2019 Impact Report

2019 IMPACT REPORT: FOSTERING COMMUNITY THROUGH OPERA

Featured in The New York Times, NOOMA—a new opera for babies co-commissioned by Carnegie Hall, San Francisco Opera, and Minnesota Opera—delights audiences at the Ordway’s Flint Hills Family Festival in June 2019.

Photo © Dan Norman.

Your support helps us create greater impact

Highlighted Impact: 1 Broadening Perspectives 2 Approachable and Relevant 3 Artistic Excellence

6 Developing Artists

T

7 Building Diverse Audiences

community, giving all Minnesotans increased

4 Captivating Audiences 5 Increasing Skills and Confidence

hrough your generous support, Minnesota Opera continues to provide opportunities to experience

high-impact artistic experiences and education initiatives that strengthen our access to opera and empowering all voices.

Our impact continues to grow far beyond the world-class productions seen on stage as we leverage resources to address community needs, provide comprehensive arts education to all ages, and respond to the shifting demographics of Minnesota through a dedication to access and approachability.

Our Mission Minnesota Opera changes lives by bringing together artists, audiences, and community, advancing the art of opera for today and for future generations.

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The Barber of Seville, 2019 © Dan Norman.

Our Vision Minnesota Opera will sing every story.

Our Values Innovation, Inclusivity, Collaboration, Purpose.

Photo Courtesy of Kao Kalia Yang.

Broadening Perspectives Kao Kalia Yang’s novel The Song Poet will be the first Hmong story translated to the operatic stage.

M

innesota Opera recently announced the commissioning of a new work based on the award-winning memoir The Song Poet

by St. Paul writer Kao Kalia Yang. It tells the story of her family and her song poet father Bee Yang, as war forces them from Laos into a Thai refugee camp and ultimately on to St. Paul.

The piece will be crafted for Project

In concert with the creation of this new

Opera, Minnesota Opera’s youth vocal

opera, Minnesota Opera will build its

training program for ages 9–18. When Chief

capacity to develop a civic practice with the

Learning Officer Jamie Andrews sat down

local Hmong-American community through

with The Song Poet, he knew it would make

a Civic Practice Grant supported by OPERA

an incredible opera.

“Kalia’s writing is just so lyrical and beautiful—so singable,” Andrews said to the

America’s Opera Fund endowment.

“I believe this opera will push the boundaries of the form and the dreams of my people and new Americans

It’s the first time a Hmong story will be translated to the operatic stage.

Star Tribune. “I instantly knew this was it.”

“I wrote The Song Poet knowing my father’s story was the stuff of great art,” the St. Paul writer said to the Star Tribune.

for launching new works. The Song Poet

said Yang, reflecting on the historic and

becomes the third opera commissioned

innovative nature of this work.

Winner of the 2017 Minnesota Book Award in Creative Nonfiction, Kao Kalia Yang’s The Song Poet fits the opera art form.

“This is incredibly operatic,” she said to the Star Tribune, “dramatic and beautiful.”

Minnesota Opera is nationally known

for Project Opera, which will premiere

everywhere who live and love the arts in a positive and necessary direction,”

She continues, “The Song Poet speaks

in the spring of 2021 with support from

to so many of the big themes of the best

the Knight Foundation. Rick Shiomi, the

operas I’ve seen ... I hope opera lovers—

founder of Theater Mu, will direct. Jocelyn

young and old and everywhere—will

Hagen will compose the music and Yang

cheer for the coming of The Song Poet to

herself will serve as the librettist.

Minnesota Opera.”

2019 IMPACT REPORT | 3

La Traviata, 2019 © Dan Norman.

Approachable and Relevant Minnesota Opera’s new take on La Traviata celebrates the best of the past, while looking toward the future.

The result is a Traviata that remains relevant and approachable in today’s cultural landscape and provides an important entry point for new opera-goers.

