PROGRAM: Bravo 2002 Spring Opera and Dance

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Tht; Official MagaZine of the Detroit Opera House

BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION

Dr. David DiChiera, General Director

laura Wyss, Editor

Matthew S. Birman, Associate Editor

CONTRIBUTORS

Dr. David DiChiera

Roberto Mauro

Roger Pines

Michigan Opera Theatre Staff

PUBLISHER

Live Publishing Company

Frank Cucciarre, Design and Art Direction

Jennifer Irvin , Production Coordinator

Chuck Rosenberg, Copy Editor

Toby Faber, Director of Advertising Sales

ON THE COVER

Illustrations by Steve Tetlow

Michigan Opera Theatre would like to thank Harmony Hou se Records for donating season recordings and videos.

Physicians' service provided by Henry Ford Medical Center.

Northwest Airlines is the official airline of Michigan Opera Theatre.

Pepsi-Cola is the official 50ft drink and jui ce provider for the Detroit Opera House.

Steinway is the official piano of the De troit Opera House and Michigan Opera Theatre. Steinwa y pianos are provided by Hammel MuSiC , exclusive representative for Steinway and Sons in Michigan.

President Tuxedo is the official provider of formal wear for the Detroit Opera House.

Michigan Opera Theatre is a nonprofit cultural organization whose activities are supported in p a n by the Michigan Council for Arts and Cultural Affairs, th e Nationa l Endowment for the Arts, and other individuals, corporations and foundations. Michigan Opera Theatre is an Equal Opportunity Employer.

Spri g eason

General Motors Opera Cafe

Michigan Opera Theatre is proud to announce the opening of the General Motors Opera Cafe on the Madison Avenue side of the Detroit Opera House. This warm, cozy bistro is open two hours prior to performances for salads, soups and sandwiches The General Motors Opera Cafe will also remain open throughout the performances and for dessert following all shows. The Cafe will have a separate entrance off Madison Avenue and will be open to the general public for all Detroit Opera House events.

Thanks to a generous grant from the General Motors Corporation, Michigan Opera Theatre has been able to transform what was once our plaster shop during restoration into an inviting oasis for patrons, while at the same time contributing to the new vitality in our neighborhood

Open to the Public April 20, 2002

Cafe Cuisine

Edibles Rex excels in quality food, impeccable service and deliveries, with the highest regard for the safe handling of their food They have been in business for over 10 years and have a seasoned and accomplished staff. Current clients include the Detroit Science Center and the Wayne County Medical Society.

Sample Offerings

SOUPS:

Salads:

Italian Wedding, Chicken Noodle, Black Bean Chili, Traditional Chili, Lemon Lentil. Split Pea & Ham, Minestrone and Seasonal Soups

Smoked Salmon Caesar, Grilled Chicken Salad, Beef Tenderloin & Bleu Cheese Salad, Mixed Baby Greens

Sandwiches: Chicken Salad Croissant, Smoked Salmon on Focaccia, Smoked Turkey & Apple Wood Bacon, Roasted Veggie Baguette , Peanut Chicken Wrap and Beef Tenderloin on Black Bean Salsa Flute

Dessert: Tiramisu, Key Lime Pie , N.Y Style Cheesecake, Chocolate Cake, Apricot Spice Cake, Oversized Cookies, Oatmeal Cherry Bars and Blueberry Coffee Cake

Features

• Outdoor patio seating

• Unisex accessible restroom

• Small stage

• television

• Open to general public before, during and after all Detroit Opera House events

- PLEASE VISIT THE GM CAFE DURING INTERMISSIONCopyright 2010, Michigan Opera Theatre

DaimlerChrysler proudly supports the Michigan Opera Theatre and is honored to be the exclusive sponsor of their 2001-2002 dance season

Copyright 2010, Michigan Opera Theatre

DAIMLERCHRYSLER (

Our engineers may not be graceful dancers, but they do know their left foot from their right.

Building on Our Successes

Welcome, and thank you for joining us for the final three productions of Michigan Opera Theatres 31st spring opera season. We are so excited to present Giuseppe Verdis supreme masterpiece Otello and Leo Delibes' beautifu l and exotic I11kmetwo productions new to our repertoireand, of course, Mozarts delightful The Marriage of Figaro, a perennial favorite among Detroit audiences As always, we extend our deepest gratitude to General Motors Corporation for sponsoring this exciting spring season

I wou ld further like to express our gratitude to General Motors Corporation for helping us provide our guests with a beautiful new cafe to enjoy before and after the performance Thanks to a generous grant from General Motors Corporation, we were able to transform what was once our plaster shop (during restoration) into an inviting oasis for our guests. The beautiful new GM Opera Cafe, located at the Madison entrance of the Detroit Opera House, is a cozy, pub -like bistro, open to all of our guests two hours prior to curtain for soups, salads and sandwiches, and following the performance for desserts and spirits.

As part of this renovation , we have completed a fully accessible restroom faCility on the main floor. We know that the lack of facilities has provided a challenge for a number of our patrons, and we are so pleased that our faCility is now accessible to all.

Recently, we announced details of our exciting 32nd opera season , which offers something new for audiences at every tum- newly deSigned productions and works new to our repertory, all brought to life by today's finest artists At the same time, the season offers an exciting blend of favorite works by Verdi,

Detroit Opera House

Donizetti, Johann Strauss Jr. and Mozart.

The 2002-2003 season begins in October with a new production of Verdis II Trovatore, a dramatic tale of war, love and madness In November, we will present the company premiere of Don Pasquale , the lighthearted story of a rich bachelor who experiences the downside of having a young, headstrong and spendthrift bride. Our 2003 spring season begins in April with Mozart's masterwork Don Giovanni, based on the life of the legendary philanderer Don Juan, and continues with Johann Strauss Jr.'s beloved Die Fledermaus, a lighthearted story of deception and the revenge extracted for p laying a practical joke. The 2002-2003 season concludes with our very first 21st -century opera-Dead Man Walking, a bold contemporary American opera, based on Sister Helen Prejeans relationship with a murderer on Death

www.MichiganOpera.org

Row, whose redemption is still in the balance.

Ticket prices for the 2002-2003 opera season will not be increased, but will, in many sections, feature greater discountssubscribers can save up to 35%! Additionally; we have developed several new cost-saving programs , including incentives for Weeknight Subscribers , Young Professionals and a special discount for our friends in Canada . As always , our Family Series allows families to experience the opera together-for as little as $10 a performance per person.

Next season, the five-opera subscription series is comp lemented by two extraordinary speCial events-a onenight-only concert by world-renowned soprano Cecilia Bartoli and a massive, fully staged production of Turandot- a once-in-a-lifetime opera event at Detroits Joe Louis Arena. Only Michigan Opera Theatre subscribers will have first opportunity to purchase tickets for speCial events!

Renewing subscribers will receive information in early April. This year, we are offering an additional discount for early renewals; I encourage you to renew now to take advantage of this discount and secure your seats. You won't want to miss any of the exciting productions and events that we have planned just for you.

Enjoy the performance I

David DiChiera General Director

PERFORMANCE is a commitment to Excellence

ith its commitment to excellence in every performance, the Michigan Opera Theatre inspires , enthralls and delights us. It enriches our lives.

The MASCO family of companies proudly supports the Michigan Opera Theatre's great productions in its 2001- 2002 season. They are outstanding contributions to the cultural life of Michigan and we extend our best wishes for a sensational season .

Courtesy 0/ ,Micbigan Opem Tbeatre

THE CAST

By order of vocal appearance

MONTANO

Donald Hartmann

CASSIO

Theodore Green

IAGO

Mark Delavan

RODERIGO

Ma tthew Tuell+

OTELLO

Vladimir Galouzine*

CApril 20, 24 , 26 &: 28 m )

Eduardo Villa

CApril21m &: 27 )

DESDEMONA

Isab ella Sacco*

CApril 20 , 26 &: 28m)

Giu sep pina Piunti *

CApril 21 m , 24 &: 27 )

EMILIA

Kathleen Segar

A HERALD

Chri sto pher Vaught

LODOVICO

James Patterson

* Michigan Opera Th eat re Debut

+ Michigan Opera Theatre Young Artist

Apprentice

Cond uctor Steven Mercurio

Director Mario Corradi

Chorus Master

Suzanne Mallare Acton

Set Des ign

Allen Charles Klein

Costu me Des ign Malabar, Ltd

Lighting Design Kendall Smith

Makeup & Hair Des ign

Elsen Associates

English Surtitl e Tran slation

Christopher Bergen

Stage Manager

William Coiner

Sce nery provided by the Baltimore Opera Company.

Surtitles for this production are owned by Christopher Bergen Productions.

Specia l thanhs to Rackham Symphony Choir for auxiliary chorus members.

Setting: Cyprus

Act I

cyprus , late fifteenth centu ry The Moor Otello , governor of the island and a genera l in the Venetian army, arrives in port as a tempest rages. Iago , Otello's ensign , confers with Roderigo , a fop who has come to Cyprus because of his unrequited love for Desdemona, a Venetian b eauty recently married to Otello. Promising to help Roderigo, Iago says Desdemona should soon tire of her Moorish husband , adding that h e himself has reasons for revenge on Ote llo , who passed him over for advancement, promoting Cassia ins tead. Iago proposes a toast; when Cassia declines any more drink, Iago says he cannot refuse to salute Ote llo 's new wife. Cassia consents and grows tipsy, as Iago provokes Roderigo to a duel with Cassia. When Montano, Otellos predecessor in command, tries to separate the two, Cassia attacks him as well. Otello comes out of the cast le to restore order. When he sees Desdemona disturbed by the fray, h e takes away Cassias recent promotion. Sending everyone home , Ote ll o turns to his bride, and they reca ll their courtship Leading her back into the castle, O tell o kisses her.

Act II

A room in the castle, opening on a garden. Iago tells Cassia that by presenting his case to Desdemona he can be reinstated, because Otello is influenced by his wife. As soon as Cassia is out of Sight, Iago declares his belief that a cruel God created man wicked and life has no meaning. Iago watches as Cass ia approaches Desdemona in the garden , and when Otello comes in , the lieutenant makes casua l remarks about Desdemonas fidelity Softened by his

BRAVO

Temple of Apollon, Cyprus

wifes beauty, Otello greets her, but she brings up the question of Cassias demotion , annoying him. When she offers a handkerchief to wipe his brow, he throws it to the ground, wh ere h er attendant, Emili a, retrieves it. As Desdemona tries to calm Otello, Iago orders Emilia (his wife) to give him the handkerchief. Otello asks to be alone, and the others leave, except for Iago, who han gs back to observe Otello 's growing suspicion. To fan the flames , Iago invents a story abo ut h ow Cassio spoke lovingly of Desdemona in his sleep . Then he mentions her handkerchief, saying he saw it in Cassia's hand. Beside himself, Otello swears to have vengeance, and Iago joins in the oath.

Act III

In the armory, Iago tells Otello that more proof is forthcoming of his betrayal by his wife and Cassia. Desdemona enters, and Otello speaks calmly until she revives the subject of Cassia. When Otello demands the handkerchief he gave her, she again pleads for Cassia. Otello call s the shocked woman a courtesan and dismisses her. He cries out that heaven cou ld have afflicted him with anyt hing but this, then hides as Iago returns with Cassia Iago flashes the handkerchief he stole and leads Cassia on in banter, in such a way that Otello

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overhears only fragments and thinks they are talking about Desdemona .

As trumpets announce dignitaries from Venice, Otell o vows to kill his wife that very night. The Moor greets Lodovico, who recalls him to Venice and appoints Cassia to govern Cyprus. Losing control at this news, Otello pushes his wife to the floor with insults. He orders everyone out and co ll apses in a seizure, as Iago gloats over him, crying, "Behold the lion! "

Act IV

As Emilia helps Desdemona prepare for bed , the frightened woman sings of a maiden forsaken b y her lover. Startled by the wind, she bids Emilia an impassioned farewell and kneels in prayer before retiring. As soon as she has dozed off, Otello enters through a secret door and kisses his wife This wakens her, but the jealous man, deaf to her protestations of innocence, strangles her. Emilia knocks with news that Cassia has killed Roderigo; entering , she is horrified to find the dying Desdemona and summons Cassia , Lodovico and Iago , who escapes when his wife reveals his treachery Realizing his tragedy, Ote ll o pu lls out a concea led dagger and stabs himself, dying upon a final kiss. m

- Court esy of Opera News

Detroi t Opera House

Copyright 2010, Michigan Opera Theatre

to new hei ghts of inspi ration

by Roger Pines

Giuseppe Verdi had perhaps the greatest "Indian summer" ever experienced by an operatic composer. At an age when he could have easily rested on his laurels, he was persuaded to produce a major new stage work (two of them , in fact, as Falstaff later proved). It was on ly fitting that the summit of his career would be reached with operas based on Shakespeare , to whos e art Verdi was intensel y devoted. His operas had attained heights of tragic grandeur before, but he surpassed every expectation in Otello.

Verdi's mature years found him not only world-famous , but also a symbol of Italian unity (he even served briefly in the Italian parliament) . He composed only six operas , plus the Requiem , between 1859 and 1893. During this period also , he produced major revisions of Simon Boccanegra, La Forza del Destino and Don Carlos. He remained deeply involved in the preparation of his operas in theaters throughout Europe. Having worked constantly for his entire adult life, he looked forward to a leisurely life in his declining years . It took patient coaxing b y his publisher, Giulio Ricordi , for the composer to produce Otello at age 73.

The new opera 's librettist , Arrigo BOlto , had already collaborated with Verdi on the revised Simon Boccanegra (1881). BOlto, a composer himself (Mefistofele) , could hardly have been a worthier creative partner for his older colleague , u ltimately producing perhaps the greatest editing job in the history of opera. Although the libretto of Otello eliminates Shakespeares first act , the sheer skill of the adaptation and the beauty of the language itself disarm

Detroit Opera House

criticism. The works genius can legitimately be compared with that of its dramatic source (although to be compared with his idol Shakespeare would have appalled Verdi) . The premiere at Milans La Scala on February 5 , 1887 , was a staggering success for the composer

Otello's opening - the flash of lightning and thunder, produced by a fortissimo orchestral outburst - makes clear from the start that the dramatic power of this work will be something unique in Italian opera. As the act proceeds, it's clear that he will accomplish his dramatic ends , in large part b y eliminating the "seams " between individual musical numbers; the episodes merge into each other, the music and drama being absolutely continuous.

www.MichiganOpera.org

Copyright 2010, Michigan Opera Theatre

The three leading roles are among the greatest in Italian opera . The sheer vocal weight necessary for Otello was unique for the time (a lthough the first Otello, Francesco Tamagno, also sang numerous lyric parts). The ro le moves Act Ones unblemished triumph - the exhilarating "Esultate! " - and the ecstasy of the love duet to a series of challenges in each of the subsequent acts. The tenor must traverse the painful nostalgia of the hero 's farewell to his glory days; the terrifying explosion of fury, following Iago 's revelation regarding the handkerchief; the insinuation and blind rage with which Ote ll o confronts Desdemona in Act Three ; and the final agony and nobility of the death scene . It is a supreme test , not just vocally, but in terms of physical characterization and intense textual delivery The great Otellos have all responded to both the heroic element and the shattering intimac y that colors so much of the role.

