PROGRAM: Bravo 2000 Fall Opera and Dance

Copyright 2010, Michigan Opera Theatre

The Official MagaZine of the Detroit Opera House

Michigan Opera Theatres 2000-2001 Season is lOvingly dedicated to the memory of Lynn A. Townsend and Robert E. Dewar

BRAVO IS A MICHIGAN OPERA THEATRE PUBLI CA TION

Dr. Davi d- DiChi er a, Ge nera l Di rec tor

Laura Wyss, Editor

CONTRIB U TORS

MICHIGA N OPERA THEATRE STAFF

Cha rl ene Baldrid ge

Jo y H ajdu k- De Gra ff

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COVER PHOTO

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Mich igan O p era Theat re w ould like to th ank Harm o n y H o u se Rec ord s fo r dona ting s eason r eco rdings an d videos_

Mi chiga n O p era Th ea tre's 2000-2001 sub sc ription and single ticke ts h ave b een gra Ciou sly s ponsored b y Hunter Hou se, H armonie Park.

Physicians ' servic e pro vi d ed b y H enr y Ford Medi ca l Center.

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Steinway is th e offi cial p ian o o f th e De tro i t O p era H o u se and Michiga n O p er a Theatr e. Steinway pi anos ar e p rovi d ed b y H ammel Mu sic, exclu sive re presentative for Stein way and Sons in Michigan .

President Tuxe do is the o ffi cial pro vi d er o f fo r m al wea r for the Detroit Ope ra Hou se Mich igan Opera Theatre is a n onpro fi t cultu ra l orga n iza tion whose activities are supported in part by the Michiga n Coun cil for Arts an d Cu ltural Affa irs, the Nat iona l Endowme nt fo r the Arts, and othe r in dividua ls, corpo ration s an d fou n dations. Mic h igan Opera Theatre is an Equa l Opportunity Employe r

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!lJl'::::OSE WHO ENRICH THE QUALITY OF OUR LIVESTHE ARTISTS, FRIENDS AND SUPPORTERS OF THE MICHIGAN OPERA THEATREWE SALUTE YOU. CONGRATULATIONS FROM THE MAsco FAMILY OF QUALITY COMPANIES AND BEST WISHES FOR AN OUTSTANDING SEASON.

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A Message from the General Director

"We grow great by dreams:'

- Woodrow Wilson

Welcome to Michigan Opera Theatre's Thirtieth Anniversary Season!

I l ove this -quotation by President Woodrow Wilson, because it exemplifies the journey that is Michigan Opera Theatre (MOT). Fueled by a commitment to the wonderful art form of opera, the dreams of MOT's founders have become the vision of many. The systematic realization of those dreams has built our estimable his_tory ar'!d has made this company one of the largest and most respected opera companies in the country. The ability of all of us to continually envision bigger and better dreams drives our future.

Abov,e all, from our formative years to the present, we have been blessed with leaders and volunteers who, in the face of doubt, believed in this company's success.

In our first decade, we dreamed of providing Detroit with an opera company. After seven years of touring to schools and community centers throughout southeastern Michigan, we we re confident there was an audience to support a professional opera company. In 1971, under the leadership of Lynn and Ruth Townsend and our Founding Directors, the first of many dreams came true. During our first decade, we saw this small company emerge as one of the nation's great regional opera companies, serving Detroit and the State of Michigan.

In the early 1980s, despite the tremendous challenge of sustaining an opera company against a backdrop of inflation and economic recession , we dreamed of expansion - expanding our programs, our base of support and our role in the community. At that time, under the leadership of Robert E. Dewar, MOT's Chairman of the Board since 1980, we helped to develop some of the world 's

6 BRAVO

great voca l talent, continued to expand our repertoire and laid the groundwork for a new home.

Sadly, both of these aforementioned extraordin ary leaders, Lynn Townsend and Robert Dewar, recently passed away Their vital roles in the estab li shment and development of this great company are undeniable, and their legacy is ensured. We pay tribute to them on pages 8 and 9 of this book and dedicate the 2000-2001 Season to th eir memory. They will be profoundly missed.

Our th ird decade saw the fruition of our efforts to find a permanent home, one which has all owed us to fulfill our dream of providing our community with opera and dance on a world -class stage. Hard to believe, but next Apri l we will celebrate our fifth season in the Detroit Opera Housel

So, Michigan Opera Theatre is thriving, and Detroit has one of the finest opera houses in the world. Where do we go from here? With dreams this extraordinary journey began; with dreams we sha ll press on.

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Now we dream of an opera house comple te. Last summer, with the unforgettab le Three Tenors concert at Tiger Stad ium , we launched our New Century Fund Campaign, an initiative that will help us provide our community with a state-of-the-art Educational Resource Center, retire our accumulated debt and establish a substantial endowment. These dreams fulfilled will bring dynamiC artistic growth and community involvement. Michigan Opera Theatre is now poised to influence the lives of thousands of school children by providing unparalleled arts education throughout the next century.

Michigan Opera Theatre has thrived during its thr ee decades due to the enthusiasm, talent and support of many; many people. I am extreme ly proud of our acco mpli shments to date and look forward with renewed excitement to the cha ll enges that lie ah ead. You will be h earing much in th e coming months about our future plans. Meanwhile, I thank you for being a part of this very specia l anniversary season and for continuing to provide the love, support and enthusiasm that h ave allo wed Michigan Opera Theatre to reach this Significant milestone. It is truly a special occasion to share wi th you our Thirtieth Season .

Enjoy

David DiChiera Founder and General Director Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

• Sunrooms

• Conservatories

• Patio Rooms

• Skylights

While Michtgan Opera Theatre marks its 30th season sinc e the launching of its first season in 1971 , it was the activities of the preceding decade that provided the foundation for the establishment of the Opera Company

In 1963 the Detroit Grand Opera Association invited Dr. DiChiera, then a newly arrived professor of music at Oakland University, to take over an edu catio nal initiative ca ll ed "Overture to Opera." He quickly expanded th e program to consist of full y produced scenes from the operas presented in Detroit by the Metropolitan Opera Company for a week each May

Ruth Townsend, our Ch airman of th e Overture to Opera Committee organized an extensive network o f vo lunteers representing each of the communities where the performanc es of Overture to Opera took place . Ruth 's early leadership was nurtured further by her husband Lynn , CEO and Chairman of the Board of Directors for Chrysler Corporation, who possessed a profound interest and love for the genre of opera. Together with their committee vo lunteers, Ruth and Lynn dedicated themselves to the success of Overture to Opera. Through their determination, Ruth and Lynn ins pired much o f the organizational fram ework that ensure d the growth of Overture 's programs, and help ed galvanize the community 's greater interest in establishing a full-tim e, profeSSional opera company for the state of Michigan .

Thi s qu est became a reality in 1970 with th e formation of Michigan Opera Theatres Founding Committee and the appointment of Ruth and Lynn as Chairmen, who would oversee th e Company's inaugural season one yea r later and th e re-openin g of the Music Hall (a fter years of neglect) as the opera compan y); fir st home .

In 1973 this group of directors was re-organized and enlarged into a Board of Directors and Trust ees, and Lynn

Townsen d became the Chairman of both boards. In 1980 Lynn Townsend was succeeded by Robert Dewar as Chairman of its Board of Directors. Lynn remained Chairman of the Board of Trustees until 1987 when he was named Chairman Emeritus. In recognition of Ruth and Lynn Townsend); indefatigable lead ership and zealous commitment to the establishment of th e Opera Company, Michigan Opera Theatre d edicated the 1987/88 season to these two outstanding communit y luminarie s.

David DiChiera talk ed about Mr Townsend); contribution in his d edication in the program from th e Gala Opening of the Detroit Opera Hous e (1996): "In our American society, the cultural institutions that we cherish have never been accepted as publi c respo nsibilities as in their European antec edents, but ha ve depended on the willingness o f communit y leaders to help nurture and support their de velopment. Thus , the evolution of Michigan Opera Theatre found refuge und er the dedicated lea dership of Ruth and Lynn Townsend who brought together a group of found ing members to provide financial support and lO vi n g care for a fragile and young enterprise. It was Lynn w ho se considerable influenc e as Chairman of the Board of the Chrysler Corpora tion opened the doors in the community to pay attention to what he affectionately called "David 's Project. "

Following Mr. Towns end 's recent passing on Thursday, August 17 , 2000 , David DiChiera reflected , "I have so many wonderful memories of the years Lynn and I worked together in building this opera company The ca maraderie we enjoye d has set the tone for our MOT family to this very da y My only regret is that Lynn 's illne ss never allowed him to see the Detroit Opera House , the world -class home for the opera co mpany he was so in st rumental in bri nging into existence. He would have been so proud."

Left: Lynn Townsend (left) and Go vernor "Soapy " Williams a t the opening night performa nce of Falstaff, 1.987, Fisher Theatre , Detroit.

Above: (left to right) Lynn and Ru t h Townsend with Lisa and David DiChiera.

Lynn A . Townsend 1919-2000

1923-2000

On September 7, 2000 , Michigan Opera Theatre was deeply saddened by the passing' of Robert (Bob) E. Dewar, Chairman of the Board of Directors and Trustees

like Lynn and Ruth Townsend , Robert and Nancy truly loved opera and joined the Michigan Opera Theatre Board of Trustees in 1973 , two years after the Company was founded. He joined the Board of Directors in 1975. In 1980 , when Lynn Townsend stepped down, there was no doubt in anyones mind that Robert Dewar was the logical successor. His love for opera, together with his stature in the community as Chairman of the Board of Kmart and his community-wide esteem as a man of integrity and commitment, made him the natural choice

David DiChiera talked about Mr. Dewars contribution in his program dedication from the Gala Opening of the Detroit Opera House (1996): "How lucky we were that Bob was in the wings ready to take up the mantle and how lucky I have been - blessed b y the continuity of his leadership and unswerving loyalty to the vision of an opera company with no parameters to its potential as a cultural force. For the past [20] years

Robert Dewar has provided the stability and affection for MOT, which has allowed this institution to realize its potential. The dream of an opera house was encouraged by Bob and b y a Board of Directors and Trustees who have always functioned as a lOving family devoted to art form and to the community His leadership provided the strategic planning, the willingness to

take risks and ultimately the commitment to a project that many believe d wa s impractical and foolish and impossible All of us working to achieve this dream were given courage and strength of steadfastness by our community leader and volunteer par excellence, Robert Dewar."

Robert Dewar's passion for the opera permeated his life and activities Not only was he a generous benefactor, but his commitment took him above and beyond what most would consider doing. David DiChiera recalls those years leading up to the opening of the Detroit Opera House: "Bob gave of himself tirelessly, and during those years of frantic fund-raising, the Detroit Athletic Club became his second office I can't count the breakfasts and luncheons that preceded a tour with prospective and incredulous 'prospects. ' In the dead of winter, or in the blistering summer heat, he would don his hard-hat and sell the vision of a beautiful opera house, while walking through a building in complete shambles." His commitment was so great that , when the construction teams threatened to walk out because the mortgage had not yet been approved, Bob put his own finances on the line - the bank trusted him , and his actions allowed the opera house to open in time for its sold-out gala.

In his tribute to Robert Dewar, David DiChiera reflected, "We shall all miss this kind, gentle and totally committed friend , but his legacy will remain vivid in each and every performance that we enjoy in this magnificent theater."

Left: Robert Dewar (right) and his beloved wife, Nancy.

Below left: Robert Dewar and Dame Joan Sutherland cut the ribbon at the Gala Opening of the Detroit Opera House.

Robert E. Dewar

THE CAST

By orde r of voca l app eara nce

MARCELLO

Ma ri us z Kwiec ien *

Ma rian Po p ,

RODOLFO

Fr an cesco Gro llo

Ra ul Melo*

COLLINE

Kyle Ketelsen *

SCHAUNARD

Ter ry Murph y*

BENOIT

St even Henrikson

MIMI

Francesc a Ped ac i *

Inese Ga lan te

PARPIGNOL

Micha el Ryan *

MUSETTA

Karen Dri sco ll

ALCINDORO

St even H enrikso n

SERGEANT

An th on y Lynch

CUSTOM HOUSE OFFICER

Ju stin Wa tson

* Michiga n Ope r a Thea tre Debut

Opera in Four Acts

Presen ted by Mich igan Op era Th eatre

Musi c b y Giacomo Pu cci ni Lib re tt o b y Gius ep p e Gia co sa and Lu igi Illica

Ba se d on th e no vel Sce nes de la Vie Boheme by H en ry Murger

World Pre m ie re : Turin, Febru ary 1, 1896

Conductor Director Chorus Master Set Design

Costume Design

Lighting Design Makeup &: Hair Design Stage Manager

English Translation by Chlis Bergen.

Steven Mercuri o Ma ri o Corradi

Suza nn e Mallare Ac ton

Claud e Girard

Clau de Gi ra rd and Robert Prevos t

Kendall Smith

Elsen Asso ci ates

Bre tt Fi nl ey

Surtitles for this production of La Boheme are owned by Chlis Bergen. This production oliginally designed for [Opera de Montreal.

Mich igan Opera Th eatres 2000 Fa ll Season and the 2000 Opera Ball are made possib le by Ford Motor Company

The Opening Night Performance an d th e Studen t/Senio r Preview of La Boheme are sponsored by Ame riLech.

ACT I

In a cheerless garret on Christmas Eve, Rodolfo, a poet, and Marcello, a painter, keep warm by feeding a stove with pages from Rodolfo's drama. They are joined by Colline, a philosopher, and Schaunard, a musician, who bring food, fuel and funds As they celebrate their good fortune, Benoit, the landlord, interrupts their gaiety, demanding the rent. They ply the old man with wine, encouraging him to tell his flirtations. With pretended indignation at his indiscretions, they throw him out. Rodolfo's friends depart, agreeing to meet him later at the Cafe Momus. Returning to his work, he is surprised by a knock -at the door. The visitor is a pretty young neighbor, Mimi , whose candle has gone out on the drafty stairway, and who faints as soon as she enters Rodolfo revives her with a glass of wine. He lights her candle, but as she leaves she realizes she cannot find her key As they search for it, a gust of wind extinguishes both candles. In the moonlight, the poet takes Mimis shivering hand and tells her of his dreams. She responds by telling him how she lives alone in her attic apartment, embroidering flowers and waiting for the first kiss of Aprils sun . When Rodolfo's friends call to him from the street, he answers that he will be along shortly with a friend. Expressing their newfound love, Mimi and Rodolfo embrace and leave arm in arm.

