PROGRAM: Bravo 1997 Spring Opera

Copyright 2010, Michigan Opera Theatre

by envisioning the entire rose,

True beauty lies in synergy. The delicate dance of light and color on a canvas . The marriage of music and words on a stage . The synchronization of stem and petal on a rose .

At DuPont, we also see beauty in the way components interact in the automobile Indeed, it is art as much as science.

We have applied this rather visionary approach to our repertoire of more than 100 automotive product lines. Each is designed and integrated to maximize overall system performance. And at the same time, reduce total cost.

We call it a "complete systems " approach ...seeing the possibilities that exist when all the pieces work together. And helping our customers realize them.

To us, an approach by any other name could never be as sweet.

More

Technologies For Better Solutions

... Start With DuPont.

If we were asked to design apetal, wetl begin

MICHIGAN OPERA THEATRE

Credits

Mitchell Krieger, Laura R Wyss

Editors

Grand River Printing Printer

RED GROUP

Tom Putters

Production Director

Karen Sunman

Art Director

Toby Faber Director

Advertising Sales

Cover Photo:

Detail/rom Detroit Opera House stage torchere

Photo by:

Mark Mancinelli

Michigan Opera Theatre would like to thank Harmony House Records for the donation of season recordings and videos.

The 1996/97 Michigan Opera Theatre Season is presented in cooperation with classical radio station WQRS-FM 105.1

Michigan Opera Theatre's 1996/97 subscription and single tickets have been graciously sponsored by Voice-Tel. Additionally, this year's ticket envelopes have been generously sponsored by Hammel Music.

Steinway is the official piano of the Detroit Opera House and Michigan Opera Theatre. Steinway pianos are provided by Hammell Music , exclusive representative for Steinway and Sons

President Tuxedo is the official provider of formal wear for the Detroit Opera House. Michigan Opera Theatre is a nonprofit cultural organization whose activities are supported in part by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and other individuals, corporations and foundations. Michigan Opera Theatre is an equal opportunity employer

Light i ng equipment provided by Production Arts Lighting, Inc.

Archive recordings engineered by Daniel Dene.

Welcome to the Detroit Opera House!

t is hard to believe that nearly one year has passed since that unforgettable landmark in Detroit 's cultural history - the grand opening of the magnificent Detroit Opera House. During this past year, we have enjoyed a series of extraordinary opera productions, launched our Dance Initiative with one of the world's great dance companies, and are fast achieving an enviable reputation world - wide for having an ideal acoustical and presentational venue.

We have made considerable progress toward completion of the Opera House since last April. In September ; we opened the elevator tower, which has provided barrier-free access to upper levels and three additional lobbies for the enjoyment and convenience of all of our patrons. Also opened is the Madison Lounge, where theatergoers can enjoy refreshments in a comfortable environment before, during and after a performance. On March 2, we inaugurated the magnificent General Director 's Circle Lounge for the pleasure of all our donors whose annual support makes our seasons possible

04r 1997 Spring Season is destined to be among the most exciting and artistically challenging seasons - to date, promising -something for everyone. For the ardent opera fan, we present The Flying D utch man, our very first Wagner opera, which I promised to present upon co mpletion of the Opera House. We will also present two proven favorites of the opera repertoire, Ri go l etto and The Marriage 0/ Figaro. We have assembled an international cast of celebrated luminaries including the company debut performances of Sumi Jo, Takova, Nicholas Loren , Carlo Ventre , Pamela Armstrong , Jee Hyun Lim , Richard Bernstein, Thomas Barrett, Eduardo del Campo, Susan Marie Pierson, Victor von Halem and Marek Gasztecki. The new season also embraces the return engagements of Haijing Fu, Tito Beltran, Janet Williams, Helen Donath, Louis Otey, Terese Cullen, Thomas Hammons, Ealynn Voss and Richard Cowan . Making his directorial debut is Dejan Miladinovic, and director Roman Terleckyj will return. Our maestros Steven Mercurio and Klaus Donath, both MOT veterans, will experience our fabulous new orchestra pi t for the first time; and John Mauceri, with whom I have had a long, wonderful relationship at Opera Pacific, will at last make his lon g-awaited Michigan Opera Theatre debut with The Flying Dutchman.

While the Detroit Opera House is now functioning, or operable, the fund-raising proces.s continues. There are many ways to get involved! Whether you underwrite a seat , buy a brick or make a contribution (please see page 4 for details) you are ensuring the completion of your opera house. We hope that you will support our efforts to make this landmark building a home for the performing arts for generations to come.

Enjoy

David DiChiera, General Director

\le'renot !the three tenors, but our practice does hit the everelusive hi note.

Diligence. Re spon sive nes s. Diversity of expe rience . The se words define the reason the transaction speci a li st s in D&T's Corporate Fin ance practice hit th e high n ote eve ry time th ey perform.

They are diligent. They th oro ug hly a n a lyze a nd ass ist in structurin g each tr a n sac ti on to ensure that m a jo r risk s a nd oppo rtunities a re identifi e d , qu a ntifi ed, a nd n ego ti a ted a dv a nt ageo u s ly.

They are respo n siv e. They a re rel a ti o nship o rient ed, smart , agg re ss iv e a nd a ttun ed to the intricacies of middle m ar ket sized tr a ns ac ti o n s.

Th ey a r e diverse. And it is thi s diver se

t ec hnical b a ckground and industr y experience which m a kes them a superior te a m of advisors. A team th a t looks a t yo ur busin ess with different eyes, to gain deeper in sight s and t o skillfully handle every aspect o f your tr a nsacti o n .

So whi le yo u ' re li s tening to the tenor, rem e mber the highe s t note in c o rpor a te fin a nce : Del o itte & To uche.

• Mergers & Acquisitions

o Sell-Side Advisory

o Buy-Side Advisory

o Acquisition Revi ew

• Financings

• Business Valuations

Michigan Opera Theatre invites you to become a part of history

We are pleased to offer you the opportunity to become a part of the history of the magnificent Detroit Opera House. One way you can do this is by putting your name on "the best seat in the house." Over 1,000 seats in the theater have been underwritten through the generosity of our donors. Our goal is to name every seat, so there are still 1,700 available for you to choose from in all sections of the house.

You ; gift will be recognized by a plaque on the seat, so you will receive recognition for your contribution in perpetuity. Gifts may honor you, your company or a loved one. Any gift of $1,000 and above may be paid over five years.

Another way to participate in this effort is to set your name "in stone." You can buy a brick for $100 that we will inscribe according to your wishes. The named bricks will be installed on the wall of the First Floor Elevator Tower Lobby for all theatergoers to see. More than 700 people have bought bricks already, but we need about 1,300 more to cover the entire wall.

Please join the growing number of supporters who have already contributed to this exciting project and put your name on a seat or a brick. Become a part of history by filling out the form below and returning it to Michigan Opera Theatre.

r--------c - - - - ----------, :

Enclosed is my check for $ for:

__ ' _ seat(s) in section No ___

__ brick(s)

__ general restoration contribution (Gifts of $1,000 and above may be paid over fi ve years )

My pledge is for $____

1" payment ___ 4'hpayment ___ 2'" payment ___ 5'h payment ___ 3'd payment ___

Please charge $__ to my credit card:

o Visa o Mastercard DAMEX

Account Nurnber ____

Expiration Date ___

Signature ___________________________

Please inscribe thislthese name(s) on the seat plaque(s)lbrick(s):

o My company will match this contribution.

Return to: or Fax to:

Detroit Opera House Campaign Michiga n Opera Theatre 104 Lothrop Detroit , MI 48202

(313) 871-7213

Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

LEGEND

8 All Upper Balcony seats have been named

7 $500 Balcony

6 $750 Mezzanine

5. $1,000 Orchestra

4 b. $2,500 Inner Circle (last 5 Rows)

4a. $5,000 Inner Circle (First 5 Rows)

3 $10,000 Diamond Circle

2 $25,000 Trustee Circle

1. All Boxes have been named

Michigan Opera Theatre, cited by the Detroit media as "one of the city's cultural jewels," is the State of Michigan 's premiere opera company, serving as a state-wide cultural resource committed ro producing the very best professional productions from the grand opera, operetta, musical theater and ballet reperrory. Founded and directed by internationally recognized impresario Dr. David DiChiera, ' Michigan Opera Theatre is npw recognized as one of the nation's most successful opera companies. Since its inception in 1971, Michigan Opera Theatre has called three different theaters "home" prior ro the opening of the Detroit Opera House. In 1971 the Company became the catalyst for the revitalization . of Detroit's ce l ebrated Theater District, as it re-opened the Music Hall Center for the Performing Arts Music Hall was home until 1985

In 1985, the company, in an effort ro accommodate its growing audience and increased production needs, began performing the fall season in the Fisher Theatre (primarily a Broadway sty le house seating 2,100), and the spring season in the 4,000-seat Masonic Temple Theatre While the move to the Fisher and Masonic Temple Theatres

located next to the newly renovated Fox Theatre, though this arrangement was not considered ideal because the facility was not for sale, only rent. While in the midst of these discussions, the Grand Circus Theater became availab l e for purchase. David DiChiera considered the magnificent structure ideal for its "opera house" style interior and the possibilities for building a new stagehouse He brought in facilities experts to substantiate its structural soundness, acoustical excellence and technical capabilities when updated. On December 31, 1987, the ball got rolling as the company secured the first parcel in the Grand Circus Theater block as the company's future performance site.

open the Detroit Opera House, bringing the building project to the attention of the public at large

In the spring of 1993, the wrecking ball came down on the Roberts Fur Building on the Grand Circus Theater block, making way for a new 75,OOO-square-foot stage house. With the $1.25 million Kresge Challenge grant, the acquisition of the last of the six parcels in the Grand Circus Theater block, and the 1994 Opera Ball inside the unrestored auditorium before a crowd of many who had never before seen the interior, the project gained unstoppab le momentum. Construction began in earnest on the stage house that same summer. The monumental task before Michigan Opera Theatre, the renovation of the Detroit Opera House, has been considered a key component for the economic, cultural and civic revital ization of Detroit.

AN OPERA HOUSE FOR DETROIT

achieved a temporary so l ution to the The Detro it Opera House. Company's need for technical resources, seating capacity and audience amenities, it became clear that the future of Michigan Opera Theatre as a permanent resource for the city and state would be jeopardized if the company could not control its own destiny. Michigan Opera Theatre, under the leadership of David DiChiera and the Board of Directors, set out to find a building ideall y suited for grand opera and ballet productions.

In 1990, the capita l campaign to raIse funds for the project began. With the support of several prominent business leaders, Michigan Opera Theatre ran a successful campaign to name the private grand tier boxes, enabling the Company to acquire the remaining parcels of the Grand Circus Theater b lock (this included three parking lots, the theater proper and the Roberts Fur Building) I n the fall of 1991, MOMENTUM

BUilDS

during a pre-concert press conference in the

In the late 1980's the company seriously Grand Circus Theater, Luciano Pavarotti considered renovating the State Theater made his memorable promise to return to

Copyright 2010, Michigan Opera Theatre

On April 21, 1996, a date that coincided with the Company's twentyfifth season, David DiChiera's dream became a reality as the Detroit Opera House was declared " open and ready for music " with an inaugural gala concert, featuring history-making performances by Luciano Pavarotti and a starstudded cast of world-renowned artists. All eyes were on Detroit, as the city celebrated the opening of its very own opera house -a world-class theater for the entertainment of generations to come.

The 1996 - 1997 season at the Detroit Opera House has been lovingly dubbed "Build i ng on a Dream". On January 12, 1997, the original structure that is now the Detroit Opera House, reached its 7S' h birthday. It is our sincere hope that you, your families and generations to come enjoy the Detroit Opera House - a reclaimed piece of our culture and history.

SIGNAL BENEFACTOR

$2,000,000

The Kresge Foundarion

G RA NO BEN EFACTORS

$1,000,000

Chrysler Corporarion

Ford Moror CompaJlY Fund

General Motors Foundation

The Skillman Foundation

M AJOR BE N EFACTO R

$500,000

John S. & James 1. Knight Foundation

LEADE RSH IP CI RCLE

$250,000 TO $499,999

Americech

Anonymous

Mr. & MrS. Philip E. Benron - Mr. Maurice Cohen

DaytOn Hudson Foundation on behalf of HudsOil's Detroit Edison Foundation

Mr. & Mrs '- Robert E. Dewar

Ghafari Associates, loc.

Hudson-Webber Foundation

Kmart Corporation

Lear Corporation

McGregor Fund

NBDBank

Ralph 1. & Winifred E. Polk

Charitable Annuity Trust

Mr. & Mrs. George Strumbos

TRW Foundarion

Mr. & Mrs R. Jamison Williams, Sr.

BENEFACTORS

$100,000 TO $249,999

Mr & Mrs Eugene Applebaum

ANR Pipeline Company

Blue Cross/Blue Shield of Michigan

Mr & Mrs. Richard A. Brodie Comerica, Inc.

Mr. & Mrs. Samuel Frankel

Mr. & Mrs. David B Hermelin

Mr & Mrs. Leonard Jaques

Mr. & Mrs. Harry A Lomason,II

Michigan National Corporation

Oliver Dewey Marcks Foundation

Omnicare Health Plan

Mr & Mrs. Louis R Ross

Mr Raymond C. Smith

Mr. & Mrs. Anthony 1. Soave

United Technologies Automotive

GOLD CIRCL E

$50,000 To $99,999

Dr. & Mrs Roger M Ajluni

Mr. & Mrs Robert A. Allesee

Allied Signal Foundation, Inc.

Mr & Mrs David Aronow

Dr & Mrs Donald C. Austin

Honorable & Mrs. Avern Cohn

Mr & Mrs. Marvin I. Danto

The Detroit News /Gan nett

Foundation

Dickinson, Wright, Moon, VanDusen & Freeman

Mr. & Mrs. Alfred]. Fisher,Jr.

Mr. & Mrs. Max M. Fisher

Mr. & Mrs Stanley Frankel

Mr. & Mrs. Alan 1. Gornick

DETROIT OPERA HOUSE

As of March 12, 1997

The Samuel L Westerman

Mr. & Mrs J ohn C. Griffin

Mr. & Mrs Presron B Happel Foundation

Mr. & Mrs Verne G. Istock

Mr. & Mrs. Paul Lavins

MascoCorp

Neiman Marcus

Mr. & Mrs. Donald E Petersen

Mr. & Mrs. Harold A. Poling

Mr. & Mrs. David Pollack

Mr. & Mrs. Irving Rose

Saturn Electronics

Mr & Mrs Alan E. Schwartz

Mr. & Mrs. Donald E

Schwendemann

Mrs. Rosemary Skupny

Mr Ri chard A Sonenklar

Thyssen Inc North America

Mr & Mrs Lynn A Townsend

Mr. & Mrs. Herbert Tyner

Mr & Mrs George C. Vincent

Dr & Mrs Sam B Williams

TRUSTEE CIRCL E

$25,000 TO $49,999

Mr & Mrs Gary 1. White

Mr & Mrs R Jamison

Williams, Jr

Diane W & Charles 1. Wilson, Jr.

Mr. & Mrs. Donald Worsley

Dr. & Mrs. Clyde Wu

Mrs. Paul Zuckerman

SILVER CI RCLE

$15,000 TO $24,999

Dr. & Mrs. Robyn Arrington, Sr.

Rebecca Happel

Howell Industries , Inc

Mario & Jane Iacobelli

Mrs. David Jacknow

Mr. & Mrs. Albert A Jadach

Mrs. William E. Johnston

JPRAlPeter Hansrea Architecrs

Mrs. Lillian Kuschinski

Honorable Mitchell I. Kafarski and

Zofia Drozdowska, M.D.

with sons Erik M. Kafarski &

Konrad C. Kafurski

Mr & Mrs. Stephen D. Kasle

Mr & Mrs. Tarik S. Daoud & Family

Dr. & Mrs. George Dean

David & Karen DiChiera

Eaton Corporation

Mr & Mrs John R Edman

Mr. & Mrs Burron D Farbman

Mr. Kenneth H Fox

Mr. Allan D. Gilmour

Mr. & Mrs Andy Giancamilli

Great Lakes Exteriors

Guardian Industries-Glass

Anonymous Division

Anonymous

Dr. Lourdes V Andaya

Mr. & Mrs Gebran S. Anton

Dr. & Mrs. Agustin Arbulu

Dr. & Mrs. John V Balian

Mr. & Mrs. ]. Addison Bartush

Mr. David Handleman

Mr. & Mrs Kenneth E. Hart

Mr & Mrs John Kaplan

Mr. & Mrs. David Baker Lewis

Mr. & Mrs. Walton A Lewis

Lobdell-Emery

Caprice W. & Mark Alan Baun Manufacturing Corp.

Mr. & Mrs Mandell 1. Berman Louise

Mr. & Mrs. John Boll

Meyer & Anna Prencis Family

Mr. Thomas Cohn Foundation

Complete Business Solutions

Consumers Power Foundation

Julie Donovan Darlow &

John C. O'Meara

Delaine & Touch e

DeRoy Testamentary Foundation

Mr. & Mrs, Cameron B. Duncan

Mrs Charles M. Endicott

Ernst & Young

Mr. & Mrs. Paul E. Ewing

Mr. & Mrs. Edward Frohlich

Mrs Aaron H Gershenson

Mr & Mrs. E. Jan Hartmann

James & Lynelle Holden Fund

Honorable & Mrs.

Joseph Impastato

Kaufman Memorial Trust

Mr & Mrs Robert Klein

Mr, & Mrs Gerald A. Knechtel

Mr & Mrs. Thomas Krikorian

Mr & Mrs. Eugene A. Miller

Mr & Mrs. Jaques Nasser

Mr. & Mrs Graham A Orley

Mr & Mrs Spencer Parrric h

Mr John E Perry

Phillips Service Industries, Inc

Mr Mickey Shapiro

Mr & Mrs. William H. Smith

Dr. & Mrs. David Susser

Mr. & Mrs. Melvin C.

VanderBrug

Mr & Mrs Thomas G. Kirby

Mr & Mrs John A Kirlin

Mr. & Mrs. Eugene Klein

Mr & Mrs Michael Kojaian

Mollie & Bruno Leonelli

Dr. & Mrs. Leonard Lerner

Mr. Charles Marks

Mr. & Mrs. E. R Milner

Marsha & Jeffrey H Miro

Sally & Harry Nosanchuk

Opus One

Mr. Michael W. Pease

Dr. Robert E. t. Perkins

Plunkett & Cooney, P.c.

Mr. & Mrs. Peter Ronan

Mr. & Mrs. David P Ruwart

Mr. & Mrs. Richard A. Sanders

Sandy Family Foundation

Marilyn & Norman Schakne

Mr. & Mrs Gregory ]. Schwartz

Mr. & Mrs. Richard Sloan

Mr. & Mrs. Roger B. Smith

Mr. & Mrs. Richard D.

Starkweather

Mr. Andrew P. Teitel

Dr & Mrs. 1. Murray Thomas

Mr. & Mrs Robert G Vallee, Sr.

Ann Kirk Warren

Mr. & Mrs. Alvin Wasserman

Mrs. Beryl Winkelman

Mr. & Mrs Theodore Zegouras

Mr. & Mrs. Robert C. SU STAINERS

VanderKloot

Mr. & Mrs Steven I. Victor

$5,000 TO $9,999

Alice Kales Hartwick

Mr. Clune Walsh Foundation

Mr & Mrs. Gary L. Wasserman

Mr. & Mrs Keith Weber

Dr Marilyn 1. Williamson

World Heritage Foundation

Mr. & Mrs. Ronald C. Lamparter DIAMOND CIRCLE

Mr. & Mrs Robert Liggett $1 0, 000 TO $14,999

Honorable Jack Marrin & Mr. & Mrs Chester Arnold

Dr. Benye Arrington-Martin Arias Tool, Inc

Matilda R. Wilson Fund

Mrs. Donald]. Atwood

Mr. & Mrs William T. McCormick, Jr Bethlehem Sreel Corporation

Mr. & Mrs Robert T O'Connell

Dr. & Mrs. Moon]. Pak

Mr & Mrs Hughes 1. Potiker

Mr. & Mrs. Lloyd Reuss

Mr & Mrs Jack A Robinson

Mr & Mrs Richard Rogel

Mr & Mrs. Bernard T. Brodsky

Mrs. Pearl Brodsky

Mr & Mrs Douglas & Sarah

Allison

Ms Helen Arnoldi

Dr & Mrs. Ingida Asfaw

Barris, Sort, Denn, & Deiker

Ms. Mary Bartush-Jones

Mr & Mrs. W. George Bihler

Mrs. Loris Birnkrant

Mr. & Mrs. Douglas Borden

Ms Susan Bominski

Mr. & Mrs. Donald]. Bortz, Jr.

Dr. & Mrs Joseph 1. Cahalin

Dr. & Mrs. Juan C. Carioni

Mrs Martin 1. Butzel Centra, Inc

Mr. David Chivas

Mr. & Mrs. Rodkey Craighead

Cherill & Richard Cregar

Mrs Shirley K. Schlafer & Family

Diane & Morton Scholnick

Mr J osep h Schwartz

Mr & Mrs S. Kinnie Smith, Jr.

Standard Federal Bank

Mrs Mark C. Stevens

Mr & Mrs. C. Thomas Toppin

Mr. & Mrs Art VanE Is lander

Mr & Mrs P e rer Cummings

Mr. & Mrs. David Denn

Ruth Drazin Gevercer Trust

Mr. Don Francis Duggan

Mr. & Mrs Louis Fontana

Mr Brian Fossee

Mrs. Roy Fruehauf

Mr. & Mrs. Keith E. Gifford

Dr Barbara Chapman &

Frank Andrews

Mrs. Eleanor A. Christie

Mrs Adelina

C. Colby

Coopers & Lybrand

Dr. & Mrs Victor Curatolo

Mr & Mrs Donald Curler

Ms. Mary Jane Doerr

Mr & Mrs. Lawrence F.

DuMouchelle

Mr & Mrs. Alex Erdeljan

Mr. Herbert Fisher

Mr. & Mrs Mirchell Fosrer

Mr. & Mrs. George E. Frosr

Dr. & Mrs. Juan Ganum

Mr. & Mrs. uwrence Garberding

Dr. & Mrs. Enrique Gerbi

Mr. Michael Gersrenberger

Mr. & Mrs. Carson C. Grunewald

Mr. & Mrs Joseph Gualtieri

Mr. & Mrs. Charles G. Gunderson

M r & Mrs. Eugene Hartwig

Sonia & Chuck Jacobs

Mr. & Mrs. Richard Janes

Mr. & Mrs. Harvey Kline

Dr. & Mrs. Alfred Kreindler

Mr. & Mrs Lee E undes

Mr. & Mrs Richard M. Larson

Mr & Mrs. Raymond Lehrinen

Dr. & Mrs. Murray B. Levin

Ms. Mary Sirorkin Lewis

Lewis & Thompson Agency

Dr. & Mrs. Kim K. Lie

Mr. & Mrs. Atthur C. Liebler

Mr. & Mrs. Mark McCartin

Mexican Industries

Mr. & Mrs. Charles R Moon

M r & Mrs. Fred Morganroth

Mr. Edwin Lee Morrell

Mr. & Mrs. Joel Morris

Mr. & Mrs E. Clarence Mularoni

Mr & Mrs. David C. Mulligan

Mr. & Mrs. E. Michael Murchler

Mr. & Mrs. Eino Nurme

Ms. Penny Og lesby

Mr. & Mrs. Joseph Orley

Paine Webber

Mr. & Mrs Jules Pallone

Mr. & Mrs. James Pame!

Manuel 1. & Louise J Papista

Mr. & Mrs. David P Parr

Perlmutter & Freiwald

Progressive Tool

PVS Chemicals, Inc.

Mr. & Mrs. Bernard Quin lan

Mr. Richard Rouchon

Dr. Hershel & Lois Sandberg

Mr. & Mrs. Richard]. Schlitters

Mr. & Mrs. uurence Schultz

Mr. & Mrs Frank C. Shaler

Mr. Robert Sievers

Mr. Frank D. Stella

Mr. & Mrs. Richard C. Webb

Mr. & Mrs. Eric A. Wilrshire

PATRONS

$2,500 TO $4,999

Mr & Mrs. Robett Anthony

Mayor Dennis Archer and the Honorable Trudy

Duncombe Archer

Mr. & Mrs Stephen M Bakonyi

Mrs Irene M. Barbour

Mr Edwacd Barbieri

Mrs. James Merriam Barnes

Mr. & Mrs. Gregory 1. Brownrigg

Mr & Mrs. Edwin G. Bundry

Mr Alan]. Burg & Dr Kenneth 1. Hillenburg

Mr. & Mrs. Clarence G. Carallo

Dr. & Mrs. Victor]. Cervanek

Honorable & Mrs. Gus Cifelli

Mr. & Mrs. Frederick H. Clark

Mr. & Mrs. Peter Cooper

Dr. & M rs. Sean Coyle

Mr & Mrs. Lawrence N. David

Consuelo S. & Henry E. Wenger

Hilda R. Ettenheimer Henry Penn W e nger

Mr. & Mrs. Stephe n Hagopian

Dr. & Mrs. Herbert Feldstein

M r George A. Duensing

Dr. & Mrs. Charles H. D uncan

Dr & Mrs. Lloyd C. Fell

Dr. & Mrs Irving Feller

Mr. & Mrs. Felix T. Adams

Roger and Ellen Ajluni

Mrs Beverly Frank Albert Kahn & Assoc iates

Mrs Mary Frank James Harrway & Kerstin Allvin

Mr. Charles Antal

George Johnson & Co

Mrs. Robert Hamilton AVIS Ford

Ms. Mary C. Harms Bal Polonais of Detroi t

Mr. & Mrs. David H. Hill

Bruce A. Hillman Tribute Fund

Ms. Andrea Z. Balcerski

Mrs. A lvin E. Balmes

Ms. Chrisri A. Hoagland Joseph A. Bartush

Mr. George A. Cook

Mr. Steven Cottrell

Co-Erre C l ub

Ms. Joyce Czajkowski

Mr. Paul Czmanske

Mr. & Mrs. Nicholas Dacko

Mr. & Mrs. John W. Day, Jr

Mr. & Mrs. Richard De Bear

Mr. Jon M De Horn

Mr. George W. DeClark

Ms. Kimberly Johnson Banen, Banoo, Durnstein & Mr. J ohn M. Dee

Miss H. BarbaraJo,hnston Osborn

Ann F. & Norman /Katz

Dr. & Mrs. Sydney M. Kaufman

Mr. & Mr. Donald A. Knapp

Farh er Ralph E. Kowalski

Lafayerre Steel

Ms. E l izabeth A. Lifsey

Ms. Lynne Beth Master

Mr. & Mrs. Theodore Mooolidis

Mary & Charles A. Parkhill

Mrs. Irene Piccone

Mr. & Mrs. Joseph c. Primo

Ruth F. Rattner

Mr. & Mrs John B. Renick

Rosentha l Family Foundation

Maria Roumell Tribute Fund

Mr. & Mrs. Casimir B Rozycki

Mr. & Mrs. Charles Russo

Mr. & Mrs. Roger E Sherman

Dr. Michael Short

Siemens Automotive

Ms. Phylis Funk Snow

Dr. & Mrs. Rober< J. Sokol

Drs Wm P. & Frances 1.

Sosnowsky

Geri & Murray Spilman

Mr. & Mrs. William P. Vititoe

Dr. &.Mrs. John G. Weg

Ms. Linda Beeckman

Mr. & Mrs. Ara Berberian

Mr. Marvin S. Bernstein

Mr. Roland 1. Bessette

Mr. & Mrs. John Bielawski

Mrs Judirh B iggs

Dr. Leonard Birndorf

Mr. & Mrs. Milan Blaba

Art & Betry Blair

Mr. & Mrs. G. Perer Blom

Mrs. Loretta Boccomioo

Mrs. Eleanor C. Bodurow

Ms. Kathleen Bohn

Mr. & Mrs. Jeffrey R. Bonello

Ms. Joyce E. Delamaccer

Miss Annecce M. Delorenzo

Mr & Mrs. Lou DeMaris

Mr George E. D em bry

Mr. & Mrs. Robert Derderian

Mr. & Mrs. Giuseppe DeVita

M s. Nesrin Dickow

Mr. Leonard R Dimsa

Dr. L DelfDodge

Mr. Gerald Dorcey

Mr. & Mrs. Robert 1. Dorn

Mr. & Mrs. Wi ll iam Duling

Dr. & Mrs. Jam es R. Duncan

Durr Industries

Mr. J erey Earles

Mr. & Mrs Domini ck Bonucch i Lady Jane Easton

Borders Books

Dr. Jean S. Braun

Dr & Mrs. Sander J Breiner

Mr. & Mrs. Gerald Brighr

Mr. Peter M. Brown

Mr. Robert Eckerman

Dr Rupert Edwards

Ms. Ingrid Eidnes

Mr. & Mrs. Robert Elsey

Dr. Raina Ernsroff & Sandy

Ms. Barbara Bryanton Hansell

Mr. Fted Buchalter

Lamont & Vivian Buffingcon

Mr & Mrs. Robert G. Campbell

Honorable Dominick R.

Carnovale

Mr. & Mrs. Conrad D. Chapman

Leon & Josephine Winkelman 'Ms Virg inia Clement i

Foundation

11r. &: Mrs Stanley J. Winkelman

FRIEND S

$ 1,0 00 TO $2,499

Anonymous

Mr. & Mrs. C. Richard Abborr

Ms. Eileen

Mrs. Ell en Cooper

Mr. & Mrs. Norton Cohen

Dr. Arnold M. Cohn

Mr. & Mrs. James W. Collier

Mr. Kenneth Collinson

Dr. & Mrs. J ames M. Colv ille

Compuware

Continental General Tire, Inc

Dr. & Mrs. Jalil Farah

Mr. William G. Fin layson

Ms. Ph yllis W. Foster

Mr. Earl A. Foucher

Mr. & Mrs. Harold L Frank

Friends of Polish Art

Dr. Yvonne Friday

Gencorp Foundation

George Williams Interiors, Ltd

Dr. & Mrs. Byron P. Georgeson

Dr. & Mrs. Peter E. Georgeson

Mr. Thomas M. Gervasi

Mr. Roben Giles

Mr. & Mrs. William N.

Gilmore, Jr

Dr. Kenneth Ginsburg & Dr. Dorothy M Kahkonen

Dr. Bonnie Sowa

Lynne Girard-Dewey

Mr. & Mrs. Garry Kappy

Mrs. Marilyn J. Katz

Mr. & Mrs. Michael M. Glusac Kelly Services

Dr. & Mrs. Alegro J Godley

Dr. & Mrs. Charles Kessler

Mrs. Rhonda Goers Cathy & Steve Kirkpatrick

Dr. & Mrs. J oel Golberg

Mr. & Mrs. J onathan Green

Dr. Prisc ill a Greenberg

Ms. Helen Gridley

Mrs. C laire 1. Grosberg

Dr. & Mrs. Michael Hagan

Mr & Mrs. Roben Hage

Mrs. Alice Berber ian Haidostian

Mr. David Hall

Mrs. Berry Ann Hall

Mr. Edgar Hamilton

Mr. George V. Hamlin

Mrs. Hala Harb

Sherry & David Harfst

Mr. J oseph Harris

Mr. Richard Harrison

Dr. & Mrs. Charles E Harrley

Dr. & Mrs. J ohn M. Hartzell

Mr & Mrs. Step hen R. Harvath

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III Williams International

Copyright 2010, Michigan Opera Theatre

Puccini, ShakesReare, Verdi, Strauss, Batten, Barton, rstine, Osborn.

[Here

(April 5-13, 1997)

Giuseppe Verdi

Libretto by Francesco Maria Piave

(after Le Roi s'amuse by Victor Hugo)

F irst Performance: Venice, March ll, 1851

April 5, 9, ll , 12 at 8 PM

April 6, 13 at 2 PM

Conducted by STEVEN MERCURIO

Directed by DEJAN MILADINOVIC*

Designed by ZACK BROWN

Lighting Design by KENDALL SMITH

Chorus Master SUZANNE ACTON

Make-up and Hair Design by ELSEN ASSOCIATES

Stage Manager: JOHN KENNELLY

Sets, costumes and props for this production prrwided by The Washington Opera

Production made possible by a grant from Gramma Fisher Foundation of Marshallt()Wn I()Wa

Additional costumes prrwided by Seattle Opera

Supertitles translation by Henri Venan zi Supertitles for this productio n are ()Wned by Opera Pacific

Sound Effects by Daniel Galeski

There will be intermissions foll()Wing Act I Scene 2 and Act II

CAST IN ORDER OF VOCAL APPEARANCE:

The Duke of Mantua TITO BELTRAN

(April 5, 9, 12)

CARLO VENTRE *

(April 6, 11 , 13)

Borsa, a courtier SCOTT PIPER

Countess C eprano BARBARASCHERRER+

Rigoletto, the Duke's jester HAIJINGFU

(April 5, 9, 12)

NICHOLAS LOREN*

(April 6, 11 , 13)

Marullo, a cavalier DONALD CONRAD HARTMANN

Count Ceprano

FRANK E PITTS+

Count Monterone DINGGAO*

Sparafucile, a bravo JAMES PATTERSON

Gilda, Rigoletto's daughter SUMIJO*

(April 5, 9, 12)

DARINA TAKOVA *

(April 6, 11 , 13)

Giovanna, Gilda's nurse BARBARASCHERRER+

The Duchess' page RACHAEL UNITE*+ A court usher

EUGENE ZWEIG

Maddalena, Sparafucile's sister CAROL SPARROW*

April 5'h Opening Night Performance

Sponsored by Magna Interior Systems

April 11 h Performance

Sponsored by

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April 12'h Performance

Sponsored by £...

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Copyright 2010, Michigan Opera Theatre

ACT I, SCENE 1

The Duke's l'}alace

In the court of the profligate Duke of Mantua, a wild, hedonistic banquet is in progress. The Duke tells his courtier Borsa of his interest in an unknown maiden he had secretly followed to church; at the same time, he admires the Countess Ceprano, in attendance at the banquet . The Duke does not care if women know that he is attracted to many ; nor does he worry about the jealous eyes of husbands and fathers. As he courts the Countess, Rigoletto, his jester, mocks the Count Meanwhile , the cavalier Marullo has learn ed that R igoletto has a mistress . Count Ceprano, enraged at Rigoletto's mockery, enlists the other courtiers in a plan for vengeance

At the height of the argument, Count Monterone enters . His daughter had been seduced by the Duke, and Monterone demands satisfaction Rigoletto insults him in a cruel and lewd fashion; and Monterone, denouncing bt;>th the Duke and his serpent of a jester, pronounces upon Rigoletto a father's curse ("maledizione" in Italian).

ACT I, SCENE 2

The'Street outside Rigoletto's home

Rigoletro has left the court to make his nightly visit to his home. As he pauses outside his courtyard, deeply disturbed by Monterone's imprecation, he is approached by Sparafucile, a man who lives by his sword. Offering his services to Rigoletto as a paid assassin, Sparafucile explains his pIethod and price, and tells Rigoletto that he can find him at this ' location each evening .

Alone, Rigoletto ponders how alike he is to the killer, using his tongue to wound instead of a sword, and cursing the entire race of courtiers who have, in their cruelty and mockery, made him into the twisted jester.

But at home he becomes another man . As he enters the courtyard, he is greeted exuberantly by his daughter, Gilda. On hearing his sigh, she asks him about her family, about her mother. Rigoletto confesses that her mother, now dead, was the only person who ever treated him with compassion. Still, in his zeal to protect his daughter from the life he leads, he tells her no more, and refuses to permit her out, except for church. He charges Giovanna, Gilda 's nurse, with her care, and takes his leave .

Meanwhile, the Duke has, with Giovanna 's paid help, sneaked into the courtyard When he finds himself alone with Gilda , he passionately tells her of his love . The-mnocent young maiden is thrilled and confesses to sharing his feelings. Telling her that he is a poor student named Gualtier Malde, the Duke takes his leave. Alone, Gilda relives the thrill of her passion, and swears that she will belong to her love until death .

Outside the wall, the courtiers have gathered to carry out Ceprano's vengeance by abducting the g irl they believe to be Rigoletto's lover. The jester, returning , is told that the plan is to kidnap the Countess Ceprano Relieved, Rigoletto agrees to take part The courtiers mask him, secretly covering his eyes, and make off with Gilda as he holds the ladder. When Rigoletto realizes that he has been betrayed, it is too late; the curse of Monterone has begun to operate.

ACT II

The Duke's Palace

The Duke had also returned to find Rigoletto's house empty, and is angry that his newest love has been taken from him; but the courtiers gleefully tell him of their trick, and the Duke, learning that they have brought Gilda to the palace, rushes to be with her.

Rig oletto enters the hall , mournfull y searching for some eviden ce of Gilda's whereabouts When the courtiers tell the Duchess ' page that he is not to be disturbed, Rigoletto realizes the truth , and tells the courtiers it is his daughter they have taken Cursing the ent i re vil e race of courtiers , he demands in vain to see her.

Finally, Gilda emerges from the Duke's bedchamber, and alone with her father, tearfully confesses the entire story. Rigoletto tells her they will leave the city, but before they can go, they are interrupt ed by Monterone, who, on his way to the scaffold, once more curses the Duke Rigoletto swears he will carry out vengeance for himself, Gilda , Monterone , and all who have been betrayed by his evil master.

ACT III

An inn outside Mantua

Outside a tawdry inn on the outskirts of the city, Rigoletto and Gilda appear. Rigoletto has brought her here to show her the truth about her love, to whom she still wishes to be faithful.

They se crete themselves, and shortly, the Duke, dressed as a cavalier, enters the inn, asking the innkeeper-Sparafucile himself-for some wine, and his sister. The Duke rhapsodizes on the fickleness of women , as Maddalena, Sparafucile 's sister, serves him wine As the Duke seductively woos Maddalena, the heartbroken Gilda ob serves throug h a crack in the wall, unabl e to hear her father 's attempts at consolation.

Rigoletto sends Gilda home to don the clothes of a boy for their journey, then hands Sparafucile a down payment on the murder of his master. As storm clouds gather, Maddalena , who is charmed by the handsome stranger, begs her brother to spare the Duke. Finally Sparafucile agrees that if someone else knocks on the inn door before midnight, the newer arrival can take the Duke's place in the sack destined to be his shroud

Gilda, in a frenzy of confused love, has changed her clothing and returned, and she overhears the murderous discussion Realizing that her sac rifice can save her love , Gilda pounds on the door, and, at the height of the storm, enters the inn, knowing that the point of a sword will be her welcome.

The storm moves on. Rigol etto, returning, exults in the feeling of power that elates him as he waits to dispose of the dead body of his evil master. At midnight, the door opens, and Sparafucile brings him a body in a sack, colleers his money, and bids his client good night. Ri g oletto, about to throw the body into the river, is stopped by the voice of the Duke drunkenly singing from the inn. Realizing that an innocent victim is in the sack, he rips the fabric open, to find his daughter inside. Gilda has just enough life left to confess her deception, and to tell her distraught father that she will be waiting for him in heaven, with her mother. As she falls lifeless, Rigoletto once more cries out , "the curse of Monterone! "

Copyright 2010, Michigan Opera Theatre

The great Verdi baritone Sherrill Milnes says that Rigoletto is the most difficult role he has ever sung, because the humps on the singer's shoulder and back needed to create the "hunchback" effect of the jester of the Duke of Mantua are not enough. "You also must bend over for four acts. It takes enormous strength," says Milnes. questioned Verdi in 1851 when he composed the opera for Teatro la Fenice about the advisability of a singing hunchback. Verdi was adamant . "The subject is grand, immense and there's a character in it who is one of the greatest creations the theatre of all countries can boast. "

This grand creature is directly from Victor's Hugo's shocking play Le Roi s'amuse, banned in France in 1832 after one performance. The play, about the debauched King Francois I (1515-1547) and his jester Triboulet ("little mocking laugh ") was considered obscene for its depiction of toyalty. In Italy, Verdi's Austrian censors agreed, forcing him to set the story in Mantua, probably using the scandalous Gonzaga Duke Vicenzo I (1587-1612) as a prototype.

The opera opens with one of the Duke's infectious melodies, "Questa 0 quella, " with words revealing his true libertine colors His latest whim is a mysterious beauty (Rigoletto 's daughter) found in church. At court, he charms the Countess Ceprano with a seductive menuetto.

In the preface to his play, Hugo describes his jester as deformed, sick, and, evil. In the opera, the Duke calls his jester a fool, and the courtiers ridicule him for his deformity. Rigoletto ret'urns their slurs with malice, such as suggesting Ceprano be decapitated for objecting to the Duke's flirting with his wife. When Count Monterone vehemently protests the Duke 's rape of his daughter, Rigoletto mocks him. Monterone's response, "La Maledizione," is the curse that sets the tragedy in motion.

"Rigoletto is two people," says Milnes. "At work, he is sarcastic and bitter. At home he is a loving father." That love, expressed in the Act II duet, "Figlia! Mio padre, " between Rigoletto and Gilda, typifies Verdi's great father/daughter scenes. Gilda's mother died soon after her birth, and she has lived in Mantua only three months. She is naturally curious about her family, but Rigoletto avoids her questions.

Deformed people were more prevalent in the 16th century due to improper diet and medical care, according to Ralph Williams, U-M professor and former director of the U-M Florence program, suggesting there would have been more acceptance of them, but according to Milnes such babies were abandoned by their families if not killed or kept hidden. "Rigoletto has been very clever, for he has managed to keep a jOb and make a living for his daughter," says Milnes.

Rigoletto 's devotion to his daughter is paralleled by paranoia over her safety. He instructs the housekeeper Giovanna not to let anyone in. "Not even the Duke?" she asks, suggesting she knew Gilda's suitor. Gilda's dreamy aria "Caro nome" about her admirer's name, Gualtier Malde, has been a vehicle for legendary coloratura sopranos.

As Act II begins, the Duke bemoans the kidnapping (Act I,

ii) of his newest love. Since Ceprano's attraction, if sweet, was short, his love for Gilda must be taken as insincere. When the courtiers tell him they have kidnapped Rigoletto's "mistress," he runs to "console" Gilda.

Rigoletto pleads for his daughter's release in the aria, "Cortigiani," one of opera's finest moments. Coincidentally, Gilda runs in as he finishes. Tastefully, the "deflowering" scene was eliminated from the opera, and it is through Gilda's words we learn of the rape (although she claims she loves the Duke).

In Act III, the Duke has been lured by the tart Maddalena to her brother Sparafucile's sleazy inn to be assassinated. Inside, the Duke sings what has become the all-time hit aria, "La donna e mobile" (Women are fickle). Outside, Rigoletto admonishes Gilda for her unrequited love of the Duke, which seems inconceivable until we learn from the play that Gilda became the Duke's mistress in the month between Act III and IV. His infidelity here makes her future bleak. The famous quartet "Bella figlia dell'amore" that follows is musically unsurpassed.

While Gilda does change to male attire for her escape, she returns to the inn, disobeying her father and, violating her Catholic faith, commits suicide. She sacrifices herself to save the life of the Duke and probably her father's life as well.

"Assassination of a duke in Italy at that time would result in some horrible act," says Williams. "If he were caught, Rigoletro's death would be violent, probably with torture beforehand."

The tragedy seems like poetic injustice. A man vilely treated, with cause for malice, meets with fate's cruel curse as he opens the bag to find his daughter a victim of his hate

"If the singer has done his job, the audience should be in tears," says Milnes.

Mary Jane Doerr is a Detroit based free -lance writer specializing in opera and musical theater.

