Minnesota Opera's Carmen by Minnesota Opera

2021–2022 SEASON May 7–22, 2022

THE GERSHWINS’

PORGYAND BESS FEATURING KEVIN DEAS AS PORGY AND MICHELLE JOHNSON AS BESS WITH SIMON ESTES IN A SPECIAL APPEARANCE AS LAWYER FRAZIER

50TH SUMMER FESTIVAL The Gershwins’ PORGY AND BESS / Britten A MIDSUMMER NIGHT’S DREAM Kuster/Campbell A THOUSAND ACRES / Geter/Palmer AMERICAN APOLLO

WORLD PREMIERE

JULY 1 - 24 | DMMO.ORG

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Ópera Afuera, 2021 © Tim Rummelhoff

WELCOME

RYAN TAYLOR PRESIDENT AND GENERAL DIRECTOR

elcome to the Ordway for Minnesota Opera’s Carmen. We’re thrilled to have Denyce Graves leading this new production 30 years after she first sang the title role of Carmen here with Minnesota Opera in 1991. We hope you’ll enjoy this passion-filled tale featuring some of the most popular music to ever grace the operatic stage.

F E A T U R E S

We recently announced our 60th Anniversary Season, filled with new classics, old favorites, and featuring our new venue, the Luminary Arts Center. Our Ordway Series features the long-awaited premiere of Edward Tulane, based on the bestseller by local author Kate DiCamillo; the Minnesota Opera premiere of Donizetti’s popular opera The Daughter of the Regiment; and a new production of Mozart’s sharp and otherworldly Don Giovanni. The Luminary Series brings us Handel’s Rinaldo, a tune-filled story of love and redemption, and the world premiere of The Song Poet, the first Hmong story adapted for the operatic stage. We here at Minnesota Opera are ever grateful for your patronage and we can’t wait to share more exciting moments with you next season!

CO N T E N TS

Director’s Notes • 12 Stage Director Denyce Graves takes us inside MN Opera’s new production of Bizet’s thrilling tale, Carmen

Meet the Artists • 18 Maya Lahyani and Zoie Reams discuss the joys and challenges of taking on one of opera’s most well-known characters

Carmen

Synopsis

Composer

Director’s Notes

Health and Safety Information

Cast and Creative Team

rchestra, Chorus, and O Dancers

Meet MN Opera

Meet the Artists

N Opera Feature: M Denyce Graves

60th Anniversary Season

N Opera Board of Directors M and Staff

pcoming Events and U MN Opera Information

MN Opera Donors

Special Giving

Gala Feature

Institutional Giving

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MN Opera’s 60th Anniversary Season • 20 Learn about Minnesota Opera’s 2022–2023 Season

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af$ at Visit Le run by AFMSP Rye Honey & use! Bakeho

Queer voices exploring mental health through song, story, and art.

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Saturday June 18, 2022 • 7:30pm Sunday June 19, 2022 • 3:00pm Ordway Concert Hall St. Paul, MN

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mind

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

A NEW MUSICAL

ADS

WORLD PREMIERE! TWELVE ANGRY MEN: A NEW MUSICAL ADAPTED FROM THE PLAY BY REGINALD ROSE MUSIC AND LYRICS BY MICHAEL HOLLAND BOOK BY DAVID SIMPATICO DIRECTED BY PETER ROTHSTEIN MUSIC DIRECTION BY DENISE PROSEK CHOREOGRAPHY BY KELLI FOSTER WARDER

JUN 8 - JUL 17, 2022 • RITZ THEATER • TICKETS AT LATTEDA.ORG

MUSIC BY

Georges Bizet

LIBRETTO BY

Henri Meilhac and Ludovic Halévy

WORLD PREMIERE AT THE OPÉRA-COMIQUE IN PARIS ON MARCH 3, 1875 SUNG IN FRENCH WITH ENGLISH CAPTIONS PROJECTED

CAST

in order of vocal appearance

MORALÈS

C HAR LES H . E ATON

CARMEN

DANCAÏRE

MAYA L AH YANI

CONOR MCDONAL D

MAY 7, 12 , 1 5 , 1 9, A ND 2 1

MICAËLA

SYM O N E H ARCUM +

REMENDADO

ZOI E REAMS * † MAY 8, 14 , A ND 2 2

JOS EPH L EPPEK +

MERCÉDÈS

LILLAS PASTIA

MAY 7, 1 2 , 1 5, 19, AND 21

MI A ATHEY ˚

R AFAEL MORAS

FRASQUITA

GUITARIST

DON JOSÉ

WO N WHI CH OI

MAY 8, 1 4, AND 22

ZUNIGA

A LLEN M ICH AE L JONE S +

BENJAMIN DU TCH ER*

DANIEL VOLOV ETS

LE AH BRZ YS KI +

ESCAMILLO

AARON K EENEY +

CREATIVE TEAM CONDUCTOR

ELIAS G R ANDY

STAGE DIRECTOR DENYC E GRAVE S

ASSOCIATE DIRECTOR/ CHOREOGRAPHER MINNESOTA OPERA MNOPERA.ORG

ER IC SEAN FOGE L

SCENIC DESIGN

R ICC AR DO H E RNÁNDE Z

COSTUME DESIGN OA NA B OTE Z

CO-LIGHTING DESIGN

AMITH CHANDRASHAKER R O B ERT WI E RZE L

+ MN OPERA RESIDENT ARTIST

HAIR AND MAKEUP DESIGN

MUSICAL PREPARATION CELEST E MARIE JOH NS ON + , principal coach

P RI SCI LLA BRU CE

INTIMACY DIRECTOR & ASSISTANT FIGHT DIRECTOR

L ARA BOLTON, répétiteur ERIC MCENANEY ˚, répétiteur

ALE SSANDRA BONGI ARDINA

CÉCILE CROZ AT-Z AWISZ A, French diction coach

FIGHT DIRECTOR

PRODUCTION STAGE MANAGER

DOUG SCH OL Z-CARL S ON

CHORUS AND YOUTH CHORUS DIRECTOR

MATTH E W ABERNAT H Y

EMILY BU TZ I

ASSISTANT STAGE DIRECTOR EMILY BIS H AI +

ASSISTANT YOUTH CHORUS DIRECTOR SARA SAWY ER

* PROJECT

OPERA ALUM

† COMPANY ARTIST

˚ RESIDENT ARTIST ALUM

ESTIMATED RUNNING TIME

is 2 hours 44 minutes with a 20-minute intermission. This production contains theatrical haze, live gunshots, and simulated cigarette smoking.

Carmen is a co-production of Minnesota Opera and The Glimmerglass Festival. Scenery for this production was constructed by The Glimmerglass Festival and is jointly owned by Minnesota Opera and The Glimmerglass Festival. Costumes for this production were constructed by Minnesota Opera and are jointly owned by Minnesota Opera and The Glimmerglass Festival. Georges Bizet’s Carmen Edited by Fritz Oeser. Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner. Minnesota Opera would like to recognize that we occupy land that is of great historical, spiritual, and cultural significance to the Dakota people. To learn more, visit mnopera.org/land-acknowledgment.

CARMEN 2021–22

SULTRY, BOLD, DARING.

SEASON SPONSOR

SYNOPSIS

ACT ONE Moralès and his soldiers pass the time watching the townspeople cross the public square. Micaëla enters, looking for Don José, a new corporal in the regiment, and is told to return later. Don José arrives at the changing of the guard. The women who work at the nearby cigarette factory emerge on their break, including the beautiful Romani Carmen. While dancing the Habanera, she throws a flower to Don José. Carmen Act 2

Don José Act 1 and 2

Micaëla returns with a letter from Don José’s mother, and Don José tearfully remembers his former life. His mother advises him to return home, marry, and settle down. There is a fight inside the factory between Carmen and another woman. Zuniga orders Don José to sort out the situation. When Carmen shows her indifference to his authority, Zuniga decides to send her to prison and commands Don José to tie her hands. Quietly she persuades José to let her escape by promising an amorous rendezvous.

