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Act I – set design by Andromache Chalfant

Contents The Minnesota Opera Staff and Volunteers ............................................6 Notes from the Leadership ................................................................. 7 Faust ........................................................................................... 10 Background Notes ........................................................................ 10 Synopsis .....................................................................................13 Charles-François Gounod ...............................................................14 Out at the Opera..............................................................................15 The Artists .................................................................................... 16 Doug Varone and Dancers ................................................................ 18 The Minnesota Opera Chorus and Orchestra ......................................... 20 Why Subscribers Have More Fun ........................................................21 Education at the Opera .................................................................... 22 Tempo (the new Young Professionals Group) ....................................... 25 Minnesota OperaWorks ................................................................... 26 The Minnesota Opera Annual Fund ..................................................... 28

The Minnesota Opera President & CEO Artistic Director Chair, Board of Directors

Kevin Smith Dale Johnson Jane M. Confer

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.

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The Minnesota Opera Program

Publisher/Director of Production Advertising Account Executives Creative Designer Graphic Designer Controller

Marsha Kitchel Liesl Hyde, Amy Newton, Kristen Kummel Susan Schwegman Suzanne Sentyrz Klapmeier Jay Sandeen

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THE MINNESOTA OPERA

Staff

President & CEO Kevin Smith Artistic Director Dale Johnson Welcome to today’s production of Faust. 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 2008– 2009 season. We are proud of our 25-year relationship with The Minnesota Opera and the spectacular Ordway Center 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 to this community. Thank you for coming and enjoy the performance!

Artistic

Scenery

Artistic Administrator ..........Roxanne Stou∂er Cruz Artist Relations and Planning Director ....................... Floyd Anderson Dramaturg ......................................... David Sander Artistic Associate ...................................Bill Murray Associate Conductor-in-Residence ... Andrew Altenbach Resident Artists....................................Brad Benoit, John David Boehr, Bryan Boyce, Octavio Cardenas, Jamison Livsey, Nicole Perciﬁeld, Naomi Ruiz, Clinton Smith Master Coach ............................ Mary Jo Gothmann

Technical Director ........................ Mike McQuiston Properties Master.................. Stanley D. Hawthorne Properties Assistant ................................Mike Long Lighting Coordinator....................Charles D. Craun Production Carpenter ................................ JC Amel Scene Shop Foreman .................................Rod Aird Master Carpenter .................................Steven Rovie Carpenters ................................... Daniel Kimmerle, Nate Kulenkamp, Eric Veldey Charge Painter ................................Jeffery Murphey Painter ............................................... Lynn Isaacson

Education

Finance Director ...................................Je∂ Couture Operations/Systems Manager ........Steve Mittelholtz HR/Accounting Manager ...................Jennifer Thill Executive Assistant ..........................Theresa Murray Finance Assistant ........................... Katie Schoeneck Database Administrator/ Webmaster..................................Jessica Doklovic

Administration

Community Education Director ....... Jamie Andrews Teaching Artist..................................Angie Keeton Project Opera Music Director ................ Dale Kruse Project Opera Accompanist .............. Kathy Kraulik

Production Michael Boardman, Central Region President, U.S. Bank Wealth Management

Jose Peris, Senior Vice President, U.S. Bank Wealth Management, Minnesota Opera Board Member

Production Director..........................Kevin Ramach Production Stage Manager ............ Alexander Farino Assistant Stage Managers .................... Casey Martin, Angie Spencer Production Administrative Assistant ............................... Katherine Cattrysse

Costumes Costume Shop Manager ................... Erica M. Burds Assistant Costume Shop Manager .............Beth Sanders Wardrobe Supervisor ................... Emily Rosenmeier Drapers ................................................... Chris Bur, Yancey Thrift, Angela Yarbrough Dyer/Painter ..................................... Marliss Jenson Assistant Dyer/Painter.................. Kathleen Sullivan Costume Technicians: First Hands .................................Helen Ammann, Jennifer Dawson, Lindsey Strange Stitchers........................................Rebecca Ballas, Linda Edwards, Maria May, Rose Ryan Wig/Makeup Assistants ......................Sarah Bourne, Andrea Moriarity-Dahlberg, Anne Nesmith

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Institutional Advancement Vice President of Advancement ....... Patrick Dewane Advancement Manager ......................Kelly Clemens

Development Director of the Annual Fund................ Dawn Loven Institutional Gifts Manager ..............Beth Comeaux Donor Events and Gala Manager ................................Emily Skoblik Individual Gifts Manager..................Morgan Walsh

Marketing/Communications Marketing and Communications Director .... Lani Willis Marketing Manager ........................ Marsha Walker Communications Manager .........Griffin Woodworth Audience Development Associate ....... Jamie Nieman Ticket Office Manager ................ Katherine Castille Assistant Ticket Office Manager ............... Julie Behr Ticket Office Assistants...................... Kevin Beckey, Alexandrea Kouame, Jane Samsal

Volunteers

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The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera. If you would like to learn more about volunteering for The Minnesota Opera, please contact Jamie Nieman by phone at 612-342-9550 or via email at jnieman@mnopera.org.

Catherine Ahern Ann Albertson Gerald Benson Jerry Cassidy Susan Cogger Caroline Coopersmith Jeanette Daun Judith Duncan Sally Economon Christopher Foster Hazel Francois Li-Jun Fu Jane Fuller Joan Gacki Christine A. Garner Mary E. Hagen Merle J. Hanson

Anne Hesselroth Heather Huber Stephen Jahn Nancy Johnson Steve Johnson Jeannie Johnston Kristen Johnston Robin Keck Dawn Klassen Eleanore Kolar Lucinda Lamont Shirley Larson Mathilda Lien Jerry Lillquist Joyce Lillquist Margery Martin Joan Masuck

Yasuko Matsumoto Mary McDiarmid Verne Melberg Barbara Moore Doug Myhra Pam Nielsen Candyce Osterkamp Dan Panshin Pat Panshin Megan Pelka Bill Phillips Sydney Phillips Julia Porter Carol Purvis Kathleen Riley Enrique Rotstein John Sauer

Lynette Saucier Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Naomi St. Gregory Karen St. John Harry Swepston Dave Terwilliger Emily Thompson Stacey Vonderhear Carolyn Wahtera Sandy Walker Mary Weitz Barbara Willis

NOTES FROM THE FROM THE

Leadership

BOARD OF

Directors

Artistic Director

was transforming Europe at the Welcome to our beginning of the 20th century. new production of Gounod’s Faust, Andromache Chalfant’s sets recall directed and the look of Sergei Diaghilev’s choreographed by productions, and especially the the incomparable found-object collages of Dadaists Doug Varone. like Kurt Schwitters. Chalfant and We’re thrilled to costume designer James Schuette have Doug back have captured this modernist feel, at The Minnesota Opera. His insights but without placing the action in a of how movement propels dramatic specific time or place, which makes action, contributes to character and the show feel a bit like a dream or heightens emotional impact made fairy-tale world. The dancers provide for a brilliant production of Joseph another layer of storytelling that Merrick, the Elephant Man back in propels the action in an interesting 2006, and he’s done it again with and unusual way. Faust. Being able to work with his We hope you’ll enjoy this new take on dance company also gives us a great Goethe’s classic tale of good and evil. opportunity to include the ballet in act five, a part of the traditional opera that most companies cut for lack of resources. The look of this production owes a lot to the intense creativity that

Dale Johnson Artistic Director

Officers Jane Confer, Chair Chip Emery, Vice Chair Debra Paterson, Secretary Denver Gilliand, Treasurer Kevin Smith, President & CEO

Directors Martha Goldberg Aronson Heinz F. Hutter Wendy Bennett Philip Isaacson Charles Berg Lynne E. Looney Shari Boehnen Diana E. Murphy Susan S. Boren Luis Pagan-Carlo Kathleen Callahan Jose Peris Nicky B. Carpenter Mary Ingebrand-Pohlad Rachelle D. Chase Stephanie J. Prem Mary A. Dearing Elizabeth Redleaf Jodi Dehli

Connie Remele

Sara Donaldson Stephanie Simon Thomas J. Foley Peter Sipkins

FROM THE

Steve Fox

President Welcome to Faust.

Despite the downturn in the economy, this season has brought The Minnesota Opera a lot of good news. We were proud and grateful that the citizens of Minnesota chose to vote “yes” on the Clean Water, Land and Legacy Amendment, which will provide a source of state funding for the arts for the next 25 years. We are also grateful for your ongoing attendance and support, particularly at a time when many arts organizations are being forced by the economy

to scale back their offerings. It is because of you that we’re able to offer a diverse and ambitious 2009-2010 season (see page 21) and to launch bold programs like Minnesota OperaWorks, which is designed to bring a fresh infusion of new operas to the stage, beginning with Jonathan Dove’s The Adventures of Pinocchio in February. You can read more about Minnesota OperaWorks on page 26 or at mnopera.org. Thank you, and enjoy the performance!

Simon Stevens

Sharon Hawkins Virginia Stringer Ruth S. Huss

H. Bernt von Ohlen

Emeriti Karen Bachman Burton Cohen Julia W. Dayton Thomas R. McBurney Mary W. Vaughan

Honorary Directors Dominick Argento Philip Brunelle Elizabeth Close Dolly Fiterman

Kevin Smith President & CEO

Charles C. Fullmer Norton M. Hintz Liz Kochiras

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

James A. Rubenstein, Moss & Barnett

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Patricia H. Sheppard

Des Moines Metro Opera 37TH FESTIVAL SEASON JUNE 19-JULY 12, 2009

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WE ARE PLEASED TO PRESENT GUEST CONDUCTOR MAESTRO JEAN-YVES OSSONCE IN THE MINNESOTA OPERA’S PRODUCTION OF FAUST.

