Minnesota Opera's The Barber of Seville by Minnesota Opera

2019–2020 SEASON November 9–17, 2019

MAKE YOUR HOLIDAY PLANS AT ORCHESTRA HALL TODAY! Handel’s Messiah Dec 6–7 Nicholas Kraemer, conductor Minnesota Chorale

Dec 20

Celebrate the season with the enduring power of Handel’s Messiah in a performance that features the Minnesota Orchestra, the Minnesota Chorale and a lineup of acclaimed vocal soloists.

Give your holidays a boost of big, brassy joy in a performance by Minnesota Orchestra trumpeter Charles Lazarus and his dazzling ensemble, including the fabulous Lazarus Brass, along with vocalists Cameron Kinghorn, Tonia Hughes and Bruce A. Henry.

Holiday Brass Dec 6 Dec 8 CHARLES L AZ ARUS JAZZ AT LINCOLN CENTER ORCHESTR A

Merry and Bright with Charles Lazarus*

St. Andrew’s Lutheran Church, Mahtomedi Westminster Presbyterian Church, Minneapolis

Akiko Fujimoto, conductor Catherine Rodland, organ Henry Charles Smith, narrator The Minnesota Orchestra’s brass and percussion sections showcase their musical power and beauty in this new holiday offering. These concerts will offer a festive mix of seasonal and classical favorites that are sure to lift your spirits!

Charles Lazarus, trumpet

It’s a Wonderful Life Live in Concert COMPLETE FILM WITH THE MINNESOTA ORCHESTRA

Dec 21–22 Sarah Hicks, conductor Minnesota Chorale Everyone’s must-watch holiday movie becomes a memorable live concert event as the Minnesota Orchestra performs Dimitri Tiomkin’s entire score alongside the film.

Big Band Holidays: Jazz at Lincoln Center Orchestra with Wynton Marsalis*

An Evening with George Winston*

Dec 13

Enjoy a peaceful interlude in the holiday season with gorgeously-arranged carols and impressionistic compositions by pianist George Winston.

It’s the most wonderful time of year! The Jazz at Lincoln Center Orchestra with Wynton Marsalis and music director Marcus Printup light up the stage with Big Band Holidays. KEVIN KLING

Home for the Holidays WITH THE MINNESOTA ORCHESTRA WRITTEN AND NARRATED BY KEVIN KLING

$12 tickets childen 6-17

Dec 14 –19 Sarah Hicks, conductor Conceived and directed by Peter Rothstein Original music by Robert Elhai and Peter Ostroushko Now in its third year, this merry mix of storytelling, carols and comedy speaks to the meaning of family, Christmas and home, with a uniquely Minnesotan twist.

Dec 22

A New Year Celebration: Auld Lang Syne! Dec 31–Jan 1 Osmo Vänskä, conductor Jess Gillam, alto saxophone Hints of Hollywood, Paris in the Jazz Age, even a bagpiper processing down the Orchestra Hall aisle—you’ll be talking about this concert well into the New Year! After the Dec 31 concert

Help us count down to midnight! Enjoy vintage jazz performed by Belle Amour and a complimentary Champagne toast.

612-371-5656 / Orchestra Hall / minnesotaorchestra.org/holiday / *The Minnesota Orchestra does not perform on this program. PHOTOS Lazarus: Travis Anderson Photo; JLCO: Piper Ferguson; Kling: Courtney Perry. Additional photo credits available online. All programs, artists, dates, times and prices subject to change.

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RYAN TAYLOR PRESIDENT AND GENERAL DIRECTOR

F E A T U R E S

t is with much excitement that Minnesota Opera presents Gioachino Rossini’s beloved opera, The Barber of Seville. It only seems natural to continue our biggest and boldest season to date with this operatic classic. Whether it’s the instantly recognizable score or the timeless story, Rossini’s irresistible romantic comedy has something for everyone. Moving forward into next year, we’re excited to present Jonathan Dove’s Flight, an opera sure to warm your heart this January. In March, MN Opera’s commitment to presenting new works continues with the world premiere of Edward Tulane based on Kate DiCamillo’s best-selling novel. We finish our season in May by presenting a brand new production of another classic, Mozart’s Don Giovanni. On behalf of all of us at MN Opera, thank you once again for joining us. We look forward to sharing many more wonderful performances with you in 2020.

CO N T E N TS

The Barber of Seville

10 Synopsis

Meet the Artists: Daniela Mack and Alek Shrader • 17 Our Rosina and Count Almaviva talk about their characters and the joys of singing opposite your real-life spouse.

Meet MN Opera

Director’s Notes

Gioachino Rossini

Cast and Creative Team

17 Meet the Artists: Daniela Mack and Alek Shrader

Orchestra and Chorus

Singing Every Story

19 NOOMA 20

Flight Preview

22 MN Opera Board of Directors, Staff, and Volunteers

Singing Every Story • 18 MN Opera is committed to equity, diversity, and inclusion both on and off our stages.

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Special Giving

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28 Remembering Horace Irvine II

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NOOMA: An Opera for Babies • 19 MN Opera’s latest world premiere targets the youngest audience of all.

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F L X : I I

Roshini Rajkumar is a show host for WCCO Radio, the creator of Real Leaders with Roshini podcast, and a regular contributor on KSTP TV and KARE TV. This executive coach, who was born in Sri Lanka, came to the US as a toddler and grew up in Edina. She’s a distance runner who loves “paddleboarding, yoga, and martinis.”

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MUSIC BY

Gioachino Rossini

LIBRETTO BY

Cesare Sterbini

WORLD PREMIERE AT TEATRO ARGENTINA, ROME, FEBRUARY 20, 1816 SUNG IN ITALIAN WITH ENGLISH TRANSLATIONS PROJECTED ABOVE THE STAGE

CAST ROSINA

DA N IELA MAC K

COUNT ALMAVIVA

A L EK S H RA D E R

FIGARO

RO D IO N PO G OSS OV

BARTOLO

PAT RICK CA RFIZZ I

BASILIO

AND REW G ILST RA P +

BERTA

DANIEL L E BECKVERMI T+

FIORELLO

N ICH O L AS DAVI S+

OFFICER

JO EL MAT H I AS

FIGARO’S ASSISTANT

LIA M BECK-O ’ S UL L IVAN

*A PPEA RS N O VEMBER 1 7

+ MN O PERA RES ID ENT A RT IST

CREATIVE TEAM CONDUCTOR

J OSE P H M E C HAV I C H A N D R E W W HI TF I E L D * Ruth and John Huss Chair

STAGE DIRECTOR

F R A N C E SC A Z A M BE L LO

ASSOCIATE DIRECTOR J OSHUA R . HOR OW I TZ

SCENIC DESIGN J OHN CON K L I N

COSTUME DESIGN LY N LY SAU N D E R S

LIGHTING DESIGN R OBE RT W I E R Z E L

LIGHTING DESIGN RE-CREATION L AU R A BI C K FOR D

HAIR AND MAKEUP DESIGN DAV I D Z I M M E R M A N

CHOREOGRAPHER

HE I D I SP E SA R D - N OBL E

INTIMACY DIRECTOR

D OU G SC HOL Z- C A R L SON

ASSISTANT CONDUCTOR AND CHORUS MASTER A N D R E W W HI TF I E L D

ASSISTANT DIRECTOR A DA M DA R OS+

RÉPÉTITEURS

M A RY BOX+ , A N D R E W SU N +

STAGE MANAGER J E R RY K . SM I TH

ENGLISH SURTITLES F LOY D A N D E R SON

SEASON SPONSOR SEASON SPONSOR

ESTIMATED RUNNING TIME

LET YOUR HAIR

2 hours and 42 minutes with one intermission approximately 90 minutes into the opera.

The scenery and costumes were originally created for The Glimmerglass Festival.

Special thanks to the Season of Giving sponsor for providing matching funds towards donations made in November and December, including Give to the Max Day.

THE BARBER OF SEVILLE 2019–20

DOWN

SYNOPSIS

ACT I

MINNESOTA OPERA MNOPERA.ORG

The young Rosina is under the careful watch of her guardian, Dr. Bartolo, who intends to marry her in order to maintain control over her dowry. She has attracted the attention of Count Almaviva, who is presently disguised as a poor student, Lindoro, in order to determine if her love is reciprocal and genuine. He employs a small group of musicians to serenade at Rosina’s window, but she does not appear. Instead the Count encounters Figaro, the town factotum of many indispensable talents and formerly in his employ. The Count describes his predicament and (for a price) Figaro offers to help — because he has access to Bartolo’s household as his barber, he might be useful in winning Rosina’s release for the Count. Rosina appears at the window with a letter in hand but is apprehended by the jealous doctor. She lets the letter drop, and while Bartolo runs down to retrieve it, beckons to “Lindoro” to pick it up. When Bartolo finds no letter, Rosina insists that the wind must have blown it away, but he remains suspicious. Figaro devises a plan to have the Count gain entrance to the house by disguising himself as a drunken soldier. Once inside, he will be able to meet with his beloved.