Setting: Paris,

attention wherever she goes. Everyone except Marcello is highly amused by the encounter. To get rid of Alcindoro, Musetta complains that her shoe pinches and sends the

have it repaired The moment he is out of sight, she falls into Marcello's arms. Musetta tells the waiter to charge everything to Alcindoro. A detachment of parading soldiers passes the cafe , and the bohemians fall in behind, lifting Musetta with her shoeless foot to their shoulders Alcindoro rushes back with Musetta's shoe, only to face the bill.

with tears and coughing, and Rodolfo discovers her. Mimi explains that it is best for them to part amiably While Mimi and Rodolfo exchange memories of their happiness, Musetta and Marcello storm out of the tavern, shouting insults at one another. The stormy couple part in anger, but Mimi and Rodolfo promise to remain together at least until the spring.

ACT IV

ACT III

The Latin Quarter bristles with humanity celebrating Christmas Eve. Rodolfo buys Mimi a pink bonnet at a shop near the Cafe Momus. The poet introduces Mimi to his friends. Soon Musetta, Marcello's high-spirited former sweetheart, makes a noisy entrance on the arm of her rich new admirer, the elderly Alcindoro. The ensuing tumult reaches its height when Musetta, trying to regain the painter's attention, sings a waltz, telling how she is the center of

ACT II

On a snowy morning at a customs gate at the edge of Paris, merrymakers are heard from within a tavern. Mimi enters, searching for the place where Marcello now lives with Musetta. When he emerges and asks her to join them inside, she declines because Rodolfo is there. Mimi is distraught over her lover's incessant jealousy Rodolfo, who has been asleep in the tavern, is heard , and Mimi quickly hides. Emerging, Rodolfo tells Marcello that he wants to leave Mimi because she is so fickle. Pressed for the real reason, he breaks down, saying that her illness can only grow worse in the poverty in which they live. Mimi, overhearing, is overcome

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Back in their garret and separated from their loves, Rodolfo and Marcello lament their loneliness. Colline and Schaunard join them, bringing a meager meal. To lift their spirits, the four stage a mock ball, which turns into a good-natured duel. At the height of their revelry, Musetta bursts into the room, saying Mimi is downstairs, too weak to climb the stairs. Rodolfo runs to assist her. Musetta tells the others how Mimi begged to be taken to Rodolfo so she could die near him. The destitute bohemians go to pawn their goods for a doctor and medicine: Musetta 's earrings and Collines coat, which has served him so faithfully for so long. Alone, Rodolfo and Mimi recall their happy days together. When the others return, Musetta gives Mimi a muff to warm her hands . As Mimi quietly thanks her friends for their kindness, she slips slowly into sleep. Schaunard goes to Mimi's bedside and discovers that she is dead. Rodolfo, seeing the pain on his friend's faces, rushes to Mimi , calling her name in despair.

"Renting" La Boheme

by Joy Hajduk-DeGraff

It is opening night. On stage, the gritty set reveals oppressive poverty, a reality that shocks and inspires. In the garret, a beautiful young woman, wracked with illness , sings of hope and despair The music is direct and uhsentimental. The passions are sharp. Her lo ver dissol ves in desperate grief. A friend's compassion inspires a sacrifice In the audience, hearts open to emotions: the relentless passage of time, the inherent unfairness of young death. Infused with exultant sweetness, the music soars from the young (fISt. The applause is thunderous.

It could be the 1896 premiere of Puccini 's La Boheme. Instead, it is almost exactly one hundred years later, and the production is Jonathan Larson 's Rent. Simple , powerful themes bridge the century that separates the two works: the universal hope of youth, artistic expression transcending overwhelming physical poverty, the fringes of society building communities in the face of devastating illness.

Similarities between the two dramatic works seem endless, from characters to structure, settings to actual music. Both works are set in artists ' tenements, Boheme in Paris' Latin Quarter and Rent in Alphabet City, the run-down east end of New York's East Village.

Characters are parallel, with many interesting twists. Rodolfo, the dreamy poet, becomes Roger Davis, a rock musician. His roommate Marcello, the painter, becomes Mark, a nerd y video artist. Mimi, his love, goes from sweet seamstress to drug-addicted exotic dancer.

Rent's staging neatly echoes Boheme's. In the first act, instead of Rodolfo

wa rmin g the freezing garret by setting his manuscripts on fire , Roger burns his rock concert posters because the power to his industrial loft has been cut off. In perhaps the most stunning makeover, Schaunard , the musician, is transformed into Angel , the transvestite street musician. He bursts in with food and wine bought with money earned from his music. The landlord , Benoit (Benny in Rent), stops by to act the villain. Eventually, RodolfolRoger is alone. Enter Mimi, the next-door neighbor, looking

This fall, audiences have a unique opportunity to compare Puccini's La Boheme and Jonathan Larson's Rent at the Detroit Opera House. for help in the darkened building. She loses her key (or is it her drug stash?). In the ensuing search, the pair finds passion in the moonlight.

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Copyright 2010, Michigan Opera Theatre

Both Larson and Puccini hesitated at the critical scene of Mimi's death. When his ending is finally revealed, Puccini seems to suffer a moment of doubt, Detroit Opera House

aba nd onin g the sweet , dram atic mu sica l line h e h as built to tha t point and handing Rodo lfo th e opera 's only spoken lin es. Th ey cu t through the dr ama like a knife. At tr e same point in Rent , Larson gave up tr ying to w rite anything wo rth y of th e climax. He defers to Pu cc ini , bringing Puccini 's mu s ic int o the rock sco r e's last ac t.

Rent and Boh eme were b orn from th e real-life experie n ces of their creators. Boh eme's libretto is based on Sc enes de la Vi e Boheme, a no vel b y H enry Murger, writt en wh en the author was living in an at ti c in the Latin Quarter in circumstances rese mbling Rodo lfo's. Murger's main characters are all ba sed on rea l people - Rodolfo on Murger himself, the other men on his friends and roo mmates , Muse tt a on a model popular with loca l painte rs and wea lth y pa t rons. Cafe Momus was a real es tablishment fr equented by bohemian s.

Simil arl y, creator Jonath an Larson lived in New York's seedy East Vill age

an d watched as the m od ern plague of AIDS swept throu gh his circle of friend s In the Life Cafe on the lo wer East Side, a modern Cafe Momus, gro up s of creative artists mingle with s tree t people. Larson occupied a con verte d loft in downtown Manh a tt an , where roommates ca me and wen t. One roommate recalled, 'The doorbe ll didn 't work, so visitors had to call from the phone on the co rner, and we w ould toss th e keys down. The clawfoot bathtub was in th e middle of th e

kitchen; the roofleaked .... [Larso n] ran fat orange ex tensio n chords around the place to make up for lack of el ectrica l outlets."

Both Rent and Boheme suffered diffi cult births. Pu ccini took three yea rs to create Boheme. H e s truggled to coordinate three librettists, clumsily managing the crea tive process via le tters from Torre del Lago. He discarded many ve rsions b efo re crafting th e plot we know toda y - writing , ab and oning, resurrecting and rewriting scenes. Similarly, Larson went back to th e drawi n g b oa rd countless time s while bringin g Rent from a staged workshop to a fu ll Broadway production. At one point , Larson was in despair. At his investo rs' insistence, he had collaborated wi th a dramaturge , a combination critic , adviso r and editor who acted as m idwife to th e crea tive pro cess. But , six weeks b efo re reh earsals were to begin , h e was being asked for ye t another full rewrite. The musical lacked focus. Larson 's advisors insisted h e exp res s his vision for th e

De troit Opera House

Her lover dissolves in desperate grief. A friend's compassion inspires a sacrifice. In the audience, hearts open to emotions: the relentless passage of time, the inherent unfairness of young death.

musical in one senten ce. He was unable to do so . Several twenty-hour workdays passed The ope ra s structure was simplified, the emotions were sharpen ed. By the time re h earsals were to begin, the narrative was lean, and Larson delivered his one-sentence summary : "Rent is about a community celebrating life in the face of death and AIDS at the tum of the century "

Success kissed both operas. At Boheme's 18 96 premiere in Turin, its sh ocking th emes and ghtty reality struck a ch ord with audiences rea d y for verismo, a dose of true life Audience reception was wa rm , and acclaim for th e opera built through subsequen t performances. While a few critics still d ebate its statu s as a masterpiece, Boheme h as been embraced by its public ,and is one of the most -p erformed operas of all time. Similarly, Rent's success built Swiftly Art early sui.ged workshop created tremendous energy and attrac ted investors. At each refinement, going fro m stage to bigger stage, the excite m ent built.

-

It was a tremendous shock to all wh en 35-yea r- old Larson died su dd enly o f an aortic aneurysm, th e day of the final dress rehearsal before the shows Bro adway opening. Larson's vision and his yo ung cast's en ergy carried the day anyway By opening night, Rent was a genuine hit. Twenty-one international televis ion crews covered the ope nin g. Rent earned a Pulitzer Prize, the Tony Award, the Obie

Technological Craftsmanship

Award, the Drama Desk Award, the New York Drama Critics Circle Award and many others. It h as become a global phenomenon, playing hundreds of performances from Japan to Iceland, Brazil to German y

This fall, Detroit audiences have a uniqu e opportunity to see both La Boheme and Rent at the Detroit Opera Hou se. Dr. David DiChiera, General Director, considers it a fortunate juxtapos ition. "Its rare that we ge t the chance to experience these two important works back-to-back like this La Boheme 's appea l has endured for over one hundred years, whil e Rent is one of the hottest things on stage today Each piece expresses not only its time, the h eart and soul of its parti cu lar era, but also a universal emo tio n that transcends its era and appea ls to all of u s."

Michigan Opera Theatres production of La Boheme sings out from October 14 th through 22nd. Rent steps in to the spotlight from November 24th through December 3rd.

"It's rare that we get the chance to experience these two important works back-toback like this. La Boheme's appeal has endured for over one hundred years, while Rent is one of the hottest things on stage today."

David DiChiera

Artist Profiles

iYJichigan Opera Theatre is proud to present the following artists:

Suzanne Mallare Acton

(USA) Chorus Master

Suzanne Ma ll are Acton has been MOTS Assistant Music Director and Chorus Master since the 1981/82 season. She has conducted several productions during her tenure , including The Barber oj Seville and The Daughter oj the Regiment. For Dayton Opera, she conducted West Side St01Y, My Fair Lady and The Pirat es oj Penzance. Ms. Acton has served as coach and accompanist for the opera companies of St. Louis and San Diego, and is Music Director of Rackham Sytnphony Choir

M ar io Corradi (Italy)

Director

Italian-born Mario Corradi made his debut in 1982 with II Matrimonio Segreto in Palermo.

Since then he has staged opera worldwide: La Sonnambula in Dallas , Don Giovanni and Oljeo ed Euridic.e in Madrid, Menotti's Amelia al Ballo in Monte Carlo and Madame Butterfly in Spoleto. He has directed in St. Gallen, Frankfurt, Athens and Tokyo. His MOT credits include Cannen , The Elixir oj Love, Luda di Lammermo01; Madame Butterfly, Werther and Tasca Mr. Corradi recently directed Aida in Cincinnati. He also directed Spontinis II Teseo Riconosduto--its first performance of this century

Karen Driscoll (USA)

Musetta

Ohio native Karen Driscoll appeared in the title role in Floyds Susannah for 1'0pera de Montreal, Juliette for Vancover Opera and Opera

Saskatchewan , Musetta in La Boh eme for Florida Grand Opera , and Micaela in Carmen for the New Jersey State Opera Last season she added the title role in Massenet's Manon for the Florentine Opera and the role of Mimi in La Boheme for 1'0pera de Montreal. Future engagements include Manon with Florida Grand Opera and her debut at the Hawaii Opera Theater as Nedda in I PagHacci. She last appeared with MO T in Manon.

Inese Galante (Latvia)

Mimi

lnese Galante was born in Riga, Latvia. She is first soloist at the National State Opera of Latvia. She has sung under the direction of such noted conductors as Zubin Mehta and Neeme Jarvi. Her repertoire includes such famous roles as Violetta in La Traviata, Desdemona in Otello, Leonora in II Trovatore, Mimi in La Boheme and Donna Elvira in Don Giovanni. In the recent past , Ms. Galante has appeared in La Boheme at both Florida Grand Opera and Baltimore Opera. Ms. Galante's record label is BMG. This is her MOT debut.

Francesco Grollo (Italy)

Rodolfo

After making his North American opera debut in Hamilton, Ontario, Italian tenor Francesco Grollo made his u.s. operatic debut in MOT's 1999 production of Madame ButtCljly. In the past few seasons, he has performed throughout the world. Special appearances include performances in Ferrara (Rigoletto), Bonn (Nabucco), Nap les (Roberto Devereux) and at the Anvers Festival in Switzerland (Rigoletta).

Ky l e Kete l se n (USA) Colline

Bass-baritone Kyle Ketelsen is Originally from Clinton, Iowa. He has performed leading roles in The Marriage oj Figaro, Don Giovanni, Rossini's The Turk in Italy, Coppelius , Dappertutto, and Dr. Miracle in The Tales oj Hoffmann , Phanuel in Massenet's Herodiade, King Rene in Tchaikovskys Iolanta, and Gremin in Eugene Onegin. Recent season highlights included Mr. Ketelsen's debut as Escamillo in Cannen with the Lyric Opera of Chicago and with Dayton Opera. He appeared with the Greensboro Opera in Tasca. The role of Colline marks his MOT debut.

M a ri usz Kwi ec ien (Poland)

Marcello

Baritone Mariusz Kwiecien hails from Krakow, Poland. He began his career in 1993 and has sung all over Europe In 1998 he jOined the Metropolitan Operas Young Artist Development Program , made his Met debut in Katya Kabanova, and also appeared in Rigoletto and Giulio Cesare, among others. Recently he has appeared with Strasbourg's 1'0pera du Rhin and at La Scala. He debuted at the Grand Theatre de Geneve and in Glyndebourne , as the Count in The Marriage oj Figaro. Future debuts include Lyric Opera of Chicago , San Francisco Opera, The Dallas Opera and Seattle Opera. The role of Marcello is his MOT debut.

Raul Melo (USA)

RodolJo

Cuban-born tenor Raul Melo has an amazingly large and varied repertoire, which he has performed in the United States and abroad, at such theaters as Berlins Deutsche Oper, Stuttgarts State Opera, Dusseldorf's Deutsche Oper am Rhein, the opera companies of St. Gallen , Klagenfurt, Braunscheig, and in this country at Florida 'Grand Opera, Palm Beach Opera, Washington Opera and Minnesota Opera Future engagements include his debut with the Seattle Opera as Riccardo in Un Ballo in Maschera. This production of La Boheme is Mr. Melos first appearance with MOT.