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May 19, 2009 Concerts at Ordway Center

Music by Charles-François Gounod Libretto by Jules Barbier and Michel Carré after Michel Carré’s Faust et Marguerite (1850) and Johann Wolfgang von Goethe’s play Faust, Part I (1808), in the French translation by Gérard de Nerval (1828)

World premiere at Théâtre Lyrique, Paris, March 19, 1859 January 24, 27, 29, 31 and February 1, 2009 Ordway Center for the Performing Arts Sung in French with English captions Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . Jean-Yves Ossonce Stage Director and Choreographer . . . . . . . . . . . . . Doug Varone Set Designer . . . . . . . . . . . . . . . . . . . . . . .Andromache Chalfant Costume Designer . . . . . . . . . . . . . . . . . . . . . . . James Schuette Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jane Cox Wig and Makeup Designer. . . . . . . . . . . . . . . . . . . . Jason Allen Assistant Director . . . . . . . . . . . . . . . . . . . . . . Octavio Cardenas Production Stage Manager. . . . . . . . . . . . . . . . Alexander Farino French Diction Coach . . . . . . . . . . . . . . . . . . . . . . Mary Dibbern Dance Assistant / Captain. . . . . . . . . . . . . . . . . . . Daniel Charon

The Cast Faust, a philosopher . . . . . . . . . . . . . . . . . . . . . . . . Paul Groves Marguerite, a village girl . . . . . . . . . . . . . . . . . .Judith Howarth Méphistophélès . . . . . . . . . . . . . . . . . . . . . . . . . Kyle Ketelsen Valentin, brother of Marguerite. . . . . . . . . . . . . Lucas Meachem Dancers. . . . . . . . . . . . . . . . . . . . . . . Doug Varone and Dancers Méphistophélès’ men . . . . . . . . Daniel Charon, Alex Springer, Colin Stilwell, Eddie Taketa Marguerite’s friends . . . . . . . . . . . Julia Burrer, Natalie Desch, Erin Owen, Netta Yerushalmy Angel in white. . . . . . . . . . . . . . . . . . . . . . . . . Natalie Desch Siébel, friend of Marguerite . . . . . . . . . . . . . . Nicole Perciﬁeld Marthe, Marguerite’s neighbor . . . . . . . . . .Kathleen Humphrey Wagner, friend of Valentin . . . . . . . . . . . . . . . John David Boehr Townspeople, students, soldiers, young girls, invisible demons, witches, queens and courtesans of antiquity, celestial voices Flying by Foy

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Faust is sponsored by Ameriprise Financial

The appearances of Paul Groves and Kyle Ketelsen, winners, and John David Boehr and Lucas Meachem, 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. The appearances of the Resident Artists are made possible by the Virginia L. Stringer Endowment Fund for The Minnesota Opera Resident Artist Program. Performances of Faust are being taped for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities. The Minnesota Opera season is sponsored by FAF Advisors and U.S. Bank. The appearances of the 2008–2009 season conductors are underwritten by SpencerStuart.

BACKGROUND

Notes

by David Sander

aust’s legendary deal with the devil has intrigued the creative mind for five centuries, reaching its zenith in the music, visual arts and literature of the Romantic period. The story can be traced back to early 16th-century Germany, an era of religious upheaval, when people commonly believed that Satan’s power on earth was real. According to one legend, a certain Dr. Johann Faust studied divinity at the University of Wittenberg, but was forced to flee under suspicion of dabbling in the black arts. Faust played up his diabolical reputation, boldly calling the devil his “brother-in-law” and claiming that the spirit of Helen of Troy was his mistress. Though “Faustus” means “good fortune” (a name he may have chosen to emphasize the benefits his magical cures brought to his patients), he met with a violent and mysterious end, all but guaranteeing that his devilish legend would grow. Such a colorful figure did not go unnoticed, and various treatments of the good doctor’s life began to emerge almost immediately after his death, all of which conveyed how Faust’s flirtation with evil was the worse possible sin. Festival puppet plays communicated the morality tale to those who couldn’t read, while inexpensive printed chapbooks circulated at county fairs for those who could. Johann Spies’ Historia von Doktor Johann Fausten (1587) became a hugely popular version (sensationally translated into English as The History of the Damnable Life and Deserved Death of Dr. John Faustus). Seemingly motivated by the spirit of the Reformation (one can almost sense Martin Luther guiding the author’s hand), the didactic tale reinforces the consequences of dealing with evil spirits, which – as the story went – could not simply be exorcised by a Catholic priest, and began tormenting the damned soul even while the person was still alive. In the story, Faust gets a complete tour of hell, and comes to regret his deal with the devil before the ink is even dry. After several romantic entanglements and other misadventures, Faust’s death is premature and grisly: his students overhear horrible noises in the doctor’s laboratory, and find him with his head twisted 180 degrees to face toward hell.

Notes

Dramatique in 1850. He took several liberties to make Spies’ morality tale inspired a play by Shakespeare’s contemporary, Christopher Marlowe (1564–1593). Unlike the piece suit the palate of Paris’ bourgeois audience. Siébel, a minor character in Goethe’s story, assumes a the former’s moralizing fable, Marlowe crafted his play more prominent role as Marguerite’s principal suitor and with a lighter tone: it is Faust who pursues a contract Faust’s rival. Valentin also is given more dialogue – an with the devil, and Mephistopheles is a far more comic earlier entrance establishes him as Marguerite’s guardian guide, playing tricks of magic on heads of state as they and protector, eliminating the unseen role of Marguerite’s visit the courts of Europe. Marlowe’s Faust is tormented by two angels – one good and one bad – and unlike Spies’ mother. Though ostracized for her adulterous affair with Faust, Marguerite is not imprisoned, and is redeemed in version, repentance is always a viable option (though the end. Faust, by contrast, does suffer eternal damnation, Faust is still damned in the end). a finale consistent with Spies’ morality tale rather than Germany’s first dramatist of note, Gotthold Lessing Goethe’s more enlightened salvation. (1729–1781) left his Faust incomplete, but the fragments Gounod had read Goethe’s tragedy during his student portray Faust’s demon-conjuring as a pursuit of knowledge and truth in the spirit of Enlightenment. Though the ending days in Rome, and most likely knew Carré’s popular play as well. When approached by Théâtre is inconclusive, Lessing may have Lyrique director Léon Carvalho, intended Faust’s eventual damnation the composer had only two operas to be only a dream, thus serving as to his credit, neither of which had warning against the excessive desire been a great success. Nonetheless, for knowledge, a fear inspired by Carvalho took a chance and agreed Luther’s reformed church. to mount Faust after another theater Enter Johann Wolfgang von abandoned the subject. However, Goethe (1749–1832), a member he insisted on inflating the tragedy of the Sturm und Drang movement, and grandiosity of the opera’s who bridged the gap between conclusion so as to outshine his Enlightenment and Romanticism main rival, the Paris Opéra. Thus, with his play Faust: Eine Tragödie. He the Walpurgisnacht scene, a witches’ likely saw one of the Puppenspiel as a dance that has little bearing on the child, and the subject haunted him action of the story, was reintroduced for most of his life. Goethe produced from Goethe to provide an extra his drama in two stages, Part i in element of spectacle. Like the 1808 and Part ii shortly before his play, Marguerite is tormented for death in 1832. Part i opens with a her crime of infanticide; but her Job-like wager between God and redemption – when she ascends Mephistopheles over whether or into the heavens – was a set piece not Faust can be completely swayed of French grand opéra. (As a result toward evil. The learned philosopher of these changes, Gounod’s Faust is clearly disillusioned with his is re-titled Margarete when it science and is tempted by youth Fantasy based on Goethe’s Faust (1834) by Theodore von Holst plays in Germany as a reminder and the possibility of adventure. Tate Gallery (London) that the opera has only a passing The ingénue character of Gretchen Photo Credit: Tate, London/Art Resource, NY similarity to Goethe’s treasured shares many elements with Gounod’s masterpiece.) Two principal arias were reintroduced from Marguerite – her unwanted pregnancy, abandonment the original play and intended to spotlight the talents of and eventual salvation – but her inclusion is incidental the impresario’s wife, Marie Caroline Miolan-Carvalho, to the greater dramatic structure. Part ii details Faust’s who frequently sang the starring roles at the Lyrique. An relationship with Helen of Troy, with whom he fathers a intended third aria, a crazed mad scene for the incarcerated child, Euphorian. Though he has found the ideal woman, Marguerite, had to be scratched due to the demanding the relationship sours and their demi-god child – an soprano’s unwillingness to sing it. In spite of that deletion, impossible marriage of the Neoclassical and the Romantic Faust remains a lengthy opera, and certain numbers are – dies trying to fly off of a cliff. Some 12,000 lines later, frequently cut (in particular, Marguerite’s Spinning Song Faust himself is redeemed, rescued from the consequences and Sièbel’s romance “Si le bonheur à sourire t’invite”). of his sinful acts and welcomed to heaven by an equally Premiered with spoken dialogue (as was the custom at forgiven Gretchen. French playwright Michel Carré transformed Goethe’s the Théâtre Lyrique and its sister, the Opéra-Comique), the opera was soon refitted with sung recitatives. Later, complex and meandering play (translated by Gérard de Nerval) into a popular drama for the Théâtre du Gymnase- for a command performance at the Paris Opéra, a ➤

