PROGRAM: Bravo 2003 Spring Opera and Dance

Copyright 2010, Michigan Opera Theatre

The Official Magazine of the Detroit Opera House

BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION

Dr David DiChiera , General Director

Matthew S. Birman, Editor

CONTRIBUTORS

Roger Pines

Thomas Willis

Laura Wyss

Michigan Opera Theatre Staff

PUBLISHER

Live Publishing Company

Frank Cucciarre, Design and Art Direction

Blink Concept & Design, Production

Chuck Rosenberg, Copy Editor

Toby Faber, Director of Advertising Sales

ON THE COVER

Photography by Solomon Friedman Advertising :

Original design by Joe Fitrzyk

Phys icians ' service provided by Henry Ford Medical Center.

Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House.

Cadillac Coffee is the official coffee of the Detroit Opera House

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

President Tuxedo is the official provider of formal wear for the Detroit Opera House. Michigan Opera Theatre is a nonprofit cultural organization whose activities are supported in part b y the Michigan Council for Arts and Cultura l Affairs, the Nationa l Endowment for the Arts, and other individuals , corporations and foundations.

Michigan Opera Theatre is an Equal Opportunity Employe r.

PERFORMANCE is a commitment to Excellence

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

The MASeO 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

Building on Our Successes

In these times of tension and uncertainty, it is comforting to know that something so 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 re-charge, re-group 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. Recently, we announced details of our 33rd Opera Season, which we have entitled our "Surrender to Love" season, as the five productions provide a showcase for the variety of 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 fatal -

Giuseppe Verdis

A Masked Ball, a work new to our repertoire . The tragedy and helplessness of Unrequited Love is revealed by Puccinis glorious and ever-popular Madame Butterjly, which we will proudly present as the final production of the Fall Season As Spring is symbolic of all things new and renewed, our 2004 Spring Season, sponsored by General Motors Corporation, fittingly begins with a light-hearted account of First Love, with Mozart's The Magic Flute, followed by the welcome return of Gilbert &:. Sullivans

The Pirates of Penzance, a delightful rollick which tells the story of the Everlasting Love of a dutiful pirate and his fair maiden. Our exciting season concludes with an opera that outlines the tragedy and consequence

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of Forbidden Love , in an all-new production of Georges Bizets Cof Carmen fame) The Pearl Fishers.

The big news in our 2003-2004 Dance Series, of course is, the rare North American appearance of the mighty Kirov Ballet , presented on the only stage 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 absorb this faSCinating story through the power of dance in a seductive new production presented by North Carolina Dance Theatre. The season concludes with the enormously popular and exciting Dance Theatre of Harlem. And , of course , no season is complete without The Nutcracker.

As you may know, OPERA America now ranks Michigan Opera Theatre among the

www.MichiganOpera org

top 10 opera companies in the United States. While we are pleased by the progress that we have made in our relatively brief history, we are equally proud of the fact that we offer the lowest prices among the major opera companies - this, of course, while maintaining the quality productions our patrons expect. And while recent world events have affected us all , loyal subscribers continue to be the lifeblood of our organization, which help subSCription prices remain the best value. As always, the best way to see opera or dance is by becoming a subscriber - benefits include savings over single ticket prices, priority seating and exchange privileges Renewing subscribers will receive information in early April.

I look forward to seeing you in our 33rd season. In the meantime, I thank you for joining us for the final three offerings of our 32nd season, which concludes with our very first 21st Century Opera - Jake Heggies brilliant and thought-provoking Dead Man Walking - sure to be a highlight!

As always, we extend our deepest gratitude to Ford Motor Company for sponsoring our Fall Opera Season, General Motors Corporation for generously sponsoring Michigan Opera Theatres Spring Season and DaimlerChrysler Corporation Fund for sponsoring our dance series.

Enjoy

David DiChiera

Copyright 2010, Michigan Opera Theatre

Seville,

ACT I

At night , outside the Commendatore 's palace , Le por e llo grumbl es a bout his duties as servant to Don Giovan ni , a dissolut e nobl e man. Soon th e masked Don appears, pursued b y Donna Anna , the Commendatore 's d au ghte r, whom he has tri e d to seduce. When the Comm endatore him se lf answers Anna 's cr ie s, he i s killed in a du e l b y Giovann i , w ho escapes. Anna now ret urns with her fiance , Don Ottavio. Findin g her fath e r dead , she m ak es Ottavio swear ve ngeanc e on the assassin.

At da wn , Giovanni flirt s w ith a highstrung traveler outside a tavern. She turns out to b e Don na El vira , a woma n he on ce se duced in Burgos, who is on his trail. Giovanni escapes, while Lepore llo distracts Elvira b y reciting his ma ste r's long cata log of conquests. Peasants arri ve , ce lebratin g the nuptial s of their fri en d s Zerlina and Masetto; w h en Giovanni join s in , h e pursues th e bride, angering the groo m , who is remo ve d b y Leporello. Alon e with Zer lin a, the Don app li es hi s char m , but El vira in terrupts and prot ect ive ly whisk s the girl away. When El vira r e turns to denounc e him as a seduc e r, Giovan ni is stymied further whil e greeting Anna , no w in mourning , and Ottavio. Declarin g El vira mad , h e lea ds h er off. Ann a, ha vin g recogn ized hi s vo ice , realizes Giova nni was h er attacker.

Dressing for the wedding feas t he has plann ed for the peasant s, Giovanni ex uberantl y do w ns champ agne.

Outsid e the palace , Zerlina b egs Masetto t o forgi ve h er apparent infid e lity. Masetto hides wh e n th e Don app ea r s, e merging from th e sha do ws as Giovanni co rner s Zerlina. Th e three enter th e palace together. El vira , Anna and Ottav io arri ve

10 BRAVO

in dominoes and ma sks , and a re invited to th e feas t b y Lepore ll o.

During the fes tivities , Leporell o enti ces Mase tto int o the dance, as Giovanni draws Zerlina out of th e room. When the gi rl 's cr ies for help put him on th e spot , Gio va nni tries to blame Lepor e llo . But no one is convinced; Elvir a, Anna and Ottavio unma sk and confront Giovanni, wh o barely esca p es Ottavio's drawn swo rd

ACT II

Under El vir a's balcony, Le por e llo

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exchanges clo aks wi th Gi ovanni to woo th e lady in hi s master 's stead. Lepo re llo leads Elvira off, leaving the Don fr ee to se renade El vira 's maid. When Masetto passes wit h a b and of armed peasants bent on punishing Giovanni, the di sguise d rake gives them fa lse directions, th en beats up Masetto. Ze rlina arri ves an d t e nd e rly consoles h e r betroth ed.

In a passagewa y, Elvira and Lepor e ll o are surprised b y Anna , Otta vio , Zer lin a and Mase tto , who, mi s taking servant for master, threat en Lepore ll o. Frightened, h e unmasks and esca pes. When Anna d ep arts, Otta vio affirms hi s confidence in th e ir love . El vir a , frustra t ed at h e r seco nd b etraya l by the Don , vo ices h er r age .

Leporello catches up with hi s master in a ce me tery, where a vo ice wa rn s Giovanni of hi s doom. Thi s is the statue of th e Co mm endator e , w hi ch the Don pro po ses Lepo r e llo to invite t o dinn e r. Whe n the se rva nt reluct antl y stamme rs an invi ta tion , the statue accepts.

In h er hom e, Ann a , st ill in mourning , puts off Ottavio 's offe r of marri age unti l h er fath e r is avenge d

Lepo r ello is se r vi n g Giovanni 's dinn er wh en Elvira ru sh es in , beg ging th e Don, whom she still l oves, to reform. But h e waves her out co nt empt uousl y. At the door, her screams a nnounce th e Com m endator e 's statue. Gio va nni boldl y refu ses warn in gs to repe nt , even in the face o f death. Flam es engu lf hi s h ou se, and th e si nn er i s d ragge d to h ell.

Amo ng th e cas tl e ruins, the others pl a n th e ir futur e and rec ite the moral: Su c h is the fat e of a wrong do er. m

Wolfgang Amadeus Mozart

- John W Freeman Courtesy of Opera News

The Eternally . Don (j iovanni

by Thomas Willis

George Bernard Shaw regarded Don Giovanni as the greatest opera ever composed, "eminent in virtue of its uncommon share of wisdom, beauty, and humor. " Its moral issues were the subject of one of Danish philosopher Soren Kierkegaards most important treatises. ETA. Hoffmann called it the quintessential romantic opera, "reflecting the eternal presence of the demonic in human life."

Surely no opera has occasioned so much discussion as Mozarts masterwork. The ambiguities of its construction, and of Lorenzo Da Pontes brilliant but hastily assembled libretto , provoke weighty arguments among scholars and tempt stage directors to extreme solutions Did Don Gio vanni manage to seduce Donna Anna, before she disco vere d her mistake and chased him away7 We neve r learn exactly what happens in the private room to which Don Giovanni leads Zerlina during the first-act finale - and we are never told what takes place with Donna Elvira 's maidservant , to whom Don Giovanni sings his serenade.

Shou ld yo u tire of these and other ambiguities and ambivalences in the text, you can mo ve onward to the characterizations inhabiting Mozarts score. And what a perfect subject for music to exert its power upon! A protagonist who is emphatically not a hero of fiction or the cardboard conventions of the old-fashioned operatic stage. One who savors all the pleasures of living, who exerts a magnetic attraction upon all women, who has the curiosity of an encyclopedist of love and who, confronted with the choice of repentance or instant damnation, chooses neither to repent nor retract.

The other characters are satellites to the Don. Even Leporello, whose musical Detroit Opera House

character most closely resembles the stereotypes of classic comedy from Greek times to the present , acts as a sort of check-rein or conscience for him at times. Although he admires and is attracted by Don Giovanni, and wishes he could equal him in ability, he is not without ethical spine Like Figaro , he is much more than a barber or servant -clown.

The two Donnas are polarized , both by their words and music . Anna, although obsessed by a desire for vengeance, is not totally Single-minded; she alternates from one mood to the other, shapes the truth to her own ends and cannot always keep her stories straight. Elvira is less complex; although a singer who can do justice to the vocalism of the role is hardly likely to be in her teens, she is described as a fanciulla, a yo ung girl. In her continuing love for Giovanni and her ever-present willingness to forgive him, she is more

than a littl e ridiculous. But both she and Anna arouse our sympathy, for they are sad figures continually visible in daily life

Zerlina is an ingenue only on the surface; She knows exactly what the Don wants and she is tempted. She also is aware that there is no future in this kind of liaison and decides on a safe, secure marriage to Masetto. Mozart suggests in his music that , in matters of love, at least, she is marrying conSiderably beneath her sta tion. Her caj oling "B atti, batti " is every bit as seductive as anything Giovanni sings. Masetto, on the other hand, emerges in the score as a self-pitying, rough-cut bab y, who has little to recommend him.

If Zerlina is in some ways a female counterpart of Don Giovanni, Don Ottavio is his direct opposite. Where Masetto instantly detests Giovanni and immediately engages him in a contest of wits, willpower and forc e, Ottavio is a correct gentleman

Copyright 2010, Michigan Opera Theatre

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BRAVO 11

Perfectly in tune with your needs.

w ho is a stranger among m en of strong chara cte r. H e is m arvel ously insufferable, humorl ess, thick-skinned and vain. In "11 mio tesoro ," Mozart fa shions a brilli antly exaggerated parody of conventiona l tenor love For all its supple bel canto and breathr equiring passagework, it is music undi sturbed b y passion.

Only one figure in th e drama r emainsthe Commendatore (o riginally, the ro le was doubled by the singer playing Maseuo). H e ha s the leas t to do and sing. But his ro le as protector and supern a tural visitor gives rise to fascina ting specul ation. As protector of his daughter Anna s honor, he is commendable on the side of conventional behavior, of right and decen cy, of the es tabli sh ed order. But w hen h e seeks to pro t ect h e r, he is killed by th e Don . Only after h e has gone to his gra ve is h e armed with sufficie nt p ower to accomplish his aim Without superna tural intervention , the story suggests , the Don Ju ans of the wo rld will pre vail.

No m at ter how one looks at the pi ece dramatically, the fac t of Mozart's immortal music re m ains Not m erely the surfac e de li ghts - the trombones borrowe d form Glu ck!> Alceste to lend somber religiosity to the Commend atore's utt erances , the multiple orchestr as, th e glitter of the paired woodwinds in the ari as and ensembles, the ove rall chamb er- music quality of the score - but the deep , abiding se n se of purpose wh ich informs each m easure, the clarity with w hi ch each ch aracter emerges in melody and harmonic vocabul ary from the r es t of the tona l fabric and the apparently in exhaustible insp ira tion , which ch ar ms our ears as ce rtainly as Don Giovanni beguiled h is ladies. No t for once, as was the Dons custom, but again and again , with growing affection , co ncern and abidin g j oy m

ON STAGE

Don Giovanni Artist Profiles

SUZANNE MALLARE ACTON

Chams Master

Michigan Opera Theatre Debut - Mikado, 1982

Celebrating her 21st year with Michigan Opera Theatre, Suzanne Mallare Acton has served as Michigan Opera Theatres assistant music director and chorus master since the 1981-1982 season She has conducted several productions during her tenure, including The Bm'ber oj Sev ille and The Daughter oj the Regiment. For Dayton Opera, she has conducted West Side StOlY, My Fair Lady and The Pirates oj Penzance. She has also conducted Tosca for Augusta Opera and The Meny Widow for Artpark. Ms. Acton has served as coach and accompanist for the opera companies of St. Louis and San Diego, and is the music d irector of Rackham Symphony Choir This season, she will conduct Die Fledennaus for Michigan Opera Theatre.

PAMELA ARMSTRONG

Donna Elvira (April 26, 30, May 3)

Michigan Opera Theatre Debut - Th e Marriage oj Figaro, 1997

American soprano Pamela Anmstrong has gained recognition internationaLly by appearances with Opera National de Paris Bastille, Vienna State Opera, Hamburg State Opera, Grand Theatre de Bordeaux, Teatro Regio Turin, H ouston Grand Opera, New York City Opera and many ot hers. In 2002, Ms. Anmstrong made a highly successful Metropolitan Opera debut as Mimi in La Boheme Other recent engagements have included Carmen with Metropolitan Opera, Don Giovanni and La Traviata with New York City Opera, Les Contes D'HoJJmann with Portland Opera and La Rondine with Boston Lyric Opera.

AMY BURTON

Donna Elvira (Ap'iI27m, May 2, 4m) Michigan Opera Theau'e Debut

Soprano Amy Burton enjoys a vmied career of opera, concert and recital throughout the United States and Europe. Recent engagements have included her debut as the Countess in Le Nozze di Figaro with New York City Opera, the New York premiere of John Harbisons Four Psal111S with the American Composers Orchestra at Carnegie H all, a one-woman show Yvonne Plintemps: A French Diva Unveiled with l'.Opera de New York, DOlma Elvira at Glinlffierglass Opera, Xelxes at New York City Opera and Mimi in La Boheme with Austin Lyric Opera and Atlanta Symphony.

BRYAN GLENN DAVIS

Masetto

Michigan Opera The atre Debut Fast becoming one of America's most sough t after young bassbaritones , My. Davis was a recent finalist in the Opera Columbus, Richard Tucker, and Metropolitan Opera co mp etitions. Mr. Davis was an apprentice with Santa Fe Opera, Utah Festival Opera Company and Sarasota Opera. Recent Engagements have included a debut with Milwaukee Symphony in Salome, Sarasota Opera for Falstaff, La Traviata with Dayton Opera and Samson and Delilah with Indianapoliois Opera.

Detroit Opera House

Upcoming engagements include Rigoletto for Fl orentine Opera and Madame Butterfly for Utah Festival Opera.

MARY DUNLEAVY

Donna Anna (April 26, 30, May 3)

Michigan Opera Theatre Debut Mary Dunleavy has been praised for perfonmances in leading theaters around the world, including the Metropolitan Ope ra , San Francisco Opera, Lyric Opera o f Ch icago, H ouston Grand Opera, Washington Opera, Berlin State Opera, Hamburg State Opera and Opera Rome. Recent engagements have included rElisir d'Amore ,vith Portland Opera, Carmen with Metropolitan Opera, Cos1 Jan TuLte with Opera Company of Philadelphia. Future engagements include Thais with Opera Theatre of Sr. Louis, a return to Barcelonas Gran Teatre del Liceu in Hamlet, The Pearl Fishers with Opera Company of Philadelphia and her debut with Opera de Paris.

KARLA HUGHES

Zerlina Michigan Opera Theatre Debut - Lallme , 2002

Soprano Karla Hu ghes has performed across the United States in opera, operetta and mu sical theater Last season, she made her Michigan Opera Theatre debut singing Ellen in Lakme and Barbarina in Le Nozze di Figaro Other career highlights include Flora in Tum oj the Saew, Mable in Pirates oj Penzance, Cunegonde in Candide and t h e soprano soloist in Poulenc's Gloria. She has performed with numerous opera companies, including Opera Colorado, Opera Kansas, the Toledo Opera, the Ohio Light Opera and Skylight Opera Theatre. In 2002, she was awarded the prize for Outstanding Dramatic Presentation in the Wisconsin District Metropolitan Nat ional Council Auditions.

KYLE KETELSEN

Leporello (ApliI26, 30, May 3)

Michigan Opera Theatre Debut - La Boheme , 2000

Bass-baritone Kyle Ketelsen, originally from Clinton, Iowa, perfanned graduate work at Indiana University, where h e studied with Metropolitan Opera bass Giorgio Tozzi. Career highlights have included Don Giovanni with Louisville and Costa Mesa, Carmen with Michigan Opera Theatre and Washington Opera, La Boheme with Opera Theater of Saint Louis and Michigan Opera Theatre, and Tosca wi th Greensboro Opera Future engagements include Don Giovanni with Glimmerglass Opera, Nonna with Washington Opera and The Maniage oj Figaro with New York City Opera.

STEVEN MERCURIO

Conductor Mi ch igan Opera

Theatr e Debut - Tasca, 1995

FollOwing in the footsteps of such versatile American musicians as Leonard &mstein, Maestro Mercurio combines , composing and conducting both opera and the symphonic repertoire, standard and contemporary repertoire, telecasts, video and audio recordings, and film scores and ballets. For five seasons, he was the music director of the Spoleto Festival and has been the principal conductor of the Opera

Company of Philadelphia, as well as associate conductor of the Brooklyn Philharmonic. He has also conducted the opera companies of Rome , San Francisco, Washington and Brussels, and led recordings in London and Vienna. He has conduc ted numerous operas and three gala concerts for Michigan Opera Theatre.

JAMIE OFFENBACH

Leporello (ApliI27m, May 2 , 4m)

Michigan Opera Theatre Debut Bass-baritone Jamie Offenbach h as appeared frequently with Los Angeles Opera, including a recent production of Cannen with J ennifer Larnlore and Placido Domingo. Elsewhere, Mr. Offenbach has performed with San Diego Opera, Glimmerglass Opera, Opera Colorado, Pittsburgh Opera, Kentucky Opera and Juilliard Opera Center. Recent engagements have included La Fanciulla del West with Los Angeles Opera, Th e Abduction Jrom the Seraglio and Salome with Opera Pacific, and Don Giovanni with Santa Barbara Grand Opera Upcoming engagements include a debut with Opera Carolina in La Boheme and Le Nozze di Figaro with Opera Pac i fic. Mr. Offenbach was a finalist in the Metropolitan Opera Council Auditions and Loren L Zacharay Competition.

JOHN PASCOE

Director/ Set Designer/ Costum e DeS igner

Michigan Opera Theatre Debut Nonna, 1989

Mr Pascoes career as a designer! director has taken him to many of the greatest international opera houses, including The Royal Opera House, Teatro Del Opera, Sydney Opera House, Canadian Opera , Chicago Lyri c Opera, San Francisco Opera and the Metropolitan Opera House Recent productions for Mr. Pascoe include Th e Medium and The Telephone for the Spoleto Festival, Don Giovanni for Washington Opera, Don Pasquale for Virginia Opera and Le Nozze di Figaro for Anchorage Opera.

JAMES PATTERSON

Commendatore Michigan Opera Theatre Debut - La Boheme, 1993 Since beginning his car eer as an Adler Fellow with the San Francisco Opera in 1983, bass James Patterson has given more than 150 perfonnances with that company, including Sparafucile in Rigoletto and Fafner in the companys widely acclaimed Ring Cycle. He has also sung with Lyric Opera of Chicago (Tosca and The Force oj Destiny) and extensive ly in Canada with the Canadian Opera Company, and the companies of Manitoba, Vancouver Calgary, Edmonton, Hamilton and Ottawa. Me Patterson has appeared numerous times with Michigan Opera Theatre, including the role of Johann in Werther, opposite Andrea Bocelli and Denyce Graves, and most recently, Otello in 2002.

