Minnesota Opera's Dinner at Eight by Minnesota Opera

WORLD PREMIERE March 11–19, 2017

2016–2017 Season

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2017 FESTIVAL SEASON MAY 20 – JUNE 25 MADAME BUTTERFLY Giacomo Puccini New Performing Version THE GRAPES OF WRATH Ricky Ian Gordon & Michael Korie American Premiere THE TRIAL Philip Glass & Christopher Hampton TITUS (La clemenza di Tito) Wolfgang Amadeus Mozart CENTER STAGE One Night Only

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COMPOSER PHILIP GLASS

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To combine a culture of creativity and fiscal responsibility to produce opera and opera education programs that expand the art form, nurture artists, enrich audiences, and contribute to the vitality of the community.

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This world premiere opera is a product of Minnesota Opera’s New Works Initiative, a pioneering movement in new opera that continues to invigorate the operatic art form with an infusion of contemporary works, while fulfilling Minnesota Opera’s commitment to artistic growth, leadership, and innovation. Following the premiere performances here in Minnesota, Dinner at Eight will travel to The Atlanta Opera and Wexford Festival Opera in Ireland.

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to the world premiere of Dinner at Eight by Pulitzer Prize-winning composer William Bolcom and renowned librettist Mark Campbell. Dinner at Eight reflects Minnesota Opera’s commitment to offering our audiences new works that add a truly American voice to the standard opera repertory. The Great Depression provided inspiration for a multitude of artistic masterpieces, and Dinner at Eight by Kaufman and Ferber belongs in that category. The play is an ensemble piece, fastpaced and brilliantly witty, filled with extraordinary characters. Both William Bolcom and Mark Campbell straddle the classical and American popular styles, and I can’t think of a better combination to bring this sparkling comedy, with its rapid-fire dialogue and hilarious situations, to the Ordway stage.

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Looking forward to our 2017–18 55th Anniversary Season, we have selected five mainstage shows that are designed to entertain and engage our community members, whether you are brand-new to Minnesota Opera or a long-time fan of the company. The season begins in October with the Minnesota Opera premiere of Donizetti’s Don Pasquale, a bubbly comedy reimagined in 1950s Hollywood. November offers a new production of Mozart’s timeless comedy of errors, The Marriage of Figaro. 2018 opens with Jake Heggie’s Dead Man Walking, a modern story of grief, grace, and redemption coming to Minnesota Opera for the first time. The season continues with an original production of Verdi’s time-honored masterpiece, Rigoletto. The season concludes with the Minnesota Opera premiere of Thaïs, Massenet’s melodic and sensual rarity. At its best, opera offers a terrific exploration of different cultures and experiences, and encourages a deeper understanding about our shared human experience. We believe that this artful, lively experience is increasingly important in the modern world. I remain incredibly grateful to our supporters, whose generosity allows Minnesota Opera to bring the highest quality musical storytelling to the stage of the Ordway, as well as throughout schools and communities around our state. I couldn’t be more excited to share this new collection of powerful performances with our Minnesota audience. Thank you for joining us today, and enjoy the show!

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Contents

8 Synopsis

9 Dinner at Eight

About the Opera

Director's Notes

12 William Bolcom and Mark Campbell 13 The Artists 17 Meet the Artist: Brenda Harris 18 Upcoming Events 18 Social Media Preview Night 19 Opera Education 19 Minnesota Opera Information 20 2017–18 Season Preview 21 Tempo 21 Cabaret 2017 22 La Bohème Preview 23 New Works Initiative 24 Minnesota Opera Board of Directors, Staff, and Volunteers 26 Individual Giving 28

Institutional Giving

Special Giving

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SYNOPSIS

Scene one: The drawing room of the Jordan home — 9am, Friday

Socialite Millicent Jordan opens her morning mail while talking to her husband Oliver. She receives a radiogram from Lord and Lady Ferncliffe, who will soon arrive from England on the Aquitania. They have accepted an invitation from the Jordans for a dinner party and reception occurring the following Friday, and Millicent is jubilant. Immediately, she starts to imagine the guest list for the party, discussing various potential attendees with Oliver. Dr. Joseph and Lucy Talbot immediately spring to mind, as well as the celebrated former actress Carlotta Vance who has recently returned to New York; Oliver also suggests inviting Dan Packard and his wife Kitty for reasons related to his business. The Jordans’ daughter, Paula, enters and avoids discussing her upcoming marriage, to her finacé Ernest and puts off a shopping trip with her mother scheduled for that afternoon. After Oliver and Paula leave for work, Millicent telephones the Talbots and the Packards, and they eagerly accept the invitation to the party. Millicent imagines other details, like engaging an Austrian quartet for the evening and what will be on the menu. Scene two: Oliver Jordan’s business office in lower Manhattan — 1pm, Friday

Carlotta Vance visits Oliver at his company, Jordan Shipping Lines, and they reminisce about the old days when the city was different. Carlotta then reveals that she is broke and wants to sell her shares of Jordan stock. Jordan explains that he has his own financial concerns, knowing that

Scene three: Kitty’s bedroom in the Packard penthouse — 4pm, Friday

Kitty Packard lies in bed, claiming to be ill. Her husband Dan strides in and expresses his determination in business as he announces that he’s going to Washington dc to meet with the President. Dan also discloses his secret intention to take over Oliver’s business; as a result, dining with the Jordans on Friday will be uncomfortable, but Kitty still wants to go. Before he exits, Dan dreams of a scheme in which he involves surrogates to take over Oliver’s business. Dr. Talbot makes a house call to Kitty who bemoans his absence during their ongoing affair. Scene four: The drawing room of the Jordan home — 3pm, the following Wednesday

Millicent and Dr. Talbot’s wife, Lucy, return from shopping and learn that one of the party guests has canceled. Millicent decides to invite Larry Renault, who is in town rehearsing a play on Broadway. She calls Larry who accepts and hands the phone to Paula before leaving the room; Paula speaks to Larry on the telephone, revealing that they are also having an affair. Scene five: Larry Renault’s room in the Hotel Versailles — 2pm, Friday, the day of the dinner party

Paula visits Larry at his hotel. She wants to break it off with her fiancé and go public with their relationship, but Larry resists the idea. Paula leaves as Max Kane, Larry’s agent, arrives. He reveals that Larry was replaced in the Broadway play. Larry demands that he ask the producer for a secondary role. After Max leaves, Larry orders another bottle of whiskey from room service, and now completely out of cash, pays with his cufflinks. As he drinks, he tries to persuade himself that his career isn’t failing. Scene six: The drawing room of the Jordan’s home — 4pm, Friday

A crash is heard from the kitchen. The doorbell rings. Millicent urgently commands Gustave the butler to answer the door. Carlotta has unexpectedly stopped by to see Oliver. The bell rings again, and a dozen roses from the Ferncliffes are delivered. At the same moment, Carlotta confesses to Oliver that she has sold her stock. He soon learns by telephone that others have followed suit, revealing a potential

takeover. Millicent has also received terrible news. The Ferncliffes have canceled her dinner party, instead going to Florida; rather than an entire string quartet, only a single Hungarian violist is available for the party; and worst of all, Gustave informs her that the lobster aspic has been dropped, ruining it completely. Her daughter reveals that she doesn’t want to marry her fiancé, and Oliver wants to beg off attending the dinner that evening as he has chest pains. Utterly defeated, Millicent crumples in despair.

MUSIC BY WILLIAM BOLCOM | LIBRETTO BY MARK CAMPBELL BASED ON THE PLAY BY GEORGE S. K AUFMAN AND EDNA FERBER COMMISSIONED BY MINNESOTA OPERA

A MINNESOTA OPERA NEW WORKS INITIATIVE PRODUCTION WORLD PREMIERE

MARCH 11, 16, 18, AND 19, 2017 | ORDWAY MUSIC THEATER

INTERMISSION

Sung in English with English captions projected above the stage

Act II

Scene one: Dr. Talbot’s office — 5pm, Friday

MILLICENT JORDAN

Oliver visits Dr. Talbot to make an appointment for the next day. After Oliver leaves, Lucy looks in and, hearing her husband on the phone with Kitty, confronts him about his philandering. After she leaves, it is revealed that Oliver has a serious coronary condition, with weeks to live. Dr. Talbot feels guilty and resolves to change his ways.

KITTY PACKARD’S MAID

THE HOTEL MANAGER

Mary Dunleavy

Craig Irvin

Brenda Harris

Nadia Fayad *

William Lee Bryan *

KITTY PACKARD

Larry is crushed to learn from Max that he didn’t get the secondary role in the play. The hotel manager informs him that his room needs to be vacated the next day. Realizing that he has no career and no money left, he goes to the fireplace in his room and turns on the gas. Scene six: The drawing room of the Jordan home — 8:15pm, Friday

Millicent welcomes the guests to her party: the Packards, the Talbots, and Carlotta. As the evening progresses, the events from the preceding week come to light with startling and entertaining consequences.

EDDIE

AN ACTOR

DR. TALBOT’S ASSISTANT

A BELLBOY

Stephen Powell

Susannah Biller

Richard Troxell

Alexandra Razskazoff *

Tom Ringberg

JOSEPH TALBOT

MAX KANE

MISS COPELAND

ZOLTÁN

THEIR DAUGHTER

A PHYSICIAN

AN AGENT

OLIVER JORDAN’S SECRETARY

A VIOLIST

Siena Forest **

Andrew Garland

Benjamin Sieverding *

Mary Evelyn Hangley *

Andy Stein

Ruth and John Huss Chair

STAGE DIRECTOR Tomer Zvulun SET DESIGN Alexander Dodge

Scene five: Larry Renault’s room in the Hotel Versailles — 8pm, Friday

MISS ALDEN

HIS WIFE

CONDUCTOR David Agler

Millicent puts the final touches on the dinner party.

LARRY RENAULT

HER HUSBAND

Scene three: Kitty’s bedroom in the Packard penthouse — 7pm, Friday

Scene four: The drawing room of the Jordan's home — 7:45pm, Friday

MR. HATFIELD

A FORMER ACTRESS

LUCY TALBOT

Kitty is at her vanity, preparing for the dinner party. Dan reiterates his intention to follow politics in Washington and Kitty protests. She confesses that she is having an affair and will not leave New York. Dan threatens to destroy her reputation. Kitty, in turn, promises to reveal his shady business practices and ruin his career.

TINA

A WEATHLY ENTREPRENEUR

PAULA JORDAN

Millicent calls Delmonico’s to have them make a dinner and deliver it to her home.

CARLOTTA VANCE

A NEW YORK SOCIALITE

OLIVER JORDAN

Scene two: The drawing room of the Jordan's home — 6:15pm, Friday

DAN PACKARD

Cast

SEASON SPONSOR

GUSTAVE

HIS WIFE

A BUTLER

Adriana Zabala **

Thomas Glass *

COSTUME DESIGN Victoria Tzykun LIGHTING DESIGN Robert Wierzel

Creative Team SOUND DESIGN Kevin Springer

WIG AND MAKEUP DESIGN David Zimmerman

ASSISTANT DIRECTOR David Radamés Toro *

RÉPÉTITEURS Jessica Hall * Lindsay Woodward *

ASSISTANT CONDUCTOR Jonathan Brandani *

PRODUCTION STAGE MANAGER Kerry Masek

MINNESOTA OPERA RESIDENT ARTISTS * RESIDENT ARTIST | ** RESIDENT ARTIST ALUMNI

ESTIMATED RUNNING TIME

MEDIA SPONSOR

Running time is approximately 2 hours and 6 minutes, including one 20-minute intermission. The intermission will occur approximately 59 minutes into the opera.

The creators of Dinner At Eight dedicate this score to the memory of Arnold Weinstein. Production Support includes the National Endowment for the Arts, The Aaron Copland Fund for Music, Inc., and The Amphion Foundation, Inc. New Works Initiative Supporters include the Ruth Easton Fund of the Edelstein Family Foundation in honor of Tom McBurney, and the Andrew W. Mellon Foundation. Scenery and costumes for this production were constructed at the Minnesota Opera Shops and are jointly owned by Minnesota Opera, Wexford Festival Opera, and The Atlanta Opera. This production was originally commissioned by Minnesota Opera. Dinner at Eight © 1932 by George S. Kaufman and Edna Ferber, permission granted by Anne Kaufman and the Edna Ferber Literary Trust. This production uses theatrical haze and simulated cigarette smoke. The appearances of Alexandra Razskazoff and Benjamin Sieverding, regional finalists, and Mary Evelyn Hangley, district finalist, of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. 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.

| DINNER AT EIGHT

Act I

other shareholders wish to liquidate as well. As Carlotta leaves, Dan Packard enters for an appointment, and Oliver asks him for a loan, which he agrees to. After Dan leaves, Oliver expresses his concerns about weathering the Depression.

