendation of the melodious musical, featuring music adapted fromtheclassical19th century works of Russian composer Alexander Borodin, tobecomeas haunting and modern amusicscoreasany contemporary American has turned out.

Copyright 2010, Michigan Opera Theatre

Eugene Delacroix, Arabes d' Orono Courtesy of TheUniversity of Michigan Museum of Art.

Two well-defined trend s inthe making of succe ssful musical theatre arefu sed in Kismet. One isthe adapting to the mu sical stage of popular s tories originally written for other media-as hasbeen thecasewith My FairLady, Oklahoma and South Pa cific, to mention examples of,first,a non -musical Bernard Shaw play Pygmalion , converted to the musical stage, seconda no n-musical American play similarly adapted, and third of a beloved novelbeingre-workedwith song and dance.

Theother trendis that of utilizing cla ssical (long-hair) mu sic for more popularmu sical theatre performance. Thefir st in stance of this was intheca se of Franz Schubert, inwhichhi s melodie sa nd his life-storywere combined into B lossomTime Since then hardlyanycla ssica l composer has remained untouched.

It isthesame team of conte m porary Americans, Robert Wright and Georg eFor rest, who turned thelife and the tunes of Edvard Grieg into t he highlys uccessful m usical So ng of Norway, and who havenow had theinventive noti ono f delving into the somewhat o rientalr hythms of Al exander Borod in(the composero fo ne sig nifica nt o pera Pri nceIgor, afew orchestral su ites andsymphonies before he d iedin 1887) Wright and Fo rre st haverefurbishedBorod in'so per atically-inspired score wit h "hotb rassan d thro b bing drums" here and there, and joinedthem toEdwa rd Knoblock's story of exotic Arabia.

The1953 NewYorkstage premiere featured the acclaimed c ast ofAl fred Drake, Joan D iener, Doretta Morrow, Richard Kiley an dHenryCalvin The NewYork production wonthe Outer Circ leAwardastheyea r's best musical, and aspecial D onald son Awa rdforthe year'sbestmu sical score

Robert Wrighta ndG eorge Forrest wo nA ntoinette Perry Awards for theird istinctivemusical arrangement, while Charles Lederer and Lu ther Daviswonan Antoinette Perry Awardfor their book .The lateLemuelAyers wonthe D onaldsonAwardforthe year's bestcostumedesignsforthisshow , and Albert Marre won the Don aldsonAwardfortheyear'sbestdi rection of a musical.

Art istUnknown, Quajar Tilesfor WallFountain,detail Courte sy o fT he Detroit Institute o f Arts

O n March I, 1978, a further evolution of the Kismet drama opened on Broadway, thistime called Timbuktu, anew musical version of the 1953 production. Instea d of Baghdad,thenew version called fora colorful settingin Timbuktu, West Africa, and included African folkmusicaswellas themes from Alexander Borodin. •

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Robert Wright and George Forrest

Robert Wright (b 1914) and George Forrest (b. 1915), began their earliest co llaboration intheir yout h with their successful music and lyrics of "Hail to Miami High!" Their first major break occurre d in 1936 withthe com positio n of the mes and me lodies foranew MGM short film, New Shores. In thenextsixyear s, theywrotethelyric s and music,themusical treatment ormusical adaptation formore than 50 films, primarily for MGM.

In 1943, Lo s Angele s Civic Opera impresario EdwinLester commissioned Wright and Forre st towritethelyric s and adapt themu sic of classical Norwegian composer Edvard Grieg,fora new operetta entitled Song of Norway Theworkwas very succe ssful and ranforover t woyearsonBroadway, including 75 week s atthe Palace Theatre in London and wa s followedbya filmin 1970 starring Florence Henderson

Along theway, Wright and Forre st wererespon sible for creatin g t helyric s forEdwinLester's two productions of TheGreatWaltz and TheFortune Teller. Stimulated bythe success of his formula for adapting cla ssical theme s into operetta s, Lester once again tapped thi s team towritethelyrics and mu sical adaptation of the s tageplay Kismet For their mu sical inspiration, Wrightand Forrest looked tothecla ssical melodies of Ru ssian compo ser Alexander Borodin and hi s opera PrinceIgor.

Following Kismet's long successful runs on Broadway and national tours, Wright and Forrest wrotethemusicfor MGM 's 1955 adaptation of thewo rk, afilm that starred Howard Keel and Ann Blyth For their musical creation of Kismet , Wright and Forrest garnered the Antoinette Perry(Tony)award,in addition to an Oscar nomination for "The DonkeySerenade"from The Firefly.

Wright and Forre st ha ve wri tten mu sic and lyrics fora dozen te levision spectaculars, night club production and special material forCele ste Holm, Anne Jeffreys and Robert Sterling

Copyright 2010, Michigan Opera Theatre

I Trovatore

Dramatic Opera in four acts Musicby Giuseppe Verdi

Libretto bySal vatore Cammarano andLeone Emanuele Bardare

Ba sed onthe

Spani sh Tragedy, £1 Trovador, by Antonio Garc ia Gutierrez

Fir st performance:

Rome,Te atro Apollo

19 Januar y 1853

Conductor:

Lighting Designer : Cho rusMaster:

CESA RE ALF IERI

M IC HAEL BAUMGA RTEN SUZ ANNE AC TON

THE CAST (ino rder of appea rance)

Leo nora:

Count di Luna: Ma nrico: Az ucena:

LE ONA M ITC HELL

JAMES DI ETSCH

G IUSEPPE GIACOMIN I LI VIA BUDAI

P re sented i nItalian withEn glish Surtitle s

Synopsis

SETI ING: Northern Spain , beginning o f the 15th century

ACT O NE: THE DUEL

S cene1:A h allint he roya l palace o fAliafe ria.

Ferrando, a n officer in Count di Luna's army,call s on h is so ldiers for vigilance:the Count is j ealous o fa troubadour whosings atnight inthe palace gar den s. Att he soldier's request, Ferrando narrate s the story of Garzia , the Count's yo ungerb rother Oneday,

whenGa rzia wasaba by, as inister gyp sy was found looking overhi s cradle (Abbietta z inga ro). Shewas driven away, b ut soon after t he bo ys ickened,andacursewa s thought tohavebeenla id upon h im T he gypsy,acc used of be ing awitch,was hunte d dow n and burnt atthe stake.He r daughter, howeve r, exactedate rrible revenge: the sickchilddi sappeared, andin the burning embers around the stake,aba by's skeletonwas d iscovered. Notrace of the daughter ha s everbeen found,but t he ghost of t he o ld gypsyin

Pa ul Dubois, Florentine Singer.

variou s di sg uisesstillfliesatn ight (Sull ' arlodei tettii

S cene2:T h e garde ns of t he p alace.

Leonora, alad y-in-waiting tothe P rincess of Aragon, tells h er atte ndant Inez of thefirst stirrings of herlove.Shemetamysterious knight atthe tournament butthen , witht he out break of civilwar,she didno tseehimagai n Lately, however,heha s reappeared to sere nade herasa troubadour (Ta cea 10n otte). Ineztrie s to per suade herladytoforgetthe stranger, but Leonora affir m s that

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shewoul d glad lydiefor tal e a rnor). Ast heyretire rooms,theCountappea determine d todeclarehis Leo nora. H is sol iloquy interrupted bythetroub so n g (Deserto s u llaterra ). rushesouttogreet her I the darkness mistakenly approache s theCount. mome nt the t roubadour and Leonora realizes her The Count's jealo usyan growsveheme ntwhen 1M troubadour reveals hi Manrico, a n officer in IhC

( esy ofTheDetroitInstitute of Art s.

Tradition and Innovation in "II Trovatore"

By ROie r Parker

WedonotknowpreciselywhenVerdifirstcameacross Antonio Garcia Gutierrez's E/trovador, but he mentions theplaytohis proposed librettist Salvatore Cammarano inaletter written shortly b eforethefirst performance of Rigo/etto in March 1851:

The subject I should like, and whichInowpropose,is E/ trovador, a Spanish drama by Gutierrez Thisseemstome very beautiful, imaginative and full of strong situations. I should liketohavetwofemaleroles:the principal oneis thegypsy,a woman of veryspecialcharacter.

Inhissu bsequent reactions tothe d raft outline senthimby Cammarano, this concern withthegypsyisstresse d and amplified :

IfIamnotmistaken,somescenesdo not havethepower and originality they had before, and Azucena especially doesnotretainher strange and novel character: itseemsto me that thetwogreatpassions of thiswoman, filia//ove and materna/love, arenolongerpresentinalltheirforce.

Though this insistent preoccupation with Azucena wasnottobe carried through tothe definiti ve score,itisnevertheless significant, tellingusmuch about Verdi'sinitialreasonsfor choo sing this particular drama He had just completed Rigo/etto, an opera whose formal innovations are matched-one m ight almost say inspired-by thenovelty of itscentral character. Rigoletto isphysically deformed, an outcast tolerated at court onlyasafigure of fun,amaninwhomtwo consuming passions-fatherly loveandadesirefor vengeance-are inextricably linked.His unconventionality asan operatic herois mirrored inhismusic:hehasno formal arias,buttypically expresses himself ina free-ranging a rioso, inwhichhis conflicting passionscanbe juxtaposed with maximum force and economy.Andin Azucena wehavehisfema le counterpart. Like Rigoletto,sheisa n outc ast fromsocietya nd, asVerdi hi mself tellsus, d riven b ytwogr eat passions-filial love (which lea ds her tovengeance) an dmaternallove.Inthelight of t hese "thematic" similarities betweenthetwo dramas, itishar dly surprising that Verdicalledonhis librettist to emulate theformalfreedom of Rigo /etto inthisnewopera:

Asfarasthe distribution of thepiecesis concerned letme

Urg el andthu s the Coun t's in the eivil war As the and Manrieoru sh offto :their disputeincombat, falls senseless tothe (Di geloso arnor)

: A ruinedhutatthefoot ntaininBiscay.

issitting by afirewith stretched out by herside of gypsies heraldsthe ofa new daya nd prepares k (Vedi! Ie fosche

notturne ). Azu cena pa ints the horri fying picture of a woman burnt atthe stake (Stride 10 Yampa). Whenthegypsie s have left ,shetells Manrico howher mother was ledtothestakebythe old Count' s soldier s (Condotta ell' erain ceppit, and howshe an swered hercallfor vengeance by stealing awaythe Count's bab y sontocasthimintotheflames . Butshe made a terrible mistake : in her delirium of hate and grief,she threwherownbabysonintothe fire. Manrico, h orrified , asks whether hereallyisherson ;

Azucena quickl y rea ssures him , claiming the gruesome even ts have momentaril y confused her Manrico then recallshisduel with the Count and howavoicefrom heaven had prevented himfrom strikingthefatalblow, but henow swearstohi s mother to spare the Count no longer (Ma/ reggendo all'aspro ossa/to). Theyare interrupted bya messanger, who bringsthenews that the fortres s Ca stellor hasfallentotherebels and that Leonora, thinking Manrico d ead,is about toe nter a convent. Inspite of his mother's

Copyright 2010, Michigan Opera Theatre

warning s, herushes off to save her

Sce ne 2:Thecloi ster o f acon vent near Castellor.

The Count sings of hislovefor Leonora (IIbalendel suo sorriso) and, believing hisrivaltobedead , resolvesto abduct her before she cantakethe veil (Per me,ora fatale) He and h is retainers hide among thetrees. Withnuns intoning a solemn hymn,Leo nora appea rs and bid s farewelltoherfriends. Butasthe Count goestoseizeher, Manrico

say that whenIamgivenverses that can besettomusic, everyform,every distribution is good; indeed the more novel and bizarre they are, the more Iam pleased with them. Ifin opera therewere neither cavatinas, nor duets, not trios, nor choruses, nor finales,etc.etc. and ifthe whole opera were(ifI might expressitinthisway) one single piece, I should findit more reasonable and proper.

Butif,asthe above suggests,Verdifirst conceived II trovatore as an intense sequel to Rigo/etto, hewasatleastin part tobe disappointed Aseventhese early lettersshow,his librettist Cammarano lagged far behind the composer in eagerness for formal innovation. And, perhaps equally important, Cammarano wasan experienced, respected man of the theatre, who could not be cajoled inthe manner Verdi consistently used withPiave,the librettist of Rigo/etto. Not that hewasless than ideally suited tothe subject matter; indeed, Cammarano was something of an expert at boiling down bizarre, melodramatic plots and at making them into acceptably conventional libretti.

For example, one need only compare 1/ trovatore witha libretto he had fashioned earlier for Donizetti, MariadeRudenz (1837), tobe struck by common features amounting toa "genre": a plot inwhich much of the essential action occurs a generation before thetimeasthe curtain rises, and inwhich past sinsarevisitedon present characters; anold retainer whogivesliving proof of the older generation; a veritable heap of corpses forthefinal curtain (in MariadeRudenz, the unfortunate eponymous heroine in effect dies twice, mortally wounded in Part (Act)II,she succumbs only inthefinal moments); allthese supported bya libretto inwhich certain vivid, elemental images are continually inplay. Perhaps the problem laypreciselywith Cammarano's facility,intheeasewithwhichhe could conjure upthe conventional mode. Whatever the case, the libretto of II trovatore turned out inthe end tobefarless radical than Verdi had initially intended, far mor dependent on traditional forms.But , whether reluctantly or not wedo not know,he accepted this, and even accentuated it:for example, when Cammarano diedin July 1852,a young librettist named Leone Emanuele Bardare was commissioned to effect various alterations, among other things, making it clear that Verdinowwishedto strike a musical and dramatic balance between Azucena and Leonora, which meant building upthe lattter's roleas primadonnasoprano.

Many commentators haveseenthis change of emphasis, this clash of dramatic ideals,as having had an unfortunate effecton the finalscore. Despite its "glorious tunes" (theysay), II trovatore isastylistic throwback, aregressive interlude separating the exciting formal experiments of Rigo/etto and La traviata. In Joseph Kerman's words,itisa glorification of "the bad oldstyle ..a magnificent demonstration of unprincipled melodramas"; according to Francis Toye: "II trovatore, whichall things considered is only Ernaniin excelsis, maybe regarded as

the apotheosis of both the good and the bad qualities of early Verdian opera:'

Inreply, one can argue that the common accusation of traditionalism is short-sighted: infact, almost everysetpiecein Jl trovatore boasts departures from normal practice. One needonly think of thefinale of Part II,inwhichthe expected closing stretta is omitted, allowing the actto conclude with oneof those all-embracing vocal phrases (Leonora's "Seitudalciel disceso") whichata stroke encapsulate the preceding musical and dramatic action. Or of Leonora's aria in Part IV, inwhichthe expected cantabile/cabaletta format ("D'amor sull'ali rosee"I"Tu vedraiche amore in terra") is massively interrupted by that central, "defining" dramatic confrontation : the famous "Miserere" scene. The fact remains, though, that in II trovatore Verdiwas eventually content to manipulate these stock forms, whilein Rigo/etto and La traviata he often didawaywith them altogether.

Untilrecently, opera was habitually seenin terms of "progress" towards greater flexibility, greater naturalness. Insuchaclimate, 1/ trovatore could only fare badly. Butin the lasttenyearsorso therehas been something of a reaction again this mechanistic view.In1970, Gabriele Baldini's monograph onVerdi vigorousl ] challenged the conventional critical attitude by placing II trovatore atthe centre of Verdi's achievement. Farfrom regarding the libretto asexcessively melodramatic ortoorigidin its formal structure. Baldini suggested that the collaboration with Cammarano provided Verdiwith:

the perfect musical libretto, atextwhichfullyallowed forthe musical life of its characters and for that alone; essentially a phantom libretto, which became completely engulfed bythemusic and, once the opera was finished, disappeared asan individual entity.

Baldini sawa deliberate lack of concern withthe characters' "literary existence",an isolation of each within the individual moment:

Of crucial significance isthe tendency of characters to question themselves without being able toreply, something summed upin Manrico's phrase "Non son tuo figlio?Echi son io,chi dunque?" (Am I not your son? Then who amI?) It isa question whichevery character could ask, and none could answer. Their literary existence, their words,are pure game.

Most importantly, Baldini suggested that this tendency towards idealization and isolation of character is matched intheIibrettc by dramatic precision and symmetry. Each of the four acts may be divided intotwo,witha corresponding relation in intensity between thetwohalves Thus in both of thefirsttwoacts,for instance, asceneinwhicha story istold (Ferrando's Racconto, Azucena's Canzone) isfollowedbyasceneinwhichthe action c the opera is advanced.

arrivesand,aftera moment of universal amazement (Edeggio epossocreder/o?), his followersallowhimto carry off theecstaticLeonora.

ACT THREE: THE GYPSY'S SON

Scene1:Amilitary encampmen t .

The Count's soldier s singa bellicosechoru s (Squi//i,echeggi la tromba guerriera) in anticipation oflayingseigetoCastellor,while the Count bemoans thelossofhis Leonora. Ferrando entersand

reportsthatagypsywomanhas beencaught lurking nearthe camp:itis Azucena . Sheis brought inandexplainsthatsheis looking forherlostson (Giorni po verivivea). Butthe Count's questions soondiscoverhertrue identity,andhe determines to avengehis brother byhavingher burnt atthestake.

Scene2:Ahall adjoining the chapelat Castellor Manrico andLeonoraprepareto be married, butsheisuneasywith thoughts ofthe attack on

Castellor, whichistocomeat dawn. Manrico reassuresher, tellingherthatlovewill strengthen himintheface of deathathis enemy'ssword (Ah! si, ben mio) Astheyare about to approach the altar,Ruiz, oneof Manrico's soldier s, rushes i nwiththenews that Azucena hasbeensentenced to death atthestake. Manrico resolvestosaveherandordershis mento prepare for battle (Di que//a pira).

Copyright 2010, Michigan Opera Theatre

ACTFOUR: THEEXECU

Scene1:Awing of the Aliaf palace.

Outside thetowerinwhich Manrico hasbeen imprisone the Count, Leonora againpi herlove (D'amor sull'ali rose Fromwithinshehearsthe ominous chanting of asolen Miserere, andthenthevoice Manrico himself, bidding he farewell (Ah! che/a morte ognoro) Sheis determined t himatallcosts (Th vedrai cJ amoreinterra). The Count

Similarly, each of the four main characters has "two points of diverging passion": eachisfired simultaneously byloveandhate; Verdi's particular interestin Azucena's "two great passions" is extended and schematized. The connecting linksinthe opera are forged primarily by means of metaphor, and especiallybythe all-pervading image of fire,which eventually consumes allthe characters: apart from Azucena's reiterated "Stride lavampa", and Manrico's"Di quella pira",lovefor Leonora "burns" the Count; inthefinalact, poison "burns" Leonora.

Vital tothe symmetries of plot and character relationship isthe balance betweenthetwofemale characters around whom the opera revolves The twomenareheldinplay and juxtaposed by their opposing relationships tothewomen:the Count hates Azucena by reason of familyhistory,andhislovefor Leonora is rejected: Manrico loves Azucena through familiar ties, and his love forLeonorais requited. As we can see, Baldini's bisection of each actinterms of dramatic intensity canalsobe applied tothe events oftheplot:

Scene1

Part I: Narration about Azucena

Part II: Narration by Azucena

Scene 2

Leonora fought overbythe Count and Manrico

Leonora fought overbythe Count and Manrico

Adifferent pattern, though equally symmetrical, issetupinthe remaining twoacts:

Part III:The Count "captures" Azucena

Part IVThe Count "captures" Leonora

Manrico leaves

Leonora tosave

Azucena (and eventually dies)

Leonora diestosave Manrico

Although henever mentions itexplicitly,itisclear that Baldini's revolutionary viewson II trovatore were influenced bythe dramatic theories of Antonin Artaud. From that perspective, the cruel, melodramatic elements of the plot-the stake, the poison, the needless execution-far from requiring an apologia, become central, analmost purifying experience.We might recall immediately Artaud's famous dictum that actors and audiences should be"victims burnt atthe stake, signalling through the flames :' Somepassagesfrom"Le Theatre etlaPeste"readlikea summary ofBaldini'sview of the opera:

Thetheatrelikethe plague isacrisiswhichisresolvedby death orcure. And the plague isa superior disease because itisatotalcrisis after which nothing remains except deathorextreme purification. Similarly the theatre is adisease because itisthe supreme equilibrium which

anddeclares that Azucena her sonare todi e at dawn. ra offersher self inexchange \fanri eo's freedom The Count iantly agrees, butasthe orders \fanrieo's releaseare being Leonora sucksa poison led inherring (Mira,di lagrim e - Vivru! Contende if 0).

e2: A horriblepri son.

'cotriesto comfort A zucena , has renewed visionso f her !h er's death Eventually s he into ahalf-sleep, recalling the

carefree life of thepast (Ai nostri man II) Leonora appears and tell s Manrico toflee.But Manrico quickl y guessesthe nature of the Count and agrilyaccuse s her (Ha quest'infame tamar vendutoi The poi son has already begun totake effect:withherlast strength Leonora explain s thatshehas chosen todiea s hi s love rather than toliveas another's. Manrico is overcome by remor se. At that momen tt he Coun t arrivestofind Leonora d ying Reali zing that he ha s beendece ived, he order s

cannot beachieved without destruction. It invitesthe mind to share a delirium whichexultsitsenergies;andwe can see, to conclude, that fromthe human point of view, the action of the theatre, like that of plague, is beneficial for, impelling mentoseethemselvesastheyare,itcauses themasktofall,revealsthe lie, theslackness,baseness, and hypocrisy of our world;itshakes off the asphyxiating inertia of matter whichinvadeseventheclearest testimony of thesenses; and inrevealingtocollectivities of man their dark power,their hidden force, itinvitesthemto take, in theface of destiny,a superior and heroic attitude they wouldneverhave assumed without it.

An attempt toplace Baldini's dramatic theories on II trovatore within amoreprecisemusicalcontextwas made, somefouryears after the publication of his book, by Pierluigi Petrobelli.His crucial point is that themost fundamental relationship between the drama andthemusicexistsonthe"dynamic"level; that the particular nature of the dramatic movement inthe opera-its tendency toisolate and idealize characters, itsoverall structural symmetries-calls forth a particular type of musical argument.

Manrico's immediate execution, and drag s Azucena tothew indow towa tch. Astheaxefalls, Azucena announces that heha s just killedhisown brother: her mother is avenged atla st.

R eprintedwithp ermissionf romR oger Parker, Deut sche Gramm ophon label

Copyright 2010, Michigan Opera Theatre

Washington All ston, TheFlight of Florimell Courtesy of The Detroit In stitute of Arts.

In IItrovatore, musical 'connectives' (including the introductory orchestral passages)havebeenreducedtoa minimum, andtheessence of the discourse is concentrated informswhichare completely self-contained.

In other words,farfrommovingtowardsa through-composed music-drama, asthelettersto Cammarano suggest,itwas necessaryfor Verdi-more than ever-to relyonthe traditional forms of aria, ensemble and chorus in composing thescore of the opera.

Petrobelli further illustrates hiscaseby tracing theprogress of several recurring motiveswhichserveto articulate the opera's seemingly episodic structure. A "sonority" of bisgiven melodic prominence in Azucena's music:bisthefifthdegree of E minor and thethirddegree of Gmajor,the tonal areas associated throughout the opera respectivelywith Azucena's "two great passions filiallove and maternal love"A rhythmic figureis associated withthe Count, another with Manrico. In and of themselves,thesem otives areaU common cliches of themusical language;theymustbe brought into particular prominence beforetheycanclaim dramatic significance, and cannot be erectedintoanykind of system.Equally,their concrete "meaning" withinthe drama cannot be defined in anything but themostgeneralterms, usually asa broad character imprint, sometimes evenlessprecisely than that. (Exact equivalences between dramatic themes and musicalthemesdo, of course, occur in Verdi-the "cursemotive"in Rigoletto, orthe "kiss motive"in Otello-but theyare exceptional, anddraw much of theirpowerfromthisfact.) Perhaps moresowith II trovatore than withany other Verdianmasterpiece,the drama simply does nothave enough substance ontheliteral, "literary" level, and cannot sustain acomplex pattern of self-conscious anticipation and reminiscence.AsPetrobelli demonstrates, themusic articulates the drama superbly; but itdoessoonitsownterms, without continual referencetothewordsorto minor details of theplot.

One could continue with other musical points.Onthe broadest level,forexample,theevidence of thescenesuggests that Verdi articulated the dramatic symmetries of II trovatore in part through atonalplan,with sharp keys and flatkeysbeing juxtaposed ina deliberate manner,andwith tonal crossreferences occuring at appropriate moments inthe drama. One writerhaseven claimed that theentire opera is governed byan overalltonal motion. Buttheextenttowhich drama and tonality interact inVerdi(orindeed,inmost nineteenth-century operas) continues tobea subject of debate,thecasesfor "symphonic" status remaining unproven. And strong positiveevidenceisnot really necessary beforewecantakethese operas seriously.Once we broaden our view of music drama, abandon theideal of realismasthesoleyardstick of effectiveness, IItrovatore, far frombeinganexample of "unprincipled melodrama:' takesona coherence and logicinnoway inferior tothemore naturalistic (and perhaps for that reasonmore approachable works that preceded and followedit, Rigoletto and La truviata. Its true force, perhaps evenmore than withthese other two operas, can onlybeexperiencedin performance, wherethe symmetries and cross-reference,theironies and ambiguities, the smaller and largerdetails of musical characterization, though theymay evade cold-blooded examination, areaUinstinctively grasped by the spectator orlistener.Thismayhelptoexplainwhy II trovatore, among themost popular operas intherepertoire,is still undervalued bymanycritics.Yetitmayfairlybecalledone of Verdi'sgreatest masterpieces, andone of hismost genuinely innovativeworks.

•

Reprinted from thenewly released Deutsche Grammophon recording of II Trovatore.

Giuseppe Verdi

One of themusicalworld'smost remarkable and creative geniuses, Giuseppe Verdiwas born in Le Roncole,Italyon October 10, 1813. He attracted the attention of a prosperous merchant, Antonio Barezzi,who ensured the talented young Verdi had thebest instruction available.

Hisfirst opera Oberto was produced withsomesuccessinMilan in1839buthissecond,acomic opera written under tragic circumstances of the death of hiswife and two children, wasa failure.

OneyearlaterMerelli, La Scala's impresario, persuaded Verdito tryagain. Nabucco placedtheyoung musician inthefrontrank of 1taly'sliving composers. I Lombardi and Ernani brought VerdifamealloverEurope.He poured forthoperas,oneand sometimes twoayearuntil1850,buthehadnotyethitfull stride

Inthe immediately ensuing years,Verdienteredanew period that produced three of theworld'smost often performed operas: Rigoletto; II Trovatore, and La Traviata: Hewasthemostpopular composer inItaly.The capitals of Europe clamored forVerdi's operas and forhispresenceattheirpremieres.

After composing hisgreat Requiem, Verdi virtually retiredfrom 'composing,as season followed season withnopremierefromthe master's pen.Several of hisfriends conspired to induce Verdito reconsider his retirement by appealing tohislovefor Shakespeare's poetry Theresultwas Otello whosepremiereat La Scalain1887wasanevent attracting world attention. Falstaff wasthe composer's finalworkforthestage, and manyconsider itthefinestcomic opera ever composed .

Verdidied January 27, 1901, attheage of eighty-eight,anational hero and abeloved giant of theworld of music.

Excerpted from Opera Facts, Houston Grand Opera Guild

Copyright 2010, Michigan Opera Theatre

ie fledermaus

Op eretta in thre eac ts

Mu sic b y Johann Str auss II

Lib retto b y Karl H affner andRichard Gen ee, after Meilha c and H alevy's L e R eveillon f romRod erich Benedix pl ay D as G efaengnis

F irstp erformance: Vienna, Th eater a n d er Wi en, S A pril 1874

Condu ctor:

Dir ector:

SetDesigner:

CostumeDesigner:

Lighting Designer: C horu s Ma ster:

THE

FRANZ ALLERS

MI CHA EL MONT EL

A LANKIMM EL CHARL ESC AINE

MARILYN RENNAGEL

SUZANN E ACTON

CAST

(i norder of appearance)

A dele: EVELYNDELAROSA

Ro salinda: MARILYN MIMS

Gabrielvo nEisenstein: ANDRE JOBIN

Englishtranslationb y Ruth and Thoma s Mar tin

A new produ ction built i n cooperation with Opera Pacifi c .

Syn opsis

ACT I

Outside thehomeo f Gabriel von Eisenstein inthesuburbs of Vienn a, Alfred, atenor, singsm ourn fully of his "dove"whoh as flown. Th e d ove is Rosalinda, thewife of Gabrie l von Eisenstein. A lfred'slame nt is interru ptedby Ad ele,t he chambermaid in the vo n Eise nstein household, who la ughsgleefully as shereadsa letterfro m he r s is te r Sally, urgingAdele tojoi n he r thi s evenin g at agra ndpartygivenb y th e

eccentric yo ungRussi an, th e P rince O rlofsky As Al fred bursts int oso ng again, Rosalindae nters an d recog ni zes hi s voice.Adelebeg s permi ssion from h ermistres s to h ave th eevening o ff, sup posed lyin o rdertovisith ersick a unt. Rosalindaref use s, and Ad eleexit s wee ping

Ro salinda turn sa nd fi nds Alfred standing inher doorway, open ing hi s arm s to her H e know st hathe r hu sb and is togoto ja il thi svery evening a ndh as Rosalinda promi se

to a llowh imt o visit h erw hile E isenstein serveshi s term.

A ssoo n asAlfre d b id s farewe ll, E isen st ein stor ms inwi th his lawyer, Blind.Herebuk es Blind for bun gling h iscase in co urt a nd explainsto Rosalindat hath e mu st reporttojailt his veryevening and rem aint here foreight d ays. With Alfred inmind,Ro salind a "bewail s"the fate t hatwill separate her fro mh er hu sbandforeight wh ole d ays

Copyright 2010, Michigan Opera Theatre

Dr. Falked ramatically enters and tellsE isensteinth at insteado f ja il to night, Eisen steinis toa cco mpan y the Do ctortotheg loriou sso iree o f the P rince Or lofsky.Thi s brings to mindt he masquerade party th ey atte nded t hree yea rs ago , Eisen stein dre ssed asab u tterfly and Falkea s a bat.Falked eclares h ewill n ever fo rgetth e t rickEise nstein p layed on himth at even ing A fter Falke beca me t horo ughly d runk , Eisen stein dropped himinapa rk The n ext m orningFalke,tot he a musement o f t hepasser s-b y, h adto

De tail from Baron's Tuilleries Th eatre Ballroom C ourte sy of Th e Compe igne Mu seum,F rance.

walk homedressed inhis bat co stume.

A sEisensteinpreparesfor the pa rty, Rosalindainforms Adele that she may ha vethe eveningof f. Everyone saysfa rewell a nd assoona s Rosalindais left alone,Al fred en ters Hepu ts onE isenstein's gown, ca p,and slippersand a nnouncesthathe willb e Rosalinda's husband forthe evening.

SoonFrank ,thep rison warden,

Die fledermaus Through the Ages

8y Armand Gebe n

Die Fledermaus isan old bat that 's been flying around under various aliases ever since it spread its wings and took a dive on it s opening night, April 5,1874, i n Vienna's Theater an der Wien.

It took Johann Strau ss, the Younger, 42 days to write it. The show ran for only 16 performances.

Whether because of a gloomy mood cast by the 1873 s tock market crash or because it offended some prudes with clout, DieF1edermaus was reported asa disaster. What bombed in Vienna became a sensation in Berlin two months later. So, Die Fledermaus made itsway back to Vienna where it became and remains an all time favorite.

When it reached Paris itwas called La Tzigane(The Gypsy) and the Waltz King conquered the town.

Strauss' masterpiece has sin ce conquered the world and never let go. It's been carrying Americans back to Old Vienna since 1879 and given its regards to Broadway often under many gui ses and adaptat ions.

Die Fledermaus has been known also a s TheBat,The Merry Countess, Champagne Sec,A Wonderful N ight, Rosalinda , The Masked Ball , Masquerode and Fly-by-Night

It has featured luminaries in and out of the theatre, s ingers and nons ingers-ranging from the Met 's Enrico Caru so to Michigan State Senator Jack Faxon.

David DiChiera, Mar's founder-general director, dubbed Faxon " a limited baritone" with a " natural affinity for the theatre" when the legislator appeared as Prince Orlofsky in Mar 's 1975 production of DieFledermaus.

Comedienne Imogene Coca is another of the non -operatic corps who was recruited to play the role of the party throwing Prince. A woman in the pant s part is not ususual. Matter of fact, it's traditional. Divas such a s Rise Stevens and Jarmilla Novotna were equally adept while costumed in white tunics and monocle s, brandishing long cigarette holders.

A cursory i nspection of old newspaper reviews reveal s that Die Fledermaus wasdi sgui sed a s TheMerr y Countess i n1912.A London v ersionin 1911 wa s called Night Birds, starring the Dolly Sisters.

a ppearsa sking forEisenstein. Rosalinda urgesAlfredtopretend thatheisherhu sband andto go a longtojail for thesakeo f a ppearances.RosalindaandAl fred passionately kiss farewell, and Fra nk leadsthepr isoner away.

Acrll

Th e pa rtyis inprogress atthe villa ofPrince Orlofsky. ThePrince, e ndlesslybored , offers Falkea presentifFalkecanthisevening makeh im laugh Falketells the Princeto standbyandobservethe

little comedyhe h as p repared entitled "TheRevengeofthe Bat:'

Falkeintroduce s Adele, whoh as as sumed thename" Olga", a nd her s isterSally tothe P rince. As they leave, Falke informs the P rincethat Olgais reallythe cha mberma id of t he comedy'shero,the "Ma rquis Renard;'whomakeshisentrance at th is moment.Falke explains tothe P rincethatth isis n ot reallya Marqu is, butGabriel von Eisenstein, whose wife will a rrive at the partyshortly.AsFalke further

Copyright 2010, Michigan Opera Theatre

explains thatEisenstein's wife believesherhusbandtobein jail, the P rincebegins tobeamused.

Adeleand Eisensteina restunned whenth eyca tch sight ofo ne ano ther, a nd Eisenstein, inhis confusion, claims that Adele 100 ju st likeachamb ermaid he knon Adele,a ctinginsulted, h umiliates Eisenstein in front of th eguests.

Soo n the" ChevalierChagrin"en a nd isintroduced. Falkereveals to thePrinc e th at th eC hevalieris

P ierCe lestino Gilardi , A VisittotheGallery. Courtesy of The University o f Mich igan Mu seum of Art.

twodecadeslatertherewasaNewYork adapta tion entitled A WonderfulNight. Therole of Eisenstein in that show was played byayoungEnglish actor named ArchieLeach , later to become Cary Grant.

Die Fledermaus surfaced againon Broadway in1933as Champagne Sec. Kitty Car lisewasthe Orlofsk y in that production and made her Metropolitan Opera debut inthesame role in 1967.

An oldmagazine photo showsayoung and curvaceous Shelly Winter inthebit part of Fifiwhen Rosalinda became a Broadway hitin1942. Dorothy Sarnoff sangthetitlerole and Gene Barrywas Falke.Cyril Ritchard was theEisenstein inan NBC television production of Rosalinda in1956.

The Metropolitan Opera' s 1951-52 revival of Die F1edermaus starringLily Pons, Ljuba Welitch and Richard Tucker, under the baton ofEugene Ormandy, eventuallywentontheroadfora 3D -week tourandprovedagoldminefortheMet.Toppricefora ticket thenwas$4.80.

The Met'sfirst production of DieFledermaus during the1904-05 season includedsuchidolsas Caruso, Lillian Nordica and Emma Eames who appeared inthe ballroom sceneandsang interpolated numbers.

In more recenttimesitsbeen reported that Italian opera stars Giulietta Simionato and Ettore Bastianini sangIrvingBerlin's YouCanDo,I Can Do Better" inthe ballroom scene dur ing atraditionalNewYear's production of the Strauss work inVienna.

When theAustriansfilmedtheir national musical treasure in color in 1964, theNewYork Times' Howard Thompson reported :

"A couple ofnumberswere streamlined withinaninch of their lives.There's asnappy cha-cha arrangement that would probably make thecomposerdoa backflip Andone gaudy dance ensemble, rightout of a high-kicking Warnermusical,canbest be described a s red-hot.Shades, indeed, of Old Vienna It lu mberedlikean elephant butthemelodieslingered on:' Whether praisingor panning, criticshavegenerallyagreed that Die Fledermaus hasascore that captivates whileitbindsa complicated farce.No matter howit'sbeen adapted orwhatit's called, it never stales.

It' sanoldbat thatisforeveryoung , good tosee and marvelou s 10 hear "Chacunason gout!"

Arm and Gebert is aformertheatreandmus ic writerfor theDetroit News

Ictually Frank,theprison warden. Falke then tells the guests that a ravis hi ng Hunga rian Countess will arri vemomentarily, and t hatdue to her husband'sjealousy,she will sea r amaskandhopeto remain incognito.

The Countess, who, ofcourse, is Rosalindaindisguise, ar rives.

Seei ngher husb and's outrageous flirta tions with Orlofsky's female guests, she vows revenge. Rosalinda pretends to adm irethe watch that Eisenstein is danglin g infront ofthe

women Shet raps him into saying t hatheisn'tmarrieda ndhas him promise herthewatch. Rosalinda th en adroitly takes the watch from him

As themusic, drinking, anddancing continue, Eisenstein andFrank become blissfully drunkand increasingly friendly. Whenthe watch strikessix,both realize they must hurrytojail.Supportingeach other,theystumbleoutthedooras theguests laughattheir folly.

ACfIIl

Frankentershis officeattheprison andattemptsto soberup Soon AdeleandSallyarrive Adeletriesto prove toFrank that shehas talent a ndthathe shouldpromote heras anactress. Shortly Eisenstein enters HeandFrankthent ry to convince oneanotheroftheir true identities. Frank tellsEisenstein that hedoesn't believe himbecause thereisan Eisenstein already injail. Frank then explain sthedetails ofthe man's arrest,indudinga vivid descriptionofthepassionate

Copyright 2010, Michigan Opera Theatre

farew ellkiss between" husband" and wife.

As Eisenstein fumes over Rosalinda's betraya l, she enters covered in vei ls.The lawyer Blind also a rrivesand expl ains to Eisensteint hat supposedly hesent for Blind Realizingthe other "Eisenstein" sent for a lawye r, Eisensteinquicklychanges costumes withBlind Disguisedas the lawyer, Eisenstein entersthe room whereAlfred a ndRosalinda havejoyfully mel. Hea nnounces

AlfredStevens, HideandSeek Courtesy of TheUniver sity o f Michigan Museum of Art.

t hat hecanbeof service tot hem if he has a llthe factsoftheird ilemma WhenRosalindadenounces her husband,Eisensteinlosescontro l, ripsoff his disguise,a nda b rawl ensues. Eisensteinb ecomes speechless, however,when Rosalinda produces h is watch,the proofo fhis infidelity. Falke then enters andrejoices over the " happy reunion"o f these th ree

Prince Orlo fskyandhis guests arri ve attheprisonandallbeg "The Bat"totake pityonhisvictim.Falke

Music mitSchlag: Johann Strauss and Die fledennaus

By R uth and Thomas Martin

Ifan international pollwere taken on what composerinall mu sical h istory come s clo sest to pleasing allo f the people allof thetime , Johann Strau ss, theWaltzKing , wouldbealikely winner. Forwellovera centuryhi s irre sistible mu sic ha s conquered geographical , political and cultural boundary line s, and gone straigh t tothe heart s of people of all kind s everywhere. In addition tothe anonymou s million s, emperors and queen s, pre sidents and prince s, great wri ters, scholars, arti sts and mu sician s have voiced their admiration forit.Alexandre Dumas, Pere, w rote enchan tingly of Straus s' mu sic. Richard Wagne r and hi s bitter antagonist, the critic Eduard Han slick, agreed on at lea st one point-Strau ss' superb geniu s. And po ssibly them ost impre ssive praise ever accorded him came from hi s clo se friend, the great ,g ruff and generall y ungallant Johanne s Brahm s who, at t heball one evening, wrote-on Frau Adel e St rauss'fan-the fi rst mea sures of The Beautiful Blue Danube, and beneath them: "Ala s, notb y 1. Brahms:'

Johann St rauss II, born inVienna in1825,wa s theelde st o f the three musical sons of theillu strious Johann Strau ss who,with hi scolleague Josef Lanner, had s tartedthe whole world dancing thewaltz. Stubbornl y determined tomakemu sic his profes sion, young Johann per sisted inthe face of h is father 's furiou s oppo sition, and soonpro ved thewisdom of hi s deci sion to Strau ss,Se nior'ssati sfaction and t he good fortune of hi s contemporarie s and posterity

On O ctobe r 13, 1844, nineteen-year-old Johann began a care er which turned out tobea s colorful a sitwa s su ccessful-dramatic enough tobethemo st imagina tive pre ss-agent' s dream-co metrue. That eveninghe made hi s debut conductin g hi s own orchestra, pre senting several of hi s own c ompositions,at Dommayer's famous Restaurant Garden The hou se wa s packed, but di vided into tworival camps: onon e side,hi s father' sv iolent par tisans who expected himtofail,onthe other hi s owngood fri end s and enthu siastic well-wishers. The measure of h is triumph canbeestimated by the fact that hi s Sinngedichte Waltz-his Opus I-had tobe repeated n ineteen time s!

thenexplains tothe bewildered Eisensteinth atthejokewasin return forEisenstein's trick afterthe masquerade party

Courtesy ojOrlando Opera

Nor wa s th is initial success beginner' s luck Likethe prelude toa Strau ss waltz,itheldallthee ssence and promise of stillmore wonderfulthing s to c ome. The fifty-fi ve year s that followed includ ed hi ssplendid concert tours withhi s orchestra toS t. Peter sburg, Pari s and the capital s o f Europe, hi s thre e m ar riages, t he compositiono f op eretta s, polka s, marches, and o f hi s famou s waltze s like The Beautiful Blue Danube, Win e, Women and Son g, Tales/rom theViennaWoods and the Emperor Waltz, to name but four out of a total of four hundred. The valuethe world put on Johann Strau ss wa s d emonstrated in con crete term s in1872,whenthec ity of Boston invited himto conduct its Jubilee forWorldPeace.Hereceived$100,000a ssalary,and tra veling expense s for himself, hi s wife, and three servants.Inan a uditorium holding not 10,000 but 100,000 peopl e, h e conducte d hi s waltze s withan orchestra of over1,000, plus20,000 s ingers, aided by100a ssistant conductors.