The tone of lagos music hardly conveys villainy in every utterance; delicacy makes itself felt as well. For example, he has several trills (unlike most male singing toda y, this was expected to be part of the technica l equipment in Verdis era) An Iago possessing the power for the "Credo " can hardly succeed without the myriad vocal colors that make the character's account of Cassio's dream so mesmerizing. Like Sh akespeare's figure, the VerdifBolto .l ago can handle numerous interpretations. What helps immeasurably in developing the role from act to act is that BOlto 's te x t is frequent ly given an effervescence and rhythmic verve by Verdi (listen to the first-act drinking song or the thirdact trio) ; thus, the contrast with the character's more sinister moments

BRAVO 11

It is a supreme test, not just vocally, but in terms of physical characterization and intense textual delivery. The great Otellos have all responded to both the heroic element and the shattering intimacy that colors so much of the role.

b ec omes that much more telling. An effective Otello and, eve n more so, a fine Iago can be manage d w ithout Significant beauty of tone , w hereas Desdemona 's music seems to cr y out for warmth, vel ve t, shine , glow - all those words that spell "b ea utiful voi ce."

I

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Legato is the soprano:S mode of expression from first note to last. Beyond the vo ice itself , it is the heroine 's sincerity that must be imparted b y eac h phrase; if that is in evidence, Verdi and BOlto will take care of the rest.

These principles , whether alone or in dialogue with the supporting playersdashing Cassio, frustrat ed Roderigo , de vote d Emilia , dignified Lodovicocreate a trul y magnificent musical/dramatic canvas. Add this to Verdi's choral and orchestral mastery, color it all with the flair of a born man of the theater, and yo u ha ve a work that lives for ever in any opera goer's memory m

Adapted from an article originally written for Lyric Opera of Chicago

Roger Pin es, editorial dramaturge at Lyric Opera oj Chicago , writes regularly Jor major opera - related publications thro ughout the country. He has also judged the Metropo li tan Opera National Council auditions in 15 cities, including Detroit.

Dorothy McMahon , LUTCF, CSA

Certified Senior Advisor

Artist Profiles

SUZANNE MALLARE ACTON

ChOnlS Master Michigan Opera Theatre Debut - Mikado 1982

Now celebrating 20 years with Michigan Opera Theatre, Suzanne Mallare Acton has served as the Opera Company!; assistant music director and chorus master since the 1981-1982 season. She has conducted severa l productions during her tenure, including The Barber oj Seville and The Daughter oj the Regiment. For Dayton Opera, s he has conducted West Side Story, My Fair Lady and The Pirates oj Penzance Ms. Acton has served as coach and accompanist for the opera compan ies of St. Louis and San Diego, and is the music director of Rackham Symphony Choir.

MARIO CORRADI

Director

Michigan Opera Theatre Debut - Cannen 1996

Mario Corradi has staged several operas for Michigan Opera Theatre , including La Boheme, Werther (with Andrea Bocelli), Madama Butterfly, Tasca, Calmen, The Elixir oj Love, Cos! Jan tutte, Lucia di Lammennoor and Falstaff, and returns this spring for Otello. He was an assistant to Jean-Pi erre Ponnelle until he made his debut as stage director for n Matrimonio Segreto in Palermo. Since then , he has staged operas internationally in Athens, Bergamo, Macerata, Madrid, Monte Carlo, Parma, Tokyo , Trapani (winners of the Di Stefano Vocal Competition) and Opera Pacific.

MARK DELAVAN raga

Michigan Opera Th eatre Debut - Cannen 1989

The versatile and sought -after baritone recently mad e his Metropolitan Opera debut as Amonasro in Aida opposite Luciano Pavaro tti , following his performance in the same role at Michigan Opera Theatre A regular guest artist at the New York City Opera, his credits there include the title roles of Rigoletto, Macbeth, MefistoJele and Falstaff, the four villains in The Tales oj Hoffmann, Scarpia in Tasca, Ezio in Attila, Escamilla in Cannen and Enrico in Lucia di Lammennoor. Additional credits include major roles with the companies of San Francisco , Santa Fe, Montrea l, Amana, Atlanta, Austin, Chautauqua, Glirnrnerglass, Kentucky, Milwaukee and Pittsburgh.

VLADIMIR GALOUZINE

Otello (April 20, 24, 26 , 28m)

Michiga n Opera Theatre Debut

Internationally acclaimed tenor

Vladimir Galouzine made his debut as a member of the Metropolitan Opera Company, in 1994, as Sergej in a new production of Lady Macbeth oj

Mtsensk. In subsequent seasons, he made his debuts at La Scala, Milan, in a new production of The Gambler, at the Vienna Staatsoper, first singing The Queen oj Spades and then Otello, Aida and Ta sca, and was also invited by the Theatre Royal de la Monnaie, Brussels, to sing Otello. In the 2000-2001 season, Mr. Galouzine made his debut at Covent Garden (Tasca, The Queen oj Spades), at Tokyo Opera en Trovatore) and at Lyric Opera of Chicago (The Queen oj Spa des). In upcoming seasons, he will return to the Metropolitan Opera, New York, for Otello, Turandot and Manon Lescaut. He is invited to the Bastille for Turandot, Otello and Manon Lescaut, to the Orange Festival for Otello and to the Maggio Musicale in Florence for a new production of Otello. He will return to the Lyri c Opera of Chicago for a new production o f Manon Lescaut and will appear in Venice and Genoa, again singing Otello.

THEODORE GREEN

Cassia

Michigan Opera Theatre Debut

- Aida in Concert 2000

Tenor Theodore Green has established himself as one of the up-and-coming lyric tenors of his generation. Mr. Green has appea red with Boston Lyric Opera (La Fille du Regiment), Seattle Opera (Lucia di Lammennoor), Nevada Opera and Des Moines Metro Opera (La Boheme), Minnesota Orchestra (The Tend er Land), Opera Theatre of St. Louis COtello) and Opera Omaha (Don Pasquale), and last season with Michigan Opera Theatre as Alfredo in La Traviata.

DONALD HARTMANN

Montano

Michigan Opera Theatre Debut

- Tasca 1996

Bass-baritone Donald Hartmann is a distinguished performer w ho has appea red in numerous operatiC productions. Highlights of Mr. Hartmanns career include Zufuga in Cannen with Nashville Opera and Toledo Opera, Abimelech in Samson and Delilah with Michigan Opera Theatre, Bartolo in Arizona Operas Marriage oj Figaro, Bonze in Madama Butterfly with Toledo Opera and Pooh-bah for Nashville Operas Mikado. Mr. Hartmann is currently a full professor of music at Eastern Michigan University.

ALLEN CHARLES KLEIN

Costume deSigner! Set deSigner

Allen Charles Klein completed his studies in stage design at Boston University. Mr. Klein is the only American designer to ha ve fo cused his career excluSive ly on the production of set and costume design for opera and, together with Bliss Herbert as director, has created

more than 80 new productions. He has designed productions for San Francisco, Dallas, Seattle, Baltimore, Toronto and New Yorks Metropolitan Opera, and in Europe for the Scottish Opera, Edinburgh Festival, Glyndebourne Festival , Deutsche Oper Berlin and the Vienna State Opera. H e has deSigned the world premieres of Floyds OJ Mice and Men, Villa-Lobos' Yenna, John Eaton's The Tempest and most recently Floyd 's The Passion oj Jonathon Wade.

STEVEN MERCURIO Conductor

Michigan Opera Theatre Debut - Tasca 1995

Following in the footsteps of such versatile American musicians as Leonard Bernstein, Maestro Mercurio combines composing and conducting both opera and the symphonic repertoire, standa rd and contempo rary repertoire, in telecasts, video and audio recordings, and film scores and ballets. For fiv e seasons, he was the music director of the Spoleto Festival and has been the prinCipal conductor of the Opera Company of Philadelphia and associate conductor of the Brooklyn Philharmonic. H e has also conducted the opera companies of Rome, San Fran CiSCO, Washington and Brussels , and led recordings in London and Vienna. He has conducted numerous operas and three gala concerts on the Michigan Opera Theatre podium.

JAMES PATTERSON

Lodovico

Michigan Opera Theatre Debut - La Boheme 1993

Since beginning his career as an Adler Fellow with the Sa n Francisco Opera in 1983 , bass James Patterson has given more than 150 performances with that company, including Sparafucile in Rigoletta and Fafner in the company's widely acclaimed Ring Cycle. He has also sung with Chicago Lyri c Opera (Tasca and The Force oj Destiny, among others), and ex tensively in Cana da. This marks Mr. Pattersons 18th production with Michigan Opera Theatre, including the role of Johann in Michigan Opera Theatres production of Werther, with Andrea Bocelli and Denyce Graves.

GIUSEPPINA PIUNTI

Desdemona (April 21m, 24, 27)

Michigan Opera Theatre Debut Miss Piunti makes h e r North American debut with this appearance in Michigan Ope ra Theatres Otello. The soprano was hailed by critics and I audiences alike for her performances at the Wexford Festival in Sappho by Massenet, Sarka by Fibich, and La Fiamma by Respighi. She is a frequent performer with the

Detroit Opera House

www.MichiganOpera.org

Rome Opera, where she has been heard recently as Olga In Fedora, Violante in La Prova di un'Opera Sena and Monica in La Fiamma. She was also invited to sing at the Rossini Fes ti val in n Signor Bruschino and in Sappho at the "Tea tro R Va lli" in Reggio Emilia.

ISABE LLA SACCO

Desdemona (April 20, 26, 28m)

Michigan Ope ra Theatre De but

These performances mark Ms. Saccos No rth Ameri can debut. The Italian soprano is n oted for her interpretallon of Desdemona in Otello, w h ich s h e has pe rformed m Muntch, Madrid and Tel Aviv. Recent ly, Ms. Sacco sang Mimi in La Boheme in Os lo.

KATHLEEN SEGAR

Emilia

Michigan Opera Theatre Debut - Carmen 1981

Detroit audiences will remember mezzo-sop rano Kat Ween Segar as Mich igan Opera Theatres Amneris in Aida and as Smeaton to J oan Sutherlands Anna Bolena, among others. Caree r hi ghlights incl u ded Die Walkiire at the Metropolitan Ope ra, The Tales of Hoffmann, La Cenerentala, The Marriage of Figaro, Der Rosenkavalier and Rigoletta at the Washin gton Opera, Eugene Onegin in Ph il adelph ia and Cava ll eria Rusticana at Opera Pacific. She performs freque ntl y Wlth the DetrOIt Symphony, recen tl y in Mendelssohns

Midsummer Night's Dream.

KENDALL SMITH

Light ing Des igner

Mich igan Ope ra Theatre De but - The Ballad of Baby Doe 1988

Over the course of his association wit h Mic higan Ope ra Theatre, Kendall Smith has deSigned over 2 5 productions for th e company O ther opera companies mclude San Dtego Opera, Virginia Opera, Lyric Opera o f Kansas City, Opera P aci fi c, Eugene Opera an d The Boston Lyric Opera. Theater cre di ts include Pioneer Theat re in Salt Lake City, North Shore Music Thea tre, StageWest, Merrimack Repertory Theatre and the Am erican Stage Festiva l m New H ampshire. F uture plans include a new production of Macbeth for Lyric Opera of Chicago and Don Pasquale [or Flo ri da Grand Opera

MATTHEW TUELL

Roderigo

Michiga n O p era Theatre Debut - La Traviata 200 1

Tenor Matthew Tu ell recently performe d the ro le of Edgardo in Arb or Opera Theatres prod u cti on of Luda di Lammermaar as well as Rin uccio in Gia nni ' Sc hicchi at th e Pin e Mountai n Mu sic Festiva l. Mr. Tue ll h as also performed with th e Utah Festival Opera Compan y, th e Natc h ez Opera Festiva l and Sarasota Opera. Mr. Tu ell was recen tly n amed t he J oyce H Cohn Apprent ice for the 200 1- 200 2 season and will appear in each Michigan Opera Theatre production this season.

EDUARDO VILLA

Otello (April 2 1m, 22, 27)

Michigan Opera Theatre Debut - Carmen 1996

Eduardo Villa is one of th e worlds most sou ght -after tenors, with n otable appear ances on leading stages, including Opera Orchestra • of New York and Opera Hamilton as J acopo in I Due Foscari, Bavarian State Opera, in Muntch , as the Italian teno r in Der Rosenkavalier the title role in Les Cantes d' HoJfmann, Pinkerton in ' Madama Butterfly, th e Duke in Rigaletta, an d Rodolfo in La Boheme. In North America, he has performed Cala f in Turandot for Opera Pac ific, Don Jose with the H o u ston Grand Opera an d Michigan Opera Theatre, an d the title ro le in Otello with Connecticut Opera. Last seaso n , he appeared in Mu nic h and Paris as Alfred , th en retu rned to Atlanta in th e title ro le of Otello.

ELSEN ASSOCIATES

Wigs and Makeup

Currently h air and m akeup designe rs for m ore than 20 opera companies in the u.s and Can ada inclu d ing Opera Colorado, Glimmerglass Opera, ' Ptttsburgh Opera, Sarasota Opera, Washin gton Opera an d Florentme Opera. The company h as participated m the festivals in Edinburgh, Jerusa lem and Spoleto On Broadway, th eir work has been seen in The Merchant of Venice, Two Tra ins Running, and The Wild Party, amo n g othe rs Elsen Associates has edu cational affiliations wi th Yale University, th e University of Maryland , the Ke nnedy Center Education Department and Carnegie-Mellon University m

Th e ar ts enri ch our li ves in way s th at go bey ond t he sp o ken word or mu sical not e. Th ey make us lau gh The y make us cr y. Th ey lift o ur spiri ts and brin g enjoymen t to our li ves. Th e art s and cultur al o pp o rtuniti es so v it al t o thi s co mmunity ar e al so important t o us. Th at 's why (om eri ca supp o rt s th e art s. And we appl aud th ose w ho j o in us in making in ves tm ent s th at enrich peo pl es li ves.

14 BRAVO

THE CAST

By ord er of voc al app earan ce

NILAKANTHA

David Mich ael *

LAKME

Sumi J o (May 11 , 15 &. 18)

Aline Kutan (May 12m , 17 &. 19m)

HAD]I

Ma tthew Tu ell+

MALUKA

Priti Gan dhi *

MISTRESS BENTSON

Mel ody Racine

ELLEN

Ka rla Hugh es+

ROSE

Eliz a Warner +

GERALD

William Burden * (May 11 , 15 &. 18)

Gerard Powers (May 12m , 17 &. 19)

FREDERIC

Malc olm Mackenzie *

A FORTUNE TELLER

Chris topher Vau ght

A MERCHANT

Tom Kab ala

A THIEF

Kim Millard

* Michigan Opera Th eatre Debut

+ Michigan Opera Theatre Yo u ng Anist

Apprentice

Conductor Mark D. F lint

Di rec tor Joshua Major

Choru s Mas ter

Suzanne Mallare Acton

Se t Design Al an Rus n ak

Cos tum e Des ign Pasquale Grossi

Lighting Des ign Shawn Kaufman

Choreograp her

Please see program insert.

