Minnesota Opera's Thaïs by Minnesota Opera

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Welcome to the Minnesota Opera premiere of Thaïs. I can’t think of a better way to slough off another long Minnesota winter than with Massenet’s sensual and melodic creation. Though this is our last production of the season here at the Ordway, I hope you’re planning to join us this June for our special sixth opera, Fellow Travelers, at The Cowles Center in Minneapolis. Set during the McCarthy-era Lavender Scare, Fellow Travelers tells the story of a love affair between two men in 1950s Washington DC. It is an ode to the importance of being one’s self and the bravery it takes to stand up to political oppression. Looking beyond this season, subscriptions to our 2018–2019 season are now available. We’ve created an opera season full of joy, vulnerability, love, laughter, and hope, and we invite you to join us — the season won’t be the same without you!

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Thaïs

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Meet the Artist: Kelly Kaduce • 17 Starring the title role of Thaïs, Minnesota-born soprano Kelly Kaduce hits the high notes with joyous abandon.

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THAÏS 2017–18

STARRING JOHN HOLIDAY AND AUDREY LUNA

MUSIC BY JULES MASSENET LIBRETTO BY LOUIS GALLET BASED ON THE NOVEL BY ANATOLE FRANCE WORLD PREMIERE AT THE OPÉRA GARNIER, PARIS, MARCH 16, 1894 Sung in French with English translations projected above the stage.

CAST TH AÏS ..................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kelly Kaduce sponsored by Margaret and Stephen Blake ATH ANAËL........................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lucas Meachem

Gerard Schneider PALÉM O N............................. . . . . . . . . . . . . . . . . . . . . . . . . . . Wm. Clay Thompson • NIC IAS.. .................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ALBINE.. ................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Nadia Fayad •

CRO BYLE .............................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michelle

Liebl M YRTALE.............................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nadia Fayad • Jeni Houser + S ERVANT............................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christian Thurston • LA CH ARM E U S E ................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Acosta •, Joel Mathias, Matthew Opitz, Alex Ritchie, Colyn Tvete

CENO BITE M O NKS ................ . . . . . . . . . Andres

DANC ERS . . ............................. . . . . . . . . . . . . . . . . . . . . . .

Zenon Dance Company

CREATIVE TEAM CO ND U CTO R, Ruth and John Huss Chair. . . . . . . . . . . . .

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STAGE D IRE CTO R................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrea C H O RE O GRAP H E R . . .............. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heidi

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C H O RU S M ASTER.. ................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew

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Soukup RÉP É TITE U RS . . ...................... . . . Jessica Hall•, Lindsay Woodward • PRODUCTION STAGE MANAGER.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kerry FRE NC H D IC TIO N COACH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cecile

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E NGLIS H S U RTITLE S ........... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher

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ESTIMATED RUNNING TIME

The running time is 3 hours and 11 minutes, with 2 intermissions occurring approximately 47 minutes and 2 hours and 3 minutes into the opera. WARNING

THAÏS 2017–18

Thaïs contains strobe lighting, fog, and theatrical haze.

SYNOPSIS

ACT I

Scene 2 — In front of Thaïs’ house

Scene 1 — The Thebaid, on the banks of the Nile

The next morning, Thaïs confesses the emptiness of her current way of life and resolves to follow Athanaël to Mère Albine’s remote hermitage. The first step is to destroy what is impure — setting fire to her sumptuous palace. Thaïs only wants to save one item — a small ivory statue of Eros that symbolizes the love she is forsaking. Athanaël insists that it be destroyed as well and smashes it on the pavement. They go inside.

Cenobite monks enjoy a modest evening meal outside their huts. Palémon, their leader, says a brief prayer, and all notice the return of Athanaël, one of their brethren. He is considered especially devout, due to the frequency of his dreams. He soon arrives, distracted by his notion of a corrupt city and the woman he admired in his youth, the scandalous courtesan, Thaïs. He had nearly succumbed to the temptation to visit her brothel before turning to God. Palémon warns of mixing with the outside world. They all pray and then go to sleep. Athanaël is suddenly awoken by a vision of a thinly veiled Thaïs performing on a stage. Convinced that she requires rescue, he vows to return to Alexandria to save her soul.

Scene 2 — The terrace of Nicias’ house in Alexandria Athanaël approaches the home of his old friend Nicias, but is intercepted by a servant. The monk detests the state into which the pagan city has fallen — in his boyhood, it fared much better. Nicias rushes on to the terrace, and Athanaël proclaims his intention to bring Thaïs back to the Lord by having her enter a nunnery. The lecherous Nicias reveals that Thaïs will be dining at his home that very evening, following her stage performance. It is the end of a week-long tryst, which he can no longer support financially. Nicias lends his friend jewelry and a sumptuous robe to cover his bland, hermetic rags so that he can make a better impression on Thaïs. The slaves Crobyle and Myrtale both admire his natural beauty. Groups of actors, actresses, and philosophers arrive. They idolize Thaïs after she makes her belated entrance. She espies Athanaël, who, Nicias ironically remarks, is there to convert her to his holy doctrine. She cajoles the cleric — she only believes in passion and no other power. Noticing the fire in his eyes, she believes he might be willing to forget his vows. After all, men were made for love. Shocked by her blasphemy, Athanaël threatens to follow her to her palace intent on bringing her back to spiritual health and redemption.

ACT II MINNESOTA OPERA MNOPERA.ORG

Scene 1 — The house of Thaïs

Gazing into a mirror, Thaïs admires her great beauty, but worries that she will eventually grow old. She concludes her soliloquy with a fleeting affirmation that she will be eternally beautiful. Athanaël arrives as anticipated and again makes his case — she must choose piety over lasciviousness, repent, and become a bride of Christ. He loves her in the spirit and truth only faith can bring, not in the lustful ways she already understands. Athanaël leaves, promising to wait outside until sunrise. Thaïs ponders her destiny — tomorrow she will only be a name — she will always remain Thaïs the courtesan. She meditates on the two prospects until dawn breaks.

Nicias appears on the terrace with his guests, who have reveled through the night. He has won at the gaming tables, and is able to engage Thaïs’ services once again. Nicias stages further entertainment, and after the dancers perform, La Charmeuse sings to the accompaniment of her lyre. Athanaël interrupts the merriment, announcing that Thaïs has left their sinful company — the Thaïs of hell is dead. She soon appears, disheveled and wearing a woolen tunic. The guests are aghast and beg her to stay, but then see flames licking out of the palace windows. The riotous mob threatens to kill Athanaël, but Nicias distracts them by throwing gold pieces to the ground, allowing Athanaël and Thaïs to escape unharmed.

ACT III Scene 1 — The oasis As they approach the convent nestled in the desert, Thaïs falters from fatigue, her feet bleeding from the long journey. Athanaël finds food and shelter, and they rest. Mère Albine and Les filles blanches bring black bread and comfort. Confident he has achieved his purpose and not wanting to trespass on the sacred grounds of the convent, Athanaël leaves Thaïs in their care for a future of prayer and penance. Still, he is anguished by the fact that he will never see her again.

Scene 2 — The Thebaid A storm brews in the distance. The monastic brothers remark that they haven’t seen Athanaël for twenty days — he has been in seclusion, fasting. His triumph over evil has broken both body and soul. Thaïs’ beauty still haunts his dreams, and her image taunts him with the possibility of love. Another hallucination reveals that Thaïs is on her deathbed. Athanaël vows to hold her one last time.

Scene 3 — The garden of Mère Albine’s nunnery Les filles blanches pray for Thaïs’ salvation, her body destroyed by the atonement for her sins. Athanaël appears, pale and disheveled. Thaïs fondly recalls their journey, and Athanaël finally admits his eternal love. After a final shared moment together, Thaïs dies in beatitude while Athanaël comes to terms with his earthly passions.

ABOUT THE OPERA

Massenet’s music apparently won France over, despite the strenuous objections the author voiced concerning the libretto prepared by Louis Gallet. A highly experienced man of the stage who also collaborated with Ambroise Thomas, Bizet, and Saint-Saëns, Gallet fundamentally transformed the tone of France’s novel — originally a satirical attack on piety — into a straightforward dramatic conflict more suitable for operatic treatment. Thaïs is hardly an isolated case of this sort of revisionism: Wagner bleached the satire from the Heinrich Heine tale on which he drew for Der Fliegende Holländer, while Tchaikovsky set Pushkin’s ironic Eugene Onegin with heart-on-sleeve emotionalism. France was not the originator of the Thaïs story, and he, too, radically altered the source that first triggered his interest. The apocryphal legend of Saint Thaïs — a supremely beautiful courtesan who gives up the way of all flesh and becomes an ascetic to purge her sins — emerged during the period of the early Christian monks, in Roman Egypt in the fourth century. In the Middle Ages, it gained popularity as a morally uplifting parable about the power of divine forgiveness. An extraordinary tenth-century Benedictine nun and writer by the name of Hrotsvitha of Gandersheim composed a philosophical drama based on Saint Thaïs. It came to France’s attention when, as a young critic, he was assigned to review a puppet version of her play. The story fascinated France and inspired his own literary response: first in the form of a poem and then, over two decades later, in a novel that was serialized before being published in 1890. The novel became a succès de scandale thanks to its wickedly anticlerical point of view. Indeed, France’s writings were

