Minnesota Opera's 2015 Carmen Program by Minnesota Opera

2014–2015 Season

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contents 7 Welcome 8 Carmen 10 Synopsis 12 About the Opera 17 Composer 18 Meet the Artists: Nora Sourouzian and Victoria Vargas 20 The Artists 28 Directorâ&#x20AC;&#x2122;s Notes 31 2015â&#x20AC;&#x201C;2016 Season Preview 32 Opera Education 33 Tempo 34 Minnesota Opera Board of Directors, Staff, Tempo and Volunteers 36 Annual Fund 42 Institutional Giving 44 Legacy Circle 45 Minnesota Opera Information Large-print and Braille programs are available at the Patron Services Office.

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Your favorite opera music performed in an all-new way! featuring Karin Wolverton, soprano Victoria Vargas, mezzo The CSBQ Robb Asklof, tenor with Seth Keeton, bass

Tuesday, June 16 @ 7:00 - Minnesota Opera Center, Minneapolis Friday, June 19 @ 7:00 - Sundin Hall, Hamline University, St. Paul

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WELCOME LETTER

Carmen is an exciting season finale for Minnesota Opera. Who can resist a story of passionate emotions — jealousy, sensuality, tragedy — all of this plus Bizet’s beautiful music? One of my favorites, Carmen is truly irresistible. Our first Carmen in ten years features the work of a talented creative team, including stage director Michael Cavanagh, set designer Erhard Rom, costume designer Jessica Jahn and lighting designer Mark McCullough. Collectively, they conceived setting our new production in the stunning and dynamic world of 1970s Seville. We’re pleased to have Music Director Michael Christie at the helm of our Minnesota Opera Orchestra, with Aaron Breid, in his fourth season as Assistant Conductor for the company, leading the final four performances. I’m excited to hear mezzo-soprano Nora Sourouzian, who has performed the title role to great acclaim across Europe and makes her American debut on our stage. She shares the stage with soprano Marita Sølberg, winner of Norway’s prestigious Music Critics Prize, whose appearance as Micaëla marks her company debut. Those of you who saw La fanciulla del West will recognize the sonorous tenor of Rafael Davila, and many of you may also remember bass-baritone Kyle Ketelsen (Anna Bolena, 2012) who portrays the swaggering toreador, Escamillo. What a cast! With nine performances of Carmen, you have the opportunity to enjoy two casts of

principal artists. I’m delighted to present our own Minnesota Opera resident artist alum, Victoria Vargas, who alternates with Sourouzian in the iconic role of Carmen. Joining her on stage are rising stars Cooper Nolan as Don José, Richard Ollarsaba as Escamillo and Shannon Prickett as Micaëla. I know that some of you in the audience today are experiencing your very first opera. Welcome! I can’t think of a more perfect way to introduce you to the art form than through this masterpiece. It might be familiar to you already, since Carmen continues to enjoy pop-culture references. Two of my favorites are Denyce Graves (who famously sang the title role in her 1991 Minnesota Opera debut) performing the Habanera as a lullaby for Elmo on “Sesame Street,” and Beyoncé singing and dancing to the same aria in a Pepsi® commercial. I can’t wait for the upcoming 2015–2016 season when we celebrate another world premiere alongside some timeless classics. I hope that you’ll join us as a subscriber. Subscriber benefits include flexible ticket exchanges and discounts for your friends and family. My heartfelt thanks to you, our loyal ticket buyers and season subscribers. As a friendly reminder to procrastinators (like me), current subscribers should renew by June 5th to guarantee your seats and savings! Thank you for joining us for Carmen and for supporting an incredible Minnesota Opera season. I look forward to seeing you at Minnesota Opera in September!

NINA M. ARCHABAL General Director

| CARMEN

As one of history’s most beloved operas,

MUSIC BY GEORGES BIZET LIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVY Based on the novella by Prosper Mérimée (1845) World premiere at the Opéra-Comique, Paris March 3, 1875

APRIL 25, 30; MAY 1, 2, 3, 7, 8, 9 and 10, 2015 Ordway Music Theater, Saint Paul Sung in French with English translations ESTIMATED RUN TIME 2 hours and 59 minutes, including one 20-minute intermission. Intermission occurs approximately 95 minutes into the opera.

Carmen by Georges Bizet | Edited by Fritz Oeser | Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Baerenreiter-Verlag, publisher and copyright holder. The appearances of Kyle Ketelsen, grand prize winner; Richard Ollarsaba, national finalist; Cooper Nolan and Victoria Vargas, regional finalists; and Gerard Michael D’Emilio, Andrew Lovato, Shannon Prickett and Christian Zaremba, 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 the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.

Creative Team

cast

in order of vocal appearance

MORALÈS

a corporal in the dragoons

Gerard Michael D’Emilio

MICAËLA

a peasant girl

Marita K. Sølberg * Shannon Prickett **

ZUNIGA

a lieutenant of the dragoons

Christian Zaremba

DON JOSÉ

a corporal in the dragoons

Rafael Davila * Cooper Nolan **

CARMEN

a gypsy girl

Nora Sourouzian * Victoria Vargas **

FRASQUITA

a friend of Carmen

Siena Forest

MERCÉDÈS

a friend of Carmen

Bergen Baker

LILLAS PASTIA

an innkeeper

CONDUCTOR

Michael Christie •

STAGE DIRECTOR

Michael Cavanagh

ASSISTANT DIRECTOR

Alison Moritz

ASSISTANT CONDUCTOR

CHOREOGRAPHER

Aaron Breid ••

SET DESIGNER

FIGHT CHOREOGRAPHER

Heidi Spesard-Noble

Ben Johnson

Erhard Rom

Aaron Preusse

ESCAMILLO

Kyle Ketelsen * Richard Ollarsaba **

COSTUME DESIGNER

Tom Ringberg

Jessica Jahn

LE DANCAÏRE

LIGHTING DESIGNER

Jonathan Brandani Geoffrey Loff

a toreador

a smuggler

Andrew Lovato

LE REMENDADO

a smuggler

Brad Benoit

Mark McCullough

FIGHT CAPTAIN RÉPÉTITEURS

PRODUCTION STAGE MANAGER

WIG AND MAKEUP DESIGNER

Kerry Masek

CHORUSMASTER

ENGLISH TRANSLATIONS

Jason Allen

* performs April 25, 30;

Robert Ainsley

Floyd Anderson

** performs May 1, 3, 8, 9

CHILDREN’S CHORUSMASTER

• conducts April 25, 30;

May 2, 7, 10

Dale Kruse

May 1, 2, 3

•• conducts May 7, 8, 9, 10

This production is generously sponsored by Vicki and Chip Emery. Nora Sourouzian’s appearance is generously sponsored by Mary and Gus Blanchard. Victoria Vargas’ appearance is generously sponsored by Rachelle D. Chase. Kyle Ketelsen’s appearance is generously sponsored by Sue and Jim Nelson. Shannon Prickett’s appearance is generously sponsored by Kay Ness and Karla Miller. Marita K. Sølberg’s appearance is generously sponsored by Bernt von Ohlen and Thomas Nichol. Cooper Nolan’s appearance is generously sponsored by Connie and Lew Remele.

THE MINNESOTA OPERA’S 2014–2015 SEASON IS SUPPORTED BY

SYNOPSIS

| MINNESOTA OPERA mnopera.org

Setting: Seville and its surroundings

act i

act ii

Moralès and his soldiers pass the time watching the townspeople cross the public square. Micaëla enters, looking for Don José, a new corporal in the regiment, and is told to return later. Don José arrives at the changing of the guard. The nearby cigarette factory breaks, and all the men ogle the beautiful women who work inside, in particular the wild gypsy girl, Carmen. While dancing the Habanera, she throws a flower to Don José.

At Lillas Pastia’s tavern, soldiers watch the gypsies dance. Near closing time, Zuniga flirts with Carmen, but is rebuffed. She learns José will be released from prison that evening — for letting Carmen get away he was forced to serve the sentence in her place. The famous bullfighter, Escamillo, enters amidst great excitement. He too is enamored with Carmen, but she decides to wait for José.

Micaëla returns with a letter from Don José’s mother, and José tearfully remembers his former life. His mother advises him to return home, marry and settle down. There is a fight inside the factory between Carmen and another woman. Don José is ordered to sort out the situation. When Carmen shows her indifference to his authority, Zuniga decides to send her to prison and commands José to tie her hands. Quietly she persuades José to let her escape by promising an amorous rendezvous.

Pastia manages to clear the room of customers, and Dancaïre and Remendado gather with the women to plan their next smuggling run. Carmen stays behind, disclosing her newly found love for José. The soldier soon arrives, and Carmen dances for him alone. He professes his undying love — while imprisoned, he kept the flower she had thrown to him. They are interrupted by the bugle call, summoning José back to the barracks. Carmen pressures him not to leave, but they are interrupted by Zuniga, who has returned to pursue Carmen himself. Don José makes it clear that he is now an outlaw himself.

SYNOPSIS

act iii In the mountains, the smugglers rest after negotiating the harsh terrain. Don José has become disillusioned with life among the gypsies and argues with Carmen. She suggests he return home, but José refuses. He is told to stand watch nearby. With friends Frasquita and Mercédès, Carmen reads her fortune in the cards and draws the Ace of Spades — the card of death.

act iv Back in Seville, the townspeople bustle in anticipation of the upcoming bullfight. Escamillo again expresses his undying affection for Carmen, who now loves him in return. She is warned Don José is among the crowd. As the bullfight begins, she remains behind to tell him their affair is over. He is incapable of letting go.

Costume sketches by Jessica Jahn

Nearby, Micaëla has come in search of José with news that his mother is dying. Escamillo also appears, looking for Carmen. He and Don José begin to struggle, but the

fight is broken up by the others. To finally be rid of him, Carmen commands José to go with Micaëla, but he will not be forgotten so easily, vowing to return.

ES C A M I L LO CIGARETTE GIRLS DON JOSÉ CARMEN

| CARMEN

— I N T E R M I S S I O N —

ABOUT THE OPERA

| MINNESOTA OPERA mnopera.org

ne of the cruelest hands in the history of music was dealt to Georges Bizet, who died without knowing his final opera’s everlasting appeal. The composer’s career had been tumultuous, without a clear theatrical success. The commission for Carmen in fact came on the heels of a newly failed work, Djamileh, which after its premiere on May 22, 1872, had survived a mere ten performances before it dropped into obscurity, not to be revived until the 20th century.

It was Bizet himself who suggested Prosper Mérimée’s tragic tale to the co-directors of the Opéra-Comique when asked to produce another work. Contrary to its innocuous appellation, the Opéra-Comique was not solely committed to comedy. Like its imposing neighbor, the Académie Nationale de Musique (known informally as the Opéra), the Comique offered serious drama as well, provided that all things worked out happily in the end. A chief distinction between the sister houses was the Opéra-Comique’s custom of interspersing spoken dialogue in between musical numbers rather than employing sung recitative. Another key difference was the theater’s audience base — while the Opéra catered to the upper classes, the Comique was frequented by the upwardly mobile middle class, the bourgeoisie. They had expectations of high family values, for the theater was a place where young couples might meet, or better yet, become affianced. Even though Bizet proclaimed his intention to revitalize the Opéra-Comique’s repertoire, it’s rather amazing he chose a subject as racy as Carmen. After all, its audience had been nursed on such trifling confections as Boieldieu’s La dame blanche, a work intensely hated by Bizet. While this opera had served as the prototype for Auber’s bountiful light-hearted plots, which had held court at the Opéra-Comique for over 40 years, the death of Auber in 1871

signaled an opportunity for upheaval, and Bizet was ready to rise to the challenge. Of course, he still had to sell his idea to the theater’s flighty management. The diverse natures of directors Adolphe de Leuven and Camille du Locle represented an amusing duality of vaudevillian polar opposites. De Leuven was from the old school, once a close associate and collaborator of Alexandre Dumas père. Du Locle was a bit more progressive, also familiar in the annals of opera for his involvement in Verdi’s Don Carlos (1867) and Aida (1871). Du Locle and de Leuven constantly undermined one another, blaming box office failures on the other. Not surprisingly, the partnership did not last long, and it appears Bizet’s new opera brought on the pivotal crisis. De Leuven was against the project from the start, and though coaxed with a little toning down of the plot by co-librettist, Ludovic Halévy, he chose to resign from the Opéra-Comique rather than scandalize his conservative public. Halévy and Henri Meilhac believed they could add a few lighter touches, chiefly with antics performed by the sidekick team of Remendado and Dancaïre, and dilute the tragedy of Carmen’s death by immersing it within a festive occasion. But the librettists were equally skittish. Though they had ventured into the realm of serious theater (in a work deceptively entitled Froufrou, where the respectable title character dies), they were mainly known for comedy, in particular their libretti for Jacques Offenbach’s satirical operettas. Their efforts to soften the otherwise lurid tale wouldn’t pay off. These were the obstacles Bizet faced when, after two postponements, his opera finally went into rehearsal in October 1874. His frustration would only grow as cast, crew and orchestra revolted throughout the excessive five-month preparation.

