Gaetano Donizetti
5 • Lucia di Lammermoor
Contents Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Minnesota Opera Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Lucia di Lammermoor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Synopsis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Gaetano Donizetti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Salvadore Cammarano and the Italian Romantic Libretto . . . . . . . . . . . 14 A Conversation with the Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . . 21 Sta∂. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 A Tribute to Paul Parker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 The Minnesota Opera Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Opening Night Gala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
We’re reaching new heights!
The Minnesota Opera President & CEO Artistic Director Chair, Board of Directors
Kevin Smith Dale Johnson Virginia L. Stringer
The Minnesota Opera, 620 North First Street Minneapolis, MN 55401 (612) 333-2700 www.mnopera.org The Minnesota Opera is a member of OPERA America. This activity is made possible in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature. In addition, this activity is supported in part by a grant from the National Endowment for the Arts.
November 2001
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The Minnesota Opera • 6
Board of Directors Welcome. U.S. Bancorp Piper Jaffray is pleased to help bring you The Minnesota Opera’s production of Lucia di Lammermoor. Sponsoring the opera season is just part of our commitment to the arts and quality of life in our community. Staging this fine performance takes teamwork. From the conductor to the cast members to the costume designers, many individuals are working together to entertain you. This team includes management and patrons – even the audience – who make a successful production possible. At U.S. Bancorp Piper Jaffray, we embrace teamwork. We work with clients to understand their needs and accomplish their goals. We work with colleagues throughout U.S. Bancorp to provide a comprehensive range of financial solutions. And we work with The Minnesota Opera and other high-quality organizations to enrich our community. We’re proud to be part of the team effort you’re about to experience. Enjoy the performance.
Andrew Duff President and Chief Operating Officer U.S. Bancorp Piper Jaffray
Virginia L. Stringer, Chair Susan S. Boren, Vice Chair Bruce Nelson, Secretary Loren Unterseher, Treasurer Kevin Smith, President & CEO August J. Aquila Karen Bachman Patricia Bauer Ellie Crosby Rolf Engh John G. Forsythe Steve Fox R. Thomas Greene, Jr.
Heinz Hutter Paula R. Johnson Michael F. Kelly, Jr. Edward J. Kerans Sarah B. Kling Lynne E. Looney Thomas R. McBurney Daniel I. Malina
Julia W. Dayton, Director Emeritus
Diana E. Murphy Kimberly S. Puckett Connie Remele Steven M. Rothschild Terry Saario Lucy T. Searls Gregory C. Swinehart Catie Tobin
James A. Rubenstein, legal counsel, Moss & Barnett
Honorary Directors Dominick Argento H. Wesley Balk Philip Brunelle Elizabeth Close
Dolly Fiterman Charles C. Fullner Norton M. Hintz Donald W. Judkins
David P. Keefe Liz Kochiras Jevne Pennock Patricia H. Sheppard
Minnesota Opera Volunteers The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.
Keri Picket
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Ann Albertson Laurel Anderson Jamie Andrews Anne Whitman Bennett Gerald Benson Matt Bluem Linda Brandt Jim Brownback Sue Brownback Meredith Cain-Nielsen Kathy Cameron Joann Cierniak* Tricia Clarke* Caroline Coopersmith Lindsay Craig Beverly Dailey Marcia del Castillo Lee Drawert Judith Duncan Sally Economon Mary Sue Fiola Jane Fuller Joan Gacki (Volunteer Chair)
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Christine A. Garner Heather Gehring
Juhi Gupta-Gulati* Mark Gustin Mary E. Hagen John Harris* Kristin Heimerl Anne Hesselroth Alisandra Johnson Nancy Johnson Jeanie Johnston Susan Kalmer Dianne Kelly Eleanore Kolar Lucinda Lamont Shirley Larson Rita Lavin Rochelle Lockwood Rusty Low Randi Quanbeck Lundell Jennifer Madvig Joan Masuck Mary McDiarmid Claire McPherson Verne Melberg Warren Mitlyng Linda Morey
Doug Myhra Dan Panshin Pat Panshin Kaye Peters Sydney Phillips Bill Phillips Julia Porter Jack Richter John Rosse Florence Ruhland John Sauer* Michael Silhavy Wendy Silhavy Wendy Sott Dawn Stafki Harry D. Swepston, III John Thompson Anne Townsley Doris Unger Carolyn Wahtera Barbara Willis* Jeremy Wright Melissa Zschunke *Lead volunteer
Notes from The Leadership Welcome to the first show of the 20012002 season! This season I celebrate 20 years with this company. As I look back and think about the growth this company has experienced and the high points along the way, I am humbled by the efforts of the many singers, directors, designers, craftspeople, staffers, board members and volunteers who have defined The Minnesota Opera. The collaboration of these people has established The Minnesota Opera as a leader in coproductions, an innovator in new works and new stagings and a proponent of production values that not only provide an appropriate environment for the opera and engage the audience but that also facilitate the job of the opera singer – to communicate human experiences through the beauty of the singing voice.
This performance certainly represents the culmination of these twenty years of artistic and institutional growth. It is also our springboard into a bright and beautiful future. Our institutional values and commitment to quality can reinforce the best aspects of our culture and enhance the identity of our community. The principals that have served us throughout our history reinforce the collective efforts of countless people and lead us into our future – a future of becoming a cultural institution in the Twin Cities, an innovative resource for the community and a dynamic guiding force in the character of the region. We’re delighted to have you with us on this operatic journey.
Kevin Smith President and CEO
from Dale Johnson Welcome to the 2001-2002 season! We are excited to present Donizetti’s Bel Canto masterpiece, Lucia di Lammermoor. This brand-new production represents the continuation of The Minnesota Opera’s commitment to staging one Bel Canto-period opera per year. We started in 2000 with Rossini’s Semiramide, continuing last season with Bellini’s The Capulets and the Montagues and Rossini’s The Barber of Seville. Lucia di Lammermoor was penned by the last composer of the Bel Canto period’s famous triumvirate. While Rossini’s operas are generally characterized by vocal pyrotechnics and Bellini’s by exquisite intimacy, Donizetti’s operas are melodramatic and highly emotional. It is this heightened Romantic-era sensibility transformed into music that inspired tonight’s production.
Our creative team – director James Robinson, costume designer Constance Ho∂man, set designer Christine Jones and lighting designer Scott Zielinski – has removed the traditionally employed Scottish highlands backdrop to create a new environment that enhances the highly charged and inherent violence of the opera’s story. The tale is told from Lucia’s perspective as a desperate woman trapped in a society of predatory men. If you are interested in learning more about the thoughts behind our production, read the Conversation with the Designers on page 24 of this program. Otherwise, sit back and enjoy this performance’s beautiful singing!
Dale Johnson Artistic Director
from Virginia L. Stringer Welcome to another exciting season with The Minnesota Opera. This season you will be treated to two new productions – the one you see today and the new American opera Little Women in April. Our next opera, in January, will be a coproduction of Mozart’s La clemenza di Tito with Dallas Opera, followed by The Minnesota Opera’s own beloved staging of La bohème in March. Our season will close in May with a stunning presentation of Don Carlos that comes to us from England’s Opera North. These productions are made possible through the generosity of Twin Cities corporations, foundations and by individuals like you.
In celebration of President and CEO Kevin Smith’s 20 years with The Minnesota Opera, the board has named the planned giving fund in his honor – the President’s Circle. Whether this is your first time to The Minnesota Opera or your 100th, we invite you to become a part of this legacy. Consider The Minnesota Opera in your estate planning and contribute to the future of cultural life in the Twin Cities.
Virginia Stringer Board Chair
7 • Lucia di Lammermoor
from Kevin Smith
9 • Lucia di Lammermoor
Music by Gaetano Donizetti Libretto by Salvadore Cammarano after Sir Walter Scott’s The Bride of Lammermoor (1819) World premiere at the Teatro San Carlo, Naples September 26, 1835 November 10, 11, 13, 15, 16, 17 and 18, 2001 Ordway Center for the Performing Arts Sung in Italian with English translations Dean Williamson† James Robinson Christine Jones Constance Ho∂man Scott Zielinski Tom Watson Doug Scholz-Carlson Je∂rey Domoto‡ Joseph Lawson Alexander Farino Floyd Anderson
Conductor Stage Director Set Designer Costume Designer Lighting Designer Wig Master and Makeup Assistant Director Assistant Conductor Chorusmaster Stage Manager English Captions
The Cast Maureen O’Flynn* Jeanine Thames** Carlos Marín* Daniel Mobbs** Joseph Calleja* Theodore Green** Stephen Morscheck James Valenti Karin Wolverton Carlos Archuleta
Lucia Enrico, Lucia’s brother, Lord of Lammermoor Edgardo, Master of Ravenswood Raimondo, a chaplain Arturo, Lucia’s bridegroom Alisa, Lucia’s companion Normanno, retainer of Enrico
Retainers, servants, wedding guests Setting: The grounds and halls of Lammermoor and Ravenswood *
performs November 10, 13, 15, 17
**
performs November 11, 16, 18
†
performs November 10, 11, 13, 15, 16, 17
‡
performs November 18
Lucia di Lammermoor is sponsored by U.S. Bancorp Piper Ja∂ray Scenery and costumes for this production are jointly owned by The Minnesota Opera, Pittsburgh Opera and Opera Colorado and were constructed at The Minnesota Opera Center.