consigned to the Church’s Index of Forbidden Books in the 1920s — shortly after he was awarded the Nobel Prize for literature. With his signature irony, France parodies the monastic movement that sprang up in the waning days of the Roman Empire. His focus transforms the monk, whose project is to redeem Thaïs into the central character. The real sin, in France’s retelling, is the ascetic rejection of the world and of Thaïs’s physical love. The monk stands revealed in the end as a repulsive vampire: “Passing his hand across his face,” the novel ends, “he felt his own hideousness.” Aside from the scandalous associations France’s novel might have provoked, the opera Thaïs came handily equipped with controversial elements when it was first brought before the Paris public. Massenet had written the title role for Sybil Sanderson, the alluring young soprano from California reputed to have a solid range of three octaves, whose interpretation of Manon became a sensation. Her rapport with the married composer was a lively topic of gossip. The ambitious diva’s behavior nearly derailed the production when she secretly changed allegiance from the Opéra-Comique (which had been promised the premiere) to the Opéra, forcing Massenet to go along with her defection. On opening night, Sanderson had a notorious “wardrobe malfunction” that exposed her breasts at the end of the first act. Sanderson’s debut at the formidable Opéra marked a personal triumph over the prevailingly skeptical attitude toward her skills — “absolute perfection, unexpectedly so,” as one review put it. Stories centered on the conflict between spiritual and erotic desire were something of a specialty for Massenet. His first success as a composer was an oratorio based on the Mary Magdalene story, to a libretto by Gallet. Massenet had himself tackled the topic of Salome and John the Baptist — though from a markedly different angle — in the Flaubertinspired 1881 opera Hérodiade. But the sensationalism surrounding Thaïs has tended to distract from serious engagement with its considerable merits.

“

Stories centered on the conflict between spiritual and erotic desire were something of a specialty for Massenet. Consider the Méditation from the middle of the second act — the wordless interlude featuring a solo violin that accompanies the heroine’s overnight conversion. This excerpt has come to represent the opera but also serves as an emblem for the misunderstanding of Thaïs as wholly shallow. On the surface, it seems the epitome of pleasing but saccharine melodiousness. Yet as Ernest Newman shrewdly observes, the Méditation suggests Massenet projecting outward from his character’s point of view: “It is precisely in some such silken, caressing terms as these that a Thaïs would embrace a new faith.” Much discussion of the opera centers on the problematic suddenness of Thaïs’s conversion. Yet where France relies on a lengthy backstory about her troubled childhood to provide motivation, Massenet begins to prepare the way from his heroine’s first entrance. Her love music with Nicias is among the score’s most beautiful passages, marked by a bittersweet melancholy over the sense of time passing that is the explicit subject of her aria at the beginning of Act II. And just after the conversion, we realize that Thaïs, like Athanaël, maintains elements of the personality she has supposedly overcome. Along with the inherent sensuality of the Méditation, her invocation of Eros betrays her very human perspective of divine love as “a rare virtue.” THOMAS MAY Thomas May is a writer, critic, educator, and translator. His books include Decoding Wagner and The John Adams Reader, and he blogs at memeteria.com.

THAÏS 2017–18

“You have lifted my poor Thaïs to the first rank of operatic heroines.” In his memoirs, Jules Massenet recalls receiving this praise from Anatole France, whose novel provided the basis for the opera, the day after Thaïs had its premiere at the Paris Opéra on March 16, 1894. “I am happy and proud,” France continued, “to have furnished you with the theme on which you have developed the most inspiring phrases.”

COMPOSER

JULES MASSENET B. S t. Etienne, May 12, 1842 D. Paris, August 13, 1912

MINNESOTA OPERA MNOPERA.ORG

ules Massenet was the most prominent and prolific composer of French opera in the late 19th and early 20th centuries with more than 30 operas to his credit. Born the twelfth child in a typical bourgeois provincial family, Jules first studied piano with his mother. His skills were sufficient to be accepted by the Paris Conservatoire, where in 1859, he won first prize for piano performance. He spent his early adulthood giving lessons, providing entertainment at local cafés and playing timpani in the orchestra pits of the major opera houses.

Massenet studied composition with Ambroise Thomas, a celebrated composer of an earlier generation whose most significant works were Mignon (1866) and Hamlet (1868). Jules won the prestigious Prix de Rome in 1863 (with Hector Berlioz’ encouragement) and met Charles Garnier (a former Prix winner who would design the Paris and Monte Carlo Opéras) as well as a newly ordained Franz Liszt while residing at the students’ Italian abode, the Villa Medici. Liszt introduced him to his future wife, Louise-Constance de Gressy, then an aspiring piano student. A requirement for winners of the Prix de Rome was to compose a one-act opera for the Opéra-Comique. This would be Massenet’s first staged work, La grand’tante (1867), coinciding with the Exposition Universelle, which would also yield Giuseppe Verdi’s Don Carlos, Charles Gounod’s Roméo et Juliette

and Jacques Offenbach’s La GrandeDuchesse de Gérolstein. Massenet’s further attempts at opera in the years that followed were fruitless as cultural city life was interrupted by the FrancoPrussian War (1870–1871) and the siege of Paris (he and his friend Georges Bizet would both serve together in the National Guard). Like several other composers of his day, Massenet’s abilities had the good fortune to attract the attention of Pauline Viardot, a mezzo-soprano from the immensely talented García family (the composer would remember her from the days she sang Gluck’s Orphée at the Théâtre-Lyrique when he was a pit musician). She promoted his oratorio, Marie-Magdeleine, singing the title role. The work premiered in 1873 at the Théâtre de l’Odéon, and later, during Lent in repertory with Verdi’s Requiem, conducted by the grand master himself at the Opéra-Comique (the theater’s then impresario, Camille de Locle was a close friend and collaborator). In 1876, Massenet’s Orientalist opera Le roi de Lahore was accepted by the Opéra and premiered the following year at the recently opened Palais Garnier. Representatives of the Italian House of Ricordi heard the piece and arranged with the composer’s publisher, Georges Hartmann, to have it staged in Turin. The success of Il re di Lahore later at La Scala in 1879 led to an Italian commission for Erodiade (Hérodiade), based on a poem by Gustave Flaubert concerning the biblical legend of Herodias, her daughter Salome, her husband Herode, and John the Baptist. Massenet played his score for Ricordi while he was in Paris for the French premiere of Verdi’s Aida at the Opéra, but the publisher uneasily postponed the premiere, leading to the first performances at Brussels’ Théâtre de la Monnaie in 1881. In the fickle music business of the late 19th century, and eclipsed by a sudden public interest in Wagner, Paris’ leading composers were not necessarily guaranteed an open door at the Opéra or even the Opéra-Comique, so they

had to be creative in pursuing other houses. Massenet would be lucky and was afforded auspicious premieres of his next few operas at either of these houses: Manon, based on the novel by Abbé Prévost (1884); Le Cid (1885), based on the play by Guillén de Castro y Bellís; Esclarmonde (1889); Le mage (1891); Thaïs (1894); and Le portrait de Manon (1894). However, Werther (1892) was produced in Vienna and La Navarraise (1894) saw its premiere in London. Massenet’s relationship with Raoul Gunsbourg’s Opéra de MonteCarlo would begin with Le jongleur de Notre-Dame (1902) and would yield six new works. Massenet’s later operas were largely based on fairy tale (Cendrillon, 1899; Grisélidis, 1901), Greco-Roman history and mythology (Ariane, 1906; Bacchus, 1909; Roma, 1912; Cléopâtre, 1914); and literature [Sapho (after Alphonse Daudet), 1897; Chérubin (a continuation of Beaumarchais’ Figaro trilogy), 1905; Don Quichotte (after Cervantes), 1910]. His style has been accused of being static or even retrograde, yet his colorful, ethereal orchestration and long-breathed lyricism would have a profound effect on Italy’s giovane scuola, including Giacomo Puccini. In turn, Massenet nodded to current trends, producing the veristic La Navarraise, the textually Symbolist Thaïs and the Wagnerian Esclarmonde. He was a tireless worker willing to explore extensions of his own style, memorizing his libretti with attention to stress, composing without the use of a piano, and producing a premiere nearly every year of his professional life. Massenet’s legacy has been overshadowed by others, yet the endurance of Manon, Werther, and Cendrillon, along with occasional revivals of Thaïs, Le Cid, Don Quichotte, and Esclarmonde, cement and secure his place in the pantheon of French opera.

DIRECTOR'S NOTES

n Thaïs, two worlds confront each other. At the place where the two worlds intersect is a place where symbolism stimulates a cathartic and redemptive experience for Thaïs. In my personal conception, Thaïs is an artist, devoted to the cult of Venus, to the cult of love, of lust. She is interested in pleasure and hedonism and is surrounded by a plethora of artists, actors, philosophers, dancers, and theater people. She possesses an exceptional non-conformity and a libertinism that makes Athanaël both fascinated and fraught.