Unfortunately, it was not enough to save the new opera from its disastrous March 3, 1875 premiere. Though the reception of Acts i and ii was somewhat encouraging, aided by Escamillo’s Toreador Song (described by the composer as “trash” suited to please his public), the audience was obviously baffled and chillingly silent as Bizet departed further and further from the Opéra-Comique’s trademarks. Though Bizet had just been nominated to the prestigious Légion de l’Honneur that very morning (some close to the production sneered at the timing, claiming that after the evening’s performance it would no longer be possible to admit him), critics by and large were harsh, spiraling Bizet into a deep depression exacerbated by the recurrence of throat abscesses, a chronic condition of his adult life. Recovering slightly in May, he went for a swim in

the Seine, contracted a fever and died on June 3, exactly three months after Carmen’s premiere. At first reported as a suicide, Bizet’s death may have indeed been caused by his own recklessness. Still, du Locle kept Carmen on the stage for several months, though audiences were sporadic and box office receipts failed to turn a profit. The opera was pulled for the summer months and revived briefly from November 1875 to February 1876, achieving a total of 48 performances, posthumously outstripping any of the composer’s previous works. Elsewhere, Carmen rapidly rose to fame. In the fall of 1875, the opera received its Viennese premiere, where it was refitted with sung recitatives, and thus unencumbered by the conventions and expectations of the Opéra-Comique. It was an enormous success. Three years later, in London and New York, the opera was also greeted with enthusiasm, albeit in Italian translation. The opera soon gained the respect of fellow composers Brahms, Tchaikovsky and Wagner. Yet in France, while popular in the provinces, Carmen could not make a Parisian comeback for another eight years. By then, du Locle had resigned as director of the Opéra-Comique due to financial difficulties and was replaced by Léon Carvalho, former director of the Théâtre Lyrique. Though he had, during his tenure, commissioned two earlier works by Bizet, he did not care for Carmen, nor did he enjoy Galli-Marié’s sensuously realistic delivery. With many of the same concerns as de Leuven before him, he had steadfastly refused to remount the opera.

| CARMEN

The chorus, accustomed to being quite stationary with their eyes fixed on the conductor, reacted violently to the notion of moving through streets and hills, fighting, and worst of all, smoking. The orchestra deemed the score unplayable, and managers Ponchard and Victor, the backbone of the Comique’s stage crew (and veteran fans of the OpéraComique’s glory days of La dame blanche and Ferdinand Herold’s Le Pré aux clercs) dug in their heels. Emile Perrin, former director of the Opéra and du Locle’s uncle, was called in to arbitrate, but to little avail. The saving grace was Bizet’s first Carmen, Célestine Galli-Marié, who enlisted the help of her first Don José, Paul Lhérie. A consummate singer-actress, Galli-Marié was naturally drawn to the role, defending the opera’s merits, and even participating in the composition of the Habanera, itself drawn from a popular cabaret song “El Arreglito” by Sebastián Yradier. Bizet was fortunate to have her in his corner.

ABOUT THE OPERA In time, Carvalho was overwhelmed by public pressure, especially from a barrage of letters sent by Galli-Marié, and in 1883 the impresario finally relented. He hastily produced a sanitized version, resetting the Act ii brothel scene inside a hotel lobby, replacing the dancing gypsies with ballerinas and altering much of the dialogue. This production failed to please, but incited further entreaties to bring back the original, to which Carvalho acquiesced later that year. Critics reacted as though they had completely forgotten the two earlier productions, and lavished praise upon the opera as if it had been a brand new work. The urtext of Carmen remains in dispute. A critical edition of the work was created by Fritz Oeser in 1964, based on orchestra parts that survived a disastrous fire in 1887 at the Comique (for which Carvalho was briefly imprisoned). But when compared to the original Choudens piano-vocal edition, it appears Bizet made many changes during the rehearsal period, and it is unclear what his final intent may have been. His depressed and unstable widow, Geneviève, gave away many of his original manuscripts, and it seems his letters and journals from that period have been heavily edited in an attempt to hide details of their troubled marriage. Though she failed to attend either the premiere of Carmen or her husband’s funeral, Geneviève achieved personal security from the opera’s royalties, remarried in 1886 to a rich banker and

emerged from her mental instability to become a bonne vivante, known for her lavish parties. Both spouses have been accused of marital infidelity, and it has been suggested that Bizet and his leading lady had enjoyed more than a solid friendship during the trying rehearsals. Feeling uncommonly close to the composer, Galli-Marié claimed to have predicted Bizet’s demise during one performance — she felt a chill during the fortune-telling scene when she drew the Ace of Spades. By the time the curtain fell, Bizet had lost consciousness and died early the next morning. Upon learning of her friend’s death, Galli-Marié too fell into a fever and was indisposed for the June 3 performance. As a result, du Locle canceled the production that same evening, and with harsh irony, replaced it with a revival of La dame blanche. MÉRIMÉE AND HIS NOVELLA

Known today as a mere footnote to Bizet’s tremendously popular opera, Prosper Mérimée (1803–1870) was not only a celebrated author, but also an archaeologist, historian and linguist. Born to a liberalminded, artistic and bourgeois household, Mérimée learned English from his anglophile mother and became engrossed in the works of Byron, Shakespeare and Scott. He wrote his first prose tragedy, Cromwell, at the age of 19, five years before Victor Hugo’s more famous and groundbreaking play. Later, a series of romantic dramas

ABOUT THE OPERA

In 1830, Mérimée embarked on a six-month journey to Spain. There, he met the future Count de Montijo, his young daughter Eugenia, and his wife, Maria. It was Señora de Montijo who recounted the very topical Andalusian tale of a braggart fugitive who boasted of the murder of his lascivious gypsy girlfriend. (She also encouraged him to write a history of medieval monarch Pedro “the cruel” of Castile.) Upon his return to France, Mérimée accepted a position with the progressive government of the newly empowered King Louis-Philippe and served as Inspector General of Historical Monuments. Though his writing slowed, his storytelling skills were not lost on the king, who engaged the author to entertain visiting dignitaries, including Queen Victoria.

During this period, he would complete his second-most popular story, Colomba, featuring another real-life woman of conviction, based on a story the author had heard in Corsica. With regard to many of his subjects, Mérimée has been described as “romantic” in the same vein as Hugo (and even participated in the playwright’s infamous “Battle of Hernani”), but his writing style had shed much of the ponderous description and minute detail that plagued Romantic literature of his era. In fact, with Carmen, he began to move toward the more avantgarde style of Realism, which reached its fruition in Henry Murger’s Scènes de la vie de bohème (later Puccini’s La bohème), and Alexandre Dumas fils’ La dame aux camélias (later Verdi’s La traviata). Anticipating these two works, Mérimée would adopt a similar tone, telling his story in the first person in parts one and two, and later switching to the second person for his then-final chapter (a barely relevant fourth section about Romany gypsies, told in the third person, was tacked on the end a little later). The first two parts are centered around a nameless French narrator, who stumbles across the bandit/smuggler Don José, who is already on the outs with his girlfriend, Carmen. They share a smoke, a meal and a night at the inn, but soon part ways. In the next section, the narrator happens upon Carmen herself (already vividly described by José), and she offers to tell his fortune (among other things) back at her modest dwelling. Their encounter is hastily interrupted by a visibly angered José. During the aborted seduction, Carmen manages to steal the Frenchman’s gold watch. Months later, the missing timepiece brings the narrator to the city jail, which now houses Don José, a multi-murderer. He relates the subsequent events of his stormy relationship with Carmen, and chapter three

| CARMEN

written under the pen name of the fictitious Spanish actress, Clara Gazul, brought him to the attention of the leading proponents of the Romantic Movement, earning him the distinctive anagram M. Première Prose, crafted out of his name by Hugo himself. By 1828, after receiving a pistol wound in a duel with a jealous husband, the author used the incident as inspiration for another tale, La vase étrusque. (Mérimée’s ardent heart would later lead him into a brief dalliance with notorious author and compulsive lover of writers and musicians, George Sand, who indifferently stated after their one night together: “It wasn’t much.”) Other works from this period include La Jacquerie, La famille de Carvajal and the historical novel Chronique du règne de Charles ix, a fictionalized depiction of France at the time of the 16th-century Huguenot massacre. Another story, Mateo Falcone, dealt with the defense of family honor amidst high drama — as a result, it would become the source of several future operatic treatments.

ABOUT THE OPERA becomes the basis for Halévy and Meilhac’s libretto. They chose to exclude several events and characters: Carmen’s one-eyed husband García (killed by José for cheating at cards), Remendado’s wounding (and later killing of García) during a smuggling run gone wrong, and Carmen’s torrid liaison with an Englishman in Gibraltar as part of a future swindle. Micaëla was born out of a casual reference to José’s hometown girls with blue skirts and golden, plaited hair. Escamillo evolved from the slight mention of the picador Lucas, who is pursued by Carmen, but defeated in the ring, crushed beneath the weight of his horse and the subjugating bull. (Clearly his diminutive image as a faltering sidekick to the all-important matador had to be improved, although the term toreador is really a French bastardization of the Spanish word torero, a generic term for all the different players in the Corrida). Following the publication of Carmen in the Revue des deux mondes, Mérimée completed his Histoire de Don Pèdre, roi de Castile, in the same periodical, as well as La dame de pique, a French translation of Alexander Pushkin’s Russian play. His fortunes were about to improve a second time as the new French emperor, Napoleon iii, married family friend Eugenia de Montijo in 1853. From then on, he existed in the shadows of the court as a confidant of the empress. Among his reduced output were a collaboration with the emperor on a history of Julius Caesar, a series of articles on Peter the Great, a novella, La chambre bleue (dedicated to his patroness), translations of works by Ivan Turgenev, and the author’s final manuscript, Lokis. The feared outcome of the FrancoPrussian War with the likely fall of the Second Empire and the pending loss of its rulers may have hastened his final illness, and

Mérimée died in 1870, missing the premiere of Bizet’s opera Carmen by just five years. Throughout the 20th century, Carmen continued to be a rich source for the exploration of modern psychology, having yielded at least ten film versions, several ballets and a theater piece, La tragédie de Carmen, by Peter Brook. Part of the story’s enduring allure is its femme fatale, a reverse Don Juan, whose pathological libido similarly leads to the ruin of others as well as herself. For her prey, she chooses the only man who pays her no mind, Don José, whose bourgeois upbringing and behavior is still controlled by the destructive hold of his distant mother. Though in Mérimée we are introduced to him as a dangerous outlaw whose quick impulses have already led to murder, the opera initially represents José as a virtual innocent, readily susceptible to drastic character reversal and eventual downfall. In both cases, he is ripe for emasculation, as evidenced by the persistent phallic imagery so often noted by commentators on the story (the priming pin, the lance, the blunderbuss — not to mention that Carmen’s function at the tobacco factory is to cut the ends off cigars). Carmen refers to him more than once in the derogatory as “canary bird,” a reference to his yellow dragoon uniform and general lack of valor. She has no qualms about cheating on him, at once dancing and flirting with his commanding officer, maintaining an ongoing relationship with her half-estranged husband and seducing English merchants for financial gain. Throw in the opera’s virginal young woman and a virile, undefeated conqueror, and a complex and dysfunctional love quadrangle ensues. Clearly the smartest of the bunch, Carmen aptly sums it up right from the start in her Habanera: amour is quite unpredictable — lacking when you want it and uncontrollable when it is there. – David Sander

GEORGES

BIZET

b Paris, Oct. 25, 1838 d Bougival (France), June 3, 1875

eorges Bizet’s short career was primarily devoted to opera, reaching a remarkable climax in 1875 with Carmen. This iconic opera followed a succession of complete and incomplete works that had no great success during the composer's lifetime. Only six operas survive in a performable edition. Bizet’s childhood was steeped in music. His mother, Aimée, was the sister of François Delsarte, who would become famous for his development of singing and acting technique. It was at his home where Aimée met her future husband, Adolphe Bizet, also a music teacher. Young Georges entered the Paris Conservatoire in October 1848, just before his tenth birthday. He developed extraordinary gifts as a pianist and score-reader and won prizes for both piano and organ playing. Among his earliest works from the mid-1850s was Le Docteur Miracle, a comic opera in the Italian style. It was composed for a competition offered by Jacques Offenbach’s Bouffes-Parisiens theater, for which he shared first prize. Soon after, Bizet won the prestigious Prix de Rome, and while in Italy, he composed Don Procopio, the first of a series of yearly submissions expected by the Académie. In compliance with a related subsidy, the Opéra-Comique was required to produce works by Prix de Rome winners. When Bizet returned from Italy in 1860, the theater commissioned him to write La guzla de l’émir, which was put into rehearsal but then withdrawn when the composer received a much more promising

offer from the Théâtre Lyrique for Les pêcheurs de perles (The Pearl Fishers). Although admired by many, Les pêcheurs de perles was not well received by the press and dropped out of the French repertoire until after Bizet’s death. Léon Carvalho, director of the Théâtre Lyrique, reaffirmed his faith in Bizet by commissioning a grand opera with a libretto Gounod had abandoned, Ivan iv. Carvalho’s repeated postponements, however, drove Bizet to offer the piece to the Opéra, where it was rejected. Several years of financial difficulty followed, and the composer was forced to arrange transcriptions for publishers Choudens and Heugel in order to support himself. Bizet had signed another contract with Carvalho for La jolie fille de Perth (The Fair Maid of Perth), inspired by the current rage for operas based on the writings of Sir Walter Scott. The new work finally reached the stage in December 1867, where it played for 18 performances — again too few to ensure a Parisian revival in the composer’s lifetime. In the ensuing years, several projects proposed for the Opéra-Comique came to nothing. Of these, only Clarissa Harlowe and Grisélidis survive in draft. Djamileh, however, was produced in 1872. Bowing to the recent trend for Oriental themes, Djamileh still failed to please its audience and was withdrawn after a short run. The Opéra-Comique next commissioned a full-length opera, set to text by the notable team of Henri Meilhac and Ludovic Halévy, which would become Carmen in 1875. Bizet still dreamed of producing a work at the Opéra and found time to compose Don Rodrigue after production of Carmen had been delayed. But the old Opéra burned down on October 28, 1873, and the composer would not be able to achieve this ambition during his brief existence.