ACT TWO

MINNESOTA OPERA MNOPERA.ORG

At Lillas Pastia’s tavern, soldiers watch the Romani dance. Near closing time, Zuniga flirts with Carmen, but she rebuffs him. She learns that Don José, who served time as punishment for letting Carmen get away, will be released from prison that evening. The famous bullfighter, Escamillo, enters amidst great excitement. He too is enamored with Carmen, but she decides to wait for Don José.

Pastia manages to clear the room of customers, and Dancaïre and Remendado gather with the women to plan their next smuggling run. Carmen stays behind, disclosing her newly found love for Don José. The soldier soon arrives, and Carmen

COSTUME RENDERINGS BY OANA BOTEZ

dances for him alone. He professes his undying love — while imprisoned, he kept the flower she had thrown to him. They are interrupted by the bugle call, summoning Don José back to the barracks. Carmen pressures him not to leave, but they are interrupted by Zuniga, who has returned to pursue Carmen himself. A confrontation ensues, Carmen summons the smugglers to subdue Zuniga, and Don José fatefully picks a side.

ACT THREE The smugglers rest after negotiating the harsh terrain. Don José has become disillusioned with life among the Romani and argues with Carmen. She suggests he return home, but Don José refuses. He is told to stand watch nearby. With friends Frasquita and Mercédès, Carmen reads her fortune in the cards: death. Micaëla has come in search of Don José with news that his mother is dying. Escamillo also appears, looking for Carmen. He and Don José begin to struggle, but the fight is broken up by the others. Micaëla finally persuades Don José to leave with her, but he vows to return.

ACT FOUR The townspeople bustle in anticipation of the upcoming bullfight. Escamillo expresses his undying affection for Carmen, who professes her love for him in return. Frasquita and Mercédès warn her that Don José is among the crowd. As the bullfight begins, she remains behind to confront him and drive home that their relationship is over. Unwilling to accept this reality, Don José kills her as the arena simultaneously claims its own victim.

Escamillo Act 4

COMPOSER

D. BOUGIVAL (FRANCE), JUNE 3, 1875

eorges Bizet’s short career was primarily devoted to opera, reaching a remarkable climax in 1875 with Carmen. This iconic opera followed a succession of complete and incomplete works that had no great success during the composer’s lifetime. Only six operas survive in a performable edition. Bizet’s childhood was steeped in music. His mother, Aimée, was the sister of François Delsarte, who would become famous for his development of singing and acting technique. It was at his home where Aimée met her future husband, Adolphe Bizet, also a music teacher. Young Georges entered the Paris Conservatoire in October 1848, just before his tenth birthday. He developed extraordinary gifts as a pianist and score-reader and won prizes for both piano and organ playing. Among his earliest works from the mid-1850s was Le docteur Miracle, a comic opera in the Italian style. It was composed for a competition offered by Jacques Offenbach’s Bouffes-Parisiens theater, for which he shared first prize. Soon after, Bizet won the prestigious Prix de Rome, and while in Italy, he composed Don Procopio, the first of a series of yearly submissions expected by the Académie. In compliance with a related subsidy, the OpéraComique was required to produce works by Prix de Rome winners. When Bizet returned from Italy in 1860, the theater commissioned him to write La guzla de l’Émir, which was put into rehearsal but then withdrawn when the composer received a much more promising offer from the Théâtre Lyrique for Les pêcheurs de perles (The Pearl Fishers). Although admired by many, Les pêcheurs de perles was not well received by the press and dropped out of the French repertoire until after Bizet’s death. Léon Carvalho, director of the Théâtre Lyrique, reaffirmed his faith in Bizet

Several years of financial difficulty followed, and the composer was forced to arrange transcriptions for publishers Choudens and Heugel in order to support himself. Bizet had signed another contract with Carvalho for La jolie fille de Perth (The Fair Maid of Perth), inspired by the current rage for operas based on the writings of Sir Walter Scott. The new work finally reached the stage in December 1867, where it played for 18 performances — too few to ensure a Parisian revival in the composer’s lifetime.

❝

The Opéra-Comique next commissioned a full-length opera, which would become Carmen in 1875. Bizet still dreamed of producing a work at the Opéra, but it burned down on October 28, 1873 and the composer was unable to achieve this ambition during his brief lifetime.” In the ensuing years, several projects proposed for the Opéra-Comique came to nothing. Of these, only Clarissa Harlowe and Grisélidis survive in draft. Djamileh was produced in 1872 but failed to please its audience and was withdrawn after a short run. The Opéra-Comique next commissioned a full-length opera set to a text by the notable team of Henri Meilhac and Ludovic Halévy, which would become Carmen in 1875. Bizet still dreamed of producing a work at the Opéra, but it burned down on October 28, 1873 and the composer was unable to achieve this ambition during his brief lifetime.

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

B. PARIS, OCTOBER 25, 1838

by commissioning a grand opera with a libretto Gounod had abandoned, “Ivan IV.” Carvalho’s repeated postponements, however, drove Bizet to offer the piece to the Opéra, where it was rejected.

CARMEN 2021–22

GEORGES BIZET

DIRECTOR'S NOTES

on the + years lyric stage and

MINNESOTA OPERA MNOPERA.ORG

a major portion of that time I portrayed one of Operas greatest protagonists, Carmen. I lived the life of this amazing and emancipated woman in productions at the world’s greatest opera houses through the eyes of the world’s greatest directors that for me, extended over an entire range. Sometimes focused on all things French, sometimes all things Spanish, and Carmens comical, serious, evil, delightful, scary, or dramatic. It ran the gamut—each having validity in the production, with the casts and audiences. As different, as interesting, as varied, as shaping, they are all part of my Carmen.

The incredible honor, the gift Minnesota Opera offered me to direct my vision of Carmen, bringing this femme fatal to the very stage (or Company if not actually the stage) at which I first portrayed her is a complete wonderment and life-cycle event for me. After researching and preparing a few different ‘concepts,’ some ideas remained in place. I knew I wanted the show to be gritty, to be natural, organic, undecorated, raw, and truthful. For our production, I went first directly to the literary source, Prosper Mérimée’s novella Carmen keenly aware that although the libretto of the opera shares the same name,

the Henri Meilhac and Ludovic Halévy libretto is a distinct work of art. I am telling our opera through the lens of Romani culture, a culture rich in oral tradition with an emphasis on family. They are one of the largest ethnic minorities in Europe: a closed and bound compressed community that is economically dislocated and excluded—a pressure cooker society, if you will? No buses go to where they live, the only people who come there are people who don’t live there, people with authority over them, and most often in confrontation with them. There’s a sense of a squashed spirit in the community. Inhabitants are subject to racism, discrimination, and persecution. Limitation and internal frustration are ripe and play out in our production of Carmen. Highly romanticized, stereotypic, even derogatory in many ways, Carmen reigns as a musical masterpiece and perhaps the most-beloved work in the operatic cannon. Carmen is a character who transcends her circumstance, even the Romani culture wherein women have no power, no authority, and no political voice. Even more so, and exaggerated for a young unmarried woman like the Carmen in our opera, she would be invisible in her society. However, in the novella, Carmen is married.

