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Contents The Minnesota Opera Staff and Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 The Fortunes of King Croesus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Reinhard Keiser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 2008-2009 Season Announcement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 General/Chorus Auditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Out at the Opera Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Minnesota Opera Chorus and The Saint Paul Chamber Orchestra . . . . . 20 Coming Up: Rusalka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Education at the Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Young Professionals Group Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
The Minnesota Opera President & CEO Artistic Director Chair, Board of Directors
Kevin Smith Dale Johnson Jane M. Confer
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. This project is supported in part by a grant from the National Endowment for the Arts.
March 2008
The Minnesota Opera Program
Corporate Administrator/Publisher Assoc. Publisher/Director of Production Account Executives Creative Designers Graphic Designers
Todd Hyde Marsha Kitchel Liesl Hyde, Amy Newton Stacy Harwood, Susan Schwegman Sue Sentyrz Klapmeier, Robert Ochsner
Large-print and Braille programs are available at the Patron Services Office
| THE FORTUNES OF KING CROESUS
is published by
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MINNESOTA OPERA
Staff
President & CEO Kevin Smith Artistic Director Dale Johnson Welcome to today’s production of The Fortunes of King Croesus. For more than four decades, The Minnesota Opera has enriched the cultural life of our community by producing outstanding and innovative operas that inspire and entertain. U.S. Bank is honored to sponsor the 2007 – 2008 season. We are proud of our 20+ year relationship with The Minnesota Opera and the spectacular Ordway Center in St. Paul. At U.S. Bank, we support great dreams, great art and great arts organizations. They enrich the community with vibrancy, creativity and excellence. As the sixth largest bank in America today, U.S. Bank is the only major bank headquartered in Minnesota, and we’re deeply committed to giving back to this community. Thank you for coming and enjoy the performance!
Rod Boren, Senior Vice President, Personal Trust Regional Manager, U.S. Bank Private Client Group Jose Peris, Senior Vice President, Private Banking Regional Manager, U.S. Bank Private Client Group
Artistic
Scenery
Artistic Administrator . . .Roxanne Stou∂er Cruz Artist Relations and Planning Director . . . . . Floyd Anderson Dramaturg . . . . . . . . . . . . . . . David Sander Principal Conductor-in-Residence . . . . . . . . . . . . . . . . . . . . . . .Robert Wood Associate Conductor-in-Residence . . . . . . . . . . . . . . . . . .Andrew Altenbach Resident Artists . . . . . . . . . .Kyle Albertson, Alison Bates, John David Boehr, Andrea Coleman, Christin-Marie Hill, Christopher Job, Bryan Lemke, Jamison Livsey, Bill Murray, Christian Reinert RAP Faculty . . . . . . . . . . . . . .Nancy Boler, Carlotta Dradi-Bower, Mary Dibbern, Barbara Kierig, Doug Schulz-Carlson Master Coach . . . . . . . . .Mary Jo Gothmann
Technical Director . . . . . Mike McQuiston Properties Master. . . . Stanley D. Hawthorne Properties Assistant . . . . . . . . . Mike Long Lighting Coordinator . . . Charles D. Craun Production Carpenter . . . . . . . . . JC Amel Scene Shop Foreman . . . . . . . . . . Rod Aird Master Carpenter . . . . . . . . . .Steven Rovie Carpenters . . . Nate Kulenkamp, Eric Veldey Charge Painter . . . . . . . . Kevin Noteboom
Education
Administration Finance Director . . . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . . . Steve Mittelholtz HR/Accounting Manager . . . . Jennifer Thill Executive Assistant . . . . . . . Theresa Murray Finance Assistant . . . . . . . . . . . . . . .Libby Jones IT Applications Specialist . . . . . .Jessica Wright
Institutional Advancement
Community Education Director . . . . . . . . . . . . . . . . . .Jamie Andrews Teaching Artist . . . . . . . . . .Vicki Fingalson Project Opera Music Director . . . Dale Kruse Project Opera Accompanist . . .Kathy Kraulik
Vice President of Institutional Advancement . . . . . . . . . . .Patrick Dewane Institutional Advancement Manager . . . . . . . . . . . . . .Kelly Clemens
Production
Annual Fund Director . . . . . . .Dawn Loven Grants Manager . . . . . . . . . . .Beth Comeaux Donor Events and Gala Manager . . . . . . . . . . .Emily Skoblik Individual Gifts Manager . . . . . .Morgan Walsh
Production Director. . . . . . . Kevin Ramach Production Stage Manager . . . . Alex Farino Assistant Stage Managers . . . .Casey Martin, Angie Spencer Production Admin Asst. . Katherine Cattrysse
Costumes Costume Shop Manager . . . .Erica M. Burds Assistant Costume Shop Manager . .Beth Sanders Wardrobe Supervisor. . . . . . Emily Rosenmeier Drapers . . . . . . . . .Chris Bur, Yancey Thrift, Angela Yarbrough Costume Technicians . . . .Helen Ammann, Jennifer Dawson, Mary Farrell, Rose Ryan, Lindsey Strange Wig/Makeup Assistants . . . . . . .Ashley Ryan, Nina Stewart, Sarah Bourne
MINNESOTA OPERA
Development
Marketing/Communications Marketing and Communications Director . . . . . . . . . . . . . . . . . .Lani Willis Marketing Operations Manager . . . . . . . . . . . . . . . Marsha Walker Audience Development Associate . . Jamie Nieman Ticket O∑ce Manager . . . Katherine Castille Ticketing and Communications Associate . . . . . . . . . . . . . . . . . . Robert Schmidt Ticket O∑ce Assistants . . . . . . . .Kristen Bond, Kevin Beckey, Alexandrea Kouame Marketing Intern . . . . . . . . . . . . . . . .Julie Behr
Volunteers
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The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera. If you would like to learn more about volunteering for The Minnesota Opera, please contact Jamie Nieman by phone at 612-342-9550 or via email at jnieman@mnopera.org.
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Catherine Ahern Ann Albertson Gerald Benson Jim Brownback Jerry Cassidy Diane Choih Joann Cierniak Susan Cogger Caroline Coopersmith Beverly Dailey Denis Dailey Jeanette Daun Judith Duncan Sally Economon Christopher Foster Hazel Francois Li-Jun Fu Jane Fuller Joan Gacki
Christine A. Garner Mary E. Hagen Merle J. Hanson Anne Hesselroth Heather Huber Karen Johnson Nancy Johnson Steve Johnson Jeannie Johnston Kristen Johnston Robin Keck Dawn Klassen Eleanore Kolar Lucinda Lamont Shirley Larson Mathilda Lien Jerry Lillquist Joyce Lillquist Margery Martin
Joan Masuck Yasuko Matsumoto Mary McDiarmid Beth McGuire Verne Melberg Jeanette Middleton Barbara Moore Doug Myhra Pam Nielsen Candyce Osterkamp Dan Panshin Pat Panshin Megan Pelka Bill Phillips Sydney Phillips Julia Porter Carol Purvis Kathleen Riley Enrique Rotstein
John Sauer Lynette Saucier Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Naomi St. Gregory Karen St. John Harry Swepston Dave Terwilliger Emily Thompson Doris Unger Stacey Vonderhear Carolyn Wahtera Sandy Walker Mary Weitz Barbara Willis
NOTES FROM THE
Directors
Artistic Director
Welcome to this performance of The Fortunes of King Croesus! While it is just now being rediscovered, Croesus was, in the early 18th century, one of the best known operas by Hamburg composer Reinhard Keiser. A contemporary of Handel, and little known today, he was eulogized as “the greatest opera composer in the world” in the years and decades after his death. When I heard this score for the first time, it was a revelation. It was like a breath of fresh air, and its lilting melodies are charming from beginning to end. I’m thrilled that this overlooked Baroque masterpiece is making its American debut here in Minnesota and that you are here to witness it, particularly in this
FROM THE
BOARD OF
brilliant conception by Tim Albery for our co-producer, Opera North in Leeds, England. Next season, we will partner again with Opera North on another American premiere on this stage – The Adventures of Pinocchio. Be sure to read about it and the other great operas in the 2008-2009 season, which include Verdi’s Il trovatore, Mozart’s The Abduction from the Seraglio, Gounod’s Faust and Rossini’s The Barber of Seville, on page 15.
Dale Johnson Artistic Director
President
We’re glad you’re here to see this American premiere production of The Fortunes of King Croesus. Many of you may be new to the Opera, and we welcome you! Many of you are already full-season subscribers, and as such, you help us achieve artistic, institutional and programmatic heights. Thank you for your commitment to the Opera. We invite all of you to subscribe to the exciting 2008-2009 opera season. Subscribers get the best value on tickets, resulting in savings from 15-25% off regular ticket prices, flexible exchange privileges for any
performance during the season and the best seats. Full-season subscribers are also guaranteed their same seats for seasons to come. A national study by OPERA America indicates that people come to the opera most often when invited by others. Please introduce your friends to the Opera. Bring them to Rusalka next month, and invite them to join you next season as a subscriber. Thank you for your support.
Kevin Smith President and CEO
The Minnesota Opera is proud to be a member of The Arts Partnership with The Saint Paul Chamber Orchestra, The Schubert Club and Ordway Center for the Performing Arts.
