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We are thrilled to welcome stage director Peter Rothstein back to Minnesota Opera! In addition to decades of thoughtful, innovative, and adventurous work as the founding Artistic Director at Theatre Latté Da, Peter is an accomplished singer, actor, and has directed for such esteemed organizations as the Guthrie Theater, Park Square Theatre and, of course, Minnesota Opera. Rothstein led Minnesota Opera’s 2011 production of Mozart’s Così fan tutte, which was acclaimed for its exceptional comic timing and masterful twist on a classic story for modern audiences. We’re lucky to have him back in the driver’s seat.

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What a better way to make a mental escape from our beautiful but blustery winter weather than to have you with us to visit Diana’s Garden! The company debut of Vicente Martín y Soler’s charming comic opera offers us the perfect opportunity to dream of warmer temperatures and think about the natural cycle of our own relationships as they heat up and cool down from time to time. If you are unfamiliar with this wry romantic comedy, don’t worry, you are not alone! Though Martín y Soler and the librettist, Lorenzo da Ponte, were contemporaries of Mozart, and Diana’s Garden was a smashing success in its day, this delightful gem fell out of the repertoire before being rediscovered in the 1970s. We hope you’ll enjoy this witty, effervescent farce and its winking social commentary on freedom, power, and love. Most importantly, however, we hope this small taste of spring provides you enough warmth to help get you through the rest of this long Minnesota winter!

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It is an extraordinary time to be a part of Minnesota Opera. In addition our incredible new season, this year we are launching Innovate NOW, which reimagines our future in bold, groundbreaking ways that extend beyond the walls of the Opera Center and the Ordway. Innovate NOW is a comprehensive initiative that supports the creation of new works, expands our community engagement programs like Music Out Loud — our after school program for underprivileged youth — and promotes diversity, equity, and inclusivity in the field of opera. By nurturing the next generation of talented opera artists and industry professionals, improving our efficiency and infrastructure, and, welcoming new communities and audiences through innovation, access, and engagement, we’re building a stronger, more sustainable future for our organization and the art form we all cherish. One of the new programs we’re most excited about is Voices of Opera, a choral program for active seniors ages 55+ throughout Minnesota. Voices of Opera is a workshop series led by professionally trained artists and coaches that provides seniors with an opportunity to not only learn about, but also actually make art, culminating in a public performance open to family, friends, and the broader community. Voices of Opera promotes a personal sense of vitality, purpose, and happiness as well as deeper social connections through music and creativity. We’re on the cusp of a brand new season here at Minnesota Opera, and we are so glad that you can be a part of it. Stay tuned for the announcement of our dazzling 2017–2018 season in just a few short weeks. As always, thank you for your patronage and your support. We cannot wait to show you what we have in store!

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Contents

8 Synopsis

9 Diana's Garden

About the Opera

Vicente Martín y Soler

Director's Notes

14 The Artists 16 Social Media Preview Night 17 Meet the Artist: Leah Partridge 18 Upcoming Events 18 The Nightingale 19 Opera Education 20 Tempo 20 Cabaret 2017 21 Announcing Innovate NOW 22 Dinner at Eight Preview 24 Minnesota Opera Board of Directors, Staff, and Volunteers 26 Individual Giving 28

Institutional Giving

Legacy Circle

29 Minnesota Opera Information LARGE-PRINT AND BRAILLE PROGRAMS ARE AVAILABLE AT THE PATRON SERVICES OFFICE.

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SYNOPSIS

Act I

The nymphs return, and admire the fair youths, but realize any flirtation will bring on the wrath of Diana. Nonetheless, they make a plan to overcome the men’s resolve. They hide the men in a cave as the goddess approaches. Diana encounters Amore, still disguised as a messenger. 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 darts to aid in their seductions. Diana returns, now armed with her resolute nymphs to rid the garden of the nefarious men by threatening to harm them. Endimione pacifies the goddess, leaving her both angry and confused, thus satisfying the first stage of Amore’s clever machinations.

Act II Britomarte contemplates an escape along with her male companions. The 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 they cannot perform the deed.

MUSIC BY VICENTE MARTÍN Y SOLER LIBRET TO BY LORENZO DA PONTE JANUARY 21, 26, 28, AND 29, 2017 | ORDWAY MUSIC THEATER World premiere at the Burgtheater, Vienna, October 1, 1787 Sung in Italian with English translations projected above the stage

Cast

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.

I N O R D E R O F VO C A L A P P E A R A N C E

BRITOMARTE

AMORE

A NYMPH

Alexandra Razskazoff *

CLIZIA

SON OF VENUS

Adriana Zabala **

DIANA

A NYMPH

GODDESS OF THE HUNT AND OF VIRTUE

Gina Perregrino *

Leah Partridge

CLOE

ENDIMIONE

A NYMPH

A SHEPHERD

Nadia Fayad *

Alek Shrader

DORISTO

SILVIO

A SHEPHERD

A HUNTER

Craig Colclough

David Walton *

Creative Team CONDUCTOR

Michael Christie Ruth and John Huss Chair

STAGE DIRECTOR

Peter Rothstein

SET AND LIGHTING DESIGN

Paul Whitaker

COSTUME DESIGN

Alice Fredrickson

WIG AND MAKEUP DESIGN

ASSISTANT DIRECTOR

David Radamés Toro *

ASSISTANT CONDUCTOR AND CONTINUO

Jonathan Brandani *

RÉPÉTITEURS

Jessica Hall * Lindsay Woodward *

PRODUCTION STAGE MANAGER

Kerry Masek

David Zimmerman

MINNESOTA OPERA RESIDENT ARTIST * RESIDENT ARTIST | ** FORMER RESIDENT ARTIST

ESTIMATED RUNNING TIME SEASON SPONSOR

Running time is approximately 2 hours and 33 minutes, including one 20-minute intermission. The intermission will occur approximately 73 minutes into the opera.

Critical edition by Leonardo J. Waisman; published by the Instituto Complutense de Ciencias Musicales (Madrid, Spain); used by permission. This production uses theatrical haze and strobe lighting effects. The appearances of Alek Shrader, grand prize winner; Leah Patridge, national semifinalist; and Alexandra Razskazoff and David Walton, regional finalists of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.

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Silvio pursues Endimione out of the forest, intent on harming him. Amore re-enters 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. The three men consider their options for escape.

— I N T E R M I SS I O N —

Costume Designs by Alice Fredrickson

The three nymphs, Britomarte, Clizia, and Cloe, observe Doristo resting. After they leave, Amore (Cupid) wakes him, and then hides. Doristo is startled to find himself by 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.

ABOUT THE OPERA

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Da Ponte would become a significant figure over the decade. Originally from Ceneda, Italy, he was born Jewish, but later converted to Catholicism (and was known as an abbé). Hardly virtuous, he later traveled to Venice and became a confidante of the legendary Giacomo Casanova. Chased out of “La Serenissima” for his sins, da Ponte found himself in Dresden where he worked alongside Caterino Mazzolà, who provided a recommendation to Salieri.

Once in Vienna, da Ponte eventually entered into in a contentious relationship with rival librettist, Giovanni Battista Casti. Da Ponte soon became highly in demand, causing Casti great angst, as both coveted the position of imperial poet after the legendary Metastasio’s death. Da Ponte would produce a total of 20 libretti for all of the major Viennese composers of the era, including three of the most famous for Mozart — Le nozze di Figaro, Don Giovanni, and Così fan tutte.

The sense of courtly love pervades the classical period in many works, in most cases as veiled sexuality or even eroticism.” Da Ponte was proud of his deep literary knowledge, and would occasionally display this precociousness with original compositions. Così has a complex pedigree, conflating several sources, and L’arbore di Diana is a complete fabrication developed from various Greek legends. Most notable is the goddess of the hunt and chastity Diana (in Greek, Artemis, twin sister of Apollo), meeting a slumbering shepherd, the handsome Endimione, and immediately falling in love. Another myth involves the deity bathing with her nymphs and being spotted by the hunter Actaeon. Angered by the invasion of privacy, she turns him into a stag, and he is ripped apart by his own dogs (perhaps they were greyhounds…). Diana joins the formidable sisterhood of vengeful goddesses, which includes Hera, Athena, and Vestia (another symbol of virginity). Several other character names are derived from mythology: Doristo, Silvio, and Britomarte. There is also the Rococo convention of the idealistic island of love, visibly known in Jean-Antoine Watteau’s painting, L'embarquement pour Cythère (Embarkation to Cythera), a fabled island set aside for lovers’ repose. The sense of courtly love pervades the classical period in many works, in most cases as veiled sexuality or even eroticism. The genre evolved from the early 18th-century “pastoral,” an intermezzo sandwiched between two acts of an opera seria (with different players), intended to provide comic relief. The pastoral incorporates bucolic figures such as shepherds, hunters, and nymphs under the watchful eyes of the gods, and is often set in magic gardens, grottos, and other remote, secret locales.

L’arbore di Diana was commissioned as a command performance on October 1, 1787 for Joseph’s sister, Maria Theresa, then on her wedding tour. The opera’s blatant promiscuity may have been somewhat inappropriate for such an austere event, but the opera became a huge success at the Burgtheater over the next few years (achieving even more performances than Una cosa rara) as well as elsewhere in Europe, and was revived several times throughout the decade. For one of these remountings, a new soprano from Ferrara, Adriana del Bene, took on the title role (“La Ferrarese” also later created Fiordiligi in Così fan tutte).

“

Martín’s simple, delicate vocal lines and careful orchestration make his operas worthy of restaging in the modern era.”

