Overture: 2016-2017 Season Guide

OV E R T U R E M I N N E S O TA O P E R A 2 0 1 6 – 2 0 1 7 S E A S O N G U I D E

MISSION STATEMENT Minnesota Opera combines a culture of creativity and fiscal responsibility to produce opera and opera education programs that expand the art form, nurture artists, enrich audiences, and contribute to the vitality of the community.

“...one of America’s most innovative opera companies...”

— Slate

BOARD OF DIRECTORS

625

OFFICERS Board Chair | Margaret Wurtele President and General Director | Ryan Taylor Vice Chair | H. Bernt von Ohlen Secretary | Nadege Souvenir Treasurer | John Junek DIRECTORS Richard Allendorf Patricia Beithon Karen Brooks Bernard J. Brunsman Jane M. Confer Jay Debertin Sara Donaldson Sidney W. Emery Maureen Harms Sharon Hawkins Ruth S. Huss Mary Ingebrand-Pohlad Philip Isaacson J Jackson James Johnson Christl Larson

Mary Lazarus Cynthia Y. Lee Michael McNamara Albin "Jim" Nelson Kay Ness Jose Peris Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Mary H. Schrock Linda Roberts Singh David Strauss Virginia Stringer William White

EMERITI Karen Bachman John A. Blanchard III Burton Cohen

Julia W. Dayton Mary W. Vaughan

local and international artists working on stage and off stage.

Romeo and Juliet, 2008 © Michal Daniel

6,000

students participating in our education programs.

Madame Butterfly, 2012 © Michal Daniel

42,000

attendees to our mainstage operas at the Ordway.

HONORARY DIRECTORS Dominick Argento Norton M. Hintz* Philip Brunelle Liz Kochiras Dolly Fiterman

Turandot, 2013 © Michal Daniel

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New works premiered by Minnesota Opera, including last season’s The Shining.

TEMPO BOARD MEMBERS OFFICERS Chair | Rhonda Skoby Audience Development Chair | Brian Halaas Programming Co-chair | Thomas Bakken Programming Co-chair | Kara Eliason Dorsey Staff Liaisons | Kristin Matejcek, Eric Broker Secretary | Aimee Tritt Treasurer | Faris Rashid MEMBERS Brad Benoit Liz Brenner Laura Green Chaffee Dr. Kamruz Darabi *Deceased

Emily Engel Sarah Fowler Mark Giga Jana Sackmeister

The Shining, 2016 © Ken Howard

400,000

people served annually by our opera productions, education programs, and other events.

WELCOME

Ryan Taylor, President and General Director © Keitaro Harada

GREETINGS FRIENDS, First and foremost, thank you for subscribing to Minnesota Opera’s 2016 – 2017 season. Your Season Guide is a reference point for all the information you need regarding your subscription for the upcoming year.

Opera astonishes and inspires—it envelops us, fills our senses, and stirs our innermost emotions. We look to opera in moments of disorder, commotion, and complexity to arouse hope within ourselves and as a platform to connect with our community. There is, perhaps, no more important time for opera as an expression of our human condition. And there is no company more alive to this movement than Minnesota Opera.

Our new season features three operas never before seen on the Minnesota Opera stage. This action-packed lineup includes one world premiere, one rediscovered rarity, and two new productions of classic operas. The season begins in September as we celebrate Shakespeare’s 400-year legacy with a fresh production of Gounod’s Romeo & Juliet. In November, we reimagine Richard Wagner’s Das Rheingold, the first time in our history producing the prologue of the Ring Cycle. 2017 begins with Diana’s Garden, an 18th–century sparkling comedy by a contemporary of Mozart; and Dinner at Eight, the latest world premiere from our New Works Initiative by renowned composer William Bolcom and librettist Mark Campbell.

Finally, the season ends with the hit San Francisco Opera production of Puccini’s timeless La Bohème.

TABLE OF CONTENTS Subscriber Benefits.......................4 Enhance Your Experience ............ 5 Thank You To Our Donors.............6 Romeo & Juliet ...............................8 Das Rheingold...............................10 Diana’s Garden ............................. 12

Our subscribers play a heroic role in our arts community—always eager to venture into exciting new works as well as embrace the tried and true classics. Thank you for celebrating your passion for dramatic musical storytelling by being a part of the Minnesota Opera family for this incredible season.

Dinner at Eight ............................. 14

See you at the Opera,

Prepare For Your Performance.....22

La Bohème..................................... 16 2016–2017 Resident Artists ...... 18 Project Opera .............................. 20

Policies, Numbers, Hours ......... 24 Seating Charts .............................25 RYAN TAYLOR

Upcoming Events ....................... 26

PRESIDENT AND GENERAL DIRECTOR

2016-2017 Season Guide 3

SUBSCRIBER BENEFITS

SEASON TICKET PACKAGES SUBSCRIBER BENEFITS HUGE SAVINGS Enjoy the only guaranteed

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FLEXIBLE EXCHANGES Exchange tickets into

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DISCOUNTED TICKETS for family and friends.

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(formerly 10%)

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St. Paul offered before going on sale to the general public.

INVITATIONS TO SPECIAL EVENTS Meet the

singers and creative team behind each production at select events.

INTEREST-FREE PAYMENT PLAN OPTIONS

DISCOUNTS ON BEHIND THE CURTAIN PREVIEW EVENTS Regularly $30 per ticket.

GUARANTEED BEST SEATS before, and priority

seating after, individual tickets go on sale.

DINING DEALS at participating restaurants

near the Ordway.

WE’LL SAVE YOUR SEAT for the entire season,

plus first priority seating in future seasons.

WHEN RENEWED

BY THE EARLY BIRD DEADLINE

TWO CONCESSIONS VOUCHERS to use

at the Ordway during the season.

ONE FREE SEAT UPGRADE for the performance

SUBSCRIBERS IN SEATING AREAS B-F

SUBSCRIBERS IN SEATING AREAS B-F

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SUBSCRIBERS IN SEATING AREAS A+ OR A

SUBSCRIBERS IN SEATING AREAS A+ OR A

of your choice. (Subject to availability)

during the intermission of one of the season’s productions.

EASY, PAPERLESS RENEWAL BE FIRST to preview the next season

each year before anyone else.

Rusalka, 2016 © Dan Norman

ONE BRING-A-FRIEND TICKET Invite someone

new to experience opera for each subscription in your account.

INVITATIONS to Tempo Nights Out

+ After Parties.

*Requires purchase of $50 Tempo Membership. Tempo is Minnesota Opera’s membership program for new and seasoned opera goers ages 21-39.

Tempo subscriptions are only available in seating areas C-E on opening nights and are limited to 2 subscriptions per membership.

4 Season Guide 2016-2017

ENHANCE YOUR EXPERIENCE

TASTE OF OPERA Enhance your opera-going experience with a Taste of Opera—a delicious pre-show dinner and relaxed conversation with experts from the world of opera.

Classical Minnesota Public Radio hosts an engaging look at each production with special guests from Minnesota Opera. Leave the logistics to us and enjoy an allinclusive evening out! mnopera.org/taste

© Theresa Murray

ROMEO & JULIET Tuesday, September 27, 2016 DAS RHEINGOLD Tuesday, November 15, 2016 DINNER AT EIGHT Saturday, March 18, 2017 LA BOHÈME Thursday, May 11, 2017 LA BOHÈME Sunday, May 21, 2017 (champagne

brunch)

BEHIND THE CURTAIN Get the inside scoop! Behind the Curtain explores the music, history, and production of each opera. Each event, held at the Minnesota Opera Center in Minneapolis, will feature talks and informative discussions with members of the cast and creative team. mnopera.org/btc

© Noorah Bawazir

ROMEO & JULIET Wednesday, September 14, 2016 at 7pm DAS RHEINGOLD Wednesday, October 26, 2016 at 7pm DIANA’S GARDEN Wednesday, January 11, 2017 at 7pm DINNER AT EIGHT Wednesday, March 1, 2017 at 7pm LA BOHÈME Wednesday, April 19, 2017 at 7pm

OPERA INSIGHTS Join us in Ordway Music Theater’s Marzitelli Foyer (mezzanine lobby) one hour prior to curtain for Opera Insights. Enjoy a free, fun and informative half-hour session which includes an overview of the characters and music, historical and cultural context for the opera, and highlights to watch for during the show.

© Noorah Bawazir

2016-2017 Season Guide 5

THANK YOU FOR YOUR SUPPORT MAKING A DIFFERENCE THROUGH GENEROSITY For our multitude of donors to Minnesota Opera—thank you for your steadfast support and ringing endorsement of the art that we make together. As artists and staff of Minnesota Opera, we are grateful to have you with us on the journey to create world-class opera in Minnesota. Whether it’s at the Ordway, in a local school, at Opera Camp in Faribault, or the Opera Center in Minneapolis, you bring great opera to life for people of all ages.