| CARMEN

Portrait of Georges Bizet by Camillo Miola | San Pietro Maiella Conservatoire (Naples) | Alfredo Dagli Orti / The Art Archive at Art Resource, NY

COMPOSER

Photos © CJ Standish

MEET THE ARTISTS | nora sourouzian and victoria vargas

Victoria Vargas and Nora Sourouzian

What can’t you live without in the rehearsal hall? VV Bottled water, deodorant and my score.

| MINNESOTA OPERA mnopera.org

NS Once the role is in my head, I need to discover it on stage and get out of the intellectual knowledge that the score gives me. In rehearsal, I need all of my focus and energy, and water.

When did you begin preparing for this role? VV This is my fourth time singing Carmen, although the other times were semi-staged or in concert. The past six years have brought me to where I am now and it will only continue to grow with performance. NS I have done this role several times in the past, but nevertheless, I give myself two to three weeks to go back to the basics, reading and rediscovering what is written on the page since when we are on stage performing, a lot of things get in the way and disturb what the composer was originally intending. Tell us about any pre-show routines that you follow. VV I am a bit obsessive about score studying, even right before I go onstage.

I always feel there is something new to gain by looking at the score even when you are close to a piece. I also love to do yoga the day of a show. NS I try to sleep as long as possible and, after having coffee and breakfast, I will do some yoga exercises. Around 3:30pm, I take a siesta and revisit the opera mentally. At 4pm, I usually eat a steak and then go to the opera house to seriously warm up the voice. If not singing, what would you be doing? VV I love helping people, so you’d probably find me in social work. NS Since I do what is for me the most beautiful job on Earth, I always have a blank on answering this question! Describe Carmen (and yourself) in three words. VV Carmen is free, confident and mysterious. I am loyal, sarcastic and diligent. What has been challenging in your preparation? VV What I find challenging in this new production is not reverting to the traditional and conventional ways that I have always

seen Carmen depicted. This production sheds new perspectives on her classic character and it’s been very rewarding to find undiscovered layers to Carmen. NS Working here has been really easy and comfortable, thanks to the team being a great family, so my biggest challenge did not come from the work but from my jet-lag that seemed to take ages to leave me in peace! What is the best part about playing Carmen? VV First and foremost: I love her music. Secondly, Carmen and I are very different people and it’s fun to step outside of my usual wheelhouse. NS We live in a society where the individual is the center of all our efforts, nevertheless, we seem to be suffering more and more from loneliness, and ironically enough, even more so with social media. It is really nice to experience what it is like to be the center of attention and feel the physical gaze of everyone. That does not happen so often in real life! I guess that is why so many women and singers want to be Carmen. What is your favorite costume piece that you wear in the opera? NS Costume designer Jessica Jahn did an amazing job to revive the 1970s, so all of the costumes are fun to wear. The colors are so warm and the designs are so complimentary to the body.

MEET THE ARTISTS

What do you love about the 1970s? VV It’s definitely the dances. Any move called the “washing machine” is fine by me! NS Carmen is about freedom, both for women in that era and for all people — that’s exactly what attracts me to the 1970s. Individuals were no longer the product of rules and duty; they broke those boundaries to be themselves. How does the role of Carmen fit into your career path? VV It is such a pleasure and an honor to play this role for Minnesota Opera. It is here that I have grown in many ways, personally and artistically, and I can’t thank them enough for allowing me the opportunity to play this legendary role. On an artistic level, Carmen is a huge stepping stone as an actress. For most of my young artist career, I had been singing small character roles, so the opportunity to sing a role like this as a guest artist is thrilling! Describe what it feels like to be making your American debut at Minnesota Opera? NS I am really excited to make my American debut, and with a role that I am more and more at ease with, but above all, it’s a great city, where I sense that everything is done to please the citizen and make their life enjoyable. At least it is how I am feeling here. Thank you to you all!

| CARMEN

nora sourouzian and victoria vargas

THE ARTISTS BERGEN BAKER | mercédès

Hailed by the Star Tribune as having a “… fetching blend of grace, warmth and humor on stage,” Bergen Baker has been a featured performer with companies such as Minnesota Opera, Minnesota Orchestra, Skylark Opera and Florentine Opera. Ms. Baker’s concert and oratorio experience includes performances of Handel’s Messiah, Mozart’s Mass in C minor, Vivaldi’s Gloria, Mendelssohn’s Elijah and Igor Stravinsky’s Les noces, as well as many programs of art song. Ms. Baker holds bachelor’s and master’s degrees in vocal performance from DePaul University and the University of Minnesota, respectively. At the University of Minnesota, she appeared in the role of Sharon Falconer in the Midwest premiere of the Grammy-award winning American opera Elmer Gantry by Robert Aldridge. This season’s credits include Wowkle in La fanciulla del West and Mercédès in Carmen, both with Minnesota Opera, Ruggiero in Handel’s Alcina with Metamorphosis Opera Theater, Kate in Cole Porter’s Kiss Me, Kate with the Mankato Symphony and an artistic and education residency for the Zeiders American Dream Theater in Virginia Beach.

BRAD BENOIT | le remendado

In the three years he spent in the Resident Artist Program, tenor Brad Benoit sang many roles with Minnesota Opera including Ruiz in Il trovatore, Arlecchino and Lampwick in The Adventures of Pinocchio, Count Almaviva in The Barber of Seville, Gabriele in Casanova’s Homecoming, Lord Cecil in Roberto Devereux, Parpignol in La bohème, the Third Jew in Salome and Gastone in La traviata. He also covered the roles of Don Ramiro in Cinderella, Leicester in Mary Stuart and Edgar in Wuthering Heights. In 2011, Brad was a featured soldier in the world premiere of Kevin Puts’ Silent Night and covered Nicklaus Sprink, a role he sang at the last minute on opening night from the side of the stage to rave reviews. Mr. Benoit has participated in several prestigious training programs at Santa Fe Opera, Chicago Opera Theater and the Staunton Music Festival. He has also performed the roles of Rinuccio in Gianni Schicchi for Opera in the Ozarks, Roméo in Roméo et Juliette and Hadji in Lakmé at his alma mater, Loyola University. Mr. Benoit currently heads the vocal program at Shattuck-St. Mary’s School.

| MINNESOTA OPERA mnopera.org

AARON BREID | assistant conductor

Aaron Breid is in his fourth season as assistant conductor for Minnesota Opera. In the 2014–2015 season he leads four performances of Carmen and served as cover conductor for La fanciulla del West, Hansel and Gretel, The Elixir of Love and The Manchurian Candidate. Last season Mr. Breid led all nine performances of The Magic Flute, a production the Star Tribune heralded as the “… embodiment of classical clarity.” Past seasons have seen Mr. Breid conduct Turandot, as well as serve as cover conductor and chorusmaster for productions of Nabucco, Anna Bolena, Hamlet, Turandot and Douglas J. Cuomo’s Doubt. In 2011, Mr. Breid made his European debut as a semifinalist for bdmi’s International Opera Conducting Competition in Bulgaria. He has served as assistant conductor/coach for Brevard Music Festival, Center Stage Opera and is a former student of the prestigious Pierre Monteux School for Conductors. Most recently, Mr. Breid has served two seasons as associate conductor for Des Moines Metro Opera and this summer will be a participant in the Merola Opera Program in San Francisco.

THE ARTISTS MICHAEL CAVANAGH | stage director

Michael Cavanagh has directed over 100 productions at opera companies across North America. A native of Winnipeg, he studied at the Hochschule für Musik in Hamburg, apprenticed as a stage director with Vancouver Opera and later served as artistic director of Edmonton Opera for four seasons. He is currently the Director/ Producer in Residence at Opera on the Avalon, a young artist program in St. John's, Newfoundland. He has written libretti for seven chamber operas that have been produced many times, and is noted for his role as dramaturg and original director of new works. He has become a regular at the San Francisco Opera; in 2012 he made a smash debut with his production of John Adams' Nixon in China (a production he developed for Vancouver Opera as part of the 2010 Winter Olympics) and has directed a hugely successful new production of Carlisle Floyd’s Susannah. He has also worked at the Royal Opera House — Covent Garden, Opera Philadelphia, L’Opéra de Montréal and many other companies. He recently remounted his Nixon in China in Dublin, and will make his debut at the Royal Swedish Opera in Stockholm. Upcoming productions include return engagements at the opera companies of Vancouver and Winnipeg and Lucia di Lammermoor for San Francisco Opera.

MICHAEL CHRISTIE | conductor

Michael Christie became music director of Minnesota Opera in September 2012. Before coming to Minnesota, he served as music director of the Phoenix Symphony (2005–2013), the Brooklyn Philharmonic (2001–2013), the Queensland Orchestra (Brisbane, Australia; 2000–2004) and the Colorado Music Festival in Boulder (2001–2013). Recent opera engagements have included acclaimed productions with Opera Theatre of St. Louis (Alice in Wonderland, The Ghosts of Versailles and The Death of Klinghoffer), Wexford Festival Opera (Silent Night), Minnesota Opera (The Manchurian Candidate, La traviata, Wuthering Heights, Silent Night, Madame Butterfly, Nabucco, Anna Bolena, Turandot, Manon Lescaut, Arabella, Macbeth and La fanciulla del West) and Aspen Opera Theatre (The Ghosts of Versailles and West Side Story). In 2013, Michael helped inaugurate Opera Philadelphia’s ten-year New American Opera Project with the East Coast premiere of Silent Night and made his San Francisco Opera debut conducting the world premiere of The Gospel of Mary Magdalene. Michael lives with his family in Minneapolis.

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RAFAEL DAVILA | don josé

Just recently seen as Dick Johnson in La fanciulla del West for Minnesota Opera, Rafael Davila has quickly risen to be one of the most sought-after tenors of his generation. With almost 60 roles already, this season marks his return to Teatro San Carlo (Naples) as Canio in Pagliacci and as Turiddu in Cavalleria rusticana after his debut with the company in 2004 in the title role of Verdi’s Un ballo in maschera. This past season also marked his debut as Don Alvaro in La forza del destino for Washington National Opera as well as his debut with Florida Grand Opera as Cavaradossi in Tosca. Previously, Mr. Davila made his debut in Washington as Pollione in Norma as well as Radames in Aida for Manitoba Opera. In 2012 he sang the title role of Verdi’s Otello for Sarasota Opera and appeared as Manrico in Il trovatore for Opera New Jersey and Kansas City Opera. That same year Rafael sang Ismaele in Nabucco with Opera de Bilbao and Calaf in Turandot for Opera de Puerto Rico. Recent credits include Des Grieux in Manon Lescaut in Valencia; Cavaradossi in Tosca for Leipzig Opera; Don José in Carmen for Washington National Opera, Palm Beach Opera, Lyric Opera of Kansas City and New Zealand Opera; Pinkerton in Madama Butterfly for Opera de Puerto Rico; and his debut with Lyric Opera of Chicago in Bel Canto.

THE ARTISTS GERARD MICHAEL D’EMILIO | moralès

Bass-baritone Gerard Michael D’Emilio has been hailed for his “commanding presence” and a voice described as “thrilling” and “stentorian.” His roles have included King René (Iolanta), Sulpice (La fille du régiment), the Villains (Les contes d’Hoffmann), Bottom (A Midsummer Night’s Dream), Kecal (The Bartered Bride), Leporello (Don Giovanni) and Don Alfonso (Così fan tutte). Equally at home in concert repertoire, Mr. D’Emilio has been featured as the bass soloist in Mozart’s Requiem, Pilatus in Bach’s Matthäus-Passion and the bass soloist in Handel’s Messiah. He received his m.m. from Westminster Choir College in 2014 and graduated from Oberlin College in 2012 with a b.m. in voice performance and a b.a. with highest honors in politics. He is an alumnus of such training programs as the Glimmerglass Festival, Music Academy of the West and CoOPERAtive. For Minnesota Opera, Mr. D’Emilio was Jake Wallace in La fanciulla del West and returns as the Lackey in Ariadne auf Naxos and Mark Torrance in The Shining. He will join Des Moines Metro Opera for its 2015 season, appearing as Jake Wallace and covering Stárek in Jenufa.

