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Welcome to Minnesota Opera’s Rigoletto! In addition to today’s performance, I’m excited to share with you all our recently announced 18–19 season, including five stunning operas. La Rondine, a rarely performed romantic and nostalgic treasure, opens our next season this coming October. In November, homecoming performances of the Pulitzer Prize-winning opera Silent Night honor the centennial of World War I’s conclusion. In January of 2019, the uproarious comedy The Italian Straw Hat comes to the stage bringing plenty of laughs and bright, breezy music. The season continues in March with the world premiere of The Fix, an opera based on the notorious World Series scandal of 1919. And finally, Verdi’s beloved La Traviata returns to the stage in May, boasting sumptuous, hummable melodies. We are glad to have you here with us and are looking forward to seeing you in October for another breathtaking season of musical storytelling.
CO N T E N TS 8
Rigoletto
10
Synopsis
11 About the Opera
12
Giuseppe Verdi
13 Director’s Notes
Director’s Notes • 13 Stage Director Austin Regan gives us his thoughts on this brand-new production of Verdi’s time-honored classic.
14 Cast and Creative Team 16 Orchestra, Chorus, and Supernumeraries 17 Meet the Artist: Olafur Sigurdarson 18 Summer Education Camps 19 Thaïs Preview 20 18–19 Season 22 B oard of Directors, Staff, and Volunteers 23 Upcoming Events
18-19 Season • 20 We are excited to announce Minnesota Opera’s 2018–19 season, and invite you to join us—it won’t be the same without you!
23 Minnesota Opera Information 24 Individual Giving 25 Resident Artist Mixtape 27 Special Giving 28 Institutional Giving LARGE-PRINT AND BRAILLE PROGRAMS ARE AVAILABLE AT THE PATRON SERVICES OFFICE.
Resident Artist Mixtape • 25 Honor the 20-year legacy and accomplishments of Minnesota Opera’s esteemed Resident Artist Program with past and current Resident Artists.
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RIGOLETTO 2017–18
DOVE/DE ANGELIS
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MUSIC BY GIUSEPPE VERDI LIBRETTO BY FRANCESCO MARIA PIAVE AFTER LE ROI S’AMUSE BY VICTOR HUGO (1832) WORLD PREMIERE AT THE TEATRO LA FENICE, VENICE, MARCH 11, 1851 MARCH 17, 22, 24, 25, 27, 29, AND 31 | ORDWAY MUSIC THEATER Sung in Italian with English translations projected above the stage.
CAST RI GOLETTO.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Olafur GILDA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sigurdarson
Marie-Eve Munger
D UKE OF MA N TUA .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua
Dennis M ADDA LEN A .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nadia Fayad • Boehler +
S PA R A FUCI LE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matt COUN T MON TER ON E. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kenneth
Kellogg Christian Thurston • B OR SA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andres Acosta •
M AR ULLO.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M ATTEO
Wm. Clay Thompson • CEPR A N O.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary Evelyn Hangley •
COUN T CEPR A N O.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COUN TESS
GIOVA N N A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria PAGE .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christina
Vargas +
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U SHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joel
Mathias
CREATIVE TEAM CON DUCTOR , Ruth and John Huss Chair......................... Michael
Christie
STAGE DI R ECTOR .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Austin S CEN I C DESI GN .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julia
Noulin-Mérat
COSTUME DESI GN .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Valérie
Thérèse Bart
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LIGHTI N G DESI GN .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul
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Regan
H A I R A N D MA KEUP DESI GN .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . David
Whitaker
Zimmerman
Matthew Lobaugh DI R ECTOR .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Radamés Toro •
ASSISTANT CONDUCTOR/CHORUSMASTER.. . . . . . . . . . . . ASSI STA N T
RÉPÉTI TEUR S . . . . . . . . . . . . . . . . . . . . . . . . . . Jessica
Hall •, Lindsay Woodward •
FI GHT COOR DI N ATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom
Ringberg
STAGE MA N AGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jamie
K. Fuller
• MINNESOTA OPERA RESIDENT ARTIST + MINNESOTA OPERA RESIDENT ARTIST ALUM
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PRODUCTION CO-SPONSORS
Vicki and Chip Emery Leni and David Moore Sara and Jock Donaldson
ESTIMATED RUNNING TIME:
The running time is two hours and 48 minutes, with two intermissions occurring approximately 58 and 109 minutes into the opera. WARNING:
RIGOLETTO 2017–18
Rigoletto contains simulated cigarette smoking, strobe lighting, and theatrical haze.
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SYNOPSIS
SETTING: Mantua, a totalitarian country under the absolute rule of the Duke TIME: Now, or a time much like now … ACT I Scene 1 A party is in progress at the ducal palace. The Duke privately discloses to Borsa his infatuation with a young girl he observed at a local church. In the same breath, he professes his desire for the Countess Ceprano. Borsa gently chides him for his wayward manner toward women. The Duke hardly denies the charge—he simply can’t help himself when surrounded by so many pretty faces. From across the room, the court jester Rigoletto mocks Count Ceprano as the Duke makes an advance on his wife. Tired of Rigoletto’s acid tongue, the courtiers decide to teach him a lesson. Marullo has discovered the jester is keeping a mistress, whom they decide to abduct and give to the Duke for his pleasure.
ACT II Back at the palace, the Duke is distressed, for he learned of the abduction of his lover and promises vengeance. He is only too delighted when his courtiers return with Gilda, whom he quickly ushers into his private apartments. Rigoletto arrives presently, feigning to take the joke in good stride while fervently looking for Gilda. The noblemen are surprised to learn she is his daughter, but still refuse to help. In desperation, Rigoletto unleashes his anger, then tries to elicit their sympathy, but to no avail. Gilda soon emerges from the room disheveled, and runs to her father’s arms. As Rigoletto consoles his daughter, Monterone is led to his execution, and the jester promises to avenge both of their daughters’ disgrace.
ACT III Count Monterone storms in and accuses the Duke of seducing his young daughter. Again, Rigoletto mocks the grieving father; in return he receives a curse—a curse the jester takes very seriously.
Scene 2
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On his way home, Rigoletto encounters Sparafucile, a Burgundian whom he soon learns is also a hired assassin. He offers his services. Rigoletto declines for the moment, but he begins to consider revenge as payment for his lot in life. Once at home, Rigoletto revels in his one secret joy, his daughter Gilda. To protect her virtue, he demands she remain at home, only to go out for church. Though very dutiful, Gilda does not disclose she has recently met a handsome young man, and as soon as Rigoletto leaves, she encounters her paramour (really the Duke disguised as a poor student) in the garden. They profess their love and “Gualtier” departs.
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Fearing something is amiss, Rigoletto returns, only to find Marullo in the street. The courtier quickly covers his tracks—a plan is underfoot to abduct the Countess Ceprano, who lives nearby, and present her to the Duke. Rigoletto is only too happy to partake in a joke on the hated Count and agrees to steady the ladder. Marullo not only masks the jester to match the other bandits, but covers his eyes and ears so that he is unable to discover they are really at the window of his own home. Rigoletto realizes he has been duped only when he hears his daughter’s pleas for help.
On the edge of town, Rigoletto and Gilda lie in wait. Gilda still professes her love for the Duke, so Rigoletto plans to show her exactly what kind of man he really is. They observe the Duke entering Sparafucile’s tavern for an amorous rendezvous with the assassin’s seductive sister, Maddalena, and Gilda’s heart is broken. Rigoletto instructs his daughter to go to Verona (disguised as a man for safety), where he will join her the next day. He then makes the final arrangements with Sparafucile for the Duke’s murder. Maddalena has grown fond of the Duke and strikes a deal with her brother—the next person who knocks on their door will be killed and his body substituted for the Duke’s. Gilda, who has returned, overhears the plan, and overwrought with grief, knocks on the door and is stabbed. Sparafucile stuffs her body into a sack and gives it to Rigoletto upon his return at the appointed hour. As Rigoletto drags the bag to the river for disposal, he learns the Duke has not died, and to his horror, discovers he has been carrying his mortally wounded daughter. Synopsis courtesy of David Sander.
ABOUT THE OPERA
R
igoletto marks a crucial moment in Verdi’s development as a composer. Already beginning to blur the lines between aria and recitative, the composer wrote his opera with very few traditional stops, folding one musical number into the next and making the scene the defining unit. This is most artfully displayed during the opening party in which he unveils five dances in quick succession and seamlessly transitions in and out of the Duke’s first aria “Questa o quella.” Also strikingly novel is Rigoletto’s soliloquy, “Pari siamo!” in the scene that follows. With no fewer than six tempo changes, the composer spins Rigoletto’s dark thoughts over arioso, a blend of actionmoving recitative and reflective aria.
