Minnesota Opera's The Magic Flute Program by Minnesota Opera

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| THE MAGIC FLUTE

2013 – 2014 Season Minnesota Opera Ticket Office 620 north First Street Minneapolis, Mn 55401 612-333-6669

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The Magic Flute

Synopsis

The Magic Flute: Mozart’s Swansong

Composer Wolfgang Amadeus Mozart

Tempo’s Kabarett

Feature: Backstage Pass

Production: 1927

Meet the Artists: Jesse Blumberg and Andrew Wilkowske

The Artists

2013–2014 Broadcasts

Announcing the 2014–2015 Season

Education at the Opera: Mozart Lives! and Summer opera camp

Minnesota Opera Board of Directors, Staff and Volunteers

Cabaret: Escape to 1920s Berlin

Annual Fund

Legacy Circle

Institutional Giving

Regular Hours: Mon.-Fri., 9am-6pm. 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. 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 returned 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 sessions held in the lobby one hour before curtain. Accessibility For patrons with disabilities, wheelchairaccessible 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. 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. Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher. 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.

6 Large-print and Braille programs are available at the Patron Services Office.

Kevin ramach

Welcome Macbeth

verdi (2014)

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elcome to The Magic performance you will see Flute, the final produc- Transatlantic how projections can be part antheil (1998) tion of the 2013–201 season. of the action of an opera in I found this season to be full ways you’ve never imagined of wonderful moments and which I’m sure you will hope you enjoyed it as much find charming and brilliant. as I have. The fact is, none of this Today’s performance of The technology is useful if it Magic Flute relies on technology in a very visual doesn’t contribute to telling the story in a way. However, every performance we produce compelling way. This production is a tool relies on technology. Opera as an art form has for creative artists to express a vision of The never shied away from technical advancements Magic Flute for a modern audience. as a means of producing and distributing Minnesota Opera has also made our product. The Théâtrophone was first advancements in our offstage technology subscription service that allowed you to listen over the last year. Last summer we launched to opera performances live at home, debuted in a new website that is more user-friendly. We the 1880s in Paris. have more video content, interviews and Minnesota Opera has been a leader other insider information. You can even in the use of projection technology since view The Magic Flute program. We have also the 1980s, with notable productions of improved our ticketing system to enhance Transatlantic and Frankenstein: A Modern the online experience – and you can now Prometheus, using advanced technology easily renew or purchase your season tickets for the times. In more recent years, our online. Production Innovation System has Thank you for joining us for the allowed us to obtain technology that has performance and for being part of Minnesota been seen in many recent performances. Opera. I hope you will join us next season Macbeth featured projectors and media for what is sure to be servers that allowed for dramatic effects another great season. while productions such as Silent Night and Orpheus and Eurydice from previous seasons have used automation technology with computer control that moved scenery President and seamlessly during performances. In today’s General Director

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Music by Wolfgang Amadeus Mozart libretto by Emanuel Schikaneder World premiere at the Theater auf der Wieden, Vienna, September 30, 1791 April 12, 13, 15â&#x20AC;&#x201C;19, 23 and 27, 2014, Ordway Center for the Performing Arts Sung in German with English translations

cast

(characters listed in order of vocal appearance)

Tamino, a prince Three ladies, attendants to the Queen Papageno, a birdcatcher The Queen of the night Monostatos, overseer at the temple Pamina, daughter of the Queen Three Spirits Sarastro, High Priest of the Sun Men in Armor Papagena * performs april 12, 13, 15, 17, 19

Julien Behr* aaron Blake** tricia van ee, Bergen Baker, victoria vargas andrew Wilkowske* Jesse Blumberg** Jennifer oâ&#x20AC;&#x2122;Loughlin John robert Lindsey Layla Claire* Christie Hageman Conover** riley eddins, John Gisselquist, Claire Walsh Christian Zaremba robb asklof, matthew opitz tracey engleman ** performs april 16, 18, 23, 27

The appearances of Christie Hageman Conover, John Robert Lindsey, Victoria Vargas and Andrew Wilkowske, regional finalists; and Jesse Blumberg, Tracey Engleman, Matthew Opitz 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. The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.

creative team Conductor Stage director Production Animation designer Concept Set and Costume designer lighting Associate Wig and Makeup designer Chorusmaster Assistant director Children’s Chorusmaster Répétiteurs Production Stage Manager Video Stage Manager English Captions

aaron Breid tobias ribitzki suzanne andrade and Barrie Kosky for the Komische oper Berlin paul Barritt 1927 (suzanne andrade and paul Barritt) and Barrie Kosky esther Bialas Wm. p. Healey Jason allen robert ainsley Daniel ellis Dale Kruse Geoﬀrey Loﬀ, sheldon miller Kerry masek andrew Landis Floyd anderson

This production of The Magic Flute is made possible, in part, by the generosity of Wayne Zink. Andrew Wilkowske’s appearance is generously sponsored by Bonnie and Bill Frels. Jennifer O’Loughlin’s appearance is generously sponsored by Patty and Warren Kelly. Layla Claire’s appearance is generously sponsored by Sue and Jim Nelson. Julien Behr’s appearance is generously sponsored by Donald E. Benson. 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 LA Opera. Scenery constructed by the Minnesota Opera Scenic Studios. Costumes constructed by the LA Opera Costume Shop. the Minnesota opera season is sponsored by

The Magic Flute is sponsored by

SYnopsis

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ACT I

ursued 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. 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 and asks 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.

At Sarastro’s temple, 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. Elsewhere, Tamino comes upon the inner 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. 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 —

The Magic Flute 2013 © Robert Millard for LA Opera

THE MAGIC FLUTE

ACT II his love has vanished and considers taking her own life. Papageno tries to catch up with Tamino but is denied entry to the inner temple. A beautiful woman, Papagena, briefly appears, but 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. 

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The Magic Flute 2013 © Robert Millard for LA Opera

Sarastro announces Tamino’s wish to enter the inner sanctuary 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. Monostatos admits his continued lust for Pamina. Elsewhere, 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. 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

David sander

THE MAGIC FLUTE: MOZART’S SWANSONG

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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 domain. 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 not much 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 genre 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. 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 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

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. Whatever the higher purpose may have been, The Magic Flute was a hit when it opened 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.

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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. 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 quasireligious 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,

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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 street-performing 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 178 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 play Le mariage de Figaro). He managed to obtain a license from the emperor to open his own theater, but he lacked the necessary funds and eventually left for a more stable position in Regensburg. The impresario was lured back to Vienna at his wife’s urging. Eleanore had also been a member of Moser’s troupe, and the couple had married in 1777, but quickly became estranged as a result of Emanuel’s numerous infidelities. By 1785 Eleanore herself was involved in an extramarital affair with another company member, Johann Friedel. They had

found a permanent home for their players at the Freihaus Theater auf der Wieden, located just south of Vienna. The Freihaus was a small island unto itself, providing apartment homes and conveniences for more than 900 residents and practically guaranteeing a captive audience for its 1,000 seat theater. When Friedel died suddenly in 1789, Eleanore, overwhelmed by the prospect of running the venue alone, called upon her alienated husband for assistance. Unlike the court theaters, which were underwritten by royal support, the Freihaus Theater depended solely on box office receipts, making it a risky venture. Yet Schikaneder entered his most profitable years as a producer, providing a wide assortment of entertainments for his bourgeois audience. There was still a smattering of high drama, most notably Schiller’s Kabale und Liebe and Don Carlos, as well as more Shakespeare, Goethe and Lessing, offset by “magic” Singspiels of his own design, such as Der Stein der Weisen oder Die Zauberinsel (The Wise Men’s Stone, or The Magic Isle), Die Eisen-Königin (The Iron Queen) and Der wohltätige Derwisch, oder Die Zaubertrommel und Schellenkappe (The Charitable Dervish, or The Magic Drum and Fool’s Cap). In 1798 he even tried to repeat the success of The Magic Flute with a sequel, Das Labyrinth, oder Der Kampf mit den Elementen (The Labyrinth, or The Struggle with the Elements, to music by Peter von Winter), but it fell flat by comparison. 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 money to finally build his own house, the Theater an der Wien. With Joseph’s license remaining in his possession, he opened the opulent new theater in 1801 and relocated his troupe there. By this time Schikaneder had made an important new contact, the 31-year-old Ludwig van Beethoven, and he desperately tried to lure the up-and-coming composer to the operatic stage by offering the libretto

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 discredited. 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. 

