La bohème, 2024 © Cory Weaver
Won Whi Choi as Rodolfo and Melinda Whittington as Mimì in La bohème
MAKING ART IN CHALLENGING TIMES
Opera, like all art, is shaped by the world around it. The work of Minnesota Opera is no exception. As we face rising production costs, we’ve taken creative approaches to stretch every dollar and maximize impact. This year’s recent production of Romeo and Juliet offers a telling look at what we face. Given the same set, costumes, and cast size, the resources needed to build and stage a timeless story like this cost 54% more than just eight years ago, when the production first premiered.
This striking increase is made more dire as we navigate the decline in corporate and foundation support, making us more reliant on individuals to keep opera alive in Minnesota. With the steadfast support of our donors, we continue to adapt to the changing financial landscape while remaining committed to serving our community. Your contributions allow us to bring opera to audiences across Minnesota, creating meaningful, shared experiences that connect us in the shared pursuit of a more empathetic, equitable, and joyful life. Each gift, large or small, helps sustain this art form and supports a thriving, creative workforce of 400 artists and craftspeople dedicated to enriching lives through live performance. Together, we’re ensuring that opera remains accessible and vibrant for today’s audiences and future generations alike. Thank you for your continued partnership in expanding the circle of musical storytelling.
For more information on the artists and creative work featured in this report, visit mnopera.org.
Christopher Franklin and the Minnesota Opera Orchestra at Glam Jam, 2024
© Mike Madison
Celebrating a 60YEAR LEGACY OF INNOVATION
On January 9, 2024, exactly 60 years after the opening night of Center Opera, we proudly celebrated the company’s founding with a special program featuring arias from works commissioned by the company over the years. This included selections from The Masque of Angels by Dominick Argento, Silent Night , and Edward Tulane followed by a discussion between the leaders from the Guthrie, Walker, and Minnesota Opera, three organizations integral to the founding of what would become MN Opera. The program reflected our rich history of collaboration, innovation, and creation of new works. Since our earliest days, MN Opera has championed the power of fresh voices and original compositions, commissioning more than 50 operas that have expanded the art form and introduced diverse stories to the stage.
This dedication to new works continues to drive us forward, supported by our recently established New Works Cohort model. This innovative approach will guide the development of new operas over the next several years, nurturing unique voices and perspectives. MN Opera is taking a first of its kind approach to the commissioning of new work that reflects our values. A key attribute of this program is the compensation model. Rather than paying artists at the completion of their work, MN Opera is offering monthly stipends to the selected composers and librettists throughout the process. This is intended to reduce the financial burden on artists that plagues the industry.
After two years, we are adjusting this approach based on feedback from the artists themselves. We’ve learned that artists often require greater financial support during periods of intense creative work—when deadlines for orchestration, writing, and other tasks prevent them from taking on additional commissions or performances. To address this, we are rebalancing payments: increasing stipends during high-demand phases of a project and lowering them during months when artists are focused on other endeavors.
Our shifts in approach are intended to honor the efforts, process, and time it takes to produce exceptional work, believing strongly that in order to truly shift the way we work toward a more equitable future, we must look critically at the systems of commissioning and producing work.
The first title will composed by two Black artists, Atlanta-based composer B.E. Boykin and Minneapolis-based librettist Harrison David Rivers. My Name Is Florence explores the life of the composer Florence Price, who was the first Black woman to have a symphony performed by a major orchestra. The second, by composer Kamala Sankaram and librettist Minita Gandhi, reflects two important milestones— the first commission of two women of South Asian descent, and the first graphic novel to be adapted to opera. They will create The Many Deaths of Laila Starr , based on the graphic novel by Ram V. Both productions are currently in the significant developmental stage of workshops. These workshops are essential for refining each piece, bringing artists, creatives, and audiences together to shape these future productions. We are eager to invite our community into this development process, aiming to illustrate the depth, complexity and rigor required to bring new work to the stage.
In addition, we are thrilled to announce that Stephen King’s Misery will be adapted into an opera by composer Kamala Sankaram and librettist John de los Santos, blending the suspense and intensity of King’s storytelling with the immersive and emotional power of opera. As we look toward the future, we are honored to continue this legacy of innovation, bringing new stories to life for our audiences.