The Minnesota Opera season is proudly sponsored by U.S. Bancorp Piper Ja∂ray. OperaInsights is sponsored by SpencerStuart.
The appearances of Theodore Green, national finalist, and Jeanine Thames, regional finalist of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. Performances of Lucia di Lammermoor are being taped for delayed broadcast on Minnesota Public Radio, KSJN 99.5 in the Twin Cities. Check www.mnopera.org/broadcasts.htm for the date and time of broadcast
The 2001-2002 Camerata Circle Dinners are sponsored by Rider, Bennett, Egan & Arundel. Promotional support provided by Minnesota Monthly. Special thanks to Miller Meester advertising for making the 2001-2002 season preview recording possible.
The Minnesota Opera • 10
Notes by David Sander
I
n t h e wa k e o f R o s s i n i ’ s r e t i r e m e n t a n d B e l l i n i ’ s d e a t h o n l y t h r e e d a y s before its premiere, Lucia di Lammermoor is the work that catapulted
Donizetti’s international recognition as a composer of first rank. Quickly s t a g e d i n Vi e n n a , M a d r i d , Pa r i s , L o n d o n , N e w O r l e a n s a n d N e w Yo r k , L u c i a h a s survived the test of time, and unlike many of its Bel Canto siblings, has n e v e r f a l l e n o u t o f t h e i n t e r n a t i o n a l r e p e r t o r y. gesture Donizetti and Cammarano took further by teleThe novels of Sir Walter Scott were readily taken up by scoping Lucy’s mother, father, and two brothers into a Romantic composers – in fact, he’s in the top ten authors single adversary, whose novels Enrico. Among h av e r e c e i v e d the 20 or so othoperatic treaters to go were ment. The Bride Edgardo’s chatterof Lammermoor ing, yet good-nahad already been tured, valet, Caleb set several times Balderstone, and before Donizetti C r a i g e n g e lt, a got his hands on not-so-well intenit. To condense tioned sea captain the rather with a hidden lengthy book agenda. Norinto a usable manno is retained form, he and his (inspired by Norlibrettist, Salman the parksva d o r e C a m man), as is the m a r a n o , good-intentioned probably used Reverend Bidefor guidance Michele Carafa’s Trees Against a Magenta Background, 1990, by Wolf Kahn. Courtesy Beadleston Gallery; New York. t h e - B e n t ( r e n a m e d opera, Le nozze Raimondo), and Frank Hayston, Lord of Bucklaw survives di Lammermoor, which premiered in Paris just six years bereasonably intact as Arturo. Blind Alice, an old hermitic fore. Carafa had reduced the character list substantially, a
plight to keep the lovers apart and to arrange a marriage of her choosing. Sadly, something of her daunting, imperious nature is lost in the composite character of the opera’s Enrico. Also lost is much of the novel’s gothic flavor – the macabre character of Old Alice (and later, her ghost), the three village hags, whose lunacy set the tone for Lucy’s eventual mental breakdown, and the wispy disappearance of Edgar while riding on horseback to duel Lucy’s brother Sholto. Scott’s novel is chock full of gothic themes – persecution, disinheritance, ancestral curses, – and, though his de… they found the unfortunate girl, seated, scriptiveness borders on ponderous or rather couched like a hare upon its form and overblown, his imagery is preg– her head-gear dishevelled; her night- nant with meaning – the sexual inclothes torn and dabbled with blood – her n u e n d o i n h e r e n t i n L u c i a ’ s eyes glazed, and her features convulsed encounter with the wild bull, the into a wild paroxysm of insanity. When she raven shot dead at Lucia’s feet saw herself discovered, she gibbered, made (splattering her white dress with mouths, and pointed at them with her blood) moments after her secret bebloody fingers, with the frantic gestures of trothal to Edgardo, a fountain-muran exulting demoniac … the unhappy bride d e r m y t h w h e r e a n y m p h i s was overpowered, not without the use of destroyed as a result of her lover’s some force. As they carried her over the lack of faith, and the omnipresent threshold, she looked down, and uttered the fatalism of the three old women only articulate words that she had yet spo- (presumably a reference to the fateken, saying, with a sort of grinning exulta- weaving Norns of Norse mytholtion, “So, you have ta’en up your bonny ogy). Scott’s novel is a surprising bridegroom?” example of feminine will, from the – Scott’s The Bride of Lammermoor, heady domination of Lady Ashton’s Chapter XXXIV iron grasp over the family to Lucy’s ability to lash out with bloody Scott was careful to change the vengeance when left with no other renames and move the locale. A major course. Donizetti and Cammarano were variant was to have Lucy’s lover, Edgar Ravenswood, be the sole sur- still careful to include a few stylish elvivor of a family ruined by her father. ements – a ghostly presence, a storm He also invented the event of their and, of course, Lucia’s famously popufirst meeting – she and her father are lar mad scene. Both works have that saved from a rushing bull by Edgar, brooding flavor indigenous to Romanthen taken to the craggy remnants of ticism – darkly morose, rather unsymhis estate (a sparsely furnished tower pathetic individuals, under the on an ocean cli∂) to escape a brewing control of more sinister forces, who storm. Edgar is still agitated about can do nothing but rant and rave – the dispossession of his family and his traits not found in the drama’s interfather’s dying wish to wreck havoc on pretation as “star-crossed love.” Where the Ashtons, but his anger is some- Shakespeare o∂ers his protagonists ophow tempered by Lucy’s grace and timism and a plan for escape (though beauty. Sir William warms to the ultimately foiled by poor timing), young man, and things may have there is no such hope for Lucia and turned out okay if it were not for the Edgardo – their doleful path is trod mother, Lady Margaret Douglas Ash- by misery and madness to an espeton, an unbelievably shrewish woman. cially horrific end. She dominates the novel in a singular was found a critically wounded Dunbar with Janet, cowering in the corner, supposedly howling “Tak’ your bonny bridegroom.” Dunbar survived his injuries (as he does in Scott’s novel) and amazingly remained with his bride for another two weeks, after which she died from her mental defect. He was tight-lipped about the whole a∂air, threatening to duel any man who dared broach the subject. It was suspected that Rutherford somehow entered the bridal chamber and had executed the bloody deed himself.
11 • L u c i a d i L a m m e r m o o r
woman with second sight and mystical ways, is turned into Alisa, Lucia’s rather opaque confidante. The ending had to to be fixed as well – Edgar’s mysterious disappearance (presumably by quicksand) on his way to a duel with Lucy’s brother Sholto was transformed into a grand suicide scene at the tomb of the Ravenswoods – a bit more appropriate to the tastes of early19th-century Neapolitans. Forbidden love, family rivalry, the death of two lovers – it all smacks of William Shakespeare’s Romeo and Juliet. Yet, though the Bard was popular among Romantic writers, Scott’s tale was inspired by an actual event, the marriage of Janet Dalrymple and David Dunbar. The unfolding of their story is entrenched in the politics of the day. Seventeenth-century England and Scotland were embroiled in their own civil war over the question of faith. The face-o∂ was within James ii’s family, James being staunchly Catholic, his daughters being committed to Protestantism. Though each daughter ruled in turn as Mary ii and Anne i, exiled descendants from James’s second marriage always posed a Catholic threat. The political turmoil a∂orded the rise of one William Dalrymple, who through legal trickery and political opportunism acquired vast estates and a peerage. His wife, the notorious Dame Margaret Ross Dalrymple, was even more ambitious. To further improve their lot, she chose the perfect husband for her daughter. Unfortunately he was not the one she loved, a certain Lord Rutherford, who, though from solid stock, was regarded by mother Dalrymple as yesterday’s news. The couple secretly had pledged their fidelity by splitting a gold coin, a token the mother, in a heated argument with Rutherford, demanded to be returned upon Janet’s betrothal to Dunbar. The incident of their wedding night is relayed in both novel and opera, yet there is a hint of mystery to the actual events. The couple was locked in the bridal chamber by the best man (as custom prescribed), but while the guests continued the party, shrieks were heard from within. Inside
The Minnesota Opera • 12
Synopsis Act I
filled with tears. Alisa withdraws, and Edgardo enters. In the wake of Scotland’s political turmoil he has been called to France. He plans to extend to Enrico his hand in peace and ask for her hand in return, but Lucia fears her brother’s wrath. They exchange rings as a token of their secret bond, and Edgardo promises to write while he is away.
the room. Lucia swoons and everyone is filled with shock and remorse – like a wilting rose, she hovers between life and death. Believing that Lucia still loves him, Edgardo is stunned when shown the marriage contract bearing her signature. In despair he o∂ers his own life, but Enrico orders him out.
