Minnesota Opera's The Magic Flute by Minnesota Opera

| THE MAGIC FLUTE

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THROUGH THE UNIVERSAL LANGUAGE of music and dance, Shen Yun weaves a wondrous tapestry of heavenly realms, ancient legends, and modern heroic tales, taking you on a journey through 5,000 years of divinelyinspired Chinese culture. Its stunning beauty and tremendous energy leave many audience members greatly uplifted and deeply inspired. A Shen Yun performance features the world’s foremost classically-trained dancers, a unique orchestra that blends East with West, and dazzling animated backdrops—together creating one spectacular performance.

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THE GUTHRIE THEATER PRESENTS A MU PERFORMING ARTS PRODUCTION OF

You For Me For You by MIA CHUNG directed by RANDY REYES

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WELCOME LETTER

Welcome to Minnesota Opera! I am delighted to welcome you to the Ordway for a return engagement of The Magic Flute, Mozart’s last and perhaps most well-loved opera. This production was created by the Komische Oper Berlin and the British theater group 1927. Hand-drawn animations, which took nearly three years to create, along with piano accompaniments, evoke the silent film era. Popular demand has brought The Magic Flute back to the Ordway, having set box office records when we performed it in 2014. If you’re attending this production for the first time, I promise you, you’ve never seen anything like it; if you saw a performance in 2014, your experience will be akin to reading a great novel for a second time and catching layers of meaning you previously missed. Thanks to a generous touring grant from the Minnesota State Arts Board, we took this extraordinary show on the road to Duluth. It was a stunning success with the Duluth News Tribune describing it as “A Spectacular Spectacular!” Along with the performance, we offered six weeks of education events serving nearly 2,000 young people, including master classes at the University of Minnesota – Duluth, the University of Wisconsin – Superior and the College of St. Scholastica; a weeklong residency in the Hermantown Elementary School; a workshop for the Lake Superior Youth Choir; and library and school programs throughout northeastern Minnesota. Many of these students were in the audience at our performance, reveling in the magical atmosphere, the magnificent singing and the memorable animation. As the Duluth News Tribune critic noted, “When soprano Jeni Houser’s Queen of the Night arrived high above the stage as a gigantic white queen spider, her appearance actually elicited a screech from one youngster.”

Thank you for helping make Minnesota Opera a vibrant and important part of our statewide community. Enjoy the show!

8 Synopsis

9 The Magic Flute

10 About the Opera 13 Composer 14 1927 15 The Artists 18 A View from Above 18 Tempo 19 M eet the Artists: Andrew Wilkowske and Tracey Engleman 20 Upcoming Events 20 Social Media 21 Opera Education 23 Rusalka Preview 24 Minnesota Opera Board of Directors, Staff and Volunteers 25 New Works Initiative 26 Annual Fund 28 Institutional Giving 29 Legacy Circle 29 Minnesota Opera Information Large-print and Braille programs are available at the Patron Services Office.

NINA M. ARCHABAL General Director

| THE MAGIC FLUTE

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

With support from local education and cultural organizations including the Duluth Superior Symphony Orchestra, the Lyric Opera of the North and the Duluth Playhouse, we delivered on our promise of truly being MINNESOTA Opera.

Contents

SYNOPSIS

Pursued by a serpent, Prince Tamino falls faint from exhaustion. Three Ladies, in the service of the Queen of the Night, slay the monster, and then admire Tamino’s beauty. They fight over who will remain with him while the others fetch the Queen. Not coming to any resolution, all three depart.

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Tamino revives and observes the approach of Papageno, who catches birds for the Queen. In the course of becoming acquainted, Papageno claims he killed the serpent. The Three Ladies return and seal his mouth for telling the lie. They show Tamino a portrait of the Queen’s daughter, Pamina, and Tamino immediately falls in love. The Queen of the Night appears. She asks that he rescue Pamina from the temple of the tyrant Sarastro, where she is being held captive. As a reward, the young couple will be wed. Tamino agrees enthusiastically, and the Three Ladies give him a magic flute for protection. Restoring Papageno’s power of speech, they order him to accompany Tamino. He receives a set of magic bells. Three Spirits will guide their journey.

Monostatos admits his continued lust for Pamina. Later, the Queen berates her daughter — the seat of power rests with the all-powerful Circle of the Sun, which was wrongly taken from her and given to Sarastro. Pamina must kill him and get the Circle back — if she doesn’t, her mother will disown her. Sarastro appears and forgives Pamina’s inclusion in the Queen’s wicked plot.

Elsewhere, Tamino comes upon Sarastro's sanctuary, but is barred entrance. He is told that he has been deceived by a mother’s tears — Sarastro is not the evil person she described. Back in Monostatos’ lair, Pamina and Papageno face recapture, but the despot and his slaves are charmed by the magic bells, allowing their escape.

Tamino and Papageno continue to wait out their oath of silence, augmented by thirst and fasting. The Three Spirits then pay a visit and offer refreshments. Pamina is distressed by Tamino’s silence. She fears his love has vanished and considers taking her own life.

Sarastro enters, and Pamina admits her attempt to flee, but only to rebuff Monostatos’ amorous advance. Still, she misses her mother, but Sarastro proclaims there is still much for her to learn from his tutelage. Tamino and Pamina finally meet, while Monostatos is punished for his dereliction.

Intermission

Act II Sarastro announces Tamino’s wish to enter the inner sanctum and his willingness to undergo the trials of initiation. Papageno is more reluctant, but is promised a pretty wife, Papagena, as his reward. The first test is one of silence, made difficult when the Three Ladies attempt to intercede.

Papageno tries to catch up with Tamino but is denied entry to the temple. A beautiful woman, Papagena, briefly appears, and then is whisked away — Papageno is not yet worthy. Demented by Tamino’s seemingly broken vow, Pamina wanders aimlessly. The Three Spirits take her to Tamino, who is about to undergo the trials of water and fire. Pamina and Tamino reaffirm their love, and she resolves to go through the ordeals at his side. Missing Papagena terribly, Papageno is about to hang himself, but is saved by the Three Spirits. To his great joy, Papagena is restored to him, and they rejoice in a future together. Now in league with the dark side, Monostatos leads the Queen and her ladies in one last attempt against Sarastro, but all are vanquished. Tamino and Pamina usher in a new era of truth, beauty and wisdom.

Pamina will be mine!

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

Act I

Within Sarastro’s domain, Monostatos is charged with guarding Pamina, whom he treats harshly. Papageno enters, and both men startle one another. Papageno recognizes Pamina as the Queen’s daughter and tells her of the ardent young prince who has been sent to her rescue. She takes pleasure in the prospect of love, and Papageno too pines for his perfect mate.

MUSIC BY WOLFGANG AMADEUS MOZART LIBRETTO BY EMANUEL SCHIKANEDER World premiere at the Theater auf der Wieden, Vienna September 30, 1791

NOVEMBER 14, 15, 17, 19, 21 AND 22, 2015 | ORDWAY MUSIC THEATER, SAINT PAUL Sung in German with English translations projected above the stage ESTIMATED RUN-TIME

Creative Team

2 hours and 41 minutes, including one 20-minute intermission. Intermission will occur approximately 66 minutes into the opera.

Michael Christie

Cast

Tobias Ribitzki

CONDUCTOR

STAGE DIRECTOR

in order of vocal appearance

TAMINO A PRINCE

PAMINA DAUGHTER OF THE QUEEN

PRODUCTION

ASSISTANT DIRECTOR

David Radamés Toro

ASSISTANT CONDUCTOR

Jonathan Brandani

CHORUSMASTER

Julien Behr

Christie Conover

Suzanne Andrade and Barrie Kosky for the Komische Oper Berlin

THREE LADIES ATTENDANTS TO THE QUEEN

THREE SPIRITS

ANIMATION DESIGNER

Dale Kruse

CONCEPT

Jessica Hall, Lindsay Woodward

Tricia Van Ee, Shannon Prickett, Victoria Vargas

PAPAGENO A BIRDCATCHER

Nykeigh Larson, Fletcher Zavadil, Riley Eddins

SARASTRO HIGH PRIEST OF THE SUN

Benjamin Sieverding

Andrew Wilkowske

THE QUEEN OF THE NIGHT

Jeni Houser

MONOSTATOS OVERSEER AT THE TEMPLE

Robb Asklof, Ben Crickenberger

PAPAGENA

1927 (Suzanne Andrade and Paul Barritt) and Barrie Kosky

SET AND COSTUME DESIGNER

Esther Bialas

LIGHTING DESIGN ASSOCIATE

Raymond W. Steveson Jr.

Tracey Engleman ▴ conducts April 14, 15, 17, 18, 19, WIG 21 • conducts April 20,DESIGNER 22 AND MAKEUP

CHILDREN’S CHORUSMASTER RÉPÉTITEURS

PRODUCTION STAGE MANAGER

Kerry Masek

VIDEO STAGE MANAGER

Hannah Holthaus

ENGLISH CAPTIONS

Floyd Anderson

David Zimmerman

The appearances of Christie Conover, Tracey Engleman, Jeni Houser, John Robert Lindsey, Benjamin Sieverding, Victoria Vargas and Andrew Wilkowske, regional finalists; and Shannon Prickett and Tricia Van Ee, district finalists of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis.

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John Robert Lindsey

MEN IN ARMOR

Paul Barritt

Robert Ainsley

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.

The Magic Flute by W. A. Mozart; edited for the New Mozart Edition by Gernot Gruber and Alfred Orel; used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Baerenreiter, publisher and copyright owner. A production of the Komische Oper Berlin; presented in coproduction with Los Angeles Opera. Scenery constructed by the Minnesota Opera Scenic Studios. Costumes constructed by the Los Angeles Opera Costume Shop.

Atmospheric haze and strobe-like effects will be used in the production.

ABOUT THE OPERA

ollowing the opening of Così fan tutte in January 1790, Wolfgang Amadeus Mozart entered a very uncertain period in his life. The new production had achieved only five performances before the death of Joseph ii closed all of Vienna’s theaters for an official period of mourning. Although Così was briefly revived during the summer, there was yet no word from the new emperor, Leopold ii, regarding the composer’s future at court. Mozart boldly took matters into his own hands when, that fall, he followed Leopold to Frankfurt, where he was to be crowned Holy Roman Emperor. Hoping to get the attention of the new monarch, Mozart tried to attract notice at the local theater as an audience member and also with a public concert, but it was sparsely attended. On his way back, the composer managed to

arrange a meeting with Elector Karl Theodor (responsible for the premiere of Idomeneo in 1781) and the visiting King and Queen of Naples, whose two daughters had just been married to Leopold’s two sons (and, in Habsburg tradition, their first cousins). Even though he was a leading composer in Vienna, Mozart had not been invited to participate at the royal wedding, but through one of the sons, the future Emperor Francis ii, he tried a backdoor approach. The enterprising composer put out the suggestion that he might become the court’s second Kapellmeister devoted to church music since Antonio Salieri, as Mozart was quick to point out, had limited experience in that genre. The proposal had little impact. Leopold did belatedly confirm his previous position as composer for royal entertainments, and in January 1791 Mozart was asked to create a series of German dances for a Viennese ball. Other small commissions included works for such oddities as the glass harmonica and the mechanical clock, but little else surfaced. An attractive offer came

from England for a year-long contract which included two new operas, but Mozart delayed the visit due to Constanze’s pregnancy and delicate health. Franz Joseph Haydn went instead, enjoyed a legendary visit as the toast of the town and produced his famous “London” symphonies. It’s no wonder Mozart jumped at the chance to compose a popular opera for the suburban Theater auf der Wieden when director Emanuel Schikaneder made the pitch. Though not well-experienced in the realm of Zauberoper, he could hardly refuse the offer, as the Viennese musical scene was transitioning from aristocratic to bourgeois circles. Two more projects were contracted shortly thereafter, a requiem mass and an unexpected commission from Leopold for an opera seria which would become La clemenza di Tito. Mozart was definitely back in the game. Schikaneder was not only helping the cash-poor composer, he was also serving his own needs. Also in somewhat precarious financial straits thanks to his grandiose theater programming, he needed a hit and counted on Mozart’s celebrity to ensure success both critically and profitably. Schikaneder was a consummate impresario — at once actor, author and composer who also required a substantial, yet simple role for himself. He would become the first Papageno as well as the production’s director and librettist.