During theearly pa rt of hi s career Strau ss had compo sed almost

John Singer Sargent , Madame PaulPoirson Courte sy o f The Detroit In stitute o f Art s.

exclusively forhi s own orche stra-waltzes, polka s, marches, gallop s, for performance atthe famous dan ces; ball s, and c ourt balls. Only rar ely didhe setanytexttomu sic. When, around 1870, hewasledto c omposefor the t heater,itwa s not becau se o f an ystrong, innate de sire onhi s part, but atthe urgent prod ding ofhisfirstwife, Henriette Treffz (Je tty), who hadhad a distingui shed career a s an internat ional s inger Hi s fir st two ope rettas, Indigo (1871) and The Cam ivaI inRome (1873) were successfulbecause of hismusic, but everyone agreed that the librettos werepoor. Strau ss was interested onl y in the composition of themu sic and felt that thewo rds weret heun ique province ofth e librett ist-lyrici st. He wanted af ini shed text provided ,a ndhadnowi sh fo r the slighte stcollaborationin its pre paration.(Theextent of his disintere st in word s is revealedin aletter toafriendin which he admit s he had nevereven seen t he dialogues for ANightIn Venice before the fi nal stage rehearsals.)

So itbecameclea r in1873 that areall y good book mu st be provided for Strau ss' next operetta. A shrewd th ea trical ag ent named GustavLewy who had acleverno se for ferreting out potential hits po inted out to Marie Gei stinger and Maximilian Steiner, the co-directors of Vienna' s famou s operetta theater, the Theater anderWien , that in Pari s anew comedy called Le Reveillon had j ustbeen produced and had a large s uccess. It was written by Meilhac and Halev y, the libretti sts o f Bizet's Carmen andwas based on a German comed y called Das Gejangnis (The Prison) The rights for the German market we re acquired, butthe directo rs thought theplayun suitable forthe Viennese public. However, they did not he sitate torecomm end it 10 the Director of theri val Carl Theater, aclever impre sario nam edJaunerwho later became Director of the Vienna Hofoper Jauner had t he play translated b y Haffner, hi sstaff dramaturge, into German , but after reading it,al so reje cted it. But Lewy d id notgiveup and fi nally managed to sellthe ideao f anew Strauss opere tta ba sed on an adaptation o f Le Reveillon t o th eTheater ander Wien

Ri chard Genee,apla ywright, hou se compo ser and c onductor of the Theate r ander Wien , was entrusted withthe all-important adaptation. Man yc hangeswere made to make it palatable for Vienne se taste, beginning with the idea o f the " reveillon" it self. A"reveillon" is at ypically French tradition-a kind of carni vallike revel heldon Chri stmas E ve, la sting th rough dawn. Th e Catholic Viennese, for whom Christmas E ve wa s as trictl y religiou s family celebration , found this French practice dista steful. So t he " reveillon" wa s tran sformed in to alate s pring or summert ime ma sked ballatthe palace of theRu ssian P rince Orlo fsky. Con sidering Strau ss' forte-brilliant walt zes and dancemusic- thischangewasa st roke of geniu s. The c ha racters ofRosalinda andAdelewere created and the original BlueBird cos tumeinwhich the Fren ch notary had t o wander throu ght th e city was changed intoa Bat co stume worn b y Dr . Falke.

For once Straussrea lly t ook fi re.H ec omposed the mu sicin fo rty twonightsa thi sv illa (which easily c ouldh ave be en th eset fo rAct I). The sc ore t urne do utto b ea mong the h app iest ins pi rations of Johann Strau ss,t he book wasa deli ght,a nd Fledermaus became th e unparallel ed m asterpiece o f Vienne se ope retta

The premiere on April 5, 1874,conductedb y Strau ss him self, las an instantaneous success.N everthelessthe re were a lso so me carping criticisms about t he " licentiousness" of thetext, de spite th erevi sions madenec essary b yt he offi cialCe nsorship.

Ruth and Thomas Martinareintemationally kno wn as the trrlnslators of overonehundredoperas into English includingo ur production ofDie F1edermaus. Ma estro Martinis alsoknownas a conductorand chorusmaster forthe N ew YorkCity Opera; the Metropolitan Opera; andmany other companies inth e US

Co urtesy of Orlando Op era Company.

Johann Strauss II

C om poser, conductor a nd violinist Johann S trauss II was born in Vienna on O ctober2 5,1825. Son o f Jo hann Stra uss, the renowned "Waltz King" b ecame t hem ostfa mous me m ber of t he ce lebra ted family of c omposers of Viennese lig ht m usic: The Blue Danube, Talesf romtheVienna Woods and A rtists'Life are t he ti tles o fhi s m ost famous wa ltzes.

H e isa lso t he fat her of 19th c entury Vie nnese o per etta, h aving b een encourage d bytheco mp oser J a cqu es O ffenbach (of Orpheus in the Underworld fa me) to write for the stage. H e wrote six teenop erettas, mo st o fwhich we re fi rstp erfor medin Viennaatt heTh eateran der W ien.

The earlies t, Indigoand The Forty Th ieves, was staged in1871. T he mo stfam ous of a ll was his third, DieFledermaus (1874),a h ead ya malgamo fg aiety, se ntimentality a nd ty pica lly V iennese mela ncholy. O thers uccesses included CagliostroinVienna (1 875),TheMe rry Wa r (1882), AN ightin Venice (1883), The Gypsy Baron (1885),aro m antic operetta w hich wasseco nd on ly to DieFledermaus in popularity, an d the more serious Knight Pazm an, performedn otatt heTh eatera nd er Wi en bu tatt he Op era H ousein1892.

Wiener Blut (1899), firstper formed s ome mon ths a fter Strauss's de ath on Ju ne 3, 1899,is a work compiledb y Adol f M uller J r. fr omexisting S tr au ssco mpositions.

Excerpte d from "T heD ictionary of O pera", publi shed b ySi mon a nd Sc h uster

a Boheme

Dramatic Opera infouracts

Music b y Giacomo Pu ccini

Libretto b y Giuseppe Giacosa andLuigiIIlica

Basedon Scenesd ela ViedeBoh eme by Henry Murger

Fir st performance : Turin, Teatro Regia, I February 1896

Conductor :

D irector:

Lighting Designer :

Chorus Master :

JOH N DE MAIN RO MAN T ERLECKYJ MA RIL YN RENNAGEL SUZANNE ACT ON

TH ECAST

(inorde r of appe arance)

Marcello :

Rodoljo:

Colline :

Mimi: Musetta :

TIM Of HY NOBLE VYACHESLAV M. POLOZO V STEPHEN DUP ONT STE P HANIE F RIEDE ELIZA BETH KNIGHTON

Presented in Italian withEngli sh Surtitles.

Sy nopsis

SETTING: The ac tionisset in Pari s inthe1840's.

ACT ONE: A garre tin t heLatin Qu arter

Inthecheerle ss garret they s hare i ntheLatin Quarter of Pari s, Rodolfo,a poet, and Marcello, a painter,arekeptfromwork ing by the chronic d iscomfort s of t he

Bohemian life- cold and hunger

A s Rodolfo fi resup t he st ovewith the m anus cript of hi sfive-act

tr agedy, Colline,a philo soph y st udent,return s froma futile a ttempttopawnhi s book s. The three youngmencrowd around the stovefor warmth , butthe pape r bla zesoon dwindle s intoa shes.

The mu sician Schaunard triumphantl y appears with firewo od,food,andmoney, a nda s he explainshi s unaccu stomed wealth (earned byplayin g the piano foraneccentric En glishman), the othersfa ll greedily upon theprov isions. But

Schau nard , remindin g them that it is Chr istmas E ve, propo ses that they celebrat e by going outto dinner intheLatinQ uarter

Their departure is dela yed bya surprise visit fromthe landlord Benoit,whoprese nts themwitha billfortheoverduerent. Befuddled by t heirflatter y (and severalgla sses of wine), t heold fellow is madeto boast of his exploit sas alad ies' man , but whenheletsit slip t hathe is ma rried, the others, inafine

Copyright 2010, Michigan Opera Theatre

d isplay of moraloutrage h im forcibl y tothe door.

Ashisfriend s leavefor the Momu s, Rodolfo stays to art icle heha s beenwritin. issoon interruptedby a thedoor:itisaprett y girl ne ighborin g apartment , a sk h im torelight her fragile health and exhaus climbin g the stairs,she f ' h is arm s Revived by a sip she is about togo when realizesth at herdoor key

Edgar Degas, ViolinistandYoung Woman

fallen somewherein the room A draft putsout both candle s, and a s the young people hunt in the darkness forthekey, their fingers ieuch.

Gently takingher hand, Rodolfo marvels athow cold and delicate it s, and warmingitinhis own, he assures herthattheri sing moon will soon helpthemin their search Meanwhile,he offers to entertain herwithan account of life asana spiring artist-poor in worldly thin gs perhap s, but rich

TheReal World Of La Boheme

By Dona Df Sanc tis

If imitation isthesincere st form of flattery,thentherehasnever beenan opera more admired than Mascagni's Cavalleria Rusticana. Between1890 and 1924more than fifty opera s that, like Cavalleria, presented "real life"onthelyricstage,were written and produced aUover Europe. Among tho se composers whogave "the prose" of lifeserious consideration was Giacomo Puccini Withthe applause fromhisfirstsuccess, Manon Lescaut in1893 s tillringinginhi s ears,Puccinibegan looking for a suitable "realistic" subjectforhisnext opera-one sureto pleaseapublicnoweagerforverismo opera's "slice of life:'

Whofirstsuggested Henry Murger's 1851 novel, Scenesde fa Vie deBoheme to Puccini isunclear.MoscoCarner,inhisexcellent biography of thecomposer,believesitwasLuigiIIIica,earlyin 1892 ButRuggiero Leoncavallo claimed tohaveshownhis friendPuccinia libretto he himself had drawnfrom Murger's work. Puccini's decisiontorecasttheFrenchnovelasan opera, without crediting Leoncavallo,destroyedthe friendship between thetwo composers-a loss that wastogivethelyricstageone of itsbest-lovedoperas.

Puccini's choice of librettistsforhislyric interpretation of Bohemian lifefelltotwomen already well-knownto Italian cultural life. Giuseppe Giacosa wasaleadingpoet, author, and journalist; LuigiIlIica,an established (andprolific) librettist. Their planfor Boheme reflectstheform of Murger's original novel,whichisreallya collection of loosely-connected short stories. Thelibretto 's rapid succession of seeminglydi sconnected events,therefore,remainsfaithful both to Murger's narrative structure andtothespirit of spontaneity that isone of the novel'smost delightful features

Giacosa and IlIicachose roughly half of Murger's original twenty-three sketches, principally those episodes whichdealwith Rodolphe's andMarcel'sloveaffairs.Theydrewliberally,aswell, from other episodesdevotedto Bohemian life and manners in order toprovidetheirplotwiththose touches of humor and realisticdetails of milieu that would balance the potentially cloying sentimentality of Rodolfo's and Mimi's doomed love.

ActI'strickonthe landlord, Benoit,forexampleisa composite of eventsfoundin Chapters TenandNineteen.Thecomic

in poetic in spiration, a wealth to which her beauty hasnow added thepre ciou sgi ft of hope.

Athis urging, s he s hylytellshim something of herself. Mimiisher name, and herlife, though solitary, isa happy one.

Embroidering flower s is both work and pleasure toher, but her greate st jo y come s when the s pringtime sun makes thereal flowers bloom

From the courtyard below,

Rodolfo's friends callforhim impatiently, but hetells them that he and a companion will j oin them soonatthe Momu s

As moonlight floods through the garret window, Rodolfo takes Mimiinhi s arms , and a s thetwo young people go off together, their words distill the rapture of the moment: "Love love love"

ACT TWO: Out side the Cafe Momus

The streets of theLatin Quarter arefilledwitha holiday throng of pa ssersby and vendors Marcello and his friends commandeer a table from in side the crowded Cafe Momus, where theyare soon joined by Rodolfo and Mimi. The poet presents herashis newfound mu se, and she proudly d isplays the bonnet hehas just bought her.

A s they settle down toafestive meal , Mu setta, a beautiful grisette

peregrinations of Marcel'smasterpiece, TheCrossing of the Red Sea, whichheisworkingonasthe opera opens,andwhichis found hanging overataverninActIII,istakenfrom Chapter Eleven.Rodolfo'ssacrifice of his manuscript towarmtheir studio inActIisfoundin Chapter Nine.

Schaunard's monologue which introduces himinActI,acomic touch unfortunately lostinthe confusion onstageasthefour preparetodine,isasixteen-line condensation of thefunniest sketchinthenovel, TheToilette of theGraces, inwhich SchaunardishiredbyanEnglishlordtoplaythe piano non-stop untila neighbor's parrot dies.Colline's capacious overcoat,a comic prop inthenovel,filledwithbooks,food,and other essentials,becomesatragicsymbol of futilesacrifice, inspiring Colline'sonlyaria, Vecchiazimarra; inActIV.

Of equalinterestaretheepisodeswhichwere completely disregarded, becausethey indicate wherePucciniandhis librettists"drewthe line" inlyricrealism.The original death of Mimi-alone ina charity hospitalward,her body usedforan anatomy classandthenburiedina pauper's grave-was rejected and the sentimental portrait of ayoungwoman'sdeathinher lover'sstudio,foundin Chapter Eighteen,wasusedinstead.The sketchesthatshowthelovers actually living together werealso eliminated, perhaps indeferencetothemiddle-class audience whosemoralflexibilitywasnotyetreadyforexplicitscenes of freelove's cohabitation.

Thecastin Murger's novelislarge.A plethora of minor characters-grisettes, other Bohemian artists, landlords and shopkeepers-wander through itspages.Thescale of thelibretto ismoremodest, confined totheworld of thetwoloversandtheir closestfriends.

Three of La Boheme's fouracts concern the personal drama of RodolfoandMimi:ActI,theirfirstmeeting;ActIII,their quarrel and reconciliation; andActIV,thedeath of Mimi.ActII istheonlyscenewhichplacestheloversinalarger world-that of Bohemian Paris,and,exceptforits introduction of Musetta, itisentirely extraneous totheplot.

Originally, Boheme hadafifthact, "The Courtyard:' whichwas tofollowtheCafeMomusscene.Itderivesfromanincidentin Chapter Six of thenovelwhich introduces Musetta, who discoversthatshehasbeenevictedonthedayshehad planned a party forher Bohemian friends.Her furniture hasbeenmoved tothe courtyard tobe auctioned off for delinquent rent,butshe holdsthe party thereanyway.

The courtyard actexplainsRodolfoandMimi's estrangement in Act Ill's Barriere d'Enfer scene,for, during theparty,Mimi meetsa viscount andruns off withhimattheend of theact . It alsoprovidesan opportunity forthoseexplosions of choreographed dancing andmassed choruses that,atthe

whowasonce Marcello's sweetheart, arriveswithherlatest admirer intow,therich and elderly Alcindoro. Distracted by her capricious behavior,theold manis unaware that Musetta, while elaborately snubbing her formerflame,is doing hervery besttowinhimback. Although he feigns indifference tothe seductive waltzshesings, Marcello gradually succumbs.Sure of hervictory, Musetta pretends that one of her newshoesis painfully tightand sendsthegullible A\cindoro to

buy another pair.Freeatlast,she fallsintothe painter's open arms, andasthecrowdcheersthe passing of a regimental band, the young people maketheirescape, leaving A\cindoro topaythebill.

ACT THREE: A tollgate onthe edge of thecity

Asasnowy February morning dawns, streetsweepers and farmgirlspass through the tollgates of thecityontheirwaytowork Insidethetavern of a nearby inn

(where Marcello and Musetta have been earning theirroomand board), a group of all-night revelers join ina drinking song.

Distraught andgravelyill,Mimi calls Marcello outside andbegsfor hishelp.Sheand Rodolfo areon theverge of a separation, for although theyloveeach other deeply,his jealous nature isa constant torment tothem both.

Awarethat Rodolfo hascometo seek Marcello's advice,Mimi agreestoleavethetwofriends

Copyright 2010, Michigan Opera Theatre

alone totalk,butwhenher 10\, emergesfromtheinn,she hides nearby andlistenstotheir conversation

Rodolfo complains bitterly thai Mimi's coquettish wayshave him doubt herfidelity,but und Marcello's prodding, he finally confesses thetruereasonfor hi! anguish; heis desperately afrai that Mimi'shealthwillsoon be broken bythewretchedlifethe share,and although he loves h more than ever,hewould rather

FelixH.Buhot, La Fete Nationale au Boulevard Clichy. Courtesy of TheUniversityof Michigan Museum of Art.

slightest excuse, com posers seized upon tosatisfythe ex pect ations oftheirpublicattheexpense of plotand character development. (A good example of extraneous spectacleisthe Chorusof Gypsiesan dt heSpa nish dancers who interrupt the closi ng sceneofAct II in La Traviata.)

De spite itsusefulnesstot he plotandit s appeal to t heeye,the co urtyard actwasrejectedb yPuccini b ecau seit presented Mimi in an unsympatheticlightand,withits spirit of boi sterous gaiety, was toosimilartoAct II 'scafescene.

ApparentlyGiacosaan dIlIica admired Murger' s novel,and especi allyhispreface,whichthey quote exten sively intheirown, itself anunusual, "literary" feature of Boheme's libretto.A desc ription of Bohemia's"vita gaia eterribile"(gay and terrible life) is offered in Murger's ownword s, alongwith his description of the four"bolda dventurers" whosedailyexistence is "awork of geniu s;'whospendfreely, loveeasi ly, suffertheirpover ty and disa ppointments stoica lly, an d speak a special language whose voca bulary is"thehell of r hetoric andthe paradise of neo logism:'

Theirprefacealsoincludes a curiou s apology,forin order to re mainfaithfultothecharacte rs, t he milieu,andthespirit of "il pi ulib erodella moderna litterat ura;' (themo st liberal book in modern literature),theyexplain that they had tofo llow Murger 's pra ctice ofalternati ng comica nd sentimenta l episodes.

The decisionwaswell taken,for Boheme's use of comedy gives the opera abelievable infor mality that contri butes toitsrealism andisasource ofstri kingly effective contrast. Therapid s hifts of mood give Boheme aswiftpace, m akingit difficult forthe singers to dropout of character. T heseq ualitiesin Boheme's li bre tto helpoffsettheretar ding effectthatmusichason opera's dra matic action,us ually att he exp ense oftheplot.Nevertheless, th eboldn essofsucha pl angavethem concern, forit would ma ke Boheme noto nly thefirstverismo opera tomixthecomic an dtragicmodes,b ut thefirsto pera since Mozart 's Don Giovanni (1787) todoso(afact that hasbeenignoredin studie s of the opera)

In Boheme, Mimidivide s hertimebetweenworkandprayerin he r"bianca cameretta;' b ut Murger'sMimiwas"a gadabout and spen tmostofhertimeamo ngt hekeptwomen of the neighborhood" whourgedhe r to leave Rodolpheandfinda wealt hie r lover. Shetakesthe ir a dvice, abandons Rodolphe,and emrns tohimonlyafterherrichloverha s di scarded her

As Mu rger's realisticp ortrayal of agen uine Parisian coquette is eeh anged forasymbolof doomed younglove,the character of Mimi approaches thefema le protagonist s of romantic opera

pan from her than causeher dea th

by his word s and sobbing helple ssly, Mimi givesherself away, just as Marcello,suspicious ij the sound ofMusetta's laughter, ru ns back into the inn Struggling lithher emot ions, Mimi tells Rodo lfo thatshemust leave him and although she will send IOmeoneto fetch her few belo ngings fromthegarret, she offers him the bonnetthathe bought her as a keep sake.

As the twoofthempathetically recallthehappiness theyshared, Marcelloa ndMusetta emerge fromtheinn,quarrelling violently.

Reali zing that they cannotbear thepain of separation,Rodolfo andMimidecideto stay together-a t least till springtime comes- and as theirfriends exchang e afinal roundofinsults, the reconciled loversslowlyhead for home

ACT FOUR: Thegarret

It isspring.Partedfrom their sweethearts,Rodolfo andMarcello havetaken uptheiroldlifeinthe garret, seemingly unconcerned thatthegirlshave left themfor wealthieradmirers But although they t ry towork,Rodolfo's thoughtskeepturn ing toMimi, a ndMarcellofindshimself obsessivelytracing a ndretracing Musetta's features.

Schaunard andCollinea rrivewith

provisions for a meager meal. Making thebesto f it,thefour youngmenpretendtheyare guests atanaristocraticsupper,and whenSchaunardthreatens them with aperformanceofhis latest composition,theyquicklyelect to "go dancing" instead. Their decorous quadrilleis disrupted whenColline,challenging Schaunardtoa duel,touches offa noisy free-for -all.

As the battle rages, Musetta suddenlyappears; Mimi iswith

G.S. Gavami, Les A nglais chez eax:Onportebeaucoupd e jleurs. Cou rtesy of TheUniver sity of Michigan Mu seum of Art.

Do nizetti'sLuci a,G o unod 's Ma rguerite, and Verdi's Gilda were alre ady familiar exampleso f th is ideal victim, an ditwa sa fter h eroine ssucha s the set hatMim i's characterwasfas hioned

Rodolfo ' s characterization is al so nece ssarily alte red. Murger created Rodolphe inthe spirit of self-parody.H is "bald forge tme -not " is a comic fi gure who se rom antic no tions o f Ide al Woman and TrueLove inspire bad po etry a nd witty barb s from his friends. The illu sions he c herishes makehi m th ep erfectfoil forMimi -M arion Lescaut, and Murger h im self liken s Rodolphe to Prevost's Chevalier des Grieux, who " isonl ysavedfrombeing ridiculous byhis youth: '

Puc cini's Rodol fo is a serious character, resembling t he romantic Alfredo of Traviata i nhi s jealou sy and impulsiveness.H eisfi rst p resented a s a rather worldly young man who j okes about love and is quick toseizethe opportunity to detain a pretty young woman who knock s athis door (heblo ws out theonl y candle and hides herkey), but , b y the end of th eo perah e, too, ha s be come atra gic figu re.

The c hangesPu ccini and hi s libretti sts mad e inthe o riginalnov el proved tobe dramatically and arti sticallysound The narrowed per spective of the opera does notde stroy the authenti city of Murger's Scen es delaVie d e Bohem e, a n achi evementwo rthyo f note,fortheta sk of writ ingacohesivelibretto from t he kal eido scopic novelwa s difficult it took Gi acosa and Ill icat wo years and nine month s to complete thelibr etto,yetPu ccini needed only one yeartowritethescore He began the orche stration of ActIon Januar y 21,1985 and fini shed ActIV on December 10th .

B oheme premi ered inTu rintwo month s lat er,o n Febru aryI, 1896 under the baton o f aver yyoung Artu ro Toscanini. It s c riticalreception was cool, perhap s in part be causeo fcertain feature s of Boheme 's libretto. Forthefir st time , anop era audi ence was pre sented withthee ssentially rom anti cc hara cters i na c ontexto f ordinary reali ty B oheme's young loversco me fromthe working cl ass:t hey eatsimple food, wearseco nd-hand clothes, livein c old, sparselyfurn ished room s,a ndfrequent th e neighborhood cafe. They hunt fortherentmo ney, lose th eir keys, have petty lovers' quarrel s, and succumb to tuberculo sis, t hedi sease o f povert y.

B oheme pre sents lifea s itis reall y lived b y uni mportantpeo ple who se in significant lives lack glamour a ndad ven ture. Th eya re never called upon tomakea noble sacrificeo f theirlo ve becau se it conflict s witha public duty ora code of honor. In stead, the opera explore s the private world of s implepl ea suresa nd sorrows.It probe s it s characters' feelings, their hop esan d dream s, the ira musements a ndd isappo intments Th e picture of reality t hat e merges is lyrica nd non -violent and wo uld see m to placethe opera out sidet he main stream o fve rismo, fo rPu ccini's reali sm wa s not naturalisti c but poetic -an inno vation that was to influenceth e developm ent of thenew tre nd in " realistic" o pera.

h er, d eathl y ill a ndlongingo nly to b e reun ited withRodolfo. Well awa reth atshe is d ying, the ot hers ra lly in support:Marcelloa nd M usetta go out tofin dmedicine an d a d octor;Colline, b idding farewell to his treasured overcoat, leaves for a p awnshop; and w hen Schaun ard ta ctfully withdraws, th e loversar e f inallyal one.

T heyexchangeassu rances of their devoti on, a ndwh en Rodolfo s howsMimitha t he h as kepta nd cherishedthe bonnet sheleft

be hind, they te nderlyrecall th e coldand moonlit C hristmasE ve when t heym etan d fell inlove.As Mimiisrac ked byaviole nt fitof coughi ng , the others return.

Mu settahas broug ht Mimiamuff, ge nerouslypr etending th at it isa g iftfromRodolfo. Warming h er h andsinsi de it, M imi h appily drifts off tosleep.Asthe others tip -toe about theroom, Musetta heatsso me medicine andpray s for Mi mi' s recovery.Buti n a frightenedwhi sper,Sc haunard

B oheme offers hum oraswell a s pa tho s, make s lack o fmon ey ra ther than self-c o ntro lt hesourceo f drama ticte nsion, a nd p resentslove a nd friendshipa s ideal s. The sordid vi olenceo f earlier verismo opera sis replaced by t he patho s of doomed "true love;' a s ubstitutionwhichmovedthenewgenreclo ser tothe m ain s tream of operatra dition,which had alway s doted on s tarcrosse dlo vers. Rodolfoa ndMimi join Orfeoa ndEu ridice, Luc ia a nd Edgardo, A ida a nd Radame s, and aho st o f lyric examples of fate's cruelty toyounglo ve. • Cou rtesy o f The Wash ington Opera

Giacomo Puccini

Gi acomo P ucciniwas born inLu cca, it aly, De cember 22 , 1858, theson of theo rganist, co mposer, a nddire ctor of the Lucca Conservatory. For generatio nsthePu ccinis had b eenwellk nownmu sicians:t he composer's g reat-great g randfatherhad b een ma ster o f mu sic toth e Republi c of Lucca,andh is de scendentscarried o nthemu sical tradition of thefamil y.

W itha meager a llowance, t he 20 -year o ldPu ccini wentto Milan to study wit hAmi lcare Pon chielli (La G ioconda). Years lat er, w henPu cciniwro te La Boh eme, he drewonh is own ex perience forth ev ividpi cture o fs truggling arti sts intheLat in Quarter of Pari s. Hi s hundred-lire/month allowance h es haredwithtwo ro ommates,soeach of th eyoungmen had about thre e-quarters of a lira p er d ayfor s pending mon ey. WhenPu ccinicomposed a n opera a bout t he me rrybu t starv ingBoh emians, h e had more t han anaca demic know ledge of h issubject.

Puc cini's fi rsto pera, Le Villi, well-received b y the Italian public, was followedb y E dgar, ad ismal failure. Manon Lescaut, which a ppeared fo ur yea rsla ter,was amild s uccess.Th e da zzling career of La B oheme, whic h a tonc epl acedPu cciniint he front rank of yo ungIt alian co mposers,began atTurin , Februar y I, 1896. Hi s reputati on wa sfurther e nhancedb y Tosca, wh ich mad eits debut inRom e, 1900

Butwit h t he a p peara nceo f Madam e Butterfly onFebrua ry 17, 1904, Puccini's p opularitywit htheI talian m usicalpu blic s uffered asevere set back T he opera , which si nceh as b ecome o ne of t hemo st b elovedin t he operati c repertor y, wa s a complete fia scoi nth e beginning. Soal so were La FanciulladelWest and La R ondine More s uccessfulwa s the t rilogy, II Tabarro; Suor A ngelica an d G ianniSc hicchi.

Pu ccini' slasto pera, I urandot, wa s alm ostfinished whe nth e co mposer wass trickenwith t hroat ca ncer. Althou gh an o perationwassuccessful,his heart could not standthe shock a ndhe di ed, N ovember 29,1924.

tellsMarce llo that th e gi rl has d ied a lready. Moments later, Rod olfo toorealizeswhat has h appened.

Co urtesyofFranc is Rizzoa ndThe Washington Opera

Copyright 2010, Michigan Opera Theatre

AGala Benefit Concert Another Tibor Rudas Production . Thisconcert is made possible in part. by a grant from Ford Motor Company

The worldcheersthis great artist athisevery appearance in opera, inrecitalwith orchestra, on television and in motion pictures. His impact has broadened the horizons of classical music and brought untold numbers of newfansto the art. His unique personality and individual qualities have reached and touched countless audiences throughout the world on stage and inconcert, including his recent visitto The People's Republic of China during the silver anniversary year of his performing career, and asilver jubilee tour of America in joint concertwith Dame Joan Sutherland.

From hisbestseller recordings tohis frequent "Live From Lincoln Center" appearances, tohis master classes, documentaries, PBS Christmas concert, and his starring role inMOM's Yes, Gio'Xio-ali have added tohis musical renown, and combined withhis interests in tennis, painting and horsemanship, the name Luciano Pavarotti has becomea household word.

Born in Modena, Italy, where henowresideswithhis wile andthree daughters, Luciano Pavarotti decided ea rly oninhislifeto become a professional singer,to the great joy of his father who had always hoped his son would become an operatic tenor The Pavarotti phenomenon inthe United States began in1965 with several performances of Lucia di Lammermoor for the Miami Opera, opposite Dame Joan Sutherland. His Metropolitan Opera debut occured in1968as Rodolfo in LaBoheme, a company that hehas performed witheversince.Mr. Pavarotti performed with theMet's national touring productions in Tosca(1979) and Un Ballo in Maschera (1980), including performances at Detroit's Masonic Temple

Beyondthevoice and artistry of the man, ishis enormous personality. Hehas been called a "great bear of a man" who "stretches out his arms and in one motion embraces an entire auditorium and welcomes thousands into his heart:'

Michigan Opera Theatre is proud to present the return of Luciano Pavarotti to the Detroit metropolitan community, and awaits the sight of his ubiquitous white ha ndkerchief that heralds the presence of his remarkable artistry fora most historic cultural event.For benefit tickets,call Mar 313/874-SING. Copyright 2010, Michigan Opera

Artists of the Company

DAVID ABELL

Conductor (NewYork)

The Washington Opera

NewYorkCi ty Opera

Wol f Trap

Opera Pacific

TheTurn of TheScrew The Mikado

Three Penny Opera

WestSide Story

MOT debut

1987/88 season:

Man of LaMancha

CESA RE ALFIE RI Conductor (Italy) LaScala

Tokyo

Arizona Opera Company

Toledo Opera

Tosca LaTraviata

L' Histoire du Soldat

Manon Lescaut

MOT debut

1987/88 season: IITrovatore

BR ENT BARR ETT Tenor (NewYork)

Broadway & Off-Broadway

National & Internat'l Tours

Baltimore Center Stage

TV,AllMy Children

WestSide Story

South P ac ific

DanceA Little Closer

Time of the Cuckoo

MOT debut

1987/88 season:

Caliph, Kismet

KIRKBOO KMAN Lighting Designer (NewYork)

Broadway & Off-Broadway

Cincinnati Playhouse

Cleveland Playhouse

Starlight Theater

Intothe Light

She Stoops to Conquer Frankenstein

DeathinVenice

MOT debut: Turandot, 1986

1987/88 season : Falstaff

SUZANNE ACTON

Chorus Master/Coach (Michigan)

Dayton Opera

(Conducting debut)

Opera Theatre of St.Louis

SanDiego Opera

Michigan Opera Theatre

IIBarbierediSiviglia

Tosca

MyFair Lady

Madama Butterfly

MOT debut: 1981/ 82 season

1987/88 season:

Chorus Master/Assistant

Music Director

F RANZ AL LERS Conductor (Czechoslovakia)

Co vent Garden

Vienna Symphony

Metropolitan Opera

Broadway

Carmen

Der Rosenkavalier

Camelot

M y Fair Lady

MOT debut

1987/88 season: DieFledermaus

M IC HAEL BAUMGARTEN

Lighting Designer (NewYork)

Santa Fe Opera

Eugene Opera

Arkansas Opera Theatre

Broadway

Madama Butterfly

GianniSchicchi

Singin , InTheRain

MasterHarold.. andboys

MOTdebut: GianniSchicchi / 1Pagliacci, 1985

1987/88 season: IITrovatore

LIVIA BUDAI

Mezzo-soprano (Hungary)

Covent Garden

Vienna State Opera

Metropolitan Opera

San Francisco Opera

Carmen Aida

DonCarlo

Parsifal

MOT debut

1987j88 season:

Azucena, IITrovatore

Copyright 2010, Michigan Opera Theatre

C HARLES CAINE

Costume Designer (New York)

Metropolitan Opera

Greater Miami Opera

Canadian Opera Company

San Francisco Opera

Die Walkure

Der Rosenkavalier

LouisaMiller

Tu randot

MOT debut: WestSide Story, 1985

1987/88 season : Die Fledermaus

D AV ID C HANEY

Singerl Actor( Pennsylvania)

Broadway

Canadian Opera Company

Television Stock T heatre

Sideby Sideby Sondheim

Mame

Kismet

Woman of theYear

King and I

MOT debut

1987/88 season:

Hajj, Kismet

MA RIANNA CHRI STOS

Soprano ( Pennsylvania)

NewYorkCity Opera

Lyric O pera of Chicago

San Francisco O pera

Houston Grand Opera

Faust

La Boheme

Mefistofele

Carmen

Mar debut: La Boheme 1975

1987/88 season:

Mrs.Fo rd, Falstaff

LA WR ENCEC OOPER

Bariton e (California)

San Francisco Opera

Houston Grand Opera

NewYorkCity Opera

Wexford Festival, Ir eland

La B oheme Faust

Wozzeck

Th eCrucible

MOT debut: Of Mice and Men, 1980

1987 / 88 season:

Mr.Fo rd, Falstaff

Artists of the Company

C HRIS CA LLEN

Si nger l Actress (California)

TV,TheBronx Zoo

Broadway

Mark Taper Forum

Regional/Stock Theatre

1776

Fiddleronthe Roof

S ide byS ide Sondheim

The D esertSong

MOT debut

1987/88 season : Aldonza , Man of LaManc ha

L1-CHAN C HEN

Soprano (Taiwan)

San Franci sco Opera

SF Opera Center

Taipei O pera Theater

Taiwan Symphony

The Medium

Le Nozze diFigaro

Je nufa

Manon

MOT debut

1987/88 season:

Nannetta, Falstaff

M ARK COLES

Bass-b aritone (NewYork)

San Francisco Opera

Houston Grand Opera

Western Opera Theatre

P orgy and B ess, Nat'l Tour

Jenufa

DieMeistersinger

Don Giovanni

Salome

MOT debut: Porgy and Bess,1987

1987/88 season:

I nnkeeper l Governor, Man of LaMancha

KIM C RISWELL

Singer l Actress(NewYork)

Broadway & Off- Broadway

Pittsburgh Light Opera

Kennedy Center

RegionalT heatre

An nie

Ni ne

CatsBaby

MOT debut

1987/88 season:

La lume, Kis met

Artists of the Company

EVELYN D ELA ROSA Soprano (Nevada)

San Francisco Opera

Houston Grand Opera

Spoleto FestivalUSA

Anchorage Opera

Lo rdByron's Love Letter

ICapuletie i Montecchi

Daughter of the R egiment

LaCenerentola

MOT d ebut

1987/ 88 season:

Ad ele, D ieFlede rmaus

JOH N D eMAIN

Cond uctor (Ohio)

Houston Grand Opera

Broadway

Kennedy Center

Opera / Omaha

Porgy and Bess

Nixon inChina

Orpheus inthe

Underworld

Akhnaten

MOT debut: Of Mice andMen , 1980

1987/88 season: Conductor, La Boheme

STE PHEND UPONT Bass(Texas)

Metropolitan Opera

P aris O pera

Gly ndebourne Festival

LaSca la Goya

D on Giovanni DonCarlo Otello

MOTdebut

1987/88 season: ColIine, La Boheme

M ARKF LINT Conductor (W.Virginia)

NewYorkCity Opera

Central City Opera

Opera Theatre of St.Louis

Chautauqua Opera

IIBarbierediSiviglia

La Boheme

Romeo etJuliette

D onPasquale

MOT debut: Carmen,1977

1987/88 season: Falstaff

Copyright 2010, Michigan Opera Theatre

JOSEPH DeLEO N T enor(Guam)

O pera P acific

F resnoCivicLightO pera

E uterpe Ope ra

MOT,O vertureto Op era

Cos i f an t utte

Rom eoan dJ uliet

L aB oheme

LaF iesta d e laPo sada

MOTd ebut

1987/88 season:

Bardolph , Falstaff

JAME S DIET SCH

Ba ritone(Missouri)

Badisches Staatstheater

NewYorkCity Opera

Sa n Fra ncisco Opera

Opera North

Don Giovanni

Simon B occanegra

Eugene O negin

Un Balloin Maschera

MOT debut : Luciadi

Lammermoor, 1982

1987/88 season:

Cou nt diLuna, IITrovato re

JOHN FIORITO

Bass-baritone(NewYork)

T he Was hingtonO pera

C hautauquaOp era

Me tOper a Nation alCo.

ViennaSt aatsoper

LaF anciulla de lWest

R omeoe tJ uliette

The Me rry Widow

Der R osenkavalier

MOTd ebut

1987/ 88 season:

T itle role, Falstaff

T EDFORLOW Director / Actor (NewYork)

Broadway /National Tours

LincolnCenter

City Center of NY

BostonOpe ra

Man of LaMancha

Milk a ndH oney

Fu nny Thing. ..Forum

Evita

MOTdebut

1987/88 season: D irector/ Choreogra pher / TheBarber, Ma n of La Manc ha

RICHARD FREDRICKS

Baritone (NewYork)

Metropol itan Opera

NewYorkCity Opera

Live From Lincoln Center

TV , TheOdd Couple

LongBeach Opera

Rigoletto

Don Giovanni

TheBallad of Baby Doe

KissMeKat e

Carousel

MOT debut

1987/88 season:

Don Quixote,Man of LaMancha

LOUISGAL TERIO Director (NewYork)

NewYorkCity Opera

Santa Fe Opera

Opera Theatre of St.Loui s

The Washington Opera

L 'Elisird 'Amore

LaFedeltaPremiata

Albert Herring

LaCenerentola

MOT debut:

Madama Butterfly, 1975

1987/88 season: Falstaff

MA IDIEO .G REER

Lighting Designer (NewYork)

Dayton Opera

Kent Opera Company

Chautauqua Theatre

Fairbanks Theatre, NYC

The Lion InWinter

The Good Doctor MyFair Lady

Gypsy

MOT debut

1987/88 season: Man of La Mancha

RO NALD HEDLUND

Bass-baritone (Minnesota)

San Francisco Opera

Hou ston Grand Opera

TheWa shington Opera

Spoleto , Italy

HanselandGretel

DieFledermaus

Th e Good Soldier Schweik No ye's Fludde

MOTdebut

1987/88 season:

Titlerole, Falstaff

Artists of the Company

STEPHANIE FRIEDE

Soprano (NewYork)

Houston Grand Opera

Stuttgart Opera

Opera Theatre of St.Loui s

Netherlands Opera

Don Giovanni

L'Elisir d'Amore

IIViaggioA Reims

Cendrillon

MOT debut : Madama Butterfly,1978

1987/88 season:Mimi, La Boheme

GIUSEPPE GIACOMINI

Tenor ( Italy)

LaScala

Covent Garden

Pari s Opera

Metropolitan Opera

SanFrancis co Opera

LaFor za d el Destino

Adriana Lecouvreur

IPagliacci

Turandot

MOT debut

1987/ 88season:

Manrico, IITrovatore

ROBERTG ROSSMAN

A ctor/Singer (California)

Of f -Broadwa y, NYC

Attic Theatre

Cle veland Playhou se

Chautauqua Opera

Mi ss Firecracker Contest

Conrad & L oretta

Play ItA gain, Sam

Days & Nig htsWithin

MOTdebut:

The Mikado, 1982

1987/88 sea son:

Jawan, K ismet

PEGGY IM BRIE

Stage Manager (NewYork)

Opera Theatre of St.Loui s

LakeGeorge Opera

Fort Worth Opera

Ed inburgh Festival

Ha zel Kirke (worldpremiere)

Carmen

TheBarber of Sevill e

Th e Marr iage of Figaro

MOT debut :

IITro vatore, 1979

1987/88 sea son:

Production Stage Manager , Falstaff & Kismet

Copyright 2010, Michigan Opera Theatre

ANDRE JOBIN

Tenor (Canada)

Canadian Opera Company

Berlin Opera

San Francisco Opera

NewYorkCity Opera

Carmen Faust

Werther

Katya Kabanova

MOTdebut

1987/88 season: Eisenstein, DieFledermaus

ALAN KIMMEL

SetDesigner(NewYork)

Broadway & Television

Seattle Opera Association

Cincinnati Opera

Cincinnati Playhouse

You're a Good Man, CharlieBrown Zaza

Fortune & Men's Eyes

CBS " MorningProgram "

MOTdebut

1987/88 season: Production Designer, DieFledermaus

EILEEN KOYL

Mezzo-soprano (Michigan)

Houston Grand Opera

Chautauqua Opera

Opera /Omaha

Charleston, W.Virginia

Orpheus inthe Underworld

The Mikado

TheMarriage of Figaro

The Rake's Progress

MOTdebut

1987/88 season:

DameQuickly , Falstaff

CAITLIN McNEIL

Mezzo-soprano (Michigan)

Michigan Opera Theatre

Marquis Theatre

Civic Theatre

Footlights Productions

The Gondoliers

A Little Night Music

Cosifan tutte

Mame

MOTdebut

1987/88 season:

Housekeeper, Man of LaMancha

Artists of the Company

DON JONES

Conductor andVocal

Arranger (Pennsylvania)

Broadway & Nat'l Tours

Canadian Opera Company

Off-Broadway /Stock

Theatre

TV,1984 Tony Awards

TapDanceKid

Pirates of Penzance

Shakespeare's Cabaret

Kismet

MOT debut

1987/88 season : Kismet

ELIZABETH KNIGHTON

Soprano (Massachusett s)

The Washington Opera

Greater Miami Opera

Canadian Opera Company

Houston Grand Opera

La Boheme

Faust

TheTsar'sBride

LaBelleHelene

MOTdebut

1987/88 sea son: Musetta, La Boheme

BEVERLY LAMBERT

Soprano (NewYork)

Broadway & Television

Canadian Opera Company

NewYorkCity Opera

Opera Pacific

Kismet

Brigadoon

Nine Fantasticks

MOT debut : WestSide Story, 1985

1987/88 season : Marsinah, Kismet

LAURIE MEEKER

,

Soprano (Michigan)

MOT, Overture to Opera

Attic Theatre

Hilberry Theatre

Prince StreetPlayers

MyFair Lady

The Mikado

Sleeping Beauty

PalJoey

MOTdebut

1987/88 season: Antonia, Man of LaMancha

Copyright 2010, Michigan Opera Theatre

MA RILYN MIMS

Soprano (Mississippi)

Metropolitan Opera

NewYorkCity Opera

Virginia Opera

Kentucky Opera LaTraviata

Luciadi Lammermoor

Abduction from the Seraglio

Don Giovanni MOT debut

1987/88 season:

Rosalinda, DieFledermaus

MI CHA EL MO NTEL D irector(NewYork)

Broadway

Greater Miami Opera

Min nesota Op era

Goodspeed O pera P BS & CableTV

MyFair Lady

WestSide Story

Sweeney Toad

The Abduction of Figaro

Co untry Girl

M OT de but: TheTender Land, 1978

1987/88 season: D ieFleder maus

T IMOTHY NOBLE Baritone (Indiana)

SanFra nciscoO pera

Houston G rand Opera

Metropolitan O pera

Netherla ndsO pera O pera P acific

Falstaff

Macbeth

R igoletto

Kovanschina

M OT debut

1987/88seaso n: Marce llo, La B oheme

LUC IANOPA VAROTTI Tenor (Italy)

LaScala

Covent Garden

Metropolitan Opera

LiveFromLincoln Center Film, YesGiorgio

La B oheme

LuisaMiller

La Gi oconda

Idomeneo

MOTdebut

1987/88 season: Featured soloist, Gala B enefi tConcert

Artists of the Company

LE ONA M ITC HELL

Soprano (Oklahoma)

Met ropolitan O pera

Covent Garden

Vienna Staatsoper

Australian Opera

Aida

Manon Lescaut

Otello

Tu randot

M OT debut: Porgyand Bess,1975

1987/88 season:

Leonora, IITrovatore

SC OTT NEU MANN

Baritone (Connecticut)

Houston Grand Opera

Central City O pera

LakeGeorge O pera

Cincinnati Opera

TheMarriage of Figaro

TheMe rry Widow

D ieFledermaus

A Little Night Music

MOT debut

1987/88 season: Knight of Mirrors/ Dr. Carrasco, Man of LaMancha

T HEODORE PA PPAS

Director/ Choreographer

Broadway & Television

Kennedy Center

Canadian Opera Company

Chautauqua Festival

A Midsummer Night's Dream

Kismet

Zorba

D iamonds

NBC's Saturday Night Live

MOT debut

1987/88 season:

Director / Choreographer, Kismet

VYA CHESLAV M .

