Overture: Minnesota Opera's 2017-2018 Season Guide by Minnesota Opera

OV E R T U R E M I N N E S O TA O P E R A 2 0 1 7 – 2 0 1 8 S E A S O N G U I D E

WELCOME TO THE 2017–2018 SEASON Our upcoming season is shaping up to be a truly satisfying lineup full of hilarious comedies, searing dramas, and new takes on timeless classics. We hope you enjoy watching these stories as much as we love preparing them. Opera entertains, moves, and enlightens. It helps us to empathize—to recognize our common humanity, and bridge differences with those around us. Now—more than ever—we need opportunities for people to come together. The opera house provides a space where we can practice empathy, connect with each other, and experience the power of the human voice. In honor of our 55th anniversary, Minnesota Opera’s upcoming season includes three concert events. The first is our 55th Anniversary Celebration, which offers a free sneak preview of our upcoming season. Second, we are delighted to co-present The Sphinx Virtuosi, a chamber orchestra comprised of the nation’s top Black and Latino classical string soloists. Finally, we are presenting an event at the Concert Hall at the Ordway celebrating the 20th anniversary of Minnesota Opera’s esteemed Resident Artist Program this spring.

It’s inspiring for the Minnesota Opera staff to partner with so many devoted subscribers, donors, and volunteers, including the generous and deeply committed Minnesota Opera Board of Directors. I’m especially thankful for the vision and leadership of our board chair, Margaret Wurtele. Thank you again for signing on to join us for this particularly special season of music and celebration. On behalf of the hundreds of people who work to bring world-class opera and opera education programs to Minnesota, we couldn’t be more grateful for your continued support. See you at the opera,

Ryan Taylor President and General Director

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Cover Photo: The Marriage of Figaro, 2016 © Dana Sohm for Lyric Opera of Kansas City

Along with our mainstage 55th anniversary season comes a new visual identity for Minnesota Opera that better reflects our mission, vision, and values. Finally, we are excited to add a sixth fully staged production taking place at The Cowles Center in Minneapolis in June 2018. We’re excited to present this new look and new artistic programming of Fellow Travelers to the community.

TABLE OF CONTENTS 4

A New Identity

Past Repertoire

Don Pasquale

The Marriage of Figaro

Dead Man Walking

20 Rigoletto 24 Thaïs 28

Fellow Travelers

Education Programs

Odyssey

2017–2018 Resident Artists

Subscriber Benefits

Reach Beyond Your Seat

Deepen Your Connection

Prepare for Your Visit

Dinner Before the Show

39 55th Anniversary Events

Season Sponsor

La bohème, 2017 © Dan Norman

Diana's Garden, 2017 © Dan Norman.

OPERA THAT ELEVATES.

A NEW IDENTITY T E L L I N G STO R IE S. TA K IN G R ISKS. Trailblazing, stirring, and unforgettable, Minnesota Opera’s world-class productions tell transporting stories that capture the attention of the national stage. We are devoted to forging the future of opera. We sing this vision through every note, bringing to life innovative, inspiring experiences of sound and wonder for audiences, artists, and the larger community. Since our founding, we set out to do what we do today: break conventions and set new standards. This drives us to sing pioneering new works, and beloved, enduring classics alike. Our dearly held values of inclusion and diversity fuel us as we advance new initiatives in education and community engagement. We’ve created a new identity that captures our unrelenting passion for innovation in opera. Letterforms move and rotate to continually reimagine the word “opera”. As these elements come together to create our new look, they will continue to support our commitment to advancing the opera art form—now and every season yet to come.

A F L E XI B L E LO GO The new MN Opera logo is built on a system of flexibility. The rotation of key letters within the logo shows that MN Opera presents opera in unexpected ways. A number of different logo orientations have been designed to work within this system, ranging from simple to complex.

SOUND MADE VI SUAL 1000 Hz

2000 Hz

4000 Hz

3000 Hz

5000 Hz

In addition to a new logo, a palette of accent figures creates visual interest to compliment MN Opera’s new look. Each figure is based on the actual vibration pattern of a surface resonating at a specific frequency. As the frequency increases, the patterns become more complex. These symbols, known as Chladni figures, are a natural expression of sound made visual.

OVERTUR E 2017–2018 SEASON 5

PAST REPERTOIRE

La bohème (Puccini) Little Women (Adamo) Don Carlos (Verdi) 2000–2001 Turandot (Puccini) The Capulets and the Montagues (Bellini) Street Scene (Weill) The Barber of Seville (Rossini) Pagliacci/Carmina burana (Leoncavallo/Orff) ▲ The Barber of Seville (Rossini) § The Birds, the Beasts, and the Ball Game (Alcorn) 1999–2000 Der Rosenkavalier (Strauss) Macbeth (Verdi) Semiramide (Rossini) The Marriage of Figaro (Mozart) ▲ The Marriage of Figaro (Mozart) § The Cat That Walked By Himself (Alcorn)

The Good Soldier Schweik, 1966

2016–2017 Romeo and Juliet (Gounod) Das Rheingold (Wagner) Diana’s Garden (Martín y Soler) § Dinner at Eight (Bolcom) La bohème (Puccini) 2015–2016 Ariadne auf Naxos (Strauss) The Magic Flute (Mozart) Rusalka (Dvořák) Tosca (Puccini) § The Shining (Moravec) 2014–2015 La faniculla del West (Puccini) Hansel and Gretel (Humperdinck) The Elixir of Love (Donizetti) § The Manchurian Candidate (Puts) Carmen (Bizet) 2013–2014 Manon Lescaut (Puccini) Arabella (Strauss) Macbeth (Verdi) The Dream of Valentino (Argento) The Magic Flute (Mozart) 2012–2013 Nabucco (Verdi) Anna Bolena (Donizetti) § Doubt (Cuomo) Hamlet (Thomas) Turandot (Puccini) 2011–2012 Così fan tutte (Mozart) § Silent Night (Puts) Werther (Massenet) Lucia di Lammermoor (Donizetti) Madame Butterfly (Puccini)

Roberto Devereux (Donizetti) La bohème (Puccini) Salome (Strauss) 2008–2009 Il trovatore (Verdi) The Abduction from the Seraglio (Mozart) Faust (Gounod) *The Adventures of Pinocchio (Dove) The Barber of Seville (Rossini) 2007–2008 A Masked Ball (Verdi) The Italian Girl in Algiers (Rossini) Romeo and Juliet (Gounod) *The Fortunes of King Croesus (Keiser) Rusalka (Dvořák) 2006–2007 La donna del lago (Rossini) The Tales of Hoffmann (Offenbach) § The Grapes of Wrath (Gordon) Lakmé (Delibes) The Marriage of Figaro (Mozart) 2005–2006 Tosca (Puccini) Don Giovanni (Mozart) *Orazi & Curiazi (Mercadante) *Joseph Merrick, the Elephant Man (Petitgirard) 2004–2005 Madame Butterfly (Puccini) Maria Padilla (Donizetti) Carmen (Bizet) Nixon in China (Adams) 2003–2004 Rigoletto (Verdi) Lucrezia Borgia (Donizetti) Passion (Sondheim) The Magic Flute (Mozart)

1998–1999 Otello (Verdi) Madame Butterfly (Puccini) The Turn of the Screw (Britten) Faust (Gounod) ▲ Madame Butterfly (Puccini) § How the Camel Got His Hump (Alcorn) 1997–1998 Aida (Verdi) Cinderella (Rossini) *Transatlantic (Antheil) Tosca (Puccini) ▲ Cinderella (Rossini) 1996–1997 La traviata (Verdi) The Magic Flute (Mozart) The Rake’s Progress (Stravinsky) Carmen (Bizet) ▲ Carmen (Bizet) 1995–1996 La bohème (Puccini) Don Giovanni (Mozart) Pelléas and Mélisande (Debussy) The Tales of Hoffmann (Offenbach) ▲ The Bohemians (Puccini) 1994–1995 Turandot (Puccini) The Barber of Seville (Rossini) Rigoletto (Verdi) § Bok Choy Variations (Chen & Simonson) ▲ Figaro’s Revenge (Rossini, Paisiello) 1993–1994 Julius Caesar (Handel) *Diary of an African American (Peterson) Il trovatore (Verdi) § The Merry Widow & The Hollywood Tycoon (Lehár) ▲ Don Giovanni (Mozart) 1992–1993 The Flying Dutchman (Wagner) Armida (Rossini) Madame Butterfly (Puccini) The Pirates of Penzance (Gilbert & Sullivan)

2010–2011 Orpheus and Eurydice (Gluck) Cinderella (Rossini) Mary Stuart (Donizetti) La traviata (Verdi) Wuthering Heights (Herrmann)

2002–2003 The Merry Widow (Lehár) Norma (Bellini) The Flying Dutchman (Wagner) La traviata (Verdi) *The Handmaid’s Tale (Ruders)

1991–1992 Tosca (Puccini) The Pearl Fishers (Bizet) The Marriage of Figaro (Mozart) § From the Towers of the Moon (Moran & La Chiusa) ▲ The Magic Flute (Mozart) Carousel (Rodgers & Hammerstein)

2009–2010 The Pearl Fishers (Bizet) Casanova’s Homecoming (Argento)

2001–2002 Lucia di Lammermoor (Donizetti) La clemenza di Tito (Mozart)

1990–1991 Norma (Bellini) The Aspern Papers (Argento)

