Bravo magazine, spring 2014

DETROIT OPERA HOUSE • HOME OF MICHIGAN OPERA THEATRE

Spring 2014

DANCE THEATRE OF HARLEM February 14-16, 2014

JOFFREY BALLET March 1-2, 2014

BRUNDIBÁR

MARCH 16, 2014

Home of Michigan Opera Theatre

BALLET DU GRAND THÉÂTRE DE GENÈVE

A VIEW FROM THE BRIDGE

TURANDOT

MAY 10-18, 2014

APRIL 5-13, 2014

MARCH 21-22, 2014

The 2014 Spring Opera Season is made possible by General Motors Foundation and Cadillac

FROM THE CHIEF EXECUTIVE OFFICER

A

s the newly appointed President and CEO of Michigan Opera Theatre, I am delighted to make Detroit my home and honored to be working side-by-side with the visionary founder and Artistic Director David DiChiera. Together, with the commitment of an outstanding Board of Directors, energetic volunteers, dynamic staff, and loyal audience members, we shall endeavor not only to preserve his 43-year legacy, but strive to sustain the vitality and strengthen the future of opera and dance in Southeastern Michigan — and beyond.

Our shared goal is to continue to make the Detroit Opera House (one of the city’s cultural landmarks) a singular destination for artists and intergenerational audiences alike through our organization’s goal: defining and creating a sustainable path for exceptional artistic presentations and compelling community and educational programs.

My arts career began years ago with our partner organization, the Detroit Symphony Orchestra; which led to leadership roles with symphony orchestras in Massachusetts and Kentucky; then onto fast-paced times in Atlanta as music producer of the Cultural Olympiad for the Olympic Games; and finally, to Washington, DC, where I was proud to serve as Director of Music and Opera for the National Endowment for the Arts. Accepting this new role with Michigan Opera Theatre, has brought me full circle, truly excited to be back in Detroit, and ready to assist in MOT’s future as we preserve and expand the extraordinary vision of its founder. I am also eager to join our local, fellow arts organization leaders as we seek to create a compelling pathway for arts, education and culture, as an essential, ever-present part of Detroit’s resurgence!

The new journey includes a strategic planning initiative, generously supported

by The Kresge Foundation. Future plans would be incomplete without input from you — our dedicated audience members. Therefore, during the spring season, you will find a customer service station in the lobby where we invite you to share your comments as to how we can make your experience with our organization more satisfying. We value your perspective and hope you will take the time to share your thoughts and ideas.

The range of cultural offerings by MOT is vast. The exciting 2014 spring season, designed by David DiChiera and sponsored by the General Motors Foundation and Cadillac, is one in which we take great pride. From the return visit by Dance Theatre of Harlem and The Joffrey Ballet to the Michigan premiere of University of Michigan and Pulitzer Prize-winning composer William Bolcom’s View from the Bridge and Puccini’s riveting opera Turandot, we are sure you will enjoy these exceptional performances. Stellar artists and spectacular productions define the best of dance and operatic performances in the Detroit Opera House.

In addition to your attendance, Michigan Opera Theatre remains appreciative of your generous contributions. As some may be unaware, ticket purchases only cover approximately 43 percent of production costs. For that reason, our organization — similar to most arts organizations — critically depends on the generosity of production underwriters, guest artist sponsors, and general operating support. No gift is too small. For information regarding sponsorship, bequests, or other means of support, please contact Kim-Lan Trinh in our Development Office at (313) 237-3408.

Thank you for coming to the Detroit Opera House. We invite you to return again and again!

Wayne S. Brown 2

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Detroit Opera House

Contents The Official Magazine of the Detroit Opera House BRAVO is a Michigan Opera Theatre publication.

Jillian Zylinski, Editor Carolyn Geck, Contributing Editor Contributors John Grigaitis Mitch Carter Michael Yashinsky Publisher Echo Publications, Inc. Royal Oak, Michigan www.echopublications.com Tom Putters, President Toby Faber, Advertising Sales Director Physicians’ services provided by Henry Ford Medical Center.

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

Cadillac Coffee is the official coffee of the Detroit Opera House.

Sanders Fine Chocolates is the official chocolatier of the Detroit Opera House.

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

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

Eclipse Creative is the official media production company of the Detroit Opera House.

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

Spring 2014

Welcome

Letter from David DiChiera. ............................................. 4

ON STAGE

Dance Theatre of Harlem. ................................................ 6

The Joffrey Ballet. ......................................................... 11 Michigan Opera Theatre Children’s Chorus: Brundibár........................................................................ 14 Ballet du Grand Théâtre de Genève................................ 19 A View From the Bridge. .................................................. 22 A View From William Bolcom. .................................... 24 Turandot........................................................................ 26 Turandot: Puccini’s Ice Princess, Melted..................... 28 MICHIGAN OPERA THEATRE Board of Directors and Trustees....................................................... 5 Artist Profiles................................................................................. 29 Community Programs................................................................... 35 Chorus and Orchestra................................................................... 36 Dance Education........................................................................... 37 Administration and Staff................................................................ 38

CONTRIBUTORS Avanti Society................................................................................ 40 Michigan Opera Theatre Contributors........................................... 41 Volunteer Information................................................................... 39 General Information...................................................................... 46

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www.MichiganOpera.org

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FROM THE ARTISTIC DIRECTOR

Welcome to Michigan Opera Theatre’s 43rd spring season

W

AMEEN HOWRANI

elcome to the beginning of the next chapter in the life of Michigan Opera Theatre.

I am so excited and honored that Wayne S. Brown, a man whom I have admired and known for so many years, has chosen to take up the leadership of the company I founded 43 years ago. When I arrived in southeastern Michigan in 1962, to help develop the School of Music at Oakland University and the Meadowbrook Festival and Theatre, there was no opera company to provide our community with an institution devoted to the art form that I so passionately love. And now, in turning over the reins of this company and magnificent opera house to a man with such extraordinary breadth of experience, I am allowed to devote myself fully to the role of artistic director and focus on what I love most — producing opera of the highest quality for our stage and the community. We’re lucky that Wayne is not only a brilliant administrator, but one who shares my passion for opera and dance. I am confident that Michigan Opera Theatre’s mission will not only be preserved, but it will surely be enhanced in significant ways in the years to come. And for the next few years as the artistic director, I shall enjoy for the first time, the opportunity to not only concentrate on the content of our season, but a number of artistic initiatives that were impossible to focus on while serving as a general director of the entire enterprise.

I am sure you will recognize that our current spring season reflects a programming philosophy which I have adhered to for years – to present a balance of well-known favorites along with works that are new to our audience. We are especially proud to present the Michigan premiere of A View from the Bridge by William Bolcom, one of today’s most celebrated opera composers, and emeritus professor of composition at the University of Michigan. The opera, based on the play by the great American playwright, Arthur Miller (who shares a connection to U of M), is an exciting drama that deals with love, incest, murder – all excellent fodder for an opera. The production boasts a celebrated cast headed up by Kim Josephson, who created the role in the production’s world premiere at Lyric Opera of Chicago, and the Metropolitan Opera. The well-known favorite is represented by Puccini’s final and exotic grand opera, Turandot, which of course, includes the world’s most famous tenor aria “Nessum Dorma.” Singing that aria, are two international tenors making their MOT debuts – Korean tenor, Rudy Park, and Chilean tenor, Giancarlo Monsalve. Sharing the title role is Lise Lindstrom, one of the world’s most acclaimed “Turandots”, and Othalie Graham, returning after a successful debut as “Turandot” in 2007. Making her American debut as Liu, the slave girl upon whom Puccini lavished some of his most heartfelt arias, is Italian soprano Donata D’Annunzio Lombardi.

I always conceived the creation of the opera house to be an ideal home for both opera and dance. Since our opening in 1996, we have presented an exciting array of American and international dance companies. This spring, two of America’s most famous companies return to our stage. Dance Theatre of Harlem, which made a long-awaited comeback last season, returns with a new repertory that was enthusiastically received in its New York presentations.

Another American favorite, the Joffrey Ballet, which graced our stage numerous times, will present a masterful mixed repertory. Finally, making its American debut, is the celebrated Ballet du Grand Théâtre de Genève in a thrilling program of avant-garde works.

This season would not be possible without the generous support of our family of donors, individuals, foundations, and corporations. A special thanks to General Motors Foundation and Cadillac for their extraordinary commitment in sponsoring the spring season since we opened in 1996, and to the Lear Corporation for their sponsorship of Dance Theatre of Harlem. To all, my heartfelt appreciation.

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Detroit Opera House

BOARD OF DIRECTORS 2013-2014 July 1, 2013 – June 30, 2014

Mr. R. Jamison Williams, Chairman Mr. Cameron B. Duncan, Treasurer Mr. C. Thomas Toppin, Secretary Mrs. Robert A. Allesee Mr. Douglas F. Allison Mr. Joseph Angileri Mr. Lee Barthel Mr. Richard A. Brodie Mrs. William C. Brooks Mr. Robert Brown Mrs. Frederick H. Clark

Mrs. Peter Cooper Ms. Joanne Danto Julia Donovan Darlow Mr. Ethan Davidson Dr. David DiChiera Mrs. Charles M. Endicott Mr. Paul E. Ewing Mrs. David Fischer Mrs. Barbara Frankel Mr. Herman Frankel Mr. Dean Friedman Mr. Richard G. Goetz Mr. John P. Hale Mr. David Handleman Mrs. Peter Karmanos

Mrs. Michael Kratchman Mr. Thomas M. Krikorian Ms. Melody Lee Mr. Harry A. Lomason II Mr. Alphonse S. Lucarelli Denise Lutz Mr. Donald Manvell Dr. Ali Moiin Mrs. Manuel Moroun Dr. Stephen Munk Mr. Daniel Pehrson Dr. Charlotte Podowski Mr. W. James Prowse Mrs. Ruth Rattner Mr. Roy S. Roberts

Dr. Bernard Rubin Ms. Elham Shayota Mr. Terry Shea Mr. Matthew Simoncini Mr. Richard Sonenklar Dr. Lorna Thomas Mr. George C. Vincent Chairmen Emeriti Mr. Robert E. Dewar † Mr. Lynn A. Townsend † Directors Emeriti Mrs. Donald C. Austin Mr. J. Addison Bartush Mr. Frank W. Donovan †

Dr. Marjorie M. Fisher Mr. James H. Gram † Mrs. William Johnston † Ms. Jennifer Nasser Mr. David Pollack † Mrs. Irving Rose Mr. William Sandy Mr. Frank Stella † Mr. Robert VanderKloot † Mr. Richard Webb Mr. George M. Zeltzer † Mr. Mort Zieve †

BOARD OF TRUSTEES 2013-2014 July 1, 2013 – June 30, 2014

Mr. & Mrs. Kenn Allen Mr. & Mrs. Robert A. Allesee Mr. & Mrs. Douglas F. Allison Dr. Lourdes V. Andaya Julie Douse-Angileri & Joseph Angileri Dr. Harold M. Arrington Mrs. Edward Avadenka Mr. & Mrs. Lee Barthel Mr. J. Addison Bartush Mr. & Mrs. Mark Alan Baun Mrs. Ara Berberian Mr. & Mrs. Mandell Berman Ms. Debra Bernstein-Siegel Mr. & Mrs. Joseph Bloch Mr. & Mrs. John A. Boll, Sr. Mr. Gene P. Bowen Mr. & Mrs. Richard Bowlby Betty J. Bright Mr. & Mrs. Richard A. Brodie Mr. & Mrs. William C. Brooks Mr. & Mrs. Robert Brown Mr. & Mrs. Thomas Celani Mr. & Mrs. Michael Chirco Mr. & Mrs. Frederick H. Clark The Hon. & Mrs. Avern L. Cohn Mr. Thomas Cohn Mr. & Mrs. Peter Cooper Ms. Joanne Danto & Dr. Arnold Weingarden Mr. & Mrs. Tarik S. Daoud Julia Donovan Darlow & The Hon. John C. O’Meara Mr. & Mrs. Jerry P. D’Avanzo Mr. & Mrs. Lawrence N. David Mr. & Mrs. Ethan Davidson Mr. Kevin Dennis & Mr. Jeremy Zeltzer Dr. David DiChiera Mrs. Karen VanderKloot DiChiera The Hon. & Mrs. John Dingell Ms. Mary Jane Doerr Mr. Cameron B. Duncan Mr. & Mrs. Kenneth Eisenberg

Detroit Opera House

Mrs. Charles M. Endicott Mr. & Mrs. Alex Erdeljan Dr. Fern R. Espino & Mr. Thomas Short Mr. & Mrs. Paul E. Ewing Margo Cohen Feinberg & Robert Feinberg Mr. & Mrs. Oscar Feldman Mr. & Mrs. David Fischer Dr. Marjorie M. Fisher Mr & Mrs. Carl B. Fontana Mrs. Elaine Fontana Mrs. Barbara Frankel & Mr. Ron Michalak Herman & Sharon Frankel Mr. & Mrs. Dean Friedman Mrs. James Garavaglia Ambassador & Mrs. Yousif Ghafari Mr. & Mrs. Richard G. Goetz Mr. & Mrs. Arnold Gordon Mr. & Mrs. Harvey Grace Mr. & Mrs. Samuel Haberman Mrs. Berj H. Haidostian Mr. & Mrs. John P. Hale Mr. & Mrs. David Handleman Mr. & Mrs. Eugene Hartwig Mrs. David B. Hermelin Mr. & Mrs. Derek Hodgson Mr. & Mrs. Alan Israel Mrs. Una Jackman Mr. Don Jensen & Mr. Leo Dovelle Mr. & Mrs. Kent Jidov Mr. & Mrs. Gary Johnson Mrs. William Kahn Mr. & Mrs. Peter Karmanos Mr. Patrick J. Kerzic & Mrs. Stephanie Germack Kerzic Mr. & Mrs. Michael Kratchman Mr. & Mrs. Thomas M. Krikorian Ms. Melody Lee Dr. Melvin A. Lester Mr. Charles E. Letts Jr. & Ms. Mary Barton Jolliffe Ms. Linda Dresner Levy & Mr. Edward Levy

Dr. & Mrs. Kim K. Lie Mr. & Mrs. A. C. Liebler Mr. & Mrs. Harry A. Lomason II Mr. & Mrs. James H. LoPrete Mr. Alphonse S. Lucarelli Mrs. Denise Lutz Mr. Donald Manvel Ms. Florine Mark Dr. & Mrs. Ronald Martella The Hon. Jack Martin & Dr. Bettye ArringtonMartin Mrs. Richard McBrien Mr. & Mrs. Eugene A. Miller Ms. Monica Moffat Dr. Ali Moiin & Dr. William Kupsky Mr. & Mrs. Theodore Monolidis Mr. & Mrs. Manuel Moroun Drs. Barbara & Stephen Munk Mr. & Mrs. E. Michael Mutchler Mr. & Mrs. Allan Nachman Mr. & Mrs. Irving Nusbaum Dr. Juliette Okotie-Eboh Ms. Linda Orlans Mr. & Mrs. Graham Orley Mr. &. Mrs. Richard Partrich Mr. & Mrs. Spencer Partrich Mr. & Mrs. Daniel Pehrson Dr. Robert E. L. Perkins Mr. & Mrs. Brock E. Plumb Dr. Charlotte & Mr. Charles Podowski Mrs. Heinz Prechter Mr. & Mrs. W. James Prowse Mr. & Mrs. John Rakolta, Jr. Mrs. Ruth Rattner Dr. Irvin D. Reid & Dr. Pamela Trotman Reid Dr. & Mrs. James Rigby Mr. & Mrs. Roy S. Roberts Ms. Patricia H. Rodzik Mrs. Irving Rose Mr. & Mrs. Norman Rosenfeld Mrs. Carolyn L. Ross Dr. & Mrs. Bernard Rubin Mr. & Mrs. Anthony Rugiero

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Dr. & Mrs. Hershel Sandberg Mr. & Mrs. Donald Schmidt Mr. & Mrs. Alan E. Schwartz Mr. & Mrs. Mark Shaevsky Mrs. Frank C. Shaler Ms. Elham Shayota Mr. Terry Shea Mr. & Mrs. Matthew Simoneini Mr. William H. Smith Ms. Phyllis Funk Snow Mr. & Mrs. David Snyder Mr. Anthony L. Soave Mr. Richard A. Sonenklar & Mr. Gregory Haynes Ms. Mary Ann Stella Dr. Calvin Stevens Mrs. George Strumbos Dr. Jonathan Swift Mr. Ronald F. Switzer & Mr. Jim F. McClure Dr. Lorna Thomas Mr. & Mrs. C. Thomas Toppin Mr. James Vella Mrs. Steven I. Victor Mr. & Mrs. George C. Vincent Dr. & Mrs. Christopher D. Wilhelm Mr. & Mrs. R. Jamison Williams Mrs. Sam B. Williams The Hon. Joan E. Young & Mr. Thomas L. Schellenberg Mrs. Morton Zieve Trustees Emeriti Mr. & Mrs. Eugene Applebaum Dr. & Mrs. Agustin Arbulu Dr. & Mrs. Donald C. Austin Mrs. James Merriam Barnes† Mr. † Mrs.† Robert E. Dewar Mr. Marvin A. Frenkel Dr. † & Mrs.† Robert Gerisch Mrs. Aaron Gershenson † Mr. † & Mrs. † James Gram Mrs. Katherine Gribbs † Mrs. Robert Hamady † Mr. & Mrs. Preston Happel Mrs. & Mrs. E. Jan Hartmann

Mr.† & Mrs.† Maxwell Jospey Dr.† Zophia and Mr.† Mitchell Kafarski Mr. & Mrs. Robert Klein Mrs. Walton Lewis † Mrs. Jesse Mann † Mrs. Wade H. McCree Jr. † Mr. & Mrs. Jules L. Pollone Mrs. Ralph Polk† Mr.† & Mrs.† David Pollock Mr. & Mrs. William Sandy Mr.† & Mrs.† Fred Schneidewind Mr. † & Mrs. Richard Starkweather Mrs. Mark C. Stevens † Mrs. Lynn Townsend † Mr.† & Mrs.† Robert VanderKloot Mr. & Mrs. Paul Victor Mr.† & Mrs.† Alvin Wasserman Amelia H. Wilhelm Mrs. R. Alexander Wrigley Founding Members Mr.† & Mrs.† Lynn A. Townsend, Founding Chairman The Hon. & Mrs.† Avern L. Cohn Dr. & Mrs. John DeCarlo Dr. & Mrs. David DiChiera Mr.† & Mrs.† Aaron H. Gershenson Mr. & Mrs. Donald C. Graves Mr. † & Mrs.† John C. Griffin Mr. & Mrs. Harry L. Jones The Hon.† & Mrs. † Wade McCree Jr. Mr. Harry J. Nederlander Mr. E. Harwood Rydholm † Mr. & Mrs. Neil Snow Mr. & Mrs. Richard Strichartz Mr. † & Mrs. † Robert C. VanderKloot Dr. † & Mrs. Sam H. Williams Mr. † & Mrs. † Theodore O. Yntema

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February 14-16, 2014 FOUNDERS Arthur Mitchell Karel Shook ARTISTIC DIRECTOR Virginia Johnson EXECUTIVE DIRECTOR Laveen Naidu BALLET MASTER Keith Saunders GENERAL MANAGER Elizabeth England DANCE ARTISTS Lindsey Croop Chyrstyn Fentroy Jenelle Figgins Emiko Flanagan Alexandra Jacob Nayara Lopes Ashley Murphy Gabrielle Salvatto Ingrid Silva Stephanie Rae Williams Fredrick Davis Da’ Von Doane Jehbreal Jackson Dustin James Francis Lawrence Anthony Savoy Samuel Wilson ARTISTIC DIRECTOR EMERITUS Arthur Mitchell

Production Sponsor

Student Performance Sponsor 6 BR AVO

Afterglow Sponsor, Silver Adopt a School Sponsor, Host Committee Sponsor

Platinum Adopt a School Sponsor

Gold Adopt a School Sponsor Additional education and outreach support provided by: Detroit Public Schools Foundation Sally Mead Hands Foundation Beatrice & Reymont Paul Foundation www.MichiganOpera.org

Dance Theatre of Harlem is supported in part by public and private funds from The Andrew W. Mellon Foundation The Thompson Family Foundation, Inc. The Ford Foundation The Carl & Lilly Pforzheimer Foundation, Inc. The Shubert Foundation NYC Department of Cultural Affairs in Partnership with the City Council New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature National Endowment for the Arts Detroit Opera House

DANCE THEATRE OF HARLEM About Dance Theatre of Harlem

Dance Theatre of Harlem is a leading dance institution of unparalleled global acclaim that uses the art form of classical ballet to change people’s lives.

Dance Theatre of Harlem was founded in 1969 by Arthur Mitchell and the late Karel Shook. Mitchell, the first African American dancer to become a principle dancer with a major U.S. ballet company (New York City Ballet) turned his despair at the assassination of Dr. Martin Luther King, Jr. into hope by establishing a school and later a company to bring new opportunity to the lives of the young people in the Harlem neighborhood in which he grew up. He believed in the power of training in a classical art form to bring discipline and focus to a challenged community. Dance Theatre of Harlem’s unprecedented success is built on creating innovative and bold new forms of artistic expression. Through varied artistic interactions, Dance Theatre of Harlem has inspired countless people in New York City, across the country and around the world.

Now 44 years old, Dance Theatre of Harlem remains committed to the excellence that has sustained it over the years. At the same time, it is dedicated to reaching new audiences with a powerful message of self-reliance, artistic relevance and individual responsibility, all hallmarks of an organization that has played a key role in the national cultural dialogue.

The relaunch of the Dance Theatre of Harlem Company last year returns a level of vibrancy to the organization.

Known for its thrilling performances, the company also offers extensive community engagement and arts exposure opportunities to audiences here in New York, across the country and internationally. The new Dance Theatre of Harlem Company consists of 18 racially diverse dance artists who perform an eclectic and demanding repertoire at the highest level.

VIRGINIA JOHNSON (Artistic Director) Virginia Johnson was a founding member of Dance Theatre of Harlem and its principal ballerina over a career that spanned nearly 30 years. After retiring in 1997, Ms. Johnson served as the founding editor-in chief of Pointe

Detroit Opera House

Magazine for 10 years.

A native of Washington, D.C., Ms. Johnson began her training with Therrell Smith and studied with Mary Day at the Washington School of Ballet.

She graduated from the Academy of the Washington School of Ballet and went on to be a University Scholar in the School of the Arts at New York University before joining Dance Theatre of Harlem. Virginia Johnson is universally recognized as one of the great ballerinas of her generation and is perhaps best known for her performances in the ballets Giselle, A Streetcar Named Desire, and Fall River Legend. She has received such honors as a Young Achiever Award from the National Council of Women, Outstanding Young Woman of America and the Dance Magazine Award, a Pen and Brush Achievement Award, the Washington Performing Arts Society’s 2008-2009 Pola Nirenska Lifetime Achievement Award and the 2009 Martha Hill Fund Mid-Career Award.

ARTHUR MITCHELL (Co-Founder and Artistic Director Emeritus) Arthur Mitchell is known around the world for creating and sustaining the Dance Theatre of Harlem, the internationally acclaimed ballet company he co-founded with Karel Shook in 1969. Following a brilliant career as a principal artist with the New York City Ballet, Mr. Mitchell dedicated his life to changing perceptions and advancing the art form of ballet through the first permanently established African American and racially diverse ballet company.

Born in New York City in 1934, Mr. Mitchell began his dance training at New York City’s High School of the Performing Arts, where he won the coveted annual dance award and subsequently a full scholarship to the School of American Ballet. In 1955, he became the first African American to become a permanent member of a major ballet company when he joined New York City Ballet. Mr. Mitchell rose quickly to the rank of Principal Dancer during his fifteen-year career with New York City Ballet and electrified audiences with his performances in a broad spectrum of roles. Upon learning of the death of Reverend Dr. Martin Luther King, Jr. and with financial assistance from Mrs. Alva B. Gimbel, the Ford Foundation and his own www.MichiganOpera.org

savings, Mr. Mitchell founded Dance Theatre of Harlem with his mentor and ballet instructor Karel Shook.

With an illustrious career that has spanned over fifty years, Mr. Mitchell is the recipient of the Kennedy Center Honors, a National Medal of the Arts, a MacArthur Foundation Fellowship, the New York Living Landmark Award, the Handel Medallion, the NAACP Image Award, and more than a dozen honorary degrees.

LAVEEN NAIDU (Executive Director) Born in Durban, South Africa, Naidu graduated from the University of Cape Town, S.A. and performed with the Cape Arts Performing Board Ballet Company.

In 1991, Mr. Naidu joined the DTH Company and over the years held several executive positions including Director of the organization’s education and outreach program, Dancing Through Barriers® and the Dance Theatre of Harlem School. In 1998, in collaboration with Arthur Mitchell, Naidu choreographed his first ballet for the DTH Company, South African Suite.

Mr. Naidu’s second ballet entitled Viraa premiered in New York City in 2001.

Mr. Naidu is a graduate of Harvard Business School’s Executive Leadership Program and has been a featured speaker at the Aspen Idea’s Festival and Crain’s Arts & Culture Breakfast. He has served as adjunct lecturer at Barnard College and on panels for the New York State Council on the Arts and NYC Department of Cultural Affairs. Mr. Naidu has also served as guest speaker and panelist on the topic of non-profit board development for the DeVos Institute of Arts Management, the Arts & Business Council and the Global Board Leadership Academy. Mr. Naidu has served as Executive Director since 2004.

THE DANCE THEATRE OF HARLEM COMPANY Lindsey Pitts, Midland, Texas Lindsey Pitts began her formal ballet training at Coleman Academy under the direction of Susan Clark and Judy Coleman. She continued her studies during summer intensives with Milwaukee Ballet, Atlanta Ballet, Orlando Ballet, Ballet Austin and The Ailey School. Following high school, she attended Butler University, where BR AVO

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DANCE THEATRE OF HARLEM she received dual degrees in dance arts administration and strategic communications. Ms. Pitts began her professional career with Nashville Ballet’s second company, performing under the direction of Paul Vasterling in full-length ballets that included The Nutcracker, Giselle and Swan Lake.

Prior to joining the DTH Company, Lindsey trained and performed with the Professional Training Program at DTH. Fredrick Davis, Brooklyn, New York Born in New York City, Fredrick Davis moved to Chattanooga, Tennessee and started his training at the age of 11 with a full scholarship for Ballet Tennessee. In 2004, he graduated from the Chattanooga High School Center for Creative Arts and moved back to New York City to continue his training with the Joffrey Ballet School. After completing three years with Joffrey, he was able to study with a full scholarship at summer intensives by American Ballet Theatre, Boston Ballet, North Carolina Dance Theatre, Ballet Academy East, Magnus Midwest Dance and Ballet Tennessee. Mr. Davis then joined Roxey Ballet Company, dancing in works such as Othello, Carmen, Diana and Actaeon and Sleeping Beauty. Soon after finishing his season with Roxey, Mr. Davis joined the Dance Theatre of Harlem Ensemble. He has also worked as a freelancer with Ballet Fantastique, Benjamin Briones Ballet, Staten Island Ballet and Ajkun Ballet Theatre. Mr. Davis has participated in the Dance for America Tour, DTH Vision Gala, The Kennedy Center Honors, the Donald McKayle Tribute performance in Irvine, California and the Paramount Theatre Gala in Seattle, Washington.