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BACKGROUND

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BACKGROUND

Notes

influential work, The Monk, whose Faust-like title character requisite ballet was inserted in the Walpurgisnacht scene is led by a female incarnation of the devil into debauchery, as well as Méphistophélès’ Act iv couplets. Valentin’s culminating in the rape and stabbing of a virginal nun. aria “Avant quitter ces lieux” was further added at the This ghostly and blasphemous novel that was developed request of the star baritone who demanded a larger into at least two operas, Gounod’s La nonne sanglante and larger role at the London premiere in 1864 (though Gaetano Donizetti’s Maria de Rudenz, and was considered during his lifetime Gounod refused to include this for adaptations by Hector Berlioz, Giuseppe Verdi and piece in the published edition). Félicien David. Cazotte’s bizarre story also motivated Faust had a mixed reception at its premiere, but by e.t.a. Hoffmann to write his fantastic tales, which were the turn of the 20th century it had became one of the later dramatized by Carré and Barbier, and then made most frequently performed operas. It was the first opera into an opera by Jacques Offenbach. During the 19th to be presented at the new Metropolitan Opera House in 1883 and played there for several decades. By the 1950s, century, the interest in devilry and the occult yielded however, the opera lost its prominence, likely due to numerous staged and orchestral works, including pieces by its length and the associated expense. Now in the 21st Carl Maria von Weber (Der Freischütz), Heinrich Marschner (Der Vampyr), Daniel Auber century, Minnesota Opera (Robert le diable), Richard audiences will have an Wagner (Der fliegende opportunity to see the rarely Holländer), François-Adrien performed ballet (danced (Valse infernale) and Cesare by the renowned Doug Pugni (Le violon du diable), Varone and Dancers, who are a work which featured its integrated throughout the balletmaster and principal opera) in a beautifully updated dancer Arthur Saint-Léon production inspired by painter playing the demonic violin Kurt Schwitters. As stage (an instrument frequently director and choreographer associated with the devil). Doug Varone describes it, Writers such as Lord Byron this production is motivated (Cain; Manfred), Charles by a particular period in Act II – set design by Andromache Chalfant Nordier (Les vampires), European history, a time of John William Polidori “renewed creativity in the (The Vampyre), Victor Hugo (Cromwell; Notre Dame de arts as the visions of choreographer Sergei Diaghilev, the Paris), Théophile Gautier (Une larme du diable) and Percy Cubists and the burgeoning Dada movement began to unfold, giving Europe a new sense of itself and supplanting and Mary Shelley (Prometheus Unbound; Frankenstein – The Modern Prometheus) all probed the darker side of existence the staid memories of the late 1800s. We have settled on by employing evil spirits in their works, thereby projecting what I would call a Global Europe as the setting for our humankind’s own vices upon something external. production. Although throughout you’ll find a strong In music, Gounod was far from the only composer French sensibility in the designs of both James Schuette obsessed with Goethe’s characters. Gounod’s contemporary, and Andromache Chalfant, everything intentionally denies Hector Berlioz, composed a staged concert work entitled the final essential detail that places it firmly within one culture. In this way, and to its merit I believe, the world we La damnation de Faust (1846) that was in many respects truer to Goethe, but still customized to suit the composer’s whims enter is entirely universal in its look and feel.” and the artistic trends of the day. As in Gounod’s opera, As this updated setting suggests, Goethe’s masterpiece Faust contemplates drinking poison when Méphistophélès transcends any one particular place and time, and his depictions of Faust and Satan have been compelling subjects first visits and offers to fulfill all his desires. Faust and Marguerite appear to one another in a sequence of dreams. to numerous artists. This was especially true within the Their union proves childless, but Marguerite is still Gothic-obsessed milieu of 19th-century Europe, as artists imprisoned, though in Berlioz’s version it is for killing her wrestled with the devil’s transition from an omnipotent mother. A deal is struck when Méphistophélès offers to being into a manifestation of humanity’s potential for exchange Marguerite’s soul for Faust’s, and as she ascends to evil. Painters of the Romantic-period école frénétique were heaven, Faust is spirited to hell by horseback. particularly drawn to the Faust stories. Dutch-French artist The pianist and composer Franz Liszt was another Ary Scheffer created a number of paintings on Goethe’s artist who achieved fame during this era, and he often subject, as did Eugène Delacroix in a series of lithographs. cultivated the air of one who had acquired his virtuosic In literature, this theme is exemplified by Jacques Cazotte’s technique through occult dealings. His Mephisto Waltz watershed roman noir, Le diable amoureux, a diabolical No. 1 shocked audiences with its musical portrayal of a ➤ romance that in turn inspired Matthew G. Lewis’ highly BACKGROUND NOTES CONTINUED ON PAGE 15

Synopsis act i Bitter and disillusioned, the aging philosopher Faust contemplates how his studies have caused him to miss out on life. He attempts to kill himself with poison, but stops when he hears the happy voices of villagers through his window. Cursing science and faith, Faust asks the devil for guidance. To Faust’s surprise, Méphistophélès appears and, with a tempting vision of the beautiful Marguerite, convinces Faust to exchange his soul in return for another chance at life. Transformed into a young gentleman, Faust goes out into the village with Méphistophélès as his companion. act ii At the county fair, villagers, soldiers and country folk sing a drinking song. Marguerite’s brother Valentin, leaving for war with his friend Wagner, charges his friend Siébel to look after his sister while they are gone. Méphistophélès joins the villagers, providing wine and a bawdy song about the Golden Calf. The demon then makes dire prophecies concerning the futures of Wagner, Siébel and Valentin. When Méphistophélès turns his attention to Marguerite, Valentin takes offense and draws his sword, which the demon breaks with ease. Realizing his opponent’s true nature, Valentin and his friends rally to fend off evil. Faust joins the villagers, hoping to encounter Marguerite. When she returns from church, Méphistophélès distracts Siébel while Faust introduces himself to her. He declares his admiration for Marguerite, but she modestly declines his attentions. – intermission –

which Faust leaves beside Siébel’s offering. Marguerite arrives, still distracted by her encounter with Faust. She casually acknowledges Siébel’s bouquet, but Faust’s treasuretrove catches her attention. Putting on the jewelry, she imagines herself as a princess. Marthe, Marguerite’s neighbor, sees the jewels and advises her to keep them. Méphistophélès returns with Faust, and the two begin wooing Marguerite and Marthe. This time, Marguerite opens up to Faust, who offers her his love and protection. Marguerite is guarded, but Faust’s passion moves her, and the scene ends with a rapturous love duet. act iv Scene one – Marguerite is now a social outcast, abandoned by Faust. She laments the consequences of her actions.

Night in the Harz Mountains, where a witches’ sabbath is in progress. Fearful at first, Faust eventually joins the infernal celebration, and an orgiastic dance takes place. In the drunken chaos, Faust sees another vision of Marguerite, who has been sentenced to death for killing her child. With sudden sobriety, Faust vows to set her free. Scene two – With the help of Méphistophélès, Faust enters Marguerite’s prison cell and begs her to escape with him. Demented with guilt, Marguerite refuses, somberly awaiting her march to the scaffold. Méphistophélès – anxious to claim Marguerite’s soul – demands that Faust leave at once. Marguerite now sees the demon for who he really is and implores heaven to save her. In the end, Méphistophélès’ desire for Marguerite’s soul comes to nothing: as she dies, a choir of angels announces her salvation.

Scene two – As Marguerite prays at the local church, she is tormented with thoughts of damnation, first by Méphistophélès and then by a chorus of unseen devils. Scene three – Valentin’s regiment returns victorious. Meeting Siébel, he asks after his sister. Siébel asks Valentin to forgive Marguerite; Valentin is shocked to learn that Marguerite has had Faust’s child. Meanwhile, Méphistophélès and Faust – who regrets abandoning Marguerite – return to the village. Méphistophélès sings a serenade to lure Marguerite out of the house, but Valentin answers and challenges Faust to a duel. Faust is the easy victor, with the devil’s assistance, and with his dying breath Valentin curses his sister.

act iii

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– intermission – The lovesick Siébel leaves a bouquet on Marguerite’s doorstep. Observing the act v scene from a thicket, Méphistophélès offers to find a more spectacular gift for Scene one – As a distraction, Méphistophélès invites Faust to Marguerite. The demon returns with celebrate the feast of Walpurgis an exquisite box packed with jewels,

13 Costume sketch by James Schuette

CHARLES-FRANÇOIS

Gounod

b Paris, June 17, 1818; d St. Cloud, October 18, 1893

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harles-François Gounod emerged as one of the leading figures in French music during the latter part of the 19th century. Although the composer never achieved the titanic stature of Wagner or Verdi, Gounod’s opera Faust has rivaled some of their most successful works in popularity. The young composer showed early artistic talent, but his parents were determined that he study law. Gounod’s preference for music eventually won, and at the age of 16, the rebellious teen began the official path of a typical 19th-century composer in France. At the Paris Conservatoire, Gounod studied with Halévy, Le Sueur and Reicha. Winning the Prix de Rome in 1839, he embarked upon a two-year study in Italy, during which the composer first became familiar with the Faust and Romeo legends. Returning to France, Gounod was fortunate to befriend an influential soprano, Pauline Viardot, who helped him get a commission from the Paris Opéra. Sapho, set to a libretto by Emile Augier, was a critical success but not a huge box-office draw, and was dropped after six performances. Nonetheless, a debut at Paris’ leading opera house helped his reputation, and Gounod was offered subsequent commissions from the Opéra. Unfortunately, the composer’s second opera – La nonne sanglante – was only marginally more successful than his first, and his next project – Ivan le terrible – was canceled after an attempt had been made on French Emperor Louis-Napoléon’s life (the libretto contained a similar plot of regicide). Gounod’s fate at the Opéra was in limbo. Meanwhile, Léon Carvalho, new director of the Théâtre Lyrique, courted the composer with the prospect of producing Faust. They soon discovered that another theater, the Théâtre de la Porte-St-Martin, had planned an extravagant spectacle based on the Goethe play. Gounod’s Faust had to be put on hold, and Carvalho tried to appease the composer with a

comic libretto, Le médecin malgré lui, based on text by Molière. Le médecin did not prove successful, but soon Gounod caught a break: the St. Martin theater postponed its version of Faust, and Carvalho gave Gounod the go-ahead to complete his opera. A resounding success in France and all over Europe, Faust elevated Gounod to a composer of international acclaim. Over the next few years, Gounod produced four more operas: Philémon et Baucis, a mythological comedy

