PROGRAM: Bravo 2003 Fall Opera and Dance

PERFORMANCE is a commitment to Excellence

Ii':trhits 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 2002-2003 season . They are outstanding contributions to the cultural life of Michigan and we extend our best wishes for a sensational season.

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Dr. David DiChiera, General Director

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Roberto Mauro

Suzanne Scherr

Laura Wyss

Michigan Opera Theatre Staff

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ON THE COVER

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Original design by Joe Fitrzyk

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Michigan Opera Theatre is a nonprofit cultural organization, whose activities are supported in part by the Michiga n Council for Arts and Cultural Affa irs, the Na ti onal Endowment for the Arts, and othe r individuals, corporations and foundations. Mich igan Opera Theatre is an Equal Opportunity Employer.

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Cultural Affairs Department

Don't Just fall in Love ... Surrender to It.

On behalf of Michigan Opera Theatre, welcome to our 2003-2004 season of opera and dance at the Detroit Opera House. We are so pleased that you have join ed us for our 33rd opera season and our seventh year of presenting the worlds great dance companies.

In these times of tension and uncertainty, it is comforting to know that som ething as simple as the power and beauty of opera and dance can provide a welcome haven to which we can retreat. Looking back, even during the darkest days of our history, the arts have given us the strength to move forward and prevail , allOwing us to recharge, regroup and find refuge in the emotions and commonalities that have never failed to connect us.

First among these , of course, is the idea of "love" - the most universal emotionsomething that we all seek. Michigan Opera Theatre 's 33rd Opera Season, enti tled "Surrender to Love," is a showcase for the variety o f manners in which love can manifest itself. Our fall season, made possible by Ford Motor Company, begins with an opera that conveys a love so deep that it proves fata l- Giuseppe Verdis A Masked Ball , a work new to our repertoire. The tragedy and helpl essness of Unrequited Love is revealed by Puccini's glorious and everpopular Madame Butterfly , which we will proudly present as the final production of the fall season As spring is symbo lic o f all things new and renewed, our 2004 s pring season, sponsored by Genera l Motors Corporation, fittingly begins a lighthearted account of First Love, with Moza rt 's T h e Magic Flute , followed by the welcome return of Gilbert &: Sullivan 's The Pirates of Penzance , a delightful rollick which tells the sto ry of the Everlasting Love of a dutiful pirate and his fair maiden. Our exciting season concludes with an opera that outlines the traged y and consequence of Forbidden Love, in an all -new production of Georges BizetS (of Carmen fame) The Pearl Fishers.

story through the power of dance in a seductive new production presented by North Carolina Dance Theatre. The season includes the enormously popular and exciting Dance Theatre of Harlem. And, of course, no season is complete without The Nutcracker.

As you can see, we have q ui te an exciting season in store for yo u - yo u won't wa nt to miss any of the grandeur. As always, the very best way to see a performance is as a subscriber It is never too late to subscribe and, of course, a variety of subscription packages are available.

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Detroit Opera House

The big news in our Dance Series, sponsored by DaimlerChrysler Corporation, is the rare North American appearance of the mighty Kirov Ballet , presented on the only s tage in Michigan large enough to accommodate its grandeur. Over the years, we have had the opportunity to experience Tennessee Williams' A Streetcar Named Desire as a play and movie - but now, for the first time , we can absor b this fas cinating www.M ichiganOpera.org

David DiChiera

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Ball Op era in Three Acts

By Giuseppe Ve rdi

Li bretto by Ant onio Somma

World Premiere: Teatro Apollo, Rome, February 17, 1859

Sung in I talian with English surtit le translation

Running time approximately three hours, including two intermission s

The October 25th performance is sponsored by the Ida and Conrad H. Smith Fund of the Community Foundation [or Southeastern Michigan

Masked Ball

18th-Century Sweden

The Swed ish names of the chara cters appealing in this synopsis are the ones Verdi O1iginally intended. He was forced , however, by the government censors to move the locale of the opera to Boston. In order to avoid confusion for those accustomed to the names in the Boston version, the charac ter names used in that version are added in parentheses, wherever they differ from those in the original Swe dish version.

ACT I

Friends and courtiers of Gustav III (Riccardo) await him in the throne room of the palace, among them a gro up of conspirators led by Counts Horn and Ribbing (Samuel and Tom). As the king ente rs , his page , Oscar, gives him the guest list for a masked ball. Seeing th e name of Amelia - wife of his fir st minister, Anckars trbm (Re nato) he muses on his secre t passion for her ("La rivedra nell'estasi "). As the ot hers leave, the page admits Anckarstrbm hi mself, who says he knows the cause of the

kings disturbed look: a cons piracy against the crown. But Gustav ignores his friends warning.

A magistrate arrives with a decree banishing the fortune tell er Ulrica, who has been accused of witchcraft. When Gustav asks Oscars op inion, the yout h describes her skill at stargazing and urges him to absolve her of any crime ("Volta la terrea" ). Deciding to see for himself and overruling the obj ections of Anckarstrbm , the king lightheartedly bids the court to j oin him in an incognito visit to the soothsayer.

As Ulrica mutters incantations before a group of wome n (" Re dell 'abisso"), Gustav discree tly enters , disguised as a fishennan. The fonuneteller begins her pro phecies by telling the sailor Christiano (Silvano) that he will soon pro spe r. Gustav surreptitiously slips mone y and a promotion into the sa tchel of the seaman , who discovers it an d marvels at the fortun eteller's powers. The king stays in hiding when Ulrica sends her visitors away to grant an audience to Amelia, who comes seeking release from her love for Gustav: Ulrica tells her she must gather at night a magic herb that grows by the gallows; Amelia hurries away, as Gustav, having overheard the conversation , reso lves to follow her. A moment later, Oscar and members of the court enter, and Gustav, still disguised as a fisherman, mockingly asks Ulrica to rea d his palm (" Di' tu se f'dele"). When she says he will die by the hand of a fri end, the king laughs (Quintet : "Esche rz o od e foUia ") Still incredulous, Gustav asks her to identify the assassin, to which she replies that the next hand he shakes is the one that will kill him No one will shake "the fishe rman's" hand, but upon seeing Anckarstrbm arrive, h e hurries to clasp hi s hand and says that the oracle is now disproved, since Anckarstrbm is his most loyal friend Gustav is recognized and is hail ed by the crowd, above the muttered discontent of the conspirators.

ACT II

Amelia arrives by the gallows and desperately prays that the herb she seeks will release her from her passion fo r the king (" Ma dall'arido stelo divulsa ") As a distant bell tolls midnight, she is terrified by an apparition and prays to h eaven for mercy Gustav arrives, and unable to resist his arde nt wo rds , Ameli a co nfesses sh e loves him (Duet: "Non sai tu che se l'anima mia "), but qui ckly veils her face when her husb and rushes in to warn the king to fle e ap proac hing assassins.

Gusta v, fea rin g that Anckars trbm may disco ver Amelias ide ntity, le aves onl y after the

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capt ain promises to esco rt her back to the city without lifting her veiL Finding Anckarstrbm instead of their intended victim, the conspirators curse their lu ck The hu sband draws his sword when they make insolent remarks about his veile d compa ni on; to save her hu sband 's life, Amelia rai ses her veiL While the conspirators lau gh at this irony, Anckarstrom asks their two leaders to come to his house the next morning, and Amelia laments her disgrace.

ACT III

Dragging Ame lia into their home, An ckarst r bm tells her that he intends to kill her; Ame lia asks to see her young son before she dies ("Morro, ma prima in grazia''). Granting her wish, Ancka rstrbm turns to a portrait of Gustav and exclaims that it is not Ameli a on whom he should seek vengeance, but on the king (" Eri tu")' He is interrupted by Horn and Ribbing; now uni te d in purpose , they cannot agree who should have the privilege of assassinating the king. Amelia returns just as the men prepare to draw lots. Forcing his wi fe to choose the fata l slip of pap er from a vase , Anckarstrbm rej oices when she dra ws his name A moment later, Oscar brings an invitation to a masked ball at the ope ra house. While the men hail this chance to execute their plan , Amelia plans to wa rn Gustav (Quinte t: "Di che fulgor ")'

Alone in his apartment , Gustav resolves to renounce his love and to se nd Amelia and Anckarstrbm to Finland (" Ma se m'e forza perdeti")' Oscar delivers a letter to the king from an unknown lad y, warning him of the murd er plot. No t wanting his absence to be taken as a sign of cowardice, Gu stav leaves for the masquerade In the Ro yal Opera B ouse ballroom , festivities are in progress. The thre e consp irators wander throu gh the crowd , trying to lea rn the disguise of the king. Ancka rstrom , taking Oscar asid e, tries to persuade the youth to revea l the kings identity and is successful only afte r the bo y's playful evasions (" Saper vo rreste "). Recognizing Amelia, Gustav speaks with her (D uet: 'Ta mo si, t'amo "); despite her rep eate d warning, he refuses to leave. Ju st as the love rs bid a fi nal farewell, Ancka rstrbm overhearing the last part of their conversation, plunges his dagger int o the king. The dying Gustav forgives Anckars trbm and admits he loved Amelia , but assures the remorseful captain of his wifes innocence. The crowd bewails the loss of such a generous-hea rted king. m -courtesy of Op era News

A Well- Traveled Ball

By Roberto Mauro

While Un Ballo in Maschera, o r A Masked Ball , might be new to some Michigan Opera Theatre guests, this Verdi masterpiece has remained a staple of the operatic repertoire since its arduo u s premiere in 1859. Over the course of a littl e more than two years (March 11 , 1851, to March 6, 185 3), Giu seppe Verdi produced the trilogy of operas Rigoletto, n Trovatore and La Tra viata , w hi ch firmly cemente d his position as the foremost composer of Italian opera. Between these works and Aida (18 71 ) lies on e of Verdi's most fascinati n g periods It is a period ma r ked by numero u s revisions of earli er works , but only five new operas; I Vespli Siciliani ( 1855) , Simon Boccanegra ( 1857), La Forza del Destino (1862), Don Carlo ( 1867) and A Masked Ball. Some scholars have noted that Forza is p lot-heavy, Vespli too antiqu a ted and Si mon Boccanegra and Don Ca rlo too d ark. This leaves, of course, A Masked Ball, a wonderful and perhaps p erfec t opera I None

of Verdi 's other middle-period o p eras blend music, words and drama as well as A Masked Ball, and certain ly no othe r ope ra of this period caused Verdi as much distress. Indeed, it is of little wonder that a fter A Masked Ball , the Maestro ostensibly re tired , composing only fi ve operas over the rem aining 42 years of h is li fe

By the fall of 1857, Verdi was 44 years old and had written 23 operas in 20 years. While th e co mpo ser had already encountered well-publicized problems with th e censors ove r the m ora l content of his earlier operas , su ch as Rigoletto and La nothing co uld have prepared Ve rdi and his librettis t Antonio Somma (1809-64) for the problems they endured in the fruition of A Masked Ball. One might ask h ow a composer of such wi despread popularity could expelience such problems in having one of his operas staged. The likelihood of a composer expe riencing a similar situation today seems extremely slight. Ho weve r, to full y understa nd the events

leading up to th e premiere of A Masked Ball , one must b e familiar with the political climate of the time.

The 1850s were a particularly tumultu ou s d ecade in Europ ea n history Two yea rs prior saw upheava ls in va rious Europ ea n ci ties. (Wagner was sent into exile for his role in an insurrection in Dresden ) Toward the east, the Crim ean War began in 1854 , putting traditional powers Russia, England and France at od d s. Italy was in n o way absent from this tempestuou s climate. For years, Italians sought the expulsion of foreign rule and the establishment of a unified, independent country Verdi himself was a sta unch patriot, and many of his previous ope ras, su ch as Nabucco, I Lombardi and La Battaglia di Legnano, m ade reference to the expulsion of foreign occupiers and the battle for Italys independ ence. Ce rtainly, given thes e times, Verdis bold d ecision to base his n ext opera on the historical assassination of King Gustavus III of Swe d en was cau se for co n cern among

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

a Masked Ball

authorities, with whom the co mpos er had vast experience.

Historically, Gu stavus (1746- 1792) was an enli ghtened monarc h. After ascending to the throne in 1771, h e p roclaimed religious tole rance and free do m of the press. Gustavus was also an enthusiastic supporter of the arts, es tablishing the Swedish Nation al Ope ra. In 1792, he was shot in the back w hile attending a ball at the opera house. As a result of his wo und, h e di ed two weeks later

This assassination was dramatize d b y Eugene Scrib e, a French playwright , who a lso serve d as librettist for som e of the mos t famous French operas - LaJu ive b y Halevy, Les Huguenots by Meyerbeer, and Les Wpres Siciliennes b y Verdi. Scribe took considerable dramatic license with the subject, crea ting a for bidd en love affa ir, thereb y creating motive for the k ings murd er and turning the historical event into high drama. Scribe 's setting was u se d as the libre tto fo r Daniel Auber's 1833 ope ra , entitled Gustave III, OLl Le Bal Masque. Aubers opera achieved success a nd was performe d spo radically well into the 1870s. Scribes drama also served as the subject of II Reggente , an opera by the underap preciated Italian compose r Save ri o Mercadante , prod u ced.in 1843.

In 1857, Verdi rece ived a co mmission from the opera in Naples, fo r which he selec ted the subje ct of Gustavus ' assassinat i on. Th e subj ec t , which was immediately ad ap ted and It alianized b y Verd i an d his librettist , was perfect ope ra tic ma telial for the unchallenged King of Italian Opera Initially se t to take place in Sweden, the opera soon took a serio u s change o f course w h en , in 1858 , an Italian patriot attempted to assassinate Emperor N apoleon III In an alrea d y charged climate, ce nsors now face d the possibility of seeing an opera abou t regicide. When the y received Ve rdis synopsis, as was cu stomary, the Neapolitan censors were justifiably nervous and rejected th e synopsis on political rather than m oral grounds. Verdi and So mma found this rej ec tion ex tremely hyp ocrit ica l, sin ce the subj ec t h ad a lready been staged in no less than two separate operas, and flatl y refu sed to make any changes for fear th ey would alter the dramatic balance of the opera.