THE RESIDENT ARTIST PROGRAM turns 25
As MN Opera’s Resident Artist Program (RAP) celebrates its 25th anniversary, we reflect on the impact of a quarter-century of cultivating young talent and preparing the next generation of opera stars for vibrant careers. Founded on the mission of supporting emerging artists at the beginning of their journeys, the Resident Artist Program provides artists the rare opportunity to immediately step into the spotlight. Through hands-on experience on stage, intensive coaching, and personalized mentorship, Resident Artists build confidence, develop crucial performance skills, and acquire the tools and networks needed to navigate a professional opera career.
Over the years, our Resident Artist alumni have left a lasting impact on the field, with many still actively involved in MN Opera.
In 2024, we were delighted to welcome back several past Resident Artists, who returned to share their expertise with our current team— now serving as staff members, guest coaches, and directors.
This year’s RAP cohort has already made a splash, performing at the Minnesota State Fair, dazzling at our annual Glam Jam fundraiser, and taking center stage in Romeo and Juliet Audiences can look forward to their appearances in upcoming MNOP+ recitals and productions of The Snowy Day and The Barber of Seville
Looking ahead, the program’s future shines even brighter. The recent rounds of auditions for this prestigious program have attracted recordbreaking numbers of applicants, underscoring the program’s competitiveness, reputation, and
international appeal. Just this past year, there were nearly 1,000 applications for just five spots—a .0005% rate of acceptance.
This program is possible thanks to our dedicated supporters. As we look forward to another 25 years of nurturing operatic talent, your support ensures that MN Opera can continue to provide a foundation for young artists to thrive. Thank you for helping us shape the future of opera, one Resident Artist at a time.
Resident Artist alum concocts an AWARDWINNING ELIXIR
In May 2024, MN Opera delighted audiences with a vibrant new production of The Elixir of Love , bringing Donizetti’s charming comedy to life with an unforgettable mix of humor, romance, and musical brilliance. The 2024 production was directed by Resident Artist Program alumnus Daniel Ellis, whose career has flourished since his time with the program. Ellis’s unique vision brought a fresh, dynamic energy to the classic opera, setting it not in an Italian village, but in turn of the century California. This fresh setting amongst the orange groves lent itself to a unique exploration of the characters and their circumstances at that particular point in U.S. history, including that of the suffrage movement, modern marketing, and the war U.S.’s war at the Mexican border.
The creative team’s concept garnered national recognition, receiving the prestigious Tobin Award, which recognizes promising stage directors and designers for their ingenuity in bringing operatic works to life for contemporary audiences. Considering the approach to inherited opera repertoire, Ellis noted that “A primary goal is to recontextualize the work so that it is historically, emotionally, and ethically accessible to the artists and the audience in the room. Sometimes this means investigating the history of the original period of the work. Sometimes it means selecting a new period.”
Under Ellis’s direction, The Elixir of Love became a standout production, underscored by clever staging and breathtaking performances by both Resident Artists and seasoned guest artists. The success of The Elixir of Love is a testament to MN Opera’s dedication to supporting artists through programs like the Resident Artist Program, which allows young talent to grow and return as esteemed professionals.
LA BOHÈME : A Fresh Take on Mimì’s Story
In a thoughtful reimagining of Puccini’s La bohème , MN Opera’s recent production offered audiences a subtle yet impactful shift in the portrayal of Mimì, the beloved heroine. Traditionally, Mimì’s entrance includes the iconic moment where her candle goes out, and she accidentally drops her key, allowing Rodolfo to “find” it and ignite their romance. In MN Opera’s staging, however, Mimì takes the lead—she intentionally blows out her candle and discreetly hides her own key, marking a quiet assertion of agency in this classic tale.
This intentional change reframes Mimì’s role, giving her greater control in initiating her connection with Rodolfo and adding a layer of intention and independence to her character. While the alteration is subtle, it resonates with contemporary audiences, inviting them to see Mimì not merely as a passive muse but as an individual with her own desires and choices.
MN Opera’s La bohème exemplifies the timeless adaptability of opera’s inherited repertoire. By examining every detail of the score, libretto, and staging tradition, the company honors the original work while considering modern perspectives, demonstrating opera’s enduring relevance and capacity to engage today’s audiences. This production demonstrates MN Opera’s commitment to reimagining beloved repertoire with new depth and fresh consideration, celebrating the art form’s ability to evolve and connect across generations.