Inside Bartolo’s house Figaro briefly confers with Rosina, who is determined to outwit her jailer. The sound of Bartolo approaching puts Figaro into hiding. The doctor enters in a fury — Figaro has debilitated his household staff by administering all the wrong medicines. When accused, Rosina admits to speaking to him and curtly leaves the room. Bartolo receives a visit from Rosina’s music teacher, Don Basilio, who brings news that Count Almaviva is in Seville and

traveling incognito in order to court Rosina undetected. Basilio advises Bartolo to destroy his rival by spreading vicious rumors. Bartolo decides instead to marry Rosina quickly, and they exit as Basilio agrees to help with the wedding arrangements. Figaro, who has been listening the entire time, finds Rosina to tell her of Bartolo’s plot and to let her know of her mystery lover’s imminent visit. Rosina is overjoyed, and at Figaro’s suggestion, begins to write “Lindoro” a note. Figaro leaves as Bartolo returns. He accuses Rosina of writing secret letters — a doctor of his standing cannot be easily fooled. He is determined to keep her under lock and key until their marriage is finalized.

Dressed in his soldier’s disguise, Almaviva arrives at Bartolo’s house and gives the doctor a written order requiring that he is to be given a night’s lodging. Bartolo desperately protests that he has an exemption from such billeting. Meanwhile, Rosina attempts to retrieve a letter from the Count but once observed, tries to convince Bartolo that it is a laundry list. As the pandemonium grows, the police are summoned, but an attempt to take Almaviva into custody is aborted as he privately reveals his true identity to the sergeant. It seems everyone, especially Dr. Bartolo, is left completely confounded by the day’s events.

ACT II The Count has assumed the new disguise of Don Alonso, a music teacher, in his continuing effort to win a few moments with Rosina and eventually free her from the household prison. Bartolo is made to believe that he is a student of Don Basilio and has been sent in his place because the music master is ill. He then gains Bartolo’s confidence by telling him he is privy to the plan to defame the Count and hands him Rosina’s letter as further evidence of his complicity. Bartolo falls for the story and allows the lesson to begin. Figaro enters, and while preparing for the doctor’s shave, takes the opportunity to steal the key to Rosina’s balcony. He creates a diversion to temporarily lure Bartolo away, and Rosina and Almaviva (whom she still believes to be Lindoro) discuss the details of their nocturnal escape. The unexpected arrival of Basilio complicates the matter, but sufficiently bribed, he is quickly ushered away. Bartolo eventually overhears details of the lovers’ plot and orders “Don Alonso” from his house. Realizing the Count’s agents have penetrated his home, Bartolo is determined to marry Rosina at once. He shows her the letter to Lindoro, claiming he obtained it from Count Almaviva, for whom Lindoro must be working. Rosina is left alone to consider her betrayal as a storm rages outside. As night falls, Figaro and Almaviva appear on the balcony as planned but are confronted by a furious Rosina, who believes she has been deceived. Almaviva reveals his true identity, and Rosina, at first stunned, accepts him with joy. Along with Figaro, they plan a big surprise for Bartolo upon his return.

MEET MN OPERA

PAIGE REYNOLDS RELATIONSHIP MARKETING ASSOCIATE

What I do: I foster relationships that help make our opera community expansive and diverse in all ways. That includes managing our Tempo program, cultivating community partnerships, managing our volunteer program, steering group sales efforts, and contributing to the overall planning and execution of audience development initiatives.

Why I’m excited about The Barber of Seville: Everything about Barber is fun and the music is super recognizable, making it perfect for folks who have never been to the opera before. It’s one that makes me laugh out loud and hum along. In addition to the classic lively music, I’m also really drawn to the whimsical sets and costuming of this production.

JAKE FEDOROWSKI ARTISTIC DEPARTMENT COORDINATOR I support the daily operations of the Artistic Department, in both an administrative and artistic function. I am involved in the logistics of programming, casting, and planning for future seasons, ensuring that MN Opera continues to produce art that both moves and inspires for generations to come.

Why I’m excited for The Barber of Seville: In my first stage management job, I was fortunate enough to work with some amazing artists at the Santa Fe Opera. Daniela Mack and Alek Shrader were two of those artists, singing in Handel’s Alcina as Bradamante and Oronte, respectively. I’m thrilled to have them joining us for this production!

REBECCA BLACKWELL EDUCATION ASSOCIATE

What I do: As a teaching artist, I work with all ages out in the community — from stage directing for our older adult program Voices of Opera, to performing in NOOMA, our recently co-commissioned opera for babies. Most of my time is spent teaching in our afterschool program for middle schoolers, which definitely keeps me on my toes.

Why I’m excited for The Barber of Seville: Barber is a charming and lovable comedy, but I most appreciate the way the opera encourages us to seriously reflect on our lives and relationships. I’m drawn to the rich dialogue about human nature, society, virtue — and that these moral questions can be raised without killing off characters or leaving the audience in tears. Oh, and how could I leave out my favorite character, Rosina — one of the coolest women in all of opera!

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

What I do:

THE BARBER OF SEVILLE 2019–20

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 The Barber of Seville.

DIRECTOR'S NOTES

MINNESOTA OPERA MNOPERA.ORG

evisiting The Barber of Seville is like spending time with an old friend. In my 20s, I worked on many Rossini operas and spent several summers as an assistant director at the famous Rossini Festival in his birthplace, Pesaro, Italy. Pesaro is a seaside town on the Adriatic, the un-chic side of Italy. There is a tiny theater, as well as a few alternate venues. Back then, the noted Rossini scholar, Philip Gossett, was editing and re-issuing Rossini’s scores. I came to learn all his obscure works by spending hours in the Foundation library pouring over these manuscripts. As an assistant director, my job was to work alongside the directors. It was a memorable time, with many fine Italian and American singers performing.

A REVOLUTIONARY PLAYWRIGHT

In short order, I was fortunate to be offered one of my very first solo directing jobs, doing my own new production of — coincidentally — The Barber of Seville, in, of all places, Reykjavík, for the Icelandic National Opera. AND…the opera was to be sung in Icelandic! But at that point, I didn’t care; it was my own new production. Since then, I have gone on to direct Barber in several different productions, and it is an opera that I am always happy to return to.

This production will be taking you back to a world inspired by the 18th-century Italian dramatist, Carlo Goldoni, with Venetian-style paintings and a commedia dell’arte aspect. I was inspired by the simple and direct world of these archetypal characters along with the genius of the delicious Beaumarchais play that inspired the opera. His writing and Rossini’s music make for a situational comedy with a revolutionary underpinning. FRANCESCA ZAMBELLO STAGE DIRECTOR

Watchmaker, harp teacher, playwright, spy — Pierre-Augustin Caron de Beaumarchais was something of a general factotum himself. Today operagoers know him as the man who gave us Figaro (and friends) in a trilogy of plays. Le Barbier de Séville (The Barber of Seville), the first, is a light-hearted comedy in which two young people, inspired by love, conspire against those who would prevent them from being together. In the second, La Folle Journée, ou Le Mariage de Figaro (The Crazy Day, or The Marriage of Figaro), the high-spirited conspirators of Barber have lost their common cause — and are in danger of losing their youthful affection and regard for one another. The second play in Beaumarchais’ “Figaro Trilogy” has more of a political edge, which is even more pronounced in the work that follows: L’Autre Tartuffe, ou La Mère Coupable (The Other Tartuffe, or The Guilty Mother). 1732 Pierre-Augustin Caron is born in Paris.

1778 Voltaire dies.

1751 The first volumes of the Encyclopédie, edited by Denis Diderot, are produced in France; its stated aim is to “change the way people think.”

1779 Beaumarchais purchases rights to publish the complete works of Voltaire, putting out 70 volumes between 1783-1790.

1753 Caron invents a new escapement for watches; the following year he is commissioned by Louis XV to create a watch mounted on a ring for Madame de Pompadour. 1756 Mozart is born. 1757 Caron takes the name Beaumarchais from property belonging to his wife. 1759 Beaumarchais becomes music teacher to the daughters of Louis XV. Voltaire writes Candide.

1761 Beaumarchais buys a royal title. 1762 Gluck’s Orfeo ed Euridice, the first of his “reform” operas, premieres in Vienna; the Paris premiere will follow twelve years later. 1767 Beaumarchais’ first dramatic play, Eugénie, premieres at the Comédie-Française. 1773 American colonists destroy a shipment of tea from the British East India Company in the Boston Harbor. 1774 Beaumarchais works as a secret agent in London. 1775 The Barber of Seville premieres as a five-act play and is not well received; the four-act version that follows is a success. The American War of Independence begins. 1776 Beaumarchais is entrusted by the government to send aid to the American rebels against the English. Volume I of Gibbon’s The Decline and Fall of the Roman Empire is published.