Verdi and the Teatro San Carlo in Nap les had now rea ch e d an impas se, with the theater bringin g suit for breac h o f contract and the composer countersuing fo r damages. Th e matter was set tled w h en Verdi agreed to produce a revival of his recent op era , Simon Boccanegra, th e composer rega ining light s to

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The law firm of Dykema Gossett applauds the Michigan Opera Theatre for bringing music to

A Masked Ball. Verd i looked for another theater, eventually settling on Rome wh ere the censors were less stringent. The one thing the Roman censors did insist up on was that the action b e completely divorced from European ro ya lty So, in co m promise, "King Gus ta vus III of Sweden," became "Riccardo , Governor of Boston" a t the end o f the 17th centur y The ch arac ters, however, retained their incongruou s Italian names. Verdi was satisfie d with th ese ch anges, since th e censors essentially allo wed th e rest of the drama to take place unaltered, and the triumphant premiere took place in Rome on February 17,1859.

As an interes ting footnote, Ve rd i, wh o was known for revising his wo rks, in later yea rs never chose to revise A Masked Ball. Bein g a co n summate man of t h e theater, h e mus t have recognized that its glorio u s music, inno vative ensemb le writin g and grea t dramatic pacing wou ld end ear th e opera to aud iences , be they in Europe , North America or anywhere else in th e wo rld m

***Musicologists Philip Gosset and I1 aria Nalici have recons tru cted Verdi and Som ma's first, Llncensored version oj A Masked Ball , comp lete with its Original setting. A reco rding oj a peifonnance oj Gu stavo III is currently availabl e on the Dynamic label. ***

Rob erto Mauro serves as Michi gan Op era Theatres Director of Artistic Administration.

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CHI CAGO ' DETROIT GRAND RAP I DS ' LA SING ' PASADENA ' WASH I NGTON , DL

Grand Ballet in Three Acts and Five Scenes

Kiro v Ballet of the Mariinsky Theatre of St. Petersburg with the Mariinsky Theatre Orchestra

Valery Gergiev Artistic and General Director

Makhar Vaziev Director of the Ballet

Music by Ludwig Minkus

Libretto by Marius Petipa and Sergei Khudekov

Original choreography by Marius Petipa (1877)

Restaged by Vladimir Ponomarev ( 1941 ), with additional ch oreography by Vakhtang Chabukiani, Konstantin Sergeyev and Nikolai Zubkovsky

Set design by Adolph Knapp, Konstantin Ivanov, Pyotr Lambin and Orest Allegri for the Mariin sky Theatre, 1900

Costumes by Yevgeny Ponomarev for the Mariinsky Theatre 1900

Premiere: 23 Janua ry 1877, Bolshoi Theatre , St. Pet ersburg

Premiere at Mariinshy Theatre: 3 December 1900

Lighting by Vladimir Lukasevich

Conductor Mikhail Sinkevich

Kirov Ballet is presented under the management of Ardani Artists Management , Inc.

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La Bayadere

ACT I

Scene One: By the wa lls of the Temple of the Sacred Flame

A group of young warriors, led by Solor, are out tiger hunting. Breaking away from them, Solor encounters the fakir Meghedaveya by the walls of the Temple , and h e persuades Meghedaveya to arrange a rendezvous fo r him that night with the b ayadere Nikiya, one of the dancers who serves the Temples Sacred Flame within.

Th e High Brahmin comes out of the Temple leading a solemn procession, which is a sign for the fire worship festivities to begin. Fakirs and bayaderes appear. Althou gh he has taken vows of celibacy and is a leader of the Temples priesthood, th e Hi gh Brahmin finds a moment to confess to Nikiya that h e lo ves her, and promises h er wealth and power if she will be his.

Nikiya rejects his love, a nd w hile she and the other bayaderes carry water from a sacred pond to the fakirs, Meghedaveya, unobserved, takes the opportunity to te ll her th at So lor wishes to m eet with her that night beneath the Temple walls. Nikiya is overjoyed.

Nigh t falls, and the two lovers meet secretly while Megh edaveya keeps watch, though this does not prevent the High Brahmin from eavesdropp ing on their assignation. Solor asks Nikiya to flee with him. She consents, but first demands that he vow eternal fidelity

Scene Two: The court of the Rajah Dugmantah

It is morning. The Rajah tells his daughter, Gamzatti, that this is the day when she will meet and marry the man to whom she was

sends for him, and when h e appea r s, it is none other than Solor. The Rajah introduces his daughter and exp lains that they are to become bride and groom in accordance with the agreement made years ago. So lor is enraptured by Gazmattis beauty, but is thrown int o confuSion, as he remembers Nikiya and the vows he has just made to her.

The tim e for the marri age to be consecrated is not far off, and Nikiya will be requested to dance in the holy rites. The High Brahmin enters, te lling the Rajah that he h as an urgent secret to impart. Dugmantah dismisses the court. Garnzatti howeversuspecting that the Brahmins su dden request for a private audience has some thing to do with her-hides so that she can overhear what is sa id to her father.

The High Brahmin tells the Rajah of the love-vows he has overheard between Nikiya and Solor. The Rajah is deeply angry, but his decision that Solor will marry his daughter remains unchanged. This young bayadere to whom So lor has sworn fidelity must die. But the Brahmin has sought only the destruction of his lival and threatens the Rajah with the vengeance of the gods if he should try to kill a servant of the Temple . Sti ll in conflic t , they part

Gamzatti emerges from h er hiding place and summons a s lave girl to bring Nikiya to her. When she appears, Garnzatti tells h er of the approaching wedding, asks her to dance in the celebration and spitefully shows her a portrait of So lor as th e man she is to marry N iki ya is h orro r- stru ck and pro tests that So lor has in fac t sworn eternal fidelity to h er alone I

The Rajahs daughter haughtily demands that she give him up , but the bayadere would rather die. She pu lls out a dagger to s trike Garnzatti do wn, but a slave girl prevents the b low. In return, Gamzatti resolves to have Nikiya put to d eath.

ACT II

The garden in front of the Rajah's palace

The magnificent celebra tions for the wedding of Solor and Gamzatti are in full swing, and a successio n of dances provides entertainment for all the guests.

Nikiya, in her tum, is ordered to d ance, but she cannot concea l her despair and, unable to take h er eyes off So lo r, gives a performance full of SOITOW. The slave girl

then brings in a basket of flowers, which Dugmantah declares a gift to N ikiya from Solor. Nikiya puts h er h and out to receive th em, but as she does, a poisonous snake hidden in the basket slip s out and bites her. This , Nikiya knows, is revenge of the Raj ahs daughter, but when the High Brahmin comes forward to offer h er an antidote if only she will give him her love, she refuses him again. Nikiya dies with Solor kneeling a t her side.

ACT III

The Kingdom of Shades

So lor is distraught, tormented by remorse. Meghedaveya attempts without success to d ivert him from his brooding, and so he calls for a snake charmer, and while the man plays, Solor falls asleep to the sound of his flute.

Solor dreams he is in the Kingdom of the Shades, and as he watches , ghosts of the long-dead appear before him, descending from the mountain cliffs in a long procession.

Among them, he sees his beloved Nikiya and as she beckons him to follow her he leaves his dreamworld to join their d;nce.

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Detroit Opera House

The Mariinsky TheatreSymbol of Russian Culture

The history of the Mariinsky Ballet Company dates from 1 783, w h en the Bolshoi Theatre was opened on the sit e now occupied b y the Conservatoire.

In the 18 th century Carousel Squ are was built in the Second Admiralteisky di strict of St. Petersburg. It d erive d its name from the theatricalized horse sh ows held there - the favorite amusement of court society Fetes with dancing and music were also he ld on the square, while an unpretentious wooden s tructure was used for dramas and p erformances of the Italian opera company, in which pup il s of the St. Petersburg Dance School took part.

Catherine the Great ordered that a Bolshoi (Stone) Theatre b e erec ted in place of this wooden struc ture. Its ma gni fi cence and

sp lendor surpassed even that of the leading European thea ters of the day The Bolshoi Thea tre opened in 1783 with a performance of Paisiellos Il Mondo de ll a Luna and the surrounding area acquired the name of Theatre Square. The theate r was reconstru c ted in 1802 by J ean -Franc;;ois Thomas d e Thomon and then again in 1836 b y Albe rt Cavos.

for musical performances. The opera company of the Bolshoi Th eatre was the first to be transferred here, followed b y its ballet tro up e.

On the 29th ofJ anuary, 1849, a circu s opened with a festive equestrian sh ow in th e hall buil t opposite the Bo lsho i Theatre by the arc hitec t Albert Cavos. The building was designed so that it co ul d accommoda te thea tric al performances.

Exactly 10 yea rs later, the circu s caught fire and burn ed down. This tim e, the reconstru c ted building was designed purely

The new theater was opened on the 2nd of October, 1860, with a performance o f Glinka's opera A Life for the Tsar. It was named the Mariinsky Theatre , after Alexander lIS wife Maria. According to contemporaries, it was "th e fines t theater in Europ e." A shortage of office space and the aged wooden construction, however, n ecessita ted the addition of new premises and the restructuring of existing o n es. The theater building was twice recons tru cted in the 19 th century Victor Shroeter, h ead architect at the Dep artment of the Imperial Theatres, red eSigned the back-stage areas b etween Come

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La Bayadere Kirov

1884 and 1886. Between 1894 and 1896, the engineer Smirnov carried out restoration work on the audi torium . A new wing was added to the main with a vestibule, grand staircases and foyer. New wings were also b u ilt to the right an d left of the main bui lding.

The magnificent decor has survived almost u n ch ange d to the present day Dazzling white sculptures, lustrous gil t, and light b lue drap ing and u pho lstery all comb ine to create the b eautifu l and u n usua l color scheme of the Mariinsky's auditorium. Above is the I ta lianate ceiling, designed by Pro fessor Dus i an d painted by Fracioli , an d a magnificent three -tiered bronze chandelier, shaped like cap [a relic of the early czar s] an d burning with the fi re of a thousand crystal pendants. The chandelier and candelabra were a gift from the merchant Pleske, wh o was decora ted with a gold medal "in recognition of his special services to the arts."

The unique c u rtain, an emblem of the Mariinsky Theatre , was created in 1914 by the famous des igner Alexander Golovin. Previously dark red, its co lor sch eme was altered to b lue in 1952 by the artists Simon

Virsaladze and Mikhail landin, in keeping with the general tone of t he decor. Du ri n g the Second Wo rl d War , more th an 20 sh ells struck the th eater bu il ding , ye t by the autumn of 1944, it had already been res to red to its former glor y

In the late 1960s, the stage was rebuilt in the course of further reconstruction work car ried out by Sergei Ge lfer, from the foundations righ t up to the flies. The lising floor and other technical improvements offer new opportunities for the positio ni ng of t he orchestra and permit highly complicated stage effects. The passage of time, however, necessitates cons tant renewal of th e s tage machinery, and th e theater is currently undergoing ye t another technical reconstru ction program.

Th e Mariinsky Ballet

The Mariinsky Ba llet Co mpany is closely link ed wi th th e entire h istory o f the development of Russia n choreographic art, which began mo re than two and a ha lf centu ries ago. An important role in th e establishment and evolu tion of Ru ssian ballet was p layed by foreign masters. At th e end of the 18th century, Franz Gilferding, Gasparo Angiolini, Giuseppe Canziani and Ch arles Ie Picque were all working in St. Pe tersburg. Alrea d y in th e 1700s, the fi rst Russian ballet teacher, Ivan Va lberkh, came to the fore. The main sphere of h is ac tivities was a small mim e ba llet company H e sought to make his produc tions lich in subject matter and to create recognizable, lifelike images Ball et divertissements, re fl ec ting his response to the events of the apo leonic Wars, occu pied a special p lace in his work. Th e history of St. Petersburg ball et in the 19th century was associated wit h the activities of Charles Didelot, J ules Perrot and Arth ur Sa int-Leon. In 1869, t h e position of p ri nc ipa l ballet master was entrusted to Marius Petipa , wh o markedly raised the profeSSional standa rd s of th e compan y The peak accomplishments of this famous master were ba ll ets staged in the period of his collaboration with th e comp osers Pyo tr Tch aikovsky and Alexander Glazunov - The Sleeping Beauty, Swan Lake and Raymonda. The talents of man y gene ra tio n s of b allerinas have been revealed in them - from Yekatelina Vyazem, Marina Semenova and Ga lina Ulan ova to yo u nger dance r s Ju st s tarting their caree rs on the Matiinsky stage. At the tum of the 19th century, the Mariinsky Ballet Company p rod u ced such great dancers as Anna Pavlova, Mathilde Ksc h essinska, Tamara Karsavina , Olga Preobrazh en skaya, O lga Spesivtseva, Vas lav Nijinsky, and Nikolai and Sergei Legal. Many of them brought glory to Russian ballet d u ring the legen daty Sa isons Ru sses in www.M ichiga nO pe ra.o rg

Paris, which brought the pioneering works of Michel Fokine to Europe. The first years after th e revo lu tion b ro u gh t difficu lt times for the Mariinsky Theatre. Almost all its leading artists abandoned the company Neve rtheless, t he class ica l repe rt oire was retain ed during this period. In 1922 , when Fyodor Lopukho v, a daring innovator and a brilli ant conn oisseur of the past, beca me head of th e company, its repertoi re was enriched wit h new productio n s, in particula r b allets dea ling with contem porary life.

Ga lina Ulanova , Alexei Yennolayev, Marina Semenova and Vakhtang Chabukiani a ll danced at the Mari insky Theatre dUli n g th at perio d .