Charles Gounod by Julien Leopold Boilly Bibliotheque Nationale de l’Opera (Paris) Réunion des Musées Nationaux/Art Resource, NY

in the vein of Jacques Offenbach’s hugely successful Orphée aux enfers; La colombe, an opera comique about an impoverished nobleman’s attempts to win the heart of a wealthy countess; La reine de Saba, based on the biblical tale of Solomon and the Queen of Sheba; and Mireille, a love story set in the south of France. None of these works achieved the special appeal of Faust, although Mireille became a staple of the Opéra-Comique’s repertory. Around this time, the composer’s life began to unravel: the French press repeatedly accused him of “Wagnerism” (a result of his association with the German composer), and a nervous condition

resurfaced. Rehearsals of Mireille strained Gounod’s friendship with Carvalho – at one point their communication was reduced to the exchange of notarized letters. He eventually mended his relationship with Carvalho, and produced another work for the Théâtre Lyrique, Roméo et Juliette. At the outbreak of the FrancoPrussian War, Gounod moved his family to England, where he worked on his opera Polyeucte. While there, he befriended an enthusiastic fan, Georgina Weldon, who soon began to manage his business affairs. A romantic relationship developed, which became widely known when Gounod’s incensed wife returned to Paris in 1871. In 1874 the composer abruptly returned to France and family. In his haste, he left the nearly complete score of Polyeucte behind, and the embittered Georgina refused to part with it. Gounod took legal action, and also began rewriting the opera from memory (which that took nearly a year). Georgina eventually returned the score, but only after scrawling her name across every page. Polyeucte was not produced until 1878. In the meantime Gounod received yet another offer from Carvalho, who had assumed directorship of the Opéra-Comique. Cinq Mars was set to a story of political conspiracy and intrigue by Sir Walter Scott. However, its reception echoed those of his early operas – the work was neither offensive nor memorable in any way. Le tribut de Zamora was Gounod’s last work for the stage. His reputation, unfairly associated with the “frivolous” cultural products of the Second Empire, declined during the more austere Third Republic, and he spent his final years composing sacred music. Despite this faint reception, his masterpieces Faust and Roméo et Juliette remain in repertory to this day, and remind us of the higher purpose to which Gounod’s operas aspired during a period of artistic escapism.

BACKGROUND NOTES CONTINUED FROM PAGE 12

scene from yet another work inspired by Geothe, Nikolaus Lenauâ&#x20AC;&#x2122;s â&#x20AC;&#x153;The Dance at the Village Inn.â&#x20AC;? [The poet Lenau (1802â&#x20AC;&#x201C;1850) was dissatisfied with Part ii of Goetheâ&#x20AC;&#x2122;s Faust and audaciously decided to write his own version, proclaiming, â&#x20AC;&#x153;Faust is a common property of mankind, not a monopoly of Goethe.â&#x20AC;?] Liszt composed program music to another episode from Lenau, â&#x20AC;&#x153;The Nocturnal Procession,â&#x20AC;? as well as several more Mephisto Waltzes, a Mephisto Polka and A Faust Symphony in Three Characteristic Pictures, a series of tone poems based on Lenauâ&#x20AC;&#x2122;s three main characters. Obsessed with the legend for most of his life, Liszt had hoped to write his own opera to text by Nerval and Alexandre Dumas pĂ¨re, but the project never got off the ground. In all, there are more than 60 musical adaptations of Geotheâ&#x20AC;&#x2122;s masterpiece: notable among them are Felix Mendelssohnâ&#x20AC;&#x2122;s Die erste Walpurgisnacht (1831), Richard Wagnerâ&#x20AC;&#x2122;s Faust Overture (1840) and Robert Schumannâ&#x20AC;&#x2122;s Szenen aus Goethes Faust (1853). In fact, Goethe himself considered writing his own Faust opera libretto, with Meyberbeer as his composer of choice. (Goethe was no stranger to writing libretti, having penned several; he even considered writing a sequal to Mozartâ&#x20AC;&#x2122;s The Magic Flute). The first German composer to set Goetheâ&#x20AC;&#x2122;s drama was Louis Spohr, whose 1816 Schaueroper also drew upon earlier sources of the story. Frenchwoman Louise Bertin wrote an opera semiseria, Fausto in 1831. Perhaps the most significant treatment other than Gounodâ&#x20AC;&#x2122;s was Mefistofele (1868), composed by Arrigo Boito to his own libretto. With his first attempt, Boito produced a six-hour opera (performed in two successive nights), incorporating material from both parts of Goetheâ&#x20AC;&#x2122;s drama. After its initial performances proved to be a fiasco, the composer/librettist withdrew his work and revised it extensively. The version that exists today includes the Prologue in Heaven (emphasizing the struggle between

Mefistofele and God for Faustâ&#x20AC;&#x2122;s soul), and the tragic character of Margherita contrasts the mythic spirit of Helen of Troy, a decision meant to convey the duality between the real and the ideal. In Boitoâ&#x20AC;&#x2122;s version, Faust is the victim of the devilâ&#x20AC;&#x2122;s dealings, rather than an instigator, and Margherita plays no part in his eventual salvation (a final scene that panders to Christian orthodoxy). Faust continued to be of interest into the 20th century, though Mephistopheles began to assume a less prominent place. In Paul ValĂŠryâ&#x20AC;&#x2122;s Mon Faust, the title character remarks at the devilâ&#x20AC;&#x2122;s appearance â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m afraid â&#x20AC;Ś youâ&#x20AC;&#x2122;re a bit out of style â&#x20AC;Ś you no longer hold the great place you used to.â&#x20AC;? Thomas Mannâ&#x20AC;&#x2122;s Doktor Faustus tells the story of composer Adrian LeverkĂźhn (a thinly veiled proxy for Arnold Schoenberg), in which Satan appears in numerous guises and is countermanded by a Luther-like figure of good. Where previous generations of Germans had found pride in Goetheâ&#x20AC;&#x2122;s masterpiece, Mannâ&#x20AC;&#x2122;s menacing interpretation was a response to Germanyâ&#x20AC;&#x2122;s aggression in World War ii. In Mannâ&#x20AC;&#x2122;s treatment, LeverkĂźhnâ&#x20AC;&#x2122;s diabolically composed magnum opus â&#x20AC;&#x201C; entitled Dr. Faustusâ&#x20AC;&#x2122; Lament â&#x20AC;&#x201C; is deemed a failure at its premiere, and the composer ends his days in an insane asylum, a lesson that the Faustian drive toward domination would lead only to ruin. Further musical treatments include Gustav Mahlerâ&#x20AC;&#x2122;s Symphony No. 8 (1909), the second movement being based on the end of Part ii; Faust et Helena (1913), a secular cantata by Lili Boulanger (which won the Prix de Rome, the first piece by a woman to do so); Doktor Faust (1925) by Ferruccio Busoni, based on the 16th-century puppet plays; Votre Faust (1969) by Henri Pousseur; Faust Counter Faust (1971), a music-theater collage by John Gessner and H. Wesley Balk for Center Opera (later The Minnesota Opera); and Giacomo Manzoniâ&#x20AC;&#x2122;s Doktor Faustus (1989), inspired by Mannâ&#x20AC;&#x2122;s novel. â?&#x161;

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BACKGROUND

THE

Artists

For more biographical information about these artists, visit our website at www.mnopera.org John David Boehr

Paul Groves

Wagner Minnesota Opera Resident Artist Recently La Cenerentola, Austin Lyric Opera Masked Ball; Romeo and Juliet; Croesus; Rusalka, Minn. Opera Trinity, Santa Fe Opera; L’Ormindo, Pittsburgh Opera Center Tosca; Don Pasquale; La Cenerentola, Palm Beach Opera Die Zauberflöte; Barnum’s Bird; L’elisir d’amore; Così fan tutte, Baylor Opera Theater Upcoming Pinocchio; The Barber of Seville, The Minnesota Opera L’étoile, Austin Lyric Opera

Faust Minnesota Opera Debut Recently La damnation de Faust, Grand Théâtre de Genève The First Emperor; Iphigénie en Tauride, Metropolitan Opera The Abduction from the Seraglio, Houston Grand Opera Louise, Opéra National de Paris – Bastille Upcoming Oedipus Rex, Japan Idomeneo, Opéra National de Paris – Garnier Werther, Opéra National du Rhin (Strasbourg) Alceste, Santa Fe Opera