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Steven Mercurio (USA)

Conductor

New York-born Steven Mercurio has conducted the opera companies of Rome, San Francisco, Brussels, London, Seattle, Costa Mesa, Washington, Dallas and Pittsburgh, among others. He was Music Director of the Spoleto Festiva l (Italy), Principal Conductor of the Opera Company of Philadelphia and Associate Conductor of the Brooklyn Philharmonic. He is featured on many Sony Classical Label recordings and videos, and has several film credits The Juilliard alumnus is both a champion of contemporary music and a prolific composer. This marks the Maestros ninth production with MOT.

Te rry Murphy (USA)

Schaunard

Terry Murphy holds a masters degree from the University of Missouri. Past credits include Schaunard in La Boheme and Figaro in The Barber oj Seville with 1'0pera de Montreal. Mr. Murphy has also appeared in a variety of roles with the Florida Grand Opera, Glimmerglass Opera, Augusta Opera and Opera Theatre of St. Louis. Future engagements include a return to 1'0pera de Montreal in fltaliana in Algeri. This is Mr MOT debut.

Francesca Pedaci (Italy)

Mimi

In 1998-99 soprano Francesca Pedaci made her Metropolitan Opera debut as Mimi in La Boheme and was both Donna Anna and Donna Elvira in Aix-en-Provence. She traveled to Florence for Cherubini's Messe Solennelle, went on tour with the Aix-en-Provence Don Giovanni, debuted in Cologne as Mimi, and returned to Scotland, again as Mimi in La Boheme. This season Ms. Pedaci appears in Don Giovanni and The Marriage oj Figaro at the Vienna Staatsoper, Falstaff in Dresden and Carmen in Tenerife. This appearance marks Ms Pedacis MOT debut.

Marian Pop (Romania)

Marcello

Since joining the Vienna Staatsoper and Volksoper ensemble in 1995, baritone Marian Pop has performed many roles with both companies. H e has sung Marcello in La Boheme, Dandini in La Cenerentola, Dr. Falke in Die Fledennaus, Valentin in Faust, and Ping in Turandot. North and South American debuts were with the Portland Opera in Don Pasquale and Cannina Burana with the Teatro Municipal in Chile. Recently he has appeared at Klagenfurt, Austria, in Die Fledennaus, in St. Gallen, Switzerland and in Riga/etta at the Bastille Opera in Paris. Mr. Pop last appeared at MOT in The Barber oj Seville.

Detroit Opera House

The new addition to the magnificent White Chapel mausoleum is distinguished by the richness of its marble crypts and floors. This handsome addition contains over 300 crypts and 200 niches now ready for selection for individual or family entombment. A White Chapel staff member will be happy to assist you with further information. Please call (248) 362-7670.

White Chapel MEMORIALCEMETERY

Private • Non-Sectarian West Long Lake at Crooks Road, Troy

The arts enrich our lives in ways that go beyond the spoken word or musical note. They make us laugh. They make us cry. They lift our spirits and bring enjoyment to our lives. The arts and cultural opportunities so vital to this community are also important to us. That's why (america supports the arts And we applaud those who join us in making investments that enrich peoples lives.

We listen. We understand We make it

THE CAST

By order of vocal appearance

FERRANDO

Gregory Turay*

GUGLIELMO

Alfredo Daza *

Gianpiero Ruggeri *

DON ALFONSO

Natale De Carolis*

FIORDILIGI

Monica Colonna *

Lyne Fortin *

D,OMBELLA

'Theodora Hanslowe*

Damiana Pinti *

DESPINA

Ying Huang

Opera in Two Acts

Presented by Michigan Opera Theatre

Music by Wolfgang Amadeus

Mozart

Libretto by Lorenzo da Ponte

World Premiere: Vienna, 1790

Conductor Director

Chorus Master

Set Design

Costume Design

Lighting Design

Makeup & Hair Design

Stage Manager

English Translation by Chris Bergen.

Klaus Donath

Mario Corradi

Suzanne Mallare Acton

Jean-Pierre Ponnelle

The Washington Opera

Kendall Smith

Elsen Associates

Rebecca]. Graham Forbis

Copyright 2010, Michigan Opera Theatre

* Michigan Opera Theatre Debut

Detroit Opera House

Surtitles for this production of Cosi Fan Tutte are owned by Chris Bergen. Costumes for this p1'Qductioll of Cosi Fan Tutte are provided by The Washington Opera.

)

In eighteenth-century Na ples , the elderly cynic Don Alfonso discusses women with two young officers, Ferrando and Guglielmo. The gallants insist their sweethearts are paragons of virtue (La mia Dorabella) and accept Alfonso's bet that he can prove the ladies fickle if they do as he says for twenty-four hours.

ACT I

Setting: Naples

The sisters Fiordiligi and Dorabella revel in their lo ve for Guglielmo and Ferrando, respectively, showing.pictures they carry in their lockets (Ah, guarda, sorella). Alfonsq comes in with sad news: The yo ung men have been called to their regiment. TheY, appear, and the five make elaborate farewells (Sento, 0 Dio). As soldiers march b y, Ferrando and Guglielmo fall in, lamented in a trio (Soave sia il vento). Alfonso, alone, delivers one last Jeer at women's inconstancy

The maid, Despina, offers the sisters advice about forgetting old lo vers with the help of new ones (In uomini, in so ldati) - but her mistresses resent her capricious approach to love. Dorabella, in fact, is outraged (Smani impIacabili). When they leave, Alfonso comes to bribe Despina to introduce two foreign friends of his to the ladies The sisters, returning, are scandalized to see the strangers, whom they do not recognize as their lovers , heavily disguised as Albanians. The newcomers declare their admiration for the ladies, but both repulse them, and Fiordiligi likens her fidelit y to a rock (Come Scaglio). The men are thrilled, but Alfonso wa rns that the bet isn't won yet. As Ferrando blissfully reiterates his passion for Dorabella (Un'aura amorosa), Despina suggests a plan to Alfonso to win the ladies' sympathy

Alone in their garden, the sisters lament the absence of their lovers. Suddenly the "Albanians " stagger in, pretending to have poisoned themselves in despair over their 20 BRAVO

rejection Alfonso and Despina run for a doctor, while the ladies begin to waver: Pity for the stranger will be their undOing. Despina returns, disguised as a doctor using Dr. Mesmer's invention, the magnet, to draw out the poison, and urging the sisters to nurse the patients as they recover. The men revive (Dove son?), but their increased ardor alarms the women, who angrily refuse their demands for a kiss.

ACT II Attending her mistresses, Despina lectures them on how to handle men (Una donna a qUindici anni). Dorabella is persuaded there could be no harm in a little flirtation, and surprisingly, Fiordiligi agrees. They decide who will pair off with whom (Prendero quel brunettino).

The yo ung men have arranged a serenade in the garden Seeing their wager through, Guglielmo ardently pursues Dorabella while Ferrando woos Fiordiligi (Ah, 10 veggio quell 'a nima bella), who admits he has touche·d her heart (Per pieta), hoping her absent lover will forgive her. When the men compare notes, Guglielmo is glad to see Fiordiligi standing fast - or so he thinks - but Ferrando

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is dismayed that Dorabella has given Guglielmo a locket. His anger amuses Guglielmo, who comments on the waywardness of the fair sex (Donne mie, la fate a tanti!) Left alone, Ferrando expresses his love for Dorabella , though he feels betrayed (Tradito, schernito).

Fiordiligi rebukes Dorabella for being fickle, although she admits that in her heart she has succumbed to the stranger. Despina coaxes her to give way, saying love is a thief and people get robbed every day (E amore un ladroncello). Alone, Fiordiligi decides to drag her sister off to join their sweethearts at the front , but Ferrando, pursuing the wager, threatens suicide, and Fiordiligi gives in Now Guglielmo is furious, but Alfonso counsels forgiveness: That 's the way women are, he claims (Tutti accusan Ie donne).

A double wedding is arranged between the sisters and the "Albanians." Alfonso brings in the notary - Despina in another disguise. Just as the ladies have Signed the marriage contract, familiar martial strains outside herald the return of the former lovers regiment. In panic, the sisters push their intended husbands from the room and go more or less to pieces when the men reappear with their "Albanian " mufti Ferrando and Guglielmo storm at the ladies when the marriage contract is discovered But Alfonso explains the deception, reasoning that true happiness lies not in romantic illusion , but in accepting things as they are. Agreeing a trick can work both ways, the lovers reconcile.

- Courtesy of Opera News

A Post-Liberation

Look at Cost

By Charlene Baldridge

"It is a miserab le thing which lowers all women, cannot po ssibly please femal e spectators, and will therefore not make its fortune," sa id Friedrich Schroder at the tim e of Cosl fan tutte's premiere in 1790.

Cosl fan tutte was written to please the aristoc racy that would receive it. Fearing revolution, Vienna had retreated from an earli er flirtation with ega litarian ism, and in re trenching, the upper classes had become suddenly more conserva tive. Therefore, it was sensib le for the operatic collaborato rs, composer Wo lfgang Amadeus Mozart and libretti st Lorenz o da Ponte , to steer a co urse away from subjects relating to social upheava l and int o th e ca lm and soothing wa ters surro unding the amu sing foibles of romantic b eh avior.

Apparently the women of Mozarts time chose to ignore the put -d own of Lorenzo da Ponte's libretto in order to enjoy Mozarts lovely music. So, too, must today's women, for we are an audience composed largely of women, here to enjo y thi s more than 200- yea r-old opera in spite of its insulting libretto This operatic "boo k " is undeniably ch®vinistic, especia lly in an era of femini st enlightenment. Obviously, there are some things operago ing women choose to tolerate in fa vor of melod y! Such tolerance, however, doe s not prevent a post-liberation examination of the plot 's devices and themes

Two innocent and romantically inclined siste rs are engage d to a pair of handsome so ldi ers, who idolize them and believe them to be fait hful and virtuous. And so they are. Bragging, as soldiers will , of their fian cees ' stea dfast virtue, the two

yo ung men are persuaded b y a cynical older man , apparen tl y an acquaintance and confidant of the yo ung women as well, to te s t the maidens' constancy This insidiou s plot aga inst the young women's goo dness is aided and abetted b y a canny and wo rldl y-wise chambermaid, who dons all manner o f disguises to d eceive her mistresses and who even, at one point, exh orts them to b e un faithfuL The main deceit involves the fe igned departure of the fian ces , who then return in disguise to see if th eir sweeth ea rts are seduc ible

This plot and the comp lexity of coupleswap ping that occurs l ater would no t faze, enrage or even surprise Dr. Ruth. Ho wever, it wo uld en rage Dr. Laura, dispenser of "moral " and "pra cti cal" advice

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In order to make the opera's libretto palatable to Victorian audiences, there was a grea t deal of ninetieth-century tampering. One version gave De spina a sp eech advising h er mistresses of the d ecep tion , allOwing them, a la Shakespeare's Love's Labour's Lost , to take revenge; another even wed Mozart's music to Shakespeare's play Todays audiences are accustomed to works of art as they were Originally presented; if viewed in context and with a modicum of laissez faire , such a tale may be tolerable. Perhaps thi s is what we must do: Overlook the insult to our sex, shut up and enjoy the music.

The question remains , ho wever: Are these rea l people with real emotions, or

are they, as some suggest, merely puppets made to dance on Don Alfonsos strings? If they are merely marionettes, does this truly make the plot more palatable?

The "departing" Guglielmo and Ferrando promise Don Alfonso they will not reveal their wager to Fiordiligi and Dorabella. With consummate irony, Don Alfonso terms the women "your Penelopes," alluding to Odysseus' wife, who remained faithful to her husband over the long years of his wandering.

Dorabella and Fiordiligi simply aren't equipped to cope. In their youthful naivete and simple vanity, they are like immature and romantic young women immemorial. How are they to know they are beautiful without a man to tell them so? They do not yet possess the wisdom of Penelope, but are sisters to Tolstoy's ipsecure Natasha, who in Prince Andreis absence falls prey to the slimy Anatole.

"You lose two, you have all the others left," says the pragmatic Despina. Though not as cynical as Don Alfonso, she advises •

"Repeat with me: All women act thus"

Don Alfonso to Ferrando and Guglielmo, Act II, CosT fan tutte

that soldiers are known for their philandering, and while Guglielmo and Ferrando are away, the young ladies might as well amuse themselves.

Is women's virtue merely the invention of men, as Cornelia Otis Skinner suggested? Are we deluding ourselves when we speak of our constancy? Are we no better at keeping our promises of fidelity than men?

Men, who have a historical reputation for philandering, have always wrestled with their conflicting ideas about women. Are we holy goddesses or whores? If women are no longer placed upon a

pedestal, but are held up to realistic standards of goodness and virtue, who is worthy of a mans love?

If a womans worthiness is tested by "pe destal" standards, the truth might be appalling. It could even require a reassessment of masculine pride as well as a new spirit of compromise and forgiveness. The result could be growth, the reward renewed love and healing

As citizens of a new century, perhaps we'll throw off the residual Victorian influences that have carried over into our society, recognizing ourselves as equal players in the game of love. And perhaps there will be no need for deceit in such a world.

How will this brave new world view the libretto of Cos1 fan tutte? No doubt as a charming but harmless antiquity, worth tolerating because of its heavenly music. And that brings us back where we started Charlene Baldridge is a San Diego-based critic and joumalist whose specialty is the arts.

" ... ripetete con meCosi fan tutte!"

Artist Profiles

Michigan Opera Theatre is proud to present the following artists

Suzanne Mallare Acton (USA) Chorus Master

Suzanne Mallare Acton has been MOTs Assistant Music Director and Chorus Master since the 1981/82 season. She has conducted several productions during her tenure, including The Barber of Seville and The Daughter of the Regiment. For Dayton Opera, she conducted West Side Story, My Fair Lady and The Pirates of Penzance. Ms. Acton has served as coach and accompanist for the opera companies of St. Louis and San Diego, and is Music Director of Rackham ;;ymphony Choir.