Costume Designs by Victoria Tzykun

Setting: New York City, Early 1930s

ABOUT THE OPERA

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What will happen in the aftermath of the fateful Friday night dinner? Will Oliver die of a heart attack, leaving Millicent devastated, the inheritor of a worthless business and now a social pariah? Will Paula “settle” for her fiancé to ensure her financial security? Will the Talbots reconcile and survive any financial difficulties in a society always in need of medical care? Will the Packards also continue on, albeit tempestuously, with Dan still manipulating the nation’s interests while Kitty reaps the spoils, unable to part with her pampered lifestyle? Will Carlotta take her proceeds from the stock sale and perhaps convert her self-named languishing theater into a cinema? Will Larry Renault be immortalized in the Actors’ Guild Hall of Fame?

In spite of a depressed economy, Broadway held its head high during the 30s, and still managed to supply diversion to those who could afford tickets, though the number of new productions dwindled significantly. Another challenge was the burgeoning motion picture industry, at first seemingly a passing fad, but later, with the introduction of the soundtrack in 1927, becoming a force to be reckoned with. Many theaters were converted into movie houses, but at least the most popular playwrights had a lucrative future — many of their spoken dramas and musicals became major motion pictures.

Kaufman was to achieve the distinction of gracing the cover of Time magazine on November 20, 1939, for his various contributions and collaborations. He was born in Pittsburgh in 1889. After varying pursuits, the author settled into the penning of humorous, often flippant, columns for several newspapers, which eventually landed him the prestigious position of Dramatic Editor at The New York Times. It was a natural transition to writing plays. His first attempt, ironically entitled The Failure (1911), remained unproduced, but eventually working alongside co-writer Marc Donnelly, he had his first success with Dulcy (1921). Kaufman would go on to win two Pulitzer Prizes, first with the musical Of Thee I Sing, working with Morrie Ryskind, and George and Ira Gershwin, and later, a play You Can’t Take It With You. Of a different temperament, Edna Ferber was a bit more reserved, and in retrospect, consequently undervalued. Born in Kalamazoo, Michigan in 1885, she was raised

in Wisconsin, joining the Appleton Daily Crescent at age 17 as a reporter. A woman working in essentially a male world, Ferber was eventually dismissed, but obtained a better position at the Milwaukee Journal. She wrote short stories and would become a novelist, whose subject matter included a slice of mainly western Americana, often featuring formidable female protagonists in dense plots. Still, she was one of the best-selling writers of the century, leading to a profitable relationship with Hollywood. Like Kaufman, many of her works were adapted for the silver screen, namely Giant, So Big, Cimarron, and Ice Palace. For more than four decades she wrote mostly about the United States with a unique perspective, ostensibly out of patriotic love, while still uncovering the country’s many flaws. She valued herself first as an American, second as a writer, and third, as a hard-working, career-minded Jewish woman. Ethnicity and cultural identity were common themes in her works.

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Once aspiring to become an actress, Ferber also dabbled in the theater. She first attracted notice as the librettist for Show Boat, and later honed her skills by collaborating with Kaufman on a number of plays, adding a sentimental side to the former’s sarcastic wit. Some of their greatest achievements include Minick, The Royal Family, Dinner at Eight, Stage Door, The Land is Bright, and finally, Bravo!.

Both authors died in the 1960s, having clearly made their mark. Kaufman’s The Man Who Came To Dinner, You Can’t Take It With You, and The Coconuts are part of the Guthrie Theater’s distinguished repertoire, and Kaufman and Ferber’s The Royal Family (loosely based on the famed Barrymore acting family) is currently in production. (Coincidentally, Tyrone Guthrie also directed a Broadway revival of Dinner at Eight in 1966.) From its original record-breaking 232 performances to today’s marvelous operatic world premiere, Dinner at Eight continues to engage and entertain audiences in this latest incarnation, truly enduring as a 20th- and 21st-century modern comedy of manners and a classically crafted well-made play.

“

DAVID SANDER Dramaturg

ow does a major world event affect the lives of the individuals that are caught in the middle of it? Recent modern operas have examined this question with great success. For example, Silent Night looks at World War I and its profound effects on life-like characters, and The Grapes of Wrath deals with a poor family of tenant farmers during the Great Depression, one of the greatest traumatic events of American history. Dinner at Eight continues in this vein by telling a different story around the Great Depression, focusing on high society in New York City.

The time is 1932, the setting is New York City. Glamour and glitz collide with the harsh realities of the Great Depression. Denial is at its very peak.”

As people who have experienced major world events in our own lifetime (the September 11 attacks, the 2008 financial crisis), we can relate to the incredible changes that these significant incidents have on our lives. Based on a play by George S. Kaufman and Edna Ferber, which was later adapted into a Hollywood cult movie by George Cukor, starring Lionel Barrymore, John Barrymore, and Jean Harlow, Dinner at Eight is a brilliant dark comedy that takes place in Manhattan during the Great Depression. The story is about a stylish, Park Avenue society lady, Millicent Jordan, who throws a dinner party for an elusive couple we never get to meet—an aristocratic British pair by the name of the Ferncliffes. The time is 1932, the setting is New York City. Glamour and glitz collide with the harsh realities of the Great Depression. Denial is at its very peak.

the actor who has lost his career due to the invention of the talkies; a blustering nouveau riche man by the name of Dan Packard who happens to be responsible for depleting Millicent’s husband’s wealth; his wife who is having an affair with a doctor; the doctor who is having an affair with Packard's wife; and the Doctor's wife, who is well aware of the affair. It's one messy dinner! One more critical protagonist in the production is the actual city of New York. Manhattan is functioning as a real character in the story and our set and costume designs capture the opulence and style of the city in this wonderfully glamorous period. A great sense of ending is hovering over each one of the characters in this story, as each is forced to deal with the human realities associated with all fleeting things in life: fading fame, deteriorating health, financial decline, marital crisis, and tarnished reputations. Nothing remains the same and all things are bound to change and eventually fade away, yet life goes on and dinner must be served exactly at eight. As the characters sing at the beginning of the opera: “Despite your woes, the bubbly still flows … the party goes on.”

Millicent is very busy preparing for her dinner and is completely unaware of the lives and struggles of her dinner guests—a real microcosm of the era. The guests include her husband, who unbeknownst to her, is on the verge of bankruptcy and is diagnosed with a life threatening illness; her daughter who is engaged TOMER ZVULUN to be married but is in love with an aging actor; Stage Director

| DINNER AT EIGHT

As Millicent Jordan is making preparations for a lavish society event, her husband Oliver’s business teeters on the edge of bankruptcy, and his health is failing. Entrepreneur Dan Packard picks at the scraps of other people’s misfortunes by making illegal, or at least questionable, monetary deals. Dr. Joseph Talbot is solid financially, but he is bored by his marriage, and his affections have begun to waver. The once-handsome silent film star Larry Renault stares into the abyss of a moribund career, thanks both to the huge new sensation of “talkies” and a depressed entertainment industry. And Carlotta Vance, also bordering on the brink of vanished fame, considers liquidating her shuttered theater and her Jordan Shipping assets.

One figure emerged as the King of Broadway — George S. Kaufman. Producing one show every year beginning in 1921, he is sometimes overlooked today. But at the time, Kaufman was considered the master of stagecraft and satire, mocking the evermodernizing American scene. One of his most popular dramas, Dinner at Eight, begins innocently enough in the arrangement of an elaborate soirée at the same time as bread lines encircle the city block below. The narrative then devolves into the private lives of the invited guests, exposing the sordid underbelly of 1930s societal mores of a parvenu culture. The original play is slightly more biting than the opera, with sharply caustic remarks exchanged between actor Larry, agent Max, and producer Jo as well as the ever-bickering, unhappy Packards — crass symbols of a nouveau riche. There are also several more scheming servants in subplots — Tina, the blackmailing maid with knowledge of Kitty’s affair, Gustave, secretly involved with Dora (Millicent’s maid, not in the opera), and the conflict between Gustave and Ricci (the chauffeur, also not present in the opera) that leads to the destruction of the lobster main course. Also, Millicent’s middle-class sister and husband are called in at the last minute as substitutes for the disappearing Ferncliffes, filling out the guest list to sustain a perfect ten.

Costume Designs by Victoria Tzykun

Dinner at Eight debuted on Broadway in 1932 at the Great Depression’s lowest ebb, probably intended to cheer audiences with a comedy, but still having a very dark side.

DIRECTOR'S NOTES

THE ARTISTS

With his wife, mezzo-soprano Joan Morris, he has concertized for more than 40 years throughout the United States, Canada, and abroad. In addition to their live performances, Bolcom and Morris have recorded 25 albums of music drawn from the American Popular Songbook. Their first album, After the Ball, garnered a Grammy nomination for Joan Morris. Their recent recordings include two albums of songs by lyricist E. Y. “Yip” Harburg and Gus Kahn; Bolcom’s complete Cabaret Songs, written with lyricist Arnold Weinstein; Someone Talked: Memories of World War II with illiam olcom tenor Robert White and narrator Hazen Schumacher; and Autumn Leaves, Named 2007 Composer of the Year by a collection of 21 popular cabaret songs. Musical America and honored with In the spring of 2007 Bolcom was feted in a Grammy® Award (Best Classical Minneapolis-Saint Paul with a two and a Contemporary Composition) for his ground- half-week festival of his music, including breaking setting of Blake’s Songs of Innocence master classes, recitals, and concerts of his and of Experience (the album received a vocal as well as organ and chamber music. total of four Grammys), Mr. Bolcom is a Titled Illuminating Bolcom, the festival was composer of cabaret songs, concertos, sonatas, highlighted by two performances of Songs of operas, symphonies, and much more. He was Innocence and of Experience accompanied by awarded the 1988 Pulitzer Prize in Music for animated projections of Blake's illuminations. his 12 New Etudes for Piano. Mr. Bolcom has Recent productions of A View from the also received the National Medal of Arts.

Bridge have been mounted by Washington National Opera, the University of Texas – Austin, and the Rome Opera. In 2016, eleven performances of his first opera, McTeague, were produced at the Landestheater in Linz, Austria. The recording of Prometheus (text by Lord Byron) with pianist Jeffrey Biegel, the Pacific Symphony and Pacific Chorale, and Canciones de Lorca with tenor René Barbera, both conducted by Carl St. Clair, is now available on Naxos. His Symphony No. 8, premiered in February 2008 by the Boston Symphony Orchestra and Chorus, conducted by James Levine, is available for downloading on the bso website. Bolcom joined the faculty of the University of Michigan's School of Music in 1973, was named the Ross Lee Finney Distinguished University Professor of Composition in 1994, and retired in 2008 after 35 years.

| MINNESOTA OPERA mnopera.org 12

Notable opera companies with which Mr. Agler has appeared include Santa Fe Opera, Seattle Opera, Netherlands Opera, Teatro Comunale di Bologna, Pittsburgh Opera, Opera Philadelphia, Opera Theatre of Saint Louis, and Opéra de Montréal. Mr. Agler has led Carmen and Transatlantic for Minnesota Opera.

WILLIAMBOLCOM.COM

Alexander Dodge

Their second collaboration for the company, The Manchurian Candidate, enjoyed a fantastic critical and popular reception at Austin Opera last year—and will be going to Fort Worth Opera next year. And last year, he wrote the libretto for Memory Boy, a youth opera with music by Reinaldo Moya, and followed that with The Shining, with composer Paul Moravec, which broke Minnesota Opera box office records and also garnered much critical praise.

Mark is honored to be working with Minnesota Opera on Dinner at Eight, the fifth opera he has written for the company and his second collaboration with composer William Bolcom. Mark’s first commissioned work with Minnesota Opera, Silent Night, which he wrote with composer Kevin Puts, received the 2012 Pulitzer Prize in Music and is currently one of the most produced new operas in this country.

conductor David Agler is artistic director of the Wexford Festival Opera and has previously served as music director of the Vancouver Opera, principal conductor of the Australian Opera, resident conductor of the San Francisco Opera, principal guest conductor of the Oper der Stadt Köln, conductor and administrator of the Spoleto Festival, artistic director of the Opera Festival of New Jersey, and music director of The Banff Festival of the Arts.