Don José, on the other hand, from overture to finale is a fleshed-out character and the most expansive and dramatic. In him, we see a man who never finds his place in his society,

❝

Carmen is a character who transcends her circumstance, even the Romani culture wherein women have no power, no authority, no political voice. Even more so, and exaggerated for a young unmarried woman like the Carmen in our opera, she would be invisible in her society. ” who is lost from the beginning. From the moment Don José comes on stage, you will see him in a constant spiral downwards and as each act plays, he becomes more angry, unhinged, and diminished. I intend to show Don José is falling irreversibly as Carmen is rising without obstacle. DENYCE GRAVES STAGE DIRECTOR

H E A LT H A N D S A F E T Y

HEALTH AND SAFETY INFORMATION Commitment to Safety The health and safety of our staff, guests, and artists is our top priority, and we are following public safety guidelines from the Centers for Disease Control and Prevention (CDC) and the Minnesota Department of Health. Thanks to decreased cases in the Twin Cities area and throughout the state of Minnesota, it has become easier to gather safely. Our up-to-date policies reflect these changes, but we continue to evaluate the environment, as well as the latest guidance from the Centers for Disease Control and the Minnesota Department of Health and will adjust our health and safety policies accordingly. Please do not hesitate to reach out to us with any questions or concerns.

Mask Policy

Vaccination Policy

Masks will no longer be required, but are welcome and encouraged.

Proof of COVID-19 vaccination and negative COVID tests will no longer be required.

Guest Responsibility We still ask that guests stay home if they are sick or exposed to COVID-19. Please contact the box office to transfer your tickets to another performance, donate your tickets, or request a refund.

Cleaning and Sanitizing In addition to the robust cleaning practices that were already in place, the Ordway has:

• Updated the heating, ventilation, and air-condition (HVAC) filtration to high-efficiency MERV 13 filters, following Minnesota Department of Health best practices. • Added HVAC controls and sensors to improve air velocity within the building and provide additional monitoring and control of the system by our facility engineers. • Removed forced air hand dryers in all restrooms, which have been shown to disperse a high quantity of bacteria into the air, and replaced them with paper towel dispensers.

• Increased the frequency of cleaning throughout the building for high-touch areas in the front of house and back of house areas of the Ordway. • Added state-of-the-art practices including self-cleaning anti-microbial covers in high-touch areas where possible. • Set up hand-sanitizing stations throughout the venue. • Trained all employees in critical hand washing and cleaning guidelines. • Replaced waste receptacles with open top units so guests can throw out items without touching any surfaces.

HEALTH AND SAFETY POLICIES ARE ACCURATE AT TIME OF PRINTING AND ARE SUBJECT TO CHANGE.

CARMEN 2021–22

Air Quality The Ordway’s air system brings in fresh air from the outside to help limit the spread of airborne viruses like COVID-19. In addition, several updates have been made to further improve air safety inside the Ordway.

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

For questions, comments, or more information about the Arts Partnership’s commitment to keeping you safe, please contact Minnesota Opera’s ticket office at 612.333.6669 or hello@mnopera.org.

C A S T + C R E AT I V E T E A M

MATTHEW ABERNATHY CHORUS AND YOUTH CHORUS DIRECTOR CAZENOVIA, NY

Minnesota Opera Debut La bohème, 2017

Notable Engagements

AMITH CHANDRASHAKER CO-LIGHTING DESIGNER BROOKLYN, NY

Minnesota Opera Debut Carmen, 2022

Notable Engagements Flying Dutchman, Houston Grand Opera

Mahler Symphony No. 8, Minnesota Orchestra*

Falstaff, Opera Omaha

The Rake’s Progress, Lakes Area Music Festival

Abduction from the Seraglio, Atlanta Opera

The Eagles “Hotel California” Tour, St. Paul

Fairview, Soho Rep

Belongings, Minnesota Opera

Bhangin It!, La Jolla Playhouse

La Belle Hélène, Lakes Area Music Festival

MIA ATHEY

WON WHI CHOI

HYATTSVILLE, MD

SEOUL, SOUTH KOREA

MERCÉDÈS

Former Minnesota Resident Artist Minnesota Opera Debut Elektra, 2019

Notable Engagements

DON JOSÉ

Minnesota Opera Debut Carmen, 2022

Notable Engagements La traviata, The Metropolitan Opera*

Show Way (workshop), The Kennedy Center

La traviata, Virginia Opera*

The Knock, The Glimmerglass Festival

Les contes d’Hoffmann, Opera Tampa

The Passion of Mary Cardwell Dawson, The Glimmerglass Festival

Rigoletto, New York City Opera

To The World, The Glimmerglass Festival

Roméo et Juliette, Seoul Metropolitan Opera

Blue, The Glimmerglass Festival Show Boat, The Glimmerglass Festival

ALESSANDRA BONGIARDINA INTIMACY DIRECTOR & ASSISTANT FIGHT DIRECTOR BROOMFIELD, CO

Minnesota Opera Debut Carmen, 2022

Notable Engagements The Tempest, Guthrie Theater

STORRS, CT

Minnesota Opera Debut Silent Night, 2018

Notable Engagements Rinaldo, Minnesota Opera* Don Giovanni, Minnesota Opera* The Ghosts of Versailles, Royal Opera of Versailles

Hamlet, University of Minnesota

The Fix, Minnesota Opera

Circle Mirror Transformation, Thunder River Theater Company

A Little Night Music, Madison Opera

OANA BOTEZ

COSTUME DESIGN BUCHAREST, ROMANIA

Minnesota Opera Debut Carmen, 2022

Notable Engagements Carmen, The Glimmerglass Festival

ERIC SEAN FOGEL

ASSOCIATE DIRECTOR/ CHOREOGRAPHER CHARLESTON, SC

Minnesota Opera Debut Le Nozze di Figaro, 2017

Notable Engagements

The Orchard, Baryshnikov Arts Center

Sound of Music, Glimmerglass and Houston Grand Opera*

Ain’t Misbehavin’, Barrington Stage Company

Don Carlos, Metropolitan Opera

At the Wedding, Lincoln Center

Florencia en el Amazonas, Chicago Lyric Opera

Scavangers, Martha Graham Company/ Joyce Theater

Samson et Dalila, Washington National Opera

PRISCILLA BRUCE

ELIAS GRANDY

KENSINGTON, MD

MUNICH, GERMANY

HAIR AND MAKEUP DESIGN Minnesota Opera Debut Il trovatore, 2008

Notable Engagements

MINNESOTA OPERA MNOPERA.ORG

MORALÈS

Romeo & Juliet, University of Minnesota

She Kills Monsters, University of Minnesota

CHARLES H. EATON

Candide, Los Angeles Opera

CONDUCTOR

Minnesota Opera Debut Elektra, 2019

Notable Engagements

Into the Woods, Annapolis Opera

Un ballo in maschera, Aalto Theater Essen*

Acoustic Rooster’s Barnyard Boogie, The Kennedy Center

Lohengrin, Chemnitz Theater (Germany)*

Elektra, Minnesota Opera

Lulu, Theater and Orchestra Heidelberg

The Fix, Minnesota Opera, World Premiere Home for the Holidays, Minnesota Orchestra

Werther, Frankfurt Opera* Rossini’s Stabat Mater, Essen Philharmonic Carmen, Tokyo Nikikai Opera

LEAH BRZYSKI

DENYCE GRAVES

ROCHESTER HILLS, MI

WASHINGTON, D.C.