The sense of the theater permeates Thaïs’ life, and it fascinates me, as if, like a “scene in a scene,” or “metatheatre,” the whole life of the protagonist consistently engages in a representation, a disheartened and transgressive masquerade ball from which none of her court wants her to leave. She maintains a balance that is vital for those who live in her world, and Athanaël's appearance causes its destruction. In the beginning, Athanaël sees Thaïs as though seeing her in a mirror — a mythical figure whose world he must oppose. In the end, however, he is captured by Thaïs’ charm and power. To that end, the principal space is a room of mirrors that reflects all the personas and all the histories of the characters inside. The first mirrored space is characterized by the darkness of the monks’ meditation and a mirror dust that rises from the mirrors of the theater of Alexandria. This space creates the first scene of the work — simple, palpable, delimited by a neon light that encapsulates the repeated actions and symbolic gestures of Athanaël's companions. It then opens to Alexandria and the golden theatrical world of Thaïs, along with the trappings of wealth that identify the world of the young actress. The choice of costumes goes in this direction as well, differentiating two worlds: religion and theater. The former is characterized by a “repetition of the gesture,” of spiritual vision and rigor. The latter is characterized by eclecticism, freedom, and, most importantly, variety. Thaïs’ world consists of theater characters, dancers, and chorus members in masks, like in a Victorian theater where a “Middle-Oriental” performance takes place. The lighting is designed for a drama. It comes from objects and has a direction. It imposes coldness in the scenes where the strict form of religion marks the time and warmth in the world

of Thaïs. The lighting prison that we find at the beginning and at the end of the work symbolizes the impossibility of fleeing from the rules that religion imposes and, at the same time, freedom for Thaïs and Athanaël.

“

Throughout the opera, Thaïs’ way of being is almost more mental and personal and less spatial and tangible. Her redemption comes from inside, but is stimulated from outside — by visions, appearances, feelings, and attitudes.” Throughout the opera, Thaïs’ way of being is almost more mental and personal and less spatial and tangible. Her redemption comes from inside, but is stimulated from outside — by visions, appearances, feelings, and attitudes. This sense of mystery characterizes the work through events, such as the levitation of her soul during the “Méditation.” Athanaël is overwhelmed, fascinated, and seduced by Thaïs’ world, though he tries to escape it without success. Both Athanaël and Thaïs remain victims of each other's worlds until the darkness of the finale when their two worlds interchange. Thaïs joins the religious world she never contemplated and perhaps never even profoundly knew and Athanaël, having fallen in love, is thrust into a sentimental and fascinating world, but his love is thwarted by the death of the person who he chased in vain. ANDREA CIGNI STAGE DIRECTOR

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

ANDREA CIGNI

CHRISTOPHER FRANKLIN

STAGE DIRECTOR

CONDUCTOR

CREMONA, ITALY

PITTSBURGH, PENNSYLVANIA

Minnesota Opera Debut Tosca, 2016

Past

Minnesota Opera Debut La Cenerentola, 2010

Past

The Italian Straw Hat, Florence Maggio Fiorentino

Turandot, San Francisco Opera

Don Pasquale, Avignon Opera

Peter Grimes, Palau de les Arts Reina Sofia

Madama Butterfly, Palermo Teatro Massimo

Tristan und Isolde, Teatro Verdi

La Straniera, Catania Teatro Massimo Bellini

La sonnambula, Teatre Champs-Elysees

Future

Pia de’ Tolomei, Spoleto Festival USA

Il viaggio a Reims, Musikvereinsaal

La traviata, Trapani

I puritani, Teatro Liceo

Tosca, Opera Lombardy — Brescia Teatro Grande

Tosca, Festival Alejandro Granda

The Italian Straw Hat, Minnesota Opera

Lucia di Lammermoor, Opera de Tenerife

Aida, Teatro Massimo Palermo

La traviata, Minnesota Opera

LORENZO CUTÙLI

JENI HOUSER

SCENIC AND COSTUME DESIGN

LA CHARMEUSE

FERRARA, ITALY

STOUGHTON, WISCONSIN

Minnesota Opera Debut Tosca, 2016

Past

Minnesota Opera Debut Ariadne auf Naxos, 2015

Past

Carmen, Mégaron Concert Hall

Ariadne auf Naxos, Austin Opera

Motezuma, Sao Carlos Theatre

Die Zauberflöte, Lyric Opera of Chicago

I Lombardi alla prima crociata, Colòn Theatre

Le nozze di Figaro, Minnesota Opera

Don Pasquale, French Opera Theatre

Sweeney Todd, Baltimore Concert Opera

Future

Tosca, Circuito Lirico Lombardo

Die Zauberflöte, Central City Opera

The Italian Straw Hat, Minnesota Opera

Die Weiden, Wiener Staatsoper A Little Night Music, Madison Opera

MARCUS DILLIARD

KELLY KADUCE

LIGHTING DESIGN

THAÏS

BETHLEHEM, PENNSYLVANIA

WINNEBAGO, MINNESOTA

Minnesota Opera Debut Turandot, 1995

Past

Minnesota Opera Debut La bohème, 2002

Past

Moby Dick, Pittsburgh Opera

Rusalka, Minnesota Opera

Assassins, Theater Latté Da

The Shining, Minnesota Opera

Refugia, The Guthrie Theater

The Threepenny Opera, Boston Lyric Opera

Dead Man Walking, Lyric Opera Kansas City

Tosca, Michigan Opera Theatre

Future Silent Night, Minnesota Opera

Future Madama Butterfly, The Santa Fe Opera

MINNESOTA OPERA MNOPERA.ORG

All Is Calm, Theater Latté Da

Benevolence, Penumbra Theatre

The appearance of Kelly Kaduce is made possible, in part, by the generous support of Margaret and Stephen Blake.

NADIA FAYAD

MICHELLE LIEBL

ALBINE/MYRTALE

CROBYLE

DULUTH, MINNESOTA

PRIOR LAKE, MINNESOTA

Minnesota Opera Resident Artist

Past Das Rheingold, Minnesota Opera

Minnesota Opera Debut The Merry Widow, 2002

Past

L’abore di Diana, Minnesota Opera

Le nozze di Figaro, Minnesota Opera

Le nozze de Figaro, Minnesota Opera

The Shining, Minnesota Opera

Rigoletto, Minnesota Opera

Die Zauberflöte, Minnesota Opera

Future Carmen, Mill City Summer Opera

The Manchurian Candidate, Minnesota Opera Madama Butterfly, Minnesota Opera

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

LUCAS MEACHEM

CHRISTIAN THURSTON

ATHANAËL

SERVANT

CARTHAGE, NORTH CAROLINA

ROTORUA, NEW ZEALAND

Minnesota Opera Debut Faust, 2009

Past

Minnesota Opera Resident Artist

Past Le nozze di Figaro, Minnesota Opera

La bohème, Metropolitan Opera

Madama Butterfly, New Zealand Opera

Il barbiere di Sivigila, Houston Grand Opera

Cendrillion, Manhattan School of Music

Les Troyens, Chicago Lyric Opera

Rigoletto, Minnesota Opera

Don Giovanni, Semperoper Dresden

Future

Future La rondine, Minnesota Opera

Penderecki's St. Luke's Passion, Salzburg Festival

Silent Night, Minnesota Opera

Britten’s War Requiem, Grafenegg Festival

La traviata, Minnesota Opera

La traviata, Washington National Opera La bohème, Canadian Opera Company

GERARD SCHNEIDER NICIAS MELBOURNE, AUSTRALIA

Minnesota Opera Debut Thaïs, 2018

Past Risurrezione, Wexford Festival Opera La Straniera, Washington Concert Opera Die Lustige Witwe, Kyoto Summer Music Festival Iris, Bard Summerscape Festival Il Trovatore, Salzburger Festspiele

Future Mozart and Salieri, Bard Music Festival Rusalka, Oper Frankfurt Faust, Opera Omaha Krol Roger, Oper Frankfurt

HEIDI SPESARD-NOBLE CHOREOGRAPHER SHELBYVILLE, ILLINOIS

Minnesota Opera Debut The Merry Widow, 2002

Past Rusalka, Minnesota Opera The Shining, Minnesota Opera The Nightingale, Project Opera Ruddigore, St. Olaf College Brigadoon, Chanhassen Dinner Theatres

Future Legally Blonde, Artistry Theater Ring of Fire, Paul Bunyan Playhouse Hairspray, Paul Bunyan Playhouse Little Shop of Horrors, Cedar Summerstock Theater

WM. CLAY THOMPSON PALÉMON LEXINGTON, KENTUCKY Minnesota Opera Resident Artist

Past Le nozze di Figaro, Minnesota Opera Don Pasquale, Minnesota Opera La fanciulla del West, Kentucky Opera Rigoletto, Minnesota Opera

Future The Cunning Little Vixen, The Glimmerglass Festival Silent Night, The Glimmerglass Festival The Italian Straw Hat, Minnesota Opera La traviata, Minnesota Opera

THAÏS 2017–18

Silent Night, Minnesota Opera

ORCHESTRA, CHORUS, + SUPERNUMERARIES

ORCHESTRA

CELLO Jim Jacobson*

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

CHORUS

Laurie Hatcher Merz

Alex Barnett Beth Bayley

Teresa Richardson Assistant Principal

HORN

Michael Burton

Sally Gibson Dorer

Charles Hodgson*

Karen Bushby

Rebecca Arons

Jenna McBride-Harris

Phinehas Bynum

Kirsten Whitson

Timothy Bradley

Carolyn Cavadini

Michael Alexander

Christina Christensen

BASS John Michael Smith* Ken and Peggy Bonneville Chair Constance Martin Charles Block