Officers Jane M. Confer, Chair Chip Emery, Vice Chair Debra Paterson, Secretary Denver Gilliand, Treasurer Kevin Smith, President & CEO Directors Martha Goldberg Aronson Wendy Bennett Charles E. Berg J. A. Blanchard III Shari Boehnen Susan S. Boren Kathleen Callahan Nicky B. Carpenter Richard P. Carroll Rachelle D. Chase Mary A. Dearing Sara Donaldson Steve Fox Sharon Hawkins Ruth S. Huss
Philip Isaacson Lucy Rosenberry Jones B. John Lindahl Diana E. Murphy Brian E. Palmer Jodi D. Peterson Mary Ingebrand Pohlad Stephanie J. Prem Elizabeth Redleaf Connie Remele Stephanie Simon Peter W. Sipkins Mitchell Stover Virginia Stringer H. Bernt von Ohlen
Emeriti Karen Bachman Burton Cohen Julia W. Dayton Thomas R. McBurney Mary W. Vaughan Honorary Directors Dominick Argento Philip Brunelle Elizabeth Close Dolly Fiterman Charles C. Fullmer Norton M. Hintz Liz Kochiras Patricia H. Sheppard Legal Counsel James A. Rubenstein, Moss & Barnett
| THE FORTUNES OF KING CROESUS
FROM THE
Leadership
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THE ARTS ALLOW US TO DISCOVER WHO WE CAN BE Imagine the world without music and dance, or literature and art. Life is incomplete without ways to express ourselves, and to discover who we are and what we can be. That’s why Northern Trust proudly supports the arts in its many diverse forms. Northern Trust has been helping clients meet their financial needs for more than 118 years.
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APPEARING ON STAGE Mar 11 - May 18, 2008 Ordway Center presents Blues in the Night Starring Jamecia Bennett, Debbie Duncan, Regina Marie Williams. McKnight Theatre Thurs., March 13, 2008, 8pm The Schubert Club presents International Artist Series Lang Lang, piano Fri., March 14, 2008, 10:30am; March 14-15, 2008, 8pm The Saint Paul Chamber Orchestra presents Boyd conducts Schumann and Debussy Douglas Boyd, conductor Steven Copes, violin March 18 – March 30, 2008 Ordway Center presents The Drowsy Chaperone The winner of 5 Tony Award®s in 2006. “High-flying & Hilarious” —Daily News April 4-5, 2008, 8pm The Saint Paul Chamber Orchestra presents Upshaw Sings 20th Century Classics Reinbert de Leeuw, conductor Dawn Upshaw, soprano April 12, 15, 17, 19, and 20, 2008 The Minnesota Opera presents Rusalka by Antonín Dvořák The Little Mermaid without the Disney ending. Wed. April 23, 2008, 8pm The Schubert Club presents International Artist Series Bryn Terfel, bass baritone April 24, 26, 2008, 8pm The Saint Paul Chamber Orchestra presents Dawn Upshaw Sings Schubert Douglas Boyd, conductor Dawn Upshaw, soprano May 2 – May 18, 2008 Ordway Center presents Cabaret Behind the doors of the notorious Kit Kat Klub, painted ladies (and painted gentlemen) sing and dance as though life were an endless party. Welcome to Berlin. Fri., May 23, 2008, 10:30am; May 23-24, 2008, 8pm The Saint Paul Chamber Orchestra presents Beethoven’s Triple Concerto Pierre-Laurent Aimard, conductor and piano Ruggero Allifranchini, violin Ronald Thomas, cello
ordway.org
Music by Reinhard Keiser Libretto by Lucas von Bostel after Creso by Niccolò Minato in an edition by Tim Albery and Harry Bicket World premiere at the Theater am Gänsemarkt, Hamburg 1711 (revised version: December 6, 1730)
Sung in German with English translations Conductor ................................................Harry Bicket Stage Director ............................................Tim Albery Choreographer ..........................................Tim Claydon Set and Costume Designer ..........................Leslie Travers Lighting Designer ..................................Thomas C. Hase Wig Master and Makeup ..............Tom Watson & Associates Chorus Preparation..............................Andrew Altenbach Production Stage Manager......................Alexander Farino German Language Coach............................Barbara Kierig English Captions ..........................................Tim Albery
THE CAST THE LYDIAN COURT Croesus, king of Lydia....................................Paul Nilon Atis, son of Croesus....................................Vale Rideout Halimacus, confidant of Atis ........................Alan Dornak Orsanes, in love with Elmira ....................Brian Leerhuber Clerida, in love with Orsanes ............Jamie-Rose Guarrine Eliates, in love with Clerida ....................Christian Reinert Elcius, a bon viveur ....................................Dan Dressen THE MEDIANS IN EXILE The Queen of Media ..............................Marcia Aubineau Elmira, her daughter..............................Susanna Phillips Trigesta, lady-in-waiting to Elmira ..........Andrea Coleman THE PERSIANS Cyrus, king of Persia..............................Carlos Archuleta A Persian captain ................................John David Boehr Solon, a Greek philosopher ......................Christopher Job Courtiers, soldiers Setting: the kingdom of Lydia
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A coproduction with Opera North (UK) and The Minnesota Opera By arrangement with G. Schirmer, Inc., publisher and copyright owner
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Photo courtesy of Opera North (photographer: Robert Workman)
March 1, 4, 6, 8 and 9, 2008 Ordway Center for the Performing Arts
BACKGROUND
Notes
by David Sander
T
he operatic art form was barely a century old when the first version of Reinhard Keiser’s Der hochmüthige, gestürtzte und wieder erhabene Croesus (The Proud, Overthrown and Again Exalted Croesus) premiered in 1711, yet the genre already had diverged substantially from the noble intentions of its august founders. In the late 16th century, the Florentine Camerata assembled to imagine and possibly recreate music-drama from the pinnacle of Greek theater in ancient times – the products of these endeavors were the intensely cerebral works of Jacapo Peri, and later, Claudio Monteverdi. Opera remained a court activity in Italy and France until it reached Venice. Free from a dynastic ruler, the mercantile port city was the perfect place for the first commercial opera house to open in 1637.
The Fortunes of King Croesus is sponsored by
The appearances of Susanna Phillips, winner; Kyle Albertson and Vale Rideout, regional finalists; and John David Boehr, Jamie-Rose Guarrine and Christopher Job, district finalists 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 Kyle Albertson, John David Boehr, Andrea Coleman, Christopher Job and Christian Reinert are made possible by the Virginia L. Stringer Endowment Fund for The Minnesota Opera Resident Artist Program. Performances of The Fortunes of King Croesus are being taped for delayed broadcast on Minnesota Public Radio, KSJN 99.5 in the Twin Cities.
The Minnesota Opera season is sponsored by FAF Advisors and U.S. Bank. The appearances of the 2007–2008 season conductors are underwritten by SpencerStuart. Opera Insights is sponsored by Thrivent Financial for Lutherans. Camerata Dinners are sponsored by Lowry Hill Private Asset Management.