FRASQUITA

Minnesota Opera Resident Artist Minnesota Opera Debut Albert Herring, 2021

Notable Engagements

STAGE DIRECTOR

Minnesota Opera Debut Carmen, 1991

Notable Engagements The Denyce Graves Foundation, Founder

Albert Herring, Princeton Festival*

Carmen, Glimmerglass Festival/Portland Opera

The Anonymous Lover, Minnesota Opera

The Passion of Mary Cardwell Dawson, Glimmerglass Festival/Washington National Opera

The Lord of Cries, Santa Fe Opera A Midsummer Night’s Dream, Santa Fe Opera Cendrillon, Opera Ithaca

The Hours & Peter Grimes, Metropolitan Opera Aïda & Rigoletto, Atlanta Symphony

C A S T + C R E AT I V E T E A M

SYMONE HARCUM

CONOR MCDONALD

BALTIMORE, MD

MINNEAPOLIS, MN

DANCAÏRE

MICAËLA

Minnesota Opera Debut

Minnesota Opera Resident Artist Minnesota Opera Debut

Carmen, 2022

Notable Engagements

Ópera Afuera, 2021

Notable Engagements

Sweeney Todd, Wolf Trap Opera

Carmen, The Glimmerglass Festival*

L’île de Merlin, Wolf Trap Opera

Le nozze di Figaro, Virginia Opera

Silent Night, The Glimmerglass Festival

The Anonymous Lover, Minnesota Opera

La traviata, Atlanta Opera

Pique Dame, Des Moines Metro Opera

Ariadne auf Naxos, Kentucky Opera

La Cenerentola, Virginia Opera

Susannah, Nashville Opera

Aïda, Virginia Opera

RICCARDO HERNÁNDEZ

RAFAEL MORAS

HAVANA, CUBA

SAN ANTONIO, TX

DON JOSÉ

SCENIC DESIGN

Minnesota Opera Debut

Carmen, 2022

Notable Engagements

Notable Engagements Don Giovanni, Santa Fe Opera

A Thousand Splendid Suns, Seattle Opera*

Jagged Little Pill, Broadway

El Milagro del Recuerdo, Houston Grand Opera*

La traviata, Lyric Opera of Chicago

Salome, Houston Grand Opera*

Appomattox, San Francisco Opera

La traviata, Utah Opera

La Dame aux Camélias, Théatre National de la Colline

La bohème, Annapolis Opera

ALLEN MICHAEL JONES

ZOIE REAMS

ATLANTA, GA

CHICAGO, IL

Rigoletto, Sacramento Philharmonic

CARMEN

ZUNIGA

Minnesota Opera Company Artist Minnesota Opera Debut

Minnesota Opera Resident Artist Minnesota Opera Debut

Albert Herring, 2021

Notable Engagements

Notable Engagements Falstaff, Santa Fe Opera*

The Anonymous Lover, Minnesota Opera

Il barbiere di Siviglia, Santa Fe Opera*

Porgy and Bess, The Metropolitan Opera

Eugene Onegin, Dallas Symphony Orchestra*

Rigoletto, Houston Grand Opera

Don Giovanni, Minnesota Opera*

La traviata, Lyric Opera of Chicago

Il trovatore, Toledo Opera

Everest, Chicago Opera Theatre Platée, Des Moines Metro Opera

AARON KEENEY

DOUG SCHOLZ-CARLSON

ESCAMILLO

FIGHT DIRECTOR

HUNTINGDON, PA

NORTHFIELD, MN

Minnesota Opera Resident Artist Minnesota Opera Debut

Minnesota Opera Debut La Cenerentola, 1998

Albert Herring, 2021

Gods and Mortals, The Glimmerglass Festival

Eurydice, Metropolitan Opera

La bohème, Des Moines Metro Opera

Roméo et Juliette, San Diego Opera

Wozzeck, Des Moines Metro Opera

Albert Herring, Minnesota Opera

L’elisir d’amore, Opera Naples Academy

Cymbeline, Great River Shakespeare Festival

MAYA LAHYANI

ROBERT WIERZEL

TEL AVIV, ISRAEL

BRANFORD, CT

CO-LIGHTING DESIGN

CARMEN

Minnesota Opera Debut

Turn of the Screw, 1999

Carmen, 2022

Notable Engagements

The Revolution Of Steve Jobs, Lyric Opera of Kansas City; Atlanta Opera; Utah Opera; Calgary Opera

Carmen, Arizona Opera Cendrillon, The Metropolitan Opera Die Walküre, The Metropolitan Opera

What Problem?, Bill T. Jones/Arnie Zane Company

Dead Man Walking, Israeli Opera

Blue, Seattle Opera; Pittsburg Opera

Werther, Israeli Opera

A Walk On The Moon, George Street PlayhousePre-Broadway Production*

La traviata, The Metropolitan Opera

Porgy & Bess, Des Moines Metro Opera*

JOSEPH LEPPEK REMENDADO NOVI, MI

Minnesota Opera Resident Artist Minnesota Opera Debut Albert Herring, 2021

Notable Engagements Susannah, Wolf Trap Opera* The Anonymous Lover, Minnesota Opera West Side Story, The Glimmerglass Festival The Abduction from the Seraglio, Lyric Opera of Kansas City L’amant anonyme, Wolf Trap Opera Viardot’s Cendrillon, Wolf Trap Opera

* indicates Upcoming Performance

CARMEN 2021–22

Fire Shut Up in My Bones, Metropolitan Opera

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

Notable Engagements

Notable Engagements The Anonymous Lover, Minnesota Opera

ORCHESTRA, CHORUS, AND DANCERS MINNESOTA OPERA ORCHESTRA VIOLIN I Allison Ostrander*, Concertmaster Natalia Moiseeva +, Assistant Concertmaster Julia Persitz David Mickens Angela Waterman Hanson Conor O’Brien Kseniya Khvashchynskaya Karl Braaten Ashley Ng Erika Hoogeveen VIOLIN II Laurie Petruconis* Elise Parker + Emilia Mettenbrink Emily Saathoff Maisie Block Huldah Niles Ian Snyder David Block VIOLA Emily Hagen* Susan Janda +

MINNESOTA OPERA MNOPERA.ORG

Jenny Lind Nilsson Charles Krenner Coca Bochonko Matthew Mindeman

CELLO Teresa Richardson* Sally Gibson Dorer + Rebecca Arons Benjamin Osterhouse Dianne Tremaine BASS John Michael Smith* Constance Martin + Jason C. Hagelie Nadja Gale FLUTE AND PICCOLO Barbara Leibundguth* Bethany Summersgill OBOE Jeffrey Marshak* double English horn Christine Kim CLARINET Karrin Meffert-Nelson* Nina Olsen BASSOON Coreen Nordling* Laurie Hatcher Merz HORN Mike Alexander* Charles Hodgson Timothy Bradley Allison Akins

TRUMPET John G. Koopmann* Christopher Volpe TROMBONE Phillip Ostrander* John Tranter David Stevens TIMPANI Kory Andry* PERCUSSION Matthew Barber* Steven Kimball HARP Min J. Kim*

MINNESOTA OPERA CHORUS SOPRANO Emma Arachtingi Corissa Bussian Lisa Butcher Cloyd Carolyn Cavadini Victoria Korovljev Fei Ma Sandra Partridge Staci Stringer Cihlar Kristie Tigges

MEZZO-SOPRANO Cécile Crozat-Zawisza Beth Gusenius Ana Lucía Piedrahita Fernandez Yun Kyong Lee Jill Morgan Monica Murray Cathryn Schmidt Ashley Sievers Eryn Tvete TENOR Samuel Baker Phinehas Bynum Jeremy Cady Erik Carlson Benjamin Dutcher Michael Mayer James Plante Nicholas Swanson Colyn Tvete BARITONE/BASS Joe Allen Ben Crickenberger Joshua Eidem Gary Kubert Andrew Nalley Nikolas Simmons Phillip Takemura Sears Tyrie Williams

YOUTH CHORUS Veronica Albee Ella Beske Matthew Bruggerman Chloe Fider Liam Trujillo Hage Lucy Heagle Tiara Hoque Mateo Huber Mila Huber MC Sheehan Hulse Lauren Lee Alice Lowe Heather McAllister Audrey Mojica Sophie Negrete Arabelle Pillai Sumaya Roble Anja Sullivan Valarie Wick

DANCERS Helen Hatch, Dance Captain Alejandra Iannone Gemma Isaacson Da’Rius Malone * Denotes Principal + Denotes Assistant Principal

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MEET MN OPERA

SAMUEL PHILLIPS

GENOVEVA CASTAÑEDA

MARKETING & C O M M U N I C AT I O N S A S S O C I AT E

ACC E S S A N D C I V I C E N G AG E M E N T D I R E C TO R

A S S O C I AT E P R O D U C T I O N D I R E C TO R

What I do:

As the Marketing & Communications Associate at Minnesota Opera, I support the organization by creating marketing and communications content, executing and tracking tactics for multi-channel campaigns, and providing project management and administrative support to achieve both departmental and institutional goals. I also serve as an advocate for equity, diversity, and inclusion amongst the company, helping to support MN Opera’s values of anti-racism and anti-oppression.