POLOZO V

Tenor (SovietUnion)

Bolshoi Opera

LaScala

Metropolitan Opera

Lyric Opera of Chicago

Tosca

TheTsar'sBride

Madama Butterfly

Andrea Chenier

MOT debut

1987/ 88season :

Rodolfo, La Boheme

Copyright 2010, Michigan Opera Theatre

SAMUEL RENI

Baritone (NewJer sey)

Virginia Opera

Chautauqua Opera

Light Opera of Manhattan

Connecticut Opera

TheMarriage of Figaro

TheMagicFlute

Pirates of Penzance

Man of LaMancha

MOT debut

1987/88 season:

Sancho, Man of La Mancha

STEP HEN A. ROBERTS

Tenor (Virginia)

Michigan Opera Theatre

Dayton Opera Association

Manhattan Opera

Indianapolis Opera

HanselandGretel

Finian 's Rainbow

Haunted Castle

Judas

MOT debut:

Madame Butterfly, 1982

1987/88 season: Dr. Caius, Falstaff

AVE RY SALTZMAN

Actor /Singer /Dancer (Canada)

Canadian Opera Company

CBC Television

ShawFestival

Regional/Stock Theatre

Kismet Candide

Beachcombers

ADayin

Hollywood ..Ukraine

MOT debut

1987/88 season:

Wazir, Kismet

ROMAN TERLECKYJ

Director (England)

The Washington Opera

Spoleto Festi val

Santa Fe Opera

Edinburgh Festival

La Boheme

LaCenerentola

Amelia GoestotheBall

Goya

MOT debut

1987/88 season:

La Boheme

Artists of the Company

Copyright 2010, Michigan Opera Theatre

MARILYN RENNAGEL

Lighting Designer (NewYork)

Greater Miami Opera

Philadelphia Opera

Dallas Opera

Broadway & Nat'l Tour s

TheBoysFromSyracuse

LeaveittoJane

IIBarbierediSiviglia

MyFair Lady

SocialSecurity

MOT debut: IITrovatore, 1979

1987/88 season:

Kismet & DieFlede rmaus

ROCHELLE R OSENTHAL

Mezzo-soprano (Michigan)

18thStreet Playhouse, NY

Attic Theater

Prince Street Players

Television /Industrials

Sweeney Todd

A.. My Name Is Alice

GuysandDolls

Naughty Marietta

Cinderella

MOT debut: Mikado, 1982

1987/88 season:

Innkeeper's Wife /Maria, Man of LaMancha

KATHLEEN SEGA R

Mezzo-soprano (Michigan)

NYC Opera National Co.

DesMoines Metro Opera

Dayton Opera

Eugene Opera

Detroit Symphony

Romeo etJuliette

Faust

LaCenerentola

Le Nozze diFigaro

MOT debut :

Carmen, 1981

1987/88 season: Mrs.Page , Falstaff

GRAN WILSON

Tenor (Alabama)

Opera Theatre of St.Louis

NewYorkCity Opera

Live From Lincoln Center

Australian Opera

IIViaggioa Reims

Daughter of the Regiment

Anna Bolena

DonPasquale

MOT debut

1987/88 season:

Fenton, Falstaff

We regret thatwe were unable to print al/ artists profiles due to publication deadline. All casting Is subject to change Inthe clISe of unforseen exigencies.

Youne Artists Apprentice Proeram

Michigan Opera Theatre' s Young Artist s Apprentice Program is now in itsninth successful season. This nationally recognized training program helps young opera s ingers, directors,stage managers, coaches,technician s and administrators to prepare for career s in opera. Held annually during MOT' s main stage season, the YoungArtists Apprentice Program attract s applicants from all corners ofthe country , andits candidates audition locallyand regionally.

Apprentic es participate directly in thecompany's mainstage production s, according totheir area s oftraining.

Production /Technical apprentice s workdirectly withestabli shed profes sionals in their field s, while vocalapprentice s participate ina performance-based program which is createdto include opponunitiesto s ing supporting roles, coverleadingrole s and part icipate as choru s inthe co mpany's productions In addition to performance assi gnmentsandabus y rehear sal sched ule, vocal apprentice s are offered opportunitie s forma ster cl asseswitharti sts of the co mpany,private coaching and weekly instructionin such area s

a s movement , acting, make-up , di ction and s tage combat. Apprentices inall categories experience a veritable immersion inthe opera /mu sical theater world. Many apprentice s regard thi s experience and the professional associations formed while working, as among the most valuable a spects of the program .

Sinceits inception, Michigan Opera Theatre hasbeen committed tothe development of young American talent , and recognize s with pride those apprentices whohave gone onto establish careers inthefield. Many singersa s wellasseveral company production and artistic staff members have returned to Michigan Opera Theatre infull professional capacities after apprenticeships withthe company

Michigan Opera Theatre is s teadfastly seekingto provide opportunities for emerging talent. The list of now prominent artist s who made their debut s or hadan early start with MOT is impressive: Carmen Balthrop, Kathleen Bailie, RockwellBlake, Maria Ewing , W ilhelmenia Fernandez, Catherine Malfitano , Leona Mitchell , David Par sons,

Kathleen Seg ar, NeilSchi coff and Victoria Vergara , among others.

For a complimentary brochure and details regarding requirements and audition s, write:

MOT Apprentice Program 65I9 Second Avenue Detroit, MI48202

A RTISTS

Lawren ce Formo sa Taylor, Michigan Baritone

MaryKayKinlen

Southgate, M ichigan Soprano

Robert E Lauder , Jr. Anaheim, California Baritone

Joseph Paur Glendale, California Baritone

Kathleen Roland San Francisco, California Mezzo Soprano

Leann Marlene S andel Mount Plea sant, Michigan Soprano

Elizabeth Wiener Chicago, Illinois Soprano

Paul Wiltsie Livonia , Michigan Tenor

Suzanna Zon is Santa Monica, California Soprano

FUN DING F OR YOUNG A RTISTS AP P RENTICE P ROGRAM

Production and Technical Scholarship given through the generosit y of Dr Lourdes V Anda ya

(AwardedtoPatricia Sutherland, TechnicalInt ern)

Ro se Cooper Memorial Apprenti ce Award (AwardedtoPaulWiltsie, T enor)

DeRoy Testamentary Foundation Apprentice Award (AwardedtoLeannMarlene Sandel, Soprano)

Barbara Williams Apprentice Award s (Awardedto Suzanna Zon is, Soprano andRob ert Lauder Baritone)

.gthemain stage season, vocal apprentices have the opportunity to perform established artists in the field of opera /musical theatre, in comprimario roles, erstudies for major roles, and as members of the Mar chorus

Mar's Young Artists Apprentice Program provides valuable training for careers inall facets of opera production, including technical theatre, make-up artistry and costuming

Orchestra and Chorus

ORCHESTRA

VIOLIN I

C harlotteMerkersonCo ncertmist ress

A lice Sa uro

Ma rla J .Smit h

A nn H Ca nnell

Randolph Margitza

VIOLIN II

Victoria Halt omPr incipal

W ilma Turco

Brooke Hoplamazian

Rut h Monson

An gelinaCarc one

VIOLA

Henry J anzen

Robert L. Op pelt

Ma rk Mutter

VIOLINCELLO

Nad ine Deleury-Principal

DebraLonergan

DianeBredesen

MinkaChri stoff

CONTRABASS

DerekWeller

FLUTE

Pam ela J Hill-Prin cipal There sa Norris

OBOE

An n Au gustin -Prin cipal

Caro l Guither

CLARINET

Brian Bowm an-Prin cipal Ja mes Forgey

BASSOO N

Kirkland D . Ferris -Principal

C hristineM Prince

HORN

S usan Mutt er -P rincipal Ca rrieBanfield

TRUMPET

J ames B .U nderwoo d- Principal

GordonE. Simmon s

TROMBONE

Maury Ok un-Principal Greg oryD.Near

TIMPANI

Grego ryWh ite

PERCUSSION

J ohn F . Dor sey

H ARP

P atricia T erry-Ross

Detroit Federation of M usicians. L ocalN o.5 A merican Federation of Mu sicians

CH ORUS

SUZA NNE AC7VN

ChorusMaster

N ORRISA NDERSEN

DIA NE ARO N-CALHOUN

JACKIE BAKTH

GREGORY BRYA NT

TILlS BUTLER JR

REBECCA CULLEN

ELIZABETH DEWILDE

MICHAELLA PATCHESDIO NNE

LEE ECKSTROM

ELIZABETH E VANS

GEORGEE VANS

VANESSA FERRIOLE

LOUlSE A FISHER

"LAWRENCE FORMOSA

YVONNE FRIDAY

ROSALINE G UASTELLA

PHILLIP H AWK

ROXYTHE HARDING

CHARLES HE NDRICKS

JOHNHETT

TRISHAM HOFFMAN-AHRENS

AARON HUNT

JOAN IRWIN

ARMOND JACKSO N

CAROL JlMINES

AL VIN JOH NSON

JE NNIFER JOHNSON

C LA RENCE JO NES

' MARYK A YKI NLEN

'ROBERT E. L AUDER, JR

R AY LlTT

MICHAEL M CC ORMICK

CA I TLIN M CNE IL

J AMES M MOOR E

ROB ERT L. MOR ENCY

RICHARDMOX

A N THO NY N OTO

JE NNIFER L. OLIVER

PEGGY O 'SHAUGHNESSEY

"JOSEPHPAUR

PATRICIA PIEROBON

D AVIDPOD ULKA

GR EGOR YPO ND

RODERICK R EESE

M ARK R ETHMAN

JOHN RILEY

MAR Y ROBERTSON

"KA THLEE N ROL AND

"L EANN M AR LENE SANDEL

JOHN S CHMIDT

K AR LSC HM IDT

P AULS ILVE R

JE AN SLA UGHTER

B ARBARA J SMITH

S TEPH EN STEWART

JUDITH S ZEFI

D EAN UNICK

H ERB ERT WHI TBY

' ELlZ ABETH WI ENER

'PAUL WILTSIE

E LIZA BETH A WI NG ERT

' SUZANNA ZO NIS

"Y oungA rtist A pprentice

Copyright 2010, Michigan Opera Theatre

Community Programs

community a nd student audien ces. Allo f the Overture to Opera programs arefully s taged, usinglight scenery and props, alo ng with appropriate costumes; mo st programs use piano accompaniment. Many of the OTOprog rams are a maximum of 45 minutes andfeesvary depending upon the production.

During the month of September, the Community Programs

Department acti vely parti cipated inthe Detroit Fe stival of Art s, heldina15block area e ncompassing Detroit' s Univer sity Cultural Center For thefestival, MOT presented two work s that salutet he s tate of Michigan's l 50th anniver sary: John Philip Sou sa's operetta £1 Capitan anda45m inute prog ram of mu sic published in Michigan entitled "Michigan Musicin Revue"

Education and Outreach Activities

SERVING COMMUN ITIES

STATE -WIDE

Michigan Opera Theatre has garnered nat ional recogn ition for ilS seventeen years of pre sentin g grand o pera, operetta and chestnuts fromthe Broadwa y repertory However, equall y signifi cant in regional and nationalacclaimis the company's extensive community outreach program s a s developed b y its founder and director , Karen DiChiera Adhering tothe compan y's (neeO verture to Opera) earl y philo sophy, Mich igan Opera Theatre 's Community Program s Department is now in its9th year of providingyear-round profes sional work s th ata re both entertainin g and educat ional, presented ina lmost a nyt ype of seuing, andgeared towards all segment sof th e communit y pop ulation

The MOT Communit y Pro gram s Department doe s notre strict itself toexclusively children' s opera or opera programmin g. Rather , thed iverse repertory of this innovative department range s from one-act opera s for young audiences andtheir families, mu sical re vues o f Broadway or operetta for adult s, mu sical sati res ontheill-effect s of smokingand substanceabu se, and operas basedon Michigan' s nati ve American literature, a s wellasmu sical revue s tha tt race th e root s of early opera to Afr ica andit s rela tionship topopmu sic of today Additionall y, the Communit y Program s Department o ffers awideva riety of e ducationalandin struc tional workshops in improvi sation, the art of si nging, career s in t heart s and program s forthedi sabled.

The success of thi s program is

revealed byit s 20 OJo increase in the number of localand s tatewide outreach performance s la st year, totaling more than 300. Mich igan Opera Theatre claims the n umberninepo sition among opera producing organizations nationall y, its Communit y Program s Department continues to expand its s tate-wide community audience s, bringing to themthe fi nestinmusical entertainment and edu cation

OVE RTURE TOO PERA

Man y of themusical offering s pre sented bythe Communit y Program s Dep artment ar e sponsoredb y the year-round company of s ingersfromthe O verture to Opera troup e, a profe ssional en semble compri sed of 20 Michigan singers and pianists, performing for

Copyright 2010, Michigan Opera Theatre

O fspecial interest tothe Overture To Opera seasonisthe inclusion of a one-act opera: The Frog Who BecameA Prince, w ritten by Edward Barnes .The Frog .is presented a s part of MOT's contribution to " The World of Difference" campaign sponsored by WDIV-TV 4,the Anti-Defamation League o f B'nai Brith and the Detroit FreePre ss. Adding atwisttothe familiar children's tale,thi s charming worktells of afrogwho is unwillingly chan ged int o a handsome pricebyawellmeaning witch , who learns that beaut ya nd personal happin ess lie intheeye of the beholder.

Equall y important, through a special Sesquicentennial award fromthe Michigan Council for theArt s, the Community Program s Department ha s commis sioned Michig an composer and profe ssor of composition atWayne State University, Dr. Jame s Hartwa y, fora sequel comp anion piece to the compan y's current produ ction of Nanabush , an opera for young audience s ba sed on Michigan Indian folklegend. Collaborating ontheworkwith

D r. Hartway as librettist are Anthony Ambrosio, Maccabee s Mutual Life Insurance Company Procedures Analyst, and author Anca Vlasopo las, Associate professor of Engli sh atWa yne State Univer sity During the month of September t he work, entit led Ke-Nu and TheMagic

In honor of Michigan's Sesquicentennial, the 1987 Mar-In-Residence touring company presented thepremiere of Na nabush.

Coals, wa s premiered ina workshop setting featuring Michigan Opera Theatre YoungArti st Interns The opera willbe incorporated intothe1988 Spring Residenc y tour, and presented tohigh schoolage audiences.

Duetotheir popularity onthe Michigan Opera Theatre Residency tour, twopieceswill be offered year -round bythe OTO Company : Na nabush, a one-act opera base d onM ichigan Indian folk legend and co mposed byKa renDiChieraan d OTO Manager William Kirk;and MichiganMusicinRev ue

MI CHIGAN OP ERA TH EATRE I N R ESIDENCE

Intheearly winter andintothe late spring, the Community Prog ram s Department launches it s annual state-wide tour, reaching communities both lo cally and asfarawaya s the Upper Peninsula. The popular program provides each communit y withan in-depth opportunity towitnessthe tra veling opera company up clo se. Each community become s act ively involvedwiththe opera compan y, providing awelltrained and prepared chorus f or thefullystaged opera presented atweek's end, in addition to volunteer technicaland costuming he lp. D uring the weekdays, schoolswithineach comm unity are treated toa variety of one-act ope ras , mus ical revuesand workshops in the performing arts .

In anticipation of the annual residency tour, theMOT Communit y Program s Department sponsors Michigan Da y atthe Opera, andinvites tour s ite representative s to Detro it forada y-long work shop inreviewing theneed s and detail s ofthe forthcoming tour. This year'sMichiganDay is scheduled fo r Sunday , November 8, and includesa performance atthe Fisher Theatre of Man of La Mancha.

The Michigan Opera Theatre In Residence tour fo r1988, entitled "Opera Through the Ages" , currently includes12weeks of state -wide programming Works scheduled forp resentation incl ude afull- length prod uction of Giacomo P uccini'sbeloved drama La B oheme ,

Dr. Jame s Hartways Ke-Nu and TheMagicCoals for junior and seniorhighschool students, and The Opera Time Machine, which take s elementary school children ona journey through timeforan entertaining lookatthe de velopment of opera

ACCESS IBILITY

Michiga n Opera Theatre haslong maintained t hat o pera should be andcanbeforallsegme nts of thepo pu lation Forthe fift h consec utive year,MO T will prese nt o nit s mainstage Jo hn Rayan d Mary We lls i n the America n Sig n La nguage inte rpre tation fo r the h earing impai red. This season, John an d Marywillap pear for students at the November 24 p erformanceof Kismet andagainon December 4 for adult audiences. Student group s andinte rested members ofthe hearing impaired community maymake reservation s bycalling our spec iallyi nstalled Michigan Bell Telephone T DD /Voice machine, 313/874-7878

T RI-COM PANY C OLLABORATION

Of special interest, department director andarts educator /composer Karen DiChiera continues toforgea stro nger re lationship among t he three community programs de partme nts of the Michigan Opera Theatre , The Dayton O pera Association and California's Opera Pacific. Cu rrently, allthree companies are jointly involvedinthewriti ng and composing ofanew opera workthatdealswiththe serious issue of substance abu se. Plans atthistimecall of thenewpiece for workshop performances with theDa ytonschoolsystem It is anti cipated that theworkwill then tour tothe Detroit and Orange Count y commun ities b y next year.

For further information about booking s, reservations and spe cial commissions, c ontactthe MOT Community Program s Department at313/874-7850

Karen DiChiera hasrecentlybeen named a Distinguished Woman bythepre stigious Northwood Institute of Midland, Michigan. Thenat io nal awards ceremony andinduction will occ urin New Yo rk, Octo ber 1987.

T HE 1987/88 OVERTURE TO O PERA COMPANY

WilliamKirk Manager

Suzanne Acton Music Director

PaulTebbe StageManager

VOCALISTS

WendyBloom

Frances Brockington

C larithaBuggs

LoreeCap per MarieCimarelli

Judit h Greer

MaryKay Kinlen

Laurie Meeker

MichaelPavelich

P riscillaPeebles

KarlSchmidt

MarkVondrak

ACCOMPANISTS

JeanSchneider -Claytor

JosephJackson

DavidWilson

Copyright 2010, Michigan Opera Theatre

Karen D iChiero, D irector 0/ Comm unity Programs

A scene/rom lastseason's tou ring production 0/ El Capitan.

Overture toOpera performers Laurie Meeker, Karl Schmidt, Maria Cimarelli and Mark Vondrak

"I enjoyed the much. That p roqram wltl make me want to go to other operettas ."

Tricia Hunkins \\tJodcresl ElementarySchool. Midland "

fl ,• .a musical like of which bas not been heard in Ishpeming for aIon\,! time . .. It was, indeed , athrilling musical mning: '

MininQ Journal

"If people are ready for an evening o f fun and entertainment , they 're ready for the opera-that 's what

Cheboyqan Daily Tribune

Astudentassists the MOT-In-Residence technicalcrewin assembling theset

American Sign Language interpreters John Raya ndMa ry Wells annually "s ign" Mar' s opera performan ces

this isaU about."

The Michigan Opera Theatre Guild . forging a New Volunteer Alliance • •

Anew, excitingspirit of volunteeri sm exemplifie s the espritdecorp s thatis the soulo f M ichigan Opera Theatre. The reorganized Michigan Opera T heatreGuildwith theSpecial Events C ommitteecon stitute an a ctive volunteer network to a ssist withtheman y fund-rai sers and service need s oftheever -growing Michigan Opera Theatre

The Michigan Ope ra Theatre Guildrecentlycomp leted an exten sive strategic p lanning proce ss under the guidance of Cameron Duncan, Board Treasurer and Touche Ross ' a notedare as pecialistin strategic planning for cultural or ganization s. ThenewMichigan Oper a Theatre Guild , inunion withthe various board co mmittees embod ies the ph ilosophy. . . a sense of p articipationa nd belonging , a recognition o f per sonal ac hievement, and a sharinginthe magic that ha sseen Michigan Opera Theatre grow into the nation 's ninth largest opera company.

All o f our volunteer committee s playa n integral part inth e life of Michigan Opera Theatre. Indeed, our volunteer c ommitteesare the heart of Mi chigan Opera Theatre.

Michigan Opera Theatre is unique amo ng o pport unities fo r metropolitan volunteer s. The Voluntee r Allian ce offer s many opportunitie s to devotees of Michigan Opera Theatre a myriad c hoice of involvement a nd comm itment .. recogni zing o ur common bond and ma intaining th e fine tradition o f g randoper aa ndmu sical the atre thro ughout ou rstate

Michigan Op era Theatre' s Volunte er Allian cesupportsand c omplementsth e opera staff. G uildmember s whohead our Estate Sale Committee area s essentialtothe o rganizationa s th evolunteerswh o headthe corporate fund-raising campaign which setsgoal s that approach $500,000 a nd theOpe ra Ball Committee, whichwill feature Lu ciano Pavarotti attheSecond Annual Opera Ballnext June.

Th eco mpanyisfortunate t o ha veaco rps of hundred sa mong itsvol unteers.Th isvo lunteer involvementha s been in strum entalinth eextraordinary g rowtho f Michigan Opera Theatr e th roughout thepa st sixteen years Mi chigan Opera Theatr evolunteers supportth e or ganization through their g ifts of time,becauseitsfun,because t heywanttobewherethe action is,a nd mo st i mportant lyh avea visib le and constructive partin the Michigan Opera Theatre dream.

Our vo lunteerswantto carryon the tradition of ser vice to Michigan Opera Theatre becau se th ey wanttomakea difference inthe organi zation ea ch volunteer know s that heis p art of the Opera 's growth and potential.

Ifyouha ve timeto s hareand spare,andwouldliketolearn mor e about themany opportunities at Michigan Opera Theatre which support your experti se and talent s, plea seca ll SheilaM Ingwer sen, Director o f Volunteer Acti vities, 313 /874-7850.

M ICHI GAN OP ERA

T HEAT REG UILD

BOARDO F DI R ECTOR S

Sharo n Gio ia,P resident

BettyGeri sch, Vice Pr esident

VictoriaKulis, 1stVice Pr esident

Bill Martin, 2nd Vice President

I rene Gordon, Recording Secretary

Frank Arvai , Treasurer

DaleAu stin

Donald Bortz

Carol Chadwick

Virginia Clement e

Pat Gemma

Alice John ston

Fr ankKaczynski

J acque Mul aron i

Joan Sankovi ch

Tom Schellenberg

Je ssie Schneidewind

FredSchne idewind

KarenRappSchultes

John Schulte s

Terr y She a

Phylli s Snow

WilliamKing Springett

Roberta Starkweathe r

RonSwitzer

David Thoma s

AggieUsedly

Asa member of t heMOTGuild , yo uhavethe op portunityt o partic ipate in a va riety of soci al, educational a nd fundraising events :

-THE OP ERA BOUTIQUE

o ffers a variedselection of opera related recordin gs, tape s and hand some giftitems during each MOTmainstage performance. The Boutique , is located inthe lobbyoftheF isher Theatre and Masonic Temp le, andisopen during intermi ssions, preand po st curtain.

- OPENING NIGHT

AFTE RGLOWS ANDCAST

P ARTIESar et heper fect way to meet t he co mpa ny's g uestarti sts a ndMOT patron s alike in a n e legant setting

-THE OPE RATHON , scheduled fo r fall of 1988, offers vo lunteersan o pportunity to plan a nd activ elyp articipate in this a nnual o neda y, on- air fundrai ser,in co njunction wit h classical mu sicr adio s tation WQRS-FM

-ESTATE SALES ATT HE

SEC OND ACT, locatedat39 Milwauke ei n Detroit' s bu stling New Center Area , feature a

u nique a rrayo f an tiques and c ollectibles gathered f romthetrico untyarea Volunte ers a ssist with monthl y Second Act sa les to the generalpublic,procu rement and pick-up o f item sforthi s h ighlysuccessfulresales hop.

- OPERATO G OP ARTIES, From "Pasta andP uccini" to exoticChinesec uisine , f rom Wines toC hocolate Ta stings, O pera ToGo parties a re afun andexcitingwaytomeetother opera /musical theatre enthu siasts while enjoying aneveningof fine food s andmusicalentertainment.

-A RTIST HO SP ITALITY AND T RANSPO RTATION allow s volunteerstomeetgue st artists ofthe company inaninformal setting. "MOT Mo vers" pro vide arti sttransportationtoand from rehearsals, while other volunteers planback stage luncheon sforthe cas t during bu sy perform ance schedules .

- THE OFFI CECORPS serves a s a v ital adjunct tothe company's administr ativestaff, a ssisting withp ress and marketing mailings,telephoning, typing and addre ssing inoneof the city' s faste st grow ing art s organizations

O perathon Co-Chai rmanDa vidT homas a nd Mar Gu ild Foun der and mem berRoberta S tarkweather inthe WQRS stu dios duri ng theco mpany's1987ra dio m arathon.

THE NA TURAL GAS OPPORTUNITY

We've played an important role in Detroit and Michigan for the last 86 years,

and are pleased to b e a part of the excitem ent of Michigan Opera Theatre for anoth erye ar. Weareanatu ral g as pipeline company provid ing transportat ion , storageandsale ofnatural ga s for thehomes , business es and industriesof Detro itandto commun ities throughout M ichigan Energy opportunit ies exist likenever before, andatAN R, weare making them happenona nationwide scale.

Fromgas supp ly acquisition to transportat ion andstorage , w hateveryour needsare, ANR c anmeetthemw ith respons ive serviceand competitive pr ices.

Ca ll 1-800-HAUL -GAS formore information .

Good health shouldn'tbe tough to swallow

Everyyea r co untlessh o ur s a ndd o lla r sa re spent searching fo rways t oimprove yo urwellbein g.To m ake it eas ie r for p eop leto b e b orn h ealt h y,togrow h e alth y,a ndt ostayh ea lthy Co nsiderth e result s: In t his ce nturydi seasessuch assmallpox, po lio, tub erculosis, a nddi phth eria(ton amea few) h avebee n vi rtually e radicated C hild-killerslike m umpsa nd me asles h avebee nb rought und erco ntro l. An d majo r a dva ncesh ave b eenma de towa rds t hed iscoveryofcures forh eart di sease,ca n ce r, eve n t he co mm on cold.

A s the world 's lea din g m anufac turero f so ftelasticgelatin capsu les,we kn ow that good h ea lth shou ldb e,a nd can be, e asy t oswallow Th at's wh ywe're p roud t o b ea m emb ero f the int ern ation alp harmaceutica l indu stry, d ed icated t o m akin g goo dh ealth avai lablet oa ll, in a ll co rners o f t he wo rld

Copyright 2010, Michigan Opera Theatre

The European Sophistication

Spend a weeRend instyleatthe HotelSt. Detroit's small European hotel.Aworldof traditions and fascinatins pleasures willdelight you from your moment ofarrival.

Enjoyworldclasscuisine prepared in the continental manner. Sipsparkling wines and nibble caviar as you savor the ambience oftheCaviar Bar. Watchtheworld byasyou inthe outdoor settinqofthe Grand CafedeDetroit.Deliqhtin our HuntClub Sunday Brunch. Relaxwitha spot of Afternoon Tea.

of the Hotel St. :Regis

With our convenient location inthe heart of midtown-New Centeryour wee Rend can betailor made to include avarietyofdiversions. Michioan Opera Theatre and Fisher Theatrearejust moments away through our skywalk system.Attic Theatre . Detroit Symphony Orchestra. and the Chamber MusicSocietyof Detroitat Orchestra Hall arewithina five minute drive.Afull ranee of shops and servicesareavailableat the adjacent Fisher Buildinq, New Center building . New Center One . and General MotorsBuilding.

Callusnowat 313/873-3000 for further information on our exciting selectionof weekend

'irt·a·stre

Artistry

• The creation of works of enduring value, e.g., in tir e splendorofthe opem

• Aesthetic brilliance, as achieved by tlC COII/p lisheda rtists underinspireddirection

• Transcendence in lre autv and exp ressio n, like thata chieved bythemusicalgenius of celebrated coli/p osers

Life would be barren indeed without the artistry of the op era, symphonic music , ballet and the theater Rockwell International is committed to the cultural enrichment of community life through support of the performing arts.

Rockwell

It's.

asoothi ng, c lassical sonatad uring Brunch with Bach.

upbeat jazz drifting from high atop thePonchartrain

cruising under the moonlight on the Bobloboat.

gliding across the ice atHart Plaza.

t he t hunder of hydrop lanes racing off BelleIsle

agrace ful ba llet soaring across theMusic H allstage.

fireworks exploding overthe D etroit River during the Freedom Festival.

early morning at Eastern M arket where you learnthe realmean ing of fresh, homemade andbargain.

thesho uts o f " Oopah" echo ingt hrough Greektown.

thecheers of the crowd at Tiger Stadium. thepeople. D etroiters who, likethe pistons that power anengi ne, goup and down, through good ti mes andbad- but always supply theenergy tomoveahead .

D etroitisas unique andstrongas its people and we are part of it bothinnameandinspirit.

1m NATIONAL BANK I!I OF DETROIT

Art is much less important than life but what a poor life without it.

-Robert Motherwell

The vision of youth is helping shapethe future at General Motors.

At General Motorswe listen tothe ideas ofouryoungpeople. Their commitmentto excellence andtheir fresh, innovativethinking helpguideusina chang ing automot ive wo rld Andtheir dreams wi ll become our cars and trucksoftomorrow.

Innovators suc h as Eric Clough (right), a creat ive designer who helped des ign th is advanced version ofatwo-seatersports car. Marietta Kearney, an interiorcreative des igner

who specializes inbothcurrentand advanced models And Dave Riegner, project engineer, who isworkingw ith new composite materials thatw ill save weightandhelpmaketomorrow's cars moredurable Their vis ion, andthat of thousands ofotheryoung experts, ishelping create thefoundationforthe automobiles we build today and the ones we' ll buildinthe future.

AllofusatGeneral Motors salute this commitment to exce llence .

PROFE SS IO N ALI SM

Copyright 2010, Michigan Opera Theatre

R.

Fly USAir, the preferred carrier of the Michigan Opera Theatre .

USAir offers nonstop service from Detroit to Pittsburgh and Philadelphia with convenient connections to over80 other citiesacrosstheU.S andCanada. andwhen you becomea member of the USAir Frequent Traveler Program, themiles you fly addup to free flights and more.

For reservations and information on USAir's reasonablefares and convenient schedules,call your travel consultant or call USAir at (313) 963-8340.

Copyright 2010, Michigan Opera Theatre

Unmistakably different ...

Telegraph at Maple Roads inBloomfield

0 :. \ l,if ':'

Visitthese unmistakab ly differen t shops .

Argy le Shop . Bloomfield PlazaShoeService . BreathofSpring Florist . Chase Cleaners

• Co lombo 's Barber Shop Concourse 1-Hour Photo Damman Hardware D.O .C. Opt ique

• DonThomas Sporthaus • ElliottTravelService FramesUnlim ited Gail 's General Off ice Supply

• Gallery Restaurant Great Scott Leotards , Et Cetera TheLinen Closet Loretta Lorion

• Machus RedFox Madel aine MailBoxesEtc ., U.S.A. • Maple 3Theatres J. BakshiSalon

• Metro News Michigan Chandel ier Michigan Nat ional Bank R.IKs Tota l Cuis ine Center

• Roz & Sherm • Sanders Sauces ' N' Tosses Sav-OnDrugs Stud io 330

• United Good Housekeeper The Workout Company, Inc

iIle t[)3ncy ptJtfir;g me teal/f>j fhe am ffJe /7EjeslyofMC!7;gJ1)

0!7 radio amm pnnt Andf/C}nk/'f; We cou/dntbe more proud OfffJe work we d4 or fie plOductWe dorrto:

ROS5 liby Adve/i75/rJ!j.

JACK MARTIN & CO., P.C.

Certified Public Accountants

Jack Martin, CPA Managing Director

OFFICES IN:

• Detroit, Michigan - Renaissance Center

• Birmingham, Michigan

• Battle Creek, Michigan

• Washington, o.c.

• Minneapolis/St. Paul, Minnesota

Providing Accounting. Auditing, Tax and Management Consulting Servicesto Businesses, Professional Practitioners , Non-Profit Organizations and Governmental Entities.

Copyright 2010, Michigan Opera Theatre

stylesin c oa ts

and j ackets.

SHOPS

FISHER BUILDINC

• American Speedy Print

• Churchill's Tobacconists

• deViliers Hair Studio

• Forster & laidlaw

• Gunther Video

• Inacomp Computer

•Russell 's Pharmacy

•TheFashionPlace

•The Willow Tree

•ValetShop /Cleaners

SERVICES

• ComericaBank

• Christian ScienceRoom

•Fisher Theatre

• Gilbert Optical

• paineWebber

•ResearchFederal

•U.S. Post Office

CALLERIES

• Detroit GalleryGardenCafe

• Feigenson Gallery

• london Arts Gallery

• Poster Gallery

RESTAURANTS

• Broadway Deli

•Jacques Patisserie

•pegasus

NEW CENTER ONE

SHOPS • Blvd luggage /Handbags

• Crowley 's

•Customsnop Shirtmakers

• cantos

•General Nutrition

• little Women

•OnSite Photo

• waldenbooks

• Winkelman 's

SERVICES

RESTAURANTS

• FederalExpress

• Manufacturers Bank

• Burger King

• Gertie 's Garden

FREEPARklNCw ith pu rchase Use va lidated Ret ail l ot n e xtto New center One

ShOfJ1 oj tip

:7i1AM1}uildmg curd I}(I!IAJ t!nrIM

****** SALUTES ******

MICHIGAN OPERA T HEATRE

2 60 East B r ow n Street Suite 320 Birmingham, MI48 011 313-540-3808

CHORAL UNION SERIES

Vie nna Philh armonic Le ona rd B ern stein.

c ond ucto r 1'Ion. S ept. 21

Hoy a l Ph ilh armonic Orche stra A ndre Prcvin , c onductor 1'l on ..Se pt. 2 H

L eningrad St ate Sy mphony.

A lexan der Dmit riev, co nd ucto r

P avel Ko/(an violini st

O slo Philh arm onic Or che str a.

M ariss Jun sons , c onductor

El ena Ohr uzt s ova m e zz o-s opr an o

H oracio Gut ierrez, p ian ist

Lvnn H arrell.ce llis t!

°l /(o r Kipnis. h arp sich ord ist

En/(Ii sh Chamber Orch est ra

Jeffr ev T ate. condu ctor

A n dre \ \"lIt S. pi ani st

Mont e Ca rlo P hilh ar m on ic O rc hestra

L aw rence Fo ster , co nduc tor

K utiu & 1'I arielle L ub equ e , duo - p ian ists

SPECIAL CON CE RT

S un.. Oct II

Sun ..N O\o H

Fr i NOL 20

Wed Ju n. 13

Sun Feh. H

M on ., Ma r. r Sa t ..A pr 2

Fr i A pr 2 2

V ienna Ph ilh ar m oni c. L eonard B ernstein

CHAMBER ARTS SERIES

G ua rneri Str in/( Q ua rtet F ri.. Se pt I H No rwegian C hum ber O rc hes t ra .Iona Brown.

Zu rich C ha m h er Orche str a

CHOICE SERIES

C hinese C hildren 's P alaceof H angzhou

Eri ck Hawkin s Dance Co mpany

F ri Oc t. 9

F ri.S at.. Oct 16 Ii W ed Oct. 2M

W ars aw B allet W est ern Oper a T hea ter. " D o nP asquale" T hur ..O ct. 29

Vie nna C hoir Bovs Su n NO' o 22

Th e Swingl e S inger s Thu r.. D ec. (()

Kodo ," Demon Drummers o f J apan" Fri J un 15

E mpire Br ass & Dou glas M aj or o rga nist Tue .I an. 26 ' e wY or k Ci ty O pera Na tional Com pany

"T heB a rber of Sev ille" Thu r. • Feh

B u yanih un Philippin e Dan ce Co mpany

Hubb ard S tree tD an ce

M on F e b, 29

C ompa ny Sa t. S un l\l arch 12 13 Belgr a de St a te Fo lk E nse mhle S un. • M ar 13

Please ca ll or write fo r free brochure!

A fter working hour s, leav ey our nam e and addres s on answ ering machine.

(313) 764-2538

U niversity Musical Society

Burton Memorial Tower

Ann Arbor , M I 4S109

A ll perform an ces on th e m ainc a mpus of t he U n iversit y of l\l ichi/(an Amp lep ar kingu vuilub le

tMUSlCAL

PREIHEATRE PROCFlXE $ 95

The Artful Diner dines surrounded by stellar works by curre nt masters. Just $13.95 Thursday, Fridayor Saturday eveni ngs before theatre oranightonthe town .C hoiceof 33 3 East or C aesarsalad, choiceofentree,dessert & coffee.

A Sampling of Entrees

Roas t Michigan duckling with a

Traverse City cherry sauce

Grilled glacier spring trout with choiceof fivefreshchef'ssauces

Mussel & whole pesto pasta

Complimentary ValetParking . D ine,t hen hailacabtothe theatre. Reservations suggested. Pre-Theatre seatings through 7 P.M.

Late Night Live Entertainment

Best wishes fora successful season!

Deloitte Haskins+Sells

Rhyth m of lineHarmo ny ofDesign

Great music andgreat f ashion both sharethe passionfor excellence-a passion that has been Lazare's motivating force for thepast62yea rs. Come inandtreat yourself tothe sight of the creations of someofthe world's top d esigners-in Windsor so ld exclusively at Lazare's.

IWEST MAPLE ROAD•

Theyear was1912 and t he asse mblylin e waspu tting Americao n wh eels.

Thats ame year,a group ofDetroit businessm en form eda n insuring organization s pecializingin workm en'sc ompensation insuran ce. It b ecame th e Michigan Mutual Insuran ceCompany.

Today Michigan Mutualis th e parent organiz ationo fth e Ameri sure Co mpanies.Michigan Mutual is licensedto provid ec ar, busin ess and hom e insuran ce toAmericans inall 50 stat es. Amerisure Life Insuran ce Companyop erates inmanyof thos e states.

We're pr oud o f o ur75years o f growth a nd se rvice.Ameri sure b elieves in changingw ithchanging c ustomer n eeds. Buto ur o bjec tiveh as no t changed s ince 1912:We want to provid e th e best insuran ce ands ervice availabl ea nywhere.