Da’ Von Doane, Salisbury, Maryland Da’ Von Doane began his training at the Salisbury Studio of Dance (now Salisbury Dance Academy) where he trained with Betty Webster, Tatiana Akinfieva-Smith and Elena Manakhova.

As a member of the schools’ regional dance company, the Eastern Shore Ballet Theatre, he performed various roles in annual productions of The Nutcracker, Coppélia, Scheherazade and the Polovtsian Dances¸ among others. Mr. Doane has attended summer intensives at the Kirov Academy of Ballet (Washington, D.C.) and the Atlantic Contemporary Ballet Theatre. At age 15, he returned to ACBT as a full-time 8

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academic student and trained there for four years. Upon moving to New York, Mr. Doane joined the Dance Theatre of Harlem Ensemble and the Dance for America Tour, performing in venues across the country including Jacob’s Pillow. Mr. Doane has appeared with Ballet Noir at East River Park as part of SummerStage, in the 200th Anniversary Chopin Celebration and the 2010 World Dance Gala in Kielce, Poland. As a guest artist, Mr. Doane has performed with the Classical Contemporary Ballet Theatre and with choreographer Ja’ Malik in E-moves Emerging Choreographers Showcase. Mr. Doane has danced leading roles in Glinka Pas de Trois, In the Mirror of Her Mind, New Bach, Return, Fete Noir, South African Suite, Concerto In F and Contested Space.

Chyrstyn Fentroy, Los Angeles, California Chyrstyn Mariah Fentroy was born and raised in Los Angeles, California, where she trained with her mother Ruth Fentroy until the age of 17. She then moved to New York City after being offered a scholarship to the Joffrey Ballet School trainee program. During her first year there, she was asked to join the Joffrey Ballet School Performance Company for which she danced several principal roles in works such as Gerald Arpino’s Birthday Variations and Davis Robertson’s UnEquilibrium. Ms. Fentroy competed in the Youth America Grand Prix finals in New York in 2010 and 2011, where she was then asked to compete in the Beijing International Ballet and Choreography Competition.

She has also had her contemporary choreography recognized in other competitions.

Jenelle Figgins, Washington, D.C. Jenelle Figgins began her training at the Jones-Haywood School of Ballet, Dance Institute of Washington and Duke Ellington School of the Performing Arts. While training, she received scholarships to attend Dance Theatre of Harlem’s Kennedy Summer Intensive. She went on to attend SUNY Purchase New York on partial scholarship and in 2011 received her B.F.A. with honors in dance. Following graduation, she attended Springboard Danse Montreal in 2011. Ms. Figgins has been featured in works by Sarah Mettin, Kevin Thomas, Emily Molnar, Twyla Tharp, Paul Taylor, George www.MichiganOpera.org

Balanchine, Nora Reynolds and Hinton Battle. She has danced professionally with Mettin Movement Collective, Collage dance Collective and Les Grands Ballet Canadiens de Montréal.

Emiko Flanagan, Westlake Village, California Emiko Flanagan received her early dance training from California Dance Theatre and attended summer programs at Pacific Northwest Ballet, Boston Ballet, and San Francisco Conservatory of Dance. She continued her studies at UC Irvine as a BFA student in Dance Performance. After her sophomore year, she took a leave of absence from school to be a trainee with the Joffrey Ballet in Chicago. The following year Emiko was an apprentice with the Richmond Ballet for their 2010-2011 season and then spent one year in the Alonzo King LINES Ballet Training Program. She has performed in works by choreographers such as George Balanchine, William Forsythe, Salvatore Aiello, Jodie Gates, Alexei Kremnev, and Keelan Whitmore.

Nayara Lopes, Curitiba, Brazil Nayara Lopes started dancing at age six and trained both at the School of Theatre Dance Guaira in Brazil and American Ballet Theatre’s Jacqueline Kennedy Onassis in New York City.

Following her early training, she joined Orlando Ballet II, where she performed roles in Carmen, Giselle and A Midsummer Night’s Dream. She joined The National Ballet of Canada as an Apprentice in 2011 where she performed in many full-length ballets including The Nutcracker, Giselle, La Fille mal Gardée and Alice in Wonderland. Ms. Lopes has competed in ballet competitions such as the Youth America Grand Prix- finals (New York, NY) where she received the Mary Day Special Award and the Youth America Grand Prix- Regionals (Columbia, South Carolina) where she was the Grand Prix Winner 2011.

She has worked with choreographers including Christopher Wheeldon, James Kudelka, Lindsay Fischer, Robert Hill, Raymond Lukens and Jessica Lang.

Additional roles include Kitri in Don Quixote, Allegro Brilliante, and the Black Swan and Sleeping Beauty Pas de Deux. This will be her first year with the DTH Company.

Detroit Opera House

DANCE THEATRE OF HARLEM Jehbreal Muhammad Jackson, Dallas, Texas Jehbreal Muhammad Jackson began his formal training in ballet at 10 years old, being placed accidentally into the wrong classroom by an afterschool program advisor. He found his heart in classical and contemporary dance and continued to study at the Dallas Black Dance Academy, W. E. Greiner Middle School of the Exploratory and Performing Arts, and the Booker T. Washington High School for the Performing and Visual Arts. Mr. Jackson is a graduate of The Juilliard School in New York under the direction of Lawrence Rhodes, where he performed the works of Alexander Ekman, Stijn Celis, Mark Morris, Jerome Robbins, William Forsythe and Ohad Naharin.

Recently, Mr. Jackson performed as a guest with Ballet Noir NYC, sharing the stage with performers from American Ballet Theatre and the Polish National Ballet for their Chopin festival. In October 2010, he performed with Keigwin + Company at the annual Fall for Dance festival at New York City Center. He has also been a featured vocalist with various jazz bands at Juilliard and embarked on a concert tour to Brazil.

Alexandra Jacob, Oakland, California Alexandra Jacob began her first formal Vaganova ballet training at the age of 8 at Berkeley City Ballet. Ms. Jacob also attended summer programs at the Dance Theatre of Harlem and Alonzo King LINES Ballet on scholarships. After graduating high school, she pursued an architecture degree at the California College of the Arts. Three years into her college career, she rediscovered her love for ballet and decided to return to New York in the fall of 2004 to attend the Joffrey Ballet School. She joined the Dance Theatre of Harlem Ensemble in January 2005 under the direction of Arthur Mitchell. Ms. Jacob toured with the ensemble throughout the United States and internationally, performing featured roles by Peter Pucci, Donald Byrd, Christopher L. Huggins, Lowell Smith and Arthur Mitchell.

Dustin James, Houston, Texas Dustin James began his dance training at age 11 in Houston and later attended the city’s High School for the Performing and Visual Arts. While attending HSPVA, he also began studying Detroit Opera House

at Houston Ballet’s Ben Stevenson Academy and became a member of Houston Ballet II for two years. While there, Mr. James was trained and coached by Claudio Muñoz as well as Lázaro Carreño, Phillip Broomhead and Priscilla Nathan-Murphy. After completing his training, Mr. James joined BalletMet Columbus, where he danced for four seasons and performed works by such choreographers as Stanton Welch, Darrell Grand Moultrie and Ma Cong.

Francis Lawrence, Melbourne, Australia Francis Lawrence studied at The Australian Ballet School where he graduated with a diploma in dance.

While at the school, he danced with The Australian Ballet and with its regional Dancers Company for two years. Upon arriving in the U.S, Mr. Lawrence joined New York Theatre Ballet for their 30th season in Cinderella and Dance/Speak: The Life of Agnes de Mille and has danced for the Grand Rapids Ballet Company under the direction of Patricia Barker. During his time in the company, he performed repertoire by George Balanchine, Twyla Tharp, José Limón, Paul Taylor, Ulysses Dove, Lew Christensen, David Parson and Mario Radacovsky. He has studied under programs offered by The Ailey School, Complexions and Hubbard Street, getting to work with choreographers like Pedro Ruiz, Dwight Rhoden and Desmond Richardson. Mr. Lawrence most recently worked with Olivier Weavers on Fragments, as well as a new work, The Couch.

Ashley Murphy, Shreveport, Louisiana Ashley Murphy began her dance training at age 3. She was enrolled in the pre-professional division at Carol Anglin Dance Center from 19932002, where she became a member of Louisiana Dance Theatre, an Honor Company of Regional Dance America.

She has also performed for Shreveport Opera and Moscow State Ballet as well as in the premiere of William Joyce’s The Leaf Men and The Brave Good Bugs.

She represented LDT in the Regional Dance America performance at the International Ballet Competition in Jackson, Mississippi and attended summer programs at New York’s Joffrey Ballet School and The Ailey School.

In 2002, Ms. Murphy went on to train www.MichiganOpera.org

and perform with Dance Theatre of Harlem’s Dancing Through Barriers® Ensemble. The following year, she was accepted into the DTH Company and toured with them throughout the United States and to foreign countries that included Great Britain, Germany, Italy and Greece. Ms. Murphy has also taught for the DTH Pre-Professional Residency at the Kennedy Center. She has also appeared at the White House, on BET’s 106 & Park, the game show Jeopardy, and represented the U.S. in a cultural exchange program in Kingston, Jamaica.

In 2011, she was chosen for a new work

by Christopher L. Huggins that was commissioned for Dancers Responding to AIDS. Gabrielle Salvatto, New York, New York Gabrielle Salvatto, a native New Yorker born and raised in the Bronx, began her ballet training at the Dance Theatre of Harlem at age 8. She continued her studies at The School of American Ballet and received her high school diploma from La Guardia H.S. of Music & Art and Performing Arts. She went on to graduate from the Juilliard dance B.F.A. program, where she performed repertoire by Ohad Naharin, Jerome Robbins, Nacho Duato, Eliot Feld and José Limón, among others.

Ms. Salvatto has since danced for Austin McCormick’s Company XIV and Sarah Berges Dance. Further training includes Hubbard Street, Complexions and Springboard Danse Montreal.

After a year dancing and performing with the Professional Training Program at DTH, Gabrielle proudly joined the newly formed company in August 2012.

Anthony Javier Savoy, Annapolis, Maryland At the age of 16, Anthony Javier Savoy began his classical training on scholarship, at Abigail Francisco’s School of Classical Ballet. In 2006, after participating in the National High School Dance Festival, Savoy was awarded the title Maryland All State Dancer by the Congressional House Representative of Maryland.

He went on to continue his studies at Point Park University. In 2008, he left Point Park University, to attend Anne Arundel Community College, working towards a Bachelor’s in Fine Arts and a minor in biology. Savoy has attended summer intensives with American Ballet BR AVO

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DANCE THEATRE OF HARLEM Theatre, Point Park University, The Kirov Academy and Dance Theatre of Harlem, all on scholarship. In 2010, Savoy joined Dance Theatre of Harlem Ensemble and in 2011 he participated in the Fire Island Dance Festival 17, in collaboration with Dancers Responding to AIDS and Broadway Cares. Savoy has served as a cultural ambassador for the U.S. while performing and providing community outreach in Kingston, Jamaica.

He has also worked with FOX on Nigel Lythgoe’s groundbreaking hit television series, So You Think You Can Dance Season 10.

Ingrid Silva, Rio de Janeiro, Brazil Ingrid Silva began her formal ballet training at the age of 8 at Dançando Para Não Dançar, the Deborah Colker school and Escola de Dança Maria Olenewa. She has also apprenticed with Company Grupo Corpo in Brazil.

After entering the Univercidade da Cidade College, she decided to follow her passion and traveled to New York in 2007. That summer, she attended the Dance Theatre of Harlem Summer Intensive Program, and afterwards joined the school’s Professional Training Program. She became a member of the Dance Theatre of Harlem Ensemble in 2008. Ms. Silva has also performed with Armitage Gone! Dance performing GAGA-Gaku at the Joyce Theater in 2011.

Stephanie Rae Williams, Salt Lake City, Utah Born in Utah and raised in Texas, Stephanie Rae Williams received her early training at Dallas Dance Academy with Fiona Fairrie. Ms. Williams made her professional debut with Ben Stevenson’s Texas Ballet Theater in 2006-07, and she most recently danced as a company member with the Francesca Harper Project and Ballet Black. Ms. Williams was an apprentice with Complexions in 2009, and has also studied during summers at The Juilliard School, Alonzo King LINES Ballet and Houston Ballet’s Ben Stevenson Academy. She was a fellowship recipient at The Ailey School, a 2006 National Foundation on the Arts award winner, a 2006 Youth America Grand Prix Finalist and a 2004 Texas Commission on the Arts Young Master.

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Samuel Wilson, Bremerton, Washington Samuel Wilson started dancing ballet at the age of 15 with the Peninsula Dance Theatre. Since then, he has danced in summer programs such as Summer Dance Lab in Walla Walla, Washington and American Ballet Theatre in Austin, Texas. It wasn’t until 2003, when Mr. Wilson came to Dance Theatre of Harlem that he started his professional career and joined the Dance Theatre of Harlem Ensemble.

DTH has provided Mr. Wilson with the opportunity to perform in venues such as the White House, BET’s 106 & Park, Fox 5 News, The Kennedy Center and The Joyce Theater in New York. He has also had the opportunity to work with world-renowned choreographers and study under influential teachers like Arthur Mitchell and Eva Evdokimava.

Mr. Wilson has also developed into a high caliber teacher and dance coach himself, working in ballet schools and summer programs such as Usdan Center for the Creative and Performing Arts, and the Voorhees Ballet.

Keith Saunders (Ballet Master) Keith Saunders, a native of Baltimore, Maryland, began dancing in 1971 while a student at Harvard University.

He began his ballet training in 1973 at the National Center for Afro-American Artists in Dorchester, Massachusetts.

Mr. Saunders joined Dance Theatre of Harlem in 1975 and continued his development under the tutelage of Arthur Mitchell, Karel Shook and William Griffith. He became a principal dancer with DTH and performed a wide range of roles throughout the company’s repertoire for more than 17 years. He also danced with France’s Ballet du Nord (1986) and BalletMet of Columbus, Ohio (1987-1989).

As a guest artist, Mr. Saunders appeared with Boston Repertory Ballet, Maryland Ballet, Eglevsky Ballet, Ballethnic Dance Company, and the David Parsons Company, among others.

He has been a faculty member of the Dance Theatre of Harlem School, the BalletMet Dance Academy (where he also served as Education Director), the New Ballet School (now Ballet Tech), and the 92nd Street Y. In 2003, Mr. Saunders was Guest Artist-inResidence in the Dance Department at the University of Wyoming, and

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he taught and choreographed at their Snowy Range Dance Festival from 2003 – 2008.

Keith Saunders was appointed Dance Theatre of Harlem’s assistant ballet master in 1994 and ballet master in 1996. From 2004 - 2010, Mr. Saunders was Director of Dancing Through Barriers®, Dance Theatre of Harlem’s international education and outreach initiative, in addition to directing the DTH Ensemble.

ROBERT GARLAND (Resident Choreographer) Robert Garland was a member of the Dance Theatre of Harlem Company from 1984 through 1997, achieving the rank of principal dancer. After creating a work for the DTH School Ensemble, Arthur Mitchell invited Robert Garland to create a work for The Dance Theatre of Harlem Company and appointed him the organization’s first resident choreographer in 1997.

In addition to choreographing several ballets for DTH, Mr. Garland has also created works for New York City Ballet, The Royal Ballet, Oakland Ballet and many others. Mr. Garland is also a senior faculty member of the DTH school, webmaster for the organization and a primary instructor for the Kennedy Center – Dance Theatre of Harlem Residency Program in Washington D.C. His commercial work has included music videos, commercials and short films, including the children’s television show Sesame Street, a Nike commercial featuring New York Yankee Derek Jeter, the NAACP Image Awards, a short film for designer Donna Karan, and the “Charmin Cha-Cha” for Proctor and Gamble.

Detroit Opera House

These performances by The Joffrey Ballet are supported in part by a generous gift from the Betty, Marvin and Joanne Danto Dance Endowment Detroit Opera House

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Victoria Jaiani and Miguel Blanco. Photo by Christopher Duggan.

March 1-2, 2014 ASHLEY WHEATER Artistic Director GREG CAMERON Executive Director ROBERT JOFFREY Founder GERALD ARPINO Founder Artists of The Company MATTHEW ADAMCZYK – DERRICK AGNOLETTI – YOSHIHISA ARAI – AMANDA ASSUCENA – GUILLAUME BASSO – MIGUEL ANGEL BLANCO – OGULCAN BOROVA – ANAIS BUENO – FABRICE CALMELS – RAUL CASASOLA – APRIL DALY – ELIVELTON DAS GRACAS – FERNANDO DUARTE – ERICA LYNETTE EDWARDS – YUMELIA GARCIA – CARA MARIE GARY – JOHN MARK GIRAGOSIAN – DYLAN GUTIERREZ – ELIZABETH HANSEN – RORY HOHENSTEIN– ANASTACIA HOLDEN – DARA HOLMES – VICTORIA JAIANI – GRAHAM MAVERICK – CAITLIN MEIGHAN – JERALDINE MENDOZA – JACQUELINE MOSCICKE – AMBER NEUMANN – ALEXIS POLITO– CHRISTINE ROCAS – AARON ROGERS– LUCAS SEGOVIA – AARON SMYTH – TEMUR SULUASHVILI – SHANE URTON – ALBERTO VELAZQUEZ – MAHALLIA WARD – JENNY WINTON– JOANNA WOZNIAK – KARA ZIMMERMAN SCOTT SPECK Music Director NICOLAS BLANC Ballet Master GERARD CHARLES Ballet Master GRACA SALES Ballet Master/Principal Coach KATHERINE SELIG Principal Stage Manager AMANDA HEUERMANN Stage Manager Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording devices are not allowed in this auditorium. Program and artists subject to change.

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THE JOFFREY BALLET Company History The Joffrey Ballet has been hailed as “America’s Company of Firsts.” The Joffrey Ballet’s long list of “firsts” includes being the first dance company to perform at the White House at Jacqueline Kennedy’s invitation, the first to appear on television, the first classical dance company to go multi-media, the first to commission a rock ‘n’ roll ballet, the first and only dance company to appear on the cover of Time magazine, and the first company to have had a major motion picture based on it, Robert Altman’s The Company.

For more than a half-century, The Joffrey Ballet’s commitment to taking worldclass, artistically vibrant work to a broad and varied audience has created a solid foundation that continues to support the company’s unprecedented capacity for achieving important “firsts.” Today, the Joffrey, which has been hugely successful in its former residences in New York and Los Angeles, lives permanently in its brilliant new facility, Joffrey Tower, in the heart of America, Chicago, Illinois. The company’s commitment to accessibility is met through an extensive touring schedule, an innovative and highly effective education program including the much lauded Joffrey Academy of Dance, Official School of The Joffrey Ballet, the Community Engagement program, and collaborations.

Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company and audiences and repertoire which includes major story ballets, reconstructions of masterpieces and contemporary works. Founded by visionary teacher Robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley Wheater and Executive Director Greg Cameron.

The Joffrey Ballet has become one of the most revered and recognizable arts organizations in America and one of the top dance companies in the world.

Interplay

Choreography by JEROME ROBBINS Music by MORTON GOULD Costumes by SANTO LOQUASTO Lighting Design by JACK MEHLER after RONALD BATES Staged by JEAN-PIERRE FROHLICH Performed by permission of The Robbins Rights Trust.

WORLD PREMIERE: Friday, June 1st, 1945, at the Ziegfeld Theatre, New York

Nine Sinatra Songs

Choreography by TWYLA THARP © TWYLA THARP Songs Sung by FRANK SINATRA Original Costume Design by OSCAR DE LA RENTA Scenic Design by SANTO LOQUASTO Lighting Originally by JENNIFER TIPTON, recreated by JACK MEHLER Staged by CRISTA FRANCESCA VILLELA With appreciation to Sinatra Enterprises and The Frank Sinatra Foundation.

Select costumes courtesy of Hubbard Street Dance Chicago and Kansas City Ballet.

WORLD PREMIERE: October 14th, 1982, Twyla Tharp Dance, Vancouver, British Columbia

Son of Chamber Symphony

Choreography by STANTON WELCH Music by JOHN ADAMS Costume Design by TRAVIS HALSEY Lighting Design and Scenic Concept by JACK MEHLER By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner.

WORLD PREMIERE: The Joffrey Ballet, August 22, 2012, Jacob’s Pillow, Becket, MA

Ashley Wheater, Artistic Director Born in Scotland and raised in England, Mr. Wheater was trained at the Royal Ballet School. Mr. Wheater began his professional career with the Royal Ballet, and danced at the London Festival Ballet, The Australian Ballet, The Joffrey Ballet and San Francisco Ballet. In 1997, he became Ballet Master at the San Francisco Ballet, and in 2002, Assistant to the Artistic Director.

In 2007, Mr. Wheater was appointed Artistic Director of The Joffrey Ballet. New work is the life blood of a company, and he has introduced numerous premieres to the repertoire.

In 2008, the Boeing Corporation recognized his commitment to community outreach and diversity in the world of dance, presenting him the “Game Changer” award. In 2010, Mr. Wheater, representing The Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the State of Illinois.

Stanton Welch Choreographer, Son of Chamber Symphony In July 2003, the acclaimed Australian choreographer Stanton Welch assumed leadership of Houston Ballet, America’s fourth largest classical ballet company.

Mr. Welch is one of the most sought after choreographers of his generation, having created works for such prestigious international companies as Houston Ballet, San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet, and Royal Danish Ballet.

In 1989 he joined The Australian Ballet, where he rose to the rank of leading soloist. In 1990 he received his first choreographic commission from the company, marking the beginning of a series of commissioned works over the next fourteen years and developing his diverse choreographic style. For Houston Ballet, he has choreographed more than twenty works including a new full-length narrative ballet Marie (2009), inspired by the life of the legendary Marie Antoinette and spectacular stagings of Swan Lake (2006), and La Bayadère (2010).

THE JOFFREY BALLET

Up. Since 1999, Twyla Tharp Dance has credits include PBS’ Dance in America Twyla Tharp been touring internationally to critical series; co-producing/directing Making Choreographer acclaim. the Television Dance, winner of the In 1965, Ms. Tharp Ms. Tharp’s Broadway credits Chicago International Film Festival formed the dance include: When We Were Very Young; Award; and co-directing Baryshnikov company Twyla Tharp The Catherine Wheel; Singin’ in the

By Tharp, garnering two Emmy Awards Dance (TTD) creating Rain; and Billy Joel’s award-winning and the Director’s Guild of America 80 pieces for the dance musical Movin’ Out, earning Award for Outstanding Director company. When TTD merged with her a 2003 Tony Award, Astaire Award, Achievement.

American Ballet Theatre, she created Drama League Award for Sustained Ms. Tharp has recieved seventeen more than a dozen works. Since that Achievement in Musical Theater; honorary doctorates, the Vietnam time Ms. Tharp has choreographed and both the Drama Desk Award and Veterans of America President’s Award, dances for many companies including: the Outer Critics Circle Award for the 2004 National Medal of the Arts and The Paris Opera Ballet, The Royal numerous grants including the John D. Ballet, New York City Ballet, The Boston Outstanding Choreography.

In addition to authoring several and Catherine T. MacArthur Fellowship.

Ballet, Hubbard Street Dance and The books, Push Comes to Shove and The She is a member of the American Martha Graham Dance Company, Creative Habit: Learn it and Use it for Academy of Arts and Sciences and an among others. In 1991, Ms. Tharp Life, Ms. Tharp has collaborated on the Honorary Member of the American regrouped her company Twyla Tharp films Hair, Ragtime, Amadeus, White Academy of Arts and Letters.

Dance and created a program with Nights, and I’ll Do Anything.

Other Mikhail Baryshnikov called Cutting O TH FJF E O TR HFJEE F OYRF JEB O FYA RFE LF BLYR AEELBTY LAEL BTLAELTL E T T HET HE JOF THJTEF OF HRJEEY O FR JFO EF BY R FAE FLBR YLAEB LY TLAEBLTA L ELTL E T H ET HJ E

AYP R TA R SY TAIS SR T A OISRS FTTO TIS SF HTO ETSFHCO ET OFHC ME TO PHC M AEO N PC M A YO N PM A YN PA YN Y ARTARTI I STS ARSA TTOF IRSSTTOF ITSH TOS ETFHO CE TO FHC M TEO H PCM A EO N PCM A YOP NM NA YIN The Joffrey Ballet — Artists of the Company

Detroit Opera House

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Composer: Hans Krรกsa Librettist: Adolf Hoffmeister English version by: Tony Kushner Overture for Small Orchestra Opera in Two Acts no intermission presents

LILIES AMONG THORNS an original short play Author: Michael Yashinsky World Premiere: Detroit, Michigan, March 16, 2014

World Premiere: Theresienstadt Concentration Camp, Czechoslovakia, September 23, 1943 Sung in English with surtitles Running time: one hour Conductor: Dianna Hochella Director: Michael Yashinsky Set Design: Thaddeus Strassberger Additional Set Design: Monika Essen Costume Design: Suzanne Hanna Lighting Design: Alex Gay Hair and Makeup Design: Elizabeth Geck Stage Manager: Nan M. Luchini Surtitles: Dee Dorsey

And

BRUNDIBร R March 16, 2014

By arrangement with Bote & Bock Berlin and Boosey & Hawkes, Inc.

LIL AND ALEX ERDELJAN Production Sponsor

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WORTHINGTON FAMILY FOUNDATION Education Material and Student Ticket Sponsor

Community Education and Outreach Partner Media Partner

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Detroit Opera House

BRUNDIBÁR

THE CAST

In order of vocal appearance Lilies Among Thorns Gatherer.............................................Anna Chisholm Little Boy.............................................Kevyn Roessler First Flower....................................... SteFannie Savoy Second Flower...........................Elizabeth Elkin Weiss Third Flower...................................... Gabrielle Feber Special Guest............................. Ela Stein Weissberger Brundibár Pepícˇek................................................. Noah Trudeau Aninku................................................... Melody Balos Ice Cream Seller....................................Annie Youngs Baker................................................. SteFannie Savoy Milkmaid.................................................Marielle Hill Policeman.............................................. Cassia Burley Brundibár..........................................Miles Eichenhorn Sparrow...................................................Isabel Rocha Cat.......................................................... Lauren Ward Dog................................................... Natalie Corrigan Chorus..... Michigan Opera Theatre Children’s Chorus Understudies Gatherer: Isabelle Ross Little Boy: Eddie Eichenhorn First Flower: Katherine Espin Third Flower: Emma Guzman Pepícˇek: Annie Youngs Aninku: Marielle Hill Ice Cream Seller: Gabrielle Feber Baker: Rachel Kret Milkmaid: Isabella Schena Policeman: Kristen Dubicki Brundibár: Lauren Ward Sparrow: Clare Brees-Oswald Cat: Ryan Blankenburg Dog: Cooper Blankenburg

SYNOPSIS

Brundibár will be preceded by Lilies Among Thorns, a memorial play in poetry, picture, and song. The play’s Gatherer collects the Flowers, undying creations that endure from the Shoah. A narrative builds of a Little Boy, beginning in the garden of his happy home and ending in Theresienstadt, with the dark prospect of an eastward train looming. The intertwined artworks are all “lilies among thorns” (a phrase taken from the Biblical Song of Songs)—flowers that miraculously sprouted in a land with no water, testaments to the human will to create even in the face of destruction, and to sing out when others threaten to silence, as the children do at the end of Brundibár.

