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The Schubert Club presents the Third Annual
Saint Paul Summer Song Festival June 9–17, 2006 McKnight Theatre, Ordway Center for the Performing Arts Christopher Maltman, baritone Friday, June 9
Joan Morris, mezzo-soprano, & William Bolcolm, piano Saturday, June 10
Song Picnic on Raspberry Island Sunday, June 11
Maria Jette & Friends Monday, June 12–Thursday, June 15
Ingmar Bergman’s The Magic Flute Wednesday, June 14
INTRODUCED BY HÅKAN HAGEGÅRD
The Rose Ensemble William Bolcom & Joan Morris
Friday, June 16
Jennifer Larmore, mezzo-soprano Saturday, June 17
www.schubert.org
The Schubert Club MAUD MOON WEYERHAEUSER SANBORN
International Artist Series 2006-2007 Season Tickets: $150 • $125 • $105 • $85 $40 Student Call The Schubert Club at 651-292-3268
Anne-Sophie Mutter, violin November 8, 2006
Lise de la Salle, piano January 26, 2007
Photo: Lauri Eriksson
Frederica von Stade, mezzo-soprano Samuel Ramey, bass-baritone February 28, 2007
Emanuel Ax, piano March 21, 2007
Karita Mattila, soprano April 25, 2007
Karita Mattila Concerts at 8:00 PM • Ordway Center for the Performing Arts, Saint Paul
5 • don giovanni
Contents The Minnesota Opera Sta∂ and Volunteers . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Don Giovanni. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Background Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Coming up: Orazi & Curiazi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Minnesota Opera Chorus and Orchestra. . . . . . . . . . . . . . . . . . 22 Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . 23 Opera Season Announcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . 28 Mozart Mania . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
2005-06 Season Finale Pen Pals is a presentation of the Library Foundation of Hennepin County, working to support excellent services and innovative programs at a Hennepin County Library near you.
The Minnesota Opera President & CEO Artistic Director Chair, Board of Directors
Kevin Smith Dale Johnson J. A. Blanchard, III
The Minnesota Opera, 620 North First Street Minneapolis, MN 55401 (612) 333-2700 www.mnopera.org The Minnesota Opera is a member of OPERA America. This activity is made possible in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature. This project is supported in part by a grant from the National Endowment for the Arts.
March 2006
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the minnesota opera • 6
Minnesota Opera S t a ff President & CEO Kevin Smith Artistic Director Dale Johnson Welcome to today’s production of Don Giovanni. For more than four decades The Minnesota Opera has enriched the cultural life of our community by producing outstanding and innovative operas that inspire and entertain. U.S. Bank is honored to sponsor the 2005 – 2006 season. We are proud of our 20+ year relationship with The Minnesota Opera and of our sponsorship at this great setting of the Ordway in St. Paul. At U.S. Bank, we support great dreams, great art and great arts organizations. They enrich the community with vibrancy, creativity and excellence. As the sixth largest bank in America today, U.S. bank is the only major bank headquartered in Minnesota, and we’re deeply committed to giving back in this community. Thank you for coming and enjoy the performance.
Jose A. Peris, Senior Vice President, Region Manager, U.S. Bank Private Client Group, and Minnesota Opera board member
Artistic Artistic Administrator . .Roxanne Stou∂er Cruz Artistic Associate . . . . . . Floyd Anderson Community Education Director . . . . . . . . . Jamie Andrews Dramaturg . . . . . . . . . . . . . David Sander Production Stage Manager . . . Alex Farino Assistant Stage Managers . . . . .Angie Spencer, Casey Martin Head of Music . . . . . . . . . . .Bruce Stasyna Resident Artists . . . . . . .Raymond Ayers, Korey Barrett, Alison Bates, Theodore Chletsos, Jamie-Rose Guarrine, Seth Keeton, Peter Kozma, Bryan Lemke, John Michael Moore, Edward Mout RAP Faculty . . .Allysum Tai Chi Center, Nancy Boler, Stephano Marazana, Peter Robinson Teaching Artist . . . . . . . . .Angela Keeton Project Opera Apprentices . . .Setara Barukzoy, Erin Marie Capello, Kyle De Graff, Daniel Segura Project Opera Director . . . . . . . Dale Kruse Project Opera Accompanists . . . . . . . . . . . . Kathy Kraulik, Julian Ward Costumes Costume Director . . . . . . . .Gail Bakkom Assistant Costume Director . . .Beth Sanders Drapers . . . . . . .Chris Bur, Yancey Thrift, Angela Yarbrough Costume Technicians Helen Ammann, Sarah Bahr, Jennifer Dawson, Mary Farrell, Amy McClure, Christine Richardson, Stephanie Vogel Painter/Dyer . . . . . . . . . .Marliss Jensen Wig/Makeup Designer . .Charles LaPointe, Tom Watson Wig/Makeup Assistants . . . . . . Ashley Ryan, Nina Stewart
Scenery Technical Director . . . . . . . . . . . Mike McQuiston Asst. Technical Director/ Lighting Coordinator .Marc D. Johnson Production Administrative Assistant . . . . . . . . . . . . . Kathryn Cattrysse Properties Master . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . Mike Long Production Carpenter . . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . Rod Aird Master Carpenter . . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . Eric Veldey Charge Painter . . . . . . . . . . .Debra Jensen Painter . . . . . . . . . . . . . .Cate Whittemore Administration Finance Director . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . . . Steve Mittelholtz HR/Accounting Manager . . Jennifer Thill Executive Assistant . . . . . Theresa Murray Receptionist/Finance Assistant . .Jill Pawelak Institutional Advancement Vice President of Institutional Advancement . . . . . . . . . . .Patrick Dewane Institutional Advancement Assistant . . . . . . . . . . . . .Kelly Clemens Development Director of the Annual Fund . .Dawn Loven Institutional Gifts Director . . Linda Johnson Institutional Gifts Associate . . .Emily Skoblik Individual Gifts Associate . .Megan Stevenson Marketing/Communications Marketing Director . . . . . . . . . . .Carl Lee Communications Director . . . Lani Willis Ticket O∑ce Manager . . . . Andrea Corich Marketing and Communications Assistant . .Janet Bertok Ticket O∑ce Assistant . . . .Carol Corich
Minnesota Opera Vo l u n t e e r s The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.
Keri Picket
Cafe,Bakery,Wine & Pizza Bar
850 Grand Avenue,St Paul 55105 651-224-5687 www.cafelatte.com
Catherine Ahern Ann Albertson Elizabeth Incremona Bancker Gerald Benson Jim Brownback* Sue Brownback Sarah Burman Christine Buss Jerry Cassidy Diane Choih Joann Cierniak Susan Cogger Caroline Coopersmith Beverly Dailey* Denis Dailey Jeanette Daun Timothy Davis Lee Drawert Judith Duncan Sally Economon Svea Forsberg Christopher Foster Hazel Francois Li-Jun Fu Jane Fuller Joan Gacki*
Alex Garay Christine A. Garner* Juhi Gupta-Gulati Mark Gustin Mary E. Hagen Mark Hahn Lucinda Hallet Merle J. Hanson John Harris* Cari Beth Head Anne Hesselroth Heather Huber Alisandra Johnson Karen Johnson Nancy Johnson Steve Johnson Jeannie Johnston Kristen Johnston Robin Keck Dawn Klassen Shannon Klonecki Eleanore Kolar Lucinda Lamont Shirley Larson Mathilda Lien Jerry Lillquist Joyce Lillquist
Maura LoMonico Abby Marier Margery Martin Joan Masuck Yasuko Matsumoto Mary McDiarmid* Beth McGuire Verne Melberg Jeanette Middleton Irma Monson Barbara Moore Doug Myhra Denise Nichols Pam Nielsen David Nifoussi Jennifer Ortale Candyce Osterkamp Dan Panshin Pat Panshin Megan Pelka Holly Peterson Bill Phillips Sydney Phillips Julia Porter Carol Purvis Kathleen Riley Shannon Robinson
Leigh Roethke John Rosse Enrique Rotstein Florence Ruhland John Sauer Lynette Saucier Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Naomi St. Gregory Karen St. John Katie Steerman Harry Swepston Dave Terwilliger Emily Thompson Doris Unger Stacey Vonderhear Carolyn Wahtera Mary Weitz Barbara Willis* Elizabeth Cutter Wilson Kathie Wojtkiewicz Eve Yang *Lead volunteer
Notes f r o m the Leadership
This is the first time in a decade we’ve staged this opera, which many describe as “the perfect opera.” When a creative team is assembled to produce an old favorite like this, we need to reexamine it, reabsorb its messages, and redefine how it will look onstage. Patrick Mailler, director and designer for this production, sees the character of Don Giovanni as a bold individual, flying in the face of social norms and being true only to himself. He feeds his lust with whatever (or whomever) poses the greatest challenge, whether that means seducing a peasant on her wedding day or posing as his own servant to woo a noblewoman’s maid. In The Minnesota Opera’s new production, the single set is raked at an angle, side-to-side, and present through the entire show. Its classical lines reflect Mozart’s era, but the structures are crumbling, representative
of Don Giovanni’s moral decay. It is as though the walls were “built” in Mozart’s time and have fallen into disrepair over many years, bringing us up to the early 20th-century costumes. Mailler chose to follow Mozart’s tradition of costuming the opera visually in an era contemporary to the audience (in Mozart’s time, impresarios would have used opera sets and costumes from their own period), while at a remove of nearly a century, as a way to help us relate to the characters. The early 20th-century profile of the costuming was chosen because it is the last period in which social status distinctions (which play such a role in Don Giovanni) of dress are obvious. The opera production will also feature wonderful special effects. Enjoy the opera!