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to Alexander, a work that was intended for the grand opening. Beethoven was hesitant and sought advice and instruction from the veteran Salieri. With an eye to the current vogue for French rescue opera, he eventually chose a story by Jean-Nicolas Bouilly, Léonore, ou L’amour conjugal, which would become Fidelio (1805). By that time, Schikaneder’s luck had run out, and he had been forced to sell his interest in the theater to his partner, Bartholomäus Zitterbarth. Although he stayed on as a director, Schikaneder’s now-dated formula couldn’t compete with the rage for Parisian works by André-Ernest-Modeste Grétry, Étienne-Nicolas Méhul and Luigi Cherubini. He was compelled to dispose of his expansive villa in suburban Nussdorf, eventually lost his mind and died in penury. Still, a statistical account of his theatrical diversions is noteworthy, with 57 amusements created for the Theater auf der Wieden alone. Both Schikaneder and Mozart belonged to a Masonic lodge, though the former had lapsed a bit. A tradition that was codified in 1717, but traceable to the cathedral construction guilds of the Middle Ages, Freemasonry prospered during the enlightened 18th century. But as the age turned to revolt, the Craft became tainted with an air of subversion, at least in 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 supposed to be fueled by Masonic thinking, in particular with the common identifying trademarks of “liberté, égalité et fraternité.” 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 Craft? Mozart had already composed some Masonic music (songs, cantatas, funeral music), and it is

Composer

Wolfgang Amadeus Mozart b Salzburg, January 27, 1756; d Vienna, December 5, 1791

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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. 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, 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

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on to Prague the critical point. following year Mozart’s friend where it was a and fellow huge success. Freemason, Don Giovanni the impresario premiered in E m a n u e l Prague in 1787 Schikaneder, to great acclaim, suggested he but its Vienna try his luck opening in with the 1788 was coolly suburban received. By this audiences at time, Mozart his Theater auf had received a der Wieden. minor Imperial Composition posting, as of The Magic Kammermusicus, Flute began which required early that him to write summer but dances for state had to be functions. The halted when position was two generous Wolfgang Amadeus Mozart at the Piano, Vienna, 1789 Joseph Lange hardly worthy commissions Mozarteum, Salzburg (Austria) of his skills and came his way: a Alinari/Art Resource, NY generated only requiem for an a modest income, a weighty concern now anonymous patron (who hoped to pass it off that debts had begun to mount. Joseph ii as his own composition), and an opera seria commissioned another opera from Mozart, to celebrate the new emperor’s coronation Così fan tutte, which premiered January 26, as King of Bohemia. La clemenza di Tito 1790. The emperor was too ill to attend the premiered September 6, and The Magic Flute opening and died the following month. His was completed in time to open September brother, Leopold ii, assumed leadership, and 30. The Requiem, however, remained Mozart hoped to be appointed Kapellmeister unfinished, and as Mozart’s health began to – instead he merely received a continuance of fail, the composer feared he was writing his own death mass. In December Mozart died his previous position. Crisis hit in 1791. Constanze’s medical at the age of 35 and was given a simple funeral treatments at Baden and the birth of a by his impoverished widow, then buried in a second child pushed their finances to a mass grave on the outskirts of Vienna. 

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Feature

magine this: 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 BACKSTAGE PASS onto 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. 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 interact with their cartoon costars. 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! You may be wondering why? It’s a tough job, no doubt. We rehearse 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 currently serves as the Teaching Artist for Minnesota Opera and sings the role of Second Lady in this production of The Magic Flute.

mnop.co/behind-the-scenes

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a vieW from above

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production

1927 “Anyone interested in the theatre should see this company now.” The Observer (uk)

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1927is 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, in 2007, 1927 premiered its debut show Between the Devil and the Deep Blue Sea at the 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 onto present the show in two sell-out London seasons, 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 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 00 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 201. The show won two Opera World Awards in 2013, and plans are in development for further presentation over the coming three years.

This year, 1927 has 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. In May, 1927 will return to the National Theatre, London, to present The Animals and Children took to the Streets for a third season. In August 1927 will premiere its new theater production Golem at the Salzburg Festival, Austria and in October will premiere a new music and animation collaboration with Ensemble MusicFabrik in Cologne, Germany . 1927 is based in London and is an associate company of the Young Vic Theatre. More at www.19-27.co.uk. 

Suzanne Andrade

Director She is the founder, with animator Paul Barritt, of the multiple awardwinning 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, to be premiered later this year. 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. Last year, 1927 collaborated on The Magic Flute with Komische Oper Berlin. She is currently developing new work for 1927. More at www.-.co.uk. 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 a part of a literary cabaret. He has also made several stand alone short films based upon Ms. Andrade’s writing, seen at film festivals throughout the United Kingdom and Europe and recently presented his new short film White Morning at Sundance and London Short Film festivals. He designed all of the animations and films for the 1927 shows Between the Devil and the Deep Blue Sea and The Animals and Children took to the Streets, and he is currently developing new work for 1927 including a new production Golem to be premiered later this year. He is an associate lecturer in animation at Middlesex University. More at www.PaulBarritt.com

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Paul Barritt

meet the artists

Jesse Blumberg and

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2014 © Calabay Productions

How long have you been connected to Minnesota Opera? AW: I was a Resident Artist here during the 1997–98 season and again in the 2002–0 seasons. Since then, I have been fortunate enough to be a part of many productions, the most memorable being Ponchel in Silent Night and Noah in The Grapes of Wrath. JB: I’m forever grateful to Minnesota Opera for taking a chance on me as Connie Rivers in the 2007 world premiere of Ricky Ian Gordon’s The Grapes of Wrath. It was essentially my first featured role at a major company, and being part of telling that story on the operatic stage for the first time was incredibly inspiring. I was back in 2011 to play Mr. Lockwood in Bernard Herrmann’s haunting Wuthering Heights.

Who is Papageno? JB: I’d love to say that Papageno has all sorts of hidden feelings and motives, but really he’s just interested in finding his Papagena. (plus maybe a little food and drink on the side.) So he’s a simple guy, and simple isn’t always so easy to play. And in this production he’s a bit more melancholy than usual, but there are still plenty of goofy moments, all of which are enhanced by the amazing film happening all around us. What puts the “magic” in The Magic Flute? AW: The Magic Flute is great because there is something for everyone. It has very serious themes, with serious music to go along with them, and silly gags and folk songs as well. Papageno is terrific because he is the heart and soul of the story, and he is really the doorway through which the audience can relate to the characters. The famous actor and comedian Emanuel Schikaneder wrote

AndreW WilKoWsKe

the role of Papageno for himself, so he has all the best lines. 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. JB: I’m generally pretty allergic to cats, but in Karl-Heinz I think I’ve found the ideal feline companion. He’s always there for company, and never makes me sneeze. If you hadn’t become a singer, what would you be doing? JB: While I haven’t gotten to be fluent in any one language, I’ve always had some working knowledge of several, and I’d like to think that I’d pursue some type of linguistic career if I weren’t a singer. AW: Brewing beer!

How crucial is the role of the arts in educating our kids? JB: Growing up in Westfield, New Jersey, my siblings and I were very fortunate to have wonderful arts programs in our public schools, and my older sister has now been a music teacher in New York City for about 20 years. These programs are just as crucial in building collaborative skills and working relationships as academics and athletics, and I’m so glad Minnesota Opera is fighting for them! AW: Arts are an essential part of our educational system. Proficiency in art and music broadens our minds, and helps us think creatively, no matter what discipline we are working in. In short, the arts make us better people!  Mr. Blumberg’s biography appears on page 33. Mr. Wilkowske’s biography appears on page 37.

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Bottom left, clockwise, Wilkowske in Silent Night, 2011; Blumberg in The Grapes of Wrath, 2007; Wilkowske in Transatlantic, 1998, The Magic Flute, 2004, and The Adventures of Pinocchio, 2009; and Blumberg in Wuthering Heights, 2011. photos © michal Daniel and Gary mortensen for minnesota opera.

the artists Bergen Baker second lady

Hailed by the Star Tribune as having a “fetching blend of grace, warmth and humor on stage,” Bergen Baker currently serves as Teaching Artist for Minnesota Opera. In addition to performing as a concert soloist across the upper Midwest, Ms. Baker has been heard in operatic venues both locally and abroad. Most notably, she has sung the roles of Nanette in Mlle. Modiste with Skylark Opera, the Second Lady in Die Zauberflöte with the Minnesota Orchestra and Tisbe in La Cenerentola with La Musica Lirica in San Marino, Italy. Her concert and oratorio experience includes performances of Handel’s Messiah, Mozart’s Mass in C minor, Vivaldi’s Gloria, Mendelssohn’s Elijah and Igor Stravinsky’s Les noces. Ms. Baker holds a bachelor’s and master’s degree from DePaul University and the University of Minnesota, respectively. At the U of M, she appeared in the role of Sharon Falconer in the Midwest premiere of the Grammy-award winning American opera Elmer Gantry, by Robert Aldridge. Most recently, she was asked to return as a guest artist to create the title role in the world premiere workshop of Aldridge’s Sister Carrie.

Julien Behr

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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 category “singers’ revelation of the year” 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 performed Tamino (Die Zauberflöte) in St. Gallen, Rouen and Bordeaux; 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 de Rossillon (The Merry Widow) in Avignon; and Antonin (Ciboulette) at the Opéra Comique and at the Saint-Etienne Opera. Further plans include Die Zauberflöte (Tamino) at the Theater Bern; a world premiere at the Opéra National du Rhin (Quai Ouest by Régis Campo) and his debut at the Opéra National de Paris (Tamino). In concert, he has collaborated with Les Musiciens du Louvre, Les Arts Florissants, the bbc Symphony, the Mozarteumorchester and the Akademie für Alte Musik. Mr. Behr’s appearance is generously sponsored by Donald E. Benson.