Your gifts help: • Produce critically acclaimed and innovative opera productions • Introduce opera performances to over 3,000 students at the Ordway • Bring international singers to Minnesota • Support the craft and work of 125 artists and artisans on and behind stage for every performance • Launch the next generation of opera talent every season through the Resident Artist Program and Project Opera • Bring opera education to schools, libraries and community centers statewide to more than 9,000 individuals and families each year Together with your generosity and patronage, Minnesota Opera continues to be an innovative industry leader. In so many ways and for so many reasons you are making a difference. Thank you!

Please contact our Development Associate at 612-342-9550 for any additional information regarding support of Minnesota Opera.

© Theresa Murray

DONORS ENJOY A VARIETY OF BENEFITS FOR THEIR SUPPORT, INCLUDING: $50 Invitation to an open rehearsal of Dinner at Eight. $250 Invitation to the Resident Artist Welcome Concert. $1,000 Complimentary parking for all five operas of the season. $2,500 Join the Camerata Circle and be invited to intermission

receptions and pre-show dinners. $10,000 Join the Bel Canto Circle for exclusive donor events

and other custom benefits.

Visit mnopera.org/support to see a full list of giving levels and benefits.

© Theresa Murray

© Theresa Murray

6 Season Guide 2016-2017

© Theresa Murray

THANK YOU FOR YOUR SUPPORT

DONOR & SUBSCRIBER PROFILE: SHELLI CHASE

For over twenty five years, Shelli Chase has been an invaluable subscriber and donor, while also serving the organization as a Board Member and Board Chair.

HOW LONG HAVE YOU BEEN INVOLVED WITH MINNESOTA OPERA?

I went to my first opera in the fall of 1989. I was curious about what opera was about, so I bought half of a pair of tickets from another subscriber that year. It was my first experience with the art form, and I was completely blown away by the quality of what Minnesota Opera had produced. In that moment, I knew that my relationship with Minnesota Opera was just beginning. I subscribed on my own in 1990 and have not missed a Minnesota Opera production since then!

WHAT WAS THE FIRST OPERA YOU SAW AS A SUBSCRIBER AT MINNESOTA OPERA?

The first opera that I saw as a subscriber at Minnesota Opera was Bellini’s Norma. It was a memorable production. I was enthralled by the action going on onstage and the music was transporting. Norma’s showstopping aria, “Casta diva,” was so achingly beautiful.

WHAT HAS BEEN YOUR FAVORITE PRODUCTION THAT YOU HAVE SEEN HERE?

This is a very, very hard question to answer because Minnesota Opera puts on so many different types of shows. I think that one of my favorites was Silent Night back in 2011. The whole idea of enemies becoming brothers as they come together to share Christmas with one another was just touching. Last season’s Tosca is right up there, too!

Kelly Kaduce is always a joy to hear, and I thoroughly appreciated the lavish sets and costumes.

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WHAT SHOW ARE YOU MOST EXCITED FOR THIS NEXT SEASON?

I’m most excited for Dinner at Eight. I love seeing the new productions that come out of the New Works Initiative, and I am so proud of Minnesota Opera for taking risks and creating these great pieces of art.

I’m thankful that Dale Johnson, Minnesota Opera’s Artistic Director, has the inspiration, energy, and passion that creating a new opera requires.

DO YOU PREFER COMEDY OR TRAGEDY?

I would have to say tragedy. Even though I love to laugh, the heartbreak of operatic tragedy touches my soul!

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3

DO YOU PREFER NEW WORKS OR THE TRIED AND TRUE MASTERPIECES?

How can I choose? I’m always so excited for the magnificent new works that Minnesota Opera produces; I think it’s important to support them.

But I also love the timeless music of the great master composers of opera. I could listen to Puccini all day, everyday and never tire of the brilliance of his music.

WHAT KEEPS YOU COMING BACK FOR MORE?

It’s simple: I love the art form, and I love the people who are a part of the Minnesota Opera community.

PHOTOS: 1. Shelli Chase with former Tempo Board Chair Benjamin Jones 2. Season program from 1990-1991 season featuring Norma 3. Kelly Kaduce in Tosca, 2016 © Dan Norman 4. Silent Night, 2011 © Michal Daniel.

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2016-2017 Season Guide 7

ROMEO & JULIET

Charles

Gounod

SYNOPSIS

PROLOGUE A chorus laments the ongoing feud between the houses of Capulet and Montague.

ACT I In the grand hall of the Capulet palace, party guests assemble for Juliette’s debut as her cousin Tybalt and her suitor Pâris praise her beauty. Capulet presents his daughter to everyone’s delight. The crowd includes a disguised Roméo, Mercutio, Benvolio, and others associated with the Montagues. Mercutio chides his friend’s melancholy, for Roméo’s romantic pursuit of the fair Rosaline has yielded nothing—she is not at the party. Meanwhile, Juliette’s nurse Gertrude is excited about her charge’s potential marriage, but the young girl will have none of it, preferring a carefree life. The lovelorn Roméo spots Juliette, and not knowing she is a Capulet, immediately falls in love. She returns his affection, but their short-lived bliss is interrupted when it is revealed that the new lovers belong to rival houses. Tybalt has recognized Roméo and promises to avenge this affront to the Capulets’ honor.

ACT II The page Stéphano assists Roméo in scaling a wall outside Juliette’s rooms, where Roméo and Juliette soon share a tender moment. Grégorio and other Capulets are heard in the distance, looking for the disruptive Montagues, and Roméo hides in the darkness of the garden. After speaking with Grégorio about the intrusion, Gertrude encourages Juliette to go to bed, but the young girl tarries outside, where the two lovers are soon reunited. Juliette suggests they marry the very next day and Roméo heartily accepts her offer.

8 Season Guide 2016-2017

“Like a rosy ray gleaming in a stormy sky, Juliet appeared, and Romeo loved her!”

PERFORMANCES: SEPTEMBER 24 8PM SEPTEMBER 27 7:30PM SEPTEMBER 29 7:30PM OCTOBER 1 7:30PM OCTOBER 2 2PM

ROMEO & JULIET ACT III: SCENE I In the cell of Frère Laurent, the monk celebrates the couple’s union while Gertrude serves as a witness.

INTERMISSION ACT III: SCENE II Elsewhere in Verona, Stéphano taunts the Capulets with a song. Mercutio defends the young boy from Grégorio’s blade, but is soon drawn into a disagreement with Tybalt. When a freshly-married Roméo happens upon the scene, Tybalt turns his attention to his enemy, but Roméo merely embraces him as kin.

Mercutio draws Tybalt into a duel, and in the ensuing melee, is mortally wounded. Now enraged over the death of his friend, Roméo slays Tybalt and is banished from Verona as a result.

ACT IV As day breaks, the two lovers awaken after a night of passion. Juliette pardons Roméo for the murder of her cousin, and the two languish in bed, refusing to greet the day. But Roméo must leave, and moments after his departure, Gertrude enters, followed by Capulet and Frère Laurent. Angered by recent events, Juliette’s father demands she marry Pâris immediately. Left alone with Laurent, she tearfully comes to terms with her situation, and the monk offers a cure to end her woes—a special potion that will simulate death.

Once placed in the family crypt, she will revive in Roméo’s waiting arms.

ACT V Having missed a letter revealing Laurent’s plan, Roméo has heard of Juliette’s “death,” and now inside the family vault, laments over her lifeless body. Wishing to join her in eternity, he empties a phial of poison, but as the toxin takes effect, Juliette begins to wake.

To learn more about Romeo & Juliet, visit mnopera.org/romeo-and-juliet.

CAST JULIETTE ANGELA MORTELLARO

RYAN TAYLOR

PRESIDENT AND GENERAL DIRECTOR

“William Shakespeare’s Romeo & Juliet has been the inspiration for numerous works in several genres, including art, music, opera, ballet, musical theatre, and film. As we approach a new production of Gounod’s classic retelling, I am most excited to see how this ingenious group of artists, under the leadership of celebrated young stage director Matthew Ozawa (making his debut with Minnesota Opera), brings new life to this everappealing story.”

FRÈRE LAURENT BENJAMIN SIEVERDING

CREATIVE TEAM CONDUCTOR MICHAEL CHRISTIE

ROMÉO JOSHUA DENNIS

STÉPHANO GINA PERREGRINO

STAGE DIRECTOR MATTHEW OZAWA SCENIC DESIGNER WILLIAM BOLES COSTUME COORDINATOR SARAH BAHR LIGHTING DESIGNER PAUL WHITAKER

MERCUTIO PHILLIP ADDIS

CAPULET THOMAS GLASS

WIG & MAKE-UP DESIGNER DAVID ZIMMERMAN

LADY CAPULET MARY EVELYN HANGLEY GERTRUDE NADIA FAYAD TYBALT DAVID WALTON

THE DUKE OF VERONA WILLIAM LEE BRYAN COUNT PÂRIS ALEX RITCHIE GRÉGORIO JOEL MATHIAS

Sung in French with English translations projected above the stage.