Makeu p & Hair Des ign

Elsen Associates

Engli sh Surtitl e Translation

Roberto Mauro

Stage Man age r Kenneth Saltzman

Scenery provided by New O rleans Opera Association.

Costumes provided by Lyric O p era o f Chicago. Add itional costumes provided and built by Seattle Opera Costume Shop.

Music materials arranged through Educational Music Service, agents for the Mapleson Music Library Detroi t Op er a House

Acts

Setting: India, Mid-19th Century

Act I

Nilakantha , a fanatical Brahmin priest , nurses his hatred of tho se who h ave forbidden him to practice his religion He goes to attend a ga thering of the faithful. Lakrne , the daughter of Nilakaptha , and Mallika, her servant, are left behind at the temple. They sing as they prepare to bathe . Lakme removes her jewelry and leaves it on a bench. They go off in a boat. two young English girls , and their governess are on a picnic. They break through the bamboo fence that surrounds the temple The girls are warned that many of the fl owers present in the area are poisonous. They spy Lakmes jewelry The young English girls want sketches of the pieces. Gerald agrees to stay behind and do the sketches. When Lakrne and Mallika return, he hides. Mallika goes of, leaving Lakme alone. She spots Gerald. She cries in alarm When help comes , she sends them away She tells Gerald to forget he ever saw her, but Gerald is captivate d b y Lakrne Her father returns , sees the violation of his ho ly temple and swears to kill the man responsible.

Act II

In order to identify the intruder, Nilakantha forces Lakme to sing at the bazaar. To his fury, no one answers her singing. He bids her to continue When Gera ld appears, she faints in his arms. Knowing Gerald is the culp rit, the priest plots against him When the plan is put into play, Gerald is stabbed , b ut he is only slightly injured. Hadji, servant of Nilakantha, helps Lakme to remove Gerald to her secret hiding place.

Act III

Lakrne tends Gerald in her hut in the forest. Far off the so und of singing is

16 BRAVO

heard. She tells him it is a band of lovers , come to drink of the sacred spring , whose waters confer the gift of eternal love. She presses him to drink magical water that will ensure the couple eterna l love Ge rald hesitates , tom between his love for her and his duty to his regiment - a claim further pressed by his fe llow officer Frederic , who appears when Lakme leaves to fetch the water. Lakme notes a ch ange in Gerald when she returns. She tears a leaf off the fatal datura tree and bites it. As she is dying, they drink from the water of the sacred river. Nilakanth a comes in. Lakme tells him of the drink she and her lover shared from the sacred river and di es. m

- Courtesy of Arizona Opera

Delibes' exotic and neglected Lakme

by Roberto Mauro

To the majority, Lakme is a title that bears little significance. However, to Parisians and the French-speaking public, the work is well known and beloved Since its 1883 premiere at the Paris OperaComique , Lakme has become a staple in the French operatic repertoire. Indeed : in its first 100 years, the opera was performed more than 1,500 timesits popularity surpassed only by Carmen, Manon and Werther.

Because he was born into a highly artistic family, music was the driving force behind Leo Delibes ' life (1836-1891). At age 13, Delibes was a chorister in Giacomo Meyerbeers Le Prophete , later graduating to compose operettas for some of Paris' most important theaters, including Jacques Offenbach 's Bouffes-Parisienswhich elicited flattering comparisons between the two composers. In 1864, Delibes was named chorus master of the Paris Opera It was during this time that he won the respect and affection of the Parisian public. Ironically, it was Delibes' brilliantly innovative ballet scores, La Source (1866) , Coppelia (1870) and Sylvia (1876) , not opera, that first endeared Delibes to the world. At the invitation of Ambroise Thomas, he reluctantly accepted the position of professor of advanced composition at the Paris Conservatoire. Delibes, who was a notoriously modest artist, claimed that he knew nothing of counterpoint and fugue, but nevertheless accepted. He remained in that position until his untimely death in 1891. Delibes' last opera , Kassya , was left unfinished and later completed by Jules Massenet, the great French composer.

Lakme , Leo Delibes' most popular opera, takes full advantage of various themes characteristic of 19th-century

Detroit Opera House

French opera During the 19th century, Frenchmen, including poets and composers, were fascinated with the mystery and tradition of the Far East. Many of Delibes' contemporaries composed operas that take place in exotic lands Two of the more notable examples are Georges Bizet's The Pearl Fishers (1863), set in Ceylon or modem-day Sri Lanka , and Meyerbeer's rAfricaine (1865). Like Lakme, Leila in The Pearl Fishers is a priestess, isolated from the rest of the world in a sacred place And, like Lakme, Selika, the heroine of rAfricaine, uses her botanical knowledge to commit suicide after learning that her lover is about to return to Western civilization

The choice of British-dominated India as locale provided Delibes not only the opportunity to exhibit a clash of cultures, but also a chance to poke fun at the British. During the second half of the 19th-century, the English were not as hated as the Germans , although they were still generally regarded as prudish. The character of the governess, Mistress

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Copyright 2010, Michigan Opera Theatre

Bentson, who is always bemoaning the savagery of Indian customs , is rightly regarded as a satire of the stiff British account of Indian manners. In fact , at the London premiere in 1885, her part, along with those of Miss Ellen and Miss Rose, was simply dropped.

The opera understandably never met with great success in England

One of the reasons that Lakme has never achieved the popularity of La Boheme or Le Nozze di Figaro is that it is a star vehicle , in the truest sense of the word. Lakme's famous "Bell Song" requires a voice of extreme flexibility and agility As well, the artist must be able to vocally convey the complex feelings of prophecy and dramatic urgency (let alone a high E natural to cap off the virtuosic aria) The creator of the title role, Marie Van Zandt, was a native of Brooklyn and the toast of Paris. Her interpretation of the role has been the measure of all subsequent interpretations It was not until 1932 that Lakme took hold of American artists, when the beloved Lily Pons, its most famous American interpreter, gave it a new life With Pons, the work was performed at the Metropolitan Opera practically every season until 1946. Since then, the work has been revived sporadically for star coloratura sopranos, such as Joan Sutherland , but has never found a permanent place in the repertoire. Michigan Opera Theatre proudly revives this wonderful opera for another artist, Korean superstar soprano SumiJo These performances will mark Ms. Jos first attempt at the title role , which promises to make this production an exciting event of international operatic significance m

The choice of Britishdominated India as locale provided Delibes not only the opportunity to exhibit a clash of cultures, but also a chance to poke fun at the British.

Roberto Mauro is the Director of Artistic Administration for Michigan Opera Theatre.

Artist Profiles

SUZANNE MALLARE ACTON

Chorus Master

Now celeb rating 20 years with Mic hi gan Opera Theatre, Suzanne Mallare Acton has served as the Opera Companys ass istant mus ic director and chorus master since the 19811982 season. She has conducted several productions du ring her tenure , including The Barber of Seville and The Daughter of the Regi ment. For Dayton Opera, she has conducted West Side Stoly, My Fair Lady and The Pirates ofPenzance. Ms. Acton has served as coach an d accompanist for the opera companies of St. Louis and Sa n Diego, an d is the music director of Rackham Symphony Ch oir.

WILLIAM BURDEN

Gerald (May 11, 15, 18)

Michigan Opera Theatre Debut

The American tenor has recently made debuts at the Metropolitan Opera (as J anek in The Mahropoulos Case and Tybalt in Romeo et Juliette), [Opera de Nice and Opera de Lausanne, the opera companies o f Ph il adelph ia, Minnesota and Opera di Genova, New Yo r k City Opera, Paris' Bastille Opera , Lyric Opera of Chi cago and the Florida Grand Opera. Recently, he sang the role of Gera ld in Lahm e at the Seattle Opera, where he also sang Fenton in Falstaff. He also sang at New York City Opera, as Acis in the companys new production , Ads and Galatea, Opera Co m pany of Ph il adelphia for perf01m a nces of The Magic Flute, and Glirrunerglass for a new production of Rape ofwcretia. Future engagements include I1taliana in Algen in Santa Fe.

MARK D. FLINT

Conduclor

Mich igan Opera Theatre Debut - Cannen 1977

Maestro Flint has conducted in the majority of the leading opera houses in the United States and Canada, and has served as music d irec tor and principa l guest conductor for Michigan Opera Theatre, Music Director o f Sa n Francisco Operas Weste rn O pera Theatre and artistic and music director of the Illi nois Opera Theatre at the Unive rsity of Illinois, where he also acted as chairman of the Opera Department. Conducting engagements include New York Ci ty Opera, [Opera de Montreal, Opera Pacific, Ope ra Company of Ph iladelphia, Hawaii Opera Theatre, Central City Opera, Lake George and Ch auta uqu a Opera, to name a few, and the orc hestras of Fort Worth, Montreal, Detroit , St. Lou is and Chau tauqua FestivaL

PRITI GANDHI

Malliha

Michigan Opera Theatre Debut

Mezzo -soprano Prili Gandhi is an artist-in -residence at San Diego Opera. A native of Bombay, Ind ia, Ms Gan dhi has graced the internationa l stage as Donna Elvira in Don Giovanni, Maddalena in Rigoletto, Cinderella and stepsister Tisbe in La Cenerentola , and the second lady in Die Zauberjlotte, with such noted companies as Seattle Opera, San Diego Opera, Lyric Opera Cleveland and Opera Aguascalientes of Mexico. Early in her career, Ms. Gand h i was the subject of a doc umentary co-produced by Sa n Diego Opera and UCSD-TY, entitled "The Education of an Ope ra Singer." Her recordings include Anthony Davis' contemporary opera Tania on Koch International Classics. Future engagements include the role of Emilia in San Diego Operas production o f Otello.

KARLA HUGHES

Ellen

Michigan Opera Theatre Debut

-Anoush 2001

Soprano Karla Hughes has performed across the United States in oper a, operetta and musica l theater. Most recently, Ms. Hughes sang the ro le o f Flora in Brittens Tum of the Screw with the Toledo Opera. Other career highlights include Oscar in Un Ballo in Maschem, Mable in Pirates of Penzance, and Mrs. Nordstrom in A Little Night Music. Ms. Hu gh es will also pe rform as Barbarina in Le Nozze di Figaro for Mic higan Opera Theatre later this spring.

SUMI JO

Lahme (May 11, 15, 18)

Michigan Opera Theatre Debut

-Rigoletto 1997

The colo ratura soprano has proved to be one of todays most ta lented young artists, winning exceptiona l accolades for her performances in the wor lds most important opera houses. Michigan Ope ra Theatre audiences will remem ber her in the ti tl e role of Lucia di Lammennoor and Gi lda in Rigoletto. Her many Metropolitan Opera appearances include Gilda in Rigol etto, Olymp ia in Th e Tales of Hoffmann and Rosina in The Barber of Seville. She has also sung frequently for opera companies in Vienn a, Buenos Aires, Paris, Salzburg Festiva l, Covent Garden, Chicago Lyric, Geneva, Lyon and in recitals throughout Australia, Korea, J apan and China. She has more than 50 recordings to her credit, including he r Grammy-winning Die Frau ohne Schatten and Un Ballo in Maschera.

SHAWN KAUFMANN

Lighting DeSigner

Mr. Kaufman was recently in Detroit for the 50th Anniversary of Amahl and th e Night VISitors , directed by Gian Carlo Menotti. Other recent productions include a Ta ngo festiva l at Miamis New World Symphony conducted by Robert Spano, their opening night concert of the season conducted by Michael Tilson Thomas, Little Women, the East Coast premie re of the opera Kajha: Letter to My Father and the world premiere of the opera Bonhoeffer. His New York City credits include Santos & Santos, King Without a Cast le, Kissing Christine and Missing MQ/issa, Cleopatre, the world premiere of Sonya and A Day Diary. His assistant lighting credits include Cannen (Michi gan Opera Theatre), The Gatheling and Northeast Local.

ALINE KUTAN

Lahme (May 12m, 17, 19m)

Michigan Opera Theatre Debut - Anoush 200 1

Born in Istanbul to Arme riian parents, the Canadian co loratura soprano made her operatic debut singing the role of Flora in Vancouver Operas production of Th e Tum of the Screw. She was one of 10 winners of the 1995 Me tropolitan Opera National Council Au ditions; the fo llOwing year, she made her American debut in t he title ro le of Lahme wi th the Arizona Opera, which she has since performed at [Opera de Montrea l, [Opera d 'Avigno n , [Opera de Tou lon and the Badisches Staatstheater Karlsruhe in Germany She recently sang the Queen of the Night in New York City Operas The Magic Flute. Upcoming engagements incl u de Queen of th e Night at [Ope ra Eclate, [Opera de Vichy and [O pera de Montrea l.

MALCOLM MACKENZIE

Fred eric

Michigan Opera Theatre Debut

Highlights of the American baritones current season include the title ro le of Don Giovanni wi th the Dayton Opera and the Bear Va lley Festiva l in California, Schaunard in La Boheme with the LA Opera, Morales and Dancairo with Opera Pacifi c, and Masetto with the LA Opera at the Savonlinna Festival in Finland. He is a 1996 winne r of the Placido Domingo Opera li a World Opera competition. Future engagements include Schaunard in La Boheme with the Washington Opera.

JOSHUA MAJOR Director

Michigan Opera Theatre Debut

Toronto-bo mJosh u a Major began his stage d irecting career over 15 yea rs ago with La Cenerentola for Opera Omaha. Recently, Mr. Major directed CosVCosa, an adaptation of Cosi

Jan Tutte for the Lincoln Centre Institute and Orchestra of St. Lukes, La Traviata with the Opera Theatre of St. Louis, La Boheme for Yale Opera, Rinaldo and LEnfant es les Sortileges in Tel Aviv, Don Giovanni for Opera Carolina and both Th e Fall oj the Hous e oj Usher and Noye's Fludde for Opera Grand Rapids. Presently, Mr. Major is on the music faculty at the University of Michigan, wher e he oversees the Opera Program, both teaching and directing.

DAVID MICHAEL

Nilakantha

Michigan Opera T heatre Debut

The promising yo ung bass made successful debuts with Opera Pacific and Opera Company o f Philadelphia as Sparafucile in Rigoletto, the Cincinnati Opera as the King in Aida, Opera Carolina as the Commendatore in Don Giovanni and Bonze in Madama Butterfly, Orlando Opera as Timur in Turandot, Toledo Opera as Colline in La Boheme and Angelotti in Tosca. Last season, he returned to Opera Pacific as a fealured soloist in a gala concert, and to the Orlando Opera as Bartolo in Th e Marriage oj Figaro. This season, he de b uts with the New York City Opera as Timur in Turandot.