CAST IN ORDER OF VOCAL APPEARANCE:

Figaro, valet to the Count RICHARD BERNSTEIN*

(May 3, 7, 10)

THOMAS BARRETT*

(May 4, 9, 11)

Susanna, Figaro's betrothed, and chambermaid to the Countess JANET WILLIAMS

(May 3, 7, 10)

JEE HYUN LIM*

(May 4, 9, 11)

Don Bartolo, doctor THOMAS HAMMONS

Marcellina, Bartolo's former housekeeper MELODY 1. RACINE*

Cherubino, the Count's page TERESE CULLEN

Count Almaviva LOUISOTEY

(May 3, 7, 10)

EDUARDO d el CAMPO

(May 4, 9, 11)*

'The Marriage oj$igaro

(May 3 -11 ,1997)

Wolfgang Amadeus Mozart

Libretto by Lorenzo da Ponte (after Le Mariage de Figaro by Pierre-Augustin Caron de Beaumarchais)

First performance: Vienna, May 1, 1786

May 3, 7, 9, 10 at 8 PM

May 4,11, at 2 PM

Conducted by KLAUS DONATH

Directed by ROMAN TERLECKYJ

Scenery Design by CONSTANTINOS KRITIKOS

Costumes and Props by JEAN-PIERRE PONELLE

Lighting Design by KENDALL SMITH

Chorus Master SUZANNE ACTON

Make-up and Hair Designed by ELSEN ASSOCIATES

Stage Manager JOHN KENNELLY

Sets provided by the New Orleans Opera Association

Costumes and props for this production provided by The Washington Opera

Supertitles for The Marriage of Figaro are owned by the San Francisco Opera Association

Supertitles translation by CLIFFORD CRANNA

There will be intermissions following Acts I and II

Don Basilio, music-teacher CESAR ULLOA *

Countess Almaviva HELEN DONATH

(May 3, 7, 10)

PAMELA ARMSTRONG

(May 4, 9, 11)

Antonio, the Count's gardener and Susanna's uncle FRANK PITTS*

Barbarina, Antonio's daughter RACHAEL UNITE*

Don Curzio, jurist JOSEPH POKORSKI

Two Bridesmaids JENNIFER OLIVER ROSALIN CONTRERA GUASTELLA

May 3'd Opening Night Performance

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May 7'" Performance

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May 10'" Performance

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ACT I

A room in Count Almaviva's palace

It is ihe wedding day of Susanna (maid to Countess Almaviva) and Figaro (manservant to the Count). As the curtain rises, the couple are in a sparsely furnished toOm in the Count 's castle. Figaro is preparing the room as their bedroom , bur Susanna warns him that it is unsuitable. The room is too close to the Count's rooms, and the Count is interested in Susanna. Figaro is furious and determines to thwart his master 's aims.

Susanna and Figaro leave, and Marcellina (the Count 's housekeeper) and Bartolo enter. Figaro is in debt to Marcellina and has promised to marry h er if he does not pay her back. Bartolo would love to see his old enemy Figaro forced to marry Marcellina Susanna rerurns , and has a brief encounter with the departing Marce ll ina. Cherubino, the Count's page, enters. He tells Susanna that he is to be sent away since the Count caught him with Barbarina (the daughter of Antonio, the gardener) Cherubino does not want to leave, as he loves the Countess, Susanna, and in fact all womankind. The Count approaches, and Cherubino quickly conceals himself behind a chair.

The Count begins EO tell Susanna of his desire for her, bur they hear Don Basilio approaching. The Count quickly hides himself. Basilio enters and t ells Susanna of Cherubino's love for the Countess. The Count, furious with what he has heard , reveals himself. Cherubino is a lso soon discovered

Figato enters with a group of village folk. Figaro asks the Count ro give Susanna away in marriage, but the Counr evades the issue by postponing the ceremony, promising a lavish party later The villagers leave. The Count orders Cherubino off to take up a commission in his own regiment and Figaro lighthearted l y warns Cherubino abour the rigors of military l ife.

ACT II

The bedchamber of Countess Almaviva

The Countess, in her boudoir, mourns the fading of her husband's love. Susanna enters, and then Figaro. He tells the Countess that, ro distract the Count from his pursuit of Susanna, he has sent a note to the Count falsely stating that the Countess has a rend ezvo us that even i ng with a lover Furthermore, he plans ro send Cherubino , disguised as Susanna, ro the meeting with the Count. Figaro leaves Cherubino e nters. He submits ro being dressed as a girl. A knock on the door is heard It is the Count Cherubino hides. The Count enters and senses his wife's confusion A noise is heard from the dressing room ,but the Countess contends that it is only Susanna and refuses to unlock the door for the Count. The Count is determined to break down the door and leaves the room in order to get tools, taking the Countess with him.

Susanna , who was in her own room and entered the Countess' boudoir unnoticed, appears and tells Cherubino that he may come out. Cherubino does so, and quickl y jumps out of the window; and Susanna takes his place. The Count and Countess rerum. She confesses that Cherubino is in the dressing room, and as the Count prepares to break down the door, Susanna steps forward Both the Counr and Countess are baffied.

Figaro enrers. He denies se ndin g the letter which the Countess and Susanna have confessed was a falsity. Antonio, the gardener, enters to complain th a t his prize plants have been ruined by so meone leaping from the window. Antonio has discovered a document in the flowerbed. The Count questions Figaro on its content, since Figaro has admitted to having leapt from the window so as to cover the actions of Cherubino To add to the confusion, Marcellina, Bartolo and Basilio enter and demand justice of Figaro for Marcellina.

ACT III

A hall in the palace

In the castle hall, the Count reflects on the situation Susanna enters and says she is prepared to comply with his wishes Her plan is to use the promised dowry from the Count to pay Figaro's debt to Marcellina. SuSanna departs and encounters Figaro. Her comment to him, "Our case is won," is overheard by the Count, who now realizes he is being tricked.

Figaro, his enemies, join the Count, who has been advised that Figaro must pay the debt or marry Marcellina. But it is discovered that Figaro is in fact Marcellina's long lost son, and that Bartolo is the futher. Susanna enters momentarily It is decided that a double wedding is in order

The Countess, alone, weeps in sadness as she struggles to regain the love of her husband The strategy to ensnare the Count continues as the Countess dictates to Susanna a letter suggesting a rendezvous They seal it with a pin A group of peasant girls, led by Barbarina, enter (Cherubino, in disguise, is among the group). Antonio and the Count enter. Barbarina tells the Count that she wants Cherubino in return for her affections towards the Count. Figaro enters and notices that Susanna slips a note to the Count.

ACT IV

The garden

Barbarina, in the darkness of the garden, has lost the pin the Count asked her to give to Susanna. She tells Figaro, whom she encounters in the garden Figaro suspects the worst and comments on the infideliry of women He hides as the Countess and Susanna enter, having exchanged clothes Susanna, knowing Figaro is hiding, sings of her intended love for the Count

The Countess (in disguise as Susanna) waits for the Count. Cherubino enters and does not waste the opportunity to flirt, but is interrupted when the Count arrives. The Count flirts with the woman he believes is Susanna. Figaro enters and sees Susanna (in disguise as the Countess) and believes that he is telling the Countess of the Count's infidelity Susanna forgets to disguise her voice, and Figato discovers the ploy but plans to tease the ladies.

The Count sees Figaro and his "wife " in a passionate embrace and sets out to publicly humiliate his wife. The real Countess steps forward and the Count asks for forgiveness, which the Countess grants. All proceed joyfully ro the banquet to celebrate the end of the crazy day

By kind permission o/The Decca Record Company Ltd

THE MARRIAGE OF FIGARO

The Marriage of Figaro was Mozart's second opera for Vienna, and his first major colJaboration with the librettist Lorenzo da Ponte. They chose a controversial French play by Beaumarchais, La folie journee ou Lemariage de Figaro. This, the second of a trilogy about the Spanish barber Figaro, had recently created a scandal across Europe for its political content: the notion of a Count getting his comeuppance for 'his wicked designs on Susanna, the fiancee of his servant, Figaro, at the hands of his wife, the Countess, and of his social inferiors was clearly inflammatory. Louis XIV called the play "detestable," while Napoleon claimed it "the revolution in action."

But social satire apart, the play is also a sparkling comedy of manners: the harridan Marcellina and the pedantic lawyer Dr. Bartolo--who are both enlisted to help the Count, but who turn against him on the discovery that they are Figaro's parents-plus the fawning music-master, Don Basilio, and the love-sick adolescent, Cherubino, are splendid characters. Moreover, Lorenzo da Ponte was a good librettist who knew what worked on a stage. He could write polished verse well suited to music. He had to tone down the more obviously seditious passages of the play, but he did not alter it as much as one might expect (or as much as the Emperor, who had banned the play from Vienna, was led to believe).

Many of the resulting such as Figaro's "Se vuol ballare," the Count's "Vedro mentre io sospiro," Susanna's "Deh vieni, non tardar," and the Countess' "Porgi amor" and "Dove sono," take the opera into a different world : the carefully calculated transformation of the Countess, whose renewed self-understanding becomes the focal point of the action, is particularly striking. And if the libretto had to delve more deeply into the characters than Beaumarchais might have wished, Mozart's music delves deeper still. For everyone in the opera, what starts out as a rather innocent game becomes (by the middle of Act II) an intense and ultimately revelatory experience.

Mozart renders his characters far more human than their derivation

from commedia de/l'arte stereotypes would suggest. He also found ways of restoring the political elements cut from the libretto: the music for Figaro and Susanna goes beyond what opera bulla conventions decreed suitable for the lower classes, and dance patterns, in particular the courtly minuet, allow the servants to challenge their masters in subtle ways Finally, Mozart develops a musical style that fully meets the demands of comedy This is especially apparent in the glorious ensembles . Two structural procedures that Mozart was currently developing in his instrumental works come to fruition here: contrapuntal techniques that enable characters to present different points of view simultaneously, and sonata-form organization exploiting the abiliry of tonality to establish and resolve musical conflicts that mirror the conflicts and resolutions of the action The best example is the Act III sextet, "Riconosci in questa amplesso"-reportedly Mozart's favorite piece in the opera-where the drama of Figaro recovering his long-lost parents is matched perfectly by Mozart's music. Similarly, the magnificent Act II finale elaborates a well-founded musical structure of unprecedented length to support the ebb and flow of the action. Perhaps for the first time, Mozart has fully realized the potential of the Classical style The result is a comic masterpiece.

Michael Kelly wrote of the premiere on May 1, 1786, "At the end of the opera, I thought the audience would never have done applauding and calling for Mozart Never was any thing more complete, than the triumph of Mozart, and his Marriage of Figaro." Mozart wrote excitedly from Prague the following January : "here they talk about nothing but 'Figaro.' Nothing is played, sung or whistled but 'Figaro.' No opera is drawing like 'Figaro.' Nothing, nothing but 'Figaro '. "

Tim Carter is Reader in Music, University of London. Extracted by kind permission from the St. James Opera Encyclopedia

CAST IN ORDER OF VOCAL APPEARANCE:

Daland, a merchant captain MAREK GASZTECKI*

The Steersman of Daland's vessel SCOTT PIPER

The Dutchman

VICTOR von HALEM

(May 31,june 4, 7)*

RICHARD COWAN

(June 1, 6, 8)

Mary, Senta's nurse

MELODY 1. RACINE

Senta, Daland's daughter

EALYNNVOSS

(May 31,june 4, 7)

SUSAN MARIE PIERSON*

(June 1, 6, 8)

Erik, a huntsman IAN DeNOLFO*

I

(May 31 -June 8, 1997)

Richard Wagner

Libretto by the composer

First performance: Dresden, January 2, 1843

May 31, June 4,6,7 at 8 PM

June 1, 8 at 2 PM

Conducted by JOHN MAUCERI*

Directed by ROMAN TERLECKYJ

Designed by ZACK BROWN

Lighting Designed by KENDALL SMITH

Chorus Master SUZANNE ACTON

Make-up and Hair Design by ELSEN ASSOCIATES

Stage Manager JOHN KENNELLY

Sets, costumes and props for this production provided by The Washington Opera

Production made possible by a grant from Gramma Fisher Foundation of Marshal/t()W11, Iowa

Additional costumes supplied by Malabar Limited, Toronto

Supertitles for The Flying Dutchman are ()W11ed by the San Francisco Opera Association

Supertitles translation by CHRISTOPHER BERGEN

Sound Effects by DANIEL GALESKI

There wil/ be intermissions fol/owing Act I and II

THE FLYING DUTC ACT

Sandwike Cove

The ship of the Norwegian merchant Daland is driven into a cove by a heavy storm. Upon landing, the captain recognizes it as Sandwike, only seven miles away from his home. He decides to wait here for the storm to abate and, leaving the helmsman on watch, goes below deck with the rest of the crew to sleep The helmsman, although he tries to keep himself awake with a sea shanty, is gradually overcome by sleep; this allows another ship, with striking blood - red sails, to approach unnoticed and drop anchor.

The captain of the second ship, the Flying Dutchman, goes ashore and in a long monologue tells his sorry tale. He is condemned to wander forever on the seas. Only a woman faithful unto death could deliver him from this fate Once every seven years he is allowed to land and thus be afforded the chance of meeting such a woman, but so far it has been in vain.

Copyright 2010, Michigan Opera Theatre

Daland comes on deck and, having seen the other ship, approaches the Dutchman. The initial response to his approach is very guarded; but soon the Dutchman has a crate of jewels brought out for Daland in return for an invi-

*Michigan Opera Theatre debut +Michigan Opera Theatre Young Artist Apprentice

tation to spend a night in his house Then the Dutchman shows a sttong reac- standing before them , they recognize the convergence of their wishes. The tion upon hearing that Daland has a loyal and devoted daughter Straight Dutchm a n sees his deliverance appear within reach when in the end, Senta away he asks Daland for her hand in marriage, and the father, who has been swears eternal fidelity to him Daland returns and learns to his satisfaction looking for a wealthy son-in-law for some time, agrees without more ado. (without suspecting the identity of the stranger) that the interview between M ea nwhile, the wind has changed so that both ships are able to sail towards the twO has led to an engagement, in accordance with his wishes. Daland 's home ro introduce the Dutchman to Daland 's daughter Senta.

ACT II

Daland's house

ACT III

The cove in front of Daland's house

While the village g irls sing a s imple tune as they get on with their spinning, thus earning praise from Senta's old nutse Mary, Senta is lost in contemplation of the image of the Dut chman, hanging as a ghostly warning. When she is teased by the girls, fir s tly about her suitor Erik, who is not a seafarer, but a huntsman, and then because of her obvious interest in the Dutchman, she calls upon Mary ro sing the already familiar ballad of the

their own song, but this is soon abandoned as they draw back in fear.

Th e Norwegian sailors are on the shore ce lebrating their return with revelry, singing and dancing. The girls bring them delicacies ro eat and wonder at the silence on the Dutchman's ship. In spite of their calling out many times, everything there remains quiet. The men of Daland's crew become boisterou s and joke about the sailors on the other ship All at once, wind and waves rise up around the Dutch ship, and a ghostly chorus is heard from its Flying Dutchman Mary refuses, however, and so Senta sings the ballad her- crew. The Norwegians attempt to shout down this eerie manifestation with self, telling of th e curse for blasphemy but also of the damned man's chance for redemption As she sings, she gradually loses herself in the ballad, finally assuming the role of the redeeming woman herself, to the horror of the others present. When Erik enters to announce the arrival of Daland, Mary and the girls leave th e room to prepare food for the seafa re rs

Erik, having overheard Senta's declaration of her role as redeemer, pleads for his unhappy heart, especially as he fears that Dal a nd may i ndeed one day find a wealthy husband for her. Senta, howev er, refuses to answer his entreaties. When Erik warns her th at he has seen her in a dream running away to sea with this Dutchman, his intended warning has just the opposite effect Senta is enco uraged in h er desire to put an end to the curse hanging over the damned, and Erik leaves in despair.

Daland comes into the room with the Dutchm an. After greeting his daughter, het father the stranger to her as a wealthy seafarer who has as ked for her hand in marriage. Thereupon he leaves her alone with th e Dutchman, whom Senta has imm ediately recogniz ed After each of th em has given voice to their own thoughts as they see the answer to their longings

Senta rushes out of th e house, followed by Erik, who makes a last attempt to prev ent her imminent union with the Dutchman, entreating her to think of happy times spent together When he speaks of her having assured him of her devotion, the Dutchman steps forward, having heard all of this unnoticed Believing that Senta has betrayed her oath of loyalty, he reveals himself and resol ves to strike out to sea at once, in order to save Senta from the eternal damnation that would befall her if she were to swear her devotion before God Unable to prevent the Dut chman's departure in spite of her protestations, Senta is how ever determined to prove her devotion at all costs. She tears herself away from the arms of Erik, Daland and Mary, runs to a rocky reef jutting out into the sea and, after declaring her devotion once more, plunges after the Dut chman into the sea. Now, as the Dutchman's ship sinks, he and Senta with their arms a round each other ascend transfigured

By kind permission o/The D ecca Record Company Ltd.

THE DUTCHMAN'S VOYAGE

In July of 18 39 , the twenty-six-year-old composer Rich ard Wagner and h is wife embarked on the sailing vessel Thetis, entoute from Konigsberg to London. Durin g the trip , the ship was caught in a wild sto rm, and was fotced to put into the Norweg ian fjord of Sandwike. The Flying Dutchman is fill ed with the compose r's reac tion to that voyage; it has been sa id that , wherever you open the score, the sea leaps out at you. The music abounds with myri ad wavelike chromatic scales or arpeggios; high, intense repeated or sustained notes, often in open fifths, like the of srormy winds; flowing figures that look and sound like the never-ending swells of the sea; and other aural represe ntations of the ocean.

However, The Flying Dutchman is not about the ocean. It is about defi an ce of impossible odds; a love that transcends mortality; about courage, faith, fate, and despair. Throug hout his career, Wagner would return to these themes, themes so fertile for him that he left us an unparalleled body of ten operatic masterpieces, an operatic legacy riva led only by Verdi. These two g reat geniuses, both born in 1813, have dominated the operatic world si n ce th e nineteenth century, and no doubt will continue to dominate in the twentyfirst.

But the Wag ner of 18 3 9 to 1843, when The Flying D utchman premi e red in Dresden, was not yet a member of th e pantheon of composers He was a young musician , deeply in debt, saddled with a troubled m a rriage , and fru strated with attempts to get his earlier operas produced. Several times he found himselfleaving a city barely ahead of hi s creditors. It is clear from his writings and letters of the period that Wagner identified with the Dutchman, whose legend 20 Michigan Opera Theatre

is well known to seafarers Captain of a merchant ship trying ro round the Cape of Good Hope, the Dutchman fights a raging storm for m any days, and swears by all the devils in Hell that he will never yield to the elements. The powers of Hell take him literally: he is condemned to sail forev er, permitted to touch land only on ce every seven years. Just one possibility for his eventual release is g ranted: if h e can find a woman who will remain true to him unto death , his cutse will be lifted.

How this lege nd must have resonated for Wagner! He had probably sworn to himself that he would never cease working for the triumph of his compositions; and he must have brooded many times on how far his wife Minna (who had actually deserted him for an affair at one point) was from the ideal woman of the legend. Wagner's words and music for the Dutchman make us share the intense ang uish of one who was eternally trapped by his defiance of the rest of the world The Dutchman tells us , in his first monologue, how, seeking release thtoug h d eat h , he has hurled himself into the depths, steered hi s ship onto the rocky shores, and challenged pirate ships, but to no avail ; he ca n neither die nor live His only hope is a woman, faithful unto death (another theme which Wagne r returned ro many times); failing that , Judgement Day

The Dutchman's monologue, as the centerpiece of Act I , is the first key moment of the opera. Th e ballad sung by Senta , daughter of the Norwegian merchant cap tain Daland , is the second. This ballad, which opens Act II, was the first piece composed by Wagner, and serves in many ways as the musical source material for the entire opera. Wagner makes clear to us that Senta is obsessed with the legend of the Dutchman. With great animation , she nar- Copyright 2010, Michigan Opera Theatre

rates the tale of the cursed mariner, cry ing at the end, "I'll be the one who redeems you through her faith !" It is easy ro be lieve that Wagner yearned for a woman ro redeem himself as well.

Not surpris ing l y, the next key event is the meeting. When Daland brings the Durchman to meet Senta , they are so thunderstruck by the sight of each other that they remain motionless and speech less for quite a w h ile (long e nough for Daland to s in g a lyrical aria, expressing his hope that they wi ll be murually p leased). The ensuing duet is miraculous. In its first sec tion , the cwo do no:: address each other d irectly, bur rather speak of the disbelief of finally experiencing a l ong-awaited event. Time seems suspen ded ; exquisite, soa ring melodies unfold slo w ly, intertwining in a musical embrace, foreshadowing the love due ts of Tristan und Isolde. The Dutchman , thrilled as he is by Senta's protestations of love, warns her that swearing fidelity to him has d ire consequences, but Senta, to an angelic accompaniment, says sh e will share his fate.

Act III also has two greatly telling moments. The first occurs as the Nocwegian sai l ors, with the women of the town, are, as one wou ld expect from sailors on shore leave, drunkenly ce leb rating. They call to the dark, si l ent ship

Curious About Cremation.?

of the Dur chman, until the g h os tl y crew appears, singing a maniacal, h ellish song of their own. As the two choruses contend, and the storm rises, Wagner conjures up the winds of hell in the orchestra, cal lin g for ext r a piccolos ro shriek at the top of their ranges, and a wind-machine to frighten us with a threatening roar The infernal storm strikes the morral sai lors-and the audience-with te rror.

The last great moment is the denoument. Erik, the young hunt er who hopes to marry Senta, pleads wit h her to abandon her fo ll y of m arrying the Dutchman. In a wrenching, t empesruo u s trio, the Dutchman cri es to rerurn to his ship, doubting Senta's fidelity; Erik begs her to remain and save herself; and Senta pleads for the Durchman ro rrust in her fairh. Fina ll y the Dutchman reveals to all his true identity, rushes aboard hi s ship, and puts to sea; but Senta, swearing ro be true ro death, leaps into the waves At the very end, Wagner call s for an apotheosis, show ing the Dutchman and Senta asce nding to heaven, and playing a transcendent, h ear t-wrenc hing melody in the orchestra. Such transcendence would b ecome a hallmark of Wagner 's work, serving rhe central theme of hi s arristic life : redemption through love. Perhaps Wagner fou nd that redemption for himself wi th hi s second wife, Cosima , who was the great love of his life. As we live through The Flying Dutchman and Wagner 's other m asterp ieces, perhaps we find it , roo.

For over 80 years the Center for Creative Studies, Institute of Music and Dance, has been prOViding a creative community which focuses on nurturing and stimulating students' individual talents. Students aged 3 to 83, from all experience levels, will further develop their potential in music and dance. Financi al Aid and Scholarship opportunities available.

Mitchell Krieger is D irector of Artistic Resources for Michigan Opera Theatre.

"We are committed to offering simple,

service at a

Thomas F Rost. President

Chorw Master/Ass istant Music Direc[Or since 1981

1997 Spring Season

Chorus Masrer

Rigoletto. The Marriage of Figaro. The Flying Dutchman

Conducto r, Michigan Opera Thearre , The Daughter of the Regiment, The Barber of Seville, The MUlic Man, The Pirates of Pen zance; ConduC[or, Dayton Opera,l..4 Traviata, West Side Story, My Fair Lady, The Pirates of Penzana:, Coac h , Opera Theatre of Sf. Louis, San Diego

PAMELA ARMSTRONG

SOPRANO (VIRG INIA)

MOT Deb"

1997 Spring SeaJon

Coumess, The Marriag e of Figaro

New York City Opera, La Boheme; Opera Bastille, Cam/en; $tadtcheater Giessen, Don GiOtJanni, Der Freischiit z, l domel1ro, The Rape of Lucretia, The Rake's Progress; Manhatta n Sc hool o f Music, /phiginie etJ Tauride

THOMAS BARRETT

BA RITO NE (VIRGINIA)

MOT Debllt

1997 Spring Season Figaro, The Marriage of Figaro

Madanlt Bllllerfly, San Francisco Opera; Don Giovanni, Dallas Opera; Die Fledmnaus, In dianaJXllis Opera; Manon, Arizona Opera; A Midsummer Night's Dream, Don Giovanni, The Very Last Green Thing (World Premiere), Opera T h eatre of Saint Louis; La Bohtnu, l..4 Cenwentola, The Tales of Hoffmann, Boston Lytic Opera; Detroit Symphony, St Louis Symphony, Virgin ia Symphony

TITO TENOR (CHIlE)

MOT Credits

Detroi t Opera House Inaugural Gala 1996

Rodolfo. w Boheme 1996

1997 Spring Season

Duke of Mantua, Rigoletto

l..4 Boheme , Covent Garden, San Francisco Opera, Opera North, To ul ouse; Rigolello, Monte Carlo , Geneva, Toulouse; La Rondine, Ludw igshafen ; Der Rosenkavalier, Coven t Garden; Nabucco , Santiago; L'Elisir dAmore, Sev ille; Gianni Schiechi, Geneva Opera; concerts in Wales, Halle Orchestra, BB C Conce rt Orchestra Ireland, C hatele t of Paris; two solo recordings

DENNIS BERGEVIN

JEFFREY FRANK

CO-DIRECTORS. ELSEN ASSOCIATES (PENNSYLVANIA)

MOT Credits

Resident Hair and Make-Up Designers si nce 1988

1997 Spring Season

Residem Hair and Make-Up

Rigo/etto, The Marriage of Figaro, The Flying Dutchman Opera Companies of Washingto n D.C., Pittsburgh, Denver, San Juan , Milwaukee, Saraso ta and Cincinnat i; Festivals of Edinburgh. J e ru salem and Spo leto (U.S.A., Italy, Australia). Siegfried and Roy Show; PBS .nd HBO

Carmen, To!ca, MecroJXl lican Opera; The Magic Flute, L'ltaliana in Algeri, Los Angeles Opera; Don Giovanni, Opera Pacific; The Marriage of Figaro, P ittsbu rgh Opera; Aich, Holl ywood Bowl Orchestra; A Midsummer Night's Dream Teat ro R eg io di Torino; San Francisco Opera, Atlanta Opera, Portland Opera, Tokyo, Italy; Enrico Caruso Scholarship , Metropolican Opera National Council Award recipient

RICHARD COWAN

BASS-BARITONE (OH IO)

MOTCredi"

Carmen, AnoUlh, Tasca 198 1

Don Giovanni, Don Giovanni 1990

ScarP;" Tosca 1994

1997 Spring Season

Title Role, The Flying Dutchman

Don Giovanni, Metropolitan Opera, Opera Pacific, Aix-e n-Provence, Berlin, StraJbourg, Toronto, Santa Fe; TOlca, Montreal; Salwlt, Santa Fe, Puerto Rico; Cos} fan tutte, La Boheme, Metropolitan Opera; Antony and C/rojJatra, Don Giovanni, Carmen, Lulu, Lyric Ope..J]. of Chicago; Lohengrin, Bonn; Bluebeard's CaJtle, Geneva, Turin, Melbourne, Liege

TERESE CULLEN

MEZZO-SOPRANO (M ICHIGAN)

MOTCredilS

Second Lady. The Magic Fin" 1991

Ech o , AriadneallfNaxos 1991

S;ebel. Fan" 1994

1997 Spring Season

Cheubino, The Marriage of Figaro

World Premiere of Berio's Olltis, La Scala; Don Quichollt, COJ} fan tUIte, Elektra, La Traviata, Lyric Opera of C h icago; Carmen, L' Heure Espagnol, Orpheus Descending, Lyric Opera Cencer; The Mikado, Dayton Opera; DicW and Aeneas, Chautauqua Fesrival; La Traviata, Santa Fe Opera; concens at Chate let of Paris, Ravi n ia Festival

EDUARDO DEL CAMPO

BARlTONE (SPAIN)

MOT De/;n/

1997 Spring Season

Count Almaviva, The Marriage of Figaro

La Bohenu, Met ropolitan Opera; II Tr()1!atore, Luria di LammemUXJr, San Francisco Opera; A Masked Ball, Covent Garde n ; Hirodiade, Carnegie Hall ; Rigo/ello Bil bao; Don Giovanni, Cordoba; New York City Opera, Virginia Opera, Aspen Festival, San Francisco Symphony, Phoenix Symphony, Venice Opera, Kirov Opera, The Washington Opera, P irtsburg h Opera, Houston Grand Opera; Sony recording of Hirodiade

IANDENOLFO TENOR (HAWAII)

MOT Debu/

1997 Spring Season

Er;k. Th e Flying DutchTnan

Otello, Opera Pacific; Macbeth, Be rlin; La Boheme, Basel, Dresden; Berlioz' Requiem, H amburg; II Viaggio a Reims, The Merry Widow, Basel; Don Giovanni, Opera Theatre of St. Louis; winner 1996 Lauri t z Melchior

Heldentenor award; fi nali st, Luciano Pavarott i Inte rn at iona l Voice Com pe ti tion, Metropolitan Opera National Council Auditions

HELEN DONATH

SOPRANO (TEXAS)

Detroit Opera H ouse

MOT Credits

Inaugural Gala 1996; Mi m i, La Boheme 1996

1997 Spring Season Countess, The Marriage of Figaro

Metropolitan Opera. Salome, l! Trovatore, Gblterdiimmerung. Cannen, Don Carlo, Tristan und lsolde, Aida, Parsifal, Arabella, Die Walkiire,jenufa, Elektra Tannhiiuser; Lyric Opera of C hi cago, Sa n Franc isco Opera, New Yotk Philharmonic, Philadelphia Orc hestra, Ch icago Sy m p h ony, La Scala, Covent Gard e n , Vienna State Opera, Paris Opera, D e utsche Oper Be rl in, Alice Tully Hall; over 100 recordi ngs

HAIJINGFU

BARITONE (C HINA)

MOT Credits

Germont, La Traviata 1996

1997 Spring Season Title ro le, Rigolello

L:t Boheme, Metropol ita n Opera, Ph iladelphia Orchestra, Florida Grand Opera; La Traviata, Metropolitan Opera, O pe ra Pacific , Vancouver Opera, Calgary Opera; Lucia di Lammermoor, I Puritani, A Masked Ball, Fal!tal/. M et ropolitan Opera; Rigoletto, San Diego Opera Edmonton Opera, Boston Lyri c Opera; Luisa Miller, Washington Opera; A MaJked Ball, Florida Grand Opera; Pavarolli Plus telecast

DI NG G AO

BASS-BARITONE (CH INA)

MOT DebJlt

J997 Spring Season Monceron e, Rigo/etto

Cannen, La Bohevu, YOJca, The Magic Fillte, New Yo rk Cicy Opera ; Lucia di LaTIJllImnoor, Seacde Opera ; Ernoni, Sarasota Opera ; The Magic Flute, Austin Lyri c Opera ; Turandot. Edmonton, Maniroba ; Verd i 's Requiem, Florida Philharmonic , H artford Choral e, EI Paso Chora le; T he Marriage of Figaro, Shanghai O pera

MAREK G AS ZTECKl

BASS (POLAND)

MOT Debut

1997 Spring Semon Daland, The Flying Dutchman

SaiWllt, T he Magic FIII/e, Les Troyens, La Scala; The A bduction /rw'J the Seraglio, Lin z, Wiesbaden; De,- Freischiitz, Sa lzburg; opera compan ies of Hamburg, Muni ch, Dresde n Sturrgart, Bonn, Zu ri ch Basel Brusse ls, Net herlands; Israel Philh armonic, Accad emia d i Santa Cec ilia of Rom e

THOMAS HAMMO NS

BASS-BARITONE (OKLAHOMA )

MOTC,edits

Simone, Gianni Schicchi 1985 ; Benoi[/Alc indoro, w Boheme 1993; Dr. Barto lo, The Ba rber o/Seville 1993; Sui pi ce, The Daughter of the Regiment 1994

1997 Spring SeaJon

Dr. Banolo, The Marriage 0/ Figaro

Nixon in China, LA., Frankfurr, Pari s, H oustOn ; Martha, New York City

Opera; The Death 0/ Klinghof/er, Brussels, Lyon, Vienna, San Fran cisco, Brookl yn Acad emy; Tosca, LA Boheme, T he Marriage 0/ Figaro, The Barber 0/ Seville, Opera Pac ifi c; Florida Grand O pera, Washingron O pera, L Opera de Mo ntreal , Chautauqua Opera , Opera Th ea ere of Sr. Loui s

D O NALD CONRAD H ARTMANN

BASS-BARITONE (NORTH CAROLINA)

MOTC""i"

Benoit/Alcindoro. La Bohbne. 1996; Sacristan, TOlca 1995; Bo n ze, Madame Bll tlerf/y, 1994; Wagner, Fa11Jl199 4; Ma nd a ri n, Turamlot 1994

] 997 Spring SeasonMarullo Rigo /etto

Stadctheater Regensbe rg, To ledo Opera, Opera Delaware, Virginia Opera Associat ion, Greensboro Opera Company, New Mexi co Symp hony, Eastern Phil h armonic, Greate r la nsing Symphony Orches tra ; Professor of ' Voice, Eastern Mi chigan Universi ty

SU MIJ O

SOPRANO (SOUT H KOREA)

MOT Debut

1997 Sprillg Season

Gi lda, Rigoletto

Rigolello , Lucia di Lammermoor, A Masked Ball, Metropolitan Opera ; The Magic Flute, Th e Tales oj Holflllaml , Covent Garden; Le Comle Ory , Pra Diavolo, La Scala; Lyri c O pe ra of Chicago, Salzburg Festival, Vienna Staee Opera, Teaeco Colon, Santiag o , Bologna, Bi lbao , Naples, Barce lona, Madrid, Israel, J apan; recordi ngs of The Ma gic Fillte, A Masked Ball, Die Fra" ohne Schattm, Tancredi, so lo rec iral alb um s

JEEHYUN LIM

SOPRANO (SOUTH KOREA )

MOT Debut

1997 Spring Seasoll

Susanna, The Marriage 0/ Figaro

La BohblJt, Lyri c Opera of Chicago , Minn esoea O pera, Sea tel e Opera;

T he Marria ge oj Figaro, Vancouver Opera; Tllrandot , L'Opera d e Monerea l, Poreland Opera; The Magic Fillte, Cincinnati Opera, Aust in Lyri c Opera, Me mphi s Opera; Fam !, Ausein Lyric Opera ; Don GifJVan ni O pera Pacifi c, Minnesota Orches tra, Poreland Ope ra; The Tales 0/ Hoffmann, Spolew Festival

NICHOLAS LOREN

BA RITONE (ILLlNO IS)

MOT Debut

199 7 Spring Season

Tide Ro le, Rigolello

Don Gi(Wanni, Don Carlo, Kentuck y Opera ; Rigoletto, Aspen Fest ival , Opera Roanoke; concerts in Maryla nd, Chattanooga, Carnegie Hall , Florida , Co lumb us, Tang lewood Festi val, Blosso m Fes tival; u pco mi ng appearan ces with Det roit Symphony, Opera Grand Rap ids, Wesr Virg inia Symphony, Arizona Ope ra

LOUIS OT EY

BARITONE (SOUTH DAKOTA)

."'IOT Credits

Slim , 0/ Mice and Men 1980; Escamillo, CanJlen 198 2; Coune, A Little; Night Mmic 198 3 1997 Spring Season Count, The Ma,.riage 0/ Figaro

Lyric Opera of Chicago, Royal Opera, Covene Garden, Opera P acific, Die FledemulIIs; New York Ciry O pera, Dall as Opera , The Merry Widow; Paris Opera, LA Cenerentola; Houseon Grand O pera, Opera Theater of Sr. Louis, Graz , Victoria Sraee Opera , Auseral ia , H awa ii O pera Th eaeer, Ind ianapo lis Opera, Don Gi(Wanni; Greater Miami Opera , Greensboro Opera, Conn ecricue Opera , Canllen; Opera Pac ifi c, The Marriage 0/ Pigaro

J AMES P AITERSON BASS (CANADA) MOT Credits

Colline, La Boheme 199 3; Zuniga, Carmen 1996; First Nazarene, Salome 1996; Docwr Grenvil La Traviata 1996

1997 Spring Semon Sparafucile, Rigo/etto

Wagner 's Ring, San Fran cisco Opera , Seatele O pera; Tosca, l..4 Forza del Destino, The Barber 0/ Seville, Lyr ic Opera of C h icago; The Barber o/Seville, Albert Herring, Werther, Romeo et J uliette, The Marriage 0/ Figaro, Canadian Opera Compan y; The Magic Flute, / Puritani, Camlen, Va ncou ve r Opera ; Rigolello, Aida, II Ritomo d'UliJse in Po /ria, Lady Macbeth 0/ M/sensk, San Fran cisco O pera

SU SAN MARIE PI ER SON

SOPRANO (OREGON)

MOT Debfll

1997 Spring Semon

Senta, The Flying Dutchman

A Masked Ball, Philadelphia, La Scala, Bologna; Wag ner's Ring, Cleveland Orchestra, Lyri c Opera of Chicago, Nantes, Pari s, San Fran cisco, Seattie, F in nish Nationa l Opera, O rchestre Nat iona le-Rad io d e Fran ce; Elekt ra, Toronto; Aida, Mexico Ci ty; Don Carlo, Net herla nds Opera; Regina, Baltimore Opera

SCOIT PIP ER

TE N OR (COSTA RICA ) MOTC""i"

Go ro, Madame Blltlerfly 1994; Spole na , Tosca 1995 ; Gastone, La Traviata 1996; First J ew, Salomt 1996

1997 Spring Season

Borsa, Rigo /etto

The Steersman, The Flying Dlltchman

FRAN K E Pl ITS BASS (MICHIGAN ) MOT Credit!

Cappadocian/Fifeh Jew, Salome 1996

Se rvant, L:t Traviata 1996

Sergeant, La Boheme 1996

1997 Spring Season

Coum Ceprano, Rigo /etto

Anconio , The Marriage of Pigaro

Copyright 2010, Michigan Opera Theatre

Otello, Regina , Opera Pacifi c; Mozarc's Reqlliem , Hande l's Messiah, R ack h am Soc iety; Pare's Te Deum Det roit Oratorio Society; L'Elisir dAmore, The Magic Fillte, Fa/staff, Saint 0/ Bleeker Street, Vanessa, University of Mi chi ga n

I nstructOr of voi ce and piano M ichigan Chri stian College; Ha nde l 's Messiah, Roc hester Symphon y O rchestra

1 997 Spr in g Seaso n 23

JOSEPH ANTHONY POKORSKI

TENOR (MICHIGAN)

MOT Credits

Jail er, Tosca 199 5

Parp ;gnol , La Bohime 1996

Seco nd J ew, Sal_ 1996

Cho rus M ember si nce 199 3 1997 Spring Season

Don Curzio, The Marriage of Figaro

Sragecrafcers, Oklahoma; Cargi ll Proouceions, Red Stocking Review; Redfo rd Th ea tre, Vaudeville, The Night ofJ annary 16th, The Bell, are Ringing, The MUli, Man, Hello Dolly!, Once Upon A Mattress, Chess

MELODY RACINE

ME ZZO-SOPRANO (FLORIDA)

MOTO ,bllt

1997 Spring Set/son

MarceUina, The Matria ge of Figaro

Ma ry, The Flying Dutchman

Turn 0/ the Screw, Don Giovanni, Four Soims ill Th ree AdS, Aspen Opera

Th eat re; Turn 0/ the Screw The Ma gic Flute, Otello, COSI fan lillie, University of Mi chi g an; Tang lewood Fes t iva l, Flim, Ann Arbor, Barci e Creek Sympho nies

BARBARA SCHERRER

MEZZO·SOPRANO (OHIO)

MOTCredi"

Anni na, LA Traviata 1996

Mercedes, Canlum 1996

1997 Spring Sea.ron Countess Cepra no/Giovanna , Rigoletto

Soloist, Po nti ac-Oa kland Symphony, Oakland U n iversity-Co mmunicy Chorus; Sou th Pacific, Lllle Mary Sunshine, Anything Goes, The Sound of MUJic, Bye Bye Birdie, Oakland U n iversity; Metropolitan O pera Di stri ct Audition Finali st

KENDALL SMITH

LIG HTING DESIGNER (MICHIGAN ) MOTCredi"

Light ing Consul tant since 1989

1997 Spring Sea.ron

Li g htin g Desig ner, Rigo /etto, TIfe Marriage of Figaro, The Dutchman

Tdsca, Madame Butterfly, The Daughter 0/ the Regiment. Ariadne alii Naxos, Candide, The Mikado, Carmen, MOT; Tosca, Th e M erry WidfJW, II Trovtltore, My Fai r Lady, Opera Pacific; Madame Butterfly Candide, Dayton Opera; j esus Christ Superstar, Malibu, American Stage Festival ; A Penny lor a Song, Pionee r Theat re; Teibele and her Demon, Attic Th eat re

CAROL SPARROW

ME ZZO -SO PRANO (NO RTH CAROLINA)

MOT Debllt

1997 Sprillg Sea.rOIl M adda lena, Rigo /ett o

Carmen, Mexico City, Opera Columbus, Virg ini a Opera, Greater Buffalo

O pe ra ; Tristan und h olde, Mexi co City; Debora eJtlele, Netherla nds Radio Orchestra; Ariadne aufNaxos, M exico Cit y, Virgin ia Opera; Madmfle Butterfly, Opera Carolina , Opera Gra nd R a pid s; COSI Jan tutte, Virgina Opera Knoxville Opera ; Don Giovanni, Clevela nd Opera, Sarasota Opera

DARINA TAKOVA

SOPRANO (BULGARI A)

MOT Debut

1997 Spring Sea.rOfl

Gi lda, Rigolello

Rigoletto , Rome, Geneva, Opera Pacific, Sofia Opera; Arabella, Argia, Geneva; T he Magic Flute, Treviso, Sofia ; I.e Coq d' Or, Rome, Cove nt Gard e n ; La Sonnambu la Pal ermo; winner of 1994 Toti Dal Monte co m pe tition

ULLOA

TENOR (CUBA)

MOT Debut

1997 Spring Sea"n

Don Bas ilio , Th e Marriage of Figaro

The Marriage of Figaro, The Daughter of the Regiment, Andrea Chellier, Me r[opo ii ca n Opera; The Marriage of Figaro, Madame Butterfly. FaIJtaf!. New York Cicy O pera; T he Coronation of Poppea , Glimm e rg lass O pera; Turandol, The Wash ington O pera, Cincinnati O pera, Cleve land Orches tra; The Tales of Hoffmann, Sa n Di ego Opera , Flore ntine Opera; Ca nad ia n O pe ra , Israe l Philh a rmon ic, Carnegie Hall , DaU as O pera

RACHAEL UNITE

SOPRANO (MICH IGAN)

MOTO ,blll

1997 Spring Season

Page, lVgo!ttto

Barbarina. The Marriage 0/ Figaro

Albert Herring, Opera!Len awee; The Marriage of Figaro, 11 Campanella, University of Mi c higan ; The COnJul, L'Enfant et leI SortilegeI, University of H ousco n

CARLO VENTRE

TENOR (URUGUAy)

MOT Debllt

]997 Spring Sea.ron Duke of Mantua, Rigoletto

Rigolel/o, NabJlcco, La Scala; Rigolello, Rome, Ascoli , Opera Pacific; Saffo, Wexford Festival ; Verdi 's Requiem, Ten e rife; LA Boheme, Tri este, W els h National O pera; La Traviata, Koln , Gl yndebo urne ; w inner, 1995 P avaro[[ i competition

VICTOR VON HALEM

BASS

(GERMANY)

MOT Debut

1997 Spring Sea"n:

Tid e Ro le, The Flying Dutchman

La Scala, San Francisco, Die Walkiire; San Francisco Opera , Tannhiiustr, Dallas, Denve r, Carania, Montreal, The Fly ing Dutchman; Spolero, Die Meistersinger, Sal z burg, Orange, Edinburgh , Tang le wood , Barcelo na, Vienna, and Athe ns Fes tival s; upcoming debuts in Verona, Pari s, Bolog na

SOPRANO (PE NNSYLVANIA )

MOT Credi"

Turan,,"t 1986 and 1993; Han,,1 & Gretel 1989

1997 Spring Season Sema, T he Flying Dutchman Turandot. Verona , Aus t ralian O pera, Baltimore, Copenhagen, Rome, Houston, New York Ciry Opera , O pe ra Pac ifi c, San Fran c isco Opera; Aida, Rusalka, Seattle Opera; The Flyj,lg Dlitchman, A Masked Ball, Elektra, Ariadne auf Naxos, Los Ange les Musi c Cencer Opera; Don Car/a, Baltimore Opera; Macbeth, Manitoba Opera , La Forza del De.r tino Arizona Opera ; Concertgebouw Orc hes tra , Aspen Fest ivaJ , Pasadena Symphony, Washington Concert Opera

Copyright 2010, Michigan Opera Theatre

JANET WILLIAMS

SOPRANO (MICHIGAN)

MOTCredi"

Gretel, Hansel & Gretel 1989 Ros ;na, The Barber of Seville, 1993 Susanna, The Marriage of Figaro

Die Fledermaus, Me tropolita n Opera; Der Rosenkavalier, W as hingron Opera ; Semele, Cleopatra, Orfeo, The Magic Flu te, Berlin Staatsope r ; Carm ina Burana, Chi cago Sy m p hony; The Magic Flute, Opera Pacifi c, San F ranc isco Opera ; II Re Past ore, Ni ce Opera; II Trittico, Dallas Ope ra; D e troit Symphony Orches tra , Minneso(a Symphony, Indi a napoli s Symphony, New York Chamber Orch estra

KLAUS DONATH CONDucrOR (GERMANY) MOTCm/its

Conducto r, Don Giovanni 1990

1997 Spring Season

Co nductor, T he Marriage oj Pigaro

Musi c Director, Bath City Symphony Orc hestra; Don Giovanni, The Marriage of Piga ro, Th e Magic Flute, Opera Pacific ; Der Rosenkavalier, Portland Opera ; The Flying Dutchman, Opera Colorado; La Boheme, Dido and Aenear, La Traviata, Don Giovanni , Bath & W essex Opera ; co ncert s and operas in Hannove r Salzburg, Darm stadt Cologne, Leipzig, Chemnir-.l, Berlin , Munich , Prague , Lincoln Center, Toronto , San Francisco

JOHN MAUCERI CONDUcrOR (NEW YORK) MOTD,bu/

1997 Spring Season Conductor, T he Flying Du/chman

Musi c Diceccor, The Hollywood Bowl Symphony Orc hestra; Music Director, Teacro Reg ia Torino; former Music Director, Scottish Opera, Washingto n O pera, American Symphony Orc hes tra; opera companies include M e rropolican Opera, New York City Opera. Covent Ga rd e n, San Fran cisco O pera, Li sbo n , Nice, Monte Car lo, Geneva. La Scala, Wolf Trap, Opera Pac ific , Santa Fe ; orchestras incl ud e N ew Yo rk

Philharm onic, Boston Sy m phony, Los Angeles Philharmoni c, Cl evela nd Orches tra. Philadelphia O rchestra, San Francisco Sympho ny, Israel

Philharmoni c, London Symphon y, R oyal Philha rmonic, Phil a rmo ni a Orc hes tra , Orc hes tra of 5ama Cecili a in Ro m e, Orchestra National d e France, Rad io Symphony of Berlin, National Orc hestra of Portugal; Recipi e nt of Grammy, Tony, Emmy, Olivi e r, Drama Desk, Edison ,

STEVEN MERCURIO CONDUCTOR (NEW YORK)

MOT Credits

Cond uctor, Tosca 1994, Detroi t Opera H ouse Gala 1996

1997 Spring Season

Conductor, Rigo/etto

La Traviata, La Bohhne, The Ta /es of Hoffmann, San Francisco Opera ; Andrea Chenier, Seattle Opera; La Traviata, Engli sh National Opera ; Er11lione, Brusse ls; La Traviata, La Boheme , Otello, Rigoletto, Opera Pacific; The Nose, Birthday 0/ the In/anta, G oya, II Trittico, Wozzeck, Mahl er 's Symphony N o.2, Be rli oz ' Requiem Co ri g liano'S Symphony No. I , Spoleto Festival ; RlISalka, The Saint of Bleeker Street La Gazza Ladra, T he Marriage of Figaro, Rigolelto, La Traviata, 'l osca, Turantior Carmen, Romeo et J llliette

Eugene Onegin, Caval/tria RlISticaTlaIPagliacci , Opera Company of Philadelphia; Washing ron Opera, Dallas Opera, Pittsburgh Opera, Rome Opera , Bonn Opera; orchestras of Antw erp, Scockholm , Luxembourg, Minnesota Orch estta, Brooklyn Philharmonic; composit ion For Lost Loved Ones premiered by New York PhilhatmonicTheacre Billboard and D e ucsc he Schallpiatte n awards; co nductor for so undtrack of film version of Evira; num erous reco rdin gs, videos, television appearan ces

DEJAN MILADINOVIC DIRECTOR (yuGOSLAVIA)

MOTD ,but

1997 Spring Semon

Director Rigo/etto

Pri nce Igor, Eugene Onegin, The Flying Dutchman, Aida, Dallas Opera ; Aida, Elektra, Rigoletto, T he Flying Dutchman, Plorenrine Opera of Mi lwaukee; Prince Igor, New York City Opera ; Don Ca r/os , Seartle Opera ; Car-metl, Rigo/etto, Opera Pac ifi c; Aida, San Di ego Opera ; Opera companies of Belgrade, Zagreb, Sarajevo, Split ; H ead Director of Belg rade Natio nal Opera

ROMAN TERLECKYJ DIREcrOR (ENGLAND) MOTCredi/I

Direcror, La Bohetlu 1996 , 1988; Turandot 1993; Ariadne aujNaxos 1991; CamJeTl 1989; Assisranc to the General D irector 19 71-75

1997 Spring SeaJon

Director T he Marriage of Figaro, The Flying DUlchman

La Bohbne, Th e Washin g ron Opera, Philadelphia Opera , Be rlin , Opera Genoa, Mod ena, Beijing, Opera Pacifi c; Cos} jan If/tte, Christopher Co lumbus, Semele, Man on, Pique Dame, Tiejland, The Washington Opera; Porgy and Bess, Die Meistersinger, The Rake's Progress, Birthday 0/ the Infanta , The Nose, Spoleto Festi va l; Awarded Affiati Prize for The Rake's Progress

YOUNG ARTISTS ApPRENTICE PROGRAM

ichigan Opera Theatre's Young Artists Apprentice Program is in its 17th year of training aspiring young singers and production apprentices for the riggrs of the professional theatre world. This year, talented young singers recruited from across the country will take up residence with Michigan Opera Theatre for multiple-week sessions of masterclasses with the conductors, directors and singers from current productions; private coachings with MOT's professional music staff preparing their assigned comprimario roles for the season's productions; and many rehearsals and performances, designed to assist them in making the transition from student to professional.