Preliminary runtime of 2 hours and 59 minutes, including one intermission.

BENVOLIO CHRISTOPHER COLMENERO

2016-2017 Season Guide 9

DAS RHEINGOLD

Richard

Wagner

SYNOPSIS

SCENE I

ON THE BED OF THE RHINE RIVER

Three Rhinemaidens, Woglinde, Wellgunde and Flosshilde, swim in the Rhine, guarding their gold, while Alberich admires from above.

They tease and mock him, and repel his flirtations. He angrily spouts his revenge. His eye catches the Rheingold, and the maidens relay its magical powers—if fashioned into a ring, it would give its wearer power over the world if he would renounce love. Alberich boldly manages to steal the gold, to the Rhinemaidens’ protestations.

SCENE II AN OPEN SPACE ON A MOUNTAIN; A CASTLE GLIMMERS IN THE DISTANCE

Wotan marvels at the newly completed Valhalla, future home of the gods. His wife, Fricka, urgently reminds them that the price for the giants Fasolt and Fafner to build the magnificent palace is her sister Freia, goddess of love and beauty. She tends the ever-so-crucial golden apple tree, whose fruit ensures the gods eternal youth. Freia also pleads for her fate, but Wotan is confident that the guile of an ever-slick and slithery Loge, god of fire, will solve her plight.

Fasolt and Fafner arrive to claim their prize. Wotan is unsuccessful in breaking their agreement, and when they attempt to take possession of Freia, Froh (the god of joy) and Donner (god of thunder) intercede.

Loge arrives belatedly, and tempts the giants with thoughts of obtaining the Nibelung gold. As the brothers discuss the matter, Wotan confers with Loge—he must be the one to possess the mythical gold and its power, and Loge had promised to get them out of the bargain. They all will be slaves to Alberich if it is not confiscated. Fasolt and Fafner agree they will release Freia from the bargain if Wotan can get them the Rheingold—however, she will be held as a hostage until he does.

power to make him any shape and size. Loge asks for a demonstration.

The over-confident dwarf first morphs into a large dragon and then a small toad, at which point Loge seizes the helmet. Alberich returns to his normal guise and is taken prisoner.

SCENE IV AN OPEN SPACE ON A MOUNTAIN

In exchange for Alberich’s freedom, Wotan demands all of his gold, including the ring on his finger. Alberich commands all the Nibelungs to gather the hoard and puts a curse on the all-powerful ring—it will bring misery and death to those who possess it. Fasolt and Fafner return with Freia and insist the gold, including the Tarnhelm, be piled high enough to obscure her beauty and make the parting easier. They demand the ring as well, but Wotan refuses. Erda, the goddess of the earth, rises and renders motherly advice—turn the ring over to them and avoid eternal doom and wretchedness.

Her three daughters, the Norns, weave the future and already know “Only he what will occur. The other gods who forswears beg Wotan to give up the ring and reluctantly he concedes. The love’s power, brothers then fight to the death only he over who shall keep the ring. who forfeits To learn more about Das Rheingold, visit mnopera.org/das-rheingold.

love’s delight, only he can attain the magic to fashion the gold into a ring.”

SCENE III THE SUBTERRANEAN CAVERNS OF NIBELHEIM

Alberich taunts his brother Mime for the Tarnhelm, a magic helmet that renders its wearer invisible. Loge and Wotan enter his underground chasm and learn that Alberich has become a tyrant over the professional miners, the Nibelungs, as a result of the power of the ring. Relying on their past association, Loge does his best to con Alberich out of the ring, stating that it will not be safe as he sleeps—his slaves may rebel.

Alberich is confident the Tarnhelm will protect him as it also has the 10 Season Guide 2016-2017

PERFORMANCES: NOVEMBER 12 7:30PM NOVEMBER 15 7:30PM NOVEMBER 17 7:30PM NOVEMBER 19 7:30PM NOVEMBER 20 2PM

DAS RHEINGOLD

CAST WOTAN GREER GRIMSLEY

LOGE RICHARD COX

FRICKA KATHARINE GOELDNER

ERDA DENYCE GRAVES

MICHAEL CHRISTIE MUSIC DIRECTOR

FREIA KARIN WOLVERTON

DONNER KYLE ALBERTSON

ALBERICH NATHAN BERG

MIME DENNIS PETERSEN

FASOLT JEREMY GALYON

FROH CHRISTOPHER COLMENERO WOGLINDE MARY EVELYN HANGLEY

FAFNER JULIAN CLOSE

“In the history of music, there are only a handful of composers that have irrevocably changed the course of music that followed—Wagner is among the most important of this elite group. Das Rheingold is an epic musical narrative leading performers and audience alike in a highly descriptive and bold journey. The music of Das Rheingold is sometimes darktoned and gruff, but always amazingly beautiful. I couldn’t be more excited to conduct this work.”

WELLGUNDE ALEXANDRA RAZSKAZOFF FLOSSHILDE NADIA FAYAD

CREATIVE TEAM CONDUCTOR MICHAEL CHRISTIE STAGE DIRECTOR BRIAN STAUFENBIEL COSTUME DESIGNER MATTHEW LEFEBVRE LIGHTING DESIGNER NICOLE PEARCE VIDEO DESIGNER DAVID MURAKAMI WIG & MAKE-UP DESIGNER DAVID ZIMMERMAN

Sung in German with English translations projected above the stage.

Preliminary run time of 2 hours and 33 minutes, with no intermission. Hall re-entry permitted at appropriate breaks.

2016-2017 Season Guide 11

DIANA’S GARDEN

Vicente Martín y

Soler

SYNOPSIS

ACT I The three nymphs, Britomarte, Clizia, and Cloe, observe the shepherd Doristo resting. After they leave, Amore (Cupid) wakes him, and then hides. Doristo is startled to find himself in a beautiful arbor with a large tree that grows golden apples. When he tries to pick one, Amore intercedes and explains they are on the island of Cintia, and the garden belongs to Diana, goddess of the hunt and of the virtuous. She soon appears with her three nymphs, and it becomes clear that the tree is a symbol of chastity, and an enemy of carnal love—if anyone should stray, they are pelted with the gilded fruit. Doristo has been selected to help Amore restore the natural order of the human condition to this island. Accordingly, the shepherd lustfully admires the beauty of the women, and Diana is affronted, turning him into a sapling. The ladies depart.

Silvio pursues Endimione out of the forest, intent on harming him.

Amore re-enters, posing as a shepherdess, and both men suddenly stop in their tracks. They sort out their dispute—Endimione has slain Silvio’s greyhound, which has been terrorizing his sheep. Amore offers to restore the dog’s life if Silvio will cut the sapling down. Doristo is restored to his original form, slightly injured, and tells his story—he was kidnapped from his home and awoke on the island in this magnificent garden. The three men consider their options for escape.

The nymphs return, and admire the fair youths, but realize any flirtation will bring on the wrath of the rigorous Diana. Nonetheless, they make a plan to overcome the men’s resolve. They hide them in a cave as the goddess approaches. Diana encounters Amore, still disguised as a woman. He makes a case for the nymphs to experience true love, touting the merits of strong emotion. Diana chastises him for his audacity and departs in a rage.

The men contemplate their next move as Amore slyly offers his legendary bow and arrow to aid in their seductions. Diana returns, now armed with her resolute nymphs to rid the garden of the nefarious men by threatening them with arrows from their own quivers. Endimione pacifies the goddess with one of Amore’s darts, leaving her both angry and confused, thus satisfying the first stage of Amore’s clever machinations.

INTERMISSION ACT II As Britomarte contemplates an escape along with her male companions, Doristo grapples with the enigma of Diana—how can such a woman exist, a paragon of abstinence who denies the pleasures of love? The 12 Season Guide 2016-2017

goddess soon discovers the plot and begins to mete out her fabled wrath at the wayward nymph, but is suddenly moved by something foreign in her heart. After she retires, Amore reappears and ushers Silvio, Doristo, and Britomarte away. Only Endimione remains behind, professing his love for Diana when she returns with Cloe and Clizia. Although still enraged, the goddess is unable to exact vengeance for the disruption of her chaste garden. She commands her remaining nymphs to do the work for her, but raising their bows, they cannot perform the deed.

Silvio returns and both men are distressed to find an escape from the island. Amore observes undetected, enjoying the tumultuous situation with glee. Elsewhere, Doristo awaits the errant Britomarte. He professes his everlasting affection, but they are interrupted by Amore, Endimione, Silvio, Clizia, and Cloe. Meanwhile, Diana searches for the intrusive party. She happens upon a slumbering Endimione. Her heart is melted by his apparent innocence, and upon waking, his tender entreaties.

Amore suggests Silvio pose as the temple priest, while the three nymphs admire Doristo, each vying for his attention, and then threatening to punish him for his lack of fidelity. Diana is torn between her requisite divine duties and her desire for a flesh-and-blood man.