Many good ideas had their start in 1912.

Noonestresses

Whether you ' reabig or smallcompany , you expect yourdailyprinting needs tobe fulfilled quickly, accurately , andwith frien dly, courteous servic e Here is what NRC hastooffer:

Manufacturers of LargeandLong BOLTS • SCREWS

STUDS • RODS • NUTS

-Co ld and h ot heading to 2 '12 " d iam

- Lengthsto80 " ingrade2-5-8alloy

- ScrewMach ine capacity to3% " forshortrunspecials

COLD HEADING • HOT HEADING • THREADING • ROD HEADING

DRILLING • TAPPING • EXTRUDING • SHAVING • GROOVING

STAKING • COINING • PIERCING • HAND SCREWS

AUroMATICS • CONTRACT STAMPING • COLD & HOT HEADING m2" DlA.-OVER 25,000 ITEMS OF STANDARD & SPECIAL FASTENERS • MFRS. OF LARGEST & LONGEST BOLTS IN THIS AREA

• BLANKS IN SroCK FOR RE·WORKED SPECIALS

LONG AND LARGE HEX CAPS INsrocs IN GRADE 2·5·8

MANUFACTURERSTO AN-MS-GM-FORD-CHRYS

AUTOMOTIVE& COMMERCIAL STANDARDS

14473 LIVERNOIS AVE • DETROIT, MI 48238

(313) 862-0300

IAN M. HENDERSON

JEWELLERS -G OLD AN D SILVERSMITHS ANTI QUA RIANS 345 O UELLETI EAVENUE WIN DSOR, ONTA RIO N9A 4J1 TELE PH ONE (519)254-5166

Contributors

Mich igan Opera T heatre gratefu lly acknowledges the corporations, foundations, and individual s who have contributed theirtime,services,and materials in order to makethe1986/87 seasonpossible. Withtheir continued generousity, the artistic dream of Michigan Opera Theatre ha s becomea reality.

C O R PORATE CO NTRIBUTORS

1986-87

AN R Pipeline Company

Chrysler Corporation Fund

Ford Motor Company Fund

Hudson's

Kmart Corporation

MichiganBell Telephone Company

The Stroh Brewery Foundation

Benefactors

Ge neral Moto rs Corpo ration

MaccabeesMut ual Life In surance Co mpany

Natio nal Bank of Detroit

S ustainers

Allied Automotive Secto r, AlliedSignal,Inc

Ameritech Publishing I nc

Corne rica, Inc.

Deloitte, H askins & Sells

DetroitEd ison

Douglas & Lo mason Co mpany

Gan nett Foundation /T he DetroitNews

LutzAssociates Incorporated

MobilOil Corporation

RiverPlace Properties , Inc .

UNISYS

P atrons

Barton-Ma low Company

Borg Warner Automotive, Inc.

Fe deral-Mog ul Corporatio n

E.F Hu tton

Mag naI nternational,Inc

Manufacture rs National Bank

MichiganConsolidatedGasCompany

Michigan National Corporation

RealEstate Development & Investment Co

Rockwell I nternational

Ross Roy, Inc.

To uche Ross

Do nors

AA A Michigan Arbor Dru gs

BlueCross- Blue Shield of Michigan

Campbell-Ewald Company

Consumer s P ower Company

Copper & Brass Sales,Inc.

Crowley 's R E. Dailey & Co

D 'Arcy,Masius, Benton & Bowles, Inc.

DanaCor poratio n Fou ndation

Eato n Corpo ration

A nthony M Franco Inc

Garden State Tanning

GenCorp Foundation Inc.

Goodyear Tire & Rubber

Handleman Compan y Jacob son' s Stores, Inc.

LearSiegler,Inc.

Leaseway Transportation

Lucas Industries, Inc.

Maritz Inc

JamesStewartPolshekand Partners

R P. Scherer Corporation

Sears, Roebuck & Company

Siegel-Robert, Inc.

Textron, Inc

J.Walter Thompson Company

TimeInc

United Technologies Automotive Group

Co ntributors

Arvin North American Automotive

Atlas Tool, Inc.

BASF Corporatio n Inmont Divisio n

Blom Industrial Sales

T heBudd Company

CRCFoodServicesInc.

Coopers & Lybrand

Cro ss & Trecker Foundation

Detroit Marine Engineering

Detroit Pure Milk Company

Empire of Ame rica

Fabricated Steel Products

General Safety Corporation

Marvin Gottlieb Associates Inc

Howell Industries,Inc.

IB M Corporatio n

ITTA utomotive

Johnson & H iggins

LOFPlastics,Inc

LibbeyOwensFordCompany

Ludington News Company, Inc

Marui International

Moto r City Stamping, Inc.

Newsweek

NoeckerExtr usions, Inc

Northern Engraving Corporatio n

Pio neer E ngineering & Ma nufacturing Co , Inc

Progessive Tool & IndustriesCo

Schellenberg & Bucciero,P .c.

Shell Companies Foundation Inc

Sheller-Globe Corporation

Simpson Industries, Inc.

TRW , Inc

3M-DetroitSalesCenter

Trim Trends, Inc

MichaelK.VargoCompany, Inc.

Volkswagen of America,Inc.

Hir amWa lker & So ns, Inc.

C harlesW Wa rren Jewelers

VicWertz DistributingCompany

WolverineMeta l Specialties,Inc

Young & Rubicam

Ziebart International Corpo ration

S upporters

ActiveTool & Manufacturing Company

Aetna Industries, Inc

Alexa nder & A lexander of M ichigan

Ruben Dominguez and Caro l Neb lett in Tasca

Copyright 2010, Michigan Opera Theatre

Contributors

Ambassador Brid ge/De troit

International Brid geCo mpany

Am erican M otor s Co rporatio n

AmericanSafet y Eq uipment Corporation

American Sou nd & Video Corp

Am erisure

Anchor Fa ste ner s

ApprovedMa n ufacturi ng Co mpany

Arrow smith Tool & D ie

A.S C., In corp orat ed

AutoMetal Cr aft, Inc

Azte c Pla stics , In c.

B & WInt er stat eT ransport

Terry BarrA gency, In c.

Barron P roper ties

Leo Burnett Com pany, In c

CadillacGa ge Co mpany

Carron & Com pany

Cla yton-de Wind t A ssociates , In c.

Co chrane Suppl y & E ngi neering, Inc

The ColdHe ading Compan y

Colon ial Federal Sa vings & Lo an

Assoc

Colt Indu stries, Holle y C arbure tor

Condamatic Compan y, In c.

Conveyor-Marie , In c.

The Coon -De Visse r C ompany

CoreIndu st ries,In c

CoxCom mu nicat ion s

Cyclops-Detroit S trip Di vision

Dema ria Bu ilding C omp any, Inc .

Det roitCe nter To ol,I nc

DetroitStag e Emplo yees U nion

Dick inson, W right, Moon , VanDu sen, & Freeman

Difco Laboratories, Inc.

Dominion T ool & D ieCo ., In c.

Dykem a, G ossett , Sp encer,

Goodnow & Tr igg

Eag le Packagin g Corporation

E nt erta inment Publi cations

E quitableLi fe A ssurance Comp any

Exc elIndustries, In c.

Fed eralScrewWorks

Ferg u so nEl ectricCo

F irestoneT ire & Rubb erCo m pany

Frank Amb ro se , Inc.

F redS Jam esCo of M ichigan

F ruehauf Corp oration

GT E Valeron Corporation

Giffel s A ssociates, In c.

Globe Agenc y, In c.

Gr ant Thornton

C .L. G ransden & Co mpany

G ray Ele ctric C ompany, Inc

Frank B.H all & Co mpany

H ercules Ma chine T ool & D ie

Compan y

Her shey Import Co ., In c

H illsdale T ool & M an ufacturing

C ompany

Holl ey Manu facturing C ompan y

Hou sehold Internation al

ITTHigbie

Manufa cturingC ompany

ITT Thomp son

Wheel Ornam entation

Illinois Tool Work s,Inc .l Deltar

D ivision

I r oquo is D ie & Man ufacturing

Co mpany

Ir vin Indu stries

JA C P rodu ct s, In c

J ohnson Con trol sFoundation

K-RA utomation C orporation

A lbert KahnA ssociates, In c Kasle Steel C orporation

Kelsey-Hayes C omp any

Kenmar C orporation

Kidder, Pe abodya nd C ompany,Inc

King sbury Ma chine T ool Co rporation

KlarichAs sociate s I nternational

Kowalski Sa u sage Co., Inc.

Kysor Ind ustrialCo rpora tion

Fou ndat io n

Lafayette Build ingCo mpan y

Leag ueInsuranceCo mpanie s

Lib erty T ool & E ngineering C orporation

Log ghe Stampin gC ompany

MTD Produ cts, In c

Macauley's

M arp o ss C orp oration

M arsh & M cLennan,Inc.

Masland - A utomotive P roduct s

D ivision

C H Masland & S ons

Matta r - T ewes Fi nancia l Service s, Inc.

E F. Ma yne,J r ., Co mpan y

W .e. Mc CurdyCo mpany

McNa ry Agency , Inc.

Mech anical H eat & C old,In c

Metal Speci alties , In c

Mexican Indu striesi nMi chigan, In c.

Michigan D entalAssoc iation

Mil waukee In ves tmentCo m pany

M inkin-Chandler Cor poration

M odels & Too ls, In c.

D onald Morr isGa llery,Inc.

Motorola, In c.

C. A.Mu erCo rporation

Multifas tener C orporation

NewYorkC arpet World

Nipponden so Sales, In c.

P aychex, In c

P erry Dru g St ores , In c.

Pl a stome r Corporation

Plymouth Landin g

Pr essure Vessel S ervice, In c

P rice Waterhou se

P ruden tia l-Bache Securit ies

RadelLea ther Manu fa cturin g

C ompan y

R eal Estate On e, In c

Reynolds Metal s Compan y

Roches ter Gear , In c.

Rogind /Parker, In c.

Ro ssetti-As sociat es

Security Bank & Trust Company

SenecaSale s Corporation

S equoiaIndu stries, Inc

S igma A ssociates

Sm ith Hinchman & G rylls

Sommer s, S chwartz, S ilver & Schwar tz

Sp ecial En g ineerin g S ervice, In c.

The Stank C o.

S tella Product s Co

Sur-Flo Pla stics & Eng ineering, Inc.

Howard Ternes P ackaging

Thomas Cook, Inc

Tofel & Clark, In c.

Town Apartmen ts

T rico Product s Corporation

Turner Con struction

U .S. Group

U nionC arbid e Corporation

TheUn iroyal Goodrich T ire

Compan y

Vickers, Incorporated

C .P Weather ston Con struct ion

Weba sto North America

Wh ittar St eel Str ip Corporation

George Will iams Interio rs Limit ed

N A Woodworth Co

F. W. Woolwor th Company

J ocelyn W ilkesa nd

Byron Websterin

Orpheu s inth e Underworld.

Contributors

FOUNDATION & Jame s N. Crut chfield

GOVER NMENT SUPPORT

Government

Detroit Coun cil oftheArts

MichiganCouncilfortheAr ts

National EndowmentfortheArts

Major Benefactors

$25,000 andabove

TheJ oyce Founda tion

W.K Kellogg Foundation

National Arts Stabilization Fund

T heSkillman Found ation

Sponsors

$15,000 andabove

Mr. & Mrs John R Edman

Mr. & Mrs. WilliamF. Flourno y

Dr. & Mr s. BryonP.G eorgeson

Mr & Mrs Frank Germa ck

Mr s. Lou is C.Goad

Mr. & Mrs. IrvingL. Goldman

Mrs Richa rd M Cuddoh y Mr s EdwinPeter son

M r. & Mr s. GroverN. CullerMr. & Mrs . T yrus P inch back

Mr. & Mr s Pau l W Czama nske

Mr . & Mr s. Ed ward P . Czapo r

Ms A Che rry Den t

JamesP.Diamond

M r. & Mrs Ha roldA. Pol ing

Dr. & Mrs Michael P rysak

M r. & Mr s Jo hn J.Riccardo

Mr. & Mrs. EugeneC Robelli

LawrenceP Doss MitchellJ . Romanow ski

Mr. & Mrs HughG.Harne ss LynneandGeorgeDrumme y William J Roo sen

Mr. & Mrs. Frede ric H.Ha yes

Dr. & Mr s. Jac k H Hert zler

Mr. & Mrs.RobertHur st

Mr. & Mrs RichardJanes

Co lonel & Mrs Arthur Jeffer son

Mr & Mr s Thomas G Kirby

Su sana ndBruce Leitman

Mrs. Sally Butzel Lewis

McGrego rF und HenryW.Ma icki, M.D

KatherineTuckFund

S ustainers

$S ,OOO andabove

DeRoy Te stamentary Foundation

AnnandGordo n Gett y Foundat ion

Jame s andLynelle HoldenFund

Knight Foundation

RalphL. a ndWinifredE Polk

Foundation

TheSam uel L.Westerman

Foundation

Matilda R WilsonF und

Do nors

$1,000 andabove

A lcoa Founda tion

Art s Foundation o f Michigan

TheBund y Foundat ion

Hud son -Webber Foundation

The Quaker Chemical Foundation

DavidM Whitne yF und

Young Women' s HomeAssociation

Co ntributors

$400 andabove

Ro se Cooper Memo rial Fund

Dru silla-Farwell Foundation

WalterandJo sephine Ford

Found ation

Nate S andRuthB Shap ero

Foundat ion

INDIVIDUAL SUPP ORT

Sponsor

$500 -$999

Mr s Judson B Alford

Mrs Max ine W. Andreae

Dr & Mrs RobynJ Arrington

Mr. & Mr s. John Mala sky

Mr & Mr s Alex Manoogian

Mrs LeoA Ma rx

Mr. & Mr s. Jul io C. Mazzoli

Mr. & Mr s Ernes t DuMou chelle

Mr & Mr s. Geo rge P Duen sing

Dr. & Mrs. Charle s H Duncan

Mr s SaulH.Dunitz

Dr Geo rge T.Eldis

NoelFagerlund

W.HawkinsFerr y

Mr. & Mr s. Theodore A.Firaneck

E velyn J Fisher, M.D

Dr & Mrs. Da vid B Roraba cher

Mr. & Mr s. G ilbert E.Rose

Mr & Mrs NormanRo senfeld

CynthiaandPeterRuffner

Takako JuneSasaki

M r. & Mr s. AndrewM.Sa vel

M r. & Mr s JoeSch wab

Mr. & Mrs WilliamE Scollard

Mr. & Mr s. Arthur R.Seder,J r.

Hon GeraldineBledsoe Ford N R Skipper , Jr.

Mr. & Mrs.HarryS For d, Jr.Mr & Mrs.JosephB Slatk in

Mrs Anthon y C Fortun ski

Ms Ca therine Frid son

Hon. & Mrs WadeH McCree, J r. Mar y AnnFu lton, J .D.

Mr. & Mrs John McDougall

Mr. & Mrs Milton J .Miller

Mr. & Mrs Pau l S Mirabito

Mr. & Mrs . WalterR . Naas

Mr & Mrs. Rober t T O'Connell

John E . Per ry

Dr. & Mrs. Norman R Schakne

Mr. & Mrs. Frank D . Stella

MaryLeeGentr y

Mr. & Mrs . RobertW . Gibson

WilliamT.Gos sett

Hon.RomanS Gribb s

Dr & Mrs.L.E Solberg

Mr . & Mrs. G iorgoi G . Sonn ino

Ma ry Margaret andRobe rt Sweeten

L.T andSheilaFole y Switzer

Mr & Mrs RichardE Trapp

Mr. & M rs RichardC VanDusen

Mr . & Mrs . Dan te Vannelli

Mr. & Mrs . Car son C . Grunew ald Anonymou s

Mr. & Mrs Jo seph Gual tieri

Somer set C linical Lab

Dr Howa rd R Weissman

Mr. & Mr s Hen ry Wh iting, Jr.

Dr.BerjH. & AliceB Haido stian J Erne st Wilde

Mr. & Mrs.C Thoma s Topp in Dr & Mrs Josep h Harris

Hon. & Mrs G MennenWilliams

Mr & Mrs. StanleyJ.Winkelman

AliceKales Hartwick

Mr. & Mr s. DelbertM. Herman

Mr & Mr s. Charle s A Wollen zin Kriss B H ilborn

Ma ry LouandMo rt Zieve

Do nor

$250 -$499

Maril yn and Armand Abram son

Mr & Mrs WilliamJ Adams

Mr & Mrs Arthur E Ander son

Thomas V Angott

Dr. & Mrs Jo seph N Aquilina

Rev. & Mr s. DuaneW .H Arnold !

Dr.Ha rold Mitch ell Arring ton

Dr RobynJ.Arr ington

Dr.Reuven Bar-Le vav

Mr RobertA .Barron

Mr. & Mrs.StephenJ.Bartush

Lelan d K Bates

Mr.StanislawBialoglowski

Mr. & Mrs. Solomon Bienenfeld

Mr. & Mrs GeneBlanchard

John I. Bloom

Mr. & Mrs P aulBroder

Dr J osephL.Caha lan

Mr & Mrs JamesMerriamBarnesMr. & Mrs Ro y E.Calcagno

Mr s. Carl O Barton

Mr & Mr s. John A .Betti

Mr. & Mrs.Gera ld Bright

Patrice A Butkiewicz

Mr. & Mrs RobertM.Campbell

Mr. & Mrs.RichardA.Ca scio

Mr & Mrs.DavidW.Clark

Beverly Colman

Mr & Mrs Pasqual Carnacchi D r. M .C. Conroy

Ms VirginiaClementi

Mr & Mrs.George D Cowie

Dr Maril yn L.Williamson

Mr. & Mrs. E ric A.Wiltshire

Mr s. MinoruYama saki

Mr & Mrs Da vid H Hill Patron

Kasle Foundation

Mr & Mrs Euge ne L.Klein

NancyandFritzLamson

Mr. & Mrs LeeE.Lande s

Dr. & Mr s. RobertM.Land sdorf

BrunoLeone lli

Mr. & Mr s. J Phill ip Levant

Dr. & Mr s. RobertS Levine

KathleenandDavidLewis

D r. & Mr s. M J Lipnik

Mr & Mrs.Lawrence LoPat in

Elizabe th A.Long

Mrs . DelbertM. MacGregor

D r & Mrs RobertE Mack

Mr & Mrs WilberHadleyMack

LouMairandFriend

Mr. & Mrs.Jo seph Maniscalco

CharlesH Mark s

Mr. & Mrs WilliamMichaluk

RonaldK. Morrison

Mr. & Mrs. Harr y J Nederlander

Mr. & Mrs PaulL.Nine

Mr. & Mrs. DonaldNitzkin

AnnE O 'Beay andStevenC

Pavelka

MichaelW Pease

Dr.RobertE .L. Perk ins

Copyright 2010, Michigan Opera Theatre

$100-$249

Mr & Mrs. RobertF A1leshouse

Mr & Mrs.RaymondP Amelotte

Dr.FedericoA Arcar i

Hon & Mr s. Denn isArcher

Dr & Mrs Cha rles G Artin ian

Mr. & Mrs .BenA tlas

Mr & Mrs EdwardAvadenka

Fr.ParenAvedik ian

Mr. & Mrs EugeneBalda

Patr icia Ball

Dr. & Mrs Jo seph S Bassett

CarlE Battishill

D r. & Mrs .J acques Beaudoin

Dr & Mrs.William Beauregard

Rosa lie andPeterBeer

GeorgeR Berkaw , Jr.

Mr . & Mrs . A.H . Berker

Francis Bial y

Dr & Mrs. John G. Bielawski

Ms Juan ita Bilinsky

Dr. & Mrs. EricBilles

Dr Cynthia C Birch

Mr. & Mrs NormanBird

Dr. & Mrs John R.Birmingham

Norman Blachford

Mr. & Mrs.Albert Blackmon

ntributors

Joseph Bloch

Mr . & Mr s . WilliamJ.Davis & Mrs.DavidBloom

Mr & Mrs. AlvinE Bohm s

Albert Bonucci

Hen ry S Booth

Jon M. DeHorn

Mr & Mrs. Richard DeBear

Ms Marjorie L. DeBoos

Dr. & Mr s Anthony F DeLuca

Mr . & Mrs. John M . BoothMr s . W.J . DeVault /In memoryo f

Robert S Boris

Mrs. JohnJ.Borzym

Mr.Will iam 1. DeVault

Mr. & Mrs.AndreDeWilde

Mary JaneandWilliamBostickLorenA.Deer

Mr & Mrs.EdwinN BozemanKevinDennis

Mr. & Mrs.Jack Bradford

Joan R.Braun

Mr & Mrs EricBrauss

Dr. & Mrs RobertBree

EugeneG Dewandeler

Mr. & Mrs.PhilipD Dexter

LilianM Diakow,M.D

Dr & Mrs LeonA.Dickson

Dr. & Mrs SanderJ BreinerVirginiaC F Dickson

Mr & Mrs JoelBremer

Miss RuthG Doberenz

Prof. & Mrs DaleE.BriggsWillieBelle Donaldson

Mrs RobertBristor

Mr. & Mrs E.Da vid Brockman

Dr . Larry L. Bron son

Dr. & Mrs Nathan Brook s

Dr & Mrs Matthew L. Burman

Dr. & Mrs IrvingF Burton

Dale A.Buss

Mr & Mr s. PaulB. Donoher

Mr. & Mr s. Harry M Dreffs

Dr. & Mrs . Anibal Drelichman

Mr & Mrs RobertDriscoll

Max Dubrinsky

Mr & Mrs.WilliamA. Dunning

Mr. & Mrs.Irv Dworkin

Dr & Mrs. John D.ButlerDr. & Mrs.PaulJ.Dzul

Mr . & Mrs. WilliamG.Butler

Mr & Mrs. RobertW Cadotte

Dr. & Mrs.HughA. Cameron

Patricia Eames

AnneEdsall

Christine R Edward s

Mr. & Mrs L. F CampbellMr. & Mr s GaryA.Eisenbert

Miss HelenH. Cannon

Dr & Mrs JesseJ Cardellio

Mr . & Mrs. CharlesM.Ca sper

Thomas C Catenacci

Carole Cavagnol

Dr. AlbertE. Chabot

Richard H.W.Chadwell , Jr.

Ms. CarolS Chadwick

Pri scilla and Grant Chave

Mr & Mrs. CasimirC iarkowski

Jack Ciupak

Miss DianeClark

Ms. Beverly Clouse

Co-Ette Club , Inc.

Doreen Coggan

Arthur Collins , Jr.

Kenneth Collinson

Dr & Mrs. Charle s G. Colombo

Mr & Mrs.E.J Colosimo

Jane Colsher

Dr . & Mrs.JuliusV. Combs

Mr. & Mr s. John C. Emery

Mrs.ErikaEndler

Patricia Estep

E.N.Evans

RobertB.Evans,Sr

Mr. & Mrs.RobertB Fair, Jr.

Dr. & Mrs Julian D Feiler

Dr. & Mrs.CharlesH Feinman

Mr. & Mrs. Jerome Fellrath

Anonymous

Dr. & Mrs.LeonFill

EliseM.Fink

Gloria and Harold Fire stone

AnnM Flanders

Ms Jane Forbes

Dr . Jack Forman

RikiBelew

Phyllis Foster

BeverlyandDavid Frank

Jerome J.and Harold L. Frank

Mr. & Mrs.Ivan Frankel

Mr. & Mrs HenryC. Conerway, Sr.Mr. & Mrs.GeraldLeeFreed

Mr. & Mrs. Claude H. Cooper

Mr. & Mrs GeorgeE.Frost

Mrs EllenR. Cooper OnaleeM Frost

Ms. JanetB Cooper

Dr & Mrs RalphR. Cooper

Dr. & Mrs.WilliamR.Fulgenzi

John G.Fuller

Mr & Mrs JamesCordesGMWomensClub of Detroit

Mr & Mrs. Mort Crim

Dr. & Mrs.Victor Curatolo

Rosemary andKenDaly

Ms. MaryT.Daly

JanN.Darga

Samuel L. Davis

GaryA. Gagnon

Mr. & Mrs.MaxwellT.Gail

Dr. & Mrs RobertGalacz

Mr. & Mrs.GaryG. Galunas

Margot andHerb Gardner

Mr & Mrs.RichardA Garrett

Mr & Mrs.RobertM Gaudin

Dr. Dorothy Kahkonen

Susan Kapagian

Mr & Mrs Harold B.GearyMr. & Mrs. Garry Kappy

Dr. & Mrs Robert A GerischMr & Mrs.EugeneS Karpus

Mr & Mrs.Richard Gershenson

Mr s . Glady s V.Gies

Anna and CyrilGillis

Mr. & Mrs VitoGioia

Mr. & Mrs. Arthur Kaufmann

RobertKay

Mr & Mrs DonaldKeirn

JoyceAnnKelley

Mr. & Mrs.StephenL Goodale Kellman Foundation

Harold Gordon

Ms. Jane Adele Graf

Barbara VassarGray

ShirleyGray

A.W.Green

Ms Gloria D Green

Dr. Annetta R Kelly

Mr. & Mrs DanielJ.Kelly

Mr. & Mrs SidneyKelly

Mr. & Mrs. Arthur F Kelsey

Jane T.Kerivan

Mr. & Mrs JamesH.Kerrigan

Dr. & Mrs.LeslieM GreenMr & Mrs KurtR.Keydel

Mr. & Mrs Julian M. Greenebaum

Richard L. Greer

Joseph D.Greiner

Dr. & Mrs Theodore W.Kilar

Mr. & Mrs Norman L. Kilgus

Ms IdaKing

Dr. & Mrs. John N GrekinMr. & Mrs. John A.Kirlin

Dr.RosalindE. Griffin

HenryM Grix

John Gross

Mr. & Mrs GaryL Guertin

LynetteE Gunn

Mr. & Mrs.RobertW Hague

Harrison A Hale

Miss Marjorie Hammond

Mr. & Mrs RobertJ Hampson

KayAnn Hand

Justin G.Klimko

Mr. & Mrs.DonaldA.Knapp

Mrs SidonieD.Knighton

Mr & Mrs.RonaldE.Kolito

John W Konnak, M.D.

Zigmund D Konopski

Mr. & Mrs. Edward J.Kowaleski

Dr. & Mrs.VladoJ.Kozul

Mrs. Christine Kramer

Ludmila F.Kruse

M r. & Mrs.LeslieP HareDr. & Mrs.M J Kukler

Dr . & Mrs.CharlesF. Hartley

Ms.VirginiaHazen

Mr. & Mrs.WilliamB Heaton

Mr. & Mrs.J. Theodore Hefley

Mr. & Mrs.Charles L. Henritzy

Mr . & Mrs . WinstonE.Lang

Mr & Mrs RobertC.Larson

Mr. & Mrs. Clinton D.Laue r

John M.Lazar

Mr. & Mrs. Arthur 1. LeMire

Mr. & Mrs GeraldW HeppFlorenceandDickLeasia

Dr. & Mrs. Joseph Hess

RuthK.Hill

Mr. & Mrs HenryLedyard

Mr. & Mrs John D.Leighton

Dr. & Mrs.Glenn 1. HillerMr. & Mrs.GeneLeithauser

Louise Hodgson

Mr. & Mrs.JamesA. Hollars

Dr & Mrs Nathaniel Holloway , Jr.

Mr. & Mrs. James L. Howlett

Frederick G.Huetwell

Winifred Laura Jack

Brent Jacobsen

Elizabeth Jacoby

Aaron J Jade

John P Jagger

Robert Janks

Mr. & Mrs SheldonLevin

Anna andYaleLevin

GregoryLewis

John A.Libby

Annette andWilliamLiberson

Mr. & Mrs . George Lindoerfer

JerriLitt

Dr & Mrs.CarlW. Lohmann

Prof. Judith Q. Longyear

Ms.Beverly Lopatin

Dr. & Mrs . LeonLucas

Drs Harold Johnson and Mrs SamuelMalbin

BetsyAncker Johnson

Dr. & Mrs.Gage Johnson

MichaelR Johnson

Mr. & Mr s. James Johnston

Charlene M.Jones

Mr. & Mrs ErnestA Jones

Murray D.Jones

Jeff L. Jordan

Mr. & Mrs.GeorgeMallos

MaryC. Mamut

Mr. & Mrs.Charles Manoogian

GladysandZaven Margosian

FlorineMark

Emajane Marshall

Dr. Josip Matovinovic

Patricia Maxwell

John F. Jovanovich, M.D.Dr. & Mrs.LuciusJ.May

Patricia and Randolph Judd

Copyright 2010, Michigan Opera Theatre

Barbara and John Mayer

Contributors

Douglas McAfee, D.D .S.

Mr.&Mrs Robert E. McCabe

m'Arch and Janet Marie McCarty

James McColgan

Mr.&Mrs.WilliamT. McCormick , Jr.

Katherine McCullough

Robert M McKercher

Dr.&Mrs. Norman McRae

Julius S. Megyesi

Mr.&Mrs. Harold A Meininger

Marjorie Peebles-Meyers, M .D.

Dr.&Mrs Anthony Michaels

Myron L. Milgram

Henry and Dr . Antonina Miller

Mr s. John P Miller

Mr.&Mrs. Joseph R Miller

Dr &Mr s. O J.Miller

F.C Mistor

Mr :& Mrs. Phillip M. Mistretta

Mr.&Mrs.Carl Mitseff

Mr.&Mrs. Arthur D. Moore

'

E.Alan& Barbara R. Moorhouse

Donald Morris

Dr.&Mrs.RogerH Morri s

Rudolf W.Mozer

Joseph Mramor

Mr.&Mrs. Thomas A. Murphy

Mr &Mrs. Adolph J.Neeme

Mr.&Mrs Henry L. Newnan

Barbara and MichaelNigro

Mr.&Mrs MiguelA Nistal

Mr . &Mrs. James North

JoEllen Odom

Mr.&Mrs.Michael Orlovich

Dr Enrique M. Ostrea

Keith Palmer

Anne and Frank Parcells

Dr Robert G. Paris

Beatrice Parsons

Mr.&Mrs. Arthur J. Pawlaczyk

V.Beverly Payne

Mr.&Mrs Jospeh Pecherski

Mr.&Mrs.WilliamH.Peck

MissBettyM Pecsenye

Mrs. -MaryA . Perna

Kathy and Edward Munoz Perou

Mr.&Mrs. Raymond T Perring

Dr.&Mrs. L. J. Peterson

Mr.&Mrs.DennisJ. Pheney

Charles A. Phillips

Mr.&Mrs. Harry C. Philp

Irene Piccone

Mr.&Mrs.Ralph Pierce

Dr.&Mrs.KennethE P itts

Dr.&Mrs. Harold Plotnick

Mr.&Mrs.BrockE Plumb

Dr.&Mrs.Mike Popoff

Mr &Mrs.DavidW Porter

Mr &Mrs. Jack Porter

Mr.&Mrs Hughes L. Potiker

Mr.&Mrs Kenneth E. Prather

Mrs.Eula Pray

MaryH Price

Mr.&Mrs. Joseph C. Primo

Dr.&Mrs.V. Winkler Prins

Mr.&Mrs.W. James Prowse

Mrs. Horace Prunk

Mr.&Mrs Glenn T. Purdy

Mr.&Mrs Longworth M Quinn

Dr.&Mrs. Ralph D. Rabinovitch

Donald Rafal

Mr.&Mrs. Abraham L. Raimi

Mr.&Mrs. Ward Randol, Jr.

James L. Randolph

Victor Rauckis

Mrs. Margaret C. Raymond

Lillian Reaume

Mr.&Mrs John H.Redfield

Dr.Michele I. Reid

Dr. Jeffrey Reider

Mr.&Mrs. Henry C. Reimer

Mr.&Mrs Calvin J.Rex

Clifford Rice

Mr.&Mrs.D.ClydeRiley

Mary-Alyce Robinson

Mr.&Mrs Horace 1. Rodgers

Alice L. Rodriguez

Dr.&Mr s. Bernardo A Rojas

Hon. &Mr s. George W . Romney

Dr.Eugene Rontal

Joanne Rooney

Mr &Mrs LeslieRose

Rhoda and Albert Rosenthal

Mr.&Mrs. Sheldon Ross

George Roumell, Jr.

Mr.&Mrs. Irving J.Rubin

Mr.&Mrs. Theodore Rudner

Mr &Mrs. Richard O.Ruppel

Marion E Ryan

Rev.Jay 1. Samonie

Dr.&Mrs. Hershel Sandberg

Mr.&Mr s. William Sandy

PeggyM Schley

Frank E. Schober

Frank L. Schuller

Dr.&Mrs. Benjamin Schwimmer

Dr.&Mrs. Robert C.Schwyn

Mr.&Mr s WillScott

Dr. Nathan P.&Mrs. Florence Segel

Mr.&Mrs. Franci s J.Sehn

Mr.&Mrs BorisG Sellers

Lois and Mark Shaevsky

Mr.&Mrs Frank C.Shaler

Donald E Shely

Mr.&Mrs Joseph C.Shens tone

Dr.&Mr s. Dougla s B Siders

Dr.&Mrs.JoelH Silver

Dr.&Mrs. Harold K. Skramstad, Jr.

Joseph Slatkin

LeeWilliam Slazinski

Mr.&Mrs. John Slimko

Mr.&Mrs Edward Slotkin

Christine Slowinski and Richard Schwartz

Dr. Robert F Sly

Mr.&Mr s. Christopher Sm ith

Mr.&Mr s Peter G. Smith

Alma J.Snider

Mr.&Mrs. Nathan D. Soberman

Mr.&Mrs. Theodore Souris

Dr.&Mrs. Harvey Sparks

Mrs. John Spencer

Dr. Stanko Stanisavljevic

Mr.&Mrs. Robert G.Stein

Mr.&Mrs. Robert C. Stempel

Mrs. Marian F Stenning

BobbiandBradStevens

Lawrence Stockier

Mr.&Mrs. Joseph Strobl

Jack Summers

William L. Sur so

Ruth and EarlB. Sutton

Mr.&Mrs. Stephen M.Sweeney

Mr.&Mrs.WilliamF. Hayden

Mr.&Mrs.BurtE. Taylor

Mr.&Mrs WilliamB.TenEyck

David L. Thomas

Dr.&Mrs Murray L. Thomas

Mrs Edward D. Thomson

Cleveland Thurber

Mr.&Mr s. Donald M.D. Thurber

Barbara C. Tilley, Phd.

Mr.&Mrs Harold S. Tobia s

Dorothy Alice Tomei

Mrs William C. Tost

Mr.&Mr s. EarlD. Triplett

Barbara Trudgen

Dr. Donald J. Trumpour

Mr.&Mrs. Joseph V. Tuma

Kathleen M Turek

Mrs.Helen Tutag

Mr.&Mrs. Edward X Tuttle

J KayFelt& Lawrence VanTil

Robert Van Walleghem

Dr.&Mrs. Ronald L.

Vander Molen

Mr.&Mrs . BarneyVassas

Dorothea Vermeulen

Dr.&Mrs.C.H. Vortriede

EvelynA. Warren

Mr.&Mrs.LouisA.Weil, III

Mr.&Mr s. Herbert I. Weinberg

Mr.&Mrs.Irwin I. Weiner

Mr.&Mrs Harold N. Weinert

'Robert D.Welchli

Mr.&Mrs HughWells

Dr.KennethWelsh

Dr.&Mrs.W J Westcott

Mr.&Mrs. Frank E Westlake

Donald M Weydemeyer

EmilyWheeler

Dr.&Mrs.RobertM.Williams

Mr.&Mrs.RoyWilson,Sr.

Dr.&Mrs. Donald C. Winans

Mrs. I. Winkelman

James H. Wineman

Hildegard Wintergerst

Fr Robert J. Witkowski

Mr &Mrs. Donald Wittersheim

Nancy and KenWittl

Women's City Club of Detroit

Dr.&Mrs. Richard D Woods

WilliamW. Wotherspoon

Mr.&Mrs.LeRoyH. Wulfmeier, III

Dr.RalphM Wynn

Drs.IrvinH.and June Yackness

Dr.&Mrs.JoseE.Yanez

Mr.&Mrs.William 1. Young,Jr.

Dr.&Mrs . Ralph Younkin

Mr.&Mrs.Joe Zafarana

Mrs.Jo seph R Zanetti

Dr.&Mrs. Petras Zematis

Mrs Paul Zuckerman

Friend $50-$99

MaryM Abbott

Mr.&Mrs.AnselAberly

EugeneD. Adams

Mr.&Mrs.FelixT. Adams

VivianK. Adams

Mrs. Elizabeth Ager

WilliamC. Albert, M .D.

Mr.&Mrs. Alfred Albrecht

Dr.&Mrs Juan E.Alejos

William Alexander

Madison Alford, Jr.

Mr.&Mrs. John Allen

Augustine Amaru

Mr.&Mrs. Alexander J.Anderson

Mrs. Charles C. Andrews

Bohdan andVera Andrushkiw

Tina M Angelelli

Sheila L. Anthony

AdeleF.Aras

Harrit Armavitz

Mr.&Mrs.Sam Armoudlian

Peter J. Armstrong

Mr.&Mrs.ByronF. Arndt

EmilyandDaniel Arnold

Mr.&Mrs.David Aron son

Dr.&Mrs AllanA Ash

WilliamA.Ashe

John A. Ashton

Henry Auslander

Mr.&Mrs Leon Austin

Frances R. Avadenka

Valerie and Daniel Ayotte

Mr.&Mrs.Fred C. Babcock

Joan Backoff

Mrs. Simon E.Baer

Dr. Ronald Baker

Mr.&Mrs.WillieW.Baker

Contributors

Kathryn Balden

Mi chael J Baldwin

MatthewBalent

MaryG andDon Ball

Mr. & Mrs Alvi n, E Balmes

Mr. & Mrs Charles A Balton

Mr. & Mr s Dwight Bandemer

Sue E Barber

Mr. & Mr s. Ir ving Barill

Dr. & Mr s. DavidH Barker

Mr. & Mr s. C. Robert Barnard

RobertA .Barnh art

Beverley M Ba skins

I.V. Battain

Mr & Mr s. H aroldG eorge Ba y, Jr.

Mrs.JackBeckwith

Mirosla va Bednarz

Mr. & Mrs Jame s K. Belding

Mr. & Mr s. James Bellelleur

Maxine Belton

Muriela ndP eter Benedetti

Mr. & Mrs. Robert Benian

Rev & Mrs. Gerald L. Bennett

Mr. & Mr s RobertA Benya s

Patricia Berdan

RobertS.Binder

RichardA.Bither

Marijane D Black

Mr. & Mr s. R .D rummondBlack

Flora Blackman

Mr. & Mr s Jame s Blake

Mr. & Mr s. Jerr y M Blaz

Mr. & Mr s. Jame s F Blazek

FredV Blesse, III

LeeS a ndP aul Blizman

Rev A Blonigen,CMM

Dr. & Mr s. Arthur Blumenstock

DawnBoesen

Mr. & Mr s. Albert A Bogdan

Da v idJ. Bohla

Mr. & Mr s J ames W Bohlander

Ja mesBombard

Sam Bommarito

Mr & Mrs .H oward H Bondy

Alice Bone

Mr. & Mr s. Marvin P.Book stein

Mr. & Mr s. Abraham J. Boone

Mr. & Mr s. Ben L. Borden

Mr. & Mr s. Richard F Bor sos

Mr. & Mr s. Richard I. Bortfeld

Mr. & Mrs John Bory sko

Larry J.Boss man , J r.

M r. & Mr s. William Botwick

Dr. & Mr s George C Bower

Ruth Bo zian

Mr. & Mr s. John Bradl ey

R J Bra inard

Anonymou s

Mr. & Mr s. H. Breitenbeck

Mr. & M rs.Fred rick E .Brenner

Mr. & Mrs. Jame s A Brewer

Mr & Mr s. Fritz J Bridges

Mr. & M rs. William C. Brimmer

Loretta Briscoe

Leo n and Joyce Brown

Mr. & Mr s. R obert C. Brow n

Mr. & Mrs .Th oma s E.Brown

D r.El kin s Bruce

Mr. & M rs R aymond Buccellato,Jr.

Robertand Andrea Burditt

Miriam Bureson

M rs.Or a L. Bu rgess

Mr & Mr s DavidM Burnett, Jr.

P atricia HillBu rnett

D r. & M rs M. Bu rns

Mr. & Mrs George H Bushnell

Georgia and John Byrd

Mr. & Mr s. R ogerByrd

Mar y C. Caggegi

M r. & Mr s. WillieA Calloway

M rs H arryW.Ca lvert

M r. & M rs Doug Campbe ll

Mr. & M rs. Frede rickB Capalbo

Mrs. Samu el L. Carman

Ora Carter

Mr. & Mr s. AlanC ase

C liftonG Ca sey

Mr. & Mr s Holli sCas well

Mr s Leo Catallo

D onaldE. Cha m pagne

Mrs William P Che ste r

Michael Chiumento

Mr. & Mr s. Donald H Chmura

Mr. & M rs J ames R.C hubb

Lo uise Cilia

Hon & Mr s.F erdinand Ci nelli

Dr. G regoryCl ague

M r. & Mr s.Sta nley 1. Clamage

Char les H Clark

Richard C lark

Vivian Clar k

Mr. & Mrs. Jink s W.Cla ry, II I

Mrs.A lvin E.C lemmons

Mr. & Mrs. Robert Closson

MaryA nn Coffey

H eidi R Coffman

BonnieM Cohn

J.E Compto n

Mr. & Mr s. George Allen Cook

Mr. & Mr s. Gera ld S. Cook

E leanor Coote

Caro l E.Co pp

Mr & Mr s R ichardCos ke y

Wa lter Cottig nies

RenaCou lter

Mr & Mr s. RichardW Craig

Pamela L. Criner

Willi am H Cu lp

Mr. & Mrs. John G. Cumm ings

R ichard J .C unningham

F rederickP. C urrier

P eter J Curtis

Mr & Mr s A ndrzej Cymbalista

G reggBakerand

H enrietta Da visin

Contributors

Audr ey A.Czekiel

Dr & Mr s. Harold J Daitch

Geor ge E. Dambach

M r. & Mrs John E. Danaher

Joanne G.Daniels

M r. & Mr s. PhillipD . Daniels

LaRae andKeith Danielson

Mr. & Mr s. William L. Darb y

WilliamR Darmod y

Mr. & Mrs William Darnton

Dr s. Cameron and Jean Dasch

Mayand Morris Davidson

Mr. & Mr s. KennethC.Davis

JoAnne Day

Dr. Charle s and Susanna Defever

Annette A Deibel

AlbertR Delicat i

Pamela K.Delu ca

Ed ith Demp sey

Joanne andDa vid Denn

Mr. & Mrs. Corneliu s deStigter

Dr John Devlin '

E laineDilaura

M r . & M rs. M . F . Dipzinski

Dr. Jo hn Dobb s

Dr. & Mr s. Ale s J Dom in

Anon ymous

Dr.Jenn ifer BoehmDre ssman

M r. & M rs. EugeneDriker

M r. & Mr s. Frank Dronsejko

Mr. & Mr s. Marvin Dubrink sy

Mr . Ma rtin D.Ducker

Bessie Dun can

M rs. Thoma s A Dunlap

W illiam J Durell

M r. & Mr s. Miodrag Du rie, P .E.