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Carmen (Bizet) Così fan tutte (Mozart) ▲ Così fan tutte (Mozart) ▲ Swing on a Star (Winkler) 1989–1990 La bohème (Puccini) A Midsummer Night’s Dream (Britten) Romeo and Juliet (Gounod) § Frankenstein, The Modern Prometheus (Libby Larson) My Fair Lady (Lerner & Loewe) § Snow Leopard (Harper & Nieboer) ▲ Madame Butterfly (Puccini) Where the Wild Things Are (Sendak & Knussen) 1988–1989 Don Giovanni (Mozart) Salome (R. Strauss) The Mikado (Gilbert & Sullivan) The Juniper Tree (Glass & Moran) Show Boat (Kern & Hammerstein) § •Without Colors (Wellman & Shiflett) § •Red Tide (Selig & Sherman) § •Newest Little Opera in the World (Ensemble) ▲ Cinderella (Rossini) ▲ Tintypes (Kyte, Marvin, Pearle) 1987–1988 Die Fledermaus (J. Strauss) Rigoletto (Verdi) Rusalka (Dvorak) •Cowboy Lips (Greene & Madsen) § • Fly Away All (Hutchinson & Shank) •Book of Days (Monk) Oklahoma! (Rodgers & Hammerstein) ▲ Carmen (Bizet) ▲ Jargonauts, Ahoy! (McKeel) 1986–1987 The Pearl Fishers (Bizet) The Postman Always Rings Twice (Paulus) Ariadne auf Naxos (R. Strauss) South Pacific (Rodgers & Hammerstein) ▲ Hansel and Gretel (Humperdinck) § ▲ Jargonauts, Ahoy! (McKeel) 1985–1986 *Where the Wild Things Are/Higglety Pigglety Pop! (Knussen & Sendak) La traviata (Verdi) The Elixir of Love (Donizetti) The King and I (Rodgers & Hammerstein) § Opera Tomorrow ▲ The Fantasticks (Schmidt) ▲ The Magic Flute (Mozart) § ▲ The Music Shop (Wargo) 1984–1985 *Animalen (Werle) § Casanova’s Homecoming (Argento) The Magic Flute (Mozart) ▲ La bohème (Puccini) ▲ Meanwhile, Back at Cinderella’s (Arlan) 1983–1984 Hansel and Gretel (Humperdinck) Madame Butterfly (Puccini) La Cenerentola (Rossini) § The Abduction of Figaro (PDQ Bach) ▲ The Boor (Argento) ▲ Chanticleer (Barab) ▲ Don Pasquale (Donizetti) 1982–1983 Hansel and Gretel (Humperdinck) Lucia di Lammermoor (Donizetti) § A Death in the Family (Mayer) Kiss Me, Kate (Porter) ▲ The Barber of Seville (Rossini) ▲ The Frog Who Became a Prince (Barnes) ▲ Zetabet (Barnes)

1981–1982 Hansel and Gretel (Humperdinck) The Village Singer (Paulus) Gianni Schicchi (Puccini) The Barber of Seville (Rossini) § Feathertop (Barnes) § The Mask of Evil (Mollicone) ▲ Hansel and Gretel (Humperdinck) ▲ Rosina (Titus) 1980–1981 The Merry Widow (Lehar) Black River (Susa) Carmen (Bizet) A Water Bird Talk (Argento) § Miss Havisham’s Wedding Night (Argento) ▲ The Marriage of Figaro (Mozart) ▲ The Threepenny Opera (Weill) 1979–1980 The Abduction from the Seraglio (Mozart) The Pirates of Penzance (Gilbert & Sullivan) La bohème (Puccini) § Rosina (Titus) ▲ A Christmas Carol (Sandow) 1978–1979 The Love for Three Oranges (Prokofiev) § The Jealous Cellist (Stokes) The Passion According to St. Matthew (J.S. Bach) La traviata (Verdi) The Consul (Menotti) ▲ Viva la Mamma (Donizetti) 1977–1978 *Christopher Columbus (Offenbach) The Mother of Us All (Thomson) The Marriage of Figaro (Mozart) § Claudia Legare (Ward) 1976–1977 The Bartered Bride (Smetana) The Passion According to St. Matthew (J.S. Bach) Candide (Bernstein) Mahagonny (Weill) 1975–1976 § Black River (Susa) El Capitan (Sousa) Così fan tutte (Mozart) § The Voyage of Edgar Allan Poe (Argento) 1974–1975 § Gallimaufry (Minnesota Opera) § Gulliver (Blackwood, Kaplan, Lewin) ♠ Eight Songs for A Mad King (Davies) ♠ Music from the Court of George III The Magic Flute (Mozart) Albert Herring (Britten) 1973–1974 El Capitan (Sousa) Transformations (Susa) Don Giovanni (Mozart) § The Newest Opera in the World (Minnesota Opera) 1972–1973 The Threepenny Opera (Weill) Postcard from Morocco (Argento) The Barber of Seville (Rossini) § Transformations (Susa) AS CENTER OPERA COMPANY 1971–1972 § Postcard from Morocco (Argento) The Business of Good Government (Marshall) ♠ The Rake’s Progress (Stravisnky) ♠ Four Saints in Three Acts (Thomson) The Good Soldier Schweik (Kurka) The Marriage of Figaro (Mozart)

▲ Postcard from Morocco (Argento) ▲ Faust Counter Faust (Gessner) 1970–1971 ♠ Sir John with Love (Vaughn–Williams) § Christmas Mummeries & Good Government (Marshall) § Faust Counter Faust (Gessner) The Coronation of Poppea (Monteverdi) The Mother of Us All (Thomson) 1969–1970 § Oedipus and the Sphinx (Marshall) *Punch and Judy (Birtwistle) *17 Days and 4 Minutes (Egk) §The Wanderer (Paul & Martha Boesing) 1968–1969 Così fan tutte (Mozart) § Horspfal (Stokes) The Wise Woman and the King (Orff) ♠ Bluebeard’s Castle (Bartok) ♠ L’heure espanole (Ravel) 1967–1968

♠ The Magic Flute (Mozart) The Man in the Moon (Haydn) A Midsummer Night’s Dream (Britten) 1966–1967 § Opera Without Elephants The Mother of Us All (Thomson) To Hellas –The Sorrows of Orpheus (Milhaud) –The Harpies (Blitzstein) –Socrates (Satrie) Three Minute Operas (Milhaud/Hoppenot) –The Rape of Europa –The Abandonment of Ariadne –The Liberation of Theseus ♠ The Gondoliers (Sullivan) 1965–1966 The Abduction from the Seraglio (Mozart) The Good Soldier Schweik (Kurka) 1964–1965 The Rape of Lucretia (Britten) The Wise Woman and the King (Orff) 1963–1964 § The Masque of Angels (Argento) The Masque of Venus and Adonis (Blow) Albert Herring (Britten)

Legend § World Premiere/Commission * American Premiere ▲ Tour production/Education Tour ♠ Concert Version/Semi-Staged • New Music-Theater Ensemble Production

G A E TA N O D O N I Z E T T I

Saturday, October 7, 2017 at 8pm* Tuesday, October 10, 2017 at 7:30pm* Thursday, October 12, 2017 at 7:30pm Saturday, October 14, 2017 at 7:30pm Sunday, October 15, 2017 at 2pm Sung in Italian with English translations projected above the stage. Preliminary runtime of 2 hours and 33 minutes, including one intermission. To learn more about Don Pasquale, visit mnopera.org/don-pasquale. * Tempo Performance

Cast

DON PASQUALE Craig Colclough

CONDUCTOR Jonathan Brandani**

NORINA Susannah Biller

STAGE DIRECTOR Chuck Hudson

ERNESTO David Walton**

SCENIC DESIGNER Peter Nolle

DR. MALATESTA Andrew Wilkowske**

COSTUME DESIGNER Kathleen Trott

NOTARY Wm. Clay Thompson*

LIGHTING DESIGNER Thomas C. Hase

MAX THE MANSERVANT Ian Christiansen

PROJECTIONS DESIGNER Doug Provost HAIR AND MAKEUP DESIGNER David Zimmerman

* Minnesota Opera Resident Artist ** Minnesota Opera Resident Artist Alum

Craig Colclough

Susannah Biller

David Walton

Andrew Wilkowske

OVERTUR E 2017–2018 SEASON 9

SYNOPSIS AC T I Scene 1 - Don Pasquale’s mansion Don Pasquale is an old film star from the silent movie era as famous as the great Norma Desmond. He lives in an old mansion on Sunset Boulevard that is as devoid of color as his old black-and-white films. His ward and nephew, Ernesto, has refused an arranged marriage, proclaiming his love for Norina, a popular Hollywood starlet. Don Pasquale, outraged, decides to disinherit the boy and beget his own heirs. To do this he needs a wife, and he has called on a family friend, Dr. Malatesta, to help him find one. Malatesta, siding with Ernesto and Norina, crafts a plan to teach the headstrong Pasquale a lesson. He glowingly describes to him his beautiful and completely imaginary sister and tells him that the girl is in love with him. Before long, the old bachelor is convinced he loves the girl and expresses his desire to marry her with technicolor enthusiasm. Furthermore, he is prepared to cut Ernesto out of his will. Unaware that Dr. Malatesta has a plot afoot, Ernesto grows bitter at the apparent betrayal by his good friend, Malatesta. Scene 2 - A Hollywood Soundstage Shooting a scene for her next Hollywood movie, Norina’s screen persona boasts about knowing all the tricks to win a man’s love. Malatesta arrives and reveals to Norina his plans for fooling Don Pasquale: Norina is to enact the role of Malatesta’s sister, wed the old bachelor in a fake ceremony and then drive him so crazy with her 10 OV ERT U R E 2 01 7– 2 018 S EAS O N

whims and demands that he will be eager to find a way out of the unpleasant staged marriage. Malatesta hires local stagehands to help out, but there is no time to tell Ernesto.

AC T I I Scene 1 - Don Pasquale’s mansion Realizing that he will never be able to marry Norina without his inheritance, Ernesto laments his situation as passionately as any of his uncle’s silent films. When he leaves, Malatesta arrives with Don Pasquale’s “bride” and introduces her to Pasquale who is outlandishly dressed in an old costume worthy of Rudolph Valentino. Without further delay, a ceremony takes place, during

I know a thousand ways love can fraud; the charms and arts are easy to fool the heart.

Exquisitely gowned, Norina brazenly leaves the house to attend a late-night concert, and as part of the plan, she drops a letter where Don Pasquale will find it. It is a love letter from Ernesto, inviting her to a rendezvous in the garden of the Hollywood Bowl. Don Pasquale realizes that he cannot endure the situation any longer. Furious, he calls Malatesta, who promises to fix everything. Scene 2 - The garden of the Hollywood Bowl Disguised as a Hollywood crooner, Ernesto sings a love song to Norina, who responds fervently for Don Pasquale’s eavesdropping ears. Don Pasquale springs upon the conspirators, who then happily reveal their plot. Immensely relieved to discover that his marriage has been like scenes from a popular Hollywood comedy, Don Pasquale forgives everyone involved and happily gives Norina to Ernesto. Synopsis courtesy of Chuck Hudson.

which Ernesto returns and is forced to witness the contract. Then he is finally told what is afoot. As soon as the mock ceremony ends, Norina turns into a fiery shrew who torments Don Pasquale with her nasty short temper and extravagant ways.