ALEXANDRINA PENDATCHANSKA

Donna Anna (ApliI27m, May 2, 4m) Michigan Opera Theatre Debut

In less than a decade, Alexandrina Pendatchanska has become one of the most sought-after sopranos of her generation. Ms. Pendatchanska's recent engagements have included Stonatrilla in Opera

Copyright 2010, Michigan Opera Theatre

BRAVO 13

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Soia at the Theatre du Champs Elysees, Violetta in La Ji -aviata for Kentucky Opera and th e Japan Opera Foundation, and opera gala with th e Russian National Orchestra in Moscow Miss Pendatchanska returns to the New York City Opera in 2004 as Ermione, makes her Pittsburgh Opera debut as Cleopatra m GUtltO Cesare, will be Donna Anna in Pragu e and Tou louse, and Elisabetta in Roboto Devereux in Barcelona MISS Pendatchanskas discography includ es DonizettiS , Parisina d'Este (titl e ro le) for Dynamte label, Glinka s A Ufe for the Tzar (An tonida) fo r Sony, a nd RachmaninovS The Bells wi th the Ph iladelphia Orchestra for Decca Her perfomance as Elisabeua in Robmo DevueLlx, opposite Itali an teno r Giuseppe Sabbatini in th e tit le role, is ava il ab le on DVD

GINO QUIUCO

Don Giovanni (Ap li l 27m, May 2, 4m) Michigan Opera TIleatre Debut

Esteemed as an interpreter of the French and Italian repertOire, lyric baritone Gino Quilico appears regularl y with the worl ds major opera companies, including the Metropolitan Opera, La Scala, th e Royal Opera , Covent Garden, the Vienna State Opera, and the Paris Opera. He has wo rked With such disti nguished conductors as Riccardo ChaiUy, Charles Dutoit, John Eliot Gardine r, James Levme , Lorin Maazel Zubin Mehta, Seiji Ozawa, Michel Plasson, and Georges Pretre. Among the many fes ti vals in which he has partiCi pated are those of Salzburg, Edinburgh , Aix-e n-Pro vence, Savolina, Hong Kong and Orange This season includes Andrea Chemer and th e new production of Les Troyesn at the Metropolitan Opera and La Cenerentola at Pittsburgh Opera Mr. Quilico has appea red in feature films of La Boheme and Orfeo as well as in num ero us operatl c VIdeos. He has recorded over twenty operas for such labels as Deutsche Grammophon , EMVAngel, Philips ,. Erato, Sony Classical and LondonlDecca. In recogru tIon of hiS

Don Giovanni

outstanding accomp lishments in and contributions to the world of music, Gi no Quilico was appomted an Office r of the Orde r of Canada inJanuary 1993.

BRUNI RlBERO

Don Ottavio (Apli l2 7m, May 2, 4m) Michigan Opera Theatre

Debu t

Tenor Bruno Ribero , also professionally know as Bruno Menez, was born in Portugal. His professiona l trining has included private stud y with so pranos Gianfranca Ostini and Tsai Hui-Ju, m=o-soprano France Mattiu cci, a nd con ductor George Kok. Mr. ribero was a nna list of the Spontini Pergo lesi International Competitio n , finalist of merit at the Enrico Caruso International Competition , third place winne r of the Magda Olivero lnternational Competition , and second prize and specia l winner of the Ester Mazzolini International Compenuon. Mr. Ribero made his so lo recital debut in 2001 at the Ester Mazzo lini Assoc iation (Palenn o)

BRUCE SLEDGE

Don Ottavio (April 26, 30, May 3) Michigan Opera Theatre Debut Tenor Brtlce Sledge recen tly received his maste rS degree in vocal ans from the University of Southern California, being called th e most outstanding music masterS grad uale. Recent engagements have included TIle Meny Widow (Arizona Opera), II Barblere di Siviglia (New York Cit y Opera and Los Angeles Opera) and La Fill e du Regiment (Opera Ontano). Mr. Sledge was a finalist in Placido Domin gos Operalia 2000 World Opera Contest and a nationa l [inalist in the 2000 Loren L. Zachary Vocal Competition.

KENDAll. SMITH

Ugltting Designer Michigan Opera

TIl eatre Debut - TIle Ballad of Baby Doe , 1988 . .

Over the course of his assOCIano n with Michigan Opera Theatre , Ke ndall Smith has designed over 25 productions for the company Other compani es include San Diego Opera, Virginia Opera, Lyric Opera of Kansas City, Opera Paciflc, Euge ne Opera and the Boston Lyric Opera Theate r credits incl ude Pioneer TheatTe m Salt Lake CIlY, No rth Shore Musical Theatre, Stage West, Merrimack Repertory Theatre and the American Stage Festival in New Hampshire

PAULOSZOT

Don Giovanni (Aplil27m, May 2, 4m) Michigan Opera Theatre

Debut

Brazil s leading bariton e, Paulo Szot was a finali st of the Luciano Pav;ro tti lnternational Voice

Competition in Philade lphi a in 1995. He then returnecl to Brazil in 1996 , where he made his operatic deb ut as Figaro in II Barbiere di Siv igHa in Sao Pao lo. Mr. SzotS recent engagements have included productIons of Carmen, Pagliaco and Don Giovanni in Sao Paolo , productions of Carmen, La Boheme and Don Giovanni in Manaus, and Can11en with New York City Opera.

JOANNE WEAVER

Wig and Makeup DeS igner 200 3 Se as on : Don Giovanni, Di e fledermaus, Dea d Man

Walking Rece ntly : Washin gton Opera, Balt imore Op e ra, Opera Pac ifi c, Sarasota Opera, Florentine Opera, Wol f Trap and Opera Co lorado. m

The arts en ri ch our liv es in ways that go beyo nd the spoken word or musical note They make us laugh. They make us cry Th ey liFt ou r spirits and bring enjo y ment to our li ves. The arts an d cultural opportunities so vital to this community are al so imp ortant to us. That' s why (omerica supports the arts And we applaud those who join us in making investments th at enrich peop l es li ves. We listen We understand.

By Johann Strauss Jr.

Vienna, 1890s

A T

Through the wind ows of the Eisenstein h ome flo ats the serenade of Alfre d , a te nor still in lo ve wi th his old flame Rosalinde, no w the w ife of Gabriel von Eis enstein. Adele, a c h am b erma id , sa unt ers in reading an invitation to a masked b a ll ; Rosalinde, bedeviled b y a headache and believing s h e h as heard Alfre d 's vo ice, ente r s but finds only Ad el e. The maid asks for th e eve ning off to visi t a "s i ck aunt ," a plea h er mistress dism isses. Alfre d s t eps into t h e room and b egin s to woo Rosa linde , who res ist s hi s ver bal blandishm en ts , but m elts on h earing his high A. The suitor leaves as Eisens t e in a nd hi s lawyer, Bli nd, a rri ve from a session in court: Eis e n s t ein has b een sen tence d to a fortnight in j ail for a civil o ffense. No sooner does he dismiss the incompetent advocate than his friend Falk e comes to in vite Eisens tein to a masquerade, suggest in g he bring along his repeater stopwa tch , whic h charms all the ladi es, so h e can acc umulate pl easant memories to su s ta in him dur in g hi s confinement in j ail. Rosa lind e Joins Adele in a bitt e r swee t farewell to Eisenstein before h e goes off to priso n , gotten up , to his wife's surp r ise, in full even ing dress Se ndin g Ade l e to h er "a unt ," Rosalinde receives th e arde nt Alfred. Their tete-a.-tete is int errupte d by the warden F ran k, w ho mistakes Alfre d for th e man h e has co m e to arrest. Rosalinde persuades Alfred to save h er name b y p os in g as h e r husband, an d Frank carts him off to jail.

enters, quite bored - eve n with Fa l ke's prom ise of a comedy of errors. The prince proclaims hi s guests free to do anyt hin g that su i ts their fancy"Ch acun a. son gout." Ade le, dressed in one of Rosalinde's most elegant gow n s, laughs off Eisenste in 's s u ggestion that s h e resembles his wife's c h ambermaid. Frank enters, and Rosalinde, also invited by Falk e, arrives di sguise d a s a temperamental Hu ngaria n countess; she is soo n wooed by h er own reeling husband, whose pocket watch she steals to hold as proof of his ph il anderi n g. Rosa lind e agrees to sing a song abo ut her "nati ve" lan d, a spiri ted czardas, a ft er which th e guests mo ve on to a magnifi cent dining area to toast the j oys of wine, good fe ll owsh ip and l ove. Cha mpa gn e flow s, and th e gu ests dance wild l y until dawn. When the clock strikes six, Eisenste in staggers o ff to keep hi s appointment at the jail.

T I

IIn an antechamber at the pal ace of Prince Orlofsky, the nobleman's guests, Adele and her co u sin Ida among them, awa it th e arrival of their host. Or l ofsky

16 BRAVO

Moments later at th e pri son, Frosch, a drunken ja il e r , tries to keep order amo n g the inma t es, who are unable to slee p because of Alfred's singing.

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Frank arr i ves, st ill g idd y w it h champagne, foll owed sho rt l y by Id a and Ade le, who, thinking him a theatri cal agen t , believes h e might furthe r h er stage aspirat ion s. Frank, hearing someone at the door, hid es th e gir ls in a ce ll an d then a dmit s Eisenstein, who h as co m e t o b egi n hi s se nt en ce. The new prisoner is surprised to learn his cell is already occupied by a man who cl a ims to b e Eisens tein an d w h o was found s uppin g w ith Rosalinde; to ob ta in an ex p lanation from th e impostor, Eisenste in snatc h es a legal robe and w i g from his aston ished lawyer. No sooner is he di sgu ised th an Rosalinde hurri es in to sec ur e Alfred's re lease and pr ess di vorce cha r ges aga inst her e rrant h us band . With her wo uld-b e paramour, s h e co nfid es h e r flirt at ion to th e "lawyer. " Enraged, Eisenstein removes his disguise and acc u ses his w ife of promiscuity, at wh ich Rosalinde whips forth the wa t ch she took from him at the b all. Orlofsky and h is gues t s arrive to celebrate th e reco n ci li a tion of Rosalinde and Eis ens te in , sin ging a final toast as Eisenstein is taken away. :

- courtesy of Opera

At

Die Fled ermaus

King of Operettas

by Roger Pines

When Johann Strauss Jr. conducted in America in 1872 , he was described as "mag netic, merc u r i al , irr esist ibl e, dazzling , bril li ant, ador ab l e." One co uld say much the same thin g abou t hi s only masterpiece for th e stage, Die Fledermaus (T he Bat). Among operettas, it exerc is es a magneti c pull that every audie nc e is powerless to resist.

At the time of Fledermaus, Strauss (1825-1899) was already the renowned, all-t ime-greatest master of th e orchestral waltz. It was, however, not necessarily a for ego ne conclusion that h e wou ld en ter confidently into th e theatrical rea lm. Hi s first three stage works, written between 1868 and 1873 , were public s u ccesses w ithout sett ing Vienna afire. Gi ve n his reputation on the concert platform , h e had to cope with imp ossib ly high expec tat i ons. Although h e wo uld even tuall y compose 15 operettas, h e fulfill e d his pote n tial as a theater composer only with Fledermaus.

The co mposer-conductor- vio linist and ack nowledged "Waltz King " was r es ponding to the hug e success of Offenbach 's operettes in Vienna. He mi gh t ha ve abandoned th e theat e r , had it not b ee n for his wife, the retired singer J etty Treffz. N ost alg ic for h er old th ea trical li fe, she was thrilled b y the new direct i o n i n h er hu s band 's career. He also was encourag e d b y Max Ste i ner , co-director of Vienna 's Theater an der Wien, where most of Strauss ' operettas, includin g Fledemlaus , would eve ntua ll y be pr em iered.

Th e first performan ce on Apr il S, 1874 , was not quite an overwhelming success - Vienna, after all, was still recovering from t he collapse of its stock market the previous year.

Johann Strauss]r.

Another problem was the th eate r 's schedule: It wasn' t able to run Fledermaus long enough to create a lo ya l Vienne se audience. Within barely three ye ars , howe ver, the operetta had taken its rightful plac e in th e reperto i re of major compani es

Outstanding Fl ede rmau s interpreters genera ll y share an affinity for Mozart. Of course , eac h sty le d eman ds considerable te ch nical sk ill , but the greate r bond between th em is a combination of elegance and naturalne ss. To that shou ld be added an unmi staka ble rh y thmic vitality; as wi th Despina and Dorabella i n their second-act arias from Mozart's Cosi, a dancing qualit y imbues the vocalism of eve r yone in Fledermaus.

Of the princip als, first on the scene is the tenor Alfred , initially h eard offstage in his lilting serenade. That number 's climactic phrase has in spire d a t least one translator to have Rosalinde enter with the immortal lin e, "Before his high I !" A, m y resistan ce simpl y m e ts away.

Next to be h ea rd from is Adele, who

would exemp lify the classic soubrette , except that most purely soubrette roles don 't require sustained high Ds! The rol e's challenge thro u ghout - and not just in the familiar "Laugh i ng Song"is to c rea te a lovab le figure, rather than a cut e or eve n obnoxious chatterbo x The difference between maid and mistr ess is clear in the very fir s t phra se from Rosalinde: While Adele sin gs below her, Ro sali nde responds with a soa ring octave leap to high G. Rosalinde 's musi c is mor e demanding than anything for soprano in operetta. Sh e must also be glamorous, a dancer and a comedienne comp lete with knock-em-flat Hunganan accent.

Eisenstein is so mething of a hoth ea d at hi s first entrance - true assertiveness is vital in the trio w i th Blind and Ro sa lind e (a nd nearl y everywhere else in th e role). Actually, the bariton e vo i ce will be heard as Eisenstein as often as th e teno r, for w h ich the ro le was written. Lik e Rosa li nde, Eisenst ein has many trick y requ i rements b eyo nd th e voca l , but the y can be summed up in one word: charm. If you can 't communicate that onstage, you don 't s u cceed in the role.

Dr. Falke, e ith er a bariton e or bassbariton e, s hould be a match for Eisenstein in terms of s heer lightn ess of touch Falk e's is the mos t heaven ly of all the "pur e legato " moments in Fledermaus: the "Brotherhood and Sisterhood " solo, which goes for nothing without a smili ng , h eartfel t voca l quality. The other low- vo ice d gentleman on h and, Prison Warden Frank , has no major voca l moment in th e s un , but co ntribut es mightil y to the fun in all thr ee acts

f

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The odd "man " out is Orlofsky, whose Detro it Opera House

aria sounds unlike anyone else's, with its lightning-quick jumps and exotic flavor. This is another role subject to a change in vocal category; written for a mezzo, it has been sung in our time by tenors and even countertenors.

These individuals must function as a genuine team, exhibiting constant giveand-take. It then becomes an enchanting experience to watch and listen to Eisenstein and Rosalinde in their "Watch Duet" or Adele, Eisenstein, and Rosalinde in the farewell trio. The playing off each other, of course, is

At the time of Fledermaus, Strauss (1825-1899) was already the renowned, all-time-greatest master of the orchestral waHz. It was, however, not necessarily a foregone conclusion that he would enter confidently into the theatrical realm.

equally vital in the spoken dialogue; if all are secure with that aspect of the piece, any amount of ad-libbing can add a rea l devil-may-care touch to the proceedings.

And what of the music? It invigorates (listen to the Champagne trio), tickles the funny bone (Adele in both her arias), seduces through sheer sensuousness (Alfred's first-act drinking song) and dazzles through sheer vocal dexterity (Rosalinde, just about everywhere). And of course, the waltz is never very far away - waltzes of such beauty, virtuosity and momentum that only one composer could have penned them.

An American fan of Johann Strauss once wrote, "When you had heard Strauss, you said to yourself you had never heard a waltz before ... The music was inspiring enough to have made an Egyptian mummy get out of its sarcophagus and caper."

No one ever said it better! m Excerpted Jrom an article that originally appeared in the program oj Lyric o.pera oj Chicago and reprinted by permission

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Artist Profiles

SUZANNE MALLARE ACTON

Conductor, Chorus Master Michigan Opera Theatre

Debut - Mikado, 1982

Ce lebrating her 2 1st yea r with Mich igan Opera Theatre , Suzan ne Mallare Acton has served as Mich igan O p era TheatreS assistant m u sic d irector and ch orus master since the 1981-1982 season. She has conducted several productions during her tenure, including The Barber of Seville and The Daughter of the Regiment. For Dayton Opera, she has conducted West Side StD/Y, My Fair Lady and The Pirates of Penzance She has also conducted Tosca for Augusta Opera and The Meny Widow for Artpark. Ms. Acton has served as coach and accompanist for the opera companies of St. Lou is and San Diego, and is the music d irector of Rackham Symphony Choir in Detroit.

BUFFY BAGGOTT

Prince Or/ofsky

Michigan Opera Th eatre debut

Mezzo-soprano Buffy Baggott has appeared with Chicago Opera Theater in Noye's Fludde and Th e Good Soldier Schweik. She was seen on PBS in the world premiere of Emmeline at Santa Fe Opera. In addition to Chicago (Lyr ic , Grant Park), Baggott's Carmen has been heard at Manitoba Opera, Arizona Opera, Pamiro Opera, and Frances Festival Lyrique de Be lle Jle en Mer, where she recently returned as Purcells Dido. Other portrayals range from Maddalena (Rigole tto) to Mrs. Lovett (Sweeny Todd).

SARAH COBURN

Adele M ich igan Opera

Thea tre Debut Co loratura soprano Sarah Coburn is captivating audiences everywhere she sings. H ighlights include Sand r ina in La Finta Giardiniera and Susanna in Le Nozze di Figa ro and Norina in Don Pasquale a t Florida Grand Opera, Constance in Dialogues of the Carmelites at Glimme rglass Opera, and Pamina in Di e Zauber/lote and Clorinda in La Cenerentola w i th the Seatt le Opera Young Artist Program. Ms. Coburn was a National Grand Finalist in the 2001 Metropolitan Opera Na t iona l Council Auditions.

ROBIN FOLLMAN

Rosalinde Michigan Opera

Theatre Debut

One of the rising young t alents in the operatic wo rl d today, inte rn ationally acclaimed soprano Robin Follman has appeared extensively in opera, concert and oratorio in the United States, Europe, and Asia. Recent engagements have included Micaela (Carmen) for Houston Grand Opera, Opera Pacific and Madison Opera, her Los Angeles Opera debut as t he First

Lady (Die Zauberflote) and her Washingto n Opera debut as Abigail Williams. Upcoming engagements include Tosca wit h Piedmont Opera, Donna Elvira (Don Giovanni) with Santa Barbara Opera and a return to Florentine Opera as Mimi ( La Boheme ) In add ition to her recent ly released so lo CD , Rare VelismoAlias (VOG/Qua li ton), she can be heard on Brahms ' Liebesliedu Walzer, Op. 82, wi th t h e William H all Master Chorale (Angel).

IAN GREENLAW

Dr Falke Michigan Opera

Theatre Debut

Ba r i t one Ian Green law is quic kl y gaining a reputation as one of today 's up-and-com ing bari tones. During the 20012002 season, Mr. Greenlaw made his debut at the Metropolitan Opera in Les Mamelles de Tiresias. Other recent engagements have included Sly with Metropolitan Opera, a debut at the Chicago Opera Theater in Cosi fan Tutte, and Viva la Mamma w i th Wolf Trap. Upcom ing engagements include The Marriage of Figaro with Wolf Trap.

DONALD HARTMANN

Frank Michigan Ope ra Theater Debut - Salome, 1996 Bass - baritone Donald H artmann is a distinguished performer, who has appeared in numerous operatic productions. Highlights include Zuniga in Carmen with Nashville Opera and Toledo Opera, AbimeJech in Samson and Delilah w ith Michigan Opera Theatre, AJcindoro IBenoit in La Boheme with Arizona Opera , Bartolo in Arizona Opera 's The Marriage of Figaro , Bonze in Madama Butteljly with Toledo Opera and Pooh -bah for Nashville Opera's Mikado. Mr. Hartmann is currently a full professor of music at Eastern Michigan University.

GRANT NEALE

Frosch Mich igan Opera Theatre Debut

Grant Neale has performed with some of America's leading opera companies, where hi s Si n gu l ar blend of physical comedy and naw less characterization has made him sought-after for such roles as Frosch in Di e Fl ede. rmaus. Mr. Neale made his debut with the San Franc isco Opera in 1996 as Frosch and repeated the role with the Seattle Opera in 1999. He c reated the role o[ Penizek in Santa Fe Operas production of Countess Maritza, which was premiered in su mmer 1995, and returned in the summer o[ 1999. Penizek also served as his highly successful debut role with the Los Angeles Opera in 1997. In 2002 , Mr. Nea le made h is debut wi th the Opera Company o[ Philadelphia in La Pelich ole. A native of Michigan, Mr. Neale holds a BA [rom Sienna H eights University.