She rapidly became da Ponte’s lover, causing scandal and disruption in the ever-changing theatrical world. Both were dismissed, del Bene fleeing to Italy, and da Ponte traveling to London, where he would reconnect with Martín for two more operas. Da Ponte eventually settled in America, creating a school for Italian language and literature. Martín’s simple, delicate vocal lines and careful orchestration make his operas worthy of restaging in the modern era. Diana, first with her imperious seria “rage” aria, eventually melts to vulnerability; Amore, with his impish machinations, is offended by the mere idea of chastity; and Doristo’s down-to-earth nature fortells Mozart’s Papageno. All become memorable characters in an ensemble cast out on the chase. The winning team of Martín and da Ponte gracefully achieved their goals. DAVID SANDER Dramaturg

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The competition was stiff. Antonio Salieri held sway as court composer, but lesser known upstarts proved to be a challenge. Wolfgang Amadeus Mozart had enjoyed some achievement with a brilliant German opera, Die Entführung aus dem Serail. Neapolitan Giovanni Paisiello revived his Il barbiere di Siviglia (a subject later set by Gioachino Rossini) and produced a new opera Nina. And Spaniard Vicente Martín y Soler entered the scene with Il burbero di buon cuore, to a libretto by new-comer Lorenzo da Ponte.

“

These “Schools of Love and Marriage” had popular appeal to the Viennese public of the 1780s. Martín y Soler enjoyed enormous popularity with his three operas of the era (Una cosa rara in particular, the “rare thing” being a woman’s constancy), and Salieri did well with La grotta di Trofonio (to a libretto by Casti, about an enchanted grotto overseen by a magician who guides young paramours). It is not surprising that Mozart had a difficult time establishing himself with the politically volatile Figaro or the licentious story of Giovanni. He would have been especially galled when asked to compose two “replacement” arias for a substitute singer performing in a 1789 revival of Martin’s Cosa. Perhaps with sardonic humor the composer quoted an aria from Cosa in the second act of Don Giovanni. It is hardly surprising that he turned to Così fan tutte in 1790, a subject more in line with the pastoral genre that involved a confusion of young innamorati and commedia dell’arte disguises.

Photo credits from top to bottom: Allegory of Winter: Triumph of Diana | Francesco Albani (1578–1660) | Galleria Borghese, Rome | Scala/Ministero per i Beni e le Attività culturali/Art Resource, NY Diana and Cupid | Pompeo Batoni (1708–1787) | The Metropolitan Museum of Art, New York | Image copyright © The Metropolitan Museum of Art – Image source: Art Resource, NY

ienna’s Burgtheater was a hotbed of controversy and divisiveness in the 1780s. After his mother Empress Maria Theresa died in 1781, her son Joseph ii was in sole control of the country. That also included the court theater, in which he took an active role. By 1783, his dream of a German language national theater had failed, and he turned back to the Italian model preferred by his mother and grandfather, Charles vi. But the new emperor fashioned comedy rather than the traditional opera seria set by his predecessors. Instead he envisioned an opera buffa company that catered to his own tastes.

ABOUT THE OPERA

COMPOSER

DIRECTOR'S NOTES

Vicente Martín y Soler

Martín y Soler had additional premieres in Turin and Parma, where other Hapsburg and Bourbon relations were seated, and finally made it to Vienna in 1785. There he received commissions for three comic operas, which would define his fame — Il burbero di buon cuore (1786), Una cosa rara (1786), and L’arbore di Diana (Diana's Garden; 1787). Una cosa rara eclipsed the initial run of Mozart’s Le nozze di Figaro, and L’arbore became the most repeated work of the decade at the Burgtheater during Joseph ii’s regime. Lorenzo da Ponte was indebted to Martín for the launching of his career as a librettist (rather than Mozart, as many commonly believe). B. Valencia, May 2, 1754 D. Saint Petersburg, February 10, 1806

In 1788, Martín y Soler moved to a more lucrative position in Saint Petersburg.

poiler alert: Love conquers all. But since you purchased a ticket to a comic opera you may have suspected that, and one could certainly argue that the thrill is in the game, not in the final score.

▪

The subject for L'arbore di Diana (Diana’s Garden) is believed to have been chosen by its librettist Lorenzo da Ponte, who was writing three operas simultaneously. He dedicated his mornings to Vicente Martín y Soler's Diana, his afternoons to Salieri's Tarare, and his evenings to Wolfgang Amadeus Mozart's Don Giovanni. Clearly, gender politics and sexual repression were at the forefront of da Ponte's mind. With Diana, he chose the ancient goddess Diana for his heroine, but reinvented her in response to the Holy Roman Emperor Joseph ii's decision to outlaw contemplative monastic orders in 1780. While setting his opera inside a monastery of sorts, the presence of God is curiously absent. Diana's commitment to a life of chastity for herself, and in turn, her followers, is indeed fear-based, but is not aligned with any form of organized religion.

It is a joy to work on rarely produced operas, because in many ways it's very much like collaborating on a new work. One starts with an essentially blank canvas. You aren't forced to carry the baggage of previous productions and the expectations that come with that. It is also like working on a fascinating puzzle. You put the pieces together, trying to make sense of the composer and librettist's initial intent, and then translate those ideas for a contemporary audience.

“

[Diana] is surrounded by a physical reality and spiritual ideologies ... she must choose whether to adhere to or liberate herself from those realities.”

It is unclear whether the premiere production set the story in ancient times, reflecting the characters' roots in ancient mythology, or in contemporary dress, which would have been the late 18th century. Clearly, da Ponte's libretto has a foot in several worlds, and we have chosen to honor that dynamic in this production. Our production nods to ancient mythology, but the characters are dressed in mid-20th-century clothing. The 1950s was a decade of clearly defined gender roles and expectations, but we were on the cusp of a great sexual revolution. Our physical setting looks more like the late 19th century. Most of society's ethical standards are determined by previous generations and are either upheld or rejected by the current society. We felt that placing Diana in a space designed and furnished by her ancestors made sense. She is surrounded by a physical reality and spiritual ideologies that she has inherited — she must choose whether to adhere to or liberate herself from those realities. Will she perpetuate a life based on fear and repression? Or will she choose love? You guessed it, but I hope you enjoy the thrill of the game. PETER ROTHSTEIN Stage Director

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His music and reputation have been revived with care in the contemporary era ...”

Martín left the country in 1794, moving west to London where his fame had preceded him, and where da Ponte now resided. Together they created two more works, La scuola dei maritati and L’isola del piacere, the first of which achieved considerable success, the latter with less praise. He returned to Russia after that season to serve the new emperor, Paul i, and remained there, teaching and administrating the music academy, until his death in 1806. His music and reputation have been revived with care in the contemporary era, and he has been considered throughout history as “the Valencian Mozart” and Martini lo spagnuolo.

Pastoral Capriccio with the Arch. | Claude Lorrain (Claude Gellée) | Private Collection/Bridgeman Images

“

Domenico Cimarosa held the post of official court composer, but Martín enjoyed some success setting a comic opera to a Russian libretto by Empress Catherine the Great, Gore bogatyr Kosometovich, which mocked her adversary, Swedish King Gustave iii (later of Un ballo in maschera fame). He was appointed director of Russian opera for the next four years.

By NielsB at nl.wikipedia (Transferred from nl.wikipedia) [Public domain], from Wikimedia Commons

icente Martín y Soler was a leading composer in Vienna in the late 1780s, whose works rivaled those of Wolfgang Amadeus Mozart, then debuting his most mature and popular operas. Born in Valencia, Martín y Soler first worked for the future king, Charles iv. As the Spanish Bourbons were then closely connected to Naples, he later traveled there to serve the monarch’s brother, Ferdinand iv. The city was the center of musical development, and the queen of Naples, Maria Carolina, was the sister of Joseph ii, emperor of Austria. Martín later set roots in Venice in 1782, writing mostly comic operas and making further Viennese connections.

Michael Christie

conductor Michael Christie became music director of Minnesota Opera in September 2012. Before coming to Minnesota, he served as music director of the Phoenix Symphony (2005– 2013), the Brooklyn Philharmonic (2005–2010), the Queensland Orchestra (Brisbane, Australia; 2000–2004), and the Colorado Music Festival in Boulder (2000–2013).

Recent opera engagements have included productions with Opera Theatre of Saint Louis (Alice in Wonderland, The Ghosts of Versailles, and The Death of Klinghoffer), Wexford Festival Opera (Silent Night and The Ghosts of Versailles), Minnesota Opera (Das Rheingold, Roméo et Juliette, The Shining, Ariadne auf Naxos, and Rusalka, among others), and Aspen Opera Theatre (The Ghosts of Versailles and West Side Story). He has also conducted at Opéra de Montréal and Opera Philadelphia (Silent Night) and Lyric Opera of Chicago (Rising Stars). He made his San Francisco Opera debut with the world premiere of The Gospel of Mary Magdalene, and in 2017, he continues his symphonic conducting activities as well as making debuts at Washington National Opera (Dead Man Walking) and at Santa Fe Opera, leading the world premiere of The (R)evolution of Steve Jobs.

Alice Fredrickson

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costume design Alice is a Minneapolisbased costume designer. Her recent credits include Gypsy, Sweeney Todd: The Demon Barber of Fleet Street, and Oliver! for Theater Latté Da; Brand for Commonweal Theatre; Next to Normal for Weathervane Theater; and Three Sisters for Nightpath Theatre, as well as productions in Chicago and New Hampshire.

Alice also serves as a costume design assistant for the Guthrie Theater, where she most recently worked on Disgraced, The Parchman Hour, and The Lion in Winter. Originally from Oklahoma City, Alice is a graduate of Knox College.

THE ARTISTS Craig Colclough

doristo Bass-baritone Craig Colclough began his career at the Los Angeles Opera. After two seasons appearing with the company in various roles, Mr. Colclough joined Florida Grand Opera’s Young Artist Studio, and in 2012, became a Filene Young Artist at the Wolf Trap Opera Company.