Since its inception, Michigan Opera Theatre has been to the development of young American talent, and regards with pride those who have gone on to establish careers in the field. Many singers as well as several company production and artistic staff have returned to MOT in full professional capacities after apprenticeships with the company.

Furthermore, the list of now prominent artists who made their debuts or had early starts with MOT is impressive : Carmen

Balthrop, Kathleen Battle, Rockwell Blake, Richard Cowan, Maria Ewing, Terese Cullen, Wilhelmenia Fernandez, Rebecca Luker, Catherine Malfitano, Leona Mitchell, David Parsons, Kathleen Segar, Neil Schicoff and Victoria Vergara, among others.

Michigan Opera Theatre 's Young Artists Apprentice Program is sponsored annually by the Joyce H. Cohn Apprentice Award Fund, the DeRoy Testamentary Foundation, and the Ruth Hill Apprentice Award Fund

1996/97 Michigan Opera Theatre Young Artists Apprentices:

SAMIABAHU

(Winner, the Ruth Hill Apprentice Award)

FRANK E. PIITS

(Winner, the DeRoy Testamentary Foundation Apprentice Award)

BARBARA SCHERRER

(Winner, the Joyce H. Cohn Apprentice Award)

RACHAEL UNITE

Copyright 2010, Michigan Opera Theatre

MICHIGAN OPERA THEATRE

OFFICERS

Mr. Robert E. Dewar

Chairman

Dr. David DiChiera

President

Mr. Cameron B . Duncan

Treasurer

Mr. C. Thomas Toppin

Secretary

Mrs Robert Allesee

Mrs. David Aronow

Mrs Donald C. Aus tin

Mr J. Addison Bartush

Mr Richard A. Brodie

Mrs. William C. Brooks

Hon Avern 1. Cohn

Mr. Jeff Connelly

Mrs. Peter Cooper

Julia Donovan Darlow

Mr. Lawrenc e N. Dav id

Mr. Ronald Dobbins

Mrs. Charles M . Endicott

Mr. Herman Frankel

Mrs . Lawrence Garberding

Mr. Kenneth E. Hart

Mr Eugene Hartwig

Mr. Leonard C. Jaques

Mrs. William E. Johnston

Mrs. Charles Kessler

Mrs. Robert Klein

Mr. Gerald A. Knechtel

Richard W. Kulis D D S.

Mr David Baker Lewis

Mr A C. Liebler

Mr. Harry A. Lomason

Mr. Alphonse Lucarelli

Mrs Jacques Nasser

Mr. Jules 1. Pallone

Mrs. Irving Rose

Mrs. David Ruwart

Mr. Alan E. Schwartz

Mrs . Roger F. Sherman

Mr. S. Kinnie Smith, Jr.

Mr. Frank Stella

Mrs George Strumbos

Mr. Robert C. VanderKloot

Mr. Gary Wasserman

Mr. Richard C. Webb

Mrs R. Alexander Wrigley

Mr Morton Zieve

Mr. Robert E. Dewar

Chairman

Dr. & Mrs . Roger M. Ajluni

Mr & Mrs. Roger Ajluni, Jr.

Mr. & Mrs Robert A. Allesee

Dr. Lourdes V. Andaya

Mr. & Mrs. Thomas Angott

Mr. & Mrs. Robert 1. Anthony -

Dr. & Mrs. Agustin Arbulu

Mr. & Mrs. David Aronow

Mrs Donald Atwood

Dr. & Mrs. Donald Austin

Hon. & Mrs. Edward Avadenka

Mrs. James Merriam Barnes

Mr. & Mrs J. Addison Bartush

Mr. & Mrs. Mark Alan Baun

Mr. & Mrs. W. Victor Benjamin

Mr. & Mrs. John Boll

Mr. & Mrs Donald J. Bortz, Jr.

Mr. & Mrs Richard A. Brodie

Mr. & Mrs William C. Brooks

Mr. & Mrs. Clarence G. Catallo

Mr. & Mrs. Frederick Clark

Ms. Virgini a Clementi

Hon & Mrs. Avern 1. Cohn

Mr. Thomas Cohn

Mr. & Mrs. Jeff Connelly

Mr. & Mrs. Michael J. Connolly

Mr & Mrs. Peter Cooper

Mr & Mrs Richard Cregar

Mr & Mrs. Ronald Cutler

Julia Donovan Darlow & John Corbett O'Meara

Mr. & Mrs Lawrence N David

Mr. & Mrs. John W D ay

Mr. & Mrs. David Denn

Mr. & Mrs Robert N. Derderian

Mr & Mrs. Robert E. Dewar

Dr. David DiChiera

Karen VanderKloot DiChiera

Mr & Mrs Ronald Dobbins

Mr. & Mrs. Cameron B. Duncan

Lady Jane Easton

Mrs. Charles M. Endicott

Mrs. Hilda Ettenheimer

Mr. & Mrs . Paul E. Ewing

Mr. Stephen Ewing

Mr. & Mrs. Alfred J. Fisher, Jr.

Mr. & Mrs . Alfred J. Fisher, III

Mr & Mrs Charles T. Fisher, III

Mr & Mrs Louis P. Fontana

Mr. & Mrs. Nathan Forbes

Mr. & Mrs. Herman Frankel

Mr & Mrs Marvin A Frenkel

Mrs Roy Fruehauf

Mr. & Mrs. Lawrence Garberding

Dr. & Mrs. Robert Gerisch

Mr. & Mrs. Frank Germack, Jr.

Mrs. Aaron H. Gershenson

Mr & Mrs Yousif Ghafari

Mr. & Mrs . Andy Giancamilli

Mr. & Mrs. Vito P. Gioia '

Mr. & Mrs Dennis Gormley

Mr. & Mrs Alan 1. Gornick

Mr. & Mrs. H. James Gram

Mrs Katherine Gribbs

Mrs John C. Griffin

Mrs Berj H. Haidostian

Mrs. Robert M. Hamady

Mr David Handleman

Mr & Mrs Preston Happel

Mr. & Mrs. Kenneth E. Hart

Mr. & Mrs. Eugene Hartwig

Mr. & Mrs. E. Jan Hartmann

Mr & Mrs. David B. Hermelin

Mr. & Mrs. Keith Honhart

Hon. & Mrs. Joseph Impastato

Mr. & Mrs. Verne Istock

Mrs. David Jacknow

Mr. & Mrs. Leonard Jaques

Miss H. Barbara Johnston

Mrs. William E. Johnston

Mr. & Mrs. Maxwell Jospey

Mr & Mrs. Mitchell 1. Kafarski

Mr & Mrs. John Kaplan

Mr. & Mrs. Daniel Karnowsky

Dr. & Mrs. Charles Kessler

Mr. & Mrs Eugene 1. Klein

Mr. & Mrs Robert Klein

Mr & Mrs Gerald A. Knechtel

Mr Semon E. Knudsen

Mr & Mrs Mike Kojaian

Mr & Mrs. William Ku

Dr. & Mrs Richard W. Kulis

Copyright 2010, Michigan Opera Theatre

Dr & Mrs Joseph Harris

Mr. & Mrs. Ronald C.

Lamparter

Mr. & Mrs. David B. Lewis

Mrs. Walton A. Lewi s

Dr. & Mrs Kim K. Lie

Mr. & Mrs. A C. Liebler

Mr. & Mrs. Robert Lisak

Mr. & Mrs. Harry A. Lomason

Mr. & , Mrs. James H LoPret e

Mr. 8! Mrs. Alphonse S. Lucarelli

Mrs. Jessie B. Mann

Mr. & Mrs. Frank S. Marra

Honorable Jack & Dr. Bettye Arrington Martin

Mr. & Mrs. William T. McCormick

Mrs. Wade H. McCree, Jr.

Mr. & Mrs. Eugene Miller

Mr. & Mrs. Theodore Monolidis

Mr. & Mrs. E. Clarence

Mularoni

Mr & Mrs. Eddie Munson

Mrs. Reva Muss

Mr. & Mrs. E. Michael Mutchler

Mr. & Mrs. Jacques Nasser

Mr. & Mrs. Christopher Nern

Mr. & Mrs. Julius 1. Pallone

Mr. & Mrs. James Pamel

Dr. Robert E. 1. Perkins

Mr. & Mrs. Brock E. Plumb

Mrs. Ralph Polk

Mrs. David Pollack

Mr. & Mrs. John Rakolta, Jr.

Mr. & Mrs. Eugene Robelli

Mr. & Mrs. Hans Rogind

Mr. & Mrs. Irving Rose

Mr. & Mrs. Louis Ross

Mrs. David Ruwart

Mr & Mrs. William Sandy

Dr. & Mrs. Norman Schakne

Mr. & Mrs. Fred Schneidewind

Dr & Mrs Arthur Schultz

Mr. & Mrs. Alan E. Schwartz

Mr. & Mrs. Donald Schwendemann

Mr. & Mrs. Frank Shaler

Mr. & Mrs Roger F. Sherman

Mr. & Mrs. Richard Sloan

Mr. & Mrs. S. Kinnie Smith, Jr.

Ms. Phyllis D Snow

Mr. Richard Sonenklar

Mr. & Mrs. Richard Starkweather

Ms. Mary Anne Stella

Mr Frank D. Stella

Mrs. Mark Stevens

Mr. & Mrs. George Srrumbos

Mr. & Mrs. C. Thomas Toppin

Mr. & Mrs. Lynn A Townsend

Mr. & Mrs. James J. Trebilcorr

Mr. & Mrs. Robert C. VanderKloot

Mr. & Mrs George C. Vincent

Mr. & Mrs. Alvin Wasserman

Mr. & Mrs Gary Wasserman

Mr. & Mrs. Kenneth Way

Mr. & Mrs. Richard C. Webb

Mr. & Mrs. Gary 1. White

Mr. & Mrs. R. Jamison Williams

Dr. & Mrs. Sam B. Williams

Mr. & Mrs. Eric A Wiltshire

Mr. & Mrs Donald Worsley

Mr. & Mrs. R. Alexander Wrigley

Hon. Joan E. Young & Mr. Thomas 1. Schellenberg

Mr. & Mrs. Ted Zegouras

Mr. & Mrs. Morton Zieve

Mrs. Paul Zuckerman

Ms Lucia Zurkowski

Mr. Roy Zurkowski

Mr. and Mrs. Lynn A , Town send Founding Chairmen

Mr. a nd Mrs. Avern 1. Cohn

Mr and Mrs John DeCarlo

Dr. and Mrs . David DiChiera

Mr. and Mrs. Aaron H. Gershenson

Mr. and Mrs. Donald C. Graves

Honorable and Mrs. Roman S. Gribbs

Mr. and Mrs . John C. Griffin

Mr. and Mrs. Harry 1. Jones

Honorable and Mrs. Wade McCree, Jr.

Mr. Harry J. Nederlander

Mr. E. Harwood Rydholm

Mr. and Mrs. Neil Snow

Mr. and Mrs. Richard Strichartz

Mr. and Mrs. Robert C. VanderKloot

Mr. and Mrs. Sam B. Williams

Mr. and Mrs. Theodore O. Yntema

Brett Batterson

Detroit Opera House Facility Manager

Karen)VanderKloot DiChiera Director of Community Programs

Steve Haviaras Director of Marketing

Allan Grasso

Administrative Assistant to the General Director

Linlia DeMers

Board Secretary / Administrative Assistant

Beverly A. Moore Receptionist

COMMUNITY PROGRAMS

Dolores Tobis

Office a nd Marketing Manager

Mark Vondrak

Associate Director of Community Programs

DEVELOPMENT

Thomas N f Richardson, Sr. Assistant Director of Developmen't

'Katrina L. Paradine

Corporate Campaign Manager

Stephani Miller

Capital Campaign Coordinator

Roberta Starkweather Volunteer Coordinator

Jane Westley

Development Associate

FINANCE/ COMPUTER SERVICES

William T. Schulz Controller

Sharon A. Subjeck Accountant

Mary E Pihajlich

Systems Manager

MARKETING/ PUBLIC RELATIONS

Marci Schramm

Assistant Director of Marketing

Sandy Prekratic -

Membership Manager

Dolores Tobis

Group Sales

Jerome Magid

MOT Photographer

Mark J. Mancinelli

DOH/ MOT Photographer

Jeanette Pawlaczyk

Publi c Relations Volunteer

TICKET OFFICE

Kimberly Mogielski

Ticket Services Manager

Kimberly Gray

Ticket Services Assistant Manager

Kyra Busby

Jane Coe

Ticket Services Staff

ADMINISTRATION & STAFF

DR. DAVID DiCHIERA

General Director

John Leberg

Interim Managing Director

Mitchell Krieger

Director of Artistic Resources

David W. Osborne

Director of Production

Mary Parkhill

Director of Development

9Md'ad@/p

ARTISTIC ADMINISTRATION

Dee Dorsey

Production Coordinator

Monica Lee Jackson

Assistant to Director of Production

Roman Hurko

Copeland Woodruff

Assista nt Directors

Nancy Krolikowski

Transportation Coordinator

Pat Lewellen

Audition Volunteer

Rebekah Cam

Admistrative Assistant

Leonard Sullivan

Administrative Intern

MUSIC DEPARTMENT

Dr David DiChiera

Music Director

Suzanne Acton

Assistant Music Director, Chorus Master

Diane Bredesen

Orchestra Personnel Mana ger

Steven Gathman

Ann Lewin

Elaine Rinaldi Repetiteurs

Dianne Lord

David Wilson

Rehearsal Accompanists

STAGE MANAGEMENT

John Kennelly

Production Stage Manager

Dee Dorsey

Michael McCormack

Jean Thill

Assistant Stage Managers

Nicole Jolly

Stage Management Assistant

TECHNICAL STAFF

Vladimir Vukovic

Techni cal Director

Rita Grrardi

Property Master

Kendall Smith

Lighting Coordinator

Kenneth Schurz

Assistant Lighting Designer

Dana Gamarra

Technical Assistant

Copyright 2010, Michigan Opera Theatre

William E. Schoettle

Chief Financial Officer

Bradley L. Stroud

Director of Dance

Laura R. Wyss

Director of Public Relations

Dianne Lord

Lawrence Picard

Surtitle Operators

COSTUMES

Ulla Hettinger

Costume Supervisor

Alice Moss

Wardrobe Mistress

Susan Hamilron

Ute Krepulat

Pauline McMullen

Genevieve Palzcynski Stitchers

MAKE-UP & HAIR

Kathy Waszkelewicz

Kim Forastiere

Make-Up & Hair Designers for Elsen Associates

Kerry A Painter

House Manager

Lynn Smyth

Head Usher

Harry Skrdla

Building Engineer

Jesse Carter

Assistant Building Engineer

Kimberley Burgess

Administrative Coordinator

Calvin Williams

Maintenance Supervisor

Bruce Smith

Head of Security

Jose Bernal, Jr.

Rock Monroe

Jim Steel

Stage Door Security

John Kinsora

Head Carpenter

Robert Mesinar

Head Electrician

John Johnson

Head of Properties

Robert Marcin

Head Flyman

Steve Kemp

Head Soundman

Stagehands

IATSE Local #38

Wardrobe

IATSE Local #786

MICHIGAN OPERA THEATRE ORCHESTRA AND CHORUS $/v1? .7eaM-n

VIOLIN I Eugenia Song

* Charlotte Merkerson * Anna Weller

Concertmaster

Lorien Benet VIOLA

* Kathleen Brauer * Nance

Grace Hong rincipal

* Velda Ke ll y * Bridget Lamarsche Brown

James Kujawski Acting Principal

* Randolph Margitza

Jennifer Ross

Charles Roth

Elizabeth Rowin

Reed Anderson

Kathleen Grimes

*John Madison

Michael McGillivray

Kathryn Stepul la * Scott Stefanko

Melody Wooton

VIOLIN II

Christine Swanson

* Barbara Zmich

* Victoria Haltom VIOLONCELLO Principal

* Brooke' Hoplamazian

* Nadine Deleury Principal

Julia' Kurtyka * Diane Bredesen

Constance Markwick * Minka Christoff

Katie Mclin

Robert Clemens

Janet Murphy * Sarah Cleveland

* Christopher Neal

Lorraine Perlman

Sharon Reum

Marla Smith

CHORUS

Suzanne Acton

Chorus Master

Daniel Aggas

Carol Ambrogio

Christopher Bauder

Barbara Becker

Victoria Bigelow

Heidi Bowen

K. Wayne Brooks

Alaina J. Brown

Kristen A Bryant

Fred Buchal ter

John Iatzko

Robert Reed

Kang Xia

Michaella Patches Dionne

Ken Ebaugh

Vanessa Ferriole

Louise A. Fisher

Yvonne M. Friday

Todd Ian Galloway

Monique Grotloh

Rosalin Contrera Guas t ell a

Donald Thomas Jackson

Clarence E. Jones

Tom Kabala

Harvey Krage

Patrick Jay Clampitt Jeff Krueger

AUXILIARY CHORUS

*Julius Becker

* Michae l Boettcher

* Byron Burbank

* Donald F. Gay * Robert W. Ligaj * F. Homer Matthews

CONTRABASS

* Derek Weller Principal

Jennifer Bilbie

* Peter Guild

Chad Kuypers

Keith Orr

Gregg Powell

FLUTE

* Pamel a Hill Principal

Wendy Hohmeyer

* Laura Larson

Alice Lenaghan

Helen Near

Johanna B. Sennett

Tamara Thweatt

OBOE

* Rebecca Hammond Principal

* Ann Augustin

Robin Johnson

CLARINET

* Brian Bowman Principal

Stephanie L Kruger

Cobett Leibler

Ray Litt

Tony Lynch

Joe l Mapes

Jennifer Taylor Mcclure

Cynthia Merritt

Kim L. Millard

Jeanine Head Miller

James Mackey Moore

Boris Nicoloff

Anthony C. Noto

Jennifer L. Oliver

*Janet Oakes

* Steven Pejuan

* Anthony Ruda

*Jane Carl

BA SSOON

* Kirkland D. Ferris Principal

* Scott Armstrong

HORN

* Susan Mutter Principal

Celeste McClellan

Breda Anderson

* Carrie Banfield

Connie Hutchinson

Steve Mumford

Emilie Sargent

TRUMPET

* Brian Rood Principal

Charles Daval

* Gordon Simmons

TROMBONE

* Maury Okun PrincIpal

Paul Eachus

Anthony Giles

Darren Orta

Peggy O'Shaughnessey

Michael S. Parr

Jan R Phillips

Patricia Pierobon

Trish Reid

Amy Lynn Rice

J olante Rode

Robert H Schram

Kathryn Schumacher

Kenneth R. Shepherd

Judith M. Szefi

Jim Talpos

*John Saetta

* Robert M . Savage Jr:

* Alan Sebastian

Copyright 2010, Michigan Opera Theatre

* Greg Near

TUBA

Phi ll ip Sinder

TIMPANI

* Gregory White Principal

PERCUSSION

*J ohn F. Dorsey Principal

David Taylor

HARP

* Patricia Terry - Ross Principal

Diane Bredesen Personnel Manager

Detroit Federation 1. Musicians, Local # , American Federation of Musicians

* member, Michigan Opera Theatre Orchestra

Nate Topie

Dean Unick

Steven Vedder

Justin Watson

Jim R. Wells

Ernest Willoughby

Larry Wolf

T imothy Wolf

Eugene Zweig

The American Guild Of Musical Artists is the union of the Michigan tpera Theatre vocal performers

* William B Yeats

* Member, Rackham Symphony Choir

MICHIGAN OPERA THEATRE

Michigan Opera Theatre gratefully acknowledges the generous corporate, foundation and individual donors whose contributions were made between July 1, 1995 and June 30, 1996. Their generosity pl ays an integral part in the Company's financial stability, necessary for producing quality grand opera, musical theatre, and classical ballet. In addition to enjoying outstanding entertainment on the stage, MOT contributors are offered a number of opportunities which allow them to observe the many phases of opera production, meet the artists, and experience other "behind the scenes " activities. For more information on becoming involved in these exclusive and exciting donor benefits and services, contact the Development Department at (31 3 )874-7850.

CORPORATE

GRAND BENEFACTORS

$200,000 AND ABOVE

_ Ford Motor Company

General Moto;s Corporation

MAJOR BENEFACTORS

$25,000' - $49,999

Ameritech

Dettoit Edison Foundation

Hudson's Department Store Co

BENEFACTORS

$15,000 - $24,999

ANR Pipeline Co.

AlliedSignal Foundation , In c.

Chrysler Corporation Fund Comerica, Inc.

Douglas & Lomason Company and Divisions

Kmart Corporation

NBD Bank

FELLOWS

$10,000 - $14,999

Consumers Power Foundation

DONORS

$1,000 - $2,499

Amerisure Companies

Howell Industries

Kenwal Ptoducts Corporation

Metropolitan Life Foundation

FOUNDATION AND GOVERNMENT SUPPORT

GOVERNMENT

Michigan Council for Arts and Cultural Affairs

National Endowment for the Arts

SIGNAL BENEFACTORS

$50,000 AND ABOVE

The John S. and James L. Knight Foundation

The Skillman Foundation

CONTRIBUTORS

BENEFACTORS

$15,000 - $24,999

Hudson-Webber Foundation

David M. Whitney Fund

Matilda R Wilson Fund

FELLOWS

$10,000 - $14,999

Ann and Gordon Getty Found a tion

James and Lynelle Holden Fund

The Samuel L. Westerman Foundation

SUSTAINERS

$5,000 - $9,999

DeRoy Testamentary Foundation

Th e Mary Thompson Foundation

PATRONS

$2,500 - $4,999

Japanese Society of Detroit Foundation

CONTRIBUTORS

$500 - $999

Borg Watner Automotive , Inc.

Farbman Group

PPG Industries Foundation

SUPPORTERS

$100 - $499

Carhartr, Inc.

John E. Green Co.

DONORS

$1,000 - $2,499

Drusilla Farwell Foundation

Earl-Beth Foundation

Alice Kales Hartwick Foundation

The Village Woman's Club Foundation

Young Woman 's Hom e Assoc iation

CONTRIBUTORS

$500 - $999

The Clarence and Jack Himmel Foundation

Mr. & Mrs Ara Berberian

Mr. & Mrs Mandell 1. Berman

Dr & Mrs. John G. Bielawski

Mr & Mrs G. Peter Blom

Dr & Mrs. David Bloom

Mr & Mrs Douglas Borden

Mr & Mrs Donald J, Bortz

Dr. & Mrs Joseph 1. Cahalan

Honorable Domini c k R Carnovale

Mr & Mrs. Clarence G. Catallo

Dr. & Mrs Victor J Cervenak

Dr BarbaJ:a D. Chapman & Mr Frank Andrews

Ms. Virginia Clementi

Mr David Cohn

Mrs Adelina C. Colby

Mr & Mrs Michael J. Connolly

Mrs Ellen R. Cooper

Mr & Mrs. Peter Cooper

Dr & Mrs. Vieror Curatolo

Mr. & Mrs Ernest Curcis

Me. & Mrs. Lyle K. Daly

Julia Donovan Darlow & John O'Meara

Mr. & Mrs Lawrence N. Bavid

Mr /li. Mrs WilliamJ. Davis, Sr.

Mr. and Mrs . Lawrence Dickelman

Mr. & Mrs Max M. Dubrinsky

Lady Jane Easton

Mr. & Mrs John R. Edman

Ms ffilda R Ertenheimer

Mr. & Mrs. Paul E Ewing

Mr Stephen Ewing

Mr. & Mrs. Alfred J. Fisher, Jr

Mr. & Mrs. Louis P Fontana

Mrs Benson Ford , Jr

Mr. Kenneth H Fox

Mr & Mrs. Joseph J. Franzem

Mr. & Mrs Edward P Frohlich

Mrs. Roy Fruehauf

Ms. Mary Ann Fulton

Mr & Mrs Frank A

Germack, Jr.

Mr. & Mrs. Keith E Gifford

Mr & Mrs Vito P. Gioia

Mr & Mrs. Herbert N Glass

Mr & Mrs. Alan L. Gornick

Mr & Mrs F. W Gridley

Mr & Mrs. John C. Griffin

Mr & Mrs Carson C. Grunewald

Mr & Mrs. Charles G Gunderson

Mrs. Alice Berberian Haidostian

Mrs Robert M. Hamady

Dr. & Mrs Joel r. Hamburger

Ms Mary C. Harms

Mr. & Mrs Kenne th E Hart

Mr. & Mrs E. J. Hartlllll\ln

Dr & Mrs Jack H Hertzler

Mr. & Mrs David H. Hill

Mr & Mrs Keith Honhart

Honorable & Mrs Joseph N

Impastato

Mrs. David Jacknow

Mr Joseph Jacobs

Mr & Mrs Richard Janes

Miss H. Barbara Johnston

Mr. Sterling C. Jones, Jr.

Mr & Mrs Maxwell Jospey

Honorable Mitchell Kafarski & Dr. Zofta Drozdowska Kafarski

Mr. & Mrs. John Kaplan

Mr & Mrs Stephen D. Kasle

Dr. & Mrs Charles Kessler

Mr. & Mrs Eugene 1. Klein

Mr & Mrs Robert Klein

Mr. & Mrs Harvey Kline

Mr. & Mrs. Gerald Knechtel

Ms. Marina Sabbagh Kozora

Dr & Mrs. Alfred M Kreindler

Mr. & Mrs. William Ku

Dr. & Mrs Melvin A Lesrer

Dr Frank R Lewis

Mrs Leonard T. Lewis

Dr & Mrs Kim K. Lie

Honorable Jack Martin & Dr. Betrye Arrington -Martin

Mr L. Gene Stohler

Dr R obert Matthews

Mr & Mrs William T McCormlck, J r.

Mrs. Wade H McCree, Jr

Mr & Mrs. Stanley C. McDonald

Mr. & Mrs. Daniel Medow

Dr. & Mrs Paul Mentag

Mr. & Mrs. Eugene Miller

Drs. Orlando and Dorothy Miller

Dr & Mrs Harvey Minkin

Mr. & Mrs Morkus Mirrius

Mr. & Mrs. Carl Mitseff

Mr & Mrs. Theodore Monolidis

Mr. & Mrs Fred Morg anroth

Mr. Michael J. Morrison

Mr. William A Morrow

Mr. & Mrs. E Clarence Mulatoni

Mr. & Mrs. Marco Nobili

Mr. & Mrs. George W. Nouhan

Mr. & Mrs. Eino Nu r me

Mr. & Mrs. Joseph Orley

Mr. & Mrs Jules Pallone

Mr. & Mrs James Pame!

Mr Michael W. Pease

Dr. Robert E L. Perkins

Mr. John E Perry

Mr & Mrs Harold A Poling

Mrs. David Pollack

Mr & Mrs. Hughes L. Potiker

Mr. & Mrs. John B Renick

Mr & Mrs. Richard H Rogel

Mr. & Mrs. Hans Rogind

Mr & Mrs. Louis R. Ross

Dr. & Mrs. Mark Rorrenberg

Mr. Wayne J. Ruchgy

Mr. & Mrs William Sandy

Dr. & Mrs. Norman R Schakne

Honorable Joan Young

Schellenberg & Mr. Thomas Schellenberg

Mr & Mrs Larry Schiff

Mr & Mrs. Mark Schmidt

Dr. & Mrs Karl F. Schroeder

Dr & Mrs. Arthur H Schultz

Mr & Mrs Gregory J. Schwartz

Mr. Joseph Schwartz

Ms. Elham Shayota

Mr. & Mrs Roger F Sherman

Dr & Mrs Douglas B. Siders

Mr & Mrs Richard Sloan

Mr & Mrs. Norman Sloman

Mr. & Mrs. William H. Smith

Dr. & Mrs Robert J. Sokol

Mr. & Mrs Walter M.Srark

Mr & Mrs. Richard D. Starkweather

79 E. Maple, Troy, MI 48083 (810) 689 - 8424 FAX (810) 689 - 6162

24 - Hour Mail Order & Message Toll Free: 1 - 800 - 697 - VIOL

Mrs. Mark C. Stevens

Mr. & Mrs George Strurnbns

Dr & Mrs. David Susser

Mr & Mrs Stephen M Sweeney

Mr & Mrs A Alfred Taubman

Mr. & Mrs. C. Thomas Toppin

David Kinsella and Joyce Urba

Mr. & Mrs Alvin Wasserman

Mr & Mrs Gary L. Wasserman

Dr Marilyn 1. Williamson

Mr & Mrs Eric A. Wilrshire

Mr. & Mrs. Lawrence E Wirkowski

Dr. & Mrs. Jose E Yanez

Mr & Mrs Morron Zieve

Mrs. l'aul Zuckerman

CA MERATA CLUB

$ 1,0 0 0 - $1,499

Mr. & Mrs. Chester Arnold

Mr & Mrs. Robert Beebe

Mrs. Mary E. Bloc ker

Mr & Mrs. Robert G. Campbell

Drs. Margaret & J o hn Casey

Mr. & Mrs. Grant C. C have

Dr. Mary Carol Conroy

Barbara & Gerald S. Cook

Mr & Mrs. P aul W. Czamanske, Jr.

Mr. & Mrs. William DeBiasi

Mrs. Bonnie Li gon Dickens

Drs. Paula and Mi chael Duffy

Mr. Don F. Duggan

Mr. & Mrs. Laurence E ll iott

Mr & Mrs. Richard C. Ensign

Adrienne & Robert Feldstein

Dr & Mrs. Li onel E. Finkelstein

Mr. & Mrs. C ha rl es T. Fisher, III

Mr. & Mrs. George E Frost

D r. & Mrs. William R Fulgenzi

Mr & Mrs. D enn is J. Gorm ley

Mr. & Mrs. Hugh Gill

Mr. & Mrs. Haro ld A. Grossman

Mr. Randolph Gryebet

Mr. & Mrs. Murray H auptma n

Ms. Nina Haumni & Dr. Ghassan

Mr. & Mrs. J effrey K. Haynes

Dr. & Mrs. Jam es B. Heider

Mr. & Mrs. Charles L. Henritzy

MISS M ary AdelaIde H ester

Mrs. Jo yce Ann Kelley

Mr & Mrs. John A. Kirlin

Mr. & Mrs. Donald A Knapp

Mr. Kurt Kovalchik

Father Ralph E. Kowalski

Dr & M rs. Richard L. LaMOnt

Dr. & Mrs. Paul Lesse m

Dr & Mrs. Robert Lisak

Mr & Mrs. George Mallos

Dr. & Mrs. Thomas G. M cDona ld

Mr. & Mrs. Harold A. M eininger

Dr & Mrs. Anthony B Michaels

Dr & M rs. Van C. Momon , Jr.

Mr. & Mrs. Cha rl es R. Moon

Dr & Mrs. Hugo Lopez Negrete

Mr & Mrs. Robert J. Neeme

Mr & Mrs. Brock E. Plumb

Mr Abraham L. Raimi

Mr & Mrs. Robert R Reilly

Mr & Mrs. c.L. Rieckhoff

Dr & Mrs. Roger Robinson

Mr. & Mrs. Hugh C. Ross

Dr Robert F. Sc hirm er

Mr. & Mrs. R. J. Schl itters

Dr. & Mrs. Mi c hael Short

Mr & Mrs. William Srone

Mr. & Mrs No rm an J. Tabor, Jr.

Mrs. C. T hero n Van Du sen

Mr. Sreve Veresh

Dr & Mrs. Chr istopher D. Wilhelm

LUMIN ARY

Mr. Charlie Antal

Mr. & Mrs. Joh n A. Ashron

David S. Balle, MD

Mr. Anthony Barclae

Mr. Stanislaw Bi aloglowski

Dr. & Mrs. Eric Billes

Lee & Paul Bli zman

Mr. & Mrs. A.J. Boone

Dr. & Mrs. Sander J. Breine r

Miss Hel en H. Cannon

Mrs. Eleanor A. Chrisrie

Mr. & Mrs. R obert Closson

M rs. Mary Rita C uddohy

Mrs. Eva Curry

Mr & Mrs. Ri chard DeBear

M r. D av id Di send

Miss Ruth G. Do berenz

M r. & Mrs. Frank Dron sej ko

Mr. George P. Due nsi ng

M r. & Mrs. H oward Emmer

Mr. J ac k H Fader

Mr. & Mrs. R obert Fair, J r.

Dr. & Mrs. Charles H Feinman

Mr. Marco F iandre' and Mr. Roger Loeb

Judge Sharon Tevis Finch

Mr. John Fleming

Mr & Mrs. Anthon y C. Fo rrun ski

Dr. & Mrs. Byro n P Georgeson

Mr. & Mrs. Michael M. G lusac

Ms. J ane Adele Graf

Dr. & Mrs. J. Donald Green

Mr. Philip Haddad

Mr. & Mrs. Hugh G. H arness

Mr Russell H erschler

Mr. Art Hug

Mr. & Mrs. Archie N. I rwin

Mr & Mrs. Al a n Israel

M s. Rose mary J o liat

Mr. Leslie Klauka

Mr. Mike Koj aian

Mr. J ames F. Korzenowski

Dr. & Mrs Joel M Kriegel

Mr. & Mrs. Lee E. Landes

Louise

Mr & Mrs. Ralph C. Mangold

Mr. & Mrs. Marvin Mazur

Ms. Patricia M cKanna

Me. & M rs. Al bert A. Miller

Mr. & Mrs. Milton J Miller

Mr. Erivan R M orales & Mr Seigo Nakao

Mr. K en Moriarty

Mr. Ronald K. Morri son

Mrs. Ri chard W. Nagel

Mr. Robert A Nit schke

Mr John F. Noonan

M s. Corinne Opiteck

Dr. Mary LOtto

Mr. R onal d J. Papandrea

P aul Horn & Associates In c.

Ms. V. Beverl y Payne

Dr. & Mrs. P eter J. Polidori

Mr. & Mrs. W Jam es Prowse

Mr. & Mrs. J ohn H. Redfield

Mr. & Mrs. H enry C. Reim er

Dr & Mrs. David B. R orabac her

Mr. Lars O. R osaen

Mr. & Mrs. David J Runyo n

Mr. & Mrs Lui g i R uscillo

Mr. & Mrs. J. Edward Sauble

M s. Susan Schoon er

Dr. John E. Sheard

Mr & Mrs R obert W. Sieg el

Drs. William P. & Frances L. Sos nowsky

Mr & Mrs. J erome T. Spen cer

Mr & Mrs. Mervyn Sternberg

Mr. & Mrs. Padrai c Sweeny

Dr & Mrs. John W. Sybert

Miss Mary Ellen Tappan

Mr. Anthony R Tersigni

Mr. & Mrs. Sheldon S. To ll

Ms. Susan Trottier

Mr & Mrs. Vi ctor Trou t m an

Ms. Marleen Tul as

Mr D avid Vlasak

Mrs. Kathryn N. Warren

Mr. & Mrs. Cyrus H Warshaw

Mr. & Mrs. K. Whipple

Mr. J. Ernest Wilde

William E Scollard Fund

Mr Lawtence Williams

Mr. & Mrs. Larry Winget

Dr. Ruth A. Worthington

Mr. Lawrence Youhanaian

Mr. & Mrs. Gregory Alan

Zemenick

Mr. Dave Zmyslowski

CONTRIBUTIONS OF $250 -)$499

SUPPORTER

Mr. & Mrs. William J. Adams

Mr. & Mrs. Augustine Amaru

Ms. Leslie Anthony

Mrs. Rosemarie Ash

Mr & Mrs. Stephen M. Bakonyi

Andrea Z. & James M. Balcerski

Mr. & Mts. Eugene Balda

Mr. Anthony Barelae

Ms. Josephine Barnes

Ms. Martha K Beard

Dr & Mrs. Jacques Beaudoin

Mr & Mrs. Henry P. Bechard

Mr. Dean Bedford , Jr.

Mr. & Mrs. Raymond Benner

Dr. & Mrs. Ronald Benson

Mr & Mrs. Robert Benton, Jr

Miss Elaine Beresh

Mr. Francis Bialy

Mrs. Norman Bird & John Bjorklund

Mr. Svein Bjorldy

Mr. & Mrs' Eugene W. Blanchard

Dr. Edwin C. Blumberg

Mts. Saundra Y. Bohanon

Mr. & Mrs. John Boll

Mrs. Gertrude D " Bonk

Mr & Mrs. Richard A. Boyes

Mr Michael Boyle

Ms. Mary J o Brough

Mr & Mrs. Robert Brown

Mr Don Budny

Mr Alan J. Burg

Mr. & Mrs. Dan Burke

Mr. & Mrs. Roy E. Calcagno

Mr. Clifton G. Casey

Mr & Mrs. Harry T. Cendrowski

Mr. Maurice Chandler

Mr. Thomas Chapel

Dr. Susan D. Charlamb

Mr. & Mrs. James Collier

Mr. & Mrs. Jim Collins

Mrs. Rosa Mary Crawford

Mr. & Mrs. Douglas E. Cutler

Mr & Mrs. James D'Alessandro

Mr. & Mrs. John J. Daly III

Mr Samuel 1. Davis

Dr & Mrs. Anthony De Luca

Mrs, Maro DeTomaso

Mr. & Mrs Leonard J. Decker

Mr. John DiLodovico

Dr. Lilian Diakow

Dr Jack DuBois

Dr, & Mrs. Harold Duchan

Mr. & Mrs. Joseph R Dudley

Mrs. Saul H. Dunit z

Mr. & Mrs. William A. Dunning

Mr. & Mrs. John D. Durno

Mr. & Mrs. Peter P. Dusina, Jr

Ms. Ingrid Eidnes

Mr. Mervin W. Eisen

Honorable and Mrs. S. J. Elden

Mr. Everett 1. Farmer

Mr. & Mrs. Ron Fischer

Mrs. Shirley M. Flanagan

Dr. & Mrs. Herman Foon

Ms, Doris R, Foster

Mr. Earl A. Foucher

Mr, Benjamin Frank

Ms. Josephine E. Franz

Mr. & Mrs. Douglas A. Fraser

Dr Arthur Freedman

Mrs. Lois Freeman

Mr. & Mrs. Earl Gabriel

Mrs. Russell 1. Gilpin

Mr. Larry G lowczewski

Dr. & Mrs. Paul Goodman

Mr. & Mrs. E. Thomas Gorcyca

Mr. William C. Govier

Mrs. Nora 1. Grabowski

Ms Gloria D. Green

Mr. & Mrs. Grove Grimes

Mr, & Mrs. Charles D. Groves

Mr & Mrs. David A. Gugala

Mr. & Mrs. Paul A. Hack

Mr & Mrs. Leslie R Hare

Mr, Richard Hill

Mr. & Mrs. H einz Hinrzen

Mr. Frank Hoag

Dr & Mrs. Leon Hochman

Mr. & Mrs. Rex Holton

Ms. Donna Holycross

Ms. Judy Hunyady

Mr & Mrs. Jacob Hurwitz

Mr. & Mrs. Mario Iacobelli

Mr. & Mrs. Laurence Imerman

Mrs. Alfreda Janitz

Mr. Chois Jones

Mr. George Kalligeros

Ms. Vera Kalnins

Mr. & Mrs. Russell Kane

Mr. Daniel Kaoger

Dr. & Mrs. Sydney M. Kaufman

Mr. Barry Keller

Mr. & Mrs. Charles E. Keller

Ms. Geraldine B. Keller

Dr Annetta R Kelly

Cong. Joseph Knollenberg

Mr. & Mrs. Ronald Komer

Mr. & Mrs. John Konik

Mr. & Mrs. Martin & Karen Koss

Mr, & Mrs. Geoffrey J. Lanning

Mr & Mrs. Paul Lavins

Mr. & Mrs. William Lee

Mr. & Mrs. Timothy P. Lentz

Mr. Kenneth Levin

Ms. Patricia J. Lewis

Dr & Mrs. John H. Libcke

Dr. David J. Lieberman

Mrs Albert A. Loffreda

Mr, Mervyn Manning

Mr. Keith R. Marchiando

Dr. & Mrs. Saul Z, Margules

Mrs. Florine Mark

Mr. Matthew J. Mason

Mr. George G, Matish

Ms. Elizabeth Maysa

Ms. Mary C. Mazure

Mr. & Mrs. Dean

McFarlane-Parrott

Mr & Mrs. Kenneth B. Meskin

Mr. & Mrs, Wi ll iam Michaluk

Mrs. Patricia Mitchell

Dr, & Mrs, Eliezer Monge

Dr & Mrs Jay & Wanda Moon

Mrs. Adele Moroun

Dr. James 1. Moseley

Mrs, Earl A, Mossner

Ms. Barbara Narura

Mr. Charles Nave

Mrs. Kathleen M. Nesi

Mrs Barbara Nickles

Mr. Shinobu Niga

Mr. Steven Novinson

Dr. Marilyn Oberst

Mr. Harry Okros

Mr. & Mrs. Anthony Opipari

Mr & Mrs , Dale J. Pangonis

Dr. Barbara Papania

Mr. & Mrs. Joseph R. Papp

Ms, Kathryn A. Penix

Mr & Mrs. John Perentesis

Mr. Charles Peters

Dr. & Mrs. Thomas Petinga, Jr.