He has recorded for Advance, Jazzology, Musical Heritage, Nonesuch, Vox, Omega, Naxos, Centaur, and Albany, among many others.

LIBRETTIST

Mark Campbell

David Agler

Mark’s other operas include As One, Volpone, Bastianello/Lucrezia, Rappahannock County, The Inspector, The Other Room, Approaching Ali, and A Letter to East 11th Street.

Dominic J. Pelliciotti Award, and a grant from the New York State Council of the Arts. Mark is also an advocate for contemporary American opera and mentors future generations of writers through such organizations as American Opera Projects, American Lyric Theatre, the University of Colorado’s New Opera Workshop, Washington National Opera’s American Opera Initiative, and Opera Philadelphia’s Composer-in-Residence Program.

Other premieres in 2017 include: Elizabeth Cree for Opera Philadelphia (Kevin Puts, composer), Some Light Emerges for Houston Grand Opera (Laura Kaminsky, composer; Mark has received many prestigious prizes for Kimberly Reed, co-librettist), The Nefarious, Immoral but Highly Profitable Enterprise of his work, including a Grammy nomination Mr. Burke and Mr. Hare for Boston Lyric for Best Classical Recording, the first Opera ( Julian Grant, composer), and The Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American (R)evolution of Steve Jobs for Santa Fe Opera (Mason Bates, composer). Academy of Arts and Letters, three Drama Desk nominations, a Jonathan Larson Foundation Award, a New York Foundation MARKCAMPBELLWORDS.COM for the Arts Playwriting Fellowship, the first

set design Alexander Dodge is an awardwinning international designer for theater, opera, musicals, dance, and television. He was born in Switzerland, raised in Arizona, and lives in Manhattan. He trained at the Yale School of Drama.

For Minnesota Opera, Mr. Dodge designed Così fan tutte in 2011. Other opera credits include The Ghosts of Versailles for LA Opera, Il trittico at Deutsche Oper Berlin, Der fliegende Holländer in Würzburg, and Lohengrin in Budapest, among others. Mr. Dodge designed the hit Broadway and the national tour musical A Gentleman’s Guide to Love and Murder, directed by Darko Tresnjak, for which he received his second Tony Award nomination. Other Broadway credits include Present Laughter (Tony nomination), Old Acquaintance, Butley, and Hedda Gabler. He also designed Disney’s The Hunchback of Notre Dame for the La Jolla and Paper Mill Playhouses as well as international companies in Tokyo and Berlin. For television, Mr. Dodge has designed Julie’s Greenroom starring Julie Andrews that debuts on Netflix this month. Upcoming projects include the world premiere musical Anastasia for Broadway, opening this April.

Susannah Biller

kitty packard Soprano Susannah Biller has been praised for her “incandescent, exquisitely supple soprano” (Dallas Morning News) and her “light, sweet lyric voice and coloratura agility” (Chicago Tribune). An alumnus of the prestigious Adler Fellowship Program with San Francisco Opera, she was seen as Frasquita in Carmen, Lolita in Harbison’s Heart of a Soldier, Kristina in The Makropulos Case, and Madame Herz in Der Schauspieldirektor. Other productions with San Francisco Opera include Der Ring des Nibelungen, Serse, and Werther.

The 2015–2016 season included her debut with the Louisiana Philharmonic for Mahler’s Symphony No. 2, a return to Arizona Opera as Rosalba in Florencia en el Amazonas, and debuts with Lyric Opera of Kansas City as Adina in L’elisir d’amore, Des Moines Metro Opera as Eurydice in Orphée et Eurydice, and the Knoxville Symphony Orchestra. In the 2016–2017 season, she joins the Beth Morrison Projects as the title role in Madame White Snake, San Diego Opera as Clorinda in La Cenerentola, and returns to Opera Theatre of Saint Louis as Fraulein Burstner/Leni in The Trial by Philip Glass.

Mary Dunleavy

millicent jordan In a career that has brought her to many of the world’s leading opera houses and orchestras, Mary Dunleavy has been heralded as one of her generation’s most accomplished singing actresses. Recently, the soprano made a critically acclaimed United Kingdom debut as Christine in Intermezzo with Garsington Opera, which The Times of London praised as “a graceful and subtle performance that any Straussian should relish.” The 2016–2017 season has included a company debut with Opera Omaha as Musetta in La bohème; her concert debut with the St. Bart’s Music Festival; a solo recital at the University of Texas; and a return to the Metropolitan Opera for productions of La bohème and Don Giovanni. Future seasons include returns to Garsington Opera and Opera Omaha for role debuts.

Recent appearances include Musetta in La bohème and Pamina in Die Zauberflöte with the Metropolitan Opera; Rosalinde in Die Fledermaus with Portland Opera; Micaëla in Carmen with Dallas Opera; Violetta in La traviata and Marguerite in Faust for Atlanta Opera; Desdemona in Otello with Nashville Opera; and the title role of Madame Butterfly at Chautauqua Opera. Ms. Dunleavy also appears in the Steven Spielberg film Lincoln as Marguerite from Faust and as Geraldine in the upcoming short film adaption of Samuel Barber’s A Hand of Bridge.

William Lee Bryan

mr. hatfield A native of Saint Paul, Minnesota, baritone William Lee Bryan was praised in the Minneapolis Star Tribune for his “large, ingratiating baritone” in the role of Curly in Bloomington Civic Theater’s production of Oklahoma!. Mr. Bryan has performed opera, operetta, musical theater, and concert works across the United States. He holds a bachelor of music degree in vocal performance from the University of Minnesota, where he studied with Philip Zawisza, and a master of music degree in vocal performance from Florida State University, studying with David Okerlund. His favorite roles have included Don Giovanni, Elmer Gantry, and Elijah, Ford in Falstaff, Demetrius in A Midsummer Night’s Dream, Rappaccini in La hija de Rappaccini, Fredrik in A Little Night Music, Lancelot in Camelot, Hans Scholl in Weisse Rose, and Guglielmo in Così fan tutte. Mr. Bryan joins Minnesota Opera this season, performing the roles of the Duke of Verona in Romeo and Juliet and Marcello in La Bohème. MINNESOTA OPERA RESIDENT ARTIST

Nadia Fayad

tina Mezzo-soprano Nadia Fayad is quickly gaining recognition for her rich and earthy sound, with expressive musicality in her lower register.

Ms. Fayad was recently an apprentice with Santa Fe Opera, where she covered the role of the Baroness in Barber’s Vanessa and sang in Roméo et Juliette. In 2015, Ms. Fayad was a studio artist with Wolf Trap Opera, appearing as the Woman with Hat in Corigliano’s The Ghosts of Versailles and La Zia in Madame Butterfly. Nadia recently received a master of music from Rice University, where she performed the leading role of Hänsel in Hänsel und Gretel, Melantho in Il ritorno d’Ulisse in patria, and Hippolyta in A Midsummer Night’s Dream. She received her bachelor’s degree at the Eastman School of Music, where she sang the roles of Madame de Croissy in Dialogues des Carmélites, Mrs. Jones in Street Scene, and Medoro in Orlando. At Minnesota Opera this season, Nadia sings Gertrude in Roméo et Juliette, Flosshilde in Das Rheingold, Cloe in Diana’s Garden, and Tina in Dinner at Eight. MINNESOTA OPERA RESIDENT ARTIST

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COMPOSER

Siena Forest

paula jordan Siena Forest sets herself apart with her dynamic stage presence, facile voice, and deftness in bring new works to life. In 2016, she was a winner in Piccola Opera’s Opera Competition in Concord, and will be touring with Opera New Hampshire in 2017. This summer, Siena will be reprising the role of Frasquita in the Lakes Area Music Festival’s production of Carmen. With Minnesota Opera, Siena has graced the stage as Echo in Ariadne auf Naxos, Pamina in Die Zauberflöte, where she “soared through her arias, especially ‘Ach, ich fühl’s,’” the Dew Fairy in Hänsel und Gretel, and was the first of the “exquisitely sung” Wood Sprites in Rusalka. As Frasquita in Carmen, Siena was chosen as one of the top ten scene-stealing performances in the Twin Cities Arts Reader. Siena also covered Wendy Torrance in The Shining. In 2016, the soprano received an encouragement award in the Metropolitan Opera Auditions and covered the role of Marie in La fille du régiment with Mill City Summer Opera, as well as previously appearing with the Minnesota Orchestra, Saint Cloud Symphony, ok Mozart International Festival, Central City Opera, and at Indiana University. SIENAFOREST.COM MINNESOTA OPERA RESIDENT ARTIST ALUMNI

| MINNESOTA OPERA mnopera.org

Mary Evelyn Hangley

miss copeland For her first year at Minnesota Opera, soprano Mary Evelyn Hangley appears as Lady Capulet in Romeo and Juliet, Woglinde in Das Rheingold, Miss Copeland in Dinner at Eight, and Musetta in La bohème. Most recently, she spent last summer as part of San Francisco Opera’s prestigious Merola Opera Program, singing #2 in Conrad Susa’s Transformations and performing scenes as Atalanta in Serse and as the title role in Arabella. Previously, Ms. Hangley was an apprentice artist at Sarasota Opera, performing scenes from the roles of Nedda in I pagliacci, Donna Anna in Don Giovanni, Lida in La battaglia di Legnano, Giselda in I Lombardi, Fioretta in I Medici, and Margarita in Mefistofele. She also performed Frau Fluth in Die lustigen Weiber von Windsor in Weimar. Ms. Hangley has been seen at the Janiec Opera Company, singing Micaëla in La tragédie de Carmen and Steampunk in the world premiere of Michael Ching’s Speed Dating Tonight!. She received her master of music in vocal performance from Florida State University. MINNESOTA OPERA RESIDENT ARTIST

THE ARTISTS Andrew Garland

joseph talbot Andrew Garland has been praised by Opera News for his “coloratura [which] bordered on the phenomenal as he dashed through the music’s intricacies with his warm baritone, offering plenty of elegance and glamour in his smooth acting.”

During the 2016–2017 season, Mr. Garland performs Archibald Grosvenor in Patience with Odyssey Opera, the world premiere of The Conquest Requiem with the Houston Symphony, and Le Dancaïre in Carmen with Boston Lyric Opera. On the concert stage he joins the New York Festival of Song at the Moab Music Festival and National Sawdust and sings the Messiah with Boston Baroque and Colorado Bach Ensemble. The 2015–2016 season was highlighted by a return to Seattle Opera as Harlekin in Ariadne auf Naxos. During previous seasons, Mr. Garland joined Boston Baroque as Papageno in Die Zauberflöte; returned to Boston Lyric Opera in La bohème; and appeared at Opera Philadelphia and Fort Worth Opera as Dandini in La Cenerentola; at Cincinnati Opera as Mercurio in La Calisto and the title role in Galileo Galilei; and at Seattle Opera as Riolobo in Florencia en el Amazonas and Schaunard in La bohème.

Brenda Harris

carlotta vance One of America’s finest sopranos, Brenda Harris has appeared in leading roles with many of the world’s most prominent opera companies and orchestras. Praised the Dallas Morning News for her “drop dead gorgeous singing, soaring on high, glowing with mezzo-ish warmth in lower registers,” recent roles include June Mathis in The Dream of Valentino, Lady Macbeth in Macbeth, Abigaille in Nabucco, Elisabetta in Maria Stuarda and Roberto Devereux, and the title role of Norma (Minnesota Opera), Odabella in Attila, Leonora in Fidelio, and Donna Elvira in Don Giovanni, among others. She has performed with the Metropolitan Opera, Teatro Massimo in Palermo (Italy), Washington National Opera, Arizona Opera, New York City Opera, Opéra du Rhin in Strasbourg, Utah Opera, Michigan Opera Theatre, Opera Pacific, Canadian Opera Company, Edmonton Opera, and Opera Theatre of Saint Louis, to name a few. Recent stellar reviews have stated that, “Harris dealt easily and accurately with the part’s coloratura demands, delivering honest to goodness trills in the banquet scene and ending the sleepwalking scene with an immaculate high D-flat” (Opera News) and “Pitch perfect, Harris exhibits a flawless legato with a naturalism that perfectly exemplifies the Bel Canto form” (The Examiner).