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Cast members of La Traviata, 2019 © Brent Dundore

I

n the great landscape of opera today, there is an exciting movement afoot to question and re-examine the ways in which we approach the works in the canon, particularly regarding the portrayal and treatment of women and people of color. When we look at La Traviata with fresh eyes, we find at its center a truly modern heroine and a story that is timely and necessary as demonstrated through the vision of stage director Louisa Muller, a celebrated cast more representative of our community, and an artistic process that nurtures and empowers artists.

98%

What our audiences are saying: 98% of surveyed

85%

attendees agree or strongly agree that “This production was approachable.”

85% of surveyed attendees agree or strongly agree that

MN Opera always creates thrilling performances. It is a shining star in our artistic community and in the opera world. We are indeed fortunate!”

Minnesota Opera’s production combines 19th-century set and costume design with a decidedly 21st-century cast.”

—MN Opera patron

—Star Tribune

“This performance exceeded my

27%

expectations.”

It was awe inspiring to see and hear culturally and racially diverse opera singers on the

27% of audiences attended MN Opera for the first time.

Ordway’s stage … Minnesota

It was even more

Opera debuted incredible talent

spectacular than I thought it could be.”

—Asian-American Press

in this brilliant performance.”

—MN Opera patron

Empowering Artists Minnesota Opera fosters artistic excellence through a welcoming, nurturing, and supportive creative environment.

“My colleagues, conductor, and director were world class, and because of the comfortable environment that was fostered, we were able to put on a show that was personalized and honest.”

Soprano Nicole Cabell (Violetta)

“I [was] thrilled to partner with Minnesota Opera in telling the story of Violetta, a woman who bravely fights to determine her own destiny in the face of her impending death and a society dominated by men who both worship and condemn her … We [need] stories that move us to empathy and respect for those making choices in a world that offers very few.”

“Staging La Traviata at Minnesota Opera was a wonderful experience, because the environment here is ideal.

There were no egos, only a great collaboration in the rehearsal room. We all came together to tell this story.”

Resident Artist Nicholas Davis (Baron Douphol)

—Stage Director Louisa Muller (via Minnesota Women’s Press)

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Creating Artistic Excellence Through Innovation “Minnesota Opera’s Elektra is a bold re-imagining for the modern age” —Star Tribune

For Elektra, Staufenbiel and video and projections designer David Murakami utilized green screen technology in a process colloquially referred to as “gumpification,” where the characters of the opera were inserted into famous movies to put the historical action in context—much like the technique used

engage in the technology that helps us

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uses of new media like this are quickly becoming the norm for opera companies all over the world and an integral part of producing opera in the 21st century.

“Green-screening, animation, film— these are amazing tools,” Staufenbiel recently told the Star Tribune. “It would be foolish for theater and opera not to tell stories better.”

When used thoughtfully he believes these modern storytelling techniques can help attract new audiences to an art form that often struggles with its old-fashioned reputation. “I find people come to opera

when they’re just a little burnt out from the deluge of other media we are confronted with nowadays,” he says. “With the help of new technologies, I think we are possibly on the verge of a renaissance where opera becomes a kind of hip thing to do.”

Elektra, 2019 © Cory Weaver.

in the movie Forrest Gump. Innovative Photo courtesy of David Murakami.

W

hen Minnesota Opera's critically acclaimed new production of Strauss’ Elektra opened the 2019–20 season, audiences were not only thrilled by the herculean singing, but also by the visuals envisioned by stage director and production designer Brian Staufenbiel, the mastermind behind MN Opera’s hit Das Rheingold in 2016.

Captivating Audiences

Photo © Dan Norman.

The story of Minnesota Opera is a tale for the ages.

More and more research is linking attending a live theatrical performance with developing social and emotional responses like creating social bonds and expanding one's capacity for empathy, cognitive growth, and feelings of joy. Through new audience research practices, Minnesota Opera measures audience feedback beyond typical questions of likeability and subject matter. Measuring captivation, for example, offers a better understanding of the invaluable—yet difficult to quantify—impact of the Opera's artistic product presented on stage.

