Minnesota Opera's Orazi and Curiazi Program by Minnesota Opera

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5 • Orazi & Curiazi

Contents The Minnesota Opera Sta∂ and Volunteers . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Orazi & Curiazi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Background Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Saverio Mercadante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Minnesota Opera Chorus and Orchestra. . . . . . . . . . . . . . . . . . 20 Joseph Merrick, The Elephant Man . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Conversation at the Humphrey . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . 28 2006-2007 Opera Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . 33

The Minnesota Opera President & CEO Artistic Director Chair, Board of Directors

Kevin Smith Dale Johnson J. A. Blanchard, III

The Minnesota Opera, 620 North First Street Minneapolis, MN 55401 (612) 333-2700 www.mnopera.org The Minnesota Opera is a member of OPERA America. This activity is made possible in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature. This project is supported in part by a grant from the National Endowment for the Arts.

March 2006

The Minnesota Opera Program is published by

Corporate Administrator/Publisher Assoc. Publisher/Director of Production Senior Account Executives Creative Designer Production Designers

Todd Hyde Marsha Kitchel Liesl Hyde, Yvonne Christiansen Stacy Hawkins Sue Sentyrz Klapmeier, Robert Ochsner, Jennifer Webb

Large-print and Braille programs are available at the Patron Services O∑ce

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the minnesota opera • 6

Minnesota Opera Staff President & CEO Kevin Smith Artistic Director Dale Johnson Welcome to today’s production of Orazi & Curiazi. For more than four decades, The Minnesota Opera has enriched the cultural life of our community by producing outstanding and innovative operas that inspire and entertain. U.S. Bank is honored to sponsor the 2005 – 2006 season. We are proud of our 20+ year relationship with The Minnesota Opera and the spectacular Ordway in St. Paul. At U.S. Bank, we support great dreams, great art and great arts organizations. They enrich the community with vibrancy, creativity and excellence. As the sixth largest bank in America today, U.S. Bank is the only major bank headquartered in Minnesota, and we’re deeply committed to giving back to this community. Thank you for coming and enjoy the performance!

Rod Boren, Senior Vice President, Personal Trust Regional Manager, U.S. Bank Private Client Group Jose Peris, Senior Vice President, Private Banking Regional Manager, U.S. Bank Private Client Group and Minnesota Opera Board Member

Artistic Artistic Administrator . .Roxanne Stou∂er Cruz Artistic Associate . . . . . . Floyd Anderson Community Education Director . . . . . . . . . Jamie Andrews Dramaturg . . . . . . . . . . . . . David Sander Production Stage Manager . . . Alex Farino Assistant Stage Managers . . . . .Kristen Burke, Angie Spencer Head of Music . . . . . . . . . . .Bruce Stasyna Resident Artists . . . . . . .Raymond Ayers, Korey Barrett, Alison Bates, Theodore Chletsos, Jamie-Rose Guarrine, Seth Keeton, Peter Kozma, Bryan Lemke, John Michael Moore, Edward Mout RAP Faculty . . .Allysum Tai Chi Center, Nancy Boler, Stephano Marazana, Peter Robinson Teaching Artist . . . . . . . . .Angela Keeton Project Opera Apprentices . . .Setara Barukzoy, Erin Marie Capello, Kyle De Graff, Daniel Segura Project Opera Director . . . . . . . Dale Kruse Project Opera Accompanists . . . . . . . . . . . . Kathy Kraulik, Julian Ward Education Assistant . . . . . . . .Katie Wiebe Apprentice State Director . . . . . . . . . . . . . Doug Scholz-Carlson Costumes Costume Director . . . . . . . .Gail Bakkom Assistant Costume Director . . .Beth Sanders Drapers . . . . . . .Chris Bur, Yancey Thrift, Angela Yarbrough Costume Technicians . . .Helen Ammann, Sarah Bahr, Jennifer Dawson, Mary Farrell, Michele Hoaglund, Christine Richardson, Ann Rose Painter/Dyer . . . . . . . . . .Marliss Jensen Wig/Makeup Designer . . .Marilyn Jordan Wig/Makeup Assistants . . . . . . Ashley Ryan, Nina Stewart

Scenery Technical Director . . . . . . . . . . . Mike McQuiston Asst. Technical Director/ Lighting Coordinator . .Marc D. Johnson Production Administrative Assistant . . . . . . . . . . . . Katherine Cattrysse Properties Master . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . Mike Long Production Carpenter . . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . Rod Aird Master Carpenter . . . . . . . . . . .Steve Rovie Shop Electrician . . . . . . . . . . . . . . . .Tom Rost Sculptor . . . . . . . . . . . . . . .James R. Bakkom Carpenters . . . . . . . . . James DePaulis, Ken Evans, Tom Fitzsimmons, Dan Kimmerle, Eric Veldey Charge Painter . . . . . . . . . . .Debra Jensen Painter . .Catherine Davis, Cate Whittemore Administration Finance Director . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . . . Steve Mittelholtz HR/Accounting Manager . . Jennifer Thill Executive Assistant . . . . . Theresa Murray Receptionist/Finance Assistant . .Jill Pawelak Institutional Advancement Vice President of Institutional Advancement . . . . . . . . . . .Patrick Dewane Institutional Advancement Assistant . . . . . . . . . . . . .Kelly Clemens Development Director of the Annual Fund . .Dawn Loven Institutional Gifts Director . . Linda Johnson Institutional Gifts Associate . . .Emily Skoblik Individual Gifts Associate . .Megan Stevenson Marketing/Communications Marketing Director . . . . . . . . . . .Carl Lee Communications Director . . . Lani Willis Ticket O∑ce Manager . . . . Andrea Corich Marketing and Communications Assistant . .Janet Bertok Ticket O∑ce Assistant . . . .Carol Corich

Minnesota Opera Volunteers The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.

Keri Picket

Cafe,Bakery,Wine & Pizza Bar

850 Grand Avenue,St Paul 55105 651-224-5687 www.cafelatte.com

Catherine Ahern Ann Albertson Elizabeth Incremona Bancker Gerald Benson Jim Brownback* Sue Brownback Sarah Burman Christine Buss Jerry Cassidy Diane Choih Joann Cierniak Susan Cogger Caroline Coopersmith Beverly Dailey* Denis Dailey Jeanette Daun Timothy Davis Lee Drawert Judith Duncan Sally Economon Svea Forsberg Christopher Foster Hazel Francois Li-Jun Fu Jane Fuller Joan Gacki*

Alex Garay Christine A. Garner* Juhi Gupta-Gulati Mark Gustin Mary E. Hagen Mark Hahn Lucinda Hallet Merle J. Hanson John Harris* Cari Beth Head Anne Hesselroth Heather Huber Alisandra Johnson Karen Johnson Nancy Johnson Steve Johnson Jeannie Johnston Kristen Johnston Robin Keck Dawn Klassen Shannon Klonecki Eleanore Kolar Lucinda Lamont Shirley Larson Mathilda Lien Jerry Lillquist Joyce Lillquist

Maura LoMonico Abby Marier Margery Martin Joan Masuck Yasuko Matsumoto Mary McDiarmid* Beth McGuire Verne Melberg Jeanette Middleton Irma Monson Barbara Moore Doug Myhra Denise Nichols Pam Nielsen David Nifoussi Jennifer Ortale Candyce Osterkamp Dan Panshin Pat Panshin Megan Pelka Holly Peterson Bill Phillips Sydney Phillips Julia Porter Carol Purvis Kathleen Riley Shannon Robinson

Leigh Roethke John Rosse Enrique Rotstein Florence Ruhland John Sauer Lynette Saucier Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Naomi St. Gregory Karen St. John Katie Steerman Harry Swepston Dave Terwilliger Emily Thompson Doris Unger Stacey Vonderhear Carolyn Wahtera Mary Weitz Barbara Willis* Elizabeth Cutter Wilson Kathie Wojtkiewicz Eve Yang *Lead volunteer

Notes from the Leadership

Mercadante may not be a household name to contemporary opera-goers, but in his time he was a preeminent composer in the Bel Canto tradition. Like Bellini and Donizetti, Mercadante experimented with the musical framework and legacy of Rossini, and also like them, he created his own musical language as a response. Liszt called him Italy’s greatest composer. You may notice from these performances a grand, classical structure, and dramatic pacing that you’d expect from later composers. Mercadante, in fact, had a big impact on the young Verdi.

J. A. Blanchard III, Chair We are thrilled that three of our favorite singing actors and Bel Canto specialists, Brenda Harris (who has a very long history with the company but most recently appeared in the title roles of Maria Padilla and Norma), Scott Piper (Rigoletto and Carmen) and Ashley Holland (Pedro to Brenda’s Maria Padilla last year), returned to bring this opera back under the stagelights, and that you are here joining us as witnesses to the greatness of Bel Canto opera. Next season, our Bel Canto offering is the company premiere of Rossini’s La donna del lago, which will star Ewa Podles´ and Maureen O’Flynn. We expect it will sell out, so don’t forget to subscribe for season tickets! Enjoy the opera!