The autumn of 2016 found Craig Colclough’s return to London for Scarpia in Tosca with English National Opera, a role which serves as his debut at Canadian Opera Company later in the season. He spends the summer singing the title role in Verdi’s Falstaff with Opera Saratoga. Future seasons include engagements with Royal Opera – Covent Garden, Dallas Opera, and Opera Vlaanderen (Antwerp). Last season, Mr. Colclough’s performances included appearances as the title role in Falstaff for Arizona Opera, Timur in Turandot with the Simon Bolivar Symphony Orchestra of Venezuela, his role debut of Kurwenal in Tristan und Isolde with English National Opera, Simone in Gianni Schicchi for Los Angeles Opera, and Dottore Grenvil in La traviata with the Los Angeles Philharmonic.

Leah Partridge

diana Soprano Leah Partridge has received consistent praise worldwide for her intelligent and compelling interpretations of opera’s most beloved heroines. Opera Magazine praised her for her “clarity, accuracy, and poise,” and the Detroit Free Press has hailed her for her “lovely presence and shining voice.” Since making her debut in 2003 in the title role of Lucia di Lammermoor, she has had a career full of remarkable milestones and has performed more than 40 leading roles.

In the 2016–2017 season, Ms. Partridge performs Miss Havisham’s Wedding Night with nyc’s Onsite Opera and Mimì in La bohème with Opera Omaha, returning for its Opera Outdoors concert series. She will also make her debut in Palermo, reprising the role of Helena in A Midsummer Night’s Dream. Her Metropolitan Opera debut came in 2008 as the First Niece in Peter Grimes followed by several return engagements. She has also performed at Deutsche Oper Berlin, Vlaamse Oper, Teatro Colón, Palau de les Artes, Opera Philadelphia, Maggio Musicale, Teatro Carlo Felice di Genova, Washington National Opera, Seattle Opera, and Dresden Semper Oper, among many others. Ms. Partridge is a professor of voice at Kennesaw State University in Atlanta.

Nadia Fayad

cloe Mezzo-soprano Nadia Fayad is quickly gaining recognition for her rich and earthy sound, with expressive musicality in her lower register. This upcoming summer, she will be an apprentice artist at Des Moines Metro Opera covering the roles of Maria in Maria de Buenos Aires and Charlotte in A Little Night Music. She was recently an apprentice with Santa Fe Opera, where she covered the role of the Baroness in Vanessa and sang in Roméo et Juliette. In 2015, Ms. Fayad was a studio artist with Wolf Trap Opera, appearing as the Woman with Hat in The Ghosts of Versailles and La Zia in Madame Butterfly.

Nadia recently received a Master of Music from Rice University, where she performed Hänsel in Hänsel und Gretel, Melantho in Il ritorno d’Ulisse in patria, and Hippolyta in A Midsummer Night’s Dream. She received her bachelor’s degree at the Eastman School of Music, where she sang the roles of Madame de Croissy in Dialogues des Carmélites, Mrs. Jones in Street Scene, and Medoro in Orlando. At Minnesota Opera this season, Nadia sings Gertrude in Roméo et Juliette, Flosshilde in Das Rheingold, and Tina in Dinner at Eight. MINNESOTA OPERA RESIDENT ARTIST

Gina Perregrino

clizia Mezzo-soprano Gina Perregrino made her debut with Minnesota Opera this season as Stéphano in Romeo and Juliet. This summer she will be joining Central City Opera as an apprentice artist, where she will sing a performance of the title role in Carmen.

Most recently, she sang Maddalena in Rigoletto with Querido Arte at the Teatro Nacional. The production was recorded and aired on Univision TeleOncetv. In 2016, Ms. Perregrino was a Gerdine Young Artist with Opera Theatre of Saint Louis, where she performed the role of the Blindwoman in the world premiere of Shalimar the Clown. In the 2015–2016 season, Ms. Perregrino was the grand prize winner of the Metropolitan International Vocal Competition, where she sang the Brahms’ Songs with Viola at Lincoln Center. At Minnesota Opera this season, Ms. Perregrino also covers Amore in Diana’s Garden, Wellgunde in Das Rheingold, and Lucy Talbot in Dinner at Eight. She is a graduate of Manhattan School of Music, where she earned both a bachelor’s and master’s degree. There she starred as the Marquise de Merteuil in the contemporary opera Dangerous Liaisons to critical acclaim. MINNESOTA OPERA RESIDENT ARTIST

Alexandra Razskazoff

britomarte 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 Dialogues des Carmélites, Donna Elvira in Don Giovanni, Abigail Williams in Robert Ward’s The Crucible, and L’Écureuil in 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. MINNESOTA OPERA RESIDENT ARTIST

David Walton

silvio Tenor David Walton has made numerous appearances across the country including at Minnesota Opera. As Tybalt in Roméo et Juliette, he was described as “the production’s only good villain ... a tightly coiled ball of restless anger” (Pioneer Press). In The Shining as Delbert Grady, Opera News praised him as “equally chilling in his casual charm and suavity." Other roles include Brighella in Ariadne auf Naxos, Spoletta in Tosca, and Tamino in The Magic Flute.

This past summer, Mr. Walton made his Glimmerglass debut as Parpignol in La bohème and sang the role of Alberto in L'occasione fa il ladro, covered Reverend Parris in The Crucible, was a soloist Rossini’s Stabat mater, and played Frederic in a scene from The Pirates of Penzance for Justice Ruth Bader Ginsburg. At Opera Theatre of Saint Louis, he has sung the Student in La rondine, Belmonte in Die Entführung aus dem Serail with the Saint Louis Symphony, and covered Matthew Gurney in Emmeline. David was a regional finalist in Metropolitan Opera National Council Auditions in 2015. Upcoming engagements include performing Ernesto in Brava! Opera Theater’s Don Pasquale. MINNESOTA OPERA RESIDENT ARTIST

Peter Rothstein

stage director Peter works extensively as a director of theater, musicaltheater, opera, and new work development. He is the Founding Artistic Director of Theater Latté Da, a Twin Cities-based company dedicated to new and adventurous music-theater. Since the company’s inception in 1992, Peter has directed 55 mainstage productions, including 10 world premieres and 12 area premieres. In 2012, the company launched next, a major new works initiative for the development of new music-theater.

Directing highlights include a long relationship with Minnesota Opera, most recently with Così fan tutte; Choir Boy, Other Desert Cities, M. Butterfly, and Private Lives for the Guthrie Theater; productions of Peter Pan, Shrek, Annie, and the world premiere of Disney’s High School Musical for the Children’s Theatre Company; Romeo and Juliet, Doubt, and Once On This Island for Ten Thousand Things; Guys and Dolls and Oklahoma! for Seattle’s 5th Avenue Theatre; and award-winning productions of Sweeney Todd, Cabaret, Spring Awakening, La bohème, and Old Wicked Songs for Theater Latté Da. Peter was named the 2015 Minnesota Artist of the Year by the Star Tribune.

Paul Whitaker

set and lighting design New York credits include work at The Public Theater, mcc Theater, Playwrights Horizons, Second Stage Theatre, Atlantic Theater Company, The Play Company, Ma-Yi Theater Company, the labyrinth Theater Company, Intar Theatre, the Mint Theater Company, among others. Regional credits include the Guthrie Theater, Children’s Theatre Company, Yale Repertory Theatre, the Geffen, South Coast Repertory, La Jolla Playhouse, Long Wharf Theatre, Alley Theatre, Huntington Theatre Company, Center Stage, Hartford Stage, Dallas Theater Center, George Street Playhouse, and Two River Theater, among others. Paul is a graduate of Macalester College and the Yale School of Drama. He is a Senior Lighting Designer/Senior Theatre Consultant for Schuler Shook. PAULWHITAKERDESIGNS.COM

Alek Shrader

endimione The brilliant lyric tenor Alek Shrader continues to impress audiences with the “luxury of his phrasing, the clarity of his diction, and the sensitivity and expressiveness of his characterizations.” Mr. Shrader makes several debuts in the 2016–2017 season, including at Wigmore Hall, and with Opera de Oviedo as Ferrando in Così fan tutte. He then returns to Arizona Opera for performances of Don Ramiro in La Cenerentola and to Santa Fe Opera to sing Oronte in Alcina. Future projects include returns to San Francisco Opera, Santa Fe Opera, Seattle Opera, and Opera de Oviedo.

Mr. Shrader’s 2015–2016 season included Alfredo in La traviata with Opera Philadelphia, David in Die Meistersinger von Nürnberg for San Francisco Opera, Count Almaviva in Il barbiere di Siviglia at Baltimore Lyric Opera, and Tom Rakewell in The Rake’s Progress with the Pittsburgh Opera. Prior to that, Mr. Shrader performed the role of Emilio in Partenope at the San Francisco Opera, followed by a return to the Metropolitan Opera for Camille in a new production of The Merry Widow.

Adriana Zabala

amore Mezzo-soprano Adriana Zabala has been praised by The Wall Street Journal as showing “tremendous stamina and boy-like flair,” by The New York Times as “a vivid, fearless presence,” and by the L.A. Times as “extraordinary.” She has been seen with Seattle Opera, Florentine Opera, Minnesota Opera (The Manchurian Candidate, Les contes d’Hoffmann, Pinocchio), Wolf Trap Opera, Arizona Opera, Opera Saratoga, Minnesota Orchestra, the Mormon Tabernacle Choir, the Jacksonville Symphony, the Virginia Symphony, the Madison Symphony, the New York Festival of Song, and at the Caramoor International Music Festival, among others.