AC T I I I Scene 1 - Don Pasquale’s mansion Having turned Don Pasquale’s mansion into a kind of Hearst Castle, Norina invites the elite of the Hollywood film world to cavort at Don Pasquale’s expense.

Don Pasquale, 2014 © Ed Flores for Arizona Opera

NORINA IN DON PASQUALE D ON I Z ET T I ' S VE R SIO N O F “ I’M EVERY WOMAN” By Chuck Hudson

One of the trickiest things about the opera Don Pasquale is that there is only one female character, Norina. When we meet her, we are not introduced to a girl but to a woman; one we have heard about before meeting her and one who is specifically different from most soprano ingénue roles. She is not an ingénue at all. In fact, early in the show she is described as a young widow. She is neither innocent of the ways of men nor innocent of the ways of the world—she is a woman of some experience. In her introductory aria we spy Norina revisiting the Fairy Tale Romance that she and all young girls are taught to believe in, and she knows from experiencing life that this is not what real love is. Perhaps she was married off to a rich old man who died, but now, we know she does not have a lot of money. Perhaps it was an arranged marriage that was more economic than personal. In our own Post-Romantic world where even Disney Princesses have more chutzpah than their Barbie Doll predecessors, we the audience meet an intelligent and educated young woman who has

Don Pasquale, 2014 © Ed Flores for Arizona Opera

experienced life, and yet is not so jaded by that experience that she no longer believes in love. Norina really is in love with Ernesto. Similar to the relationship between Rosina and Figaro in Rossini’s Il barbiere di Siviglia, the instructive baritones of both operas never tell their respective sopranos what to do. Instead, they actually value and support the cleverness and intelligence of their protégées. Dr. Malatesta is quite Socratic in his instruction, leading his favorite pupil to discover her own solutions to problems by thinking them out logically. In the Age of Reason, that was a man’s role. He even trusts Norina to be a Creative Problem Solver— to improvise her own text and actions disguised as the sassy Sofronia, who is more of a shrew than even Shakespeare’s creature. If Norina is the Only Woman, she is therefore Every Woman. We at least have the servant-class Berta in barbiere to compare with the upper-class Rosina. Donizetti only gives us the occasional female chorister with no name for comparison with Norina. On her own and from the first scene Norina must embody every woman you have met. In the 1980s many women believed they must act “bitchy” to appear strong and to survive working in a man’s world. But if the real Norina is in any way shrewish, then she is not in disguise as the shrew Sofronia, and what does that say about all women? No, Norina is written as a three dimensional character; a woman who possesses flaws as well as talents. We may not even agree with some of her choices, especially when she resorts to physical violence. Restoring

Chuck Hudson

our faith in a woman who has just slapped an old man to the ground is challenging enough; restoring the comedy from that dark situation is a pivotal moment in the show. Perhaps Norina goes too far, and she must recognize this, too. Or what does that say about every woman? What would justify an intelligent young woman to slap a frustrated old man to the ground, and for us to remain on her side? For that matter, what would bring an educated man like Malatesta to cheat his friend out of money and to set up his young protégée to gain from it? Is he ONLY Machiavellian or is there something more to him, too? Over my several productions of the opera I have created two SECRETS in my direction—one for Malatesta and one for Norina. No one but the artists singing those roles knows what those secrets are—and perhaps a handful of singers who have taken my Advance Acting master classes! Watching closely, perhaps you can figure them out!

OVERTUR E 2017–2018 SEASON 1 1

WOLFGANG AMADEUS MOZART

Saturday, November 11, 2017 at 7:30pm* Sunday, November 12, 2017 at 2pm Tuesday, November 14, 2017 at 7:30pm* Thursday, November 16, 2017 at 7:30pm Friday, November 17, 2017 at 7:30pm Saturday, November 18, 2017 at 7:30pm Sunday, November 19, 2017 at 2pm* Sung in Italian with English translations projected above the stage. Preliminary runtime of 3 hours and 30 minutes, including one intermission. To learn more about The Marriage of Figaro, visit mnopera.org/figaro. * Tempo Performance

FIGARO Richard Ollarsaba** + Donovan Singletary ++

CONDUCTOR Michael Christie STAGE DIRECTOR Stephen Lawless

SUSANNA Angela Mortellaro** + Jeni Houser** ++

SCENIC AND COSTUME DESIGNER Leslie Travers

COUNT ALMAVIVA Jacques Imbrailo + Christian Thurston* ++

CHOREOGRAPHER Eric Sean Fogel

COUNTESS ALMAVIVA Johanni van Oostrum+ Mary Evelyn Hangley*++

LIGHTING DESIGNER Thomas C. Hase

CHERUBINO Adriana Zabala**

HAIR AND MAKEUP DESIGNER David Zimmerman

DOCTOR BARTOLO Matt Boehler** MARCELLINA Nadia Fayad* DON BASILIO/DON CURZIO Andres Acosta* BARBARINA Christina Christensen ANTONIO Wm. Clay Thompson*

* Minnesota Opera Resident Artist ** Minnesota Opera Resident Artist Alum + Appearing Nov. 11, 14, 16, 18, and 19 ++ Appearing Nov. 12 and 17

Richard Ollarsaba

Angela Mortellaro

Jacques Imbrailo

Johanni van Oostrum

Adriana Zabala

Donovan Singletary

Jeni Houser

Christian Thurston

Mary Evelyn Hangley

Matt Boehler

OVERTUR E 2017–2018 SEASON 1 3

SYNOPSIS AC T I An unfinished room Figaro is measuring the floor, while Susanna puts the finishing touches on her bridal attire. They are to be married that very day, and the Count is giving them a bed and a new room to share. Figaro observes the room’s strategic location to both the Count and Countess’ apartments, but Susanna is apprehensive—the Count made it clear his romantic intentions toward her. Figaro angrily plans to teach the Count a lesson. Elsewhere, Marcellina enlists the help of Dr. Bartolo. She intends to frustrate the wedding day by executing a contract made between her and Figaro—he has failed to repay a debt, and therefore must marry her. Bartolo heartily agrees to the plan, for he has his own score to settle. Marcellina encounters Susanna, and they exchange courteously veiled sniping remarks. Marcellina exits in a fury, and in comes the page boy, Cherubino. He is about to be dismissed. No more will he behold his true love, the Countess. About to leave the room he eyes the Count approaching and hides behind an armchair. The Count immediately begins to press his advances on Susanna. The music master, Don Basilio, is seen nearby, and the Count hides. Cherubino conceals himself as well. Entering the room, Basilio begins to make innuendoes about Cherubino, implicating Susanna and even the Countess. This draws the Count out of hiding. He angrily orders the page be found at once. Susanna and Figaro make a request—Cherubino must be pardoned for his amorous indiscretions so he may join the wedding festivities. But the Count 14 OV E RT U R E 2 01 7– 2 018 S EAS O N

does more than that, offering the young man a position in his regiment. Figaro bids a comic farewell.

Count leaves to get some tools and takes the Countess with him, locking all the doors so no one can escape.

AC T I I

Susanna takes Cherubino’s place, and the page jumps out the window. The Count and Countess return—she is uneasy, but when Susanna emerges instead of Cherubino, both are dumbfounded. Figaro arrives presently. Antonio the gardener comes in, fussing over flowers damaged by a falling man. The three conspirators allude to the old man’s habitual drunkenness, and Figaro admits it was he who jumped to escape the Count’s wrath. Antonio produces a document dropped by the escapee. The Countess whispers to Susanna—it is the page’s military commission— and Susanna in turn whispers to Figaro. Figaro suddenly remembers and adds that he was bringing it to the Count because it lacked the official seal. Marcellina, Bartolo, and Basilio arrive and make their case— Figaro is obligated to marry Marcellina if he can’t pay off the debt.

A bedroom In her boudoir, the Countess laments the loss of her husband’s affection. Susanna confesses the Count’s illicit proposition. Figaro hopes to confuse the situation by inflaming the Count’s jealousy— he has sent an anonymous letter informing him of a future assignation between the Countess and an unnamed lover. At the same time, Susanna is to

I speak of love awake; I speak of love in my dreams. To the water, the shadows, the mountains; to the flowers, the grass, the fountains.

let the Count know she is willing to submit to his wishes. But when the Count arrives, he will find in her place Cherubino. Figaro departs, and Cherubino arrives moments later. As a parting gesture, Susanna instructs him to sing a song he wrote in honor of the Countess. As they prepare Cherubino’s female disguise, Susanna leaves for a moment, and a knock is heard. It is the Count, and the mortified Cherubino scurries into the Countess’ wardrobe. Once allowed entry, the Count is immediately suspicious—the door was locked, and he heard voices. He shows his wife the letter, but the confrontation is interrupted by a loud noise coming from the closet. The Countess says it’s Susanna in a state of undress. The

ACT I I I A state room prepared for a wedding feast The Count eyes Susanna and the Countess discussing details of their covert plan. She is willing to meet the Count in the garden as he desires. She encounters Figaro as she leaves the room and whispers that there is no longer need for a lawyer. The Count overhears this remark and is enraged. Barbarina, Susanna's cousin, masks Cherubino to conceal his supposed departure. Alone, the Countess rues the humiliation she suffers as the result of her unfaithful husband.

Antonio informs the Count of Cherubino’s sighting on the premises. The Countess dictates a letter to Susanna confirming the meeting with the Count and seals the note with a pin. It is agreed they will exchange cloaks so the Countess, disguised as Susanna, can catch her husband redhanded. Antonio arrives and exposes the page’s deception to the Count. Barbarina intercedes as the Count is about to release his wrath—he once promised to do anything she asked in exchange for her kisses. She begs for permission to marry Cherubino. Figaro invites all to dance as the event begins, and Susanna slips the letter into the Count’s hand.

AC T I V The garden Barbarina searches for the lost pin she was entrusted to return to Susanna as confirmation of the rendezvous. Figaro pretends to play along—privately he discloses his despair over what he believes to be Susanna’s infidelity. Susanna and the Countess wait in the darkness. Marcellina has clued them in, and knowing Figaro can hear her voice, Susanna sings of her happy anticipation of a lovers’ tryst. Cherubino happens upon the Countess, and thinking it is Susanna, makes his approach. The Count arrives, and the game of mistaken identities ensues. Figaro and Susanna are eventually reconciled, and the Count, who has had a chance to woo “Susanna” (the Countess), is discovered when he threatens to expose the unknown man (Figaro) he believes is seducing “the Countess” (Susanna). Synopsis courtesy of David Sander.