At the heart of Brundibár (Czech for “bumblebee”) are a brother and sister, Pepícˇek and Aninku. Their mother has Detroit Opera House

fallen ill and the siblings set out to find milk to save her.

Without money to buy it, they try singing on the street—but are stopped by the despotic organ grinder Brundibár, who wants the town square to himself. A singing Sparrow, Cat and Dog, along with a crowd of schoolchildren, come to the aid of the siblings. Their lullaby of a hundred united voices overpowers the drone of the organ grinder, and the siblings finally earn what they need to buy “milk for Mommy.” All join in a chorus of triumph over evil. The same triumph for which the children of Theresienstadt ardently hoped when they assembled onstage in 1943: “You’ll find that trouble ends when you rely on friends!”

HISTORY

The words and music of Brundibár were written in 19381939 by a pair of Jewish Czech intellectuals: the poet Adolf Hoffmeister and the composer Hans Krása. Before it could be performed at the Prague Jewish orphanage where its creators had been invited to debut the work, Krása was transported to the Nazi concentration camp Theresienstadt. The son of the orphanage director soon followed, smuggling a priceless treasure: the piano score of Brundibár. He gave it to Krása, who wrote a new orchestration for the few instruments available in Theresienstadt. Krása also penned his Overture for Small Orchestra—used in the MOT production to open Brundibár—while interned at the camp. It premiered in the attic of the Magdeburg barrack, its cast made up of child prisoners. Brundibár went on to receive many performances in the camp, and was even shown to a visiting Red Cross delegation and recorded by the Nazis for a propaganda film.

They meant to use the production as proof of the “model ghetto” they had created for Europe’s Jews. Meanwhile, Krása was being prepared for removal to Auschwitz, where he and most of the young cast would perish.

Among the few who survived was Ela Stein (now Weissberger), who played the Cat as a thirteen-year old girl in Theresienstadt. The Michigan Opera Theatre is supremely honored to have her as a guest at this production, where she will speak to the audience about the experience of putting on the opera in the camp. For Ela and her cherished friends in the cast and audience (most of whom she would never see again), Brundibár was a chance to escape from their nightmare and be flown, for one precious hour, into a world of music and imagination, where no evil could touch them.

For this production, the MOTCC will perform a new translation by Tony-winning American playwright Tony Kushner, originally written for a production designed by Maurice Sendak, which the two transformed into a picture book. It renders the jocular, jangling Czech of the original into a similarly playful English idiom, brimming with wordplay.

Michael Yashinsky, Director Michael Yashinsky graduated from Harvard College in 2011 with a degree in Modern European History and Literature. At Harvard, he directed The Gondoliers for the HarvardRadcliffe Gilbert & Sullivan Players and Tosca for New England’s oldest opera company, the Lowell House Opera. He has completed internships at the Detroit Opera House and Vienna’s Theater an der Wien. At the DOH, Yashinsky has assistant directed Il

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BRUNDIBÁR Barbiere di Siviglia and La Traviata and directed the MOTCC’s performance of Malcolm Willliamson’s opera The Happy Prince, a production that cast a light on the current social climate of our city by being re-set in contemporary Detroit.

In April, Yashinsky’s original drama Games We Played will be staged by the Candlelight Theatre in the Indianapolis mansion of President Benjamin Harrison.

her favorite design projects are The Barber Of Seville (MOT), HMS Pinafore (MOTCC), Angels in America (New Studio Theatre), Amahl and the Night Visitors (MCLO) to name a few. Ms. Hanna is a native Detroiter who has been the costume director for Michigan Opera Theatre for over a decade.

Elizabeth Elkin Weiss

Dianna Hochella is the Assistant Director and Conductor of Michigan Opera Theatre’s Children Chorus. Ms. Hochella serves as Choral Director and World Music Drumming Instructor for Clague Middle School in Ann Arbor, MI. As a member of the Michigan Opera Theatre Chorus, Ms. Hochella has performed in the MOT main stage productions of Cyrano and Margaret Garner. She holds a Bachelor of Music degree in music education from Radford University in Virginia and a Master of Music degree in vocal performance from the University of Michigan. Her passion is teaching and sharing her love of opera and great singing with young singers.

Elizabeth Elkin Weiss (Second Flower) is a veteran actress of radio, stage, and screen, and a lifelong Yiddishist and student of the Shoah.

Also an accomplished artist, she aided the war effort in the 1940s by serving as a draftswoman in Detroit, designing parts for fighter planes.

Favorite roles have included Kate in the Actors’ Company’s The Taming of the Shrew and Gwendolen Fairfax in The Importance of Being Earnest. Weiss has shared the spotlight with such actors as Nina Foch, Gypsy Rose Lee, and Diana Barrymore. A radio pioneer, she and her husband Rube were featured players in The Lone Ranger, Challenge of the Yukon, and The Green Hornet. Her vocal versatility (a newspaper profile dubbed her “the woman of 1,000 voices”) landed her countless commercials on radio and TV. A lifetime member of SAG and AFTRA, Weiss has received the Lifetime Achievement Award from the Alliance for Women in Media, and was inducted into the Silver Circle of the National Academy of Television Arts & Sciences.

Suzanne M. Hanna Costume Designer Suzanne M. Hanna has been designing costumes for opera and theatre professionally for over 25 years, as well as having the pleasure of managing costume shops and building costume for theatre, opera and films. Her award winning designs have been presented on stage for Michigan Opera Theatre, Motor City Lyric Opera, Jewish Ensemble Theatre, Oakland University and many others. Some of

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Dianna Hochella Assistant Director, Conductor

Alex Gay

Lighting Designer In addition to his work as the Assistant Technical Director and Assistant Lighting Designer for the Michigan Opera Theatre, Alex freelances within the Michigan professional and educational theatre community. He most recently designed lights for Mosaic Youth Theatre of Detroit’s Hastings Street. Other recent design credits include lighting for Saginaw Valley State University’s Moon Over Buffalo, Mosaic’s Singsation and Only the Best: 20 Years of Mosaic, Lighting and Technical Direction for Williamston Theatre’s Ebenezer, Lighting and Technical Direction for Dracula at Concordia University Ann Arbor, and Lighting for Red, White and Tuna and The Understudy, both at Williamston Theatre. Alex is a graduate of Eastern Michigan University and resides in Ypsilanti, MI.

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Ela Stein Weissberger (Special Guest) is an original Brundibár cast member from the Theresienstadt concentration camp in Czechoslovakia.

A renowned speaker, lecturer and advocate, Ms. Weissberger is dedicated to traveling the world to tell her story in honor of the memory of the victims of the Holocaust. Born in Prague, she currently resides in Tappan, New York. Ms. Weissberger is one of 100 Theresienstadt children who survived World War II. She was born to Max and Marketa Stein in 1930. In 1942, Ela, her sister, mother, grandmother and uncle were deported to Theresienstadt for three and a half years. While there, Ela was a cast member in the children’s opera Brundibár, and played the role of the Cat in 55 performances while at Theresienstadt. Ela and her family were liberated on May 5, 1945, and in 1949 they moved to Israel. It was there she met and married her husband, Leopold Weissberger. Ela has two children.

Elizabeth Geck This production of Brundibár will mark Elizabeth’s fifth season designing for Michigan Opera Theatre’s Children’s Chorus. In addition to Children’s Chorus productions, she has also designed for the Michigan Opera Theatre’s 2011 production of Marriage of Figaro. Elizabeth has been coordinating the Michigan Opera Theatre wig and make-up crew for the last ten years, as well as assisting the Wig and Make-up designer for main stage opera productions. Ms. Geck has assisted with several new productions including Aida, Cyrano, Carmina Burana/The Medium, Margaret Garner and Pearl Fishers. Other outside productions include Motor City Lyric’s production of Amahl and the Night Visitors as well as Grosse Pointe Theater’s Production of West Side Story.

Detroit Opera House

BRUNDIBÁR Monika Essen Monika Essen (additional set and props designer) is an award winning, nationally recognized artist and designer, and the recipient of the prestigious Detroit Free Press Lawrence DeVine Award for Outstanding Contribution to Theatre. She studied interior architecture and environmental design at Parsons School of Design NYC, and received her MFA in sceneography from the renowned Hilberry Repertory Co., attending on a full fellowship. She has designed sets, costumes and props for countless productions in theatre, opera and film. Currently she is the Resident Designer at the Michigan Opera Theatre having just designed sets, costumes, props and projections for the “Medium” and “Carmina Burana.”

Additionally, she creates interiors and full sensory, multi-media environments for residential and commercial clients, including the Detroit Zoo. She also designs and creates a custom furniture line called “Mococo” with her husband Kurt Kastner at her company Epoque Design. You can see Monika’s design work at www.studioepoque.com.

Noah Trudeau Noah Trudeau (Pepícˇek) is 11 years old. He is a sixth grade honor student and member of the Student Council at Boyd W. Arthurs Middle School in Trenton. Noah is in his first year with the MOTCC. He has performed in the Detroit Tree Lighting Ceremony, the chorus of The Nutcracker, and various outreach appearances in the metro area with his fellow Principal Chorus members.

Melody Balos Melody Balos (Aninku) is 13 years old.

She is in seventh grade at Pierce Middle School in Grosse Pointe Park. This is Melody’s first year in MOTCC. Melody’s theatrical experience includes the role of Annie in Annie Jr., Glinda in The Wizard of Oz, and lead roles in three original children’s plays: The Land of Futures Passed, The Fairly Good Mother and The Supersonic Imaginatronic. She has been featured as a vocal soloist in Pierce Middle School choir and the Grosse Pointe Summer Select Choir concerts.

Detroit Opera House

Miles Eichenhorn Miles Eichenhorn (Brundibár) is 14 years old and is in his fifth year with the MOTCC. He attends Bloomfield Hills High School and is a freshman.

Throughout his involvement with the MOTCC, Miles has been in numerous productions including The Very Last Green Thing (Chorus/Lionel and Bobby Understudy), The Maker Of Illusions (Boy), H.M.S. Pinafore (Sir Joseph Porter), and The Happy Prince (Mayor/ Prince Understudy). Along with the children’s operas, Miles has performed in MOT productions of Tosca, La Boheme, Carmina Burana, and I Pagliacci. Outside of school, Miles is a devout member of the local forensics team, and has won two individual and team NJFL national forensics championships with his former middle school team. He is from West Bloomfield.

Annie Youngs Annie Youngs (Ice Cream Seller) is 13 years old. She is an eighth grade student and is from Troy. Annie has been a member of the MOTCC for three years.

She has performed in the MOTCC chorus of H.M.S. Pinafore as well as the understudy for the Boatswain’s mate. Annie has performed in the MOT choruses of Carmina Burana and I Pagliacci. Outside of the MOTCC she performed the role of Dori in Avon Players School House Rocks, the role of Lilly in Roeper Theater Company’s Annie Jr., the role of Suzanne in Avondale Middle School’s production of A Family Reunion to Die For and numerous other community theater productions. She dances with Kaleidoscope Studio for the Performing Arts.

SteFannie Savoy SteFannie Savoy (First Flower, Baker) is 13 years old. She is a homeschooled eighth grader from Detroit. This is SteFannie’s third exciting year as a

MOTCC member and her first principal roles in a MOTCC production. She has performed in MOTCC productions of H.M.S. Pinafore and The Happy Prince and the MOT productions of Carmina Burana and I Pagliacci in which she also played the role of Nedda’s Friend.

Outside of MOTCC she has performed in Gilbert & Sullivan operettas — Ruddigore, Princess Ida, and Patience — all presented on the MOT stage.

SteFannie also performs in dance productions from The Link School of the Arts in Troy and Clawson.

Marielle Hill Marielle Hill (Milkmaid, Aninku understudy) is 15 years old. She is homeschooled. This is Marielle’s second year in MOTCC. She was the understudy for the Matchgirl in last season’s production of The Happy Prince. Marielle has been in seven shows at the Marquis Theatre is Northville, including: Snow White (Ziggy the Dwarf), Hansel and Gretel (Gretel), Rapunzel (Rapunzel), Beauty and The Beast(Fairy Queen) and Alice In Wonderland (Alice). Last summer she attended Stratford’s Shakespeare School in Stratford, Ontario. Marielle is also working on her fifth independent film.

Cassia Burley Cassia Burley (Policeman) is 15 years old. She is a freshman at Fraser High School and is from Mt. Clemens. Cassia has been a member of the MOTCC for four years. She was the Rich Girl in The Happy Prince, the Understudy for Cousin Hebe and chorus in H.M.S. Pinafore, and part of the chorus in The Maker of Illusions. Cassia has performed in the MOT productions of Carmina Burana, I Pagliacci, and La Boheme. Outside of the MOTCC she performed as Phineous Trout in Willy Wonka Jr., Ada in Princess Ida, Ruddigore, and a villager in Fiddler On The Roof.

News from the Michigan Opera Theatre Children’s Chorus MOTCC Returns for Turandot The MOTCC Principal Chorus will return to the Detroit Opera House stage to perform as the children’s chorus in MOT’s main stage production of Turandot, May 10-18, 2014.

Know a Boy or Girl Who Loves to Sing?

The Michigan Opera Theatre Children’s Chorus will hold auditions for the 2014-15 season on May 19, June 2, and June 7, 2014. For more information contact Chorus Administrator Twannette Nash at tnash@ motopera.org www.MichiganOpera.org

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BRUNDIBÁR Isabel Rocha Isabel Rocha (Sparrow) is 16 years old. She is an eleventh grade student at Northville High School. Isabel has been a member of the MOTCC for five years and is excited to portray her third principal role this year. She has performed with the MOTCC in The Happy Prince as the Swallow and the Seamstress’ Son, as well as the choruses of The Very Last Green Thing, The Maker of Illusions, and H.M.S. Pinafore and with MOT in Tosca, La Boheme, Carmina Burana, and I Pagliacci. Outside of the MOTCC Isabel enjoyed performing in The Sound of Music and Snow White and the Seven Dwarves. Isabel is the MOTCC Head Chorister.

Lauren Ward Lauren Ward (Cat, Brundibár understudy) is 14 years old. She is a ninth grade student at Waterford Mott High School. This is her second year in MOTCC. She is excited to play her first lead in an opera. She played the role of a private school student in last season’s opera, The Happy Prince. Outside of MOTCC, she has portrayed Mabel in Pirates of Penzance, Madame de la Grande Bouche in Beauty and the Beast, Detective Marie Grant in Squad Room Blues, and many more. She is currently Asaka in Once On This Island. This year, aside from that, she ranked superior at MSVMA musical festival, and will be

singing in Chicago next summer, and Carnegie Hall in 2015.

Natalie Corrigan Natalie (Dog) is 13 years old. She is a seventh grade student at Northville Christian School. Natalie has been a member of the MOTCC for three years and is very excited as this is her first principal role in a MOTCC production.

She has performed previously in the MOTCC productions of H.M.S. Pinafore and The Happy Prince and MOT productions of Carmina Burana and I Pagliacci. Outside of the MOTCC Natalie has played the role of Louisa in the Paul’s Players production of The Sound of Music, and the role of the bird girl in the Forever After Production of Seussical the Musical Jr., and many other community theater productions. Besides singing, Natalie also enjoys playing piano, robotics, and mathematics.

Anna Chisholm Anna Chisholm (Gatherer) is an eighth grade student at Birmingham Covington School and is in her second year with the MOTCC. During the 2012-13 MOTCC season Anna played the role of a beggar boy in The Happy Prince and was actively involved with many of MOTCC’s outreach programs. Anna’s love of the stage has also led her to perform in the BCS musical for three years. She has played Kellie in Dear Edwina, Jr.; a Mersister in The Little

Mermaid and also a hatbox girl in Guys and Dolls. In addition to musical theater and opera, Anna has danced for seven years, enjoys figure skating and is proud of her work as a Madrichah (teaching assistant) at her synagogue.

Kevyn Roessler Kevyn Roessler (Little Boy) is nine years old. He is a fourth grade student at Cranbrook Brookside in Bloomfield Hills. Kevyn is thrilled to be in his second year in the MOTCC. He was in the chorus of MOTCC’s The Happy Prince. Outside of the MOTCC, Kevyn has been in the Childrens’ Theatre Academy in Birmingham productions of Alice in Wonderland, Willy Wonka Jr., The Wizard of Oz, Disney’s Cinderella and numerous Cranbrook Brookside productions.

Gabrielle Feber Gabrielle Feber (Third Flower) is 14 years old. She is an eighth grade student at Cranbrook Kingswood Middle School in Huntington Woods. Gabrielle has been a member of the MOTCC for three years. She has performed in the MOTCC chorus of The Happy Prince, H.M.S. Pinafore and the MOT choruses of Carmina Burana and I Pagliacci. Outside of the MOTCC Gabrielle performed in Snow White and Good Grief it’s Christmas, to name a few.

Brundibár Chorus Principal Chorus Aubin, Alexandra Benjamin, Yazmine Blankenburg, Cooper Blankenburg, Ryan Bowling, Samantha Brees-Oswald, Clare Cheriyan, Maria Chisholm, Anna Davidson, Portteia Davidson, Xaneveya Dubicki, Kristen Espin, Katherine Feber, Gabrielle

Footitt, Jehnya Fredin, Emma Fuller, Katherine Gaedke, Madison Garcia-Johnson, Soleil Granger, Jayla Grice, Owen Guzman, Emma Heitchue, Amie Henry, Colette (Coco) Kret, Rachel Mackinnon, Emily Mathews, Myles Miller, Magdelynn

Miltimore, Rachel Nambiar, Aditya Nash, Kristina O’Dell, John O’Rourke, Isaac Phillips, Danielle Reardon, Madeleine Ross, Isabelle Salisbury, Charlotte Schena, Isabella Schneider, Zayda Simonds , Caitlin Staricco, Marcella Wigton, Ashley

Preparatory Chorus Bermudez, London Cooper, Lacey Crant, Ingrid Crant, Isabel Dixon, Caleb Eichenhorn, Edward Footitt, Jaeden Ganzak, Madison Georgeff, Nina He, Victoria Hupp, Grace Jacobsen, Aspen Lash, Noah

McGlynn, Sarah Neds-Fox, Abe Ohlsson, Amber Papadopoulos, Matteo Paul, Lily Roessler, Kevyn Rosales, Laura Salisbury, Amelia Swieczkowski, Ava Turner, Audrey Uddyback, Lena Wagstaff, Guinevere Watson, Natalie Zook, Brigitte

Michigan Opera Theatre Children’s Chorus Staff: Suzannne Mallare Acton, Director Dianna Hochella, Assistant Director/Conductor of Principal Chorus Annie Klark, Conductor of Preparatory Chorus Twannette Nash, Chorus Administrator Joseph Jackson, Accompanist for Principal Chorus John Pavik, Accompanist for Preparatory Chorus 18

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Detroit Opera House

MARCH 21-22, 2014 Ballet du Grand Théâtre de Genève GENERAL DIRECTOR Tobias Richter BALLET DIRECTOR Philippe Cohen BALLET DU GRAND THÉÂTRE PARTNER: Pro Helvetia and VACHERON CONSTANTIN

LUX Choreography by Ken Ossola

GLORY Choreography by Andonis Foniadakis

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BALLET DU GRAND THÉÂTRE DE GENÈVE LUX/GLORY Choreographies by Ken Ossola/Andonis Foniadakis Elevation and embodiment Text by Philippe Cohen – Ballet director A span of two centuries separates Handel from Fauré and begs the question: is the time lapse between these two composers an obstacle to use their works as the basis of a dance evening?

Part of the answer lies in the interaction of music and dance, to see how one is rooted in the other, allowing dance to achieve an effect of spiritual elevation, whilst music works its mysterious physical power on the body.

The hypnotic quality of Lux and its sculpted shadow play enhance the delicate nature of bodies wreathed by the sensitive, ethereal sweetness of Fauré’s music. Glory allows the dancers’ bodies to come together in various modes of symbiosis, either fluid or tense, expansive or minimalistic but always with the particular quality of “in between” that demonstrates mastery and quality of movement. Andonis Foniadakis’ love for virtuosity is amply demonstated in this piece. He has a particular ability to coax an intensity of presence out of his dancers, without ever resorting to pathos, enabling him to be fully in the moment, enigmatic, daring, imaginative and profoundly human.

The Grand Théâtre de Genève Ballet Company embodies the rhythm of this evening of contemporary dance, in which an original dramatic idiom opens the enigmatic parentheses between the moments of birth and death, between the opening and the closing of the eye.

GLORY Choreography by Andonis Foniadakis Andonis Foniadakis (b. 1971) left his native Greece to work with prestigious names of contemporary dance such as Béjart, Teshigawara, Kylian, Saarinen and Duato, but it is as a choreographer that he has made his reputation on an international scale. His creative partnership with the Ballet du Grand Théâtre de Genève began in 2003. Andonis Foniadakis’ acute awareness of an artistic and musical continuum within his contemporary idiom merged ideally with the company’s neo-classical orientation in Selon désir, a piece for 16 dancers using a soundtrack derived from the opening choruses of the two great Bach Passions. Selon désir has since been performed countless times by the Geneva Ballet on tour throughout the world and is one of the most popular pieces of the company’s repertoire.

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History The history of ballet in Geneva dates back to the beginning of the 19th century and is intimately linked with the “Théâtre de Neuve”, initially located in the Bastions, and subsequently in the presentday Grand Théâtre. By the 1870s, the ballet master of the time had two dozen dancers under his instructions, of whom several held the rank of soloist.

From the beginning of the 20th century, the evolution of dance in Geneva was strongly influenced by the presence in Geneva of Emile Jaques-Dalcroze and subsequently Ernest Ansermet, who were responsible for the introduction of Diaghilev’s Ballets Russes and Nijinski to local audiences. During this period and immediately after the Second World War (1939-1945), the Grand Théâtre’s own corps de ballet was deployed primarily in ballet scenes within operas and operettas, or in pas de deux. After the theatre was destroyed by fire in 1951 and during its subsequent reconstruction, the Grand Casino played host on several occasions to the Paris Opera Ballet, as well as to Maurice Béjart’s 20th Century Ballet.

In 1962, to honour its reopening, the Grand Théâtre acquired an enlarged company under the direction of Janine Charrat (1962-64). Following Charrat as Artistic Director was Serge Golovine, one of the most remarkable classical dancers of his generation. He held the post for five years from 1964 to 1969. Alongside his work as choreographer and principal dancer, Serge Golovine was also a prolific teacher.

In 1969, summoned by his friend Herbert Graf, Director of the Grand Théâtre, George Balanchine, without doubt the greatest choreographer of the 20th century, became the Company’s Artistic Advisor. He transformed the Geneva Ballet into a kind of European ambassador for the New York City Ballet, appointing as Director Alfonso Cata (1969-73), who would set a new direction for the Company and provide it with fresh impetus. As well as producing his own works, Cata produced Balanchine’s great choreographies with the purest style and great musicality. In addition, he invited other worldclass choreographers, such as Tudor and Bolender, to Geneva, thereby strengthening the Ballet du Grand Théâtre de Genève and widening its popular appeal.

Subsequently, under the inspiration of Balanchine, Patricia Neary (1973-78), soloist at the New York City Ballet, took the reins at the Company. With Patricia Neary’s departure for Zurich, the Balwww.MichiganOpera.org

anchine era came to an end, and Peter van Dyk, an exceptional former principal dancer at the Paris Opera, took charge of the Ballet for two years from 1978 to 1980.

As newly appointed Director General, Hugues Gall called upon Oscar Araiz to take over as Director of the Ballet in 1980. The great Argentinean would stamp a new expressionist style – modern and innovative – on the Company, during a tenure which lasted eight seasons (1980-88). More than 30 premières were presented to the public over this period, including Tango, Adagietto, Scènes de famille and Cantares.

At the beginning of the 1988-89 season, Gradimir Pankov, former Director of the National Ballet of Finland and of the Cullberg Ballet in Stockholm, took his turn at the helm. He was the Company’s first Director who was not himself a choreographer. As a result, the Company, no longer attached to any particular style, opened a new chapter in its history. It became more polyvalent, adapting itself to the wide-ranging styles of its visiting choreographers. Audiences were exposed to a new repertoire and Company. Several of the leading choreographers of the day came to Geneva for the first time, such as Jiri Kylian, Christopher Bruce, Rudi Van Dantzig, Mats Ek and Ohad Naharin.

This collaboration brought new blood to the Company and was warmly received.

From 1996, Renée Auphan became Director General of the Grand Théâtre de Genève, and entrusted the direction of the Ballet to François Passard and Giorgio Mancini. The Company continued to pursue its policy of inviting guest choreographers to Geneva, both neoclassical and contemporary alike.

In 2003, JeanMarie Blanchard, Director General of the Grand Théâtre de Genève since 2001, appointed Philippe Cohen to head the Ballet. Since his appointment, Philippe Cohen has continued to seek out new choreographers to bring to Geneva, such as Andonis Foniadakis, Sidi Larbi Cherkaoui, Gilles Jobin or Benjamin Millepied, and has given these artists carte blanche for their productions. He has also continued to enrich the repertoire with works by renowned choreographers such as Carolyn Carlson, Lucinda Childs, Jerome Robbins, Nacho Duato or Saburo Teshigawara.

The Ballet du Grand Théâtre continues to enrich and broaden it’s repertoire with programs that invite the public to discover the “newcomers” such as choreographers like Ken Ossola, Isira Makuloluwe or even Dominique Bagouet, Joëlle Bouvier, Michael Kelemenis and Emanuel Gat. Detroit Opera House

BALLET DU GRAND THÉÂTRE DE GENÈVE In 2009, Tobias Richter was nominated the Grand Théâtre de Genève’s general director and nourishes the continuity and fully supports all projects of the company.

With the development of international tours; USA, Australia, South America, Asia, the Ballet now shares its passion for dance with a wider audience who are captivated by the mere artistry.