| MINNESOTA OPERA mnopera.org

Zauberoper could be quite a mixed bag, and the sources for the libretto are numerous and varied, resulting in virtually unsurpassed analyses by stymied musicologists. Little documentation survives since Mozart and Schikaneder were in close daily contact as the work evolved and didn’t require written correspondence. Nor are we certain when

ABOUT THE OPERA

Yet the bulk of The Magic Flute appears to have been inspired by Abbé Jean Terrasson’s Egyptian tale Séthos, which describes the progress and religious transformation of its princely title character. This novel, which Terrasson tried to pass off as actual history, also served as a “bible” for Freemasonry, a quasi-religious society founded in early 18th-century England and widely practiced all over Europe during the Age of Enlightenment. At that time, just about every significant male leader, either directly involved in politics or as a member of the greater artistic cognoscenti, was a Freemason. Fearing the eclipse of Christianity, the Vatican issued a Papal Bull denouncing the order, and Empress Maria Theresa had tried to suppress the sect, her severity only to be repudiated

by her more permissive son Joseph after her death in 1780. An essay, On the Mysteries of the Egyptians, by a leading Mason (and former metallurgist to the empress) Ignaz von Born also served as inspiration, and The Magic Flute soon became considered an allegory for the plight of Freemasonry, with Born as Sarastro, Maria Theresa as the Queen of the Night, Joseph as Tamino and the Viennese people as Pamina. The opera’s intricate inherent symbolism continues to be heavily deconstructed to this day. Mozart and Schikaneder’s first order of business was to delight and entertain their ticket buyers, but were they also trying to send a deeper message? It is difficult to explain away the sudden shift from what begins as a standard “rescue opera” to one of deeper solemnity. One alternate theory (now largely discredited) is that Mozart and Schikaneder feared their creation too closely resembled a new work at the rival Leopoldstadt theater, Kaspar der Fagottist, oder Die Zauberzither (Kaspar the Bassoonist, or The Magic Zither), scheduled to open in early June — it, too, was purported to be drawn from the same Dschinnistan fairy tale. But in a letter to Constanze, Mozart dismissed it as “nothing at all.” It is more likely that the opera served as spiritual propaganda — the future of the Order was in limbo in the new regime. The previously tolerant Joseph had already reduced the number of Masonic lodges in Vienna to three, and his reactionary and fearful nephew, Francis ii, would eradicate Freemasonry completely from Austria just a few years later.

SCHIKANEDER

MOZART AND THE MASONS

Mozart’s music may be exquisite, but the opera’s success also depended on Emanuel Schikaneder’s consummate theatricality. The busy impresario’s position in music history is often ignored, but his unique and diverse talents had a profound effect on the course of German opera in the final quarter of the 18th century. Born to a very modest household (both parents were servants) and orphaned as a child, Schikaneder learned to make his way as an itinerant entertainer, first as a streetperforming minstrel, then as an actor in Franz Joseph Moser’s troupe of traveling players, over which he eventually assumed directorship in 1778. He was ambitious with his programming, offering plays by Shakespeare as staples of his repertory and noted for his interpretation of Hamlet. He also created original works, both spoken drama and Singspiels (German opera with dialogue interspersed among the musical numbers).

Schikaneder first made Mozart’s acquaintance when his company traveled to Salzburg in 1780, as the Mozarts were avid theater-goers. They likely renewed their friendship when Schikaneder was invited to Vienna in 1784 at the emperor’s request. Joseph had been affected by a performance he attended while traveling through Pressburg and hoped the impresario could revive theater performed in the German vernacular. Schikaneder offered a short season at the Kärntnertortheater (including a proposed viewing of Beaumarchais’ politically volatile Whatever the higher purpose may have been, The Magic Flute was a triumph when it opened play Le mariage de Figaro). • on September 30, 1791, and played almost every night well into November. Mozart attended the opera as often as he could and replayed it in his head once bedridden and close to death. His one-time nemesis, Antonio Salieri, now out of the new emperor’s favor, gave it genuine praise. Stylistically, the opera has something for everyone — coloratura opera seria arias (the Queen), simple folk song (Papageno), religious hymn (the Priests’ march), a gripping suicide aria (Pamina), contrapuntal vivacity (the overture) — as well as opportunities for dazzling visual spectacle. Never having fallen out of fashion, The Magic Flute continues to engage audiences of all ages.

| THE MAGIC FLUTE

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

the collaboration first began — a letter sent during Mozart’s Frankfurt visit makes reference to one of the opera’s numbers, but no formal contract or urtext of the libretto survives. The formula for public opera was much less strict than for those written for the Burgtheater, freeing the two artists to draw from a wealth of ideas. The magical elements appear to have been borrowed from a set of fairy tales collected by Christoph Martin Wieland, entitled Dschinnistan, which included Lulu, oder Die Zauberflöte (Lulu, or The Magic Flute) by Jakob August Liebeskind. Parallels can also be drawn to Chrétien de Troyes’ 12th-century ballad, Yvain, with regard to the monster-fighting scene and the inclusion of a hybrid creature of man and beast. There are suggestions of William Shakespeare’s The Tempest in the characters of Sarastro (Prospero), Pamina (Miranda), Tamino (Ferdinand) and Papageno (Caliban), not to mention the spirit of the Queen of the Night in Shakespeare’s vanquished witch Sycorax and the Three Spirits embodying Prospero’s fairy-servant Ariel. Further elements seem to have been drawn from pantomime, moralizing puppet plays and Italian commedia dell’arte, along with several borrowings from Mozart and Schikaneder’s earlier works.

ABOUT THE OPERA Still, the original Magic Flute proved to be a bountiful source of cash, and though rival theaters in the Leopoldstadt and Josefstadt districts provided stiff competition, Schikaneder was able to secure enough The impresario was lured back to Vienna at money to finally build his own house, the his wife’s urging. Eleanore had also been a Theater an der Wien. With Joseph’s license member of Moser’s troupe, and the couple remaining in his possession, he opened the had married in 1777, but quickly became opulent new theater in 1801 and relocated estranged as a result of Emanuel’s numerous his troupe there. By this time Schikaneder infidelities. By 1785, Eleanore herself was had made an important new contact, the involved in an extramarital affair with another 31-year-old Ludwig van Beethoven, and he company member, Johann Friedel. They had desperately tried to lure the up-and-coming found a permanent home for their players at composer to the operatic stage by offering the Freihaus Theater auf der Wieden, located the libretto to Alexander, a work that was just south of Vienna. The Freihaus was a small intended for the grand opening. Beethoven island unto itself, providing apartment homes was hesitant and sought advice and and conveniences for more than 900 residents instruction from the veteran Salieri. With and practically guaranteeing a captive audience an eye to the current vogue for French rescue for its 1,000 seat theater. When Friedel died opera, he eventually chose a story by Jeansuddenly in 1789, Eleanore, overwhelmed by Nicolas Bouilly, Léonore, ou L’amour conjugal, the prospect of running the venue alone, called which would become Fidelio (1805). upon her alienated husband for assistance. By that time, Schikaneder’s luck had run out, Unlike the court theaters, which were and he had been forced to sell his interest underwritten by royal support, the Freihaus Theater depended solely on box office receipts, in the theater to his partner, Bartholomäus Zitterbarth. Although he stayed on as a making it a risky venture. Yet Schikaneder entered his most profitable years as a producer, director, Schikaneder’s now-dated formula providing a wide assortment of entertainments couldn’t compete with the rage for Parisian works by André-Ernest-Modeste Grétry, for his bourgeois audience. There was still Étienne-Nicolas Méhul and Luigi Cherubini. a smattering of high drama, most notably He was compelled to dispose of his expansive Schiller’s Kabale und Liebe and Don Carlos, villa in suburban Nussdorf, eventually lost as well as more Shakespeare, Goethe and his mind and died in penury. Still, a statistical Lessing, offset by “magic” Singspiels of his own design, such as Der Stein der Weisen oder account of his theatrical diversions is noteworthy, with 57 amusements created for Die Zauberinsel (The Wise Men’s Stone, or the Theater auf der Wieden alone. The Magic Isle), Die Eisen-Königin (The Iron Queen) and Der wohltätige Derwisch, oder Both Schikaneder and Mozart belonged to a Die Zaubertrommel und Schellenkappe Masonic lodge, though the former had lapsed (The Charitable Dervish, or The Magic Drum a bit. A tradition that was codified in 1717, but and Fool’s Cap). In 1798, he even tried to traceable to the cathedral construction guilds repeat the success of The Magic Flute with a of the Middle Ages, Freemasonry prospered sequel, Das Labyrinth, oder Der Kampf mit during the enlightened 18th century. But as den Elementen (The Labyrinth, or The Struggle the age turned to revolt, the Craft became with the Elements, to music by Peter von tainted with an air of subversion, at least in Winter), but it fell flat by comparison. royalist eyes. As most of the founding fathers were Masons, and the American Revolution was seen as a treasonous act against the English monarchy, Freemasonry became synonymous with rebellion and free will. The French Revolution, just two years before The Magic Flute’s premiere, was also considered to be fueled by Masonic thinking, in particular with the common identifying trademarks of “liberté, égalité et fraternité.” emperor to open his own venue, but lacked the necessary funds and eventually left for a more stable position in Regensburg.

The execution of French Queen Marie Antoinette in 1793 fueled her nephew’s Austrian ban of the Order. Was The Magic Flute intended to be an homage to the vanishing creed? Mozart had already composed some Masonic music (songs, cantatas, funeral music), and it is curious that both artists would devote so much obvious attention to its symbols. The predominance of the number three and its multiples is a case-in-point — the triangle has particular significance to the Masons. The opera makes a trinity of nearly everything: three ladies, three boys, three trials, three temples, threefold utterances, and the list goes on. The overture and Act ii finale are set in the key of E-flat major (cast in three flats) with the opera proper beginning in the Sturm und Drang relative minor key of C. The overture opens with five solemn chords (another sacred number) posed in three inversions to a syncopated rhythm (anapestically repeated three times, often described as the secret “knock” of the lodge — it recurs later in the opera). The fugal development section is also echoed elsewhere, heard in the contrapuntally inspired setting of the Two Men in Armor in Act ii as Tamino prepares for the trials of fire and water (the polyphony has been interpreted as representing the high intellect and equality of the Order). The Lutheran chorale-style March of the Priests reveals yet another trait of Masonic tradition — one could be a member and still observe another religion. The misogynist aspect of the exclusively male society as seen through the opera’s evil and shrill Queen of the Night hell-bent on revenge has also been brought into question, but it should be noted that Pamina’s strength ultimately brings the protagonists to victory. One final derision directed at the Freemasons — that members of the Craft caused Mozart’s early demise for his revealing too many secrets — has long since been discarded. Equally guilty of disclosure, Schikaneder didn’t perish until 1812, and then of natural causes. To the contrary, generosity was a trait espoused by the Masons, who helped each other at times of strife. Fellow Freemason Michael Puchberg often assisted Mozart financially during his later years, and following the composer’s death, the Order dipped into its coffers to help Constanze pay her husband’s funeral expenses. – David Sander

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

• He managed to obtain a license from the

COMPOSER

BORN

Salzburg, January 27, 1756 Vienna, December 5, 1791

DEATH

Wolfgang Amadeus Mozart at the Piano (1789) | Mozarteum (Salzburg, Austria) | Alinari/Art Resource NY

hild wonder, virtuoso performer and prolific creative artist, Mozart is the first composer whose operas have never been out of repertory. His prodigious talents were apparent very early in his life — by the age of four he could reproduce on the keyboard a melody played to him; at five he could play the violin with perfect intonation; and at six he composed his first minuet. A musician himself, Wolfgang’s father, Leopold, immediately saw the potential of his son’s talents. With the mixed motives of religious piety and making a tidy profit, Leopold embarked on a series of concert tours showing off the child’s extraordinary talents. Often playing with his sister Maria Anna (“Nannerl”), herself an accomplished musician, young Wolfgang charmed the royal courts of Europe, from those of Austrian Empress Maria Theresa, French King Louis xv and English King George iii, to the lesser principalities of Germany and Italy. As Mozart grew older, his concert tours turned into a search for permanent employment, but this proved exceedingly difficult for a German musician in a market dominated by Italian composers. Although many of his early operas were commissioned by Milanese and Munich nobles (Mitridate, Ascanio in Alba, Lucio Silla, La finta giardiniera), he could not rise beyond Konzertmeister of the Salzburg archbishopric.