FLUTE

Jill Olson Moser

Michele Frisch*

Maisie Block

Amy Osterman Lenk

VIOLIN II

PICCOLO

Laurie Petruconis*

Bethany Gonella

Melinda Marshall

OBOE

Margaret Humphrey

Michael Dayton*

Elise Parker

Robert McManus

ENGLISH HORN

David Block

Jeffrey Marshak

VIOLA

CLARINET

David Auerbach* Nina and John• Archabal Chair

Karrin Meffert-Nelson*

Emily Hagen

BASS CLARINET

Rhianna Cockrell

John G. Koopmman*

Ben Crickenberger

Christopher Volpe

Cecile Crozat-Zawisza

Martin Hodel

Jennifer Eckes

Phillip Ostrander* John Tranter David Stevens

TUBA Itai Agmon*

Michelle Hayes Benjamin Hills Aliese Hoesel Ben Johnson Joel Mathias Kristin Morant

Matt Opitz Sandra Partridge James Pike Tyler Raad Alex Ritchie Grant Scherzer Sandra Schoenecker Cody Schuebel Carole Schultz Lindsay Sessing Ashley Sievers Eric Smedsrud Justin Spenner Staci Stringer Jake Thede Kristie Tigges Kelly Turpin Eryn Tvete Colyn Tvete Clark Weyrauch

Kory Andry*

PERCUSSION

SUPERNUMERARIES

Matthew Barber*

Ariel Begley

David Schneider

Steve Kimball

Benjamin Rubenstein

Abigail Rose Sharp

Maxwell Savage

Charlie Woodruff

HARP

Nina Olsen

Min J. Kim* Marion Winslow Buchanan• Chair

Michelle Campbell

Jenny Lind Nilsson

KEYBOARD

Susan Janda

BASSOON

Matthew Mindeman

Coreen Nordling* Eric and Celita Levinson Chair Matthew Bertrand

Anna Hashizume

Darrius Morton

TIMPANI

Emilia Mettenbrink Emily Saathoff

Matthew Christoff

TRUMPET

TROMBONE

Elizabeth Decker

Laurel Browne

CONTRABASSOON

Lindsay Woodward * principal • in memoriam

ZENON DANCE COMPANY Doug Hooker

Leslie O’Neill

Patrick Jeffrey

Laura Osterhaus

Tristan Koepke

Alyssa Soukup

Scott Mettille

Sarah Steichen Stiles

MINNESOTA OPERA STAFF AND BOARD MEMBERS WOULD LIKE TO REMEMBER OUR FRIEND,

MINNESOTA OPERA MNOPERA.ORG

Martha Kaemmer

Among many things, Martha was passionate about music and the influence arts have in one’s life. We are grateful that Martha served as a member of the Opera’s Board of Directors and for her dedication throughout the years to Minnesota Opera. We will all miss her warm, welcoming presence at performances and events. These performances of Thaïs are dedicated to Martha Kaemmer for her support and enthusiasm for Minnesota Opera.

KELLY KADUCE AS THAÏS

How did you end up with a career in singing? KK: I went to St. Olaf with the original idea of majoring in biology. I was interested in being a physical therapist. Once I arrived and saw the list of courses available, I got very excited about all of the music classes, and in particular, voice lessons! I couldn’t believe you could take a voice lesson for a class credit. For me, singing and music were just hobbies that I loved. The idea that you could make a serious study of it seemed like a cosmic mistake that worked to my advantage. After my sophomore year, the music faculty encouraged me to focus solely in music, and that was all I needed to hear. Next, I spent the summer at the College Light Opera Company in Falmouth, Massachusetts. There, I learned to pick up music quickly and I also met other singers with serious hopes to be professional opera singers. I met a boy who went to Boston University. We dated and I headed out to Boston after graduation from St. Olaf. There, I started studying with Penelope Bitzas privately while working an office job to pay the bills. I auditioned at several different schools with master’s degree programs in vocal performance and ended up going to Boston University so I could continue to study with Ms. Bitzas. The second year of my master’s degree, I started doing a lot of outside auditioning and entering as many competitions as

possible. One of those competitions was the MET National Council Auditions, which I won. That was basically the birth of my career as an opera singer.

Who were some of the people who helped you to become a singer? KK: Anna Mooy at St. Olaf College was my first mentor. She was my very first voice teacher. She taught me to sing with vibrato and introduced me to my first opera arias. Penelope Bitzas was my most important mentor. She is a tough-nosed technician and gave me the foundation and character that I have built upon. Another important mentor was Colin Graham, the longtime Artistic Director of Opera Theater of St. Louis. We first met when he was directing a show in which I had a featured part. He saw something in me (probably my crazy laugh as a dead ghost). I then sang my first Madama Butterfly under his direction at Minnesota Opera. I was too young to sing that demanding part, but did it anyway. It was the best decision I ever made! I learned so much from him and wound up doing his Butterfly several other times. I also sang the world premiere of Anna Karenina, which was Colin Graham’s libretto. He was scheduled to direct it, as well. Unfortunately, he passed away before rehearsals for the show began. I was able to see him one last time in the hospital to say good-bye and thank you, and to tell him how much he meant to

me. My husband and I ended up naming our son after him.

What are some of the most memorable ways that your voice has been described? KK: The most memorable description of my voice was not a word, but rather a painting! I have a small five-by-fiveinch painting in my music room that is a glossy, beautiful dark blue. The painting was given to me by Sebastian Spreng, an artist who told me he sees voices as colors. He painted my voice after hearing me sing a double bill of Suor Angelica and I Pagliacci in Miami.

What do you like to do when you are in the Twin Cities? KK: If it is winter, my family and I always try to cross country ski, and now that we have a five-year-old, sledding is added to that list. You can also always find us running or walking along the paths along the Mississippi River. We recently found Elsie’s Bowling Alley, and there are a few restaurants that we always try to visit. We also usually make a visit to the University of Minnesota Children’s Hospital as well. Our son was born prematurely and spent his first three months in that NICU. We have gone back almost every year to do NICU follow-ups and visit with the excellent doctors and nurses who took care of us.

THAÏS 2017–18

PHOTO BY BRENT DUNDORE

MEET THE ARTIST

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

MUSI C OUT LOUD

Music Out Loud is an intensive, long-term afterschool music curriculum that utilizes the multimedia operatic artform as the foundation for learning.

MINNESOTA OPERA MNOPERA.ORG

This program, its values, and teaching philosophy are influenced by El Sistema, a social development program that uses classical music as a means to teach teamwork, tenacity, and relationship building. Founded in Venezuela over 40 years ago, El Sistema is gaining momentum throughout the world as an effective, holistic, and creative approach to improving the lives of students and enriching their neighborhoods.

The founder of El Sistema in Venezuela, Jose Antonio Abreu, spoke eloquently and passionately about the social mission of these programs in a speech in acceptance of the TED Prize. He believes we are building a new era in the teaching of music where we are “no longer putting society at the service of art, and much less at the services of monopolies of the elite, but instead art at the service of society, at the service of the weakest, at the service of the children, at the service of the sick, at the service of the vulnerable, and at the service of all those who cry for vindication through the spirit of their human condition and the raising up of their dignity.” While hundreds of El Sistema-inspired programs have successfully launched focusing on orchestral and choral music, Minnesota Opera

is the first opera company in North America to use the operatic art form as the primary teaching tool. “Our approach is to deconstruct what opera education has traditionally looked like and engage students through the various components of the art form. This provides a wealth of opportunities to engage students in connecting with their passion and talents, whether it is music, design, visual art, theater, direction, composition, or production,” says Jamie Andrews, Community Education Director for the Minnesota Opera. He continues, “the curriculum is designed to allow all students to learn about every aspect of opera creation and production, then provide opportunity to dig deeper and hone specific skills that will prepare them for future studies and employment.” The program is led by Teaching Artists Matt Abernathy and Sara Sawyer and is in its fourth year at Folwell Elementary School in Minneapolis. Classes meet four days a week over the course of the school year.

SUMMER OPERA CAMPS KEEP SINGING IN THE SUMMER! VOCAL ARTIST PROGRAM JULY 8–14 | GRADES 9–12 Immerse yourself in opera. Vocal Artist Program brings talented high school singers from around the country together for an inspiring week of performing. Improve your skills with daily vocal coaching and stage movement training.

OPERA ARTIST + JULY 8–14 | COLLEGE UNDERGRADUATES 21st century artistry. Opera Artist + (Plus) is a week-long residential camp for college-aged vocal performance and music education majors designed to refine their craft and explore what it means to be an opera artist in the 21st century.

SINGOUT CHILDREN’S CHORUS CAMP JUNE 25–28 | GRADES 3–8 The perfect mix of fun and music! Campers will sing great children’s chorus music, learn healthy vocal technique, and the fundamentals of acting in this day camp. Get a taste of being in the Minnesota Opera’s Children’s Chorus. For more information, go to mnopera.org/camps or call 612-342-9573.

A love affair between two men in McCarthy-era Washington, DC.

BUY TODAY

BASED ON THE 2007 NOVEL FELLOW TRAVELERS BY THOMAS MALLON

2 01 8–19 S E AS O N LA RONDINE Oct. 6–14, 2018

SILENT NIGHT Nov. 10–17, 2018

THE ITALIAN STRAW HAT Jan. 26–Feb. 3, 2019 WO R L D P R E MI E R E

THE FIX

Mar. 16–24, 2019

LA TRAVIATA May 4–14, 2019

Silent Night, 2011 ©Michal Daniel.