From surveyed Minnesota Opera attendees:

La Rondine (Oct. 6–14, 2018)

85%

Silent Night (Nov. 10–18, 2018)

86%

Elektra (Oct. 5–13, 2019)

93%

agreed or strongly agreed they were “captivated during the performance.”

agreed or strongly agreed that “The performance exceeded expectations."

agreed or strongly agreed “This production took creative risks.”

76%

76%

76%

agreed or strongly agreed they were “surprised during the performance.”

reported they felt “tingles” and/or “chills” during the performance.

agreed or strongly agreed that “The performance exceeded expectations."

Research Shows the Importance of Captivation “Captivation is the lynchpin of impact. In interviews, performing arts attendees talk enthusiastically about ‘getting lost’ in the performance or ‘going to another place.’ They idealize the state of consciousness described as ‘Flow’ … or high levels of captivation closely linked to higher levels of satisfaction. For this reason, we have come to think of captivation not only as a desired outcome with intrinsic worth independent of other impacts, but as a precondition for other impacts to occur.”

–Assessing the Intrinsic Impacts of a Live Performance, Wolf Brown Study, 2007 2019 IMPACT REPORT | 7

Increasing Skills and Confidence Minnesota Opera's all-star roster of Teaching Artists changes lives through industry-leading programs.

Minnesota Opera's robust team of Teaching Artists—professional artists who integrate their valuable practices, perspectives, and skills into participatory curricula and programs—are inspiring people young and old to engage deeper with opera and express themselves creatively. From Stories Sing!, a singing storybook program for children, to Voices of Opera, a community opera chorus for older adults, MN Opera offers a variety of opportunities to learn about opera and grow in the process.

MARCIA AUBINEAU

DANIELLE RICCI

"Teaching artistry is important for our particular outreach to seniors because it brings the opera to them, enabling those who have little opportunity to go beyond the confines of their nursing home."

"Bringing in practicing artists gives students the opportunity to work with professionals in the field.

This gives students real life experiences to which they can apply within their own practice."

Programs Opera Connections

Programs Vocal Artist Program

BERGEN BAKER

MITRA SADEGHPOUR

"My favorite part about being a teaching artist is becoming inspired by our students!"

Programs Through the Eyes and Ears of Mozart, Stories Sing!, Project Opera, Summer Camps, Opera Artist+, Day at the Opera

"They learn where music and singing will fit into their life post-high school, they learn leadership skills, and they bond with other young people with similar interests to create entire operas!"

Programs Project Opera, The Song Poet, Summer Camps

REBECCA BLACKWELL

SARA SAWYER

"Hearing people’s stories and watching people express themselves through art enriches my life in immeasurable ways. Teaching artistry is important because it allows audiences and communities to get inside of and engaged in the art form."

"My favorite part about being a teaching artist is seeing success in the eyes of a student or participant."

Programs Music Out Loud, Voices of Opera, Technical Theater Laboratory

Programs Music Out Loud, Voices of Opera, NOOMA, coOPERAtion, Summer Camps

SARA FANUCCHI

PABLO SIQUEIROS

"Stories Sing! reinforces early childhood and musical concepts in a new and engaging way that provides children and their caretakers an unusual window into an art form that is not generally accessible to them."

"My favorite part about being a teaching artist is that I can be a resource to people craving a creative outlet, seeking knowledge, and a means of connection to one another."

Programs Stories Sing!

Programs coOPERAtion, Opera Connections, Opera Insights, Behind the Curtain, Stories Sing!

KATHY KRAULIK

HEIDI SPESARD-NOBLE

"It can be a real eye-opener for students to realize that history reveals eternal truths about humanity, and opera can be a great way to tell these stories."

"There is an element of fun and community that is rewarding for me. Students get a sense that this community accepts them and their love of opera music."