I’m the Director of Access & Civic Engagement. In this division of the Impact department, we build equitybased systems, programming, and partnerships. This work is community driven, and focuses on telling stories, building trust, and elevating representation across culture and access. Our core objectives prioritize building relationships, and content to reflect the collaborative potential and diversity of Minnesota.

As part of the Production team, I ensure that artists who design and create the scenery, props, and lighting have the resources needed to do their work. My role allows a balance of administrative tasks and creative problem solving. Any week you will find me sending contracts and tracking finances as well as sourcing unique materials and designing special effects.

Why I’m excited for Carmen: Theater of any kind has always been a passion of mine. I’ve always been especially drawn to characters and storytelling that features strong and daring female characters that go against the status quo — and Carmen is just that. Not only does this new production feature sizzling drama and breathtaking music, it features the knockout talents of Maya Lahyani, Zoie Reams, and Denyce Graves. It’s truly an experience like no other — I hope you’ll enjoy!

Why I’m excited for Carmen: Why I’m excited for Carmen: At MN Opera, we can honor and serve underrepresented cultures and traditions through our work — ultimately challenging what is seen historically as “classic” and creatively integral. This production of Carmen embraces that responsibility. The intentional leadership of the costume and production departments, mixed with the clarity of Ms. Graves’ directorial vision; the complex human elements in Carmen are beautifully captured. This is a historical moment for the opera industry, I hope audiences enjoy!

Even though I’ve watched the layered world be created from scratch in the various shops, worked in rehearsals at the Opera Center, and participated in the load-in of technical elements, I’m excited to see all the gorgeous designs come together on stage with the performers inhabiting the world we’ve created. And the prop effects, hopefully those will be a surprise.

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

HANNAH KIL

CARMEN 2021–22

Meet MN Opera

Minnesota Opera’s dedicated staff of artists, craftspeople, and administrators are passionate about bringing worldclass opera and opera education programs to Minnesota. Recently, we sat down with three of them to learn more about what they do at the Opera and why they’re excited for this production of Carmen.

MEET THE ARTISTS

Q&A MeettheArtists

MAYA LAHYANI & ZOIE REAMS A S C AR ME N MAYA LAHYANI

armen is one of the most iconic roles in the entire repertoire. It takes an especially talented singer to bring her tale of desire and liberation to life. We’re extremely lucky to have not one, but two dynamic singers—Israeli mezzo-soprano Maya Lahyani, and Minnesota Opera Project Opera Alum and mezzo-soprano Zoie Reams. Recently, they were kind enough to sit down with us to answer a few questions about themselves and share what it’s like to prepare for this role.

Describe Carmen in three words. ML Charismatic, fearless,

independent ZR Opportunistic, uninhibited, instinctual

MINNESOTA OPERA MNOPERA.ORG

What are some of the joys and challenges of performing this role?

ML Carmen is a complex character. She’s fun to play because she *is* fun! She’s full of fire and a wide variety of emotions. She can be playful as a kid or brutal as a killer. She always creates the excitement. It’s a joy, as a performer, to explore all those extreme emotions and expressions. ‘Putting her on’ is very empowering and very liberating. Carmen is also very challenging because the expectations from playing her are very high. Everyone has an idea of who she is or should be. The role itself is very demanding vocally and physically. She’s almost always on! Always moving, singing, dancing, fighting. It’s a bit like a marathon.

ZOIE REAMS

ZR Some of the joys are being

ZR There’s so much dichotomy

able to sing the beautiful music. Everyone knows this piece because it’s truly a masterpiece and so I’m always honored to sing it. I think the challenge lies in balancing out Carmen’s free nature with her calculated steps she takes to get what she wants.

in this piece. We wonder about Carmen’s personality on its own and with José, even when we know how it will end, seeing these two characters fight within themselves and with each other is something that on one level or another, people identify with. This story is deeply linked to identity and morals, and I think that it’s always interesting to view the inner workings of someone else’s moral structure, but especially when it’s heightened in the story of Carmen.

What are the themes or messages of this piece that you think will resonate with our audiences? ML Carmen is a strong, unapologetic,

uncompromising, independent woman. A leader. She’s actually as relevant today as she was when the opera was written. The opera deals with love, jealousy, relationships, community, and freedom. I think it’s as universal as it gets and can resonate easily with our audiences today. ZR Hopefully audiences will be able

to think on their communities and how they can be uplifted and uplift people around them even in hard times. This production will show more of Carmen as a woman and person along with her community. It’s nice to humanize her in this way.

What is it about Carmen that makes it such an exciting piece? ML First of all, the music! There’s a good reason why this opera is so popular, the music it truly fantastic. It’s one great number after the other. Combine it with nonstop action and drama, and you get a super exciting evening at the theater.

Do you have any plans for your time in Minnesota? Anything you’re dying to try or see? ML Our rehearsal schedule is very

intense so it doesn’t leave much time to explore at the moment… I also have my six-month-old baby with me, and she takes most of my attention when I’m not in rehearsal. But I’m looking forward for the weather to get better so we can spend more time outside and explore. So far, I really like it here! ZR I attended high school here

in Minnesota at Shattuck-St. Mary’s School and had a few past productions here with MN Opera, so Minneapolis feels like a second home to me in a way. I’m happy to be here during the spring and looking forward to some leisurely outside time in the many parks here in Minneapolis.

MNOperaFeature

DENYCE GRAVES “You cannot think about Carmen at Minnesota Opera without thinking about Denyce Graves,” said Ryan Taylor, President and General Director at MN Opera. Recognized worldwide as one of today’s most exciting vocal stars, Denyce Graves takes her place as Stage Director for MN Opera’s Carmen after nearly four decades of experience performing the title role in Bizet’s thrilling tale.

DENYCE AS CARMEN AT MINNESOTA OPERA, 1991

“I am extremely sympathetic to the singers. I’m always thinking from that perspective,” says Graves. “It’s been such an incredible learning experience and I’m learning so much every day — to feel what it’s like to be on the other side and be responsible of the whole gigantic picture of it.” Described by Taylor as a “superstar mezzosoprano and now a superstar director,” Graves’ work is a culmination of almost four decades of unparalleled talent. Now, she’s bringing that talent from the stage to the director’s chair.

GRAVES, LAHYANI, AND REAMS AT W MINNEAPOLIS - THE FOSHAY © DARIN KAMNETZ

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Graves explains, “This is certainly broadening me and stretching me in ways that are brand new and it’s a real discovery. I still think that I always will be a singer and that will be at the core of who I am, but I understand more about the flow of the show. You can’t just let a moment stop so you can have a ‘diva moment’ but that there’s an actual whole big picture that needs to be taken into consideration.”

Graves’ dedication to the singers of the next generation continues to be an important part of her career. Serving as a voice faculty member at the Peabody Institute and a distinguished visiting faculty member at The Juilliard School, she has become a great leader in shaping the voices of tomorrow.