1782 Paisiello and Petrosello’s opera based on The Barber of Seville premieres in St. Petersburg. 1784 The first performance of The Marriage of Figaro (play) is given at the Comédie-Française; with the proceeds, Beaumarchais creates an institution for poor nursing mothers. 1786 Mozart and Da Ponte produce an opera based on The Marriage of Figaro. 1787 Beaumarchais and Salieri’s opera Tarare premieres in Paris. 1789 In Paris, revolutionaries storm the Bastille. 1791 Mozart dies. 1792 A Mother’s Guilt premieres at the Théâtre du Marais; the titles “Count” and “Countess” are suppressed for the Almavivas. Beaumarchais is entrusted with the purchase and transfer of 60,000 muskets stored in Holland, but arms suppliers have him arrested and imprisoned. Once he is freed, he flees to London, where he is jailed for debt.

Rossini is born.

1793 Louis XVI is executed and the Reign of Terror begins. 1799 Beaumarchais dies and is buried in the garden of his home. 1816 Rossini’s Almaviva premieres; later that year, after Paisiello dies, it is retitled The Barber of Seville. 1822 The remains of Beaumarchais are transferred to Père Lachaise Cemetery.

To appear always deeply concerned for the good of the State, yet to be concerned with nothing but self-interest; to assemble and say nothing; to pretend vast secrecy where there is nothing to conceal; to shut yourself up in your quarters, and mend your pen or pick your teeth while your servants inform the waiting crowd you are too busy to be approached — this, with the art of intercepting letters and excusing the poverty of means by the importance of the ends — this is the whole mystery of politics, or I am an idiot. B E A U M A R C H A I S

COMPOSER

ioachino Rossini’s parents were both working musicians. His father played the horn and taught at the prestigious Accademia Filarmonica in Bologna, and his mother, although not formally trained, was a soprano. Rossini was taught and encouraged at home until he eventually enrolled at the Liceo Musicale in Bologna. After graduation from that institution, the young musician was commissioned by the Venetian Teatro San Moisè to compose La cambiale di matrimonio, a comedy in one act. In 1812, Rossini wrote La pietra del paragone, for La Scala theater in Milan and was already, at the tender age of 20, Italy’s most prominent composer.

In 1815, Rossini accepted a contract to work for the theaters in Naples, where he would remain until 1822, composing prolifically in comfort. He composed 19 operas during this tenure, focusing his attention on opera seria and creating one of his most famous serious works, Otello, for the Teatro di San Carlo. While he served in this capacity, Rossini met and courted Isabella Colbran, a local soprano whom he would eventually marry. Other cities, too, clamored for Rossini’s works, and it was for Roman audiences that he composed the sparkling comedies Il barbiere di Siviglia (The Barber of Seville, 1816) and La Cenerentola (Cinderella, 1817). In 1822, Rossini left Naples and embarked on a European tour. The Italian musician was received enthusiastically to say the least, and enjoyed fame and acclaim everywhere. Even Beethoven, at the opposite stylistic pole in the

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In 1815, Rossini accepted a contract to work for the theaters in Naples ... He composed 19 operas during this tenure ... creating one of his most famous serious works, Otello ... Other cities, too, clamored for Rossini’s works, and it was for Roman audiences that he composed the sparkling comedies Il barbiere di Siviglia ( The Barber of Seville , 1816) and La Cenerentola ( Cinderella , 1817). to Paris where he would live for five years and serve as the music director at the Théâtre Italien from 1824 to 1826. The composer gained commissions from other opera houses in France, including the Paris Opéra. Rossini composed his final opera, Guillaume Tell (1829), before retiring from composition in that genre at the age of 37. Its overture is not only a concert

favorite but an unmistakable reflection and continuation of Beethoven’s heroic ideal. The catalog of work Rossini had written at the time of his retirement included 32 operas, two symphonies, numerous cantatas, and a handful of oratorios and chamber music pieces. After moving back to Italy, Rossini became a widower in 1845. His marriage to Isabella Colbran had not been particularly happy, and shortly after her death, the composer married Olympe Pélissier, a woman who had been his mistress. In 1855, Rossini, along with his new bride, moved once again, this time settling in Passy, a suburb of Paris. He spent the remaining years of his life writing sacred music as well as delectable miniatures for both piano and voice (some of which he called “sins of my old age”). He was revered from the time he was a teenager until his death. Rossini was buried in Paris’ Père Lachaise cemetery in proximity to the graves of Vincenzo Bellini, Luigi Cherubini, and Frédéric Chopin. In 1887, Rossini’s grave was transferred from Paris to Santa Croce, in Florence, in a ceremony attended by more than 6,000 admirers. Rossini’s chief legacy remains his extraordinary contribution to the operatic repertoire. His comedic masterpieces, including L’italiana in Algeri, La gazza ladra, and perhaps his most famous work, Il barbiere di Siviglia, are regarded as cornerstones of the genre along with works by Wolfgang Amadeus Mozart and Giuseppe Verdi.

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

BORN: FEBRUARY 29, 1792, PESARO, ITALY DIED: NOVEMBER 13, 1868, PARIS, FRANCE

musical scene of the day, praised him. The following year, Rossini was commissioned to write Semiramide, a serious opera, for La Fenice, a theater in Venice. This work was less successful in its own day than some of his previous efforts, but spawned several arias that remain part of any vocalist’s song book. In 1824, Rossini traveled, via London,

THE BARBER OF SEVILLE 2019–20

GIOACHINO ROSSINI

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

LIAM BECK-O’SULLIVAN

NICHOLAS DAVIS

APPLE VALLEY, MINNESOTA

PETERSBURG, TENNESSEE

FIGARO’S ASSISTANT Minnesota Opera Debut The Fix, 2019

Past

FIORELLO

Minnesota Opera Resident Artist Past Elektra, Minnesota Opera

The City of Conversation, PRIME Productions

La traviata, Minnesota Opera

Our Town, Artistry

The Fix, Minnesota Opera

Tarzan, Children’s Castle Theater

Silent Night, Minnesota Opera

Future

Hanukkah Lights in the Big Sky, Minnesota Jewish Theatre Company

Flight, Minnesota Opera

DANIELLE BECKVERMIT

ANDREW GILSTRAP

KINGSTON, NEW YORK

NASHVILLE, TENNESSEE

BERTA

Minnesota Opera Resident Artist Past

Edward Tulane, Minnesota Opera

BASILIO

Minnesota Opera Resident Artist Past

Elektra, Minnesota Opera

La traviata, Minnesota Opera

Rigoletto, Wolf Trap Opera

The Italian Straw Hat, Minnesota Opera

Romèo et Juliette, Wolf Trap Opera

Silent Night, Minnesota Opera

Pops Extravaganza: Bernstein at 100, National Orchestral Institute

Future Edward Tulane, Minnesota Opera

Future Flight, Minnesota Opera Don Giovanni, Minnesota Opera

LAURA BICKFORD

JOSHUA R. HOROWITZ

NEW YORK, NEW YORK

OLD BETHPAGE, NEW YORK

LIGHTING DESIGN RE-CREATION Minnesota Opera Debut The Barber of Seville, 2019

Past

ASSOCIATE DIRECTOR Minnesota Opera Debut The Barber of Seville, 2019

Past

The Dialogue of the Carmelites, Indiana University

Porgy and Bess, The Glimmerglass Festival*

The Ghosts of Versailles, The Glimmerglass Festival

The Barber of Seville, The Glimmerglass Festival*

Blue, The Glimmerglass Festival

La traviata, Washington National Opera*

La traviata, The Glimmerglass Festival

Florencia en el Amazonas, Houston Grand Opera*

Future Deep Blue Sea, Bill T. Jones/Arnie Zane Company

Future Aida, Houston Grand Opera* Porgy and Bess, Washington National Opera* The Barber of Seville, Cincinnati Opera

*Assistant Director

JOHN CONKLIN

DANIELA MACK

NEW YORK CITY, NEW YORK

BUENOS AIRES, ARGENTINA

SCENIC DESIGN

Minnesota Opera Debut La traviata, 1979

Past

ROSINA

Minnesota Opera Debut The Barber of Seville, 2019

Past

The Ghosts of Versailles, Metropolitan Opera

Semele, Opera Philadelphia

Der Ring des Nibelungen, Chicago Lyric Opera

Werther, Florida Grand Opera

Der Ring des Nibelungen, San Francisco Opera

La clemenza di Tito, Opera de Oviedo

Future Artistic Advisor, Boston Lyric Opera

The Barber of Seville, Michigan Opera Theatre

Future Messiah, National Symphony Orchestra Verdi’s Requiem, Opera Philadelphia Katya Kabanova, Metropolitan Opera