Programs Project Opera, Voices of Opera, coOPERAtion

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Programs Project Opera, Voices of Opera, Summer Camps

Developing Artists

Photos © Scott Suchman.

Former Project Opera student Tori Adams wins Kennedy Center scholarship for musicians with disabilities.

P

roject Opera alum Tori Adams, who was a member of the program from 2011–2015, was recently named

one of the five winners of the 2019 VSA International Young Soloists Competition, a Jean Kennedy Smith Arts and Disability program of the John F. Kennedy Center for the Performing Arts. The program focuses on identifying, elevating, and celebrating the work of young musicians living with disabilities.

The winning recipients, who each received a $2,000 award, spent July 24–26 participating in pre-professional development activities including rehearsals and roundtable discussions with music professionals. The two-day intensive culminated with a performance on the Kennedy Center Millennium Stage.

Soprano Tori Adams, 22, is a native of Minneapolis, MN and is pursuing her singing career while living with EhlersDanlos Syndrome, a connective tissue

disorder that causes hypermobility and chronic pain, among other symptoms.

“I am so grateful to have been chosen for this award and recognized for my work as a disabled musician. I am lucky that my condition is manageable enough to pursue what I love,” said Adams.

“It makes me so happy that young musicians of all genres with disabilities can be recognized and have a chance to come together and be acknowledged for the hard work we do.”

Project Opera is Minnesota Opera’s youth training program for talented young singers in grades 4–12 and has served as a launching pad for promising artists of different backgrounds and abilities. This exciting and unique program aims to teach students from all walks of life the fundamentals of acting, singing, and opera, and give them the confidence to use their voices to succeed in whatever they pursue long after their time in the program is over.

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Photo © Summer Street Photography.

Minnesota Opera invites those with diverse opinions, viewpoints, and ideas into our community to better cultivate and enrich our culture of creativity.

Photo © Dapper Fella.

Building Diverse Audiences Audience development initiatives cultivate new opera patrons.

Additionally, with the adoption of a new Diversity Charter, both our staff and board have made it a top priority to diversify our organization and audience over three areas: racial and ethnic diversity, socioeconomic diversity, and age diversity.

In doing so, Minnesota Opera aims to be an organization that inspires hope, empowers all voices, and strengthens bonds between people of all backgrounds and identities.

“Working under a new Diversity Charter allows us to have conversations about how we expand the voices at the creative table,” says MN Opera President and General Director Ryan Taylor. “What excites me about this last season and

moving into the next is the increased representation from female conductors and artists of color. Those who have been in the industry for a long time are really being challenged to articulate what is so important about the art—and how others can share in that excitement.”

To that end, we have expanded Tempo, a program for opera fans and the opera-curious ages 21–45 that provides affordable tickets to performances and builds a dynamic and diverse community through unique and fun social events. In the past two seasons, membership in the program and Tempo ticket sales have increased by 350%.

We also hosted our first Corporate Partner Night in May 2019. During the run of our hit production of La Traviata, 300 Target team members participated in a number of special events and enjoyed a special performance and reception at the Ordway.

Photo © CJ Standish.

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n 2017, Minnesota Opera crafted a new mission statement that stated our intent to change lives by bringing together artists, audiences, and community, advancing the art of opera for today and for future generations.

“Racism, misogyny, homophobia, ableism … all these forces pose daily threats to our friends, family members, and communities,” says Rocky Jones, MN Opera Communications Manager and Diversity Council Chair. “Therefore, I’m extremely grateful to be a part of an organization that recognizes the moral imperative of this work and formally rejects and actively works against those forces. I’m hopeful that MN Opera will be a catalyst for positive change in our industry and for justice in our community.”

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Better together, thanks to you!

Providing Minnesotans with opportunities to live, learn, and experience world-class opera together strengthens our community. Explore how your support of Minnesota Opera is advancing the art of opera today and for future generations.

Photo © Dan Norman.

To learn more, visit mnopera.org.

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