See 3 or more operas and save up to 40%

ARTISTIC DIRECTOR DALE JOHNSON

After More Than 30 Years at Minnesota Opera Dale Johnson’s boldness, unwavering artistic integrity, and forward-thinking approach has established both Minnesota Opera as an industry leader, and the region as a destination for exceptional opera programming. Among a litany of career accomplishments is the formalization of Minnesota Opera’s commitment to new work with the groundbreaking New Works Initiative, which supports the life of new opera from page to stage and beyond. Among New Works Initiative commissions are the Pulitzer Prize-winning Silent Night and 2016’s groundbreaking The Shining. Dale also oversaw the establishment of Minnesota Opera’s Resident Artist Program, which provides emerging opera artists a critical bridge between training programs and professional careers. Finally, as Artistic Director, Dale has consistently sought out and programmed conductors and directors with their own distinct visions, ensuring Minnesota artists and audiences access to the highest quality opera experiences.

PHOTO BY THERESA MURRAY

Earlier this season, Dale announced his plans to transition to a new role after the company’s current 55th Anniversary Season. In the summer of 2018, he will assume the role of Creative Advisor to the President. In his new role, Johnson will advise the company on the development of new work and the identification of promising new artists, while enjoying a less demanding daily schedule. “Working for Minnesota Opera has literally been my life since the fall of 1984,” states Artistic Director Dale Johnson. “Over the years, I have been privileged to see this company grow into an exciting American opera company whose influence on the artform here in the United States and elsewhere vastly exceeds its budget size. With Kevin Smith at the helm when I moved here, and Minnesota Opera moving into the Ordway, the company began

“

. . . we have always programmed seasons with the idea that there are more than just 15 operas worth seeing. We’ve always reached for new repertoire told in new and exciting ways, always leading, never following.”

THAÏS 2017–18

ARTISTIC DIRECTOR DALE JOHNSON CONTINUES TO IMPACT THE OPERA INDUSTRY

to reach for something forward looking — something new. It has never been in the Minnesota Opera DNA to just be another regional American company; we have always programmed seasons with the idea that there are more than just 15 operas worth seeing. We’ve always reached for new repertoire told in new and exciting ways, always leading, never following. I am proud of our Bel Canto artistic philosophy which has found its way into such diverse repertoire as Das Rheingold and The Handmaid’s Tale. We have built an orchestra that can tackle Richard Strauss and John Adams. We’ve won a Pulitzer Prize for Silent Night. I am proud to be a part of a company that reaches for the highest heights. Additionally, I am very proud to have started along with my colleague Floyd Anderson, one of the best training programs in the country. Now, it is time for me to move into another role for Minnesota Opera. Ryan Taylor is poised to take the company bravely into its next phase and I look forward to continuing to support him and the company and community that I know and love.”

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

BOARD OF DIRECTORS

STAFF

OF F ICE RS

ADMI N I ST RAT IO N

Chair | Margaret Wurtele

President and General Director | Ryan Taylor Vice Chair | H. Bernt von Ohlen Secretary | Nadege Souvenir Treasurer | John C. Junek

AR T I ST IC

DIRECTORS Richard Allendorf

Robert Lee

Patricia Beithon

Jeninne McGee

Sharon Bloodworth

Michael McNamara

Shari Boehnen

Leni Moore

Alberto Castillo

Kay Ness

Jay Debertin

Jose Peris

Terrance Dolan

Elizabeth Redleaf

Sara Donaldson

Connie Remele

Sidney W. Emery

Mary H. Schrock

Maureen Harms

Linda Roberts Singh

Mary IngebrandPohlad

David Smith

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

Margaret Wurtele

Nadege Souvenir

D IR ECTORS E M ER I T I

DE V E LOPME NT Chief Development Officer | Carley M. Stuber Development Director | Mallory Roberts Institutional and Major Gifts Director | Diana Konopka Development Officer | Nickolas Sanches Associate Events Director | Anthony Diaz Development and Corporate Sponsorship Manager | Jeremie Bur Development Operations Coordinator | Jonathan Lundgren Development Coordinator | Charlotte Summers

MA R K ET ING /CO MMU NICAT IO NS

TEMP O L I A I SON Kara Eliason Dorsey

P R O DU CT IO N

Julia W. Dayton

John A. Blanchard, III

Mary W. Vaughan

HONO RA RY D I REC TO R S Dominick Argento

Liz Kochiras

Philip Brunelle

TEMPO BOARD OF F ICE RS Chair | Thomas Bakken

MINNESOTA OPERA MNOPERA.ORG

Artistic Director | Dale Johnson Music Director | Michael Christie Assistant Conductor | Jonathan Brandani Head of Music | Allen Perriello Company Manager | Roxanne Stouffer Artist Administration Director | Floyd Anderson Resident Artists | Andres Acosta, Nadia Fayad, Jessica Hall, Mary Evelyn Hangley, David Radamés Toro, Wm. Clay Thompson, Christian Thurston, Lindsay Woodward

Chief Marketing Officer | Darby Lunceford Marketing Director | Katherine L. Castille Associate Marketing Director | Kristin Matejcek Marketing Manager | Amanda Rodriguez Associate Communications Director | Eric Broker Design Manager | Kristin Backman Communications Manager | Rocky Jones Patron Services Director | Greg Campbell Patron Services Manager | Kevin Beckey Associate Patron Services Manager | Karl Annable Patron Services Coordinator | Brian Johnson-Weyl Patron Services Supervisor | Ian Mercer Patron Services Representatives | Emma Carpenter, Kianna Carter, Carol Corich, Henry Dykstal, Elisabeth Hawthorne, Mollie Laidly, David Merz, Joshua Weinberg

Karen Bachman Burton Cohen

VOLUNTEERS

Vice Chair | Kara Eliason Dorsey Secretary | Emily Engel Treasurer | Veronica Mason

M EMBERS Carrie Anderson

Sarah Fowler

Thomas Bakken

Mark Giga

Elizabeth Brenner

Alison Jarzyna

Laura Chaffee

Veronica Mason

Kamruz Darabi

Luke Olson

Kara Eliason Dorsey

Aimee Tritt

Katie Eiser

Julia Wilcox

Emily Engel

Production Director | Karen Quisenberry Assistant Production Director | Julia Gallagher Production Stage Manager | Kerry Masek Assistant Stage Managers | Jamie K. Fuller, Mallory Lammers, Nick Loweree Properties Master | Jenn Maatman Lighting and Video Coordinator | Raymond W. Steveson Jr. Drafters | Jesse Cogswell, Sean K. Walters Production Carpenter | JC Amel Scene Shop Foreman/Supervisor | Mark Maurer Master Carpenters | Nate Kulenkamp, Eric Veldey Staff Carpenter | Max Gilbert Carpenters | Connor Belting, Steve Dalglish, Mike Long, Matt Ribar, Madi Smith Lead Scenic Painter | Erica Zaffarano Scenic Painters | Sara Herman, Lynn Isaacson, Rachel Madden Costume Director | Corinna Bohren Assistant Costume Director | Beth Sanders Tailor | Yancey Thrift Drapers | Katrina Benedict, Chris Bur First Hands | Helen Ammann, Rebecca Karstad, Kristen Weller Stitchers | Becca Chapin, Ann Friese, Sara Huebschen, Jadie Krussow, Rachel Oestreich Wardrobe Supervisor | Molly O’Gara Hair/Makeup Supervisors | Priscilla Bruce, Manuel Jacobo Hair/Makeup Crew | Lianna Colestock, Corrie Dubay, Emma Gustafson

Julia Alvarez Lynne Beck Gerald Benson Peter Brandenhoff Debra Brooks Alexis Haley Brown Renee Brown-Goodell Michelle Cadieux Jerry Cassidy Ann Drivas Judith Duncan David Earp Billy Fabec Erin Farste Andy Flamm Jane Fuller Joan Gacki Diane Gerlach Ryan Gilmer Jessica Grams Sarah Grecula Merle Hanson Catherine Heck Morgan Heck Kerry Hinze Stephanie Hynes Tim Jones Ryan Kantor Robin Keck Bebe Keith Kathleen Kitchen Laura Kucera Mary Lach Angela LaCombe Mollie Laidly Jerry Lillquist Joyce Lillquist Melanie Locke Tom Logeland Suzan Lynnes Jasmine Magner Mary McDiarmid Sylvia Michels Barbara Moore Douglas Myhra Andrea Nicholson Candyce Osterkamp Heidi Pagano Pat Panshin Pat Panshin Sydney Phillips Gabrielle Sacha Laura Schaubschlager Michele Schluender Kari Schutz Mickaylee Shaughnessy Mary Sheehy Amy Sirivie Janet Skidmore Wendi Sott Norm Tiedemann Stephanie Van D’Elden Barbara Willis

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

UPCOMING EVENTS MN Opera @ Books & Bars

Opera Insights

MAY 22, 5PM

ONE HOUR PRIOR TO EACH PERFORMANCE

This open book club perfectly combines opera, literature, and beer! Join moderator Jeff Kamin and special guests, including Minnesota Opera President and General Director Ryan Taylor, for food, libations, and engaging conversations on books related to MN Opera’s 55th anniversary season. All are welcome to this moderated, opera-infused reinvention of the book club.

Enjoy fun, free, and informative half-hour lectures, hosted by Minnesota Opera artistic staff in the 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.

Telling Queer History JUNE 6 Take a deep dive into the history and creative background of Fellow Travelers. The event will include composer Gregory Spears and will be facilitated by Teaching Artist Pablo Siqueiros.