MINNESOTA OPERA MNOPERA.ORG

The Barber of Seville, Palm Beach Opera

PATRICK CARFIZZI

JOEL MATHIAS

NEWBURGH, NEW YORK

MINNEAPOLIS, MINNESOTA

BARTOLO

Minnesota Opera Debut Don Giovanni, 2005

Past

OFFICER

Minnesota Opera Debut Un ballo in maschera, 2007

Past

Così fan tutte, Lyric Opera of Kansas City

The Rape of Lucretia, Journey North Opera

Tosca, Metropolitan Opera

Così fan tutte, Mill City Summer Opera

L’italiana in Algeri, Santa Fe Opera

La belle Hélène, Lakes Area Music Festival

Future Tosca, Metropolitan Opera

The Consul, Arbeit Opera Theatre

Future

The Barber of Seville, San Diego Opera

The Rape of Lucretia, Arbeit Opera Theatre

L’elisir d’amore, Hessisches Staatstheater Wiesbaden

Don Giovanni, Minnesota Opera

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

JOSEPH MECHAVICH

HEIDI SPESARD-NOBLE

LONG LAKE, MINNESOTA

SHELBYVILLE, ILLINOIS

CONDUCTOR

Minnesota Opera Debut The Barber of Seville, 2019

Past

CHOREOGRAPHER

Minnesota Opera Debut The Merry Widow, 2002

Past

Dead Man Walking, Atlanta Opera

Thaïs, Minnesota Opera

Silent Night, Arizona Opera

The Shining, Minnesota Opera

Carmen, Kentucky Opera

Rusalka, Minnesota Opera

Werther, Florida Grand Opera

A New Brain, Artistry Theater

Future

Everest, Austin Opera

Edward Tulane, Minnesota Opera

Riders of the Purple Sage, Arizona Opera

Thaïs, Utah Opera

Die Zauberflöte, North Carolina Opera Macbeth, Florentine Opera

RODION POGOSSOV

ANDREW WHITFIELD

CINCINNATI, OHIO

BOSTON, MASSACHUSETTS

FIGARO

Minnesota Opera Debut The Barber of Seville, 2019

Past

CONDUCTOR AND CHORUS MASTER Minnesota Opera Debut La traviata, 2019

Past

La bohème, Royal Opera Covent Garden

Falstaff, Opera San José

Carmen, Seattle Opera

Tosca, Opera San José

Lucia di Lammermoor, Graz Oper

Der fliegende Holländer, Opera San José

Future La bohème, Munich National Opera La bohème, Metropolitan Opera

La bohème, Opera San José

Future Don Giovanni, Minnesota Opera

The Barber of Seville, Cincinnati Opera

LYNLY SAUNDERS

ROBERT WIERZEL

WASHINGTON, DISTRICT OF COLUMBIA

BRANFORD, CONNECTICUT

COSTUME DESIGN

Minnesota Opera Debut The Barber of Seville, 2019

Past

LIGHTING DESIGN

Minnesota Opera Debut The Turn of the Screw, 1999

Past

Proving Up, Washington National Opera

Dinner at Eight, Minnesota Opera

West Side Story, National Symphony Orchestra

The Fix, Minnesota Opera

Henry V, Faction of Fools

Blue, The Glimmerglass Festival

Future Don Giovanni, Washington National Opera

Jubilee, Arena Stage

Future The Ghosts of Versailles, Château de Versailles Spectacles

Freedom Ride, Chicago Opera Theatre

DOUG SCHOLZ-CARLSON

FRANCESCA ZAMBELLO

NORTHFIELD, MINNESOTA

NEW YORK, NEW YORK

INTIMACY DIRECTOR Minnesota Opera Debut La Cenerentola, 1997

Past

STAGE DIRECTOR

Minnesota Opera Debut The Barber of Seville, 2019

Past

Silent Night, Minnesota Opera

Der Ring des Nibelungen, Washington National Opera

A Little Night Music, Madison Opera

Aida, San Francisco Opera

Cymebline, Great River Shakespeare Festival

The Master Butchers, Guthrie Theater

Elektra, Minnesota Opera

The Barber of Seville, The Glimmerglass Festival

Future

Flight, Minnesota Opera

General and Artistic Director, The Glimmerglass Festival

Edward Tulane, Minnesota Opera

Artistic Director, Washington National Opera

Don Giovanni, Minnesota Opera

ALEK SHRADER COUNT ALMAVIVA ALVA, OKLAHOMA

Minnesota Opera Debut Diana’s Garden, 2017

Past Semele, Opera Philadelphia West Side Story, Edinburgh International Festival Candide, Philadelphia Orchestra

Future Don Giovanni, Washington National Opera Partenope, San Francisco Opera

THE BARBER OF SEVILLE 2019–20

Salome, Atlanta Opera

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

Eugene Onegin, Seattle Opera

ORCHESTRA + CHORUS CHORUS

MINNESOTA OPERA ORCHESTRA

CELLO

HORN

Teresa Richardson*

Mike Alexander*

Sally Dorer

Charles Hodgson

TENOR

VIOLIN I

Hocheol Shin

TRUMPET

Eric Mellum

Allison Ostrander Concertmaster

BASS

Natalia Moiseeva Asst. Concertmaster Julia Persitz David Mickens Colin McGuire Angela Waterman Hanson

Erik Carlson

Rebecca Arons

Evan Mitchell

John G. Koopmann* Christopher Volpe

Jacob Sorrells

TIMPANI

Phillip Takemura-Sears

Nicholas Swanson

Constance Martin*

Kenneth and Peggy Bonneville Chair

Charles Block

Kory Andry*

FLUTE

PERCUSSION

Heidi Amundson

Michele Frisch* double piccolo

Matthew Barber*

VIOLIN II

Bethany Gonella double piccolo

GUITAR

Laurie Petruconis* Elise Parker+

OBOE

Elizabeth Decker

Michael Dayton*

Melinda Marshall

Jeffrey Marshak

Colyn Tvete Adan Varela BARITONE/BASS Matt Christoff Paul Gutmann Joel Mathias

Christopher Kachian

David Nelson Tony Potts

FORTEPIANO

Seth Russell

Andrew Sun

Nikolas Simmons

Emilia Mettenbrink Michael Chien

VIOLA

Pablo Siqueiros

CLARINET Karrin Meffert-Nelson* Nina Olsen

Emily Hagen * Susan Janda Laurel Browne Jenny Lind Nilsson

BASSOON Laurie Hatcher Merz* Matthew Bertrand

* principal + assistant principal

Project Opera and Voices of Opera present

MINNESOTA OPERA’S 2019 WINTER CONCERT

MINNESOTA OPERA MNOPERA.ORG

SUNDAY, DECEMBER 15, 2019 AT 2PM AT THE ORDWAY CONCERT HALL

Join Project Opera and Voices of Opera for a joint concert of opera scenes and ensemble excerpts from popular operas, as well as seasonal favorites. Enjoy a sneak preview of Project Opera’s upcoming performance of Belongings, as well as joint performances with both ensembles. Directed by Mitra Sadegphour, Education Director, and Matthew Abernathy, Music Director for Voices of Opera. For tickets and more information visit mnopera.org/winter-concert

MITRA SADEGHPOUR Minnesota Opera Education Director

MATTHEW ABERNATHY Music Director for Voices of Opera

MEET THE ARTISTS

MeettheArtists

DANIELA MACK

(LEFT)

AS ROSINA

ALEK SHRADER

(RIGHT)

AS COUNT ALMAVIVA

DM Sharp, resourceful, and loving. AS Privileged, but likeable.

You’ve both performed these roles a number of times. What do you love about singing Rosina and Count Almaviva respectively? What are some of the challenges? DM Rosina keeps me young! I love digging into her youthful exuberance and spunk, and if I have the freedom to add little eccentricities and outbursts within the parameters of the production, all the better! Rossini’s

AS Almaviva is fun to play because

he has no restrictions. I love to defy expectations. He can be a challenging sing though, especially in the morning.

Not only have you sung these roles many times, you’ve sung them together many times. What are some of your favorite things about performing together? AS It’s always fun to have a partner

in crime on stage. I think it allows a greater feeling of spontaneity, even if it’s an old joke to us. She’s my straight man and I’m her goof. DM I can always count on this particular Count to make me laugh, which is perfect for our dynamic on stage. I feel free to explore silliness with him, and our boundaries with each other are of course not the same as with people we don’t know quite as well. It’s liberating to be able to throw ideas around as a team.

What is the strangest or most surprising thing that has ever happened during a performance? DM I was singing a performance of

L’italiana in Algeri as Isabella and had

an onstage costume change behind a backlit sheer curtain. It was supposed to be a sexy moment, but the costume that had been preset on stage for me to change into was made for a different singer, and was several sizes too small! I had to squeeze into a small pair of harem pants and continue the scene, but had to do so holding onto the back of my open pants and unable to turn my back to the audience. Otherwise, everyone would have seen much more than they paid for! AS Once, I recall terror gave way to joy

and I thought that was odd.

Do you have any plans for your time in Minnesota? Anything you’re dying to try or see? AS I love the Twin Cities! There are several things we’re going to do, but the one I’m heartbroken to omit is GalaxyCon. I can’t risk catching con crud during performances. DM I would love to explore the Twin

Cities if our schedule permits! By all accounts, it is a beautiful area. I have a list of great restaurants I’d love to try, and since we will be in town with our small daughter, we will definitely scout the best spot in town to trickor-treat!