Rigoletto is an opera about characterizations, rather than showstopping moments, and persistent fatalism that causes every move to be a step in the wrong direction. Rigoletto goes one too far with the courtiers, which leads to his own emotional destruction and the ruin of his small family. Believing it to be the only safe space, he allows his daughter to go to church, but it is there she meets the worst person possible for her virtue—the Duke. Sparafucile observes the Duke following Gilda home, and also believing her to be Rigoletto’s mistress, offers to eliminate the jester’s rival, effectively bringing the assassin into the mix. Disobeying her oath to protect Gilda, Giovanna allows the Duke access and herself to be bribed. Rigoletto heartily agrees to partake in the abduction of his daughter only because he believes it
to be Ceprano’s wife. A frightened Gilda escapes the courtiers by rushing to the Duke for protection, only to be raped. And Rigoletto, believing he can end Gilda’s loyalty to the Duke by showing her his debauchery, ends up sealing her fate as Gilda’s undying love becomes her sacrifice. The opera is based upon Victor Hugo's play, A Fool's Revenge. Ironically in Paris, where the play had once been banned, the opera proved enormously popular after its French-language premiere in 1863 at the Théâtre Lyrique Impériale. Exiled from France, Hugo was peeved by the eclipse of his play, which had not achieved its second performance. Yet, by the time he had heard the opera years later, he was clearly impressed, tartly noting, “If I could make four characters speak at the same time and have the audience understand the words and emotions, I could achieve the same effect.” DAVID SANDER DRAMATURG
“
Already beginning to blur the lines between aria and recitative, the composer wrote his opera with very few traditional stops, folding one musical number into the next and making the scene the defining unit.” RIGOLETTO 2017–18
COSTUME RENDERINGS BY VALÉRIE THÉRÈSE BART
The opera is played out in a series of duets — for Rigoletto and Sparafucile, the Duke and Gilda, and with one per act for father and daughter. But Verdi saves some of his best ensembles for Act III —a magnificent quartet for the Duke, Maddalena, Gilda, and Rigoletto
and an extraordinary trio for Sparafucile, Maddalena, and Gilda above a storm created by brilliant orchestra effects and a humming chorus.
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COMPOSER
GIUSEPPE VERDI B. Le Roncole, October 9 or 10, 1813
B
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orn into a relatively poor family, Verdi owed his first musical training to Antonio Barezzi, a local patron. Barezzi arranged for Verdi to go to Milan, where he failed the entrance exams to the Conservatory. Verdi then returned to Busseto to assume, amid fierce controversy, the post of maestro di musica and to marry Barezzi’s daughter, Margherita, in 1836. They had two children, but, tragically, within a three-year period, Margherita and their children died. In despair, Verdi pursued his career elsewhere. Then he returned to Busseto with Giuseppina Strepponi, the soprano who created the role of Abigaille in Nabucco and who was the woman he later married. He bought a nearby farm, built a large comfortable house and — with only occasional interruptions to travel, compose, or produce an opera — managed the farm until his death in 1901.
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Verdi’s third opera for La Scala, Nabucco, is generally considered his first masterpiece. Its most notable element is a long, slow chorus for the Israelites, yearning for their homeland: “Va, pensiero.” Italian patriots, then under Austrian domination, heard in it their own situation; at its premiere and at most performances afterwards,
audiences demanded the chorus to be sung again, despite police prohibitions. In the years that followed, Verdi and his librettists wrote as boldly as the censors would allow. His stirring patriotic choruses made him a symbol of the Risorgimento, the political movement for a unified Italy. In a 54-year period, Verdi wrote 26 operas (two of which were revised extensively and retitled). The years 1851–53 marked the peak of Verdi’s career, with the composition of his three most popular pieces: Rigoletto, Il trovatore, and La traviata. These three operas harken back to the musical style of Nabucco, with simpler accompaniments and superbly crafted melodies. In 1859, Napoleon III of France drove the Austrians out of Lombardy. As Verdi had long been considered an artist of revolution, he was pressed into accepting a seat in the new Italian Parliament. During his parliamentary career, he found time to compose only one opera, La forza del destino. Macbeth was revised in 1865 and presented in Paris, where Verdi agreed to write Don Carlos. Aida, first performed at the Cairo Opera House in 1871, proved the perfect
vehicle for showcasing Verdi’s gifts, and it contained some of his finest music. But Otello and Falstaff exceed even the grandeur of Aida. They represent the perfect culmination of an incredible career.
“
The years 1851–53 marked the peak of Verdi’s career, with the composition of his three most popular pieces: Rigoletto, Il trovatore, and La traviata.”
PORTRAIT OF VERDI STANDING | ANONYMOUS (19TH CENTURY) | MUSEO TEATRALE ALLA SCALA (MILAN, ITALY) | SCALA/ART RESOURCE, NY
D. Milan, January 27, 1901
DIRECTOR'S NOTES
R
igoletto is an enduring masterpiece of the Italian Romantic opera because of the way Verdi’s immortal music equally evokes the grandeur of the dark and sometimes terrifying forces at work in our world, and the intimacy of parents, children, and troubled people trying to do what’s right in a world where everything seems to have gone wrong. Challenging the powers that be from the start, even the Victor Hugo play that Rigoletto is based on, Le roi s’amuse, was banned by the censors after its first performance. When Verdi and his librettist Piave sought to make this play into a grand Italian opera, they had to change Hugo’s historical king to an imaginary 16th century Duke from an extinct family line in order to make it acceptable to the presiding politicians of their day. Everyone saw how dangerous this story could be, by exposing through tragic catharsis the immorality of the powerful and those that enable them. Rather than treating Rigoletto as a museum piece, I wanted to invigorate what was exciting and important about it to its original authors and audience, in a way that spoke to our times.
COSTUME RENDERINGS BY VALÉRIE THÉRÈSE BART
Instead of looking at simply moving it to another specific time period, the designers and I looked at how to evoke the all-too-real forces of power, violence, betrayal, hypocrisy, paranoia, and vengeance that Verdi’s score invokes. I spent hours poring over the libretto in Italian and English, looking at how the characters act within and speak about their world. From this work, dynamic images began to emerge — an oppressive, totalitarian world of shadows, with monumental and imposing walls dividing the decadent wealthy and powerful and those outside. From the Duke’s “palace of pleasure” to the intimate family home of Gilda and Rigoletto, we sought to make tangible the challenges and questions that this opera presents. I wanted to make
the hopes, dreams, and fears of these characters physical, while allowing the music to lead the way. Putting Rigoletto in old-timey hose and ruff with fake painted marble columns would not have been true to the great importance Rigoletto still has to our time. Rigoletto is still so cutting-edge in its themes, in fact, that it is difficult to talk about it without directly talking about our modern world. In lieu of being overly didactic, let me simply talk factually about the plot: The Duke is a powerful, abusive womanizer who lies, bullies, and assaults to get what he wants, especially when it comes to sex. He never faces any consequences for his actions. Rigoletto and the chorus of wild, frat-boy aristocratic men look the other way and even enable the Duke, hoping to gain his favor for selfish power and patronage. Gilda, bright and curious, is locked away, from the world, denied full participation in its society, and even denied her own history by a father who thinks he is protecting her. And the rest of the opera is filled with paranoia, spying, black market deals, and a natural world which grows as violent as the world of men. Rigoletto is about power without consequence, about men who abuse and have no moral judges. Verdi elevated Hugo’s original work by making Rigoletto a person struggling in the middle, between the corrupt society at large and his care and obligations to his family. How many of us can say we don’t sometimes struggle to stand up in public for the values we hold dear in private? I don’t know that any of us can. Like Rigoletto, it can be a challenge to get by day-today in our world. But I hope our production, and the sorrow and folly of Verdi’s great tragedy, can inspire us all to not remain silent or complicit. AUSTIN REGAN STAGE DIRECTOR
C A S T + C R E AT I V E T E A M
ANDRES ACOSTA
JOSHUA DENNIS
MATTEO BORSA
DUKE OF MANTUA
MIAMI, FLORIDA
SACRAMENTO, CALIFORNIA
Minnesota Opera Resident Artist
Past Le nozze di Figaro, Minnesota Opera
Minnesota Opera Debut Roméo et Juliette, 2016
Past
La Cenerentola, Merola Opera Program
Der Schauspieldirektor, Los Angeles Philharmonic
Così fan tutte, Janiec Opera Company
Moby Dick, Utah Opera
Florencia en el Amazonas, Indiana University
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Dead Man Walking, Minnesota Opera
Die Zauberflöte, Michigan Opera Theatre
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Future Roméo et Juliette, Utah Opera
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VALÉRIE THÉRÈSE BART
NADIA FAYAD
COSTUME DESIGN
MADDALENA
NEW YORK, NEW YORK
DULUTH, MINNESOTA
Minnesota Opera Debut Rigoletto, 2018
Past
Minnesota Opera Resident Artist
Past Das Rheingold, Minnesota Opera
Listen Wilhelmina!, Wolf Trap Opera
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MARY EVELYN HANGLEY
SPARAFUCILE
COUNTESS CEPRANO
MINNEAPOLIS, MINNESOTA
LONG BEACH, NEW YORK
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Past
Minnesota Opera Resident Artist
Past Das Rheingold, Minnesota Opera
Elizabeth Cree, Opera Philadelphia
Dinner at Eight, Minnesota Opera
Die Zauberflöte, Canadian Opera Company