Last season included returns to Arizona Opera as Paula in Florencia en el Amazonas and to the New Jersey Symphony for Handel’s Messiah. She also recently performed Nicklausse in Hoffmann and, in the 2016–2017 season, Zabala sings the title role in Sister Carrie with Florentine Opera and later returns to Minnesota as Lucy Talbot in Dinner at Eight. In 2017–2018, she appears as the Komponist in Ariadne auf Naxos with Berkshire Opera, and in a world premiere of Gerald Cohen's Steal a Pencil for Me with Opera Colorado, and Florencia in San Diego and Madison. FORMER MINNESOTA OPERA RESIDENT ARTIST

| DIANA'S GARDEN

THE ARTISTS

MEET THE ARTIST

MINNESOTA OPERA ORCHESTRA VIOLIN I

BASS

Allison Ostrander *

John Michael Smith *

Concertmaster Cynthia and Lawrence Lee Chair

Julia Persitz

Assistant Concertmaster

| MINNESOTA OPERA mnopera.org

Do you tweet? Post on Facebook? Instagram your entire life? Join us on Thursday, March 9, 6:30 pm for

FLUTE

David Mickens

Michele Frisch *

Angela Hanson

Amy Morris

Heidi Amundson Conor O’Brien Jill Olson Connor McGuire

VIOLIN II Laurie Petroconis * Elizabeth Decker Stephan Orsak Melinda Marshall Margaret Humphrey Elise Parker

VIOLA David Auerbach *

Nina and John• Archabal Chair

Emily Hagen

OBOE Michael Dayton * Jeffrey Marshak

CLARINET Karrin Meffert-Nelson * Nina Olsen

BASSOON Coreen Nordling * Laurie Hatcher Merz

HORN Timothy Bradley * Charles Hodgson

Laurel Browne Jenny Lind Nilsson

CELLO

DINNER AT EIGHT SOCIAL MEDIA PREVIEW NIGHT

Sally Gibson Dorer *

Get a behind-the-scenes look at the final dress rehearsal for Dinner at Eight.

Kirsten Whitson

Connie and Lew Remele Chair

Rebecca Arons

TRUMPET John G. Koopmann * Christopher Volpe

TIMPANI Kory Andry *

Dale Newton

HARPSICHORD

Inside the theater, using your phone, taking photos, and sketching are encouraged! Event is free, but please apply at mnopera.org/preview.

Jonathan Brandani * principal •in memoriam

SHOW US YOUR MN OPERA STYLE

#DINNERATEIGHT @MNOPERA

F L X : I I

Leah Partridge

SUPERNUMERARIES Kevin Klein

What are some of the joys and challenges of performing Diana? This role by Martín y Soler is refreshing. Diana is a hilariously conflicted character. She's kind of all over the place emotionally and vocally. This is tons of fun as an actress, but the vocal writing is sometimes treacherous. There are huge intervallic leaps and often she stays in the higher range for long periods during ensemble passages. There is also a considerably large amount of recitative which is like speech. It's in Italian so it's a lot to learn and remember! Describe Diana in three words … Sexy. Frustrated. Goddess.

Thomas Lorendo Amy Sirivie

2016–2017 Season

Diana’s Garden had fallen out of the repertoire for many years. Why are you excited it’s been rediscovered? I was recently performing in Valencia, Spain, where Martín y Soler is from and people I spoke with there really cherish this composer.

Everyone was familiar with L'arbore di Diana, and when I went to the local classical music store, there were many other scores of his operas. He's quite a celebrity in that country! I think the music is charming and, while he isn't Mozart per se, he certainly picked up on all the charm Mozart was capable of and also wrote some gorgeous melodic lines. I'm also excited about this piece because it uses a libretto by Mozart’s favorite librettist, Lorenzo da Ponte, which led to Le nozze di Figaro, Don Giovanni, and Così fan tutte. It's a fun and well-paced libretto, and a truly enchanting story about being willing and unafraid to love. Are there any themes or underlying elements in the story that you think will resonate with today’s audience? Diana is afraid of love and ultimately takes the risk of allowing it to happen. It's a beautiful metaphor for all of us in how to take a leap, do something different, and allow love to change our lives.

Are you enjoying your time in Minnesota? What are your favorite winter activities? I love Minneapolis but have only been here in the summer months. Growing up in Georgia means that I am very limited with winter activity knowledge! However, my partner and I are planning to delve into ice fishing while I am here. I am also interested in seeing snow after such a long period of time. I hope to learn to dress appropriately too. You’re an Assistant Professor of Voice at Kennesaw State University. What is the best piece of advice you give to your students? Have an opinion about every note or word that comes out of you. Never be boring. Have something to say. Life is too short for the generic.

▪

Leah Partridge's biography appears on page 14.

| DIANA'S GARDEN

SOCIAL MEDIA PREVIEW NIGHT

Constance Martin

UPCOMING EVENTS

OPERA EDUCATION

Diana’s Garden Live Broadcast

Behind the Curtain: Dinner at Eight

Dinner at Eight

Classical Minnesota Public Radio broadcasts Minnesota Opera’s production of Vicente Martín y Soler’s Diana’s Garden, which features Leah Partridge, Adriana Zabala, Craig Colclough, Alek Shrader, and David Walton. Michael Christie conducts.

At the historic Minnesota Opera Center, get the inside scoop on Dinner at Eight as President and General Director Ryan Taylor and members of the cast and creative team lead discussions exploring the music, history, and design of the opera.

Manhattan socialite Millicent Jordan plans the perfect dinner party, but as her guests arrive, business intrigues and romantic entanglements are brought to light in this dark comedy. Dinner at Eight is a winning new work that charmingly weds American musical theater and opera.

JAN. 26, 7:30 pm

MAR. 1, 7 pm

MNOPERA.ORG/BTC

MNOPERA.ORG/LISTEN

THE IMPACT OF OPERA EDUCATION

MAR. 11–19

Music Makes Us Whole is an advocacy initiative made up of several dozen Minnesota arts organizations, schools, and companies that believe every child deserves a rich music education. Find out how you can be an advocate for music education by going to musicmakesuswhole.org.

Minnesota Opera is dedicated to provide exceptional music education opportunities for students across the state. The impact of Project Opera, the Minnesota Opera’s vocal training program for teens, is felt in many ways. Here is one example from Miranda Kettlewell, a participant of Project Opera for many years.

MNOPERA.ORG/DINNER-AT-EIGHT

Dinner at Eight at the Trylon FEB. 10–12

Join us at the Trylon Theater for a screening of the motion picture, Dinner at Eight, starring Marie Dressler and John Barrymore, and based on the original play by George S. Kaufman and Edna Ferber.

Trylon Microcinema – 3258 Minnehaha Ave., Minneapolis

Ariadne auf Naxos Broadcast MAR. 8, 8 pm

Classical Minnesota Public Radio broadcasts Minnesota Opera’s 2015 production of Richard Strauss’ Ariadne auf Naxos, which features Amber Wagner, Brian Jagde, Hanna Hipp, Erin Morley, and Dale Travis. Michael Christie conducts. MNOPERA.ORG/LISTEN

TRYLON.ORG

Taste of Opera: Dinner at Eight MAR. 18, 5:30 pm

“I am currently a freshman undergraduate at University of Wisconsin – Madison, where I am studying vocal performance, business, and French. This past fall, I performed in the university’s production of Falstaff, and felt very prepared for the whole process from my time with the program. Project Opera gave me the confidence to pursue a professional career in voice, gave me the skills to work well with my colleagues, improved my technical skills and musicality, and helped me understand how the world of performing arts works.”

Enhance your opera-going experience with a delicious pre-show dinner at The Saint Paul Hotel and casual conversation with the experts of Dinner at Eight. Leave the logistics to us and enjoy an all-inclusive evening out at the opera. For more information, call Brian at 612-342-9563. The Saint Paul Hotel – 350 Market St., Saint Paul MNOPERA.ORG/TASTE

FEB. 14, 6 pm

Enjoy a supper club experience at the revered Dakota Jazz Club including romantic music from the 1930s and 1940s — music that channels the cultural context of William Bolcom and Mark Campbell’s new opera Dinner at Eight. Call 612-332-5299 or book online.

MAR. 9, 6:30 pm

Minnesota Opera allows a pre-screened group of press members, bloggers, and social media influencers to attend the Dinner at Eight final dress rehearsal at the Ordway. We encourage live tweeting, blogging, note-taking, and illustrating. MNOPERA.ORG/PREVIEW

The Dakota – 1010 Nicollet Mall, Minneapolis

APR. 8

Join the fun! Step back in time with the Resident Artists to the 1940s and experience the entertainment that supported our troops. The event supports the Resident Artist Program and will be an evening to remember.

Metropolitan Ballroom – 5418 Wayzata Blvd., Minneapolis

Opera Insights; Dinner at Eight

DAKOTACOOKS.COM

Resident Artist Cabaret

MNOPERA.ORG/CABARET

MAR. 11–19

Tempo Happy Hour + Behind the Curtain MAR. 1, 5 pm

Join Tempo members for cocktails and nosh at Parlour Bar in the North Loop before heading to the opera center for Behind the Curtain: Dinner at Eight. All are welcome.

Come early and enjoy free, fun, and informative half-hour sessions, hosted by Minnesota Opera artistic staff in Ordway’s mezzanine lobby one hour prior to each performance. Join us for Opera Insights and get an overview of the characters and music, historical and cultural context for the opera, and highlights to watch for during the show.

Behind the Curtain: La Bohème APR. 19, 7 pm

At the historic Minnesota Opera Center, get the inside scoop on La Bohème as musicologist Peter Mercer-Taylor and members of the cast and creative team lead discussions exploring the music, history, and design of the opera.

| MINNESOTA OPERA mnopera.org

MNOPERA.ORG/BTC

The Nightingale, based on Hans Christian Andersen’s fairytale, celebrates the natural over the artificial and the power of song over death. Sung in English with English captions projected above the stage.