La bohème
Engaging the Community AND BUILDING A PASSION FOR OPERA
At MN Opera, we’re dedicated to connecting with community members of all ages, cultivating educational interest in opera, and forging meaningful relationships to attract new audiences. Early wins this season highlight the exciting progress we’re making toward these goals.
This year, we have engaged in partnership with ComMUSICation, a non-profit dedicated to creating equitable access to music opportunities. Through MN Opera’s Community Music Advancement Initiative, we continue leveraging our resources to support the work of community-building programs like this. After just one session with our teaching artists, ComMUSICation’s Executive Director, Georgina Chinchilla Gonzalez, reported a “huge boost to their high schoolers’ confidence and sound.” It’s a testament to the power of music in fostering growth and connection.
The Youth Opera Workshop Series is also off to a fantastic start, with strong attendance from eager young participants exploring opera’s potential.
MN Opera has consistently offered students from the surrounding area to attend the final matinee dress rehearsal of all productions. This year’s dress rehearsal of Romeo and Juliet was a record breaker—over 800 students attended and also attended a preperformance lecture, a new addition to the field trip. It featured Carleton College Classics Professor Cecilia Cozzi and Musicology Professor Kathryn Hargrave, who added new layers of understanding and engagement for our young audience members.
We continued to host Offstage events, exploring a variety of topics and creating context around our operas in the casual setting of MetroNOME Brewery. Ahead of Romeo and Juliet , VP, Impact, Darius Gillard sat down with soprano Jasmine Habersham to learn more about her path as an artist of color and what representation means to the future of opera.
Together, these initiatives reflect our commitment to broadening opera’s reach, inspiring new audiences, and expanding the circle of storytelling.
Jasmine Habersham and Darius Gillard
LUMINARY ARTS
As we celebrate the third year of the Luminary Arts Center, we’re proud to reflect on the vital role it has played in meeting the needs of our artistic community. Daily occupancy rate has jumped from 58% to a projected 85% since the inaugural season, making the Luminary a cornerstone of small arts organizations seeking accessible, high-quality space to create and share their work.
Since opening in 2022, the Luminary has welcomed nearly 36,000 audience members, showcasing a diverse array of art forms and performances that enrich our community’s cultural landscape. Dance and theater have led in space usage, comprising 37% and 29% of our programming, respectively. The closure of the
Cowles Center for Dance amplified the need for independent dance companies to find affordable venues, and the Luminary has been able to fill the need.
During that same period, the Luminary has provided space for over 2,000 artists and crew members to contribute to the vibrant arts scene in the Twin Cities. Notably, 92% of our renters are small nonprofits with budgets under $2.5 million, 51% are women-owned or led, and 29% are BIPOC-owned or led.
The Luminary is more than a venue—it’s a vital hub for performing arts organizations in an ever changing, and often dwindling, landscape for affordable performance spaces.
MN Opera kicked off the 2024–2025 season with the Glam Jam, a star-studded benefit concert at the Ordway Center. It was a night to remember, setting the record for MN Opera’s most wellattended fundraiser ever and we welcomed 806 attendees (16% of whom were new to MN Opera) into our community of support.
The evening’s program was hosted by the incomparable Monét X Change, whose memorable cameo as the Dutchess of Krakenthorp in The Daughter of the Regiment in 2023, stole the show. With the full forces of the MN Opera Orchestra behind them, a fabulous lineup including Adriana Zabala, Jasmine Habersham, Symone Harcum, Ann Toomey, and Karin Wolverton delivered unforgettable performances that showcased the breadth and power of their artistry.
With Glam Jam sponsors providing access to community partners and young artists, the event was a true celebration of opera and community. Among the attendees were students from the Perpich School for the Performing Arts. One music student reflected:
Opera wasn’t something I had paid a lot of attention to before the event, but now that I’ve seen and experienced it, I’m starting to think I might want to perform it in the future.”
—Mia, Perpich student
Perpich Students at Glam Jam, 2024
None of our students had previous experience with the opera, and were delighted by the music, choreography, costumes, lighting, and the overall magic of the theater. Thank you for giving our students the opportunity to see and experience the theater in a whole new way!”
A TRIUMPHANT RETURN of Romeo and Juliet
Opening night of MN Opera’s Romeo and Juliet was one for the history books. As one of the top-selling opening nights in the company’s history, the production captivated audiences with its timeless story, emotional depth, and extraordinary artistry.