,Monica Colonna (Italy) Fiordiligi

In the 1997-98 Season, Monica Co lonna was heard as Adina in The Elixir of Love, opposite Lu cian o Pavarotti at the Teatro San Carlo in Naples. In the same period, Ms. Colonna jOined My. Pavarotti in a concert tour of Germany and Finland This past season, the Italian soprano performed in a revival of the Cologne Don Giovanni on tour in severa l French and Italian cities, as well as more concerts with Luciano Pavarotti in Germany and North America. Last season Ms Colonna made her San Francisco and Canadian Opera Company debuts as Donna Anna in Don Giovanni. This season she performs Donna Elvira with Scottish Opera and Donna Anna in Tel Aviv. This is her MOT deb ut.

Mario Corradi (Italy) Director

It alian-born Mario Corradi made his debut in 1982 with II Matlimonio Segreto in Pa lermo. Since then he has staged opera worldwide: La Sonnambula in Dallas, Don Giovanni and 01eo ed Euridice in Madrid, Menott is Amelia al Ballo in Monte Carlo and Madame Butterfly in Spoleto He h as directed in St. Gallen, Frankfurt, Athens and Tokyo. His MOT credits include Carmen, The Elixir of Lnve, Lucia di Lammermoor, Madame Butterfly, Werther and Tosca. Mr. Corradi recently directed Aida in Cincinna ti. He also directed Spontinis Il Teseo Riconosciut(}-its first performance of this century

Alfredo Daza (Mexico)

Guglielmo

Mr Daza is originally from Puebla City, Mexico In 1998 he joined th e San Francisco Opera Alder Fellowship program. Last season Mr. Daza appeared with San Francisco Opera and the Canadian Ope ra Company as Schaunard in La Boheme. He recent ly m.ade his It alian debut as Va lentin in Faust in Genoa and appeared as Dandini in La Cenerentola at the Rome Opera Mr. Daza makes his Washington Opera debut this season as Figaro in The Bm'ber of Seville. He also debuts with New York City Opera as Marcello in a new production of La Boheme, which will be telecast live on PBS.

Natale De Carol is (Italy)

Don Alfonso

Natale De Carolis enjoys a flOUrishing career throughout Europe, the Americas, Israel, J apan and Australia. The bassbaritone has appeared at the Vienna Staatsoper, Royal Opera House and the Metropolitan Opera, to na m e a few. Mr. De Carolis' recent engagements included the title role of Don Giovanni in Tokyo, Glyndebourne and Tel Aviv; Alfonso in Cost fan tutte in Tenerife and at th e Salzburg Festspiele; La Cenerentola at the Teatro Massimo in Palermo; Massenet's Manon a t the New Nationa l Theatre in Tokyo and La Boheme at the Teatro San Carlo in Naples. This is his MOT debut.

Klaus Donath (Germany)

Conductor

Hannover-born and based conductor Klaus Donath is Permanent Guest Con ductor of Rumania\; Banatul Philharmonic, and Music Director of England 's Bath City Orchestra (19911997) and Bath of Wessex Opera (199 1-1 995). Maestro Donaths North American credits include Don Giovanni, The Marriage of Figaro and The Magic Flute with Opera Pacific as well as The Maniage of Figaro, The Magic Flute and Der Rosenhavalier for Michigan Opera Theatre Other North American engagements include the Pacific Symphony Orchestra, Portland Opera, Opera Colorado, Florida Grand Opera, San Francisco Symphony, and numerous reci tal s with his wife, soprano Helen Donath. Maestro Do n ath is widely considered a "Mozartean of the highest order " www MichiganOpera.org

Lyne Fortin (Canada)

Fiordiligi

Lyne Fortin is one of Canada's leading sopranos and has appeared with rOpera de Montreal in leading roles in La Traviata, Romeo et Juliette, La Boheme, Les Contes d'Hoffmann, Les Pecheurs des Perles, The Marriage of Figaro and Cost fan tutte. Previous engagements include Vancouver Opera, Opera Saskatchewan, Calgary Opera, Edmonton Opera , O pera Hamilton and Opera de Quebec. In Europe, sh e has appeared with the Flanders Opera in the role of Elema in Idomeneo. She has appeared with Seattle Opera and Opera Pacific , among others. Cosi Fan Tutte is her MOT debut.

Theodora Hanslowe (USA)

Dorabella

Mezzo-Soprano Theodora

Hanslowe received critical praise for her "warm, supple and richly expressive vo ice, considerabl e ac ting ab ility and commanding stage presence " (The Washington Post) Since 1994, Ms Hanslowe has debute d in opera houses thro u ghou t the wo rld. Her Metropolitan Opera roles include the ti tl e role in La Cenerentola, Rosina in The Barber of Seville, Nicklausse in Les Contes d'Hoffmann and J uliette in Romeo et Juliette. This season she returns to the Metropolitan Opera for Dorabella in Cost fan tutte. This is her MOT debut

Ying Huang (Chin a)

Despina

Shanghai-born soprano Ying

H uan g embarked on an international operatic career after capturing the world's attention in the 1995 film version of Madame Butterfly. In 1997 she create d the role of Du Liniang for the world prem iere of Tan Dun's Peony Pavilion, in Vienn a She repeated the ro le in London, Paris and Ca li fornia . In 1998 she returned to China to inaugurate the Shanghai Grand Theatre, singing a gala concert with J ose Carreras. Ms. Huang is a regular soloist with the Shanghai Philharmonic Orchestra. She last appeared with MOT in the 1999-2000 Season production of Werther

Gianpiero Ruggeri ( Italy)

Guglielmo

Italian baritone Gianpiero

Ruggeri began his musical stud ies at the Gioacchin o Rossini conservatory, where he earned a musical degree in trombone. In 1990 he began to study voice with the distinguish ed baritone Sesto Bruscantini. Past cre dits include the role of Figaro in The Barber of Seville and Olivier in Capriccio in 1996. More recent credits include the role o f Sh arpless in Madrid, Mustafa in Nimes, Leporello in Pisa , Treviso and Como , Don Giovanni in Osaka and Tokyo Mr. Ruggeri also perfonned the role of the Count in The Marriage of Figaro in Tokyo and Don Alvaro In 11 Viaggio a Reims in Avignon.

Gregory luray (USA)

Fermndo

Gregory Turay won the Metropo li tan Opera Council Auditions in 1995 at th e age of 21. H is 1999-2000 Season in cluded severa l important debuts. In October, h e appeare d as Rodolpho in the world premiere of William Bolcom's A View From the Bridge for his debut with t he Lyri c Opera of Chicago. In February he made his European operatic debut as Ferrando in a new production of Cosi Fan Tutte wi th Welsh National Opera ; h e will soon make his debut with the Deutsche Oper Berlin. He retu rns to the Me trop olitan Ope ra for Fe rrand o in Cosi Fan Tutte. Th is marks Mr. Turay's debut with MOT.

HARD W 0 R K. RIC H REWARDS.

Bank One applauds the hard work and dedication of all artists who enrich our lives through the arts

It takes talent and discipline to orchestrate and deliver a quality performance

It is this same level of dedication and attention to detail that enables us to effectively manage your wealth.

For more information please call Andrew Camden at 313.225.2106.

Reward your se lf And spend more time enjoying the arts.

Here's to those who share our desire for unriva led performance.

Daimler Chrysler salutes the Michigan Opera Theatre for providing 30 years of extraordinary and exhilarating dramatic productions. Experience the excitement and ce lebration of the 30th gala anniversary season as the Michigan Opera Theatre brings the stages of the world to the heart of metro Detroit.

Und er the Pr es id enc y of H.R.H. the Princess of Hanover

LES BALLETS DE MONTE-CARLO

Se as on 2000-2001

Pao la Cantalup o-B ernice

Co ppie ters

Chris Roel andt-Ga e tan

Mo rl o tti

F anny Agn ese

So ltankhan o um Akhme do va

Sa m antha All en

Yu miko Asakura

Juli a Ca rnic er

Frances ca Dolci

Alina La goas

Raphae le Lec harp entier

Na thali e Le ge r

Gioia Masala

Ca rol e Pas to rel

LjilJ ana Peric

Luise ll a Pe tronio

Lea Pe tru zzi

Ch a rl o tt e Pi o t

Aurelia Sc h aefer

Ca therine Sch wi tter

J an a So on

Ann e-Ma ri e Symons

Genevieve Van Qu aqu eb eke

Gab y Baars

F rank Balbi

J u li en Ban cill on

Emm anuel Puons Blo ch

Gregory Delte rne

Mauri cio Drudi

Olivie r H azard

Nichola s Khan

Ke nta Kojiri

Didi er Lambele t

Rod olphe Lu cas

Massimili ano Manfroi

J erome Marchand

Pasca l Molat

J ea n-Claud e N els on

Eri c Oberd orff

Evgu eni Slep ov

Rola n d Vek es

Leo Zen

Maillot

Costumes :

lights :

Serge Prokofiev

Ernest Pignon-Emest

Jerome Kaplan

Dominique Drillot "

Opening night on 3 April 1999 , Salle Garnier, Monte-Carlo Opera

Director-Choreographer:

Jean-Christophe Maillot

Administrator: Jean-Marc Genestie

Ballet Masters: Margaret Mclaughlin Blair, Gerard Lebours

Director's Assistant: Giovanna Lorenzoni

D i rector's Secretary: Muriel Provenzani

Musical Advisor: David Garforth

Pianists: Elzbieta Ziomek, Eric N icolussi

Guest Teachers: Christine Anrhony, George Garcia , Jan Nuyts , Giselle Roberge, Michal

Messerer, Piotr Nardelli , Andrej Ziemski , Christiana Marchant , Yoko !Chino, Rosaline Subel Kassel, Patricia Neary

Administrative Assistants: Muriel Capra , Jean-Marie Sosso

Accounting: Francis Ca rdona -Maurice Gozzelino

Tour Director: Jean-J?aptiste Bello-Portu

Assistant: Muriel Londe

Public Relations and Press Department: F ran<;ois Thiolat, Sophie Verdure, Muriel Provenzani , Fanny Dubois

Artistic Press Attache for The Principality of Monaco: Suzy Lefort

Technical Department

Technical Director: Nick Van Der Heyden

General Manager: Bertrand Grandguillot

Artistic Manager: Gilles Papain

Lighting Designer: Dominique Drillot

Lighting Engineer: Bruno Schembri

Sound Engineer: Michel Soupier

Head Carpenter: Gilles Gianton

Props: Jacques Roques

Costumes: Jean-Michel Laine

Assistant: Paula Lop es

Wardrobe Mistress: Christiane Lemoine

Technical Director's Secretary: Sylviane Piteus

Auditions: Kathy Plaistowe

DAIMLERCHRYSLER

The 2000-2001 DaimlerChrysler Dance Series is made possible by The DaimlerChrysler Fund

Les Ballets de !Monte-Carlo: A Fountainhe................

In 1985, H.R.H the Prince ss of Hanover decided to re-create a new company in th e Principality - a project initiated b y her mother, H. S.H. Princess Grace de Monaco - and b ecame the president of the company

Since the first performance of Serge Diaghilevs Ballets Russ es in Monaco in 1911, the Ballets de Monte-Carlo in its new form h as become the first company to be officially at tached to the Principality of Monaco. The Company performs yea r-round at th e Opera de Monte -Carlo and tours to the great venues abroad. Determined to keep this b all e t company at the highest professional level and to enrich the repertoire with creations and contemporary works, the president o f the Ballets de Monte-Carlo named J@an-Christophe Maillot director-choreographer in 1993.

Since his app6intment, Les Ball ets d e Monte-Carlo has performed in London , Rome, , Cairo, Lisbon, Ma drid , Paris, New York, Hong Kong, Manil a, Brisbane, Athens and Amste rdam , among many oth ers.

The programs performed by th e Ballets de Monte -C arlo on tour and in Monaco in the coming seaso n s includ e Jean-Christophe Maill ots creations (among them Romeo and Juli et, Cinderel la, Vas un Pays Sage, Dov'e la Luna ) as well as a large repertoire including ballets by the major choreographers like Karole Armitage , George Balanchine, Lu cin da Child s, Nacho Du ato, William Forsythe, Jiri Kylian, John Neumeier and Twyla Th arp - always keeping in mind the aim to reinforce and exp lore the potential of classical dance vocabu lary and techni que.

PROLOGUE

Memories of the mother and fat h er (pas de d eux). The mothers d ea th

Cind erella (solo) - Cinderella and h er father (pas de deux). Cindge lla, from the depth s of her soli tude, lets h erself be invaded by th e memories of h er moth er and her father, the image of lost family happiness and love. A shared anguis h, conjured up from this dream , or actual presence , remains wi th the child and h er father.

ACT I

Scene 1: CINDERELLA'S HOUSE

Cinderell a , holding in h er arms the dress her mother was wearing for her last ball, remains p ensive. Her father, in the light of his new family, is not quite the same. Distress ed , h e hesitates between the desire to prote c t her and the submission to his new wife. Cin de re ll a, with h er stepmother and her stepsisters, dis covers the vio lence of power struggles, rejection , ill wi ll and tyranni cal gestures A strange messenger comes to put an end to the two siste rs ' quarrels: Sh e brings an invitation from the Prince for the court ba ll. The pleasure superintendents , beauty experts , are ready to officiate

Scene 2: ENTRANCE OF THE CHARMING PRINCE

The yo ung charming prince appears, in company of hi s friends, as an ado lescent blessed with luck , but li ttle mature , disappo int ed not to find wh at he is desperately missing. A touching character, h e tries to give a meaning to his life b y small pl easures, which disappoint him as soon as they are satisfie d Both pleasure superintendents are bu sy with the preparations.

Scrne 3: CINDERELLfS HOUSE

The pleasure superintendents are the foremen of the festivities. They bring the ball dresses , exhibit ed on four mannequins, half-human , h a lf-mechanical figures , half-masked , giving the impression of a fashion sh ow The sisters and the stepmo ther took great care of their faces. In their impatience and greed, they rush to grab the dresses, only take h a lf of them - and they look at themselves with rapture in front of large distorting mirrors. Cinderella becomes aware of the invitation , but her new family makes fun of h er and sends her back to her lentil dish. The siste rs and stept;l0ther go to the ball, satisfied.

Scrne 4: THE STORY WITHIN THE STORY

The Fairy tears the yo ung girl from h er dirty linen and lentil chore and tells her the story of "Cinderella "; the four mannequins and the two pleasure superintendents perform for the amused young girl a caricatured and grotesque "Cindere lla " She puts on the modest young girls dress her mother was wearing at her la st b all. Th en she carries out the transformation: The young girls foot comes seq uined out of her lentil dish. A magical image, but a warning from the Fairy: You have to remain simpl e Sequins are fragile , vo latile and will lose their wonderfu l properties if Cindere lla forgets this esse nti al quality

SCflle 5: VISION OF THE BALL

The Fairy prepares Cindere lla for her entrance into the world. Sh e lets her glimpse th e vision of th e h orizon toward whic h she has to walk: In the background, th e yo ung girl a tt ends the scene of a ball of which one cannot say whether it is real or a dream.