Thomas Glass

gustave Baritone Thomas Glass joins the Minnesota Opera this season as Capulet in Romeo and Juliet, Gustave in Dinner at Eight, and Schaunard in La Bohème. He also covers Mercutio in Romeo and Juliet and Donner in Das Rheingold. Mr. Glass has previously appeared in the Opera’s celebrated world premiere production of Kevin Puts and Mark Campbell’s Silent Night. For the Wolf Trap Opera Studio, Mr. Glass performed as Joseph in Corigliano’s The Ghosts of Versailles in 2015, and returned the following year as Bragherona in Florian Leopold Gassmann’s 18th-century rarity L’opera seria, where he also covered the roles of Tarquinius in The Rape of Lucretia and Schaunard in the Filene Center’s production of La Bohème. The young baritone received his master of music degree in vocal performance from Rice University and his undergraduate degree from Saint Paul’s University of St. Thomas. He has also attended the American Institute of Musical Studies in Graz, Austria. MINNESOTA OPERA RESIDENT ARTIST

Craig Irvin

dan packard Baritone Craig Irvin brings a vibrant sound and commitment to character to each role he portrays. Opera News has hailed his “rich, resonant baritone,” while the Dallas Morning News has celebrated his “truly commanding baritone.” Last season saw debuts with Sarasota Opera as Marcello in La bohème and Anchorage Opera in the title role of The Mikado as well as his return to Utah Opera as Count Almaviva in Le nozze di Figaro. In the 2016–2017 season, he will revive his Lt. Horstmayer in Silent Night for Atlanta Opera, make his role debut as Macbeth with LoftOpera, and sing Escamillo in Carmen with Fort Worth Opera.

Other recent engagements include Horstmayer with Cincinnati Opera, Fort Worth Opera, and Opera Philadelphia; Mandryka in Arabella with Minnesota Opera; Dandini in La Cenerentola with Pensacola Opera, the Villains in Les contes d’Hoffmann and Leporello in Don Giovanni with Wolf Trap Opera; and Betto in Gianni Schicchi, the First Nazarene and Jochanaan cover in Salome, while also covering the role of Simone in A Florentine Tragedy with the Canadian Opera Company.

Stephen Powell

oliver jordan The dynamic American singer Stephen Powell brings his “rich, lyric baritone, commanding presence, and thoughtful musicianship” (The Wall Street Journal) to a wide range of music, from Monteverdi and Handel through Verdi and Puccini to Sondheim and John Adams. Opera magazine has hailed him, writing “the big news was Stephen Powell’s gorgeously sung Onegin: rock solid, with creamy legato from top to bottom and dynamics smoothly tapered but never exaggerated.”

During the summer of 2016, Mr. Powell returned to Tanglewood as soloist in Carmina burana with Boston Symphony Orchestra, and to Minnesota Orchestra as Iago in Otello. Mr. Powell’s engagements in the 2016–2017 season will include returns to Philadelphia Orchestra for Carmina burana and the Messiah; to San Francisco Opera as Prus in The Makropulos Case; to the North Carolina and Kansas City Symphonies in Britten’s War Requiem; and a debut with Seattle Opera as Germont in La traviata. In 2015–2016, he returned to Opera Philadelphia as Germont, to Minnesota Opera as Scarpia in Tosca, and to Michigan Opera Theatre in the title role of Macbeth.

Benjamin Sieverding

max kane Bass Benjamin Sieverding has been recognized by critics nationwide for his “surprising depth” (Boulder Daily Camera), “natural gift for comedy,” and “full, rich sound” (Ann Arbor Observer). For Minnesota Opera, he has appeared as Frère Laurent in Romeo and Juliet, Truffaldino in Ariadne auf Naxos, Sarastro in The Magic Flute, the Sacristan in Tosca, and the Ranger and the Man-in-dog-mask in The Shining. For his second season as a Resident Artist, he later sings Colline in La Bohème.

Most recently, Sieverding performed Montano in Minnesota Orchestra’s Otello. Earlier, he has reprised the roles he created in Theodore Morrison’s Oscar with Opera Philadelphia and made his role debut as Il Commendatore in Don Giovanni, performing as a guest artist with the University of Alabama Opera Theatre. An apprentice artist with Santa Fe Opera for two seasons, Sieverding made his company debut in three roles for the world premiere of Oscar. As one of the infirmary patients, Sieverding “lent heart-choking realism” to the role (Bay Area Reporter), and the Huffington Post called it “the single most moving scene in the opera.” MINNESOTA OPERA RESIDENT ARTIST

Alexandra Razskazoff

miss alden Originally from Minneapolis, soprano Alexandra Razskazoff joins Minnesota Opera this season, singing Wellgunde in Das Rheingold, Britomarte in Diana’s Garden, Miss Alden in Dinner at Eight, and Musetta in La Bohème, while covering Juliette in Romeo and Juliet. This past summer, she was an apprentice artist at Santa Fe Opera for a second season. Credits include the First Lady in Die Zauberflöte and the Countess in Le nozze di Figaro at Juilliard Opera Theater, where she has pursued a master of music in vocal performance. At the Peabody Conservatory, where she received her bachelor’s degree, she sang Blanche de la Force in Dialogues des Carmélites, Donna Elvira in Don Giovanni, Abigail Williams in The Crucible, and L’Écureuil in Ravel’s L’enfant et les sortilèges. In 2014, Ms. Razskazoff was awarded second place for the Mid-Atlantic Region of the Metropolitan Opera National Council Auditions, has won third place in the Houston Grand Opera’s Eleanor McCollum Competition, and received the Juilliard Novick Career Advancement Grant. MINNESOTA OPERA RESIDENT ARTIST

Richard Troxell

larry renault Metropolitan Opera tenor Richard Troxell brings equal parts charm and international experience to the stage. His 25-year career spans across the great houses of the world, including Carnegie Hall, Avery Fisher Hall, the Opéra Comique (Paris), Seville, Sydney, Beijing, Houston, New York City, Los Angeles, Washington, Teatro Petruzelli (Bari), Taipei, Calgary, Vancouver, Montreal, Philadelphia, Boston, Monte Carlo, Toulouse, and in 2006, Minnesota, as the title role of Les contes d'Hoffmann. Richard’s career skyrocketed when he appeared as Pinkerton in Martin Scorsese’s film version of Madama Butterfly in 1996. The New York Times described his performance as “the most dramatically satisfying vocal characterization.” Critics have praised him as “splendid,” “superb,” and a “smooth tenor.” Mr. Troxell’s diverse disciplines have ranged from being a recurring guest on Jimmy Fallon’s Tonight Show, to climbing out of the sewers of Seville as Don José, and singing the National Anthem at the American League Championship Opener. He has also starred as the Dwarf in Zemlinsky’s Der Zwerg at Avery Fisher Hall, Renato di Rossi in Rodgers’ Do I Hear A Waltz at City Center, and recently completed a compact disc entitled Classic Broadway.

Tom Ringberg

eddie Tom Ringberg is a local actor, actor combatant, and stunt performer in the Twin Cities. He received a theater degree from Augsburg College, with a focus on performance, directing, and stage combat. Tom has primarily worked as a supernumerary for Minnesota Opera for the last few years and has had the honor of being the fight captain for several Minnesota Opera productions such as Carmen, Tosca, and Romeo and Juliet.

Kevin Springer

sound design Kevin Springer has worked as a sound engineer and designer in the Twin Cities since 2010, and is a recent graduate of the Theater Design and Technology program at the University of Minnesota. Recent work includes the sound design for Dutchman and The Owl Answers for Penumbra Theatre; A Christmas Carole Petersen with Theater Latté Da; and a solo audio performance at the former State Hospital in Fergus Falls, Minnesota.

Victoria Tzykun

costume design Victoria “Vita” Tzykun has designed sets, costumes, and projections for companies such as the Bolshoi Theatre (Russia), Den Norske Opera (Norway), LA Opera, Seattle Opera, Dallas Opera, San Diego Opera, Opera Philadelphia, The Kennedy Center (dc), Wexford Festival Opera (Ireland), Boston Lyric Opera, Atlanta Opera, Utah Opera, and Cincinnati Opera, among others. Her numerous film and television credits include art direction for Lady Gaga’s abc Thanksgiving Special, production design for several award winning feature films and shorts, and commercials for leading companies such as pbs, Directtv, Axe, Bulova, Qualcomm, and the United States Army. Upcoming engagements include set design for the world premiere of the (R)Evolution of Steve Jobs at Santa Fe Opera, and set and costume design for Faust at Chicago Lyric Opera. In 2016, Victoria Tzykun was nominated for Best Design by the International Opera Awards.

Tzykun is a founding member of glmmr — a New York-based interdisciplinary art collective that fuses the worlds of fine art, audiovisual technology, and live performance.

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THE ARTISTS

MEET THE ARTIST

lighting design Robert Wierzel has worked with artists from diverse disciplines and backgrounds in theater, dance, contemporary music, museums, and opera on stages throughout the country and abroad. Credits include productions with the opera companies of Opéra National de Paris – Garnier; Tokyo; Toronto; Bergen (Norway); Folk Opera, Sweden; New York City Opera; Glimmerglass; Seattle; Boston Lyric; Atlanta; Minnesota; San Francisco; Houston; Washington; Virginia; Chicago Lyric; Chicago Opera Theater; Montreal; Vancouver; Florida Grand; Portland; Colorado; Pittsburgh; Wolf Trap; and San Diego, among others. His theater work has been seen on and off Broadway, including Lady Day At Emerson’s Bar and Grill (starring Audra McDonald); the musical fela! (Tony Award nomination); David Copperﬁeld’s Broadway debut Dreams and Nightmares; and also productions at nysf/ Public Theatre, Roundabout Theatre Company, and Signature Theatre, among others. In dance, Robert has a long collaboration (31 years) with the director/choreographer Bill T. Jones and the btj/az Company.

Adriana Zabala

lucy talbot Mezzo-soprano Adriana Zabala has been praised by The Wall Street Journal as showing “tremendous stamina and boy-like flair,” The New York Times as “a vivid, fearless presence,” and the L.A. Times as “extraordinary.” She has been seen with Seattle Opera, Florentine Opera, Minnesota Opera, Wolf Trap Opera, Arizona Opera, Opera Saratoga, Minnesota Orchestra, the Mormon Tabernacle Choir, the Jacksonville Symphony, the Virginia Symphony, the Madison Symphony, the New York Festival of Song, the spco, and at Caramoor, among others.

Last season included returns to Arizona Opera as Paula in Florencia en el Amazonas, the New Jersey Symphony for the Messiah, the Quad City Symphony for Mahler’s Symphony No. 2, Nicklausse in Les contes d'Hoffmann with Madison Opera, and as Cherubino in Le nozze di Figaro with Angels and Demons Productions. This season, Zabala appeared as the title role in Sister Carrie with Florentine Opera, the Komponist in Ariadne auf Naxos with Berkshire Opera, and Amore in Diana’s Garden for Minnesota Opera. Next season, she sings Manja in Steal a Pencil for Me with Opera Colorado and encores in Florencia for San Diego and Madison.

Tomer Zvulun

stage director General and Artistic Director of The Atlanta Opera since 2013, Israeliborn Tomer Zvulun is also one of opera’s most exciting stage directors, known for creating innovative, visually striking new interpretations for standard operas as well as championing new works. Mr. Zvulun’s productions include Semele (Seattle Opera), Lucia di Lammermoor (Seattle; Atlanta; Cleveland), Silent Night (Wexford; Atlanta), Soldier Songs (Atlanta, San Diego), Dead Man Walking (New Orleans), La bohème (Seattle; Pittsburgh; Cleveland; Atlanta), Lucrezia Borgia (Buenos Aires), Magic Flute (Cincinnati; Atlanta; Indiana University), Don Giovanni (Wolf Trap; Cincinnati), Die Fledermaus (Dallas; Kansas City), Falstaff (Wolf Trap; Des Moines), Rigoletto (Boston; Atlanta; Omaha), Madama Butterfly (Atlanta; Castleton Festival; New Orleans), and Tosca (Panama; Atlanta), among others. Upcoming projects include Giulio Cesare for the Israeli Opera, Dinner at Eight in Wexford and Atlanta; Silent Night at Glimmerglass Festival and in Washington dc; The Flying Dutchman in Atlanta and Houston; Eugene Onegin for Kansas City, Hawaii, and Detroit; and La bohème in Dallas.