ROBERT ORTH

Eisenstein Michigan Opera

Theat re Debut

Robert Orth is a leading baritone with major opera companies, including those in New York City, San Francisco, Chicago, Toronto, Washington D.C., Houston, Sea ttle, Los Angeles, San Diego, Miami, Orlando, Philadelphia, Portland, Indianapolis, CinCinnati, Cleve land , Denver, Calgary and many others. Mr. Orth has been named "Artist of the Year" by New York City Opera and Seattle Opera. Mr. Orth has starred in the world premiere of Dead Man Walking, Lovers and Friends (Chautauqua Variations), Harvey Milk and Shining Bow. Hi s recordin gs include The Telephone , Six Characters in Search of an Author, Harv ey Mill< and Dead Man Walking.

GRAN WILSON

Michigan Opera Theatre

Debut, Falstaff 1988

American tenor Gran Wilson enjoys a busy inte rnational career, appearing in leading ro les [or opera companies and orchestras around the world Upcoming engagements include Werther and Romeo et juli. et with Indianapolis Opera. In recent seasons, h is roles have included Frere Massee in the North American premiere of Messiaen's St. Fmncois d'Assise with San Francisco Opera, Almaviva in II Barbi ere di Siviglia for Australian Opera and Florida Grand Opera, Baltimore Opera as Al fred in Die Fl ede rmQL!5 , to New Orleans Opera as Edgardo, Alfredo, and for the title role in Werther, and to Central City Opera as Essex in the North American premiere of Britten's GIOliana.

BERNARD UZAN

Directo r Michigan Opera Theatre Debut - Faust , 1983

A native of F rance, Bernard Uzan was the gene ral and ar t istic director o[J.:Opera de Montreal. During his tenure , he brought financial su ccess and artistic renown through out th e world [or its productions. Prior to his engagement in Montreal, h e served as general and artistic director o[ the Tulsa Opera In North America, his productions have graced the stages in Calgary, Edmonton, Milwaukee, Fort Worth, Miami, Long Beach, Natio nal Arts Centre in O ttawa, New Orleans, Dallas , Virginia, Arizona, Columbus, Philadelphia, Opera Pacific , Orlando, San FranCiSCO , San Diego and Seattle. He has staged several product ions [or Michigan Opera Theat re, including Rom eo et juli.et , Faust, Peter Glim es and Manon. In Europe , he has directed productions for Zurich Opera, Opera de Monte Carlo, Teatro Massimo Palemlo , Teatro Massimo Bellini, Opera de Lyon, Marseille Opera and the Toulou se Opera. m

Dead Man Walking

Louisiana, early 1980s

ACT I

In Louisiana, one night in the early 1980s, two brothers , Joseph and Anthony De Rocher, rape and murder a teenage couple near a lake. Both are convicted: Anthony is sentenced to life in prison, while Joseph receives the death penalty.

Many months later, Sister Helen Prejean , a young nun who works with children in a poor neighborhood , has become Joseph 's pen pal. Joseph asks her to visit him, and she agrees. After be i ng discouraged by her friend, Sister Rose, Helen makes the long drive to the prison, unsure what she will find there She is met with an angry greeting from Father Grenville, the prison chaplain , who warns her that a prison is no place for a woman. The warden , George Benton, warns her thatJoseph is remorseless , but w ill likely ask her to be his spiritual advisor. He walks her through death row to meet Joseph, who tests her patience and commitment, and ultimately asks her to be his spiritual advisor. Helen agrees.

Helen accompanies Joseph 's mother, Mrs Patrick De Rocher , to the pardon board hearing, where the mother pleads for her son's life. Helen is confronted by the parents of the murdered teens, Owen and Kitty Hart and Howard and Jade Boucher, who are outraged that a nun would console a murderer and never bother to offer comfort to them. The verdict comes back, and the appeal is denied. Helen and Joseph have another meeting, in which she insists thatJoseph admit his guilt and ask for forgiveness. But Joseph remains remorseless and refuses to accept responsibility for the crime. Helen, feeling ill , retires to a waiting room, where she feels

overwhelmed by the conflicting forces confronting her.

ACT II

Joseph is told that his execution date will be August 4, at m idnight. Alone in his cell, he contemp lates his impending fate and remembers the crime he committed. Simultaneously, Sister Helen has a nightmare , in which she sees the murdered teenagers and wakes with a scream. Sister Rose comes to console her and tells her that, if she is rea ll y determined to help Joseph , she must first find a sense of personal forgiveness and peace toward him.

Helen's next meeting with Joseph is on the evening of his execution. Discovering mutual interests, they are surprised to recognize each other as friends , rather than just nun and prisoner. Joseph's fami ly arrives for a fina l visit, and his mother remembers him as a carefree little boy. Sister He len is then left al one to contemplate what lies ahead of her. As witnesses begin to arrive for the

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execution, Helen is once again confronted by the parents of the murdered teenagers . Owen lags behind the others, expressing his grief to Helen and asking her to visit him.

After Joseph is prepared for execution, Helen is left alone with him for a final visit. She tells him that she has visited the crime scene and begs him to confess to her what happened that night. With only minutes remaining , Joseph finally confesses and wonders if anybody could ever forgive him. Helen assures him that he is a child of God , and that he will find redemption. She asks him to look at her face during the execution , for she will be the face of Christ - the face oflove - for him. The warden and chaplain arri ve, and the walk to the death chamber begins, accompanied b y a recitation of the Lord 's Prayer. After Joseph is strapped to the gurney for his lethal injection, he asks the parents ' forgiveness. His last words are to Sister Helen: "I love you. " As Joseph is e xecuted , Sister Helen s ings a h ymn over his body. IiJ

TheJoumey of Dead Man Walking

by Jake Heggie

The grateful young composer of Dead Man Walking describes how his opera found him and where it has taken him.

It 's hard to believe now, but when Terrence McNally and I first met in New York in 1996 to discuss a possible opera collaboration, it was a comic work that the producer had in mind. Something light and celebratory for the millennium Being al most comp lete l y unknown as a composer and having this incredible opportunit y placed before me, I was hardly in a position to disagree with the general director of the San Francisco Opera , Lotfi Mansouri. Terrence , ho weve r , was. And he did. He could not ha ve been less interested in such a project, and he was too busy to consider anyth in g else at the time. He was mo ving to a new apartment, getting ready to film Lov e! Valour! Compassion! and in the midst of writing other shows.

With Te rrence 's famous passion for opera and my devotion to composing for the operatic voice, Lotfi belie ve d adamantl y that this collaboration must happen So he removed the mandate of comedy and asked us to find a story that wou ld inspire both of us. The field was wide open. My admiration for Terrence 's work and his fantastic instincts for theater led me to trust that he would come up w ith a great idea . I had no expectation wha t that might be. I just hoped it would be something that I , too, would feel moved and inspired by.

In June of 1997, Terrence arrived in San Francisco. The two of us sat down to lunch , and he brought out a list of 10 ideas , only one of which he reall y wanted to do. He wouldn't tell me w hi ch

Detroit Opera House

Sister Helen Prejean, a Louisiana nun, becomes the spiritual advisor to a convicted murderer on death row and accompanies him to his execution. She experiences a journey most of us cannot begin to imagine and becomes a witness to a level of grief and anguish that even she had not imagined.

it was He started reading the list. "Dead Man Walking. "

The hair on the back of m y neck stood up, and I started to hear music at once. I told him to stop This was the right s tory. He asked if he could p lease continue reading the list , and he did To t hi s da y, I can't remember a Single other idea he r ea d , because I was already figuring out how Dead Man Walking wo uld sound in the opera house What kind of architecture would the music have? Wha t kinds of musical motifs? The range of characters and their transformations was incredible . There would be ample room for large ensembles and great possibilities to build emotional tension , to find transcendence in musical terms Terrence and I talked about it nonstop for the next two days. Lotfi was thrilled and went to work immediately, to secure the rights and l ook for funding. To make sure I had what I needed to work, Lotfi made me San Francisco Opera's first com poser-in - residence.

Why was the story so compelling to us? Sister Helen Prejean , a Louisiana nun , becomes the sp ir itual adviso r to a convicted murderer on death row and accompanies him to his execution. She experiences ajourney most of us cannot begin to imagine and becomes a witness to a level of grief and anguis h that even she had not imagined. Parents. Children Families Torn apart. And in the midst of all the grief, traged y, l oss and an ger, it is love that transcends , unites and Very operatic stuff.

Terrence and I both felt strongly that we wanted our opera to be a contemporary American drama. Dead Man Walkin g is a story of our time , but it has a sense of timelessness to it. It is a distinctly American story, but it has uni ve rsal resonance. The drama is such that it makes sense for peop le to sing, and it is large enough to fill an opera house , ye t it is incredibly intimate. It is a story that takes us deep into the most difficult struggles we can experience as human beings. It takes us to places that on l y get intensified with music. Th e more we talk ed about it, the more it seemed like an opera just waiting for the music.

We were determ in ed not to fall into a few ob viou s traps. As much as we admired and respected Sister Helen and her nonfiction book Dead Man Walking, this was not going to be a documentary or a biograph y. It wou l d also not be a "soa pbox " opera trying to push a political agenda. And we did not want to try to re-cr eate Tim Robbins ' brilliant movie , either. We wou ld go from the book , changing and adapting it to work specifically for the opera stage. Our goal was to tell the story honestly and without any

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preaching - to go with Sister Helen on her journe y to that difficult place and to let people make up their own minds.

Sister Helen was in complete accord on all of these points. Supportive and enthusiastic from the start, she generously offered us flat-out permission to do whatever we needed to her story, so that it would work on the opera stage, with only one mandate: It had to remain a story of redemption. Right before the announcement of the project in March of 1998, Sister Helen called me and said, in a very thick Louisiana accent, "When they called and told me that San Francisco wanted my permission to make an opera out of Dead Man Walking, I said, 'Well of COURSE we ' re gonna make an opera out of Dead Man Walking I , But , jake, I don 't know boo-scat about opera , so y ou ' re gonna ha v e to educate me. "

The City is Built to Music.

-Alfred Lord Tennyson

Dead Man Walking

Why is Sister Helen such an operatic character 7 Against the enormous background of the prison system, death row and a man convicted of a monstrous crime , there is this one small woman and her faith her belief in the individual dignity of e ver y person on this earth. She travels this path as a kind of "everyman," and it is easy for us to go along with her: from the security of working with children in the projects to meeting a convicted killer , then his family, then the families of the murder victims, to an execution chamber, all propelling her to a place of spiritual crisis and ultimate resolution. At first, Sister Helen seems like one of your gal pals, with a great sense of humor and a zest for life. When the journey begins, neither we nor she are aware of what incredible bravery and power there is inside her when she is tested. But I think it puts all of us to the test. How much could I take 7 How far could I go? How strong am I? What are my convictions 7

It is this that makes all of the characters in the story operatic , for they ' re all regular folks thrown into a tornado, all being tested, strained and pushed to the edge As for the concept of capital punishment , the story puts a human face on it and takes it out of the abstract. It's no longer a comfortable question one can consider while watching television or reading the paper Real people, real lives are at stake at every turn in this story

Terrence told me from the beginning that he was not a librettist; he was a playwright. His intention was to write a play and to create language and situations that would inspire music He recognized that an opera is about the music, and he would do whatever he could to serve that. If I had a musical idea that was taking me in a certain direction, I should follow it. If his words didn 't work for me , I was free to add my own and check with him later. It's about the most generous and gratifying collaboration that a composer could hope for. Another goal in the creation of the opera was to e x plore a

medium that was neither traditional theater nor traditional opera, but a real combination of the two: a music drama, an opera musical, opera theater or perhaps, finally, American opera theater.

For m y part, I was clear that m y musical language would not b e overly complex. My compositional voice is based primarily on direct emotional portraits of characters. I wanted to create clear melodic and rhythmiC motifs to propel a constantly moving tide of emotion with lyriCism , without alienating the characters or the audience. The architecture of the piece was clear, too, from the start. A building oflayers throughout the first act - a long crescendo to the point where Sister Helen faints from exhaustion, overwhelmed b y the emotional intensity and the demands being made upon her. The second act, a gradual stripping away of layers to reveal the essence of what is at stake in the story: life and love. Terrence wrote the first act in four days , at the end of March 1998. I started composing just before my 37th birthday (March 31) and was finished by August 1999. The premiere took place on October 7 , 2000 .

Since the premiere, the opera has been scheduled by 10 international companies. NYCO's production , b y director Leonard Foglia and designer Michael McGarty, offers new insights into the drama And new casts will bring different perspectives to the roles. But Sister Helen 's compelling journey continues to capture the imagination , and our opera, hopefully, continues to take people right along with her. III

Jake Heggie is a San Francisco-based composer.

Dead Man Walking Artist Profiles

SUZANNE MALLARE ACTON

Chorus Master Michigan Opera Theatre

Debut - Mikado, 1982

Celebrating her 21st year with Michigan Opera Theatre, Suzanne Ma llare Acton has served as Michigan Opera Theatres assistant music director and chorus master since the 1981-1982 season. She ha s conducted several productions during her tenure, including The Barber oj Seville and The DaLlghter of the Regiment. For Dayton Opera, she has conducted West Side Sto/y, My Fair Lady and The Pirates oj Penzance. She has also conducted Tasca for Augusta Opera and The Merry Widow for Artpark Ms. Acton has served as coach and actompanist for the opera companies of St. Louis and San Diego, and is the music direc tor of Rackham Symphony Choir in Detroit.

DEAN ANTHONY

Howard Boucher

Michigan Opera Theatre Debut

Creator of more than 70 roles, tenor Dean Anthony has been highly praised for his vocal , dramatic, physical and acrobatic abilities, often referred to as the "tumbling tenor." Recent engagements have inCluded Die Zauberjlote with Baltimore Opera, a debut with San Francisco Opera in Turandot and Ariadne auJ Naxos, and Les Contes d'Hofjinann with Orlando Opera and Palm Beach Opera. Upcoming engagements include Die Fledermaus with Virginia Ope ra, Madama Butterfly with Connecticut Grand Opera and a debut with New York City Opera in Die Zaberflote. Mr. Anthony has created the roles in the world premiere performances of Lloyd's The Witch Boy, Dutton's The Stone Man and Bond s Ii'avels.

CHARLES ROBERT AUSTIN

George Benton

Mich igan Opera Theatre Debut

Charles Rob ert Austin has appeared wit h a number of important opera companies, including Lyric Opera of Chicago, San Francisco Opera, Opera Pacific and Hawaii Opera Theater. Recent notable engagements inclu de performances and a recording of Prokofiev\; War and Peace with the Spoleto Festival in Italy, a retum to record Hayden\; La Fedelta Premiata with the Padua Chamber Orchestra, and Beethovens Fidelia with the Monterey Count Symphony Orchestra. These were followed by a debut as Figaro with Madison Opera, performances Lohengrin with the Cincinnati Symphony Orchestra and The Tales oj Hoffmann, with Piedmont Opera Theater and Toledo Opera.

JOHN DEMAIN

Conductor Michigan Opera Theatre Debut - OJ Mice and Men, 1980

John DeMain is artistic director of Opera Pacific , music director of the Madison Symphony, artistic advisor for the Madison Opera, and a sought-after guest conductor of orchestras and opera companies around the world. Recent highlights include The Merry Widow for Los Angeles Opera, Porgy and Bess and Dead Man Walking fo r New York City Opera, and productions of Little Women, Don Giovanni, Rigoletto and Dead Man Walking for Opera Pacific.

LEONARD FOGLIA

Director Mich igan Opera Theatre Debut Director Leonard Foglia has been involved in Broadway, off-Broadway, regional theater and opera. Broadway engagements have included Master Class by Terrance McNally and Wait Unti l Dark by Frederick Knott. Off-Broadway engagements have included By the Sea, by the Sea, by the Beautiful Sea by Terrence McNally and Lonely Pl anet by Steven Dietz. Opera credits include Dead Man Walking with Opera Pacific, Cincinnati Opera and New York City Opera. Mr. Foglia is also co-author, with David Richards, of the mystery novels Ragged Ridge Road and Face Down in the Park, both published by Pocket Books.

JUDITH FORST

Mrs. De Rocher

Michigan Opera Theatre

Debut-Anna Bolena, 1984

Canadian-born mezzo-soprano

Judith Forst has been highly acclaimed for her operatiC and concert performances throughout North America and Europe, in many of the worlds most prestigious theatres, including the Metropolitan Opera, San Francisco Opera, Bavarian State Opera, Munich, Netherlands Opera, Dallas Opera, Washington Opera and many others. Ms. Forst is one of Canadas most distinguished artists and has been awarded the Order of Canada Recent engagements have included performances with the Metropolitan Opera Hansel und Gretel, Canadian Opera Company Queen oj Spades, Vancouver Opera Elektra and Santa Fe Opera Katya Kabanova.

JESS GOLDSTEIN

Costume DeSigner

Michigan Opera Theatre Debut

Mr. Goldstein has designed for productions in all venues of theatrical production Broadway credits include J udgment at Nuremberg, The Rainmaker, and revivals of The Most Happy Fella and A Streetcar Named Desire. Film credits include Love! Valour! Compassionl, The Substance of Fire, and A Walk on the Moon. He has designed Agrippina and Of Mice and Men for Glimmerglass Opera and New

York City Opera. Mr. Goldstein won the 1999 Lucille Lortel Award for his work on the Minneola Twins and The Uneasy Chair. He is a graduate and current faculty member of the Yale School of Drama.

THEODORA HANS LOWE

Sister Helen (June 8m, 13, 15m)

Mich igan Opera Theatre

Debut - CosiJan Tutte, 2000

Since 1994, Ms. Hanslowe has debuted in opera houses throughout the wqrld, including recreating the title role of Massenet\; Cherubin with, Teatro Colon in Buenos Aires, [ Opera de Montreal and Glimmerglass Opera. Recently, Ms. Hanslowe performed as Cornelia in Julius Caesar with the Metropolitan Opera en barbiere di Siviglia, La Cenerentola), Washington Opera (Us Contes dHoffmann), Opera Pacific (Dead Man Walking) and Baltimore Opera (Die Fledermaus)

Upcoming engagements include a debut with Houston Grand Opera as well as various roles with the Metropolitan Opera.

Who will care for mom and dad?

Detroit Opera House

JAKE HEGGIE Composer

Michigan Opera Theatre Debut

The music of J ake Heggie is cha mp ioned by some of the worlds most noted performers, including Frederica von Stade, Renee Fleming, Jennifer Larmore, Susan Graham, Bryn Terfel and Eugenia Zukerman. His first opera , Dead Man Walking, received it pre miere at the San Francisco Ope ra in October 2000. USA Today called the wo rk "a watershed moment in American Opera" and th e Guard ian (London) declared tha t Dead Man Walking "makes the most concentrated impact any piece of Ame rican musical theater since West Side Story more than 40 years ago.

Heggie is cu rrently res ident in composer with the Eos Orchestra in New York and has composed a new work for each of the company's last three seasons. Prior to that appointment , he was San Fran cisco Opera's first compose r-in-residence. In addition to new son g commissions for Susan Graham , Frederica von Stade and Bryn Terfel and a new cello co ncerto, Heggie is co mposing h is next opera for Hous ton Grand Opera with playwright Heather Mc Donald. He is also at work on a new theatrical collaboration with Terrence McNa lly.

A recording of Heggie 's songs, The Faces of Love, is availab le on the RCA Red Sea l label. For More information, see www.jakeheggie.com

KRISTINE JEPSON

Sister Helen (June 7, 11, 14)

Michigan Opera Theatre Debut

Mezzo -sop rano Kristine

J epson is rapidly earning int ernational recognition as one of the finest young opera artists of our day and has been acclaimed in leading theaters, including the Metropolitan Opera , Theatre Roya le de la Monnaie, Opera de Natio nal de Paris , Dallas Opera, Canad ian Opera Company and Miami Opera. Ms. Jepson made her debut with the San Francisco Opera as Sister Helen in the world premiere of Dead Man Walking. Other recent engagements have included a debut at La Scala-Milan (Der Rosenhavalier), BastilleParis (I.es Contes d' Hojfmann) and a debu t with the Netherlands Opera (La Clemenza di Tito). She is slated for her debuts in theaters including Royal Opera Covent Garden , Bavarian State Opera in Munich, Frankfurt Opera and the Hamburg State Opera.

MICHAEL MCGARTY

Set Designer

Michigan Opera Theatre Debut

Mr. McGarty recently designed the premiere of Paper Doll at the Pittsburgh Public Theatre.

Broadway credits include : Terrence McNally's Master Class, the revival of Wait until Dark and Julia Sweeney's God Said, Ha. Premieres include A Coffin in Egypt by Horton Fo ote, Revelers by Beth Henley, By the Sea by Terrence McNally, Joe Pintauro and Lanford Wilson, and Major Crimes by Jay Presson Allen. Mr. McGarty received the 2000 Philadelphia Barrymore Awa rd for set design. Mr. McGarty is also a professor of design at Brown University and Rhode Island Schoo l of Design.