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Le nozze di Figaro, Minnesota Opera The Abduction from the Seraglio, Madison Opera
Future
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PAGE
COUNT MONTERONE
DE PERE, WISCONSIN
WASHINGTON, DC
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Past
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Minnesota Opera Debut Rigoletto, 2018
Future Così fan tutte, National Philharmonic Summer King, Michigan Opera Theatre
Thaïs, Minnesota Opera
Silent Night, Washington National Opera
MICHAEL CHRISTIE
JULIA NOULIN-MÉRAT
CONDUCTOR
SCENIC DESIGN
BUFFALO, NEW YORK
PARIS, FRANCE
Minnesota Opera Debut La traviata, 2011
Past
Minnesota Opera Debut Rigoletto, 2018
Past
The (R)evolution of Steve Jobs, Santa Fe Opera
Falstaff, Opera Omaha
The Gospel of Mary Magdalene, San Francisco Opera
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USHER
MARULLO
WHITE BEAR LAKE, MINNESOTA
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Past
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Dead Man Walking, Minnesota Opera
The Cunning Little Vixen, University of Minnesota Opera Theatre
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VICTORIA VARGAS
GILDA
GIOVANNA
CHICOUTIMI, CANADA
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Salome, Minnesota Orchestra
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Fantasio, Opéra-Comique
Dead Man Walking, Minnesota Opera
Elektra, Festival d’Aix and Scala Roméo et Juliette, Opera Carolina
Future Roméo et Juliette, Opéra de Montréal Cendrillon, Lyric Opera of Chicago Ariadne auf Naxos, Lausanne La bohème, Opéra Comique
AUSTIN REGAN
PAUL WHITAKER
STAGE DIRECTOR
LIGHTING DESIGN
FARGO, NORTH DAKOTA
PASADENA, CALIFORNIA
Minnesota Opera Debut Rigoletto, 2018
Past
Minnesota Opera Debut Roméo et Juliette, 2016
Past
Loose, Wet, Perforated, Guerilla Opera
Diana’s Garden, Minnesota Opera
The Trojan Women, Hangar Theatre
Phantom Palace, Musik der Jahrhunderte Stuttgart
Well Worn Words, Ars Nova Snow What, Theatreworks USA
Future Three Decembers, Fargo Moorhead Opera Head Over Heals, Broadway (Associate Director)
OLAFUR SIGURDARSON RIGOLETTO REYKJAVIK, ICELAND
Minnesota Opera Debut Rigoletto, 2018
Past Falstaff, Opera Omaha Tosca, Braunschweig Rigoletto, Finnish National Opera Lohengrin, Prague National Theatre
Future Falstaff, Opera Colorado Der Fliegende Hollander, Finnish National Opera Das Rheingold, Gothenburg Opera Wozzeck, Finnish National Opera
WM. CLAY THOMPSON COUNT CEPRANO LEXINGTON, KENTUCKY Minnesota Opera Resident Artist
Don Pasquale, Minnesota Opera JFK, Fort Worth Opera La fanciulla del West, Kentucky Opera Dead Man Walking, Minnesota Opera
Future Thaïs, Minnesota Opera Silent Night, The Glimmerglass Festival The Cunning Little Vixen, The Glimmerglass Festival
RIGOLETTO 2017–18
Past Le nozze di Figaro, Minnesota Opera
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ORCHESTRA, CHORUS, + SUPERNUMERARIES
CLARINET
CHORUS
Emily Hagen* Nina and John• Archabal Chair
Karrin Meffert-Nelson*
Matthew Abbas
Nina Olsen
Alex Barnett
Susan Janda
BASSOON
Phinehas Bynum
Coca Bochonko
Coreen Nordling* Eric and Celita Levinson
Matthew Christoff
Julia Persitz
James Bartsch
Laurie Hatcher Merz
David Mickens
Valerie Little
Stefan Egerstrom
ORCHESTRA
VIOLA
VIOLIN I Allison Ostrander* Concertmaster Cynthia and Lawrence Lee Chair
Laurel Browne
Taylor Bothun
HORN
Colin McGuire Laurie Petruconis
CELLO
Timothy Bradley*
Heidi Amundson
Teresa Richardson*
Charles Hodgson
Elise Parker
Rebecca Arons
Ronald L. Beitel
Jill Olson
Kirsten Whitson
Mike Alexander
Maisie Block
Dale Newton
Emilia Mettenbrink
Diane Tremaine
VIOLIN II
BASS
Christopher Volpe
Conor O’Brien* Elizabeth Decker
John Michael Smith* Ken and Peggy Bonneville Chair
TROMBONE
Melinda Marshall
Constance Martin
TRUMPET
Ben Crickenberger Steven Halloin Derek Hardt Benjamin Hills Gary Kubert Joel Mathias Michael Mayer
Eric Mellum Darrius Morton Mario Perez James Pike Tyler Raad Seth Russell Grant Scherzer Cody Schuebel Eric Smedsrud Eric Sorum Nicholas Swanson Jake Thede Colyn Tvete Adan Varela
Luke McKenty
John Koopmann*
Margaret Humphrey
Jason C. Hagelie
Huldah Niles David Block
FLUTE
Emily Saatoff
Michele Frisch*
Carol Lebovic
Bethany Gonella
Phillip Ostrander*
SUPERNUMERARIES
John Tranter
Laini Devin
Richard Gaynor
Chari Eckmann Lois Estell
(double piccolo)
TUBA
Madelinekarita Fleming
Itai Agmon*
Jamila Joiner
TIMPANI Kory Andry*
OBOE Michael Dayton•
PERCUSSION
* principal
Jeffrey Marshak
• in memoriam
(double English horn)
Cindy Johnson Diane Kolodziej Babatunde Oyewo Amy Sirivie
Robert Adney* Jay Johnson*
UP THE Minnesota Opera’s Young Professionals Group.
MINNESOTA OPERA MNOPERA.ORG
VOICES OF OPERA
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Community Opera Chorus for Adults 55+ 2018–19 SUBSCRIPTIONS NOW ON SALE!
Tempo is for both new and seasoned opera-goers ages 21–45. This newly expanded program for the 2018–19 season is designed to give access to younger audiences and provide opportunities to socialize at unique, fun events.
mnopera.org/tempo
Perform famous operatic excerpts and other choral favorites. No audition required. Register now for our 10-week program beginning April 9. Rehearsals will take place at Westminster Presbyterian Church, Minneapolis. To register and for more information, visit mnopera.org/voices.
MEET THE ARTIST
OLAFUR SIGURDARSON AS RIGOLETTO
What’s your favorite opera? This is a tricky one, but if I absolutely must choose, it’ll have to be Rigoletto. What do you find captivating about Rigoletto? As well as Verdi’s astonishing music, I am fascinated by the character of Rigoletto and his battles with the world around him. The role of Rigoletto is one that you’ve frequented during your career. How do you keep this role fresh vocally and dramatically? With such a demanding role, every new production means going back to the drawing board. I have to carefully study the score, even though I know it inside out. It really is amazing that every time I come back to this wonderful opera, I discover something new. Meeting a new team of colleagues also means rediscovering the role every time. I guess the key to keeping it fresh is not to take anything for granted and to be willing to explore new dimensions.
How would you describe Rigoletto’s relationship to his daughter Gilda? Is your experience different with each singer-actress you perform with in this role? Although this is a story about Rigoletto’s desperate attempts to protect his daughter from a dangerous world, it is also a story of a young woman coming of age, wanting to break away and explore the world. In my opinion, it is exactly this that makes their relationship so real and believable. As a performer, I am always influenced by my partners on stage. As Rigoletto, I’m influenced the most by Gilda. Every new production and every new Gilda helps me to find something new in my Rigoletto. As the old phrase goes, acting is reacting. You’ve performed as both a concert musician and an opera artist. How are two similar and different? With such a busy schedule in opera, it is not easy to find time to do the number of concerts I would like. Working on an opera production usually means weeks of rehearsals until the performances take place, allowing myself to use that time to dig into my role. A typical concert will take less time in final rehearsals, but you spend more time preparing on your own to be ready for the gig. As much as I love working in opera, I do find it refreshing to do concert work every now and then.
As a performer with a busy season around the world, how do you keep yourself at top condition while going from one concert hall to the next? As vocal health goes hand in hand with one’s physical and mental condition, it is important for me to get my regular exercise. My workout of choice would always be a good walk outside, or the gym if need be. With this lifestyle of constant travelling and late-night shows, it is easy to fall victim to large meals after work, something I try to avoid as much as possible. I guess I’m simply doing my best as most people are. When you’re not performing on the stage, how do you like to spend your time? I do enjoy discovering new cities and countries, and nothing beats a good walk or a hike. My wee camera has become somewhat of a hobby and encourages me to go out and explore. With all the travelling though, my favorite time is spent at home with my family. What’s colder, your home country Iceland or Minnesota? Iceland is much warmer than the name indicates. I have experienced lower temperatures here in the Midwest than what we are used to on any normal day back in Reykjavik. If you were the kind of individual to seek revenge on someone else, how would you go about doing so? I’d invite them to a traditional Icelandic dinner, including sheep’s heads and fermented shark!
RIGOLETTO 2017–18
What was the very first opera role that you performed? My first professional engagement was the role of Horace Tabor in The Ballad of Baby Doe by Douglas Moore, performed with English Touring Opera in Cambridge. I am very much looking forward to visiting Leadville, Colorado for the first time in April and seeing the Tabor Opera House.
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O P E R A E D U C AT I O N
SU M M E R O P E R A CA MP S
“
KEEP
SIN GI NG
I N
T H E
S U MME R!
It was amazing how much I learned about my voice and opera in just one week. It was an awesome experience and I highly recommend it all interested singers.” NATALIE HARRIS VOCAL ARTIST PROGRAM ALUMNA
“
Opera Artist + is a wonderfully unique program that was incredibly beneficial for me as a young, aspiring professional musician. I highly recommend this program for anyone who wants to know more about what it takes to make it in this unique and spectacular community of artists!” NICHOLAS SWANSON VOCAL ARTIST PROGRAM ALUM
VOCAL ARTIST PROGRAM
MINNESOTA OPERA MNOPERA.ORG
JULY 8–14 | GRADES 9–12
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Immerse yourself in opera. Vocal Artist Program brings talented high school singers from around the country together for an inspiring week of performing. Improve your skills with daily vocal coaching and stage movement training. Participants gain valuable experience working in a professional and nurturing environment preparing and performing incredible repertoire with other advanced musicians.