"Cinderella is not only a fairy tale character, Prokofiev said, but also a living being, who feels and lives, and whose fate moves us." Following the example of this essentially human vision, Jean-Christophe Maillot toys with the natural and the supernatural to unfold this great picture book, which is to us both familiar and unfamiliar. Guided by the memory of her mother, Cinderella opens her own path, searching for recognition and love, among the tragiC excessiveness of a court with a sophisticated attractiveness

CINDERELLA by Jean-Christophe Maillot

ACT II

Scrne 6: THE BALL

Both pleasure sup erin tende nts arrive at the ball, followed by the fairy then b y the two sis ters and the s tepmother The Prince makes h is entrance, together with his fri end s. H e sits on his· throne and looks at th e courtesans' parade, without shOwing much interest. He does not find what h e is looking for. In turn, the stepmother and the daughters begin to try and seduce him. But in vain. Someone announces to the Prince the arrival of a strange person. Fasc inated , afraid, the Prince seems to understand that he is about to be delivered a message. The father also look s disturbed: It seems to him , without really believing it , that h e recogniz es his first wi fe in the Fairy He looks for the one and th e other, going from m emory to reality The Fairy puts a blindfold on th e Prince's eyes. Cinderella comes in: H er feet walk in b y themselves , n aked and painted, in the ballroom. Having recovered his eyesight , the Princ e , fa scinated , kneels before them and discovers lo ve with humility The pas d e deu x of the young co uple matches the one of the mother and father , unit ed in a same lOving surge. A dance of redempti on , reconciliation for the father , who seems to find peace at last. Cinderella and the Prin ce continue dancing alone.

Scrne 7: MIDNIGHT

Midnight: c"inderellas departure Cinderella begins to take pleasure in the other courtesans' mirrors. She gets into xica ted by this ambient madness and its codes of seduction. Sh e appropriates

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its emb lems. It is time for the Fairy to bring Cinderella back to the right path At the top of the stairs through which she escapes , her bare foot appears in the light: the only trace of her being there and an invitation to find her again.

ACT III

Scrne 8: PRINCE CHARMING'S TRAVELS

The pleasure superintendents draw the image of the foot which is b eing sought. Provided with this sketch, the Prince and his friends travel aimlessly to find the beautiful unknown girl. The Prince discovers the foreign country of the red an d ye llow Exotics. Although tempted, h e still does not recognize the foot he is looking for. Then , the Fairy guides him to Cinderella: It 's within himself that h e will find her.

Scrne 9: CINDERELLfS HOUSE

Th e Prince finds Cinderella The sisters get ready to seduce th e Prince. But the feet h e discovers underneath the bandages are black and bruised Cin d ere llas foot is being unveiled in the purity of its whi teness: The Prince recognizes Cinderella at once.

Scrne 10: EPILOGUE

Rejecting his second wife, the father wa ltz es with the Fairy/mother. Dancing their love again , he accompanies her down to her la st breath , until death cancels remorse.

Detroit Opera House

Artist Profiles

Opera Theatre is proud to present the following artists:

JEAN·CHRISTOPHE MAILLOT

Director-Choreographe r oj the Ballets de Monte-Carlo

Born in 1960 in Tours , j eanCh ristoph e Ma illot studied dance and piano at the Conservatoire National in th at city before j oining Rosella Hight ower 's Internatio n al Schoo l of Dance in Cannes. In 1977 he won the Prix d e Lausanne. In 1978 , h e was invited to j oin the Ha mburg Ballet , wh ere director john Neu m eier crea ted p rin cipal ro les for him in many wo rks. In 1983, j eanChristo phe Maillot was appointed as cho reographer and director of the Ballet du Grand Thea tre in Tours, subsequently one of Franc e's National choreographic Centres. H e ch Qreograp h ed some twenty ball ets for tl}is compa n y, and in 1985 he founded the festiva l "Le Choregraphique. " In 1992 he was awarded the title of Ch evalier de I'Ordre des Arts et des Lettres by the Minister of Culture, jack Lang.

In 1993, H R.H. the Princess of Hanover invited Maillot to become director o f the Ballets d e Monte-Carlo. There , as principal choreographer for a company of fifty dance rs, he has con tinued to make new work: Among his creations for the Ballets de Monte -Carlo are Betes Noires, Home, Sweet Home, Dov'e la Luna, Vers un Pays Sage, Romeo et Juliette (performed almost 100 times), Recto Verso, I1le , Ce ndrillon. In addition to his own work, he has broadened and enrich ed the companys repertoire by in viting the most important contemporary cho reographers to work in Monte Carlo, as well as mainta ining works by George Balanch ine and from the Ball ets Russes , closely linked to th e history of th e Ballets d e Monte -Carlo. For the Printemps des Arts 2000 Season in Monaco, he recentl y created Opus 40 , to music by Meredith Monk.

jean-Christophe Maillot is also regularly invited to stage his works for compa nies all over the world and is one of France 's most frequ ently presented choreograp h ers: His ba ll ets have been performed in Londo n , Rome , Madrid, Paris, Brusse ls, Lisbon, Cairo, New York, Mexico , Ri o d e j aneiro, Sao Paulo , Hong Kong , Seou l , Manila, Tokyo, Brisba ne, Pekin and Shan ghai.

O n the 19 Novembe r, 1999 , j ean-Christoph e Maillot was awarded the title of O fficer de I'Ordre du Me ri te Culturel of th e Prin cip ali ty of Monaco.

• J ERNEST PIGNON·ERNEST

Born in 1942, Ernest PignonErnest made his name by pasting silkscreen prints of a famo us p hotograph of Rimbaud on town wallsexhibi ted in t he j a rdin des Plantes in Paris in 1984 - and by presenting 28 "arbrorigenes" vegetab le sculptures, made with the scientist Claude Gud in and th e Research Centre of Cadarache. He is also known for the ornate drawings with w h ich he deco rated the walls and streets of Naples between 1988 and 1995, and whic h fo llowed a very precise trajectory, determined after a long preparatOlY period. "Ernes t Pignon -Ernest conceives of his work from a doub le point o f view - that o f reference (Caravaggio, Ribera , etc.) and of th e place itself in which the image will be situated. One cou ld even say that the location plays the determining ro le. The image derives its meaning from its site, rather than the co ntrary Ernest Pignon-Ernests 'material' is to a greater extent the actual co ntext itself, rather tha n the object t hat he p laces therein. A virtuoso draftsman, he is not really a 'painte r,' nor qu ite a 'scu lptor,' but an artist who masters his means of expression in order tha t 'this is no longer a problem. ' It is at this point that his profoundly Original artistic process can emerge in a ll its richne ss: a process that brings him closer to the workings of a Christo or a like inventor of im ages. A process during which he seizes the maximum from the real, and not just its outward appearances. In this , he resembles Lascaux's huntsman, who, knowing how to draw the buffalo on the cave wall, has a better chance of catc hin g it than the other huntsmen of the tribe."

(Extract from the text by jean-Luc Chalumeaufrom the catalogue Corps et Arne, Monaco , july 1995 - reprinted ,vith the kind authorization of Martine Fresia and Bernard Bonnaz)

JEROME KAPLAN

Born in Paris in 19 64, j ero me Kap lan developed a passion early on in life for the p lastic arts. He studied at the Ecole de la Rue Blanche , in th e department of stage decoration. Since leaving, in 1987, he has deSigned costumes and decor for a numb er of theatrical product ions, including Rossinis Barber oj Seville, Massenets Don Quichotte, and Viva ldis Montezuma (all three operas directed by Ariel Garcia Valdes). jerome Kaplan also designed the costumes for LArch e de Not by Benjamin Britten and Joumal d'un Usager de l'Espace written by Georges Perec, with mu s ic by Didier Lockwood, both p ieces directed by Charlotte Nessi and produced at the Bastille Opera He disco vered contemporary dance through the wo rk of jean-Christophe www Mi c higanOpeTa.oTg

Ma ill ot, for whom h e has created the decor and costumes of Naranjas e Citrons, Casse-Noisette Circus, LEnJant et les Sortileges, Betes Noires, Home, Sweet Hom e, Dov 'e la Luna, and th e cos tumes for Ubuhuha and Romeo and Juliet. In 1997 , he designed the set and costumes of the new production of Theme et Variations (Balanchine) and Casse-Noisette Circus (Ma illo t), as we ll as the cos tumes of Recto Verso, created by j ean-Christoph e Maillot at the Internationa l Dance Festival in Cannes, and Cendlillon, created on April 3th, 1999 by j ean-Christop he Ma ill ot in Monaco.

DOMINIQUE DRILLOT

Born in 1959 in Tours , he studied Fine Arts at the BeauxArts in Tours while, at the same ti m e, working as assistant director, s tage and accessories. In 1987, he created hi s first stage d esign for j eanChristophe Maillot (Theme et 4 Vmiations), with wh om he h as collab orated regularly since then (Le Jardin Jeux d'Amour, Ubuhuha, Lu eu r d'AmoU/; Vers un Pays Sage, Recto Verso). He has d eveloped this collaboration with ch oreographers, work ing with such artists as Ramon O ll er, Bruno j acquin, Graham Lu stig, Conny j ansen, Ted Brandse n and j osette Baiz. He has been invited to work with the Ballet du Nord, the Rome Opera Ballet, th e Lyon Opera Ballet, the Grand Theatre d e Bordeaux , the Stuttga rt Ballet, the Ballet British Columbia, Introdans , and has regularl y co ll aborated with Les Ballets de Monte-Carlo, both as director and lighting designer. In Monaco, he has created the lighting for jean - Christophe Maillots Betes Noires, Home Sweet Home, Dov'e la Luna , Ubuhuha, Vers un Pays Sage, Duo d'Anges, Concert d 'A nges , Romeo and juliet, Recto Verso, me, Ci nd ere lla and Casse-Noisette Circus, as well as fo r Bertrand d 'At , Renato Zane ll a, Serge Bennathan and j ohn Alleyne. In the Netherlands, he has worked with Ed Wubbe, Gian Franco Paoluzzi, Ginette Laurin, Renato Zanella, Ton Wiggers, Heinz Spoerh, N ils Christie, Kirsten Debroek, Conny jansen , Miriam Dietrich, Ted Brandsen and j osette Baiz.

Copyright 2010, Michigan Opera Theatre

Michigan Opera Theatre h . Orc estra

Fall 2000-2001 Season

VIOLIN I

*Charlotte Merkerson

Concertmaster

*Velda Kelly _

*Sasha Margolis

*Anna Bittar Weller

Jason Bendler

Kevin Filewych

James Kujawski

Julia: Kurtyka

Charles Roth

Elizabeth Rowin

Mary Stolberg

Melody Wootton

VIOLIN II

*Victoria Haltom Principal

*Brooke' Hoplamazian

*Aurelian Oprea

*Lydia Si-Ngaw Lui

*Bryan T Johnston

Julia Kurtyka

Michael McGillivray

Eugenia Song

Kathryn Stepulla

Janet Sullins

VIOLA FLUTE

*John Madison

*Pamela Hill Principal Principal

*Scott Stefanko

*Kathleen Grimes

*Barbara Zmich

James Greer

Barbara Stolberg

Julianne Zinn

*Laura Larson

Wendy Hohmeyer

Helen Near

Richard Sherman

OBOE

*Jeanette L. Bittar

CELLO Principal

*Nadine Deleury

Principal

*Diane Bredesen

*Minka Christoff

*Robert Reed

Kristen Beene

Kristin Reynolds

CLARINET

*Brian Bowman

Sarah Cleveland Principal

John Iatzko

*Kimberly Cole

Irina Tikhonova Luevano

BA S S

Todd Barnhart

*Derek Weller BASSOON Principal

*Clark Suttle

Arron Keaster

Greg Sheldon

Shawn Wood

*Kirkland D. Ferris Principal

*Scott Armstrong

HORN

*Susan Mutter

Principal

*Carrie Banfield

Tammy Kosinski

Martin Limoges

TRUMPET

David Kuehn

Acting Principal

*Gordon Simmons

Justin Cohen

David Hunsicker

TROMBONE

*Maury Okun

Principal

*Greg Near

Michael Tyrrell

TUBA

Fritz Kaenzig

TIMPANI

*Gregory White PrinCipal

PERCUSSION

*John F Dorsey PrinCipal

Terrence Farmer

Maria Flurry

Dan Maslanka

David Taylor

HARP

*Patricia Terry-Ross Principal

KEYBOARD

Lawrence Picard

P ERSONNEL MANAGER

Diane Bredesen

* Member; Michigan

Opera Theatre Orchestra

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

Michigan Opera Theatre Ch orus

Christopher Bauder

Victoria Bigelow

Heidi Bowen

Kim Wayne Brooks

Alaina]. Brown

Kristen A. Bryant

Fred Buchalter

Patrick Clampitt

Deborah]. Dailey

Rebecca Engelhard

Vanessa Ferriole

Louise A. Fisher

Yvonne M. Friday

Conda Marie Green

Rosalin Contrera Guastella

Suzanne Hansen

Leslie Hill, Jr.

Clarence E. Jones

Tom Kabala

Jeff Krueger

Tamara Lehew

Dana Lentini

Ray Litt

Susan Lowrie

Tony Lynch

Cynthia Merritt

Kim L. Millard

James Mackey Moore

F a ll 2000 -2001 Seas on

Anthony C. Noto

Jennifer L. Oliver

Darren Orta

Peggy O'Shaughnessey

Sean Panikkar

Jan R. Phillips

Patricia Pierobon

Monique Ricard

Mary Robertson

Katherine Schmidt

Robert H Schram

Jay Smith

Michael Steelman

Stephen Stewart

www.MichiganOpera.org

Copyright 2010, Michigan Opera Theatre

Lawrence Stotsbery

Judith Szefi

Kathryn Thomas

Emily Toronto

Dean Unick

Justin Watson

James R. Wells

The American Guild of Musical Artists is the offiCial union of the Michigan Opera Theatre vocal pelformers.