Mr. & M rs. Pe ter Du sina

M r. & Mr s. Victor Dutchik

Mr & Mr s. Rudolph Dye

Edmund G.Dyla

Anne Dziuba

Mr. & Mr s. HenryEarle

Jane S Eckels

Gerhard H Eckle

Judge S J Elden

Claire Elton

Mr. & Mrs RayR Eppe rt

Dori s B Eri ckson D .V.M

Drs. PaulandIn ta Ertel

Leonard and WendyEvan s

Mr s. RelandSchreelE vans

Mr s. WilliamA E vans

Mr. & Mr s. James R . Ew ing

Mr & Mr s. Alger L. Faber

Mr s. John N Fa iling

M r. & Mr s. CarlW. Farquhar

Rober tE. Fauquhar

Uwe Faulhaber

Dr s. Michael andBeverly Fauman

Mr & Mrs.WilliamS.Fay

Mr. & Mr s. MichaelS Feldman

Mr & Mr s. BenJ. Feldstein

Su zanne andHe rbert Feld stein

Cha rles V Fellrath

June M.Fergu son

Judith F ietz

Helenand John Fillion

Joan L. F inlayson

Dr s. Ira J.and Joan Lessen

Fire stone

Mr. & Mr s VernonF.Fishtahler

Shirle y M. Flanagan

Mr s. Arthur Fleischman

John Fleming

Lois Floodstrand

LynnandLymanM.Forbe s

Mr. & Mr s. Gordon T . Ford

Dolore s and Howard Fordree

Rebecca Fo ster

EarlA. Foucher

Albert F rancis,Jr.

E lizabeth Franczek

Michael Q Frank

Joanne Franklin

Denise andRober tFr ederick

Mr. & M rs G erald F rederiksen

Mar y Elle n Fre idhoff

Mr & Mr s. Frank RichardFr eiwald

Juli ea ndMarkFr entrup

YvonneM.F riday

Alli son Lewis Friedman

Mr s. Jerrold A.Fro st

Mr. & Mr s. John A.Fu shman

Mr. & Mr s. VictorGallat in

Patri cia Ros si Gal vin

Dr. & Mrs Sunilendu N. Ganguly

Mr. & Mrs Joseph W.Garrell

Mr. & Mr s. ErnestT Ga ston

Mr. & Mrs Philip Gentile

Mrs SydneyGersh

Mr s. Chri s Gerst

Mr. & Mr s. Peter Giffels

Colette GilewiczandStephen Jones

Mrs John W Gilkey

Judge & Mrs.WilliamJ. Giovan

Mrs.HenryC Givens

Mr. & Mrs. John T.Gleason

Mr. & Mr s. MichaelGlusac

Dr. & Mr s. Rudolf Goet z

Dr. & M rs. JoelGoldberg

Barbara and Herman Goldsmith

Dr. Aaron A.Gold stein

Mr. & Mr s. BernardGoldstein

Ra lph Gonzalez

Dr. & Mr s. PaulGoodman

Mr & Mr s SamuelH Goodman

Dr.Virgil Goodman

LucilleandMa ynard Gordon

Mr. & Mrs RobertJ.Gordon

M ildred Gottdank

Mr. & Mr s. Mor ton G Gottesman

Kerry PriceGower

Dr. & Mr s. Erv in Green

Dr. & Mr s. Marvin L. Greene

Geoff Garland in My Fair Lady

Contributors

F.W Gridley

L. J Gri ffin

Mr. & M rs. G rovenor N. Grime s

Mildreda nd Haro ld Gro ssman

Charles D. Gro ves

Mr. & Mr s. W illiamGru ebnau

Mr & Mrs. John A G yorgy

Ronald H aley

Mr. & Mr s Edw ard Halko ski

Ka thleen M Hall

Dr. & Mrs Charle s M Hamilton

Heather M Hamilton

Mrs Robe rt Hamilton

Mr & Mr s. Thoma s J Hammond

Elizabeth Ann Hand y

James J Happ , J r.

NatanH arPaz

M. C. Harm s

Mr. & Mrs Ja ck R.H arn ed

Susan and E dward Harou tunia n

Mary Ann a and Steph en G Ha rper

Drs. Maril yn and Donald H arri s & Mr s. Jame s H ar ris

Mr. & Mr s. John K. Harri s

MargaretE. Hartz

Dr. & Mr s . John M . Hart zell

Mr. & Mr s Steven Hatto n

Kenne th H H eben streit

Barbara B. Hedberg

Gary S.He iser

Dr. & M rs. Jame s B.H eitler

Mrs P Phil ip H elfman

Den ise J oy Hender son

Mr. & Mr s Will iam Henk in

Judya ndBill Hep fer

Dr.Michael J. Hepner

Mrs. Thoma s H. Hewlett

Mr. & Mr s. John T.H iggins

Mrs. J ohn T Hig gins

Michael E H insky

Dr. & Mr s B Hn atiuk

Mr. & M r s. C onard W Hob good

Mr. & Mr s Rober t C. Hod ges

SylviaM. Ho f fman

Mr. & Mr s . L eslie J . H ogan, Jr .

Mr. & Mrs .P aul H ooberman

Ernest L. Horne

Marion Horn yak

N A Horowitz

Mr. & M rs Phill ip Ho rwitz

Gretchen L. H ovis

Mr. & M rs. Robert G . How e

Mr & Mr s. Robe rt M H owe

Colleen T Hudgen s

Mrs. J ohn B H uebner

Mr & Mrs R ich ard F .Hu egli

William C. H uf ford

Kathleena nd J ack Humm

Anonymous

Carolea nd Norman Hym an

Ilene Intihar

Mr. & Mr s. Harold Jack son

Rich ard D . Jacob s , M .D.

Mr s. S ydney Jacob s

Mr. & Mr s. Jame s Jaggers

M r. & M rs Rob ert I. J amieson

D r. Do nald J anower Joh n J Janow icz

M r. & M rs. Rich ard 1. J essup

D r. & Mr s. Ar thur J. John son

Mr. & Mr s. Robert R. John son

Mr. & Mr s. Sheldon Jol gren

Est er a ndBen Jone s

Mr. & Mr s. Sterling C Jones, Jr.

Mr. & Mr s. Way ne Jone s

Mr & Mr s Jo seph Kado

Ruthe Kaliff

M r. & Mr s. Au stin A.Kanter

M r. & M rs Herm an Kaplan

M ary and A lex and er Kar gilis

Mr & Mr s An thon y S.Kasiborski

M r. & Mr s. Rob ert D.Ka tchke

M r. & Mr s. Norm an D Kat z

Barbara and Ph ilip Katz

M r. & Mrs R ichard M.Kaye

Marylee and Arthur Keillor

Mr. & Mr s. John J Kell y

Su san L. Kelly

Mr R L. Kenn edy

Dr. & Mr s J. C hristopherKen t

Barb ara and John Kerwin

H or sta ndL ottie Ke sne r

M r. & M rs. M ichael Key

W illiam and N a nette Keyser

Mr & Mr s Ri chard O Kie fer

Mr. & Mr s. Thom as E Kienbaum

Con stance Kimm el

Li llian a nd Alfred K ing

Ruth R King

Victoria J.King and KevinS

Good

Lill ian I. Klein

Werner H Knei sel

Mr. & Mr s. J ame s D Kn ittel

M r. & Mrs .H arry Kob el

Do ris P.Koch

Mr. & Mr s Ihor Ko cur

Daniel B . Kol ton

Katherine Konzelm an

Mr. & Mr s. C.J Koreman

Phylli s D Korn

J. Douglas Korne y

Dr. & Mr s. M Korobkin

Dr.H arold Ko stoff

Mr. & Mr s. Th eodo reA Ko tila

Dr. & M rs. M ichaelF .Ko walski

M r. & Mrs Don ald Kowitz

S tephanie Kow n

Loui se Ko zerski

E.J Ko zora, M .D.

Ira J.Kreft

Kenneth C. Kreger

Sharron and Al fred Kr eindler

Dr s Tere sa and Norman Kr ieger

M r. & Mr s. Arthur J.Kro likow ski

Dr. & Mr s. Lawr ence Kron

Mr & Mr s John A.Kr sul

Carol Kr zyston

Je ffrey Kura s

Margaret Kur ta

Dr. & Mr s. H yman Kurtz

Dr. & Mr s John D Kutsche

Ba rbara La Fayette

Dr. & Mr s. Jam es Labe s

Mr & Mr s Jo seph LaButa

Mr. & Mr s. Ch arles A La ing

J ane E Laird

J ane Lamber son

Mr. & Mr s. Kent Lamkin s

Mr. & Mr s. G eoffrey Lann ing

Lol a and Charl es L atreille

L ydia B La zurenko

Mr. & Mr s. R ober t E.Lazz erin

Virginia June M cCosh LeBlan c

R ichard LeS u eur

Mr. & M rs. John Lechnar

Mr. & M rs Richard E Lee

Dr. & M rs. JoelK Leib

Mr & Mr s. Arie Leibo vitz

Glad ys G . Leith auser

Philip Leon

D r. Leon ard H. an dMr s. Lo rraine L erner

D r. & Mr s. P aul R L essem

R and ian dGer aldLevin

Pa tricia Oppenheim Le vin

Dr. & M rs. Be rnard Le vine

Gloria Le vine

Mr. & M rs. Donald F Levle it

Mr. & Mr s. Z vi Le vran

Dr.LeeA Lewi s

Mr. & Mrs Ra ymond R Lewis

Mark R.Le zotte

Dr. & Mr s. John H Libcke

Eli zabeth Li fsey

Dr. & M rs. John H Lillie

S ara Ann Lin coln

Jud ith A Li ndsay

Mr. & Mr s. J an T.Lin thorstHoman

Mr s CarlF Li scher

C arol and Ra y Litt

Mr. & Mrs Thom as V LoCicero

Jo seph T. LoCiero

Phylli s and Larr y Lop ez

Mr. & Mr s W ilford Lundberg

J Edward Lund y

M r. & M rs. P etru Lupsor

T erry M Lu rtz

Dr. & M rs Robert T L yons

Rob ert B Ma cKay

Loi s K MacKenz ie

Mr. & Mr s. William MacKen zie

Mr. & Mr s. Edwin R MacKethan

Mr. & Mr s. Richard F. MacLeod

Nelli e L. Ma cklin

Copyright 2010, Michigan Opera Theatre

Maril yn and Robert MacLean

Dori s Made r

Re v. & Mr s. Phillip R Ma gee

M r. & Mr s. Will iam J Mahler

Mr. & M rs. M M alter

Mr & Mr s. Robe rt J Man sfield

Jody J. Man tecon

Debra Marcon

Samuel Ma rkel

Marian and Rollin Marqu is

Norman F M arsh

Mr.E G Mar shall and Dr Nanc y Mar shall

Mr. & Mr s Anthon y R Mart

Dr. & Mr s P eter A. Martin

Sh irley Ma rtin

L yn Ma ster

M r. & Mr s. Karl F Ma thiak

Marg ie a nd Georg e Ma tthew s

Mr. & Mr s. Edward S.Ma y

Dr. & Mr s. Fr ederick M.M aynard

Eli zabeth M aysa

Dr. & Mr s. Bernard Maza

Mary C. Mazure

Mr s. Jame s McClintock

Ollie McFarland

John McIsaa c

Mr. & Mr s. William W McKee

Gla scoe McKinn ey, II

Mr & M rs. J ame s McLean

D r. & Mr s J ames D M cLean

JosephMcL earn

Ru th D.W M cLenn an

Mr. & Mr s. Don ald R McNair

Mr. & M rs Edward B M cRee

There sa McVeigh

Mary Loui se Meade

Mr. & Mr s Joseph D Me agher

John Medria

Dr. & Mr s LyleE. Mehlenba cher

Gerald B M eltzer

M r. & Mr s. George Me schke

L ynne M.Me tty

D r. & Mr s George T Me yer

Mr. & Mr s. Fredri ck A. Me yn

Dori s J.Mille r

Mr. & Mr s. Eugene A.Miller

Eugene T.Miller

Joan E.Miller

LucileMiller

Diann a Min adeo

Kim M inasian

L yle S.M indlin

HelenW .M inichelli

Robert Mi ssal

M rs John K.Mi tchell

Hilda and Jack Moeller

Dr & Mr s Walter L. Mole ski

Marcia and John Momcilo vich

Victor Mon czynski

Mr. & Mr s. Freem an R Mon son

Lucille Moore

Contributors

Marl ene J. Moore

M r. & Mr s. William F. Moore

Thoma sC Moran

Ro se Morandini

Robert L. Moren cy

M r. & M rs Henr y B Morgen stein

Mr. & Mr s. Denton E Morri son

Mr. & Mr s. C yril Mo scow

Dr.J ames L. Mo seley

M r. & Mr s Sidney L Mo ss

Mr. & Mr s.E arlA Mo ssner

J ohn M.Mulli gan

J ohn D Murray

Mr s Fr ank C. Murtl and A nonymous

S usanMyers

Lawrence Nahrgang

Mr. & M rs Ru ssell Nanta is

Mr. & Mr s. M ark A. Navarre

Mr. & Mr s. Robert S Nelson

All en L. Netter

M r. & Mr s. Jame s M Newcomer

, Wilm aa ndRich ard Ne wton

Ru th L. Nicholson

DorisN iemer

M r. & Mr s M arco Nobili

LauraP ortz Norberry

Mr. & M rs. Richard L. Norling

LoisE. Norman

Dona nd L izNo vak

D rs.Jo hn a nd Janet Novak

Mr. & Mrs. Harold NoveckLynneA. Peterson

Mr. & Mrs Stanley Nowakow ski

Mr. & Mr s. Richard Pfaff

M r. & Mr s. WilliamF . O'Meara, Jr. Loraine Pickerring

Mr. & M rs. James P O'Toole

Margery Obed

Norma Oberhau ser

Frank Ok oh

Mr. & Mr s. Se ymour Okun

Morgan L. Ol sen

Erne st Ooley

Margaret G. Oram

Dr. & Mr s. Jo seph Or ent

Susan and Peter O'Rourke

Dr. & Mr s. Je sus Orteg a

Iri s M.Ov shinsky

Mar y Paige

John Pier son

Mr. & Mr s. DanielG Pie sko

Mr. & Mrs. Edward A. Pintar

IreneA. Polacz yk

Dr. & Mrs Peter 1. Polidori

Arthur Pollack

HelenandMichael Popena s

The Port Huron Mu sicale

Su zanne Portner

Dr. & Mr s. Elihue Pott s

Mr. & Mrs David L. Price

Katharine and Woods Proctor

Mr. & Mr s. Donald Pruden

M r. & Mrs. Leonard S. Palermino Fleming Pruitt

Dr s. W and M. Palutke

Dale J P angonis

Mr. & Mr s. Jam es A Park

Mrs John S. Pugh

Mr. & Mrs. Frederick Pu skas

Mr s. Edward D Quint

M r. & Mr s . Alex Parri sh Suzanne Hemmen Rabideau

M r. & Mr s. G. Thomas Patton, Jr.A. L. Raimi

Dr. & Mr s. Glad stone Pa yton John Rale eh

Eli zabeth Pazdro

Dr s. Renato and DaisyRamos

Mr. & Mr s Sanford Pearlman Carolyn Perry Ram say

Mr. & Mr s.F rank Pecherski Gregory A Randall

Mr. & Mr s.F rankK Pen irianSu san L. Ra smussen

Kath ryn A Pen ix Betty and DaleRa sor

Petra Pepella shi RuthF. Rattner

Dr. & Mr s. Branko Peric Brigitte Rauer

MaryBeth Perkins

Mr. & Mrs. Marvin Reeves

Donald H Regan

MaryEllenand Patrick James Reid

Mr. & Mr s. IrvingB . Reiff

Barbara Reinarth

Jane Ann and CarlReit z

Lorene Rever

Marcia A Rider

Mr & Mr s Robert C.Riess

Mr. & Mrs RogerRink e

Mr & Mrs.WilliamJ.Rittinger

Dr. & Mr s. PaulRivera

Mr. & Mr s. James T.Roberts

Richard M. Robinson

Richard G.Roeder

Mr. & Mrs. Robert F.Roelofs

Ronald A.Rogu z

C. R . Roll s

Rose Romanow

Dr s. DavidandSheilaRonis

Barbara J . Roper

Joberta F.Rose

Dr. & Mrs Lewis Rosenbaum

Drs. Barbara F.andIrwinK.

Ro senberg

Vernaand Larry Ro senberg

Dr & Mrs.J. C. Ro senberg

Mr. & Mrs HalRo sin

Dr. & Mr s. Howard S Rosman

Mr. & Mr s. Gerald F.Ross

M s SheilaRos s

Mar y EllenRota y

Michigan OperaTheatre

gratefully acknowledges the support of the following advertisers:

Leo Burnett Compan y of Michigan , Inc.

Chope-Union Paper Company

Th eC onnelly C ompany

Detroit Athl etic Club

Dougla sC leaners,Inc

G reater Detr oit Land scape Co

Howard Pl ating Industries, Inc

Joe' s Wine & LiquorShoppe

John stone & John stone, Inc

Realtor-Gro sse Pointe

Kelm an, Rosenbaum, Levitsky & Rollin s , P.C.

C ertifiedPublicAccountants

Lewis & Thomp son Agency, Inc

MLX Corp

Jerome Magid, Photographer

Ma sako Kondo Flowers & Gifts

T heMinowit z Family

Wol verineF lexographicMfg Co.

Copyright 2010, Michigan Opera Theatre

M aria Spacagna as Madama Butterfly

Contributors

Mrs George Roth

Shel don Roth

Mr & Mr s. Edward Row

Mr. & Mrs. Da vid P Ruwa rt

Mr Samuel Sach s, II

Mr. & Mr s. Wallace K. Sagendorph

Mr. & Mr s John P.S I. Clair

RalphE.Saleski

Dr. & Mrs. William H S a lo t

Norman Samp son

Jose R Sanchez

Harriet andAlvin Saperstein

Neva Rose Sarke sian

Mr & Mrs. Robert Sa rkozy

Re v. Hector J. Saulino

Mr & Mrs. Sau l S Saul son

Mr. & Mrs John P Sa vage

Mr & Mr s. Egidio Sa vocchio

Martha A Sa wczuk

Mr. & M rs. E.W.S canes

Mr. & Mrs. V.Scanio

Mr. & Mr s. Clau s Schaefer

Margare t A Schefke

Evelyne Sc heyer & Mrs. Rober t H Schirmer

Mr. & Mr s Richard S chl itters

Reid Schornack

Dr. HermanS chorn stein, M .D.

Dr. O.W illiam S chumann

Jim and Anne (C utler)

A. Schwartz

Mr. & Mrs O scar D.Schwart z

Mr & Mr s. Robert R.Scra se

Mr & Mrs. Kingsley S ears

Anon ymous

William C. Selover

PhillipE Seltzer

Mr. & Mrs. Robert B.Semple

Mr & Mrs. Loui s C. Seno

JeanetteM. Sermo

Mr & M rs Harold T. Shapiro

DavidC. Shereda

Ma ry Shiner

Mr & Mrs. Ja ck H Shuler

Mr & Mrs. Ra ymond J Shu ster

Bluma Siegel

Dr. & Mr s Milton Si egel

Joyce and Robert W.S iegel

Mr & M rs. Lou is L. S kies,J r.

Dr. & Mrs. R ichard Sills

Mr. & Mr s. Robert N Sil ver

Sharon and Peter Wa yne Silver i

Howa rd A S ilve rman

Dale Simmerman

Mr. & Mrs. John Sklar

Helen Slater

Sand ra and David E. Smith

Mr & M rs F rank E.Smi th

Mr. & Mrs. John H S mith

Mr & Mr s. John R Sm ith

Margaret L. Sm ith

PatriciaJ Smith

Ra ymond C.Sm ith

Ed ythe E. Snead

Margaret Sobey

Dr.AnnSod ja

D r. & Mr s. Rober tJ. So kol

Dan iel J Soller

Mark R. Solomon

Roberta E. Sonnino , M .D.

R.Sor scher

J eanM Spadafore

John W Spald ing

Mr & Mr s. Denni s C Spark s

M r. & Mr s. Robert W.Sp encer

E dithS tahl

M r. & Mr s. NealSt anton

Mr. & M rs. Gordon E. St auffer

MichaelP Stein

Dr. & Mr s Sheldon D Stern

Dr. & Mr s. E Stern feld

M r & M rs. Lau rence S tettner

LowellStev enson

Mr. & Mr s. Ge rald Stollman

Mr & Mr s. Henry A Stone

Mr. & Mr s. John C. S.S treet

R ichard S trichart z

Mr. & Mr s. Arthur Stuart

Dori s A. Lindner and Will iam

Stuart

Mr. & Mr s. Donald J Sublette

Mr & Mr s. Stephen S urdu

Robert Sutphen

Sharon Szymczyk

Mr. & Mrs John W Taber

Harry D. Tabo r, M.D.

Mr. & Mr s. N.J Tabor , Jr.

Poll y G. Tan

Mary Ellen Tappan

Mr & M rs. Arnold T aylor

Simone and Bradley Ta ylor

Jane R.T aylor

M r. & Mr s. Will iam Templeton

Mr. & Mrs Sydney L. Terry

Nan cy and Ru ssell Thayer

Barbara Arnold Thoma s

Joann e and Jere Thoma s

Mr & M rs. Merrill Thoma s

Nona E. Thomp son

Eleanor andDa ve Thom son

Mr. & Mr s Pe ter P. Thurber

Mr. & M rs. Ra ymond F Toohe y

Franz Topol

Dr. & Mr s. MerlinC. Townle y

Anon ymou s

Carol yn Trent

Mr. & M rs. R S. Tro tter

Dr.SteveS T sangalia s

Tue sday Mu sicale ofDetroit

M r. & Mr s. Thoma s Turchan

D r. & Mr s. D imitry M Turi n

Paula D Turner

S tephen J Ulan ski, Jr.

Wilhelmina Uni s

D r. & Mr s. H .E Usse ry

There sa Va itkuna s

Dr.Jo seph Valentin

M r. & Mr s. E H.Valentine

R ich ard J.Van cea ndGa il P art ee

Ba rbaraVanth o urout

Dr.Rand all and Mr s E laine Block -Vic tor

Marina VonWyss

Ma ry C .Vreatt

Mar y Jo yce Wa ite

Ruth and Harold W aldfogel

Mr. & Mr s. Jon A.Walgren

D r. & Mr s. R ichard H W alker

M r. & M rs R ober t G.Wall

M r. & M rs G R Wa lrod

Mr. & Mr s. Robert C Walte r

C yril J Wanke t

M r. & M rs C yrus H.Warshaw

Pa ulF W asielewski

Ka therine Wa sser fa llen

Dr. & Mr s. EarlJ Watch

Mr & Mr s. DanielW Webb

Mr. & M rs. NorbertE .Web er

Dr. & Mr s . AllenWei ner

M r. & M rs. Charles Robe rt Weir

Mr. & Mr s. Harv ey L. Wei sberg

Mr & Mr s. Tom Wei sz

Mar ie A.Weng

Gl oria and Da vid We nger

Mr & Mr s. Will iam D Wentworth

Mr. & Mr s John F.W erner

T he Ri tchie A We sslingF amily

Jame s D.W est

Dr & Mr s. Edw in J.We stfall

J.J Wexler

M r. & Mr s. Kenneth Wh alls

Herbe rt J W hitby

Dr. & Mr s. F red W Whi tehou se

Wayne Wiitanen

Patri cia G W iliford

EarlP Will iams, J r.

George William s

Su sanne L. Will iams

Mr. & Mr s. W. L. William s

Rub y Will is

L oreneG Wilson

Nil aWil son

Mr & Mr s. Donald S Wind eler

Mr & Mr s. Sheldon P Wink elman

J Th omasWi nters

D r. & Mrs .R obert R.Wol fe

Diana Ru th Wood

Mr s Morton Work

Dr.Ruth Worthington

T W allace Wrathall

Dr. & M rs. H arold L. W right, Jr

Mr. & Mr s Thom asV Yates

Mr. & Mrs Ha rvey 1. Zam eck

Mr. & M rs. Thoma sE Zaremb a

M r. & Mr s.Lee Zeunen

Da vida ndJu dy Zimm erman

Ma ry Z oto

Memorial Endowments

Ro se Cooper Memorial Apprentice Award

A n acco mplished voca listand pia nist,RoseCoo perwasa pio neerint hemu sical deve lopment o fD etroit.Servi ng as a m ember of t he o riginal Overt ure To Opera Com mittee (t he forerunner of MichiganO pera Th eatre)a nd asa Tru stee of M ichiganO peraTh eatrefor t wentyyears,M rs Coo perworked close ly wit hDavid Di Chiera in

pro motingth egrowt h of the fledg ling o pera co mpany

In1982,inloving tr ibute to Rose Coo per's devotio n to opera a nd h ersupport a nd e ncouragement of th e d evelopinga rtists,h erfa mily a ndfr iendsesta blished t heROSE CO OPERM EMORIAL

A PPRENTICE AWARD Eac h year, g iftsm adeto und erwrite thi s awa rd e nablethep articipation of a n o utstanding yo ung singer in M OT produ ctions.

Special Acknowledgement

Recruitedb y DavidDiChi era in the spring of 1982, Mr s. Ha idostian accepted the challenge of heading up M ichigan Opera Theat re's Ad vertising Committee forth e annual season program book. A monumental ta sk,sherai sed moreth an $65,000inherfirst yearandrecently raised anew goalofmore than $112 ,000 in revenue forthe current publication

T he1987-88 Season RO SE CO OPERMEMORIAL

A PPRENTICE AWARDis made po ssible th rought he ge nerosity of:

H arr ieta nd E. BryceA lpern Fo undation

Paul a ndW inifred Brod er Abraham a ndRoseCoo per Sc holarship F und Petera nd S helly Coo per

Fo rth e pa stsevenyears, Alice

B. Haido stian h as been ass ociatedwithMi chigan Ope ra T heatre a nd i nthatbri efspan h asra isedo ver$600,000for t he co mpany.

Beginningin1980, M rs. H aido stian p ersonallyass umed th e responsibility toraise $40,000to ward the extraordinary cos ts of

produ cing th e Arm enian opera , Armen T igranian's A noush. Thi s h istoric production- the firstprofe ssional p erformance out side theSoviet Union and thefirst time A noush ha s ever b een p erformed inEngli showes itsexistenceonthe Mic higan Opera Theatre stage tothededica tions o f thi s remarkabl e woman.

Married to prominent ph ysician, Dr.Berj H. Ha idostian, Aliceisa n accompli shed piani st and performer a s wella s champion of numerou s volunteerfund rai singcampaigns.Amember of man y committees atthe Uni versity of Michigan, Mr s. Haido stian isac tiveonman y civic board s includin gt heMOT Tru stees, theAlex Manoogian School , the Oakway S ymphon y So ciety, theProMu sica Society of G reater Detroita ndth e Wayne C ounty Medical Society.

Employee Annual fund

Ano nymous (2)

Ja netD A rnold

Pa triciaBerdan

P atriceA Bu tkiewicz

Davida ndKaren DiChiera

MelodeeA DuB ois

Na ncy L. Dunn

E lizabeth Ec kert Ca trina Ga ney

U llaH ettinger

E lizabethJ acoby

P atri cia Kir chman

M 'A rch a ndJ anetMarie M cCarty David R Moore Jud ith P aika Kathr yneE Pro st Juli a M Say lor

AliceHa idostian is currently servinghe rsecondtermas the Pre sident ofth e Women's As sociation fortheDetroit

Symphon y Orche stra,a ndis Chairman ofth e Advisory Councilo f th e Arm enian Studies Program atth e Univer sity of Michigan , Ann Arbor

H er dedication and commitmentto thecultural a ctivities ofDetroit is exemplary, andMichigan Opera

The atresa lutesher!

C hristineSl owinski

S heila Fo ley S witzer

N S tephenValentine

Margaret Witt ersheim

Copyright 2010, Michigan Opera Theatre

C loeV. Sewe ll

A liceHaid ostian (left) withMr.a nd Mr s. Michael Kahler, Hotelie r o ftheHot el St.Regis, and MOTGene ral Director Da vid DiChiera att he1986a dvertiser'sreception.

Artwork and Photography Credits

The Detroit Institute of Arts

54 Johann Gottlob KirchnerJoseph Froehlich, CourtJester of Augustus the Strong, 1727/28

Porcelain Gift ofMr.and Mrs. Henry Ford II

58 Jacob Isaaksz vanRuisdael Landscapewith Windmill, 17th century, Paint onwoodpanel Bequest of Mr. andMrs. EdgarB. Whitcomb

60 'Pietro Tacca Philip IV of Spain, 1635 Bronze,City of Detroit Purchase

61 Artist Unknown HalfArmor, c.1605 Steel, blued, etchedand gilded, Gift of William Randolph Hearst Foundation

62 Artist Unknown Recumbent Knight, c 1400 Marble,City of Detroit Purchase

63 Artist Unknown QuajarTiles forWall

Fountain, detail,early 19th century

Gift of Mrs. . WilsonW. Mills

Page 64 Artist

Unknown, NeoBabylonian Dragon of Marduk, c. 604-562B.C.

Terracotta Founders Society Purchase

Page 64 Artist Unknown Oil Lamp, 12th /13th century, Bronze City of Detroit Purchase

Page 65 Artist

Unknown QuajarTiles for Wall

Fountain, detail, early 19th century

Gift of Mrs . WilsonW. Mills

Page 67 Artist

Unknown QuajarTiles for Wall

Fountain, detail, early 19th century

Gift of Mrs. WilsonW Mills

Page 69 Paul Dubois

Florentine Singer,1865

Bronze, Gift of Dr. and Mrs. Coleman Mopper in memory of Mr. Herman A.

August

Page 71 Washington

Allston The Flight of Florimell,1819

Oiloncanvas City of Detroit Purchase

Page 76 John Singer Sargent

MadamePaul Poirson , 1885 Oiloncanvas

Founders Society

Purchase with fundsfrom Mr.andMrs . Richard A. Manoogian and Beatrice Rogers Bequest Fund, Gibbs-Williams Fund and Ralph Harman Booth Bequest Fund

Page78 Edgar Degas Violinistand

Young Woman, 1871 Pastel crayon, andoilon

canvas, Bequest of Robert H Tannahill

The Toledo Museum of Art

Page 57 Artist

Unknown, British ElizabethI , Queen of England, c. 1588,Oilon

canvas, Gift of Edward Drummond

Libbey

The University of Michigan Museum ofArt

Page 66 Eugene Delacroix

Arabes d'Oran, 1873, Etching

Page 74 Pier Celestino Gilardi AVisit totheGallery, 1877,Oilon

canvas, Bequest of Henry C. Lewis,1895

Page75 Alfred Stevens HideandSeek (Catch-Catch) or, The Drawing Room, 1878

Oilonpanel

Bequest of Margaret Watson Parker

Page 80Felix Hilaire

Buhot LaFete Nationaleau Boulevard

Clichy, 1878

Etching and aquatint

Page 81 GuillaumeSultice Chevallier

Gavarni Les Anglais chez eux:On porte beaucoupde fleurs, 1853

Lithograph

Paul Leroy

Grigaut Memorial Collection

Compeigne Museum, France

Page Baron Dinner 1,73, intheTuileries

129and Theater

Front Ballroomon Cover theOccasion of the 1867 International Exposition, Oil on canvas, Courtesy of AngelRecords

to Jerome Magidand Larry Peplin for additional photography

Acknowledgements

A salute to the local business

RobertE Dewar

ExecutiveAssistanceBureau

PRODUCTION community and the many Chairman of the Executive and Detroit

DEPARTMENT individuals whose Finance Committees

ACKNOWLEDGEMENTS commitment to the K mart Corporotion

ChuckRandolphToursNancyKrolikowski company's growth and Birmingham

Production Volunteer/Michigan prosperity helped make the James F. Cordes OperaTheatre Mover 1986/87 Michigan Opera Chairman,CEQ, and President WestbornMarket Coordinator

ANR Pipeline Company Dearborn Theatre season possible.

MichiganOperaTheatre

RaymondWong Movers

As always, financial

1986-1987 FoundationCampaign Eatery

Artist Tronsportation assistance is most vital and AndrewM Savel, Chairman our base of support in this Cameron B. Duncan Comerica Bank

Dr ArnoldCohn area continued to grow last H.JamesGram

Apprentice Classes year, not only through direct

John O'Meara

Bordine'sNursery contributions, but asa result

PeterRonan Rochester

Dr ArnoldCohn of the various activities

Donald Thurber

Engineering Society of Detroit

Dr.RichardKahl

Dr. KennethDizuba sponsored by our invaluable C. ThomasToppin

Dr.RobertLevine

Mr andMrs.JohnWendzelMr JulesPallone Guild and those who so

MIchigan Opera Theatre

Mr.ArnoldSpellman , generously gave of their

1986-1987 Individual Campaign Bloomfield Hills

Mr.John W. Day

Mr. Thomas Toppin services and expertise.

Mrs.Roger Fridholm

PRESS/PUBLIC

Committee for Company RELATIONS & MARKETING

Medical Affairs

The following lists are COMMITTEE

Harper DivisionofHarper- indicative of the myriad

In-Kind Contributions

GraceHospitals which Michigan Opera CostPlusWine Shop

Morton Zieve, Chairman forms of support upon Accents Interior Design Simons Michelson Zieve,Inc.

PrimaryMedical Care Facility Theatre relies for itswell- Domecq Importers Inc.

JohnBarron

RayLitt being. We salute you.

DEVEWPMENT DEPT.

1986-1987 Corporate Campaign

BennettE.Bidwell

Vice Chairman

Chrysler Corporotion

PhilipE.Benton,Jr

GibbsWorldWideWines

Detroit Monthly

Chorus Hospitality WortzLtd.

HiramWalker-Godderham &

Henrietta Fridholm

The House of Van Hollenbeck Media Relations

ErnestDuMouchelle

J. Lewis Cooper Co. Props

Kmart

Lutz Associates Incorporoted

Simons Michelson Zieve,Inc

VivianoWine Importers

RobertGregory

Argonaut Realty

Alice B. Haidostian

WineWorld International MOT Trustee

GeraldLundy

J.AddisonBartush

Lester Hamilton

Archival Recordings

WilliamBetz

Wild Bill & Co.

Executive VicePresident /Ford GUILD

Anthony M. Fronco Public FISHER THEATRE CREW International ACKNOWLEDGEMENTS Relations,Inc.

Automotive Operations

Ford Motor Company

JohnAshbaugh

Cameron Duncan ToucheRoss MasterCarpenter

Polly Cuncannan

PresidentofOperaGuilds

DannyRaskin

Jewish News

RobertMcKeon

ArchieM.Long International MasterFlyman

Executive inCharge,Parts EstateSalesby:

ServiceOperotions

Generol Motors Corporotion

DeanE Richardson

Chairman of the Board

Manufacturers National Bank

Robert W. Hague

SeniorVicePresident & Chief

EverythingGoes

THE 1987/88 PROGRAM

BOOKADVERTISING

RobertFuson

Bloomfield Hills COMMITTEE MasterElectrician

AliceB. Haidostian

Edmund Frank and Co. Coordinator

RobertKynaston

Detroit Assistant Electrician

Omega

Southfield

SallyHuthwaite

LouisE.Lataif

AlbertAshbaugh

William A. Mara Master of Properties

Richard Starkweather Financial Officer

Federal Mogul Corporotion

The Underground CollectorDonaldJ.Teasdale

Birmingham

MelVanderBrug

Copyright 2010, Michigan Opera Theatre

Lester Hamilton

Master Sound Technician

Acknowledgements

MASONIC TEMPLE CREW

JackTobin

HeadCarpenter

Lance Newton Flyman

Dave Beck

Electrician

EdScarth Sound StageEmployeesLocalNo.38 IA .T.S.E.

SPECIAL ACKNOWLEDGEMENTS

Larry Angelosante TASGraphic

SherryBird

Linda Schulyk Itizec Properties,Inc

Ellen Blassingham OPERA America

Margaret DeGrace Detroit Institute of Arts

JohnDelle Monache WWJRadio

ChuckDyer Detroit Symphony

Mark Forth Gray& KilgoreInc.

MargaretGenovese CanadianOpera Company

Linda Grammatico Cindy Porta TASGraphic

Donald Gutleber Regent Marketing

Tom Halama PartyParty, Dearborn

Maureen Hathaway

WJRRadio

Joan Hicks

Stroh River Place

Michelann Hobson

Marketing Consultant

Julie Hyde-Edwards

Graphikos Printing

Michael Kahler VivianKovach Hotel St.Regis

John R.King Nordhaus Research,Inc.

Ann Lang

Mary Hebert NewCenter Council

Alan Lichtenstein ViSlowly FisherTheatre

Jerome Magid

Larry Peplin Photographers

m'Arch McCarty MOT Prop Shop

Katherine McLuskie Colbert Artists Management

Bruce A. Scott Sue Stimac Simons Michelson Zieve,Inc.

Ann Spehar

Mary Jane Hogan U of M Museum of Art

Dave Thomas MerrillLynch

Anne Tomfohrde

Houston Grand Opera

Charles Greenwell

Gary Laehn

Lori Schmidt

Dave Wagner

DickWallace

WQRSRadio

Mary LouZieve VoiceOverTalent

ADDITIONAL THANKS

Dayton Opera Staff

Detroit Public Library & Music Staff

Dr. Joseph DeLoach

Ginka Gerova-Ortega

VladislalvKovalsky

James MacLure

Leah Marks

Dave Mexicotte

Opera Pacific Staff

Diane Pepper

Kristel Potocnik

Kathryne E. Prost

Heinz Seitinger

RonSwitzer

Dennis Tamburo

AggieUsedly

DebraSueValle

Maureen Walsh

Karen Williams

Chairman Mao & Lady

Amanda

Live from Studio Datradio station WQRS, MOT's David DiChieralaunchesthe company's 13 hour Operathon '87-a complete day of opera programming and fund raising.

Apause! Apause!

Stop for a br ief mo mentt osavo r a truth a b ou tth eatr e : Th eatre is a tea m e ffort. It requ ir esthe p layers topla y, the a u d ience to re spond B o th g ive a ndb oth take

Thew onde rfulthingis , th isistrueo fm osteffectiveeffo rtsthere isg ive a nd ta ke , whether it be i nthe art of c ommerce o rof the ihea tre So tonight wepa use top ra ise, a nd tosa lu teallthos e w hose co mbi n ed e fforts br i ng u s th is m em ora blepe rforman c e

PR EVIEW OUR FA LLCOL LE CTION OF HANDMADE GARM ENTS

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Advertiser's Index

Copyright 2010, Michigan Opera Theatre

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Lyric Comedy inthreeacts

Musicby Giuseppe Verdi

Libretto byArrigoBoito

Basedon

The Merry WivesofWindsor and KingHenryIV by Shakespeare

First performance : Milan , TeatroaliaScala, 9 February 1893

Conductor: MARKD. FLINT

Director : LOUISGALTERIO

SetDesigner: TIMOTHY JOZWICK fortheopera companies of Memphis, Indianapolis andSyracuse

Costumes: MALABARLTD.

Lighting Designer: KIRKBOOKMAN

Make-UpDesigner: KAREN HEINEMANN

Wigs provided by Bruce Geller Associates.

ChorusMaster: SUZANNE ACTON

Stage Manager: PEGGYIMBRIE

THE CAST

(inorderofvocal appearance)

Dr.Caius: STEPHEN ROBERTS

SirJohn Falstaff: JOHN FIORITO· (Oct. 9 , 11, 14, 16)

RONALD HEDLUND· (Oct.10, 15, 17)

Bardolph :

Pistol:

Mrs MegPage: Mrs. Alice Ford: Mrs . Quickly:

Nannetta:

Fenton:

Ford:

HostoftheInn:

Robin:

JOSEPHDE LEON·

DEL-BOURREE BACH·

KATHLEENSEGAR

MARIANNA CHRISTOS

EILEEN KOYL·

L1-CHAN CHEN·

GRAN WILSON·

LAWRENCECOOPER

PAUL WILTSIE

JOSHUA NEDS

Through a generous gift, the opening night performance of Falstaff issponsoredbyMichiganBellTelephone Companyand Ameritech Publishing , Inc .

• denotes MOTdebu t

Fals taff w ill bep resented w ith two i ntermissions

M ichigan Opera Theatre is supported i npartby grants fromtheNat ional EndowmentfortheArts , afederalage ncy, andfromtheStateofMich igan through theMich igan Counc il fortheArts Mich igan Opera Theatre isanequalopportunityemployer

Copyright 2010, Michigan Opera Theatre

Mich igan Opera Theat re isa member ofOPERAAmer ica.