OPERA ARTIST + JULY 8–14 | COLLEGE UNDERGRADUATES
21st century artistry. Opera Artist + (Plus) is a week-long residential camp for college-aged vocal performance and music education majors designed to refine their craft and explore what it means to be an opera artist in the 21st century. Sessions include
daily one-on-one vocal coaching and movement sessions, round-table discussions with professional artists and a mock audition. Other sessions will look at the increasingly important and diverse role of Teaching Artistry, including teaching opportunities both in and out of the classroom and the growing field of Creative Aging.
SINGOUT CHILDREN’S CHORUS CAMP JUNE 25–28 | GRADES 3–8
The perfect mix of fun and music! Campers will sing great children’s chorus music, learn healthy vocal technique and the fundamentals of acting in this day camp. Get a taste of being in the Minnesota Opera’s Children’s Chorus. For more information, go to mnopera.org/camps or call 612-342-9573.
THAÏS PREVIEW
Thaïs is an opera that is half mystic and half psychological. It does not lack inspiration and originality and the sheer mastery of voice and orchestration make it an opera worthy of our attention. A company can program it when it has a singer in mind to perform this
staggering role. In Kelly Kaduce, we have such a person. Not only is she an amazing singer with wide vocal range, as we witnessed in Tosca, but she is the most dazzling of performers. As we saw in Manon Lescaut, she can transform from an innocent country girl just out of the convent, into the worldliest highsociety woman. In Thaïs, she is first seen as a worldly and well-educated courtesan and devotee of Venus. She meets the Cenobite monk Anthanaël, who is immediately captivated and sets out to convert Thaïs to Christianity. Too late, he discovers his obsession with her is rooted in lust. Thaïs’ purity of heart is contrasted with Anthanaël’s base nature. What a clash of cultures. The opera is filled with memorable and varied styles of music, beginning with the somber music of the Cenobite monks. This is soon followed up by the graceful music of at the house of Nicias, who is Thaïs’ patron. Perhaps the most famous and memorable music of Thaïs is the symphonic intermezzo often
called “Meditation.” This exquisite piece of music is written for the solo violin accompanied by harp and an invisible chorus. Perhaps the most brilliant writing of Massenet is the final scene, the death of Thaïs. Here he contrasts the pious thoughts of Thaïs with the powerless rage of Anthanaël. Lucas Meachem returns to Minnesota Opera to premiere the role of Anthanaël. He is joined by former Resident Artist John Robert Lindsey as Nicias. Andrea Cigni and Lorenzo Cutùli, who last brought us that sensational Tosca, are certain to delight us with a brilliant new production. Christopher Franklin returns to lead the production as conductor. DALE JOHNSON ARTISTIC DIRECTOR
MAY 12–20 Spiritual conviction meets earthly desire in Massenet’s sensual and melodic opera.
BUY TODAY RIGOLETTO 2017–18
COSTUME RENDERING OF KELLY KADUCE AS THAÏS COURTESY OF LORENZO CUTÙLI.
T
haïs, by Jules Massenet, was first performed in Paris in 1894 and made its American debut in 1907. It was written for the American soprano Sibyl Sanderson. This opera created a sensation both for its subject matter and for the notorious wardrobe malfunction suffered by the soprano. Janet Jackson has nothing on Sibyl. Just a little bit of trivia: Sibyl Sanderson is buried at the Lakewood Cemetery in Minneapolis. While more seldom performed than Manon or Werther, Thaïs continues to fascinate audiences. It is certainly a role written with a true Diva in mind. It is difficult to sing yet must always appear to be effortless. It possesses a wide vocal range with a variety of color and emotion.
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2 01 8 – 2 01 9 S E AS O N
O PER A TH AT UN ITE S .
Silent Night, 2011 ©Michal Daniel.
SUBSCRIBE TODAY PUCCINI/ADAMI | OCT. 6–14 Which Life Would You Choose? From the composer of La Bohème, this rarely performed
AND SAVE UP TO 40% OVER INDIVIDUAL TICKETS!
gem tells the story of an unlikely relationship between Magda, a high-society woman and a naïve, handsome poet. But Magda is torn between the life she wants and the life she knows. Puccini’s achingly beautiful score charmingly conveys the romantic bliss and irrational desires of unexpected lovers.
PUCKETT/SIMONSON | MAR. 16–24 WORLD PREMIERE Shoeless Joe and the 1919 Black Sox Scandal. One of the most notorious scandals in American history comes to life in this new, major league opera. The 1919 Chicago White Sox were arguably the best team in the game, but they were also
PUTS/CAMPBELL | NOV. 10–17
the most poorly paid, always at odds with their
All Is Calm, All Is Bright. Recounting a
penny-pinching owner. Resentment, revenge, and
miraculous moment of peace during one of
ambition gone awry motivate the eight players to
the bloodiest wars in human history, Scottish,
conspire with gamblers and fix the World Series.
French, and German officers defy their superiors and negotiate a Christmas Eve truce. Minnesota Opera’s Pulitzer Prize-winning, international sensation masterfully juxtaposes the bombastic sounds of war with serene songs from home.
VERDI/GHISLANZONI | MAY 4–14 To Live and Die for Love. Verdi’s sumptuous melodies and timeless depiction of tragic love have made La Traviata an undeniable favorite for generations. Violetta, a glamorous courtesan,
N. ROTA/E. ROTA | JAN. 26–FEB. 3 Brimming with Laughs. This uproarious
gives up everything for her devoted lover Alfredo—only to have their idyllic love affair
comedy, by the composer best known
shattered when the stern demands of Alfredo’s
for The Godfather film scores, comes to
father spell disaster for the enraptured couple.
Minnesota Opera for the first time ever. Groom-to-be Fadinard gallops around Paris on his wedding day in search of a straw hat to replace the one his horse has inadvertently eaten. After seeing this 1950s madcap romp, you’ll never look at a hat—or a night at the opera— the same way again!
B O A R D , S TA F F, + V O L U N T E E R S
BOARD OF DIRECTORS
MINNESOTA OPERA STAFF
OF F ICE RS
ADMI N I ST RAT IO N
Chair | Margaret Wurtele
President and General Director | Ryan Taylor
President and General Director | Ryan Taylor
Director of Board Relations | Theresa Murray
Vice Chair | H. Bernt von Ohlen
Chief Financial Officer | Steve Matheson
Secretary | Nadege Souvenir
Human Resources Director | Jen Thill
Treasurer | John C. Junek
Staff Accountant | Shannon Ratcliff
Design Manager | Kristin Backman Communications Manager | Eric Broker Web and Digital Media Associate | Rocky Jones Patron Services Director | Greg Campbell
Facility Manager | Steve Mittelholtz
Patron Services Manager | Kevin Beckey
Systems Administrator | Tony Ngonekeo
DIRECTORS
Audience Engagement Manager | Kristin Matejcek
Associate Patron Services Manager | Karl Annable
Richard Allendorf
Robert Lee
AR T I ST IC
Patricia Beithon
Jeninne McGee
Artistic Director | Dale Johnson
Sharon Bloodworth
Michael McNamara
Music Director | Michael Christie
Shari Boehnen
Leni Moore
Assistant Conductor | Jonathan Brandani
Alberto Castillo
Kay Ness
Head of Music | Allen Perriello
Jay Debertin
Jose Peris
Artistic Administrator | Roxanne Stouffer
Terrance Dolan
Elizabeth Redleaf
Sara Donaldson
Connie Remele
Artist Relations and Planning Director | Floyd Anderson
Sidney W. Emery
Mary H. Schrock
Dramaturg | David Sander
Assistant Production Director | Julia Gallagher
Maureen Harms
Linda Roberts Singh
Production Stage Manager | Kerry Masek
Mary IngebrandPohlad
David Smith
Resident Artists | Andres Acosta, Nadia Fayad, Jessica Hall, Mary Evelyn Hangley, David Radamés Toro, Wm. Clay Thompson, Christian Thurston, Lindsay Woodward
Philip Isaacson
David Strauss
J Jackson
Virginia Stringer
E DU C AT IO N
Technical Director | Mike McQuiston
Community Education Director | Jamie Andrews
Properties Master | Jenn Maatman
Teaching Artist | Pablo Siqueiros
Lighting and Video Coordinator | Raymond W. Steveson Jr.