CARMEN 2021–22

“After 37 years of being on stage and after doing so many Carmens, I always said to myself, ‘Someday, maybe someday,’” expressed Graves. Her critically acclaimed career has taken her across four continents and to some of the world’s greatest opera houses and concert halls — and now she’s back at Minnesota Opera directing the show that launched her career all those years ago.

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B OA R D + S TA F F

BOARD OF DIRECTORS OF F ICE RS Chair | Nadege Souvenir

STAFF EXECUTIVE

IMPACT

President and General Director | Ryan Taylor Executive Assistant to the President | Andrew Sun

President and General Director | Ryan Taylor

ADMINISTRATIVE

Vice Chair | Sharon Bloodworth

Vice President, Administration and Board Relations | Theresa Murray Human Resources Director | Jen Thill Luminary Arts Center Director | Julia Gallagher

Secretary | Barton Reed Treasurer | Mark Gordon

ADVANCEMENT Vice President, Advancement | Lani Willis

DIRECTORS Joelle Allen

Mary Lazarus

Patricia Beithon

Robert Lee

Meg Blake

Natalie Volin Lehr

Jane Confer

Fayneese Miller, Ph.D.

Terrance Dolan

Kay Ness

Sidney W. Emery

Jose Peris

Gayle Fuguitt

James Powell

Dorothy Horns, M.D.

Elizabeth Redleaf

Mary IngebrandPohlad

Mary Schrock

Philip Isaacson

PRODUCTION

DEVELOPMENT

Missy Staples Thompson

Diane Jacobson, Ph.D.

Wendy Unglaub

Deborah Jiang-Stein

Margaret Wurtele

Anna Kokayeff, M.D.

Wayne Zink

William White

Stephanie Kravetz

HONO RA RY D I REC TO R S Philip Brunelle Liz Kochiras

PR ES I D E N T ’ S COU NC I L Karen O. Bachman

Ruth Huss

John A. Blanchard, III

James E. Johnson

Susan Boren King

Lucy Rosenberry Jones

Burton Cohen

Kevin H. Smith

Ellie Crosby

Virginia Stringer

John Huss

Mary W. Vaughan

Associate Individual Giving Director | Jeremie Bur Associate Individual Giving and Fundraising Director | Leila Keïta Development Director | Diana Konopka Development Operations Coordinator | Jonathan Lundgren Associate Patron Relations Director | Kristin Matejcek Associate Institutional Giving Director | Hilary Smith Development Manager | Charlotte Summers

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M EMBERS Sosha Brink Marjahn Golban Raegan Henderson Alison Jarzyna Elijah Saiger Jon Tollefson

STAGING STAFF

PATRON SERVICES Patron Services Manager | Kevin Beckey Associate Patron Services Manager | Karl Annable Patron Services Representatives | Alexis Alcala, Carol Corich, Henry Dykstal, Evy Johnson, Emily Ross

Production Stage Manager | Emily Butzi Assistant Stage Managers | Tyler Fridley, Kelani Mueller, Jerry K. Smith Resident Artist Assistant Stage Director | Emily Bishai

COSTUMES

ARTISTIC Vice President, Artistic | Joseph Li Company Manager | Roxanne Stouffer-Cruz Artistic Department Coordinator | Salvatore S. Vasta III Company Artist | Zoie Reams Resident Artists | Emily Bishai, Leah Brzyski, Symone Harcum, Celeste Marie Johnson, Allen Michael Jones, Aaron Keeney, Joseph Leppek

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Vice President, Production | Karen Quisenberry

Interim Costume Administrator | Molly O’Gara Tailor | Yancey Thrift Drapers | Katrina Benedict, Chris Bur Costume Crafts and Dye Head | Kristen Weller First Hands | Helen Ammann, Sara Huebschen, Rebecca Karstad Stitchers | Brigid Borka, Ann Friese, Brandi Mans Costume Design Assistant | Isabelle Talbet Hair and Makeup Supervisors | Emma Gustafson, Ashley Joyce Hair and Makeup Run Crew | Amber Brown, Krystyana Campbell, Wendy Frank, Dominick Veldman

Interim Vice President, Finance | Suzanne Roy Controller | Janelle Erickson System Administrator | Tony Ngonekeo Staff Accountant | Chris Olsen

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Upcoming events

Regular Hours: Monday–Thursday, 10am–5pm Performances: Weekdays — phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Ticket Office 90 Minutes prior to curtain.

The Daughter of the Regiment

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Edward Tulane OCTOBER 8–16, 2022 THE ORDWAY A miraculous journey. Based on the

FEBRUARY 4–12, 2023 THE ORDWAY

best-seller by Kate DiCamillo, Edward

Love is a battlefield. Adopted and

Tulane takes us on a miraculous journey,

raised by a squadron of French soldiers

from the depths of the deep blue sea to

and unaware of her aristocratic lineage,

the streets of Memphis. Perfect for the

spunky Marie falls for a handsome

young and young at heart, this Minnesota

villager. But when her past comes to

original shows us a true miracle—that

whisk her away, will she fall in line or

even the most broken of hearts can learn

follow her heart? Donizetti’s romantic

to love again.

comedy mixes hilarious snafus with vocal pyrotechnics in this witty and

Ticket Policies Refunds are currently available. Additionally, any ticket may be returned for a tax-deductible donation up until curtain by calling the Minnesota Opera Patron Services. We will send a tax receipt to you acknowledging the value of the ticket, minus any applicable fees. Parking Prepaid parking is available for opera patrons at the Lawson Comons Ramp. Call 612-333-6669 or visit mnopera.org to purchase passes.

heartwarming production.

Rinaldo NOVEMBER 19– DECEMBER 3, 2022 THE LUMINARY ARTS CENTER A spellbinding adventure. In this

The Song Poet MARCH 9–19, 2023 THE LUMINARY ARTS CENTER

Accessibility For patrons with disabilities, wheelchairaccessible seats are available for 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.

magical tale filled with brass fanfares and Based on Kao Kalia Yang’s memoir,

who will stop at nothing to gain victory.

the first Hmong story adapted for the

The opera sweeps the audience from

operatic stage tells the story of Yang’s

laughter to heartbreak and back again

family and her song poet father. With

in this enchanting musical fantasy where

his poetry, her father inspires hope in his

love triumphs over darkness.

family, polishing their reality so that they

For more information, please visit mnopera.org/access. Ordway Policies Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break.

might shine. Please have all cell phones and pagers turned to silent mode.

Don Giovanni MAY 6–21, 2023 THE ORDWAY So hot, he’ll burn. Don Giovanni is an

Children under six are not permitted in the hall. Cameras and recording equipment are strictly prohibited in the theater. Please check items with an usher.

egotistical and infamous womanizer, brazen in his shameless seductions. But his betrayals soon catch up to him when divine retribution exacts the ultimate price. Mozart’s sharp and otherworldly opera seamlessly blends dark comedy with biting social commentary, all set to some of opera’s most stirring music.

Food and beverage 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.

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his innocent, true love from a sorcerer

A father’s love, a family’s journey.