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 the 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. Since 2004, she has taught stage design at the Lerchenfeld University in Hamburg.

the artists Aaron Blake tamino

American tenor Aaron Blake, touted as “a vocal powerhouse” by the Los Angeles Times for his elegant portrayal of Don Ottavio in Don Giovanni, is becoming known as a vibrant interpreter of many of the composer’s most challenging roles. He began his 2013–2014 season with an exciting debut as Don Ottavio for Cincinnati Opera. In addition he will make company debuts at Virginia Opera as Fenton in Verdi’s Falstaff, Opera Grand Rapids as Pedrillo in Die Entführung aus dem Serail and will return to Cincinnati Opera in its productions of Carmen and Cavalli’s La Calisto as Pane. Recent seasons have found the tenor making debuts with several companies including Opera Birmingham as Tamino, Washington National Opera in Stephen Lawless’ acclaimed production of Anna Bolena and as Idamante in Idomeneo for Opera San Jose. In 2011 he made his Carnegie Hall debut with the Oratorio Society of New York’s performances of Handel’s Messiah of which Anthony Tommasini of The New York Times said of the tenor, “Aaron Blake possesses a light Mozartean voice, which proved ideal.”

Jesse Blumberg papageno

Baritone Jesse Blumberg is equally at home on opera, concert and recital stages, performing repertoire from the Renaissance and Baroque to the 20th and 21st centuries. His performances have included the world premiere of The Grapes of Wrath at Minnesota Opera, Niobe, Regina di Tebe at the Boston Early Music Festival, Bernstein’s Mass at London’s Royal Festival Hall and appearances with New York City Opera, Pittsburgh Opera, Utah Opera and Boston Lyric Opera. Recital highlights include appearances with the Marilyn Horne Foundation and New York Festival of Song, and performances of Die schöne Müllerin and Winterreise with pianist Martin Katz. Jesse has given the world premieres of Ricky Ian Gordon’s Green Sneakers, Lisa Bielawa’s The Lay of the Love and Death, Conrad Cummings’ Positions 1956 and Tom Cipullo’s Excelsior. He also works closely with several other renowned composers as a member of the Mirror Visions Ensemble. Jesse’s 2013–2014 season includes debuts with Kentucky Opera, Opera Omnia and Boston Baroque.

Aaron Breid Aaron Breid is in his third season as assistant conductor for Minnesota Opera. In the 2013–2014 season he served as cover conductor for productions of Manon Lescaut, Arabella, Macbeth and The Dream of Valentino in addition to conducting these performances. Last season Mr. Breid made his debut with the company conducting the final matinee performance of Turandot, as well as serving as cover conductor and chorusmaster for productions of Nabucco, Anna Bolena, Hamlet, Turandot and Douglas J. Cuomo’s Doubt. Mr. Breid will return for his second season to Des Moines Metro Opera as associate conductor this summer. In 2011, Mr. Breid made his European debut as a semifinalist for bdmi’s International Opera Conducting Competition in Bulgaria. He has served as assistant conductor/coach and chorusmaster for Brevard Music Center and assistant/cover conductor for Center Stage Opera. Additionally, Mr. Breid has appeared as a guest conductor with the Rochester Philharmonic Orchestra, Ocala Symphony and Edina Chorale, and is a former student of the prestigious Pierre Monteux School for Conductors.

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conductor

the artists Layla Claire pamina

Canadian soprano Layla Claire has been celebrated as a unique artist with a voice of special color and expressivity. She has been hailed in both the Americas and Europe for her prowess in recital and in concert with the world’s leading orchestras. A 2012 graduate of the Metropolitan Opera’s Lindemann Young Artist Program, Ms. Claire performed the role of Helena in the Met’s world premiere of The Enchanted Island, Giannetta in L’elisir d’amore and Tebaldo in Don Carlo. She scored her first European triumph in La finta giardiniera at the Aixen-Provence Festival and has since sung the Countess in Le nozze di Figaro for Glyndebourne Touring Opera. Her 2013–2014 season included debuts with Pittsburgh Opera (Pamina in Die Zauberflöte) and the Canadian Opera Company (Fiordiligi in Così fan tutte). Ms. Claire returns to the Glyndebourne Festival as Donna Anna in Don Giovanni this summer. She is the recipient of the prestigious Canada Council Virginia Parker Prize, The Hildegard Behrens Foundation Award and the Mozart Prize at the Wilhelm Stenhammar International Music Competition. Ms. Claire’s appearance is generously sponsored by Sue and Jim Nelson.

Tracey Engleman

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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.

Christie Hageman Conover pamina

Soprano Christie Hageman Conover joined the Minnesota Opera Resident Artist Program last season singing Anna in Nabucco, Liù in Turandot and Musetta in La bohème for Opera under the Stars. This season she sang Micaëla in Carmen with Livermore Valley Opera, two different concerts with the Helena Symphony and a guest appearance with the Bakken Trio. Most recently Christie won first place in the Grand Junction Symphony Young Artist Competition in March, placed second and was voted Audience Choice at the Irene Dalis Competition last May, received first place in the Denver Lyric Opera Guild Competition in 2010 and was 2011 regional third place and 2012 regional finalist of the Metropolitan Opera National Council Auditions. Other performances include the Contessa in Le nozze di Figaro, Juliette in Roméo et Juliette, Abigail Williams in The Crucible, Emily in Ned Rorem’s Our Town, Clorinda in La Cenerentola, Gretel in Hansel and Gretel, Zerlina in Don Giovanni, the Vixen in The Cunning Little Vixen and on the Miss America stage in Las Vegas.

the artists Wm. P. Healey lighting associate

Twin Cities credits include Humanimal and Politico (by Kevin Kling) for Open Eye Figure Theater; Gross Indecency and Compleat Female Stage Beauty (regional premiere) for Walking Shadow Theater Co.; A Life in the Theater, The Swan, Gertrude Stein and a Companion, Who’s Afraid of Virginia Woolf, Journey’s End and The Lower Depths for The Jungle Theater (selected); Bully! An Adventure with Theodore Roosevelt (local and national tour); Adventures in Love and Without Reservation for Ordway; and Manon Lescaut for Minnesota Opera. Awards include the 2003 Emmy Award for the tpt production of the spco performance of Beethoven’s Symphony No. 9. Bill is the Lighting Supervisor at the University of Minnesota, Department of Theater Arts and Dance.

Barrie Kosky production

Since 2012 Barrie Kosky has been the Intendant and Chefregisseur of the Komische Oper Berlin. At the end of his first season the Komische Oper was voted Opera House of the Year by 50 international opera journalists. 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 and Le grand macabre. Future productions at the Komische Oper include Castor and Pollux, Moses und Aron and new productions of Les contes d’Hoffmann and Eugene Onegin. Mr. Kosky has directed at the Bayerischer Staatsoper Munich, Berlin Staatsoper Unter den Linden, Netherlands Opera, Oper Frankfurt, Los Angeles Opera, English National Opera, Vienna Staatsoper, Oper Graz, Staatsoper Hannover, Aalto 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, Finnish National Opera and Los Angeles Opera.

John Robert Lindsey Tenor John Robert Lindsey is currently in his third year as a Resident Artist with Minnesota Opera, where he has performed in 12 productions. Past engagements include Marvin Heeno in The Dream of Valentino, Malcolm in Macbeth, Count Elemer in Arabella, Edmondo in Manon Lescaut, Pang in Turandot, Ismaele in Nabucco, Goro in Madame Butterfly, 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. He has also covered several lead roles with Minnesota Opera including Des Grieux in Manon Lescaut, Matteo in Arabella and Macduff in Macbeth. His concert repertoire has included the tenor soloist in Parables by Robert Aldridge and Herschel Garfein, the Mozart Requiem, the Mozart Mass in C minor and Handel’s Messiah. John is a graduate of Colorado State University, where he earned his bachelor’s degree under Todd Queen, and the University of Colorado at Boulder for a master’s in voice under Joel Burcham and Julie Simson.

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monostatos

the artists Jennifer O’Loughlin queen of the night

Soprano Jennifer O’Loughlin has received critical acclaim for her performances throughout Europe, America and Japan. She debuted triumphantly this season as Semele in Handel’s Semele with Munich’s Gärtnerplatztheater and, in 2013, received the Maria Callas and Audience Favorite Prizes for her performance of the Mad Scene from Lucia di Lammermoor at the Paris Opera Awards. In concert, Ms. O’Loughlin sang the American premiere of Zemlinsky’s Maiblumen with Maestro James Conlon at the Aspen Music Festival. Other credits include Konstanze in The Abduction from the Seraglio at the Bavarian State Opera; Gilda in Rigoletto, Cunegonde in Candide and Zerbinetta in Ariadne auf Naxos with the Vienna Volksoper; Susanna in Le nozze di Figaro at the Salzburg Festival; Queen of the Night in The Magic Flute at the Vienna State Opera, Hamburg State Opera and Oslo Opera; and the Messenger of Peace in Rienzi at Théâtre du Capitole Toulouse. Upcoming engagements include the Queen of the Night with Teatro Municipal de Santiago Chile and Adele in Die Fledermaus at the New National Theater Tokyo. Ms. O’Loughlin’s appearance is generously sponsored by Patty and Warren Kelly.