Nadege Souvenir
Diane Jacobson
Greg Sullivan
John C. Junek
Norrie Thomas
Christl Larson
H. Bernt von Ohlen
Mary Lazarus
William White
Cynthia Y. Lee
Margaret Wurtele
D IR ECTORS E M ER I T I
Patron Services Coordinator | Brian Johnson-Weyl Patron Services Supervisor | Ian Mercer Patron Services Representatives | Kianna Carter, Carol Corich, Henry Dykstal, Mollie Laidly, Joshua Weinberg
PRO DU CT IO N Production Director | Karen Quisenberry
Project Opera Music Director | Matthew Abernathy Project Opera Accompanist | Kathy Kraulik Music Out Loud Teaching Artist | Sara Sawyer Community Organizers | Liz Lassiter, Rebecca Lawrence
Stage Manager | Jamie K. Fuller Assistant Stage Managers | Lorely Dedrick, Nick Loweree
Production Carpenter | JC Amel Scene Shop Foreman/Supervisor | Mark Maurer Master Carpenters | Nate Kulenkamp, Eric Veldey Carpenter | Max Gilbert
DE V E LOPME NT
Scenic Painters | Camille Hempel, Rachel Madden, Erica Zaffarano
Karen Bachman
Julia W. Dayton
Chief Development Officer | Carley M. Stuber
Costume Director | Corinna Bohren
John A. Blanchard, III
Mary W. Vaughan
Development Director | Mallory Roberts
Assistant Costume Director | Beth Sanders
Institutional Gifts Director | Diana Konopka
Tailor | Yancey Thrift
Development Officer | Nickolas Sanches
Draper | Katrina Benedict, Chris Bur
Events Manager | Anthony Diaz
First Hands | Helen Ammann, Rebecca Karstad
Development Associate | Jeremie Bur
Stitchers | Ann Friese, Sara Huebschen, Jadie Krussow, Rachel Oestreich
Burton Cohen
HONO RA RY D I REC TO R S Dominick Argento
Liz Kochiras
Philip Brunelle
Development Operations Coordinator | Jonathan Lundgren
Mask Artisan | Kristen Weller
Development Coordinator | Charlotte Summers
L EG AL CO UN SE L Moss & Barnett
MAR K E T ING / CO MMUNICAT IO NS Chief Marketing Officer | Darby Lunceford
Leg Brace Artisan | Stanley Dean Howthorne Wardrobe Supervisor | Molly O’Gara Hair/Makeup Supervisors | Priscilla Bruce, Manuel Jacobo Hair/Makeup Crew | Corrie Dubay
Marketing Director | Katherine L. Castille
MINNESOTA OPERA VOLUNTEERS
TEMPO BOARD OF F ICE RS MINNESOTA OPERA MNOPERA.ORG
Chair | Thomas Bakken
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Vice Chair | Kara Eliason Dorsey Secretary | Emily Engel Treasurer | Veronica Mason
M EMBERS Carrie Anderson
Sarah Fowler
Thomas Bakken
Mark Giga
Elizabeth Brenner
Alison Jarzyna
Laura Chaffee
Veronica Mason
Kamruz Darabi
Luke Olson
Kara Eliason Dorsey
Aimee Tritt
Katie Eiser
Julia Wilcox
Emily Engel
The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnopera.org/volunteer, or email volunteering@mnopera.org for more information.
Julia Alvarez Lynne Beck Gerald Benson Peter Brandenhoff Debra Brooks Alexis Haley Brown Renee Brown-Goodell Michelle Cadieux Jerry Cassidy Ann Drivas Judith Duncan David Earp Billy Fabec Erin Farste Andy Flamm Jane Fuller
Joan Gacki Diane Gerlach Ryan Gilmer Jessica Grams Sarah Grecula Merle Hanson Catherine Heck Morgan Heck Kerry Hinze Stephanie Hynes Tim Jones Ryan Kantor Robin Keck Bebe Keith Kathleen Kitchen Laura Kucera
Mary Lach Angela LaCombe Mollie Laidly Jerry Lillquist Joyce Lillquist Melanie Locke Tom Logeland Suzan Lynnes Jasmine Magner Mary McDiarmid Sylvia Michels Barbara Moore Douglas Myhra Andrea Nicholson Candyce Osterkamp Heidi Pagano
Pat Panshin Pat Panshin Sydney Phillips Gabrielle Sacha Laura Schaubschlager Michele Schluender Kari Schutz Mickaylee Shaughnessy Mary Sheehy Amy Sirivie Janet Skidmore Wendi Sott Norm Tiedemann Stephanie Van D’Elden Barbara Willis
Minnesota Opera is a proud member of The Arts Partnership with the Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra, and the Schubert Club.
UPCOMING EVENTS Happy Hour!
Taste of Opera
APRIL 7, 7PM
MAY 17, 5PM
President and General Director Ryan Taylor presents Happy Hour!, a sweet (and sour) blend of song with a splash of support for the 20th Anniversary of the Resident Artist Program. Ryan, an alumnus of the program, will perform his favorite tunes from his career on stages around the world with his frequent collaborator, Joseph Li, at the keyboard. The program will feature surprise guest appearances and vocal music from Tchaikovsky, Bellini, and Vaughan-Williams to Cole Porter, The Muppets, and Irving Berlin.
Enhance your opera-going experience with a Taste of Opera — a delicious preshow meal and relaxed conversation with experts from the world of opera. Classical Minnesota Public Radio hosts an engaging look at Thaïs with opera experts from Minnesota Opera as well as members of the cast and creative team.
MNOPERA.ORG/THATS-A-RAP
MAY 12–20
APRIL 8, 2PM Mix it up with your favorite Minnesota Opera Resident Artists as they perform their favorite tunes from opera, musical theater, and beyond. They’ve had 20 years to curate this program, just for you! Catch them one day only and pay what you want at this special Ordway Concert Hall performance. MNOPERA.ORG/THATS-A-RAP
APRIL 25, 7PM At the historic Opera Center, get the inside scoop on Massenet’s Thaïs as opera experts and members of the cast and creative team lead discussions exploring the music, history, and design of the opera.
Thaïs A devout monk seeks to convert Thaïs, a ravishingly beautiful courtesan, but realizes too late that his pious obsession is rooted in lust, not religion. Massenet’s sensual and melodic creation, set in the deserts and oases of 4th-century Egypt, explores the conflict between the passion of the flesh and the salvation of the soul. MNOPERA.ORG/THAIS
Enjoy fun, free, and informative half-hour lectures, hosted by Minnesota Opera artistic staff in Ordway’s Target Atrium. Come early and get an overview of the characters and music, the historical and cultural context of the opera, and highlights to watch for during the show. MNOPERA.ORG/OPERA-INSIGHTS
MN Opera @ Books & Bars MAY 8–12 Interested singers for Minnesota Opera’s 2018–2019 season may sign up for audition appointments beginning March 19, 2018. All appointments are on a firstcome, first-served basis. MNOPERA.ORG/AUDITIONS
Romeo & Juliet Broadcast
MNOPERA.ORG/LISTEN
Ticket Policies Tickets are not refundable. Subscribers may make exchanges for a different performance or opera up to one hour prior to curtain. Any ticket may be turned back for a tax-deductible donation up until curtain. Call Minnesota Opera Patron Services at 612-333-6669. Parking Prepaid parking is available for opera patrons at the Lawson Commons Ramp. Call 612-3336669 or visit mnopera.org to purchase passes. Opera Insights Come early for Opera Insights — free, fun, and informative half-hour sessions held in the lobby one hour before curtain. Accessibility For patrons with disabilities, wheelchairaccessible seats are available. Audio description will be available or select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. At the Ordway, accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems.
MAY 22, 5PM This open book club perfectly combines opera, literature, and beer! Join moderator Jeff Kamin and special guests, including Minnesota Opera President and General Director Ryan Taylor, for food, libations, and engaging conversations on books related to MN Opera’s 55th anniversary season. All are welcome to this moderated, opera-infused reinvention of the book club. MNOPERA.ORG/BOOK-CLUB
MAY 10, 8PM Classical Minnesota Public Radio broadcasts Minnesota Opera’s 2017 production of Gounod’s Romeo & Juliet, featuring Joshua Dennis and Angela Mortellaro in the title roles and directed by Michael Christie.
mnopera.org Visit mnopera.org to watch behind-thescenes videos, read synopses, browse digital programs, and more. Join our e-club to receive special offers and opera news.
Opera Insights
MNOPERA.ORG/BTC
2018–2019 General/ Chorus Auditions
Regular Hours: Monday – Friday, 10am – 5pm. Performances: Weekdays — phones open until curtain. Weekends — phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain.
MNOPERA.ORG/TASTE
ONE HOUR PRIOR TO EACH PERFORMANCE
Behind the Curtain
Minnesota Opera Patron Services 620 North First Street, Minneapolis, MN 55401 612-333-6669
Fellow Travelers JUNE 16–26 Minnesota Opera takes a trip to Minneapolis with Fellow Travelers at The Cowles Center. The story of a forbidden love affair between two men in 1950s McCarthy-era Washington, D.C., Fellow Travelers is a searing opera infused with political drama, unexpected humor, and sincere heartbreak. MNOPERA.ORG/FELLOW
At the Ordway Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break. Please have all cell phones and pagers turned to the silent mode. Children under six are not permitted in the hall. Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher. Food and beverages are available for purchase prior to the show and during intermission. Water and other beverages are allowed in the theater (hot beverages require lids), but food is strictly prohibited. The phone number for emergencies is 651-224-4222. Please leave seat locations with the calling party. Lost and Found is located at the Stage Door. Call 651-282-3070 for assistance.