Dale Johnson Artistic Director

from the President Days ago, The Minnesota Opera announced its 2006-2007 season and an ambitious subscription campaign. As we make the long-awaited return to a five-opera season, we’re investing our time and energy in reaching new subscribers. An opera company can best achieve artistic, institutional and programmatic heights with the loyalty of a strong subscription base. A robust subscription base engenders a strong and healthy company, one that has the degree of predictability that growth requires. From our earliest days producing maverick new work as Center Opera to our highly acclaimed present-day stagings of rare Bel Canto works like today’s Orazi & Curiazi and contemporary operas like next month’s Joseph Merrick, the Elephant Man, we

have been regarded as a leader in our industry with a reputation for innovation. The efforts we’re undertaking to build subscriptions are consistent with that spirit of innovation. There are some who consider the subscription model a thing of the past, citing a tendency in the public toward last-minute decision-making. But you only have to look as far as the Minnesota Vikings or the Wild to see the potential and the benefit of a strong season ticket base. In this community, with its value for the arts, we know we can achieve that at the Opera, and we are committed to making it happen. A national study by OPERA America indicates that people come to the opera most often when invited by others. If you enjoy your experience today at the Opera, please introduce us to your friends.

Jane M. Confer, Stephanie Simon, Vice Chairs Lynne E. Looney, Secretary Thomas J. Foley, Treasurer Kevin Smith, President & CEO

Directors Nicky B. Carpenter Richard P. Carroll Susan J. Crockett Mary A. Dearing Sara Donaldson Chip Emery Rolf Engh Brad F. England Denver Gilliand Sharon Hawkins Karen L. Himle Ruth S. Huss Heinz F. Hutter Paula R. Johnson

Lucy Rosenberry Jones Michael F. Kelly, Jr. B. John Lindahl Becky Malkerson Tom McBurney Diana E. Murphy Brian E. Palmer Debra Paterson Jose Peris Elizabeth Redleaf Connie Remele Mitchell Stover Virginia Stringer H. Bernt von Ohlen

Directors Emeriti Karen Bachman Burton Cohen Julia W. Dayton Mary W. Vaughan

Honorary Directors Dominick Argento Philip Brunelle Elizabeth Close Dolly Fiterman Charles C. Fullmer Norton M. Hintz Donald W. Judkins Liz Kochiras Jevne Pennock (†) Patricia H. Sheppard

Legal Counsel James A. Rubenstein, Moss & Barnett Kevin Smith

(†) Deceased

7 • Orazi & Curiazi

Officers

from the Artistic Director Welcome to this season’s very special Bel Canto presentation, Orazi & Curiazi. Though it is a 19th-century work, this production is an American premiere. In fact, this is the first staging of Mercadante’s opera since the 19th century.

Board of Directors

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The Saint Paul Chamber Orchestra Handel’s Israel in Egypt with VocalEssence Nicholas McGegan, conductor Christine Brandes, soprano Michael Chance, countertenor NEW CALENDAR John McVeigh , tenor Deric Craig, bass baritone Michael Jorgensen, bass baritone April 8, 9, 11, 13, 15

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The Minnesota Opera Orazi & Curiazi by Saverio Mercadante American Premiere of bel canto masterwork Main Hall $32 - $120 Fri, April 21, 8pm

The Saint Paul Chamber Orchestra Jazzed-Up Fridays Abbado conducts Mozart Roberto Abbado, conductor Fri, April 21, 10:30am; Sat, April 22, 8pm

The Saint Paul Chamber Orchestra Mozart’s Final Symphonies Roberto Abbado, conductor Sun, April 23, 5pm

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The Schubert Club Leif Ove Andsnes, piano Fri, April 28, 8pm; Sat, April 29, 8pm

The Saint Paul Chamber Orchestra The Minnesota Chorale performing selections by Mozart Roberto Abbado, conductor Layton James, organ Sun, April 30, 5pm

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The Schubert Club MAUD MOON WEYERHAEUSER SANBORN

International Artist Series 2006-2007 Season Anne-Sophie Mutter, violin Novenber 8, 2006

Lise de la Salle, piano January 26, 2007

Frederica von Stade, mezzo soprano Samuel Ramey, bass-baritone February 28, 2007

Emanuel Ax, piano March 21, 2007

Karita Mattila, soprano April 25, 2007 For ticket information, call The Schubert Club at 651-292-3267 Ordway Center for the Performing Arts, Saint Paul Concerts at 8:00 PM

Soprano Karita Mattila

The Schubert Club presents the Third Annual

Saint Paul Summer Song Festival June 9â&#x20AC;&#x201C;17, 2006 At the McKnight Theatre, Ordway Center for the Performing Arts

Featuring William Bolcom & Joan Morris and other superb performers! www.schubert.org

Music by Saverio Mercadante Libretto by Salvadore Cammarano World premiere at the Teatro San Carlo, Naples November 10, 1846 April 8, 9, 11, 13 and 15, 2006 Ordway Center for the Performing Arts Sung in Italian with English captions

Conductor . . . . . . . . . . . . .Francesco Maria Colombo Production . . . . . . . . . . . . . . . . . . . . .Eric Simonson Stage Director . . . . . . . . . . . . . . . . . . . .Peter Kozma Movement Coordinator . . . . . . . .Heidi Spesard-Noble Set Designer . . . . . . . . . . . . . . . . . . . . . . .Neil Patel Costume Designer . . . . . . . . . . . . . .Kärin Kopischke Lighting Designer . . . . . . . . . . . .Michael Chybowski Wigs and Makeup . . . . . . .Tom Watson & Associates Chorusmaster . . . . . . . . . . . . . . . . . . .Bruce Stasyna Production Stage Manager . . . . . . .Alexander Farino English Captions . . . . . . . . . . . . .Christopher Bergen

t h e m i n n e s o t a o p e r a • 10

The Cast Orazio, a Roman warrior . . . . . . . . . . . . Ashley Holland Camilla, fiancée of Curiazio, sister to Orazio . . . . . . . . . . . . . . . . . . . .Brenda Harris Curiazio, an Alban warrior . . . . . . . . . . . . . Scott Piper Vecchio Orazio, father of Orazio and Camilla . . . . . . . . . . . . . . . .Christopher Dickerson Sabina, wife of Orazio, sister to Curiazio . . . . . . . . . . . . . . . . . Karin Wolverton High Priest . . . . . . . . . . . . . . . . . . . Theodore Chletsos Brothers of Orazio and Curiazio, family of the Orazi, priests, soldiers, senators, Romans, Alban warriors

This project is supported in part by a grant from the National Endowment for the Arts. By arrangement with Boosey & Hawkes, Inc., agent in the USA for Josef Weinberger, Ltd., London, publisher and copyright owner. The appearances of Theodore Chletsos, Seth Keeton and John Michael Moore, national finalists, Alison Bates, regional finalist, Jamie-Rose Guarrine and Edward Mout, 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. Performances of Orazi & Curiazi are being taped for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities.

The Minnesota Opera season is sponsored by U.S. Bank, Private Client Group. The appearances of the 2005–2006 season conductors are underwritten by SpencerStuart. Opera Insights is sponsored by Thrivent Financial for Lutherans. The 2005–2006 season Camerata Circle Dinners are sponsored by U.S. Trust. Intermission reception sponsored by Lowry Hill Private Wealth Management.

Background Notes averio Mercadante presents somewhat of an enigma. In one breath he could be described as a generous colleague to fellow composers Vincenzo Bellini, Gaetano Donizetti and Giuseppe Verdi; in another, a jealous, scheming opportunist, described by Rossini as musically sound, but personally boorish. On the one hand, Mercadante graciously introduced the equally paranoid Bellini to Milan, where he would premiere his first unqualified success, Il pirata, and when Bellini was on his deathbed in Paris, Mercadante tried to visit him, then stayed for his funeral. And though Verdi would blindly entrust Mercadante with overseeing the production of Macbeth in a Naples (a city that had been constantly problematic), Mercadante would use all his influence to block a mounting of Il trovatore in the same city a few years later, according to at least one contemporaneous source. For his part, Verdi hardly seemed affected by the incident, citing Mercadante’s name at the head of his list when it came time to recruit composers to write movements for a requiem to honor Rossini’s death, “if only a few bars” (the statement may have had a touch of cruelty, as the aged Mercadante was at that time completely blind). Commentators like to point out Verdi’s