Scene one – The grounds Enrico relays to Normanno that he is deeply concerned. His position as Lord Keeper of Lammermoor is a tenuous one, and the ousting of its previous owners has made a bitter enemy out of Edgardo, the — intermission — last surviving heir. The political tide of Scotland alternates beAct III tween Catholic and Protestant leaders, again putting his seemScene one – The tower Alone in Act II ingly powerful situation at risk. the spare remains of his Enrico has arranged a marriage befamily’s estate, Edgardo rues Scene one – The chamber Sevtween his sister, Lucia, and Arturo, a his dismal fate as a storm union that can only improve Enrico eral months have passed rages outside. Enrico pays a with no word from his status. Raimondo, the return visit, needling him chaplain, cautions that she is Edgardo. Lucia reluctantly has with details of the wedding cerenot ready to love, citing her agreed to marry Arturo, and grief over her mother’s re- preparations are being made for the cer- Alisa mony and the reminder that Arturo cent death. Normanno emony. Normanno confirms with Enrico and Lucia are at this very moment concounters that she’s hardly that he has been able to suppress every summating their wedding vows. He then grieving but full of ardor one of Edgardo’s letters, and in their place challenges Edgardo to a duel, to which – she’s in love with an- a forged letter has been produced. When the latter heartily agrees – he had other man, one who saved Lucia is presented with the letter, she promised on his father’s grave to avenge faints after reading its contents – the family name. her from a rushing bull. Edgardo has taken up with another She has since seen him woman and no longer loves her. Scene two – The party The wedevery day at dawn. Enrico berates his sister for pledg- ding festivities are interrupted Though the identity ing her faith to such a vile se- by news from a badly shaken of the man is not ducer and betraying her family’s Raimondo. He heard known, NorNormanno manno suspects it honor. Raimondo provides fur- screams from the bridal ther evidence of Edgardo’s aban- chamber and opening is in fact Edgardo. donment – the chaplain has seen the door, found Arturo in Enrico is furious at the news – a pool of blood with a to it that every one of her letEdgardo will pay for this insult wide-eyed Lucia ters reached him, yet there with his own blood. clutching the knife has been no reply. Raithat killed him. mondo encourages Scene two – The fountain Lucia Lucia stumbles Lucia to resign herself to waits with Alisa for the arrival Lucia before the the union. of Edgardo. She tells her companion guests, obviously the mysterious lore that surrounds delirious, lookthe fountain – it was there a Scene two – The reception Weding for Edgardo. Ravenswood, burning with jeal- ding guests celebrate the imArturo Everyone is horrified ousy, stabbed his beloved. She pending nuptials. As Arturo is by the tragic outcome of the day. fell into the waters and re- received, Enrico assures him of mains there still. Her ghost Lucia’s willingness to marry and Scene three – The tombs Edgardo is said to haunt the fountain that he should not be dispelled waits for the duel’s appointed and once tried to speak to by her sorrow, which is clearly hour, intending to surrender himLucia. Alisa advises that only the result of her mother’s passing. As peril can follow such an ex- Lucia is presented to her bride- Raimondo self on Enrico’s sword. He soon learns of the prior evening’s calamity perience and encourages groom, Enrico berates her merciher friend to forget lessly in a series of asides. She and is told that Lucia has gone insane. Edgardo. Lucia cannot – he is begrudgingly signs the wedding contract, Broken by the news, Edgardo takes his her only happiness in a world and moments later Edgardo bursts into own life.
Edgardo
Gaetano Donizetti ith nearly 70 operas to his credit, Gaetano Donizetti was the leading Italian composer in the decade between Vincenzo Bellini’s death and the rise of Giuseppe Verdi. Donizetti was born in the northern Italian city of Bergamo to an impoverished family. After showing some musical talent he was enrolled in the town’s Lezioni Caritatevoli and had the good fortune to study with Giovanni Simone Mayr, maestro di cappella at Santa Maria Maggiore. Donizetti arrived at a time when Mayr was writing his greatest operas, and his impression on the younger composer was pronounced. Throughout his life Donizetti regarded him as a second father, though he would outlive his master by only three years. Donizetti continued his education at the Accademia Filarmonica in Bologna (shadowing Rossini who had once studied there). He had already penned several short operas before receiving his first commission in 1818 from the Teatro San Luca in Venice – this was Enrico di Borgogna to a libretto by Bartolomeo Merelli (who, in later years as impresario of Milan’s La Scala, was instrumental in the beginnings of Verdi’s career). Further works were produced in Venice, but Donizetti returned to Bergamo for a few years of relative inactivity. A letter of introduction from Mayr to poet Jacopo Ferretti led Donizetti to Rome, where in 1822 he would have his first unequivocal success, Zoraide di Grenata. His career was just getting started. Later that year Donizetti settled in Naples and used it as a base for the next 16 years. He arrived just as Rossini was finishing his seven-year contract with the royal theaters. Like Rossini he had the ability to work at the increasingly rapid pace demanded by the Italian theater industry and was able to produce three to four operas a year for most of his life. He worked with the leading librettists of the day in the major cities of Rome, Florence, Genoa, Mantua and Venice, producing a large body of works. Though he could tell the di∂erence between a
W
good and a bad libretto, the nearly impossible schedule dictated by theater impresarios necessitated the setting of both kinds. Consequently, several of his operas were not well-received at their premieres and still today seem dramatically flawed.
Scala/Art Resource, NY
Gaetano Donizetti
A larger percentage, however, remain timeless operatic gems. Anna Bolena (1830) gained Donizetti international esteem and was indicative of the composer’s healthy appetite for English history [two later works of distinction, Maria Stuarda (1835) and Robert Devereux (1837) complete what is known as the “Tudor trilogy”]. L’elisir d’amore (1832), La fille du régiment (1840), and Don Pasquale (1843) demonstrated his expert handling of lighter subjects, while Lucrezia Borgia (1833), Gemma di Vergy (1834), Lucia di Lammermoor (1835), Maria de Rudenz (1838), and Maria Padilla (1841) displayed the composer’s mastery of the Italian melodrama fueled by impassioned and unrestrained literature of the Romantic period. His influence on Verdi cannot be overestimated. Donizetti’s success in dealing with both comic and tragic settings was due in part to his own manic-depressive personality. Well-acquainted with
personal misfortune, Donizetti lost in the span of eight years his mother, father, two infant sons, an infant daughter and Virginia Vasselli, his wife of seven years. He never truly recuperated after her death, locking the door to her room and refusing to utter her name again. His melancholia may have been induced by early symptoms of syphilis, a disease he contracted as a young man, and also perhaps the responsibility he may have felt for harboring the disease that most likely cost him his wife and children. Donizetti made his Paris debut in 1835 with Marino Faliero at the Théâtre Italien and later premiered Les Martyrs (1840) at the Paris Opéra. A French translation of Lucia made his name a household word, and in 1840 the composer captivated audiences with La favorite, which became hugely popular throughout Europe and North America. One of his very last works for the stage, Dom Sébastien (1843), was cast in the mold of French grand opéra and was extremely well-received. A f t e r a b r i e f s t i n t i n Pa r i s , Donizetti turned toward the Austrian state, where he became music director of the imperial theaters. Two of his final works had their premiere at Vienna’s principal venue, the Kärntnertortheater: Linda di Chamounix (1842) and Maria di Rohan (1843). After the success of Linda, he was appointed Composer to the Austrian Court, a position Mozart had held a half century before. By 1845, symptoms of his illness had become incapacitating, and his erratic behavior could no longer be excused by overwork. With his family’s intervention Donizetti was placed in a French sanitarium at Ivry for 17 months, then transferred to a Paris apartment. There he was regularly visited by musicians and colleagues, including Verdi, but by this point he was paralyzed, disoriented and rarely spoke. In September 1847 friends arranged his return to Bergamo, where he passed his final days at the home of a wealthy patroness.