Judith Howarth

Kathleen Humphrey

Marguerite Minnesota Opera Debut La traviata, 2003 Recently Der Wildschütz, Buxton Festival Mavra; Nixon in China, Greek National Opera I puritani; La jolie fille de Perth, Chelsea Opera Group Rigoletto, English National Opera The Creation, Dundee; Brahms Ein deutsches Requiem, Florence Madame Butterfly, The Minnesota Opera Upcoming Madame Butterfly, English National Opera

Marthe Minnesota Opera Debut My Fair Lady, 1990 Recently The Grapes of Wrath, Utah Opera; Our Town, Skylark Opera Mozart Requiem, Minnesota Orchestra A Christmas Carol, Guthrie; La belle Hélène, North Star Opera Beauty and the Beast; The Sound of Music, Chanhassen Theaters Lakmé; Elephant Man; Madame Butterfly; Passion; The Handmaid’s Tale; Little Women; Street Scene; Le nozze di Figaro; Faust; Cinderella; Carmen; others, The Minnesota Opera

Kyle Ketelsen

Lucas Meachem

Méphistophélès Minnesota Opera Debut Don Giovanni, 2006 Recently Le nozze di Figaro, Gran Teatre del Liceu (Barcelona) Don Giovanni; Carmen, Royal Opera – Covent Garden Upcoming La damnation de Faust, St. Louis Symphony Carmen, Netherlands Opera The Rake’s Progress, Royal Opera – Covent Garden Don Giovanni, Festival d’Aix-en-Provence Carmen, Bayerische Staatsoper; Gran Teatre del Liceu

Valentin Minnesota Opera Debut Recently Die tote Stadt, San Francisco Opera Dido and Aeneas, Royal Opera House – Covent Garden Carmina burana, Accademia Nazionale di Santa Cecilia Faust; Don Giovanni, New Orleans Opera War and Peace, Metropolitan Opera Les pêcheurs de perles, Florida Grand Opera Upcoming Le nozze di Figaro, Bayerische Staatsoper (Munich) Don Giovanni, Santa Fe Opera

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For more biographical information about these artists, visit our website at www.mnopera.org

THE

Nicole Percifield

Artists

Andromache Chalfant

Siébel Minnesota Opera Resident Artist Recently Cendrillon, Central City Opera Griffelkin; Araboolies of Liberty Street; The Village Singer, Manhattan School of Music Little Women; Suor Angelica; Hansel and Gretel, New England Conservatory of Music Suor Angelica, International Institute of Vocal Arts Upcoming The Adventures of Pinocchio; Casanova’s Homecoming; Salome, The Minnesota Opera

photo not available

Jane Cox

Set Designer Minnesota Opera Debut Recently Semele, Boston Lyric Opera The Abduction from the Seraglio, Opera Omaha Postcard from Morocco, The Curtis Institute School of the Americas, Henry Hewes Nomination The Last Days of Judas Iscariot, labyrinth; Public Theater The Internationalist, The Vineyard Theater Upcoming Endgame, a.r.t. Inked Baby, Playwrights Horizons

Jean-Yves Ossonce

Lighting Designer Minnesota Opera Debut Joseph Merrick dit Elephant Man, 2006 Recently Invisible Man, Aquila Theatre Lakmé, The Minnesota Opera Boat’s Leaving, Doug Varone and Dancers (2007 bessie) Dame Edna; Come Back Little Sheba, Broadway Public Theatre; Brooklyn Academy of Music; Playwrights Horizons; nytw, (New York) Guthrie Theater; McCarter Theater; Glimmerglass Opera; Juilliard Opera, (Regional)

Conductor Minnesota Opera Debut Recently Pelléas; Carmen; The Magic Flute; others, L’Opéra de Tours Lucia di Lammermoor, San Francisco Opera Norma, Opéra de Montpellier Upcoming Pastorale, Théâtre du Châtelet L’étoile, Grand Théâtre de Genève Madame Butterfly, L’Opéra de Lausanne Cendrillon, L’Opéra de Montréal Armida; Ariadne auf Naxos; Mireille, L’Opéra de Tours

James Schuette

Doug Varone

Costume Designer Minnesota Opera Debut Transatlantic, 1997 Recently Julius Caesar, American Repertory Theatre Joseph Merrick dit Elephant Man; Un ballo in maschera; L’italiana in Algeri, The Minnesota Opera Un ballo in maschera, Boston Lyric Opera; Opera Colorado Oedipus Complex, Goodman Theatre The Diary of Anne Frank, Steppenwolf Theatre The Unmentionables, Steppenwolf; Yale Repertory Theatre

Stage Director and Choreographer Minnesota Opera Debut Transatlantic, 1998 Recently Orpheus and Euridice, Lincoln Center Theater; Longleaf Opera Dense Terrain, Brooklyn Academy of Music The Grapes of Wrath; Joseph Merrick dit Elephant Man, The Minnesota Opera American Tragedy; Salome; Stravinsky; Les Troyens, Met. Opera Il barbiere di Siviglia; Orphée et Eurydice, Opera Colorado Die Walküre, Washington Opera; Il viaggio a Reims, nyc Opera Artistic Director – Doug Varone and Dancers

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DOUGVARONEANDDANCERS THE

A BOUT COMPANY From its first concerts at p.s. 122 in 1986, in repertory dances such as the propulsive Rise (1993) and Lux (2006), the site-specific Neither (2000) at the lower East Side Tenement Museum, in Ricky Ian Gordon’s song cycle Orpheus and Euridice for Lincoln Center (2005), the emotionally charged opera Joseph Merrick: The Elephant Man (2006), and the multi-media Bottomland, televised on pbs for Dance in America in 2008, Doug Varone and Dancers has been singled out for its expansive choreographic vision, versatility and technical prowess. Varone and his company members are especially prized for their kinetic dexterity, musicality and acting instincts, and are sought after for their multidiscipline residency programs and intensive professional workshops.

ph: 212.279.3344

Eleven New York Dance and Performance Awards (Bessies) have been awarded to Varone, his dancers and designers. At home in New York City, Doug Varone and Dancers is the resident company at the 92nd St. y Harkness Dance Center, for onsite rehearsals, showings, performances, workshops and classes. On tour, the company has performed in more than 100 cities in 45 states across the u.s. and in Europe, Asia, Canada and South America. Stages include The Kennedy Center, Lincoln Center, Brooklyn Academy of Music, San Francisco Performances, London’s Queen Elizabeth Hall, Toronto’s Harbourfront, Moscow’s Stanislavsky Theater, the Venice Biennale, and the Tokyo, Bates and Jacob’s Pillow Festivals. Choreographic awards include two American Dance Festival Doris Duke Awards for New Work, and three from the National Dance Project. The company’s dances have been commissioned by such

leading institutions as the Joyce Theater, Whitebird (Portland, or), the Carlsen Center (Overland Park, ks), the Clarice Smith Center for the Performing Arts (College Park, md), Bard’s SummerScape and Wolf Trap. In recent years the Company has created and performed works in partnership with producers, and opera and theater companies on new productions including Le sacre du printemps for the Metropolitan Opera (2003), the Aquila Theatre Company on H.G. Wells’ The Invisible Man (2005), Il barbiere di Siviglia for Opera Colorado (2005) and The Minnesota Opera on the American premiere of Petitgirard’s Joseph Merrick: The Elephant Man (2006). Varone directed and choreographed these diverse productions. Doug Varone and Dancers’ three-week intensive dance workshops are held at different universities around the country each year.

Doug Varone and Dancers, 260 West Broadway, Suite 4, NYC, NY 10013 fax: 212.279.6397 info@dougvaroneanddancers.org www.dougvaroneanddancers.org

Doug Varone and Dancers gratefully acknowledges funding support from the Lila Acheson Wallace Theater Fund, the Andrew W. Mellon Foundation, Alphawood Foundation, the Shubert Foundation, Inc., American Music Center, the Fan Fox & Leslie R. Samuels Foundation, the Harkness Foundation for Dance, the Vapnek Family Fund, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, a state agency and our many individual supporters.

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DOUGVARONEANDDANCERS JULIA BURRER joined the company in 2007. Opera Credits: Orpheus and Euridice (Longleaf). Other dancing credits: Megan Williams, Daniel Charon, Adriane Fang, Bill Young & Colleen Thomas, Teri & Oliver Steele, Gwen Welliver, pocket engine, Chimaera Physical Theater (Mollye Maxner & Kathy Couch). Education: bfa, Purchase College, suny. DANIEL CHARON joined the company in 1999. Opera Credits: Orphée et Eurydice and Il barbiere de Siviglia (Opera Colorado), Stravinsky (Metropolitan Opera), Orpheus and Euridice (Lincoln Center and Longleaf), The Elephant Man (The Minnesota Opera), Dense Terrain (bam). Other dancing credits: Limón Dance Company, Dance Kaleidoscope, the Metropolitan Opera, Mordine & Company, the Aquila Theatre Company, the Mary Anthony Dance Theatre. Education: bfa, North Carolina School of the Arts. Company Rehearsal Director.

ERIN OWEN joined the company in 2006. Opera Credits: Les Troyens and Stravinsky (Metropolitan Opera), Orpheus and Euridice (Longleaf). Other dancing credits: Daniel Charon, Ivy Baldwin, Faye Driscoll, Melissa Briggs, Netta Yerushalmy, Karinne Keithley, Geraldine Cardiel, Bill T. Jones, David Neumann. Education: ba, Scripps College. ALEX SPRINGER joined the company in 2008. Opera Credits: Orpheus and Euridice (Longleaf). Other dancing credits: Alexandra Beller, Amy Chavasse, Lindsey & Jason Dietz Marchant, Peter Sparling, Leopold Group, alexanDance. Education: bfa, University of Michigan.