Notes
earliest triumphs was La forza della vertù, oder Die Macht der Others sprang up soon after, and the art form would Tugend (The Force of Virtue; 1700) to text by Friedrich undergo a significant face-lift. The new theaters were Christian Bressand after Domenico David’s original work, equipped with state-of-the-art technology where producers first produced in Venice in 1693. Though the names have could create fantastic spectacles (the merveilleux) to delight been changed, the action concerns Pedro the Cruel, his their working-class audiences. Confused and capricious imprisoned bride Blanche (who will, as it turns out, libretti also pandered to their escapist tastes, now littered by an unwieldy Baroque love maze coupled with bawdy comedy epitomize goodness and purity) and his mistress Maria Padiglia (the same subject that later would be set by Gaetano placed beside agonizing tragedy. Pastoral scenes that had no relevance to the main plot were inserted midway through the Donizetti in 1841, last seen on The Minnesota Opera’s stage in 2005). Besides depicting the trials of an imprisoned drama, intended to contrast heroic characters with the Blanche/Clotilde (intended for Pedro/Fernando, but locked common man. Venetian works grew to be known for their up so that he can court his mistress Maria/Anagilda), the very “fa stupir” (to become stupefied), intended to awe their cash serious drama indeed has its customers and quickly evolved lighter moments. Bressand into a popular mode of providing retains the traditional lustige entertainment for everyone. Person, or “merry man,” in this As Italian composers moved case Padiglio, a comic figure north, opera was soon to be a drawn from the Italian commedia favorite amusement within the dell’arte, and of course there is numerous German principalities plenty of love intrigue to as well, with a few notable supplement the plot. This exceptions. Hamburg, like its format became the blueprint sister to the south, was a for nearly all of the German cosmopolitan free city with Baroque operas produced in access to the North Sea and to Hamburg, with subjects trade with the Dutch, French ranging from the mythic and the British. Geographically (frequently allegorical, situated both north/south and honoring the ruler), religious east/west, the city was able to (to appease the clergy) and play Denmark off Sweden historical (celebrating Italy’s politically, and when one-time glorious past), all with some elector George ascended the sort of didactic message English throne, it served as a tacked on the end. diplomatic mission between Another Keiser opera, England and Hanover. Spared the ravages of the Thirty Years Photo courtesy of Opera North (photographer: Robert Workman) Masagniello furioso (1706), set to text by Barthold Feind, follows War, Hamburg was at its the same mold. Detailing an event from recent history economic zenith toward the end of the 17th century. To (unusual for the time), a Neapolitan fisherman revolts commemorate their prosperity, the town’s burghers (with against his Spanish overlords, is driven mad and then the help of wealthy aristocrats) hired Italian architect executed. [The same events would later be treated in the Girolamo Sartorio to construct a venue similar to Venice’s grand opéra by Eugène Scribe and Daniel Auber as La muette Teatro Santissimi Giovanni e Paolo (with the requisite stage de Portici (1828)]. In the space of all this hardship, the fruit mechanics) on the site of the town’s old goose market, and the Theater am Gänsemarkt opened in 1678 with Adam und vendor Bassian is introduced as the lustige Person, and the subplot includes the compulsory multiple amorous pursuits. Eva by Johann Theile. The biblical drama hardly fooled the With their use of low German and risqué comments, these die-hard Hamburger clergy who would rail against the libretti were intended to both amuse by ridiculing love, controversial and “corrupt” opera house for its entire greed and inebriation as well as encourage certain virtues – existence (the Lutheran zealots even viewed deadly theater fires as Acts of God). Without a powerful noble to protect it, devotion, fidelity, obedience, forgiveness – and discourage vices such as luxury, disloyalty and ambition for power. The the genre was open to constant attack. Another recurrent Byzantine world of Baroque opera was a jumble of various threat was one of financial viability, and the Gänsemarkt continually would be plagued by shortfalls and changes in styles drawn from French, Spanish and Italian sources. Scenery changes proliferate with little attention to leadership. Reinhard Keiser was one of these composerimpresarios, perhaps the most talented artistically, though continuity (liaison des scenes). Aristotelian unities of time and place are ignored in favor of real action as the plots take on not so much fiscally. the complexity of Shakespeare’s mixed dramatic genre, From the cradle of public opera came a steady stream of libretti for Hamburg composers to spoil, and one of Keiser’s placing comedy beside tragedy and clowns with kings. BACKGROUND NOTES CONTINUED ON PAGE 12
| THE FORTUNES OF KING CROESUS
BACKGROUND
11
BACKGROUND
Notes
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BACKGROUND NOTES CONTINUED FROM PAGE 11
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numbers) even though they can be weak dramatically. Arias It’s unclear if Feind was aware of the Bard’s plays – but are short and plentiful, and in many Hamburg operas, are his poison-and-dagger opera, Sueno, shows a striking sometimes sung in both German and Italian. Orchestration resemblance to Romeo and Juliet with swift changes in is created with intention and depth, utilizing a variety of emotions amid a blending of public and private scenes. In the words of Baroque-era librettist Heinrich Hinsch, “Opera obbligato instruments to counter the vocal line. An homme à provided a pleasurable poetic experience, precisely because it la mode in every aspect of his life, Keiser was at the forefront of change, moving from the heaviness of the Baroque to the titillated the senses of its audience without attempting to expressive nuance and lighter ornamentation, the galanterie, address their reason or understanding.1” of the Rococo. Croesus, adapted from Niccolò Minato’s Creso, was first Another aspect of Keiser’s composition is his attention set to music by Antonio Draghi in 1678. Before becoming court poet to Austrian Emperor Leopold I, Minato had been to affect. His friend and colleague, Johann Mattheson, in line with Enlightenment thinkers of the day, developed the a successful opera producer in Venice and set the template Affektenlehre, the belief that music was “the straightest path for Venetian libretti. Over a dozen composers would set to the soul.” Keiser himself noted: “… the most noble Minato’s text, including later opera seria masters Johann science of music has never Adolf Hasse and Niccolò before been seen in such Jommelli. The Mayor of perfection in the civilized Hamburg, Lucas von Bostel, world as at this time … music first translated and adapted presents the affects of Anger, Creso for Johann Philipp Sympathy, Love and the Förtsch in 1684 and again characterization of Nobility, for Keiser in 1711. The Justice, Innocence and composer would substantially Abandonment in their natural revise his opus toward the state, and awakens all spirits end of his life, and the opera to them with its hidden perfectly exemplifies all of power; indeed, it almost forces these Venetian conventions. the heart secretly into a The cast is huge (and four passion, according to its own characters have been cut will, just as an otherwise from Minato’s original), unburnable diamond must the romantic pentagon is Croesus shows his treasures to Solon by Nicolaus Knuepfer (1647) catch fire with an artfully unwieldy (with Elmira and Kunsthistorisches Museum (Vienna); Erich Lessing/Art Resource cut mirror.2” By attentive Atis’ love story taking precedence over Croesus’ manipulation of tempo, plight), the comedy is embodied in a mute principal who tonality, meter, harmony, melody, vocal melismas and cannot sing, forced to communicate with gestures, and rhythm, emotion can be elicited through music (though disguise, misdirection and treachery abound. Act II begins somewhat archaic today, this was avant-garde thinking in the early 18th century). Certain instruments had traits with a charming scene of “pastoral relief” involving a rustic peasant family (cut in this production) with whom associated with them: trumpets could indicate nobility, the obligatory lustige Person Elcius interacts. boldness and anger; the horn could reveal feelings associated Harlequin/Figaro-esque in the selling of his wares (and with hunting (bravery, confidence); the recorder with the poking fun at customs such as the wearing of make-up pastoral world (sleep, love). Anticipating his Romanticand spectacles and the smoking of tobacco), the court period successors, Keiser might characterize an entire work jester Elcius neatly balances the commedia-derived female with single-minded instrumentation. Disturbing sentiments Trigesta (the traditional randy old nurse) and draws could be revealed by chromaticism (increased usage of comparison to other charlatan salesmen in the annals of sharps and flats) and doleful appoggiaturas (non-harmonic opera (Dr. Dulcamara in L’elisir d’amore and Coppélius in tones approached by a leap and resolved by a step), or with Les contes d’Hoffmann, to name two). In the end, the lovers uneasy ninth chords and unexpected Neapolitan sixths. are paired off amicably and all things conclude favorably. Mattheson, like Keiser, believed in modal distinctions, that Musically, Croesus and its sisters are equally diverse. Arias each key had its own affect – the key of D major, which could range from the standard of the day, the Italian da capo frames Croesus, he described as “sharp, headstrong, for and cavata, to strophic forms of the French ariette or German warlike and merry things.” Binary forms might be used in folksong. Ballet and dance rhythms, imported from France preference to ternary options as a return to the first emotion (Keiser’s mentor, Johann Sigismund Kusser, studied with may not be appropriate to the situation at hand; in Jean-Baptiste Lully for eight years), were frequently contrast, the repeating ABA structure of the da capo aria employed (Croesus, in its original form, has five such may be employed for a scene of action and reflection. BACKGROUND NOTES CONTINUED ON PAGE 25
Synopsis
I
n Sardis, capital of Lydia, King Croesus is at the height of his wealth and power and enjoys the acclamation of his people. Only the philosopher Solon is skeptical. When asked why, he points out that pride often comes before a fall, and warns that earthly glory and riches are only ever fleeting. Croesus is not impressed. Enjoy it while it lasts is his philosophy, and he sees no reason why it shouldn’t last forever. Less fortunate is Elmira, daughter of the king of Media, who has found refuge at Croesus’ court. Cyrus, the king of Persia, has invaded her land, killed her father and exiled Elmira and her mother. However, there is light on her horizon: she loves Croesus’ son Atis and he loves her in return. Trigesta, Elmira’s lady-in-waiting, points out the one impediment to their future happiness: Atis can’t speak. He is mute, and has been since birth. His friend, Halimacus, has to translate his gestures for him. Elmira insists that she loves him nonetheless. Atis is not Elmira’s only admirer. She is also loved by Orsanes, who reveals his ambition to seize the Lydian throne. Eliates too suffers the pangs of unrequited love, in his case for Clerida, who in turn loves Orsanes. The resident bon viveur Elcius has no time for all these amorous disasters; he’d rather have a drink. The Persian king Cyrus now breaks his treaty with Croesus and invades. Croesus departs for battle leaving Eliates to govern in his absence. With both the king and his son Atis gone to war, Orsanes sees his chance to launch a coup. On the battlefield the Lydians are defeated. Atis, seeing his father about to be killed, is shocked into speech for the very first time. His shouts prevent Croesus’ death but not his capture. Atis and Halimacus escape and decide to return to Sardis. Aware of Orsanes’ plot to seize the throne, Atis devises a plan to observe the traitor at close quarters. He’ll take on the guise of an ordinary Persian soldier, ‘Ermin,’ captured by Atis and sent by him to serve Elmira. Despite the fact that ‘Ermin’ looks exactly like the prince, the deceit will be successful because, as everyone knows, Atis cannot speak. When Halimacus introduces ‘Ermin’ to Elmira, she is overwhelmed with conflicting emotions. – INTERMISSION –
‘Ermin’ acknowledges that it’s a cunning plan, but there’s a problem – he’s heard that Atis is to return to Sardis that night. So Orsanes encourages ‘Ermin’ to murder the prince while he sleeps and dispose of the body, then appear dressed as Atis. ‘Ermin’ agrees to do it. The next morning, Orsanes is happy to see ‘Ermin’ accepted by the court as the prince, returned from battle. Now a prisoner of war, powerless and with nothing, Croesus reflects that all his treasures are useless to him – they cannot set him free. Cyrus announces that Croesus is condemned to be burnt alive. In sharp contrast, Elcius, who has deserted the army, is plying his new trade as a traveling salesman to the soldiers. In Sardis, Eliates is in despair. The ransom he has offered Cyrus, of half the country’s wealth, doesn’t interest the king, who demands the total surrender of Lydia if Croesus is to be reprieved. Cyrus declares a 24-hour truce, after which he’ll march on the city, and if the gates are closed to him, he’ll take it by force and show no mercy. Meanwhile Atis, paranoid that Elmira never truly loved him while he was mute, starts playing games with her. As ‘Ermin,’ he presents her with a letter which she recognizes to be in the prince’s hand. Atis writes that if she wishes to take ‘Ermin’ as her lover he won’t stand in her way. Elmira is overwhelmed with grief and bewilderment – could Atis ever really have loved her if he can now dismiss her so casually? When Atis finally reveals the truth of his identity to her she is so traumatized that she doesn’t believe him, and curses both ‘Ermin’ and Atis. Orsanes too is furious with this man, whom he had imagined would be his puppet, but who now seems intent on taking power for himself. As the daylong truce nears its end, Atis visits the enemy camp to find Croesus about to be killed. He begs Cyrus that he may be executed in his father’s stead. Croesus reflects on Solon’s warning that pride comes before a fall. Solon is on hand to point out to Cyrus that exactly the same fate could await him. Cyrus, in a moment of clarity, acknowledges the truth of this and grants Croesus mercy, restoring to him his throne, and ensuring a happy ending for all. – synopsis courtesy of Stuart Leeks and Opera North
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| THE FORTUNES OF KING CROESUS
eft alone with Elmira, ‘Ermin’ speaks passionately to her – assuring her that he does so not for himself but on behalf of Atis. Although she is highly disturbed by the situation, Elmira admits to herself that it is wonderful to hear this man who looks identical to her beloved speak words of love to her. Orsanes sees the arrival of Atis as a golden opportunity to further his plans, promising him fame and fortune if he will pretend to be the prince he so strongly resembles. ‘Ermin,’ as Atis, will indicate that he has reached the conclusion that his inability to speak makes it impossible for him to rule, and that Orsanes is his choice of leader. Photo courtesy of Opera North (photographer: Robert Workman)
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REINHARD
4 PERFORMANCES
ONLY! The Nightingale by Imant Raminsh PERFORMANCE TIMES: Friday, March 14 – 7pm Saturday, March 15 – 5:30pm and 8pm Sunday, March 16 – 5:30pm TICKETS: $15 for adults, $5 for students (Student tickets available by phone only.) www.mnopera.org or 612-333-6669
LOCATION: Sateren Auditorium on the campus of Augsburg College
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Project Opera, The Minnesota Opera's co-ed youth opera training program for singers grades 4-12, presents The Nightingale for only four performances.