GERARD POWERS

Gerald (May 12m , 17, 19)

Michigan Opera Theatre Debut - Carmen 2001

The American tenor made his New York City Opera debut last season as Rodolfo in La Boheme and returns this season as Alfredo in La Traviata and as Rodolfo in La Boheme. Recently, Mr. Powers performed the title role in The Tales oj Hoffmann with De Vlaamse Opera, Don Jose in Cmmen at the Cologne Arena, Houston Grand Opera, Munichs Olympiahalle and the Opera Festival of New Jersey, as well as the role of Ismaele in Nabucco at the Cologne Arena. Upcoming engagements include the title role of Werther and Luigi in n Tabarro with De Vlaamse Opera, Rodolfo in La Boheme with New York City Opera and Nicias in Thais with Opera Theatre of St. Louis.

MATTHEW TUELL

Hadji

See Page 14 for Biography

ELIZA WARNER Rose

Michigan Opera Theatre Debut - Carmen 2001

Mezzo-sopr ano Eliza Warner holds a master of music in vocal per fonnance from the University of Michigan. Previous credits include the role of Mrs. McLean in th e Toledo Opera production of Susannah, Olga in Eugene Onegin with Ope r a San Jose and ro les for t he Santa Fe Opera Ms Warner has appeared in Michigan Opera Theatre productions of Carmen and Anoush.

ELSEN ASSOCIATES

Wigs and Makeup

Currently hair and makeup deSigners for more than 20 opera companies in the US and Canada, includ-

De tro it Opera House

ing Opera Colorado, Glimmerglass Opera, Pittsburgh Opera, Sarasota Opera, Washi n gton Opera a n d Florentine Opera. The company h as partiCi p ated in the festivals in Edinburgh, Jerusalem and Spoleto On Broadway, their work has been seen in The Merchant oJ Venice, Two Trains Running and The Wild Party, among others. Elsen Associates has educational affilia tions with Yale University, the Universi ty o f Maryland, the Kennedy Center Education Department and Carnegie-Mellon University, m

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Young Artist Apprentice Program

Michigan Opera Theatre 's Young Artist Apprentic e Program is now in its 21st year of training aspiring young vocal artists and production apprentices for the rigors of the professional theater world. This year, talented young singers , recruited from across the country, will take up residence with Michigan Opera Theatre , participating in multiple-week masterclasses with the conductors, directors and singers from current productions. Apprentices also receive private coaching with Michigan Opera Theatre 's professional musi c staff, preparing their aSSigned comprimario roles for the seasons productions. Rehearsals and performances assist them in making the transition from student to professional.

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

The impressive list of now-prominent artists who made their debuts or had early starts with Michigan Opera Theatre includes Carmen Balthrop, Kathleen Battle, Rockwell Blake , Richard Cowan , Maria Ewing , Terese Fedea , Wilhelmenia Fernandez, Rebecca Luker, Catherine Malfitano , Leona Mitchell, David Parsons, Kathleen Segar and Victoria Vergara , among others. For further information on auditions and application requirements for the Apprentice Program, please call the Michigan Opera Theatre Production Office at 313/9613500.

Michigan Opera Theatres Young Artist Apprentice Program is sponsored in part by an endowment from the Joyce H . Cohn Apprentice Award Fund. Additional support for the 2001-02 season provided by DeRoy Testamentary Foundation and Robert A. Cornette , Ph.D. , Pc.

We invite you to participate in sponsoring an artist appr entice. Sponsors provide opportunities for a new generation of promising young singers. To sponsor a young artist , please call 3131237-3408. m

Karla Hughes - DeRoy Testamentary Foundation Young Artist

Matthew Tuell - Joyce H. Cohn Young Artist.

Eliza Warner - Robert A. Cornette Young Artist.

THE CAST

By order of vocal appearance

FIGARO

Robert Gierlach * Gune 1, 5 &: 8)

Patrick Carfizzi * Gune 2m, 7 &: 9m)

SUSANNA

Nicole Heaston Gune 1, 5 &: 8)

Karen Driscoll Gune 2m, 7 &: 9m)

DON BARTOLO

Stephen Eisenhard *

MARCELLINA

Judith Christin *

CHERUBINO

Lori-Kaye Miller*

COUNT ALMAVIVA

Brian Davis

Brett Polegato*

DON BASILIO

Matthew Tuell+

COUNTESS

Brenda Harris

ANTONIO

Donald Hartmann

DON CURZIO

Matthew Tuell+

BARBARINA

Karla Hughes

BRIDESMAIDS

Angela Peavey

Tamara Lehew Whitty

* Michigan Opera Theatre Debut + Michigan Opera Theatre Young Artist

Aprrentice

Conductor Stewart Robertson

Director Bernard Uzan

Chorus Master

Suzanne Mallare Acton

Set & Costume Design

Allen Charles Klein

Lighting Design

Donald Edmund Thomas

Makeup & Hair Design

Elsen Associates

English Surtitle Translation

Christopher Bergen

Stage Manager Thomas Mehan

The Marriage of Figaro is a co-production of Michigan Opera Theatre, rOpera de Montreal and Opera Carolina.

ScenelY constructed by Les Productions Yves Nicol , Inc.

ScenelY painted by Longue Vue Peinture Scenique.

Costumes constructed by Malabar Ltd., Toronto.

Surtitles for this production are owned by Christopher Bergen Productions Detroit Opera House

Le Nozze di Figaro

Wolfgang Amadeus Mozart

Act I

A country estate outside Sevi lle, late eighteenth century While preparing for their wedding, the valet Figaro learns from the maid Susanna that their philandering employer, Count Almaviva, has deSigns on her. At this , the servant vows to outwit his master. Before long, the scheming Bartolo enters the servants ' quarters with his housekeeper, Marcellina, who wants Figaro to marry her to cancel a debt he cannot pay After Marce llina and Susanna trade insults , the amorous page Cherubino arrives, reveling in his infatuation with all women. He hides when the Count sho ws up, furious because he caught Cherubino flirting with Barbarina, the gardeners daughter. The Count pursues Susanna , but conceals himself when the gossiping music master Don Basilio approach es. The Count steps forward , however, when Basilio suggests that Cherubino has a crush on the Countess. Almaviva is enraged furthe r when h e discovers Cherubino in the room. Figaro returns with fellow servants, who praise the CountS progressive reform in abolishing the droit du seigneur - the right of a noble to take a manservantS place on his wed ding night. Almaviva assigns Cherubino to his regiment in Seville and leaves Figaro to cheer up the unhapp y adolescent.

Act II

In her boudoir, the Countess laments her husbands waning love, but plots to chasten him , encouraged by Figaro and Susanna. They will send Cherubino, disguised as Susanna, to a romantic assignation with the Coun t. Cherubino, smitten with the Countess, appears , and the two women begin to dress the page for his

farcica l rendezvous. While Susanna goes out to find a ribbon, the Count knocks a t the door, furious to find it locked. Cherub ino qUickly hides in a closet, and the Countess admits her husband, who, when he h ears a noise , is skeptica l of her story that Susanna is inside the wardrobe. He takes his wife to fetch some tools with which to force the closet door. Meanwhile , Susann a, having observed everything from behind a screen, helps Cherubino out a window, then takes his p lace i.n the closet. Both

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Wolfgang Amadeus Mozart Count and Countess are amazed to find her there. All seems well until the gardener, Antonio, storms in with crushed geraniums from a flower bed below the window. Figaro , who has run i.n to announce tha t the wedding is ready, pretends i.t was he who jumped from the window, faking a sprained ankl e Marcellina, Bartolo and Basilio burst into the room waving a court summ ons for Figaro, which delights the Count, as this gives him an excuse to delay the wedding. Detroit Opera House

Copyright 2010, Michigan Opera Theatre

Act III

In an audience room wh ere the wedding is to take place , Susanna leads the Count on with promises of a rendezvous in the garden The nobleman , however, grows doubtful when he sp ies her conspiring with Figaro ; he vows revenge. Marcellina is astonished but thrilled to discover that Figaro is in fact her long- lost natural son by Bartolo. Mother and son embrace, provoking Susannas anger, until sh e too learns the truth. Finding a quiet moment, the Countess recalls her past happiness, then joins Susanna in composing a letter that invites the Count to the garden that night. later, during the marriage ceremony of Figaro and Susanna , the bride manages to sli p the note , sealed with a hatpin , to the Count, who pricks his finger, dropping the pin , which Figaro retrieves .

Act IV

In the moonlit garden , Barbarina , after unsuccessfully trying to find the lo st hatpin, tells Figaro and Marcellina about the coming assignation between the Co unt and Susanna. Basilio counsels that it is wise to play the fool. Figaro inveighs against women and leaves, missing Susanna and the Countess , ready for their masquerade. Alone, Susanna rhapsodizes on h er love for Figaro, but he, overhearing, thinks she means the Count. Susanna hides in time to see Ch erubino woo the Co untess - now disguised in Su sanna's dress - until Almaviva chases him away and sends his wife, who he thinks is Susanna, to an arb or, upon which he follows. By now, Figaro understands the joke and, joining the fun, makes exaggerated love to Susanna in her Countess disguise. The Count returns, seeing - or so he thinksFigaro with his wife. Outraged, he ca lls everyone to witness his judgment , but now the real Countess appears and reveals the ruse. Grasping the truth at last, the Co unt begs her pardon. All are reunited , and so ends this "mad day" at the court of the Almavivas. m

- Courtesy of Opera

Grand Valley Sta te University brings together outst anding faculty, talente d students, and state -of-th e -31t facilities in a well-orchestrated educational production. It's a performance that has made Grand Valley one of th e most

Figaro, Most Human of Operas

by Roger Pines

The humanity of The Marriage of Figaro, as revealed by Mozart's music and da Ponte's libretto , has sustained this opera over more than two centuries. We understand it better now, having been helped by the past three decades of Figaro's performance history Our ideas about the opera's key figures have expanded, moving away from cliche. Thus , their three-dimensionalityconsequently; their appeal to an audiencehas emerged even more strongly

Susanna, for example, is a modern young woman, her intelligence and quickwittedness propelling much of the action. Her barbs - in the du e t with Marcellina, for example - are good-humored. Humor is an essential aid in helping her cope with life , but she's deadly serious when she believes herself betrayed by Figaro. The true test for any Susanna, however, is her delivery of just one word: "Signore," when she steps out of the dreSSing-room. Those three syllables instantly convey her confidence, impudence and total composure.

We appreciate Susanna most in her scenes with Figaro. As assertive as he , she is probably smarter as well. But she proves her love continually, and "Deh! vieni" makes the depth of her feelings clear.

Figaro's joviality and effervescence are frequently tempered by resentment , apprehension and sarcasm far removed from Rossini's happy-go-lucky barb er. His straightforward arias suit his directness , even bluntness. Beaumarchais' Figaro in the original play was much more perceptibly a revolutionary, but certainly the operatic Figaro's indignation toward his master is obvious in the menacing lines of his first aria.

Playing the Count, many singers rely excessively on bullying machismo - but you can't do that and convinCingly woo

24 BRAVO

Susanna. We understand the Count better when we realize that every line shows a man accustomed to getting his way, but seething with frustration at the obstacles thwarting him . The mindset is a child's ''I'm entitled to/I've got to have!I can't live without." What irks him most is that it's his own servant, Figaro, w ho makes life so difficult: "Must I see a serf of mine made happy while I am left to sigh, and him possess a treasure that I desire in vain?" He is a creature of his own time, for whom honor remains vital, but at the same time, sexual conquest - the representation to him of all that is masculine - is an irresistible lure. The Count would hardly be out of place in our own day ; where contemporary parallels are concerned, no names need be mentioned I

Dealing with his wife, the Count is a manipulator, as we see perfectly in the Act Two finale: For example, he addresses the Countess as "Rosina" (as opposed to "Madama "), protesting his love, assuming that this sudden affection can cajole her into forgetting his neglect of her. His constant emoting makes all the more revelatory his kneeling before her in the opera's finale: In the Simplest possible melodic line and with two words"Co ntessa , perdono " - he asks the Countess' pardon. The miracle is that we believe in his contrition, thanks to the music.

The Countess has certainly gotten a raw deal; on the surface, she has everything , but those luxuries mean nothing , since her husband has fallen out of love with her. Disillusionment separates her immediately from Rossini's spitfire Rosina. Between the Countess and Susanna, we witness some girlish exchanges, but they maintain the servant-mistress relationship. The Countess doesn't have friends; she

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was brought to the castle as a bride, quite alone but for the Count's love, and this makes the loneliness implied in her first aria doubly touching.

On the other hand, the Countess eventually exhibits more gumption than "Porgi amor" would anticipate. Of course, like everyone else, she does look to Susanna to solve her problems , but reluctantly In the recitative before "Dove sono," she laments that her husband's cruelty has forced her to seek a servant's help. "Dove sono" shows us the inner woman: the humiliated , rejected wife; pained nostalgia for the fi rs t days of love; and finall y, strength taken from her hope that she'll alter the Count's feelings. From then on, she is take-charge, fully in command of herself, rather than being led by Susanna.

Few words must suffice for Cherubino, obsessed b y an adolescent's idea of love. In every word, his motivating force remains his devotion to the opposite sex: to Susanna, the Countess, Barbarina (the right match for him: nubile , direct , innocent). Whether breathlessly impetuous or aching with vulnerability, he spoke to Mozart's own nature. That surely accounts for our inability to resist him.

Thanks to the genius of Mozart and da Ponte, it's possible for us to anticipate not only these characters' likes and dislikes , but also to imagine how each would behave in specific situations. From their interaction throughout the four acts of the opera, we ultimately learn a great deal about love , relationships and human nature. m

Adapted from an article originally written for Lyric Opera of Chicago.

Artist Profiles

SUZANNE MALLARE ACTON

Chorus Mast er

Now celebrating 20 yea rs with Michigan Opera Theatre, Suzanne Mallare Acton has served as the Opera Companys assistant music director and chorus master since the 19811982 season. She has co ndu cted seve ral productions during her tenure , including The Barber oj Sev ille and The Daughter oj the Regiment. For Dayton Opera, she has conducted West Side Story, My Fair Lady and Th e Pira tes oj Penzance. Ms. Acton ha s serve d as coach and accompanist for the o pera co mpan ies of St. Louis and San Di ego, and is the mu sic director of Rackham Sytnphony Choir.

PATRICK CARFIZZI

Figaro Oune 2m , 7, 9m)

Michigan Opera Theatre Debut

American bass-baritone Patrick Carfizzi is a recent graduate of the Yale University Sc hool of Musi c School, where he received both hi s ma ster's in music and the artist's diploma. Rece nt en gage ments included his d eb uts with San Francisco O pera in La Traviata and Simon Boccanegra, Pittsb urg h Opera in Don Giovan ni and Ca nadia n Ope ra Compa n y in n Viaggio a Reims. In his firs t profeSSional season , 1999-2000 , h e joined th e rosters of both the New York City Opera and the Metropolitan Opera. His Metropolitan Opera assignments included rol es in Rigo letto, Lady Macbeth oj Mtsensk, Pel/ eas et Melisande, and Giulio Cesare.