FEBRUARY 10 –11, 2017 THE LAB THEATER 700 NORTH FIRST STREET MINNEAPOLIS, MN 55401

Imant Raminsh, music James Tucker, libretto

Matthew Abernathy, music director Heidi Spesard-Noble, stage director

PERFORMANCES: Friday, February 10 at 6pm and 8pm Saturday, February 11 at 1pm and 3pm TICKETS: $15 Adults $5 Students (available by phone only)

PLAYWORKS

Opera on the playground? You bet! Minnesota Opera and PlayWorks teamed up to play with students from Forest Elementary School in Robbinsdale. After learning and listening to excerpts from The Barber of Seville and “The Flight of the Valkyries” from Die Walküre, students and artists played games based on both operas’ themes.

PlayWorks is a non-profit organization that believes recess and play can unlock our kids’ superpowers. Photos 1 and 2: Resident Artist Tommy Glass getting in on the fun with kindergarteners. 1

PROJECT OPERA PRESENTS THE NIGHTINGALE 2

MUSIC DIRECTOR Matthew Abernathy | STAGE DIRECTOR Heidi Spesard-Noble

Project Opera is proud to perform The Nightingale, with music by Imant Raminsh. The piece, based on Hans Christian Andersen’s fairy tale, celebrates the natural over the artificial and the power of song over death. All performers on stage and in the pit are teen musicians from the Twin Cities and beyond, who meet most Saturdays over the course of the school year to learn about opera. The beautiful and lush score is perfect for opera-goers of all ages. Photos 3 and 4: Staging rehearsals for The Nightingale.

TO LEARN MORE ABOUT THE NIGHTINGALE AND TO PURCHASE TICKETS, CALL THE MINNESOTA OPERA TICKET OFFICE AT 612-333-6669, M-F, 10 AM–5 PM, OR VISIT MNOPERA.ORG/THE-NIGHTINGALE.

| DIANA'S GARDEN

A Valentine’s Dinner at The Dakota

Social Media Preview Night

MINNESOTA OPERA IS REIMAGINING ITS FUTURE THROUGH THE INNOVATE NOW INITIATIVE Nurture the next generation of programming and industry professionals. Optimize infrastructure, facilities, and operations for a stronger, sustainable future. Welcome new communities and audiences through innovation, access, and engagement. Through projects funded by Innovate NOW, Minnesota Opera will expand its reach in schools, develop the next generation of opera artists, reach new audiences as it produces original new works through 2020, and build a platform to sustain growth. These projects include programming beyond the walls of the Ordway; enriching the Resident Artist Program; advancing diversity, equity, and inclusivity within the opera field; developing a creative aging Voices of Opera choral program for seniors; and increasing functionality, safety, and accessibility of the Opera Center for staff and artisans. NOW is the time to seize crucial opportunities to ensure a healthy and vibrant new future for Minnesota Opera, the art form, and the community.

Our Gratitude to Recent Supporters of Innovate NOW

2016 © ChristineP hotography

Through many inspiring and passionate leaders, Minnesota Opera has received generous and enthusiastic commitments of comprehensive support.

JOIN TEMPO, OUR YOUNG PROFESSIONALS GROUP!

$250,000 and above Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson C. Angus and Margaret Wurtele

and interested in experiencing opera, meeting new people, and receiving

professionals group and enjoy a steep discount on the hottest tickets in town. To learn more about Tempo and to purchase your membership, visit mnopera.org , M–F, am– pm.

Are you

$100,000 to $249,999 Anonymous (2) Mary Ingebrand-Pohlad Foundation John and Kathleen Junek Mary Vaughan $50,000 to $99,999 Anonymous Katherine B. Andersen Fund of The Saint Paul Foundation Mary and Gus Blanchard Jane M. and Ogden W. Confer Sara and Jock Donaldson Leni and David Moore Jr. Jesse and Linda Singh H. Bernt von Ohlen and W. Thomas Nichol William White

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The Shining, 2016 © Ken Howard

$25,000 to $49,999 Anonymous Richard Allendorf Nina and John* Archabal Aroha Philanthropies Jay and Rebecca Debertin Miriam and Erwin Kelen Robert L. Lee and Mary E. Schaffner Cynthia and Lawrence Lee Mardag Foundation Harvey Thomas McLain Mary Bigelow McMillan Kay Ness Jose Peris and Diana Gulden Elizabeth Redleaf Jennifer and Chris Romans Mary H. and Christian G. Schrock David Strauss

$15,000 to $24,999 Anonymous (2) Mary Ash Lazarus and Barry Lazarus Maureen and Mike Harms Sharon Hawkins Chris Larsen and Scott Peterson Mike and Meena McNamara Albin and Susan Nelson Connie and Lew Remele Don and Patricia Romanaggi Nadege J. Souvenir and Joshua A. Dorothy Virginia L. and Edward C. Stringer Up to $15,000 Anonymous (11) Matthew Abernathy Joy K. and J.C. Amel Jamie Andrews and Jane Kolp-Andrews Karl Annable Karen Bachman Kristin Backman Donald E. Benson Eric Broker Katherine L. Castille Michael and Alexis Christie Barb and Jeff Couture Max Gilbert Mr. and Mrs. Philip Isaacson Patricia Johnson and Kai Bjerkness Dale A. Johnson Rocky Jones Robert and Sandy Klas Diana Konopka Robert and Venetia Kudrle Nate Kulenkamp Christl and Andrew Larson Darby Lunceford and Todd Wright Kerry A. Masek Kristin and Jim Matejcek Steven J. Mittelholtz Theresa, Jim and Nicole Murray Karen Quisenberry Mallory Roberts Emily Rosenmeier Nickolas Sanches David E. Sander Dan Sassenberg Kate Saumur Carley and Bill Stuber Ryan Taylor Jennifer Thill Sondra and Eric Veldey *In remembrance

To learn more, visit mnopera.org/innovate-now We look forward to sharing our story with many more friends this spring.

DINNER AT EIGHT PREVIEW

“

The potent combination of Bolcom’s edgy style that embraces both American music theater and the thorniest of contemporary music composition with Campbell’s clear and funny writing will have you both laughing and crying.”

hat an honor it is to present the world premiere of Dinner at Eight by composer William Bolcom and librettist Mark Campbell. It is very exciting to present a world premiere of a comic opera, which doesn’t happen very often. These days we tend to present dramatic opera and shy away from comedies, sometimes because they are very difficult to do well. If you look back over the 400year history of opera, we see a handful of standout comic operas scattered throughout. Mozart, Donizetti, and Rossini seem to be gifted with the right touch for comedy. Think of The Marriage of Figaro, The Elixir of Love, and The Barber of Seville — these are all effortless and beautifully structured comedies. Perhaps those composers were closer to the commedia dell’arte form of theater, which offered certain types of stock characters in stock situations. Even the great Verdi didn’t write a satisfactory comedy until his final work Falstaff. Wagner also wrote in the form, but rarely. His Die Mesitersinger von Nürnberg was a masterpiece of comic libretto and form. Moving into the 20th century, the comic opera form was rarely used. That is what is so unusual about what Mr. Bolcom and Mr. Campbell have created — it’s a return to the comic genre. Dinner at Eight is based on the 1933 play by George S. Kaufman and Edna Ferber that was written at the height of the Great Depression. The plot deals with the Jordan family, who are

World Premiere planning a society dinner, as well as their various friends and acquaintances — all of whom have their own problems and ambitions. Naturally, comedy ensues as they all prepare for their evening together. At the same time, however, the Great Depression hangs over the play like a dark cloud. It seems the characters, especially Millicent Jordan, seem to want to shut out the pain and suffering, or to ignore it. It is the combination of darkness and lightness that drew Bolcom and Campbell to this project, and ultimately, what makes it a uniquely winning new work. The potent combination of Bolcom’s edgy style that embraces both American music theater and the thorniest of contemporary music composition with Campbell’s clear and funny writing will have you both laughing and crying.

You’re invited.

March 11–19

Music by WILLIAM BOLCOM Libretto by MARK CAMPBELL Based on the play by GEORGE S. KAUFMAN and EDNA FERBER

Dinner at Eight is co-produced with the Wexford Festival and the Atlanta Opera, and features the Minnesota Opera debuts of stage director Tomer Zvulun, sopranos Mary Dunleavy and Susannah Biller, baritone Andrew Garland, and others. I am sure you will enjoy this wonderful addition to the list of world premieres from Minnesota Opera.

Puccini

DALE JOHNSON Artistic Director

As timeless as love itself.

| DIANA'S GARDEN

Best seats and best prices on May 13, 16, 18, and 21.

Set design by Alexander Dodge

| MINNESOTA OPERA mnopera.org

May 6–21

STAFF, BOARD, AND VOLUNTEERS MINNESOTA OPERA STAFF

OFFICERS

ADMINISTRATION

Chair | Margaret Wurtele

President and General Director | Ryan Taylor

Director of Board Relations | Theresa Murray

Vice Chair | H. Bernt von Ohlen

Finance Director | Jeff Couture

Secretary | Nadege Souvenir

Human Resources Director | Jen Thill

Assistant to the Production Director | Julia Gallagher

Treasurer | John C. Junek

Facility Manager | Steve Mittelholtz

Production Assistant | Lorely Dedrick

DIRECTORS Cynthia Y. Lee Mike McNamara Albin “Jim” Nelson Kay Ness Jose Peris Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Mary H. Schrock Linda Roberts Singh Nadege Souvenir David Strauss Virginia Stringer Ryan Taylor H. Bernt von Ohlen William White Margaret Wurtele

EMERITI

Finance Associate | Dylan Howell

Properties Master | Jenn Maatman

Music Director | Michael Christie Artistic Administrator | Roxanne Stouffer

Lighting and Video Coordinator | Raymond W. Steveson Jr.