COLIN STILWELL has worked with Doug Varone on several projects including Les Troyens and Stravinsky at the Metropolitan Opera. Education: bfa, State University of New York at Purchase. EDDIE TAKETA joined the company in 1994. Opera Credits: Orphée et Eurydice and Il barbiere de Siviglia (Opera Colorado), Stravinsky (Metropolitan Opera), Orpheus and Euridice (Lincoln Center and Longleaf), The Elephant Man (The Minnesota Opera), Dense Terrain (bam). Other dancing credits: Lar Lubovitch Dance Company, Murray Louis Dance Company, Nikolais Dance Theatre. He has also performed in the Jacob’s Pillow’s Men Dancers: The Ted Shawn Legacy. Education: bfa, University of Hawaii at Manoa. Company Rehearsal Director. NETTA YERUSHALMY joined the company in 2007. Opera Credits: Les Troyens and Stravinsky (Metropolitan Opera), Orpheus and Euridice (Longleaf). Other dancing credits: Nancy Bannon, Karinne Kiethley, Marc Jarecki, Ronit Ziv. Education: bfa, New York University.

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THE

A BOUT DANCERS

NATALIE DESCH joined the company in 2001. Opera Credits: Il barbiere de Siviglia (Opera Colorado), Stravinsky (Metropolitan Opera), Orpheus and Euridice (Lincoln Center and Longleaf), The Elephant Man (The Minnesota Opera), Dense Terrain (bam). Other dancing credits: Limón Dance Company. Education: bfa, the Juilliard School.

THE MINNESOTA OPERA

Chorus

Sopranos

Tenors

Bass/Baritones

Gretchen Gamm Beth Hartman Robin Helgen Jennifer Josephsen Patricia Kent Hye Won Kim Elizabeth Longhurst Monica Murray Naomi Ruiz Jennifer Sylvester

Brad Benoit Kelsey Bruso Keith Carl Nick Chalmers John deCausmeaker Ben Johnson Brian Kuhl Eric Mellum Jon Thomas Olson Matthew Pobodinski Steve Sandberg Peter Simonson Martin Swaden

Alex Barnett John David Boehr Bryan Boyce Ben Crickenberger Benjamin Hills Stephen Houtz Tor Johnson Andrew Kane Evan Kusler Mark Larson Jacob LaSota John Allen Nelson Scott Sandersfeld

Mezzo-Sopranos Karen Bushby Jennifer Eckes Carole Finneran Katherine Haugen Laura Muller Joy Scheib Cathryn Schmidt Sandra Schoenecker

to Want ... sing

WITH THE MINNESOTA OPERA CHORUS? Auditions are held each spring for the upcoming season.

For more information, visit www.mnopera.org/about and click on “auditions.”

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THE MINNESOTA OPERA

Orchestra

Violin I

Cello

Horn

Allison Ostrander concertmaster Julia Persitz David Mickens Judy Thon-Jones Angela Hanson Andrea Een Conor O’Brien Lydia Miller Huldah Niles Orieta Dado Natalia Moiseeva

Jim Jacobson John Eadie Rebecca Arons Thomas Austin Fang-Yu Liang Sally G. Dorer

Matthew Wilson Charles Hodgson Neal Bolter Lawrence Barnhart

Trumpet (double coronet)

Bass

John G. Koopmann Christopher Volpe

John Michael Smith Constance Martin Jason C. Hagelie Michael Watson

Trombone Phillip Ostrander John Tranter David Stevens

Violin II

Flute

Laurie Petruconis Elizabeth Decker Stephan Orsak Melinda Marshall Lindsay Erickson Almut Engelhardt-Kachian Miriam Moxness Griffiths Alastair Brown Nora Scheller

Michele Frisch Amy Morris (double piccolo)

Tuba

Oboe

Kory Andry

Viola

Sandra Powers Nina Olsen

David Auerbach Laurel Browne Jenny Lind Nilsson Susan Janda James Bartsch Coca Bochonko

Marilyn Ford Michael Dayton (double English Horn)

Clarinet

Ralph Hepola

Timpani Percussion Matthew Barber David Hagedorn

Harp Min Kim

Bassoon

Organ

Coreen Nordling Laurie Hatcher Merz

Clinton Smith

Personnel Manager Steve Lund

Announcing

The Pearl Fishers Casanovaâ&#x20AC;&#x2122;s Homecoming Roberto Devereux La bohĂ¨me Salome 4F PQFS F BT MJUUM BT GPS F BT NOP

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The Abduction from the Seraglio, 2008. Photo by Michal Daniel.

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Education AT THE OPERA Project Opera

Upcoming Events:

On October 25, 2008, Project Opera gave a truly outside-the-box performance when they sang for the Youth in Music Marching Band Championships. Held at the Metrodome, this competition included over 3,000 performers and 4,000 spectators from Minnesota, Wisconsin, Illinois and South Dakota.

Long Nose, Short Films: Teen Filmmakers Re-imagine Pinocchio February 12, 2009, 7:00 pm, at the Parkway Theater (4814 Chicago Ave., Minneapolis, MN 55407) Join budding filmmakers in the culmination of months of creative work for the screening of short films based on The Adventures of Pinocchio, and cast your vote for the Audience Choice Selection. Fox 9 anchor Robyne Robinson will present a $500 scholarship to the winning filmmaker, and the winning film will be shown at imagineopera.org and at Ordway Center during the run of Pinocchio. “Pinocchio: Story, Stage and Screen” has been a six-month partnership with Story Board and the Loft Literary Center.

Opera Education Class

Student Matinee High school and college students from around Minnesota and Wisconsin received their first taste of live opera when they attended the Student Matinee of The Abduction from the Seraglio. Each season schools are invited to attend select final dress rehearsals to experience the power and beauty of live opera.

February 16, 2009, 7:00 pm, at the Opera Center (620 N. 1st St., Minneapolis) Walk through the score of The Adventures of Pinocchio with its composer, Jonathan Dove, and librettist, Alasdair Middleton. Spend an evening learning about the exhilarating music, as well as the story about how a famous Italian children’s tale has been given new life in this exciting new opera, making its North American premiere.

The People’s University Building a Fairy Tale: exploring the music and stage magic of Pinocchio February 17, 2009, 7:00 pm, at Minneapolis Central Library (300 Nicollet Mall, Minneapolis)

Students from Totino-Grace High School attend an opera at Ordway Center.

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coOPERA tion!

South High School received a visit from Teaching Artist Angie Keeton as part of the coOPERAtion! program. coOPERAtion! is generously supported by a gift from The Medtronic Foundation.

Come explore how a beloved fairy tale becomes a fullscale opera. Literature and opera buff Marcia Aubineau will lead composer Jonathan Dove, librettist Alasdair Middleton and director Martin Duncan in a look behind the scenes at the exhilarating music and storybook design of The Adventures of Pinocchio, an American premiere.

Loft Literary Center class: “What will we tell the kids” February 18, 2009, 7-9 pm, at The Loft (1011 Washington Ave. S., Minneapolis) This event will explore the role of fairy tales and children’s literature in the teaching of morality to children. Jack Zipes, a scholar of fairy tales, will lead a conversation with composer Jonathan Dove and librettist Alasdair Middleton. This event is presented in partnership with the Loft Literary Center.

Composers Forum Happy Hour February 23, 2009, 5:30 pm American Composers Forum members are invited to attend The Adventures of Pinocchio sitzprobe after a cocktail hour with composer Jonathan Dove and librettist Alasdair Middleton. Attendees must be members of the American Composers Forum.

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“Minnesota OperaWorks is the most important new works program in the country.” — Marc Scorca, President of Opera America Minnesota OperaWorks is the most ambitious artistic project in the company’s 46-year history. It is a seven-year commitment to produce one contemporary opera per season, including three world premieres. The idea for Minnesota OperaWorks was born out of the success of our 2007 world premiere of The Grapes of Wrath. The show was a hit with Twin Cities audiences, as well as the critics and the opera world. It prompted an exciting strategic planning process to build on the company’s achievement.

The Grapes of Wrath, 2007, photo by Michal Daniel

2009: The Adventures of Pinocchio (American premiere) Jonathan Dove

2010: Casanova’s Homecoming (revival) Dominick Argento

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2011: The Garden of the Finzi-Contini

(world premiere) Ricky Ian Gordon

2012: Silent Night

(world premiere) Kevin Puts

2013: Title TBA

(world premiere) Jack Perla

2014: El Niño

(revival) John Adams

2015: Wuthering Heights (revival) Bernard Herrmann

The company will remain true to the great works of opera, while adding new works to the repertoire. Operas like La Bohème, La Traviata and Turandot will be produced alongside contemporary operas in the coming seasons. Favorites like these were themselves new works at one point, born in a particular place and time, and the Minnesota Opera is adding to that rich legacy. In our challenging economic times, we are grateful that $4 million of the $5.5 million budget for Minnesota OperaWorks has already been pledged. So while other companies are cutting programs, the Minnesota Opera will move forward with this one. Also, the company will digitally distribute the commissioned operas, harnessing new media to bring these works to a global audience. We encourage you to visit our Minnesota OperaWorks Facebook page and participate in the program. We invite you to become our “fan” on Facebook: watch online video clips, listen to music from OperaWorks composers, and tell us what you think. Opera is the original multimedia art form, perfectly suited to our online age.

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MINNESOTA PUBLIC RADIO

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A ﬂutter of notes invigorates your soul.