SIENA FOREST | frasquita

Soprano Siena Forest graduated with a master’s and a bachelor’s degree in voice performance from Indiana University, where she studied with Carol Vaness. She was the winner and recipient of the Wilfred C. Bain Opera Scholarship as well as the Schilling-Tourner Friends of Music Voice Scholarship. Siena appeared with Indiana University Opera Theater as Gretel in Hansel and Gretel (2013), Nannetta in Falstaff (2013) and Musetta in La bohème (2011). She performed The Impresario as Mademoiselle Silberklang in Carol Vaness’ opera workshop. She also appeared as Pamina in The Magic Flute as well as the soprano soloist in Beethoven’s Symphony No. 9 with the ok Mozart International Music Festival. In 2013, Siena was a studio artist with Central City Opera. Upcoming events include covering the role of Marie in Mill City Summer Opera’s production of La fille du régiment and the soprano soloist in Handel’s Messiah with the South Dakota Symphony. As a resident artist for Minnesota Opera, she sang the Dew Fairy in Hansel and Gretel and returns as Echo in Ariadne auf Naxos and Papagena in The Magic Flute.

| MINNESOTA OPERA mnopera.org

JESSICA JAHN | costume designer

Previous works include: Love, Loss and What I Wore at the Westside Theatre; Die Mommie Die! at New World Stages (winner of the Lucille Lortel Award); The Tutors at 2ST Uptown; Once On This Island at Papermill Playhouse; The Manchurian Candidate, Carmen, Roberto Devereux, Maria Stuarda, Anna Bolena and Werther at Minnesota Opera; Maria Stuarda at Houston Grand Opera; Life Is A Dream (world premiere) at Santa Fe; Carousel at Glimmerglass Festival; Monodramas and Mosè in Egitto at New York City Opera; Anna Bolena at Lyric Opera of Chicago; Don Bucefalo at Wexford Festival Opera; and Norma at San Francisco Opera and Teatro de Liceu (Barcelona). Upcoming: Akeelah and the Bee at Children’s Theatre Company, Maria Stuarda at Seattle Opera and Norma at Canadian Opera Company. jessicajahn.com

THE ARTISTS BEN JOHNSON | lillas pastia

Ben Johnson is a native Minneapolis artist who has worked with Minnesota Opera as a member of the chorus, as well as in several roles, totaling over 40 productions. Notable credits include the Opera’s world premieres of The Manchurian Candidate, Doubt, Silent Night and The Grapes of Wrath. Mr. Johnson continues to study and perform on other local stages, including the Ordway and Chanhassen Dinner Theaters. Favorite roles include Marius in Les Miserables, the title role in Joseph and the Technicolor Dreamcoat and, most recently, Corny Collins in Hairspray at Chanhassen. Ben has also begun to work as Vocal Director for Mounds View Community Theater for its yearly musical productions. Ben has worked as a resident songwriter for Solomon’s Porch, a faith community in south Minneapolis since 1998.

KYLE KETELSEN | escamillo

Bass-baritone Kyle Ketelsen is in regular demand by the world’s leading opera companies and orchestras for his vibrant, handsome stage presence and his distinctive vocalism. Mr. Ketelsen opened the 2014–2015 season as Leporello in Don Giovanni at Lyric Opera of Chicago. Other highlights of the season include his return to Canadian Opera Company as Leporello in Don Giovanni and Cadmus in Semele at the Brooklyn Academy of Music, as well as Escamillo in Carmen at the Chorégies d’Orange Festival in France. Mr. Ketelsen’s 2013–2014 season featured house debuts with Opernhaus Zurich as Méphistophélès in Faust and Staatsoper Berlin as the title role in Le nozze di Figaro, and a return to Lyric Opera of Chicago as Basilio in a new production of Il barbiere di Siviglia. He reprised two signature roles with the Bayerische Staatsoper as Escamillo and Leporello. Recent seasons include Enrico viii in Minnesota Opera’s Anna Bolena; a return to the Metropolitan Opera in Billy Budd as Mr. Flint and also Escamillo; and Leporello in Don Giovanni at the Metropolitan Opera, Houston Grand Opera, Teatro Real and at the Festival d’Aix-en-Provence. KYLE KETELSEN’S APPEARANCE IS GENEROUSLY SPONSORED BY SUE AND JIM NELSON.

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ANDREW LOVATO | le dancaïre

Andrew Lovato has swiftly established himself as a young artist on the rise. He will be making his Cincinnati Opera debut in Ricky Ian Gordon’s Morning Star as Harry Engel and will be returning to Minnesota Opera to perform the role of Harlequin in Ariadne auf Naxos as well as Sciarrone in Tosca. Mr. Lovato made his Minnesota Opera debut as Sonora in La fanciulla del West and sang Young Raymond in the world premiere of The Manchurian Candidate by Kevin Puts and Mark Campbell. In 2013 he performed the character of Dr. Malatesta in Santa Fe Opera’s Apprentice Artist opera scenes program. Mr. Lovato is the winner of the George L. Hackett Scholarship in the 2011 Livingston Mather Competition. He graduated with a Master of Music from the University of Cincinnati’s College Conservatory of Music in 2012. There he performed the role of Masetto in its production of Don Giovanni. He was a soloist with the Cincinnati Vocal Arts Ensemble during its 2012–2013 season.

THE ARTISTS MARK McCULLOUGH | lighting designer

Mark McCullough maintains a highly successful career with opera and theater companies in the United States and abroad. He has lit productions for the Bolshoi Theatre (The Tales of Hoffmann); Metropolitan Opera (Le nozze di Figaro); the National Centre for the Performing Arts in Beijing (The Tales of Hoffmann); La Scala (Cyrano de Bergerac), Madrid’s Teatro Real (Luisa Miller), Opéra National du Rhin (The Beggar’s Opera), Royal Opera House — Covent Garden (The Queen of Spades), Opera North (Eugene Onegin) as well as numerous productions with Dallas Opera; Boston Lyric Opera; Washington National Opera; Glimmerglass Opera; New York City Opera; Seattle Opera and San Francisco Opera including the full Ring Cycle directed by Francesca Zambello. Theater credits include the Broadway productions of Outside Mullingar; Jesus Christ Superstar (revival); After Ms. Julie; and The American Plan. International theater credits include Whistle Down the Wind (Aldwych Theatre, London); Der Besuch Der Alten Dame (Ronacher Theatre, Vienna); Artus (St. Gallen, Switzerland); and Rebecca (St. Gallen and the Palladium Theatre).

COOPER NOLAN | don josé

Tenor Cooper Nolan has been called a “powerhouse voice” with a “bright, focused and expressive” sound by Opera News, while The New York Times claimed that his “... powerful tenor served the music well.” As a Minnesota Opera resident artist this season, Mr. Nolan sang the role of General Bollinger in The Manchurian Candidate and covered Nemorino in L’elisir d'amore. He will join the Santa Fe Apprentice Program to cover Teague in the world premiere of Cold Mountain, as well as Narraboth in Salome. This past season, Mr. Nolan performed Rodolfo in La bohème with the Savannah Philharmonic and Edgardo in Lucia di Lammermoor with the Winter Opera St. Louis. In the summer, he joined the Young Artists at Glimmerglass, where he sang the Officer and covered Bacchus in Strauss’ Ariadne auf Naxos. While there, he also covered Samuel Griffiths in Tobias Picker’s An American Tragedy. Previous credits include the tenor soloist in Die Erst Walpurgisnacht with the Saint George’s Chorale, Luigi in Il tabarro and the Chevalier de la Force in Dialogues des Carmélites with Lidal North at the Norwegian National Opera. COOPER NOLAN’S APPEARANCE IS GENEROUSLY SPONSORED BY CONNIE AND LEW REMELE.

| MINNESOTA OPERA mnopera.org

RICHARD OLLARSABA | escamillo

Praised for his “expressive, resonant voice” (Sun-Times) and his “powerful, beautiful and well controlled sound,” (Opera Lively) bass-baritone Richard Ollarsaba is quickly gaining ground in the operatic and concert arenas. A current member of the Ryan Opera Center, Richard stepped in for the title role in Lyric Opera of Chicago’s 2014 season production of Don Giovanni as well as the Major-Domo in Capriccio. At loc, he was also seen in productions of Anna Bolena, Tosca and The Passenger. Last season, he appeared in Otello, Madama Butterfly, Parsifal and La traviata. During his time in Chicago, Richard has performed at the Grant Park Music Festival and the Ravinia Festival and with such ensembles as Apollo Chorus of Chicago, Elmhurst Symphony and Civic Orchestra of Chicago. Richard is the 2014 winner of the American Opera Society of Chicago Scholarship Competition and a 2013 Metropolitan Opera National Council Auditions grand finalist. Richard has participated as a fellow at the Tanglewood Music Center and Music Academy of the West. As a former resident artist with Minnesota Opera, he performed the roles of Rochefort in Anna Bolena and Timur in Turandot.

THE ARTISTS SHANNON PRICKETT | micaëla

Hailed as a soprano with “... a vocalism that is rich and unforced, equally capable of a sudden drop to a sustained whisper or being ratcheted up to a thrilling forte without a hint of strain ... ” by Madison Magazine, Shannon Prickett completed her master’s degree in opera, singing the title role in Médée and Suzel in L’amico Fritz. In 2012, Shannon performed the title role of Suor Angelica in Siena (Italy), and also won the District Metropolitan National Council Opera Auditions, advancing to the regional competition, in which she received third place. At the University of Wisconsin, Shannon was the soprano soloist in Verdi’s Requiem as well as Mimì in La bohème and Donna Elvira in Don Giovanni. In 2010, she made her debut at Des Moines Metro Opera, singing the role of the Lady-in-waiting in Verdi’s Macbeth. For Minnesota Opera, she has appeared as the Fortuneteller in Arabella, the Lady-in-waiting in Macbeth, the Woman in Red in The Dream of Valentino, Giannetta in L'elisir d'amore and Dora in The Manchurian Candidate. She returns as the Second Lady in The Magic Flute and the Foreign Princess in Rusalka. SHANNON PRICKETT’S APPEARANCE IS GENEROUSLY SPONSORED BY KAY NESS AND KARLA MILLER.

ERHARD ROM | set designer

Erhard Rom was named as a finalist in the Designer of the Year category of the 2015 International Opera Awards in London. He has designed settings for over 200 productions, and his design work has been displayed in the Prague Quadrennial exhibition and at the National Opera Center in Manhattan. His many credits include designs for San Francisco Opera, Wexford Festival Opera, Seattle Opera, Vancouver Opera, Glimmerglass, Opera Theatre of Saint Louis, Minnesota Opera, the Bord Gáis Energy Theatre in Dublin, Fort Worth Opera, Boston Lyric Opera, Florida Grand Opera, Opera Colorado, Opéra de Montréal, the Atlanta Opera, Wolf Trap Opera, Opera Boston and Lyric Opera of Kansas City. His theatrical credits include designs for Syracuse Stage, Geva Theatre Center, Indiana Repertory Theatre, Folger Shakespeare Theatre, Shakespeare Santa Cruz, Merrimack Repertory Theatre and the Woolly Mammoth Theatre. In 2014 he designed the European premiere of Kevin Puts' recent opera, Silent Night, which won accolades from the 2015 Irish Times Theatre Awards. He teaches design at Montclair State University in the department of theater and dance.

MARITA K. SØLBERG’S APPEARANCE IS GENEROUSLY SPONSORED BY BERNT VON OHLEN AND THOMAS NICHOL.

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MARITA K. SØLBERG | micaëla

After winning the Queen Sonja Competition in 2001, Arendalsposten said of Norwegian soprano Marita Sølberg, “It is a voice of almost mystic dimensions, great and fully grown and with a veil of the unspoken, as if it is brought forth from a deep secret source. Marita Sølberg has the potential to be one of our most shining stars.” In 2012, she was awarded the highest music prize in Norway, The Music Critics’ Prize, for her performance of Mimì in La bohème at Norwegian National Opera. She returns to that company in 2016 as Liù in Turandot and also as Pamina in Die Zauberflöte at Los Angeles Opera and Mimì at the Vienna Staatsoper. Recent engagements include Donna Elvira in Don Giovanni, Solveig in Peer Gynt, Mimì in La bohème at the Vienna Staatsoper, Antonia in Les contes d'Hoffmann, Giulietta in I Capuleti ed i Montecchi, Micaëla in Carmen; Drusilla and Virtú in L’incoronazione di Poppea at Norwegian National Opera; the Countess in Le nozze de Figaro at Teatro La Fenice; St. Matthew’s Passion on tour; Kathrine Sigismund in The Fourth Watch of the Night, at both Norwegian National Opera and Savonlinna Opera Festival; and Cleopatra in Giulio Cesare in Beaune, among many others.