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The Nightingale by Imant Raminsh, a one-hour opera based on the famous Hans Christian Andersen fairytale, will remind us all how important it is to appreciate nature, instead of trying to replace it with our own constructions. A celebration of the natural over the mechanical and the power of song over death, this opera is a parable of our time.
Keiser
b Teuchern, January 10 or 11, 1674; d Hamburg, September 12, 1739
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Though prodigious as a composer, irtually forgotten today, Reinhard turning out about three operas per Keiser was a leading composer year, Keiser was unlucky as an of German Baroque opera. Just eleven years older than his more famous impresario, leading to several financial contemporary, George Frideric Handel, difficulties at the Gänsemarkt and his dismissal as music director. He tried to Keiser was an illegitimate child born find a position as kapellmeister in Gotha, to Gottfried Keiser, an organist and Eisenach, Stuttgart and Copenhagen, composer, and Dorothea von Etzdorff. where he composed and revised several The elder Keiser would eventually more works. In 1722, he returned to abandon his two young sons and wife. Hamburg, where Georg Philipp In spite of their relative poverty, Telemann had Reinhard would assumed his old receive seven years position. Keiser was of formal training granted further at the Leipzig opportunities for Thomasschule, where performance, but he demonstrated a his output began natural ability to to diminish. In absorb and assimilate 1728, he succeeded Italian opera popular Mattheson as in his day. Kantor of the Keiser obtained Where is Keiser's Hamburg Cathedral the position of portrait? Unfortunately, like and devoted himself Cammer-Componist most of Keiser's works, his image largely to sacred at the court opera has also been lost to time. music. Following in Brunswick, where the death of his wife several of his early in 1735, Keiser retired permanently. works were first presented. An He died just one year after the invitation to compose for the Theater Gänsemarkt closed for good. am Gänsemarkt eventually led him to Though Keiser wrote over 60 settle in Hamburg, and he would operas, only a small number survive assume the theater’s directorship in in manuscript. His style is unique, 1703. It was also about this time though heavily influenced by the Handel joined the opera orchestra, and prevailing Italian style, which (unlike the two came to blows over Handel’s Handel) he studied from a distance. early successes as a composer. Legend He also employed French forms and has it that the prickly Handel had a the tradition of German lied. The more violent altercation with singerrevisions he made to Croesus indicate composer Johann Mattheson (an a sensitivity that looks forward to the important Keiser biographer). During emerging style galant, and a closer a performance of Mattheson’s Cleopatra, examination of his scores demonstrate Handel refused to yield the harpsichord a particular attention to orchestral to him, leading to the challenge of a and stylistic coloring for dramatic duel in front of the theater. His life was purposes. His popularity in the 18th spared when Mattheson’s deathblow was deflected by a button, and the two century was subject to praise from the eventually became fast friends, though next generation, namely Telemann, Handel left Hamburg soon after in Carl Philipp Emanuel Bach and 1706. Several of Handel’s first operas Johann Adolf Hasse, who described were produced in that city, and recent Keiser as “one of the greatest scholarship has uncovered his liberal musicians the world has ever borrowings from Keiser’s vast oeuvre known,” and Mattheson enthusiastically (one wonders just how much of hailed Keiser as “le premier homme Keiser’s lost music we are actually du monde” – “the foremost man of hearing today). the world.”
THE
Artists
For more biographical information about these artists, visit our website at www.mnopera.org Carlos Archuleta
Cyrus Minnesota Opera Debut Lucia di Lammermoor, 2001 Recently Carmen, New York City Opera Carmen, Tulsa Opera; Madame Butterfly, Boston Lyric Opera Le nozze di Figaro, New Orleans Opera Elisir; Luisa Fernanda; Il trovatore, Washington Opera The Marriage of Figaro; Nixon in China; others, Minn. Opera Upcoming Florencia en el Amazonas, Cincinnati Opera Carmen, Royal Albert Hall (London)
Andrea Coleman Trigesta Minnesota Opera Resident Artist Recently The Italian Girl in Algiers; The Marriage of Figaro; Lakmé; The Tales of Hoffmann, The Minnesota Opera Glimmerglass Opera Young American Artist Così fan tutte; Little Women; Cendrillon; The Turn of the Screw; The Magic Flute, New England Conservatory The Gondoliers, Harvard-Radcliffe G & S Players Magic Flute; Mikado; Pirates of Penzance, Univ. of Kansas Upcoming Rusalka, Minnesota Opera
Dan Dressen
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Elcius Minnesota Opera Debut Hansel and Gretel, 1983 Recently The Grapes of Wrath; The Handmaid’s Tale; La traviata; Street Scene; The Marriage of Figaro; others, Minnesota Opera Schubert Club Art Song Festival Songs of Innocence and Experience; The Passion of Jesus of Nazareth; Intimations of Immortality; The Fourth Wiseman; others, VocalEssence Carmen; The Dream of Valentino, Washington Opera The Company of Heaven, Aldeburgh Festival
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John David Boehr Persian Captain Minnesota Opera Resident Artist Recently A Masked Ball; Romeo and Juliet, Minnesota Opera Trinity, Santa Fe Opera L’Ormindo, Pittsburgh Opera Center Tosca; Don Pasquale; La Cenerentola, Palm Beach Opera Die Zauberflöte; Barnum’s Bird; L’elisir d’amore; Così fan tutte, Baylor Opera Theater Don Giovanni, Tanglewood Music Festival Upcoming Rusalka; Pinocchio; The Barber of Seville, Minnesota Opera
Alan Dornak Halimacus Minnesota Opera Debut Recently Giulio Cesare, Dresden; Metropolitan Opera A Midsummer Night’s Dream, Munich; Regensburg Athalia, Queens Chamber Band Dido and Aeneas, Brandenburg State Theater Semele, Long Beach Opera Arianna in Creta, Gotham Chamber Opera Der Tempel des Janus, Berliner Kammeroper L’Antiope; La Gerusalemme liberata, Dresden Music Festival
Jamie-Rose Guarrine Clerida Minnesota Opera Debut Don Giovanni, 2006 Recently Hotel Casablanca, San Francisco Opera Merola Program The Marriage of Figaro; Lakmé; Elephant Man, Minn. Opera Paul Bunyan; Face on the Barroom Floor, Central City Opera Hansel and Gretel, Opera for the Young Carmen, Madison Opera; Dr. Miracle, Florentine Opera Upcoming Le nozze di Figaro; The Telephone (tour), Santa Fe Opera Così fan tutte, Madison Opera
For more biographical information about these artists, visit our website at www.mnopera.org
Solon Minnesota Opera Resident Artist Recently A Masked Ball; Romeo and Juliet, The Minnesota Opera Orfeo ed Euridice; Orphée, Glimmerglass Opera Aida; Don Giovanni, Opera Fort Collins Die Zauberflöte; Carmen; The Abduction from the Seraglio, La curandera; Bastien und Bastienne, Opera Colorado Faust; L’incoronazione di Poppea, Int’l Inst. of Vocal Arts Madama Butterfly; The Crucible; The Music Man, Chautauqua Opera The Abduction from the Seraglio, Israeli Vocal Institute
Paul Nilon Croesus Minnesota Opera Debut Recently Ariodante, Bayerische Staatsoper Iphigénie en Tauride, Ópera de Oviedo Il ritorno di Ulisse in patria, Netherlands Opera; Welsh National Opera La clemenza di Tito, English National Opera Croesus; L’Orfeo, Opera North (UK) Upcoming L’incoronazione di Dario, Garsington Opera Werther, Opera North (UK)
Christian Reinert Eliates Minnesota Opera Resident Artist Recently A Masked Ball; Romeo and Juliet, The Minnesota Opera The Greater Good; Jenufa, Glimmerglass Opera Madama Butterfly; A Midsummer Night’s Dream; Béatrice et Bénédict; Die Zauberflöte, Manhattan School of Music La bohème, American Opera and Musical Company Roméo et Juliette; La bohème, Italian Institute of Vocal Arts Upcoming Lucia di Lammermoor, Ft. Worth Opera; Otello, Kentucky Opera Carmen, Ash Lawn Fest.; La traviata, Opera Birmingham
Artists