Dale Johnson Artistic Director
Jane M. Confer, Stephanie Simon, Vice Chairs Lynne E. Looney, Secretary Thomas J. Foley, Treasurer Kevin Smith, President & CEO Directors Nicky B. Carpenter Richard P. Carroll Susan J. Crockett Mary A. Dearing Sara Donaldson Chip Emery Rolf Engh Brad F. England Denver Gilliand Sharon Hawkins Karen L. Himle Ruth S. Huss Heinz F. Hutter Paula R. Johnson Lucy Rosenberry Jones
Michael F. Kelly, Jr. B. John Lindahl Becky Malkerson Tom McBurney Diana E. Murphy Brian E. Palmer Debra Paterson Jose Peris Elizabeth Redleaf Connie Remele Mitchell Stover Virginia Stringer Catie Tobin H. Bernt von Ohlen
Directors Emeriti Karen Bachman Burton Cohen Julia W. Dayton Mary W. Vaughan Honorary Directors Dominick Argento
from the President Welcome to the second production of our season. This marks the halfway point of our 20052006 season, but on March 16 we will announce our 2006-2007 season. You are invited to join us for the unveiling of what I feel will be one of our strongest, biggest and best seasons yet. An invitation for you appears on page 24. Although we can’t announce the offerings, I can tell you that it will feature a world premiere that we commissioned, two company premieres, an opera you haven’t seen here in a decade, and an irresistible favorite.
J. A. Blanchard III, Chair
We do expect to sell out, and the best way to make sure you don’t miss a beat is to subscribe to the entire season. A hidden benefit to holding season tickets is that it is the most flexible way to attend the opera – if you can’t attend the performance you subscribed for, we will exchange your ticket for another performance at no cost. Enjoy the performance – we look forward to seeing you for Orazi & Curiazi, our Bel Canto offering, in April.
Philip Brunelle Elizabeth Close Dolly Fiterman Charles C. Fullmer Norton M. Hintz Donald W. Judkins Liz Kochiras Jevne Pennock (†) Patricia H. Sheppard Legal Counsel James A. Rubenstein, Moss & Barnett (†) Deceased
7 • don giovanni
Officers
from the Artistic Director Welcome to our new production of Mozart’s Don Giovanni.
Board o f Directors
the minnesota opera • 8
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The Saint Paul Chamber Orchestra Handel’s Israel in Egypt with VocalEssence Nicholas McGegan, conductor Christine Brandes, soprano Michael Chance, countertenor John McVeigh, tenor Deric Craig, bass baritone Michael Jorgensen, bass baritone April 8, 9, 11, 13, 15
The Minnesota Opera Orazi & Curiazi by Saverio Mercadante American Premiere of bel canto masterwork Main Hall $32 - $120 Fri, April 21, 8pm
The Saint Paul Chamber Orchestra Jazzed-Up Fridays Abbado conducts Mozart Roberto Abbado, conductor Fri, April 21, 10:30am; Sat, April 22, 8pm
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The Schubert Club Leif Ove Andsnes, piano Fri, April 28, 8pm; Sat, April 29, 8pm
The Saint Paul Chamber Orchestra The Minnesota Chorale performing selections by Mozart Roberto Abbado, conductor Layton James, organ Sun, April 30, 5pm
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Yo u c o m e t o p u rs u e yo u r d re a m s. Yo u l e a ve re a d y t o re a l i z e t h e m .
6 5 1 - 6 9 0 - 8 6 8 8 • w w w. s t k a t e. e d u
In 2005 the College of St. Catherine set a fundraising record for a women's Catholic college, raising over $85 million. These generous gifts will improve our facilities, support our faculty, and provide more financial aid than ever before.
Conductor . . . . . . . . . . . . . . . . . . . . . . . . Xian Zhang Stage Director . . . . . . . . . . . . . . . . . . Patrick Mailler Set Designers . . . . . . . . . . . . . . . . . . Patrick Mailler, Maria Rosaria Tartaglia Costume Designer. . . . . . . . . . . . . . . . Patrick Mailler Lighting Designer. . . . . . . . . . . . . . . . Marcus Dilliard Wig Master and Makeup . . . Tom Watson & Associates Assistant Director . . . . . . . . . . . . . . . . . Peter Kozma Chorusmaster . . . . . . . . . . . . . . . . . . . Bruce Stasyna Continuo . . . . . . . . . . . . . . . . . . . . . . . Bruce Stasyna Production Stage Manager . . . . . . . Alexander Farino English Captions . . . . . . . . . . . . . . . . . . Dale Johnson
The Cast
t h e m i n n e s o t a o p e r a • 10
Costume sketch by Patrick Mailler
Music by Wolfgang Amadeus Mozart Libretto by Lorenzo da Ponte
Don Giovanni, a licentious nobleman . . .Kyle Ketelsen* Tómas Tómasson** Leporello, his servant . . . . . . . . . . . .Patrick Carfizzi* Seth Keeton** Il Commendatore . . . . . . . . . .Christopher Dickerson Donna Anna, his daughter . . . . . . . . . . . . .Erin Wall* Karin Wolverton** Don Ottavio, her betrothed . . . . . .Theodore Chletsos* Edward Mout** Donna Elvira, a lady from Burgos . . . .Patricia Risley* Lauren McNeese** Zerlina, a peasant girl . . . . . . . .Jamie-Rose Guarrine* Alison Bates** Masetto, betrothed to Zerlina . . . . . .Raymond Ayers* John Michael Moore**
World premiere at the National Theater, Prague October 29, 1787
Peasants, servants, demons
March 4, 5, 7, 8, 9, 10, 11 and 12, 2006 Ordway Center for the Performing Arts
* performs March 4, 7, 9, 11 ** performs March 5, 8, 10, 12
Sung in Italian with English captions Don Giovanni by Wolfgang Amadeus Mozart; edited for the New Mozart Edition (Neue Mozart-Ausgabe) by Wolfgang Plath and Wolfgang Rehm; by arrangement with Bärenreiter, publisher and copyright owner. The appearances of Kyle Ketelsen, winner, Seth Keeton, national finalist, Alison Bates, Patrick Carfizzi, John Michael Moore and Erin Wall, regional finalists, and Theodore Chletsos, Jamie-Rose Guarrine and Edward Mout, district 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. Performances of Don Giovanni are being taped for delayed broadcast on Minnesota Public Radio, KSJN 99.5 in the Twin Cities.
Setting: Seville
Don Giovanni is sponsored by The Minnesota Opera season is sponsored by U.S. Bank, Private Client Group. The appearances of the 2005–2006 season conductors are underwritten by SpencerStuart. Opera Insights is sponsored by Thrivent Financial for Lutherans. The 2005–2006 season Camerata Circle Dinners are sponsored by U.S. Trust. Intermission reception sponsored by Lowry Hill Private Wealth Management.