Ba llet in the 1930s was largely influ enced by d r am a ti c theater, an d this was re fl ected in suc h productions as Rotislav lakh ra's The FOLmtain oj Bak hchisarai, Vakh tang Chabu kiani's The Heart oj the Hills and Leoni d Lavrovsky's Romeo and Juliet. The 1960s saw Spartacus and Choreographic Miniatures by Leoni d J acobson staged, p roductions of The Stone Flower and TIle Legend oj Love b y Yury Grigorovich, as well as Th e Coast oj Hope and The Leningrad Symphony by Igor Be lsky -b alle ts which revive d the traditions of symphonic dances. The success of th ese produc tions wou ld obvious ly b e impossib le wi th out su p erb performers. During the period of th e 1950s- 1970s, the da n cers inclu ded Irina Kolpak ova, Na tali a Mak arova, AlI a Osipenko, Iri n a Gens ler, Alia Sizova , Ryudolph Nureyev, Mikh ail Baryshnikov, Va lery Panov, Yur y So lovyev and Anatoly Sapogov

La Sylphide and Napo li , by Au gust Bou rnonvi ll e, appeare d in the rep ertoire toward the end of the 1970s, as did fragments of old c h oreography by Perrot, SaintLeo n an d Coralli. Ro land Pe tit and Mauri ce Bejart came to work wi th the company for some time. The Tudor Founda tion donated th e li ghts for the b all ets Lilac Ga rde n and Leaves Are Fading. J erome Rob b ins s taged In the Night at the Mariinsky

Th e present -day re p ert oire of the Mariinsky Ba llet Company inclu des, alo n g with Pet ipa 's legacy - Swan Lake, Le Corsaire, La Bayade re, The Sleeping Beau tyballe ts staged by George Balanchin e and John Neumeier.

La Bayadere Kirov

The Mariinsky Orchestra

First Violin Gavrikova Lyubov Double-bass Clarinet

Zagorodnyuk Yuri Kutepov Vladimir Rakitsky Vasily Kultygin Yevgeny

Shirokov Alexander Skripnik Vera Belokon Alexander Bondarenko Vadim

Berdnikova Elena Alekseev Viktor Tolbukhin Mikhail

Ruselskaya Tatiana Viola Karpin Pavel

Zakarian Madlena Zakharov Victor Bassoon

Soklovskaya Larisa Vasileshnikova Elizaveta Flute Makarov Arseny

Voropaev Daniil Pakkanen Robe rt Shlykova Natalia Tolstoy Fedor

Ivanov Yuri Aliev Khamid Viland Vasily

Chlchyan Genrikh Pavlovich Anna lvanova Palina Horn

Gavnkov Sergei Veselov Dmitry Tchepkov Anatoly

Gentstelt Natalia Oboe Vorontsov Dmilry

Djavadian Arthur Cello Hussu Vikto r Kiselev Leonid

Seconcl Violin Ponomarenko Alexancler Shed rin Va lery Tc hepkov Dmitry

Kirzhakov Viktor Kinllov Dmilry lI yi n lI ya Milros hm Viktor

Krasi lnikov Ivan Gimaletdinov Reza

Vasiliev Alexander Mezh\;nsky Boris

Solovyov Alexander Kozhevnikova Taliana

Trumpet Percussion

Nikonov Gennady Petrov Alexander

Sm irnov Alexander Volkov Nikolay

Panasyuk Viacheslav Ivanov Viktor

KravLSov Igor Cheriomukhina Tatiana Mitroshin Victor

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Belyaev lIya Harp

Repnikov Alexey Shevelevich Olga

Polevin Vladimir

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Novikov Nikolay

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Dancers

Principal Dancers

Zhanna Ayupova

Diana Vishneva

Uliana Lopatkin a

Irma Nioradze

Victor Barano v

Andrian Fadeyev

Igor Kolb

Danila Korsumsev

Alexander Kurkov

Farukh Ruzimatov

Igor Zelensky

First Soloists

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Irina Zhelonkina

Daria Pav lenko

Elvira Tarasova

Irina Golub

Leonid Sarafanov

Andrey Yakovlev-2nd

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And rei Ivanov

Anton Ko rsakov

Character Dance

Soloists

Elena Baz henova

Ga lina Rakhamanova

Islom Baimuradow

Andre y Yakovlev-Ist

Nikolay Zubkovsky

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Elena Androsova

Tatiana Bazhitova

Nadejda Demakova

Ksenia Dubrovina

Evgenia Emelianova

Daria Grigoryeva

Irina Idina

Alexandra losifidi

Svetlana lvanova

Maria Kolorniit seva

Ekaterina Kondau rova

Ekaterina Kovaleva

Daria Pavlova

Yana Tikhonova

Ekaterina Mikhailovtseva

Olesia Novikova

Evgenia Obraztsova

Ekat erina Osmo lkina

Yana Khaldina

Ketevan Papaya

Natalia Merkulova

Natalia Raldugina

Polina Rassadina

Yana Seli na

Yana Serebrya kova

Natalia Sharapova

Alisa Sokolova

Alina Somova

Daria Sukhorukova

Administration and Staff

MAKHAR VAlIEV

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Assistant Ballet

Directors

Bessarabova Tatyana

Yadchenko Sofya

Gersh enzo n Pavel

Finance Pu taeva Na talia

Stage Manager

Sukhova Margarita

Shamatrina Liudmila

Assistant

Stage Manager

Kirillova Vera

Serapina Elena

Pshatsieva Yugana

Ballet Masters

Chenchiko va Olga

Evteeva Elena

Komleva Gabriella

Kunakova Liubov

Kurgapkina NineUa

Moiseeva Olga

Nisnevich Ana toly

Selyu tsky Gennady

Vikulov Sergey

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Ballet Teachers

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Spitsi na Natalya

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Conductors

Mikha il Sinkevich

Mikhail Agre5t

Pianists

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Masseurs

Kharlanova Zoya

Maksirnenkova Veronika

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Sergey Grachev, Technical Director

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130 West 56th Street, Roor 5M New York, NY 10019 212 -399-0002 Detroit Ope ra House

THE CAST

In ord er of vo cal app earance

PI NKE RTO N

j effrey Springer (9m, 14, 16m)

G ORO

Torrance Blaisdell

SU ZU KI

Ning Lian g"

SHARPL ESS

j ames Westman*

C I O -CI O-SA N

Liping Zhang (8, 12, 15)*

Maria Gavrilova (9m, 14, 16m)*

IMPERIAL C OMMISSIONE R

Alphonso Cherry £1

RE G I STRAR

j ay Smith

THE BON ZE

Eric Greene

YA MADORI

Alphonso Cherry £1

KATE PIN KERT O N

Ba rbara Bland

Conductor Ste wa r t Roberts on Director Gre gory A. Fortner

Chorus Master Suzanne MalIare Acton

Set Design Rob e rto Oswald

Costume Design Anibal Lapiz

Lighting Design Shawn Kaufman

Hair & Makeup Design joanne

AssisLant Director Stephanie Leigh

S mith

Stage Manager Sa nja Kabalin

English Surtitles Roberto Mauro

Sets and costumes for the production originally designed for r.opera de Montreal.

This production was originally staged by Bernard Uzan

* Michigan Opera Theatre Debut

£1 Apprentice

Opera in Two Acts

By Giacomo Puccini

Libretto by Luigi Illica and Giuseppe Giacosa

World Premi ere: La Scala, Milan, February 17, 1904

Sung in Italian with English surt itle translation

Running time approximately two hours, 45 minutes, including intermission Ihe November 15lh performance is sponsored by DIE Energy Foundation.

Nagasaki

ACT I

J apan, early 20 th ce ntu ry On a flo wering terra ce above Nagasa ki h arbor, U.S. Navy Lieutenant B.F Pinkerto n inspec ts t he h o u se h e has lease d from a maniage broker, Goro, who h as jus t procured him three servants and a ge isha wife, Cio-Cio -San , known as Ma d ame Bu tter fl y To the American consul , Sharpless, w h o arrives brea thless fro m climbing the hill, Pinke rt on describes the carefree phil oso phy o f a sailor ro aming the worl d in search of p leasure At the moment, h e is enchanted with the fragi le Cio-C io-San, but hi s 999-year marriage contract contains a monthly renewal op tion. W h en Sharpless warns tha t the girl m ay n o t take h er vows so lightly, Pinkerton brushes aside such sc ruples, saying h e will on e day many a "real" American wife. Cio-Cio-San is h ea rd in th e distance, joyously singin g o f her we d ding. Ent ering surrounded b y fr iends,

she tells Pinkerton how, when h er famil y fell on h ard times, sh e had to ea rn h e r living as a geisha. H er relativ es bu s tl e in noisily, exp ressing their opinions on the ma rri age. In a quie t m oment , Cio-Cio -San shows h er bridegroom her few ea rthly treasures and tells him of h er intentio n to embrace his C hristian fai th. The Imp eria l Commissioner p erforms th e we dding ceremon y, and the gues ts toas t the co u p le . The ce lebra tion is inte rrupted by Cio-Cio-San's uncle, a Bu ddhist pri est, who bursts in, cursing the girl for h avi ng renounce d h er ancestors' religion. Pinkerton an gril y se nds the guests away Alo n e wit h Cio -C io -San in the moonlit garden, h e dries h er tears, and she j oins him in singing of their love.

ACT II

Three yea rs late r, C io- Cio-San wa its for h er h usbands re turn As Suzu ki prays to

the gods for aid , h er mistress s tands by the doorway, with h e r eyes fi xed on the harb or. W h en the maid shows h er how little m oney is left , Cio-C io-Sa n urges h e r to h ave faith: One fin e da y, Pinkertons ship wi ll appe ar on the horizon. Sh arpless brings a letter from the lieutenant , but before h e can read it to Cio-Cio-Sa n, Goro comes with a sui to r , th e wea lth y prince Yamadori. The girl d ismisses bo th marriage broker and princ e, inSist ing her Ameri can hu sband ha s n ot deserted h er. When they are alone, Sh arpless again stans to rea d the letter and su gges ts that Pinken on may n o t return. Cio-Cio-San proudly carries forth he r child, Dolore (Trouble), saying th at as soon as Pinkerton knows he h as a son, h e will surely co me back; if he d oes not , she would r athe r die th an return to her forme r life. Moved by her devo tion, Sh arpless leaves withou t havin g revealed the fu ll contents of the letter. CioCio-S an , o n the point of despair, h ea rs a cannon report , seizing a spygla ss, sh e discovers Pinkerto n s shi p entering the h arbor. Now d eliriou s with JOY, she orders Suzuki to help h e r fill the hou se with flo we rs As night fa lls, Cio-Cio-San, Suzuki and the child begin their vigil.

As dawn brea ks , Suzuki insis ts that CioCio -San rest. Humming a lullaby to her child , she carries him to another room. Before long, Sharpless enters with Pinkerton , fo llo wed b y Kate , his new wife. When Su zuki realizes who th e American woman is, she co llap ses in despair, but ag rees to aid in breaking th e news to her mis tre ss. Pinkerton , seize d wi th remorse, bids an angui sh ed farew ell to the sce n e of his former h appiness, th en rushes away When Cio-Cio-San comes forth expecting to find him, sh e fin ds Kate instea d Guessing the tru th , the sh attered Cio -Cio-San agrees to give up h er child , if his fath er will re turn for him. Then , sending even Suzuki away, sh e takes o u t the dagge r with which h er father committed su icide and bows b efore a statue of Buddha , choosing to die with honor rather than live in disgra ce. As sh e ra ises the blad e, Su zuki pushes th e child int o the room. Sobbing farewe ll , CioCio-San sends him int o th e garden to play, then s tabs h ersel f. As she di es, Pinkerton is h ea rd calling h er name m

Puccinis Musical Butterfly

by Suzanne Scherr

ChO-San lived with a U.s. naval officer in a house on a hill outside Nagasaki from 1892 to 1894. The typical arrangement for a geisha girl at that tim e was shorter- li ved. H owever, as reported by J ohn Luther Long'> short story of 1898 and Jennie Correll,> memoirs of 1931, Cho-San was no ordinary geisha. Her tender youth and self-effacing attitude masked a uniq ue drive to rise above the sordid monotony of her profession. Not only did she perform all the outward courtesies expec ted of her - she determined to renew her inward being to please this Amelican "husband."

Giacomo Puccini grasped the nobility of this real-life woman when he a ttended David Belasco 's play, Madame Butterfly, on tour in London in 1900. Solely from the dramatic impact o f the visual action, Puccini began carefully painting an authentic musical portrait of his J apanese/American "butterfly" But how could this most Italian of composers , who never traveled to the Orient, have created a musical butterfly that sounds at times so truly Japanese 7 Cou ld it ha ve been Signora Oyama, wife of the Jap anese amb assador to Rome 7 Or perhaps the actress Sadayokko, one of the most popular interpreters of Japanese dance7 Her performances' accompanied by Japanese music, might have been attended by Puccini at the World'> Fair in Paris in 1900. Even if Puccini missed this particular exposition, those melodies were put into Western notation, then published as La MusiqueJapanaise. In hi s 1958 study of "Some origina lJapanese melodies in Madama Butterfly", Juichi Miyazawa identifies some of these authentic tunes. It is interesting to trace how Puccini used clearly recognizable J apanese and American me lodies to color his musica l Butterfly.

At Butterfly,> first entrance (th e offstage ch orus of female friends precedes her appearance), the orchestra plays a melody from Echigo-jishi , one of the most famous Yedo-Naganta melodies, which came to prominence in the 18th and 19th centuries in Japan and we re in the commo n folk repertoire of the time. The Naganta is usually sung to the accompaniment o f a samisen (a three-stringed instrument) , fue (a k ind of flute) and light percussion ins truments. At its first hearing in Madama Butteljly, the Echigo -jishi melody is presented

in uniso n by the equ ivalent of the "low voice" of the orchestra (bassoons , violas and cellos), with chords sustained by shimmering violins and clarinets Cio-Cio-San,> repeat of this melody short ly after (at "Nessuno si conJessa mai nato in poverta" = "No one ever confesses to being born into poverty") quietly echoes in bassoon and clarinet the sustained cho rds of its first appearance. Here, Puccini has called attention to the J apanese melody as well as approximated an authentic accompaniment, u sing a European orches tra. The Echigojishi clearly identifies Butterfly as thoroughly Japanese , and , most important, as self-effacing and respectful of family honor.