JUNE 17, 1PM AND 4PM Join Telling Queer History for an interactive historical background to Fellow Travelers before the show and with the artistic team after. Must purchase tickets in advance to attend. MNOPERA.ORG/FT-EVENTS

MNOPERA.ORG/BTC

Twin Cities Pride Festival Beyond Travelers: A Musical Tribute JUNE 9 LOFTrecital, in partnership with Minnesota Opera and the Cowles Center, curates a night of LGBTQ music in honor of Fellow Travelers, featuring a cast of local artists representing and celebrating our diverse community. Join us for a unique evening of American song with selections from the upcoming opera in an intimate environment while enjoying light refreshments.

Minnesota Opera Patron Services 620 North First Street, Minneapolis, MN 55401 612-333-6669 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/INSIGHTS

MNOPERA.ORG/BOOK-CLUB

Behind the Curtain with Quatrefoil

M I N N E S OTA O P E R A I N F O

JUNE 23–25 MN Opera will be showing our LGBTQ pride at the Twin Cities Pride festival all weekend in Loring Park. Come find our booth for games, prizes, and lots of fun. On June 24 at 5:15pm, join us at the Rainbow Stage for a special performance from Fellow Travelers by MN Opera Resident Artist Andres Acosta and MN Opera Head of Music Allen Perriello. MNOPERA.ORG/FT-EVENTS

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.

MNOPERA.ORG/FT-EVENTS

JULY 12, 6PM

Fellow Travelers JUNE 16–26 Minnesota Opera takes a trip to Minneapolis with Fellow Travelers at The Cowles Center. The story of a forbidden love affair between two men in 1950s McCarthy-era Washington, DC, Fellow Travelers is a searing opera infused with political drama, unexpected humor, and sincere heartbreak. MNOPERA.ORG/FELLOW

With the story of Fellow Travelers in mind, how have these themes affected you? How do we move forward as a community? How does art shape our understanding of our history and ourselves? Join us for a picnic and a facilitated conversation at the Minnesota Opera Center in downtown Minneapolis. MNOPERA.ORG/FT-EVENTS

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.

THAÏS 2017–18

Fellow Travelers Picnic

INDIVIDUAL GIVING

I T I S W I T H D E E P A P P R E C I AT I O N that Minnesota Opera recognizes individual donors who have made gifts to our Annual Fund, Fund-a-Dream, and Opera Innovate NOW campaigns. Thank you for making this exceptional art come to life.

bel canto circle PLATINUM PLUS $50,000 + Susan S. Boren Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Ellie Crosby — The Longview Foundation & The Crosswols Foundation Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Mary Ingebrand-Pohlad Lucy Rosenberry Jones and James E. Johnson John and Kathleen Junek Mary Vaughan C. Angus* and Margaret Wurtele William White Wayne Zink and Christopher Schout

camerata circle PLATINUM $7,500 – $9,999 Anonymous Sharon Bloodworth Michael Birt Kenneth and Peggy Bonneville Judith Garcia Galiana and Alberto Castillo Sharon Hawkins Norton Hintz* and Mary Abbe Diane and Paul Jacobson Robert Kriel and Linda Krach Christl and Andrew Larson Eric and Celita Levinson Connie and Lew Remele Nadege J. Souvenir and Joshua A. Dorothy Dr. Norrie Thomas and Gina Gillson GOLD $5,000 – $7,499 Anonymous Donald E. Benson William Biermaier and David Hanson Ann and Glenn Buttermann Susan Calmenson Jan Conlin and Gene Goetz

MINNESOTA OPERA MNOPERA.ORG

artist circle

$1,000 – $2,499 Anonymous (2) Arlene and Tom Alm Floyd Anderson Dr. and Mrs. Orn Arnar Rebecca D. Arons and Thomas J. Basting Jr. Ruth and Dale Bachman Maria Bales Christopher Beaudet Carl and Joan Behr Barbara S. Belk David Bjork and Jeff Bengston Ed and Mimi Bohrer Al Bradley Drs. Eli and Jan Briones Scott K. Cabalka Joan and George Carlson Barb and Jeff Couture Mike and Stacey Crosby — The Longview Foundation Helen and John Crosson Stephen Davis and Murray Thomas Cy and Paula DeCosse Fund of The Minneapolis Foundation

PLATINUM $20,000.00 – 49,999 Allegro Fund of the Saint Paul Foundation Richard Allendorf Martha and Bruce Atwater Fund of The Minneapolis Foundation & Prospect Creek Foundation Patricia Beithon Mary and Gus Blanchard Jay and Rebecca Debertin Terrance and Susan Dolan Sara and Jock Donaldson William I. and Bianca M. Fine Charitable Trust Alfred and Ingrid Lenz Harrison Mr. and Mrs. Philip Isaacson Miriam and Erwin Kelen Robert L. Lee and Mary E. Schaffner Harvey Thomas McLain Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Kay Ness and Chris Wolohan

Elizabeth Redleaf Paul and Mary Reyelts Jesse and Linda Singh H. Bernt von Ohlen and W. Thomas Nichol

Peter Davis and Pamela Webster Margaret Poyner Galbraith Dr. Richard Gregory Dr. Anna Kokayeff Kyle Kossol and Tom Becker Ilo and Margaret Leppik Diana Lee Lucker David MacMillan and Judy Krow Dr. and Mrs. Alfred Moore Albin and Susan Nelson Sarah and Rolf Peters Eloise and Carl Pohlad Family Fund Jennifer and Chris Romans Ken and Nina Rothchild David Smith Julie Steiner Dr. Andrew J. Thomas SILVER $2,500 – $4,999 Anonymous Dan and Martha Goldberg Aronson Alexandra O. Bjorklund Michelle Blaeser Thomas and Ann Bagnoli Will and Margee Bracken Laurie Carlson and William Voedisch

Michael and Alexis Christie Rusty and Burt Cohen Gisela Corbett and Peter Hyman Ruth Stricker Dayton Jean Deatrick and Eldon Feist Thomas and Mary Lou Detwiler Ralph D. Ebbott Joyce and Hugh Edmondson Ann Fankhanel Gail Fiskewold Patricia R. Freeburg Mrs. Myrtle Grette Susanne Haas and Ross Formell 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 Robert and Susan Josselson Lyndel and Blaine King Robert and Venetia Kudrle From the Family of Richard C. and Elizabeth B. Longfellow

Dorothy and Roy Mayeske Velia R. Melrose Sandy and Bob Morris Richard and Nancy Nicholson 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 Thompson and Gar Hargens Debra R. Ting Stephanie C. Van D’Elden Dr. Craig S. and Stephanie Walvatne Drs. Greg Weber and James Barnett Ellen M. Wells Nancy and Ted Weyerhaeuser David Wilson and Michael Peterman Carolyn, Sharon, and Clark Winslow Woessner Freeman Family Foundation

Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis 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 Marsha and Richard Gould Jennifer Gross and Jerry LeFevre* Thomas and Mary Gross Bruce and Jean Grussing William Gullikson Marion and Donald Hall Anne Marie and Larry Halvorson Nancy A. Harris Don Helgeson and Sue Shepard Stefan and Lonnie Helgeson Elfrieda Hintze Thomas Hunt and John Wheelihan Jill Irvine Crow Bryce and Paula Johnson Charles and Sally Jorgensen Erika and Herb Kahler Robert and Sandy Klas

Sally and Bill Kling Mrs. James S. Kochiras Constance and Daniel Kunin Laurence and Jean LeJeune Jennifer Gross and Jerry LeFevre Virginia Levy Benjamin Y. H. and Helen C. Liu William F. Long William Lough and Barbara Pinaire Darby Lunceford and Todd Wright James W. Lund Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Agnes and Steve Matheson Carolyn Mayo Barbara McBurney Helen and Charles* McCrossan Gina and Sean McDermott Eileen and Lester Meltzer David* and LaVonne Middleton Thomas Murtha and Stefanie Lenway Betty Myers David E. and Judy L. Myers Joan and Richard Newmark Brandon and Melissa Novy Ben Oehler Ruth and Ahmad Orandi Derrill Pankow

Tom and Sally Patterson Suzanne and William Payne Marge and Dwight Peterson Kay Phillips and Jill Mortensen Mary and Robert Price Scott and Courtney Rile Dr. Donald V. Romanaggi, Sr. Sampson Family Charitable Foundation David E. Sander Fred and Gloria Sewell Cherie and Robert Shreck Madeline Simon Stephanie Simon Kevin and Lynn Smith Daniel J. Spiegel Family Foundation Dana and Stephen Strand Carley, Bill, Kirsten, and Carolyn Stuber Jill and John Thompson Jean Thomson Kenneth and Kathryn Valentas Neal Viemeister Cindy and Steven Vilks David L. Ward G. Marc and Tracy Whitehead John W. Windhorst Jr. Jean C. Wirsig* Srilata and Aks Zaheer

GOLD $15,000 – $19,999 Anonymous (2) Karen Bachman 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 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 Dr. Tom Knabel and Kent Allin Chris Larsen and Scott Peterson Kenyon S. Latham Mary Ash and Barry Lazarus Cynthia and Lawrence Lee Jeninne McGee Luis Pagan-Carlo and Joseph Sammartino Jose Peris and Diana Gulden Rehael Fund — Roger Hale Nor Hall of the Minneapolis Foundation Don and Patricia Romanaggi Mahlon and Karen Schneider Mary H. and Christian G. Schrock Virginia L. and Edward C. Stringer Greg Sullivan and Annie Frazer John Sullivan Joanne Von Blon

