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RYAN TAYLOR PRESIDENT AND GENERAL DIRECTOR
F E A T U R E S
Welcome to the Minnesota Opera premiere of Dead Man Walking. Based on the book of the same name by Sister Helen Prejean, C.S.J., the opera adaptation premiered in 2000 and has since been seen in nearly 60 productions on five continents. We hope you’ll find this story of love, grace, and spiritual redemption moving. We’re on the cusp of a new season here at Minnesota Opera — stay tuned for the announcement of our spectacular 2018–2019 season in just a few short weeks. As always, thank you for your patronage and your support. We cannot wait to experience another thought-provoking season of opera with you all!
CO N T E N TS
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10
Dead Man Walking Synopsis
11 About the Opera
12
Director's Notes
13 A Leader in New Works
A Leader in New Works • 13 Two upcoming commissions, an opera based on the “Black Sox” scandal of 1919 and The Miraculous Journey of Edward Tulane, continue Minnesota Opera’s legacy of expanding the operatic art form.
14 Cast and Creative Team 17 Meet the Artist: Catherine Martin 18 Orchestra, Chorus, and Supernumeraries 19 Rigoletto Preview 21 Gods and Monsters 22 B oard of Directors, Staff, and Volunteers 23 Upcoming Events 23 Minnesota Opera Information
Meet the Artist: Catherine Martin • 17 American mezzo-soprano Catherine Martin, who has been praised by The Washington Post for her “gorgeous, warm voice that you want to keep listening to,” stars in Dead Man Walking.
24 Individual Giving 27 Special Giving 28 Institutional Giving LARGE-PRINT AND BRAILLE PROGRAMS ARE AVAILABLE AT THE PATRON SERVICES OFFICE.
Gods and Monsters • 21 Project Opera, Minnesota Opera’s nationally-renowned training program for young singers, presents Ben Moore’s Odyssey.
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2 GREAT SERIES
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a co-presentation with The O’Shaughnessy
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Photos by Allen Weeks
Music and Lyrics by
S te p h e n S o n d h e i m
BBk by
John Weidman
D i r e c ted b y P eter R ot h s te i n M u s i c D i r e c ti o n b y J as o n H a n s e n
MUSIC BY JAKE HEGGIE | LIBRETTO BY TERRENCE MCNALLY BASED ON THE BOOK BY SISTER HELEN PREJEAN THIS OPERA WAS COMMISSIONED BY THE SAN FRANCISCO OPERA. WORLD PREMIERE AT THE SAN FRANCISCO OPERA, OCTOBER 7, 2000 JANUARY 27, 28, 30, FEBRUARY 1, AND 3, 2018 | ORDWAY MUSIC THEATER Sung in English with English captions projected above the stage.
CAST SIST E R H E L E N P REJE AN
OW E N H ART
PR I SON GUA R D 2
SI STER CATHER I N E
Catherine Martin
Andrew Wilkowske +
Wm. Clay Thompson •
Eryn Tvete
J OSE P H D E R OC H E R
K ITTY H ART
Mary Evelyn Hangley •
OLDER B R OTHER TO J OSEPH
SI STER LI LLI A N N E
Seth Carico M R S. PAT R I C K D E R O C H ER
H OWARD BO U C HER
Emily Pulley SIST E R R OS E
Karen Slack
Robb Asklof
Phinehas Bynum
Nadia Fayad • FI R ST MOTHER
YOUN GER B R OTHER TO J OSEPH
Patricia Kent
Alejandro Vega JAD E BO U C H ER
MR S. CHA R LTON
Victoria Vargas +
Michelle Hayes
TEEN AGE GI R L
Mackenzie Elker Shaw M OTO RCYC LE COP
G E O R G E B E NTO N
Benjamin Sieverding +
Andres Acosta •
J I MMY TEEN AGE B OY
Henry Hewitt
Josh Zwick P RIS O N GUARD 1
FAT H E R G R E N VILLE
Dennis Petersen
Christian Thurston •
ANTHONY DE ROCHER A PA R A LEGA L
Jennifer Eckes
Tom Ringberg
CREATIVE TEAM CO N D U C TOR Ruth and John Huss Chair
Michael Christie
MINNESOTA OPERA MNOPERA.ORG
STAG E D IR E CTO R
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Joel Ivany
COSTU M E D E S IG N
Sheila White
ASSI STA N T CON DUCTOR
Jonathan
Brandani +
LIGH TING D ES IGN
ASSI STA N T DI R ECTOR
JAX Messenger
David Radamés Toro •
R ÉPÉTI TEUR S
Jessica Hall • Allen Perriello Lindsay Woodward • FI GHT CA PTA I N
F IG H T D IR E CTO R
Doug Scholz-Carlson SE T A N D P R OJ E C T IO N DES IGN
Erhard Rom
S O U ND D ES IGN
CHOR USMASTER
Kevin Springer
James Hawthorne
Shae Palic PR ODUCTI ON STAGE MA N AGER
WIG AND MAKEUP DESIGN
CHI LDR EN ’ S CHOR USMASTER
David Zimmerman
Mathew Abernathy
Kerry Masek
• MINNESOTA OPERA RESIDENT ARTIST + MINNESOTA OPERA RESIDENT ARTIST ALUM
SEASON SPONSOR
NEW WORKS INITIATIVE COMMITTEE
Margaret Wurtele, Chair Karen Bachman Wendy Bennett Burt Cohen Jane Confer Judy Dayton Jock Donaldson
John Huss Ruth Huss Lucy Rosenberry Jones Robert Marx Jenny Lind Nilsson Mary Vaughan Bernt von Ohlen
Minnesota Opera recognizes our New Works Initiative Committee’s leadership and generosity.
ADDITIONAL PRODUCTION SUPPORT provided by the National Endowment for the Arts and the Aaron Copland Fund for Music.
ESTIMATED RUNNING TIME: The running time is two hours and 58 minutes with intermission occurring approximately 83 minutes into the opera. WARNING: Dead Man Walking contains simulated cigarette smoking, gunshots, strong language, simulated nudity, and violence. Not recommended for audience members under the age of 15. Due to the graphic depiction of a sexual assault during the prologue, there will be a late seating opportunity after the first scene (approximately seven minutes after the opera begins). Please ask an usher or staff member if you have questions.
Production Originally Created by Vancouver Opera Scenery Constructed by Pacific Opera Victoria Scene Shop
“WATCHING YOU”
“A KISS IN THE DARK”
Music and lyrics by Jake Heggie (BMI) Produced and arranged by Brian Culbertson* Jimmy Demers, vocals Tolak Ollestad, harmonica Mike Thompson, acoustic and electric guitars Larry Kimpel, bass Todd Sucherman, drums and percussion Recorded at Megatrax by Eddie King, North Hollywood, CA Mixed by Craig Bauer at Hinge, Chicago, IL
Music by Jake Heggie (BMI) Performed by Dave Koz**, soprano and alto saxophones Produced by Brian Culbertson and Dave Koz Brian Culbertson, keyboards and arrangement Recorded at BCM by Doug Rider and Brian Culbertson Mixed by Craig Bauer at Hinge, Chicago, IL * Brian Culbertson appears courtesy of GRP Records ** Dave Koz appears courtesy of Capitol Records
DEAD MAN WALKING 2017–18
Additional Scenic Elements constructed by Great Northern Way Scene Shop
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SYNOPSIS
PROLOGUE Two teenagers are brutally murdered by Joseph and Anthony de Rocher.
ACT I In a poor New Orleans school, Sister Helen and Sister Rose teach a hymn to a group of children. Helen is distracted as she thinks about her plan to visit Angola State Penitentiary where her new pen pal, a death row inmate named Joseph de Rocher, has asked her to visit. Against Rose’s advice, Helen makes the long drive to Angola and ponders the momentous step she is taking. A motor cop stops her for speeding, but lets her off with a warning, asking her to pray for his sick mother. As she resumes her journey, she prays for guidance. When she arrives, Helen is greeted by the prison chaplain, Father Grenville. On the way to his office, they see inmates engaged in a rough game of basketball. Helen and Grenville then have a tense meeting in which the chaplain angrily warns her that she is wasting her time, and that Joseph is beyond anyone’s help. The prison warden arrives and tells her that Joe is likely to ask her to become his spiritual advisor to help prepare him for his execution. As she walks to the death row section of the prison, Helen is taunted by the inmates.
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Joe and Helen have an awkward first meeting. Hiding his fear with bravado, he tests her tolerance by recalling the pleasures he has known with women. Helen calls his bluff and Joe admits his fear. He requests that she be his spiritual advisor and both acknowledge they “can’t do it alone.” Joe asks her to accompany his mother to the Pardon Board hearing and Helen agrees.
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In a courtroom setting, the frightened Mrs. de Rocher does her best to plead for her son’s life, facing enormous hostility. During her testimony, Owen Hart, the father of the murdered teenage girl, explodes with anger and recounts the grisly details of his daughter’s murder. In anguish, Joseph’s mother responds that another killing cannot undo what has been done.
After the hearing, Joseph’s family and the murder victims’ families wait for a verdict outside the courtroom. Helen introduces herself to the parents and they express their grief at never seeing their children again. News arrives that the appeal has been turned down: Joseph will be executed. Back in the visiting room, Helen tells Joe that an appeal has been made to the governor. Angered by his selfishness, she urges him to acknowledge his guilt and seek forgiveness, but he sees no hope and blames his brother for the murders. The warden appears suddenly and insists that she leave. Helen has had no time to eat and becomes faint from hunger, stress, and exhaustion. As she looks for change at a vending machine, a jumble of conflicting voices clutter her mind. The warden tells her that the governor has turned down the appeal: “Joseph de Rocher is a dead man.” The voices in her head grow louder and Helen faints.