When the new prince, Count Hieronymus Colloredo, was appointed in 1771, Mozart also found he was released for guest engagements with less frequency. Though his position improved and a generous salary was offered, the composer felt the Salzburg musical scene was stifling for a man of his enormous talent and creativity. Things came to a head in 1781 immediately after the successful premiere of Mozart’s first mature work, Idomeneo, in Munich. The archbishop, then visiting Vienna, insisted the composer join him there. Never did Mozart better understand his position in the household than during that sojourn, when he was seated at the dinner table below the prince’s personal valets and just above the cooks. He requested to be permanently discharged from his duties, and after several heated discussions his petition was granted, punctuated by a parting kick in the pants.

“

Child wonder, virtuoso performer and prolific creative artist, Mozart is the first composer whose operas have never been out of repertory.” Now completely on his own for the first time, Mozart embarked on several happy years. He married Constanze Weber, sister to his childhood sweetheart Aloysia, and premiered a new work, Die Entführung aus dem Serail (The Abduction from the Seraglio), at the Burgtheater. Mozart also gave concerts around Vienna, presenting a number of new piano concertos and symphonies. His chief concern was to procure a position at the imperial court. A small commission came his way from the emperor for a one-act comedy, Der Schauspieldirektor (The Impresario),

given in the same evening as Antonio Salieri’s Prima la musica e poi le parole (First the music, and then the words), to celebrate the visit of the emperor’s sister, Marie Christine, and her husband, joint rulers of the Austrian Netherlands. The Marriage of Figaro, Mozart’s first true masterpiece for the imperial court, premiered at the Burgtheater in 1786 and then went on to Prague the following year where it was a huge success. Don Giovanni premiered in Prague in 1787 to great acclaim, but its Vienna opening in 1788 was coolly received. By this time, Mozart had received a minor imperial posting, as Kammermusicus, which required him to write dances for state functions. The position was hardly worthy of his skills and generated only a modest income, a weighty concern now that debts had begun to mount. Joseph ii commissioned another opera from Mozart, Così fan tutte, which premiered January 26, 1790. The emperor was too ill to attend the opening and died the following month. His brother, Leopold ii, assumed leadership, and Mozart hoped to be appointed Kapellmeister — instead he merely received a continuance of his previous position. Crisis hit in 1791. Constanze’s medical treatments at Baden and the birth of a second child pushed their finances to a critical point. Mozart’s friend and fellow Freemason, the impresario Emanuel Schikaneder, suggested he try his luck with the suburban audiences at his Theater auf der Wieden. Composition of The Magic Flute began early that summer but had to be halted when two generous commissions came his way: a requiem for an anonymous patron (who hoped to pass it off as his own composition), and an opera seria to celebrate the new emperor’s coronation as King of Bohemia. La clemenza di Tito premiered September 6, and The Magic Flute was completed in time to open September 30. The Requiem, however, remained unfinished, and as Mozart’s health began to fail, the composer feared he was writing his own death mass. In December Mozart died at the age of 35 and was given a simple funeral by his impoverished widow, then buried in a mass grave on the outskirts of Vienna.

| THE MAGIC FLUTE

WOLFGANG AMADEUS MOZART

SUZANNE ANDRADE

Director

She is the founder, with animator Paul Barritt, of the multiple award-winning theater company 1927, which specializes in synchronizing performance and live music with animation and film to create magical theater. She has written and directed two theater productions for 1927 including a new production, Golem. Between the Devil and the Deep Blue Sea premiered at the 2007 Edinburgh Fringe and has been presented in 13 countries on four continents, including two sell-out London seasons. The Animals and Children took to the Streets premiered at the Sydney Opera House in 2010 and has been presented in 79 venues across 27 countries on five continents, including two seasons at the National Theatre. Recently, 1927 collaborated on The Magic Flute with the Komische Oper Berlin. She is currently developing new work for 1927. More at 19-27.co.uk.

“

Anyone interested in the theatre should see this company now.” – The Observer (uk)

PAUL BARRITT

| MINNESOTA OPERA mnopera.org

Animation Design

An illustrator and animator, he has been published in Time Out and won an award at the Darklight Film Festival for his short film Shed. He recently finished a commission for a four-screen film project shown at the ica. Before creating the multiple award-winning theater company 1927 with Suzanne Andrade, they worked on various projects together, including a show taken to the 2006 Edinburgh Fringe as part of a literary cabaret. He has also made several standalone short films based upon Ms. Andrade’s writing, seen at film festivals throughout the United Kingdom and Europe and recently presented his short film White Morning at Sundance and London Short Film festivals. He has designed all of the animations and films for the 1927 shows Between the Devil and the Deep Blue Sea, The Animals and Children took to the Streets and Golem. He is an associate lecturer in animation at Middlesex University. More at PaulBarritt.com

PRODUCTION: 1927

is a multi-award winning London-based theater company that specializes in combining performance and live music with animation and film to create magical filmic performance. 1927 was founded in 2005 by writer, performer and director Suzanne Andrade and animator and illustrator Paul Barritt. In 2006, performer and costume designer Esme Appleton and performer, composer and musician Lillian Henley joined, and in 2007, producer Jo Crowley began collaborating with the company. All members of 1927 come from different artistic backgrounds, and it is the collaboration between these various disciplines — and the complete integration of these — that has paved the way for the company to create its innovative and original work. 1927 works across the performance fields of theater, opera, music and film. Having cut its teeth on the London cabaret scene, 1927 premiered its debut show Between the Devil and the Deep Blue Sea at the 2007 Edinburgh Festival Fringe, achieving audience and critical acclaim and winning Herald Angel, Fringe First, Arches Brick, Carol Tamber and Total Theatre awards. Following the success and unprecedented demand which followed this Edinburgh debut, over the course of the subsequent three years 1927 went on to present the show in two sell-out London seasons and toured to venues in every region in the United Kingdom and across the globe, visiting major international theaters and arts festivals including Sydney Opera House, Malthouse Theatre Melbourne, Adelaide Cabaret Festival and Perth Festivals (Australia), Under the Radar and Spoleto Festivals (United States), Singapore Festival, Macau Festival, Mladi Levi Festival (Slovenia), Dublin Festival, Belfast Festival, Hannover Festival, Uijeongbu Theatre Festival (South Korea) and the New Zealand Festival. Along the way, the company steadily developed a huge following of dedicated supporters, was garnered with critical acclaim, received two New York Drama Desk Award nominations and, in 2008, was awarded the Peter Brook Empty Space Award for Best Ensemble. In 2010, 1927 premiered its second production, The Animals and Children took to the Streets, at Sydney Opera House, followed

by the European premiere at Battersea Arts Centre, London. The premiere seasons garnered critical acclaim across the board, winning the 2011 Off West End Award for Best Entertainment and being nominated for awards including two London Evening Standard Awards. Hugely in demand, between 2011 – 2013, The Animals and Children took to the Streets, has been presented nearly 400 times in 80 venues across 28 countries over five continents, including two sell-out seasons at the National Theatre, London. Internationally the show toured to Australia, Austria, Armenia, Azerbaijan, Belgium, China, Croatia, Denmark, France, Georgia, Hong Kong, Ireland, Italy, Jordan, Latvia, Malta, New Zealand, Nigeria, Russia, Spain, Switzerland, United States, United Arab Emirates and Ukraine, including seasons at festivals including Avignon Festival, New Zealand Festival and Chekhov Festival Moscow. In 2012, 1927 collaborated with Komische Opera Berlin to create an acclaimed reimagining of The Magic Flute. Following its premiere in Berlin in November 2012, the show continued in rep there while three new productions were mounted at LA Opera, Deutsche Oper am Reihn and Minnesota Opera between November 2013 and April 2014, and just recently, toured in China during October 2015. The show won two international awards in 2013, and plans are in development for further presentations over the coming three years. Recently, 1927 premiered a new short film by Paul Barritt, White Morning, at Sundance and London Short Film Festivals. In London it was nominated for Best British Short Film. The ensemble returned to the National Theatre, London, to present The Animals and Children took to the Streets for a third season and premiered its new theater production, Golem, at the Salzburg Festival, Austria and later premiered a new music and animation collaboration with Ensemble MusicFabrik in Cologne, Germany entitled A Tribute to Krazy Kat, which premiered in Dresden. Future plans include a tour of Golem across the U.K., reimagining a Stravinsky ballet, reinterpreting a Ravel opera and a new collaboration with Richard Ayres. 1927 is based in London and is an associate

company of the Young Vic Theatre. More at 19-27.co.uk.

THE ARTISTS tamino Tenor Julien Behr was awarded the “singers’ revelation of the year” in 2009 by the French musicians’ association adami. In 2013, he was among the three nominees in the same category at the Victoires de la musique classique. In 2009, he made his international debut at the Festival d’Aix-en-Provence in the title role of Offenbach’s Orphée aux enfers. Elsewhere, he has performed Tamino (Die Zauberflöte) in St. Gallen, Rouen, Bordeaux, Bern, Paris and at Minnesota Opera; Ferrando (Così fan tutte) in Nancy; Arbace (Idomeneo) at the Mozartwoche Salzburg and at the Theater an der Wien; Acis (Acis and Galatea) in Aix-en-Provence and at the Teatro La Fenice; Gonzalve (L’heure espagnole) at the Barbican Centre; Camille (The Merry Widow) in Avignon; Antonin (Ciboulette) at the OpéraComique and at the Saint-Etienne Opera; and the world premiere of Campo’s Quai Ouest at the Opéra National du Rhin. His plans for 2015 – 2016 include Mercure (Platée) at the Opéra National de Paris, Ernesto (L’elisir d’amore) at the Rennes Opera, Don Ottavio (Don Giovanni) at the Cologne Opera and Nadir (Les pêcheurs de perles) at the Staatstheater Nürnberg.

Christie Conover

pamina Described as a “jewel” with a “lovely timbre, perfect trill, and soaring top,” soprano Christie Conover is a rapidly rising star. Her voice, rich and warm, is partnered by a personal grace both on and off the stage. Her sensitive portrayal of characters such as Liù (Turandot), Juliette (Roméo et Juliette) and Micaëla (Carmen) have garnered her critical acclaim, as well as her fiery portrayal of Musetta (La bohème) and effervescent, comedic rendition of Clorinda (La Cenerentola). Most recently, Ms. Conover was “the standout, expressing her character’s reticence and yearning with radiant vocalism” singing Caroline Abbott in Opera San Jose’s world premiere Where Angels Fear to Tread.

The 2015–2016 season marks her debut with the Komische Oper Berlin as Pamina in its tour of this production in China. Past engagements include Liù in Turandot, Musetta in La bohème and Anna in Nabucco for Minnesota Opera; Micaëla in Carmen with Livermore Valley Opera and Opera Fort Collins; the Countess in Le nozze di Figaro with Stockton Opera; Abigail in The Crucible with Rimrock Opera; and Gretel in Hansel and Gretel with Opera Colorado.