Tobias Ribitzki

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stage director

After his studies of theater and media science in Bochum, Tobias Ribitzki worked as an assistant and performance director at the Landestheater in Linz and at the State Opera Hannover. Since 2012–2013, he has been at the Komische Oper Berlin. Currently Mr. Ribitzki is developing several music theater projects with the composer Snezana Nesic. In 2013 he directed Der Räuber Hotzenplotz by Andreas N. Tarkmann at the Junge Oper Hannover as well as the premiere of a scenic concert with ur.werk of five pieces based on poems by Daniil Kharms, and it was remounted at the Bitef Festival in Belgrade. Also at the Junge Oper Hannover he directed the world premiere of Freunde! by Peter Androsch, for which he received a nomination for the German Theater Prize Der Faust, and the world premiere of Der Teufel mit den drei goldenen Haaren by Stefan Johannes Hanke. He has directed Poulenc’s La voix humaine in the Cumberlandsche Galerie in Hannover and at the Theater Kiel as well as the world premiere of Picknick im Felde by Constantinos Stylianou in Linz, which traveled to Cyprus and Hungary.

Tricia Van Ee first lady

The voice of soprano Tricia Van Ee has been described by The Duluth News Tribune as “what you would hear if lilies could sing: pure, dignified and controlled beauty.” Ms. 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 was recently seen in the world premiere of Christopher Gable’s The Ladysmith Story. She has regularly performed at the Minnesota Opera since 2010 as a member of the ensemble, and has also sung with the Minnesota Concert Opera as Ines in Il trovatore as part of its inaugural season. On the concert stage, she has been heard as a featured soloist with Omaha Symphony Orchestra, Northwest Iowa Symphony Orchestra and the Mankato Symphony Orchestra.

the artists Victoria Vargas third lady

Mezzo-soprano Victoria Vargas returns to Minnesota Opera for a fourth season as a Resident Artist, having appeared as Natacha Rambova in Valentino, Adelaide in Arabella, the Madrigal Singer in Manon Lescaut, 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 and Smeton in Anna Bolena. In 2015, she returns in the title role of Carmen, which she will also sing with Lyric Opera of the North (Duluth). Ms. Vargas has been a young artist at Sarasota Opera and Chautauqua Opera, where she covered the role of Mamma Lucia in Cavalleria rusticana. At Chautauqua, she returned for a second season as an Apprentice Artist, performing Laura in Luisa Miller and the Second Lady in Die Zauberflöte. This past summer she was a Gerdine Young Artist at the Opera Theatre of Saint Louis, covering the role of Ruth in The Pirates of Penzance. In 2013, she was a second place Upper Midwest regional finalist in the Metropolitan Opera National Council Auditions.

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. A gifted actor as well as singer, Wilkowske’s Papageno in The Magic Flute “stole the show” according to the Washington Post, and was a “lusty-voiced fellow,” according to Opera News. Recent engagements have included Ponchel in Silent Night with Opera Philadelphia; the Vicar in Albert Herring with Florentine Opera; Guglielmo in Così fan tutte with Intermountain Opera Bozeman; and La Rocca in Un giorno di regno with Glimmerglass Opera. Upcoming roles include Ponchel in Silent Night with Cincinnati Opera, Zeta in The Merry Widow with Boston Lyric Opera, the Emperor/the King in Der Kaiser von Atlantis/Die Kluge at Chicago Opera Theater and Dulcamara in L’elisir d’amore for Minnesota Opera. Past credits have included Ponchel in the world premiere of Silent Night, Dandini in La Cenerentola and Sharpless in Madama Butterfly with Minnesota Opera. Mr. Wilkowske’s appearance is generously sponsored by Bonnie and Bill Frels.

Christian Zaremba Praised by The New York Times as “a stage animal with a big bass voice” the 27-year-old basso cantante is quickly garnering praise from companies and critics alike. He made his debut this summer at the Glimmerglass Festival as the bass soloist in David Lang’s Little Match Girl Passion and appeared as Pistola in Falstaff with the Martina Arroyo Foundation, and as Zuniga in Carmen and Colline in La bohème with Long Island Opera. Christian performed the speaking role of the Porter in Manon and covered the principal acting role of Agamemnon in Iphigénie en Tauride at the Metropolitan Opera. Other credits include Il Commendatore in Don Giovanni, Zuniga in Carmen and Angelotti in Tosca as well as Don Basilio in Il barbiere di Siviglia with Long Island Opera and Capitol Heights Opera. The 2013–2014 season will see Christian as the bass soloist in Handel’s Messiah with the Annapolis Chorale and Mozart’s Requiem with the St. Cloud Orchestra. He makes his debut with Minnesota Opera as Sarastro (The Magic Flute), Lamoral (Arabella), the Innkeeper (Manon Lescaut) and covers Banquo (Macbeth). He returns next season as Zuniga in Carmen.

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sarastro

the artists Minnesota Opera Orchestra Violin I

Allison Ostrander Concertmaster Julia Persitz David Mickens Judy Thon-Jones Conor O’Brien Natalia Moiseeva Maisie Block Lydia Miller

Violin II

Laurie Petruconis Elizabeth Decker Stephan Orsak Melinda Marshall Margaret Humphrey Elise Parker David Block

ViolA

Emily Hagen Susan Janda Laurel Browne Jenny Lind Nilsson Coca Bochonko

CELLO

Sally Dorer Rebecca Arons Thomas Austin Teresa Richardson Kirsten Whitson

BASS

John Michael Smith Constance Martin Jason C. Hagelie

OBOE

Michael Dayton Ryan Walsh

CLARINET

Karrin MeffertNelson Nina Olsen

BASSOON

Coreen Nordling Laurie Hatcher Merz

HORN

Timothy Bradley Charles Hodgson

Timpani

Kory Andry

Fortepiano/ Glockenspiel

Geoffrey Loff

Offstage Percussion

Matthew Barber

TRUMPET

FLUTE

John G. Koopmann Christopher Volpe

Kathleen Humphrey Ben Johnson Richard Joseph Hye Won Kim Elizabeth Kohl Katie Kupchik Evan Kusler Michelle Liebl

Maggie Lofboom Riley McNutt Kristin Morant Tim Murray John Allen Nelson Jessica Nesbit Phong Nyguen Michael Powell

Michele Frisch Amy Morris doubling Pan Flute

Trombone

Phillip Ostrander John Tranter David Stevens

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CHORUS

Matthew Abbas Lisa Butcher Cecile Crozat-Zawisza Stephen Cunningham John deCausmeaker Thomas Glass Helen Hassinger Benjamin Hills

Alex Ritchie Cathryn Schmidt Justin Spenner Lauren Stepka Staci Stringer Mark Thomas Kelly Turpin Rachel Vickers

SUPERNUMERARIES Joe Allen

Molly Boynton

Thomas Lorendo

production multimedia A & C Publishing, Inc. – Wendy Wagner, Director of Operations Aleutian Calabay – Publicity Photographer Michal Daniel – Production Photographer QuarterTon Productions – Publicity Video

MINNESOTA PUBLIC RADIO®

Classical MPR – Broadcast Recording

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SEP 17, 2014 PUCCINI Manon Lescaut

2013 – 2014 Season

MINNESOTA PUBLIC RADIO®

JAN 21, 2015 VERDI Macbeth

Programming subject to change. Please visit the website for updated information.

mnop.co/listen

MAR 4, 2015 ARGENTO The Dream of Valentino

The Magic Flute by robert millard for La opera

STRAUSS Arabella

minnesota opera and Classical minnesota public radio are pleased to announce the broadcasts of this season’s operas during the 2014–2015 season.

production photos by michal Daniel for minnesota opera and

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OCT 29, 2014

APR 22, 2015 MOZART The Magic Flute

|â&#x20AC;&#x2026;minnesota operaâ&#x20AC;&#x201A; twitter.com/mnopera

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MINNESOTA OPERA EDUCATION SPOTLIGHT

Mozart Lives!

From in-school residencies to community performances, the music of Mozart continues to inspire and engage the next generation of opera lovers! thanks to generous support from organizations like Xcel energy, we continue to expand our education programs for students and adults to discover the magic of teaching artist Bergen Baker talks to a group of elementary students in alexandria, mn Mozart and the beauty of opera.

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Alexandria Community Residency Feb 18–23, 2014 This week-long residency included visits to the local public schools as well as an adult education event, which engaged the local community. It culminated with a 90-minute concert version of Mozart’s The Magic Flute to an audience of nearly 1,000 community members (many first-time opera goers!)

Avalon Residency Mozart in the Movies! Minnesota Opera is again collaborating with Avalon School in St. Paul for a unique opera learning experience. With the help of the Independent Filmmaker’s Project– Minnesota, students will produce their own silent movies based upon Mozart’s The Magic Flute and the concept of “The Hero’s Journey.”

avalon students film their Magic Flute silent shorts at the minnesota opera Center

minnesota opera artists rehearse prior to a performance of The Magic Flute in alexandria, mn

Onstage with the Central Lakes Symphony, Alexandria area schools and MN Opera Artists!

Minnesota Opera

Education

umme

Opera Camps

Three

Stephanie Sedarski sings Mozart. Photo by Sigrid Redpath.

Opera Camp June 15–20

Shattuck-St. Mary’s School, Faribault, Minnesota A residential camp for kids grades 9–12, focusing on developing the individual voice. Daily vocal coaching, diction, master classes, and movement.

Children’s Chorus Summer Camp

Opera Artist + (New for 2014)

June 15–20

Shattuck-St. Mary’s School, Faribault, Minnesota For college undergraduates, this week-long residential camp explores what it means to be an opera artist in the twenty-first century. Sessions include vocal coaching, movement, Teaching Artistry, and more.