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

Describe your character in The Barber of Seville in three words.

music is so inherently fun to sing! The biggest challenge with any role that I’ve done numerous times is finding something fresh about the role each time I sing it.

THE BARBER OF SEVILLE 2019–20

We are so happy to have Argentinian soprano Daniela Mack and tenor and Oklahoma native Alek Shrader joining us to sing Rosina and Count Almaviva in our colorfully captivating production of The Barber of Seville. While Ms. Mack is making her company debut, MN Opera fans may remember Mr. Shrader from his hilarious turn as Endimione in the 2017 production of Martín y Soler’s whimsical Diana’s Garden. You may know that both have brilliantly sung these roles many times in opera houses the world over, but one fact you may not know: they’re married! Recently, both sat down with us to talk about their roles as well as the comfort and freedom that comes with singing opposite your spouse.

E D I AT M N O P E R A

SINGING EVERY STORY Equity, Diversity, and Inclusion at MN Opera

MINNESOTA OPERA MNOPERA.ORG

In 2017, Minnesota Opera crafted a new mission statement that stated our intent to change lives by bringing together artists, audiences, and community, advancing the art of opera for today and for future generations. In order to begin that work, however, we had to acknowledge that opera — the art form, the performers, the productions, and the music — in the minds of many, has traditionally been thought of as “for” some audiences and “not for” other audiences. Therefore, to sustain opera’s relevance and vibrance, we recognized that it is imperative we create a company that inspires hope and empowers all voices, and where our audience, our staff and board, as well as our performers and performances, span an even wider cross section of Minnesotans and visitors from outside our state.

It’s this vision that led to the formation of MN Opera’s first Diversity Council, made up of staff members from every facet of the organization, with the aim of fostering a more diverse, equitable, and inclusive culture both inside and outside the opera hall. With the adoption of a new Diversity Charter, both our staff and board have made it a top priority to diversify our organization and audience across three areas: racial and ethnic diversity, socio-economic diversity, and age diversity. By inviting people with a greater variety of opinions, viewpoints, and ideas into our spaces, we believe we can better cultivate and enrich our culture of creativity.

expand the voices at the creative table,” says MN Opera President and General Director Ryan Taylor. “What excites me about this last season and moving into the next is the increased representation from female conductors and artists of color. Those who have been in the industry for a long time are really being challenged to articulate what is so important about the art — and how others can share in that excitement.” Our 2018–19 season saw an increase in the number of artists of color both on stage and behind the scenes, and we plan to build upon that in our upcoming seasons. Recently, we announced the commission of our newest opera for Project Opera, based on The Song Poet, a novel by Minnesota native and Hmong-American author Kao Kalia Yang that recounts her family’s journey from Laos to the United States. “I believe this opera will push the boundaries of the form and the dreams of my people and new Americans everywhere who live and love the arts in a positive and necessary direction,” says Yang. The Song Poet will continue its development throughout this season with a premiere date set for February 2021. We’re also thrilled to welcome a number of remarkable female artists this season, including The Barber of Seville stage director Francesca Zambello, and composer

Paola Prestini, whose Edward Tulane will premiere in March, with conductor Lidiya Yankovskaya leading the orchestra. In May, Mozart’s legendary womanizer, Don Giovanni, will be interpreted by stage director Keturah Stickann and conductor Karen Kamensek. “We’re really excited to tackle this story during this time,” says MN Opera Chief Artistic Officer Priti Gandhi. “It’s going to create a lot of conversation and an opportunity to see a very age-old dynamic about power between men and women reflected on the stage in a new way.” “There are so many practical and financial reasons to do this work. But above all else, it’s simply the right thing to do,” says Rocky Jones, MN Opera Communications Manager and incoming Diversity Council Chair. “Racism, misogyny, homophobia, ableism… all these forces pose daily threats to our friends, family members, and communities. Therefore, I’m extremely grateful to be a part of an organization that recognizes the moral imperative of this work and formally rejects and actively works against those forces. I’m hopeful that MN Opera will be a catalyst for positive change in our industry and for justice in our community.” To read our Diversity Charter and learn more about how we are putting our principles into practice, please visit mnopera.org/edi.

“Working under a new Diversity Charter allows us to have conversations about how we PHOTO (TOP) BY ROCKY JONES; PHOTO (BOTTOM) BY BRENT DUNDORE

O P E R A E D U C AT I O N

MN OPERA PRESENTS NOOMA

Babies are the target audience for our 48th new work. This past spring, Minnesota Opera presented NOOMA, a new work co-commissioned by Carnegie Hall, San Francisco Opera and MN Opera. The work received its world premiere at Carnegie Hall on Friday, April 26, 2019 and received its Midwest premiere as part of the Ordway’s Flint Hills Family Festival on May 30, 2019. This new opera, composed specifically with children ages 0-2 in mind, uses parachutes, butterflies, and balloons to create an intimate world of wonder and interaction. Composed by Saskia Lane and Emily Eagan, with a libretto by Zoe Palmer, the performance invites audiences into an expanding and contracting world and immerses them in a playful and interactive musical story that culminates in a final act under a parachute that serves as a metaphor for breathing. (‘NOOMA’ is a play on the ancient Greek word pneuma, meaning both breath and spirit or soul.) The piece is sung in English, but incorporates sounds shown to help stimulate early linguistic development. “When you say ‘opera for babies,’ everyone in my world laughs,”

says Lane, a Brooklyn-based bassist and composer. “It’s not funny, actually. It’s serious … We’re trying to make something with a high artistic standard … something beautiful that works for this age — and for the grownups in the room.” NOOMA was designed and first performed by Moving Star Vocal Ensemble in Carnegie Hall’s Resnick Education Wing. Moving Star is a vocal ensemble that creates original music for a cappella voices infused with a wide variety of improvisational techniques. Improvisation is the lifeblood that runs throughout Moving Star’s experimental rehearsal process, compositions, and on-the-spot improvisations. MN Opera’s staging of the piece featured MN Opera Teaching Artists Rebecca Blackwell and Sara Sawyer, actor Ivory Doublette, and soprano and MN Opera favorite Bergen Baker (La traviata, 2019) provided theatrical support. To better understand the effect of music in early childhood development, Carnegie Hall commissioned a research paper

in concert with a new initiative from Dr. Dennie Palmer Wolf, an expert in the field. Entitled Why Making Music Matters: Singing, Playing, Moving, and Sharing in the Early Years, the paper points to several key reasons why investing in children early and often is critical to healthy development and a successful future-and demonstrates that music can play a powerful role in everyday interactions that support our next generation. “NOOMA is filled with beauty and complexity and it’s really bringing them into such highquality art at such a young age,” says Blackwell. “It’s incredible that there’s that kind of opportunity for babies.” NOOMA is a part of MN Opera’s expanding Opera for All Ages initiatives. Find out more at mnopera.org/learn.

PHOTOS BY DAN NORMAN

F L I G HT January 25–February 2, 2020 SAT

7:30 pm

TUE

7:30 pm

THUR

SAT

SUN

7:30 pm

8 pm

2pm

Make your connection. Eight complete strangers find they have more in common than they think. Stranded overnight at an airport, they meet a refugee forced to call the terminal his home and soon realize they

Flight, 2017 © Steve Bartolomeo for Opera Parallèle

need each other to get to their destinations. Inspired by a true story, Jonathan Dove’s Flight is a deeply human dramedy all about what it means to make a real connection.

Perfect if you like: The Breakfast Club, The Terminal, and Lost. Sung in English with English captions projected above the stage.