Philippe Cohen Born in Morocco in 1953. In 1971, he began his dance training at Le Centre de Danse International Rosella Hightower and continued his studies until 1974. The political openness of this school gave him the possibility to work with diverse personalities such as Anton Dolin, Nora Kiss, Tatiana Grantzeva, Igor Youskevitch, Sonia Arova, John Gilpin. He joined Le Ballet de Nancy directed by Gigi Caciuleanu and performed in all of the company’s creations including several by Dominique Bagouet. This encounter was important and Philippe Cohen followed the choreographer’s artistic adventure from 1978.

Until 1982 he accompanied Bagouet as an artist, professor and assistant, notably in the production of “Les Voyageurs” performed by L`Opéra de Paris. And in parallel to the company’s work, he explored different contemporary dance techniques including Peter Goss, Susan Buirge and Alwin Nikolais. Bursary winner from the French Ministry of Culture, he decided to leave for the United States and follow the teachings of Merce Cunningham and the School of American Ballet.

In 1983, Rosella Hightower invited him to become the ballet master for Le Jeune Ballet de France. Apart from the daily class, he was responsible for the company’s classical repertoire including La Sylphide, Napoli, The Sleeping Beauty, Giselle, and choreographies by Maurice Béjart, John Neumier, Serge Lifar or George Balanchine. Also different creations from contemporary choreographers such as Carolyn Carlson, Daniel Larrieu, Claude Brumachon, Joelle Bouvier and Régis Obadia, Larrio Ekson, Régine Chopinot, Philippe Decouflé.

From 1988 to 1990, he was the study coordinator for “Le Centre National de Danse Contemporaine “ in Angers and worked with Michelle Anne de Mey, Hervé Robbe, Wim Vandekeybus and Trisha Brown. Philippe Cohen was named director of choreographical studDetroit Opera House

ies for Le Conservatoire National Supérieur de Musique et de Danse de Lyon in 1990, a position he occupied until 2003.

He developed an international political exchange, which was conducted in Vietnam, Cambodia, China, South Korea, Hong Kong, Thailand, Belarus, Germany, England, Georgia and Canada.

Since 2003, he has directed “Le Ballet du Grand Theâtre de Genève.” Philippe Cohen was distinguished by the French Ministry of Culture and was awarded the Arts and Letters Officers Medal. The Vietnam government honoured him for service rendered in the development of Vietnamese culture.

Ken Ossola Ken Ossola was born in Switzerland and trained as a dancer at the Ecole de Danse de Genève, directed by Béatriz Consuelo. In 1989 he joined NDT II, the junior troupe of the Netherlands Dance Theatre, appearing in works by Jirí Kylián, Hans Van Manen and Ohad Naharin, and many others. In 1992 he successfully transferred to NDT I, headed by Jirí Kylián. As an original cast member he contributed to many of the now well-known Kylián choreographies, most notably One of a Kind, Blackbird, Tiger Lily, Wings of Wax, Bella Figura and is featured in the DVD recordings of some of these, and other Kylián works such as Kaguyahime and Sweet Dreams.

During his time in NDT I he also had the opportunity to appear in creations by Ohad Naharin, William Forsythe, Paul Lightfoot, Nacho Duato, Martino Müller and Johan Inger. In 1999 he decided to leave the company; a brave leap which in turn enabled him to begin forging a career for himself as a freelance dancerchoreographer. In 2001/02, he went on to be engaged as ballet master for the Gothenburg Ballet, directed by Anders Hellström, then during the season 2004-05, he returned to NDT I as répétiteur. Aside from his varied and freelance career he is regularly engaged to stage existing works from the Kylián repertoire, for a wide range of international ballet companies and for the 2009 creation Zugvögel in Munich, he worked alongside Jiri Kylián as his choreographic assistant.

Andonis Foniadakis Andonis Foniadakis was trained as a dancer at the National School of Dance in Athens from 1988 to 1990 and then at the Rudra Bejart in Lausanne from www.MichiganOpera.org

1990 to 1992. With the Béjart Ballet Lausanne, he danced in King Lear, The Art of Pas de Deux, Shéhérazade, Ballade de la rue Athina, Variation pour porte et un soupir, Messe pour un temps présent, L’Oiseau de feu, Igor et Moi and Wagner. He then became a dancer of the Lyon Opera Ballet from 1996 to 2002 and danced in the following works: Cendrillon, Grosland, Contraste and Coppelia by Maguy Marin, Second Detail and Quartette by William Forsythe, Petite Mort and Sechs Tanz by Jiri Kylian, Remansos and Rassemblement by Nacho Duato, Carmen by Mats Ek, E JM2 by Frédéric Flamand, Tabula rasa and Black Milk by Ohad Naharin, and Green and Blue and Love Defined

by Bill T. Jones. He also performed in the following creations: Casse-Noisette (leading part) by Dominique Boivin, Sini by Terro Saarinen, Concerto and Petrouchka

by Joachim Slohmer, Origami de la chair

by Lionel Hoche, Double Face by John Jaspers, Final Lecture by Pascal Touzeau, Perspective depuis les ruines by Allesio Silvestrin and Arbre noir by Jo Kanamori.

He took part as a free-lance dancer in the creation of Kazahana by KARAS, the company of choreographer Saburo Teshigawara (2004).

His first choreography dates back to 1994, In Between, followed in 1996

by Court Métrage for the Béjart Ballet Lausanne. He created Fila Filon at the Dance Festival of Cannes (1997), Aurore Boréale at the International Festival of Copenhagen and Lava Nama for the Lyon Opera Ballet (1999). Recently, he created Pénombre at the International Festival of Copenhagen and In Memoriam Suberbiae at the OMMA, Concert Hall of Athens in 2001 and, in 2002, Pièce inconnue at the Conservatoire National Supérieur de Danse in Lyon and Handle With Care for the National Theatre of Northern Greece.

A guest choreographer, he creates Xe Symphonie for the Ballet National du Rhin, the choreography of the Boréades

by Jean-Philippe Rameau for the Opéra National du Rhin, the ballet.

In 2004, Andonis Foniadaki created Use for his young company, the ApotosΩma Dance Company, during the 11th Biennale de la Danse in Lyon.

For the Ballet du Grand Théâtre de Genève : Selon désir, world premiere in February 2004, Le Sacre du Printemps, world premiere in October 2007 and Glory, world premiere in February 2012.

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APRIL 5-13, 2014 MUSIC

William Bolcom LIBRETTO

Arnold Weinstein and Arthur Miller, based on the play by Arthur Miller WORLD PREMIERE

Lyric Opera of Chicago, October 9, 1999 In English with English supertitle translations Presented in three acts Approximately three hours CONDUCTOR Suzanne Mallare Acton DIRECTOR Tazewell Thompson ASSISTANT DIRECTOR

E. Reed Fisher CHORUS MASTER

Suzanne Mallare Acton FIGHT CHOREOGRAPHER

Christopher Barbeau

SET & COSTUME DESIGN

Robert O’Hearn LIGHTING DESIGN

Kendall Smith HAIR & MAKEUP DESIGN

Cindy Ludwig STAGE MANAGER

Ken Saltzman SUPERTITLES

Dee Dorsey Scenery and costumes courtesy of Indiana University Opera Theater

The 2014 Spring Opera Season is made possible

by General Motors Foundation and Cadillac

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Detroit Opera House

A VIEW FROM THE BRIDGE

Cast

In order of vocal appearance Alfieri.......................................................... Ricardo Lugo Louis.........................................................John Arnold*† Mike........................................................... David Moan* Eddie..................................................... Kim Josephson* Catherine................................................Kiri Deonarine* Beatrice.....................................Beverly O’Regan Thiele* A Woman..................................................Brandy Adams A Man............................................... Brandon C.S. Hood Tony.............................................................. Brian Leduc Rodolfo.....................................................Eric Margiore* Marco.......................................................Jonathan Lasch An Old Woman............................................Kate Rosen* First Officer................................................... Evan Ross† Second Officer........................................ Adrian Leskiw* * Michigan Opera Theatre debut † Barbara Gibson Young Artist Apprentice Michigan Opera Theatre premiere production of A View from the Bridge.

SYNOPSIS ACT I. Red Hook, Brooklyn, the 1950s. Neighborhood people begin an arduous day. The lawyer Alfieri commences the tragic story of longshoreman Eddie Carbone, and the chorus of characters and townspeople joins in the retelling.

Two stevedores, Louis and Mike, tell Eddie that the ship holding his wife’s two cousins from Sicily has docked. As illegal immigrants, they have been spirited away and will be brought to Eddie’s house that evening.

Arriving home, Eddie finds his niece Catherine dressed up; she has grown from a sweet child to a disturbingly beautiful young woman. She calls for Eddie’s wife, Beatrice, whereupon Eddie announces the safe arrival of the two young men, Rodolfo and Marco. Catherine breaks in with news of her success at stenography school and a job offer, which irritates Eddie as it bespeaks the growing up of his almost-daughter. He advises her about entering the world of work.

Eddie impresses Beatrice and Catherine with the importance of silence about the “submarines.” The chorus recounts the tale of a young man who betrayed information to Immigration and the community’s exacting of punishment.

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The young men arrive at the Carbone home. After they are introduced, Marco and Rodolfo tell a rueful story of the poverty at home that necessitated their trip. Rodolfo, whose blond charm gets on Eddie’s nerves, reveals his dream to own a motorcycle. His quieter brother Marco has a family in Sicily, but Rodolfo has, according to himself, “a nice face but no money” and thus cannot marry. But he can sing, from operatic arias to what he thinks of as jazz-the popular song “Paper Doll.” He is shushed by Eddie, who fears the neighbors’ suspicions. Weeks have passed, it is evening, and Eddie and Beatrice are outside their home. Eddie has become exasperated with Rodolfo’s flashy style. But the tension in the Carbone home has a deeper source: Eddie has not made love to Beatrice in months, long before the cousins’ arrival. She finally confronts him with the fact.

Eddie is walking home late after work. His friends congratulate him for sheltering the two Sicilians. He becomes uncomfortable when they mention how they enjoy both brothers, Rodolfo in particular: Strolling home after a movie, Rodolfo and Catherine view the Manhattan skyline which inspires Rodolfo. Eddie orders him into the house, whereupon he tells Catherine of his suspicion: Rodolfo wants to marry her only to obtain legal immigration papers. Beatrice begs Eddie to desist.

As he skulks off, she sets Catherine straight about Eddie’s feelings toward her.

The desperate Eddie calls on Alfieri to ask if there is any legal way he can keep Catherine out of Rodolfo’s clutches; Eddie even suspects Rodolfo’s sexuality. No, says Alfieri, except for the unthinkable: telling Immigration on the brothers.

At the Carbones’ home, Eddie’s gruffness shuts down any attempts at conversation. Catherine defiantly puts on a record of “Paper Doll” and invites Rodolfo to dance. Eddie explodes in anger. Suddenly, under the pretext of teaching him to box, he forces Rodolfo to fight him, landing a blow that stops the fight. Marco realizes that Eddie needs reminding of a few things-family loyalty among brothers, for one, and proves that his is the greater physical strength.

ACT II. Longshoremen scramble on the docks for bottles. Several cartons of imported Scotch have broken open-as has happened probably every year, two days before Christmas. Tony, Mike, Eddie and Louis celebrate the ritual taking of whisky bottles in their yearly doo-wop quartet. But Eddie is different this time, drinking so much that it excites comment from his concerned friends; he staggers off.

Rodolfo and Catherine realize that this is the first time they have been alone in the house. Catherine explains her desire to live in Italy after their marriage, but Rodolfo is committed to staying in the United States. He assures her, however, that it is she he loves, not America. More than living in Italy, Catherine actually wants simply to get away from Eddie, whose recent behavior confuses her, although she still loves him. Rodolfo nudges her toward the bedroom. Eddie enters the house drunk. Finding the two coming out of the bedroom, he orders Rodolfo to leave. Catherine wants to leave, too; Eddie responds by violently kissing her. When Rodolfo tries to pull him off her, Eddie kisses him even more brutally.

In his office, Alfieri muses about Eddie’s case. Eddie bursts in, and tells Alfieri that he kissed Rodolfo to shame

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A VIEW FROM THE BRIDGE

him in front of Catherine. To Alfieri, Rodolfo’s lack of physical resistance doesn’t prove his unmanliness. Eddie is left with only one way to get rid of Rodolfo: the call to Immigration.

Beatrice sadly takes down Christmas decorations. When Eddie appears, she tells him that the brothers are now renting a room upstairs. She pleads with Eddie to consent to the wedding. Eddie is furious to hear that there are two new illegal immigrants now sharing the room with Beatrice’s cousins. Eddie’s exhortation to get all four men out of the house is interrupted by loud knocking: Immigration is responding to Eddie’s telephone call.

Two officers search the house and find the four “submarines” with Catherine, who, along with Beatrice, now suspects Eddie’s involvement in the arrests.

Marco, certain that Eddie betrayed them, spits in his face as the group is led away in front of the townspeople.

They, too, turn from Eddie in his shame.

In jail, Marco recalls the odyssey that has brought him to this moment.

Just as American law will not give Eddie satisfaction in ridding him of Rodolfo, Marco feels frustrated since the law will not help him exact even an apology from Eddie. Eddie refuses to go to the wedding or even to let Beatrice attend. Rodolfo and Catherine’s begging Eddie to leave before Marco comes (he is out of jail) has no effect. The neighbors let Eddie know that he has lost all respect.

Beatrice confronts Eddie with what he can’t accept: the two of them are physically estranged because Eddie is in love with Catherine.

Eddie’s denial is cut off by Marco’s arrival. No apology is possible: Marco demands that Eddie fall to his knees before him. They fight, with Eddie pulling a knife. Marco’s superior strength forces Eddie to stab himself to death with his own hand. The reenactment of Eddie Carbone’s tale is over, and the townspeople and Alfieri wish us goodnight.

—by William Bolcom with Roger Pines, reprinted by permission of Lyric Opera of Chicago

Dave Wagner and Chris Felcyn

SUPPORTING THE ARTS Honigman supports our community’s many outstanding cultural organizations. A proud partner of the Michigan Opera Theatre, we applaud our many colleagues’ contributions and honor Alan E. Schwartz for his years of service to its Board of Directors and Trustees.

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A VIEW FROM THE BRIDGE

A View From William Bolcom

By Mitch Carter

W

hen first offered the commission, William Bolcom wasn’t sure he even wanted to compose A View from the Bridge, based on Arthur Miller’s play. He had grown “allergic” to Miller, a condition brought on from seeing too many “heavy-footed, didactic and preachy” productions.

Miller, Bolcom laments, has “been the victim of more bad directing than any other playwright.”

But assurance came from his longtime collaborator, Arnold Weinstein, who with Miller would co-write the libretto. “Those directors,” Weinsten told him, “are missing the whole point of Arthur. Go back and read the play.”

In doing so, Bolcom discovered what the directors had been missing: Miller’s humor.

“Even in the darkest moments, there’s always a bit of humor,” he says.

Bolcoms advocates the approach of an English director who announced to the cast: “We’re going to play it as if we’re Noel Coward.” In other words, explains Bolcom, “use a light touch because the thing’s going to be heavy all by itself.”

“ROOM” FOR AN OPERA Certain plays can be enhanced by musical treatment, others are stubborn.

And then there are those where it simply doesn’t belong, Bolcom says.

Setting Shakespeare, for example, never grasped his interest. “You’re stuck with the original; I don’t want to gild the lily,” he says. Nor would he want to set a Tennessee William’s drama as an opera.

“There’s no room for anybody else in his plays. I have to find some reason to do it. Otherwise, why bother?”

Bolcom recalls that someone once proposed to Arthur Miller a Broadway Musical version of Death of a Salesman.

Miller politely listened to the entire presentation, “and when they finished Arthur said ‘No,’ and that was the end of it.”

But A View from the Bridge had elements that invited operatic treatment, such as the chorus. In the stage play version, Eddie Carbone’s neighbors

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don’t talk. “It’s too expensive to give them lines.

But in an opera, not only can the neighbors talk; they can sing.”

Thus, librettists Weinstein and Miller treated the Red Hook community as if it were a chorus in a Greek tragedy.

And when Bolcom decided that Marco needed an aria, Arthur Miller wrote “A Ship Called Hunger.”

Bolcom had actually written the music for that aria two years earlier, not knowing where it was going to fit in. “Amazingly,” says Bolcom, “when I got the text for Marco’s aria, it fit my music perfectly.” Miller and Bolcom also expanded Beatrice’s line from the play, “When am I gonna be a wife again?” into an aria.

In his way, Bolcom has restored the notion of the numbered opera. “I didn’t want to do a through-composed opera.

If there’s no chance to breathe, or easily change the rate of the words going by, what has been added? What are we getting from the music that we didn’t have with the spoken word?”

“I did what I could to make Rodolfo’s number extractable.” That aria, “New York Lights,” now enjoys a life of its own outside of the opera.

THE FUTURE OF OPERA When asked to predict opera’s heading, Bolcom first repeats a pithy bit from his legendary teacher: “Darius Milhaud always said ‘The direction will go in the direction of the next great composer,’” before continuing soberly: “Now that’s what he would say. On the other side, I would say that a problem in classical music is the disparity between the venue

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— essentially a 19th century one — and the 21st century atomization of our audience. You know what you want opera to do, and what it should be able to do, but the machinery is oriented differently.”

Bolcom recalls that when he was writing McTeague, (his 1992 opera based on the American novel of the same name) someone on the street asked him if the opera was going to be in English: “They assumed that McTeague might be in Italian!”

Nevertheless, Bolcom’s three major operas are thriving. A Wedding, his comic opera based on the Robert Altman movie, is performed regularly, especially at colleges and conservatories. McTeague gets a fresh production at the new opera house in Linz in 2016, and A View from the Bridge has survived varied treatments throughout North America and Europe, including a German language translation.

“I’ve even seen a production of A View done at a Brooklyn store front with two pianos.”

WILLIAM BOLCOM American composer and pianist born in 1938. His works include: • Songs of Innocence and Songs of Experience (won Multiple Grammys) • Twelve New Etudes for Piano (won Pulitzer Prize for music) • Four operas: Lucrezia, McTeague, A View from the Bridge and A Wedding • Symphonies, concertos, chamber music, songs, and film scores

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MAY 10-18, 2014 MUSIC

Giacomo Puccini LIBRETTO

Guiseppe Adami and Renato Simoni WORLD PREMIERE

La Scala, April 25, 1926 In Italian with English supertitle translations Presented in three acts Approximately three hours CONDUCTOR

Valerio Galli DIRECTOR

Garnett Bruce ASSISTANT DIRECTOR

Rebecca Herman CHORUS MASTER

Suzanne Mallare Acton SET DESIGN

R. Keith Brumley COSTUME DESIGN

Mary Traylor LIGHTING DESIGN

James Sale HAIR & MAKEUP DESIGN

Joanne Weaver STAGE MANAGER

Ken Saltzman SUPERTITLES

Dee Dorsey Scenery, Props and Costumes courtesy of Lyric Opera of Kansas City J. ERNEST AND ALMENA GRAY WILDE FUND Production Sponsor

The 2014 Spring Opera Season is made possible

by General Motors Foundation and Cadillac 26

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IDA & CONRAD H. SMITH ENDOWMENT FOR MICHIGAN OPERA THEATRE May 14 Performance Sponsor DEROY TESTAMENTARY FOUNDATION May 17 Performance Sponsor www.MichiganOpera.org

By arrangement with Hendon Music, Inc., a Boosey and Hawkes company, Sole Agent in the U.S., Canada and Mexico for Casa Ricordi/Universal Music Publishing Ricordi S.R.L., publisher and copyright owner.

Detroit Opera House

TURANDOT

Cast

In order of vocal appearance Mandarin.................................................... John Arnold† Liù ................................ Donata D’Annunzio Lombardi* Calaf..........................................Rudy Park* (10, 14, 17) Giancarlo Monsalve* (16, 18) Timur.......................................................... Ricardo Lugo Prince of Persia............................................... (see insert) Ping.......................................... Eugene Chan Villanueva Pang............................................................... Julius Ahn* Pong................................................................ Joseph Hu Handmaiden 1................................................Liz Pearse* Handmaiden 2............................................ Alaina Brown Emperor Altoum.......................................Mark Vondrak Princess Turandot.............. Lise Lindstrom* (10, 14, 17) Othalie Graham (16, 18) * Michigan Opera Theatre debut † Barbara Gibson Young Artist Apprentice Michigan Opera Theatre last produced Turandot in April 2007.

SYNOPSIS Act I Outside the Imperial Palace in Peking, a mandarin reads an edict to the crowd: any prince seeking to marry the princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long lost father, Timur, vanquished King of Tartary.

When Timur reveals that only Liù has remained faithful to him, Calàf asks why. She replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful silence. When the Prince of Persia is led to his execution, the crowd calls upon the princess to spare him. Turandot appears, and with a contemptuous gesture orders that the execution proceed. As the victim’s death cry is heard from the distance, Calàf, transfixed by the beauty of the unattainable princess, strides to the gong that announces a new suitor. Suddenly Turandot’s three ministers, Ping, Pang, and Pong, appear to discourage him. Timur and the tearful Liù also beg him not to risk his life (“Signore, ascolta!”). Calàf tries to comfort her (“Non piangere, Liù”) but then strikes the gong and calls Turandot’s name.

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Act II Inside the palace, Ping, Pang, and Pong lament Turandot’s bloody reign, praying that love will conquer her heart and restore peace. The three let their thoughts wander to their peaceful country homes (Trio: “Ho una casa nell’Honan”), but the noise of the people gathering to hear Turandot question the new challenger calls them back to reality.

The old emperor asks Calàf to reconsider, but he will not be dissuaded. Turandot enters and describes how her beautiful ancestor, Princess Lou-Ling, was abducted and killed by a conquering prince. In revenge, she has turned against men and determined that none shall ever possess her (“In questa reggia”). Facing Calàf, she poses her first question: What is born each night and dies each dawn? “Hope,” Calàf answers, correctly. Turandot continues: What flickers red and warm like a flame, yet is not a flame? “Blood,” Calàf replies after a moment’s thought. Shaken, Turandot delivers the third riddle: What is like ice but burns? Tense silence prevails until Calàf triumphantly cries, “Turandot!” The crowd erupts in joy, and the princess vainly begs her father not to give her to the stranger. Hoping to win her love, Calàf offers Turandot a challenge of his own: if she can learn his name by dawn, he will forfeit his life.

Act III In the Imperial Gardens, Calàf hears a proclamation: on pain of death no one in Peking shall sleep until Turandot learns the stranger’s name. Calàf is certain of his victory (“Nessun dorma!”), but Ping, Pang, and Pong try to bribe him to leave the city. As the fearful mob threatens him to learn his name, soldiers drag in Liù and Timur. Calàf tries to convince the crowd that neither of them knows his secret. When Turandot appears, commanding Timur to speak, Liù replies that she alone knows the stranger’s identity and will never reveal it.

She is tortured but remains silent. Impressed by such fortitude, Turandot asks Liù’s secret. It is love, she replies. When the soldiers intensify the torture, Liù tells Turandot that she, too, will know the joys of love (“Tu, che di gel sei cinta”).

Then she snatches a dagger and kills herself. The crowd forms a funeral procession and the body is taken away. Turandot remains alone to confront Calàf, who impetuously kisses her (Duet: “Principessa di morte!”). Knowing emotion for the first time, Turandot weeps (“Del primo pianto”). Calàf, now sure of winning her, reveals his identity.

Once again before the emperor’s throne, Turandot declares she knows the stranger’s name: it is Love.

—Courtesy of Opera News

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TURANDOT

Turandot: Puccini’s Ice Princess, Melted By: Michael Yashinsky

T

urandot is a woman beyond reach. Almost a figure of pure legend and not a fleshly being, the title princess is not heard in the whole of Puccini’s first act, only seen, from atop a distant balcony, forbidding. She is “di gel cinta”—enclosed in ice—as the ardent slave girl Liù (Turandot’s opposite) admonishes her. Behind that ice is a star-strewn cloak and silverembroidered veil, and, as she is usually presented onstage, an out-to-there headdress that seems to tell any admiring onlookers, “My hairdo, like my heart, is surrounded by such intricate fortifications that you may never access it—best not to try.” And that heart can only be won, according to Adami and Simoni’s libretto, by the solving of three impenetrable riddles. She declares five times throughout the opera: “Nessun m’avrà!”—None shall ever possess me!

Calaf ultimately does solve the riddles and win his royal bride. But for Puccini, her vow held true. He never did succeed in possessing her, in capturing the conclusion of Turandot to fit what he dreamed it could be. The ultimate riddle of her story—how Turandot would renounce her lifelong vow of chastity, how a frosted heart would somehow thaw and begin to glow with amorous love—proved torturous for the composer.

Puccini knew it must be enormous, almost the apotheosis of all his life’s work, a corpus so devoted to love and its transfigurations. He knew that the love of Turandot “must engulf the whole stage in a great orchestral peroration.”

In another letter to his librettists, he wrote that this love should “burst out… shamelessly, violently, excessively, like a bomb exploding.” But as he painfully worked, ill health consumed him, and his own heart burst before he could make Turandot’s do likewise. The great composer died in his 65th year in 1924, 28

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having gone no further than just before that climactic duet.

At the opera’s première in 1926 at La Scala, the conductor Arturo Toscanini lowered his baton at that point, turned to the audience, and spoke the words, “Here ends the opera left uncompleted by the Master, for at this point the Master died.” No more music was

heard in the house that night. But on all subsequent performances, Toscanini would finish the work with added music to bring the fairy tale to its happy ending, the same that we will hear from Michigan Opera Theatre.

It was commissioned from the composer Franco Alfano, who paid close attention to the sketches left by Puccini, which were not in all cases thorough. (One note by Puccini, in the margins of the libretto text for the duet, read merely, “Find here the characteristic, lovely, unusual melody.”)

Alfano dispatched his dubious task with diligence and fidelity, if not real www.MichiganOpera.org

inspiration. Puccini had dreamed of an “explosion,” a gushing torrent of melted ice from the proud woman’s heart.

Alfano gives us a drip-drip, all rather too quiet, so that we scarcely notice the transformation.

Is it right to perform the opera as such, and call it Puccini’s Turandot, when the composer did not anticipate that someone else would finish it for him, and authorized no one to do so? It is a question of ownership. To whom, ultimately, does Turandot belong?

To Puccini, the fallen master; his librettists, whose words, approved by Puccini, close the opera; the unfortunate Alfano; the enterprising Toscanini?

Or does it belong, perhaps, to someone else? Puccini did not write for his critics or fellow composers, who, perhaps jealously, called his work sentimental or old-fashioned.

He wrote for his public—music to bypass even the mind in its mad dash to the audience’s heart.

When he was searching for a libretto idea, just before he and his librettists hit upon Turandot, he wrote to them of his need to find “something that will make the world weep.”