Brian Leerhuber Orsanes Minnesota Opera Debut The Grapes of Wrath, 2007 Recently La bohème, L.A. Opera; Don Pasquale, Houston Grand Opera Appomattox; Die Fledermaus, San Francisco Opera The Grapes of Wrath, Utah Symphony & Opera The Barber of Seville, Santa Fe Opera A Wedding, Lyric Opera of Chicago Upcoming Gianni Schicchi, Los Angeles Opera La bohème, San Francisco Opera
Susanna Phillips Elmira Minnesota Opera Debut Recently Dialogue of the Carmelites, Kentucky Opera La bohème, Madison Opera Die Zauberflöte; Così fan tutte, Santa Fe Opera Iphigénie en Tauride, Lyric Opera of Chicago Roméo et Juliette; Die Fledermaus; Lucia di Lammermoor Composer’s Fest., Stockholm Phil.; Mozart Mass in C, Chicago Symph. Upcoming Le nozze di Figaro, Santa Fe Opera Don Giovanni, Utah Symphony & Opera
Vale Rideout Atis Minnesota Opera Debut Recently Elmer Gantry, Nashville Opera Cendrillon, Central City Opera Die Fledermaus, San Francisco Opera Così fan tutte, Boston Baroque Roméo et Juliette, Opera Tampa Parsifal, Los Angeles Opera Upcoming Die Zauberflöte, Tulsa Opera The Rape of Lucretia; Susannah, Central City Opera
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Christopher Job
THE
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THE
Artists
For more biographical information about these artists, visit our website at www.mnopera.org Tim Albery
Stage Director Minnesota Opera Debut Don Carlos, 2002 Recently Béatrice et Bénédict; The Magic Flute, Santa Fe Opera Rodelinda; Götterdämmerung, Canadian Opera Company Don Giovanni, The Ring Cycle; others, Scottish Opera Croesus; Madame Butterfly, Idomeneo; others, Opera North (UK) War and Peace; Billy Budd; others, English National Opera Midsummer Night’s Dream; Merry Widow, Metropolitan Opera Upcoming War and Peace, Canadian Opera Company
Tim Claydon Choreographer Minnesota Opera Debut Recently The Bartered Bride; Orfeo ed Euridice; Duke Bluebeard’s Castle; Peter Grimes (assistant director); La rondine; The Elixir of Love; Falstaff; The Fortunes of King Croesus (choreographer), Opera North (UK) choreographer/aerialist – The Generating Company; No Fit State; Scabeaus
Harry Bicket Conductor Minnesota Opera Debut La clemenza di Tito, 2002 Recently Platée, Santa Fe Opera; Orlando, Bayerische Staatsoper Giulio Cesare in Egitto, Metropolitan Opera L’incoronazione di Poppea, Los Angeles Opera guest conductor – Chicago Symphony; Royal Stockholm Phil.; Los Angeles Chamber; Royal Liverpool Phil.; Israel Phil.; English Concert; New York Phil.; Age of Enlightenment Upcoming La clemenza di Tito, Metropolitan Opera
Thomas C. Hase Lighting Designer Minnesota Opera Debut Recently The Rise and Fall of the City of Mahagonny, L.A. Opera/PBS Company, Broadway/PBS The Wiz, Stage Holdings (Holland) lighting design – Canadian Opera Company; Dutch Nat’l Opera Finish Nat’l Opera; Opéra de Marseille; Bavarian State Opera; Irish Nat’l Theatre; state theaters in Erfurt, Kassel and Giessen (Germany); New York City Opera; BAM; Seattle Opera; Cincinnati Playhouse; Cincinnati Opera (lighting director)
Leslie Travers
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Set and Costume Designer Minnesota Opera Debut Recently Iolanthe; Gianni Schicchi, Royal Academy of Music Le nozze di Figaro, Graz Opera Les contes d’Hoffmann, Stockholm Hans Heiling, Strasbourg Opera Twelfth Night, Chichester Festival Theatre The Duchess of Malfi, West Yorkshire Playhouse The Persian Revolution, Lyric Hammersmith Upcoming I Capuleti ed i Montecchi, Opera North (UK); Opera Ireland
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2008-2009 Minnesota Opera
GENERAL/CHORUS AUDITIONS Audition dates: April 23, 24, 25 and 26, 2008 Location: The Minnesota Opera Center Auditions are by appointment only and must be scheduled in advance. Please go to www.mnopera.org/about for scheduling information and audition requirements
The Schubert Club
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International Artist Series MARC-ANDRÉ HAMELIN, PIANO Tuesday, October 21, 2008
NIKOLAI LUGANSKY, PIANO AND VADIM REPIN, VIOLIN Tuesday, November 11, 2008
DEBORAH VOIGT, SOPRANO Tuesday, January 6, 2009
BEN HEPPNER, TENOR Wednesday, April 22, 2009
HAN-NA CHANG, CELLO Tuesday, May 19, 2009
Season Subscriptions: $160 • $135 • $110 • $90 All concerts at 8:00 PM Ordway Center Downtown Saint Paul
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Hamelin
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Repin
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Chang
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Chorus
Kelsey Bruso Karen Bushby Lisa Butcher Callie Christiansen Krista Costin Ben Crickenberger Steven Dahlberg Erica Forsberg Peter Frenz Katherine Haugen Roland Hawkins Steve Hennigs
Benjamin Hills Matthew Johnson Brian Jorgensen Evan Kusler Elizabeth Longhurst Eric Mellum Monica Murray Jon Olson David Pierce Joy Scheib Robert Schmidt Cathryn Schmidt
THE SAINT PAUL CHAMBER
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Supernumeraries John Edel Joseph Johnson Ryan Lear Frank Matejcek James Norgard
Orchestra
Violins
Flutes
Steven Copes, concertmaster John M. and Elizabeth W. Musser Chair Ruggero Allifranchini, associate concertmaster John H. and Elizabeth B. Myers Chair Leslie Shank, assistant concertmaster Hulings Chair Elsa Nilsson Brenda Manuel Mickens Dale Barltrop, principal second violin Thomas Kornacker, co-principal second violin Michal Sobieski Daria T. Adams Nina Tso-Ning Fan
Julia Bogorad-Kogan, principal Alicia McQuerrey
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Sandra Schoenecker Staci Stringer Jennifer Sylvester Eryn Tvete
Evelina Chao, assistant principal TamĂĄs Strasser Position Vacant Alice Preves Viola Chair
Cellos Ronald Thomas, prinicipal Bill and Hella Mears Hueg Chair Joshua Koestenbaum, associate principal Ruth and John Huss Chair Sarah Lewis
Basses
Oboes Kathryn Greenbank, principal Sewell Family Chair Thomas Tempel Jeannette Bittar, guest principal oboe
Clarinets Timothy Paradise, principal Philip H. and Katherine Nason Chair
Bassoons Charles Ullery, principal Carole Mason Smith
Horns Bernhard Scully, principal Paul Straka
Trumpets Gary Bordner, principal Lynn Erickson
Keyboard Layton James, principal Redleaf Family Chair
Timpani and Percussion Position Vacant Alexis Orfaly, guest principal timpani
Christopher Brown, principal Fred Bretschger, assistant principal
Extra Musicians Blayne Barnes, Angela Hanson, Giselle Hillyer – violins David Auerbach – viola Thomas Rosenberg, Kirsten Whitson – cellos Daniel Fretland – trumpet Clea Galhano – recorder Phillip Rukavina – theorbo/guitar
The Saint Paul Chamber Orchestra Artistic Staff John Mangum, Vice President for Artistic Planning Mary McColl, Vice President for Operations Kelly MacLennan, Orchestra Personnel Manager Jon Kjarum, Technical Manager James Kortz, Librarian
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| THE FORTUNES OF KING CROESUS
Education AT THE OPERA coOPERAtion! Finding a way to sing. During every school year The Minnesota Opera’s Teaching Artist goes into schools around the state bringing the opera to life for students of all ages through a program called coOPERAtion! Visits can range in topics from leading master classes for high school seniors preparing their college auditions to introducing the art form to a class of students planning on attending their first opera. A very exciting aspect Daniel (second from top) as an to this program is, when Opera Apprentice in Il Signor working with young singers, Bruschino, performed at the Opera Center in 2006 finding exceptional talent ready to experience more of the art form. One such student who has benefited from coOPERAtion! and many of the Opera’s educational opportunities is Daniel Segura. While he was growing up in Brooklyn Center, Minnesota, both Daniel’s mother and father sang, which provided him with much support when he wanted to learn more about singing. “I was in middle school when I got really interested in singing and I knew I wanted to be on stage.” says Daniel. While in high school, he auditioned for AllState choir two times, making it in both times, as well as receiving other honors.