English translation used by arrangement with E. Snapp , Inc ., agent for Andrew Porter.

,

MICHIGAN OPERA THEATRE ORCHESTRA

ViolinI

* Charlotte Merkerson Concertmistress

* Alice Sauro

*Marla J. Smith

* Ann H. Cannell

* Randolph Margitza

Cathy Ferris

Violin /I

*Victoria T. Haltom Principal

* Brooke Hoplamazian

* Ruth Monson

* Angelina Carcone

Viola

* Henry Janzen Principal

* Robert L. Oppelt

*Mark Mutter

Barbara Corbato

Cello

* Nadine Deleury Principal '

* Diane Bredesen

* Minka Christoff

Paul Willington

Bass

* Derek Weller Principal

Peter Guild

Flute

*Pamela J . Hill Principal

*Theresa Norris

Carol Perkins

Oboe

*Ann Augustin Principal

*Carol Guither

Clarinet

* Brian William Bowman Principal

* James Forgey

Bassoon

*Kirkland D. Ferris

Principal

*Christine M. Prince

Horn

*Susan Mutter

Principal

*Carrie Banfield

Christine Chapman

Trumpet

* James B . Underwood Principal

* Gordon E. Simmons

Trombone

*Maury Okun

Principal

*Gregory D.Near

Timpani

* Gregory White

Percussion

* John F. Dorsey

Harp

*Patricia Terry-Ross

Personnel Manager

Richard Piippo

'Denotes Member of Michigan OperaTheatre Orchestra

Detroit Federation of Musicians. Local No.5

American Federation of Musicians.

MICHIGAN OPERA THEATRE CHORUS

Jackie Barth

Rebecca Cullen

Lee Ekstrom

Vanessa Ferriole

Louis A. Fisher

** Lawrence Formosa

Yvonne Friday

Rosaline Guastella

Philip Hawk

Trisha HoffmanAhrens

Aaron Hunt

** Mary Kay Kinlen

** Robert E. Lauder Jr.

Caitlin McNeil

James M. Moore

Robert L. Morency

Rob James Morisi

David Podulka

Roderick Reese

Mark Rethman

Mary Robertson

* *Kathleen Roland

John Riley

** Leann Sandel

John Schmidt

Stephen Stewart

Judith Szefi

Dean Unick

** Elizabeth Wiener

**Paul Wiltsie

Elizabeth Wingert

* *Suzanna Zonis

SUPERNUMERARIES

Paul Horn

William Ribbens

Ron Roush

Henry Wojcik

ATA GLANCE

MISSION

Amajor,non-profitoperacompanycommittedtoproducing thefinestingrand opera,operettaandmusicaltheatre product ions fortheDetroitmetropol itan commun ity andstateof Mich igan,

FOUNDED

Establishedin1962astheOvertu re ToOpera,aneducationaltouring armoftheDetroitGrandOperaAssociation.In1970, thecompanymoves permanently toTheMusicHallCenter andbeginsrestoration ; by1971,Michigan OperaTheatre presentsitspremiereseason, In1985,MOTmovesitsadministrativeofficestotheNewCenterAreaandbeg ins annualseasonsatbothFisherTheatreandMasonicTemp le , Michigan OperaTheatre 's general director andfounder i s Dr, David DiChiera ,

1987/88 SEASON REPERTORY

Fa/staff,ManofLaMancha , Kismet , /I Trovatore, DieF/edermaus,LaBoheme andaGalaBenef it ConcertfeaturingLuc iano PavarottL

COMPANY OPERATING BUDGET

$5.1 Million

Revenuederivedfromavarietyofsources, i ncludingseason subscript ion andsingleticketsales,privatedonations , foundationandco rporate support , andthroughstateandfederal fund ing, MichiganOperaTheatre i saregisterednot-for-profit char ity,

SUBSCRIPTION/DONOR BASE

Estimatedtobemorethan8,500subscribersforthe1987/88 season ; morethan4000 individualdonors ,

NATIONAL RANKING

Ninth l argestintheUn ited Statesbasedonoperatingbudget (outofmorethan100companies)andseventhlargest basedonpaidaudienceattendance,

ADMINISTRATION & BOARD COMMITTEES

Afulltime,profess ional staffofartsadm inistrators, governed bya35memberBoardofDirectorsand260memberBoard ofTrustees.

SPECIAL EVENTS

Numerousfundraising activities areheldannua lly underthe ausp ices oftheBoard ofDirectorsandtheMOTGuild,includingTheOperaBall,anOpera-thonwit h radio stationWQRS , EstateSales,Opera-To -Go Part ies, andmore

COMMUNITY PROGRAMS

Afulltime,professionalprog ram ofon-going entertainment foryoungaudiencesandfamilies,ad ult programsincludi ng musica l revues , oneactoperas , programsandactiv ities for thed isabled, presentedbothlocallyandstate-wide i ncluding fulllengthtouringopera productions

MOT ORCHESTRA

All musicians aretra ined profess ionals registeredwiththe DetroitFederationofMusicians,Local#5

APPRENTICE PROGRAM

Annualtra ining programforgiftedandtalentedsingers,pianists,stagemanagers,d irectors andinallareasoftechnical production; apprentices arerecruited nationally

Copyright 2010, Michigan Opera Theatre

" MOT Apprentice

Synopsis

Setting:Windsor, England , inthetimeof HenryIV

ACT ONE:

SirJohnFalstaffisdiningattheGarterInn Dr.CaiusentersandaccusesFalstaffof havingbrokenintohishouseandbeating his servants.FalstaffignorestheDoctor , butf inally admitsthathehasdoneallthat Caiusaccuseshimofandadv ises him not totrytodoanyth ing about it. Falstaff's two henchmen , BardolphandPistol, arealso attackedbyCaius , whochargesthatonthe previous nighttheyhavegothim drunkand robbedhim Falstaff , withmock SOlemn ity, hearsthecaseandgivesh is de cision: Caius ' caseis unfounded. Thenhereprimandshistwohenchmen,notfortheiroffense , butforhavingcommitteditclumsily . Afterabr ief scenewiththe innkeeper , FalstafftellsBardolphandPistolthatheisthe object oftheaffect ions oftwoyoungw ives o f W indsor- Al ice FordandMegPage. Heordersthemtocarryletterstothetwo women , buttheyrefuse : it' saga inst their honor Falstaff handstheletterstoapage andturnsonBardo lph andPistol withan ironic Monologue aboutHonor.

ThescenechangestothegardenofFord 's house.ThelettershavearrivedandMeg andAl ice, comparingthem , findthemident ical exceptfo r thenames Alice 's daught erAnne (Nanetta i ntheopera)andMist ressQuicklyj oin t hem i naplantotr ick Falstaff TheygooutandFordenters, together w ith Bardolph , Pistol, Dr.CaiusandFenton Theybes iege FordwiththetaleofFalstaff's planofseducinghis w ife. Fordvows tokeepcarefulwatch Alltheothersleave , whileNannetta(whosefatherwantsherto marrytheelderlyDr Caius)staysbehind withherreallove , Fenton , toexchange k isses. Thew ives meanwhile haveperfectedtheirplans.Mistress Quickly w ill be thego-betweeni narrang ing arendezvous betweenAliceandFalstaff Ford , too , has dev ised aplan : underafalsename , hew ill callonFalstaff i nan effort tolearnhowhis dastardly p lans are progressing. The womenandmenalljoininanensemble whichendstheactasMistress Quicklysets outfortheGarterInn

ACT TWO:

Mistr ess Qu ickly arrivesattheGarterInn wt ih messagesfrombothAliceandMeg Alicesendswordthatherhusbandisout eachafternoonfromtwoo 'clock until three Megonthe contrary sendswordthather husband isalmostneverabsent.Falstaff crosses Quickly 's palmandassuresher theyoungwomenwillnotbedisappointed M istress Quickly leaves ThenFordisannounced , underthenameofBrook(FontanainItalian).Heasks Falstaff's h elp in

his courtship ofNannetta(andgivesFalstaffabagofgoldto encourage him).The fatknightassureshimthathe himself has arendezvouswithMistress Fordwithinthe hourandwillarran ge everything. Hehurriesofftodressinhisfinest , whileFordremainsbehindto denounce thefaithlessnessofwomeninaviolentsol iloquy

ThescenemovestoFord 's house.The wives arereadyforFalstaff Servantscome i nwithahugebasketofso iled clothes " WhenIcallyou , " Alicetellstheservants ,

getherwithDr Caius,BardolphandPistol.Whenthemenscattertosearchthe house,thewomensqueezeFalstaff's huge bulkintothebasket, coveringhimwithdirty cloth es. Fordreturnsandhearstheloud smackofakissfrombehind thescreen.Furious , hecallshis companions, thenoverturnsthescreen,onlytofindhis daughter andFenton , whomhehasforb idden herto see Whenthemenrushoutaga in, Alice summonstheservantsandordersthemto dumpthelaundry i ntothegutter.Alice takesherhusbandbythehandandleads himtothewindow .

ACT THREE :

WefindFalstaffagainattheGarter , sad andwearyafterhis experience atFord 's, callingformulledwine MistressQuicklyarriveswithaletterfromAlice , sett ing amidnightrendezvous Falstafffalls i ntothe trap He istogotoWindsorPark, d isguised astheBlackHuntsman , andwaitforAl ice atHerne 's Oak Thetwogoofftod iscuss theplan , wh ile alltheothersenterandtalk overthe details ofthe ir newp rank aga inst Falstaff.FordalsopromisesDr.Caiusthat whenthefunisover , heshallmarryNannetta.

" emptythebasketintothegutter. " Falstaff arrivesandbeginshisimpetuouscourtship ofAlic e , butMegenterstosaythatFord iscominghome.Falstaffhidesb ehind a scr een , wh ence he sees Ford st orm in,to -

Copyright 2010, Michigan Opera Theatre

TheclosingsceneatHerne's Oakf inds the younglovers together NannettaisdisguisedastheFairyQueenandFenton is i nstructedtowearablackcloak Theygo outastheclockstrikestwelveandFalstaff enterstomeetAlice Falstaffbeg ins hiseagercourtsh ip, but is i nterruptedbythearrival ofMeg , whocr ies thatthefa iries are com ing. Falstafffallstotheground , terr ified,andhidesh is face , sincetoseethe fairiesmeansdeath.Thewho le band enters , disguised asfairies , impsand witches.FallinguponSirJohn , theybelaborhimw ith blowsandpinch him until hebegsformercyandpromises tomend his ways Hecatchesontothejokeon ly whenherecogn izes Bardolph , whose maskfallsdown Meanwhile thewomen , i ntriguingtohelpNannettaandFenton , haveconfusedthemenbymixing upthe d ifferent d isguises. Thuswef ind Bardolph dressedastheFairy Queen , hand i nhand withDr.Caius;Nannetta , nowdisguisedas anymph , enterswithFentoninhisblack cloak Fordunitesthetwocouplesinmarriageandallunmask.TothehorrorofDr. Caiusandthe embarrassment ofFord , the latter discovers hehasmarriedhisdaughtertoFenton ButhenowrelentsinhisoppositiontoFentonandblessesthetwo happylovers.Theoperaendswithabrilliantfuguebyvoic es andorchestra.Its theme : " Iutto nelmondo e burla -the whol e world isbuta joke."

Court esy of AngelRecords

"Get AlongI Old John"

Wine, women and song once again bring Falstaff to the Garter Inn. Michigan Bell Telephone Company and Ameritech Publishing, Inc. are proud to sponsor this Michigan Opera Theatre presentation of Falstaff.

PLEASE NOTE

•Foryour i nterestandpleasure , please patronize the Michigan OperaTheatre

Gu ild 's Boutique locatedin thefrontlobbyoftheFisher Theatre , forthelatestdesigns i nMOTsweatsh irts, tee -shirts , operanovelties , tapesandthenewseason poster

•JointheMOTGuildforits upcoming EstateSaleatthe newlocationof The Second Act, 39 Milwaukee Avenue , intheheartoftheNew CenterArea , October 16-18, 11AM-5PM . For details , call313/874-7850

•AGrandOperaTourofLondon isplannedbytheMOT

Gu ild, November 2-11. Deluxepackage includes roundtr ip airfare , ticketsto theopera , ballet , theatre andmore CallChuckRando lph Tours , 313/646-5050

•TheannualMOTShowcase

Ser ies onDetro it's classical rad io stationWQRS , FM 105, returnstotheairwaves Saturday , October17at2 PM Tune i neach Saturday forthebestof MOT's 1987/88season

•MichiganOperaTheatreand theHotelSt.Regisproudly presentelegantandclassic operaget-awayweekends Perfectforout-of-town guests , orforaspecialnight outonthetown.Call 313/873-3000fordetails

For cast profiles and further informat ion about Fa/staff, the 1987/88SeasonProgramBookis available inthefront lobby

COMPANY ACKNOWLEDGEMENTS

Special recognition toHarper Hosp ital for arranging med ical carefortheartistsofthe company

Copyright 2010, Michigan Opera Theatre

A Musical PlaybyDale Wasserman

Music by Mitch Leigh

Lyrics by Joe Darion

Or iginal production staged by Albert Marre

Originally produced by Albert W. Selden andHal James

Based onthelifeand works of Miguel de Cervantes

First performance : New York , Anta Washington Square Theatre , 22 November 1965

Conductor: DAVIDABELL*

Director and

Choreographer: TED FORLOW*

Setsand Costumes: MERRIMACK VALLEY

STAGING TECHNIQUES

Lighting Designer: MAIDIE GREER*

Wigs & Make-Up Designer : KAREN HEINEMANN

Chorus Master: SUZANNE ACTON Stage Manager: CATHY KUBEL*

THE CAST

Don Quixote: RICHARD FREDRICKS*

Sancho : SAMUEL RENI*

Aldonza: CHRISCALLEN*

The Innkeeper : MARK COLES

Padre: WALTER BLOCHER*

Carrasco: SCOTT NEUMANN *

Antonia: LAURIE MEEKER*

The Barber: TED FORLOW*

Pedro, Head Muleteer: GEORGE HASENSTAB*

Anselmo, A Muleteer: JEAN-PAUL RICHARD*

The Housekeeper: CAITLIN McNEIL *

Muleteers: CAM RICHARDS*

JOHN MANFREDI * ERICVONBLEICKEN*

Guitarist/Muleteer: DAVID SHOUP*

Maria ,

The Innkeeper 's Wife: ROCHELLE ROSENTHAL Fermina , a Moorish Dancer: ELIZABETH WIENER

Captain of the Inquisition: ROB MORISI

ManofLa Mancha ispresentedby arrangement wi th TamsWhitmark Mus ic Library , Inc. , 560Lex ington Avenue , New York , NY10022

Through a generous gift , the opening night performance of ManofLa Mancha is sponsored byANR Pipeline Company.

' denotesMOTdebut

Castsubjecttochange i ncaseofunfo reseen exigencies

ManofLaMancha willbepresentedwithone intermission Copyright 2010, Michigan Opera Theatre

MICHIGAN OPERA THEATRE ORCHESTRA

FLUTE

*Pamela J. Hill

Principal

*Theresa Norris

OBOE

*Ann Augustin

CLARINET

*Brian William Bowman

BASSOON

* Kirkland Ferris

HORN

* Susan Mutter Principal

* Carrie Banfield

TRUMPET

* James B. Underwood Principal

* GordonE. Simmons

TROMBONE

* Maury Okun

Principal

*Gregory Near

BASS

* Derek Weller

GUITAR

David Shoup

Gale Benson

TIMPANI

*Gregory White

PERCUSSION

* John F. Dorsey

Principal

Keith Claeys

PERSONNEL MANAGER

* Richard Piippo

SUPER NUMERARIES GUARDS

Armond Jackson

Alvin Johnson

Alan Sorscher

Jeffrey Wooley

INQUISITIONERI PRISONER

AI Lewellen

INQUISITIONERS

Pat Lewellen

Dean Unick

Connie Wolberg

SWINGS

Eric Cotton

Peddy Ostrow

Detroit Federation of Musicians. Local No.5 American Federation of Musicians.

" Denotes Member of Michigan Opera Theatre Orchestra

ATA GLANCE

MISSION

Amajor, non-profitoperacompanycommittedtoproducing t he f inestingrandopera, operettaandmusicaltheatreproduct ions fortheDetroit metropolitan community andstateof Mich igan.

FOUNDED

Estab lishedi n1962astheOvertureToOpera , aneducationaltouringarmoftheDetroitGrandOperaAssociation.In1970, thecompany m oves permanently toTheMus ic Hall Center andbeg ins restoration ; by1971,Michigan OperaTheat re presents itspremiere season.In1985, MOTmoves itsadministrativeofficestotheNewCenterAreaandbeginsannua l seasonsatbothFisherTheatreandMasonic Temple.Michigan OperaTheatre 's generald irector andfounder is Dr. David DiChiera.

1987/88 SEASON REPERTORY

Falstaff , ManofLaMancha , Kismet , /I Trovetore, DieFledermaus , LaBoheme andaGalaBenefitConcertfeatur ing LucianoPavarotti.

COMPANY OPERATING BUDGET

$5.1 Million

Revenuederivedf rom avarietyofsources ,i ncludingseason subsc ription andsing le ticket sales, private donations , foundationandcorporate support , andthroug h stateand federal fu nding. Mich igan OperaTheatreisaregisterednot-for-profit cha rity.

SUBSCRIPTION/DONOR BASE

Estimatedtobemorethan8 ,500 subscribers forthe1987/88 season ; moretha n 4000 individual donors

NATIONAL RANKING

Ninth largest i ntheUnitedStatesbasedonoperat ing budget (outofmorethan100companies)andseventhlargest basedonpaidaud ience attendance

ADMINISTRATION & BOARD COMMITTEES

Afullt ime, professionalstaffofartsadmin istrators, governed bya35memberBoardof Directors and260memberBoard ofTrustees.

SPECIAL EVENTS

Numerousfundraising act ivities areheld annuallyundert he auspicesoft he BoardofDirectors andtheMOTGuild , includingTheOperaBall , anOpera-thonwithradiostation WQRS , EstateSales , Opera -To-Go Part ies, andmore

COMMUNITY PROGRAMS

Afu ll t ime, profess ional programofon-going entertainment foryoungaudiencesandfam ilies, adultprogra msi ncluding musicalrevues , oneactoperas , programsand activ ities for thedisabled , presentedbothlocallyandstate-w idei ncluding fu lll engthtour ing opera productions

MOT ORCHESTRA

All music ians aretrained professiona ls registeredwith the Detro it Federation ofMus icians , Local #5.

APPRENTICE PROGRAM

Annual tra ining programforgiftedandtalentedsingers, pian ists, stagemanagers,directors andinallareasoftechn ica l production ; apprent ices are recruitednationally

Copyright 2010, Michigan Opera Theatre

Samuel Re niasSanc ho(ri ght) , in ManofLaMancha

Synopsis

Setting: A dungeon inSeville , Spa in , late 16th century, and various places intheimagination of Miguel de Cervantes.

MigueldeCervantes , ag ing andanutter failureinhisvariedcareersas playwright , poetandtax collector forthe government , hasbeenthrownintoadungeoninSeville toawaittrialbytheInquisit ion foranoffenseaga inst theChurch

Thereheishailedbeforeakangaroocourt ofhisfellow prisoners : thieves , cutthroats andtrollopswhoproposeto confiscate his meagrepossessions. Oneofthesepossessionsisthe uncompleted manuscript ofa nove l calledDonQuixote , andCervantes , seekingtosaveit , proposestoofferadefenseintheformofanentertainmentwhich willexplain himself andh is attitudetoward life.The " court" accedes , andbeforetheir eyes,donningmakeupandcostume,Cervantesandhisfaithfulmanservanttransform themselves intoDonQuixoteand SanchoPanza , proceed ing toplayoutthe storyw ith the i nvolvementand participat ion ofthepr isoners asother characters

QuixoteandSanchotaketotheroad, singing ManofLa Mancha (I , DonQuixote) in a campaign torestoretheageofch ivalry, tobattleevilandrightallwrongs Thefamous encounter withthewindmillsfollows , but Quixote ascribes h is defeattothe machinat ions ofhis enemy , theda rk Enchanter , whomonedayhewillmeetinmortalcomba t. While Quixoteandhis squire are enroute toadistantroadsideinnwhichtheDoninsiststoSanchoisreally acastle- Aldonza , theinn 's serving-girl andpart-time trollop , is propositioned and tauntedbyagroupofroughmuleteersand repliesthat " onepa ir ofarms islikeanother , It 's AllTheSame. Uponarrivalatthe i nn,Quixote , inhis splendid if lunatic vis ion, sees Aldonza asthedream-ideal whomhewillwo rship andserveevermore , Dulcinea Aldonzaisconfusedandangered byQuixote 's refusaltorecognizeherfor whatshereallyis.

InthecountryhomewhichQuixoteleftbehind, hisnieceAnton ia andhishousekeeperseekoutthene ighborhood Padre tocons ider howthismadnessmaybestbe dealtwith . However , thePadrefindstha t

an of La Mancha

t heirconcernismorew ith embarrassment tothemselvesthanwith thewelfare ofQuixoteasthethreesing I'mOnlyThinking Of Him ThePadreandDr.SansonCarrasco, Antonia's fiance,aredelegatedtopursue themadmanandbringhimbackhome. Meanwh ile, QuixotedispatchesSanchoto Aldonzawitha " missiv e" declaring his everlast ing devotiontoDulcinea Aldonza , being evenmoreconfused , quest ions Sanchoastowhyhesofa ithfully followsQu ixote.Sanchoreplies , s imply , inthesong, I Really LikeHim.

WhileQuixoteisstandingvigil i nthecourtyardoftheinnin preparation forhisoff ic ial dubb ing asaknight , Aldonzaaccosts him direc tly , ask ing insong , WhatDoYou Want Of Me? Quixotethenencounters , duri ng The Barber 's Song , anit inerant barber wearinghisshavingbasinasahattoward offthesun . Qu ixote confiscates theshavi ngbasinina comic interlude , convinced thatitisthe miraculously protective Golden Helmet of Mambrino and is ceremoniously crownedwith theaidofthemuleteers , playingalongwithh im , andthe incredulous barber , whocomes t obel ieve thathisbasinmay,indeed , bethecelebratedhelmet.

Intermission

ThePadreandDr.Carrasco , havingfailed i ntheirmission , grimlyplananewattempt tobring Quixote tohis senses.ThePadre hopesthat " thecurewillnotproveworse thanthedisease " inthesong ToEachHis Dulcinea Atthispoint , reply ing toAIdonza 's questionaboutdoingthethingshe does,Quixote explains hemustfollowhis questandsingsherhiscredo , The ImpossibleDream(TheQuest) Aldonzathenencountersthemu leteers loafingnearthe courtyardwell , andtheyteaseandtaunt herduringasongcalled , Little Bird, Little Bird Follow ing thePadre 's andDr.Carrasco 's departure , QuixotedefendsAIdonza's honorina successful battlewi th themuleteers , andashisreward isformally knightedbytheInnkeeperin The Dubbing

Now , having caught thefeverofQuixote 's idealism , Aldonza attemptstoputit i nto p ractice , butforhereffortsshe iscruelly beatenandcarriedoffbythemuleteersas Little Bird, Little Bird, becomes The Abduc-

tion. Disillusioned , Aldonzapassionately denouncesQuixoteandhisdream s, wh ich have brought heronlyangu ish, inthe highlydramatic Aldonza. NowappearsThe Enchanter, fantastically costumedasThe KnightoftheMirrors.HechallengesQuixotetocombat , forcinghimtolookintothe mirrorof r ealitywhereQu ixote sees reflectedafoolandamadman Qu ixo te is defeated .butAldonza , aw itness tohis destruct ion , feelsadeepsenseofloss The KnightofMirrorsrevealshimselfasDr Carrasco .

Athomeagain , theoldmanwhoonce calledhimselfDonQuixote , isdying H is faithfulmanservant , whohasbeenhisSancho , attempts tocheerhimupwith A Little Gossip Aldonza , hav ing followed , forces herwayintotheroom , pleadswithhim to becomeDonQuixoteoncemoreandrestorethevisionofglorysheheldsobriefly.Poignantly,sheurgeshimtoremember thatheoncecalledherbyanothername , Dulcinea. Asshehelpshimrecallthewords of TheQuest.

Qu ixote, st irred totheoldfire , rises from hisbed , callingforhisarmorandswordso thathe,Sancho , andAldonzamayonce moresetoutupontheirmission.Butinthe momentof reaffirmation , duringareprise of ManofLa Mancha, hecollapses , dying Wh ile thePadre , whohasbeenatQu ixote 's beds ide , sings ThePsalm overthe l ifeless body , Aldonza , hav ing seenthevisiononcemore , refusesto acknowledge Quixote 's death. " Amandied.Heseemed agoodman , butId id notknowhim , " she contests , " DonQuixote isnotdead. " When Sancho questions her,shereplies , "My nameis Dulcinea ." Quixote , havingconsideredher throughout anindividualof uniqueworthandvalue , hasliterally transformedhe r.

Back i nCervantes ' dungeon , theprisoners, dregsof humanity thoughtheyare , have beendeeplyaffectedbyhisstoryandrestoretohim hisprecious manuscript, and asheleavestofacehisrealtrial , theyunite tosingthewordsofCervantes-Quixote's TheQuest.

PLEASE NOTE

• Michigan Opera Theatre has scheduled 25 performances of Man of La Mancha. Because we are financially dependent upon box office ticket sales to meet our budgetary expenses, we ask that you please share the joy of this evening ' s performance with your relatives, friends and colleagues. Please call the Michigan Opera Theatre Ticket Services Office , 313/874-SING for performance and ticket information

• Michigan Opera Theatre presents its annual fall MOT Opera Showcase each Saturday at 2:00 P.M on Detroit's own classical radio station , WORS, FM 105. Please tune in for exciting opera broadcasts and lively intermission features.

• For your interest and pleasure, please patronize the Michigan Opera Theatre Guild ' s Boutique located in the front lobby of the Fisher Theatre, for the latest designs in MOT sweat shirts , teeshirts , opera novelties, tapes and the new season poster.

• Michigan Opera Theatre and the Hotel St. Regis proudly present elegant and classic opera get-away weekends. Perfect for out-of-town guests , or for a special night out on the town Call 313/873-3000 for details.

For cast profiles and further information about Man of La Mancha, the 1987188 Season Program Book is available in the front lobby.

COMPANY

ACKNOWI.EDGEMENTS

Michigan Opera Theatre gratefully acknowledges the following corporations who have expressed their financial support through a performance sponsorship of Man of La Mancha .

ANR Pipeline Company, Friday, October 23

USAir, Sunday, October 25

Jacobson's, Wednesday , October 28

UNISYS, Saturday, November 7 AT & T, Thursday, November 12

Maccabees, Saturday, November 14

Special recognition to Harper Hospital for arranging medical care for the artists of the company

Mich i gan Opera Theatre is supported in part by grants from the National Endowment for the Arts , a federal agency, and from the State of Michigan through the Michigan Council for the Arts. Michigan Opera Theatre is an equal opportunity employer

Michigan Opera Theatre is a member of OPERA America.

Copyright 2010, Michigan Opera Theatre

MusicandLyrics by RobertWrightandGeorgeForrest

BasedonthemesofAlexanderBorod in BookbyCharlesLedererandLutherDavis

BasedontheplaybyEdwardKnoblock

First performance: NewYorkCity , ZiegfeldTheatre , 3December1953

Conductor : Directorand

Choreographer : SetDesigner :

Costumes:

LightingDesigner :

Make-upCoordinator:

Wigs:

WigMaster:

ChorusMaster : Assist ing LightingDesigner : AssistanttotheChoreographer:

StageManager:

DON JONES·

THEODORE PAPPAS·

JAMESNOONE,·

CANADIANOPERACOMPANY

MICHAELSTENNETT , FOR MALABAR, LTD

MARILYNRENNAGEL

KARENHEINEMANN

BRUCEGELLER & ASSOC.

RICKGEYER

SUZANNEACTON

MAIDIEGREER

CAROLSCHUBERG

PEGGYIMBRIE

THECAST (i norderofappearance )

ImanoftheMosque:MATHEW SCULLY·

Muezzins:PAULWILTSIE

PHILIPHAWK

JOSEPHDeLEON

KARLSCHMIDT

First Beggar: SecondBeggar : Third Beggar : Dervishes:

Omar : ThePoet latercalledHajj : Marsinah , hisdaughter: Bus inessman:

Kidnappers :

HassanBen: Jawan: BangleMan : SilkMerchants:

PearlMerchant:

ChiefofPolice :

Policeman :

WazirofPolice:

Lalume:

ThePrincessesofAbabu :

TOM SHAKER·

AARONHUNT

LAWRENCEFORMOSA

CURTIS COLE·

DAVID KOCH·

WHITVERNON·

DAVID CHANEY·

BEVERLYLAMBERT

KARLSCHMIDT

DAN COSTA·

JOSEPH McKEE·

ROBERTLAUDER

ROBERTGROSSMAN

PAULWILTSIE

JOHN LINDSAY·

MATHEWSCULLY

KARLSCHMIDT

RON SAMUEL·

PAULSILVER

AVERY SALTZMAN·

KIM CRISWELL·

PIPER VAUGHN·

MARCI KUNIN·

JACQUELINESTOERGER·

SlaveG irls : CONSTANCEHOUGHTON

ROBERTA MATHES·

ROWENA MODESTO·

SlavestoLalume:DANCOSTA

CURTISCOLE

DAVIDKOCH

JOSEPHMcKEE

Lalume 's Bodyguards:AARON SLATE·

AyahtoLalume:

SlaveMerchant:

Informer:

OrangeMerchant:

Caliph: Widow Yussef's Servant:

Prosecutor:

Stenographer:

WidowYussef:

Copyright 2010, Michigan Opera Theatre

Zubbediya: AyahtoZubbediya: Samaris :

ALAN SLATE·

ELIZABETHDeWILDE

JOSEPH PAUR·

DAVIDLUDWIG

TOMSHAKER

BRENT BARRETT"

AARONHUNT

TOMSHAKER

KARLSCHMIDT

TAMRASHAKER

ROBERTAMATHES

EUGENIA HAMILTON· ROWENAMODESTO

ORCHESTRA

ViolinI

* Charlotte Merkerson Concertmistress

*AnnH. Cannell

Violin /I

*Victoria L. Haltom Principal

*Ruth Munson

Viola

*Henry Janzen Principal

* Robert L. Oppelt

Cello

* Nadine Deleury Principal

*Diane Bredesen

Bass

*Derek Weller

Flute

*PamelaHill

Oboe

*Ann Augu.stin

Clarinet

*Brian William Bowman Principal

* James Forgey

Bassoon

* KirklandD. Ferris

Horn

*Susan Mutter Principal

* Carrie Banfield

Trumpet

* JamesB. Underwood Principal

* GordonE. Simmons

Carolyn Bybee

Trombone

*Maury Okun Principal

*Gregory D.Near

Tuba

*Kabin Thomas

Timpani

*Gregory White

Percussion

*John F. Dorsey

Harp

*Patricia Terry-Ross

Piano

Suzanne Acton

R. Luther Bingaman

Personnel Manager

Richard Piippo

"Denotes member of Mich igan OperaTheatre Orchestra

Detroit Federation of Musicians Local No.5 American Federation of Musicians

ENSEMBLE

Worshippers,Citizens, Merchants,Shoppers , Judges , Harem Girls, Wedd ing Guests:

Curtis Cole

DanCosta

Joseph Deleon

Elizabeth DeWilde

Lawrence Formosa

Eugenia Hamilton

Philip Hawk

Constance Houghton

Aaron Hunt

Mary Kay Kinlen

DavidKoch

Marci Kunin

Robert Lauder

John Lindsay

David Ludwig

Roberta Mathes

Joseph McKee

Rowena Modesto

Joseph Paur

Kathleen Roland

Leann Sandel

Karl Schmidt

Mathew Scully

Tamra Shaker

Tom Shaker

Paul Silver

Jacqueline Stoerger

Beth Thompson

Piper Vaughn

Paul Wiltsie

Lesley Susan Wright

Suzanna Zonis

ATA GLANCE

MISSION

Amajor , non-prof it ope ra companycom mitted to producing thefinest in grand opera, operetta and musical theatreproduct ionsfortheDetro it metropolitan commun ity andstateof Mich igan.

FOUNDED

Estab lishedin1962astheOver ture ToOpera , aneducat ionaltouring armoftheDetroitGrandOperaAssociation In1970, thecompanymovespermane ntly toTheMus ic HallCenter andbeg ins restoratio n ; by 1971,Mic higan Ope ra Theatre presentsitspremiere season.In 1985,MOTmoves itsadministrative off ices totheNewCenterAreaandbeg ins annual seasonsat bothFisher Theat re andMason ic Te mple. Michigan OperaTheatre's gene raldi rectorandfou nder is Dr David DiChiera.

1987/88 SEASON REPERTORY

Falstaff, Manof L aMancha , Kismet, /I Trovatore , Die Fledermaus , LaBoheme andaGalaBe nefit Concertfeaturing Luc iano Pavarott L

COMPANY OPERATING BUDGET

$5.1 Million

Revenueder ived fromavariety ofsources ,i ncludingseason SUbsc ription andsingleti cketsa les, pr ivate donations , foundat ion and corporate suppor t, andth rough state and federal f unding.Michigan Opera Theatreisaregisterednot-far-profit c harity.

SUBSCRIPTION/DONOR BASE

Estimatedtobemo ret han8,500 subscr ibers forthe1987/88 season ; more t han4000 i nd ivi d u aldono rs

NATIONAL RANKING

Nint h larges ti n the Un ited Statesbasedonoperat ing budget (outo f moret han100compan ies) and seventhlargest basedonpaidaud ience attendance

ADMINISTRATION & BOARD COMMITTEES

Af ull time , professional staffofartsadministrators , governed bya35membe r BoardofDirectors and260memberBoard ofTrustees

SPECIAL EVENTS

Numerous f und raisingactivi ties areheldann ually underthe auspicesoftheBoardofDirectorsandtheMOTGuild,includingTheOperaBall, anOpe ra-thon with radiostationWQRS , EstateSales , Opera-To-GoParties , andmore

COMMUNITY PROGRAMS

A f ulltime , profess ional prog ram ofon-goinge ntertainment foryoungaud iences and families,adultprogramsinc luding musical revues,oneactoperas , programsand activities for thedisab led, presentedbothloca lly andstate-w ide includ ing fu lll engthtour ing opera productions

MOT ORCHESTRA

Allmus icians are t rainedprofess ionals reg istered with the Detro it Federat ion ofMus icians, Local #5

APPRENTICE PROGRAM

Copyright 2010, Michigan Opera Theatre

Anl'lual training programforg ifted andtalentedsingers, pianists , stagemanage rs, directors and i nalla reas oftechn ical production ; app rentices are recru ited nationally

Scene 1

SCENESANDMUSICALNUMBERS

OneDay i nBaghdad

Act One

FromDawntoDusk

Onthestepso f theMosque

SANDSOFTIME

RHYMESHAVEI

FATE

ActTwo

FromDusktoDawn

Scene2

Scene3 .

Atentjustoutsidethec ity FATE (Reprise)

TheBazaarofthe Caravans

BAZAAR OFTHE CARAVANS

NOTSINCENINEVEH BAUBLES, BANGLES ANDBEADS

Scene1

Scene2

Scene3

Scene4

Alongth e rout eoft he Ca liph's wedd ing process ion NIGHTOFMYNIGHTS

Thegarden

Acorr idori ntheWazir 's palace

WASIWAZIR THEOLIVETREE

ThePeac ock Pav ilionin theWaz ir 's palace

RAHADLAKUM ANDTHISISMYBELOVED

Scene4.

Scene5

Scene6

AGarden STRANGERIN PARADISE

Asidestreet

TheThroneRoomoftheWazirofPol ice

GESTICULA TE

FINALE OFACTONE

Scene5

Scene6

Acor rid or i n t he Waz ir 's pa lace

TheCal iph 's pa lace

ZUBBEDIYA

SAMARIS 'DANCE

ABABU DANCE

FINALE OFACTTWO

Copyright 2010, Michigan Opera Theatre

PLEASE NOTE

•M ichigan Opera Theat re has scheduled 18 performances of Kismet Because weare financially dependent uponboxoffice ticket sales tomeetour budgetary expenses , we ask t hatyoup lease sharethejoyof th is evening 's performancew ith your relatives , fr iends andcolleag ues. Please ca ll theMichigan Opera Theat re T icket Services Off ice, 313/874-SINGfor performance and t icket information

•For your i nterestandpleasure , pleasepat ronize theMichigan Opera Th eatreGuild 's Boutique located i n thefrontlobbyoftheFisherTheatre , fort he latest designs inMOTsweat sh irts, tee -shirts, opera novelties , tapesandthenewseasonposter

•Michigan Opera Theatre andthe HotelSt.Regis proudly present elegantandclass ic operaget-away wee kends. Perfectforour -of-town guests , orforaspecialn ight outon thetown Ca ll 313873-3000for deta ils

For cast profiles andfurtherinformation about Klsmet,.the 1987188 SeasonProgramBook i savailable inthe frontlobby

COMPANY ACKNOWLEDGEMENTS

MichiganOpera Theatre gratefully acknowledges the following corporationswhohave expressed their financ ial support through a performance sponsorsh ip of Kismet.

MOT Guild , Friday , November20

Douglas & Lomason, Sunday , 1:30p .m. November29

Pegasus In the Fisher, Friday , December 4

Add it ionalt hanks tothefollow ing people for the ir support ofth is product ion.

Thesceneryandpropertiesfor Kismet were manufactured bytheCanadian OperaCompanyforaco-product ion between t heCanadianOpera CompanyandAlexandraProduct ions , ad ivis ion of HonestEd's Lim ited

Samiraand Troupe Shehrzade

Mllkens Jewelers , Fisher Building

Dearborn High School for the Celeste The Moslem Shrine Temple Or iental Band

Michigan OperaTheatre issupported i npart , bygrantsfromthe 131 Nat ional EndowmentfortheArts , afederal agency , andfromtheStateofMichiganthroughthe A Michigan Councilfor theArts.Michigan OperaTheatre is anequal opportunity employer.

MichiganOperaTheatreisamember ofOPERAAmer ica.

Copyright 2010, Michigan Opera Theatre

DramaticOperainfouracts Musicby Giuseppe Verdi

Librettoby Salvatore Cammarano and Leone Emanuele Bardare

Basedonthe

SpanishTragedy, EI Trovador , by Antonio Garcia Gutierrez

First performance: Rome , Teatro Apollo 19 January 1853

Conductor: CESAREALFIERI*

Director: MATTHEW LATA *

SetDesigner: NICOLA BENOIS* fortheopera companies ofDallas , Greater Miam i, LyricOperaofCh icago andWash ington.

Costumes: CHARLES CAINE for MalabarLtd.

Lighting Designer: MICHAEL BAUMGARTEN WigandMake-upDesigner:ELSEN ASSOCIATES

ChorusMaster: SUZANNE ACTON

StageManager: JUDITH PAlKA

DRAMATIS PERSONAE (in orderofvocal appearance)

Ferrando: MICHAEL GALLUP*

Inez: CLARITHA BUGGS

Leonora: LEONA MITCHELL

Countd i Luna: JAMES DIETSCH

Manrico : LANDO BARTOLINI *

Azucena : LIVIA BUDAI*

AnOldGypsy : PAULSAHUC +

AMessenger: THOMAS SHISKOVSKY + Ruiz : NOELGEORGE*

•denotesMOTdebu t + MOTYoungArt ist Appre ntice

Castsub ject tochange i ncaseof unfores een exigencies

/I Trovatore willbep resented withtwo intermissions.

Supert itles forthisp roduction of /I Trovatore areownedbySan Fran cisco Operaandweremadeposs ible throughagenero us gr ant from American Express vi atheSanFrancisco OperaGu ild Sup ertitles t ranslation by Chr istopher Bergen

M ichigan Ope ra Theat re , anequa l oppo rtunityemployer , issup ported in partbythestateofM ichigant hroughtheM ichigan Coun cilfor th eArts , andtheNationalEndowment fortheArts , afedera l agenc y

Copyright 2010, Michigan Opera Theatre

I Trovatore

SYNOPSIS

Setting: Northern Spain , Beginning of the15th century

ACTI: The Duel

Scene 1. Outs ide the guardroom of Aliaferia Palace i nAragon,Countdi Luna 's soldiersarewa iting to apprehenda troubadour , Manrico, whorivalstheCountforthefavors oftheladyLeonorabyserenading herafterdark Ferrando , captainof theguard , keepshismenawakeby tell ing themofagypsywoman burnedatthestakeyearsagofor bew itching d i Luna 's younger brother (" Abb ietta zingara ") The gypsy 's dauqhter soughtvengeance by kidnapping the childand , sothe storygoes , burninghimatthe verystakewhere hermotherdied.

Di Luna , though , still hopeshis brothe r lives. At Leona M it chell mi dnightthesolidersd isperse Scene 2. Inthepalacegardens , Leonora confides toInezhowata tournament shemetanunknown knightinblackarmourandplaced thevictorywreathonhisbrow ; she sawhimnomoreuntilhecameto serenadeher (" Tacealanotte p lacida "). Nosoonerdothewomen reenterthepa lace thand i Luna a rrivestocourtLeonora.

Simul taneously Manrico 's songis heard i nthedistance("Deserto sulla terra ") , andLeonorarushesfo rth to greethim. Thejealouscount challenges Manricotoaduel(trio : " Digelosoamor ") , andtheyhurry awayfight ing

INTERMISSION

ACTII: The Gypsy

Scene 1 Asdawnbreaks i ntheBiscay mounta ins , abandofgypsiessingas theyworkw ith hammerandanvil (anvilchorus: " Chidelgitano ").