Kimi-ga-yo - the J apanese natio n al anthem , heard in Act One ri ght after the signin g of the wedding contract ("E tutto eJatto" = "And everything is completed") - u ses words well-known in Japanese cu lture: "Long live our gracious Mikado , as long as it takes a little stone to become a great mossy rock. " It was first performed on November 3, 1880, at the Imperial Palace to celebrate Emperor Meiji'> birthday As for the Emperor'> party, so also for Butterfly'> wedding ceremony, the anthem both solemnizes and celebrates this most important occasion in h er mind. The anthem returns in Suzuki'> desperate prayer to her Japanese gods at the beginning of Act Two. Butterfly'S response ("Pigri ed obesi son gli Dei giapon esi " = "Lazy and obese are t h e J apanese gods ") reinforces her rejec ti on not only of her native religion , but o f her music and culture themselves.

Giacomo Puccini with blossoms in honor of Pinkerton'> return , she sings , "Scuoti quella Jronda di ciliegio e m'inonda di Jior" ("Shake the branches of the cherry tree and shower me with flowers "). This folk song (named Sakura = "Cherry Tree ") belongs to the cherry-b lossom season. The Japanese words say, "Ahl Sakura, Sakura, in March the sky is decorated with beautiful Sakura. It seems like a cloud or haze W hat a beautiful season! Let'> go to see Sakurab lossoms. " Butterfly,> re-creation through flowers and song of the festive atmosphere of her wedding night reveals her deep-seated reliance on J apanese culture (music and ritual) to mark life'> important moments.

In Ac t Two, at the departure of the wo uldbe suitor, Yamadori , and again at Butterfly,> later recollection of him, we hear the Miyasan, a very popular song during the Meiji Restoration era , familiar to Western audiences

Copyright 2010, Michigan Opera Theatre

As Butterfly begins to strew her little home www.MichiganOpera.org

BRAVO 19

from Gilbert and Sullivan 's The Mikado. Of its many lyrics , the mo st famous were: "Miyasan, Miyasan , w hat is that flapping ahead of the horses? Why don 't yo u know? It is the banner of Mikado , attacking the foe ." With this melody, Mikados battalion marched in 1867 from Kyoto , Japans capital city for 2,000 years , to Yedo, causing Kyoto to be replaced by Yedo (renamed Tokyo) as cap ital of Japan. Yamadoris pursuit of Butterfly as a wife did not end in such triumph , despite his repeated attempts to woo her.

The Oyedo-Anihonbashi melody (its name indicating a bridge in old Tokyo) appears three times , associated with Butterfly's rejection of her former life as a geisha. A very famous song from the Yedo era, it was sung for the procession of a feudal lord and his party across that bridge, beginning in the dark morning and when they reached their destination at dawn. Butterfly believes she has crossed over to a new life when OyedoNihonbashi is heard at her wedding in Act

One. Returning in Act Two with Sharpless and Goro (after "chi edo scusa" = "I beg your pardon")' the tune announces Goros inten-

tion for her to return to her previous line of work, for which he already has som e clients . Finally, the melody is recalled in part b y the orchestra yet again after Sh arplesss penetrating suggestion tha t Pinkerton might never return, signaling the crisis awaiting the unsuspecting Butterfly The Consuls return in Act Two ann ounced the end of Butterflys long and dark journey, ultimately guided by her cultural code of conduct. She has crossed the bridge and reached her destination at dawn, albeit not the end she was dreaming of throughout her night vigil.

As Butterfly presents her son to Sharpless, the orchestra plays a slow, sustained melody taken from Honen-buski, a sprightly and comica l song with the words: "A goo d harvest, a rich harvest , tomorrow, I must reap the rice crop wi th my master." Its second rendition in Madama Butterfly , the even slower an d more pOignant lullab y "Dormi, amor mio" ("Sleep, my love"), helps her carry her son to b ed at dawn. Only Puccini could have heard such tender strains in a comical popular song.

Although many more Japanese melodies are to be found in the opera, those examined here are perhaps the most Significant. An oriental flavor permeates the entire score. Furthermore, melodies that cou ld easily imply Western tonality often surp ri se us with their exotic-sounding orchestral underpinning. How well Puccini uses the orchestra to transform into an urgent sigh of desire the simple melodic phrase of Butterfly's ecs ta sy over her impending marriage ("Spira sui mare e sulla terra" = "Breathing over the seas and on the land ") ! And , at the beginning of Act Two, she reaffirms to Suzuki her status as an "American " wife (" [per tener dentm] con gelosa custodia la sua spo sa, la sua sposa che son io ") in an orchestral wo rld spa rkling with oriental co lor

Although Butterfly cannot escape her J apa n ese culture, her heart is fixed on America. This adopted patriotism is expressed musically most prominently as a counterweight to the Japanese anthem. The United States' national anthem rises up proudly several times (always without its upbeat), associated first with Pinkerton and later with his "American" wife , Kate.

Shortened versions of both anthems return back-to-back in Act Two , as Cio-Cio -San reasons why she shou ld not accept the J apanese divorce proposed to her by Goro , but rather follow the marriage laws of her new country, the United Sta tes.

Butterfly did ind eed renew her inner self mUSically, as she subsumed Pinkertons lyric phrases drawn from the palette of Italian opera. As their passion for each other at the end of Ac t One grew to a raging fire, their

www.MichiganOpera.org

entwined voices wou ld soar, fall back, then soar again in a Puccinian buildup of unbearable emotional intensity So recognizably linked are these phrases to his early 20thcentury style that , if we were not so familiar with Puccinis music, we might mistake this lo ve music for that found in n Tabarro or Turandot. Listen also to Butterflys Western assertiveness in the outer sections of her famous statement of faith in Pinkerton, "Un bel dl" (One fine day). What a contrast with the meekness of the middle sec ti on of the same aria , where s h e plans to hide from him when he first returns!

The clash of identities warring inside Butterfly cu lminate in her impassioned response to Sharpless' suggestion to marry Yamadori ("C he tua madre" = That your mother"). In this turning point in Butterfly'S psychological anguish , she openly re flects on the life of a geisha - now an unacceptable alternative to death with honor. When she faces her l oss of honor as the "American" wife, she turns to the only dignity still remaining : a Jap anese death with honor, set musically as a conflict between fragments of the Japanese national anthem and the soaring lyrical vocal s tyle of Puccini.

Finally, the angular, impassioned phrases of Act Ones love music return, as Butterfly bids her son farewell in "Tu ? piccolo iddio " (You? little go d ), just before she submits herself to the Jap anese -so unding sword motif and its ultimate con sequence. Given that Butterflys most passionate and devoted lover was Giacomo Puccini himself, we can say that in her happiest moments, this lo vely butterfly was indeed musically transfonned from a Japanese geisha to a full-blooded Western woman. m

Suzanne Scherr, former director of education at Lyric Opera of Chicago, is also a mUSicologist, whose scholarly work focuses on the works of Puccini.

This article is reprinted courtesy oj Lyric Opera oj Chicago.

Sur ender t o Love

Season Artists

SUZANNE MALlARE ACTON

Assis tant Mus ic Directo r-CllDP1ls

Master (Grosse Pointe, Ml)

Cond u c ting De b u t 1986 , West Side

StOlY, company debut as Chorus

Mas ter in 1982

Season: Chorus Director, A Masked Ball, Madame Butle/fly

Recen tl y: Madame Buttelfly (AnPark), Die Fledennaus, Michigan Opera

Theatre, Tasca (Augusta Opera)

Upcoming: Die Fledennaus (Augusta Opera), Pirates oj

Penzanee (Michigan Opera Theatre), Too Hot to Handel (Rackham Symphony Choir)

TORRENCE BLAISDELL Tenor (Tol edo, Oh io)

Michigan Opera T h eatre d ebut

2003 Season: Jud ge/Servant, A

Masked Ball; Goro, Madame Butterfly

Recently: Goro, Madame Butterfly (Ba ltimore Opera, Opera Ireland), Turandot , (New York City Opera)

Up coming: 2nd Jew, Salome (Kentucky Ope ra)

BARBARA BLAND

Soprano (Mic hi gan)

Michi gan Op e ra Theatre Deb u t

Madame BUltelfly, 1996

2003 Season: Kate Pinkerton, Madame Buttelfly

Recen tl y:An aush (Michigan Opera Theatre)

FABIANA BRAVO

Soprano (Argemina)

Mic h igan Op era Theatre debut

2003 Season: Amelia, A Mashed Ball

Oct 19m, 24, 26m

Recen tl y: Madame Butterfly (Sa n Francisco Opera), Donna Anna, Don Giovanni (New Orleans Opera), Giorgetta , II Tahann (New York City Opera)

Upcom in g: Mim i, La Boheme (San Diego Opera), Norma (Virginia Beach)

ZACK BROWN Set Des igll er

Mic h igan Op e ra Theatre Debut La Boheme, 1996

2003 Season : Se t Designer, A

Masked Ball

Recen tl y: Otello (San Diego Opera, San Fran cisco Opera), La Boheme

(Washington Opera)

Upcoming: Doll Cadas (San Francisco Opera, San Diego Opera)

MARIO CORRADI

Stage Director (M ilan , Italy)

Michi gan Op e ra Theatre deb u t : Cal'men, 1996

2003 Season: A Mashed Ball

Recen tl y: Don Pasquale (Mic hi gan Opera Theatre), Carmen (Parma, Italy), Macbeth Uesi , Italy)

GREGORY A FORTNER

Stage (Warren, Michigan)

Michigan Op e ra Th eatr e debut: Falstaff, 2001

2003 Seaso n : Madal11e Butterfly

Rec e ntly: Cannen (Opera Carolina), Lucia di LammenrlOor (Palm Beach Opera), A View Jram the Blidge (Port land Opera)

Upcom in g: Don Giovanni (Toledo Opera) Assistant Director, La liaviata (\>\!ashinglOn Opera), Manon Lescaut (Palm Beach Opera)

MARIA GAVRILOVA

Soprano (Russia)

Michigan Opera Theatre debu t

2003 Season: Madame Buttelfly

Recently: Madal11e Butterfly (Florida Grand Opera, New York C ity

O pera), Tatyana, Eugene Ollegin (Baltimo re Opera)

ERIC GREENE

Balitane (Baltimore, Maryland)

Michigan Opera Theatre debu t

2003 Season: Samuel, A Masked Ball, Th e Bonze, Madal11e Butterfly

Recently : Colline, La Boheme (Virginia Opera), Sa mue l, A Masked Ball (Virgini a Opera)

Upcom ing: Spararucile, Rigaletta (Virginia Opera), Don Fernando Fidelia (Virginia Opera)

MARC HELLER

Tenor (Tampa Bay, Florida)

Mich igan Opera Th eatr e debut

2003 Season: Ri ccardo, A Mashed

Ball Oct 19m, 24 , 26m

Rece n tl y : Duke, Rigoletta (Nashville Opera), Pinkerton, Madame Butterfly (BaltinlOre Opera) Rodo lro, La Boheme (Nashville Opera)

Upcoming: Duke, Rigoletta (Salerno , Ital y) Romeo , Romeo etJuliette (Lyne Opera of Kansas City), Rodolfo , Lo Boheme (Arizon a Opera)

ANITA JOHNSON

Soprano (Ypsilanti, Michigan)

Michigan Opera T h eatre debu t

2003 Season: Oscar, A Masked Ball

Rece n tly: Musetta, La Bahel11e (Opera Paciric), Gilda , Rigoleita (Florentine Opera Mil waukee), Oscar, A Masked Boll (National theater, Mannheim)

Upcoming: NOlina, Don Pasquale (Florentine O IJera Milwaukee)

ANIBAL LAPIZ

C ostume Design er Mich igan O p e ra T h ea tre

2003 Seaso n : Coslum e Design , Madame Buttelfly

Recently : The Pearl Fishers (Phoenix)

Upcoming : Salome (Baltimore Opera)

NING LIANG

Mezzo-Soprano (China)

Michigan Opera Th eatre deb u t

2003 Season: Suzuki, Madame Butterfly

Rece ntly : Cam1en (Hawa ii Opera Theatre), Suzu ki , Madal11e Butterfly (Baltimore Opera), Dorabella, Casi

Jan Tutte (Hamburg State Opera)

U pcoming: Dorabella, Cosi Jan Tutte (Hawaii Opera T h eatre), Concerts in Beijing and Paris,

C.Y LlAO

Baritone (Sichuan, China)

Mi c higan Opera Theatre debut: II TrovalDre, 2002

2003 Season: Renato, A Mashed Ball

October 18, 22, 25

R ece ntly : Il TrovalDre (Washington Opera), Ezio, Albia (Opera Orchestra or New York)

LESTER LYNCH

BarilDne ( Elyria , Oh io)

Mi c higan Opera Th ea tre d e but

2003 Season: Renato, A Masked Ball

Oct 19m, 24, 26m

Rece ntly: AIda (Dayton Opera), Billy Budd (Ca nadian Opera Compa ny)

Upcoming: Rigaletta (Dayton Opera)

DAVID MICHAEL

Bass

M ichiga n Opera Th ea tre debu t : Lakl11e,2002

2003 Season: Tom, A Masked Ball

Rece ntly: Rigaletta (New York City Opera)

Upcoming: Tosca (Kentucky Opera), Nourabad, The Pearl Fishers (Opera Company of Philadelphia, Michigan Opera Theatre)

STEVEN MERCURIO

COllductor (New York, New York) Michigan Op e ra Th ea tre deb u t: Tasca, 1995

200 3 Season: A Mashed Ball

Rece ntl y: Madame Butterfly (Torre del Lago, Italy), A Named Desire (Tea lro Regio, TOlino), Don Giovanni (Michigan 0IJera Theatre)

Upcoming: La Falleiul a del West

ROBERTO OSWALD

Set Des ign

Michigan Opera Th ea t re

2003 Season: Se t DeSigner, Madame Butterfly Rece ntly: The Pearl Fishas (Phoen ix), Turandat (Santiago), Salome (Kansas City)

Upco ming: Salome (Baltimo re Opera)

MARCO PELLE

Choreogmpher (Italy)

M ichigan Opera Th eatre d e but

2003 Season: A Masked Ball

Rece nt ly: Sziget Festival (Budapest, Hungary), Aida (Beirut, Lebanon), Carmen (Tealro Regio, Italy), Macbeth (Tealra J esi, Italy)

www,M ichiganOpera,org

(Teatro Regio, TOIino)

ON STAGE

Sur ender t o Love

EWA PODLE S

Contralto (Warsaw, Poland)

M ichigan Opera Theatre debut

2003 Season: U lrica, A Masked Ba ll

Recently: Adalgisa, Norma (Sea td e

O p era), Jocasra, Oedipus Rex

Canadia n Opera Company, (Edinburg h F estival), recitals in Warsaw a n d S1. Pa ul.