13 • L u c i a d i L a m m e r m o o r
b Bergamo, November 29, 1797; d Bergamo, April 8, 1848
S
alvadore Cammarano was a key melodic material is o∂ered, contrasting as a scenic designer, and by royal comfigure of the maturing Romantic material is then sung, followed by a mand, he was charged with decorating period, continuing the bridge built by reprise (and variation) of the first music. the interior of the new Teatro San his predecessors from 18th-century opera By the early 19th century the aria had Carlo, including the tempera on the seria to the full blown romantic melo- been doubled and expanded, preceded ceiling that still exists today. Salvadore honored his artistic famdrama of the primo ottocento (1800 – by a “scena,” declamatory recitative or 1850). His career ran parallel to that of arioso setting up a particular situation, ily’s traditions, first as a painter, then as Gaetano Donizetti, Saverio Mercadante followed by a slower cantabile section a writer. His plays won recognition in and Giovanni Pacini, and ended at the given to contemplation. This is inter- the 1820s, and by 1832 he had fallen height of Giuseppe Verdi’s middle pe- rupted by a bridge passage, consisting into a fortuitous situation. His father riod. Having worked with all of these dramatically of external news from an- used his influence at the San Carlo, composers, he was a part of the funda- other character or chorus, followed by a Naples’ premiere theater, to get Salvadore hired as a concertatore, the mental changes being made in approximate combination of the musical structure and dramatic modern director and stage manconception in these works of the ager. This was a quick jump to Bel Canto period. the position of poeta concertatore, as Though the sterner side of Bel librettists were typically required Canto grew out of opera seria of to stage the operas for which they the previous century, the contrast wrote the text. At that time the between the two is pronounced. theater’s poet was also responsiOpera seria typically involved a ble for touching up existing lihistorical or mythical subject with bretti as well as supplying new its noble characters singing a rapid ones and obtaining clearance succession of arias, with virtually from the censors, always a delino ensembles, and nearly always cate issue in those days. with a happy ending. Castrati were Cammarano was fortunate on featured in many of the principal two fronts. At that time Naples roles, and most of the virtuosic did not enjoy the talents of a sinmusic was allotted to them. As the gular quality librettist in the century drew to a close castrati same manner as Milan had with were a dying breed, and economies Felice Romani (Bellini’s chief liof scale forced state-run opera combrettist) and Venice with Gaepanies to fuse their comic and seritano Rossi (of Semiramide fame, ous troupes into one. among others), thus competition Consequently, elements of comic was minimal. His second stroke opera found their way into serious works, with an emphasis on The Bride of Lammermoor by Sir John Everet Millais (1829 – 96) of good luck was a collaboration greater truth and a focus on more gen- fast moving cabaletta, showing o∂ great with Gaetano Donizetti and their first uine characters through the incorpora- virtuosity and a∑rming the singer’s re- work together, Lucia di Lammermoor. tion of ensembles in introductions and solve. As heightened emotions became They were ideally suited to one another finales. The restrained, carefully con- the focal point of these new trends, and went on the produce further works, trolled and methodical shape of 18th- singers required greater and more var- most notably Roberto Devereux and century libretti gave way to increased ied expository situations in which to Maria de Rudenz. It was with Donizetti theatricality, which manifested itself showcase their entire emotional palette. that Cammarano found his true voice, Cammarano rose to the task, having and Lucia served as a perfect vehicle for into greater violence both on- and o∂stage (death in full view of the audi- theater in his blood. His grandfather his highly demonstrative inclinations. ence was taboo in the 18th century). Li- Vincenzo was a successful actor of the By this point art and literature were brettists were drawn to literature that commedia dell’arte variety – his Pul- firmly entrenched in the Romantic spotlighted these conflicts, both of past cinella typically brought the house movement. Romanticism is a hard concept to eras, namely works of Shakespeare and down. Vincenzo’s son Filippo followed Voltaire, as well as new trends in con- in his father’s footsteps, also portraying pin down by its very nature. Looking Pulcinella and becoming known for his away from the rationality of 18th-centemporary literature. This focus on theatricality also re- translations of Carlo Goldoni’s plays tury Enlightenment, Romanticism quired the evolution of the aria. In the and his own opera libretti. Another son looked inward to the irrational mind 18th century, the “exit aria” typically and Salvadore’s father, Giuseppe, was a through the lens of imagination and was constructed in da capo form: painter, talented enough to be engaged Salvadore Cammarano continues on page 18 Bristol City Museum and Art Gallery, UK/Bridgeman Art Library
The Minnesota Opera • 14
Salvadore Cammarano and the Italian Romantic Libretto
A Conversation with the Designers Stephanie Wendt talks to costume designer Constance Hoffman and set designer Christine Jones about the ideas behind the look of Lucia. the society. They, too, have a Is Lucia di Lamermoor just a gripvested interest in Lucia going ping story, or does it also have the ahead and marrying Arturo. quality of myth or fable? CH: In this society, women have C J : It deals with a woman been these docile, straightjacktrapped in circumstances that eted creatures. When Lucia chalseem beyond her control, and it lenges it, she loses her grasp on explores how she responds. reality. While I think that is a gripping story, it does connect to mythical Christine, how have you addressed and fairy-tale-like stories that we this as a set designer? all know. CJ: I wanted the design to reflect CH: It’s a myth in the style of Lucia’s heightened emotional melodrama. It’s told over and Act I, Sc. ii, The Fountain. Set design by Christine Jones. over again in our collective story telling caught between a sense of duty to her quality. [Stage director] James Robinson about families who feud and then con- family, who manipulates her, and a sense and I were instinctively drawn to the of duty to her lover. When she realizes artist Wolf Kahn, who does these insume themselves through hatred. what the truth is, she kills her husband. credible pastel drawings that are mostly What kind of power does Lucia have in her It’s a destructive and self-destructive act, landscapes, but in very vivid colors. but I think it’s the only truthful thing Next, I made drawings of my own in environment? charcoal and pastels just to get a sense of CH: Her only power is her adherence to that she can do. color and shape. Jim and I worked toher sense of truth. She doesn’t feel the gether in the model, tearing up pieces of power to follow her own desires, but she Are the people around her predators? has made a pledge and her power is to CJ: The opera begins with the men paper and creating di∂erent shapes. adhere to that. Even though she has going out on a hunt for Edgardo, so I While we didn’t feel the need to be signed a contract, she resists a union that think it really sets up that dynamic: This specific about the location, we liked the is a society of predators. Everyone seems sense that the craggy mountains we creshe doesn’t believe in. ated do reflect a kind of landscape. CJ: The fact that she loses her mind in to be joined in working against Lucia. the end can be seen as a kind of heroic escape. Constance and I saw this in some CH: I would say the predation is be- What colors attracted you? way as valiant. There was no fairy god- tween men, to be honest. I don’t think CJ: I was drawn to very vivid colors, parmother, there was no easy solution, so the women are considered to be that ticularly saturated pinks and oranges powerful. I think they’re taken for and a kind of midnight bright blue, bethis was her choice. CH: It’s a flawed heroism in that she’s granted. The women of the chorus are cause they have a kind of insanity. The successfully silenced; they have all mountainous shapes are actually going been part of this lineage of mar- to be painted gray so that they will take riage. Lucia’s the exception. She’s light, and can be manipulated into these the one who refuses it ultimately. di∂erent color fields. What women represent in this story is bloodline. They are the link. You Constance, what influenced your costume marry them o∂; they have more design? c h i l d r e n. Th e fa m i ly l i n e i s CH: The image for the women’s chorus is Lucia’s wedding dress; they are identistrengthened. cal silhouettes: a late 19th-century dress Are women complicit? that is a very tight, confining silhouette, CJ: We felt that in this society other very much with the feeling of a straight women were complicit, so that in jacket, a binding. Certainly, that’s what’s the party scene, for example, one of understood by marriage; it’s not just a the ideas is that all of the other bond, troth, or pledge for the women in women are dressed in wedding this piece, but a kind of physical, emogowns like the one that Lucia is tional bondage. placed in to marry Arturo, but their gowns are all red. They’ve gotten Lucia, Act II Lucia, Act III married; they’ve joined the males in Conversation continues on page 19 Costume design by Constance Hoffman.