Azucena-the gypsy's daughter described byFerrando-relivesher mother's f iery execution,recalling herpleaforvengeance("Stride la

vampa! "). Manr ico , weakfrom woundssustained i nbattle , asksto hearherfullstory , becoming confusedwhenAzucena , overwhelmedw ith memor ies , blurtsout thatbym istake shehurledherown sonintotheflames("Condotta ell 'era in ceppi"). Assuringhimofa mother 's love , Azucenamakes Manricoswearrevenge ; hesaysa strangepowerstayedhis handwhen hecouldhavekilledd i Lunainthe duel("Mal reggendo all'aspro assalto "). A messenger bringsnews thatLeonora , thinking Manricodead , planstoenteraconvent.Desp ite Azucena 's entreat ies, Manrico rushesaway

Scene 2. TheamorousdiLuna , burningwithpassionforLeonora ("II balendelsuosorriso ") , waitsbythe cloistertokidnapher.Whenshe enterswith thenuns , hestrides forward , onlytobehaltedby Manrico , who suddenly appea rs w ith hismen ( liE deggioeposso crederlo? "). Astheforcesstruggle , theloversescape.

INTERMISSION

ACTIII: The Gypsy's Son Scene 1. DiLunahaspitchedcamp nearthebastionofCastellor , where tohisdismayManricohastaken Leonora.Aftersoldierssingofthe ir eagernessforvictory(chorus: " Squilli , echeggi "), Ferrandoleads i nAzucena , whowasfoundnearby Thegypsy describes herpoor , lonely lifeandsayssheisonlysearchingfor her son ("Giorni poverivivea "). Di Lunarevealshisidentity , atwhich Azucenarecoils , andsheis recognizedbyFerrandoasthe supposed murderer ofdiLuna 's baby brother.Thecountordershertobe burnedatthestake.

Scene 2. Ins ide thecastle , Manr ico assuresLeonorathatherlovemakes him invincible ( "Ah! s f, benmio ") andthatdiLuna 's armywillbe conquered.Asthecoupleprepares togototheweddingchapel , Manrico 's friendRuizburstsintosay thatAzucenahasbeenseizedand tiedtoastake. Manr ico , climbingup toanoutlook , staresinhorroratthe pyre , whichhasalreadybeenlit.He runstohis mother 's rescue , vowing vengeanceondiLuna("Di quella p ira").

PAUSE

ACTIV: The Torture

shevoicesherundyinglove " D'amor sull'ali rosee ") andpraysforhisrelease.Monksareheard i ntoninga dolefulMiserereforthesoulofthe condemned , wh ile Manr ico sings farewellfrom i nsidethebastion ("Miserere d 'un alma gia' vicina "). Leonoraresolvestosavehim ("Tu vedrai ") WhendiLunaappears, Leonoraagreestoyield("Vivra', Contendeilgiubilo ") , butsecretly swallowspo ison.

Scene 2 Intheircell , Manr ico confrontsAzucena , who longstoreturntotheirpeacefulhomeinthe mounta ins ("Ai nostrimonti "). No soonerdoestheoldgypsyfallasleep thanLeonorarushes i ntotellher loverheissaved , urginghimtoflee Manrico comprehends thepriceof hisfreedomanddenouncesher , but thepoisonbeginstotakeeffect.He takesherinhisarmsasshed ies. Di Luna , cheatedofhis prize , furiously sendsManricototheexecut ioner's block , wh ile Azucena , rousingfrom sleep , staggerstothewindow int ime towatchtheaxfall.Inexultationshe criesthathermotherisavenged:di Lunahaskilledhisbrother.

Courtesy of Opera News

PLEASENOTE

•Fo r your i nterestand pleasure , pleasepatron ize theMOTGu ild 's OperaBout ique located o nt hema in floor ofthe th eatrea nd see t he latest cassette t apes,tee -shirts and thenew Pavarotl i InDetro it concert poster.

• Coming UpNextWithTheMOTGu ild : " TheSecondActEstateSale , May19-2 1; " AnEven ing In Paris ," La Boheme So iree , May24 ; Spectacu lar "Erte Fash ion Show/D inner " June 29 ;

SantaFe Opera Fest ival Tour , Ju ly 30August 4 ; W hether you 're a membe r of t heMOTG uild or not , callustodayfor fu rtherdeta ils ; MOT Vo lunteer Ac tiv it ies Off ice , 87 4-7850

•Fo r further i nformationabout IITrovatore a nd theact iv ities ofMichigan Opera Theatre , the1987/88 season program book isava ilab le int hefront lobby

•The 1987/88Mich igan Opera Theatre

Seasonis presented i n cooperation w ith class ical radiosta tion WQRS , FM 105

COMPANY ACKNOWLEDGEMENTS

•Spec ial recogn ition andt hanks tothe fo llow ing fo r the ir pe rfo rmance sponsorsh ip of IITrova tore :

Kmart , Wednesday , May4

DeRoy Foundation , Saturday , May7

Scene 1. RuizbringsLeonoratothe footofManrico 's prisontowerwhere

Copyright 2010, Michigan Opera Theatre

•Add itional thanks toHa rper Hosp ital for arrang ing medical care f ortheart ists ofthe company andto Hudson's forthe Wednesday , pre -opera make-up sess ions.

ARTIST PROFILES

CESAREALFIERI (conductor)hasbeenapermanentconductorwiththefamedTeatroaliaScala since1973 , andhas conducted withthemajoroperahousesofEuropeaswellasJapanandthe MiddleEast.MaestroAlf ieri's previousNorthAmerican engagements i ncludetheArizonaOpera andtheToledoOpera.

LANDO BARTOLINI (Manrico)hasbeenrecognizedandacclaimedin international theatres aroundtheworldincludingLaScala , ArenadiVerona , Trieste , Naples , Paris,BuenosAires , Munich andMontrea l. Hisfuture engagements include Norma i nBerlin , Aida and /I Trovatore atthe Metropolitan Opera , Turandot atCoventGarden , Aida i nCologneand LaForzadelDestino in Monaco.RecentlyMr.Bartoliniperformedin /I Tabarro inParis, Rigoletto inNewOrleansand Turandot inHamburg

LIVIABUDAI (Azucena)makesherDetroitdebutinthefamedVerdigypsyrole,aroleshemost recentlyperformedwiththe Metropolitan OperaandtheNewJerseyStateOpera.AHungarian nativecurrentlyresidinginMontreal , MissBudaihasperformedtogreatsuccessinToronto , Brussels , CoventGarden,ViennaStateOpera , BavarianStateOperaandSanFranciscoOpera.Her acclaimedmezzo-sopranorepertoryincludesAmneris , PrincessEboli , Azucena , DameQu ickly, CarmenandDalila

CLARITHA BUGGS (Inez)madeherprofessionaloperadebutwithMichiganOperaTheatre asSiebelin Faust , followedbyTheThirdLadyinMozart 's The Magic Flute. Afrequent performer withMOT'sstateresidencyoperatouringprogramandtheOvertureToOperatroupe , MissBuggs isa competit ion winnerwiththe Met's District Competitions andafirstplacewinnerwiththe1984 LeontynePriceVocal Competition.

JAMESDIETSCH (CountdiLuna) isregardedasoneofAmerica 's leading cavalierlcharacter baritonesingers Mr.Dietschhasrecentlybeenenjoyingaverysuccessfuloperacareerwiththe leadingoperahousesofWestGermany , FranceandGreatBritain.Hehasgarneredcriticalacclaimforhistitlerole performances in Simon Boccanegra, DonGiovanni and EugeneOnegin , in additionto Nabucco and Guglielmo Tell. OthercreditsincludeMichiganOperaTheatre , NewYork CityOpera,SantaFe , SpoletoandSanFrancisco.

MICHAEL GALLUP (Ferrando)has performed throughout NorthAmerica including theopera companiesofPortland , Seattle , SanDiego , LosAngeles , Dayton,LongBeach , SanAntonioand WesternOperaTheatre.Most recently heperformedwiththeLAOperaCenterin productions of TheMikado , Otello , LaCenerentola andA Midsummer Night 's Dream . Mr.GallupwillalsoperforminMOT'sspring productions of DieFledermaus and LaBoheme

MATTHEW LATA (director)makeshiscompanydebutinDetroitwiththisproduction.Mr.Lata isamemberofthedirectingstafffortheLyricOperaofChicagoandhasalsodirected Treemonisha fortheHoustonOperaand IPagliacci forTheDallasOpera,andmostrecently Otello fortheGreater MiamiOpera.Hisdiverserepertoryrangesfrom Falstaff to Carousel to TheMerryWidow, andincludesthe companies ofSanFrancisco,SantaFe,Torontoandthe1986MozartFestivalinParis

LEONA MITCHELL (Leonora)has previously appearedwithMichiganOperaTheatre i n Porgy and Bess , Faust and Aida. Acclaimed throughout theworldas "a beautifulwomanwhorevels inoneofthemostgorgeous voices," MissMitchellisoneofthereigningstarsofthe Metropolitan OperaHousewhereherrepertoryincludesLiuin Turandot , thetitlerolein Manon Lescaut, La Boheme , Madama Butterfly, Ernani,Aida and LaForzadelDestino. Shehasperformedwithevery majoroperahouseintheworld including Paris,London,Nice,Vienna , RomeandBerlin. Copyright 2010, Michigan Opera Theatre

MICHIGAN OPERA

THEATRE ORCHESTRA

VIOLIN I

t Charlotte Merkerson

Concertm lstress

t Alice Sauro

t Marla J Smith

t AnnH Cannell

t Randolph Margltza

Kathryn Stepulla

Kathleen Ferris

Mary Margaret St John

BeverlyDrukker

ElaineSargous

VIOLIN II

t V ictoria Hallom

Principal t Ruth Monson

t Brooke Hoplamazlan

t Angelina Carcone

Laura Paolini

Tracy Gibson

Susan Walker

Zeljko Mlllcevic

VIOLA

t Henry Janzen

Princ ipal

t Mark Mutter

t Robert L. Oppell

AnnBellino

Tracey Riggs

Jamie Dabrowsk i

VIOLINCELLO

t Nadine Deleury

Princ ipal

t Diane Brede sen

t Minka Chrlstoll

Paul Willington

Nancy Chaklos

CONTRABASS

t DerekWeller

Princ ipal

Gregg Powell

Kirk Baker

PaulBresclanl

FLUTE

t Pamela J.Hili

Principal

Mary Scudder

OBOE

t Ann Augustin

Principal

Carolyn Hohnke

CLARINET

t Brian Bowman

Principal

t James Forgey

BASSOON

t Kirkland D Ferris

Principal

t Christine M Prince

HORN

t Susan Mutter

Principal

t Carrie Bantield

BethMairs

Allse Oliver

TRUMPET

t James B. Underwood

Princ ipal

t Gordon E. Simmons

TROMBONE

t Maury Okun

Principal

t Gregory D. Near

Glenn Andersen

TUBA

KablnThomas

TIMPANI

t Gregory White

PERCUSSION

t JohnF.Dorsey

HARP

t Patricia Terry-Ross

t Denotes member of Michigan Opera Theatre Orchestra.

Detroit Federation of Musicians , Local No .5 , American Federation of Musicians

MICHIGAN OPERA THEATRE CHORUS

Diane Aron-Calhoun

RichardBarbiere

Gregory Bryant

TillsButlerJr.

Elizabeth De Wilde

Michaella Dionne

LeeA Ekstrom

Vanessa Ferrlole

LouiseA Fisher

Lawrence Formosa

Yvonne Friday

Eric Gardner

Noel George

Mike Giangrande

Rosalln Guastella

JohnHett

Glen Holcomb

Terrence Horn

Joan Irwin

Carol Jlmines

Alvin Johnson

Jennifer Johnson

Clarence Jones

Ray Litt

David Ludwig

Barbara Martin

Michael McCorm ick

Ca illin McNeil

Robert L. Morency

Richard Mox

Anthony Noto

Nancy Jannette O 'Keefe

Peggy O'Shaughnessey

SylviaPittman

Roder ick Reese

"

John Riley

Jane Schoonmaker Rodgers

"Paul Sahuc

John Schmidt

"ThomasM Shlskovsky

PaulG Sliver

Judith Szefi

DeanUnlck

Grace Ward

"Jim Wilk ing

Elizabeth Wingert

"LesleyWright

"MOT Young Artist Apprentice

SUPERNUMERARIES

John Angry

EmmettBremer

FrankBrinkerSr

FrankBrinkerJr.

Edwin Cable

Clifton Casey

Vito Gioia Sr

Vito Gioia Jr

Irmgard Granelll

Martin Hampel

Cassernell Holcomb

Rita James

Robert Johnson

Djeto Juncal

Jim Justice

Patrick King

Ron Kohls

Creighton Lederer

AI Lewellen III

AI Lewellen IV

Karin Mansoura

Robert Marcelain

Cornell Markham

Jenny Matusz

Scott McAllister

ThelmaMichalka

Colleen Mooney

Harold Moore

Arthur Ortland

LetaParsons

AustinPerrotta

SusanPerrotta

Michael Rallerty

Donald Raybon

Mark Rhodes

DougShimmin

Paul Vitrano

AlanWisnieski

SallyWisnieski

ADDITIONAL ILTROVATORE

PRODUCTION STAFF

Mark Sanchez CostumeIntern

SusanP Sittko

Diane Wiese

Georglanna Ficher

Wig andMake-up Art ists

Stephen Steiner Coach/Accompanist

Beth Anne Sonne

Assistant StageManag er

Jennifer Stiles

Stag e ManagementIntern

Pat Lewellen Volunteer AssistanttotheDirector

AT A GLANCE

MISSION

Amajor, non-profit opera company committed to producing thefinestin grand opera , operetta and musical theatre productions fortheDetroit metropolitan community and stateof Michigan.

FOUNDED

EstablishedIn1962astheOvertu re To Opera, an educational touringarmoftheDetroit Grand Opera Association. In1970, the company moves permanently toTheMusicHall Center andbegins restoration; by 1971, Michigan Opera Theatre presentsIts premiere season.In1985,MOTmoves Its adm inistrative offices totheNew Center Area and begins annual seasonsat both FisherTheatre and Masonic Temple Michigan Opera Theatre 's general d irector and founder isDr. DavidDIChlera.

1987/88 SEASON REPERTORY

Falstaff , Man of La Mancha , Kismet, 1/ Trovatore , Die Fledermaus, La Boheme and a Gala Benefit Concert featuring Luciano Pavarotti.

COMPANY OPERATINGBUDGET $5.1 MILLION

Revenue derived froma variety ofsources , Including seasonsUbscription and single ticket sales, private donations, foundations and corporate support, and through state and federal funding, Michigan Opera Theatreisa registered not-for-profit charity.

SUBSCRIPTION/DONOR BASE

Estimatedto be more than9,600 subscribers fo r the1987/88 season; more than4000 Individual donors.

NATIONAL RANKING

Ninth largestintheUnitedStates based on operating bUdget (outof more than100 companies) and seventh largest based on pa id audience attendance.

ADMINISTRATION. BOARD COMMlmES

Afulltime, professional staftofarts administrators , governed by a35 member BoardofDirectors and 260 member Board of Trustees.

SPECIAL EVENTS

Numerousfundraising activities are held annually under the auspices oftheBoardofDirectors and theMOTGuild, Including The Opera Ball,an Opera-thon with radio station WQRS, Estate Soles, Opera-lo-Go Parties, and more.

COMMUNITY PROGRAMS

Afulltime, professional program, of on-going entertainment for young audiences and families, adult programs Including musicalrevues,one act operas, programs and activities forthe disabled, presented both locally and state-wide including full length touring opera productions.

MOTORCHESTRA

Allmusiciansare trained professionals registered withtheDetroitFederationof MUsicians, Local #5.

APPRENTICE PROGRAM

Annual train ing program for gifted and talented singers,pianists,stage managers, directors in .all areas of technical production; apprentices are recruited nationally.

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

We Can't FaceThe Future Without You!

A Me ssage FromTh e G eneral Dire ctor:

Ih ave alw ays thou ght col lectively of our many su pporters,ourboardand o ur staff as th e MOT Famil y -and how that family has grown t hese past seventeen ye ars! Now on eo fth e topten op erac ompaniesinthe nat ion,

Mi chigan Op era i s abl e t oco ntinue i n i tsmi ssion of exc ellenc e onl y

th rough th ege nerous support of thou sands of individu als,c orporations,

and foundations.

Th atsupportm ade toni ght's performanc e possible-be cause ti cketsales

cove ronl y h alf ofour operating co sts, evenwheneveryperfo rmance sells o ut.In addition , the se gift s p rovide t he do llars tob ring ope ra and m u sica l &. educationtoove r 300 clas sroo ms and co mmunity ce nters all around t he state.T hank s toyou,weare ab le top rovide t hese co mmunity serv i cestotheyou ng and o ld , t he disa dvantaged , city and c ountry dwel ler s, ope ra b uffs and Broadway fa ns. Joining the MOT fami l y make sastatementabo ut comm itment - commitment toth e qua lity oflifeinour communitie s and t oo ur futur e arti stic le gacy in Michigan Aninv estment in Mi chigan Op era Th eatre i s aninve stment in our c ulturalheritage I ca n think o fno b etter le gacy tol eave our children thanthat of c reative artistic e xcellence whi chca n c hallengeth em todream im possibledr eams. W on't youhelp?

Sincerely,

David DiChi era

G eneral D irector

P.S. Th e National Endowme nt fo rth e Artshasawar ded MO T ac hallen geg ra nt w hic h pa rtially mat ches n e wa nd increased g ifts We n eedjust $20 ,000 mor e toac tivatetheg ra nt. Yo ur gift nowwi llhelpus meet the c h a lle nge

Select the membership level that'srightforyou.

In addition to the satisfaction of helping Michigan Opera grow, a number of special benefits are available t o our valued donors :

Pleasee nrollmeasaMe mber oftheMichiganOp era The atr e.

$25 $5 0 _$ 100 _$25 0 $5 00

$ 1,000 (GeneralDir ector's Circl e Level)

Dr ._Mr. Mr s._ M r & Mr s. Miss Ms.

Contrib utor

$2 5 BRAVO n ewsletter ..Atax d eductible rec eipt.

Name

ENCORE ClUB

$ 50 Co ntributor be nefitspl us Personalized listing in o urSeaso nProgram Book. P riorityMa iling fora ll s ubscription se ries tic kets Invitations t oSpecialTh eatreAfterglows, Op era-Ta-Go Parties, Trip s,Sa lesandm ore.

Patron $100

Do nor $250

EncoreC lub be nefitsplu s Invitations t o G ala Op ening N ightDinnersa ndMO T's pr emier Sprin g Op era Ball.

Patron be nefitsplu s Invitation t oa Fall Dress Rehearsal att heFisher Th eatre Ad vance mailin gof ba ckground notes/pl otsy nopsis fo r eac h produ ction.

Sponsor $500 Donor b enefits plu s ..Specia l MusicalExcursion. InvitationtoaSpringDress Rehearsala tth e Masonic Auditorium

Address

City

Home Phone

C redit Ca rd #

Signature

State O ffice Phone

Zip Co de

Exp.Date

Pleasemakec heckp ayable t oMic higanOp era Theatre.

Genera lDirector's Circle

$1,000 Th e G eneral Dir ector ' s Circlese rves to recognizet hose ge nerous co ntributors w hoplayavitalrole in nurturin g MOT' s stature aso ne of Detroi t's pr emierc ultural in stituti onsa nd aso ne oft het op t eno pera co mpaniesin America. For furtherinf ormati on ab out th e G eneral

Dire ctor 's Circle andth e benefitsof membership, pleaseca ll (313)87 4-7864.

_Check e nclosed Amer Ex p ress_ Maste rCard

Sendto: Michigan Op era The atre 65 19Second Ave. Detroit, MI 48202

Copyright 2010, Michigan Opera Theatre

Operetta i nthreeacts

Music by Johann Strauss /I Librettoby Karl Haffner and RichardGenee

Basedon theplay

LeReveillon byMeilhac andHalevy as adapted fromthecomedy Das Gefaengnis byBened ix

First performance : Vienna, TheateranderWien , 5Apri/ 1874

Conduc tor : FRANZALLERS *

Director: MICHAELMONTEL

Cho reographe r: KARENAZENBERG

Sett ings: ALANKIMMEL *

Costumes: CHARLESCAINE

Li ghting : MARILYNRENNAGEL

W igs a nd Make -up : DIANEWIESEFORELSEN ASSOCIATES

C horus Maste r: SUZANNEACTON

Stage Manager : KURT HOWARD*

DRAMATIS PERSONAE (in o rder ofvocal appearance)

Al fred : RICOSERBO

Adele: EVELYNDELAROSA *

Rosal inda: MARILYNMIMS * Gabr ielv onEisenstein : ANDREJOBIN* (May14 , 18 , 21 ) CHARLESROE (May15)

D r. B lind: KARLSCHMIDT

Dr. Fa lke: DARREN NIMNICHT ·

Frank: MICHAELGALLUP

Soph ie: LESLEYSUSANWRIGHT t P rince O rlofsky : JOANNEWORLEY *

Ivan: JERRYGERARD

Frosch : ERICCHRISTMAS *

Da ncers: BARBARAHOON * ADAMSHANKMAN

English translat ion byRuthandThomasMart in, used b y arrangement wi th G Schirmer, Inc. , pub lisher and c opyrighto wner

A ne w production createdfor Op era Pacific i ncooperat ion w ith

M ichig anO peraTheatre , madeposs ible bya generous giftfromMr Ed McG rath

• denot es M OT debut

t MOTYoungArt ist Apprentice

Castsub jec tto cha nge incaseofunfore seen exigencies

Die Fledermaus w ill bepresentedw ith two interm issions.

M ichigan Op eraT heatre , an equal o pportunityempl oyer ,is sup portedinpart by g rantsf rom theNationalEndo wment fo r the Arts , afederal agency , andfromth e StateofMich igan throughthe M ichigan Counc il fortheArts

Michigan Op eraTheatre isamember of O PERAAmer ica

Copyright 2010, Michigan Opera Theatre

Setting:Vi enna, turnof thec entury

ACTI

Eisenstein 's house.GabrielvonEisensteinisabouttobeg in aneight-dayprison term f oram inor offense HisfriendFalke , however , persuadeshim topostponesurrendering ' t i llthefollowingdayandgo i nsteadtoapartythatPr ince Orlofsky isgiving Falkeisplann ing agood-humored , but nonethelesstrenchant , revengeforapracticaljokeEisensteinonceplayedonhim: (Afteraverylivelymaskedball,Eisenstein had deposited thesleep ing andintoxicatedFalke , costumedasabat , inapubl ic parkwhereheawakenedtothejeersofthe Sundaymorn ing promenaders) Elaborati nghis scheme , FalkemanagestoassembleEisenste in's w ife Rosalinda , hermaid Aqele andthePrison Warden , Frank,atthe sameparty,all under assumedidentities.

Rosalinda , however , hashadanunexpectedv isit fromaformerfr iend andadmirer , Alfred , an extremely operatic opera tenor Using Eisenstein's absencetorenew his romancewi th Rosal inda, Alfredisint errupted i nhis woo ing byPrison Warden

PLEASENOTE

•Foryourint erestandpl easure , pl ease pat ronize th e MOTGuil d ' s Opera Boutique located on th e mainfloorof th e theatre , andsee th elatest cassetteta pes , t ee-sh irtsan d the new Pavarott i In Detroitconcert po ster

.Coming Up Ne xt With T heMOTGuild : " T he Second Act " Estate Sale , May19-21; " An EveningIn Paris ," LaBoheme Soiree , May 24 ;

Sp ectacular " Erte Fashion ShowlDinner " Jun e 29 ; Santa Fe Opera Festival Tou r , Ju ly 30 -August 4 ; W hetheryo u're ame mber of the MOTGu ildor not , ca ll us to dayforfurtherd etails ; MOT Volu nteerActivities O ffice, 874-7850.

Forfurther informationabout D ie Fledermaus and theact ivities ofMichi ganOp era Theatre , the 1987/88season program bookisavailable in t he fro ntlobby

.Th e 1987/88Michigan Op era Th eatre Season is p resentedincoope rationwithc lassicalradio station WQRS , FM 105

.Lookin gt o voluntee r for M ichig anOpera Theatre ? Give usacall at 874·7850

COMPANY ACKNOWLEDGEMENTS

•Spe cial recognitionandth anks toth e follow ing cor porations for the ir perform ancesponsorshipof DieFledermaus :

Hudson 's , Saturday , May14

Allied Automot ive Sector, A llied-S ignal , Inc Sunday , May 15

Detro it Free Press , Saturday , May 2 1

.Add itionaltha nks to Harper Hospitalfor arrangingmed icalca refor the art ists ofthe companyandtoHud son 's for th e Wednesday , pr e-operamak e-up sessions

Frank,whohascomepersonallytoEisenstein'shometoescorthisreca lcitrant prisonertojail.Slightlytipsy , butgallantasSir Galahad , Alfredallows himself tobemistakenforEisensteinandspeededoffto prisoninsteadoftheopera , toprotect Rosalinda's goodname.

ACTII

AttheVillaOrlofsky.Awonderfultimeis beinghadbyall.Eisensteinas " Marquis Renard, " makeslovetohisownwifewho , i nturn , ismasked , accentedandmysteriousasa " HungarianCountess " Inthe courseoftheeven ing , hebecomesthe " bestfriend " andafavoritedrink ing companionofthejust-as-FrenchChevalierChagrin , or, i notherwords , his imminent prison-warden,Frank TheEisensteins ' maid , Adele , progressesratherwellonher roadtoa dramatic careerbyposingasan up-and-comingactresswhow ins theheart ofFrankandtheattentionoftheverybored Orlofsky.Allinall , theeveningis lively,sent imental andboundtohaverepercussions

ACTIII

TheTownJail.Frosch , thejailor,has beendo ing hisbesttoemulatethedrinkingexploitsofGovernorFrank Inaword , heisdrunk.Frank , inagoldenhaze , arrivestofacethesoberreal ities ofhis posit ion. Shortlyafter , Eisenstein arr ives tofind analterego occupy ing hiscell.Rosalinda makesher appearance and eventually the tryingtriangleis disentangled . Eisenstein ismerc ifully forgiven.Alfredisrestoredto hisclamoringpublic Adeleislaunchedon hercareerandFalke , theFledermaus , has hadhisrevenge.

ARTIST PROFILES

BARBARAHOON (Dancer)wasmostrecentlyseeninNYCOpera 's production of The Music Man , andin WestSide Story for OperaPacific AmemberoftheTwyla TharpDanceCompanyforfiveyears , she hasappearedonBroadwayin Singin ' inthe Ra in andinthef ilms Amadeus and Zel ig. Off-Broadwaycred its includefeatured roles in Sally , and Carousel attheKennedyCenter

ADAMSHANKMAN (Dancer)madehis Mich igan OperaTheatredebut i n West Side Story, wh ich he later performed for OperaPacific Inaddition toworkinnumerouscomme rcials andmus ic v ideos, hehas appearedonthestageofCaliforn ia's Doolittle Theater asafeatured performer in The Boys From Syracuse and Leave It ToJane

Copyright 2010, Michigan Opera Theatre

ARTIST PROFILES CONTINUED

FRANZALLERS (Conductor)isregardedas oneoftheleadinginterpretersofViennesemusic.MaestroAllersmade hisAmer ican debutin Chicago conducting the famedBalletRussede MonteCarloandhas subsequentlyconducted (' atthe Metropolitan Opera , London 's CoventGarden , everymajorAmerican symphony orchestra andthe originalBroadwayproduct ions of MyFa ir Lady and Camelot.

KAREN AZENBERG (Choreographer) garneredcriticalaccla im for her choreography for " MOT's product ion of Sweeney Todd , MyFa ir Lady and WestSideStory , inadd ition totherecent1987LosAngeles DramalogueAwardfor her choreography of WestSide Story forOperaPacific.Other credits i ncludeNewYork 's Carneg ie Hall andAveryFisher Hall , theSm ithsonian Inst itution and Perfectly Frank fortheArkansasOpe ra Theatre

CHARLESCAINE (Costumes)servedasstaff costumedesig ner for the Metropolitan Opera from1964-79, andwas respons ible forcostumingeveryproduct ion the Metpresentedduring thattime Someofhis manyoperatic creditsinclude Turandot , Luisa Miller , /I Trovatore , Der Rosenkavalier and therecentmus ical thea tre productions of MyFair Lady , WestSide Story and Ann ie GetYourGun This seasonhedesignedthe costumesfortheAmericanprem iere of Rossini's Bianca e Falliero forMiamiOpera.

ERIC CHRISTMAS (Frosch) iswellknown in Canadaasaleading actorfor15yearswiththe TorontoCBCRadioin addit ion to10yearsasa princ ipal actorwiththe StratfordTheatreFest ival. Onstage , Mr. Christmas hasbeen seen inLondon 's famed WestEnd , severalBroadwayproduct ions , ontelevisionin Cheers and St. Elsewhere , and insuchfilmsas HaroldandMaude , The Andromeda Strain and AllofMe

ARTIST PROFILES CONTINUED

EVELYNDELAROSA (Adele)madeherprofessional debut withthe San Francisco Operain DonCarlo andhassubsequently performed in the company 's productionsof The Marriage of Figaro,PiqueDame,La Cenerentola andthe world premiere of Mechem 's Tartuffe. Other outstanding credits include HoustonGrandOpera 's II Barb iere d i Siviglia , Lord Byron 's LoveLetter fortheSpoletoFestivaland LaTraviata forthe Anchorage Opera

ANDRE JOBIN (von Eisenstein)isregarded asoneofthemost celebrated FrenchCanadiansingerstoday , perform ing regular ly withtheCanadianOperaCompany,L 'Opera deMontreal,andinhis nativecityofQuebec. His acclaimed French opera repertory includes Werther , Manon , Romeo et Juliette , Carmen , LeCid , Thais andPoulenc 's DialoguesdesCarmelites for thecompaniesofGeneva , Paris, Brussels , Madr id andBerlin.

ALAN KIMMEL (Settings)madehisprofessionaloperadebutin 1985withthemajorrevivalof Leoncavallo 's Zaza forthe Cincinnati Opera Mr Kimmel madehisBroadwaydebutw ith You're A Good ManCharlie Brown , and hasenjoyed success with numerous Broadway and offBroadway dramas and musicals Inaddit ion tostagework , Mr.Kimmelhasbeen acclaimed forhisset designs forABC 's WorldNewsTon ight andtheCBSMorningProgram

MARILYNMIMS (Rosali nda)recentlymadeher Canad ian OperaCompany debut asDonna

Anna i n Don Giovanni , a roleshewillrepeatnext spr ing withtheOrlando Opera.MissMimsmade her Metropol itan Opera debutearlier th is season

asRosa linda andreturnstotheMetnextfallin t hetitleroleof Lucia d i Lammermoor , followedbyKonstanzeinMozart 's The Abduction Fromthe Seraglio. In1990 , sheisscheduledtoopen theSan Francisco Operaseasonopposite LucianoPavarottiin I Pagliacci.

MICHAELMONTEL (Director)hasprev iously directed MOT's productionsof The Sound of Music, Sweeney Todd , Joanof Arc , WestSide Story and My Fair Lady Herecentlystagedthe worldpremiereofPDQ Bach's Oedipus Tex in ..-;...., - St.Pauland The Barber ofSeville forthe Pennsylvania OperaTheatre,wherehereturnsnextseasonfor Ward 's The Crucible. Mr Montel currently servesasmusical consultant forthePBS TVseries In Performance atTheWhite House.

KARL SCHMIDT (Dr Blind)hasappeared i n MOT'spreviousproductionsof Kismet and OrpheusintheUnderworld, inadd ition tobeinga regular performer with thecompany 's Overture ToOperatroupe.Mr. Schm idt hasappeared withtheOperaCompanyofMid-Michiganin Die Fledermaus , The Student Prince withtheToledoOpera , in additiontonumerous performances with Detroit metropolitan orchestras and productions atboththe Birmingham and Attic Theatres

DARREN NIMNICHT

, (Dr Falke)hasappeared regularly with the Metropolitan Operain Billy Budd , PeterGrimes , •1 L ' Enfant et les Sortileges , Tasca , aswellas i withthe companies of Miami,Dallas,Colorado OperaFestival,Nevada , Virgin ia andtheNew YorkCityOpera 's National Company He madehisdebutonBroadwayin The Most Happy Fella , a production thatorig inated in1979withMOT.

RICOSERBO (Alfred) hasperformedleading belcantoandromantic tenorroleswithmostof theopera companies in NorthAmerica ,i ncludingtheNewYorkCity Opera , CanadianOpera, Cincinnati Opera,San Diego , Houston , Philadelphia andDetroit.Recentlyhe performed Rigoletto w ith the WelshNationalOpera , Romeo et Juliette fortheArizonaOpera , withfutureengagementsinSaltLakeCityandToledo , i nadditiontothepremiererecordingofDonizetti 's L 'Assedio diCalais

MARILYN RENNAGEL (Lighting) serves as M ichigan OperaTheatre 's chief lighting designer, andhas workedonthecompany 's productions of Kismet , My FairLady,West Side Story and Barber of Seville. Recently she providedthel ighting for OperaPacific 's productionsincluding A ida and Die Fledermaus Miss Rennagel 's accla imed work includes theDallas , Miami andPhiladelphiaoperacompanies,regionaltheatreandmanyawardwinningproductionsonBroadway including Womanofthe Year

CHARLES ROE (von E isensteln) hasappearedwithMich igan Opera Theatre 's past productions of LaRondine , Tasca and Die Fledermaus Aleading tenorwiththeNewYork CityOpe ra formany seasons , Mr.Roehas appearedwiththecompaniesofLouisv ille , Utah , Ft.Worth , Lake GeorgeOperaFestival , Clevelandand Toledo

Copyright 2010, Michigan Opera Theatre

JO ANNE WORLEY (PrinceOrlofsky)isone of America 's leading comediennes , best known forherspec ial brandof humorasfeaturedon the Laugh-In comedy showcasefortelevision. MissWorleyhasgarnerednationalacclaim forhermusicalstage wo rk i ncludingtheBroadwayNational Companies of Carnival and PiratesofPenzance , inadditionto The Odd Couple , SameTime, NextYear, They 're Play ing Our Song , Luv , TheWizardofOz , Hello Dolly! , Gypsy and Mame amongothers JoAnne isafrequentguestonallofthenationaltalk shows , numerousgameshowsfortelevis ion , asthevoice-overtalentforcartoons and isaveteranoftheFt.WorthOperaand OperaPacif ic productions of DieFledermaus .

LESLEY SUSAN WRIGHT (Sophie)is currently enrolledinthecompany 's YoungArt ist Apprentice Programandpreviously performedinMOT's Kismet Recently she debutedw ith theDayton OperaasMercedes i n Carmen and performedwiththeSan DiegoOpera , ChautauquaFestivalandthe BostonLyricOpera .

ADDITIONAL ARTIST PROFILE

MICHAEL GALLUP (Frank) has ?erformed throughout North America including the opera com?anies of Portland, Seattle, San Diego, Los Angeles, Dayton, Long Beach, San Antonio and Western O?era Theatre. Most

recently he with the Los Angeles Opera Music Center productions of The Mikado, Otello, La Cenerentola and A Midsummer Night's Dream. He has appeared in concert with the symphony orchestras of Denver, Los Angeles, Oregon and has recorded Rossini's Sins of My Old Age and the Brahms Liebslieder for Nonesuch Records. Mr. Gallup also performed the role of Ferrando in MOT's recent II Trovatore and will portray the duel roles of BenoitjAlcindoro for the company's u?coming La Boheme.

Copyright 2010, Michigan Opera Theatre

MICHIGAN OPERA THEATRE ORCHESTRA

VIOLIN I

tCharlotte Merkerson

Concertm istress

tAlice Sauro

tMarla J.Smith

tAnn H Cannell

tRandolph Margitza

Kathryn Stepulla

Kathleen Ferris

JamesKujawsk i

Mary Margaret Sf.John

BeverlyDrukker

SusanWalke r

VIOLIN II

tVictoria Haltom

Principal

tRuth Monson

tBrooke Hoplamazian

tAngelina Carcone

Constance Markwick

Tracy Gibson

Zeljko Millcevic

VIOLA

tHenry Janzen

Principal

tMark Mutter

tRobert L. Uppelt

AnnBellino

VIOLINCELLO

tNadirie Deleury

Principal

tDiane Bredesen

tMinka Christoff

Paul Willington

CONTRABASS

tDerek Weller

Principal

Gregg Powell

PaulBresciani

FLUTE

tPamela J.Hill

Principal

Mary Scudder

OBOE

tAnn Augustin

Principal

Carolyn Hohnke

CLARINET

tBrian Bowman

Principal

tJames Forgey

BASSOON

tKirkland D Ferris

Principal

tChristine M Prince

HORN

tSusan Mutter

Principal

tCarrie Banfield

Christine Chapman

TRUMPET

tGordon E. Simmons

Principal

Carolyn Bybee

TROMBONE

tMaury Okun

Principal

tGregory D Near

JohnUpton

TIMPANI

tGregory White

PERCUSSION

tJohn F Dorsey

Principal

DavidTaylor

HARP

tPatricia Terry-Ross

tDenotes member of Michigan Opera Theatre Orchestra

Detroit Federation of Musicians

Local No .5 , American Federation of Musicians

MICHIGAN OPERA THEATRE CHORUS

Gregory Bryant

Tills ButlerJr.

Diane Aron-Calhoun

Rebecca Cullen

Michaella Dionne

VanessaFerriole

LouiseA.Fisher

Lawrence Formosa

YvonneFriday

Rosalln Guastella

Roxythe L. Harding Jr.

Patricia Hottman-Ahrens

Joan Irwin

Alvin Johnson

David Ludwig

Ca itlin McNeil

Rob Morisi

Richard Mox

Jennifer L. Oliver

Nancy Jannette O 'Keefe

Sylvia Pittman

David Podulka

John Riley

Mary Robertson

• Jane Schoonmaker Rodgers

PaulSahuc

Karl Schmidt

·Thomas M Shiskovsky

PaulG.Silver

Barbara J.Smith

JohnStokes

Judith 'Szefi

DeanUnlck

Grace Ward

·Jim Wilking

Elizabeth Wingert

LesleySusanWright

·MOT Vocal Apprentice

SUPERNUMERARIES

HarveyBurley

John Hinnendael

PaulHorn

Djeto Juncaj

PatrickKing

William Ribbens

Ron Roush

Henry Wojcik

ADDITIONAL DIE-FLEDERMAUS

PRODUCTION STAFF

Mark Sanchez

Costume Intern

Georgianna Fischer

Wig and Make-up Assistant

SueSittko

Wig and Make-up Coordinator

Stephen Steiner Coach/Accompanist

John Kennelly

Assistant Stage Manager

Jennifer Stiles

Stage Management Intern

AT A GLANCE

M ISSION

A major, non-profit opera company comm itted to producing thefinestIn grand opera, operetta and musical theatre productions fortheDetroit metropolitan community and stateof Michigan.

fOUNDED

EstablishedIn1962asthe Overture To Opera, an educational tour ing arm of theDetroit Grand Opera Association In1970,the company moves permanently toTheMusicHaU center and begins restoration; by 1971, Michigan Opera Theatre presents Its MOTmoves

Its administrative offices totheNew Center Area and begins annual seasons at both FisherTheatre and Masonic Temple Michigan Opera Theatre's general director and founder IsDr David DIChlera.

1987/88 SEASON REPERTORY

Falstaff, Man of La Mancha, Kismet , /I Trovatore, Die Fledermaus, La Boheme and a Gala Benefit Concert featuring Luciano Pavarottl.

COMPANY OPERATING BUDGET$5.1 MILLION

Revenue derived froma variety of sources , Including season subscription and single ticket sales, private donations, foundations and corporate support , and through state and federal funding, Michigan Opera TheatreIsa registered not-for-profit charity

SUBSCRIPTION/DONOR BASE

Estimatedto be more than 9,600 subscribers for the1987/88 season; more than 4000 Individual donors

NATIONAL RANKING

Ninth largest IntheUnitedStates based on operating bUdget (outof more than 100 companies) and seventh largest based on paid audience attendance.

ADMINISTRATION" BOARD COMMlnEES

Afulltime, professional staff of arts administrators, governed bya35 member BoardofDirectors and 260 member BoardofTrustees

SPECIAL EVENTS

Numerous fund raising activities are held annually under the auspices oftheBoardof Directors and theMOT Guild, Including The Opera Ball, an Opera-thon with radio station WQRS, EstateSales, Ope ra-To-Go Parties, and more

COMMUNITY PROGRAMS

Afu ll time , professional program, of on-golng enterta inment for young audiences and families, adult programs Including musical revues,one act operas, programs and actlvltles forthe disabled , presented both locally and state-wide Including full length touring opera productions.

MOTORCHESTRA

Allmusicians are trained professionals registered withtheDetroit Federation ofMusicians,Local#5

APPRENTICE PROGRAM

Annual training program for gifted and talented singers,p ianists, stage managers, directors Inall areas of technical production; apprentices are recruited nationally.

Copyright 2010, Michigan Opera Theatre

We Can 't FaceThe Future Without You!

AMessageFro m The Ge neral Dir ec tor :

Ihavea l way s thou ght co l lec t i ve ly o f o urm anysupporte rs, o ur boa rd and o ur staff as th e MOT Family-and how th atfa milyhasgrownthe se past seventeen yea rs! Now o ne of th e top t eno pera co mpaniesinth e nation , M ichigan O perai s abl etoco ntinue i n i tsmi ssion of exce llence o nly t hrough t he ge nerous support of th ousandsofi ndiv idual s, cor poration s, and fo undation s

Th at supp o rtm ade tonight 's performance po ssible -b ecause ti cketsales cove r o nlyhalfo f o ur o perating costs, eve n w hen every performance sell s o ut.In addition,th eseg ift s provid e th e d oll ars to brin go pera andmu sical educationtoo ve r 3 00cl assrooms and c ommunity ce ntersallaround t hestate.Th anks t oy ou,w ea re ablet o pr ovide th ese co mmun i ty serv ic estoth ey oungand o l d,t he disadv antaged,c ity and co untry dwellers, oper a buffsandBr oadway f ans Joinin g th e MOT familym akesastatementabout c ommitment- commitm ent to th e qu ality of life in o ur co mmunities and t oo ur f uture artisticl egacy in Mi chigan Anin vestment in Mi chigan Op era Th eatre i san inv estment in o ur c ulturalheritage. I ca n think of n o bett er l egacyto l eaveo ur c hildrenth an th ato f c reative artisti c exce llen ce w hich ca n c hallengeth em to dr eam i mpossibledr eams. Won 'tyo uhelp ?

