PROGRAM: Bravo 1990-91 Opera and Dance

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

FOR 20 YEARS, YOUR PERFORMANCES HAVE BEEN BRINGING US 1D OUR FEET.

September 10, 1990

I am delighted to extend greetings to the members and friends of the Michigan Opera Theatre as you celebrate its 20th anniversary. Congratulations on this milestone.

During the past two decades, the Michigan Opera Theatre has given audiences in Detroit and, indeed, audiences throughout the Wolverine State, countless hours of joy. Today the company continues to perform with a high level of enthusiasm, artistry, and skill, captivating young and old alike. Through its production of grand opera, operettas, and music theatre, the Michigan Opera Theatre offers something for everyone from great classics to innovative contemporary works.

The Michigan Opera Theatre's commitment to its community is highlighted by its educational and outreach programs for students and other individuals who might not otherwise be able to enjoy live performances. The citizens of Detroit can take pride in the success of this young and growing opera company. It is fine organizations such as the Michigan Opera Theatre that bring ever greater vitality and depth to our Nation's rich cultural heritage.

Barbara joins me in sending best wishes for a happy 20th anniversary and every future success. God bless you.

Copyright 2010, Michigan Opera Theatre

September 5, 1 990

Greetings:

I am pleased to join the Michigan Opera Theatre of Detroit in celebrating your 20th anniversary as a noteworthy and talented artistic organization.

The members of the Michigan Opera Theatre--our state's only year-round opera company and the loth largest opera company in the United states--are deser v ing of thanks and praise for dedicating yourselves to building lasting theatrical operetta and musical traditions. Your educational and entertaining perform ances have touched and delighted countless individuals.

I commend each of you--administrators, te chnicians, actors, singers and musicians--as you begin your third decade of bringing national recognition to our Great Lake state. Each of you has helped bring to life th e sounds and splendor of the opera.

As Governor, I salute you and offer sincerest best wishes for an unforgettable anniversary celebration.

sincerely,

J. Blanchard Governor

JAME S J B LAN CHARD GOV E RN O R

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October 11, 1990

Michigan Opera Theatre

6519 Second Avenue

Detroit, Michigan 48202

GREETINGS:

Congratulations on your 20th anniversary of enriching Detroit's cultural atmosphere. For two decades, you have provided internationally acclaimed grand opera, operetta, and musical theater to the residents of Detroit.

Your outreach programs have brought the beauty and drama of opera to students and communities statewide who would otherwise have no access to the art form. You have demonstrated a commitment not only to maintaining high artistic standards, to making opera accessible to the citizens of Michigan.

I am pleased that you have chosen to remain a permanent part of Detroit's downtown cultural life. In renovating and expanding a former Detroit movie palace in the Grand Circus Park theater district for your new home, you are making a substantial contribution to the revitalization of our fine city.

We must not neglect the importance of the arts to the economic health of Detroit. The art of opera fosters communication and creativity, two valuable resources to an expanding urban center.

Once again, congratulations on your 20th anniversary. I look forward to continued stunning performances in the future.

Copyright 2010, Michigan Opera Theatre

City oj Detroit Executive Office

Coleman A. Young, Mayor

Welcome to Michigan Opera Theatre's twentieth anniversary season!

Anniversaries are a time for reflection on the past , present and future. Looking back at Michigan Opera Theatre ' s spectacular growth and national prominence, I am constantly amazed by the great distance we have traveled in such a short time.

In 1963, I first began producing a program called Overture to Opera under the auspices of the Detroit Grand Opera Association, designed to showcase productions that the Metropolitan Opera tour brought to Detroit. It soon became evident to me that Detroit was ready and eager to sustain its own full time, professional opera company, one whose mission would be to serve all of Michigan with quality entertainment and arts education With great excitement and the support of many enthusiastic friends in the Detroit community, we launched our first season in 1971 at the Music Hall.

Twenty years and many milestones later, we can all take great pride in this organization, which was born and nurtured in Detroit and is now recognized as one of the nation' s leading opera companies We have maintained our commitment to offering the widest possible spectrum of beloved operatic favorites, neglected masterpieces and significant opera and musical theatre works by American composers.

During this anniversary season, the opera company will achieve its landmark lOOth main stage production, Madama Butterfly in 1991. This does not include the many performance offered annually throughout the State by our outreach program which is one of the most active in the country."

Of course, none of our successes would be possible without the unwavering loyalty of our contributors. If opera is the most exciting of art forms, it is also the most demanding and expensive, beyond the limits of ticket income alone. To the thousands of you who have been our loyal subscribers, contributors and volunteers, sustaining us from each overture to finale - to you I am extremely grateful.

As the dream of a permanent home for the opera company comes to fruition, the challenges and rewards of the next decade will be greater than ever before. But the formula for success remains the same: with your continued support, Michigan Opera Theatre's future is assured, as are many more anniversaries.

David DiChiera Founder and General Director

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Michigan Opera Theatre was also the first opera company in the Midwest to provide its audiences with Surtitle translations, a technology which has become standard in most major opera houses around the country

Today , the company offers a full spectrum of opera entertainment, from the brilliant comedies of Mozart to the drama of Verdi to the 20th century verismo of Stephen Sondheim. Recently Michigan Opera Theatre has enhanced its seasons with presentations of grand classical ballet, providing Detroit audiences with the opportunity to enjoy an art form seldom seen in the city.

As a result of MOT's commitment to artistic excellence and accessibility , its total base of support has grown impressively : over 230,000 people annually are exposed to both main stage productions and educational outreach performances across the State; the company's subscribers now number over 8,000; and its financial contributors have swelled to more than 7,500.

Highlights of the company's more than 550 main stage performances include many operatic triumphs: the professional operatic debut of Kathleen Battle, who is considered the finest lyric coloratura soprano in the world today; the final Norma of Dame Joan Sutherland and its subsequent nationwide broadcast on National Public Radio; the revival, telecast and ensuing Broadway run of Th e Mo st Happy Fella; the directional debut of actor Sal Mineo with Th e Medium, in which he also played Toby; the telecast of Copland's Th e Tender Land with the composer himself at the podium; the American opera debut of Cleo Laine in The Merry Widow; Catherine Malfitano's first La Tra v iata; Victoria Vergara ' s first Carmen; the American role debut of Ghena Dimitrova in Turandot; the historic Detroit concert debut of Luciano Pavarotti, the world premiere of Pasatieri ' s Washin g ton Square , the American premieres of the Armenian opera Anou sh and Poland ' s The Haunted Ca stl e. Further national recognition has come from mounting important revivals of such American works as Gershwin' s Porgy and Bess, Blitz stein' s Regina , and Gruenberg's Th e Emperor Jon es. In fact, fully 25 % of the company ' s main stage productions have been devoted to opera and musical theatre works by American composers .

And in a wonderful stroke of serendipity, the final opera of this two decadelong era Madama Butterfly , which concludes this season, will be the company' s 100th presentation.

Credit David DiChiera and the Michigan Opera Theatre with commissioning a fascinating work, Washington Square, and then giving its memorable treatment.

- Variety

DiChiera overcame Detroit's inferiority complex about the arts by mounting events of national interest.

- Christian Science Monitor

Michigan Opera Theatre

The 1971-1991 Repertory: A Celebration of Twenty Seasons

1971-72

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

Andrew Lloyd Webber and Tim Rice

LA RONDINE Giacomo Puccini

THE PERFECT FOOL Gustav Holst

1972-73

COSI FAN TUTTE Wol fgang Amadeus Mozart

TOSCA Giacomo Puccini

THE TELEPHONE and THE MEDIUM Gian-Carlo Menotti

1973-74

RIGOLETTO Giuseppe Verdi

Kathleen Battle's Pam ina was what Mozart must have dreamed of.

- The Detroit News

Kathleen Battle and Ron Raines in The Magic Flute, 1977

This Faust is one of MOT's most memorable efforts.

- The Detroit News

"Catherine Malfitano gave a sensitive rendering, well-studied and superbly sung"

-Birmingham/Bloomfield Eccentric

Catherine Malfitano in La Traviata, 1979

Copyright 2010, Michigan Opera Theatre

MADAME BUTTERFLY Giacomo Puccini

THE MERRY WIDOW Franz Lehar

1974-75

LA TRAVIATA Giuseppe Verdi

BORIS GODUNOV Modest Mussorgsky

THE ELIXIR OF LOVE Gaeta no Don izetti

DIE FLEDERMAUS Joha nn 5 trauss 11

1975-76

PORGY AND BESS George Gershwin

LA BOHEME Giacomo Puccini

LUCIADI LAMMERMOOR

Gaeta/1O Don izetti

THE BARBER OF SEVILLE Gioacchino Rossini

1976-77

WASHINGTON SQUARE (World Premiere) Thomas Pastieri

MADAME BUTTERFLY Giacomo Puccini

NAUGHTY MARIETTA Victor Herber t

THE MAGIC FLUTE Wolfgang Amadeus Mozart

A scene from Faust, 1977

At the personal invitation of impresario David DiChiera, many more of the music world's brightest talents have performed on the Michigan Opera Theatre stage, among them Giorgio Tozzi, Jerome Hines, Rockwell Blake, James McCracken, James Morris, Judith Forst, Carol Neblett, Juliet Prowse, Nancy Dussault, Edie Adams, Martha Schlamme, Jo Anne Worley, Joan Diener, David Patrick Kelly, Imogene Coca, Judy Kaye, Pab lo Elvira, Benita Valente, Mariella Devia, Bianca Berini, Livia Budai, Petteri Salomaa, Richard Cowan, Frank Guarerra, Ruth Ann Swenson, Isola Jones, Mignon Dunn, Nancy Shade, Phyllis Curtain, Timothy Noble, Cleopatra Ciurca, Cheryl Parrish , Tracy Dahl, Diana Soviero, Muriel Greenspon, Nancy Shade, Stephanie Sundine, Sheri Greenawald, Michael Myers, Brenda Boozer, Kurt Moll, Hermann Winkler, Scott Reeve, Kathleen Hegierski, Diane Kesling, Ealynn Voss, Martina Arroyo, Vyacheslav Polozov, Stephanie Friede, Pamela Myers, Brent Ellis, and Neil Schicoff.

The company ' s philosophy of offering young aspiring artists performance opportunities is well regarded, and particular recognition has come for its role in the emergence of such outstanding Black American singers as Ms. Battle, Maria Ewing, Leona Mitchell, Carmen Balthrop, Wilhelmenia Fernandez, Vinson Cole, Andrew Smith, and cond uctor Willie Wa ters. The spirit of this opportunity is kept alive annually with the Young Artists Apprentice Program, which offers nationally recruited singers and production personnel performance and career opportunities.

Under the leadership of nationally pmminent educator and composer Karen DiChiera, Michigan Opera Theatre's popular and successful winter residency program is now enjoying its 17th successive year of touring the state, bringing opera to communities in both the Upper and Lower Peninsulas With approximately 300 services annually, the company's 12-year-old education department has taken the national lead in providing performance 1 that both educate and entertain families and young audiences about the perils of substance abuse, smoking and a variety of social issues. The department has given special emphasis to providing necessary tools for the enjoyment of opera to the physically challenged through American Sign Language interpreted performances, audio tapes for the blind, TDD Voice for hearing impaired ticket buyers, ins chool curriculum for special needs students, and has been instrumental in establishing the Southeast Michigan Chapter of the Very SpeCial Arts Festival

MOT has grown into a regional opera company to be reckoned with -Windsor Star

MOT has become the focal point of a cultural renaissance in Detroit. -NewYorkDa ily News

The American premiere of Anoush .. .one of the best M has done.

Michigan Opera's revival of The Most Happy Fella is an enjoyable edition of Loesser's hit musical - Variety

MOT's new production of The Pearl Fishers .. ., Bizet would have been ecstatic with the results.

- Detroit Free Press

Copyright 2010, Michigan Opera Theatre

- The Detroit N

A scene from Th e Pearl Fi shers, 1978

-

Michigan Opera Theatre: Detroit's showcase - Christian Science Monitor

Copyright 2010, Michigan Opera Theatre

1977-78

REGINA

Marc Blitzstein

CARMEN

Georges Bizet

THE STUDENT PRINCE

Sigmund Romberg

FAUST

Charles Gounod

AMAHL AND THE NIGHT VISITORS

Gian-Carlo Menotti

1978-79

THE PEARL FISHERS

Georges Bizet

SHOWBOAT Jerome Kern

LA TRAVIATA

Gius eppe Verdi

IPAGLIACCI

Ruggiero Leoncavallo

THE EMPEROR JONES

Louis Gruenberg

MADAME BUTTERFLY (Midland Festival)

Giacomo Puccini

THE TENDER LAND (Mid la nd Festival)

Aaron Copland

1979

THE MOST HAPPY FELLA

Frank Loesse r

IL TROV ATORE

Giuseppe Verdi

LA BOHEME

Giacomo Puccini

JOAN OF ARC

Peter Ilyi ch Tchaikovsky

1980

DIE FLEDERMAUS

Johann Strauss II OF MICE AND MEN

Carlis le Floyd

DON GIOVANNI

Wolfgan g Amadeus Mozart

RIGOLETTO Giuseppe Verdi

FIDELIO (in collaboratio n with th e DSO)

Ludwig van Beethovel!

THE PEARL FISHERS (Mid l and Festival)

Georges Bizet

1981-82

TOSCA

Giacomo PUccini

CARMEN

Georges Bizet

ANOUSH (American P re miere)

Armen Ti granian

"How does Michigan Op era Th ea tr e spell success?

C-L-E-O- L-A-I-N-E"

Detroit Free Press

Cleo Laine in A Little Night Mu sic, 1984

Community Programs offering excerpts from Hansel and Gretel for school children.

'MOT's Residency troupe is a youthful company of singing actors (and teachers), who not only entertained, but educated as well"

-SOuth Haven Daily Tribune

"MOT hits the jackpot (Lucia di Lamm ermoor) "-

The Detroit News

Donnie Ray Albert and Wilhelmenia Fernandez in Porgy and Bess, 1982

Dr. DiChiera ' s successful efforts to establi s h MOT as one of the preeminent companies in the nation have been widely recognized and honored , including special citations from the Detroit City Council, the Michigan State Legislatur e, and the Michigan Foundation for the Arts The Detroit News, in el ecting him as a Miclliganian of the Ye ar in 1979, stated " "DiChiera has done more than any single person in the city or state to bring opera to the people." The President of the Republic of Italy recognized his achievements by investing him with the order of Cavaliere al Merito dell a Republica

The company's national prestige is further enhanced by David DiChiera ' s appointments as General Director of Op e ra Pacific in California ' s Orange County and Artistic Director of Ohio's s uccessful Dayton Opera The relationship between the three companies has proven to be a cost-effective means of co-producing new, lavish main stage productions and presenting important community education performances.

As a non-profit company, Michigan Opera Theatre derives its annual income from a variety of sources including the sale of tickets, both season subscriptions and single performances; through the generosity of private donors, corporations , foundations , state and federal agencies; and through a myriad of sp ecial fund raising events coordinated by a bod y of dedicated volunteers . Together, thes e sources have kept the company ' s $5 million plus budget deficit[free and in the black, having been cit e d b y th e Ford Foundation as one of the most fiscally responsible arts org a nizations in the country The organi zation is governed by a 38member Board of Directors with further guidance by the 262-member Board of Trustees.

As we enter our third decade, the company looks forward to ending its nomadic existence and establishing its presence in the City of Detroit: within the next four years, Michigan Opera Theatre will complete the renovation and expansion of the opulent Grand Circus Theater (formerly the Capitol) as a new opera house for the City of Detroit and a permanent home for Michigan Opera Theatre's many activities .

Several years ago, the opera company concluded that its future rested upon having control of its own facility , one which would adequately house the trem endous resource demands of grand opera and the company's many outrea ch activities, while providing necessary audience amenities After an exhaustive search by MOT Board

Le ona Mitch e ll , James Diets ch and Z Edmund Toliver in Aida

David Cry e r and Judy Kaye in Swee nl!1j T odd, 1984

The city's fastest growing arts organization.

- The Detroit News

THE MIKADO WS. Gi lbert and Athur Su I/ ivan

PORGY AND BESS

George Gershwil7

1982-83

HAUNTED CASTLE (Ame ri can premiere) Stanis la w Moniuszko

LUCIADI LAMMERMOOR

Gaetano Donizett i

Michigan Opera Theatre's production (Baby Doe) reminds us what we have been missing.

- Detroit Free Press

Cheryl

Orpheus in the Undenvorld, 1986 the wall as well as brilliant, stunning, delightful, colorful and fun, fun, fun

- Saginaw News

Joan Suth e rland in th e final Norma of her career (1989)

Joan Sutherland's final performances as Bellini's 'Norma' wowed a sold-out Masonic Temple.

- Detroit Free Press

Sutherland in best feathers for swan song

- Toronto Star

Pavarotti conquers an adoring audience at Joe Louis Arena

- Detroit Free Press

TREEMONISHA

Scott Joplin

THE MARRIAGE OF FIGARO

Wolfgan g Amadeus Mozart

THE SOUND OF MUSIC

Richard Rodgers and Oscar Hammer stein

1983-84

LA TRAVIATA

Giuseppe Verdi

FAUST

Char les Gounod

A LITTLE NIGHT MUSIC Stephen Sondheim

ANNA BOLENA Gaetano Donizetti

1984-85

THE MERRY WIDOW Franz Lehar

THE MAGIC FLUTE Wolfgan g Amadeus Mozart

SWEENEY TODD Stephen Sondheim

AIDA Giuseppe Verdi

1985-86

GIANNI SCHICCHI Giacomo Puccini

IPAGLIACCI

Ru ggiero Leon cava llo

MARTHA Friedrich von Flotow

WEST SIDE STORY Leonard Bernstein

TURANDOT Giacomo Pu cc ini

1986-87

ORPHEUS IN THE UNDERWORLD Ja cq ues Offenbach

MADAMA BUTTERFLY Giacomo Puccini

MY FAIR LADY

Alan Jay Lerne r and Frederick Loewe

TOSCA Giacomo Puccini

Copyright 2010, Michigan Opera Theatre

Karen & David DiChiera with Luciano Pavarottiat the 1988 Opera Ball, following the legendary tenor's Detroit concert debut at th e capacity 18,OOO-seat Joe Louis Arena.

IL BARBIERE DI SIVIGLIA Gioacchino Rossini

PORGY AND BESS George Gershwin

Parrish in The Ballad of Baby Doe , 1988

Members of the City's existing facilities and analyzing costs of building a new facility, MOT selected the Grand Circus Theater as the ideal solution.

Unlike most American urban centers which demolished their grand theatre edifices in exchange for parking lots, six former entertainment palaces within a three-block area still stand in downtown Detroit. Collectively they represent the largest theatre renovation program in the world.

Among the nation's largest cities, Detroit is the only one whose Opera Company does not have a permanent home. To complete the entertainment district, anchor its core, provide a broader programming base, bring more employees into the area, and introduce new life year-round into the area, and ultimately to satisfy the needs of the burgeoning Michigan Opera Theatre, the Detroit Opera House is being developed .

The Grand Circus Theater was the first in a series of palatial vaudeville and moving picture houses to be built in the 1920' s surrounding Grand Circus Park. As with all of C. Howard Crane's theatres, its acoustical properties are considered among the finest from any of its 3,000 seats and 19 boxes Resplendently decorated in Italian Renaissance style, the theatre boasts Tiffany stained glass panels, crystal chandeliers, frescoes, brass fixtures, and marble stairways and drinking fountains.

Leadership gifts from the corporate, foundation and private sector have already been pledged and received, enabling the company to complete the property acquisition phase of the project. The capital fund-raising campaign for the building's renovation and expansion will be under the very able Chairmanship of Mr. and Mrs. Philip Benton, Jr. (president and COO Ford Motor Company) and ViceChairmanship of Mr. and Mrs. Robert T. O'Connell (Executive Vice President of Finance - GMAC, General Motors Corporation).

In 1982, The Detroit News stated "David DiChiera has brought a missionary's zeal to the task of making our aging industrial capital hum with the sounds of Puccini and Gershwin, Mozart and Kern .In brief, DiChiera wants to build an important opera company right here in the Motor City " That dream is now reality, and a new and greater vision has replaced it: a Detroit revitalized by a thriving entertainment district which attracts people not only from the suburbs but from across the country. And at its heart, one of the world's most magnificent opera houses We invite you to participate in this dream for the future and to celebrate one of Michigan ' s greatest traditions.

Soprano (Nova Thomas) soars in MOT's 'La Traviata' - Ann Arbor News

MOT sets a new standard in a glorious 'Romeo et Juliette'

- The Detroit News

Could there be a sweeter, more ebullient Juliet than Ruth Ann Swenson?

- Opera (England) Act

- Detroit Free Press

Copyright 2010, Michigan Opera Theatre

Mrs . Roger M. Ajluni and Mrs. Charles M. Endicott, Co-Chairpersons of the fourth annual Opera Ball, (1990) held at The RitzCarlton, Dearborn

Ruth Ann Swenson in Romeo et Juliett e, 1990

MOT's 'Swan Lake' glistens across Masonic Temple stage

- Detroit Free Press

The production, designed and directed by English theater artist John Pascoe is visually stunning ... there was an overabundance of riches

- Ann Arbor News

All ages will enjoy MOT's newest (Hansel and Gretel)

- Obvserver & Eccentric Newspapers

Copyright 2010, Michigan Opera Theatre

1987-88

FALSTAFF

Giuseppe Verdi

MAN OF LA MANCHA

Mitch Leigh

KISMET

Robert Wright and George Forrest

IL TROVATORE

Guiseppe Verdi

DIE FLEDERMAUS

Johann Strauss II

LA BOHEME

Giacomo Puccini

LUCIANO PAVAROTTI IN CONCERT

1988-89

THE BALLAD OF BABY

DOE

Douglas Moore

FOLLIES

Stephen Sondheim

THE PIRATES OF PENZANCE

W. S Gilbert and Arthur Sullivan

ORLANDO (Academy of Ancient Music)

George Frederick Handel

NORMA

Vincenzo Bellini

THE MARRlAGE OF FIGARO

Wolfgang Amadeus Mozart

CARMEN

Georges Bizet

1989-90

LES MISERABLES

Alain Boublil and ClaudeMichel Schonberg

HANSEL AND GRETEL

Engelbert Humperdinck

SWANLAKE (Cleveland Ballet)

Peter Ilyich Tchaikovsky

DON GIOVANNI

Wolfgang Amadeus Mozart

LA TRAVIATA

Giuseppe Verdi

ROMEO ET JULIETTE

Charles Gounod

1990-91

RIGOLETTO

Giuseppe Verdi

SHOWBOAT Jerome Kern

COPPELlA (Cleveland Ballet)

Leo Delibes

ARIADNE AUF NAXOS

Richard Strauss

THE MAGIC FLUTE

Wolfgang Amadeus Mozart

MADAMA BUTTERFLY

Giacomo Puccini

The finale of Act I, Don Giovanni, 1990

Jeffrey Bruce as the Witch in Hansel and Gretel, 1989

Artist's rendering of Detroit's new opera house

Serge Lavoie and Cynthia Gregory in Cleveland Ballet's Swan Lake, 1990

1963-0verture to Opera established as educational/outreach arm of Detroit Grand Opera Association 1970 - Overture presents its first full-length opera, The Barber of Seville starring Maria Ewing in her company debut, and Italo Tajo, who directs. Performed at the Detroit Institute of Arts and three other locations across the state. 1971 - MOT (still under name of Overture to Opera) has first main stage season in the Music Hall Center; season includes Puccini's La Rondine Andrew Lloyd-Webber's rock opera Joseph and the Amazing Technicolor Dreamcoat; produces Gustav Holst's The Perfect on the 050's children's series. 1972173 - Phyllis Curtin sings the title role of Tosca. 1973 - David DiChiera founds the np1N11I1_ formed Music Hall Center for the Performing Arts and is named its first Artistic Director; The newly renamed Opera Theatre (in accordance with its mandate to serve the entire State) locates administrative offices headquartered Actor Sal Mineo directs and stars as Toby in Menotti's The Medium; MOT tours Tosca to Kalamazoo. 1974 - Met bass J"'1""",'Hines sings title role of Boris Godunov; MOT conducts first state-wide residency tour. 1975/76 - Leona Mitchell debuts Porgy and Bess; Kathleen Battle makes her operatic stage debut as Rosina in The Barber of Seville; Catherine Malfitano her first-ever La Traviata; Rockwell Blake sings Lindoro on tour of Barber. 1976/77 - World Premiere of Pasatieri's ton Square receives national attention, Ron Raines debuts as Arthur , Kathleen Battle returns to sing Pamina in The Nlll21/ Flute. 1977 -:l 78 ;; Viictoria Vergara sings her first Carmen; David Alden directs stunningly dramatic new Faust. 7C) - MOT's Community Programs Department is founded by nationally prominent composer and arts educator DiChiera; First major revival of The Pearl Fishers. Catherine Malfitano sings her first-ever La Traviata. Rarely performed Emperor JoneS' shares double bill with 1 Pagliacci starring Jon Fredric West. 1979 - MOT perfonns at Matrix Midland witll. Madama Butterfly and The Ten4er Land; the latter is subsequently telecast on PBS; MOT's The Most Happy Fella goes Broadway and receives PBS telecast; DiChiera named a "Michiganian of the Year" by The Detroit News; Mignon Dunn Tchaikovsky's Joan of Arc. 1979-83 - DiChiera elected President of OPERA America, the only national service for professional opera companies, helps establish "Opera For the 80s and Beyond" and later serves as first chairman for program to develop new works. 1980 - MOT and 050 collaborate on Beethoven's Fidelio; Imogene Coca portrays Orlofsky in Die Fledermaus; Composer Carlisle Floyd directs his own opera Of Mice and Men to critical acclaim. 1981DiChiera named Artistic Director of Dayton Opera 1981/82 - American premiere of Anoush, receives national press WilheIrnenia Fernadez, direct from her film debut in Diva, sings Bess in Porgy and Bess. 1982183 - American premiere of

MICHIGAN OPERA THEATR Evolution of a Cultural Mainsta

Haunted Castle; Mariella Devia sings stunning Lucia di Lammermoor; Broadway's Judy Kaye, who recently won a Tony for role in Phantom of the Opera, makes her MOT debut in The Sound of Music; ABC's Ted Koppel does live interview with DiChiera on the Music Hall stage following a performance of MOT's La Traviata, starring Metropolitan Opera soprano Valente; Carmen Balthrop sings Treemonisha 1983/84 - Cleo Laine makes her MOT debut in the company's first tion of a Stephen Sondheim work, A Little Night Music; season is capped by MOT's first proauction ever in the Temple, Anna Bolena starring Dame Joan Sutherland. The production marks Midwest premiere of surtitles Company moves administrative offices to New Center Area and makes Fisher Theatre its fall residence; David named General Director of Opera Pacific; West Side Story receives extended run, becomes the company's top-grossing office hit; Bulgarian soprano Ghena Dimitrova makes her North American opera debut as Turandot. 1986/87offerings increase to six productions, and company mounts first spring grand opera season and the first Opera Ball; into top ten opera companies in the U.S. based on operating budget, ranks seventh based on audience attendance; I"1-Ul<OU' WO premiere of Gerald Scarfe's Orpheus in the Underworld creates sensation; season also highlighted by a revival of Martha, production of My Fair Lady and by stelLar Th e Barber of Sevill e 1987/88 - Budget tops $5 million mark; MOT launches season ever, brings Luciano Pavarotti to Joe Louis arena for his historic Detroit concert debut, sponsored by Ford Company'; .NumBer of subscribers climbs to over 9,000; La Boheme introduces Detroit audiences to Russian tenor VyacJt. eslav Polozov and former MOT intern Stephanie Friede as the famous lovers, final performance sold-out. 1988/89 - Douglas Moore' s The Ballad of Baby Doe presented for the first time in 28 years in Detrbit. Opening night of the season coincides the SOOth public performance; season ellds with sixth consecutive season financially sound and "in the bla ck". 1989Board agrees to purchase its own opera house, secures first parcel in Grand Circus Theater block for future performance new production of Norma is commissioned from English artist John Pascoe for Dame Joan Sutherland's final nplrtolrma of the role; Company has first NPR broadcast. Company receives first production sponsorship ever - Norma is made by Ford Motor Company. 1989/90 - Adds classical ballet to season mix with Swan Lake starring Cynthia Gregory; sions new production of Don Giovanni bY' John Pascoe, underwritten by Ford Motor Company. MOT audiences for stage and outreach programs exceeds 230,000 . 1990 - Michigan Opera Theatre Gelebrates its 20th anniversary season; DiChiera receives Governor's Arts Award for outstanding educational contributions and achievements in the arts; pany mounts first-ever production of a Richard Strauss opera, Ariadn e auf Naxos, starring sensational Alessandra Judith Forst; Season also includes debuts of Japanese soprano Yoko Watanabe, Gail Dubinbaum, Jonathan Welch, Malis , Eddie Bracken. Company stages The Magic Flut e with sets and costumes designed by David Hockney: MOT remaining property in Grand Circus Theater block , which will become the new opera house for Detroit.

Copyright 2010, Michigan Opera Theatre

Crabtrae

Duru

Eddie Bauer / Episode / Fannie May Candies

Fantasies By Morgan Taylor

Fila Boutique Of Troy / Gala Hallmark

Godiva Chocolatier / Graham & Gunn

Gucci / Houlihan's Restaurant & Bar

Jaeger / Johnston & Murphy Shoes

LaCuisine Jardin / Laura Ashley

Laura Ashley Mother & Child

Lillie Rubin / Louis Vuitton / Mark Cross

Max & Mindi / Mondi / Nino - Hairdressers

Rodier-Paris / Saks Fifth Avenue

Sebastian's Restaurant

The Sharper Image / Sherman Shoes

Standard Federal Bank / Williams-Sonoma

Lalique Angel Champagne

The mark of an expert florist.

The FTO ®logo tells you that you're dealing with Which is why their bouquets say exactly how you an experienced professional. FTD Florists have (. feel...beautifully So when you're choosing, uncompromising standards. Along with an ' . florist. look for the FTO symbol. For quality eye for beauty And an ear for listening to you. arrangements, it's a sign you can trust.

The feeling never ends':

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

all the times youve seen the words "new improved" used to introduce products, it's no you're skeptical. But the all-new 1991 Ninety Is an automobile we truly believe delivers on in avery big way. and out, the Ninety Eight has totally changed. it redefines the contemporary luxury car.

The N'mety Eight is lcrrger now, bringjng you more you want from aluxury car. More back seat and over 20 cubic feet of trunk space.

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adjusts the ride to match changing road conditions. And the air bag on the driver's side is now standard, too. And nowhere else will you find the Oldsmobile Edge, the exclusive comprehensive owner satisfaction program that can't be touched by any other luxury automobile you can buy, regardless of cost.

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A lifetime means it doesn't matter how many miles you drive. Or if your car is new or used. And that means LSG covers more parts and labor longer than anyone else. Which makes it America's best car QUALITY CARE repair guarantee. ______

Ask a partici pa ting Ford or Lincoln-Mercury dealer for LSG. Because Peace of Mind is having a guarantee that won't disappear. Copyright 2010, Michigan Opera Theatre

What many other car repair guarantees cover after 90 days.

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Even if your car isn't ailing now, AC-De1co parts can still help get it started and keep it going. an AC-Delco replacement parts are designed to meet the perfonnance and reliability standards a car requires. make sure yours receives routine checkups and quality AC-De1co parts. It's just the kind of maintenance car needs to help it live a long and healthy life. For the AC-De1co retailer nearest you, call1-800-AC-DELCO.

Copyright 2010, Michigan Opera Theatre

DUQuet Jewelers procure only premium diamonds and gem stones. The settings for these exquisite gems are hand crafted by DuQuet's own craftsmen to produce the exceptional one-ofa-kind creations that have made the DuQuet name well known,

DUQuet Jewelers features the Country's largest collection of Munsteiner Gem Stones (inset) including loose stones valued from $1,000 to $20,000. DuQuet's designers and jewelry craftsmen manufacture our own settings, Insuring that each creation is truly one-of-a-kind.

Genl 's 18K Gold Blue-Green Tourmaline Ring $8300 ' Ladies 14K Gold &: Diamond Brooch $7500

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Ladies 14K Blue Sapphire &: Diamond Eternity Bracelet $7995 ' Ladies 14K Gold &: Diamond Bracelet $9540

Copyright 2010, Michigan Opera Theatre

David Wachler & Sons presents our exclusive Earsprays A stunningly feminine collection of custom-designed earrings and earring jackets. The versatile earring jackets can be worn with your own diamond, pearl or gemstone studs or ours.

Come view our latest designs or let us create an original pair of Earsprays for you. Only at David Wachler & Sons.

• " The office of drama is to exercise, possibly to exhaust, human emotions

The purpose of comedy is to tickle those emotions into an expression of light relief; of tragedy, to wound them and bring the relief of tears ."

laurence Olivier. Confessions of an Actor

Copyright 2010, Michigan Opera Theatre

Let the music begin! Let it envelope you. Enrapture you. Move you to joy, to laughter. May its beauty and artistry remain with you long after the fi nal notes have become memories.

General Motors joins with you in appreciation of this Michigan Opera Theatre performance.

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As one of the most comprehensively packaged health plans available anywhere, HAP can offer you extensive coverage for everything from routine office visits to hospitalization. And that coverage comes from a network of over 2,100 area doctors, 41 medical

centers and 18 major hospitals. Plus, HAP takes care of all the other usual health care pains, too. So there are no doctor bills, claim forms or deductibles for you to worry about.

To find out more about HAP, just call us at 872 -8100 today. You'll see that no other health plan goes _ to such great II,r-'

pains to keep I • • you healthy. Your health deserves the best.

Copyright 2010, Michigan Opera Theatre

Shop 'talk: II

Ad of the Month is a DMB&B / Bloomfield Hills idea. It gives recognition to top creative teams and sparks a friendly competition throughout the agenc y Keeps us on our toes. The winning advertising is disp la y ed in our lobby and qualifies for

Copyright 2010, Michigan Opera Theatre

Ray Blackwell

Dave Baker

Lori Ackerman

Jere Chamberl in Lynne Dorando Gary Howell

"The arts embody the free and true expression of the ideals, the aspirations, and the values of the times:'

Harold A. Poling Chairman and CEO Ford Motor Company

Ours does.

He's factory-trained by General Motors .

He gets regular updates and seNice bulletins from Detroit on GM's latest technology.

He keeps a full stock of genuine GM parts on hand, and he has access to a computerized network that helps him locate hard-to-find parts.

He's Mr. And now that he's going head-to-head with the competition on price, he's a great choice for all your seNice needs, big or small .

Mr. Goodwrench . Now at over 7,700 Chevrolet, Pontiac , Oldsmobile, Buick, Cadillac and GMC Truck dealerships nationwide .

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It's your total engineering and manufacturmg re source. Because when we roll up our leeve s, you get a variety of viewpoints . And yo u get them fast.

Co nsider our four Detroit-based technical centers. Or the state-of-the-art prototyp ing facilities of the Milford FabricatIng Com pany. And the quality specialists

of our Plastics , Stamping and Frame , and Wheel and Brake Divisions .

In short, The Budd Network can turn the words "what if " into "can do :' Because your success is a function of time. And it's our specialty Let's talk. Call (313) 643-3520. Put The Budd Network to work for you.

We are pleased to announce the availability of a family mausoleum of six outdoor crypts in the Garden of Hope. A White Chapel staff member will be happy to assist you with further information . Please call 564-5475

Copyright 2010, Michigan Opera Theatre

WHY MORTGAGE CLIENTS PREFER C

RASE

- When itcomes t6 tfte holtJe '.

Setvicesis a leader in a wcent }

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offers you a broad chOic€Qfprogramsand repayment optionstoaccotJ:1rtlQdate yo ur unique needs . .. '.

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For more ttiformation on mortgages up to $2 million or more, call your local ojfice

WHICH EXPENSE REPORT WOULD YOU RATHER REVlEWiI

Th e numb er of bills , rece ipt s , a nd documents ge n era te d eac h year by Travel & Ent erta inm e nt is s tagger in g . How do yo u reduce the p a p erwo rk a nd improve co ntrol wit h o ut sapp in g the e xpe nditure that's so cr iti cal in building yo ur co mpany's business? A co rp ora te ca rd system ma y be th e answer. In fa ct , it ca n m a ke th e T&E inv es tm e nt eve n more produ ctiv e.

THE

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t in sta ntl y access ibl e

If yo u ' d rath er b e lookin g a t th e ex p e n se repo rt o n top , look int o the A m e ri ca n Ex press ' Corporate Ca rd System. After all, s hou ldn ' t yo u m a na ge T&E lik e yo u manage th e res t of yo ur business?

51

Copyright 2010,

Opera Ball 1991

David

The Board of Directors of

, General Director Michigan Opera Theatre and Ford Motor Company invite you to attend

The 1991 Opera Ball

Friday, May 3, 1991 at The Ritz·Carlton, Dearborn

Co-Chairs

Mrs. Donald C. Austin and Mrs. Louis E. Ross

DiChiera

Mr. Rob ert E. Dewa r Clilli rma n

Dr David DiChiera

Pres ident

Mr. Cameron B. Dunca n Treasllrer

Mr. J Addi so n Bartus h

Secretary

Mrs Robyn J Arrington

Mrs Donald C. Austin

Mr Philip E Benton, Jr.

Mr . Rich ard A. Cascio

Mrs Peter Cooper

Mr. James F. Co rd es

Mr . John W. Da y

Mrs. Charles M. Endicott

Mrs Roge r Fridholm

Mr. Michael J. Friduss

Mr. John C. Griffin

Mr Dav id B. Hermelin

Mr. W es ley R. John s on

Mrs. William E. Johnston

Mrs. Charles Kessler

Dr Rich a rd W Kuli s

Mr. Walton A . Lew is

Mr. Robert T O' Co nnell

Mr Jul es L. Pallon e

Mr. David Poll ack

Mr. Andr e w M Save l

Mrs Ri ch ard D Starkweather

Mr. Frank D. Stella

Mr. Alan E Schwartz

Mr. C. Th o ma s T op pin

Mr. Rob e rt C. VanderKloot

Mr. Rich a rd C. W ebb

Mr Gary Whit e

Mrs. Sam B Willi a m s

Mrs . R. A lexa nd e r Wrigl ey

Mr Morto n Zieve

DIRECTORS EMERITUS

Mr. Frank W. Donovan

Mr. H Jam es Gram

FOUNDING MEMBERS

Mr and Mrs. Lynn A.

T ow n se nd

Founding Chairmen

Mr. and Mrs. Avern L. Co hn

Mr. a nd Mrs. Jo hn D eCa rlo

Dr. an d Mrs D a vid DiC hiera

Mr. a nd Mr s Aaron H Ge rs henson

Mr. a nd Mr s. Donald C. Graves

H o n o r a bl e a nd Mrs. Rom a n S. Gri bbs

BOARD OF DIRECTORS

Mr. and Mrs. John C. Griffin

Mr . and Mrs . Harry L. Jon es

Honorable and Mr s Wad e McCree, Jr.

Mr. Harry J Nederlander

Mr. E H a rwood Ry d h olm

Mr. a nd Mrs. Neil Snow

Mr. and Mrs. Ri ch a rd Strichartz

Mr. and Mrs. Rob e rt C. Vand e rKloot

Mr. and Mrs. Sam B. Williams

Mr. and Mrs. Th eodo re O. Yntema

BOARD OF TRUSTEES

Dr and Mrs Ro ge r M. Ajluni

Mr. and Mrs. Rob ert A. A lle see

Dr. Lourd es V. And aya

Mr. and Mrs. John W Anderson II

Dr and Mrs. Agustin Arbulu

Mrs. Robyn J Arrington

Dr and Mrs. Donald L. Austin

Mrs. James Merriam Barnes

Mr and Mrs. J Addison Bartu s h

Mr. L Karl Bates

Mr and Mrs William A. Be ll II

Mr and Mrs. W. Victor Be nj a min

Mr and Mrs. Philip E Benton, Jr.

Mr and Mrs. John A Be tti

air and Mrs Bennett E. Bidw e ll

Mr. John 1. Bloom

air. and Mrs Dougla s Borden

Mr. and Mrs Donald J Bortz, Jr.

Mr.and Mrs. Richard A. Ca scio

Mr and Mrs. Clarence G. Ca tallo

Honora bl e Avern L. Co hn

AIr and Mrs. Peter Coo per

III: and Mrs. Jame s F. Co rd es

III: and Mrs . Rodkey Cra ighead and Mrs Richard Cregar

Ara J Darakdjian Donovan Darlow Corbett O'Meara

Mrs. John W. Day

Mrs. Robert N. Derd e rian

Mrs Robert E. Dewar and Mrs David DiChi e ra and Mrs. Frank W Donova n

A DuBoi s

James E. N Huntley

Mrs Cameron B Dun ca n

M. Endicott

Mr. and Mr s. P a ul E. Ew ing

Mr. a nd Mrs. Stephen Ewin g

Mr. and Mrs. Alfred J Fisher, Jr.

Mr. and Mrs. Charles T. Fi s h er 1Il

Mr. and Mrs . Loui s P. Fonta na

Mr and Mrs M a rvin A. Fr e nkel

Mr. and Mrs Ro ge r Fridholm

Mr. and Mrs. Mi ch ael J. Friduss

Dr. a nd Mrs. Ro b e rt A. Gerisch

Mr. and Mrs Fra nk Germack, Jr.

Mrs Aaron H. Gershenson

Dr. and Mrs. Pierre Giarnrnanco

Mr and Mrs. Vito P Gioia

Mr. and Mrs. Al a n L. Gorni ck

Mr. a nd Mrs H James Gram

Mrs. Kath e rine Gribbs

Mr. a nd Mrs John C, Griffin

Dr. and Mrs. Be rj H. Haid os tian

Mr. and Mrs. William R. H a lling, Jr.

Mrs. Ro b e rt M. H a mady

Mr. and Mrs. Hu g h G. H a rn ess

Dr. and Mrs Jo se ph Harri s

Mr. and Mrs. E. Jan Hartm a nn

Dr and Mrs Al a n T. Henn essey

Mr. and Mrs D av id B Herm e lin

H o n and Mrs Jo sep h Imp asta to

Dr. and Mrs David Jacknow

Mr. and Mrs. W es ley R. John so n

Miss H. Barbara Jo hnston

Mrs. William E. Jo hnston

Mr. and Mrs. Arnold Joseff

Mr . and Mrs. Maxwell Josp ey

Mr. and Mrs. Mitch e ll!. Kafars ki

Dr. and Mrs. Charl es Kessl e r

Mr. and Mrs. Eugene L. Klein

Mr . and Mrs . Sem on E. Knud se n

Mr Jay Ko ga n

M s. Reva Kogan

Mr. and Mrs. William Ku

Mr. and Mrs Richard P. Ku g hn

Dr. a nd Mrs. Richard W Kulis

Mr. and Mrs Ron a ld C. La mpart e r

Mr . a nd Mrs. Lo uis E. Lataif

Dr. a nd Mrs . Rob e rt S. Levin e

Mr. and Mrs. David B Lewis

Mrs Leonard T. Lewis

Mr . a nd Mr s Wa l ton A. Lewis

Dr. and Mrs. Kim K Li e

Mr. and Mr s. Thomas V LoCi ce r o

Mr. a nd Mrs. Alan G Loo fbourrow

Mr . a nd Mrs. James H . LoPrete

Dr. and Mrs Robert E. Mack

Mr. a nd Mrs. Jo hn Mala s ky

Mrs . Jess ie B. Mann

Mr. and Mrs. Harold M. Marko

Mr. and Mr s. Frank S. Marra

Mr Ja ck a nd Dr. Be tty e Martin

Mr a nd Mrs. E Rob e rt M cCab e

Mrs. Wade H McCree , Jr.

Mr. a nd Mrs. Jo hn M cDougall

Mr. a nd Mrs. Milton J Miller

Mr and Mrs Rob e rt S. Miller, Jr.

Mr. a nd Mrs Paul S. Mir a bit o

Mr. a nd Mrs G O. Herbert M oo re h ea d , Jr.

Mr and Mrs E. Clar e n ce Mul aro ni

Mr. and Mrs. Harry Nederlander

Mr. an d Mrs Paul L. Nine

Mr. and Mrs Ro bert T O'Connell

Mr. and Mrs. Jul es L. Pa llon e

Mr. a nd Mr s. Ro bert Pastor

Mrs Ralph Po l k

Mr. and Mrs. David Poll ac k

Mrs . Jo hn Pre polec

Mr. a nd Mrs. Ri chard H . Roge l

Mr. Hans Rogind

Mr. a nd Mr s. Andrew M Savel

Mr. a nd Mrs Fred Schneid ewind

Mr . a nd Mrs. John C. Schultes

Dr. a nd Mrs. Arthur Schultz

Mr. a nd Mrs A la n E Schwartz

Mr. a nd Mrs. Donald E . Schwendemann

Mr and Mrs. Richard Sloan

Ms. Phyllis D Snow

Mr. and Mrs. Alan S pen cer

Mr. and Mrs. Ri chard Starkw ea th e r

Mr and Mrs. Fra nk D Stell

Dr. and Mr s Ri ch a rd E Straith

Mr. and Mrs. Sam Thoma s

Mr. and Mr s. C. Th o m as Toppin

Mr . a nd Mrs. Ly nn A. Townsend

Mrs Jo se ph A. Van ce, Jr.

Mr. a nd Mrs. Rob er t C. VanderKloot

Dr. and Mr s. Arthur Victor

Mr. and Mrs. Harold G. Warn e r

Mr. a nd Mrs Rich a rd C. We bb

Mr. a nd Mrs. Da v id K. Wenger

Mr. a n d Mrs. Gary L. White

Mr a nd Mrs R. Ja m iso n Williams

Dr. a nd Mrs. Sam B Williams

Mr. and Mrs. Eric A. Wilts hir e

Mrs. Charles A. Woll e n z in , Jr.

Mr. a nd Mr s. R. Alexander Wrig ley

Mr. and Mrs Donald E Youn g

Ms. Joan E Young & Mr Thomas L. Schellenberg

Mr and Mrs. Morton Zieve

M s. Luci a Zurkowski

Mr. Roy Z urkow s ki

Mi chig an Op era Th eatre was sadd ened recen tly by th e death s of Foul1ding member Joyce H. Cohn and Board of Tru st ee member Dr. Robyn f. Arrin g ton, w hose devotion to th e co mpal1y th ro ug h y ears of se rv ic e w ill be g reat ly misse d.

ADMINISTRATION AND STAFF

Ronald G. Allen

Director of Produ ction s

Rebecca Happel

Dire ctor of Pres s and Publi c Relations

Lana Robinson

A sso ciate Direc tor of Developm ent

ADMINISTRA TION

Kurt Howard

Exec utive A ss is tant to th e General Direc tor

Tri- Company Co ordinato r

Nancy S Moore

Administrati ve Ass istant to th e Mana g in g Direc tor

Jennifer Marling

Gen eral A dmini s t ra ti ve A ss is tan t

Ilene Andrews

R ece ptioni st

COMMUNITY PROGRAMS

Suzanne Acton

M us ic Direc tor

Roger L. Bingaman

Musi c Coord inator and Tour Mana ge r

Mark Vondra k

Prod uc ti on Mana ge r

Dolores G. Tobis

SaL es and Office Mana ge r

DEVELOPMENT

Janita Gaulzetti

Direc tor of Corporat e R elation s

Kenneth Munson

Grant s and Foundation s Offi cer

Jeri Kring

M embership Mana ge r

Kenneth M. Griffith

R es earch Mana ger

Suzanne Paster

Deve lopm ent Secretanj

Diane Windom

Deve lopm ent A ss istant

FINANCE/COMPUTER SERVICES

Steve Brown

Computer Op era t ions

William Kirk

Data Entry Clerk

Deborah McQueen

Finan ce A ss istant

William T Schulz

Controller

MARKETING

Kathleen Bordo Crombie

Group Sal es Direc tor /

Audience Developm ent Coo rdinator

Christine Donaldson

Mark etin g Projec ts Co ordinat or

David DiChiera

General Direc tor

Melodee DuBois

Vi ce President and Mana g in g Director

Karen DiChiera

Director of Community Programs

Mitchell Krieger

Director of Artis tic Resources

PRESS AND PUBLIC RELATIONS

Kathleen Kozlowski

Publi c Relati ons Ass is ta n t

Jerome Magid

Ph otograp he r

TICKET OFFICE

Denise Nikcevich

Ti cket Se rv ices M anage r

Patricia Gardenhire

Ti cket Serv ices A ss istant M anag er

Kimberly Gray

Ti cket Serv ic es A ss istan t

LaTonya Hollowell

Seaso nal A ss is tan ts

PRODUCTION

ARTISTIC ADMINISTRATION

Dee Dorsey

Produ ction S ched u le and Audition Coo rdinat or

Monica Lee McCormick

Artist Servi ces Co ordinator

Joe Horan

Marcia Smith

Tran s porta tion

COSTUME DEPARTMENT

VIla Hettinger

Co s tum e Coordinator

Mary Leyendecker

A ss istant Costum er

MAKE-UP & HAIR DESIGN

Elsen Associates

Teresa Wertman

Wi g/ Mak e- up coordinator

John A. Fredrickson

Chief Financial Officer

Sandi M . A. Macdonald

Director of Mark etin g

Steven A. Suskin

Director of Developm ent

MUSIC DEPARTMENT

David DiChiera

Mu sic Direc tor

Suzanne Acton

A ss is tant Mu sic Direc tor and Ch oru s M as ter

R. Luther Bingaman

Or ches tra Admi n istrator /Librarian

STAGE MANAGEMENT

Leigh Anne Hud<aby

Sara Leeder

TimOc e l

Sta ge M ana ge rs

Shirley Bogus z

Dan Anderson

Helen Meade

Ass istant S tage Mana ge rs

TECHNICAL DEPARTMENT

Julie Henderson

Ass is tant to Direc t or of Produ ction s

David Brooks

Tec hnical Di rec tor

Kendall Smith

Lightin g Con s ultant

Ellen Bone

Ass is tant Lightin g De sig ner

Debra Bondy

War ehou se Mana ger/ Tec hnical A ssi stant

William m' Arch McCarty

Pr operties Coordinator

Robert Mesinar

John C. Johnson

Produ ction El ectricians

John Kinsora

Produ ction Carp enter

Orchestra

Violin I

Charlotte Agosto COl1certmaster

Velda Kelly

Rando lph Margitza

Ruth Monson

Theodore Schwartz

Violin II

Victo ria Haltom Pril1cipal

Angelina Carcane

Beverly Hirsch

Brooke Hoplamazian

Viola

Barbara Corba to Pri/lcipn l

Ann Bellino

Alex Deych

Henry Janzen

Vtlincello

Horn

Susan Mutter Principal

Carrie Banfield

MICHIGAN OPERA THEATRE ORCHESTRA AND CHORUS

The Michigan Opera Theatre Chorus, under the direction of Suzanne Acton, often share the limelight with so lo artists. Pictured here are chorus members singing with Nova Thomas in Act I of La Traviata

Chorus

Dan Aggas

Kim Wayne Brooks

Gregory Bryant

mit Isgorur

Contrabass

Derek Weller Pri/lcipnl

Rate

Pamela Hill

Trumpet

Charlie Lea Principal

Gordon E. Simmons

Trombone

MauryOkun Principal

Gregory D. Near

Percussion

John F. Dorsey Principal

Timpani

Gregory White Principal

Harp

Patricia Terry-Ross Principal

Detroit Federation of Musicians. Local No 5 American Federation of Musicians.

* String sections listed in alphabetical order

Diane Aron-Ca lh oun

Patrick Jay Clampitt

Mary Margaret Clennon

Robert Clink

Dean DeMartin

Michaella Dionne

Kathlyn Faber

Vanessa Ferriole

Louise A. Fisher

Yvonne Friday

Rosalin Contrera Guastella

NaomiGurt

Tim Hamann

Donald B. Hart

Stephen Hayton

Brad Herbst

Trish Hoffman-Ahrens

G l en Holcomb

Terrence Horn

Ray Litt

Robin Lounsbury

Kyle Marrero

Robert L. Morency

Anthony Noto

Jennifer L. Oliver

Peggy O'Shaughnessey

Copyright 2010, Michigan Opera Theatre

Jan Phillips

Patricia Pierobon

David Podulka

Mark Rethman

John Riley

Mary Rob e rtson

John Sartor

John Schmidt

Michael Shulman

Paul G. Silver

Steve Simmons

Barbara J. Smith

Jay G. Smith

Steve Stewart

Adrienne F. Strong

Judith Szefi

Grace Ward

Jim Willking

Elizabeth Wingert

The American Guild of Musica l Arts is the official union of the Michigan Opera Theatre vocal performers.

FALL 1990

SPRING 1991

ARIADNE

* Production sung in original language and features English Surtitles.

** Special Student Matinee performance Call (313) 874-7878 for reservations.

For subscription and single ticket sales, pleas e dial Michigan Opera Theatre's Ticket Services Office, (313) 874-SING Subscriber Hotline: (313) 874-7831.

For Group Sales Information and Ticket Reservations, please dial (313) 874-7878.

For information on opera lecture series, both before the curtain and in your community, please dial the Marketing Department, (313) 874-7874.

In addition to the company's mainstage performance at the Fisher Theatre and Masonic Temple, Michigan Opera Theatre's Community Programs Department maintains a year-round schedule of professional repertory for adults, families and young audiences, including musical revues, one-act operas, workshops, recitals and commissioned works; please call (313) 874-7894.

For additional copies of the 1990 / 91 20th Anniversary Commemorative Program Book , please phone the MOT Marketing Department, (313) 874-7874.

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

A Vivid Cast of Character s

by Da v id Stanl ey-Porter

For his 16th opera, the 30-year-old Gius ev Verdi turned to a pl ay written nearly two decades before in Paris , where it had achieved only one performance before being banned by the authorities.