Mr, & Mrs, Phillip Pharmer

Mr. Robert M. Piazza

Mr. & Mrs. David Piccirilli

Mr, & Mrs , Richard C. Piesik

Mr. & Mrs, Jim Piper

Mr & Mrs. Edward 1.

Pokornowski

Mr & Mrs. Robert & Maida Portnoy

Mary E. & Robert 1. Posont

Dr. Michael Prysak

Mr. & Mrs, Glenn T. Purdy

Mr. & Mrs. Frederick Puskas

Ms. Elizabeth Racz

Vera Rea

Dr. Melvin 1. Reed

Dr. & Mrs. Carl E. Reichert, Jr.

Mr. Bernard J. Reilly

Mr. Entique Reiners

Mr. & Mrs. John J. Riccardo

Mrs. Estelle G. Rice

Richard & Meryl Place Fund

Mr. George Richmond

Mr, & Mrs. DeForest Rinz

Mrs. Marie 1. Roberts

Mrs. Fannie Robinson

Mr. James E. Rodgers

Drs. David and Sheila Ronis

Ms. Joanne B. Rooney

Mr. Aaron R. Ross

Ms. Lindsay Roth

Mr. & Mrs. Theodore Rudner

Ms. Concetta Russo

Dr. & Mrs. William H. Salot

Brian & Antonia Sanchez- Murphy

Mr, & Mrs, John W Sanders

Mr & Mrs Alvin Saperstein

Mr & Mrs. George E. Saunders

Mr, & Mrs. Claus F. Schaefer

Mr. & Mrs. John Schmidt

Drs. Theodore Schreiber

Mr. & Mrs. William Schwedler

Dr & Mrs. Benjamin Schwimmer

Mr, & Mrs. Kingsley Sears

Dr & Mrs. Nathan P. Segel

Ms, Ellen Sharp

Dr. Michael Short

Mr & Mrs. Peter Silveri

Dr. Robert F. Sl y

Mrs. Alma J. Snider

Rosa Ernstein & David Sonnenschein

Dr & Mrs. Yorarn Sorokin

Mrs. John Spencer

Ms. Eugenia Staszewski

Miss Wanda Staszewski

Mr Frank D. Stella

Mr & Mrs. Carlton Stewart

Dr. & Mrs. Gerald H. Stollman

Ms. Carolyn Stubbs

Dr. & Mrs. Choichi Sugawa

Dr. & Mrs. Kamal Surakomol

Ms. Barbara Surton

Dr. Gerald Swiacki

Mr. Thomas Tapert Judge Clifford W. Taylor

Mrs. William A. Ternes

Ms. Virgina Thiele

Mrs. Edward D. Thomson

Mr. & Mrs Donald M , D. Thurber

Mr. John P. Tierney

Mr. & Mrs. Cliff Tillman

Mrs. Dorothy Ali ce Tomei

Mr. Emmet E. Tracy, Jr.

Dr & Mrs. Dimitry M Turin

Mr & Mts. Sheldon Turley

Mr. & Mrs. William Twiddy

Ms Theresa Vaitkunas

Dr Joseph Va le ntin, DDS

Mr. & Mrs. John Van Brandeghen

Dr & Mrs. Ronald 1.

Vander Molen

Mrs. Doris Wadd e ll

Mr. Howard H. Wal1rop

Mrs. Carson M. Wallace

Mr. & Mrs. Robert C. Walter

Miss Evelyn A Warren

Mr. W. N. Warren

Mr. & Mrs. K eit h & Christine Weber

Mr. Herman Weinreich

Mr & Mrs. Seymour Weissman

Mr. & Mrs. Paul Wenson

Dr. & Mrs. William J Westcott

Mrs. Amy Willens

Mr. & Mrs. Halton William s

Dr. Magnus A. Wilson

Ms. Hildegard Wintergerst

David Delos Woodard

Mrs. Laura Woodhouse

Mrs. Teruko Yamasaki

Mr Walter W. Zelasko

CONTRIBUTION S OF $ 120 - 24 9

ENCORE CLUB

Mr. & Mrs. Felix T. Adam s

Mr & Mrs. Thom¥ B. Adams

Mr. Paul Alexander

Mrs. Suzanne Alfasrsen

Mr. Madison Alford , Jr.

Ms. Ballerie Knox Allen

Mr. & Mrs. Edward E Allwein

Mr. & Mrs. Ri chard L. Alonzo

Mr. & Mrs. Ray mond P. Amelotte

Mr. David Amos

Ms Sachiko An

Mr. & Mrs Thomas ' Andris

Ms. Adeline E Aras

Mr. & Mrs. Bohda n & Veta Andrushkiw

Ms. Margaret Angus

Mrs. Elinor Anni s

Mrs. Carol Appel

Ms Elizabeth Aprahamian

Ms. Adeline E Aras

Mr. PetetJ. Arm stro ng

Mr. & Mrs. H arold Arnoldi

Mr. Morris Arnowic z

Drs. Niara Arpaci and Family

Mr. & Mrs. Paul Atkins

Mrs. Geraldine Atkinson

Mr. & Mrs. Gary Atwell

Ms. Sally August

Mr. & Mrs. John & M arie Azar

Ms Loraine Bacon

Mr & Mrs. Fred Baer

Ms. Sy lvia W. Baer

Mrs Arlene Bai ley

Mr. Bassel Y. Banny

Mr & Mrs C. Robert Barnard

Mr. & Mrs. V. John Barn a td

Mr & Mrs Gotdon Barnes

Mr. Robert A. Barnh a rt

Mrs. Jean Barrlett

Ms. Kay P. Barsakes

Mr. Michael]. Bauer

Mr. & Mrs. Russe ll A. Bayly

Mr. Theodore Bea rd , J t.

Mr. Carlos Bedrossian

Ms. Linda Beeckman

Mr Gabriel Beer

Mr. & Mrs. Harvey Be im

Dr. & Mrs. David Benjamins

Han & Mrs. Robert D Bennett

Mr. & Mrs. George R. Berkaw, Jr

Mr. & Mrs. A. H. Berker

Ms. Sondra 1. Berlin

Mr. Roland 1. Bessette

Dr. & Mrs H L Bienenfeld

Ms. Flora Blackm an

Mr & Mrs. Saul Blackman

Art and Betty Blair

Mr. & Mrs. Willi am G. Blakeney

Mr. & Mrs. Jetry M. Blaz

Han. & Mrs. Willi am E Bledsoe

Mr. & Mrs. Lawrence B. Boensch

Mrs. Dawn Boesen

Mr. & Mrs. Alvin E. Bohm s

Mr & Mrs. Howa td H Bondy

Mr Leo Bonner

Mr. & Mts. Donald R. Borgeson

Mr. & Mrs. Jack Bourget

Mr. Gene Bowe n and Mr. Robett Bowen

Mr. Wil H. Bowlu s

Mr. John 1. Boy Ie

Ms. Ruth Bozian

Mr. & Mrs. Jack Bradford

Mr. & Mrs. Mil es E. Bras ch

Mr. & Mrs. Donald T. Bree n

Prof. & Mrs. Dale E. Briggs

Ms. Helen 1. Brokaw

Ms. Joann E Brooks

Ms. Margery E. Brooks

Ms. Bea tri ce Brown

Ms Patricia M. Brown

Ms. Susan 1. Brown

Ms. Kathleen Bublit z

Mr. & Mrs. Lestet Burron

Mr. & Mrs. Siegfried Busc hm a nn

Mt. Dale A. Buss

Ms. Aline Butcher

Mr. & Mrs. James & Jane Cameron

Mr. & Mrs. Btian C. Campbell

Mrs. Joan M. Campbell

Mr. & Mrs. 1. Doug las Campbell

Ms. Patri cia B. Capalbo

Dr. Anthony Cardellio

Mr. & Mrs. Samuel A. Cascade

Mr & Mrs. Joseph F. Cavanaugh

Mr & Mrs. Mi chael Cenko

Mr. & Mrs. Alexander Chetcuti

Mr. & Mts. Donald H. Chmuta

Ms. Jean Cialone

Han. & Mrs Ferdinand Cinelli

Mr. & Mrs. Leonatd Ciokajlo

Mr. & Mrs. Reg inald Ciokajlo

Dr. Gregory Q. Clague

Ms. Heathet Clark

Ms. Mary M. Clement

Dr. & Mrs. Volna Cl ermont

Mr. Ken Clouse

We commend the Michigan Opera Theatre for its steadfast commitment to excellence in the performing arts

Dr. & Mrs. Eudoro Coello

Mts. Evelyn D. Cohea

Ms Jane Col sher

Dr & Mrs. Jam es M. Co lville

Ms. Roslyn A. Conely

Mrs. Harley Conrad

Mr George A Cook

Mr. & Mrs. Walter Cooke

Mrs Mary Cooney

Dr. & Mrs. Ralph R Coopet

Mr. Allan B. Copley

Mr. Frank]. Coppola

Mr. & Mrs. James H. Cornell

Mr. & Mrs. Frank M. Cornwell

Mr. & Mrs. Eugene A. Cosma

Mr & Mrs. EX Coughlin

Mr. Stephen S. Cowell

Ms. Barbata M. Crubaugh

Mr. & M rs John W. Crump

Ms Ftancine Cullari

Mr Joseph S. Cummins

Mt Lyle E Curran

Mrs. Mary Curtis

Mts. Amy Cutler

Mr. Jeffrey S. Cutter

Mrs. Joanne 0' Arcy

Mr. Frank B. Dagostino

Ms. Evelyn Dangerfi eld

Mrs. Zenia S. Danysh

Mr. Mark O. Davis

Mr. & Mrs. William Davis

Mr. & Mrs. William A. Day

Mts. Joseph D ecket

Mr. George W. D ecla rk

Mrs. Lisa Del Campo

Mr. & Mrs. Armando Delicato

Mr. Louis DeMello

Mr. & Mrs. Thom as Demery

Mr. & Mrs. Phillip W Demski

Mr. & Mrs. Stanley Deneka

Miss Helen Deni s

Mr. J ames Denson

Mr. & Mrs. David Deview

Mr. & Mrs. Robett Di Giulio

Mr. Mario Direzze

Dr. & Mrs. Herbert H Dobbs

Dr. & Mrs. John W. Dobbs

Mr. Keith Dodsworth

M s. Colleen Dolan-Greene

Mrs. Willie Belle Donald son

Mr & Mts. T. Parachini & D. Donati

Mr. & Mrs. Robert 1. Dorn

Dt. & Mrs Anibal

Drelichman

Mr. & Mrs. Lawrence E

DuMou che ll e

Mr. Marvin Dubrinsky

John D. Duma

Dt. Howard]. Dworkin

Mrs. Olga E Dworkin

Dr. & Mrs. William P.

Edmund s

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Dersnah Fee

Dt. & Mrs. H erbe rt

Feldstein

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Mr Paul Fershee

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Fassee

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Mr Nathaniel Gatdner

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Philip M. and Sandra]. Garland

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Mr William E Hayden

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Mr. Marvin]. Heinitz

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Mr Fred]. Hendra

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N ava rra

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Oppe rm a nn

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P erDU

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Pflu g

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Phel ps

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Porte r

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Mr Euge ne Repeta

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Rev Cliffo rd H Rice

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M s. Ma ry -Al yce Robin so n

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Dr John D Rom

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Drs Albe rt a nd Rhoda Rose n t hal

Mrs Lin da Ro th

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Wilm e r a nd Loi s Rutt

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Mr & Mrs. Andre w].

See fried , Jr

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Dr. Elias A Sh aptini

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Ms. J a nice M Shi er

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Mts. Sha ron Stencel

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Tewksbury

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TRIB UTE F U ND IN MEMORY OF IRENE ARRINGTON

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Professional Plaza

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IN MEMORY OF BRUCE HILLMAN

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Americana Design Co.

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UM Hosp itals

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Mastet Drapery Services, In c.

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MEMORIAL FUND FOR MARIA ROUMEll

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Geavaras

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Grunewald

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Heidebrei cht

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Kafcas

Mr Allen K eller

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Po lice Offi cer Association of Michi gan

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IN MEMORY OF MR. HERBERT GREENSTONE

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IN MEMORY OF ALFRED THOM S

Elif Arioglu , M.D.

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IN MEMORY OF THOMA S EMMETT SUlliVAN & CONRAD SO DERBLOM

Christi Hoag land

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IN HONOR OF JENNIFER & BRIAN HERMElIN

Susan E. Harold M .D.

IN H O NOR OF Mrs. Pete r Cooper

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HANUKKAH

TRIBUTE TO

Mr. and Mrs. Carl Rosman by Mrs. Flora E. DeVault

IN-KIND GIFT S IN AUGURAL GALA

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D e troit Floral Desig ns, Inc.

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Jaguar of Troy

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MISCEllANEOU S

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MICHIGAN OPERA THEATRE VOLUNTEER ASSOCIATON

The Heart of Michigan Opera Theatre

The Michig an Opera Theatre Volunteer Association is an exci ting volunteer initiative whose purpose is to promote a solid base of support for Michigan Opera Theatre. Members are encouraged to participate at all levels of the )company. This dedicated support is through a variety of forms and encompasses individuals operating the Boutique, ushering ,

MICHIGAN OPERA Supers

providing ho spi tality to visiting artists, doing office work, providing back stage tours a nd hosting m a ny social fund-raising events.

We are always looking for more volunteers to help us reach our goal. Our volunteers are "The Heart of Michigan Opera Theatre." Please join us!!

Vo lunteers

Helen Arnoldi-Rowe ASSOCIATION

THEATRE VOLUNTEER Jan Stano-Matuszewski

Boutique

Office Volunteers

President

Betty Brooks

Secretary

Nancy Moore

Treasurer

Richard Starkweather

Past President

Gloria Clark

Parliamentarian

Barbara Naruta

Membership

Blanca O. Fauble ,

Opera League of Detroit

Paula Angelo

Terry Shea

MOT Movers

Nancy Krolikowski

Education

Wallace P eace

Opera House Ambassadors

Helen Millen

J eane tte Pawl aczyk

Young Professionals

Todd Walker

The Dance Council

Maggie Alles ee

O. G.l. Representative

Sharon Gioia

Education & Outreach Nomination

Ana Rea

Maryanne Gibson

Historian Advisors

Queenie Sarkisian

Cook Book

Cheryl Fallen

Linda Watters

Annette Balian

Patricia Young

Don Jensen

James Greely

Volunteer Coordinator

Roberta Starkweather

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The world is changing.

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Copyright 2010, Michigan Opera Theatre

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Copyright 2010, Michigan Opera Theatre

MICHIGAN OPERA THEATRE DEPARTMENT OF COMMUNITY PROGRAMS

Karen VanderKloot DiChiera, Director

COMMUNITY PROGRAMS ON THE MOVE!

Artists of Michigan Opera Theatre's Department of Community Programs, Maria Cimare lli , Barbara Wiltsie, Amy DolanMalaney, Karl Schmidt, Mark Vondrak (Associate Director, Community Programs) and Kevin Bylsma, accompanist, have traveled the state performing Nanabush, Music by Karen VanderKloot DiChiera and book by William Kirk, The Broadway Revlle and The Night Harry Stopped Smoking. An extra "big hit" this season is a revue involving middle and high sc h ool students - The MtlSi c of Andrew Lloyd Webber.

Our friends in and the artists of

Community Programs had a rollicking two weeks together! From Emmit County to Charlevoix County, Michelle Conklin, new director of Petoskey's Crooked Tree Art Council, had our performers hopping. A surprise trip was h appened when Michelle ca ll ed Mark Vondrak asking if the performers would mind a trip to some youngsters who couldn't make it to the mainland due to ice flows.

Intrigued, Mark agreed to shepherd his flo ck of performers on a plane trip to Beaver Island in Lak e Michigan to perform Nanabush for the 80 students who attend the island schoo l.

COMMUNITY WEEK AT THE DETROIT OPERA HOUSE

Detroit Jazz, high school choirs, professional Michigan dance companies, children's activities and performances were all made at the Detroit Opera House by the John S. and James 1. Knight Foundation, the week of November 25-30,1996.

Community Week offered a taste of all these activities for the nominal fee of $5 pet event. Almost 250 volunteets helped stamp, mail, usher, host , feed, distribute, se ll , tOut, teach, narrate and perform! Thank you to all volunteers organizets, ushers and the abundantly talented performers who filled the Opera House with sounds and activities that were upbeat and uplifting. We hope Community Week 1996 is just the first of many comm unity-based events at Out magnificent new home.

TIME OUT FOR OPERA

If you would lik e to have Michigan Opera Theatre in your home once a week all year tound, tune into Flint WFUM on Sunday afternoons at 5:00 P.M. The award winning se ries, produced at Bloomfield Community Television, has been accepted by the Flint

A.C.E. PROGRAM RE-GRANTED

The Arts Centered Education program, in cooperation with the Detroit Public Schools, has received a hearty green light from the A.C.E. funders and Michigan Counc il for Arts and Cultutal Affairs for a second year of curr iculum programs. Michigan Opera Theatre is part of a partnership with the Center for Creative Studies (The College of Art and Design and The Institute of Music and Dance) , the Detroit Public Library, Preservation Wayne and Your Heritage Hous e Museum.

Parmer schools are Murray Wright High School, Edmonson Elem entary School and the Detroit Day School for the Deaf.

PBS station Flint WFUM reaches 450,000 direct viewers and an extra 425,000 via cable throughout Southeast Michigan and Canada.

QUOTABLE QUOTE

"The Community Outreach Program of Michigan Opera Theatre is a vital and needed activity for the northern rural area of Michigan. This program brings a cultural presentation to people who would live a lifetime and never be exposed to, or see a professional opera presentation. The present showing of Nanabush is a cross-cultural educational tool. this type of outreach by a major urban cultural institution should be a standard by which all granting agencies evaluate their giving."

Victor Kishego Owner, Indian Hills Trading Company and Indian Art Gallery

THANK YOU JOAN SANKOVICH!

Thanks to Joan Sankovich and the Franklin Council for the Visual and Performing Arts, Karen DiChiera will be able to teach the Create Opera! curriculum this March, 1997 to learning disabled and mentally impaired ch ildren at the Miller Middle School in Detroit.

* If you would like to request a program, or desire more information on the Department of Community Programs, please ca ll Doloris Tobis at 313/874-7894

Copyright 2010, Michigan Opera Theatre

Kevin Bylsma, Karl Schmidt, Maria Cimarelli, Mark Vondrak board plane to perform Nanabu sh on Beaver Island.

Community Week - Activity Center on Family Fun Day.

Community Week - Rick May teaches the "UnBlues!"

t rks of greaJ

OPERA THEATRE

DETROIT OPERA HOUSE

PHOTOGRAPHY AND RECORDING DEVICES

Unauthorized cameras and recording devices are not allowed inside the theater at any time.

The taking of photographs of the theater or any performance is strictly prohibited. As a courtesy to our guests, we ask that all paging devices and alarm watches be switched to a silent mode prior to the start of a performance.

IN CASE OF EMERGENCY

Doctors and parents are advised to leave their seat location (located on ticket) and our emergency number, 313 / 237 -325 7, with the service or sitter incase of an emergency

Please observe the lighted exit signs located throughout the theater In the event of fire or similar emergency, please remain calm and walk - do not run - to the nearest exi t. Our ushers are trai ned to lead you out of the building safely. '

A trained Emergency Medical Technician (EMT) is on site during all events , Please see an usher or staff member to contact the EMT.

RESTROOMS

Ladies' resttooms are located off the Broadway lobby, down the stairs and also on the third floor (Madison side). Please press 3R on the elevator. Gentlemens' restrooms are located under the Grand Theatre staircase, down the stairs and also on the third floor (Broadway side). Please press 3 on the elevator.

Please note: All third floor restrooms are wheelchair accessible.

NO SMOKING

Detroit Opera House is a smoke - free facility. Ash receptacles are provided on the exterior of all entry doors for those who wish to smoke.

USHERS

Ushers are stationed at the top of each ais le. If you have a question or concern, please inform an usher, and they will contact management. If you are interested in becoming a volunteer usher, please call the usher hotline at 313 / 237-3253.

LATE SEATING POLICY

Latecomers will be &Clated only during an appropriate pause in the program, and will be asked to view the program on closed-circuit television monitors located in the lobbies until an appropriate program pause occurs.

LOST AND FOUND

Lost and Found is located in the Administrative Coordinator's office. P lease see an usher if you have misplaced an article, or call 313 /961-3500 if you have already left the theater.

PARKING

Parking is available for all events at the Opera House Garage, located direccly across John R. from Detroit Opera House on Broadway. Pre-paid parking is available. Please call 3 13 /961-3500.

ACCESSIBILITY

Accessible seating locations for patrons in wheelchairs are located in all price ranges on the orchestra level. When inquiring about tickets, please ask about these locations if you require special accommodations.

Assisted Listening Devices are available on a first-come, first-serve basis. Please see an usher or Ticket Office representative to request this service. Although this is a comp limentary service, we will request to hold a piece of personal identification while you are using the device.

CHI LDREN

Children are welcome however, all guests are required to hold a ticket, regardless of age. We kindly ask that parental discretion be exercised for certain programs, and t h at all guests remember that during a program such as opera or ballet, the ability of all audience members to hear the music is a prerequisite to enjoyment of the performance. In all cases, babes in arms are not permitted.

SERVICES

Concession stands are located on all levels in the lobbies. Please note: Food and Drinks are NOT Allowed in the Auditorium at any time!

Coat Check is located in the Madison lobby. The cost is $1.00 per coat. Please note that Dettoit Opera House does not accept responsibility for any personal articles that are not checked at the Coat Check.

Drinking fountains are located in the lobbies on floors 1 and 3 .

Public pay phones are located in the vestibule of the Broadway lobby and in the restrooms. Patrons i n wheelchairs can access pay phones through the Broadway storm lobby.

FOR YOUR INFORMATION

Detroit Opera House is available for rent by your organization. Please call Brett Batterson, Facility Manager, at 313/237-3250 to receive rental information.

Tours are available for individuals at predetermined times throughout the year and for groups by appointment. Please call Brett Batterson, Facility Manager at 313/237-3250 to inquire about our tour schedules and prices

TICKET INFORMATION

Detroit Opera House Ticket Office hours are:

Non-performance weeks: Monday through Friday, 10:00 a.m. to 6:00 p.m. Performance days: 10:00 a.m. through the first intermission of the evening's performance, except Saturdays and Sundays when the Ticket Office will open two hours prior to curtain.

Tickets for all public events held at Detroit Opera House are also available through all TicketMaster phone and retail outlets.

IMPORTANT NUMBERS

EMERGENCIES: 313/237-3257

Detroit Opera House General Information: 313 /961-3500

Lost & Found : 313/961-3500

Ticket Office: 313 /874-7464

Usher Hotline: 3131237-3253

Theater Rental Information: 313/237-3250

Michigan Opera Theatre: 313 /874 -7850

Detroit Opera House Fax: 313/237 - 3251

Press and Media Relations: 313 / 874-7850

E-Mail address: dohmgr@motopera.org

Internet address: http :/ /www.motopera.org

We applaud the Michigan Opera Theatre and we are proud to be a part of the restoration of the new Detroit Opera House, scheduled for completion in September.

"!he Marriage of .!Figaro

Supernumeraries

/ Mary Basmaji

Jennifer Bateman

Brian Bateman

Emelina Brincat

Bud Ellsinger

Peter Gough

Pete Gumina

Julie Richard Hill

Ashton Hooker

Andrew Hooker

Ashton Hopkins

Jeff Kirsch

David Kirsch

Christine Lee

Maria Luis Guion

Madeline Merritt

Gary Moy

Debra Mullins

Joey Piro

Parker Plague

Jan Renard

Cheryl Rockwell

Therese Shrnina

David Silverman

Jan Stano

Rose Stolk

AI Wisnieski

Sally Wisnieski

Please visit the Michigan Opera Theatre Boutique located in the Broadway Lobby. The Boutique, featuring the latest and fmest recordings, apparel and Michigan Opera Theatre/Detroit Opera House memorabilia, is open before and after the performance and during intermissions.

Michigan Opera Theatre, a non-profit organization, is supported in part by the State of Michigan through the Michigan Council for Arts and Cultural Affairs, and the National Endowment for the Arts, a federal agency.

Copyright 2010, Michigan Opera Theatre

THE FLYING DUTCHMAN

PATRON *LERT; Heart and epilepsy patients please be advised that theis performance utilizes a strobe light in acts I & III

SUPERNUMERARY

Richard Hill

WIG & MAKE-UP VOLUNTEER CREW

Mira Stefaniuk, Crew Coordinator

Vicki Barnett

Linda Bohanon

Marta Sawczuk

Therese Shmina

Marta Stefaniuk

WIG & MAKE-UP VOLUNTEER TRAINEES

Liz Banolian

Corinne Fine

Violeta Kapayo

Eunice Michelson

Anni Richardson

Margaret Roy

Elsa Shartsis

Susan Vernick

Please visit the Michigan Opera Theatre Boutique located in the Broadway Lobby. The Boutique, featuring the latest and finest recordings, apparel and Michigan Opera Theatre!Detroit Opera House memorabilia, is open before and after the performance and during intermissions.

Michigan Opera Theatre, a non-profit organization, is supported in part by the State of Michigan through the Michigan Council for Arts and Cultural Affairs, and the National Endowment for the Arts, a federal agency.

Copyright 2010, Michigan Opera Theatre

Michigan Opera The atre invites you to

A Message from the General Director

n behalf of Michi ga n Opera Theatre, welcome co a Season of Dance ar Detroir Opera House I am delighred rhar you could join us, and hope rhis will be one of many visirs ro rhis magnifi ce nr rhearer.

For rwenry-five years we dreamed of someday having a world-class faciliry perfecrly sui red for grand producrions of opera and bal ler. Lasr April our dream came rrue.

And now, wirh rhe expansive srage and superb acousrics of Detroir Opera House , we are poised co presenr rhe mosr lavish producrions of grand opera and baIl er . We are delighred co begin rhe rradirion of dance ar Derroir Opera House wirh rwo very spec ial presenrarions by Ameri ca's premiere bailer companyAmerican Baller Theatre

American Baller Thearre lasr appeared in Derroir in 1984, and now rh e co mpany rerurns co presenr a mixed reperrory program of G eo rge Balanchine 's Apollo, Kevin McKe nzie 's Transcendenta l Ettldes, Agnes de Mille's R odeo and rhe Grand pas de Deux from D on Quixote, February 4 & 5, as well as a worldacclaimed performance of Tchaikovsky 's rimeless masrerpiece Swan Lak e, February 6-9. This unique blend of class ic works will be performed by some of rh e world 's grearesr and mosr so ughr-after dancers.

In April, o ur Season of Dance conrinues as Cleveland San Jose Baller presenrs rhe Detroit premiere of the electrifyi n g Blue Suede Shoes, an exciring dance experience set ro rhe music of Elvis Pr es ley. We conclude our inau g ural Season of D ance at Detroit Opera House on May 17 wirh An Extraordinary Evening of Dance. This one-evening evenr fearures some of rhe mosr exciring artists from r he world of dance.

I wou ld lik e ro rake this opporruniry ro rhank a ll of our supporrers whose generosiry is making this firsr Season of D ance ar Derroir Opera House a wonderfu l reality. World-clas s dance programming ar Derroir Opera House is not possib le withour your fi nancial supporr - ticket sales cove r less rhan 50 % of performance cosrs ! In orde r to assure rhat bailer will remain an imporranr com ponen t of D erro i t Opera H ouse programming, I invit e you to become parr of our D ance P atro n 's Circle (see page 9 for derai ls). This is your oppo rrunit y co ens ure the furure of dance ar D etro it Opera H o use.

Enjoy th e performance!

THE DETR O IT OPERA HOUSE

On April 21, 1996, rhe doors to rhe beaurifully restored Derroir Opera H ouse were open to the public for the I naugural Gala Lu c iano Pavarorti and a hosr of orher operatic luminaries performed in a Grand Concerr to ce lebrare rhe occasion. G lorious musi c filled the thear e r and de li ghred rhe 2,700 people in attendance. It was truly a magnifi cenr momenr in Mi c hi gan Opera Theatre 's twenry-five year history of excellence in rh e metropolitan Detroir community. Finally, MOT has irs own home - and ir is a wond erful home.

Dr. David DiChiera, Genera l D irector, a lw ays knew rhar to make MOT a pe r ma n enr resour ce for rhe city and stare, the opera co mpany would need to have a world-class facility to accommodare a ll of its activities. In 1989 , MOT acquired the Grand Circus Thearre, and seven years lar er the dream became a realiry More rhan 1,500 donors have conrribured $2 0 million to h e lp open rhe doors - individuals, corporarions and foundarion s. They h ave und er wrirren a ll of rhe grand tier boxes and some of rhe lobbies, chandeliers, individu a l seats and bricks. However , more work needs to b e dune a nd rhere are many more naming opportunit ies. W e need to raise an addirional $13 million to complere the first p h ase of rhis project which includes finishing the e l evator tower, lobbies and public lounge.

To h e lp raise rhese funds, we have a lofry goal, bur an achievab le one - to name every seat in the rheater. We invite you to help us build on our dream and pur your name on a sear. If you look around r h e thearer, you will notice rhat some seats h ave go ld ribbons on rhem designating t h e sear und erwrirers . One day we hope to have permanenr brass n ame plaques on every sear

Sear s ca n be named from $500 to $25,000 and gifrs of $1,000 or more ca n be fu l f il ed up to a five year period. So , p lease join us in the ca mpaign to complete rhe restoration of Derroir Opera House . For more information on how you can ge t inv olved eir h er ca ll rh e D eve lopmenr Deparrmenr a r 3 1 3-874-7850; comp le t e rhe form below and mail to Michi ga n Opera Theatre, 10 4 Lothtop , Detroir, Michigan 48202 or FAX the comp leted form to 313 -8 7 1-7213.

PLEASE SEND ME A BROCHURE ON WAYS TO PARTI CIPATE IN THE CAMPA IGN TO RE STORE DE TRO IT OPERA H OUSE.

NAME _________________________________________

ADDRE SS _____________________________

Copyright 2010, Michigan Opera Theatre

DiChiera , General Director

ClTY _____________________ STATE ______ ZIP ______ _________________________________________________________________

David

COMING SOON DETROIT OPERA TO HOUSE

An Evening with Jose Carreras

March 19, 1997

DR. DAVID DiCHIERA G eneral Director

Michigan Opera Theatre & D etroi t Opera House

MICHIGAN OPERA THEATRE

J o hn Le be rg Managing D irector

February 18-23, 1997

CLEVELAND SAN JOSE BALLET '!P !;.

April 15-20, 1997

Prese nt ed b y Mi chi ga n O pe ra Th eatre

Ap ril 15'h O pe nin g Nig ht a nd

April 19'h Pe rform a nces Sponsored b y

• AT&T

April 16,h Stud ent Performance Spo nso red by Km art Co rpo ra tion

Presented by Mi chig an O pera Theatre in conjunction with Hoffm ann Concerts

Made possib le by

K a ren Va nd er Kl oo t Di C hi e r a Directo r 0/ Commlil/ity Prog rams

St eve H avi aras Director of Ma rketing

Mi tc h e ll Kr iege r Directo r 0/ Artistic R esollrces

9)GnCe/

May 17 , 1997

Prese nted b y Mi chi ga n O pe ra Th eatre

W e wi sh ro th a nk NBD for th eir g en erou s s upport o f The D e t ro it Dan ce Se r ies, whi ch includ es Am er ic an Ball e t Th ea tre a nd Cleveland Sa n Jose Bal le t

The 1997 Spring Season is Sponsored by mrGeneml Motors

April 5-13, 1997

Prese nt ed b y Mi chi ga n Ope ra Th ea t re

£..

April 12'" Pe rfo rm a nce Michigan Spo nso red by National Bank

'Ihe Marriage of $ igaro

May 3-11 , 1997

Prese nted b y Mi chi ga n O pe ra T hea tre

May 10'" Per fo rm an ce Spo nso red by Lea r Co r po ra ti o n

THE FLYING DUTCHMAN

A ll an G rasso Admi nistrative A ssis tant to the Gen eral D irec/or

Li nda DeM ers

B oard Secretary l Adminstrative Assistant

Beve rl y A M oo re Receptionist

C OMM U NITY PROG RAMS

D o lo res To b is Office and Marketing Manager

M ark Von drak Associale Direc/or of Comlllunity Programs

DEVELOPMENT

T h o m as N. R ic h a rd so n , Sr Assistant Director of Development

Ka tri na L. P aradi ne Corporate Campaign Mana ger

St ep h an i Mill e r Capita l Campaign Coordinator

Robe n a Stark wea th e r Volllnteer Coordinator

J a ne W es tl ey Development Associate

FIN A NCE!

COMP U TER SERVI CES W ill iam T. Sch u lz Cont roller

Sharo n A . Sub jec k A ccountant

Dav id W . O sbo rn e Director 0/ Prodllction

Ma ry P a rkhill

D irector of D evelopmmt

] rene Po n ee AHiJlant A ccountant

M ary E Pih a jli ch Systems J\ lanager

MARKETING!

P U BLI C REL ATION S

Marc i Sc h ra mm

A ssis/ant D irec/ or o[ M a rketing

Sandy P re kra ti c

Membership Manager

Do lo res Tob is

G roup Sales

Je rom e M agi d

MO T Photog rapher

Ma rk J. Ma nc i ne lli

OnH !MnT Photographer

Jeane tt e Paw laczy k

P"blic Relations Volllnteer

T ICKET OFFICE

Ki m be rl y Mog iel s ki

T icket S ervices Ma nager

K imbe rl y G ray Ticket Services Assistant Manager

An ne M a ri e Espe rc i

Ticket Services Associate

9},o-aUcko·n

ARTISTIC ADMINISTRATION

DC::rd;nator

DETROIT OPERA HOUSE

Brett Batterson Cal v in W ill iam s J o h n J ohnso n

Fadlity Manager Maintena nce Head of Properties

SlIpen;isor Robe rt Ma rtin

K e rry A Painte r Bruce Smith

Hl!dd Fiyman

H ome M anager Head ofSeCilrity Ste ve Kem p

Lynn Sm yth J ose Bern al, Jr Head SOllndman

Head UIher Rock Monroe Stage ha nds

Harry Sk rdl a

Jim Steele

Bllilding Engineer Stage D oor Secll rity

J esse Carte r J o hn K insora

Assistant Head Carpenter

Will iam E Sc h oe ttl e Chief Financial Officer

B radl ey L. Stro ud D irector of Dance

La u ra R W rss D irector of P"blic R elations

M on ica Lee J ac k so n Assistant t o Director of Producti on Na n cy K ro lik ows k i Transportation Coo rdinator

Pa t Lewe ll en Audition Voillmeer COSTUME S

U ll a H e nin ge r C ostllme SIIperviso r Ali ce M oss

Wardr obe Mistress Ge n e vi e ve Pa l zcyns ki Stitcher

MUSIC DEPARTMENT

Dr Dav id Di C hi era M llsi c D irector

Suza nn e Acton A ssistant MIISi c Direct or, Chorm Master

Di a ne Bredese n Orchest ra Personnel Manager STAGE MANAGEMENT

J o h n K enn e ll y Prodllcti on Stage Manager

TECHNICAL STAFF

Vl adim i r Vukovic Technical D irect or Ri t a Gi rardi

Property M aster Credil1 Gran d R ive r P rinting Printer

TPC/ RED G ROU P

Tom Pu tters

Prodllaion Director

K are n Sunm a n Art Director

Tob y Fabe r Director

IATS E Local #38

Wa rdro be

IATS E Local #786

PR o fil e Co mmuni cat ions

Building Eng i neer Ro bert Mes ina r Publications & Promotions

Kim be r ley Burgess Head Electrician

Copyright 2010, Michigan Opera Theatre

Administ rative Coordinator

Advertising Sales Cove r Ph oto by:

Palll Kol nik , COllrtesy American Ballet T heatre Co nte nt s Page Im age : Detail from Det roit Opera

H o/lSe stage torchere

Michiga n Opera Theatre ORCHESTRA

VIOLIN I * Scott Stefanko

Ron Oakland Kath leen G rimes

Concertmaster, Christine Swanson

American Ballet Janin e Bradbury Theatre

* Theodore Schwartz

VIOLONCELLO

* Velda Kelly * Nadine Deleury

J ennife r Ross Prin cipal

Melody Wooton * Diane Bredesen * Minka Christoff

Kathryn Stepulla * Sarah Cleveland

Jam es Kujawski Kang Xia

Lorien Benet

Michael Mcgillivray Robert Reed

Kathleen Ferris

V I OLIN II

CONTRABASS Jennifer Bilbi e

Christopher Neal Acting Principal Keith Orr Acting Jean Marie Posekany Principal

* Brooke Hoplamazian FLUTE

* K atie Mclin * Pame la Hill

Eugenia Song Principal

Marla Smith * Laura Larson

Sharon Reum Helen Near

Jan et Murphy

OBOE

VIOLA * Rebecca Hammond

* John Madison Principal Acting Principal Robin Johnson

* Barbara Zmich

Steinway is the offic ial piano of Detroit Opera House and Michig an Opera Theatre Steinway pianos are provided by Hamm ell Music, exclus ive representative for Steinway and Sons

President Tuxedo is the officia l provider of formal wear of Detro it Opera Hou se Michigan Opera Theatre is a nonprofit cultura l organization whose ac tivities are s upported in part by the Mi chig an Counci l fo r Art s and Cultural Affairs , the National Endowment for the Arts , and other individ uals, co rporations and foundations. Mich igan Opera Theatre is an equal opportunity em p loyer.

ENGLISH HORN

* Ann Augustin

CLARINET * Brian Bowman Principal

* Jan e Carl

BASSOON * Kirkland D. Ferris Principal

* Scott Armsttong

HORN

* Susan Mutter Principal

* Carrie Banfield

Sreven Mumford

Emile Sargent

TRUMPET Charles Daval

Acting Principal

* Gordon Simmons

Derek Lockhart

Mark Flegg

TROMBONE * Maury Okun Principal

* Greg Near

Bri an Robson Paul Eachus

TUBA

Phi ll ip Sinder

TIMPAN I

Te rrence Farmer Acting Principal

PERCUSSION

* John F. Dorsey Principal

David Tay lor

Dan Maslanka

H ARP

* Patri c ia Terry-Ross Principal

P IANO David Wilson

Di ane Bredesen Pers onnel Manager

* Member, Mi chigan Opera Theatre Orchestra

Detroit Federation of Musicians, Local ' 5 , American Federation of Musicians

BUILDING ONA

Mi chigan Opera Theatre, cited by the Detroit media as "o ne of the city's cultura l jewels ," is the State of Michigan 's premiere opera company serving as a state -wide culrura l reso urce committed to producing the very best professiona l produ ctions from the g rand opera, operetta, musical theater and ballet repertory. Founded and directed by internationally recognized impr esa rio Dr David DiChiera, Michigan Opera Theatre is now recognized as one of the nation 's most successful opera companies.

Since its inception in 1971, Michigan Opera Theatre has called three different theaters "home " prior to the opening of Detroit Opera House . In 1971 the Company becam e the cata lyst for the revita l ization of Detroit 's celebrated Theater District, as it re-opened the Music Hall Center for the Performing Arts . Music Hall was hom e unti l 1985. In 1985 , the company, in an effort to accommodate its growing audience and increas ed production needs, began performing the fall season in the Fisher Theatre (primarily a Broadway style house seating 2,100), and

Copyright 2010, Michigan Opera Theatre

the spring season in the 4 ,000 seat Masonic Temple Theatre. While the move to the Fisher and Masoni c Temple Theatres achieved a temporar y solution to the Company 's need for greater technical resources, seating capacity and audience amenities , it became clear that the furure of Mich igan Opera Theatre as a permanent resource for the city and state would be jeopardized if the co mpany could not contro l its own destiny M i chi ga n Opera Theatre, under the leadership of David DiChiera and the Board of Dire ctors, set out to find a building ideally suited for grand opera and ballet produc tions

MOMENTUM BUILDS

In the late 1980 's the company seriously considered renovating the State Theater located next to the newly renovated Fox Thea t re, though this was not considered ideal because the facility was not for sale, only rent While in the midst of these discussions, the Grand Circus Theater became available for purchase. David

DiChiera cons id ered the mag nifi ce nr structure ideal for its "opera h ouse " style inrerior and the possibilities for building a new stage h ouse He brought in faci liti es experts ro substanriate its st ru ctura l soundness, acoustica l excellence and techni ca l capabi lities when updated. On D ece mber 31 of 1987, th e ball got ro lling as the company secured the first parcel in the Grand Circus Th ea t er blo ck as the company's furure performance site.

In 1990, the capita l campaign ro raise funds for the project beg a n With the support of several pro min ent business leaders Michi ga n Opera The atre ran a success ful campaign to name the private g rand ti e r boxes, enab lin g the Company [0 acquire the remaining parce ls of the Grand Circus Theater

Theater block, and the 1994 Op era Ball inside the unresrored aud itorium before a crowd of many who had never before seen the inrerior, the project ga ined in c redible momenrum. Construction began in earnest on the stage house that same summer. The monumenral task before Michigan Opera Theatre, the renovation of Detroit Opera House, h as been considered a key co mponent for the eco n omic, cultural and civic revitalization of Detroit.

AN OPERA HOUSE FOR DETROIT

On behalf of Michigan Opera Theatre and Dr. David DiChiera , General Director you are invited to participate in the Dance Patron Circle at Detroit Opera House

Become a Member of the Dance Patron Circle and get in on the ground floor of our inaugural dance program

BENEFITS

StGNAL BENEFACTOR $50,000 and above

• Benefits as listed in Sponsorship Proposal

MAJ OR BENEFACTOR ........ $25,000 to $49,999

• Benefits as listed in Sponsorship Proposol

PRIN CIPAL BENEFACTOR $10,000 to $24,999

DONOR . .... $1,500 to $2,499

• Benefits as listed below, plus

• Free valet porking

• General Director's Circle Lounge for one couple

• Priority seating in Diamond Circle or Inner C ircle

GOLDEN PATRON $1,000 to $1,499

• Benefits as listed below, plus

• General Director's Circle Lounge for one couple and six guests

• Dinner with the ortists and Dign itories

BENEFACTOR .. .................. $5,000 to $9,999

• Benefits as listed below, plus

• General Director s Circle Lounge for one couple and four guests

• Invitation to a cast porty

• Box Sect subscription availobility

SUSTAINER $2,500 to $4,999

• Benefits as listed below, plus

• General Director's Circle Lounge for one couple and two guests

• Priority seating in Trustee Circle

Detroit Opera House after it was inaugurated by Michigan Opera Theatre.

fa ll of 1991 during a pre-concert press conference in the Grand Circus Theater, Luciano Pavarotti made his memorable pro mi se [0 re turn [0 open Detroit Opera Hous e, bringing the building project to the attenrion of the public at large

In the Spring of 1993, the wrecking ball came down on the Roberts Fur Building on the Grand Circus Theater block, m aking way for a new 75,000 square foot stage house. With th e $ 1.25 million Kresge Cha ll enge g ranr , the acquisit ion of the last of th e six parce ls in the Grand Circus

Opera Theatre

man,ces by Lu c iano Pavawtti and a star- studded cast

On April 21 of 1996, a date that coincided with the Company 's twenry - fifth season, David DiChi e ra 's dream beca m e a rea lit y as Detroit Opera House was declared " open and r eady for musi c" with a n inaugura l ga la co nce rt , featurin g hi sto ry makin g perforblock (t hi s included three parkin g lots, the theater proper and the Roberts Fur Building) . In the

of world - renowned artists. All eyes were on Detroit, as the ci ty celebrated th e opening of it 's very own opera house -a world-class theater for the enrertainmenr of generations to come

The 1996-1997 season at D etroi t Opera Hous e h as b ee n lovingly dubb ed " Building on a Dream " . On January 12, 1997, the origina l structure , that is now D e troit Opera House, reached it's 75''' birt hday. It is our sincere hope that you, your fami li es and generat ions to come enjoy Detroit Opera House - a reclaim ed piece of our c ulture and history.