JUDITH CHRISTIN

Marcellina

Michigan Opera Theatre Debut

Mezzo-soprano Judith Christin h as per form ed over 100 roles with the leading opera companies throughou t the United States , including Metropolitan Opera, Sa n Francisco Opera, the Lyric Opera of Chicago, Housto n Grand Opera, Sa nta Fe Opera and many others. Her current engagements include Emma Jon es in Street Scene with the Lyri c Opera of Chicago, the Witch in Hansel und Gretel with the Metropolitan Opera, Marcellina in Le Nozze di Flgaro with the Dallas Opera and Mrs Grose in Th e Tum oj the Sc rew w ith Houston Grand Opera.

BRIAN DAVIS

Count Almaviva

Michigan Opera Theatre Debut

-A Littl e Nigh t Music 1983

Baritone Brian Davis has appeared with leadi ng opera companies and orchestras throughout the United States. Current engagements include a

Detroit Opera House

return to New York City Ope ra in the title role of Don Giovanni and Esca millo in Ca nnen, the title role of Gianni Schicchi and Tonio in I Pagliacci with Knoxville Opera, Count Almaviva in Le Nozze di Figaro with EI Paso Opera and Melot in Tristan und Isolde with the Chicago Sytnphony Orchestra, under Maestro Daniel Barenboim at both Chicago's Orchestra HaLl and Carnegie HaLl. Hailing from the Toledo area, Mr. Davis was a former apprentice for Michigan Opera Theatre.

KAREN DRISCOLL

Susanna Oune 2m, 7, 9m)

Michigan Opera Theatre Debut

-Manon 19 98

Ms. Dri sco ll has attracted considerab le interes t for her appea rances in the title role in Susannah and Mimi in La Boheme for tOpera de Montreal. She has performed the role of Juliette for both Vancouver Opera and Opera Saskatchewan, and appea red in Florida Grand Opera's La Boh eme and Manon. Additional appearances include Micaela in Ca nnen for the New Jersey State Opera and the title role in MassenetS Manon for the Florentine Opera. Ms. Driscoll has also appeared in Montreal as Desp ina in Cosi Jan Tutte, the Lyric Opera of Kansas City as Tat iana in Eugene Onegin and Hawaii Opera Th eater as Nedda in I Pagliacci Thi s season, sh e will return to Hawaii for Cannen and appear in Baltimore Ope ra's Th e Magic Flut e.

STEVEN EISENHARD

Bartol o

Michigan Opera Theatre Debut

Bass-baritone Stephen Eisenhard's exte nsive repertoire includes over 30 roles spanning buffo and dramatic c haracte rs. As an ex trem ely versatile s inging actor, h e has impressed many audiences, not only in ope ra 's belo ved comic roles such as Don Pasqual e and Don Magnifico; he has also sung Schaunard in La Boheme, the Commendatore in Don Giova nni and the Baron in La Traviata. He has performed with numerous opera co mpanies including Pittsburgh Opera , Tu lsa Opera, New York City Opera, Lyric Opera Cleveland, O p era Memphis and Nashville Opera. Recent performances include Mr. Eisenhard's debuts with Edmonton Opera as Bartolo in The Marriage oj Figaro and Al cindorol Benoit for Cincinnati Opera.

ROBERT GIERLACH

Figaro Oune 1, 5, 8)

Michigan Opera Theatre Debut

In his Am erican opera debut , Poli sh bass-baritone Robert Gierlach will sing the role of Fi garo. Gierlach, a graduate of the C hopin Academy of Music , is a former soloist with the

www Michigan Opera.org

Opera o f Warsaw. H e h as performed throughout Europe in productions of Th e Barber oj Sev ill e, Eugene Onegin, Don Giovanni, The Marriage oj Figaro, King Roger and Otello. He has several reco rdings with Radio and Te levis io n Polonaise , and has recorded Th e Barber oj Sev ille with Opera de Nice.

!!!II•• BRENDA HARRIS

Co untess

Michigan Opera Theatre Debut -Faust 1994

One of Ameri ca's most so ughtaft e r so pranos , Ms. H arris h as appeared with opera co mpanies throughout N orth America, including Metropolitan Opera Vitellia in La Cleme nza di Tito , The Wash in gto n Opera titl e roles in Agrippina, Semele, Minnesota Opera titl e roles in Ennione, Annida and Semiramide, and Ope ra Pacific (Fiordiligi , D onna Anna and Margue ri te). Sh e has also appeared wi th the Canadian Ope ra Company, Montreal Opera, Edmonton Opera and Opera du Rhin in Strasbourg. This seaso n , s h e returned to the New York City Opera to s ing the title role in a new produ ction of Hand e l's Agrippina. Future engage men ts include debuts wi th Opera du Rhin in the titl e role of Vanessa, Opera Caro lina as the Countess, and Au st in Lyric Opera as Violet ta.

DONALD HARTMANN

Anton io

Michigan Opera Theatre Debut - Tosca 1996

Bass-baritone Donald Hanmann is a distinguished per form e r who has appeared in numerous operatic productions. Hi ghli g ht s of Mr. Hartrnanns career includ e Zun iga in Carmen with Nashville Opera and To ledo Opera, Ab ime lec h in Samson and Delilah wi th Michigan Opera Theatre, Bartolo in Arizona Opera's Mamage oj Figaro, Bonze in Madama Butterfly with Toledo Opera and Pooh-bah for Nashville Opera's Mikado. Mr. Hartmann is currently a full professor of music at Eastern Michigan University.

NICOLE HEASTON

Susanna Oune 1 , 5, 8)

Michigan Opera Theatre De bu t - Fal staff 2001

The recipient of a 1999 Career Grant from the Richard Tucker Foundation , Miss Heaston has quickly come to th e attentio n of American and European opera companies and orchestras. She recently performed Oscar in Un Ballo in Maschera with the San Fran cisco Opera; The Elixir oj Love, Don Giovanni, Th e Magic Flu te (Pamina) and the title role in the world premiere

oflcu:kie 0 with Houston Grand Opera (re co rded on the Argo label); Dru silla in Th e Corona tion oj Popp ea in Vienna and Aix-en-Pro ve nce; Don Giovanni with Dusseldorf Opera; Annide with Les Musicians du Louvre (subsequently reco rded by Archiv Production Deutsche Granunophon). Ms. Heaston also performed the role of Musetta for New York City Opera's La Bohem e, w hich was recentl y telecast on PBS.

KARLA HUGHES

Barbarina

See Page 18 for Biography

ALLEN CHARLES KLEIN

Costume designer/Set designer Allen Charles Klein completed his studies in s ta ge design at Boston Univers it y. Mr. Klein is the only American deSigne r to have focused his ca reer exclusively on the production of set and costume design for opera and, together with Bliss Herbert as director, has created more than 80 new productions. He has designed productions for San Francisco, DaUas , Seattle, Baltimore, Toronto and New Yorks Metropolitan Opera, and in Euro p e for the Sco ttish Opera , Edinburgh Festival , Glyndebourne Festival, Deutsc he Oper Berlin and the Vienna State Opera. H e h as designed the world premieres of Flo yds OJ Mice and Men, Villa-Lobos' Yenna, John Eaton's Th e Temp es t and most recentl y Floyds Th e Pass ion ojJonathon Wade.

LORI-KAYE MILLER

Ch erubin o

Mi chigan Opera Thea tre Debut

Lori-Kaye Miller, a n ati ve of South Haven, Michigan, studied music at the University of Akron. Some of her roles includ e C h erubino and Marcellina in Le Nozze di Figaro, Suzuki in Madama Butterfly and Octavian in Der Rosenkavalier, with opera companies including the Tri-Cities Opera and the Minnesota Opera. Recent and upcoming performances include Cherubino in Le Nozze di Fi garo, Th e Lad y in Waiting from Macbeth, Annio in La Clemenza di lito, and covering Octavian with Minnesota O pera; at TriCities Opera in the title role in Cannen; and her New York City Ope ra d eb ut as Brigitta in Die Tote Stadt. Ms. Miller was a Metropolitan Opera competition regional prize winner and has won many other prestigious awards and scholarships.

BRETT POLEGATO Co unt Almaviva

Michigan Opera Theatre Debut

Baritone Brett Pol egato has ap peared on severa l of the world's most distin g uished stages, including those of Lincoln Center, the Concertgebouw, Ro yal Court Th eatre of Versailles, Housto n Grand Opera, Roy Thomson Hall, Tchaikovsky Conservatory and Carnegie Hall. The yo ung baritone m ade his La Sca la deb ut last summer as Ned Keene in Peter Glimes and his Lylic Opera of Ch icago debut the previ ous seaso n in Mouming Becomes Electra. H e h as also sung with the co mpa n ies of Van co u ver, N ice, Montrea l, Queb ec, Edmo nton , Avigno n and Nan cy, and with the orch es tras of Toronto and Vancouve r. Last yea r, his CD "To a Poet " was release d on the CBC label. Next season, he debuts with Munich's Bavarian State Opera and reprises Ned Keene at the Saito Kinen Festival under Seiji Ozawa and at Flo rence's Maggio Musicale.

STEWART ROBERTSON Conductor

Michigan Op era The at re Debut -Ba rb er oj Seville 19 99 The native of Scotla nd is the m u s ic director and prinCipa l conductor of the Florida Grand Opera, Glimme rglass Opera and (until recent ly) the San Be rnardino Symphony in California. I n Europe, he has conducted in Co logne and Zurich and with major European orchestras, including t h ose of Binningham, Danis h Radio, PhHharm onica Hungarica , Vienna Tonkunstler, Swiss-Italian Radio, the Ro yal Scottish National and B.B.C. Scottis h Symphon y Orchestra, Maastricht (Netherlands), Ukraine State, Mexico, Rotterdam and Concertgebouw (Amsterdam). No table recent en gage m e nts includ e three wo r ld premieres: Orpheus Descending for the Lyli c Opera of Chicago, Th e Midnight Angel for the Opera Theater of St. Louis and Glimmerglass, and Dreamkeepers for the Utah Opera. H e has conducted many produ ctions for Boston Lyric , Opera Pac ifi c and New York City Opera , to nam e a few.

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DONALD EDMUND THOMAS

Lighting Designer

Mic higan Op era Theatre Debut

For th e last 12 yea rs, Mr. Thomas h as been the prinCipal

li gh ting deSigner for both th e

Flo rentine Opera in Milwaukee and the Baltimore Opera.

Rece nt designs in Milwaukee includ e Tosca , Madama Butterfly and Turand ot. In Baltimore, his work has included Tannhaus er and Die Zauberflote, Don Giovanni, La Cenerentola and La Boh eme. With Opera Pac ific in Costa Mesa, California, he has design ed Eugene On egin, Manon Lescaut, Die Walkure and Lucia di Lammennoor. W ith Florida Grand Opera, he deSigned th eir h ighl y acclaimed production o f Katya Kabanova, as we ll as nBarbiere di Siviglia. Elsewhere , his des ign work has included Un Ballo in Mas chera, Fedora and Lui sa Mill er for Palm Beach Opera, and La Gi oco nda and Cal1nen for l'Opera d e Montreal. His wo rk has also been see n with Opera Co lumbus , Arizona Opera, Washington Summer Opera and The Dallas Opera. A graduate of the Yale Drama School and a m ember of United Scenic Artists, Local 829 , the New York theatrical designers ' union , he h as also deSigned o n e Broadway sh ow and nume rous off-Broadway and national tours of plays and musicals

MATTHEW TUELL

Hadji

See Page 14 for Bio grap h y

BERNARD UZAN Director

Michigan Opera Th ea tre De but - Faust 1983

A native of France, Bernard Uzan has been the genera l and artistic di rector of l'Opera de Montrea l since 1988. During his tenure, he broug ht financial success and artistic re nown throughout the world for its productions. Pri o r to his engage m ent in Montreal, he served as general and artistic direc tor of the Tulsa Opera. In No rth Am erica, hi s productions have graced s tages in Ca lgary, Edmonton , Milwaukee, Fort Worth, Miami, Kentu cky, Lon g Beach, National Arts Centre in Ottawa, New Orlea ns, Dallas , Vi rgini a, Arizona, Columbus, Philadelphia, Opera Pacific, Orlando, Sa n Diego, San FranCiSCO, Seattle and Tulsa. He ha s staged several productions for Michigan Opera Th eatre, including Romeo et Juliette, Faust , Peter Glimes and Manon. In Europe, he has directed produ ctions for Zurich Opera, Opera de Monte Ca rlo , Teatro Massimo Palermo , Teatro Massi m o Bellini, Opera de Lyo n , Marseilles Op era and the Toulou se Opera.

ELSEN ASSOCIATES

Wigs and Makeup

See Pagel4 for biograp h y. m

Michigan Opera Theatre Orchestra

VIOLIN I Konstantin Popovic BASS BASSOON TROMBONE KEYBOARD

+ Charlotte Kathryn Stepulla + Derek Weller + Kirkland Ferris + Mau ry Okun Jean Schneider

Merkerson, Mary Stolberg Principal J aso n Artz Prin cipa l Concertmaster + Clark Sut tle Roger Maki- + Greg Near ORCHESTRA

+ Velda Kelly VIOLA Greg Sheldon Schramm John Rutherford PERSONNEL

+ Caro l Evans + John Madison Shawn Wood Sp enc er Phillips Michael Tyrrell MANAGER

Ja so n Bendler Principal Nora Sch ankin

Kevin Filewych + Kathleen Grimes FLUTE TUBA

James Kujawski + Sco tt Stefanko + Pamela Hill HORN

Diane Bredesen

Phillip Sind e r Detroit Federation

Charles Roth + Barbara Zrnich Principal + Carrie Banfield of Musicians, Loca l

Jane t Sullins J ames Greer + Laura Larso n Prin cipa l TIMPANI #5, American

Ewa Uziel Barbara Stolberg Wendy Hohmeyer Janine Gabouri-Sly Keith Claeys Federation of Melody Wootton Conni e Hutchinson Maria Flurry Musicians , is the AndrewWu CELLO OBOE Ce le s t McClellan official union of the + Nadine Deleury Kristen Beene Steve Mumford

PERCUSSION

Michigan Opera

VIOLIN II PrinCipal Nanc y King Al Taplin + John Dorsey Theatre Orchestra.