Victor Hugo's Le Roi s'am use describe s th f machina tions of the court jester Triboul el deformed both in mind and body, whose pandering to the debauched tastes of hi s royal master, Francois I, ironically back fi on him The story of Verdi's Rigoletta eventually came to follow quite closel ytli of the play, despite the changes of nam e, place and period demanded by the Ausln, government then in the control of Veni ce where the opera had its premiere in 1851.

The attempts by Verdi and his librettist , P iave, to overcome the objections of the military governor of Venice to the " repul s ive immorality and obscene triviality" deemed to be at the heart of the story remind us just how seriously the influen ce of the lyric stage has b ee n take n in the land of its origin.

Fortunately, the changes that eventually made the libretto acceptable did no real damage to what had attracted Verdi to the story: "The subject is grand , immem and there's a character in it who is one of the greatest creations that the theatre01 all countries and all times can boast. "

This perhaps excessive praise for Le Roi s' amuse must be understood in lighta f Verdi's own creative energy , which had been fired by what had appealed to hi m most in the play, the unusual a nd complex nature of its protagonist. Rigalettoha; becom e one of th e most popular and most recorded of all Italian operas. Audi e unfailingly flock to see it because it has a gripping tale to tell, tells it to music af originality, beauty and dramatic power , and brings its three major charactersth e jester, hi s daughter and her seducer -

unforgettably

to life

The seducer, the unnamed Duk e of Mantua, has the dual role of elegant lib ert in, and passionate lover. His first aria, "Questa 0 quell a," with its rakish rhythm, proclaims his lighthearted philosophy towards women, a brief musical that effectively exposes the insouciance of this pleasure-seeking natural corollary, "La donna Eo mobile ," which occurs in the last act, crude in its oom-pah-pah band-lik e accompaniment, puts the seal on the Duke" shallow gaiety and virile swagger.

In the central scenes is the lover who in student guise first comes to woo th e sheltered Gilda and later, in the palace, beli eves himself momenta rily to be th e lover denied forever the object of his desires. Here, a different mood np,·va(u'SlII music. It is that of the ardent lover convinced of his own sincerity so long is no hope of attainment.

In fact, after the relentless ardor of tenor arias in earlier Verdi operas, the Duke' lightness of tone is refreshing. "Pa rmi veder Ie lagrime," the first part of aria tha t opens Act II, is one of the most gentle and tender moments Verdi ever

THE STORY

ACT!.

n his palace ballroom the Duke of Mantua tells Borsa of his designs on a beautiful girl he has seen in church. Then, admiring Count Ceprano' s wife, the Duke rejoices in the beauty of women and his libertine hedonism ("Questa 0 quella"). When the Duke's flirtatious dance with Countess Ceprano draws the couple into another room, Rigoletto, the court jester, mocks the enraged but helpless Count. The nobles, delighted by the Duke's daring, are even more amused when Marullo bursts in with the latest gossip: Rigoletto is keeping a young mistress in his home Sure of his master's protection, the jester is so free with his gibes to the Duke that Ceprano plots with other courtiers to punish him Monterone forces his way into the party to denounce the Duke for seducing his daughter. Viciously ridiculed by Rigoletto, Monterone hurls a father's curse at the terrifi ed jes ter.

On the way home that night, Rigoletto broods over Monterone's curse. A dark figure, Sparafucile, steps from the shadows, offering his services as an assassin . The jester dimisses him, reflecting that his own tongue is as sharp as any murderer's dagger ("Pari siamo!") He enters his courtyard Gilda , his daughter, comes out of the house and rushes into his arms When she questions him about her long-dead mother, Rigoletto nostalgically describes his wife as an angel ("Ah! Deh non parlare al misero"), adding that Gilda is everything to him. But he will not reveal his name or allow her to leave the house except to go to church Rigoletto warns her nurse, Giovanna, to admit no one ("Ah! veglia, 0 donna"). He runs out to the street when he hears someone at the gate; at the same moment the Duke slips into the courtyard, unbeknownst to Gilda, who confesses to Giovanna that she is in love with the young man who follows them to church Waving Giovanna away, the Duke says he loves her too ("E iI sol dell' anima") and he is "Gualtier Malde," a poor student. At the sound of footstepsCeprano and Borsa are rallying courtiers outside-Gilda begs him to leave, and they exchange excited goodbyes (" Addio, speranza ed anima!"). Repeating his name ("Caro nome"), Gilda goes up to bed. Meanwhile, the malicious courtiers stop Rigoletto outside and ask him to help abduct Ceprano' s wife, who lives across the street. The jester is duped into wearing a blindfold and holding a ladder against

his own garden wall. The courtiers break into his house (" Zitti, zitti") and cairry off Gilda. Rigoletto discovers the deception only when he realizes the abduction is taking too long He tears off the blindfold and rushes into the house Not finding Gilda, he remembers Monterone ' s curse ("Ah! la maledizione!").

ACT II. In his palace the Duke is deeply distraught over the kidnapping of Gilda, whom he imagines alone and in tears ("Parmi veder Ie lagrime") When his courtiers return, saying they took her and she is now in his chamber, he dashes off to the conquest ("Possente amor mi chiama " ) Soon Rigoletto enters, pretending indifference, searching for Gilda Though the courtiers are astonished she is his daughter, they bar his way. He lashes out at their cruelty ("Cortigiani, viI razza dannata " ), but when they still restrain him, he weeps for mercy. Gilda appears and runs in shame to her father . Alone with Rigoletto, Gilda tells of falling in love at church, of the Duke's courtship, of her abduction ("Tutte Ie feste al tempio" ). When Monterone is led through on his way to the dungeons, Rigoletto declares he will avenge them both ("51, vendetta") , though Gilda begs him not to.

ACT III. On a dark night, Rigoletto and Gilda wait outside the lonely inn where Sparafucile and his sister and accomplice Maddalena live. When Gilda insists she still loves the Duke, Rigoletto makes her look through an opening in the wall. The girl watches in disbelief while the Duke, disguised as a soldier and laughing,at the fickleness of women ("La donna e mobile"), makes love to Maddalena , Rigoletto cautions his brokenhearted daughter as Maddalena draws out the amorous Duke (quartet: "Bella figlia dell' amore"). Telling Gilda to dress as a boy, the jester sends her to Verona , then hires Sparafucile to murder the Duke a,nd leaves. A storm breaks. Gilda returns to overhear Maddalena urge her brother to spare the stranger and kill Rigoletto Sparafucile agrees to substitute the next person who comes to the inn. Gilda, resolved to sacrifice herself for the Duke, knocks at the door and is stabbed. As the storm subsides, Rigoletto returns to claim his prize - only to hear his supposed victim singing in the distance. Frantically opening the sack, he finds his daughter. Gilda dies asking his forgiveness ("Lassu™in delo") Rigoletto cries out the curse has been fulfilled.

penned. Some may find its beauty and apparent sincerity jarring, as they think " of what will shortly take place behind locked doors, but this results from the cusJ( tomary excision in performance of the aria's concluding half, "Possente amor miv chiama ." This is certainly the most unpleasant and objectionable music in the opera but for a reason Now that the Duke knows Gilda can be his, his idealized daydreaming is quickly replaced by this heartless, strutting outburst. Without i the musical depiction of the Duke 's nature has been truncated.

Gilda is a more complex character. She develops from act to act and we seeor rather , hear - this through the increasing emotional rna turity of her music.

At first , in her cocoon-like home, she is not much more than a little girl. Only 16 and never out of the house except to go with her duenna to church, she is vivid l) sketched first in the unrestrained affection of her greeting for her father - the of their three magnificent duets - and shortly thereafter in the dreamlike deli cii of her only aria, "Caro nome." This famous moment breathes the very delicacy virginal modesty and grace with its simple descending vocal line underpinned the ravishing use of woodwinds and its unusual conclusion, her off-stage trill,I held and growing softer as the courtiers gather outside the house to abduct he r.

When she appears in the next act, Gilda has come to know the real identity and true nature of her "s tudent" lover One can easily mark here the increasing maturity of her feelings as she sings "Tutte Ie feste al tempio ." Its tenderness alii sweetness proclaim that her love for the poor student has not been obliterated by the enforced embraces of the aristocrat.

One Italian critic has gone so far as to talk to her "acceptance of, almost a prid e the violence which has been done to her." This comment may not make such an appeal in a climate more sensitive to women's rights , though how the seduction was effected we are given no clue. The scene in Hugo's play where Blanche (G flees from the king 's embraces into a room in the palace , whereupon Francoi s produces the key to it with a flourish and enters, locking the door behind him, mercifully cut by Pi ave. For once the threat of censorship was not so deleteri ou;

But certainly the intensity of feeling with which Gilda joins her father in the' moments of Act II counteracts his desire for vengeance ("Si vendetta, vendetta") with her feelings of compassion and pardon for her seducer This dramatic finale, which so rouses the audience, makes credible her quent decision to sacrifice her life for that of her lover. Who would have guessed such depth of feeling from the Gilda of Act I?

Verdi's most original treatment is reserved for the hunchback, with his public and his private "face." "To me, there is something really fine in representing on stage this character outwardly so ugly and ridiculous, inwardly so impassioned and full of love," the composer wrote.

For the first time on the 19th-century Italian opera stage there appears a character whom we get to know in depth . There are his three superb with Gilda , which memorably chart his emotional temperatureprotective love, his thirst for vengeance, and his grief-stricken despair There is his sinister colloquy with the assassin, Sparafucile, its dark coloring in the voice parts (baritone and bass) and rrr,ml'""'VIiI instruments (clarinets, bassoons and strings bereft of violins). no aria and in an era when the principals in an opera expected and big show-stopping moments , this omission was an enormous break convention.

Verdi had become increasingly dissatisfied with the traditional tw o-pan (slow-fast) aria as the chief means by which to express a character's feelings and for Rigoletto he devised two monologues with a flexible vocal line that veers between lyricism and declamation, being neither aria nor recitative but a superb amalgam of these two ' operatic expression. The first monologue occurs when the jester pau before entering his home to reflect on the nature of his deformed existence,

"Pa risiamo," the second when he denounces the courtiers in the palace forre fusing to disclose the whereabouts of his abducted daughter, "Cortigiani, 1;1 razza dannata."

The latter is without doubt the most original and "truthful" passage Verdi had written up to that time Never before had his dramatic muscle expressed sona turally and so convincingly the intensity of human emotion. Rigoletto 's progress ion from disdain and invective for the courtiers to self-pity and supplicationa nd finally to supplication alone appears almost to be "spoken." We seem not lobe listening to a display intended for presentation before the footlights but to be overhea ring by chance a private expression of the deepest feeling. The music grows completely naturally out of the highly emotive words.

Every emotional state that the eve nts of the action rouse in Rigoletto is memorably mirrored by Verdi. The composer's greatest male roles are, with a few major exceptio ns, written for the baritone - the stern Nabucco, guilt-ridden Macbeth, Jd>leS imon Boccanegra, evil Iago and jocular Falstaff. For Rigo Letto , Verdi wrote grea test role for the high baritone and one that more than most makes full demands on the performer's acting abilities. This is no stand-and-deliver role.

toften, the plays that are the source for Verdi's operas have not survived changes of taste and time. Le Roi s' amuse, banned after its first night , was revived withou t success in Paris 50 years later. Rigo Letto , which Verdi considered to b e his topera to date, even after he had written II Tro va tor e and La Tra vi ata , has never lleenoutoffavor. He would, of course, go on to compose other works that are full melody and dramatically e ffective characters that opera lovers flock time and time again. One cannot say that thes e later operas are greater, lvriiffp ,·pnt. Riga/etta, an undisputed maste rpiece, takes its place beside th e music dramas that the 19th century produced.

Da vid StanLey-Porter teac hes opera appreciation in London and Toronto. This article is reprinted with the per mi ss ion of Canadian Opera Company

Th e frontispiece to the or igina l piano/vocal sco re

Show Boat and the birth of the American musical

by K.M Kozlowski

If the Edna Ferber / George S. Kaufman play Minick had been a success in 1924, th e development of American musical theatre would have taken a decidedly different course. The play, based on one of Ferber's short stories, received less than favorable reviews. Producer Winthrop Ames quip re' that for his next production, he would ren t a show boat and play the river towns. This remark surprised Ferber, who had never heard of show boats, the floating theaters on which the acting company lived and entertained. She was anxious to learn more about this almost forgotten piece of Americana

Ferber discovered that floating theatrical showcases began appearing on the Mississippi in the early 1800's. the first craft expressly designed as a show boat w the Floating Theater, which was launched in 1831. Traditional show boats were never self-powered (not even by those huge side or rear paddle wheels) but actually pushed by small, twin-stack steamboats called towboats. The classic prototype of the la te 19th and early 20th centuries had three decks. Audiences would board the main deck at the bow end, buy tickets at the front of the cabin , an enter the auditorium , which comprised the entire width of the boat, with a balcony along the sides. Small staterooms served as sleeping quarters and dressu. rooms. A narrow, exterior second deck generally ran around the entire boat. Show boats rarely had rooms on the top deck.

By the 1840's, the rivers were swarming with show boats, family -operated and offering plays, musical programs and many other forms of entertainment. Audiences were drawn to the show boat by the sound of the calliope, a streamdriven pipe organ that heralded its arrival and could be heard for miles. War temporarily interrupted this successful business, but in 1869 touring show boats resumed activity , thriving well into the twentieth century. Motion began to supplant the floating theatres around 1915, and by 1925 this entertainment medium had all but disappeared.

Fortunately Edna Ferber heard about the James Adams Floating Theater, a fam ily operated show boat that served the Maryland and Carolina waterways. spent several days on this floating theatre, taking notes. Armed with her research material , she left for Europe in the summer of 1925 to write her show boat novel.

Show Boat first appeared in serial form in the April through September 1926 issues of Woman's Home Companion. The early installments attracted attention and e\ some film offers. (The novel , published by Doubleday, Page & Co., was dedica tee to Minick producer Winthrop Ames.) Show Boat was an immediate success, an d drew the attention of composer Jerome Kern. The composer was interested in the novel's theatrical possibilities, and planned to transform it into a stage musical.

Copyright

Keith Sa v age and Jea nett e Palm er as Frank and Elli e Ma e

Photo: Pra sad and Val eri e

2010, Michigan Opera Theatre

THE STORY

Time: 1896 ACTI.

s the Cotton Blossom show boat docks a t the levee in Natchez, Mississippi, Cap' n Andy Hawks, owner of the steamer, introduces his players to the crowd: Miss Ellie Mae Chipley, the toast of Cairo, Illinois; Frank Schultz, the villain who is quite taken with Ellie; and the sultry Julie LaVerne and Steve Baker, the romantic leads who also happen to be married.

The lively ballyhoo comes to a halt when Steve sees Pete forcing himself on his wife and knocks him to the ground. Pete angrily vows revenge.

Later, Cap'n Andy's daughter, Magnolia, meets a dashingly handsome riverboat gambler, Gaylord Ravenal, and falls immediately in love. Magnolia asks Joe, a workhand on the levee, if he knows anything about Ravenal, to which Joe replies, she "ought to ask aI' Man River what he thinks - he knows all 'bout dem boys "

Meanwhile, Pete has informed Sheriff Vallon that Julie is of mixed blood, and the law officer accuses her and Steve, who is white, of miscegenation. Steve and Julie leave in order to spare the members of the show boat any further trouble. Ravenal is chosen to assume Steve's position in the show, and Magnolia takes over Julie's role. Soon Magnolia and Ravenal marry, in the absence of her domineering mother, Parthy Ann.

Time: 1920's ACTII.

A few years have passed and Ravenal and Magnolia now live in Chicago. His gambling habits have surfaced as his luck takes a turn for the worse, and he leaves Magnolia with their young daughter, Kim . Frank and Ellie, now a successful vaudeville team, discover Magnolia penniless and alone. They take her to audition for the manager of the Trocadero Music Hall. Unbeknownst to Magnolia, the star at the music hall is none other than Julie, who has become an alcoholic. Julie witnesses Magnolia's audition, and upon realizing the young woman's plight, silently slips away rather than let Magnolia see her in her downcast state. With Frank's help, Magnolia is hired to replace the departed Julie and soon becomes the most popular singing star of the day.

Several years later, in the late 1920s, Magnolia and Ravenal's daughter, Kim, has become a famous Broad way star and is appearing on the Cotton Blossom. Cap'n Andy persuades the broken and unhappy Ravenal to come to Natchez to reconcile with his wife and daughter. Andy summons Magnolia by telegram to return to the Cotton Blossom. When Ravenal and Magnolia meet, they realize that they are still in love. As they walk toward the boat together, they are reunited with Kim as Joe and the chorus sing a final reprise of "aI' Man River."

Laura LaPlante as Magnolia and Alma Rubens as Julie in the 1927 film of Show Boat.

KathnJn Grayson as Magnolia , Joe E. Brown as Cap'n Andy and Howard Keel as Ravenal in MGM 's 1951 film version.

Allan Jones as Raven al , Irene Dunne as Magnolia in Uni ve rsal's 1936 film.

Kern was concerned with the construction of musical shows that were seen on American stages. He spoke in 1917 about "cues" used in the librettos to provide ar excuse for songs to be sung: Song cues, "are useless, unnecessary and often glaringly inappropriate. It is my opinion that the musical numbers should carryon the action of the play, and should be representative of the personalities of the characters who sing them In a scene of college life you would never today present students in song which deal with piracy or cheese manufacture unless the action of the piece demanded such activities. In other words, songs must be suited to the action and mood of the play."

When Kern read Edna Ferber's Show Boat in 1926 he became convinced that it was the vehicle through which he could demonstrate that American talent could produce outstanding musicals without basin g them on European originals ( a concern shared by his contemporary counterparts some sixty years later, with regards to the British theatri tl invasion led by composer Andrew Lloyd-Webber and producer Cameron MacIntosh); and that musicals could amount to more than a string of comedy sketches, chorus numbers that depended on the attraction of pretty girls, and a handful of songs that popped out of "cues". so he telephoned Oscar Hammerstein II.

Hammerstein had worked with a number of the big names in American musical theater, among them Sigmund Romberg and Rudolf Friml , baft Broadway composers well-versed in the Viennese operetta style, but with one exception he had heretofore been only a co-lyricist and/ or co-librettist.

Show Boat would be his first major work.

Ferber's novel dealt with show business people , beginning with th e cas! and staff of an 1880s floating theater on the Mississippi. In his study of the novel, Hammerstein was struck by Ferber's use of the Mississippi River as a unifying element. He resolved to achieve the same effect in a song. This song would contrast the eternal flow of the river with the ephemeral struggles for happiness of the people who lived on or along it; it would touch on the troubled relationships between blacks and whites; and it would provide a Greek chorus, to reflect upon the tale told by Show Boat. '01' Man River' becam e one of the work's most famous selections.

Each of the collaborators went off to make an independent selection of scenes fro m the novel to use as the show's framework. The duo was undaunted by the fact thai Ferber's novel dealt with, among other things, such subjects as miscegenation , racial discrimination, broken marriages , and compulsive gambling - hardly for musical of any period. When the two compared their selections they discover El1 that th ey had independently made the same choices . Encouraged by the development of the colla bora tion, Kern set out to obtain the rights from Edna Ferber.

Kern & Hammerstein met with Ferber and found her skeptical: she could not see her atmospheric story of a show boat on the Mississippi as a musical comedy. bu l when Kern assured her that what he had in mind was a new kind of musical , she agreed to make the rights available.

Florenz Ziegfeld was asked to produce , which was surprising since the Show Bon l Kern and Hammerstein had envisioned was not the type of show usually identifi ed with this flamboyant Broadway producer. Ziegfeld has provided the Great While Way with that ultimate girly spectacle, The Ziegfeld Folli es, and was known as a ma n with little patience for anything but profit-making in entertainment.

Ziegfeld had clearly not grasped the musical and dramatic intentions of his team. He protested that the show needed more comedy, more spectacle . Nevertheless, Kern and Hammerstein continued steering the course they had set, integrating the songs into the storyline, which aided in the development of the characters. "We had fallen hopelessly in love with it," Hammerstein later recalled 'We couldn' t

Copyright 2010, Michigan Opera Theatre

keep our hands off of it. We acted out the scenes together and planned the actual direction We sang to each other We had ourselves swooning ."

Hammerstein came under fire from purists upset by the liberties the he had taken with the novel. Unlike Ferber , who sent most of the principals to their deaths by the novel's final page , Hammerstein allowed most of the members of the ' Cotton Blossom ' show boat family to return of the reunion in the fin a le

Casting the production, Kern found his Julie in a local musical revue, where, languishing upon the top of an upright piano , she sang a mournful song , "Nobody Wants Me" Helen Morgan, a nightclub singer with no acting experience, was seated atop a piano in the second act of Show Boat while she sang the mournful song, "Bill", creating not only one of the most memorable moments in Broadway musical history, but a personal trademark as well. Morgan quickly grew into the complex role of Julie and gave a shatteringly dramatic performance , to the fascination of Hammerstein, who directed the show' s premiere, though he was not credited in the program.

Although Hammerstein guided the dramatic progression of the musical, the director of record was Zeke Col van, a stage manager Hammerstein felt that Colvan should be rewarded for managing the elaborate production, itself a fonnidable job.

And the cast was a big one - in addition to the principals there was a chorus of nearly 100, almost evenly divided between black and white, if one includes the 12 black female dancers. The show was in rehearsal for an inordinately long time for musicals of that period - two months - and for good reason : when the overture was finally struck up in Washington, D C. on November 15, 1927, the production lasted nearly four and a half hours, almost two hours longer than the conventional musical. Cuts were made, and new numbers added.

To list the "standards" that first appeared in Show Boat is eye-opening: "make Believe", " 01 Man River", "Can' t Help Loving Dat Man ", " You Are Love " , 'Why Do I Love You?" and " Bill". No other musical has produced more ; very few have produced as many .

"Make Believe" deftly expresses the immediate attraction felt between Magnolia, the daughter of Cap 'n Andy and Parthy Ann, and Gaylord Ravenal , the riverboat gambler, at their first encounter. (Coaching Norma Terris, who portrayed Magnolia in the original production , Kern explained that the first meeting of Romeo and Juliet was a comparable situation; he also told her never to take her eyes off Ravenal as they sang). At the beginning, the two are only pretending to be in love, but by the song' s end there is more than a hint that the love may be real.

'Can't Help Lovin Dat Man " is more than a revelation of character. It is first sung by Julie, a mulatto actress who is "passing" as white When Queenie the cook hears it, she asks why Julie knows a black folk song - thus preparing us for the discovery ofJulie's true origin and the charge of misgenation that forces the actress and her husband to leave the Cotton Blossom

Magnolia and Ravenal are pressed into service to replace them as actors , an experience that intensifies their love and leads to his proposing marriageproviding the occasion for "You Are Love " The happiness of their marriage, beioreitis destroyed by Gay's gambling, is expressed in the moving " Why Do I love You? "

"Why Do I Love You?" was created during tryouts on the road , when it became evident that a new song was needed for Magnolia to sing in Act II. Kern wrote the melody and handed it to Hammerstein . When the latter returned with the lyrics, Ke msat them on the piano and started to sing them without having read them first. He found himself singing: "Cupid knows the way I He's the naked boy" Who can make you prey" ITo love's own joy " Of all the song cliches Kern detested , anything dealing with Cupid was the worst. Kern was howling with rage before he realized that a laughing Hammerstein was offering him a sheet of paper on which were written the real lyrics: "Why do I love you? I Why do you mveme? Why should there be two l Happy as we " Kern had the " Cupid" lyric &amed for his study.

Copyright 2010, Michigan Opera Theatre

"Bill" is a Show Boat song with an interesting history. Originally it was written by Kern not for Show Boat, but for 011 Lady! about 10 years earlier. The lyrics were the work of British writer P.G. Wodehouse , most famous as the author of the "Jeeves" stories. The song was dropped from the show before the opening; then Kern tried [ put it into Sally (1920) to no avail. When Kern heard Helen Morgan sing he real ized that in some mysterious way "B ill" had really been written for her - and for Show Boat -all along.

The story of ' Bill" provides insight into the nature of Oscar Hammerstein. All the programs carried a notation indication that the lyrics for "Bill" were by P.G. Wodehouse. When Hammersteinstaged a revival of the work in 1946, he had this additional note inserted into the program: " I am particularly anxious to point out that the lyric for the song " Bill" was by P.G. Wodehouse. Although he has always been given credit in the program, it has frequently been assumed that since I wrote all the other lyrics for Show Boat, I also wrote this one, and I have had praise for it which belong s to another man. "

Hammerstein did alter Wodehouse's original lyrics, not extensively but significantly; for example, as the chorus Wodehouse wrote, "But along came Bill / Who's quite the opposite of! All th e men in story books." Hammerstein wrote "but along came Bill/Who's not the type at all, You'd meet him on the street/ And never noti ce him ." Wodehouse: "In grace and looks I know that Apollo/Would beat him ail hollow ." Hammerstein: "His form and face/His manly grace/ Are not the kind that you/Would find in a statue.

Show Boat ran at th e Ziegfeld Theatre until May 4,1929, a total of 572 performances, the longest Broadway run up to that tim e of any musical except Romberg's Studell i Prince, which reached 608

Universally admired, Show Boat had no imitators , let alone successors, until Oklahoma! appeared in 1943. After that surprising success, co-authored by Oscar Hammerstein II with Richard Rodgers , s hows that were based upon the image of Show Boat were the norm

K. M. Kozlowski is a staff writer for Michigan Opera Theatre.

The wedding of Gaylord alld Ma gn ol in , finale of Act I, ShowBoat.

Photo: Prasad and Val erie

DIRECTOR'S NOTES

Ihave often wondered how the opening night audience reacted to Show Boat in 1927. After two d ec ade s of lov e ly musical entertainment filled with tuneful melodies, vaudeville antics , and snappy dance numbers, nothing could have prepared them for Show Boat, the first Broadway musical to have a serious story line dealing with delicate social issues , specifically racial in equality.

The original opening lyric (" Niggers all work on the Mississippi, Niggers all work while the white folks play") , which no longer has its intended shock value but appea rs only insensitive and offensive by present standards, has been dropped in modern productions, including Michigan Opera Theatre's On the other hand, many of the numbers tha t were cut before the opening night have been rediscovered in recent years Several of these nu mbers featured the black characters in the story, and these sce nes gave greater dimension and a wider range of emotion than any thing written for black characters in musicals from that period.

In the 1982 Houston Grand Opera production, director Michael Kahn and mu sic director John D eMa in re-conceived Show Boat, drawing on the wealth of re-discovered music and striving to reins tate the blacks in the show to their originally intended ric hness of character and dramatic weight.

Ihope th e care and attention spent enriching these characters will be understood and that our efforts will never appear to reaffirm the slo wly dying theatrical cliches to which black performers have been and frequently still are subjected

For me, Show Boat celebrates the resilience of the Human Spirit and the compassion and love that can transcend all barriers but, unfortunately, all too often do not.

The universality of Show Boat is brought into sharpest focus in the song "01' Man River." Perhaps the greatest song ever written for musical theater , it goes far beyond one man 's specific situation to express the frustrations , fears, and yearningso f every people who have known what it is to be powerless over their own desti ny

Mike Phillips

Director

Am

Cattail Blosso m

Cap 'II Andy's Ballyhoo

Make Believe

01' Mall Rive r

Musical Numbers

Orchestra

Stevedores & Townspeople

Julie, Queenie, Magnolia , Joe & Ensem ble

Ravenal & Magnolia

Joe & Stevedores

Om 'I Help Lovin' That Man

life UpO Il Th e Wi cked Sta ge

IMight Fall Back on You

&lIyhooa nd Dan ce

YOIiAre Love

fmale Act I

Acr lI

Atthe Fair

lVhy Do I Lo ve You?

Rrprise: Make Believe

Bill (Lyrics byP.G. Wod ehou se)

Rrprise: Can '/ Help Lov in ' Oat Man

Goodbye My Ladylove

Aher lhe Ball

Rrprise: 01' Man River

Rrprise :YOllr Are Love

Hey Feller!

fmale

Julie, Queenie, Magnolia, Jo e & Ensemble

Ellie & Mincing Misses

Frank & Ellie Mae

Queenie , Cap'n Andy & Emsemble

Ravenal & Magnolia

Entire Ensemble

Sightseers & Barkers

Magnolia, Ravena!, Cap'n Andy, Parthy & Ensemble

Rave nal

Julie

Magnolia

Frank & Ellie Ma e

Magnolia & Ensemble

Joe

Ravena!

Queenie

Entire Ensemble

Copyright 2010, Michigan Opera Theatre

THE STORY

ACT!.

THE HARVEST

Doctor Coppelius is putting the finishing touches on Coppelia (The Girl with the Enamd Eyes), after setting her out to dry on the balcony of his house. Coppelia appears to be reading a book. She seems so real that Doctor Coppelius is, himself, almost unaware that she is only a doll. In his loneliness, the fanatical dollmaker has created Coppelia to be his companion and dreams secretly of a way of bringing her to life

As the town awakens, the baker (Swanilda 's mother), the tavern keepers (Franz's parents), the milkmaid , the cobbler , the tailor, the seller, and various children go about their morning's business. The priest gets his daily bread from the bakery and the children off to school.

Swanilda arrives and greets her friends who are off to their work in the fields. Seeing Coppelia on the balcony, she dances to attract her attention and wonders why the reading figure does not respond. Like everyone else, she believes the to be a living person. Coming out of the tavern, Franz sees Coppelia and is ately infatuated by the beautiful doll. He buys some flowers for Swanilda who cannot be located. While the baker searches for her daughter , Franz continues his overtures to the doll. Bowing, blowing kisses and waving, he, too, believes that is human.

Franz hides as Doctor Coppelius comes out to adjust the doll's mechanism which he sets in motion Coppelia stands up, and blows kisses in the direction of Franz, who is unaware that these kisses are not really intended for him, but for Doctor Coppelius, her creator. Swanilda, entering at this moment, is dismayed by these kisses and dashes angrily away , only to return with some children who are butterflies. They are clumSily assisted by Franz, who manages to crush the butterfly he has caught. Swanilda ridicules him and at the same time indicates strong displeasure at his attentions to Coppelia.

To arouse Franz's jealousy, Swanilda dances the mazurka with Milorad, the of the wheat harvesters, who arrives to celebrate the harvest. Doctor Coppelius, irritated by the noise of the festival, removes his doll from the balcony into the house.

The priest, Father Jedermann, who arrives to bless the wheat harvest, tells the legend of the stalk of wheat, which when shaken will tell who is to be married. Only Swanilda hears the prediction of the wheat, but since she is still angry with

Cl eveland San Jose Ballet with Rudolf N ureyev as Dr. Coppe/ius in a scene from Act IofCoppelia

Photo: Randy Choura Copyright 2010, Michigan Opera Theatre

Franz, she pretends to hear nothing. Franz listens and hears the wheat's message An explosion from Doctor Coppelius' house in the course of the Harvest Festival gives evidence that he is still experimenting with potential ways of bringing his doll to life

When the grape harvesters arrive to celebrate, Franz dances the czardas with Rosika, the queen of their harvest. This is his effort to arouse Swa nilda ' s jealousy.

As the day ends, the festivities wane and villagers wend their way homeward. Swa nilda is annoyed by Franz's flirting with Rosika and invites some girl frie nds to accompany her home. Franz counters by inviting some of his friends to co me for a drink at the tave rn.

Docto rCoppelius leaves his house on his way to the tavern to relax. He is met by Franz's friends who make fun of this foolish old man who lives in a house wit h the myster ious Coppelia.

Swa nilda, looking for Franz from her window, sees Doctor Coppelius hide his latch key when leaving his house. As Doctor Coppelius rids himself of the pesky boys and goes into the tavern , Swanilda and her friends come into the squa re. Swanilda, taking Doctor Coppelius' house key from its hiding place , opens the front door. Her girlfriends are reluctant to follow Swanilda into the house, where mysterious events revolving around Coppelia have been taking place. Nevertheless, Swanilda unlocks the door and forces her friends to accompany her into the house.

Doc tor Coppelius, returning from the tavern, discovers his key in the street and sees that the door has been unlocked. Thinking the mischievous boys have entered his house, he rushes in and slams his door. As he disappears, Franz appea rs with a ladder and proceeds to climb to the balcony of the house in quest of his new infatuation, Coppelia

Arrn.

THE DECEPTION

Insi de Doctor Coppelius' house, the girls are investigating the puzz ling con tents of the workshop Discovering Coppelia, they realize that she is only one of several dolls - all quite human in appearance - which th e girls uncov er and set in motion .

Docto r Coppelius comes upon this scene of dancing dolls. Furious, he sends the scurrying in fear from the house.

Swa nilda , unable to escape with the others, hides in a closet with Coppelia, where she changes clothes with the doll and assumes he ridentity.

Fra nz, ignorant of all these events, en ters from the balcony searching forC oppeIia. Hiding until Franz is inside , Doctor Coppelius catches him after a frantic chase and questions his motives for being mthehouse

Franz, having seen Coppelia in the closet, explains to Doctor Coppelius that he has fallen in love with th e doll and would, mfac t, like to marry her

Coppelius is much am u se d that this bumpkin h as fallen in lov e with hiscreation. He conceives a plan whereby he will give Franz a drug afte r which he will extract the " life force" from his body. Using the 'life force", he will breathe real life into his beloved doll, Coppelia.

He entices Franz to drink a potion which is disguised as wine. When Franz is unco nscious, Doctor Coppelius brings out Swanilda, whom he thinks to be his doll, Coppelia

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With Franz safely under control , Doctor Copp e lius proce e ds with a s eries of manipulations, all designed to bring life to the inanimate doll , by removing life's energy from Franz . Through his maneuvers , Doctor Coppelius succeeds in eliciting from Swanilda a series of doll -like movements which he naturally attributes to the alchemy he has practiced upon Franz . Unsatisfied by her stilted movements , he mixes a very special potion designed to instill more realistic and human qualities in the doll. He sprinkles her with this mixture , whereupon she suddenly becomes quite genuinely alive for him. Overcome with joy at his success, Doctor Coppelius has the " living" Coppelia entertain him by her dancing

Finally tiring of the gam e she is playing, Swanilda attempts to awaken th e uncon scious Franz, an effort that Doctor Coppelius attempts to thwart for fear she might succeed But she persists and does succeed . Awaking , but somewhat delirious , Franz sees Doctor Coppelius attempting to push Swanilda away. Thinking her to be Coppelia, he tries to chase a way Doctor Coppelius But the chased becomes the chaser and Fran z is forced from the house. Hard upon his heels is Swanilda, who herself is trying to leave the hou se with Franz. But Doctor Coppelius catches her , pushes her back into th e closet and sits down to catch his breath

Once more , Swanilda renews h e r escape attempt. This time, after yet another chase, she knocks over all the dolls in the room , and by her efforts creates g eneral mayhem and confusion in the worksh op Doctor Coppelius is still unaware tha t he is dealing with Swanild a and not with CoppeIia , and he asks her why she is behaving so wretched.Jy. At this point, she reveals her true identity as Swanilda, and at the same time rev ealing the Coppelia doll, sitting in disarray in the closet.

Franz , returning through the balcony , is still seeking Coppelia with whom hehi15 fallen in love He overhears Swanilda a s sh e explains to Doctor Coppelius ho w she has changed places with the doll. Now understanding what has transpired, Franz is aware of his own stupidity. Through a foolish mistake, he has becum e infatuated with nothing more than a doll. He knows now that it is Swanilda he has truly loved all along. Thereupon , he rescues Swanilda from the confu sion and disarray of the house of the now -broken Doctor Coppelius

ACT III. THE WEDDING

The town is preparing for the wedding of Franz and Swanilda as it was foret old by the legend of the stalk of wheat.

Amid the preparations in the village square, an irate Doctor Coppelius arrives to denounce the wedding and hea p scorn upon the couple to b e married. They after all, created havoc in his life. He is calmed by the parents of Franz and Swanilda and is given a sum of money to cover the damages to his property and his person He is also invited to the wedding. He cannot, he says, attend th e wedding because he lacks the proper attire. Whereupon , the village tailor, Mudjik , offers him a new outfit for the nuptials. The widow Lustige, Swanild a's mother , takes Doctor Coppelius by the arm, obviously intent on charming him Doctor Coppelius forgets his dolls and his loneliness and joins in the festiviti es There is general rejoicing in the village as Franz and Swanilda are married , thereby fulfilling the prophecy promised by the legend of the stalk of wheat.

-KennFay

AN HISTORICAL NOTE ON COPPELIA

Cleveland San Jose Ballet's version of Coppelia, like all other versions , has a based upon a rethinking of themes from Der Sandmann , a tale by E.T.A. The story was also the inspiration for the "doll " act of the Offenbach opera , Thr Tal es of Hoffmann Subtitled Th e Girl with Enamel Eye s, the original story invokes contentious rival inventors, whose fighting ultima tely results in the the enamel eyes of the doll they created The ballet was first produced in 1870 at the Paris Opera to a commissioned score by Leo Delibes, who was only

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thi rt y-thr ee yea r s old. With choreography b y Ar thur Saint-Leon, it i s De libes' mo s t s uc cess ful full- scale ball e t and Saint-Lean's most famou s. It was produc e d th e year Saint-Leon di e d , a t which tim e h e was Ballet Master at th e Paris Op e ra (It i s inte resting to not e that ther e, the role of Franz h as ma ny tim es been danc e d in Travesti traditi o n , b y a fe male d a ncer.)

ltis par ticularly not e worthy that in the 1870 Coppelia , folk or national dan ce (Czardas and Ma z urk a) was introduced for th e first time into ballet. Aprecedent was th ereby set for one of ball et's mo s t worthy and con tinuin g tradition s.

Like Denni s Nahat's version of Coppeiia , most co nt e mporary se tting s of th e balle t ar e ba se d quite loo sel y upon Saint-Lean's original intent. Oth e r noted prod uction s of th e work in America hav e been danced b y American Ball e t Thea tre a nd New York City Ballet.

WHArIS CLEVELAND SAN JOSE BALLET?

Founded in 1976 in Cleveland, Ohio , with Ernie (Ian) Horvath a nd Denni s Nahat as direc tors, Cleveland San Jo se Ball e t has quickly ea rn e d a national reputation fo r artistic exce ll a n ce It h as ex perienc e d remarkable grow th s ince its beg innin gs a nd loday operates on a bud get of over 9 milli o n doll ars. Ra nke d as o n e of the fas t es t growing ba ll et co mp a ni es in the United States, th e co mpa n y's d a nc ers co m e from all co rn ers of th e g lobe.

Followi ng it s first seaso n of 29 performances , C leve land Ballet accumulated repe rtoire as rapidl y as possible. The company now b oas t s a n ecl ec ti c co ll ec tion of over 60 ballets, m a n y of which hav e b een chor eogra ph ed b y A rti s tic Dir ec tor Dennis Na ha t. It a lso includ es works by int e rnati o n a ll y renowned choreographers uch as Geo rg e Balanchine, Agnes d eM ill e, Lo ui s Falco, Michel Fokine, Ernie (Ian) Horvath, Kurt Joose, Murry Louis , Jo se Limon, La r Lubovitch, Leo nid e Massine , Margo Sa ppin g ton , Anton y Tudor, Flemming Flindt a nd a ho s t of others.

In 1984, Ian H orva th r es ig n e d and D e nni s Na h at assu m e d so le a rtistic re spo n s ibilities for Cleveland Ba ll e t. Shortly after, th e compa n y b egan to search for a s is ter ci lyin which to perform. S imult a n eo u s ly , the tru s t ees of City Cente r Ba ll e t in San jose, Ca liforni a we r e loo kin g fo r a ball e t co mpan y. In a jo int announcement m ade june1 1, 1985, th e Board o f Tru s tee s of Cleveland Ballet a nd City Center Ball e t of Sa njose announced th ei r intention to enter into a p ar tn e r s hip The purpo se of the merger was to co ntinu e to provid e professio n a l d a n ce to the citizens of San Jose and the South Bay area. Cleveland San Jo se Ballet is reconized nationall y as th e mode l co -v entur e b a l1 e t company in th e n a ti o n

The1986-87 performing seaso n established th e co-ve nture co mpan y as a cultur a l fo rce on both th e Nor th Coas t a nd th e West Coas t. Symbolic o f th e a rti s ti c m arriage oflhe two co mmuniti es was a brea thta kin g $520 ,000 full-length produ c tion of Swan I1Ike, su pp orted b y th e Re inb e r ger Foundation of C leve la nd a nd Steve Wo z ni ak , Co- fo und er of App le Co mput e r , in San Jose. Am er ica n Prizma Bal1erina Cyn thi a Gregory , whose performances h ave b ee n see n with Cleveland Ballet since it s mception , performed Odette / Odile in both ci ti es

In 1989, the co mp a n y m a d e its d e but in Detroit, Mi chi ga n , es ta bli s hin g a r elat io nship with Michigan Opera Th ea tr e. Th e profits fr o m Swan Lake se t b ox office records, and o p en ed up th e doors to continuing performance seaso ns in Detroit.

Cleveland San Jose Ba ll e t g r ee ts the '90 s with its E ur opea n debut, fea turin g Rud o lf \ureyev dancing with th e co mpan y for the first time in Dublin, Ire land a nd a t olla nd 's Ed inbur g h Int e rnation a l Festival. Nu r eyev will p erfor m th e ro le of Dr. Coppeliu s in Na h a t's Coppe/i a in both con tri es. In add iti o n , at th e Festival th e Company will perform Na hal' s Quicksi lve r a nd a n ew production , Th e O v er coat , created , cho reograp h ed an d s t age d by Nureyev's longtime friend, Ae mmin g Flindt.

The 1990-91 seaso n w hi ch b eg in s on August 21 in Dublin will see 113 p erform a n ces of 16 ballets in five major citi es of thr ee different co untri es. "Th e la st fifteen yea r s hal'e been about grow th ," says Nahat. "Da nc e is n o t a museum w h e r e you ca n put lovely things on a wal1 for p eop le to look at a n y tim e. It is co n s ta ntly changing. Oance isa totally hum a n art form that is co mpl e te ly of the moment. Whatever th a t lI!Iemoment is o n s ta ge, th a t 's what we as a ballet co mpan y h ave to g ive " Copyright 2010, Michigan Opera Theatre

Transfiguration and Ariadne Auf N axos

by Eric Domville

Following the success of their joint ven tures Elektra and Der Rosenkavalier, Richard Strauss and hi s librettist, Hugo von Hofrnannsthal, cast about for another s ubject on which to collaborate. The libret· tist steered the composer towards his own adaptation of Moliere's play, Le Bourgeois Gentilhomme. Strauss wrote incidental music for the play and an opera, Ariadn eou l Naxos, to be performed following the main action of the playas the entertainment offered by the nouveau riche Monsieur Jourdain This first version nev er became very popular. It made for a very long evening and was really aimed at two quite different audiences.

Shortly after the first performance at Stuttgart in October 1912, Hofmannsthal set about changing the whole framework of the piece. The play disappear ed, and was replaced by a Prologue with Ariadne as the second of two distinct but clearly interdependent parts

In this new version the place and time of the action shift from the France of Moli ere and Louis XIV to the Vienna of the Empress Maria Theresa, approximately seventy-five years later. The character of Jourdain becomes an unseen Lord who issues arbitrary commands to underlings gathered in his house to perform The roles are types rather than individuals: the Major-domo, the Music Master, etc Everything is set for a comedy of manners, or of errors.

Strauss set the Prologue to music in a predominantly parlando style with carefulh placed outbursts of lyricism. He revised the opera segment, with particular attention to Zerbinetta's aria, which has understandably become one of the most famous coloratura pieces in the repertoire.

One of the crucial differences between the two versions is the status of the opera portion. In its original context there was no question that it formed an entertain· ment within an entertainment. Characters from the Moliere play sa t on stage during its performance and talked, fell asleep or walked off. Irony thus undercut or severely qualified the "seriousness" of the occasion. With the version weare witnessing, however, the situation has grown more ambiguous. The director mal opt to continue this type of s taging, as seen in some modern productions , or the seco nd part of the evening ma y be presented purely as a spectacle in its own righ t In this case we will probably respond straightforwardly by immersing ourselves

A lessandra Marc as Ariadne with Ben Heppner as Bacchus.

Photo: Sante Fe Opera

This pag e is dedicated to Mr. and Mrs. for their support at the Impresario

2010, Michigan Opera Theatre

THE STORY

Setting: Vienna, eighteenth century PROLOGUE.

n the salon of "the richest man in Vienna," preparations are in progress for a new opera seria based on the Ariadne legend, with which the master of the house will di vert his guests after a sumptuous dinner. The Music Master accosts the pompous Major-domo, having heard that a foolish comedy is to follow his pupil's opera, and warns that the Composer will never tolerate such an arrangement. The Major-domo is unimpressed. No sooner have they gone than the young Composer comes in for a final rehearsal, but an impudent lackey informs him that the violins are playing at dinner. A sudden inspiration brings him a new melody, but the Tenor is too busy arguing with the Wigmaker to listen to it. Zerbinetta, pert leader of the comedians, emerges from her dressing room with an officer just as the Prima Donna comes out asking the Music Master to send for "the Count." At first attracted to Zerbinetta, the Composer is outraged when he learns she and her troupe are to share the bill with his masterpiece. Zerbinetta and the Prima Donna lock horns while dissension spreads. As the commotion reaches its height, the Major-domo returns with a flourish to announce that because of limited time, the opera and the comedy are to be played Simultaneously, succeeded by a fireworks display At first dumbstruck, the artists try to collect themselves and plan: the Dancing Master extracts musical cuts from the despairing Composer, with the lead singers each urging that the other's parts be abridged, while the comedians are given a briefing on the opera's plot. Ariadne, they learn, after being abandoned by Theseus, has come to Naxos to wait for death No, says Zerbinetta - she wants only a new lover. The comedienne decides her troupe will portray a band of travelers trapped on the island by chance. Bidding the Composer take heart, she assures him that she too longs for a lasting romance, like Ariadne, but as his interest in the actress grows, she suddenly dashes off to join her colleagues Now the Prima Donna threatens not to go on, but the Music Master promises her a triumph, and the heartened Composer greets his teacher with a paean to music At the last minute he catches sight of the comics in full cry and runs out in horror.

OPERA. Ariadne is first seen at her grotto, watched over by three nymphs - Naiad, Dryad and Echo - who sympathize with her grief. Enter the buffoons, who attempt to cheer her up ("Lieben, Hassen, Hoffen, Zagen") - to no avail. As if in a trance, Ariadne resolves to await Hermes, the messenger who will take her to another world, undefiled - the realm of death ("Es gibt ein Reich") When the comedians still fail to divert Adriadne (nEs gilt, ob Tanzen ob Singen tauge"), Zerbinetta addresses herself directly to her ("Grossmachtige Prinzessin"), describing the frailty of women, the willfulness of men and the human compulSion to change an old love for anew. Insulted, Ariadne retires to her cave, and when Zerbinetta concludes, her cronies leap on for more sport. Harlequin tries to embrace her while Scaramouche, Truffaldin and Brighella compete for her attention, but it is Harlequin to whom she at last surrenders. The nymphs return ("Ein sch6nes Wunder!"), heralding the approach of a ship. It bears the young god Bacchus, who has escaped the enchantress Circe (unchaste love) for Ariadne (purity). Bacchus is heard in the distance, and Ariadne prepares to greet her visitorsurely Death at last. When he appears, she at first thinks Theseus has come back to her, but he majestically proclaims his godhood. Entranced by her, he claims he would sooner see the stars vanish than give her up ("Bin ich ein Gott"). Reconciled to a new, exalted existence, Ariadne joins Bacchus in an ascent to the heavens as Zerbinetta sneaks in to have the last word: "When a new god comes along, we're dumbstruck."

Copyright 2010, Michigan Opera Theatre

Courtesy of Opera News

Two costume sketches by Ernst Stem from the Stuttgart premiere of Ariadne auf Naxos in 1912

in the great Straussian lyrical flow, accepting the experience of transfiguration with little, if any, sense of irony.

And yet if we look at the main figures and their situations, we can hardly fail to detect strong traces of irony

Take, for instance, the Composer ( a role composed for a mezzo-soprano). He is young, idealistic, touchingly naive and vulnerable, and quite lacking in knowledge either of himself or of life. In a letter to Strauss, Hofmannsthal described him as, "tragic and comic at the same time, liketh, musician's lot in the world." When he learns that his opera seria is to be followed by the commedia dell' arte troupe, he contrasts his "ideal world" with the banality of everyday existence. Yet just before this he has had an idea for a beautiful melody: "I had flown into a rage with an impud en lackey - it came to me there in a flash." The Composer fa ils to understand the significance of his own words. It is noti n some pure, rarefied realm that the artist will find his materia. but in the impure activity of daily living And yet it requires the "pure" creative imagination to develop and transform tha t rna terial. Both worlds need each other.

This truth becomes even more apparent in the case of Zerbinetta. Strauss and Hofmannsthal held different views of this traditional Columbine figure. In Ariadne she remai ns very much in a stereotypical role, the beautiful flirt always breaking hearts but never giving her own in return . However , in her scene with the Composer in the Prologue, she reveals what may be another, deeper, part of her psyche. She tells him: "On the stage I play the coquette, who can say that my heart is in the part I play?" The stage direction for her speech reads, "apparently quite sincere, with extreme coquetry." This leaves open the possibility that she is playing merely one more game designed to infatuate the young sentimentalist. Yet Strauss ' mu sic will have none of it; she is clearly sincere and the ensuing love scene flattens any likelihood of role playing. This brief duet anticipates that of Ariadne and Bacchus with the key difference that the Composer's and Zerbinetta's relationship is extremely transient, unlike the eternal love of the heroine and hero. Literally within seconds Zerbinetta reverts to her characteristic self, and the magic moment has passed, presumably forever.

In most respects Ariadne offers a complete contrast. She is the model of fidelity, first of all to Theseus who has abandoned her on Naxos, and secondly to the idea of death, which she imagines as the god Hermes coming with his wand to lead her to the other world. She laments: "There is a realm where all is pure: it has a name. too: Realm of Death . Here nothing is pure." Her longing for such a pure world reminds us very forcibly of the Composer. Indeed, their aspirations and experiences link them closely as the two dominant figures within the entire work. So obsessed is Ariadne with her distress that she initially mistakes Bacchus for Theseus and then immediately commits another error in assuming he must be the "beautiful, quiet god" of death. In one way she is right. It is a kind of death shei s encountering; the death of an earlier self. But now it is also the birth of a new and truly fulfilling love. Strauss underlines this by having her three attendants sing an adaptation of a cradle song by Franz Schubert as an accompaniment to the lo ve duet of Ariadne and Bacchus.

Just as Ariadne can't stop thinking about Theseus, so Bacchus on his arrival sings about Circe and his escape from her magic - which debases men into swine As a god he has succeeded in resisting her blandishments, but when he first sees Ariadne he asks whether she is a similar kind of sorceress. Having survived his "first adventure," he is now ready for his second, that of true and lasting love as the husband of Ariadne. The "magic" he now encounters is of an ennobling kind, which he reciprocates towards the deserted woman. Each now effects a transfigu · ration of the other; a mutual enchantment and transformation.

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Ariadne' s cave of desolation becomes a bower of elevated love; a sacred couch and l holy altar miraculously appear. Her name, which means "very holy," has been momen of her fate. In legend, she and Bacchus had many children and a happy 1lllaITIilge; he threw her coronet into the heavens, where it became the group of known as Corona Borealis

the final love duet, Zerbinetta appears briefly from the wings to repeat Ilil linefrolm her own great aria, "When the new god approaches, we surrender, a word " Originally the coquette was referring to the way she gave completely to each successive lover. She still has that meaning in mind and /vIVllOl v thinks Ariadne is behaving in exactly the same way. But the difference, Zerinetta will never be able to understand, is that Ariadne is literally giving to a god and to the divine principle of love within herself, a degree of .UIl1m:itIDIen which the flirt is terrified of making.

of mutual comprehension between the mythological figures and those .Ilthe 'COIlunedJ·a is one of the central sources of comedy in the work. Neither side the level on which the other experiences life. Ariadne never sees that like Zerbinetta, whereas the latter cannot perceive that the heroine is a .nmiorIM()n of her own deepest self if she could trust it. Harlequin, who "wins" his rivals, also typifies misunderstanding He seems to represent .idebaseddescent both from Hermes, whose wand he usually carries, and from whose leopard skin has been transmuted into the highly patterned characteristic of Harlequin.

Strauss uses an orchestra of 18th-century size, it is one nevertheless with Wagnerian touches, sometimes literally To point up the signifiof the "magic drink" (Zaubertrank) which Circe had offered Bacchus, the quotes the "Magic Potion" motif from Tristan und Isolde. In the apotheof Strauss' opera the lovers become transfigured under a sky "full of stars," mini·l,cen of Act II of Tristan when Isolde sings, "stars of bliss shine smiling." and Hofmannsthal use these and other echoes more to highlight differthan to suggest mere imitation.

two great collaborators are suggesting the interdependence of the .llVUle,anathe mundane, because, unlike their characters, they see clearly that of us inevitably lives among the pressures and realities of everyday life commedia figures) we are also capable of transcending that level, if only and briefly Then we may become gods. In this work the music the spectrum of experience so that the Composer' s boast comes true : . isa holy art." The highest experience oflove and art may lead to a (if only temporary) of one's normal self. In experiencing Ariadne we see and hear it in the heroine and hero and also in the "performers" IJ11lStorrneCl from their petty, everyday selves in the Prologue into figures of and finally we in the audience may undergo the miracle for ourselves.

Eric Domville is a Professor of English at the University of Toronto. He is the Toronto correspondent for Opera magazine.