15 • L u c i a d i L a m m e r m o o r
by Stephanie Wendt
The Minnesota Opera • 16
The Artists Carlos Archuleta Normanno Minnesota Opera Resident Artist Recently La bohème; La traviata, Natchez Music Festival Madame Butterfly, Opera Southwest (Albuquerque) The Barber of Seville, Opera Aperta (Boston) Amahl and the Night Visitors, Granite State Opera Le nozze di Figaro, Longwood Opera Company (Boston) Gianni Schicchi; The Beggar’s Opera, Boston Academy of Music Satanella, Early American Theatre (Salem, Mass.) Upcoming La bohème; Little Women, The Minnesota Opera
Theodore Green Edgardo Minnesota Opera Debut Recently La traviata, Michigan Opera Theatre La fille du régiment, Boston Lyric Opera L’elisir d’amore, Knoxville Opera Lucia di Lammermoor, Seattle Opera Upcoming Otello, Michigan Opera Theatre The Dream of Gerontius, St. Louis Symphony Rigoletto, Nevada Opera Das Lied von der Erde, Louisville Orchestra
Daniel Mobbs Enrico Minnesota Opera Debut Recently The Barber of Seville, Baltimore Opera Otello, Caramoor Festival La recontre imprevue, L’Opéra Français de New York The Barber of Seville, Arizona Opera Turandot, Washington Opera; Pittsburgh Opera Upcoming Turandot, New Orleans Opera L’elisir d’amore, L’Opéra de Montréal A Midsummer Night’s Dream, Metropolitan Opera
Maureen O’Flynn Lucia Minnesota Opera Debut Recently Lucia di Lammermoor, Asociacíon Bilbaína (Bilbao) La sonnambula, Teatro del Maggio Musicale (Florence) Rigoletto, Opera Company of Philadelphia; Dallas Opera; New Israeli Opera I Capuleti e i Montecchi, Teatro Massimo Bellini (Catania) Upcoming La traviata, Opera Co. of Philadelphia; Opera Carolina Rigoletto, Teatro Massimo (Palermo); San Diego Opera; Metropolitan Opera
James Valenti Arturo Minnesota Opera Resident Artist Recently Turandot; The Magic Flute; Il prigioniero, Opera Festival of New Jersey Pagliacci; The Barber of Seville; Street Scene; Turandot, The Minnesota Opera Beethoven Symphony No. 9, WVU/Wheeling Symphony Candide; Così fan tutte; Gianni Schicchi; Company, West Virginia University Opera Theatre Upcoming La bohème; Don Carlos, The Minnesota Opera
Jeffrey Domoto Assistant Conductor Minnesota Opera Resident Artist Recently The Barber of Seville; Pagliacci/Carmina burana; others, The Minnesota Opera Cover Conductor – Minnesota Orchestra Assistant Conductor – Central City Opera (1999); Yale Opera; Philharmonia Orchestra of Yale Upcoming Nutcracker Fantasy, Minnesota Dance Theatre Little Women, The Minnesota Opera
For more biographical information about these artists, visit our website at www.mnopera.org
Joseph Calleja Edgardo Minnesota Opera Debut Recently Maria Stuarda, Royal Swedish Opera Armida, Edinburgh Festival La bohème, Opera Theatre of St. Louis Un giorno di regno, Teatro Comunale (Bologna) Falstaff, Teatro Regio (Turin) The Barber of Seville, Washington Opera Upcoming La sonnambula, Opéra de Wallonie Rigoletto, Welsh National Opera
Carlos Marín Enrico Minnesota Opera Debut Recently The Barber of Seville; Suplice; La bohème; La de manojo de rosas, Marina, La revoltosa; others, Teatro de la Zarzuela (Madrid) L’elisir d’amore, Teatro Calderón L’italiana in Algeri, Garsington Opera (UK) La bohème, Teatro Comunale di Bologna Upcoming Roméo et Juliette; Pagliacci, Teatro Campoamor Oviedo Madame Butterfly, Les Opéras de Montpellier Don Carlos, The Minnesota Opera
Stephen Morscheck Raimondo Minnesota Opera Debut Le nozze di Figaro, 2000 Recently Aida; Doktor Faust; Nabucco, Metropolitan Opera Turandot, Florentine Opera (Milwaukee) Anna Bolena, Pittsburgh Opera Upcoming Idomeneo; Don Carlo, Metropolitan Opera Carmen; Lucia di Lammermoor; Oedipus Rex, Washington Opera La clemenza di Tito, Santa Fe Opera Thaïs, Lyric Opera of Chicago
Jeanine Thames Lucia Minnesota Opera Debut Recently The Magic Flute, Vancouver Opera; Berlin Staatsoper; Opéra National de Paris; Bayerische Staatsoper (Munich) Lucia di Lammermoor, Fort Worth Opera; Cleveland Opera Carmina burana, St. Louis Symphony; Nashville Symphony Rigoletto, Florentine Opera (Milwaukee) Falstaff; La bohème; Der Rosenkavalier; La finta giardiniera; Ariadne auf Naxos; Rigoletto; Fidelio; The Magic Flute; others Deutsche Oper am Rhein (Düsseldorf) Der Kaiser von Atlantis, New Israeli Opera
Karin Wolverton Alisa Minnesota Opera Debut Recently Masterclass, Park Square Theatre Turandot; Pagliacci/Carmina burana (ensemble), The Minnesota Opera Dialogues of the Carmelites; Le nozze di Figaro; L’incoronazione di Poppea, U of M Opera Theatre Featured soloist – U of M Sesquicentennial Celebration Soloist and ensemble – Second Church of Christ Scientist; Bach Society; The Institute for Vocal Artistry; Plymouth Music Series
Constance Hoffman Costume Designer Minnesota Opera Debut Recently L’étoile; Acis and Galatea; Tosca; Paul Bunyan; Lizzie Borden; others, Glimmerglass/New York City Opera Rigoletto, San Francisco Opera Carmen; La traviata, Houston Grand Opera Giulio Cesare, Florida Grand Opera The Cunning Little Vixen, Portland Opera The Flying Dutchman, L. A. Opera; Houston Grand Opera The Green Bird, (Broadway) Titus Andronicus; others, Theatre For A New Audience
For more biographical information about these artists, visit our website at www.mnopera.org
The Minnesota Opera • 18
The Artists Christine Jones
James Robinson
Set Designer Minnesota Opera Debut Recently Nocturne, New York Theatre Workshop The Chairs, Intiman Theatre The Late Henry Moss, Signature Theatre The Green Bird (Broadway) Who’s Afraid of Virginia Woolf?, Guthrie Theater Dead Eye Boy, Manhattan Class Company The Importance of Being Earnest, McCarter Theatre The Silver River, Spoleto Festival; Prince Music Theatre
Stage Director Minnesota Opera Debut Turandot, 1995 Recently Miss Havisham’s Fire, Opera Theatre of St. Louis La bohème; Il viaggio a Reims; Hansel and Gretel, NY City Opera Katya Kabanova; Eugene Onegin, Opera Ireland Rinaldo, Opera Australia Elektra; Norma, Canadian Opera Company Upcoming Eugene Onegin, Opera Colorado The Abduction from the Seraglio, Houston Grand Opera
Doug Scholz-Carlson
Tom Watson
Assistant Director Minnesota Opera Debut Der Rosenkavalier, 2000 Recently I Capuleti e i Montecchi, New York City Opera Minnesota Shakespeare Festival at Grand Marais I Capuleti e i Montecchi, Street Scene; The Barber of Seville, Pagliacci/Carmina burana, The Minnesota Opera Forever Plaid, Chanhassen Dinner Theater Gross Indecency; Sweeney Todd, Guthrie Theater Hamlet, Minnesota Shakespeare Project Hamlet; The Tempest; others, Utah Shakespeare Festival
Wig Master and Makeup Minnesota Opera Debut The Pearl Fishers, 1986 Recently Opera Theatre of St. Louis (season) Santa Fe Opera (season) The Minnesota Opera (1986-2001 seasons) Metropolitan Opera (season) Jane Eyre; Dirty Blonde (Broadway) Upcoming La clemenza di Tito; La bohème; Little Women; Don Carlos, The Minnesota Opera
Dean Williamson
Scott Zielinski
Conductor Minnesota Opera Debut Recently La tragédie de Carmen; La fille du régiment; Madame Butterfly, Spokane Opera Showboat; The Magic Flute; concerts, Washington East Opera Don Giovanni, Seattle Opera Die Fledermaus, Opera Idaho Season Opening Concert, Northwest Chamber Orchestra Upcoming Carmen, Washington East Opera La Cenerentola, Seattle Opera
no photo available
Lighting Designer Minnesota Opera Debut Recently Joseph Papp Public Theatre; TheatreWorks (Singapore); Theatre for a New Audience; Fukuoka Art Museum (Japan); Twyla Tharp Dance; Berkeley Rep; Center Stage; Steppenwolf Theatre; Sommertheater Festival (Hamburg); Spoleto Festival Upcoming Soon, Orange County Performing Arts Center My Old Lady, Mark Taper Forum Maria Arndt, Steppenwolf Theater The Silver River, Lincoln Center
Salvadore Cammarano continued from page 14
with it, laid wake to the minefield of heightened emotion, melancholy, futility and madness. It also celebrated spontaneity, cultivation of artistic creativity, political independence and manifestations of a new consciousness with the tenuous hope of creating a new world. Romanticism is obsessed with moonlight, shadows and the supernatural, with dreams and sleepwalking, and with storms and peril. Man and Woman may be depicted at the mercy of overwhelming natural forces, heroism appearing pointless, love seemingly impossible, and an ideal union unrealizable this side of the grave. In this dark pale of Romanticism, protagonists are frustrated by their inability to act, often living on the edge of the law and society but on the right side of justice. Sir Walter Scott landed feet first amidst these new trends, influenced by his translations of Sturm und Drang (“Storm and Stress”) predecessors Goethe and Schiller. By the 1820s his