• Benefits as listed below, plus

• One time poss for Genera l Director's Lounge for one couple

• Priority see ting in Inner Ci rcle

• Invitation to a dress rehearsal and reception

• Special preview of the season

• Special invitations to dance events throughout the year

PATRON ............................ $500 to $999

• Benefits as listed below, plus

• An invitation to the annual Dance Gola

• An autographed , limited ed ition poster

• Priority handl ing of subscription upg rades

CORPS DE BALLET $499 and Below

• listing in MOT's Dance Program Book

• Pre-public notice of special events with priority ticket information

Photo: Mark

DETROIT OPERA HOUSE

CA PITA L C AM PA IGN CONTRIBUTO RS

As ofJanuary 6, 1997

Mr. & Mrs William T. McCo rmick,Jr

Mr & Mrs Robert T. O Connell

Dr & Mrs Moon J. Pak

Louise

The Meyer and Anna Prenci s

Famil y Foundation

Mr. & Mrs Eugene A. Miller

Mrs . Alfred Ku schinski

SIGNAL BENEFACTOR

$2, 000, 000

The Kresge Foundation

GRAND BENEFACTORS

$1 ,0 00, 000

Chrysler Corporation

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General Motors Foundation

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MAJOR BENEFACTOR

$ 500, 000

John S. & James L. Knight Foundation

LEADER SHIP CIRCLE

$250,000 TO $4 9 9,9 99

Ameritech

Anonymous

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Dayton Hudson Foundation

on behalf of Hudson's

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Mr. & Mrs. Robert E. Dewar

Ghafari Associates, Inc.

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Kmart Corporation

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Mr. & Mrs R. J amison

Williams, Sr.

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$ 10 0 , 000 TO $24 9 ,999

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ANR Pipelin e Company

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Anonymous

Anonymous

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Complete Business Solutions

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Impastato

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Standard Federal Bank

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Mt & Mrs Att VanE lslander

Consuelo S. & Henry E. Wenger

Henry Penn Wenger

The Samuel L.

Westerman Foundation

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SilVER CIRC LE

$15 ,000 TO $24, 999

Mr. & Mrs. Donald J. Bortz , Jr

Mr. & Mts . Tarik S. Daoud

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David & Karen DiChiera

Eaton Corporation

Mr & M rs. John R. Edman

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Mr. Kenneth H . Fox

Mr & Mrs. Edward P. Frohlich

Mr. Allan D Gilmour

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Great Lakes Exteriors

Guardian Industr ies-Glas s Divi sion

Mr David Hand leman

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Mr. & Mrs . John Kaplan

Mr. & Mrs. Thomas Krikori an

Mr & Mrs David Baker Lewis

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Lobdell-Em ery

Copyright 2010, Michigan Opera Theatre

Manufacturing Corp.

Mr. & Mrs. Jacques Nasser

Mr. & Mrs. Graham A. Orley

Mr. & Mrs. Spen ce r Partrich

Mt. John E Petry

Phillips Service Industries , Inc

Mr Mickey Shapito

Mr & Mrs William H. Smith

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Mr. & Mrs. Melvin C. Vander Brug

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Mr. Clune Walsh

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Dr. Marilyn L. Williamson

World Heritage Foundation

DIAMOND CIRCLE

$ 10, 000 TO $ 14,9 99

M r. & Mrs. Chester Arnold

Adas Tool, Inc

Mrs. ·Donald J. Arwood

Bethlehem Steel Corporation

Mr & Mrs Bernard T. Brodsky

M rs. Pearl Brodsky

Mrs. Martin L. Butzel

Mr. David Chivas

Mr. & Mrs. Rodkey Craighead

Cherill & Ri chard Cregar & Fami ly

Mr. & Mrs Pete r Cummings

Mr & Mrs. David D enn

Ruth Drazin Gevercer Trust

Mr. Don Francis Duggan

Mr & Mrs Alex Erdeljan

Mr. & Mrs . Louis Fontana

Mr Brian Fossee

Mrs. Roy Fruehauf

Mr. & Mrs. Keith E. Gifford

Mr. & Mrs. Stephen Hagopian

Rebecca H appe l

Howell Industri es, In c.

Mario & Jan e Iacobe lli

Mrs David Jacknow

Mr & Mrs. A lbert A Jadach

Mrs. William E. Johnston

JPRNPet er Hansrea Architects

Honorable Mitchell I Kafarski and Zofia Drozdows ka, M D with sons Erik M Kafarski & Konrad C. Kafarski

Mr & Mrs Stephen D.

Kasle & Family

Mr & Mrs. Thomas G Kirby

Mt. & Mrs . John A . Kirlin

Mr & Mrs. Eugene K lein

Mr & Mrs. Michael Kojaian

Mollie & Bruno Leonelli

Dr & Mrs Leonard Lerner

Mr. Charles Marks

Mr & Mrs E R Milnet

Marsha & Jeffrey H Miro

Sall y & Harry Nosanchuk

Opus One

Mr. Michael W. Pease

Dr Roberr E L. Perkins

Plunkett & Cooney, P.c.

Mr & Mrs. Peter Ronan

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Mr. & Mrs. Richard A. Sanders

Sandy Family Foundation

Dr Norman & Marilyn Schakne

Mr & Mrs Gregory J. Schwartz

Mr. & Mrs. Richard Sloa n

Mr & Mrs Roger B Smith

Mr. & Mrs. Ri chard D Starkweather

Mr. Andrew P Teitel

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Mr & Mrs. Robert G. Vallee, Sr

Mr & Mrs Alvin Wasserman

Mrs. Beryl Winkelman

Mr. & Mrs. Theodore Zegouras

SUSTAINERS

$5, 000 TO $ 9 ,999

Alice Kal es H artwi ck Foundation

Mr & Mrs. Dougl as & Sarah Allison

Ms Helen Arnoldi

Dr. & Mrs. Ing ida Asfaw

Ba rris, Sott. Denn , & Driker

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Mr. & Mrs. W George Bihler

Mrs. Loris Birnkrant

Mr. & Mrs. Dou g las Borden

Ms. Susan Bornin ski

Dr & Mrs. Josep h L. Cahalin

Dr. & Mrs. Juan C. Carioni

Centra, In c

Dr. Barbara Chapman & Frank Andrews

Mrs. Eleanor A. Chrisrie

Mrs. Adelin a C. Colby

Coopers & Lybrand

Dr & Mrs. Vi ctO r CuratOlo

Mr. & Mrs. Donald Cutler

Mr. & Mrs. David D e nn

Ms . Mary Jan e Doerr

Mr. & Mrs. Lawrence F. DuMou chelle

Hild a R. Ettenheimer

Dr. & Mrs Herbert Feldscein

Mr. Herbe rt Fisher

Mr. & Mrs. Mitc hell Fost e t

Th e Fra nk Charitable Foundation

Mr. & Mrs. George E. Frosr

Dr & Mrs. Juan Ganum

Mr & Mrs. Lawrence Garberding

Dr. & Mrs. Enrique Gerbi

Mr. Mi chael Gerstenberger

Mr. & Mrs. Carson C. Grunewald

Mr. & Mrs. Josep h Gualrieri

Mr. & Mrs. Charles G Gunderson

Mr. & Mrs. Eugene Hartwig

Sonia & Chuck Jacobs

Mr & Mrs. Ri chard Janes

Mr & Mrs. Harvey Kline

Dr. & Mrs . Alfred Kreindler

La-Z-Boy Chair Company

Mr & Mrs Lee E. Land es

Mr. & Mrs. Ri cha rd M Larson

Dr & Mrs. Murray B Levin

Ms. Mary Sirotkin Lewis

Lewis & Thompson Agency

Dr. & Mrs. Kim K. Li e

Mr. & Mrs. Arthur C. Liebler

Mr & Mrs. Mark M cCartin

Mexi ca n Indu s tries

Mr. & Mrs. Charles R Moon

Mr. & Mrs. Fred Morganrorh

Mr Edwin Lee Morrell

Mr. & Mrs. Joel Morris

Mr. & Mrs. E. Cl aren ce Mularonj

Mr. & Mrs. David C. Mulli gan

Mr & Mrs. E Mi chael Murchler

Mr & Mrs. Eino Nurme

M s. Pen ny Ogl es by

Mr & Mrs. Josep h Orley

Mr & Mrs. Jul es P a llon e

Mr. & Mrs . J a mes Pamel

Manuel L. & Louis e ]. Papisra

Mr. & Mrs . David P. Parr

Perlmutter & Freiwald

Prog ress iv e Tool

PVS Chemicals, In c.

Mr & Mrs. Bernard Quinlan

Mr & Mrs. Pe rer R o nan

Mr. Ri cha rd Rou chon

Dr. Hershe l & Lois Sandberg

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Mr. & Mrs. Frank C. Shaler

Mr. Robe rt Sievers

Mr. Frank D. Ste lla

Mr. & Mrs. Richard C. Webb

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PATRON S

$2,5 00 TO $ 4,999

Mr. & Mrs. Robert Anthony

Mayor Dennis Archer and the Honorable Trudy

Dunco mbe Archer

Mr. & Mrs Stephen M. Bakonyi

Mrs. Jren e M. Barbour

Mr Edward Ba rbieri

Mrs. James M e rriam Barnes

Mr & Mrs. Gregory L. Brownrigg

Mr & Mrs. Edwin G. Bundry

Mr. Alan]. Burg & Dr Kenn er h L. Hillenburg

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Dr & Mrs. VictOr]. Cervanek

Honorabl e & Mrs. Gus Cifelli

Mr & Mrs. Fred e ri ck H. Clark

Mr. & Mrs. Pe te r Cooper

Dr. & Mrs. Sean Coyle

Mr. & Mrs . Lawren ce N. David

Mr George A. Du e ns in g

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Dr. & Mrs. Lloyd C. Fell

Dr. & Mrs. Irving Feller

Mrs. Beve rly Frank

Mrs. Mary Frank

George John so n & Co.

Mrs. R obert H ami ltO n

M s. M a ry C. Harms

Mr. & Mrs. David H. Hill

Bru ce A Hillman Tribute Fund

M s. Christi A Hoag land

Ms. Kimberly John so n

Mi ss H. Barbara Johnston

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Mr. & Mrs Donald A Knapp

Father Ra lph E. Kowalski

Lafayerre Steel

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Ms. Elizabeth A Li fsey

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Mr. & Mrs. Charles Ru sso

Sa ndy Family Foundation

Mr & Mrs. Roge r F. Sh e rman

Dr Mich ae l Short

Si em e ns Automotive

M s. Phyli s Funk Snow

Dr. & Mrs. R obe tt]. Sokol

Drs. Wm. P & Fran ces L. Sosnowsky

Geri & Murray Spilman

Mr. & Mrs. Willi a m P Vititoe

Dr & Mrs John G Weg

Leon & Jose phin e Winke lman Foundation

Mr & Mrs. Stanl ey ]. Winkelman

We regrel Ihal , dlle 10 space limitations, we are unable to list gifts helow $2 ,5 00. However, we wou ld like 10 exlend Ollr deepesl graliluck 10 lhose tUmors who mack contrihutions to the generaL restoration

o/ Delroil Opera H ome.

Copyright 2010, Michigan Opera Theatre

Ballet Th eatre Fo undation, In c. presents

AMERICAN BALLET THEATRE

Kevin McKenzie Artistic Director

Michael Kaiser Executive Director

Victor Barbee • Gil Boggs • Jose Manuel Carreno • Wes Chapman • Angel Corella

Christine Dunham • Guillaume Graffin • Paloma Herrera • Robert Hill

Susan Jaffe • Julie Kent • Amanda McKerrow • Kathleen Moore • Michael Owen

Charles Askegard • Maxim Belotserkovsky • Shawn Black • Ethan Brown

Sandra Brown • Martha Butler • Yan Chen • Christina Fagundes • John Gardner

Lucette Katerndahl • Veronica Lynn • Parrish Maynard • Keith Roberts • Ashley Tuttle

Stella Abrera • Jennifer Alexander • Erin Baiano • Tamara Barden

Griff Braun • Marian Butler· Shannon Chain • Michael Cusumano· Irene D ' Amesroy

Andrei Dokukin • Irina Dvorovenko • Jonathan Fagan • Elizabeth Ferrell

Erica Fischbach • Elizabeth Gaither • Mark Grothman • Stefanie Hamburg

Vladislav Kalinin • Oksana Konobeyeva • Michael Levine • Denise Lewis • Anna Liceica

Katherine Linden • Kati e Lydon • Clinton Luckett • Chrisropher Martin • Laura Martin

Rebecca Massey • Sara Mau • Eleena Melamed • Anne Milewski • Justin Morris

Gillian Murphy • Rosalie O'Connor· Seth Olson· Sascha Radetsky • Brian R eeder

Flavio Salazar. Gennadi Saveliev • Valentina Scala • John Selya • Johanna Snyder

Sean Stewart • Stephanie Walz • Amy Wilder· Yu Xin • Olga Yaroslavtzeva

Apprentice • Christin Severini

Music Director

Jack Everly

Principal Conductor

Charles Barker

Assistant Artistic Director

David Richardson Ballet Master Terrence S. Orr

Ballet Mistresses

Georgina Parkinson

Irina Kolpakova

Alaine H aubert

Company Class Teacher Diana Cartier*

The Board, danc ers and staff of Ameri ca n Ballet Theatre wish to express th e ir grat itud e to Pete r T. Joseph for his re markable commitm e nt a nd ge nerosity.

Ballet Theatre Foundation expresses its g ratitude to the Nation a l Endowment for- th e Arts and the New York State Council on the Art s for th e ir support.

American Ballet Theatre's 1997 Nation a l and International Tours, and Metropolitan Opera House season are sponsored in part by Philip Morri s Companies In c.

Bald win is th e official piano of Ameri ca n Ballet Theatre.

Lancome Pari s, the makeup of American Ballet Theatre. Freed is th e officia l s hoe of Ameri ca n Ballet Theatre.

American Ballet Theatre ce lebrates Movado Watc h Company and its 10,h Anniversary of support.

'PrincipallMeher for ABT's Open ClaJseJ.

ApOLLO

Choreography by George Ba lanchine

M lIJic by Igor Stravin s ky

Apollo Terpsich ore PolyhYlllnia

Apollo .Terpjichore PolyhYlllnia

Jose Manue l Carreno

Susa n J affe

Kati e Lyd o n

Guillaume Graffin

Juli e K e nt Yan Chen

Original L ighting by R o nald Bat es Recreated by Brad Fields

FEBR UARY 4'" 1997

Calliope

Leto, Mother 0/ Apollo

H andmaidens

F EBR UARY 5'" 1997

Calliope

Leto, Mother 0/ Apollo Handmaidens

Conductor: Cha rl es Barker

Costum es executed by Ba tbara Matera

Juli e K ent

Kathl een Moore

Re becca Massey, Rosalie O 'Conno r

Ash ley Tuttl e Kathl een Moore

Re becca Massey, Rosa li e O'Connor

Ba lanc hin e has wrirren: "Apollo - I loo k back on as t he turning point of my life. In its discipl ine and restra int , in its sus ta ined one ness of tone and fee ling, t he sco re was a revel at ion. It see med to tell me th a t I could dare not use everyt hin g, th at I, tOO, co uld eli minate. "

Apollo was th e first classica l ball er Cteated and not simply revived fo r Oi aghilev in the twe nt y years that follow ed Fokine 's Us Sylphi"". It was first performed by Oiag hileys Ballet s Russes on June 12, 1928 ar the Theatre Sarah-B erhnardt in Paris and ente red th e repertOire of Am eri ca n Ba llet Theatre on April 25, 194 3 ar the Met ropolitan Opera House in New Yor k City. Stravinsky 's mus ic for Apollo is used by arrangeme nt with Boosey & Hawkes In c , p ublisher and copy ri g ht owner.

The pe rfo rm ances of Apollo, a Bala nchin eo Balle t , are P!"eS(.'fIted by arrangement with t he George Balan ch ine and ha ve been p roduced in accorda nce w it h t he BaJ anc hine Stylesw and Bala nchi neo Techn que Service sta ndards esta blished and provided by t he Trust.

Inte rmission

TRANSCENDENTAL ETUDES

Choreography by K evin Mc K en zie Music by Frank Li sz t

FEBRUARY 4'" 1997

Pre/udio

Mazzeppa

Harmonies du Soir

Etude in F. Minor

Veron ica Ly nn and Karie Lydon, Laura M arrin, Andrei Dokukin , Christopher Marrin

Vetonica Lynn an d Gil Boggs

K at ie Lydon, Laura Ma rrin , Andrei Dokukin , Christop her Mart in Yan Chen and John Gardner

Ve roni ca Lynn , Katie Lydon, Laura Mar rin , Andrei Kokukin , Christopher Martin

Ve ronica Lynn and Full Cast

CostUllleJ by Kevin McKen zie

Lighting by Brad Fi e ld s

FEBRUARY 5 n • 1997

Preludio C hti stina Fag und es a nd Erin Baiano , J o h a nn a Snydet, ClintOn Lu c kett , Sascha Radetsky

Mazzeppa G tiff Braun and Christina Fagund es Erin Baiano, J ohan n a Snyder, ClintOn Lu c kett , Sascha Radec sky HamlOnies dll Soir Sandra Brown a nd Robe rt Hi ll Chrisrina Fag und es, Erin Ba ia no , J o ha nna Snyd e r, Clin to n Luckett , Sasc ha Rad etsky

Etllde in F. M illor Christina Fag undes and Full Cast

A ggresJion ij a thing IInto im/f

Hannony can not be wished i1lto being

Th e Children can only obmw

And Community ca n only hope

To contain Uj all

PianiJt: Howa rd Barr

Tramcendental £111"" was Cteated for the New Amst erd am Ballet and rece ived it s world premiere on July 20, 1991 at Jacob 's Pill ow, Massac husetts und er rh e rirl e Liszl £IU"", It e ntered the repertOire of Ame ri ca n Ballet Th eatte on October 8, 1996 a t the Norrhrup AuditOrium in Minneapo li s, Minn eso ta.

Major support fo r Fund of w h ic h

Additional u nderw riting for this new work has been generous ly provided by Cindy and J ohn Sites

The Fan Fox and Les lie R. Samue ls Foundation, Inc. nd

The H arkness Fou ndat ions for Dance.

Copyright 2010, Michigan Opera Theatre

FEBRUARY 4n < 1997

DON QUIXOTE

(Grand pas de Deux from Act III)

Chorevgraphy after Marius Petipa

Staged by Kevin McKenzie MUJic by Leon Minkus

Arranged by Jack Everly CostumeJ by Santo Loquasto Ughting by N atasha Katz

FEBRUARY 1997

Paloma Herrera Angel Corella Susan Jaffe Jose Manuel Carreno

Conductor: Jack Everly

Intermission

Scenery by Oliver Smith

Throughout the American Southwest, the Saturday afternoon Rodeo is a tradition. On the remOte ranches as well as in trading ce nters and the [Owns , the "hands " get together to show off thei r skill in roping, riding , branding and throwing Often, on the most isolated ranches the Rodeo is done for an audience that consists only of a handful of fellow-workers, womenfolk and those nearest neighbors who can make the eig hty mile or so run over.

The afternoon's exhibition is usually followed by a Saturday night dance at the Ranch House. The th eme of the ballet is basic. It deals with the problem that has confronted every American woman from the earli est pioneer times and which has never ceased to occupy her throughout the hjstory of the building of our country: how to get a suitab le man.

SCENE I

Rodeo : Saturday Afternoon - The Corral Interlude: Retrospect

SCENE II

R anch H ouse: Saturday Ni g ht Dance

FEBRUARY 4m 1997

The Head Wrangler Ethan Brown

The Champion Roper Griff Btaun

The Cowgirl Elizabeth Ferrell

The Ra nch Owner's Daughter Rosalie O'Connor

Her Ea1tern Prienth Tamara Bard en, Laura Martin, frum KamaJ City Olga Yaroslavtzeva

Square Dance Caller Jonathan Fagan

Cowhands Andrei Dokukin, Jonathan Fagan, Mark Grothman, Vladislav Kalinin, Mi chael Levine, Clinton Luckett, Christopher Marrin, Brian Reeder, Flavio Salazat

Womenfolk Marian Butler, Irene D'Amestoy, Oksana Konobeyeva, Katie Lydon

FEBRUARY 5m 1997

The Head Wrangler Charles Askegard

The Champion Roper John Gardner

The Cowgirl Shawn Black

The Ranch Owner's Daughter Denise Lewis

Her EaJtern Friends Itene D Amestoy, Katie Lydon , from KansaJ City Marian Butler

Square Dance Caller Jonathan Fagan

Cowhands Griff Braun , Andrei Dokukin, Jonathan Fagan , Matk Grothman, Vladislav Kalinin, Michael Levine, Clinton Luckett, Christophet Martin, Brian Reeder

Womenfolk Jennifer Al exander, Stefanie Hanburg, Eleena Melamed, Anne Milewski

Conductor: Jack Everly

Rodeo was first performed by the Ballet Russe de Monte Carlo on Ocrober 16, 1942 and entered the repe rtory of American BaUet Theatre on August 14, 1950 at the Hessiches StaatStheater in Wiesbaden, Germany. Musi c is used by atrangement with Boosey and Hawkes, In c., publisher and Aaron Copland, copyright owner

Major supporr for this produceion of ROtko has been provided by The Fan Fox and Les li e R Samuels Foundation This gift was g iven in honor of Mi ss de MiUe·s long association with Ameri can Ballet Theatre.

Am eri can BaUet Theatre gratefully ack nowledges the spec ial co ntribution of The Rita). and Stanley H Kaplan Foundation, Inc. toward chis proouceion.

Ballet ill ['ulII' Acts

Choreography by Marius Petipa and Lev Ivanov

Choreography for the Peasant Dance, Goblet Dance , Act I; and the Storm Scene, A c t IV by David Blair

Staged by Kevin McKenzie

Music by Peter Ilyich Tchaikovsky

Scenery by Oliver Smith

Costumes by Freddy Wittop

Lighting by Thomas R Skelcon after Jean Rosenthal

SYNOPSIS

Act I: A meadow near the castle. Afternoon. Prince Siegfried has organized a hunting party to celebrate his twenty-first birthday. The peasants of the district have been given a holiday and have arranged a picnic, which the Prince has promised to attend. The picnic is inte rrupted by the arrival of the Queen Mother, who reminds her son that it is his duty at his coming - of-age ball to choose a bride from one of six eligible princesses. As the day draws to a close, the peasants take their leave . The Prince, sad at the thought of his carefree youth slipping away, is roused out of his mood by Benno, who has sighted a flight of swans. The Prince, deciding the night is still to be enjoyed, orders pursuit, and the hunters leave .

PAUSE

Act II: Some hours later. By the lake. As Prince Siegfried enters rhe forest to hunt, he suddenly sees a magnificent swan in flight . He carefully takes aim, but, to his astonishment, the bird transforms into a most beautiful girl, and he withdraws into th e trees to observe her. Unable to restrain his curiosity, he steps out, only to startle and frighten her He assures her he will do her no harm and asks her to explain the marvel he has just seen , Impressed by his gentleness, Odette unburdens the stoty of her plight. She tells him she is a Princess of high birth who feU under the spell of an evil sorcerer, and now her fate is to be a swan; only in hours of darkness may she assume her human guise. Indeed, this very lake is filled with her mother 's tears She cells him she is condemned for eternity, and only if a virgin youth swears eternal fidelity to her and marries her can she find release. Only then can the spell be broken. But, if he should forswear her, then she must remain a swan forever. At that moment, the sorcerer appears. The Prince in his passion reaches for his crossbow, but Odette immediately protects the sorcerer with her body, for she knows that if he is killed before the spe ll is broken, she too will die . The sorcerer disappears , and Odette slips away into the forest. Siegfried realizes his destiny is changed. Dawn approaches and Odette is compelled by the spell to return to her guise as a swan . Siegfreid is left distraught.

INTERMISSION

Act III: The next night. The Great Hall. Guests ftom many royal houses assemble for the birthday ball, including six princesses and rheir retinues, whom the Queen Mother has chosen as eligible maidens for her son 's hand. The Queen Mother commands the entertainment to begin , then invites the princesses to dance. Prince Siegfried dances with each of the beautiful young maidens in turn. The Queen Mother urges Siegfried to make a decision, but, haunred by the memoty of Odette, he refuses, to his mother's consternation. A fanfare announces the arrival of the Baron von Rothbart with his daughter Odile . Siegftied, who is dazzled by Odile's beauty and seduced by her resemblance to Odette, declares his love and fidelity. Rothbart and Odile triumphantly reveal their deception, and Siegfried realizes he is the victim of an evil plot He rushes into the night

INTERMISSION

Act IV: The lakeside. That night, The swan -m aidens are anxious at the disappearance of Odette. She appears and tells of Rothbart's treachety; before dawn, she intends to die A great storm rages. Siegfried , bursting into the glade, discovers her and begs her forgiveness As dawn approaches, Rothbart appears again in his disguise as a sorcerer. Odette tells Siegfried she must kill herself, or she will forever be a swan. Siegfried, knowing chat his destiny is forever changed, declares he will die with her, thus breaking the power of Rothbart. The lovers throw themselves into the lake. Rothbarr is mortally struck and his power ended.

Apotheosis: The lovers are united in life after death.

Copyright 2010, Michigan Opera Theatre

Choreography by Agnes de Mille CostumeJ by Santo Loquasto Music by Aaron Copland Lighting by Thomas R. Skelton

Swan Lake was first performed by Imperial Ballet at Bolshoi Theatre , Moscow on Marc h 4,1877. It entered the repertory of American Ball et Theatre on February 16, 1967 at Civic Opera House in Chicago, Illinoi s. * February 8" Malina Per/ormana 1ponsored by Kmart Corporation

AMERICAN BALLET THEATRE

As it begins its sixth decade, American Ballet Theatre is recognized as one of the great dance companies in the world. Recognized as a living national treasure since its founding in 1940, ABT annually tours the Unites States performing for more than 600,000 people and is the only major cultural institution to do so. It has also made more than 15 international tours to 41 countries as perhaps the most representative American ballet company and has been sponsored by the United States ' State Department on many of these engagements .

When American Ballet Theatre was launched in the autumn of 1939, the aim was to develop a repertoire of the best ballets from the past and to encourage the creation of new works by gifted young choreographers. wherever they might be found. Under the direction of Lucia Chase and Oliver Smith, from 1940 to 1980 ABT more than fulfilled that aim. The repertoire, perhaps unmatched in the history of ballet, includes all of the great full-length ballets of the nineteenth century such as Swan Lake, The Sleeping Beauty and Giselle; the finest works ftom the early pare of this century such as Apollo, Us Sylphides,Jardin aux Lilas and Rodeo and acclaimed contemporary masterpieces such as Airs, Push Comes to Shove and Duets.

In 1980, Mikhail Baryshnikov became Artistic Director of American Ballet Theatre. Under Mr. Baryshnikov 's leadership, numerous classical ballets were staged, restaged and refurbished and the Company experienced a strengthening and refining of the classical tradition.

In 1990, Jane Hermann and Oliver Smith succeeded Mr. Baryshnikovas Directors and immediately established an agenda that was dedicated to maintaining the great traditions of the past while aggressively pursuing a vital and innovative future. ABT has recently enjoyed triumphant successes with engagements in Tokyo, London, Paris, Madrid and Palermo.

In October 1992, former American Ballet Theatre Principal Dancer Kevin McKenzie was appointed Artistic Director. Mr. McKenzie, steadfast in his vision of ABT as "American" is committed to maintaining the Company's vast repertoire and to bringing the magic of dance theater to the great stages of the world.

American Ballet Theatre's 1997 Season is sponsored by Philip Morris Companies Inc. which has granted operating, touring, new work and special project support to American Ballet Theatre for the past twelve years.

KEVIN McKENZIE, Artistic Director

Mr. McKenzie was a leading dancer with both the National Ballet of Washington and The Joffrey Ballet before joining American Ballet Theatre as a Soloist in March 1979. He was appointed a Principal Dancer the following December and danced with the Company until 1991.

A native of Vermont, Mr. McKenzie received his ballet training at the Washington School of Ballet . In 1972, he was awarded a silver medal at the Sixth International Ballet Competition in Varna, Bulgaria

During his performing career, Mr. McKenzie has appeared as a guest artist in cities around the world, including Spoleto, Italy, Paris, London, Tokyo, Havana, Moscow, Vienna and Seoul. In September 1989, Mr. McKenzie was appointed a permanent guest artist with Washington Ballet and in 1991 assumed the position of Artistic Associate of that company.

Mr. McKenzie was appointed Artistic Directot of American Ballet Theatre in October 1992.

DAVID RICHARDSON, Assistant Artistic Director

Mr. Richardson was born in New York and received his first ballet training at the Ballet Russe de Monte Carlo School and, as a scholarship student, at the School of American Ballet - the official school of the New York City Ballet . Prior to joining the New York City Ballet he danced for two years (1961-63) with American Ballet Theatre touring extensively throughout the United States.

As a member of the New York City Ballet, Mr. Richardson appeared in over 70 ballets, 40 of them company premieres . His film work is represented by the Oscar®-winning documentary Norman Rockwell's World, An American Dream

Mr. Richardson rejoined American Ballet Theatre as a Ballet Master in October 1983 and was appointed Assistant Artistic Director in August 1996.

Copyright

JACK EV-ERLY, Musi c Director

A graduate of Indiana University School of Music, Jack Everly joined American Ballet Theatre as Conductor in 1984 and was appointed a Princi- pal Conductor in November 1987 and became Music Director in January 1997.

Mr Everly J>egan his conducting career in the Bro adway theatre in 1978 with Hello Dolly! Immediately following the Broadway engagement of this musical, were the London company and national tours, as well as national tours of A Chorus Line and They 're Playing Our Song and the Broadway revival of Showboat.

Mr. Everly was music director and orchestrator for PBS ' In Performance at the White House salute to Broadway.

Mr Everly has recorded his Styne Project for the TER label (London), creating the complete edition of overtures to all of Jule Styne's great Broadway scores.

CHARLES BARKER, Principal Conductor

Charles Barker has conducted numerous orchestras throughout the United States and abroad including the Royal Philharmonic, Tokyo City Philharmonic, Kyoto and New Japan Philharmonics, National Symphony of London, Patis Opera Orchestra, Danish Radio Symphony, La Orquesta Filarmonica de Buenos Aires and Pacific Symphony.

Currently, Mr. Barker is Music Director and Conductor of the American Chamber Orchestra and Principal Guest Conductor of the National Symphony of London.

Mr Barker joined American Ballet Theatre as Conductor in December 1985 and was appointed Principal Conductor September 1992.

ALAINE HAUBERT, Ballet Mistrers

California-born Alaine Haubert received her early dance training in the San Francisco-Bay Area. At the age of fifteen, she and her family moved to New York where she studied at the School of American Ballet. Returning to San Francisco, she continued her training at San Francisco Ballet School. When the national touring company of Camelot arrived in San Francisco she auditioned, was accepted, and became the youngest member of that company.

In 1965, Miss Haubert joined American Ballet

Theatre, dancing both soloist and principal roles. In 1969, she joined The Joffrey Ballet as a principal dancer. Mter ten years with that company, Miss Haubert began teaching and coaching in New York, Europe, Puerto Rico and Hawaii.

Miss Haubert returned to American Ballet Theatre as Ballet Mistress in the Spring of 1993.

IRINA KOLPAKOVA, Ballet Mistrers

Irina Alexandrovna Kolpakova was born in Leningtad and studied at the Lenningrad Choreographic School where she was an outstanding member of the great pedagogue Agrippina Vaganova's last graduating class (1951). She entered the Leningrad-Kirov Ballet at the age of eighteen and danced her first leading role, at the age of twenry-two.

Miss Kolpakova was honoted with the title of Merited Artist of the R.S.F.S.R. in 1957 and People's Artist of the R.S.F.S.R. in 1960 She is married to Vladilen Semenov, who partnered her in many of her most famous roles.

Prior to joining American Ballet Theatre as Ballet Mistress in 1990, Miss Kolpakova taught and coached with ABT in May 1989.

GEORGINA PARKINSON, Ballet Mistrers

Georgina Parkinson was born in Brighton, England and studied at The Royal Ballet School before being taken into the company in 1955. She became a soloist in 1959 and was then promoted to principal dancer

Known for her strong classical technique and great dramatic abilities, Miss Parkinson has been particularly noted for her performances as the leading women in The Song of the Earth, La Garconne in Bronislava Nijinska's Les Bicher, as well as Ju1iet in MacMillan's Romeo andJuliet.

Miss Parkinson was appointed Ballet Mistress with American Ballet Theatre in 1978.

TERRENCE S. ORR, Ballet Master

Terrence S. Orr was born in Berkeley, California and received his ballet training at San Francisco Ballet School. He was principal dancer with the San Ftancisco Ballet for three years .

Mr. Orr joined American Ballet Theatre in 1965 and was promoted to the rank of Soloist in 1967 and Principal Dancer in 1972.

Mr. Orr was appointed Rehearsal Assistant in American Ballet Theatre 19

19 7 0, Associate Ballet Master in 1973 and Ballet Master in 1978. He h as been assistant ro Mikh ail Barys hnik ov, J ero m e R obb in s and Agnes de Mill e .

VICTOR BARBEE , AJSiJtant to the ArtiJtic Staff and Principal D ancer

Vi cro r Batb ee was born in Ralei g h , North Carolina and rece ived his ballet training at t h e North Caro lina School of th e Arts and the School of Am erica n Ballet , and also s tudi e d at th e Lenin g rad-Kirov Ba ll e t School in Lenin g rad.

Mr Barbee made hi s musical comedy d e but on Broadwa y in Woman 0/ the Year a nd a lso appea red on Broadway in Andr ew Lloyd W eb be r 's Song and Dance, co-starring with Be rnadett e Pe t e rs. He also app ea red in th e t e levi s ion se ri es Hart to Hart and Laverne and Shirtey and in th e film s The Turning Point and D ancerJ.

Mr. Barb ee was appo inted a Solois t with America n B a ll e t Theatre in 19 79 and a Prin c ipal Dancer in 1984 . In 1994, he be ca me Ass is tant ro th e Artisti c Staff.

GIL BOGGS, Principa l D ancer

Born in P e nsacola , Florid a and r a ised in Atlant a, Georgia, Gil Bo ggs s tudied ballet at th e Atlant a Ba ll e t School with Rob e rt B a rnett

Prior ro joining Ameri ca n Ba llet Theatre as a member of th e corps de ballet in 198 2 , Mr. Boggs d a nced with th e Atlanta Balle t as a prin c ip al dancer for five years.

Mr Boggs jo in ed Ameri ca n Ball e t Theatre in th e Sprin g of 1982, was appointed a Soloist in 1984, and a Prin cipa l D a nce r in 1991.

In 1987 , Mr. Boggs took a leave of absence from Ameri ca n Ba ll e t The a rr e to d a nce with Twyla Th a rp a nd Dan ce rs. H e returned to th e Company in 1988.

JOSE MAN UEL CARRENO

, Principal D a ncer

Jose M a nu e l Ca rr eno was born in Cuba, where he rece ived hi s training a t th e Provin cia l School of Ballet and th e N a tional Ba llet School. H e won the Gold Medal at the N ew Yo rk Int e rnational Ballet Competition in 1987 a nd th e Grand Pri x a t the Inte rn a tional Ba ll e t Co m pe tition in J ackso n , Miss iss ippi in 1990.

Mr Carreno joined Ameri ca n Ball et Theatre as a Prin c ipal Dan cer in Jun e 1995 .

WES CHAPMAN ,

Principal D an cer

Born in Union Springs, Al aba ma , W es Chap"?an began hi s ba ll e t tra ining a t the age of nine with Emily Caruso. H e also studi ed at Am er ica n Ba llet The a tr e's sc hool and with Dame Sonia Arova and Thor Sutowski at the Al abam a School of Fine Art s.

Mr. Chapman joined Ameri ca n Ball et Th eatre in 1984, was appointed a Soloi st in 1987 a nd a Prin cipa l D a n cer in 1989. Mr. Chapman left Am e ri ca n Ballet Theatre in 1993 to join the Bav ar ian National Ball e t of Muni ch Op era He return ed to ABT in th e sprin g of 1995.

Mr. Chapma n formed hi s own co mpa ny, Wes Chapman's Am e ri ca n Ballet in 1991.

ANGEL CORELLA , Principal Dancer

An ge l Corella was born in Madrid in 1975. He bega n hi s ball e r s tudi es in Colmenar Viejo and later s tudi ed in Madrid with K a re mi a More no .

In M ay 199 1 , Mr. Corella won Fir s t Pri ze in th e Nati o n a l Ballet Competition of Spain In D ece mbe r 1994, he won th e Grand Prix and Gold Medal at th e Concours International d e Dan se d e Pari s.

Ba ll e t Th ea tre as a Soloist and was appo inted a Prin c ipal D ancer in Augus t 1996.

CHRISTINE DUNHAM , Principal Dancer

Christine Dunh am was born in Dallas , Texas and began he r dance trainin g with Lorrain e Cranford at the age of se ve n Sh e rh en s tud i ed wi th M yr tha Rosello and was offered a sc hol a rship to th e Sc hoo l of Am e ri ca n Ba ll e t at the age of twelve. Mi ss Dunham join ed Ameri can Ball e t Th ea tre in 1985 , was appointed a Soloi st in 1987, and a Prin cipal Dan ce r in 1989. In 19 9 1, Mi ss Dunh a m appeared as a g ues t artist with Th e A us tra lian Ball et.

Mi ss H e trera was a Finalist at the Fourtee nth International Ballet Competition in Varna , Bulga ria in 1990. After th e competition, she wa s invited by N atalia M ak a rova to t ak e class with th e English N a tion a l Ball e t in Lond on a nd by Hector Zaraspe ro cont inue h e r s tudie s a t th e School of Ameri ca n Ballet in N ew York . Sh e jo in ed American Ball e t Th eatre as a member of th e co rps de ballet in Jun e 1991, was promot ed to Soloist in Jun e 199 3 and to Prin c ipal Dan cer in Marc h 1995.

SUSAN JAFFE , Principal Dancer

GUILLAUME GRAFFIN , Principal D ancer

Guillaume Graffin, who was born in N eu ill ys ur-S e in e, France, be ga n hi s ballet training a t t he P aris Conse rv ato r y and joined the Pari s Opera Sch oo l in 1981. H e joined th e Paris Opera Ball e t in 1983 a nd was appointed coryphee (leade r of a chotu s) the following year. Mr. Graffin joined the Ball ets de M on t e Carlo, and , in 1 986, was appointed premier danJeltr by Prin cess Caroline of Monaco.

Mr. Graffin joined Am er ica n Ball er Th ea tre as a Prin c ipal D a nce r in 198 8.

PALOMA HERRERA , Pri'lcipal Dancer

Bo rn in Bu e no s Air es, Palom a H erre ra bega n her ba ll e t s tudi es with Ol ga

Susa n Jaffe was born in Washin g t o n , D. C. and bega n her dance trainin g at th e M a ryl a nd School of Ball e t with H o rt e n sia Fonseca, Elizabeth St atl e r a nd Mi c h e ll e Lees. Sh e la t e r s tudi ed a t th e School of Am er'ica n Ba ll et and spe nt twO summ ers as a sc h o lars hip s tud ent at t be Am e ri ca n Ba ll et Tbeatre Scbool. In 1980, Mi ss Jaffe join ed Am e ri ca n Ba ll et Tbeatre a nd m ade h er debut witb tbe Co mpany at tbe K en nedy Center in D ece mber, dancing "Pas d ' Esclave " from Le Conaire. Sbe became a Soloist in 1981 and was appoi nted a Prin cipal D ancer in 198 3.

JULIE KENT , Principal Da ncer

Copyright 2010, Michigan Opera Theatre

In April 1995, Mr. Corella jo in ed Am e ri ca n

Ferri a t th e age of se ven. As a young dan ce r , s h e was a first prize winn e r a t se v e ral major c omp e titions in South Ameri ca a nd at the age of e leven, st udi e d at th e Minsk Ball et Sc hool in Russi a before re turnin g to Bu e nos Aires.

Juli e K ent began h e r dance training with H o rtens ia Fonseca at th e Acade m y of the Ma ry la nd Youth Ball et. Sh e a tt e nded th e Am er i ca n Ball et Th eatre II su m m e r sess ion a nd the School of Am e ri can Ball e t before joining Ameri ca n Ballet Th ea tr e as an appre nti ce in 1985. In tb a t sa me year, Mi ss K ent won first place in th e regio nal fin als of th e Nation a l So cie ty of Art s a nd Lette rs at the K e nn edy Center. In 1986 , s he was tb e only Ameri ca n to win a m eda l a t th e Prix de Lau sa nne Int ernati o nal Ball e t Competition , and became a m e mbe r of ABT's corps de ball e t tbat year.

Sbe was appointed a Soloist with ABT in 1990 and a Prin c ipal D a nce r in 199 3, th e year in wbi cb sbe won tb e Erik Bruhn Prize in Toronto.

ROBERT HILL , Principal Dancer

Born in West Babylon, New Yotk, Rob e rt Hill began his dance training at the age of seventeen in Florida at the Dussich Dance Studio. In 1979, he joined th e School of American Ball et on a sc holarship , th en a ttend ed the Philadelphi a Co ll ege of the P erfo rmin g Am for a year

Appointed a So loist with American Ball e t Theatte in 198 6, Mr. Hill left the Company in 1988 and danced with th e New York City Ballet , The Royal Ballet, Ball e t Teatro alia Scala, Scottis h Ballet and San Francisco Ball et.

Mr. Hill appeared with American Ballet Th eatre as a guest a rtist in 1990 and rejoined th e Compa n y as a Prin cipal Dan ce r in 1993.

AMANDA McKERROW , Principal Dancer

Amanda M c K e rrow was born in Albuqu er qu e, New Mexi co a nd began her ballet training a t the age of seve n a t the Twinbrook School of Ba ll e t. She b ega n s tudying wi rh M ary D ay at tbe age of fourtee n a nd joined The W as hin gtO n Ba ll et as an apprent ice in 1979. Afte r beco min g a full company m e mb e r in 1980, she won th e Gold M edal at the Moscow Int ernat io na l Ball e t Competition in 1981. Mi ss M c K e rrow was the r ecipient of a Prin cess G race Found a ti o n Dan ce Fe llows hip in 1986

Miss M cKerrow joined Ameri ca n Ballet Th eatre as a member of the co rp s d e ballet in 1982. She was appointed a Soloist in 1983 and a Prin c ipa l D a nce r in 1987.

KATHLEEN MOORE , Principal Dancer

Born in C h icago, Illinoi s, K athleen Moore s tarted h e r dance trai ning in Hunt svi ll e, Alabama. At th e age of twelve, sh e L_ began studying at the

Alabama School of Fine Arts in Birmingham with Dame Sonia Arova and Thor Sutowski. After a'ttendi n g th e School of Am er ic an Ballet and Am e ri ca n Ba ll e t Th eatre Sc hool for s umm e r sess ions, s he join ed ABT II in 1980

Mi ss Moore e nt ered American Ball et Theatre as a member of the co rp s de ballet in 1982, was appointed a Soloist in 1988 and a Prin c ip al D a nce r in 1991.

MICHAEL OWEN , Principal Dan cet·

Mi c h ae l Owen was born in Carlisle, Penn\:y lvania a nd r eceived his early training the re with M arc ia Weary. He tben s tudi ed at the Pennsylvania Ball et School, School of Am e ri ca n Ba ll e t a nd Ameri can Ball e t Th ea tre Sc h oo l.