Background Notes he success of Wolfgang Amadeus Mozart’s decade in premiered to an enthusiastic Venetian audience. Da Ponte Vienna was marginal at best, in part due to his was pressed for time, as he was committed to two other hesitation to understand the tastes of his audience. The composers, Salieri (for an Italian revision of his French Abduction from the Seraglio was a good first attempt – a opera Tarare, to become Axur, re d’Ornus) and Martín y Soler rescue opera with Occidental overtones was very much in (for Arbore). vogue – but the complexity of his music may have baffled Da Ponte managed to flesh out Bertati’s one-act farse many opera patrons. Then there was the ill-fated premiere into a substantial two-act drama. Act I follows fairly of The Marriage of Figaro, which achieved only nine closely, though da Ponte dispenses with yet another woman performances during its initial run. The composer might ready for conquest, Donna Ximena. He also deletes a sniping duet between have taken his cue Donna Elvira and from the opera that Maturina (later Zerlidrove it from the na) but maintains stage, Vincente Pasquarello’s (later Martín y Soler’s enorLeporello) catalogue mously popular Una number (in this case a cosa rara (1786). Free duet), and adds a of Figaro’s political party scene at overtones, the emiGiovanni’s house to nently fluffier essay spice up the ending of on love (the rare thing Act I. For Act II he being a woman’s conintroduced new matestancy) should have rial (the exchanging shown him what the of cloaks and the Viennese were all wooing of Elvira’s about. Other lighter The Minnesota Opera’s 1996 production of Don Giovanni. maid) yet again borcomedies in the same vein, such as the subsequent L’arbore di Diana (1787) and rows the beating of Biagio/Masetto before getting to the Antonio Salieri’s La grotta di Trofonio (1785) eventually Commendatore’s mausoleum, which begins Bertati’s Part guided him to composing a more suitable work for the Two. The rest of da Ponte’s libretto plays out much like Viennese stage, Così fan tutte – unfortunately, the death of Bertati’s, as both works conclude with a vaudeville sung by Joseph II in 1790 closed the show down after only five per- the remaining principals (save Donna Anna, who is doubly formances. Again, timing had not been in Mozart’s favor. played by a servant, Lanterna, in Bertati’s version). Yet, da The work in between is perhaps the most perplexing Ponte’s version ends up dramatically flawed in its disjointed choice. Though Figaro had failed in Vienna, it prospered in nature and slightly graver tone due to a generous mixing of Prague, the empire’s eastern capital, the following year, seria and buffa characters. inciting the Nationaltheater’s impresario Pasquale Bondini Composition largely took place in Vienna, with to commission a new work. The opera was in part to cele- Mozart finishing the final numbers in Prague once he brate the impending visit of Joseph’s oldest niece and became acquainted with the company of singers. The nephew, his parents’ namesakes Maria Theresa and Francis premiere was delayed two weeks (due to the additional (later to become emperor), the former passing through from rehearsals demanded by the complexity of the recitatives), Florence to marry into a political union with the Prince of with the royal family having to be entertained by a revival Saxony. It is unclear who suggested the legend of Don Juan of indefatigable Figaro. Nonetheless, the October 29 as a potential topic. It may have been Bondini, who already premiere was a huge success and Don Giovanni rivaled knew the popularity of this particular tale with Prague Figaro in Prague’s esteem. audiences. Or it could have been Figaro (and later Così) Vienna was another story. Again plagued by shortsightlibrettist Lorenzo da Ponte (he has since claimed the credit edness, Mozart should have known that Don Juan was not a in his somewhat unreliable memoirs), who was aware of an good choice for the emperor’s Burgtheater, the sacred extant libretto by arch-rival Giovanni Bertati, set by ground of good taste. Though Gluck’s pantomime-ballet to Giuseppe Gazzaniga only a few months earlier and the story had held sway just two decades before, theatrical
T
Background Notes continue on page 12
11 • d o n g i o v a n n i
by David Sander
life under Joseph’s absolute control delegated such a low- at Giovanni’s palace in the consumption of food and drink born theme to the suburban theaters, where dramatic incon- and conclude in full ensemble. Part of the confusion gruities were tolerated and slapstick humor much appreciat- regarding the opera was its categorization. Figaro clearly ed (The Magic Flute serves as one example). The baser, less falls in the category of opera buffa, but Don Giovanni has cosmopolitan Prague audiences hardly cared, but the Vien- been doubly described by its creators as an opera buffa and nese premiere on May 5, 1788 was not a success, as Joseph a dramma giocoso. The latter designation was reserved for a would famously encapsulate the opera to be “not the meat for genre that was essentially comedy, but included a few the teeth of my Viennese.” Reportedly, the impish young more sober moments. A dramma giocoso could feature composer had sharply retorted that the emperor’s burgers serious parts, such as Donna Anna, Don Ottavio, Donna Elvira (though she is at times satired) and the would simply need a little more time to “chew on it.” Mozart would not see a revival there during his lifetime Commendatore (his severity made abundantly clear in the – the next mounting at the imperial theaters didn’t occur opera’s opening bars, a theme that recurs in the penultimate scene), until 1798 – but Don comic parts, which Giovanni began to make include Masetto, its way in the provinces, Zerlina and Leporello first as a Singspiel (with and mezzo carattere, or spoken German diathose somewhere in logue) at the suburban the middle, such as Theater auf der Wieden Don Giovanni. Mozar the year after Mozart’s makes these distincdeath. In Italy, the opera tions abundantly clear progressed slowly due to at the end of Act I its hybrid mixture of when the characters comic and tragic. It begin to dance: Anna appeared in Rome in and Ottavio step to the 1811 and at La Scala courtly minuet, Don three years later. Paris Giovanni and Zerlina saw the work first in to the bourgeois conFrench at the Opéra in tredanse and Leporello 1805 (freely adapted and Masetto to the with the addition of a Haydee discovers the body of Don Juan (Ford Maddox Brown) down-and-dirty few more musical numbers), then in its original language directed by Gaspare Deutscher. The composer reveals his genius in his ability to Spontini at the Théâtre-Italien in 1811. Don Giovanni’s cause these variously metered dances to be played at the New York premiere was performed by the famous García same time. Another musical invention occurs at nearly the family in a production directed by da Ponte himself (the same position in Act II. As dinner entertainment for the librettist had since relocated). Stürm und Drang authors Don, Mozart carefully chooses famous tunes from three such as Goethe and Hoffmann emulated the opera, and its contemporary operas: a first-act aria from Giuseppe Sarti’s supernatural tendencies excited artists of the Romantic Fra i due litiganti il terzo gode, an excerpt from the first era. For much of the 19th century, Don Giovanni surpassed finale of Martín y Soler’s Una cosa rara and (in good even The Marriage of Figaro in popularity. company) “Non più andrai” from his own The Marriage of On its face, Don Giovanni’s musical language is similar Figaro. [It should also be noted that Mozart composed to that of Figaro, with a plentitude of arias, ensembles and additional music for the Vienna premiere: “Dalla sua pace” chain finales. Structurally, the rather haphazard sequence to replace “Il mio tesoro intanto” (the new Ottavio wasn’t of scenes has a more determined order than one might quite up to the challenge); a comic scena and duetto think when the two acts are viewed side-by-side – (“Restati qua … Per queste tue manine”) for Zerlina and Leporello opens each act (the second beginning with Leporello; and a recitativo accompagnato ed aria “In quali requisite recitativo secco), and the position of Anna’s rape eccessi, o Numi … Mi tradì qell’alma ingrata” for Elvira versus Elvira’s deception are followed by episodes in each (the new soprano, Caterina Cavalieri demanded a grand act with Masetto, Giovanni and Zerlina. Then there is a scene to showcase her talents) as well as a few new wild mix of emotions and persons to be sorted out by a recitatives. The original Prague version will be employed quartet in Act I and a sextet in Act II. Both acts finish up for these performances. ] Erich Lessing/Art Resource, NY
t h e m i n n e s o t a o p e r a • 12
Background Notes continued from page 11
Synopsis 13 • d o n g i o v a n n i
act i ear the home of the Commendatore, Leporello bemoans his lot in life as servant to Don Giovanni. His thoughts are interrupted by screams from Donna Anna, who calls for help as a disguised Giovanni tries to flee. Her father, the Commendatore, attempts to defend her honor in a duel, but is killed by the lecherous Don, who then escapes. Don Ottavio also comes to Anna’s aid and promises to avenge her father’s death. Elsewhere, Giovanni spots a new possibility in the distance, but to his horror, it is Donna Elvira, a woman he left behind in Burgos. As Leporello distracts her, Giovanni again slips away. His servant bares the bitter truth – she’s hardly the first to be betrayed as he rattles off the list of conquered women, one thousand and three in just Spain alone. In the countryside, Zerlina celebrates her upcoming marriage to Masetto with a group of peasants. Giovanni and Leporello soon appear and the former is entranced by the country girl. To distract her fiancé and the others, he offers to celebrate the nuptials with food and drink at his mansion nearby. Zerlina remains behind as Masetto is assured that his bride-to-be will be safe in the hands of a gentleman. Giovanni quickly puts on the charms with a promise of marriage, which Zerlina momentarily considers. They are interrupted by Elvira, who warns the young woman to beware of his treacherous words. No sooner has Elvira spirited Zerlina away does Giovanni happen upon Anna and Ottavio. They enlist his assistance in finding the murderer of her father. Again Elvira intercedes, professing Giovanni’s true nature. He discounts her statements as madness and follows her, feigning concern over her mental state. Anna suddenly realizes that Giovanni is her would-be rapist and her father’s killer. She cries for vengeance. At Giovanni’s palace the party is in full swing. Masetto questions Zerlina’s fidelity, and when she tries to reassure
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Costume sketches by Patrick Mailler him, it is to little avail. Elvira has joined Anna and Ottavio, and the three of them arrive at the party masked. As everyone begins to dance, Giovanni leads Zerlina into another room. Her screams are soon heard, and as Giovanni tries to deflect the blame on Leporello, he is able to escape once again. – intermission – act ii On a street near the residence of Donna Elvira, Leporello threatens to quit, but is appeased by an influx of cash. Tired of this type of life, he begs Giovanni to put an end to his wanton pursuit of women, but the Don counters that to be faithful to one would mean to deny the others. His latest quest is the young and attractive maid of Donna Elvira. He exchanges cloaks with his servant to disguise his station. Leporello is to distract Elvira by posing as his employer. Elvira is easily fooled, quite willing to forget past transgressions, and the disguised Leporello manages to lead her away. Meanwhile, Giovanni sings a serenade to lure the maid, but to no avail. Masetto enters with a posse of peasants, intent on capturing the scurrilous Don. Still dressed as Leporello, Giovanni manages to divert the other men, and alone with Masetto, gives him a sound thrashing. Zerlina enters and soothes the wounded man.