MEET THE ARTIST R ICHARD OLLARSABA ( FI GARO) Where were you born and raised? I was born and raised in Tempe, Arizona. If you weren’t a singer, what profession would you be in? If I weren't a singer, I would most likely go into something still involving the arts. That being said, when I was a kid I was so obsessed with animals and dinosaurs my mom was convinced I would be a zoologist or archaeologist. What was the first opera you were ever in? It was Le rossignol by Stravinsky. I played the Bonze. At the time it Richard Ollarsaba was the hardest role I ever learned. It was literally only three lines—perspective is everything! What is your favorite opera? My favorite opera has to be Robert Ward’s The Crucible. It’s obscure, I know. I had the pleasure of performing Reverend John Hale in a production. I’ve been in love with the story ever since I was in middle school. In my opinion, it’s really an under-appreciated gem of an opera. What would people be surprised to know about you? My entrance into the arts wasn’t through music, but through dance. My aunt, a dancer and dance teacher, encouraged it. What is your favorite musical instrument to play? I studied violin from the age of 8 until I was 18. It’s been a long time since I’ve picked it up, but it sure was a lot of fun to play. What do you like to binge-watch? I’ve always been a huge cartoon fanatic and my current obsession is Steven Universe. What four people (living or deceased) would you like to invite for a dinner party? Abraham Lincoln, Edith Piaf, Igor Stravinsky, and Dr. Seuss. Why should everyone see The Marriage of Figaro? The opera is timeless, not only because of the political or social aspects of the story, but because it is a story that is universal. Love and how we express love as humans are often very confusing and convoluted, which is something with which we can all identify. What is your favorite wedding dance song? “Everlasting Love” as performed by Carl Carlton. Bonus: What is one question you wish someone would ask you (and the answer)? A question no one would ever ask: When decorating the house for the holidays, what does your family traditionally listen to? Answer: Mariachi music.

OVERTUR E 2017–2018 SEASON 1 5

JAKE HEGGIE

A N E W W O R K S I N I T I AT I V E P R O D U C T I O N Music by Jake Heggie Libretto by Terrence McNally Based on the book by Sister Helen Prejean This Opera was commissioned by the San Francisco Opera

DIVINE INTERVENTION Saturday, January 27, 2018 at 7:30pm* Sunday, January 28, 2018 at 2pm Tuesday, January 30, 2018 at 7:30pm* Thursday, February 1, 2018 at 7:30pm Saturday, February 3, 2018 at 8pm Dead Man Walking contains nudity, violence, and strong language. Sung in English with English captions projected above the stage. Preliminary runtime of 2 hours and 43 minutes, including one intermission. To learn more about Dead Man Walking, visit mnopera.org/dead-man-walking. * Tempo Performance

CAST

CREATIVE TEAM

SISTER HELEN PREJEAN Catherine Martin

CONDUCTOR Michael Christie

JOSEPH DE ROCHER Seth Carico

STAGE DIRECTOR Joel Ivany

MRS. PATRICK DE ROCHER Denyce Graves

SCENIC AND PROJECTIONS DESIGNER Erhard Rom

SISTER ROSE Karen Slack GEORGE BENTON Benjamin Sieverding** FATHER GRENVILLE Dennis Petersen OWEN HART Andrew Wilkowske**

COSTUME DESIGNER Sheila White LIGHTING DESIGNER JAX Messenger HAIR AND MAKEUP DESIGNER David Zimmerman

KITTY HART Mary Evelyn Hangley* HOWARD BOUCHER Robb Asklof JADE BOUCHER Victoria Vargas** * Minnesota Opera Resident Artist ** Minnesota Opera Resident Artist Alum

Catherine Martin

Seth Carico

Denyce Graves

Karen Slack

OVERTUR E 2017–2018 SEASON 1 7

SYNOPSIS

mother to the Pardon Board hearing and Helen agrees.

Prologue: Two teenagers are brutally murdered by Joseph and Anthony de Rocher.

In a courtroom setting, the frightened Mrs. de Rocher does her best to plead for her son’s life: she is a small woman in the face of enormous hostility. During her testimony, Owen Hart, the father of the murdered teenage girl, explodes with anger and recounts the grisly details of his daughter’s murder. In anguish, Joseph’s mother responds that another killing cannot undo what has been done.

AC T I

In a poor New Orleans school, Sister Helen and Sister Rose teach a hymn to a group of children. Helen is distracted as she thinks about her plan to visit Angola State Penitentiary where her new pen pal, a death row inmate named Joseph de Rocher, has asked her to visit. Against Rose’s advice, Helen makes the long drive to Angola and ponders the momentous step she is taking. A motor cop stops her for speeding, but lets her off with a warning, asking her to pray for his sick mother. As she resumes her journey, she prays for guidance. When she arrives, Helen is greeted by the prison chaplain, Father Grenville. On the way to his office, they see inmates engaged in a rough game of basketball. Helen and Grenville then have a tense meeting in which the chaplain angrily warns her that she is wasting her time, and that Joseph is beyond anyone’s help. The prison warden arrives and tells her that Joseph is likely to ask her to become his spiritual advisor to help prepare him for his execution. As she walks to the death row section of the prison, Helen is taunted by the inmates. Joseph and Helen have an awkward first meeting. Hiding his fear with bravado, he tests her tolerance by recalling the pleasures he has known with women. Helen calls his bluff and Joseph admits his fear. He requests that she be his spiritual advisor and both acknowledge they “can’t do it alone.” Joseph asks her to accompany his 18 OV E RT U R E 2 01 7– 2 018 S EAS O N

After the hearing, Joseph’s family and the murder victims’ families wait for a verdict outside the courtroom. Helen introduces

We walk together, by and by. herself to the parents and they express their grief at never seeing their children again. News arrives that the appeal has been turned down: Joseph will be executed. Back in the visiting room, Helen tells Joseph that an appeal has been made to the governor. Angered by his selfishness, she urges him to acknowledge his guilt and seek forgiveness, but he sees no hope and blames his brother for the murders. The warden appears suddenly and insists that she leave. Helen has had no time to eat and becomes faint from hunger, stress, and exhaustion. As she looks for change at a vending machine, a jumble of conflicting voices clutter her mind. The warden tells her that the governor has turned down the appeal: “Joseph de Rocher is a dead man.” The voices in her head grow louder and Helen faints.

ACT I I

Joseph is counting pushups when the warden comes to tell him that his execution date has been set: August 4, midnight. Alone, Joseph voices feelings about his impending death, Sister Helen, and his murder victims. Helen awakens from a nightmare about Joseph and the murdered teenagers. Rose comforts her and helps her admit that she still has to find the strength to forgive Joseph herself, just as mothers forgive their children’s failings. On the night of Joseph’s execution, Helen tells him about seeing Elvis Presley in person when she was a girl. Somehow, their shared love of Elvis opens a door between them and they are able to laugh as friends. She once more urges Joseph to admit his guilt and find forgiveness. The warden announces that Joseph’s family has come to see him for the last time. Joseph has a tearful farewell with his mother and two younger brothers. Joseph begs his mother to forgive him, but she says she believes what he has always told her: that he is innocent and there is nothing to forgive. Mrs. de Rocher seeks comfort in her recollections of Joseph’s innocent childhood. When Joseph is led away, his mother falls apart, consoled by Helen with assurances that there is good in her son and that God’s love is not denied him. Left alone, Helen panics for a moment as she contemplates the harrowing task she faces that night. The parents of the murder victims have arrived to witness the execution. They upbraid Helen for siding with the murderer, rejecting her words of consolation. Only Owen Hart voices doubts about the value of the execution.

Helen offers him friendship and promises to visit him. After the guards prepare Joseph for execution, Helen is alone with him one last time. In the few moments remaining, Helen begs him to tell the truth. She reveals that she has visited the crime scene and asks him to relive that night. Reluctantly, Joseph tells her the whole story and, breaking down in sobs, admits his guilt. Helen assures him of forgiveness: not only hers, but God’s as well. She tells him she will be the face of love for him when he dies. The warden calls out, “Dead man walking.” As he escorts Joseph to the execution chamber, Father Grenville intones the Lord’s Prayer, echoed by the voices of inmates, nuns, guards, and parents. Helen remains close to Joseph, reading to him from the Bible. She is allowed this one time to touch him, and she puts her hand reassuringly on his back. When they reach the chamber, she is barred from going any further. Joseph and Helen exchange an emotional good bye. She reminds him to look for her as she takes her place with the others in the viewing room. After being strapped to the execution table, Joseph asks the parents’ forgiveness. In silence, with only his heartbeat audible, the lethal injection is administered. In his final moment, Joseph says to Sister Helen: “I love you.” After his death, the witnesses leave and Helen is alone with Joseph. One last time, she sings her comforting hymn: “He will gather us around.”

Dead Man Walking, 2017 © Erhard Rom for Vancouver Opera

FROM MEMOIR TO MELODY DEAD MAN WALKI NG I N 2017 By Jake Heggie

It was June of 1997 when playwright and librettist Terrence McNally first suggested Dean Man Walking as the subject of our first opera. I can still sense the electric shiver of intense recognition that opera was exactly the right art form to bring this story to the stage. The emotional language is immense, so it makes sense for the characters to sing. It is American, yet universal. It is timely, yet timeless. It is an intimate story with the stakes high at every turn and, thanks to the great film by Tim Robbins (starring Susan Sarandon and Sean Penn), it has the feeling of being part of our American DNA. It also felt like exactly the right story for me as a composer. With the blessing and enthusiastic support of the amazing Sister Helen Prejean, we set to work. She gave us permission to explore and tell her story as we saw fit, knowing it would need to be adapted for the stage. Her single request was that it remain a story of redemption. Dead Man Walking was a highly controversial project at a time when the premiere of a new American opera was rare. San Francisco Opera’s General Director, Lotfi Mansouri, made sure we had everything we needed to produce the work at the highest level possible. The cast included Susan Graham as Sister Helen, John Packard as Joseph DeRocher, and Frederica von Stade as his mother. The conductor was Patrick Summers, the director was Joe Mantello, with sets by Michael Yeargan. Opening night was October 7, 2000. The run sold out and two additional performances were added. Reviews were all over the place, but nobody was ambivalent; everyone had a strong opinion. The opera did what we had hoped: it moved and surprised people, and brought them into a dialogue about something they had perhaps only considered in the abstract.

Synopsis courtesy of Jake Heggie.