Yes, it is clear now, on these glorious days of May, as the impassioned strains of “Nessun dorma” drift outside to greet the buds of spring, and love is in the air along with the scent of imagined lotuses. Turandot is ours, the last offering of a composer who wrote for the people. However the music ends, we cherish it as the composer’s final gift, and tear open its jade-colored wrappings with eagerness and joy. Tonight, Calaf will strive mightily to claim the heart of his chosen princess. She will cry, with equal thunder, that she belongs to no one.

Little they know! Turandot already belongs to us. Tonight she is not only Princess of Peking, but Queen of Detroit.

(But only temporarily, don’t worry, Aretha.)

Detroit Opera House

ARTIST PROFILES Suzanne Mallare Acton

Conductor, A View from the Bridge Chorus Master, A View from the Bridge, Turandot As long-term Chorus Master of MOT, Suzanne Acton has received wide critical acclaim for her choral direction involving more than 125 productions in seven languages. Opera conducting credits include West Side Story, Il Barbiere di Siviglia, Music Man, Pirates of Penzance, The Mikado, Daughter of the Regiment, Carmen, La Traviata, Les Pêcheurs de Perles and Carmina Burana with The Medium for MOT; My Fair Lady and La Traviata for Dayton Opera; Merry Widow and Madame Butterfly for Artpark; and Tosca for Augusta Opera. As founding Director of the MOT Children’s Chorus, Ms. Acton was instrumental in developing the inaugural 2007-08 season. She is also the Artistic and Music Director of Rackham Symphony Choir.

Julius Ahn

Pang, Turandot Versatile Korean-American tenor Julius Ahn was most recently seen making his highly acclaimed debuts as Goro in Puccini’s Madama Butterfly with Palm Beach Opera and Pang in Puccini’s Turandot with Seattle Opera. Mr. Ahn reprised the role of Goro last season with Opera Carolina and Nashville Opera; sang Monastatos in The Magic Flute with Opera Carolina and Opera Omaha; and performed Mark in Michael Tippett’s The Midsummer Marriage with Boston Modern Orchestra Project at Jordan Hall. This season, Julius joins the roster of the Metropolitan Opera, making his debut as Second Priest in The Magic Flute, as well as for performances of Shostakovich’s The Nose. He also will perform the role of Pang in Turandot with Utah Symphony & Opera and will make his San Francisco Opera debut as Goro in Madama Butterfly.

Christopher Barbeau

Fight Choreographer, A View from the Bridge Christopher Barbeau has been contributing to nearly every production containing a fight at Michigan Opera Theatre since 2001. An accomplished martial artist and fencer, he is also the fight director for Toledo Opera. Mr. Barbeau has participated in over 350 theatrical productions and 13 feature films, and has made countless appearances at Renaissance Faires, Celtic Faires, haunted houses, and other themed events and attractions. He has more than 35 years of experience as a stunt performer, choreographer and instructor for theatrical combat, stunts and special F/X.

Alaina Brown

Handmaiden, Turandot Soprano Alaina Brown returns to the MOT stage this season following several previous roles, including: Inez from Il Trovatore; Lily and The Strawberry Woman from Porgy and Bess; and Marianne from Der Rosenkavalier.

She has gained national and international recognition for her interpretation of Handel and Mozart, and most recently, her dramatic performance in Detroit Opera House

the role of the Queen of the Night from The Magic Flute. The Cincinnati Post named her as “The Young Artist to watch,” following her debut with the Cincinnati Opera as Frasquita in Carmen. Currently, Ms. Brown is a cast member of the international tour of Porgy and Bess, and has performed the role of The Strawberry Woman and Clara in several opera houses across Europe. With the Great Lakes Lyric Opera, Ms. Brown sang the role of Aurora in the premier of William Grant Still’s opera A Bayou Legend and the role of Adina in The Elixir of Love, as well as Roselinda in Die Fledermaus.

Garnett Bruce

Stage Director, Turandot Garnett Bruce’s rich body of work includes companies across the country such as Lyric Opera of Chicago, Houston Grand Opera, San Diego Opera, Washington National Opera, Wolf Trap Opera, Pittsburgh Opera, Cincinnati Opera and Utah Symphony & Opera and his European opera debut staging Turandot for the Teatro di San Carlo in Naples. He was the Artistic Adviser and Principal Stage Director for Opera Omaha from 2008-2011. Born in Washington, DC, Mr. Bruce was a choirboy at Washington National Cathedral where he made his operatic debut in Britten’s A Midsummer Night’s Dream. He holds degrees in English and Drama from Tufts University and has also guest directed on the faculty of Yale University and Westminster Choir College. Initial internships with Harold Prince (Faust, Metropolitan Opera) and Leonard Bernstein (performances and recording of Candide) led to stage management positions at The Santa Fe Opera, Washington National Opera and Opera Colorado and assistant director assignments at The Dallas Opera and Houston Grand Opera, where he assisted (among others) Francesca Zambello, John Copley, Bruce Beresford, David Alden, Michael Blakemore, Harry Silverstein and Anne-Margret Pettersson. Bruce currently serves on the directing faculties of the Aspen Music Festival and Peabody Conservatory as well as the board of directors for FBN Productions (Opera for Kids).

R. Keith Brumley

Set Designer, Turandot R. Keith Brumley first designed for Lyric Opera of Kansas City in 1984 with a production of Candide. Mr. Brumley designed his first production in 1979.

He was the Head Scenic Artist at Seattle Repertory Theatre from 1981 to 1984 and Head Scenic Artist at the Seattle Opera 1985 to 1991, where he created and staffed the company’s first fulltime paint and finish department. Mr. Brumley joined the Lyric Opera of Kansas City as a full time resident designer in 1991, during which time he has designed numerous productions for the Company including the acclaimed Sweeney Todd, Don Giovanni, Cinderella, The End of The Affair, Tosca, La bohème, Carmen, Turandot, The Flying Dutchman, The Mikado, and the world premieres of Coyote Tales and John Brown. Mr. Brumley has been a resident designer at Des Moines Metro Opera for 20 seasons. His designs have been seen at theatres around the country, including Indiana Repertory Theatre, Anchorage Opera, Alaska Repertory Theatre, Opera Carolina, Virginia Opera, Seattle Opera, Austin Lyric Opera, Florida Grand Opera, Fort Worth Opera, and Madison Opera.

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ARTIST PROFILES Kiri Deonarine

Catherine, A View from the Bridge Kiri Deonarine has attracted attention with a voice that is clear, liquid, and plush, and is making her debut with the company.

Ms. Deonarine has appeared with the Lyric Opera of Chicago as Sophie in Werther, Dew Fairy in Hansel and Gretel, Gilda in Rigoletto, Pamina in The Magic Flute, Houston Grand Opera as Adina in L’Elisir d’Amore, Wolf Trap Opera as Madame Cortese in Il Viaggio a Reims, and The Santa Fe Opera as Fiakermilli in Arabella. This season includes appearances at The Metropolitan Opera as the Polovetsian Maiden in Prince Igor, and Lyric Opera of Chicago as a Flower Maiden in Parsifal. Awards and prizes include Grand Finalist in The Metropolitan Opera National Council Auditions, First Prize in the Dallas Opera Guild Competition, top prizes from the Licia Albanese-Puccini Foundation Competition, Giulio Gari Competition, and awards from the George London Vocal Competition, Rose Ann Grundman scholarship in the American Opera Society Scholarship Competition, Lynne Harvey Scholarship in the Musicians Club of Women Competition, and Richard Gold Career Grant.

Valerio Galli

Conductor, Turandot Maestro Valerio Galli is making his MOT debut, following the success of his American debut of La Rondine with Fresno Grand Opera in 2013. A Viareggio native, Mr. Galli was born into the cradle of where some of the greatest versimo operas were written, and is emerging as one of the foremost authoritarians on Puccini and his fellow composers of the era. His career launched in 2007, at the age of 27, with Tosca for the 53rd Puccini Festival in Torre del Lago.

This production, directed by MOT favorite Mario Corradi, was released on DVD on the Dynamic label and won him the Gold Mask 2007 Prize for Young Emerging Conductors. In December of 2013, he was awarded by the Puccini Festival the first Premio Puccini for future outstanding artistry in the repertoire. Upon his conducting of Turandot at Torre Del Lago, critics wrote, “…he grew up with Puccini in the blood, he knows exactly what it means conducting outdoors, making wide awake the attention of a potentially distracted spectator: the rhythm is brilliant, bright colors, the great emphasis in all the colors of the flamboyant score without ever falling into the easy trap of mannerisms and a chinoiserie postcard.”

Othalie Graham

Turandot, Turandot (16, 18) The unstoppable Canadian-American soprano Othalie Graham is taking the operatic world by storm! Recent engagements have included Minnie in La Fanciulla del West with Nashville Opera, Turandot with Opera de Nuevo Leon, allWagner programs with the Washington Chorus at the Kennedy Center and in Lima, Peru; Beethoven’s Symphony No. 9 with the Philadelphia Orchestra at the Mann Center, her Atlanta Symphony debut performing the Verdi Requiem, among others. This season, Ms. Graham performs the title role of Aida with Opera Carolina and Toledo Opera, Isolde in Tristan und Isolde in concert in Zagreb, Croatia, Minnie in La Fanciulla del West with 30

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Indianapolis Opera, all-Wagner concerts with the Oakland East Bay Symphony, and Orquesta Sinfonica de Xalapa in Mexico, among many others.

Joseph Hu

Pong, Turandot Taiwanese-American Joseph Hu is one of America’s leading character tenors, sought after for roles such as Goro in Madama Butterfly, Pang/Pong in Turandot, Steuermann in Der fliegende Holländer, and Spoletta in Tosca. In 2009, he added the role of Mime to his repertoire, which he covered for Seattle Opera, in both Das Rheingold and Siegfried as part of Wagner’s Ring Cycle. In the 2013/14 season, Mr. Hu performs Mime and Loge in the Minnesota Concert Opera’s reduced version of the Ring Cycle; Goro in Madama Butterfly with Opera Lyra Ottawa; and the Steersman in The Flying Dutchman with the Bangkok Opera Foundation in Siam. He also returns to San Diego Opera for their production of Un Ballo in Maschera, and in the 14-15 season sees a return to Dallas Opera.

Kim Josephson

Eddie, A View from the Bridge Kim Josephson is a regular guest of leading opera companies, including the Metropolitan Opera, where he has performed more than 240 performances of 28 roles. He has also appeared at the Lyric Opera of Chicago, the Seattle Opera, Minnesota Opera, Washington National Opera, Houston Grand Opera, Baltimore Opera, Cincinnati Opera, Fort Worth Opera, Pittsburgh Opera, Connecticut Opera, the Spoleto Festival, U.S.A., Sarasota Opera, and Tulsa Opera. In Canada, he has appeared with the Vancouver Opera and Opera Hamilton. In Europe, he has appeared on the stage of Vienna State Opera and at the Rome Opera. He has created three new principal operatic characters: Eddie Carbone in William Bolcom’s A View from the Bridge, Fred Jesson in Andre Previn’s Brief Encounter, and Billy Harris in Stephen Schwartz’s Seance on a Wet Afternoon. Mr. Josephson’s interpretation of Eddie Carbone in the world premiere of A View from the Bridge is available on CD from New World Records. He has also appeared on television in four broadcasts from the Metropolitan Opera, all available on video recording: La Fanciulla del West, Arabella, Carmen, and Billy Budd.

Jonathan Lasch

Marco, A View from the Bridge Praised for his “robust” and “thrillingly resonant” baritone voice, Jonathan Lasch returns to MOT, and continues to captivate audiences nationwide. Most recently, Mr. Lasch performed the role of Leporello in Don Giovanni with Michigan Opera Theatre, Captain Corcoran in H.M.S. Pinafore with Piedmont Opera, Scarpia in Tosca for Opera Saratoga’s Pasta and Puccini Night, Marcello in La Bohème with Arbor Opera Theatre, Masetto in Don Giovanni with Green Mountain Opera Festival, and joined the Aspen Opera Theater Center to perform the role of Ford in Falstaff. Up next, Mr. Lasch performs Messiah with the Milwaukee Symphony.

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Detroit Opera House

ARTIST PROFILES Brian Leduc

Tony, A View from the Bridge Brian Leduc is a Detroit native who completed his undergraduate studies at Wayne State University, where he received acclaim in operatic and musical theatre productions. He has also received recognition for his work with early music and oratorio. He appears as a tenor soloist regularly in the Detroit area and internationally for works such as Handel’s Messiah, Verdi’s Requiem, and others, including a long list of relatively new works. Opera News describes Mr. Leduc as having a “ringing tenor” and being “especially impressive…with firm tonal impact.” His recent MOT credits include Spoletta in Tosca, Monostatos in Magic Flute, and Don Basilio in Marriage of Figaro.

Adrian Leskiw

Immigration officer, A View from the Bridge Tenor Adrian Leskiw has been a member of the MOT Chorus since Fall 2012. A native of Wyandotte, Michigan, Mr. Leskiw is a 2005 graduate of the University of Michigan, where he studied with Caroline Helton and John Charles Pierce, with additional training under Caroline Rogers and Shawn McDonald. He has appeared as a soloist with choirs throughout southeast Michigan including the Detroit Concert Choir, the UMS Choral Union, the choir of St. John’s Episcopal Church of Detroit, and Measure for Measure, where he served as Assistant Conductor from 2009 to 2013.

Lise Lindstrom

Turandot, Turandot (10, 14, 17) The lyrical performances of American soprano Lise Lindstrom, who’s making her debut with MOT, leave an indelible impression on audiences and critics worldwide. The 20132014 season finds Ms. Lindstrom making significant house debuts: as Turandot with Royal Opera House Covent Garden and Bayerische Staatsoper in Munich, and as Senta in Der fliegende Holländer with San Franciso Opera. The season also comes with two career milestones: it is Ms. Lindstrom’s 10th season singing the title role in Turandot, and she made her 100th performance as the Princess on September 17, 2013 with the Royal Opera House Covent Garden, which was broadcast live to theatres throughout the U.K. and Europe. Additional performances during the season include a return to the Teatro Regio di Torino, and engagements throughout Asia, Italy and the United States. Future seasons include leading roles with the Metropolitan Opera, Washington National Opera, Opéra de Montréal, San Diego Opera, Wiener Staatsoper, and the Staatsoper Hamburg.

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Donata D’Annuzio Lombardi

Liu, Turandot Italian soprano Donata D’Annunzio Lombardi makes her American debut at MOT this spring, and is one of today’s leading interpreters of Puccini heroines.

Awarded the prestigious Albo d’Oro Puccini by the Festival Puccini in Torre del Lago in recognition of her portrayals of Musetta and Mimì in La Bohème, Cio-Cio San in Madama Butterfly, Liù in Turandot, and Magda in La Rondine. Her versatile roles include the title roles of Maria Stuarda and Antonina in Belisario, Desdemona in Otello, Madama Cortese in Viaggio a Reims, Violetta in La Traviata, Micaela in Carmen, Adalgisa in Norma, and Thérèse in Les mamelles de Tirésias. In 2013 Ms. Lombardi was given another prestigious award, the Gigli D’Oro, in recognition of the high level of artistry and achievement in her versatile career, and in 2012 “Singer of the Year” at the Festival Donizetti di Bergamo for her dual debut roles of Maria Stuarda and Antonina. Upcoming engagements include her role debut as Desdemona in Verdi’s Otello at the Teatro Carlo Felice di Genova and reprisals of her portrayal of Magda in La Rondine in theaters throughout Italy.

Cindy Ludwig

Wig and Makeup Designer, A View from the Bridge Cindy Ludwig most recently designed the fall’s The Flying Dutchman for the company, having previously been with MOT for 13 seasons through 2000, and returning for 2011’s Rigoletto. She has been involved with over 225 opera productions throughout the Americas since 1987 with more than 28 opera companies, including Baltimore, Cincinnati, Cleveland, Glimmerglass, Miami, Palm Beach, Sarasota and Syracuse. Ms. Ludwig was the wig designer for Ringling Brothers Barnum & Bailey Clown College from 1989 until its closing in 1998, and has also worked in film, television and on Broadway.

Ricardo Lugo

Alfieri, A View from the Bridge Timur, Turandot Puerto Rican bass Ricardo Lugo returns to MOT following his role as Don Fernando in last spring’s Fidelio. Mr. Lugo has participated in Metropolitan Opera productions of Ariadne auf Naxos, The Nose, La Gioconda, Adrina Lecouvreur, Macbeth, The Gambler and Salome, and made his debut with San Francisco Opera singing Reinmar von Zweter in Tannhäuser. Most recently he sang Leporello in Don Giovanni with Teatro de la Opera and Tio Salvador in La vida breve with Festival Casals. Other recent and upcoming engagements include his return to the Metropolitan Opera roster, Timur in Turandot with the Opera de Puerto Rico, his role debut of Don Pasquale, and Dulcamara in Opera Memphis’ Elixer of Love.

www.MichiganOpera.org

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ARTIST PROFILES Eric Margiore

Rodolfo, A View from the Bridge Lyric tenor Eric Margiore, who was praised

by Opera News for his “brilliance and style, brio and high-octane vocalism,” is making his MOT debut. Mr. Margiore is establishing himself as an international contender in the principal Italian bel canto and romantic tenor repertoire. In the 2012/2013 season, Mr. Margiore performed in the Verdi Requiem at the Grand Teton Music Festival, and sang as Rodolfo in La Bohéme with the Central City Opera in Colorado to great acclaim. Engagements for the 2013/2014 season include his debut with the Canadian Opera Company as Rodolfo in La Bohéme, and as Pinkerton in Madama Butterfly at the Glimmerglass Festival.

David Moan

Mike, A View from the Bridge Baritone David Moan is excited to be making his comprimario debut with the Michigan Opera Theatre. Originally from Pittsburgh, Mr. Moan studied at Manchester University, where he currently serves as adjunct professor of music and frequent guest artist, recently as the baritone soloist in Carmina Burana. He has spent the past two seasons singing with the MOT chorus and looks forward to another opportunity to perform with such an incredible group of musicians.

Giancarlo Monsalve

Calaf, Turandot (16, 18) Italian spinto tenor Giancarlo Monsalve is making his MOT debut. Mr. Monsalve is known for the power of his “dark ringing” voice, and his believable interpretations.

Thanks to his acting knowledge, he evolves perfectly into every character in his spinto tenor opera repertoire such as Paolo il bello in Paolo e Francesca “from Mancinelli,” Mario Cavaradossi in Tosca, Don Carlo in Don Carlo. Don José in Carmen, Ismaele in Nabucco, and Riccardo “Gustavo” in Un Ballo in Maschera. Mr. Monsalve has performed at prestigious opera houses around the world, including the Royal Opera House, Polish National Opera, and Teatro Comunale di Bologna.

Robert O’Hearn

Set & Costume Designer, A View from the Bridge There is no American theatrical designer more closely associated with the world of opera than Robert O’Hearn. Several of the most important productions in the Metropolitan Opera repertoire since the opening of Lincoln Center in 1966 have been Robert O’Hearn productions. Highlights of his long list of MET credits start in 1960 (at the old Met) with L’Elisir d’Amore and include the famous Die Frau ohne Schatten (1966), Hänsel und Gretel (1967), and the wonderful Der Rosenkavalier (1969) and end with Porgy and Bess in 1985. Mr. O’Hearn’s international career spans 60 years. During his long and impressive career, he has worked with a veritable Who’s Who in opera production and performance, and shared a great wealth of knowledge on everything operatic during his 20-year tenure with Indiana University’s Jacobs School of Music.

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Rudy Park Calaf, Turandot (10, 14, 17) Rudy Park (Ji Eung Park) studied Voice in South Korea and moved to Italy in 2002, graduating at the Santa Cecilia Music Conservatory in Rome. He then continued his studies in Italy and Germany. He won numerous awards: 10th edition of the Anemos Lyric Competition in Rome; 11th edition of the Mario Lanza International Competition in Filignano (Italy); and second edition of Luciano Neroni Lyric International Competition in Ripatransone (Italy). In 2009, he won the voice competition at the Teatro Filarmonico in Verona, after which he made his debut as Calaf. The same year, he made his debut as Pollione in a new production of Norma that toured several Italian towns. His operatic repertoire includes: Don Ottavio in Don Giovanni; Nemorino in L’Elisir d’Amore; Mario Cavaradossi in Tosca; Alfredo Germont in La Traviata; Turiddu in Cavalleria Rusticana; Rodolfo in La Bohème; Duca di Mantova in Rigoletto; and Calaf in Turandot.

Liz Pearse

Handmaiden, Turandot Soprano Liz Pearse finds joy in variety, reflected in performances ranging from medieval chamber works to world premieres, Messiaen to Machaut. A contemporary specialist, she has sung at (le) poisson rouge in NYC, Chicago’s Frequency at Constellation series, and the Toronto Electroacoustic Symosium. In addition, Ms. Pearse was nominated as “Outstanding Performer” at 2013’s soundSCAPE Festival in Macagno, Italy for her work with emerging composers.

Ms. Pearse has appeared with the MOT chorus, Opera in the Ozarks, BGSU Opera Theatre, Indiana University Opera Theatre, and Toledo Opera chorus. She also enjoys singing with Quince Ensemble, a Chicago-based quartet that will be releasing their debut album fall 2014.

James Sale

Lighting Designer, Turandot James Sale has designed more than 600 operas, plays, ballets and concerts over his career. He most recently designed Sleuth, Of Mice and Men, and The Syringa Tree for The Repertory Theatre of St. Louis. Mr. Sale is also the owner of JSL, Inc., which specializes in architectural lighting and lighting system design for residential and commercial settings.

Kendall Smith

Lighting Designer, A View from the Bridge Kendall Smith has designed lighting for more than 60 productions with the Michigan Opera Theatre, making his debut in 1988 with The Ballad of Baby Doe, and most recently designed lighting for the company’s fall 2013 production of La Traviata, and 2012’s Barber of Seville. His work has been featured in numerous productions by respected opera companies, theaters and festivals, including Florida Grand Opera, the Oregon Shakespeare Festival, Indianapolis Opera, the Weston Playhouse, Geva Theatre and Boston Lyric Opera.

www.MichiganOpera.org

Detroit Opera House

ARTIST PROFILES Beverly O’Regan Thiele

Beatrice, A View from the Bridge Beverly O’Regan Thiele is a consummate singing actress noted for the intensity and honesty of her character portrayals of many roles from repertoire of the twentieth century, including Magda Sorel in Menotti’s The Consul, (Washington National Opera and Berkshire Opera and released on Newport Classics), Blanche in Previn’s A Streetcar Named Desire, the title role in Jenufa (Washington National Opera), Marie Antoinette in Corigliano’s The Ghosts of Versailles and title role in Katya Kabanova (Lyric Opera of Chicago), Blanche DuBois in A Streetcar Named Desire (Lyric Opera of Chicago and Opera Grand Rapids), leading soprano roles in two world premieres for Michael Nyman: “Woman” in Man and Boy: Dada as well as Avril in Love Counts, Chrysothemis in Elektra and Giulietta in Les Contes d’Hoffman (Badisches Staatstheater, Karlsruhe), the title role in Therese Raquin (DiCapo Opera Theater), Miss Jessel in The Turn of the Screw (Broomhill Opera Festival,UK), Abigail in The Crucible and the title role in Floyd’s Susannah (Des Moines Metro Opera). This spring, she will sing the title role of Barber’s Vanessa for Utah Festival Opera, and Mrs. Williamson in David Lang’s The Difficulty of Crossing a Field for Beth Morrison Productions.

Tazewell Thompson

Stage Director, A View from the Bridge Mr. Thompson returns to Detroit where he directed the highly acclaimed Porgy and Bess in 1998. Opera productions: New York City Opera (5 seasons); Glimmerglass (6 seasons), Paris, Milan, Madrid, Cape Town, Tokyo, Osaka, Nagoya, San Francisco, Boston, Vancouver, Portland, Los Angeles, Columbus, New Jersey, Norfolk, Bloomington, Lawrence, among many others.

Favorite opera and production: Dialogues of the Carmelites.

Theater productions: Arena Stage, New York Shakespeare Festival Public Theater, Manhattan Theatre Club, Guthrie, Roundabout, Second Stage, Old Globe, Seattle Rep, Hartford, Goodman, among others. Emmy Award Nomination: Best Production / Best Director, Porgy and Bess-Live From Lincoln Center. Playwright: Constant Star; Mary T. & Lizzy K; Jubilee.

Upcoming: Lost in the Stars; Appomattox.

Mary Traylor

Costume Designer, Turandot Mary Traylor most recently designed costumes for MOT’s fall production of The Flying Dutchman. She has designed numerous operas for Lyric Opera of Kansas City including Turandot, Aida, Cenerentola, Cosi Fan Tutti, Hamlet, Of Mice and Men, and A Midsummer Night’s Dream. For the past 20 years she has been the resident designer for the Heart of American Shakespeare Festival, creating designs for Henry V, Hamlet, All’s Well That Ends Well, Richard III, and many other Shakespeare plays. For many years, she has designed for New Theatre in Kansas City, costuming Dyan Cannon, Don Knotts, Jamie Farr, Loretta Switt, George Witt, Hailey Mills, Marion Ross, and a host of other television stars for the theater’s productions.

Detroit Opera House

Eugene Chan Villanueva*

Ping, Turandot The San Francisco native has performed with many prestigious international companies and festivals including the San Francisco Opera, Festival d’Aix-en-Provence, Teatro Comunale di Bologna, Opera Theater of St. Louis and the Shanghai National Grand Theater in repertoire such as the title roles of Don Giovanni and Eugene Onegin, Figaro in Il barbiere di Siviglia, Il Conte Almaviva in Le nozze di Figaro, Danilo in The Merry Widow, Prince Yeletsky in The Queen of Spades, among others. An avid recitalist, he made his Carnegie Hall debut in January 2008 and returned again in 2011. Mr. Villanueva has presented concerts for San Francisco Opera, the New York Festival of Song and the prestigious Podium der Jungen series in Germany. He has been featured as soloist with the San Francisco Symphony, the LA Philharmonic, the Accademia Nazionale di Santa Cecilia and the Orchestra de la Suisse Romande.

Mark Vondrak

Emperor Altoum, Turandot Mark Vondrak is reprising the role of Emperor Altoum, Turandot’s father, previously singing the role in MOT’s production of Turandot during the 1998 fall season. Mr. Vondrak has been affiliated with MOT for more than 30 years, on both the main stage and in MOT’s Department of Community Program’s productions. In addition, he has appeared with theater and opera companies throughout the Midwest, including the Dayton and Toledo opera companies, singing a wide variety of roles such as Papageno in The Magic Flute, and the Count in The Marriage of Figaro.

A native of Michigan, Mr. Vondrak has also appeared with the Detroit Symphony Orchestra at both Ford Auditorium and Orchestra Hall in Detroit.

Joanne Weaver

Wig and Makeup Designer, Turandot Originally from England, Joanne Weaver returns to Michigan Opera Theatre as wig and makeup designer for Turandot, after most recently designing La Traviata in the fall.