Costume sketches by Kärin Kopischke

apparent borrowings from the older composer’s works, in particular similarities between La vestale and Aida, Verdi’s resetting of Gustave III, ou le bal masqué (treated earlier by Mercadante as Il reggente), Verdi’s use of Schiller’s play Die Räuber for I masnadieri (previously set by Mercadante as I briganti) and even an appropriation of the name Violetta in La traviata, again used earlier in Mercadante’s Il bravo and in the same year as his new opera’s title character (Violetta; 1853). One can imagine a sense of bitterness could have evolved as Mercadante’s name quickly became eclipsed as Verdi’s star continued to rise. Compositionally, Mercadante is equally puzzling, having early in his career embraced Shakespeare (relatively unknown in Italy at that time) on two occasions (again, preceding Verdi) and the antiquated libretti of Metastasio and Zeno for five of his works, then switching gears in mid-life to reinvent the Bel Canto traditions in his reform operas, and filling his final decades with a retreat back to classical subjects and forms. He was equally comfortable working with the more orthodox Felice Romani, enjoying a convivial relationship that rivaled that of Bellini, then shifting to the wildly romantic Salvadore Cammarano to add spice to the enduring, stalwart classical stories of La vestale, Orazi e Curiazi, Medea and Virginia the composer seemed to prefer. Mercadante’s Orazi e Curiazi falls in the Verdi canon between the highly successful Nabucco (1842) and Ernani (1844) on one side and Macbeth (1847) on the other. Not everything that flowed from Verdi’s pen was pure gold, however – a production of Alzira in 1845 at Mercadante’s home advantage, the Teatro San Carlo, was hardly a success and remains among his least performed operas. After that dip into 18th-century literature (based on Voltaire’s Alzire, ou Les Americains), Verdi tended to focus on contemporary writings, which may be one reason for his lasting popularity. Mercadante looked in the other direction, in some cases resetting subjects already treated successfully by other composers. Orazi has a particularly rich ancestry, most notably in operas by Antonio Salieri (1786) and Domenico Cimarosa (1796), both drawn from a drama by 17th-century French playwright Pierre Corneille, itself based on turn-ofthe-first-century author Titus Livius’s History of Early Rome. Livius/Livy recounts Rome’s vaguely mythical, pre-imperial, pre-republican tribal days. Orazi hails from about 650 BC during the reign of the city’s third king, Tullus Hostilius. At that point, Rome was barely a city-state, constantly pestered by neighboring Alba. Both feared their powerful Etruscan neighbors to the north, and rather than deplete their cumulative troops in yet another civil war, the two realms devised the neat solution of having three brothers (some say two sets of triplets) from each side fight to the death. The solution is only temporary, as the Etruscan Tarquins eventually assumed power as Rome’s final kings, and had a persistent blatant disregard for the populace, leading to their overthrow and the Background Notes continue on page 12

11 • O r a z i & C u r i a z i

by David Sander

t h e m i n n e s o t a o p e r a • 12

Background Notes continued from page 11

establishment of Rome’s first republic. Alba had another have on the young Verdi? After Mercadante’s return from Spain, connection to Rome. As the older of the two cities, Alba Longa he was again engaged by impresario Domenico Barbaja to write had a king, Numitor, who spawned a daughter, Rhea Silva, an opera for the San Carlo theater. This became Zaira and was destined to become a vestal virgin as Numitor feared her hugely successful. In his time away from the Italian peninsula, children might overthrow him. She violated her oath of chastity Mercadante had developed a more personal style, straying away and gave birth to twins, Remus and Romulus, and her sons from the standard Rossinian code; he also became acquainted were raised in secret, “suckled by wolves,” and fated for conflict with the works of Bellini and programmed them next to his own in adult life. Once Remus was slain by his brother, Romulus in the Iberian theaters. The operas that followed Zaira also took over the new city-state, becoming its first king and showed this tendency toward individuality, but it was the trip to lending it his name. Fifty years later, following the Horatii Paris and the premiere of I briganti that sealed the deal. It was here (Orazi) battle and in violation of its precepts, Alba was leveled Mercadante was exposed to the fresh and prevailing style of grand by Tullus, its King Mettius massacred and its citizens opéra in the works of Auber, Halévy, Meyerbeer and the French operas of Rossini, all of which had debuted within the preceding assimilated into the Roman populace. eight years. Returning In his play Horace, the to Italy, Mercadante Classically minded seized upon what he Corneille added a few had just seen, touches to the story to give producing Il giuramento it a little more bite. From from a play, Angelo, the Curiace family, Sabine is tyran de Padou, by introduced as Horace’s Frenchman Victor spouse to strengthen the ties Hugo. By the time he between the two dynasties had written Elena da and to intensify the Feltre, the composer difficulty of their was able to articulate predicament. Similarly, the his manifesto in a new father of Horace is given style that “banished more substance, as the trivial cabalettas, epitome of Roman eliminated (Rossinian) patriotism to counter female crescendos, simplified emotion and sensibility. vocal lines, reduced From Livy, the playwright repetition, enhanced enhances the story of Réunion des Musées Nationaux/Art Resource, NY the originality of the Horace’s battle schemes cadences, emphasized (evidently the wounds The Oath of the Horatii, c. 1784, by Jacques-Louis David the story and action and suffered by the Curiace brothers variously slowed their pace, allowing the victor to finish enriched the orchestra,” in essence creating music that is each one off in quick succession), but in the modest theatrical more dramatically driven and relevant to the story at hand. The late 1830s, when Mercadante’s reform operas were at custom of bienséance, he has Camille’s murder at her brother’s hand occur offstage to end Act IV. Not stopping there, Corneille their pinnacle of glory, was precisely the same time Verdi came adds a fifth act in which Horace, condemned to a torturous death to Milan for schooling. Rejected from the conservatory for his for his misdeed, appeals his case to King Tullus and is pardoned. poor piano playing and his advanced age, Verdi took private Romanticizing things just a bit, Cammarano and Mercadante lessons and was forced to use his street smarts. Undoubtedly the made some adjustments, including the elimination of Corneille’s young composer saw many of Mercadante’s operas – one of his rather anticlimactic final act, instead using Camilla’s (onstage) masterpieces, La vestale, was programmed in the same season as murder by her brother’s hand as the ultimate scene. They also Verdi’s Genovese premiere of his first opera Oberto. His third enhanced the role of the oracle. Corneille only mentions Apollo’s opera, Nabucco, was a subject Mercadante had turned down. As Verdi’s star ascended, there is no doubt Mercadante was tantalizing prediction that all will be well as Rome and Alba will be at peace the next day, with Camille and Curiace eternally miffed. Here was an uneducated country bumpkin daring to united (in death, of course – forever cryptic, the gods never tell take leaps where the older composer had gingerly made tiny too much). In the opera, the oracle’s appearance is developed into steps – a concise, vibrant, truthful and dramatically viable work a typically Romantic mad scene, during which Camilla is driven of art. When it came time to move to Naples to head the out of her senses as the solemn message only sanctions the battle conservatory, Mercadante inveighed to undermine Verdi’s success at every turn, as the marginal successes of Alzira, Luisa that is about to occur. Romantic or not, Mercadante’s late operas have been Miller and Il trovatore all attest. Things came to a head in 1858 when Mercadante apparently uniformly described as archaic. How does Orazi fit in the context of the composer’s operatic reform and what influence did this sabotaged Verdi’s newly proposed opera, Un ballo in maschera. Background Notes continue on page 22

Synopsis

Scene three – The oracle Camilla is already in the subterranean chamber, deep in prayer over the conflicted loyalties between her brothers and her lover. When the others arrive, the oracle speaks and sanctions the conflict, driving Camilla into madness. — intermission —

act iii Set design by Neil Patel.

act i Scene one – The temple Camilla and Sabina pray with the other women as war between Rome and Alba is imminent. Both are torn by their loyalties – Sabina, an Alban, is married to Camilla’s brother Orazio, and Camilla, a Roman, is betrothed to Sabina’s brother Curiazio. The Roman senators enter with a proclamation – there will be no war between the two armies. Three Alban soldiers shall fight to the death three opposing Roman warriors. The two women fear for their respective loves, yet Camilla is able to comfort Sabina in this dark hour. The mood is brightened by the arrival of Curiazio, who is able to visit Camilla now that the peace is sealed between the two countries. Both recall the painful time they spent apart but revel in the joy of their impending marriage, which is also celebrated by the arrival of Camilla’s father. Scene two – The home of the Orazi Orazio awaits the outcome of the senators’ conclave – they have gathered to select the three who will fight against the Albans. He puts aside any feelings for his family in favor his desire to fight for

the fatherland. Orazio’s resolve is further steeled when he is selected to lead his two brothers on the Roman side of the contest. Scene three – The temple Camilla and Curiazio approach the altar as Vecchio Orazio delights in the future of his offspring – the sons destined to defend Rome, the daughter to be happily wed. The ceremony is interrupted by Orazio, who makes the harsh proclamation that the Albans have selected their warriors: the three Curiazi brothers. Camilla begs her beloved not to go and curses the gods for her cruel fate, causing the agitation of her father, brothers and priests alike. — intermission —

act ii Scene one – The home of the Orazi As Orazio prepares for battle, Curiazio recalls the past – they were once as close as brothers, and Orazio had even saved his life in battle. The Roman is moved, but only for a moment as the citizens call them both to the battlefield.

Scene one – Near the Alban encampment As dawn breaks, Curiazio confronts his impossible situation – how can he slay the Orazi and still be loved by their sister? Camilla arrives presently and begs to be put to death, rather than witness the day’s horrific outcome. They are interrupted by Alban soldiers who announce that the hour has come. The Orazi have been sighted on the battlefield. Scene two – The house of the Orazi Vecchio Orazio is troubled by recent news. Two of his sons are dead, and Orazio was seen in flight. The father is shamed by his son’s cowardice, but further reports reveal that it was only a tactical move, allowing Orazio the opportunity to finish off his adversaries one by one. Rome has been victorious. Scene three – A public square Orazio is received as a hero by all except one – his sister. Camilla rushes in, deriding her brother’s murder of her lover. Orazio demands that she compose herself, and cede her private grief to the public good, as he has done. The discussion becomes heated, and when it becomes clear that Camilla will not be consoled, Orazio puts her to death.