Minnesota Opera Center, Minneapolis, Minnesota For kids grades 4–8, this camp is three funfilled afternoons to learn about opera and perform with other talented young singers.

Auditions required for all camps. Thursday, April 24 (6-8pm) and Saturday, April 26 (noon-3pm) Check out mnop.co/camps for more information and to sign up.

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June 10–12

minnesota opera staff President and General Director | Kevin Ramach Artistic Director | Dale Johnson Music Director | Michael Christie

Artistic

Production

Artistic Administrator | Roxanne Stouffer Artist Relations and Planning Director | Floyd Anderson Dramaturg | David Sander Head of Music | Robert Ainsley Resident Artists | Aaron Breid, Daniel Ellis, Christie Hageman Conover, Rebecca Krynski, John Robert Lindsey, Geoffrey Loff, Sheldon Miller, Matthew Opitz, Shannon Prickett, Victoria Vargas, Christian Zaremba Master Coaches | Lara Bolton, Mary Jo Gothmann

Production Director | Karen Quisenberry Production Stage Manager | Kerry Masek Video Stage Manager | Andrew Landis Assistant Stage Managers | Shayna j. Houp, Tamara Titsworth

Costumes

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Marketing/Communications Senior Director of Marketing and Communications | Lani Willis Marketing Director | Katherine L. Castille Communications Manager | Daniel R. Zillmann Program Manager, Marketing and Communications | Kristin Matejcek Technology and Interactive Media Manager | Adam Holisky Data Specialist | Rosalee McCready Ticket Office Manager | Julie Behr Assistant Ticket Office Manager | Kevin Beckey Ticket Office Associate | Sarah Fowler Ticket Office Assistants | Carol Corich, Kärsten Jensen, Carrie Walker Photography Intern | Noorah Bawazir

minnesota opera board

OfFIcers Rachelle D. Chase, Chair Kevin Ramach, President and General Director James Johnson, Vice Chair Robert Lee, Secretary Patricia Johnson, Treasurer

Directors Patricia Beithon Peter W. Carter Rachelle D. Chase Jane M. Confer Sara Donaldson Chip Emery Bianca Fine Sharon Hawkins Ruth S. Huss Heinz F. Hutter Mary IngebrandPohlad Philip Isaacson James Johnson Patricia Johnson Christine Larsen Robert Lee Steve Mahon

David Meline Leni Moore Albin “Jim” Nelson Kay Ness Luis Pagan-Carlo Jose Peris Stephanie Prem Kevin Ramach Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Linda Roberts Singh Nadege Souvenir Virginia Stringer H. Bernt von Ohlen Margaret Wurtele

Emeriti Karen Bachman John A. Blanchard, III Burton Cohen

Julia W. Dayton Mary W. Vaughan

Honorary Directors Dominick Argento Philip Brunelle Dolly Fiterman

Norton M. Hintz Liz Kochiras Patricia H. Sheppard

Legal Counsel James A. Rubenstein, Moss & Barnett

Tempo Board Ryan Alberg Thomas Bakken Benjamin Canine Leslie Carey Melissa Daul Katie Eiser Kara Eliason Jennifer Engel Laura Green Ben Jones Claire Joseph Carolina Lamas Susan N. Leppke

Kristin Matejcek, Staff Liaison Megan Mehl, Board Chair Alex Morton Chrissi Reimer Jana Sackmeister Polina Saprygina Rhonda Skoby, Vice Chair Carrie Walker Jenna Wolf

minnesota opera volunteers The following volunteers contribute their time and talent to support the key activities of Minnesota Opera. If you would like to learn more about volunteering please visit mnopera.org/volunteer, email volunteering@mnopera.org or call Jenna Wolf at 612-342-9569. 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 Yelva Lynfield

Suzan Lynnes Mary McDiarmid Verne Melberg Barbara Moore Douglas Myhra Candyce Osterkamp Dan Panshin Pat Panshin Sydney Phillips Kari Schutz Janet Skidmore Wendi Sott 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.

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board of directors

Cabaret: Escape to

1920s Berlin

“Here, life is beautiful.” Featuring Minnesota Opera’s Resident Artists 6pm Dinner and Staged Cabaret Performance 9pm After Party

Dining – Dancing – Silent Auction

Friday, April 25, 2014 $150/person Dinner, Cabaret and After Party ($75 is tax-deductible) $1,500/Reserved Table for 8 ($900 is tax-deductible) $25/person After Party Only (9-11pm Small Bites and Hosted German Beer)

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* 1920s Attire Admired but Not Required *

Minnesota Opera Center 620 North First Street Minneapolis, MN mnop.co/cabaret

RSVP by Monday, April 21, 2014 at 612-342-9553 or eskoblik@mnopera.org Hosted by the Donor Events Committee

annual fund | individual giving It is with deep appreciation that Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides the ﬁnancial foundation which makes the Opera’s artistic excellence possible. For information on making a contribution to Minnesota Opera, please call Dawn Loven, Director of Development, at 612-342-9567 or email her at dloven@mnopera.org.

bel canto circle Platinum $25,000 and above

Gold $15,000–$24,999

Anonymous (1) Mary and Gus Blanchard Jane M. and Ogden W. Confer Julia W. Dayton Sara and Jock Donaldson Vicki and Chip Emery Mr. and Mrs. William Frels Ruth and John Huss Heinz Hutter Mr. and Mrs. Philip Isaacson James E. Johnson Lucy Rosenberry Jones The Art and Martha Kaemmer Fund of HRK Foundation Elizabeth Redleaf Mrs. Mary W. Vaughan C. Angus and Margaret Wurtele Wayne Zink

Tracy and Eric Aanenson Karen Bachman Donald E. Benson Rachelle Dockman Chase Ellie Crosby William I. and Bianca M. Fine Charitable Trust N. Bud and Beverly Grossman Foundation Kathleen and John Junek Robert L. Lee and Mary E. Schaffner Barbara and David Meline Moore Family Fund for the Arts Judy Mortrude and Steven Mahon Albin and Susan Nelson Kay Ness and Chris Wolohan Joseph Sammartino Bernt von Ohlen and Tom Nichol William White

Silver $10,000–$14,999

Anonymous (3) Dominick Argento Patricia and John Beithon Susan Boren Dolly J. Fiterman Sharon Hawkins Garrison Keillor and Jenny Lind Nilsson Warren and Patricia Kelly Harvey T. McLain Mary Ingebrand Pohlad Connie and Lew Remele Patricia and Don Romanaggi Virginia L. and Edward C. Stringer

Platinum $7,500–$9,999

Allegro Fund of The Saint Paul Foundation Shari and David Boehnen Alexis and Michael Christie Patricia Johnson and Kai Bjerkness Erwin and Miriam Kelen Jose Peris and Diana Gulden Chris Larsen and Scott Peterson Lynne Looney Lois and John Rogers Jennifer and Chris Romans

Gold $5,000–$7,499

James Andrus Anonymous (2) Martha and Bruce Atwater Fund of The Minneapolis Foundation William Biermaier and David Hanson Ken and Peggy Bonneville Peter Davis and Pamela Webster Cy and Paula Decosse Fund of The Minneapolis Foundation Jodi Dehli Lonnie and Stefan Helgeson Andrew Houlton

Cynthia and Jay Ihlenfeld Robert Kriel and Linda Krach Debra and James Lakin Mary and Barry Lazarus Ilo and Peggy Leppik Mr. and Mrs. Donald Lucker Mr. and Mrs. Reid MacDonald Kendrick B. Melrose Family Foundation Diana and Joe Murphy Bill and Barbara Pearce Mr. and Mrs. Rolf Peters Stephanie Prem and Tom Owens Mary and Paul Reyelts Mary H. and Christian G. Schrock Nadege Souvenir Maggie Thurer and Simon Stevens Stephanie C. Van D’Elden Lori and Herbert Ward

Silver $2,500–$4,999

Anonymous (4) Nina and John Archabal Martha Goldberg Aronson and Daniel Aronson Annette Atkins and Tom Joyce Alexandra O. Bjorklund Dr. Lee Borah, Jr.