Since that first production in San Francisco, the opera has traveled around the globe, with nearly 300 performances on five continents. Recently, Dead Man Walking had its 50th international production at the Kennedy Center in Washington, D.C. The journey continues and the dialogue intensifies as the difficult central question of the story is posed again: are we for vengeance or forgiveness? OVERTUR E 2017–2018 SEASON 1 9

GIUSEPPE VERDI

Saturday, March 17, 2018 at 7:30pm* Thursday, March 22, 2018 at 7:30pm Saturday, March 24, 2018 at 7:30pm Sunday, March 25, 2018 at 2pm Tuesday, March 27, 2018 at 7:30pm* Thursday, March 29, 2018 at 7:30pm* Saturday, March 31, 2018 at 7:30pm* Sung in Italian with English translations projected above the stage. Preliminary runtime of 2 hours and 53 minutes, including two intermissions. To learn more about Rigoletto, visit mnopera.org/rigoletto. * Tempo Performance

RIGOLETTO Olafur Sigurdarson

CONDUCTOR Michael Christie

DUKE OF MANTUA Joshua Dennis

STAGE DIRECTOR Austin Regan

GILDA Marie-Eve Munger

SCENIC DESIGNER Julia Noulin-Merat

SPARAFUCILE Matt Boehler**

COSTUME DESIGNER Valérie Thérèse Bart

MADDALENA Nadia Fayad*

LIGHTING DESIGNER Paul Whitaker

MARULLO Christian Thurston*

HAIR AND MAKEUP DESIGNER David Zimmerman

MATTEO BORSA Andres Acosta* COUNT CEPRANO Wm. Clay Thompson* COUNTESS CEPRANO Mary Evelyn Hangley* GIOVANNA Victoria Vargas** PAGE Christina Christensen USHER Alex Ritchie

* Minnesota Opera Resident Artist ** Minnesota Opera Resident Artist Alum

Olafur Sigurdarson

Joshua Dennis

Marie-Eve Munger

Matt Boehler

OVERTUR E 2017–2018 SEASON 2 1

SYNOPSIS AC T I Scene 1 A party is in progress at the ducal palace. The Duke privately discloses to Borsa his infatuation with a young girl he observed at a local church. In the same breath he professes his desire for the Countess Ceprano, and Borsa gently chides him for his wayward manner toward women. The Duke hardly denies the charge—he simply can’t help himself when surrounded by so many pretty faces. From across the room, the court jester Rigoletto mocks Count Ceprano as the Duke makes an advance on his wife. Tired of Rigoletto’s acid tongue, the courtiers decide to teach him a lesson. Marullo has discovered the jester is keeping a mistress whom they decide to abduct and give to the Duke for his pleasure. Count Monterone storms in and accuses the Duke of seducing his young daughter. Again, Rigoletto mocks the grieving father; in return he receives a curse—a curse the jester takes very seriously. Scene 2 On his way home, Rigoletto encounters Sparafucile, a Burgundian whom he soon learns is also a hired assassin. He offers his services, and though Rigoletto declines for the moment, he begins to consider revenge as payment for his lot in life. Once at home, Rigoletto revels in his one secret joy, his daughter Gilda. To protect her virtue, he demands she remain at home, only to go out for church. Though very dutiful, Gilda does not disclose she has recently 2 2 OV E RT U R E 2 01 7– 2 018 S EAS O N

met a handsome young man, and as soon as Rigoletto leaves she encounters her paramour (really the Duke disguised as a poor student) in the garden. They profess their love and “Gualtier” departs. Fearing something is amiss, Rigoletto returns, only to find Marullo in the street. The courtier quickly covers his tracks—a plan is underfoot to abduct the Countess Ceprano, who lives nearby, and present

Fairest daughter of love, I am a slave to your charms . . .

her to the Duke. Rigoletto is only too happy to partake in a joke on the hated Count and agrees to steady the ladder. Marullo not only masks the jester to match the other bandits, but covers his eyes and ears so that he is unable to discover they are really at the window of his own home. Rigoletto realizes he has been duped only after the courtiers have managed to spirit his daughter away.

AC T I I

Back at the palace, the Duke is distressed, for he witnessed the abduction of his lover and promises vengeance. He is only too delighted when his courtiers return with Gilda, whom he quickly ushers into his private apartments. Rigoletto arrives presently, feigning to take the joke in good stride while fervently looking for Gilda. The noblemen are surprised to learn she is his daughter, but still refuse to help. In desperation, Rigoletto

unleashes his anger, then tries to elicit their sympathy, but to no avail. Gilda soon emerges from the room disheveled, and runs to her father’s arms. As Rigoletto consoles his daughter, Monterone is led to his execution, and the jester promises to avenge both of their daughters’ disgrace.

ACT I I I

On the edge of town, Rigoletto and Gilda lie in wait. Gilda still professes her love for the Duke, so Rigoletto plans to show her exactly what kind of man he really is. They observe the Duke entering Sparafucile’s tavern for an amorous rendezvous with the assassin’s seductive sister, Maddalena, and Gilda’s heart is broken. Rigoletto instructs his daughter to go to Verona (disguised as a man for safety), where he will join her the next day. He then makes the final arrangements with Sparafucile for the Duke’s murder. Maddalena has grown fond of her charge and strikes a deal with her brother—the next person who knocks on their door will be killed and his body substituted for the Duke’s. Gilda, who has returned, overhears the plan, and overwrought with grief, knocks on the door and is stabbed. Sparafucile stuffs her body into a sack and gives it to Rigoletto upon his return at the appointed hour. As Rigoletto drags the bag to the river for disposal, he learns the Duke has not died, and to his horror, discovers he has been carrying his mortally wounded daughter. Synopsis courtesy of David Sander.

BACKGROUND NOTES R IG OL ET TO By David Sander

Rigoletto marks a crucial moment in Verdi’s development as a composer. Already beginning to blur the lines between aria and recitative, the composer wrote his opera with very few traditional stops, folding one musical number into the next and making the scene the defining unit. This is most artfully displayed during the opening party in which he unveils five dances in quick succession and seamlessly transitions in and out of the Duke’s first aria “Questa o quella.” Also strikingly novel is Rigoletto’s soliloquy “Pari siamo” in the scene that follows. With no fewer than six tempo changes, the composer spins Rigoletto’s dark thoughts over arioso, a blend of action-moving recitative and reflective aria. The opera is played out in a series of duets—for Rigoletto and Sparafucile, the Duke and Gilda, and with one per act for father and daughter. But Verdi saves some of his best ensembles for Act III—a magnificent quartet for the Duke, Maddalena, Gilda, and Rigoletto and an extraordinary trio for Sparafucile, Maddalena, and Gilda above a storm created by brilliant orchestra effects and an offstage humming chorus. Rigoletto is an opera about characterizations, rather than show-stopping moments, and persistent

fatalism that causes every move to be a step in the wrong direction. Rigoletto goes one too far with the courtiers, which leads to his own emotional destruction and the ruin of his small family. Believing it to be the only safe space, he allows his daughter to go to church, but it is there she meets the worst person possible for her virtue—the Duke. Sparafucile observes the Duke following Gilda home, and also believing her to be Rigoletto’s mistress, offers to eliminate the jester’s rival, effectively bringing the assassin into the mix. Disobeying her oath to protect Gilda, Giovanna allows the Duke access and herself to be bribed. Rigoletto heartily agrees to partake in the abduction of his daughter only because he believes it to be Ceprano’s wife. A frightened Gilda escapes the courtiers by rushing to the Duke for protection, only to be raped. And Rigoletto, believing he can end Gilda’s loyalty to the Duke by showing her his debauchery, ends up sealing her fate as Gilda’s undying love becomes her sacrifice. The opera is based upon Victor Hugo's play, A Fool's Revenge. Ironically in Paris, where the play had once been banned, the opera proved enormously popular after its French-language premiere in 1863 at the Théâtre Lyrique Impériale. Exiled from France, Hugo was peeved by the eclipse of his play, which had not achieved its second performance. Yet, by the time he had heard the opera years later, he was clearly impressed, tartly noting, “If I could make four characters speak at the same time and have the audience understand the words and emotions, I could achieve the same effect.”

Preliminary costume sketches of the characters from Rigoletto drawn in pencil, courtesy of costume designer Valérie Thérèse Bar.

OVERTUR E 2017–2018 SEASON 2 3

Saturday, May 12, 2018 at 7:30pm* Tuesday, May 15, 2018 at 7:30pm* Thursday, May 17, 2018 at 7:30pm Saturday, May 19, 2018 at 7:30pm Sunday, May 20, 2018 at 2pm Sung in French with English translations projected above the stage. Preliminary runtime of 3 hours, including two intermissions. To learn more about Thaïs, visit mnopera.org/thais. * Tempo Performance

THAÏS Kelly Kaduce

CONDUCTOR Christopher Franklin

ATHANAËL Lucas Meachem

STAGE DIRECTOR Andrea Cigni

NICIAS John Robert Lindsay**

SCENIC AND COSTUME DESIGNER Lorenzo Cutùli

PALEMON Wm. Clay Thompson*

LIGHTING DESIGNER Marcus Dilliard

ALBINE Nadia Fayad*

HAIR AND MAKEUP DESIGNER David Zimmerman

CROBYLE Michelle Liebl MYRTALE Nadia Fayad* LA CHARMEUSE Jeni Houser** SERVANT Christian Thurston*

* Minnesota Opera Resident Artist ** Minnesota Opera Resident Artist Alum

Kelly Kaduce

Lucas Meachem

John Robert Lindsay

OVERTUR E 2017–201 8 SEASON 2 5

SY NOPSIS AC T I

Scene 1 - The Thebaid, on the banks of the Nile Cenobite monks enjoy a modest evening meal outside their huts. Palémon, their leader, says a brief prayer, and all notice the return of Athanaël. He is considered especially devout, due to the frequency of his dreams. He soon arrives, distracted by the woman he admired in his youth, the actress Thaïs. He had nearly succumbed to the temptation to visit her brothel before turning to God. Palémon warns of mixing with the outside world. Convinced that she requires rescue, he vows to return to Alexandria to save her soul. Scene 2 - The terrace of Nicias’ house in Alexandria Athanaël approaches the home of his old friend Nicias. The monk detests the state into which the pagan city has fallen—in his boyhood, it fared much better. Nicias rushes on to the terrace, and Athanaël proclaims his intention to bring Thaïs back to the civilized world. The lecherous Nicias reveals that Thaïs will be dining at his home that very evening. He lends his friend jewelry and a sumptuous robe to cover his bland, hermetic rags so that he can make a better impression on Thaïs. Groups of actors, actresses, and philosophers arrive. Thaïs espies Athanaël, who, Nicias ironically remarks, is there to convert her to his holy doctrine. She cajoles the cleric—she only believes in passion and no other power. Noticing the fire in his eyes, she believes he might be willing to forget his vows. After all, men were made for love. Shocked by her blasphemy, Athanaël threatens to follow her to her palace intent on bringing her back to spiritual health and redemption. 2 6 OV E RT U R E 2 01 7– 2 018 S EAS O N