Meanwhile, Leporello is trying to lose Elvira in the darkness. Instead they encounter Anna and Ottavio and soon after, Zerlina and Masetto. All first recognize him as Giovanni, and are hardly any more forgiving once Leporello’s true identity is revealed. He begs for mercy, then runs off. Near a graveyard, Giovanni and Leporello are reunited. The master brings his servant up to date – during their masquerade he was able to seduce none other than Leporello’s mistress. A voice interrupts his merriment, and the two find themselves in front of the Commendatore’s tomb. Responding to the inscription, which states that even in death the old man will have revenge on the traitor who put him there, Giovanni callously invites him to dinner. He accepts. Elsewhere, Ottavio tries to ease Anna’s grief with an offer of marriage, but though she loves him, she will not be consoled. Back at the palace, Giovanni enjoys his dinner while Leporello picks at a few scraps. Elvira enters and makes one last attempt at getting the Don to change his dissolute ways, but he will not be persuaded. On her way out she is frightened by the ghost of the Commendatore, who also strongly advises Giovanni to repent. The Don is steadfast in his unwillingness to change and dies as a result, his soul condemned to hell.
b Salzburg, January 27, 1756; d Vienna, December 5, 1791 hild wonder, virtuoso performer and prolific creative artist, tion from the Seraglio), at the Burgtheater. Mozart also gave conMozart is the first composer whose operas have never been certs around Vienna, presenting a number of new piano concerout of repertory. His prodigious talents were apparent very early tos and symphonies. His chief concern was to procure a position in his life; by the age of four he at the imperial court. A small could reproduce on the keycommission came his way from board a melody played to him, the emperor for a one-act comat five he could play the violin edy, Der Schauspieldirektor (The with perfect intonation, and at Impresario), given in the same six he composed his first minevening as Antonio Salieri’s uet. Prima la musica e poi le parole A musician himself, Wolf(First the music, then the words), gang’s father, Leopold, immeto celebrate the visit of the diately saw the potential of his emperor’s sister, Marie Chrisson’s talents. With the mixed tine, and her husband, joint motives of religious piety and rulers of the Austrian Nethermaking a tidy profit, Leopold lands. embarked on a series of concert The Marriage of Figaro, tours showing off the child’s Mozart’s first true masterpiece extraordinary talents. Often for the imperial court, preplaying with his sister Maria miered at the Burgtheater in Anna (“Nannerl”), herself an 1786 and went on to Prague accomplished musician, young the following year where it was Wolfgang charmed the royal a huge success. Don Giovanni courts of Europe, from those of premiered in Prague in 1787 Giraudon/Art Resource, NY Austrian Empress Maria to great acclaim, but its Vienna Theresa, French king Louis XV Portrait of Mozart at the time of his visit to Prague in 1787 premiere in 1788 was coolly and English king George III, to received. By this time, Mozart the of lesser principalities of Germany and Italy. had received a minor imperial posting, Kammermusicus, which As Mozart grew older, his concert tours turned into a search required him to write dances for state functions. The position for permanent employment, but this proved exceedingly diffiwas hardly worthy of his skills and generated only a modest cult for a German musician in a market dominated by Italian income, a weighty concern now that debts had begun to composers. Although many of his early operas were commismount. Joseph II commissioned another opera from Mozart, Così fan tutte, which premiered January 26, 1790. The emperor sioned by Milanese and Munich nobles (Mitridate, Ascanio in was too ill to attend the opening and died the following month. Alba, Lucio Silla, La finta giardiniera), he could not rise beyond His brother, Leopold ii, assumed leadership, and Mozart hoped Konzertmeister of the Salzburg archbishopric. When the new to be appointed Kapellmeister – instead he merely received a conprince archbishop, Count Hieronymus Colloredo, was appointtinuance of his previous position. ed in 1771, Mozart also found he was released for guest engageCrisis hit in 1791. Constanze’s medical treatments at Baden ments with less frequency. Though his position improved and and the birth of a second child pushed their finances to a critia generous salary was offered, the composer felt the Salzburg cal point. Mozart’s friend and fellow Freemason, the impresario musical scene was stifling for a man of his enormous talent and Emanuel Schikaneder, suggested he try his luck with the subcreativity. urban audiences at his Theater auf der Wieden. Composition of Things came to a head in 1781 immediately after the sucThe Magic Flute began early that summer but had to be halted cessful premiere of Mozart’s first mature work, Idomeneo, in when two generous commissions came his way: a requiem for Munich. The archbishop, then visiting Vienna, insisted the an anonymous patron (who hoped to pass it off as his own comcomposer join him there. Never did Mozart better understand position), and an opera seria to celebrate the new emperor’s corohis position in the household than during that sojourn, when he nation as King of Bohemia. La clemenza di Tito premiered Sepwas seated at the dinner table below the prince’s personal valets tember 6, and The Magic Flute was completed in time to open and just above the cooks. He requested to be permanently disSeptember 30. The Requiem, however, remained incomplete, charged from his duties, and after several heated discussions his and as Mozart’s health began to fail, the composer feared he was petition was granted, punctuated by a parting kick in the pants. writing his own death mass. In December Mozart died at the Now completely on his own for the first time, Mozart age of 35 and was given a simple funeral by his impoverished embarked on several happy years. He married Constanze widow, then buried in an unmarked grave on the outskirts of Weber, sister to his childhood sweetheart Aloysia, and preVienna. miered a new work, Die Entführung aus dem Serail (The Abduc-
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photo by Gary Mortensen
t h e m i n n e s o t a o p e r a • 14
Wolfgang Amadeus Mozart
For more biographical information about these artists, visit our website at www.mnopera.org
Masetto Minnesota Opera Resident Artist Recently Hansel and Gretel, Minnesota Orchestra Tosca; Nixon in China; Carmen; Maria Padilla, Madame Butterfly, The Minnesota Opera Fiddler; Faust; Susannah; Roméo et Juliette, Chautauqua Opera Mirandolina; Madame Butterfly; The Seagull, Manhattan School of Music Upcoming Orazi & Curiazi; The Elephant Man, The Minnesota Opera Carmen; Hansel and Gretel, Minnesota Orchestra
Patrick Carfizzi Leporello Minnesota Opera Debut Recently Die Fledermaus, Seattle Opera Ariadne auf Naxos; Le nozze di Figaro, Metropolitan Opera Guillaume Tell, Opera Orchestra of New York Don Giovanni; Le nozze di Figaro, Santa Fe Opera L’italianna in Algeri; Il viaggio a reims, Canadian Opera Co. La traviata; Simon Boccanegra, San Francisco Opera Upcoming The Barber of Seville, Opera Theatre of St. Louis Manon; Le nozze di Figaro, Metropolitan Opera
Christopher Dickerson Commendatore Minnesota Opera Debut Recently Un ballo in maschera, Opera Company of Philadelphia La traviata; La sonnambula, Caramoor Festival La bohème, Florentine Opera; Billings Opera Don Giovanni; La Cenerentola, San Antonio Lyric Opera Tosca, Fort Worth Opera Doktor Faust, San Francisco Opera Corps of Discovery, Opera Memphis Madama Butterfly; Samson et Dalila; Un ballo in maschera; La traviata; The Magic Flute, Lyric Opera of Chicago
Seth Keeton Leporello Minnesota Opera Resident Artist Recently Death in Venice; Lucie de Lammermoor, Glimmerglass Op. Tosca; Carmen; Maria Padilla; Madame Butterfly; Magic Flute; Passion; Lucrezia Borgia; Rigoletto, The Minnesota Opera La bohème; Roméo et Juliette; Don Giovanni, Chautauqua Op. La bohème; Dead Man Walking; La traviata, Austin Lyric Op. Upcoming Orazi & Curiazi; Elephant Man, The Minnesota Opera Jenufa; The Greater Good, Glimmerglass Opera Madame Butterfly; Falstaff, Fort Worth Opera
Lauren McNeese Donna Elvira Minnesota Opera Debut Recently The Magic Flute; Carmen; Götterdämmerung; Das Rheingold; Die Walküre; The Cunning Little Vixen; Pirates of Penzance; Faust; Le nozze di Figaro; La traviata; Thaïs; Cavalleria rusticana; Parsifal; Street Scene, Lyric Opera of Chicago Midsummer Night’s Dream; Liebeslieder Walzer, Chicago Symphony Orchestra Rivinia Festival Upcoming Le comte Ory, Wolf Trap; Così fan tutte, Lyric Op. of Chicago Don Carlo; Manon, Los Angeles Opera