THE ARTISTS NORA SOUROUZIAN | carmen

French-Canadian mezzo-soprano with Armenian roots, Nora Sourouzian studied at the Université de McGill in Montreal and at the International Opera Centrum Nederland in Amsterdam. She was a finalist at the International Hans Gabor Belvedere Competition in Vienna and at the International Competition for Wagnerian Voices. Subsequently she performed at the opera houses of Strasbourg, Kassel, Cologne, Leipzig, Zurich, Geneva, Amsterdam, Paris, Palermo, Naples, Bologna, Lisbon, Oslo and Tokyo as well as at the festivals of Göttingen (Handel Festival) and Wexford. Among her most important parts are the title roles of Thérèse, La Navarraise, Carmen, Mignon, Giulio Cesare, Pénélope, Phaedra, Hänsel in Hänsel und Gretel, Romeo in I Capuleti ed i Montecchi, Charlotte in Werther, Dulcinée in Don Quichotte, Lucretia in The Rape of Lucretia, Marguerite in La damnation de Faust, Der Komponist in Ariadne auf Naxos, Idamante in Idomeneo, Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte, Laura in La Gioconda, Leonora in La favorita and Zulema in Dubois’ new opera Aben Hamet. NORA SOUROUZIAN’S APPEARANCE IS GENEROUSLY SPONSORED BY MARY AND GUS BLANCHARD.

HEIDI SPESARD-NOBLE | choreographer

Heidi Spesard-Noble began her professional career with Minnesota Dance Theater, where she performed classical and contemporary ballets by George Balanchine, Petipa, Eugene Loring, Frederick Ashton and as a soloist in Loyce Houlton’s Nutcracker Fantasy. She also appeared in Loyce’s film, Knoxville: Summer of 1915. She continued at Kansas City Ballet and Chanhassen Dinner Theater, where she appeared in more than 15 musicals, including 42nd Street, Phantom, Oklahoma!, Crazy for You and My Fair Lady. Performances include The Merry Widow and La traviata with Minnesota Opera, and Nutcracker Not So Suite and Cinderella with the Ballet of the Dolls. Heidi’s choreography credits include Brigadoon and Big Bang (cdt); The Dream of Valentino, Griffelkin, Manon Lescaut, Noye’s Fludde, Down in the Valley, Nabucco, La traviata, Carmen, Orazi e Curiazi, Wuthering Heights and Lakmé with Minnesota Opera; and she assisted for the world premiere of The Grapes of Wrath in Minnesota, and in Utah and Pittsburgh. Current projects include Big Fish for St. Olaf College as well as Crazy for You and Project Opera Summer Camp.

| MINNESOTA OPERA mnopera.org

VICTORIA VARGAS | carmen

Mezzo-soprano Victoria Vargas recently returned to Minnesota Opera as Mrs. Lowe in The Manchurian Candidate. Previously, she spent four seasons as a resident artist in the roles of Tisbe in Cinderella, Anna in Mary Stuart, Flora in La traviata, Nelly in Wuthering Heights, Alisa in Lucia di Lammermoor, Suzuki in Madame Butterfly, Fenena in Nabucco, Smeton in Anna Bolena, Adelaide in Arabella, Rambova in The Dream of Valentino and the Third Lady in The Magic Flute. She also appeared as Carmen with Lyric Opera of the North (Duluth) last fall. In 2013, she was a second place Upper Midwest regional finalist in the Metropolitan Opera National Council Auditions. Ms. Vargas has been a young artist at Sarasota Opera and Chautauqua Opera, where she covered the role of Mamma Lucia in Cavalleria rusticana. She returned for a second season as Laura in Luisa Miller and the Second Lady in Die Zauberflöte. She has also been at Opera Theatre of Saint Louis, covering the role of Ruth in The Pirates of Penzance. Soon she will make debuts with Minnesota Orchestra, the Phoenix Symphony and the South Dakota Symphony. VICTORIA VARGAS’ APPEARANCE IS GENEROUSLY SPONSORED BY RACHELLE D. CHASE

THE ARTISTS CHRISTIAN ZAREMBA | zuniga

Praised by The New York Times as “a stage animal with a big bass voice,” this season sees bass Christian Zaremba debut at the Wolftrap Opera Festival as Bartolo (Le nozze di Figaro) and Il Re (Aida) in concert with the National Symphony Orchestra. As a resident artist with Minnesota Opera he has appeared as Ashby (La fanciulla del West) and General Tracy (The Manchurian Candidate), and with the Annapolis Chorale as Jesus in Bach’s Johannes Passion and the bass soloist in Handel’s Messiah. Last season saw Christian debut at the Glimmerglass Festival as the bass soloist in David Lang’s The Little Match Girl Passion. With Minnesota Opera he sang both Sarastro and the Sprecher (Die Zauberflöte), Lamoral (Arabella), the Lawyer (The Dream of Valentino) and the Innkeeper (Manon Lescaut). Other roles include Pistola (Falstaff) with the Martina Arroyo Foundation, Colline (La bohème) and Don Basilio (Il barbiere di Siviglia) with Long Island Opera. Christian performed the speaking role of the Porter in Massenet’s Manon and covered the principal acting role of Agamemnon in Iphigénie en Tauride at the Metropolitan Opera.

MINNESOTA OPERA ORCHESTRA

VIOLIN I

Allison Ostrander Concertmaster

Natalia Moiseeva

Assistant Concertmaster

Julia Persitz David Mickens Angela Waterman Hanson Heidi Amundson Conor O’Brien Jill Olson Colin McGuire Masie Block

VIOLIN II

Laurie Petruconis Elizabeth Decker Stephan Orsak Melinda Marshall Elise Parker Allison Cregg David Block Huldah Niles

VIOLA

Emily Hagen Susan Janda Laurel Browne Jenny Lind Nilsson Jim Bartsch Valerie Little

CELLO

Jim Jacobson Sally Gibson Dorer Rebecca Arons Teresa Richardson Dale Newton Diane Tremaine

BASS

John Michael Smith Connie Martin Jason C. Hagelie Michael Watson

FLUTE

Michele Frisch

Double piccolo

Amy Morris

Double piccolo

OBOE

Michael Dayton Jeffrey Marshak

Double English horn

CLARINET

Karrin Meffert-Nelson Nina Olsen

BASSOON

Coreen Nordling Laurie Hatcher Merz

TRUMPET

John G. Koopmann Christopher Volpe

TROMBONE

Phillip Ostrander John Tranter David Stevens

TIMPANI

Kory Andry

PERCUSSION

Matthew Barber Jay Johnson

HARP

Min J. Kim

HORN

Matthew Wilson Charles Hodgson Timothy Bradley Lawrence Barnhart

MINNESOTA OPERA CHORUS

Marysa Abbas, Matthew Abbas, Michael Burton, Carolyn Cavadini, Christina Christiansen, Ben Crickenberger, Cecile Crozat-Zawisza, Daniel Dahle, Benjamin Dutcher, Jennifer Eckes, Stefan Egerstrom, Will Esch, Carole Finneran, Peter Frenz, Brian Goldenman, Michelle Hayes, Jason Hernandez, Benjamin Hills, Cresta Hubert, Timothy James, Ben Johnson, Elizabeth Kohl, Cassandra Koob, Gary Kubert, Evan Kusler, Rick Latterell, Michelle Liebl, Maggie Lofboom, Elizabeth Longhurst, Meghan Lowe, Joel Mathias, Michael Mayer, Eric Mellum, Monica Murray, Jessica Nesbit, Phong Nguyen, Grant Scherzer, Cathryn Schmidt, Jonathan Sill, Justin Spenner, Kelsey Stark D’Emilio, Lauren Stepka, Staci Stringer, Kristie Tigges, Kelly Turpin, Colyn Tvete, Eryn Tvete, Tricia Van Ee, John Verkuilen, Rachel Vickers, Lola Watson

SUPERNUMERARIES

Joe Allen, Andy Flamm, Kevin Klein, Derek Meyer, Rick Miller, Tom Ringberg, Maxwell Savage, David Schneider

| CARMEN

CHILDREN’S CHORUS Children’s chorus members are participants in Minnesota Opera’s Project Opera program

Alaina Adkinson, Maddie Anderson, Riley Eddins, Peter Finneran-Flyckt, Ellie Hahn, Maggie Hayes, Madeline Johnson, Alex Meyer, Sebastian Miezianko, Evan Moser, Alice O’Brien, Jack O’Brien, Zoey Paulson, Izzy Rousmaniere, Michael Scott, Shelby Scott, Charlie Schirvar, Jennah Slayton , Jonny Slayton, Kristian Stordalen, Emma Tausigg, Clare Tichawa, Fletcher Zavadil

DIRECTOR'S NOTES

A “BOOGIE NIGHTS” CARMEN

| MINNESOTA OPERA mnopera.org

After Franco’s death, an intoxicating era of freedom

In the fall of 1975, Spain was released from 40 years of oppressive rule by the dictator Francisco Franco. There was a great deal of upheaval as Spanish society came to terms with its re-entry into the modern world. The ascent of King Juan Carlos brought relaxed restrictions on travel, trade, standards of morality and artistic freedom. This was thrilling to some and dangerous to others. There were protests and an increase in crime and acts of terrorism, as many in the population acted out and elements of the far right fought to retain the old ways. But there was also a massive outpouring of relief, joy and exhilaration, as an energized people celebrated their newfound liberty. Setting our production in and around Seville 40 years ago is a perfect fit for this beautiful, powerful and harrowing opera. The mid-1970s was the heart of the sexual revolution, when many in the western world were embracing romantic freedoms. Spain, however, was still very much stuck in an era of repressive misogyny. Carmen herself perfectly personifies the new modern

woman, determined to live and love on her own terms. Meanwhile, the military and police struggled with losing their grip on civil order. This is paralleled by Don José’s spiral into derangement, brought on by his inability to accept the freedom of the woman he professes to love. Bullfighting was hugely popular at that time and smoking was ubiquitous — both important aspects of the narrative. Smuggling was also an enormous part of the underground economy. It was an era of wonderfully colorful fashion, of course, and the clothing styles are ideally suited for the balance of musical styles in the opera. Much of the piece’s great popularity stems from its combination of light opéra comique and dark verismo. Thanks to the intense, often gritty films of that era, such as The French Connection and Taxi Driver and, more recently, American Hustle and Boogie Nights, we think of the aesthetic of the 1970s in the same way, as a uniquely powerful combination of kitschy, sexy and dangerous. The scenic elements of our production embrace the flavor of the era as well. The modernity is stylized, with clean and spare lines to emphasize the psychology of the piece. There are tall towers and curved walls,

DIRECTOR'S NOTES

“

There is a warm nostalgia for the 1970s these days — it seems to have been a time of energy, excitement and possibility. In Spain, particularly, newfound notions of personal freedom were exhilarating, intoxicating and often scary. Just as in the opera itself, some people embraced their freedom, some resisted it, and others — tragically — were destroyed. MICHAEL CAVANAGH Stage Director

| CARMEN

Set designs by Erhard Rom

The scenic elements of our production embrace the flavor of the era as well ... There are tall towers and curved walls, suggestive of a prison coming apart; the clash of femininity and machismo; the push and pull of order and freedom.

suggestive of a prison coming apart; the clash of femininity and machismo; the push and pull of order and freedom. As the story progresses, a rough natural form emerges into view, hinting at the unpredictable danger to come. And always there is color, with bold statements in deep reds, blues and yellows.