Upcoming: Eboli, Don Carlo (Ope ra Company of P h il adel phia), Giulio Cesa re (San D iego Ope ra ), reci tals in Washington, DC , Louisville a n d San F ranc isco

STEWART ROBERTSON

ConducLor (Glasgow, Scotland )

Michigan Opera T h eatre debut:

The Barbe.- oj Seville, 1999

2003 S e ason: Madame Butte/fly

Rece n tly : 0011 Giovanl1i (Gli m merglass Opera), le Nozze di Figaro (Mic hi gan Ope ra T hea tre),

Madame Butterjly , Salome, La Bo heme (F 1OJida G ra n d Opera)

Upcoming: Susannah (Opera Com pany of Philadelphia), La Fanciulla del West (Glimmerglass Ope ra) , Don Giovanni, Turandot, Szulamit (Fl orida G ra n d Opera)

JEFFREY SPRINGER

Te nor (G reen Bay, Wisconsin)

Michigan Opera Theatre debut

II Iinvatore, 2002

2003 S eason: Pinke rt on, Madame

Recently: Don J ose, Carmen (A ri zona Opera) Grigo r i, Boris Gudonov (Florida G ra nd Ope ra)

Upcoming: Camo, I Pagliacci

JAMES WESTMAN

Baritone (Stratford, Ca n ada)

Michigan Opera Theatre debut

2003 Season: Sharpless, Madame Butterfly

Recentl y: Madame Butterfly (Canadian Opera Company), Ath anaeJ, Thais (Opera T hea t re of S[. Louis), Silvio, I Pagliacci (San Francisco Ope ra)

Upcoming: Gennont, La Traviata (Dallas Opera, San Diego Opera)

EDUARDO VILLA

Tenor (Cali fornia)

M i ch i gan Opera Theatre debu t : Carmen, 1996

2003 Season : Riccardo, A Masked Ball

Recently: Ocr Rosenkavalier; Die Fledermaus, Madama BUlterjly (Mu n ich), Radames , Aida, (Metropoli tan)

Upcomi n g: Turandot (Austin), Die Fledem1aus (Munich), Madama Butterfly (New York Met ropo lita n )

LlPING ZHANG

Soprano (Beijing, Chi n a)

Mi chigan Opera Theatre debut

2003 Se ason: Cio -Cio -San , Madame

Butterjly

Recently: Madame Butterfly (Baltimore Opera, Royal Opera, Covent Garden), Liu , Turandot (Roya l Opera, Covent Ga rden

Upcoming: Madame (Opera Lyra, Ottawa Vanco u ver Opera)

(So fi a, Bulgari a)

MARIANA ZVETKOVA

Soprano (Bulgaria)

Michi ga n O p era T h ea tre deb u t

2003 Season : Ame lia, A Mashed Ball

Oct 18, 22, 25

Rece ntl y : A Mashed Ba ll ( Deu tsche

Oper, Berlin, Staa tsoper Dresden)

Ariad ne auf Naxos (Tokyo, Nationa ltheate r Essen)

Upcom in g: Lady Macbeth, Mac b e t h

Barbara Gib son

You ng Artist Appre nt ice Program

Members of the 2003-2004 Ba rbara Gibson

Young Artist Apprel1tice Program

BRIAN BANION

Bass-Bwitone (Lond o n , Ohio)

Michi gan Opera T heatre deb u t

2003 Season : Young Artis t

Program; Silvano, A Masked Ball

Rece n t ly: Figaro, Marriage of figaro (Nevada Opera), Doctor Grenvill e , La Ii-aviata (Kent u c k y Ope ra), Baron Du phol, La Traviat a (Berkshire Opera)

Upcoming: Zurga, I11e Pearl Fishers (Nevad a Ope ra),

Zu ni ga, Carmen (Opera Columbu s)

Joyce H. Cohn Young Artis t

ALPHONSO CHERRY

Tenor

Michigan Opera T h eatre Deb u t :

Dead Man Walking, 2003

2003 Seaso n: Ya m adori, Im p eria l

(Man itoba Opera)

Com missio n e r, Madame Butterfly

Recen tl y: Voca l Di rector (Gods

Progress), Priso n Guard, Dead Mall

Walking (M ic higa n Opera Theatre)

Associa te Ins t ruc to r (Afri can

Ame lican Chora l Ensem ble)

Michigan Opera Theatre Orchestra

Lowell Greer

James Kujawski Barbara Zmich + Lau ra Larson +

Constance Markwick Catheri n e Franklin Wendy H oh m eyer

Elizabeth Rowin James Greer

PrinCipal +

Susan Mu tter PERCUSSION

Kat h erine Wid la r John Do rsey, PrinCipal +

Ewa Uz iel J u lia n ne Zinn OBOE Dan Maslanka

Melody Wooton Kristen Beene, Pril1cipal +

CELLO Sally Pi tuch +

VIOUN II

TRUMPETS

David Kuehn, PrinCipal + ORCHESTRA PERSONNEL

Nadine Deleu ry, Principal + Kristin Reynolds Gordon Simmons + MANAGER

Derek Lockhart Diane Bredesen

Victoria Haltom, Pri ncipal + Diane Bredesen +

Molly Hughes +

Minka ChristolI + CLARINET Detroi t Federation of MUSicians, Anna Well er + Robert Reed + Brian Bowman , Pril1cipal +

Bing Xia + John latzko Campbe ll MacDonald +

J ulia Kurtyka

Gabr

Elizabeth Rowin

TROMBONE

O k un, Principal + Local #5, American Federation of

Michigan Opera Theatre Chorus

Teddy Abesamis+

Wallace Ayo tte*

Patrick Bama rd *

Christopher Baude r ' +

Heidi Bowen+

Kim Wayne Brooks'"

Alaina Brown *+

Fred Bucha lter'+

Patrick Cla m pitt +

Debo rah Dailey+

Victoria DeCa rlo+

JD Deie rl ein*

Kei th Dixon*

Dianna Dumpel*+

22 BRAVO

Jacqueline Echols+

Brandy Ellis*

Rebecca Engelhard *

Vanessa Feniole*

Louise Fisher*

Kurt Frank'"

Yvonne Friday*

janet Ge isler+

Elizabe t h Gray*+

Conda Green *

Rosa li n Guastella* +

Leslie Hi ll+

Clare nce Jones*

Tom Kabala'

Jihyun Kim+

Jeff Krueger'

Marcus LaFratt'

Susan Lowrie*+

Tony Lyn ch*

Elizabeth Miha lo+

RaynlOnd Mye rs *

Peggy 0 Shaughi1essey+

jennifer O li ver*+

Darren Ona*

Katherine Pacza*

Janet Ph illips*

Marc Ricard *

Monique Ricard' +

Mary Robertso n '

Bob Schram'

ChIistine Shay'+

Korland Simmons'

Tobias Singe r*

jay Smith*+

M ichael Steelman *'

Bi ll Steine r *

Ste p hen Stewart' +

Jud it h Szefi+

Lucy Thompson*+

Dean Un ick*

Christopher Va u ght*

Justin Watson*

J im We ll s*

Ta mara Witty* +

Jason Wickson*+

Michael W ila n owski*

Tim Wolf'

Anamaria Ylizalilurri

* A Masked Ball

+ Mada m e Bu tterfly

The An1erican Guild of Musical

Artists is t he official union of t h e

Michigan Opera T h ea tre Vocal Perfo rmers

Copyright 2010, Michigan Opera Theatre

www_Mic h iganOpera_org

Detroit Opera House

Board of Directors

Dr David DlChier.a, President

Mr Camemn B. DUlCean, Treasurer

Mr C. Thomas Toppin, Secretary

Mrs. Robert A. Allesee

Mrs. Donald C. Austm

Mrs. Bella Marshall Barden

Mr Lee Barthel

Mr J. Addison Bartush

Mr Richard A. Brodie

Mrs William C. Brooks

Mrs. Frederick Clark

Mrs. Peter Cooper

Mr Tarik S. Daoud

Ju li a Donovan Darlow

Mrs. Dodie David

Mr Lawrence N. David

Mrs Charles M. Endicott

Mrs. Alex Erdeljan

Mr. Paul E. Ewing

Ms. Chery l Fallen

Dr Marjorie M Fisher Barbara Fra nkel

Trustees

Dr & Mrs. Mohamad K. Ajjour

Dr & Mrs. Roger M Ajlum

Mr & Mrs. Robert A AIlesee

Mr & Mrs. Douglas F Allison

Dr. Lourdes V Andaya

Mr. & Mrs. Thomas V Angott

Dr & Mrs. Agustm Arbu lu

Dr HamId M. Arrington

Dr & Mrs. Ingida Asfaw

Mrs. Donald J. Atwood

Dr & Mrs. Donald C. Austin

The Hon. & Mrs Edward Avadenka

Mr & Mrs. Don H. Barden

Mr. & Mrs Lee Barthel

Mr & Mrs. J. Addison Bartush

Mr. & Mrs. Mark Alan Baun

Mr. & Mrs Nicolas Behrmann

Mr. W Victor Benjamin

Mr. & Mrs. Ara Berberian

Mr & Mrs. Mandel! Berman

Mr. & Mrs. Raymond Biggs

Mr. & Mrs. John Boll

Mr & Mrs. John L Booth II

Mrs. Thomas Bright

Mr. John Broad

Mr. & Mrs. Richard A. Bmdie

Mr. & Mrs William C. Brooks

Mr. & Mrs Thomas Celani

Mr. & Mrs Robert D. Charles

Mr & Mrs. Alfred Cheesebrough III

Mr. Da\od Clark

Mr. & Mrs. Frederick H. Clark

Ms. Virginia Clementi

Mrs. Margo Cohen

Mr. Maurice Cohen

The Han. & Mrs Avern L Cohn

Mr. Thomas Cohn

Mr & Mrs Peter Cooper

Ms. Rosalind L Cooperman & Mr Woody Robertson

Mr & Mrs Marvin l. Danto

Mr. & Mrs Tank S. Daoud

Julia Donovan Darlow & John C. O'Meara

Mr & Mrs Jeny P D'Avanzo

Mr. & Mrs Lawrence N. David

Mr. Kevin Dennis & Mr. Jeremy Zeltzer

Mrs. Robert E. Dewar

Dr Fernando G. Diaz

Dr David DiChiera

Karen VanderKloot DlChiera

The Han. & Mrs . John Dingel!

Ms. Mary Jane Doerr

Mr. & Mrs. Cameron B Du ncan

Mrs Charles M. Endlcott

Mr. & Mrs Alex Erdeljan

Dr Fern R. Espino & Mr. Tom

Short

Mr & Mrs. Roland C. Eugenio

Mr. & Mrs Paul E. Ewing

Mr & Mrs. Stephen E\ving

Dr Haifa Fakhouri

Ms. Chelyl Fallen

Mr Herman Frankel

Mr James Garavaglia

Mrs Lawrence Garberding

Mr David Handleman

Mr Kenneth E. Hart

Mr. Eugene Hartwig

Mr. Richard Janes

Mr Gary E Johnson

Mr Lawrence S Jones

Mrs. Charles Kessler

Mrs Carlita E. Kilpa trick

Mr. A C. Liebler

Mr Hany A. Lomason

Mr Alphonse S Lucarelli

Mrs. Jennifer Nasser

Dr Charlotte Podowski

Mrs Ruth Rattner

Mr. Roy Robe rts

Ms Patricia Radzik

Mrs Irving Rose

Mr William Sandy

Mr Gregory Schwartz

Ms. Elham Shayota

Mrs Roger F Shennan

Mr. Mark Sil verman

Mr Frank D. Stella

Mrs George Strumbos

Dr. Lorna Thomas

Mr George C. Vincent

Mr Gary L. Wassennan

Mr Richard C. Webb

Mr R. Jamison Williams Jr.