This staging, originally directed by Matthew Ozawa in 2016, has traveled the country, leaving its mark on audiences nationwide. After eight years, the set and costumes once more captivated MN Opera audiences. While audiences responded to the emotional depth and striking set design, re-mounting this production was a stark reminder of the economic challenges we face today. Despite using the same set, costumes, and a comparably sized cast, the cost to bring this timeless story to life has soared by an astounding 54% since its premiere in less than a decade. While the costs of producing this art form have always been significant, this juxtaposition makes plain the financial reality we face and has been a contributing factor to the reconfiguration and often reduction of the typical season.
We continue to profoundly impact our communities despite these challenges. MN Opera has long invited school groups to attend a dress rehearsal free of charge and Romeo and Juliet was especially popular. We welcomed over 700 students to the Ordway and introduced many to the magic of opera.
MINNESOTA OPERA RECOGNIZES INDIVIDUAL DONORS WHO HAVE MADE GIFTS TO OUR ANNUAL FUND AND FUND-A-DREAM BETWEEN JULY 10, 2023–OCTOBER 10, 2024. THANK YOU FOR MAKING OUR ART COME TO LIFE BEL CANTO CIRCLE
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BRONZE $3,500–$4,999
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PATRON CIRCLE
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SILVER $500–999
Anonymous (2)
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*in remembrance
Anonymous (3)
Paul and Valerie Ackerman
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Dr. and Mrs. Rolf
Andreassen*
Mary A. Andres
Howard J. Ansel, MD
Marcia J. Aubineau
Karen O. Bachman
Thomas and Ann Bagnoli
Patricia Beithon
Carol J. Bergeson
Susan Boren King
Al Bradley
C.T. Bundy II*
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Charles M. Denny Jr. and Carol E. Denny*
Margaret DiBlasio
Ms. Susan Doty
Anne P. Ducharme*
Dr. Mary A. Ebert and Paul Stembler
Rondi Erickson and Sandy Lewis*
Art of Singing Endowment Fund
To support exceptional training for Resident Artists by providing learning opportunities with leading artists and experts.
Barbara White Bemis Fund for Artistic Enhancement
To enhance the quality of performances by providing funds to engage singers who have received awards through the Metropolitan Opera National Council Auditions.
Ann Fankhanel
Ester L. Fesler
Salvatore Silvestri Franco
Daniel E. Freeman
Charles J. Frisch
Dr. Paul Froeschl
Katy Gaynor
Ellen Green
Myrtle Grette*
Michelle Hackett
Russell and Priscilla Hankins
Anne Hanley and George Skinner
Mary Abbe
Elfrieda Hintze*
Jean M. Holten
John Humleker and Cordelia Anderson
Kathleen and Robert Humphrey
Diane and Paul Jacobson
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Dr. Robert and Susan Josselson
John Junek
Dr. Markle Karlen
Patty and Warren Kelly
Blaine and Lyndel King
Sally and Bill Kling
Larry Klueh
James and Liz Krezowski
Dr. Robert L. Kriel and
Daniel E. Freeman Endowment Fund
To support Minnesota Opera’s education programs.
Dolly Fiterman Fund for New Production Opera Design
To support the creation of new productions by providing funds to engage designers and create new sets.
Founders Endowment Fund
To support new and innovative opera performances that honor the spirit, energy, and creativity of the founders in the beginning days of the Center Opera.
Dr. Linda E. Krach
Robert and Venetia Kudrle
Christl and Andrew Larson
Jim Lawser and Duane Bandel
Mary Ash and Barry Lazarus
Gerald and Joyce Lillquist
Dawn M. Loven
Mr. David MacMillan and Ms. Judith Krow
Tim Manych
Donald Masler
Barbara McBurney
Mary McDiarmid
Mary Bigelow McMillan
Betty Meyers*
John L. Michel and H. Berit
Midelfort
Karla Miller
Kay Ness and Chris Wolohan
Richard and Joan Newmark
Scott J. Pakudaitis
Derrill Pankow
Debra Joyce Paterson
Mr. Jose A. Peris and Ms. Diana Gulden
Sydney Phillips*
Tim and Mary Pieh
Phyllis Price
Brian and Patricia Prokosch
Liane A. Rosel
Ken Rothchild
Mary Savina
Joan Jacobs Rubenfeld Memorial Fund
To support the attendance of high school students at MN Opera performances.