ACT II Joseph is counting pushups when the warden comes to tell him that his execution date has been set: August 4, midnight. Alone, Joe voices feelings about his impending death, Sister Helen, and his murder victims. Helen awakens from a nightmare about Joe and the murdered teenagers. Rose comforts her and helps her admit that she still has to find the strength to forgive Joe herself, just as mothers forgive their children’s failings. On the night of Joe’s execution, Helen tells him about seeing Elvis Presley in person when she was a girl. Somehow, their shared love of Elvis opens a door between them and they are able to laugh as friends. She once more urges Joe to admit his guilt and find forgiveness. The warden announces that Joe’s family has come to see him for the last time. Joe has a tearful farewell with his mother and two younger brothers. Joe begs his mother to forgive him,
but she says she believes what he has always told her: that he is innocent and there is nothing to forgive. Mrs. de Rocher seeks comfort in her recollections of Joe’s innocent childhood. When Joe is led away, his mother falls apart, consoled by Helen with assurances that there is good in her son and that God’s love is not denied him. Left alone, Helen panics for a moment as she contemplates the harrowing task she faces that night. The parents of the murder victims have arrived to witness the execution. They upbraid Helen for siding with the murderer, rejecting her words of consolation. Only Owen Hart voices doubts about the value of the execution. Helen offers him friendship and promises to visit him. After the guards prepare Joseph for execution, Helen is alone with him one last time. In the few moments remaining, Helen begs him to tell the truth. She reveals that she has visited the crime scene and asks him to relive that night. Reluctantly, Joseph tells her the whole story and, breaking down in sobs, admits his guilt. Helen assures him of forgiveness: not only hers, but God’s as well. She tells him she will be the face of love for him when he dies. The warden calls out, “Dead man walking.” As he escorts Joseph to the execution chamber, Father Grenville intones the Lord’s Prayer, echoed by the voices of inmates, nuns, guards, and parents. Helen remains close to Joe, reading to him from the Bible. She is allowed this one time to touch him, and she puts her hand reassuringly on his back. When they reach the chamber, she is barred from going any further. Joseph and Helen exchange an emotional goodbye. She reminds him to look for her as she takes her place with the others in the viewing room. After being strapped to the execution table, Joseph asks the parents’ forgiveness. In silence, with only his heartbeat audible, the lethal injection is administered. In his final moment, Joseph says to Sister Helen: “I love you.” After his death, the witnesses leave and Helen is alone with Joseph. One last time, she sings her comforting hymn: “He will gather us around.” Synopsis courtesy of Jake Heggie
ABOUT THE OPERA
DEAD MAN WALKING in 2018
would need to be adapted and changed for the stage. Her single request was that it remain a story of redemption.
surprised people, and brought them into a dialogue about something they had perhaps only considered in the abstract.
t was June of 1997 when Terrence McNally first suggested Dead Man Walking as the subject of our first opera. I can still sense the electric shiver I felt when he said the words. It was a shiver of intense recognition that opera is exactly the right art form to bring this story to the stage. The emotional language is immense, so it makes sense for the characters to sing. It is American, yet universal. It is timely, yet timeless. It is an intimate story with large forces at work, the stakes high at every turn, and thanks to the great film by Tim Robbins (starring Susan Sarandon and Sean Penn), it has the feeling of being part of our American DNA. It also felt like exactly the right story for me as a composer. With the blessing and enthusiastic support of the amazing Sister Helen Prejean, we set to work. She gave us permission to explore and tell her story as we saw fit, knowing it
It was a first opera for me and Terrence, and a highly controversial project during a time when the premiere of a new American opera was a rare occasion: there might be three in a season. (Now there are dozens each year.) San Francisco Opera’s General Director, Lotfi Mansouri, made sure we had everything we needed to produce the work at the highest level possible. The cast included Susan Graham as Sister Helen, John Packard as Joseph de Rocher, and Frederica von Stade as his mother. The conductor was Patrick Summers, the director was Joe Mantello with sets by Michael Yeargan. Opening night was October 7, 2000. It went well. Very well. The run sold out and two additional performances were added. Reviews were all over the place, but nobody was ambivalent; everyone had a strong opinion. The opera did what we had hoped: it moved and
Since that first production in San Francisco, the opera has traveled around the globe with nearly 300 performances on five continents, including major productions in New York, Houston, Cincinnati, Pittsburgh, Sydney, Adelaide, Dresden, Vienna, Calgary, Montreal, Vancouver, Cape Town, Dublin, and Copenhagen, to name a few. It has also been embraced by universities and conservatories. Recently, Dead Man Walking had its 50th international production at the Kennedy Center in Washington DC. The journey continues and the dialogue intensifies as the difficult central question of the story is posed again, as it has been throughout the history of mankind: are we for vengeance or forgiveness?
I
“
JAKE HEGGIE COMPOSER
I t was a shiver of intense recognition that opera is exactly the right art form to bring this story to the stage. The emotional language is immense, so it makes sense for the characters to sing. It is
JAKE HEGGIE is the composer of the operas Dead Man Walking, Moby-Dick, It’s A Wonderful Life, Great Scott, Three Decembers, Out of Darkness: Two Remain, and the choral opera, The Radio Hour, among others. He has also composed nearly 300 songs, as well as chamber, choral, and orchestral works. The operas — most created with writers Terrence McNally or Gene Scheer — have been produced on five continents. Moby-Dick (Scheer) was telecast throughout the United States as part of Great Performances’ 40th Season and released on DVD (EuroArts). Dead Man Walking (McNally) has received nearly 60 international productions and has been recorded twice. Three Decembers has received nearly 20 international productions. The composer was recently awarded the Eddie Medora King prize from the UT Austin Butler School of Music, and the Champion Award from the San Francisco Gay Men’s Chorus. A Guggenheim Fellow, Heggie has served as a mentor for the Washington National Opera’s American Opera Initiative and is a frequent guest artist at universities, conservatories, and festivals throughout the United States and Canada. He and Gene Scheer are currently at work on If I Were You, based on the Faustian story by Julian Green, for the Merola Opera Program’s 2019 season.
DEAD MAN WALKING 2017–18
American, yet universal. It is timely, yet timeless.”
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DIRECTOR'S NOTES
T
he United States of America, in the early 1980s, saw a conservative candidate, and former Hollywood star, become President; almost a million people rallied in New York’s Central Park in support of a “nuclear freeze” between the United States and the Soviet Union (at the time the largest mass demonstration in American history); Star Wars: Return of the Jedi was a blockbuster hit, and Sister Helen Prejean began her journey of dealing with convicted murderers on Death Row. Her bestselling book, Dead Man Walking (1993), became a national bestseller and was turned into an Academy-Award winning film, with the same name, in 1995. This success led to the commission to write the opera, Dead Man Walking, which premiered in San Francisco in 2000. This opera has never felt more timely and relevant. It is still an important work, whose message needs to be heard today, more than ever.
What draws me to this piece is the fight for justice, the belief in something, and the passion to follow that through. This opera is not easy. The subject matter is graphic, disturbing, and difficult. The message of hope, forgiveness, and reconciliation is powerful, difficult, and necessary. Despite being an American subject, its themes, its message, and its power are universal. It causes one to look inside and ask difficult questions—questions that perhaps we didn’t think opera could stir in us. This opera, Jake Heggie’s first, is a masterpiece in opera theatre. It may sound altruistic, but I believe that opera and music can truly change someone. I have no idea what an audience member is feeling when they walk through the front door, and so I hope we all can be as open as possible to the story, music, and message that is being told. It can be transformative. JOEL IVANY
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PHOTO BY TIM MATHESON FOR VANCOUVER OPERA
MINNESOTA OPERA MNOPERA.ORG
STAGE DIRECTOR
A LEADER IN NEW WORKS
A LEADER IN NEW WORKS Two upcoming commissions, an opera based on the “Black Sox” scandal of 1919 and The Miraculous Journey of Edward Tulane, continue Minnesota Opera’s legacy of expanding the operatic art form. A pioneering movement in new opera when it was launched in 2008, Minnesota Opera’s New Works Initiative was designed to invigorate the operatic art form with an infusion of contemporary works, and formalize the company’s commitment to artistic growth, leadership, and innovation. New works are a part of the life blood of Minnesota Opera — the company’s roots were planted when the Walker Art Center commissioned Dominick Argento to compose an opera, The Masque of Angels, for its performing arts program, Center Opera, in 1963. Fifty-five years later, this season’s presentation of Dead Man Walking, and two upcoming Minnesota Opera commissions to be presented in future seasons, are the latest manifestations of this enterprise. First on the horizon is an original telling of baseball’s 1919 “Black Sox” scandal by librettist Eric Simonson and celebrated composer Joel Puckett. The 1919 Chicago White Sox were arguably the best team in the history of the game — they were also the most poorly paid, always at odds with their penny-pinching owner. Resentment, revenge, and ambition gone awry were the motivating factors that led eight players to conspire with gamblers and throw the World Series to the Cincinnati Reds. Rich with characters such as Shoeless Joe Jackson, Ring Lardner, and Judge Kenesaw Mountain Landis, this opera is a tragic tale of mythic proportions, ripe with greed, power, romance, and redemption, all set against the backdrop of America’s favorite pastime.
Next up is The Miraculous Journey of Edward Tulane, a new opera for all ages with a libretto by Mark Campbell and music by Paola Prestini. This will be an adaptation of the award-winning children’s book of the same name, written by renowned Minnesota author, Kate DiCamillo. Kate is one of only six authors who have won the prestigious Newbery Medal twice since the award was introduced in 1922. While her books Because of Winn-Dixie and The Tale of Despereaux have been adapted for film, this will be the first operatic adaptation of her work. The story focuses on a china rabbit owned by a girl named Abilene, who adores the rabbit completely and treats him with the utmost care. One day, he is lost, and so begins an extraordinary journey, from the depths of the ocean to the net of a fisherman, from the top of a garbage heap to the fireside of a hobo’s camp, from the bedside of an ailing child to the bustling streets of Memphis. As audience members follow along, they experience a true miracle: even a heart of the most breakable kind can learn to love, to lose, and to love again. Addressing a gap in the opera repertoire, this story appeals to audiences of all ages. Paola Prestini’s last major compositions have been created for an intergenerational audience; after hearing her work at an OPERA America conference, Dale Johnson identified her as the right composer for the project. Through stewardship of the creative process, Minnesota Opera’s New Works Initiative—made possible by the generous support of the community — is giving new voice to the art form, the repertoire, and the audiences of today and beyond.
DEAD MAN WALKING 2017–18
PHOTO CREDIT FROM TOP TO BOTTOM: DINNER AT EIGHT © CORY WEAVER; DOUBT, SILENT NIGHT, THE GRAPES OF WRATH, THE MANCHURIAN CANDIDATE © MICHAEL DANIEL; THE SHINING © KEN HOWARD
Composer Joel Puckett says, “I am thrilled to tell this incredible American story of deception, heartbreak, and disillusionment. I am even more thrilled to be bringing this story to life with the amazingly supportive team at Minnesota Opera.”