13 • O r a z i & C u r i a z i

Scene two – Before the city gates Just as the battle is about to begin, the opponents take an oath to win or die and the people to submit to the victor. The High Priest interrupts the proceedings with news that they have provoked divine anger. All proceed to the oracle at once.

b Altamura, September 17, 1795; d Naples, December 17, 1870 contemporary of Gioachino Rossini, Vincenzo Bellini and critics. Consequently, Barbaja cancelled Mercadante’s Neapolitan Gaetano Donizetti, Saverio Mercadante’s career spanned contract in favor of a more Rossinian composer, Pacini. In 1827, Mercadante almost the entire Bel Canto age, embarked on a trip to Spain and continuing well into Giuseppe Portugal, and spent several Verdi’s middle period. With years as director of Italian opera nearly 60 operas to his credit, in Madrid. This did much to the Neapolitan composer was ameliorate his reputation in also one of the most prodigious, Italy upon his return, and by almost equaling the oeuvres of 1833 he had managed to obtain Donizetti and Giovanni Pacini. the position of maestro di cappella Mercadante was the product of of the Novara Cathedral. For the his father’s indiscretion with the next seven years, his operatic household maid and was later output slowed to about one officially adopted as a work per year as his attention foundling. Though born to a turned to sacred music. At the noble family, his childhood was same time he built stronger spent in poverty, due to the bonds with the northern Italian unsettled circumstances of theaters and was invited by Napoleon’s occupation of Italy. Rossini (then in Paris) to Like most of his fellow compose I briganti (1836) for composers, Mercadante showed the Théâtre Italien, following early musical promise, and his on the heels of Bellini and family moved to Naples. There Donizetti, who had produced I his father and mother married, puritani and Marino Faliero, and a forged birth certificate Portrait of Saverio Mercadante (1795-1870) respectively, one year earlier. from a Neapolitan parish (denoting a younger age) was obtained so that young Saverio Mercadante’s new work was deemed a mere succès d’estime, as all could attend the Naples Conservatory free of charge. He attention at the moment was focused on the premiere of Giacomo eventually found a seat in the famed Niccolò Zingarelli’s Meyerbeer’s Les Huguenots. Mercadante’s next big hit came with the Milan premiere of Il composition class. Mercadante’s early Neapolitan period overlapped with that of giuramento in 1837. Other works from this period include Le due Gioachino Rossini, who was chief composer for the royal theaters illustri rivali, Elena da Feltre and Il bravo. Between the death of under the directorship of impresario Domenico Barbaja. After Bellini and the advent of Verdi, Mercadante edged out Donizetti unveiling several ballets, Mercadante’s first opera, L’apoteosi at Italy’s most popular composer, confirmed by an assertion made d’Ercole, premiered in 1819 before the Neapolitan royal family by Franz Liszt and by another invitation from Rossini in 1840 to (with Isabella Colbran, Rossini’s future first wife, singing the run Bologna’s Liceo Musicale. Though Mercadante initially principal soprano role – she would create the title role of La donna accepted, during the same period the composer unveiled del lago later that season). Out of character for command La vestale, and this secured him the more prestigious directorship performances, the king applauded enthusiastically, and Rossini of the Naples Conservatory, vacated by Zingarelli’s death several also lavished praise on the young maestro. Barbaja would soon years earlier (one of Mercadante’s students would become Michele Puccini, father of the more famous Giacomo). As in Novara and secure Mercadante as Rossini’s successor. His seventh opera, Elisa e Claudio, given at the Teatro alla Scala Bologna, Donizetti had been up for the same appointment and in 1821, is generally considered his first genuine success, and over was a bit put out, as he already had been teaching at the school for the next few years Mercadante would compose voraciously for all some time. The thirties also became associated with Mercadante’s reform of the major Italian cities (Milan, Venice, Bologna and Naples), much like his contemporaries. He also had the distinction of period, during which he attempted to shake off the Rossinian being chosen for the 1824 fall season at Vienna’s principal venue, yoke and move toward a style that was more dramatically the Kärtnertortheater (also under Barbaja’s control), again forthright. He also preceded Verdi in demanding greater integrity shadowing Rossini, who had become the toast of the town during of his works, refusing alterations to his scores or substitution of a tour just two years earlier. Mercadante had been careful to follow arias. During his later years, however, Mercadante has been Zingarelli’s advice to favor the older, more dramatically truthful deemed reactionary for turning back to a conservative style and (in other words his) style rather than the more buoyant one classical subjects as Verdi moved the romantic generation forward. exhibited by Rossini’s trademark crescendos and highly decorated Mercadante’s pace slowed as his blindness became complete, and cabalettas, but this naturally drew rebuke from the Viennese the final works had to be dictated to his students. Scala/Art Resource, NY

photo by Gary Mortensen

t h e m i n n e s o t a o p e r a • 14

Saverio Mercadante

Education at the Opera 15 • O r a z i & C u r i a z i

Project Opera Hansel and Gretel Project Opera (the Opera’s new youth opera ensemble) is busy preparing for their spring production of Hansel and Gretel under the musical direction of Dale Kruse. Performances of Hansel and Gretel are free to the public and will take place at the Opera Center on May 19 at 7 pm, May 20 at 2 pm and 7 pm and May 21 at 2 pm. To attend, please call Jamie Andrews at 612.342.9573.

Summer Camp There is still time to audition for Project Opera: Summer Camp 2006! Over the course of two weeks, participants will learn a scene, stage it and present it in two public concerts. The camp staff will include Dale Kruse, Doug Scholz-Carlson, Miriam Scholz-Carlson and Jan Kimes. New this summer will be the inclusion of a student orchestra. Led by Claudette Laureano, members of the Minnesota Youth Symphonies will accompany the student scenes for the final performances. Opera Camp dates are July 10–21, from 9:30 am till 4:30 pm (no rehearsals on July 15 & 16). The final performances will be held on July 21 at 3 pm and 7 pm at the Opera Center. Tuition is $425 for singers and $150 for orchestra members, and scholarships are available. Interested singers in grades 7–12 (seniors who just graduated are welcom) are asked to set up an

High School Apprentices Setara Barukzoy, Kyle De Graff, Erin Marie Capello and Daniel Segura at their performance in Il Signor Bruschino

audition by calling Jamie Andrews at 612.342.9573.

Apprentice Recital We invite you to attend a very special recital given by The Minnesota Opera’s high school Apprentices on April 23, 2006 at 11 am at the Minneapolis Institute of Arts, 2400 3rd Avenue South. The Apprentice program is a year-long internship that provides the highest quality experience for exceptionally talented high school students interested in the professional world of opera. These students were identified by participating in Day at the Opera and Project Opera: Summer Camp last year. Throughout the year, they have attended seminars at the Opera Center that included work in

diction, vocal coaching, acting and college guidance. In addition to these recital performances, the Apprentices perform on the Opera’s main stage in Joseph Merrick, the Elephant Man.

Adult Education Class Joseph Merrick, the Elephant Man May 9, 2006, 7–9 pm Opera Center, 620 N. 1st Street, Minneapolis Join us for a very special evening with the composer of Joseph Merrick, the Elephant Man, Laurent Petitgirard. Hear first hand how he approached composing this tender, shimmering score and why he feels this story has relevance to a modern audience. This class is a wonderful way to gain insight into this American premiere production. Tour the Opera Center prior to every class. Starting at 6:15 in the lobby, a tour guide will show you where costumes are built, sets are designed and rehearsals take place. To register, call 612.342.9575. Cost is $20, $15/donors, subscribers, YPG and $10/students (with valid ID to be shown at the door).

t h e m i n n e s o t a o p e r a â&#x20AC;˘ 16

The Artists

For more biographical information about these artists, visit our website at www.mnopera.org

Theodore Chletsos

Christopher Dickerson

High Priest Minnesota Opera Resident Artist Recently Don Giovanni; Carmen; Maria Padilla; Butterfly, Minn. Opera Vanessa, Central City Opera Amahl and the Night Visitors, Minnesota Orchestra Les contes dâ&#x20AC;&#x2122;Hoffmann; Student Prince; others, Central City Op. RomĂŠo et Juliette; La bohĂ¨me, Indianapolis Opera Lâ&#x20AC;&#x2122;elisir dâ&#x20AC;&#x2122;amore; RomĂŠo et Juliette, Lyric Opera of Kansas City Upcoming Joseph Merrick, the Elephant Man, The Minnesota Opera Gianni Schicchi, Opera Theater of New Jersey

Vecchio Orazio Minnesota Opera Debut Don Giovanni, 2006 Recently Un ballo in maschera, Opera Company of Philadelphia La traviata; La sonnambula, Caramoor Festival La bohĂ¨me, Florentine Opera; Billings Opera Don Giovanni; La Cenerentola, San Antonio Lyric Opera Tosca, Fort Worth Opera Doktor Faust, San Francisco Opera Madama Butterfly; Samson et Dalila; Un ballo in maschera; La traviata; The Magic Flute, Lyric Opera of Chicago

Brenda Harris

Ashley Holland

Camilla Minnesota Opera Debut Armida, 1993 Recently Maria Padilla; Norma; Tito; others, Minnesota Opera Agrippina, New York City Opera Vanessa, OpĂŠra National du Rhin (Strasbourg) La clemenza di Tito, Metropolitan Opera; OpĂŠra du Rhin Upcoming Vanessa, Teatro Massimo (Palermo); Chautauqua Opera Macbeth, Arizona Opera; Edmonton Opera Ariadne auf Naxos, Utah Opera