Edward Mout Don Ottavio Minnesota Opera Resident Artist Tosca, The Minnesota Opera Falstaff; Eugene Onegin, Indiana University Opera Theater Norma; Fidelio; Rigoletto; Aida; Faust; Lohengrin; Macbeth; Verdi Requiem (ensemble), San Diego Opera Apprentice Artist – Opera Theatre of St. Louis Carmina burana; Bach Cantata #191, San Diego Chamber Singers Upcoming Orazi & Curiazi; Elephant Man, The Minnesota Opera Santa Fe Opera Apprentice Artist Program
Alison Bates Zerlina Minnesota Opera Resident Artist Recently A View from the Bridge; Abduction from the Seraglio; Little Women; Giulio Cesare, Indiana University Opera Theater Symphony No. 2; Israel in Egypt, Columbus Indiana Phil. Tosca, Chautauqua Opera (Studio Artist) Gianni Schicchi, MasterWorks Festival (Young Artist) Messiah; Schubert Mass in G, South Bend Symphony Upcoming Orazi & Curiazi; Elephant Man, The Minnesota Opera Gianni Schicchi; The Gondoliers, Chautauqua Opera
Theodore Chletsos Don Ottavio Minnesota Opera Resident Artist Recently Carmen; Maria Padilla; Madame Butterfly, Minn. Opera Vanessa, Central City Opera Amahl and the Night Visitors, Minnesota Orchestra Les contes d’Hoffmann; Student Prince; others, Central City Op. Roméo et Juliette; La bohème, Indianapolis Opera L’elisir d’amore; Roméo et Juliette, Lyric Opera of Kansas City Ariadne auf Naxos; Le trouvère, Sarasota Opera Upcoming Orazi & Curiazi; Elephant Man, The Minnesota Opera
Jamie-Rose Guarrine Zerlina Minnesota Opera Resident Artist Recently Paul Bunyan; Face on the Barroom Floor; Madame Butterfly, Central City Opera Hansel and Gretel, Opera for the Young Carmen, Madison Opera; Dr. Miracle, Florentine Opera Iphigenia at Aulis; Così fan tutte; Dialogues of the Carmelites; Lucia di Lammermoor; others, University of Wisconsin Upcoming Joseph Merrick, the Elephant Man, The Minnesota Opera San Francisco Opera Merola Program
Kyle Ketelsen Don Giovanni Minnesota Opera Debut Recently Henrik, Royal Opera House – Covent Garden Samson et Dalila; The Magic Flute, Washington Opera Faust, Michigan Opera Theatre Carmen, Opera Theatre of St. Louis Upcoming Tosca, Metropolitan Opera Don Giovanni, Gran Teatre del Liceu; Los Angeles Opera Le nozze di Figaro, Royal Opera CG; Opera di Genova Orlando; Carmen, Royal Opera – Covent Garden
John Michael Moore Masetto Minnesota Opera Resident Artist Recently Tosca, The Minnesota Opera Gloriana; Madame Butterfly, Des Moines Metro Opera The Merry Widow; The Magic Flute; The Seagull; The Crucible; Carousel; Sweeney Todd; Beethoven Symphony No. 9; Handel Messiah; Elijah; Duruflé Requiem, Simpson College Upcoming The Magic Flute, Des Moines Metro Opera Orazi & Curiazi; Elephant Man, The Minnesota Opera
Patricia Risley Donna Elvira Minnesota Opera Debut Recently The Tempest (Adès), Los Angeles Philharmonic La Cenerentola; Don Carlo; Carmen, Metropolitan Opera Roméo et Juliette; Giulio Cesare, Houston Grand Opera Upcoming La Cenerentola, Opera Ireland The Tempest, Santa Fe Opera Le nozze di Figaro, Arizona Opera Ariadne auf Naxos, Utah Symphony & Opera Frau Margo, Fort Worth Opera
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Raymond Ayers
The A r t i s t s
t h e m i n n e s o t a o p e r a • 16
The A r t i s t s Tómas Tómasson Don Giovanni Minnesota Opera Debut Recently Pique Dame; The Flying Dutchman, Théâtre de la Monnaie Pique Dame, San Francisco Opera Das Rheingold; Don Carlos; Celan, Oper der Stadt Köln Lucia di Lammermoor, Lyric Opera of Chicago Les Troyens; La clemenza di Tito, Netherlands Opera Upcoming Alcina, Opéra National de Lyon Wozzeck, Opéra de Nancy Pique Dame, De Vlaamse Opera
Karin Wolverton Donna Anna Minnesota Opera Debut Lucia di Lammermoor, 2001 Recently Les contes d’Hoffmann; Gloriana; Salome, Des Moines Metro Opera Carmen; Maria Padilla; The Magic Flute; Passion; Rigoletto; The Handmaid’s Tale; Norma; others, The Minnesota Opera Les contes d’Hoffmann; The Student Prince, Central City Opera Dvorak Te Deum; Amahl, Minnesota Orchestra Upcoming The Rake’s Progress, Des Moines Metro Opera
Alexander Farino Production Stage Manager Minnesota Opera Debut Rigoletto, 1995 Recently Hansel and Gretel; Candide, Minnesota Orchestra 1996 – 2006 seasons, The Minnesota Opera Acis and Galatea; Central Park; Tosca, Glimmerglass Opera A Funny Thing Happened on the Way to the Forum, Ordway Center for the Performing Arts Madame Butterfly, Opera Pacific Upcoming Orazi & Curiazi; The Elephant Man, The Minnesota Opera
Jeune Lune presents an electrifying opera featuring
BRADLEY GREENWALD, JENNIFER BALDWIN PEDEN, and CHRISTINA BALDWIN
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Recipient of the 2005 Tony Award for Outstanding Regional Theatre
For more biographical information about these artists, visit our website at www.mnopera.org Erin Wall Donna Anna Minnesota Opera Debut Recently The Magic Flute, Lyric Opera of Chicago Così fan tutte, Opéra National de Paris; Aix-en-Provence Fest. Faust, Teatro Municipal (Santiago, Chile) The Ring Cycle; Faust; Parsifal; Street Scene, Lyric Opera of Chicago Upcoming Faust, Vancouver Opera Così fan tutte,,Vienna Festwoche Dido and Aeneas, Théâtre du Châtelet
Marcus Dilliard Lighting Designer Minnesota Opera Debut Turandot, 1995 Recently Amerika; The Little Prince; Antigone, Theatre de la Jeune Lune Dialogues of the Carmelites, Fort Worth Opera Tosca; others, Minnesota Opera Upcoming Mefistofele, Jeune Lune The Miser, The Alley Theater; Berkeley Rep. Theater Awards 2005 Ivey Award; 1998 McKnight Fellowship
Peter Kozma Assistant Director Minnesota Opera Resident Artist Recently Signor Bruschino (SD); Tosca (AD), The Minnesota Opera La tragédie de Carmen; The Telephone; Poppea (SD), Univ. of Texas L’Orfeo (SD), Budapest Chamber Opera Don Giovanni; Le nozze di Figaro; L’elisir d’amore; The Magic Flute (SD), Ars Classica Chamber Opera (Gödölló) Das Rheingold; Le nozze di Figaro; Madame Butterfly, La Cenerentola; others (AD), Hungarian State Opera Upcoming Orazi & Curiazi; The Elephant Man (AD), Minn. Opera
The A r t i s t s
For more biographical information about these artists, visit our website at www.mnopera.org
Maria Rosaria Tartaglia Set Designer Minnesota Opera Debut Recently Il Signor Bruschino, Teatro Rossini (Pesaro) Le pauvre matelot; Une éducation manquée, Opera Festival di Lugo (Romagna) Prinzessin Brambilla, Wexford Opera Festival La sonnambula, Teatro de la Maestranza Siviglia
NEEDED:
Two Pianos
Bruce Stasyna Continuo; Chorusmaster Minnesota Opera Debut Der Rosenkavalier, 2000 Recently Carmina burana, Avery Fisher Hall Shakespeare Unplugged, Dallas Art Museum Tosca; Nixon in China; others, The Minnesota Opera Fidelio; Beethoven Symphony No. 9, Minnesota Orchestra Die ägyptische Helena, American Symphony Orchestra Sweeney Todd; The Barber of Seville; Tito, Wolf Trap Opera Upcoming Orazi & Curiazi; Elephant Man, The Minnesota Opera
Xian Zhang Conductor Minnesota Opera Debut Recently La bohème; Don Giovanni; La traviata, Cincinnati Opera Guest Conductor – London, Auckland, China Symphonies Assistant Conductor – New York Philharmonic Conductor-in-Residence – China Opera House Conductor – Jin Fan Symphony; Lucca Festival Orchestra Upcoming Guest Conductor – Cincinnati, Colorado, Milwaukee, San Antonio Symphonies Music Director – Sioux Symphony
ith the continued success and phenomenal growth of The Minnesota Opera’s Resident Artists program, the company needs two used or new pianos for next season. Please call Kelly Clemens at 612-342-9565 if you can help. Your gift would be 100% tax deductible, and would help advance the careers of our young artists.
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Patrick Mailler Stage Director; Set and Costume Designer Minnesota Opera Debut Recently Don Carlo, Opera Company of Philadelphia Le pauvre matelot; Une éducation manquée, Opera di Lugo Lo speziale, Teatro de la Maestranza (Seville) Die Königin von Saba; Gianni Schicchi; Die Fledermaus; The Rake’s Progress; La fanciulla del West, Wexford Festival Le nozze di Figaro, Châteaux de Chantilly; Amphithéâtre de l’Opéra National de Paris (Bastille) Pique Dame, The Magic Flute, Amphithéâtre de l’Opéra National de Paris (Bastille)
t h e m i n n e s o t a o p e r a • 18
Coming up: O r a z i & C u r i a z i
Music by Saverio Mercadante Sung in Italian with English captions
April 8, 9, 11, 13 and 15, 2006 Ordway Center for the Performing Arts For tickets, call 651-224-4222 A Bel Canto love story in the tradition of Romeo and Juliet, Orazi & Curiazi (The Orazi and the Curiazi) unveils the tumult of tribal Rome, in which clan wars create tragic conflicts of loyalties. Mercadante, who Liszt called “Italy’s most important composer,” was a notable contemporary of Rossini, Bellini and Donizetti, and the dramatic innovator who paved the road for Verdi. Eric Simonson (Bok Choy Variations, La bohème and The Handmaid’s Tale) directs the American premiere of this rare masterpiece, which stars three of The Minnesota Opera’s favorite artists: Brenda Harris, Scott Piper and Ashley Holland.