Esther Bialas

set and costume designer Esther Bialas studied costume design in Hamburg. She has a longstanding collaboration with director Nicolas Stemann, designing costumes for his productions of Hamlet (Schauspiel Hannover), Jelinek’s The Work (Burgtheater, Vienna) and Schiller’s The Robbers (Thalia Theater, Hamburg). Together with director Christiane Pohle, she founded the women’s theater company LaborLavache, presented at the Schauspielhaus Zurich. She has designed for the Basel Theater, Vienna Burgtheater and the Deutsche Theater Berlin for opera productions in Lucerne and Basel as well as for film. Her collaborations with director Barrie Kosky include Strindberg’s A Dream Play at the Deutsche Theater Berlin, Strauss’ The Silent Woman at Munich’s Bavarian State Opera, as well as Ball im Savoy, Seven Songs/The Seven Deadly Sins and West Side Story, all at the Komische Oper in Berlin. This past summer she designed Hoffmanns Erzählungen (Offenbach) for the Bregenzer Festspiele, directed by Stefan Herheim. Since 2004, she has taught costume design at the Lerchenfeld University in Hamburg.

Tracey Engleman

papagena With a voice the Boston Globe called “extraordinary in range, tonal quality, musicianship and dramatic effect,” soprano Tracey Engleman has gained a reputation for excellence in opera, recital and concert. As a frequent performer in Minneapolis and Saint Paul, she has received rave reviews for her operatic work. The St. Paul Pioneer Press wrote that Ms. Engleman’s “clear, powerful high notes unleash all the desired adrenaline and misty romanticism the score demands,” and The Wall Street Journal has written that she sings with “crystalline purity.” Recent roles include Isabella Smith in The Ladysmith Story, a contemporary opera by Christopher Gable; Julie in The New Moon with Music by the Lake; Kathy in The Student Prince with Skylark Opera; Ofglen in The Handmaid’s Tale, the Page in Rigoletto and the Girl in the Bed in Casanova’s Homecoming with Minnesota Opera; the School Teacher in Ainadamar with the Los Angeles Philharmonic; Adina in L’elisir d’amore and Norina in Don Pasquale with the Rochester Aria Group; and Elvira in I puritani with Minnesota Concert Opera. She reprises the role of Papagena for today's performance.

Michael Christie

conductor Michael Christie became music director of Minnesota Opera in September 2012. Before coming to Minnesota, he served as music director of the Phoenix Symphony (2005 – 2013), the Brooklyn Philharmonic (2001 – 2013), the Queensland Orchestra (Brisbane, Australia; 2000 – 2004) and the Colorado Music Festival in Boulder (2001 – 2013).

Recent opera engagements have included productions with Opera Theatre of Saint Louis (Alice in Wonderland, The Ghosts of Versailles and The Death of Klinghoffer), Wexford Festival Opera (Silent Night and The Ghosts of Versailles), Minnesota Opera (La traviata, Wuthering Heights, Silent Night, Madame Butterfly, Nabucco, Anna Bolena, Turandot, Manon Lescaut, Arabella, Macbeth, La fanciulla del West, The Manchurian Candidate, Carmen and Ariadne auf Naxos) and Aspen Opera Theatre (The Ghosts of Versailles and West Side Story). He has also conducted at Opéra de Montréal and Opera Philadelphia (Silent Night) and Lyric Opera of Chicago (Rising Stars). He made his San Francisco Opera debut conducting the world premiere of The Gospel of Mary Magdalene. Michael lives with his family in Minneapolis.

Jeni Houser

queen of the night Soprano Jeni Houser recently performed Naiad and the Sunday performance of Zerbinetta in Ariadne auf Naxos, and will also sing Mrs. Grady in the world premiere of The Shining for Minnesota Opera in May. She returns to Madison Opera this February as Amy in Little Women, and later in April, debuts with Madison Symphony as soprano soloist in Carmina burana. Jeni recently made her debut at Lyric Opera of Chicago in The Magic Victrola, singing Olympia’s aria from Les contes d’Hoffmann. Of her performance, the Chicago Tribune writes, “Houser, who had been enlisted at the eleventh hour […], sang sweetly, her top notes securely placed.”

At Glimmerglass, Jeni recently performed the Queen of the Night in a young artist performance, covered Cunegonde in Candide and performed Naiad and covered Zerbinetta in Ariadne auf Naxos, where the nymphs “were a delight to the eye and ear” (cny Café Momus). Other credits include Cunegonde in excerpts from Candide and Johanna in Sweeney Todd with Madison Opera, and Frasquita in Carmen with Virginia Opera.

| THE MAGIC FLUTE

Julien Behr

THE ARTISTS Barrie Kosky

production Since 2012 Barrie Kosky has been the Intendant and Chefregisseur of the Komische Oper Berlin which was voted Opera House of the Year by 50 international opera journalists that first season. He has also received the Laurence Olivier Award (2012) and the International Opera Award (2014). Mr. Kosky’s work in Berlin has included The Monteverdi Trilogy, The Magic Flute, Ball im Savoy, Rusalka, Iphigenie in Tauris, Kiss Me, Kate, Rigoletto, The Marriage of Figaro, Seven Deadly Sins, West Side Story, Le grand macabre, Castor and Pollux, Moses und Aron and Les contes d’Hoffmann. In 2017, he will direct Die Meistersinger von Nürnberg at Bayreuth.

Mr. Kosky has directed at the Bayerischer Staatsoper, Berlin Staatsoper Unter den Linden, Netherlands Opera, Oper Frankfurt, LA Opera, English National Opera, Vienna Staatsoper, Oper Graz, Staatsoper Hannover, Aaalto Oper Essen, Deutsches Theater Berlin and the Schauspielhaus Frankfurt. Future plans include engagements at the Royal Opera House Covent Garden, Glyndebourne,Teatro Real, Bayerischer Staatsoper, Oper Zürich, Oper Frankfurt and Finnish National Opera.

| MINNESOTA OPERA mnopera.org

Tobias Ribitzki

stage director After his studies in theater and media science in Bochum, Tobias Ribitzki worked as an assistant and performance director at the Landestheater in Linz, at the Staatsoper Hannover and at the Komische Oper Berlin. At the Landestheater Linz, he directed as a coproduction with Linz09 the world premiere of the opera Picknick im Felde. At the Junge Oper Hannover he directed the 2011 world premiere of Freunde!, and in 2012, the world premiere of Der Teufel mit den drei goldenen Haaren, as well as the monodrama La voix humaine at the Cumberlandsche Galerie Hannover and the Theater Kiel. Last season, he directed Léa, Papy et le piano céleste for the Philharmonie Luxembourg and Blitzstein’s Triple-Sec and Gershwin’s Blue Monday at the Konzerthaus Berlin in cooperation with the Komische Oper.

Mr. Ribitzki has previously staged the Komische Oper Berlin’s The Magic Flute at Los Angeles Opera and at Minnesota Opera (2014). In 2015 – 2016, he will also stage it at the Teatro Real Madrid and at the Finnish National Opera Helsinki, as well as Alcina at the Staatstheater Wiesbaden and La clemenza di Tito at the Staatsoper Hannover.

John Robert Lindsey

monostatos Tenor John Robert Lindsey is quickly becoming known for his dynamic acting and powerful voice. Past engagements include the Third Jew in Salome, Nick in La fanciulla del West, Marvin Heeno in the world premiere of the revised The Dream of Valentino by Dominick Argento, Malcolm in Macbeth, Count Elemer in Arabella, Edmondo in Manon Lescaut, Pang in Turandot, Ismaele in Nabucco, Jonathan Dale in the Pulitzer Prize-winning production of Silent Night, Don José in Carmen, Sam Polk in Susannah and the Stage Manager in Rorem’s Our Town, as well as covers of Dick Johnson in La fanciulla del West, Steva in Jenufa, Macduff in Macbeth, Matteo in Arabella and Des Grieux in Manon Lescaut. On the concert stage, he has performed as tenor soloist in Beethoven’s Symphony No. 9, Verdi’s Requiem, Parables by Robert Aldridge and Herschel Garfein, Mozart’s Requiem and Mass in C Minor and Handel’s Messiah. This past summer, he participated in the International Competition for Wagnerian Voices in Bayreuth. Future engagements include debuts with Opera San Jose, Austin Opera and Michigan Opera Theatre. He returns to Minnesota Opera in May to sing the role of Lloyd in the world premiere of The Shining.

Benjamin Sieverding

sarastro 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). This season he joins Minnesota Opera, appearing as 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. Most recently, Sieverding 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 The 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.” He received the company’s 2013 Ruth Freehoff Award. Also with with Santa Fe, Sieverding covered the title role in Don Pasquale, Herr Puff in The Impresario and the Chamberlain in Le Rossignol.

Shannon Prickett

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

Tricia Van Ee

first lady Soprano Tricia Van Ee has been a resident artist at Opera Omaha, where she appeared as Kate in The Pirates of Penzance. She holds music degrees from Dordt College and the University of Minnesota, where she sang many principal roles: Donna Anna in Don Giovanni, Mimì in La bohème, Miss Jessel in The Turn of the Screw, Antonia in Les contes d’Hoffmann, Madame de Tourvel in The Dangerous Liaisons and Naiad in Ariadne auf Naxos. She has regularly performed at the Minnesota Opera since 2010 as a member of the ensemble.

On the concert stage, Ms. Van Ee has been heard as a featured soloist with Omaha Symphony Orchestra, Minnesota Concert Opera and Northwest Iowa Symphony Orchestra, and as Micaëla in a concert version of Carmen with the Mankato Symphony Orchestra.

THE ARTISTS third lady Mezzo-soprano Victoria Vargas was most recently seen at Minnesota Opera as Mrs. Lowe in The Manchurian Candidate and as the title role in Carmen. Previously, she has sung Tisbe in Cinderella, Anna in Mary Stuart, Flora in La traviata, Nelly in Wuthering Heights, Alisa in Lucia di Lammermoor, Suzuki in Madame Butterfly, Fenena in Nabucco, Smeton in Anna Bolena, Adelaide in Arabella, Rambova in The Dream of Valentino and the Third Lady in The Magic Flute. She has also appeared as Carmen with Lyric Opera of the North. At Chautauqua, Ms. Vargas was seen as Laura in Luisa Miller and the Second Lady in Die Zauberflöte, and covered Mamma Lucia in Cavalleria rusticana. She has also been at Opera Theatre of Saint Louis, covering the role of Ruth in The Pirates of Penzance, and in 2013, was a second place Upper Midwest regional finalist at the Met auditions. Most recently, Ms. Vargas appeared as Kate Pinkerton in Minnesota Orchestra’s Madame Butterfly and as a soloist with the Phoenix Symphony. She will soon debut with the South Dakota Symphony and will sing Dido in Dido and Aeneas with MacPhail Center and the University of Minnesota.

Andrew Wilkowske

papageno Andrew Wilkowske — when singing a “virile, sturdy Marcello” or a “garrulous yet endearing” Papageno — displays an engaging combination of musical talent and masterful stage presence. Wilkowske, whose voice has been described as “nimble,” with an “impressively open top,” is one of the most versatile performers on the stage today. His Papageno “stole the show” according to the Washington Post, and was a “lusty-voiced fellow,” according to Opera News. It is a role he also has toured in China with the Komische Oper Berlin. Engagements have included Ponchel in Silent Night with Minnesota Opera, Cincinnati Opera, Lyric Opera of Kansas City and Opera Philadelphia; the Vicar in Albert Herring with Florentine Opera; and La Rocca in Un giorno di regno with Glimmerglass Opera. Other roles include Dulcamara in The Elixir of Love, Geronte in Manon Lescaut, Papageno in Die Zauberflöte, Dandini in Cinderella and Sharpless in Madame Butterfly with Minnesota Opera; Baron Zeta in The Merry Widow with Boston Lyric Opera; the world premiere of The Rivals with Skylight Opera; and Belcore in Elixir with Utah Opera.