Dead Man Walking

TERRENCE MCNALLY Librettist

Michigan Opea Theatre Debut

Terrence McNally is consi dered one of the leading American dramatists writing today. Al though several ea rl y comed ies suc h as Next and Th e Ritz won McNally quite a bit of praise, it was not until later that he would become tru ly successfu l with works such as Frankie and Johnny at th e Claire de Lune, for which he wrote the screen adaptation , which starred Al Pacino and Michelle Pfeiffer.

In 1990 , McNally won an Emmy Award for Best Writing in a Miniseries or Specia l for Andre's Mother. With Kiss of the Sp id er Woman, McNally turned his attentions to the musical stage, which won the 1993 Tony Award for best Book of a Musical. McNally's other plays include Love! Valour! Compassion! and Master Class, a character study of legendary opera soprano Maria Callas, which won the 1996 Tony Award for best Play.

In addition to Four Tony Awards, McNally has received a Pulitzer Prize, two Guggenheim Fellowships, a Rockefeller Grant, the Lucille Lortel Award, th e Hull-Warriner Awards and a citation fro m the American Academy of Arts and Letters. He has been a member of the Dramatists Guild Council since 1970 and has served as vice -president since 1981.

BRIAN NASON

Lighting DeSigner

Michigan Ope ra Theatre Debut

Mr. Nason has designed for stage , television and film. Current Broadway des igns include: 1776, Metamorphasis with Mikhail Baryshnikov (Tony Nomina tion Bes t Lighting Design), A Month in the Country, the world premiere of Arthur Miler's Broken Glass, the Three Penny Opera with Sting , Ira Levin's Cantorial (O uter Critics Circle Noination Best Design). His recent regional credits includ e : Pa per Doll (Pittsburgh Public Theatre ), The Last True Believer (Seattle Repe rtory Theatre), and the world premiere of Tennessee Williams' The Notebook of Triorin at Cincinnati Playhouse in the Park. Film and television credits include Great Performances Live From Carnegie Hall "Spirituals" featuring Kathleen Battle and Jessye Norman.

ROBERT ORTH

Owen Hart

Robert Orth is a leading baritone wi th major opera companies, including those in New York City, San Francisco , Chicago, Toronto, Washington D.C., Houston, Seattle , Los Angeles, San Diego, Miami, Orlando , Philadelphia, Portland, Indianapolis, Cincinnati, Cleveland, Denver, Ca lgary and many others. Mr. Orth has been named "Artist of the Year" by New York City Opera and Seattle Opera. Mr. Orth has starred in the wo rld premiere of Dead Man Walking, Lovers and Friends (C hautauqua Variations), Harvey Milk and Shining Bow. His recordings include The Telephone, Six Characters in Search of an Author, Harvey Milk and Dead Man Walking.

GLORIA PARKER

Michigan Opera Theatre Debut

American mezzo-soprano

Gloria Parker has established herself as an art ist capable o f a wide variety of styles and roles. She created the role of Dahlia in Holy Blood and Crescent Moon in the world premie re at Cleveland Opera, and went on to create the role of Sandra in the world premiere of The Architect with Vancouver Opera. Recent engage ments h ave included Pulcinella in New York, a debut with Pacific Opera in The Tum of the Screw and Les Contes d'Hoffmann for Toledo Opera Future concert engagemen ts include her London debut with the Lon don Philharmonic Orchestra at the Royal Fes ti val Hall.

DENNIS PETERSEN

Father Grenville

Michigan Opera Theatre Debut

Dennis Petersen has distinguish ed himself in a variety of operatic roles, in addition to his appearances in concerts, recitals and oratorio performances. Recent engagements have included the New York City Ope ra Premiere of Dead Man Walking, Turandot and Madama Buttedly for San Francisco Opera, Sa lome for Opera Pacific, and the u.s. pre miere of The Handmaid 's Tale with Minnesota Opera. Future engagements include San Francisco Opera for Die Zaberfiote , and to Lyric Opera of Chicago for Siegfried, Das Rheingold and the Cunning Little Vixen.

JOHN PACKARD

Joseph De Rocher

Michigan Opera Theatre Debut

American baritone John Packard is garne rin g na tional prominence on the opera stage. Mr Pack ard made his San Francisco debut as Joseph De Rocher, in the world premiere of Dead Man Walking. He can be heard on the world premiere recording of this opera on the Erato Disques label. Mr. Packard sang fu rt her performances of J oseph De Roc her with New York City Opera, Aus ti n Lyric Opera, Cincinnati Opera and Opera Pacific. Recent engagements have included Vancouver Opera (I.e Nozze di Figaro) , Opera Company of Philadelphia (Madama Butterfly) and Opera Pacific (ll Barbiere di Siviglia).

DON ITA VOLKWIJN

Sister Rose

Michigan Opera Th eatre Debut

As an Adler Fellow at San Francisco Opera, soprano Donita Vo lkwijn has recently appeared as Pamina in Di e Zauberflote, Giannetta in rElisir d'Amore, Mrs. Ch arlton in the world premiere of Dead Man Walking, Mimi in La Boheme , Irma in Louise , Anna in Nabucco and a Flower Maiden in Parsifal. Ms Volkwijn has also appeared as Sister Rose in Dead Man Walking for Opera Pacific. m

Copyright 2010, Michigan Opera Theatre

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Detroit Opera House

MA

Thursday, May 8, 2003 at 8 p.m. & Friday, May 9, 2003 at 8 p.m. SEE PROGRAM INSERT FOR CASTING

Choreography by Gerald Arpino

Music by Ermanno Wolf-Ferrari

Costumes by Carol Vo ll et Garner

Lighting by Kevin Dreyer after Thomas Shelton s origina l design

Wor ld Pre miere : The J offrey Ballet, October 26, 1983, City Center Theater, New York City, New York.

I am dedicating Italian Suite to the memory of Rebekah Harkness, who made possib le my very first visit to Italy The memories of that visit have been a constant source of insp iration. - Gerald Arpino, 1983.

Italian Suite has been made possible, in part, by a generous gift from Mrs. Chas. Levy of Chicago Ligh ting an d costumes for Italian Suite are made poss ible by a generous grant from the Los Angeles Friends of the Joffrey Ballet.

Special acknowledgment and thanks to Scott Barnard for his inva luable assistance and to Andre Kulyk for his research. To the late James Howell, for his constant musical direction and association toward inspiring this work, Mr. Arpino and the entire Company pay homage

'Excerpts [rom La Dama Boba Overture (I) and "Ritomello " [rom Act III o[ II Campiello (V) used by arrangement with Associated Music Publishers , Inc. , u.s. Agent [or G. Ricardi & Co., Milan. Prelude (II) and Intennezzo [rom ScllOolfor Fathas (IV) Serenade and Interm ezzo from Jewels of the Madonna (Ill) and Overture [rom Sw-et of Suzanne (ll ) by arrangement with Boosey & Hawkes, Inc., sole agent [or Joseph Weinberger Ltd. , publisher and copynght owner.

Choreography by Gerald Arpino

Music by Maurice Ravel *

Set by Ming Cho Lee

Costum es by A. Christina Giannini

Lighting by Kevin Dreyer after Thomas Sheltons original design

World Premiere: Th e Joffrey Ballet, December 12 , 1962 , Damascus, Syria.

'Concerto in G for Piano and Orchestra, 2nd Movement, AdagiO Assai

Choreography by Gerald Arpino

Music by Adolphe Adam

Costumes by A. Christina Giannini

Lighting by Kevin Dreyer

World Premiere: The Joffrey Ballet, February 9, 1978 , Auditorium Theatre, Chicago, Illinoi s.

A Tribute to Olga Spessiv tz eva

O lga Spessivtzeva was first h eard of danCing in the United States with Nijinsky at the Brooklyn Academy of Music. Since the Diaghilev engagement was not particularly successful, her appearance passed unnoticed. She returned to Russia and subsequently became the Prima Ballerina Assoluta under the Czar at the Mariinsky Theatre.

She inherited the mantle of the great Italian ballerinas, appealing in the roles th at they created: Esmeralda, Daughter of the Pharaohs,

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Sleeping Beauty, Swan Lake, Nutcracker and Giselle. Her sad fate, more tragiC than NiJinsky's, was forecast with great clouds of disillusion The Western world was not then ready for full-length classical ballets.

To define Spessivtzeva's dancing may be somewhat baffling, since she did everything with utter ease The public greeted her with awe more than admiration. Her interpretations were co mple tel y convincing. With her seemingly fragile body, she created visions of beauty that touched the soul of the spectator; she could evoke tears as easily as cheers.

In pannering her in the second act pas de d eux of Swan Lake , I wished I could have lifted her to the sky and left her there suspended with the sta rs in heaven, for a star on earth she surely was.

-Sp essiv tzeva Remembered by Vince nco Celli.

Choreography by Gera l d Arpino Music by Douglas Adams &: Russ Gauthier

Costumes by A. Christina Gia n n ini

Lighting by Kevin Dreyer after Thomas Shelton's original design

World pre m iere : The J offrey Ball et, Nove mber 4, 1981 , City Center Theater, New York, New York.

" [My lightl is most precious not only to me, but above all to th e darkness of the creator, who needs Man to illuminat e his creation" - C. G. Jung

RAM B

Saturday, May 10, 2003 at 8 p.m. & Sunday, May 11, 2003 at 2 p.m.

laments the uncertainty of her arranged marriage. Though the maidens try to comfort her, the Bride sobs with fear Her parents bless her

Second Tableau: Benediction of the Bridegroom In the company of friends, the Bridegroom celebrates prior to his wedding day His parents bless him.

Third Tableau: Departure of the Bride from the Parental Home The Bride is escorted from her parents ' home by her friends and by four matchmakers. The Brides mother laments the loss of her child

Fourth Tableau: The Wedding Feast Inside the "izba", the newlyweds bid farewell to their parents in their new home. Villagers and guests celebrate the wedding feast. The Bridegroom promises the Bride a life of happiness.

(The Wedding)

Russian Choreographic Scenes in Four Tableaux, Without Interruption

Choreography by Bronislava Nijinska

Words and Music by Igor Stravinsky

Scenery and Costumes by Nathalie Gontcharova

Original Joffrey Staging by Irina Nijinska and Howard Sayette

Scenery and Costumes coordinated by John C. Gilkerson

Lighting by Kevin Dre yer after Thomas original design

Costume Supervision by John David Ridge

Current Staging by Howard Sayette

World Premiere: Diaghilevs Ballets Russes, June 14, 1923, Theatre Gaite-Lyrique, Paris, France.

Joffrey Premiere: October 6, 1989 , John F

Kennedy Center for the Perfonning Arts, Washington, D.C.

SYNOPSIS

Village Wedding Rituals This ballet in four scenes depicts a Russian peasant wedding at the beginning of the Christian era in Russia, when the pagan rituals were still retained as family traditions.

First Tableau: Benediction of the Bride While friends braid her hair, the yo ung Bride

Detroit Opera House

The 1991 production of Les Noees was made possible by a generous gift from California State University at Los Angeles. Additional support was provided by the New York Council on the Arts. The 1991 production of Les Noees was the second production of the "In Celebration" series, for which the National Endowment for the Arts awarded The Joffrey Ballet a Challenge III grant We extend our deepest thanks.

-Intermission-

Joffrey Premiere: March 22, 1973, City Center, New York, New York.

The scene represents a Sunday Fair in Paris. There is a traveling Theater, and three Music Hall turns are employed as Parade. These are the Chinese Conjuror, an American Girl, and a pair of Acrobats

Three Managers are occupied in advertising the show. They tell each other that the crowd in front is confusing the outside perfonnance with the show which is about to take p lace within, and they try, in their crudest fashion, to induce the public to come and see the entertainment within, but the crowd remains unconvinced. After the last perfonnance , the Managers make another effort, but the Theater remains empty The Chinaman, the Acrobats, and the American girl, seeing that the Managers have failed, make a last appeal on their own account. But it is too late.

- Jean Cocteau, From the Original program, May 18, 1917, Theatre de Chcitelet, Paris, France.

Deepest gratitude to Eloise W Martin for helping to underwrite the refurbishment of the Picasso-designed sets.

-Intermission-

(The Rite of Spring)

Pictures of Pagan Russia in Two Acts

Choreography by Vaslav Nijinsky

Reconstructed and staged by Millicent Hodson

Music by Igor Stravinsky*

Scenario by Igor Stravinsky and Nicholas Roerich

Choreography by Leonide Massine Music by Erik Satie Theme by Jean Cocteau

Curtain, Scenery and Costumes by Pablo Picasso

Realization of Managers' Costumes constructed and supervised by Kermit Love

Lighting by Kevin Dreyer after Thomas Skelton's original design

World Premiere: Diaghilev's Ballets Russes, May 18 , 1917, Theatre du CMtelet, Paris , France.

Decor and Costumes after Nicho las Roerich , reconstructed and supervised by Kenneth Archer

Artistic supervision of reconstruction by Robert Joffrey

Lighting by Kevin Dreyer after Thomas Skelton's Original design

World Premiere: Diaghilevs Ballets Russes , May 29 , 1913, Theatre des Champs-Elysees, Paris, France.

US Premiere : The Joffrey Ballet, September 30,1987, Dorothy Chandler Pavilion, Los Angeles, CA.

BRAVO

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Copyright 2010, Michigan Opera Theatre

ACT I - Adoration of the Earth Spring. The Earth is covered with flowers. The earth is covered with grass. A great joy reigns over the Earth. The men join in the dance and invoke the future acco rding to the rites. The Sage among all the Ancestors (Elders) participates in the glorification of th e spring. All are made one (led to unite) with the abundant and rich earth. Everyone tramples the earth with ecstasy.

ACT II - The Sacrifice After the da y: after midnight.

On the hills a re the consecrated ston es. The (young) maidens carry out the mystical games and look for the Great Path. They glorify, they exalt the maiden who is designated to be the chosen one of the god. They call the Ancestors, venera ted witnesses. And the wise Ancestors of Men contempl ate the (Dance 00 Sacrifice. It is thus th ey sacrifice to Yarilo* *, the magnificent, th e flaming. -

From the original program, May 29,1913, Th eatre des Champs -Elysees, Pmis, France

The 1987 Joffrey ballet produ ction was made possible, in part, by grants to the compan y and to Millicent Hodson from the National Endowment for the Arts, the L.]. Skaggs and Mary C. Skaggs Foundation, and the New York State Council on the Arts, and to Kenneth Archer from the Ind ian Council for Cultural Relations Costumes were made possible , in part, b y a gift from The los Angeles Friends of The J offrey Ballet. Special thanks to Philip Dyer, consultant and Sara C. Woodcock, research assistant to The Theatre Museum, Victoria and Albert Museum, for research and material for the costumes for the 1987 production of l.£ Saue du Printemrs. Also to the Parmenia Migel Exstrom , Foundation , New York ; Boris Kochno v; Ballet Rambert Archives, london; Dr. and Madam Svetslav Roerich, Olga Rum yanseva, Roerich Study, Oriental Museum , Moscow.

• By arrangement with Boosey and Hawkes , [nc., publisher and copyright owner.

• * [n pre-Christian Slavic mythology, Yarilo was thought to be the sun-deity and ancient spirit of light and creativity

Gerald Arpino, Founder Be Artistic Director

Gerald Arpino established Th e J o[[rey Ballet of Chicago in 1995 to carryon the trad it io ns and legacy of TheJoffrey Ballet, which he co - founded with RobertJoffrey in 1956 and for which he serve d as associate director for many years. Upon Joffrey 's death in 1988, Arpino succeeded him as artistic director.

A leadin g dancer with the company in its early years, Arpino choreographed his first works for TheJoffrey, Ropes and Partitafor Four, in 1961. Shortly thereafter, he be came TheJoffrey 's resident cho reogr apher and, to date , has create d more than one-third of the company's original repertoire.

The late Walter Terry said, "He introduced a synthesis of torso-oriented modern movement with classical ballet that was a special quality he gave to ballet. " Clive Barnes of the New York Post wrote , "Arpi n o and his choreography a re central to TheJoffrey company style th e id eal choreographer to maintain a co nsist ent, crea ti ve core He can send dancers over the stage like rockets and gives them duets like love songs." The Los Angeles Times' Mart in Bernheim er has pointed out "the breathless fluidity of Arpino 's invention the bravura of his kinetic designs. " New York Times cr i tic An n a Kisselgoffhas described him as "a very important choreograp h er. 1 have often seen newcomers to the ballet seduced into lOVing the entire art form simp ly becau se Mr. Arpino's accessibility seizes their imagination."

Arpino's choreography can be seen in such Joffrey signature works as Sea Shadow, Incubus, Viva Vivaldi , Olympics, Nightwings, The Clowns, Trinity, Confetti , Kettentanz, Sacred Grove on Mount Tamalpais, Suite Saint-Saens, Epode, Celebration, Round of Angels, Light Rain and Italian Suite.

Arpino is th e first choreographer commission ed to creat e a ballet to honor the Office of the American Presidency: The Pantages and the Palace Present Two-A-Day. He was the first American commission ed by a city, San Antonio, to do a ballet, Jamboree. His 1986 Birthday Variations was commiss ion ed by Becky D'Angelo of Chicago as a birt hday gift to her husband , Dino D'Angelo. In 1993, Arpino produced America's first full-evening rock ballet, Billboards, set to th e music of Prince. In 1996, he brough t together an all-female roster of exciting you n g choreographers to produce Legends, a ballet b y women and about women. This work was followed by Legends II, another Gerald Arpi n o production. H is output has been so varied that one critic has said, "He's not a single artis t. He must be an alliance." As one of the reCipients of the 1974 Dance MagaZine Award , his inscrip tion reads: 'To Gerald Arpino - more than a n y other choreographer , he has recognized the spir it of the times. Hi s work speaks clearly of the angUish and the j oy of being young in America today."

Other tributes include honor ary doctora tes from The College of Staten Islan d-Ci ty University of New York ( 2001) and Wagner College (1992); the Bravo Award from the San Antonio Performing Arts Association; the Amer ican Express Ammy Award; th e Di stinguished Achievement Award from the Natio nal Organization ofltalian-American Women; a 1989 Tiffany Award from the International Society for Performing Arts Administrators; an award for outstanding artistic achievement from th e Staten Island Council o n the Arts in 1990; an honorary lifetime membership in the Chicago Dance Coalition; the National Arts Club Citation of Merit; the 1994 Harkness

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Distinguished Art ist in the Dance at Adelphi Univers ity ; the University Medallion from Frostburg State U niversit y, Mary l and, the s ite of the J offrey's first performance Ort October 2, 1956 (in which Arpino danced); the Vaslav Nijinsky Medal in recogn ition of hi s reconstruction of th e works of Nyinsky; and the Chicago Academy forthe Arts 1996 Dis tinguished Serv ice Award for t h e Arts. In both 1996 and 1997, Arpino was honored by the Chicago Tribune as one of the "Chicagoans of the Year" for hi s important contributors to the arts in Chicago. In addition, Arpino is the on ly cho reographe r to ha ve had four of his ballets performed at the White Hou se. Arpi no ballets, sought after worldwide, are in repertOires of the Natio nal Ballet of Canada, Ottawa Ballet, the Vienna State Opera Ballet and the Australian, Aspen, Dayton, Ohio, Oakland, Princeton, Milwaukee and Co lumbus ballet companies.

A major spokesman on the arts to govern ment , business and cu ltur al communities , Arpino serves on the national ad viso ry council of the ITlfUSA International Ballet Competition and is on the boards of the Dance Notation Bureau and Dancers in Trans it ion. He is a member of the Arts Advisory Committee of the New York Internatio nal Festival of the Arts. He was honorary co-chairman for the Dance Library of Israel 's 1989 Award Dinner honoring Agnes De Mille, and he presented the library'S 1991 Documents of Dance Award to Step hanie Fren ch. In 1991, he particip ated as a panel member in the National It alian-American Foundation's annual Co lu mbus Conference. Arpino serves as an adviso r to the Sports Medicine Education and Researc h Foundation in Los Angeles. He is a member of the Nat i onal Arts Club , the Artists Committee for The Kennedy Center Honors, and is an advisory board member of the Performing and Visua l Arts Department of Wagner Colle ge on Staten Island. H e also is a member of the board of The Chicago Academy for the Arts . Arpino was born and raised in Staten Island , New York , and trained in Seatt le b y Mary Ann Wells.

Robert Joffrey, Founder of the Joffrey Ballet

RobertJoffrey was born in Seattle, Washi ngton in 1930 and died i n New York City in 1988. He founded the company in 1956-an ense mbl e of American dancers for whom h e choreograp h ed, taught, commissioned original ballets and reconstruc ted rare class i cs. In the process , he built what is now acknowledged to be one of the major international dance companies, a company cited for its virtuosity and its eXCiting, original repertoire.