Brenda Harris as Maria Padilla, 2005. Photo by Michal Daniel.
TBD
t h e m i n n e s o t a o p e r a • 20
Education a t t h e Opera Project Opera roject Opera (the Opera’s new youth opera ensemble) is very P excited to welcome our new members to Giovani (the ensemble for students in grades 8-12)! Starting January 7th, eight young men joined an already stellar group of young singers. They join the group as they prepare for their spring production of Hansel and Gretel under the musical direction of Dale Kruse. Performances of Hansel and Gretel are slated for May 19th, 20th and 21st at the Minnesota Opera Center.
Summer Camp We are looking for all talented singers in grades 7-12 to audition for Project Opera: Summer Camp 2006. The second annual camp is set for July 10th–21st. Over the course of two weeks, campers will learn a scene,
Ragazzi students greet the audience after their performance at the Arden Hills Presbyterian Home.
stage it and present it in two public concerts. Dale Kruse will serve as music director with Doug ScholzCarlson as stage director.
Proud Publisher of these fine magazines: Children’s Theatre Company Program • Guthrie Theater Program • Minnesota Orchestra Showcase Magazine • The Minnesota Opera Program • Northrop Dance Series Program • Ordway Center for the Performing Arts Program • Penumbra Theatre Program • The Saint Paul Chamber Orchestra Prelude Magazine • Sun Country In-flight Magazine • Twin Cities Public Television (tpt) Program Magazine
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612.375.9222
Auditions for both programs will be held on April 2, 2006 at the Opera Center. For more information, please call 612.342.9573.
we’re making an art connection
Education a t t h e Opera Orazi & Curiazi March 20, 2006 7:00-9:00 pm, Opera Center Orazi & Curiazi, Mercadante’s rarely performed gem from the bel canto era, tells the story in the tradition of Romeo and Juliet. Eastman School of Music professor Dr. Melina Esse will take you through the story and music of this unknown work. She will speak on the significance of Mercadante’s large body of works and why Liszt called him “Italy’s most important composer.” To register, call 612.342.9575. Cost is $20, $15/donors, subscribers, YPG and $10/students (with valid ID to be shown at the door).
American Military Bases Tour In November, members of the Resident Artist Program traveled to Fort McCoy near Tomah, Wisconsin for a performance of operatic favorites.
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• Four years professional experience required • 1000+ Minnesota CFA charterholders and growing Join us for this landmark celebration as the Chorus celebrates its 25th Birthday! This eclectic program will include stirring pieces from the Broadway musical Songs for a New World; the premiere of a new commission by American musical luminary and St. Paul native, Stephen Paulus; the triumphant Gloria by Randall Bass with organ, percussion and brass choir, a sampling of some of the greatest pieces to originate from the GLBT choral tradition and much, much more!
Thurs. – Fri., March 30 & 31 – 8 pm Sat., April 1 – 8 pm Ted Mann Concert Hall
612.624.2345 www.tcgmc.org
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Adult Education Opportunities
t h e m i n n e s o t a o p e r a • 22
Makee Yourselff att The Minnesota Opera C h o r u s Karen Bushby Chandler Molbert Supernumeraries Ben Crickenberger Bill Murray HOME.... David Allyn Jennifer Eckes Matthew Neil
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Andy Elfenbein Vicki Fingalson Peter Frenz Tracey Gorman Robin Helgen Ben Johnson Tor Johnson Angela Keeton Brian Kuhl Eric Mellum
Kristen Christensen concertmaster Julia Persitz David Mickens Allison Ostrander Judy Thon-Jones Andrea Een
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Christian Finch Jim Fulford Daniel Gregg Joseph Johnson Christian Skelley (cover) Matt Sudduth
Resident Artist covering principal role Raymond Ayers – Don Giovanni
The Minnesota Opera O r c h e s t r a Violin I
1926 6 Pleasantt att Franklin n
Cathryn Schmidt Robert Schmidt Sandra Schoenecker Bryan Shih Anne Storlie Staci Stringer Joel Swearingen Cordell Wesselink
Adriana LaRosa Ransom Rebecca Arons Goetz Joe Englund
Horn
Bass
Trumpet
John Michael Smith Constance Martin
John G. Koopmann Christopher Volpe
Flute
Trombone
Michele Frisch Amy Morris
Sue Roberts Rick Gaynor David Stevens
Oboe
Charles Kavalovski Charles Hodgson
Marilyn Ford Merilee Klemp
Timpani
Clarinet
Mandolin
Sandra Powers Nina Olsen
Christopher Kachian
Bassoon Coreen Nordling Laurie Hatcher Merz
Kory Andry
Personnel Manager Steve Lund
Are you a 20- or 30-something who’s curious about opera? Looking for something new and fun to look forward to? Join other young professionals for the hottest ticket in town — The Minnesota Opera’s Young Professionals Group!
U p c o m i n g Ev e n t s Opera Nights Out: Don Giovanni, March 11 Orazi & Curiazi, April 15 Joseph Merrick, the Elephant Man, May 20 Spring Swing, April 29 Great Waters is the official venue for Opera Nights Out
To join, visit www.mnopera.org, email us at ypg@mnopera.org, or call us at 612.342.9550
The low-cost YPG membership (only $30 per season) entitles members to great seats at the Opera for rock-bottom prices, as well as post-opera cocktail parties and special events throughout the season.
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Cultivating a new generation of opera-goers in the Twin Cities
t h e m i n n e s o t a o p e r a • 24
25 • d o n g i o v a n n i
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t h e m i n n e s o t a o p e r a • 26
The following are all individual, corporate and foundation donors over $25,000: Andersen Foundation • Anonymous • Estate of Mrs. Judson Bemis • Julia W. Dayton John and Ruth Huss • Target Foundation Mary W. Vaughan Fund of The Minneapolis Foundation F. R. Bigelow Foundation • Cargill Foundation • General Mills Foundation 3M Foundation • Alfred and Ingrid Lenz Harrison • Estate of Jean Lemberg The Medtronic Foundation • The Saint Paul Foundation • Wells Fargo Foundation Minnesota C. Angus and Margaret Wurtele Karen Bachman • Alexandra O. Bjorklund • Mary and Gus Blanchard • Mary Lee Dayton Ecolab Foundation • The William Randolph Hearst Foundation • Lucy Rosenberry Jones Constance and Daniel Kunin • The Art and Martha Kaemmer Fund of HRK Foundation Keller Trust • The MAHADH Fund of HRK Foundation • Mardag Foundation John G. Ordway, Jr. • RBC Dain Rauscher Foundation • Saint Paul Travelers The Harriet and Edson Spencer Fund of The Minneapolis Foundation Rebecca Rand and E. Thomas Binger • Ellie and Tom Crosby, Jr. • Heinz and Sisi Hutter Diana and Joe Murphy • Mr. and Mrs. William Phillips • Mr. and Mrs. Steven Rothschild 1997 Irrevocable Trust of Frederick T. Weyerhaeuser Rod and Susan Boren • Mrs. Thomas B. Carpenter • Carolyn Foundation Darlene J. and Richard P. Carroll • Cleveland Foundation • Rusty and Burt Cohen Jane M. and Ogden W. Confer • Sara and Jock Donaldson Dorsey & Whitney Foundation • Vicki and Chip Emery • Brad and Diane England Faegre & Benson • Sharon and Bill Hawkins • Bill and Hella Mears Hueg Connie Fladeland and Steve Fox • Erwin and Miriam Kelen • R. C. Lilly Foundation Mary Bigelow McMillan • Thomas and Barbara McBurney • Stephanie Simon and Craig Bentdahl Kevin and Lynn Smith • Virginia L. and Edward C. Stringer • The Southways Foundation Bernt von Ohlen and Thomas Nichol • Nelson Family Foundation
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As of February 23, 2006, $12.2 million has been raised toward the $20 million Opera at the Ordway Initiative. These funds have already begun to transform the company through new productions, expanded education programs and a momentum that will expand the number of productions. The initiative will also add to The Opera's endowment, ensuring the future of the company performing here, at the Ordway.
t h e m i n n e s o t a o p e r a • 28
The Minnesota Opera A n n u a l Fund Individual Giving It is with deep appreciation that The Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides the financial foundation which makes the Opera’s artistic excellence possible. For information on making a contribution to The Minnesota Opera, please call Dawn Loven, Director of the Annual Fund, at 612-342-9567.