Margee and Will Bracken Rita and Kenneth Britton Barry and Wendy Brunsman Juliet Bryan and Jack Timm Christopher J. Burns Ann and Glenn Buttermann Mr. and Mrs. Richard A. Carlson Darlene J. and Richard P. Carroll Nicky B. Carpenter Rusty and Burt Cohen Gisela Corbett Jennifer and Corey Cowart Rebecca and Jay Debertin Thomas and Mary Lou Detwiler Ralph D. Ebbott Nancy and Rolf Engh Rondi Erickson and Sandy Lewis Gail Fiskewold Melanie and Bruce Flessner Patricia R. Freeburg Meg and Wayne Gisslen Mrs. Myrtle Grette Ms. Susanne Haas and Mr. Ross Formell Michele Harris and Peter Tanghe Alfred and Ingrid Lenz Harrison Dorothy Horns and James Richardson Dr. and Mrs. Arthur Horowitz

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camerata circle

annual fund | individual giving camerata circle Bill and Hella Mears Hueg Diane and Paul Jacobson Dale A. Johnson Robert and Susan Josselson Nancy and Donald Kapps Lyndel and Blaine King David MacMillan and Judy Krow Helen L. Kuehn Dr. Caliann Lum Margery Martin and Dan Feidt Roy and Dorothy Mayeske Mary Bigelow McMillan Velia R. Melrose Karla Miller

(continued)

Dr. and Mrs. Alfred Moore Sandy and Bob Morris Nancy and Richard Nicholson Marge and Dwight Peterson Mrs. William Phillips Sara and Kevin Ramach Rhoda and Paul Redleaf Thomas D. and Nancy J. Rohde In Memory of Agnes M. Romanaggi Nina and Ken Rothchild James A. Rubenstein, Moss & Barnett Kay Savik and Joe Tashjian Karen and Mahlon Schneider Drs. Joseph and Kristina Shaffer

Lynda and Frank Sharbrough Andrea and Bob Sheehy Stephanie Simon and Craig Bentdahl Julie and Bruce Steiner Dr. and Mrs. Andrew J. Thomas Dr. Norrie Thomas William Voedisch and Laurie Carlson Dr. Craig and Stephanie Walvatne Jerry Wenger Nancy and Ted Weyerhaeuser Carolyn, Sharon and Clark Winslow Woessner Freeman Family Foundation

artist circle

| minnesota opera facebook.com/minnesotaopera

$1,000–$2,499

Anonymous (3) Mary and Charles Anderson Kim A. Anderson Betty Andrews Ruth and Dale Bachman Barbara and David Baker In memory of Kent Bales Ann and Thomas Bagnoli Barbara S. Belk Brian Benjamin Mrs. Paul G. Boening Allan Bradley Drs. Jan and Eli Briones Juliet Bryan and Jack Timm Scott Cabalka Kathleen Callahan Joan and George Carlson In Memory of Kathy Coleman Bruce Coppock and Lucia May Barb and Jeff Couture Susan and Richard Crockett Stacey and Michael Crosby Helen and John Crosson Jeff and Wendy Dankey Fran Davis Ruth and Bruce Dayton The Denny Fund of The Minneapolis Foundation Margaret DiBlasio Elise Donohue Joan Duddingston Joyce and Hugh Edmondson Ann Fankhanel Ester and John Fesler Salvatore Silvestri Franco Emil and Robert Fredericksen Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Bradley Fuller and Elizabeth Lincoln Mr. and Mrs. R. James Gesell Heidi and Howard Gilbert

Stanley and Luella Goldberg Dr. Richard Gregory Bruce and Jean Grussing Hackensack Fund of The Saint Paul Foundation Marion and Donald Hall Don Helgeson and Sue Shepard Jean McGough Holten Thomas Hunt and John Wheelihan Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Teresa and Chuck Jakway Margaret and Philip Johnson Paula and Bryce Johnson Sharon and Fredrik Johnson Janet Jones Wadad Kadi Stan and Jeanne Kagin Terri and Alan Kildow E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Hugh Klein and Judy Lebedoff Sally and Bill Kling Gerard Knight Mrs. James S. Kochiras Kyle Kossol and Tom Becker Constance and Daniel Kunin Bryan Lechner Stefanie Lenway and Tom Murtha Mr. and Mrs. Seymour Levy Helen and Ben Liu Bill Long Richard and Elizabeth Longfellow Family Dawn M. Loven Bridget Manahan and Joe Alexander Barbara McBurney Laura McCarten Helen and Charles McCrossan Sheila McNally Deb and Jon McTaggart Judith and James Mellinger

David and LaVonne Middleton Jill Mortensen and Kay Phillips Judy and David Myers Elizabeth B. Myers Joan and Richard Newmark Douglas and Mary Olson Pat and Dan Panshin Derrill M. Pankow Paula Patineau Sally and Thomas Patterson Suzanne and William Payne Susanne and Rick Pepin J.M. Pickle Mary and Robert Price Kari and Dan Rasmus Courtney and Scott Rile John and Sandra Roe Foundation Kristine and Roger Ruckert Terry Saario and Lee Lynch Anne and Lee Salisbury Sampson Family Charitable Foundation Dr. and Mrs. Richard J. Schindler In Memory of Lyle R. Schumacher Gloria and Fred Sewell Ardath and Glenn Solsrud Matthew Spanjers Edson Spencer Daniel J. Spiegel Family Foundation Michael Steffes Donna Stephenson Dana and Stephen Strand Vern Sutton Michael Symeonides and Mary Pierce Jennifer and David Thomas Jean Thomson and John Sandbo Schelly and Bryn Vaaler Patricia and Douglas Vayda Cindy and Steven Vilks Mr. and Mrs. Philip Von Blon James and Sharon Weinel Lani Willis and Joel Spoonheim In Honor of Ron Wyman

annual fund | individual giving patron circle Gold $750–$999

Carl and JOan Behr Gerald and Phyllis Benson Debra Brooks and James Meunier Jennifer Gross and Jerry LeFevre Charles Hample Andrew Holey and Gary Whitford The Mahley Family Foundation Carolyn and Charles Mayo Ann M. Rock David E. Sander Warren Stortroen David L. Ward Ellen M. Wells John W. Windhorst, Jr.

Silver $500–$749

Anonymous (3) Arlene and Tom Alm Alvaro Alonso August J. Aquila and Emily Haliziw Dr. and Mrs. Orn Arnar Dan Avchen and David Johnson Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Rebecca Arons and Thomas Basting, Jr. Donald and Naren Bauer Carl and Joan Behr Brian Benjamin Chuck Bennett Dennis and Judy Berkowitz Diane and David Blake Martin and Patricia Blumenreich Allen Brookins-Brown Thomas and Joyce Bruckner Elwood and Florence Caldwell Jim and Julie Chosy Joann Cierniak J.P. Collins Ann Marie and Jim Collins Brenda Colwill Norma Danielson

Eileen Dauer Amos and Sue Deinard Mary Elise Dennis Mona Bergman Dewane and Patrick Dewane Lois Dirksen Joshua A. Dorothy Holli Egerstrom Steven Engle Mrs. John C. Rowland Herbert and Betty Fantle C.D.F. Foundation Kingston Fletcher Jane Fuller Joan and William Gacki Christine and Jon Galloway W. Michael and Christine Garner David and Terry Gilberstadt Mark and Diane Gorder Roger and Eleanor Hall David and Chris Hansen Bonita Hanson Blanche and Thane Hawkins Stefan and Lonnie Helgeson Norton and Mary Hintz Henry and Jean Hoover Barbara Jenkins Charles and Sally Jorgensen Samuel L. Kaplan and Sylvia Chessen Kaplan Markle Karlen Carole and Joseph Killpatrick Katherine and Scott Kovarik James and Gail LaFave Chris and Marion Levy Tim and Susanna Lodge Ruth W. Lyons Dusty Mairs Tom and Marsha Mann Kristin and Jim Matejcek Frank Mayers Patricia N. and Samuel D. McCullough Lee Mitau and Karin Birkeland Steven J. Mittelholtz Jack and Jane Moran

Theresa and Jim Murray Lucia Newell Ann and John O’Leary Dennis R. Olson Ruth and Ahmad Orandi Jim Pagliarini and Elizabeth Raymond Kathleen and Donald Park Lana K. Pemberton Ilya Perepelitsyn Ron and Mary Peterson Dwight and Christina Porter Matthew Ralph and Kristina Carlson Carroll and Barbara Rasch Dennis M. Ready Lawrence M. Redmond George Reid Bryn Roberts and Marcy Jefferson Liane A. Rosel Enrique and Clara Rotstein Marian R. Rubenfeld and Frederick G. Langendorf Georgie Saumweber Chris and Mark Schwarzmann Ruth Schwarzmann John W. Shigeoka Cherie and Robert Shreck Topsy Simonson Arthur and Marilynn Skantz Stanislaw Skrowaczewski Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Mark and Kristi Specker Jon Spoerri and Debra Christgau Chichi Steiner Judith Stone Roxanne Stouffer Dr. Anthony Thein Jill and John Thompson Susan Truman Mary Weinberger Howard and Jo Weiner Barbara and Carl White Barbara and James Willis

Associate $250–$499

Anonymous (2) Thomas O. Allen Katherine Anderson Linda Z. Andrews Jerry Artz Suzanne Asher Marcia J. Aubineau Eric S. Anderson and Janalee R. Aurelia Thomas Bailey

James and Gail Bakkom Bishu and Irina Bandyopadhyay Laird Barber Carolyn Beatty Kevin Beckey Bender Vocal Studio Bill Bertram Matthew Brummer Philip and Carolyn Brunelle Dan Buivid Keith Campbell Renee Campion and David Walsh

Jerome and Linda Carlson Katherine L. Castille John Chrisney Gretchen Collins Elisabeth Comeaux Jeanne E. Corwin Melissa Daul Mark Dickey Barry Divine Linda S. Donaldson Katherine and Douglas Donaldson Leah and Ian Evison