AC T I I

Scene 1 - The house of Thaïs Gazing into a mirror, Thaïs admires her great beauty, but worries that she will eventually grow old. She concludes her soliloquy with a fleeting affirmation of her youth. Athanaël arrives as anticipated and again makes his case—she must choose piety over lasciviousness. He loves her in the spirit and truth only faith can bring, not in the lustful ways she already understands. Athanaël leaves, promising to wait outside until sunrise. Thaïs ponders her destiny—tomorrow she will only be a stage name. She meditates on her prospects until dawn breaks. Scene 2 - In front of Thaïs’ house The next morning, Thaïs confesses the emptiness of her current way of life and resolves

Tell me that I am fair, and that I shall be fair forever!

to follow Athanaël to a remote hermitage. The first step is to destroy what is impure—setting fire to her sumptuous palace. Nicias appears on the terrace with his guests, who have reveled through the night. He has won at the gaming tables and is able to engage Thaïs’ services once again. Nicias offers further entertainment, and after the dancers perform, La Charmeuse sings to the accompaniment of her lyre. Athanaël interrupts the merriment, announcing that Thaïs has left their sinful company. She soon appears, disheveled and wearing a woolen tunic. The guests are aghast and beg her to stay, but then see flames licking out of the palace windows. The

riotous mob threatens to kill Athanaël, but Nicias distracts them by throwing gold pieces to the ground, allowing Athanaël and Thaïs to escape unharmed.

ACT I I I

Scene 1 - The oasis As they approach the convent nestled in the desert, Thaïs falters from fatigue, her feet bleeding from the long journey. Athanaël finds food and shelter, and they rest. Mère Albine and Les filles blanches bring black bread and comfort. Confident he has achieved his purpose and not wanting to trespass on the sacred grounds of the convent, Athanaël leaves Thaïs in their care for a future of prayer and penance. Still, he is anguished by the fact that he will never see her again. Scene 2 - The Thebaid A storm brews in the distance. The monastic brothers remark that they haven’t seen Athanaël for twenty days—he has been in seclusion, fasting. His triumph over evil has broken both body and soul. Thaïs’ beauty still haunts his dreams, and her image taunts him with the possibility of love. Another hallucination reveals that Thaïs is on her deathbed. Athanaël vows to hold her one last time. Scene 3 - The garden of Mère Albine’s nunnery Les filles blanches pray for Thaïs’ salvation, her body destroyed by the atonement for her sins. Athanaël appears, pale and disheveled. Thaïs fondly recalls their journey, and Athanaël finally admits his eternal love. After a final shared moment together, Thaïs dies in beatitude while Athanaël comes to terms with his earthly passions. Synopsis courtesy of David Sander.

ARTIST Q&A AN INTERVIEW WITH KELLY KADUCE Tell us a little bit about your professional training. I went to St. Olaf with the original idea of majoring in biology. I was interested in being a physical therapist. Once I arrived and saw the list of courses available, I got very excited about all of the music classes, and in particular, voice lessons! I couldn’t believe you could take a voice lesson for a class credit. For me, singing and music were just a hobby that I loved. The idea that you could make a serious study of it seemed like a cosmic mistake that worked to my advantage. So in a matter of three minutes, I decided to do a double major: one in biology so I could find an actual job, and one in music just because I loved it. After my sophomore year, the music faculty encouraged me to focus solely in music, and that was all I needed to hear. Next, I spent the summer at the College Light Opera Company in Falmouth, Massachusetts. There, I learned to pick up music quickly and I also met other singers with serious hopes to be professional opera singers. I met a boy who went to Boston University. We dated and I headed out to Boston after graduation from St. Olaf. There, I started studying with Penelope Bitzas privately while working an office job to pay the bills. I auditioned at several different schools with master’s degree programs in vocal performance and ended up going to Boston University so I could continue to study with Ms. Bitzas.

I also sang the world premiere of Anna Karenina, which was Colin Graham’s libretto. He was scheduled to direct it, as well. Unfortunately, he passed away before rehearsals for the show began. I was able to see him one last time in the hospital to say good-bye and thank you, and to tell him how much he meant to me. My husband and I ended up naming our son after him. What are some of the more memorable ways that you’ve read your voice described? This is a tricky question, because I don’t read my reviews. The most memorable description of my voice was not a word, but rather a painting! I have a small five-by-five inch painting in my music room that is a glossy, beautiful dark blue. The painting was given to me by Sebastian Spreng, an artist who told me he sees voices as colors. He painted my voice after hearing me sing a double bill of Suor Angelica and I Pagliacci in Miami. What do you like to do when you are in the Twin Cities singing at Minnesota Opera? If it is winter, my family and I always try to cross country ski, and now that we have a five-year-old, sledding is added to that list. You can also always find us running or walking along the paths along the Mississippi River. We recently found Elsie’s Bowling Alley, and there are a few restaurants that we always try to visit. We also usually make a visit to the University of Minnesota Children’s Hospital as well. Our son was born prematurely and spent his first three months in that NICU. We have gone back almost every year to do NICU follow-ups and visit with the excellent doctors and nurses who took care of us.

The second year of my master’s degree, I started doing a lot of outside auditioning and entering as many competitions as possible. One of those competitions was the MET National Council Auditions, which I won. That is basically the birth of my career as an opera singer. Who were your mentors as you were building your singing career? Anna Mooy at St. Olaf College was my first mentor. She was my very first voice teacher. She taught me to sing with vibrato and introduced me to my first opera arias. Penelope Bitzas was my most important mentor. She is a tough-nosed technician and gave me the foundation and character that I have built upon. Another important mentor was Colin Graham, the longtime Artistic Director of Opera Theater of St. Louis. We first met when he was directing a show in which I had a featured part. He saw something in me (probably my crazy laugh as a dead ghost). I then sang my first Madama Butterfly under his direction at Minnesota Opera. I was too young to sing that demanding part, but did it anyway. It was the best decision I ever made! I learned so much from him and wound up doing his Butterfly several other times.

Costume rendering of Kelly Kaduce as Thaïs courtesy of Lorenzo Cutùli. OVERTUR E 2017–2018 SEASON 27

FELLOW TRAVELERS An opera by Gregory Spears Libretto by Greg Pierce Based on the 2007 novel Fellow Travelers by Thomas Mallon Developed and Co-Commissioned by G. Sterling Zinsmeyer & Cincinnati Opera This production of Fellow Travelers is made possible through Minnesota Opera's Innovate Now Initiative.

The story of a forbidden love affair between two men in 1950s McCarthy-era Washington, D.C., Fellow Travelers is a searing opera infused with political drama, unexpected humor, and sincere heartbreak. A chance encounter between recent college graduate Timothy Laughlin and handsome State Department official Hawkins Fuller results in Tim’s first job—and his first love affair with a man. As McCarthy mounts a desperate bid for power and internal investigations focus on removing “sexual subversives” in the government, Tim and Hawkins find it increasingly dangerous to navigate their double lives.

Creative Team: CONDUCTOR

Daniella Candillari STAGE DIRECTOR

Peter Rothstein SCENIC DESIGNER

Sara Brown COSTUME DESIGNER

Trevor Bowen LIGHTING DESIGNER

Mary Shabatura

The Manchurian Candidate, 2015 © Michal Daniel

A R E TUR N TO MI NNEAPOLI S Minnesota Opera takes a trip to Minneapolis for the first time since 1993 with Fellow Travelers at The Cowles Center. The work premiered at Cincinnati Opera in 2016 to critical acclaim, praised for its “subtle, lyrical music” (The Wall Street Journal) and lauded as a “sharp-edged romantic drama” (The New York Times). The production runs from June 16–23, 2018 and coincides with Twin Cities Pride, which takes place June 23–24, 2018. “I couldn’t be more excited to present Fellow Travelers to our audiences,” said Minnesota Opera President and General Director Ryan Taylor. “This opera celebrates our LGBTQ community by bringing Thomas Mallon's incredible novel to life with achingly beautiful music storytelling.” “Despite the historical setting of Fellow Travelers, the opera is both timely and enormously relevant today,” said Artistic Director Dale Johnson. “There are some similarities between the McCarthy period and the current rise of nationalism across the world. Telling a story that is relatable to contemporary audiences in this way makes Fellow Travelers compelling to people of all ages, including younger audiences. At its core, the opera is about the bravery it takes to stand up to political oppression and the importance of being one’s self. These themes are universal, and make for a powerful operatic experience.”

THE COWLES CENTER Saturday, June 16, 2018 at 7:30pm Sunday, June 17, 2018 at 2pm Tuesday, June 19, 2018 at 7:30pm Thursday, June 21, 2018 at 7:30pm Saturday, June 23, 2018 at 7:30pm Sung in English with English captions projected above the stage. Preliminary runtime of 2 hours and 5 minutes, including one intermission. For more information about Fellow Travelers, visit mnopera.org/fellow-travelers.

The Cowles Center © Steve Henke OVERTUR E 2017–2018 SEASON 2 9

OPERA FOR ALL AGES

La bohème student final dress rehearsal, 2017 © Dan Norman

EDUCATION PROGRAMS Minnesota Opera is a leader in the field of opera, known for our work onstage and off. Core to our mission is the engagement of the community through educational opportunities. We believe in fostering creativity and encouraging members of the community from all walks of life to continue learning. From that perspective, we offer an array of programs to reach people of all ages, locations, and backgrounds including Stories Sing!, a singing storybook program for children, and Voices of Opera, an initiative engaging the creative minds of people ages 55+. In addition to school matinée performances and residencies, we also offer a youth opera program, Project Opera, that features a fully staged production featuring all youth performers. For more information, visit mnopera.org/learn.