own works were in translation around word about his frightful wedding night. Europe and his heroic, yet realistic Cammarano chose to heighten the dracharacters made an easy transition onto matic e∂ect by killing o∂ Lucia’s bridethe stage – many of his novels were groom, and crafted a textually rich mad turned into operas over and over again. scene for Lucia, whose fragility gains an Though his plotting may be suspect, he almost Ophelia-like spirituality. He had a knack for minutely descriptive at- masterfully writes a gripping suicide mospheric settings drawn deep from aria for Edgardo, turning all attention Scotland’s violent past, clouded by on him, rather than the heroine, for the mysterious and metaphysical occur- opera’s final scene. Further, new iconography made its way into the production rences. Cammarano was intrigued by Scott’s values – the ruined gothic castle (Wolf’s elaborate settings (the librettist’s works Crag), the graveyard (Edgardo’s final were likewise detailed with intricate scene), moonlight (at the well for stage directions, a tendency that re- Lucia’s ghostly visitation), the obligasulted from his early career as a painter), tory storm (for Enrico and Edgardo’s but his main attraction was the variety meeting at the top of Act iii), and the of strong situations the novelist pre- presence of wild, uncontrollable natural sented and his penchant for the forces (Lucia’s escape from the bull). The complexities of Romantic melomacabre. In fact Scott’s flair for gothic horror only spurred the librettist’s mind drama often required a fair amount of further. In the novel characters dissipate information before the curtain even rose rather nonchalantly – Lucy mutters only – most of Cammarano’s contemporaries a few words in her delirium, Edgar sim- wrote substantial prefaces to their works ply vanishes into thin air, and Bucklaw, whose plots began to push the limits of only wounded, won’t utter a single Salvadore Cammarano continues on page 19
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Conversation continued from page 15
What about the men? CH: They all have jackets and breeches that are slightly contemporary but also have a 19th-century silhouette. These two families have been systematically killing each other o∂; we saw them as predatory. So they also have ragged pieces of hide, and you really get the image of a pack of dogs running together, or wolves hunting. What do you want the audience members to feel when they walk out? CJ: I was inspired by Lucia’s bravery, ultimately. There’s so much strong language around her heightened desires, and my primary hope is that people experience those feelings…hopefully there’s some kind of emotional connection. CH: I hope they connect with the kind of melancholy and desperation of Lucia, and the tragedy that comes from compromising your desires for the obligations that your family places upon you. I hope the audience also understands that hatred is a tragic cycle to be caught in – that you will destroy your family if you indulge in it, and if you are incapable of forgiveness. ■
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19 • L u c i a d i L a m m e r m o o r
credibility. Cammarano was skillful enough to weave into his works everything the audience would need to know – his opening number for Lucia neatly relays the basic facts: the near ruin of her family, the imposed marriage, Lucia’s secret lover, and how he saved her. Another fine example is Cammarano’s libretto for Verdi’s Il trovatore (1853), in which the rather convoluted events that precede the story are relayed in a concisely delivered tale told by a subsidiary character. Still, aspects of his story – the separation at birth of now-rival brothers and the throwing of the wrong baby into the execution bonfire – probably pushed the envelope just a little too far. It may have been fortunate Cammarano died just before finishing the libretto, for seeds of change were in the air. Verdi would demand greater dramatic truth in his later works, and Realism, with its pursuit of genre scenes and common people, had taken hold in the arts and would soon be explored operatically by the Italian verismo and French composers of the latter part of the 19th century. ■
The Minnesota Opera Chorus Kathryn Jensen Brian Jorgensen Naomi Karstad Ryan Kinsella* Dale Kruse Michael Lundin Bryan Maus Monica Murray Jonathan Niel Glenn Olson Dawn Pierce Ana Rodriguez* Dominick Rodriguez Scott Sandberg Steve Sandberg Joy Scheib Robert Schmidt Sandra Schoenecker Anne Benner Storlie Martin Swaden
Karen Weaver Justin Wilson Supernumeraries Robert Elliot Andrew Flamm Steve Mosow Tim Sneer Norm Tiedemann David Touchstone Resident Artists covering principle roles
Carlos Archuleta (Enrico) Matt Boehler (Raimondo) Ryan Kinsella (Enrico) Ana Rodriguez (Lucia) James Valenti (Edgardo) *denotes Minnesota Opera Resident Artist
The Minnesota Opera Orchestra Violin I Julia Persitz David Mickens Judy Thon-Jones Helen Foli Andrea Een Keith Redpath Dragon Stojkovic Holly Ager Elizabeth Brausa Violin II Laurie Petruconis Elizabeth Decker Stephan Orsak Melinda Marshall Carolin Kiesel Johnson Anne Strasser Miriam Moxness Andrea Noteboom Viola Annette Caruthers Vivi Erickson Laurel Browne Jenny Lind Nilsson Susan Janda James Bartsch
Cello Adriana LaRosa Ransom Rebecca Arons Goetz Thomas Austin Sally Dorer Julia Morehouse Bass John Michael Smith Constance Brown George Stahl Flute Michele Frisch Amy Morris Piccolo Casey Kovacic Oboe Marilyn Ford Joel Abdella Clarinet Sandra Powers Nina Olsen
Bassoon Coreen Nordling Laurie Hatcher Merz Horn Charles Kavalovski Greg Beckwith Thomas Gilkey Lawrence Barnhart Trumpet John G. Koopmann Christopher Volpe Trombone Steven Lund Sue Roberts David Stevens Timpani Matthew Barber Percussion Michael Holland Bob Adney Harp Andrea Stern
21 • L u c i a d i L a m m e r m o o r
Judy Bender Matt Boehler* Bryan Boyce Anna Brandsoy Michael Cain Genevieve Christianson Madeleine Cieslak Steven Dahlberg Carole Finneran Wood Foster Paul Griggsby April Hanson Katherine Haugen Michelle Hayes Robin Heggen Roy Heilman Sandra Henderson Larry Hill Dale Hills Leah Howard
The Minnesota Opera • 22
Staff President & CEO . . . . . . . . . . . . . . . . . . . . . Kevin Smith Artistic Director . . . . . . . . . . . . . . . . . . . . . Dale Johnson General Manager . . . . . . . . . . . . . . . . . . . John Humleker
Stitchers . . . . .Marilyn Garber, Bridget Haugh, Diane Moncrie∂, Jean Nelson, Thea Svalson, Pat Velure, Stephanie Vogel
Artistic
Scenic and Lighting Director . . . . . . . . . . . . . . . . . . Tom Mays Technical Director . . . . . . . . . . . . . . . . . . . . . . . . Stuart Schatz Scenic Administrator . . . . . . . . . . . . . . . . . . . . Holly Carpenter Assistant Lighting Designer . . . . . . . . . . . . . . .Nicole Simoneau Properties Master . . . . . . . . . . . . . . . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . . . . . . . . . . . . . . . . . . Mike Long Charge Painter . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Bolin Scenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra Jensen Production Carpenter . . . . . . . . . . . . . . . . . . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . . . . . . . . . . . . . . . . . . Rod Aird Carpenters . . . . . . . . . . . . . . . . . . . . . . Patrick Dzieweczynski, Mike McQuiston, Steve Rovie Foam Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jim Bakkom
Artistic Administrator . . . . . . . . . . . . . . Roxanne Stou∂er Cruz Artistic Associate . . . . . . . . . . . . . . . . . . . . . . . Floyd Anderson Education Coordinator . . . . . . . . . . . . . . . . . . . Holly Carpenter Dramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Sander Production Stage Manager . . . . . . . . . . . . . . . Alexander Farino Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . Yasmine Kiss Assistant Stage Manager . . . . . . . . . . . . . . . . . . .Lee Henderson Resident Artist Music Director . . . . . . . . . . . . . . .Bruce Stasyna Chorus Master/Head Coach . . . . . . . . . . . . . . . . Joseph Lawson Resident Artist Instructors . . . . . . . . . . .Carlotta Dradi, Peter Rothstein, Doug Scholz-Carlson, Nancy Tibbetts Resident Artists . . Carlos Archuleta, Matthew Boehler, Je∂rey Domoto, Ryan Kinsella, Laura Loewen, Ana Rodriguez, James Valenti Education Personnel . . . Raymond Berg, Peggy Endres, Janice Kimes, Kenny Kiser, Janet Paone, Je∂ Richman, Peter Rothstein, Joseph Schlefke, Elise Skophammer, Roger Skophammer, Casey Stangl, Ed Williams, Joan Womeldorf
Costumes Costume Director . . . . . . . . . . . . . . . . . . . . . . . . Gail Bakkom Assistant Costume Director . . . . . . . . . . . . . . . . . Beth Sanders Drapers . . . . . . . . . . . . . . . . . . . . . . . Chris Bur, Yancey Thrift First Hands . . . . . . Helen Ammann, Mark Heiden, Valerie Hill Dyer/Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . .Marliss Jensen Wig/Makeup Assistants . . . . . . . . Jodi Heath, Charles LaPointe, Emily Rosenmeier
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Administration Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . . . . . Steve Mittelholtz Accounting Associate . . . . . . . . . . . . . . . . . . . . . Jennifer Thill Events/Volunteer Coordinator . . . . . . . . . . . . . . . . Sarah Curtis
Development Development Director . . . . . . . . . . . . . . . . . . . . . . . Bill Venne Institutional Gifts Manager . . . . . . . . . . . . . . . . . . Jaime Meyer Executive/Development Assistant . . . . . . . . . . . Theresa Murray
Marketing/Communications Marketing and Communications Director . . . Glyn Northington Communications Manager . . . . . . . . . . . . . . . . . . . Lani Willis Ticket O∑ce Manager . . . . . . . . . . . . . . . . . . . . . . Jason Young Receptionist/Information Specialist . . . . . . . . . . . . . Malia Long
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The Minnesota Opera • 24
A Tribute to Paul Parker
t is with great fondness and appreciation
I
been groomed for the top management posi-
that I write this tribute to Paul Parker.