To learn more about Diana’s Garden, visit mnopera.org/dianas-garden.

“My! What a wondrous tree!

Its apples are made of gold!”

PERFORMANCES: JANUARY 21 AT 7:30PM JANUARY 26 AT 7:30PM JANUARY 28 AT 7:30PM JANUARY 29 AT 2PM

DIANA’S GARDEN

DALE JOHNSON

ARTISTIC DIRECTOR

“It’s always fun to discover an opera that has been lost over the course of history. The libretto for this comedy is by Lorenzo da Ponte, one of the great writers of his time. Whereas Don Giovanni, The Marriage of Figaro, and Così fan tutte were explorations of the human condition, Diana is more about the battle of the sexes. Martín y Soler’s music tickles, enchants, and enthralls. Gorgeous arias and sparkling ensembles will no doubt warm your hearts during the cold winter months.”

CREATIVE TEAM

CAST DIANA LEAH PARTRIDGE

AMORE ADRIANA ZABALA

CONDUCTOR MICHAEL CHRISTIE STAGE DIRECTOR PETER ROTHSTEIN COSTUME DESIGNER ALICE FREDRICKSON LIGHTING DESIGNER PAUL WHITAKER

BRITOMARTE ALEXANDRA RAZSKAZOFF

DORISTO CRAIG COLCLOUGH

WIG & MAKE-UP DESIGNER DAVID ZIMMERMAN

Sung in Italian with English translations projected above the stage.

CLOE NADIA FAYAD

ENDIMIONE ALEK SHRADER

CLIZIA GINA PERREGRINO

SILVIO DAVID WALTON

Preliminary runtime of 2 hours and 29 minutes, including one intermission.

2016-2017 Season Guide 13

DINNER AT EIGHT

World

Premiere

Music by William Bolcom Libretto by Mark Campbell Based on the play by George S. Kaufman and Edna Ferber A NEW WORKS INITIATIVE PRODUCTION

SYNOPSIS NEW YORK CITY, EARLY 1930S

ACT I: SCENE I THE DRAWING ROOM OF THE JORDAN HOME 9AM, FRIDAY

Millicent Jordan, a vapid socialite, is seated at her desk opening her mail while talking to her husband Oliver. She receives radiogram from Lord and Lady Ferncliffe, who are arriving from England on the Aquitania.

They have accepted an invitation to dinner, and Millicent is jubilant.

Immediately she starts to assemble a party for the following Friday, discussing various potential guests with Oliver. Dr. Joseph and Lucy Talbot immediately spring to mind, as well as the celebrated actress Carlotta Vance and the Western entrepreneur Dan Packard and his wife Kitty. The Jordans’ daughter, Paula, enters wistfully—she doesn’t appear to be thrilled with her upcoming marriage and her fiancé, Ernest, and puts off a shopping trip with her mother scheduled for that afternoon. Millicent phones her prospects and they all accept.

The details of the event are set.

SCENE II OLIVER JORDAN’S OFFICE IN LOWER MANHATTAN 1PM, FRIDAY Carlotta Vance visits Oliver at his office. It is initially a social call, but it is soon revealed that Carlotta wishes to sell her shares of Jordan Shipping Lines stock—she has had some personal financial difficulties with her fledging career in harsh economic times. Jordan has his own financial concerns as his business is also having problems and other shareholders wish to liquidate as well. Dan Packard stops by and Oliver asks him for a loan. He will take some time to consider once he reviews the accounts.

SCENE III KITTY’S BEDROOM IN THE PACKARD PENTHOUSE 4PM, FRIDAY Kitty is spending a pampered afternoon in her bedroom. She claims to be ill, but her husband, Dan, sees through her deception. He relays his plans for their moving to Washington DC, which does not thrill her.

Dan also discloses his secret intention to take over Oliver’s business—as a result, dining with the Jordans on Friday will be uncomfortable, but Kitty still wants to go. Dr. Talbot makes a house call, and it is revealed that he and Miss Kitty are having an affair.

14 Season Guide 2016-2017

SCENE IV THE DRAWING ROOM OF THE JORDAN HOME 3PM, WEDNESDAY Meanwhile, Millicent and the doctor’s wife, Lucy, return from shopping.

As she has now had a cancellation, Millicent decides to invite Larry Renault, an aging movie star whose career is nearly over, to even the numbers of her dinner party. As she makes the phone call, Paula enters the room, and it becomes clear that she and Larry are involved in a tryst, in spite of the vast difference in their ages.

SCENE V LARRY RENAULT’S ROOM IN THE HOTEL VERSAILLES 2PM, FRIDAY Paula visits Larry at his hotel. She wants to break it off with Ernest and go public with their relationship, but Larry resists the idea. Max Kane, his agent, arrives and reveals that Larry did not get a leading role in an upcoming drama, and is only offering a supporting one. The actor orders another bottle of whiskey from room service, and now truly impoverished, pays with his cufflinks.

SCENE VI THE DRAWING ROOM OF THE JORDAN’S HOME 4PM, FRIDAY A crash is heard from the kitchen, but Millicent urgently demands Gustave the butler to answer the door. Carlotta has unexpectedly dropped by to see Oliver. The bell rings again, and Gustave enters with roses from the Ferncliffes. At the same moment, Carlotta confesses to Oliver that she has sold her stock. He soon learns that others have followed suit. Millicent has also received distressing news. The Ferncliffes have cancelled, instead going to Florida; rather than an entire string quartet, only a single viola is available to provide background music; and worst of all, Gustave has dropped the entire lobster dinner, ruining it completely. Her daughter reveals that she doesn’t want to marry and Oliver is having chest pains.

Distraught, Millicent collapses in “Despite your a chair.

INTERMISSION

woes, the bubbly still flows.”

ACT II: SCENE I DR. TALBOT’S OFFICE 5PM, FRIDAY

PERFORMANCES:

Oliver visits the doctor to make MARCH 11 7:30PM an appointment for the next day. MARCH 16 7:30PM After he departs, Lucy stops by MARCH 18 7:30PM and confronts her husband about his philandering. After she leaves, MARCH 19 2PM it is revealed that Oliver has a coronary condition, with weeks to live.

DINNER AT EIGHT SCENE II KITTY’S BEDROOM IN THE PACKARD PENTHOUSE 7PM, FRIDAY Kitty is at her vanity, preparing for the evening. Dan reiterates his intention to follow politics in Washington and Kitty protests once again. She confesses to the affair and will not leave New York. Dan interrogates the maid, Tina, and threatens to have Kitty followed by a private detective. Kitty, in turn, promises to reveal his shady trade practices—a public life will be disastrous.

SCENE III LARRY RENAULT’S ROOM IN THE HOTEL VERSAILLES 8PM, FRIDAY Larry learns from Max that he didn’t get the part and is crushed. The hotel manager informs him that his room is needed for some special guests, and the actor discovers he cannot stay beyond Friday evening.

Realizing he is dead broke, he goes to the oven and turns on the gas.

MARGARET WURTELE

BOARD CHAIR

SCENE IV THE DRAWING ROOM OF THE JORDAN HOME 8:15PM, FRIDAY Millicent welcomes her guests as they are announced. As the evening progresses, the events from the preceding days come to light with startling ramifications.

To learn more about Dinner at Eight, visit mnopera.org/dinner-at-eight.

CAST MILLICENT JORDAN LAURA CLAYCOMB

OLIVER JORDAN STEPHEN POWELL

“New works are the lifeblood of any art form, and we at Minnesota Opera are so proud of this program’s contributions to the field.

Dinner at Eight promises to be a noteworthy addition to a line of successful and influential works.”

CREATIVE TEAM COMPOSER WILLIAM BOLCOM LIBRETTIST MARK CAMPBELL

CARLOTTA VANCE BRENDA HARRIS

DAN PACKARD CRAIG IRVIN

CONDUCTOR DAVID AGLER STAGE DIRECTOR TOMER ZVULUN SCENIC DESIGNER ALEXANDER DODGE

KITTY PACKARD SUSANNAH BILLER

DR. JOSEPH TALBOT ANDREW GARLAND

COSTUME DESIGNER VICTORIA TZYKUN LIGHTING DESIGNER ROBERT WIERZEL WIG & MAKE-UP DESIGNER DAVID ZIMMERMAN

LUCY TALBOT ADRIANA ZABALA

LARRY RENAULT RICHARD TROXELL

Sung in English with English captions projected above the stage.

Preliminary runtime of 1 hour and 54 minutes, including one intermission.