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associate circle

annual fund | individual giving associate circle

| minnesota opera twitter.com/mnopera

Charles and Anne Ferrell Joyce and Hal Field Brian M. Finstad Christine Fleming Judith Garcia Galiana and Alberto Galiana Greta and Paul Garmers Marsha and Richard Gould Hunt Greene and Jane Piccard William and Aimee Guidera Margaret Gunther Russell and Priscilla Hankins Anne Hanley and George Skinner Douglas and Doris Happe Todd and Amy Hartman Jill A. Heath John and Rosmarie Helling Frederick J. Hey, Jr. Mary K. Hicks Sharon and Cliff Hill Steve Horan Burton and Sandra Hoverson Worth L. Hudspeth Margaret F. Humphrey Ray Jacobsen Deborah and Ronald Jans Ed and Jean Jasienski Dr. and Mrs. Eric Jolly Benjamin Jones Erika and Herb Kahler Jeff and Andrea Kaiserman Kathryn Keefer Janice Kimes Susan Kinder John Krenzke and Michelle Davis Joan Krikava Kelly and Adam Kuczkowski Robert and Venetia Kudrle

(continued)

Nathan Kulenkamp Scott and Karla Lalim Beatrice and Robert Langford Kenyon S. Latham Lisa and Jonathan Lewis Sarah Lutman and Robert Rudolph Stuart MacGibbon Joan E. Madden Donald and Rhoda Mains Diane Malfeld Julie Matonich and Robert Bras David Mayo Beth McGuire and Tom Theobald Malcolm and Wendy McLean Harry McNeely Laurie and David Mech Curtis and Verne Melberg Robert Messner John L. Michel and H. Berit Midelfort Michael J. and Judith Mollerus Brad Momsen and Rick Buchholz David Mowry Virginia Dudley and William Myers Merritt C. Nequette William and Sharon Nichols Lowell and Sonja Noteboom Ms. Kathleen Nye-Reiling Patricia A. O’Gorman Robert and Dorothy Ollmann Vivian Orey Donna and Marvin Ortquist Scott J. Pakudaitis Julia and Brian Palmer James A. Payne John and Margaret Perry Carol Peterson Edward and Beverly Phares

Walter Pickhardt and Sandra Resnick John and Norma Pierson Nicole and Charles Prescott Christina Reimer Robert E. Rocknem Michael and Tamara Root Bob and Donna Rose Daniel Roth Patricia and Stephen Rowley Adele and Fred Saleh David M. Sandoz Mary Savina Mr. Jon L. Schasker and Ms. Debbie Carlson Deborah and Allan Schneider Paul L. Schroeder Estelle Sell Morris and Judith Sherman The Singer Family Foundation Debra Sit and Peter Berge Emily Skoblik Dr. Leslie W. Smith Jim Snustad Mary K. and Gary Stern Delroy and Doris Thomas Katharine E. Thomas Emily Anne and Gedney Tuttle David Walsh and Renee Campion Wesley Wang David Wendt Deborah Wheeler John and Sandra White Wendy Wildung John M. Williams Daniel Richard Zillmann

friend circle Friend $100–$249

Anonymous (9) Paul and Val Ackerman Meredith B. Alden Elaine S. Alper Ginny Altman Roland C. Amundson Tony Anastasia and Jim Miller Rolf T. Anderson Beverly Anderson Howard J. Ansel Genevive Antonello Fran Babbitt Kay and Ronald Bach Trevor A. Bailey and Pari R. Bailey Susanne and Johan Bakken Robert F. Ball, iii Ralph and Lois Ballinger Jill and Thomas Barland

Katherine Barton Aimee and Tom Baxter Christopher Beaudet Longine Beck Elizabeth and John Beck Lynne Beck Cornelia H. Beck Barbara Bencini Bonnie Benson Kenneth J. Berglund Scott Berry and Kate Johnson Keith and Jamie Beveridge Beth Bird Robert F. Bishaw Karen M. Boberg Joann Boeyink Michael Bohdan Edward Bohrer Elizabeth Borg and David Stevens Lynn Bowe and Charles Kuivinen

Judith and Paul Brandon Becky J. Brass William and Barbara Brauer Dennis Breining Roger and Ronnie Brooks Joan Broughton Ellen Bruner Philip and Ellen Bruner Kelsey Bruso Stephen Bubul Robert and Gerry Bullard Ruth H. Busta Donna Carlson Alan E. and Ruth Carp Dr. Mark and Denise Carter James and Mary Chastek Karen Chaussee E. Cho Susan Christensen Beverly Christenson

annual fund | individual giving Mary-Louise and Bradley Clary Louise and George Clitty Bobby and Elliot Cohen Gary B. Cohen Steve Coleman Patrick Coleman Catherine Coult and Robert Benjamin Clinton Cowan Dr. and Mrs. Jim Craig Denise Cronin Bill and Kate Cullen Barbara J. Dacy Mark and Maude Dahlberg Richard and Nancy Dana Julian and Carrie D’Andrea Mary Davidson Stephen Davis and Murray Thomas Mary DeMaine Richard and Lois Demers Pamela and Steve Desnick Willem and Ann Dieperink Eugene DiMagno Eugenia and Joseph Dixon Linda and Keith Donaldson Dale Dramstad John and Maureen Drewitz in memory of Helen Hines Jane Dudley John M. Duffy Patrick Dufour and Molly O’Brien Mary Dunnavan Margaret E. Durham Beverly Dusso Pierre C. Dussol David Eckholdt Andrea Een Candace and Dan Ellis Jim and Renee Engebretson Kathy Engstrom Ron Erhardt Marvin and Margaret Fabyanske Craig Feathers and Amy Kolan Steven and Julie Feit Laura and Daniel Feldman Kathy Ferry Catherine Finch and Sarah Goullaud Steven and Mimi Fisher Judith Florine Gerald Foley Mr. and Mrs. Richard Foss Ruth K. Fothergill Janette Frantes Daniel E. Freeman Tomas and Ellen Fridinger Dr. and Mrs. Paul Gannon Carol and Mike Garbisch Howard and Ann Garton William Gavzy Patsy Gerde Lois and Larry Gibson Father Joseph P. Gillespie Raeanna and Walter Gislason James and Jo Glasser

(continued)

Marcia Glick Randy Goetz John C. Goetz Sharon Goligowski Laura Green Carol and Walter Griffin Gerald and Corrine Grochowski Michael Grouws Thomas Guglielmi Jerold and Kathleen Hahn William and Marilyn Halloran Laurie Hansen Lowell Hanson Virginia R. Harris Alfred E. Hauwiller Stephen and Patricia Haynes Vincent and Marcia Henry Michael and Helen Henson Anne E. Hesselroth Holly C. Hickman Karen and John Himle Rochelle Hoffman J. Michael Homan Brian and Karen Hopps Richard and Ingrid Hoyt Linda and Alan Hulbert Kathleen and Robert Humphrey Steve and Laura Inglis Ela Iwanczuk and Gerry Rothen Dan Iwaszko Diane L. Marti and Guglielmo Izzi Jeanne and Mark Jacobson Yin Jiang Karen and Joel Johnson Margaret and Allan Johnson Robert W. Johnson Michael and Susan Johnson Paul Johnson and Joan Eckberg Charlie Johnson Jean O. Johnson Jennifer Jones Lois A. Joseph Andy Joyce and Kristin Raab Kristine Kaplan Tina and John Karelson Meghan Keating Michael and Sheue Keenan Andrea M. Kircher Cecelia and Terry Kirihara Kenneth Kixmoeller and Kim Otness Arthur C. and Milly D. Klassen Lynn R. Koenig Kartra and Glenn Kohl Marek Kokoszka Wojciech and Mary Komornicka Mary Lamotta Louise Larsen Gerhard Paul Larson Dr. and Mrs. Richard E. Larson Mary Lawson Sharon K. Lawyer Reva Lear Donald and Joann Leavenworth David and Darlene Lee

Susan Leppke Frank Lerman Rex Levang Robert P. Libera John and Marilyn Lieske Janet Lindquist Michael and Keli Litman Tom and Hinda Litman Melanie Locke Thomas Logeland Elizabeth Longhurst and Kim Chapman Juanita B. Luis Judy Lund Holly MacDonald Beth N. MacDonald Marsha Macey Thomas Kleinschmit and Liana Magee Frank and Regina Maguire William Mahlum and Donna Allan Jeffrey Masco Tom and Kathryn Matchinsky James McCarthy and Gloria Peterson Tracy McCauley Drs. Polly McCormack and Keith Engel Orpha McDiarmid Family Fund Robert and Catherine McGeachie Sharon and Chris McGrann Ellen McInnis Sam Meals Robert and Roberta Megard Megan Mehl Adele Mehta Peter B. Meier Eric Mellum Eileen and Lester Meltzer Leslie and John Mercer John and Lillian Meyer Rita Meyer Dina and Igor Mikhailenko Laurie Miller Mr. John Miller-Stephany Teri Minard Karen Moline In Memory of Dave Moore Linda Morey Monica Morin Mary Morris Imelda and William Muggli Sally Mullen Elizabeth Murray Richard and Janet Myers Ronald and Marlene Nauman Mina Fisher and Fritz Nelson Imogene and Allan Nelson Sigrid Nelson Jane E. Nelson Ingrid Nelson Jim and Carolyn Nestingen Jay and Helen Newlin Kermeth W. Northwick Charlotte and Irving Nudell