tion, so he graduated to the Board of Direc-
Simply put, Paul was unique. For example,
tors. There, he continued in a critical
one thing I learned very quickly from him
leadership role. Most significantly, he joined
was that the sport of baseball provides a per-
Judson (Sandy) Bemis as a Co-Chair of the
fect metaphor for everything in life – even
capital campaign that funded the Minnesota
opera. All of us at The Minnesota Opera feel
Opera Center in 1991. Paul was named an
privileged to have been the beneficiaries of
Emeritus member of The Minnesota Opera
Paul’s wit, wisdom and unbounded energy.
Board in 1992.
Paul joined The Minnesota Opera as our President and CEO in
I want to publicly thank Paul Parker for his extraordinary service
1984, upon his retirement from General Mills. At that time we
to The Minnesota Opera. Although we feel a great loss with his
needed a proven leader, but could not a∂ord to hire one. Paul took
passing, his is a life one pleasures in celebrating.
on the leadership responsibilities at the Opera for a token salary, which was exceeded by his general contributions to our cause. I am proud to have served as Paul’s operations director during his
Kevin Smith President
tenure as President. After a few years at the helm, he felt that I had
Paul Parker Memorial Gifts Lucille and Bob Amis John Andrus, III Marvin and Betty Borman Foundation Burt and Rusty Cohen Sage and John Cowles, Jr. Dr. and Mrs. Jim Craig Mrs. Thomas M. Crosby, Sr. Ellie and Tom Crosby, Jr. Mr. and Mrs. Bruce B. Dayton Judy and Kenneth Dayton Mark and Carol Engebretson Catherine C. Finch Dolly J. Fiterman
Mr. Rick Fossey Don and Betty Friborg Mr. and Mrs. Charles Gaillard Phillip and Bonnie Gainsley Mr. and Mrs. George K. Gosko N. Bud and Beverly Grossman Foundation Doris Hansson Alfred and Ingrid Lenz Harrison Ms. Joan Herfurth Mr. and Mrs. William R. Humphrey, Jr. Suzanne Johnson Mrs. Stephen F. Keating
Mrs. Marilyn E Kingman Margee and Bob Kinney Mr. and Mrs. David Kruidenier Mr. and Mrs. Thomas J. Lee Mr. and Mrs. Arnold E. Levine Mrs. Malcolm S. Mackay Mr. and Mrs. Cargill MacMillan, Jr. Mr. and Mrs. Thomas Markle Mr. and Mrs. Donald W. McCarthy Ms. Polly V. Moore Clinton and Mary Morrison Nancy E. Nolan Glyn R. Northington Mrs. George T. Pennock
Ms. Julia C. Peterson Ned and Norma Phelps Mr. and Mrs. John S. Pillsbury, Jr. Ken and Nina Rothchild Mr. and Mrs. Earl S. Sanford Frank and Lynda Sharbrough Kevin and Lynn Smith Mrs. Irene G. Steiner Drew Stewart Mary W. Vaughan Mr. and Mrs. James G. Willis Lani Willis Renata and John Winsor Fred and Eleanor Winston
The Minnesota Opera • 26
The Minnesota Opera Fund Corporations and Foundations Platinum 3M Accenture American Express Minnesota Philanthropic Program on behalf of American Express Financial Advisors and American Express Travel Related Services Co. Andersen Foundation James Ford Bell Foundation Blandin Foundation The Bush Foundation The Cargill Foundation Deloitte & Touche Deluxe Corporation Foundation Ecolab Foundation General Mills Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation Honeywell Foundation The MAHADH Fund of HRK Foundation The McKnight Foundation Marshall Field’s Project Imagine The Medtronic Foundation The Andrew W. Mellon Foundation Minnesota Monthly Minnesota State Arts Board ReliaStar Financial Corporation Skyway Publications, Inc. The St. Paul Companies Target Stores, Marshall Field’s and Mervyn’s with support from the Target Foundation
Transtop Twin Cities Opera Guild U.S. Bank Wells Fargo Foundation on behalf of: Wells Fargo Bank Minnesota Wells Fargo Brokerage Services Wells Fargo Institutional Investments Lowry Hill Wells Fargo Private Client Services West Group
Gold ADC Telecommunications, Inc. Bemis Company Foundation Dorsey & Whitney Foundation Ernst & Young R. C. Lilly Foundation Lutheran Brotherhood Foundation McGladrey & Pullen, LLP National City Bank Alice M. O’Brien Foundation PricewaterhouseCoopers LLP Rahr Foundation Rider, Bennett, Egan & Arundel Robins, Kaplan, Miller & Ciresi SpencerStuart Star Tribune Foundation Target Stores U.S. Bancorp Piper Ja∂ray Foundation on behalf of U.S. Bancorp Piper Ja∂ray Valspar Foundation
Silver The Bayport Foundation Belford Foundation Best Buy Children’s Foundation Boss Foundation Curtis L. Carlson Family Foundation Chadwick Foundation Dain Rauscher Foundation Dellwood Foundation Digital Excellence Inc. Leonard, Street & Deinard J & H Marsh & McLennan Malt-O-Meal Company Mary Livingston Griggs and Mary Griggs Burke Foundation McNeely Foundation Moss & Barnett The Nash Foundation The Casey Albert T. O’Neil Foundation The Carl and Eloise Pohlad Family Foundation Margaret Rivers Fund Schwegman, Lundberg, Woessner & Kluth, PA Sit Investment Associates Tennant Foundation School Arts Fund of United Arts/COMPAS Wenger Foundation
Bronze Ceridian Corporation Faegre & Benson Hogan & Hartson Hutter Family Foundation
Mayo Foundation McVay Foundation Minnesota Mutual Foundation Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust in honor of Lawrence M. O’Shaughnessy The Jay and Rose Phillips Family Foundation The Elizabeth C. Quinlan Foundation St. Croix Foundation Charles B. Sweatt Foundation Tozer Foundation Walcro Inc.