Minnesota Opera Orchestra Violin I

Cello

Bassoon

Allison Ostrander Concertmaster

Teresa Richardson

Coreen Nordling

Natalia Moizeeva Assistant Concertmaster

Rebecca Arons

Laurie Hatcher Merz

Kirsten Whitson

Julia Persitz David Mickens Angela Waterman Hanson Heidi Amundson Conor O’Brien Colin McGuire

Violin II Laurie Petruconis Elizabeth Decker

Dale Newton

Timothy Bradley

Bass

Margaret Humphrey Elise Parker

Viola Emily Hagen Susan Janda Laurel Browne

Charles Hodgson

John Michael Smith Constance Martin

Trumpet John G. Koopmann

Flute

Christopher Volpe

Michele Frisch Amy Morris double piccolo and pan flute

Stephan Orsak Melinda Marshall

Horn

Oboe Michael Dayton Jeffrey Marshak

Clarinet Karrin Meffert-Nelson Nina Olsen

Coca Bochonko

Trombone Phillip Ostrander John Tranter David Stevens

Timpani Kory Andry

Offstage Percussion Matthew Barber

Fortepiano; Keyed Glockenspiel Lindsay Woodward

Minnesota Opera Chorus Matthew Abbas

Hye Won Kim

Grant Scherzer

Alex Barnett

Elizabeth Kohl

Ashley Sievers

Michael Burton

Rick Latterell

Jonathan Sill

Corissa Bussian

Laura LeVoir

Justin Spenner

Lisa Butcher

Michelle Liebl

Lauren Stepka

Christina Christensen

Maggie Lofboom

Kelly Turpin

Deanna Davis

Elizabeth Longhurst

Colyn Tvete

Stefan Egerstrom

Michael Mayer

Eryn Tvete

Jason Hernandez

Jessica Nesbit

Lu Zang

Benjamin Hills

Tyler Raad

Tracey Zavadil

Timothy James

Alex Ritchie

Supernumeraries Molly Boynton, Thomas Lorendo, Tom Ringberg

| THE MAGIC FLUTE

Victoria Vargas

A VIEW FROM ABOVE You are in total darkness, climbing a large staircase, lit only by glowing spike tape. When you reach the top, a knowing hand guides you into a narrow hallway where you step on to a platform no bigger than the length of your feet. You’re wearing a harness that is securely fastened (you hope) to the wall behind you. CLICK, CLICK … “Standby deck queue turning doors 2, 3 and 4 counterclockwise … GO!” Suddenly, you are swung outward into a blinding light, suspended high above the ground. A wall of sound hits you, deafening your senses. You have two choices. Shut your eyes and wait until it’s over, or hold on for dear life and enjoy the ride.

interact with their cartoon co-stars. Oh, and did I mention we are roughly 25 feet above the orchestra pit? Yes, folks, the performance you are enjoying may look effortless, but I assure you, it is not!

“

It’s what happens on the other side, what you don’t see, that makes this opera’s magic come to life.”

You may be wondering why? It’s a tough job, no doubt. We rehearsed tirelessly, day in and day out, all for a few hours onstage to perform for a room full of 1,500 perfect strangers. But something amazing happens when the first notes are played. Disbelief is suspended and the music unifies us. We are transported to a world where love is the law, good always wins and we are no longer strangers, but family. And that’s the magic of Mozart. Bergen Baker sang the role of the Second Lady in the 2014 production of The Magic Flute.

No, it’s not another terrifying amusement park ride, it’s right there in front of you. It’s the set you are looking at from your quasicomfortable theater seat. It’s what happens on the other side, what you don’t see, that makes this opera’s magic come to life. To make this production of The Magic Flute artistically and technically sound, focus needs to be laser sharp. Because the projected animations are queued with the music, choreography backstage (entrances and exits via revolving trap doors) and onstage (interaction with the projections) leave no room for error. The performers in this show are not only singing beautifully, but executing extremely specific movements in order to

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

Imagine this:

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18 TEMPO MEMBERS AT CARMEN AFTER PARTY

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MEET THE ARTISTS

ANDREW WILKOWSKE

What puts the “magic” in The Magic Flute?

How does it feel to be remounting this production?

AW The most magical aspect of this opera is the breathtaking score by Mozart. All of the character, magic and drama we love about this opera comes from the music first. What makes this production even more magical is the visually stunning animation that surrounds us on stage. It magically transports us into the fairy-tale world of Mozart and Schikaneder. This is the most magical production I’ve ever been a part of !

AW It’s a thrill to be bringing back this production to the Twin Cities. We received such a positive response in 2014.

TE What makes The Magic Flute most magical is the perfectly crafted music of Mozart which is accessible, memorable, sometimes folk-like and other times highly dramatic. I think the story seems familiar because it’s essentially a fairy tale complete with magical beings, the Damsel in Distress, the Handsome Prince and love at first sight. Audiences enjoy the music, the laughs and the drama, and can relate to the story. Who is Papageno? AW Papageno is one of the most goodhearted characters in all of opera. As you can tell, I really love playing this role! He is the heart and soul of the story, the portal through which the audience can relate to the characters. The famous actor and comedian Emanuel Schikaneder wrote the role of Papageno for himself, so he has all of the best lines!

TE I’m very excited to have the opportunity to be in this production again. I’m sure for most of the returning artists, it’s like reconnecting with an old friend. This production was the talk of the town in 2014, and I’m thrilled that we have the chance to expose so many more new people to this production and to opera in general. Also, I just happen to have the best costume ever, which is an added perk! How long have you been connected to Minnesota Opera? AW I’m very proud to have been a company member since the 1997 –1 998 season, when I first joined the Resident Artist Program. My debut was as the Third Henchman in Transatlantic. Since then I have been a part of many productions here, the most memorable being Ponchel in Silent Night and Noah in The Grapes of Wrath. TE I’ve been working with Minnesota Opera since 2002. My first role was “Ofglen” in the American premiere of The Handmaid’s Tale. What a privilege it has been to work in my hometown with this wonderful organization, and all the talented locals who have become dear friends and colleagues.

Ms. Engleman and Mr. Wilkowske’s biographies appear on pages 15 and 17, respectively.

TRACEY ENGLEMAN

So, your best friend on stage is a cat? AW Karl-Heinz! He is wonderful because he is the most consistent cast member; he is never late, never misses an entrance and never acts inappropriately in rehearsal. What is your favorite film? AW This is where I’m supposed to name some classic silent film or a foreign classic, but if I’m being completely honest, I’m going to have to go with The Empire Strikes Back. It is beautifully filmed and directed, and has all the classic character archetypes. I’ve often thought that Papageno is the R2-D2 of the opera world! TE This is unbearably predictable, but Amadeus would be at the top of the list. I immediately rewound the tape and watched all three hours again after I first saw it as a kid! How crucial is the role of the arts in educating our kids? TE Arts education is so crucial for so many reasons, one of which is the benefit of better executive functioning in the brain. We know that students who study music process faster, have better cognition and better memory — simply put, studying music makes us smarter! There is also the creativity piece as well; music encourages creativity which we know fuels ideas and innovations that have lasting impacts on our society as a whole. But mostly, making music is one of the few activities that connects the mind, body and spirit — the whole person, in a way that brings joy and beauty to our human experience.

| THE MAGIC FLUTE

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

Andrew Wilkowske and Tracey Engleman

UPCOMING EVENTS Holiday Concert DEC. 7, 1 – 3 pm

Join Minnesota Opera singers Bergen Baker and Rodolfo Nieto at the Minneapolis-Saint Paul Airport for a concert of holiday melodies.

Hansel and Gretel, which features Stephanie Lauricella, Angela Mortellaro, Marianne Cornetti and Craig Irvin. Anne Manson conducts. MNOPERA.ORG/LISTEN

Social Media Preview Night Project Opera Alumni Event DEC. 21, 7 pm

Minnesota Opera’s celebrated youth vocal training program, Project Opera, has graduated many talented singers. Come see them reunite in a wonderful concert held at Augsburg College.

Last Day of the Tax Year DEC. 31

December 31 is the last day to make a gift to Minnesota Opera in the 2015 tax year. Thank you for your generous support!

JAN. 21, 6:30 pm

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

Rusalka

JAN. 23 – 31

Meet up at a North Loop neighborhood hot spot for cocktails and nosh.

Rusalka, a beautiful water nymph, falls in love with a prince, sacrificing her ability to speak in return for entry into his human world. But his betrayal condemns her to eternal solitude. Dvořák juxtaposes the mortal and the mythical with beautiful folk melodies and luminous arias, including Rusalka’s heartbreaking “Song to the Moon.” Kelly Kaduce returns to the stage in a reprisal of Minnesota Opera’s critically acclaimed production.

Behind the Curtain, 7 pm

MNOPERA.ORG/RUSALKA

At the historic Minnesota Opera Center, get the inside scoop on Rusalka as opera experts and members of the cast and creative team lead discussions exploring the music, history and design of opera.

The Metropolitan Opera National Council Auditions

MNOPERA.ORG/SUPPORT

Tempo Happy Hour JAN. 11, 5 pm

MNOPERA.ORG/BTC

Hansel and Gretel Broadcast JAN. 20, 8 pm

Minnesota Public Radio broadcasts Minnesota Opera’s production of Engelbert Humperdinck’s

Opera Insights

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.

Taste of Opera JAN. 28, 5 pm

Enhance your opera-going experience with a delicious pre-show dinner paired with wine. Leave the logistics to us and enjoy an allinclusive evening out with Rusalka experts.

Memory Boy FEB. 5 – 7

Project Opera presents Memory Boy, based on a popular young adult science fiction novel about the aftermath of recurring volcanic eruptions, and a struggle to survive in a catastrophic, ash-filled world. Sixteen-year-old Miles Newell and his family realize they must leave their comfortable suburban Minneapolis home for a rustic cabin in the northern woods if they are to stay alive. MNOPERA.ORG/MEMORY-BOY

JAN. 23, 10 am (MINNESOTA DISTRICT) JAN. 24, 12 pm (UPPER MIDWEST REGION)

Café Levain

The Metropolitan Opera National Council Auditions (both the Minnesota District and Upper Midwest Region) will be held at the Ordway Concert Hall. The event is free and open to the public.

An evening of sumptuous food and wine hosted by Harvey McLain at his extraordinary restaurant — Café Levain. The evening includes a live auction and performances by Minnesota Opera’s Resident Artists. Please call 612.342.9553 for more details.

MNOPERA.ORG/MET-AUDITIONS

FEB. 22, 5:30 pm

| MINNESOTA OPERA mnopera.org

SOCIAL MEDIA PREVIEW NIGHT

Do you tweet? Post on Facebook? Instagram your entire life?

Join us on THURSDAY, JANUARY 21, for

RUSALKA SOCIAL MEDIA PREVIEW NIGHT Get a behind-the-scenes look at the final dress rehearsal for Rusalka. Inside the theater, using your phone, taking photos and sketching is encouraged! Event is free, but please apply at mnopera.org/preview.

A sketch from Ariadne auf Naxos

F L X : I I

SH OW US YOUR MN OPERA STY LE

#RUSALKA@MNOPERA

OPERA EDUCATION

BRUNDIBÁR BY HANS KRÁSA IN 2009. Photo by Sigrid Redpath.

PROJECT OPERA'S FIRST PRODUCTION OF HANSEL AND GRETEL IN 2004. Photo by Sigrid Redpath.

GRIFFELKIN BY LUCAS FOSS IN 2013. Photo by Sigrid Redpath.