Artist Relations and Planning Director | Floyd Anderson

Scene Shop Foreman | Larry Kline

Resident Artists | Jonathan Brandani, William Lee Bryan, Christopher Colmenero, Nadia Fayad, Thomas Glass, Jessica Hall, Mary Evelyn Hangley, Gina Perregrino, Alexandra Razskazoff, Benjamin Sieverding, David Radamés Toro, David Walton, Lindsay Woodward Principal Coach | Laurie Rogers

Dominick Argento

Dolly Fiterman

Philip Brunelle

Liz Kochiras

Costume Director | Corinna Bohren Assistant Costume Director | Beth Sanders Drapers | Chris Bur, Emily Rosenmeier

Wardrobe Supervisor | Beth Sanders

Project Opera Accompanist | Kathy Kraulik

Assistant Wardrobe Supervisor | Molly O’Gara

Music Out Loud Teaching Artist | Sara Sawyer

Hair/Makeup Supervisor | Priscilla Bruce

DEVELOPMENT

and I N T E G R I T Y S I N C E 1 9 7 0

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JENNIFER@CATESFINEHOMES.COM

Stitchers | Aaron Chvatal, Ann Habermann, Sara Huebschen, Rachel Oestreich

Project Opera Music Director | Matthew Abernathy

Director of Development, Operations and Community Giving | Dan Sassenberg

Moss & Barnett

Director of Development, Leadership and Institutional Giving | Mallory Roberts Institutional Gifts Manager | Diana Konopka Events Manager | Anthony Diaz Development Associate | Nickolas Sanches

TEMPO BOARD MEMBERS OFFICERS

Development Operations Coordinator | Jonathan Lundgren

MARKETING/COMMUNICATIONS

Chair | Rhonda Skoby

| MINNESOTA OPERA mnopera.org

BUILDING WITH QUALITY

COSTUMES

Hair/Makeup Crew | Corrie Dubay

Chief Development Officer | Carley Stuber

LEGAL COUNSEL

Audience Development Chair | Brian Halaas Programming Co-chair | Thomas Bakken

Chief Marketing Officer | Darby Lunceford Marketing Director | Katherine L. Castille

Programming Co-chair | Kara Eliason

Marketing and Communications Associate | Kate Saumur

Staff Liaisons | Kristin Matejcek, Eric Broker

Audience Engagement Manager | Kristin Matejcek

Secretary | Aimee Tritt

Design Manager | Kristin Backman

Social Media Specialist | Jana Sackmeister

Communications Manager | Eric Broker

MEMBERS

Audience Services Manager | Kevin Beckey

Brad Benoit Liz Brenner Kamruz Darabi Emily Engel Mark Giga

Carpenter | Max Gilbert

First Hands | Helen Ammann, Katrina Benedict, Rebecca Karstad

Community Education Director | Jamie Andrews

March 18-19 lyrabaroque.org

Scenic Painter | Samantha Johns

EDUCATION Teaching Artist | Alisa Magallón

of Christ

Master Carpenters | Nate Kulenkamp, Eric Veldey

Tailor | Yancey Thrift

Mary W. Vaughan

The Passion

Production Carpenter | JC Amel

Master Coaches | Lara Bolton, Mary Jo Gothmann, Eric McEnaney, Jenya Trubnikava

Julia W. Dayton

orchestra

Jacques Ogg, Artistic Director

SCENERY

Artistic Director | Dale Johnson

John A. Blanchard III

HONORARY DIRECTORS

Production Stage Manager | Kerry Masek Assistant Stage Managers | Jamie K. Fuller, Hannah Holthaus

Technical Director | Mike McQuiston

Dramaturg | David Sander

baroque

Production Director | Karen Quisenberry

ARTISTIC

Karen Bachman Burton Cohen

PRODUCTION

Web and Digital Associate | Rocky Jones Laura Green Chaffee Sarah Fowler Veronica Mason Julia Wilcox

Associate Audience Services Manager | Karl Annable Audience Services Coordinator | Brian Johnson-Weyl Phone Room / Performance Supervisor | Trevor Schaeffer Audience Services Representatives | Carol Corich, Madeleine Hallberg, Evan Martinak, Charlotte Summers

MINNESOTA OPERA VOLUNTEERS The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnopera.org/volunteer, or email volunteering@mnopera.org for more information. Lynne Beck Gerald Benson Debra Brooks Jerry Cassidy Judith Duncan Jane Fuller Joan Gacki Merle Hanson Robin Keck Mary Lach Jerry Lillquist Joyce Lillquist Melanie Locke

Suzan Lynnes Mary McDiarmid Barbara Moore Douglas Myhra Candyce Osterkamp Pat Panshin Sydney Phillips Kari Schutz Janet Skidmore Wendi Sott Stephanie Van D’Elden Barbara Willis

Minnesota Opera is a proud member of The Arts Partnership with Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra, and The Schubert Club.

| DIANA'S GARDEN

Richard Allendorf Patricia Beithon Karen Brooks Jane M. Confer Jay Debertin Sara Donaldson Sidney W. Emery Maureen Harms Sharon Hawkins Ruth S. Huss Mary IngebrandPohlad Philip Isaacson J Jackson James E. Johnson John C. Junek Christl Larson Mary Lazarus

The

BOARD OF DIRECTORS

It is with deep appreciation that Minnesota Opera recognizes individual donors who have made gifts to our Annual Fund, Fund-a-Dream, and Opera Innovate NOW campaigns. Thank you for making this exceptional art come to life.

artist circle (continued)

bel canto circle

patron circle

Platinum $50,000 and above Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Mary Ingebrand-Pohlad Lucy Rosenberry Jones and James E. Johnson C. Angus and Margaret Wurtele Wayne Zink and Christopher Schout Platinum $20,000 – $49,999 Richard Allendorf Mary and Gus Blanchard Sara and Jock Donaldson

camerata circle Platinum $7,500 – $9,999 Anonymous Allegro Fund of the Saint Paul Foundation Karen Bachman Alfred and Ingrid Lenz Harrison Miriam and Erwin Kelen Christl and Andrew Larson Mike and Meena McNamara Connie and Lew Remele

Gold $5,000 – $7,499 Nina and John* Archabal Martha and Bruce Atwater Fund of The Minneapolis Foundation Donald E. Benson William Biermaier and David Hanson Kenneth and Peggy Bonneville Dr. Lee Borah Jr.* Nicky B. Carpenter Peter Davis and Pamela Webster Norton Hintz* and Mary Abbe Dorothy Horns and James Richardson Jay and Cynthia Ihlenfeld Patricia Johnson and Kai Bjerkness The Art and Martha Kaemmer Fund of HRK Foundation Robert and Sandy Klas

| MINNESOTA OPERA mnopera.org

artist circle

INDIVIDUAL GIVING

$1,000 – $2,499 Anonymous (3) Floyd Anderson Eric S. Anderson and Janalee R. Aurelia Jamie Andrews and Jane Kolp-Andrews Rebecca D. Arons and Thomas J. Basting Jr. Annette Atkins and Tom Joyce Ruth and Dale Bachman Thomas and Ann Bagnoli Carl and Joan Behr Barbara S. Belk Shari and David Boehnen Mrs. Paul G. Boening Ed and Mimi Bohrer Allan Bradley and Derril Pankow Drs. Eli and Jan Briones Joan and George Carlson Steve Coleman Barb and Jeff Couture Mike and Stacey Crosby – The Longview Foundation

William I. and Bianca M. Fine Charitable Trust Mr. and Mrs. Philip Isaacson John and Kathleen Junek Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Elizabeth Redleaf Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol William White Gold $15,000–$19,999 Anonymous (2) An Anonymous Fund of The Minneapolis Foundation Robert Kriel and Linda Krach Ilo and Margaret Leppik From the Family of Richard C. and Elizabeth B. Longfellow Diana Lee Lucker Kendrick B. Melrose Family Foundation Karla Miller Dr. and Mrs. Alfred Moore Jenny L. Nilsson and Garrison Keillor Sarah and Rolf Peters Ken and Nina Rothchild Dorothy Sinha Nadege J. Souvenir and Joshua A. Dorothy Charles Allen Ward Fund of The Saint Paul Foundation

Patricia Beithon Ellie Crosby – The Longview Foundation Jay and Rebecca Debertin Sharon Hawkins Robert L. Lee and Mary E. Schaffner Harvey Thomas McLain Albin and Susan Nelson Kay Ness and Chris Wolohan Jose Peris and Diana Gulden Paul and Mary Reyelts Silver $10,000–$14,999 Susan Boren and Steve King Rachelle Dockman Chase Jane M. and Ogden W. Confer Dolly J. Fiterman

Mr. and Mrs. William Frels Beverly N. Grossman Maureen and Mike Harms Warren and Patricia Kelly Chris Larsen and Scott Peterson Mary Ash Lazarus and Barry Lazarus Cynthia and Lawrence Lee Don and Patricia Romanaggi Jennifer and Chris Romans Mahlon and Karen Schneider Mary H. and Christian G. Schrock Jesse and Linda Singh David Strauss Virginia L. and Edward C. Stringer Charles A. Weyerhaeuser Memorial Foundation

Silver $2,500 – $4,999 Anonymous Dan and Martha Goldberg Aronson Michael Birt Alexandra O. Bjorklund Stephen and Margaret Blake Margee and Will Bracken Ann and Glenn Buttermann Laurie Carlson and William Voedisch Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation

Michael and Alexis Christie Rusty and Burt Cohen Gisela Corbett Thomas and Mary Lou Detwiler Mary Dolan Restricted Family Fund of The Longview Foundation Joan Duddingston Ralph D. Ebbott Dr. Mary Anne Ebert and Paul Stembler Joyce and Hugh Edmondson Nancy and Rolf Engh Rosanne and Ken Everson Ann Fankhanel Bruce and Melanie Flessner Patricia R. Freeburg Friborg Family Charitable Fund of The Minneapolis Foundation Kathy and James Ganley Judith Garcia Galiana and Alberto Castillo Sandi and Mike Genau Meg and Wayne Gisslen Dr. Richard Gregory Mrs. Myrtle Grette Mary Guignon Richards Susanne Haas and Ross Formell Roger and Karen Hale Michele Harris and Peter Tanghe Linda and Jack Hoeschler Jean McGough Holten