See 3 or more operas and save up to 25%! THE 2015– 2016 SEASON

Ariadne auf Naxos September 26 – October 4, 2015

The Magic Flute November 14 – 21, 2015

Rusalka January 23– 31, 2016

Tosca March 12– 19, 2016

The Shining May 7–15, 2016

mnopera.org 612-333-6669 Ticket Office: M–F, 10am–5pm

La traviata, 2011 © Michal Daniel

2015–2016 SEASON PREVIEW dramatic ending to the Minnesota Opera season, Carmen beautifully sets the stage for the excitement that lies ahead in the 2015–2016 season. You won’t want to miss a moment of what’s in store. We’ll open the Minnesota Opera season in September with a delightful production of Strauss’ Ariadne auf Naxos with Amber Wagner, a fabulously talented young soprano making her Minnesota Opera debut as Ariadne. Next, an encore presentation of the innovative 2014 production of The Magic Flute provides audiences one last chance to catch this critically acclaimed, groundbreaking show sure to capture the imaginations of the entire family. In January, after the hustle and bustle of the holidays, we can allow ourselves to sit back and enjoy the lyrical beauty of Rusalka, banishing the harsh reality of winter with an ethereal, otherworldly set and Dvořák’s lush music. Then it’s on to Puccini’s Tosca — opera at its most operatic — a dramatic tour de force fueled by rich orchestration and unforgettable melodies. Rounding out the 2015–2016 season is The Shining, a worldpremiere opera based on Stephen King’s 1977 chilling novel. Pulitzer Prize-winning composer Paul Moravec teams up with librettist Mark Campbell (Silent Night and The Manchurian Candidate) to bring this landmark psychological thriller by one of America’s most celebrated authors to the operatic stage. Adapted from King’s bestselling novel, this new opera explores the demons Jack Torrance battles in his titanic struggle to save his family. You can also look forward to extraordinary debuts next season by world-class singers and the exciting return of some of our audience favorites including Brian Mulligan in The Shining, Stephen Powell and Brian Jagde in Ariadne auf Naxos, and

“

It’s going to be a season that celebrates the adventurous spirit for which Minnesota Opera is known: innovative productions, cutting-edge technology, world premieres and a varied repertoire that reflects the beauty of opera’s past, present and future. Kelly Kaduce reprising her role as Rusalka. The award-winning Italian director Andrea Cigni makes his American debut on the Minnesota Opera stage with what promises to be an unforgettable production of Tosca. It’s going to be a season that celebrates the adventurous spirit for which Minnesota Opera is known: innovative productions, cutting-edge technology, world premieres and a varied repertoire that reflects the beauty of opera’s past, present and future. Season tickets are already on sale, so call today for best seating.

I look forward to seeing you at the Opera,

DALE A. JOHNSON Artistic Director

| CARMEN

EDUCATION

THREE SUMMER OPERA CAMPS CHILDREN’S CHORUS SUMMER CAMP

JUNE 9–11

MINNESOTA OPERA CENTER MINNEAPOLIS, MN

For young students in grades 4–8 who like to sing, this day camp teaches healthy vocal technique through fun acting games and performing children's chorus music.

SUMMER OPERA CAMP

JUNE 14–19

SHATTUCK-ST. MARY’S SCHOOL FARIBAULT, MN

This exciting residential camp for talented high school vocalists, grades 9–12, focuses on developing their performance skills through daily vocal coaching, diction, master classes and movement.

OPERA ARTIST+

SHATTUCK-ST. MARY’S SCHOOL FARIBAULT, MN

| MINNESOTA OPERA mnopera.org

Tailored for college undergraduates, this residential camp explores what it means to be an opera artist in the 21st century. Sessions include vocal coaching, movement, round-table discussions with professional artists and a mock audition. We also look at the increasingly important and diverse role of Teaching Artistry and the growing field of Creative Aging.

AUDITIONS REQUIRED FOR ALL CAMPS.

Check out MNOP.CO/CAMP for more information and to sign up.

Where are they now?

IN CELEBRATION OF PROJECT OPERA'S TENTH ANNIVERSARY, WE ARE CATCHING UP WITH OUR ALUMNI

LAURA LeVOIR

Laura LeVoir graduated last spring with her Bachelor of Music in voice from the Juilliard School. Currently she is working as the Programs Assistant at Third Street Music School Settlement in New York City. Coming up, Laura will be going on tour with Juilliard415 performing selected works of J.S. Bach in New York, Boston, Leipzig and London.

Photos by Sigrid Redpath.

JUNE 14–19

Tem

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ld b e r s a t Re d H o t G o

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JOIN TEMPO FOR THE 2015–2016 SEASON TODAY! Are you 21–39 and interested in experiencing opera, meeting new people and receiving invitations to After Parties and one-of-a-kind events? Join Minnesota Opera’s young professionals group and enjoy a steep discount on the hottest tickets in town. TO LEARN MORE ABOUT TEMPO AND TO PURCHASE YOUR MEMBERSHIP, VISIT MNOP.CO/TEMPO OR CALL THE MINNESOTA OPERA TICKET OFFICE AT 612-333-6669, M–F, 10AM–5PM.

| CARMEN

STAFF LISTING MINNESOTA OPERA STAFF General Director | Nina M. Archabal Artistic Director | Dale Johnson Music Director | Michael Christie

ARTISTIC Artistic Administrator | Roxanne Stouffer Artist Relations and Planning Director | Floyd Anderson Dramaturg | David Sander Head of Music | Robert Ainsley Resident Artists | Jonathan Brandani, Aaron Breid, Gerard Michael D’Emilo, Siena Forest, Geoffrey Loff, Andrew Lovato, Alison Moritz, Cooper Nolan, Shannon Prickett, Nickolas Sanches, Christian Zaremba Master Coaches | Lara Bolton, Mary Jo Gothmann

| MINNESOTA OPERA mnopera.org

Production Stage Manager | Kerry Masek Assistant Stage Managers | Hannah Holthaus, Amelia Nordin Assistant to the Production Director | Julia Gallagher Production Coordinator | Andrew Landis

Stitchers | Ann Habermann, Sara Huebschen, Rachel Skudlarek

EDUCATION

Wardrobe Supervisor | Jessica Minczeski

Community Education Director | Jamie Andrews

Wig/Makeup Supervisors | Ashley Joyce, Priscilla Bruce

Project Opera Music Director | Dale Kruse

Wig/Makeup Crew | Dominick Veldman, Travis Klingler

Project Opera Program Manager | Elizabeth Windnagel

Painter/Dyer | Marliss Jensen

PRODUCTION Production Director | Karen Quisenberry

SCENERY Technical Director | Mike McQuiston

Project Opera Accompanist | Kathy Kraulik Music Out Loud Program Manager | Angie Keeton Teaching Artist | Alisa Magallón

MARKETING/COMMUNICATIONS

Properties Master | Jenn Maatman

Interim Senior Marketing and Communications Director | Kaylen Whitmore

Properties Assistant | Michael C. Long

Marketing Director | Katherine L. Castille

Lighting Coordinator | Raymond W. Steveson Jr.

Marketing Assistant | Kate Saumur

Assistant Lighting Coordinator | Tom Rost Production Carpenter | JC Amel

Program Manager, Marketing and Communications | Kristin Matejcek

Scene Shop Foreman | Rod Aird

Communications Manager | Julie Behr

Master Carpenters | Nate Kulenkamp, Steven Rovie, Eric Veldey

Data Specialist | Rosalee McCready

Carpenters | Timothy Hannington, Sean McQuiston, Brad Silvernale

Associate Ticket Office Manager | Sarah Fowler

Charge Painter | Jeffery Murphey

Ticket Office Manager | Kevin Beckey Communications Coordinator and Ticket Office Assistant | Kärsten Jensen Ticket Office Assistants | Carol Corich, Hannah Giersdorf, Johanna Owen, Jane Samsal, Carrie Walker

BOARD MEMBERS AND VOLUNTEERS TEMPO BOARD MEMBERS

OFFICERS

Chair | James E. Johnson

Chair | Jennifer Engel

General Director | Nina M. Archabal

Staﬀ Liaison | Kristin Matejcek

Vice Chair | Margaret Wurtele

Staﬀ Liaison | Kärsten Jensen

Secretary | Robert Lee Treasurer | Christopher Romans

DIRECTORS Nina M. Archabal

Christine Larsen

Patricia Beithon

Robert Lee

Daniel Blanco

Steve Mahon

Bernard J. Brunsman

Leni Moore

Peter W. Carter

Albin “Jim” Nelson

Rachelle D. Chase

Kay Ness

Jane M. Confer

Elizabeth Redleaf

Sara Donaldson

Connie Remele

Bianca Fine

Don Romanaggi

Sharon Hawkins

Christopher Romans

Ruth S. Huss

Mary H. Schrock

Mary IngebrandPohlad

Linda Roberts Singh

Philip Isaacson

Virginia Stringer

James E. Johnson Patricia Johnson John C. Junek

Nadege Souvenir H. Bernt von Ohlen Margaret Wurtele

Vice Chair | Rhonda Skoby Secretary | Chrissi Reimer Treasurer | Ryan Alberg

MEMBERS Thomas Bakken

Kara Eliason

Maya Beecham

Laura Green

Leslie Carey

Claire Joseph

Melissa Daul

Faris Rashid

Alexis DuPlessis

Jana Sackmeister

Katie Eiser

Polina Saprygina

VOLUNTEERS The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnop.co/volunteer, or email volunteering@mnopera.org for more information. Lynne Beck

Suzan Lynnes

Gerald Benson

Mary McDiarmid

Debra Brooks

Verne Melberg

Jerry Cassidy

Barbara Moore

Burton Cohen

Judith Duncan

Douglas Myhra

Jane Fuller

Candyce Osterkamp

HONORARY DIRECTORS

Joan Gacki

Pat Panshin

Norton M. Hintz

Merle Hanson

Sydney Phillips

Liz Kochiras

Robin Keck

Kari Schutz

Patricia H. Sheppard

Mary Lach

Janet Skidmore

Jerry Lillquist

Wendi Sott

Joyce Lillquist

Stephanie Van D’Elden

Melanie Locke

Barbara Willis

EMERITI Karen Bachman

Julia W. Dayton

John A. Blanchard III

Mary W. Vaughan

Dominick Argento Philip Brunelle Dolly Fiterman

LEGAL COUNSEL James A. Rubenstein, Moss & Barnett

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

| CARMEN

BOARD OF DIRECTORS

ANNUAL FUND | individual giving It is with deep appreciation that 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.

bel canto circle PLATINUM

$25,000 and above

Anonymous Dr. Tracy and Mr. Eric Aanenson Mary and Gus Blanchard Julia W. Dayton Sara and Jock Donaldson Vicki and Chip Emery Ruth and John Huss Heinz Hutter Mary Ingebrand-Pohlad Mr. and Mrs. Philip Isaacson James E. Johnson Lucy Rosenberry Jones John and Kathleen Junek The Art and Martha Kaemmer Fund of HRK Foundation Elizabeth Redleaf Mrs. Mary W. Vaughan William White C. Angus and Margaret Wurtele

GOLD

$15,000–$24,999

Patricia Beithon Donald E. Benson Mrs. Eleanor Crosby William I. and Bianca M. Fine Charitable Trust Mr. and Mrs. William Frels Sharon Hawkins Harvey T. McLain Albin and Susan Nelson Virginia L. and Edward C. Stringer Bernt von Ohlen and Thomas Nichol Wayne Zink and Christopher Schout

SILVER

$10,000–$14,999 Anonymous Dominick Argento Susan Boren

camerata circle PLATINUM

| MINNESOTA OPERA mnopera.org

$7,500–$9,999

Karen Bachman Daniel and Adriana Blanco Barry and Wendy Brunsman Peter and Theresa Carter Michael and Alexis Christie Erwin and Miriam Kelen Chris Larsen and Scott Peterson Steven Mahon and Judy Mortrude Margery Martin and Dan Feidt Allegro Fund of the Saint Paul Foundation Tom Owens Lois and John Rogers Mary H. and Christian G. Schrock Linda and Jesse Singh

GOLD

$5,000–$7,499

Anonymous (2) James Andrus Nina and John Archabal Martha and Bruce Atwater Fund of The Minneapolis Foundation William Biermaier and David Hanson Shari and David Boehnen Ken and Peggy Bonneville Dr. Lee Borah Jr.