MINNESOTA OPERA RESIDENT ARTIST ALUMNI

MINNESOTA OPERA ORCHESTRA VIOLIN I

| MINNESOTA OPERA mnopera.org

OBOE

TROMBONE

Michael Dayton *

Phillip Ostrander *

COVERS

TUBA

WILLIAM LEE BRYAN Oliver Jordan

Susan Janda Laurel Browne Jenny Lind Nilsson

Allison Ostrander * Concertmaster Cynthia and Lawrence Lee Chair

Coca Bochonko

Natalia Moiseeva Assistant Concertmaster

James Jacobson * Connie and Lew Remele Chair

Julia Persitz

VIOLA David Auerbach * Nina and John • Archabal Chair

David Mickens Heidi Amundson Jill Olson Moser Colin McGuire Elise Parker Maisie Block

VIOLIN II Laurie Petruconis * Elizabeth Decker Stephan Orsak Melinda Marshall Margaret Humphrey Huldah Niles David Block

CELLO

Teresa Richardson Sally Gibson Dorer Rebecca Arons Kirsten Whitson

BASS John Michael Smith * Kenneth and Peggy Bonneville Chair

Jeffrey Marshak double English horn

CLARINET Karrin Meffert-Nelson * double Eb clarinet

TIMPANI

Nina Olsen double bass clarinet

Kory Andry *

ALTO SAXOPHONE

Matthew Barber *

David Milne

Steve Kimball

BASSOON Coreen Nordling *

PERCUSSION

THOMAS GLASS Dan Packard Dr. Joseph Talbot MARY EVELYN HANGLEY Millicent Jordan GINA PERREGRINO Lucy Talbot

Paul Hill

ALEXANDRA RAZSKAZOFF Paula Jordan

KEYBOARD

DAVID WALTON Larry Renault

Jessica Hall

CONTRABASSOON Laurie Hatcher Merz

HORN

Connie Martin

Matthew Wilson *

Jason C. Hagelie

Charles Hodgson

FLUTE

Itai Agmon *

Timothy Bradley

Michele Frisch *

TRUMPET

Amy Morris double piccolo

John G. Koopmann * Christopher Volpe

* principal •in memoriam

SUPERNUMERARIES

Christopher Bauleke Scott Herman Thomas Lorendo Harry Youngvorst

Brenda Harris Describe Carlotta Vance in a couple of words. Extremely self-absorbed. You normally play tragic heroines. Why were you interested in this comic role? I adore comedy, but given my voice type and typical repertoire, I haven't gotten that many chances to enjoy singing comic roles. As I've often said, I have two types of friends; those that make me laugh and those that I make laugh. I love making people laugh—and I love laughing—so this role is right up my alley. What are the underlying elements of this story that audiences can relate to today? People can relate to the fact that what we see on the surface is seldom what's really happening; that people seldom admit their problems, be they social, financial, or emotional, to others; and that we all enjoy escape when times are tough.

Dinner at Eight is heavily influenced by American musical theater. What do you enjoy about the musical theater repertoire? Pretty much everything! I love the music and stories of shows like Brigadoon, Carousel, Camelot, and Mame. In fact, when I was little growing up in Illinois, my parents used to take me to the St. Louis Municipal Opera Theatre and that's where I first experienced live musical theater. I thought that's what I'd be doing, until opera crossed my path! You have performed at Minnesota Opera quite a bit. What do you love about working here? What don't I love? The administration, the musical staff, the patrons and supporters, the costume shop, the Twin Cities, and the restaurants are all great. But most of all, the humanity. I always feel a collaborative energy here and that's how the best productions happen. We have fun and get it done!

What is your pre-performance routine? I sing fairly early in the day to make sure all is well. Then, I do mundane things: laundry, grocery shopping, finances. And finally, I have an early dinner and then head off to the theater! When you’re away from home, what can’t you live without? My husband and my cat. And yes, in that order! What’s does your perfect dinner consist of? A lovely piece of chicken, a potato, and a salad. And, wine, of course, unless it's before a performance! Brenda Harris' biography appears on page 14.

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Robert Wierzel

UPCOMING EVENTS

OPERA EDUCATION Social Media Preview Night

Taste of Opera: La Bohème

Join the fun! Step back in time with the Resident Artists to the 1940s and experience the entertainment that supported our troops. The event supports the Resident Artist Program and will be an evening to remember.

Minnesota Opera allows a pre-screened group of press members, bloggers, and social media influencers to attend the La Bohème final dress rehearsal at the Ordway. We encourage live tweeting, blogging, note-taking, and illustrating.

Metropolitan Ballroom – 5418 Wayzata Blvd., Minneapolis

MNOPERA.ORG/PREVIEW

Enhance your opera-going experience with a delicious pre-show dinner at Vieux Carré and casual conversation with the experts of La Bohème. Leave the logistics to us and enjoy an all-inclusive evening out at the opera. For more information, call Brian at 612-342-9563.

APR. 8

MAY 4, 6:30 pm

MNOPERA.ORG/CABARET

Behind the Curtain: La Bohème APR. 19, 7 pm

At the historic Minnesota Opera Center, get the inside scoop on La Bohème as musicologist Peter Mercer-Taylor and members of the cast and creative team lead discussions exploring the music, history, and design of the opera. MNOPERA.ORG/BTC

MNOPERA.ORG/TASTE

Opera Insights: La Bohème MAY 6–21

Come early and enjoy free, fun, and informative half-hour sessions, hosted by Minnesota Opera artistic staff in Ordway’s mezzanine lobby one hour prior to each performance. Join us for Opera Insights and get an overview of the characters and music, historical and cultural context for the opera, and highlights to watch for during the show.

MAY 3, 8 pm

Classical Minnesota Public Radio broadcasts Minnesota Opera’s 2016 production of Giacomo Puccini’s Tosca, which features Kelly Kaduce, Leonardo Capalbo, and Stephen Powell. Anne Manson conducts. MNOPERA.ORG/LISTEN

Classical Minnesota Public Radio live broadcasts Minnesota Opera’s upcoming production of Giacomo Puccini’s La Bohème, which features Nicole Cabell as Mimi, as well as Scott Quinn, Edward Parks, and Mary Evelyn Hangley. Jonathan Brandani conducts.

Go to mnopera.org/voices to receive information about the program and to fill out a short survey.

MNOPERA.ORG/LISTEN

Starting around Labor Day, ensembles in Red Wing, Bloomington, and Minneapolis will meet weekly for ten weeks, culminating in two final performances including one at the Ordway. Exact program dates are TBA. Sign-up on-line to received information about the program as it develops.

La Bohème MAY 6–21

Puccini’s poetic masterpiece has made its mark as one of the most popular operas in the world. Simultaneously heartwarming and heartbreaking, this endearing tale of love among impoverished young bohemians is simply unforgettable. Lose your heart to La Bohème’s captivating blend of music and theater as we follow the story of Parisian artists, surviving on only friendship and the promise of love.

Taste of Opera: La Bohème MAY 21, 11 am

Enhance your opera-going experience with a delicious pre-show brunch at The Woman’s Club of Minneapolis and casual conversation with the experts of La Bohème. Leave the logistics to us and enjoy an all-inclusive day out at the opera. For more information, call Brian at 612-342-9563.

SUMMER CAMPS

Summer Opera Camp JUNE 11–16

A residential camp for kids grades 9–12, focuses on developing the individual voice. Daily vocal coaching, diction, master classes, and movement. Audition required. Opera Artist +

MNOPERA.ORG/TASTE

For college undergraduates, this week-long residential camp will explore what it means to be an opera artist in the twenty-first century. Sessions include vocal coaching, round-table discussions with professional artists, a mock audition, and the important and diverse role of Teaching Artistry in the field of opera. Audition required.

JUNE 11–16

LA BOHÈME SOCIAL MEDIA PREVIEW NIGHT Get a behind-the-scenes look at the final dress rehearsal for La Bohème. Inside the theater, using your phone, taking photos, and sketching are encouraged! Event is free, but please apply at mnopera.org/preview. SHOW US YOUR MN OPERA STYLE

#LABOHEME @MNOPERA F L X : I I

The Woman’s Club of Minneapolis 410 Oak Grove St., Minneapolis

Do you tweet? Post on Facebook? Instagram your entire life? Join us on Thursday, May 4, 6:30 pm for

2016–2017 Season

Regular Hours: Monday – Friday, 10am – 5pm. Performances: Weekdays — phones open until curtain. Weekends — phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain. mnopera.org Visit mnopera.org to watch behind-the-scenes videos, read synopses, browse digital programs, and more. Join our e-club to receive special offers and opera news. Ticket Policies Tickets are not refundable. Subscribers may make exchanges for a different performance or opera up to one hour prior to curtain. Any ticket may be turned back for a tax deductible donation up until curtain. Call the Minnesota Opera Ticket Office at 612-333-6669. Parking Prepaid parking is available for opera patrons at the Lawson Commons Ramp. Call 612-333-6669 or visit mnopera.org to purchase passes.

We are thankful of the support from Aroha Philanthropies and their national grant initiative Seeding Artful Aging.

SOCIAL MEDIA PREVIEW NIGHT

| MINNESOTA OPERA mnopera.org

Minnesota Opera is proud to announce the creation of Voices of Opera, an opera chorus for adults 55+. Whether you have sung in the church choir for years or last sang in your high school choir, Voices of Opera encourages you to join with fellow musicians to perform famous operatic excerpts and other choral favorites. No audition is required. Joining Minnesota Opera in this project is the Sheldon Theatre in Red Wing, and Artistry at Bloomington Center for the Arts. The Program

MAY 11, 7:30 pm

MNOPERA.ORG/LA-BOHEME

MAKING A JOYFUL NOISE WITH PEOPLE

55 +

La Bohème Live Broadcast

MNOPERA.ORG/OPERA-INSIGHTS

Tosca Broadcast

Minnesota Opera Ticket Office 620 North First Street, Minneapolis, MN 55401 612-333-6669

MAY 11, 5:30 pm

Opera Insights Come early for Opera Insights — free, fun, and informative half-hour sessions held in the lobby one hour before curtain. Accessibility For patrons with disabilities, wheelchair-accessible seats are available. Audio description will be available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. At Ordway, accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems. At the Ordway Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break. Please have all cell phones and pagers turned to the silent mode.

Sing Out Children’s Chorus Day Camp

Children under six are not permitted in the hall.

Campers will sing great children’s chorus music, and learn healthy vocal technique and the fundamentals of acting. Get a taste of being in the Minnesota Opera’s Children’s Chorus. For boys and girls, grades 3–6. No audition required.

Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher.

JUNE 19–22

Create An Opera Day Camp JULY 10–13

Turn a story into an epic opera performance! With the guidance of trained opera artists, participants will write their own music and lyrics in addition to producing an original set. For children grades 3–6 currently enrolled in participating Minneapolis Public Schools. No audition required. For registration, auditions times, camp locations, cost, and other information, go to mnopera.org/camps. Photo 1: Stephanie Sedarski sings Mozart. Photo 2: A scene from The Magic Flute. Photos by Sigrid Redpath.

Food and beverages are available for purchase prior to the show and during intermission. Water and other beverages are allowed in the theater (hot beverages require lids), but food is strictly prohibited. The phone number for emergencies is 651-224-4222. Please leave seat locations with the calling party. Lost and Found is located at the Stage Door. Call 651-282-3070 for assistance.

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Resident Artist Cabaret

MINNESOTA OPERA INFO

DONIZETTI / Oct. 7–15, 2017

THE MARRIAGE OF FIGARO MOZART / Nov. 11–19, 2017

JOIN TEMPO, OUR YOUNG PROFESSIONALS GROUP!

Are you 21–39 and interested in experiencing opera, meeting new people, and receiving invitations to After Parties and one-of-a-kind events? Join Minnesota Opera’s young professionals group and enjoy a steep discount on the hottest tickets in town.

2016 Corrine Standish for Minnesota Opera

DON PASQUALE

To learn more about Tempo and to purchase your membership, visit mnopera.org or call the Minnesota Opera ticket office at 612-333-6999, M–F, 10am–5pm.