Mr. George M Zeltzer

Mrs. Dieter Zetsche

Dr. Martin Zimmerman

DIRECTORS EMERITUS

Frank W Donovan James H Gram

Mrs. William Johnston

Mr. Robert VanderKloot

Mr Mort Zieve

Mr & Mrs. Oscar Feldman

Mr & Mrs. John Ferron

Mr & Mrs. Alfred). Fisher Jr

Mr & Mrs. Herbert Fisher

Dr Marjorie M. Fisher

Mrs. Elaine L Fontana

Mr & Mrs. Mllchell B. Foster

Barbara Frankel & Ron Michalak

Mr. & Mrs. Hennan Frankel

Mr. Marvrn A. Frenkel

Mr & Mrs. Dean Friedman

The Han. Hi lda R. Gage

Mr. & Mrs. James Garavaglia

Mr. & Mrs. Lawrence Garbe rding

Mrs. Frank Gennack Jr

Mr. & Mrs. Yousif B Ghafari

Mr. & Mrs. Vrto P Gioia

Mr & Mrs. Harvey Grace

Mrs. Beq H. Haidostian

Mr & Mrs. David Handleman

Mr & Mrs. Preston B Happel

Ms. Gail Hart

Mr. Kenneth E. Hart

Mr & Mrs. Eugene Hamvig

Mrs. David B. Hennelin

Mr & Mrs. Pa trick Hickey

The Han & Mrs. Joseph N Impastato

Mr & Mrs. Verne G. Istock

Mr & Mrs Craig E. Jackman

Mrs. DaVld Jacknow

Mr. & Mrs. Darnel! D. Jackson

Mr. & Mrs. Richard Janes

Mrs. Sybil Jaques

Mr Don Jensen

Mr & Mrs. Gary E Johnson

Mr. & Mrs. Lawrence S Jones

Mr & Mrs. Ellio t Joseph

Mr & Mrs Maxwell Jospey

Mr & Mrs Mitchell!. Kafarski

Mr & Mrs. William Kahn

Mr. & Mrs. J ohn Kaplan

Mr. & Mrs. Donald W Keim

Dr. & Mrs. Charles Kessler

The Han & Mrs Kwame Kilpatrick

Mr. & Mrs Eugene L Klem

Mr & Mrs. Robert Klein

Mr & Mrs. Mike Kaplan

Mr & Mrs Thomas Krikorian

Mr & Mrs. William Ku

Dr & Mrs. Richard W Kulis

Mr & Mrs Angelo Lanni

Mr. & Mrs Paul Lavins

Mrs. Walton A. Le\vis

Dr & Mrs. Kim K. Lie

Mr & Mrs. A. C. Liebler

Dr. & Mrs. Robert P Li sak

Mr. & Mrs Hany A. Lomason

Mr & Mrs. James H. LoPrete

Mr Alphonse S. Lucarelli

Cardinal Adam Maida

Mrs. Frank S. Marra

Dr & Mrs. Ronald Martella

The Han. Jack & Dr Bettye

Arrington-Martin

Mr & Mrs. Richard McBrien

Mr. & Mrs William T. McCormick Jr

Mrs. Wade H McCree Jr

Mr & Mrs. Frank McKulka

Mr & Mrs. Eugene A. Miller

Mr & Mrs . Jeffrey Miro

Ms. Monica Moffat & Mr. Patrick McGuire

Mr & Mrs . Theodore Monolidis

Mr & Mrs E. Clarence Mularoni

Dr & Mrs. Stephen Munk

Mr. & Mrs. E. Michael Mu tchle r

Mrs Jennifer Nasser

Mr Christopher Nem

Mr & Mrs. Harry Nosanchuk

Mr. & Mrs. Jules L Pallone

Mr. & Mrs. James Pamel

Mr & Mrs Spencer Partrich

Dr Raben E. L. Perkins

Mr. Drew Peslar

Mr & Mrs. Brock E. Plumb

Dr Charlotte & Mr Charles Podowski

Mrs. David Pollack

Mrs. Heinz Prechter

Ms. Patricia Preston

Mr. & Mrs. John Rakolta Jr.

Mrs. Ruth F Rattner

Dr. Irvin Reid & Dr Pamela Trotman Reid

Mr & Mrs. Roy S. Roberts

Ms Patricia H. Radzik

Mr. & Mrs. Peter Ronan

Mr & Mrs. Irving Rose

Mr. & Mrs Norman Rosenfeld

Mrs. Carolyn L. Ross

Dr & Mrs. William Ross

Mr & Mrs. Anthony Rugiero

Dr. Hershel Sandberg

Mr & Mrs William Sandy

Mr & Mrs. Arno ld Schafer

Dr. & Mrs. Norman R. Schakne

Mr. & Mrs Alan E. Schwartz

Mr & Mrs. Gregory j. Schwartz

Mr & Mrs. Donald E. Schwendemann

Mr. & Mrs. Merton Segal

Mr & Mrs. Mark Shaevsky

Mrs. Frank C. Shaler

Ms. E1ham Shayota

Mr. & Mrs. R.oger F Sherman

Mr Mark Silverman

Mr & Mrs. RlChard Sloan

Ms Phyllis Funk Snow

Mr. &: Mrs. David Snyder

Mr & Mrs. Anthony L. Soave

Mr Richard A Sonenklar

Dr & Mrs Sheldon Sonkin

Mr. & Mrs. Richard D. Starkweather

Mr Frank D. Stella

Ms Mary Anne Ste ll a

Mrs. Mark C. Stevens

Mrs. Rudolph Ston isch

Mr. & Mrs Stephen Strome

Mr. & Mrs George Strumbos

Mr. Ronald F Swi tzer

Ms. Judith Tappero

Dr & Mrs. Anthony R. Tersigni

Dr. Lorna Thomas

Dr Roberta & Mr. Sheldon Toll

Mr & Mrs. C. Thomas Toppin

Mr. & Mrs. Gary Torgow

Mr. & Mrs. George Torreano

Mrs. Lynn A. Townsend

Mr James Trebilcott

Mr. & Mrs. Raymond Vecd

Mr. & Mrs. George C. Vincent

Mrs. Alvin Wasserman

Mr. & Mrs. Gary L. Wasserman

Mr & Mrs. Kenneth Way

Mr & Mrs. Richard C. Webb

Mrs. Amelia H Wi lhelm

Dr. & Mrs Christopher D. Wilhelm

Mr R Jamison Williams Jr

Dr & Mrs Sam B. Williams

Mrs. R. Alexander Wrigley

The Hon. Joan E Young & Mr Thomas L Schellenberg

Mr. & Mrs. John E. Young

Dr. Lucia Zamorano

Mr & Mrs. Ted Zegouras

Mr & Mrs. George M. Zel tzer

Dr. & Mrs. Dieter Zetsche

Mr & Mrs. Morton Zieve

Dr & Mrs Martin

Zimmerman

Mrs. Pau l Zuckerman

Trustees Emer itu s

Mrs . James Meniam Barnes

Dr &: Mrs Robert Gerisch

Mrs. Aaron Gershenson

Mr & Mrs. James Gram

Mrs Katherine Gribbs

Mrs Robert Hamady

Mr. & Mrs E. Jan Hartmann

Mrs Jesse Mann

Mrs Ralph Polk

Mr & Mrs. Fred Schneidewind

Mr & Mrs. Robert VanderKloot

Foun din g Me mbe rs

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

The Han. & Mrs. Avern L. Cohn

Mr. & Mrs. John DeCarlo

Dr. & Mrs. David DiChiera

Mr. & Mrs Aaron H. Gershenson

Mr & Mrs. Donald C. Graves

The Hon. & Mrs. Roman S. Gtibbs

Mr. & Mrs John C. GrilTin

Mr. & Mrs . Hany L. Jones

The Han. & Mrs Wade McCree Jr

Mr Harry j. Nederlander

Mr E. Harwood Rydholm

Mr. & Mrs Neil Snow

Mr & Mrs Richard Strichartz

Mr & Mrs. Robert C. VanderKloot

Mr. & Mrs. Sam B. Williams

Mr & Mrs. Theodore O Yntema III

Erwin Klo p fe r , a retire d tool an d d ie sp e cialis t , was no t going to tell Michigan Oper a Thea tre ab o ut his spe cial es tate p lans, wanting to re m ain anonymous. However, a ft er learning that h is estate plan w ould b e e ligib le fo r Tou ch the Future matching fund s, h e decide d to reveal his gift As a r esu lt , M O T recei ve d a sub stantial match to its end owment fund s at the Co mmuni ty Found ation for So utheas tern Mich igan. Erwin and his wife Su e a lso beca m e m emb ers o f MO Ts Avanti Socie ty

N ow h e urges, "1 want p eop le to know abo ut th e b eauty of a Ch a ri ta ble Re m a ind er Trust " His trus t h ad been fund ed wi th a pi ece of appreciate d real es tate tha t h e no lon ger n ee de d Ins tea d o f selling that prope rty and p aying considerable taxes , he transferre d the p rope rty into a Ch aritable Remaind er Tru st In re turn , h e gets inco m e for life. After his d ea th , hi s favo ri te ins titu tio n s, including Mi chigan Opera Th ea tre, will receive w hatever remains.

Confidentia l Reply: Please retu rn this fo rm to Jane Fanning , Mich igan Opera Theatre , 15 2 6 Broad way, Detro it , MI 48226 email :jfanning@moto pera.o rg or ca ll (3 13) 237 -3 2 68

Nam e(s) _ _ Address City

Erwin and Su e KlopJer and Jamily

H e is thrilled th at h is mon ey is b e ing u se d to secure the fu ture of Mich igan Opera Thea tre for his children and grandchild re n to expe rien ce

Born in Dres d en , German y, Erwin Kl opfer is an enthu sia stic supp o rter o f op era and faithful subscrib er H e loves the view and the sound from his front- row m ezzanine seats in the De troit Opera H ou se

H is love o f opera b egan when he was nin e year s ol d after pa rents took him to the ope ra

Afte r his fa mily immigrated to the Detro it area in 195 2 , he and his sister loved the Me tro p olitan O p era touring produ ctions. Later, Erwin intro du ce d his wife , Su e, to op era, and "As lu ck wo uld have it , I made an op era fan out o f h er. " H e also recalled tha t h e u sed to sing his d au gh ter Sa ra to sleep with m elo dies from Th e Tal es oj Hoffmann ("in German , of course") During MOTs rec ent produc tion of Hoffmann , Sara returne d fr om he r hom e in Irelan d and atten ded with her m o ther and fathe r, happily remem bering he r fath ers lullab ies.

Erwins m essage to o ther MO T pa trons is "1 can 't encourage people enou gh to reme m ber Michigan O p era Th ea tre w hen fOrming thei r estate plans. There are a lot o f struggles and sa d things in life , bu t mu sic always uplifts. "

The AVQnti Society-EnsUling the Future

Im agin e a gift th at ou tli ves yo u - tha t tou c hes fut ure ge n e ra t ion s in yo ur absence - to ex p er ien ce and enj oy th e world of O p era. Thats the goal of The Avanti Society; Michigan Opera Theatres Planned Gift Recognitio n Program. The Avanti Society represents a deSigna ted group of fri end s of MO T who have made plans to inclu de MOT in th eir es tate plan s - wheth er b y will , tru st , insuran ce, or life in come arra n ge ment Mem be rshi p in The Avanti Soc iety is open to all . Mem bers of The Avanti So ciety receive a beautifully designed lapel pin , recognition at the annua l Avanti Eve ning, in vita ti ons to special events and perfo rmances and are liste d as me mb ers in our program books thro u gh ou t ea ch seas on.

An Avanti for Tomorrow

The growth o f Michigan Opera Theat res pennanent Endowment Fu n d , ensures the growth and future vitality of on e of the region's greatest cu ltural assets. Yo u are in vi ted to create your ownyour Avanti -th rou gh Mich igan Opera Theatre Please use the enclosed confidential repl y ca rd to indica te your gift , or contact Jane Fanning at (313) 23 7-32 68, to disc u ss gift op tions that may ben efit you , your heirs and Michigan Opera Theatre

THE AVANTI SOCIETY Mr. Donald lensen

FOUNDING MEMBERS Mr IS: Mrs. trw10 H.

Mrs Adele Amerm an Klop fer'

Ph o ne (d ay)

Best tim e to ca ll:

o Yes , please se nd info rmatio n regardin g p lann ed gi fts o Vwe alrea d y qualify fo r The Ava nti Socie ty

Please bri eOy descri be the esta te gi ft tha t qualifies yo u for membership (a ll inform ation sub mitted will be kept confidential) :

Dr Lourdes V Andaya Misses PhylliSIS: Selm a

Mr. IS: Mrs Agustin Korn Arbulu Mr IS: Mrs Anhur Chester IS: Emelia Arnold Kro li kows ki

Mr. IS:BartuMrssh·J Addison Mr IS: Mrs. Salvador P Mascali

Mr. IS: Mrs Brett Mrs. Wade H. McCree

Batterson Ms. Jane Mc Kee

Mr. IS: Mrs Harvey Freeman

Mr. IS: Mrs. Stephen

Mr. K1em'

Ms. Kathleen Monroe

Dr. IS: Mrs. Stephe n Munk

Mr. Stanford C. Stoddard

FULFlLl£O BEQUESTS

Mr. IS: Mrs. An Blair Drs. Orl ando IS: Doroth y Mr. Allen B. Christman

Roy E. IS: lise Calcagno Mi ller Ms. Adele

G Dli r dYosbeCanldCroornneeYtte' Mr. Ronald K Morrison VI g

Rc Mr Dale J Pangonis

Dr. IS: Mrs Vic tor j. Mr: Richatll M.l<aisin

Mr. lames P Diamond

Mr. edward P Frohhc h

Ce rvenak Mrs. Rut h f Ratmer' Priscilla A. B. Goode ll

Mr. IS: Mrs. Tarik Daoud Marguerite IS: Ja mes Rigby

Mr. IS: Mrs. Roben E. Ms.l'atricia Rixlzik

Mr. Ernest Goodman

Mrs. Roben M. Hamady

Dewar' Ms. Susan Schoone r Mr. Bruce Hillman

Karen Va nderKloot Drs. Heinz IS: Alice Platt

DiChiera' Schwarz

Mr. IS: Mrs Charl es H. Mrs. Frank C. Shaler

M. Endicott

Mr. Gordon V Hoia lmen

Mr. Carl]. Huss

Ms . Helen Bmb,ra

Ms.

Mr. IS: Mrs Herb Fisher Starkweath er Mrs. Ella M Mont roy

TOUCH THE FUTURE

Michigan Opera

Theatre has successfully me t three of its four benchm arks for the Touch the Future campaign As a result, over $285,000 in matching hmds has already been placed into MOTS endowme nt at the Communi ty Foun dation for Southeastem Michigan. Another $75,000 in bonus operating funds has also been awa rded After successfully reachi ng the founh benchmark, MOT will collect ano ther $80,000 and be eligible to rece ive up to $1,1 00,000 more in matching funds available for new qualified planned gifts.