Bel Canto Circle Platinum $20,000 and above
Gold $15,000–$19,999
Silver $10,000–$14,999
Mary and Gus Blanchard Julia W. Dayton John and Ruth Huss Lucy Rosenberry Jones Patricia Lund Mrs. George T. Pennock (†)* Stephanie Simon and Craig Bentdahl Mary W. Vaughan Fund of The Minneapolis Foundation C. Angus and Margaret Wurtele
Karen Bachman* Mrs. Thomas B. Carpenter Darlene J. and Richard P. Carroll* Dolly J. Fiterman Heinz and Sisi Hutter The Art and Martha Kaemmer Fund of HRK Foundation* Warren and Patricia Kelly*
Anonymous (2) Allegro Fund of the Saint Paul Foundation* Rebecca Rand and E. Thomas Binger Rod and Susan Boren Rusty and Burt Cohen Ellie and Tom Crosby, Jr. Mary Dearing and Barry Lazarus Cy and Paula Decosse Fund of The Minneapolis Foundation The Denny Fund of The Minneapolis Foundation
Denver and Nicole Gilliand David Hanson and William Biermaier Karen and John Himle Constance and Daniel Kunin Ilo and Margaret Leppik Mr. and Mrs. B. John Lindahl, Jr. Ms. Becky Malkerson Ted and Roberta Mann Foundation Diana and Joe Murphy Elizabeth Musser Trust— Fir Tree Fund Albin and Susan Nelson Nelson Family Foundation Brian and Julia Palmer Kevin and Lynn Smith Mitchell and Kendall Stover Catie Tobin and Brian Naas Charles Allen Ward Fund of The Saint Paul Foundation Anonymous (2) Chloe D. Ackman Lowell Anderson and Kathy Welte Martha Goldberg Aronson and Daniel Aronson Martha and Bruce Atwater Dr. Ford and Amy Bell
Alexandra O. Bjorklund Rachelle Dockman Chase Steve Chirhart Cleveland Foundation Dr. Stephen and Beth Cragle John and Arlene Dayton Mary Lee Dayton Thomas and Mary Lou Detwiler Rondi Erickson and Sandy Lewis Leslie and Alain Frecon Christine and W. Michael Garner Mr. and Mrs. R. James Gesell Meg and Wayne Gisslen Mrs. Myrtle Grette Dorothy J. Horns, M.D., and James P. Richardson Jay and Cynthia Ihlenfeld Dale A. Johnson Jacqueline Nolte Jones Robert and Susan Josselson Stan and Jeanne Kagin Samuel L. Kaplan and Sylvia Chessen Kaplan Erwin and Miriam Kelen Michael F. and Gretchen G. Kelly and the Kelly Family Foundation Lyndel and Blaine King Mrs. James S. Kochiras David MacMillan and Judy Krow
Mahley Family Foundation Roy and Dorothy Ann Mayeske James and Judith Mellinger Richard and Nancy Nicholson – Nicholson Family Foundation Dwight D. Opperman William and Barbara Pearce Marge and Dwight Peterson Mr. and Mrs. William Phillips Stephanie Prem and Tom Owens Robert and Mary Price Lois and John Rogers Ken and Nina Rothchild Mr. and Mrs. Steven Rothschild Sampson Family Charitable Foundation Kay Savik and Joe Tashjian Fred and Gloria Sewell Drs. Joseph and Kristina Sha∂er Frank and Lynda Sharbrough Julie Jackley Steiner Mr. and Mrs. James Swartz Tanrydoon Fund of The Saint Paul Foundation William Voedisch and Laurie Carlson Nancy and Ted Weyerhaeuser
Jeff and Barb Couture Bruce Coppock and Lucia May* Mrs. Thomas M. Crosby, Sr. Ruth and Bruce Dayton Amos and Sue Deinard Jack and Claire Dempsey Mona Bergman Dewane and Patrick Dewane Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Susan Engel and Arthur Eisenberg* Ester and John Fesler Salvatore S. Franco Patricia R. Freeburg James and Mary Frey Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Bradley A. Fuller and
Elizabeth Lincoln David and Kathy Galligan* Richard Geyerman Lois and Larry Gibson Howard and Heidi Gilbert Micheal and Elizabeth Gorman Sima and Clark Griffith Frank Guzzetta* The Hackensack Fund of The Saint Paul Foundation Rosalie He∂elfinger Hall Fund of The Minneapolis Foundation Don Helgeson John S. and Rosmarie Helling Sarah Henry Diane Hoey Bill and Hella Mears Hueg Mr. and Mrs. Thomas Hull
James L. Jelinek and Marilyn Wall Linda Johnson Markle Karlen Jessie L. Kelly E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Kenneth Kixmoeller and Kim Otness Mr. and Mrs. William Kling Gerard Knight Lisa C. Kochiras Maria Kochiras Kyle Kossol and Tom Becker Robert L. Kriel and Linda E. Krach Helen L. Kuehn Anita Kunin Mark and Elaine Landergan Robert L. Lee and Mary E. Scha∂ner Carl Lee and Linda Talcott Lee
Sara and Jock Donaldson Alfred and Ingrid Lenz Harrison* Mr. and Mrs. Philip Isaacson* Peter J. King Lynne Looney Thomas and Barbara McBurney Harvey T. McLain Mary Bigelow McMillan Mrs. Walter Meyers Bruce and Sandy Nelson Jose Peris and Diana Gulden Elizabeth and Andrew Redleaf
Camerata Circle Platinum $7,500–$9,999 Anonymous Jane M. and Ogden W. Confer Rolf and Nancy Engh N. Bud and Beverly Grossman Foundation Sharon and Bill Hawkins Bryce and Paula Johnson Mr. and Mrs. Steven Rothschild Timothy and Gayle Ober Bernt von Ohlen and Thomas Nichol Connie and Lew Remele Virginia L. and Edward C. Stringer
Gold $5,000-$7,499 Anonymous (2) Eric and Tracy Aanenson Dr. James E. and Gisela Corbett Susan and Richard Crockett David and Vanessa Dayton Sally J. Economon Chip and Vicki Emery Brad and Diane England Tom and Lori Foley Mr. and Mrs. John Forsythe Connie Fladeland and Steve Fox
Silver $2,500–$4,999
Artist Circle $1,000–$2,499 Anonymous (4) Floyd Anderson Paula Anderson Kim A. Anderson John Andrus, III Mr. and Mrs. Edmund P. Babcock Dr. Thomas and Ann Bagnoli James Baldwin and Mary Atmore Mr. and Mrs. Paul G. Boening Jan and Ellen Breyer Judith and Arnold Brier Conley Brooks Family Elwood F. and Florence A. Caldwell Bruce and Deanna Carlson Joan and George Carlson Joe and Judy Carlson Wanda and David Cline
The Minnesota Opera A n n u a l Fund Artist Circle (continued) Susan Lenthe Stefanie Lenway and Tom Murtha Diane and Sid Levin Michael and Diane Levy Sy and Ginny Levy Family Fund of The Minneapolis Foundation Jerry and Joyce Lillquist Benjamin Y. H. and Helen C. Liu Bill Long Dawn M. Loven Mr. and Mrs. Donald Lucker Margery Martin Lois and Rick Marsh
Gilah Mashaal Samuel D. and Patricia McCullough William Messerli Sandy and Bob Morris Mrs. John H. Myers Susan Okie Luis Pagan-Carlo Kelly and Michael Palmer Allegra Parker Karen B. Paul William and Suzanne Payne Jodi and Todd Peterson* Mary Ingebrand Pohlad
James and Connie Pries Tim and Elin Raymond Frances and George Reid Kit Reynolds and Mike Schwimmer John and Sandra Roe Mrs. John C. Rowland Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Patty and Barney Saunders Dr. and Mrs. Richard J. Schindler Stanislaw and Krystyna Skrowaczewski Je∂ and Helene Slocum Don and Leslie Stiles
Robert and Barbara Struyk James and Susan Sullivan Henry and Virginia Sweatt Michael Symeonides Mr. and Mrs. George H. Tesar Lois and Lance Thorkelson Emily Anne and Gedney Tuttle Mr. and Mrs. Philip Von Blon Fred and Ellen Wells Ms. Wendy Wenger Teresa Williams
Gerald and Sarah Caruso Paul Cavall Bruce and Ann Christensen Joann M. D. Cierniak Edward Conway and Kathleen Jerde Bill and Kate Cullen Fran Davis Joe Dowling and Siobahn Cleary Joyce and Hugh Edmondson Herbert and Betty Fantle Catherine C. Finch Carolyn Fiterman Cheryl Kreofsky and Michael Fitzgerald Henry and Anice Flesh Dr. Stanley M. and Luella G. Goldberg Alan Goldbloom Robert Goodell and Renee Brown Paul and Margot Grangaard Deanne and John Greco Sarah Green Marjorie and Joseph Grinnell Bruce and Jean Grussing Roger L. Hale and Nor Hall Ruth E. Hanold Kristin Hayes and Greg Sochacki Franz and Jeannie Hofmeister Joe and Nancy Holmberg
David and Sally Hyslop Diane and Paul Jacobson Andrzej and Urszula Jaworski Mrs. Owen Jenkins Dr. and Mrs. Charles R. Jorgensen Jane and Jim Kaufman Fund of The Minneapolis Foundation Steve and Jolie Klapmeier Roy and Mary Letourneau Joan E. Madden C.S. McCrossan Orpha McDiarmid Family Fund Sheila McNally L. David Mech Theresa A. Murray and Jim Murray Paul C. Muzio Joan and Richard Newmark Lowell and Sonja Noteboom Bradley Nuss Dennis R. Olson Mr. and Mrs. G. Richard Palen Dan and Pat Panshin Paula Patineau Kern and Kathryn Peterson James J. Phelps and Nancy McGlynn Phelps Nicole and Charles Prescott Elsie L. Quam Lawrence M. Redmond
Ann M. Rock James and Andrea Rubenstein Janet and Bill Schaeder Karen A. Schaffer Mahlon and Karen Schneider Marcia and Stephen Schultz Bill and Althea Sell Janet and Irving Shapiro Peter and Bonnie Sipkins Daniel and Marilyn Spiegel Warren Stortroen Roxanne Stouffer and Joseph Cruz Joanne Strakosch and William Umscheid Dana and Stephen Strand Brian and Mia Sullivan Allan Valgemae and Robert Harding Will and Li Volk Elaine B. Walker The Wallin Foundation David and Mary Ann Barrows Wark Mr. and Mrs. Charles Webster James and Sharon Weinel Frank and Frances Wilkinson Lani Willis and Joel Spoonheim Mary Wong
Patron Circle Gold $750–$999 Anonymous (1) Quentin and Mary Anderson Mr. and Mrs. Carl W. Clessler C.D.F. Foundation Drs. Greg and Angie Hatfield John and Jean McGough Holten Nicole and Charles Prescott Thomas D. and Nancy J. Rohde Jim Scarpetta The Harriet and Edson Spencer Fund of The Minneapolis Foundation Keith and Catherine Stevenson
Silver $500–$749 Anonymous (1) Fred Amram and Sandra Brick Woodbury H. and Cynthia Andrews Genevive Antonello Satoru and Sheila Asato Ruth and Dale Bachman James and Gail Bakkom Mrs. Harvey O. Beek Barbara S. Belk Gerald and Phyllis Benson Michael and Paige Bingham Thomas and Joyce Bruckner Patrick and Kristen Burton Daniel and Christine Buss
*Includes Gala Fund-a-Dream support.