Having made her company debut with Tosca in 1995, Ms. Weaver has designed wigs and makeup for numerous MOT productions since, including the world premiere of Cyrano in 2007. Additionally, Ms. Weaver is a frequent guest with notable opera companies throughout the United States. *Artist underwritten by the Josephine Kleiner Foundation

www.MichiganOpera.org

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ARTIST PROFILES

Barbara Gibson Young Artist Apprentice Program

New York, her debut at the Barre Opera House in a concert performance, and recitals in New Platz, Lake George, and Woodstock, NY. Additonally, Ms. Kashat attended the Bel Canto Institute in Florence, Italy, where she won four performance awards. Ms. Kashat received a Bachelor of Music in Voice Performance at Oakland University.

2014 DeRoy Testamentary Foundation Young Artist

John Arnold

Louis, A View from the Bridge A Mandarin, Turandot American bass-baritone John Arnold is making his company debut with Michigan Opera Theatre while forging an exciting career as a singing actor of the highest quality.

The 2013 season was highlighted by John’s participation in the 2013 Merola Opera Program where he performed the title role in Le Nozze di Figaro. He also joined Boston Opera Collaborative in the New England premiere of Jake Heggie’s Dead Man Walking, for which he received critical acclaim for his portrayal of the role of Joseph De Rocher.

Other performances of the 2013 season included Colline in La Bohème, Pierre Monteaux in Paul Moravec’s Danse Russe, and Pietro in Simon Boccanegra, all with Kentucky Opera as a resident artist member of the Studio Artist Program. He also performed Masetto in Don Giovanni and Tom in Un Ballo in Maschera, both with Madison Opera.

Engagements for 2014 include Capulet in Roméo et Juliette with Kentucky Opera.

Evan Ross

Joyce Cohn Young Artist

Danielle Wright

Jonathan Christopher

Baron Douphol, La Traviata Baritone Jonathan Christopher proudly made his MOT debut this fall. Raised in Bermuda and Massachusetts, he completed his studies at the University of Michigan and McGill University. Mr. Christopher held apprenticeships with Syracuse Opera and the Pine Mountain, Bay View, and Green Mountain Music Festivals, in roles including Figaro in Le Nozze di Figaro, Don Alfonso in Cosi fan tutte, and Le Dancaire in Carmen. Theatre credits include Jim in Porgy and Bess with the Skylight Music Theater, Anthony in Sweeney Todd with Syracuse Opera, Donkey in Shrek the Musical and the Emcee in Cabaret with Iowa’s Way Off Broadway Company.

Ashley Maria Bahri Kashat

1st Immigration Officer, A View from the Bridge Bass baritone Evan Ross is a native of the Detroit area who made his MOT debut last season as Marchese D’Obigny in La Traviata. He received both his Bachelor’s and Master’s of music from The Boston Conservatory, where he sang roles such as Leporello in Don Giovanni. Recent credits include Don Magnifico in La Cenerentola and the Warden in the New England premier of Dead Man Walking, both with Boston Opera Collaborative, and Bottom in A Midsummer Night’s Dream with Lowell House Opera. In 2012, Mr. Ross was a young artist at the Brevard Music Center, where he sang Dr. Bartolo in Il Barbiere di Siviglia and Dick Deadeye in H.M.S. Pinafore.

The Nathan & Rose Korn Young Artist Program Endowment Fund Mary, The Flying Dutchman Annina, La Traviata Dramatic mezzo soprano Danielle Wright, known for her warmth of tone and passionate commitment to the stage, made her debut with the company in last season’s The Flying Dutchman. Most recently, she performed for Des Moines Metro Opera as the cover of Madame de Croissy in Poulenc’s Dialogues des Carmélites, and as a Young Artist performing scenes from La Gioconda, Cendrillion, and Jenufa. She made her main stage debut as Mrs. Ott in Des Moines Metro Opera’s 2010 production of Floyd’s Susannah. In 2011, Ms. Wright founded Opera MODO, Princeton’s newest opera company, to create opportunities for young and emerging artists. Opera MODO brings opera to the people through intriguing and modern productions of classical to contemporary operas.

Flora Bervoix, La Traviata Ashley Maria Bahri Kashat is a Michigan native who made her MOT debut in last season’s La Traviata.

She is the first Chaldean American soprano to receive a Master of Music in Voice Performance at The Manhattan School of Music in New York City. Currently, she studies under the direction of Patricia Misslin in New York and Edie Diggory in Michigan, and privately trains at the Metropolitan Opera House under the direction of assistant conductor Robert Morrison. Recent credits include the role of Salude in Manuel de Falla’s opera La vida breve in

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www.MichiganOpera.org

Detroit Opera House

EDUCATION & OUTREACH

Michigan Opera Theatre Department of Community Programs offers a variety of educational programs for students and young professionals. To learn more about any of these programs go to www.

MichiganOpera.org and click on Learning.

Bring opera to your school.

The MOT touring company brings opera to schools, libraries, and other non-profits throughout the year serving all age ranges.

Opera Workshop: July 14-27, 2014 DIRECTOR: ALAINA BROWN

Hone your vocal and acting skills this summer at the Detroit Opera House!

Students receive daily coaching in acting, movement, diction, voice and more, culminating in a fully staged public performance in the main theater. All participants will be evaluated by the MOT general director, and the touring director, for consideration for the Apprentice Program and Touring Program.

Meets Monday-Saturday, 10:00 a.m. - 9:00 p.m.

Operetta Workshop: August 4-22, 2014 Operetta Workshop is a three-week day camp for young people from ages 12 to 18 to learn acting, singing and dancing, as well as healthy voice care.

Recital: Wednesday, July 23 at 7:00 p.m. (Chrysler Theater) Final Performance: Sunday, July 27 at 3:00 p.m. (Main Stage)

Participants will learn and perform a Gilbert and Sullivan’s operetta on the Detroit Opera House main stage. The final production will be fully staged and costumed, allowing for a very special experience for young performers!

Ages: College Students (advanced high school students may be considered)

Directed by Julie Smith, with instructor Wendy Bloom and accompanist Joseph Jackson.

Fee: Full day: $1000 Half day: $500

Prerequisites: No previous experience necessary.

No audition required.

Ages: 12 through high school Meets Monday - Friday, Aug 4-22, 10:00 a.m. - 4:00 p.m. each day Performance: Friday, Aug 22 at 6:00 p.m. (Main Stage) Fee: $475 Enrollment subject to availability.

Create and Perform: Summer 2014 Two week program where students ages 10-18 use improvisation to create their own collaborative theatrical works for a final performance.

Detroit Opera House

www.MichiganOpera.org

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Michigan Opera Theatre Orchestra Violin I Charlotte Merkerson, Concertmaster+ Laura Leigh Roelofs, Assistant Concertmaster+ Velda Kelly+ Bryan Johnston+ Andrew Wu + Beth Kirton + Molly Hughes + Kevin Filewych + Jenny Wan Violin II Victoria Haltom*+ Daniel Stachyra + Henrik Karapetyan+ Anna Weller+ Emily Barkakati+ Tracy Dunlop Janet Sullins Judith Teasdle Daphna Raz

Viola John Madison*+ Scott Stefanko+ Kathleen Grimes+ Barbara Zmich+ James Greer Cello Nadine Deleury*+ Diane Bredesen+ Sarah Cleveland+ Stefan Koch Andrew McIntosh Daniel Thomas Bass Derek Weller*+ Clark Suttle+ Robert Stiles

Oboe Nermis Mieses*+ Sally Pituch+ Stephanie Shapiro

Trumpet David Ammer*+ Gordon Simmons+ Derek Lockhart

Clarinet Brian Bowman*+ J. William King+ Doug Cornelson

Trombone Greg Near+ Brian Pokorney Michael Steiger

Bassoon Pawel Wnuk*+ Roger Maki-Schramm

Bass Trombone/Tuba Gary Hellick

Horn Andrew Pelletier*+ Carrie Banfield+ Susan Mutter Tamara Kosinski Dave Denniston

Flute Amanda Sparfeld*+ Laura Larson+ Dennis Carter

Tuba Neal Campbell

Harp Patricia Terry-Ross*+ Piano/Celeste Jean Schneider * Principal + Michigan Opera Theatre Core Orchestra Detroit Federation of Musicians Local #5 American Federation of Musicians

Timpani Terry Farmer Percussion John Dorsey*+ David Taylor Dan Maslanka

Michigan Opera Theatre Chorus Brandy Adams Carol Ambrogio Wood Gregory Ashe Ryan Banar Blake Bard Monique Bates Heidi Bowen Zook Alaina Brown Fred Buchalter Elizabeth Cedroni Alexandria Clark Darren DeWitt

Ray Diaz Joseph Edmonds Rebecca Engelhard Michael Fowler Kurt Frank Yvonne Friday Nicole Greenidge Terrance Horn Marlene Inman Reilley Richard Jackson, Jr. Crystalynn Jass Kirkpatrick

Deanna Johnson Mimi Lanseur Jerrold Lee Adrian Leskiw Amy Malaney Brad Miller Elizabeth Mitchell Pette Moore Daniel Morency Anna Nadasky Amanda O’Toole Paolo Pacheco

Liz Pearse Jessica Pistor Kate Rosen Bradley Schick Diane Schoff Branden C. Sharperson Hood Tami Snyder-Knutson Morris Thomas Lucy Thompson David Twigg Tiffanie Waldron

Justin Watson Norma Weber Tamara Whitty Craig Wickham Jeff Wilkinson The American Guild of Musical Artists is the official union of the Michigan Opera Theatre Chorus

Rackham Symphony Choir (Turandot) Michael Boettcher Simone Bonino Joan Crawford Drew Gale

Molly Gole Gina Hanzlik Arthur Jones Chris Jones

Wendy Keebler Scott Maggart Patricia Minnick Christina Miles Jennifer Pasha

William Steiner Brett Thompson Karshibia Venisei Davidson Arthur White

Katie Williams Will Yeats Sophie Zane

Michigan Opera Theatre Children’s Chorus (Turandot) (10, 14, 17) Alexandra Aubin Samantha Bowling Anna Chisholm Natalie Corrigan Katherine Espin Gabrielle Feber Madison Gaedke Soliel Garcia-Johnson Jayla Granger 36

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Owen Grice Emma Guzman Magdelynn Miller Aditya Nambiar Kristina Nash Isaac O’Rourke Danielle Phillips Madeleine Reardon Isabelle Ross Isabella Schena

Zayda Schneider Caitlin Simonds Marcella Staricco Ashley Wigton Annie Youngs (16, 18) Melody Balos Yazmine Benjamin Cooper Blankenburg Ryan Blankenburg www.MichiganOpera.org

Clare Brees-Oswald Cassia Burley Portteia Davidson Xaneveya Davidson Kristen Dubicki Miles Eichenhorn Jehnya Footitt Katherine Fuller Amie Heitchue Colette Henry Marielle Hill

Rachel Kret Emily Mackinnon Rachel Miltimore John O’Dell Isabel Rocha Charlotte Salisbury SteFannie Savoy Noah Trudeau Lauren Ward

Detroit Opera House

News from Dance at the Detroit Opera House Carol Halsted, Director • Kim Smith, Administrative Assistant From the Stage to the Studio

Dance Film Series

Don’t just be spectators! Learn from professional dancers when they come to Detroit to perform on the Detroit Opera House stage. Master classes are an excellent opportunity for dancers looking to learn from the professionals they see on stage. In the winter, there will be classes by Dance Theatre of Harlem (Saturday, February 15, from 11 a.m. - 12:30 p.m.), Joffrey Ballet (Saturday, March 1, from 11 a.m. -12:30 p.m.) and Ballet du Grand Théâtre de Genève (Saturday, March 22, from 11 a.m. -12:30 p.m.) for dancers aged 14 and older. Come take class for FREE by showing your ticket stub to the corresponding performance. If you do not have a ticket stub, the admission for each Master Class is $25. Master classes take place in the Margo V. Cohen Center for Dance, or the Chrysler Black Box Theater in the Ford Center for Arts and Learning at the Detroit Opera House. Pre-registration is required due to limited space. To register, please send your name and contact information to dance@motopera.org or call 313.237.3251.

Enjoy Dance Film, Refreshments, and Discussion! Dance lovers from all over Detroit come together for dance films, popcorn, drink, and discussion on Tuesday evenings. The series continues on:

Get Involved! Michigan Opera Theatre Volunteer Association Dance Council Do you love dance and have a desire to support the arts by volunteering?

Become a member of the MOTVA Dance Council. This is a group dedicated to sharing dance and building audiences at the Detroit Opera House. The Dance Council is in need of highly motivated dance lovers who are willing to host gatherings, come up with new fundraising ideas, and most of all enjoy dance in Detroit. For more information please contact Cheryl McIlhon at mcilhon@comcast.net.

Tuesday, February 18, 7 p.m.

An evening highlighting African American Dance Tuesday, March 25, 7 p.m.

Matthew Bourne’s Sleeping Beauty Tuesday, April 29, 7 p.m.

An evening with Mikhail Barishnikov Tuesday, May 20, 7 p.m.

Suggestions from you...our dance film audience!

All dance films take place at the Detroit Opera House in the Ford Center for Arts and Learning. A $10 donation is payable at the door, and this includes the film presentation, refreshments and beverages. No reservations are required. For more information, call 313.237.3426.

Dance Theatre of Harlem 2014 Summer Intensive Detroit July 21-Aug 1, 2014 ages 10-16 The summer intensive is a wonderful opportunity for dancers to focus intensely on developing many facets of their art form. The quality teaching, encouragement and inspiration that they receive here will enable them to make tremendous technical and artistic progress. This program attendance is by audition only.

Audition: Feb. 1, 2014 10-11:30a (10-13 years, or 12-1:30p (14-16 years) at the Detroit Opera House Please arrive half an hour before your scheduled audition for completion of paperwork. www.dancetheatreofharlem.org

Detroit Opera House

www.MichiganOpera.org

Detroit Opera House Summer Dance Intensive with Eisenhower Dance August 4-8, 2014 CONTEMPORARY BALLET - JAZZ MODERN For the experienced dancer 14 & older $295 — Register before June 1, $275 Please call Eisenhower Dance Center to register 248-609-0370. www.eisenhowerdancecenter.com

American Ballet Theatre’s National Teacher Training Curriculum August 18-26, 2014 ABT’s National Training Curriculum is a program for the development and training of young students which embraces sound ballet principles and incorporates elements of the French, Italian and Russian schools of training. ABT’s National Training Curriculum aims to assist beginning through advanced teachers in training dance students to use their bodies correctly, focusing on kinetics and coordination, as well as anatomy and proper body alignment. Artistically, the National Training Curriculum strives to provide dance students with a rich knowledge of classical ballet technique and the ability to adapt to all styles and techniques of dance.

Dance Educators can download registration forms for the upcoming Teacher Training Intensives at abt.org/education/nationaltrainingcurr.asp Please contact Meghan Love, National Training Curriculum Associate, at mlove@abt.org or (212) 477-3030, ext.

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Administration & Staff DAVID DICHIERA, FOUNDER & ARTISTIC DIRECTOR WAYNE S. BROWN, President and Chief Executive Officer DEPARTMENT DIRECTORS

Karen VanderKloot DiChiera, Director of Community Programs & Learning at the Opera House Carol Halsted, Director of Dance Dewan Mitchell, Director of Bookings & Events Management Rock Monroe, Director of Safety & Security, DOH & DOHPC Laura R. Nealssohn, Director of Communications David W. Osborne, Director of Production Mary Parkhill, Director of Development Jason Warzecha, Director of Theatre & Parking Center Operations ADMINISTRATION

William Austin, Executive Assistant Timothy Lentz, Archivist & Director, Allesee Dance & Opera Resource Library Bryce Rudder, Senior Librarian, Allesee Dance & Opera Resource Library COMMUNICATIONS

Kimberly A. Mogielski, Patron & Ticket Services Manager Michael Hauser, Marketing Manager Kimberly Gray, Ticket Services Assistant Manager Felicia Burgess, Tunisia Brown, Patron & Ticket Services Associates Christy Gray, Receptionist & Administrative Assistant Mitchell Carter, Website Coordinator Jillian Zylinski, Communications Coordinator Arthur White, Audience Engagement Coordinator John Grigaitis, Photographer Crystal Ceo, Account Executive, Real Integrated Advertising Toby Faber, BRAVO Sales Bill Carroll, Public Relations Volunteer COMMUNITY PROGRAMS

Mark Vondrak, Associate Director of Community Programs Pette Moore, Program Coordinator Dolores Tobis, Marketing Manager TOURING ARTISTS OF COMMUNITY PROGRAMS

Betsy Bronson, Maria Cimarelli, Dan Greig, Bernard Holcomb, Joseph Jackson, Lois Kaarre, Betty Lane, Debbie Lannen, Amy Dolan Malaney, Kim Parr, Michael Parr, Madelyn Porter, David Pulice, Amanda 38

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Sabelhaus, Karl Schmidt, Trish Shandor, Christopher Vaught, Mark Vondrak, Alvin Waddles, Karin White COMPUTER SERVICES

John Grigaitis, Information Technology Manager Shelly Ratliff, LAN Administrator DANCE

Kim Smith, Administrative Assistant DEVELOPMENT

Kim-Lan Trinh, Associate Director of Development, Planned Giving & Major Gifts Michelle DeLand, Corporate Campaign Manager Leo Dovelle, Boutique Manager Carolyn Geck, Project Manager, BravoBravo!

Heather Hamilton, Special Projects Manager Katherine Kucharski, Foundation & Government Grants Manager, Database Consultant Christina Wagner, Annual Fund Manager & Volunteer Liaison Stephani Yates, Dance Patron Circle Campaign Manager & Project Manager, BravoBravo!

FINANCE

Derrick Lewis, Controller Kimberly Burgess-Rivers, Rita Winters, Accountants

DETROIT OPERA HOUSE HOUSE MANAGEMENT

Randy Elliott, House Manager FACILITIES MANAGEMENT

Tim McCloud, Facilities Electrician Dennis Wells, Facilities Manager Jesse Carter, Senior Building Engineer Timothy Johnson, Building Maintenance Bernard Williams, Building Maintenance

DETROIT OPERA HOUSE PARKING CENTER

Robert Neil, Manager Paul Bolden, Event Supervisor for Parking

PRODUCTION ADMINISTRATION

Elizabeth Anderson, Production Coordinator Carolyn Geck, Production Administrator Ken Saltzman, Stage Manager Brian August+, Hailli Ridsdale*, Nan Luchini*+, Assistant Stage Managers Nancy Krolikowski, Production Volunteer * A View from the Bridge + Turandot MUSIC

Suzanne Mallare Acton, Assistant Music Director & Chorus Master Jean Schneider, Repetiteur Molly Hughes, Orchestra Personnel Manager Emily Barkakati, Librarian TECHNICAL & DESIGN STAFF

Daniel T. Brinker, Technical Director Monika Essen, Property Master & Scenic Artist Alex Gay, Assistant Lighting Designer & Assistant Technical Director Gharren Turner, Technical Assistant Dee Dorsey, Supertitle Operator COSTUMES

Suzanne M. Hanna, Costume Director Lisa Morin, Wardrobe Mistress Mary Ellen Shuffett, Fitting Assistant Susan A. Fox, First Hand Craig P. Wickham, Stitcher Jessica M. Herron, Stitcher Katherine Nelson, Stitcher/Crafts MAKEUP & HAIR

Elizabeth Geck, Assistant Wig & Makeup Designer STAGE CREW

FOOD & BEVERAGE

Angela Donaldson, Food & Beverage Manager Edna Robinson, Culinary Manager SAFETY & SECURITY

Lt. Lorraine Monroe, Supervisor Willie Wicks, Stage Door Officer Darrin Cato, A.M. Hightower, Delonie Knott, Demetrius Newbold, Sgt. Daryl Stuckey, Control Center Officers Shannon Ferguson, Senior Officer Crowd Manager/Medic www.MichiganOpera.org

John Kinsora, Head Carpenter Frederick Graham, Jr., Head Electrician Pat McGee, Head Propertyman Henry Ruiz, Head Sound Robert Martin, Head Flyman Gary Gilmore, Production Electrician Mary Ellen Shuffett, Head of Wardrobe IATSE Local #38, Stage Crew IATSE Local #786, Wardrobe

Detroit Opera House

Volunteers Greetings from the MOT Volunteer Association (MOTVA)!

Opera as an art form and Michigan Opera Theatre are very important to all of us. MOT productions are world class, and the Detroit Opera House offers one of the most diverse opera and dance series in the country. These performances require the collaboration of many, especially those who help out behind the scenes.

Our key volunteer groups deserve special recognition: the hosts of our opening night dinners, cast parties and soirĂŠes; the committees that create our hallmark BravoBravo! event; our resident historians who conduct Opera House tours; our extraordinary corps of ushers; and our MOTVA Board members.

To each of you who support us through generous gifts of time and resources, our most sincere thanks. If you are not yet a volunteer, please consider joining us. Along with all of the hard work, we have fun too! Volunteering is a great way to meet other interesting and involved people.

Your tax-deductible membership entitles you to participate in our individual volunteer groups. For membership information please consult the MOTVA webpage at www.michiganopera.org, or call Christina Wagner at (313) 237-3236.

I hope that you enjoy the 2013–2014 season. We look forward to working with you and thank you for your interest and involvement in the Michigan Opera Theatre Volunteer Association.

MOTVA Executive Committee Terry Shea, President Cheryl McIlhon, Vice President Nancy Moore, Secretary Steven Marlette, Past President Dodie David, Past President Betty Brooks, Past President Gloria Clark, Past President Gwen Bowlby, Treasurer MOTVA Board of Directors and Committee Chairs Dominic Arellano, Young OperaHouse Council Helen Arnoldi-Rowe, Divas/Divos Kathie Booth, Ushers Gloria Clark, Opera League Dodie David, Opera League Leo Dovelle, Boutique Rosemary Gugino, Volunteer Recognition Robert Hammond, Membership Don Jensen, Special Events and Soirees Amy Jidov, Special Events Annette Marchesi, Publicity Myrna Mazure, Operations Cheryl McIlhon, Dance Council Curtis Posuniak, Board Member

BravoBravo!

2013 Co-Chairs Jeanine Fields Amy Kaminsky Will Robinson 2013 OPERAtors Lee Barthel Gwen Bowlby Gloria Clark Dodie David Marianne Endicott Barbara Frankel Alan Israel Amy Jidov Steven Marlette John Novak

Terry Shea, President, MOTVA

Detroit Opera House

www.MichiganOpera.org

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Ensuring the Future

Imagine

a gift that outlives you—that touches future generations in your absence—to experience and enjoy the world of opera.

That’s the goal of the Avanti Society, Michigan Opera Theatre’s Planned Gift Recognition Program.

The Avanti Society represents a designated group of friends of Michigan Opera Theatre who have made plans to include the organization in their estate plans—whether by will, trust, insurance, or life income arrangement. Membership in the Avanti Society is open to all.

Members of the Avanti Society receive a beautifully designed lapel pin, recognition at the annual Avanti Evening and invitations to special events and performances, and are listed as members in our program books throughout each season.

AN AVANTI FOR TOMORROW The growth of Michigan Opera Theatre’s permanent Endowment Fund ensures the growth and future vitality of one of the region’s greatest cultural assets. You are invited to create your own legacy—your Avanti—through Michigan Opera Theatre.

You may use the attached confidential reply card to indicate your gift, or contact Kim-Lan Trinh at (313) 237-3408 to discuss gift options that may benefit you, your heirs and Michigan Opera Theatre.

THE AVANTI SOCIETY MEMBERS Mr. Robert G. Abgarian Mr. & Mrs. Robert A. Allesee # Mrs. Adel Amerman* # + Dr. Lourdes V. Andaya* Mr. & Mrs. Agustin Arbulu* Mr. & Mrs. Chester Arnold* Mr. & Mrs. Lee Barthel Mr. & Mrs. J. Addison Bartush* # Mr. & Mrs. Brett Batterson* Mr. & Mrs. Mandell Berman Mr. & Mrs. Art Blair* Mr. Robert Bomier Mrs. Margaret Borden Mr. & Mrs. Richard Bowlby Mrs. Mary C. Caggegi Mr. & Mrs. Roy E. Calcagno* Ms. Gladys Caldroney* Dr. & Mrs. Thomas E. Carson Dr. & Mrs. Victor J. Cervenak* Mr. Allen B. Christman Ms. Halla Claffey Prof. Kenneth Collinson Mr. & Mrs. Robert C. Comstock # Dr. Robert A. Cornette* # Mrs. Mary Rita Cuddohy Mr. & Mrs. Tarik Daoud* # Mr. & Mrs. Marvin I. Danto Mr. Thomas J. Delaney Ms. Marjorie Adele DeVlieg Mr. & Mrs. Robert E. Dewar* # Mr. James P. Diamond Dr. David DiChiera # Mrs. Karen VanderKloot DiChiera*# Ms. Mary Jane Doerr # Dr. & Mrs. Charles H. Duncan* Mrs. Charles M. Endicott* # Mr. Wayne C. Everly

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Mrs. Charlotte Bush Failing Mr. & Mrs. Herb Fisher* Mrs. Anne E. Ford Ms. Pamela R. Francis* Ms. Barbara Frankel & Mr. Ronald Michalak*# Mr. & Mrs. Herman Frankel* # Mrs. Rema Frankel* # Mr. & Mrs. Harvey Freeman Mrs. Jane Shoemaker French Mr. Edward P. Frohlich Dr. & Mrs. Byron P. Georgeson* Ms. Priscilla A. B. Goodell Mr. Ernest Goodman Mrs. Freda K. Goodman Priscilla R. Greenberg, Ph.D.* # Mr. & Mrs. Stephen Hagopian Mr. Lawrence W. Hall* Mr. & Mrs. Jerome Halperin* Mrs. Robert M. Hamady Ms. Heather Hamilton Mr. David Handleman* # Mr. Kenneth E. Hart* Mr. & Mrs. Eugene L. Hartwig* Dr. & Mrs. Gerhardt A. Hein Ms. Nancy B. Henk Ms. Mary A. Hester Mr. Bruce Hillman Ms. Patricia Hobar Mr. & Mrs. Derek Hodgson Mr. Gordon V. Hoialmen Dr. Cindy Hung* Mr. Carl J. Huss Drs. Heidi & Dale Jacobs Ms. Kristin Jaramillo* Mr. Donald Jensen* Mr. John W. Jickling, Sr.