audition for the Summer Opera Camp (see Summer Opera Camp 2008!, below), where he showed his musical leadership. During Daniel’s senior year in high school he was invited to participate in the Opera’s Apprentice Program. Here his skills as a singer and actor grew tremendously to the point that he was ready to be on stage as a professional musician. During the course of the year he performed with The Saint Paul Chamber Orchestra in a family concert and in the chorus of Joseph Merrick, the Elephant Man. Daniel currently attends the University of Minnesota – Twin Cities. He has focused his attention on his two disparate loves – opera and engineering. Even Daniel will admit that “It’s not the most typical double major.” In his first year at the university, Daniel received a William and Nadine McGuire Family Foundation scholarship for promising students. And if being a double major is not enough, he has performed in the chorus of this season’s A Masked Ball and The Italian Girl in Algiers. Daniel would like to thank all the people who have provided opportunities for him to continue his singing and to grow in his love of opera. The Minnesota Opera is also very grateful for the support provided to its education programs, especially to Medtronic for their continued generous support of coOPERAtion!, a program that helps stories like Daniel’s begin. For more information about coOPERAtion! and any of the other programs listed, please check out our website at www.mnopera.org, or call Community Education Director Jamie Andrews at 612-342-9573.
Opening Doors
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Daniel was selected to attend The Minnesota Opera’s Day at the Opera (a “career day” for teen-aged vocalists) and showed so much potential that the opera staff recommended he
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Summer Opera Camp 2008! Join The Minnesota Opera for its one-of-a-kind Summer Camp, a residential experience for vocalists and instrumentalists in grades 9-12. Opera Camp 2008 will be held from June 20-28 at Perpich Center for Arts Education. In small ensembles, opera campers will stage musical scenes, explore the process of learning a new piece of music and perform with a small orchestra. Each day will have sessions in movement, vocal coaching, staging, master classes and more. Participation is by audition only.
SUMMER CAMP 2008 AUDITIONS Vocalists: Saturday, April 5 (9:00am12:00pm) at The Minnesota Opera Center Instrumentalists: submit a CD recording by May 15. For more information or to sign up for an audition, please contact Jamie Andrews at 612-342-9573 or andrews@mnopera.org. Daniel in costume for A Masked Ball
Education AT THE OPERA Rusalka Monday, March 31, 2008, 7:00-9:00pm The Minnesota Opera Center We know some parts of Dvořák so well – the later symphonies and some of the chamber music – but the rest (except for one incredibly famous aria Michael Steinberg in Rusalka), is uncharted territory. Photo by Jorja Fleezanis Join Michael Steinberg as he fills in the Dvořák picture as well as introducing us to Rusalka – both the character and the sources of the composer’s operatic language. Michael Steinberg, musicologist, writer, lecturer, critic, teacher, chamber music coach and narrator, retired from his positions as program annotator of the San Francisco Symphony and the New York Philharmonic at the end of the 1999-2000 season, having previously served the Boston Symphony in the same capacity. He was the San Francisco Symphony’s Artistic Adviser for ten years and later held the same post with the Minnesota Orchestra, where he was also
Artistic Director of Viennese Sommerfest. His writings have been widely published in a variety of periodicals in America, Europe and Australia, and three collections of his program notes have been published in book form by the Oxford University Press: The Symphony: A Listener’s Guide, The Concerto: A Listener’s Guide and Choral Masterworks: A Listener’s Guide. With Larry Rothe, he has published a collection of essays, For the Love of Music. He is a contributor to the New Grove Dictionary of Music. Steinberg has also been active as a teacher and is much in demand by American orchestras for pre-concert lectures. He has received numerous awards and fellowships as well as an honorary doctorate from the New England Conservatory. Steinberg is active as a performer of speaking and Sprechstimme parts, and his repertory includes works of Beethoven, Copland, Haydn, Kernis, Liszt, Picker, Schoenberg, Schumann, Stravinsky, Walton, and in that capacity he has worked with Dennis Russell Davies, Anne Manson, Kurt Masur, Stefan Sanderling, Alexander Schneider, Gunther Schuller, Osmo Vänskä and Edo de Waart.
Call 612-333-6669 or visit www.mnopera.org for more information or to reserve a seat!
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Adult Education Class
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two acts of a serious work and eventually to be developed In Croesus, the music of Elmira, Atis and Croesus most exposes Keiser’s attention to Affekte – of particular note is into opera buffa, a genre in its own right. The revolution sealed the fate of the old German school. the poignancy of Elmira’s Act II aria, “Ihr stummen Fische A new rationalism argued against the artificiality of the seid dem gleich” (“You silent fishes are like him”) where Baroque, and the Gänsemarkt suffered through a decline she longs for the silent and absent Atis, and Croesus’ in its artistic standards and “Solon, weiser Solon, ach!” sluggish support from its (“Wise Solon, ah!”) as he merchant class. The mature faces the gruesome Persian works of Handel, who got his funeral pyre. start with the German-Italian Meanwhile, back in Italy, multilingual Almira in 1705, the Arcadian “revolt” was led the repertoire during the brewing, led by librettists theater’s final two decades as Domenico David and Apostolo Keiser slowly withdrew. The Zeno, and brought to fruition theater finally closed in 1738, by Zeno and Pietro Metastasio after 60 years, 18 impresarios in Vienna (not surprisingly, and 250 new works. Court Croesus-librettist Minato’s old opera, dominated by Italian opera stomping ground). In line with seria, won the day, and the voice the French classicists, they Totes Meer (Dead Sea) by Paul Nash © Tate (London) 2005 of a national German opera would provided a more orderly exposition of be silenced for another 50 years. events by respecting the unities and As one author aptly eulogized, “The Hamburg Opera is maintained the gravity of the opera’s typically sober plot most significant for its demonstration, early in the history of by excising anything farcical. The pastoral (opera’s very roots) became the comic intermezzo, to be played between an emergent German operatic style, that a prime concern
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BACKGROUND NOTES CONTINUED FROM PAGE 25
was for the drawing together of all the theatrical means into a whole that transcended the sum of the parts.3” Tales from Sardis In a blending of myth and reality, the Greek historian Herodotus (484 B.C. – circa 425 B.C.) documented the sixth-century-B.C. struggle between Croesus and Cyrus, and his research provided much of the source for Minato’s libretto (alive during the golden age of Athens, Herodotus was later feted by Pericles, Sophocles, Euripides and others for his thorough reportage and wisdom). According to history, Croesus of Lydia indeed received disappointing news from Solon (another actual individual) that he was not considered the happiest man the Greek philosopher has ever known, even with all of his gold (Lydia’s capital of Sardis, by the way, is renowned for its invention of bimetallic coinage). After three frustrated queries, Solon reports:
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Many men wealthy beyond measure are nevertheless unhappy, and many that have neither poverty nor riches have yet great happiness … he who ends his life well, then I judge him to be the happy man … but till he dies, so long do I hold my judgment, be not happy indeed, but fortunate. It is impossible that any man should comprehend in his life all things good … we must regard the end of all things, how they shall turn out; for the gods give to many men some earnest of contentedness, but yet in the end overthrow them utterly.
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But surely money must buy happiness, and a dissatisfied Croesus endeavors to get the final word from the god Apollo himself, consulting the oracle at Delphi more than once (in some versions of the tale, the fable-spewing Aesop, Croesus’ contemporary, serves as the gobetween). In addition to several supporting predictions, he receives a typically cryptic declaration: “If Croesus makes war against the Persians, he shall bring to the ground a great empire.” Naturally, the king takes this to mean a
1
Gloria Flaherty, Opera in the development of German critical thought. Princeton: Princeton University Press, © 1978.
2
translation by John D. Arnn from Text, Music and Drama in Three Operas by Reinhard Keiser (dissertation, Rutgers University, 1987).
3
John Warrack, German Opera from the beginnings to Wagner. Cambridge: Cambridge University Press, 2001.
| THE FORTUNES OF KING CROESUS
Photo courtesy of Opera North (photographer: Robert Workman)
favorable outcome if he tries to expand his empire. Croesus also has a grudge to settle, for Cyrus of Persia has already conquered Media, the realm of the Lydian king’s brotherin-law Astyages (whose wife and daughter have since taken refuge in the neighboring court). After a bloody battle with the Persian king, Croesus finds himself defeated and about to be burned alive. He cries for Solon and for Apollo’s mercy, which brings an extinguishing flood (a typically spectacular stage effect that must have delighted 17th- and 18th-century opera audiences). In other, earlier tellings, the suddenlyclement Cyrus pardons Croesus, yet a more modern interpretation of history reveals that the Lydian king does, in fact, die by Cyrus’ hand. Enhanced by other subplots in Herodotus’ narrative, the misfotunes of King Croesus truly espouse the overall themes of hubris, vanitas and the everchanging “winds of fate” so common to the world of Greek tragedy.
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THE MINNESOTA OPERA
Annual Fund INDIVIDUAL GIVING
It is with deep appreciation that The Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides the financial foundation which makes the Opera’s artistic excellence possible. For information on making a contribution to The Minnesota Opera, please call Annual Fund Director Dawn Loven at 612-342-9567, or email her at dloven@mnopera.org.