CARMEN 2021–22

memorable melodies, our hero must save

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Anonymous (4) Vanessa Abbe Jerome Abrams and Gayle Breutzman Kathleen R. Adix Emin and Britny Aklik Joelle Allen Richard Allendorf Arlene and Tom Alm Jerome and Joy Amel Laurie Anderson and Jon Hanson Renner and Martha Anderson Rolf T. Anderson Jaime Anthony Nina Archabal Kevin J. Armstrong Orn and Margret Arnar Eleanor Arnason Martha and Dan Aronson Martha and H. Brewster Atwater Kay C. Bach Karen Bachman Thomas and Ann Bagnoli Josephine and Gordon Bailey Susanne and Johan Bakken Gail and James Bakkom Thomas and Jill Barland Jerald Barnard Thomas J. Basting Jr and Rebecca Arons Longine Beck John and Julie Beckmann Patricia Beithon Judson and Carol Bemis Sue A. Bennett Gerald and Phyllis G. Benson Carol J. Bergeson Kenneth J. Berglund John and Cindy Beukema William J. Biermaier and David Hanson Sharon Bigot David Bjork and Jeff Bengtson Michelle Blaeser David and Diane Blake Stephen and Margaret Blake Mary and Gus Blanchard Sharon Bloodworth and Barrett Johnson Susan Bloyer Martin and Patricia Blumenreich George and Joan Bohlig Kenneth and Peggy Bonneville Susan S. Boren King William and Margaret Bracken Al Bradley Philip Bradley Barbara and William Brauer Sosha M. Brink Jan and Eli Briones Melanie Broida Roger and Ronnie Brooks

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CARMEN 2021–22

Allison Johnson Charlie Johnson Patricia A. Johnson and Kai Bjerkness Paula and Bryce Johnson Sharon and Fredrik Johnson Shersten Johnson Janet N. Jones Lucy Rosenberry Jones and James E. Johnson Marcia Jones Nancy Jones Charles and Sally Jorgensen Robert and Susan Josselson John and Kathleen Junek Phyllis Kahn Susan Kalmer John Kaplan Kristine Kaplan Ed and Martha Karels James and Jane Kaufman Kathleen Keating and Richard Haskett Kathryn Keefer Michael and Sheue Keenan Erwin and Miriam Kelen Warren and Patricia Kelly Yulia Khayde Robert Kieft Joseph and Carole Killpatrick Melissa and Peter Kim Richard A. Kinde Blaine and Lyndel King Margaret V. Kinney Judith A Kinsey Andrea M. Kircher Varvara Kirchner Arthur and Milly Klassen John D. Klein Mrs. James S. Kochiras Anna Kokayeff Douglas Koons Kyle E. Kossol and Tom Becker Stephanie Kravetz Robert L. Kriel and Linda E. Krach Janet Krofta Ryan Kruizenga Robert and Venetia Kudrle Robert and Barbara Kueppers Constance and Daniel Kunin James Kunz Christl and Andrew Larson Kenyon S. Latham Mary Ash and Barry Lazarus Cynthia and Lawrence Lee Karen Sonia Lee Robert L. Lee and Mary E. Schaffner Jean LeJeune Ilo and Peggy Leppik Susan Leppke Jonathan and Lisa Lewis David and Diane Lilly Katy Linblad James Lindell Daniel W. Lindsey William F. Long Elizabeth Longhurst and Kim A. Chapman Paul Lorton, Jr. Natalie Losik Diana Lee Lucker Juanita B. Luis Holly MacDonald and John Orbison Joan and Matthew Macheledt David MacMillan and Judith Krow Dr. Joan E. Madden Diane Malfeld Emily Manhart Christine Martin Christine Martinez William and Carole Martino Sally and Don Mason Kristin and Jim Matejcek Roy and Dorothy Ann Mayeske Sean McAleer Barbara McBurney Laura McCarten Tracy McCauley

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

INDIVIDUAL GIVING

SPECIAL GIVING LEGACY CIRCLE The following lists donors who, through their foresight and generosity, have included Minnesota Opera in their wills or estate plans. Anonymous Mrs. Mary Abbe Paul and Valerie Ackerman Thomas O. Allen Dr. and Mrs. Rolf Anderassen* Mary A. Andres Ms. Karen Bachman Thomas and Ann Bagnoli Patricia Beithon Al Bradley Susan Boren King C.T. Bundy II Margaret M. Carasik Debbie Carlson George and Joan Carlson Richard and Darlene Caroll Julie and Dan Cross Julia W. Dayton*

NAMED ENDOWMENT FUNDS The following endowment funds, created by visionary and generous donors, continue the work of Minnesota Opera for future generations. Art of Singing Endowment Fund

To support exceptional training for Resident Artists by providing learning opportunities with leading artists and experts.

Charles Denny* Ms. Susan Doty Anne P. Ducharme Dr. Mary A. Ebert and Paul Stembler Rondi Erickson and Sandy Lewis* Mrs. Ester L. Fesler Salvatore Silvestri Franco Daniel E. Freeman Charles J. Frisch Dr. Paul Froeshl Katy Gaynor Mrs. Ellen Green Michelle Hackett Russell and Priscilla Hankins Elfrieda Hintze* Mrs. Jean M. Holten John Humleker and Cordelia Anderson Dr. Charles and Sally Jorgensen Dr. Robert and Susan Josselson John and Kathleen Junek Dr. Markle Karlen Mary H. Keithahn Patty and Warren Kelly Blaine and Lyndel King Sally and Bill King

James and Liz Krezowski Dr. Robert L Kriel and Dr. Linda E. Krach Robert and Venetia Kudrie Jim Lawser and Duane Bandel Gerald and Joyce Lillquist Dawn M. Loven David Mayo Barbara McBurney Mary McDiarmid Mary Bigelow McMillan Mrs. Walter Meyers Estate John L. Michel and H. Berit Midelfort Karla Miller Kay Ness and Chris Wolohan Richard and Joan Newmark Scott J. Pakudaitis Derrill Pankow Mrs. Sydney Phillips Ms. Phyllis Price Brian and Patricia Prokosch Mrs. Liane A. Rosel Ken and Nina Rothchild Mary Savina Jon L. Schasker* Josef Schermann

Mary H. and Christian G. Schrock Dr. Frank and Lynda Sharbrough Robert Shearer and Joan Gustafson Mr. Drew Steward and Ms. Anna Hargreaves Mr. Gregory C. Swinehart and Ms. Mitra Walter Dr. Anthony Thein Stephanie C. Van D’Elden Mary W. Vaughan H. Bernt von Ohlen and W. Thomas Nichol William White Mr. Harvey Zuckman and Mr. Phillip Oxman

Barbara White Bemis Fund for Artistic Enhancement

Founders Endowment Fund

Valerie and Paul Ackerman Endowment Fund

The appearances of Leah Brzyski, district winner, Joseph Leppek, national semi-finalist, Zoie Reams, regional winner, and Carlos Santelli, winner of the Metropolitan Opera National Council Auditions are made possible by this fund.

Daniel E. Freeman Endowment Fund To support Minnesota Opera’s education programs.

Dolly Fiterman Fund for New Production Opera Design

To support the creation of new productions by proving funds to engage designers and create new sets.

COMMEMORATIVE GIFTS

Lani Willis and Joel Spoonheim

The following lists donors

MN Opera Costume Department

who have made gifts in honor or in memory of a loved one between July 1, 2020 and December 31, 2021.

Katherine Magy Maria Ramirez

Mr. Dale A. Johnson Brian Staufenbiel

Mrs. Elizabeth Kochiras Kochiras Family Fund

Mrs. Theresa A. Murray IN HONOR OF: Anne Mollerus

Michael and Judith Mollerus

Clara Osowski

MINNESOTA OPERA MNOPERA.ORG

Barbara Brown John A. Michel

Coreen Nordling

John and Sibylle Miller

Darlene Mueller

Tamera Bisping

Diana Whitecross

Mr. Peter William Riola, Sr

Dr. Everett Vern Sutton

Donald Helgeson and Sue Shepard

Eleanor Crosby

Rudolph and Susan Rauch

Eva and Peter Weyandt Michael Weyandt

Jenn Maatman Jeffrey Gigler

Jon and Anna McVittie Szafranski Frances W McVittie

Julie Greif

Anne E Susag

Schmiechen Charitable Fund

Ms. Natalie Losik

The Losik Savage Charitable Gift Fund

Ms. Susan A Janda Mr. John Zelenka

Nancy and Clyde Gerber Patricia Cavanaugh

Natalie Losik

The Losik Savage Charitable Gift Fund

Robert and Barbara Kueppers Carroll Cisek Caroline Wilbrecht

Roland Hanson

I.U.P.A.T. District Council No. 5

Ruth and John Huss

Sally and Thomas Patterson

To support new and innovative opera performances that honor the spirit, energy, and creativity of the founders in the beginning days of the Center Opera.