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C A S T + C R E AT I V E T E A M
ANDRES ACOSTA
JENNIFER ECKES
MOTORCYCLE COP
A PARALEGAL
MIAMI, FLORIDA
ST. PAUL, MINNESOTA
Minnesota Opera Resident Artist Past Le nozze di Figaro, Minnesota Opera;
Minnesota Opera Debut The Merry Widow, 2002
Past
La Cenerentola, Merola Opera Program;
The Music Man, Artistry Theater;
Così fan tutte, Janiec Opera Company;
Tragedy of Carmen, Skylark Opera;
Florencia en el Amazonas, Indiana University
Roméo et Juliette, Minnesota Opera;
Future Rigoletto, Minnesota Opera; Thaïs, Minnesota Opera
Sweeney Todd, Mill City Summer Opera
Future BingSong!, Bloomington Center for the Arts; Thaïs, Minnesota Opera
ROBB ASKLOF
NADIA FAYAD
HOWARD BOUCHER
SISTER LILLIANNE
DES MOINES, IOWA
DULUTH, MINNESOTA
Minnesota Opera Debut Manon Lescaut, 2013
Past
Minnesota Opera Resident Artist Past Das Rheingold, Minnesota Opera;
Die Fledermaus, Minnesota Orchestra;
L’arbore di Diana, Minnesota Opera;
Die Zauberflöte, Minnesota Opera;
Dinner at Eight, Minnesota Opera;
The Shining, Minnesota Opera
Le nozze di Figaro, Minnesota Opera
Future Rigoletto, Minnesota Opera; Thaïs, Minnesota Opera
PHINEHAS BYNUM
MARY EVELYN HANGLEY
OLDER BROTHER TO JOSEPH
KITTY HART
SALT LAKE CITY, UTAH
LONG BEACH, NEW YORK
Minnesota Opera Debut Don Pasquale, 2017
Past
Minnesota Opera Resident Artist Past Das Rheingold, Minnesota Opera;
Don Pasquale, Minnesota Opera;
Dinner at Eight, Minnesota Opera;
Don Giovanni, Skylark Opera;
La bohème, Minnesota Opera;
Sweeney Todd, Mill City Summer Opera
Le nozze di Figaro, Minnesota Opera
Future Rigoletto, Minnesota Opera;
Future Rigoletto, Minnesota Opera
Thaïs, Minnesota Opera
SETH CARICO
MICHELLE HAYES
JOSEPH DE ROCHER
MRS. CHARLTON
SIGNAL MOUNTAIN, TENNESSEE
ANOKA, MINNESOTA
Minnesota Opera Debut Dead Man Walking, 2018
Past
Minnesota Opera Debut Armida, 1993
Past
Le nozze di Figaro, Deutsche Oper Berlin, Utah Opera;
La bohème, Minnesota Opera;
Don Giovanni, Deutsche Oper Berlin, Ash Lawn Opera;
Christmas Oratorio, Minnesota Orchestra;
Götterdämmerung, Deutsche Oper Berlin;
Carmen, Minnesota Opera;
Les Troyens, Deutsche Oper Berlin, Staatsoper Hamburg
Tosca, Minnesota Opera
Future
Future
The Rake's Progress, Theater Basel;
Thaïs, Minnesota Opera;
Lady Macbeth from Mtsensk, Deutsche Oper Berlin;
Fauré’s Requiem, Minnesota Orchestra
Wozzeck, Deutsche Oper Berlin;
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La Betulia liberata, Brucknerhaus Linz
14
MICHAEL CHRISTIE
HENRY HEWITT
CONDUCTOR
JIMMY
BUFFALO, NEW YORK
SHAKOPEE, MINNESOTA
Minnesota Opera Debut La traviata, 2011
Past The (R)evolution of Steve Jobs, Santa Fe Opera; The Gospel of Mary Magdalene, San Francisco Opera; Twenty-Seven, Opera Theatre of Saint Louis; The Shining, Minnesota Opera
Future Rigoletto, Minnesota Opera; An American Soldier, Opera Theatre of Saint Louis
Minnesota Opera Debut Dead Man Walking, 2018
Future Odyssey, Project Opera
C A S T + C R E AT I V E T E A M
JOEL IVANY
EMILY PULLEY
STAGE DIRECTOR
MRS. PATRICK DE ROCHER
TORONTO, CANADA
COLLEGE STATION, TEXAS
Minnesota Opera Debut Macbeth, 2014
Past
Minnesota Opera Debut Pagliacci/Carmina Burana, 2001
Past
Plácido Domingo 50th Anniversary Concert, LA Opera;
Carmen, Central City Opera;
Kopernikus, Banff Centre for Arts and Creativity; The Seven Deadly Sins, Toronto Symphony Orchestra;
Three Decembers, Des Moines Metro Opera, UrbanArias, Fort Worth Opera, Central City Opera;
Carmen, Canadian Opera Company
Sweeney Todd, Mill City Summer Opera, Madison Opera;
Future Die Fledermaus, Glenn Gould Studio; Orphée et Eurydice, Opera Columbus;
Così fan tutte, Nashville Opera
Future Morning Star, On Site Opera
BOUND, Against the Grain Theatre
PATRICIA KENT
TOM RINGBERG
FIRST MOTHER
ANTHONY DE ROCHER
BROOTEN, MINNESOTA
EAGAN, MINNESOTA
Minnesota Opera Debut Der Rosenkavalier, 1999
Past
Minnesota Opera Debut Carmen, 2015
Past
Amahl and the Night Visitors, Minnesota Orchestra;
Carmen, Minnesota Opera;
Ariadne auf Naxos, University of Minnesota Opera Theater;
Roméo et Juliette, Minnesota Opera; Dinner at Eight, Minnesota Opera
Doubt, Minnesota Opera; Street Scene, Minnesota Opera
CATHERINE MARTIN
ERHARD ROM
SISTER HELEN PREJEAN
SET AND PROJECTION DESIGN
SAN ANTONIO, TEXAS
SEATTLE, WASHINGTON
Minnesota Opera Debut Dead Man Walking, 2018
Past
Minnesota Opera Debut The Merry Widow, 1994
Past
Les Troyens, Lyric Opera of Chicago;
The Shining, Minnesota Opera;
Das Rheingold, National Taichung Theatre;
Nixon in China, Royal Swedish Opera;
Aida, Houston Grand Opera;
Lucia di Lammermoor, San Francisco Opera;
Der Rosenkavalier, National Symphony Orchestra
Moby-Dick, Utah Opera
Future
Future
Thy Will Be Done, National Chorale;
Silent Night, Washington National Opera;
Falstaff, Intermoutain Opera;
Silent Night, Glimmerglass Festival;
Die Walküre, Dallas Symphony
Le nozze di Figaro, San Francisco Opera
JAX MESSENGER
DOUG SCHOLZ-CARLSON
LIGHTING DESIGN
FIGHT DIRECTOR
ERIE, PENNSYLVANIA
NORTHFIELD, MINNESOTA
Minnesota Opera Debut Nabucco, 2012
Past
Minnesota Opera Debut La Cenerentola, 1997
Past
Doctor Atomic, Curtis Institute of Music;
The Handmaid’s Tale, Minnesota Opera;
Oreseia, Bard SummerScape;
Silent Night, Minnesota Opera;
The Wreckers, Bard SummerScape;
The Shining, Minnesota Opera;
The Demon, Bard SummerScape;
I Capuleti e i Montecchi, New York City Opera
Pyramus and Thisbe, The Canadian Opera Company
Future Otello, Austin Opera; A Little Night Music, Madison Opera;
DENNIS PETERSEN
MACKENZIE ELKER SHAW
FATHER GRENVILLE
TEENAGE GIRL
FARMINGTON, MINNESOTA
ROCHESTER, MINNESOTA
Minnesota Opera Debut Der fliegende Holländer, 1992
Past
Minnesota Opera Debut Dead Man Walking, 2018
Past
Sweeney Todd, Mill City Summer Opera;
Macbeth, Theater at Monmouth;
Das Rheingold, Minnesota Opera;
Missing: A Song of Songs, Orchestra Theater Collective;
Salome, Minnesota Orchestra;
Ivanov, Guthrie Theater
The Grapes of Wrath, Opera Theatre of Saint Louis
Future Das Rheingold, Arizona Opera
DEAD MAN WALKING 2017–18
The Pirates of Penzance, Park Square Theatre
15
C A S T + C R E AT I V E T E A M
BENJAMIN SIEVERDING
VICTORIA VARGAS
GEORGE BENTON
JADE BOUCHER
SIOUX FALLS, SOUTH DAKOTA
NEW YORK, NEW YORK
Minnesota Opera Debut Ariadne auf Naxos, 2015
Past
Minnesota Opera Debut La Cenerentola, 2010
Past
Salome, Minnesota Orchestra;
Salome, Minnesota Orchestra;
Don Giovanni, Skylark Opera;
Verdi Requiem, La Jolla Symphony;
La bohème, Minnesota Opera;
Otello, Minnesota Opera;
Dinner at Eight, Minnesota Opera
Carmen, Minnesota Opera
Future Petite messe solennelle, South Bend Chamber Singers;
Future Rigoletto, Minnesota Opera
Glagolitic Mass, Madison Symphony Orchestra
KAREN SLACK
ALEJANDRO VEGA
SISTER ROSE
YOUNGER BROTHER TO JOSEPH
PHILADELPHIA, PENNSYLVANIA
MINNETONKA, MINNESOTA
Minnesota Opera Debut Dead Man Walking, 2018
Past
Minnesota Opera Debut The Shining, 2016
Past
Dead Man Walking, Vancouver Opera;
Oliver!, Theater Latté Da;
Le Villi, Scottish Opera;
Peter Pan the Musical, Children's Theatre Company;
Falstaff, Arizona Opera;
The Abominables, Children's Theatre Company;
Aida, Austin Opera
Home for the Holidays, Minnesota Orchestra
Future Champion, New Orleans Opera;
Future Five Points, Theater Latté Da
YARDBIRD, Arizona Opera
WM. CLAY THOMPSON
SHEILA WHITE
PRISON GUARD 2
COSTUME DESIGN
LEXINGTON, KENTUCKY
VANCOUVER, CANADA
Minnesota Opera Resident Artist Past Le nozze di Figaro, Minnesota Opera;
Minnesota Opera Debut Dead Man Walking, 2018
Past
Don Pasquale, Minnesota Opera;
Dead Man Walking, Vancouver Opera;
JFK, Fort Worth Opera;
Ariadne auf Naxos, Pacific Opera
La fanciulla del West, Kentucky Opera
Future Rigoletto, Minnesota Opera; Thaïs, Minnesota Opera
ERYN TVETE
ANDREW WILKOWSKE
SISTER CATHERINE
OWEN HART
WILLMAR, MINNESOTA
WILLMAR, MINNESOTA
Minnesota Opera Debut The Fortunes of King Croesus, 2008
Past
Minnesota Opera Debut Transatlantic, 1998
Past
Don Pasquale, Minnesota Opera;
Silent Night, Atlanta Opera;
La bohème, Minnesota Opera;
Don Pasquale, Minnesota Opera;
Sweeney Todd, Mill City Summer Opera;
Il barbiere di Siviglia, Florentine Opera;
The Shining, Minnesota Opera
Lucy, Urban Arias
Future Thaïs, Minnesota Opera
Future The Invention of Morel, Long Beach Opera; Don Pasquale, Fort Worth Opera;
MINNESOTA OPERA MNOPERA.ORG
Don Giovanni, Lyric Opera of the North
16
CHRISTIAN THURSTON
JOSH ZWICK
PRISON GUARD 1
TEENAGE BOY
ROTORUA, NEW ZEALAND
SAN ANSELMO, CALIFORNIA
Minnesota Opera Resident Artist Past Le nozze di Figaro, Minnesota Opera;
Minnesota Opera Debut Dead Man Walking, 2018
Past
Madama Butterfly, New Zealand Opera;
Church & State, Minnesota Jewish Theatre Company;
Cendrillon, Manhattan School of Music
Peter and the Starcatcher, Theater at Monmouth;
Future
She Loves Me, Creede, Repertory Theatre;
Rigoletto, Minnesota Opera;
The American Clock, Guthrie Theater;
Thaïs, Minnesota Opera
Under the Gaslight, Minnesota Centennial Showboat
Future The Diary of Anne Frank, Park Square Theatre; Love's Labour's Lost, Montana Shakespeare in the Parks; Othello, Montana Shakespeare in the Parks
MEET THE ARTIST
CATHERINE MARTIN AS
SISTER HELEN PREJEAN
What are some of the joys and challenges of performing Sister Helen? Sister Helen is full of joy. She is a spitfire of a person and knowing her and talking with her in Houston, Dayton, and DC, I love to be around her. Singing her can be hard with the emotional weight of the role. The more I learned about the United States’ incarceration system, the more I realized how debilitatingly depressing it is. I try and focus on the good she sees in every person
and that we shouldn't be judged by the worst thing we do. She doesn't believe what he did is okay—it is wrong. But forgiveness is the key. If only we could all keep forgiveness in our hearts the world would be a different place. Describe Sister Helen in three words. Spitfire, charming, driven, spirit-filled (three is hard). What are the themes or underlying elements in the story that you think will resonate most with audiences? Forgiveness. What is the strangest or most surprising thing that has ever happened to you during a performance? I came to the scene where she has the nightmare in the bed and when I screamed on stage it was real. No one told me there would be two naked supers next to the bed till I saw it on stage during the dress rehearsal ... I think they even had blood and I was not ready.