Bel Canto Circle Platinum $20,000 and above Anonymous Mary and Gus Blanchard Ellie and Tom Crosby, Jr. Julia W. Dayton Sara and Jock Donaldson Dolly J. Fiterman John and Ruth Huss Heinz and Sisi Hutter Lucy Rosenberry Jones Patricia Lund Mr. and Mrs. George Mairs Dwight D. Opperman
Elizabeth Redleaf Stephanie Simon and Craig Bentdahl Mary W. Vaughan Fund of The Minneapolis Foundation C. Angus and Margaret Wurtele
Gold $15,000–$19,999 Karen Bachman Nicky B. Carpenter Darlene J. and Richard P. Carroll N. Bud and Beverly Grossman Foundation Mr. and Mrs. Philip Isaacson
The Art and Martha Kaemmer Fund of HRK Foundation Bernt von Ohlen and Thomas Nichol
Silver $10,000–$14,999 Anonymous (4) Susan Boren Daniel and Christine Buss Jane M. and Ogden W. Confer Mary Dearing and Barry Lazarus Cy and Paula Decosse Fund of The Minneapolis Foundation Sharon and Bill Hawkins
Warren and Patricia Kelly Peter J. King Mr. and Mrs. B. John Lindahl, Jr. Thomas and Barbara McBurney Harvey T. McLain Mrs. Walter Meyers Diana and Joe Murphy Bruce and Sandy Nelson Rebecca Rand Karen Sternal
Camerata Circle Platinum $7,500–$9,999 Anonymous Shari and David Boehnen Rusty and Burt Cohen David Hanson and William Biermaier Rachelle Dockman Chase Vicki and Chip Emery Jenny Lind Nilsson and Garrison Keillor Nelson Family Foundation Timothy and Gayle Ober Connie and Lew Remele Virginia L. and Edward C. Stringer
Gold $5,000–$7,499
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Anonymous (2) Eric and Tracy Aanenson James Andrus Martha Goldberg Aronson and Daniel Aronson Martha and Bruce Atwater Jeff Bakken and Linda Shaw Nancy and Chuck Berg Kathleen and William Callahan Cleveland Foundation Dr. James E. and Gisela Corbett Susan and Richard Crockett David and Vanessa Dayton Mary Lee Dayton The Denny Fund of The Minneapolis Foundation Doerr Family Fund Connie Fladeland and Steve Fox
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Anonymous (2) Kim A. Anderson Lowell Anderson and Kathy Welte
Satoru and Sheila Asato Alexandra O. Bjorklund Dr. Lee Borah Jr. Margee and Will Bracken Christopher J. Burns Elwood F. and Florence A. Caldwell Dr. Stephen and Beth Cragle Thomas and Mary Lou Detwiler Mona Bergman Dewane and Patrick Dewane Sally J. Economon Susan Engel and Arthur Eisenberg Rolf and Nancy Engh Rondi Erickson and Sandy Lewis Leslie and Alain Frecon Patricia R. Freeburg Christine and Jon Galloway Christine and W. Michael Garner Mr. and Mrs. R. James Gesell Larry and Lois Gibson Mrs. Myrtle Grette Frank Guzzetta Karen and John Himle Dorothy J. Horns, M.D., and James P. Richardson Dr. and Mrs. Arthur Horowitz Ken and Tina Hughes Jay and Cynthia Ihlenfeld Dale A. Johnson Jacqueline Nolte Jones Robert and Susan Josselson Stan and Jeanne Kagin Paul and Sarah Karon
Michael F. and Gretchen G. Kelly and the Kelly Family Foundation Lyndel and Blaine King Helen L. Kuehn Constance and Daniel Kunin David MacMillan and Judy Krow Debra and James Lakin Robert L. Lee and Mary E. Schaffner Lynn Levinson Helen and Benjamin Liu Ms. Becky Malkerson Mary Bigelow McMillan Elizabeth Musser Trust – Fir Tree Fund Richard and Nancy Nicholson Dr. and Mrs. Ahmad Orandi Julie and Brian Palmer Marge and Dwight Peterson Mr. and Mrs. William Phillips Mary and Paul Reyelts Lois and John Rogers Ken and Nina Rothchild Kay Savik and Joe Tashjian Frank and Lynda Sharbrough Stanislaw and Krystyna Skrowaczewski Julie and Bruce Steiner Greg Swinehart and Mitra Walter Michael Symeonides and Mary Pierce Tanrydoon Fund of The Saint Paul Foundation William Voedisch and Laurie Carlson Ellen Wells Nancy and Ted Weyerhaeuser
Jeff and Barb Couture Mrs. Thomas M. Crosby, Sr. Bill and Kate Cullen Jeff and Wendy Wenger Dankey Fran Davis Ruth and Bruce Dayton Judson Dayton Margaret Diblasio Joe Dowling and Siobahn Cleary Joan Duddingston Joyce and Hugh Edmondson Ann Fankhanel Ester and John Fesler Rihab and Roger FitzGerald Tom and Lori Foley Mr. and Mrs. John Forsythe Salvatore Silvestri Franco
William and Bonita Frels Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Bradley A. Fuller and Elizabeth Lincoln Howard and Heidi Gilbert Dr. Stanley M. and Luella G. Goldberg Amy R. and Philip S. Goldman Foundation Michael and Elizabeth Gorman Bill and Jeanne Grandy Jean and Bruce Grussing James and Sharon Hale Rosalie Heffelfinger Hall Fund of The Minneapolis Foundation Don Helgeson John and Rosemarie Helling
Sharon and Cliff Hill Diane Hoey John and Jean McGough Holten Andrew and Margaret Houlton Bill and Hella Mears Hueg Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Mr. and Mrs. Horace H. Irvine II Teresa and Chuck Jakeway James Jelinek and Marilyn Wall Mrs. Owen Jenkins Bryce and Paula Johnson Markle Karlen E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Steve and Jolie Klapmeier Hugh Klein and Judy Lebedoff
Denver and Nicole Gilliand Meg and Wayne Gisslen Alfred and Ingrid Lenz Harrison Erwin and Miriam Kelen Ilo and Peggy Leppik Lynne Looney Mr. and Mrs. Donald Lucker Ted and Roberta Mann Foundation Albin and Susan Nelson Debra J. Paterson William and Barbara Pearce Jose Peris and Diana Gulden Jodi D. Peterson Mary Ingebrand Pohlad Stephanie Prem and Tom Owens Redleaf Family Foundation Joseph Sammartino Mark Schwarzmann Fred and Gloria Sewell Drs. Joseph and Kristina Shaffer Bonnie and Peter Sipkins Kevin and Lynn Smith The Staryk Family Foundation Mitchell and Kendall Stover Mr. and Mrs. James Swartz Catie Tobin and Brian Nass Charles Allen Ward Fund of The Saint Paul Foundation
Silver $2,500–$4,999
Artist Circle $1,000–$2,499 Anonymous (4) Paula Anderson and Sheila Bray August J. Aquila and Emily Haliziw Nina and John Archabal Mr. and Mrs. Edmund P. Babcock Ruth and Dale Bachman Dr. Thomas and Ann Bagnoli James Baldwin and Mary Atmore Kent and Maria Bales Dr. Ford and Amy Bell Sue A. Bennett Donna Block Mrs. Paul G. Boening Judith and Arnold Brier Conley Brooks Family Joan and George Carlson
THE MINNESOTA OPERA
Annual Fund
INDIVIDUAL GIVING
Artist Circle (continued) Mr. and Mrs. William Kling Gerard Knight Mrs. James S. Kochiras The Hackensack Fund of the Saint Paul Foundation Robert Kriel and Linda Krach Mark and Elaine Landergan Sy and Ginny Levy Family Fund of The Minneapolis Foundation Jerry and Joyce Lillquist Bill Long Dawn M. Loven Mahley Family Foundation Margery Martin Roy and Dorothy Ann Mayeske
Charles and Helen McCrossan Sheila McNally James and Judith Mellinger William Messerli Joseph Micallef David and LaVonne Middleton Anne W. Miller Charles and Victoria Mogilevsky Sandy and Bob Morris Elizabeth B. Myers Joan and Richard Newmark Dan and Pat Panshin Allegra W. Parker Paula Patineau William and Suzanne Payne
Robert and Mary Price Jim and Connie Pries Kevin and Sara Ramach Barbara Redmond Frances and George Reid John and Sandra Roe Thomas D. and Nancy J. Rohde Gordon and Margaret Rosine Mr. and Mrs. Steven Rothschild Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Sampson Family Charitable Foundation Patty and Barney Saunders Jim Scarpetta Dr. and Mrs. Richard J. Schindler
Jeff and Helene Slocum Keith and Catherine Stevenson Don and Leslie Stiles Robert and Barbara Struyk James and Susan Sullivan Lois and Lance Thorkelson Patricia Tilton Emily Anne and Gedney Tuttle Mr. and Mrs. Philip Von Blon James and Sharon Weinel
David and Irma Brink Thomas and Joyce Bruckner Emilie and Henry Buchwald Caulkins Family Foundation Bruce and Ann Christensen Arnold Chu Joann Cierniak Wanda and David Cline Bobby and Elliot Cohen J.P. Collins Elisabeth Comeaux Burt and Jeanne Corwin Normal Danielson Amos and Sue Deinard Mr. Steven A. Diede Keith and Linda Donaldson Mr. Carl B. Drake Jr. Brad and Diane England Herbert and Betty Fantle Catherine C. Finch Richard Fishel Kris and Kristina Fredrick Jane Fuller David Gilberstadt Robert Goodell and Renee Brown Paul and Margot Grangaard Deanne and John Greco Marjorie and Joseph Grinnell Bruce and Jean Grussing Susanne Haas and Ross Formell Fred and Alice Hahn