Orazio Minnesota Opera Debut Maria Padilla, 2005 Recently Caligula, Frankfurt Opera; Cologne Opera Billy Budd; Falstaff; Ernani; others, English Natâ&#x20AC;&#x2122;l Opera Lucia di Lammermoor, Lyric Opera of Chicago Parsifal, Grazer Opera; Don Giovanni, Royal Opera CG La vera storia, Staatsoper (Hamburg) Upcoming ThaĂŻs, Grange Park Opera (Northington) Billy Budd, English National Opera

Karin Wolverton

Scott Piper

Sabina Minnesota Opera Debut Lucia di Lammermoor, 2001 Recently Les contes dâ&#x20AC;&#x2122;Hoffmann; Gloriana; Salome, Des Moines Metro Opera Don Giovanni; Carmen; Maria Padilla; The Magic Flute; Passion; Rigoletto; The Handmaidâ&#x20AC;&#x2122;s Tale; others, Minnesota Opera Les contes dâ&#x20AC;&#x2122;Hoffmann; The Student Prince, Central City Opera Dvorak Te Deum; Amahl, Minnesota Orchestra Upcoming The Rakeâ&#x20AC;&#x2122;s Progress, Des Moines Metro Opera

Curiazio Minnesota Opera Debut Rigoletto, 2003 Recently Carmen, The Minnesota Opera Rigoletto, Michigan Opera Theatre; Opera Roanoke Madame Butterfly, Vancouver Opera; Opera Macau Carmen; Rigoletto, CompaĂąia LĂrica Nacional (Costa Rica) Upcoming Carmen, New York City Opera La bohĂ¨me, Seattle Opera Jenufa, Glimmerglass Opera

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The Artists

For more biographical information about these artists, visit our website at www.mnopera.org

Francesco Maria Colombo

Lighting Designer Minnesota Opera Debut Recently Parsifal, Seattle Opera; V; Violet Cavern; Kolam, Mark Morris The Lieutenant of Inishmore; Beckett/Albee; The Beard of Avon, (New York) Much Ado About Nothing, Delacorte (Central Park) Oedipus Complex; Humble Boy; The Philanderer, Oregon Shakespeare Festival Upcoming Colder Than Here, MCC Theatre A Cherry Orchard, Yale Repertory Theatre

Conductor Minnesota Opera Debut Maria Padilla, 2005 Upcoming Michigan Philharmonic Orchestra (Prokofiev’s Alexander Nevsky) Malaga Philharmonic, Spain (Barber, Tchaikovsky) Czech Radio Orchestra (Schumann, Mahler) Orchestra Verdi, Milan (Brahms, Wagner) Orchestra Toscanini, Parma (Mozart, Schumann, Shostakovich) North Carolina Opera (Verdi’s Aida) Pomeriggi Musicali, Milan (Reynaldo Hahn’s Mozart)

Kärin Kopischke Costume Designer Minnesota Opera Debut La bohème, 1996 Recently Steppenwolf; American Conservatory Theatre; Goodman; Huntington; Chicago Shakespeare Theatre; Long Wharf Theatre; Milwaukee Repertory Theatre; Victory Gardens; Kennedy Center; Crossroads Theatre; San Francisco Shakespeare Festival; California Shakespeare Festival; Cincinnati Playhouse; Skylight Opera Theatre; Upcoming The Grapes of Wrath, The Minnesota Opera

Neil Patel Set Designer Minnesota Opera Debut Madame Butterfly, 2004 Recently Alcina, New York City Op.; Madame Mao, Santa Fe Op. Cavalleria rusticana; Suor Angelica, Op. Theatre of St. Louis Le nozze di Figaro; Don Giovanni, Nikikai Opera (Tokyo) Ring of Fire; Side Man; ‘Night Mother, Broadway Here Lies Jenny; Dinner with Friends; Living Out; The Long Christmas Home; Quills, the Grey Zone, Off-Broadway Regional – Guthrie Theater; Children’s Theater; La Jolla; Steppenwolf; Chicago Shakespeare; Mark Taper; others

Peter Kozma

photo not available

Stage Director Minnesota Opera Resident Artist Recently Signor Bruschino (SD); Don Giovanni; Tosca (AD), Minn. Opera La tragédie de Carmen; Poppea; The Telephone (SD), Univ. of Texas L’Orfeo (SD), Budapest Chamber Opera Don Giovanni; Le nozze di Figaro; L’elisir d’amore; The Magic Flute (SD), Ars Classica Chamber Opera (Gödöllo´´) Das Rheingold; Le nozze di Figaro; Madame Butterfly, La Cenerentola; others (AD), Hungarian State Opera Upcoming Joseph Merrick, the Elephant Man, The Minnesota Opera

Eric Simonson Production Minnesota Opera Debut The Magic Flute (tour), 1991 Recently A Note of Triumph – Academy Award (short documentary) Carter’s Way, Kansas City Repertory Five Points; On Tiptoe, HBO Television Korczak’s Children, Children’s Theatre Company Ahab’s Tale; Work Song, Milwaukee Repertory Theatre The Song of Jacob Zulu, Steppenwolf Theatre; Broadway Upcoming The Grapes of Wrath, The Minnesota Opera

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17 • O r a z i & C u r i a z i

Michael Chybowski

t h e m i n n e s o t a o p e r a â&#x20AC;˘ 18

The Artists

For more biographical information about these artists, visit our website at www.mnopera.org

Heidi Spesard-Noble

Bruce Stasyna

Movement Coordinator Minnesota Opera Debut The Merry Widow, 2002 Recently * * Carmen ; La traviata , The Minnesota Opera Midlife: the Crisis Musical*, Brigadoon*; The Christmas Show*; Big Bang, Music Man; My Fair Lady; others, Chanhassen Theatres Runaways*, Macalaster College choreographer Jesus Christ Superstar*, Hamline University Rite of Spring; Beauty and the Beast; Swan Lake; Mythical Hunters; Allegro Brilliant, Minnesota Dance Theatre American in Paris; Cakewalk; Valse Fantasie, State Ballet of Missouri

Chorusmaster Minnesota Opera Debut Der Rosenkavalier, 2000 Recently Carmina burana, Avery Fisher Hall Shakespeare Unplugged, Dallas Art Museum Don Giovanni; Tosca; others, The Minnesota Opera Fidelio; Beethoven Symphony No. 9, Minnesota Orchestra Die Ă¤gyptische Helena, American Symphony Orchestra Sweeney Todd; The Barber of Seville; Tito, Wolf Trap Opera Upcoming Joseph Merrick, the Elephant Man, The Minnesota Opera

The Minnesota Opera announces 2006-07 GENERAL/CHORUS AUDITIONS May 24, 25, 26 & 27, 2006 The Minnesota Opera Center, 620 North First Street in Minneapolis Audition Appointments Auditions are by appointment only and must be scheduled in advance. Appointments for the general public open May 1. No audition calls or appointments will be taken before this date. All appointments are on a first-come, first-served basis. Please call 612-333-2700 weekdays between 10 am till 4 pm.

own accompanist. A list of accompanists can be made available upon request.

Audition Requirements

As this is the one opportunity for everyone to be heard, non-resident singers are welcome and encouraged to audition. However, be aware that most principal roles are usually cast a year in advance and supporting roles and chorus are generally cast locally or from our Resident Artists Program.

Prepare one operatic aria of choice, in original language. Bring current resume and photo. Singer must provide

All positions paid. EOE.

TBD

t h e m i n n e s o t a o p e r a • 20

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The Minnesota Opera Chorus Raymond Ayers Alison Bates Judy Bender Karen Bushby Lisa Butcher Steve Dahlberg Kyle DeGraff* Molly Dimba Andy Elfenbein L. Peter Erickson Rebecca Fredell Peter Frenz Jamie-Rose Guarrine April Hanson Katherine Haugen Roy Heilman Robin Helgen Jeffrey Hess James Howes Ben Johnson Charles Johnson Matthew Johnson Brian Jorgensen Mark Josephsen Callie Kimball

Brian Kuhl Paula Lammers Steven Landby Shirley Leiphon Eric Mellum Mary Monson John Michael Moore Edward Mout Bill Murray Matthew Neil Aja Pridgen Peter Robinson Ana Romero Cathryn Schmidt Robert Schmidt Sandra Schoenecker Charles Schwandt Lu-Cheng Shih Melissa Steele Staci Stringer Martin Swaden Eric Vollen

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Christian Finch Andy Flamm Michael Mayer James Monson Matt Sudduth Norm Tiedemann

Resident Artists covering principal roles Raymond Ayers – Orazi Alison Bates – Camilla/Sabina Theodore Chletsos – Curiazio Seth Keeton – Vecchio Orazio Edward Mout – High Priest

* denotes Apprentice

The Minnesota Opera Orchestra Violin I

Cello

Horn

Kristen Christensen concertmaster Julia Persitz David Mickens Allison Ostrander Judy Thon-Jones Kari Giles Andrea Een Angela Hanson Conor O’Brien Megan McClendon

Adriana LaRosa Ransom Rebecca Arons Tom Austin Sally Dorer Dale Newton Fang-Yu Liang