Wolfram Skali cki' s des ign for th e Act II sets afAriadne auf Naxos FIiI to:Calladian Opera Company

WORDS AND MUSIC, von HOFMANNSTHALAND STRAUSS

The mismatching of Richard Strauss and Hugo von Hofmannsthal as artists is on e of opera's greatest phenomenons; but their lack of genuine friendship is not open to debate. They were cordial and respectful, but not amicable. They scarcely ever met preferring to collaborate by mail, and when they did come face to face, Strauss 's ea Bavarian ways (and his wife ' s temper) irritated the tensely correct von Hofmannst

The reasons which led Strauss, in 1925, to propose to Hugo von Hofmannsthal the publication of their correspondence were summarized by the poet in a letter dated 4 May of that year: "To make evident, on the one hand, the seriousness of our joint labors; to avail ourselves, on the other, of the casual commentary provided by the letters to remedy the lack of understanding still shown for some of our works. And finally to kindle that response which, among Germans, often has to be provoked by means other than the direct ones "

The following excerpts from their letters written while working on both the first and second versions of Ariadne provide insight into the composer's and poet's dispara te personalities and working relationship. They also underscore that inseparable relationship of words to music and vice versa in the duo's collaborative efforts.

Dear Herr von Hofrnannsthal, Garmisch, 225.11

Ariadne may turn out very pretty. However, as the dramatic framework is rat'" thin , everything will depend on the poetic execution. But with you one doesn't have to worry about flowing verse. So get your Pegasus saddled ...

Best regards, yours, RICHARD STRAUSS

My dear Dr. Strauss,

Rodaun, 25.5 (1911)

Thank you very much for your two letters. Discussions of this sort, which Sh Oll· how each of us visualizes the joint work, are indispensable and will be necessan again from time to time. Your list of the set numbers you would like is helpful and stimulating, and the same will certainly be true of all other specific musi cal wishes and intentions you may communicate to me. This is the only way to collaborate. There will be other occasions when I shall ask you to comply with requests of mine We must not merely work together, but actually into each other's hands.

Sincerely yours, HOFMANNSTHAL

Dear Herr von Hofmannsthal,

Berlin, 6th April (1916)

The part of the Composer (since the tenors are so terrible) I shall give to Mil e Artot. Only you'll have to consider now how we might further furnish the part for her with , say, a little vocal number; or perhaps you could write an additional pretty little solo scene for the Composer at the end (after Ariadne!): wistfully poetical- pOSSibly by making him burst out in despair after Ariadne : "What have you done to my work", and then the Major-domo could appear and pa ytit poor devil his salary , or the count might appear and pay him some announce the acceptance of the opera by the Imperial Opera House in its preser form (with the Zerbinetta scenes) , or any other amusing idea that comes to yo ur mind - and then a wisfully poetical final contemplation.

Please let me have this soon: because I can only win Mile Artot for our piece if I can offer her a kind of small star part....

With best regards , yours RICHARD

STRAUSS

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For the past two days I have been thinking over, backwards and forwards, your letter with its astonishing proposal for the end, but [have failed to come round to it; on the contrary. I fear your opportunism in theatrical matters has in this case thoroughly led yo u up the garden path. In the first place the idea of giving the part ofthe young Composer to a female performer goes altogether against the grain. To prettify this particular character, which is to havean aura of "spirituality" and "grea tness" about it, and so to turn him into a travesty of himself which inevitably smacks a little of operetta, this strikes me as, forgive my plain speaking, odious. [can unfortunately only imagine that our conception of this character differs once again profoundly, as it did over Zerbinetta! Oh Lord, if only I were able to bring home to you completely the esse nce, the spiritual meaning of these characters. I am not, on the other hand, quite so opinionated as not to understand what you want to avoid: the frightful tenor! Yes, I can understand that. None the less; in Berlin they happen to have MIle Artot, but who is to sing the part elsewhere? In Vienna, for instance? And finally, whether man or woman - this idea for the end is truly appalling; if you will forgive me, my dear Dr . Strauss, this letter was not written in one of your happiest moments. Consider the lofty atmosphere which we have the entrance of Bacchus, reaching in the duet almost mystical heights. And now , where the essential coda ought to be over in a trice, now some rubbish of this kind is to spread itself once more (the emphasis is on "spread"): the Majordomo, the Fee, the Count and God knows what else! And all this merely to make the part an inch longer! To say nothing of the sty listic absurdity of this demand for something " lyrical" in the framework, which after the opera has just reached it's greatest lyrica l climax, would destroy the destinctive nature of this framework. In fact, of course, the only thing to do is to return from this lyrical climax to characterization, first the comedians, and then a characteristic brief speech, given now, if you insist to the Composer, though 'twas better coming from Jourdain Please send me a few words by express, telling me tha t you understand me; I feel quite faint in mind and body to see us quite so far apart for once!

Yours, HOFMANNSTHAL

P.5 [believe if you go carefully through the part of the Composer, wi th all the high spots, moods and shades: well it is a star part!

Dear Herr von Hofmannsthal , Berlin, 16.4.16

Why do you always get so bitterly angry if for once we don't understand each other straight away? You almost act as if I had never understood you! After all, two opinions are possible about the character of Zerbinetta: my suggestions concerning the end of Ariadne were, as you know , only quite unconsidere d suggestions which you could have thrown into your wastepaper basket without another thought: their only purpose was to induce you to reconsider seriousl y the closing words of the Composer - and how was I to know that yo u might not think of something particularly brilliant for the ending if I told you that Artot was to do it. Well then, you do whatever you like about the ending , only do it soon, please! but as for Artot - as a young Mozart, say, at thecourt of Versailles or among the Philistines of the Munich Court, for whom he composed Idomeneo -I am not going to budge on this point , fo rartistic as well as for practical reasons

With be s t regards, yours, RICHARD STRAUSS

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My dear Dr. Strauss, Rodaun , 13.4 (1916)

The Masons and The Magic Flute

by John Schauer

It has been theorized tha t Mozart died of ,poisoning-not a t the hands of Salieri, as ha s often been proposed , but by Freema· sons who were angered that Mozart ha d broken his vows and revealed their secrro to the profane public

It's no secret that The Magic Flute conta ins a great deal of Masonic symbolism, and books have been written on the subject, di ssec ting the piece , tracing innumerable elements to their origins in various Ma so rituals One of the most fascinating and detailed of these is Jacques Chailley's The Magic Flute, Masonic Opera; (translated by Herbert Weinstock and publish ed 1971 by Alfred A Knopf.) Thus we learn that the padlock placed on Papageno's ' reproduces a similar act in the Masonic rite of female initiation; that the groups of orchestral chords that punctuate the spoken dialogue in places is an limitation of the ceremonial "knells" that punctuate various Masonic rituals; or that the fainting spells that seem to afflict almost every principal character reflect the symbolic death and resurrection enacted in an initiation.

Was Mozart merely flaunting his knowledge of Masonic symbols, or was he usin£ that system to say something more specific? No masterpiece of art can be easily summed up or presumed to have one simple "meaning"; but in Th e Magic Fillt e, Mozart does seem to be using the Masonic symbolism and presented as a quaint fairy-tale or simplistic good-evil allegory. Certainly the work functions well enough in those capacities, and it must be admitted that the bulk of the symbo lism will seem arbitrary rather than archetypal to the casual viewer. But those willingk immerse themselves in the symbolism that permeates the original libretto will find a new consistency in the progression of the opera, and be less inclined to believe in accounts of a revision of the libretto halfway through its completion,

More elusive than the events of The Ma g ic Flute 's genesis, however, is the history of the Masonic thought that so heavily influenced it. The dependability of histon· cal accounts is seriously compromised by a combination of sloppy scholarship, a prejudicial desire to establish a link with a lost "Golden Age" in the ancient pasl and deliberate attempts to misrepresent facts in the name of preserving secrecy,

Whether or not the medieval guilds of stoneworkers were descended from a tradition going back to the Rome of Augustus Caesar, as has been claimed, need not concern us Historians of modern Masonry have settled on 1600 as the mate year when philosophic, or speculative, Masonry (or Freemasonry) was established in distinction to the "operative" masonry of the old guilds It is a pleasant coincidence that this places the birth of Freemasonry at nearly the exact time of the birth of opera.

Da v id Ho ckne!j 's settin g for The Magic Flute , Final e of Act 1.

Photo: Phil Schex nyder

This page is dedicated toMr. and Mrs. RobertC for their support at the Impresario Circl el

Opera Theatre

ACT II.

The priests file in to hear Sarastro announce Tamino's candidacy for initiation; he prays that the gods may bless the youth. Warned of the trials ahead and sworn to silence, Tamino is impervious to the temptations of the Three Ladies, who have no trouble derailing the cheerful Papageno from his course of virtue.

Monostatos, finding Pamina asleep in the temple garden, tries to steal a kiss but is dismissed by the wrathful Queen of the Night, who gives her daughter a dagger with which to murder Sarastro. Monostatos returns when the Queen vanishes, but Pamina is rescued by Sarastro, who consoles her.

The gourmand Papageno is quick to break a new oath of fasting, and he jokes with an old lady who vanishes when asked her name. The Genii reassure the two novices and bring them food, but Tamino remains steadfast, breaking Pamina's heart: she cannot understand his silence. When she leaves, the prince drags off gluttonous Papageno.

The priests laud Tamino's virtue and inform him that he has only two more trials to complete his initiation. Pamina is relieved when Tamino speaks to her but upset when she hears of his further ordeals; Sarastro says the lovers will meet again and separates them.

Papageno is eliminated from initiation still wishing for a pretty girl, but he settles for the old lady, who turns into Papagena when the resigned Papageno promises to be faithful. However, a priest tells the birdman he is still not worthy of a wife.

Pamina, on the verge of suicide, is saved by the Genii and led to Tamino. Later, at the caverns of fire and water, two armored Guards proclaim that Tamino must pass the test of the elements. Pamina walks with him through fire and water, protected by the magic flute.

Papageno is also saved from attempted suicide (by hanging) by the Genii, who remind him to use his magic bells, which summon Papagena. The two plan for the future and move into a bird's nest.

The Queen of the Night, her Three Ladies and Monostatos attack the temple but are defeated as the throng hails Sarastro, Pamina and Tamino.

Masonry, as it came to be developed in the 17th and 18th centuries, was very much a part of the intellectual life of the time , a time of revolutions and revolutionary' both of which were associated in some people' s minds with Masonry Numerous European secret societies were rumored to have influenced the American and Revolutions Several of our Founding Fathers, including George Washington, were Masons, and you need look no further than the back of a one-dollar bill to discern influence of Masonic symbolism in the design of the Great Seal of the United States The grea t profusion of secret societies in the Age of Enlightenment can be explained by the non-believer as the superstitious by-product of a turbulent and rapidly changing era; while the believer will interpret them not as a mere outgrowth of the period, but as a vital force that effected many of the changes that occurred. Either way, secret societies flourished as did another fashionable obsession a preoccupation with ancient Egypt.

Many people are drawn to the Egyptian aspect of Th e Magic Flute, although the connection is actually very slight. The libretto does not specify the location as until s cene 9, set in "an Egyptian room," which may be more a reference to style location. Other directions refer to pyramids or "ancient Egyptian portals, " but Egyptian-style furnishings were not uncommon in Masonic templl'l by the time of The Ma g ic Flute (1791), and the opera itself could be in almost any realm of the imagina tion. There are, of course, references to Isis and Osiris in the text, and legends of these deities were known in the 18th century through the writings of the Greeks But the fact is that the true Significance of most Egyptian symbolism was still a mystery, which no doubt accounts for the great it held. The Rosetta Stone, the key to deciphering Egyptian hiero· glyphics, was not discovered until eight years after Mozart's death, and was not translated until several decades later. The "Egyptian" symbolism of The Ma g ic Flute, therefore, is meaningful only in terms of how Masons at the time understood it.

Th e Spirit of Masonry, an "approved" history written by William Hutchinson that first appeared in 1775, discusses the influences of such groups as the Essence and Druids, but has little to say abou t Egypt, whose mystical knowledge was supposedly transmitted tau; through Pythagoras and the Phoenicians. But Masonry soon more and more Egyptian trappings after a strange convergence sonalities resulted in a veritable flood of Egyptiana that ultimately found itself reflected in Th e Ma g ic Flute.

In 1734, Franz Anton Mesmer was born. His name was eventually to become synonymous with hypnotism, which Mozart makesa refe rence to Co si fan tutt e In fact , the composer's Bastien und written when he was only 12, received its world premiere in Dr. Mesmer's gardens. Mesmer was assisted in his researches by the legendary occultist the Comte de st. Germain, who had devised his own mystical system supposedly based upon the mysteries of the ancients. St. Germain later initiated into his system the infamous Alessandro di Cagliostro (the two of them were said to have been major influences on Giovanni Casanova) , and Cagliostro eventu all y established his own Egyptian Rite of Masonry in 1784, the same year Mozart became a Mason (It is perhaps significant to note that Cagliostro's symbolic seal bore the image of a serpent pierced by an arrow , an image that recalls the opening scene of Th e Ma gi cFl llt r.

The interest in Egypt was further fueled by the appearance of several bogus "Egyptian" writings. In 1731 the novel Setho s was published in France, being translated German in 1777 The work became a staple in the Masonic bibliography and regarded as a scholarly work dealing with initiation among the ancient Egyptians A number of elements-such as the Three Ladies-were taken from this work, seems to have been a clever fabrication with no earlier authority than a mid-17th century Venetian manuscript purporting to deal with the same subject.

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Nonetheless, the intelligentsia of 18th-century Europe were enthralled. In 1781 , a French occultist named Court de Gebelin published the eighth of nine volumes of his magnum opus entitled Mond e Primitif, in which he postulated that Tarot card;

Inoextan t examples of which predate the 15th century) were actually remnants of an ancient Egyptian book of secret knowledge From 1783 to 1787, one of his followers , un der the name of Etteilla, produced a series of articles on the subject, and shortly the reafter produced a new version of the traditional Tarot deck that provides as trong clue as to Mozart's premise in The Magic FLute.

Ette illa was a French wigmaker who became a self-styled-and highly successfulauthority on occult matters . He completely rearranged the Tarot cards and radically redesigned several of them, adding a ttributions and correspondences of his own, andsupposedly bringing them into line with Masonic doctrines. \1os tpertinent to our purposes are the subtitles he assigned each of the cards in his explication. The card that corresponds to that traditio nally called The Sun is, in Etteilla's Tarot, called "Hiram's FreemaniOnry," a reference to the legend of Hiram, architect of Solomon's Temp le, and to traditional, male Masonic lodges. But the card correlJXl nding to the one usually designated The Moon is called by Etteilla 'fheOrderof the Mopses," which is a direct reference to the female Lodges of Adoption" that were beginning to become increasingly popular and controversial. Is it possible that the central conflict of the opera represents not the struggle of good and evil, but rather the threat l:Ei ng posed to all-male Masonry by the female lodges?

fro mthe beginning, women had been excluded from direct participation mMaso nry, but by the mid-18th century, several lodges were formed specificall forwomen, even if their scope was limited and their hierarchies headed by men. One 01 these, the "Order of the Mopses," had acquired sufficient importance to be recog nized by the Grand-Orient de France in 1774, but the notion of women participati ng in Masonic rituals remained a bitter bone of contention for many misogynous \1aso ns. The issue took on greater significance with the appearance of Cagliostro's Egyptian Rite , which elevated women to the level of ordinary Masons rather than treating the female lodges as parodies of male Masonry.

I1anyco mmentators during the last 200 years have become nonplused by the 9Xal led "revision" or change in the libretto that results in the Queen of the Night changing from a good and caring figure at her first appearance to a murderess and svrnbo l of evil by the end of the opera Yet there is far less of a problem than some ·ould have us to believe . First, it is obvious that, erenilshe were evil, the Queen of the Night would Ii!l'erintroduce herself as such; rare in literature is • jiIPvi llt,in who would. But if we look beyond a aaively black-and -w hite notion of good or evil, wecan see that the Queen of the Night is not licked, merely the dualistic correspondence to guardian of the all-consumming Circle •• ml!:Jun . Masculinity and ferninity were viewed complementary forces, as depicted in the Figure ofthe Yin-Yang. Nei ther is without the other; each contains elements illssuppm;ed opposite. No one element is considered superior to its opposite, and could not exist without its proper compleThe reason for the Queen of the Night's frusand hostility is explained in portions of the usually cut in modern performances, that explain something of the history l1li irnnnrt" , rp of Parnina, who is in many wa ys character of The Magic Flu te

father reigned before Sarastro; as the of the Night explains to Pamina (in Andrew Porter's translation) : "When father died, my power died with him Of his own free will [he] relinquished the Circle of the Sun to these Initiates. When I discussed the matter with your he said with a frown, "Wife, my last hour has corne All the treasures that are mine only are yours and your daughter's. ' 'The all-consuming Circle of I put in quickly-' is assigned," he replied, ' to the Initiates. And Sarastro it as manfully as I have done . Not another word. Do not try to under-

Copyright 2010, Michigan Opera Theatre

stand matters beyond the grasp of woman's intellect. It is your duty to place yourself and your daughter beneath the guidance of wise men."

Such lines may sound sexist to us today. Yet we must consider the possibility that Mozart allowed various characters to mouth these sentiments not because he agreed with them , but as an intellectual counterpoint to the thrust of the story, elevates women to unprecedent importance. Pamina is the true heiress to the secrel traditions guarded by Sarastro, by virtue of her birthright. She is the one Sarastro specifically chosen, while Tamino is merely an agent. It is Pamina who leads Tamino through the trials for fire and water, and it is the initiation of the first woman into Sarastro ' organization that marks the beginning of a new Golden Age.

As for the nature of that transformation, it s possible, with the proper attitude, for Mozart's opera to be viewed not as an allegory of ini tiation, but as an initiation ritual in and of itself.

Surely there are few more psychologically potent "rituals" - sacred or profanein today's world than grand opera. The ceremonial raising of the curtain , the elaborate vestments, the solemnity of the music, the hushed reverence of the audience, all combine to bring us closer to a mystical experience than virtually an y other contemporary event. But one cannot take another's word for it; one can only prove it to oneself through experience. To quote Gareth Knight, "To try to descri be a mystical experience is like trying to describe the scent of a flower; one cannot do it. The best one can do is tell the inquirer how best he can obtain the particular f]ower S(1 that he can smell it for himself. If he cannot be bothered to follow your directions or flatly refuses to believe that the flower exists, there is nothing one can do about it. " With The Magic Flute, Mozart mystical flowers remain for each audience member to savor its wonderful perfume.

-John Schauer is a staff writer for San Francisco Opera. Reprinted by permission of San Francisco Opera.

Magic Palette, Magic Flute jannusch

David Hockney is wearing a pair of his trademark flamboyant shoes, but he coyly saysit' s only because they're comfortable. He'd rather talk about Mozart's perfeclio n, black holes in space and the "admitted failure of Marxism". Hockney designed theelaborate and fanciful sets and costumes in 1978 for Mozart's opera The Magic iliff, which will appear on the Masonic Temple stage in April 1991.

artist who makes painting look impossibly easy, Hockney is the boyish da rling of the international art world . Not since Matisse, perhaps, has there been an artist to shower us relentlessly with sheer joy through colorful paintings, prints and photographs of exquisitely sunny places and untroubled people J like life, actually , like lh eworld , essentially. I even think it' s beautiful, " asserts the English-born Hockey, who now lives in Hollywood Hills, California. " J think we all should think that." mfrom a rather coLd , damp , Gothic , gLoomy pla ce That was my childhood ," says Hockney. "So I'm like van Gogh . I'm a Northerner who thinks ther e's more joy in the sun. "

Amasterof vivid landscapes punctuated by palm trees and cooled by swimming fIlO ls, Hockney understands th e power of color: "In the theater , you put blue light blu epaint and it becomes physical. It enters your body in a way like music does. Ihal."

_1r.r non; 7,oc1 early with prizes and favorable reviews, Hockney doesn't recall article in the London Daily Mail that described him as " the nearest thing world to the Beatles." In 1965,1 suppose the BeatL es were v ery new, alld chee ky , weren ' t they ?" he says when asked to explain the comment from .11IS P(lP-a.rtbeginnings. " J don ' t know much about pop music , actually ."

of the Beatles, Hockney grew up listening to classical music performed .n mShornet ,own of Bradford. As soon as h e moved to London he was a regular at says. Today Hockney recites T.S. Eliot from memory, has begun studyof Chinese scroll painting , and is excited that 20th century science is to grips with "the unknowable." He denies being "a shoe freak," but knows who are. Curiosity is what makes him run , Hockney says, pleased with the "] felt it was a privilege to work with Mozart or RaveL or Stravinsky especially Hockney says with a smile when asked whether he minded sharing the spotlight when working on opera and theater projects. He'd seen several of The Magic Flute , an enchanting fable about evil, order and chaos and, as Hockney puts it, of the sublime and the comic I knew it was a marfor an artist. You couLd do it in many ways.

Iru e of som e opera s, in a way So I jumped at th e lodo it," Hockney says of the 1978 commission Glyndebourne Festival in England. "I kee p I'd lo ve to do another [version] anoth er way "

put himself in an 18th-century frame of mind the se ts for Th e Magic FLute , written in 1791 by Emmanuel Schikaneder, who set the opera Egypt. Egypt was then an exotic land of myths ,i ts hieroglyphics not yet decoded. Hock18th-century engravings of Egypt, done who had never been there, and found their appea lin g. And he drew upon Renaissance depicting the biblical flight to Egypt that would familiar to 18th-century audiences. "I also 10 eve ry recording I could lay my hands on at th e he says. "1even found an oLd To scanini recording. is [think th e equipment to record it had been taken somewh ere in 1928 , so it wasn ' t really gr eat 10 ."

Copyright 2010, Michigan Opera Theatre

Also the illustrator of Grimm's Fairy Tales, Hockney brings a sense of storybook fantasy to the sets, which range from an enchanted, moonlit garden to a bie temple in the shape of a pyramid. Hockney's animals, including a unicorn and slithering lizard, are larger than life when they come out of the fore s t, charmed by the magic flute. 'To me th e music is incredibly clear, so I wanted clear visual eq uiva lents ,' he says. "To me, the ideas in the end - what colors to put th ere, what space to put therecomes from the music. The plot has to be accommodated, but the concepts, for me, comeolif of the music."

Like a Renaissance artist, Hockney is fascinated by science and would like to see art and science merge in contemporary culture as they did during the 15th century. "Science was an account of reality, as a search for truth " In the 19th centunj, "Hockney says, "science thought it cou ld know everything. In the 20th cen tury , science has admitted the unknowable, come across the unknowable and not just the unknown And in admitting that, it made profound discoveries That's why it's v ision that is needed. That's where he artists come in. We've always had visionaries, anyway. We need them."

Hockney's respect for visionaries shows in his paintings, which pay homage to Matisse and Picasso and, in Act I of The Magic Flute, to early Italian Renaissance artists. "Art history is only a 19th- century German invention to tidy things up. And beillg an artist I'm not that desirous of tidying everything up," Hockney says. "I ha ve a higher sense of order. It's slightly disordered. Edges aren't quite as neg] as they think."

Which brings Hockney to space -a major concern whether he 's working at his easel, with a camera or on designs that can transform a stage. He's analyzed the English-style theater of Shakespeare's day (jutting toward the audience) and the boxy , Italian-style proscenium theater in sculptural terms 'The English renaissance theaters, in a sense, is cubist theater. There's no point where the illusion begins," he says. "The Italian theater is actually the opposite: It's one of illusion beyond a certain planeandas such is deeply involved with perspective and illusions of space - which, of course, interest me." Of the stage, Hockney says, "You can play games, spa tial games, illusionistic games A lot of fun can be had. Surface is illusion, but so is depth," reads one of Hockney 's recent works. He explains that the word "surface" is written in plasticine, so it appears to float in space. " If you think about space too much, you can go mad," he adds. "Space is a very weird thin g to think about."

Ms. Jarmusch is the former art critic of the Dallas Times Herald Courtesy of Dallas Times Herald.

Madama Butterfly's Forebears

by Lynn Snook

Actually it is a very trivial tale which is repeated every day in real life: an inexperienced girl who loves and thinks her love reciprocated, whereas the man has never had any other intention than a fly-by-night liaison inspired by the magic of the moment. A theme such as this certainly does not need any literary background to spark a musician like Puccini who already had something of a name as a composer using banal stories and expressing trite emotions. To these accusations he replied : "Why should I concern m y self with heroes and immortal figures? In such company I feel uncomfortable I'm not one for setting great events to music; it is small events that I have a feeling for, and it is these alone that I like to use When a story doesn' t speak to my emotions, doesn't touch my heart, when it doesn' t make me laugh or cry, excite me or move me, then I can ' t use it."

" Except for the sound of several weeping ladies, everything was quiet at first", wrote the American theatrical author and producer, David Belasco, in his memoirs about the London premiere of his play, Madame Butterfly. "Puccini was among the guests of honour and came to me backstage to ask whether I would let him use the piece as an opera libretto . I immediately said yes, he could do whatever he wanted with it. Anyway, how can you talk business with an impulsive Italian who comes to you with tears in his eyes and throws his arms around your neck! Personally, I doubt that he really saw the play - he just heard the music he was going to write for it. Later I got to know him better and found him the most pleasant and loyal of men, a great composer without any of the usual arrogance ."

In his passionate search for dramatic , human-interest material, Puccini saw this play by Belasco not understanding a word of the language , just as he had previously with Sardou's Tosca in France. The fact that it moved him so deeply was the best proof to him that the subject was clearly understandable and dramatically effective.

The exotic milieu, with Butterfly's flower-like existence, appealed to Puccini's penchant for characterizing delicate, fragile women and he liked the way she abandoned herself to her emotions, the way she blossomed forth in her love and her helplessness, her readiness to face death

Puccini arranged for the wife of the Japanese ambassador to sing her native folksongs to him and he studied countless gramophone records ofJapanese musicthe quickest method for him to feel his way into the mentality of a foreign people: yet in composing Butterfly he remained essentially an Italian

Yoko Watanab e as Cia-Cia-San Courtesy of Canadian Opera Company This page is dedicated to Dr and Mrs Sam Williams for their support at the Impresario Circle level.

THE STORY

ACT I.

n a flowering terrace above Nagasaki harbor, U.s. Navy Lieutenant B.F. Pinkerton inspects the house he has leased from a marriage broker, Goro, who has procured him three servants and a geisha wife known as Madame Butterfly (Cio-CioSan) . To the American consul, Sharpless, who arrives breathless from climbing the hill, Pinkerton describes the carefree philosophy of a sailor roaming the world in search of pleasure ("Dovunque al mondo"). For the moment, he is enchanted with the fragile Cio-Cio-San and intends to undergo a marriage ceremony with hera 999-year contract, but subject to monthly renewal. When Sharpless warns that the girl may not take her vows so lightly, the lieutenant brushes aside such scruples, adding that he will one day wed a "real" American wife. At that moment, Cio-CioSan is heard in the distance joyously singing of her wedding ("Spira sui mare"). Entering surrounded by friends, she tells Pinkerton how, when her family fell on hard times, she had to earn her living as a geisha Soon her relatives arrive and noisily express their opinions on the marriage. In a quiet moment, Cio-Cio-San shows her bridegroom her few earthly treasures, telling him her intention of embracing his Christian faith. With pomp the Imperial Commissioner performs the wedding ceremony, after which the guests toast the couple. Suddenly Cio-Cio-San's uncle, a Buddhist priest, bursts upon the scene, cursing the girl for having renounced her ancestors' religion. Pinkerton angrily orders priest and family to leave He dries her tears. Cio-Cio-San joins the ardent Pinkerton in the moonlit garden where they sing of their love ("Viene la sera").

ACT II

Three years later, Cio-Cio-San still waits for her husband's return. As Suzuki prays to her gods for aid ("E lzaghi ed Izanami"), her mistress stands by the doorway with eyes fixed on the harbor . The maid shows Cio-Cio-San how little money is left but is told to have faith: one fine day Pinkerton's ship will appear on the horizon ("Un bel di vedremo"). Sharpless comes in with a letter from the lieutenant, but before he can read

it to Cio-Cio-San, Goro, who has been lurking outside, brings a suitor. The girl dismisses both him and the wealthy Prince Yamadori, insisting that her American husband has not deserted her. When they are alone, Sharpless again starts to read her the letter and tactfully suggests that Pinkerton may never return (" Amico, cercherete"). Cio-Cio-San proudly carries forth her child, Dolore (Sorrow), insisting that as soon as Pinkerton knows of his son he surely will come back, though if he does not she would rather die than return to her former life ("Che tua madre dovra prenderti") Moved by her devotion and blind faith, Sharpless leaves Cio-Cio-San, on the point of despair, hears a cannon report; seizing a spyglass, she discovers Pinkerton's ship entering the harbor. Delirious with joy, she orders Suzuki to help her strew the house with flowers As night falls, Cio-Cio-San, Suzuki and the child begin their vigil.

ACT III.

As dawn breaks, Suzuki insists that CioCio-San rest. Humming a lullaby to her child, she ca rries him to another room ("Dormi arnor mio"). Before long, Sharpless, Pinkerton and then Kate, his new wife, enter. When Suzuki realizes who the American woman is, she collapses in despair; out of consideration for her mistress, however, she agrees to aid in breaking the news to her. Pinkerton, overcome with remorse, bids an anguished farewell to the scene of his former happiness (" Addio fiorito asil"), then rushes away. No sooner is he gone than Cio-Cio-San comes forth, expecting to find him but finding Kate instead. She tcikes but a moment to guess the truth. Leaning on Suzuki for support, she agrees to give up her child if the father will return for him. Then, sending even Suzuki away, she takes out the dagger with which her father committed suicide and bows before a statue of Buddha, choosing to die with honor rather than live in disgrace Just as she raises the blade, Suzuki pushes the child into the room. Tearfully sobbing a farewell, Cio-Cio-San sends him into the garden to play ("Tu, piccolo Iddio!") Then she stabs As she dies, Pinkerton is heard cailing her name.

Courtesy of Opera News

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Be lasco's one-act play did not supply him with enough material, since the piece begins when Butterfly has already been waiting a year for Pinkerton ' s return, but a composer such as Puccini could not abandon the love story which had gone before Hetherefore set his librettists on the trail of the short story by John Luther Long which had inspired Belasco, as well as the novel Madam e Chrysanthem e by Pierre Lo ti - the source from which Long had drawn his ideas and material. The melting together of talents (including those of the two librettists) produced a Butterfly who was the highly-strung offspring of several literary fathers. However, when Puccini proudly described his poetically blueblood creation to Madame Ohyama, a Ja panese friend, she was unimpressed and agreed that such ladies turned upoften enough.

In the second half of the nineteenth century as advances in communication and tra de brought the most distant land closer, the literature of the time began to see a newvariation on the theme of conflict between alien cultures and the supposed I11 periority of the white man. Meyerbeer ' s Africaine and Delibes ' Lakme rebel, in fu eir love affairs against the tradition and religion of their societies, commit suicide when their lovers desert them Butterfly too must die - but only in the stage ve rsions (play and opera) Her literary forebears just go their own way when their breakup.

in play, as between marionettes" did Pierre Loti feel himself married to Chrysanth eme Loti was a French naval officer whose diaries and novels him international fame At the beginning of his career Japan had opened ports to European ships , and at that time the meeting of East and West produced lI1 unwm tpn law , prompted by Asia ' s courtesy and refined customers : foreign were able to rent a whole household, including a wife, and a mock wedding the frivolous occasion an appearance of respectability. This happy whereby the end of the man ' s visit absolved him of all conjugal was flippantly exploited and the charming episode was considered on to be fitting and proper, giving the Geishas the respect which their

Loti chooses - with the help of a "translator I launderer I discreet race-mixing - the beautiful Chrysantheme whom he sees as a "bizarre toy of diversion". himself the only feeling, intelligent person in a game whose aesthetic do not always hide the intimidating grins of the pagan gods from the Even the latest decorations on the roofs of the thousand strike him as threatening groups of predatory animals l\rv",mH,PTY'P whose delicate limbs are hidden in her stiff the limp sleeves "like tired wings", reminds him of a She arrives with little luggage, knowing how soon the end Yet she is ever polite, friendly , loving and her part" an exotic toy of ornamental ways and There are moments when Pierre Loti even believes the secret expression in her eyes some sort of soul is He, who himself can give no love, waits in vain for the outburst of emotion which he thinks he has in her. However, when after the customary farewell, to be alone with her once more and at last to learn she really feels about him , he surprises her sitting on the counting the money he had paid her according to their agreement. Like a hard-boiled money changer she taps with a tiny hammer, delicately holds them up to her and hums an improvised tune in time to the tapping. this pastime, just as he has misunderstood and this woman from the start. He departs without later shows his diary to the Duchesse de Richelieu , her to read it "with smiling understanding, not looking sort of moral significance" , as though it were a mere travel souvenir, a bit of " a figurine without meaning from this wonderful country with

A pity that Madame Chrysantheme didn't keep a diary herself to let us have a fell intimate memoirs. With the tactfulness of her people, she would doubtless ha ve waited until after the author's death to publish them.

Instead of this, the American lawyer and expert in Japanese matters, John Luther Long, described the psychological case history of the girl in his short story, Madam e Butterfly , as a protest against the egocentric viewpoint of the French author: a very realistic tale concerning a lovesick girl who tries to adjust to a foreigner, even taking on his religion, and thereby loses her equilibrium and in the end is betra yed both by his love and by his way of life

John Luther Long never went to Japan himself, but his sister, the wile01 a missionary, had lived in Nagasaki and had explained the problem o! these girls. He saw the tragic irony of a little Geisha actually believingin the cultural and moral superiority of the white man Without this picture of life in the raw neither Belasco's play nor Puccini's Butterfl y would ever have seen the light of day .

"I'm mos' bes' happy female woman in Japan - mebby in that whole worl'. What you thing?" asks Long's little Miss Butterfly in a joylul outburst. With great care her cultivated tongue imitates the military jargon of her husband and mixes this with poetically descriptive of her own country. Even his swear words are converted by her into friendly niceties.

In contrast to Pierre Loti , who at least did not attempt to re-educate hi s Madame Chrysantheme, Long describes a man who believes he can , like Pygmalion , transform this receptive and (he thinks) unformed material as he wishes Basically, though, this Lieutenant Linkerton (sic) acts likea bull in a china shop. Butterfly learns of her betrayal when she goes totht US consulate to enquire about Linkerton and overhears a woman ollhe same name dictating a telegram: "Just saw the baby and his nurse Can·1 we have him at once? He is lovely. Shall see the mother about it tomorrow. Was not at home when I was there today. Expect to join you Wednesday week per Kioto Maru. May I bring him along? Adelaid e". But when Mrs. Linkerton visits the house again she finds it empty. The Geisha has left to resume her dancing and singing career, taking the baby with her

In the short story the heroine lives on. It was the man of the theatre, Belasco, who first decided that she must die, bound as he was by the dramatic law that forbad e the survival of the heroine who had suffered such extremes of happiness and suffering.

"I don ' t want just any kind of moon -I want a Japanese one" prescribed Belascoin his role as producer and avant-garde genius of scenic and lighting effects With lu; sure-fire theatrical instinct and talent for melodrama he made an effective one-act play out of Long's story beginning, on the day of the lover's return and ending with Butterfly'S suicide. Pinkerton arrives as she is just able to murmur - almost apologetically: "What a pity that our robin redbreast could not build his nest again "

The world premiere took place on 5 March 1900. Painted backgrounds in the style of Japanese watercolours depicted rice fields, flower gardens, a snow-covered volcano at sunset, fishing boats in moonlight - all involving the audience in the mood of the piece. The play was a great artistic success, as was every work by New York author / producer of genius Even the sternest of London critics had to praise its exotic touches and delicate grace even though he might complain abou t the story itself: "a tragedy, that is certain, but a tragedy out of a toy box".

Copyright 2010, Michigan Opera Theatre

Belasco's setting was naturalistic but in good taste and full of poetry and true feeling, coupled with dramatic perfection He possessed in 1900 a modern li ghti ng switchboard and was able in fourteen minutes to convey Butterfly's night vigil while nothing happened on stage and the audience hardly dared to move . Atthe US premiere of Puccini's opera, Belasco generously lent the Metropolitan his lighting equipment to show Geraldine Ferrar to best advantage in the title role.

'Ah, love me a little, oh just a very little" , Butterfly sings, and her modesty, even her Japanese upbrin g in g, is a token of her innocence. Puccini recreated Butterfly in his music, often e ven composing ahead of the text, so that the librettists mica and Giacosa had to adjust the words to existing music. Butterfly had to mherit her character from her various literary predecessors so that Puccini could de pict a happy childlike bride at the beginning and then show her developing into amature , resigned woman.

Puccini needed a big love duet for the sake of the leno r. So Puccini makes Pinkerton as superficial and cowardly as he was in the play , but in his farewell ari amust be able to capture the audience through the music , and even show a little bad conscience.

Fa rewell, 0 happy home" is often considered a slip lIlckwards into melodramatic operatic style, rather thanbitter irony.

German essayist, Ernst Beutler, thought Puccini ahead of his time. He wrote: "It did not take fue redskins, the yellow races and the blacks long to lee that the generosity of the white man was but the whites themselves were aware as well and in their evil hearts they loudly did penance This did not make them changert merely made them cry- and it is no exaggeration , Iromour present vantage point, to say that they cried 'ertheir own white faults , the misery of the rnlo ured races and the injustice of a world which lllo wed such a double standard to exist."

I.ndyet in his Cio-Cio-San, Puccini was less rnncerned with the fate of a Japanese subject than the tragedy of every betrayed woman.

seems drenched in a melancholy as gradually from every corner of the earth there wells up the great which is the home ground of the composer ." This wa s how Frank Thiess the interlude leading to Act III and his description holds true of the entire "None of the horror of Tasca, the empty desolation of the lovers of Manon nor the grief of the friends surrounding Mimi ' s body are reflected in ,he continues. " Thi s is the tragedy of a quietly breaking heart and the is without reproach , fearfulness, or lack of control. It is rather the gentle of a flower from within itself - a flower essentially unattainable and .lIIlouclhed by the world's cruel hands - a death brought about by love , a step from prison cell to eternal freedom Only when the final bars thunder out like a door - as when Tasca leaps from the battlements - do we feel of death."

-Lynn Snook

Translated from German by Elena Lewis

Co urtesy of About th e HOll se

Copyright 2010, Michigan Opera Theatre

SUZANNE ACTO N

C h oru s M as ter (Michi ga n )

MOT Debut

1981/82 Seaso n

Re cently

Chorus Master, MO T, O p e ra Pacific; Conducto r, MOT (Wes t Side Story , My Fair lAd. The Pirates of Pellzance), Da y to n O pera; Coach, O p e ra T h ea tre of S t. Lo ui s; Sa n Di ego O p e r a

1990-91 Season

Cho rus Mosler, Assislant Music Director

RAFFI ARMENIAN

Co n d u ctor (Egyp t)

MOT Debut

A noush, 198 1

Recentl y

Ca na di a n Ope r a Co mpa n y; The Marriageo! Figaro, M O T; M ex ico Sta te Sy mph ony; Kichn e r-Wa te rl oo Sy mph o ny; CBC TV & Ra il; Broa d cas ts; Stra tfo rd Fes ti va l. Na ti onal Arts Ce ntre O r ch estra

Upcoming

The Merry Widow, Mo ntrea l Ope ra

1990-91 Season

Ariadne auf Noxos

RON BA KER

Ba rito n e (No rth Caro li n a)

MOT Debut

Sc ha un ard , La Boheme, 1988

Recently

The Rape of Lucretia, Ca nadi a n Ope ra Compam La Bohe me, From the House of Ihe Dead, The Girl of the Go lden West, A Li ttl e N ight Music,NYC O p e r a; PBS; Turalldot, O p e r a Pacific; Die Fledermaus, O p e r a Th ea tre o f Sain l Louis; Upcomin g

At/antida, Pi tts burg h Sy mph o ny 1990-91 Sea son H a rl e quin /M u sic M as te r , AriadneaufNarrls

MICHEL WARREN BELL

Bass -ba rit o n e (Ca lifo rnia)

MOT Debut

Recently Show Baa l, H o u s to n Gra nd O pe ra, Opera Pac ifi c; Porgtj and Bess, Sta dtth ea ter Roya l Philhar m oni c, Th ea te r des Westens, n a ti o n a l to ur; Arl ist with Conscience, PBS

Upcoming

Porgy and Bess, San Di ego Op er a 1990-91 Sea s on

Joe, Show Boat

ARA BERBERIAN

Bass (Mi chi ga n )

MOT Debut

Do n Bas ilio, The Barber of Sev ill e, 1987 Recentl y

Boris GOdllnOV, The Ba rtered Bride, The lIalmn in A lgiers, The Barber of Sev ill e, Metropolitan O p e ra; The Abduclion from the Serag lio, Man"" O p e ra; Ro meo el Ju liette, Michi ga n Opera

T hea tre; "Li ve fro m th e Me t" PBS; CarnegIe Ha ll ; Die Meistersinger, Faust, The Magic Flu/r. Lilli , Ne w Yo rk City Op e ra

1990-91 Season

Sa ras tr o, The Mag ic Fl ute

DENNIS BERGEVIN AND JEFFREY FRANK

Co-Directors, Elsen Associates (New York)

MOT Debut

Spring 1988

Recently

Washington Opera; Pittsburgh Opera; Spoleto Festival, USA, Italy, Australia; Edinburgh Festival; Television, PBS and HBO 1990-91 Season

Resident Hair and Make-up Designers

EDDIE BRACKEN

Actor (New York)

MOT Debut Recently

Show Boat, Opera Pacific, Houston Grand Opera, Cairo, Egypt, Paper Mill Playhouse (PBS); The Odd Couple , Hello Dolly!, The Seven Year /tch, What a Life, Broth er Rat, Broadway ; Sligar Babies, U.S. and Australian tours; Golden Girls, Wiseguy, national television; feature films

Upcoming

Fea lure film, Oscar 1990-91 Season

Cap'n Andy, Show Boat

RICHARD CLARK

Bari tone (Arizona)

MOT Debut

Father, loan of Arc, 1979

Recently

Metropolitan Opera, Portland Opera, Oper der Stadt Koln; "Live from the M e t"; Tosca, Opera de Bellas Artes;n Trovatore, La Gioconda, Metropolitan Opera

Upcoming

Otello, Arizona Opera; La Traviata, San Diego Opera 1990-91 Season

Title role, Rigoletto

GAIL DUBINBAUM

Mezzo-soprano (Arizona)

MOT Debut Recently

II Barbiere di Siviglia, Metropolitan Opera, Opera Pacific, Vienna Staatsoper; Bruckner Te Drum , New York Philharmonic; Madama Butterfly, Israel Philharmonic; Die Erste Walpurgisnacht, Boston Symphony 1990-91 Season

Suzuki, Madama Butterfly MARKD.FLINT

Conductor (IN. Virginia)

MOT Debut

Carmen, 1977 Recently

La Traviata, Hans el and Gretel, MOT; Romeo et luliette , Falstaf[, Dayton Opera; Of Mice and Men, Chicago Opera Theatre; The Postman Always Rings Twice, Fort Worth Opera;Rigoletto, NYC Opera

Upcoming

The Pearl Fishers, Opera Pacific; Carmen, Fort Worth Opera 1990-91 Season Rigoletto

PAUL BERKOLDS

Bass-baritone (Washington)

MOT Debut

Recently

Carmen, Latvian National Opera, Opera Sou thwes t; The Ma rriage of Figa ro, Manon, Ariadne aufNaxos, Lake George Opera Festival; Lucia di Lammennoor , Houston Spring Grand Opera Festival

Upcoming

Mikado, Orlando Opera; Marriage of Figaro, Opera Southwest Arizona

1990-91 Season

Sparafucile, Rigoletto

ZACKBROWN

Costume Designer (Hawaii)

MOT Debut

Recently

The Masked Ball, La Boheme, The Rake's Progress, Semele, Rigoletto, Washington Opera resident deSigner; Rigoletto, Metropolitan Opera; NYC Opera; San Francisco Opera; Houston Grand Opera; Sante Fe Opera; Arena Stage; Circle-in-the-Square; PBS

Upcoming

Lilac Garden, American Ballet Theatre

1990-91 Season

Madama Butterfly

JIM COLEMAN

Conductor (Virginia)

MOT Debut

Recently Sweeney Todd, New Moon, Show Boat ,NYC Opera; "G r ea t Performances"PBS; Show Boat, Opera Pacific; Anything Goes , Mame, Broadway

1990-91 Season

Show Boat TERESE FEDEA

Mezzo-soprano (Michigan)

MOT Debut

Annina, La Traviata, 1990

Recently

Sarasota Opera Apprentice; MOT Young Artist Apprentice 1990; Metropolitan Opera National Council Auditions, Detroit District finalist; European concerts and recitals

1990-91 Season

Echo, AriadneaufNaxos, Second Lady,The Magic Flute

JUDITH FORST

Soprano (Canada)

MOT Debut

Giovanna Seymour , Anna Bolena, 1984

Recently The Tales of Hoffmann , Metropolitan Opera; Wozzeck , Ariadne auf Naxos, Canadian Opera Company;The Barber of Seville, Opera Pacific, MOT; "Live from Lincoln Center;" La Cenerentola, Norma, Anna Bolena, NYC Opera; Forza, San Francisco Opera

Upcoming Wozzeck, San Francisco Opera; Don Giovanni, Manitoba Opera; Cosi fan tutte , San Diego Opera

1990-91 Season

Corn poser, Ariadn e

FLORIN GEORGESCU

Tenor (Romania)

MOT Debut

Alfredo, UI Tra viata, 1990

Recently

Rigo letto , Dayton Opera; Rigo lett o, Lu cia di Ulmm ermoor, Gianni Sch icchi , Don Pasquale, Th e Barber of Seville, Romanian Ope ra; Zagreb Ope ra; concerts, Bolshoi Opera ; Upcoming

Madama Butterfly, Opera Pacific ; The Barber of Sev ill e, Canadian Opera Company

1990-91 Season

Duk e, Rigo letto; Pinkerton, Madama Butterfly

LUBITZA GREGUS Singer I Actress (New York)

MOT Debut

Recently

Show Boat , Cl eve land Opera, Opera Pacific; S id Caesar lind Company, The American Dan ce Ma ch in e, Broadway; One Life To Live, television; A Funny Thin g Happ ened on the Way to the FOrI/m , Pump Boys and Din ett es, A Cho ru s Lin e, Chica go regional th ea tre

1990-91 Season

Juli e, Sho w Boat

CONSUELO HILL Singer I Actress (New Jersey)

MOT Debut

Recently

Show Boat, Opera Pacific, Opera Omaha , Cl eve land Opera , Portland Opera ; Wh ere's Di ck?, H o uston Grand Ope ra ; Kabbalah , We Shall , Off-Broa dw ay; South Pa cific , Ain't Mi sbehavin ' , N un sense, r egional th e atre

1990-91 Season

Queeni e, Show Boat

MARY JANE HOUDINA

Choreographer (New York)

MOT Debut Folli es, 1988 Recently

Show Boat , Opera Pacific, Portland Opera, Cleveland Opera; Oklahoma!, Los Angeles

Music Cente r; Follies, Annie, Into the Light, Irene, Broadwa y; Th e Great Gatsby, film ; Funn y Girl, Annie, On A Clear Day You Can See Forever, National tours ; Radio City Music Hall

1990-91 Season

Show Boat

LAURA LAMPORT

Soprano (Michigan)

MOT Debut

Dew Fa ir y I Sandman , Ha nsel and Grete l, 1989 Recently

Th e Ma g ic Flut e, The Journey to Rheim s, Th e Italian Gir l in A lgiers, WolfTrap Opera ;

Da y ton Opera Res ident Artist; MOT Young Artist int e rn , 1990; Metropolitan Op e ra

National Council Auditions, De troit District finalistl989 , 1990

1990-91 Season

Naiad, Ariadn e auf Naxos; First Lady ,The Ma gic Flute

Copyright 2010, Michigan Opera Theatre

CHRISTIN A GIANNELLI

Li g htin g Des ign e r (New York)

MOT Debut

Recently Show Boat, Portland Opera , Opera Omaha ; Kabbala , New Mu sic America , Three Rivers Festival; Samso n et Dalila, Dialogue of the Carme lites , Ot ell o, Hou s ton Grand Opera ; The Ove rcoat, Cleveland Ballet; Upcoming Han se l and Grete l, Houston Grand Opera ; Nutcracker, Hou s ton Ballet

1990-91 Season

Show Boat

DAVID GUTHRIE

Set and Cos tum e Designer (New York) Cl eve la nd San Jose Ballet

MOT Debut

Swan Ulk e, 1990

Rece ntl y

Copp elia , Th e Overcoat, Rom eo and IlIliet, Th e Nutcracker, Cl e v e land San Jose Ball el; American Ballet Theatre; San Pacifi c Northwest Ballet; Broad way; motion pi ctures; tel ev ision

1990-91 Season

Coppe lia

DAVID HOCKNEY

Set a nd Cos tum e Designer (England)

MOT Debut

Recently

Tri s tan and Iso ld e, L.A Music Center Opera; Paid On Both Sides, Eye and Ear Th ea tre; Varii Capricci, British Ro y al Ballet ; Le Sacredu Printemp s, Le Rossigno l, Oedip",JilParade, Me tropolitan Opera; Th e Ma gic FfrIIl

Th e Rake's Progress, Glynbourne Opera

Upcoming

Turandot , Lyric Opera of Chicago, San Francisco Opera

1990-91 Season

Th e Ma g ic Flute

ELIZABETH HYNES

Soprano (Michigan)

MOT Debut

Recently

Th e Tal es of Hofftnarm, Dallas Opera ; Don Giovanni, English Na tion a l Opera ;

The Ma g ic Flut e, UI Boheme , Fau st, Cn rmell, Th e Marria ge of Figaro, Th e Rnke's Progress, NYC Opera ; Madama Butterfly , Houston Grand Opera , Opera Omaha , Opera Pacific

Upcoming

Th e Marria ge of Figaro, Dallas Opera

1990-91 Season

Cio-Cio-San, Madama Butterfly

DAVID LANGAN

Bass-baritone (New Jersey)

MOT Debut

Recently

Le Nozzedi Fi garo, Un Ballo in Mn schera,Old' Hou s ton Grand Opera ; Th e Magi c Flllt e, Da lla s Opera; JI Barbiere di Sivig lin, G rea te r Miami Opera; UI Boheme, Chaulauqw Op e ra;Un Ballo in Ma schera, RorentineOpera Ote ll o, Co lumbus Symphony

1990-91 Season

Truffaldin , Ariadne auf Naxos , Speaker,The Ma gic Flute ; Th e Bonz e, Madama Butt erfly

MINGCHOLEE

Se t Des igner (C hina)

MOT Debut

Recently

Madama Butterfly, BeatrixCenci, Was hin g ton Ope ra ; Bo ris Codunov, Lohengrin, Khovallshchina, Metro polita n Opera; NYC Opera, New York

Shakespeare Festival; La Favorita, San Franci sco Opera

1990-91 Season

Madama Butterfly

JA Y LESENGER

Direc to r (New York)

MOT Debut

Recently

Stree tscell e, Anna Bolena, Th e Magic Flut e, New York City Opera ; Th e Magi c Flut e, Pittsbur g h Opera ; IJi Bohem e, Die Fledermall s, The Mar riage of Figaro, Orlando Opera; Werlher , TLi randol, Loh eng rin, Sa n Di ego Op e r a

Upcoming

Don Giovanni, Kn oxvill e Opera; Tosca, Tlr e Ma gic Flut e, A tla nta Opera

1990-91

Season

Th e Ma g ic FiLl Ie

WALTER MACNEIL

Tenor (New York)

MOT Debut

Pink e rton , M ada ma Butterfly, J986

Recently

La Rondine, Tea tro Colon; La Tra via ta, Me tr opo litan Opera, Glyndebourn e Fes tiva l, Opera Colorado; Th e Ma gic Flut e, New Yo rk C ity Opera; Ma cbeth, Ca nadian Opera ; BBC broadcasts

Upcoming

Fallst, Die F1 edermau s, Metropolitan Opera

1990-91 Season

Ta min o, Th e Magic Flut e

DAVID MALIS

Baritone (Florida)

MOT Debut Recently

IJi Bohem e, Me trop o lita n Opera; Fals ta ff, laScala, Cove nt Garden ; Th e Ma gic F1l1t e, [Pag[iacei, Tllrandol , San F r ancisco Opera ; The Barber of Sevi ll e, Net h erland s Opera

Upcoming

Die Schweigs am e Frail, Sa nte Fe Opera ; [Pagliacci, Fau sl, H o u sto n G rand Opera ; Fa[ staff, Th eatr e C hamps Ely sees 1990-91 Season

Papage n o, Th e Magic Flut e

SUZANNE MESS

Cos tume Des ig n er (New York)

MOT Debut

Lu cia di Lamm ermoor, 1974

Recently

Wes l, New York City Opera ; Company designer for Malabar Ltd.