Dr. Arthur and Fran Horowitz Hella Mears Hueg Jill Irvine Crow Diane and Paul Jacobson Dale A. Johnson Hubert Joly Robert and Susan Josselson Lyndel and Blaine King Robert and Venetia Kudrle David MacMillan and Judy Krow Dorothy and Roy Mayeske Mary Bigelow McMillan Velia R. Melrose Sandy and Bob Morris Richard and Nancy Nicholson Fund Mrs. William S. Phillips John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde James and Andrea Rubenstein Frank and Lynda Sharbrough Julie Steiner Ruth Stricker Dayton Ryan Taylor Dr. Andrew J. Thomas Dr. Norrie Thomas and Gina Gillson Stephanie C. Van D’Elden Dr. Craig S. and Stephanie Walvatne Ellen M. Wells Nancy and Ted Weyerhaeuser Woessner Freeman Family Foundation

Helen and John Crosson Fran Davis Cy and Paula DeCosse Fund of The Minneapolis Foundation Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Mrs. Susan DeNuccio Tim and Laura Edman Rondi Erickson and Sandy Lewis Ester Fesler Gail Fiskewold Salvatore Silvestri Franco Joan and William Gacki James and Teddy Gesell Heidi and Howard Gilbert Goodale Family Foundation Jennifer Gross and Jerry LeFevre Bruce and Jean Grussing Marion and Donald Hall Ann Marie Hanrahan Stefan and Lonnie Helgeson Don Helgeson and Sue Shepard Elfrieda Hintze

Steve Horan Thomas Hunt and John Wheelihan Peter Hyman Bryce and Paula Johnson Janet N. Jones Margaret V. Kinney Sally and Bill Kling Mrs. James S. Kochiras Anna Kokayeff Kyle Kossol and Tom Becker Constance and Daniel Kunin Laurence and Jean LeJeune Virginia Levy Teresa and Kaiser Lim Benjamin Y. H. and Helen C. Liu William F. Long Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Reid and Ann MacDonald Martha MacMillan Carolyn Mayo Barbara McBurney Helen and Charles McCrossan

Deb and Jon McTaggart Eileen and Lester Meltzer David and LaVonne Middleton Betty Myers David E. and Judy L. Myers Joan and Richard Newmark Ruth and Ahmad Orandi Sally and Thomas Patterson Suzanne and William Payne Marge and Dwight Peterson Kay Phillips and Jill Mortensen Mary and Robert Price Phyllis Price Scott and Courtney Rile Lois and John Rogers Dr. Donald V. Romanaggi, Sr. Sampson Family Charitable Foundation David E. Sander Fred and Gloria Sewell Cherie and Robert Shreck Joan T. Smith Matthew Spanjers and Annie Carvalho Daniel J. Spiegel Family Foundation Dana and Stephen Strand

Carley and Bill Stuber Vern Sutton

Gold $750 – $999 Anonymous Gerald and Phyllis Benson Holli and Stefan Egerstrom Lucia Newell and Steven Wiese Liane A. Rosel Rhonda Skoby Warren Stortroen Silver $500 – $749 Anonymous (2) Thomas O. Allen Arlene and Tom Alm Laurie Anderson and Jon Hanson Katherine Anderson August J. Aquila and Emily Haliziw Dr. Thomas Arlander Dr. and Mrs. Orn Arnar Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Ravi Balwada Donald and Naren Bauer Christopher Beaudet Chuck and Estelle Bennett Laura Bishop Martin and Patricia Blumenreich Thomas and Joyce Bruckner Jean and Bruce Carlson Kyle Clausen and Bethany Moritz Brenda Colwill

associate circle

$250 – $499 Anonymous (3) Joy K. and J.C. Amel Jerry Artz Dan Avchen and David Johnson Kay C. Bach James and Gail Bakkom Bender Vocal Studio Kenneth J. Berglund John and Cindy Beukema Mitch and Michele Blatt Roger and Ronnie Brooks Dr. Hannelore Brucker Philip and Carolyn Brunelle Renee Campion and David Walsh Alan E. and Ruth Carp Katherine L. Castille C.D.F. Foundation C. Cesnik Laura Green Chaffee and Matthew Chaffee Wanda and David Cline Kay Constantine Jeanne E. Corwin Shana Crosson and John Gisselquist Kathleen and Douglas Drake Virginia Dudley and William Myers Patrick Dufour and Molly O’Brien Candace and Dan Ellis Charlie and Anne Ferrell Mina Fisher and Fritz Nelson Carol and Mike Garbisch

Michael Symeonides and Mary Pierce Lester Temple Jill and John Thompson

Bryn and Schelly Vaaler Mrs. Joanne Von Blon Warnken Family Charitable Fund

Frank and Frances Wilkinson John W. Windhorst Jr. Carolyn, Sharon, and Clark Winslow

Page and Jay Cowles Marilyn Crilley and George Rowbottom Amos and Sue Deinard Lois Dirksen Barry Divine Ellen Doll and Jay Swanson Maureen and John Drewitz David Dudycha and Dorothy Vawter Leah and Ian Evison Brian M. Finstad April Foley Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Bradley Fuller and Elizabeth Lincoln David and Terry Gilberstadt Marsha and Richard Gould Mary and Brian Green Joseph and Deirdre Haj Rehael Fund – Roger Hale/Nor Hall of The Minneapolis Foundation Tom and Susan Handley Russell and Priscilla Hankins John Hogie Stuart Holland Mary and Jeffrey Husband Barbara Jenkins Charles and Sally Jorgensen Erika and Herb Kahler Jane and Jim Kaufman Fund of The Minneapolis Foundation

Mary L. Kenzie Foundation Carole and Joseph Killpatrick James and Gail LaFave Scott and Karla Lalim Beatrice H. Langford Mr. Bryan Lechner Tim and Susanna Lodge Darby Lunceford and Todd Wright Ruth W. Lyons Bridget Manahan and Joe Alexander Frank Mayers Laura McCarten Kris and Bill McGrath Judith and James Mellinger Steven J. Mittelholtz Thomas and Stefanie Murtha Kathleen and Donald Park Ilya Perepelitsyn and Lioudmila Sitnikova Carol Peterson Corine and John Petraborg Walter Pickhardt and Sandra Resnick Christina and Dwight Porter Lorraine Potuzak Dennis M. Ready Lawrence M. Redmond Bob and Donna Rose Enrique and Clara Rotstein Marian R. Rubenfeld and Frederick G. Langendorf Fred Sandal Mary Savina

Jon L. Schasker and Debbie Carlson Richard and Carol Seaberg Gale Sharpe Morris and Judith Sherman Madeline Simon Stanislaw Skrowaczewski Dr. Leslie W. Smith Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Jon Spoerri and Debra Christgau Michael Steffes Allen Steinkopf Mary K. and Gary Stern Thomas and Sharon Stoffel Kent Stone Craig and Janet Swan Dr. Anthony Thein Irma Thies Susan Travis Josephine Trubek Cindy and Steven Vilks David L. Ward Elizabeth Wexler Deborah Wheeler Barbara White Jeff and Joe Wiemiller Barb Wildes John M. Williams Barbara and James Willis

Greta and Paul Garmers Cecilie and Emanuel Gaziano Stanley and Luella Goldberg Charlotte L. Grantier Jaden Hansen and Kathryn Louis Nancy A. Harris Mounira Hassan Alfred E. Hauwiller Rosmarie and John Helling Holly C. Hickman Mary K. Hicks Clifton and Sharon Hill Andrew and Gary Whitford Holey Brian and Karen Hopps Burton and Sandra Hoverson Mark and Kathleen Humphrey Thomas and Vicki Hurwitz Ray Jacobsen Deborah and Ronald Jans Charlie Johnson Nancy Jones Ed and Martha Karels Jim and Kathleen Karges Janice Kimes Tara and Peter Klatt Nathan Kulenkamp Gene and Phyllis Letendre Lisa and Jonathan Lewis Carol and Jeff Ley Stuart MacGibbon Dr. Joan E. Madden Donald and Rhoda Mains Dusty Mairs

Aimee and Robert Mairs Kristin and Jim Matejcek Orpha McDiarmid Family Fund Harry McNeely Laurel and David Mech Adele Mehta Curtis and Verne Melberg Rita Meyer John L. Michel and H. Berit Midelfort Virginia Miller Brad Momsen and Rick Buchholz Jack and Jane Moran Merritt C. Nequette and Nancy Hartung William and Sharon Nichols Brandon and Melissa Novy Patricia A. O’Gorman Dennis R. Olson Donna and Marvin Ortquist Julia and Brian Palmer Marcia and Jon Pankake James A. Payne Lana K. Pemberton Janell Pepper Margaret and John Perry Jane M. Persoon Anne and John Polta Nicole and Charles Prescott Ann Richter Philip Rickey David and J. Susan Robertson Robert E. Rocknem William and Nancy Rodman Michael and Tamara Root

Ruth Rose Daniel Roth Nickolas Sanches and Peter Eischens Dan Sassenberg Kate Saumur Beth and Steve Schneider Paul L. Schroeder Emily and Daniel Shapiro Dale and Marilyn Simmons Juliana Simmons Bonnie and Peter Sipkins Arthur and Marilynn Skantz Mark and Kristi Specker Dr. David M. Steinhaus Donna Stephenson Carolina and Frederico Stiegwardt Barbara Stoll Mark Stutrud Dan and Erika Tallman Katharine E. Thomas Susan Truman Belen Urquiola John Vilandre Elaine B. Walker David Walsh and Renee Campion Greg and Ellen Weyandt John and Sandra White Wendy Wildung Jenna Wolf Ruth Wood Jessica and Rob Zeaske * in memoriam