RIGOLETTO 2017–18
Resident Artist Mixtape
M I N N E S OTA O P E R A I N F O
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INDIVIDUAL GIVING
I T I S W I T H D E E P A P P R E C I AT I O N that Minnesota Opera recognizes individual donors who have made gifts to our Annual Fund, Fund-a-Dream, and Opera Innovate NOW campaigns. Thank you for making this exceptional art come to life.
bel canto circle PLATINUM PLUS $50,000 + Susan S. Boren Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Ellie Crosby – The Longview Foundation & The Crosswols Foundation Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Mary Ingebrand-Pohlad Lucy Rosenberry Jones and James E. Johnson C. Angus* and Margaret Wurtele William White Wayne Zink and Christopher Schout
camerata circle PLATINUM $7,500 – $9,999 Anonymous Allegro Fund of the Saint Paul Foundation Sharon Bloodworth Michael Birt Kenneth and Peggy Bonneville Judith Garcia Galiana and Alberto Castillo Norton Hintz* and Mary Abbe Diane and Paul Jacobson Robert Kriel and Linda Krach Christl and Andrew Larson Eric and Celita Levinson Connie and Lew Remele Dr. Norrie Thomas and Gina Gillson GOLD $5,000 – $7,499 Anonymous Donald E. Benson Ann and Glenn Buttermann Susan Calmenson Jan Conlin and Gene Goetz Peter Davis and Pamela Webster Ralph D. Ebbott Margaret Poyner Galbraith
MINNESOTA OPERA MNOPERA.ORG
artist circle
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$1,000 – $2,499 Anonymous (2) Arlene and Tom Alm Floyd Anderson Rebecca D. Arons and Thomas J. Basting Jr. Ruth and Dale Bachman Maria Bales Carl and Joan Behr Barbara S. Belk Ed and Mimi Bohrer Al Bradley Drs. Eli and Jan Briones Joan and George Carlson Barb and Jeff Couture Mike and Stacey Crosby – The Longview Foundation Helen and John Crosson Cy and Paula DeCosse Fund of The Minneapolis Foundation Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Joan Duddingston
PLATINUM $20,000.00 – 49,999 Richard Allendorf Martha and Bruce Atwater Fund of The Minneapolis Foundation & Prospect Creek Foundation Patricia Beithon Mary and Gus Blanchard Jay and Rebecca Debertin Sara and Jock Donaldson William I. and Bianca M. Fine Charitable Trust Alfred and Ingrid Lenz Harrison Mr. and Mrs. Philip Isaacson John and Kathleen Junek Miriam and Erwin Kelen Robert L. Lee and Mary E. Schaffner Harvey Thomas McLain Leni and David Moore Jr./ Moore Family Fund for the Arts of The Minneapolis Foundation Kay Ness and Chris Wolohan Elizabeth Redleaf
Paul and Mary Reyelts Jesse and Linda Singh Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol
Dr. Richard Gregory Robert and Susan Josselson The Art and Martha Kaemmer Fund of HRK Foundation Anna Kokayeff Kyle Kossol and Tom Becker Ilo and Margaret Leppik Diana Lee Lucker David MacMillan and Judy Krow Dr. and Mrs. Alfred Moore Luis Pagan-Carlo and Joseph Sammartino Sarah and Rolf Peters Eloise and Carl Pohlad Family Fund Jennifer and Chris Romans Ken and Nina Rothchild David Smith Nadege J. Souvenir and Joshua A. Dorothy Julie Steiner Dr. Andrew J. Thomas Stephanie C. Van D’Elden SILVER $2,500 – $4,999 Anonymous Dan and Martha Goldberg Aronson William Biermaier and David Hanson
Drs. Greg Weber and James Barnett Alexandra O. Bjorklund Michelle Blaeser Thomas and Ann Bagnoli Will and Margee Bracken Laurie Carlson and William Voedisch Michael and Alexis Christie Rusty and Burt Cohen Gisela Corbett and Peter Hyman Ruth Dayton Jean Deatrick and John Gridley Thomas and Mary Lou Detwiler Dr. Mary Anne Ebert and Paul Stembler Joyce and Hugh Edmondson Ann Fankhanel Gail Fiskewold Patricia R. Freeburg Mrs. Myrtle Grette Susanne Haas and Ross Formell Roger and Karen Hale Michele Harris and Peter Tanghe Jean McGough Holten Dr. Arthur and Fran Horowitz J. D. Jackson Dale A. Johnson Patricia Johnson and Kai Bjerkness Hubert Joly
Janet N. Jones Lyndel and Blaine King Robert and Venetia Kudrle From the Family of Richard C. and Elizabeth B. Longfellow Dorothy and Roy Mayeske Mary Bigelow McMillan* Velia R. Melrose Sandy and Bob Morris Richard and Nancy Nicholson Debra Paterson John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde James and Andrea Rubenstein Janet and Bill Schaeder Frank and Lynda Sharbrough Dorothy Sinha Ryan Taylor Brad Thompson Missy Thompson Debra R. Ting Dr. Craig S. and Stephanie Walvatne Ellen M. Wells Nancy and Ted Weyerhaeuser David Wilson and Michael Peterman Carolyn, Sharon, and Clark Winslow Woessner Freeman Family Foundation
Laura and Tim Edman Holli and Stefan Egerstrom Rondi Erickson and Sandy Lewis Ester Fesler Salvatore Silvestri Franco James and Teddy Gesell Heidi and Howard Gilbert Marsha and Richard Gould Jennifer Gross and Jerry LeFevre Thomas and Mary Gross Bruce and Jean Grussing William Gullikson Marion and Donald Hall Anne Marie and Larry Halvorson Nancy A. Harris Don Helgeson and Sue Shepard Stefan and Lonnie Helgeson Elfrieda Hintze Thomas Hunt and John Wheelihan Jill Irvine Crow Erika and Herb Kahler Robert and Sandy Klas Sally and Bill Kling Mrs. James S. Kochiras Constance and Daniel Kunin
Laurence and Jean LeJeune Jennifer Gross and Jerry LeFevre Virginia Levy Benjamin Y. H. and Helen C. Liu William F. Long Darby Lunceford and Todd Wright James W. Lund Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Steve Matheson Carolyn Mayo Barbara McBurney Helen and Charles* McCrossan Eileen and Lester Meltzer David* and LaVonne Middleton Betty Myers David E. and Judy L. Myers Joan and Richard Newmark Brandon and Melissa Novy Ben Oehler Ruth and Ahmad Orandi Derrill Pankow Tom and Sally Patterson Suzanne and William Payne
Marge and Dwight Peterson Kay Phillips and Jill Mortensen Mary and Robert Price Scott and Courtney Rile Dr. Donald V. Romanaggi, Sr. Sampson Family Charitable Foundation Jean Thomson Sandbo David E. Sander Fred and Gloria Sewell Cherie and Robert Shreck Madeline Simon Stephanie Simon Kevin and Lynn Smith Daniel J. Spiegel Family Foundation Dana and Stephen Strand Carley, Bill, Kirsten, and Carolyn Stuber Jill and John Thompson Kenneth and Kathryn Valentas Neal Viemeister Mrs. Joanne Von Blon David L. Ward G. Marc and Tracy Whitehead John W. Windhorst Jr. Jean C. Wirsig* Srilata and Aks Zaheer
GOLD $15,000 – $19,999 Anonymous (2) Karen Bachman Terrance Dolan Sharon Hawkins Eric Leveinson David Strauss SILVER $10,000 – $14,999 Anonymous Nina and John* Archabal Stephen and Margaret Blake Shari and David Boehnen Rachelle Dockman Chase Jane M. and Ogden W. Confer Mrs. Susan DeNuccio Nancy and Rolf Engh
Dolly J. Fiterman* Mr. and Mrs. William Frels Beverly N. Grossman Maureen and Mike Harms Dorothy Horns and James Richardson Warren and Patty Kelly Margaret V. Kinney Chris Larsen and Scott Peterson Kenyon S. Latham Mary Ash and Barry Lazarus Cynthia and Lawrence Lee Jeninne McGee Albin and Susan Nelson Jose Peris and Diana Gulden Rehael Fund – Roger Hale Nor Hall of The Minneapolis Foundation Don and Patricia Romanaggi Mahlon and Karen Schneider Mary H. and Christian G. Schrock Virginia L. and Edward C. Stringer Greg Sullivan John Sullivan
Honor t h e 20-ye ar le g acy and a ccom plishm ents of Minnesota Opera ’s e steemed Re s id e nt A rtist Program with pa st a nd c urrent Resident Art i st s .
SUNDAY, APRIL 8, 2018 AT 2PM Ordway Concert Hall, 345 Washington St, Saint Paul
Mix it up with your favorite Minnesota Opera Resident Artists, past and present, as they perform their favorite opera tunes, musical theater selections, jazz, and so much more! They’ve had 20 years to curate this mixtape just for you! Catch them for one day only at this special Ordway Concert Hall performance celebrating the 20th Anniversary of MN Opera’s Resident Artist Program.
T I C KETS Get tickets at mnopera.org/thats-a-rap Pay what you want! We suggest $20 in honor of the 20th Anniversary. All proceeds above $20 directly benefit the Resident Artist Program.