Mr. Joffre y introduced Alvin Ailey, Laura Dean, Anna Sokolow and Twyla Tharp to ballet audiences; invited KurtJooss and Leonide Massine to rev ive some of their "los t " masterworks; and assem bled the larges t numb er of Frederick Ashton ballets in the United States. He was the first American director to present the work of Derunarks Auguste Bournonville, and h e was especially noted for his meticulous re-creations of the legendary Diaghil ev-era ballets. His own ball ets have always been a company cornerstone and indicate his varied int erests, from the class i cal Pas Des Deesses to the multimedia Astarte, from the romantic Remembrances to the evocat ive Postcards.

Mr. Joffrey was a pioneer in ch oreographing for television: TheJoffrey Ballet inaugurated public television 's "Dance in America " series. Although he gave up a promising career as a

dancer to form his company, he maintained his early interest in training gifted students and young professiona ls through The J offrey Ballet School, which he established in 1953, and the Joffrey Workshop at San Antonio.

Among his many dance affiliations, he was co-president with Bolshoi Ballet director Yuri Grigorovich of the International Dance Committee, International Theatre Institute; one of three jurors of Denmark's Hans Christian Andersen Ballet Awards; a member of the National Council of the Arts; and honorary chairman of the American Choreographer Awards. His numerous awards and honors included the DanceMagaZine Award, the CapezioAward, New York City's Handel Medallion, Club 100's Distinguished Artist's Award (L.A. Music Center), Dance Notation Bureau 's DistingUished Service Award and an honorary Ph.D. from Pacific Lutheran University in Tacoma, Washington.

History of The Joffrey

RobertJoffrey and Gerald Arpino's uniquely American vision of dance first took form in 1956 with an ensemble of six strong, individual dancers, who toured the country on a series of one-night stands with a repertoire of original ballets by their artistic director, Robert Joffrey From the beginning, TheJoffrey Ballet brought a new American approach to ballet , setting itself apart from other small touring companies of the time, which were, for the most part, performing reduced versions of the classics.

Joffrey co-founder and current artistic director Gerald Arpino, who was a leading dancer with the company in the early years before becoming its resident choreographer, remembers the company's debut performance on October 2,1956, at a 10:00 a.m. assembly at Frostburg State Teachers College in western Maryland. "We unloaded the station wagon, rosined the stage, set the lights, ironed the costumes and got everything ready for the performance the next morning.

"The entire program was choreographed by RobertJoffrey, who remained in New York teaching to help pay the dancers' salaries. In the first ballet, Within Four Walls, the six of us had to sing (songs of Stephen Foster) as well as dance. After the performance, we went to the college cafeteria for breakfast and spent at least two hours talking with the 600 students. We discovered that they had never seen a pair of pointe shoes. It was revealing to us; we were preaching the gospel of dance!"

On January 22,1957, when Thejoffrey Ballet arrived at Chicago's 8th Street Theatre for its first performance in a major city now eight dancers strong and with Robert Joffrey joining them for the first time, a snowstorm was in full progress. But it could not dampen the company 's spirits nor prevent an audience that included critics Claudia Cassidy and Ann Barzel from showering them with applause. It was on the strength of that Chicago performance and the reviews of these two nationally respected critics that TheJoffrey was able to secure further bookings and really coalesce as a Company. It was the beginning of a journey that has taken the Company around the world and has brought it acclaim as one of the leading national and international ballet companies: an American classic.

Years later, RobertJoffrey would reminisce, "I wanted a company out of my own roots, out of America. " And that is exactly whatJoffrey and

Detroit Opera House

..JOFFREY

BALLET OF CHICAGO

Arpino created. They created a uniquely American company of dancers, for whom they choreographed original and relevant ballets, commissioned works from the finest young choreographers (many of whom were given their first national exposure by The Joffrey) and meticulously reconstructed some of the early masterworks of 20th century repertoire. Most dance historians have acknowledged that these two men set a new standard in ballet , both accessible and meaningful, classically disciplined and brimming with infectious spirit. They have been pioneers, whose innovations and discoveries have influenced many ballet companies across the United States and internationally.

The Joffrey remains a touring company, performing in more than 400 U.S. cities in all 50 states; representing the United States in Afghanistan, Australia, Austria, Canada, Denmark, England, Germany, Greece, Hong Kong, Iran, Israel, Italy, Japan,Jordan, Korea , Mexico, Portugal, Russia, Singapore, Spain, Syria, Taiwan and Turkey; and engaging audiences with its technical virtuosity, the power of its ballets and the sheer joy of its dancing . Since establishing itself as The Joffrey Ballet of Chicago in 1995, the Company has carried the Chicago name to Singapore, Egypt, Israel, Korea, Italy, England, Scotland, Portugal and Turkey, as well as nationally to the Kennedy Center Opera House in Washington, D C (five times), the Los Angeles Music Center (four times), Aspen, Cleveland, Detroit, Honolu lu, Iowa City, Miami, Minneapolis, Omaha, Orange County (CA), St. Louis, Tampa, Telluride, Vail, West Palm Beach and throughout the state of Illinois.

Renowned for a remarkable repertory of more than 250 ballets by 90 choreographers , TheJoffrey has commissioned the first ballets of such notable American choreographers as Alvin Ailey, Laura Dean, Chicagoan Randy Duncan, Mark Morris, Peter Pucci, Margo Sappington, Anna Sokolow, Edward Stierle, Glen Tetley and Twyla Tharp; reintroduced a complete program by Kurtjooss; revived ballets by Sir Frederick Ashton, George Balanchine, Leonide Massine, Bronislava Nijinska, Vaslav Nijinsky,]erome Robbins and Antony Tudor; reconstructed "lost" ballets of Diaghilev's Ballets Russes, including Parade (1917) , Le Sacre Du Printemps (1913), and The Three-Cornered Hat (1919); and was the first American company to present the work of Denmark's Auguste Bournonville. TheJoffrey's repertory encompasses the largest collection of ballets by Ashton,Jooss and Massine in America, and also includes notable works of August Bournonville, Choo San Goh, Gloria Cantreras, John Cranko , Mikhail Fokine, William Forsythe, jiri Kylian, Agnes De Mille and Paul Taylor.

With the revival ofJooss ' great anti-war masterpiece, The Green Table (1932) , and Robert joffrey's creation of the multimedia Astart e in 1967, followed by Gerald Arpino's anti-nuclear ballet , The Clowns (1968), and Arpino 's rock ballet, Trinity (1970) , TheJoffrey was catapulted into the forefront of American culture, highlighting one of its signature elements: the incorporation of popular culture , modern technology and contemporary ideas into its classical foundation, to present ballets for our time. The company has continued that aspect and, in 1993, premiered America's first full-evening rock ballet, Billboards, a Gerald Arpino production set to the music of Prince.

On September 7 , 1995 ,joffrey Artis tic Director Gerald Arpino established The Joffrey Ballet of Chicago to carryon the traditions and legacy of www.MichiganOpera.org

The Joffrey Ballet. The company established repertory seasons at Chicago's Shubert Theatre and Civic Opera House , and annual engagements of both Billboards, a Gerald Arpino production, and RobertJoffrey's Nutcracker at the Rosemont Theatre, in 1996 and 1997, while maintaining a national and international touring schedule. In summer 1997 , The Joffrey performed at Ravinia Festival, for the first time since establishing its Chicago home, and returned June 17-20, 1998.

During a two-week spring engagement, March 4-15,1998, the Company returned to Chicago 's grand Auditorium Theatre, the Dankmar Adler/ Louis Sullivan-designed national landmark, which Gerald Arpino calls "one of the most beautiful opera houses in the world and one of greatest stages in the world on which to perform. " Since then, with fall, Nutcracker, winter and spring seasons, the Auditorium Theatre serves as home to theJBC

The 40-plus-year vision of a classically based , cutting-edge company and its dynamic traditions are now the treasured legacy ofThejoffrey Ballet of Chicago. As Gerald Arpino said, in announcing the company's move, "I am committed to Chicago and its people, and I pledge to support and to promote the image of this great city through the work ofTheJoffrey Ballet of Chicago. Chicago is a name we shall cany proudly throughout the world" IlJ

Michigan Opera Theatre Orchestra

VIOLIN I VIOLA HARP HORN TIMPANI

+ Charlotte Merkerson , + John Madison, + Patricia Terry-Ross, + Kyle Mills, Plincipal + John Dorsey

Concertmaster Principal Principal + Carrie Banfield Terence Farmer

+ Kevin Filewych, Asst. + Scott Stefanko

Concertmaster + Kathleen Grimes

FWTE

Celest McCle ll an

Steven Mumford MANDOLIN

+ Velda Kelly + Barbara Zmich + Pamela Hill, PrinCipal Al Taplin

+ Carol Evans James Greer + Laura Larson

+ BryanJohnston Julianne Zinn Wendy Hohmeyer

Jason Bendler Catherine Franklin

Tamara Kosinski

Robert Tye

KEYBOARD

TRUMPETS Kristen Conn

Sasha Margolis OBOE + David Kuehn , James Kujawski CELLO + Kristin Beene, Principal Principal

Ewa Uziel + Nadine Deleury, + Sally Pituch + Gordon Simmons

ORCHESTRAL

PERSONNEL

Constance Markwick Principal Kristin Reynolds Mark Flegg MANAGER

Elizabeth Rowin + Diane Bredesen

+ Minka Christoff CLARINET TROMBONE

Diane Bredesen

VIOLIN II + Robert Reed + Brian Bowman, + Maury Okun , + Member, Michigan

+ Victoria Haltom John Iatzko PrinCipal PrinCipal Opera Theatre

Principal Andrew McIntosh + Campbell MacDonald + Greg Near Orchestra

+ Brooke Hoplamazian

Sam Martin

Michael Tyrrell

Detroit Federation of Musicians, + Molly Hughes + Derek Weller, BASSOON PERCUSSION Local #5, American Federation o f Musicians

+ Anna Weller BASS

+ Bing Xia Principal

Roger Maki-Schramm , + John Dorsey, PrinCipal

Constance Markwick + Clark Suttle Principal David Taylor

Elizabeth Rowin

Janet Sullins

AndrewWu

Michael McGillivray

Gabrielle Robinson

Shawn Wood

Aaron Keaster

Christine Prince

Spencer Phillips

Nora Schankin

Michigan Opera Theatre Chorus

Wallace Ayotte*i'

Christopher Baudert

Heidi Bowen t *

Kristen Bryantt*

Kim Brookst*i'

Alaina Brown i'

Fred Buchaltert*i'

Lavinia Celairei'

Pat Clampittt

Deborah Dailey *i'

Victoria DeCarlo *

Ke ith Dixon * i'

Vanessa Ferriolet*

Maria Fifelski t *

Louise Fishert*i'

Kurt Frank*i'

Yvonne Fridayt*i'

Conda Green *i'

Sherrie Greive*

Rosaline Guastellat

Dorian Hall *i'

Jason Harrisi'

Celeste Headlee*

Terry Homi'

Clarence Jonesi'

Tom Kabala*i'

Jeff Krueger*

Marcus LaPratt *

Anthony Lynch i'

Amy Malaney* i'

Kim Millardi'

Raymond Myers*i'

Jennifer Olivert*i'

Darren Orta t

Peggy O'Shaughnesseyt*

Monique Ricard * i'

Mary Robertson *

Bob Schram*

Carolyn Senger*

Korland Simmons*i'

Jay Smitht

Kevin Stames*i'

Bill Steiner*

Stephen Stewartt*i'

Judith Szefit*

Dean Unick*i'

David Vaughn *i'

Christopher Vaughtt* i'

Kristin Walukas*

Justin Watsoni'

Jim Wellst

Tamara Whittyt *i'

Jason Wickson*

Tim Wolf*i'

Eugene Zweigt

t Don Giovanni

* Die Fledermaus

i' Dead Man Walking

DEAD MAN WALKING CHILDREN'S CHORUS:

Jonathan Adams

Emmanuelle Baker

Veronica Carson

Ciara Curran

Denny Dorsey

Maddie Dorsey

Amika Grant

Angela Huff-Abney

Brian Koziara

Maggie Malaney

Jackson McLasky

Ashley Perry

Mia Topalian

Kahama West

Nikama West

Barbara Gibson Young Artist Apprentice Program

The launching of Barbara Gibsons career reads like a sC ript from a Hollywood movie She had been studying for three years with Maestro Sturani, when he invited a group of his Metropolitan Opera friends, including soprano Bidu Sayao, baritone Giuseppe Danise and tenor Giovanni Martinelli to h ear the 19year-old soprano. After th e recital, Danise was so impressed that h e was able to arrange an au di tion for Barba ra with Arthur Judson of Co lumbia Artists Manage m ent Inc That very day, it happened that the producer of "Th e Telephone H our" had an appointment at Columbia, and he was persuaded to listen to the young coloratu ra. She was immediately signed to a Co lumbia Artists contract and a debut on a national radio broadcast in September 1949. A recording contract with RCA soon followe d as well as an appearance on the "Voice of Firestone" broadcast simul tan eously on radio and television.

In 1952 , she was cho sen by the legendary Arturo Toscanini to sing in the radio broadcast of Gluck's Orfeo ed Ewidice. Soon after, she made her operatic debut with Cincinnati Opera Association as Gilda in Rigol etto. In 1954 she appeared with th e San Francisco Opera as Rosina, Oscar and Zerlina. The followin g spring she was chosen to participate in a five-week cultural good will tour o f Europe. After a triumphant performance with the Berlin Philharmonic, Der Tagesspiegal proclaimed, "Barbara Gibson brought b ack to life the great era of co loratura singing." H er second tour of Europe climaxed with the winning o f first prize in the womans vocal division of Ital ys Giambattista Viotti contest. First prize had never been awarded in the voice division. Moreover, according to the Associated Press wire report flashed around the world, Barbara Gibson was the fi rst American to win a first prize in any of the four contest divisions (voice, piano, vio lin , and composition.)

Returning afte r an exhaustive and extende d nationa l concert tour, she took the mu sic world by surprise when, at the height of her voca l powers, she announced that she would retire from the s tage and dedicate hersel f to raising her young family in Detroit Michigan, bringing a premature end to a meteoric caree r.

In 1965 , Dr. David DiChiera , who had committed himself to estab lishing an opera company in Detro it , persuaded h er to be the featured artist in the Overture to Opera Series, performing the mad scen e from Lucia di

Lammermoor in eight perfOlmances throughout the Metropolitan Detroit area. She became a founding board member of the fledgling company, providing constant artistic advice, and introduced DiChiera to many colleagues, including famous Italian basso It alo Tajo , who came to Detroit to sing in n Campanella and direct the companys first full-l ength production, Th e Barber of Seville.

Barbara Gibson's commitment to MOT has continued through th e years, and in 2002, a generous endowment gift established the Barbara Gibson Young Artist Program, whic h will suppon Michigan Opera Theatre's ongoing commitment to training and preparing the opera s tars of tomorrow. m

Detroit Ope ra House

2002-2003 Board of Directors

Dr. David DiChie r a, President

Mr. Cameron B Duncan , Treasurer

Mr. C. Tho m as Topp in, Sec retary

Mrs. Robert A. Allesee

Mrs. Do n ald C. Au stin

Mrs. Be ll a Marsh all Bard en

Mr. Lee Barthel

Mr J. Addison Bartu sh

Mr. Richard A. Bro di e

Mrs. W illiam C. Brooks

Mrs. Frederick Cla r k

Mr s. Peter Coope r

Mr. Tarik S. Dao u d

Juli a Donova n Darl ow

Mr s. Dodie Davi d

Mr. Lawrence N. David

Mr. David De n n

Mrs. Ch arles M. En d icott

Mrs. Alex Erd elj an

Mr Pau l E Ewing

Ms. Cheryl Fa llen

Dr. Marjo ri e M . Fish er

Barbara Fran kel

Mr. H erma n F r ankel

Mr. J am es Ga r avagli a

Mrs. Lawre n ce Garberding

Mr. David Hand leman

Mr Kennet h E H art

Mr. Eu gene H artwig

Mr. Ri ch ard J anes

Mr Gary E J ohnson

Mr. La wre n ce S. J ones

Mr s Ch arles Kessler

Mr s. Kwame Kilp atrick

Mr. A. C. Lieb ler

Mr. H arry A. Lom ason

Mr. Alph on se S. Lu care lli

Mr s. J ennifer Nasser

Dr. Ch arl otte Po d owski

Mr s Ru th Rattner

Mr. Roy Roberts

Ms. Pat ricia Ro d zik

Mrs. Irvi n g Rose

Mr. W illiam Sandy

Mr Gregory Schwartz

Mrs . Roge r F Sherman

Ms. Elham Sh ayo ta

Mr. Mark Silverman

Mr. Fran k D . Stella

Mrs. George Strumb os

Dr. Lorna Thomas

Mr. George C. Vincent

Mr. Gary L. Wasserman

Mr. Ric h ar d C. Webb

Mr. R. J am ison W illi am s J r.

Mr. George M. Zeltze r

Mrs Dieter Zetsch e

Dr. Mart in Zimm erman

Directors Emeritus

Frank W Donova n

J ames H. Gram

Mr s. W ill iam J ohnsto n

Mr. Ro b ert VanderKloo t

Mr. Mort Zieve

The new addirion to the magnificent White Chape l mauso leum is distinguished by the richness of its marble crypts and floo rs. This handsome addition contains over 300 crypts and 200 niches now ready for selection for individual or family entombment. A Whi te Chapel staff member will be happy (0 assist you with further information Please cal l (248) 362-7670.

2002-2003 Trustees

Dr. & Mrs Mohamad K. Ajjour

Dr. & Mrs. Roger M. Ajluni

Mr. & Mrs. Robert A. Allesee

Mr. & Mrs. Douglas F Allison

Dr. Lourdes V Andaya

Mr. & Mrs. Thomas V Angott

Dr. & Mrs Agustin Arbulu

Dr Harold M. Arrington

Dr. & Mrs. Ingida Asfaw

Mrs. Donald]. 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. Mandell Berman

Mr. & Mrs Raymond Biggs

Mr. & Mrs.John Boll

Mr. & Mrs. J ohn Booth

Mrs Thomas Bright

Mr. John Broad

Mr. & Mrs. Richard A. Brodie

Mr. & Mrs. William C. Brooks

Mr. & Mrs. Thomas Celani

Mr & Mrs. Robert D. Charles

Mr. & Mrs. Alfred Cheesebrough III

Mr. David Clark

Mr. & Mrs. Frederick H. Clark

Ms. Virginia Clementi

Mrs. Margo Cohen

Mr. Maurice Cohen

Th e Hon. & Mrs. Avern L Cohn

Mr. Thomas Cohn

Mr. & Mrs. Peter Cooper

Ms. Rosalind L Cooperman & Mr. Woody Robertson

Mr. & Mrs. Marvin!' Danto

Mr. & Mrs. Tarik S. Daoud

Julia Donovan Darlow & John C. O'Meara

Mr. & Mrs Jerry P D'Avanzo

Mr. & Mrs. Lawrence N. David

Mr & Mrs. David Denn

Mr. Kevin Dennis & Mr Jeremy Zeltzer

Mrs. Robert E. Dewar

Dr. Fernando G. Diaz

Dr David DiChiera

Karen VanderKloot DiChiera

The Hon. & Mrs. John Dingell

Ms . Mary Jane Doerr

Mr. & Mrs. Cameron B. Duncan

Mrs Charles M En dicott

Mr & Mrs. Alex Erdelj an

Dr. Fern R. Espino & Mr. Tom Short

Mr. & Mrs. Roland C. Eugenio

Mr. & Mrs. Paul E. Ewing

Mr. & Mrs. Stephen Ewing

Dr. Haifa Fakhouri

Ms. Cheryl Fallen

Mr. & Mrs. Oscar Feldman

Mr. & Mrs. John Ferron

Mr. & Mrs. Alfred]. FisherJr.

Mr. & Mrs. Herbert Fisher

Dr. Marjorie M. Fisher

Mrs. Elaine L Fontana

Mr. & Mrs. Mitchell B. Foster

Barbara Frankel & Ron Michalak

Mr. & Mrs. Herman Frankel

Mr. Marvin A. Frenkel

Mr. & Mrs. Dean Friedman

The Hon. Hilda R. Gage

Mr. & Mrs. James Garavaglia

Mr. & Mrs. Lawrence Garberding

Mrs. Frank GermackJr.