Upcoming 1990-91 Season Rigo letto

Copyright 2010, Michigan Opera Theatre

J.J. LEEDS

Sop ra no (Ok lah o ma)

MOT Debut

Recently

Show Baa l , Cleveland Opera , Portland Op e ra; The M erry Widow , S t. Petersburg Opera; Th e Rape of Lucretia, Lo n g Beach Ope ra ; Mose und Aron, Concertgebouw; Die Entfuhrung

aus dem Serai l, Opera Northern Ireland

Upcoming

Th e Ma sked Ball , C hattanooga Opera; Fidelia, New Orl ea n s Opera

1990-91 Season

Magnolia , Show Baa l

MELVIN LOWERY

Ten o r (M a r y la nd )

MOT Debut

Recently

Ma n of La Man cha , Indian Opera, M e mphis Opera ;Sa loll1e, Washington Opera; Lyri c Op e ra Of Chicago; L 'h eure Espag l1ol, [ Paglia cci, Oedipu s Rex, New Yo rk City Opera

Upcoming

Tal es of Hofftnan , Tol edo Opera

1990-91 Season

Bri g h e lla / Da n cin g Master, Ariadne auf Naxos; Mon os ta tos, Th e Ma g ic Flute

MOLLY MAGINNIS

Costume Des ig n e r (Di s trict of Columbia)

MOT Debut

Recently

Look Who 's Talkin g, Dad , Broad cas t News, Miss Firecracker Con tes t , Luca s, motion pictures; Ma dama Rutterfly , IJ} Boheme, Le Cenere nlola, Texas Opera Theatre

1990-91 Season

Show Boat , Upcoming

Ther e Goes My Baby ,

Look Who 's Ta lkin g Too , motion pi c tures

ALESSANDRA MARC

Soprano (W. Germany)

MOT Debut

Recently

Aida, Metropolitan Opera, Op e ra der Stadt Bonn , Ly ri c Opera of Chicago, San Francisco Opera; Ariadne aufNaxos, Frieden stag, Sante Fe Opera; The Dialogu e of th e Carm elit es, Houston G ra nd Ope r a; conce rts inJapan

Upcoming

Don Carlo , L'Ope ra d e Bo rd eaux; r ecitals a t th e National Gallery of Art

1990-91 Season

Ariadne, Ariadn e auf Naxos

DENNIS NAHAT

Choreograph e r (Michigan)

Cleveland San Jose Ballet

MOT Debut

Choreographer, Swan Lake

Recently

Artistic Direc to r and Co -founder, Clevel a nd San Jose Ba ll e t;Th e Overcoat, Clev e land Ball e t European tour; American Ba llet Th ea tre; Roya l Swedis h Ballet; London Fes ti val Ball e t;Two Gm t/ eme n of Vero na, iwnp ers, Good Tim e Char lie, Broadway

1990-91 Season

Copp elia

MAUREEN O ' FL YNN

Sop r a n o (Massac hu se tts)

MOT D e but Rec e ntl y Rigo letto , Dayton Ope ra, H o u s to n G r a nd Opera , NYC Ope r a, Po rtl a n d O p e ra, Pe nn sy lva ni a Opera

T h ea te r;Th e Ma rriage of Fig aro, NYC Opera,

Ci n ci nn a ti Ope r a; La Serva Pad rol/a, COen del Ca iro, Be rk s hir e O p e r a Fes ti va l; Th e Ma gic Flu te, Car men, NYC O p e ra

Upcoming

Han sel and Gr elel, Po rtl a n d O p era ; I Capu leli Ed I M onleccili Ho u s to n G ra n d Opera

1990-91 Season

G ild a , Rigolett o

JEANETIE PALM ER

S in ge r / Ac tr ess (M assac hu se tt s )

MOT Debut Recently

Str eetsce ne, New Yo rk City O p e r a; Show Baal , Po rtl a nd O p e ra, O p e r a Pac ifi c, Cl eve land O p e r a; Li ttl e Shop of Horrors, T he Uns inkab le M oll y Brown, Grease , Godspell , Th e Pirat es of Penzan ce, Guy s and

Doll s, Re gio n a l th ea tre; Elv is, Na ti o n a l to ur 1990-91 Sea s on Elli e M ae Shipl ey , Sh ow Baal

MIHAEP A RK

So pra n o (Ko rea)

MOT Debut

Recently

Da s Rh ein gold, Me trop o lit a n O p e ra; Ca rm en, NYC O p e r a; The Ma gic Fl u te, Co n n ec ticut Ope ra; The Ma sked Ba ll , Flo r e ntin e O p e ra of Mil waukee ; Th e Marria ge of Figaro , Co nn ecticut G r a nd O p e ra; Seou l Symp h o n y

Upcoming

Don Giovanni , O p e ra d e N ice; Th e Ma sked Ba ll , Edm o nto n Ope r a

1990-91 Sea s on Pa min a, Th e Ma g ic Flut e

MICHAEL PHILLI P S

Dir ect o r (New Yo rk )

MOT Debut

Assoc ia te S tage Directo r , Orph ell s in th e U nderworld, 1986

Recentl y

Show Boat Cleve la n d O p e ra , O p e ra Pacific, Mi nn eso ta Oper a , Po rtl a nd O p e ra ; Ho u s to n G ra n d O p e ra; O p era Oma h a ; Texas Ope ra T h e a ter ; C h a uta uqu a Ope ra

1990-91 Season Sho w Boat

ANDREAS POULIMENOS

Ba rit o n e (Massachu se tts)

MOT Debut

Madama Bulterfly, 1973

Recently

La Tra v iata Han sel and Gretel

Th e Marria ge of Figaro , La Boh eme, Anoush, l oon of Arc, Mi ch iga n O p e r a T h ea tre; Saar la ndi sc h es Staa ts th ea tr e; Sa nt e Fe O p e r a; Bos to n Po p s; Day to n Op e r a

1990-91 Sea s on

Sh a rpl ess, Madama Butterfly

Copyright 2010, Michigan Opera Theatre

GORDON OSTROWSKI

Dire cto r (Mi c hi ga n )

MOT Debut

Rec e ntly

Cos i Fan Tuit e, ass is ta nt s tage director, Sa nte Fe O p e ra; Litt le Red Ridin g Hood, Operi Pacifi c O utreac h Progr a m , A maill alld tile Nt Vi s itor s, Hansel and Gre tel, The Barberof5evt ECCO-O utrea ch pro g r a m o f Cin cinn ati Of'"

Abstrac t Op el' 1, Pass ion ell a fl'Om the AppleTr Senor Delu so and the La st Leaf, Stage Left pro du cti o n s a t Cin c inn a ti O p era

1990-91 Season

Madama Butterfly

ELIZABETH PARCELLS

Sop ra n o (Mi chi ga n )

MOT Debut

Recently

Co nce rts and recita ls, Bos ton Sy mph ony, Bo log na Fes tival Mu sica , Intern a ti onal Fes ts pi e le n Sa lzburg, Fes ti va l Echtern ach:

Maria S t ua rda Bo sto n Ly ric O pera; Wi ener Blut , Th eate r d es Wes te ns; reco rdin·

1990-91 Season

Q u ee n of th e N ig ht, The Ma gic Flllt e

MARY PAUL

So pra n o (Ca lifo rni a)

MOT Debut

Recently

Die Fledenna us, Wer th er, Sa raso ta Opera; Ta les of Hoffman, G r ea ter Mi a mi Opera ; Cosi fan tu it e, Daughter of the Regim ell t, C h a ut a uqu a O p era ; La Boh eme, Die Fledermau s, Arizo n a O pe ra

Upcoming

Th e Ma sked Ba ll , The Kis s, Sa r aso ta Opera 1990-91 Season

Ze rb in e t ta , Ariadn e auf Naxo s

HELEN POND / HERBERT SEM

Se t a nd Cos tum e Des ign e rs (New York)

MOT Debut

Recently

Th e Youn g Lord, T he Barberof Sevill e, Fa ls taff, Ariadne auf Naxo s, The Merry Wide New Yo rk C ity Ope ra; Regina , Tir e LittleF Show Boat , H o u s ton G ra nd Opera ; 0011 Bos to n Ope ra

1990-91 Season

Sh ow Boat

RON RAINES

Ba rito n e (Te nn essee)

MOT Debut

Wa shing ton Squar e, 1976

Recently

Show Boat, Oper a Pacific, Broadway; Th e Uns inkable Mo ll y Brow n, Dese rt SOllg, n a ti onal to urs; Fo l/ ies , A Little Nigh t Mus> Th e M erry Widow , MO T; Tir e Merry T he Du ches s of Gero lstein , NYC Ope ra

1990-91 Season

Gay lo rd Rave n a l, Show Boat

PETER RIBERI Tenor (O hi o)

MOT Debut Recently

Madama Butterfly, Grea te r Mi a mi Opera , Co nn ec ti cut Ope ra ; UJ Bohem e, New Is r ae li Opera , Sara so ta Opera; Don Giovanni, Cinc innati Opera ; UJ Traviata, Mobile Opera

Upcoming

UJ Rondin e, Ope ra d e Monte Ca rl o; Madame Butterfly, Tul sa Opera

1990-91 Season Duke, Rigo lett o

WILLIAM SAETRE

Te n o r (Minn eso ta)

MOT Debut Recently

L' Orfeo, Ca rm el Bach Festival; Carmen, San Franc isco Ope ra Cen ter; Madama Butterfly, M a rin Opera ; The Gypsy Baron, Sacram e nto Opera ; 51./ohll's Passion, Sa n Franci sco Sy mph o n y Upcoming

"'Barte red Bride, San Fr a ncisco Opera Ce nter; The Magic Flut e, Ca rm e l Ba ch Fes ti va l; Madama Butterfly , Opera Pacifi c 1990-91 Season Goro, Madama Butterfly

KEITH SA V AGE

Sin ger / Actor (Virg inia)

MOT Debut Recently

Show Boat, O p e ra Pacific, Cleveland Op e ra , Portland Ope ra, national to ur; Teddy and A lice, Take Me Along, Little Johnny Jones, Broadway; Leave It To jane, Annie, regio nal theatr e; "Ge r s hwin Ce lebra ti o n ", PBS

1990-91 Sea s on Fr ank Schultz, Show Boat

AMREI SKALICKI

Cos tum e Designer (Aus tria )

MOT Debut Recentl y o.loglleof the Carme l ites, Sa lome, Faust, Elektra, /oall of Arc, Cana d ian Ope ra Co mpany; opera prod u cti o n s in Stra s b o urg, Houston , Vie nn a, Geneva, Lyo ns a nd Te hra n 1990-91 Season

Ariadn e aufNaxos

KENDALL SMITH

Li g htin g Des ign e r (Michigan)

MOT Debut

The Ba llad of Baby Doe, 1988 Recently

La Traviata, Michiga n Opera T h eatre; Day ton Op era; Brunswi ck M u s ic Theatre; Attic Th ea tre ; Ame ri ca n Stage Fes ti va l;

Ass is tant Lighting DeS ig n er, Mich iga n Ope ra Th ea tr e 1983, 1987/88

1990-91 Season

Rigo lett o, Ariadne auf Naxos

MARK RUCKER Baritone (Illinois)

MOT Debut

Recently

UJ Tra v iata , Oper a Hamilton ; Lucia di UJmm ermoor, NYC Opera; Rigo lett o, Dayton Op era , Co lumbu s Opera ; Cava ll eria R ll s ti cana/i Pagliacci, Ope r a d e N ice; Aida, Po rtl a nd Opera , Kn oxv ill e Op e ra; II Trovatore , G r eater Miami Ope r a, Virg ini a Opera

Upcoming

Aida, Ma cbeth , Connecticut Opera; Samson et Dalila , Po rtland Op e ra

1990-91 Season

Title Ro le, Rigoletto

LOUIS SALEMNO

Co ndu c tor (Pe nn sy lva ni a)

MOT Debut

Recently

Lucia di UJmm en noor, Tosca, NYC Opera ; Hansel and Grete l, Aida , Fals ta ff, Th e Elix ir of Love, H o u s to n G rand Op e ra ; T he Abduction fro m the Serag li o, Sarasota Ope ra ; T urandot, Th e Mask ed Ba ll , Opera Pac ifi c; Th e Dau ghte r of the Regiment,Seat tl e Op e ra

Upcoming

Rigo letto, L' Op e ra de Montrea l; Fau s t , New Orl ean s Opera

1990-91 Season

Madama Butterfly

KATHLEEN SEGAR

M ezzo-s oprano (Michigan)

MOT Debut

Cannen, 1981

Recently

Th e Rake's Progess , Sagi na w Opera; Rigo lett a, Da y ton Ope ra; Th e Marriage vf Figaro, Madama Butterfly, MOT; Beethoven 's Ninth Symphony, Detroit Symp h o n y Orch es tra; New Yo rk City O p e ra Na ti o n a l Co mpan y; co n ce rt s a nd recital s w ith Jackso n Symphon y, Toledo Symph o n y, Ann Arbor Sy mph o n y 1990-91 Season

Mad de lena, Riga lett o; Drya d , Ariadne auf Naxos; Third La dy , Th e Ma gic Flu te

WOLFRAM SKALICKI

Set Des ign e r (A ustri a)

MOT Debut

Aida, 1985

Recently

Macb eth , Boris Codunov, Death in Venice, Haml et, Th e Ma sked Ball , Lulu , Joa n of Arc, Canad ian Opera Company; sce n e r y for oper a companies in Vienn a, Hamburg, Dortmund , Muni ch , Stutt gart, N ice, Bu e nos Aires

1990-91 Season AriadneaufNaxos

JAMES MERRILL STONE

Set Des ig n er (New York)

MOT Debut

Rigo lett o, 1980

Recently

Cl eve land Ba ll e t; American Ba ll e t Th ea tre; Fa lstaff, Fau st, C leve land O p e r a, New Yo rk City Opera

1990-91 Season

Rigo letto

ROBERT TANNENBAUM

Director (N e w York)

MOT Debut Recently

Fid eli a, M oza rl and Salieri , Sa n Die go Ope ra ; Nabu cco, Der Wild schul z , Wuppertal (W es t G e rmany) ; Th e Rape of Lu cretia Cologn e Opera ; Th e Mikado , Don Carlo, Freiburg Opera

Upcoming

La Cl emenza di Tito Bruhler Schlobfestspi e l; Enlfuhrun g au s dem Sera ii , Ope ra d e Ni ce

1990-91 Season Rigo letto

JANE THORNGREN

Soprano (New York)

MOT Debut Recently

Th e Dese rl Song, Th e N l?l v Moon , NYC Opera ; La Tra v iata Connecticut Grand Op e ra ; Rigoletto , Dayton Opera, Opera Columbus ; Fau sl , Co s i fan tutte, Die Fiedermau s, Mahfl gonny , Mainz , Germ a ny; Romeo et Juli ett e, Edmonton Opera; Co si fan tutt e, Central City Opera Upcoming

Th e Ma gic Flu Ie, Sarasota Op e ra , Ope ra Columbus; Romeo et Juliett e, Flore ntin e Opera

1990-91 Season Gilda , Rigo lett o

DINOVALLE

Bariton e (Italy)

MOT Debut Recently

Founder, Verdi Opera Theatre of Mkhigan, Allen Park Symphony, Oakway Symphony , Dearborn Symphony, Warren Symphony , Livonia Symphony, concerts and r ecitals ; Radio

1990-91 Season

Monterone, Rigo lett o

JONATHAN WELCH

Tenor (Illinois)

MOT Debut Recently

II Capri ccio, Sal z burg Fes tival ; Der Rosenkavalier, Lyric Ope ra of Chka go, Hamburgische Staatsoper; Madama Butterfly , San Diego Opera , Netherlands Ope ra ; La Boheme, Zurich, Lyric Opera of Chica g o; Upcoming

Madama Butterfly , Opera Pacific; Madama Butterfly , La Tra v iata , La Boh eme, Vienna Staatsope r

1990-91 Season

Pinkerton, Madama Butterfly

Copyright 2010, Michigan Opera Theatre

ROMAN TERLECKYJ

Dir ec to r (En g land )

MOT Debut

La Boheme, 1988

Recently

Manon, Se mele, Ch ris l opher Co llllI/ bll S, Wa s hington Opera ; Ca rmen , MOT; Th e Me rry Wid ow, Dayton Op era; S uor An ge li ca, Th e Marria ge of Figar o, Tasca, La Boheme, Berlin Opera; Phild elphia Op e r a; PorgtJ and Bess, Opera Columbus, Spol e to Fes tival Melbourne, Conn ec ti cut Ma cbet h, Ce ntral City Opera

1990-91 Season

Ariadne au f Nax os

GEORG TINTNER

Conductor (Austria)

MOT Debut

Recently

La Boh eme, Lyric Opera of Qu eensland in Australi a; Toronto Symph o ny; New Yor' Philharmonic; London Symphony ; Symphony ; Symphony Nova Scoti a; Th e Ma rr iage of Figar o, Ca nadian Opera

C ompa ny Ensembl e tour; Fid elia, Australian Op e ra ; Recordin g s for Philips and CBC

Upcoming

N a tional Arts Centre Orc hestra

1990-91 Season

Condu ctor

YOKOWATANABE

So pra n o (Japan)

MOT Debut

Recently

Madnl!! a Butterfly, Canadian Opera Compam

Me tropolitan Opera , The Washington Opera Vienn a Staatsoper, Cov ent Garden ; M efis tofe les, Zurich Opera ; La BolI eme, Th e Wa s hin g ton Opera

Upcoming

M adama Butterfl y, Opera Pacifi c, Ba Itim o r e Op e ra

1990-91 Season

Cio -C io-Sa n, Madam a Butterfly

JON FREDRIC WEST

Te nor (Ohio)

MOT Debut

Ca nio , TPag lia cei 1979

Recently

KahJ a Ka ban ova, II Ta barro , Sam so ll el Dalila, Me tro p o litan Op era; I Pag lia eci, Teatro alia Van couve r Opera , Turan do l Carm en I Pag lia eci NYC Opera; rt Tabarr o, Nic e Opera ;

Upcoming

II Ritom o d' U/i sse in Patr in, Sa n Fran ciscoOpr< 1990-91 Season

Ba cc hus, A riadn e au f Nax os

CLAUDIA WILKENS

Sin ge r I Actress(California)

MOT Debut

Recently

Show Boat, Opera Pacific, Minn esota Opera, Op e ra Omaha ; Th e Mi sa n thrope, Broa dway; The Im ag inary Inva lid, Pra vda , Th e BirllIday Par ty , Th e House of Bernarda A lba, Guth rie Th e atre; No ises Off, Th e Bu siness al Halld, Th e Lo st Co lon y, Actors Th eatre of St. Paul; Romeoa nd Juli et , Th e Way of lh e World,AII/I

Th e Acting Compa ny

1990-91 Season

Parthy Ann, Sho w Boat

•."'L' IlI"U' Opera Theatre's Young Artist Apprentice Program celebrates its with the 1990/91 season. Thi s fall and spring young, aspiring talent from across the country will take up resid e nce with Michigan Opera for an intensive ten week sess ion of workshops, masterclasses and rehearsals and performances, designed to assist them in making the transition from student to professional.

the 1990/91 season the company will utilize singers as well as .,roducticm apprentices in the non-singing areas of stage management , direction and costuming. the many masterclasses offered each year, - -..:- participate in Italian language classes , care of the voice, theatrical techniques, movement / dance, stage combat and specialty classes conductors and singers from the current production s in such areas how to audition, performance anxiety, Alexander Technique , and vocal The Apprentice Program roster of instructors from the MOT and music staff will be enhanced this year by guest teachers Detroit's professional community

not participating in workshops and mastercla sses, apprentices are with main stage artists, receiving private coaching, and preparing assigned comprimario roles for the season's productions.

its inception, Michigan Opera Theatre has been committed to the lI'elclpment of young American talent, and regards with pride those who gone on to es tablish careers in the field. Many singers as well as several production and artistic staff members have returned to MOT in full capacities after apprenticeships with the company, most r ecently Cowan who sang the title role in last season ' s Don Giovanni

the list of now prominent artists who made their debuts or an early start with MOT is impressive : Carmen Balthrop, Kathleen Battle, Blake, Maria Ewing, Wilhelmenia Fernandez, Catherine Malfitano, Mitchell, David Parsons, Kathleen Segar, Neil Schicoff and Victoria among others.

information on auditions and application requir emen ts for

1991 spring apprentice program , please dial the MOT Production Office Auditions are held annually in Detroit, Dayton, Chicago York City

Production Apprentices

1989/90 Season

Danna Dowsett

Northville, Michigan

Sta ge Mana ge men t

Wenn Yu

lou T,stamPfltill"} Foundation

Diane Lord Detroit, Michigan Coach /Acc ompanist

Jennifer Merrill

Rising Sun, Maryland Stage Manag ement

CollegelUniversity Program

Fall 1989

Vo cal music students from th e fo ll owing college/ universities participated in the fall 1989 apprentice prog ram.

Eastern Michigan University

Kristen Gwaltney

Baritone Richard Cowan is one of many alumni of MOT's Young Artist Apprentice Program who now enjoy professional operatic careers. Mr . Cowan , (apprentice, 1981) returned to MOT la st season to sing the title role of Don Giovanni, and is pictured here with Marianna Christos

Katherine Blossom

Phillip Smith Clennon

Marygrove College

Carl Clendenning

Patrick Regan

Tim Hamann

Wayne State University

Kim Arnoldi Krebs

Gina 0 ' Alessio

Faculty

1990/91 Season

Mark D. Flint

Director , Youn g Artists Appren tic e Program

Suzanne Acton

As sistant Music Direc tor

Guest Instructors

1990/91 Season

Dr. Arnold Cohn

Car e of the Professional Voic e

Paola Columbini

Italian Lan guage

Jane Hierich

A lexan der Tec hniqu e

John Michael Manfredi

Sta ge Movem ent /Combat

Edie Pernich

Performance Anxiety

Du e to pub licat ion deadlines, members of the 1990/91 apprentice program cou ld not be included in this season's program book.

R Luther Bingaman Vocal Coach /Accompanist

Copyright 2010, Michigan Opera Theatre

1990 spring season vocal intern Julie Freeman (right) was "striking in her role as Flora " in support of Nova Thomas' Violetta , said the Ann Arbor News.

Founding Member of Michigan Opera Th ea tre Joyc e H. Cohn was a br ight light in the company since Its inception . A member of the Board of Directors until her aeath in December 1989, Joyce was an integral part of the company's growth and development.

Michigan Opera Theatre General Director David DiChiera stated, " 1 will personally miss Joyce greatly. She was not only a warm and radiant person, out her counse l and advice to us, plus her WorK in the community on our behalf were an im,rortant element in the company's evolution '

She was devoted to Michigan Opera Theatre and the arts in general. She nurtured a considerable personal interest in aspiring young artists, quietly giving financial assistance to deserving young talent and publicly championing programs designea to advance the careers of future opera stars.

A gift to Michigan Opera Theatre of $50,000 from the United Jewish Charities of Detroit is made possible through the generosity of Mrs. Irwin 1. Cohn, Rita and Jo1m Haadow , Judge Avern Cohn and Family in memory of Joyce H. Cohn - mother, sister, daughter and wife This gift will serve as an endowment to provide annual Apprentice scholarships to Michigan Opera Theatre's most promising operatic talents of the future. It will herewith be known as The Joyce H. Cohn Apprentice Award Fund

Michigan Opera Theatre is not only grateful for this bequest but very proud to be able to continue to honor Mrs. Cohn s memory in perpetuity with these scholarships which reflect her commItment to Young Artists.

Copyright 2010, Michigan Opera Theatre

A,MiclUg.n Ope" Theotre celeb"'., its 20th year, the Department of Community Programs enters its 12th year This rapidly growing Department is now one of the five largest opera outreach programs in the country in terms of audience, budget and number of productions and performances. Annually the programs reach more than 75,000 people of all ages throughout both peninsulas of Michigan Since its inception, the Department has performed for over one million people.

Nationally prominent arts educator and composer Karen DiChiera is founder and director of the Department , which augments its full-time staff of four with between 15 and 20 part-time professional singers, pianists , stage directors, choreographers, set and costume designers, music arrangers, stage managers and technical directors The overwhelming majority of these artists are home-grown Michigan talent.

Community Programs artists annually present between 250 and 300 performances throughout Michigan as well as in Ohio , Indiana, Wisconsin and Ontario, Canada. By adding workshops, master classes and extended curricular programs taught b y MOT artists and staff, Community Programs provide nearly 350 services each year.

Through the y ears the Department has commissioned five one-act operas from well-known composers and librettists . Many of these have combined mu sic with an important topic, such as the dangers of smoking, family life, American history and geography Additionally, it has revised and re-written

COMMUNITY PROGRAMS

four existing one-act operas and two full-length operettas; presented nine Michigan and five national premieres of new works ; written seven educational revues for students; created twenty-two Broadway, popular music and opera revues for adults; and has received over seventy-five commissions to write original productions of reorganizations and individuals. The Department has produced one fulllength traditional opera or operetta for touring per year (eleven to date) and has toured almost fifteen one-act operas and musicals Almost twenty indepth papers and curriculum programs have been created or commissioned by the Department including educational radio and television programs.

The Michigan Opera Compo se r Seymour Barab Theatre Department of Community Programs continues to be a leader in the field of accessibility . Tapes for the Blind have been created to give background information on the operas which sighted persons could read in program notes These information tapes have been di s tributed through the State Libraries for the Blind.

Our work with the Deaf Community has included American Sign Language interpreted performances of main stage and Community Program productions. We also have given improvisational workshops to deaf high school students . Staff member of the Department have served on boards, committees and consulted for other organizations which serve the deaf community, and have served on panels for arts councils The Department has also been honored with numerous prestigious award s and commendations nationally and throughout the Stat e for its outstanding service in arts education

We have reason to celebrate!

And speaking of celebrations, join us in celebrating the 70th birthday of Seymour Barab.

COMMUNITY PROGRAMS

Seymour who?! Seymour Barab is one of the most prolific composers of the twentieth century A humorist , Mr. Barab is also his own librettist for his almost 100 short comic operas. He has also written innumerable orchestral works, art songs and chamber music. Community Programs will honor Mr. Barab in 1991 by producing three of his most charming operas

In the June 1990 issue of Op era News, Mr Barab' s Littl e R ed Riding Hood was cited as the most performed opera in the United States. Mr. Barab's one-act fairy tale has more performances every year than Madame Butterfly, Carm en, Aida, or The Magic Flute - and it has been translated and performed by opera companies throughout Europe, Asia , and Australia A mere 45 minutes in length, Little Red was one of the first operas written specifically for performance in an elementary school setting.

Barab's La Pizza can Funghi (The Pizza with Mushrooms) was written for high school and adult audiences The slightly naughty and very funny fifty minute piece was composed in 1988 and has received the National Opera Association ' s 1990 Award for Best One Act Opera with Piano Accompaniment.

Community Programs will also re-mount its immensely popular production of Fair Means or Foul, which the Department commissioned eleven years ago, as part of a three-day Seymour Barab

A Newly Commissioned Work.

With an eye to the future of opera and musical theatre , the Department has consistently encouraged the creation of new works both by its own staff and artists and by other professionals as well.

Many teachers challenged us to create a work on literacy , so in 1989 the Department's Karen DiChiera and William Kirk created The Great Grammar R evue which has enjoyed almost eighty performances for elementary school audiences. this year the Department has commissioned Detroit composer Richard Berent and librettist Douglas Breverman to create a new work, Cheering Up a Princess, which will show how a princess conquers boredom by learning to love the library.

Festival to take place in January 1991 at the Music Hall Centerfor the Performing Arts in Detroit. Community Programs will perform some of Barab ' s chamber and orchestral works, art songs and opera from January 14-16. Mr. and Mrs. Barab will person· ally attend as guests of honor, and Mr Barab will conduct lectures on his work. Guest performers, along with Community PrograIm Artists, will include music students from Southeastern Michigan K-12 schools and universities.

Michigan Opera Theatre's Department of Community Programs is proud to create this festival to honor the genius, warmth and humor that is Seymour Barab, and his works which have touched the lives of countless audiences across the world.

MOT' s Community Prog ram s serv e up a del ectabl e La Pizza con Funghi.

A State- Wide Tour

During the winter of 1991, the Department will traverse the state in a six-community residency tour. MOT singers and technical staff will visit each community for one week, providing several daytime performances and workships in schools. This year, each community' s residency week culminates in a full-length, fully-staged and costumed production of Giuseppe Verdi's La Traviata MOT artists sing the principal roles while community residents act as chorus , orchestra and technical assistants for a unique hands-on experience of live opera theatre.

This season, residencies are scheduled for: St. Clair Shores, Escanaba , Iron Mountain, Grosse Pointe, South Haven and Petosky. Mini-residencies of two to three days are planned for the Romeo/ Almont area and Ishpeming/Marquette.

Governor's Arts Award

Karen VanderKloot DiChiera has been selected as the 1990 recipient of the Governor's Arts Award in Education for the State of Michigan The awards for DiChiera and her fellow recipients will be presented on the evening of December 3, al a dinner in Clubland. The awards are sponsored by Concerned Citizens for th e Arts in Michigan. For reservations, call 313/961-1776

And Other Performances

The Department maintains a year-round schedule of performances throughout Michigan for schools , community groups, social and professional clubs, private parties, and special events. From Broad· way revues to highlights from great operas and operettas, the Department provides entertainment to fit any occasion. For bookings , call Dolores Tobis, 313 / 8747894.

Barbara Youn g erman as Grandma and Maria Cimarelli in Little Red Riding Hood by Seymour Barab.

COMMUNITY PROGRAMS

GHLIGHTS OF THE 989/90

SEASON

ery Special Arts/South East Michigan

Department of Commu n ity Programs is proud to hav e been of the creation of Very Spec ial Arts/South East Michigan SA / SEM). Very Special Ar t s Int ernational was s tarted b y the edy fami l y to provide an impact similar to Special O l ympics. oday, there are Very Special Arts chapters and Festivals all over world With th e h e lp of many individu a l volunteers and ding Members , a thre e week-long art exhibit at Detroit's her Building and two day performin g arts festival at New terOne inau g ur a ted VSA/SEM in May 1990.

enew organizatio n e lected Kare n DiChiera as it s Chairperson community Programs' Marketing Manager Dolor es Tobis as etary. The Department's Mark Vondr ak, (Production ager and c.P Artist) ac ted as stage manager for the festival.

oit Free Press co lumnist Bob Talbert graciously donated time to be Master of ceremonies. This festival allowed roximately three hundred disabled adults and childre n showca se their a bilities and talent.

'a no Sales Genius is Honored

ngratulations to Mr. Paul Smiley of Smiley Brothers Music mpany for receiving the Preservation P ioneer Award from rva tion Wayn e. Mr. Smiley h as been in th e busin ess of ing pianos sinc e 1937 and his generosity to institutions in Detroit a r ea h ave m a d e him a leg e nd in hi s own tim e.

n DiChi era chair ed the Tribute dinner in his honor. Among celebrity pianists for the eve nt were MOT General Director vid DiChi e ra and MOT s taff members Suzanne Acton, Rog er gaman and Rebecca Happel.

OT Guild Gives Tribute Dinner For ommunity Programs

June 1st, 1990 th e Michigan Opera Theatr e Guild h e ld a ute dinner honoring the Department of Community Programs its founder and director, Karen DiChiera. Paula Blanchard Mistress of ceremonies for the elegant eve nt , which was h e ld the Dearborn Inn. Among the cheering guests were Me tropoliOpera tenor George Shirley, 'gan Senator Jack Faxon, and eral of Karen DiChiera's protegees om she " discov e red " during h er rs of work in schools.

The Great Grammar Revue, a review of good grammar, was written s pecifically in the respons e to the request of teach ers for inschoo l performances.

ACCOMPAN ISTS

Richard Berent

Roge r Bingaman

Diane Lord

Barbara Robinson

VOCALISTS

Eli za beth Bronson

Maria Cima r e lli

Alicia Hunter

C hri stine Jo nes

Dina Kess ler

Jean-Ronald LaFond

Ka rl Schmid t

Mark Vondrak

V ic toria Walker

Barabara Youngerman

ARRANGER

Richard Berent

OPERA-IN-RESIDENCE STAFF

R. Luther Bingaman

Mu sic Coordinator and Tour Mana ger

Vila Hettinger

Costume coordinator

Suzann e Acton

Mu s ic Director

Dolores Tobis

Sa les and Office Mana ger

Mark Vondrak

Produ ctio n Mana ger

R. Luther Bingaman

Musi c Coordinator and Tour Mana ge r

Will iam Kirk

Consu lt ant

It is w ith great sadness that th e Department learned of the untime ly death of tenor Jerry Minster (1953 - 1990)

For many y ea rs , Jerry was a Community Prog rams Artist for schoo l programs and sang Pink erton in Madam e Butterfly for the 1982 Op era in Res idence sta te-w ide tour Our s ympathy is ex tended to his wife and son.

Karen DiChiera wi th four buddin g artists from Kosciuszko Middle Schoo l in Hamtram ck. With M s. DiChiera 's help , thirhj regu lar and s pecia l ed u cation s tud ents created an original mu sical , Follow th e Drug Free Road , w hich was performed at the VSA /SE M Festival on May 1 7, 1990.

VOLUNTEERS

An Opera company requires many voices - and many willing hands The Volunteers of Michigan Opera Theatre provide that willingness in a variety of services which impact the bottom line of the company.

Michigan Opera Theatre could not function without the efforts of these dedicated volunteers. The following pages pay tribute to the voices and hands you never hear nor see, but without whom there could be no opera in Michigan.

1989-90 Volunteer Leadership

The Alliance Steering Committee Members

Chair: Sharon Gioia

Vice Chair: Cameron (Sandy) Duncan

Members:

Frank Arvai, Dale Austin, Robert Dewar, Marianne Endicott Betty Gerisch, Roberta Starkweather, Thomas Toppin

Dr. Bryce Alpern with Shelly and Peter Cooper at a reception for General Director's Circle members which took place at the home of David and Karen DiChiera.

MOT Guild Executive

President: Betty Gerisch

Past President: Sharon Gioia

Vice President: Vicki Kulis

Treasurer: Frank Arvai

Membership/Hospitality: Virginia Clementi

Boutique Chair: Terry Shea

Second Act Chairs: Jim McClure, Ron Switzer, Aggie Usedly

Summer Youth Volunteers Chad Crombie and Shawney Beavers stuffing those envelopes.

General Director's Circle

Chair: Shelly Cooper

Members:

Cherrill & Dick Cregar, Robert D ewa r, Cameron (Sandy) Duncan, Beth Fisher, Marian Impastato, Mary Lamparter, Mado Lie, Blanche & David Po llack, Roberta Starkweather, Tutti VanderKloot, Barbara Wrigley

Outgoing MOT G President Betty pre sents a year -enJ of $40,000 to Dr DiChiera. This c/lid represents profits sa les of The Second Act.

Boutique Volunteers

Wilma Brown, Elizabeth M. Harris, Dolores Sackett

Second Act Volunteers

Tom Cipelli, Martha Dowling, Bob Harrington, Alice Johnston, Bill Martin, Jacque Mularoni, Mike Opinach, Stenis Ousley, Jack Reilly, Bob Saroli, Karen & John Schultes, Bill Wilke

VOLUNTEERS

MOT movers

AI and Pat Lewellen

toast Nova Thomas on the opening night of La Traviata. Miss Thomas was one of Ihe Lewellen's passengers during the 1989-90 season.

Office Volunteers

(Over 7500 hours of service given in total)

I1ean Andrews, Stan Fields, John Fleming , Helen Gordon, Karen Kossik, Nancy Krolikowski, Ka thryn MacCarroll, Helen Maynard, Freda Mendelson, Vilma Nunemann, Jeanette Pawlaczyk, Frances Singer, Evelyn Warren, Katherine Wasserfallen , Ro y Wilson, Kathleen Yorkie

John Bloom and The Fan Club of Metropolitan Detroil

Irganized The Fan Club of The Opera even I aI Stroh River Place to Imefil Michigan Opera Theatre.

MOT Movers

MOT Mover Coordinator: Nancy Krolikowski

Caro le Berkey, Mary Alice Bird , Clift on Casey, Judy Dery, Bery l Edwards, Be tsy Evans, William and Ethel Farber, Grovenor Grimes, Peggy Huffman, Gene and Dorothy Ignaskak, Helen Levandovsky, Al and Pat Lewellen, Kay Mann, John Meindt, Jeff Rieder, Gene and Maria Robelli , Joann Rooney , Connie Ross, Lee Slazinski, Peg gy Smith, Wi lli am Springett, Jeff and Lisa Toenniges

Office Volunteer Evelyn Warren checking phone lists for the Marketing Department.

Special Events

"Hansel and Gretel Gingerbread Village"

Co-Chairs:

Sharon & Vito Gioia, Caro le & Jere Berkey

Committee:

Dale Austin, Rick Carmody, Karen Clark, Dominique Gare\, Carmen Harlan, Sheila Ingwersen , Alice Johnston , Vicki Kulis, Harv ey Menz e l, Jacque Mularoni , Jessie & Fred Schneidewind, Terry Shea, Ron Switzer, Marion Tringale

The Opera Ball 1990

Chairs: Mrs. Roger M Ajluni and Mrs Charles M Endicott

Board Adviso r : Mrs. Donald C. Austin

Committee Chairs:

Administration: Mrs. Paul Nine

Corporate Tables: Mr. Cameron Duncan

Decorations: Mrs. Peter Cooper, Mrs. Alan Schwartz Mrs Eric Wiltshire

Entertainment: Mrs. Philip E Benton, Jr. , Mrs. Hugh Harness, Mrs. Roger Fridholm

Ho s ts Committee: Mr. & Mrs R. Alexander Wrigley, Mr. & Mrs George R. Wrigley

Marketin g Committee: Mrs Leonard Jacques, Mrs Roger Sherman

Menu Committee: Mr & Mrs. Michael Friduss, Mr. & Mrs. Robert Hurst, Mr. & Mrs Paul Westbrook

Publicity: Mr. & Mrs. Armand Gebert, Mrs. Morton Zieve

Copyright 2010, Michigan Opera Theatre

Opera Ball Co-Chairs Mrs. Roger M Ajluni and Mrs. Charles M Endicott with General Director Dr. Da v id DiChiera greeting Mr and Mrs. Robert Allesee at The Ritz -Ca rlton , Dea rborn.

New Volunteer Organization Launched

D ea r Fri en d s,

I a m look in g fo rwa rd to Mi chi gan O p e r a T h ea tr e's 20th A nni versa r y seaso n Toge th e r , we h ave wa tched M ic hi ga n O p era T h ea tre g ro w int o o n e of th e fi n est opera co mp a ni es in th e co unt ry. O ver th e yea r s, vo lun tee r s h ave pl ayed a n e nthu s ias ti c a nd s upp o rti ve ro le in thi s ac hi e v emen t. As w e ent er th e 90's, vo lunt eers w ill loo k forwa rd to n ew a nd exci ting ch a ll e n ges w h ich w ill wa l k MO T int o th e futur e. It is w ith th ese ch a ll en ges in m i nd th a t we ce le b ra te th e birth o f "Th e A lli a n ce "

T h e A ll ia n ce is a coopera ti ve e ffo rt be t wee n M OT a n d its vo luntee r s. It is a "vo luntee r ini a ti ve " se t u p to nu r tur e th e va lu a bl e co ntrib u ti o n s of vo lunt ee rs a nd th e ir m a n y pro jects. It w ill broa d en o ur voluntee r b ase, create a s u ppo rt sys te m fo r a ll vo luntee r activ iti es, a nd e n a bl es us to reac h o ut to ma n y co mmun i ti es wi th exc itin g oppo rtuniti es w hi ch w ill se r ve M OT a nd it s n ew o p era h o u se. T h e A lli a n ce is th e r es ult of m a n y m a n y m onth s of la b o r b y a d edi ca ted few, a nd I wo uld lik e to th a nk a ll me m be r s of th e S tee rin g Co mmittee for th e i r effor ts.

I a m especia ll y p r o ud to serve as th e fi rs t C h ai r o f Th e A lli a n ce I loo k for ward to s h a rin g w i t h you t h e ac ti viti es a nd acco mpli s hm en ts of th e vo lunteer s; I in v it e yo u to jo in u s as w e e mbrace th e ch a ll e n ges a h ea d a n d m ake th e 20 th A nni ve r sa r y seaso n a ce le br at ion of Vo lun tee r Ach ieve m e nt a t M O Ta n d th e b eg innin g of grea t thin gs!

Mi chigan Op era Th eatre Vo l unteers discus s what makes vo l untee rin g worthwh il e to them. From left to right , As soc iat e Direc tor of Developmen t Lana Robinson , Hel en Maynard , A l and Pat Lewell en, Nancy Krolikowski and Bill Martin.

THE ALLIANCE

A Vo luntee r Initi ativ e of Mi chi gan Op era Th ea tre

THE ALLI ANCE

Chai r Vice Chair

COM MITTEE MEMBERS

Lega l Cou nse l Sec retar y Fi nancia l Ad viso r St rat egic Planni ng Spec ial Events

Huma n Reso urces

Communications Outreach/E thni c Groups

Staff Li aison Vo lun tee r Recogn iti on Ed uca tion

Sh aro n G io ia

A lli a n ce C h a ir

Copyright 2010, Michigan Opera Theatre

First Chair of t he A llianc e Sharon Gio ia.

The A ll iance proposed organ izat iona l chart.

Once in awhile, you have to toot your own horn. . .

W've served our communities for 25 years; covering the drama , the changes, the highs, the lows of suburban life . We've grown to include the Hometown Newspapers and now reach more than 340,000 readers It's not easy to stay in business 20 years or more. It takes a real commitment to excellence, whether you are an opera company or a group of 19 hometown newspapers. A lot depends on your audience. They have to like what you are doing. They have to enjoy spending some time with you. You must deliver quality on a regular basis . Like the Michigan Opera Theatre does. Like we do.

If You're Not Reaching You're Not Reaching Detroit.

Oakland County is the most affluent market in Detroit, seventh most affluent in the United States. So how do you reach it?

Not with the The Free Press or The News. One reaches 28% ofit, the other, 29%.

But every day, The Oakland Press reaches 51% of North Oakland County - the one area that counts when you're buying Detroit.

The Oakland Press is the daily newspaper at people in Oakland County depend on or national and international news, sports d features, in a format they love to read.

d compare costs. Advertising in The akland Press costs far less than Detroit's omajor dailies.

e next time you buy Detroit, don't miss ehest part. Buy Oakland County with The akland Press.

Our 25th Season CABARET

Book by Joe Masteroff, Music by John Kander , Lyrics by Fred Ebb

October 4 - 28

"Welcome to Cabaret!" Welcome to Berlin, 1929 and to a most unique and entertaining musical theatre event

THE MOUSETRAP

by Agatha Christie

November 1- 25

The all-time favorite, record breaking mystery classic!

A CHRISTMAS CAROL

by Charles Dickens / Adapted by Charles Nolte

November 29 - December 30

Meadow Brook's highly acclaimed holiday treat

WHAT I DID LAST SUMMER

by A. R. Gurney, Jr.

January 3 - 27

From the author of The Dining Room and The Cocktail Hour. A warm , touching and humorous play about a boy coming of age during the summer of 1945.

A MIDSUMMER NIGHT'S DREAM

by William Shakespeare

January 31 - February 24

The bard's classic about Lovers , Fairies and a band of not-quite-ready-for-the-Old Globe players.

BAREFOOT IN THE PARK

by Neil Simon

February 28 - March 24

A well-deserved revival of the comedy smash hit!

INHERIT THE WIND

by Jerome Lawrence & Robert E. Lee

March 28 - April 21

The explosive and colorful drama on the famous Scopes trial. A truly great American play!

PUMP BOYS AND DINETTES

Written & Conceived by John Foley, Mark Hardwick, Debra Monk, Cass Morgan, John Schimmel & Jim Wann

April 25 - May 19

The Off-Broadway musical hit chock-full of country/western song and dance featuring the Double Cupp Diner's very own Dinettes.

Special Offer Program Subject to Change

Bring your MOT ticket stub to the Meadow Brook Theatre Box Office and receive $2.00 off the purchase of one ticket to any Tuesday, Wednesday or Thursday evening performance. (Excluding A Christmas Carol and any other discount). For

Managed Care. It's A Healthy Change For The Better.

Managed Health Care from OmniCare. It's the health care plan which allows you to select your own OmniCare-affiliated family physician. Your personal doctor is responsible for directing, or managing, all of your health care needs. He or she encourages regular office visits, determines if and when specialized tests or treatment is required, and then makes sure that you get the very best care available - all at little or no cost to you.

In short, OmniCare's managed health care plan does a whole lot more for you than simply paying medical bills. Through well -m anaged preventive care, it works at keeping you healthy.

Here's just some of the choices and services we offer:

• 48 participating Metro-area hospitals.

• 24-hour emergency services - worldwide.

• More than 1,400 specialists and family physicians.

• Full hospital benefits.

• Full maternity care.

• Mental health services.

Managed Care from OmniCare. You ' ll wonder how you ever managed without it.

And we couldn't be more pleased! Since 1959, discriminating people in the Birmingham and Bloomfield areas have put down Mcleod carpet-in hving rooms, dining rooms, bedrooms, family rooms, kitchens ...

They have rehed on Mcleod Carpet for the finest selection of Wear Dated®carpet by Monsanto®from Bigelow, Cabin Crafts, Lees, and Philadelphia. Monsanto's stain resistance is the best way to assure that your carpet looks better longer.

Mcleod Carpet Consultants and Installation

Crews are dedicated professionals who will create an elegant appearance throughout your home. Visit Mcleod Carpet soon. You'll be putting down Mcleod carpet, too!

Th e year was 1912 and th e asse mbl y lin e was puttin g Am e ri c a o n wh ee ls.

Th at sa m e year a gro up o f Det ro it bu s in e ssm e n fo rm e d an insurin g o r ganizat ion s p ec ia lizing in w o rkm e n's co mp e n s ati o n in s ur a nce It beca m e t h e Mi c hi ga n Mu t ua l In s ura n ce Co mp a ny.

To d ay Mi c hi gan Mu t u a l is t h e p a re nt o r ga nization o f t h e Am e ri s ur e Co mp a ni es . Mi c hi ga n Mu t u a l is li ce n se d to provi d e c ar, bu s in ess a nd h o me insuran ce to Am e ri c an s in a ll 50 sta t es. Am e ri s ure Life In s ura nce Co mpan y op e r a t es in m a ny o f th ose states.

We' r e proud o f o ur g r owt h a nd service Am e ri s ur e b e li eves in c h a n ging with c h a nging c usto me r n ee d s. But o ur o bj ect ive h as n o t c h a n ge d s in ce 19 12: We wa n t to provi d e t h e b es t in s uran ce a nd se rvi ce avail a bl e a nyw h e re.

RITZ, CARLTON

DONOR CATEGORIES AND BENEFITS

Michigan Opera Theatre would be unable to produce quality opera without the generous support of its contributors. In audition to enjoying outstanding entertainment on the stage, MOT contributors are offered a number of benefits which allow them to observe the many stages of oEera production, meet the artists and experience other "behind the scenes" opportunities. For information on becoming involved in these exclusive and exciting donor benefits and services contact the Development Department, (313) 874-7850.

$35 + s newsletter in the Friends of MOT

Supporter $120 +

Further privileges include :

• Mention in MOT's annual souvenir program book

• Complimentary MOT season poster

• Invitation to an Opening Night Dinner

• Discounts on additional tickets for selected performanc es

Luminary $250 +

Further privileges include:

• Autographed cast photo from an MOT production

• Invitation to MOT's Opera Ball

• Advance mailing of plot synopses

Orchestra Circle $500 +

Further privileges include:

• Two complimentary invitations to a Spring Final Dress Rehearsal and reception

• Invitation to Young Artist Apprentice Scenes Program

• Invitation to a General Director's Circle Event

$1,000-$1,499 include : Valet Parking subscription performances entry to the General Circle Lounge reservation service performances

Ilntorm,ltlOfl about exclusive trips for Director's Circle patrons to special events throughout hosted by General Director ' s members of annual MOT Souvenir Book listing in the Souvenir Book Director's Circle Newsletter

$1,500-$2,499

vileges include : to a private party Director, David DiChiera to private preview reception the upcoming season

Benefactor $2,500-$4,999

Further privileges include :

• Invitation to exclusive Opening Night Grand Opera Season afterglow

• Invitation to private party with guest artists in a patron's home

• Increased ticket priority

• Keepsake Goblet

Major Benefactor $5,000-$9,999

Further privileges include:

• Exclusive party with visiting artists, hosted by David DiChiera

• Complimentary invitation to MOT's annual Opera Ball

• Individualized memento

Impresario Circle $10,000 +

Further privileges include :

• Highest priority in all donor privileges and benefits

• Highest priority seating at all MOT events

• Invitation to an exclusive affair with the General Director and opera world VIPs

• Personalized Commemorative Tribute

General Director's Circle Members at the Benefactor leve l and above were invited to attend an elegant postperformance reception at the Whitney with th e cast and creative team of Don Giovanni. The event and th e production were s pon sored by Ford Motor Company.

Copyright 2010, Michigan Opera Theatre

CORPORATE CONTRI BUTORS 1989-1990

MAJOR BENEFACTORS

$20,000 AND ABOVE

Ameritech Foundation

Chrysler Corporation

Dayton-Hudson Foundation

Ford Motor Company

General Motors Corporation

Kmart Corporation

Royal Maccabees Life Insurance Co.

Michigan Bell

BENEFACTORS

$10,000 - $19,999

ANR Pipeline Company

Deloitte and Touche

Michigan National Corporation

National Bank of Detroit

SUSTAINERS

$5,000 - $9,999

Allied-Signal Automotive

Ameritech Publishing Inc.

Comerica Inc

Consumers Power Co.

Detroit Edison

Kelly Services Inc.

Magna International In c.

Manufacturer's National Bank

Merrill Lynch, Pierce , Fenner & Smith

Unisys Corporation

PATRONS

$2,500 - $4,999

AAA Michigan

Dana Corporation Foundation

m Automotive Group

Lear Siegler Inc.

Michigan Consolidated Gas Co.

Time Inc.

Donors

$1,000 - $2,499

AT&T

Arbor Drugs

Arthur Anders e n & Co , S.c.

Bendix Safety Restraints

Blue Cross Blue Shield of Michigan

Borg Warner Automotive Inc.

Bozell Inc.

crGNA Special Risk Facilities

Chrysler-Plymouth Dealers

Copper & Brass Sales

0' Arcy, Masius, Be nton and Bowles Inc.

Davidson Interior Trim

E 1. Dupont DeNemours & Co.

Eaton Corporation

Fed e ral Mogul Corporation

Flakt, Inc.

Ford - Office of the General Counsel

Garden State Tanning

General Electric Company

General Safety Corporation

General Tire Inc.

Goldman, Sachs & Co.

Goodyear Tire & Rubber

Greater Detroit Jeep Eagle Dealers

Handleman Co.

Honigman, Miller, Schwartz & Cohn

IBM Corporation

J . Walter Thompson

Jacobson Stores Inc.

Johnson Controls Foundation

KPMG Peat Marwick

Lintas: Campbell-Ewald

MCI Telecommunica tions

Metropolitan Life

PPG Industries Foundation

Progressive Tool & Industries Co.

Rockwell International

Ross Roy In c

Santa Fe Pacific Foundation

Standard Federal Bank

3M - Detroit Sales Center

Tri-County Dealer Advertising Assoc./Crestwood Dodge

Tri-County Pontiac Dealers Association

Vico Products

Wells , Rich, Greene Inc.

Wolverine Metal Specialities Inc.

Contributors

$500 - $999

Adamo Contracting Corporation

Allied Vision

Alps Electric (USA) Inc.

American Yazaki

Arvin North American Automotive

Auto Haulaway Inc.

BASF Corporation

BBDO International Inc.

Bland Printing Co.

Peter Blom Industrial Sales

Robert Bosch Corporation

The Budd Company

CSX Corporation

Cassens Transport Co.

Central Transport Inc.

Computer Facilities Company, Inc

Compuware Corporation

Consolidated Freightways

The Crown Divisions of the Allen Group

D.G.E., Inc.

DP Corporate Services, Inc.

Delta Dental Fund

De troit Pure Milk Co.

Dickinson, Wright,Moon ,VanDusen & Freeman

Dykema, Gosse tt

Eagle Packing Corporation

Fabricated Steel Products

Farbman/Stein Management Co.

Findlay Industries

GenCorp Automotive

Giffels Associates, Inc.

Grand Trunk Western Railroad

Guardian Industries Corporation

H & H Tube Manufacturing Co.

H & L Tool Company Inc.

Harmony House Records & Tapes

Harvey, Kruse, Westen & Milan

Highland & Currier

Hiram Walker-Allied Vintners Inc.

Howell Industries Inc

Huron / St. Cla ir Inc.

Fred S. James Company

JC Penney Company , Inc.

Johnson & Higgins

Kenmar Corporation

Kowalski Sausage Co. Inc.

L & W Engineering

Law Book Network Inc

Lectron Products Inc.

Liberty Mutual Insurance Co

Lobdell-Emery Manufacturing Co.

Loomis , Sayles & Co. Inc.

M.G A Detroit Inc.

Marsh & McLennan Co.

C. H. Masland & Sons

Mercer Meidinger Hansen Inc.

Merollis Chevrolet

Michelin Tir e Corp.

Miller, Canfield, Paddock & Stone

Motor City Stamping Inc

N.W. Ayerlnc.

National Industries Inc.

Newsweek

Northern Engraving Corp

Ogilvy & Mather

Reynolds , Beeby, Magnuson

Reynolds Metals Co.

Security Bancorp

Shell Oil Company Foundation

Simpson Industries Inc.

Standard Products

P.O. Stella Products Co.

Sutphen Corporation

TRW Automotive Sector

ThyssenSteel Co

Trim Trends Inc

Troy Des ign Services Co.

Turner Construction

Universal Plastics

Vancraft Manufacturing CO.

WJR

Wolverine Packing Co.

Young & Rubicam - Detroit

Ziebart Int e rnational Corp.

Supporters

$100 - $499

A G. Simpson Company Ltd.

A. J Etkin Construction Co.

A-Line Plastics

A O. Smith Automotive Products Co

ASCInc.

Action Oldsmobile Inc.

Active Tool & Manufacturing Co.

David C. Adams & Sons Surveyors

Aleo Plastic Inc.

Alexander & Alexander of Michigan Inc.

Allendale Insurance Co.

American Paper

American Sound & Video Corporation

Amerisure - Michigan Mutual Insurance Co.

Anthony M. Franco Inc

Approved Manufacturing Co.

Aristeo Construction

Armstrong & Meissner Inc.

Arrow Metal Products Corporation

A udette Cadillac Inc.

Automotive Designs Inc

Automotive Industrial Sales Inc.

Automotive Moulding Co.

Autostyle Plastics

Automotive Plastic Technologies Inc.

BEL Associates Inc.

B & W Cartage Co.

Barfield Manufacturing Co

Barris, Sott, Denn & Driker

Bawden Printing Inc.

Belleo Duplicator Repair Inc

Bing Ste el Inc.

Bob Thibodeau Ford Inc.

Breed Automotive Inc

Brencal Contractors Inc.

Buck Consulting Actuaries In c.