Ms. Helen Barbara Johnston Mr. Patrick J. & Mrs. Stephanie Germack Kerzic Mr. & Mrs. Robert Klein# Mrs. Josephine Kleiner Mr. & Mrs. Erwin H. Klopfer* # Mr. & Mrs. Daniel Kolton Misses Phyllis & Selma Korn* Mr. & Mrs. Arthur Krolikowski* Mr. Max Lepler & Mr. Rex Dotson Mr. Philip Leon Mrs. Wade H. McCree* Ms. Jane McKee* Mrs. Lucie B. Meininger Drs. Orlando & Dorothy Miller* Ms. Monica Moffat Mrs. Ella M. Montroy Mr. Ronald K. Morrison* Mrs. Ruth Rawlings Mott Mrs. Betty J. Mueller Dr. & Mrs. Stephen Munk Mr. Jonathan F. Orser Ms. Julie A. Owens Mr. Dale J. Pangonis* Mr. & Mrs. Charles A. Parkhill Mrs. Elizabeth Pecsenye Mrs. Clarice Odgers Percox Mr. Thomas G. Porter Mr. Richard M. Raisin* Mrs. Ruth F. Rattner* # Mr. Joshua Rest Mr. & Mrs. James Rigby* Mr. Bryan L. Rives Ms. Patricia Rodzik* Mr. Mitchell J. Romanowski Ms. Joanne B. Rooney Aphrodite & George Roumell Ms. Susan Schooner*

www.MichiganOpera.org

Drs. Heinz & Alice Platt Schwarz* Mrs. Frank C. Shaler* Ms. Laura Sias Mr. & Mrs. Harold Siebert Mrs. Marge Slezak Ms. Anne Sullivan Smith Ms. Phyllis Funk Snow* Mr. Edward L. Stahl Mr. & Mrs. Richard Starkweather*# + Mrs. Mark C. Stevens* # Mr. Stanford C. Stoddard Dr. Jonathan Swift & Mr. Thomas A. St. Charles* Mr. Ronald F. Switzer* Ms. Mary Ellen Tappan* # Mr. & Mrs. Donald Thurber* Mr. Edward D. Tusset* Mr. & Mrs. George Vincent* # + Mr. J. Ernest Wilde Mrs. Amelia H. Wilhelm* # Mrs. Ruth Wilkins Mrs. Helen B. Wittenberg Mr. & Mrs. Walter P. Work* Mr. & Mrs. Joseph J. Zafarana Mr. & Mrs. Larry Zangerle Mr. & Mrs. George M. Zeltzer*

Avanti Logo & Pin Design Ms. Monica Moffat Mr. Pat McGuire Keys: * Founding Members # Touch the Future donors + Avanti Society Sponsors Italics = deceased members

Detroit Opera House

Michigan Opera Theatre Donor Honor Roll Michigan Opera Theatre gratefully acknowledges the generous donors who made major general operating support and restricted gifts of $25,000 and above between July 1, 2012 and June 30, 2013. Their support plays an integral part in the company’s financial stability which is necessary for producing quality grand opera, dance and award-winning educational activities.

$300,000 and above J. Addison & Marion M. Bartush Educational Fund $200,000 and above Ford Motor Company Fund $100,000 and above Mandell L. & Madeline H. Berman Foundation General Motors Foundation & Cadillac Masco Corporation Foundation The Kresge Foundation

$150,000 and above McGregor Fund

$50,000 and above Mr. & Mrs. John Boll, Sr. Marvin & Betty Danto Family Foundation Fiat Max M. & Majorie S. Fisher Foundation Miriam Mondry Trust Sage Foundation

J. Ernest & Almena Gray Wilde Fund $35,000 and above Bank of America Joanne Danto & Dr. Arnold Weingarden DTE Energy Foundation Nora and Manuel Maroun

$25,000 and above DeRoy Testamentary Foundation The Fred A. & Barbara M. Erb Family Foundation Herman & Sharon Frankel The Shirley K. Schlafer Foundation Matilda R. Wilson Fund Worthington Family Foundation

Restricted Support $100,000 and above Community Foundation for Southeast Michigan Phyliss D. Korn Young Artist Apprentice Fund $250,000 and above The Kresge Foundation Barbara Gibson Williams Principal Artist Fund $1,000,000 John S. and James L. Knight Foundation

Contributors to Annual Campaigns Michigan Opera Theatre gratefully acknowledges the generous corporate foundation government and individual donors whose contributions were made between July 1, 2012, and June 30, 2013. Their generosity is vital to the company’s financial stability, which is necessary to sustain MOT’s position as a valued cultural resource.

CORPORATE SUPPORT OF OPERA & DANCE GRAND BENEFACTOR $100,000 - $200,000 Ford Motor Company Fund Fall Opera Season Sponsor Julius Caesar Production Sponsor Dance Theatre of Harlem Student Performance Sponsor General Motors Foundation and Cadillac S pring Opera Season Sponsor Dance Theatre of Harlem Adopt a School Masco Corporation Foundation General Operating Support Community Programs Sponsor SIGNAL BENEFACTOR $50,000 – $199,000 Bank of America Opening Night Sponsor New York City Ballet, The Nutcracker, Dance Theatre of Harlem, Alvin Ailey BravoBravo! Entrance Lobby Sponsor Fiat BravoBravo! Presenting Sponsor Detroit Opera House

MAJOR BENEFACTOR $25,000 - $49,999 DTE Energy Foundation J ulius Caesar Performance Sponsor Dance Theatre of Harlem Afterglow and Adopt a School Sponsor BravoBravo! Skybox and Cabana Sponsor So merset Collection Charitable Foundation BENEFACTOR $15,000 - $24,999 Meritor General Operating Support Golf Outing Tee Sponsor Quicken Loans U nder the Stars BravoBravo! Sponsor FELLOW $10,000 - $14,999 Greektown Casino BravoBravo! Sponsor Grunwell-Cashero Golf Outing Presenting Sponsor Mack Avenue Records Too Hot to Handle Sponsor MGM Grand Casino BravoBravo! Sponsor

SUSTAINER $5,000 - $9,999 Denso D ance Theatre of Harlem Student Performance and Adopt a School Sponsor Honigman Miller Schwartz Cohn LLP G eneral Operating Support Great Lakes Beverage BravoBravo! Sponsor Lear Corporation General Operating Support McDonald’s B ravoBravo! Allesee Lounge Sponsor PATRON $2,500 - $4,999 The Lifting As We Climb Foundation BravoBravo! Sponsor Politically Smart, LLC/ Harper Family Practice BravoBravo! Skybox Sponsor Sanders Candy and Ice Cream Shops GDC Lounge Chocolates Sponsor Trinity Health BravoBravo! Skybox Sponsor Wolverine Packing Company General Operating Support

www.MichiganOpera.org

DONOR $1,000 - $2,499 Antonio’s Cucina Italiana General Operating Support Ash Stevens General Operating Support Richard S. Elsea Marital Trust General Operating Support Extreme Valet General Operating Support IATSE Local 38 General Operating Support Kindermorgan Foundation General Operating Support The Westin Book Cadillac BravoBravo! Hospitality Sponsor CONTRIBUTOR $500 - $999 CBS Television General Operating Support Hudson Editorial BravoBravo! Sponsor Madison Electric General Operating Support The Tuesday Musicale of Detroit General Operating Support

FOUNDATION & GOVERNMENT SUPPORT OPERA & DANCE GOVERNMENT Michigan Council for Arts and Cultural Affairs General Operating Support and Building Repair National Endowment for the Arts Fidelio Performance Sponsor FOUNDATION $1,000,000+ John S. and James L. Knight Foundation Endowment for Community Engagement $100,000 + Ma ndell L. and Madeleine H. Berman Foundation The Kresge Foundation McGregor Fund $30,000 – $99,999 Community Foundation for Southeast Michigan Max M. & Marjorie S. Fisher Foundation Sage Foundation The Skillman Foundation J. Ernest & Almena Gray Wilde Fund Fidelio Production Sponsor BR AVO

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$10,000 - $29,999 DeRoy Testamentary Foundation Young Artist Apprentice Program Sponsor Aida Performance Sponsor Fred A. and Barbara M. Erb Family Foundation Ann and Gordon Getty Foundation Sally Mead Hands Foundation Alice Kales Hartwick Foundation Hudson-Webber Foundation Knight Detroit Opera Fund of the Community Foundation Oliver Dewey Marcks Foundation Shirley Schlafer Foundation Alvin Ailey American Dance Theater Education Sponsor Ida & Conrad H. Smith Endowment for the Michigan Opera Theatre Aida Performance Sponsor Mary Thompson Foundation Samuel L. Westerman Foundation Matilda R. Wilson Fund Worthington Family Foundation The Happy Prince Production Sponsor $5,000 - $9,999 Moroun Family Foundation New England Foundation for the Arts Eisenhower Dance Ensemble Sponsor Karen & Drew Peslar Foundation Herbert and Elsa Ponting Foundation Young Woman’s Home Association $1,000 - $4,999 Arts Midwest Touring Fund BalletMET Columbus Nutcracker Performance Sponsor Detroit Industrial School Drusilla Farwell Foundation James & Lynelle Holden Fund Michigan Humanities Council Eisenhower Dance Ensemble Sponsor Ralph L. and Winifred E. Polk Foundation Sigmund and Sophie Rohlik Foundation Village Woman’s Club Foundation MOT CHILDREN’S CHORUS $25,000+ Mr. & Mrs. Alex Erdeljan $15,000+ Worthington Family Foundation $1,000+ Alan & Eleanor Israel KinderMorgan Foundation Benard L. Maas Foundation Lee & Maxine Peck Foundation 42

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$500+ Josh & Emily Eichenhorn MAJOR GIFTS – OPERA $15,000 and above: Herman & Sharon Frankel $10,000 and above: Linda & Maurice Binkow Susanne McMaurice Cyril Moscow Ruth Rattner Mr. & Mrs. Norman D. Katz $5,000 and above: Greater Jewish Federation/ Raisin Fund Anne and John Roberts INDIVIDUAL SUPPORT — OPERA GENERAL DIRECTOR’S CIRCLE IMPRESARIO $10,000+ Mr. & Mrs. Richard Alonzo Mrs. Marianne Endicott Mrs. Barbara Frankel & Mr. Ronald Michalak Mr. & Mrs. Herman Frankel Mr. & Mrs. Harry A. Lomason II Mrs. Susanne McMillan Mr. William Smith Mr. Richard Sonenklar & Mr. Gregory Haynes Mr. Richard D. Ventura BENEFACTOR $5,000 - $9,999 Mr. & Mrs. Douglas F. Allison Mr. & Mrs. Thomas Anderson Mr. & Mrs. Lee Barthel Mr. & Mrs. Mark Alan Baun Mrs. Ilse Calcagno Mr. & Mrs. Michael Chirco Mr. Thomas Cohn Mr. & Mrs. Ethan Davidson Dr. David DiChiera Ms. Nell Duke & Mr. David Ammer Mr. & Mrs. Daniel Finkiewicz Dr. Marjorie M. Fisher Dr. William Kupsky & Dr. Ali Moiin Mr. & Mrs. Chak Lai Mr. & Mrs. Matt Ludlow Mr. & Mrs. Stephen Mancuso Dr. & Mrs. Stephen A. Munk Mr. Joseph R. Papp Dr. Charlotte & Mr. Charles Podowski Mrs. Ruth F. Rattner Mr. & Mrs. Roy Roberts Mrs. Carolyn L. Ross Ms. Janice Ross Mr. Stephan Sharf† Ms. Maureen Shea & Mr. Terry Shea Mr. & Mrs. Kinnie Smith Dr. Calvin L. Stevens Mrs. Barbara Van Dusen Mr. & Mrs. George C. Vincent

SUSTAINER $2,500 - $4,999 Mr. & Mrs. Kenn Allen Mr. & Mrs. Robert A. Allesee Dr. Lourdes Andaya Dr. Harold Mitchell Arrington The Hon. & Mrs. Edward† Avadenka Mr. & Mrs. Paul Blizman Mr. & Mrs. G. Peter Blom Mr. & Mrs. Richard Bowlby Mr. & Mrs. Michael Chirco Mr. & Mrs. Paul Chosid Mr. & Mrs. Frederick H. Clark The Hon. & Mrs. Avern L. Cohn Dr. Mary Carol Conroy Mr. & Mrs. Peter Cooper Drs. Laura & Jeffrey Corrigan Mrs. Mary Rita Cuddohy† Mrs. Victor Curatolo Ms. Joanne Danto & Dr. Arnie Weingarden Ms. Julia Donovan Darlow & The Hon. John C. O’Meara Leslie Desmond & Philip Stoffregen Mr. Cameron B. Duncan Dr. Raina Ernstoff & Mr. Sanford Hansell Mr. & Mrs. Paul E. Ewing Mr. & Mrs. Lloyd C. Fell Mr. & Mrs. Carl B. Fontana Mr. & Mrs. Stuart Frankel Mr. & Mrs. Harvey Freeman Mr. & Mrs. Andrew Giancamilli Mr. Allan Gilmour & Mr. Eric Jirgens Mrs. Alfred R. Glancy, III Mr. & Mrs. Richard Goetz Mr. & Mrs. Robert Hamel Dr. & Mrs. Gerhardt A. Hein Mr. & Mrs. Paul Hillegonds Mr. & Mrs. Derek Hodgson Mr. William Hulsker Elanah Nachman Hunger & Rick Hunger Mr. & Mrs. Alan Israel Mr. & Mrs. Verne G. Istock Mr. & Mrs. Kent Jidov Mr. & Mrs. Gary E. Johnson Mr. and Mrs. Martin Kellman Mr. & Mrs. Steve Kesler Dr. & Mrs. Edward Klarman Mr. Mark Kolins & Ms. Maria Abrahamsen Mr. & Mrs. Michael Kratchman Elaine & Dr. Gerald Laker Mr. Paul Lavins Mr. Charles Letts Mrs. Linda Dresner Levy & Mr. Edward Levy, Jr. Mrs. Florence LoPatin Mr. Al Lucarelli Mrs. Denise Lutz Mr. & Mrs. Ron Martella Betty Arrington-Martin & The Hon. Jack Martin Ms. Mary C. Mazure Mr. & Mrs. Eugene Miller Mr. Phillip D. Minch Mr. & Mrs. Manuel Moroun Mr. & Mrs. Xavier Mosquet Mr. Jonathan Orser www.MichiganOpera.org

Mr. & Mrs. Daniel Pehrson Mr. Jack Perlmutter & Mr. Dan Clancy Mr. & Mrs. Brock E. Plumb Mr. & Mrs. Bill Powers Dr. Boyd F. Richards & Mr. Joshua J. Ronnebaum Mrs. Patricia Rodzik Mr. & Mrs. Irving Rose Mr. & Mrs. Norman H. Rosenfeld Mr. & Mrs. Hugh C. Ross Mrs. Luigi Ruscillo Dr. Barbara & Mr. Laurence Schiff Mr. & Mrs. Robert Sanders Mr. Merton Segal Mr. & Mrs. Mark Shaevsky Mrs. Arlene Shaler Mr. & Mrs. Melvin Smith Mr. & Mrs. David S. Snyder Dr. & Mrs. Robert J. Sokol Mr. & Mrs. Frank Sonye Ms. Betsy Duncan Spong Dr. Gregory Stephens Dr. & Mrs. Gerald H. Stollman Mr. & Mrs. Thomas Terrell Dr. Lorna Thomas Mr. & Mrs. C. Thomas Toppin Mrs. Phyllis Webb Mr. John Weber & Dr. Dana Zakalik Mr. Herman W. Weinreich Mrs. Amelia H. Wilhelm Mr. & Mrs. R. Jamison Williams, Jr. Mrs. Beryl Winkelman Mr. & Mrs. Eric Winter Mr. & Mrs. Larry Zangerle Mr. Jeremy Zeltzer & Mr. Kevin Dennis DONORS $2,000 - $2,499 Mr. & Mrs. Eugene Applebaum Mrs. Donald J. Atwood Mr. & Mrs. James M. Balcerski Mr. Noel Baril & Dr. Jeff Tranchida Mr. J. Addison Bartush Mr. & Mrs. Mandell Berman Mrs. John G. Bielawski Mr. & Mrs. Eugene W. Blanchard Mr. & Mrs. John Boll, Sr. Mr. Jim Bonahoom Wolverine Packing Company Mr. & Mrs. Donald J. Bowerman Mr. & Mrs. Donald Brasie Mrs. Betty Bright Mr. & Mrs. William Brooks Dorothy Ozog Carson & Dr. Thomas Carson Mr. Edward Cody Mrs. RoseAnne Comstock Mr. & Mrs. Jerry D’Avanzo Mr. & Mrs. Lawrence N. David Mr. & Mrs. Walter Dean Mr. Tom Delaney Mr. & Mrs. Kenneth Eisenberg Mr. & Mrs. Oscar Feldman Adrienne & Robert Z. Feldstein

Mr. & Mrs. Dean Friedman Dr. & Mrs. Clifford Furgison Dr. Glendon Gardner & Ms. Leslie Landau Mr. & Mrs. Keith E. Gifford Mr. & Mrs. Sam Haberman Mrs. Hilda I. Hamburger Mr. & Mrs. David Handleman Mrs. David B. Hermelin Mr. & Mrs. David H. Hill Mrs. Harriet Hull Ms. Mary Barton Jolliffe Jospey Foundation, Marjorie & Maxwell Mr. & Mrs. Norman D. Katz Ms. Ida King Mr. & Mrs. Thomas Klein LEON & LULU Mr. Melvin Lester Dr. & Mrs. Stephan Loginsky Mark-Lis Family Fund — Mrs. Florine Mark Dr. and Mrs. Robert Matthews Dr. Lisa Meils Ms. Monica Moffat Dr. & Mrs. Van C. Momon, Jr. Mr. & Mrs. Eugene Mondry Mr. & Mrs. Theodore Monolidis Mr. & Mrs. Allan Nachman Dr. & Mrs. Barry Nemon Dr. & Mrs. Peter Nickles Prof. Leonard Niehoff Mr. Arthur A. Nitzsche Mrs. Dorothy Nouhan Mr. & Mrs. Irving Nusbaum Dr. Juliette Okotie-Eboh Dr. Wallace Peace Dr. & Mrs. James Rigby Mr. Kenneth Robinson Dr. & Mrs. Bernard Rubin Mr. & Mrs. Hershel Sandberg Mrs. Lee C. Saperstein Mr. & Mrs. Alan E. Schwartz Ms. Cynthia B. Shaw Dr. & Mrs. Michael J. Short Ms. Laura Sias & Ms. Kathy Coburn Mrs. Walter M. Stark Dr. Jonathan Swift Mr. Ronald F. Switzer Mrs. Norman J. Tabor Mr. & Mrs. Duane Tarnacki Mr. & Mrs. Joel D. Tauber Mrs. Steven I. Victor Ms. Carmen Wargel & Mr. Ryan Fringer Dr. & Mrs. Christopher D. Wilhelm Dr. & Mrs. Clyde Wu Mrs. Morton Zieve Mr. & Mrs. David J. Zmyslowski CAMERATA CLUB $1,000 - $1,999 Judith & Joshua Adler Mrs. Nancy Angott Mr. John Barbes Mr. & Mrs. Jeffrey Bates Mr. Stanislaw Bialoglowski Mr. & Mrs. Richard Brodie Mrs. Dina Brodsky Mr. & Mrs. Efstratios Calagias Rev. Paul Chateau Detroit Opera House

Mr. Douglas Cornelsen & Ms. Minka Christoff Mr. & Mrs. James Cortez Ms. Irene Dzialak Mr. John Fleming Mr. & Mrs. Robert Folberg Dr. & Mrs. Saul Forman Mr. & Mrs. Burke Fossee Ms. Irene M. Garcia Dr. & Mrs. Michael Geheb Thomas M. Gervasi Mr. & Mrs. Harvey Grace Mr. & Mrs. Joseph Gualteri Mr. & Mrs. Robert Hage Ms. Nancy B. Henk Mr. & Mrs. Stanley Hirt Mr. & Mrs. Addison Igleheart Mr. Henry M. Kassen Sally & John Kendrick Ms. Mary Kramer Mr. David Lebenbom Dr. & Mrs. Zvi Levran Dr. & Mrs. Stanley Levy Mr. & Mrs. John D. Lewis Mr. Robert Littman Mr. & Mrs. John Luchini Ms. Jennifer Marling Mr. & Mrs. Donald McCann Ms. Patricia McKanna Mr. & Mrs. Bruce Miller Mr. & Mrs. Glen Mitchell Miss Surayyah Muwwakkil Mr. Geoffrey Nathan & Ms. Margaret Winters Mr. & Mrs. Daniel Olson Mrs. Sophie Pearlstein Dr. Claus Petermann Mr. & Mrs. Mark Peterson Miss Alma M. Petrini Dr. & Mrs. Peter J. Polidori Mrs. Wally Prechter Mr. & Mrs. Michael Prysak Mr. & Mrs. Rip Rapson Mr. & Mrs. Paul Regoni The Elmira L. Rhein Family Foundation Mrs. Gerry Ross Mr. & Mrs. George Roumell, Jr. Mr. & Mrs. William Salot Mr. & Mrs. William Sandy Mrs. Steven Sell Mrs. Erwin S. Simon Mr. & Mrs. Richard Sloan Ms. Renate Soulen Mrs. Richard Starkweather Mr. Dante Stella Ms. Mary Ann Stella Dr. & Mrs. Mack C. Stirling Ms. Yoko Suzuki Mr. & Mrs. John P. Tierney Mr. & Mrs. Gerrit Vreeken Mr. & Mrs. William Westman Mr. & Mrs. Henry Whiting Mr. & Mrs. Robert Whitman Mr. John Wickey Mr. & Mrs. John A Wise, Jr. Mr. Gary Wozniak Dr. Lucia Zamorano GDC OPENING NIGHT & 2nd SATURDAY NIGHT INTERMISSION SPONSORS Mr. Lloyd Fell Mr. & Mrs. Derek Hodgson Mr. & Mrs. Rick Hunger Ms. Patricia Rodzik Detroit Opera House

Mrs. Edith Ruscillo Mr. Ron Switzer & Mr. Jim McClure ANNUAL FUND DONORS LUMINARY $500-$999 Anonymous Mr. & Mrs. James W. Allen Ms. D.L. Anthony Mrs. Chester Arnold Ms. Geraldine Atkinson Barbara J. Baker Dr. & Mrs. John M. Barnwell Mr. & Mrs. Dean Bedford, Jr. Ms. Kanta Bhambhani Dr. & Mrs. David Bloom Professor & Mrs. Dale E. Briggs Mr. & Mrs. James Brooks David, Karen & Jacob Brown Mr. & Mrs. Frank Brzenk Michael Bull & Catherine Ciotti Evelyn Burton Dr. & Mrs. Roger C. Byrd Ms. C.R. Campitelle Dr. Lynne Carter Robert, Kimberlie & Elizabeth Cedroni Lorraine Clay The Clouse Family Mr. Jonathan Cohn & Ms. Daniela Wittmann Ms. Carol ColemanCunningham Mr. & Mrs. Tonino Corsetti David E. Costa Mr. Walter Cukrowski III Mrs. Kimberly Dickens Dr. Donald Ditmars Dr. Helene C. Dombrowski, MD & Mr. Richard Seryak Mr. Hugh Doyle Mr. & Mrs. Eugene Driker Dr. Patricia L. Edwards Mr. & Mrs. John Ferron Mrs. Barbara A. Fisher & Mr. William Gould Mrs. Alfred J. Fisher Jr. Mrs. Shirley M. Flanagan Ms. Carol Friend Mr. & Mrs. Daniel E. Frohardt-Lane Mr. & Mrs. Lawrence Garberding Catherine H. Gardner Mr. & Mrs. David & Carol Gaskin John & Rebecca Gaydos Daron & Linda Gifford Mr. Philip L. Gray & Family Ms. Shirley M. Gray Dr. Robert Green Mr. & Mrs. David & Diana Hagemann Dr. Jamie Hall Drs. Julia & Gregory Hays Ms. Sara L. Hill & Mr. George Vutetakis Miss Patricia Hinojosa Mr. Michael E. Hinsky Ms. Barbara E. Honner Mr. & Mrs. Mario Iacobelli Mr. & Mrs. Joseph F. Jeannette Mr. & Mrs. Richard Jeryan

Mr. Dennis Johnston Jay & Jennifer Jolliffe Dr. & Mrs. Michael T. Keefe Ms. Geraldine B. Keller Mr. & Mrs. Robert Kelly Mr. David Kinsella & Ms. Joyce Urba Mr. & Mrs. Harvey Kleiman Mr. & Mrs. Justin Klimko Mr. & Mrs. Gregory Knas Mr. & Mrs. Roy H. Koponen Ms. Catherine LaMont & Mr. Michael Donovan Dr. Stanley Levy Dr. & Mrs. Sol Luft Margot Euro Spa Mr. & Mrs. Steven Marlette Ms. Janet Groening Marsh Ms. Mary McGough Mr. & Mrs. James McIlhon Patricia A. & Patrick G. McKeever Mr. & Mrs. William Michaluk Ms. Laurie Mickiewicz Mr. & Mrs. George Nicholson, III Ms. Lois Norman Mr. & Mrs. Joseph Nuyen Mr. & Mrs. Richard F. O’Brien Ms. Haryani Permana Mr. & Mrs. Lynn Phillips Richard & Meryl Place Fund Mrs. Margaret Raben Mr. & Mrs. Richard K Rappleye Dr. Monique Reeves Mrs. Florence M. Rhodes Dr. John Romani & Dr. Barbara Anderson Dr. & Mrs. Arthur Rose Ms. Mary P. Rossio Nicholas & Ann Marie Rowley Ms. Lois Ryan Mrs. Markus Schmidt Diane & Morton Scholnick Julius S. Scott Mr. & Mrs. Kingsley Sears Mr. & Mrs. Gabriel Stahl Dr. Mildred Ponder Stennis Mr. & Mrs. Allan Stillwagon Mrs. E. Ray Stricker Mr. & Mrs. Lee Tavoularis Mr. Charles Thompson Mr. & Mrs. Norman Thorpe Mr. & Mrs. Peter P. Thurber Ms. Michele M. Toenniges & Mr. Scott Toenniges Dr. & Mrs. Rennard B. Tucker Darlene S. Vasi Marc Voorhees Mr. & Mrs. Robert D. Wallin Jean & Alan Weamer Mr. Donald K. Wedding Mr. & Mrs. Richard Weiermiller Mr. & Mrs. Robert & Sandra Weitz Dr. Felecia Williams LWA Prop Fund Dr. Ruth A. Worthington SUPPORTER $250-$499 Anonymous (4) www.MichiganOpera.org

IN MEMORIAM Michigan Opera Theatre notes with sadness the passing of Trustees and General Director’s Circle members this past fiscal year. Their commitment and enthusiasm for the arts and cultural life of our community will be missed.