THE MINNESOTA OPERA

Annual 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 Annual Fund Director Dawn Loven at 612-342-9567, or email her at dloven@mnopera.org.

Bel Canto Circle Platinum $20,000 and above Anonymous (1) Karen Bachman Mary and Gus Blanchard Jane M. and Ogden W. Confer Julia W. Dayton Sara and Jock Donaldson Vicki and Chip Emery Dolly J. Fiterman Ruth and John Huss Sisi and Heinz Hutter Mr. and Mrs. Philip Isaacson Lucy Rosenberry Jones

The Art and Martha Kaemmer Fund of HRK Foundation Patricia Lund Dusty and George Mairs Dwight D. Opperman Elizabeth Redleaf Stephanie Simon and Craig Bentdahl Mary W. Vaughan Fund of The Minneapolis Foundation C. Angus and Margaret Wurtele

Gold $15,000–$19,999 Nicky B. Carpenter Ellie and Tom Crosby, Jr.

Cy and Paula Decosse Fund of The Minneapolis Foundation Sharon and Bill Hawkins Peter J. King Thomas and Barbara McBurney Bernt von Ohlen and Thomas Nichol

Silver $10,000–$14,999 Anonymous (4) Shari and David Boehnen Susan Boren Dr. and Mrs. Daniel D. Buss Darlene J. and Richard P. Carroll Mary Dearing and Barry Lazarus

The Denny Fund of The Minneapolis Foundation Warren and Patricia Kelly Mr. and Mrs. B. John Lindahl, Jr. Harvey T. McLain Mrs. Walter Meyers Diana and Joe Murphy Nelson Family Foundation Sandy and Bruce Nelson Mary Ingebrand Pohlad Karen Sternal

Camerata Circle Platinum $7,500–$9,999 Allegro Fund of The Saint Paul Foundation Kathleen and William Callahan Rachelle Dockman Chase N. Bud and Beverly Grossman Foundation Erwin and Miriam Kelen Albin and Susan Nelson Jenny Lind Nilsson and Garrison Keillor Debra Paterson and Mark Winters Stephanie Prem and Tom Owens Connie and Lew Remele Joseph Sammartino Drs. Joseph and Kristina Shaffer Maggie Thurer and Simon Stevens

| THE MINNESOTA OPERA www.mnopera.org

Gold $5,000–$7,499

Tracy and Eric Aanenson James Andrus Martha Goldberg Aronson and Daniel Aronson Martha and Bruce Atwater Fund of The Minneapolis Foundation Nancy and Chuck Berg Rusty and Burt Cohen James and Gisela Corbett Susan and Richard Crockett David and Vanessa Dayton Mary Lee Dayton

Your t: Supp or a b le Su stainng Gi v i

Jodi Dehli Connie Fladeland and Steve Fox Mr. and Mrs. William Frels Denver and Nicole Gilliand David Hanson and William Biermaier Alfred and Ingrid Lenz Harrison Bill and Hella Mears Hueg Robert & Susan Josselson Ilo and Peggy Leppik Lynne Looney Mr. and Mrs. Donald Lucker Ted and Roberta Mann Foundation Bill and Barbara Pearce Jose Peris and Diana Gulden Edward Phares Lois and John Rogers Chris and Mark Schwarzmann Fred and Gloria Sewell Peter and Bonnie Sipkins Kevin and Lynn Smith Mitchell and Kendall Stover Virginia L. and Edward C. Stringer Mr. and Mrs. James Swartz Catie Tobin and Brian Naas Charles Allen Ward Fund of The Saint Paul Foundation Ellen M. Wells

Silver $2,500–$4,999 Anonymous (5) Stuart and Ann Ackman

Kim A. Anderson Kathy Welte and Lowell Anderson Satoru and Sheila Asato Alexandra O. Bjorklund Dr. Lee Borah, Jr. Margee and Will Bracken Christopher J. Burns Elwood and Florence Caldwell Stephen and Beth Cragle Thomas and Mary Lou Detwiler Mona and Patrick Dewane Rondi Erickson and Sandy Lewis Tom and Lori Foley Leslie and Alain Frecon Patricia R. Freeburg Bradley Fuller and Elizabeth Lincoln Christine and Jon Galloway Christine and W. Michael Garner Mr. and Mrs. R. James Gesell Lois and Larry Gibson Meg and Wayne Gisslen Mrs. Myrtle Grette Karen and John Himle Dorothy Horns and James Richardson Dr. and Mrs. Arthur Horowitz Tina and Ken Hughes Cynthia and Jay Ihlenfeld Dale A. Johnson Jacqueline Nolte Jones Stan and Jeanne Kagin

Michael F. and Gretchen G. Kelly and the Kelly Family Foundation Lyndel and Blaine King Helen L. Kuehn Debra and James Lakin John Warren Lassila Robert L. Lee and Mary E. Schaffner Lynn Levinson Benjamin Y. H. and Helen C. Liu David MacMillan and Judy Krow Mary Bigelow McMillan Elizabeth Musser Trust – Fir Tree Fund Nancy and Richard Nicholson Eric Norman Ruth and Ahmad Orandi Julia and Brian Palmer Marge and Dwight Peterson Mr. and Mrs. William Phillips The Redleaf Family Foundation Mary and Paul Reyelts Nina and Ken Rothchild Kay Savik and Joe Tashjian Lynda and Frank Sharbrough Stanislaw and Krystyna Skrowaczewski Bruce and Julie Jackley Steiner Tanrydoon Fund of The Saint Paul Foundation William Voedisch and Laurie Carlson Nancy and Ted Weyerhaeuser

The Minnesota Opera has recently introduced a Sustainable Giving option. Becoming a sustaining member is a wonderful way to increase your annual support while spreading your gift over time. It also strengthens the impact of your charitable dollar by cutting out the cost and environmental impact of mailing your contribution. With your sustained gift, you can take satisfaction in knowing that more of each dollar you give helps to create the world-class operas you’ve come to expect from The Minnesota Opera. Please contact Morgan Walsh, Individual Gifts Manager, at 612-342-9569 or mwalsh@mnopera.org for information on sustainable giving.

Thank you for making great opera possible!

THE MINNESOTA OPERA

Annual Fund

INDIVIDUAL GIVING

Artist Circle Anonymous Paula Anderson and Sheila Bray Genevive Antonello Nina and John Archabal August J. Aquila and Emily Haliziw Mr. and Mrs. Edmund P. Babcock Ruth and Dale Bachman Ann and Thomas Bagnoli Maria and Kent Bales Sue A. Bennett Mrs. Paul G. Boening Conley Brooks Family Joan and George Carlson Barb and Jeff Couture Mrs. Thomas M. Crosby, Sr. Jeff and Wendy Wenger Dankey Fran Davis Ruth and Bruce Dayton Judson Dayton Claire and Jack Dempsey Margaret Diablasio William and Janice Dircks Sally J. Economon Joyce and Hugh Edmondson Susan Engel and Arthur Eisenberg Ann Fankhanel Ester and John Fesler Joyce and Hal Field Rihab and Roger FitzGerald Salvatore Silvestri Franco

THE MINNESOTA OPERA

Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Heidi and Howard Gilbert Stanley and Luella Goldberg Amy R. and Philip S. Goldman Foundation Michael and Elizabeth Gorman Mr. and Mrs. William Grandy Bruce and Jean Grussing Hackensack Fund of The Saint Paul Foundation Ruth E. Hanold Don Helgeson and Sue Shepard Rosmarie and John Helling Sharon and Cliff Hill Diane Hoey John and Jean McGough Holten Margaret and Andrew Houlton Thomas Hunt and John Wheelihan Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Teresa and Chuck Jakway James Jelinek and Marilyn Wall Markle Karlen Mr. Thomas A. Keller III E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Jolie and Steve Klapmeier Mr. and Mrs. William Kling Gerard Knight

Mrs. James S. Kochiras Robert Kriel and Linda Krach Constance and Daniel Kunin Mark and Elaine Landergan Sy and Ginny Levy Family Fund of The Minneapolis Foundation Jerry and Joyce Lillquist Bill Long Dawn M. Loven Mahley Family Foundation Margery Martin Roy and Dorothy Mayeske Helen and Charles McCrossan Patricia and Samuel McCullough Sheila McNally The Kendrick B. Melrose Family Foundation Velia R. Melrose William Messerli Jane and Joseph Micallef David and LaVonne Middleton Anne W. Miller Moore Family Fund for the Arts Sandy and Bob Morris Judy and David Myers Elizabeth B. Myers Joan and Richard Newmark Rebecca and Bradley Nuss Mr. and Mrs. E. Gerald O’Brien Pat and Dan Panshin Allegra W. Parker Paula Patineau

Suzanne and William Payne Suzanne and Rick Pepin Mary and Robert Price Connie and Jim Pries Sara and Kevin Ramach Barbara Redmond George Reid John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde Gordon and Margaret Rosine Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Sampson Family Charitable Foundation Patty and Barney Saunders Jim Scarpetta Janet and Dan Schalk James and Lynn Schell Dr. and Mrs. Richard J. Schindler The Harriet and Edson Spencer Foundation Leslie and Don Stiles Robert and Barbara Struyk Michael Symeonides and Mary Pierce Carolyn and Andrew Thomas Lois and Lance Thorkelson Patricia Tilton Emily Anne and Gedney Tuttle Mr. and Mrs. Philip Von Blon James and Sharon Weinel Thomas Hunt and John Wheelihan Clark J. and Sharon L. Winslow

Donor Spotlight

Tom Hunt and John Wheelihan are long-time supporters of The Minnesota Opera. In fact, Tom is a former board member of the Opera — serving in the late seventies and early eighties — and remembers the challenges facing the Opera while establishing its identity as a bel canto company and an artistic leader within the larger opera community. While Tom prefers nineteenthcentury opera, John favors eighteenth-century and contemporary works. Both love operas by Mozart, and are excited to see Gounod’s Faust. They consider The Minnesota Opera’s OperaWorks to be a great initiative and crucial to the future of opera. New works are “absolutely necessary to this art

form and we enjoy the additions to opera repertoire” said John, who found The Grapes of Wrath to be “incredibly powerful.”

remain committed to supporting the organizations they believe in, especially in challenging times — understanding that the arts play a vital role not just in the Twin Cities community, but also in each of our lives. Tom and John are proud to support The Minnesota Opera as it solidifies its leadership role in the world of opera and focuses on creating innovative new works for the future of the art form.