Charles Kavalovski Charles Hodgson Neal Bolter Lawrence Barnhart

Bass John Michael Smith Constance Martin Michael Watson Rolf Erdahl

Violin II

1926 6 Pleasantt att Franklin n

Supernumeraries

Laurie Petruconis Elizabeth Decker Stephan R. Orsak Melinda Marshall Carolin Kiesel Johnson Miriam Griffiths Almut Engelhardt Kachian Bradley Johnson

Viola Vivi Erickson Laurel Browne Jenny Lind Nilsson Susan Janda Jim Bartsch Coca Bochonko

Trumpet John G. Koopmann Christopher Volpe

Trombone Phil Ostrander Sue Roberts David Stevens

Flute Michele Frisch Amy Morris

Timpani

Piccolo

Percussion

Casey Kovacic

Matthew Barber Robert Adney

Kory Andry

Oboe Marilyn Ford Merilee Klemp (double English Horn)

Harp Min Kim

Personnel Manager Clarinet Sandra Powers Nina Olsen

Bassoon Coreen Nordling Laurie Hatcher Merz

Steve Lund

TBD

t h e m i n n e s o t a o p e r a • 22

Background Notes continued from page 12

The censors were merciless on the younger composer, finding the theme of regal assassination politically offensive and insisting on so many changes that the libretto no longer bore any resemblance to the composer’s original conception. The opera eventually premiered in Rome, but still in a mutated state, the setting transferred from Sweden to Boston. Verdi’s Ballo has another distinction in the context of Mercadantean reform – it is his last to include a formal cabaletta (the faster movement of a double aria). Mercadante spoke of excising its superfluous tendencies for good, yet more than once he had been accused of not making good on that promise. And Verdi, for his more lasting innovations, was still composing traditional Rossinian double-arias in his three great middle-period masterpieces, Rigoletto, La traviata and Il trovatore. For his part, Mercadante was indeed progressive in the long run; in Orazi we find two arias, Camilla’s Act II and Vecchio Orazio’s Act III, with significant plot development between the cantabile (slow movement) and cabaletta beyond the typical tempo di mezzo, or transition section. Coupled with Meyerbeerian choral scenes of grand proportions, greater attention to the meaning of the text, urgent and earnest melodies, declamatory orchestrations, striking harmonies and melodramatic tragedy demanded by the Romantic era, Mercadante was true to his modernizing ideals. Unfortunately, he was bound by the conservatory’s conservatism and the expectations of his Neapolitan public, while the unbridled maverick Verdi could do whatever he pleased. And while

Mercadante was not especially interested in contemporary literature, Verdi had his finger on the pulse of the day and exploited the most modern of the era’s volatile plays. Likely Mercadante would have been galled to learn that Verdi had been named as his successor at the conservatory (Verdi declined the offer), and he would have been doubly outraged had he lived to see Aida, with its shades of La vestale, make its European debut at La Scala in 1872, running opposite a revival of Il giuramento. Fortunately, the composer was already two years in his grave. With its hybrid of Classical and Romantic conventions, Orazi e Curiazi was an instant success and stayed in the repertoire of the San Carlo for six months as the opera began its rounds around greater Italy. For Orazi’s 1848 local premiere in Parma, it earned a distinction achieved by many of Verdi’s “Risorgimento” operas, inciting a riot for its political overtones of the Act II oath scene during an especially tumultuous revolutionary year. Nonetheless, by 1882 Orazi faded from the repertoire, but not from the collective memory – it was revived almost 100 years later in concert form, and later recorded. These performances mark the American premiere and the first fully staged production since the 19th century of this neglected masterpiece.

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t h e m i n n e s o t a o p e r a • 24

Coming up: Joseph Merrick, the Elephant Man…

Music by Laurent Petitgirard, Libretto by Eric Nonn Sung in French with English captions

May 13, 16, 18, 20 and 21, 2006 Ordway Center for the Performing Arts For tickets, call 651-224-4222 he Minnesota Opera presents the American premiere of Joseph Merrick, the Elephant Man in a new production by acclaimed choreographer and director Doug Varone. French composer Laurent Petitgirard tells the story of the beautiful soul trapped by a tragic disease in a cinematic score that is at once shimmering and tender. Originally composed for a contralto voice, the title role will be sung by celebrated countertenor David Walker in his company debut. One of The Minnesota Opera’s most versatile and celebrated conductors, Antony Walker, returns to the podium. Joseph Merrick, the Elephant Man premiered in February,

2002, at the State Opera House in Prague (with the French title, Joseph Merrick dit Elephant Man), and was proclaimed “a moving, modern work” by Amazon.com and “a compelling score” by London’s Sunday Telegraph. It was subsequently staged to further acclaim in Nice in November and December, David Walker makes 2002, and filmed by OSF his company debut as Productions for French Joseph Merrick. television. “This opera tells the story of the Elephant Man from his own perspective, rather than from the doctor’s as did the famous David Lynch movie,” said Artistic Director Dale Johnson. “I think this is highly appropriate, because ultimately, it is the story of a beautiful soul. It’s the characters on the outside that distort that reality, seeing only his disease. To highlight this perspective, Doug Varone’s approach will rely on movement rather than disfiguring makeup to portray this spirit.” Joseph Merrick, the Elephant Man is sponsored by

…and a Conversation at the Humphrey a conversation on policy, disability and opera Wednesday, May 10, 2006, 7 pm Hubert H. Humphrey Institute of Public Affairs 301 19th Avenue, Minneapolis ext month’s American premiere of Joseph Merick, the Elephant Man is a new operatic treatment of the real-life story of a man named Joseph Merrick, who in the 1880s became a famous charity case – and ultimately a celebrity – while his debilitating condition stumped his doctors. Prior to his hospitalization, he had worked in a circus freak show act. The opera tells the story from the viewpoint of Merrick. It reveals the intelligence and sensitivity buried underneath the mask of his deformity, and delves into his desire to be “normal.” It also paints portraits of the people that surround Merrick, exposing the assumptions made by the circus showmen, medical professionals and general public about Merrick’s life. Continuing a multi-year partnership with the University of Minnesota’s Hubert H. Humphrey Institute of Public Affairs, The Minnesota Opera is convening a panel comprising experts in policymaking, medicine and

disability, as well as the opera’s composer, moderated by opera commentator Robert Marx. Using the opera as a jumping off point, this panel will create a forum in which the community can explore how policy, public perception, and people with disabling diseases interact. The event will also feature musical selections from the opera. The Minnesota Opera’s past collaborations with the Humphrey Institute have explored ideas in contemporary opera that connect to conversations in policy. These events have included an art and public policy forum discussing the differences between “freedom from” and “freedom to” as introduced in the Poul Ruders opera The Handmaid’s Tale, (May 2003 at Open Book), and “Revisiting an epic conversation,” a dialogue with The Honorable Walter F. Mondale on Nixon’s landmark visit with Chairman Mao from the perspectives of Senate history and John Adams’ opera, Nixon in China.

TWIN CITIES THEATER IS OVER-RATED At least we hope it will be. Go to IveyAwards.com, rate all the plays you see and help decide who will receive an Ameriprise Financial Ivey Award at this year’s event. You can view the performance calendar for all 61 participating theaters too!

25 • O r a z i & C u r i a z i

The Elephant Man:

t h e m i n n e s o t a o p e r a • 26

The following are all individual, corporate and foundation donors over $25,000: Andersen Foundation • Anonymous • Estate of Mrs. Judson Bemis • Julia W. Dayton John and Ruth Huss • The McKnight Foundation • Target Foundation Mary W. Vaughan Fund of The Minneapolis Foundation F. R. Bigelow Foundation • Cargill Foundation • General Mills Foundation 3M Foundation • Alfred and Ingrid Lenz Harrison • Estate of Jean Lemberg The Medtronic Foundation • The Saint Paul Foundation • Wells Fargo Foundation Minnesota C. Angus and Margaret Wurtele Karen Bachman • Alexandra O. Bjorklund • Mary and Gus Blanchard • Mary Lee Dayton Ecolab Foundation • The William Randolph Hearst Foundation • Lucy Rosenberry Jones Constance and Daniel Kunin • The Art and Martha Kaemmer Fund of HRK Foundation Keller Trust • The MAHADH Fund of HRK Foundation • Mardag Foundation John G. Ordway, Jr. • RBC Dain Rauscher Foundation • Saint Paul Travelers The Harriet and Edson Spencer Fund of The Minneapolis Foundation Rebecca Rand and E. Thomas Binger • Ellie and Tom Crosby, Jr. • Heinz and Sisi Hutter Diana and Joe Murphy • Mr. and Mrs. William Phillips • Mr. and Mrs. Steven Rothschild 1997 Irrevocable Trust of Frederick T. Weyerhaeuser Rod and Susan Boren • Mrs. Thomas B. Carpenter • Carolyn Foundation Darlene J. and Richard P. Carroll • Cleveland Foundation • Rusty and Burt Cohen Jane M. and Ogden W. Confer • Sara and Jock Donaldson Dorsey & Whitney Foundation • Vicki and Chip Emery • Brad and Diane England Faegre & Benson • Sharon and Bill Hawkins • Bill and Hella Mears Hueg Connie Fladeland and Steve Fox • Erwin and Miriam Kelen • R. C. Lilly Foundation Mary Bigelow McMillan • Thomas and Barbara McBurney • Stephanie Simon and Craig Bentdahl Kevin and Lynn Smith • Virginia L. and Edward C. Stringer • The Southways Foundation Bernt von Ohlen and Thomas Nichol • Nelson Family Foundation

27 • O r a z i & C u r i a z i

As of March 24, 2006, $12.6 million has been raised toward the $20 million Opera at the Ordway Initiative. These funds have already begun to transform the company through new productions, expanded education programs and a momentum that will expand the number of productions. The initiative will also add to The Opera’s endowment, ensuring the future of the company performing here, at the Ordway.

t h e m i n n e s o t a o p e r a • 28

The Minnesota Opera Annual Fund Individual Giving It is with deep appreciation that The 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 The Minnesota Opera, please call Dawn Loven, Director of the Annual Fund, at 612-342-9567.