INDIVIDUAL GIVING patron circle GOLD $750 – $999 Anonymous Thomas O. Allen Laurie Anderson and Jon Hanson Gerald and Phyllis Benson Martin and Patricia Blumenreich Maureen and John Drewitz David Dudycha and Dorothy Vawter Brian M. Finstad Bruce and Melanie Flessner Andrew Grzeskowiak Russell and Priscilla Hankins James and Gail LaFave Karla Miller Lucia Newell and Steven Wiese Carol Peterson Karen Quisenberry Ann M. Rock Liane A. Rosel Richard and Carol Seaberg Warren Stortroen Frank and Frances Wilkinson SILVER $500 – $749 Anonymous (3) Katherine Anderson Jane and Jamie Andrews Jean P. Antonello August J. Aquila and Emily Haliziw

associate circle $250 – $499 Anonymous (2) Paul and Val Ackerman Joy K. and J.C. Amel Rolf T. Anderson Jerry Artz Thomas Bakken James and Gail Bakkom Bryan D. Bearss Longine Beck Bender Vocal Studio Kenneth J. Berglund John and Cindy Beukema Sharon Bigot Neil Bizily David and Diane Blake Barbara Brauer Allen Brookins-Brown Roger and Ronnie Brooks Jean and Bruce Carlson Alan E. and Ruth Carp Katherine L. Castille Laura Green Chaffee and Matthew Chaffee Mary Chastek Wanda and David Cline Jeanne E. Corwin Shana Crosson and John Gisselquist Melissa Daul James D'Aurora R. Anthony Diaz Thalia Duffield Charlie and Anne Ferrell Steven and Mimi Fisher

Kay C. Bach Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Mitch and Michele Blatt Gerald Bradley Elizabeth Brenner Debra Brooks and James Meunier Thomas and Joyce Bruckner Richard and Mari Carlson Brenda Colwill Susan and Richard Crockett Danny Della Lana and Steve Hall Lois Dirksen Leah and Ian Evison Kathryn Fernholz Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and William Gacki Billy Gamble William W. and Susan G. Gerberich Ellen D. Grace 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 Beverly Kasper Carole and Joseph Killpatrick Jane and Jim Kaufman Fund of The Minneapolis Foundation Mary L. Kenzie Foundation Nathan Kulenkamp Scott and Karla Lalim Natalie Levin and Stephen Gilberstadt Larry Lee Jonathan and Lisa Lewis David and Anna Linder Ruth W. Lyons Martha and Stuart Mason William and Kris McGrath Deb and Jon McTaggart Judith and James Mellinger Steven J. Mittelholtz Jack and Jane Moran Kathleen and Stephen Olsen Dede Ouren John and Margaret Perry Lawrence M. Redmond Bob Rose Christopher Ross Enrique and Clara Rotstein Marian R. Rubenfeld and Frederick G. Langendorf

Christine Sagstetter Nickolas Sanches Jon L. Schasker and Debbie Carlson Gale Sharpe Morris and Judith Sherman Bernie and Juliana Simmons Rhonda Skoby Linda Soranno and Howard Bolter Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Jon Spoerri and Debra Christgau Michael Steffes Dr. David M. Steinhaus Sharon Stoffel Vern Sutton Craig and Janet Swan Michael Symeonides and Mary Pierce Dr. Anthony Thein David and Jennifer Thomas Josephine Trubek Susan Weinsheimer Elizabeth Wexler Deborah Wheeler Barbara White Jeff and Joe Wiemiller Barb Wildes John M. Williams Barbara and James Willis

Carol and Mike Garbisch Greta and Paul Garmers Randy Goetz Charlotte L. Grantier Laurie Hacking James Halverson Charles Hample Laurie Hansen John Heer Rosmarie and John Helling Mary K. Hicks Stuart Holland Randy Holt Mr. Darius Homayounphur Mark and Kathleen Humphrey Guillermo Irisarri Ray Jacobsen Mark and Jeanne Jacobson Deborah and Ronald Jans Charlie Johnson Kristine Kaplan Ed and Martha Karels James Karges Michael and Sheue Keenan Scott Kegler Cheryl and Barry Kempton Janice Kimes Dr. Daniel and Kerry Kincaid Beatrice H. Langford David and Darlene Lee Daniel Lepow Stuart MacGibbon Holly MacDonald and John Orbison Dr. Joan E. Madden Donald and Rhoda Mains

Kristin and Jim Matejcek Jeffrey Masco John McAleer Laurel and David Mech Sam Meals Susan Mehle Adele Mehta Mary Meighan and David Ingbar Curtis and Verne Melberg John L. Michel and H. Berit Midelfort Virginia Miller Theresa, Jim and Nicole Murray Virginia Dudley and William Myers Sarah Nagle Merritt C. Nequette and Nancy Hartung Mina Fisher and Fritz Nelson Patricia A. O'Gorman Walt and Raeanna Gislason Donna and Marvin Ortquist Kathy and Don Park James A. Payne Julia and Brian Palmer Lana K. Pemberton Janell Pepper Jane M. Persoon Allen Perriello Anne and John Polta Bertrand and Nancy Poritsky Nicole and Charles Prescott Joel Rainville and Kyle Olson Dennis M. Ready The Redleaf Family Foundation Barton and Kimberly Reed Ann Richter Philip Rickey

Mallory A. Roberts Robert E. Rocknem Michael and Tamara Root Daniel Roth David and Kathleen Rothenberger Mischa Santora Kate Saumur Mary Savina Beatrice C. Sexton Mary Shamrock Clark Shawna Rebecca Shockley Kevin Shores and Kevin Winge Arthur and Marilynn Skantz Kathleen K. Simo Joseph and Susan Sorrentino Mark and Kristi Specker Donna Stephenson Susan Swanson Dan and Erika Tallman Joyce Thielen Katharine E. Thomas Marie J. Thomas Robert and Barbara Thomasson Laura Thompson Susan Truman Jessica Vanyo Catherine Vesley John Vilandre Elaine Walker Harry Walsh Renee Campion and David Walsh John and Sandra White Wendy Wildung * in remembrance

These lists are current as of winter 2018 and include donors who gave a gift of $250 or more in annual support of Minnesota Opera. If your name is not listed appropriately, please accept our apologies and contact Mallory Roberts, Development Director, at mroberts@mnopera.org or 612-342-9566.

b e c o m e

d o n o r

The appearances of Kelly Kaduce, grand prize winner, and finalists Jeni Houser, Wm. Clay Thompson, and Christian Thurston 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 of the Minnesota Opera Resident Artist Program.

THAÏS 2017–18

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!

SPECIAL GIVING LEGACY CIRCLE Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. Anonymous (4) Norton Hintz* and Mary Abbe Paul and Val Ackerman Thomas Allen Dr. and Mrs. Rolf Andreassen* Mary A. Andres Karen Bachman Thomas and Ann Bagnoli Randolph G. Baier* Mrs. Harvey O. Beek* Patricia Beithon Barbara and Sandi Bemis* Dr. Lee A. Borah, Jr.* Susan S. Boren Al Bradley C.T. Bundy II Margaret M. Carasik Joan and George Carlson Estate of Robin J. Carpenter* Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation

COMMEMORATIVE GIFTS It is with deep appreciation that Minnesota Opera acknowledges those who have made gifts in the name of a friend, loved one, or colleague.

Julia and Dan Cross Julia W. Dayton Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation George* and Susan Doty Rudolph Driscoll* Anne P. Ducharme Rondi Erickson and Sandy Lewis Ester Fesler Dr. Paul Froeschl Katy Gaynor Nettie Grabscheid* Robert* and Ellen Green Dr. Ieva M. Grundmanis* Michelle Hackett Russell and Priscilla Hankins Julia Hanna* Frederick J. Hey Jr.* Elfrieda Hintze Jean McGough Holten Charles J. Hudgins* Cordelia Anderson and John Humleker Ruth Jones* Charles and Sally Jorgensen Robert and Susan Josselson Charlotte Karlen* Markle Karlen Mary H. Keithahn

Barbara Graham Lynn Gilligan

Heinz Hutter

Theresa Murray

Margaret Hedback Keefe Terrance McLarnan Nancy O’Brien Smemo

Mary Martin

Renee and Juan Cristiani

IN MEMORY OF:

John Archabal

Ruth and John Huss Carley and Bill Stuber

Josephine Carpenter

Sara and Jock Donaldson

Robin Carpenter

Netsmart Technologies

Dolly Fiterman

Mary Vaughan

Leroy Genaw

Jessica Vanyo

innovate now initiative Minnesota Opera has received generous leadership commitments for new initiatives in education, infrastructure, and community programming.

Charles McCrossan Lynn Choromanski

@MNOPERA

Krystal Kohler Mr. Nickolas Sanches Virginia and Edward Stringer Carley and Bill Stuber Jean Thomson

Special thanks to Dorothy Horns and James Richardson for a Robert Israel set design lithograph, Toby the Dog, in memory of Norton M. Hintz.

IN HONOR OF:

Mrs. William S. Phillips Phyllis Price Brian and Trish Huberty Prokosch Richard G.* and Liane A. Rosel Ken and Nina Rothchild Mary Savina Josef Schermann Frank and Lynda Sharbrough Robert Shearer and Joan Gustafson Drew Stewart Gregory Swinehart and Mitra Walter Anthony Thein Stephanie C. Van D'Elden Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol Jean C. Wirsig* Richard Zgodava* Philip Oxman and Harvey Zuckman * 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.