Mr. & Mrs YousifB. Ghafari

Mr. & Mrs. Vito P Gioia

Mr. & Mrs. Harvey Grace

Mrs. Berj H. Haidostian

Mr. & Mrs. David Handleman

Mr. & Mrs. Preston B. Happel

Mr. & Mrs. Kenneth E Hart

Mr. & Mrs. Eugene Hartwig

Mrs. David B. Hermelin

Mr. & Mrs Patrick Hickey

The Hon. & Mrs.Joseph N.lmpastato

Mr. & Mrs Verne G. Istock

Mr. & Mrs. CraigE .J ackman

Mrs. DavidJacknow

Mr. & Mrs. Darnell D. Jackson

Mrs. Sybil Jaques

Mr. Don Jensen

Mr. & Mrs. Gary E. Johnson

Mr. & Mrs. Lawrence S Jones

Mr. & Mrs. ElliotJoseph

Mr. & Mrs. Maxwell Jospey

Mr. & Mrs. Mitchell!. Kafarski

Mr. & Mrs. William Kahn

Mr. & Mrs.John Kaplan

Mr. & Mrs. Donald W Keim

Dr. & Mrs. Charles Kessler

The Hon. & Mrs. Kwame Kilpatrick

Mr. & Mrs. Eugene L Klein

Mr. & Mrs. Robert Klein

Mr & Mrs. Mike Kojaian

Mr. & Mrs. Thomas Kri korian

Mr. & Mrs. William Ku

Dr. & Mrs. Richard W Kulis

Mr. & Mrs. Angelo Lanni

Mr. & Mrs. Paul Lavins

Mrs. Walton A. Lewis

Dr. & Mrs. Kim K. Li e

Mr. & Mrs. A C. Liebler

Dr. & Mrs. Robert P Lisak

Mr. & Mrs . Harry A. Lomason

Mr. & Mrs James H. LoPrete

Mr. Alphonse S. Lucarelli

Cardinal Adam Maida

Mrs. Frank S. Marra

Dr. & Mrs. Ronald Martella

The HonJack & Dr. Bettye

Arrington-Martin

Mr. & Mrs. Richard McBrien

Mr. &Mrs. William T McConnickJr

Mrs Wade H. McCreeJr.

Mr & Mrs. Frank McKulka

Mr. & Mrs. Eugene A. Miller

Mr. & Mrs. Jeffrey Miro

Come and experience the comfort, convenience, fit and finish of our new ly re-designed and re-engineered dealership facility. The true luxury and performance of the Acura sedans and coupes are now presented and described in a style appreciated by the discriminating enthusiast.

We welcome your visit...soon.

Ms. Monica Moffat & Mr. Patrick McGuire

Mr. & Mrs. Theodore Monolidis

Mr. & Mrs. Fred Morganroth

Mr. & Mrs. E. Clarence Mularoni

Dr. & Mrs. Stephen Munk

Mr. & Mrs. E. Michael Mutchler

Mrs. jennifer Nasser

Mr. Christopher Nern

Mr. & Mrs. Harry Nosanchuk

Mr. & Mrs. ju les L Pa ll one

Mr. & Mrs.james Pamel

Mr. & Mrs. Spencer Partrich

Dr. Robert 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 j r.

Mrs. Ruth F. Rattner

Dr. Irvin Reid & Dr. Pamela Trotman Reid

Mr. & Mrs. Roy S. Roberts

Ms. Patricia H Rodzik

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. Arnold Schafer

Dr. & Mrs. Norman R. Schakne

Mr. & Mrs. Alan E. Schwartz

Mr. & Mrs. Gregory j. Schwartz

Mr. & Mrs Benjamin Schwegman

Mr. & Mrs. Donald E. Schwendemann

Mr. & Mrs. Merton Segal

Mr. & Mrs. Mark Shaevsky

Mrs. Frank C. Shaler

APPRECIATION

I app reciate my filthers confidence that I can make the family business grow and some day pass it on to my children The Private Client Gro up is there at my side, every step of the way

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Ms. Elham Shayota

Mr. & Mrs. Roger F Sherman

Mr. Mark Silverman

Mr. & Mrs. Richard Sloan

Ms. Phyllis Funk Snow

Mr. & Mrs. Dav id Snyder

Mr. & Mrs Antho ny L Soave

Mr. Richard A. Sone n klar

Dr. & Mrs. She ldon Sonkin

Mr. & Mrs. Richard D. Starkweather

Mr. Frank D. Stella

Ms. Mary Anne Stella

Mrs. Mark C. Stevens

Mrs. Rudo lph Stonisch

Mr. & Mrs. Stephen Strome

Mr. & Mrs. George Strumbos

Mr. Ronald F Sw it zer

Dr. & Mrs. Anthony R. Tersigni

Dr. Lorna Thomas

Dr. Roberta & Mr. Sheldon Toll

Mr. & Mrs. C. Thomas Toppin

Mr. & Mrs. Gary Torgow

Mr. & Mrs. Geo rge Torreano

Mrs. Lynn A. Townsend

Mr. j ames Trebilcott

Mr. & Mrs. Raymond Vecci

Mr. & Mrs. George C. Vincen t

Mrs. Alvin Wasserman

Mr. & Mrs. Gary L Wasserman

Mr. & Mrs. Kenneth Way

Mr. & Mrs. Richard C. Webb

Mrs. Amelia H Wilhelm

Dr. & Mrs. Christopher D. Wilhelm

Mr. R.jamison Will iamsjr.

Dr. & Mrs. Sam B. Wi lliams

Mrs. R. Alexander Wrigley

The Hon . j oan E Young & Mr. Thomas L Schellenberg

Mr. & Mrs. john E Yo ung

Dr. Lucia Za morano

Mr. & Mrs. Ted Zegouras

Mr. & Mrs. George M. Zel tzer

Dr. & Mrs. Dieter Ze tsche

Mr. & Mrs. Morton Zieve

Dr. & Mrs. Mart in Zimmerman

Mrs. Paul Zuckerman

TRUSTEES EMERITUS

Mrs. james Merriam Barnes

Dr. & Mrs. Robert Gerisch

Mrs. Aa ron Gers henson

Mr. & Mrs. james Gram

Mrs. Katherine Gr ibbs

Mrs. Robert Hamady

Mr. & Mrs. E.jan Hartmann

Mrs. jesse Mann

Mrs. Ralph Polk

Mr. & Mrs. Fred Sc h neidewind

Mr. & Mrs. Robert VanderKloot

FOUNDING MEMBERS

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

The Hon & Mrs Avern L Cohn

Mr. & Mrs. john DeCarlo

Dr. and Mrs. David DiC hi era

Mr. & Mrs Aaron H Gershenson

Mr. & Mrs. Donald C. Graves

The Hon. & Mrs Roman S. Gribbs

Mr. & Mrs. j ohn C. Griffin

Mr. & Mrs. Harry L jones

The Ho n & Mrs. Wade McCreejr.

Mr. Harry j. Nederlander

Mr. E. Harwood Rydholm

Mr. & Mrs. Neil Snow

Mr. & Mrs Richa rd Strichartz

Mr. & Mrs. Robert C. VanderKloot

Mr. & Mrs. Sam B. Williams

Mr. & Mrs. Theodore 0 Yntema HI

"Brokfrtlgt provided through NntCity Inv(Stmt'!Jts, fllC, NationalCi ty.co m/wealth • <02002. Narional City CorporJrion

New Century Fund Campaign . The Crowning Achievement

Michigan Opera Theatre launched The Ne w Century Fund Campaign : The Crowning Achievement , the third and final phase of its campaign for the Detroit Opera House, in 200 1. The $20 million raised during this campaign will bring the total amount for acquiring and restoring the Detroit Opera House to $62 million.

The main components of The Crowning Achievement include renovation of the six-floor Broadway Tower to create the Center for Arts and Learning , construction of a parking garage, an endowment goal, decorative painting in the Detroit Opera House and retirement of construction debt.

VIS IONARIES Dr David DiChiera

Anonymous Donor -

$1,000 ,000 TO Mr Charles & Dr Charlotte Broadway Facade

$1 ,999 ,999 Podowski

Anonymous

Mr & Mrs john A. Boll

GUARANTORS

$500 ,000 TO $999 ,999

Davi Handleman

Dr. & Mrs Donald C. Austin-

Dr & Mrs Dieter Zetsche Grand Central Chandelier

AFICIONADOS

$10 ,000 TO $14,999

Betty & Bill Brooks

As of March 2003 , over $6 million had been raised. Michigan Opera Theatre acknowledges the following individuals, corporations and foundations for their generous support of this effort When this third phase of the campaign is finished , a cumulati ve donor list will be published, recognizing donors to all three capital campaigns from 1989 to the conclusion of The Achiev ement. This cumulative listing will also be reflected in a new donor wall in the grand lobby of the Detroit Opera House. We thank y ou for your extraordinary support and commitment. m

Chaim, Fanny, Louis, Benjamin and Ann Florence Kaufman Memoria l TrustGrand Side Chandelier

BASF Corporation - Med ia

Studio Classroom

Mr & Mrs. j ohn A. Boll-

Glolia & Fred Clark Marlene C. Boll Hall

Mr & Mrs. Alex Erdeljan Comerica Charitable

Detroit Grand Opera Marjorie M Fisher Foundation - Grand Dome Association

UNDERWRITERS

$250,000 TO $499 ,999

AAA

Masco Corporation

Mr. & Mrs. Roger S. Penske

james & Barbara Garavaglia

Eugene & Donna Hamvig

DaimlerChrysler C0'brauon-

Roy & Maureen Roberts Commun it y Per onnance

Mr & Mrs . Robert Rauth

Sandy Family Foundation

Mr. & Mrs. Stephen Strome

Standard Federal Bank DEVOTEES

PARTNER S

$5 ,000 TO $9 ,999

Mr. & Mrs. j. Addison

Theate r

Mr & Mrs. Tarik S Daoud-

Grand Drape

Detroit Edison Foundation-

Mezzanine Level in

Opera Hall

Mr & Mrs. Robert E. Dewar-

$ 100,000 TO $249 ,999 Bartush Trustee Circle

Mr & Mrs. Lee Barthel & Peter Madison Lobby

Barbara Frankel & Ronald

Wallis & Robert M. KleinGrand Staircase Mirror

Dolores & Paul LavinsGrand Side Chande lier Grand Staircase Mirror

Lear CorporationTrustee Circle Level in Opera Hall

The Lomason FamilyThe William K. & Neva Lomason Opera Lounge

Oliver Dewey Marcks Foundation - Third Floor Promenade, Staircase Lobby to 2nd Floor, Madison

Fran G. & Gertru e Michalak Dunlap Foundation

Mrs. Cheryl Fallen Broadway Box Office

Mary Sue & Paul EwingHerman & Sharon Frankel

Lear Corporation

Ann & Larry Garberding Ford Motor Company -

Mr & Mrs Harry A. Lomason Mrs Robert M. Hamady Backstage Renovation

R j amison Williams jr Rose & David Handleman Broadway Lobby Mr & Mrs Kenneth E. Hart Barbara Frankel & Ron

SPONSORS Gary E & Gwenn C. j ohnson Michalak-Patron Elevator

$50 ,000 TO $99,999

Lucie B. Meininge r in Administration Tower

Mary Sue & Paul Mrs. Ru th F Rattner Herman & Barbara FrankelHandleman Company Patricia Rodzik General Director'; Circle

The Karen & Drew Peslar Lorna Thomas, M.D. Lounge Foundation

Mr & Mrs. C. Thomas TO:in

PRS Chemicals Richard & Kathleen Web General Motors CorporationGeorge M. & Pearl Zeltzer General Motors Opera

Named Gi fts Cafe

ASSOCIATE SPONSORS We extend our gratitude to Robert & Alice Gustafson-

$25,000 TO $49 ,99 9 the following donors , who Third Floor Lobby

Mr & Mrs. Tarik S. Daoud have underwritten deSignated Alcove, Madison

Mrs. Charles M. Endicott areas in the Detmit Opera Da vid Handleman - Media

Mary Lou & Richard janes House: Stud io, Center for Arts & Nanc y & Bud Uebler

AAA- Proscenium Arch Learning

Mr. Alphonse S. Lucarelli

Dr & Mrs. Roger M. Ajluni- Richard & Mary Lou JanesFrank & Karen Nesi Third Floor Lobby

judy Schwartz Grand Staircase

Elham Shayota

Mr & Mrs. Robert A. Allesee- Alcove, Broadway

Mr. & Mrs. George C. Vincent Allesee Dance Patron Lounge

CONNOISSEURS All esee Dance & Opera

$15 ,000 TO $24, 999 Resource Library

Dr & Mrs. Donald C. Austin Anonymous Donor - Grand

Larry & Dodie David Lobby

MichCon FoundationLobby Boutique

The Karen & Drew Peslar Foundation - Co-Star Dressing Room

Mr & Mrs . Irving RosePatron Elevator in Lobby Tower

Mrs Carolyn L. RossGra nd Staircase Mirror

Raymond C. Smith

Founda tion Fund of the Commu nity Foundation for Southeastern Michigan-Raymond C.

Smi th Lobby

Mr & Mrs. Lynn TownsendTrustee Circle Broadway Lobby

Mr & Mrs. George VincentMadison Lobby

Mr & Mrs. Alvin WassemtanBox Level Promenade

World Heritage FoundationConductor's Dressing Room

ANTIQUE METAL RESTORATION

D e nt and scratch removal

Re-attac hment • Polishing

Flatware buffmg

Sterling, brass , copper, bronze , and plate

Ben Weariey; silversmith (248)549-3016 CranbrookAcad e my of Art Graduate

1719 West Fourteen Mile Road Royal Oak (East of Woodward Ave. , at Crooks Rd. , next to the sw corner)

Several named gift opporturtities are available in the Detroit Opera House. For more information , please caU the Development Department at (313) 237-3438. m

A perform ing and fine arts high school

dance theatre visual arts ' vocal music

The Avanti Society

Th e Italian word "avanti " means "ahead " or "forward. " The Avanti Society of Michigan

O p er a Th ea tre is a special group of fo r wa rdthinki n g donors , who have des i gnated a specia l gift to benefit Michigan Opera Theatre in the future. The se generous gifts ensure our artistic progress for th e benefit of generation s to co m e

Gifts can be m ade throu gh a va riet y of estate planning instrum ents , including bequests , trusts and o th er p lanned giving arra n gements.

instrumental music core curriculum

(586) 427 4569

www.artsacademy-woods .org

.Where the Spirit of Music and Dance and Theatre Thrive!

April 27,2003

"Hold On! Songs of Endurance and Liberation"

Songs that were sung during struggles for freedom wo r ldwide 4:00 p.m. Sacred Heart Chapel

May 2003

Pedagogy Workshop in Ballet and Master Class

MayS-June 1

Plowshares "The Black Man"

June 30 - July 2S

Totally Theatre, sessions A & B

Call 313 -927-1 306 for information

8425 W. McNichols Road Detroit, Michigan 48221

www.marygrove.edu

• Annual r eco gnition event featuring guest artists.

• Ed ucat ional semina r s.

• Indi vidua li zed es tate p lanning assistance for be q uests, trusts , li fe incom e plan s and other charitable gifts to Michigan Opera Theatre.

• Recognition on the do n or wall in th e Detroit Opera House and in the seaso n program books.

If yo u are intereste d in making a planned gift to Michigan Opera Theatre and thereb y qualifying for membe r shi p in The Avanti Society, p lease contac t : Benefits of Th e Avant i Soci ety include : • Invitat ions to dress rehearsa ls and other spec ial events not offered to th e ge n era l p u b li c

J a n e Fanning, Associate Director of Develo pment at (313) 237- 3 2 6 8 or jfa nn in g@ m o t o p e ra .org

A message from a long·time donor and volunteer

Art and I have both been Detroit area residents all of our lives. We have b een married ahnost 3 4 years , and for a number of years, we h ave thought about getting our fina n cial affai.rs in order Making a will was esp ecially important, since we were never blessed with chil dren . We d idn 't want the government to b e making our financial decisions fo r u s aft er we were gone.

About a year an d a half ago, we contac te d a lawyer and started the pap erwork. After we took care of our love d ones, we wanted to remember organizations an d ch arities that brou ght u s pleasure and happiness during our li fetime.

We have had season tickets for Michigan Op era Th ea tre since 1972 , and I have been a volunteer in the Production Department almost 19 years.

We want to help make sure Michigan Opera Thea tre will go on to thrill audiences for man y years , a ft er we are gone and other peop le are sitting in our seats.

It h as given us p eace of mind to know that our financia l matters are in order and our wishes will be carried out according to our plans .

Sin ce r ely, Nancy Kro li kowski

FOUNDING MEMBERS

Mrs. Adele Amerman

Dr. Lourdes V Andaya

Mr. &: Mrs. Agustin Ar.bu lu

Chester. &: Emelia Arnold

J. Addison Bartush *

Mr. &: Mrs. Br.ett Batterson

Mr. &: Mrs. Art Blair

Ro y E. and lise Calcagno

Gladys Caldroney

Dr. Robert Cornette *

Dr &: Mrs. Victor J. Cervenak

Mr. &: Mrs. Tarik Daoud

Mrs Robert E. Dewar*

Karen VanderKloot DiChiera *

Mr. &: Mrs. Charles H. Duncan

Mrs. Charles M. End icott

Mr. Herb Fish er

Barbara Frankel *

Herman Frankel *

Mrs. Rema Frank el *

Byron P Georgeson

Priscilla R. Greenberg , Ph.D. *

Mr. LIwrence W Hall

Mr. &: Mrs. Jerome Halperin

Mr. David Hand leman

Mr. &: Mr.s. Kenneth E. Han

Mr. &: Mrs. Eugen e L. Hamvi g

Dr. Cindy Hung

Kristin Jaramillo

Mr. Donald Jensen

Mr. &: Mrs. Envin H. Klopfer*

Misses Ph yllis and Selma Korn

Mr. &: Mrs. Arthur Krolikowski

Ms. Virginia Mascali

Mrs. Wade H. McCree

Ms. Jane McKee

Drs Orlando & Dorothy Miller

Mr. Ronald K Morrison

Mr. Dale). Pangonis

Mr. Rlchard M. Raisin

Mrs. Ruth F Rattner*

Marguerite &: James Rlgby

Ms. Patricia Rodzik

Ms. Susan Schooner

Drs. Heinz &: Alice Pl att Schwarz

Mrs. Frank C. Shaler

Ms. Ph yllis Funk Snow

Mr. &: Mrs. Rlchard Starkwea ther

Mrs. Mark C. Stevens*

Mr. Jonathan Swift &: Mr. Thomas A.

Sf. Charles

Mr. Ronald F Switzer

Ms. Mary Ellen Tappan *

Donald &: Margaret Thurber

Mr. Edward D. Tussett

Mr. &: Mrs. George Vincent

Mrs. Ame lia H. Wilhelm *

Elizabeth and Wal ter P Work

Mr. &: Mrs. George M. Zeltzer

* Michigan Opera Theatre thanks O UT

generous Touch the Future Campaign donors.

BEQUESTS

Mr. Allen B Christman

Ms Adele DeVli eg

Mr. James P Diamond

Pliscilla A. B. Goodell

Mr. Ernest Goodman

Mrs. Roben M. Hamady

Mr. Bruce Hillman

Mr. Gordon V Hoialmen

Mr.. CarlJ. Huss

Ms. Helen Barbara Johnston

Ms. Helen Miller

Mrs. Ella M. Montroy

Ruth Rawlings Mott

Clarice Odgers Pereox

Mr. Thomas G. Porter

Mr. Mitchell). Romanowski

Mr. Edward C. Stah l

MARYG ROVE COLLEG E

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

TOUCH TIlE

FUTURE

Originally, 13 organizations were chosen for this honor, and after March 31, 200 1 , only nine organizations , including Michigan Opera Theatre, remained in the program We are working together with the other organizations and the Community Foundation to build endowments for the future of this community and southeastern Michigan.

As a participant , Michigan Opera Theatre is eligible to receive over $300,000 in matching grant funds to go into MOTs endowment at the Community Foundation and $130, 000 in operating support from CFSM. In order to receive thes e funds, we must raise over $2 ,0 00 ,00 0 in qualified planned gifts, such as Charitable Gift Annuities, Charitable Remainder Trusts, Life Insurance or Pooled Income Funds.

To date, Michigan Opera Theatre has raised over $ 1,200,000 (face value) of new endowment gifts through the Touch the Future program and $ 186 ,000 in matching funds for its endowment at the Community Foundation , and has received another $75 ,000 in operating support.

When you give to the endowment of your favorite charity, regardless of the amount, you do an incredible thing -you touch people's lives for years t o come. And the feeling you get from that is impossible to measure in dollars and cents Find out more by contac ting the Michigan Opera Theatre at 313- 23 7-326 8 or the Community Foundation for Sou theastern Michigan at 1-888-WE-ENDOW or www cfsem org.

If you wou ld like more information about how you can be a part of this unpara ll ele d opportu nity for Mich igan Opera Theatre, p l ease call Jane Fanning in the Planned Giving Department at (313) 237·3268.

Together, we can touch

---' the future.