Peter Davis and Pamela Webster Meg and Wayne Gisslen Jay and Cynthia Ihlenfeld Robert Kriel and Linda Krach Mary Dearing and Barry Lazarus Ilo and Margaret Leppik Lynne Looney Diana Lee Lucker David and Barbara Meline Kendrick B. Melrose Donor Advised Fund of The Minneapolis Foundation Jose Peris and Diana Gulden Sarah and Rolf Peters Dr. Donald V. Romanaggi Sr. Jennifer and Chris Romans Fred and Gloria Sewell Nadege J. Souvenir and Joshua A. Dorothy Maggie Thurer and Simon Stevens Dr. and Mrs. Andrew J. Thomas Charles Allen Ward Fund of The Saint Paul Foundation Nancy and Ted Weyerhaeuser

SILVER

$2,500–$4,999

Anonymous (2) Bridget Manahan and Joe Alexander Dan and Martha Goldberg Aronson Alexandra O. Bjorklund

Rachelle Dockman Chase Jane M. and Ogden W. Confer Dolly J. Fiterman N. Bud and Beverly Grossman Foundation Patricia Johnson and Kai Bjerkness Warren and Patricia Kelly Robert L. Lee and Mary E. Schaffner Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Kay Ness and Chris Wolohan Jenny L. Nilsson and Garrison Keillor Luis Pagan-Carlo and Joseph Sammartino Connie and Lew Remele Don and Patricia Romanaggi Charles A. Weyerhaeuser Memorial Foundation

Margee and Will Bracken Kenneth and Rita Britton Christopher J. Burns Nicky B. Carpenter Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Rusty and Burt Cohen Ruth and Bruce Dayton Jay and Rebecca Debertin Thomas and Mary Lou Detwiler Ralph D. Ebbott Joyce and Hugh Edmondson Rolf and Nancy Engh Ester and John Fesler Gail Fiskewold Bruce and Melanie Flessner Susanne Haas and Ross Formell Patricia R. Freeburg Woessner Freeman Family Foundation Judith Garcia Galiana and Alberto Castillo Dr. Richard Gregory Mrs. Myrtle Grette Michele Harris and Peter Tanghe Alfred and Ingrid Lenz Harrison Stefan and Lonnie Helgeson Linda and Jack Hoeschler Dorothy Horns and James Richardson Dr. and Mrs. Arthur Horowitz

individual giving

Andrew Houlton Bill and Hella Mears Hueg Diane and Paul Jacobson Jackley Family Fund of Minnesota Community Foundation Dale A. Johnson Robert and Susan Josselson Annette Atkins and Tom Joyce Nancy and Donald Kapps Lyndel and Blaine King James and Debra Lakin Dr. Caliann Lum Mr. and Mrs. Reid MacDonald David MacMillan and Judy Krow Roy and Dorothy Mayeske

artist circle $1,000â&#x20AC;&#x201C;$2,499

Anonymous Kim A. Anderson Charles and Mary Anderson Ruth and Dale Bachman Ann and Thomas Bagnoli Maria Bales Carl and Joan Behr Barbara S. Belk Brian Benjamin Mrs. Paul G. Boening Allan Bradley Drs. Eli and Jan Briones Juliet Bryan and Jack Timm Ann and Glenn Buttermann Keith and Carolyn Campbell Joan and George Carlson Barb and Jeff Couture Susan and Richard Crockett Michael and Stacy Crosby Helen Crosson and John T. Crosson Wendy Wenger Dankey and Jeff Dankey Fran Davis Vanessa Dayton Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Margaret DiBlasio Elise Donohue Joan Duddingston Steven Engle Rondi Erickson and Sandy Lewis Ann Fankhanel Salvatore Silvestri Franco Emil and Robert Fredericksen Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Mr. and Mrs. R. James Gesell Heidi and Howard Gilbert Jennifer Gross and Jerry LeFevre Bruce and Jean Grussing Marion and Donald Hall Tom and Susan Handley Don Helgeson and Sue Shepard Elfreida Hintze Jean McGough Holten

ANNUAL FUND

(continued)

Laura McCarten Malcolm and Wendy McLean Mary Bigelow McMillan Velia R. Melrose Karla Miller Dr. and Mrs. Alfred Moore Sandy and Bob Morris From the Family of Richard C. and Elizabeth B. Longfellow Richard and Nancy Nicholson Fund Bill and Barbara Pearce Marge and Dwight Peterson Mrs. William S. Phillips J. Michael and Roxanne Pickle Sara and Kevin Ramach

The Redleaf Family Foundation Paul and Mary Reyelts Thomas D. and Nancy J. Rohde Ken and Nina Rothchild James and Andrea Rubenstein Mahlon and Karen Schneider Frank and Lynda Sharbrough Dr. Norrie Thomas and Gina Gillson Stephanie C. Van Dâ&#x20AC;&#x2122;Elden William Voedisch and Laurie Carlson Dr. Craig S. and Stephanie Walvatne Jerry Wenger Patricia C. Williams

Charles J. Hudgins Thomas Hunt and John Wheelihan Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Margaret and Philip Johnson Bryce and Paula Johnson Sharon and Fredrik Johnson Dr. and Mrs. Eric Jolly Janet N. Jones Wadad Kadi Stan and Jeanne Kagin Margaret V. Kinney Judy Lebedoff and Hugh Klein Sally and William Kling Gerard Knight Mrs. James S. Kochiras Krystal A. Kohler Anne Kokayeff Kyle Kossol and Tom Becker Constance and Daniel Kunin Mark Lageson Aaron Landry Kent Larson and Christine Podas-Larson Mr. Bryan Lechner Cynthia and Lawrence Lee Laurence and Jean LeJeune Tom Murtha and Stefanie Lenway Sy and Ginny Levy Family Fund of The Minneapolis Foundation Benjamin Y. H. and Helen C. Liu In Loving Memory of William Claire and Mattie Lee Long Bill Long Dawn M. Loven Tom and Marsha Mann Carolyn and Charles Mayo Barbara McBurney Helen and Charles McCrossan Sheila McNally Deb and Jon McTaggart Mary M. McVay Judith and James Mellinger Eileen and Lester Meltzer David and LaVonne Middleton Jennifer and David Miller Mary M. Montgomery Jill Mortensen and S. Kay Phillips

Diana and Joe Murphy Judy and David Meyers Elizabeth B. Myers Joan and Richard Newmark Douglas and Mary Olson Julie Oswald Derrill M. Pankow Paula Patineau Suzanne and William Payne Suzanne and Rick Pepin Mary and Robert Price George Reid Scott and Courtney Rile John and Sandra Roe Foundation Roger and Kristine Ruckert Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Christine Sagstetter Sampson Family Charitable Foundation John Sandbo and Jean Thomson Mrs. Richard J. Schindler Cherie and Robert Shreck Kevin and Lynn Smith Glenn and Ardath Solsrud Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Matthew Spanjers Mark and Kristi Specker Daniel J. Spiegel Family Foundation Donna Stephenson Mary K. and Gary Stern Dana and Stephen Strand Michael Symeonides and Mary Pierce Kay Savik and Joe Tashjian Lester Temple Bryn and Schelly Vaaler Cindy and Steven Vilks Mrs. Philip Von Blon David L. Ward Frank and Frances Wilkinson Chuck Jakway and Teresa Williams Lani Willis and Joel Spoonheim John W. Windhorst Jr. Carolyn, Sharon and Clark Winslow Rory and Diane Yanchek

| CARMEN

camerata circle

ANNUAL FUND | individual giving

patron circle GOLD

$750–$999

Anonymous Laurie Anderson August J. Aquila and Emily Haliziw Kathleen and Jeff Baradaran Carl and Joan Behr Gerald and Phyllis Benson Debra Brooks and James Meunier Kathleen Callahan Susan E. Flint and Michael Leirdahl Darius Homayounphur Mark and Jeanne Jacobson Chris and Nick Jermihov The Mahley Family Foundation Dusty Mairs Ann M. Rock David E. Sander Warren Stortroen Jill and John Thompson Michael P. Tierney Patricia and Douglas Vayda James Wire

SILVER

$500–$749

| MINNESOTA OPERA mnopera.org

Anonymous (2) Thomas O. Allen Arlene and Tom Alm Dr. and Mrs. Orn Arnar Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Armand and Dickey Balsano Donald and Naren Bauer Barbara Bencini Martin and Patricia Blumenreich Kristin Brietzke Dr. Hannelore Brucker Thomas and Joyce Bruckner

Scott Cabalka Elwood and Florence Caldwell Joann Cierniak J.P. Collins Amos and Sue Deinard Mona Bergman Dewane and Patrick Dewane Lois Dirksen Barry Divine Jane Dudley Holli and Stefan Egerstrom Leah and Ian Evison Brian M. Finstad Rick and Nancy Foss David Francis Bradley Fuller and Elizabeth Lincoln Joan and William Gacki David and Terry Gilberstadt Stanley and Luella Goldberg Rehael Fund- Roger Hale/Nor Hall of The Minneapolis Foundation Blanche and Thane Hawkins Frederick J. Hey Jr. Henry and Jean Hoover Barbara Jenkins Charles and Sally Jorgensen Herbert and Erika Kahler Markle Karlen Carole and Joseph Killpatrick James and Gail LaFave Judith Lee Tim and Susanna Lodge Ruth W. Lyons Kristin and Jim Matejcek Frank Mayers Patricia N. and Samuel D. McCullough Carla K. McGrath Kris and Bill McGrath Mrs. Walter Meyers Anne W. Miller

Steven J. Mittelholtz Jack and Jane Moran Theresa and Jim Murray Lucia Newell Ruth and Ahmad Orandi Kathleen and Donald Park Ilya Perepelitsyn and Lioudmila Sitnikova Ron and Mary Jo Peterson Walter Pickhardt and Sandra Resnick Dwight and Christina Porter Dennis M. Ready Lawrence M. Redmond Christina Reimer William and Sue Roberts Bob and Donna Rose Ruth Rose Liane A. Rosel Enrique and Clara Rotstein Leon and Alma Satran Jon L. Schasker and Debbie Carlson Schwarzmann Family Morris and Judith Sherman John W. Shigeoka Stanislaw Skrowaczewski Dr. Leslie W. Smith Jim Snustad Jon Spoerri and Debra Christgau Michael Steffes Thomas and Sharon Stoffel Judith Stone Vern Sutton Dr. Anthony Thein Andrejs Vape David Walsh and Renee Campion Mark Warnken Mary Weinberger Mrs. Barbara White John M. Williams

associate circle ASSOCIATE

$250–$499

Anonymous (3) Paul and Val Ackerman Katherine Anderson Jerry Artz Eric S. Anderson and Janalee R. Aurelia Dan Avchen and David Johnson Kay C. Bach James and Gail Bakkom Margaret and E. Thomas Barrett Kevin Beckey Chuck and Estelle Bennett Keith and Jamie Beveridge Beth Bird Karen Brooks

Judith Brown-Wescott Philip and Carolyn Brunelle Alan E. and Ruth Carp Kyle and Shelley Carpenter Dr. Mark and Denise Carter Katherine L. Castille Laura Green Chaffee and Matthew Chaffee Kay Constantine Jeanne E. Corwin Kent and Dee Ann Crossley Maylis and Mark Dickey Virginia Dudley and William Myers Candace and Dan Ellis Charlie and Anne Ferrell Joyce Field Steven and Mimi Fisher C.D.F. Foundation

Christine Fleming Roger and Michele Frisch Jane Fuller Carol and Mike Garbisch Greta and Paul Garmers Howard and Ann Garton Randy Goetz Marsha and Richard Gould Larry and Lisa Grab Russell and Priscilla Hankins Douglas and Doris Happe Alfred E. Hauwiller Mary K. Hicks Sharon and Cliff Hill Rochelle Hoffman Andrew and Gary Whitford Holey Brian and Karen Hopps Steve Horan

individual giving

associate circle Burton and Sandra Hoverson Ray Jacobsen Charlie Johnson Kristine Kaplan Samuel L. Kaplan and Sylvia Chessen Kaplan Ann Kearns Janice Kimes Susan Kinder Andrea M. Kircher John Krenzke and Michelle Davis Joan Krikava Robert and Venetia Kudrle Beatrice H. Langford John Warren Lassila Lisa and Jonathan Lewis Rebecca A. Lowe Stuart MacGibbon Joan E. Madden Donald and Rhoda Mains Walt McCarthy and Clara Ueland Orpha McDiarmid Family Fund Beth McGuire and Tom Theobald Harry McNeely Susan Mcneely Adele Mehta Curtis and Verne Melberg

ANNUAL FUND

(continued)

Robert and Marlys Melius John L. Michel and H. Berit Midelfort Michael J. and Judith Mollerus Brad Momsen and Rick Buchholz Kim and David Motes Myers Foundation Merritt C. Nequette Peter Nichol and Makie Tam William and Sharon Nichols Patricia A. Oâ&#x20AC;&#x2122;Gorman Dennis R. Olson Donna and Marvin Ortquist Scott J. Pakudaitis Julia and Brian Palmer James A. Payne Lana K. Pemberton John and Margaret Perry Jane M. Persoon Carol Peterson Lisa Peterson John Petraborg John and Norma Pierson William Lough Lorraine Potuzak Nicole and Charles Prescott Robert E. Rocknem

Daniel Roth Patricia and Stephen Rowley Adele and Fred Saleh Mary Savina Paul L. Schroeder Glenn Shifflet Marianne Settano Shumaker and Gordon Shumaker Juliana Simmons Debra Sit and Peter Berge Arthur and Marilynn Skantz Lori Sundman Dan and Erika Tallman Susan Truman Emily Wadsworth Elaine B. Walker John and Sandra White Jeff Wiemiller Leslie Wilcox Barb Wildes Wendy Wildung David and Rachelle Willey

Bender Vocal Studio Bonnie Benson Judith Berge Kenneth J. Berglund Sharon Bigot Pam and Cory Biladeau Robert F. Bishaw Diane and David Blake Joann Boeyink George E. and Joan M. Bohlig Edward Bohrer Elizabeth Borg and David Stevens Judith and Paul Brandon Annetta Bray-Wagner Allen Brookins-Brown Roger and Ronnie Brooks Joan Broughton Sally Brown Ellen Bruner Kelsey Bruso Robert and Gerry Bullard Charles G. Calhoun Renee Campion and David Walsh Leslie Carey Donna Carlson Jerome and Linda Carlson Monica Carlson Jean and Bruce Carlson Paul Chase Julien Chase James and Mary Chastek Karen Chaussee