Estate a n d Planned Gifts The 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 leaving a legacy gift to The Minnesota Opera. If you have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity. For more information on possible gift arrangements, please contact Dawn Loven, Director of the Annual Fund, at 612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you. Anonymous (2) Mary A. Andres Mr. and Mrs. Rolf Andreassen Karen Bachman Mark and Pat Bauer Barbara and Sandy Bemis (†) Darlene J. and Richard P. Carroll Judy and Kenneth (†) Dayton Mrs. George Doty Rudolph Driscoll (†) Sally Economon
Paul Froeschl Robert and Ellen Green Ieva Grundmanis (†) Norton M. Hintz Jean McGough Holten Charles Hudgins Dale and Pat Johnson Robert and Susan Josselson Mrs. Markle Karlen (†) Steve Keller Blaine and Lyndel King
Gretchen Klein (†) Bill and Sally Kling Gisela Knoblauch (†) Mr. and Mrs. James Krezowski Robert Kriel and Linda Krach Robert Lawser, Jr. Jean Lemberg (†) Gerald and Joyce Lillquist Margaret L. and Walter S. (†) Meyers Edith Mueller (†) Scott Pakudiatis
Sydney and William Phillips Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Andrew H. Stewart, Jr. Barbara and Robert Struyk James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick
These lists are current as of December 31, 2005, and include donors who gave gifts of $500 or more to The Minnesota Opera Fund since July 1, 2004. If your name is not listed appropriately, please accept our apologies, and call Megan Stevenson, Individual Gifts Associate, at 612-342-9569. (†) Deceased
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Individual Giving
t h e m i n n e s o t a o p e r a • 30
Tribute In Memoriam Over the past weeks, several prominent members of The Minnesota Opera family have passed away. We celebrate their unique qualities and the wonderful contributions they have made to the Opera and to the community.
Carolyn Argento Soprano and a leading lady of the Center Opera Company; wife and artistic partner of composer Dominick Argento
Thomas Binger Long-time subscriber and generous patron
Jevne Pennock Lifetime honorary Board member, patron, subscriber and advocate
I
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elegant I edgy I eclectic I
t h e m i n n e s o t a o p e r a • 32
The Minnesota Opera A n n u a l Fund Institutional Giving Corporations and Foundations Platinum $10,000+ 3M Allianz Life Insurance of North America Ameriprise Financial Fred C. and Katherine B. Andersen Foundation The Bush Foundation Cargill Foundation Deloitte Deluxe Corporation Foundation Dorsey & Whitney Foundation Ecolab Foundation General Mills Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation Lowry Hill Private Wealth Management The MAHADH Fund of HRK Foundation The McKnight Foundation The Medtronic Foundation OPERA America’s Opera Fund Rider Bennett SpencerStuart St. Paul Travelers SUPERVALU Stores, Inc. Target Foundation Thrivent Financial for Lutherans Twin Cities Opera Guild U.S. Bancorp Foundation U.S. Bank, Private Client Group U. S. Trust Company Wells Fargo Foundation Minnesota Wenger Foundation
Gold $5,000-$9,999 ADC Telecommunications AT&T Foundation Bemis Company Foundation Briggs and Morgan Faegre & Benson Jostens, Inc. Lindquist & Vennum R. C. Lilly Foundation Onan Family Foundation Pentair, Inc. Piper Ja∂ray
Carl and Eloise Pohlad Foundation Rahr Foundation RBC Dain Rauscher Foundation Star Tribune Foundation Valspar Foundation Xcel Energy Foundation Boss Foundation Dellwood Foundation Mary Livingston Griggs and Mary Griggs Burke Foundation Hutter Family Foundation Alice M. O’Brien Foundation The Elizabeth C. Quinlan Foundation Margaret Rivers Fund Schwegman, Lundberg, Woessner & Kluth, PA Tennant Foundation Thomson West Arts & Custom Publishing Co., Inc. Brock-White Co., LLC The Burdick-Craddick Family Foundation Curtis L. Carlson Family Foundation Digital Excellence, Inc. Gunkelmans Interior Design Hogan & Hartson Horton, Inc. Le Jeune Investment, Inc. Leonard, Street & Deinard Maslon, Edelman, Borman & Brand Mayo Clinic McVay Foundation Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust Peregrine Capital Management The Regis Foundation Robins, Kaplan, Miller & Ciresi Securian Foundation The Southways Foundation St. Croix Foundation Charles B. Sweatt Foundation Tozer Foundation
Minnesota Opera Sponsors Season Sponsor
Conductor Appearances
U.S. Bank, Private Client Group
SpencerStuart
Production Sponsors
Evening Intermission Sponsor
Tosca, U.S. Bank, Private Client Group Don Giovanni, Target Joseph Merrick, the Elephant Man, Ameriprise Financial
Lowry Hill Private Wealth Management
Opening Night Gala Sponsor U.S. Bank, Private Client Group Marshall Field’s Gives Okabena Advisors
RAP Teaching Artists Wenger Foundation
$50,000 – $99,999
Artist Circle $1,000-$2,499
City of Saint Paul’s Cultural STAR Program Minnesota State Arts Board National Endowment for the Arts
General Mills
$100,000 +
Silver $2,500-$4,999
Government
Production Innovation System
The Minnesota Opera gratefully acknowledges its major corporate supporters:
Promotional Support Minnesota Monthly
Opera Insights Thrivent Financial for Lutherans
$25,000 – $49,999
$10,000 – $24,999
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Conductor Xian Zhang has just received the Martin E. Segal Award. Now in its 18th year, the prestigious award is given annually to two rising young artists in recognition of outstanding achievement in their respective disciplines. Lincoln Center Chairman Bruce Crawford and President Reynold Levy presided over the event. Martin Segal, in whose name the Lincoln Center Board of Directors established the award, also participated in the ceremony. On a rotating basis since the inception of the prize, two of Lincoln Center's 12 resident arts constituents have been asked to nominate an artist or ensemble associated with their organization to receive the Martin E. Segal Award. The Martin E. Segal Awards were established by Lincoln Center's Board of Directors and a group of Mr. Segal's friends and colleagues at the time of his retirement as Lincoln Center Chairman in 1986. The awards mark Mr. Segal's record of leadership and commitment to supporting and advancing the careers of up-and-coming artists.
speak to the people beside you‌
Good listening
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without saying a word Nancy Meeden
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t h e m i n n e s o t a o p e r a • 34
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Wolfgang Amadeus Mozart is considered one of the greatest composers of all time and his works are still being performed around the world, but what makes him so great? Go on a guided tour and hear the music that Mozart composed for the piano, string quartet and voice. Join The Saint Paul Chamber Orchestra, The Minnesota Opera and The Schubert Club for a day of fun and surprises while you celebrate Mozart’s 250th Birthday. The afternoon features actress Vera Mariner, who will capture and bring you into the world for Wolfgang Amadeus Mozart. The day also includes performances by an SPCO String Quartet, a young talented pianist and Minnesota Opera voices singing excerpts from a famous Mozart opera.
Special Family Convert March 25, 2006 10:30 a.m. and Noon Tickets: $8 651.291.1144 ) TAKE MY 'ERMAN SHORTHAIR POINTER -ILO TO THE DOG PARK ALMOST EVERY DAY LISTEN TO -INNESOTA 0UBLIC 2ADIO OUTINGS AND ON THE WAY TO WORK T IT ON TO GET THE SCOOP ) TRUST WHA ) VE BEEN LISTENING SINCE ) START SCHOOL AND ) APPRECIATED IT SO M BECAME A MEMBER DESPITE MY STUDENT BUDGET -Y NAME IS !KINWALE ) LIVE IN -INNEAPOLIS ! A MEMBER OF -INNESOTA 0UBLIC 2
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