Detroit Opera House

Childrens Chorus forLa Boheme

Fall 2000-2001 Season

Alexander Acton

Ashlyn Brady

Adam Lawrence Zahller Brown

Daniel Scott Zahller Brown

Dennison Rollins Dorsey

Jordan Fantauzzo

Christopher Ferrio le

Brandon LePage

Brittany Marie Luse

Mary Helen Malaney

Jennifer Marie Schmidt

Katie Ann Schmidt

Anna R. Sklut

John R. Sklut

Philip W Smith

Dennis Strach

Andrej Walilko

e nri c h es our community. It begins as a mom en t that embraces the soul and lives on as a memory that beautifies life.

Compuware appla u ds the performers, musicians a nd all who support the Michigan Opera Theatre.

COMPOWARE.

Detroit Opera House

Board of Directors

Mr. Robert E. Dewar, Chairman

Dr. David DiChiera, President

Mr. Cameron B. Duncan, Treasurer

Mr. C. Thomas Toppin, Secretary

)

Mrs. Robert Allesee

Mrs. Donald C. Austin

Mrs. Bella Marshall Barden

Mr.]. Addison Bartush

Mr. Richard A. Brodie

Mrs. William C. Brooks

Mr. Maurice Cohen

Mrs. Peter Cooper

Mr. Tarik S. Daoud

Julia Donovan Darlow

Mr. La wrence N. David

1999-2000 Trustees

Dr. & Mrs. Mohamed K Ajjour

Dr. & Mrs. Roger M. Ajluni

Mr. & Mrs Robert A. Alle see

Mr. & Mrs. Douglas F Allison

Dr. Lourdes V Andaya

Mr. & Mrs. Thomas V Angott

Mr. & Mrs. Robert L. Anthony

Dr. & Mrs. Agustin Arbulu

Dr. Harold Arrington

Dr. & Mrs Ingida Asfaw

Mrs. Domild]. Atwood

Dr. & Mrs. Donald C. Austin

Hon & Mrs. Edward Avadenka

Mr. & Mrs. Don H. Barden

Mrs. James Mariam Barnes

Mr. & Mrs Lee Barthel

Mr. & Mrs. ]. Addison Bartush

Mr. & Mrs. Mark Alan Baun

Mr. & Mrs. W Victor Benjamin

Mr. & Mrs Raymond Biggs

Mr. & Mrs. John Boll

Mr. & Mrs. Richard A. Brodie

Mr. & Mrs. William C. Brooks

Mrs. Clarence G. Cata ll o

Mr. & Mrs. Alfred Cheesebrough, III

Mr. & Mrs. Frederick H. Clark

Ms. Virginia Clementi

Mr. & Mrs. Maurice Cohen

Hon . & Mrs. Avern L. Cohn

Mr. Thomas Cohn

Mr. & Mrs. Michael]. Connolly

Mr. & Mrs. Peter Cooper

Ms. Rosalind L. Coopennan & Mr. Woody Robertson

Mr. & Mrs. Jerry P D'Avanzo

Mr. & Mrs. Tarik S. Daoud

Julia Donovan Darlow & John C. O'Meara

Mr. & Mrs. Lawrence N. David

Mr. & Mrs. John W Day, Jr.

Mr. & Mrs David Denn

Mr. David Denn

Mrs. Charles M. Endicott

Mr. Paul Ewing

Dr. Marjorie M Fisher

Mr. Herman Frankel

Mrs Lawrence Garberding

Mr. David Handleman

Mr. Kenneth E. Hart

Mr. Eugene Hartwig

Mr. Richard Janes

Mr. Gary Johnson

Mrs. Charles Kessler

Mrs. Robert Klein

Mr. Gerald A. Knechtel

Mr. A. C. Liebler

Mr. Harry A. Lomason

Mr. Alphons e Lucarelli

Mr. & Mrs. Robert E Dewar

Dr. Fernando G. Diaz

Dr. David DiChiera

Karen Va nderKloot DiChiera

Mrs. Jennifer Nasse r

Mr. Jul es L. Pallone

Mr. Charles A. Parcells, Jr.

Mr. Ro y Roberts

Mrs. Irving Rose

Mr. William Sandy

Mrs. Roger f Sherman

Mr. Frank Stella

Mrs. George Strumbos

Mr. Rob ert C. VanderKloot

Mr. George C. Vincent

Mr. Gary L. Wasserman

Mr. Richard C. Webb

Mr. George M. Zeltzer

Mr. Morton Zieve

Mr. & Mrs. E. Jan Hartmann

Mr. & Mrs. Eugene Hartwig

Hon. & Mrs. David B. Hennelin

Hon. & Mrs. Joseph N.

The Hon . & Mrs . John Dingell Impa sta to

Ms. Mary Jane Doerr

Mr. & Mrs. Cameron B. Duncan

Lady Jane Easton

Mrs. Charles M. Endicott

Dr. Fern R. Espino & Mr. Tom

Mr & Mrs. Verne G Istock

Mrs. David Jacknow

Mr. & Mrs. Darnell D. Jackson

Mr & Mrs. Richard Janes

Mrs. Sybil Jaques Short

Mr. & Mrs. Roland C. Eugenio

Mr. & Mrs. Paul E. Ewing

Mr. Stephen Ewing

Dr. Haifa Fakhouri

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

Mr. & Mrs. Herbert Fisher

Dr. Marjorie M. Fisher

Mrs. Elaine L. Fontana

Mr. & Mrs. Mitchell B. Foster

Mrs. Barbara Frankel

Mr. Herman Frankel

Mr. & Mrs . Marvin A. Frenkel

The Honorable Hilda Gage

Mr. & Mrs. Lawrence

Garberding

Dr. & Mrs. Robert A. Gerisch

Mrs. Frank Gennack, Jr

Mrs. Aaron H. Gershenson

Mr. & Mrs. Yousif B. Ghafari

Mr. & Mrs. Andrew Giancamilli

Mr. & Mrs. Vito P Gioia

Mr. & Mrs. H. James Gram

Mrs. Katherine Gribbs

Mrs. John C. Griffin

Mr. & Mrs. Jacque Haddad

Mrs. Betj H. Haidostian

Mrs. Robert M. Hamad y

Mr. David Handleman

Mr. & Mrs. Preston B. Happel

Mr. & Mrs. Gary E. Johnson

Miss H. Barbara Johnston

Mrs. William E. Johnston

Mr. & Mrs. Maxwe ll Jospey

Mr. & Mrs Mitchell Kafarski

Dr. & Mrs Darnell Kaigler

Mr. & Mrs. John Kap lan

Mr. & Mrs. Donald W Keirn

Dr. & Mrs. Charles Kessler

Mr. & Mrs Eugene L. Klein

Mr. & Mrs. Robert Klein

Mr. & Mrs. Gerald A. Knechtel

Mrs. Reva Kogan

Mr. & Mrs Mike Kojaian

Mr. & Mrs. William Ku

Dr. & Mrs. Richard W Kulis

Mr. & Mrs. Angelo Lanni

Mr. & Mrs. Paul Lavins

Mrs. Walton A. Lewis

Dr. & Mrs. Kim K. Lie

Mr. & Mrs. A. C. Liebler

Dr. & Mrs. Robert P Lisak

Mr. & Mrs. Harry A. Lomason

Mr. & Mrs. James H. LoPrete

Mr. & Mrs. Alphonse S. Lucarelli

Cardinal Adam Maida

Mrs . Jessie B. Mann

Mrs. Frank S Marra

Dr. Rona ld Martella

Hon. Jack & Dr. Bettye

Dr. & Mrs. Joseph B. Harris Arrington-Martin

Ms. Maria Harris

Mr. & Mrs Kenneth E. Hart

Ms. Alyssa Martina

Mr. & Mrs. Richard McBrien

Mr. & Mrs. William T. McCormick, Jr.

Mrs. Wade H. McCree , Jr.

Mr. & Mrs. Frank McKulka

Mr. & Mrs. Eugene Miller

Mr. & Mrs. Theodore Monolidis

Mr. & Mrs. Fred Morganroth

Mr. & Mrs. E. Clarence Mularoni

Mr. & Mrs. E. Michael Mutchler

Mr. & Mrs. Jacques A. Nasser

Mr. Christopher Nern

Mr. Ralph Nic hols

Mr. & Mrs. Jules L. Pallone

Mr. & Mrs. James Pamel

Mr. Charles A. Parcells , Jr.

Mr. & Mrs. Spencer Partrich

Dr. Rob ert E. L. Perkins

Mr. & Mrs. Brock E. Plumb

Mrs. Ralph L. Polk

Mrs. David Pollack

Mr. & Mrs. John Rakolta, Jr.

Mrs. Ruth F Rattner

Dr. Irvin Reid & Dr. Pamela Trotman Reid

Mr. & Mrs. Ro y S. Roberts

Mrs. Patricia H. Rodzik

Mrs. Hans ROgind

Mr. & Mrs. Peter Ronan

Mr. & Mrs. Irving Rose

Mr. & Mrs. Norman Rosenfeld

Mrs. Carolyn L. Ross

Mr. & Mrs. Anthony Rugerio

Dr. & Mrs. Hershel Sandberg

Mr. & Mrs William Sandy

Mr. & Mrs. Arnold Schafer

Dr. & Mrs. Norman R. Schakne

Mr. & Mrs. Fred C. Sch neidewind

Mr. & Mrs Alan E. Schwartz

Mr. & Mrs. Gregory ]. Schwartz

Mr. & Mrs. Donald E. Schwendemann

Mr. &: Mrs. Frank C. Shaler

Ms. Elham Shayota

Mr. &: Mrs. Roger F Sherman

Mr. &: Mrs. Richard Sloan

Ms. Phyllis Funk Snow

Mr. Richard A. Sonenklar

Mr. &- Mrs. Richard D. Starkweather

Mr. Frank D. Stella

Ms. Mary Anne Stella

Mrs. Mark C. Stevens

Mrs. Rudolph Stonisch

Mr. &: Mrs. George Strumbos

Mr. Ronald F Switzer

Dr. &: Mrs. Anthony R. Tersigni

Mr. &: Mrs Mark Thomas

Dr. Roberta &: Mr. Sheldon Toll

Mr. &: Mrs. C. Thomas Toppin

Mrs. Lynn A. Townsend

Mr. &: Mrs. Tallal Turfe

Mr. &: Mrs. Robert C. VanderKloot

Mr. &: Mrs. George C. Vincent

Mr. '&: Mrs. Alvin 'Wasserman

Mr. &: Mrs. Gary L. Wasserman

Mr &: Mrs. Kenneth Way

Mr. &: Mrs. Richard C. Webb

Mr. &: Mrs. Gary L. White

Dr. &: Mrs.' Christopher D. Wilhelm

Dr &: Mrs. Sam B. Williams

Mr. &: Mrs. Eric A. Wiltshire

Mr. &: Mrs. Donald E. Worsley

Mrs. R. Alexander Wrigley

Hon. Joan E. Young &: Mr. Thomas L. Schellenberg

Mr. &: Mrs. Larry Zangerle

Mr. &: Mrs. Ted Zegouras

Mr. &: Mrs. George M. Zeltzer

Mr. &: Mrs. Morton Zieve

Mrs. Paul Zuckerman

Mr. Roy Zurkowski

Founding Members

Mr. and Mrs. Lynn A. Townsend, Founding Chairmen

Honorable and Mrs. Avern L Cohn

Mr. and Mrs. John DeCa rlo

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. J ohn C. Griffin

Mr. and Mrs, Harry L 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 0, Yntema

Creativity. It's the unexpected combination of unlike ideas. A combination that can solve a problem. Pen a symphony. Or even advance a civilization.

To be creative means to see things in new ways. To imagine what is not. To understand each experiment as another step closer to discovery. At Bayer, we help automakers discover creative new ways to use our thermoplastics, polyurethanes, rubber and coatings raw materials to make your designs more efficient, economical, and exciting.

The result is innovative technologies for automotive engineering that go beyond mere necessity It allows automakers the luxury to be truly creative in anticipating the desires and tastes of tomorrow's car buyers.

"NECESS1TY may be the mother of invention, but creativity is most certainly its father."

-Anonymous

What a Summer! and

MORE TO COME!!

Learning at th e Opera H ouse (LAOTH ), our summ er

p rogram for all ages, h as wo n th e O p e ra Am eri ca Su ccess Award in Ed ucation . "Commu n ity invo lvem ent , gro w th and p rogr amming" were three of th e reaso n s th at th e pro gram w as selec ted Learning at th e O p era H ou se was furth er recogniz ed for it s "out standing effort t o adva n ce awa reness of opera in No rth Am eri ca ."

The award was p resente d to Kare n Di Chi era, Mi chi gan

O p er a Thea tre's Direc tor o f Co m m un ity Pro gram s , a t th e

O p era Am erica Conven ti on in H ous ton , Texas , in May of 200 0. Con gra tul ations to Kare n , The Co mmun ity Prog ram s Staff , and th e in stru c tors and studen ts of Lea rning a t th e Ope ra H ouse for m akin g th e granting o f this int erna tional award

Art Evening of Gilbert: and Sullivan lIVit:h

The Bir:minghmnBlooInfield Symphony Orchestra

.A Comic Operetta Treat!

The Artists of Community Programs will perform An Evening of Gilbert and Sullivan on Sunday, November 12 at Temple Beth EI, 7 :00 p m , with the Birmingham-Bloomfield Symphony Orchestra The concert will include selections from The Pirates of Penzance and The Mikado Our singers will be in costume and in high spirits under the baton of former WORS Radio favorite Charles Greenwell. We hope you can join the fun and high jinks!

Call (248) 645·BBSO for ticket information.

TIME OUT FOR OPERA

Upper left, Learning at the Opera House, Vocal Wisdom workshop director, Elizabeth Parcells, performs for students, families and friends on the Detroit Opera House stage.

Left: Learning at the Opera House student, Philip Smith, performs his own composition in Create Opera!

O ur TV series, Tim e Out for Op era , h as wo n Produ ce r J onathan Swi ft and Co-Producer Karen V Di Chiera each a Phil o Award! The award is n am ed aft er Phil o T. Farnswo rth , th e invento r of th e televi si on tub e. The p opular series is tap ed a t Bloom fi eld Communi ty Television (BCTV) in Bloo mfield H ills, wh ere it is aired four times a wee k throu gh out the area over Chann el 15. Th e se ries is th en broa d cas t over Flint Pu b lic Broadcas ting Station, WF UM, to cable s tations in so uth eas t Michigan an d O ntari o, Cana d a J ames Gilli s is th e Pro gram Di rec tor an d Les lie Helwig, Sta tion Man ager of BCrY, is Exec ut ive Pro du ce r o f th e pro gr am. Please ch ec k y our local cab le li stings for b ro ad cast times

Photos by Tom Kramer

NEW OPERA COMMISSION

Watch for an announ cement about a ne w opera to b e co mmissioned through th e Community Foundation of Southeas t Michigan. Th e as ye t un writt en piec e will focus on a significant piec e of Detroi t's hi story in honor of th e ci ty's 3 00th annive rsar y It w ill b egi n schoo l tours in Feb ru ar y or March.