+ Victoria Haltom, + Diane Bredesen Sa lly Pituch Katherine Widlar Prin cipal Principal + Minka Christo ff David Taylor + Member, Michigan Opera

+ Brooke + Robert Reed

CLARINET TRUMPETS

Dan Ma slanka Theatre Orch estra

Hoplamazian J ohn Iatzk o + Brian Bowman + David Kuehn David Taylor

+ Bryan Johnston Andrew McIntosh PrinCipal Prin cipa l

+ Lydia Lui

Sam Martin + Gordon Simmons HARP

+Anna Well er Suzann e Rozmary Mark Flegg + Patrici a Terry-Ross

Julia Kurtyka J ea n Moorh ea d- Prin Cipal Libbs

Michigan Opera Theatre Chorus

Sco tt Abbott Steve Grudzien

Monique Ricard OTELLO The American Gu ild of Pat Minnick

Wallace Ayotte Rosalin Contrera Mary Rob ertson CHILDREN 'S Musical Artists is the o ffici al Steve Pejuan union of the Michigan Opera

Patrick Barnard Guaustella Robert Schram

CHORUS Theatre voca l performers Carol Roszka

Chris topher Bauder Randy H agg Stephen Stewart Alexander Acton

H eidi Bowen Leslie Hill Lawrence Sto tsb ery Ke r ry Banish

Kim Brooks Clarence Jon es Judith Szefi Daniel Brown

RACKHAM M. John Sae tta

SYMPHONY Alan Sebas tian

CHOIR Clifton Shaw

Alai na Brown Art Joslin Jim Talpo s Denny Dorsey Mary Anne

J ason Brown Tom Kabala Dean Unick Hallie Dorsey

Sta cey Brown J eff Kru eger David Vau ghn Carri e Fisk

Kristen Bryant Ray Litt Christoph er Vaught Jasmine Harris

Patrick Clampitt Su san Lowrie

Deborah Dailey

Kim Millard

Kristin Walukas

Justin Watson

Keith Dixon Jim Moore Jim Wells

Rebecca Englehard J ennifer Oliver

Vanessa Ferriole

Maria Fifelski

Darren Orta

Karin White

Tamara Whitty

Brian Koziara

Brandon LePage

Mary Hel en

Malaney

Patty Malaney

Peggy J aso n Wickson J oshu a Romeo

Louise Fish er O 'Shaughnessey

Yvonne Friday

Jane t Geisler

Co nda Green

Angela Peavey

Patricia Pierobon

Marc Ricard

Tim Wolf

Eugene Zweig

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Dennis Stra ch

Alice Walker

Nikam a West

AUXILIARY Smigulec

CHORUS for Linda Van Buren

OTELLO Will Yeats

Maureen Abele

Monica Celizic

PALERMO

Susan Cucuzza CULTURAL

Jos eph Dluzniewski EXCHANGE PROGRAM

Timothy Doty

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Maurizio Lo Piccolo

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Dr. David DiChiera , President

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Dr &: Mrs. Dieter Zetsche

Mr. &: Mrs. Morton Zieve

Mr. &: Mrs. Martin Zimmerman

Mrs. Paul Zuckerman

Mr. Roy Zurkowski

FOUNDING MEMBERS

Mr. and Mrs. Lynn A Townsend, Founding Chairmen

The Hon. and Mrs. Avern L Cohn

Mr. and Mrs. John DeCarlo

Dr. and Mrs. David DiChiera

Mr. and Mrs. Aaron H. Gershenson

Mr. and Mrs. Donald C Graves

The Hon and Mrs. Roman S. Gribbs

Mr. and Mrs. John C Griffin

Mr. and Mrs. Harry L Jones

The Hon. and Mrs. Wade McCree Jr.

Mr. Harry J Ne derlander

Mr. E. Harwood Rydholm

Mr. and Mrs. Neil Snow

Mr. and Mrs. Richard Strichartz

Mr. and Mrs. Robert C VanderKloot

Mr. and Mrs. Sam B. Williams

Mr. and Mrs. Theodore O. Yntema m

Mr. and Mrs. Lawrence A.

Mr. & Mrs. Robert A. AlleseeWisne Allesee Dance Patron

Mrs. Barbara Wrigley Lou nge

Dr. and Mrs. Clyde Wu Allesee Dance & Opera Resource Library

Mr. Todd A. Wyett

Anonymous Donor -

Ms. Shaio Fang Yin-Tuinman Grand Lobby

Ms. Gayle M. Zech

Anonymous Donor -

Mrs . Helen Zuckerman Broadway Facade

Named Gifts

Dr. & Mrs. Donald C AustinGrand Central Chandelier

BASF Corporation -

We extend our gratitude to Media Studio Classroom the following donors, who have underwritten deSignated Comerica Charitable areas in the Detroit O pera FoundationHouse: Grand Dome

Dr. & Mrs. Roger M. AjluniGrand Staircase

DainilerChrysler C0:Ji0rationCommunity Per onnance Theater

Mr. & Mrs. Tarik S. DaoudGrand Drape

Th e Avanti Society

The Italian word "avanti " means "ahead" or "forward. " The Avanti Society of Michigan Opera Theatre is a speCial group of forward-thinking donors who have deSignated a speCial gift to benefit the organization in the future. These generous gifts ensure our artistic progress in the future for the benefit of generations to come.

Gifts can be made through a variety of estate planning instruments, including bequests , trusts and other planned giving arrangements.

Benefits of T h e Avan ti Soci ety in clude:

• Invitations to dress rehearsa ls and other special events not offered to the general public

• Annual recognition event featUring guest artists

• Educational seminars

• Individualized estate p lanning assistance for bequests, trusts, life income p lans and other charitable gifts to Michigan Opera Theatre

• Recognition on the donor wall in the Detroit Opera House and in the season program books.

If you are interested in making a planned gift to Michigan Opera Theatre and thereby qualifying for membership in The Avanti Society, please contact:

Jan e Fanning, Associate Dire ctor of Development at (313) 237 -3268 or jfanning®mo t opera.org

Detroit Edison FoundationMezzanine Level in Opera Hall

Mr & Mrs. Robert E. DewarTrustee Circle Madison Lobby

Ford Motor CompanyBackstage Renovation

Broadway Lobby

Herman & Barbara FrankelGeneral Directors Circle Lounge

General Motors CorporationGeneral Motors Opera Caft

Robert & Alice GustafsonThird Floor Lobby Alcove, Madison

Richard & Mary Lou JanesThird Floor Lobby Alcove, Broadway

Chaim, Fanny, Louis , Oliver Dewey Marcks

Mr. & Mrs. Lynn TownsendBenjamin and Ann Foundation - Trustee Circle Broadway

Florence Kaufman Third Floor Promenade Lobby

Memorial Tmst - Staircase

Mr. & Mrs. George VincentGrand Side Chandelier Lobby to 2nd Floor, Madison Lobby

Wallis & Robert M. KleinMadison

Mr & Mrs. Alvin WassennanGrand Staircase MichCon Foundation - Box Level Promenade Mirror Lobby Boutique World Heritage FoundationDolores & Paul Lavins - The Karen & Drew Peslar Conductors Dressing Grand Side Chandelier Foundation- Room

Grand Staircase Co-Star Dressing Room

Mirror

Mr. & Mrs. Irving Rose-

Lear Corporation - Patron Elevator in Lobby

Several named gift

Trustee Circle Level in Tower opportunities are available in Opera Hall the Detroit Opera House. For Mrs. Carolyn L Rossmore information, please

The Lomason Family - Grand Staircase Mirror call the Development

The William K & Neva Raymond C Smith Department at Lomason Foundation Fund of the (313) 237-3438. m

Opera Lounge Community Foundation for Southeastern MichiganRaymond C Smith Lobby

From Barbara Frankel, MOT volunteer and member, Board of Directors

Many years ago, I heard a sermon, the essence of which was encouragement to leave money to charities when we pass away: Additionally; the point was made about how nice it would be , if we were able, to give during our lifetime to have the pleasure of seeing our money work.

This is what I have chosen to do at Michigan Opera Theatre . When I saw the theater before the restoration, with water damage everywhere and the beautiful frescoes falling off, I knew I wanted to help. So when the Detroit Opera Hou se opened in 1996 , I was so thrilled and proud to have partiCipated in thi s wonderful project for our community Now m y husband Ron and I are on the capital campaign committee to complete the improvements.

We also recognize the n ee d to ensure the future of Michigan Opera Theatre , so I have arranged two gifts that wi ll bene fit the company now and after my lifetime The first gift, a bequest , will come to MOT after I pass away When I informed MOT of m y plans , I became a m ember of the Ava nti Society:

The second gift, a Charitable Gift Annuity; was given r ecently as part of MOTs Touch the Future campaign. A Charitable Gift Annuity is a life-income gift that not only pays me income for life , at a higher rate of return than I could earn on the market , but also pays me part of the income tax-free In addition, the Community Foundation for Southeastern Michigan, backed by the Kresge Fo u ndation , will donate $ 1 for every $3 of the current value of my gift to MOT's endowment. After m y lifetime , the remainder of the fund will also go into MOT's endowment. And I receive d a tax d eduction in the yea r I gave the gift!

By doing this during m y lifetime, I am ab le to see where m y money is going, and I have to tell you, it feels great. Some wo nderful benefits go along with being a m ember of the Avanti Society, but the thing that is most important to me is that, when I am gone, MOT will still exist. My children and grandchildren will be able to enjoy the wonderful things the Detroit Opera House has to offer and know that their mother and grandmother helped to keep it alive .

Michigan Opera Thea tre is no w the ninth-largest opera company in the country: We would love to see more people join us in the Touch the Future and Avanti Society programs , so that this jewel that David DiChiera and others have worked so hard to give us will continue to grow and b e h ere for generations to come.

I've done it and can only say; "Try it , yo u 'll like it. " m www.MichiganOpera.org

BRAVO

In the spring of 1999, Michigan Opera Theatre was proud to be selected as a Leadership Grant participant in the Community Foundation for Southeastern Michigans (CFSM) Touch the Future program.

TOUCH TIlE

FUTURE

Originally, 13 organizations were chosen for this honor, and after March 31, 2001 , only 9 organizations , including Michigan Opera Theatre, remained in the program We are working together with the other organizations and the Community Foundation to build endowments for the future of this community and southeastern Michigan.

As a participant , Michigan Op era Theatre is eligible to receive over $300 ,000 in matching grant funds to go into MOT's endowment at the Community Foundation and $130,000 in operating support from CFSM . In order to receive these funds , we must raise over $2 ,000 ,000 in qualified planned gifts, such as Charitable Gift Annuities, Charitable Remainder Trusts , Life Insurance or Pooled Income Funds.

To date , Michigan Opera Theatre has raised over $730 ,000 (face value) of n ew endowment gifts through the Touch the Future program, $112 ,000 in matching funds for its endowment at the Community Foundation and has received another $50 ,000 in operating support.

Wh e n you gi ve t o th e e ndo w m e nt o f y our fav orit e c h arit y, in wh a t ev e r a m o unt , y ou say " thank yo u " to th e co mmunity that's h elp ed yo u thrive. And yo u to uch th e peo ple wh o will li ve in th at co mmuni ty for gen er ati on s to co m e F ind o ut more by con tactin g th e Michigan Op e ra Th ea tre at 313-237-3268 or the Community Found ati o n for So uth e astern Mi c higan at 1-888- WE - ENDOW or www.cfsern.org

www.MichiganOpera.org

If you would like more information about how you can be a part of this unparalleled opportunity for Michigan Opera Theatre, please call Jane Fanning in the Planned 11 Giving Department at (313) 237-3268. F'Ul' URE

Together, we can touch the future.

Detroit Opera House

Dr. Jeffrey & Lorig Norayan

Stephanian

Alex & Marybelle Suczek

Dr. Harry & Seta Oknaian , Dick A. & Barbara Tarpinian , Chatsworth, CA Chandler, AZ

Marga ret 0 knaian Charles & Marcella Montante

Dr. Hayg & Georgi-Ann Oshagan Tashjian

Tatosian Family, Evanston, lL Ara Jon Berberian

Roland & Mary Azizian Telfeyan Donald J. Bissett

Ar.sen & Shoghig Terjimanian John A Borden , Tequesta, FL

Kaye & Kathleen Tertzag

David & Sara Terzibashian

George & Denise Boyagian

Alethea Anoush Brooks

Ludwig & Mari Muschegian

Sam & Anna Lovalenti, Mariam Tatosian, Evanston, lL Nyal A. & Kelly Bischoff

John M. & Lucille Noraian Toledo,O H

Esther Ovian, Henderson, NV

Victor & Sosi Papakhian

Linda Lutz

Martin & Violet Di rasian-

Nevart Papazian Madlin

Vett & Elise Parsigian

Carl & Alice Malakhanian

Rev. Dr. Vahan H. & Rosette Vartges & Tanya Bukucuyan , Gladys Kennoyan Peters, Lawrence L. Mehren III & Tootikian Plainview, NY

Jon & Vartouhy Topalian Jacqueline Tonya

Kenneth & Medina Topalian, Chichmanian, Tacoma

Pawtucket , Rl Park, MD

Edward & Rosalie Torossian, Jack & Aida Dakessian

Sylvania, OH

Fresno, CA Chiristina Balian

Helen Sahakian

Suzanne Sahakian & Lee Brooks

Flora Mirzaian, Alameda, CA

Robe rt Missirlian & Alice

Dr. Edward & Anna Sarkisian Missirlian

Kenneth & Angela Hagopian Dr. Eugene & Dr. Audrey

David & Rose Darakjian Snow Goneaer Mitchell

Hrayr Toukhanian Alice Davidson

Richard & Linda Gumushian

Victor & Valentine Bozian

Edward & Astrig Tutelian Mary Davidson Spranger Nemetz, E. Hanover, NJ

Dr. Thomas G. & Marilynn Kay Doumanian Kegham Tazian Mitchell & Vanohe Nicholas Varbedian Faouzi & Jacqueline

Gary & Virginia Vartanian Melkonian EI-Chemmas

Richard D. & Rosemary

Dr. Dennis & April Arabian Tini

James & Carol Ohanesian

Anahid Vart Violet Ramezzano, Menlo

George & Mary Elian Sebouh & Dr. Varti Vartanian, Park, CA

Vartanian Nick & Rose Evarian Hillsborough, CA Richard M. & Karmen

Rick W & Barbara Dourjalian Sirop & Alice Sabb

Harry & Jeannette

Yangouyian

Santourian

Widener Ghazourian

Dr. R. Ara & Janice Yagoobian Sooren & Margaret

Karabet & Sibil Nana Yerelek, Gozmanian

Ta rzana, CA Frank & Jessica Hachigian

Dr. Ara & Lori Yarjanian

Pamela Der Matosian Sayre & Alan & Emma Lucas Wrigh t Karabet & Kinar Goncaer

William j. Fortuna

FEUOW FRIENDS $10·$49 Ralph J. Sirlin

Aram Agbabian Leon & Anais Tarkedjian

Va han & Julie Agbabian And rew & Anne Tarpinian

Dr Ara K. & Rosy Yeretzian, Barbara Haroutunian Vartan Agbabian, Boston, MA Jose fi na Teroganesyan, Munster, IN Antonio & Marian Iafrate Bedo Agopian, Antioch, CA Duarte, CA

Mark & Cynthia Yessian Shenorig G. lshkanian, Lynn, MA

George K. & Anne lamanian Norman & Esther Javezian

Dr. Gary & Mariann Zorob & Sally Kabodian

Walter & Martha Akkashian

Kaza r & Marina Terterian

Berc & Armine Araz, Edison , NJ Dr. Aram Vosgerchian

Leo & Gladys Artinian Mary Kooyoumjian Wiley, lamanigian David & Janeva Karapenan

Dr. Andrew & Mary Rose Ashen Kavafian

Harry & Alice Baharozian Walnut Creek, CA

Glenn & Joanne Agbabian

Dr. Aram & Sarah Yavruian

Zazaian Craig & Arsho Kurkechian Black Joyce Yeremian, North

Dr. John & Suzan lazaian Rose Lahiff

Albes Rose Mahlebashian

Rose Dabanian Providence, RI

Katherine Der Mugrdechian, George & Alice lallakian

FRIENDS $50·$99 Hovagim & Hermine Clovis, CA Jack laratzian

Susan Amerigilian Manoogian

Anahid Derbabian

Haig & Susan Arabian Mark & Elaine Mardirosian Hennine DerVartanian In Memory of Alice Argnian Barbara Megerian

laven and Araxe Dolik Azniv Edna Avedian

Sahan Arzruni , New York, NY

Edmond & Axelle Megerian

Nurhan & Mary Donikian Harry Barberian, Toronto, Onto Antranik & Rosalie Baghdoian Sadie Metzigian David & Angela Karamian Sid Barberian

Y. Gladys Barsamian Dr. Sam Mikaelian, Chicago, lL Dr. Steven & Lynette Keteyian Harry & Siroun Berberian George & Carole Basmadjian Harry & Helen Movsesian Harout & Maguy Kurdian Vahram Boladian

SEE YOUR DONATION DOLLARS AT WORK

DONATE YOUR

• Free Towing

• Any Condition Accepted

• Donation Is Tax Deductible

Proceeds from your vehicle donation go directly to St . Vincent de Paul's programs such as the brand new Van Elslander Family Center on Gratiot in Detroit. The center provides many free valuable services to our communities families, helping raise these families from poverty. Donate your vehicle today. Society

• Free Home Appraisal Services for vehicles with a fair market value of $5,000 or more.