DEAD MAN WALKING HEGGIE / Jan. 27–Feb. 3, 2018

RIGOLETTO

VERDI / Mar. 17–31, 2018

THAÏS See 3 or more operas, save up to 25% and get the best seats!

Season Sponsor

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

| DINNER AT EIGHT

MASSENET / May 12–20, 2018

LA BOHÈME PREVIEW

NEW WORKS INITIATIVE

HURRY – Tickets selling fast!

The music is beautiful and accessible. The opera is fast paced and short and I think it reminds all of us when we first fell in love. La Bohème is set in the 1840s Latin Quarter in Paris. This was a time of artistic freedom. Art was no longer just for “art’s sake,” but had become a political tool to criticize the society that had failed in its attempts at the “égalité” hoped for during the French Revolution. The colorful characters in this opera, all based on real people, formed the core of a social movement that led to the 1848 revolution and the end of the French monarchy. But in more human terms, this opera is all about the ecstasy and the ache of first love, seen through golden memories. Puccini’s amazing melodic compositional style brings

to mind our own recollections of young love. This traditional production highlights the relationship between the young Bohemians as they search for solace and the meaning in their art and in one another.

A pioneering movement in new opera when it was launched in 2008, Minnesota Opera’s New Works Initiative was designed to invigorate

Puccini’s perfect opera is well served with this vibrant cast, staring soprano superstar Nicole Cabell as Mimì. Art and love have the power to transform our worlds, and La Bohème has both. I hope you can join us in May for this brilliant production!

the operatic art form with an infusion of contemporary works, and formalize the company’s commitment to artistic growth, leadership, and innovation. This season’s world premiere of

DALE JOHNSON Artistic Director

PUCCINI As timeless as love itself. MAY 6–21

“

Dinner at Eight marks the latest opera created through the New Works Initiative.

[Orchestra Workshop] Photos by Lu Zang

| MINNESOTA OPERA mnopera.org

couldn’t be more excited for our final opera of the season, Puccini’s beloved La Bohème. Whether you are seasoned operagoer or someone new to opera, La Bohème is a perfect choice. When I was in college, the Metropolitan Opera on tour brought an old production of La Bohème to Cleveland. I was an instrumentalist and previously had no exposure to opera. The production was in a huge civic auditorium that was even bigger than Northrop before the renovation. I was in the last row, so the stage looked like a postage stamp. The orchestra played superbly, and Pavarotti, who was singing Rodolfo, was amazing. It was a revelation for me, to hear that gorgeous music with remarkable voices soaring over the orchestra pit. Just like is was for me, La Bohème is a great first opera for anyone.

Like all of Minnesota Opera’s world premiere New Works Initiative productions, Dinner at Eight has gone through a long journey to become a polished, new opera. The original play opened in 1932 on Broadway at the Music Box Theatre, and inspired a star-studded film adaptation the following year. The play has enjoyed two Broadway revivals, and this commissioned opera is its first musical adaptation. After signing on composer William Bolcom, librettist Mark Campbell, and co-producers The Atlanta Opera and Wexford Festival Opera to the project, the opera was put through a piano workshop and orchestra workshop to evaluate and adjust the piece as it was being created. Minnesota Opera’s workshop process, which helps to fully develop each new opera, has served as a pioneering creative model for other opera companies throughout the country.

at the Minnesota Opera Center in Minneapolis. The event included guest singers, alongside Mr. Bolcom, Mr. Campbell, Minnesota Opera Artistic Director Dale Johnson, conductor David Agler, and stage director Tomer Zvulun. A final week-long workshop for Dinner at Eight took place in November 2016 with principal singers and the orchestra alongside the opera’s composer, librettist, and creative team.

The first of two week-long readings for Dinner at Eight, Minnesota Opera’s latest New Works Initiative took place May 2016

— William Bolcom, Composer

“

What I've always loved about the play is its ability to merge humor and emotional depth. The opera has been high-wire balancing act for both Mark and me — we worked hard to find just the right tone. I think we’ve come up with something audiences will love.”

Dinner at Eight features marital infidelity, financial ruin, social opportunism, a fatal disease, and a suicide. Naturally, it’s a comedy! It’s also an incisive exploration into the impact of economically compromised times on the American class system, which is very much a part of the New Works Initiative’s goals of exploring distinctly American themes. With Dinner at Eight, Bill and I have utilized the best traditions of musical theater with those of opera to create a contemporary work that brings out both the light and the dark in this brilliant Kaufman/ Ferber play.” — Mark Campbell, Librettist

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NICOLE CABELL SINGING THE ROLE OF MIMÌ IN LA BOHÈME WITH MICHIGAN OPERA THEATRE

Photo by John Grigaitis

T he M aking O f

STAFF, BOARD, AND VOLUNTEERS MINNESOTA OPERA STAFF

OFFICERS

ADMINISTRATION

Chair | Margaret Wurtele

President and General Director | Ryan Taylor

Director of Board Relations | Theresa Murray

Vice Chair | H. Bernt von Ohlen

Finance Director | Jeff Couture

Secretary | Nadege Souvenir Treasurer | John C. Junek

DIRECTORS Richard Allendorf Patricia Beithon Karen Brooks Jane M. Confer Jay Debertin Sara Donaldson Sidney W. Emery Maureen Harms Sharon Hawkins Ruth S. Huss Mary IngebrandPohlad Philip Isaacson J Jackson James E. Johnson John C. Junek Christl Larson Mary Lazarus

EMERITI

Facility Manager | Steve Mittelholtz

Production Assistant | Lorely Dedrick

Systems Administrator | Tony Ngonekeo

ARTISTIC

Technical Advisor | Mike Ortenblad Properties Master | Jenn Maatman

Music Director | Michael Christie

Lighting and Video Coordinator | Raymond W. Steveson Jr.

Artistic Administrator | Roxanne Stouffer Artist Relations and Planning Director | Floyd Anderson

Master Carpenters | Nate Kulenkamp, Eric Veldey

Resident Artists | Jonathan Brandani, William Lee Bryan, Christopher Colmenero, Nadia Fayad, Thomas Glass, Jessica Hall, Mary Evelyn Hangley, Gina Perregrino, Alexandra Razskazoff, Benjamin Sieverding, David Radamés Toro, David Walton, Lindsay Woodward

Carpenters | Max Gilbert, Steve Dalglish, Rose King

Master Coaches | Lara Bolton, Mary Jo Gothmann, Eric McEnaney, Jenya Trubnikava Personal Assistant to Mr. Bolcom | Kelsey Sieverding

Community Education Director | Jamie Andrews

John A. Blanchard III

Mary W. Vaughan

Teaching Artist | Alisa Magallón Project Opera Music Director | Matthew Abernathy

Dolly Fiterman

Philip Brunelle

Liz Kochiras

LEGAL COUNSEL Moss & Barnett

Project Opera Accompanist | Kathy Kraulik

| MINNESOTA OPERA mnopera.org 24

Programming Co-chair | Kara Eliason Dorsey Staff Liaisons | Kristin Matejcek, Eric Broker Secretary | Aimee Tritt

MINNESOTA OPERA VOLUNTEERS

Treasurer | Sarah Fowler

Web and Digital Associate | Rocky Jones

Social Media Specialist | Jana Sackmeister

Audience Services Manager | Kevin Beckey

MEMBERS

Associate Audience Services Manager | Karl Annable

Brad Benoit Liz Brenner Kamruz Darabi Emily Engel Mark Giga

Laura Green Chaffee Sarah Fowler Veronica Mason Julia Wilcox

Stitchers | Ann Habermann, Sara Huebschen, Jadie Krussow, Rachel Oestreich

Director of Development, Operations and Community Giving | Dan Sassenberg

MARKETING/COMMUNICATIONS

Audience Services Coordinator | Brian Johnson-Weyl Phone Room / Performance Supervisor | Trevor Schaeffer Audience Services Representatives | Andrea Amelse Carol Corich, Madeleine Hallberg, Evan Martinak, Charlotte Summers, Joshua Weinberg Photography Intern | Lu Zang

With 160 years of service, you can trust the McReavy family for funeral, cremation and pre-planning services.

612.377.2203 washburn-mcreavy.com

The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnopera.org/volunteer, or email volunteering@mnopera.org for more information. Lynne Beck Gerald Benson Debra Brooks Jerry Cassidy Judith Duncan Jane Fuller Joan Gacki Merle Hanson Robin Keck Mary Lach Jerry Lillquist Joyce Lillquist Melanie Locke

Suzan Lynnes Mary McDiarmid Barbara Moore Douglas Myhra Candyce Osterkamp Pat Panshin Sydney Phillips Kari Schutz Janet Skidmore Wendi Sott Stephanie Van D’Elden Barbara Willis

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.

SHARON ISBIN & ISABEL LEONARD Music of Spain Sun. April 2, 2:00pm

First Hands | Helen Ammann, Katrina Benedict, Rebecca Karstad

Hair/Makeup Crew | Heath Bryant-Huppert

Development Operations Coordinator | Jonathan Lundgren

Our family is here for yours.

Drapers | Chris Bur, Emily Rosenmeier

DEVELOPMENT

Chief Marketing Officer | Darby Lunceford

Programming Co-chair | Thomas Bakken

Assistant Costume Director | Beth Sanders Tailor | Yancey Thrift

Chief Development Officer | Carley Stuber

Development Associate | Nickolas Sanches

Audience Development Chair | Brian Halaas

COSTUMES

Costume Director | Corinna Bohren

Wardrobe Supervisor | Molly O’Gara

Events Manager | Anthony Diaz

Chair | Rhonda Skoby

Props Craftsperson | Rachel Madden, Mike Long Scenic Painters | Sara Herman, Samantha Johns

Hair/Makeup Supervisors | Priscilla Bruce, Manuel Jacobo

Institutional Gifts Manager | Diana Konopka

OFFICERS

Master Props Craftsperson | Stanley Dean Hawthorne

Music Out Loud Teaching Artist | Sara Sawyer

Director of Development, Leadership and Institutional Giving | Mallory Roberts

TEMPO BOARD MEMBERS

Production Carpenter | JC Amel Scene Shop Foreman | Larry Kline

Dramaturg | David Sander

Julia W. Dayton

Dominick Argento

SCENERY

Technical Director | Mike McQuiston

Artistic Director | Dale Johnson

Karen Bachman

HONORARY DIRECTORS

Production Stage Manager | Kerry Masek Assistant Stage Managers | Jamie K. Fuller, Hannah Holthaus Assistant to the Production Director | Julia Gallagher

EDUCATION

Burton Cohen

Production Director | Karen Quisenberry

Human Resources Director | Jen Thill

Finance Associate | Dylan Howell Cynthia Y. Lee Mike McNamara Albin “Jim” Nelson Kay Ness Jose Peris Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Mary H. Schrock Linda Roberts Singh Nadege Souvenir David Strauss Virginia Stringer Ryan Taylor H. Bernt von Ohlen William White Margaret Wurtele

PRODUCTION

nautilus

651-690-6700

oshag.stkate.edu

music-theater

TWISTED APPLES Stories from Winesburg, Ohio

New operatic music-theater by Jim Payne and Robert Elhai, based on the classic American novel “Winesburg, Ohio” by Sherwood Anderson

nautilus studio in lowertown st paul march 23 to april 2, 2017 • call 651-298-9913 tickets online at www.brownpapertickets.com

featuring Gary Briggle, JP Fitzgibbons, Joshua Hinck, Norah Long, and Eric Morris

| DINNER AT EIGHT

BOARD OF DIRECTORS

INDIVIDUAL GIVING

It is with deep appreciation that Minnesota Opera recognizes individual donors who have made gifts to our Annual Fund, Fund-a-Dream, and Opera Innovate NOW campaigns. Thank you for making this exceptional art come to life.

bel canto circle Platinum $50,000 and above Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Mary Ingebrand-Pohlad Lucy Rosenberry Jones and James E. Johnson C. Angus and Margaret Wurtele Wayne Zink and Christopher Schout

Platinum $20,000 – $49,999 Richard Allendorf Martha and Bruce Atwater Fund of The Minneapolis Foundation Patricia Beithon Mary and Gus Blanchard

camerata circle Platinum $7,500 – $9,999 Anonymous (2) Allegro Fund of the Saint Paul Foundation Karen Bachman Ken and Peggy Bonneville Alfred and Ingrid Lenz Harrison Christl and Andrew Larson Connie and Lew Remele