Butze l, Long, Gust, Klein & Van Zil e

C. 1. Gransden & Co

C. 1. Taylor & Associates In c.

CBS Television Network

CMI International Inc.

Cadillac Products Inc.

Carron & Company

Central Oldsmobile Inc.

Charles E. Raines Co

Chrysan Industries Inc.

Cincinnati Milacron

Clayton-deWindt Associates In c.

Cobco Sales Inc.

Cold Heading Company

Colombo & Colombo

Colt Industries

The Community Hous e

Conklin Benham McLeod Du cey & Andottaway

Conveyor-Matic Inc.

The Coon-DeVisser Co.

Corporate Personnel Services Inc.

Corrigan Moving & Storage

N. W . Coughlin & Co.

Creative Foam Corporation

Creative Industries Group Inc.

The Cross Co .

Daiken Clutch

Davis Industries Inc.

Dean Sellers Inc

Dearborn Fabricating & Engineering Co.

Dearborn Federal Savings Bank

Delaco Steel Corporation

DeMaria Building Co. Inc.

Denenberg TuffIey Bocan

Jamieson Black Hopkins & Ewald

Detroit Ball Bearing / lnvetech

Detroit Heading Co. Inc.

Detroit Stage Employees Union

DiClemente-Siegel Eng ineering Inc.

Dominion Tool & Die Co Inc.

Dreisbach Buick Inc.

E & E Fastener Co. Inc.

E & L Transport Co.

EZ Laundry Inc.

EaglePicher Plastic Co

Eastman Kodak Co

Edwards Oil Service Inc.

Elco Industries Inc.

Electro-Matic Products

Excel Industries Inc.

Exotic Metals Inc.

Federal Screw Works

Feikens, Foster , Vander Male & DeNardis

Feralloy Corporation

Firestone Tire & Rubber Co

First National Bank of Mt. Clemens

Foster Meadows & Ballard

Fruehauf Trailer Corporation

GKN Automotive Inc.

G. M Bassett Pattern Co.

Gails' General Office Supply

GaliagherKaiser Corporation

The Gates Rubber Co

Gathen Industries Inc.

General Motor's Women 's Club

The Gerstenslager Co.

Giffels, Hoyem, Basso Inc.

Goodman, Lister, Seikaly & Peters

John E Green Co.

Frank B Hall Co. of Michigan

Harman Automotive Inc. Copyright

Brooks & Kushman

Harness, Dickey & Pierce

Hawta l Whiting Inc.

Hayduk, Andrews & Hypnar

Health Plus of Michigan

Hercules Machine Tool & Die Co.

Hermes Automotive Manufacturing Corp.

Hi·Stat Manufacturing Co. Inc.

Hitachi America, Ltd.

Hofley Manufacturing Co Inc.

Hostetter & Associa tes

Hovinga Business Systems Inc.

Howard Ternes Packaging Co.

Huron Industrial Sales

Huron Tool & Manufacturing Co.

/lW Deltar

IIW Shakeproof

IIW Woodworth

mage Media Corporation

mdian Head Industries Inc.

mdustrial Experimental & Manufacturing Co.

mdustrial Risk Insurers

!he Ingersoll Milling Machine Co.

mternational Jensen Inc.

rroquois Die & Manufacturing Co.

/.P.I. Transportation Products Inc.

Snider, Raitt & Heuer

KRAutomation Corporation

Kasle Steel Corporation

Kelsey-Hayes Co

Kelvyn Ventour Promotions Inc.

Kenneth Neumann/Joel Smith & Associates

Kingsbury Machine Tool Corporation

Kirk, McCargo & Arbulu

KilchSaurbier Drutchas Wagner &Kenney

Klarich Associa tes Inc.

Kraftwood Engineering Co. Inc.

Kuhlman Corp./Bronson Specialties Inc.

Kysor Industrial Corporation

I. Valla Prototype Inc.

I.fayette Steel Co.

I.ndis Manufacturing Inc.

won Systems Inc.

Itague/CUNA Insurance Companies

Itaseway Transportation/

Anchor Motor Freight

fdward C. Levy Co.

Itwis, White & Clay

logghe Stamping Co.

lou LaRiche Chevrolet-Subaru

M.5.I. Battle Creek Stamping

M.5.I. Warren Stamping

MID Prod ucts Inc.

Machine Tool & Gear Inc.

Mack Pattern Works

Maddin, Hauser, Wartel!, Roth, Heller & Pesses

Madias Brothers Inc.

Magnum Security Services

Maintenance Services Inc.

Marposs Corpora tion

Marty Feldman Chevrolet Inc.

Mattar Financial Corporation

Mayco Plastics Inc.

Mayne-McKenney Inc.

McCann-Erickson Inc.

Mechanical Heat & Cold Inc.

Melton Motors Inc.

Mezey-Purol! Automotive

Michigan Precision Industries Inc.

The Millgard Corporation

Minowitz Manufacturing Co.

Mitsubishi International Corporation

Models & Tools Inc.

Modern Engineering Service Co.

Monaghan LoPrete McDonald

Sogge & Yakima

Motorola Inc.

Ck Muer Corporation

Multifastener Corp

NGK Spark Plugs Inc.

National Bank of Royal Oak

National Pinkert Steel

Norfolk Southern Corp '; Foundation

NuWorld Graphics Inc.

O.E.M /Erie

Ogne, Alberts & Stuart

PVS Chemicals Inc.

PaineWebber Inc.

Palco - CNC Inc.

Palmer Moving & Storage Co

Pat Moran Oldsmobile-GMCTruck

Pep Industries

Perry Drug Stores, Inc.

Phomat Reprographics Inc.

Photo Reproduction Materials Inc.

Plastomer Corporation

Poly tech Industries Inc.

Price Waterhouse

Prudential-Bache Securities

R. 1. Polk & Co.

Radar Industries Inc.

Reader's Digest Sales & Service Inc.

Refabco Screw Products

Ring Screw Works

Jim Robbins Co.

Rochester Gear Inc.

Royal Insurance

S & H Fabricating & Engineering Inc.

SPX Corporation/Foundation

Semblex Corporation

Sequoia Industries Inc.

Sigma Associates

Smel ser Roofing Co.

Southern Pacific Transport

Special Plastic Products Inc.

Superior Plastic Inc.

Sur-Flo Plastics & Engineering Inc.

T. K Lowry Sales Inc.

TRW Steering & Suspension

Takata

Taylor, Braun, Manganel!o & Cardelli

Time Engineering Inc.

The Timken Co.

The Torrington Co.

Toyo Seat USA Corporation

Tri-Mark Metal Corporation

Union Carbide Corporation

The Uniroyal Goodrich Tire Co.

Vandeeveer Garzia, P.C

Van Dresser Corporation

Vickers Inc.

W. C McCurdy Co

Webasto Sunroofs Inc.

Webster Engineering

Weldmation Inc

Westborn Chrysler-Plymouth Inc.

Whitehead Manufacturing Co

Wickes Manufacturing Co.

Willtech International Corporation

Windsor Plastics Products Limited

F. B. Wright Co

Zenith Industrial Corporation

CORPORATE SPONSORS PRODUCTION SPONSOR

Ford Motor Company

PERFORMANCE SPONSORS

Allied-Signal Automotive

Ameritech Foundation

Ameritech Publishing Inc.

ANR Pipeline Company

Cadillac

Chrysler Corporation

DeRoy Testamentary Foundation

General Motors Corporation

Kelly Services Inc.

Michigan Bell

Royal Maccabees Life Insurance Co.

Unisys Corporation

FOUNDATION & GOVERNMENT SUPPORT

Government

Michigan Council for the Arts

National Endowment for the Art

Major Benefactors

$25,000 and above

Hudson-Webber Foundation

The McGregor Fund

The Skillman Foundation

Sponsors

$15,000 - $24,999

DeRoy Testamentary Foundation

Katherine Tuck Fund

Samuel 1. Westerman Foundation

Sustainers

$10,000 - $14,999

Ann and Gordon Getty Foundation

James and Lynelle Ho ld en Fund

The Mary Thompson Foundation

Matilda R. Wilson Fund

The Knight Foundation

Patrons

$2,500 - $9,999

Alcoa Foundation

The Bundy Foundation

Copyright 2010, Michigan Opera Theatre

John and Ella Imerman Foundation

The Meyer and Anna Prentis Family Foundation Inc.

David M. Whitney Fund

Donors

$1,000 - $2,499

The Kroger Company Foundation

The Thomas L Cohn Fund

Young Women's Home Association

Contributors

$500 - $999

Gerald W. Chamberlain Foundation, Inc.

Drusilla Farwell Foundation

The Alice Kales Hartwick Foundation

The Clarence and Jack Himmel Foundation

The Quaker Chemical Foundation

The Vlasic Foundation

Supporters

$100 - $499

The Goad Foundation

The Lillian S. McCaffrey Foundation

GENERAL DIRECTORS CIRCLE

Impresario Circle

$10,000 and above

Mr. and Mrs. J. Addison Bartush

Mr. and Mrs. Robert E. Dewar

Mr a nd Mr s. RobertC. VanderKloot

Dr. and Mrs. Sam B. Williams

Major Benefactors

$5,000 - $9,999

Mr. and Mrs. Douglas Bord en

Dr. and Mrs. David DiChiera

Mrs. Charles M Endicott

Arnold and Clementine Jo seff

Mr and Mrs. Lynn A Townsend

Mr. an d Mrs. R Ja mison Williams

Mr. and Mrs. R Alexander Wrigley

Benefactors

$2,500 - $4,999

Dr. and Mrs. Roger M. A jluni

Dr. Lourdes V.Andaya

Dr. and Mrs. Agustin Arbulu

Dr. an d Mr s. Donald C. Austin

Mr. a nd Mrs. W. Victor Benjamin

Mr. and Mrs Philip E. Benton, Jr.

Mr. and Mrs Cameron B Duncan

Mr and Mrs Max M. Fisher

Mr. and Mrs. Marvin Frenkel

Mrs. Aaron H. Gershenson

Doreen and David B Hermelin

Mr. a nd Mrs. William Ku

Dr. and Mrs. Richard W Kulis

Mrs. Ruth Mott

Mr. and Mrs. Harold A. Po ling

Mr and Mrs. Rich ard H. Rog el

Mr. and Mrs. Fred C. Schneidewind

Mr. and Mrs. Donald E Schwendemann

Mr . Richard A. Sonenklar

Mr. and Mrs. Richard D Starkweather

Mr and Mrs GeorgeStrumbos

Charles and Monika Tay lor

Mr. and Mrs James J Trebilcott

Mr. and Mrs Georgec. Vincent

Michigan Opera Th ea tre gratefully acknowledges members of the General Director's Circle who ha ve made con tribution s from July 1,1989 through June 30 , 1990. Their generosity plays an integral part in the company's financial stability, necessary for produ cing quality grand opera and musical theatre.

Sustainers

$1,000 - $1,499

Ms. Reva Kogan

Mr. and Mrs. Semon E. Knudsen

Drs David and Sheila Ronis

Mr. and Mr& . Irving Rose

Fellows

$1,500 - $2,499

Mrs . RobynJ. Arrington

Mrs. James Merria m Barnes

Mr. Charles A. Bishop

Mr.andMrs. DonaldJ Bortz,Jr.

Mr. and Mrs Bernard T. Brodsky

Mrs. Martin L. Butzel

The Honorable Dominick Carnovale

Ms. Virginia Clementi

The Honorable A vern Cohn

Mr.and Mrs. Thomas Cohn

Shelly and Peter Cooper

Mr. and Mrs. Rodk ey Craighead

Mr. and Mrs. Richard Cregar

Mr. and Mrs. Ernest Curtis

Mr. and Mrs. John W. Day

Lady Easton

Mrs. Hilda Ettenheimer

Mr. and Mrs. LouisP .Fo ntana

Benson and Edith Ford Fund

Mr. and Mrs Edward P. Frohlich

Mr and Mrs John C. Griffin

Mrs Robert M Hamady

Mr. and Mrs. Pres ton B. Happel

Mr and Mrs. Hugh Harness

Mr and Mrs E. Jan Hartmann

Mr. and Mrs. Tony Horne

Dr. and Mrs David Jacknow

Mr. and Mrs Leonard Jaques

Miss H. Barbara Johnston

Mr. and Mrs. Maxwell Jospey

Mr and Mrs. Mitchell 1. Kafarski

Mr. and Mrs. Ka rl A. Kreft

Dr. and Mrs. Kim K. Lie

Mr. and Mrs. Lawrence LoPatin

Mr.Jackand Dr. Bettye

Arrington Martin

Mr. Ed win Lee Morrell

Mr and Mrs. Marco Nobili

Mr and Mrs RobertT. O'Connell

Mr. and Mrs. Dav id Pollack

Mr. and Mrs David P. Ruwart

Mr. and Mrs. Alan E Schwartz

Mr and Mrs S. Kinnie Smiti 1, Jr.

Mr and Mrs C. Thomas Toppin

Mrs. JosephA. Vance,Jr.

Mr. and Mrs. Richard Webb

Mrs. Isadore Winkleman

Mr. and Mrs Donald E. Worsley

Mr and Mrs. Lloyd Zan top

Mr . and Mrs. Robert A. Allesee

Mrs Judson B Alford

Dr. and Mrs Bryce Alpern

Mr. Frank Arvai

Mr. and Mrs. Donald J. Atwood

The Honorable and Mrs. Edward Avadenka

Mr and Mrs. Mark Alan Baun

Mr. and Mrs William A. Bell II

Mr and Mrs. Mandell L. Berman

Dr.andMrs.JohnG . Bielawski

Mr. John 1. Bloom

Mr. and Mr s. Gerald Bright

Mr. and Mrs. Clarence G. Catallo

Miss Carol Chadwick

Margo and Maurice Cohen

Juli a Donovan Darlow and Jolm C. O'Meara

Mr. and Mrs. Robert N. Derderian

Mr and Mrs. Frank W Donovan

Miss Mary Ja n e Doerr

MelodeeA. DuBois and Ja m es N. Huntley

Mr and Mrs Max Dubrinski

Mr. an d Mrs Paul E. Ewing

Mr and Mrs. Stephen Ewing

Mr and Mrs. AlfredJ. Fisher III

Margaret K. and Charles T. Fisher III Fund

Mr. and Mrs Michael R Fisher

Mr. and Mrs MichaelJ Friduss

Mr. and Mrs Roge r Fridholm

Mr. and Mrs. Ted Gatzaros

Mr. and Mrs. Frank Germack

Dr. and Mrs. Pierre Giammanco

Mr. and Mrs. Keith Gi.fford

Mr. and Mrs. Vito P e ter Gioia

Mr. and Mrs. Alfred R Glancy III

Mr and Mrs. Alan L. Gornick

Mr andMrs.H JamesGram

Dr. and Mrs. Joel 1. Hamburger

Dr. and Mrs. Joseph Harris

Mr. and Mrs. Frederic H Hayes

Mr. and Mrs. David Hill

Mr. and Mrs. James A. Hollars

TheHon. and Mrs. Joseph N. Impastato

Mr. and Mrs. WesleyRJohnson

Mrs. William E. Johnston

Dr. and Mrs. Charles Kessler

Mr. and Mrs. Thomas G. Kirby

Mr and Mrs Eugene Klein

Mr. and Mrs. Ronald C. Lamparter

Mrs. Leonard T. Lewis

Mr. and Mrs. Walton A. Lewis

John and Julia Long

Dr. and Mrs. Henry W. Maicki

Miss Geneva Maisel

Mr . and Mrs . HaroldM . Marko

Mr.JimF.McClure

Mrs WadeH.McCree,Jr.

Mr. a nd Mrs. Daniel Medow

Mr. and Mrs. MorkusMitrius

Mr. and Mrs E. Clarence Mularoni

Mr. and Mrs. Paul Nine

Mr and Mrs. Julius L. Pallone

Mr.JohnE.Perry

Dr. Robert E. L. Perkins

Mr. and Mrs. KennethA Pickl , Jr.

Mr. and Mrs. Eugene Robelli

Ms. Lana Lockyer Robinson

Mr. and Mrs. Hans Rogind

Mr. and Mrs Marin Sarkissian

Dr. and Mrs. Norman R Schakne

The Hon. Joan E. Young and Mr. Thomas L. Schellenberg

Dr. and Mrs Arthur Schultz

Mr. and Mrs. Richard Sloan

Norman and Sylvia Gershenson Sloman

Mr and Mrs. Alan Spencer

Mrs. Mark C. Stevens

Mr. Ronald F. Switzer

Mr and Mrs. A. Alfred Taubman

Mr AlanE Teitel

Mrs C. Theron Van Dusen

Dr and Mrs Arthur Victor

Mr. and Mrs. Gary L. White

Mr. and Mrs Eric A. Wilts hire

Mr. and Mrs. George A. Wrigley

Dr and Mrs. Clyde Wu

Mr and Mrs. Morton Zieve

Mrs. LuciaZurkowski

Mado Lie receiv es a bouquet of thanks from Dr David DiChiera for hostin g th e la st General Director's Circle even t for th e 1989-90 season

"ichigan Opera Theatre wishes to ap ress it s deepes tappreciation to all tributors who have helped th e Company with g ifts mad e 1IImJuly 1, 1989 to June30, 1990

Weregr etfully are unable to list the 'lll lIyoth ers who help make our !1ls on po ssible.

Orchestra Circle

liOO-$999

IllS. Maxine W. Andreae

Harold Mitchell Arrington

Robyn J Arring t on, Jr.

O.Barton

Mrs. David Bloom

Mr. and Mrs Roy E Calcagno

Mr. and Mrs RobertG. Campbell

Dr. Barbara D. Chapman

Mr. David 1. Chi vas

Ms. Diane E. Clark

Mr. and Mrs George D Cowie

Mr. MortCrim

Mrs. Richard M. Cuddohy

Dr. and Mrs. Victor Curato lo

Mr.andMrs.EdwardP.C z apor

Mrs. Joyce Ann Kelley

Dr. Annetta R. Kelly

Ms. Pa tricia Kirchman

Eleanor and Harvey Kline

Mr. and Mrs. Donald A Kna pp

Mr. James F. Korzenowski

Mr. Kenneth C Kreger

Mr. and Mrs. Lee E Landes

Mr. and Mrs. Richard M. Larson

Ms. Ann Lawrence

CONTRIBUTORS

Dr. and Mrs Ronald J. Sables

Dr. and Mrs . William H. Salot

Mr. and Mrs. Wayne E.Salow

Dr. and Mrs Hershel Sandberg

Mr. and Mrs. William Sandy

Ms. Takako J uneSasaki

Mr. and Mrs . Mark Schmid t

Mr. and Mrs William E Scollard

Lois and Mark Shaevsky

Mr andMrs. FrankC Shal e r

Peter Wayne and Sharon Silveri

Mr. andMrs . N. R. Skipp e r, Jr.

Mr. a nd Mrs. Rog er B Smith

Mrs AlmaJ.Snid e r

Phyllis Funk SnoW and Dr J Stuart Youn

Dr. and Mrs RobertJ.Sokol

Mr . and Mrs. Giorgio G . Sonnino

Mr. and Mrs Frank D. St e lla

Mr. Robert Sutphen

Mr. and Mrs Steph en M Swee ney

Ms Sharon Szymczy k

Ms Irene Ta rjany

Mr.andMrs William B. Te nEyck

Dr. and Mr s. Murray 1. Thomas

Mrs WilliamC To s t

Tues day Musical of Detroit

Dr. and Mrs Ron a ld 1. Vander Molen

Dr. and Mrs. GeorgeJ Viscomi

Dr. Estelle Wacht e l-Torres

Mr. and Mrs Cyrus H Warshaw

Mr. Se ymour Weissman

Mrs John D Wheel e r

Dr. R. E. Wilhelm

Mr. and Mrs Roy Wilson , Sr

Ms. Hildega rd Wintergers t

Winkelman

Mrs. WilliamJ Adams

Mrs.JulianAlvarez

Mrs. Oran Anderson

Mrs. John Ashton

Baer

Bard

David H Barker

Lee Barthel Belamaric

IT SI,,";<I,,,, Bialoglowski

Bialy

Eric Billes

Bird

Bozian

Mrs. Sander J. Breiner

R. Bruns

Buhl

MaryC. Caggegi

Mr. and Mrs William 1. Darby

Mr . WilliamR. Darmody

Mr. and Mrs WilliamJ Davis

Mr. WilliamJ. De Biasi

Mr.Ja mesP. Diamond

Steve and Virginia Djelebian

Mr. and Mrs. Robert Driscoll

Mr. and Mrs. George P. Duensing

Mrs. SaulH Dunitz

Mr. and Mrs. Peter Dusina

Mr. and Mrs LaurenceElliott

Mr. and Mrs . Robert B. Fair, Jr.

Mr. and Mrs. Jerome Fellrath

Ms. EvelynJ. Fisher , MD.

Mr . and Mrs. Harry S. Ford , Jr.

Mrs. AnthonyC Fortunski

Mr. Benjamin Frank

Mr. and Mrs. I van Frankel

Ms. Ca therine Fridson

Mr . DavidM. Fried

Dr. and Mrs. William R. Fulgenzi

Mr. JamesH Fuller

Mary AnnFulton,J.D.

Dr. and Mrs. Robert Galacz

Dr. and Mrs. Byron P Georgeson

Ms. Gloria D. Green

Dr. and Mrs. Leslie M. Green

Mr. and Mrs Joseph Gualtieri

Mr. and Mrs. Charles Gunderson

Mr. and Mrs. BerjH Haidostian

Mr. Harrison A Hale

Mr. and Mrs. Leslie R. Hare

Ms. MaryC Harms

Dr and Mrs. Charles F. Hartley

Mrs. RobertG. Hartwick

Dr.andMrs.John William Hayden

Dr. and Mrs. Jack H . Hertzl e r

Miss Mary A Hester

Mr. and Mrs Ed win Hoover

Ms. Marion Hornyak

Mr. and Mrs. Richard Janes

Mr and Mrs Bruno Leonelli

Dr. Leonard H . and Mrs . Lorraine

Lern e r

Mr. and Mrs.J.Phillip Levant

Mr. and Mrs. Albert Lewellen

Miss Elizabeth A Long

Professor Judith Q. Longyear

Mr. I v a n Ludington, Jr.

Mr. and Mrs. William O Lynch

Mrs . Rita MacGregor

Mr. Lou Mair and Friend

Mr. ChariesH Marks

Dr. and Mrs. JosipMatovinovic

Dr. and Mrs. Lucius May

Mr. James McColgan

Ms. Katherine McCullough

Dr. Thomas G McDonald

Dr. and Mrs. Donald A. Meier

Mr. and Mrs. Haro ldA Meininger

Mr. and Mrs. William Michaluk

Mr.RalphMiller

Mr . and Mrs . Stanley Millman

Mr. and Mrs. Carl Mitseff

Mr. Ronald K. Morrison

Mr and Mrs Donald Nitzkin

Rev. Thaddeus J Ozog

Miss V. Beverly Payne

Mr. Michael W Pease

Marjorie Peebles-Meyers, M. D

Mr. and Mrs . Frank Pellerito

Mr. and Mrs. HarryC Philp

Ms. Irene Piccone

Mr. and Mrs. Ralph Pierce

Dr. and Mrs Kenneth E Pitts

Dr. and Mrs. Peter J. Polidori

Ms. E. J. Pollock

Mr. and Mrs . D . Clyde Riley

Mr . Peter Ronan

Dr. and Mrs David B. Rorabacher

Mr. and Mrs Leslie Rose

Dr WayneJ. Ruchgy

Mr. William W Wotherspoon

Mr. and Mrs . Lee Z eunen

Supporter $120-$249

Mr . Edw a rd F. Allwe in

Ms. Sac h ik o A n

Mr. a nd Mrs. Arthur E. Anderso n

Dr . a nd Mr s. Edu a rdo A rcini egas

Mr Pe te r j . A rmstro n g

Dr . a nd Mr s. Allan A. As h

Ms He le n Steve n s As ke w

Ms. Ge ra ldin e Atkin so n

Da ni e l a nd Va le ri e A yo tt e

Ms. Do ris Bail o

Dr. a nd Mrs. Ro n a ld Ba ke r

Mr. a nd Mrs. Eu gen e Bald a

Ms. Pa tricia Ba ll

Dr. a nd Mrs. Ro be rt A. Ba rron

Dr. Caro l Bea ls

Mr Do n Becke r

Mrs. j ac k Bec kwith

Mr. Dea n Be dfo rd , jr

Mr. a nd Mrs. H a rvey Be im

Ms. So ndra L. Be rlin

Mr. a nd Mrs. j a m e s F Be ve rlin

Mr j a m e s Biafo re

Mr . a nd Mrs. R Drumm o nd Bl ac k

Mrs. j o hn W Bl a nch ard

Dr. a nd Mrs. jo hn Blan zy

Mr. a nd Mrs. j e rry M Bl az

Lea a nd Pa ul Bliz man

Mr . a nd M rs. A lvin E. Bo hm s

Mrs. Ali ce Bon e Ch es te Bory s ki

Mr H a rr y W Bo wes

Ma rgue rite Boy le

Mr . a nd Mrs. Ed winN Boze man

Ms. De b o rah Lea Bra dl ey

Mr . a nd Mrs. Eri c Brau ss

Mr JohnC. Bre nn a n

Mr . a nd Mrs. Dav id M Burnett, Jr

Mr Willi am Ca n eve r

Mis s H e le n H Ca nnon

Mr and Mrs. Jo hn C a nn o n

Mr. Anth o n y Cas tle

Mr. Do n a ld E. C hampag n e

Mr.J e ffr eyC hiiton

Mr .a ndMrs. Do nald H C hmura

Su sana and Gary Guertin and Romeo et Tuljette' s soprano Ruth Ann Sw enson attended a cocktail rec eption in th e Mi chigan Gallery for donor s at th e Contributor level and abov e.

CONTRIBUTORS

Mr . a nd Mrs. H e rb e rt C hristner

Mr. a nd Mrs.Jam es R Chubb

Mr. Richard L. C hurgay

Mr. Thomas E. Clagett

Mr. C harl es H . C la rk

Mrs. Virginia Claudepierre

Dr. and Mrs. Valna C lerm ont

Ms. Pri sc ill a Strang C lut e

Co-E tte Club, In c.

Dr Arnold M. Co hn

Dr .a nd Mrs. Juliu s V.Co mb s

Ms. Ros ly n A. Cone ly

Ms. Ell en R Coo p e r

Mr . and Mrs. Da v id Coope r

Mrs. M.F. Cou lso n

Warren W. Cowan, DDS

Mr. a nd Mr s. Wall ace W . C ree k

Mr . a nd Mrs. Ri c h a rd C rutchfi e ld

Mr s. Eva C urr y

Mr . a nd Mrs. Dou g las E. C utl e r

Ho n. Elvi n L. Da ve np or t

Mr. Samuel L. Da v is

Mr . a nd Mrs. Ri ch a rd DeBear

Ms. Mary A. DeTo m aso

Mr. Edwin A. De smond

Sam a nd Loui se Deut ch

Mr. Eu ge ne G. Dewa nd e le r

Mr. a nd Mrs. Philip D De xte r

Mr. a nd Mrs. Albert Di ck m a n

Mi ss Ruth G. Dobe re n z

Mrs. H e len Dobryd e n

Mr. a nd Mrs. Ma x w e ll H Doe rr

Mr Pa ul Donohu e

Mr s. Harold Dore mu s

Mr. and Mrs. Harry M. Dr e ff s

Mr a nd Mrs. Eri c A. Dre ttmann

Mr and Mrs. Frank Dro n sejko

Dr. a nd Mrs. C h a rl es H Duncan

Mr. a nd Mrs lrv Dworkin

Dr . and Mrs. PaulJ Dzu l

M s. Patricia Eames

Ms. C hristine R Edwa rd s, 1I

Ms. Deborah K. Edward s

Mr. Raymond Eifl e r

Mrs. Eileen Prin se n and Caro l Ligienza

Jud geand Mrs. S. J Eld e n

Mrs. Erika Endl er

Mrs. Fre d a Ensign

Ms. Doris B. Erickson, DVM

Mr Robert B Evan s, Sr.

Mr. and Mrs. Otto Fauth

Mr . a nd Mrs. William S. Fay

Mr. Albert Febbo

Dr and Mrs. Juli a n D Feiler

H e rbe rt and Suza nn e Fe ld s tein

Mr. a nd Mrs A. W Fe rgu so n

Ms. JuneM. Fergu so n

Jud geS haron Tevi s Fi n ch

Dr. a nd Mrs Lion e l Finke ls te in

Mr and Mrs. Theodor e A. Firaneck

Dr. and Mrs. Paul Firn sc hild

Ms. Lo uise A. Fis h er

Mr . a nd Mrs. Vernon F Fi s htahl e r

Mr . a nd Mrs. J S. Fl e isch e r

Ms. Marlene D Fletcher

Mr .a ndMrs. WilliamF Flournoy

Ms. Phyllis Foster

Mr . a nd Mrs. H aro ld L. Frank

Ms. Jose phin e E Franz

Mr Richard Freedland

Mr Don Freeze

Mr and Mrs. Jack L. Fru cc i

Mrs. Roy Fruehauf

Mr Ear l Ga bri el

Mr. a nd Mrs. James Ga lbra ith

Mr. and Mrs. GaryG. Ga lun as

Mr Ca rl Ga rd ecki

Mr . a nd Mrs. Ern es tT. Gaston

Mr. Warre n E Gauerke

Mr . a nd Mrs. Jose ph G iacal one

Dr Leo nard G lin ski

Mr .a ndMrs.Mi c h ae IM. G lu sac

Mr. a nd Mrs. Jack L. Go ldberg

H e rmanand arbaraGo ld s mith

Dr. and Mrs. Rafa e l M Gonza lez

Mr. Gustav Thom as Go rg u ze

Dr a nd Mrs. Jure G ra h o v ac

Ms. Viola G ra ves

Dr .a nd Mrs John N. G re kin

Mr. Ro b e rt J Groff

Mr . a nd Mrs. Carso n e. Grunewald

M s. Eva Guerra

Susa n a and GaryGu e rtin

Sam u e l Had o u s

Mr. Harri so n A. Hal e

Mr Edward T. H a lk os ki

Dr. and Mrs. C h a rl es M Hamilto n

Mr. a nd Mrs. RobertJ. Hampso n

Mr Ron a ld H a n away

Mr. a n d Mrs. John H a ndlose r

Mr .N atanH a rpaz

Mr. W Milto n Ha rp e r

Mr. C hri stop h e r Harri s

Mrs. Meg Harris o n

Mr and Mrs Jam esG. Hartrick

Mr and Mrs. J Theodore Hefl ey

Ms. An n H eie r

Mrs. P Philip H elfman

Ms.JoyceM. H e nn essee

Mr. and Mr s. C h arles L. Henritzy

Dr. and Mrs. Leo n Hochman

Mr. and Mr s. Edward Hoe lsch e r Patricia L. H o lsey, M.D

Mr. Jacob Hurwitz

Ca role and Norman Hyman

M s. Miriam Im e rm a n

Mr. Daniel Irons

Mr.and Mrs. Alan Is rae l

Mr. Richard Jaege r

Mr.JohnJ.Janowi cz

Mr. and Mr s. Edmon R. Je nnings

Mr. Claren ce Jo hn s

Dr and Mrs. Ar t hur J Jo hn son

Mr. and Mrs Arthur L. Johnson

Mr and Mrs. Edward e.Jo hnso n

Ms Marcia Jo hn so n

Mr Micha e l RJohnson

Mr.and Mrs. Jam es Jo hns ton

Esther and Be n Jo n es

Mr. Sterlin ge. Jo n es, Jr.

Mr.Jefferso n L.Jordan

Mr.Robe rtP Judd

Mr. and Mr s. H e rm a n Kaplan

Mr and Mr s. J.A. Kaplan

Mr. and Mrs. Garry Kappy

Mr. Ro y Karche r

Mr. and Mrs. Wilfre d Katz

Mr. and Mrs Donald Keirn

Mr. Bradl ey Ke ith , Jr.

Mr. and Mrs. Dani e lJ Ke ll y

Mr a nd Mrs. Sidney Kell y

Mr. a nd Mr s. G le nn Kerr

Mrs. Helen A Keydel

Dr. and Mrs. Theodore W. Kilar

Alfred and Li lli an King

Ms.JdaKin g

Mr. and Mrs. John A Kirlin

Mrs. Sidoni e D Knighton

Dr. and Mrs. Les te r J Kobylak

Ms Ph y lli s D Korn

E.J.Kozora,M.D.

Dr. and Mrs. A lfred Kre indl e r

Drs. Norman and Tere sa Krieg e r

Ms Ren ee Kriege r

Mr and Mrs. William Kropog

Ms Amy La Ba rge

Mr Denni s Labea u

Ms Eleanor Lab id es

Dr. Edward Larsen

MissOlya Las h

Mr. and Mrs. Clinto n D. Lauer

Mr. and Mrs. John M Lazar

Mr. and Mrs. Pa ul Lesse m

Anna and Yale Lev in

Ms. G lo ri a Lev in e

Ms. Judith A. Lind say

Dr. and Mrs. Ro b e rt P. Li sak

M s. Beverly Lopatin

Ms. Donna Lop ez Negrete

Larry and Ph y lli s Lo p ez

Ms. Edwina Lu c ke tt

Mr. Earle D Lyon

Ms. Susan M. MacFarla nd

Mr. a nd Mrs. Edwin R MacKetha n

Mr.FrankW.Main

Drs Harri s a nd Phoebe Mainste r

Mr.R.M.Major

Mr. and Mrs. Geo rge Mall os

Mr. Ralph e. Mangold

Mrs. F1orin e Ma rk- Ross

Dr. a nd Mrs G.E. Maro ne y

Dr and Mrs Pe ter A Martin

M s. Lynn e Ma s te r

Ms. Elizabeth Ma ysa

Mrs. Mary e. Ma z ure

Mr. an d Mrs. David N. McCammon

Mr. Stan ley McDonald

Mr. Pat F. McGa rit y

Mr. Do nald Mcinto s h

M s. Patricia M c Kanna

Mr Fred McKenzie

Mr.and Mrs. Ja mes McLean

Ms. Lo is Me ll s

Ms. Viola Me re dith

Ms. Ly nn e M. Me tt y

Dr. and Mrs. An thon y B. Mich ae ls

Dr. and Mrs. Be rn ar d Mikol

Mr. Eugene T. Mill e r

Mrs. Jo hn P. Mill e r

M s. Halina Minadeo

Ms. ln gebo rg Wint er s tein Mir ava l

Mrs. Jo hn K Mitc h e ll

Dr. and Mrs. Van e. Momon J r

Mi ss Holl y S. Montague

Miss Patrici a Mont e murri

Mr and Mrs. C har les R Moo n

Mrs. H. Mori ta

Ms. La ura R Moseley

Dr. Martin Mo ss

Mr. and M rs. Earl A. Mo ss n er

Mr. a n d Mrs. Ri c hardJ. Mox

Mr. and Mrs. Ge rmano L. Mularoni

Mr.JohnD Murray

Ms Chri s tin e Nazzorin

Mr Kenn e th Ne um ann

Mr. and M rs. He nr y L.N ew nan

Mr.andMrs.Geo rge M .New ton

Don and Li z Novak

Drs. John a nd Janet Novak

Mr. and Mrs. S ta nley Nowakowski

Mrs. Fran cese. Nyquist

Mr H e rbe rt W O'Brien

Mr. Neshan O'Hanian

Ms ) oE ll e n Odom

Mr. and Mrs. Th e odoreOelkers

Mr FrankOkoh

Mr.and Mrs. AnthonyOp ipa ri

Mr. Dal e J Pangonis

Ms C h a nkee Park

Mr a nd Mrs. Jam es A. Park

Ms. Bea tric e Parso ns

Mr. and Mrs. Sa nfo rd H. Pa sse r

Mr and Mrs . A rthur J. Pawl aczyk

Mr. Mi c h ae l Pearso n

LoreneG Wil so n

PauiJ Peri e ira

M s. Ann e tte Pfe iffer

Dr. ran R Phillip s

Mr. Ri chard A. Place

Dr. and Mrs H aro ld Plotnick

Mr. and Mrs. Brock E. Plumb

Dr. and Mrs. Mike Popoff

Mr. a nd M rs. Da v id W. Porte r

Mr. a nd Mrs. Ke nn et h E. Prath e r

Mr.DonD .P ray

Dr. and Mrs Thomas Przybylski

Mr. and Mrs. Fre d e ri ck Puska s

Mr and Mrs. Willi a m Rachwal

Mr. Don a ld Rafal

A.L.Raimi

Ms Ca r o ly n Pe r ry Ram say

Mrs Marga re t e. Raymond

Mr. and Mrs. John H. Redfield

Mr. a nd Mrs. H e nrye. Reimer

Dr. and Mr s Arthur G. Rend z ipe ri s

Mr. and Mrs. JohnJ. Riccardo

Ms Kay Ri es

Mrs. Flore n ce Potter Robb

Ms M ary -A lyce Rob inso n

Ms. Alic e L. Rodrigu ez

Mr. Mitc h e llJ Romanowski

Dr. Euge n e Rontal

Ms.Joann e B. Rooney

Mr. Willi am ) Roosen

Mr Ri ch a rd Roo t

Ms Joberta F Rose

Dr and Mrs. Lewis Rosenbaum

Rhoda a nd Albert Rosentha l

Dr. and M rs. Alexander Rota

Mr. George Roum e ll , Jr

Mr. and Mrs. Casimir B. Ro zyc ki

Mr. and Mrs. Th eodore Rudn e r

Mr. David Run yon

Mr. Ri c h a rd O. Ruppel

Mr. Jo hn e. Rya n

Mr. Prentice Rya n

Mr. Te rranc e Rya n

Mr. H e nrySadd

Rev.JayJ .Sa moni e

Harri e t and Alvin Saperstein

Mr.andMrs.J. E.Sauble

Mr and Mrs. E. W. Scanes

Mr Ja m esSca rborough

Mr . a nd Mrs. Robe rt H Sc hirm er

Dr. and Mrs. Claud eSchochet

Mr. Karl Sc h roeder

Mr. La ure n ceS.Sc hultz

Mr. Josep h Schwartz

Mr WiliiamScott,Jr

Mr .a nd Mrs. KingsleyS ears

Mr. A ndrewSee fried , Jr

Mrs. Jud y A. Sensenb renner

Ms. Ell e n Sharp

Ms. Kare n Shea

Mr and Mrs. Jack H. Shuler

Dr. a nd Mrs Douglas B Side rs

Mr s. Ell e n Siege l

Dr. a nd Mr s. H aro ld K.Skram stad ,Jr

Mr. Kurt B Smith

Mr Ra y monde.Smith

Ms. Susan M Smith

Mr an d M rs. Nathan D Soberman

Dr . a nd Mrs. L. E. So lberg

Mr . a nd Mrs. Leonard Soltar

Mr Leo n a rd L. Sommers

Dr and Mrs. VictorG.Sonnin o

Dr and Mrs. W.P .Sos now s ky

Ms. Dian e M Soub ly

Mr and Mrs. Keith L. Spacapan

Mr John W .S p a ldin g

Mrs. Ell e n P Sparks

Mrs. John Spencer

Mr. and Mrs Robert W Spencer

Mr. Willi am King Springelt

Wanda a nd Eugenia Staszewski

Dr .a nd Mrs. She ldon D. Stern

Mr. Law re nce Stockler

Mr . a nd Mrs. Ger a ld H Sto llm a n

H e nr y A. Strac h an

Mr Ri c h a rd Strimeli

Mr. and Mrs. DonaldJ .S ubl ette

Mr .a nd Mrs.N.J. Tabor, Jr.

Ms Sheree Talley

Mrs . Teresa Taranta

Mr and Mrs. Burt E. Taylor

Mr. a n d Mrs. William Templ eton

Mr . a nd Mrs. William A. Te rn es

Mr e. Pe terTheut

Mrs. Edward D. Thomson

Dr and Mrs. Donald Thurbe r

Mr and Mrs. Peter P. Thurber

Mrs Doroth y AliceTom e i

Mr Mik eA. Travis

Dr. a nd Mrs. Dimitry M Turin

N.E.Turin

Mrs. H e le n Tutag

Mr . a nd Mrs. Rogue Tyso n

Dr Joseph Val e ntin

Mr. and Mr s . E H. Valentin e

Mr. Robe rt V. Vincent

Ms Lee Vinocur

Mr Voge l

Dori s Ke ith Waddell

Dr . a nd Mrs Richard H Walke r

Mr and Mrs. G. R. Walrod

Mr. Pa ul F. Wasielewski

Mr. Richard Webb

Dr.andMrs. JohnG Weg

Mr.and Mrs. HaroldN We in e rt

Mr. Theodore Weiswasser

Mr. Robert D Welch Ii

Mr Josep h V Wilcox

Mr. J Ernest Wilde

Ms Patricia G. Wiliford

Fath e r Rob e rt Witkowski

Mr. H a lton Williams

Mr. and Mrs. Lawrence William s

Richa rd E. Williams

Dr Ma g nu s A. Wil son

Mr . a nd Mrs. Lawrence E. Witkow ski

Dr . a nd Mrs. Robert WoUe

Ms Dian a Ruth Wood

Mr . a nd Mrs Richard D. Woods

Ms. Mary A li ce Wortman

Mr T. Walla ce Wrathall

Mr .a nd Mrs. Wayne M Wrobe l

Mr. and Mrs. Barry Yaker

Thom as V. and Cynthi a T Yates

Dr. and Mrs. Pe tras Zema ti s

METROPOLITAN OPERA NATIONAL COUNCIL AUDITIONS

With the a d v ent o f Michig a n Opera Thea tr e's 198 8 / 89 s e a so n , Ma ccab e e s Mutual Ufe Ins uran ce C o mpan y (r e n a m e d Roya l Ma cca be es Ufe In s ur a n ce) a nd Michiga n Op e r a Th e atr e b eg an a n e w jo int spo nso r s hip o f th e a nnual M e t ro p o litan Opera N a ti o n a l C ouncil A uditi o n s , G r e at Lakes Regi on / D e t ro it Di s trict, a n e v e nt prev iou s l y pr ese nte d b y th e D e troit Grand Opera A s s o ci a tion.

Now ente rin g its 3 6th year , the Metr o politan Op e r a N a tion a l C o uncil es tabli s h e d the ann ua l a uditi on s pro g r a m as a n a tional effo rt to id e ntify a n d ass is t as pirin g and talente d y oun g artis ts in th e ir tran s iti o n to pro fess io n a l o p e ra s in ge r. Attes tin g to th e success of th e c o mp e tition 's miss i o n , so m e oft od ay's g r ea t s in ge r s r e ce i ve d th e ir fir s t reco gniti o n as w inn e r s in th e D e tr o it District A uditi o n s includin g G e o r ge Shirl e y, Ro b e rta A l exa nder , A s hle y Putn a m , Ka r e n Hunt a nd M a ria E w ing , am on g o th e r s

Co-dir ec te d b y Ma ry Su e E wing a nd El a in e Fo nta n a, the 199 0 D e tr o it Di s trict pr e limina ry a nd fi n a l a uditions ar e sc h e dul e d a t

Ther esa Will iam s (C leve/and) , Linda Ma guire (Toronto) and Su san Walli n (C lev ela nd) , winn ers of th e 1990 Gr eat Lakes Reg iona l Fi na ls, in Detroit , s ponsored by Roya l Ma ccabees

ACKNOWLEDGEMENTS

D e troit' s Rac kham Audit o rium f or Sa turd ay, O c to b e r 27. T hr ee m o n e ta r y pr izes will b e awa rd e d to to p finali s ts w h o will co mp e te in th e Regi o n a l Fin a ls in To r o nto , Febru a r y 3, 199 1. R egional fin a li s t s fr o m a cro ss th e U .s. will b e se nt to p e rfo rm a t th e Metrop o lita n Op e ra H o u se in th e Sprin g of 199 1

Michi g an Op e ra Th ea tr e l a ud s Roya l M a cc ab ees fo r co ntinuin g th e g rand tr a diti o n of M e tropolit a n Op e r a Auditions a nd for the ir v is ion fo r th e futur e o f t o m o rrow 's op e r a ti c s ta r s t

tW!I Royal • Maccabees Ule Insurance Company

Mary Sue Ewin g and Elain e Fontana , co- chairmen of th e 1990 Det roit n islri cl Audition s

Michigan Opera Theatre Trustee Robyn James Arrington Sr.

J uly 14 , 19 14 - D ece mb e r 12, 1989

Rob y n Ja mes Arrin g to n , M D , a prac ti c in g ph ys ic ia n fo r nearl y f ifty year s, passe d away on Dec embe r 12 , 1989 a thi s ho me in De troit. Dr. Arrin g to n se rve d o n the sta ffs of Trinit y Hos pital , Ha rp e r-Grace Hos pit a l, So uth wes t De troit Ho spi ta l and S ama rit an Hos pita l, a nd al so instru c te d fo r fi ftee n years a t He rman Ke ife r Hos pita l.

In a dditi o n to hi s in vo lv e me nt in a vari e ty of medi ca l soc ie tie s a nd fra te rn a l o rga niza ti o ns, Dr. A rrin gton was activ e in ma ny De tro it c ivic o rgani za ti o ns . A lo ng- tim e me mbe r of Mi c hi ga n Ope ra Th ea tre ' s Board o f Tru stee s, Dr. A rrin g to n was a lso a d ili ge nt s upp o rte r of th e N AA CP , in addit io n to th e Found e rs Soc ie ty of th e De tro it In stitute of A rt s, a nd th e De tro it Zoo lo g ica l Soc ie ty Fo r Dr. A rrin g ton , co mmunity inv o lv e me nt was a f a mily affa ir - hi s wife Ire ne , wh o is he rse lf a me mb e r of MO T's Bo ard of Direc to rs , d a ug hte r a nd so n-in-l a w j o ined him o n th e MOT Bo a rd of Tru stees , a nd hi s so ns a lso offer co ntinu e d s up port to MOT

Dr. Arrin g to n ' s d ee p de vo ti o n and loya lt y to Michi ga n Op e ra Th ea tre will be so re ly mi sse d .

SPECIAL ACKNOWLEDGEMENT

Fo r th e p as t te n yea r s , Ali ce B. H a id os ti a n h as be e n assoc iate d w ith Mic hi gan Op e ra Th ea tr e a nd in th a t brief s p a n h as rai sed ove r $6 10 ,000 fo r th e co mpan y.

In 198 0, Mr s. H a id os ti all p e r so n a ll y r ai se d $40 ,0 0 0 tow ard th e ex tr ao rdinar y cos ts o f produ cing the Arm e ni a n o p e ra Anou sh , a wo rk n ever b e fo r e pe rfo rm e d o uts id e th e Sovi e t U nion Th e n in 1982 , s h e h ea d e d up Michi ga n Op e r a T h ea tr e 's A d ve rti s ing Co mmittee fo r th e a nnu a l se a so n pr og ram b o ok , r a is in g an impr ess i ve $65, 00 0 in h e r fir s t yea r a l o n e.

M a rrie d to pro min e nt ph ys ici a n , Dr . Be rj H . H a id os ti a n , A li ce i s a n a cco mpli s h e d p ia ni s t a nd p e rfo rm e r , a nd a ch a mpion of num e rou s vo lunt ee r f und r a is in g campai g n s fo r s u ch o r gani za ti o n s as the D e troit Sy mph o n y, Uni ve r s ity o f Michiga n a nd th e Al ex M a n oogi a n Sc h oo l. H e r d e di ca ti o n a nd co mmitm e nt to th e cultur a l ac ti v iti es o f D e t ro it a r e exe mpl a r y, a nd Mi chi ga n Op e r a Th ea t re sa lut es h e r !

Copyright 2010, Michigan Opera Theatre

ACKNOWLEDGEMENTS

ADMINISTRATION

Facilitie s Committee

Mrs C h a rl es M Endi co tt

Cha i rp erson

M r. J. Add iso n Ba rtu s h

Mr Ro b e rt E. Dewa r

Mr. Ca m e ro n B Dun ca n

Mr. Steve H a nd sc hu

Mr W es ley R. Jo hn so n

Dr. Ri ch a rd W. K uli s

Mr. Fr a nk D. S tell a

M r. C. Th o ma s To ppi n

Mr s. Sa m B Willi a m s

Finance Committee

Mr. Ca m er o n B. Dun ca n Cha irp erson

Mr . Fra nk Arva i

M r. C la re n ce G. Ca ta ll o

Mr. Rober t E. Dewar

Mr Brock E. Plumb

Mr . A n d rew M Save l

Mr. Ro b e rt D Sta rk wea th er

Mr. C. Th o m as To ppin

Legal Counsel

M r. C. T h o m as To ppin

Strategic Planning Committee

Mr Ca m ero n B Dun ca n

M r s. C h a rl es M . Endi co tt

COMMUNITY PROGRAMS

Texe l La nd Corp ora ti o n Co m pa n y In c.

Mr. a nd Mrs. Ro b er t Va nd er Kl oo t

Youn g Wo m e n 's H o m e A ssoc ia tio n

Virg in ia C le m e nti

Mrs. Be tt y Ger isch

M a r y Ja n e D oe rr

M illie S tac h o w ski , Prog r a m s Co n s u l ta nt

Ha m tr a m ck Sch oo ls

Bogd o n Ka rpin s k y , Teach er

Ja m es D eNa rdi s, Mu s ic Teac h e r Kosc i us z ko Middl e Sch oo l, H a mtra m ck

Wh a t' s o n Seco nd ? Res ta ura nt

Bo b Ta lb e rt

M a uri ce Wh ee ler

To m En s ley La mph e re Hi g h Sch oo l, M a di so n H e ig ht s

Sa lli e Fe d

Ma rge Ba lm es

Lisa Di C hi e ra

G r e tch e n Pike

Detro it Day Sch oo l for th e D ea f

Cliffo rd H iggins

P a tri ck M ich aelso n

DEVELOPMENT

Dr. a n d IvIrs. Roger M Ajlun i

Ms. Ka re n A n ge losan te Th e Co untr y H o u se

M r s. Do n a ld C. A u s tin

Beave rS to n e Bay Deve lo pme nt Co mp any

Mr. G ord o n Be ll

M r. a nd Mr s. Philip E Be nto n Jr.

Be nt z Wh a ley Fless n e r

T h e Bez ta k Co rpora ti o n

Mr Bill Bla ss

Bloo mfi e ld Hill s Co untr y C lu b

Mr. A lex Brown

Mrs. Pe te r Coo p e r

Ri c h a r d a nd C h e rrill C r egar

C ui s in e Co uri e r s of Royal O a k

Day to n - Hud son

D e lo itte an d Touc h e

E & G P rintin g

Mrs. C h a rl es M . En d ico tt

Mr. a nd Mr s Pa ul Ew in g

Th e Fa n Club of Me tro p o lita n De tr oi t

M r. a nd Mrs. Lo u is Fo nta n a

H o w A b o ut Lun ch

Fo rd M o tor Co mp a n y

Fo rd M o to r La nd Deve lo pm e n t

M a nl ey Co mm u nica tion s

Mi chi ga n Be ll

Mi chi ga n Na ti o n a l Bank

Ca ro l A. M inter

Maso nic Tem p le

M s. G in g er N ick loy

Mr. Ga r y Ni else n

Mr . a nd Mrs Rob e rt T O 'Co nn e ll

Our Elit e Se r v ice s o f Gard e n C ity

Ornni Int e rna ti o n a l H o tel

P egas u s a t T h e Fis h er

Ph o n e Bank Sys tems

Pro fess io n a l Prin tin g Se r v ices

T h e Radi sson Pl aza H o te l a t

To wn Ce nt er

Th e Ra ttl es n a k e C lub

Mr. G il Ri ce

Ra nd a ll Re n o Des ig n

Roya l M acca b ees Li fe In s ura n ce

Sa k s F ifth A ve nu e

Mr. Te r ry Sh ea

Mr . Ray Sh epa rd son

M s. Joa nn e Stee le

Te le m a rk e tin g U. S.A.

Mr. Willi a m Tippi e

Mr. To m Vi o la nte, Ho lid ay Food Cen te r

Mr. La rr y W e iss

Mr . P a ul W es tb roo k a nd Th e

S taff of Th e Ritz -Ca rlto n , D earb o rn

Th e W es ti n H o tel

Whitloc k Bu s in ess Sys te m s, In c.

MARKETING & PRESS / PUBLIC RELATIONS

Public R elations /Pu b licity

Committee

Elea n or Bre itrn eye r

A rm a nd Ge b er t

Ma r y Lo u Z ieve

Geo ff G r eer

Ama d e u s So ft wa r e

M argare t Ge n ovese

Dory Va nd er h oof

Ge n ovese Va nd erh oof

Ass o cia tes

Ma rgare t DeG r ace

De tro it In s titut e of Ar ts

C hu ck D ye r

De tr o it Sy mph on y

O r ch es tra Ha ll

M oze ll e Boy d Ho te l P o nt ch a rtra in

Sco tt S te in b a u g h Riv er Pl ace Inn

Co ll ee n M Ro b a r Pa ul W es t broo k Th e Rit z -Ca rlt o n , Dea rb o rn

Su e Ke ll y

Ma ri a n a Keros

Chri s Morri sroe

Hudson s

Joe Hora n

Alan Li chte n s tein

Ca ro l M inter

Vi Slo wl y

Sa nd y W ood M aso ni c Tem pl e & Fis h e r Th ea tr e

A nn La n g

M a r y H eb er t New Ce nte r A r ea Co un cil

Dale Aus tin, Ch air man of the Spec ial Even ts Committee w ith Davi d Di Chiera at the 199 0 Op era Ba ll M rs. Aust in chaired th e 1989 open in g night bel1e/it for Les Mi se rabl es

To dd G illi ck E & G P rintin g

Rosea nn Brow n

Je ff Coge n Oly mpi a A r en as, In c.