Mr. Owen joined American Ball e t Th ea tre in 1974, became a Soloist in 1977 a nd was promoted ro Prin c ipal D a ncer in 1987 .

l1erndwdrks

AMERICAN BALLET THEATRE

Gel/eral Manager

D irector of Press, ' PR and Marketirtg

D irector of Development Controller

Coordinator for the Artistic Staff

REHE ARSAL DEPARTMENT

Rehearsal Administrator

Ass;jtant to the Artistic Staff Special Projects Assistant

Claudette D onlon

R obe rt Pont a rell i

Lynn Thommen

Susan Neim an

Florence Pe ttan

Cristina Es coda

Vi ctO r Ba rbee

Lynn Fe n wick

COMPANY ADMlN ISTRATION

Company Manager

Associate Company Manager

ExeC1ltive Assistant

o/fice Manager

A ssistant to Gel/ eral Manager

M US IC DEPARTMENT

M usic Administrator

Concert Master

Company Pianists

Dony a Corry

Kerry Kane

Rhoda Oster

R osea nne Forni

J ean Haring

Harold Tbemmen

R on O a kl a nd

How ard Barr, G ladys Ce les te , Martha J o hn son,

D anie l Press le r, Steven R osent hal, H e nri etta Stern

ABT STUDIO COMPANY

Director

Ballet M istre.rs

Company Man ager

P RESS DEPARTMENT

Associate Director, Pre.rs, PR and Marketing

Press Representative Press Associate

i merne

FINAN CE DEPARTMENT

Assistant Controller

Assistant, Accoltl1fs Payable

Bookkeeping Assistant

P ROD UCTION DEPARTMENT

Production Manager

A ssistant Production Manager

Principal Stage Manager

Stage Manager

A ssistant Stage Manager

Lighting S1Ipervisor

Master Carpel/ter

FlY1llan

Assistant Carpel/ter

Master Electrician

Assistant Electrician

Assistant Electrician

Copyright 2010, Michigan Opera Theatre

Assistant Electrician

Property Master

Assistant Property Master

Wardrobe S1Ipervisor

Assistant Wardrobe

Assistant Wardr obe

Wig and Mak e"p SlIpervisor

John R olland

Paul Wells

Bruce A. H. Horowit z

H i la ri e J enk in s

Caryn Conway

AnneMichelie Radcl iff

D EVELOPMENT DEPARTMENT

Campaign Di rector

Deputy D irector of Developlllem

Director, Special Projects

D irector, Individual Giving

Manager, Special Events

Manager, Dancers' Cirde

Asst. Manager, Golden Cirde

Am. Mgr. i nstitutional Support

Developmel/t Associate.r

Anni e M atso n

Lu cie Miller

M a ry K eat ing

Lin dsay Be rnal

Cat h y Schroth

C hr istine Larchian

J e nnifer Smit h Pa tri cia H Sumi

Stephanie D ec ke r, Carol Mitc he ll , Christina Mitrakos, Cat h y Mod ec ki

Telefimdraisin g

Mit c hell A . Chaitin, Manager

Mary Orrn e r, J esse Kirt zman, St eve Kirt zm a n

PROFESS IONAL SERV ICES

Company Physical Therapist

P eter Marshall , M . A., PT.

Consulting Orthopedist

J e re m y Bl anro n

Gag e Bu sh

Ca th e rine Levine

Elena Gordon

Kelly R ya n

Myra Armstrong

Suj a tha R aman

Cat he rin e P. B rown

M a nya Levin

Mirlene Corn e t

D avid Lansky

N James Whit ehi lllll

Lori Ros ec rans

Randal Fippinger

J ea n-J acques Cesbron

Brad Fields

P a ul Koval

Frank A . LaMa nti a

P e t e r Koval

J e nnife r Carr

J a m es E l rod

Larry Hold er

Bri an M cGa r ity

Massage Therapist , L.M. T. Labor C oumel

Dr. William H am il ton Olind a Cedeno

J erome B . K a uff of K a uff, M cC lain and M cG uire

Specia l Counsel

P aul, Weiss, Rifkind , Wharton & Garrison

Accol/ming Ernst & Youn g

i 1lJllrance Brokers DeWitt Stern Group In c. Travel Agency

Jo yce Stogo , Ze nith Travel , In c.

American Ballet Theatre 's edllcational progra1!lJ have been gmerollJ ly IIndetwrium by the Chemical Banking Corporation; Citibank, NA ; Movado Watch Company FOllnriation, Inc.; NYNEX Corporation;jeffry M. and Barbara Picower Foundation: The Doris and Stanley Tanonbal/Ill Foundation; The Chase Manhattan Bank; Tribllne New York FOllnriation; and the Unilever United Stales FOllndalion , Inc. Programs and casting sIIbject to change American Ballet Theatre grateJlllly acknowledges The Eleanor Naylor Dana Charitable Trml and j oseph and Silllone GOHner for lheir generOIlJ Sllpporl of the / njllry Prevention Program, which is vital 10 the well-being of the Company.

American Ballet Theatre is a member of lhe American Arts Alliance, lhe Arts and BlIsiness COllncil, Inc. and Dance/U.S. A.

The Dancers alld Slage Managers are members of the Independmt Artists of A1/lerica. COllmel for the IAA ; law offices of Leonard Leibowitz

Tru cking by Clark Tramfer 11Ic. Pianos cOllrtesy of Frank and Camille's Keyboard

* Principalteacber for A BT's Open Classes American Balle t Theatre

BALLET THEATRE FOUNDATION, INC.

BOARD OF GOVERNING TRUSTEES

Honorary Chairman Emerittts Jacqueline Kennedy Onassis (1929-1994)

Hono rary Chairman Caroline B . K e nnedy

Chairman Peter T. Joseph

Vice Cha irmen Mildred C. Brinn

David Koch

Abby Leigh

Secretary & Chair, Mrs. John C. Sites, Jr. Development Committee

Chair, Finance Committee Anne M . Tatlock

Chair, Nominating Committee David W. Zalaznick Trustees

Sherrell]. Aston , M .D.

Debra Black

John S Chalsty

Ri cki Gail Conway

Peter Duchin

Patricia Duff

Stephen]. Friedman, Esq .

Geda lio Grinberg

Nancy E Havens-Hasty

Hami l ron E. J am es

Michael M Kaiser

George L. Knox

Lady MacM illan

Wi ll iam A. McIntosh

Honorary Trustees

Charles Dyson

Mrs. Ward S. Hagan

Mrs. Byam K. Stevens, Jr.

Roge r Stevens

Mrs William Zeckendorf

BALLET THEATRE FOUNDATION, INC.

MAJOR CONTRIBUTORS

Ameri can Balle t Th eatre wishes to acknow led ge the extrao rdinary generosity of the late Lawrence A. Wien who mad e it possib le for ABT and Feld BalletslNY to secure our home at 890 Broadway, now The Law rence A Wien Center for Dance and Theate r

American Balle,t Theatre is deeply gratefu l to The Andrew W. Mellon Foundation for irs leadership assistance in making possible new creative work thar will profound l y enrich the art istic future of ABT

American Ballet Theatre gives special thanks to its generous donors which are li sted on the following pages. Their suppo rt, along with the thousands of ot her individuals , corporations and foundations who we are unable to l ist, ena bl es t he Company to dan ce brilliantly throughout the year.

Philip M orris Companies In c. is the Founding Sponsor of ABT's New Prcx:lu ction Fund.

Kevin M cKenz ie

S. Chrisropher Meigher III

Frank Mei ster

Dawn Mello

Mrs Herbert D Mendel

Anka K. P alitz

Sharon Patri ck

Nancy Schacht

June Schneid er, Ph.D .

Mrs . Bernard L. Schwartz

Margaret M . Sharkey

Sharon L. Haug h Stein

Leonard Tow

Thomas E. Tuft

John L. Warden, Esq .

LEADERSHIP GIFTS

I ND IVIDUALS

Mi ldred C. Brinn

Estate of Joann e Toor C ummings

Mr. and Mrs. Charles H. Dyson

Me. and Mrs. Geda lio Grinberg

Peter T. a nd Wendy J osep h

David H Koch

Herbert D. and Audre Deckmann

Mend e l

M r. a nd Mrs. John C. Sites Jr

Barbara a nd David Zalazn ick

Two Anonymous Donors

GOVERNMENT

Nationa l Endowment for the Arts

New York Sta t e Co un ci l o n t he ArtS

Chairmen Emeriti Charles Dyson

Stephen]. Friedman, Esq

Melville Straus

Trustees Emeriti

Mrs. Ri ch ard Englund

Charles K. McWhorter

Lu cia Chase (189 7-1987)

Charles Payne (1909-1994)

Nora Kaye Ross (1920-1987)

Oliver Smith (1918-1994)

Gi lm an Pape r Company

Movado Wat ch Company

Philip Morri s Companies I nc.

F OUNDA TI ONS

Booth Fe rri s Foundation

The Howard Gi lman Found a tion

Copyright 2010, Michigan Opera Theatre

The Pe t er T. Josep h Foundation

David H Koch C haritab le Trust

The Andrew W. Mellon Foundation

National Dan ce Residency Program*

The Shubert Foundation, In c.

* Th e Nation a l Dance Resid e ncy Program is a three- year program d eve loped and und erwritten by The Pew Chari t ab le Trusts a nd admin istered at the New York Foundatio n for the Arts

CHAIRMAN'S CIRCLE

I N D I VIDUALS

Linda M Allard

Mr and Mrs. Leo n Black

Mr. and Mrs. Ward S. Hagan

Mr. and Mrs. Hamilton E. James

Abby and Mitch Leig h

William A McIntosh

Willi a m D Rollni ck and Nancy E ll iso n Rollnick

Me. a nd Mrs. Be rnard L. Sc hwa rt z

Mr and Mrs. Thomas E. Tuft

Marillyn B Wi lso n

GOVERN ME NT New York Ci ty Department of C ultu ra l Affairs

CORPORATIONS

Ellen Tracy, In c. The Equitable Financial Compa ni es and Th e Equitable Foundation

I nterface F looring Systems l Prin ce Street Pentag ram D es ig n , In c. United Airlin es U.S. New s & Wo rld Report

FOUNDATIONS

The E leano r Naylor Dana Charitab le Trust

The Muriel Linsky Karasik Fo un dat ion

Jeffry M a nd Barbara Pi cowe r Foundation

Th e Fan Fox a nd Les li e R Samuels Found a ti on , In c.

TRUSTEES ' CIRCLE

I NDIVIDUALS

Bob Boyett

Cynthia Green Co lin

Ricki and Bob Conway

Parricia Duff

Mr. and Mrs. Step hen J. Friedman

Mr. a nd Mrs. J osep h L. Gossner

Nancy Havens-Hasty and J. Dozier Hasty

Mr. and Mrs. James Owen Herlands

Frank Meister

Mr and Mrs. Jeff c. Tarr

Mr. and Mrs. John L. Warden

One Anonymous Donor

GOVERNME N T

Natura l H eritage Tru st

CORPORATIONS

Citibank , NA

Cred it Suisse

Ell e and Mirabella magazines

Ernst & Young LLP

Jordan 1 Za laznick Capital Compa ny

Lancome Paris

Paul, Weiss, Rifkind , Wharton & Garrison

FOUNDATIONS

The Bodman Poundation

Charles E Cu lpeper Foundarion

The Robert S. Finkelstein

M emoria l Fund

The Jerome and Anne C. Fisher Foundation

The Harkness Foundations for Dance

F. M Kirby Foundation , Inc.

Meyer & Minn Manischewitz Foundation, Inc.

Pred and Sharon Stein Foundarion

The Norma and Rosita Winston Foundation, Inc.

THE PLATINUM CIRCLE PLATINUM PARTNERS

I NDIVIDUALS

Mr. and Mrs. Rona ld Altman

Dr. J oseph Blady

Lewis P. Geyser

El izaberh and Dean Kehler

Ellen and Eugene Schiavone

Pamel a Wygod

CORPORATIONS

Beehive Distribution Co rporario n

PARTNERS

I ND IVID UALS

Roberto Buaron

Dr. and Mrs. Worrh B. Danie ls, Jr.

Ann Kaplan and Roben Fippinger

Sheila O'Malley Fuchs

Mr. a nd Mrs. Howard Ganek

Mr. and Mrs. Sandor Garfin kle

M rs. Dale A. H edges

Judith M. a nd Richard S. Hoffman

Mr. and Mrs. J o narhan I1 any

Mrs. Marjorie Isaac

M r. a nd Mrs . S. Christophe r

Meigher III

Dawn Mello

Mr. Roberto Mendoza

Mr a nd Mrs. Roberr Meyerhoff

Ca rl os Neira

Caro l ine Newhouse

Sharon Patrick

Esrare of Charles Payne

Dr. J ames and J anis Qu inn

Mr. and Mrs. William H. Ri sley

Elizaberh P. Ruml

David and June Sch ne id er

Mary Sennort-Shaw

Leila and Melville Straus

Anne M. Tadock

M r. a nd Mrs. Frede ri ck R Ulrich

Celeste and Stephen Weisglass

CORPORATIONS

Arthur Andersen & Co.

Baldwin Piano and Organ Company

Capital Cities 1 ABC

The Chase Manhattan Ban k

Clark Transfer In c.

Conde Nast Publications, In c.

Davis Polk & Wardwell

Donaldson, Lufkin, & J emene , In c.

Fairchild Pub!. 1 Patrick McCarrhy

Harper's Bazzar 1 Liz Tilberis

John so n & Johnson

Joseph Litdejohn & Levy

Kauff, McClain & McGuire

Metropo l itan Life Foundation

Morgan Guaranty

New York Life Poundation

The New York Times Company Foundation, Inc. NYNEX

P ete r J osep h Ga ll ery

Rosecliff, In c. Sullivan & Cromwe ll

Unilever United States Foundat ion, Inc.

Warner-Lam ben Compa ny

FOUNDATIONS

The Jane and Worth B. DanielsJr, M D. Fund of the Baltimore Community

The Gladys Krieble De lmas Foundation

The William and Mary G reve Foundation, Inc

The J oh n D. & Ca th er in e T. MacArthur Foundation

Milstein Family Foundation, Inc.

Newman's Own, In c.

The Owen C heatham Foundation

J acque lin e Kennedy Onassis Trust

Emma A. Sheafe r Cha ritab le Trust

Th e Doris and Stanley Ta nanbaum Foundation

THE GOLDEN CIRCLE DETROIT AREA

I ND IVIDUALS

Mr and Mrs. David S Aronow

Dr. O. William and Susan Brown

Charles Crook

Susan Falk

James R . G iuli a no III and Susan Lau-Giuliano

ScOtt R Isdaner

Mr. and Mrs. J o hn F. Jacobs

Kyung Soo Kim and Chanok P. Kim

Mr. and Mrs. Irving Rose

Lynne Sherwood Foundation

J anet E. Thirlby

Dr. and Mrs. Michae l Roy Treister

Listing as 0/ December 20" , 1996.

DETROIT OPERA HO USE

G ENE R A L N

PHOTOGRAPHY AND RECORDING DEVICES

Unaur h o ri zed ca m e ras and recording devices are not a ll owed in s id e the theat er ar anyrime

The t aking of photographs of rhe rheater or any pe rformance is strictly prohibited. As a co urt esy ro our guests, we ask rhat a ll paging devices and ala rm watches be swi t ched ro a silent mode prior ro the start of a performance

IN CASE OF EMERGENCY

Doctors a nd parents are advised to leave their Sear locarion (loca t ed on ricker) and our eme rgency numbe r , 3 13/237 - 3257 wirh rhe service or sitter in case of an emergency.

Please observe rhe li gh red exit signs locared rhrou g h our rhe rhearer. In rhe event of fire o r simil ar emerge ncy, p lease remain ca lm and wa lk - do nor run to the nearest exit. OUf ushers are trained to l ead you our of rhe building safely.

A rrained Emergency Medical Technician (EMT) is on si re during all eve nt s. Please see an usher or sraff member ro COntaCt rhe EMT.

RESTROOM S

Ladies' resrrooms a re located off the Broadway lobby, down rhe sra i rs a nd a lso on rhe rhird floor (Madison side). Please press 3R on rhe e levator.

Gentlemens' restrooms a re locared under rhe Grand Theatre sraircase, down rhe stairs and a lso on the rhird floor (Broadway s id e). Please press 3 on th e elevator.

Please nore: All rhird floor resrrooms are wheelchair accessible.

NO SMOKING

Derroir Opera Hou se is a smoke-free faci l ity. Ash receptacles are provided o n rhe exterio r of a ll entry doors for rhose who wish to smoke.

USHERS

Ushers are srarioned ar rhe top of eac h ais le. If you have a quesrion o r concern, please inform an u sher, and rhey wi ll contaCt management. I f you are interes t ed in becoming a volunreer us her, please ca ll rhe ushe r h o tlin e ar 3 13/237 - 3253

LATE SEATING POLICY

Latecomers w ill be seated on l y during an appropri ate pause in rh e program, and wi ll be asked to view rh e program on closed-circuir relevision moni tors located in the lobbies until an approp ri ate prog ram pause occurs

Copyright 2010, Michigan Opera Theatre

FORMAT o N

LOST AND FOUND

Lost and Found is locared in rhe Administrative Coo rdinator's office. Please see an usher if you hav e m isp laced an acricle, o r ca ll 3 13/96 1- 3500 if you have a lready left th e theater

PARKING

Parking is availab le for a ll events ar rhe Opera Hbuse Garage locared directly across John R. from Detroit Opera House on Broadway. Pre-paid parking is avai lab le. Please ca ll 3 13/961 -3 500.

ACCESSIBILITY

Accessib le searing locarions for parrons in wheelch ai rs a re locared in all price ranges on the orchestra level. When inquiring abour rickers, please ask abour rh ese locations if you require spec ial acco mmodations.

Assisted Listening Devices are availab le on a first -come basis Please see an usher or Ticket Offi ce representative to request this service. Alrhough rhis is a comp lim entary service, we w ill request ro hold a piece of personal identification whi le yo u are u si ng rhe device.

CHILDREN

Chi ldren are welcome h owever, all g ues rs are requi red ro hold a ricker, regard less of age. We kindly ask rhat parental discrerion be exerc ised for ce rtain programs, and thar a ll g uests remembe r rhar during a program such as opera or baller, rhe abi lir y of all audience m embers to hear rhe music is a prerequisite to enjoyment of rhe pe rformance. In a ll cases, babes in arms are nOt permitted.

SERVICES

Concession s t a n ds are locared on a ll levels in the lobb ies Please nore: Food and Drinks a re NOT Allowed in rh e Auditorium at any rime!

Coat C h eck is locared i n rhe Madison lobby The cost is $1.00 per coat. Please note that Detroit Opera House does not accept responsibi l ity for any personal articles rh ar are nor checked ar rhe Coat Check.

Drinking fo unt ai n s are locared in the lobbies on floor s 1 and 3

Public pay phones are located in the vestibule of th e Broadway lobby and in r he resrrooms. Patrons in wheelchairs can access pay phones rhrough th e Broadway srorm lobby.

FOR YOUR INFORMATION

Detroit Opera House is avai labl e for rent by your organization. Please call Brett Batterso n, Facility Manager, at 3 1 3/237 - 325 0 to rece ive re ntal information.

Tours are available for individu als a t predetermined times throughout the year and for gro ups by appo intm ent. Please call Brett Batterson, Facility Ma nager at 313/237-3250 ro inquire about our rour sc hedu les and pri ces.

TICKET INFORMATION

Detroir Opera House Ti c ket Offi ce hours a re: Non-performance weeks: Monday through Friday, 10:00 a.m ro 6:00 p m.

Performance days: 10:00 a.m. through rhe first intermission of the evening's performance , excepr Saturdays and Sundays when the Ticket Office will open two hour s prior to cu rtain.

Tickets for all public events held at Detroit Opera House are also available through all TicketMaster phone and retail outlets.

BIG BANK STATEMENT SHOCK!

IMPORTANT NUMBERS

A Message from the Genera l Di rector

elcom e to a very special occasion at D etro it Op e ra House-An Evening with J ose Carreras This p e rforman ce is a wond e rful pre lud e co our forth co min g Spring Seaso n , and it s memory is cerrain to c harm us lon g after th e final e ncore As we approach our fir s t year anniversary in th e ne w D e troit Opera House, how fittin g it is that we s hould ce le bra t e with one of th e gtea t singers of our time .

Mr. Carreras is well-known to opera lov e rs for his many recordin gs an d s tage appearan ces and, sinc e 199 0, following th e successful Three Te nors concerr in Rome, h e has reac h ed a vast world-wid e audience. It is a testam e nt co Mr C a rreras that he has been able ro e mbra ce and we lcom e n e w audiences to th e classical repe rtoire . The tim eless ness of th e songs of our day has b ee n confirmed in Mr. Carreras' co mmand of secular so ngs a nd mod e rn rep e rroire as well as in his reco rdings and recitals. For an artist as much in demand as Mr. Carreras, hi s a ppearan ce this evening at Detroit Op e ra House is truly a memorabl e occasion.

I wish to ex tend my sincere appreciation ro Ford Motor Company who se ge nerosity has mad e Mr. Carreras ' appearance possible. W e hav e b ee n fortunate over th e years to enjoy th e long-time support of Ford Motor Compan y for m a ny of our outstanding events.

Your presence tonight will benefit the D e troit Opera House Capital Campai g n which allow s us ro continue th e res toration and transformation of this histori c buildin g into a world-class Opera Hous e. W e have mad e co nsid e rable prog res s towards co mpl e tion of the Opera House since last April. In Sept e mbe r, w e opened the elevacor tower whi c h has provid ed barri e r-free access to upper le ve ls and three additional lobbies for the enjoyment and convenience of our patrons . Also opened is th e Madison Loun ge where theatergoe rs can enjoy a refreshment and snacks . Soon to open is th e m ag nificent Gen e r a l Director s Circle Lounge for th e pleasur e of a ll our donor s whose annual support make our seasons possible. Still ro b e accomplished is the restoration of th e Broadway facade, th e Edu ca tion R eso ur ce Center on th e top four floors of the Broadw a y Office Tow e r, th e Administration and Produc tion Office Tow e r on Madison and the comp letion of d eco rative surfaces within the auditorium and the lobbies.

Ther e are many ways to parti c ipat e in this mag nifi ce nt project. Whether you und e rwrit e a seat, buy a bri c k, participate in a naming opportunity or m a ke a contr ibution (please see Page 3 for details), you are e nsurin g the comp let ion of your opera house .

I look forward to welcomin g you again.

Michigan Opera Theatre invites you . .. to become a part of history

W e are pleased ro offer you the opporrunity ro become a parr of the hisrory of the magnificenr De troit Op era House. One way you ca n do thi s is by purring your name on "the best seat in the house. " Ov er 1,000 seats in th e theater hav e been underwritte n throug h the ge nero sity of our donors . Our goa l is ro name every seat , so there are still 1,7 00 avail abl e for yo u ro choose from in all of the hou se.

Your g ift will be recog nized by a plague on th e seat, so you will rec eive recog nition for your conrri'burion in perpecuity. Gifts may honor you , your company or a loved one. Any gift of $ 1,000 a nd above may be paid over five years.

Another way ro parricipate in this effort is ro set your name "i n srone ." You ca n buy a bri ck for $ 100 th a t we wi ll ins c ribe acco rdin g ro your wishes. Th e nam ed bricks will be installed on the wall of the First Floor Elevacor Tower Lobby for all th ea tergoe rs co see More than 700 people have bought bricks already, but we need about 1, 300 more ro cover the enrire wall.

Please join the growing number of supporrers who have already conrribured ro this exciting project and pur your nam e on a seat or a bri ck. Beco me a parr of hiscory by fillin g our the form below and recurning it ro Michigan Ope ra Theatre .

Enclosed is my c heck for $____for: seat(s) in seCt ion N o. ___ bri ck (s) ge nera l resto ratio n contr ibution (G ifrs of 1 ,000 and above may be paid o ver five years.)

My pl ed ge is fo r $

P' payment

2 '" payment

3'" payme nt

4,h payment 5th payment

Pl ease ch a rge $___ tO m y c red it ca rd : o Vis a 0 Masterca rd 0 AMEX

Acco unt Number _____________________

Expira ti o n D a re _____________

Si g n ature ___

Pl ease in sc ribe thi slt h ese nam e(s) on the seat plaque(s)/ bri c k (s):

j 0 M y co mpa ny will matc h t hi s co ntribution.

Retllrn 10: Detroit Opera H ouse Campaign Michigan Opera Theatre 104 Lothrop Detroit , MI 4 8202

: or Fax to: (3 13) 871-7213

Copyright 2010, Michigan Opera Theatre

LEGEND

8. All Upper Ba lcony seats have been na m ed

7, $500 Balco n y

6. $750 Me zzanine

5. $1,000 Orchestra

4a. 2 , 500 I nner Circle (last 5 Rows)

4 b. $5,000 Inn e r Circle ( First 5 Rows)

3. $10 ,000 Diam o nd Circle

2. $25,000 Tmstee Circle

I. All Box Sea t s have been nam ed

David DiChiera , Gene ra l D irecto r

CLEVELAND SAN JOSE BALLET

April 15 h Opening Night and April 19'hPerformances Sponsored by

BUILDING ONA

April 16,h Student Performance Sponsored by Kmart Corporation

April 15-20, 1997

Presented by Michigan Opera Theatre

We wish to thank NBD for their generous support of The Detroit Dance Series, which includes American Ballet Theatre and Cleveland San Jose Ball et

May f7, 1997

Presented by Michigan Opera Theatre

The 1997 Spring Season is Sponsored by m'-Genem. Motors .

April 5-13, 1997

Presented by Michigan Opera Theatre

April 11 ' h Performance

Sponsored by

'The Marriage oj$igaro

May 3-11, 1997

Presented by Michigan Opera Theatre

May 3,d Opening Night Performance

Sponsored by

Michigan Opera Theatre, cited by the Detroit media as "one of the city's cultural jewels," is the State of Michigan's premiere opera company serving as a state-wide cultural resource committed to producing the very best professional productions from the grand opera, operetta, musical theater and ballet reperrory. Founded and directed by internationally recognized impresario Dr. David DiChiera, Michigan Opera Theatre is now recognized as one of the nation 's most successfu l opera companies .

April 12'h Performance

Sponsored by Michigan National Bank

May lO'h Performance Sponsored by

THE FLYING DUTCHMAN

May 31 - June 8, 1997

Presented by Michigan Opera Theatre

Since its inception in 1971, Michigan Opera Theatre has called three different theaters " home " prior to the opening of Detroit Opera House. In 1971 the Company became the catalyst for the revitalization of Detroit's celebra t ed Theater District, as it re-opened the Music Hall Center for the Performing Arts. Music Hall was home until 1985. In 1985, the company, in an effort to accommodate its growing aud ience and increased production needs, began performing the fall season in the Fisher Theatre (primari ly a Broadway sty l e house seating 2,100), and

Copyright 2010, Michigan Opera Theatre

the spring season in the 4,000 seat Masonic Temple Theatre. While the move to the Fisher and Masonic Temple Theatres achieved a temporary solution to the Company's need for greater technical resources, seating capacity and audience amenities, it became clear that the future of Michigan Opera Theatre as a permanent resource for the city and state would be jeopardized if the company could not control its own destiny Michigan Opera Theatre, under the leadership of David DiChiera and the Board of Directors, set our to find a building ideally suited for grand opera and ballet produc t ions.

MOMENTUM BUILDS

In the late 1980's the company seriously considered renovating the State Theater located next to the newly renovated Fox Theatre, though this arrangement was not considered ideal because the facility was not for sa le, only rent. While in the midst of these discussions, the Grand Circus Theater became avai l able for purchase. David

DiChiera considered the magnificent structure ideal for its "ope ra house" style interior and the possibilities for building a new stagehouse He brought in facilities experts ro substantiate its structural soundness, acoustica l excellence and technical capabilities when updated. On December 31 of 1987, the ball got rolling as the company secured the first parce l in the Grand Circus Theater block as the company's future per-

Theater block , and the 1994 Opera Ball inside the unrestored auditorium before a crowd of many who had never before seen the interior, the project gained incredible momentum. Construction began in earnest on the stage house that same summer. The monumental task before Michigan Opera Theatre, the renovation of Detroit Opera House , has been considered a key component for the economic, cultural and civic formance site. revitalization of Detroit

In 1990, the capital campaign to raise funds for the project began With the AN OPERA HOUSE FOR DETROIT support of severa l prominent business le aders Michigan Opera Theatre ran a successful campaign ro name the private grand tier boxes, enab lin g the Company ro acquire the remaining parcels of the Grand Circus Theater

Co-ordinated by MICHIGAN OPERA THEATRE VOLUNTEER ASSOCIATION (MO'IVA) - A SELECTION OF ITEMSOpen dur in g Opera Hous e performances

Enhance your evening at Michigan Opera Th eat:re's spring opera season productions by listening ahead of time to some of th efinest recordings of the operas we will present

On April 21 of 1996, a date that coincided with the Company's twenty-fifth season, David DiChiera 's dream became a reality as Detroit Opera House was declared "o pen and ready for music " with an inaugural gala concert, featuring history making perforblock (this included three parking lots, the theater proper and the Roberts Fur Building). In the

fall of 1991 during a pre-concert press conference in the Grand Circus Theater, Luciano Pavarotti made his memorable promise to return to open Detroit Opera House , bringing the building project to the attention of the pub li c at large

In the Spring of 199 3, the wrecking ball came down on the Roberts Fur Building on the Grand Circus Theater block, making way for a new 75,000 square foot stage house. With the $1.25 million Kresge Challenge grant, the acquisition of the last of the six parcels in the Grand Circus

mances by Luciano Pavarotti and a star- studded cast

of world-renowned artists. All eyes were on Detroit , as the city celebrated the opening of it 's very own opera house -a world-class theater for the entertainment of generations to come.

The 1996-1997 season at Detroit Opera House has been l ovingly dubbed " Building on a Dream " . On January 12, 1997, the original structure, that is now Detroit Opera House, reached it 's 75'h birthday It is our sincere hope that you, your families and generations to come enjoy Detroit Opera House -a reclaimed piece of our cu lture and hisrory.

RIGOLETTO

Verdi

with Sherrill Milnes, Joan Sutherland, Lucian o Pa varotti

Londo n Sympho ny Orchestra condu cted by Richard Bonynge.

London , 1971 - 2 CDs, total time 11 8:38

$32.00

This legen dary recording offers Milnes, Suth erland and Pavarotti in sp len did form. An added surpr ise is a young Kiri te Kanawa as La Contessa demon strating the promise of her now illu striou s caree r.

Wagner with Robert Hale, Hildegard Behrens, Josef Protschka, Kurt Rydl

Wie ner Philharmo niker conducted by Christoph von Dohnanyi

London , 1994 - 2 CDs , total t ime 145:07

$32.00

Hai led by Gramophone as " th e most successful recordi ng of the wo rk to date." Behrens' Sen ta is touching and von Dohnanyi 's con du cting is mu scular.

LE NOZZE DI FIGARO

Moza rt

with Kiri Te Ka naw a, Lucia Popp , Frederica von Stade, Samu el Ramey, Thomas Allen, Kurt Molt.

London Philharmonic Orche stra, Conducted by Sir Georg Solti.

London, 198. 3 CDs, total tim e 166:94

$48 00

Anyone of the fine singers on th is recording wou ld suffice but to have them all is divine .

SERENATA

Jose Carreras

with Lorenzo Bavaj on piano

Erato, 1995 - 23 track CD, total tim e 65:54

$16.00

Record ed li ve in Vienna, Serenata captures Carreras in fine voice and style. This recital programm e spans a century of delightful songs, from Gounod's Le Soir, composed in 1840 to Nacho's Intima composed in 1941. Pi ano accompaniment by Lorenzo Bavaj is commanding.

Copyright 2010, Michigan Opera Theatre

Solti 's orchestration fulfill s the promise of Mozart's mu sic. It is all very enchanting.

Det roit Op era House after it was inaugurated by Michigan Opera Theatre.

Photo: Mark Mancinelli

Elvis Presley

RCA , 1996 - 22 track CD, total time 46: 15

$16.00

Digitally remastered Elvi s classics ori gin ally reco rded in 1956. Don't be Cruel, Blue Suede Shoes, Hou n d Dog and th e Ray Charl es tun e J Got a Woman have never sounded better. Thi s 40" anniversary commemorat ive CD in clud es a previously unrel ease d alt ernate reco rding of Heartbreak Hotel pl us th e ve rsion we all know and love.

To order by mail send to: To order by telephone please call MOTVA 313-874-7860

Michigan Opera Theatre

To order by FAX please dial 104 Lothrop Detroit, MI 48202 313-871-7213

o Plecse send me information on how to become a Member of Michigan Opera Theatre Volunteer Association.

All proceeds from sales of items directly benefit Michigan Opera Theatre.

SHIP TO MOTVA members receive a 10% discount.

INa Po. Boxes, pleasel Sorry, no C.o.D.s Nome Address City State Zip

Your Day time Telephone Number I )

0 I've enclosed a check or money order for $___ mode payable to Michigan Opera Theatre

We honor: o Ameri can Express o VISA o MasterCard

Account Number (Please Print Clearly to AVOid Delays) Expiration Dole Cuslomer Signalure (As it appears on the card.)

chiga n Oper a Th ea tr e

DETROIT OPERA HOUSE

CAPITAL CAMPAIGN CONTRIBUTORS

As 0/ February 26, 1997

SIGNAL BENEFACTOR

$2,000,000

The Kresge Foundarion

GRAND BENEFACTORS

$ 1,000,000

C hr ys le r Co rpora tion

Fo rd M oto r Company Fund

General Motors Found at ion

Th e Skillm an Found a tion

MAJOR BENEFACTOR

$5 00,000

J o hn S. & ) a m es L. Kni g hr

Fou ndation

LEADERSHIP CIRCLE

$250,000 TO $499,999

Am c titec h

An on y mou s

Mr. & Mrs. Philip E Be nton

Mr Ma uri ce Cohen

Dayto n Hud so n Foundation

o n behalf of Hud so n 's

Detroit Edison Foundation

M r. & Mrs. R obe rt E. Dewa r

Ghafari Associates, I nc.

Hud so n- W ebbe r Founda tion

Km a rt Corporation

Lear Corporation

McGregor Fund

NBD Bank

Ralph L. & Winifred E. Polk

C ha ritab le Annuity Tru st

Mr. & Mrs George Strumbos

TRW Foundation

Mr & Mrs. R Jami so n Wiliiams,Sr.

BENEFACTORS

$100,000 TO $2 49,999

Mr & Mrs. Eugene Appl e baum

ANR Pipeline Co mpany

Blu e Cross/ Blue Shield of Mi c hi ga n

Mr. & Mrs. Ri c h ard A Brodi e

H a rr y A Comasen , 11

Come ri ca, In c.

Mr. & Mrs Samuel Frankel

Mr. & Mrs. David B. H e rmelin

Mr & Mrs. Leo nard Jaques

Mr. & Mrs. Harry A . Lom ason , II

Mi c hi ga n Nat ional Corporation

Oliver D ewey Marc ks Foundation

Omni ca re H ea lth Plan

Mr. & Mrs. Louis R R oss

Mr R aymo nd C. Sm irh

Mr & M rs. Anthony L. Soave

Un ited Tec h no log

ies Automotive

Copyright 2010, Michigan Opera Theatre

GOLD CIRCLE

$50,000 To $99,999

Dr. & Mrs. Roger M Ajluni

Mr. & Mrs. Robert A Allesee

A ll ied S igna l Found a tion , In c.

Mr & Mrs. David Aronow

Dr. & Mrs. Donald C. Au st in

H o norab le & Mrs. Avern Cohn

Mr & Mrs. Marv in I. Danto

Th e Detroit News/Gannett

Foundation

Di c kin so n , Wright , Moon ,

Va nDuse n & Free m a n

Mr. & Mrs. Alfred ). Fi sh e r, )r.

Mr & Mrs. Max M Fi she r

Mr & Mrs. Stan.ley Frankel

Mr & Mrs. A la n L. Gorni c k

Mr & Mrs. J o hn C. Griffin

Mr. & Mrs. PrestO n B H appel

Mr & Mrs. Ve rn e G. Is tock

Mr & Mrs. Paul Lavins

Masco Corp

Neiman M a rcus

Mr & Mrs. Donald E. Peterse n

Mr. & Mrs. H arold A Polin g

Mr. & Mrs Da vid Po llac k

Mr & Mrs Irv ing Rose

Saturn Elec cro ni cs

Mr & Mrs. Al a n E. Sc hwartz

Mr. & Mrs. Donald E.

Schwe nd e mann

Mrs Rose m a ry Skup n y

Mr Ri c hard A Sone nkl ar

Thy sse n Jn c. North Amer ica

Mr. & Mrs. Lynn A . Town se nd

Mr & Mrs. Her be rt Tyne r

Mr & Mrs. George C. Vincent

Dr & Mrs. Sam B Williams

TRUSTEE CIRCLE

$25,000 TO $ 49,999 Anonymous

An o ny mou s

Dr. Lourdes V. And aya

Mr & Mrs. Geb ra n S. Anton

Dr & Mrs. Ag ustin Arbulu

Dr & Mrs. R ob yn Arrin gton, Sr

Dr & Mrs. J o hn V. Bali a n

Mr. & Mrs. J. Addi so n Banu sh

Cap ri ce W. & Mark Alan Baun

Mr & Mrs. M a nd ell L. Berman

Mr. & Mrs. J ohn Boll

Mr Th o mas Cohn

Co mpl ete Bu siness So lut ions

Cons um ers Powe r Fo undati on

Juli e Donovan Darlow & J o h n C. O ' Meara

Deloitte & Touche

DeRoy Tes camemary Foundation

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SILVER CIRCLE

$15,000 TO $24,999

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Great Lakes Exteriors

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D iv is ion

Mr David H and leman

An Evening with Jose Carreras

MARCH 19, 1997

Presented by Michigan Opera Th eatre

in conjunction with Hoffmann Concerts

Made possible by

1

Jose Ca rreras

Lorenzo Bavaj

Alessandro Scarlatti

Giovanni Bononcini

Saverio Mercadante

Georges Bizet

Jules Massenet

Jules Massenet

Giuseppe Verdi

Giuseppe Verdi

Tenor Piano

Gia il sale dol Gange

Per 10 Gloria d'adorarvi

Lu Cardillo

Absence

Elegie

Ouvre tes yeux bleus

II po veretto

L'esule

INTERMISSION <i':@.'--'

Riccardo Zandonai

Riccardo Zandonai

Ruggero Leoncavallo

Ruggero Leoncavallo

Ruggero Leoncavallo

Ruggero Leoncavallo

Giacomo Puccini

Giacomo Puccini

Giacomo Puccini

Notti di Neve

Notti d'Agosto

Declaration La Chanson des Yeux

Serenade Frant;aise

Serenade Napolitaine

Sale e amore

Terra e mare

Mentia I'avviso

Copyright 2010, Michigan Opera Theatre

ALESSANDRO SCARLATII

(born 1659 - died 1725)

GIA. IL SOLE DAL GANGE

Gia il sole dal Gange

Piu chiaro sfavilla

E terge ogni stilla

Dell 'alba che piange

Col raggio doratO

Ingemma ogni stelo

E g li ami del cielo

Dipinge sui pratO.

Text by Feli ce ParnaHo

GIOVANNI BATIISTA BONONCINI (born 16 72 - died 1750)

PER LA GLORIA D AOORARVI

Per la gloria d 'adorarvi

Voglio amarvi, 0 lu ci care .

Amando penero, Ma sempre v'amero nel mio penare.

Senza speme di dilettO

Vano affereo e sospira re.

Ma i vostri dolci rai

Chi vagheggiar puo mai e n on v amare.

Text by Pa olo Antonio Rolli

SAVERIO MERCADANTE

(born 1795 - died 18 70)

LUCARDILLO

Sro crescendo un gentil carde llino, Quante cose g li voglio insegnar! Vo'imparargli un ben noco cammino, Le ambasciate per farmi portar.

Senti qua, caro mia, poco innante Ce una casa, una bella vi sta; Tu 10 vedi che non e distante, Quella bella a trovare ne va!

Se la trovi che dorme in quell'ore, Una fata potrebbe sembrar, Deh! non far con Ie penne rumore, o gentil, non valeria destar!

Se affacciata al vecone la vedi, Tu l' avessi per rosa a scamb iar' o gentil, se all 'errore non credi Vanne via, non andarla a fiurar!

Se la trovi facendo all'amore , Uno sti le ru devi celar, Glielo immergi dirittO nel core , Ed il sangue me n'hai da mostrar!

Already the su n over rhe Ganges is shining more brighrly, drying every teardrop wept by the dawn.

With gilded rays every stem is bejeweled, and the stars of the heavens are painted in the meadow

Ma se pensa ru allor piano piano, Zitro zireo la devi accostar, Se ghermire ti vuolcon la mana PrestO in perro ru I hai da saltar

Se ti bacia a t'afferra vezzosa, Allor tu cosl a dirle ti fa: II padrone per te non ripasa Poveretto, ei te marra!

T'accarezza, ti bacia ah! Beaco, Cardellin, piu di me ti puoi dir; Or con te se cangiarmi m'e daco, Voglio dopa davvero morir!

Unkn own Poet

GEORGES BIZET

(born 183 8 - died 18 75)

Bur if she is pensive t h en very, very sofrl y you sh ould approach her; if she wants co seize you in her hand yo u must swifrly leap into her bosom

If she kisses you and holds you affectio natel y, then you must say this CO her:

"My master cannot s leep because of you: poor man, he wi ll die because of you!"

If she fondles and caresses you .. . ah! go ldfin ch, you can ca ll yourself luckier than I! If it were given me now CO exchange with you, I would truly be willing th e n co die!

I want to love you, dear eyes , for the glory of adoring you In loving , I shall suffer, but in my suffering I shall always love you.

With no hope of delight, sighing is a vain conceit But who could yearn for your sweet gaze and not love you?

ABSENCE

Reviens , reviens rna bien aimee; comme une fleur loin du so leil, la fleur de rna vie est fermee loin de con souri re vermeil.

Ah! Reviens!

Entre nos coeurs t ant de distance!

Tant d'espace entre no s baisers!

6 sorr ame r! 6 dure absence! o grands desirs inapaises!

Au pays qui me prend rna belle.

Helas! Helas!

Come back , come back , my love!

Like a flower far from the sun

The flower of my li fe remains closed

When cut off from your rosy smile . Ah, come back!

What a distance between our hearrs!

What space between our ki sses!

o bireer fate! 0 cruel absence '

o deep, unsatisfied desires !

If on ly I cou ld go, alas'

To the land t h at sco le my love;

I am training a dear litrl e goldfinch; how many things I wish to teach it! I want it to learn a well-known route co carry messages for me .

Listen, my dear: a litrle way ahead is a house where a fair one li ves ; you see th at it is nor far off; go and find that beauty!

If yo u find she is as leep at the time, she cou ld seem co be a fairy. Oh, make no noise with your wings, my dear, I do not wish CO wake her'

If you see her appear on the balcony, would you mistake her for a cose?

If you do not be l ieve in that error, my dear, go away, do nOt try CO sme ll her!

If you find h er making love, you must hid e a dagger, plunge it right into her heart and show me the blood from it!

Si je pouvais all er; et si mon corps avai tune aile comme mon arne, pour voler!

Helas! Helas'

Au pays qui me prend rna belle. si je pouvais , si je pouvais all er; par dessus nos verres co llin es, les montages au front d 'azur, les champs rayes et les ravines, j' irais, oui, j'irais d ' un vol rapide, j'irai d un vo l rapide et sur Le corps ne suit pas la pensee!

Pour moi , mon arne , va tout droit, comme une colombe blessee, t'abarrre au rebord de son coit.

Et dis, mon arne, a cerre belle:

Tu sais bien qu'il comp t e les jours, 6 rna co lombe ! A tire d'aile , recourne au nid de nos amours

Text by T lophile Galltier

Copyright 2010, Michigan Opera Theatre

Alas!

If only my body had wings

Like my sou l, in order that I might fly' Alas!

If only I cou ld go, a las!

To the land that scole my love; Above our green hills, Our azure-faced mountains , Striped fields and ravines, How swifrl y and sure ly I'd fly. The body cannot follow thought!

For me , my sou l , fly stra ight as an arrow, Like a wounded dove, And sink dow n on the edge of her roof. And say, my sou l , co this beautiful woman: You know he is counting the days, Oh my dove! Take wing

And rerum co our love nest.

JULES MASSENET (born 1842 - died 1912)

ELEGIE

6 doux printemps d'autrefois, verres saisons, vous avez fui pour toujours! Je ne vois plus Ie ciel bleu; je n'entends plus les chants joyeux des oiseaux! En emportant mon bonheur, 6 bien-aime tu t'en es aile!