Benefactors Alliance Capital Management Elmer L. and Eleanor J. Andersen Foundation Athwin Foundation Brock-White Co., LLC H.B. Fuller Company Foundation Horton, Inc. The Hubbard Foundation KPMG LLP Miller Meester Advertising Minnesota Trading Co. MSI Insurance Foundation Musicland Group, Inc. Resource Trust Company The Ritz Foundation The Southways Foundation
Minnesota Opera Sponsors Season Sponsor
Production Sponsors
Camerata Dinners
U.S. Bancorp Piper Ja∂ray
Lucia di Lammermoor, U.S. Bancorp Piper Ja∂ray La clemenza di Tito, American Express Minnesota Philanthropic Program La bohème, Marshall Field’s Project Imagine
Rider, Bennett, Egan & Arundel
Gala Dinner Sponsor Ecolab
Opera Insight Lectures SpencerStuart
Individual Donors: The Camerata Circle The Camerata Circle is The Minnesota Opera’s highest category of personal support. With this designation, we recognize these very special friends for their commitment to the tradition of opera in our community. Platinum Mrs. Judson Bemis, Sr. Mary and Gus Blanchard Judy and Kenneth Dayton Dolly J. Fiterman John and Ruth Huss Heinz and Sisi Hutter The Art and Martha Kaemmer Fund of HRK Foundation Constance and Daniel Kunin Patricia Lund Mr. and Mrs. Walter S. Meyers Mrs. George T. Pennock Mary W. Vaughan
Gold Anonymous Karen Bachman David Hanson and William Biermaier Mr. and Mrs. James Binger Boren Family Fund of The Minneapolis Foundation Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Sally J. Economon N. Bud and Beverly Grossman Foundation Lucy Rosenberry Jones
Michael F. and Gretchen S. Kelly Warren and Patricia Kelly Peter J. King Thomas and Barbara McBurney Mrs. John M. Musser Timothy and Gayle Ober Rebecca Rand and E. Thomas Binger Walter B. Saunders Fred and Gloria Sewell Virginia L. and Edward C. Stringer Gregory C. Swinehart Tanrydoon Fund of The Saint Paul Foundation C. Angus and Margaret Wurtele
Silver Anonymous Mary A. Andres Elizabeth Andrus John Andrus, III August J. Aquila and Emily Haliziw Martha and Bruce Atwater Patricia and Mark Bauer Joseph and Judy Carlson William Voedisch and Laurie Carlson Rachelle Dockman Chase Burt and Rusty Cohen
Ellie and Tom Crosby, Jr. Rolf and Nancy Engh Mr. and Mrs. John Forsythe Connie Fladeland and Steve Fox Leslie and Alain Frécon James Fulton Stephen and Patricia Haynes Roger W. Hollander Dorothy J. Horns, M.D., and James P. Richardson Jay and Cynthia Ihlenfeld Gerald Johnson Bryce and Paula Johnson Ed and Pat Kerans Mr.and Mrs. James S. Kochiras Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Roy and Dorothy Ann Mayeske Mary Bigelow McMillan Robb and Lynne Morin Judge Diana Murphy and Joseph Murphy Bruce and Sandra Nelson Nelson Family Foundation on behalf of Glen and Marilyn Nelson William and Barbara Pearce Marge and Dwight Peterson Jodi and Todd Peterson Kim and John Puckett
Connie and Lew Remele Lois and John Rogers Mr. and Mrs. Steven Rothschild E. Elaine and Roger Sampson Frank and Lynda Sharbrough Renate M. Sharp Kevin and Lynn Smith Mrs. Irene G. Steiner Charles Allen Ward Fund of The Saint Paul Foundation
Bronze Anonymous Chloe D. Ackman Cordelia Anderson and John Humleker Mr. and Mrs. Edmund P. Babcock Alexandra O. Bjorklund Mr. and Mrs. Paul G. Boening Elwood F. and Florence A. Caldwell Joseph and Judy Carlson David and Jane Cooper Dr. James E. and Gisela Corbett Dr. Susan and Richard Crockett Mrs. Thomas M. Crosby, Sr. Mary Lee and Wallace Dayton Cy and Paula Decosse Fund of The Minneapolis Foundation Bradley A. Fuller and Elizabeth Lincoln
The Minnesota Opera • 28
Individual Donors
The Camerata Circle (continued from p. 26)
Mr. and Mrs. R. James Gesell Ieva Grundmanis Rosalie He∂elfinger Hall Fund of The Minneapolis Foundation Cli∂ton K. Hill and Jody Rockwell Dorothy J. Horns, M.D. and James P. Richardson Elizabeth A. Huey
Jacqueline Nolte Jones E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Mr. and Mrs. Ted Kolderie Benjamin Y. H. and Helen C. Liu Mr. and Mrs. Cargill MacMillan, Jr. James and Judith Mellinger Tom Murtha and Stephanie Lenway
Susan Okie Mr. and Mrs. William Phillips Lila and Bruce A. Priebe John Rosse Burton G. Ross and Cynthia Rosenblatt Ross Fund of The Minneapolis Foundation Mr. and Mrs. John C. Rowland
Lucy and Mark Searls Stanislaw and Krystyna Skrowaczewski James and Susan Sullivan Michael Symeonides Mr. and Mrs. George H. Tesar Catie Tobin and Brian Naas
Benefactors
The Denny Fund of The Minneapolis Foundation Thomas and Mary Lou Detwiler Mr. and Mrs. Steven A. Diede Mr. and Mrs. Carl B. Drake, Jr. Joyce and Hugh Edmondson Ester and John Fesler Henry and Anice Flesh Patricia R. Freeburg Lois and Larry Gibson Mr. and Mrs. John F. Grundhofer Alfred and Ingrid Lenz Harrison Don and Arlene Helgeson Stan and Jeanne Kagin Charlotte Karlen In memory of Elizabeth Keefe from her cousins Mr. and Mrs. Erwin Kelen
Mr. and Mrs. William Kling Maria Kochiras Lisa C. Kochiras Helen L. Kuehn Mr. and Mrs. Clinton Lee Ilo and Margaret Leppik Jerry and Joyce Lillquist Bill Long Mrs. Malcolm S. Mackay David MacMillan and Judith Krow Daniel and Susan Malina Margery Martin Samuel D. and Patricia McCullough Mary McDiarmid James P. McFarland Mrs. John H. Myers
Albin and Susan Nelson Allegra Parker Karen B. Paul Frances and George Reid Ken and Nina Rothchild Mahlon and Karen Schneider Ralph S. Schneider and Margaret McNeil Julie Jackley Steiner Don and Leslie Stiles Dr. Joseph Tashjian and Kay Savik Lois and Lance Thorkelson Bill Venne and Douglas Kline Ellen and Fred Wells Mr. and Mrs. F. T. Weyerhaeuser
Anonymous Eric and Donna Aanenson Kim A. Anderson Paula A. Anderson An Anonymous Gift from a Donor Advised Fund of The Saint Paul Foundation Dr. and Mrs. Thomas C. Bagnoli Amy and Ford Watson Bell in honor of Elinor W. Bell John and Jennifer Bernstein Ralph and Kathleen Cadmus Joann M. D. Cierniak Je∂ and Barb Couture John G. and Ida J. Davies Judson and Elizabeth Dayton
These lists are current as of October 15, 2001, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since July 1, 2000. If your name is not listed appropriately, please accept our apologies, and call Bill Venne, Development Director of The Minnesota Opera, at 612-342-9565.
MINNESOTANS UNDERSTAND THE VALUE THE ARTS BRING TO ITS COMMUNITY. U.S. Trust proudly supports The Minnesota Opera — a Minnesota tradition. For information on our array of wealth management services, please call 612-338-7881 or visit www.ustrust.com.
Minneapolis: 612-338-7881
St. Paul: 651-298-1441
The Minnesota Opera thanks the generous supporters of the
Opening Night Gala Alliance Francaise de Minneapolis Saint Paul Floyd Anderson Arthur Murray School of Dance Aveda Backstage @Bravo Maria Baker Wuollet Bakery Ballet Arts Minnesota Basic Brown Bear Factory Pat and Mark Bauer Berlitz International, Inc Black Forest Inn Blue Point Restaurant & Oyster Bar Rod and Susan Boren Brave New Workshop Brookfield Properties - City Center and Gaviidae Commons Café Latte Café un deux trois Canadian Opera Company Chanhassen Dinner Theatre Children’s Theater Company Chino Latino Como Rose Travel, Inc D’Amico Cucina Deloitte & Touche The Depot Dixie’s Calhoun Je∂ Domoto Durr Ltd. Ecolab El Meson Alex Farino Dolly Fiterman Flagship Athletic Club Flavors from the Home Steve Fox and Minnesota Monthly Jane Fuller Gardens of Salonica
General Mills Giorgio’s on France Great Waters Brewing Company Guthrie Theater Haskell’s Hey City Theater Historic Theatre Group, Ltd. Houston Grand Opera Hyatt Regency Hyatt Whitney Hotel James Sewell Ballet Joe’s Garage Jostens Jungle Theatre Mike Kelly Sally Kling Lake Superior Big Top Chautauqua Linguini & Bob Loring Bar and Café Loring Pasta Bar Los Angeles Opera Luggage World Lee Lynch and Terry Saario Lyric Opera of Chicago Macalester Scottish Country Fair Dan Malina Mall of America The Marquette Hotel The Marsh Marshall Field’s Minneapolis Institute of Arts Minneapolis Marriot City Center Minnesota Children’s Museum Minnesota Coalition of Country Fairs The Minnesota Opera Minnesota Timberwolves The Minnesota Twins Baseball Club Minnesota Vikings Doug Myhra Mystic Lake Casino and Hotel
Bruce Nelson New York City Opera Northern Clay Center Northrop Auditorium Ordway Center for the Performing Arts Palomino Park Square Theater Pazzaluna Pickled Parrot Pinehurst Inn Portland Opera Connie Remele Restaurant Alma Ristorante Luci rocco altobelli Salon St. James Hotel The Saint Paul Chamber Orchestra St. Paul Harley Davidson The Saint Paul Hotel St. Paul Saints Professional Baseball San Francisco Opera The Santa Fe Opera Lucy Searls Seattle Opera Sunsets Greg Swinehart Table of Contents Theater in the Round Theatre de la Jeune Lune Jane Tilka, Tamatha Schneider and Tilka Design Tucci Benucch Twin Cities Gay Men’s Chorus Vancouver Opera WA Frost and Company Washington Opera Weisman Art Museum Zenon Dance Company & School, Inc.