Project Opera Alumni Concert! Monday, December 21 (7 pm) at Augsburg College will be Project Opera’s first alumni concert. The program will feature excerpts from past productions covering our 11-year history. The concert is free and open to the public. A reception will immediately follow at the Minnesota Opera Center. All PO alumni are encouraged to participate. There will be a rehearsal on Saturday, December 19 (11 am – 1 pm) at the Opera Center. Contact Jamie Andrews at andrews@mnopera.org for more information.

PROJECT OPERA’S 2012 COMMISSION OF THE GIVER BASED ON THE NOVEL BY LOIS LOWRY. Photo by Tomy O’Brien.

Opera Goes North

INTRODUCING OPERA TO CHILDREN AT THE ELY PUBLIC LIBRARY.

Resident Artists visit Bethany Lutheran College On Monday, September 28 the Resident Artists spent the day working with vocal students and gave a recital at Bethany Lutheran College.

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September and October has been busy for Teaching Artist Alisa Magallón, who has been covering the northern part of the state connecting with audiences young and old in preparation of the Halloween performance of The Magic Flute in Duluth. Alisa visited more than a dozen libraries, led a week-long residency in Hermantown Schools and met with students at UM-Duluth, St. Scholastica and UW-Superior.

Rusalka Thank you for attending The Magic Flute! Add two or three operas and save up to 20%. Subscribe today and enjoy flexible exchanges, discounts for family and friends and more! Service charges and other restrictions may apply.

Jan. 23, 28, 30 and 31 Dvořák’s most lyrical music shimmers with luminous arias and folk melodies, juxtaposing the mythical world of the water nymph Rusalka with the mortal world of her love, the prince.

Tosca

Mar. 12, 13, 17, 18, 19, 20, 24 and 26 Puccini’s crowning jewel brims with sumptuous music and unforgettable drama in a spellbinding tale of deceit, love and honor.

Shining

The May 7, 12, 14 and 15

A thrilling world premiere, based on the bestselling novel by Stephen King, comes to the Opera stage with libretto by Mark Campbell (Silent Night and The Manchurian Candidate) and music by Pulitzer Prize-winning composer Paul Moravec.

Visit the Ordway box office at intermission Or call 612-333-6669, M–F, 10am–5pm. Photos © Michal Daniel

DVORAK’S MOST LYRICAL MUSIC

| MINNESOTA OPERA mnopera.org

JANUARY 23–31, 2016

“…the unequivocal star of this production is soprano Kelly Kaduce, a complete performer with a big, natural stage presence.” — DENVER POST

BUY TODAY!

mnopera.org 612-333-6669

RUSALKA PREVIEW

We are truly lucky to have her returning. She will be joined onstage by tenor Khachatur Badalyan, mezzo-soprano Marianne Cornetti and bass Ben Wager. Michael Christie conducts this luminous score with the Minnesota Opera Orchestra in the pit. Academy Award-winning director, Eric Simonson (Silent Night, The Grapes of Wrath), returns to direct his critically acclaimed production.

Every production of Rusalka must deal with the clash of fantasy and realism. Simonson’s production accomplishes this goal perhaps better than any production I have ever seen.”

What is it about Rusalka that keeps us coming back? I think it is the composer, Antonín Dvořák, who is writing at his most lyrically powerful. The score is filled with gorgeous melodies such as the famous “Song to the Moon” and also contains music that is colored by the sound of Czech folk songs and melodies. Please listen to the famous Slavonic Dances to begin to hear Dvořák’s style, and of course, the New World Symphony (perhaps his most famous composition) which give a clue into his mastery of structure and orchestration. Rusalka is Dvořák’s most performed opera. Its melancholy story is well served by the beautiful combination of Romantic Grand Opera and a bittersweet love story. Remember that Rusalka premiered in 1901,

Rusalka 2008 © Michal Daniel for Minnesota Opera

“

around the same time as Giacomo Puccini’s Madama Butterfly and Richard Strauss’ Salome and Elektra. Every production of Rusalka must deal with the clash of fantasy and realism. Simonson’s production accomplishes this goal perhaps better than any production I have ever seen. Erhard Rom’s flexible set and Wendall Harrington’s extraordinary video projections take us from the vibrant and colorful world of the untamed forest and contrasts it with the dull, monolithic and gray world of human existence. At the time, this video design was cutting edge, showing what is possible when one uses this new technology in the service of telling a fantastic story. I hope you enjoy this great production of Rusalka, the tragic story of a water nymph who so desperately loves the Prince that she gives up everything to become mortal, only to realize that the human world is one of cruelty and rejection. As a result she is doomed to forever lure unwitting men to the water’s edge, only to destroy them with a fatal kiss. DALE JOHNSON Artistic Director

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fondly remember the upcoming revival of Rusalka from its first debut at Minnesota Opera in 2008. The production’s look is so vivid that some people have said to me, “Did Minnesota Opera just produce that a year or so ago?” I think that speaks to the excellence of this production and especially the brilliance of the lead, soprano Kelly Kaduce. In fact, I really can’t imagine another singer inhabiting this role so completely.

STAFF, BOARD AND VOLUNTEERS BOARD OF DIRECTORS

MINNESOTA OPERA STAFF

OFFICERS

General Director | Nina M. Archabal

DIRECTORS

Artistic Director | Dale Johnson Music Director | Michael Christie

ARTISTIC Artistic Administrator | Roxanne Stouffer Artist Relations and Planning Director | Floyd Anderson Dramaturg | David Sander

Richard Allendorf Nina M. Archabal Patricia Beithon Daniel Blanco Karen Brooks Bernard J. Brunsman Jane M. Confer Sara Donaldson Sidney W. Emery Sharon Hawkins Ruth S. Huss Mary IngebrandPohlad Philip Isaacson James E. Johnson Patricia Johnson John C. Junek Christine Larsen

Cynthia Y. Lee Robert Lee Leni Moore 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 H. Bernt von Ohlen Margaret Wurtele

Karen Bachman

Julia W. Dayton

John A. Blanchard III

Mary W. Vaughan

Burton Cohen

HONORARY DIRECTORS Dominick Argento

Norton M. Hintz

Philip Brunelle

Liz Kochiras

Dolly Fiterman

Patricia H. Sheppard

LEGAL COUNSEL James A. Rubenstein, Moss & Barnett

TEMPO BOARD MEMBERS

| MINNESOTA OPERA mnopera.org 24

Programming Chair | Thomas Bakken Staff Liaisons | Kristin Matejcek, Eric Broker Secretary | Alexis DuPlessis Treasurer | Faris Rashid

MEMBERS Brad Benoit Kamruz Darabi Melissa Daul Kara Eliason Mark Giga

Laura Green Brian Halaas Rhonda Skoby Aimee Tritt

Assistant Stage Managers | Jamie K. Fuller, Evelyn Rossow Assistant to the Production Director | Julia Gallagher Production Assistant | Lorely Dedrick

ADMINISTRATION Finance Director | Jeff Couture Operations/Systems Manager | Steve Mittelholtz

Master Coaches | Lara Bolton, Mary Jo Gothmann, Eric McEnaney

HR/Accounting Manager | Jen Thill Director of Board Relations | Theresa Murray Finance Associate | Dylan Howell

DEVELOPMENT Chief Development Director | Carley Stuber

Wardrobe Supervisor | Jessica Minczeski Wig/Makeup Supervisors | Priscilla Bruce, Amanda Clark, Manuel Jacobo

EDUCATION Community Education Director | Jamie Andrews Teaching Artist | Alisa Magallón

Wig/Makeup Crew | Emily Rosenmeier, Christopher Russo, Dominick Veldman

Project Opera Music Director | Dale Kruse

SCENERY

Project Opera Program Manager | Lorely Dedrick

Project Opera Accompanist | Kathy Kraulik

Technical Director | Mike McQuiston

MARKETING/COMMUNICATIONS

Properties Master | Jenn Maatman Properties Assistant | Michael C. Long

Senior Director of Marketing and Communications | Kyle Clausen

Lighting and Video Coordinator | Raymond W. Steveson Jr.

Marketing Assistant | Kate Saumur

Production Carpenter | JC Amel

Marketing Director | Katherine L. Castille

Scene Shop Foreman | Larry Kline

Program Manager, Marketing and Communications | Kristin Matejcek

Master Carpenters | Nate Kulenkamp, Eric Veldey

Ticket Office Manager | Kevin Beckey

Projections Technician | Martin Reitz

Communications Associate | Eric Broker Associate Ticket Office Manager | Karl Annable Ticket Office Assistants | Carol Corich, Brian Johnson-Weyl, Johanna Owen, Delaney Ryden

OFFICERS

Audience Development Co-chair | Jana Sackmeister

Production Stage Manager | Kerry Masek Video Stage Manager | Hannah Holthaus

Resident Artists | Jonathan Brandani, Siena Forest, Jessica Hall, Jeni Houser, Andrew Lovato, Shannon Prickett, Nickolas Sanches, Benjamin Sieverding, David Radamés Toro, David Walton, Lindsay Woodward

Chair | Jennifer Engel Audience Development Co-chair | Chrissi Reimer

Production Director | Karen Quisenberry

Head of Music | Robert Ainsley

Stitchers | Annie Cosper, Ann Habermann, Sara Huebschen

EMERITI

PRODUCTION

MINNESOTA OPERA VOLUNTEERS 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.

NEW WORKS INITIATIVE

The

shining Music by Paul Moravec | Libretto by Mark Campbell | Based on the novel by Stephen King the thriller genre’s definitive voice. Minnesota Opera’s commission is the work’s first adaptation for the stage.

The first workshop of The Shining was held in Minneapolis October 12 – 15, 2014. Composer Paul Moravec, Librettist Mark Campbell and Stage Director Eric Simonson came together to work through the early stages of the opera with local artists. The Shining is based on the 1977 best-selling novel that helped establish Stephen King as

A final three-day workshop for The Shining takes place in late November

2015 with all principal artists, orchestra and chorus members. Rehearsals for the full production begin in March 2016, leading up to the May 7, 2016 world premiere performance at the Ordway. Margaret Wurtele, Chair of the NWI Committee, believes that “new works are the lifeblood of any art form, and we at Minnesota Opera are so proud of this program’s contributions to the field.” Paul Moravec, recipient of the 2004 Pulitzer Prize for Music, agrees. “We are in a golden age of American opera,” said Moravec. “I’m delighted that I can take part in what promises to be a remarkable production.”

What is the NWI? A pioneering movement in new opera when it was launched in 2008, Minnesota Opera's New Works Initiative (NWI) was designed to invigorate 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 The Shining marks the latest opera created through the NWI.

| THE MAGIC FLUTE

In July of 2014, Minnesota Opera was awarded a three-year, $750,000 grant from The Andrew W. Mellon Foundation to support commissions of The Shining and Dinner at Eight. It was thrilling news, marking both the completion of the first $7 million New Works Initiative (NWI) fundraising campaign, as well as the beginning of a bold, new phase of the project. Minnesota Opera is grateful to the Mellon Foundation for its extraordinary support of our efforts to expand the operatic art form. It is a great testament to opera’s vitality in the 21st century and underscores the national importance of our landmark initiative for the development of new opera.

“I really look forward to working with Paul to help make King’s original story sing,” said Mark Campbell, who was also the librettist for the Pulitzer Prize-winning Silent Night. “I’m thrilled to once again be working with everyone from Minnesota Opera and the New Works Initiative, director Eric Simonson and maestro Michael Christie.”