That’s a R.A.P.! Honorary Chairs Karen Bachman • Jane Confer R.A.P. Welcome Committee Peggy Bonneville • Ann Fankhanel Megan Mehl • Kay Ness • Linda Singh • Stephanie Walvatne
INDIVIDUAL GIVING patron circle GOLD $750 – $999 Anonymous Thomas O. Allen Laurie Anderson and Jon Hanson Dr. and Mrs. Orn Arnar Christopher Beaudet Gerald and Phyllis Benson Martin and Patricia Blumenreich Maureen and John Drewitz David Dudycha and Dorothy Vawter Brian M. Finstad Bruce and Melanie Flessner Andrew Grzeskowiak Russell and Priscilla Hankins James and Gail LaFave Karla Miller Lucia Newell and Steven Wiese Carol Peterson Karen Quisenberry Ann M. Rock Liane A. Rosel Richard and Carol Seaberg Warren Stortroen Cindy and Steven Vilks Frank and Frances Wilkinson SILVER $500 – $749 Anonymous (3) Katherine Anderson Jane and Jamie Andrews
associate circle
MINNESOTA OPERA MNOPERA.ORG
$250 – $499 Anonymous (2) Paul and Val Ackerman Joy K. and J.C. Amel Rolf T. Anderson Jerry Artz Thomas Bakken James and Gail Bakkom Bryan D. Bearss Longine Beck Bender Vocal Studio Kenneth J. Berglund John and Cindy Beukema Sharon Bigot Neil Bizily David and Diane Blake Barbara Brauer Allen Brookins-Brown Roger and Ronnie Brooks Jean and Bruce Carlson Alan E. and Ruth Carp Katherine L. Castille Laura Green Chaffee and Matthew Chaffee Mary Chastek Wanda and David Cline Jeanne E. Corwin Shana Crosson and John Gisselquist Melissa Daul James D’Aurora R. Anthony Diaz Thalia Duffield Charlie and Anne Ferrell Steven and Mimi Fisher
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Jean P. Antonello August J. Aquila and Emily Haliziw Kay C. Bach Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Mitch and Michele Blatt Gerald Bradley Elizabeth Brenner Debra Brooks and James Meunier Thomas and Joyce Bruckner Richard and Mari Carlson Brenda Colwill Susan and Richard Crockett Danny Della Lana and Steve Hall Lois Dirksen Leah and Ian Evison Kathryn Fernholz Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and William Gacki Billy Gamble William W. and Susan G. Gerberich Ellen D. Grace Clifton and Sharon Hill John Hogie Andrew and Gary Whitford Holey Steve Horan Burton and Sandra Hoverson Barbara Jenkins Nancy Jones
Beverly Kasper Carole and Joseph Killpatrick Jane and Jim Kaufman Fund of The Minneapolis Foundation Mary L. Kenzie Foundation Nathan Kulenkamp Scott and Karla Lalim Natalie Levin and Stephen Gilberstadt Larry Lee Jonathan and Lisa Lewis David and Anna Linder Ruth W. Lyons Martha and Stuart Mason William and Kris McGrath Deb and Jon McTaggart Judith and James Mellinger Steven J. Mittelholtz Jack and Jane Moran Stephen Olson Dede Ouren John and Margaret Perry Mrs. William S. Phillips Lawrence M. Redmond Bob Rose Christopher Ross Enrique and Clara Rotstein Marian R. Rubenfeld and Frederick G. Langendorf Christine Sagstetter Nickolas Sanches
Jon L. Schasker and Debbie Carlson Gale Sharpe Morris and Judith Sherman Bernie and Juliana Simmons Rhonda Skoby Linda Soranno and Howard Bolter Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Jon Spoerri and Debra Christgau Michael Steffes Dr. David M. Steinhaus Sharon Stoffel Vern Sutton Craig and Janet Swan Michael Symeonides and Mary Pierce Dr. Anthony Thein David and Jennifer Thomas Josephine Trubek Susan Weinsheimer Elizabeth Wexler Deborah Wheeler Barbara White Jeff and Joe Wiemiller Barb Wildes John M. Williams Barbara and James Willis
Carol and Mike Garbisch Greta and Paul Garmers Randy Goetz Charlotte L. Grantier Laurie Hacking James Halverson Charles Hample Laurie Hansen John Heer Rosmarie and John Helling Mary K. Hicks Stuart Holland Randy Holt Mr. Darius Homayounphur Mark and Kathleen Humphrey Guillermo Irisarri Ray Jacobsen Mark and Jeanne Jacobson Deborah and Ronald Jans Charlie Johnson Kristine Kaplan Ed and Martha Karels James Karges Michael and Sheue Keenan Scott Kegler Cheryl and Barry Kempton Janice Kimes Dr. Daniel and Kerry Kincaid Beatrice H. Langford David and Darlene Lee Daniel Lepow Stuart MacGibbon Holly MacDonald and John Orbison Dr. Joan E. Madden Donald and Rhoda Mains
Kristin and Jim Matejcek Jeffrey Masco John McAleer Laurel and David Mech Sam Meals Susan Mehle Adele Mehta Mary Meighan and David Ingbar Curtis and Verne Melberg John L. Michel and H. Berit Midelfort Virginia Miller Theresa, Jim and Nicole Murray Virginia Dudley and William Myers Sarah Nagle Merritt C. Nequette and Nancy Hartung Mina Fisher and Fritz Nelson Patricia A. O’Gorman Walt and Raeanna Gislason Donna and Marvin Ortquist Kathy and Don Park James A. Payne Julia and Brian Palmer Lana K. Pemberton Janell Pepper Jane M. Persoon Allen Perriello Anne and John Polta Bertrand and Nancy Poritsky Nicole and Charles Prescott Joel Rainville and Kyle Olson Dennis M. Ready The Redleaf Family Foundation Barton Reed Ann Richter Philip Rickey
Mallory A. Roberts Robert E. Rocknem Michael and Tamara Root Daniel Roth David and Kathleen Rothenberger Mischa Santora Kate Saumur Mary Savina Beatrice C. Sexton Mary Shamrock Clark Shawna Rebecca Shockley Kevin Shores and Kevin Winge Arthur and Marilynn Skantz Kathleen K. Simo Joseph and Susan Sorrentino Mark and Kristi Specker Donna Stephenson Susan Swanson Dan and Erika Tallman Joyce Thielen Katharine E. Thomas Marie J. Thomas Robert and Barbara Thomasson Laura Thompson Susan Truman Jessica Vanyo Catherine Vesley John Vilandre Elaine Walker Harry Walsh Renee Campion and David Walsh John and Sandra White Wendy Wildung * in remembrance
These lists are current as of February 5, 2018 and include donors who gave a gift of $250 or more in annual support of Minnesota Opera. If your name is not listed appropriately, please accept our apologies and contact Mallory Roberts, Development Director, at mroberts@mnopera.org or 612-342-9566.
b e c o m e
a
d o n o r
Bring innovative opera productions to life with your charitable gift, and join Minnesota Opera’s family of donors today. Visit mnopera.org/support to give online. Thank you!
The appearances of Metropolitan Opera National Council Audition finalists Joshua Dennis, Matt Boehler, Christian Thurston, Andres Acosta, Wm. Clay Thompson, Mary Evelyn Hangley, and Victoria Vargas are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund of the Minnesota Opera Resident Artist Program.
SPECIAL GIVING
Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. Anonymous (4) Norton Hintz* and Mary Abbe Paul and Val Ackerman Thomas Allen Dr. and Mrs. Rolf Andreassen* Mary A. Andres Karen Bachman Thomas and Ann Bagnoli Randolph G. Baier* Mrs. Harvey O. Beek* Patricia Beithon Barbara and Sandi Bemis* Dr. Lee A. Borah, Jr.* Susan S. Boren Al Bradley C.T. Bundy II Margaret M. Carasik Joan and George Carlson Estate of Robin J. Carpenter* Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation
COMMEMORATIVE GIFTS It is with deep appreciation that Minnesota Opera acknowledges those who have made gifts in the name of a friend, loved one, or colleague. IN MEMORY OF:
John Archabal Ruth and John Huss Carley and Bill Stuber
Josephine Carpenter Sara and Jock Donaldson
Robin Carpenter Netsmart Technologies
Dolly Fiterman Mary Vaughan
Julia and Dan Cross Julia W. Dayton Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation George* and Susan Doty Rudolph Driscoll* Anne P. Ducharme Rondi Erickson and Sandy Lewis Ester Fesler Dr. Paul Froeschl Katy Gaynor Nettie Grabscheid* Robert* and Ellen Green Dr. Ieva M. Grundmanis* Michelle Hackett Russell and Priscilla Hankins Julia Hanna* Frederick J. Hey Jr.* Elfrieda Hintze Jean McGough Holten Charles J. Hudgins* Cordelia Anderson and John Humleker Ruth Jones* Charles and Sally Jorgensen Robert and Susan Josselson Charlotte Karlen* Markle Karlen Mary H. Keithahn
Warren and Patty Kelly Margaret Kilroe Trust* Lyndel and Blaine King Gretchen Klein* Sally and Bill Kling Gisela Knoblauch* Liz and Jim Krezowski Robert Kriel and Linda Krach Robert and Venetia Kudrle Helen L. Kuehn* Robert “Jim” J. Lawser, Jr. Jean Lemberg* Joyce and Jerry Lillquist Dawn M. Loven Patricia Ruth Lund* David Mayo Barbara McBurney Thomas R. McBurney* Mary McDiarmid Mildred McGonagle* Mary Bigelow McMillan* Sheila McNally* Mrs. Walter Meyers Estate* John L. Michel and H. Berit Midelfort Susan Molder* Edith Mueller* Kay Ness and Chris Wolohan Richard and Joan Newmark Scott J. Pakudaitis Derrill Pankow
Mrs. William S. Phillips Phyllis Price Brian and Trish Huberty Prokosch Richard G.* and Liane A. Rosel Ken and Nina Rothchild Mary Savina Josef Schermann Frank and Lynda Sharbrough Robert Shearer and Joan Gustafson Drew Stewart Gregory Swinehart and Mitra Walter Anthony Thein Stephanie C. Van D’Elden Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol Jean C. Wirsig* Richard Zgodava* Philip Oxman and Harvey Zuckman
Leroy Genaw
Angus Wurtele
The Wedding of Mary Jo Flynn and S. Hubig
Jessica Vanyo
Barbara Graham Lynn Gilligan
Heinz Hutter Theresa Murray
Margaret Hedback Keefe Terrance McLarnan Nancy O’Brien Smemo
Mary Martin Renee and Juan Cristiani
Sarah Maud Deb and Jon McTaggart
Charles McCrossan Lynn Choromanski
Joan K. Regal Mr. Charles O. Regal
Robert Sivertsen Deb and Jon McTaggart
innovate now initiative Minnesota Opera has received generous leadership commitments for new initiatives in education, infrastructure, and community programming. $250,000+ Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson C. Angus* and Margaret Wurtele
$100,000 – $249,999 Anonymous Best Buy Children’s Foundation Susan S. Boren Mary Ingebrand-Pohlad John and Kathleen Junek Paul and Mary Reyelts Mary Vaughan
$50,000 – $99,999 Katherine B. Andersen Fund of the St. Paul Foundation Martha and H. Brewster Atwater Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Jane M. and Ogden W. Confer Sara and Jock Donaldson Ellie Crosby – The Longview Foundation Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation H. Bernt von Ohlen and W. Thomas Nichol Wayne Zink and Christopher Schout Jesse and Linda Singh William I. and Bianca M. Fine Charitable Trust William White
$25,000 – $49,999 Anonymous (2) Richard Allendorf Nina and John* Archabal Mike Birt Will and Margee Bracken Ann and Glenn Butterman
Ms. Rachelle D. Chase and Mr. John Feldman Sara and Jock Donaldson Ruth and John Huss Mr. James E. Johnson Krystal Kohler Mr. Nickolas Sanches Virginia and Edward Stringer Carley and Bill Stuber Jean Thomson
IN HONOR OF:
Ian Alexander Mani Nease Peterson
Jamie Andrews Mitra Sadeghpour
Dr. Nathan and Blanche Camm Barbara and Bill Camm
Judy Dayton
* in remembrance
For more information on making planned giving arrangements, please contact Carley M. Stuber, CFRE, Chief Development Officer, at cstuber@mnopera.org or 612-342-9579.