NOW BOARDING YOUR NONSTOP FLIGHT TO: A NEW WORK

A WORLD PREMIERE

JAN 25–FEB 2

MAR 21–29

AND A CLASSIC

MAY 2–16

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B O A R D , S TA F F, + V O L U N T E E R S

STAFF

AR T I ST IC DIRECTORS Vanessa Abbe

Natalie Volin Lehr

Patricia Beithon

Mike McNamara

Rebecca Bernhard

Fayneese Miller

Sharon Bloodworth

Leni Moore

Shari Boehnen

Jose Peris

Alberto Castillo

Bart Reed

Jane Confer

Mary H. Schrock

Terrance Dolan

David Smith

Sidney W. Emery

Nadege Souvenir

Mark C. Gordon

Norrie Thomas

Maureen Harms Dorothy Horns, MD

Missy Staples Thompson

Diane Jacobson

Wendy Unglaub

John C. Junek

H. Bernt von Ohlen

Anna Kokayeff, MD

Greg Waibel

Stephanie Kravetz

Craig Walvatne

Mary Lazarus

William White

Robert Lee

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 Burton Cohen

Lucy Rosenberry Jones

Ellie Crosby

Kevin H. Smith

Julia W. Dayton

Virginia L. Stringer

John Huss

Mary W. Vaughan

HONO RA RY D I REC TO R S Philip Brunelle

MINNESOTA OPERA MNOPERA.ORG

TEMPO COUNCIL M EMBERS Marjahn Golban

Raegan Henderson

Sosha Brink

Laura Wright

Alison Jarzyna

Drew Gumlia

Elijah Saiger

Heber Diaz

Carrie Anderson Jon Tollefson Jessica Brooks

E DU C AT IO N

Katie Anderson Nina Archabal Josee Axberg Michelle Cadieux Aiden Campbell Ahna Clark Ann Drivas David Earp Joan Gacki Belem Gomez Vega Paul Good Jessica Grams Rachel Gustafson Isra Hassan Tim Jones Emily Judge-Becker Julie Karlson

Robin Keck

DE V E LOPME NT

Mary McDiarmid

Katie Mclean

MAR K E T ING /CO MMU NICAT IO NS Chief Marketing Officer | Darby Lunceford Marketing Director | Katherine L. Castille Associate Marketing Director | Kristin Matejcek Marketing Manager | Amanda Rodriguez Relationship Marketing Associate | Paige Reynolds Senior Graphic Designer | Kristin Backman Associate Communications Director | Eric Broker Communications Manager | Rocky Jones Interim Web and Digital Associate | Severin Lier Patron Services Director | Greg Campbell Patron Services Manager | Kevin Beckey Associate Patron Services Manager | Karl Annable Patron Services Representatives | Justin Cooke, Carol Corich, Henry Dykstal, Evy Johnson, Emily Ross, Emily Sasik

Laura Kucera Mollie Laidly Mary Lach Jim Matejcek

Barbara Moore Nicole Murray Doug Myhra Ben Neubecker Mackenzie Newkirk Candyce Osterkamp Pat Panshin Michele Schluender Amy Sirivie Wendi Sott Norm Tiedemann Barbara Willis Madison Young Darcy Zimbrick

P R O DU CT IO N

Liz Kochiras

Janelle Jones

Chief Artistic Officer | Priti Gandhi Head of Music | Allen Perriello Company Manager | Roxanne Stouffer-Cruz Assistant Conductor and Chorus Master | Andrew Whitfield Artistic Department Coordinator | Jake Fedorowski Associate Conductor | Jonathan Brandani Resident Artists | Mia Athey, Danielle Beckvermit, Mary Box, Frankie Charles, Adam Da Ros, Nicholas Davis, Andrew Gilstrap, Lisa Marie Rogali, Christian Sanders, Andrew Sun

2019–20 VOLUNTEERS

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

UPCOMING EVENTS

M I N N E S OTA O P E R A I N F O Minnesota Opera Patron Services 620 North First Street, Minneapolis, MN 55401 612-333-6669

DEC. 15, 2PM Join us for a joint concert of opera scenes and ensemble excerpts from popular operas, as well as holiday favorites. Enjoy a sneak preview of Project Opera’s upcoming performance Belongings, as well as performances with MN Opera’s Voices of Opera adult chorus. MNOPERA.ORG/WINTER-CONCERT

Belongings FEB. 8–13 Belongings explores the stories of two groups of children, across two time periods, who are forced to flee their homes because of war. Project Opera’s performers step into the shoes of young people just like them—children and teenagers with the same aspirations and dreams who were simply born into different circumstances. MNOPERA.ORG/BELONGINGS

Flight JAN. 25–FEB. 2 Make your connection. Stranded overnight at an airport, eight strangers meet a refugee forced to call the terminal home. Inspired by a true story, Jonathan Dove’s Flight is a touching, charming, and deeply human dramedy about what it means to make a real connection. MNOPERA.ORG/FLIGHT

Edward Tulane MAR. 21–29 Lost hearts can find home again. Based on the best-seller by local author Kate DiCamillo that is perfect for the young and the young at heart, Edward Tulane is an elegantly whimsical Minnesota original that shows us a true miracle — if you open your heart, you can find home. MNOPERA.ORG/TULANE

Sphinx Virtuosi: For Justice and Peace

Don Giovanni

MAR. 1, 3PM

MAY 2–16

A chamber ensemble comprised of the nation’s top Black and Latinx classical string soloists, the Sphinx Virtuosi returns to St. Paul for the fourth time performing music that shows how justice and peace find their way into music without regard to time and place. Co-presented by the Arts Partnership (the Ordway, MN Opera, Schubert Club, and the SPCO).

So hot, he’ll burn. From the world’s most well-known composer, Mozart’s Don Giovanni seamlessly blends dark comedy with biting social commentary in this smart and otherworldly story of a man who dares to defy hell itself. MNOPERA.ORG/DON-GIOVANNI

BOXOFFICE.ORDWAY.ORG

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. 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 612-333-6669 or visit mnopera.org to purchase passes. Accessibility For patrons with disabilities, wheelchairaccessible seats are available. Audio description will be available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. At the Ordway, accessible restrooms and other facilities are available, as well as braille or large-print programs and infrared listening systems. For more information, please visit mnopera.org/access. Ordway Policies Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break. Please have all cell phones and pagers turned to 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.

M I N N ES OTA O P E R A VOLUNT E E R P R O G R A M MN Opera relies on volunteers in so many ways! Want to get involved? Sign up for our volunteer program to contribute your skills and see what happens behind the scenes.

Learn more at mnopera.org/volunteer

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.

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

Project Opera and Voices of Opera Winter Concert

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 Ticket Office 90 minutes prior to curtain.

THE BARBER OF SEVILLE 2019–20

Upcoming events

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 Campaign between July 1, 2018 and September 1, 2019. Thank you for making exceptional art come to life.

BEL CANTO CIRCLE The following lists donors who have made leadership gifts of $10,000+. For more information on Bel Canto Circle membership, please contact John Kupris, Sr. Major Gifts & Campaign Director, at 612-342-9595. PLATINUM Anonymous Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson John and Kathleen Junek George and Margaret Sparks Margaret Wurtele Wayne Zink and Christopher Schout

CAMERATA CIRCLE The following lists donors who have made gifts of $2,500 to $9,999. For more information on Camerata Circle membership, please contact Nickolas Sanches, Development Officer, at 612-342-9550.

MINNESOTA OPERA MNOPERA.ORG

GOLD Vanessa Abbe Michael Birt Ann and Glenn Butterman Judith Garcia Galiana and Alberto Castillo Ralph D. Ebbott Maureen and Mike Harms Sharon Hawkins Miriam and Erwin Kelen Robert Kriel and Linda Krach Natalie Volin Lehr Harvey Thomas McLain Jose Peris and Diana Gulden Connie and Lew Remele Nadege J. Souvenir and Joshua A. Dorothy Wendy and Paul Unglaub Stephanie and Craig Walvatne

PATRON CIRCLE The following lists donors who have made gifts of $250 to $2,499. While space limitations allow us to list only those donors of $250 or more, we sincerely appreciate every gift. GOLD Anonymous (3) Emin and Britny Aklik Jane and Jamie Andrews

Kenneth and Peggy Bonneville Susan Boren King Jane M. and Ogden W. Confer Mr. and Mrs. William Frels Beverly N. Grossman Joseph and Bette Hirsch Jeannie Holmes Kimberly and George Hudachek Diane and Paul Jacobson Kyle Kossol and Tom Becker Christl and Andrew Larson Mary Ash and Barry Lazarus Robert L. Lee and Mary E. Schaffner Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Barton and Kimberly Reed Mary H. and Christian G. Schrock Greg Sullivan and Annie Frazer Ryan Taylor Dr. Norrie Thomas William White

GOLD Patricia Beithon Alexandra O. Bjorklund* Mary and Gus Blanchard Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Found Terrance and Susan Dolan Sara and Jock Donaldson William I. and Bianca M. Fine Charitable Trust Mary Ingebrand-Pohlad Natalie Volin Lehr Jeninne McGee Kendrick B. Melrose Donor Advised Fund of The Minneapolis Foundation Elizabeth Redleaf Paul and Mary Reyelts Jesse and Linda Singh Mary Vaughan

SILVER Anonymous Susan Calmenson and Vince Leo Ellie Crosby – The Longview Foundation Jay and Rebecca Debertin Mr. and Mrs. Philip Isaacson Kay Ness and Chris Wolohan Allegro Fund of the Saint Paul Foundation Mahlon and Karen Schneider Missy Staples Thompson and Gar Hargens H. Bernt von Ohlen and W. Thomas Nichol

SILVER Anonymous Martha and Bruce Atwater Fund of The Minneapolis Foundation An Anonymous Fund of The Minneapolis Foundation William Biermaier and David Hanson Jan Conlin and Gene Goetz Ann Fankhanel Gail Fiskewold Dr. Richard Gregory Susanne Haas and Ross Formell Michele Harris and Peter Tanghe Janet N. Jones Patty and Warren Kelly Ilo and Margaret Leppik Fayneese Miller Karla Miller Dr. and Mrs. Alfred Moore Sandy and Bob Morris Richard and Nancy Nicholson Luis Pagan-Carlo and Joseph Sammartino Sarah and Rolf Peters Ken and Nina Rothchild Julie and Bruce Steiner Dr. Andrew J. Thomas Stephanie C. Van D’Elden Charles Allen Ward Fund of The Saint Paul Foundation