Et c'est en vain que revient Ie printemps!

Oui, sans retour.

Avec toi Ie gai soleil, les jours riants sont parris! Comme en mon coeur tour est sombre er g lace! Tour est fleeri! Pour toujours!

Text by Lolli, Gallet

OUVRE TES YEUX BLEUS

Ouvre tes yeux bleus, rna mignonne: voici Ie jour.

Deja la fauvette fredonne un chant d 'a mour. L'aurore epanouit la rose: viens avec moi cueillir la m arguerite eclose; reveille-toi!

A quoi bon contempler la terre et sa beaure?

L'amour es t un plus doux mystere qu ' un jour d'ete c'est en moi que l'oiseau mondule un chant vainqueur, et Ie grand so lei I qui nous brule est dans mon coeur!

Text by Palll Robiqllet

GIUSEPPE VERDI (born 181 3 - died 1901)

IL POVERETTO

Passegger che al dolce aspetto par che serbi un gentil cor porgi un soldo al poveretto che da man digiuno e ancor.

Fin da quando era figliuolo sono stato milirar e pugnando pei mio suolo ho tras corso e terra e mar; Ma or che il tempo su me pesa , or che forza piLI non ho , fin la terra che ho difesa, la mia patria m 'oblio.

Text by Andrea Maffei

o ge ntle springtimes of yore,

So freshly green, How ye forever are fled!

I see no more heaven's blue; I hear no more songs of the birds full of joy!

Bearing with thee all my heart, Thou, my beloved, thou art gone ftom me!

Now all in vain

doth the springtime rerum!

Yes, gone forever with thee , Sunlight so gay, Bright days of g ladness are fled.

How in my hearr all is gloomy and cold!

Withered and dead evermore!

Open your bright blue eyes, my darling: It is day.

Already the warbler pipes a love song.

Dawn opens the tose: Comewirh me

And pick the unopened daisy!

WakeUp!

What is the good of observing rhe earrh and its beaury?

Love is a sweerer mystery

Than any summer 's day; It is within my breast that the songbird pipes

Irs song of victory, And the noonday sun that burns us Is here inside my hearr!

L'ESULE

Vedi! La bianca luna splende sui colli, la notturna brezza smrre leggera ad in crespare il vago g rembo del quieto lago. Perche, so l io nell 'ora ' piLI tranquilla e piLI soave muto e pensoso mi staro' Qui tutto e gioia; il ciel, la t e rra di natura sorridono allfincanto, l'esule solo e condannato al pianto Ed io pure tra I'aura native palpitava d ignoto piacer, Oh, del tempo felice ancor vive la memoria nel caldo pensier

Corsi lande , deserti , forest e, vidi lu oghi o lezzanti di fior, m 'agg irai fra Ie danze e Ie fest e rna compagno ebbi sempre il dolor Or c he mi resta ' Togliere alia vira quella forza che misero mi fa. Vieni, vieni 0 morre a chi t'invita e Halma ai primi gaudi rornera.

Oh, che allor Ie patrie sponde non sa ranno a me vietate fra quell 'aure su quell'onde nudo spirro volero, bacero Ie guance amate della cara genitrice ed il pianto all'infelice non veduto tergero.

Ed il pianto, il pianto a ll infeli ce tergeto. Text by Temistode So/era

Look' The white moon shines on the hills; the evening breeze tuns li g htly rippling the pretty tomb of the calm lake

Why I alone

in an hour more tranquil and sweete r Silent and thoughtful I will remain' Here is a ll the joy; nature's heaven and earth smile at the enchantment

The lone refugee is condemned to weeping. And still I among the native breezes, trembled with unknown pleasure.

Oh , the warm thought of a happy time sti ll lives in my memory.

I ran through moors , deserts, forests I saw places fragrant with flowers; I turned amon g the d a n ces a nd fes tival s, Bur I was always the co mpanion of sorrow. Now I should stay thus To be take n to a life that forces me to be miserabl e. Oh, come, come, oh death, to him who invites you

And the soul of my first joys will return. Oh, then the native banks will not be forbidden to me;

Among those breeze s, on those waves my unadorned spirit will fly; I will kiss the loving cheeks of my dear mother, and the tears of the unseen unhappy ones I will dry

And the tears, the tears of the unhappy I will dry.

Passerby, with the sweet appearance of a gen tle heart, Give a penny to the poor one Who is sti ll begging

I have been a so ldi er until I had a son

And fighting for my sou l

I have eraversed earrh and sea . Bur now that time weigh s on me , Now that I am no longer sttong, Until now the earrh whi ch I hav e d efended , My country has forgo tten me.

RICCARDO ZANDONAI (born 1883 - died 1944)

NOTTI DI NEVE

Pace, grida la campana , rna lontana , rna fioca. La, un marmoreo cimitero sorge, s u cui l'ombra race. E n e sfuma al cie lo nero un chiatore ampio e fugace.

Pace, pace, pace, pace, nella bian ca oscuri ca.

Text by Giovanni Pascali

Copyright 2010, Michigan Opera Theatre

Peace, cries the bell weakly, in the di s tan ce There stand s a marbl e cemetery o n wh ich the shadows are sti ll ed. And ftom it a broad, fleetin g dawn softens the black sky.

Peace, peace , peace, peace , in the blank obscurity

NOTII D AGOSTO

Oh! Dolcissime norti sconsolate! Un pallor quero e arcano si diffonde per boschi e per vallate; muore un fischio lontano si come un 'eco di cose passate.

Oh! Dolcissisme notti luminose! SentO un cane larrare nel placido silenzio delle cose; intorno e un 'alitare e uno stotmire di fronde odorose. Notti create al sogno ed all 'amore, io reclino la testa sorto il peso d ' incogniro dolore; grandi notti di festa voi sareste pel mio sogno che muore.

Text by Cipriano Giachetti

Oh, sweet nights of dejection!

A mysterious , still pale light shines amid the trees and down valleys ; The sound of a whistle dies in the distance like the echo of things gone by.

Oh , sweet, radiant nights!

I hear a dog bark in the si lent peace of nature; near by, fragrant bran ches rustle and stir. Nights made for dreams and for love , I drop my head back under the weight of unknown grief; you would be g reat ni g hts of rejoicing for my dying dream.

RUGGERO LEONCAVALLO (born 185 7 - died 1919)

DECLARATION

Quel charme est donc en vous, Madame , si fort , si penetrant , si doux, que je ne me sente plus d 'ame sinon pour la tendre vers vous ?

Quels feux vos yeux ont-ils dans l'ombre, comme ceux d un astre luisant , que dans mon ciel si long temps sombre une eroile mise a present, Quelle jeunesse vous decore que mon coe ur soudain rajeuni se reprenne a rever encore Ie reve qu ' il croyait fini'

Le reve qu'il croyait fini!

Text by Armand SilveJtre

LA CHANSON DES YEUX

Ne me regarde point cache, cache tes yeux, mon sang en est brUle tes regards sont de feu!

Viens!

Viens!

quoique vivant , et dans la fleur premiere, je veux avec mes mains te fermer la paupiere .

Ou malgre tes efforts

je prendrai tes cheveux pour te faire un bandeau qui te cache le s yeux!

Ne me regarde pas!

Ne me regarde pas'

Text by Andre Chinier

What enchantment is yours, Madame, So powerful, penetratin g and sweet

That I feel courage on ly

To offer you my soul?

How your eyes flash in the dark, Like those of a dazzling star, Like a sta r in my heavens

That have been dark for so long'

How your youthfulness becomes you, So that my heart, suddenly youthful , Begins to dream once again

Of the dream that it thought was over?

Of the dream that it thought was over'

SERENADE FRAN<;:AISE

Au clair de la lun e, mon gentil Pierrot, la blond e et la br4ne sortent sans falot, a l'amour c hacune payant son eco t.

Au clair de la lun e, mon gentil Pierrot, viens-tu sur la dune voir mourir de flot?

La voix de Neptune est comme un sang lot, la voix de Neptune est comme un sa ngloto

Au claire de la lune, mon gentil Pierrot!

Au claire de la lune, mon ge ntil Pierrot!

d ou vient ta rancune .

Tu ne me dis mot, ne dis mot!

Toi que plus qu 'aucune j'aime, pauvre sot!

Au clair de la lune , mon ge ntil Pierrot !

Au clair de la lune mon ge ntil Pierrot, plains mon infortune, souffrir est mon lot

Ma peine est commune, j'en mourrai bientot!

Au claire de la lun e, mon genti l Pierrot'

Text by Emile Collet

SERENADE NAPOLITAINE

Joyeux troubadour, je veux nuit et jour, chanter mon amour, rna belle!

Je suis pres de toi, Ie coeur plein d'emoi prends pitie de moi, ctuelle!

Encore une fois , mechante!

Ecoute rna voix qui chante :

La vie est d'aimer! Je veux t'adore r.

Et cueillir un dernier baiser! m es aveux, reponds it mes voeux, c'est roi que je veux, rna belle!

Vivre aupres de roi, c'est Ie sort d ' un Roi.

Viens, et so is it moi Fid ele!

Pour toi j'oublierais Ie mond e, et je me damnerais, rna blonde!

La vie est d'aimer, je veux t'adorer.

Et cueillir un dernier baiser!

Voici les beaux jOutS, Ie temps des amours, partons pour roujours, rna belle!

In the light of the moon, my sweet Pierrot , The blonde and brunette go out without a lantern,

Each paying her due ro love.

In the light of the moon, my sweet Pierrot , Have you come to the dune ro see the wave die ' Neptune 's voice is like a sob

In the li ght of th e moon, my sweet Pierrot, In the light of the moon, my sweet Pierrot Whence comes your rancour?

You speak not a word, You whom I , poor fool, love more than a nyone else.

In the light of the moon, my sweet Pierrot , Lament my misfortune; my fate is ro suffer My pain is shared, I'll die of it soon!

In the light of the moon , my sweet Pierrot!

Life is mad e for love!

Blithe troubadour that I am, I long

To sing of my love night and day, my fair!

I am close ro you, my heart 's all a-flutter, Take pity upon me , cruel woman!

Once again , wicked woman!

Hear my voice as I sing.

Life is mad e for love! I long ro adore you And steal one last kiss.

Receive my vows, respond ro my wishes, It is you that I want my fair!

To li ve with you is a right royal fate. Come and be true ro me!

For you I'd forget the world

And suffer eternal perdition , my fair-haired maid!

I long ro adore you and steal one last kiss. Fine weather has come, a time for love , Let us go for ever, my fair!

Look nOt upon me, But hide, hide your eyes!

My blood is on fire, Your gaze burns right through me!

Come!

Come!

Although you're alive

And in the first flower of youth, I want ro close your eyelids

With my hands.

Or, in spite of your e fforts, I'll take your hair

And make a blindfold

To hide your eyes

Look not upon me!

Look not upon m e !

Fuyons rous le s deux vers les pays bleus ou mon coe ur joyeux t'appelle!

Sous Ie ciel charmant du reve que nOtre roman s'acheve!

La vi e est d'aimer! Je veux t'adorer. Mourons dan s un dernier baiser!

Text by Emile Collet

Let us flee ro those az ure lands

Where my joyful heart calls out for you!

May our romance find fulfillment

Beneath this dream's enchanting sky!

Life is made for love! I long ro adore you And die on one last kiss.

Copyright 2010, Michigan Opera Theatre

GIACOMO PUCCINI .

(born 1858 - died 1924)

SOLE E AMORE

I sole allegramente batte ai tuoi verri; Amor pian pian batte al tuo euore

E l'uno e l'altro chiama.

II sole dice:

"0 dormente mostrati che sei bella! " Dice l'amore

"Sorella, col tuo primo pensier

Pensa a chi t 'ama! Pensa a chi t'ama! Pensa! "

U Poet

TERRA EMARE

I pioppi curvati dal vento, Rimugghiano in lungo filare .

Dal buio , tra il sonno, Ii sento

E sogna la voce del mar.

E sogno la voce profonda

Dai placidi ritmi possenti; Mi guardan, specchiate dall'onda, Le stelle nel cielo fulgenti.

Ma il vento pili forte tempesta, de'pioppi nellungo filare, dal sonno giocondo mi desta lontana e voce del mar!

Text by Enrico Pa nzacchi

MENTIA 1'AVVISO

Menda l'avviso

Eppur d 'Ausena e questa l'angusta valle ...

e qui fatal dimora

Mi presagiva la segreta voce

Che turba da pili notti il mio riposo, il mio riposo.

Tu cui nomar non oso, Tu! fune sta donna, dall avel risorra

Per mio supplizio, un'altra volta ancora Promert esti vedermi . .. e in rio momento.

Ah! Chi geme? .. M ' inganno e l' onda, e il vento

£. la norte che mi reca

Le sue iarve , i suoi timori, Che gli accenti punitori Del rimorso udir mi fa .

Text by Felice Romani

Th e sun joyfully taps at your windows; Love very softly taps at your heart , And they are both calling you

The sun says:

Oh, sleeper, show yourself for you are beautiful

Love says:

Sister, with your first thought think of the one who lov es you! Think of who loves you!

Think! "

Th e long rows of poplars , bent by the wind, are roaring ag ain.

In the darkness , half as leep, I hear them and I d ream of the voice of the sea . And I dream of the deep voice

With its peaceful, mighty rhythm s; Reflected in the wav e, the stars shining in th e sky Are looking at me.

But the wind rages more strongly In the long toW S of poplars, I awake from my joyous dream . .. Far from the sound of the sea!

JOSE CARRERAS

The warning was false

And yet , thi s is the nartow Valley of Au sena ... and here the fatal abode , The place that the secret voice portended, A voi ce th at for many nights disturbed my resc.

You , whom I dare not name, You, woeful woman, resurrected from the tomb At my entreaty, you swore You would see me once ag ain . .. in an evil mom ent.

Ah! Who is moaning ' I am mistaken it is JUSt the sound of a wave , it is the wind. It is the night which brings me Its g hosts, its fea rs, and makes me hear acc using word s Of remorse.

Very few singers could have made their debuts in an international opera house at the age of eleven, as was the case of Jose Carreras. This was no small undertaking, moreover, because he sang the role of El Tru;aman, the narrator boy in de Falla ' s Master Peter 's Puppet Show, whose music is so difficult that it is more frequently to a high mezzo . Jose Carreras made this important first appearance at the Liceo in his native Barcelona with Jose Iturbi conducting . "It was an exi ting experience " , he recalls. He made his adult debur in the same opera house at age twenty-two, by which time he was a highly promising tenor. The music student, who at his parents ' wish had also read chemistry for a few semesters, then won the International Verdi Singing Competition in Parma, Italy. Among the audience for the fina l competition concert was the world famous tenor Giuseppe di Stefano, who prophesied a glittering career for the young Catalan. Mter the competition Mr. Carreras sang his first Rodolfo (La Boheme) in Parma and received rapturous ovations from the demanding Teatro Regio audience . In 1971 he was invited to London to make his international debut opposite Madame Monserrat Caballe and Madame Shirley Verrett in a concert performance of Donizetti ' s Maria Stuarda at Festival Hall and later Mr. Carreras took part in the British premiere of Cateri na Camara when, on on ly two days notice, he stepped into what was, for him , a new role of rare difficulty

Deburs in important roles and cities followed: in 1972 he sang his first PinkertOn in Puccini's Madame Butterfly in the United States with the New York City Opera and in 1974 he celebrated deserved triumphs in no less than three opera houses - at London's Royal Opera House as Alfredo (La Traviata) at Vienna Staatsoper as the Duke in Verdi ' s Rigoletto and then at the Metropolitan Opera in New York as Cavaradossi in Tos ca. San Francisco , Philadelphia, Chicago and HoustOn are just a few of the many other American cities where Mr. Carreras soon performed in operatic repertOire as well as in recitals and concerts .

In 1975 he conquered the Teatro alla Scala in Milan as Riccardo in a g lorious production of Un Ballo in Maschera, returning over the years as Rodolfo, Don Carlo Alvaro (La Forza del Destino), Andrea Chenier and in productions of Ca rm en, and I Pagliacci among others and just recently as Loris Ipanoff (Fedora ).

Maestro Herbert von Kara;an engaged Jose Carreras in 1976 for his Easter Festival in

Salzburg singing the tenor part in Verdi ' s Requiw, and their artistic and personal relationship lasted over 12 seasons , as Mr. Carreras performed and recorded with the Maestro in Salzburg, Vienna, Berlin and Lucerne The Jose Carreras discography includes recordings of over 60 comp lete operas, including Un Ballo in Maschera, II Trovatore, Aida, Turandot, Don Carlos, La Boheme, Lucia di Lammermoor, Andrea Chenier, Werther, Ca rm en, Tos ca , as well as Rossini's difficulc Otello and Nemorino in Donizetti's L Elisir d'A.more.

During his career Mr. Carreras has made a great number of excursions into the " light " repertoire, not just popular Spanish and Italian songs, bur the music of Andrew Lloyd Webber, West Side Story, and So uth Pacific as well. Then, of course, there was The Three Tenors concert in Rome before the World Cup Final in 1990 , an event which was seen by one billion people on television. The video and record from this concert reached number two in the pop charts in England. The World Cup 1994 concert in Los Angeles, The Three Tenors - Encore!, was also an enormous success, accracting record television audiences all over the world.

Mr. Carreras ' engagement as Musical Direcror of the opening and closing ceremonies at the spectacular 1992 Olympic Games kept him busy in his home tOwn of Barcelona. In the same year, Jose Carreras also made his stage debut in the part of Loris in Giordano 's opera Fedora , which he has since performed at the Opernhaus in Zurich, Teatro alla Scala in Milan, Covent Garden in London and the Staatsoper in Vienna. In January 1993 he made his universally acclaimed stage debur in Verdi's Stiffelio at the Royal Opera House in London, an opera that Mr Carreras , for many years, insisted upon being staged This triumphant performance, heard for the first time ever in this version, won the 1992 /93 Sir Laurence Olivier Award. He has also performed Stiffelio at Teatro alla Scala in Milan. In December 1995 he sang in a new production of Verdi 's Jlfrusalw at the Viennese Staatsoper.

Among the national and international awards and recognitions which have been bestOwed upon Jose Carreras are the following: an Emmy Award from the American Academy of Arts and Sciences for Television ; the Grand Prix du Disque from the Academy of Paris; the Premio Luigi Illica ; a 1991 Grammy Award; the Sir Laurence Olivier Award for his interpretation of "Stiffelio" at the Royal Opera House , Covent Garden; " Kammersanger" of the Viennese Staatsoper as well as being named a Lifetime Honorary Member; Honorary Member

of the London Royal Academy of Music; the Gold Medal of the New York Spanish Institute; the Gold Medal of the City of Vienna; the Gold Medal of Fine Arts bestowed upon him by His Majesty the King of Spain; the Gold Medal of the City of Barcelona; the Gold Medal of the Generalitat of Catalunya; Premio Principe de Asturias 1991; Commandeur de l'Ordre des Arts et des Letrres de la Republique Grand Ufficiale della Republica Italiana and Goodwill Ambassador of UNESCO.

Mr. Carreras has also been awarded Doctor Honoris Causa by the University of Barcelona and the Universities of Loughborough and Sheffield (Great Britain), named Honotary Member of the European Society for Medical

Oncology and Honorary Parron of the Leukemia Support Group. Furthermore he is Honorary President of the International Julian Gayarre Singing Competition and Honorary President of the London Arts Orchestra.

Mr. Carreras portrayed the life of the tenor Julian Gayarre in the motion picture Romanza Final. His video porrrait A Life Story won an Emmy Award.

In 1988 The Jose Carreras International Leukemia Foundation was established in Barcelona, with the collaboration of a highly qualified worldwide team, including Ptof. E. D. Thomas, the winner of the 1990 Nobel Prize for Medicine. Jose Carreras is a popular and effective President of his own foundation.

LORENZO BAVAJ

Lorenzo Bavaj was born in Macerata, Italy and studied piano at the G. Rossini Conservatory in Pesaro. At the age of 18 he graduated summa cum laude. He continued his studies with Stanislav Neuhaus at the Vienna Conservatory and with Tatjana Nikolaijeva at the Mozarteum in Salzburg. He studied musical science at the University of Bologna and organ , composition and orchesrral conducting at the Conservatory at Pesato. In 1980 he graduated on the cembalo, again with distinction.

As the winner of several piano competitions and awards (Osimo, Cesena, Tivoli, etc.)

Lorenzo Bavaj's career as a concert pianist in prominent Italian music centers began. His performances have been praised by audiences and critics alike and have led to many concert tours

of Russia, Poland, Spain, Italy, Germany, UK, Sweden, Norway and Scotland.

Lorenzo Bavaj has worked with artists such as M. Larrieu, P. 1. Graf, F. Cossutto and Montsertat Caballe. Since 1989, he has been accompanying Jose Carreras. These recitals with the great tenor have taken him to the world's most famous opera houses and recital halls.

He has recorded compositions by Mendelssohn, Hummel and Casella, Rossini, Diabelli and Donizetti.

Lorenzo Bavaj has been elected a member of the venerable "Accademia dei Catenati " in Pesaro, a great honot for the young pianist. Mr. Bavaj is also the musical director of several Italian musical associations, and gives advanced courses for piano and chamber music in various Italian cities.

of the 1990 Nobel Prize in medicine for the devel<fpment of bone marrow transplant procedures. Dr. Thomas and the Commiccee administer the Foundation's research grants as well as its international program of marrow transplant training fellowships for doctors. Thanks in large part to Carreras' tireless efforts on behalf of the Foundation, over ten million dollars have been raised through concerts and other fund-raising events in such world cultural capitals as New York, London, Barcelona, Paris, Rome, Geneva, Vienna etc. Yet, one of the most important messages that Carreras and the Foundation hope to bring to the public is that the battle against leukemia cannot be won with money alone. Most marrow transplant procedures demand a compatible donor to have any chance at success and yet the odds of such a match is only 1 in 15 ,000, with a match most likely between people of similar ethnic background. The Carreras Foundation has already established a Registry of Unrelated Bone Marrow Donors (REDMO) in Spain which works in coordination with other international registries, and it is among the

HOFFMANN CONCERTS

most pressing goals of the Foundation to broaden in both Spain and the U .S. By means of a simple blood test anyone can volunteer a priceless gift to this cause, and the help of people from all walks of life and of all ethnic origins is vital.

The U.S. branch of the Carreras Foundation shares the mission and goals of its patent organization, raising funds though concens and other benefit events as well as through individual, foundation and corporate gifts. Donations to the Foundation are tax-deductible, and should be made our to the Carreras Foundation.

Gifts or written inquiri es should be sent in care of

Friends of the Jose Carreras International Leukemia Foundation

The Fred Hutchinson Cancer Research Center

1124 Columbia Street, Room 172 Seattle, Washington 98104

Phone Inquiries: (206) 667 -71 08

Fax: (206) 667 -6498

THE INTERNATIONAL ]OSE CARRERAS LEUKEMIA FOUNDATION

In July of 1988 Jose Carreras established an international foundation dedicated to the fight against leukemia. Carreras' own battle with the disease had begun in July of 1987, his concert and operatic cateer were brought to an abrupt halt by a diagnosis of acute lymphoblastic leukemia. Just twelve months later he returned to the stage before an audience of 150,000 people in his native city of Barcelona, in a recital celebrating both his recovery and the establishment of the Jose Carreras International Leukemia Foundation.

Carreras' remarkable recovery was the result of therapies on the cuccing edge of medical research and technology His successful treatment at the Fred Hutchinson Cancer Center in Seaccle was made possible by bone martow ttansplant techniques and drugs which had not existed just a few years - or, in one case, even months - before. Ultimately the battle against leukemia can be won only through ongoing research, and Carreras and his foundation have taken the financial support as a primary aim of research programs and projects throughout the world.

The Carreras Foundation 's distinguished scientific commiccee is headed by Dr. E. Donnall Thomas of the Hutchinson Center, the recipient

For over 25 years, Hoffmann Konzene in Mannheim, Germany has been one of Europe's leading promoters. In 1995, its Silver Anniversary year, Hoffmann Konzerte opened its new offices in New York to expand its production and promotion operations in North and South America. Simultaneously, Hoffmann Konzerte became the world wide promoter of the Three Tenors 1996-1997 World Tout, opening offices in London and Vienna as well. Under the leadership of Macchias Hoffmann, Hoffmann Konzerte has guided the development of the classical music event market throughout much of Europe, from the concert tours of Placido Domingo, Jose Carreras, Montserret Caballe and other leading performers to the spectacular arena operas such as Aida and Carmen.

Hoffmann Concerts New York, under the direction of Michael Sampliner, is the exclusive promoter for Placido Domingo and Jose Carreras in North and South America. Hoffmann Concerts is currently working extensively with the world-wide touring of the Three Tenors, Jose Carreras, Placido Domingo and Luciano Pavarocci. As the promoter of the greatest road show ever staged, Hoffmann Concens ' has transformed stadiums around the world into classical concen halls that are larger than life. The tour, which will have stopped in 12 cities spanning the globe by the

spring of 1997, began on June 29, 1996 in Tokyo, then ptoceeded with stops in London, Vienna, New York, Gothenburg (Sweden), Miinich and Diisseldorf. The tour continued in the winter of ' 96 /' 97 with appearances December 31 " in Vancouver and January 4,h in Toronto. The concluding segment of the tour occurred in March of 1997 with concerts in Melbourne, Ausrralia on the 1" , Miami on the 8'h and Houston on the 16,h

In its shon existence, of just under two years, Hoffmann Concens has also conducted five concert tours with Jose Carreras, staged several arena events with Placido Domingo and has become deeply involved in projects new to the Hoffmann family. Hoffmann Concens co-produces the populat "Back at the Ranch" summer concert in Montauk, Long Island, in which it has brought together such musical greats as Paul Simon, Edie Brickel , James Taylor (who Hoffmann Concerts presented with Orchestra for the first time), Ray Charles and James Brown. Hoffmann Concens is currently developing Muhammad Ali's World Healing project as well as a rock musical for Broadway.

For further information on Hoffmann Concerts please contact ottr office:

Hoffmann Concerts, Inc.

1501 Broadway, 31 " Floor New York, NY 100 36

Tel. 212-221- 77 66

Fax: 212-221-7788

DR. DAVID DiCHIERA

General Director

Michigan Opera Theatre & Detroit Opera House

MICHIGAN OPERA THEATRE

John Leberg Interim Mana ging Director

Karen VanderKloot DiChiera

Director of Community Programs

Steve Haviaras Director of Marketin g

Mitchell Kri ege r Director of Artistic Resources

David W. Osborne Director of Production

Mary Parkhill Director of Development

Irene Port er ASJiJtant Accountant

Allan Grasso Administrative Assistant to the General Director

Linda DeMers

Boa rd Secretary/Administrative Assistant

Beverly A. Moore Receptionist

COMMUNITY PROGRAMS

Dolores Tobis Office and Marketing M anager

Mark Vondrak Associate Director of Community Program s

DEVELOPMENT

Thomas N. Ri chardson, Sr. Assistant Director of Development

Katrina L Paradine Corporate Campaign Manager

Stephani Miller

Capital Campaign Coordinator

Roberta Starkweather Volllnteer Coordinator

Jane Westley Development ASJociate

FINANCE/ COMPUTER SERVICES

William T. Schulz Controller

Sharon A. Subjeck Accol/ntant

William E. Schoertle

Chief Financial Officer

Bradley L. Stroud Director of Dan ce

Laura R. Wyss Director of Pub/ic Relations

Monica Lee Jackson

ASJistant to Director of Production

Mary E. Pihajli ch Systems Manager

MARKETING/ PUBLIC RELATIONS

Marci Schramm ASJistant Director 0/ Marketing

Sandy Prekratic Membership Mana ger

Dolores Tobis Group Sales

Jerome Magid MOT Ph otog rapher

Mark J. Mancinelli DOH / MOT Ph otog rapher

Jeanette Pawlac zy k Publ ic Rela tions Volltnteer

TICKET OFFICE

Kimberly Mogielski Ticket Servi ces Manager

Kimberly Gray Ticket S ervices ASJistant M anager

Anne Marie Esperti Ticket Services ASJociate

f}Ofil-dav/W/b

ARTISTIC ADMINISTRATION

DETROIT OPERA HOUSE

Brett Batterson Calvin Williams John Johnson

Facility Manager Maintenance Head of Properties Supervisor Robert Marrin

Kerry A. Painter Bruce Smith Head Flyman

H o/(se Manager Head of Secllrity Steve Kemp

Lynn Smyth Jose Bernal, Jr. Head SOllndman

Head Usher Rock Monroe Sragehands

Harry Skrdla Jim Steel IATSE Local #38

B/(ilding Engineer Stage Door SeCllrity Wardrobe

Jesse Carter John Kinsora IATSE Local #786

Assistant Head Carpenter PRofil e Comm un ications

B/(ilding Engineer

Kimberley Burgess

Administrative

C(}()rdinator

Michigan Opera Theatre

Robert Mesinar Publicatiom & Promotions

Head Electrician

Nancy Krolikowski

Transportation Coordinator

Pat Lewellen

Audition Voluntee r

COSTUMES

Ulla Hettinger

Costmlle Supervisor

Alice Moss

Wardrobe MistreSJ

Genevieve Palzcynski Stitcher

MUSIC DEPARTMENT

Dr. David DiChiera

Mllsic Director

Suzanne Acton ASJistant Music Directo,", Chams Master

Diane Bredesen

Orchestra Personnel Manager

STAGE MANAGEMENT

John Kennell y Prodllction Stage Ma nager

TECHNICAL STAFF

Vladimir Vukovic

Technical Director

Rita Girardi

Property Master

PHOTOGRAPHY AND RECORDING DEVICES

Unauthorized cameras and recording devices are not a llow ed in side the theater ar anytime.

The taking of photographs of the theater or any performance is strictly ptohibited. As a courtesy to our guests, we ask thar a ll paging devices and al arm watches be switched to a s il ent mode prior to the start of a performance.

IN CASE OF EMERGENCY

DoCtors and parents are advised to leave t h eir seat location (located on t icket) and our emergency number, 313/237 - 3257 with the service or sitter in case of an emergency.

Please observe the li g ht ed exit signs lo cated throu ghout the theater. In the event of fire or simi lar emergency, please remain ca lm and walk - do not run to the nearest exit Our ushers are trained to lead you out of the building safe l y.

A trained Emergency Medical Technician (EMT) is on site during a ll events. Please see an usher or staff member to contaCt the EMT.

RESTROOMS

Ladies' restrooms are located off the Broadway lobby, down the stairs and also on rhe third floor (Madison side) Please press 3 R on rhe el evator.

Gen rl emens' restrooms are l ocated under the Grand Theatre staircase, down the sta irs and also on the third floor (Broadway side). Please press 3 on the elevator.

Please note: All third floor restrooms are wheelchair accessib le.

NO SMOKING

Detroit Opera House is a smoke - free facility. Ash receptacles are provided on the exrerior of all entry doors for those who wish to smoke.

USHERS

Ushers are stationed at the top of each ais l e. I f you hav e a question or concern, please inform an usher, and they wi ll contaCt management. If you are int erested in becoming a volunteer usher, please ca ll th e usher hotlin e at 313/237 - 3253

LATE SEATING POLICY

Assisted Listening Devices are ava ilabl e on a first-come basis. Please see an usher or Ticket Office representative to request this service. Although this is a comp limentar y service, we will request to hold a piece of personal identification wh il e you are using the device.

CHILDREN

C hil dren a r e welcome however, a ll guests are required to hold a ticket, regardless of age. We kindl y ask that parental discretion be exercised for certain programs , and that all guests remember that during a program such as opera or baller , the abiliry of all aud ience members to hear the music is a p rerequisite to en joyment of the performance In all cases, babes in arms are not permitted.

SERVICES

Concession stands ar e lo cated on all leve l s in rhe lobbi es. Please nore : Food a nd Drinks are NOT Allowed in the Auditorium at any time' Coat Check is l ocated in the Madison lobby. The cos t is $ 1.00 per coat. Please note thar Detroir Opera House does not accept responsibiliry for a n y persona l articles that are not c h ecked at th e Coat Check. Drinking fountain s are located in the lobbies on floors 1 and 3.

Public pay phones are lo cated in the vestibule of rhe Broadway lobby and in the restrooms. Patrons in wheelchairs can access pay phones through the Broadway stOrm lobby

FOR YOUR INFORMATION

Detroit Opera House is ava il ab le for rent by your organization. Please ca ll Brett Batterson, Facility Manager, at 313/237 - 3250 to receive rental informatIOn.

Tours are avai l able for individuals at predetermined times throughout the year and for groups by appointment. Please ca ll Brett Batterson, Facility Manager ar 3 13/237-3250 to inquire about our tOur sched ul es and prices.

TICKET INFORMATION

Detroit Opera Hous e Ti cket Office hours are :

Non-performance weeks: Monday throug h Friday, 10:00 a m. to 6:00 p.m.

Credits Grand River Printing Printer

TPC/ RED GROUP

Tom Putters

Production Director

Karen Sunman

Art Director

Toby Faber Director

Advertising Sales

Cover Photo & Image on Page 14:

COllrtesy of Hoffmann Concerts , Inc.

Contents Page Im age:

Detail /rom Detroit Opera Home torchere

k/a:l1cillelli

Larecomers will be seated on ly during an appropr iate pause in the program , and will be asked to view the program on closed-circuit television monirors located in the lobbies until an appropriate program pause occ urs.

LOST AND FOUND

Lost and Found is locared in the Administrative Coordinator's office. Please see an usher if you have misplaced an art icl e, or ca ll 3 13/961-3500 if you have a lr eady left the theater.

PARKING

Parking is availab le for a ll events ar the Opera House Garage locat ed directly across John R. from Detroit Opera House on Broadway. Pre-paid parking is available. Pl ease call 313/961 - 3500.

ACCESSIBILITY

Accessible seating lo car ion s for patrons in wheelchairs are located in all price ranges on the orchestra l evel. When inq uirin g abour tickets, please ask abour these locations if you require special accommodations .

Performance days: 10 :00 a.m through the first intermission of th e evening's performance, except Saturdays and Sundays when the Ticket Office will open two hours prior to curtain.

Tickets for a ll public events held at Detroit Opera House are also available through all TicketMaster phone and retail outlets.

IMPORTANT NUMBERS

EMERGENCIES: 3 1 3/237 - 325 7 Detroi t Opera House

General Information:. 313/96 1- 3500

Lost & Found: 313/96 1- 3500

Ticket Office: . . ................ 3 1 3/874-7464

313/237-3250 ......... .. ... . . 3 1 3/874-7850 313/237-325 1 3 1 3/874-7850

..... DOHMgr@aol.com

.. .if so, co nsider a trip to the University of Michigan Vocal Health Center. We can diagnose and treat yo ur voice problem, as well as help yo u enh anc e and prot ec t yo ur vocal potential. Professional staff include a Laryngologist, Speech Pathologist, and Voice Training Specialist.

For more information or to schedu le an appointment , ca ll the Voca l IIealth Center at (313) 432 -7666. The Center is loc ated at 19900 Haggerty Road (between 7 & 8 Mile Roads) in Livonia , Mich igan.

WE DON'T JUST B U I LD CARS. WE BUILD COMMUNITIES.

At FORD M OTO R COM PA N Y we believ e in Biv in s so mething back t o our COM MU N ITIE S. We s upport th e ARTS , s p onsor EX H IB I TS and CONCERTS and PRO V IDE f inan c ial s upport. to mu se um s, public radio and reJel'ision. W e also s upp o r t

EDUCAT I ON. By lVor kin a lVit h sc h oo l s, we h elp teens excel a n d h elp adults learn 10 r ead. W e s upp o rt social E N DEAVORS and co ntribut e t o l ocal h ospita l s, C HAR I TIES and HUM AN IT AR I AN o Ta o ni za ti o n s. At Ford M otor Compan)" we depend o n o ur co mmuniti es. But c l'e n m o r e importantly. o ur CO MMUNITIES kn o Ll' the) ca n depend on u s.

A Message from the General Director

n bebalf of Michigan Opera Tbeatre , welcome to tbe second presentation in our newly inaugurated Season 0/ D ance at th e Detroit Opera House. I am delighted that you could join us, and hope thar this will be one of many en j oyable visirs to this magnificent theater.

After twenty-six years, our dream of a world class tbeater perfe ctly suited to the presentation of grand opera and ballet productions finally came true in April 1996. Now with the expansive stage and superb acoustics of the Detroit Opera Hous e, we are realizing yet another dream - the presentation of lavisb, first-rate dance works by th e some of the world's great dance companies.

Following American Ballet Theatre 's triumphant return ro Detroit earlier this year to initiate our first annual Season 0/ D ance, we are proud to welcome back the outstanding Cleveland San Jose Ballet in a new work conceived and choreographed by the ballet company's artistic director (and native Detroiter) Dennis Nahat. Blue Suede Sh oes is a loving , honest and tousing tribute to one of America 's truly great musical and cultura l icons , Elvis Presley, w h ose name has been synonymous with rock and toll for over four decades. In this fresh approac h to the man, his music and the times tbat inspired him , I hope you will rediscover, as I have, the raw power of this deservedly revered musical legend.

Fittingly, this newly created ballet has been designed by a coveted "dream team " of ce lebrated fashion designer Bob Mackie in his first foray as a set designer and costume designer, film composer William Ross (Tin Cup, The Little Rascles, L ook Wh o's Talking Now) and lighting designer for many of America 's foremost dance and opera companies Christina Giannelli I am especially p leased that Dettoit kicks off the national tour of this excit ing new production .

I would like to take this opportunity to tbank all of our supporters whose generosity is making this first Season of Dan ce at th e Detroit Opera House a wonderful reality. World-class dance programmin g at tbe Detroit Opera House is not possible witbout your financial suppOrt - Ticket sa les cover less than 50 % of performance COSts! In order to ensure that ballet will remain an important component of Dettoit Opera House programmin g, I invite you to become part of our Dan ce Patron 's Circl e (see page?? for details). Tbis is your opportunity to protect the future of Dan ce at tbe Detroit Opera House.

Long live the King , and enjoy the performance!

Michigan Opera Theatre invites you , to become a part of history

We are pleased to offer you the opportunity to become a part of tbe bistory of tbe magnifi'cent Detroit Opera House On e way you can do tbis is by putting your name on "t be best seat in the bou se." Over 1,000 seats in tbe tbeater hav e been underwritten tbtou g h th e gene rosity of our donors. ' Our goa l is to name every seat, so th ere are still 1,700 available for you to cboose from in all sect iofl s of th e bouse .

Your gift will be recognized by a p laque on tbe seat, so you will re ce ive recognition for yout contribution in perpetuity. Gifts may bonor you, your company or a lov ed one. Any gift of $1,000 and above may be paid over five years.

Anotber way to participate in this effort is to set YOut name "i n stone." You can buy a brick for $1 00 tbat we will inscribe according to your wisbes. Tbe named bricks will be install ed on tbe wall of th e First Floor Elevator Tower Lobby for all th ea t ergoe rs to see . More tban 700 peopl e hav e bought bri cks already, bur we need abour 1,300 more to cover tbe entire wall. Plea se join tbe growing number of supporters wbo bave already co ntributed to tbi s exciting proj ec t and put your nam e on a seat or a brick. Be co me a part of bi sto ry by fillin g out tb e form below and returning it to Mi c bi gan Op era Tb eatre

NAME _______________________________________

ADDRESS

CITY, STATE , ZIP

Enclosed is my check for ___ fo r: sea r(s) in sect ion Noo ___ _ brick(s)

___ genera l restoration co ntributi on (Gifts of $ 1,000 and above may be paid over five years.)

My pledge is for $_______

1" payment 4 '" payment

2"' payment 5'" payment

3'" payment

Pl ease charge $___ to my credit ca rd :

o Vi sa 0 Mastercard 0 AMEX

Accoun t Number _____________________

Expirat ion Date _______

Signature _______________________

Please inscribe thislthese name(s) o n the seat p laque(s) lbri ck(s):

LEGEND

8. All Uppe r Balcony seats have been named

7, $500 Balco ny

6. $750 Mezzanine

5. $1,000 Orchestra

4b. $2 , 500 Inn er Circle ( last 5 I?O/ us )

4a. $5 ,000 Inn er Circle ( First 5 I?ows)

o My company will match this contributio n

R eturn to:

David DiChiera, General Director

Detroit Ope ra House Campaign Michigan Opera Theatre

3. 10,000 Di amond Circle

2. $25,000 Trustee Circle

1. All Box Seats have been named

Copyright 2010, Michigan Opera Theatre

or Fax to:

104 Lothrop Detroit , MI 4 8202 (313) 871-7213

BUILDING ONA

Mi chi ga n O pe ra Th ea tr e, c it ed b y th e D etroit m ed ia as "o ne of th e c it y's c ultural jewel s," is th e St at e of Michi ga n s p rem ie re op era co mpa n y, se rvin g as a st at e-wid e cultu ra l reso urce co mmitt ed ro produ c in g th e very bes t profess io nal prod uc ti o ns from th e gra nd o pe ra, op erett a, mu sica l th ea t er a nd b all e t rep error y. Fo un ded a nd direc t ed b y int e rn a ti o n a ll y r ecog ni ze d im p t esa ri o

Dr. D av id Di C hi er a, Mi c hi ga n O pe ra Th ea tre is now recog ni zed as one o f th e na ti o n 's m os t s uccess ful op era co m pa ni es.

S in ce it s in cepti on in 197 1 , M ic hi ga n O pe ra Th ea tre has ca ll ed th ree d iffere nt th eat ers " ho m e" pri o r ro th e ope nin g of th e D etro i t Op era H o use. I n 19 71 th e Co mp an y becam e th e ca t a lys t for th e revita li za tion of D etroit 's ce le bra t ed Th ea t er Di stri ct , as it reo p e n ed th e Mu sic H a ll Ce nt e r fo r th e P erformin g Art s Mu sic H a ll was h om e until 1985. In 19 8 5, th e co m pa n y, in a n e ffort ro acco mm oda t e it s gro win g a udi e nce a nd increas ed produ ct io n nee d s, b ega n p erformin g th e fa ll seaso n in th e Fish er Th ea tre (prim a ril y a Bro adw ay st y le h o u se sea tin g

2,10 0 ), and th e sp r i ng seaso n in th e 4, 000sea t M aso ni c Te m p le Th ea tre . Whil e th e m ove ro th e Fi s her a nd M aso ni c Templ e Th ea tres ac hi eve d a t emporary so lut io n ro th e Comp any's nee d for g reate r t ec hni ca l reso urces , sea tin g capac it y a nd a ud ie nce a m enit ies, i t b eca m e clea r th a t th e future of M ic hi ga n O pe ra Th ea tre as a perm a nent reso urce for th e ci t y a nd st at e wo uld b e jeopard ized if t he co mp a ny co uld not co ntrol it s ow n de stin y. Mi chi ga n Opera Th ea tre, und er th e lead ers hi p of D av id Di C hi era an d th e Boa rd of Direcro rs, se t o ut ro fi nd a buildin g id ea ll y s uit ed fo r g rand o p era and b a ll e t produ cti on s.

MOMENTUM BUILDS

In th e la t e 1 980's th e co mp an y se tiously co ns id ered re n ova tin g th e St a t e Th eat e r loca t ed n ex t ro th e n ew ly t e nov at ed Fox Th ea tr e , thoug h thi s arra nge m e nt was no t co n si d ere d id ea l b eca use th e fac ility was n o t fo r sa le , o nl y re nt. Whil e in the midst o f th ese di sc u ss io n s, th e Gra nd Cir c u s T h ea t e r b eca m e ava il a bl e for pur c h ase

D avid D iC hi era cons ide red th e m ag ni fice nt stru cture id ea l for it s " ope ra h o use" s t y l e int e ri or a nd th e poss ibiliti es fo r buildin g a n ew stage h o u se. H e b ro ug ht in fac il i ti es exper t s ro s ub st a nti a t e it s st r uctur al so undn ess, aco us t ica l exce ll ence a nd t ec hni ca l ca p a biliti es w h e n up d a t ed On D ece mb e r 3 1, 1987, th e b a ll go t r o llin g as th e co m pa n y sec ur ed th e fi rst p a rcel in th e Gra nd Ci rc u s Th ea t e r bl ock as th e co mp an y's future p e rfo rm a nce s i te.