T H Tom Huntt andd JJohn h Wh Wheelihan, lih Minnesota Opera patrons.

Tom and John are proud to support The Minnesota Opera and believe that the company’s focus on the future will allow them to share In their personal lives, community their passion for the art form and faith are high priorities. They with younger generations, and also spend a lot of time with family, especially that one very important including one very doted-upon granddaughter. granddaughter. Tom and John

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$1,000–$2,499

THE MINNESOTA OPERA

Annual Fund INDIVIDUAL GIVING

Patron Circle Gold $750–$999 Anonymous Gerald and Phyllis Benson Joann Cierniak Amos and Sue Deinard Jennifer Gross and Jerry LeFevre Stefan and Lonnie Helgeson Frederick J. Hey, Jr. Orpha McDiarmid Family Fund James and Andrea Rubenstein Dr. Leon and Alma Satran Warren Stortroen Dana and Stephen Strand Tempo Board Members Frank and Frances Wilkinson Lani Willis and Joel Spoonheim James Wire

Silver $500–$749 Arlene Goodman Alm Eric S. Anderson and Janalee R. Aurelia Jamie Andrews and Jane Kolp-Andrews Dr. and Mrs. Orn Arnar Jo and Gordon Bailey Family Fund of the Catholic Community Foundation James and Gail Bakkom Donald and Naren Bauer Barbara S. Belk Brian Benjamin

Donna Block Fred and Carolyn Bogott Judith and Arnold Brier Thomas and Joyce Bruckner Caulkins Family Foundation Arnold Chu and I-ming Shih Wanda and David Cline J.P. Collins Elisabeth Comeaux Bill and Kate Cullen Norma Danielson Mary Elise Dennis Mr. Steven A. Diede Joe Dowling and Siobahn Cleary Joan Duddingston Herbert and Betty Fantle Sheila and Roland Faricy Charles and Anne Ferrell Carolyn Fiterman Susanne Haas and Ross Formell Kris and Kristina Fredrick Jane Fuller David Gerdes David Gilberstadt Katherine and Robert Goodale, Jr. Robert Goodell and Renee Brown Kathy and Hazen Graves Marjorie and Joseph Grinnell Roger L. Hale and Nor Hall Albert and Janice Hammond

Gregory Hoehn John and Marna Holman Liesl and Todd Hyde Diane and Paul Jacobson Mrs. Owen Jenkins Margaret K. and Philip Johnson Janet Jones Drs. Charles and Sally Jorgensen Nancy and Donald Kapps Chad and Penny Kastner Jane and Jim Kaufman Fund of The Minneapolis Foundation Sid and Diane Levin Jonathan and Lisa Lewis Rebecca Lindholm Bruce and Susan Lueck Ruth W. Lyons Joanne MacNamara Donald and Rhoda Mains Tom and Marsha Mann Marian and Michael McCann Thomas and Joan Mears L. David Mech Charles and Victoria Mogilevsky Ann and John O’Leary Derrill M. Pankow Carroll and Barbara Rasch Dan Rasmus and Kari Fedje Rasmus Dennis M. Ready Lawrence M. Redmond

Red Wing Opera Study Group Joan K. Regal William and Sue Roberts Ann M. Rock Liane A. and Richard G. Rosel Daniel Roth Fred Saleh Anne Salisbury David E. Sander Mahlon and Karen Schneider Paul L. Schroeder Mrs. Donald Sell Bill and Althea Sell Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Matthew Spanjers Daniel J. Spiegel Jon Y. Spoerri Roxanne Stouffer and Joseph Cruz Anthony Thein Greg Thompson Stephanie C. Van D’Elden Morgan Walsh David M. and Mary Ann Barrows Wark Howard and Jo Weiner Barbara and Carl White Helen and J. Kimball Whitney Barbara and James Willis Mr. John W. Windhorst, Jr.

These lists are current as of December 1, 2008 and include donors who gave a gift of $500 or more during The Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Morgan Walsh, Individual Gifts Manager, at 612-342-9569.

Estate AND Planned Gifts

| THE MINNESOTA OPERA www.mnopera.org

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.

Anonymous (2) Valerie and Paul Ackerman Thomas O. Allen Mr. and Mrs. Rolf Andreassen Mary A. Andres Karen Bachman Mark and Pat Bauer Mrs. Harvey O. Beek (†) Barbara and Sandy Bemis (†) Joan and George Carlson Darlene J. and Richard P. Carroll Judy and Kenneth (†) Dayton Mrs. George Doty Rudolph Driscoll (†) Sally Economon

Ester and John Fesler 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 (†) Mary Keithahn Steve Keller Patty and Warren Kelly Margaret Kilroe Trust (†) Blaine and Lyndel King

Gretchen Klein (†) Bill and Sally Kling Gisela Knoblauch (†) Mr. and Mrs. James Krezowski Robert Kriel and Linda Krach Venetia and Robert Kudrle Robert Lawser, Jr. Jean Lemberg (†) Gerald and Joyce Lillquist David Mayo Barbara and Thomas McBurney Mary Bigelow McMillan Margaret L. and Walter S. (†) Meyers Susan Molder (†) 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

For more information on possible gift arrangements, please contact Annual Fund Director Dawn Loven at 612-342-9567. Your attorney or ﬁnancial advisor can then help determine which methods are most appropriate for you.

(†) Deceased

THE MINNESOTA OPERA

Annual Fund

INSTITUTIONAL GIVING For information on making a corporate or foundation contribution to The Minnesota Opera, please contact Institutional Gifts Manager Beth Comeaux at 612-342-9566, or email her at bcomeaux@mnopera.org.

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

$25,000 –$49,999

$50,000 –$99,999

$10,000 –$24,999

Minnesota Opera Sponsors Season Sponsor

Conductor Appearances

Meet the Artists Official Caterer

Broadcast Partner

FAF Advisors and U.S. Bank

SpencerStuart

Wildside Caterers

Minnesota Public Radio

Production Sponsors

Camerata Dinners

Production Innovation System

Il trovatore, FAF Advisors and U.S. Bank Faust, Ameriprise Financial The Adventures of Pinocchio, Target and National Endowment for the Arts The Barber of Seville, Wells Fargo

Lowry Hill Private Asset Management

General Mills

Gala Sponsors

Resident Artist Program

Target U.S. Bank

Wenger Foundation

Corporations, Foundations and Government 3M Foundation Ameriprise Financial City of Saint Paul’s Cultural STAR Program FAF Advisors General Mills Foundation The MAHADH Fund of HRK Foundation The McKnight Foundation The Medtronic Foundation Minnesota State Arts Board National Endowment for the Arts OPERA America’s Opera Fund Target The Travelers Company, Inc. U.S. Bancorp Foundation U.S. Bank, Private Client Group UnitedHealth Group Wells Fargo Foundation Minnesota

Platinum $10,000–$24,999 Fred C. and Katherine B. Andersen Foundation Best Buy Children’s Foundation

Cargill Foundation Deluxe Corporation Foundation Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation Lowry Hill Private Asset Management RBC Wealth Management Foundation SpencerStuart Twin Cities Opera Guild Valspar Foundation Wenger Foundation

Gold $5,000–$9,999 ADC Telecommunications Allianz Life Insurance of North America Bemis Company Foundation Boss Foundation Cleveland Foundation Deloitte Education Minnesota Foundation Faegre & Benson

Harlan Boss Foundation for the Arts R. C. Lilly Foundation Mayo Clinic MTS Corporation Onan Family Foundation Pentair Foundation The Carl and Eloise Pohlad Family Foundation PricewaterhouseCoopers, LLP Robins, Kaplan, Miller & Ciresi Rahr Foundation Schwegman, Lundberg & Woessner, P.A. SUPERVALU Foundation on behalf of SUPERVALU Inc. Xcel Energy Foundation

Silver $2,500–$4,999 Dellwood Foundation Fredrikson & Byron Foundation Mary Livingston Griggs and Mary Griggs Burke Foundation Hutter Family Foundation Peravid Foundation The Elizabeth C. Quinlan Foundation

Margaret Rivers Fund Securian Foundation Sit Investment Foundation Tennant Foundation Thyme to Entertain

Bronze $1,000–$2,499 The ADS Group Arts & Custom Publishing Co., Inc. Bailey Nurseries, Inc. Burdick-Craddick Family Foundation Hammel, Green and Abrahamson, Inc. Hogan & Hartson Leonard, Street & Deinard McVay Foundation Alice M. O’Brien Foundation Lawrence M. O’Shaughnessy Charitable Annuity Trust in honor of Lawrence M. O’Shaughnessy Peregrine Capital Management The Regis Foundation The Southways Foundation Wells Fargo Insurance Services

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Sponsors $25,000+