BRONZE Anonymous Richard Allendorf Dan and Martha Goldberg Aronson Michelle Blaeser Will and Margee Bracken Laurie Carlson and William Voedisch Rachelle Dockman Chase Rusty and Burt Cohen Gisela Corbett and Peter Hyman Thomas and Mary Lou Detwiler Dr. Mary Anne Ebert and Paul Stembler Joyce and Hugh Edmondson Patricia R. Freeburg Woessner Freeman Family Foundation Mrs. Myrtle Grette Alfred and Ingrid Lenz Harrison Linda and Jack Hoeschler Jean McGough Holten Dr. Arthur and Fran Horowitz Hubert Joly Robert and Susan Josselson The Art and Martha Kaemmer Fund of HRK Foundation Lyndel and Blaine King Robert and Venetia Kudrle Eric and Celita Levinson

David MacMillan and Judy Krow Velia R. Melrose Betty Myers Sally and Thomas Patterson Mrs. William S. Phillips Peter and Rita Reed John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde Andrea and James Rubenstein Janet and Bill Schaeder Frank and Lynda Sharbrough David Smith Margaret Smedes Poyner Jerry Swenson Jill and John Thompson Debra R. Ting Ellen M. Wells Nancy and Frederick Weyerhaeuser

Ruth and Dale Bachman Carl and Joan Behr Barbara S. Belk Rebecca Bernhard Ed and Mimi Bohrer Drs. Eli and Jan Briones Debra Brooks and James Meunier Joan and George Carlson Steve Coleman Barb and Jeff Couture Mike and Stacey Crosby – The Longview Foundation Jean Deatrick and Eldon Feist

Cy and Paula DeCosse Fund of The Minneapolis Foundation Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Maureen and John Drewitz Joan Duddingston David Dudycha and Dorothy Vawter Laura and Tim Edman Salvatore Silvestri Franco Martha Gabbert Heidi and Howard Gilbert Bill and Paula Glade

Marsha and Richard Gould Jennifer Gross Thomas and Mary Gross Bruce and Jean Grussing Rehael Fund – Roger Hale/Nor Hall of The Minneapolis Foundation Marion and Donald Hall Anne Marie and Larry Halvorson Nancy A. Harris Don Helgeson and Sue Shepard Elfrieda Hintze Shirley Hogan Jill Irvine Crow H. H. Irvine*

BRONZE Anonymous Karen Bachman Stephen and Margaret Blake Sharon Bloodworth and Barrett Johnson Shari and David Boehnen

SILVER Anonymous (2) Barbara Agard Thomas O. Allen Arlene and Tom Alm Katherine Anderson August J. Aquila and Emily Haliziw Dr. and Mrs. Orn Arnar Steve and Sharon Bachman Jo and Gordon Bailey Family Fund of the Catholic Community Foundation

Rebecca D. Arons and Thomas J. Basting Jr. Mr. and Mrs. Judson Bemis, Jr. Gerald and Phyllis Benson Patricia and Martin Blumenreich Gerald Bradley Cheryl Brown Thomas and Joyce Bruckner Jimmy Burnett Katherine L. Castille Ann Marie and Jim Collins Susan and Richard Crockett Helen and John Crosson Stephen Davis and Murray Thomas Rondi Erickson and Sandy Lewis* Brian M. Finstad James and Barbara Gahlon William W. and Susan G. Gerberich Roger and Karen Hale Mark Halldorson Lowell Hanson Burton and Sandra Hoverson Ray Jacobsen Charlie Johnson Nancy Jones Beverly Kasper Michael and Sheue Keenan Mary L. Kenzie Foundation Carole and Joseph Killpatrick Robert and Barbara Kueppers Anita Kunin Cynthia and Lawrence Lee Natalie Levin and Stephen Gilberstadt William and Gloria Levin Ben Lewandowski Jonathan and Lisa Lewis Steve and Agnes Matheson Kris and Bill McGrath Deb and Jon McTaggart Judith and James Mellinger Virginia Miller Steven J. Mittelholtz Virginia Dudley and William Myers Merritt C. Nequette and Nancy Hartung James A. Payne Lana K. Pemberton Carol Peterson Marge and Dwight Peterson Walter Pickhardt and Sandra Resnick Lawrence Redmond Scott and Courtney Rile Bryn Roberts and Marcy Jefferson Mallory Roberts and Jonathan Lilienthal Bob Rose Liane A. Rosel Christopher Ross Marian R. Rubenfeld and Frederick G. Langendorf Richard and Carol Seaberg Doris Jean Seely Madeline Simon Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Jon Spoerri and Debra Christgau Brian Staufenbiel Warren Stortroen

BECOME A DONOR

Craig and Janet Swan Julia Swanson-Balding and John Balding Robert and Shoshana Tancer Josephine Trubek Marcelo Valdes Kenneth and Kathryn Valentas Laurie Vinyon David L. Ward Elizabeth Wexler Michael Wigley Frank and Frances Wilkinson John M. Williams Barbara and James Willis BRONZE Anonymous (2) Mary Abbe Paul and Val Ackerman Carolyn M. Adams Rolf T. Anderson Kay C. Bach Susanne and Johan Bakken Thomas Bakken Jill and Thomas Barland Naren Bauer Mark Bayuk Longine Beck Sharla and Mark Beithon Bender Vocal Studio Kenneth J. Berglund John and Cindy Beukema Sharon Bigot David Bjork and Jeff Bengston Judith and Paul Brandon Roger and Ronnie Brooks Henry and Emilie Buchwald Deborah Carlson Alan E. and Ruth Carp Wanda and David Cline Herbert Colwill Jeanne E. Corwin Mary Davidson Thomas Doran Noah Eisenberg Leah and Ian Evison Steven and Mimi Fisher Jinnet Fowles Priti Gandhi Carol and Mike Garbisch Greta Garmers Nancy and Clyde Gerber Mark Giga James and Jo Glasser James Glazier Beth Glynn Laura Green Russell and Priscilla Hankins Laurie Hansen Stefan and Lonnie Helgeson Rosmarie and John Helling Cliffton and Sharon Hill Mark and Kathleen Humphrey Mark and Jeanne Jacobson Deborah and Ronald Jans Alison Jarzyna Erika Kahler Ed and Martha Karels James and Kathleen Karges Barry and Cheryl Kempton Robert Kieft Janice Kimes Nathan Kulenkamp Beatrice H. Langford

Sandra Larson Darby Lunceford and Todd Wright Holly MacDonald and John Orbison Stuart MacGibbon Dr. Joan E. Madden Anonymous Kristin and Jim Matejcek Sean McAleer Ehren McGeehan Sam Meals Mary Ann and John Mecom Adele Mehta John L. Michel and H. Berit Midelfort Eldon and Anne Miller John W. Miller, Jr. James Miner Jodi and Michael Mooney Mina Fisher and Fritz Nelson Richard and Nancy Nelson Jay and Helen Newlin Patricia A. O’Gorman Ann Ormond Fennell Scott J. Pakudaitis Julia and Brian Palmer Allen Perriello John and Margaret Perry Judith Pettit Anne and John Polta Nicole and Charles Prescott Kevin Puts Karen Quisenberry Ann Richter Philip and Mary Rickey Robert E. Rocknem Ronald Roed Michael and Tamara Root Michael Ryan Irene and Mel Sahyun Julia Sand Terry Sandven Kate Saumur Joan Semmer Jerald and Leona Shannon Emily and Daniel Shapiro Rebecca and John Shockley Kathleen K. Simo Linnea Sodergren Donna and Kenneth Speake Dr. David M. Steinhaus Charlotte Taylor Joyce Thielen Marie J. Thomas Catherine Vesley John Vilandre Stephanie Wexler John and Sandra White J. Andrew and Gary S. Whitford Holey Wendy Wildung James Wire * in remembrance

and bring innovative opera productions to life. Visit mnopera.org/support to give online.

THANK YOU!