Ell e n Blass in g h a m PR / M a rk e tin g Co ns ultant

Morto n Z ie v e Lo re n e Cose n za Caro lyn Eve rso n

Ka th y Nag le r

M a rk Ry d e n Sand y Skib a

Dav id Thum a Simon s Mi ch e lso n Z ieve

La rr y A n ge losa nt e

Da n Bu cz k o Lind a G ra mma ti co Da v e Sh ee ts TA S G r a phics

Su sa n H ul sch er Ti ck e tM as te r

Sh e rry Bird

Ly nd a Sc hul y k Trizec P ro p e rti es, In c.

Sh eil a In gwe rsen Ford H o u se

Robin S te ph e ns o n-Dre nt Uni ver sity Mu s ica l Soc ie ty

A la n Brow n Su s an Po ll ay Ann A rb o r Summ e r Fes ti va l

Willia m Be tz Wild Bill & Co.

P a tsy H a rtmann

Da vid M exico tte H ew le tt- Pack a rd

Copyright 2010, Michigan Opera Theatre

Th e Whitn ey

Charles Gree nw e ll

ais Hirsch

' au! Ru sse ll

wri Schmidt

Dave Wagner

WQRS, FM105

llick Purtan a nd Purtan 's P eo pl e, WKQI , FM 95. 5

David Oakland Cleveland BaJl e t

Ilary Koz low ski

mne tt e Pawl ac y ck Vo lunteer

'Xinna Rog e r s

Andrew Parv e l

Ilelissa H o rn

PR/ Ma rketin g Inte rns

Peter Fin ck

ruliaSay lor

Sa n Fran cisco Ope ra

"ary Ball

Inte rn a ti o n al In s titut e

PRODUCTION

Kr oliko ws ki

Produ ction Vo luntee r

MOT MOVER Co o rdinat or

Patand Al Le w e ll en

Produ cti o n Vo luntee r s

Ilichigan Op er a Th e atre

MOVERS

Arti st Tran s portation

Dr, Arn old C o lm

Apprenti ce Cl ass es

Dr, Jam es Bless m a n

Dr. Arn o ld Cohn

Dr. Ke nn e th D zi uba

Dr , Ri chard Ka hl

Dr. Robert Lev in e

IIr, Jul es Pall o n e

1Ir. Arn old Sp e llm a n

IIr C. Thom as To ppin

Committee fo r Compa ny Med ica l Affa ir s

Harper Hos pita l, a m e mb e r o f th e Detroit M ed ica l C e nte r

Prim ary Me di ca l Ca r e Fac ilit y

Ray Litt

Ch oru s H os pita lity

J,Aa di so n Ba rtu s h

Les ter Ha milt o n

Archi va l Reco rdin gs

Zepplin Clean e rs and La undr y

Fisher Theatre Crew

Jo hn As hba u g h

Ma ster Carpe nte r

Ro b e rt M cKe on

M as te r Fl y man

Ro b ert Ky n as ton

M as te r El ec tricia n

Albe rt A s hb a u g h

M as te r o f Prop e rties

Les te r H a milton

M as te r So und Tec hni cian

Masonic Temple Crew

William Koze m chi ck

H ea d Ca rpente r

Mik e To bin

Fly man

Da v id Bro ck

Elec tricia n

Tom Bro ck

Propm as te r

Sarn Alini a So und

ADDITIONAL THANKS

P a tri ck C a ll ahan

D ay ton Op e r a Sta ff

D e troit Publi c Libr a ry & Mus ic Sta ff

Ali ce Haid os ti an

M a r y Hamilto n

D a nielle Ko rda

J ac ki e Lo ckwood

Lind a M e th a n y

M oo rma n Trave l

Op e ra P a cific Staff

T o m P e d e r so n

Dia n e P e pp er

Mi ch a el Pr o kuda

Chu ck Ra nd o lph To urs

Jud y Ry bicki

Te rr y Schillin g

Jac k Thomp s on

N Ste ph e n Va le ntin e

D e bra Su e Va ll e

Jim Youn g

CONTRIBUTING PHOTOGRAPHERS

Jerom e M agi d Co mpa n y Ph o togra ph e r

Ra nd y Ch o ura

Lis a DiChi e r a

Lee Ek s trom

Rand y G e rw a tow s ki

Pras ad and Va le ri e

Ro nPl o nk ey

P e te r Rob e rt s

Ro ge t

Ri ck Smith

ACKNOWLEDGEMENTS

ARTWORK FROM THE DETROIT INSTITUTE OF ARTS

Pa ge 61 Fema le Sa int, Fra n ces co M e l z i, 1493 -1 570, te mpe ra on p a n e l, Be qu es t of M r. a nd Mrs. Willia m A. Fis h e r

Pa ge 89 Beauty Sea li ng A Love/e tt er, Utagawa Toyo kuni , 1796 -1 825, h a n g ing scr o ll , ink a nd co lo r on s ilk, Fo und e r 's Soc ie ty Purch ase b y ex ch a n ge, Ann e a nd H e nr y Ford Fund and M e mb e rs hip Fund , g ift o f Mr. and Mrs William A . Fis h e r and Be qu es t of Mr. and Mrs . Ed gar B Whitco mb

P age 87 Noh Robe, Knraor i Type, Autumn a l Design s of C hr ysa nth emums, Butt e rflie s , a nd Gra sses , Jap a n ese, 18 th ce ntur y, M e ta lli c a nd multi -co lor e d bro ca d e on o r a n ge s ilk grou nd , Fo und e rs Society purch ase, H e nry Fo rd Fund

Pa ge 82 The Las t H ours of M oza rt , Mih a l y d e Munk a csy, Hun ga rian , 1844-1900 ,8 '8" by 12 '5 " Gift o f Mrs. Henry D Sh e ld e n , Russe l A. Al ge r a nd F.M . Al ger

Mi chi ga n Op e ra Th ea te r gra te full y a ckn ow le d ges th e s upport o f th e foll o win g adve rti s er s :

Ad -M a il Se r v ices

Alph a- 21 T y p o graph y

Conn e ll y C o mpan y

Je rom e M agid Photograph y Mik e Kojwan Properties

Min o wit z M a nufac turin g

P egas u s in the Fis h e r

PROGRAM BOOK COVER

M a n y th a nks to ph o tograph e r Mi ch e ll e And o ni a n , m a k e- up arti s t Ly nn McC ull o u g h o f Sa lo n Ke nni ce Bes h a r in Fa rmin g to n , a nd mod e l Kimb e rl y Pr e te fo r d o n a tin g th eir tim e a nd ta le nts to th e cove r o f thi s yea r 's s p ec ial 20 th a nni ver s ar y pro gra m b oo k.

Ly nn M cCull o u g h s tr a n s f or m s Kimb e rl y P r e te int o th e ch a r ac te r o f M a d am a Bu tt erfl y p r ior to th e ph o to gra ph y sess io n

Photo co urtesy o f Mi ch e ll e A ndoni o n

Copyright 2010, Michigan Opera Theatre

Kimon o co urtesy of Inte rna ti o nal In s titut e.

Two

If you think about the advertising you remember, it's generally the kind that ... well ... you just like. That makes yo u laugh , or think, or say "Boy, is that me :' Happily, that's the kind we do .

Perhaps it's because we never forget that consumers are, after all, people. And we always remember to address them accordingly.

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100 BLOOMFIELD HILLS PARIW'JAY. BLOOMFIELD HILLS MICHIGAN 48013

William Beaumont Hospital - Royal Oak Children's Hospital of Michigan

Henry Ford Hospital - West Bloomfield

Providence Hospital of Southfield

Wishing the Michigan Opera Theatre a successful season.

Rhythm of line

Great music and great fashion both share th e passion for excellence -a passion that has been La za re's motivating force for the past 65 years. Come in and treat yourself to the sight of the c reat ion s of so me of the world's top de signer s -

"And finally, and perhaps best of all, we have music."

Lewis Thoma s

'ir1i·a-s1ire

Artistry

• TIle creation of works of wduring va llie; e.g ., in the w lelldor of the opera .

• Aes th etic bri//i(/llce, as achieved by (/C(OII/v lished artists wIder illspired directioll

• Trallscelldellce ill beallty (/lId express ioll, like that achieved by th e mll sica l gel1i ll s

Life would be barren indeed without the artistry of the opera, symphonic music , ballet and the theater.

Rockwell International is committed to the cultural enrichment of community life through support of the performing arts

of ce lebra ted co mpo sers. Rockwell

where science gets down to business Aerospace

Copyright 2010, Michigan Opera Theatre

SHOPS

• Churchill 's Tobacconis t s

• deViliers Ha i r Studio

• Forster & Laidlaw

Flori st

• Gilbert Opt ical

• Milkins Jewelers

• Russell 's Pharmacy

• The Fa shion Pl ace

• The Wi llow Tre e

• Yat es OHi ce Supply

ENTERTAINMENT

• Fis

• Jazz

GALLERIES

• Detroit Gallery

• London Arts Gallery

• Poster Gallery

RESTAURANTS

• California Yogurt Express

• Jacques Patisserie

• Pegasus in the Fisher

• Westside Deli (In the Albert Kahn Bldg )

SERVICES

• Am e rican Speedy Printing Center

• Christian Science Reading Room

• Comerica Bank

• Research Federal

• U S Post OHice

• Valet Shop /Cleaners

111 1111""

NEW CENTER ONE SHOPS

• Boulevard Luggage & Handbags

• Cobble Shop

• CoHee Masfers

• Crowley 's

• Gantos

• General Nu t rition

• Little Women

• On Site Photo

• Waldenbooks

• Wi nkelman's

SERVICES

• Federal Express

• Manufacturers Bank

RESTAURANTS

• Burger Ki ng

• Gertie's Garden

Improvin carsisw at we do best.

Ziebart has been improving cars, trucks and vans for nearly three decades From keeping the body rust-free, the paint sleek and the interior spotless, to enhancing vehicles with a variety of accessories , like sun-roofs, bedliners and running boards.

Ziebart. We not only protect cars , trucks and vans, we improve their looks and value. That's why were known as the car improvement specialists. It's what we do best .

Seriously.

When the curtain goes up on tonight's performance , the musical magic you experience w ill be the result of years of profes s ional training and many h o urs of planning and rehearsals. These talented singers and musicians take their jobs seriousl y.

MARTY' S COOKIE co. & BAKERY (313) 540-1770 310 E. Maple , Birmingham , Mich 48009

MARTY 'S COOKIE CO OF DETROIT (313) 961-5480 One Kennedy Square, Detroit, Mich 48226

When it comes to high quality printing and graphic design, we take our jobs seriously, too.

Professional results speak for themselves.

33490 Groesbeck • Fraser , MI 48026

(313) 296-6230

NATIONAL REPRODUCTIONS CORPORATION

433 East Larned Detroit Michigan 48226 (313) 961 - 5252

James P Pamel President

1990-91

D o n 't mi ss th is rare opportuni ty to see these exc itin g perfo rm ers in th e in ti mate 400-seat Attic Th eatre.

S w ee t Hon ey i n t h e Rock

Frid ay, O ctober 19

Banu Gi b son & t h e Ne w Orle an s Ho t Ja zz Orc h estra

S aturd ay & Sund ay , Oc to ber 20 & 2 1

John Prin e

Thursd a y & Frid ay, O cto be r 25 & 26

F lyi n g Karama z ov Bro t hers

Saturday, O ctobe r 27

J o hn P atterson - Wh e n th e C olore d Band

Go es Marchin '

Sun day, O c to be r 28

Th e Ch e nille S is te r s

Fr id ay - Sund ay , Dece m be r 14 - 16

Se cond City To uring Company

B e tty Carte r

Roy al Canadian Air Farce

Dizzy Gillesp ie

ADVERTISER 'S INDEX

Michigan Op era Th eatre wi shes to thank its advertisers for their support of the 1990/91 Program Book We hop e you will make use of th eir product s and services. When you do , please mention that you saw th eir advertisement in this book .

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VISORPHONE

Isorphonet

The cellular phone that fits right in the driver 's sun visor. With one-touch dialing and 100-number memory, it lets you talk on the phone and still keep

Also available, our re-

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ANTILOCK BRAKES

Perhaps the only thing better than " walking away from an accident is avoiding it. In that respect, .-:-:: nothing helps more than Chrysler 's 4-wheel disc antilock brake system CABS ).t B y pre ve nting whe e l lockup, they help you retain steering control

even in a sudden stop on a rainslicked highway.

AIR BAG

EveryChrysler I /.'

brand c ar comes equipped with a dard driver 's-side air bag. And letter after grateful letter has been written to tell us one thing for certain - air bags help save lives .tt

There is no luxury without engineering.

At Chrysler, we engineer quality and safety into all our cars because we never forget the most important thing that goes in you

To buy or lease, please call

MICHIGAN OPERA THEATRE

D av id DiChi era, G enera l Di rec t o r 1990-1991 Twentieth Anni v ersary Season

O p e r a in t hr ee ac t s b y G I USE P PE V E RDI

Li b r e tt o by FRA NCESCO M A RI A PIAVE base d u po n t h e ve r se dr ama L e R oi s'amus e (T h e Kin g's Di ve r s io n ) b y V ic t or Hu go

RIGOLETID

( in It a lian)

Conducto r

M ar k D Fl int

D irector

R o b ert T a nn e nb a um

Se t D esig ners

K e i th N agy a nd J am es M e rr ill Sto n e

Ori g in a ll y de s ign e d for

Mi c h i ga n Op e ra T h ea tr e a nd C le v e la nd Op e r a

Cos tu me D es igne r

S u za nn e M ess for M a l a b a r , LTD

W Ig and M akeup D esIgner

E lse n A ssoc ia t es

L ig ht ing D esigne r

K e n d a ll Smith

C horus M aster

S u za nn e Ac ton

Stage Manager

L e ig h A nn e Hu c k a b y

Frid ay, N o v e mb e r 2 a t 8 :00 pm

5 70th MOT p e rfo rm a n ce

Sa turd ay , N ov emb e r 3 a t 8: 00 pm

Sund ay , No ve mb e r 4 a t 6:3 0 pm

W e dn es d ay, Nov e mb e r 7 at 1 pm

Fr id ay, N ove mb e r 9 a t 8 pm

S a turd ay, N o ve mb e r 10 a t 8 pm

CA ST (in o rd e r o f voca l a pp ea r a n ce )

Duke:

Bors o:

Fl o rin Geo r gesc u

P e t e r Rib e ri * ( No ve mber 3, 7 , 10 )

P a u l Wi l t sie

Cou nt ess Ceprano: V a le r ie Y ova *

R ig oletto:

Co unt Ceprano:

Marull o:

Coun t M ont erone:

S p a raJu cile:

Gilda :

G iovanna : P age:

H erald:

Maddal ena:

Ri ch a rd C la rk

Mark Ru c ke r * (N o vember 3 , 7, 10)

Mark W a t so n

L a wr e n ce F o rm osa

Din o V a ll e*

P a u l Be rk o ld s*

Mauree n O ' F l y nn *

J a n e Th o rn g r e n * ( N ove mber 3, 7, 10 )

Ba rb a r a Y o un ge rm a n

R osa l in C o ntr e r a Gu as t e ll a

K y le M a rr e ro

Kath lee n S eg ar

*M ich iga n Op e r a Th ea t re d e b u t

T I ME AND PLA CE : S ix t ee nth ce ntur y It a l y

SU R T ITL ES ' " fir s t in t rodu ce d a nd d eve lop e d b y

Ca n a d ia n O p e r a Company in J a nu a r y 1983.

Thi s p e r fo rm ance of R igoletto fea tures

SU R T ITLES '" w ri tt e n b y Gu m a D r e ife ld s

Th e p erforma nce will las t app roxi mat ely three hours, w ith t wo int erm ission s.

Copyright 2010, Michigan Opera Theatre

Michigan Opera Theat re , an equal opportunity employer is supported in part by the State of Michigan through the Michigan Co uncil for the Arts and the National Endowment fo r the Arts federal agency A \WI

Rigoletto Synopsis

Se tt ing: R enaissance M antua, I taly

ACT I

I n h is p a lace b a llro o m , th e Duk e o f M a ntu a t e ll s B o r sa o f a b ea ut ifu l g i rl h e h as see n a t c hu r c h . T h e n , a dmirin g Co unt Ce pr a n o's wi fe , t h e Duk e rej o ices i n th e bea ut y o f wo m e n a nd hi s l ib e r t in e h e d o n is m ( Qu es t a 0 qu e ll a). W h e n t h e D uk e dr a w s Co u n t ess C e p r a n o int o a n o th e r r oo m , th e cou rt j es t e r R igole tt o m oc k s th e e nr age d but h e l p les s Co u n t. T h e n o b les a r e a mu se d w h e n M a ru ll o bur s t s i n w ith th e la tes t go ss ip : Ri go le tto is kee p i n g a yo u n g m is t r ess in hi s h o m e. Th e j es t e r is so f r ee w i t h h is g i b es th a t Ce pr a n o p lo t s w i th oth e r cou r t ie r s to puni s h him. M o nt e r o n e fo r ces h is w ay into th e p a rt y to d e n o u n ce th e Duk e fo r se du c i n g h j s d a u g ht e r. Vi c i o u s l y r id ic u le d b y R igo le tt o , M o nt e r o n e hu rl s a fa th e r 's c ur se a t th e t e rr if i e d j es t e r

Pau s e

O n t h e way h o m e, R igo le t to b r oo d s ove r M o nt e r o n e ' s c ur se as S p a r a fu c ile, s te pp i n g fr o m th e sh a do ws, o ffe r s h is se r v ices as a n assass in Th e j es t e r d is mi sses h i m , r e fl ec t i n g t h a t hi s o wn to n g u e is as s h a rp as a n y murd e r e r 's d agge r. A s h e e nt e r s h is co urt ya rd , G ild a, hi s d a u ght e r , r u s h es i nt o hi s a rm s . W a rn i n g h e r nur se, G iova nn a, t o ad m i t n o o n e , R igo le tt o run s o ut t o th e s tr ee t w h e n h e h ea r s so m eo n e a t th e ga t e. At t h e sa m e m om e nt t h e D u ke s li p s unnot ice d int o t h e co urt ya rd a s G ild a co n fesses t o G io va nn a t h a t s h e i s in love w ith th e yo un g m a n w h o fo ll o w s th e m t o c hur c h Th e Duk e de cl a r es th a t h e is on l y a p oo r s t u d e n t , but t h a t h e loves h e r A t th e so und o f foo t s te p s, G il d a b egs him to leave, r e p ea tin g h is n a m e ( " Ca ro n o m e"), as sh e goes up t o b e d. M ea n w hi le , th e co urti e r s as k Ri g o le tt o to h e l p a bdu c t C e pr a n o's wife . With Ri go le tt o ' s un w itt i n g a id , th e co ur tie r s br ea k i nto th e j es t e r 's h o u se a nd ca rr y off G ild a Ri go le tt o di scove r s t h e

d ece p t io n w h e n h e h ea r s G ild a's c r y fo r h e l p. Find i n g G il da ' s d isca rd e d sca rf, h e r e m e mb e r s M o nt e r o n e's c ur se

INTERMISSION

ACT II

In h i s p a l a ce, th e Duk e is d ee p l y di str a u g ht o ve r th e k idn a pp in g o f G ild a, unti l h e lea rns th a t sh e is i n hi s c h amb e r s. H e d as h es off to th e co nqu es t. R igo le tt o e nt e r s, pr e t e ndin g i ndiffe r e n ce . Thou g h t h e co urti e r s a r e a stoni s hed t o le a rn th a t s h e is h is d a u g ht e r , th ey b a r th e wa y. H e la s h es o ut a t th e i r c r u e l t y . G ild a app ea r s a nd runs i n s h a m e t o h e r fa th e r . A lo n e w i t h R ig o le tt o, G il d a t e ll s of fa ll in g in lov e at c h ur c h , t h e Duk e' s co ur ts hi p a n d h e r abdu c t ion W h e n M o nt e rone is led t h rou g h on h is w ay t o th e dun geo n s , Rigol e tto d e cl a r e s h e wi ll ave n ge th e m both , th o ug h G ild a b egs hi m n o t to h a rm th e Duk e.

INTERMISSION ACT III

Ri go le tto a nd Gi ld a w a it out s id e a lo nel y i nn w h e r e Sp a r a fu c ile a nd h is s ist e r M a dd a le n a li ve. Wh e n G ild a i n s is t s s h e sti ll love s t h e Duk e, R igo le tto m a kes h e r look thr o u g h a n o p e n i n g in th e w a ll Th e g i rl wat c h es in d i s b e li e f whi le th e Duk e, d isg u ise d as a so ldi e r a nd la u g hin g at th e fi c kl e n ess o f w o m e n (" L a d o nn a e mob il e" ) , ma k es lo ve to M a ddale n a S e ndi n g h is d a u g h t e r a w ay, t h e j es t e r h i r e s Sp a r a fu c ile to murd e r th e Duk e Gild a r e turn s to ov e rh e ar M a dd a le n a urg e h e r brot h e r to s p a r e th e Duk e a nd s ub s t i tut e t h e n ex t p e r so n wh o co m es to t h e inn G il d a, r es ol ve d to sac r ifi ce h e rself for th e Duk e, e nt e r s a nd is s tabb e d. R ig o letto r e turn s t o cl a i m hi s pr izeo nl y t o h ea r h is s upp ose d v ic tim s in g i n g i n th e di s tan ce. O p e n i n g t h e sac k , h e find s hi s dau g ht e r , wh o d ies as kin g h is fo rgi ve n ess. Ri go le tt o c r ie s out , Mont e ro n e' s c ur se h av in g b ee n fu l fi ll e d

Sp ec ial than ks to En se mb le Th ea tre Co m pa ny mem be rs Rick Ca rve r , Andr ea Hu g h es , Tr acy S Wade , Mi c helle W a lke r, a nd A rt istic Director T And rew As to n for pr ovi din g Re naissa nce fl avor o n Op e ning Nig ht wit h t heir u ni qu e p re-c urt ai n ent e rtai nm e nt. Th e En se mbl e Th eat re Co mp any operates year- ro un d , a nd has been an ac t ive pa rt of t he M ic hi ga n Re naissance Festi val for th e las t n ine years

Copyright 2010, Michigan Opera Theatre

Michigan Opera Theatre at a Glance

Mission

A maj or non -profit opera company comm itted to producing the finest productions in the grand · opera , operetta and musical theatre repertory for the Detroit metropo li tan community and State of Michigan

Founded

Established in 1963 as the Overture To Ope ra , an educat ion tour i ng component of the now defunct Detroit Grand Opera Association In 1970, Overture To Opera moved to the Det roit Music Hall Center and began resto ration of the theatre , one of Detroit's theat re landmarks ; the company ' s premiere season launched in 197 1. Michigan Opera Theatre moves its administrative offices to the New Center Area in 1985 and beg i ns producing a fall season at the Fisher Theatre and a spring season at the Masonic Temple Michigan Opera Theat re ' s founder and general d irector is Dr. David DiChie ra.

1990/91 Season Repertory

Rigoletto, Show Boa t, Coppelia, Ariadne auf Naxos, The Magic Flute, Madama Butterfly.

Operating Budget

55 Million Plus

Annual revenue derived from a var iety of sources including season subscr i ption and single t icket sales, private contributions , founda ti on and corporate support , and both state and federa l funding through t he Michigan Cou ncil for the Arts and the National Endowment for the Arts

National Ranking

Mich igan Opera Theatre ranks as one of t he largest opera companies in the United States based on operat i ng budget and paid aud ience attendance ; there are more than 100 opera companies in the country Mich igan Opera Theatre has garnered national accla i m for its mainstage artistic work as well as its on-going commun ity educatio n programming The company was cited by the Fo rd Foundat ion as a " role model for fi nancial stability ."

Administration & Board Committees

A full time professional staff of arts administrators , governed by a 38 member Board of D i rectors and 264 member Board of Trustees

MOT Volunteer Activities

Numerous fund raising act iviti es are held annually under the auspices of the Board of D irectors Special Events Committee and the MOT Guild i ncl uding the annua l Opera Ba ll, Estate Sales , Opening N ight Dinne rs , Fashion Shows , Cast Parties and more Additional volunteer activities include the off ice co rps and the MOT Movers

Community Programs

A full time professional program providing ongoing en t ertainment fo r young audiences , families as well as adul t programs for Broadway musical re vues, one-act operas , educat ional workshops , lecture ser ies , p rograms for the disabled and hearing impaired , i mprovisationa l workshops and recitals Programs are presented year-round both loca lly and throughout the entire state Established by noted educator Karen DiCh iera , the MOT Commun ity Programs Department celebrates its twelfth ann iversary w ith the current season

Apprentice Program

Annual tra in ing program for gifted and talented singers , pianists , stage managers and d i rectors , and i n all areas of techn ical prod uction ; apprentices a re recru ited nationally

MICHIGAN OPERA THEATRE

ORCHESTRA

VIOLIN I

'Ch a rl o tte Agosto

Co n ce rt Master

'Velda K e ll y

'Randolph M a r g it za

'Ruth Mon so n

'Ted Schw a rt z

K at hl een Stepull a

VIOLIN II

'Victoria H a lt o m

Prin c ip a l

'A n ge lin a Carcone

'B e t sy Hirsc h

'Brooke H op lamaz ian

J ane t Murph ey

VIOLA

'Barba r a Co rb a t o

Prin c ip a l

'Ann Be llin o

'Alex D eyc h

'He nr y Jan ze n

VIOLONCELLO

'Nadin e D e le ur y

Principal

'Diane Bredes e n

'M ink a C hri stoff

'Um it I sog rur

CONTRABASS

'D e r e k W e ll er

Prin c ipal

Stewart Sank ey

FLUTE

'P a mela J. Hill

Prin c ip a l

'La u r a Larson

OBOE

'Ann Augustin

Prin c ip a l

' R ebecca H a mm o nd

CLARINET

'Br ia n Bow m a n

Prin cipa l

' J ane Carl

BASSOON

' Kirkl and D. F e rris

Prin c ipal

'C hri s tin e M. Prin ce

HORN

'Susa n Mutter

Prin c ip a l

'Ca rri e Banfield

Ali se Oliv e r

Br ed a And e r so n

TRUMPET

'Cha rl ey Lca

Prin c ip a l

'Gordo n E. Simmon s

TROMBONE

' M a ur y Okun

Prin c ip a l

'G r ego r y D.

J o hn M eye r

TIMPANI

'Gr ego r y Whit e Prin c ip a l

PERCUSSION

' J o hn D o r sey Prin c ip a l

ORCHESTRA ADMINISTRATORI

LIBRARY

R oger L. Bin gaman

'D e n o tes Michigan Oper a Th ea tr e Orch es tr a

D e troit Fed e ration of Mu s ic ia n s, Local #5. Ameri ca n F ed e ration of Mu s ic ia n s.

Strings sec ti o n s a r e li s ted a lph abet ica ll y.

ADDITIONAL

PRODUCTION STAFF

Coach/Accompanist

D a n Bridston

D irecting Assistant

W e nd y Gray

Assisting Lighting D esigner

Ell e n Bone

Assistant Stage Manage r

D an And e r so n

Stage Management A ssistant

H e le n M ea d e

Te chnica l D irector

David Brook s

T ec hnical Assistant

D e bra Bond y

R esident Costumer

Ulla H ett in ge r

Assistant Costumer

Mary Ley e nd ecker

Wardrob e Mi s tress

D aw n Hulm e

Prop s Coordinator

Willi am M 'a rch M cCarty II

W(g and M akeup Coordinator

Ther esa W e rtm an

Surtitle Operator

Dian e Lord

Produ ction Carpenter

J o hn Kin so r a

Mast er Electricians

John C. John so n

R obe rt Me s inar

Special Effec t s b y J a u c h e m a nd M ee h ,

NYC

RIGOLETTO CHORUS

D a n Aggas

Kim W ay n e Bro o ks

Grego r y Br ya nt

Pa tri c k C lamp itt

D ea n D eMa rtin

Timoth y H ama nn

D on H a rt

St e ph en H ay to n

Br a d H e rb s t

R ay Litt

K y le M a rr e ro

R o b e rt Mor e n cy

Anthon y Noto

Mark R e thm an

J oh n Sartor

J o hn Schm idt

Mik e Shulm a n

S tcve Simmon s

St e ph e n S tewa rt

RIGOLETTO SUPERNUMERARIES

Nan Alexander

Micha el Ander so n

Chad Cromb ie

Th o m as Frederi c k

Thomas H oag land

P au l Horn

Kim John son

P a ul Kr e n ze r

Gr ego r y L ea

Al L ewe ll e n III

P a t Lew e ll en

M a rite Ozers

R ose m a r y R ock

H ar r y William s

Ba rb a r a W e igl e

Al Wi s ni es ki

S a ll y Wi s ni es ki

Michigan Opera Theatre gratefully acknowledges the support of its performance sponsor for the Op e ning Night of Rigoletto, General Motors Corporation

Special thanks to Mr. Jim Jeffries of Alma Boyd Florists, a nd National Bank of Detroit for their In-Kind Gifts. For more information on how your group, company, or organization can support MOT with an In-Kind Gift, please contact MOT's Development Departm e nt at 874-7850.

For historical background , artist photos and biographical information on Rigoletto, th e 1990-9J Twentieth Anniversary Season Program Book is available for purchase in the lobby. Join MOT for the Pre-Opera Lecture and Buffet Series, which includ es special cosmetic gifts courtesy of Hudson's. Call 874-7850 for reservations and information

MOT's 1990 /9 1 season is presented In cooperation with WQRS-FM 105 Classic Radio Station.Copyright 2010, Michigan Opera Theatre

TO SUBSCRIBE

Intr odu ce afamily member, frie nd or colleague to our fabulou s 20th Anniver sary Seasonth ere is stil l time to buy an MOT subscription

SPRING SUBSCRIPTION ARIADNEAUF NAXOS

April 13 - 20

MOT presents its first -ever op era by German musical giant Richard St ra uss , A rare but glor ious treal with an al l-star cas!.

THE MAGIC FLUTE

A pril 27 - M(/y 4

In celebral ion 01 the Moza rt bicentennial MOT pr oud ly presenls Ihi s most encha nt ing mixlure of Ih e sublime and the comic co mp osed in Mozart's final year.

MAnAMA BUTTERFLY

M(/ y 11 - 19

Alear-jer ker from Ih eoverture to hear trendi ng fin ale , Celebra led Japan ese soprano Yoko Wata nabe lends authenlicity and an int ernat ional ly acclaimed inter pr etation to the role,

INTRODUCTORY PACKAGES FOR AS LOW AS $52.00

To order tick ets pl ease ca ll

313/874-SING

New Seats in the Masonic Tetnple!

On July 24 , 1990 Gilbert A. Rice, general manager, Detroit Mason ic Temple , announced that the Masonic Temple Theatre has begun a $5 ,000 ,000 renovation this summer.

The renovation includes extensive refurbishing and painting of all publi c areas and a new roof for the historic building. Of greatest inte rest to Michigan Opera Theatre subscribers will be the COMPLETE restoration of the theatre 's 4 ,400 seats. Other guest amenit ies , such as food and beverage service before , during and after theatre performances and a new theatre entrance canopy and carpeting, are also being added.

The renovations are progress ing well and will be completed in October of 1990 - well in advance of Michigan Opera Theatre 's Spring Season in the Masonic. Get ready to enjoy your new Masonic Temple Theatre subscription seat.

Cleveland Ballet 's Coppelia

Don't miss this enchanting story ballet about a doll that comes to life.

March 8 at 8 pm , March 9 at 8 pm , March 10 at 2 pm , and 7:30 pm

To order your special gift of tickets call 313/874-SING

MICHIGAN OPERA THEATRE

David DiChiera, General Director

1990/91 SEASON

A Mu s ic a l in tw o acts

Mu s ic by J e rom e K e rn

L y ri cs b y Oscar Hamm e rst e in II (and P.G W o d e hous e for " Bill " ) based upon th e no ve l b y Edna Fe rb e r

ShowBoat

Conductor Jim Co lema n

Dir ect or

Mik e Phillip s

Set D es i g n e r s

Hel e n Pond and H e rb e rt Scnn +

Cos tum e D es igner

Moll y M ag inni s +

Wi g a nd M a k e up D es ig ner

Els e n As soc ia tes

Li g htin g D es ign er

Chri s tin a Giann e lli

Ori g in al Li g htin g c r ea ted b y Du a n e Schuler

Sound D es igne r

Ab e J aco b s

Choru s M as ter

Su zan n e A c ton

Sta ge M a n age r

Sarah L eede r

+ origina ll y for H o u s ton Grand Op e ra

Costumes exec uted by Eaves-Brooks Cost um e Comp a n y, New York C ity. Show Boat sce n e r y

r e furbi s h e d by D a lla s Scenic S e rvic es New E le m e nt s c r ea t e d for th e produ c tion b y D a ll as Scenic S e rvi ces

Frid ay, N ove mb e r 16 a t 8 pm

576 th MOT p e rform a nc e

Saturday, November 17 at 8 pm

Sund ay , Novemb e r 18 at 1:30 pm , 6:30 pm

Monday , November 19 a t 10 am

Tu es day , Nov e mb e r 20 a t 1 pm

Frid ay, Novemb e r 23 a t 8 pm

S a turda y, November 24 a t 1:30 pm 8 pm

Sund ay, N ove mb e r 25 a t 1 :30 pm , 6:30 pm

CAST ( in o r d e r o f appearance)

Win dy

St eve Pete Qu eenie

Parthy Ann

Cap ' n An dy

Ellie

Fran k j ulie

R a ve nal

Sh eriff Vallon

Magnolia jo e

B ackwoodsman j eh j im j ake

Young Kim M rs. 0 'B rian

Mah oney

Man with Guitar

Charlie ( D oorman at Tro cader o)

L ottie

D olly

Old La dy on the L evee

R oy D e nni so n '

P a ul Silv e r

Tom E mmott

Consuelo Hill '

C la udi a Wilk e n s'

Eddi e Brack e n '

J ea n e tt e P a lmer'

K e ith Sa vage'

Lubit za G r eg u s'

R o n R a ines

Ri ch a rd Marl a tt'

J.J L ee d s'

Mi ch e l Warr e n Bell '

Rob e rt C link

J o hn Ril ey

R oy D e nni s on

Stanl ey Wald o n '

M a r y D e naw etz

P eggy Thorp e

Da v id P a du lk a

K e lton K e pn e r

R o d e ri c k G a il es

M a r y Marg a re t C le nnon

V a n essa F e rriol e

D o nn a L e wis

T I ME AND PLA CE : L a te nin e tee nth an d ea rl y tw e ntieth ce ntur y Unit e d Stat es

'T'h c pe rforma n ce w ill las l a ppr ox im a tel y thr ee ho urs , w ith o n e int errrl iss ioll. '

Copyright 2010, Michigan Opera Theatre

Michigan Opera Theatre , an equal o pportunity employer , is sup ported in part by the State of M ichigan thro ugh the Michigan Council for th e Arts and the Nat iona l End owmen t for th e Arts, federal agency A 'IMJ

Meet the Artists

SUZANNE AC TO N (C horu s Ma s in ) is c urn: ntl y in h e r te nth seaso n w ith MOT I n addi[i o n til s ('I" \' in g as t h e co mp a n y's C h o ru s M aste r , s h e is a lso MOT 's A ss is ta n t Dire clO r o f Music , a nd Mu sic Dir ec to r le) t' MOT ' s Co mmunit y Pr og r a m s D epa rtm e nl. H er co ndu ct in g credits includ c n il! Pirale..- oj Pell.zal/Ce , My Fair I. ady , a nd We;t SideSlul} for b o th i) c t ro it a nd D ay to n Ope r a. Mi ss Anon' s additio n a l cre dit s includ e th e San Di ego Opera , O p e r a The a tre of SI. Lo ui s a nd Opera P ac ifi c

MI C HEL WA RR EN BELL Uo e) rece nil y app ea red in Opera P ac ifi c a nd H GO pr o du ct io n s of Show Baal a nd s ta rr e d in th e W es t Coas t pr em ie r e o f t h e o n e- m a n s h ow Artisl;' with COllscience:

A Porlra il of Paul R obesoll w h ic h was tel ev ise d o n PBS H e h as a lso p e rfo rm ed P o r gy in Porgy alld Bes; lo r HGO , Op e r a P ac ifi c , Th ea te r d es vV es te n s in Be rl i n , a nd fo r the HGO a ti o n a l T o ur , a nd a pp ea r ed in Oedipus R ex w i t h th e L.A Philh armonic. IVl r. Be ll ' s up co min g e n gage m e n ts i nclud e a se rie s of co n ce n s ent iil e d Fr om B roadway 10 H ollywood w ith t he O rc h es lre Nationa l de Lill e, Po rgy alld BeH in J a p an , a nd Th,' Pwsiol/ tlj J ollathall Wade b y Ca rli s le F loyd a t Sa n D iego Th e ta le nt ed s i n ger was also a member o f t h e IllUs ica l g r o up the Fifth Dimen s io n

EDD I E BRA C K E N (Ca p ' n And y) be ga n hi s career as th e p oo r l illie r ic h b oy i n th e o ri g in a l s ile n t Our Gal/Jt co m e di es H e ac hi eved hi s li r s t Broadway su ccess wi Lh T he 1t 1an all Still S, fo ll owe d b y B rOl.her R al , w ith w hi c h h e v is it ed D c tr o it in 1936 , Whal a 14e, T he Se ve n Yea r I lch , Shinbol/ e AIley , a nd n ,e Odd Couple Th e mu l Li- Lale nt e d p c rform er h as m a d e o ve r thirt ce n th ou sa nd s tag(, a ppearance s , inc luding Show Uoal p e rform a n ces in Cosla M e s a, H o u sto n, Cai ro , Eg y pl , a nd Au str a li a n a nd U.S lour s Mr Bra c ke n ' s m ovie cre dits inclu de SlImmn Sl.ock , A Slighl C(1Se oj Larce -

"Y, Miracle ill Jl;IOI:lfflll 'J Creek, !-faillhe Conquering I-!fro , "{ ivo T ickelJJor 8 1'Oadw ay , a nd Naliollal Lampooll 's Varaliol1 li e re(,(, nt ly co mple ted wo r k on a n ew lil nl w i th Sy lvcs te r S t a ll one , Oscar, dir cctcd b y J o h n L a ndi s

JIM C OL E M AN (Co ndu c tor) rece n tl y cond u c ted Sho w 8 0a l o n n a ti o n al te lev iso n fo r th e PB S Grea l se ri es. On Br oa d way , Mr. Co lem a n co ndu c ted th e rev i" a ls o f' Anylhini: Go es wilh P a tti LuP o n e a nd I ,es lie Ugga m s , a nd Mam e wii h Ange la L a n sbur y. At New York C it y Opera, h e co nd u c te d South Pa cific , T he Student Pr ill ce, a nd Sweeney T odd. T h e V i rg ini a n a ti ve h as co ndu c te d ove r 600 performanccs o f S how Baal. s i n ce 1975 , m os t r ece n tl y fo r Opera Pac ili c, P o nl a nd Opera a nd C leve la nd O pera Mr Co le m a n h as co ndu c t e d produ c t io n s of Sweeney T odd, New Moon , a nd Show B oat fo r th e ew Y o rk C i t y Opera , a nd ove r e ig ht y wo rk s in rc p e rl o r y. Th e co ndu clO r rece ived th e New J e r sey Dr a m a C ritics Awa rd fo r h is wo rk o n A I ,iule Night Musi c. Mr Co le m a n h as apI)('ared o n T he 'I ilday Show , AI/ero Griffin Shu w a nd th e M ike D ouglas Shuw

C HRI S TI NA GI AN N E LLI ( Li g htin g d es ig ne r) h as lit produ c t io n s of Show Boat fo r Opera

O m a h a a nd Po rt la nd Opera M s. Giannelli 'h as pro v id ed l ig htin g d es ig n for a numb e r of H o u sio n G ra nd Opera pr o du e t io n s, includ i n g Samson et D alilah , Dialogues oj Ih e Car melites, Olh ello , V,I Ballo ill Itl/ aschera , a nd H an sel and Gretel. Shc h as a lso de sig n ed th e li g htin g fo r th e C leve la nd Sa n J ose Ba li n , H o u s lOn Ba ll et Aca d e m y, Wi ll ia m s tow n Th e a t re Fcs l i va l a nd th e Al ley Th ea te r M s. Giann e lli is c urr e nt ly th e li g h tin g s up e r v iso r lo r t h e H o u slO n Ba ll e t

L U BIT Z A G R EGUS Uu ll c) h a, a ppear(,d ii' Juli e in produ c tion s u f' Sho w 8 0al ror Oper a 1' ,,c if i c a nd Cleve la nd Opna . S he las t ap p ea re d 0 11 Bro a d wa)' i n Sid Caesar & Co dir ec tl'd b y Martin C h a rnin . Othl'l' Br oa d way a ppe a r a n ces i nclude L ale Comic a nd Lee Th co d o r e's T he Allwican Dance Ma chille R eg io n al th ea Lr c c r edits includ e A Funny 7J1I'ng H app ened on Ih e Way Iii Ih,' Forum a t th e Bun R ey n o ld s Jupit e rThe a tr c , PUllljJ 8 0y,- and D i ,u ll es, A Chorus L il/e a nd Chicago Soa p rans m ig ht remember h e r as SlIcannc o n ABC ' s One L ife 10 l .ive; a nd s h e ca n be h ea rd o n num crous reco rdin gs a nd co mm e rcials Thi s pcrforman ce mark s he r M OT debul.

MARY JA NE HO U D I N A (C h oreog r a ph e r ) 1I10 St recc n tl y c h oreograph e d Oklahoma w ith J ea n Sl a p lclO n , la nd ed h e r fir s l job dancing a nd s in ging in t h e I a t io n a l co mp a n y o r Funny Girl, da n u :d i n eig h t Br oadwa y s h ows, o n T V , in th e m ov ies , an d i ndu s tri a l s h ows. She was ass is La nt c h o reographe r o n T he Grea l Ga l,-by, ta p co n s u l ta nt lo r P etcr A ll en a t R a d io City Mu s ic H a ll , a nd c h o reog r a ph e r ror th e Br oadway s ho w I nto T he LI:l!hl (w ith De a n J o n cs). Mi ss H o udin a a l so c h o reog r ap h e d fo r th e Ca pt ai n K a n garoo s h ow S h e wo rk ed w i t h dance g r ea t P eter G e nn aro on t1 w Bro a dwa y s ho w AI/nie, and a lso danc e d w i t h h i m in hi s ni g hl club act M s. H oudina h as c h o reog r a ph e d mu s ica lrh ea Lc r aro und t h e co untr y, in('ludiog T he Unsinkable Itl/ olly B rOWII , Show Uoa l Oklahoma , Kiss M I' K ale , Fhl' Boyfriend, N,l/neIlSI', a nd FollieJ lo r Mi c h iga n Op e ra Th ca tr e Fo ll ow in g Sho w Baa l, th c ta le nt ed c h orcg raphe r w ill dircct a fifti es I Tv u e in K o r ea.

C O NSUE LO H I LL (Qu ee ni c) h as jlcrl()I")l1cel in Sho w B aal a L Ope r a Omaha , Cleve la nd Opera , Por il a n d Opera a nd Opera P ac ifi C' M iss H i ll was a profes sor of mu s ic a t State Un iv er s it y of New York for fO llrt ee n yea r s. S h e h as been scen n ation a l ly in ove r 24 prociu c ti o n s in th e pa s t 10 1l r yea r s. 1\1 il l Hi ll' s III OS t n o t a b le p e ri( JrIn a n ccs include Ne ll in Ain ' l Mi;b eha vi ll ', S is te r Hub e rt in NlInsell )e, a nd Blooel y Ma r y in Soulh Pa cific. The s in ge r was see n i n th e wo rld pr elI1ier e 0 1' th e opera K abbalah , as w e ll as pr o du ct ion s of Amw Lu casla a n d W e S hall S h e cr ea te d (h e role or C h ief B lowhard i n th e wor ld pr c mi e re or Wher e 's D ick.' a t I-1ou s lOn Grand Op era. Mi ss H ill m a k es h er MOT dehut w ith thi s producti o n

J.J . LEEDS ( Mag no l ia) m a kes h e r MOT d eb u l wit h t hi s pr o d u c ti o n , h av i n g p e r l'ormeelt h is role fo r bot h C leve la nd a nd P o rt la nd Op e ra S h e h as a lso p e rfo r m ed w ith [h e Lo n g Beac h Opera , W o lf Trap Opera a nd th e L o n g Wh a rf Th eate r. Mi ss Lee d s m ade h e r Eur o p ea n debut in 1986 w ith th e Th ea tr e Mu s ica l de P a ri s/C h a leiet , a nd sa n g a l t h e Co n ce rt ge bouw i n Am s t e rd a m fo r V a ra R adi o in S c h oe nb e rg's Jl.10s es Vnd AmI! S h e a ppeared as B lo nd c h e n in M oza rt ' s D ie Entfurunlf Aus Dem Serai! w ilh Opera Northern [ re la nd , a r o le w hi c h s h e re peated for [h e Be rk s hir e Op e r a Fes ti va l Lhi s s umm e r . Future e n gage m e nt s includ e Vn Ballo in M aschera fo r C h a ta n ooga Opera , a nd h e r d eb uL w i t h New Or lea n s Ope r a i n Fidelia.

Copyright 2010, Michigan Opera Theatre

Meet the Artists

MOLLY MAG I NN I S ( CO';" "" ,· d" , ig ncr ) lid ' d" , i;'; II " d «"'1111"' , 1,,1'

m "1 Ii 1'1\ ' prodll !'li' '' H in Ih, '; " r<' , lilili h , dk, dlld "1'(.,." 11 (: ' 1' lilli, ( I'l'<l i[,

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(/{f(hO C Olllnl S i lt.' li t i S ;-. tl c h OPt ' !" ; ] pnalll( Ij()ll ;-. ,1 :-- ,\/(Jr/III1l (l /-J ul -

In/I)' , / ,(1 ii I/hi'll /!, / ,(, (;1'111'1"1'11101" ""d '/ h( , 'l id/'I o/ i/ I/I/illllll 1\'1> ;\l.l g II 1"i ,

I l ll'i \ ( ' d d (T i tll 'S J)r :- l ll , !Iog £\ \\' ( l n l ll) 1" li t !' wo rk ill ,)'hO /fI(h' \ !. all ('a \r ,,,HI rl ({ ' II[l y lll ll lp lc [l ' d w ork (I ll I U I/)\ '/ (Jl I

JE ANETTE PALMER ( Elli e) co m eS [ 0 MOT dir cel ly from Ih e I lin co ln Ce n[ er , w h e re s h e m a de h e r New Y o rk Ci t y Op e r a d e bu[ as M ac j o n es in Street S ce ll e Mi ss P a lm e r h a s a pp ea r e d in Sho w Boal for Cle ve land , P o rtl a nd a nd Cos ta Me sa. S h e h as ap p ea r e d B roadway a s Be ll e in T ak e Ni e 1I101lg, and la s t y ea r h a d [h e ple as ur e or wo rkin g w ith dire c LOr P a tri c ia Bir c h o n th e Na ti o n a l Tour o f E,'h ,i" R eg iona l a nd s toc k c redit s includ e (;yjJ ,y wit h j o Ann e Worle y, ivZv 011 1' alld Oll ly wi t h Geor g ia En gc ls , Audr ey in Liule Sholl of H orror., a nd as M iss Ade la id e in G uy.> alld Dolls, for whi c h s h e w on h e r lir s l of thr ee Ik s t o f' Bos [o n awa rd s

M IK E PHILLIP S ( Din 'C [OI ") dif'l'C t s a nd dlOl 'cog ra ph s ror mu s ica l th ea [ re, b a ll e [ , a nd opera H e m ade hi s MOT de but wi th OrjJllfI/s i llih e Under world, a nd h as dir ec te d pr o duction s for Ope ra Omaha , T exas Opf'r a Tlwa le r a nd Cha ul a uqua Oper a. H e h as c h o rcog ra ph ed pr o du c ti o n s ro r L o n g Beac h r: iv ic Li g ht Op c ra , Lo n g Ika c h O p c ra , D a y tn n Oper a , Port land Opera , H o u s[o n Crand Op e ra a nd Wa s hin gto n Op e ra. MI' Phi ll ip s h as ass is ted so m e o f the lin es [ s t age d i re ctors or o ur [im e, a mon g [hclll Si r Pe te r H a ll , , Jo hn Cox , Mi c h a l'! K a hn , a nd Lo[ri M a n so uri Hi s fUlur e e ng age m e lli s includ e il 8 ariJiPrl' di f) £viliga fi ll' K e n[u c k y Opera , Cawl/ sel lo r P o rtl a nd , di Clemm tza di 7'ilo ru r HCO , a nd 7I,,! Pirales of PeII :: OII (f ro r Kcn[u c k y Ope-ra

RON RAINES ( R ave n a l) lo n g a D e [roit a udi e n ce is r e pri s in g a role w hi c h ga rn e r e d him c ri[i ca l accla im in th e 1983 Broadwa y rev iva l, and m o r e rcce ntl y in [h e Opera P ac ili c produ c [ioll . H e h a s p e rfo rm e d in num e rou s pr o duction s for MOT , includin g le ad in g ro le s in A I illie NJj;hl lviu sic, Th e M erry W idow , Th e !l1 agic F Ilii I' a nd Foliie.<. Mr R a in es h a s a pp e ar e d orf- Bro a d way in Olym pl I> 011 my Ivlil/d, a nd F ed(1y and II lire, a nd h as to ur ed n a lion a ll y w ith S u sa n P owe ll in Th e Desel'l SOllg a nd D e hbi e R ey nu lds in 7'11.1' Un sinkable M olly 8 rvWII , w hi c h v is it e d D e [ roit las t s prin g.

KEITH SAVAGE (F ra nk ) m a kes hi s d e but w ith MOT in a ro l,' h e ha s p e rror m ed in na[i o n a l [o urin g cO llip a ni e s, a nd 101' C le v e la nd , P u rt la nd ' and Costa M e sa. Mr. Savage c rea te d th e ufrBro adway ro le o lJ ohn C h ase in A lias J ill1l11Y Val elltille fi ) r Mu s ica l Theatr e W o rk s. Hi s Br oadwa y c r e dit s includ e T eddy alld II lie I'I L iUle J ohl1l1y J on es , a nd T ak e 111 e Along , w ilh re g io n a l [h ea [ re a pp ea ra n ces includin g Tomroolery a t H ou s ton 's A ll ey T h ea tr e , a nd !' ea ve I ll uJ all l' Mr Sa vage rece ntly co-c h orcogr a h e d a n d p e rfo nn e d in a producti o n o r J ose/}h alld Ihe 7'ec/Illico lor Drea mroal in

Phil a d e lphi a Hi s [ele v is io n a pp ea r a n ces includ e PBS 's Gershw in Celebralion a nd A 's I_iber ly W f'ekend.

CLAUDIA WILKENS ( Parttl Y Ann ) h a s p e rform ed in Sho w Baa l ro r th e o p era cO lllp a ni es or M inn eso t a , Omaha , Clevel a n d , P o rtland a nd Cos ta M esa On Broad wa y s h c perfo rm ed w ith [h e Na l iona l Th ea tre o rGr ea t I3riti a n in 7I1C.M isan th rojJe s ta rrin g Di a na R igg a nd A lcc M c Cowa n S h e h a s mad e num e rou s appea r a n c e s a l [h e Guthrie Th ea tre , in c l udin g produ c tion s of Th e I magi rl my I n valid a nd T he B irlh day Parly. H e r IllUs ica l c re dil s includ e 'I ne M usic /vl an , -I h f' 8 uyji-lflld, Tn e Beggar 's Op era , a ndll nnie fo r w hi c h s h e wo n a L os An geles Dr a ma C rilic s' Dr a m a log Award M s. Wilk e n s s p e l1llhr cc ye ar s w ith john H o u se m a n ' s The Actin g CO Illp a n y, and h as a lso a pp ea re d a [ th e Am er ica n Th ea tr e Fes ti va l a n d [he Hil berr y Th ea [r e S h e h a s a lso a pp ea red in num e rou s lea tur e lilm s a nd co rll ill e r c i (li s.

HELEN POND a nd H E RB ERT

SENN (Set d es ign e r s) h ave c rea te d d es ign s for outs t a ndin g o p e ra a nd the atre productions through o ut th e co unlr y. T h e tea m b ega n Ih e i r ca ree r tog e lh e r as s iud e nt s at Co l umbia ' s Dr a ma S c h oo l. M s. P ond and Mr S e nn d es ig n e d num e rou s produ ct io n s lo r Ih e New Y o rk Cit y Op e r a includin g [h e Ameri ca n pr e mi e r e o f 'f'h e Young I.ord, a nd Th e Barb er oj Sev ille, Falstaff, a nd Th e M erry W idow Th e ir d cs ig n s lo r Hou ston Gr<lnd Opna includin g M a rc Blit zs tc i n 's R egl1l a, 0 011 Pasq uale s ta rI' in g Ik vc rl y S ill s, a nd [h e 1982 rev iva l o r Sh ow Boal As princ i pa l d es ig ne rs or Sa ra h Ca ld we ll' s Op e ra Co mp a n y o f Bo s [o n , [h ey c r ea le d o v er s ix t y production s.

Mich iga n Op e r a Th ea lr e g r a te rull y ac kn owledg es Ihe s upp o rt of it s p c rio l'ln a n c e s p o n so r s for Sho w Boal :

Sa tul Tl ay, No ve mb e r 17t h A ll ied -S ig n a l Autom o ti ve

Tuc sda y, No ve mb e r 2 0lh S im o n s Mich e lso n Zie v e In c. Ad ve rti s in g

Mi c hi ga n Opera Th e atre would li ke to th a nk The Rhinoceros in Ri vertow n for prov iding the Show Boat cast party, On November 20t h , MOT welcomes 1990-1991 Season Program Book advert ise rs and Corpora tc Campaign Volunteers. Th a nk you for your s upport[

Sp ec ia l Thanks to Mr. J im J erfr ies or Alma Boyd F lor ists, a nd Nat iona l Bank of Detr o it for th e ir In-Kind Gifts. For mOl'e informat ion on how yo ur g roup , com pan y, o r o rga n ization can support MOT with an Tn-Kind G ift, p lease contact MOT' s D eve lopmen t Department at 874 - 7850.