Josephine Chervenak John Chrisney Susan Christensen Beverly Christenson Jean and Richard Clarke Mary-Louise and Bradley Clary Louise and George Clitty Gary B. Cohen Steve Coleman Herbert and Janice Colwill Elisabeth Comeaux Joanna and Richard Cortright Catherine Coult and Robert Benjamin Timothy Crossett Bill and Kate Cullen Mary T. Cummings Gretchen Davidson Mary Davidson Roger and Betty Davis Richard and Lois Demers Pamela Desnick Pamela Dickson Willem and Ann Dieperink Eugenia and Joseph Dixon John and Maureen Drewitz in memory of Helen Hines Maureen and John Drewitz Thalia Duffield John M. Duffy Donald A. Duncan MD Roger Gross and Mary Dunnavan

FRIEND

$100â&#x20AC;&#x201C;$249

Anonymous (6) Vanessa Abbe Carolyn M. Adams Ryan Ahlberg Mark and Ranae Alcorn Meredith B. Alden James and Sharon Allen Elaine S. Alper Roland C. Amundson Beverly Anderson Rolf T. Anderson Howard J. Ansel Genevive Antonello Suzanne Asher Marcia J. Aubineau Fran Babbitt Kay and Ronald Bach Donna and Jerold Bahls Trevor A. Bailey and Pari R. Bailey Susanne and Johan Bakken Thomas Bakken Ralph and Lois Ballinger Jill and Thomas Barland Katherine Barton Aimee and Tom Baxter Carolyn Beatty Cornelia H. Beck Longine Beck Sharla and Mark Beithon

| CARMEN

friend circle

|â&#x20AC;&#x2026;MINNESOTA OPERAâ&#x20AC;&#x201A; mnopera.org

ANNUAL FUND | individual giving

Alexis DuPlessis Beverly Dusso Maria Eggemeyer George Ehrenberg Katherine Eiser Tracy Elftmann Kara Eliason Marlys and Charles Elliott Jerry and Teresa Elsbernd Jennifer Engel Ron Erhardt Cecelia and Peter Erickson Marvin and Margaret Fabyanske Craig Feathers and Amy Kolan Laura and Daniel Feldman Mina Fisher and Fritz Nelson Greg Fluet John J. Flynn and Deborah Pile Delores Fohlmeister Gerald Foley Robert P. Frantz Rosemary A. Frazel and Roger Howley Mary Rae and Conrad Freeberg Daniel E. Freeman Tomas and Ellen Fridinger Akiko and Tatsuo Fukushi Anne Gandrud and Brian Daunheimer Emanuel and Cecilie Gaziano Barbara and Robert Gee Robin Gehl Richard Geise Patsy Gerde Lois and Larry Gibson Walt and Raeanna Gislason James and Jo Glasser Marcia Glick Katherine Goodale Eileen and Edward Gordon Charlotte L. Grantier Carol and Walter Griffin Brian and Jane Grivna Michael Grouws Thomas and Jacqueline Guglielmi William and Marilyn Halloran Craig and Monica Hamer Anne Hanley and George Skinner Laurie Hansen Virginia R. Harris John and Kay Hawksford Stephen and Patricia Haynes Dana Hazel Elisabeth Heefner John and Rosmarie Helling Anne E. Hesselroth Arthur and Joan Higinbotham Russell and Cynthia Hobbie Sarah Holzer J. Michael Homan Clayton and Judith Hovda Ms. Linda A. Hulbert and Mr. Alan K. Rissman Kathleen and Robert Humphrey Kim Hunter Ela Iwanczuk and Gerry Rothen Dan Iwaszko Diane L. Marti and Guglielmo Izzi

Edward Jacobsen Deborah and Ronald Jans Linda Jergenson Rafael Jimenez Jean O. Johnson Margaret and Allan Johnson Paul Johnson and Joan Eckberg Robert and Barbara Johnson Robert W. Johnson Jennifer Jones Andy Joyce and Kristin Raab Kyong and Young Juhn Angela and Seth Keeton Vernon and Gail Kenney Arthur C. and Milly D. Klassen Kartra and Glenn Kohl Maureen Kucera-Walsh Scott and Karla Lalim Dean and Kristen Lambert Kenyon S. Latham Mary Lawson John F. Leddy David and Darlene Lee David and Luba Lehman Frank Lerman Gene and Phyllis Letendre Rex Levang Natalie Levin and Stephen Gilberstadt Robert P. Libera John and Marilyn Lieske Brenda Lindell Janet Lindquist Tom and Hinda Litman Melanie Locke Elizabeth Longhurst and Kim Chapman Juanita B. Luis Judy Lund Beth N. MacDonald Holly MacDonald and John Orbison Marsha Macey James and Janice MacGibbon Thomas Kleinschmit and Liana Magee William Mahlum and Donna Allan Thomas G. Mairs Diane Malfeld Marsha L. Mansur Jeffrey Masco David Mayo James McCarthy and Gloria Peterson Denise McClain Drs. Polly McCormack and Keith Engel Robert and Catherine McGeachie Iris McGinnis Anne McInerney Ellen McInnis Judy M. McNamara Robert and Roberta Megard Megan Mehl Thomas and Sharon Merrittt Dina and Igor Mikhailenko Laurie Miller Teri Minard

James Miner Jacqueline Moen and Steven Bailey Karen Moline Anne Mollerus Margot and Bjorn Monson Keith Montgomery Barbara Moore Craig Swaggert and Tanna Moore Sheila C. Morgan Monica Morin Hilda Mork Maria Moscandrew Imelda and William Muggli Bill and Jennifer Mullin Elizabeth Murray Richard and Janet Myers Sarah Nagle Tracy Napp Ronald and Marlene Nauman Douglas Neimann Imogene and Allan Nelson John and Sue Nelson Richard and Nancy Nelson Jim and Carolyn Nestingen Kathryn E. Nettleman Jay and Helen Newlin Gerald M. Nolte Elizabeth and Neal Nordling In Memory of Alice Northwick Brandon Novy Charlotte and Irving Nudell Sam Obetz Andrew Odlyzko Robert and Tamara Olsen Robert and Patricia Olson Reverend and Mrs. Robert A. Onkka Vivian Orey Nancy Orgeman Andrew Oxenham Philip Oxman and Harvey Zuckman Erin Parker Lisa Pasquale JoAnn Pasternack Reverend and Mrs. Daniel Pearson Mischa and Barbara Penn Rick and Sandy Penning Barbara and Gary Petersen Barb and Doug Peterson Dorothy L. Peterson Jim and Kirsten Peterson Patricia M. Peterson Sharon and Gregory Peterson Joan and John Petroff Judith Pettit Hans-Olaf Pfannkuch Kathleen M. Philipp Ann and Felix Phillips Dale Pillsbury Wayne and Ona Pinsonneault Joan L. Piorkowski Ann Piotrowski Linda Platt Fred and Barbara Pollman Anne and John Polta Michael and Marie Porcaro Lawrence Poston Stephen and Julianne Prager Walter and Harriet Pratt

Daniel and Margaret Preska Kathleen M. Pytleski Faris and Ashley Rashid Margaret and Steven Redmond Sigrid and Dave Redpath Patricia and Gregory Reese Herbert and Jane Reiman John Renwick Ann Richter Jack Richter Sings llc Genevieve and John Ries Kathleen Riley J. Susan Robertson Ronald Roed Patricia Rogin-Pearson Susan and Ron Roiger Tamara and Michael Root Margaret and Gordon Rosine David and Kathleen Rothenberger Gregg Rotvold John and Bonnie Rowell Irene and Mel Sahyun Debra Salmon James Salutz and Margaret Brandl Sylvia and Richard Salvati Beth Sanders Karen and Stephen Sanger Paula Santrach Timothy and Sally Sawyer Gaynell Schandel Mary Schertler Sue and Charles Schiess Joyce and Robert Schmidt Steve and Beth Schneider Loren Schumacher Jack and Pamela Schwandt A. Truman and Beverly Schwartz Martin and Susan Segal Jay and Kathryn Severance Wendy Shaler Alan E. Shapiro Bob and Joan Shearer Dale and Marilyn Simmons Kathleen K. Simo Madeline Simon Rich Simons Bonnie and Peter Sipkins

Roy and Lana Sjoberg Emily Skoblik Rhonda Skoby Emma Small Joan T. Smith Linnea Sodergren George and Margaret Sparks Lorraine C. Spies Biruta and Andris Spruds Susan Stiles and Jeff Robins Barbara Stoll Roxanne Stouffer Patricia Strandness and Bruce Shnider Ralph and Grace Sulerud Susan and Oakley Surine Craig and Janet Swan Richard and Barbara Swanson Susan Swanson Curtis L. Swenson Charles O. and Marlys R. Taflin Charles and Joan Tanger Charlott Taylor John J. and Mary M. Taylor Joyce Thielen David and Jennifer Thomas Katharine E. Thomas Marie J. Thomas Robert and Barbara Thomasson Missy Thompson Tilmer Thompson Valerie Thompson Kenneth and Kathryn Valentas Reverend Robert Valit Catherine and Donald Vesley Vilis and Aija Vikmanis John Vilandre Edward and Virginia Vizard Randall Volk Maricarol and Jonathan Wallace Harry Walsh Joanne Wang Wesley Wang Theresa Welcher Rahn Westby Deborah Wheeler Paul and Carolynn Wiggin

ANNUAL FUND Rosemary Willett Diane and Joseph Williamson Jenna Wolf Sharon Woods George Wright Kirsten Zerhusen Daniel Richard Zillmann Paul Zorn and Janet Petri

CARMEN

These lists are current as of March 1, 2015, and include donors who gave a gift of $100 or more during Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Individual Gifts Associate, Hannah Peterson, at 612-342-9569 or hpeterson@mnopera.org.

become a donor Bring innovative opera productions to life with your charitable gift, and join Minnesota Opera’s family of donors today.

Visit mnop.co/support to give online. THANK YOU!

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Costume sketch by Jessica Jahn

individual giving

INSTITUTIONAL GIVING Minnesota Opera gratefully acknowledges its major institutional supporters: $100,000+

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

$50,000–$99,999

| MINNESOTA OPERA mnopera.org

$25,000–$49,999

$10,000–$24,999

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Jaden Hansen, Institutional Gifts Manager, at 612-342-9566 or email him at jhansen@mnopera.org.

INSTITUTIONAL GIVING minnesota opera sponsors SEASON

PRODUCTION INNOVATION SYSTEM

Target

General Mills

PRODUCTION SPONSORS

RESIDENT ARTIST PROGRAM

Wenger Foundation

The Manchurian Candidate The Andrew W. Mellon Foundation The Aaron Copland Fund for Music, Inc. National Endowment for the Arts

TEMPO AFTER PARTIES

Sakura

TEMPO PRINT SPONSOR

BEHIND THE CURTAIN

Press Sure Print

Comcast

GALA SPONSORS

Ascent Private Capital Management of U.S. Bank Zoe’s Dad

corporations, foundations and government $25,000+

3M Foundation Ameriprise Financial Inc. Aroha Philanthropies F.R. Bigelow Foundation The Ruth Easton Fund General Mills Foundation William Randolph Hearst Foundations Knight Foundation The McKnight Foundation Medtronic Philanthropy through Medtronic Foundation The Andrew W. Mellon Foundation Minnesota State Arts Board National Endowment for the Arts The Opera Fund, a program of OPERA America The Saint Paul Foundation Target Wenger Foundation

PLATINUM

$10,000–$24,999

The Aaron Copland Fund for Music Inc. Ascent Private Capital Management of U.S. Bank Fred C. and Katherine B. Andersen Foundation Best Buy Children’s Foundation Cargill Foundation Comcast DKS Foundation Dorsey & Whitney Foundation

Ecolab Foundation Ann and Gordon Getty Foundation MAHADH Fund of HRK Foundation Pine River Capital Management l.p. City of Saint Paul Cultural STAR Program Securian Foundation Travelers U.S. Bank Foundation Valspar Foundation Wells Fargo Foundation Minnesota Xcel Energy Foundation

GOLD

$5,000–$9,999

Accenture Boss Foundation Briggs & Morgan p.a. Dellwood Foundation Ernst & Young Hardenbergh Foundation Harlan Boss Foundation for the Arts R. C. Lilly Foundation Mayo Clinic Maslon Edelman Borman & Brand llp The Carl and Eloise Pohlad Family Foundation Rahr Foundation RBC Wealth Management Rothschild Capital Partners James Rubenstein, Moss & Barnett

Schwegman, Lundberg & Woessner p.a.

SILVER

$2,500–$4,999

Faegre Baker Daniels Fredrikson & Byron Foundation Hutter Family Foundation Robins Kaplan llc Margaret Rivers Fund Peravid Foundation Pique Travel Design The Elizabeth C. Quinlan Foundation Squam Lake Foundation Tennant Foundation Thomson Reuters

BRONZE

$250–$2,499

Anonymous Boker’s Inc. Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson Inc. Highpoint Center for Printmaking, in memory of Stephanie Prem Longview Foundation McVay Foundation Onan Family Foundation Sit Investment Foundation Wells Fargo Insurance Services

production multimedia Publicity Photographer – CJ Standish Production Photographer – Michal Daniel

Publicity Video – StringLine Motion Picture Co. Event Photographer – CJ Standish Broadcast Recording

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