PAULA JORDAN SIENA FOREST

MAX KANE BENJAMIN SIEVERDING GUSTAVE THOMAS GLASS MISS COPELAND MARY EVELYN HANGLEY TINA NADIA FAYAD MISS ALDEN ALEXANDRA RAZSKAZOFF MR. HATFIELD WILLIAM LEE BRYAN

A SPECIAL THANKS TO THE NEW WORKS INITIATIVE COMMITTEE AND DONORS. 2016-2017 Season Guide 15

LA BOHÈME

Giacomo

Puccini

SYNOPSIS

ACT I Marcello, a painter, and Rodolfo, a writer, work on their respective pursuits in an ill-heated attic atelier.

Marcello complains of the cold and of the cold-heartedness of his ex-mistress, Musetta. Rodolfo offers to warm the room by burning his manuscript. Colline, a philosopher, blusters in—no pawnshop will take his books on Christmas Eve. Schaunard, a musician, suddenly bursts into the room with much-needed food, wine, and firewood. He relates the story of an eccentric nobleman who hired him to play his violin until his parrot died. After three long days, Schaunard was able to collect his fee only by feeding the bird some poisoned parsley.

Schaunard advises them to save the food for later—Christmas Eve should be celebrated with dinner at the Café Momus. While dividing the remaining money, they are interrupted by the insistent knocking of Benoit, who demands payment of the rent, long past due. The Bohemians invite him in and after priming him with wine, get the old man to admit he has a young mistress. Shocked to discover he also has a wife, the four men pretend to be horrified and quickly usher him out of the room. As the others leave for the café, Rodolfo stays behind to finish an article. He promises to catch up with them later.

Hearing another knock at the door, Rodolfo is surprised to find an attractive young woman, a neighbor whose candle needs a light. He notices her harsh cough and pale complexion, and she soon faints in his arms. Once revived she prepares to leave only to find her key is missing. A draft puts the room into total darkness, and together they begin to hunt for the key. Rodolfo silently pockets the key and suggests they wait for the moonlight to aid their search. He takes a moment to describe himself—a poor poet, rich only in his dreams and visions, who has now found love in the eyes of a stranger.

Her name is Mimì, she says, a seamstress, who in her little room embroiders flowers that are her private symbols of love and springtime. Life’s fairest flower is love, and she returns his adoring affection. Rodolfo’s friends call from the street, and he tells them to hold two seats at the café.

ACT II The Latin Quarter bustles with shoppers and vendors on Christmas Eve. Schaunard examines some musical instruments, Colline buys a rare book, and Rodolfo buys Mimì a bonnet. Parpignol appears with his cart and dazzles the young children with toys. The Bohemians gather at the Café Momus as planned and soon after, Musetta appears in the company of Alcindoro, her wealthy, aging admirer. Trying to catch Marcello’s jealous eye, she openly describes herself as alluring to all men. In a ruse to distract Alcindoro, she pretends her shoe hurts and sends him off to the cobbler. Once reunited with Marcello, Musetta and the other Bohemians escape the café amidst a military band, assuring the waiter that Alcindoro will pick up the tab when he returns.

INTERMISSION ACT III On a dreary winter morning, Mimì appears at the Barrière d’Enfer (“Hell’s Gate”) bordering the edge of the city. She approaches the tavern where Marcello and Musetta are living, he by painting and she by singing. Mimì asks for his help—Rodolfo has become insanely and unjustifiably jealous. After cruelly 16 Season Guide 2016-2017

“… as the ocean is deep and infinite, so is my love for you …”

PERFORMANCES: MAY 6 7:30PM MAY 11 7:30PM MAY 13 7:30PM MAY 14 2PM MAY 16 7:30PM MAY 18 7:30PM MAY 20 7:30PM MAY 21 2PM

LA BOHÈME demanding that she find another lover, he stormed out the night before. Marcello assures her that he is inside and promises to talk to him. The sound of his voice puts Mimì into hiding. When interrogated, Rodolfo reveals the real reason for the split—Mimì’s health is getting worse, and the squalid conditions of his apartment will only hasten her illness. Mimì’s coughing betrays her hiding place, and Rodolfo rushes to her. Marcello hears Musetta flirting with a stranger and angrily goes inside. Mimì bids Rodolfo adieu, but listening to Marcello and Musetta fight, they agree to stay together until spring.

INTERMISSION ACT IV Months later, Marcello and Rodolfo are again at work in the garret, having broken off with their respective mistresses. Neither can concentrate, however, as their thoughts are consumed by the women. Colline and Schaunard arrive with lunch, and the four make a mockery of the meager offering by pretending it is a lavish banquet. At the height of their merriment, Musetta bursts in with news that Mimì has collapsed on the stairs. Musetta found her alone, almost dead. Her dying wish is to see Rodolfo one last time. Her hands are cold, and Mimì asks for a muff. Musetta takes off her earrings and tells Marcello to sell them for medicine and to find a doctor. She leaves with him to fetch the muff. Colline takes off his beloved coat, and preparing to pawn it, he and Schaunard leave the lovers alone. Mimì admits she still loves Rodolfo, and the two reminisce about their happy past.

To learn more about La Bohème, visit mnopera.org/la-boheme.

CAST

MAY 6, 11, 14, 18, 20

MAY 13, 16, 21

MIMI NICOLE CABELL

MIMI MIRIAM KHALIL

RODOLFO SCOTT QUINN

RODOLFO ADAM LUTHER

RYAN TAYLOR

PRESIDENT AND GENERAL DIRECTOR

“Puccini mastered the synthesis of music, drama, and stagecraft that opera delivers better than any other art form. His enduring, popular operas are filled with likable and realistic characters whose feelings are portrayed so vividly and so deeply that the audience can’t help but share their exhilarating joy and debilitating heartbreaks. This is especially true in La Bohème, which many view as the greatest love story ever sung!”

CREATIVE TEAM CONDUCTOR MICHAEL CHRISTIE ASSISTANT CONDUCTOR JONATHAN BRANDANI STAGE DIRECTOR OCTAVIO CARDENAS MARCELLO EDWARD PARKS

MARCELLO WILLIAM LEE BRYAN

SCENIC DESIGNER MICHAEL YEARGAN COSTUME COORDINATOR WALTER MAHONEY LIGHTING DESIGNER MARCUS DILLIARD

MUSETTA MARY EVELYN HANGLEY

MUSETTA ALEXANDRA RAZSKAZOFF

WIG & MAKE-UP DESIGNER DAVID ZIMMERMAN

Sung in Italian with English translations projected above the stage.

SCHAUNARD THOMAS GLASS COLLINE BENJAMIN SIEVERDING

Preliminary runtime of 2 hours and 44 minutes, including two intermissions.

2016-2017 Season Guide 17

RESIDENT ARTISTS RESIDENT ARTIST PROGRAM The Minnesota Opera Resident Artist Program offers a full season of employment for talented artists beginning their professional careers. From late August through May, Resident Artists gain valuable experience in assignments ranging from ensemble, understudy, and comprimario, to principal roles in mainstage productions. Resident Artists also perform at Ordway and Schubert Club concerts, donor functions, Behind the Curtain events, Opera Insights, and regional outreach programs. Master classes with guest clinicians, individualized language work, acting, movement, stage combat, and professional career development are all benefits of the Resident Artist Program.

JONATHAN BRANDANI Assistant conductor Jonathan Brandani has been appreciated for his “fine regard for the score’s details, his clear, purposeful indications, and his enthusiasm” (Seen and Heard International). He has worked as associate conductor of Des Moines Metro Opera in 2015 and as assistant conductor of the Yale Philharmonia (2012–2014). A graduate of Yale University and of the University of Music in Vienna, he was part of the Merola Opera Program in summer 2016 at San Francisco Opera. Future engagements include La traviata for the Lucca Opera Festival. Mr. Brandani returns for a third season at Minnesota Opera. Having conducted performances of Tosca last year, he will lead the second cast of La bohème this spring.

He also worked as coach during the 2014–2015 season.

WILLIAM LEE BRYAN A native of Saint Paul, Minnesota, baritone William Lee Bryan was praised in the Star Tribune for his “large, ingratiating baritone” in the role of Curly in Bloomington Civic Theater’s production of Oklahoma! Mr. Bryan holds a Bachelor of Music degree in vocal performance from the University of Minnesota, where he studied with Philip Zawisza, and a Master of Music degree in vocal performance from Florida State University, studying with David Okerlund. His favorite performances include playing the title roles in Don Giovanni, Elmer Gantry, and Elijah, as well as Ford in Falstaff, Demetrius in A Midsummer Night’s Dream, Rappaccini in La Hija De Rappaccini, Fredrik in A Little Night Music, Lancelot in Camelot, Hans Scholl in Weisse Rose, and Guglielmo in Così fan tutte. Mr. Bryan joins Minnesota Opera’s Resident Artist Program this season, performing the roles of the Duke of Verona in Romeo and Juliet, Mr. Hatfield in William Bolcom and Mark Campbell's world premiere of Dinner at Eight, and Marcello in La bohème.