Are you ready for the Twin Cities in January? Is there anything you’re excited to see or do? I got a new coat ... I hope I’m ready! I have heard great things about the city and have a few friends that have moved here, so I’m looking forward to seeing them. What’s the best advice you would give to singers just starting their careers? The best advice I can give would be to think about life beyond the stage and singing. Most of what we do, unfortunately, is a lot of other things. Travel, instability, no health insurance, getting ready in bathrooms, the inability to attend weddings or important family functions — that is the reality of a singer’s life. I remember Diane Zola talked to a group of us at University of North Texas and said, “If there is anything else you would be happy doing with your life then do that!” I just have never felt like I would be as happy or wanted to do anything as much. It is a hard, unstable life, but I evaluate each year if I am still happy and if the sacrifice is worth it ... there may be a day when it isn't.
DEAD MAN WALKING 2017–18
When did you first fall in love with opera? I went to my first opera when I was in high school with my mom in San Antonio. We saw Aida with a German touring company and it was not love at first opera, for sure. I couldn't believe they just all stood there and didn't do much of anything. The first memorable opera singer I remember hearing was Susan Graham in Dallas singing Berlioz’ song cycle Les nuits d'été. It was so amazing, and I remember thinking if I could be half as musical and enchanting as her that that would be a great life!
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ORCHESTRA, CHORUS, + SUPERNUMERARIES
ORCHESTRA VIOLIN I Allison Ostrander* Concertmaster Cynthia and Lawrence Lee Chair Natalia Moiseeva Assistant Concertmaster Julia Persitz David Mickens Colin McGuire Angela Waterman Hanson Heidi Amundson Conor O’Brien Jill Olson Moser Emilia Mettenbrink
VIOLIN II Laurie Petruconis* Elizabeth Decker Melinda Marshall Elise Parker Huldah Niles Emily Saathoff David Block Carol Lebovic
VIOLA Emily Hagen* Nina and John• Archabal Chair Susan Janda Laurel Browne Jenny Lind Nilsson Matthew Mindeman Coca Bochonko
* principal | • in memoriam
CELLO
BASSOON
James Jacobson* Connie and Lew Remele Chair Teresa Richardson+
Coreen Nordling* Eric and Celita Levinson Chair Matthew Bertrand Laurie Hatcher Merz (double contrabassoon)
Sally Gibson Dorer Rebecca Arons Dale Newton Diane Tremaine
BASS John Michael Smith* Kenneth and Peggy Bonneville Chair Constance Martin Charles Block
KEYBOARD Lindsay Woodward
FLUTE Michele Frisch* Karen Baumgartner Amy Morris (double piccolo and alto flute)
HORN Charles Hodgson* Jenna McBride Harris Timothy Bradley Michael Alexander
TRUMPET John G. Koopmann* Christopher Volpe Martin Hodel
TROMBONE Phillip Ostrander* John Tranter David Stevens
TIMPANI Kory Andry*
OBOE
PERCUSSION
Michael Dayton* Robert McManus
Matthew Barber Steve Kimball
ENGLISH HORN
HARP
Jeffrey Marshak
Min J. Kim Marion Winslow Buchanan Chair*
CLARINET Jennifer Gerth* Nina Olsen
BASS CLARINET Michelle Campbell
CHORUS Alex Barnett Eric Broker Karen Bushby Corissa Bussian Lisa Butcher Phinehas Bynum Ben Crickenberger Jennifer Eckes Carole Finneran Brian Goldenman Hannah Green Michelle Hayes Benjamin Hills Aliese Hoesel Patricia Kent Maggie Lofboom Elizabeth Longhurst Joel Mathias Michael Mayer Darius Morton Matt Opitz Tyler Raad Seth Russell Grant Scherzer Cathryn Schmidt Sandra Schoenecker Lindsay Sessing Nicholas Swanson Colyn Tvete Eryn Tvete Clark Weyrauch
* principal + assistant principal • in memoriam
VERDI
MINNESOTA OPERA MNOPERA.ORG
MARCH 17–31
18
BUY TODAY A tale of seduction and bitter revenge featuring some of the most famous music from all of opera.
CHILDREN’S CHORUS Maddie Anderson Sinclair Christie Ahan Devgun Nora Donnelly Cecilia Dusek Margrethe Hawthorne Maggie Hayes Ani Heikkila Henry Hewitt Luca La Hoz Calassara Genevra Loper Joy Meyers Gabriela Nowak Alice O’Brien Olivia Orton Rayank Pasumarty India Pelster-Wiebe Rose Schefers Norah Shea Anja Sullivan Isabell Tiggas
SUPERNUMERARIES Christopher Bauleke Stephanie Bright Barnwell Lois Estell Thomas Lorendo Shae Palic Gary Pye Maxwell Savage
RIGOLETTO PREVIEW
W
hen you say Rigoletto, our minds immediately go to “La donna è mobile,” the aria the Duke sings while enjoying taking his pleasure with Maddalena. At the same time, he is breaking the heart of Gilda, Rigoletto’s daughter. This short, jaunty aria became one of the most famous arias of all time. It gives us pleasure on the surface until we read into the text—it soon becomes a rather maddening display of sexism and condescension. On one level, here is a composer who is finding his true passion as a melodist, and at the same time he is beginning to make his compositional style more dramatic. Perhaps this is what is at the heart of what makes Rigoletto great. During the bel canto era, the melody was of utmost importance. Sometimes the words became secondary to the beautiful melodies sung in the most expressive way. Verdi, with his three middle compositional style pieces, Il trovatore, Rigoletto, and La traviata, began to bend the basic compositional style of Italian opera
towards a style that was, in essence, more dramatic. Now the words were more important; the drama was the key. With a master like Verdi, the melodies never failed, but we began to listen to the words, to feel and hear what they were saying. One only has to listen to the duet between Sparafucile and Rigoletto in the second scene to understand this exciting new style. In that duet, we hear Verdi bending his melody to highlight the words. In the “Pari siamo” aria that Rigoletto sings immediately after, we are treated to greatness. The voice of Verdi was never more exciting, more thrilling than in this piece. Italian opera was moving away from the strict bel canto forms and into a much more fluid and elastic form that would bend and twist to make sure the music would serve the drama. Our new Rigoletto embraces this dramatic style. In this production, unlimited power corrupts and destroys. We think Maestro Verdi will be pleased. DALE JOHNSON
DEAD MAN WALKING 2017–18
COSTUME RENDERINGS BY VALERIE BART FOR MINNESOTA OPERA’S UPCOMING RIGOLETTO
ARTISTIC DIRECTOR
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P R O J E C T
O P E R A
P R E S E N T S
BEN MOORE, COMPOSER KELLEY ROURKE, LIBRETTIST MATTHEW ABERNATHY, MUSIC DIRECTOR Commissioned by The Glimmerglass Festival
4 PERFORMANCES ONLY
FEBRUARY 9 –11, 2 018 THE LAB THEATER, 700 N 1ST ST MINNEAPOLIS, MN 55401
Are You 21–39? Join Today! MINNESOTA OPERA MNOPERA.ORG
Minnesota Opera’s Young Professionals Group.
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2017–18 SEASON MEMBERSHIPS ARE ON SALE NOW! Are you 21–39 and interested in experiencing opera, meeting new people, and receiving invitations to After Parties and one-of-a-kind events? Join Minnesota Opera’s young professionals group and enjoy a steep discount on the hottest tickets in town.
mnopera.org/tempo
A scene from Project Opera’s The Nightingale, presented in 2017.