Susan and Jeffrey Olson
Dale Johnson Ms. Dawn M. Loven
Art and Martha Kaemmer Mr. Jeffrey Masco
Cynthia Lee Neil and Tara Bizily
Lynne Looney Karen Suzukamo
Karla Miller Carley and Bill Stuber
Allen Perriello Miriam Perriello
Rob Riordan Manilan Houle
Ms. Lucy R. Jones
Jay and Rebecca Debertin Jose Peris and Diana Gulden Alfred and Ingrid Lenz Harrison Miriam and Erwin Kelen Linda Krach and Robert Kriel Mary Ash and Barry Lazarus Cynthia and Lawrence Lee Mardag Foundation Mary Bigelow McMillan* Kay Ness Jennifer and Chris Romans Robert L. Lee and Mary E. Schaffner Mary H. and Christian G. Schrock Julie Steiner David Strauss
Maureen and Mike Harms Sharon Hawkins Mr. and Mrs. Philip Isaacson Margaret V. Kinney Kenyon S. Latham Celita and Eric Levinson Albin and Susan Nelson Chris Larsen and Scott Peterson Rehael Fund – Roger Hale Nor Hall of The Minneapolis Foundation Connie and Lew Remele Don and Patricia Romanaggi Virginia L. and Edward C. Stringer John Sullivan Dr. Andrew J. Thomas Joanne Von Blon
$10,000 – $24,999 Anonymous (4) Karen Bachman Kyle Kossol and Tom Becker Patricia Johnson and Kai Bjerkness Shari and David Boehnen Kenneth and Peggy Bonneville Mrs. Susan DeNuccio Terrance Dolan Nadege J. Souvenir and Joshua A. Dorothy Gail Fiskewold The Engh Foundation
F L X : I I @MNOPERA
RIGOLETTO 2017–18
LEGACY CIRCLE
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INSTITUTIONAL GIVING MINNESOTA OPERA G R A T E F U L LY A C K N O W L E D G E S ITS MAJOR INSTITUTIONAL SUPPORTERS: $ 1 0 0,0 0 0 +
This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund. THE ANDREW W.
MELLON FOUNDATION
$ 50,0 0 0 – $ 9 9, 9 9 9
$ 2 5,0 0 0 – $ 49, 9 9 9
Art and Martha Kaemmer Fund of the HRK Foundation
Katherine B. Andersen Fund of The Saint Paul Foundation
$ 1 0,0 0 0 – $ 24, 9 9 9
Fred C. and Katherine B. Andersen Foundation
MAHADH Fund of the HRK Foundation
MINNESOTA OPERA MNOPERA.ORG
$5,0 0 0 – $9,999
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The Aaron Copland Fund for Music Inc. Boss Foundation Dellwood Foundation Faegre Baker Daniels Hardenbergh Foundation Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation
R.C. Lilly Foundation Mayo Clinic RBC Wealth Management James Rubenstein, Moss & Barnett Schwegman, Lundberg & Woessner P.A. St. Paul Cultural STAR Thomson Reuters Travelers Foundation Xcel Energy
$ 2 , 50 0 – $ 4, 9 9 9
$ 2 50 – $ 2 , 49 9
Anonymous Amphion Foundation Hutter Family Foundation Margaret Rivers Fund Peravid Foundation The Elizabeth C. Quinlan Foundation Tennant Foundation Twin Cities Opera Guild
Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson Inc. McVay Foundation Onan Family Foundation Sit Investment Foundation Wells Fargo Insurance Services
For more information about making a corporate or foundation contribution to Minnesota Opera, please contact Diana Konopka at dkonopka@mnopera.org or 612-342-9565.
MINNESOTA OPERA SPONSORS SEASON SPONSOR
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855 EAST HENNEPIN MINNEAPOLIS, MN 55414
Make an entrance to be remembered at your next office event, holiday affair or themed party!
World Premiere Performance The
Greatest generation e An American Oratorio f Original Libretto
Dan Kehde
Original Music and Arrangements
Roger Ames with Elizabeth Bassine
Costume Rentals offers year-round access to the Guthrie Theater and Children’s Theatre Company’s combined inventory of extraordinary costume pieces.
costumerentals.org 612.225.6260 PHOTO: MATTHEW AMENDT (MICHAL DANIEL)
BRADLEY GREENWALD SARAH LAWRENCE ANNA BAKER ADAM FIELDSON
stage director / baritone soprano soprano tenor
Oratorio Society Chorus & Stage Band Matthew Mehaffey conductor SATURDAY
MAY 12, 2018
Ordway Concert Hall
7:30 PM
TICKETS: www.ordway.org or 651.224.4222
Star Tribune Best Play 2017
SPEECHLESS RETURNS
"...a hopeful response to troubled times..."
The Italian Cultural Center is a nonprofit organization dedicated to promoting the best of Italian life and culture to all people in Minnesota. The ICC offers Italian language classes for adults and children at all levels of proficiency. Our instructors, born and raised in Italy, bring first-hand experience and cultural background of Italian life and current traditions to the classroom. The Center also sponsors cultural events, including an annual film festival. ICC Services
Language Classes | Educational Travel to Italy Cooking Classes | Wine Tastings | Lectures Conversation Opportunities
Begins May 10th at The Lab Theater www.thelabtheater.org
Vi aspettiamo! For more information, please visit
theitalianculturalcenter.org
Photo by Allen Weeks
FIVE POINTS
BOOK BY HARRISON DAVID RIVERS MUSIC BY ETHAN D. PAKCHAR & DOUGLAS LYONS LYRICS BY DOUGLAS LYONS Corporate Production Sponsor
DIRECTED BY PETER ROTHSTEIN MUSIC DIRECTION BY DENISE PROSEK CHOREOGRAPHY BY KELLI FOSTER WARDER
APRIL 4 - MAY 6 • WORLD PREMIERE • TICKETS ON SALE NOW VISIT LATTEDA.ORG OR CALL 612-339-3003
Our Love is Here to Stay
Charles Lazarus and The Steeles
with the Minnesota Orchestra Fri Apr 6 8pm Sarah Hicks, conductor Charles Lazarus, trumpet / The Steeles, vocalists
Join Minnesota Orchestra trumpeter Charles Lazarus and Minneapolis family quintet The Steeles for an era-spanning journey through the New American Songbook from Gershwin and Ellington to Stevie Wonder and Prince.
Liszt Piano Concerto
Fri Apr 13 & Sat Apr 14 8pm Markus Stenz, conductor Louis Lortie, piano
Wagner’s beautiful chamber work Siegfried Idyll, Liszt’s glittering Piano Concerto No. 1 and the soaring Symphony No. 2 by Schumann.
The King’s Singers GOLD Sun Apr 15 2pm
Recognized as royalty of the choral music world, The King’s Singers bring their vocal virtuosity and British wit to a performance that celebrates 50 years of making gorgeous music. Please note: The Minnesota Orchestra does not perform on this program.
Cameron Carpenter Plays Rachmaninoff Fri Apr 20 & Sat Apr 21 8pm
Klaus Mäkelä, conductor / Cameron Carpenter, organ
There are revolutionaries in music—and then there’s Cameron Carpenter, who tours globally with an astonishing electric organ of his own design and amazes audiences with his jawdropping virtuosity.
American Voices
Copland and Bernstein
Cameron Carpenter
Thu May 3 11am Fri May 4 & Sat May 5 8pm Osmo Vänskä, conductor Sharon Bezaly, flute / Susie Park, violin
An all-American tour-de-force program including Bernstein’s first film score On the Waterfront, the suite from Copland’s ever-popular ballet Billy the Kid and a U.S. premiere by House of Cards composer Jeff Beal. Osmo Vänskä
The King’s Singers
Sharon Bezaly
The Steeles
612-371-5656 / minnesotaorchestra.org / Orchestra Hall Photo credits available online.
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