Gold $5,000 – $7,499 Nina and John* Archabal Donald E. Benson William Biermaier and David Hanson Nicky B. Carpenter Peter Davis and Pamela Webster Norton Hintz* and Mary Abbe Dorothy Horns and James Richardson Burton and Sandra Hoverson Jay and Cynthia Ihlenfeld The Art and Martha Kaemmer Fund of HRK Foundation Robert and Sandy Klas Robert Kriel and Linda Krach Ilo and Margaret Leppik Diana Lee Lucker

| MINNESOTA OPERA mnopera.org

artist circle

$1,000 – $2,499 Anonymous (2) An Anonymous Fund of the Saint Paul Foundation Floyd Anderson Katherine Anderson Annette Atkins and Tom Joyce Ruth and Dale Bachman Thomas and Ann Bagnoli Rebecca D. Arons and Thomas J. Basting Jr. Carl and Joan Behr Barbara S. Belk Shari and David Boehnen Ed and Mimi Bohrer Drs. Eli and Jan Briones Joan and George Carlson Barb and Jeff Couture Mike and Stacey Crosby – The Longview Foundation Helen and John Crosson

Sara and Jock Donaldson William I. and Bianca M. Fine Charitable Trust Mr. and Mrs. Philip Isaacson John and Kathleen Junek Miriam and Erwin Kelen Harvey Thomas McLain Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Kay Ness and Chris Wolohan Elizabeth Redleaf Paul and Mary Reyelts Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol William White

Gold $15,000–$19,999 Anonymous An Anonymous Fund of The Minneapolis Foundation Ellie Crosby – The Longview Foundation Jay and Rebecca Debertin Sharon Hawkins Robert L. Lee and Mary E. Schaffner Albin and Susan Nelson Jose Peris and Diana Gulden

Kendrick B. Melrose Donor Advised Fund of The Minneapolis Foundation Karla Miller Dr. and Mrs. Alfred Moore Jenny L. Nilsson and Garrison Keillor Sarah and Rolf Peters Ken and Nina Rothchild Dorothy Sinha Nadege J. Souvenir and Joshua A. Dorothy

Ruth and Bruce* Dayton Thomas and Mary Lou Detwiler Joan Duddingston Ralph D. Ebbott Dr. Mary Anne Ebert and Paul Stembler Joyce and Hugh Edmondson Rosanne and Ken Everson Ann Fankhanel Bruce and Melanie Flessner Patricia R. Freeburg Kathy and James Ganley Judith Garcia Galiana and Alberto Castillo Sandi and Mike Genau Dr. Richard Gregory Mrs. Myrtle Grette Mary Guignon Richards Susanne Haas and Ross Formell Roger and Karen Hale Michele Harris and Peter Tanghe Dr. Arthur and Fran Horowitz Hella Mears Hueg Diane and Paul Jacobson Dale A. Johnson Patricia Johnson and Kai Bjerkness Hubert Joly Robert and Susan Josselson

Lyndel and Blaine King Robert and Venetia Kudrle David MacMillan and Judy Krow Dorothy and Roy Mayeske Jean McGough Holten Mary Bigelow McMillan Velia R. Melrose Sandy and Bob Morris From the Family of Richard C. and Elizabeth B. Longfellow Richard and Nancy Nicholson Luis Pagan-Carlo and Joseph Sammartino Mrs. William S. Phillips John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde James and Andrea Rubenstein Frank and Lynda Sharbrough Ryan Taylor Dr. Norrie Thomas and Gina Gillson Dr. Andrew J. Thomas Stephanie C. Van D'Elden Dr. Craig S. and Stephanie Walvatne Ellen M. Wells Nancy and Ted Weyerhaeuser Woessner Freeman Family Foundation

Steve Horan Thomas Hunt and John Wheelihan Peter Hyman Jill Irvine Crow Janet N. Jones Jane and Jim Kaufman Fund of The Minneapolis Foundation Margaret V. Kinney Sally and Bill Kling Mrs. James S. Kochiras Anna Kokayeff Kyle Kossol and Tom Becker Constance and Daniel Kunin Laurence and Jean LeJeune Virginia Levy Teresa and Kaiser Lim Benjamin Y. H. and Helen C. Liu William F. Long Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Reid and Ann MacDonald

Martha MacMillan Carolyn Mayo Barbara McBurney Helen and Charles McCrossan Deb and Jon McTaggart Eileen and Lester Meltzer David and LaVonne Middleton Betty Myers David E. and Judy L. Myers Joan and Richard Newmark Ruth and Ahmad Orandi Derrill M. Pankow Sally and Thomas Patterson Suzanne and William Payne Marge and Dwight Peterson Kay Phillips and Jill Mortensen Mary and Robert Price Phyllis Price Scott and Courtney Rile Lois and John Rogers Dr. Donald V. Romanaggi, Sr.

Silver $2,500 – $4,999 Anonymous Dan and Martha Goldberg Aronson Michael Birt Alexandra O. Bjorklund Stephen and Margaret Blake Will and Margee Bracken Ann and Glenn Buttermann Laurie Carlson and William Voedisch Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Michael and Alexis Christie Rusty and Burt Cohen Gisela Corbett

Fran Davis Cy and Paula DeCosse Fund of The Minneapolis Foundation Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Mrs. Susan DeNuccio Elise R. Donohue Charitable Trust Laura and Tim Edman Rondi Erickson and Sandy Lewis Ester Fesler Gail Fiskewold Salvatore Silvestri Franco James and Teddy Gesell Heidi and Howard Gilbert Jennifer Gross and Jerry LeFevre Bruce and Jean Grussing Marion and Donald Hall Ann Marie Hanrahan Stefan and Lonnie Helgeson Don Helgeson and Sue Shepard Elfrieda Hintze

Silver $10,000–$14,999 Anonymous Susan Boren and Steve King Rachelle Dockman Chase Jane M. and Ogden W. Confer

Dolly J. Fiterman Mr. and Mrs. William Frels Beverly N. Grossman Maureen and Mike Harms Warren and Patricia Kelly Chris Larsen and Scott Peterson Mary Dearing and Barry Lazarus Cynthia and Lawrence Lee Don and Patricia Romanaggi Jennifer and Chris Romans Mahlon and Karen Schneider Jesse and Linda Singh David Strauss Virginia L. and Edward C. Stringer The Charles A. Weyerhaeuser Memorial Foundation

artist circle (continued)

Sampson Family Charitable Foundation David E. Sander Mary H. and Christian G. Schrock Fred and Gloria Sewell

patron circle

Gold $750 – $999 Anonymous Gerald and Phyllis Benson Holli and Stefan Egerstrom Lucia Newell and Steven Wiese Liane A. Rosel Rhonda Skoby Warren Stortroen Silver $500 – $749 Anonymous (2) Arlene and Tom Alm Laurie Anderson and Jon Hanson August J. Aquila and Emily Haliziw Dr. and Mrs. Orn Arnar Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Ravi Balwada Donald and Naren Bauer Christopher Beaudet Chuck and Estelle Bennett Laura Bishop Martin and Patricia Blumenreich Thomas and Joyce Bruckner Brenda Colwill

associate circle

$250 – $499 Anonymous (3) Anthony & Stork Joy K. and J.C. Amel Patrice Arseneault Dan Avchen and David Johnson Kay C. Bach James and Gail Bakkom Bender Vocal Studio Kenneth J. Berglund John and Cindy Beukema Mitch and Michele Blatt Roger and Ronnie Brooks Dr. Hannelore Brucker Philip and Carolyn Brunelle Renee Campion and David Walsh Alan E. and Ruth Carp Katherine L. Castille C. Cesnik Laura Green Chaffee and Matthew Chaffee Wanda and David Cline Kay Constantine Jeanne E. Corwin Shana Crosson and John Gisselquist Kathleen and Douglas Drake Virginia Dudley and William Myers Patrick Dufour and Molly O'Brien Kara Eliason Candace and Dan Ellis Charlie and Anne Ferrell Mina Fisher and Fritz Nelson

Cherie and Robert Shreck Joan T. Smith Matthew Spanjers and Annie Carvalho Daniel J. Spiegel Family Foundation Julie Steiner

Dana and Stephen Strand Carley and Bill Stuber Lester Temple Jill and John Thompson Mrs. Joanne Von Blon Mark Warnken

Frank and Frances Wilkinson John W. Windhorst Jr.

Marilyn Crilley and George Rowbottom Lois Dirksen Barry Divine Ellen Doll and Jay Swanson Maureen and John Drewitz David Dudycha and Dorothy Vawter Leah and Ian Evison Brian M. Finstad April Foley Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and William Gacki Marsha and Richard Gould Mary and Brian Green Joseph and Deirdre Haj Tom and Susan Handley Russell and Priscilla Hankins Mary and Jeffrey Husband Barbara Jenkins Nancy Jones Charles and Sally Jorgensen Erika and Herb Kahler Mary L. Kenzie Foundation Nathan Kulenkamp

James and Gail LaFave Scott and Karla Lalim Mr. Bryan Lechner Darby Lunceford and Todd Wright Ruth W. Lyons Frank Mayers Laura McCarten Kris and Bill McGrath Thomas and Stefanie Murtha Ilya Perepelitsyn and Lioudmila Sitnikova Corine and John Petraborg Walter Pickhardt and Sandra Resnick Dennis M. Ready Lawrence M. Redmond Rehael Fund – Roger Hale/Nor Hall of The Minneapolis Foundation Bob and Donna Rose Enrique and Clara Rotstein Marian R. Rubenfeld and Frederick G. Langendorf Jon L. Schasker and Debbie Carlson Richard and Carol Seaberg Gale Sharpe Morris and Judith Sherman

Madeline Simon Stanislaw Skrowaczewski* Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Mark and Kristi Specker Jon Spoerri and Debra Christgau Michael Steffes Allen Steinkopf Donna Stephenson Mary K. and Gary Stern Thomas and Sharon Stoffel Kent Stone Craig and Janet Swan Michael Symeonides and Mary Pierce Dr. Anthony Thein Josephine Trubek Cindy and Steven Vilks David L. Ward Elizabeth Wexler Deborah Wheeler Jeff and Joe Wiemiller Barb Wildes John M. Williams Barbara and James Willis

Carol and Mike Garbisch Greta and Paul Garmers Emanuel and Ceciliel Gaziano Stanley and Luella Goldberg Charlotte L. Grantier Charles Hample Nancy A. Harris Mounira Hassan Alfred E. Hauwiller Rosmarie and John Helling Clifton and Sharon Hill John Hogie Andrew and Gary Whitford Holey Stuart Holland Brian and Karen Hopps Mark and Kathleen Humphrey Thomas and Vicki Hurwitz Ray Jacobsen Mark and Jeanne Jacobson Deborah and Ronald Jans Charlie Johnson Kristine Kaplan Ed and Martha Karels Jim and Kathleen Karges Carole and Joseph Killpatrick Janice Kimes Beatrice H. Langford Jonathan and Lisa Lewis Carol and Jeff Ley Stuart MacGibbon Dr. Joan E. Madden Donald and Rhoda Mains Aimee and Robert Mairs

Bridget Manahan and Joe Alexander Kristin and Jim Matejcek Harry McNeely Laurel and David Mech Curtis and Verne Melberg Judith and James Mellinger Rita Meyer John L. Michel and H. Berit Midelfort Virginia Miller Steven J. Mittelholtz Jack and Jane Moran Theresa, Jim and Nicole Murray Merritt C. Nequette and Nancy Hartung Brandon and Melissa Novy Patricia A. O'Gorman Dennis R. Olson Donna and Marvin Ortquist Marcia and Jon Pankake Kathy and Don Park James A. Payne Lana K. Pemberton Janell Pepper John and Margaret Perry Carol Peterson Anne and John Polta Lorraine Potuzak Nicole and Charles Prescott Ann Richter David and J. Susan Robertson Mallory A. Roberts Robert E. Rocknem

Michael and Tamara Root Daniel Roth Nickolas Sanches and Peter Eischens Dan Sassenberg Kate Saumur Mary Savina Paul L. Schroeder Emily and Daniel Shapiro Dale and Marilyn Simmons Juliana Simmons Arthur and Marilynn Skantz Dr. David M. Steinhaus Carolina and Frederico Stiegwardt Barbara Stoll Mark Stutrud Dan and Erika Tallman Irma Thies Katharine E. Thomas Susan Truman Belen Urquiola Kenneth and Kathryn Valentas Jessica Vanyo Elaine B. Walker Greg and Ellen Weyandt John and Sandra White Wendy Wildung Ruth Wood Jessica and Rob Zeaske * in remembrance