CHRISTOPHER COLMENERO Tenor Christopher Colmenero begins his first season as a Minnesota Opera Resident Artist, singing Benvolio in Romeo and Juliet and Froh in Das Rheingold. He also covers the title role of Roméo, and later, Rodolfo in La Bohème. Other engagements include performing Judge Danforth in Robert Ward’s The Crucible for Purchase Opera and Carlson in Carlisle Floyd’s Of Mice and Men for the Phoenicia Festival. Mr. Colmenero also sang Pablo Neruda at Mannes Opera, as well as the Male Chorus in Britten’s The Rape of Lucretia, and Mavra and the Hussar in Stravinsky’s Mavra. At the Purchase College Conservatory of Music, where he received both his bachelor’s and master’s degrees, he performed the roles of Prince Charmante in Cendrillon, Tamino in Die Zauberflöte, and Rinuccio in Gianni Schicchi. He was also a studio artist at Chautauqua Opera in 2014. Christopher has distinguished himself as a district finalist at the Metropolitan Opera National Council Auditions.

NADIA FAYAD Mezzo-soprano Nadia Fayad is quickly gaining recognition for her rich and earthy sound, with expressive musicality in her lower register. Ms. Fayad was recently an apprentice with the Santa Fe Opera, where she covered the role of the Baroness in Barber’s Vanessa and sang in its production of Roméo et Juliette. Nadia recently received a Master of Music degree from Rice University, where she performed the leading role of Hänsel in Hänsel und Gretel, Melantho in Il ritorno d’Ulisse in Patria, and Hippolyta in A Midsummer Night’s Dream. Nadia received her bachelor’s degree at the Eastman School of Music.

In the upcoming 2016–2017 season, Ms. Fayad will be joining Minnesota Opera as a Resident Artist, performing Gertrude in Romeo and Juliet, Flosshilde in Das Rheingold, Cloe in Diana’s Garden, and Tina in the world premiere of Dinner at Eight by William Bolcom and Mark Campbell.

THOMAS GLASS Baritone Thomas Glass joins the Minnesota Opera’s Resident Artist program this season as Capulet in Romeo and Juliet, Gustave in William Bolcom and Mark Campbell’s world premiere of Dinner at Eight, and Schaunard in La Bohème. He also covers Mercutio in Romeo and Juliet and Donner in Das Rheingold. He has previously appeared in the Opera’s celebrated world premiere production of Kevin Puts and Mark Campbell’s Silent Night in 2011. For the Wolf Trap Opera Studio, Mr. Glass performed as Joseph in John Corigliano’s The Ghosts of Versailles in 2015, and returned the following year as Bragherona in Florian Leopold Gassmann’s 18th-century rarity L’opera seria, where he also covered the roles of Tarquinius in Britten’s The Rape of Lucretia and Schaunard in the Filene Center’s production of La bohème. He received his Master of Music degree in vocal performance from Rice University and his undergraduate degree from Saint Paul’s University of St. Thomas.

He has also attended the American Institute of Musical Studies in Graz, Austria.

JESSICA HALL Oregon native Jessica Hall enjoys an active career in Los Angeles and around the United States as a pianist and vocal coach with a diverse background including roles as pianist, assistant and off-stage conductor, coach, and chorusmaster on the music staff of more than 20 opera productions with Portland Opera, Opera Memphis, Brava! Opera Theater, USC Opera, Opera UCLA, Pacific Opera Project, Rogue Opera, Hawaii Performing Arts Festival, and Aspen Opera Theater, among others.

Jessica earned a Graduate Certificate, Master of Music, and Doctorate of Musical Arts degrees in Keyboard Collaborative Arts from the University of Southern California. She spent the summers of 2012 and 2013 as an Opera Coaching Fellow with the Aspen Opera Theater Center and was a 2015 Vocal Piano Fellow at Music Academy of the West. She earned a BA in Music and a BM in Piano Performance from the University of Washington in 2006. Ms. Hall returns for a second season at Minnesota Opera.

18 Season Guide 2016-2017

RESIDENT ARTISTS MARY EVELYN HANGLEY As a first-year Resident Artist, soprano Mary Evelyn Hangley appears as Lady Capulet in Romeo and Juliet, Woglinde in Das Rheingold, Miss Copeland in William Bolcom and Mark Campbell’s world premiere of Dinner at Eight, and Musetta in La bohème. Most recently, she spent her summer as part of San Francisco Opera’s prestigious Merola Opera Program, singing #2 in Conrad Susa’s Transformations and performing scenes as Atalanta in Serse and as the title role in Arabella. Previously, Ms. Hangley was an apprentice artist at Sarasota Opera. Ms. Hangley received her Master of Music in vocal performance from Florida State University, where she has sung Juliette in Roméo et Juliette, Bea in Jake Heggie’s Three Decembers, and Mary Willis in Carlisle Floyd’s Cold Sassy Tree.

GINA PERREGRINO Italian-American mezzo-soprano Gina Perregrino made her operatic debut in New York as Indiana Elliot in The Mother of Us All, where she was praised by Opera News and The New York Times as a “lively standout.” During the summer of 2016, Gina was a Gerdine Young Artist at Opera Theater of Saint Louis. Previous credits include the title role in Bizet’s Carmen, the title role in Mascagni’s Zanetto, Hansel (Hänsel und Gretel ), Maddalena (Rigoletto), Véronique (Le Docteur Miracle), Hippolyta (A Midsummer Night’s Dream), King Tigrane (La Doriclea), the Third Lady (Die Zauberflöte), and the title role in La Dolorosa. Gina graduated with a master’s degree from the Manhattan School of Music, where she also holds a bachelor’s degree.

For her first season as a Minnesota Opera Resident Artist, she sings Stéphano in Romeo and Juliet and Clizia in Diana's Garden.

ALEXANDRA RAZSKAZOFF Originally from Minneapolis, soprano Alexandra Razskazoff joins Minnesota Opera this season, singing Wellgunde in Das Rheingold, Britomarte in Diana’s Garden, Miss Alden in William Bolcom and Mark Campbell’s world premiere of Dinner at Eight, and Musetta in La bohème, while covering Juliette in Romeo and Juliet. This past summer, she was an apprentice artist at Santa Fe Opera for a second season. Credits include the First Lady in Die Zauberflöte and the Countess in Le nozze di Figaro at Juilliard Opera Theater, where she has pursued a Master of Music in vocal performance. At the Peabody Conservatory, where she received her bachelor’s degree, she sang Blanche de la Force in Poulenc’s Dialogues des Carmélites, Donna Elvira in Don Giovanni, Abigail Williams in Robert Ward’s The Crucible, and L’Écureuil in Ravel’s L’enfant et les sortilèges. In 2014, Ms. Razskazoff was awarded second place for the Mid-Atlantic Region of the Metropolitan Opera National Council Auditions, has won third place in the Houston Grand Opera's Eleanor McCollum Competition, and received the Juilliard Novick Career Advancement Grant.

BENJAMIN SIEVERDING Bass Benjamin Sieverding has been recognized by critics nationwide for his “surprising depth” (Boulder Daily Camera), as well as his “natural gift for comedy” and “full, rich sound” (Ann Arbor Observer). During the 2015–2016 Minnesota Opera season, he appeared as Sarastro in The Magic Flute, the Sacristan in Tosca, and the Ranger and Man-in-dog-mask in The Shining. An Apprentice Artist with The Santa Fe Opera for two seasons, Sieverding made his company debut in three roles for the world premiere of Oscar. Sieverding spent the 2014 season as a Young Artist with Opera Colorado, where he performed the roles of Ceprano in Rigoletto and Zuniga in Carmen. For his second season as a Minnesota Opera Resident Artist, Sieverding sings Frère Laurent in Romeo and Juliet, Max Kane in William Bolcom and Mark Campbell’s world premiere of Dinner at Eight, and Colline in La bohème. He was also recently seen at Minnesota Orchestra as Montano in Verdi’s Otello during its 2016 Sommerfest.

DAVID RADAMÉS TORO A trained vocalist, pedagogue, actor, and mime, assistant director David Radamés Toro applies his skills in music and stage movement to produce creative and meaningful opera. After earning a degree in voice performance from the University of Colorado, Mr. Toro attended Ohio State University, where he supplemented his musical studies with instruction in stage movement and directing. Mr. Toro completed his graduate studies at the University of Texas, where he studied Opera Direction under Dr. Robert DeSimone and Kelly Kuo. Previous productions include directing David Wolfson’s The Rapture (New Fangled Opera), the Austin Critic’s table nominated production of Phillip Glass’ Les enfants terribles (Butler Opera Center), assist direction for The Fantasticks (with Opera Theatre Pittsburgh), Falstaff (Emerald City Opera), and music direction for Ohio State University’s award winning production Trojan Women 2.0. He returns for a second season at Minnesota Opera, having spent the summer at Opera Saratoga.