Judy Dayton

Lucy Rosenberry Jones and James E. Johnson

The Wedding of Mary Jo Flynn and S. Hubig Susan and Jeffrey Olson

Dale Johnson

Ms. Dawn M. Loven

Art and Martha Kaemmer Mr. Jeffrey Masco

Ian Alexander

Cynthia Lee

Floyd Anderson

Lynne Looney

Jamie Andrews

Karla Miller

Larry Brandts

Allen Perriello

Dr. Nathan and Blanche Camm

Rob Riordan

H. Bernt von Ohlen and W. Thomas Nichol Jesse and Linda Singh William I. and Bianca M. Fine Charitable Trust William White Wayne Zink and Christopher Schout

$10,000 – $24,999

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

$25,000 – $49,999

Anonymous Best Buy Children's Foundation Susan S. Boren Mary Ingebrand-Pohlad John and Kathleen Junek Paul and Mary Reyelts Mary Vaughan Wenger Foundation

Anonymous (2) Richard Allendorf Nina and John* Archabal Mike Birt Will and Margee Bracken Ann and Glenn Butterman Jay and Rebecca Debertin Jose Peris and Diana Gulden Alfred and Ingrid Lenz Harrison Miriam and Erwin Kelen Linda Krach and Robert Kriel Mary Ash and Barry Lazarus Cynthia and Lawrence Lee Mardag Foundation Mary Bigelow McMillan* Kay Ness Jennifer and Chris Romans Robert L. Lee and Mary E. Schaffner Mary H. and Christian G. Schrock Julie Steiner David Strauss

Joan K. Regal

Mr. Charles O. Regal

Sarah-Maud W. Sivertsen and Robert Sivertsen Deb and Jon McTaggart

Angus Wurtele

Ms. Rachelle D. Chase and Mr. John Feldman Sara and Jock Donaldson Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson

$250,000+

$50,000 – $99,999

F L X : I I

Warren and Patty Kelly Margaret Kilroe Trust* Lyndel and Blaine King Gretchen Klein* Sally and Bill Kling Gisela Knoblauch* Liz and Jim Krezowski Robert Kriel and Linda Krach Robert and Venetia Kudrle Helen L. Kuehn* Robert "Jim" J. Lawser, Jr. Jean Lemberg* Joyce and Jerry Lillquist Dawn M. Loven Patricia Ruth Lund* David Mayo Barbara McBurney Thomas R. McBurney* Mary McDiarmid Mildred McGonagle* Mary Bigelow McMillan* Sheila McNally* Mrs. Walter Meyers Estate* John L. Michel and H. Berit Midelfort Susan Molder* Edith Mueller* Kay Ness Richard and Joan Newmark Scott J. Pakudaitis Derrill Pankow

Katherine B. Andersen Fund of the St. Paul Foundation Martha and H. Brewster Atwater Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Jane M. and Ogden W. Confer Sara and Jock Donaldson Ellie Crosby – The Longview Foundation Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation

Mani Nease Peterson Nina Archabal

Mitra Sadeghpour David Groth

Barbara and Bill Camm

Neil and Tara Bizily Karen Suzukamo Carley and Bill Stuber Miriam Perriello Manilan Houle

Anonymous (4) Karen Bachman Kyle Kossol and Tom Becker Patricia Johnson and Kai Bjerkness Shari and David Boehnen Kenneth and Peggy Bonneville Mrs. Susan DeNuccio Terrance Dolan Gail Fiskewold The Engh Foundation Susanne Haas and Ross Formell Maureen and Mike Harms Sharon Hawkins Luis Pagan-Carlo and Joseph Sammartino Mr. and Mrs. Philip Isaacson Margaret V. Kinney Dr. Tom Knabel and Kent Allin Kenyon S. Latham Eric and Celita Levinson Albin and Susan Nelson Chris Larsen and Scott Peterson Rehael Fund — Roger Hale Nor Hall of the Minneapolis Foundation Connie and Lew Remele Don and Patricia Romanaggi Nadege J. Souvenir and Joshua A. Dorothy Virginia L. and Edward C. Stringer John Sullivan Dr. Andrew J. Thomas Joanne Von Blon

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

$5,0 0 0 – $9,999

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

MINNESOTA OPERA SPONSORS SEASON SPONSOR

OFFICIAL MAKE-UP PARTNER

TEMPO AFTER PARTIES

Sakura

TEMPO PRINT SPONSOR

OFFICIAL HOTEL OF MINNESOTA OPERA

IN-KIND

MEDIA PARTNER

DRESS REHEARSAL SPONSOR

THAÏS 2017–18

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.

M I N N E S O TA O P E R A W O U L D L I K E T O T H A N K

the Friends of the Minneapolis Institute of Art and Koehler & Dramm Floral Institute for partnering with us for Thaïs during Art in Bloom. The Koehler Dramm Institute of Floristry provides learning opportunities for designers at all levels and is one of the top education facilities in the nation for the floral industry. Check out their beautiful floral arrangement in the Target Atrium (Mezzanine level lobby).

Are You 21–45? Join Today! Minnesota Opera’s Young Professionals Group.

2018–19 SUBSCRIPTIONS NOW ON SALE! Tempo is for both new and seasoned opera-goers ages 21–45. This newly expanded program for the 2018–19 season is designed to give access to younger audiences and provide opportunities to socialize at unique, fun events.

mnopera.org/tempo

Under the stars in the Ruins at Mill City Museum

presents

by Georges Bizet

JULY 2018 Show dates | July 13, 15, 17, 19, 20, 22, 24

Purchase tickets at MillCitySummerOpera.org

Zenon Dance Company 35th Anniversary Spring Season Performance

The Oâ&#x20AC;&#x2122;Shaughnessy June 8 & 9, 2018

612.338.1101 zenondance.org

Becketwood... ...a spirited, open and affirming community of cooperative living for active independent owners starting at age 55. We are near the heart of the city, yet tucked away on 12 quiet wooded acres overlooking the Mississippi.

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DESIGNERS & BUILDERS OF:

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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

Third Street Studios and Spatial Effects Gallery are both located at 1759 Selby Avenue, Saint Paul.

Becketwood

www.becketwood.com

GRE GIFTSAT !

SOMMER FEST Jul 13 - Aug 1

The Minnesota Orchestra explores musical expressions of peace, freedom and reconciliation in a celebration of Nelson Mandela’s Centenary that concludes with a five-city tour of South Africa.

Vänskä

McDonald

Ehnes

Onnicah Lehobye

Madlala

Cox

Deas

Ladysmith Black Mambazo

Audra McDonald

with the Minnesota Orchestra Fri Jul 13 8pm

Andy Einhorn, conductor

Sensory-Friendly Family Concert

Courage and Triumph

Sat Jul 14 2pm All seats $12

Akiko Fujimoto, conductor Lyndie Walker, host / Nygel Witherspoon, cello

International Day of Music Sat Jul 21 Noon-Midnight A free, family-friendly event featuring a variety of performances on multiple stages. Check online schedule for free concerts and events.

United Through Music: Beethoven’s Ninth Symphony Sat Jul 21 8pm

Osmo Vänskä, conductor Goitsemang Onnicah Lehobye, soprano Minette du Toit-Pearce, mezzo Siyabonga Maqungo, tenor Njabulo Madlala, baritone Minnesota Chorale

Vänskä Conducts Beethoven’s Fifth Thu Jul 19 7:30pm James Ehnes, violin The emotional power of Beethoven’s Fifth is reignited in the Orchestra’s vibrant interpretation of this beloved symphony.

Celebrating Mandela at 100 Fri Jul 20 8pm

The Orchestra prepares for its tour with the premiere of Bongani Ndodana-Breen’s Harmonia Ubuntu and Beethoven’s glorious Ode to Joy.

Roderick Cox Conducts Symphony in 60 Fri Jul 27 6pm & 8:15pm

Osmo Vänskä, conductor Minnesota Orchestra honors the life of Nelson Mandela through words and music conveying hope, unity and peace.

Choose your price starting at $5

Stewart Goodyear, piano

du Toit-Pearce

Maqungo

Barnatan

Inside The Classics

Speaking Truth to Power

Sat Jul 28 8pm

Sarah Hicks, conductor Sam Bergman, host and viola Kevin Deas, bass-baritone Hear the stories, music and achievements of composers who used their talents to participate in social protest through the centuries.

Ladysmith Black Mambazo

Tue Jul 31 7:30pm

A performance by the global a cappella phenomenon whose inspiring songs of social justice, hope and joy radiate the vital spirit of the South African people.

South Africa Tour Send-Off Concert

Wed Aug 1 7:30pm Osmo Vänskä, conductor Inon Barnatan, piano

Say bon voyage to the Minnesota Orchestra as they embark on their highly-anticipated South Africa tour.

Join us for the happiest hour in town as Roderick Cox conducts exquisite selections by Beethoven, Salonen and Pärt.

612-371-5656 / minnesotaorchestra.org / Orchestra Hall Complete program and artist information available online.

Music for Mandela Corporate Consortium Sponsors: Medtronic Foundation

Media Partner:

Photo by Allen Weeks

A beautiful and mysterious adventure about what it means to leave one’s mark on the world.

UNDERNEATH THE LINTEL Starring Sally Wingert

BY GLEN BERGER ORIGINAL MUSIC BY FRANK LONDON DIRECTED BY PETER ROTHSTEIN MUSIC DIRECTION BY DAN CHOUINARD

MAY 30 - JUL 1 • TICKETS ON SALE NOW VISIT LATTEDA.ORG OR CALL 612-339-3003