Since rely,

D avid DiChi era

G eneral Director

P S The National Endowme nt forthe Arts ha sa wardedMOTa c ha llenge g rantw hich pa rtially ma tches ne wa nd increase d gifts W e needjust$ 20 ,000 mor e to ac t ivatet heg rant.Your g iftnow w ill he lp us m e et thec hallenge

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Copyright 2010, Michigan Opera Theatre

Operainfouracts

Musicby Giacomo Puccini

Librettoby Giuseppe Giacosa andLUigi lIIica

Basedon Scenes defaViede Boheme by Henri

Murger

Firstperformance: Turin, TeatroRegia , 1February1896

Conductor:JOHNDEMAIN

Director:ROMAN TERlECKY J*

SceneryandProperties: lYRIC OPERAOFCHICAGO , madepossiblebyagenerous anddeeply appreciated gift fromthelateJamesC. Hemphill.

Costumes: MALABAR, lTD.

Lighting:MAIDIEO.GREER

WigsandMake-up : DIANEWIESEFORELSEN ASSOCIATES

ChorusMaster:SUZANNEACTON

StageManager: BLYTHE DE BlASIS*

DRAMATIS PERSONAE (in orderofvocalappearance)

Marcello:ANDREASPOULIMENOS

Rodolfo: VYACHESlAV M. POlOZOV *

Colline : STEPHEN DUPONT*

Schaunard:RONALD BAKER*

Benoit: MICHAEL GAllUP

Mimi : STEPHANIE FRIEDE

Parpignol:THOMAS SHISKOVSKY +

AChild : KATIE O'SHAUGHNESSEY

Alcindoro : MICHAEL GAllUP

Musetta : MARIANNA CHRISTOS

CustomsOfficer:DAVID lUDWIG

Sargeant: lAWRENCE FORMOSA

' denotesMOTdebut tMOT YoungArtist Apprent ice

Castsubjecttochangeincaseofunfore seen e xige ncies.

LaBoheme w ill bepresentedwiththree i ntermissions

Surt itles forth is product ion of La Boheme arepro vided by T he WashingtonOpe ra Surt itles byFranc is Rizzo

Mich igan OperaTheatre , anequal opportun ityemployer , issuppo rted in partbythestateofMichiganthroughthe Michigan Counc il fo r theArts , andtheNat ional Endowment for t heArts , afederalagency

Copyright 2010, Michigan Opera Theatre

a Boheme

SYNOPSIS

Parisinthe1840s

ACTI:IntheircheerlessLatinQuarter garret,the near-destitute artistMarcello andpoetRodolfotrytokeepwarmon Chr istmas Evebyfeedingthestovewith pagesfrom Rodolfo's drama Theyare soonjo ined bytheirroommates-Colline , ayoung philosopher , and Schaunard, amusician , whobr ings food , fuelandfunds Whiletheycelebratethe ir unexpected fortune , thelandlord , Benoit , comestocollecttherent. Plying theoldermanwithw ine, they urge him totellofhis flirtations , then throwhimoutinmock indignation athis infidelity tohiswife.AshisfriendsdeparttocelebrateattheCafeMomus , Rodolfopromisestojointhemlater,remainingbehindtotrytowrite.Thereis anotherknockatthedoor , thevisitor turnsouttobeaprettyne ighbor, Mimi , whosecandlehasgoneoutonthe draftystairway.Nosoonerdoessheenterthanthegirlfeelsfaint ; afterreviving he r withasipofwine , Rodolfohelps hertothedoor, relighting hercandle. Suddenly Mimirealizesshelostherkey whenshefainted , andasthetwo searchfor it,both candles areblown out.Inthe moonlight thepoettakesthe girl 's shiveringhand , tellingherhis dreams("Che gelidamanina "). She thenrecountsherlifealoneinalofty garret , embroidering flowersandwa iting forthespring( "M i chiamano Mimi"). Rodolfo 's friendsareheardouts ide, urginghim tojo in them ; hecallsback thathewillbealongshortly Voicing theirnew-foundrapture("0 soavefanciulla ") , Mim i andRodolfoembraceand slowlyleave , arminarm,forthecafe Intermission

ACTII:Amidtheshoutsofstreet hawkers,RodolfobuysMimiabonnet neartheCafeMomusandthenintroduceshertohisfriends ; theyallsit downandordersupper Thetoyvendor Parpignolpassesby , besiegedbyeager ch ildren. Marcello 's formersweetheart , Musetta , makesanoisy entrance onthe armofthe elderly butwealthyAlc indoro Theensuingtumultreachesits peakwhen , tryingtorega in the painter 's attention,shes ings awaltz abouther popularity ("Quando m 'en vo ' ") , Togetridof Alcindoro shecomplainsthathershoepinches,sending himofftofetchanewpair.Themomentheisgone , shefallsintoMar-

cello's armsandtellsthewaiter to charge everything to Alcindoro Sold iers marchbythecafe , andasthebohemiansfallinbehind, Alcindoro rushes backwith Musetta's shoes-onlyto facethebill.

Intermission

ACTIII:Atdawnonthesnowy outskirts ofPar is, acustomsofficialadmitsfarm womentothecity Late merrymakers areheardwithinatavern SoonMimi wandersin,searchingfortheplace whereMarcelloandMusettanowlive Whenthepainteremerges , shetells himherdistressoverRodolfo 's incessant jealousy ("0 buonMarcello , aiutol"): itisbestthattheypart,she says . Rodolfo,whohasbeenasleepin thetavern,isheard,andMimihides nearbyalthoughMarcellothinksshe hasgone ThepoetfirsttellsMarcello thathewantstoseparatefromhisfickle sweetheart;pressedfortherealreason , hebreaksdown , sayingthathercoughingcanonlygrowworseinthepoverty theyshare.Overcomewithtears , Mim i stumblesforthtobidherloverfarewell ( "Donde lietausci ") , asMarcelloruns backintothetavernonhearing Musetta's laughter.WhileMimiand Rodolforecallpasthappiness,Musetta dashesoutoftheinn, quarreling with Marcello , whohascaughtherflirting ("Addio dolcesvegliare "). Thepainter andhismistresspart , hurling insults , butMimiandRodolfodecidetoremain togetheruntilspring.

Intermission

seizedwith violentcough ing Whenthe othersreturn,Musettag ives Mimia mufftowarmherhandsandpraysfor herlife.Asshepeacefullydr ifts i ntounconsciousness , Rodolfolowersthe blindstosoftenthelight.Schaunard discoversthatMimiisdead,andwhen Rodolfoatlastrealizesit,hethrows himself despairingly onherbody, repeatedlycallinghername -Courtesy ofOPERANEWS

PLEASENOTE

•Foryour interestandpleasure , pleasepatronizetheMOTGuild 's OperaBoutique locatedon themain flooro f thetheatre , andseethelatest cassettetapes , tee-shirts andthenewPavarottiIn Detroit concertposte r.

•ComingUpNextWithTheMOTGu ild : " TheSecondAct " EstateSales, June9-11, 23-25; Spectacular " ErteFashion ShowlDinner" June29; SantaFeOperaFestivalTour , July30-August4 ; " Operathon " on-air fund-raiser , WQRS, October1. Whetheryou're amemberoftheMOTGuildor not , callustodayforfurthe r detai ls; MOT Volunteer Activ ities Office , 874-7850

•Forfurther informat ion about LaBoheme and t heactivities ofMichigan OperaTheatre,the 1987/88seasonprogrambook i savailable inthe front lobby.

•The1987/88MichiganOperaTheatreSeason ispresented incooperationwith classica l rad io stationWQRS,FM105.

•LookingtovolunteerforMichiganOperaTheatre?Giveusacallat874-7850

COMPANY ACKNOWLEDGEMENTS

•Special recognition andthan ks tothefollowing corporations forthe ir performancesponsorshipof LaBoheme:

USAir,Wednesday ,J une1

Gannett Foundation , The Detroit News/Gannett Outdoor, Saturday,June4

•Addit ional thankstoHarperHospital for arranging medical carefortheart ists ofthe companyandtoHudson'sfortheWednesday, pre-operamake-upsessions

ARTIST PROFILES

RONBAKER(Schaunard)madehisprofessionaldebutasMarcellofortheCentralCity Opera,andhassince performed TheMerry Widow forEugeneOperaandKirkeMechem's Tartuffe withtheYoung Artist'sOperaTheatreof Greensboro.Arecent graduateoftheCincinnatiCollege-ConservatoryofMusic,Mr.BakerportrayedMalatestainWesternOpera Theatre's Don Pasquale , arolehehasalsosungforSan FranciscoOpera'sMerolaProgram.Future engagements include TheRapeofLucretia fortheBanffCenterinCanadaand Tartuffe withPittsburghOpera

Copyright 2010, Michigan Opera Theatre

ACTIV:Nowseparatedfromtheir sweethearts,RodolfoandMarcellolamenttheir loneliness intheirgarret("0 Mimi,tup iu nontorn i") Collineand Schaunardbringameagermeal;to lightentheirspiritsthefourstagea dance , whichturnsintoamockduel.At theheightofthehilarityMusettabursts intotellthemthatMimiisoutside,too weaktocomeanyfurther . AsRodolfo runstoheraid , Musettarelateshow Mimibeggedtobetakentoherloverto d ie. Thepoorg irl ismadeascomfortableaspossible , wh ile Musettaasks Marcellotosellher earrings formedicineandCollinegoesofftopawnhis overcoat , whichforsolonghaskept himwarm ("Vecchia zimarra"). Left alone,MimiandRodolfowistfullyrecall theirmeetingandtheirfirsthappydays together ("Sono andati?"), butsheis

Continued onpage3

MARIANNA CHRISTOS

(Musetta)recentlymade herEuropeandebutas Musetta for Frankfurt Opera,whereshewillreturntosingthetitlerole of La Traviata The Greek American sopranohasperformedextens ively withthecompan ies ofLyricOperaof Ch icago, SanFrancisco, Housto n , Santa Fe , W ashington , St.Lou is andmostrecently as Liu i n Turando tfor Cincinnati Opera , and L 'AmicoFritz and I Pagliacci forHawaiiOpe ra FollowingherDetroitappearance , she performs Mefistofele , Pagliacci, Madama Butterfly, La Boheme and II Tabarro forthe compan ies ofNYC , Tulsa , OrlandoandArizona

JOHN DeMAIN (conductor)returnstoMOT followinglastseason 's successf ul productions of Orpheus intheUnderworld and Porgy and Bess MaestroDeMain hasservedastheMusic Director forthefamed HoustonGrandOpera since1979, wherehe has conducted allofthe standardoperaandmus ical theatre repertoryinadd ition tothe worldpremieresof NixoninChina , Akhnaten byPhilip Glass , WillieStark andLeonard Bernste in 's A Quiet Place Hereceived botha Grammy AwardandtheGrandPrix duDisque forhis RCAreco rding of Porgy and Bess andanEmmyAwardnominat ion forthe1986PBStelecastofJoplin 's Treemonisha Inadditiontoh is Amer ican and Europeanguest conduct ing, MaestroDeMainservesasArtisticDirectorofOpera Omaha 's newfallfestival.Futureengagementsinclude Otello andtheworldprem iere of Glass ' The Making of the Representative from Planet 8forHouston , a nd arevivalof The Crucible forAmerican Ope ra Center inNYC .

STEPHEN DUPONT (Colline)hasmaderecent successful debuts with major opera houses , including the Metropolitan, Greater Miami,CanadianOpera , Paris, Cologne , Hamburg , Glyndebourne , TeatroLaFeniceandin anewproduct ion of Don Giovann i forLaScala. Hecreatedtheroleof Godoyint hewo rld premiereofMenotti 's G oya , wh ich wastelecastonPBS ' " Great Performances ," andmadehisCarnegie HalldebutunderthebatonofRiccardo MutiandthePhiladelphiaOrchestra Next se ason hereturnstotheMetfor Aida and Carmen , andtoParisOperain Rigoletto.

ARTIST PROFILES CONTINUED

STEPHANIE FRIEDE

(Mimi ) madeherprofessionaloperadebut i n 1978 w ith M ich igan OperaTheatre'sproductionof Madame Butterfly , andhassubsequentlyenjoyed international acclaimattheNetherlandsOperainthet itle roleof Cendrillon , Micaelain Carmen atOperade Nancyand L 'Elisir d 'Amore for theStuttgartOpera RecentlyMiss FriedemadeherCanad ian debutas Juliettein Romeo et Juliette fortheManitobaOpera , followedby Micaela inDayton andherf irst Manon fortheoperacompanies ofV irginia andHouston.Addit ional cred its includeasuccessfuldebutwithRiccardoMutiandthePhiladelphia Orchestraat Carnegie Hall , theAmericanpremiereof IIViaggio A Reims forOperaTheatreofSt.Louisand The Rakes Progress forthe Chautauqua Festival.Futureengagements i nclude Carmen forHouston and Manon inOmaha

MICHAELGALLUP(Benoit/Alc indoro) hasperformed throughout North America , includingtheoperacompan ies ofPortland , Seattle , San Diego , Los Angeles , Dayton , LongBeach , SanAnton io andWesternOperaTheatre Most recentlyheperformed withtheLosAngeles Opera Music Center productions of The Mikado , Otello , La Cene rentola andA M idsummer Night 's Dream Hehasappearedinconcertwith the symphony o rchestras ofDenver , Los Angeles , OregonandhasrecordedRossini ' s Sins of M y Old Age andtheBrahms Liebeslieder forNonesuchRecords Mr Gallupalso performedtherolesofFerrando inMOT's II Trovatore andFrankin Die Fledermaus

VYACHESLAV M.POLOZOV(Rodolfo)came tointernationalattention inMay1986, whenhe wonFirst Prizeinthe Fifth Worldwide MadameButterflyCompet it ion inTokyo , andthen announcedhisi ntention tolivei ntheUnited States . Mr.Polozov , a nativeoftheUkrain ian SovietRepublic , wasuntilrecently , aleadingtenorwiththeMinsk

Copyright 2010, Michigan Opera Theatre

OperaandtheBolshoiOpera Hemadehis NorthAmericandebut i n1986withthe Pittsburgh Symphony concertversionof Tosca , followedby La Boheme withtheLyricOperaofChicago , TheTsar 's Bride for TheWash ington Ope ra and Madama Butterly atthe Metropolitan Opera.Other creditsincludeLaScala , RomeOpera, Andrea Chenier atCarnegieHall , Macbeth at theMetandafuturedebutatSanFranciscoOpera i n La Gioconda, followedby Pique Dame inWashington.

ANDREAS POULlMENOS(Marcello)returns toMOTfollow ing the productions of Don Giovanni, Joan of Are , La Boheme and Madame Butterfly Addit iona l credits includetheopera companiesofBoston, Toledo , Memphis,Mobile , Orlando , Dayton andGrandRapids He recently performed II Barbiere diS iv iglia inSwitzerlandandwill returnastheCountin The Marriage of Figaro Nextseason , Mr.Poulimenosbeg ins aone-yearhouse contract w ith SaarbruckenOperainWest Germany tosing lead ing bar itone roles i ncludingTonioin I Pagliacci andEscam illoi n Carmen.

ROMAN TERLECKY J (director)hasservedas theArtisticAdministrator forThe Washington Operasince1982, where hehasd irected Semele andOffenbach 's Christopher Columbus. Other direct ing cred itsi nclude The Merry Widow forthe DaytonOpera , Suor Angelica for Philadelphia Opera , La Boheme for BerlinOpera , Madame Butterfly forCentral City,and Porgy and Bess forbothColumbusand Connecticut GrandOpera , inadditiontothenewSpoletoFestivalofMelbourne.Mr.TerleckyjbeganhisoperacareerwithMichiganOperaTheatre i n1971, andhasservedasthe direct ing assistant tofamed composer GianCarloMenottifor thepastsix seasons Futureproduct ions i nclude Macbeth forCentralCityOpera , Porgy and Bess for Connecticut , Lucia d i Lammermoor andthedoublebillof TheImpresario and Abu Hassan forWashington Opera

MICHIGAN OPERA THEATRE ORCHESTRA

VIOLIN I

t Charlotte Merkerson

Concertmlstress

t Alice Sauro

t Marla J.Smith

t AnnH Cannell

t Randolph Margltza

Kathleen Ferris

James Kujawski

Mary Margaret St John

InJlnKim

Richard Evlch

VIOLIN II

t Victoria Haltom

Principal

t Ruth Monson

t Brooke Hoplamaz lan

t Angelina Carcone

LauraPaolini

Constance Markwlck

ZelJko Mlllcevic

Joanne Mahlebashlan

VIOLA

t Henry Janzen

Principal

t Mark Mutter

t Robert L. Oppelt

AnnBellino

James Greer

Barbara Corsato

VIOLINCELLO

t Nadine Deleury

PrinCipal

t Diane Bredesen

t Mlnka Chrlstott

Paul WIllington

Karen Wingert

CONTRABASS

t DerekWeller

Principal

Gregg Powell

PaulBresclan l

Steve Soyonchuk

FLUTE

t Pamela J Hili

Principal

Wendy Hohmeyer

Mary Scudder, Piccolo

OBOE

t Ann Augustin

Principal

Carolyn Hohnke

t Carolyn Gulther, Englishhorn

CLARINET

t Brian Bowman

Principal

t James Forgey

BASSCLARINET

Jane Carl

BASSOON

t Kirkland D.Ferris

Principal

t Christine M Prince

HORN

t Susan Mutter

Principal

t Carrie Bantleld

Christine Chapman

Allse Oliver

TRUMPET

t Gordon E Simmons

Principal

Carolyn Bybee

Charlie Lea

TROMBONE

t Maury Okun

Principal

t Gregory D Near

JohnUpton

TIMPANI

t Gregory White

PERCUSSION

t JohnF Dorsey

HARP

t Patricia Terry-Ross

ON·STAGE BAND

Carol Perkins

TRUMPET

Charles Larkins

Brian Moon

PERCUSSION

David Taylor

Keith Clayes

t Denotes member of Michigan Opera

Theatre Orchesfra

Detroit Federation of Musicians, Local No .5, American Federation of Musicians

MICHIGAN OPERA THEATRE CHORUS

Gregory Bryant

Caitlin McNeil

Diane Aron-Calhoun

Rebecca L. Cullen

Mlchaelle Dionne

LeeA.Ekstrom

ElizabethEvans

LouiseA Fisher

Lawrence Formosa

Yvonne Friday

Eric Gardner

Mary E Grivas

Roxythe L. Harding Jr.

Donald B Hart

JohnHett

Glen Holcomb

Terrence Horn

Aaron Hunt

Joan Irwin

Clarence Jones

LynnE Kasch

Mary KayKlnlen

Ray L1tt

David Ludwig

RobMorlsi

Richard Mox

Anthony Noto

Nancy Jannette O'Keefe

Peggy O'Shaughnessey

Jennifer Oliver

JanPhillips

Patricia Plerobon

Roderick Reese

JohnRiley

Mary Robertson

• Jane Schoonmaker Rodgers

•Paul Sahuc

John Schmidt

•ThomasM.Shlskovsky

Jean Slaughter

Barbara J.Smith

Judith Szefl

Grace Ward

Herbert Whitby

•Jim Wilking

Elizabeth Wingert

•LesleySusanWright

Mel VanderBrug

•MOT Vocal Apprentice

CHILDREN'S CHORUS

Carla Victoria Corace

Caroline de Fauw

Deborah deFauw

Michael de Fauw

SuttonFoster

Lissa Goldberg

Andrew Harrison

Leigh Alexandra Jonaltls

Sean Patrick Jonaltis

Christopher Jones

Andrew Nagrant

George Nagrant

JoshuaNeds-Fox

Katie O'Shaughnessey

Katherine Schmidt

ADDITIONAL LABOHEME PRODUCTION STAFF

Georglanna Fischer

Wig and Make -up Assistant

Mark Sanchez

'Z"t AT A GLANCE

MISSION

A major, non-profit opera company committed to producing thefinestin grand opera , operetta and musical theatre productions fortheDetroit metropolitan community and stateof Michigan.

FOUNDED

Establishedin1962asthe Overture To Opera, an educational touringarmoftheDetroit Grand Opera Association. In1970,the company moves permanentty toTheMusicHallCenter and begins restoration; by 1971, Michigan Opera Theatre presentsits premiere season In1985,MOTmoves Its administrative offices totheNew Center Area and begins annual seasonsat both FisherTheatre and Masonic Temple. Michigan Opera Theatre's general director and founder isDr DavidDIChlera.

1987188SEASON REPERTORY

Falstaff,Man of La Mancha;Xlsmet, IITrovatore, DIeFledermaus,La Boheme and a Gala Benefit Concert featuring Luciano Pavarottl.

COMPANY OPERATINGBUDGET $5.1 MILLION

Revenue derived froma variety ofsources,Including season subscription and single ticket sales, private donations, foundations and corporate support, and through state and federal funding, Michigan Opera TheatreIsa registered not-for-profit charity

SUBSCRIPTION/DONOR BASE

Estimatedto be more than9,600subscribersfor the1987/88season; more than4000 Individual donors.

NAnONAL RANKING

Ninth largest intheUnitedStates based on operating bUdget (outof more than100 companies) and seventh largest based on paid audience attendance.

ADMINISTRATION. BOARD COMMlnEES

AfUlltime, professional staffofarts administrators, governed bya35 member BoardofDirectors and 260 member Boardof Trustees.

COMMUNITY PROGRAMS

Afulltime, professional program, of on-golng entertainment for young audiences and families, adult programs including musicalrevues,one act operas, programs and activities forthe disabled, presented both locally and state-wide Including full length touring opera productions

MOTORCHESTRA

Allmusiciansare trained professionals registered withtheDetroitFederationofMusicians,Local #5.

APPRENTICE PROGRAM

Annual training program for gifted and talented singers,pianists,stage managers, directors inall areas of techn ical production; apprentices are recruited nationally.

SUPERNUMERARIES

John Angry

Roland Aragona

Howard Bowman

EmmettBremer

FarFarley

Irmgard Granelll

Leon Hochman

Sharon Hochman

Cassernell Holcomb

Rita James

Bruce T. Leitman

Susan Leitman

AI Lewellen III

Nancy L. Lord

Jim Molinari

Arthur Ortland

lise Ortland

AustinPerrotta

SusanPerrotta

Kate Rutherford

AndresJ. Sceglio

Charles Schimmel

Nancy I. Schimmel

WIlliamP Schimmel

AlanSorscher

JimSzalony

PICCOLO

Costume Intern

Jennifer Stiles

Kathy Course Copyright 2010,

Stage Management Intern

Pat Lewellen

Zeynep Gunduz L1ndem

Dave Llewellyn

Margaret Wimmer

AlanWisnieski

SallyWisnieski

We Can't FaceTheFuture Without You!

A MessageFromThe General Director:

Ihavealwaysth oughtco llectively o f o urm anysupporters, o urb oardand o ur staff ast heM OT Family-and how that fa milyhas grow n t hesep ast seventeenyea rs! Now o ne of th e top teno pera co mpanies i nth e nation , Mic higan Ope ra isab le toco ntinue i n i tsmi ssionofexce llence on ly thro ugh t he ge nerous support of th ousandsof in di vidu als,co rporation s, and fo undation s.

T hatsupportm ade tonight's performance p ossible -b ecause ti cketsales cove r o nlyh alfofo ur o perating costs, eve n w hen every performancesells out. In addition , t hese giftspro videt hed oll ars tob ring o pera andmu sical , ed ucationtoove r 300classrooms and co mmunity ce nters all aro und t he state Thankstoyo u, weareable to prov ideth ese c om munityservices tot he yo ung and o ld , th e di sadvantaged , c ity and co untry dweller s, op era buffsandBroadwayfan s.

Joiningt he MOT fa milym akesastatement about co mmitment -co mm itment toth e quality of l ifei n our co mm u n it i esand too ur fut ure artisticl egacy in M ichigan A nin vestment in Mi chigan Opera Th eatre i san inv estme ntin o ur cu lturalheritage. Icant hink of nobe tterl egacyto l eaveo ur c hildrenth an th atofc reative artisti cexcellencew hich c an c hallenge t hem to dr eam i mpossible dr eams Wo n't you help ?

D avid D iChiera

G eneral D irec tor

P.S. The National Endowment fort he Arts ha sa wardedMOT ac halle nge g rantw hich p a rtially matches n ewa ndincreasedg ifts W e need just$2 0 ,000 more toac tivatetheg rant.Yourg ift nowwill he lpusmeet th ec hallenge

Select the membership level that'srightforyou. Inadditiontothe satisfaction ofhelpingMichigan Opera grow,anumberof

special benefitsareavailable toourvalued donors:

Pleasee nroll measa Memberof th e Michigan Op era Theatre.

$2 5_ $50 $ 100 $250 $5 00

$1,000 (Ge neral Director's Cir cleLevel)

Dr ._Mr. Mrs Mr & Mr s. Miss Ms. Co ntributor $25 BRAVOnew sletter Ata x dedu ctible re ceipt

ENCORE CLUB $5 0

Patron

$ 100

Donor

$2 50

Sponsor $5 00

Ge neralDir ector's Cir cle

$1,000

Contributor benefit s plu s Per sonalized listing inourSeason Program Book Priority Mailingforall subscription seriesti cket s Invitation s toSpecial Theatr e Afterglow s, Op era-To-Go Partie s, Trip s, Sale s andmore

EncoreClub benefit s plu s Invitation s toGala Open ing Night Dinner s andMOT' s pr emier Sprin g Opera Ball.

Patron benefit s plu s Invitation toaFallDre ss Rehear sal a ttheFisher Theatre Advance mailingofba ck ground n otes/plot synopsisfor eac h produ ction.

Donor bene fits plu s Spe cial Mu sicalExcursion Invitation to a SpringDr ess Rehearsal atth e Ma sonic Auditorium

Th e Gen eral Dir e ctor ' s Circl ese rvest o re cognize tho se ge nerouscon tributor s wh o pla yavitalrolein nurturin g MOT' sstature as on e o f Detroit ' s premi erc ultural institut ions anda s one o fthetopten opera c ompaniesin America. Forfurth er inform ation ab out the General Director's Circle andth e b enefits of membership, pleasecall (313) 8 74-7864.

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Please mak e chec kpa yableto Michigan Op era Theatre.

_Check enclosed_ Amer Ex press MasterCard

D Sendme more information a boutth e new 1988-89seaso n.

Se nd to: Michigan Op era The atr e 65 19 Seco nd Ave Detroit, MI48 202

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Today's gathering is not just another concert, todaywe witness a significant moment intheculturalhistory of Detroit. LucianoPavarottiwill perform beforeoversixteen thousand area residents aswellasover four thousand guests from allovertheUnitedStates and Canada.

A large segment of ouraudiencetonightwasattractedtothisconcertby the popularity of theartist's recordings. Iamconvincedthatthisevening's performance willeventuallybring most of themtoOpera for thefirst time.Luciano Pavarotti is actually "pioneering" my belief thatweare enlarging operaticaudiences across the country.

My sincere gratitudegoestothe staff of MichiganOpera Theatre and its talented General Director David DiChiera. Many thanks totheteamat Ford Motor Company and thepersonnelatJoeLouisArena.

Itrust you willenjoythisafternoon's presentation.

Tibor Rudas

LUCIANO PAVAROTTI

Copyright 2010, Michigan Opera Theatre

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Copyright 2010, Michigan Opera Theatre

Detroit has a spirit all its own.

It's . ..

a soothing, classical sonata during Brunch with Bach.

upbeat jazz drifting from high atop the Ponchartrain.

cruising under the moonlight on theBobloboat.

gliding across theiceatHart Plaza. the thunder of hydroplanesracing off BelleIsle

agracefulballetsoaring across theMusicHallstage.

fireworks exploding overthe Detroit River during theFreedom Festival. early morning atEastern Market where you learnthereal meaning of fresh, homemade andbargain theshouts of "Oopah" echoing through Greektown.

the cheers of the crowd atTigerStadium. the people . Detroiters who , likethe pistonsthat power anengine,goup and down, through good times andbad- but always supply theenergy tomoveahead.

Detroit is as unique andstrongas its people ...and we arepart of it both inname...andinspirit.

Luciano Pavarotti

Tenor I

Overture to VESPRI SICILIANI

II

"Quanto e bella" from D'AMORE "Una furtiva lagrima" from D'AMORE

III

"Dance of the Blessed Spirits"

o from ORFEO ED EURIDICE

"Flight of the Bumble Bee" from THE TALE OF TSAR SULTAN (Mr. Griminelli)

IV

"Quando le sere al placido" from LUISA MILLER V

Overture to NABUCCO VI

"Lamento di Federico" from

ANDREA GRIMINELLI

Andrea Griminelli was born in Correggio on December 13,1959,andbeganhisstudy of the fluteattheage of ten.Witha diploma from the Conservatory inReggioEmiliaand further study in Paris andNicewith Christian Larde and Andras Adorjan, Mr. Griminelli wona series of competitions culminating withoneat the Paris Conservatory which earned him graduate study with Jeane-Pierre Rampal. SincethedayswhenRossiniwas director, no Italian hadwonsucha competition atthe Conservatory.

Withadegreein banking anda year's teaching of fluteat Ferrara behind him,Mr.Griminelli embarked ona performing career whichhas already encompassed overtwo hundred concertsatfestivalsandmusiccenters throughout Europe, including Yugoslavia anda tour of Israel.Hehas appeared assoloistwithISolisti Veneti,theOrchestra of Caenandthe Chamber Orchestra of Peking, in addition to recorded concertswithRAI,RadioFranceandthe BBe.

Mr. Griminelli has toured extensivelywith Luciano Pavarotti inthe United Statesfortwo seasons,includinganhistoriclivetelevisionperformance fromNew York's famed Madison Square Garden. HewillsoonreturntotheU.S. for additional concerts withMr. Pavarotti, as soloistwith orchestras andforsolorecitals.

Copyright 2010, Michigan Opera Theatre

en

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Copyright 2010, Michigan Opera Theatre

Overture toI VESPRI SICILIANI ("The Sicilian Vespers") Giuseppe Verdi (BornOctober10,1813,in Le Roncole;died January 27,1901,inMilan)

In Februar y, 1852, Verdi contracted towritean opera for performance during thegreatexpos ition tobeheld in Pa risin1855. Thesubject of thelibr etto hewasgivencouldhardlyhavebeenless appropriate forafamous Italian compo ser writing hisfirst opera forParis.Itisthestor y of the bloody uprising of theSicilianpeople against theoppress ion of theFrench occupiers of theirisland,on Easter Monday in1282.

Therewere countless difficulties anddelaysinthe preparation of the production. Inan incident that could itselfbethe subject of an opera, theleading soprano disappeared from rehearsals fora month andwasfound tohavegone off withherlover.Verdi,furious , askedtoberelieved of his contractual obligations saying, "Circumstances havemademy position inFrancetoo difficult. Itwouldbemuch better formetobe unknown than badly ' known:' Nevertheless, the opera haditspremiereon June 13,1855,andwassogreatasuccess that it wasgivenfift y more performances .

"Quanto e bella" and "Una furtiva lagrima" from L'ELISIR D'AMORE Gaetano Donizetti

First produced inMilanin1932, L:ELISIR D 'AMORE isbelovedasone of thegreatestcomicoperas,andthe roleo f Nemorino isafavorite of alltenors Theroleallowsthemtherare opportunity of playingatrulycomic role,winning thegirlandsinging "Una furtiva lagrima" Thestor y isa pastoral oneand concerns thewooing of Adina , the beautiful andelusiveheroine,byNemorino,anaiveandgullible country lad.Inhisfirstaria, "Quanto e bella;' hewatches Adina readingthestor y of TristanandIsoldetothe peasantry. How beautiful anddearshe is!Sheiss oculti vated andshecanread-howcanheeverhopetoimpressher?A quack doctor arrivesinthe to wn and 'sellsthegullible Nemorino alove potion whichhesaysisthesameasthe legendary Isolde's,but is inrealit y wine.Thewine of coursegives himthe courage to court Adina andthe comedy spinsout. Nemorino's secondaria ," Unafurtiva lagrima" occursinthefinalact. Although hedoes not yetknowit,hisrichunclehas diedleaving h im a fortune Thevillagegirlsare suddenly wooinghim,and of coursehebelieves thisisdueto hismagicelixir of love Adina,seeingthis sudden popularity, is suddenly hurt; and Nemorino, noticing thetear onher cheek , knows that sheloves himin return.

"Dance of the Blessed Spirits" from ORFEO ED EURIDICE Gluck

Writtenforthe1774 production of ORFEO ED EURIDICE inParis , thisballetmusicdepictsthepeaceandserenity of theElysianFieldsasOrfeomeetshisbelo ved Eurydicetobringherbacktotheworld of theliving.

"Flight of the Bumble Bee" from THE TALE OF TSAR SULTAN Rimsky-Korsakov

TheTALEOFTSARSULTANwas written in1899and produced thefollowingyearinMoscow.Thisfamous excerptdepict s thetale of thehero's son,Price Guidon, whochanges himself intoabeeinorderto punish his enemieswithhissting

"QUANDO LE SERE AL PLACIDO" from LUISA MILLER G. Verdi

Fir st produced in1849,theevil Count has imprisoned Luisa's father but promises tosavehislifeifshewillwrite aletterdenying that sheeverlovedRodolfo. Rodolfo readstheletterandsings: Whenateveninginthecalm of light of the starry skyweheld hands andlookedintospace-oh,shebetrayed me.Wheninquietecstasyherangelicvoicesaid,"Iloveonl y you"oh,shebetrayedme. Prepare the altar orthegraveforme.I abandon myselftofate, without fear, desperately I cannot even lookup tohea ven, whichbecome s hell without her.

Overture to NABUCCO Verdi

NABUCCO,an abbreviated Italian form of thename Nebuchadnezzar, is thetitle of thethird of Verdi'stwentys ixop eras,t hefir st with whichhewonwide success In1834,his veryfirst opera, OBERTO,showedsuchpromise that hegotthreemore commission s, buthissecond opera , UN GIORNO DI REGNO washissedatitspremiere in 1840. Thenillnessclaimedthelives of hiswifeandtwosmallchildren , difficulty withthefacultymadehis worka s Di rector of theBusseto Conservato ry intolerable,andhedecidednever towrite another note.However, his imagination was firedby the libretto forNABUCCO,whichwasbasedontheOldTestamentstoryofthe Bab ylonian King's oppression of the ancient Jews.Atitsfirst performance, at La ScalainMilanonMarch9, 1842, NABUCCO wasagreatsucce ss andthe third-act chorus of theJews," Va,pensiero,sull-ali dorati" ("Go, thought, ongoldenwings"), so stirringly reflectedthe emotions of the Italian people struggling for independence fromthe Austrian Emperor that itbecameagreat Italian politicaland patriotic anthem . Aswas often thecase, theO verture was composed atthelast moment beforethefirst performance. Themusicalidea that opensthe workrepresentsthe strength of theJewsbeforetheir Babylonian persecutors. Therestisamedley of thebigtunes fromtheopera,witha prominent placegiventothe soon-to-be-famous "Va , pensiero".

Copyright 2010, Michigan Opera Theatre

"Lamento di Federico" from L'ARLESLANA basedon AlphonseDaudet's famous drama, wasfirst produced attheTeatroLiricoinMilan in1897andwasthe opera that Caruso hadhisfirstgreatsuccessin. Federico sings"Iwanttosleep,toforget mycares,toforget everything, but itisauselessstruggle,forIalwayssee your sweetfaceandhavenopeace. Whysuch suffering? Whydoyou hurt me so?"

MAMMA Bixio

Mamma, Iamso happy tobe returning toyou. Mamma, foryou alone Ising. Mamma -butyouaremyloveliest song.Youarelife itself andwhilelifeshalllastIshallnotleaveyou again. Mamma, foryou alone Ising.

RONDINE AL NIDO De Crescenzo

A friendly swallowhas returned, asshedoeseveryyearonthe same day.Butlove,onceithasflown,never returns. Iamsadandlonely;youcrossnoseasand mountains to return. Youweremywholelife.Youleft,butnotto return.

WLITA Buzzi-Peccia

Mylove,mylove,my yearning heart wouldsingitssongtoyou and describe itstears and sighs,the torments that onlyLolitacan soothe. Tarrynolonger,forIwouldkissyou again. Come,belovedLolita,come,for without you I shalldie.

"CARMEN FANTASY" (Arranged by Francis Borne) Bizet

Thisis a-fantasy of the themes from one of the world's most famous andbeloved operas CARMEN, written byGeorgesBizet.Ithasbeen arranged forflute and orchestra by Francis Borne.

AMOR TI VIETA from FEDORA Giordano

FEDORA wasfirst performed inMilanin1898,witha libretto by Arturo Colautti, after Victorien Sardou. The beautiful Princess Fedora attempts to charm Count Loris,withthe hope of finding proof that he murdered her fiance.Lorisfallsinlovewithher,andinActII,Scene8, tenderly sings of the paradox of love: "Lovepreventsyoufromnotloving.Yourraised hand, whilerejectingme,seekstotakemine.Youreyesanswer, 'Iloveyou:if your lipssay,'Iwillnotlove you:"

VESTI LA GIUBBA from I PAGLIACCI Leoncavallo

I PAGLIACCI, premiered inMilanin1892,was Leoncavallo's single masterpiece, and made the composer famous throughout Italy.In addition toits intrinsic quality,it stands asone of the best-known examples of thelate19th century operatic movement knownas'verismo',which sought therealistic depiction of thelives of people atthe lowerend of thesocial spectrum.

In PAGLIACCI, whichis about a troop of strolling players, Canio, aclown, learns that his beautiful wife, Nedda, whomhe adores, isinlovewith another. Though crushed bythe revelation, Canio mustgo "on with the show;" ashe puts onhisclownsuit and make-up, he laments in"Vestila giubba" that hemustmakethe public laugh whilehisown heart is breaking.

Overture to SEMlRAMIDE G. Rossini

Semiramide was written forthe Carnival of Veniceandwasfirst produced thereattheTeatroLaFeniceon February 3,1823. The story of the Babylonian Queen Semiramis, whoreigned about 800 B'C; has inspired more than thirty operas. Asitistoldinthisone, SEMI RAMIDE,withthehelp of herlover, Prince Assur,hasslain theKingandnowrulesthe land. Whenshemeetsthe warrior chieftain Arsace,shefallsinlovewithhim,unaware that heisherson.Attheheight of a victory celebration, the tomb of the dead King opens, his ghost emerges anddeclares that Arsace shallbethenewruler. Prince Assur springs at Arsace withadrawndagger,butthe Queenthrows herself inhis path andisslain.Arsace,in turn, killsAssur, and theKing's prophecy isfulfilled. The Overture to SEMIRAMIDE isa dramatic, symphonic composition based on themes fromthe opera.

CHITARRA ROMANA Di Lazzaro

Mylonely heart, disappointed inlove,willsinginthe shadows. 0 Roman guitar, accompany mysong

LA MIA CANZONE AL VENTO Bixio

Wind!Wind! Carry meawaywithyou! Together wewillreachthe firmament where stars blazein their hundreds. YouknowhowIsuffer,tellher that Iloveherstill.Wind!Wind! Carry meawaywithyou.

NON TI SCORDAR DI ME De Curtis

Donotforgetme;mylifeis bound upinyou.Iloveyoumoreandmore,my dreams arealways of you.Donot forgetme!

Copyright 2010, Michigan Opera Theatre

THE EXCITEMENT CONTINUES!

Iamso pleased that youare sharing with us what is truly a magnificent finaleto Michigan Opera Theatre 's Spring Grand Opera Season. Mr. Pavarotti 's appearance is without a doubt the most eagerly anticipated musical event of the season. But next season, Iam equally pleased that wecan bring to youyet another great operatic legend. Dame Joan Sutherland returns tothe Detroit stage in one of her most acclaimed rolesthe title role of Vincenzo Bellini's towering masterpiece, N o rma.

In addition toN orma, next season will bring you five great operatic and musical theatre works- Carm en; T he Marriage of Fi garo; The Ballad of B aby Do e; K iss Me, K ate;andT he Pirates o f P en z anc e.Youwillfind these works so powerful and provocative, so wit t y and entertaining, so beautiful and beloved, that today they stand asclassics. Along with Dame Joan, wewill host a variety of international and American artists, including Benita Valente , Cleopatra Ciurca, Timothy Noble, Cheryl Parrish, Cesar-Antonio Suarez, and many others

I urge you to join the nearly 10,0 00 other Michigan Opera Theatre subscribers and musical theatre lovers and guarantee your seatsby subscribing to our18th anniversary season. Whether you 're a newcomer or a veteran of se venteen seasons likeme ,you won't want to missa single performance in our upcoming season. Please contact our ticket servicesofficeat ( 313) 874-SING forafree brochure. I look forward to seeing youat the opera

Sincerely,

David DiChiera General Director

Kiss Me, Kate October 21-29

rAvARofff

Quality i s Job 1at Ford Motor Company.

Th e statement th atq uality a tFord Motor Company is custo mer-driven is no mere catchph rase ... it 's thebasis o f eve rything wedo

Based on th isp hi losop hy, wehave joined wit hM ichigan Op era Th eatre to present to the D etroit com munity the finest entertainmentLUCIANO PAVAROTTI , THE WORLD'S GREATEST TENOR .

Copyright 2010, Michigan Opera Theatre