For hi sto ri cal background , art ist photos and bio g raphi ca l inl ormation on Sho w Boat , th e 1990-91 Tw e nti et h Anniv e rsar y Season Program Book is ava il able for purchase in the lobb y j o in MOT for th e Pre-Op e ra Lecture and Buffet Series, wh ich includes special cosmetic g ifts courtesy of Hudson 's. Call 874-7850 for reservations and information.

Copyright 2010, Michigan Opera Theatre

MICHIGAN OPERA THEATRE ORCHESTRA

VIO LI N I

'C h a rl o tt e A gosto

Co n ce rt Ill ate r

' R a nd o l ph M a r g it za

' Ruth M o n so n

VIOLIN II

' Vi c tori a H a l to m

P r in c i p a l

' An g din a Ca r co n e ' Br oo ke H o p la m az ia n

VIOLA

' Ba rb ara Co rb a to

Prin c ip a l 'A le x l1 eyc h

' H e nr y J a n ze n

VIOLONCELLO

'Na d i n e D e le ur y

Prin c i p a l ' Um it l sog rur

CONTRABASS ' D ere k W e ll e r Prin c i p a l

FLUTE ' P a m e la J Hill

Prin c ip a l

OBOE

' Ann A u g u s tin Prin c ip a l

CLAR I NET

' Bri a n Bow m a n PriJ'l c ip a l J a n e Ca rl

BASSOON ' Kirkl a nd D Fe rri s

Pr i n c ip a l

HORN

'S u sa n Mutt e r P rin c ip a l

' Ca r r ie Ba lllieid

TRUMPET 'C h a rle y l ,ea

Prin c ip a l ' G o rd o n E S i mmon s

TROMBONE

' M a u ry O kun

P rin c ip a l 'G r ego r y D Nea r

P ERCUSSION

' J o hn F D o r sey

Pr in c ip a l

GU IT A R / BANJO Bo b Tro y

ORCHESTRA

ADMINISTRATOR / LIBRARIAN

R oge r L. Bin ga m a n

* D e n otes M ic hi g-a n O p era 'T' h cat r c Or c h es ! ra

D e troi t F"(Je r a t io n of Mu s ic ia n s , L oca l #5.

Am erica ll Fe d e r a ti o n or rvl u sic ia ll s.

S trin gs a r c l is t ed A l ph a b e ti ca ll y

SHOW BO AT ENSEMBLE

Caro l Ad a m s- Sh ea re r

Di a n e Ca lh o un

Co n we ll Ca rr in g t o n

M a r y M a rga r e t C lenn o n-

R o b e rt C link

V a ll ess a Fcrriulc

Ro de r ic k Ga ile s

Na omi G urt '

Tim o th y H igg in s#

T o m H dmt:r #

Tri s h H o fTm a n -Ahr e n s

Glen H o lco m b

Jo hn H o pkin s#

T e rr a n ce H o rn

P a ul I r v in

Al v in J o hn s on

V a n essa J o hns o n

K e lt o n K e pn e r

Tim o th y La ke

D av id L e idh o ldt

D o nn a L ew is

D o n e ll M ac k

P a ul M a rqui s

Ca lv in M cC li n to n

D e br a Miller

R o b in Murph ey

R ac h el Ot ze l '

J ay P e t e r so n #

D av id P o du lk a

K y le Prim o u s

J o hn Ril ey

I ,indr a S ee ley'

M a r c u s S h e rm a n

I ,y nn e S h e r woo d '

P a ul S il ve r

J a ni ce Sim o n

J ay S mith

R o b e rt S teve n s

Judith S z eli

Adri e nne T e bb c'

Gr acc W a rd

O li ve r W es ley

C h a rm a i n e Whit e h ea d

J a m es Wi l kin g

Eli za b e th Win ge rt

V ir g inia Wint e r s ' Be ll e

# Bea u

+ D a n ce Ca pt a in

S HOW BO AT

SU P ERNUMERA RIE S

M a r y D e n awe t z ( " Young K illl " )

J oe D e n awe t z

E ri c H o lcomb

K ev in H o lc o mb

Se t h S c hindler

Ce li a K e nn a n - Bo lge r (Unders tudy/or You ng K im)

ADDITIONAL PRODU CT ION STAFF

U nd e r s t ud y fo r Mr. Br ac ke n

W ay n e Turn e y

D a n ce Ca pt a in

P a ul I r v in

Coac h / A cco m p a n is t D a n B ri d s t on

A ss is ta nt L ig ht in g D es ig n e r

E ll e n Bo n e

A ss is ta nt Sta ge M a n age r Shirl ey Bog u sz

S tage M a n age m e nt A ss is ta n t H e len M ea d e

T ec hni ca l Dir ec tor D av id Bro o k s

T ec hni ca l A ss is t a nt D e br a Bo nd y

R es id e nt Cos tum e r

U ll a H e ttin ge r

A ss is ta nt Cos tum e r

M a r y L eye nd ec ke r

W a rdr o b e Mi s tr ess

D a wn H ulm e

Pr o p Co ordin a tor

Willi a m m ' Ar c h M cCa rt y II

E lse n A ssoc ia tes

Ru sse ll Kern

D a nn a R ose d a hl

Wi g a nd M a ke up Coor d i n ato r

T e n :sa W e rt m a n

Pr o du c ti o n Ca rp e nt e r

J o hn Kin so r a

Michigan Opera Theatre at a Glance Mission

A major non-profit opera company committed to producing the finest productions in the grand opera , operetta and musical theatre repertory for the Detroit metropolitan community and State of Michigan

Founded

Established in 1963 as the Overture To Opera , an education touring component of the now defunct Detroit Grand Opera Associat ion In 1970 , Overture To Opera moved to the Detroit Music Hall Center and began restoration of the theatre , one of Detroit's theatre landmarks ; the company 's premiere season launched in 1971. Michigan Opera Theatre moves its administrative offices to the New Center Area in 1985 and begins producing a fall season at the Fisher Theatre and a spring season at the Masonic Temple. Michigan Opera Theatre ' s founder and general director is Dr. David DiChiera

1990/91 Season Repertory

Rigo/etto, Show Boat, Coppelia , Ariadne auf ' Naxos , The Magic F/ute, Madama Butterfly Operating Budget $5 Million Plus

Annual revenue derived from a variety of sources including season subscription and single ticket sales , private contributions , foundation and corporate support , and both state and federal funding through the Michigan Council for the Arts and the National Endowment for the Arts

National Ranking

Michigan Opera Theatre ranks as one of the largest opera companies in the United States based on operating budget and paid audience attendance ; there are more than 100 opera companies in the country Michigan Opera Theatre has garnered national acclaim for its mainstage artistic work as well as its on -going community education programming The company was cited by the Ford Foundation as a "role model for financial stability ."

Administration & Board Committees

A full time professional staff of arts administrators, governed by a 38 member Board of Directors and 264 member Board of Trustees

MOT Volunteer Activities

Numerous fund raising activities are held annually under the auspices of the Board of Directors Special Events Committee and the MOT Guild including the annual Opera Ball , Estate Sales , Opening Night Dinners , Fashion Shows , Cast Parties and more Additional volunteer activities include the office corps and the MOT Movers Community Programs

A full time professional program providing ongoing entertainment for young audiences , families as well as adult programs for Broadway musical revues, one-act operas , educa, tional workshops , lecture series , programs for the disabled and hearing impaired, improvisationa l workshops and recitals Programs are presented year-round both locally and throughout the entire state Established by noted educator Karen DiCh iera , the MOT Community Programs Department celebrates its twelfth anniversary with the current season Apprentice Program

Th e Am e ri ca n G uild of

Mu s ica l Art s is th e offi c ia l

un ion of th e Mi c hi g a n Op e r a

Th ea t r e voca l p e rfo rm e r s.

Produ c ti o n Ele c t ri c ia n s

R o b e rt M es in a r

Annual training program for gifted and talented singers , pianists, stage managers and directors , and in all areas of technical production ; apprentices are recruited nationally.

Copyright 2010, Michigan Opera Theatre

J o hn C. J o hn so n

ShowBoat

AC T I. Th e c iti zl' n s of Na tche/. e nthLi s ia s licall v II'l'iC()llll ' ti ll' ;Irri vaJ of the Co tt()n Blosso lll ;lIld its troup e of pe rltJl"lIlLTs Wh ik Cap ta in And y is int roduc in g th e pl aye rs, the s hip' s eng in ee r. Pet e, accos t s Juli e L aVe rne , th e g lamorous leading lad y. Steve, Juli e ' s hu sb a nd , comes to h er r escue a lld a li g ht brea k s out. 1( ) pac ify the c rowd Ca pt a in A nd y pre te nd s the light was it scene from the s h ow but la ter lires Pet e, w ho vows reve n ge. Ca p ' n Andy ' s d a u g ht e r, M ag n o li a, m ee ts a da s hin g ri ve rbo a t gamble r, G ay lo rd R ave n al , a nd th e two la ll imm ed ia tel y in love. Me a nwhil e, Pe te inl o rm s th e sh e riff th a t Juli e is of mixe d bl ood, and s h e a nd h e r hu sb a nd a r c ordered off th e s how b oa t in accordance with th e loc al law. R ave nal is c ho se n to ass um e St eve's role , a nd M ag n o li a ta kes over Juli e's ro le. Soon M ag noli a a nd R avenal m a rry, in th e abse n ce of h e r m o th e r, Pa rth y A nn.

AGT II . A kw yea rs p ass a nd th e co uple a rc li v ing in C hi cago. Ga y lord's gam blin g h ab its h ave res urfa ce d as hi s lu c k tak es a turn fo r the worSe, h e d ese rt s M ag n o li a, a nd the ir yo un g d a u g hte r Kim.

Frank a nd E lli e , no w a s u ccess ful va ud ev ill e tea m , find Magnoli a, a nd suggest th a t s h e see k wo rk a t th e Tro ca d e ro Mu s ic

H a ll U nb e knownst to Magno li a, the stil r ()f the IllLl Sic h a ll is non e o th e r than Juli e, who h as b eco me a n alcoholic. Juli e away ra th e r th a n let M ag noli a sec h e r downtrodden s tate. W ith Frank 's hcl\J , M ag noli a is hired a nd so on becom es a popul a r Slll g ll1 g star.

Se HT ieJ yea rs la ter, Ma g' noli a and R ave nal 's d a u g hter, Killl , h as b eco l1l e a Broadway s ta r a nd is a ppearing a t th e C otton Blosso l1l. Cap ' n Andy p e rs u ades R ave nal to reco n c ile w ith hi s w i k a nd d a u g ht e r. R ave n a l a nd M ag noli a meet , a nd re a lize th a t th ey a rc s till in love The y a rc re unite d w ith Kim as Jol' a nd the chorus s in g a final repris e of " 0 1 ' M a n Ri ver. "

Oscar Hammerstein's personal Show Boat script from the 1927 production proved to be the key in 1982 , when the Houston revival , which opened in the spring of 1983, incorporated several musical numbers which had been cut in the original production or the 1946 revival. Several of the selections featured the black cast members , giving these characters greater dimension and emotional range than any other work written up to that time in the American musical theater. Additional refinements have been made to the Show Boat over the last seven years, resulting in the current MOT production .

MUSICAL NUMBERS

ACT I

Ove rture - Orchestra

Cotton Blosso m - StevediJTes and 7ow mpeople

Cap'n Andy Ballyhoo - Cap 'n Andy, lhi' Slim(l Boal trou/x and 7owmpeopl.e

Make Beli eve - Ravm and. Magnolia

01' M a n Rive r - Jo e and. Ste vedores

Ca n ' t Help Lovin ' Dat M a n - Julie, Qju;enie, MagnDlin , Joe and Ememi)le

Life Upon th e Wicked Stage - Ellie and. Mincing Milses

Misery - Qyee7zie

I Might Fall Back o n You - Frank and Ellie

Ballyhoo and Dance - Qju;enie, Cap'n Andy and. Emernhle

You Are Lov e - Ravm and .Magnolia

Final e Act I - Emire HlS emhl.e

ACT II

At th e Fair - SighL\r:eTS and Barkers

Why Do I Love You? - Magnolin , Ravm , Cap 'n Andy, Parlhy and. Emmnhle

R e prise: Make Believe - Ravi'nal

Bi\l* - Julie

R e prise: Ca n ' t Help Lovin ' Dat Man - Magnolia

Goodbye My Lady Lov e - Frank and. Ellie

After th e Ball - Magnolin

Repris e: 01' M an River - Jo e

R e pri se: You Are Love - Ravmai

Hey, Feller! - QJm:rl ie

Final e - Emire Ememhle

*Iyms by PC WJdehoUle

Copyright 2010, Michigan Opera Theatre

TO SUBSCRIBE

Introduce afamily member, friend or co lleague to our fabulous 20th Anniver sary Sea so nthere is sti ll time to buy an MOT subscription

SPRING SUBSC,RIPTION

ARIADNE AUF I NAXOS

April )3 - 20

MOT presents its first-ever opera by Germa n musical gian t Rich ard Strauss Arare but glorious treat with an all-star cast.

THE MAGIC FLUTE

April 27 - Ma y 4

In celebra tion of the Mozart bicentennia l, MOT proudly presents this most enchanting mixture of the sublime and the comic , composed in Mozart 's final yea r.

MAnAMA BUTTERFLY

Ma y ll-1 9

Atea r-j erker from the ove rture to heartrending fi nale Celebrated Japanese soprano Yoko Watanabe lends authenticity and an int ernationally acclaimed inte rpretation to the role.

INTRODUCTORY PACKAGES FOR AS LOW AS $52.00

To order ti ckets pl ease ca ll 313/874-SING

New Seats in the Masonic TeJnple!

On July 24 , 1990 Gilbert A Rice , general manager, Detroit Masonic Temple , announced that the Mason ic Temple Theatre has begun a $5 ,000 ,000 renovation this summer

The renovation includes e xtensive refurbishing and painting of all public areas and a new roof for the historic building Of greatest interest to Michigan Opera Theatre subscribers will be the COMPLETE restoration of the theatre 's 4,400 seats Other guest amenities , such as food and beverage service before , during and after theatre performances and a new theatre entrance canopy and carpeting , are also being added.

The renovations are progressing well and will be completed in October of 1990 - well in advance of Michigan Opera Theatre 's Spring Season in the Masonic Get ready to enjoy your new Masonic Temple Theatre subscription seat.

Cleveland Ballet 's

Coppelia

Don't miss this enchanting story ballet about a doll that comes to life.

March 8 at 8 pm, March 9 at 8 pm, March 10 at 2 pm , and 7:30 pm

To order your special gift of tickets call 313/87 4-SI NG 9l F

not n too late ...

David DiChiera, General Director

Dennis

Artistic Director

CLEVElAND SAN JOSE BALLET

Cl e v e land

RICHARD L. FURRY

Chairmal1

DAVID OAKLAND

Ge l1 eral Mana ge r, Sal1 Jose

RONIMAHLER

Artistic Associate

Sa n Jose KAREN LOEWENSTERN

Chairmal1

DWIGHT BOWES

ExeCllt ive Direc t or

DENNIS NAHAT

Artis tic Director

CHRISTOPHER TABOR Ball et Ma s ter

Lisa Alfieri / Deidre Byrne / Karyn Connell

Kay Eichman / Karen Gabay / Cynthia Graham / Linda Jackson

Suzanne Lownsbury / Laurie Miller / Melissa Mitchell

Julie Nakagawa / Paula Nune z / Pamela Reyman / Kristina Windom

William Baierbach / Alexandrous Ballard / Peter DiBonaventura

Curtis Dick / JonCario Franchi / Robert Gardner / Alexander Hasbany

Michael Hauser / Jeffrey Hughes / Henrik Kaalund / Olivier Munoz

Mark Otloski / Raymond Rodriguez / Henry Rubertino

Austin St. John / Glen Tarachow / Kevin Thomas / Steven Voznik

Katherine Barclay / Leslie Braverman / Carrie Chapman / Daniel Burr Apprentices

Melanie Anderson / Alejandra Cobo / Jennifer Reth Train ees

CYNTHIA GREGORY

Perman ent Gu es t Artis t

DWIGHT OLTMAN

Music Director

Principal Conductor

DAVID GUTHRIE

Res id ent Desig ner

STANLEY SUSSMAN

A s sociate Music Director Composer in Residence

BARBARA BILACH DANIEL JOB

A ss ociate Director , School of Cl eveland Ballet Prin cipal Piani st

CHUNCHIAN CARMEN DIMULESCU

Company Piani sts

NICHOLAS J. CAVALLARO

Lightin g Des ig ner

Executive Assistant to Mr. Nahat , June De Phillip s Company Manager, Alan R. Hills

Production Stage Manager , Craig Margolis Stage Manager , Nan Web s ter

Te chnical Director, Dana Wellington

Costume Supervisor, Raymond J. Zander II

Director of Marke ting and Public Relations , Chri s tine Patronik-Holder

Recordin g devi ces and th e taking of picture s with or w ithout fla sh are strictly prohibit ed

All ca stin g and program s s ubject to chan ge Copyright 2010, Michigan Opera Theatre

COPPE:LIA

Choreography Dennis Nahat

Music Leo Delib es

Scenario Ian Horvath and Dennis Nahat

(Ba sed on th e Ball et of 1870 by Arthur Saint-L eo n)

Scenery and Costumes David Guthrie

Lighting Nicholas J Cavallaro

Conductor Stanley Sussman

ACT I: The Harvest

A village square in mountainous middle Europe, during the 19th century

Dr. Coppeliu s

Coppelia , the Doll

Widow Lu stig e, th e Baker

Swanilda , her Daughter

Herr Schm eterlin ck

Frau Schm eterlin ck

Franz , their Son

Berth e, the Milkmaid

Doucette, th e Flow er Sell er

Giuseppe , th e Cobbl er

Mudjik , th e Tailor

, Father Jedermann

Swanilda 's Friend s: Sylvi e

Alida

Iliona

Luba

Fran z's Fri end s: St efan

Yv es

Jano s

Paolo

Milorad , th e Wheat Har ves ters' Lead er

Wheat Harvest ers

Ro sika , th e Grape Har ves ters' Qu ee n

Grape Harvest ers

DENNIS NAHAT

Melanie Anderson

Roni Mahler

KAREN GABAY (KARYN CONNELL , March 7)

Robert Gardner

Linda Jackson

RA YMOND RODRIGUEZ (OLIVIER MUNOZ, March 7)

Deidre Byrne

Katherin e Barclay

Daniel Burr

Alexander Hasbany

Mark Otloski

LISA ALFIERI

LAURIE MILLER

SUZANNE LOWNSBURY

KARYN CONNELL (PAULA NUNEZ, March 7)

WILLIAM BAIER BACH

ALEXANDROUSBALLARD

MICHAEL HAUSER

KEVIN THOMAS

PETER DiBONA VENTURA

(STEVEN VOZNIK, March 7, 10)

Leslie Braverman, Carrie Chapman, Alejandra Cobo , Jennifer Reth , Curtis Dick, JonCarlo Franchi, Henry Rubertino, Austin St. John

PAMELA REYMAN

Melanie Anderson, Leslie Braverman, Carrie Chapman , Alejandra Cobo , Kay Eichman, Jennifer Reth , Curtis Dick, JonCarlo Franchi, Henrik Kaalund , Henry Rubertino, Austin St. John, Steven Voznik (Glen Tarachow, March 7, 10)

INTERMISSION

ACT II: The Deception

Dr. Cappel ius' Workshop

Dr. Coppe/iu s' Doll s: Punch and Judy Alexander Hasbany and Carrie Chapman

Spanish Kristina Windom , Henry Rubertino

Chinese JonCario Franchi

Moor Steven Voznik

Scottish Peter DiBona ventura (Mark Otloski Mar. 10 mat.)

Silver Knight Austin St. John

Doll Parts Katherine Barclay, Les lie Braverman

INTERMISSION

ACT III: The Wedding

The village square, the following day. Entire Company

March 9, 10 evening ,

COPP€LIA

ACT I:

Dr. Coppelius JONCARLO FRANCHI

Coppe/ia, th e Doll Melanie Anderson

Widow Lustige, the Baker Linda Jack so n

Swanilda, her Daughter MELISSA MITCHELL

Herr Schmeterlinck Robert Gardner

/ Frau Schmeterlinck Kristina Windom

Fran z, th eir Son PETER DiBONA VENTURA

Berthe, the Milkmaid Deidre Byrne

Doucette, the Flower Seller Katherine Barclay

Giuseppe, the Cobbler Daniel Burr

Mudjik, the Tailor Alexander Hasbany

Father Jede rmann Raymond Rodriguez

Swanilda's Friends: Sylvie JULIE NAKAGAWA

Alida KAY EICHMAN

Iliona PAMELA REYMAN

Luba PAULA NUNEZ

Franz's Friends: Stefan WILLIAM BAIERBACH

Yves ALEXANDROUS BALLARD

Jano s MICHAEL HAUSER

Paolo JEFFREY HUGHES

Milorad, th e Wheat Harvesters' Leader MARK OTLOSKI

Wh eat Har veste rs Leslie Braverman, Carrie Chapman, Alejandra Cobo, Jennifer Reth Curtis Dick , Henry Rubertino , Austin St. John, Glen Tarachow

Rosika, the Grape Harvesters' Queen SUZANNE LOWNSBURY

Grape Harv esters Lisa Alfieri, Melanie Anderson, Leslie Braverman, Carrie Chapman, Alejandra Cobo, Jennifer Reth, Curtis Dick, Henrik Kaalund, Henry Rubertino, Austin St. John, Glen Tarachow , Steven Voznik

Copyright 2010, Michigan Opera Theatre

INTERMISSION

ACT II:

Dr. Coppelius ' Doll s: Punch and Judy Alexander Hasbany and Carrie Chapman

Spanish Deidre Byrne, Henry Rubertino

Chinese Henrik Kaalund

Moor Steven Voznik

Scottish Mark Otlo s ki

Silver Knight Austin St. John

Doll Parts Katherine Barclay, Les lie Braverman

INTERMISSION

ACT III: Entire Company

Scenery, properties and special effects built by Cleveland San Jose Ballet Scenic Studios.

Costumes for Act I and Act III built by Grace Costumes , New York City.

COPPELlA was first performed by the Paris Opera, May 25, 1870. This production was fir s t performed by Cleveland San Jose Ball e t at the Hanna Theatre, Cleveland, Ohio, October 16th, 1981.

This production was make po ssi ble with the generous support of BP America.

CLEVELAND SAN JOSE BALLET AND SCHOOL OF CLEVELAND

BALLET

Dedicate these performances of CaPPELlA

To the loving memory of our Friend in Dance

HEIDI MARLENE JOOST

COPP€LIA

SYNOPSIS ACT I

The Harv es t. Doc to r Co p p e liu s is putti ng t h e fin is h in g to u c h es on Cop p e li a (Th e Do ll wi th th e E n a m el Eyes) whic h h e has set o ut to d ry on t h e b alco n y of h is h o u se. Cop p e lia a ppears to be r ea din g a b oo k. In hi s lo n e li ness, th e fa n atica l d o ll -m ake r h as cr ea te d Co p pe li a to b e hi s compa n ion and dr ea m s o f b ri ng in g h e r to li fe. As t h e town awa ke n s, th e b a k e r (Swa ni ld a's m o th e r ), th e tave rn kee p e rs (F r a n z's pa r e nts), th e mil kma id, th e co b b le r, th e ta il o r, th e flowe r se ll e r, a nd va ri o u s c hild ren go a b ou t th e ir m o rnin g's b usi ness. T h e pri es t ge ts his da il y br ead from th e b a k e r y a nd s h e pn e r ds th e child re n off to sc h oo l. Swa nild a a rri ves a nd g r ee ts h e r frie nd s. Spy in g Co pp e li a on th e b alco n y, s h e wo nd e rs w h y th e r ea d i n g fi g u re d oes n o t r es p ond to h er. Coming o ut of th e tave rn , Fr a n z sees Co pp eli a, a nd is i mm e d ia te ly in fa tu a te d b y th e b ea uti ful d o ll. H e bu ys so m e fl owe rs fo r Sw a nild a w h o ca nn o t be loca te d , so Fran z co ntinu es his ove rtures to th e d o ll , be li ev in g th a t s h e is hum a n . Fr a n z h i d es as Doc to r COp'p e liu s co m es o ut to a d ju s t th e d o ll 's m ech a ni s m Copp e lia stand s, a nd blows kisses in th e directi o n of Fr a n z, wh o is un awa r e th a t th ese kisses a r e n o t inte nd e d fo r h i m , but fo r Doc to r Cop p e liu s. Swa nild a, e nt e rin g a t th is m o m e nt a nd indica tes he r s tro n g dis pl e as ure. To a ro u se Fr a n z's jea lo u sy, Swa nild a d a n ces th e m az urk a w ith Mi lora d, th e leade r o f th e w h ea t h a rv es te rs, whil e Do ct or Co pp e lius m oves h is d o ll int o th e h o u se. Fa th e r Jed e rm a nn te ll s th e lege nd o f th e s talk of w h ea t, w hi c h w he n s h a ke n w ill tell w h o is t o b e m a rri e d Swa nild a h ea rs th e pre di cti o n of th e w h ea t, but s ince s h e is s till an g r y w ith Fra n z, sh e p r e te nd s to h ear n o thin g. Fra n z li st e n s a n d h ea rs th e wh ea t' s m essage An expl os ion from Doc to r Co pp e liu s' h o u se g ives ev ide n ce that h e is s till ex p e rim e nlln g w ith p o te nti a l wa ys o f b rin g in g hi s d o ll to life Wh e n th e g r a p e h a r ves te rs a rriv e to cel ebrate, Fra n z d a n ces th e cza rda s w ith Ros ika, th e qu een o f th e g r a p e h a rv es te rs. Thi s is hi s e ffo rt to pro u se Swan ild a's jea lou sy. Swa nild a is a nno yed b y Fr a n z's flirtin g w ith Ros ika and invites so m e g irl fri e nd s to acco mp a n y h e r h o m e. Fr a n z counte rs b y i nviting so m e o f hi s fri e nd s to co m e fo r a drink a t th e ta vern Doc to r Co pp e liu s leaves hi s h o u se a nd is m e t b y Fr a n z's fri e nd s, wh o m ock him Swa nild a, loo kin g for Fran z fro m h e r window, see s Docto r Co p pe liu s hid e hi s lat ch key wh e n le a v in g hi s h o u se. As Docto r Co pp e liu s rid s himse lf of th e p esk y b oys and goes in to th e ta vern , Sw a n ild a a nd h e r fr iend s v e nture mto Docto r Co ppe liu s' h o u se. Docto r Copp e liu s, r e turni ng from th e tav e rn , di scove rs hi s key i n th e s tree t, sees th a t hi s d oor h as b ee n unl ock e d , ru s h es in a nd sl a m s h is door. H e di sco v e rs Fra n z a pp roa chin g the b a lcon y w ith a la dd e r in qu es t o f hi s n ew mfa tu a ti o n , Co pp e lia

ACT II

The Deception Ins ide Doct o r Co ppe lius' h o u se, th e g irl s a r e in ves ti ga tin g th e puzz li ng co ntents of th e wo rksh o p Di sco v e rin g Co pp e li a, th ey r e alize th a t s h e is o nl y o n e o f sev e r a l d o lls -a ll quite hum a n -loo kin g fi g ur es whi ch th e girl s un co v e r a nd set in m o ti o n Do cto r Co pp e liu s com es upon thi s sce n e of d a n c in g doll s Furio u s, he send s th e g irl s scurr yi n g in fea r. Swa nilda , un a bl e to esca p e w ith th e others, h id es in a close t with Co ppe li a, wh e r e s h e ch a n ges cl o th es with th e doll a nd ass um es h e r id e ntit y. Fra n z, ignora nt o f a ll th ese eve nts, e nt e rs from th e balcon y, sear ching fo r C oppe li a. Hidin g

until Fr a n z is in sid e, Doc to r Co p pe liu s ca tch es him afte r a fr a nt ic ch ase a nd qu es t ions h is m o ti ves for b e in g in th e h o u se. Fr a n z ex pl a in s th a t h e h as fa ll e n in love w ith th e d o ll - a n d wo uld like to m arry h e r. Cop p eliu s is a mu se d th a t thi s bumpkin h as fa ll e n in love w ith hi s crea ti o n. He pl a ns to ex tr act th e " li fe fo r ce" fro m Fr a n z a n d w ill b r ea th e r ea l life int o hi s b e loved d o ll. Doc to r Co pp e liu s proceed s w ith a se ri es of manipul a ti o n s, a ll des igned to b r in g life to th e in a nim a te d o ll , by r e m ov in g life's e ne r gy fr o m Franz. Throu g h hi s m a n e u vers, D oc to r Co p pe liu s s u cceed s i n e li Citi n g fro m Swa nild a a se ri es of d o ll-like m ove m e nts w h ich h e n a tura ll y a ttribut es to th e a lch e m y h e h as pr acticed u po n Fr anz. Unsa ti s fi ed by h e r s tilt e d m o v e m e nt s, h e m ixesa ve r y spec ia l p o ti o n d es ig n e d to in s till m o r e rea li s ti c a n d hum a n qua liti es in th e do ll. H e s prinkl es h e r w ith thi s mix t ure, a n d s h e ' m agica lly' com es to life fo r him Ove rco m e w ith joy a t hi s s u ccess, Doc to r Co p pe liu s h as 'Cop p e Ji a' e nte rta in him b y h e r dan c in g. Fin a ll y tirin g o f th e ga m e s h e is pl ay in g, Swa nild a a tte mpt s to aw aK e n th e u n co n sc io u s Fra nz, an e ffo rt th a t Doc torCo ppe liu sa tte mpts to th wart, fe arin g th a t s h e mi g ht s u ccee d But s h e pe rs is ts a nd d oes s u cceed. A wa ke nin g, but s o m ew h a t de liri o u s, Fr a n z sees Do ct o r Copp e hu s a tt e mptin g to pu s h S w a nild a away. Thinkin g h e r to b e Copp e li a, h e tri es to c h ase aw a y Doc tor Co pp e liu s But th e c h ased beco m es th e c h ase r and Fran z is forced from th e h o u se. Ha r d u p o n hi s h ee ls is Swa nild a, w h o tr ys to leave th e h o u se w ith Franz. Bu t Doctor Co pp e liu s ca tch es h e r, p u s h es h e r bac k int o th e cl ose t, a nd si ts d ow n to ca tc h hi s br ea th O n ce m o r e, Swa nild a r e n ews h e r esca p e a tte m p t, a n d th is tim e, a ft e r ye t a n o th e r c h ase, s h e kn oc ks o ve r a ll th e d o ll s in th e roo m , c r ea tin g b y h e r e ffo rt s ge n e r a l m ayh e m a nd co nfus io n in th e wo r ks h op. Docto r Cop pe liu s is s till un a w a re that h e is d ea lin g With Swa nild a a nd n o t Co pp e li a; and as ks h e r wh y s h e is beh av in g so wre t che dfy. Sh e r evea ls h e r tru e id e ntity as Swa nild a, a t th e sa m e tim e revea lin g th e Co pp e Ji a d o ll , sittin g in di sa rra y in th e cl ose t. Franz, r e turnin g th ro u g h th e b alco n y w md ow, is still see kin g th e Co pp e li a w ith w h o m h e h as fa ll e n in lo v e. H e o v e rli ea rs Swa nild a as s h e ex pl a in s to Do cto r C opp e liu s h o w s h e h as c h a n ged p laces w ith th e d o ll. No w und e rs ta ndin g w hat h as tr a n s p i r ed , Fra n z r ea lizes th a t h e h as b eco m e infa tu a te d w ith n o thin g more th a n a doll , a nd th a t it is Swa nild a w h o m h e trul y lo v e d a ll a lon g. H e r esc u es h e r fr o m o f th e h o u se of th e n o w-b ro k e n Doc to r Co pp e liu s.

ACT III

The Wedding. Th e to wn is pre p a rin g fo r th e w e ddin g of Fran z a nd Swanild a as it w a s for e to ld b y th e le g e nd of th e s ta lk of wh ea t. Amid th e pre p a r a ti o n m th e v ill age squ a r e, a n ira te Doc to r Co pp eliu s a rriv es to d e n o un ce th e w e ddin g a nd h e ap s sco rn up o n th e co upl e to b e m a rri e d H e is ca lm e a b y th e p a r e nt s o f th e b rid e a nd g room a nd is g iv e n m o n ey to co ve r th e dam ages. He is al so in v ite d to th e w e ddin g, but h e say s h eca nn o t a tte nd s in ce h e lac ks th e prope r a ttire. Th e vill age ta il o r, Mudjik, offe rs him a n e w out fit.fo r th e nuptial s. Th e w id ow Lus tig e, Swa nild a's m o th er, ta k es Doc to r C opp e liu s b y th e arm, inte nt o n w o rkin g h e r c harm s upon him Docto r C opp e lius for gets hi s d o ll s a nd hi s fo n e lin ess a nd jo in s in tn e fes ti v iti es. Th e r e is r e jo ic in g in th e v ill age as Fran z a nd Swanild a a r e m a rri e d , th e r e b y ful fillin g th e proph ecy promi sed by th e lege nd o f th e s talk o f w h e at.

-Kenn Fay

For add ition al informa t io n on Co ppilia and other M ichigan Opera T hea tre productions, the M OT 1990-9 1 Tww ti eth Anll ivers ary Seasoll Progra m Book are avail ab le for purcha se in th e lobby.

MICHIGAN OPERA THEATRE ORCHESTRA

VIOLIN I

• C harlott e Agosto Concertm as ter

• Velda Kelly

• Randolph Margitza

• Ruth Mon so n

Jan e t Murphy

• Theodor e Schwar tz

Marla Smith

Kath y Stepulla

VIOLIN II

• Victoria Ha ltom Principal

• Ang e lin a Ca r cone

• Betsy Hirsch

Brook e Hoplama zia n

James Kujawski

Cornie Markwick

VIOLA

• Barbara Co rba'to Principal

• Ann Bellino

• Alex Deyc h C ha rl et G iv e ns

• Henry Janzen

VIOLINCELLO

• ...Nadi n e De le ur y Principal

• Diane Bredesen

• Minka C hri s to ff

• Umit lsgorur

CONTRABASS

• Derek We ll er Princip a l

Stewa rt 'Sankey

Da le And e rso n

FLUTE

• Pamela Hill Principal

• Laura Larson

OBOE

• Ann Au g u stin Prin cip al

• Re becca Hammond

CLAR IN ET

• Brian Bowman Principal

• Jane Carl

BASSOON

• Kirkland D Ferris Prin cip al

• Chris tin e Prince

HORN

• Susan Mutte r Principal

• Carrie Banfield

Steve Mumford

Alise Oliver

CORNET

• Cha rli e Lea Principal

• Go rdon E Simmons

TRUMPET

Caro lyn Bybee Principal Chr is toph er Schaumberg

TROMBONE

• MauryOkun Principal

John Meyer

• Grego r y D. Near

TUBA Roger Stubb le fi e ld

PERCUSSION

• John F. Dorsey Principa l Keith Claey s Sco tt Williams

TIMPANI

• Gregory Whit e Prin cip a l

HARP

• Patricia Terry-Ross Prin cip a l

Orchestra Adminis trato r/Li brarian

Roger L. Bingaman

Michign ll Opem TI,enfre Orchl'stm.

Detroi t Fede ra ti o n o f Mu s ician s, Loca l #5. Ame ri ca n Fe d e rati o n o f Mu s ic ian s.

Pe r fo rm e r s are li s t ed a lphabet ica ll y.

mitted to produ ci ng the fines t produ ction s in th e g rand ope r a, opere tta and musica l thea tre repertory fo r the Detroit metropolitan com munit y a nd th e Stat e of Michigan.

Founded

Estab li s hed in 1963 as th e Overture To Opera, a n educational to urin g co mponent o f th e now defun ct Detroit G rand Opera Associa tion in 1970, Ove rture to Opera moved to the Detroit Music Hall Cen ter a nd began th e res to r a ti o n of th e theatre, o ne of Detroit 's theatre landma rks The co mpan y's premiere season launched in 197 1. Mi chiga n Opera Th eatre moved it s administrative offices to th e New Cente r

A rea in 1985 and bega n producing a fa ll season in th e Fisher Th ea tre a nd a s pring seaso n at the Masonic Te m ple. Michigan

Ope ra Th ea t re's fo under and General Dir ecto r is Dr. David DiC hi era.

1990191 Season Repertory Rigoietto, Show Boa t, Coppelia, Ariadne a uf Naxos, Th e Magic Rut e, Madama Butterfl y Operat in g Budget $5 Million Plus

A nnu a l r eve nu e derived from a va ri ety of so urces including seaso n s u hsc ri ption and si ng le ti cket sa les, private con tributions, fo u nda ti on and co r por a te su ppo r t, and both sta te and federal funding National Ranking Michigan Opera Th eatre ran ks as o ne of th e larges t opera compa ni es in th e United Stat es based on operating bud ge t and paid au di e nce attendance; there are more than 100 o pe ra companies in the countr y. Administration & Board Committees

A full time professional s taff of arts admi n is tra tors, governed by a 38 membe r Boa rd o f Directors and 264 mem ber Board of Trustees.

MOT Voluntee r Activities

Nu merous fund raising ac ti v iti es are held a nnuall y und er th e a u s p ices o f th e Board o f Direc to rs Spec ia l Events Com mi ttee and th e MOT Guild Community Programs

A full time professiona l program providing o n- go in g enterta in m ent for yo un g aud iencE'S, fami li E'S as we ll as ad ult progra ms for Broa d way mu s ica l revues, oneact o pe ra s, educationa l works hops, lecture se ri es, prog ra m s for th e di sa bled and h ea rin g impaired, improv isa ti o na l works hopsand recitals. Prog rams a re presented yea r -rou nd both loca ll y an d th roug ho ut th e entire state Es tablish ed by noted educato r Karen DiChiera

Appren t ice Program

An nu al training program for g ifted a nd ta lented si nge rs, pi anists, stage managers and directo rs, a nd in a ll areas o f techni cal p rodu cti o n; app re nti ces are rec ruited n ationally.

Michigan Op e r a Theatre g r atefully acknowledges the s upport offe red by Target Stores , US Ai r , Ge n e ral Motors Corpo ration , Yates Office Supply and Na ti o nal Bank of Detroit. Many th anks t o t h e De arborn Ballet Theatre, the Taylor Ballot Americana, and Muriel's Do ll House, Plymouth, for partic ip ating MOT Dance Day s in th e Ma ll s.

Michigan Opera Theatre would li ke to thank The Detroi t Story League for its assistance with th e CFtildren's party on Sunday, March 10, in particular, lea gue m em b ers Barbara Caldwell , Ce l ia Goodman, JoAnn Korczynska, Barbara Jone s and Millie Stennis Tradit ional sho rt brea d for th e pa rt y was provided by Walkers Short bread Ltd ., Abe rl om -on -Sp ey, Scotland. ' I r '

Copyright 2010, Michigan Opera Theatre

Celebration of Michi an 0 ra Theatre's 20th Anniversa Season

WINl TRIP FORlWo TO

(or two provided by of Mic::higan Opera

.,r"n",,, "'Dn stay at the luxurious L<IrUIUU NewYot:!<.

OI'lChE!$tra.: seats tb aNew York City Opera production

( IU'I<l'WU at Tavern On The Creen atPaneviiJo Rist()rantel Lincoln Center

TO ENtER: ···

the ehtryform below and dropjt off at the MOT Boutique located in Fquntain Ballroom , on the level of the Masonic Temple Theatre OR mail to: ",ichigah Opera Theatte

Michigan Bell and 11ftiERiTECH ............

(}fI1tP pllltltsed t(j); Sjl0USfW' t hfis: jpil/((1dultti({m 0;/'

SUBSCRIBE TO PERA HEATRE

Fabulous 20th Anniversary Seasonthere is still time to buy a

SPRING SUBSCRIPTION

ARIADNEAUF NAXOS

Apri/13-20

MOT presents its lirst -ever opera by German musicat giant Richard Strauss A rare but gtorious treat with an.atl -star cast.

THEM,AGIC RUTE

April 27 - May 4

In celebration olthe Mozart bicentennial MOT proudly presenl s this most enchanting mixture olthe sublime and the comic composed in Mozart's tinal year.

MAnAMA BUITERFLY

May ll- 19

A tear-Ierker trom the overture to heartrending linale Celebrated Japanese soprano Yoko Watanabe lends authenticity and an internationally acclaimed interpretation to the role

INTRODUCTORY PACKAGES FOR AS LOW AS $20.00

To order t ickets please call 313/874-SING

Mio--nGAN OPERATHEATRE

David DiChiera, General Director

1990,1991 Twentieth Anniversary Season

Opera in prologue and one act

Music by RICHARD STRAUSS

Libretto by HUGO VON HOFMANNSTHAL based upon the Moliere play Le Bourgeois Gentilhomme

ARiAdNE AufNAxos

(in English and German)

Conductor

Raffi Armenian Director

Roman T e rl eckyj

Set Designer

Wolfram Skalicki

Costume Designer

'Amrei Skalicki

The scene ry and properties for ARIADNE AUF NAXOS

were manufactured for and by the Canadian Opera Company

Miss Marc's costumes originally designed for the Santa Fe Opera by Mimi Maxmen and Kevin Rupnik.

Wig and Makeup Designer

Elsen Associates

Lighting Designer

Kendall Smith

Chorus Master

Suzanne Acton

Stage Manager

Tim Ocel

English translation of the Prologue by Leopold Sachse

English Surtitle Translation provided by Virginia Opera, with translation by Jay Lesenger

First performances:

Stuttgart, Court Theatre, October 25, 1912

London, Covent Garden, May 27, 1924

Philadelphia, November 1, 1928

CAST

(in order of vocal appearance)

Prologue

Music Master: Ron Baker

Major Domo : Robert Grossman

Lackey : David Langan *

Officer: Steve Simmons *t

Composer: Rebecca Russell *

Tenor: Jon Fredric West

Wigmaker : Robert Breault *

Zerbinetta: Mary Paul *

Prima

Donna: Alessandra Marc *

Dance Master : Melvin Lowery *

Opera Proper

Dryad: Kathleen Segar

Naiad: Laura Lamport

Echo : Terese Fedea

Ariadne: Alessandra Marc

Harlequin: Ron Baker

Zerbinetta: Mary Paul

Truffaldino: David Langan

Scaramouche : Robert Breault

Brighella: Melvin Lowery

Bacchus: Jon Fredric West

* Michigan Opera Theatre debut

t MOT Young Artist Apprentice

This production is the Detroit premiere of Ariadne auf Naxos.

Saturday, April 13, 1991 at 8 pm

587th MOT performance

Wednesday, April 17 at 8 pm

Saturday, April 20 at 8 pm

ARiAdNE AuFNAxos

Synopsis:

PROLOGUE. In the house of a 'great gentleman', preparations are underway for a new opera based on the Ariadne legend The Music Master accosts the Major-Domo, having heard that a comedy will follow the opera. The members of both companies are astonished to learn that the comedy will not follow the opera, but both troupes will perform simultaneously, in order to be finished before a fireworks display. The entertainers scramble to incorporate their works - the lead singers each urging that other's parts be cut, while the comedians are given a briefing on the opera's plot. Ariadne, after being abandoned by Theseus, has come to Naxos to wait for death . The comedienne Zerbinetta decides her troupe will portray a band of travelers trapped on the island. The Prima Donna threatens not to go on, but the Music Master promises her a triumph. The Composer, infatuated by the comedienne Zerbinetta, is nonetheless aghast by the plans of the comedy troupe.

ARTIST PROFILES

SUZANNE ACTON (Chorus Master} is currently in her tenth season with MOT She is also MOT's Music Director, and Music Director for MOT's Community Programs Department. Miss Acton has conducted for both Detroit and Dayton. Additional credits include San D iego, St. Louis and Opera Pacific.

RAFFI ARMENIAN (Conductor) made his MOT conducting debut a decade ago with Anoush, and most recently lead MOT musical forces with 1988's The Marriage of Figaro. Maestro Armenian has conducted for Canadian Opera Company, Mexico State Symphony, The Stratford Festival, and for CBC television and radio broadcasts. His upcoming engagements include The Merry Widow for Montreal Opera. He has toured Europe, South America and the U.S. with the Canadian Chamber Ensemble, and is the recipient of numerous honors including an Emmy nomination for the TV film The Medium.

RON BAKER (Music Master/Harlequin) recently appeared in New York City Opera's acclaimed presentation of A Little Night Music , and the subsequent PBS broadcast Other NYCO credits include From the House of the Dead , The Girl of the Golden West and La Boheme. Mr Baker also appeared in MOT's 1988 production of Boheme, and Opera Pacific's Die Fledermaus. He recently appeared with the opera companies of Minnesota, St. Louis and Pittsburgh .

ROBERT BREAULT (Wig Maker/ Scaramouche) has performed with the Western Opera, Toledo, Atlanta, and the Opera de Lille France. He can also be heard on two recordings of Pachelbel's organ works with Marilyn Mason After completing his doctorate at the University of Michigan, he will return to San Francisco Opera for the Merola

ACT 1. THE OPERA

Ariadne is watched over by nymphs, who offer sympathy The buffoons attempt to cheer herup - to no avail, as Ariadne resolves to await death ("Es gibt ein Reich"). Zerbinetta ponders the frailty of women, the willfulness of men and the human compulsion to trade an old love for a new ("Grossmachtige Prinzessin") Insulted, Ariadne retires to her cave. Scaramouche, T ruffaldinand Brighellacompete for Zerbinetta's attention, but it is Harlequin to whom she surrenders. The nymphs return , heralding the approach of a ship, and Ariadne prepares to greet her visitor - surely Death at last. When the ship's passenger, the god Bacchus, appears, she thinks Theseus has returned. Bacchus declares he would sooner see the stars vanish than give her up ("Bin ich ein Gott") . The new couple ascend to the heavens as Zerbinetta reflects: "When a new god comes a long, we're dumbstruck."

program later this year. He will sing Tamino with Mid-Michigan Opera in May.

TERESE FEDEA (Echo) the 1990 Metropolitan Opera Detroit District Auditions Winner, returns to the MOT mainstage after appearing in the 1990 productions of Don Giovanni, La Traviata and Romeo etJuliette A former MOT Young Artist Apprentice, Ms. Fedea will apprentice with Santa Fe Opera this summer.

ROBERT GROSSMAN (Major Domo) has been a force in Detroit area theatre for a number of years, acting and directing in productions at the Attic Theatre, Meadow Brook Theatre, and the University of Detroit His MOT credits include The Mikado and The Sound of Music . Mr. Grossman is a lso active on the New York stage. He has served as a guest instructor for the universities of Detroit and Connecticut, and for the apprentice programs at MOT and Chautauqua Opera.

LAURA LAMPORT (Naiad) has performed feature ro les for Wolftrap Opera, and was a resident artist at Dayton Opera . A former MOT voca l intern, Miss Lamport made her MOT mainstage debut as the Dew Fairy and Sandman in 1989's Hansel and Gretel. A Metropolitan Opera Detroit District finalist in 1989, 1990 and 1991, she will also appear in the upcoming MOT production of The Magic Flute

DA VID LANGAN (Lackey/T ruffaldino) has appeared in the Houston Grand Opera productions of The Marriage of Figaro , The Masked Ball and Otello, and The Magic Flute for Dallas

His other opera credits include Greater Miami, Chautauqua and Florentine (M ilwaukee)

Mr. Langan will also appear in the upcoming MOT productions of The Magic Flute and Madama Butterfly. He will return to

Copyright 2010, Michigan Opera Theatre

Chautauque for the Crucible , and make his European debut as Sa rastro in Die Zauberf/ote.

MEL VIN LOWERY (Dance Master/ Brighella) makes his MOT debut with this product ion. His credits includ e New York City Opera, Lyric Opera of Chicago, Indianapolis Opera, and Memphis Opera Mr. Lowery, who will portray Monostatos in MOT's production of The Magic Flute, will appear in Tales of Hoffman for Washington Opera, and T urandot for Philadelphia.

ALESSANDRA MARC has received international acclaim as one of the most outstanding vocal talents of our day. An artist of uncommon versat ility , she has been praised for her performances o n the opera and concert stages in repertoire ranging form Beethoven and Gluck to Verdi, Wagner and Strauss. Her debut at the Wexford Festival earned the largest ovation in the history of the Festival, and was singled out by the musical press as one of the most important in recent seasons. She made her Santa Fe Opera debut as Maria in Strauss' Friedenstag to critical acclaim and was immediately invited back to sing Ariadne, a role she previously debuted with The Washington Concert Opera. Miss Marc has made significant stage debuts as Aida with Chicago Lyric Opera, Metropolitan Opera, San Francisco Opera, and in Bonn . She appeared at the White House at the personal inv itation of President Bush. Additional credits include La Forza del Destino with Miami Opera, The Dialogue of the Carmelites with Houston Grand Opera and Sieglinde in Die Walkure under Edo de Waart. S he has won specia l praise for her appearances as so lo ist in the Verdi Requiem in Bologna under Sir Georg Solti and in London under Zubin Mehta.

MARY PAUL (Zerbinetta) has appeared in Sarasota productions of Die Fledermaus , Werther and returns to Chautauqua this summer as Norina in Don Pasquale, and The Masked Ball and The Kiss Additional credits include Greater Miami, Chautauqua and Arizona. Miss Paul will make her Washington Opera debut next season as Olympia in The Tales of Hoffmann.

REBECCA RUSSELL (Composer) scored an enormous triumph in her Seattle Opera debut as the Composer, and has been engaged by that company for a number of future performances, including Octavian, Dorabella, and Rosina. A 1990 Metropolitan Opera National Council winner, Miss Russell is a regular member of the Spoleto Festival in Charleston and Italy, where she has sung opera, oratorio and recital performance.

KATHLEEN SEGAR (Dryad) is well known for her concert and operatic appearances, having appeared with the Ann Arbor Chamber Orchestra, the Jackson Symphony, Grand Rapids Symphony, Toledo Symphony and the Fort Wayne Philharmonic. Her MOT credits include Anoush, Carmen, The Marriage of Figaro (1983 & 1989), Anna Bolena, Madama Butterfly, and last fall's Rigoletw. She will also appear in MOTs production of The Magic Flute.

STEVE SIMMONS (Officer) is serving as an MOT Young Artist Apprentice this spring, following apprenticeships with Toledo and

Chautauqua Operas. He made his debut with Ohio Light Opera as Captain Richard Warrington in Naughty Marietta, and also appeared in their production of The Sorcerer. Mr. Simmons made his Toledo Opera mainstage debut as Malcolm in Macbeth He recently appeared in the MOT production of Rigoletw.

ROMAN TERLECKYJ (Director) made his MOT directorial debut with 1988's La Boheme. He has directed numerous productions for Washington Opera, including Manon, Semele, and Chriswpher Columbus, and will direct Tales of Hoffman and The Flying Dutchman next season. He has also directed for the companies of Berlin, Dayton, Columbus, Connecticut and Central City.

JON FREDRIC WEST (Tenor/Bacchus) was lauded as the "Strauss tenor of the decade" by Opera News following his triumphant performance of Daphne at Carnegie Hall in 1986. He returns to the Detroit opera stage following Turandot opposite Martina Arroyo that same year. Since then he has made debuts with the Metropolitan Opera as Luigi on II T abarro, at La Scala as Canio in I Pagliacci and as Siegmund in Die Walkuere at the T eatro Communale in Bologna. He returned to the Met to sing Samson et Dalila and Karia Kabanova This season, he makes has San Francisco Opera debut in The Return of Ulysses and will sing Apollo in Strauss' Daphne Mr. West will also sing Otello in Verona and the T eatro Communale in Bologna, and Die Frau

MICHIGAN OPERA THEATRE ORCHESTRA

VIOLIN

* Charlotte Merkerson

Concertmaster

* Victoria Haltom Principal

Second Violin

* Betsy Hirsch

* Brooke Hoplamazian

* Velda Kelly

* Ted Schwartz

VIOLA

* Barbara Corbato Principal

* Ann Bellino

* Alex Deych

* Henry Janzen

VIOLONCELLO

* Nadine Deleury Principal

* Diane Bredesen

* Minka Christoff

* Umit Isogrur

CONTRABASS HORN PERCUSSION

* Derek Weller

Dennis M Aaron

Chad Andrew Crombie

Emmett William Bremer

Neal C. Hall

* Susan Mutter

* John F. Dorsey Principal Principal Principal Stewart Sankey

* Carrie Banfield Keith Claeys

FLUTE TRUMPET Scott Williams

* Pamela J. Hill * Charley Lea PIANO

Principal Principal Steven Gathman

* Laura Larson

OBOE

TROMBONE CELESTN

* Maury Okun HARMONIUM

* Ann Augustin Principal Roger L. Bingaman

Principal HARP Orchestra

* Rebecca Hammond

* Patricia Terry Ross Administrator/Library

CLARINET Principal Roger L. Bingaman

* Brian Bowman Christa Grix

Principal

* Jane Carl

TIMPANI

* Gregory White Theatre Orchestra

• Denotes Michigan Opera

BASSOON Principal

* Kirkland D Ferris

Principal

Detroit Federati o n of Mu sicians, Local #5.

* Christine M. Prince American Fede rat ion of Musicians.

String secti o n s are li sted alphabetic a lly.

SUPERNUMERARIES

Mary D. Hall

Thomas Hoagland

Richard A. Jeryan

Patricia Lewellen

Arthur Ortland

lise Ortland

Lawrence Shy

Scott Lewis Whiteside

Michigan Opera Theatre gratefully acknowledges the support of The World Heritage Foundation, which provided an Artist Appearance Sponsorship for Alessandra Marc's appearance in this production.