GODS AND MONSTERS Project Opera, Minnesota Opera’s nationally-renowned training program for young singers, presents Ben Moore’s Odyssey. This February, Project Opera, Minnesota Opera’s vocal training program, will produce Odyssey, the latest in a series of annual youth operas at The Lab Theater in Minneapolis. Composed by Ben Moore, with lyricist Kelley Rourke, Odyssey originally premiered at The Glimmerglass Festival in 2015, and tells the story of Odysseus, the handsome and wily king of Ithaca, and his magical, mysterious 10-year journey home from the Trojan War. How do you turn Homer’s epic poem comprised of dozens and dozens of adventures into an hour-long youth opera? “What we’ve done is we’ve picked the most emotional and interesting episodes and featured those,” explains composer Ben Moore, referring to memorable moments in the story such as Odysseus and company’s encounter with the dangerously beautiful Sirens, or the moment the witch Circe turns the entire crew into pigs. “Then we have sections of the piece where we race through other episodes using other theatrical devices … and musical styles,” like spoken word, choral numbers in various styles, and even a tango. The effect keeps audiences engaged and on their toes. You never know what’s coming next, much like Odysseus himself.
Project Opera is the centerpiece of Minnesota Opera’s expanding education program for young singers in grades 4–12. Led by Music Director Matthew Abernathy, Project Opera teaches healthy vocal technique, exposes students to repertoire in the major operatic languages and instills the fundamentals of acting technique throughout the year-long program. Project Opera singers also serve as the youth chorus in many of MN Opera’s mainstage productions, and instrumentalists often serve in the opera orchestra. Founded in 2004, Project Opera is the only program of its kind in the country. While there are other training programs for young singers, no other offers a fully staged production for youth by youth. According to MN Opera Community Education Director Jamie Andrews, “Project Opera gives talented youth the unique opportunity to experience opera through hands-on learning,” and, indeed, Project Opera has helped launch the careers of a number of professional opera singers working around the world today. Project Opera alumni have gone on to study at prestigious institutions such as Juilliard School, Oberlin Conservatory, and Eastman School of Music, as well as Harvard, Yale, Stanford, Gustavus, St. Olaf, and the University of Minnesota. “Performing a recently commissioned work by a living composer and librettist, and one that is specifically composed for their voices,” Andrews continued, “is a great way to engage young people in the possibilities of operatic storytelling.”
“Project Opera has definitely been a huge part of my growing process as a singer,” says MN Opera Resident Artist Nadia Fayad, who’s also a Project Opera alumna. “Project Opera has definitely helped me succeed. I felt like I had a head start with theory and languages, and putting an opera production together. I could see the inside of an opera company at a young age, so I was ready and had a jump start.” Current Project Opera student Natalie Harrison says her favorite part of the program is “being surrounded by so many people that have the love for music just as much as I do, and being in an environment where everyone is supporting one another in their path of music.” “I wish that every child that enjoys singing could come and be a part of Project Opera,” said Sigrid Redpath, mother of two Project Opera alums, including professional opera singer Liv Redpath. “The arts are going to save us, and we cannot let them die. [Project Opera] is about education. It's the future of opera, and I would encourage everyone to support them to the fullest.” The future begins in February when Odyssey opens at The Lab Theater on February 9. “I’m really excited,” says Music Director Matthew Abernathy. “It has everything; gorgeous music, comic relief, and a compelling story which our kids do such a great job of telling. I can’t wait to share it with our audiences!”
DEAD MAN WALKING 2017–18
PHOTO BY SIGRID REDPATH
GODS AND MONSTERS
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B O A R D , S TA F F, + V O L U N T E E R S
BOARD OF DIRECTORS
MINNESOTA OPERA STAFF
OF F ICE RS
ADMI N I ST RAT IO N
PRO DU CT IO N
Chair | Margaret Wurtele
President and General Director | Ryan Taylor
Production Director | Karen Quisenberry
President and General Director | Ryan Taylor
Director of Board Relations | Theresa Murray
Assistant Production Director | Julia Gallagher
Vice Chair | H. Bernt von Ohlen
Chief Financial Officer | Steve Matheson
Production Stage Manager | Kerry Masek
Secretary | Nadege Souvenir
Human Resources Director | Jen Thill
Treasurer | John C. Junek
Staff Accountant | Shannon Ratcliff
Assistant Stage Managers | Lorely Dedrick, Jamie K. Fuller, Nick Loweree
Facility Manager | Steve Mittelholtz
Technical Director | Mike McQuiston
Systems Administrator | Tony Ngonekeo
Properties Master | Jenn Maatman
DIRECTORS Richard Allendorf
Robert Lee
AR T I ST IC
Lighting and Video Coordinator | Raymond W. Steveson Jr.
Patricia Beithon
Jeninne McGee
Artistic Director | Dale Johnson
Projections Coordinator | Corwin Ferguson
Sharon Bloodworth
Michael McNamara
Music Director | Michael Christie
Production Carpenter | JC Amel
Shari Boehnen
Leni Moore
Assistant Conductor | Jonathan Brandani
Scene Shop Foreman/Supervisor | Mark Maurer
Alberto Castillo
Kay Ness
Head of Music | Allen Perriello
Master Carpenters | Nate Kulenkamp, Eric Veldey
Jay Debertin
Jose Peris
Artistic Administrator | Roxanne Stouffer
Carpenter | Max Gilbert
Terrance Dolan
Elizabeth Redleaf
Costume Director | Corinna Bohren
Sara Donaldson
Connie Remele
Artist Relations and Planning Director | Floyd Anderson
Sidney W. Emery
Mary H. Schrock
Dramaturg | David Sander
Tailor | Yancey Thrift
Maureen Harms
Linda Roberts Singh
Drapers | Katrina Benedict, Chris Bur
Mary IngebrandPohlad
David Smith
Resident Artists | Andres Acosta, Nadia Fayad, Jessica Hall, Mary Evelyn Hangley, David Radamés Toro, Wm. Clay Thompson, Christian Thurston, Lindsay Woodward
Philip Isaacson
David Strauss
J Jackson
Virginia Stringer
Diane Jacobson
Greg Sullivan
John C. Junek
Norrie Thomas
Christl Larson
H. Bernt von Ohlen
Mary Lazarus
William White
Cynthia Y. Lee
Project Opera Music Director | Matthew Abernathy
Margaret Wurtele
Project Opera Accompanist | Kathy Kraulik
Nadege Souvenir
Assistant Costume Director | Beth Sanders
E DU C AT IO N
Hair/Makeup Supervisors | Priscilla Bruce, Manuel Jacobo
Teaching Artist | Pablo Siqueiros
Hair/Makeup Crew | Corrie Dubay
Community Organizer | Rebecca Lawrence
Karen Bachman
Julia W. Dayton
DE V E LOPME NT
John A. Blanchard, III
Mary W. Vaughan
Chief Development Officer | Carley M. Stuber Development Director | Mallory Roberts
Burton Cohen
Institutional Gifts Director | Diana Konopka
HONO RA RY D I REC TO R S Dominick Argento
Liz Kochiras
Philip Brunelle
L EG AL CO UN SE L
TEMPO BOARD MINNESOTA OPERA MNOPERA.ORG
OF F ICE RS
22
Development Officer | Nickolas Sanches Events Manager | Anthony Diaz Development Associate | Jeremie Bur
Jerry Lillquist
Development Coordinator | Charlotte Summers
Gerald Benson
Joyce Lillquist
Peter Brandenhoff
Melanie Locke
Debra Brooks
Tom Logeland
Alexis Haley Brown
Suzan Lynnes
Renee Brown-Goodell
Mary McDiarmid
Chief Marketing Officer | Darby Lunceford
Jerry Cassidy
Barbara Moore
Marketing Director | Katherine L. Castille
Ann Drivas
Douglas Myhra
Audience Engagement Manager | Kristin Matejcek
Judith Duncan
Andrea Nicholson
Billy Fabec
Candyce Osterkamp
Andy Flamm
Heidi Pagano
Jane Fuller
Pat Panshin
Joan Gacki
Sydney Phillips
Sarah Grecula
Gabrielle Sacha
Merle Hanson
Laura Schaubschlager
Catherine Heck
Michele Schluender
Morgan Heck
Kari Schutz
Patron Services Coordinator | Brian Johnson-Weyl
Kerry Hinze
Mary Sheehy
Patron Services Supervisors | Elisabeth Hawthorne, Ian Mercer
Stephanie Hynes
Amy Sirivie
Tim Jones
Janet Skidmore
Patron Services Representatives | Kianna Carter, Carol Corich, Henry Dykstal, Mollie Laidly, Joshua Weinberg
Ryan Kantor
Wendi Sott
Robin Keck
Norm Tiedemann
Mary Lach
Stephanie Van D’Elden
Mollie Laidly
Barbara Willis
Design Manager | Kristin Backman Communications Manager | Eric Broker
Chair | Thomas Bakken Vice Chair | Kara Eliason Dorsey
Patron Services Director | Greg Campbell
Secretary | Emily Engel
Patron Services Manager | Kevin Beckey
Treasurer | Veronica Mason
Associate Patron Services Manager | Karl Annable
Carrie Anderson
Sarah Fowler
Thomas Bakken
Mark Giga
Elizabeth Brenner
Alison Jarzyna
Laura Chaffee
Veronica Mason
Kamruz Darabi
Luke Olson
Kara Eliason Dorsey
Aimee Tritt
Katie Eiser
Julia Wilcox
Emily Engel
The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnopera.org/volunteer, or email volunteering@mnopera.org for more information. Lynne Beck
Web and Digital Media Associate | Rocky Jones
M EMBERS
MINNESOTA OPERA VOLUNTEERS
Development Operations Coordinator | Jonathan Lundgren
MAR K E T ING / CO MMUNICAT IO NS
Moss & Barnett
Stitchers | Becca Chapin, Ann Friese, Sara Huebschen, Jadie Krussow Wardrobe Supervisor | Molly O’Gara
Community Education Director | Jamie Andrews
Music Out Loud Teaching Artist | Sara Sawyer
D IR ECTORS E M ER I T I
First Hands | Helen Ammann, Rebecca Karstad, Kristen Weller
Jerry Lillquist
Minnesota Opera is a proud member of The Arts Partnership with the Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra, and the Schubert Club.
UPCOMING EVENTS
FEB. 9–11 Odyssey, based on Homer’s epic poem, tells the time-honored tale of the wily king of Ithaca and the trials and tribulations he must face on his journey home from the Trojan War. Sung in English with English captions projected above the stage. Presented at The Lab Theater, 700 North First Street, Minneapolis (next to the Minnesota Opera Center). MNOPERA.ORG/PROJECT-OPERA
Opera Insights ONE HOUR PRIOR TO EACH PERFORMANCE Enjoy fun, free, and informative half-hour lectures, hosted by Minnesota Opera artistic staff in Ordway’s Target Atrium. Come early and get an overview of the characters and music, the historical and cultural context of the opera, and highlights to watch for during the show.