Michigan Opera Theatre

Michigan Opera Th eatre gratefull y ackno wledges the gen erou s corpo ra te, fo u ndation , gove rnmen t and indivi d ual donors whose co ntribu tions we re m ad e b e tween July 1 , 200 1 , an d June 3 0 , 2002. Th eir gen e ro sity plays an integral part in the co m pan y's fin ancial s tability, n ecessary for produ cing qu ality grand op era, dance and mu sical th ea ter.

In addition to enjoying ou ts tanding entertainment on th e Detro it Op era Hou se stage, con tributors are offered a numb er of opp ortunitie s tha t all ow them to ob se rve th e many phases o f opera and dance pro du c tion , m ee t the artis ts and experien ce other "b eh ind - the-sce n es" ac tivi ties.

CORPORATE MAJOR BENEFACTOR UAW-G M Center for CONTRIBUTIONS

$25,000 TO $49,999 Huma n Resources

GRAND BENEFACTOR SBC Amer itec h Dance Th eat re of Harlem

$200,000 + Carmen Opening Night Perfo rmance Sponsor

Ford Moto r Co mpany Sponsor

Fund 2001/2002 Dance Theatre of Harlem SUSTAINER

Fall Season Sponsor $5 ,000 TO $9 ,999 Residency Sponsor

200 1 Opera Ball Sponsor GMAC Financial Services Heal th Alliance Plan

Dance Theatre of Harlem Dance TIleatre of Harlem Fried, Saperstein & Abbott, Opening Night Education & Outreach PC

Fes tivit ies Sponsor jaffrey Ballet of Chicago

Gene ral Operating Ganne tt Fou ndation, Inc. Spo nsor

Support The Nutcracher Thyssen Inc., N.A.

Genera l Motors Corporation Promotion Sponsor Victor Internat ional

200112002 Spring Northwest Airlines jaff/'ey Ballet of Chicago

Season Sponsor Ai rl ine Sponsor Sponsor

Otell.o Opening Night Opera Ba ll Sponsor

Dance Theatre of Harlem Scott Shuptrine PATRON Opera and Dance Talks $2,500 TO $4 ,999

Opening Nigh t

Genera l Operating Sponsor Boardwa lk Development Conway MacKenzie & Support BENEFACTOR

DaimlerChrysler $15 ,000 TO $24,999 Dunleavy

Corpo ration Fund jaffrey Ballet of Chicago

200112002 Dance AAA Mic hi gan Sponsor

Season Sponsor Ope ra Ba ll Sponsor Kenwal Steel Corp. Golf Tournament Sponsor Dance Theatre of Harlem General Operating Trot t & Troll , PC Production Sponsor Support j affrey Ballet of Chicago

Dance TIleatre of Harlem Lea r Corporation Sponsor Opening Night Opera Ball Sponsor Walbridge-Ald inger

Genera l Operati ng Com pany Gol f Tourn ament Sup port FELLOW Sponso r $10 ,000 TO $14,999

$50 ,000 TO $199,999 Opera Ball Sponsor $1,000 TO $2,499

Bank One, Mich igan

The Nutcracker Foundat ion

Consumers Energy General Dynamics Land

Produc ti on Sponsorship Com munity Programs Systems, Inc.

Dance Theatre of Harlem Touring Sponsor IATSE Loca l 38

ReS ide ncy Sponsor Flagstar Bank Larso n Realty Group

Opera Ba ll Sponsor Time Out for Opera Michigan Regional Counci l

Come rica Incorporated Sponsor of Carpenters

Opera Ball Sponsor Grunwell -Cashe ro Co., Inc. Pres idion Solutions

Lakme Performance Golf Tournament Process Deve lopment Corp.

Sponso r Sponso r Progressive Mechan ica l, Inc.

jaffrey Ballet of Chi cago Masco Co rporation Rea l Estate One In c.

Sponso r Opera Ba ll Sponso r Wa rren Contractors and BravaBrava! Event Motor City CasinoNicki & Development, Inc.

Sponsor Tom Ce lani

Dance Theatre of Hal'iem jaff/'ey Ballet of Chicago

Sponsor Spo nsor

Marsha ll Fields Soave Enterprises

CONTRIBUTOR

$500 TO $999

Albe rt Kahn AssOCia tes, Inc.

Project Imagine Opera Ball Sponsor Brownrigg Companies, Ltd.

The Ghafari Com panies

The Maniage of Figaw Opera Ball Sponso r Comeri ca Insurance SeMoes

Production Sponsorshi p

The KOjaian Companies Dyke ma Gosset t

jaffrey Ballet of Chicago Edgewood Elect ri C, Inc.

Sponsor Moffat McGuire, Inc.

National City Ba nk of MAJOR BENEFACTOR Meyer & Anna Prentis Michigan

$25,000 TO $99,999 Family Founda ti on Nova Tit le Company Co mm unity Founda ti on Trus tees: Ba rbara P

Plastome r Corpo rat ion for Southeastem Michigan Fren kel, Marvin A.

PriceWa terhouseCoo pers De troit Youth Foundation Fren kel, Dale P Dance Theatre of Harlem Frenkel, Ronald P LLP. Frenke l, Tom P.

PPG Industri es Foundation

Presenting Spo nsor Frenke l, Denise L

Hudson-Webber Foundation

Russell Indust ria l Ce nt er Brown, Cindy Frenkel, Dance Theatre of Har lem Nelso n P Lande

Septe mber Moon Presenting Sponsor You ng Womans Home Product ion Network Geneml Opemting Support Association

Solomon Friedman AdvertiSin g

Star Corporation

BENEFACTOR

$15,000 TO $24,999

DONOR

$1,000 TO $2,499

Technico m Capita l Region Community Foundation &rnard L Maas Foundation

Thom pson-B ro wn Realto rs

TicketMas ter Communi ty Founda tion of Found ation Greater Flint

SUPPORTER

DeRoy Testamentary

$100 TO $499 Foundation

Aldoa Company

As h Stevens Inc.

Herbert & Elsa Pont in g

The Sigmund & Sophie

Rohlik Foundation

Sage Foundation Tuscola County

Community Foundation

The Villa£e Woman 's Club

BPS Corporate Tra ining & FELLOW Foun arion

Conference Cente r

$10,000 TO $14 ,999

El izabeth, Alla n & Warren

Busy Bee Hardware Stores, GENERAL DIRECTOR 'S Inc. Shelden Fund CIRCLE MEMBERSHIP

CBS Network Michigan Gateway 2001/2002

Community Foundation IMPRESARIO

Cook Systems, Inc.

Oli ver Dewey Marcks

John E. Gree n Co mp any Foundation

$10,000+

Mr. & Mrs. Do uglas F. Lev itatio n, In c. Saginaw Community Al li son

Maddin, Hauser, Wartell , Foundation

Mr & Mrs. Roy E. Ca lcagno Roth, et al.

The Mary Thompson

Mikeys Lock & Key Service Foundation

Mr & Mrs. Paul Ewing

Mrs. Barbara Frankel & Mu Phi Epsilon De tro it

The Samue l L Westerman

Mr. Ronald Michalak Alumni Chapter Foundation

Spec ial Eve nts Party Rental

Standard Federal Bank

Ten Air, Inc.

The Maniage of Figaro

Performance Sponsor

Whitney Fund

SUSTAINER

FOUNDATION AND $5,000 TO $9,999

GOVERNMENT SUPPORT

Mr & Mrs. Irving Rose

BENEFACTOR

$5 ,000-$9,999

Mr & Mrs. Robert A. Allesee

Mr. & Mrs . Thomas Anderson

Ali ce Kales Hartwick

Foundation

Dr. & Mrs. Dona ld C an Cul tu ral Affai rs Ann & Gordo n Getty Austin

Dr. & Mrs. Agustin Arbu lu Co uncil for Arts

National End owment for Founda ti on

Mr. & Mrs.]. Ad dison the Arts

SIGNAL BENEFACTOR

]. Ernest & Almena Gray Bartush

Wilde Foundation

James & Lynelle Holden

$100 ,000 + Fund

Ma tilda R. Wilson Fund

Ra lph L. & Wi ni fred E.

Rosalie & Pete r Beer

Mr. Clark

Mr. Thomas Cohn

Mr. & Mrs. Cameron B. McGregor Fu nd Polk Foundatio n Dunca n

The Skillman Foundatio n

PATRON

$2 ,500 TO $4,999

Mrs. Charles M. Endico tt

Mr. & Mrs. Herman

Jun ior League of Detro it Franke l

Louis & Nellie Sieg

Foundation

Mrs. Roger W Hull

Mr. & Mrs Richard Janes

Dr &'. Mrs. Anthony DeLuca

Roy K. Dennison &'. Darlene Karle

Mrs. Mary De Tomaso

Mr. &'. Mrs Carlos Diaz

Mr. John R. DiLodovico

Mr. John Dodds

Mr &'. Mrs. Marc Dolin

Dr. Helene C. Dombrowski

Mr. &'. Mrs. Harold B. Doremus

Mr. John Dreifus

Mr. &'. Mrs. Joseph R Dudley

Mrs. Saul H. Dunitz

Ms. Ingrid Brit Eidnes

Hon. &'. Mrs. S. J Elden

Dr. &'. Mrs. Richard FElton

Dr. &'. Mrs. N. Cary Engleberg

Mr. &'. Mrs. Paul S. Ensing

Mr. &'. Mrs. Abram Epstein

Dr. &'. Mrs. Marko Farion

Dr. &'. Mrs. Irving Feller<

Mr. Dan Ferrier

The Hon. Sharon Tevis Finch

Dr. &'. Mrs. Lionel Finkelstein

Dr. Julie B. Finn

Mr. &'. Mrs. Waiter B Fisher

Mr. William F Fisher

Mr. &'. Mrs. James E. Fisk

Mr Shirley M. Flanagan

Mr. &'. Mrs. Carl B. Fontana

Mr. &'. Mrs Anthony C. Fortunski

Ms. Doris R. Foster

Mr. &'. Mrs. Helmut Franz

Dr. Yvonne Friday

Mr. &'. Mrs Eugene S. Friedman

Mr Robert Furlong

Dr. &'. Mrs. James W Gell

Ms. Virginia George

Mr Thomas M. Gervasi

Mr. &'. Mrs StephenJ Gilben

Mr. Randall J Gillary

Ms. Anne Ginn

Ms. Patricia Godell

Mr. Gordon Godsell

Dr &'. Mrs. Joel Go ldb erg

Dr &'. Mrs. Paul Goodman

Mr. &'. Mrs. William R. Goudie

Mr. &'. Mrs. William W Gourley

Mr. &'. Mrs. Harvey Grace

Mrs . Patricia Greenwood

Dr. &'. Mrs. John N. Grekin

Mr. &'. Mrs. E W Gr idley

Dr. Rosalind E. Griffin

Mr. &'. Mrs. Grovenor Grimes

Mr. &'. Mrs. Carson C. Grunewald

Ms Karen Niva Gubachy, C. PA

Mr. &'. Mrs. Philip Haddad

Mr &'. Mrs. Robert Hage

Mr. Nizami Hahm

Mr. Lawrence Hall

Dr. & Mrs. Natan HarPaz

Dr. &'. Mrs. John M Hanzell

Detroit Opera House

Mr. &'. Mrs Stephen R Harvath

Ms Joann Hatton

Mr. &'. Mrs. Willlam B. Heaton

Mr &'. Mrs. Fred J Hend ra

Dr. &'. Mrs. Michael Hepner

Dr. Gloria Heppner

Dr. &'. Mrs. Martin M. Herman

Mr &'. Mrs. John Hicks

Mr. &'. Mrs. John W Hill

Mr. Richa rd Hill

Dr. &'. Mrs. James Hoeschele

Dr. Jean Holland

Mr. &'. Mrs. Jan Holman

Mrs Sally Holmes

Mr. Rex Holton

Ms. Donna Holycross

Anonymous

Mr. &'. Mrs. Alan Hudson

Ms. Daisy Marguerite Humes

Mrs. Almeda Hunter

Mr. &'. Mrs. Jacob Hurwitz

Mr. &'. Mrs. Mario Iacobelli

Mrs . David Jacknow

Mr. &'. Mrs. Zoltan J Janos i

Mrs Esther Jaruga

Mr. Joseph F Jeannette

Mrs. Christine Jennette

Mr John W Jickling

Dr. &'. Mrs. Arthur J. Johnson

Dr &'. Mrs Arthur L. Johnson

Mrs. Ollie Johnson

Mr. &'. Mrs. Steven Johnson

Ms. Rosemary Joliat

Ms. Mary B. Jolliffe

Mr. &'. Mrs Chois Jones

Mr. Brian E. Jorde

Mr. Theresa Joswick

Drs. Mark &'. Nadia Juzych

Mr. Michael Kachman

Mr Paul Y. Kadish

Mrs. Elmer Kapp

Mrs Nancy L. Kassab

Mr. Henry M. Kassen

Mr. Albert Kebl

Mr. &'. Mrs. Barry Keller

Dr. Annetta R. Kelly

Mr. John Keros

Mr. &'. Mrs. Gerd H Keuffel

Mr. Robert Kirsammer

Dr. &'. Mrs Edward Klannan

Mr. &'. Mrs. Justin Klimko

Mr. &'. Mrs. Donald A Knapp

Mr. John Knapp

Mr. &'. Mrs. Robert] Koffron

Mr. Daniel B. Kolton

Mr. Robert Kozar

Ms. Mary Kramer

Mr. &'. Mrs. Karl A Kreft

Dr. &'. Mrs. Richard Kulbersh

Mr. Ralph Kwyer

Mr. Joseph W Labuta

Mr. Ann Lambrecht

Mr Henry J La Motte

Ms. Bernadette L. Lane

Mr. &'. Mrs. Darwin La rson

Del Lauria

Mr Ray H. Lawson

Mr. &'. Mrs. Robert E. Lazzerin Jr

Mr. Philip Leon

Adrienne Leonard

Dr. &'. Mrs. Paul Lessem

Mr. &'. Mrs. Kennet h Levin

Mr. &'. Mrs. John D Lewis

Dr. &'. Mrs. John H. Libcke

Mrs. Elizabeth Lifsey

Mr. David L. Lindauer

Mr. &'. Mrs Robert A Line Jr.

Ms Karen Li nnell

Mr. &'. Mrs. Ray Litt

Mrs. Linda Lott

Ms. Elaine Lovitt

Mr. &'. Mrs. John Lowe

Ms. Marie Lozon

Mr. Ivan Ludington Jr.

Fred &'. Lauretta Lyon

Dr. Melody M. MacMartin

Mr. Michael Madigan

Ms. Suzanne Maldaver

Ms. Janet R. Marsh

Dr. David E. Massignan

Mr. &'. Mrs. Marco Maxemovich

Mr. Timothy Mayer

Ms. Jodi F Mays

Ms. Mary C. Mazure

Ms Ann McClellan

Lillian McCormick

Mr. &'. Mrs. Ralph McCreedy

Ms. Katherine McCullough

CONTRIBUTORS

Ms. Vivien McDonald

Mr. Donald E. Mclntosh

Mr. & Mrs. Patrick McKeever

Mr. &'. Mrs. John McMullin

Ms. Ann McNichol

Mr. &'. Mrs Otto Mehringer

Mr. Wayne R. Melchior

Mr. &'. Mrs. Warren A Merchant

Dr. &'. Mrs. Herman] Merte

Ms. Carla Michaud

Mr. & Mrs. Robert Michielutti

Mrs. Stephen Migdal

Mr. &'. Mrs. John 1. Miller

Mr. Leonard Miller

Mr. &'. Mrs. Milton] Miller

Dr. &'. Mrs. Ronald Miller

Mr. & Mrs. Stanley Millman

Mrs. Gretchen Mizerowski

Ms. Miriam Mondry

Dr. &'. Mrs. Eliezer Monge

Mrs Charles R. Moon

Jay K. Moon

Ms. Linda Moore

Ms. Theresa S. Moreland

Dr. James L. Moseley

Mrs. Maxine Moseley

Mr. &'. Mrs. James D. Mu ir

Mr. &'. Mrs Germano L. Mularoni

James &'. Maree Mulvoy

Mrs O. W Nazzaro

Mr. James A Neelands

Ms. Kathleen Nemecek

Mr Gerard F Heeley &'.

Mr. Paul Newman

Mr. &'. Mrs. Franco Omid Nonahal

Mr. &'. Mrs. Richard L. Norling

Mrs Stanley Nowakwoski

Dr. Eugene Oliveri

Mr Dale] Pangonis

Mr. &'. Mrs. William C. Panzer

Ms. Margot Parker

Dr. &'. Mrs. Francis Pasley

Mr. Duane Pavey

Mr. Jim Pawlicki

Ms. Betty M. Pecsenye

Ms. Haryani Permana

Mr. Claus Petermann

Mr. Charles Phillips

Dr. &'. Mrs. Kenneth E Pitts

Richard & Meryl Place Fund

Mrs David W Porrer

Joyce Prellberg

Mrs. Virginia Provenzano

Mr. Ross Pudaloff

Mr. &'. Mrs. James Quinn

Dr. Robin Jo Ramsay

Mr &'. Mrs Jack Ransome

Mrs. Susan D. Reames

Mr. &'. Mrs. John W Reddy

Dr. Me lvin L. Reed

Dr. Pat ricia Reed

My. Dennis C. Regan

Mr &'. Mrs William Remer

Mr. &'. Mrs. John ] Riccardo

Mrs Miriam C. Richardson

Dr. Kenneth] Richter

Mr. Milton H. Ring

Mr. &'. Mrs Thomas P Rockwell

Mr. &'. Mrs. Peter J Roddy

Ms. Joanne B Rooney

Mr &'. Mrs. Arthur Roshak

Ms. Mary P Rossio

Mrs Kat hleen L. Royal

Mr. &'. Mrs. Leroy H. Runk

Mr. Daniel G. Rusecki

Mr. &'. Mrs. Charles Rush

Ms. Concetta Russo

Mrs. Margaret Sagan

Dr. & Mrs Wtlliam H. Salot

Brian &'. Toni SanchezMurphy

Mr. &'. Mrs. George E. Saunders

Dr. Karen L. Saxton

Ms. Georgia Scappaticci

Mr. &'. Mrs. Jeff Schiefer

Mrs Trudi Schreiber

Mr &'. Mrs Sherwin Schreier

Mrs. Paula Schroeder

Mrs. Mamita M Scot t

Mr. &'. Mrs. Kingsley Sears

Dr. &'. Mrs. Nathan P Segel

Mr. &'. Mrs. Marc Shaberman

Dr. John E. Sheard

Farewell to our friends

BARBARA FRENKEL

When Barbara Frenkel became involved with Michigan Opera Theatre, our home was at the Music Hall. The Frenkels became members of Michigan Opera Theatre's Board of Trustees and were very supportive of MOT's development of the Detroit Opera House. Barbara volunteered for many events and loved opera, La Boheme being her favorite. "When I was a child, I remember my mother looking so beautiful, all dressed up, going to the opera," recalls daughter, Cindy Frenkel.

Marvin says tha t , "People were always touched by Barbara's generosity of spirit and willingness to

EDWARD FROHLICH

Ed Frolich may h ave been a successfu l lawyer, but his passion was music - both listening to it and making it. He also loved parties and a ll things Italian. It was Ed who introduced David DiChiera to the

give back to the community " Their daughter Cindy is follOwing in her mother's footsteps. Cindy will be one of the interviewers for the Oral Histories of Detroit's Legends in the Arts, Culture and Education at Learning at the Opera House this summer. m

GWEN GRIFFIN

Mrs. Griffin and her husband, John, were founding members of Michigan Opera Theatre. They also served on the Board of Trustees, and J ohn served on the Board of Directors The Griffin's lakeside Grosse Pointe home was the site for many parties and meetings during the opera company's formative years, where Gwen was a gracious and thoughtfu l hostess. The Griffins were active members of the Detroit Grand Opera Association, which was the organization that sponsored th e annual Metropolitan Opera Association tour from New York to cities across the country, including Detroit. The Griffins were among the first couples who believed that Overture to Opera, begun under the auspices of the Detroi t Grand Opera Association, shou ld become an independent opera company, centered in Detroit and serving the entire state It was John Griffin who introduced David DiChiera to Merv Gaskin, owner of Mu sic Hall, which led to the restoration of that theater in 1971, Michigan Opera Theatre's first home, for 14 years.

Italian Council in Detroit. Because of his cultivation of Italian hiStory, culture and music, Ed was awarded the coveted title of Cavaliere dell'Ordine "AI Merito della Republica Italiana." A few years later, David DiChiera received the same honor. One of Ed and David's favorite pastimes was p laying duets on the piano - the more difficult, the better. Ed was a believer in music education and championed the idea th at true literacy included the ability to read music. He will be missed as one of Detroit's great musical patrons. His generosity to Michigan Opera Theatre will help his musical ambitions come true. m

www.MichiganOpera.org

Learning at the Opera House

Do you worry about singing the blues all summer long because of a lull in op era and dance? Don't worry any longer! We can cure your problems at Learn ing at the Opera House with engaging programs for all ages.