Special thanks to Mr. Jim Jeffries of Alma Boyd Florists, and National Bank of Detroit for their In-Kind Gifts

For more information on how your group, company, or organization can support MOT with an In-Kind Gift, please contact MOT's Development Department at 874-7850

For historical background, artist photos and biographical information on Ariadne auf NaxDs, the 1990-91 Twentieth Anniversary Season Program Book is available for purchase in the lobby Join MOT for the Pre-Opera Lecture and Buffet Series. Call 87 4-7850 for reservations and information.

Ronald Rousch

Gary Sekerak

Alan Wisnieski

Copyright 2010, Michigan Opera Theatre

Sally Wisnieski

MOT's 1990/91 Season is presented in cooperation with WQRS-FM 105 Classical Radio Station

The excitement of the Twentieth Anniversary Season continues •••

Mozart's

April 27 - May 4

With sets and costumes by David Hockney featuring a stellar cast

Maureen O'Flynn as Pam ina

Walter MacNeil as Tamino

Elizabeth Parcells as Queen of the Night

Ara Berberian as Sarastro

David Malis as Papageno and Melvin Lowery as Monostatos

production sponsored by

Puccini's

May 11 - 19

With two casts, headed by internationall y acclaimed soprano Yoko Watanabe, and New York City Opera soprano Elizabeth Hynes - two talented singers sharing a role which has garnered each performer critical and popular acclaim.

The May 19th performance features an American Sign Language interpretation

This production sponsored by bid. Royal Maccabees Life Insurance Company

- Mark your calendarMichigan Opera Theatre's premier social event THE OPERA BALL

Friday, May 3rd at the Ritz Carlton - Dearborn

If you haven't received your invitation, telephone today! Copyright 2010, Michigan Opera Theatre

A CRISIS IN THE ARTS

D ea r Audi e n ce M e mb e r: I s in ce r e ly h o pe th a t you e nj oy thi s p e rfo rm a nc e of A riadne au f Na xo s It h as b ee n my pl eas ur e to pr ese nt th e fin es t o p e r a p ro du c ti o n s t o yo u fo r th e p as t twe nt y yea rs. However, the arts in Michigan face an unprecedented crisis at this time. A crisis which you can help to avert. G ove rn o r En gle r h as ca ll ed fo r th e e limin a ti o n o f a ll st a t e fundin g fo r th e arts. Alth o ugh a rts o rga ni za ti o n s recogni ze th e fi sc a l p ro bl e m s th a t fa c e Mi c hi ga n , a t o t a l re du c ti o n in a rt s fundin g n ow wo uld c rippl e -e ven cl ose - a num be r o f ou r c ultur a l in stituti o n s . Ind ee d , se v e ra l o rga ni za ti o n s h ave a lr ea d y cl ose d, a nd a rti st s h ave b ee n fo rced to pur se th e ir liv e lih oo d el sew h e re

WHAT YOU CAN DO

1. Attend the ART ATTACK rally in Lansing on May 1 st . Thi s eve nt , o rga ni ze d b y th e Michi ga n A dvoca t e fo r th e Arts , will bring sev er a l th o u sand peo pl e toge th el a t th e S t a t e Ca pi to l a t 10 a m , wh e re th ey w ill sp ea k dir ec tl y to th e ir leg is la tors o n th e a rt s fundin g iss u es. Fo r m o re info rm a ti o n , v isit th e N ew Yo rk Trip c o unt e r o r ca ll th e Art Att a ck a t 96 1- 1776 .

2 Contact your legislator directly. A ph o n e c a ll o r le tt e r fro m yo u t o yo ur st a t e se n a t o r a nd r e pr ese nt ati ve will m a k e a n im pa ct - even if yo ur leg isla tors op pose Gove rn o r Eng le r 's p os iti o n . A li st of leg islato rs' ph o ne numb e rs a nd a ddr ess is ava il a bl e - stop by o ur N ew Yo rk Trip co unt e r.

3. Support the arts. Yo ur pr ese n ce a t thi s p e rfo rm a n ce sh ows yo ur int e res t in the a rts. Ti c k e t reve nu e acco unts fo r a b o ut h a lf of o ur t o t a l inc o meth e re m a ind e r co me s fro m c o ntributi o n s If yo u h ave m a d e a d o n a ti o n , pl ease ac c e pt m y th a nk s. If yo u h ave n o t - pl ease co n s id e r d o in g so. And e n co urage yo ur fri e nd s, bu s in ess asso ci a t es a nd fe ll o w a rt s supp o rt e rs t o offe r th e ir fin a n c ia l s upp o rt

4 . Visit the New York Trip counter. S t a ff a nd vo lunt ee r s will a n swe r yo ur que sti o n s a nd p rov id e a n y m a t e ri a ls yo u mi ght n ee d . S t o p by the c o unter, loc a t e d in th e h a ll o ut sid e th e th ea tre d oo rs.

I ca ll o n yo u as supp o rt e rs o f th e a rt s to e x e rci se yo ur ri ght s as t a xp aye rs a nd p ro t es t the to t a l e limin a ti o n o f s tat e fundin g fo r the a rt s. Fo r th e futur e of o ur c hildren , th e he a lth o f our bu s in esse s, a nd th e qu a lit y o f life in Michi ga n , I urge yo u t o m a k e yo ur vo ice h ea rd. Th a nk Yo u .

WIN AWEEKEND TRIP fOR 1WO to

we e ken d package includes :

Roundtrip airfare for two provided by the official airline of Michigan Opera Theatre.

Friday and Saturday night stay at the luxurious Ritz Carlton New York

Two orchestra seats to a New York City Opera production

Dinner for two at Tavern On The Green

Dinner for two at Panevino Ristorante, Lincoln Center

TO ENTER:

Please complete the entry form below and deposit in the drop box located in the tnain hallway outside the theatre aisle doors.

OR mail to: Michigan Opera Theatre New York Weekend Drawing 6519 Second Avenue Detroit, MI 48202-3006

One entry per person please. Must be 18 or older to enter. NAME

MICHIGAN OPERA THEA1RE

David DiChiera, General Director

1990,1991 Twentieth Anniversary Season

This production m a de possible in p a rt by a generous grant from Ford Motor Company

S in gs pi e l in tw o ac t s

Mu s ic by W O LFGANG AMADEU S MOZART Libr e tto by JOHAN EMANUEL SC HIKANEDER

Co ndu cto r Geo rg Tintn e r

S t age Dire ctor

J ay Lese n ge r

Di a log ue Ad a pt a ti o n

Jay Lese n ge r

Pr odu c ti o n de s ig ned by

Da vid H ockn e y, ori g in a ll y fo r Sa n Fr a n c isco Ope ra ;

thi s produ c tion o ri g in a ll y m ad e poss ibl e by a ge n e rou s grant from Be rn a rd a nd Ba rbro O sh e r

Li g htin g Des ig n e r

Ke n T a b ac hnick

M a ke up/Wi g Des ig n e r

Else n A ssoc iat es

S t age M a n age r

Tim O cel

C h o ru s M as t e r

S uza nn e A c ton

En g li sh Tran sla tion and S upe rtitl es by Andr e w Po rt e r S up e rte xt furni shed by th e Po rtl a nd O pe ra

U se d by arran ge m e nt with Fo re ig n Mu sic Di stributors fo r Fabe r Mu sic Ltd , pub l ish e r a n d co pyri ght o wn e r

WORLD PREMIERE:

Septemb e r 30, 1791

Vi e nna, The a t e r a uf d e r Wi ed e n

U S. PREMIERE:

N e wYork , Apri I1 7,1 8 3 3

MOT PREMIERE:

Fe bru a ry II , 1977

S a turd a y, April 27 , 19 9 1 a t 8 pm

595th MOT pe rfo rm a n ce

W edn es day , M ay I

Frida y, M a y 3

S a turd ay , M a y 4

There will be one int e rmission

CAST:

TAMI NO, a yo ung prince :

FIR ST PRIE ST , SA RAS TR O:

SECON D PRI ES T , THE S PO KES M AN :

THIRD PRIE ST :

W a lt e r Mac N e il

Ar a Be rbe ri a n

Da vid La n ga n

Pa ul Wilt sie

PAMI NA , a prin cess: M a uree n O' Fl ynn

A STRAFIAMMANT E , the Q uee n of th e N ight - her moth er : Eli za be th Pa rce ll s*

FIR ST LA DY S EC OND LA DY :

THIRD LA DY

At te ndan ts of th e Q uee n

La ur a La mpo rt

T e rese Fede a

Ka thle e n Seg ar

PA PAGENO, a birdca tcher : Dav id Ma li s*

PA PA G ENA:

FIR ST S PIR IT :

SECON D S PIRIT :

THIRD S PIRIT :

G in a Lo ttin ge rt

Bre nd a n W a ls h *

Jo hn S. S kinn e r*

Li a m R ya n *

Ro be rt C h a rl es Bi ge lo w* (M ay 4)

MONOS T ATOS, servant to Saras tro: Mel v in Lo we ry

FIR ST S ERV AN T :

SEC OND S ERVANT

THIRD SERV AN T

O THER SERV AN T S

PRI ES T S AN D A TTE N DANT S

Sc en e I :

Sce n e 2:

Sce n e 3:

Sce n e I :

Sce n e 2:

Sce n e 3:

Sce n e 4:

Sce n e 5:

Sce n e 6 :

Sce n e 7:

Sce n e 8 :

Sce n e 9 :

Sce n e 10 :

Pa ul M a rqui s

G regory Bry a nt

Pa ul S ilv e r

Da ni e l A ggas, Do n a ld B. H a rt ,

Kim W ay n e Broo ks

O FTH E SUN: M O T C h o ru s

* Michigan O /> era Th ealre deh",

t MO T Young Ani" A/JI>remice

TIME - Lo n g A go

PLACE - Th e Kin gd o m o f Ni ght a nd Day

Th e Bord e r of th e K in gd o m o f Ni ght a nd Da y

A C hamber with in th e T e mpl es o f th e S un

A Co urtyard be for e th e T e mpl es o f th e S un

A Pa lm Gro ve in t h e T e m p le o f Reaso n

A Fo reco urt o f th e T e mp le of Reaso n - Th e First Tri a l

A Ga rd e n within th e T e mpl es o f th e S un

A Va ult in th e T e mpl e o f Reaso n

A Lo we r V a ult in th e T e mpl e - Th e Seco nd Tri a l

Th e G a rd e n

Th e Fa ult s o f Fir e a nd W a t e r - Th e Third Tri a l

Th e Gard e n

Th e In vas io n of th e Qu ee n 's Fo rc es

Th e Templ e of th e S un

Copyright 2010, Michigan Opera Theatre

THE ARGUMENT: Before his death, the King of the Sun entrusted the powers of the Shield of the Sun to Sarastro, his Hi gh Priest o f the Sun, rather than to his own emot io nal and high-strun g wife, the Queen of the Night. In the strugg le between Darkness a nd Li ght , the Queen has forced Sarastr o and his Priests to t a ke refuge within their temples. They, however, have taken her daughter, Pam in a, as h os tage The world is plunged into perpetu a l night.

Tamino, a young prince from the neighboring land, is chased int o the Kingd o m ofN ight and Day by a feroci o us m o nster. Ther e he e ncounters three La dies, attendants to the Queen o f the Night, who tell him th a t the Queen 's daughter, Pa min a, has been a bducted by th e "evil" Sarastro. Tamino is immediately enraptu red by Pamina' s

ARTIST PROFILES

SUZANNE ACTON ( C h o ru s Mas ter) is c urr e ntl y in h e r tenth seaso n with M O T. S h e is a lso MOT' s Assistant Mu sic Director, a nd Mu sic Director for MO T' s Co mmunit y Pro gra ms Dep a rtm e nt. Mi ss A cto n h as conducted for bo th Detroit a nd Dayton. Additional c red its includ e San Di ego , St. Lo ui s, a nd Opera Pac ifi c.

ARA BERBERIAN (Sarastro) is pr ese ntl y in hi s thirteenth seaso n with th e M e tropo litan Opera, where h e h as appea red in ove r 30 ope ras includin g seve ra l televised performances and th e Met' s 100th Anniversary Gala. In hi s ca reer h e h as sun g in more than 145 different ope ras. Mr. Be rb e ri a n h as ju st re turned from J a pa n, app ea rin g in M anon Lescaut a t the in v itation o f Se iji Ozawa The n o ted bass mad e hi s MOT debut in The Barber of Sevi lle , a nd re turn ed for Romeo et Juli ette. Mr. Be rb e ri a n h as a lso mad e numerou s reco rdin g a nd te lev is io n appea rances

TERESE FEDEA (Second Lady) th e 1990 Metr opolitan Ope ra Detroit District a nd R eg io n a l Auditi o n s Winner , ret urn s to th e MOT m a in st age aft e r appea rin g in the 199 0 productions o f Don Giovanni , La Traviata and Romeo et Juli ette, a nd the ope nin g production of the 199 1 S prin g Gra nd Opera Seaso n , Ariadne auf Naxos. A fonner MOT Yo un g Artist Apprentice, M s. Fed ea will ap pre ntice with Sa nta Fe Ope ra this summ e r.

DA VID HOCKNEY (Set a nd Cos tum e Design) is widely rega rd ed as o n e of th e mos t successful a rti sts of hi s ge n e ra ti o n H is work e n co mpa sses suc h va ri ed med ia as painting, photography, drawin g, Po laro idphoto co ll ages, a nd lase r-print e r a nd xe rox- mac hin e co mp os ti o n s. Mr. H oc kne y's work h as bee n th e subject of numerou s o n e- ma n ex hibiti o n s world-wide H e is a lso n o ted for hi s stage set a nd cos tum e d es ign s, which includ e productions of Tristan und Isolde a nd A Rake ' s Progress. H is n ew production of T urando[ will premiere at the C hic ago Lyri c Opera n ext seaso n, a nd will be presented by Sa n Fra nci sco Ope ra in the fa ll of 1993.

LAURA LAMPORT (First Lady) h as performed feat ur e ro les for Wolftr ap Ope ra, a nd was a res id e nt a rti st at Dayton Ope ra. A fo rm e r MOT voca l int e rn, M iss La mp o rt m ade her MO T ma in stage deb ut as th e Dew Fairy and Sa ndm a n in 1989 's Hansel and G retel. A Metropo li tan Ope ra Detroit District finalist in 19 89, 1990 a nd 199 1, sh e a lso ap pea red in MOT' s Ariadne auf Naxos.

portrait, a nd when the Queen herse lf appea rs, he determines to rescue the lovely ma iden, whatever the cost. Hi s reluctant companion is Papagen o, the Queen's birdc a tcher. Th ey are guided to the Templ es of the Sun by young Spirits of the forest.

When Tamin o reach es t h e Temple s of Nature, Re aso n and Wisdom, he begin s to qu es ti o n what the women h ad told him. He re solves to learn the truth a bo ut Pamina's abduction and Sarastro's real int ent ion s by ente rin g the Vaults of the T emp les and submitt ing to the T rials of Steadfastness, Silence, and Purification. Papagen o is le ss than inspired by the pro spect of the trial s - he wo uld much prefer a good me a l a nd a pretty littl e wife!

JAY LESENGER , Stage Director

DA VlD LANGAN (S peake r/ Pri est/ Ma n 2) l. as appea red in the H GO productions of The Marriage of Figaro, The Masked Ball a nd OteUo , a nd The Magic Flute for Da ll as. Hi s o th er ope ra c red it s in c lud e Greater Mi a mi , C h a ut a uqu a and Fl ore ntin e (Milw au kee), in suc h div e rse ro les as M ep hi stop h e les, Basilio, Don Alfonso a nd Co llin e. Mr. La n ga n made hi s MO T deb ut in Ariadne auf Naxos, and wi ll a lso appea r in the up co min g MOT production o f Madama Butterfly. H e will return to C h a ut a uqu a for The C ru cible , a nd m ake hi s European debut as Sa ras t ro in Die Zauber/lo te.

JAYLESENGER (Dir ecto r) ma kes hi s M OT directo ri a l debut with thi s production, afte r direc tin g a number of cr iti ca ll y acclai med productions for New York C it y Ope ra, includin g las t summ e r's rev iva l of Kurt W e ill 's Str ee t Scene. Mr. Lese n ge r h as a lso directed fo r Sa n Di ego, Sa rasota, Pittsb urgh , Ce ntra l C ity a nd H awai i. For five yea rs h e was a n Associate Professor at the U niv ers it y o f Mi chigan, directing the Sc h oo l of Mu s ic Ope ra Th eat re, a nd was a featured gues t spea ke r at the H e rbe rt von Kara ja n Foundation in Vienna. Late r thi s yea r, the director wi II h e lm productions of T osca a nd L' Elisir d' Amore in Atlanta, The Barber of Sev ille in Knoxville a nd Hansel and Gre tel in G ra nd R ap id s. Wisconsin PBS wi ll broadcast hi s accl a im ed production of Ariadne auf Naxos this May.

GINA LOTTINGER (Papagena) makes h er profess io n a l m a in stage and MOT d eb ut with this produ c ti o n , h av in g a ppea red in productions of Falstaff, Elixir of Love , Th e Marriage of Figaro , and Don Giova nni S h e has performed a t t h e Aspen Mu s ic Fes ti va l, and will sin g S usa nn a this summ er at th e Ro me Fes ti va l in Ita ly. S h e is co mpl et in g a Special ist in Mu sic degree at th e University o f Mi c hi ga n

MELVIN LOWERY (Monostatos) m ade hi s MOT d eb ut in Ariadne auf Naxos. Hi s c redits includ e New York City Ope ra, Lyric O p e ra of C hi cago, San Diego Opera, a nd the co mp a ni es of Ca lga ry, Baltimore, Miami,lndianapolis,and Me mphi s. With ove r eig h ry ope ra ro les to hi s c red it , Mr. Lowe ry will appea r in Tales of Hoffmann for W as hin gto n O pera, a nd Turandot for Phil ad e lphi a

for Co nne c ti c ut Grand Opera, Edmonton, Kn oxv ill e, t h e Glynbourne Fes tiv a l, a nd m akin g his Metropo lit a nd eb ut in thi s role. Mr. MacNe il isa lso n oted fo r hi s int e rpre ta ti o n o fT a min o, which h e h as sun g a t New Yo rk City Opera, Ca lga ry O pe ra, and Ke ntu c ky O pe ra. H e h as a lso performed fo r the compa ni es of Sa n Fra n c isco, Dayton, Sa rasota, a nd for the Ca n adian Ope ra Co m pa n y. Mr. MacNe il will ma ke his debut with San Diego late r thi s yea r in La Traviata.

DA VID MALIS (Papageno) m a kes hi s MO T debut in a ro le which h e h as performed to both c riti ca l a nd popular accla im for th e companies of San Fra n cisco, Sa n Diego, Pittsb urgh , a nd m os t rece ntl y, at the Metropolitan Ope ra. Th e ba rit o n e is a lso noted for hi s portrayal of Fo rd in Falstaff, ma kin g hi s deb ut at La Sca la in this ro le, following appea rances as th e Verdi h ero a t th e Roya l Opera H o use , Cove nt Ga rd e n in Sa n Fra n c isco , a nd for th e Brook lyn Academy o f Mu sic Mr. M a li s h as also performed for the Welsh Nat io n a l Opera, Sa nt a FeOpera, a nd H o uston G rand Ope ra. H e wi ll make hi s Vienna S taa tsope r debut in 1993 as Figaro in Il Bariere di Siv iglia.

MAUREEN O'FLYNN (Pamina) returns to the MOT mainstage following h e r triumphant Detroit debut as G ild a in Rigoletw, a ro le in which sh e made h e r New York C it y O pe ra d eb ut, and p e rfo rm ed fo r H o usto n Grand Ope ra, Portland Ope ra, Dayton Ope ra, Pennsylvania Ope ra Th eate r, a nd Washington Ope ra. The sop ra n o a lso sang Pa m in a for Pe nn sy lv ani a, a nd made h e r d e but in th e ro le of S usa nn a in Nozze di Figaro fo r C incinn a ti , which sh e h as a lso su n g for Ne w Yor k C it y Opera. Upcoming e n gagem e n ts includ e h erfirst Adina in L' Eli sird ' Amore with H am il to n Opera, Gilda with Ope ra Northern Ire land , a nd a re turn to Po rtl a nd fo r h e r first Gretel.

Copyright 2010, Michigan Opera Theatre

WALTER MACNEIL (Tamino) re turn s to MOT after a five yea r absence, h av in g portrayed Pink e rt on in the 1986 production of Madama Butterfly. H e h as become n oted for hi s portrayal o f the yo un g Germont in La Traviata; portraying Alfredo to c riti ca l ac cl a im

ELIZABETH PARCELLS (Queen of th e N ight) , a Grosse Pointe n at iv e, re turn s for h e r MO T debut . A res id e nt of Kiel, Germany, sh e is a lead in g co n ce rt a nd opera pe rfo rm e r in Europe . S h e h as appea red a t fes ti va ls in Eschternach, Sa lizburg a nd Wolfegg, to ured the U.S. with the Co logne C hambe r Orc h estra, a nd performed und e r co ntra c t in Augsburg, Wi esbade n , Frankfurt a m Ma in, as well as guest so lo ist in Be rlin, Bos to n , Pa ri s Th e co lo ra tur a sop rano h as appea red as M ar ia St ua rd a for Boston Lyr ic, and ha s sun g Zerbinetta, Queen of the N ight, Nori n a a nd Olympia in European houses. Mi ss Parcells h as a lso appe a red with re gul a rity o n Europea n rad io a nd television. H e r reco rdin gs include A Jenn y Lind Rec ital , which featu res a Qu ee n of the Night a ri a, and

th e upc o min g Recital of Song far V oice a nd C lassi cal G uitar with Felix Justin on Ko ch Intern a ti o n a l.

KATHLEEN SEGAR (Third Lady) is we ll kn o wn fo r h e r c o nce rt a nd operatic a ppea ra n c e s, h a ving appea re d with the Detroit Sympho ny , Gra nd Rapid s S ympho n y, T o led o Symphony and the Fo rt W a yn e Philh a rmo nic. Mi ss Segar has appe ared in producti o n s fo r the New York City Ope ra n a ti o n a l co mp any, Eu ge n e Opera, Virgini a Opera, and the De s M o in es M e tropo lita n Opera Fe stiv a l. H e r MOT c re d its includ e An oush , The Haunted Cas tle , C annen , The Marriage of Fi garo (1983 & 198 9) , Faust , Anna Bolena , Madama Butterfly, Rigolet w, and Ariadne auf Na xos.

KEN T ABACHNICK (Lightin g Des igner) h as des ign ed extens ively in d ance, the a tre and o pe ra o ve r th e las t t e n yea rs He was res ident d es igner fo r the N e w Yor k C ity Ope ra , and h as a lso des ign ed fo r G rea t e r Mi a mi a nd Pittsburgh o pe ras . H e h as d es ign ed fo r Bro adw ay, Playwrights H o ri zo n, M a rtha Gra h a m, th e Bol sh o i Ballet , in additi o n to tel evi sio n a nd film . C urre nt projects includ e wo rkin g o n th e Bo lsh o i Ope ra 's upc o ming U S. pe rform a n ces , and prod uc ing a fea ture film .

GEORG TINTNER (C onduc to r) in a ca ree r th a t h as spa nn e d n ea rl y se ve n decade s, bega n as a co m-

poser/piani st , a nd a lso pe rfo rm ed with the Vienn a Boys Cho ir. Afte r fl ee ing the Ansc hluss in 193 8 , h e ve ntured t o Australi a , whe re h e bec a me a Re side nt Conductor for the N a ti o n a l Ope ra {later the Elizabethan Ope ra } Mr. Tintne r h as a lso se rved as the Resident Co nduc to r fo r the Au str a lian Ope ra, the Mu s ic a l Directo r of the Qu ee n s la nd Thea tre (Philh a rmo nic) Orc h es tra , a nd is c urre ntly the Music Director of Symph ony N o va Sco ti a. The conductor h as also le ad th e mu s ica l forc es fo r o pe ra comp a ni es and orchestras throu gh o ut Austr a lia, New Zeal and and the Ori e nt H e ma kes hi s MOT d e but with this producti o n

PAUL WILTSIE (Third Pri es t) has appe a red in the MOT produ c ti o n s o f Fals taff a nd Rigoletw , and serv ed as a Yo ung Artist A ppre nti ce in 198 7. He has appe a red in Uni ve rsity of Michi ga n producti o ns o f The Tum of th e Scr ew , The Merry W ido w , a nd C osi fan T utte, and as Ca rm ag n o la in The Brigands at the Ohi o Light Ope ra Mr Wilts ie h as pe rfo rmed in co nc erts through o ut th e me tropo lit a n area , and was a reg ion a l finalist in the M e tropo lit an Opera Auditi o n s in 1988.

The Thr ee Spirits , Brendan W alsh , John S. Skinner and Liam Ryan , a nd their alternate, Robert C harles Bige lo w, are members of th e C hri st C hurch Boys C hoir , whi ch is dir ected by Fred DeHa ve n

- MICHIGAN OPERA THEATRE ORCHESTRA

VIOLIN I VIOLA

• C h a rl o tt e Me rke rso n

OBOE

TRUMPET

MICHIGAN OPERA THEATRE AT A GLANCE

Mission

A major non-profit opera company comm itted to prod Ucing the finest prod uc t ions in the grand opera, operett a and musica l theatre repertory for the Detroit metropolitan community and the State of Michigan.

Founded

Estab lish ed in 1963 as the Overture To Opera, an educa ti onal touring component of the now defunct Detroit Grand Ope r. Associa t io n. In 1970, Overture to Opera moved to the Detro it Music Hall Ce nter and began the restora ti on of th e theatre, one of Detroit's thea tre landmarks. The company's premiere season launched in 1971. Michigan Opera Thea tre moved its administrat ive offi ces to th e New Center Area in 1985 and bega n prodUcing a fall season in the Fisher Theat re and a spr ing season at t he Maso nic Tem ple Michigan Opera Th eatre's founder and General Director is Dr David DiChi era

1990/91 Season Repertory

Ri go letto, Show Boat, Coppelia, Ariadne auf Naxos, The Mag ic Flute, Madama Butterfly

Operating Budget $5 MiUion Plus

Annual revenue derived from a variety of sources including season subscription and single ticket sales, pr ivate contributions, foundation and corporate support, and both stare and fed era l funding through the Michigan Council for th e Ar ts and th e Nat ional Endowment for the Arts.

National Ranking

Mi ch igan Opera Theatre ranks as one of th e larges t ope ra compan ies in th e United States based on ope rating budge t and paid audience attend ance; there are more th an 100 opera compani es in t he counrry. Michigan Opera Thea tre has ga rn ered nat iona l accl aim for its mainstage artistic work as well as its ongo ing community education programming

Administration & Board Committees

• Veld a Ke ll y

• Rand o lph Margit za

• Ruth MOn so n

• Barbar a Co rba to

• Ann Be llin o

• Al ex De yc h

• Hen ry Janz e n

• Ann Au gustin

• C h arley Lea Co n ce rtm as te r Prin c ip a l Prin c ip a l Princ ip a l

• Rebecca Ha mm on d

• Go rd o n Simm o ns

CLARINET TROMBONE

A full time profeSS ional staff of arts adm inistrators, go verned by a 38 member Board of Directors and 264 member Board of Trustees.

MOT Volunteer Activities

• Maur y O kun Jan et Mu rp h y-O li s

• T ed Sc h wa rtz

• Bri an Bowm an

VIOLONCELLO Princ ip a l Princip a l

Num erous fund raising activities are held annu all y under the auspices of the Board of Directors Special EventsCommittee and th e MOT Guild

Community Programs

• N adin e Del e ur y

• Jan e Ca rl

• G reg N ea r Ma rl a S mith Ka th y Prin cipa l

John Meye r S tep pul a

VIOLIN II

• Victo ri a Ha lto m

• Di an e Br edese n

BASSOON

• Kirkl a nd D Fe rri s

• Min ka C hri sto ff Prin c ipa l

• Umit Isgo rur

TIMPANI

• G rego ry White

• C hri stin e M Pr in ce Prin c ip a l Prin c ipa l

CONTRABASS

HORN

• A nge lin a Carco n e

• Derek W e ll er

• Be tsy Hirsc h Prin c ip a l

• Broo ke Ho pl amaz ian S tewart Sa nk ey

James Kuj awski

Co n st an ce Ma rkwi ck FLUTE

• Pamel a J. Hill

Princip a l

• La ura Larso n

CELESTN

• S usa n Mutt er HARMONIUM

Princ ip a l Roge r 1. Binga man

• Ca rri e Banfi e ld

ORCHESTRA

ADMINISTRA nON/

LIBRARY

Roge r 1. Bin ga man

*Denotes Michigan O />era Th eatre Orc hes tra

Detro it Fede rati on of Music ians, Local # 5. A me rican Fede rat ion of Musicians .

MICHIGAN OPERA THEATRE CHORUS

Da ni e l Aggas

Kim W ay n e Bro oks

G rego ry Br ya nt

Dian e A ro n -Ca lh oun

Mary Ma rga re t C lenn o n

Robe rt C lin k

M ic h ae ll a Dionn e

Va n es sa Fe rri o le

Loui se A Fi sh e r

Yv o nn e Frid ay

Rosa lin Co ntre ra

Gu as t e ll a

Don ald B Hart

G len Ho lc omb

Pa ul Marq ui s

Robe rt 1. Moren cy

Jennife r 1. Oliv e r

Peggy O' S h aughn essy

Mark Rethm a n

John Ril ey

Ma ry Robe rtS o n

Paul S il ver

S te ve S imm on s'

Jay S mith

S teph e n S tew art

Judith Sze fi

Dea n Uni ck

Jim Wilking

Juli e Wri ght'

*MOT Yo ung Artist Apfrrentice

Th e A me ri ca n G uild of Mu sic a l ArtS is th e offi cia l uni o n of th e Mi chi ga n Ope ra Thea tre voca l pe rfo rm ers.

Copyright 2010, Michigan Opera Theatre

A full t ime profeSS ional program pro viding on-go ing entertainment for young audiences , famili es as well as ad ult programs for Broadway musical revues, operas, educati onal workshops, lec ture se ries, programs for the disa bled and hearing impaired, improvisa t iona l workshops and rec itals. Programs arc Pfl'SC nt ed yea r-ro und both locally and throughout the ent ire state Es ta bli shed by noted ed ucato r Karen DiChiera.

Apprentice Program

Annual training prog ram for gifted and talented sin ge rs , pi ani sts, stage managers and directors, and in all are as of tec hnic al product ion; apprentices are recruited nati onally

Michigan Opera Theatre g r a t e full y ackn o wl e d ges the support o f Th e Fo rd M o t o r Co mp a n y , for sp o n sorin g thi s p rodu c ti o n , a nd to ANR Pipeline for sp o n so ring th e M ay 4th p e rfo rm a nc e.

Special thanks to Mr. Jim J e ffri es o f Alm a Bo yd Fl o ri st s, and Nati o n a l Ba nk o f De troit fo r th e ir In - Kind Gifts. For m o re info rm a ti o n o n h o w yo ur g roup, comp a ny, o r o rga niz a ti o n c a n supp o rt MOT with an In - Kind Gift, ple ase co nt a ct MOT' s D e velopment D e p a rtm e nt a t 8 74-7 8 50

Fo r hi stori ca l b a ckground , a rti s t p h o t os a nd bi og ra phic a l inform a tion o n Th e Magi c Flut e, th e 19 90 - 91 Tw e nti e th Anniv e rsa ry Seaso n P rog ra m Boo k is availabl e fo r purc h ase in th e lo bb y J o in MOT fo r the Pre-Op e ra Le ctur e a nd Buffe t S eri es . C a ll 874 - 7 8 50 fo r rese rv ati o n s a nd info rm a ti o n

MOT's 1990/91 Season is pr e sented in c oo p e r a ti o n with WQRS - FM 105 C lass ica l R a di o S t a ti o n

A MESSAGE FROM OUR DIRECTOR

Dea r MOT supp o rter :

I s in ce re ly h o pe that yo u e nj oy thi s pe rfo rm a nc e o f Th e M agic Flut e It is my ple as ur e to bring thi s wonderful wo rk to De t ro it, in h o nor of th e M oza rt 's bi ce ntenni a l. It h as bee n m y p e rso n a l ple as ur e to o ffe r Mi c hi ga n audi e nc es th e fi n es t in o p e ra , o p e rett a a nd mu sica l th ea tre . Ye t, d es pit e t h e joy ful mu sic which fill s thi s th eat re, th e re is a c h a ll e n ge fac ing us a ll.

The arts in Michigan face an unprecedented crisis which you can help to avert.

Go ve rno r Engle r h as c a ll ed for the e limin a ti o n of ALL sta te fundin g fo r the a rts.

Altho ugh a rts o rgani za ti o n s recognize t h e fi sc a l probl e ms tha t face Mi c higan , a to ta l redu c ti o n in arts fundin g n o w wo uld c rip p le eve n cl os e a num be r of o ur c ultura l instituti o n s. Ind eed, seve ra l o rganiza ti o n s h ave a lrea d y cl ose d , and a rti sts h ave bee n forced to purse the ir li ve lih ood else where.

WHAT CAN YOU DO?

Contact your legislator directly. A ph o ne ca ll o r le tte r fr o m yo u to yo ur sta te se n ato r and repres ent a tive will make an imp a ct eve n if yo ur leg islato rs o pp os e G o ve rn o r Engle r's pos itio n A li st of leg islato rs' pho n e numbe rs a nd addresses is ava il a bl e st o p by o ur N e w Yo rk Trip co unte r. Support the arts. Yo ur p rese n ce a t this pe rform ance sh ows yo ur int eres t in the a rts. Ti c ket reve nu e acco unts for abo ut h a lf of o ur to t a l inco me the re ma ind er co mes fro m co ntributi o n s. If yo u h ave made a do n a ti o n, pl ease accept my t h anks . If yo u h ave n o t pl ease co n sider do ing so. An d e n co urage yo ur fri en ds , business assoc ia te s, and fe ll ow arts supp o rte rs offe r the ir fin anci a l supp o rt

Fo r the futur e of o ur childre n , the h ea lth of o ur bu sinesses, and th e qu a li ty of life in Mi chigan, I urge yo u to make yo ur vo ice h eard. Th ank Yo u.

Dav id D iC hi era

Ge n e ra l D irector

Th e excitement of th e Twentieth Annive rs ar y Season continues

Pu cci ni 's

M ay 1 1 -19

With tw o cas t s , h ea d e d by int e rn a ti o n a ll y a ccl a im e d sop ra n o Yo k o W a t a n a be, a nd N e w Yo rk C it y Ope ra sop ra n o Eli za be th H yn es tw o t a le nt e d s in ge rs sh a rin g a rol e whi c h h as ga rn e re d ea ch p e rfo rm e r c ri t ica l a nd po pul a r ac cl a im

T

FORD MOTOR COMPANY CELEBRATES

O!l.AUlY ENDURES. Two HUNDRED YEARS AFfER H[S DFATH, WOLFGANG AMADEUS MoZART CONTINUES TO ENRICH PEOPLE'S LIVES WITH THE MAG[C OF H[S MUS[C.

AT FORD MOTOR COMPANY, WE TAKE GRFAT PRIDE [N THE Q1lAL[lY OF OUR PRODUCTS, THE Q1lALllY OF OUR PEOPLE AND [N CONTRIBUTING TO THE Q1lAL[lY OF LIFE [N THE COMMUNITIES WHERE WE OPERATE AND SELL OUR PRODUCTS. THAT [S WHY FORD MOTOR COMPANY [S PLEASED TO SPONSOR M[CH[GAN OPERA THFATRE'S PRODUCT[ON OF MoZART's LAST OPERA, THE MAG[c FLUTE.

SUPPORT OF THE ARTS, [N ALL THEIR D[VERS[lY, [S A VITAL PART OF OUR M[SS[ON AT FORD MOTOR COMPANY. THROUGH THE VISUAL AND PERFORMING ARTS, WE CAN HELP BRING [NSP[RlNG NEW EDUCATIONAL AND CULTURAL EXPERIENCES TO THE PEOPLE OF THE COMMUNITIES [N WH[CH WE DO BUS[NESS.

WE CONGRATULATE M[CH[GAN OPERA THFATRE FOR BRlNG[NG TWENlY YEARS OF Q1lALllY AND EXCELLENCE TO THE COMMUN[lY, AND WE THANK THEM, ALONG WITH DETRO[T PUBLIC LIBRARY, WQRS RAD[O, HARMONY HOUSE AND RENAISSANCE CENTER FOR HELPING FORD MOTOR COMPANY AND DETROIT CELEBRATE "MOZART MAGIC IN MOTOR CilY."

Copyright 2010, Michigan Opera Theatre

WIN A WEEKEND TRIP FOR TWO TO

Roundtrip airfare for two provided by the official airline of Michigan Opera Theatre.

Friday and Saturday night stay at the luxurious Ritz Carrton New York

Two orchestra seats to a New York City Opera production

Dinner for two at Tavern On The Green

Dinner for two at Panevino Ristorante, Lincoln Center

Co nduct o r

MICHIGAN OPERATHEATRE

David DiChiera, General Director 1990,1991 Twentieth Anniversar y Season

Thi s production mad e possible by a gr a nt from R oya l M a ccabe es In s urance Company

(in It a li a n with English S urtitl es) thi s production or ig in a ll y designed fo r Th e W as hin gton Opera Mu s ic by G IA CO M O PU CC INI Libre tto by G IUSEPPE G IA COS A a nd LUIGI ILLl CA base d up o n the play by DAVID BELAS CO, ad ap t ed from the sto ry by J O HN LUTHER LO NG

Lo ui s Sa lemno*

Stage Dir ecto r

Gordon Ostrowski *

Set Designer

Min g c;h o Lee , origina ll y for The W as hin gto n Ope ra

Cos tum e Des ign e r

Zack Brown, o ri g in a ll y fo r Th e W as hin gto n Opera

Li ghting Designer

,K e nd a ll Smith

M a ke up/Wig Des ign e r

El se n A ssoc ia te s

Stage M a n age r

Lei gh Ann e Huck aby

A ss ist a nt Director

C hri s Jo n es

As sist a nt Lighting Designer

Ell e n Bo n e

A ss ist a nt Stage M a n age r

Dan Anderson

Stage Ma na g in g A ss ist a nt

H e le n Meade

C h o ru s Ma st e r

Suzanne Acton

A cco mp a ni st

Steve Gathman

Surtitl es by Franci s Riz zo

Surtitl es for this production

provid e d by Th e W as hin gto n Ope ra

CAST drama tis personae ( in order of voca l appearance)

Pinker to n:

Suzuki:

Goro: Sharple ss:

C io-C io-San :

Th e Bon ze:

Yamadori:

Co mmi ss ioner:

Ka te Pinkerton:

Regi strar :

Yakuside :

M oth er:

Aunt:

Cous in :

Trouble:

J o n ath a n W e lch *

H ans Gregory Asbaker (M ay 17 , I 9m ) *

Gail Dubinbaum*

Mel v in Lowery

Andreas Pou lim e n os

Yoko W a t a n abe*

Eli za beth H yn es (M ay 17, 19m) *

David La n ga n

Paul Koc h t

Paul Koc h t

Juli e Wrightt

Paul M a rqui s

Steve Simmonst

Lo ui se Fi sh e r

M a r y M a rga ret C le nn o n

A udrey Brown

Andrew Kee n a n- Bolger

* Michigan O pera Theatre debut

t MOT Young Artist Appren tice

WORLD PREMIERE

Feb ru a ry 17 , 1904

Milan, T ea tro a li a Scala

u.S. PREMIERE

Octobe r 15, 1906

W as hingto n

MOT PREMIERE

November 5,1976

Saturday, M ay 11, 1991 a t 8 p.m

599th M O T perfo rm ance

W edn esday, May 15 a t 8 p.m.

Frid ay, M ay 17 a t 8 p. m

Sa turd ay, May 18 a t 8 p m.

Sunday, M ay 19 a t 2 p .m .

Th e S und ay, May 19 th performance will featu re

a n Am e ri ca n S ign La n guage perfo rm a nc e for the h ea rin g- imp a ir ed.

American S ign Language interprerors:

C la udi a Kinde r

Steph e n Decatur

There will be one intermission

Copyright 2010, Michigan Opera Theatre

ACT I. U.S. Navy Lieutenant B.F. Pinkert o n inspects the h o use he h as lea se d from a marriage broker, Goro, who h as a lso provided se rvants a nd a ge ish a wife known as M ad a me Butterfly (Cio-CioSan). Pinkerton describe s hi s carefre e phil oso phy ("D o vunque a l mo ndo") When Sharp less, the American cons ul , warns th e li e utenant that the g irl m ay not take her vows li ghtly , the office r brushes him as ide , adding that he will one day wed a "real" American wife. C io-Ci o-Sa n joy fully sings o f her weddin g ("Spira sui mare"), a nd tell s Pinkerton h o w, when h er fami ly fell o n h ard times, sh e had to earn her li ving as a geisha. Th e Imperi a l Comm issio ner perform s the wedding ce rem o ny, a nd the guests toast the couple. C io-Cio-Sa n's uncle, a Buddhist priest, bursts up o n the sce n e, c ursin g the girl fo r having re n o unced her reli g io n . Pinkerton angri ly orders everyo n e t o leave. He dri es his bride's tears and they s in g o f their love ("Viene la se ra").

ACT II. Three ye a rs later, Cio-C io-San waits for h er husband's return . Suzuki prays to her gods ("E Iz ag hi ed lzanami"), a nd sh o ws Cio-Cio-San how little money is left. Cio-Cio-San is reso lut e - she mows that Pinkerton will return ("Un bel di vedremo") Sh a rpless

ARTIST PROFILES

SUZANNE ACTON (Chorus M aste r) is c urrentl y in h erten th season with MOT. She is a lso MOT's Assistant Music Dir ecto r , and Music Director fo r MOT's Co mmuniry Programs Department. Miss Acton h as conducted for both Detroit and Dayton. Additional c redits include Sa n Diego, St. Louis, a nd Ope ra Pacific.

HANS ASHBAKER (Pinkerton) makes hi s MO T debut with this prod uct ion, in a ro le whi c h ha s ga rn e red him c riti ca l acclaim at Ope ra Pacific a nd Dublin Grand Opera. H e has appea red with the Lyric Ope ra of Q ueens land, and t h e ope ra compa ni es of Nevada, Utah , Con n ecticut, M anitoba, O rl ando, Indianapo l is, Memphi s, and Miami. Mr. Ashbaker h as appea red in hi s s ign atu re role of T a min o for H o usto n G ra nd Ope ra, Miami, Fl orentine, Sa rasota, a nd Australian Operas. H e also appeared with rh e Glimmerglass Ope ra in Berlioz's Beatrice and Benedict. Th e tenor is a lso a noted conce rt so lo ist, sin ging Beethoven's Missa Solemni in San Fra ncisco, Verdi's Requiem a t Ca rn egie H a ll , and Ll oyd Webber's Requiem at the Metropo li ta n Ope ra Upcoming engage me nt s include Th e Tales of Hoffmann in Oma h a, and Don Carla in New O rl ea n s.

GA IL DUBINBAUM (Suzuki) is n o stra ng e r to Detroit aud iences, having appea red with the Detroit Symphony in Mozart's Sole mn Vespers, and at th e May Festival in A nn A rbor. S h e makes h e r MO T debut in this production, reprising h e r successful Ope ra Pacific po rtraya l, a ro le she has a lso performed for th e Israel Philharmonic S h e has sung Isabe ll a in L'/caliana in Algen , Rosina in II Banbere di Siviglia, and Dorabella in Cosi fan tutte at the Metropolitan Opera, in addition to appeara n ces in Falscaff , Rinaldo, L' Enfant et les Sorcileges , a n d Francesca da Rimini. Miss Dubinbaum ha s a lso appeared in lead in g ro les at the Vienna Sta t e Ope ra, Dallas Opera , a nd W ash in gton Ope ra. A fr eq uen t conce rt so loist, sh e h as performed und e r th e baton of th e la t e Leonard Bernstein, Zub in M ehta, a nd James Levine.

ELIZABETH HYNES (Cio-Cio-San)hasappeared with the major symp h ony orchestr as of Los Angeles, San Francisco, Ch icago, Dallas, Sa int Louis, Minn esota, Detro it, Cleveland, H o usto n , Phil adelp hia, W as hin gton, Ottawa, a nd Montrea l; a nd in leading ro les with the ope ra co mpan ies of Da ll as, Chicago, PittSburgh, New

a rrive s with a letter from the lieutenant, as Goro a rrive s with a new s ui tor. Th e ge ish a dismisses both G o ro and the would-be suit or, Prince Yamadori Sharp less tactfully suggests that Pinkerton may n ever return ("Amic o , ce rc h erete"). C io-C io-Sa n proudly insists that as soo n as Pinkerton knows of his so n he will come back He a ring a canno n, she sees Pinkerton's ship a pproach She orders Suzuki to hel p her prepare for h er husband's return.

ACT III. As dawn breaks, Suzuki in s ists that C io-Cio -San rest. S h arp less, Pinkert o n a nd Kate, his new wife, enter. S uzuki , realizing that Pinkerton h as remarried, collapses in despair. Pinkerton, ove rcome with remorse, bids farewell ("Addi o fiorito asil"), th en ru sh es away. Cio-Cio-Sa n enters, expecting to find h e r hu sba nd, but meets Kate in stead Guess in g the truth, she agrees to give up her c hild if hi s father wi ll return for him. The ge ish a prepares her father' s dagger , c h oos ing to die with h o nor rat her than li ve in disgrace. Sobbing a farewell, C io-C io-Sa n sends her so n away ("T u , piccolo Iddio!") then stabs herself. As she dies, Pinkerton is h eard calling h e r name .

O rl ea n s, Philadelphia, Mi a mi , Omaha, Sa nt a Fe, Edmonton, a n d the Eng li sh Nat iona l Opera. Mi ss Hynes has performed regu la rl y with t h e New York City Ope ra, as Mimi in La Boheme, Margue rit e in Faust, Micaela in Carme n , Susann a and the Co untess in The Marriage of Figaro, Liu in Turandat, Ann Trul ove in The Rake's Progress, a nd Pam in a in Th e Magic Flute. S h e h as pe rformed the role o f C io-C io-San fo r H o usto n Gra n d Ope ra, Ope ra O mah a, and Ope ra Pacific, and makes her MO T debut with this prod uction. Miss H ynes returns to Da ll as Opera for The Marriage of Figaro.

PAUL KOCH (Ya mado ri /Co mmi ss io n er) makes his MO T debut with this production. H e has made num e ro us ope ra a nd mu sica l theatre appea ra n ces throughout Illin o is a nd Wisconsin, in productions of The New Moon, La Serva Padrona , The Magic Flute , Th e Barber of Seville, a n d Venus and Adonis. Mr. Koch has stud ied at Cha ut auqua Opera Sc h ool, a nd holds a Masters of Music from No rthweste rn University.

DA VID LANGAN (Th e Bonze) h as appea red in the H GO productions of Th e Marriage of Figaro , The Masked Ball, and Ote lla, and The Magic Flute for Dallas. Hi s o th er ope ra c red its include Greate r Mi ami, Cha ut auq ua, and Florentine (M ilw a uk ee), in s uc h diverse roles as Mephistop hel es, Bas ili o, Don A lfonso and Co llin e. Mr. La n ga n made hi s MO T debut in Ariadne auf Naxos, and a lso app ea red in Th e Magic Flut e. H e will re turn to C hauta uqu a for The Cr ucible, a nd make hi s European debut as Sa rastro in Die Zauberflote.

MELVIN LOWERY (Goro) made hi s MOT debut in Ariadne auf Naxos, and a lso appea red as Monostatos in The Magic Flute. His c red its include New York Ci t y Ope ra, Lyric Ope ra of C h ic ago, Ind ia n apo lis Ope ra, a nd Me mphi s Ope ra. H e wi ll appear in T ales of H offmann for W as hingto n Ope ra, and Turandot for Philadelphia and Co lumbu s, a nd as Goro fo r both Indi anapo li s and Memphi s Operas.

Cosi fan tutte, C herubi n , and A Night at th e C hine se Opera. Mr. Ostro wski has also se rved o n the sta ff of the University of So uth e rn Ca lifo rn ia as producer/stage manage r of the USC Ope ra workshop, and as the stage di rector for Ensemble Co mpa n y o f C incinn a ti Ope ra Mr Ostrowski began hi s st age directing career dur in g hi s tenure as a teacher a t C la wso n Hi gh Schoo l ove r tw o d ecades ago. H e rece ntl y accepted the positio n of Director of Ope ra Stud ie s and Productions at Manhattan Sc h oo l of Mu sic.

ANDREAS POULIMENOS (Sharpless) return s to MOT afte r las t yea r 's appea ra n ce as Giorg io Ge rm ont in La Traviaca. He h as perfo rm ed num ero us ro les with the Saa rburcken Sta t e Opera, including Creo n in Oedipus Rex, the S peake r in Th e Magic Flute, the Co unt in The Marriage of Figaro , a nd th e title ro le in Bluebeard'sCastle. Mr. Poulimenos recen tl y appeared as Enrico in T o ledo Opera's production of Lucia di Lammermoor, and as S h arp less fo r Ope ra Pacific. Mr. Poulimenos, a professor of Voca l Perform a nc e Studies a t Bow lin g Green S t ate U niversity, made hi s MOT debut portraying Sharp less in th e 1976 p roduction of Madama Butterfly.

LOUIS SALEMNO (Conductor) has co n d ucted for numerous ope ra compa ni es , including H o us ton Grand Opera, Ope ra Pacific, Seat tl e, New O rl ea n s, Tul sa, Florentine, Dallas, O ma h a, C h a ut a uqu a , Arkansas, Ope ra Caro lin a, La ke George, and Sarasota. He recently made hi s New York C ity Ope ra debut, co nductin g Lucia di Lammermoor a nd T osca. Maestro Sa lemno made his co nductin g debut at age fifteen, lead ing the H a rri sb urg (P A) Symphony, and has se rved o n th e cond uct in g staffs of Ba rcelona's G ra n T ea tro del Li ceo, San Fr ancisco Ope ra, Lyric Ope ra o f C hi cago, La Sca la a nd as Music Director of T exas Ope ra Th ea ter. He makes hi s MOT deb ut with thi s produ c ti on. Futur e e n gage me nts include debuts with L'Ope ra de Montre a l co ndu ct ing Rigole tt o, and Portland Opera a nd Baltim o re Ope ra co nductin g La Fil le du Regiment, a nd his re turn to New O rle ans to lead the mu sica l forces fo r th ei r production of Faust and L'Elisir d'Amore.

Copyright 2010, Michigan Opera Theatre

GORDON OSTROWSKI (Stage Directo r ) a Port Huron native, makes hi s MO T directorial debut with Madama Butterfly, which h e rece ntl y di rec t ed fo r Opera Pacific H e h as se rv ed as assistant directo r at Sante Fe Ope ra for seve ra l seaso n s, working o n n ote wotth y productions of The Nozze di Fi garo, Die Sc hweigsame Frau,

KENDALL SMITH (Lighting Designer) des igned t h e Iighting for the MOT producti on s of Rigo let w, La T raviaca, The Ballad of Baby Doe, Th e Marriage of Figaro, a nd Hans el and Gretel. He ha s a lso designed the lighting for

Copyright 2010, Michigan Opera Theatre

Governor Engler h as ca ll ed for the elimin atio n of a ll state funding for the arts. Althou gh arts o rga ni zat ions recognize the fi sca l problems th at face Michi ga n, a tota l reduct io n in arts fundin g n o w wo uld cr ippl e - eve n cl ose -a numb e r of o ur c ultur a l instituti o n s. Ind eed, severa l organ izations have a lre a dy closed, and artists have been forced to purse their liv e lih ood elsewhere.

HO W C A N YOU H EL P ?

Contac t you r legislator direc tl y. A ph o ne call o r lette r from yo u to your state se n ator a nd rep resenta ti ve wi ll make a n imp act - eve n if yo ur legislators o ppo se Governor Engler's posit ion. A li st of leg is lators' phone numbe rs and address is a va il ab le - stop by our New Yo rk Trip co unt e r.

Support th e ar t s. You r p rese n ce at this pe rfo rm a n ce sh ows yo ur int e rest in th e a rts . T ic ke t s reve nu e acco unt s fo r about h a lf of o ur tota l inc o m ethe rem a ind e r comes from contributions. If you h ave made a donation, p lease a ccept o ut th a nk s. If yo u h ave n o t -p lease co n s id e r do in g so. And enc o urage your friends, business associate s , a nd fell ow a rts s upp o rt e rs offe r their fin a nci a l s upp ort

Thank yo u for supp orting Mi chigan Opera Theatre!

JOI N Mic h igan Ope r a T h eat r e, t h e Fox Th eatre, a n d other membe r s of t h e Grand Circu s P a r k Associa t ion for t h e Thi r d An nu a l Th eatre District Spotlight Tour, Tu es d ay, Jun e 18, 1991 from 5:30 t o 9 : 30 p. m. For mo r e information come t o th e B o u tiq u e.

Important Phone Numb e r s :

Subsc riber Ti c ket H o tlin e 313 / 874-7831

Ti cket Office 8 74- SI NG

Admin istrati o n 874-7850

G e n e ra l Di recto rs C ircl e Info 874-7877

Group Sa les 8 74 -78 78

T OO V o ice 8 74-7 8 78

Comm unity Progra ms 874-7894

Fax 8 71-72 13

Emergency Ph o n e Contact Ma so nic Templ e 832-5500

WIN AWEEKEND TRIP FOR TWO TO

Roundtrip airfare for two proyided by .. the official airline of Michigan Opera Theatre.

Saturday night stay at the luxurious f::afltbn. .New York

Two orchestra seats to a New York City Opera production

Dinner for two at Tavern On The Green

Dinner for two at Panevinl! Ristorante, Lincoln Center

TO ENTER:

Please complete the entry form below and deposit in the drop box located in the main hallway outside the theatre aisle doors .

OR mail to: Michigan Opera Theatre

York Weekend Drawing

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One entry per person please Must be 18 or older to enter. NAME