These lists are current as of February 21, 2017 and include donors who gave a gift of $250 in annual support of Minnesota Opera. If your name is not listed appropriately, please accept our apologies and contact Mallory Roberts, Director of Development, Leadership and Institutional Giving, at mroberts@mnopera.org or 612-342-9566.

become a donor Bring innovative opera productions to life with your charitable gift, and join Minnesota Opera’s family of donors today. Visit mnopera.org/support to give online. Thank you!

| DINNER AT EIGHT

INDIVIDUAL GIVING

INSTITUTIONAL GIVING

SPECIAL GIVING

$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

$25,000 – $49,999

Art and Martha Kaemmer Fund of the HRK Foundation

$10,000 – $24,999

The Aaron Copland Fund for Music Inc. Fred C. and Katherine B. Andersen Foundation

MAHADH Fund of the HRK Foundation

L E G A C Y C I R C L E Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. Anonymous (2) Paul and Val Ackerman Thomas O. Allen Cordelia Anderson and John Humleker Dr. and Mrs. Rolf Andreassen* Mary A. Andres Mrs. Madolyn Babcock* Karen Bachman Randolph G. Baier* Mrs. Harvey O. Beek* Barbara and Judson Bemis Sr.* Dr. Lee A. Borah, Jr.* Allan Bradley C.T. Bundy II Margaret M. Carasik Joan and George Carlson Estate of Robin J. Carpenter Darlene J. and Richard P. Carroll Julia and Dan Cross Julia W. Dayton Charles M. Denny George* and Susan Doty Rudolph Driscoll* Anne P. Ducharme Rondi Erickson and Sandy Lewis Ester and John* Fesler Dr. Paul Froeschl Katy Gaynor Nettie Grabscheid* Robert and Ellen Green Dr. Ieva M. Grundmanis* Julia Hanna

Frederick J. Hey Jr.* Norton M. Hintz* Trust Elfrieda Hintze Jean McGough Holten Charles J. Hudgins* Dale and Pat Johnson Ruth Jones* Charles and Sally Jorgensen Robert and Susan Josselson Charlotte* and Markle Karlen Mary H. Keithahn Warren and Patricia Kelly Margaret Kilroe* Trust Lyndel and Blaine King Gretchen Klein* Sally Kling Gisela Knoblauch* Liz and Jim Krezowski Robert Kriel and Linda Krach Robert and Venetia Kudrle Helen L. Kuehn* Robert J. Lawser, Jr. Jean Lemberg* Joyce and Jerry Lillquist Dawn M. Loven Patricia Ruth Lund* David Mayo Barbara and Thomas* McBurney Mary McDiarmid Mildred McGonagle* Mary Bigelow McMillan Sheila McNally* Mrs. Walter Meyers*

John L. Michel and H. Berit Midelfort Susan Molder* Edith Mueller* Kay Ness Joan and Richard Newmark Philip Oxman and Harvey Zuckman Scott J. Pakudaitis Lana K. Pemberton Sydney M. and William S.* Phillips Phyllis Price Brian and Trish Huberty Prokosch Richard G.* and Liane A. Rosel Ken and Nina Rothchild Berneen Rudolph Mary Savina Josef Schermann Frank and Lynda Sharbrough Robert Shearer and Joan Gustafson Drew Stewart James and Susan Sullivan Gregory M. Swinehart Stephanie C. Van D'Elden Mary W. Vaughan H. Bernt von Ohlen Sandra and Dale Wick Jean C. Wirsig* Richard Zgodava* Daniel Richard Zillmann

* in remembrance

For more information on making a planned giving arrangements, please contact Carley Stuber, CFRE, Chief Development Officer, at cstuber@mnopera.org or 612-342-9579

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Mallory Roberts, Director of Development, Leadership and Institutional Giving, at mroberts@mnopera.org or 612-342-9566.

minnesota opera sponsors Season Sponsor

Tempo Print Sponsor

| MINNESOTA OPERA mnopera.org

Press Sure Print

Media Partner

Tempo After Parties Sakura

Official MakeUp Partner

In-Kind

In The Loop

corporations, foundations, and government Gold $5,000 – $9,999

Boss Foundation Briggs & Morgan p.a. Dellwood Foundation Ernst & Young Faegre Baker Daniels Hardenbergh Foundation Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation r.c. Lilly Foundation Mayo Clinic RBC Wealth Management Rothschild Capital Partners James Rubenstein, Moss & Barnett

Schwegman, Lundberg & Woessner p.a. Xcel Energy

Silver $2,500 – $4,999 Anonymous Amphion Foundation Hutter Family Foundation Margaret Rivers Fund Peravid Foundation The Elizabeth C. Quinlan Foundation Tennant Foundation Thomson Reuters

production multimedia Production Photographer: Cory Weaver | Videographer: Flight Creative Media | Broadcast Recording:

Bronze $250 – $2,499

Carlson Family Foundation Enterprise Holdings Foundation Fredrikson & Byron Foundation Hammel, Green and Abrahamson Inc. McVay Foundation Onan Family Foundation Sit Investment Foundation Twin Cities Opera Guild Wells Fargo Insurance Services

C O M M E M O R A T I V E G I F T S It is with deep appreciation that Minnesota Opera acknowledges those who have made gifts in the name of a friend, loved one, or colleague. In Memory Of: John Archabal

from Ruth and John Huss Carley and Bill Stuber

Charles A. Cleveland

from Allodium Investment Consultants Janet N. Jones Sally Lenz Craig and Maureen Shaver

Kathleen Fairbrother

from Carol Fairbrother

Leroy Genaw

from Jessica Vanyo

Heinz F. Hutter

from Anonymous Susan Boren and Steve King Rachelle Dockman Chase Rusty and Burt Cohen Julia W. Dayton Sara and Jock Donaldson Lucy Rosenberry Jones and James E. Johnson

Krystal Kohler and Dan Norris Elizabeth and Whitney MacMillan McVay Foundation Theresa, Jim and Nicole Murray Grace Musilek and Musilek Jose Peris and Diana Gulden Mr. and Mrs. Steven Rothschild Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol

Dr. Stan Kegler

from Cherise and William Barnes Caryl and Edward Crozier Scott and Michelle Kegler

Fritz Rahr

from Erika E. Koetz

Matthew von Ohlen

from Rachelle Dockman Chase Lucy Rosenberry Jones and James E. Johnson Carley and Bill Stuber

In Honor Of: Cory Daignault

from Nancy and Cliff Scott-Rudnick

Harvey T. McLain

from Patrick Dufour and Molly O'Brien

James D. Johnson

from Sherston Johnson

Mr. and Mrs. Philip Isaacson

from Sara and Jock Donaldson

Theresa A. Murray

from Julia and Brian Palmer

Wayne Zink and Christopher Schout

from Douglas Myhra and John Clingerman Danielle St. Germain-Gordon

N E W W O R K S I N I T I A T I V E Thank you to the following leadership donors for making the development and premieres of new works possible.

Committee Margaret Wurtele, Chair Karen Bachman Wendy Bennett Burt Cohen Jane Confer Judy Dayton Jock Donaldson John Huss Ruth Huss Lucy Rosenberry Jones Robert Marx Jenny Lind Nilsson Elizabeth Redleaf Mary Vaughan Bernt von Ohlen

Leadership Supporters $500,000+ Bush Foundation Julia W. Dayton Ruth and John Huss The Andrew W. Mellon Foundation Elizabeth Redleaf C. Angus and Margaret Wurtele

$100,000 – $499,999 Fred C. and Katherine B. Andersen Foundation Ruth Easton Fund of the Edelstein Family Foundation Lucy Rosenberry Jones and James E. Johnson National Endowment for the Arts The Seaver Institute Mary Vaughan $50,000 – $99,999 Martha and Bruce Atwater Fund of The Minneapolis Foundation Jane M. and Ogden W. Confer The Aaron Copland Fund for Music, Inc. Vicki and Chip Emery Mary Ingebrand-Pohlad Knight Foundation OPERA America $15,000 – $49,999 Susan Boren and Steve King Linda and Jack Hoeschler Jenny L. Nilsson and Garrison Keillor

I N N OVAT E N O W I N I T I AT I V E Minnesota Opera has received generous leadership commitments for new initiatives in education, infrastructure, and community programming. $250,000+ Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson C. Angus and Margaret Wurtele $100,000 – $249,999 Anonymous (2) Mary IngebrandPohlad foundation John and Kathleen Junek Mary Vaughan $50,000 – $99,999 Anonymous Katherine B. Andersen Fund of The Saint Paul Foundation Mary and Gus Blanchard Jane M. and Ogden W. Confer Sarah and Jock Donaldson Leni and David Moore Jr. Jesse and Linda Singh H. Bernt von Ohlen and W. Thomas Nichol William White

$25,000 – $49,999 Anonymous Richard Allendorf Nina and John* Archabal Aroha Philanthropies Will and Margee Bracken Jay and Rebecca Debertin Miriam and Erwin Kelen Robert L. Lee and Mary E. Schaffner Cynthia and Lawrence Lee Mardag Foundation Harvey Thomas McLain Mary Bigelow McMillan Kay Ness Jose Peris and Diana Gulden Prospect Creek Foundation Elizabeth Redleaf Paul and Mary Reyelts Foundation Jennifer and Chris Romans Mary H. and Christian G. Shrock David Strauss

* in remembrance

| DINNER AT EIGHT

Minnesota Opera gratefully acknowledges its major institutional supporters:

ERIN KEEFE, CONCERTMASTER

EDO DE WAART RETURNS The Dream of Gerontius Apr 21-22 Former Music Director Edo de Waart is a master of grand-scale Romantic music, and he makes a welcome return with Elgar’s epic oratorio.

LISE DE LA SALLE PLAYS RAVEL Apr 27-29 The young French pianist Lise de la Salle made her professional debut in a live national broadcast—at the age of nine, and now, not yet 30, she’s one of France’s true musical treasures.

HAYDN AND MOZART May 4-5 Juraj Valčuha conducts a fun and varied program: Haydn’s Symphony No. 85, Mozart’s Horn Concerto No. 3, Britten’s Four Sea Interludes and Ravel’s La Valse.

MOZART SINFONIA CONCERTANTE May 11-13 Of the hundreds of pieces left to us by Mozart, none is more beautiful than his Sinfonia Concertante—a violin and viola duet to melt hearts, here played by Concertmaster Erin Keefe and violist Matthew Lipman.

DAVID ZINMAN RETURNS Also Sprach Zarathustra Jun 2-3 Enjoy this program of sweeping orchestral classics including Also sprach Zarathustra made famous by Stanley Kubrick’s 2001: A Space Odyssey.

SYMPHONY IN 60: Jun 1 Come early for happy hour, enjoy a shorter performance and stay late for a post-concert onstage gathering with Minnesota Orchestra musicians. Tickets $30 / $20 for patrons under the age of 40

AN ORDWAY PRODUCTION

651.224.4222 TTY651.282.3100 P H O T O : R I C H R YA N

MUSICAL THEATER SERIES SPONSORED BY

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.

DAVID ZINMAN

APR 4-16 Love overcomes.

JURAJ VALČUHA

EDO DE WAART

Music by LEONARD BERNSTEIN | Lyrics by STEPHEN SONDHEIM

LISE DE LA SALLE

Based on a Conception of JEROME ROBBINS | Book by ARTHUR LAURENTS

612.371.5656 / minnesotaorchestra.org / Orchestra Hall Photo credits available online.

Media Partner:

Tw e l v e d a y s , s e v e n o p e r a t i c h a p p e n i n g s , s i x v e n u e s across the city of Philadelphia, three world premieres, and superstar Festival Artist Sondra Radvanovsky!

FESTIVAL.

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September 14–25

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Barrie Koskyʼs

T HE M AGI C FL UT E

World Premiere

E LI Z A B E TH CR E E

World Premiere

W E SHALL NO T BE MOV ED

Philadelphia Premiere

WAR ST ORI ES

World Premiere

T HE WAK E WOR LD

O 1 7 T I C K E T PA C K A G E S N O W O N S A L E OPERAPHILA.ORG | 215.732.8400