M INN ES OTA OP E R A E D UC ATION PROGRAMS AT A GLANCE EARLY CHILDHOOD

ELEMENTARY

MIDDLE

HIGH SCHOOL

COLLEGE

ADULT

55+

Stories Sing! coOPERAtion! Through the Eyes and Ears of Mozart Project Opera Children’s Chorus Summer Camp Create an Opera Camp Summer Opera Camp Opera Artist+ Music Out Loud

Student Final Dress Rehearsals Behind The Curtain Opera Insights Voices of Opera MN Opera @ Books & Bars Opera Center Tours

30 OV ERT U R E 2 01 7– 2 018 S EAS O N

An action-packed retelling of Homer’s epic. Sung in English.

2017–2018 RESIDENT ARTISTS One of North America’s premier training programs, the Minnesota Opera Resident Artist Program offers a full season of employment for talented artists beginning their professional careers. From late August through May, Resident Artists gain valuable experience in assignments ranging from ensemble, understudy, and comprimario, to principal roles in mainstage productions. Resident Artists also perform at concerts, donor functions, and education and outreach events. The program is designed to bridge the gap between an artist’s academic education and professional career.

ANDRES ACOSTA | Tenor HOMETOWN: Miami, Florida 2017–2018 SEASON: Don Basilio (The Marriage of Figaro), Borsa (Rigoletto) TRAINING: Merola Opera Program, Indiana State University, Brevard Music Center, Florida State University

NADIA FAYAD | Mezzo-soprano HOMETOWN: Duluth, Minnesota 2017–2018 SEASON: Marcellina (The Marriage of Figaro), Sister Lillianne (Dead Man Walking), Maddalena (Rigoletto), Albine and Myrtale (Thaïs) TRAINING: Rice University, Eastman School of Music, Minnesota Opera, Santa Fe Opera, Wolf Trap Opera, Des Moines Metro Opera

JESSICA HALL | Resident Artist Pianist HOMETOWN: Medford, Oregon 2017–2018 SEASON: Coach/Répétiteur (Don Pasquale), Continuo/Coach/ Répétiteur (The Marriage of Figaro), Coach/Répétiteur (Dead Man Walking), Coach/Répétiteur (Rigoletto), Coach/Répétiteur (Thaïs) TRAINING: University of Southern California, Aspen Music Festival, Music Academy of the West, Operafestival di Roma, OperaWorks

MARY EVELYN HANGLEY | Soprano HOMETOWN: Long Beach, New York 2017–2018 SEASON: Countess Almaviva (The Marriage of Figaro), Kitty Hart (Dead Man Walking), Countess Ceprano (Rigoletto) TRAINING: Glimmerglass Festival, Merola Opera Program, Sarasota Opera, Florida State University, SUNY Fredonia

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WM. CLAY THOMPSON | Bass HOMETOWN: Lexington, Kentucky 2017–2018 SEASON: The Notary (Don Pasquale), Antonio (The Marriage of Figaro), Second Prison Guard (Dead Man Walking), Count Ceprano (Rigoletto), Palémon (Thaïs) TRAINING: Fort Worth Opera, Wolf Trap Opera, Kentucky Opera, Des Moines Metro Opera, SOO Opera Theater, Opera Orvieto, Seagle Music Colony, University of North Texas, University of Kentucky

CHRISTIAN THURSTON | Baritone HOMETOWN: Rotorua, New Zealand 2017–2018 SEASON: Count Almaviva (The Marriage of Figaro), Prison Guard 2 (Dead Man Walking), Marullo (Rigoletto), A servant (Thaïs) TRAINING: New Zealand School of Music, New Zealand Opera School, Manhattan School of Music, New Zealand Opera Emerging Artist

DAVID RADAMÉS TORO | Resident Artist Director HOMETOWN: Colorado Springs, Colorado 2017–2018 SEASON: Assistant Director (Don Pasquale), Assistant Director (The Marriage of Figaro), Assistant Director (Dead Man Walking), Assistant Director (Rigoletto), Assistant Director (Thaïs) TRAINING: Opera Saratoga, Opera Theatre of Pittsburgh, Emerald City Opera, University of Texas, The Ohio State University, University of Colorado

LINDSAY WOODWARD | Resident Artist Pianist HOMETOWN: Salt Lake City, Utah 2017–2018 SEASON: Coach/Répétiteur (Don Pasquale), Chorusmaster/Coach/ Répétiteur (The Marriage of Figaro), Coach/Répétiteur (Dead Man Walking), Coach/Répétiteur (Rigoletto), Coach/Répétiteur (Thaïs) TRAINING: Wolf Trap Opera, Aspen Music Festival, Utah Opera, Manhattan School of Music, University of Utah OVERTUR E 2017–2018 SEASON 3 3

SUBSCRIBER BENEFITS

SEASON TICKET PACKAGES AUTO-RENEWAL SUBSCRIPTIONS (Full Season Only)

HUGE SAVINGS Enjoy the only guaranteed discount. SAVE MORE ON TUESDAYS Tuesday subscribers save even more.

SAVE 25%

That’s like getting one opera for free!

SAVE 40%

That’s like getting two operas for free!

5-OPERA SUBSCRIPTIONS SAVE 25%

That’s like getting one opera for free!

SAVE 40%

That’s like getting two operas for free!

4-OPERA SUBSCRIPTIONS

3-OPERA SUBSCRIPTIONS

SAVE 20%

SAVE 15%

SAVE 35%

SAVE 30%

TEMPO SUBSCRIPTIONS* (Restrictions Apply)

SAVE UP TO 76%

Limit 2 per membership

FLEXIBLE EXCHANGES Exchange tickets into a different date or show, or even bring a friend to the next opera. DISCOUNTED TICKETS for family and friends.

SAVE 25%

SAVE 20%

SAVE 15%

(SAVE 40% ON TUESDAYS)

(SAVE 35% ON TUESDAYS)

(SAVE 30% ON TUESDAYS)

OPTION TO SPLIT OVER 4 MONTHS, $3 FEE WAIVED

OPTION TO SPLIT OVER 3 MONTHS

GUARANTEED BEST SEATS before, and priority seating after, individual tickets go on sale. DISCOUNTED PREPAID PARKING in downtown St. Paul offered before going on sale to the general public. INVITATIONS TO SPECIAL EVENTS Meet the singers and creative team behind each production at select events. INTEREST-FREE PAYMENT PLAN OPTIONS

OPTION TO SPLIT OVER 3 MONTHS

DINING DEALS at participating restaurants near the Ordway. WE’LL SAVE YOUR SEAT for the entire season, plus first priority seating in future seasons. WHEN RENEWED BY THE EARLY BIRD DEADLINE

TWO CONCESSIONS VOUCHERS to use at the Ordway during the season.

ONE FREE SEAT UPGRADE for the performance of your choice. (Subject to availability)

SUBSCRIBERS IN SEATING AREAS B–F

INVITATION TO A CHAMPAGNE RECEPTION during the intermission of one of the season’s productions.

SUBSCRIBERS IN SEATING AREAS A+ OR A

EASY, PAPERLESS RENEWAL

BE FIRST to preview the next season early each year before anyone else. ONE BRING-A-FRIEND TICKET Invite someone new to experience opera for each subscription in your account. INVITATIONS to Tempo Nights Out + After Parties.

*Requires purchase of $50 Tempo Membership. Tempo is Minnesota Opera’s membership program for new and seasoned opera goers ages 21-39. Tempo subscriptions are only available in seating areas C-E on opening nights and are limited to 2 subscriptions per membership. 34 OV E RT U R E 2 01 7– 2 018 S EAS O N

REACH BEYOND YOUR SEAT FOR 55 YEARS

Minnesota Opera has inspired wonder, bringing artistry to Minnesota stages and transforming everyday experiences into extraordinary moments. Over the decades these moments have included over 100 productions and 45 world premieres.

But that is only part of the story . . . Each season Minnesota Opera serves over 400,000 individuals, reaching beyond the opera stage with state-wide education programming and industry-leading community building initiatives, supported by contributions from opera lovers like you. • Project Opera The only opera training program in the nation for young singers in 4–12th grade with over 350 participants since its inception. • Voices of Opera A new opera choral program for active adults ages 55+, serving 200 individuals living throughout the state of Minnesota. • Resident Artist Program Celebrating its 20th anniversary, this artist in residence program nurtures the next generation of opera professionals and has already fostered the careers of 115 singers, pianists, conductors, and stage directors. • Radio Broadcasts In partnership with Classical Minnesota Public Radio, each production is recorded for broadcast, many live, bringing opera into the homes of thousands of Minnesotans all year long.

With your generous support, we can reach beyond the stage and have a lasting impact in the community.

Visit mnopera.org/support to donate and view the many benefits of giving. Thank you to all Minnesota Opera donors. You have made 55 years of exceptional opera possible! Project Opera's The Nightingale, 2017 © Sigrid Redpath

JOIN THE BRAVO! VOLUNTEER CORPS You can also support MN Opera through volunteering your time. Volunteer assistance is used in virtually every department of the company and participation comes with great benefits including tickets to Invited Dress Rehearsals. For more information, visit mnopera.org/volunteer.

OVERTUR E 2017–2018 SEASON 35

DEEPEN YOUR CONNECTION TO OPERA

OP ER A I NS I GHTS Join us in Ordway Music Theater’s Target Atrium (mezzanine-level lobby) one hour prior to every performance for Opera Insights. Enjoy this free, fun, and informative half-hour lecture that includes an overview of the characters and music, the historical and cultural context of the opera, and highlights to watch for during the show. © CJ Standish, 2017

TAST E O F OP E R A Enhance your opera-going experience with Taste of Opera—a delicious pre-show meal and relaxed conversation with experts from the world of opera. Classical Minnesota Public Radio hosts an engaging look at each production with special guests from Minnesota Opera. Leave the logistics to us and enjoy an all-inclusive night out! For more information, visit mnopera.org/taste.

BE H I N D T H E C UR TA IN Get the inside scoop! Behind the Curtain explores the music, history, social context, and production of each opera. Each class is led by distinguished guest speakers from the world of opera, including directors, artists, and other opera experts. All Behind the Curtain classes are held at the Minnesota Opera Center (620 North First Street, Minneapolis) from 7–8:30pm. To learn more or order tickets, visit mnopera.org/btc or call Minnesota Opera Patron Services at 612-333-6669, M–F, 10am–5pm.

36 OV ERT U R E 2 01 7– 2 018 S EAS O N

TEMPO, MN OPERA'S YOUNG PROFESSIONALS GROUP Are you 21–39 and interested in experiencing opera, meeting new people, and receiving invitations to after parties and one-of-a-kind events? Join Minnesota Opera’s young professionals group! To learn more about Tempo and to purchase your membership, visit mnopera.org/tempo or call Minnesota Opera Patron Services at 612-333-6669, M–F, 10am–5pm.