Roger L. Hale and Nor Hall Ruth E. Hanold Frederick J. Hey, Jr. Gregory Hoehn Andrew Holey and Gary Whitford Liesl and Todd Hyde Diane and Paul Jacobson Janet N. Jones Dr. and Mrs. Charles R. Jorgensen Jane and Jim Kaufman Fund of The Minneapolis Foundation Mary H. Keithahn Charlie and Sally Lannin John Warren Lassila and Dr. John Heefner Alice Lesney Jonathan and Lisa Lewis Rebecca Lindholm Ruth Lyons Joan E. Madden John Magdsick Donald and Rhoda Mains Becky Malkerson Tom and Marsha Mann Velia R. Melrose Lowell and Sonja Noteboom Dennis R. Olson Derrill M. Pankow James A. Payne Marcos and Barbara Pinto Carroll and Barbara Rasch
Dan and Kari Rasmus Lawrence M. Redmond Christine Roberts and Ric Larson William and Sue Roberts Anne Salisbury David E. Sander Janet and Bill Schaeder Mahlon and Karen Schneider Marcia and Stephen Schultz Bill and Althea Sell Clifford C. and Virginia G. Sorensen Charitable Trust of the St. Paul Foundation Matthew Spanjers Daniel J. Spiegel Colin Stevenson Warren Stortroen Roxanne Stouffer and Joseph Cruz Anthony Thein Dr. Andrew J. and Mrs. Carolyn P. Thomas Cindy Vilks Will and Li Volk David M. and Mary Ann Barrows Wark Barbara and Carl White Barbara and James Willis Clark J. and Sharon L. Winslow Lani Willis and Joel Spoonheim Sharon Winslow
Patron Circle Gold $750–$999 Dr. Hannelore Brucker Cheryl Kreofsky and Michael Fitzgerald Thomas Hunt and John Wheelihan Orpha McDiarmid Family Fund Mr. John Murphy Bradley Nuss Ann M. Rock James and Andrea Rubenstein The Harriet and Edson Spencer Foundation Dana and Stephen Strand Stephanie C. Van D’Elden Frank and Frances Wilkinson
Silver $500–$749 Anonymous (2) Quentin and Mary Anderson Jaime Andrews and Jane Kolp-Andrews Genevive Antonello Dr. and Mrs. Orn Arnar Mrs. Gordon J. Bailey James and Gail Bakkom Donald and Naren Bauer Mrs. Harvey O. Beek Barbara S. Belk Brian Benjamin Gerald and Phyllis Benson Steven and Mindy Benton Fred and Carolyn Bogott Jan and Ellen Breyer
These lists are current as of January 15, 2008, and include donors who gave gifts of $500 or more to The Minnesota Opera Fund since July 1, 2007. If your name is not listed appropriately, please accept our apologies, and call Morgan Walsh, Individual Gifts Manager, at 612-342-9569.
Learn more about the benefits of being a donor. • Donor Appreciation Concert / Donor Dress Rehearsal • Invitations to special events • Complementary parking • Opera News Magazine • And much more Please contact Morgan Walsh, Individual Gifts Manager, at 612-342-9569 or mwalsh@mnopera.org for information on donor levels and benefits.
Thank you so much for your support – you make great opera possible!
| THE FORTUNES OF KING CROESUS
The Minnesota Opera greatly appreciates our generous donors! We offer the following benefits to our contributors:
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THE MINNESOTA OPERA
Annual Fund INDIVIDUAL GIVING
The Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If you have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity.
Estate AND Planned Gifts Anonymous (2) Valerie and Paul Ackerman Mary A. Andres Mr. and Mrs. Rolf Andreassen Karen Bachman Mark and Pat Bauer Barbara and Sandy Bemis (†) Darlene J. and Richard P. Carroll Judy and Kenneth (†) Dayton Mrs. George Doty Rudolph Driscoll (†) Sally Economon Ester and John Fesler
Paul Froeschl Robert and Ellen Green Ieva Grundmanis (†) Norton M. Hintz Jean McGough Holten Charles Hudgins Dale and Pat Johnson Robert and Susan Josselson Mrs. Markle Karlen (†) Steve Keller Patty and Warren Kelly Mary Keithahn Margaret Kilroe Trust (†)
Blaine and Lyndel King Gretchen Klein (†) Bill and Sally Kling Gisela Knoblauch (†) Mr. and Mrs. James Krezowski Robert Kriel and Linda Krach Robert Lawser, Jr. Jean Lemberg (†) Gerald and Joyce Lillquist Mary Bigelow McMillan Margaret L. and Walter S. (†) Meyers Susan Molder (†) Edith Mueller (†)
Scott Pakudiatis Sydney and William Phillips Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Andrew H. Stewart, Jr. Barbara and Robert Struyk James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick (†) Deceased
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For more information on possible gift arrangements, please contact Annual Fund Director Dawn Loven at 612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you.
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THE MINNESOTA OPERA
Annual Fund
INSTITUTIONAL GIVING For information on making a corporate or foundation contribution to The Minnesota Opera, please contact Grants Manager Elisabeth Comeaux at 612-342-9566, or email her at bcomeaux@mnopera.org.
The Minnesota Opera gratefully acknowledges its major institutional supporters: $100,000+
$25,000–$49,999
$50,000–$99,999
$10,000–$24,999
Minnesota Opera Sponsors Season Sponsor
Conductor Appearances
Intermission Receptions
Promotional Support
FAF Advisors and U.S. Bank
SpencerStuart
Piper Jaffray
Minnesota Monthly
Production Sponsors
Camerata Dinners
Meet the Artists Official Caterer
Resident Artist Program
A Masked Ball, FAF Advisors and U.S. Bank The Italian Girl in Algiers, Target Romeo and Juliet, Ameriprise Financial The Fortunes of King Croesus, National Endowment for the Arts
Lowry Hill Private Asset Management
Wildside Caterers
Wenger Foundation
Gala Sponsors
Opera Insights
Medtronic Target U.S. Bank
Thrivent Financial for Lutherans Foundation
YPG Opera Nights Out Official Venue Matty B’s Supper Club
Production Innovation System
Broadcast Partner
General Mills
Minnesota Public Radio
Mayo Clinic Onan Family Foundation Pentair Foundation Carl and Eloise Pohlad Foundation Robins, Kaplan, Miller & Ciresi Rahr Foundation Schwegman, Lundberg, Woessner & Kluth, PA SUPERVALU Foundation on behalf of SUPERVALU Inc. and Cub Foods Xcel Energy Foundation
Bronze $1,000-$2,499
Sponsors $25,000+ 3M Ameriprise Financial The Bush Foundation City of Saint Paul’s Cultural STAR Program FAF Advisors General Mills Foundation The MAHADH Fund of HRK Foundation The McKnight Foundation The Medtronic Foundation Minnesota State Arts Board National Endowment for the Arts Target The Travelers Company, Inc. U.S. Bancorp Foundation U.S. Bank, Private Client Group Wells Fargo Foundation Minnesota
Ecolab Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation Lowry Hill Private Wealth Management MTS Corporation OPERA America’s Opera Fund Piper Ja∂ray Private Banking and Investment Group at Merrill Lynch RBC Dain Rauscher Foundation SpencerStuart Thrivent Financial for Lutherans Foundation Twin Cities Opera Guild U. S. Trust Bank of America Private Wealth Management Valspar Foundation Wenger Foundation
Platinum $10,000-$24,999
Gold $5,000-$9,999
Allianz Life Insurance of North America Fred C. and Katherine B. Andersen Foundation Cargill Foundation Deloitte Deluxe Corporation Foundation Dorsey & Whitney Foundation
ADC Telecommunications Bemis Company Foundation Boss Foundation Caldrea Company Cleveland Foundation Education Minnesota Foundation Faegre & Benson R. C. Lilly Foundation
The ADS Group Elmer L. and Eleanor J. Andersen Foundation Arts & Custom Publishing Co., Inc. Bailey Nurseries, Inc. Burdick-Craddick Family Foundation Hammel, Green and Abrahamson, Inc. Hardenbergh Foundation The Hays Companies Hogan & Hartson Leonard, Street & Deinard Silver $2,500-$4,999 Mains’l Services Inc. Dellwood Foundation Maslon, Edelman, Borman & Brand Mary Livingston Griggs and Mary McVay Foundation Griggs Burke Foundation Lawrence M. O’Shaughnessy Hutter Family Foundation Charitable Annuity Trust in honor Alice M. O’Brien Foundation of Lawrence M. O’Shaughnessy The Elizabeth C. Quinlan Foundation Peregrine Capital Management Margaret Rivers Fund The Regis Foundation M&I Bank Rathmann Family Foundation Parsinen, Kaplan, Rosberg & Gotlieb PA The Southways Foundation Peravid Foundation Wells Fargo Insurance Services PricewaterhouseCoopers, LLP The Wood-Rill Foundation Securian Foundation Sewell Family Foundation Sit Investment Foundation Tennant Foundation
| THE FORTUNES OF KING CROESUS
Corporations, Foundations and Government
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