Michigan Opera Theatre thanks the fo llOWing generous

To uch the Future Donors, whose combined $1,700,000 gi fts have generated $285,000 in match ing funds:

Mr. & Mrs. Roben A. Allesee

Mr. & Mrs. J. Addison &mush

Dr Robert E. Cornette

Mr & Mrs. Robert E. Dewar Karen VanderKloot DiChiera

Barbara Frankel & Ronald Michalak

Mr. & Mrs Hemlan Frankel

Mrs. Rema Frankel

Mr. David Handleman

Mr. & Mrs. Robert Klein

Mr. & Mrs E"vin Klopfer

Mrs. Ruth Raltner

Mrs. Mary Ellen Tappan

Mrs. Joh n C. Stevens

Mrs. Amelia Wilhelm

Barbara Frankel IS: Ronald Mrs. Mark C. Stevens' Ruth Rawlmgs MOll Eventu allv, the planned gifts listed by the ge nerous indiMi chalak' Jonath an Swi ft IS: Thomas Clarice Odgers Percox "

Mr. IS: Mrs. Herman A. 51. Charl es Mr. Mitchell]. vidua ls above, coul d add , depending on investment perFra nkel' Mr. Ronald f Switzer Romanowski formance , over $2,500,000 10 MOT's endolllnent at the Mrs Rema Fra nkel' Ms. Maty Ellen Tappan' Mr. Edwar.d C. Stahl Community Foundation for Southeastern Michigan.

Dr. IS: Mrs. Byron P Donald IS: Margare t Types of fefts that qualify for ma tch ing fu nds include Mr. D. Tussett THE MURE pa id-up Ii e insurance, cha ritable remainder trusts cha riPh D' Mr. IS: Mrs. George AVANTI EVENT SPONSORS ta ble gift ann ui ties and pooled income funds.

Mr. Lawrence W Hall Vi ncent Mrs. Adele Amerman If you would like information about how yo u can be a

Mr IS: Mrs Jerome Mrs. Amelia H Wilhelm' Mr. IS: Mrs. Richard pan of this unparalleled opportunity for MOT, don't hesHalp<;rin Elizabeth IS: Walter P Starkweather itate to call Jane Fanning 10 the Development Offi ce at

Mr. DaVid Handleman' Work

Mr. IS: Mrs George (313) 237-3268. This cam paign is in its final stages and

Mr. IS: Mrs. Ken neth E. Mr. IS: Mrs. George M. V10cent the time li mi t for the matching funds opponunity is nearHan Zeltzer

Mr. IS: Mrs. Eugene L. AVANTI LOGO & PIN Iy completed.

Hart wig MEMBERS DESIGN

Dr. Cindy Rung Mr. IS: Mrs. Robe n A. Moni ca Mo ffat IS: Pat

KrisunJaramillo Allesee ' McGui re

Copyright 2010, Michigan Opera Theatre

"There are a lot of struggles and sad things in life, but music always uplifts." FUTURE

New Century Fund Campaign The Crowning Achievement

Michigan Opera Theatre launched The New Century Fund Campaign: Th e Crowning Achievement, the third and final phase of it s campaign for the Detroit Opera House , in 2001. Th e $20 million raised during this ca mpaign will bring the total amount for acquiring and restoring th e Detroit Opera House to $62 million

The main components of The Crowning Achievement include renovation of the six - floor Broadway Tower to create the Cente r for Arts and Learnin g, co n s tru c tion of a parking garage, an endowment goal, decorative painting in the Detroit Opera House and retirement of construction debt.

VISIONARIES

$1,000,000 TO $1,999,999

Anonymous

Mr. &: Mrs. Joh n A. Boll

Marlene L Boll Hall

GUARANTORS

$500,000 TO $999,999

Anonymous

Camerica

David Handleman

David Handleman Studio

Detroit Grand Opera Association

UNDERWRITERS

$250,000 TO $499,999

AAA

Proscenium Arch

Masco Corporation

Mr. &: Mrs. Roger Penske

Standard Federal Bank

PARTNERS

$100,000 TO $249,999

Mr. &: Mrs. Lee Barthel

DaimlerChrysler Smoces

Patron E!evator in Center for Arts & Leaming

Barbara Frankel &: Rona ld Michal ak

Patron Elevator in Administrative Tower

Herman &: Sharon Frankel

Lear Corporation

Mr. &: Mrs Harry A. Lomason

Mrs. Carolyn L Ross

R. Jamison WHliams Jr.

SPONSORS

$50 ,000 TO $99,999

Anonymous

Mr. &: Mrs. Alex Erdeljan

As of September 2003, over $8 million had been raise d. Michigan Opera Theatre acknowl edges the follo wing indi v iduals , corpo r ations and foundations for their generous support of thi s effort.

Please Note: When this third phase of the campaign is finish ed, a cumu lative donor list w ill be published, recognizing donors to all three capi tal campaigns from 1989 to the conclusion of Th e Crowning Achievement. This cumulative li s ting w ill also be reflected in a new donor wall in the grand lobb y of the Detroit Opera House. We thank you for your extraordinary support and commitment. iii

Mary Sue &: Paul Ewing Broadway Box Office

Handleman Company

Alice Kales Hart\vick Foundation

Mr. &: Mrs. Thomas M. Krikorian

The Karen &: Drew Peslar Foundation

PVS Chemicals

Mr. &: Mrs. Anthony Rea

Mr. Stanford C Stoddard

George M &: Pearl Zeltzer

ASSOCIATE SPONSORS

$25 ,000 TO $49,999

Dennis W Archer Community Development Fund

Mrs. Anne Lomason Bray

Mr. &: Mrs. Tarik S. Daoud

Mrs. Charles M. Endicott

Mary Lou &: Richard Janes

Nanc y &: Bud Liebler

Mr Alphonse S. Lucarelli

Frank &: Karen Nesi

Ju dy Schwartz

Elham Shayota

Mr &: Mrs. C Thomas Toppin

Mr &: Mrs. George C Vincent

Neva Williams Arts foundation

CONNOISSEURS

$15,000 TO $24,999

Dr &: Mrs. Donald C Austin

Larry &: Dodi e David

Dr. David DiChiera

Mr Charles &: Dr Charlotte

Podows ki

Dr &: Mrs. Anthony R.

Ters igni

Dr &: Mrs. Dieter Zetsche

AFICIONADOS

$10,000 TO $14 ,999

Mr &: Mrs. J Addison Bartush

Betty &: Bill Brooks

Gloria &: Fred Clark

Marjorie M. Fisher

Ja me s &: Barbara Garavaglia

Eugene &: Donna Hartwig

Dr. &: Mrs. Stephen A Munk

Mr. &: Mrs. Robert Rauth

Mr. &: Mrs. Dean E Richardson

Roy &: Maureen Roberts

Sandy Family Fou ndat ion

Dr. Her.shel Sandberg

Mrs. Frank C. Shaler

Me. &: Mrs. Stephen Strome

Michigan Opera Theatre

Michigan Opera Theatre gratefully acknowledges the generous corporate, foundation, government an d individual donors whose contribu tions were made between July 1, Z002, and June 30, 2003. Their generosity plays an integral part in the companys financia l stability, necessary for producing quality grand opera and dance.

$15,00Q.$24,999

Sponsor Bank One , Michigan AM , Michigan

Comm unity Programs The NUlcrw:her Production Opera Ball Silver Sponsor

Support Sponsor. Golf &: Tennis Outing

Ford Motor Company Fund Opera BaU Si lver Sponsor Gold Sponsor

Fall Opera Season Alvin Ailey American DIE Energy Foundation

Sponsor Danc e Theater Alvin Ailey Amflican

A Royal Ch,istmas Concert Adopt-A-School Sponsor Danc e Theater

Sponsor Student Ticket Sponsor

Denyce Graves Concert MAJOR BENEFACTOR Opera Perfonnance

Sponsor $25,000-$49,999 Sponsor

Alvin Ailey AmeJican Comerica Bank Marshall Fields

Dance Th eater Die Fledermaus Die Flede rmaus

Opening Night Gala Perfonnance Sponsor Performance Sponsor

Sponsor Th e jaffrey Ballet of Chicago Scott Shuptriine Furniture ,

Opera BaU Platinum Sponsor Inc.-

Sponsor Golf &: Tennis Outing Fall Season Opera &:

General Operating Silver Sponsor Dance Talks Sponsor

Support BravoBravo l Gold Leaf

General Motors Corporation Sponsor

Spring Opera Season Opera Ball Si lver Sponsor

Detroit Opera House

DEVOTEES

$5,000 TO $9,999

Shelly &: Peter. Cooper

Fran k G. &: Gertrude Dunl ap

Foundation

Ann &: Larry Garberding

Mrs. Robert M. Hamady

Rose &: David Handleman

Mr. &: Mrs. Kenneth E. Hart

Gary E. &: Gwenn C. Johnson

Lawrence &: Diane Jones

Ha rvey &: Aileen Kleiman

Lucie B Meininger

Mrs. Ruth E Rattner

Pa trici a Radzik

Dr. &: Mrs. Sheldon Sonkin

Lorna Thomas, M.D.

Richard &: Kathleen Webb

In addition to enjoying outstanding entertainment on the Detroit Opera House stage, contributors are offered a number of opportunities that allow them to observe the many phases of opera and dance production, meet the artists and experience other "behindthe-scenes " activities. iii

FEllOW Go lf &: Tennis Outing DONOR

$10,000-$14,999 Silver Sponsor $1,00Q.$2,499

Masco Corporation Comeast Cable Alix Panners , LLC

Opera Ball Silver Sponsor Commun ications, Inc Th e jaffrey Ballet of Chicago

MGM Grand Casino BravoBravo! Crystal Lea f Donor

Alvin Ailey Amflican Sponsor AI LongFord

Dance Theater Fried Saperstein + Abbatt, Alvin Ailey Am erica n

Adopt-A-School Sponsor PC- Dance Theater

Opera Ball Silver Sponsor The joff,·ey Ballet of Chicago Educational Outreach

Standard Federal Bank Supporter Donor

Too Hot to Handel Greektown Casino Ash Stevens, Inc.

Production Sponsor BravoBravo l Crystal Leaf Comerica lnsurance Services

Sponsor Golf &: Tennis Outing

SUSTAINER Grunwell-Cashero Company, Tee Sponsor

$5,00Q.$9,999 Inc.- Detroit Free Press

Fifth Third Bank Golf &: Tennis Outing Summer Dreams Sponsor

Bolshoi Ballet Opening Silver Sponsor The Farbman Group

Night Dinner Sponsor Guardian Industries BravoBravo! Terra Cotta

Thyssen , North America Corporation Sponso r

UAW-GM Center for Human Health Alliance Plan GKN Automotive , Inc.

Resources - Kelly SeMCes Real Estate One, lnc.

Alvin Ailey American The jaffrey Ballet of Chicago Sean Moran, Smith Barney

Danc e Theater Supporte r BravoBravo Terra Cotta

Fanuly Show Sponsor Kenwall Steel Sponsor

Rameo Gershenson Wolveriine Packing

PATRON Community Programs Company

$2,500-$4,999 Support Blue Cross Blue Shield of Solomon Friedman CONTRIBUTOR Michigan Foundation - Advenising - $500-$999

Alvin Ailey American Golf &: Tennis Outing Albert Kahn Associates, Inc

Dance Th ea ter Silver Sponsor All State Management

Student Ticket Sponsor Company, Inc.

Boardwalk Development

www MichiganOpera.org

Copyright 2010, Michigan Opera Theatre

BRAVO 25

CREATE OPERA! is chosen as on e of the best in 2003

ArtServe Michigan and the Michigan Department of Education created a new concept by welco ming nominations for outstandi ng arts and education programs throughou t the state, to be including in a bo ok to be published annually The proj ect was coo rdinated by Ana Cardo na, Fine Arts Consultant for the Michigan Department of Education , and Donna Edward s, Director of Education Initiatives for ArtServe Michigan.

The Mic higan Opera Thea tre Department of Community Programs CREATE O PERA! WITH STUDENTS WHO ARE MENTALLY IMPAIRED was chosen as one of the Ten Best Practices in Arts Educa tion in Michigan The on- sit e reporter for th e De partment of Community Programs was Tamara Real.

Author of the new bo ok is Linda Fitzgerald

CREATE O PERA ! , d eveloped by Karen VanderKloot DiChiera, Founder and Director of Community Programs for Michigan Opera Theatre, has been taugh t since 1977 Originally created in the Birmingham Schools for regu lar classrooms, when Ms DiChi era was Composer in Residence for the district, CREAT E O PERA ! WIT H STUDEN T S WHO ARE M ENTALLY IMPA IRED grew as an additiona l option for special needs students. CREATE OPERA! is still offered in regular cl assrooms, as teache r workshops and du ri ng Learning at the Opera House, Michigan Opera Theatres award-winning summer institute for all ages.

The book was develop ed to give the community the oppo rtunity to read abou t the ou tsta nding wo rk being done b y schoo ls, colleges, organizations and artists with students in Michigan. Some of the leading arts educators in the state se lec ted the 10 best practices that are included in the book.

The criteria for se lecting the best practices included innovation of practice , integration of the arts into othe r areas o f the cu rricu lum , multidiscip linary approaches to the curriculum ; ou tcomes, alignment with state benchmarks and skills learned.

The book will be available in hard copy from ArtServe Michigan or online at www artservem ichigan .o r g.

A New Year of TourinSl

Wh at Makes our School Peiformance s ¥ ecial?

The Artists of Community Programs are season ed profeSSionals wh o a re co mmitted to the va lue of performing for yo ung people. In fact, many have devo ted their adult professional lives to Arts Educa tion They have spent many years touring thro ughout Michigan and other sta tes working wi th schoo l districts, administrato rs, teachers an d students, having perform ed in every co un ty in our state , at one time or anothe r.

R ertoire

The staff of Community Programs carefully discuss what we are prese nting each year. When teachers re turn our evaluation forms, the y sometimes request topics that they wo uld like to see add ressed. Som etimes the singers themselves ha ve an id ea. We exp lore timely subj ects and examine new works by composers and librettists. Other times, we d eci d e to commiss ion or write and compose a new work ourselves

We try to present a different concep t each year, so that students always learn something new an d different.

Michigan Curriculum Framework Content Standards and Benchmarks

All of our sch oo l presentations follow the Michigan Curri culum Framework Content Standard s and Benchmarks.

This yea r, we will be p erfOlming The Nigh t Harry Stopped Smo king , a mini Hansel and Gretel and Oh Freedo m!