For Automobile donations , call 1(800) 309-AUTO (2886) For all other donations, call 1(877) ST-VINCENT (788-4623) www.svdpdet .org

Charles A. Parkhill

Chateau Gra nd Traverse Winery

Clear Magaz ine

Comerica Incorpo rate d

Comos

Compuware

Crown Towers Hotel Aust ralia

Cruise Magazi ne

Dan Sta ll , Inc ., The Auction Team

Daniel Stober AIFD Design

Detroit Fu ry Football Team

Detroit Marriott Renaissa nce Center Hotel

Detro it Spi ce Company

Duet at Orches tra Place

East Asia Gallery

EMI Music Distribution

Fi garo Hair Sa lon

Fiona s Tea Room

Five Lakes Grill

Flower to Fl our Bakery

General Wine & Liquor

Giovanni's Ristorante

Graphic Enterp rizes

Grosse Pointe Athletic Club

Hanselman Se rvi ce

Intermezzo Italia n Ristorante & Bar

j. Alexander's Res taurant

j. Lewis Coo per

Jaguar Cars Nort h America

Jim Howitt

L & L Wine Wo rld

La Zingara Trattoria

Lisa Di Chiera

Made from Scratch Enterprises

Made in Detro it

Majestic Cafe

Meagan Mitche ll Salons

Mon Ji n La u

Motor Ci ty Brewing Works

New Seoul Garden Restaurant

Neiman Marcus No rthwes t Ai rli nes

Olympia Ente rt ainment

Opus One

Passageways Travel

Peppinas

Phil Foster

Phoe nicia

Portra its by Sayles

Post on Broadway

Pure Bar Room

Pure Det roi t

Red Coat Tavern

Ristorante eli Modesta

Shana West ley

SLAW

Qantas Airways Limi ted

Robe rt Mondavi Famil y of Wines

Sangria

Shula's Steak House - Troy

The Courtya rd by Marriott Detroit Downtown

The Detroit News

The Di splay Group

The Ginger Group

The Main Eve nt & The Detroit Lions

The Paddock Club 2000

The Perrier Group of America

The Town Pump Tavern

The Townsend Hotel Rugby Grille

The Ritz-Ca rlton Grille Room

Tribute

Tubb ys

Union Street Saloon

Universal Music & Video

Distribution

Uptown Deli & Catering

Vantage Valet

Vintage Wine Co.

Westin Hotel So uthfieldDetroit

Wico Meta l Products

XL Color Inc. m

BETTY GERISCH

Detroit Opera House

IN MEMORIAM

For man y yea rs in the Detroit metropolitan area, Betty and Dr. Bob Gerisch were well known for their devotion to charitable causes. Wherever they went, they made new friends and promoted charities , many of which would not have succee ded without their extra push

When Betty walked into a room , the party began. The conversation might start about something at the Detroit Institute of Arts , then perhaps move on to the Detroit Public Library or Michigan Opera Theatre. If so meone mentioned a favorite charity, she knew all about it , and that would be the next subject of discussion.

Betty and Bob were both members of the Board of Tru stees of Michigan Opera Theatre and were on committees for Opera Balls, Annu al Trustees Meetings and other events. At one point, Betty was chair of the Michigan Opera Theatre Guild. While serving in that po sition , she reorganiz ed and helped se t the Guild on a new course that led to the founding of MOTVA , The Michigan Opera Theatre Volunt eer Association.

A terrible tragedy occurred in 1995 as Bett y and Bob attended a meetin g of the Nationa l Board of Directors of th e Sa lvation Army in Atlanta, Georgia. Both Betty and Bob were severely hurt in an accident and later mo ve d to Connecticut, where their daughter Mary took care of them.

Many awards were bestowed on Betty during her busy life in Southeast Michigan, including Detroit 's coveted Heart of Gold Award, Na tional Volunteer Fund Raiser in 1998 , and the Sa lvation Army's William Booth Award.

Betty passed away on March 24,2002. Mary said that her father , Bob , doe sn 't speak or remember much anymore, but when he und erstood that his wife had passed awa y, he said, "We 'll dan ce together again in heaven. "

We will all miss her! m

MRS. ROBERT HAMADY "MILLIE" 1912 - 2001

When Millie Hamad y walked into a room , people would stop talking and whisper, "Who is that t !!" She exuded grandeur, sty le and wit , accompanied by a dazzling smile and the late st news.

Originally from Beirut , Lebanon , Miliha Salha determined unusual paths for a young woman of that time and place. With her father being co nsultant to the President of Lebanon , politiCS fa sc inated "Millie ," and she studied political sc ience at the American University in Beirut and at the Sorbonne in Paris , earning her degree.

Millie married Robert Hamady and move d to Flint , where life took a very different turn. "When I moved to Michi ga n , I entertained the idea of studying medicine at the University of Michigan, which was we ll known in Lebanon . But I soon di sc overed I married the grocery busine ss !! "

While raising her two sons, Robert and Theodore, Mrs. Robert Hamad y threw herself into community life, serving on many boards of directors , including th e Flint YWCA , the Flint Co uncil of Social Agencies , the Flint Symphony Orchestra, and beca me the first woman presi dent of the Mackinac Is land Association, Mackinac being the location of her belov ed summer residence. She was appOinted a Di stinguished Woman of Northwood University and neve r straye d too far from her lo ve of politiCS with her work for the Republican Party, being on a first-name ba sis with legislators , governors and presidents.

After becoming a member of the Michigan Opera Theatre Board of Trustees, she would be driv en in from Flint to attend meetings , performances , Trustee Dinners, Opera Balls and other ga la events at the Detroit Opera Hou se. Alwa ys generous with her political co nnections , Millie would "put in a good word " for Michigan Op era Theatre and the Detroit Opera House whenever nee ded. Her generosity didn 't stop at a good wo rd , as she gave of her time and money to help Michigan Opera Theatre. m

Deportment of Community Programs

Karen DiChiera, Director

Come discover what you can learn this summer at the Detroit

Opera House!

During each summer since 1997 (the year following the opening of the Detroit Opera House) , the Department of Community Programs has held a summer institute for all ages.

Learning at the Opera House has become an acclaimed opportunity for children, young adults, adults and senior citizens to participate in and learn about the arts, humanities and hiStory: The summer institute has been honored with a SUCCESS AWARD in education by Opera America, the service organization for North American opera companies.

From late June through the middle of August, citizens of Michigan and Ontario, Canada, have access to fine local, national and international presenters who give lectures, tours and workshops through Learning at the Opera House

FOR TEACHERS

Teachers will once again be able to earn Continuing Education Units and some graduate credit by participating in speCially deSigned workshops.

Teachers may participate in a two-day workshop and tour of cultural institutions offered by the COALITION FOR CULTURAL EDUCATION, which is made up of education and outreach departments of the major cultural institutions of Southeastern Michigan Michigan Opera Theatre will host one of the afternoon sessions at the Detroit Opera House. For information , please call Brad Gravelle , arts consultant at Wayne County Regional Educational Service Agency (RESA) at (734) 334 - 1318.

The Yakkey Method, TEACHING MUSIC READING SKILLS TO BEGINNING MUSIClANS , will again be offered , but this time, the creator of the method , Joan Yakkey, will fly in from Italy to teach the course in person!!

FOR YOUNG PEOPLE

During the day, programs such as Arts

www.MichiganOpera org

Camp, Create Opera , Rappera, Operetta Camp, Opera Camp , Vocal Recital Workshop and Writers' Workshop offer young people from the ages of 7 to 21 opportunities in singing, creating, composing , writing , learning repertoire and performing. In 2001 , over 400 young people took the opportunity to participate in these unique workshops.

EVENING AND WEEKEND PROGRAMS - a

ll ages enJoy our lectures and

worksnops

On MONDAYS , we are continuing our partnership with the YM.C.A. and the Writers Voice. Not only can you study writing, but Director M L. Liebler promises a stunning lineup of poets from Michigan and around the country for Monday nights in Poets at the Opera House . The free readings attract poetry lovers throughout Southeastern Michigan and Ontario, Canada. Some evenings , music is added to the mix - frequently with Lieblers MAGIC POETRY BAND. Also continuing on Monday nights is our Oral History Interviews with Detroit Luminari es. Each Monday evening , two persons who have distinguished them-

Detroit Opera House

Copyright 2010, Michigan Opera Theatre

selves in the arts, history, education, the media , the humanities or in special programs for the community are interviewed and videotaped in front of a live audience. The finished videos are stored in the Burton Collection of the Detroit Public Library, so the general public and future generations may learn almost firsthand what made these people so special and what influence they may still have on the lives of the people of our region.

TUESDAY evenings are a potpourri of delectable offerings MOT Dance Coordinator Carol Halsted will give you an overview of our 2002-3 dance season. Learn about the genius of the French music composition teacher Nadia Bou langer and her influence on 20thcentury music in our Women Composers series. German American composer Kurt Weill and African American writer Langston Hughes created one opera together: STREET SCENE. Weill expert Jack Goggins of Harmony House

Classical and Hughes expert Josephine Love, founder and director of the Heritage Museum for Youth, will discuss

fascinating information about the two men and their collaboration

Discover the haunting history of Mexicans in Detroit as well as folk dances and folk art of Mexico. A video and lecture enlighten you about a little-known disturbing past and visions for the future in one of the fastest -growing areas in the city of Detroit - Mexican Town.

WEDNESDAY nights will again

present

The Renaissance in Detroit, featuring examples of the Harlem Renaissance as it occurred in our city Dr. Ella Davis, lecturer at Wayne County Community College and Wayne State University, has assembled a formidable collection of presenters, who will surprise and enlighten you

Once more, THURSDAY evenings will feature favorite opera lecturers , presenting the music and backgrounds of MOTs 2002-3 season of opera Dr. Wallace Peace, Dina Soresi Winter, Dr. Martin Herman , Suzanne Acton, Dr. Thomas Frank and of course MOT General Director Dr. David DiChiera will engage

www.MichiganOpera.org

you with musical examples, historical inSight and hilarious anecdotes about composers, librettists and performers .

SATURDAYS , during the day, take a workshop on Decorative Plastering from the plaster restoration supervisor for the Detroit Opera House, or learn about mystery writers and writers who influenced the creation of operas , some of which will be on our forthcoming season. You could participate in these while your favorite youngster takes a writing class from Detroit poet and performer Joanne

Washington

.

WEEKEND evenings and afternoons will feature performances by our young campers. By attending the final presentations of our young singers, actors, writers and composers, yo u may someday be able to say, "I remember when that artist was 16 years old and performing at LEARNING AT THE OPERA HOUSE!!!"

Please call Learning at the Opera House, (313) 237-3270, for a 2002 catalog.

Detroit Opera House

The Michigan O p er a The a tre and the Detroit O p era Hou se present on e of the fin est and m os t di ve rse ope ra and d an ce series in the country Th e theatrical experien ces enco mp ass voc al and orchest ral m u sic, da nce, dram a, co s tumes, sets and li ght in g. The achievem ent of this multiplici ty requires m an y voices and m an y willing hand s. The talented , givin g h ands of our O p era League, Ush er s, Dance Council , Yo ung Professio n als, Amb ass ad o rs, Office and Boutiqu e w orkers, Movers, Sup ers, Educati on &. O u trea ch , and Ad agiO volunt eers have a Significant impact on the over all op eratio n o f the comp an y

MICHIGAN OPERA VOLUNTEER ASSOCIATION EXECUTIVE COMMITTEE

Dodie David, President

Gloria Clark, Vice President

Eva Me h arry, Secretary

John McMullin , Treasurer

Betty Brooks, Past President

CHAIRMEN OF STANDING COMMITTEES

Roberta Sta rkweather, Adagio

He len Millen, Ambassa d o rs

Annette Balian, Bylaws and Procedures

Betty Brooks, Cookbook

Linda Wa tters, Cookbook

Carol Ha ls ted , Dance Cou ncil

Vicki Barne tt , DivaslDivos

Wallace Peace, Edu cation &: O u treach

Richard H ill , Educa tion &: O ut reach

Sue Dimattia, Members hi p

Nancy Krolikowski, Movers

Corinne O p iteck, Opera H ou se Ushers

Sharon Wa llace Snyder, Opera League of Detro it

Ali Moiin, Supers

Jeanette Pawlaczyk, Office Vo lunteers

Arda Barenholtz, Volunteer Voice

Randall Fogelm an, You ng Pro fessionals

MEMBERS-AT-LARGE

Kevin Dennis

Don Jensen

Queenie Sarkisian

Administration & Staff

DAVID DICHIERA Matthew S. Birman Stephani Miller Thaddeus Technical Staff Gary Gilmore

General Director Communications Yates Strassberger' Randall L. Mauck Production Coordinator Assistant Director Assistant Directors Technical Director Electrician

BRETI BATIERSON Jenise Collins of Development Nancy Krolikowski

Chief Operating Group Sales

Monika Essen

Mary Ellen Shindel

Annette M Lozon Local Property Master Head of Wardrobe Coordinator Manager of Trand:0rtation & Scenic Artist IATSE Local #38

Officer Jane Coe Foundation & COOf< inator

Kendall Smith Stage Crew

Kimberly Gray Govemment Eugene Robelli Lighting IATSE Local #786

DEPARTMENT Ticket Services Relations Audition Coordinator Wardrobe

DIRECTORS Assistant Lauren Allion Volunteer

Karen VanderKloot Managers Membership Pat Lewellen

Justin Burleson'

Shawn Kaufman ' & ! DETROIT

DiChiera Christy Gray Manager Production Assistant Lighting OPERA HOUSE

Director of Ticket Services

Heather Hamilton Volunteer Designers

Community Representative Volunteer

Programs

Trish AlmqUist

Keith Kalinowski Event Coordinator

Timothy Lentz Coordinator MUSIC Technical Demetrius Barnes

John Eckstrom Archivist

Kathleen M. DEPARTMENT Assistant Jesse Carter

Director of Jeanette Pawlaczyk McNamara

David DiChiera Building Engineers

Administration Public Relations Corporate Music Director Costumes

Roberto Mauro Assistant Campaign

Suzanne Mallare

Elisa Giuliani

Suzanne M. Hanna House Manager

Director of Artistic Bill Carroll Manager Acton Costume Kyle Ketelhut

Administration Public Relations Jane Westley Assistant Music Coordinator Concessions

David W Osborne Volunteer Development Director; Chorus

Barbara Hicks Manager

Director of Associate, General Master First Hand Rock Monroe

Production COMMUNITY Director's Circle

Mary Parkhill PROGRAMS

Danielle DeFauw

Director of Mark Vondrak Boutique Manager

Development Tour Manager

Jennifer Turner

Betty Lane

Timothy Cheek

Margaret Bronder Director of

Karen Delavan' Second Hand Security

Jean Schneider!