ANNUAL FUND

I N D I V I D UA L G I V I N G

It is with deep appreciation that Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides the ﬁnancial foundation which makes the Opera’s artistic excellence possible.

bel canto circle Platinum $50,000 and above

Julia W. Dayton Vicki and Chip Emery Ester and John * Fesler Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson Elizabeth Redleaf Mrs. Mary W. Vaughan C. Angus and Margaret Wurtele Wayne Zink

Platinum $25,000 – $49,999

Anonymous Dr. Tracy and Mr. Eric Aanenson Patricia Beithon Mary and Gus Blanchard

Sara and Jock Donaldson Sharon Hawkins Heinz Hutter * Mary Ingebrand-Pohlad Mr. and Mrs. Philip Isaacson John and Kathleen Junek The Art and Martha Kaemmer Fund of HRK Foundation Helen L. Kuehn * Chris Larsen and Scott Peterson Mrs. Walter Meyers Estate Albin and Susan Nelson H. Bernt von Ohlen and W. Thomas Nichol William White

Gold $15,000–$24,999 Anonymous Donald E. Benson

camerata circle Platinum $7,500 – $9,999

Allegro Fund of the Saint Paul Foundation Karen Bachman Daniel and Adriana Blanco Barry and Wendy Brunsman Peter and Theresa Carter Miriam and Erwin Kelen Cynthia and Lawrence Lee Steven Mahon and Judy Mortrude Ken and Nina Rothchild

Gold $5,000 – $7,499

| MINNESOTA OPERA mnopera.org

Anonymous Nina and John Archabal Martha and Bruce Atwater Fund of The Minneapolis Foundation William Biermaier and David Hanson Ken and Peggy Bonneville Estate of Robin J. Carpenter Peter Davis and Pamela Webster Mary Dearing and Barry Lazarus Dorothy Horns and James Richardson Jay and Cynthia Ihlenfeld Robert and Sandy Klas Robert Kriel and Linda Krach Ilo and Margaret Leppik Diana Lee Lucker

artist circle $1,000 – $2,499

Anonymous Mark W. Addicks Charles and Mary Anderson Eric S. Anderson and Janalee R. Aurelia Ruth and Dale Bachman Ann and Thomas Bagnoli Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Carl and Joan Behr Barbara S. Belk Karen and John Blank Mrs. Paul G. Boening Ed and Mimi Bohrer Allan Bradley Drs. Eli and Jan Briones Keith and Carolyn Campbell Joan and George Carlson Kyle Clausen and Bethany Moritz Barb and Jeff Couture

Margery Martin and Dan Feidt Kendrick B. Melrose Donor Advised Fund of The Minneapolis Foundation Velia R. Melrose Karla Miller Dr. and Mrs. Alfred Moore Sarah and Rolf Peters Lois and John Rogers Dr. Donald V. Romanaggi Sr. Nadege J. Souvenir and Joshua A. Dorothy Stephanie C. Van D’Elden Nancy and Ted Weyerhaeuser

Silver $2,500 – $4,999

Anonymous Dan and Martha Goldberg Aronson Annette Atkins and Tom Joyce Alexandra O. Bjorklund Shari and David Boehnen Margee and Will Bracken Ann and Glenn Buttermann Laurie Carlson and William Voedisch Nicky B. Carpenter Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Rusty and Burt Cohen Ruth and Bruce Dayton Jay and Rebecca Debertin

Michael and Stacy Crosby Shana and John Crosson Helen Crosson and John T. Crosson Jeff and Wendy Dankey Vanessa Dayton Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Elise Donohue * Rondi Erickson and Sandy Lewis Gail Fiskewold Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and Bill Gacki Mr. and Mrs. R. James Gesell Heidi and Howard Gilbert Marion and Donald Hall Tom and Susan Handley Don Helgeson and Sue Shepard Elfrieda Hintze Jean McGough Holten

Rachelle Dockman Chase Jane M. and Ogden W. Confer Ellie Crosby – The Longview Foundation William I. and Bianca M. Fine Charitable Trust Patricia Johnson and Kai Bjerkness Robert L. Lee and Mary E. Schaffner Harvey T. McLain Kay Ness and Chris Wolohan Gregory and Cynthia Page Virginia L. and Edward C. Stringer

Silver $10,000–$14,999

Anonymous Susan Boren and Steve King Michael and Alexis Christie Cy and Paula DeCosse Fund of The Minneapolis Foundation

Dolly J. Fiterman Mr. and Mrs. William Frels Beverly N. Grossman Warren and Patricia Kelly Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Luis Pagan-Carlo and Joseph Sammartino Connie and Lew Remele Paul and Mary Reyelts Don and Patricia Romanaggi Jennifer and Chris Romans Mahlon and Karen Schneider Mary H. and Christian G. Schrock Linda and Jesse Singh Charles A. Weyerhaeuser Memorial Foundation

Thomas and Mary Lou Detwiler Joan Duddingston Ralph D. Ebbott Dr. Mary Anne Ebert and Paul Stembler Joyce and Hugh Edmondson Rolf and Nancy Engh Ann Fankhanel Bruce and Melanie Flessner Patricia R. Freeburg Woessner Freeman Family Foundation Friborg Family Charitable Fund of The Minneapolis Foundation Judith Garcia Galiana and Alberto Castillo Meg and Wayne Gisslen Dr. Richard Gregory Mrs. Myrtle Grette Susanne Haas and Ross Formell Michele Harris and Peter Tanghe Alfred and Ingrid Lenz Harrison Stefan and Lonnie Helgeson Linda and Jack Hoeschler Dr. and Mrs. Arthur Horowitz Bill and Hella Mears Hueg Thomas Hunt and John Wheelihan Diane and Paul Jacobson Dale A. Johnson Janet N. Jones Robert and Susan Josselson Lyndel and Blaine King

Anna Kokayeff Mr. Bryan Lechner Stefanie Lenway and Tom Murtha From the Family of Richard C. and Elizabeth B. Longfellow David MacMillan and Judy Krow Dorothy and Roy Mayeske Barbara McBurney Mary Bigelow McMillan Sandy and Bob Morris Richard and Nancy Nicholson Fund Kelly and Michael Palmer Jose Peris and Diana Gulden Marge and Dwight Peterson Mrs. William S. Phillips The Redleaf Family Foundation John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde James and Andrea Rubenstein Fred and Gloria Sewell Frank and Lynda Sharbrough Julie Steiner Dr. and Mrs. Andrew J. Thomas Dr. Craig S. and Stephanie Walvatne Jerry Wenger Patricia C. Williams *

Chuck Jakway and Teresa Williams Barbara Jenkins Bryce and Paula Johnson Sharon and Fredrik Johnson Nancy and Donald Kapps Margaret V. Kinney Sally and Bill Kling Gerard Knight Mrs. James S. Kochiras Krystal Kohler and Dan Norris Kyle Kossol and Tom Becker Constance and Daniel Kunin Kent Larson and Christine Podas-Larson Judy Lebedoff and Hugh Klein Laurence and Jean LeJeune Sy and Ginny Levy Family Fund of The Minneapolis Foundation Diane and David Lilly Bill Long

Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Mr. and Mrs. Reid MacDonald Tom and Marsha Mann Carolyn and Charles Mayo Laura McCarten Helen and Charles McCrossan Deb and Jon McTaggart Mary M. McVay Eileen and Lester Meltzer David and LaVonne Middleton Jennifer and David Miller Mary M. Montgomery Diana and Joe Murphy Betty Myers David E. and Judy L. Myers Joan and Richard Newmark Jane J. Oberrender and Robert W. Oberrender Derrill M. Pankow

artist circle (continued) Paula Patineau Suzanne and William Payne Bill and Barbara Pearce Fund of The Minneapolis Foundation Mary and Robert Price George M. Reid Sampson Family Charitable Foundation

patron circle Gold $750 – $999

Anonymous Laurie Anderson Gerald and Phyllis Benson Susan DeNuccio Christine Fleming Susan E. Flint and Michael Leirdahl Norton and Mary Hintz Robert and Venetia Kudrle Ruth W. Lyons The Mahley Family Foundation Lucia Newell and Steven Wiese David E. Sander Warren Stortroen Michael P. Tierney Cindy and Steven Vilks James Wire

Silver $500 – $749

Anonymous (2) Meredith B. Alden Thomas O. Allen Arlene and Tom Alm Katherine Anderson August J. Aquila and Emily Haliziw

John Sandbo and Jean Thomson Morris and Judith Sherman Cherie and Robert Shreck Kevin and Lynn Smith Matthew Spanjers and Annie Carvalho Mark and Kristi Specker Daniel J. Spiegel Family Foundation

Donna Stephenson Dana and Stephen Strand Michael Symeonides and Mary Pierce Lester Temple Jill and John Thompson Bryn and Schelly Vaaler Mrs. Joanne Von Blon

David L. Ward John W. Windhorst Jr. Carolyn, Sharon and Clark Winslow Rory and Diane Yanchek

Dr. and Mrs. Orn Arnar Rebecca D. Arons and Thomas J. Basting Jr. Kay C. Bach Anthony Benz Martin and Patricia Blumenreich Thomas and Joyce Bruckner Philip and Carolyn Brunelle Scott Cabalka Elwood and Florence Caldwell Brenda Colwill Amos and Sue Deinard Barry Divine Ellen Doll and Jay Swanson Holli and Stefan Egerstrom Leah and Ian Evison Brian M. Finstad David Francis Bradley Fuller and Elizabeth Lincoln Carol and Mike Garbisch David and Terry Gilberstadt Jennifer Gross and Jerry LeFevre Rehael Fund – Roger Hale/Nor Hall of The Minneapolis Foundation Russell and Priscilla Hankins Alfred E. Hauwiller Steve Horan Mark and Jeanne Jacobson

Chris and Nick Jermihov Charles and Sally Jorgensen Herbert and Erika Kahler Carole and Joseph Killpatrick James and Gail LaFave Tim and Susanna Lodge Dr. Caliann Lum Stuart MacGibbon Donald and Rhoda Mains Kristin and Jim Matejcek Frank Mayers Carla K. McGrath Kris and Bill McGrath Judith and James Mellinger Anne W. Miller Steven J. Mittelholtz Theresa and Jim Murray Ruth and Ahmad Orandi Kathleen and Donald Park Ilya Perepelitsyn and Lioudmila Sitnikova Carol Peterson Corine and John Petraborg Walter Pickhardt and Sandra Resnick John and Norma Pierson Dwight and Christina Porter Lawrence M. Redmond William and Sue Roberts

Ann M. Rock Bob and Donna Rose Ruth Rose Liane A. Rosel Enrique and Clara Rotstein Jon L. Schasker and Debbie Carlson Paul L. Schroeder Schwarzmann Family Doris Jean Seely Stanislaw Skrowaczewski Dr. Leslie W. Smith Jim Snustad Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Jon Spoerri and Debra Christgau Michael Steffes Thomas and Sharon Stoffel Vern Sutton Dan and Erika Tallman Dr. Anthony Thein Marie J. Thomas Andrejs Vape Olga Viso and Cameron Gainer Mrs. Barbara White Frank and Frances Wilkinson John M. Williams

Beatrice H. Langford Kenyon S. Latham John and Marilyn Lieske William Lough Rebecca A. Lowe Elizabeth S. and Whitney MacMillan Joan E. Madden Diane Malfeld Walt McCarthy and Clara Ueland Orpha McDiarmid Family Fund Adele Mehta Curtis and Verne Melberg Robert and Marlys Melius Sonny Miller Virginia Miller Michael J. and Judith Mollerus Brad Momsen and Rick Buchholz Myers Foundation Merritt C. Nequette and Nancy Hartung William and Sharon Nichols Patricia A. O’Gorman Dennis R. Olson Donna and Marvin Ortquist James A. Payne Lana K. Pemberton Jane M. Persoon Charles Petersen Lorraine Potuzak Nicole and Charles Prescott Dennis M. Ready