FOR ADULTS

Monday nights feat ur e Poets at the Opera House wi th The Writer's Voice of the WM.C.A. The fines t poets in Detroit, Michigan and the country are brought to the Detroit Opera House for poetry readings. Musicians are frequently part of the performances at these free events. Mondays are also the evenings for Ora l History Interviews of Legends in the Arts, Education and Hu manities. Such notables as scu l ptor Gl en n Michaels; performer and weatherman Sonny Elliot, dance legend Harriet Berg and jazz master Harold McKinney are just a few of the luminaries who have been interviewed on tape in front of a live audience. The finished tapes become part of the Burton Co ll ection of the Detroit Public Library.

Tuesdays are an assemb lage oflectures and performances. Learn about the 2003-2004 dance season with Detroit Opera House Director of Dance Carol Halsted. Carol will join Karen DiChiera, Director of Mich i gan Opera Theatre Community Programs, for two separate lectures: The Creators of Dance featuring composers and choreographers , and The Music of Women Composers, played by members of the Michigan Opera Theatre O r chestra.

Learn about the Ha rl em Renaissance as it occurred in Detroit, in this third season of our Wednesday night lecture series , The Renaissance in Detroit. Assembled by Professor Ella Davis, different lecturers cover performing and visua l arts, historic sites , education, commerce and notable persons who contributed to the cultural fabric of our city.

Opera night is Thursday night! Lecturers Wallace Peace , Martin Herman , Dina Soresi Winter , Thomas Franks and Roberto Mauro, Michigan Opera Theatre's artistic administrator , will exp lain the stories and music from our 2003-2004 season. The Opera Camp Master Class Recita l is included in this series.

Saturday ' s offerings are for adul ts, youngsters and families. From decorat ive plaster workshops by the Detroit Opera House Plaster Restoration Supervisor, Christopher Richardson , to "l ook-ins" backstage at set deSign, costumes (some you can even tryon!) , how the stage works and special effects Young people can take Creative Writing, or Clowning can be for the whole family. All ages will enjoy t he Historic Theatre Tour w ith Preservation Wayne.

Most camp and workshop performances take place on Friday nights. If you want to meet future writers, composers and performers , this is the night to do it. In addition, the American Ballet Theatre summer dance intensive performances is on Friday.

VARIETY THE CHILDREN'S CHARITY

Funding from our 2003 Major Benefactor - Variety, the Children's Charity - allowed Learning at the Opera House to try new innovations that we are going to keep this summer. Four college students , who had participated in our programs in previous years, helped run the summer programs. Some taught classes. One registered aliI ,500 learners. Anot h er ran the l ogistics of setting up tables and chairs, preparing slide projectors , TV monitors , video equipment , tape recorders , easels , mirrors and everything else needed to run si x weeks of classes.

This summer , we will welcome more interns. It is hoped that these young people will discover "hands -on" what it means to have a career in the arts.

www.M ichiganOpera.org

PROGRAMS FOR YOUNG PEOPLE

Thanks to Variety, The Children 's Charity, Fanclub Foundation for the Arts and other contributors, we have scholarships for blossoming young writers, composers and performers who take our summer workshops. In Create Opera and Rappera, youngsters cr ea t e stories, compose music and perform their creations. For our Operetta Camp, youngsters ages 10 to 18 will perform the Gilbert and Sullivan operetta The Mikado. Students from the age of 15 through college can audition to take Opera Camp, an intensive two - week program, seven days a week from 10 am to 9:00 pm, for those interested in an ope r at i c career. All of these camps have a fina l performance to which family, friends and the public are invited.

So come and experience tomorrow 's stars, today - and we' ll help you chase "the blues " away!

For more information , call the Learning at the Opera house hotline at (313) 237-3270

TOUR PROGRAM

Even though summer is a "downtime" for the main stage, our artists of Community Programs will be all over the State of Michigan fromJune to September. Look for us in Owosso , West Bloomfie l d , Milford, Livonia and at the Detroit Festiva l of the Arts.

Our chi ldren's touring musicals and operas are perfect for day camps, and our Broadway Rev u e i s p er fect for outdoor parties, country cl u bs and private homes. For more information, call Dolores Tobis at (313) 237 - 3429. m

Detroit Opera House

Volunteers are the Heart of Michigan Opera Theatre and the Detroit Opera House

Michigan Ope r a Theatre and the Detroit Opera House present on e of the finest and most diverse o p era and dance series in th e co unt ry The theatrica l exper iences encompass vocal and orches tr al m u sic , d ance, drama, costumes, sets and lighting. The achieve m ent of thi s multiplicity requires many voices and many willi ng han d s. Th e talented, giving hands of our Opera League, Ushers, Dance Counc il , Young Professionals, Ambassadors , Office and Boutique workers, Movers, Supers, Education &:. Outreach, and Ad agio vo lu nteers h ave a s ignificant impact on the overall operation of the company

Michigan Opera Volunteer Association Executive Committee

Dodie David , President

Gloria Clark, Vice President

Eva Meharry, Secretary

John McMullin , Treasurer

Betty Brooks , Past President

Chairmen of Standing Committees

Robe rt a Starkwea ther, AdagiO

Helen Millen , Ambassadors

Annette Balian , Bylaws and Proc edures

Betty Brooks, Cookbook

Carol Halsted, Dance Council

Vicki Barnett , Divas/Divo s

Wallace Peace, Education & Outreach Membership

Nancy Krolikowski , Movers

Ernest Holland , Opera Hous e Ushers

Mado Lie, Opera Leagu e of Detroit

Jeremy Zeltzer, Spin

Ali Moiin, Supers

Jeanette Pawlaczyk, Offi ce Volunteers

Arda Barenholtz , Volunt eer Voice

Randall Fogelman , Young Profe ssionals

Members·at·Large

Kevin Dennis

Don Jensen

Queenie Sarkisian

Specia l thanks to t he fo ll ow ing indiv idua ls whose financia l support qualifi es them as mem bers of the Volunteer Operators

Donna Bukowicz

Gloria Clark

Dodie David

Larry Israel

Don Jensen

Jutta Letts

Janet MacQueen

Eva Meharry

Eva Powers

Shirley Ann Sarkisian

Rosemary Skupny

Katey Szuma

Carole Tibbitts

General Information

PHOTOGRAPHY & RECORDING DEVICES Unauthorized cameras and recording devices are not allowed inside the lobby or theater at any time The taking of photographs of the theater or any performance is strictly prohib it ed. As a courtesy to our guests, we ask that all paging devices, cell phones and alarm watches be switched to si lent mode prior to the start of a performance.

I N CASE OF EMERGENCY Doctors and parents are advised to leave their seat lo cation (located on ticket) and our emergency number, 313/237-3257, with the service or sitter in case of an emergency Please observe the lighted exit signs located throughout the theater. In the event of fire or similar emergency, please remain calm and walk - do not run - to the neares t exit. Our ushers are trained to lead you out of the building safely A trained Emergency Medical Technician (EMT) is on site during most events. Please see an usher or staff member to contact the EMT.

are int erested in becoming a vo lunteer usher, please ca ll the usher hotline at 313/237-3253.

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

LOST & FOUND Lost and Found is located in the Security Department. Please see an usher if you h ave misplaced an article, or call 313/961-3500 if you h ave already left the theater. Items wi ll be held in Lost and Found for 30 days .

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

SERVICES Concession stands are located on all levels. Please note that fo od and drinks are no t all owed in the auditorium at any time Coat check is lo cate d in the Ford Lobby The cost is $1.00 per coat. Please note that the Detroit Opera House does not accept responSibility [or any personal articles that are not checked at the coat check. Drinking fountains are located in the lobbies on floor s one and three. Public pay phones are located in the vestibule of the Ford Lobby Patrons in wheelch airs can access pay phones outside the third-floor ladi es' restrooms .

RESTROOMS

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

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

USHERS Us h ers are stationed at the top of each aisle. If you have a question or concern, please inform ush ers, and they will co ntact management. If you

PARKING Parking for all events is availab le in the Opera House Garage, located directly across from the Detroit Opera House (on John R. and Broadway streets). Prepaid parking is availab le through the box office. Please call 3131237 -SING for parking information.

ACCESSIBIUTY Accessible seating lo cations for patrons in wheelchairs are lo cated in all price ranges on the orchestra leve l. When inquirin g abou t tickets, please ask about these locations if you require speCial accommodations.

Assisted Listening Devices are available on a first-come, first-served basis. Please see an usher to request this service. Although this is a complimentary service, we will request to hold a piece o[ personal identification while you are using the device. Please contact the Box Office, should you desire speCial consideration.

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

RENTAL INFORMATION

The Detroit Opera Hou se is available for rent by your organizatio n . Please call 313/961-3500 and ask to be directed to the Specia l Events Department.

TICKET INFORMATION

The Detroit Ope ra House Ticket Office h ours are as follows: Non-perfo rmance weeksMonday through Friday 10:00 a.m. to 5 :30 p m. Performance days - 10:00 a.m. through the first intermi ssion of the evenings performance, except Saturdays and Sun d ays, when the Ticket Office will open two hours prior to curtain. Tickets for all public events held at the Detroit Opera Hou se are also available through all TicketMaster phone and retail ou tlets or at TicketM aster.com.

OPERA HOUSE TOURS Come join the Opera Hou se Ambassadors for a backstage tour of the Detroit Opera House Learn about the hiStory of the Opera House and its restoration. Meet the people behind the scenes, tour the stage and see how it operates. Tours are $10.00 per person. For more information, please call 313/237 -3 42 5 .

Be advised that, for purposes of Michigan Compiled Laws, Section 28.4250(1)(0, this is an entertainment facility that ha s a seating capacity of more than 2 ,500 individuals It is therefore against the law to carry a concealed pistol on the premises

Nothing captivates an audience like a riveting performance. And no one showcases more aweinspiring acts than the Detroit Opera House. That's why GM is proud to sponsor its 2003 spring season We look forward to another year of performances filled with passionate song and elegant dance.

PLEASE BE ADVISED THAT A STROBE LIGHT IS USED DURING ACTS I AND II

Supernumeraries

Danny Bradley Henry Coucke

Bruce Davis Thllashon DiCresce

Richard Hill Mary Anne Nagler

Paul Plamondon Paul SnJder

Supers (swordplay): Joseph Convery and Dave Melcher

Understudy: Tom Boice

Sword Training by Ring of Steel Action Theater Assistants: Russ Turner, Torn Boice, Elizabeth Hoult

New Surtitle System Made Possible by Generous Gift from Mr. and Mrs. Lee Barthel

Michigan Opera Theatre is pleased to announce the completed installation of a new, upgraded surtitle system . The new system employs video technology and custom software developed specifically for generating and running surtitles, resulting in easier to read text and more flexible applications. The use of Surtitles has developed into a critical element of the live opera experience and has been embraced by opera companies around the globe. Michigan Opera Theatre was one of the leading companies to project English translations, and has been utilizing surtitles since the 1980's. The old system was in desperate need of renewal, and this state of the art installation was made possible by a generous gift from Mr. and Mrs. Lee Barthel. Still to come, the Barthels' donation will facilitate an upgrading of the LED display system serving the box level and rear comers of the main floor, originally installed for the opening of the opera house in 1996.

Copyright 2010, Michigan Opera Theatre

Don Giovanni and th e Spanish Inquisition II dissoluto punito

The 1970's " flower power " ide a of s exual promiscuity be ing equ ated with personal freedom , has in to day's AIDS infected world becom e another passing moment in society ' s ev er changing view of what is acceptable

However , 200 years ago much of Spanish society's way of bein g was founded on ancient dogm as of the Spanish Inquisition who se incredibly strict code of beha vi or included punishment s such as burnings at the stake for reli g io us non-conformity and castration o r death for sexual infidelit y. It is within THAT framework that we s ee our promiscuous Gio va nni fl yi ng from conquest to conque st, seducing , lying, betrayin g, but ne ver g ivin g in to the perceiv ed idea of what was acceptable He is a bov e a ll else a man to be condemn ed for his flagrant disregard for the horrendous effects on others of his actions , but also a man to be admired for his firmness of purpo s e . He even cries out hi s defi a nce as he is about to be dra gg ed to an afterlife of eternal punishment with the following words:

Ho fer-mo if core in petto, no ho timor "I have a strong heart in m y chest and have no fear "

The central and contextuali z in g image of m y production is from th e fa mou s Go ya paintin g sho w ing a statue ofthe Madonna surrounded by flagellants . This cer emon y is today, annually recreated in th e celebrated Semana Santa processions all over Spain , with fla g ell a n t's still we a rin g the bi za rre con eheaded costumes -John Pa s c oe

John Pascoe: Director / Designer

Mr Pascoe's career as director 1 designer has taken him to mo s t o f the greate s t internation a l op e ra houses, including The Royal Opera House , English National Opera (London) , Northern I reland Op e ra (BeJfast-N'Ireland) , TeatroDel'Opera(Rome), Spoleto Fe s tivals ( USA & Italy) Sydney Opera Hou se (Australia) , Santiago Opera (Chile) , Canadian Opera , Chicag o Lyric Opera , San Francisco Opera, Dallas Opera, Houston Grand Opera, BAM , and the Metropolitan Opera House The Productions th at he has created have starred Dame Joan Sutherland, Renee Fleming, Marilyn Home, Placido Domin go, Alfredo Krause, Gian Carlo Menotti. DVDs of his projects include Lucrezia B o rgia (Royal Op era House), Julius Caesar (English National Opera) and Ann a Bole na (Canadian Opera)

Production highlights for the 2002/3 season include new productions of: Th e Telephone and Th e Medium for Spoleto - Italy with Gian Carlo Menotti ; designing Giulio Cesare for San Francisc o, designing Don Pasquale for MOT and directing and designing a new multi media production of D o n Giovanni for Washington Opera conducted by Placido Domingo National Geographic Cable TV produced a series offour specials on the making ofthis production which was aired nationally in la te March , these programs are again being aired as a special in May . projects for 2003 /4 include designing costumes for Renee Fleming in La Traviata for th e Metropolitan Opera House for televised opening of the 2004 season , directing Turandot for Quebec , and directing and designing Manon Lescaut for the Washington Opera with Placido Domingo

2003 media coverage of Pascoe ' s work as a muralist and interior decorator include articles in : Hou se Beautiful , on his designing of Renee Fleming's country home , and Traditional Homes, on his mur a ls for private clients in Connecticut.

Die Fledermaus

May 17 - 25

The May 17th perfonnance of Die Fledennaus is made possible by the generous sponsorship of DERoy TESTAMENTARY FOUNDATION. DeRoy has also made a grant in support of MOT's Young Artist Apprentice program that provides a yearlong mastercIass training for emerging opera talent.

The May 18th performance is sponsored by Marshall Field's Project Imagine

Supernumeraries

Oliver Aguilar

Bruce Davis

Molly Pastula

Gary Bozigian

Dellashon DiCresce

Tim Doty

Darci Bryan Elizabeth Gray David Street

Dancers

Anthony Madison Darnell McClellon

The Role of Ivan will be per:formed by Kevin Starnes

CELESTE HEADLEE - Sally

Miss Headlee earned her Bachelor's Degree In Vocal Performance at Northern Arizona University and a Master's of Music from the University of Michigan. While in Arizona, she was a member of the Artist's Roster for the Arizona Commission on the Arts. She has performed with the Sedona Repertory Company, the Harlequin Players in Washington, the Sedona Arts Center, Great Lakes Lyric Opera, and many other professional companies Miss Headlee has been performing the music of her grandfather, William Grant Still, for more than ten years.

ERIC W. JOHNSTON - Dr. Blind

Tenor Eric Johnston has appeared frequently with Opera Columbus (Rigoletto, La Boheme, Tosca, The Magic Flute and The Mikado). Recent engagements included Bach's Magnificat with Columbus Bach Ensemble, and performances with Lake George Symphony, Welsh Hills Symphony, Columbus Light Opera and Chautauqua Opera. Upcoming engagements include debuts with Augusta Opera (Tosca), Florentine Opera (La Traviata), and Nashville Opera (Tosca). Copyright

OPERA SUPERSTAR SHIRLEY VERRETT

TO APPEAR IN FREE BOOK READING & SIGNING AT THE DETROIT OPERA HOUSE ON WEDNESDAY, JUNE 25 AT 6:30 P.M.

SHIRLEY VERRETT

VERRETT'S DRAMATIC LIFE STORY IS TOLD FOR THE FIRST TIME IN I NEVER WALKED ALONETHE AUTOBIOGRAPHY OF AN AMERICAN SINGER

For More Information , please call (313) 961 - 3500

Copyright 2010, Michigan Opera Theatre

De Rocher brother

Hart, father of murdered girl

Hart , mother of murdered girl

Boucher, father of murdered boy

Kristine Jepson (6/7, II, 14) §

Theodora Hanslowe (6/8,13 , 15)

Donita Volkwijn §

Deborah Dailey

Rosalin Guastella

CondaGreen

Alaina Brown

Stephen Lusmann §

Dennis Petersen §

Charles Robert Austin §

Stephen Lusmann , Alphonso C herry·

Terry Horn , Raymond Myers

Keith Dixon, Christopher Vaught

Thomas Kabala, Justin Watson

John Packard §

Timothy Wolf

Jonathan Wright

Colin Gibbings

Judith Forst

Robert Orth

Martha Sheil

Dean Anthony

Gloria Parker §

Joseph Convery, Brigit Histed

Danny Bradley

C herry received his Bachelor of Music degree from Caroli na School of Arts, where he p erformed o (La Finta Giardiniera) and Dr. Falke (Die as well as a frequent soloist, s ingin g oratoranging from Handel to Part. He studies with Virginia Zeani, distinguished professor of voice, Indiana University, where he sang Don Issac har /Ca ptain (Candid e ) , Figaro (The Marriage of Figaro), and Krusina (The Bartered Bride). Mr. Cherry has studied at the American Institute of Musical Studies in Austria and with the Ez io Pin za Counse l

Stephen Lusmann - Motorcycle Cop/ Guard

Lusmann ha s sung leading baritone roles with major houses inlcuding Oper der Stadt Bonn , Opera de onte Carlo , Washington Opera, Stadttheater Luzern , Opera Co mpany of Philadelphia , and Glimmerglass Opera. His operatic roles includ e Scarpia (Tosca), Germont (La Traviata), Enrico (Lucia di Lammerllloor) and Count Almaviva (L e Nozze di Figaro). Mr. Lusmann is Assistant Professor of Voice and Director of the Men's Glee Club at the University of Michigan School of Music , and a member of the Voice Faculty at the Seagle Music Colony.

Martha Sheil - Kitty Hart

American Soprano Martha Sheil has been an associate professor at th e University of Michigan since 1985. Prior to joining , she was a leadi ng soprano at the New York City Opera and in Lu zern , Swit z erland. She ha s sung at the Kennedy Center, Alice Tully Hall, Seattle Opera, Hawaii Opera , A tlanta Opera, Cleveland Opera, and Schloss-spiele, Germany Miss Sheil has given master classes throughout the United States and Korea. She studied with the late Margaret Harshaw and is a graduate of the Curtis Institute of g the title role of Turandot with MOT(1993).

Supernumeraries

Lauren Andree - Protester/ Mother

Robert Barnette - Guard

Kathleen Beard - Protester/ Mother

Terese Blanco - Female Guard

Michael Coleman - Guard/Deputy

Henry R. Coucke - Inmate/ Protester

Bruce Davis - Basketball Inrnate/ Gurney

Donna DiPonio - Protester/ Mother

Keith Dixon - Solo Prisoner

Timothy L. Doty - Fighting Guard

Ernest Coleman Gillespie - Inmate

C hri sty Hicks - Protester/ Mother

Cydney Higgins R.N, BSN - Nurse

Richard Hill - Inmate/ Protester

Sherita Humphrey - Protester/ Mother

Tommie L. Johnson - Basketball Inmate/ Gurney

Paulius Jurelionis - Basketball Inmate/ Gurney

Fred Lebowitz - Inmate/ Protester

Josh Madden - Inmate/ Protester

Eli Magid - Inmate/ Protester/ G urn ey

Andrew Richner - Lawyer/ Bishop

Matt Ruhlig - Guard / Deputy/ SWAT

Thomas Shortal - Fighting Ga urd

Ciara Stella - Bride of Ch rist

David Street - Guard/ Deputy/ SWAT

Wanda Washington - Lawyer

Joseph J. Welch - Inmate/ Gurney

Stefen Welch - Basketball Inmat e/ Gurney

Robin Werdinger - Protester/ Mother

Kahama West - Jimmy Charlton

Copyright 2010, Michigan Opera Theatre