RNANCE/COMPUTER Repetiteur

Director of Facilities Program Manager SERVICES

Laura R. Wyss

Dolores Tobis

William T Schulz

Diane Bredesen

Orchestra

Personnel

Mary Ellen Shindel

Calvin Williams

Fitting Assistant Maintenance

Ulla Hettinger Supervisor

Pricia Hicok

Genevieve

Bobby Abrams

Ronald Mosley

Director of Office & Controller Palczynski Stage Door

Communications Marketing

ADMINISTRATION

Carol Halsted

Dance Coordinator

Kimberly Burgess- Manager Stitchers Security Manager Rivers

Betsy Bronson

Rita Winters

Alaina Brown Accountants

Maria Cimarelli

Joseph Rusnak

Bill Austin Trenda DeGraw Systems Manager

Assistant to the Jennifer Gale

General Director

Linda DeMers

Keith Bibbins

Kim Parr Systems

David Pulice Programmer

Executive Assistant Gregory Robinson

Karl Schmidt

PRODUCTION

Beverly A. Moore

Receptionist

COMMUNICATIONS

Angelina

Pashmakova

Alice Moss

Wardrobe Mistress ' Otello

Jean Schneider , Lakme

Rehearsal

Accompanists

Stage Man agement

Makeup & Hair ! Marriage of Figaro

Leeann Scheboth

Heather Hambrech

William Coiner' Elsen Associates

Violeta Kapayo

Thomas Mehan! Local Coordinator

Kenneth Saltzman'

Mark Vondrak Production Production Stage Stage Crew

Chris Vaught Administration Managers

Tamara Whitty

Elizabeth Neds-Fox

Michael Hauser Chancellor Wyman Production

John Kinsora

Lisa Marie Lange! Head Carpenter

Ellen Marie Peck (all)

Robert Mesinar

Christine Schott' Head Electrician Manager Company

Marketing Outreach Touring Coordinator

Carolyn Geck

Sarah Lin Warren'

Alan Bigelow

Kimberly A. Assistant to Assistant Stage Head Propertyman

Mogielski

Patron and Ticket

Services Manager

Jane Fanning Production

DEVELOPMENT Director of Managers

Associate Director

£lanie Panageas

Robert Martin

Head Flyman

Amy Axelson'

Sharyn Pirtle! Intern

Steve Kemp of Development

Head Soundman

General Information

PHOTOGRAPHY & RECORDING

DEVICES

Unauthorized cameras and recording devices are not allowed inside the lobby or theater at any time. The taking of photographs of the theater or any performance is strictly prohibited. As a courtesy to our guests, we ask that all paging devices, cell 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 ticket) and our emergency number, 313/237-3257, with the service or sitter in case of an emergency Please observe the lighted exit signs located throughout the theater. In the event of fire or similar emergency, please remain calm and walk - do not run - to the nearest exit. Our ushers are trained to lead you out of the building safely A trained Emergency Medical Technician (EMT) is on site during most events. Please see an usher or staff member to contact the EMT.

are interested in becoming a volunteer usher, please call the usher hotline at 313/237-3253.

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

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

opera or ballet, the ability of all audience members to hear the music is a prerequisite to enjoyment of the performance. In all cases, babes in arms are not permitted.

SERVICES Concess i on stands are located in all levels . Please note that food and drinks are not allowed in the auditorium at any time . Coat ch eck is located in the Ford 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. Drinkin g fountains are located in the lobbies on floors one and three. Public pay phones are located in the vestibule of the Ford Lobby Patrons in wheelchairs can access pay phones outside the third-floor ladies' restroorns.

RESTROOMS

Ladies' restrooms are located off the Ford Lobby (Broadway street entrance), down the stairs and also on the third floor (Madison street entrance) - please press "3R" on the elevator to reach these facilities Gentlemens restroorns are located under the Grand Staircase , and also on the third floor (Broadway street entrance) - please press "3" on the elevator to reach these facilities. Please note: All third -floor restrooms are wheelchair accessible. Unisex accessible restroom located in the GM Opera Cafe.

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

USHERS Ushers are stationed at the top of each aisle If you have a question or concern, please inform ushers, and they will contact management. If you

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

ACCESSIBIUTY Accessible seating locations for patrons in wheelchairs are located in all price ranges on the orchestra level. When inquiring about tickets, please ask about these locations if you require special accommodations Assisted Listening Devices are available on a first-come, first-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 device. Please contact the Box Office, should you desire speCial consideration.

CHILDREN Children are welcome; however, all guests are required to hold a ticket, regardless of age. We kindly ask that parental discretion be exercised for certain programs, and that all guests remember that during a program such as

RENTAL INFORMATION

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

TICKET INFORMATION

The Detroit Opera 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 evenings performance, except Saturdays and Sundays , when the Ticket Office will open two hours prior to curtain Tickets for all public events held at the Detroit Opera House are also available through all TicketMaster phone and retail outlets or at TicketMaster com

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 behind the scenes , tour the stage and see how it operates. Tours are $10.00 per person For more information, please call 313/237-3407.

Be a dvised that for p u rposes of Michigan Compile d Laws, Section 28.4250(0(0, this is an entertainment facility that has a seating capacity of more than 2,500 ind ividu al s. It is therefore against the law to carry a conceale d pistol on the premises.

Copyright 2010, Michigan Opera Theatre

Sometimes we need to take the time to enjoy some of life's finer things. And opera is certainly one of them GM is proud to once again sponsor the Michigan Opera Theatre 's 2002 Spring Season We look forward to another season of performances filled with passionate song and elegant dance.

MICIDGAN OPERA THEATRE

Otella

April 20-28

Please be advised that a strobe light is used in Act 1

Surtitle Operator

Dee Dorsey

Fight Choreography

Christopher Barbeau

Wig & Make up Crew

Deanne Iovan

DeShawn Glosson

Supernumeraries MEN

Gianluca Alberini

Joseph Convery

Bill Kupsky

David Piotrowski

Jim Slowik

John Tomashek

Tom Boice

Bruce Davis

Jacob Lehmen

Jason Rhoades

Paul Snyder

Stefen Welch

Supernumeraries WOMEN

Faye Cross

Danny Bradley

Bryan Johnson

Ali Moiin

Matt Ruhlig

Zachary Thumser

Wend Brender Dellashon DiCresce Athena Eyster

Brigit Histed

Karla Roberson

Elizabeth Hoult J an Renard

Kimberly Sievert

Special Thanks to: HAGOPIAN RUGS AND FURNITURE

Weaponry by Rings of Steel

Sound Effects by Daniel Galeski

Copyright 2010, Michigan Opera Theatre

MICIDGAN OPERA THEATRE Lakme

May 11-19

Due to editorial deadlin es the following information could not be included in Michigan Opera Th eatre's BRA VO

Wig and Makeup Designers (Elsen Associates)

Allison Mazurski

Lauren Andree

Louis Farris

Jan Renard

Paul Snyder

Joanne Weaver

Surtitle Operator

Dee Dorsey

Supernumeraries

Devan Anderson

David Piotrowski

Karla Roberson

Stephan Welch

Hindu Temple Rhythm Dancers

Sudha Chandra Sekhar

Anjali Chandra Sekhar

Malini Sarma

Sandhya Soorya

Shaila Vijaykumar

Tara Reddy

Sudha Chandra Sekhar Choreographer

Michigan Opera Theatre Debut

Paul Brennan

Chris Pomodoro

Matt Rhulig

Anandini Chandra Sekhar

Ganga Rajkumar

Hari Sarma

Preeti Gudimella

Vidya Chandra Sekhar

Sudha Chandra Sekhar, the Artistic Director and moving spirit behind the organization Hindu Temple Rhythm s , has spent more than 50 years in the study, performance and promotion of the sacred dances and music of India. After marriage, the Chandra Sekhars moved to Michigan with their three daughters Vidya, AnjaJi and Anandini, where they have continued their promotion, preservation and dissemination of the classical arts of India. Mrs Chandra Sekhar has more than 2 ,000 performances to her credit and has conducted lecture demonstrations throughout the U.S. and Canada. Mrs. Chandra Sekhar and her troupe ' s performance in Lakme will be the first known time that the South Ind ian classical dance style Bharata Natayam will be performed in an opera.

Special Thanks to Carlo Coppola and Latika Mangrulkar

The Role originally shared by Sumi Jo and Aline Kutan will be sung by Alin e Kutan

Correction / Th e Role of A M erchant will be p erform ed by Tom Kabala

The Role ofA will be perform ed by Christopher Vaught

Copyright 2010, Michigan Opera Theatre

MICIDGAN OPERA THEATRE

The Marriage of Figaro

June 1-9

Du e to editorial deadlin es th e following information could not b e included in Michigan Op era Th eatre's BRA VO

Wig and Makeup Local Crew

DeShawn Glosson Faye Cross

Surtitle Operator

Dee Dorsey

Supernumeraries

Lauren Andree

Richard Hill

Joshua Madden

Sheryl Lynn Smith

Bruce Dav is

George Jackiewicz

David Piotrowski

Joseph Tarica

Dellashon DiCresce

Fred Lebowitz

Christian Pomodoro

The Role of Count Almaviva will b e ca s t by Brett Polegato(Jun e 1, 5 & 8) and Brian Davis (Jun e 2, 7 &9)

Correction: William Coiner is th e Stag e Manager for The Marriag e of Figaro

MICIDGAN OPERA THEATRE

The Marriage of Figaro

June 1-9

Du e to editorial deadlines th e following information could not b e included in Michigan Op era Th eatre's BRA VO

Wig and Makeup Local Crew

DeShawn Glosson Faye Cross

Surtitle Operator

Dee Dorsey

Supernumeraries

Lauren Andree

Richard Hill

Joshua Madden

Sheryl Lynn Smith

Bruce Davis

George Jackiewicz

David Piotrowski

Joseph Tarica

Dellashon DiCresce

Fred Lebowitz

Christian Pomodoro

Th e Role of Count Almaviva will be cast by Bre tt Polegato(Jun e 1, 5 & 8) and Brian Da v is (Jun e 2, 7 &9)

Correction: William Coiner is th e Stage Manager for The Marriag e of Figaro

Copyright 2010, Michigan Opera Theatre

In the spring of 2000, David DiChiera approached me about directing a production of The Marriage of Figaro in Detroit. David and I both agreed that there were no truly exciting productions of Figaro available for rental, so I told him that perhaps conceiving and building a new production would be the most advantageous route for us to take. Ironically, I had never directed the opera, although, as an actor, I had previously performed the role of Figaro in the Beaumarchais version over 300 times. Upon reflection of both the opera and the play that it was based on, I noted that none of the productions that I had seen focused on one of the most important driving aspects of the entire story - the clash between the two classes.

Before I elaborate my thoughts about this production, it is important to remind people of the times in which this opera was performed. In 1776, the Declaration of Independence was issued. The ideas of the "Age of Enlightenment" began to pervade the lower classes. After years of struggle between the playwright, Beaumarchais, and the King of France, Beaumarchais' play, Le mariage de Figaro premiered on April 27, 1784. The performance created a scandal and was subsequently banned. The emperor, Joseph II of Austria also banned performances of the play in Vienna, and it was only after the librettist, Da Ponte and Mozart, himself, cunningly assured the Emperor that they would remove all seditious content, that Joseph allowed the opera to be staged. The opera was premiered on May 1, 1786 in Vienna. By 1789, the Declaration des droits de / 'homme et citoyen was issued, and the French Revolution was in full swing. Obviously, the opera was composed at a time when there was mounting political tension, and therefore, the political aspect of The Marriage of Figaro, which is evidenced throughout the opera, cannot be denied.

The world of the opera, is a world in movement, where conventions are questioned and traditions refused. This can be illustrated by numerous examples, some of the more blatant ones are, Figaro and Susanna, who challenge the authority of the Count Almaviva, and Cherubino, who refuses to obey the Count's order to leave the castle. All the characters exhibit some kind of revolt against, not only the social and political establishment, but also the emotional establishment. With that in mind, we decided to make these aspects of the opera more prevalent than they traditionally are, but at the same time, without denying the other aspects of the plot.

The sets for this production define all the locations that the opera requires, but most certainly show a world in motion. The different locations, i.e. Figaro's room, the Countess' boudo.ir, the garden etc, are present, but they are present because the servants of Almaviva install them In essence, they create his world, and the different locations of the opera become an arena for confrontation. In fact, during the famous overture, the servants are shown reading the Declaration of Independence and the declaration of the French droit de /'homme et du citoyen, and, from there, installing the future locations of the conflict. On each side of the stage, there are two omnipresent columns; one represents the French revolution, while the other represents the tradition of the establishment -a symbol of the autocratic king and church. However, Mozart's opera is simply too rich to be reduced to merely a political and social satire of the time. We have kept in the staging all other aspects of this brilliant opera, including he buffoonery of certain characters and situations, i.e. Antonio and Bartolo, and the wonderful relationship between Figaro and Susanna, who are the real engine of the opera, as well as the loneliness of other characters. Above all, The Marriage of Figaro is a great comedy of situations and characters against a political and social background. And, of course, it is Mozart's music that makes this one of the most perfect operas ever written.

Enjoy the opera!

Bernard Uzan - Stage Director, The Marriage of Figaro