PUBLIC TOUR PERFORMANCES

MOT's Department of Community Programs gives more than 200 performances each yea r in every corner

o f Michigan. Although most of our performan ces are for sc h oo ls or private organ izati on s, some (such as An Evening of Gilbert and Sullivan ) are open to the public.

Our Broad way Revu e, w hi ch is reforma tt ed every year, is a perennial favorit e. Performances that are b ooked this season are October 22 , 2000, 3:00 p.m. , Broad way Concert with th e Warren Sympho n y, Warren Woods Middle Sc hool Auditorium ; Marc h 31,200 1, Broadway Revue with the Pontiac Oakland Symphony, time and lo ca tion to be determined ; April 27 , 2001, Broad way Revue, Oakland Co mmunity College, Highland Campus , time and exac t location to be det ermined Please ca ll Delor es Tobi s, Communit y Programs Marketing Manager for informa ti on an d additiona l booking s

Baritone and Tour Manager, Mark Vondrak, as "Harry " in the Department of Community Programs ' anti-smoking musical, THE NIGHT HARRY STOPPED SMOKING. Youngsters are selected from each participating school to be part of the cast. This season, our visits to Genessee County and Lansing Area Schools are being funded through the Community Foundation of Greater Flint and the Capitol Region Community Foundation.

to travel to Kansas, If yoU happen

O tober 23-27, 2000, we'll be there C

and we'll be in Three Lakes, . ·13 20011 WisconslD, Apfl ,

TOURING PROGRAMS

Seymour Newest Opera to Be Featured

The Pied Piper of Hamlin is the newest childrens story to receive ope ratic treatment by "the Dean o f American Childre n s Ope ra ," Seymour Barab. The octogen arian is one of the most prolific composers of all time. Wri ti ng both the music and the libretto, Barab is a word smith who always find s something fun to teach in the language of the

story In this case , it is the wo rd "Pied ," defined as " two or more patches of different co lors ." Th e Piper is unhapp y b ecause h e is so poor th at all h e h as is "pied clothing. " Children from the audien ce play rats and the children of Hamlin. The happy ending teaches everyone to appreciate each oth er and to k eep promises

Named Gifts

September Moon Universal Forest Products, We extend our gratitude to the Mr &: Mrs Robert E. Dewar - Oliver Dewey Marcks

Production Network, Inc. following Donors who have Trustee Circle Madison Lobby FoundationInc. Mr and Mrs. Melvin C. underwritten designated areas in Ford Motor Company - Third Fl oor Promenade

Dr. Bradley G Sewick and VanderBrug the Detroit Opera House: Backstage Renovation Staircase

Laurie A Sall

Mr. and Mrs Art Broadway Lobby Lobby to 2nd Floor, Arlene and Frank C. VanElslander Dr &: Mrs. Roger M. Ajluni - Herman and Barbara F rankel - Madison

Slialer Dr. and Mrs. Leonard F Grand Staircase General Di r ector's Circle MichCon Foundati on -

Mr. MichaeL R Shaw VanRaaphorst Mr. &: Mrs. Robert A Allesee - Lounge Lobby Boutique

Ms ElhamJabiru-Shayota Joseph and Rosalie Vicari Allesee Dance Patron Lounge General Motors Corporation - The Karen &: Drew Pesla r and Ms. Nedda N Victory ReSteel Inc. Allesee Dance &: Opera Madison Lounge F oundation

Shayota John and Jo Vincenti Resource Library Robert &: Alice Gustafson - Co-Star Dressing Room

Sandy and Michael Short, Sue and Bill Viti toe Anonymous Donor - Third Floor Lobby Alcove, Mr. &: Mrs. Irving Rose -

MD.

Dr. Sheldon and Sydelle

Mr. and Mrs John Vrana Grand Lobby Madison Patron Elevator in Lobby

Mr. and Mrs. Richard C. Anonymous Donor - Richard &: Mary Lou Janes - Tower

Sonkin Ward Broadway Facade Third Floor Lobby Alcove, Mrs. Carolyn L Ross -

Ms. Anne Markley Spivak

Mr. and Mrs Alvin Dr. &: Mrs. Donald C Austin - Broadway G r and Staircase Mirro r

Ms Mary Anne Stella Wasserman Grand Central Chandelier Chaim, Fanny; Louis, Benjamin

Mrs. Mark C Stevens

Mr. &: Mrs. Lynn Townsend -

Mr. and Mrs. Gary L BASF Corporation - and Ann Florence Kaufman Trustee Circle Broadway

M\. and Mrs. Bob Wasserman Media Studio Classroom Memorial Trust - Lobby

Stevenson

Mr and Mrs. Richard C. Comerica Charitable

Grand Side Chandelier Mr &: Mrs. George Vincent -

Strategic Staffing Solutions Webb Foundation - Wallis &: Robert M. Klein- Madison l obby

Christine and .George Keith and Christine Weber Grand Dome

Strumbos

Grand Stai rcase Mirror

Mr &: Mrs Alvin Wasserman -

Mr.and Mrs Wllliam DaimlerChrysler Corporation - Dolores &: Paullavins - Box l evel Promenade

J oel and Shelley Tauber Widmeyer Community Performance

Thomas and Tracey

Thompson

Mrs Beryl Winkelman Theater

Grand Side Chandelier World Heritage Foundation -

Grand Staircase Mirror Conductor's D ressing Room

Mr. and Mrs. Lawrence A Mr &: Mrs . Tarik S. Daoud - l ea r Corporation -

Michael and Nancy WlSne Grand Drape Trustee Circle Level in Opera

Several named gift opportunities

Timmis Mrs. Barbara Wrigley Detroit Edison Foundation - H all are available in the Detroi t Opera

Dr. Roberta Toll and Mr. Dr. and Mrs Clyde Wu Mezzanine l evel in Opera

The lomason Family - House. For more information , Sheldon Toll

Mr. Todd A Wyett Hall

Lynn A and Ruth Ms. Shaio Fong Yin-

LTownsend Tuinman

Ms. Violette Tuck

Mr. George C. Turek

Ms. Gayle M. Zech

Mrs. Helen Zuckerman

Th e William K. &: Neva please call t he Development

Lomason Opera lounge Department at 313/237 -3433.

GENERAL DIRECTOR 'S CIRCLE Courtyard by Marriott-Detroit Pure Bar Roo m

Mr. &: Mrs John Boll

INTERMISSION SPONSORS Dagwoods Recreational Divjng Systems Paul Taylor Danc e

Honorable &: Mrs. Edward Candice DeLat tre Renaissa nce Spa Company (1998/99) -

DANCE PATRON CIRCLE Jennifer &: jacques Nasser

SEASON SPONSOR Richard Raisin

$100 ,000 + lila &: Gilbert Silverman Avadenka Matthew Detloff Nancy and John Renick Performance Daiml erChrysler Corporation

Mr. &: Mrs. Fred Clark Jennjfer Donelon, WD IV Ristorante DiModesta Fund GOLDER PATRON

Mr. David Cohn Leo Dovelle,Jr. Ritz Carlton

Mr &: Mrs. jerry D'Avanzo

$1 ,000 - $1 ,499

Mr. &: Mrs. Maurice Cohen

SIGNAL BENEFACTOR Mr &: Mrs. C E. letts Martha Dowling Roma Ca fe The Sleepi ng Beauty

$50 000 - $99 999

Mr. Richard Raisin Figaros Roz &: Sherm, Bloomfield (199 2/93) - Product ion,

Mr. &: Mrs. Robert Allesee l esli e Slatkin &: Mrs. George Strumbos Fire In the Marke t Shay Scott Cinderella (1993/94)-

Mr. &: Mrs. Irving Rose Dr. Roberra &: Mr Sheldon Toll

Mr. &: Mrs Gary Wasserman Four Season Hotels &: Resons Second City Production , Swan Lake Pearl &: George Zeltzer PATRON

BEQUESTS General Wine and Liquor Co. Ann Simo ns ( 1994195 ) - Productio n

Ms. Marjorie Adele DeVlieg Germack Pistachio Company Marge Sleza k

Mrs. Barbara Frankel Grosse Pointe Toy Shop Starbucks Co ffee

$ 50 0 - $9 99

PRINCIPAL BENEFACTOR Barbara &: William Eversman

Mr. &: Mrs. Tarik Daoud $10 ,000 -$ 24 ,99 9 Adrienne &: Robert Fe ldstein

Mr. Herman Frankel Guerlain Glorie Stonisch Draa,la (1997198)Kevin Dennis &: Jeremy Zeltzer

Priscilla A.B. Goodell Harmon y Bar &: Grill The Sum mit at the Perfonnance

Mr. Carl). Huss Harmon y House Renaissance Ce nter

Mr. Gordon V Hoialmen Hea th er Hamilton Lee Thomas

Mr. David Handleman

Mrs. Ella M. Montroy House on Main, Royal Oak Village Toy Co mpany Giselle (1997198)-

Don jensen

Ein o &: lillian Nurme

Drs. Orlando &: Dorothy Mi ll er

Dr. Roben E. L Perkins

Ms. Ruth Rattne r

BENEFACTOR Richard Sonenklar

$5,000 - $9 ,999 Mrs. Glorie SlOn isc h

Ruth Rawlings Mott Gem &: Century Theatre Vitner's Ce llar Perfonnance, Romeo et Juliette Paula Lingelbach Ms. Ann Kirk Warren Interm ezzo Ms. Rhonda Wal ker, WDIV (199&'99) - Performance

IN KIND GIFTS

j acobso ns Washington Place An tique &:

93.9 The River Judy Weiner Shop Fl ower Shop

Mr. &: Mrs. Eugene Novacek

Robe n Bosch Corpora tion

Mr. R. E Whelan

Mr. &: Mrs. Irving Rose CORPS DE BAL LET

American Ai rlin es Daniel j arzembowski - Wayne Sta te University Giselle ( 1997/98)- SU STAINER $ 250 - $49 9

Helen Arn oldi -Rowe Flower to Flour The Westin So uthfield

Anrangement Flower Shop Don Jensen

Bag Lady Beads Little Things

Co-Performance, Swan Lake

$2 , 500 -$ 4 ,9 99

Mr &: Mrs. Eugene l eich

Unisource (199912000) - Mary Alice &: Harry l omason Mr. Paul lerg

Uptown Deli and Catering

Co-Production The Samuel L Westerman

Beans and Cornbread The Maj estic Cafe Cyrill Weems Foundat ion

Sean Blackman Marri ott Downtown Detroit Shana). Westley Mrs. Shirley Schlafer

Bloomfield Elite Transportation

Se rvi.ces

Bon BonsiScentsations

Betty Brooks

Metro Cars

Pat &: John Young Swan Lal" (1999/ 20 00)-

johanna Moo re-Cudlljp Zoup'

Motor Ci ty Catering

Music Hall

y. A. Muer Corporatjon Neiman Marcus

Canape Can Oa klan d Printing

Cartier, Inc. Opus One

Co-Production

DANCE Pearl A. &: George M. Zeltzer

SPO NSORSHIPS Swan Lake (1 996/97) -

DONOR

$1 ,500 - $ 2 ,499

Jonathon Chapman

David Chivas

Gloria &: Fred Clark

Me. &: Mrs. Robert Dewar

Mr. &: Mrs. Robert A Allesee Perfonnance, Rosanne &: Sa nd y Duncan

Dracula (19 97/98 ) - (1997198) - Perform ance,

Michael Casey Padded Cell, Royal Oak Performance, Don Quixote (1998/99) -

Cell ular One ' Poli te Ame ri ca (1997198) - Co- Co-Production, Swan Lnke

Ce resnie &: Offen Fur Grou p Porterfield Perfo nnan ce, Don Quixote (199912000) -

Shannon Grace Clark Post on Broadway (1998199) - Co -Production, Co-Production

Cloverleaf Wine and Spirits Charles Pugh Swan Lake (1 999,2000)-

Co-Production

Michael Evola

Barbara Frankel

Mr. David Handleman

Jo yce Urba &: David Kin sella

Louise

Dr. Ali Moim

BECOME A MEMBER

The Avanti Society

Michigan O p era Thea tre is please d to ann ounce the forma ti on of The Ava nti SOCiety, a ve ry sp ecial m emb ership gro u p.