Minnesota Opera Center Preservation Fund
To support Opera Center building improvements The Preservation Fund recognizes the legacies of Judson Bemis and Kevin Smith, who through their leadership created the Opera Center.
Valerie and Paul Ackerman Endowment Fund
To support the attendance of youth at Minnesota Opera performances.
Robert L. Lee* and Mary E. Schaffner
Josef Schermann
Mary H. and Christian G. Schrock
Mr. and Mrs. Duane Schroeder
Dr. Frank and Lynda Sharbrough
Gale Sharpe
Robert Shearer and Joan Gustafson
Sue Shepard
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Virginia and Edward Stringer
Mr. Gregory C. Swinehart and Ms. Mitra Walter
Ryan Taylor
Dr. Anthony Thein
John and Jill Thompson
Stephanie C. Van D’Elden
Mary W. Vaughan*
H. Bernt von Ohlen and W. Thomas Nichol
Lola Watson
William White
Jean C. Wirsig*
Wayne Zink and Christopher Schout
Mr. Harvey Zuckman and Mr. Philip Oxman
*in remembrance
Virginia L. Stringer Endowment of the Minnesota Resident Artist Program
To support the Resident Artist Program. The appearance of the Resident Artists in this production is made possible by this endowment fund.
William Randolph Hearst Endowment for Education and Outreach Programs
To support Minnesota Opera’s education and outreach programs.
IN HONORARIUM
Ruth and John Huss
Sally and Thomas Patterson
Leila Keita and Mario
Antonio Marra
Northfield Senior Center
Mr. & Mrs. Glynn E.
Behmen Sr. Family
Glynn Behmen
Sampson Family Foundation
Warren R. Sampson
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Lowell Senechal
Cheryl DuBois
Gale Sharpe
Anonymous
Andrew Sun
Anonymous
Theresa Murray
Schmiechen Charitable Fund
John William Miller Jr.
Anonymous
IN MEMORIAM
Eric Aanenson
Tracy Aanenson
Judson and Barbara Bemis
Sandra Roe
Judy Boylan
Sarah Crowther
Jeffrey Cavanuagh
Lois Dirksen
Ogden Confer
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Missy Staples Thompson and Gar Hargens
Phil Kliewer
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Helga Gertrud Cross
Anonymous
Stephanie Fogelberg
Joyce Petsch
Janine Cross
INSTITUTIONAL GIVING
Anna M. Heilmaier
Charitable Foundation
Anonymous (2)
Boss Foundation
Bust Out
Caplin Foundation
Dellwood Foundation
The Elizabeth C. Quinlan
Foundation
Faegre Drinker
Hutter Family Foundation
Knox Foundation
Margaret Rivers Fund
Mayo Clinic
McVay Foundation
Onan Family Foundation
Opera Volunteers
International
Pachel Foundation
Peravid Foundation
Rahr Corporation
RBC Foundation
Romanaggi Foundation
Schwegman, Lundberg, & Woessner P.A.
The Saint Paul Foundation
Tennant Foundation
Travelers
Catherine Hoch Gadbois
Virginia G. Green
Lucille Jansen
Joe and Lisa Thiegs
Scott Krenz
Emerson Williams-Molett
Robert L. Lee
Dawn Loven and Brian
Benjamin
Theresa and Jim Murray
Holly Lindsey Anonymous
Midge Loeffler
Sam Scott Miller
Kelani Mueller
Cynthia Campbell
Nina Rothchild
Ken Rothchild
Judith Sitarz
Carroll Cisek
Mary Vaughan
Margaret Bracken
Sara and Jock Donaldson
William D. Venne and Douglas L. Kline
Rachelle Chase and John Feldman
Eleanor Crosby
Dawn M. Loven
Andrew Currie
Saint Paul Chamber
Orchestra
Elinor Hands
Missy Staples Thompson and Gar Hargens
Cinda Collins
Margaret Wurtele
John and Ruth Huss
Leslie Vaughan
Theresa, Jim and Nicole Murray
Angus M. Vaughan
Charitable Giving Fund
Carley and Bill Stuber
Jose Peris and Diana Gulden
Patricia Mitchell