These lists are current as of December 31, 2016 and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Mallory Roberts, Director of Development, Leadership and Institutional Giving, at mroberts@mnopera.org or 612-342-9566.

become a donor Bring innovative opera productions to life with your charitable gift, and join Minnesota Opera’s family of donors today. Visit mnopera.org/support to give online. Thank you!

| DIANA'S GARDEN

INDIVIDUAL GIVING

LEGACY CIRCLE

Minnesota Opera gratefully acknowledges its major institutional supporters: $100,000 +

MINNESOTA OPERA THANKS the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. We invite you to join other opera lovers by

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

$50,000 – $99,999

leaving a legacy gift to Minnesota Opera. If you have already made such a provision, we encourage you to notify us so that we may appropriately recognize your generosity. Anonymous (4)

Margaret Kilroe Trust*

Paul and Val Ackerman

Lyndel and Blaine King

Thomas O. Allen

Gretchen Klein*

Dr. and Mrs. Rolf Andreassen*

Sally and William Kling

Mary A. Andres

Gisela Knoblauch*

Karen Bachman

Liz and Jim Krezowski

Randolph G. Baier*

Robert Kriel and Linda Krach

Patricia and Mark Bauer

$25,000 – $49,999

Mrs. Harvey O. Beek* Barbara and Judson Bemis Sr.*

Art and Martha Kaemmer Fund of the HRK Foundation

$10,000 – $24,999

Jean Lemberg* Joyce and Jerry Lillquist

C.T. Bundy II

Patricia Ruth Lund*

Margaret M. Carasik

David Mayo

Joan and George Carlson

Barbara and Thomas* McBurney

Darlene J. and Richard P. Carroll

Mary McDiarmid

Charles M. Denny George and Susan Doty Rudolph Driscoll* Anne P. Ducharme Ester and John* Fesler

MAHADH Fund of the HRK Foundation

Dr. Paul Froeschl Katy Gaynor

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Mallory Roberts, Director of Development, Leadership and Institutional Giving, at mroberts@mnopera.org or 612-342-9566.

Nettie Grabscheid*

| MINNESOTA OPERA mnopera.org

Season Sponsor

Tempo After Parties Sakura

Tempo Print Sponsor Press Sure Print

Official Make-Up Partner In-Kind

In The Loop

corporations, foundations, and government Gold $5,000 – $9,999

Boss Foundation Briggs & Morgan p.a. Dellwood Foundation Ernst & Young Faegre Baker Daniels Hardenbergh Foundation Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation r.c. Lilly Foundation Mayo Clinic RBC Wealth Management Rothschild Capital Partners James Rubenstein, Moss & Barnett

Schwegman, Lundberg & Woessner p.a. Xcel Energy

Silver $2,500 – $4,999 Anonymous Amphion Foundation Hutter Family Foundation Margaret Rivers Fund Peravid Foundation The Elizabeth C. Quinlan Foundation Tennant Foundation Thomson Reuters

Bronze $250 – $2,499

Carlson Family Foundation Enterprise Holdings Foundation Fredrikson & Byron Foundation Hammel, Green and Abrahamson Inc. McVay Foundation Onan Family Foundation Sit Investment Foundation Twin Cities Opera Guild Wells Fargo Insurance Services

Mildred McGonagle* Sheila McNally* Mrs. Walter Meyers John L. Michel and H. Berit Midelfort Susan Molder* Edith Mueller* Kay Ness Joan and Richard Newmark Philip Oxman and Harvey Zuckman Scott J. Pakudaitis

Parking Prepaid parking is available for opera patrons at the Lawson Commons Ramp. Call 612-333-6669 or visit mnopera.org to purchase passes. Opera Insights Come early for Opera Insights — free, fun, and informative half-hour sessions held in the lobby one hour before curtain. Accessibility For patrons with disabilities, wheelchair-accessible seats are available. Audio description will be available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. At Ordway, accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems.

Latecomers will be seated at an appropriate break.

Ruth Hanold*

Ken and Nina Rothchild

Frederick J. Hey Jr.*

Berneen Rudolph

Norton M. Hintz Trust*

Mary Savina

Elfrieda Hintze

Frank and Lynda Sharbrough

Jean McGough Holten

Drew Stewart

Charles J. Hudgins*

James and Susan Sullivan

Dale and Pat Johnson

Gregory C. Swinehart

Ruth Jones*

Stephanie C. Van D’Elden

Charles and Sally Jorgensen

Mary W. Vaughan

Robert and Susan Josselson

Bernt von Ohlen

Lana K. Pemberton

Sandra and Dale Wick

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.

Richard Zgodava* Daniel Richard Zillmann

* in remembrance

For more information on making planned giving arrangements, please contact Carley Stuber, CFRE, Chief Development Officer, at cstuber@mnopera.org or 612-342-9579. Your attorney or ﬁnancial advisor can then help determine which methods are most appropriate for you. Media Sponsor

Ticket Policies Tickets are not refundable. Subscribers may make exchanges for a different performance or opera up to one hour prior to curtain. Any ticket may be turned back for a tax deductible donation up until curtain. Call the Minnesota Opera Ticket Office at 612-333-6669.

Richard G.* and Liane A. Rosel

Warren and Patricia Kelly

Broadcast Recording

mnopera.org Visit mnopera.org to watch behind-the-scenes videos, read synopses, browse digital programs, and more. Join our e-club to receive special offers and opera news.

Julia Hanna*

Mary H. Keithahn

Publicity Photographer, Brent Dundore | Production Photographer, Dan Norman Videographer, Flight Creative Media | Event Photographer, CJ Standish

Regular Hours: Monday – Friday, 10am – 5pm. Performances: Weekdays — phones open until curtain. Weekends — 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.

At the Ordway Ordway is a smoke-free facility.

Charlotte* and Markle Karlen

production multimedia

Minnesota Opera Ticket Office 620 North First Street, Minneapolis, MN 55401 612-333-6669

Sydney M. and William S.* Phillips

Robert and Ellen Green Dr. Ieva M. Grundmanis*

minnesota opera sponsors

Robert J. Lawser Jr.

Allan Bradley

Julia and Kenneth* Dayton

Fred C. and Katherine B. Andersen Foundation

Helen L. Kuehn*

Dr. Lee Borah Jr.*

Julia and Dan Cross

The Aaron Copland Fund for Music Inc.

Robert and Venetia Kudrle

MINNESOTA OPERA INFO

The phone number for emergencies is 651-224-4222. Please leave seat locations with the calling party. Lost and Found is located at the Stage Door. Call 651-282-3070 for assistance.

| DIANA'S GARDEN

INSTITUTIONAL GIVING

Minnesota Dance Theatre January 20-22, 2017 | The Cowles Center

Osmo Vänskä /// Music Director

GREAT AMERICAN SONGBOOK WITH THE MINNESOTA ORCHESTRA Feb 10

Sarah Hicks, conductor / Tony DeSare & Hilary Kole, vocals

Sarah Hicks, Conductor

S’Wonderful! S’Marvelous! These all-time favorite standards from the Great American Songbook soar to new musical heights with Sarah Hicks leading the Minnesota Orchestra and special guest vocalists Hilary Kole and Tony DeSare.

BOYZ II MEN

WITH THE MINNESOTA ORCHESTRA Feb 11 Sarah Hicks, conductor Four-time Grammy Award-winners® Boyz II Men add their seductive harmonies to the lush sound of the Minnesota Orchestra for a romantic evening of chart-topping Billboard hits on Valentine’s weekend.

“...a towering ambition and multidisciplinary triumph.” - Pioneer Press

Tickets:

RUSSIAN NIGHTS Feb 16-18

mndance.org

Santtu-Matias Rouvali, conductor / Behzod Abduraimov, piano Osmo Vänskä handpicked Rouvali to come to Orchestra Hall and conduct this concert, so you know he is something special. Hear Behzod Abduraimov, a young star from Uzbekistan, in a performance of Rachmaninoff’s Rhapsody on a Theme of Paganini.

Photo: Erik Saulitis

thecowlescenter.org or 612-206-3600

Maria Schneider Orchestra February 16, 2017

HUGH WOLFF CONDUCTS MENDELSSOHN Feb 23-25

Sharon Isbin & Isabel Leonard April 2, 2017

Hugh Wolff, conductor / Karen Gomyo, violin Hugh Wolff led the Saint Paul Chamber Orchestra to international acclaim in the ’90s, and makes this rare return visit to Minnesota with violin star Karen Gomyo. INSIDE THE CLASSICS

BARTÓK’S FAREWELL Mar 3

Sarah Hicks, conductor / Sam Bergman, host and viola It isn’t often that a composer is offered the chance to sum up his entire life’s work in one massive, valedictory piece. But on his deathbed Béla Bartók was given that chance, and his Concerto for Orchestra has become a beloved showpiece.

January 21 – February 19, 2017 Director/Choreographer JOE CHVALA • Music Director ANITA RUTH

Tickets $30 / $20 for patrons under the age of 40 Please note: first half is conversation and orchestral excerpts, second half is a full performance.

TICKETS: oshag.stkate.edu 651-690-6700

TONY DESARE

TICKETS: $12–$41

FOR MORE INFO + TICKETS ARTISTRYMN.ORG 952.563.8575

12/13/2016 12:54:03 PM

RUSSIAN NIGHTS

BARTÓK’S FAREWELL

612.371.5656 / minnesotaorchestra.org / Orchestra Hall Photo credits avaialble online.

schneider-isbin for Schubert club.indd 1

BOYZ II MEN

Media Partner:

â&#x20AC;&#x153;funny and touching, ceaselessly clever, and scarily talentedâ&#x20AC;? - New York Post

N E L L I E M C K AY A Girl Named Bill Jan 30, 31 & Feb 1 | 7pm

more info at www.dakotacooks.com 1010 Nicollet Mall | Downtown Minneapolis