MAR. 7, 7PM At the historic Opera Center, get the inside scoop on Verdi’s Rigoletto as opera experts and members of the cast and creative team lead discussions exploring the music, history, and design of opera. MNOPERA.ORG/BTC
Taste of Opera Enhance your opera-going experience with a delicious pre-show dinner at The University Club of Saint Paul and casual conversation with the experts of Rigoletto. Leave the logistics to us and enjoy an allinclusive night out at the opera. MNOPERA.ORG/TASTE
Resident Artist Program 20th Anniversary Event
MN Opera @ Books & Bars
APR. 8
MAR. 11, 6:15PM
The Minnesota Opera Resident Artist Program 20th Anniversary Event honors the legacy and accomplishments of the company’s esteemed training program founded by Artistic Director Dale Johnson. Surprise guests perform an eclectic musical program that promises a memorable concert in support of the past, current, and future members of the highly selective program for artists and administrators.
This open book club perfectly combines opera, literature, and beer! Join moderator Jeff Kamin and special guests for food, libations, and engaging conversations on books related to MN Opera’s 55th anniversary season. MNOPERA.ORG/BOOKS
La bohème Broadcast
MNOPERA.ORG/COMMUNITY-EVENTS
MAR. 15, 8PM Classical Minnesota Public Radio broadcasts Minnesota Opera’s 2017 production of Puccini’s La bohème, which features Nicole Cabell, Scott Quinn, Edward Parks, and Resident Artist Mary Evelyn Hangley. MNOPERA.ORG/LISTEN
Rigoletto MAR. 17–31 Verdi’s tale of seduction and bitter revenge is boldly imagined in this new production. The disfigured jester Rigoletto must do everything in his power to protect his innocent daughter from the lecherous Duke of Mantua before she falls into his clutches. Rigoletto tragically unfurls as it races toward its devastating climax. MNOPERA.ORG/RIGOLETTO
Regular Hours: Monday – Friday, 10am – 5pm. Performances: Weekdays — phones open until curtain. Weekends — phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain.
MNOPERA.ORG/OPERA-INSIGHTS
MAR. 27, 5PM
Behind the Curtain
Minnesota Opera Patron Services 620 North First Street, Minneapolis, MN 55401 612-333-6669
Thaïs MAY 12–20 A devout monk seeks to convert Thaïs, a ravishingly beautiful courtesan, but realizes too late that his pious obsession is rooted in lust, not religion. Massenet’s sensual and melodic creation, set in the deserts and oases of 4th century Egypt, explores the conflict between the passion of the flesh and the salvation of the soul. MNOPERA.ORG/THAIS
Fellow Travelers JUNE 16–23 Minnesota Opera takes a trip to Minneapolis with Fellow Travelers at The Cowles Center. The story of a forbidden love affair between two men in 1950s McCarthy-era Washington, D.C., Fellow Travelers is a searing opera infused with political drama, unexpected humor, and sincere heartbreak. MNOPERA.ORG/FELLOW
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 612-3336669 or visit mnopera.org to purchase passes. Opera Insights Come early for Opera Insights — free, fun, and informative half-hour sessions held in the lobby one hour before curtain. Accessibility For patrons with disabilities, wheelchairaccessible seats are available. Audio description will be available or select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. At the Ordway, accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems. At the Ordway Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break. Please have all cell phones and pagers turned to the silent mode. Children under six are not permitted in the hall. Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher. Food and beverages are available for purchase prior to the show and during intermission. Water and other beverages are allowed in the theater (hot beverages require lids), but food is strictly prohibited. The phone number for emergencies is 651-224-4222. Please leave seat locations with the calling party. Lost and Found is located at the Stage Door. Call 651-282-3070 for assistance.
DEAD MAN WALKING 2017–18
Project Opera Performs Ben Moore & Kelley Rourke’s Odyssey
M I N N E S OTA O P E R A I N F O
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INDIVIDUAL GIVING
I T I S W I T H D E E P A P P R E C I AT I O N that Minnesota Opera recognizes individual donors who have made gifts to our Annual Fund, Fund-a-Dream, and Opera Innovate NOW campaigns. Thank you for making this exceptional art come to life.
bel canto circle PLATINUM $50,000 AND ABOVE Susan S. Boren Ellie Crosby – The Longview Foundation & The Crosswols Foundation Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Mary Ingebrand-Pohlad Lucy Rosenberry Jones and James E. Johnson C. Angus* and Margaret Wurtele William White Wayne Zink and Christopher Schout
camerata circle PLATINUM $7,500 – $9,999 Anonymous Allegro Fund of the Saint Paul Foundation Sharon Bloodworth Michael Birt Kenneth and Peggy Bonneville Judith Garcia Galiana and Alberto Castillo Norton Hintz* and Mary Abbe Diane and Paul Jacobson Christl and Andrew Larson Celita and Eric Levinson Connie and Lew Remele GOLD $5,000 – $7,499 Anonymous Donald E. Benson Ann and Glenn Buttermann Susan Calmenson Nicky B. Carpenter* Jan Conlin and Gene Goetz Peter Davis and Pamela Webster Ralph D. Ebbott Margaret Poyner Galbraith Dr. Richard Gregory Robert and Susan Josselson
MINNESOTA OPERA MNOPERA.ORG
artist circle
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$1,000 – $2,499 Anonymous (2) Arlene and Tom Alm Floyd Anderson Rebecca D. Arons and Thomas J. Basting Jr. Annette Atkins and Tom Joyce Ruth and Dale Bachman Maria Bales Carl and Joan Behr Barbara S. Belk Ed and Mimi Bohrer Al Bradley Drs. Eli and Jan Briones Joan and George Carlson Barb and Jeff Couture Mike and Stacey Crosby – The Longview Foundation Helen and John Crosson Cy and Paula DeCosse Fund of The Minneapolis Foundation Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation
PLATINUM $20,000 – $49,999 Richard Allendorf Martha and Bruce Atwater Fund of The Minneapolis Foundation & Prospect Creek Foundation Patricia Beithon Mary and Gus Blanchard Jay and Rebecca Debertin Sara and Jock Donaldson William I. and Bianca M. Fine Charitable Trust Alfred and Ingrid Lenz Harrison Mr. and Mrs. Philip Isaacson John and Kathleen Junek Miriam and Erwin Kelen Robert L. Lee and Mary E. Schaffner Harvey Thomas McLain Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Kay Ness and Chris Wolohan
Elizabeth Redleaf Paul and Mary Reyelts Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol
The Art and Martha Kaemmer Fund of HRK Foundation Anna Kokayeff Kyle Kossol and Tom Becker Robert Kriel and Linda Krach Ilo and Margaret Leppik Diana Lee Lucker David MacMillan and Judy Krow Kendrick B. Melrose Donor Advised Fund of The Minneapolis Foundation Dr. and Mrs. Alfred Moore Sarah and Rolf Peters Eloise and Carl Pohlad Family Fund Jennifer and Chris Romans Ken and Nina Rothchild Nadege J. Souvenir and Joshua A. Dorothy Julie Steiner Dr. Andrew J. Thomas SILVER $2,500 – $4,999 Anonymous Dan and Martha Goldberg Aronson William Biermaier and David Hanson Alexandra O. Bjorklund Michelle Blaeser Thomas and Ann Bagnoli Will and Margee Bracken
Laurie Carlson and William Voedisch Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Michael and Alexis Christie Rusty and Burt Cohen Gisela Corbett and Peter Hyman Ruth Dayton Jean Deatrick and Eldon Feist Thomas and Mary Lou Detwiler Dr. Mary Anne Ebert and Paul Stembler Joyce and Hugh Edmondson Ann Fankhanel Gail Fiskewold Bruce and Melanie Flessner Patricia R. Freeburg Mrs. Myrtle Grette Susanne Haas and Ross Formell Roger and Karen Hale Michele Harris and Peter Tanghe Jean McGough Holten Dr. Arthur and Fran Horowitz J. D. Jackson Dale A. Johnson Patricia Johnson and Kai Bjerkness Hubert Joly Janet N. Jones Lyndel and Blaine King
Robert and Venetia Kudrle From the Family of Richard C. and Elizabeth B. Longfellow Dorothy and Roy Mayeske Mary Bigelow McMillan* Velia R. Melrose Sandy and Bob Morris Richard and Nancy Nicholson Luis Pagan-Carlo and Joseph Sammartino Debra Paterson Mrs. William S. Phillips John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde James and Andrea Rubenstein Janet and Bill Schaeder Frank and Lynda Sharbrough Dorothy Sinha Ryan Taylor Brad Thompson Missy Thomson and Gar Hargens Dr. Norrie Thomas and Gina Gillson Debra R. Ting Stephanie C. Van D’Elden Dr. Craig S. and Stephanie Walvatne Ellen M. Wells Nancy and Ted Weyerhaeuser Woessner Freeman Family Foundation
Joan Duddingston Laura and Tim Edman Holli and Stefan Egerstrom Rondi Erickson and Sandy Lewis Ester Fesler Salvatore Silvestri Franco James and Teddy Gesell Heidi and Howard Gilbert Jennifer Gross and Jerry LeFevre Thomas and Mary Gross Bruce and Jean Grussing William Gullikson Marion and Donald Hall Nancy A. Harris Don Helgeson and Sue Shepard Stefan and Lonnie Helgeson Elfrieda Hintze Thomas Hunt and John Wheelihan Jill Irvine Crow Robert and Sandy Klas Sally and Bill Kling Mrs. James S. Kochiras Constance and Daniel Kunin Laurence and Jean LeJeune Virginia Levy
Benjamin Y. H. and Helen C. Liu William F. Long Darby Lunceford and Todd Wright James W. Lund Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Steve Matheson Barbara McBurney Helen and Charles* McCrossan Deb and Jon McTaggart Eileen and Lester Meltzer David* and LaVonne Middleton Betty Myers David E. and Judy L. Myers Joan and Richard Newmark Brandon and Melissa Novy Ben Oehler Ruth and Ahmad Orandi Derrill Pankow Tom and Sally Patterson Suzanne and William Payne Marge and Dwight Peterson Kay Phillips and Jill Mortensen Mary and Robert Price
Karen Quisenberry Scott and Courtney Rile Dr. Donald V. Romanaggi, Sr. Sampson Family Charitable Foundation Jean Thomson Sandbo David E. Sander Fred and Gloria Sewell Cherie and Robert Shreck Stephanie Simon David Smith Joan T. Smith Kevin and Lynn Smith Daniel J. Spiegel Family Foundation Dana and Stephen Strand Carley, Bill, Kirsten, and Carolyn Stuber Jill and John Thompson Neal Viemeister Mrs. Joanne Von Blon David L. Ward Mark Warnken John W. Windhorst Jr. Jean C. Wirsig* Srilata and Aks Zaheer
GOLD $15,000 – $19,999 Anonymous (2) Karen Bachman Sharon Hawkins David Strauss SILVER $10,000 – $14,999 Anonymous Nina and John* Archabal Stephen and Margaret Blake Shari and David Boehnen Rachelle Dockman Chase Jane M. and Ogden W. Confer Mrs. Susan DeNuccio Nancy and Rolf Engh
Dolly J. Fiterman* Mr. and Mrs. William Frels Beverly N. Grossman Maureen and Mike Harms Dorothy Horns and James Richardson Warren and Patty Kelly Margaret V. Kinney Chris Larsen and Scott Peterson Kenyon S. Latham Mary Ash and Barry Lazarus Cynthia and Lawrence Lee Albin and Susan Nelson Jose Peris and Diana Gulden Don and Patricia Romanaggi Mahlon and Karen Schneider Mary H. and Christian G. Schrock Jesse and Linda Singh Virginia L. and Edward C. Stringer Greg Sullivan John Sullivan
DONORS THAT SUPPORT Minnesota Opera could not be more grateful for our donors’ generous and vital contributions. It is because of you and your support that every note is sung, every seam is stitched, and every individual is touched by the power of the art we see on stage. After 55 amazing years, your essential donations continue to be the enduring foundation of Minnesota Opera. Last year alone, you made it possible to bring 19,000 children and retirees to participate in our
engagement programs, bring 42,000 people to our mainstage, and serve over 600,000 people overall. This year, as we continue to grow Opera for all Ages and begin to create new works, we need you to join us now more than ever! Contribute today and help us reach beyond the stage and have a lasting impact on all members of our community.