The Honorable Edward Avadenka Anne Bielawski Mary Rita Cuddohy Beverly Segal Stephan Sharf Walter Stark Ruth Townsend Beryl Winkelman Ms. Anne M. Acosta & Mr. Charles W. Manke Rumia Ambrose-Burbank David & Sandra Anderson Mr. & Mrs. Robert L. Anthony IV Dr. Gregory A. Banazak Mr. & Mrs. Gregory Barkley Dr. Leora Bar-Levav Mr. & Mrs. C. Robert Barnard Mr. & Mrs. Fred Barnes Mr. Walter Baughman Mr. Todd Beard Mr. & Mrs. James D. Beauvais Dr. & Mrs. Ronald Benson Carl & Marlene Bihlmeyer Dr. Terry M. Blackhawk Ms. Carolyn Blackmore & Mr. Nicholas Bell Ms. Barbara A. Blanock Dr. & Mrs. Jason H. Bodzin Mr. & Mrs. Peter V. Bologna In memory of Cynthia L. Boreland Mr. & Mrs. Jack Bourget Brian & Evelyn Bowman Ms. Joann Brooks Ms. Joann F. Brooks Mrs. Milena T. Brown Mr. & Mrs. George Brownlee Marie Brunke Mr. Norman Bucknor & Ms. Xuchai Li Mr. Donald Budny Dr. & Mrs. Dana Busch Mr. Dale A. Buss III Hope L. Calati Ms. Nettie Calhoun Miss Helen H. Cannon Mr. Raymond Carney Mr. & Mrs. L. B. Chappuis Dr. Marlene S. Chavis Dr. & Mrs. Arthur Chester Audrey Cho & Emmett Cho Mr. & Mrs. Reginald L. Ciokajlo Ms. Derenda Collins Ms. Graciela R. Conley Mr. & Mrs. John P. Connolly Mr. Barry Corden Dr. & Mrs. William Cosgrove

Mr. & Mrs. Eugene A. Cosma Mr. & Mrs. Robert & Michelle Costello Mr. & Mrs. Raymond Cracchiolo Ms. Mary E. Creager Mr. Lyle F. Curran Mrs. Eva Curry Ms. Carol A. Czestkowski Mr. & Mrs. Norman Dancy Mr. Benjamin Davis Mr. & Mrs. Richard de Bear Mr. & Mrs. Armando Delicato Dr. Frank DeMarco Mrs. Mary DeTomaso Amy Dewys & James Blohm Ms. Dianne Dickelmann Mr. & Mrs. Lawrence H. Dickelmann Jr Mr. & Mrs. Richard Dionne Mr. & Mrs. Walter Dissett Ms. Mary Jane Doerr Conrad & Judith Donakowski Mr. John Dreifus Mr. & Mrs. Daniel S. Drucker Dr. & Mrs. Richard Dryer Mr. Douglas F. Duchek Mrs. Joseph Dudley Drs. Paula & Michael Duffy Mr. & Mrs. Don F. Duggan Mr. & Mrs. Lawrence F. DuMouchelle Jaquelin Eckhous Myrna & Richard Edgar Dr. Alan Eiser Mr. & Mrs. Lawrence Elkus Mr. Blake Ellis Wanda V. Ellison Mr. F. Jose Engel Mrs. Freda Ensign Mr. & Mrs. Paul S. Ensign Mary Kaye & Mason Ferry The Hon. Sharon Tevis Finch Drs. Julie B. Finn & Bradley Rowens Dr. Lydia H. Fischer Dr. Evelyn J. Fisher Mr. & Mrs. James E. Fisk Ms. Sue Force Susan & Daniel Fox Mrs. Harold L. Frank BR AVO

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Mr. Mark Frankel & Hon. Nancy Grant Frankel Mr. John Burns, Jr. & Mr. Gilbert M. Frimet Carol Gagliardi & David Flesher Mr. & Mrs. Robby & Kristyn Gall Dr. Crystal Martin & Mr. David Martin Barbara J. Geck Dr. Marilyn Gerwolls Ms. Brejette Gipson Ms. Patricia Godell Ms. Nancy Gogo & Mr. Michael Bartnik Mr. Robert T. Goldman Nathaniel Good Mr. & Mrs. Arnold Gordon Mr. & Mrs. William R. Goudie Ms. Irene Grabowski Ms. Cecile Graziano Ms. Remona Green Mrs. Mary K. Grimes Dr. Daniel Haddad Mr. Nizami Halim Mr. Ronald Hall Sr Mr. & Mrs. David Hammond Ms. Florine Harbour Mr. & Mrs. William R. Harmon Dr. & Mrs. Natan HarPaz Mr. Harland Harris Mr. & Mrs. John K. Harris Mr. & Mrs. Jeffrey K. Haynes Ms. Barbara Heller Gloria Heppner Mr. Norman Herbert Mrs. Clara Sue Herman Dr. & Mrs. Martin M. Herman Beth Hoger & Lisa Swem Ms. Kalaida Holmes Mr. & Mrs. Jan Homan Mr. Paul Horn Tim & Senga Hornsey Mr. & Mrs. James L. Howlett Mr. & Mrs. Alan Hudson Jean Wright & Joseph L. Hudson Jr. Fund Ms. Charlyn M. Idler Mr. & Mrs. Jeffery Ives Alex D. Jakle Mr. & Mrs. Brian & Danielle Jankowski Mr. & Mrs. Zoltan J. Janosi Dr. Louise M. Jefferson Mrs. Arthur Johnson Dr. & Mrs. Leonard B. Johnson Ollie M. Johnson Mrs. Frieda Johnston Mr. & Mrs. Stephen Johnston Ms. Mary Kachnowski Ms. Agatha P. Kalkanis Mr. & Mrs. George Kalligeros Mr. Rex C. Donahey & Mrs. Elizabeth Kaplan Mr. & Mrs. Alan Jay Kaufman Mr. Daniel J. Kehoe Ms. Lee Khachaturian Dr. & Mrs. Crayton Kidd Mr. Norbert Kidd Dr. & Mrs. Robert N. Kienle 44

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Mr. & Mrs. Thomas N. Klimko Mrs. Mary F. Knauer Mr. Mario J. Kocaj Carol Kopek Mr. & Mrs. Alfred Kresse Mr. & Mrs. William Kroger Eric Krukonis & Susan Murray Mrs. Carolynne Kubert Mr. Albert J. Kurt Mr. Joseph W. Labuta Mrs. Alexandra LaCombe Ms. Karen Ladd Ms. Christine Laing Ms. Cecilia J. Lakin Mr. Gerard F. Lamesch Dr. Joseph Lapides & Ms. Arlene Gorelick Drs. Ellen Lee & Michael Solomon Ms. Corrine Lemberg Dr. & Mr. Corey Leon Dr. & Mrs. Kenneth Levin Dr. & Mrs. Dan Levitsky Dr. & Mrs. John H. Libcke Mr. & Mrs. Richard T. Lindgren Mr. & Mrs. Michael Linebaugh Mr. & Mrs. Armando Lopez Mrs. Mary Loria Mr. John Lovegren & Mr. Daniel Isenschmid Ms. Margaret MacTavish Ms. Vera C. Magee Mr. David M. Mark Professor Donald Maskeny, Jr. Mr. Matthew Mason & Ms. Renate Klass Dr. & Mrs. David Massignan Dr. & Mrs. Theodore Mayer Mrs. Carol A. McKenna Dr. & Mrs. John McLaughlin Mr. & Mrs. James McLennan Mr. Richard McMains Mr. & Mrs. Donald McMechan Mr. & Mrs. Brian Meer Mr. & Mrs. Robert Michielutti Mr. & Mrs. Donald & Barbara Mick Dr. & Mrs. Stephen Migdal Mr. Anthony Mikoy Ms. Anita L. Miller Mr. John Mills Mr. Bernard Mindell Dr. Anne Missavage & Mr. Robert Borcherding Ms. Barbara Mitchell Kenneth Mogill & Maureen Shaughnessy L.A. Monark Dr. Reg & Bridgette Motley Linda L. Munch Brian & Toni Sanchez Murphy Mr. & Mrs. Walter Newgeon Eugene & Robin Newman Mr. & Mrs. Theodore Niforos Mrs. Carol M. Nine Ms. Patrice Shaughnessy Nolan Patrick & Christine Nolan Mrs. Henrietta V. Nowakowski

Ms. Janet Page Mr. Stephen Pagnani Randall L. Pappal Ms. Diane Paratore Ms. Margot Parker Lewis & Berit Pavloff Kenneth & Marwa Paylor Mr. & Mrs. Eduardo M. Perou Mrs. Karen Perraut Ms. Irene Piccone Mrs. Loraine Pickering Mr. & Mrs. James Pike Jim & Sarah Piper Colonel Frank & Queen Carole Mr. & Mrs. Ronald Porter John & Oksana Posa Mrs. Constantin Predeteanu Mr. Steven Quinkert & Mr. Thomas P. Wilczak Ms. Jodee Raines Hope & Larry Raymond Mr. & Mrs. John W. Reddy Mrs. Miriam C. Richardson Judith Riley David & Julie Ripple Mr. & Mrs. Steven & Leslie Roach Dr. Edward Roberts & Mrs. Alice R. Taylor Mr. Dale Robertson Jack A. & Aviva Robinson Fund Mr. James E. Rodgers Mr. & Mrs. Sidney Rose Mrs. Helen A. Rowin Mr. Daniel G. Rusecki Charles & Adam Russman Mr. & Mrs. Barry & Deane Safir Mr. & Mrs. John Sanders, in memory of Lucie Meininger Mr. William Sarver Miss Phyllis Scales & Mr. Charles R. Scales Jr. Mrs. Claus Schaefer Mr. & Mrs. Charles Schiffer Drs. Robert & Franziska Schoenfeld Mr. & Mrs. Kevin Hastings Kathleen N. & Michael R. Schwartz Community Enrichment Fund Mr. & Mrs. Griffin Scillian Paul & Susanne Scott Mrs. Teri Segura William & Kristen Seikaly Mr. & Mrs. Louis C. Seno, Jr. Marc & Naomi Shaberman Dr. Christina Shanti Mr. & Mrs. Patrick D. Sheehy Dr. & Mrs. Donald Sherman Mr. & Mrs. George Shirley Ms. Marci Shulman Mr. Zon Shumway Dr. & Mrs. Paul Siatczynski Mr. Robert W. Siegel Mr. James J. Slowik Drs. Alton & Wontika Smith Mr. Michael Smith & Mrs. Katie Williams Smith Miss Martha Sorensen Dr. Gino Sovran Nadine & Ken Sperry Ms. Robin Spivey Mr. Theodore J. St. Antoine Mr. Gregory Stone www.MichiganOpera.org

Mr. & Mrs. Douglas Strayer Dr. & Mrs. Choichi Sugawa Clara & Federico Mariona Mr. Robert Sweeten & Ms. Mary Margaret Sweeten Mr. Robert Tacoma Jr Mr. Aaron Charles Tait Janet & Paul Thwaite Mr. & Mrs. Paul Tomboulian Ms. Pamela Torraco Mr. & Mrs. Stuart Trager Drs. Daniel & Lisa Turner Dr. & Mrs. Al Utecht Robert Van Walleghem Mr. & Mrs. Melvin C. VanderBrug Miss Lisa M. Varnier Miss Tammy Velthoven Mr. & Mrs. Tony Ventimiglia Dr. Carlos Villafane & Mrs. Claudia Civeriatti Mr. & Mrs. William Waak Ms. Teresa Wakeen Mr. & Mrs. Wayne Walker Carol Ward Mr. & Mrs. Leo S. Wasageshik Ms. Janet B. Weir Joseph Weiss & Marilyn Shapiro Mr. Craig Wellman Prof. Michael Wellman Ms. Sally Phelps Wells Mr. Paul Wemhoff Mrs. Karen B. Werner Mr. John F. Wertman Mr. & Mrs. Charles Williams Mr. Manuel A. Wilson Dr. Nila Wilson Mr. David D. Woodard Mrs. N.A. Wright Dr. & Mrs. Jose E. Yanez Mr. & Mrs. Thomas V. Yates Ms. Helen Zissis MAJOR GIFTS – DANCE $30,000 and above Danto Foundation INDIVIDUAL SUPPORT — DANCE PATRONS Director $5,000 + Mr. & Mrs. Lee Barthel Ms. Debra Bernstein-Siegel Conductor $2,500 - $4,999 Mr.& Mrs. Thomas Anderson Dr. David DiChiera Ms. Linda Dresner & Mr. Edward Levy Jr. Mr. & Mrs. Stuart Frankel Mr. & Mrs. Irving Rose Mr. & Mrs. R. Jamison Williams Choreographer $1 ,500 - $2.4999 Mr. & Mrs. Robert A. Allesee Mrs. Barbara Frankel & Mr. Ron Michalak Mr. Lawrence Glowczewski Dr. Judie Goodman & Mr. Kurt R. Vilders

Mrs. Ellen Kahn Dr. Ali Moiin & Dr. William Kupsky Ms. Florence Morris Mr. Jonathan Orser Ms. Susan Sills-Levey Mr. & Mrs. Gilbert Silverman Premier Dancer $1,000-$1,499 Mr. & Mrs. Lawrence John & Dr. Lillian Lai Mr. Richard A. Sonenklar & Mr. Gregory Haynes Mr. & Mrs. Joel Tauber Soloist $500-$999 Dr. & Mrs. Clifford Furgison Ms. Mary C. Mazure IN TRIBUTE October 1, 2013 to December 31,2013 In Memory of The Hon. Edward Avadenka Shelly & Peter Cooper Sa ra Zivian Zwickl & Tim Zwikl In Memory of Micki Bernstein Carol Halsted In Honor of Drs. Wiliam Kupsky & Ali Moiin Ch ristine Petrucci & Robert Jesurum Elizabeth S. Kupsky In Honor of Dr. David DiChiera Dr. A. Luisa DiLorenzo “Congratulations for your championship in producing 43 years of world class opera” Shelly & Peter Cooper In Memory of Rev. Douglas W. Kahl Dr. Julie C. Meyer In Memory of Mr. Bruce Leitman Ann & Larry Ellenbogen Dr . Norman & Harriet Rotter In Honor of Mary Parkhill “for a speedy and complete recovery” Shelly & Peter Cooper In Memory of Mr. Corbett O’Meara Shelly & Peter Cooper In Honor of Mr. Edward Reichbach Mackenzie Lurie “The keeper of your former doggy” In Memory of Mrs. Beryl Winkelman Barbara Frankel & Ron Michalak Detroit Opera House

BRAVOBRAVO! 2013 Sponsors $50,000 Presenting Sponsor Fiat $15,000 Opportunity Detroit (Quicken Loans) $10,000 Bank of America Greektown Casino-Hotel MGM Grand Detroit $3,500 - $7,500 Moroch DTE Energy Scoring the Deal/The Abrams Team Cabana/Skybox Sponsors $2,500 Harper Family Practice Kindred Hospital Detroit Lifting As We Climb Harmony in Diversity $800 - $1,000 The Westin Book Cadillac Detroit Hudson Editorial In-Kind Donors $2 Car Wash 1917 American Bistro 5-hour ENERGY Allegra Print·Signs·Marketing RenCen Amy Kaminsky Productions Angelina Italian Bistro APTEMAL CLOTHING BASHAR the Ultimate Beauty Experience Ben Sharkey Quartet Bistro 555 at Greektown Casino-Hotel Bookies Bar & Grille Brizola at Greektown Casino-Hotel Canine to Five Chair Covers and Linens Cheli’s Chili Bar Colonial Event Rental COLORS Coty Cutter’s Bar & Grille Eastern Market Dawna Marie Piper Event Staffing & Management Détroipolis by NoirAmerica Detroit Beer Company Detroit Mercantile Co. Detroit Pistons Drumline Detroit Seafood Market Display Group DJ Godfather DJ Sandman Dominos Dorsey Culinary Academy Eight Media Studios Extreme Valet LLC Fountain Bistro Gemmayze General Linen Great Lakes Beverage Great Lakes Wine & Spirits Green Dot Stables Ignite Sushi Bar & Lounge Joseph Wesley Black Tea Detroit Opera House

Kirk Masters & Sons Jewelers Levitation Staging London Chop House Lush Yummies M-1 Studios Mario’s Market District at Greektown Casino-Hotel Master Maintenance Corporation Movement Electronic Music Festival National Wine & Spirits OPTICS Pato Margetic R.U.B BBQ Pub Catering Roasting Plant Roostertail Sanders Fine Chocolatiers Simply Suzanne’s Natural Foods Sin Hielo Small Plates Detroit Source Audio Systems llc Southern Wine & Spirits Steve’s Soul Food Inc Stevie Soul & Omar Subway Sunday Dinner Company TAP at MGM Grand Detroit Tap Snap The Killer Flamingos The Melting Pot The Metropolitan Café Toasted Oak Grill & Market TOnE’ Twigs & Branches Floral US Foods Valente’s Men’s Formal Wear Vicente’s Cuban Cuisine Walker Creative Company Wing Stop Wolfgang Puck Pizzeria & Cucina Wolfgang Puck Steak Zumba Mexican Grille Media Partners After 5 Detroit Channel 955 Fresh 100 Fox 2 Detroit Metro Times WDET 101.9 FM Yelp!

HAUNTED IN THE HOUSE 2012 VIP Room Sponsors Boodles Hangar One Lakeland Catering Maestro Dobel Ron Matusalem Sanders Fine Chocolatiers General Admission Sponsors 1800 Coconut Dock 57 Whiskey Effen Vodkas Gallo Wine & Spirits Jim Bean Spirits Kracken New Amsterdam Spirits Pinnacle Vodkas Shutterbooth Three Olives Tito’s Vodka The Westin Book Cadillac

Nightmare on Sub Street Room Sponsor Subway Graphic Design Kate Scheible Fortune Tellers Boston Tea Room Media Real Detroit 93.9 The River Metromix.com 2012 & 2013 GOLF OUTING 1917 American Bistro Allegra Print, Signs & Marketing Ren Cen Architectural Southwest Stone The Ardent Companies Beau Jacks Mr. Corey Berzac Mr. Morris Blake Mr. & Mrs. Brian Bowman Mr. David Brethen W.H. Canon Capital Letters Mr. Scott Coleman Continental Catering Cranbrook Art Museum Cranbrook Institute of Science Cranbrook General Underwriters crave + sushi + lounge Mrs. Maryann Cromwell Cutters Bar & Grill Mr. & Mrs. Larry David Douglas J. Aveda Institute

Detroit Downtown Courtyard Marriott Detroit Ready Mix Frank G. & Gertrude Dunlap Fund Emery’s Jewelers Mr. Jeff Ferguson Mr. & Mrs. Dean Friedman Gemmayze Griffin Smalley Wilkerson, inc.

Grunwell-Cashero Co., Inc. Hoover & Wells, Inc. King par Mr. & Mrs. Thomas Krikorian Mr. & Mrs. Arthur Krolikowski Mr. & Mrs. James Labes Ms. Laura Larson Legends of Ice Dr. Mel Lester L.B. Office Supply Luigi Bruni Salon Lumin Financial Mr. Kurt Machacek Mr. & Mrs. Robert Mardigian Mr. Paul Marra Meadowbrook Insurance Agency Mechanical Design & Installation Meritor MGM Grand Detroit Helen Millen & Heather Hamilton Mr. Larry W. Miller Mr. Todd Nancarrow Northville Lumber Novara Tesija, PLLC Optics

Mr. John Pappas Mr. & Mrs. Charles Parkhill Mr. Brian Penna Mr. & Mrs. Don Pentzien Mr. & Mrs. Charles Podowski Powers, Chapman, DeAgostino, Meyers & Milia, P.C. Mr. & Mrs. Milton Ring Rub BBQ Pub Mrs. Edith Ruscillo Sanders Fine Chocolatiers Sav’s Welding Service, Inc. Scaglione & Associates Mrs. Bluma Schechter Louis & Nellie Sieg Fund Southgate Ford, Don Daniels David Sonnenschein Mr. & Mrs. William Stone Mr. Bruce Stubbs Walbridge Aldinger Company Walsh & Company WCI Contractors, Inc. WDIV TV-4 Western Golf & Country Club Mr. & Mrs. Harvey Yates Dr. Lucia Zamorano Zumba Mexican Grille Miscellaneous In-Kind Donors Dodie David Dr. David DiChiera Haberman Fabrics Leon & Lulu Moffat McGuire, Inc. Mrs. Waltraud Prechter Real Integrated Sanders Fine Chocolatiers Randall Green

Some gifts Some gifts have “Return” have “Return” Some writtengifts all written all have “Return” over them. over them. written all over them.

A Charitable Gift Annuity lets you receive a guaranteed income for life while you ensure the future of the Michigan Opera Theatre.

A Gift Annuity lets you receive guaranteed income ToCharitable find out more, call Kim-Lan Trinh of theaMichigan Opera for life while you ensure the future of the Michigan Opera Theatre.

Theatre at 313.237.3408.

To find out more, call Kim-Lan Trinh of the Michigan Opera Theatre at 313.237.3408.

A Charitable Gift Annuity lets you receive a guaranteed income for life while you ensure the future of the Michigan Opera Theatre.

To find out more, call Kim-Lan Trinh of the Michigan Opera Theatre at 313.237.3408.

in partnership with in partnership with ©2006 CFSEM

in partnership with www.MichiganOpera.org

©2006 CFSEM

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General Information PHOTOGRAPHY, RECORDING & COMMUNICATIONS DEVICES

Photography or recording during any performance is strictly prohibited. You are welcome to take photographs in the lobby before or after a performance and during intermission. As a courtesy to our guests, please switch all electronic devices to silent mode and refrain from using them during the performance.

IN CASE OF EMERGENCY

Doctors and parents are advised to leave their seat location (located on ticket) and our emergency number, (313) 237-3257, with the service or sitter in case of an emergency.

Please observe the lighted exit signs located throughout the theater. In the event of fire or similar emergency, please remain calm and walk – do not run – to the nearest exit.

Our ushers are trained to lead you out of the building safely. A trained Emergency Medical Technician (EMT) is onsite during most events. Please see an usher or staff member to contact the EMT. RESTROOMS

Ladies’ restrooms are located off the Ford Lobby (Broadway Street entrance), down the stairs; and on the third floor (Madison Street entrance) – press “3R” on the elevator to reach this facility. Gentlemen’s restrooms are located under the Grand Staircase and also on the third floor (Broadway Street side) – press “3” on the elevator to reach this facility.

All third floor restrooms are wheelchair accessible. A unisex, wheelchair accessible restroom is located in the Cadillac Opera Café.

LOST & FOUND

CONCEALED WEAPONS

Lost and Found is located in the Safety and Security Department. Please see an usher if you have misplaced an article, or call (313) 961-3500 if you have already left the theater.

Items will be held in Lost and Found for 30 days.

Be advised that, for purposes of Michigan Compiled Laws, Section 28.425o(1)(f), this is an entertainment facility which has a seating capacity of more than 2,500 individuals. It is therefore against the law to carry a concealed pistol on the premises.

PARKING

RENTAL INFORMATION

We encourage all our guests to take advantage of the Detroit Opera House Parking Center, located next to the Detroit Opera House. Pre-paid parking is available for all guests and can be purchased with tickets online or through the Detroit Opera House ticket office. This facility is reserved specifically for Detroit Opera House patrons during regularly scheduled performances.

Entrances and exits are located on both John R. Street and Grand River Ave. Call (313) 237-7464 for more information.

The Detroit Opera House is available for rent by your organization. Please call (313) 9613500, and ask to speak with the Director of Booking & Events Management.

ACCESSIBILITY

Accessible seating locations for patrons in wheelchairs are located in all price ranges on the orchestra level. When purchasing 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, or visit the Guest Services desk located in the Vincent Lobby (Madison Street entrance). Although this is a complimentary service, we will hold a piece of personal identification while you are using the device. Please contact the ticket office at (313) 237-7464 should you desire special consideration.

CHILDREN

NO SMOKING

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

USHERS

Ushers are stationed at the top of each aisle. If you have a question or concern, please inform an usher, who will contact management.

If you are interested in becoming a volunteer usher, please call the house manager at (313) 237-3252.

LATE SEATING

Children are welcome; however, all guests are required to hold a ticket, regardless of age.

In all cases, babes in arms are not permitted.

SERVICES

Concessions stands are located on all levels.

Please note that food and drinks are not permitted in the auditorium at any time.

Coat Check is located at the Guest Services desk in the Vincent Lobby (Madison Street side). Please note that the Detroit Opera House does not accept responsibility for any personal articles that are not checked at the coat check.

TICKET INFORMATION

The Detroit Opera House ticket office hours are Monday-Friday, 10 a.m. to 5:30 p.m.

On performance days hours are 10 a.m. through the first intermission of the performance, except weekends, when the ticket office will open two hours prior to curtain time. Tickets are available online at www.MichiganOpera.org. Tickets for all public events at the Detroit Opera House are also available through all TicketMaster outlets, by phone at (800) 745-3000, or at www.TicketMaster.com.

DETROIT OPERA HOUSE TOURS

Come join the Opera House Ambassadors for a backstage tour of the Detroit Opera House! Learn about the history of the Opera House and its restoration, meet the people behind the scenes, tour the stage and see how it operates. Tours are $10 per person.

For more information, please call (313) 2373279, or visit www.MichiganOpera.org.

IMPORTANT TELEPHONE NUMBERS

EMERGENCIES................... (313) 237-3257 Michigan Opera Theatre...... (313) 961-3500 General Information............. (313) 961-3500 Lost and Found..................... (313) 961-3500 Ticket Office.............(313) 237-SING (7464) Theater Rental Information...313) 961-3500 Detroit Opera House Fax..... (313) 237-3412 Press and Public Relations... (313) 237-3403 De troit Opera House Parking Center................. (313) 965-4052 Website................... www.MichiganOpera.org

Latecomers will be seated only during an appropriate pause in the program. Late seating policies are at the discretion of the production, not Opera House management.

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www.MichiganOpera.org

Detroit Opera House

Working with donors, corporations and nonprofits throughout the region to create lasting change. cfsem.org

The Whitney 2013-2014 Season Pre Fixe Theater Menu $39 First Course APPle FriSee

“Best Pre and Post Theater Dinner Venue”

Michigan apples, Spiced Walnuts, and Blue Cheese over Blonde Frisee Green Tea Vinaigrette

The WhiTney DueT

Soup du jour or Shrimp bisque paired with Organic baby greens, heirloom tomatoes and cucumbers tossed in herb vinaigrette

CheSAPeAke BAy luMP CrAB CAke With lemon Beurre Blanc

Second Course: POMeGrAnATe BrAiSeD VeAl CheekS Goat Cheese whipped potatoes, heirloom carrots, pomegranate chutney

ChArGrilleD SWOrDFiSh

Autumn wild rice, seared escarole, herb Pistou, sundried tomato broth

CriSPy Skin DuCk BreAST

Butternut squash puree, roasted cherry duck jus, Garlic confit fingerling potatoes

WilD MuShrOOM riSOTTO

Grilled asparagus, dehydrated tomatoes

Dessert: DeSSerT TriO

A rotating variety of delicious desserts

Ghostbar serving dessert and cocktails after the show TheWhitney.com

313-832-5700

4421 Woodward Ave., Detroit