Yo u can also in crease your inco m e thro u gh a tax-advantaged life inco m e gi ft. Within the s tages o f this in itiat ive, d on ors will b e inclu ded in "Th e Avanti

To beco m e a m emb er o f Th e Avant i Society" fo unders section of the do n or Society, our only requ est is that yo u na m e wa ll in th e Grand Lobb y at th e Detroit Mich igan Op era Th eat re in your Opera H ou se. O th er b enefit s will estate plan. T his may be d one in cl ud e an an n ua l Avanti Soc iety as a deSigna tion in dmn er at ten d ed b y wo rl dyo ur wi ll , tru st-D r

0+"'··'

f.();( cla ss art ists, Th e Avanti in suran ce p lan _ (g /t; Soc iety Newsletter, speC ial Thro u gh this gift , m forma tl onal events your generosi ty can "-,

flIlitJf!JIJJ(1hll and in vi tatio n p ri vileges crea te a personal lega- vv '(f to th e Board of Tru s tees cy an d glVe fu ture ge n eratio ns Ann ua l Meeting. the wo n de rful exp eri en ce of w orld -class If you h ave in clud ed Mich igan O p era op era an d d ance in a hi storica lly res tored Th ea tre in yo ur estate plan , or wo u ld like faCi lity. In ad d iti on , ca refu l es tate planning to d o so; p lease co ntact H olly Barr, can increase the am ount th at you ca n give Assis tant Directo r of Develo p me nt , at to love d ones or oth er ch ari tab le organiz a- 313/23 7- 3268 for more in formatio n , ti on s b ec au se o f redu ce d es tate taxes,

FOUNDING MEMBERS

Mrs. J o hn E. Ame rman

Dr Lo u rdes Anda ya

Mr. & Mrs. Agustin Arbulu

Mr & Mrs. Art Bl ai r

Ro y E. & Il se Calcagno

Mr & Mrs. Charles Duncan

Mr & Mrs. H erma n F rankel

Dr. Prisc illa Gree nb e rg

Mr. Lawrence W H a ll

Mr & Mrs. Kenn e th E. Hart

Mr & Mrs. Eu gene L H artwig

Mr D ona ld J e n sen

Mrs. Wade H. McC r ee

Ms. J ane McKee

Mr. Rona ld Morrison

Mr Dal e L Pagonis

Mr Richard M. Rai sin

Ms. Ph ylliS Funk Snow

Mr Ronald F Swi tze r

Mr Edwa rd D. Tusset

Mr. & Mrs George Vin cent

Administration & Staff

David DiChiera ADMINISTRATION Communi t y Programs Lauren Allion

General Director Bill Austin Mark Vondrak Membership Manager Assistant to the General Tour Manager Heather Hamilton

Brett Batterson Director Michael Hauser Volunteer Coordinator

Chief Operating Officer Linda DeMers Program Manager Ka thleen M. McNamara Executive Assistant Dolores Tobis Corporate Campaign

DEPARTMENT Beverly A. Moore Office & Marketing Manager

DIRECTORS Receptionist Manager Robena Starkweather

Karen VanderKloo t· Communications &tsy Bronson Boutique Manager

DiChiera Steve Haviaras Maria Cimarelli Jane Westley

Director of Community Director of Marketing Amy Dolan-Malaney Development Associate, Programs Susan Fazzini Larry Picard General Director's Circle

John Eckstrom Assistant Director of Karl Sc hmidt Finance/ Computer Mark Vondrak Director of Administration Marketing Barbara Wiltsie Services

Roberto Mauro Scott Campbell Outreach Touring William T. Schulz

Director of Artistic Public Relations Manager Company Controller

Administrator Jenise E. Collins Develo pment Kimberly Burgess-Rivers

David W Osborne Group Sales Coordinator Holly B. Barr Accountant of Production Jeanette Pawlaczyk Assistant Director of Deanna Higgenbotham

Nary Parkhill Public Relation s Development Accountant

Director of Developmen t AssistanUArchivist Stephani Miller Yates Mary E. Pihajlich

Jenni fer Turner Bill Carroll Assistant Director of Systems Manager Director of Faciliti es Public Relations Volunteer Development Ticket Office

Laura R. Wyss Bradley L Stroud Kimberly Mogielski

Director of Director of Dance Ticket Services Manager

Communications Development Jane Coe

At Franklin Ba We Keep Small

Kimberly Gray

Ticket Services Assistant Manager

Kimberly Woods

Ticket Services

PRODUCTION

Product ion

Administrat ion

Dee Dorsey

Production Coord inator

Elisabeth Fleming

Assistant to Director of Production

Greg Fortner

Assistant Director

Elizabeth Neds-Fox

Production Assistant

Nancy Krolikowski

Local Transportation Coordinator

Pat Lewellen

Audition Volunteer

Music Department

David DiChiera

Music Director

Suzanne Mallare Acton

Assistant Music Director, Chorus Master

Diane Bredesen

Orchestra Personnel Manager

Lawrence Picard Repetiteur

Jean Schneider-Claytor

Lawrence Picard Rehearsal Pianists

Stage Management

John Kennelly

Production Stage Manager

Brett Finley

Rebecca j. Graham Forbis

Stage Managers & tsy Ayer

Christop her Carte r

Dyan Wimmer

Assistant Stage Managers

Technical Staff

Monika Essen

Property Master

Kendall Smith

Lighting Coordinator

Shawn Kaufman

Assistant Lighting Designer

Dee Dorsey

Lawrence Picard

Surtitle Operators

Keith Kalinowski

Technical Assistant

Costumes

Suzanne M. Hanna

Costume Coordinator

Mary Ellen Shindel

Assistant Costumer

Ali ce Moss

Wardrobe Mistress

Ulla Hettinger

Margaret Bronder

Genevieve Palczynski

Stitchers

Makeup & Hair

Joanne Weaver

Allison Mazerski

Elsen Associates

Deanne lovan

Crew Coordinator

Stage Crew

John Kinsora

Head Carpenter

Robert Mesinar

Head Electrician

Alan Bigelow

Head Property man

Robert Martin

Head Flyman

Steve Kemp

Head Soundman

Gary Gilmore

Production Electrician

Mary Ellen Schindel

Head of Wardrobe

IATSE Local #38

Stagehands

IATSE Loca l #786

Wardrobe

DETROIT OPERA HOUSE

Trish Almquist

Event Coordinator

Sandy Muczinski

House Manager

Rock Monroe

Director of Security

Calvin Williams

Maintenance Supervisor

Demet rius Barnes

Jesse Carter

Clyde Surrell

Building Engineers

Aubrell Hicks

Concessions Supervisor

Loraine Monro e

Burtron Reynolds

Stage Door Security

Volunteers Are the Heart of Michigan Opera Theatre

It has been said that opera is the ultimate theatrical experience, because it encompasses so many elements on one stage : vocal and orchestral music, drama, dance, costumes, sets and lighting. The achievement of this multiplicity requires many voices and many willing hands. The talented, giving hands of our Ushers, Ambassadors, Office and Boutique workers, Dance Council, Young Professionals, Movers, Supers, Education & Outreach and Outreach and Opera League volunteers have a Significant impact on the overall operation of the Company.

MICHIGAN OPERA VOLUNTEER ASSOCIATION EXECUTIVE COMMITTEE

Betty Brooks, President

Linda Watters, Treasurer

Arda Barenholtz, Secretary

Gloria Clark, Past President

CHAIRMEN OF STANDING COMMITTEES

Roberta Starkweather, Adagio & Boutique

Helen Millen, Ambassadors

Linda Watters, Cookbook

Dodie David, Dance Council

Helen Arno ldi-Rowe, Divas

Wallace Peace , Education & Outreach

Richard Hill, Education & Outreach

Corinne Opiteck, Opera House Ushers

Stephanie Germack, Opera League of Detroit

David Odenbach, Supers Club

Jeanette Pawlaczyk , Volunteers, Etc

Phil Hughes, Volunteer Voice

Michael Poris, Young Professionals

MEMBERS-AT-LARGE

Caroline Addison Peace Hill

Don Jensen

Queenie Sarkisian

Detroit Opera House

I

When it comes to your financial plan or investment portfolio, you don't have to compromise. National City's Private Client Group provides the best of both worlds in our industry - independent, personalized solutions and serVice, combined with the financial strength and resources of National City Corporation. Together, we deliver a co mplete range of wealth-building so lutions based on your needs today and your vision for the future. It's a team approach, delivered to you through a dedicated Relationship Manager. The Private C li ent Group: The Best of Both Worlds. Call Newton Kimberly, Senior Vice President and Market Executive, 248.901.2380 or 1.800.243.7247.

GET THE BE S T 0 F BOT H W 0 R L D S

Gen eral Information

PHOTOGRAPHY Be RECORDING DEVICES

Unauthorized cameras and recording de v ices are not allowed inside the theater at any tim e. Th e taking of p hoto grap hs of the theater or any performance is strict ly prohibited. As a courtesy to our gu ests , we ask that all paging devices, ce ll phones and alarm watches be switched to 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 ticke t) and our emergency numb er, 313/237 -3257, with the service or sitter in case of an emergency Please observe the light ed exi t signs loc ated throughout the theater. In the even t of fire or similar emergency, please remain ca lm aJ'ld walk - do not run - to the n ear-e st exit. Our u shers are trained to lead you ou t of the building sa fely A train ed Emergency Medical Technician (EMT) is on si te during most events. Please see an usher or sta ff member to co ntact the EMT.

RESTROOMS Ladies ' restrooms are loca ted off the Ford Lobby (Broa dway stree t entrance), down the stairs and also on th e third floor (Ma di son street entrance) - please press "3 R" on the elevator to reach these facilities. Gentlemens restrooms are lo cated under the Grand Sta ircase , and also on the thi rd floor (Broadway street en tran ce) - please press "3 " on the elevator to reach these facilities. Please not e: All third-floor res trooms are wheelchair accessible.

NO SMOKING The Detroit Opera House is a smoke-free faCility Ash receptacles are provided on tb-e exterior of all entry doors for those who wish to smoke.

USHERS Ushers are sta tion ed at th e top of each aisle. If you have a question or concern, please inform ush ers, and they will contact mana ge m ent. If you are int eres ted in becoming a vo lunt eer

usher, please call the usher hotline at 313/237-3253.

LATE SEATING Latecomers will be seated only during an appropriate pause in th e program and may view the program on closed-circuit tele vision monitors located in the lobbies until an appropriate program pause occurs. Late seating policies are at the discretion of the production, not opera house management.

LOST Be FOUND Lost and Found is located in the Security Department. Please see an usher if you have misplaced an article , or call 313/961-3500 if yo u have already left the theater. Items will be held in Lo st and Found for thirty days.

PARKING Parking for all events is available in the Opera House Garage, located direc tly across from the Detroit Opera House (on John R. and Broadway streets). Prepaid parking is available throu gh the box office. Please call 313/237 -SING for p arking information.

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 requ ire special accommodations. Assisted Listening Devices are available on a first -come, first -served basis. Please see an usher to request this service. Although this is a complimentary service , we will request to hold a piece of personal identification while you are using the d evice. Please contact the Bo x Office, should you desire special consideration .

CHILDREN Children are welcome; however, all guests are required to hold a tick e t , regardless of age. We kindly ask that parental discretion be exercised for certain programs, and that all guests remember that during a program such as opera or ballet, the ability of all audience

IMPORTANT NUMBERS

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 in all levels. Please note that 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 the Detroit 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 one and three Public pay phones are located in the ves tibule of the Ford Lobb y and in the restrooms. Patrons in wheelchairs can access pay phones outside the third-floor ladies' restrooms.

RENTAL INFORMATION

The Detroit Opera House is available for rent by yo ur organization. Please call Jennifer Turner, Director of Facilities, at 313/961-3500 to receive rental information.

TICKET INFORMATION

The Detroit Op era House Ticket Office hours are as follows: Non-performance weeksMonday through Friday 10:00 a.m to 5:30 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 eve nts held at the Detroit Opera House are also available through all TicketMaster phone and retail outlets.

OPERA HOUSE TOURS Come join the Opera House Ambassadors for a backstage tour of the Detroit Opera House. Learn about the history of the Opera House and its restoration. Meet the people b ehind the scenes, tour the stage and see how it operates. Tours are $10.00 per person For more information please call 313/237-3407.

Copyright 2010, Michigan Opera Theatre

Mimi

Francesca Pedaci

( Oct 14 , 18 , 21)

Inese Galante

(Oct. 15,20 , 22)

Cast

Marcello

Mariusz Kwiecien

(Oct. 14 , 18, 21)

Marian Pop

(Oct. 15,20 , 22)

Boy Solo

. Dennis Strach

leffKirsch

Frank Kong .

Stev e LaGrassa

David Piotrowski

Corinne Fine

April lones-Boyle

Viol e tta Kapayo

Supernumeraries

Local Wig and Makeup Crew

Rodolfo

Francesco Grollo

(Oct. 14,18 , 21)

Raul Melo

(O ct. 15 , 20 , 22)

Stilt Walker " Spaghetti "

Paul Plamondon

Matt Ruhlig

Andres Sceglio

Parker Plague

T e rese Shmina

Ann St. Pet e r

There will be a brief pause following Act I - please remain seated. A I5-minute intermission will follow Act II and Act III.

On November 7, Michigan Opera Theatre encourages you to "Yes" on Proposal A

cost fan tutte t

Cast

Fiordiligi

Monica Colonna (Nov. II, 15 , 18)

Lyne Fortin (Nov. 12, 17, 19)

Dorabella

Theodora Hanslowe (Nov . II, 15, 18)

Damiana Pinti ·(Nov . 12, 17, 19)

Don Alfonso

Natale De Carolis

Danny Bradley

Bruce Davis

Bill Kupsky

Ali Moiin

Corinne Fine

April Jones-Boyle

Violetta Kapayo

Supernumeraries

Ferrando

Gregory Turay (Nov. 11, 15, 18)

Gioacchino LiVigni (Nov. 12, 17, 19)

Guglielmo

Al fredo Daza (Nov. II, IS, 18)

Gianpiero Ruggeri (Nov. 12, 17, 19)

Despina · Ying Huang

David Odenbach

Paul Plamondon

Jim Slowik

John Tomashek

Local Wig and Makeup Crew

Parker Plague

Terese Shmina

Ann St. Peter

Due to early copy deadlines, the following artist profiles were not included in the program:

Damiana Pinti (Italy)

Dorabella (Nov. 12, 17, 19)

With this Michigan Opera Theatre appearance, mezzo-soprano Damiana Pinti marks her Amerioan debut. After winning several prestigious awards , the rising young artist made her operatic debut in 1998 as Charlotte in Massenet's Werth er at the Teatro Verdi de Temi In 1999, she appeared in Gianni Schi cc hi (Zita) at the Cantiere Tntemazionale dell' Arte de MontepuIciano, Th e Marriag e of Figaro and in Dido and Aeneas (Dido) in Spoleto and in Porpora's Arianna in Nasso in Savona . Recent engagements include Cosi fan tutle at the Teatro Verdi di Pisa, Don Giovanni and Lucia di Lamm ermoor in Cagliari and The Barber of S e ville in Cagliari. Ms. Pinti will soon record L 'itaUana in Algeri (Zulma) for BMG Records.

Gioacchino Lauro LiVigni (USA)

Ferrando (Nov. 12, 17, 19)

Mr. LiVigni has performed on Italian stages as Nemorino in The Elixir of Lov e, and Arturo in I Puritani. He made his American debut with The Academy of Vocal Arts as Ferrando ' in Cosi fan tutle last February, a role he also sang for the 2000 Lake Opera Festival. This past spring he appeared as Rinuccio in Boheme Opera New Jersey's production 'of Gianni Schicchi. In January 2001 , Mr. LiVigni will make his debut in Philadelphia as Elvino in La Sonnambula . The 29-year-old tenor is the recipient of the first Michele Guagliardo Fellowship at A VA in honor of tenor Marcello Giordani's late father. He was also the winner of the Italian "Voci Donizettiane"competition, and was a finalist in the Licia Albanese / Puccini Foundation competition He currently serves as a resident artist at The Academy of Vocal Arts in Philadelphia. Copyright 2010, Michigan Opera Theatre