Minnesota Opera Patron Services 620 North First Street Minneapolis, MN 55401 612-333-6669 Regular Hours: Monday–Friday, 10am–5pm Performances: Weekdays – phones open until curtain. Weekends – phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain. Events and artists subject to change. Ticket Policies Tickets are not refundable. Subscribers may make exchanges for a different performance or opera up to one hour prior to curtain. Any ticket may be turned back for a tax-deductible donation up until curtain. Call Minnesota Opera Patron Services at 612-333-6669. Accessibility For patrons with disabilities, wheelchair-accessible seats are available. Audio descriptions will be available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. Accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems. At the Ordway Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break. Please have all cell phones and pagers turned to the silent mode. Children under six are not permitted in the hall. Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher. Food and beverages are available for purchase prior to the show and during intermission. Water and other beverages are allowed in the theater (hot beverages require lids), but food is strictly prohibited. The phone number for emergencies is 651-224-4222. Please leave seat locations with the calling party. Lost and Found is located at the Stage Door. Call 651-282-3070 for assistance.

PREPARE FOR YOUR VISIT Where does Minnesota Opera perform? Don Pasquale, The Marriage of Figaro, Dead Man Walking, Rigoletto, and Thaïs are performed at the Ordway Center for the Performing Arts in downtown St. Paul across from Rice Park. The Ordway is located at 345 Washington Street, St. Paul, MN 55102. Fellow Travelers is performed at The Cowles Center in downtown Minneapolis. The Cowles Center is located at 528 Hennepin Avenue, Minneapolis, MN 55403. Where should I park at the Ordway? There are many parking ramps within walking distance of the Ordway including RiverCentre, Lawson Commons, Kellogg Street Ramp, and Landmark Towers. You can purchase prepaid parking and get directions to Lawson Commons Ramp by visiting mnopera.org/prepaid-parking. We provide constant updates on traffic, parking, and weather related concerns during the time our shows. Please visit mnopera.org/alerts for more information. Where should I park at The Cowles Center? Traffic and parking can be difficult in downtown Minneapolis, so we recommend you give yourself plenty of time to get to The Cowles Center. Large ramps within walking distance to the venue include City Center Ramp, Embassy Suites Ramp, and Target Center Ramp. Visit mnopera.org/parking for a complete list of parking ramps downtown. We provide constant updates on traffic, parking, and weather related concerns during the time of our shows. Please visit mnopera.org/alerts for more information. What if there is inclement weather? As long as the freeway is open, so are our performances venues and the show will go on! Visit mnopera.org/alerts to get a weather update leading up to performances.

NEW! BUSI NG SERVI CE This season, Minnesota Opera will offer busing service to the Ordway from Golden Hills Office Center in Golden Valley, MN, located at the intersection of Hwy 100 and 394. This new service will be available for at least one Sunday matinee performance of each production. To learn more or to book your seat, visit mnopera.org/busing.

OVERTUR E 2017–201 8 SEASON 37

DINNER BEFORE THE SHOW Present your Minnesota Opera subscription ticket to enjoy these offers from participating restaurants near the Ordway, our mainstage performance venue. Offers are valid on the day of the performance only. Subscription ticket is required. To ensure service, please contact the restaurant ahead of your visit. All offers are subject to change.

276 South Exchange Street Saint Paul, 55102 651-224-5606 | Forepaughs.com

426 Saint Peter Street Saint Paul, 55102 651-224-2739 | Greatwatersbc.com

380 Saint Peter Street #125 Saint Paul, 55102 651-602-9000 | Kincaids.com

410 Saint Peter Street Saint Paul, 55102 651-222-5670 | Meritage-stp.com

360 Saint Peter Street Saint Paul, 55102 651-223-7000 | Pazzaluna.com

350 Saint Peter Street Saint Paul, 55102 651-224-0185 | Sakurastpaul.com

408 Saint Peter Street Saint Paul, 55102 651-291-2715 | Vieux-carre.com

COMPLIMENTARY APPETIZER OR DESSERT WITH ENTRÉE PURCHASE. LIMIT ONE PER TABLE. NOT VALID WITH ANY OTHER OFFERS. At Forepaugh’s, you and your guests will enjoy New American Cuisine, served in their historic 19th-century setting. Crystal chandeliers and rare antiques provide an ambiance for gracious dining that is complemented by their professional staff. Free parking.

COMPLIMENTARY HOUSE WINE OR CRAFT BEER WITH ENTRÉE PURCHASE. Located in the Historic Hamm Building in the heart of downtown Saint Paul, Great Waters Brewing Company is conveniently located within easy walking distance of the theaters, including the Ordway. Known for their great food, quick service, and award-winning craft beers, Great Waters also has a full bar including your favorite cocktails, beer, and even their own root beer.

COMPLEMENTARY CRÈME BRÛLÉE OR KEY LIME PIE WITH ANY ENTRÉE PURCHASE. LIMIT ONE PER TABLE. Artfully serving quality steaks, and fresh and innovative seafood since 1986. Enjoy daily lunch, dinner, or perhaps a special business or romantic occasion in their warm and inviting dining room.

COMPLIMENTARY VALET WITH ENTRÉE PURCHASE. From their classically timeless dining room, to their buzzy oyster bar, Meritage offers an ambiance regardless of mood. The Terrace offers memorable summer evenings. And, not to be overlooked, the Meritage Crêpe Stand returns this year with a new cart, and will be serving crêpes streetside four days a week beginning mid-April through mid-October.

COMPLIMENTARY SELECTION OF THREE ANTIPASTI WITH THE PURCHASE OF AN ENTRÉE. LIMIT ONE PER TICKET. In Italy, every meal is a journey . . . the same is true at Pazzaluna. Start with appetizers featuring a selection of bruschetta and pizza straight from their woodburning oven; then move on to a traditional Italian dinner menu of antipasto or insalata (salad), to primi piatto (pasta course), to secondi piatto (main course), and finally a delicious dolce (dessert). Discover the truly Italian art of lingering over dinner with family and friends, making conversation, and enjoying wine in a setting that is both urban and relaxing.

COMPLIMENTARY DESSERT WITH ENTRÉE PURCHASE. Sakura’s newly remodeled location features spacious dining areas on two levels, a large sushi bar for those who wish to watch their sushi prepared before them, and a full-length bar. Whether you’re coming for a quick bite to eat during your lunch break or for dinner before your favorite opera, Sakura is a traditional Japanese restaurant for all to enjoy.

COMPLIMENTARY WINE, BEER, OR COCKTAIL (BEFORE THE OPERA) AND/OR WAIVED COVER (AFTER THE OPERA). ENTRÉE PURCHASE REQUIRED. Located in Saint Paul in the lower level of the historic Hamm Building, Vieux Carré earns its name from the French translation of “Old Quarter” and a love for the spirit of New Orleans’ rich food and music scene. Enjoy a speakeasy atmosphere highlighting well-crafted cocktails, a creole inspired menu, and music by Minnesota musicians every night. Leissez bon temps rouler!

38 OV E RT U R E 2 01 7– 2 018 S EAS O N

55 TH ANNIVERSARY EVENTS 55TH ANNIVERSARY CELEBRATION Sunday, October 1, 2017 at 2pm | Music Theater at the Ordway The 55th Anniversary Celebration offers a free sneak preview of Minnesota Opera’s 55th anniversary season hosted by President and General Director Ryan Taylor and Artistic Director Dale Johnson. The program features excerpts from each of this season’s productions and a variety of other opera selections. mnopera.org/55

55TH ANNIVERSARY SEASON GALA Saturday, October 7, 2017 at 5pm | The Saint Paul Hotel Join us for an evening of entertainment, champagne, and Hollywood glamour at Minnesota Opera’s 55th Anniversary Season Gala. The show-stopping red carpet event will feature some of the season’s best entertainment, style, and a killer La La Land after-party with special guest Jujubee from RuPaul's Drag Race. mnopera.org/gala

THE SPHINX VIRTUOSI Sunday, October 22, 2017 at 3pm | Concert Hall at the Ordway The Sphinx Virtuosi is one of America’s most dynamic string ensembles, comprised of the nation’s top Black and Latino classical string soloists who are all alumni of the prestigious Sphinx Competition for young American string players. In celebration of the 20th anniversary of the Sphinx Organization, this 18-piece self-conducted ensemble will perform an exciting program of concerti through the ages including Vaughan Williams’ Concerto Grosso, the newly commissioned Guardian of the Horizon: Concerto Grosso for Violin, Cello, and Strings, by award-winning composer Jimmy Lopez, along with Delights and Dances by Michael Abels and Beethoven’s timeless Grosse Fugue. Co-presented by the Arts Partnership (The Ordway, Minnesota Opera, Schubert Club, and the SPCO). ordway.org/the-sphinx-virtuosi

OPEN REHEARSAL Wednesday, March 14, 2018 at 6:30pm | Ordway Center for the Performing Arts Season subscribers and donors have the opportunity to join us for an open rehearsal of Rigoletto! Plan to join us the evening of Wednesday, March 14 to observe the first act of Rigoletto as we work to put the finishing touches on the production. Invitations will be sent in early 2018.

CELEBRATING 20 YEARS OF THE RESIDENT ARTIST PROGRAM Saturday, April 8, 2018 at 2pm | Concert Hall at the Ordway This Minnesota Opera Resident Artist Program 20th anniversary event honors the legacy and accomplishments of the company’s esteemed training program founded by Artistic Director Dale Johnson. Surprise guests perform an eclectic musical program that promises to be a memorable evening in support of the past, current, and future members of the highly selective program for artists and administrators. The program offers a full season of employment for talented artists, bridging the gap between their formal education and the beginning of their professional careers, and has grown into one of North America’s premier training programs. Tickets will go on sale in early 2018. mnopera.org/community-events

OVERTUR E 2017–2018 SEASON 39

Non-Profit Org. U.S. Postage PAID Permit No. 94942 Twin Cities, MN

The 2017-18 season DONIZETTI

DON PASQUALE OCT 7–15 MOZART

THE MARRIAGE OF FIGARO NOV 11–19 HEGGIE

DEAD MAN WALKING JAN 27–FEB 3 VERDI

RIGOLETTO MAR 17–31 MASSENET

THAÏS

MAY 12–20