WHAT YOUR DONATION DOES
$10
$100
This gift allows for one student to attend an Opera performance at the Ordway
This gift supports a week of Music Out Loud afterschool classes for one student
$25
$250
This gift allows participation for two members of the Voices of Opera chorus
This gift brings a Teaching Artist into a classroom for a day
$50
$500
This gift provides one prop for Project Opera’s production of Odyssey
This gift allows 50 students to attend a performance at the Ordway
HOW TO GIVE
Online
By Phone
Visit mnopera.org/support to make a secure online donation.
Please contact Jeremie Bur at 612-342-9574 or at jbur@mnopera.org.
By Mail
Planned Gift
Please send your check, made payable to Minnesota Opera, to 620 North 1st Street, Minneapolis, MN 55401.
Join our Legacy Circle by including Minnesota Opera as a beneficiary in your will or estate plan. Contact Mallory Roberts at 612-342-9566 or at mroberts@mnopera.org.
PHOTO CREDIT DAN NORMAN
INDIVIDUAL GIVING patron circle GOLD $750 – $999 Thomas O. Allen Anonymous Laurie Anderson and Jon Hanson Dr. and Mrs. Orn Arnar Gerald and Phyllis Benson Martin and Patricia Blumenreich Maureen and John Drewitz David Dudycha and Dorothy Vawter Andrew Grzeskowiak Russell and Priscilla Hankins Karla Miller Lucia Newell and Steven Wiese Carol Peterson Ann M. Rock Liane A. Rosel Richard and Carol Seaberg Warren Stortroen Cindy and Steven Vilks Frank and Frances Wilkinson SILVER $500 – $749 Anonymous (3) Katherine Anderson Jane and Jamie Andrews Jean P. Antonello August J. Aquila and Emily Haliziw Kay C. Bach
associate circle
MINNESOTA OPERA MNOPERA.ORG
$250 – $499 Anonymous (2) Paul and Val Ackerman Joy K. and J.C. Amel Jerry Artz James and Gail Bakkom Bryan D. Bearss Kenneth J. Berglund John and Cindy Beukema Sharon Bigot Neil Bizily David and Diane Blake Barbara Brauer Allen Brookins-Brown Roger and Ronnie Brooks Philip and Carolyn Brunelle Jean and Bruce Carlson Alan E. and Ruth Carp Katherine L. Castille Laura Green Chaffee and Matthew Chaffee Wanda and David Cline Kay Constantine Jeanne E. Corwin Shana Crosson and John Gisselquist Melissa Daul James D’Aurora R. Anthony Diaz Thalia Duffield Patrick Dufour and Molly O’Brien Charlie and Anne Ferrell Steven and Mimi Fisher Carol and Mike Garbisch Greta and Paul Garmers
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Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Donald and Naren Bauer Christopher Beaudet Mitch and Michele Blatt Gerald Bradley Elizabeth Brenner Debra Brooks and James Meunier Brenda Colwill Richard and Mari Carlson Lois Dirksen Leah and Ian Evison Brian M. Finstad Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and William Gacki Billy Gamble William W. and Susan G. Gerberich Ellen D. Grace Rehael Fund – Roger Hale/Nor Hall of The Minneapolis Foundation Clifton and Sharon Hill John Hogie Andrew and Gary Whitford Holey Steve Horan Burton and Sandra Hoverson Barbara Jenkins
Nancy Jones Erika and Herb Kahler Beverly Kasper Jane and Jim Kaufman Fund of The Minneapolis Foundation Mary L. Kenzie Foundation Nathan Kulenkamp Scott and Karla Lalim Natalie Levin and Stephen Gilberstadt Larry Lee Jonathan and Lisa Lewis David and Anna Linder Ruth W. Lyons William and Kris McGrath Martha and Stuart Mason Judith and James Mellinger Jack and Jane Moran Dede Ouren Ilya Perepelitsyn and Lioudmila Sitnikova John and Margaret Perry Walter Pickhardt and Sandra Resnick Lawrence M. Redmond Bob Rose Christopher Ross Enrique and Clara Rotstein Marian R. Rubenfeld and Frederick G. Langendorf Christine Sagstetter
Jon L. Schasker and Debbie Carlson Gale Sharpe Morris and Judith Sherman Bernie and Juliana Simmons Madeline Simon Rhonda Skoby Linda Soranno and Howard Bolter Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Jon Spoerri and Debra Christgau Michael Steffes Dr. David M. Steinhaus Sharon Stoffel Craig and Janet Swan Michael Symeonides and Mary Pierce Dr. Anthony Thein Josephine Trubek Kenneth and Kathryn Valentas Susan Weinsheimer Elizabeth Wexler Deborah Wheeler Barbara White Jeff and Joe Wiemiller Barb Wildes John M. Williams Barbara and James Willis
Randy Goetz Charlotte L. Grantier Laurie Hacking Charles Hample Laurie Hansen Rosmarie and John Helling Mary K. Hicks Stuart Holland Randy Holt Mark and Kathleen Humphrey Thomas and Vicki Hurwitz Guillermo Irisarri Ray Jacobsen Mark and Jeanne Jacobson Deborah and Ronald Jans Charlie Johnson Kristine Kaplan Ed and Martha Karels James Karges Michael and Sheue Keenan Scott Kegler Cheryl and Barry Kempton Carole and Joseph Killpatrick Janice Kimes Dr. Daniel and Kerry Kincaid Beatrice H. Langford David and Darlene Lee Daniel Lepow Stuart MacGibbon Holly MacDonald and John Orbison Dr. Joan E. Madden Donald and Rhoda Mains Bridget Manahan and Joe Alexander Kristin and Jim Matejcek Jeffrey Masco John McAleer
Laurel and David Mech Susan Mehle Adele Mehta Mary Meighan and David Ingbar Curtis and Verne Melberg Rita Meyer John L. Michel and H. Berit Midelfort Virginia Miller Theresa, Jim and Nicole Murray Virginia Dudley and William Myers Sarah Nagle Merritt C. Nequette and Nancy Hartung Mina Fisher and Fritz Nelson Patricia A. O’Gorman Walt and Raeanna Gislason Dennis R. Olson Donna and Marvin Ortquist Kathy and Don Park James A. Payne Lana K. Pemberton Janell Pepper Jane M. Persoon Allen Perriello Anne and John Polta Bertrand and Nancy Poritsky Nicole and Charles Prescott Joel Rainville and Kyle Olson Dennis M. Ready The Redleaf Family Foundation Barton Reed Ann Richter Philip Rickey Mallory A. Roberts David and J. Susan Robertson Robert E. Rocknem Michael and Tamara Root
Daniel Roth David and Kathleen Rothenberger Nickolas Sanches Mischa Santora Kate Saumur Mary Savina Beatrice C. Sexton Mary Shamrock Clark Shawna Rebecca Shockley Arthur and Marilynn Skantz Kathleen K. Simo Joseph and Susan Sorrentino Mark and Kristi Specker Donna Stephenson Barbara Stoll Susan Swanson Dan and Erika Tallman Joyce Thielen Katharine E. Thomas Marie J. Thomas Robert and Barbara Thomasson Laura Thompson Susan Truman Jessica Vanyo Catherine Vesley John Vilandre Elaine Walker Harry Walsh Renee Campion and David Walsh John and Sandra White Wendy Wildung Ruth Wood * in remembrance
These lists are current as of December 4, 2017 and include donors who gave a gift of $250 or more in annual support of Minnesota Opera. If your name is not listed appropriately, please accept our apologies and contact Mallory Roberts, Development Director, at mroberts@mnopera.org or 612-342-9566.
b e c o m e
a
d o n o r
Bring innovative opera productions to life with your charitable gift, and join Minnesota Opera’s family of donors today. Visit mnopera.org/support to give online. Thank you!
The appearances of Emily Pulley, grand prize winner, and finalists Andrés Acosta, Karen Black, Mary Evelyn Hangley, Catherine Martin, Wm. Clay Thompson, Christian Thurston, Victoria Vargas, and Andrew Wilkowske of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.
SPECIAL GIVING
Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. Anonymous (4) Norton Hintz* and Mary Abbe Paul and Val Ackerman Thomas Allen Dr. and Mrs. Rolf* Andreassen Mary A. Andres Karen Bachman Thomas and Ann Bagnoli Randolph G. Baier* Mrs. Harvey O. Beek* Barbara* and Sandi Bemis Dr. Lee A. Borah, Jr.* Al Bradley Margaret M. Carasik Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Joan and George Carlson Estate of Robin J. Carpenter* Julia and Dan Cross Julia W. Dayton Stephanie C. Van D’Elden
COMMEMORATIVE GIFTS It is with deep appreciation that Minnesota Opera acknowledges those who have made gifts in the name of a friend, loved one, or colleague.
Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation George* and Susan Doty Rudolph Driscoll* Anne P. Ducharme Ester Fesler Dr. Paul Froeschl Katy Gaynor Nettie Grabscheid* Robert* and Ellen Green Dr. Leva M. Grundmanis* Robert Shearer and Joan Gustafson Michelle Hackett Russell and Priscilla Hankins Julia Hanna* Frederick J. Hey Jr.* Elfrieda Hintze Jean McGough Holten Charles J. Hudgins* Cordelia Anderson and John Humleker C.T. Bundy II Dale and Pat Johnson Ruth Jones* Charles and Sally Jorgensen Robert and Susan Josselson Markle Karlen Charlotte Karlen* Mary H. Keithahn Warren and Patty Kelly
Dolly Fiterman Mary W. Vaughan
Leroy Genaw Jessica Vanyo
Heinz F. Hutter Theresa, Jim, and Nicold Murray
Helen Hines Maureen and John Drewitz
IN MEMORY OF:
John Archabal John and Ruth Huss Fund of The Saint Paul Foundation Carley Stuber
Arlene Bryant Maureen and John Drewitz
Josephine B. Carpenter Sara and Jock Donaldson
Robin J. Carpenter Netsmart Technologies
innovate now initiative Minnesota Opera has received generous leadership commitments for new initiatives in education, infrastructure, and community programming. $250,000+ Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson C. Angus* and Margaret Wurtele
$100,000 – $249,999 Anonymous Best Buy Children’s Foundation Susan S. Boren Mary Ingebrand-Pohlad John and Kathleen Junek Paul and Mary Reyelts Mary Vaughan
Mary B. Martin Renee and Juan Cristiani
Charles S. McCrossan Lynn Choromanski Mathy Construction Co.
Ruth Wallentine Maureen and John Drewitz
C. Angus Wurtele Rachelle Dockman Chase Sara and Jock Donaldson Ruth and John Huss
$50,000 – $99,999 Katherine B. Andersen Fund of the St. Paul Foundation Martha and H. Brewster Atwater Jane M. and Ogden W. Confer Sara and Jock Donaldson Ellie Crosby – The Longview Foundation Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation H. Bernt von Ohlen and W. Thomas Nichol Wayne Zink and Christopher Schout Jesse and Linda Singh William I. and Bianca M. Fine Charitable Trust William White
$25,000 – $49,999 Anonymous (2) Richard Allendorf Nina and John* Archabal Mike Birt Will and Margee Bracken Ann and Glenn Butterman Jay and Rebecca Debertin
Margaret Kilroe Trust* Lyndel and Blaine King Gretchen Klein* Sally and Bill Kling Gisela Knoblauch* Robert Kriel and Linda Krach Liz and Jim Krezowski Robert and Venetia Kudrle Helen L. Kuehn* Robert Jim Laswer Jr. and Duane Bandel Jean Lemberg* Rondi Erickson and Sandy Lewis Joyce and Jerry Lillquist Dawn M. Loven Patricia Ruth Lund* David Mayo Barbara McBurney Thomas R. McBurney* Mary McDiarmid Mildred McGonagle* Mary Bigelow McMillan* Sheila McNally* Mrs. Walter Meyers Estate* John L. Michel and H. Berit Midelfort Karla Miller Susan Molder* Edith Mueller* Richard and Joan Newmark H. Bernt von Ohlen and W. Thomas Nichol
James E. Johnson Krystal Kohler & Dan Norris Nickolas Sanches Carley Stuber Jean Thomson
Scott J. Pakudaitis Mrs. William S. Phillips Phyllis Price Brian and Trish Huberty Prokosch Richard G.* and Liane A. Rosel Ken and Nina Rothchild Berneen Rudolph Mary Savina Josef Schermann Frank and Lynda Sharbrough Drew Stewart James and Susan Sullivan Anthony Thein Mary Vaughan Gregory Swinehart and Mitra Walter Sandra and Dale Wick Jean C. Wirsig* Kay Ness Richard Zgodava* Daniel Richard Zillmann Philip Oxman and Harvey Zuckman * in remembrance
For more information on making planned giving arrangements, please contact Carley M. Stuber, CFRE, Chief Development Officer, at cstuber@mnopera.org or 612-342-9579.
Cynthia Lee Neil Bizily and Tara Doyle Bizily Fund of Schwab Charitable
Lynne Looney Karen Suzukamo
IN HONOR OF:
Ian Alexander Mani Nease Peterson
Julia W. Dayton Lucy Rosenberry Jones and James E. Johnson
The Wedding of Mary Jo Flynn and S. Hubig Susan Olson
Arthur and Martha Kaemmer
Harvey T. McLain Patrick Dufour and Molly O’Brien
Karla Miller Carley Stuber
Rob Riordan Manilan Houle
Wayne Zink and Christopher Schout Douglas Myhra and John Clingerman
Jeffrey Masco
David Keefe
* in remembrance
Terrance McLaman
Jose Peris and Diana Gulden Alfred and Ingrid Lenz Harrison Miriam and Erwin Kelen Linda Krach and Robert Kriel Mary Ash and Barry Lazarus Cynthia and Lawrence Lee Mardag Foundation Mary Bigelow McMillan* Kay Ness Jennifer and Chris Romans Robert L. Lee and Mary E. Schaffner Mary H. and Christian G. Schrock Julie Steiner David Strauss
Gail Fiskewold The Engh Foundation Maureen and Mike Harms Sharon Hawkins Mr. and Mrs. Philip Isaacson Margaret V. Kinney Kenyon S. Latham Eric and Celita Levinson Albin and Susan Nelson Chris Larsen and Scott Peterson Connie and Lew Remele Don and Patricia Romanaggi Virginia L. and Edward C. Stringer John Sullivan Dr. Andrew J. Thomas
$10,000 – $24,999 Anonymous (4) Karen Bachman Kyle Kossol and Tom Becker Michael Birt Patricia Johnson and Kai Bjerkness Shari and David Boehnen Kenneth and Peggy Bonneville Mrs. Susan DeNuccio Nadege J. Souvenir and Joshua A. Dorothy
F L X : I I @MNOPERA
DEAD MAN WALKING 2017–18
LEGACY CIRCLE
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INSTITUTIONAL GIVING MINNESOTA OPERA G R A T E F U L LY A C K N O W L E D G E S ITS MAJOR INSTITUTIONAL SUPPORTERS: $ 1 0 0,0 0 0 +
This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund. THE ANDREW W.
MELLON FOUNDATION
$ 50,0 0 0 – $ 9 9, 9 9 9
$ 2 5,0 0 0 – $ 49, 9 9 9
Art and Martha Kaemmer Fund of the HRK Foundation
Katherine B. Andersen Fund of The Saint Paul Foundation
$ 1 0,0 0 0 – $ 24, 9 9 9
Fred C. and Katherine B. Andersen Foundation
MAHADH Fund of the HRK Foundation
MINNESOTA OPERA MNOPERA.ORG
$5,0 0 0 – $9,999
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The Aaron Copland Fund for Music Inc. Boss Foundation Dellwood Foundation Faegre Baker Daniels Hardenbergh Foundation Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation
R.C. Lilly Foundation Mayo Clinic RBC Wealth Management James Rubenstein, Moss & Barnett Schwegman, Lundberg & Woessner P.A. St. Paul Cultural STAR Thomson Reuters Travelers Foundation Xcel Energy
$ 2 , 50 0 – $ 4, 9 9 9
$ 2 50 – $ 2 , 49 9
Anonymous Amphion Foundation Hutter Family Foundation Margaret Rivers Fund Peravid Foundation The Elizabeth C. Quinlan Foundation Tennant Foundation Twin Cities Opera Guild
Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson Inc. McVay Foundation Onan Family Foundation Sit Investment Foundation Wells Fargo Insurance Services
For more information about making a corporate or foundation contribution to Minnesota Opera, please contact Diana Konopka at dkonopka@mnopera.org or 612-342-9565.
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APRIL 6-22, 2018 ONEFESTIVALOMAHA.ORG
DESIGNERS & BUILDERS OF:
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reach a captive audience For advertising opportunities in Minnesota Opera programs: mary-kate@artsink.org 612.791.3629
Our Retail Gallery features furniture by Third Street Studios as well as work by local artists, including paintings, photographs, sculpture, ceramics and other craft. Perfect gifts for family and friends or a treat for yourself! Like SPATIAL EFFECTS GALLERY on Facebook 651 • 757 • 3365
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Third Street Studios and Spatial Effects Gallery are both located at 1759 Selby Avenue, Saint Paul.
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Meet Russell Toscano: Former teacher of art & drama, former actor & director, currently the artistic director / floral mentor of Wisteria Design Studio. He refers to himself as a die-hard theater geek, home chef, travel enthusiast, and eyewear freak. We admit to being unrepentant enablers of his eyewear fetish.
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See Different Uptown, New Brighton, Burnsville Center and Grand Avenue
GRE GIFTSAT !
Debussy’s La Mer
Thu Mar 1 11am Fri Mar 2 & Sat Mar 3 8pm Juraj Valčuha, conductor / Kirill Gerstein, piano
Juraj Valčuha returns to conduct Rachmaninoff’s powerful Third Piano Concerto and Debussy’s shape-shifting picture of the sea, La mer.
Pink Martini
with the Minnesota Orchestra Fri Mar 9 & Sat Mar 10 8pm Sarah Hicks, conductor / China Forbes, lead vocals
Pink Martini mixes a fabulous cocktail of swoon-worthy music and multilingual flourishes for a performance that will be the talk of the town.
Vänskä Conducts Mahler’s Titan Symphony Thu Mar 15 11am Fri Mar 16 & Sat Mar 17 8pm
Osmo Vänskä, conductor / Erin Keefe, violin
No first symphony has ever rocked the world like Mahler’s stunning Titan—joyous and bold, the composer’s audacious wish to embrace all of humanity in a single piece of music.
TAO: Drum Heart Sat Mar 31 8pm
Enthralling legions of audiences in sold-out halls throughout the world, TAO: Drum Heart brings a fusion of explosive Japanese Taiko drumming, contemporary costumes and eye-popping choreography to Orchestra Hall. Please note: The Minnesota Orchestra does not perform on this program.
Our Love is Here to Stay: Charles Lazarus and The Steeles
TAO: Drum Hear t
with the Minnesota Orchestra Fri Apr 6 8pm Sarah Hicks, conductor Charles Lazarus, trumpet / The Steeles, vocalists
Join Minnesota Orchestra trumpeter Charles Lazarus and Minneapolis family quintet The Steeles for an era-spanning journey through the New American Songbook from Gershwin and Ellington to Stevie Wonder and Prince.
Pink Mar tini
612.371.5656 Photo credits available online.
/
The Steeles
minnesotaorchestra.org
Osmo Vänskä and Erin Keefe
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