In 199 0 , t he ca p i t al ca m pa ig n ro ra ise fund s fo r th e p ro ject b ega n . With th e s upp Ort of seve ra l p romin e nt b us in ess leaders , Mi c h iga n O pera Th ea tre ra n a s u ccessful ca m paig n ro n am e th e Pflva t e g ra nd ti e r b oxes, e n ab lin g th e Co m pa n y ro ac quir e th e re m a ini ng parce ls o f th e Gr a nd C ir c u s Th ea t er bl oc k (thi s in cl uded three p a r k ing lo t s, th e th ea t e r pro p e r a nd th e R o b er t s Fur Buil d in g) In the

Detroit Opera House fa ll of 199 1, d urin g a pre- co n ce rt p ress co nfe re nce in t h e G ra nd C ircu s Th ea t er, Lu c ia no P avarott i m ade hi s m e m ora bl e pro mi se ro re turn ro op en th e D etroit O pera H o use , brin gi ng th e bu i ldin g pro jec t ro th e a tte nti on of th e p ubli c a t la rge. In th e sp ri ng of 1993, th e w rec kin g ba ll cam e dow n o n th e R obe rt s Fur Buil d in g o n th e G ra nd C ircus T hea t e r bl ock, m a kin g way fo r a new 75,0 00- sq uare - foor st age h o u se. W ith th e $ 1. 25 milli o n Kr esge

C hall enge g ra nt, th e acq ui s itio n o f th e last of th e s ix parcel s in th e G ra nd Cir cus Th ea t er

bl oc k , a nd th e 1994 O pe ra Ball in sid e th e unr esro red a udit otium b efo re a cro wd of m an y w ho had never befo re see n th e i nt eri or, th e proj ec t ga in ed un s ropp a bl e m o m e ntum Co n stru ct io n bega n in ea rn es t on th e st age h o use t ha t sa m e s ummer. Th e m on um e nta l t as k b efo re Mi chi ga n Op era Th ea tre, th e ren ovat ion of th e D et ro it O pera H o u se, has b ee n co n sid ered a key co m po ne nt fo r th e eco no m ic, cultural a nd civ ic revi t ali za ti o n of D et ro it.

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On Apr il 2 1, 1996, a da t e th a t coi n cided w ith th e Co mp an y 's t we nt y-fi fth seaso n , D av id Di C hi era 's dr ea m b eca m e a r ea lit y as th e D e tr oi t O pe r a H ouse was d ecla red "ope n and ready for mu s ic" w it h an in a ug u ra l ga la co nce rt , featurin g h isro r ym a kin g pe r form an ces by Lu cia no P avaro tti a nd a s t a r-s tu dde d cas t of wo rl d- re nown ed a rti st s All eyes were o n D e t ro it , as th e c ity cele brat ed th e ope nin g of i ts very own ope ra h o use -a wo rl d -cl ass th ea t e r fo r t he e nte rt a inm ent of ge nera ti on s ro co m e Th e 1996 -1 997 seaso n at th e D etro it O pe t a H o use h as bee n lov ing ly d ubb ed " Bu il d in g on a D rea m " . On J a nu ary 12, 1997, th e or ig in al st ru ctu re th at is now th e D et ro it O pe r a H o u se, reac h ed it s 75'" birthday. It is o ur s in ce re h ope th at yo u , yo ur fa mili es a nd ge nera ti o ns ro co m e enj oy th e D et ro it Opera H o u se - a recla im ed pi ece of o ur culture and hi sro r y.

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Copyright 2010, Michigan Opera Theatre

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CLEVELAND SAN JOSE BALLET

Michigan Opera Theatre presents

CLEVELAND SAN JOSE BALLET

Dennis Nahat, Artistic Director

QUICKSILVER

- intermission -

BLUE SUEDE SHOES '

Tuesday, April 15 at 8:00 p .m .

Wednesday, April 16 at 8:00 p m.

Thursday, April 17 at 8:00 p m

Friday, April 18 at 8:00 p.m.

Saturday, April 19 at 2:00 p.m.

Saturday, April 19 at 8 :00 p .m.

Sunday, April 20 at 2:00 p.m.

*Blue Suede Shoes is a production of New Dance Ventures and Cleveland San Jose Ballet

For the complete story, credits and making of Blue Suede Shoes, please refer to the Blue Suede Shoes Souvenir Book on sale in the lobby. Original Blue Suede Shoes recording available on the RCA label and in the lobby of this theater

Touring support provided by eATa.T

For program casting, please consult the casting insert. The use of cameras, cellular phones or any kind of recording equipment is strictly forbidden. The performance will last approximately two hours and fifteen minutes.

KAREN GABAY

DENNIS NAHAT

Artistic

Director

CHRISTOPHER TABOR

Regisseur

Repetiteur RAYMOND RODRIGUEZ

Repetiteur

The Company

DEIDRE BYRNE / ALEJANDRA COBO / GRETHEL DOMINGO

KAREN GABAY / LUANA HIDALGO / LINDA JACKSON / JOANNE JAGLOWSKI

NANCY LATOSZEWSKI / ANA LOBE / HOLLY MORROW / JULIA ORTEGA

MAYDEE PENA / DALIA RAWSON / ANNE-MARIE SAVOIE

LAUREN SCHULTZ / LAUREL SKOUSEN

OLIVER ARANA / KWANG-SUK CHOI / ARIEL CISNEROS / COREY COLFER

GONZALO ESPINOZA / TODD FOX / SERVY GALLARDO / MATTHEW GASPER

WEIREN HESEN / JOSEPH KONICKI / PETER KOZAK / LE MAl LINH

OLIVIER MUNOZ / MARK OTLOSKI / RAYMOND RODRIGUEZ

RAMON THIELEN / ADRIEN THORNE / MARK TOMASIC

Apprentices

Andrea Blankstein / Jenni Chiarelli / Tamara Del Giorno / Maria Jacobs

Victoria Moses / Marielena Ruiz / Stefani Schrimpf / Christine Schwaner

Krista Shokalook / Amy Smith / Dylann Stokes

Lee Clayton / David Strobbe / Juan Pablo Trujillo

Trai nees

Catherine Grow / Bryan Cunningham

DWIGHT OLTMAN

Music Director & Principal Conductor

DAVID GUTHRIE Resident Designer

NICHOLAS UNDERHILL LOWEY & COMPANY Company Pianist Resident Lighting Desi g ners

JUNE De PHILLIPS Administrative Director School of Cleveland San Jose Ballet

LESLIE DelPRINCE Administrative Director

School of San Jose Cleveland Ballet

ELLEN COSTANZA

GLADISA GUADALUPE

Artistic Coordinators

School of Cleveland Ballet

RONIMAHLER Artistic Associate

QUICKSILVER

Choreography Dennis Nahat

Music Felix Mendelssohn

(Concerto No.1 in G Minor, Op. 25)

Costumes & Set David Guthrie

Lighting Marilyn Lowey

Allegro Andante Presto

First performed by Cleveland San Jose Ballet at the Hanna Theatre , Cleveland , March 25, 1980. Costumes executed by Cleveland San Jose Ballet Costume Department

Sculpture created by Cleveland San Jose Ballet Scenic Studios. This ballet was originally made possible by a grant from the Lucille and Robert B. Gries Charity Fund.

- INTERMISSION -

BLUE SUEDE SHOES'

Conceived, Directed and Choreographed Dennis Nahat

Costumes & Scenery Bob Mackie

Additional Musical Arrangements William Ross

Lighting Marilyn Lowey

Original Recordings Elvis Presley

First performed by Cleveland San Jose Ballet at the State Theatre, Playhouse Square Center, Cleveland, May 29, 1996. Costumes executed by Cleveland San Jose Ballet Costume Department .

Scenery constructed by Cleveland San Jose Ballet Scenic Shop

Matthew Della Polla, Music Production Assistant/Editing Engineer

Millinery by Rodney Gordon Costume shoes provided by Capezio, Freed of London and Maimai Contemporaries

Blue Suede Shoes gratefully acknowledges the assistance of Elvis Presley Enterprises and RCA Records.

Elvis and Elvis Presley are registered trademarks of Elvis Presley Enterprises. Original master recordings used in this production are the property of RCA Records, a division of BMG Entertainment ; and used by special permission.

QUICKSILVER

"Mendelssohn composed his first piano concerto very quickly, almost off the rop of his head, when he was very young," says Dennis Nahat. "First it goes in one direction, and then another. It is very youthful. The dancers must mQve as fast as the music suggests." Everything about the ballet is contemporary - the silver sculpture hovering in the background, the shiny white costumes and the intricate movements. It is the essence of Nahat as choreographer and dancer - fast paced, athletic and strong, with untesticted movements. Yet, the Andante for three women is graceful and lyrical. The finale movement, however, rockets the entire ensemble into a whirling finish.

Quicksilver was created in 1980 and had its premiere at the Hanna Theatre in Cleveland, Ohio. It was to have been performed with Clark Tippet, then a dancer with Cleveland Ballet. Tippet sustained an injury at the last minute preventing him from going on with the performance. At that time there were no extra male dancers available in the Company, so Nahat had to step up into the lead role On opening night the Company was in top form. The ballet had an overwhelming success and quickly became a signature piece for Cleveland Ballet.

In 1981, it was widely acclaimed when performed in New York City and throughout the United States during the Company's Fifth Anniversary Season. Since then, Quicksilver has been staged for the Ballet Nuevo Mundo de Caracas, which performed it throughout the United States, Europe and South America.

On opening night in Caracas, the lead dancer injured himself. Once again, one half hour before curtain, Nahat, who was in Caracas, was phoned and asked to step in. In the middle of the first movement, Nahat realized that an upside down lift was about to happen momentarily. Having never done the lift with these dancers, he simply exclaimed, "Just do it!" And they did! At last, the ballet was finally remounted without incident in 1987, and Cleveland San Jose Ballet dancer Raymond Rodriguez performed the lead male role brilliantly.

Copyright 2010, Michigan Opera Theatre

BLUE SUEDE SHOES

SCENES AND M US ICAL NUMBERS

HIGHSCHOOL

Guitar Man / Blue Suede Shoes / Wear My Ring Around Your Neck

I Want You , I Need You / Stuck On You (All Shook Up)

Don't Be Cruel /

(Let Me Be Your) Teddy Bear

HOT DOG DRIVE-IN

Hot Dog / Tutti Fmtti

(You're the) Devil in Disgllise / A Big Hunk 0 ' Love

Hard Headed Woman / Steadfast, Loyal and Trtte

IN THE ARMY

Soldier Boy / Frankfort Special Wooden Heart / You're So Young and Beautiflll

Are You Lonesome Tonight ? / Love Me Tender

HIGHWAYS AND LONELY STREETS

It's a Long Lonely Highway / Heartbreak Hotel

Stranger in My Hometown / Mama Liked the Roses

In the Ghetto / Starting Today

SATURDAY NIGHT

Got a Lot 0 ' Livin ' To Do / Rip It Up

Long Tall Sally / Bossa Nova Baby

Big Boss Man / Trouble

JAILHOUSE One Night / J ailhollse Rock

ROCKIN' GOLDEN GOODIES

Hound Dog / Shake Rattle and Roll

Blue Sttede Shoes

WHY THE MUSIC OF ELVIS?

To my astonishmenr, I've been asked repeatedly, "Why the music of Elvis' " I said to m yself, "W h y am I being asked this kind of question so often? " Now I realize even more how importanr it was for me to tackle this long time dream of making a ballet - musical - theatrical fanrasy a reality.

I :m not the first to say that Elvis Presley is the 20,h cenr ury's most significanr enrerta in er, movie star, cu lt figure and more importanrly, pop si nger. I believe that the popular phrase , "The American Dream " took on a new and truer meaning with the emergence of Elvis. In 1955, when we first heard hi s music, it was as if a sledgehamme r had come down on the h eads of all Americans. We had a wake up call - so did th e rest of the world.

While gtowing up i n Detroit, the first song I ever heard of Elvis', in early 1955, was You 're a Heartbreaker. It was on the cat radio as I was being driven to church for a lt er boy practice on a Wednesday night by a young woman She was so excited we alm ost had an accidenr during the broadcast of his song Being so young, I didn't understand what a ll the noise was abo ut . However, because I was around so many musicall y orienred peop le, and stud ied dance at the Ricatdeau Dance Studio where music of all kinds rang our from every studio, I got swa llowed up in the pop cu lture of Elvis and a ll that was to come .

I used to take a bus on Woodward Avenue to and from the dance sc hool alm ost dai l y, past the famous Fox Theatre which I had never enrered. Once for a week I could see on the marquee a name in big letters, E L V I S PRE S LEY and lines of peop le forming daily ourside for tickets. One night after dance classes, I got off the bus in front of the Fox Theatre and wanred to go inside like everyo ne else. Being a kid and alone, I said wit h a franric voice ro the man at the door, "My mom is ins id e and I gotta get in!" To my surprise he let me in. I stood at the back of the theater on a side ais le and to this day I do not remember what I heard - but I do remember what I saw. A gyrating body, twisting legs and a voice I'd never heard before coming out of loud speakers, and this large theater of screaming peop le. I was afraid and at the same time exc ited, I started screaming too - I didn't know why. I do now. It was that eart hquake of a performer o n the Fox Theatre stage. An evenr I can remember clearly to this day.

Then in September of 1956, the same year I had seen E lvi s li ve, he appeared o n the Ed Sullivan Show. Who didn t see him that night ? My sis t er and I were stuck to the TV scree n We all tried ro dance li ke him, sing like him, dress like him, talk like him. Our elders were so afraid for us, bur we were only youths who had become alive and were having a good time. We saw Elvis as one of us, just a decent guy with a message, a message we cou ld a ll understand: freedom. Isn't that what America stood for? We didn't think abo ut whethet he was talenred ot not, that was beside the poinr. St ill , today some forty years later, I li sten ro his music and find the true genius of his talent. Oh yes, thete we re othe r fine t alenrs on the charts then, but when it comes ro vocal cla tit y, range, delivery, and be li evabi lit y, as in his song Anyway You Want Me, it's E lvi s, like no one before or since. "Why the music of Elvis' You're a direcror of a classical ballet company. You choreog raph the classics."

Yeah baby, E lvis is classic.

- Dennis Nahat

BIOGRAPHIES

DENNIS NAHAT

has created over 70 ballets for this company. He co-founded the School of Cleveland Ball e t in 1972 and Cleveland Ballet in 1976. In 1986, he founded the co-vemure known as Cl eve land San Jose Ballet with the city of San Jose , California . He has fashioned one of the most highly acclaimed ballet companies in the councry. Nahat has performed and choreographed major works for American Ballet Theatre, Atlama Ballet , Hartford Ballet , The Royal Swedish Ballet, The London Festival Ballet and Ballet Nu evo Mundo de Caracas. A former principal dancer with America n Ballet Theatre and The Joffrey Ballet, he has performed in ballets by Agnes de Mille, Amony Tudor, Georg e Balanchine, Jerome Robbins, Jose Limon, Leonide Massine , Kurt Joos and many others He has performed with international ballet stars Cynchia Gregory, Natalia Makarova , Carla Fracci and Zhandra Rodriguez.

His Broadway choreographic credits include Good Time Charlie, Tom Sroppard's Jump ers and the Tony Award-winnin g hit musical version of Two Gentlemen of Verona. He has performed in the original casts of Sweet Charity and How Now Dow Jones He has performed principal roles in West Side Story, Milk and Honey and Paint Your Wagon. In addition ro choreographing

Anne Bancroft's ballet sequences in The Turning Point , Nahat portrayed himself in the same movie. Other credits include choreography for the New York Shakespeare Festival, San Francisco Opera, New York City Opera and Seattle Opera.

In June 1995, Nahat received the prestigious American Dance Guild Award for outstanding achievement in the field of dance. In addition to his duties as artistic director of

Cleveland San Jose Ballet , Nahat is the head of both professional schools of ballet in Cleveland and San Jose

BOB MACKIE IS an internationally re nowned costume and fashion designs creating his first set and costume designers with this production of Blue Suede Shoes. With countless credits for film, television, opera and theater, he has earned num ero us honors and awards including three Acade my award nominations, nine Emmy nominations and seven Emmy awards

WILLIAM ROSS is a prolific, award-winning composer, cond ucror and arranger whose work has spanned feature films, television, th eme parks and th e recordin g industry He has co mposed mu sic for films includin g Tin Cup , Black Sheep, The Amaz ing Panda Adventure, The Little Rascals and Thumbelina H e recently finished the score to The Evening Star a nd My Fellow Americans. His orchestration credits include Forrest Gump, The Bodyguard , Waiting To Exhale , Judge Dredd, Star TrekGenerations , Robin Hood-Prince of Thieves and Father of the Bride

the CBS Television Neil Diamond special Hello Again, winning an Emmy for Outstandin g Lightin g for a Special or Miniseri es. Her television credits include Star Trek-The Adventure, Lido de Paris, Halloween On lee-TNT, Nancy Kerrigan l ee SPecial, The Little Mermaid (pilot)Disney Channel and Yo! MTV Laughs. Lowey 's spectac ulars include th e Olympic & World Figure Skating Champions 198 71996 , and I nto The Light for Btoadway.

Bernadette Peters, Madonna, Carol

After studying at Pasadena City College and ea rning a degree in costume design from Chouinard Art Institute, Mackie worked with legendary designers Jean Louis and Edith Head. He began a long list of television credits with The Judy Garland Show in 196 3, designing for The Carol Burnett Show throughout its 11 year run as well as for The Sonny And Cher Comedy Hour. In addition to his show business projects, Mackie designs furs, jewelry, eyewear, watches, knitwear, scarves, menswear and fragrances for men and women . He is one of Am erica 's top designers with a diverse client li st that includes Cher, Diana Ross, Carol Burnett , Ann Margret , Rosemary Clooney, Channing and Ru P aul.

His most recent Emmy nomination was for the CBS Special Evem Presemation of Gypsy, starring Bette Midler. His most recem Btoadway c redits include Moon Over Buffalo which starred Carol Burnett and Philip Bosco. In December 1996, Mackie designed the costumes for the CBS production of Jerry Herman's musical Mrs. Santa Claus starring Angela Lansbury. He cominues to design his collection of special cocktail and evening dresses which he introduced in Fall 1996.

The artist received an Emmy award for hi s score for the Steven Spielberg t e levision ser ies Tiny Toon Adventures and his music, composed with David Foster, for th e mini-series Goldenfiddles , garnered a Gemini Awa rd nomination.

As an arranger and co nductor, Ross has co llaborated with a remarkable list of artisrs including Barbra Streisand, Whirn ey Houston, Kenny G., Mi chael Jac kson, Celine Dion and Babyface.

MARILYN LOWEY

IS the lighting designer for Blue

Suede Shoes and Quicksilver. She has worked in TV and fi lm and liv e shows for many famous performing artists around th e world. Among them are Harry Connick, Jr., on Broadway, Whirney Houston and Kenny G. for President Clinton, Lena Horne, Liza Minelli, Bette Midler, Debbie Reynolds, Johnny Mathis and Lou Rawls.

Copyright 2010, Michigan Opera Theatre

In 1986, Lowey designed the lighting for

DAVID GUTHRIE , is the designer for the scenery a nd costumes for Quicksilver As resident designer for Cleveland San Jo se Ballet , Guthrie has designed over 60 ptoductions for the company. In addition to his holiday production of The Nutcracker, Guthrie's work includes the company's Swan Lake, The Gift, Celebrations & Ode, Romeo and Juliet and Summerscctpe among others Guthrie has received many accolades including th e 1989 Peggy Ezekiel Awa rd for his costume designs for Clevel a nd San Jose Baller 's A Midsttmmer Night's Dream Guthrie has also designed ballet productions for Am er ican Ball e t Theatre, San Francisco Ballet, Limon Dan ce Company and Pacific Northwest Ballet.

STAFF FOR BLUE SUEDE SHOES

General Managem ent

N e w Dan ce Ve ntures

DAVID OAKLAND , Producer

Gen eral Press Representation

Enco re Co mmuni ca ti ons

JON PETER FINCK , Pres id e nt

Di a na Gil-Osorio , Bre nd a Hu g hes

Exc/"sive Touring Representation

Th e Bookin g Group

MICHEL VEGA , President

Legal Representation

Be nesc h Fri edl a nd e r Co p la n & Aro noff

BETZY DELLINGER , Part ner

Accounting

Wri g ht, W es ley & Mill s

MARK MILLS , Partner

LYNNE DAY , Bookkeeper

Video and Creativ e Support

Th e Gl aze n Crea tive Group

ALAN GLAZEN , Pres ident

Creative/Marketing Support

CKS Pa rtn e rs

RICH NELSON, TIM KAIN

DIRECTOR OF COMPANY

OPE RATIONS Alan Hills

Scenic & Production Engineer .J ohn Buk ala

D igital MlISic Engineering .... M ath ew D ella Poll a

Production Stage Manager .J e nnife r 1. G ro hol

Stage Manager ................... .J enni fe r 1. Fa usni g ht

A ssistant Stage Manager Kimberl y A. Srolt zfu s

Regisseur ........... ... ............. ..... Chri sro p he r Tabo r

A ccompanist Ni cholas Und e rhill

Lighting Equipment

C01Ilpany Manager K are n Ki ckel

Public Relations Manager ......... ... .. Amand a Ham s

Costume Supervisor R ay mond J. Zander II

D raper ....... .... ... .... ..... ....... ....... ... Es te ll e Painte r

Tailor Ann e C. de Velder

First Hand ... .. .... ...... .... ..... ....... .Chri stin e Kry sa Stichers .J a net Boli ck

Delores Ca rpe nter, D a na H a nse n , Carol Lyn ch , H eidi Masse ng ill , K ath y Pa ul son, Sharyn Rhys

Scenic Pai nter Ruth Lohse

W'igs .. .. ..... .... .Beth Thompso n , R ebecca Russe ll

Facilities .Jim Le nzer

Administrative A ssista nt .... ...... ........ Gin a Sutbey

Credits

Prin c ipal Sceni c Co nstru cti o n by Cl evel and San Jose Ballet Sce ni c Studios, J o hn Bukala, Sh op Forem an Addition a l Sce ni c M ate ri als b y R ose Brand Th ea tri cal Su p pli es. Prin cipal Cos tum e Construction by Cl evel a nd Sa n Jose Ball et Cos tume Sh op, R ay m o nd J. Zand e r II , cos tum e supe rvi sor Additi o nal Costum e Con stru ction by Eli zabeth Courtn ey Cos tum es, Mich ae l-Jon Cos tumes, M a rtin Izquie rd o Studio a nd Rodn ey Gordon Millin e ry.

Special Thanks To :

Th e inves ro rs a nd fo und ati o n s uppo rte rs of N ew Dan ce Ve ntures; th e Trustees and adm ini strative staffs of Cl evela nd Sa n J ose Ball et ; Pri sc ill a Pres ley, J ac k Sod e n, Ca rol Butl e r, D e bbi e John so n , Gary Hov ey a nd Todd M o rg an of Elvi s Pres ley Ente rpri ses fo r th eir d edi ca t ed suppo rt of thi s proj ec t ; David Bec kwith ; M a rry Olini ck ; M axy ne Lan g a nd Flora Gri ggs ar William so n Mu sic ; Fred Kemp ; Lee M a rshall ; Mi chel Veg a a nd Th e Boo kin g Group staff; Ala n Glaz en and Glaze n Crea tive staff; a nd CKS Partn ers.

Music Credits

Note: All So ngs a re pro tec t ed b y Intern ati o na l Cop yri g ht.

All Ri g hts R ese rved - U sed by Pe rmi ssi o n :

ARE YOU LO N ESOME TONIGHT?

(Roy TurkILou Handm a n) (c) 19 60

{Ren ewed)B o urn e Co. & Cromwell Music , In c.

(Admini st e red by Bo urn e M us ic, Int. a nd Cromwell Mu sic , In c.)

BIG BOSS MAN (Luther Di xon / AI Smith ) (c )

1967 {Re new ed] EMI Unart Ca talog ue In c.

(Admini stered by EMI Publi shin g)

A BIG HUNK 0 ' LOVE (Aaron Schroed e r/Sid

Wyche) (c) 1959 {Ren ewed] Elvis Pre sley Musi c

(Admini stered by William son Musi c a nd Rachel 's Own Musi c)

BLUE SUEDE SHOES (Ca rl Perkins ) (c) 19 55

{Renewed] Carl Pe rkin s Mu sic Inc. (BMI ) (All rights admini srered by Uni chappell Music In c.)

BOSSA NOVA BABY (Jerry Leibe r/Mike Sroller) (c) 1962 {Re newed] (Admini st ered by Jerry Leiber Mus ic & Mike Sroller Music)

( YOU ' RE THE ) DEVIL IN DISGUISE

(Be rni e Baum / Bill Gi a nt / Fl o re nce K aye) (c)

1963 {R e newed] Elvis Pres ley Musi c (Admini st e red by William so n M us ic)

DON'T BE CRUEL (TO A HEART THAT'S TRUE)

(Oti s Bla ckw ell/Elvi s Pres ley) (c) 19 56

{Re newed] El vis Pres ley Mu sic (Admini st e red by Willi am so n Musi c)

GOT A LOT 0' LlVIN' TO DO (Be n Williams/ Aa ron Schroeder) (c) 1957 R ac hel's Own Mus ic (Admini ste red by A. Schroed e r Internati o nal Ltd)

GUITAR MAN (J e rry Reed) (c ) 1967 {Renewed]l 6 St a rs Musi c a nd Vec tor Musi c (Administe ted by 16 Stars Musi c)

HARD HEADED WOMAN (Cl a ud e D eMetrius) (c) 19 58 {Renew ed] Gladys Music (Admini stered by Williamson Mus ic)

HEARTBREAK HOTEL (M ae Boran Axron /Johnny Dirdenl Elvis Presley) (c) 19 56 {Renewed]Tree Publishing Co (Administered by Sony / ATV Music a nd Tree Publi shing Co.)

Bas h Th ea tri cal Li g hting, In c.

Sound Equipment ...... .............. Ei g hth D ay So und

Master Carpenter .J o hn Bukal a

Master Electrician ........ .... ... .. .. ... ..... .R ic k Zit e Uo

Electrician .. .. .. ... .... ................ ....... Anni e Padi e nt

M lWing Light Electrician P aul Sh a rwell

Prop Master .. .... .. .. ... .. .. ..... .... .... .... Gil G e rit y, Jr.

Wardrobe Supervisor ... ..... . .. ... .. . . . ... . ... ..St ep ha ni e Ri cha rdi-Sw eigard

Assistant Wardrobe Superviso r D es iree Baird

CLEVELAND SAN JOSE BALLET STAFF

Artistic D irector D e nni s N ahat

Executive D irector, Cleveland Ri chard Be nnett

Executive D irector, San J ose Step hani e Schiro

D a nce rs of Cl e vela nd Sa n J ose Ball et a re m e mbers of th e Am e ri can Alli a nce of Dan ce Arti sts , Local I. Shop a nd tec hni cal crew a re me mbe rs of I.A T.S.E , Local 27. Travelin g wardrobe cre w are membe rs of I.A.T.S.E. Local 883 New Dan ce Ve ntures is a mem be r of th e Leag ue of Am er ica n Th eatres and Prod uce rs. Cl evela nd Sa n Jo se Ballet is a m e mbe r of D a nceUSA a nd is supported by Th e N a ri o nal End owm e nt fo r th e Art s, the Ohio Arts Coun cil a nd Ca lifotnia Arts Coun cil. Co ntinental - th e wings of Cl evela nd Sa n Jose Ball et.

Copyright 2010, Michigan Opera Theatre

HOT D OG (J e rry Leiber/ Mike Sroll e r) (c) 1958

{Re newed } Lei be r & Sroll er Music

(Admini st e red by Leibe r & Sroll e r Music)

H OUND DOG (J e rry Lei ber/Mik e Sroll er) (c)

19 56 {R e newed} Glad ys Mu s ic and MCA Mu s ic , a Divi sio n of MCA , In c. (All ri g hts admini ste red by William so n M us ic)

I WANT YOU, I NEE D YOU, I LOVE YOU

(G eorge M ysels /l ra K os loff) (c) 1956 {R e newed } Gl ad ys Music (Admini st e red by Willi a mso n Music)

I N THE GHETTO (Sco tt (M ac) D av is) (c)

1969 (Admini ste red by Screen G e m s/EMI Mu sic Co rp.)

J AILHO USE RO CK (J e r ry Le ib e r/ M ike

Sro ll er) (c) 1957 (Ad m i n is t e red by J erry Le iber Music & Mike Sro ll e r Mus ic)

(IT'S A) LO N G LONELY H I GHWA Y

(D oc P om us/ Mo rt Shum a n) (c) 1963 {R e newed} Elvi s Pres ley Mus ic (Ad mini ste red b y Will iamso n M us ic)

LONG TALL SALLY (J o hnso n/ Pennim an/ B lackwe ll ) (c) 1956 ATV Mus ic Co Un ie ha p pe ll Mus ic In c.

LOVE ME TE N DER (E lvis Pres leyNe ra M at so n) (c) 1956 {Re newed } Elvi s Pres le y Mus ic (Admini ste red by Willi a m so n Music)

MAMA LIKE D T H E R OSES (Johnn y C hri sroph e r) (c) 1969 Scree n G em s/E M ! Mus ic (Admini ste red by Scree n Ge m s/EMI M us ic Co rp. )

ONE N I GHT (D ave Ba rth olo mew / Pea rl Kin g)

(c) 1957 {Re ne wed} U na rt Mu sic, In c. All ri g hts fo r th e USA a nd Ca nad a co ntrolled b y

E lvis Pres ley Mus ic (Admini st e red by Willi a m so n Music)

RIP I T U P (R o be rt Blac kwe ll/J o hn Ma raseal o)

(c) 1956 So ny/ ATV So ngs LLC (Admini st e red by EMI Bl ac kwood Mus ic Inc.)

SHAKE RATTLE AND ROLL (Ch ar les Calh o un ) (c) 19 54 {Re ne wed} U ni ehap pe ll Music In c (BMI ) (Admini ste red by W a rn e r C happe ll Mu sic)

SOLDI ER B OY (D J o nes /T. Willi a m s, Jr )

(c) 196 0 {Re newed} Ed wa rd B M a rks Music Co (Admini st e red by E B M ar ks Mu sic Co )

STAR T I NG TO D AY (D on R obertS on) (c)

196 1 Gl ady s Mu sic {R e newed} Ass ig ned ro Don R o be rtSo n Mu sic Co rp. (Ad mini ste red b y th e H a r ry Fox Age ncy)

STEA D FAST, LOYAL AN D T R UE (J e rr y Lei be r/ Mi ke Sro ll e r) (c) 1958 {R e newed} (Admini st e red by Leibe r & Sro ll e r Mu s ic)

STRANGER I N MY HOME TOWN (Pe rcy

M ayfiel d ) (c) 1969 {R e newed } J oe Ad am s (Admini st e red by Th e H a rr y Fox Age ncy)

STU CK ON YO U (Aaro n Se hroed e r/). Les li e M cFa rl a nd ) (c) 1960 {Rene wed } G lad ys Music (Ad min isre red by W illi a m so n Mu s ic a nd R ac hel's Ow n Mu sic)

( LET ME BE YOU R) T E DDY BEAR (K al M a nn / Be rni e Lowe) (c) 1957 {R enewed} G lad ys Mus ic (Admini st e red b y Willi a m so n Mu sic)

TRO U BLE (Je rr y Le iber/ Mi ke Sro ll er ) (c) 1958 {Re newed} (Ad mi n iste red by J e rr y Le ibe r M us ic & Mike Sro ll er Music)

TUTTI F R UTT I (Ri cha rd Pe nnim a n a nd

D oro th y LaB osrr ie) (c) 1956 {Re ne wed}

SONY/ ATV So ngs L15 (Adm in iste red by EMI B lac kw ood Music, In c.)

WEAR MY R I NG AROUND YOUR NECK

(Be rt Carroll! Ru sse ll M oody) (c) 1958 {Re ne wed} (Ad mini st ered b y Lolli pop Music)

WOO D EN HEA R T (Be n W e ism a n/ K ay

Two mey/ Fred Wi se/ Bert hold K ae mp fe rt) (c)

1960 {Re newed} G ladys Music (Admini ste red by Wi ll ia m so n Music, Chap pe ll & Co. and E rika Publi shin g)

(YOU' R E SO) Y OUNG AN D BEAUTI FUL

(Aa ro n Schroed e r/ Ab ne r Silv e r) (c) 1957

{Re ne wed}Rae hel's Own Mu s ic (Ad mini st e red b y A Schroed e r Int e rn ati o nal Ltd )

Visit the Blue S u ed e S h oes W eb Sit e a t: www.bl u esu ed eshoes.c01l2

Origi1lal Blu e S u ed e Sh oes soundtrack reco rdi1lg ava i la ble 011 th e RCA la bel a l1d ill th e lobby 0 / this th ea t er

Does vour voice ever fail vou? .

Is your voice iInportant to you?

" Yo u r Honor ... "

"[ c a ll ed thi s m ee tin,g becaus e .

Michiga n Opera Theatre

ADMINISTRATION & STAFF

DR . D AV ID Di CHIERA

G enera l D i rect or

J o hn Lebe rg Interim Managing Director

DETROIT OPERA HOUSE

GENERAL NFORMATION

Bre tt Bacr erson

Detroit Opera H ome Facility Ma nager

Karen Vand erKl oo r DiC h ie ra Director of Com munity Programs

St eve H aviaras Director of M arketing

All an G rasso

A dm inistrative Assistant to the General Director

Linda DeMers

Boa rd Secretary/A dminist rative A ssistant

Beve rly A Moore Receptionist

COMMUN ITY P ROGRAMS

Dolo res Tobi s Offiet and Market ing Manager

Mark Vond rak

A ssociate Di rector of Co mmunity Prog ra ms

DE V ELO P MENT

Th o mas N. Ri chard so n , Sr

A ssistant Director of Development

Katrina L. Parad i ne

Corpo rate Campaign Manager

Srepha n i M ill er

Capita l Campaign Coordinat.,.

Robe rta Starkweat h er

Volunteer Coordinator

J ane Wes d ey

Development Associate

F I NANCE!

COM P UTER SER VICES

Wi ll iam T. Sc h u lz

Co ntroller

Sh aron A Subjeck

A ccountant

M ary E. P iha jlich Syster"s A,tanager

MARKETI NG!

P UB LI C RELAT IO NS

Marc i Sc h ra m m Assistant Director of Ma rketing

Sa ndy Prek rat ic

Membership Manager

Do lo res To bi s

Grollp Sa les

J erome M agi d

MOT Photographer

Mark J. M ancin ell i

DOH /MOT Photograph er

J ea nette Paw laczy k

Public Relations Volunteer

T I CKET O FFI CE

Kim be rl y Mog ie lski

Ticket Services Manager

Kim be rl y Gray

Ticket Services Assistant Manager

K yra Busb y

J ane Cae

Mitch ell K r iege r Di rector of A rtistic Reso urces

D avid W O sborne

Di rector of Produ ctio n

Mary Pa rk h i ll

Di recto r 0/ Development

ARTI ST I C ADMI N I STRATI ON

D ee Dorsey Produdion Coordinator

Mo n ica Lee J ac kson A ssistant to Director of Prodllction

Ro man H u rko

Cope la nd Wood ru ff

A ssistant Directors

N ancy Kro likowski Transpo rtat ion Coo rdinato r

Pat Lew ell en A udition Volunteer

Rebekah Cam Admistralive A ssista nt

Leo nard Sull iva n Administrative Intern

MUS I C D EP ARTMENT

Dr D avid D iC h iera

MlIJic Di rector

Su za n ne Acton A ssistant MlISic Di rector, Chams Master

Di ane Bred ese n Orchest ra Personnel Manager

STAGE M ANAGEMENT

Jo h n Kenne ll y Producti on Slage Manager

T EC H NICAL STAFF

V ladimi r Vu kov ic Technical Director

Rita G i rard i Property Master

COSTUMES

U ll a H ettinger

Costume Supervisor

Ali ce Moss

Wardrobe Mist ress

Su san H amilton

Ute K repular

Pau lin e McMull en

G enevi eve Pa lzcyn ski

Stitchers MAKE - UP & H A IR

K ath y W aszkelew icz

Kim Foras ti ere

Make-U p & Hai r D esigners for Elsen A ss{)(iales

W i II iam E Sc hoe ttl e Chief Fi nancia! Officer

Bradl ey L. St ro ud Di rector of Dance

Lau ra R. W yss Director of P" blic Relati ons

Kerry A Pa i nter House Manager

Ly nn Sm yth Head Usber

H ar ry Skrd la Blli lding Engineer

J esse Cas te r A ssistant Building Engineer

Kimbe rl ey Burgess Adm inistra tive Coo rdinato r

Ca lv in Wi ll iam s

Mai ntenance Supervisor

Bru ce Sm ith Head of Secll rity

J ose Bern al , Jr.

Rock M o nroe

J im St ee l

Slage D oor Secu rity

J o h n Kin sora

Head Ca rpenter

Robert M es ina r

Head Elect rician

J ohn J ohnso n

Hea d of Properties

Robert M artin

Head Flyma n

Steve K emp

Head SOIl11 dllla n

Stage hand s

IATS E Lixal #38

W ard robe

IATSE Lixal #786

PHOTOGRAPHY AND RECORDING DEVICES

Una u t h o ri ze d ca m e r as and reco rd ing dev ices a re n ot a ll owed i n sid e t he th ea t er at a nyti me

T h e taking of p h otog rap h s of th e th ea t er or any pe rfor m ance is str ic tl y p to h ib i t ed As a co urt esy to o ur gues t s , we ask t h at all p aging devices and alarm watch es be swi t ch ed to a si l ent m od e pr ior to th e st ar t of a pe rform a nce.

IN CASE OF EMERGEN CY

D octors and pa re nt s a re advised to leave th ei r seat loca ti o n (l oca t ed on ti cke t ) an d o ur em erge ncy numb er, 3 13 / 2 3 7 - 32 57 w ith th e service or si n er in case of an em erge n cy Pl ease o b serve th e li g ht ed ex it signs loca ted th ro ug h out th e th ea t er. I n th e eve nt of fi re or simil a r e m erge ncy, p lease re m ain ca lm and wa lk - do not ru n to t he nea r est ex it. Our u s h ers are tr ai n e d to l ead yo u o ut of th e bu ild in g safe l y.

A tr ain ed Em erge ncy Med ical Tec hni c ian (EMT) is o n sit e dur i ng all eve nt s. P lease see a n us h er or st aff m emb e r to co nt ac t t he EMT.

RESTROOMS

NO SMOKING

D etr oit O pe ra Ho use is a sm oke-free faci lit y. As h receptacles are prov id ed on th e ex t eri or of all entr y doo rs fo r th ose wh o w ish to sm ok e.

USHERS

Us h e r s a re st a ti o n ed a t th e top of eac h a i s l e I f yo u h ave a q u e s ti o n o r co n ce rn , p l ease i nfor m an u s h er , and th ey will cont ac t m anage m e nt. I f yo u are i nt er es t ed i n b eco m ing a vo lunt eer u sh er , p l ease ca ll th e u s h er h otli ne at 3 1 3/ 2 37 - 3 2 5 3.

LATE SEATING POLICY

Lat eco m ers w ill be seated o nl y durin g an appropr iat e pa use in th e program, and w ill b e as k ed to view th e progra m on cl ose d -c ircui t t elevisio n mo n itors loca t ed in th e lo bbi es until an approp ri a t e prog r a m pa u se occ u rs.

LOST AND FO U ND

Los t an d Fou nd is located i n th e Admin istr a tiv e Coo rd i n a t o r 's office. Ple ase see an us her if yo u h ave m isp laced an art ic le, or ca ll 3 13 / 96 1- 3500 if yo u h ave a lr ead y left th e th eat e r.

CreditJ

Lau ra R W yss

Edi t.,.

Grand R ive r Printing

Printer

RED G ROUP

Tom Putters

Prodllction Director

Karen Su n m an A rt Director Tob y Fabe r

Di rector

Advertising Sales Cove r Phoro:

Image cOllrtesy Cleveland San J ose Ballet

Lad ies res troo m s are locat ed off t h e Broadway lob b y, d own t h e st a i rs a nd also o n th e th i rd fl oo r (Mad i so n side). Pl ease p ress 3 R on th e elevator.

Ge ntl em e ns res t roo m s are l oca t ed un de r th e Grand Th ea t re st air case, d own t he st a irs and also on th e third fl oo r (B road way sid e).

Pl ease press 3 o n th e elevato r.

Pl ease n ot e: All thi rd fl oor res t roo m s are wh eelc h air access ibl e.

Copyright 2010, Michigan Opera Theatre

PARKING

P ar k in g is avai l a bl e fo r all eve nt s at th e O pe ra H o u se Garage loca t ed di r ec tl y across J ohn R . fro m D et ro it Op era H o u se on Broadway. Pr e-p aid pa r ki ng i s ava il abl e. Pl ease ca ll 3 13 / 96 1- 3500.

ACCESSIBILITY

Accessible seating locations for parro ns in wheelchairs a re located in a ll price ranges on th e orchesrra level. When inquiring abo ut ti cke t s , p lease ask a b o ut these loc a tions if yo u req uire spec ial accommodations.

Assisted Listening Devices are avai labl e on a first-come basis . Pl ease see an usher or Ticket Office re presentative ro request thi s serv ice. Although thi s is a co mplim enta ry se rvic e, we will req ues t ro ho ld a pie ce of pe rso nal id e ntifi ca ti on while you are us in g th e d evi ce.

C HILD REN

Children are welcom e howev er, all g ues t s are required ro hold a ti cke t , rega rd less of age. W e kindl y as k that parental discretion be exercised for ce rr a in programs, and that all g ues t s rem emb e r th a t durin g a pro g ra m s uch as opera or ba llet , the abi l it y of all audie nce m e mb ers ro hea r th e musi c is a pre requi sit e ro enjo ym ent of th e performance . In all cases , babes in a rms are not permi rr ed.

SER V I CES

Co n cession stands are loca t ed on all leve ls in the lobbi es. Pl ease note: Food a nd Drinks are NOT Allowed in th e Audirorium a t a ny time!

Coa t C h eck i s lo ca t ed in th e Madi so n lobb y. The cost is $1 .00 per coa t. Pl ease note that D e troit Op e ra Hou se does not accept respo ns ibility for any personal arricles th at a re not checked at th e Coat Ch eck

D rinking fo u ntains a re lo ca t ed in th e lobbi es on floor s 1 and 3 .

P u b l ic pay p h o n es are loca t ed in th e vestibule of th e Bro ad way lobby and in th e res troom s. Parron s in wheelchairs ca n access pay phones throu g h the Bro adway s torm lo bb y.

FOR YOUR INFORMATION

Detroit Opera H ouse is avai lab le for rent by your organi za ti on. Pleas e ca ll Br err Batterson, Facility M a nage r, at 3 13/ 2 37- 3250 ro receive rental i nfo rm ati o n .

To ur s are ava il a b le for indiv iduals a t predeter min ed tim es throu g h o ut the year and for gro up s by appo intm e nt . Pl ease ca ll Brerr B a tt erso n , Facility M a n ager a t 3 13 / 2373250 ro inquire a bo ut o ur rour sc h ed ul es and prices.

TICKET I NFORMATION

Detroit Opera House Ticket Office hours a re: No n- performance wee k s: M o nd ay t h rou g h Frid ay, 10:00 a. m. ro 6 :00 p.m.

P erfo r ma n ce days: 10 :00 a. m. rhroug h th e first int er mi ss ion of rh e eve nin g s performan ce, excep t Sacurdays and Sund ays when th e Ti c ket Offi ce will open two hours prior to cllrrai n

Ti c kets for a ll publi c e v e nt s h e ld at D e troi t Op e r a H o use a r e a lso ava il a bl e throu g h a ll Ti cketM as ter p h one a nd re tai l outlets.

I MPORTANT NUMBE R S

J LOTS for your MONEY.

2 , FUN after the SHOW.

:1 ALWAYS READY with superb food, spirits, and atmosphere.

MURPHY'S llub &

ANGUS BEEFTM

We proudly serve only CERTIFIED ANGUS BEEF TM products, the highest quality Beef available.

Onlr minutes fro m the D etr oi t Opera Hou se. 1408 Eas t Fis h er Service Drive, a t Gra tiot and Russe ll. Take Mad ison EAST to Gratio t, turn LEFT ab out one m il e to Ru ssell. Turn LEFT o n e bl ock to the Fisher Service Drive. T urn RIGHT and you're at Murp h y's. Open for lunch and dinner Tu esday through Sund ay. Ph one: (313) 567-7990. Me n tion this a d and receive a 10% d isco unt o n your meal .

WEDNESDAYS: Martini, Steak & Cigar Night

FRIDAYS: Piano Night with Show Tunes & Golden Oldies

And, we Love Elvis! All th e t im e!

850

E-Mail address: .. .... ...... DOHM g r @ao l.com

Copyright 2010, Michigan Opera Theatre

There's good Beef, and there's great Beef. OURS IS GREAT BEEF! MURPHY'S.