Christina Reimer Robert E. Rocknem Dr. Pringle and Nancy W. Rodman Tamara and Michael Root Daniel Roth Patricia and Stephen Rowley Kate Saumur Mary Savina Steve and Beth Schneider Jamie Schultz and Keith Beveridge Alan E. Shapiro Glenn Shifflet Marianne Settano Shumaker and Gordon Shumaker Juliana Simmons Debra Sit * and Peter Berge Arthur and Marilynn Skantz Linda Soranno and Howard Bolter Danielle St. Germain-Gordon Mark Stutrud Lori Sundman Susan Truman John Vilandre John and Sandra White Barb Wildes Wendy Wildung

associate circle $250 – $499

Anonymous (3) Paul and Val Ackerman Carolyn M. Adams Jerry Artz James and Gail Bakkom Bender Vocal Studio Kenneth J. Berglund John and Cindy Beukema Beth Bird Allen Brookins-Brown Debra Brooks and James Meunier Roger and Ronnie Brooks Jean and Bruce Carlson Alan E. and Ruth Carp Kyle and Shelley Carpenter Dr. Mark and Denise Carter Katherine L. Castille Laura Green Chaffee and Matthew Chaffee Kay Constantine Jeanne E. Corwin Catherine Coult and Robert Benjamin Mary T. Cummings Mr. Andrew Dahlen John and Maureen Drewitz in memory of Helen Hines Virginia Dudley and William Myers Andrea Een Candace and Dan Ellis Charlie and Anne Ferrell

ANNUAL FUND

Mina Fisher and Fritz Nelson C.D.F. Foundation Rick and Nancy Foss Jane Fuller Greta and Paul Garmers Randy Goetz Stanley and Luella Goldberg Marsha and Richard Gould Stephanie Haack Jaden Hansen and Kathryn Louis Laurie Hansen Douglas and Doris Happe Patrick and Susan Haub Mary K. Hicks Clifton and Sharon Hill Andrew and Gary Whitford Holey Stuart Holland Burton and Sandra Hoverson Worth L. Hudspeth Thomas and Vicki Hurwitz Ray Jacobsen Charlie Johnson Samuel L. Kaplan and Sylvia Chessen Kaplan Jim and Kathleen Karges Richard and Linda Kerber Janice Kimes Andrea M. Kircher Tara and Peter Klatt John Krenzke and Michelle Davis Alexandra Kulijewicz

* Deceased

These lists are current as of October 1, 2015, and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Development Associate, Danielle Ricci, at 612.342.9596 or dricci@mnopera.org.

become a donor

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

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INDIVIDUAL GIVING

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

minnesota opera sponsors Tuesday Night Supporter

Resident Artist Program

Production Innovation System

Tempo After Parties

Knight Foundation

General Mills

Press Sure Print

Minnesota State Arts Board

$50,000 – $99,999

$25,000 – $49,999

Official Make-Up Partner

corporations, foundations and government Sponsors $25,000+

3M Foundation Ameriprise Financial Inc. Aroha Philanthropies f.r. Bigelow Foundation Cargill Foundation The Ruth Easton Fund General Mills Foundation Knight Foundation The McKnight Foundation Medtronic Philanthropy through Medtronic Foundation The Andrew W. Mellon Foundation Minnesota State Arts Board National Endowment for the Arts The Saint Paul Foundation Target United Health Foundation Wenger Foundation

Platinum $10,000 – $24,999

| MINNESOTA OPERA mnopera.org

$10,000 – $24,999

Sakura

Tempo Print Sponsor

Touring Support

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.

Wenger Foundation

The Aaron Copland Fund for Music Inc. Ascent Private Capital Management of U.S. Bank Fred C. and Katherine B. Andersen Foundation Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation MAHADH Fund of HRK Foundation The Opera Fund, a program of OPERA America Pine River Capital Management l.p. Rahr Foundation Securian Foundation Travelers U.S. Bank Foundation Wells Fargo Foundation Minnesota Xcel Energy Foundation

Gold $5,000 – $9,999

Best Buy Children’s Foundation Boss Foundation Briggs & Morgan p.a. Dellwood Foundation

Ernst & Young Hardenbergh Foundation Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation r.c. Lilly Foundation Mayo Clinic Maslon llp The Carl and Eloise Pohlad Family Foundation RBC Wealth Management Rothschild Capital Partners James Rubenstein, Moss & Barnett Schwegman, Lundberg & Woessner p.a.

Silver $2,500 – $4,999

Anonymous Faegre Baker Daniels Fredrikson & Byron Foundation Hutter Family Foundation Margaret Rivers Fund Morgan Family Foundation Maurices Minnesota Power National Bank of Commerce Peravid Foundation The Elizabeth C. Quinlan Foundation Robins Kaplan llc Squam Lake Foundation Tennant Foundation Thomson Reuters

Bronze $250 – $2,499

Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson Inc. Longview Foundation McVay Foundation Onan Family Foundation Sit Investment Foundation Wells Fargo Insurance Services

In-Kind Donations Dunn Bros. Coffee Jefferson Lines

production multimedia Publicity Photographer | Brent Dundore

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Jaden Hansen, Institutional Gifts Manager, at 612.342.9566 or email him at jhansen@mnopera.org.

Production Photographer | Dan Norman Videographer | Flight Creative Media Broadcast Recording

Event Photographer | CJ Standish

LEGACY CIRCLE

MINNESOTA OPERA INFO

MINNESOTA OPERA THANKS the following donors who, their wills or estate plans. We invite you to join other opera lovers by leaving a legacy gift to Minnesota Opera. If you have already made such a provision, we encourage you to notify us so that we may appropriately recognize your generosity. Anonymous (4)

Margaret Kilroe Trust*

Paul and Val Ackerman

Lyndel and Blaine King

Thomas O. Allen

Gretchen Klein*

Dr. and Mrs. Rolf Andreassen*

Sally and William Kling

Mary A. Andres

Gisela Knoblauch*

Karen Bachman

Liz and Jim Krezowski

Randolph G. Baier*

Robert Kriel and

Patricia and Mark Bauer

Linda Krach

Mrs. Harvey O. Beek*

Robert and Venetia Kudrle

Barbara and

Helen L. Kuehn*

Judson Bemis Sr.*

Robert J. Lawser Jr.

Dr. Lee Borah Jr.

Jean Lemberg*

Allan Bradley

Joyce and Jerry Lillquist

C.T. Bundy II

Patricia Ruth Lund*

Margaret M. Carasik

David Mayo

Joan and George Carlson

Barbara and Thomas* McBurney

Darlene J. and

Mary McDiarmid

Richard P. Carroll

Mildred McGonagle*

Julia and Dan Cross

Mrs. Walter Meyers

Julia and

John L. Michel

Kenneth* Dayton

and H. Berit Midelfort

Charles M. Denny

Susan Molder*

George and Susan Doty

Edith Mueller*

Rudolph Driscoll*

Kay Ness

Anne P. Ducharme

Joan and

Ester and John Fesler

Richard Newmark

Dr. Paul Froeschl

Philip Oxman and Harvey Zuckman

Katy Gaynor

Scott J. Pakudaitis

Nettie Grabscheid*

Lana K. Pemberton

Robert and Ellen Green

Sydney M. and William S.* Phillips

Dr. Ieva M. Grundmanis*

Richard G.* and

Julia Hanna*

Liane A. Rosel

Ruth Hanold*

Ken and Nina Rothchild

Frederick J. Hey Jr.*

Berneen Rudolph

Norton M. Hintz Trust

Mary Savina

Elfrieda Hintze

Frank and Lynda Sharbrough

Jean McGough Holten

Drew Stewart

Charles J. Hudgins*

James and Susan Sullivan

Dale and Pat Johnson

Gregory C. Swinehart

Ruth Jones*

Stephanie C. Van D’Elden

Charles and Sally Jorgensen

Mary W. Vaughan

Robert and

Bernt von Ohlen

Susan Josselson Charlotte* and Markle Karlen Mary H. Keithahn Warren and Patricia Kelly

Sandra and Dale Wick Richard Zgodava* Daniel Richard Zillmann * In remembrance

For more information on making planned giving arrangements, please contact Krystal Kohler, Individual Gifts Manager, at 612.342.9567. Your attorney or ﬁnancial advisor can then help determine which methods are most appropriate for you.

Minnesota Opera Ticket Office 620 North First Street, Minneapolis, MN 55401 612.333.6669 Regular Hours: Monday – Friday, 10am – 5pm. Performances: Weekdays — phones open until curtain. Weekends — phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain. 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 to purchase passes, or online at mnopera.org. Subject to availability. 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. Children under six are not permitted in the hall. Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher. All beverages purchased from Concessions are welcome in the theater. (Hot beverages require lids.) 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.

| THE MAGIC FLUTE

through their foresight and generosity, have included the Opera in

CLAIRE

Need help deciding?

Opening Nights Closing Nights Post-Show Parties Discussions Pay-What-You-Can Performances Free Shows Audio-Described ASL-Interpreted Captioned Drama Comedy Musical Dance Improv Cabaret Kids Storytelling Hip Hop Film Experimental

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presents

Friday - Sunday December 11-12, 2015 • 8pm December 13, 2015 • 2pm

Ted Mann Concert Hall

THIS K WEE

NEXT K WEE

Your one-click guide to all of Minnesota’s must-see theater. minnesotaplaylist.com /calendar

Under the Mistletoe brings out the romance of the holiday season and features classic holiday favorites like Santa Baby, The Christmas Waltz and We Need a Little Christmas along with new arrangements of Justin Bieber’s Mistletoe and Straight No Chaser and Kristen Bell’s Text Me Merry Christmas. Join us for a holiday concert you’re sure to love. U of M Tickets and Events: 612-624-2345 or tickets.umn.edu Adults: $25-$53 • 12 & Under: 50% off Chorus: 612-339-7664 or tcgmc.org

JOIN THE CONVERSATION

Lessons & Carols Friday, December 4, 7pm Sunday, December 6, 3pm Westwood Lutheran Church St. Louis Park, MN

Tickets: $20 | TheApolloClub.org | 800.838.3006

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PRESENTS

artsink.org

MINNESOTA DANCE THEATRE

For advertising opportunities in the Minnesota Opera programs, please contact Amy at 612.251.1335 or amy@artsink.org.

ONLY FIVE PERFORMANCES DECEMBER 18 – 22

TICKETS: State Theatre Box Office, Ticketmaster.com or 800.982.2787

MNDANCE.ORG

2015 // 16

NORTHROP SEASON

MARK MORRIS DANCE GROUP Wed, Mar 30, 7:30 pm Dido and Aeneas

with live orchestra, soloists, and chorus conducted by Mark Morris This timeless story of love and betrayal combines the Baroque music of Henry Purcell’s hourlong opera with Morris’ highlydetailed, signature dance vocabulary.

Your

Musical Home for the Holidays

A SCANDINAVIAN CHRISTMAS

A JOYOUS NEW YEAR: OSMO VÄNSKÄ AND BEETHOVEN’S NINTH

See our complete list of

HO LI DAY CONCERTS and program details at

minnesotaorchestra.org

SARAH HICKS

SWINGIN’ NUTCRACKER

MINNESOTA ORCHESTRA

DOC SEVERINSEN

HOME ALONE IN CONCERT

AN EVENING WITH GEORGE WINSTON

MINNESOTA ORCHESTRA

PHOTOS Vänskä: Lisa-Marie Mazzucco; Hicks: Josh Kohanek Photography; Orchestra (bottom), Nutcracker, Scandinavian Christmas & Severinsen: Greg Helgeson; Home Alone: ©1990 Twentieth Century Fox; Winston: Joe del Tufo; Merry and Bright: Garan Ipsen; Orchestra (top): Noah Wolf Photography

MERRY AND BRIGHT WITH CHARLES LAZARUS

612.371.5656 / Orchestra Hall Media Partner:

HOLIDAY James Sewell Ballet presents the Ballet of the Dolls production of

Nutcracker (not so) Suite Choreography by Myron Johnson

December 4 â&#x20AC;&#x201C; 20, 2015 The Goodale Theater at The Cowles Center

For a somewhat racier version choose Naughty Nutcracker on Friday, December 11 or Saturday December 19.