DAVID WALTON As a member of the Resident Artist Program for the 2015–2016 season, tenor David Walton recently sang Spoletta in Tosca, Tamino in The Magic Flute in Duluth, and Brighella in last season’s Ariadne auf Naxos. He spent three years with the Cantus Vocal Ensemble in Minneapolis and participated as a Gerdine Young Artist with the Opera Theatre of Saint Louis in summer 2015. Mr. Walton was a 2015 regional finalist in the Upper Midwest Metropolitan Opera National Council Auditions. He participated as a Young Artist this summer with the Glimmerglass Festival, performing Parpignol in its production of La bohème and covering Reverend Parris in The Crucible. He returns to Minnesota Opera in 2016–2017 as Tybalt in Romeo and Juliet and Silvio in Diana’s Garden.

LINDSAY WOODWARD Pianist and coach Lindsay Woodward is known for her spirited performance as both soloist and collaborator. She works frequently with vocalists, including acclaimed mezzo-soprano Dolora Zajick at the Institute for Young Dramatic Voices, and Italian coach Ubaldo Fabbri at the La Musica Lirica program held in Novafeltria, Italy.

Ms. Woodward was the Resident Artist pianist at Utah Opera for the 2014–2015 season, and spent summer 2015 with the Aspen Opera Theater Center. Ms. Woodward has accompanied for master classes presented by Craig Rutenburg, Marilyn Horne, Stephanie Blythe, Lauren Flannigan, and Thomas Hampson. Ms. Woodward holds a Bachelor of Music in Piano Performance from the University of Utah and a Master of Music in Accompanying from Manhattan School of Music. She returns for a second season at Minnesota Opera.

2016-2017 Season Guide 19

PROJECT OPERA

Memory Boy Cast, 2016 © Sigrid Redpath

OPERA EDUCATION: WHAT IS PROJECT OPERA? Now in its 12th season, Project Opera is a vocal training program for musicians ages 8–18. Students rehearse on Saturdays throughout the school year culminating in a fully staged youth opera production with an all-student cast and orchestra. Project Opera students also perform on the main stage in the children’s chorus. Alumni of the Project Opera have performed with the Houston Grand Opera, LA Opera, Santa Fe Opera, Opera Theatre of Saint Louis, and Glimmerglass Opera, among many others.

Memory Boy, Project Opera’s second commission, was performed with 71 students on stage and in the pit.

© Jamie Andrews

MUSIC OUT LOUD Music Out Loud, an intensive, long term afterschool music curriculum, utilizes the multimedia operatic art form as the foundation for learning. It is the first El Sistema-inspired program that is opera-based in North America.

DID YOU KNOW? Alisa Magallón, Teaching Artist, visited 47 organizations last year that had never before experienced Minnesota Opera.

Leading up to The Magic Flute performance in Duluth last October, Alisa presented and performed at 22 different locations throughout the Arrowhead.

Memory Boy, 2016 © Sigrid Redpath

20 Season Guide 2016-2017

PROJECT OPERA PROJECT OPERA PRESENTS:

THE NIGHTINGALE

BY IMANT RAMINSH The Nightingale, based on the famous Hans Christian Andersen fairytale, is the story of a Chinese Emperor who prefers the tinkling of a bejeweled mechanical bird to the song of a real nightingale. When the mechanical bird breaks, the real nightingale sings to the Emperor on his deathbed, saving his life while teaching him the values of truth and humility. A parable of our time, this opera celebrates the natural over the artificial and the power of song over death.

Imant Raminsh is a Latvia-born, Canadian composer known for beautiful choral and other vocal works. This opera is unique in that it includes performers ranging from ages 8–18, including a student orchestra.

PROJECT OPERA ALUMNA JOINS RESIDENT ARTIST PROGRAM

Q&A WITH MINNESOTA NATIVE NADIA FAYAD

WHERE DID YOU GROW UP?

WHAT WAS THE FIRST TIME YOU HEARD OR SAW AN OPERA?

I grew up in Duluth, Minnesota.

I had a VHS of The Magic Flute that I would watch on repeat as a kid. I was obsessed with the music, the voices, the drama, and the excitement of opera.

WHAT INTERESTED YOU IN THE RESIDENT ARTIST PROGRAM AT MINNESOTA OPERA?

Minnesota Opera has always been a very special place to me. When I was in high school, my mom and grandmother would drive me straight from school to rehearsals in Minneapolis so I could be a part of Project Opera. While I was applying for resident artist programs throughout the country to follow up my graduate studies, I thought there could be no better place than where my love for opera was started!

WHAT SHOWS ARE YOU PERFORMING IN THIS SEASON?

I’ll be performing four roles this season: Gertrude in Romeo and Juliet, Flosshilde in Das Rheingold, Chloe in Diana's Garden, and Tina in Dinner at Eight.

WHAT SHOW ARE YOU MOST EXCITED FOR THIS SEASON?

I’m definitely the most excited for Das Rheingold—my first Wagner opera! The opera includes some seriously great music, and I get to sing alongside Denyce Graves. It’s going to be amazing.

WHAT WAS THE FIRST OPERA YOU PERFORMED IN?

My first opera was with Project Opera. I played the Queen of the Fairies in Gilbert and Sullivan’s Iolanthe.

DID PROJECT OPERA PREPARE YOU WELL FOR MUSIC SCHOOL?

Absolutely. Being able to perform in full operas and opera scenes at such a young age gave me some great hands-on experience before beginning my bachelor’s degree. It gave me the head start to know what to expect when walking into rehearsals at school.

WHAT WAS YOUR FAVORITE MEMORY FROM PROJECT OPERA?

I did one of the summer programs at Project Opera and I remember the amazing, talented friends I made. I was surrounded by people who inspired me and loved music as much as I did. At the end of the summer we sang opera scenes, and I got to sing the role of Augusta Tabor from The Ballad of Baby Doe by Douglas Moore. It was epic— I can’t wait to sing the entire role one day!

PHOTO: Nadia Fayad as Madame de Croissy in Eastman School of Music’s 2014 production of Dialogues of the Carmelites.

2016-2017 Season Guide 21

PREPARE FOR YOUR PERFORMANCE

DINNER BEFORE THE SHOW Present your Minnesota Opera subscription ticket to enjoy these offers from participating restaurants near the Ordway, our performance venue.

Offers are valid on the day of the performance only. Subscription ticket is required.

To ensure service, please contact restaurant ahead of your visit.

KINCAIDS

All offers are subject to change.

Complimentary crème brûlée or key lime pie with entrée purchase.

Limit one per table.

Artfully serving quality steaks, and fresh and innovative seafood since 1986. Enjoy daily lunch, dinner, or perhaps a special business or romantic occasion in their warm and inviting dining room.

FACES MEARS PARK

Complimentary dessert with the purchase of small bite or entrée.

Limit one per person. Not valid with any other offers.

Helmed by executive chef David Fhima, Faces Mears Park utilizes mostly local, organic, and sustainably farmed ingredients with a stateof-the-art French pastry and dessert boutique.

They are a Twin Cities dining destination and a fixture in the Lowertown St. Paul community.

Faces Mears Park has an extensive wine list featuring organic, biodynamic, and sustainably farmed options.

373 Sibley Street, Saint Paul 55101 651-209-7776 Facesmearspark.com

22 Season Guide 2016-2017

FOREPAUGH’S RESTAURANT

Complimentary appetizer or dessert with entrée purchase. Limit one per table. Not valid with any other offers.

At Forepaugh’s, you and your guests will enjoy New American Cuisine, served in their historic 19th-century setting. Crystal chandeliers and rare antiques provide an ambiance for gracious dining that is complemented by their professional staff. Free Parking.

276 South Exchange Street, Saint Paul 55102 651-224-5606 Forepaughs.com

380 Saint Peter Street #125 Saint Paul 55102 651-602-9000 Kincaids.com

MERITAGE

Complimentary valet with entrée purchase.

From their classically timeless dining room, to their buzzy oyster bar, Meritage offers an ambiance regardless of mood. The Terrace offers memorable Summer evenings. And, not to be overlooked, the Meritage Crêpe Stand returns this year with a new cart, and will be serving crêpes streetside four days a week beginning mid-April through mid-October.

410 Saint Peter Street Saint Paul 55102 651-222-5670 Meritage-stp.com

PREPARE FOR YOUR PERFORMANCE DIRECTIONS AND PARKING: WHERE DOES MINNESOTA OPERA PERFORM? All operas are performed at the Ordway, in downtown St. Paul across from Rice Park.

The Ordway is located at 345 Washington Street, St. Paul, MN 55102.

GREAT WATERS BREWING COMPANY

Complimentary house wine or craft beer with entrée purchase.

Located in the Historic Hamm Building in the heart of downtown St. Paul, Great Waters Brewing Company is conveniently located within easy walking distance of theaters, including the Ordway. Known for their great food, quick service, and award-winning craft beers, Great Waters also has a full bar including your favorite cocktails, beer, and even their own Root Beer.