Joan Jacobs Rubenfeld Memorial Fund To support the attendance of high school students at MN Opera performances.

Minnesota Opera Center Preservation Fund

To support Opera Center building improvements. The Preservation Fund recognizes the legacies of Judson Bemis and Kevin Smith, who through their leadership created the Opera Center.

IN MEMORY OF: Alan Klevit

Anonymous

Alyda Mini

Diana Mini and David Carroll

Arthur and Judith Brindley Eric Brindley

Daniel Gacki

Boren Family Fund

Daniel Prins

Janet Johanson

Dean and Karin Phillips Jan and Janet Phillips

Elfrieda Hintze Linda King

Elisabeth and John Heefner Elisabeth and John Heefner

Enrique Rotstein

Timothy and Susanna Lodge

Eva Csathy

Eva Weyandt

Irene Browning

Paul Zerby and Ann Browning Zerby

Joan Jacobs Rubenfeld Marian Rubenfeld

Sean Dorsey and Kara Eliason Dorsey

Joan M. Nagle

Vicki Wheeler

Jon Schasker

Wendy Mullins

Joy Smiley Zabala

Brian Henry

Kurt Wheeler Anne E Susag

Ms. Sarah Nagle Deborah Carlson Adriana Zabala

For more information on making estate plan arrangements, please contact Diana Konopka at 612-342-9565. * in remembrance

To support the attendance of youth at Minnesota Opera performances.

Virginia L. Stringer Endowment of the Minnesota Opera Resident Artist Program

To support the Resident Artist Program. The appearance of the Resident Artists in this production is made possible this endowment fund.

William Randolph Hearst Endowment for Education and Outreach Programs

To support Minnesota Opera’s education and outreach programs.

Judson and Carol Bemis Sandra Roe

Judy Anderson Brindley

Arthur and Judith Brindley Ernest Neighbor

Judy Dayton

Christine and Jon Galloway Ruth and John Huss Rachelle Chase and John Feldman

Marilyn Johnson

Christopher Peterson

Mark Lindblad

Ms. Kathleen S Lindblad

Michael Birt

Ms. Maria Eggemeyer

Mr. Gordon Ray Travis Susan Travis

Mr. Robert E. Rocknem Ann Kristen Rocknem

Mrs. Myrtle Grette IvaNell Monson

My Parents who were lovers of opera Mr. Peter Douglas

Neal Viemeister Virginia Kirby

Paige Duncan

Miss Caroline Foster Duncan

Reva Lear

Barbara Kelly David Ward

Ruth Bader Ginsburg Ms. Liz Lew

Scott Krenz

Emerson L Williams

BEYOND THE GALA

— I N G R AT I T U D E T O T H O S E W H O M A D E B E YO N D T H E G A L A P O S S I B L E —

GALA CHAIRS CO-CHAIRS

HONORARY CHAIR

VICE-CHAIR

SOSH A B R I N K WAYN E Z I NK

E L I Z AB E T H RE DLE AF

J O E LLE ALLE N

GALA COMMITTEE A N SA AKY E A KA RE N B AC H MA N ET HEL I ND B E L L E SHA RON B LO O DWO RT H SA RA D O NAL DS O N

MILA E KLUND GAYLE FUG UIT T C H R I STO PH E R H E RMANN J ODI MO O NE Y KAY NE SS J OS E PE RIS

J E FFE RY PE RKE Y MARY S CH RO CK LINDA S ING H RO B E RT S PIKING S WE NDY UNG LAUB

CORPORATE SPONSORS INDIVIDUAL TABLES JOELLE ALLEN • KAREN O. BACHMAN • SARA AND JOCK DONALDSON • VICKI AND CHIP EMERY • BIANCA FINE GAYLE FUGUITT AND TOM VEITCH (2) • DANA JONATHAN GUILLORY AND ELIZABETH GRACE REDLEAF RUTH AND JOHN HUSS • MR. AND MRS. PHILIP ISAACSON • DIANE AND PAUL JACOBSON ROBERT L. LEE AND MARY E. SCHAFFNER • JENINNE MCGEE • JODI AND MICHAEL MOONEY JESSE AND LINDA SINGH • NADEGE J. SOUVENIR AND JOSHUA A. DOROTHY (2) MISSY STAPLES THOMPSON AND GAR HARGEN • WENDY AND PAUL UNGLAUB • WILLIAM WHITE MARGARET V.B. WURTELE • WAYNE ZINK AND CHRISTOPHER SCHOUT

SPECIAL THANKS APRÈS • AVEX • BEYOND THE GALA COMMITTEE • CANDID BOOTH • CARINA PHOTOGRAPHICS ALBERTO CASTILLO AND JUDITH GARCIA GALIANA • CRAVE • “DJ YS” JORDAN TOWNSEND • LUDMILA EKLUND CHIP AND VICKI EMERY • FINE ASSOCIATES • FRANCE 44 • DENYCE GRAVES • CHRISTOPHER HERMANN PAUL KLITZKE • MAYA LAHYANI • LINEN EFFECTS • LYN-LAKE LIQUORS • METROPOLITAN SKIN CLINIC MN OPERA BOARD OF DIRECTORS • MN OPERA STAFF • SONIA OLLA • LUIS ALEJANDRO OROZCO • PHOS LIGHTING ELIZABETH REDLEAF • ZOIE REAMS • JOHN DE LOS SANTOS • JEARLYN STEELE • ST. CROIX GONDOLA TOUR STUDIO FLEURETTE • RYAN TAYLOR • TEMPO COUNCIL • THE BUTCHER’S TALE • THE MUSEUM OF RUSSIAN ART

PLEASE SAVE THE DATE FOR MINNESOTA OPERA’S 60TH ANNIVERSARY GALA ON MAY 21, 2023!

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:

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

Art and Martha Kaemmer Fund of the HRK Foundation

MINNESOTA OPERA MNOPERA.ORG

Fred C. and Katherine B. Andersen Foundation

Anonymous (2)

Faegre Baker Daniels

Onan Family Foundation

Best Buy Foundation

Hutter Family Foundation

Pachel Foundation

Boss Foundation

Margaret Rivers Fund

Peravid Foundation

Dellwood Foundation

Mayo Clinic

RBC Foundation

The Elizabeth C. Quinlan Foundation

McVay Foundation

Romanaggi Foundation

Schwegman, Lundberg, & Woessner P.A. Tennant Foundation Travelers

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Hilary Smith, Associate Institutional Giving Director, at hsmith@mnopera.org.

MI NNE S OTA O PE RA S E AS O N S PO NS O R

Museums • Events • TOURS • Gift Shop

repre sent For advertising in Minnesota Opera programs, or with other arts partners we represent:

FREE SUMMER PROGRAMS Photo by Bruce Silcox

CARE Art Engagements Exquisite Crankies | May 22, 1-3 pm Greenhouse Gallery | June 12, 1-3 pm Building Rhythms |June 30, 5-7 pm

Music on the Cortile Purgatory Creek | June 15 David Huss | June 29 Amanda Grace | July 13 Bossa Nova Trio | July 27

mary-kate@artsink.org 612.791.3629

Find more information at landmarkcenter.org or call 651.292.3237

artsink.org

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Come early and stay late for special food experiences and free entertainment by outstanding local performers on the magnificent Peavey Plaza, plus pre-concert happenings inside Orchestra Hall.

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Minnesota Opera's Carmen

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