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friend circle

annual fund | individual giving

| minnesota opera youtube.com/minnesotaopera

friend circle

Virgil Nylander Andrew Odlyzko Scott and Judith Olsen Robert and Patricia Olson Lila Olson Reverend and Mrs. Robert A. Onkka Nancy Orgeman Bill and Anne Parker Robert L. Parks and Lori Wiese-Parks Lisa Pasquale Reverend and Mrs. Daniel Pearson Mischa and Barbara Penn Sandra Penning Mary Helen Pennington, M.D. Margaret and John Perry Jane M. Persoon Barbara and Gary Petersen Barbara and Douglas Peterson Patricia M. Peterson Dorothy L. Peterson Darlene Petit and Karen Olson Joan and John Petroff Joseph Petronio Judith Pettit Kathleen M. Philipp Ann and Felix Phillips Jeffrey Pilcher Dale Pillsbury Wayne and Ona Pinsonneault Ann Piotrowski Fred and Barbara Pollman Anne and John Polta Michael and Marie Porcaro Bertrand and Nancy Poritsky Lawrence Poston Lorraine Potuzak Stephen and Julianne Prager Walter and Harriet Pratt Daniel and Margaret Preska Ronald and Phyllis Price Tom Rassieur and Chichi Steiner Margaret Redmond Patricia Reese Herbert and Jane Reiman Ann Richter Genevieve and John Ries Kathleen Riley Karen Ring Ronald Roed

(continued)

Patricia Rogin-Pearson Sheren and Jim Rogne Susan and Ron Roiger Roger R. Roloff and Barbara A. Petersen Tamara and Michael Root Ruth Rose David and Kathleen Rothenberger Berneen Rudolph Linda and Stuart Ruehle Rae L. Runck and Kathy L. Runck Mitra Sadeghpour and Mark Mowry James Salutz and Margaret Brandl Sylvia and Richard Salvati Beth Sanders Karen and Stephen Sanger Paula Santrach Timothy and Sally Sawyer Gaynell Schandel Norma Schee Mary Schertler Sue and Charles Schiess Ralph J. Schnorr Daniel Schonebaum Jack and Pamela Schwandt A. Truman and Beverly Schwartz Martin and Susan Segal Miriam Seim Wendy Shaler Alan Shapiro Rebecca Shockley Marianne Settano Shumaker and Gordon Shumaker Dale and Marilyn Simmons Patricia Simmons and Lester Wold Kathleen K. Simo Peter and Bonnie Sipkins Roy and Lana Sjoberg Rhonda Skoby Jenella Slade Emma Small Charles K. Smith Linda Soranno and Howard Bolter Possibilitree George and Margaret Sparks Lorraine C. Spies Biruta and Andris Spruds David and Elizabeth Stevens

Barbara Stoll Joseph and Pamela Strauss Mark Stutrud Ralph and Grace Sulerud Lori Sundman Susan and Oakley Surine Craig and Janet Swan Eric and Curt Swanson Charles O. and Marlys R. Taflin Erika and Dan Tallman John J. and Mary M. Taylor Charlott Taylor Susan Tennessen Marya Teutsch-Dwyer and Michael Connaughton Joyce Thielen Valerie Thompson Gayle Thorsen Susan Travis Rick and Debbie Treece Sharon and Brian Utley Kenneth and Kathryn Valentas Reverend Robert Valit Jorge and Chris Velosa Michael Vesely Catherine and Donald Vesley Vilis and Aija Vikmanis John Vilandre Edward and Virginia Vizard Emily Wadsworth Elaine B. Walker Jonathan Wallace Harry Walsh Mark Warnken Lola Watson John and Verba Weaver Rahn Westby Paul and Carolynn Wiggin Leslie Wilcox Peter and Anne Wildenborg Barb Wildes Wayne and Sharon Wilkes Ray and Jean Witter Jenna Wolf Sharon Woods George Zirnhelt Paul Zorn and Janet Petri Philip Oxman and Harvey Zuckman

These lists are current as of March 12, 2014, and include donors who gave a gift of $100 or more during Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Jenna Wolf, Individual Gifts Officer, at 612-342-9569.

become a donor

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

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

LeGaCY CirCLe

MINNESOTA OPERA THANKS the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to Minnesota Opera. If you have already made such a provision, we encourage you to notify

Anonymous (4) Valerie and Paul Ackerman Thomas O. Allen Mr. and Mrs. Rolf Andreassen* Mary A. Andres Karen Bachman Randolph G. Baier* Mark and Pat Bauer Mrs. Harvey O. Beek * Barbara and Sandy* Bemis Dr. Lee Borah, Jr. Allan Bradley C. T. Bundy, ii Joan and George Carlson Darlene J. and Richard P. Carroll Julia and Dan Cross Judy and Kenneth * Dayton Charles Denny Mrs. George Doty Rudolph Driscoll *

Anne P. Ducharme Sally Economon * Ester and John Fesler Paul Froeschl Katy Gaynor Robert and Ellen Green Ieva Grundmanis * Julia Hanna* Ruth Hanold * Fredrick J. Hey, Jr. Norton M. Hintz Jean McGough Holten Charles Hudgins * Dale and Pat Johnson Ruth Jones* Drs. Sally and Charles Jorgensen Robert and Susan Josselson Charlotte * and Markle Karlen Mary Keithahn Patty and Warren Kelly Margaret Kilroe Trust *

Blaine and Lyndel King Gretchen Klein * Sally Kling Gisela Knoblauch * Mr. and Mrs. James Krezowski Robert Kriel and Linda Krach Venetia and Robert Kudrle Robert Lawser, Jr. Jean Lemberg * Gerald and Joyce Lillquist David Mayo Barbara and Thomas * McBurney Mary McDiarmid Mildred McGonagle * Beth McGuire Mary Bigelow McMillan Margaret D. and Walter S. Meyers* John L. Michel and H. Berit Midelfort Susan Molder *

Edith Mueller * Kay Ness Joan and Richard Newark Philip Oxman and Harvey Zuckman Scott Pakudaitis Lana Pemberton Sydney and William* Phillips Richard G. * and Liane A. Rosel Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Drew Stewart James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick Richard Zgodava* Daniel R. Zillmann * In Remembrance

For more information on making planned giving arrangements, please contact Dawn Loven, Director of Development, at 612-342-9567. Your attorney or ﬁnancial advisor can then help determine which methods are most appropriate for you.

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us so that we may appropriately recognize your generosity.

institutional giving Minnesota opera gratefully acknowledges its major institutional supporters: $100,000+ Hearst Foundations

The Andrew W. Mellon Foundation

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

$50,000â&#x20AC;&#x201C;$99,999

| minnesota opera mnopera.org

$25,000â&#x20AC;&#x201C;$49,999

$10,000â&#x20AC;&#x201C;$24,999

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Beth Comeaux, Director of Institutional Support, at 612-342-9566 or email her at bcomeaux@mnopera.org.

institutional giving minnesota opera sponsors Season Sponsor

Ascent Private Capital Management of U.S. Bank

Production Sponsors

Manon Lescaut Ascent Private Capital Management of U.S. Bank The Dream of Valentino The Aaron Copland Fund for Music, Inc. The Andrew W. Mellon Foundation The Magic Flute National Endowment for the Arts Target

Gala Sponsors

3M Ascent Private Capital Management of U.S. Bank JB Hudson Jewelers – Official Jeweler of Opera Gala 2013

Media Sponsor

Minnesota Public Radio

Opera Insights Comcast

Production Innovation System General Mills

Behind the Curtain

Resident Artist Program

Camerata Dinners

Tempo After Parties

Pine River Capital Management LP Abbot Downing

Wenger Foundation Sakura

corporations, foundations and government

3M Foundation Ameriprise Financial, Inc. Fred C. and Katherine B. Andersen Foundation Ascent Private Capital Management of U.S. Bank F.R. Bigelow Foundation The Ruth Easton Fund General Mills Foundation Hearst Foundations Knight Foundation The McKnight Foundation Medtronic Philanthropy through Medtronic Foundation The Michelson Family Foundation Minnesota State Arts Board National Endowment for the Arts The Saint Paul Foundation Target U.S. Bank Foundation United Health Foundation

Platinum $10,000– $24,999

The Aaron Copland Fund for Music, Inc. Abbot Downing Fred C. and Katherine B. Andersen Foundation Best Buy Children’s Foundation Cargill Foundation Comcast

Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation MAHADH Fund of HRK Foundation Mardag Foundation Pine River Capital Management LP Travelers Valspar Foundation Wells Fargo Foundation Minnesota Wenger Foundation Xcel Energy

Gold $5,000–$9,999

Accenture Boss Foundation Briggs & Morgan, P.A. Ernst & Young Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation R. C. Lilly Foundation Mayo Clinic The Pentair Foundation The Carl and Eloise Pohlad Family Foundation PricewaterhouseCoopers LLP Rahr Foundation RBC Wealth Management

Schwegman, Lundberg & Woessner, p.a. Securian Foundation Thomson Reuters Twin Cities Opera Guild

Silver $2,500–$4,999

Cleveland Foundation Dellwood Foundation Faegre Baker Daniels Hutter Family Foundation Le Jeune Family Foundation Maslon Edelman Borman & Brand, LLP The Elizabeth C. Quinlan Foundation Margaret Rivers Fund Pique Travel Design Robins, Kaplan, Miller & Ciresi Rothschild Capital Partners Spencer Stuart Summit Brewing Company Tennant Foundation

Bronze $250–$2,499

The Curtis L. Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson, Inc. McVay Foundation Onan Family Foundation Peravid Foundation Sewell Family Foundation Sit Investment Foundation

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Sponsors $25,000+

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