The Night Harry Sto pp ed Smoking fits nea tly into the science and health curricula and also draws attention to substance abuse. Hansel and Gretel will sa tiSfy the goal that a litera te individual "Unde rstands and apprecia tes the aes theti c elemen ts of oral, visual and written texts" and in music, can "Identify by genre or style aura l exa mp les of music from vario us historical periods and cu ltures," since we are using the original mu sic compose d b y the late 19th centuty German Romantic Period Composer, Englebert Humperdinck. We wi ll also stress to little ones, "Don't take cand y fro m strangers!"

011 Freedom ! was crea ted b y the Educa tion Department of the Virginia Ope ra with extra loca l h istory written by us. Middle and high sc ho ol students, as we ll as adu lts, can learn

Volunteers

the history of African Americans in America th rough dialog and song. Teachers will be ab le to use Oh Freedom ! as part of their social studies standards.

Curriculum Enhancements

Following each performance, our Artists conduct a Question and Answer session , which actua lly serves as a wo rksh op In it the Artists discuss the to pic of the performance piece plus give information abo ut opera , singing and their careers. Career And Employab ili ty Knowledge are also part of th e state o f Michigans Content Standards and Benchmarks .

Qu otes from th e Mic higan Curricu lum

Framework by th e Mic higan Department Q[ Education

Teaching materials are prepared for all of our school programs and are mailed to each school in advance of our performance. Some of these materials are written for the teachers' edifica tion, but we also prepare grade appropriate materials for the stu d ents to use before and after the performance. All stud ents are encouraged to wri te a critique of their experience.

Easy to Book or Sponsor

Dolores Tobis, Department of Communi ty Programs Marketing Manager, can help wi th suggestions abou t how to pay for our touring presenta tions Would yo u like to sponsor a program for yo ur favorite yo ungster or for a school that canno t a fford our services?

Contact Dolores !!I

Yo u can give yo ung people the j oy o f live performance, learning and OPERAII

Contact h er at (313) 237-3429 or dtobis@motopera.org.

Michigan Opera Theatre and the Detroit Opera House present one of the finest and mos t diverse opera and danc e se ries in the country The theatric al experiences en compass voca l and orchestral mu sic, dance, drama, costume s, sets and lighting. The achievement of this multiplicity requ ires m any voices and many willing hand s. The talented, giving hands of our Opera League , Ushers, Dance Co u n cil , Enco re! , Ambassadors , Offi ce and Bou tiqu e wo rkers, Movers, Supers, Education & Outreach , and Adagio vo lunteers h ave a significant impact on the overall ope ration of the company

MICHIGAN OPERA VOLUNTEER ASSOCIATION EXECUTIVE COMMITTEE

Dodie David , President

Glolia Clark, Vice President

Eva Meharry, SecretalY

John McMullin, Treasurer

Betty Brooks , Past Pres id ent

BOARD OF DIRECTORS AND COMMITTEE CHAIRS

Roberta Starkweather, Adagio

Helen Mil len, Ambassadors

Danielle DeFauw, Boutique

Carol Halsted, Dance Council Jere my Zeltzer, Spin Dodie Da,od

Helen Arnoldi-Rowe, Divas/Div as Ali Moiin, Supers

Wallace Peace, Education & Arda Barenholtz, Volunteer Voice Outreach

Randall Fogelma n , Encore!

Na ncy Krolikowski, Movers

Jeanette Pawlaczyk, Office Volunteers

Ernest Holland , Opera House Ushers

Mado Li e, Opera League

Annette Balian, Policies and Procedures

Gwen Bowlby, Publicity

Alan Israel

Don Jensen

Jutta Letts

K"on Dennis, Technology

Don Jensen, Boord Member Janet Macqueen

Queenie Sarkisian, &xud Member Eva Meharry

Geraldine Neumann

Special thanks to the followin g Eva Powers individuals whose financi a l Shirley Ann Sark isian support qualifies th e m as members of the Volunteer William Secinaro

Ope rators

Barbara Bryanton

Glolia Clark

Rosemary Skup ny

Katey Szuma

Carole Tibbitts

General Information Administration & Staff

DAVID D1CHIERA, Gen eral Director

Brett Batterson , Chief Operating Officer

DEPARTMENT DIRECTORS

Karen VanderKlool DiChiera, Director oj Commullity Progroms

John Eckstrom, DireclOr oj

Administration

Roberto Mauro, DireclOr of Artis/ic

Administration

David W Osbome, Director oj

hoduction

Mary Parkhill, Director of Development

Karen Tjaden, Director of Facilities

L1ura R. Wyss, Director of CommUllicaliollS

ADMINISTRATION

Caro l Halsted , Dance Coordinator"

Bill Austin, E\'ccutivc Assistant to the

Genera/Director

Linda DeMers Executive Assistant

Beverly A Moore , Recept ionist

COMMUNICATIONS

Michael Hauser, Mad/cling Manager

Kimberl y A.Mogieiski, Patron and Ticker Services Managel

Mauhew S. Bimmll, Puh/ic Relations

Coordinator

Jenise Collins, GlVllp Sales Coo rdinat or

Kimberly Gra y, Ticker Services Assistant

Manage,

TimOlhy Lentz , Archivist

Jeanette Pawlaczyk, Public Relations

Assistant

Bill Carroll, Pu/;/ic Relations Vollllltcer

Cl)lsta\ G. Ratledge, Account Executive, Solomon Fliedman Advertising

Mark S. Mancinelli, Detmit Opera

HOllSC Photcrsmphy

Christopher Barbeau , Produ ction

Photography

COMMUNITY PROGRAMS

Mark Vondrak, Associate Director

TaliI' Manager

Betty Lane, Operations Managel

Dolores Tobis , Madu:ting Managet

Bets), Bronson , Alaina Brown , Heidi Brown, Maria Cimarelli, Jennifer Gale Shawn McDonald, Steven McGhee, David Gilliland, Kim Parr, Michael Parr, David Pulice , Amanda Sabelhaus, Cynthia Seigle, Karl Schmidt, David Vaughn, Chris Vaught, Mark Vondrak, Karen \Vhite , Tamara Whitty, Olltreach Towing Compa/ly

DEVELOPMENT

Jane Fanning, Asscdate Dilrctor of DevelopmCllt

Lauren AlliOl1 VollmtnT Manager

Aimee Argel, Qllpomte Cam/Xlign Manager

Heather Hamilton , Special Projects Manager

Katherine Kucharski Membership Manager

Deniz Tasdemir-Conger, FOl/ltdaUOll

Qlu/ Govern ment Rclatioll s Manager

Jane Westley, General Directors Circle

CClmpcligl1 Manager

Danielle DeFauw, Boll/ic/lie Manager

FINANCE/COMPUTER SERVICES

Derrick Lewis COl1tral1el

Kimberly Burgess- Rivers, Rita Winters, Accountants

Joseph Rusnak , Systems Mal1ager

Deleana Hill, Applications Specialist

PRODUCTION ADMINISTRATION

ElizabeLh Anderson , ProdllCtion

Coordillator

Carolyn Geck , Assistant to Direc tor of Production

Stephanie Leigh Smitht, John Grant Stokes*,

Assistal1tDirectors

Christopher Barbeau , Fight DirectOl

Nancy Krolikowski, Local o ·a nsportation Coordinator

Eugene Robelli , Production Volulllea

Pat Lewellen, Audition Volunteer

Music Department DiChiera , Music Director

Suzanne Mallare Acton, Assistant

Music Director; Chorus Mastel

Jean Schneidert Repctitew

Diane Bredesen , Orchestra Personnel

MQlwger

Jean Schneider, Rehearsal Accompanist

Stage Management

Sanja Kabalin , Thomas Mehan , Stage Managers

Jod y Halsall t , Christine Sanzone*' , Corrie BeLh Shotwellt, Amy Thompson*

AssistWlt Swge Managers

Technical Staff

Kent Andel , TecJll1ical Directol

Monika Essen , Property Master & Scenic ArList

Kendall Smith , Lightillg Coordinator

Paul Masek, Asst. Lighting DeS igner

Dee Dorsey, SW1iil e Opaator

Daniel Dene, Recording Engineer

Rudi wuennann , AssistQllt RecOlding

El1gineer

Keith Kalinowsld , Technical Assistal1t

Costumes

Suzanne M. Hanna , Costum e CooldillatOl

Margaret Bronder, First Hand

Mary Ellen Shindel, fitting Assistant Palczynski StitchCl

David Street, Stitciler

Alice Moss, Wardra/;e Mislri:ss

Makeup & Hair

Joanne Weaver, Wigs & Makwp

Designer DeShawn Glosson, Faye Cross

Angela Cruice , Deanne lovan , Bridgette Keck Nilaja Blackman, Assistants

Stage Crew

John Kinsora , Head Cwpen/ el·

Robert Mesinar, Head Electrician

Alan Bigelow, Head PlDpe rty man

Roben Martin, Head Fly mall

Gary Gilmore, Pnxluctiol1 Electriciml

tvlary Ellen Shindel Head ofWardrabe

lATSE Loca l #38 , Stage CrclV

lATSE Local #786, Wardmbe

DETROIT OPERA HOUSE

C1roline Jeffs, Evellt Cooldina/or

Demetrius Barnes, Jesse Caner, Building Ellbrillecrs

Kyle Ketelhut , COl/cessions Manager

Rock fvlonroe, Director of SWllity Maintenal1ce

Supervisor Karl Hubble, MClinlcl1clI1ce Assistant

Lorrain Monroe , Terrance Verdell, Carla Hudson , Stagc Doo r SC[lIIity

* A Mask ed Ball

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 counesy to our guests, we ask that all paging devices, cell phones and alarm wa tches be switched to silent mode prior to the stan of a perfonnance.

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 th e theater. In the event of fire or similar emergency, please remain calm and walkdo not run - to the nearest exi t. Our ushers are trained to lead you out of th e 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.

RESTROOMS Ladies' restrooms are located off the Ford Lobby (Broadway street entran ce) , down the sta irs and also on the third floor (Madison street entrance) - please press "3R" on the elevator to reach this fac il ity. Gentlemen'; restrooms are located under the Grand Staircase and also on the thi rd floor (Broadway street entrance) - please press "3" on the elevator to reach this facility Please note: All third-floor restrooms are wheelchair accessib le. Unisex accessible restroom located in the GM Opera Cafe.

NO SMOKING The Detroit Opera House is a smoke-free facility. As h receptacles are provided on the exterior of all entry d oors for those who wish to smoke.

USHERS Ushers are stationed at the top of each aisle. If yo u have a question or concern, p lease infonn ushers, and they will contact management. If yo u are interested in becoming a volunteer usher, please call t he 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 televisio n mon itor located in the Ford lobby until an appropriate program pause occurs. Late seating poliCies are at the discretio n of the production, not opera house management.

LOST & FOUND Lost and Found is located in the Security Department. Please see an us h er if you have misplaced an a rticle, or ca ll (313) 961-3500 if you have already left the theater. Items will be held in Lost and Found for 30 days

PARKING Parking for all events is availab le in the Opera House Garage, located directly across from the Detroit Opera House (on J ohn R. and Broadway streets) Prepaid parking is available through the box office Please call (313) 237-SI NG for parking in fonnation.

ACCESSIBIUTY Access ibl e seat ing locations for patrons in wheelchairs are located in all price ranges on the orchestra level. When inq u iri ng about tic kets, pl ease ask about these locations if you require specia l accommodations Assisted Listening Devices are availab le on a firstcome, first-served basis. Please see an usher to request this service. Although this is a complimentary service, we w ill request to hold a piece of personal id entification while yo u are using the device. Please contact the Box OlTice, shou ld you desire special consideration.

CHILDREN Children are welcome; however, all guests are required to ho ld 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 opera or ballet, the ability of all audience members to hear the music is a prerequisite to enjoyment of the perfonnance In all cases, babes in anns are no t penn itted.

SERVICES Concession stands are loca ted on all levels

Please note that food a nd drinks are not allowed in the auditorium at any time. Coat check is located in the Fo rd lobby. The cost is $1.00 per coat. Please note that the De t roit Opera House does not accept responsibility for any personal articles that are not checked at the coat check. Drinking fountains are located in t he lobbies on floors one and three. Public pay phones are located in th e vestib u le o f the Ford Lobby. Patrons in wh eelcha irs can access pay phones outside the third-floor ladies' restrooms.

RENTAL INFORMATION

The Detroit Opera Hou se is available for rent by your organ ization. Please call (313) 961-3500 and ask to be d irected to the Special Events Department.

TICKET INFORMATION

The Detroit Opera House Ticket Office hours are as follows : Non-perfonnance weeksMonday throug h Friday 10:00 a.m. to 5:30 p.m. Perfonnance days - 10 :00 a.m through the fi rst intermission of the evenings perfonnance, except Saturdays and Sundays, when the Ticket Office will open two hours prior to cunain. Tic kets for all public events he ld at the Detroit Opera House are also available th rough all TicketMaster phone and retail outlets or at TicketMaster.com.

OPERA HOUSE TOURS Come join the Opera House

Ambassadors for a backstage tour o f the Detroit Opera House. Leal11 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 in formatio n , please call (313) 237-3425 B

Be advised that , for purposes of Michigan Compiled Laws, Section 28.42500)(0 , this is an ent ertainment facility that has a seating capacity o f more than 2 ,5 00 in divid ual s. It is therefore against t h e law to carry a concealed pistol on the premises.

EMERGENCIES

Michigan Opera Theatre

General lnfonnat ion

Lost &: Found.

Ticket Office

Usher Hotline

Theater Rental Infol111ation

Detroit Opera House Fax

Press &: Public Relations

Website

www.MichiganOp era org

Copyright 2010, Michigan Opera Theatre

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· (313) 237-3257

· (313) 961-3500

· (313) 961-3500

(313) 961-3500

(313) 237 -SING

(313) 237-3253

(313) 961-3500

(313) 237-3412

(313) 237-3403

www MichiganOpera.org

Detroit OpeTa House

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Copyright 2010, Michigan Opera Theatre

This is not just what we believe, it's who we are. It's what's imprinted in our 100 years of history. Like Henry Ford once said, "I do not want things til at money can buy. I want to live a life that makes the world a little better for having lived it" That's why it is essential to preserve and promote cultural treasures such as the arts and humanities. For your contributions to the arts , we salute you.

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