Bel Canto Circle Platinum $20,000 and above

Gold $15,000–$19,999

Silver $10,000–$14,999

Mary and Gus Blanchard Julia W. Dayton John and Ruth Huss Lucy Rosenberry Jones Patricia Lund Mrs. George T. Pennock (†)* Stephanie Simon and Craig Bentdahl Mary W. Vaughan Fund of The Minneapolis Foundation C. Angus and Margaret Wurtele

Karen Bachman* Mrs. Thomas B. Carpenter Darlene J. and Richard P. Carroll* Dolly J. Fiterman Heinz and Sisi Hutter The Art and Martha Kaemmer Fund of HRK Foundation* Warren and Patricia Kelly*

Anonymous (2) Allegro Fund of the Saint Paul Foundation* Rebecca Rand and E. Thomas Binger Rod and Susan Boren Rusty and Burt Cohen Ellie and Tom Crosby, Jr. Mary Dearing and Barry Lazarus Cy and Paula Decosse Fund of The Minneapolis Foundation The Denny Fund of The Minneapolis Foundation

Connie Fladeland and Steve Fox Denver and Nicole Gilliand David Hanson and William Biermaier Karen and John Himle Constance and Daniel Kunin Ilo and Margaret Leppik Mr. and Mrs. B. John Lindahl, Jr. Ms. Becky Malkerson Ted and Roberta Mann Foundation Diana and Joe Murphy Elizabeth Musser Trust— Fir Tree Fund Albin and Susan Nelson Nelson Family Foundation Brian and Julia Palmer Kevin and Lynn Smith Mitchell and Kendall Stover Mr. and Mrs. James Swartz Catie Tobin and Brian Naas Charles Allen Ward Fund of The Saint Paul Foundation Anonymous (2) Chloe D. Ackman Lowell Anderson and Kathy Welte Martha Goldberg Aronson and

Daniel Aronson Martha and Bruce Atwater Dr. Ford and Amy Bell Alexandra O. Bjorklund Steve Chirhart Cleveland Foundation Dr. Stephen and Beth Cragle John and Arlene Dayton Thomas and Mary Lou Detwiler Rondi Erickson and Sandy Lewis Leslie and Alain Frecon Christine and W. Michael Garner Mr. and Mrs. R. James Gesell Meg and Wayne Gisslen Mrs. Myrtle Grette Dorothy J. Horns, M.D., and James P. Richardson Ken and Tina Hughes Jay and Cynthia Ihlenfeld Dale A. Johnson Jacqueline Nolte Jones Robert and Susan Josselson Stan and Jeanne Kagin Samuel L. Kaplan and Sylvia Chessen Kaplan Erwin and Miriam Kelen Michael F. and Gretchen G. Kelly and the Kelly Family Foundation Lyndel and Blaine King

Mrs. James S. Kochiras David MacMillan and Judy Krow Mahley Family Foundation Roy and Dorothy Ann Mayeske James and Judith Mellinger Richard and Nancy Nicholson – Nicholson Family Foundation Dwight D. Opperman William and Barbara Pearce Marge and Dwight Peterson Mr. and Mrs. William Phillips Stephanie Prem and Tom Owens Robert and Mary Price Lois and John Rogers Ken and Nina Rothchild Mr. and Mrs. Steven Rothschild Sampson Family Charitable Foundation Kay Savik and Joe Tashjian Fred and Gloria Sewell Drs. Joseph and Kristina Sha∂er Frank and Lynda Sharbrough Julie Jackley Steiner Tanrydoon Fund of The Saint Paul Foundation William Voedisch and Laurie Carlson Nancy and Ted Weyerhaeuser

Jeff and Barb Couture Bruce Coppock and Lucia May* Mrs. Thomas M. Crosby, Sr. Ruth and Bruce Dayton Amos and Sue Deinard Jack and Claire Dempsey Mona Bergman Dewane and Patrick Dewane John and Maureen Drewitz Susan Engel and Arthur Eisenberg* Ester and John Fesler Salvatore S. Franco Patricia R. Freeburg James and Mary Frey Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Bradley A. Fuller and Elizabeth Lincoln

David and Kathy Galligan* Richard Geyerman Lois and Larry Gibson Howard and Heidi Gilbert Micheal and Elizabeth Gorman Sima and Clark Griffith Frank Guzzetta* The Hackensack Fund of The Saint Paul Foundation Rosalie He∂elﬁnger Hall Fund of The Minneapolis Foundation Don Helgeson John S. and Rosmarie Helling Sarah Henry Diane Hoey John and Jean McGough Holten Bill and Hella Mears Hueg Mr. and Mrs. Thomas Hull

James L. Jelinek and Marilyn Wall Linda Johnson Markle Karlen Jessie L. Kelly E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Kenneth Kixmoeller and Kim Otness Mr. and Mrs. William Kling Gerard Knight Lisa C. Kochiras Maria Kochiras Kyle Kossol and Tom Becker Robert L. Kriel and Linda E. Krach Helen L. Kuehn Anita Kunin Mark and Elaine Landergan Robert L. Lee and Mary E. Scha∂ner Carl Lee and Linda Talcott Lee

Sara and Jock Donaldson Alfred and Ingrid Lenz Harrison* Mr. and Mrs. Philip Isaacson* Peter J. King Lynne Looney Thomas and Barbara McBurney Harvey T. McLain Mary Bigelow McMillan Mrs. Walter Meyers Bruce and Sandy Nelson Jose Peris and Diana Gulden Elizabeth and Andrew Redleaf

Camerata Circle Platinum $7,500–$9,999 Anonymous Jane M. and Ogden W. Confer Rolf and Nancy Engh N. Bud and Beverly Grossman Foundation Sharon and Bill Hawkins Bryce and Paula Johnson Mr. and Mrs. Steven Rothschild Timothy and Gayle Ober Bernt von Ohlen and Thomas Nichol Connie and Lew Remele Virginia L. and Edward C. Stringer

Gold $5,000-$7,499 Anonymous (2) Eric and Tracy Aanenson Rachelle Dockman Chase Dr. James E. and Gisela Corbett Susan and Richard Crockett David and Vanessa Dayton Mary Lee Dayton Sally J. Economon Chip and Vicki Emery Brad and Diane England Tom and Lori Foley Mr. and Mrs. John Forsythe

Silver $2,500–$4,999

Artist Circle $1,000–$2,499 Anonymous (4) Floyd Anderson Paula Anderson Kim A. Anderson John Andrus, III Mr. and Mrs. Edmund P. Babcock Dr. Thomas and Ann Bagnoli James Baldwin and Mary Atmore Mr. and Mrs. Paul G. Boening Jan and Ellen Breyer Judith and Arnold Brier Conley Brooks Family Elwood F. and Florence A. Caldwell Bruce and Deanna Carlson Joan and George Carlson Joe and Judy Carlson Wanda and David Cline

The Minnesota Opera Annual Fund Artist Circle (continued) Susan Lenthe Stefanie Lenway and Tom Murtha Diane and Sid Levin Michael and Diane Levy Sy and Ginny Levy Family Fund of The Minneapolis Foundation Jerry and Joyce Lillquist Benjamin Y. H. and Helen C. Liu Bill Long Dawn M. Loven Mr. and Mrs. Donald Lucker Margery Martin Lois and Rick Marsh

Gilah Mashaal Samuel D. and Patricia McCullough William Messerli Sandy and Bob Morris Mrs. John H. Myers Susan Okie Luis Pagan-Carlo Kelly and Michael Palmer Allegra Parker Karen B. Paul William and Suzanne Payne Jodi and Todd Peterson* Mary Ingebrand Pohlad

James and Connie Pries Tim and Elin Raymond Frances and George Reid Kit Reynolds and Mike Schwimmer John and Sandra Roe Mrs. John C. Rowland Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Patty and Barney Saunders Jim Scarpetta Dr. and Mrs. Richard J. Schindler Stanislaw and Krystyna Skrowaczewski Je∂ and Helene Slocum

Don and Leslie Stiles Robert and Barbara Struyk James and Susan Sullivan Henry and Virginia Sweatt Michael Symeonides Mr. and Mrs. George H. Tesar Lois and Lance Thorkelson Emily Anne and Gedney Tuttle Allan Valgemae and Robert Harding Mr. and Mrs. Philip Von Blon Fred and Ellen Wells Ms. Wendy Wenger Teresa Williams