426 Saint Peter Street Saint Paul 55102 651-224-2739 Greatwatersbc.com

PAZZALUNA

Complimentary selection of 3 antipasti with the purchase of an entrée. Limit one per ticket.

In Italy, every meal is a journey ... the same is true at Pazzaluna. Start with appetizers featuring a selection of bruschetta and pizza straight from their wood-burning oven; then move on to a traditional Italian dinner menu of antipasto or insalata (salad), to primi piatto (pasta course), to secondi piatto (main course), and finally a delicious dolce (dessert).

Discover the truly Italian art of lingering over dinner with family and friends, making conversation, and enjoying wine in a setting that is both urban and relaxing.

360 Saint Peter Street Saint Paul 55102 651-223-7000 Pazzaluna.com

SAKURA

Complimentary dessert with entrée purchase.

Sakura’s newly remodeled location features spacious dining areas on two levels, a large sushi bar for those who wish to watch their sushi prepared before them, and a full length bar. Whether you’re coming for a quick bite to eat during your lunch break or for dinner before your favorite opera, Sakura is a traditional Japanese restaurant for all to enjoy.

350 Saint Peter Street Saint Paul 55102 651-224-0185 Sakurastpaul.com

VIEUX CARRÉ

Complimentary menu item up to $15 (before 8pm) and/or waived cover (after the opera).

Located in St. Paul, in the lower level of the historic Hamm Building, Vieux Carré earns its name from the French translation of “Old Quarter” and a love for the spirit of New Orleans’ rich food and music scene. Enjoy a speakeasy atmosphere highlighting wellcrafted cocktails, a creole inspired menu, and music by Minnesota musicians every night.

Laissez bon temps rouler!

408 Saint Peter Street Saint Paul 55102 651-291-2715 Vieux-carre.com

HOW DO I GET TO THE ORDWAY? Take the Fifth Street exit. Follow Fifth Street to Washington Street. Turn right onto Washington Street.

The Ordway is on the right.

FROM 94 EASTBOUND:

FROM 94 WESTBOUND: Take the Sixth Street exit. Follow Sixth Street to Washington Street. (Washington Street is the second left after St. Peter Street.) Turn left onto Washington Street. Proceed 1½ blocks. The Ordway is on the right.

FROM 35E NORTHBOUND: Take the Kellogg Boulevard exit. Turn right onto Kellogg Boulevard. Go to West Seventh Street. Turn left onto West Seventh Street. Go one block and turn right onto Fifth Street. Follow Fifth Street to Washington Street. Turn right onto Washington Street. The Ordway is on the right.

FROM 35E SOUTHBOUND: Take the Tenth Street exit. Follow Tenth Street to Cedar Street and turn left onto Cedar Street. Follow Cedar Street to Sixth Street and turn right onto Sixth Street. Follow Sixth Street to Washington Street. (Washington Street is the second left after St. Peter Street.) Turn left onto Washington Street. Proceed 1½ blocks.

The Ordway is on the right.

WHERE SHOULD I PARK? There are many parking ramps within walking distance of the Ordway including RiverCentre, Lawson Commons, Kellogg Street Ramp, and Landmark Towers. You can purchase prepaid parking and get directions to Lawson Commons Ramp by visiting mnopera.org/prepaid-parking.

We provide constant updates on traffic, parking, and weather related concerns during the time our shows are at the Ordway. Please visit mnopera.org/alerts for more information.

WHAT IF THERE IS INCLEMENT WEATHER? As long as the freeway is open, so is the Ordway and the show will go on! Visit mnopera.org/alerts to get a weather update for conditions at the Ordway.

2016-2017 Season Guide 23

TICKETING INFORMATION ACCESSIBILITY For patrons with disabilities, wheelchair-accessible seats are available. Audio description will be available for select performances.

Please call the ticket office for details and indicate any special needs when ordering tickets. At the Ordway, accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems.

AT THE ORDWAY The Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break. Please have all cell phones and pagers turned to the silent mode. Children under six are not permitted in the hall.

Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher. Food and beverages are available for purchase prior to the show and during intermission.

Water and other beverages are allowed in the theater (hot beverages require lids), but food is strictly prohibited.

MINNESOTA OPERA TICKET OFFICE 620 North First Street, Minneapolis, MN 55401 HOURS:

Regular: Monday–Friday, 10am–5pm.

June–August: Monday–Thursday, 10am–5pm, Friday, 10am–12pm.

Weekday Performances: Phones open until curtain.

Weekend Performances: Phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain.

TICKET POLICIES Tickets are not refundable. Subscribers may make exchanges for a different performances or opera up to one hour prior to curtain.

Any ticket may be turned back for a tax deductible donation up until curtain.

USEFUL PHONE NUMBERS

MINNESOTA OPERA TICKET OFFICE 612-333-6669 ORDWAY EMERGENCIES 651-224-4222 ORDWAY LOST AND FOUND 651-282-3070 DEVELOPMENT OFFICE 612-342-9550

ORCHESTRA

MEZZANINE

MEZZANINE LEFT BOXES

24 Season Guide 2016-2017

MEZZANINE RIGHT BOXES

POLICIES, NUMBERS, HOURS, ORDWAY SEATING CHARTS

SEATING AREAS:

GALLERY LEFT BOXES

GALLERY RIGHT BOXES

BALCONY LEFT BOXES

BALCONY RIGHT BOXES

BALCONY

GALLERY

2016-2017 Season Guide  25

UPCOMING EVENTS

© Christine Photography

BEHIND THE CURTAIN: ROMEO & JULIET..................................................WEDNESDAY, SEPTEMBER 14, 2016 ROMEO & JULIET ..............................................................................................SEPTEMBER 24–OCTOBER 2, 2016 TASTE OF OPERA: ROMEO & JULIET...................................................................TUESDAY, SEPTEMBER 27, 2016 BEHIND THE CURTAIN: DAS RHEINGOLD ...................................................... WEDNESDAY, OCTOBER 26, 2016 DAS RHEINGOLD ................................................................................................................NOVEMBER 12–20, 2016 TASTE OF OPERA: DAS RHEINGOLD.................................................................... TUESDAY, NOVEMBER 15, 2016 BEHIND THE CURTAIN: DIANA’S GARDEN .......................................................WEDNESDAY, JANUARY 11, 2017 DIANA’S GARDEN ................................................................................................................... JANUARY 21–29, 2017 PROJECT OPERA PRESENTS: THE NIGHTINGALE ........................................................... FEBRUARY 10-11, 2017 BEHIND THE CURTAIN: DINNER AT EIGHT............................................................ WEDNESDAY, MARCH 1, 2017 DINNER AT EIGHT........................................................................................................................MARCH 11–19, 2017 TASTE OF OPERA: DINNER AT EIGHT........................................................................ SATURDAY, MARCH 18, 2017 BEHIND THE CURTAIN: LA BOHÈME ....................................................................... WEDNESDAY, APRIL 19, 2017 LA BOHÈME ......................................................................................................................................... MAY 6–21, 2017 TASTE OF OPERA: LA BOHÈME........................................................................................ THURSDAY, MAY 11, 2017 TASTE OF OPERA: LA BOHÈME (CHAMPAGNE BRUNCH) ...............................................SUNDAY, MAY 21, 2017 26 Season Guide 2016-2017

UPCOMING EVENTS

© Theresa Murray

MEET THE NEW GENERAL DIRECTOR Various Dates Throughout the season, we’ll be creating opportunities for you to meet and get to know our new President and General Director, Ryan Taylor.

Watch your inboxes for these special invitations.

OPERA GALA 2016: ROMEO & JULIET September 24, 2016 Prepare to be transported to Renaissance Italy! Join us as we welcome the new President and General Director, Ryan Taylor, to his first Minnesota Opera Gala. Experience a masked ball and a madrigal chorus in this festive opening night Gala. We’ll begin with cocktails at the Ordway and then proceed to the Travelers building next door for a sumptuous feast.

© Corinne Standish

OPEN REHEARSAL March 8, 2017 Season subscribers and donors have the opportunity to join us for an open rehearsal of Dinner at Eight! Plan to join us at the Ordway Center the evening of Wednesday, March 8, to observe the first act of Dinner at Eight as we work to put the finishing touches on the production.

Join the creative team behind this new work and mingle with our new President and General Director, Ryan Taylor. Invitations will be mailed in early 2017.

RESIDENT ARTIST CABARET April 8, 2017 By popular demand, we are returning to the Metropolitan Ballroom for an evening of music and merriment! Minnesota Opera Resident Artists will delight with a cabaret of favorite tunes and a few surprises.

The evening includes several fun opportunities to enjoy yourself while supporting the Opera. Look for tickets on sale soon.

MINNESOTA OPERA GRATEFULLY ACKNOWLEDGES GENEROUS SUPPORT FROM Season Sponsor

THE ANDREW W.

MELLON

FOUNDATION

2016-2017 Season Guide 27