THE BARBER OF SEVILLE 2019–20

Clayton Jelinek Barbara Jenkins Dale A. Johnson Bryce and Paula Johnson Phyllis Kahn Jane and Jim Kaufman Fund of The Minneapolis Foundation Margaret V. Kinney Andrea M. Kircher William and Sarah Kling Constance and Daniel Kunin Gail Oliver and James LaFave Kenyon S. Latham Laurence and Jean LeJeune Bill Long Bill Lough and Barbara Pinaire Reid and Ann MacDonald Margery Martin and Dan Feidt Carolyn Mayo Barbara McBurney Laura McCarten Edwin McCarthy and Susan Brewster Patricia N. and Samuel D. McCullough Kay Phillips and Jill Mortensen Thomas P. Murtha and Stefanie A. Lenway Lucia Newell and Steven Wiese Brandon and Melissa Novy Ruth and Ahmad Orandi Dede Ouren Kelly and Michael Palmer Derrill Pankow Suzanne and William Payne Mary and Robert Price Sarah Rockler Enrique and Clara Rotstein Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Christine Sagstetter Sampson Family Charitable Foundation Mary Savina Fred and Gloria Sewell Cherie and Robert Shreck Bernie and Juliana Simmons Kevin and Lynn Smith Sharon and Thomas Stoffel Dana and Stephen Strand Ruth Stricker Dayton Carley, Bill, Kirsten, and Carolyn Stuber Jennifer and David Thomas Jean Thomson Neal Viemeister and Virginia Kirby Kathleen Welander John W. Windhorst Jr.

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 the Opera in their wills or estate plans. Anonymous (5) Norton Hintz* and Mary Abbe Paul and Val Ackerman Thomas Allen Cordelia Anderson and John Humleker 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 C.T. Bundy II Margaret M. Carasik Joan and George Carlson Robin J. Carpenter* Darlene J. and Richard P. Carroll

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.

COMMEMORATIVE GIFTS The following lists donors who have made gifts in honor or in memory of a loved one between July 1, 2018 and September 1, 2019. IN HONOR OF:

Matthew Abernathy Dale Borgeson

Susan Boren and Steve King

Rachelle Chase and John Feldman

MINNESOTA OPERA MNOPERA.ORG

Rachelle Chase

Luis Pagan-Carlo and Joseph Sammartino

Ann Friese

Tess Habermann

Eric John Halvorson Sandra M. LeBlanc

Dale A. Johnson

Dawn M. Loven Jamie and Jane Andrews Lisa Butcher Mark Campbell Katherine L. Castille Rachelle Chase and John Feldman Sara and Jock Donaldson Karen Finseth Brenda A Harris Ruth and A. Huss Mary Ingebrand-Pohlad Diane and Paul Jacobson Janice and William Kimes Robert and Venetia Kudrle

Julia and Dan Cross Julia W. Dayton Charles M. Denny Jr. and Carol E. Denny George* and Susan Doty Rudolph Driscoll* Anne P. Ducharme Rondi Erickson and Sandy Lewis Ester Fesler Daniel E. Freeman 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* Ruth Jones* Charles and Sally Jorgensen Robert and Susan Josselson Charlotte* and Markle Karlen Mary H. Keithahn Warren and Patty Kelly Margaret Kilroe Trust*

Lyndel and Blaine King Gretchen Klein* Sally 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 David Mayo Barbara and Thomas* McBurney Mary McDiarmid Mildred McGonagle* Mary Bigelow McMillan* Sheila McNally* Mrs. Walter Meyers* John L. Michel and H. Berit Midelfort Susan Molder* Edith Mueller* Kay Ness 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 Mary H. and Christian G. Schrock 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* William White Philip Oxman and Harvey Zuckman

Barbara White Bemis Fund for Artistic Enhancement

Founders Endowment Fund

Valerie and Paul Ackerman Endowment Fund

The appearances of Alek Shrader, grand prize winner; Danielle Beckvermit, grand finalist; Daniela Mack and Patrick Carfizzi, regional finalists 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.

Mary and Barry Lazarus Dawn M. Loven Kristin and Jim Matejcek Leni and David Moore Theresa and Jim Murray Kay Ness Jose Peris and Diana Gulden Joel Puckett Kevin Puts Barton and Kimberly Reed Andrea and James Rubenstein Nickolas David Sanches Mahlon and Karen Schneider Roxanne Stouffer Cruz Carley and Bill Stuber Jennifer Thill Bernt von Ohlen and Thomas Nichol Andy Wilkowske Lani Willis and Joel Spoonheim Margaret Wurtele Adriana J. Zabala

James Johnson and Lucy R. Jones Anonymous Mahlon and Karen Schneider

John Junek

Susan McGowan

Velia Melrose

Kendrick B. Melrose Family Foundation

Coreen Nordling

Denise Cronin Brian and Jane Grivna

Charlotte J. Prentice

Dr. Azizollah Arabkhazaeli Faezeh and Khalid Effendi Carol Garcia Mervyn and Margiolina Hough Reza and Suzette Foroozan Yazdani

To support new and innovate 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.

For more information on making estate plan arrangements, please contact Mallory Roberts, Development Director, at 612-342-9566.

* 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

Joel Puckett

Herbert Kahler

Scott and Courtney Rile

T. Scott Krenz

Natalie Puckett Evans Sarah L. Irwin

Mary and Christian Schrock

Mary Ash and Barry Lazarus Bernt von Ohlen and Thomas Nichol

J. & I. Zerhusen

Kirsten Zerhusen

Nicholas Butler Anonymous (3) Sara and Jock Donaldson Matthew Ericson Lisa Kay Hanson Theresa, Jim and Nicole Murray Colleen Pollack

Lance Leipold

Judith and Paul Brandon

IN MEMORY OF:

Judson and Barbara Bemis Sandra Roe

Arlene B. Bryant

Maureen and John Drewitz

Dr. Nathan H. and Blanche Camm Barbara Leslie Camm

Harold and Winnie Doran A. Brian Doran

Edward Foreman, bass Dr. Gilliam Horrocks

Gloria Gross

John and Sandra Murphy

Helen Hines

Maureen and John Drewitz

Martha Kaemmer

Cheryl Brown Art and Marther Kaemmer Fund of the HRK Foundation MAHADH Fund of the HRK Foundation Jeffrey Masco

Sara Livshitz

The Mikhailenko Family

Tom and Mary Nee Cheryl Brown

Susan Platon

Erika Kahler

Jon L. Schasker

Debbie Carlson

Audrey Stottler Lila Olson

Marie Tentoni Mark Bayuk

Ruth Wallentine

Maureen and John Drewitz

Heinrich Wurdak

Barbara Jane Bloomer

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

$ 1 0,0 0 0 – $ 24, 9 9 9

MAHADH Fund of the HRK Foundation

$5,0 0 0 – $9,999

The Aaron Copland Fund for Music Inc. Best Buy Boss Foundation Curtis L. Carlson Family Foundation Dellwood Foundation Ernst & Young Faegre Baker Daniels Anna M. Heilmaier Charitable Foundation Hutter Family Foundation

Mayo Clinic Pachel Foundation Rahr Corporation RBC Wealth Management Schwegman, Lundberg & Woessner P.A. St. Paul Cultural STAR Travelers Foundation Twin Cities Opera Guild Xcel Energy

$ 2 , 50 0 – $ 4, 9 9 9

$ 2 50 – $ 2 , 49 9

Anonymous Amphion Foundation Kitselman Foundation Margaret Rivers Fund Peravid Foundation The Elizabeth C. Quinlan Foundation Tennant Foundation

Anonymous Enterprise Holdings Foundation Great River Energy McVay Foundation Onan Family Foundation Romanaggi Foundation USI 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

OFFICIAL MAKE-UP PARTNER

OFFICIAL HOTEL OF MINNESOTA OPERA

IN-KIND

MEDIA PARTNER

RESTAURANT PARTNER

SAKURA

THE BARBER OF SEVILLE 2019–20

Fred C. and Katherine B. Andersen Foundation

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

Hardenbergh Foundation

ANNOUNCING THE NEW RESIDENT ARTIST CIRCLE! We know that the outstanding success of the Resident Artist Program is due to the enthusiasm and support of patrons like you. This is why Minnesota Opera is excited to announce a new opportunity to more deeply engage with the Resident Artists, connect with other patrons like you, and have fun doing it! Resident Artist Circle members receive invitations to exclusive events, including lectures, studio recitals, and masterclasses; they get the inside scoop through quarterly RAP newsletters, invitations to experience the audition process,

and they are among the first to hear about the new opera season and Resident Artist casting. In addition, members enjoy special opportunities to volunteer with Minnesota Opera and socialize with the artists and others who have similar passions. Our first Resident Artist Circle Event will be held at noon on November 12 at the Minnesota Opera Center with more unique opportunities and events to come. To be a part of the Resident Artist Circle, make a dedicated gift of $500 or more online or contact Nickolas Sanches at nsanches@mnopera.org or 612-342-9550.

In Memoriam MINNESOTA OPERA MNOPERA.ORG

Horace Irvine II

Members of the staff and Board of Directors of Minnesota Opera mourn the passing of Horace “Hod” Irvine II. Hod served on the Board of Directors during the transition from Center Opera to Minnesota Opera in the early 1970s. A lifelong opera fan, Hod had a deep appreciation for dramatic sopranos and Verdi operas and through his leadership at MN Opera, Opera America, and other opera companies across the nation, he shared the joy of this art form with thousands of operagoers. His passion for opera and the arts made a lasting impact across the country.

MNOpera-Barber-Nov2019.qxp_Layout 1 10/23/19

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