Bruce and Ann Christensen Joann M. D. Cierniak J.P. Collins Edward Conway and Kathleen Jerde Bill and Kate Cullen Fran Davis Joe Dowling and Siobahn Cleary Joyce and Hugh Edmondson Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Herbert and Betty Fantle Catherine C. Finch Donald and Gail Fiskewold Carolyn Fiterman Cheryl Kreofsky and Michael Fitzgerald Henry and Anice Flesh Dr. Stanley M. and Luella G. Goldberg Alan Goldbloom Robert Goodell and Renee Brown Paul and Margot Grangaard Deanne and John Greco Robert and Ellen Green Sarah Green Marjorie and Joseph Grinnell Bruce and Jean Grussing Roger L. Hale and Nor Hall Ruth E. Hanold Kristin Hayes and Greg Sochacki Franz and Jeannie Hofmeister Joe and Nancy Holmberg

Ekdahl Hutchinson Family Fund of The Minneapolis Foundation David and Sally Hyslop Diane and Paul Jacobson Andrzej and Urszula Jaworski Mrs. Owen Jenkins Dr. and Mrs. Charles R. Jorgensen Jane and Jim Kaufman Fund of The Minneapolis Foundation Jessie L. Kelly Steve and Jolie Klapmeier Roy and Mary Letourneau Jonathan and Lisa Lewis Joan E. Madden C.S. McCrossan Orpha McDiarmid Family Fund Sheila McNally L. David Mech Charles and Victoria Mogilevsky Theresa A. Murray and Jim Murray Paul C. Muzio Lowell and Sonja Noteboom Bradley Nuss Dennis R. Olson Mr. and Mrs. G. Richard Palen Dan and Pat Panshin Paula Patineau Kern and Kathryn Peterson James J. Phelps and Nancy McGlynn Phelps Nicole and Charles Prescott Elsie L. Quam

Lawrence M. Redmond Ann M. Rock James and Andrea Rubenstein Janet and Bill Schaeder Karen A. Schaffer Mahlon and Karen Schneider Marcia and Stephen Schultz Bill and Althea Sell Janet and Irving Shapiro Peter and Bonnie Sipkins Jim and Cindie Smart Daniel and Marilyn Spiegel Warren Stortroen Roxanne Stouffer and Joseph Cruz Joanne Strakosch and William Umscheid Dana and Stephen Strand Brian and Mia Sullivan Allan Valgemae and Robert Harding Will and Li Volk Elaine B. Walker The Wallin Foundation David M. and Mary Ann Barrows Wark Mr. and Mrs. Charles Webster James and Sharon Weinel Lani Willis and Joel Spoonheim Mary Wong

Patron Circle Gold $750–$999 Anonymous (1) Quentin and Mary Anderson Mr. and Mrs. Carl W. Clessler Joe Dowling and Siobahn Cleary C.D.F. Foundation Drs. Greg and Angie Hatfield Joan and Richard Newmark Nicole and Charles Prescott Thomas D. and Nancy J. Rohde The Harriet and Edson Spencer Fund of The Minneapolis Foundation Keith and Catherine Stevenson Frank and Frances Wilkinson

Silver $500–$749 Anonymous (1) Fred Amram and Sandra Brick Woodbury H. and Cynthia Andrews Genevive Antonello Satoru and Sheila Asato Ruth and Dale Bachman James and Gail Bakkom Mrs. Harvey O. Beek Barbara S. Belk Gerald and Phyllis Benson Michael and Paige Bingham Thomas and Joyce Bruckner Patrick and Kristen Burton Daniel and Christine Buss Gerald and Sarah Caruso Paul Cavall

*Includes Gala Fund-a-Dream support.

Estate and Planned Gifts The 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 The Minnesota Opera. If you have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity. For more information on possible gift arrangements, please contact Dawn Loven, Director of the Annual Fund, at 612-342-9567. Your attorney or ﬁnancial advisor can then help determine which methods are most appropriate for you. Anonymous (2) Mary A. Andres Mr. and Mrs. Rolf Andreassen Karen Bachman Mark and Pat Bauer Barbara and Sandy Bemis (†) Darlene J. and Richard P. Carroll Judy and Kenneth (†) Dayton Mrs. George Doty Rudolph Driscoll (†) Sally Economon

Paul Froeschl Robert and Ellen Green Ieva Grundmanis (†) Norton M. Hintz Jean McGough Holten Charles Hudgins Dale and Pat Johnson Robert and Susan Josselson Mrs. Markle Karlen (†) Steve Keller Blaine and Lyndel King

Gretchen Klein (†) Bill and Sally Kling Gisela Knoblauch (†) Mr. and Mrs. James Krezowski Robert Kriel and Linda Krach Robert Lawser, Jr. Jean Lemberg (†) Gerald and Joyce Lillquist Margaret L. and Walter S. (†) Meyers Edith Mueller (†) Scott Pakudiatis

Sydney and William Phillips Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Andrew H. Stewart, Jr. Barbara and Robert Struyk James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick

These lists are current as of March 1, 2006, and include donors who gave gifts of $500 or more to The Minnesota Opera Fund since July 1, 2004. If your name is not listed appropriately, please accept our apologies, and call Megan Stevenson, Individual Gifts Associate, at 612-342-9569. (†) Deceased

29 • d o n g i o v a n n i

Individual Giving

t h e m i n n e s o t a o p e r a • 30

The Minnesota Opera Annual Fund Institutional Giving Corporations and Foundations Platinum $10,000+ 3M Allianz Life Insurance of North America Ameriprise Financial Fred C. and Katherine B. Andersen Foundation The Bush Foundation Cargill Foundation Deloitte Deluxe Corporation Foundation Dorsey & Whitney Foundation Ecolab Foundation General Mills Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation Lowry Hill Private Wealth Management The MAHADH Fund of HRK Foundation The McKnight Foundation The Medtronic Foundation OPERA America’s Opera Fund Rider Bennett SpencerStuart St. Paul Travelers SUPERVALU Stores, Inc. Target Foundation Thrivent Financial for Lutherans Twin Cities Opera Guild U.S. Bancorp Foundation U.S. Bank, Private Client Group U. S. Trust Company Wells Fargo Foundation Minnesota Wenger Foundation

Gold $5,000-$9,999 ADC Telecommunications AT&T Foundation Bemis Company Foundation Briggs and Morgan Faegre & Benson Jostens, Inc. Lindquist & Vennum R. C. Lilly Foundation Onan Family Foundation Pentair, Inc. Piper Ja∂ray

Carl and Eloise Pohlad Foundation Rahr Foundation RBC Dain Rauscher Foundation Star Tribune Foundation Valspar Foundation Xcel Energy Foundation Boss Foundation Dellwood Foundation Mary Livingston Griggs and Mary Griggs Burke Foundation Hutter Family Foundation Alice M. O’Brien Foundation The Elizabeth C. Quinlan Foundation Margaret Rivers Fund Schwegman, Lundberg, Woessner & Kluth, PA Tennant Foundation Thomson West Arts & Custom Publishing Co., Inc. Brock-White Co., LLC The Burdick-Craddick Family Foundation Curtis L. Carlson Family Foundation Digital Excellence, Inc. Gunkelmans Interior Design Hogan & Hartson Horton, Inc. Le Jeune Investment, Inc. Leonard, Street & Deinard Maslon, Edelman, Borman & Brand Mayo Clinic McVay Foundation Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust Peregrine Capital Management The Regis Foundation Robins, Kaplan, Miller & Ciresi Securian Foundation The Southways Foundation St. Croix Foundation Charles B. Sweatt Foundation Tozer Foundation

Minnesota Opera Sponsors Season Sponsor

Conductor Appearances

U.S. Bank, Private Client Group

SpencerStuart

Production Sponsors

Evening Intermission Sponsor

Tosca, U.S. Bank, Private Client Group Don Giovanni, Target Joseph Merrick, the Elephant Man, Ameriprise Financial

Lowry Hill Private Wealth Management

Opening Night Gala Sponsor U.S. Bank, Private Client Group Marshall Field’s Gives Okabena Advisors

RAP Teaching Artists Wenger Foundation

$50,000 – $99,999

Corporate Circle $1,000-$2,499

City of Saint Paul’s Cultural STAR Program Minnesota State Arts Board National Endowment for the Arts

General Mills

$100,000 +

Silver $2,500-$4,999

Government

Production Innovation System

The Minnesota Opera gratefully acknowledges its major corporate supporters:

Promotional Support Minnesota Monthly

Opera Insights Thrivent Financial for Lutherans

$25,000 – $49,999

$10,000 – $24,999

31 â&#x20AC;˘ O r a z i & C u r i a z i

Good listening

{TAKES PRACTICE.}

TBD

Nancy Meeden 651.282-9650

Crocus Hill Office

Are you a 20- or 30-something who’s curious about opera? Looking for something new and fun to look forward to? Join other young professionals for the hottest ticket in town — The Minnesota Opera’s Young Professionals Group!

UPCOMING EVENTS Opera Nights Out: Orazi & Curiazi, April 15 Joseph Merrick, the Elephant Man, May 20 Spring Swing, April 29 Great Waters is the ofﬁcial venue for Opera Nights Out

To join, visit www.mnopera.org, email us at ypg@mnopera.org, or call us at 612.342.9550

TBD

The low-cost YPG membership (only $30 per season) entitles members to great seats at the Opera for rock-bottom prices, as well as post-opera cocktail parties and special events throughout the season. YPG season tickets are now available for 2006-2007.

33 • O r a z i & C u r i a z i

Cultivating a new generation of opera-goers in the Twin Cities

TBD