Georges Bizet
The
Pearl Fishers
The Schubert Club MAUD MOON WEYERHAEUSER SANBORN
Photo: Christian Steiner
International Artist Series
Christine Brewer
Great seats available starting at $25 Leonidas Kavakos, violin
Susan Graham, mezzo soprano
Monday, October 26, 2009
Wednesday, December 2, 2009
Takรกcs Quartet
Yefim Bronfman, piano
Tuesday, January 12, 2010
Wednesday, March 31, 2010
Christine Brewer, soprano Tuesday, May 25, 2010
Concerts at 8:00 PM โ ข Ordway Center Call The Schubert Club Box Office 651-292-3268
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Pearl Fishers
© 2009 Tim Boatman
The
Contents The Minnesota Opera Staff and Volunteers . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Board of Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 The Pearl Fishers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Georges Bizet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Gala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 The Minnesota Opera Resident Artist Program . . . . . . . . . . . . . . . 19 The Minnesota Opera Ensemble and Orchestra . . . . . . . . . . . . . . 20 Take the Opera Personality Quiz . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Upcoming: Casanova’s Homecoming. . . . . . . . . . . . . . . . . . . . . . . 24 Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . 28 Donor Spotlight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
The Minnesota Opera President & ceo Artistic Director Chair, Board of Directors
Kevin Smith Dale Johnson Chip Emery
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September–October 2009
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NOTES FROM THE
Artistic Director
Welcome to the opening production of the 2009–2010 Minnesota Opera season – The Pearl Fishers! As you will see when you read the synopsis on page 13, this opera is a beautiful, exotic love story. Bizet is a master of melody and, along with penning famous arias, he’s created one of the most popular duets in all of opera. This sensuous, colorful production of The Pearl Fishers was designed by fashion designer Zandra Rhodes and is perfectly paired with the opera’s lushly painted orchestrations. The Minnesota Opera Orchestra will be under the capable baton of Leonardo Vordoni in his company debut. Under the direction of Andrew Sinclair, who also debuts with the Minnesota Opera, this production is the perfect
FROM THE
marriage of aural and visual, and will certainly transport you into the world of ancient Ceylon this evening. It’s also a pleasure to introduce new singers with this production. All three of our principals come to the Minnesota Opera stage for the first time – international sensation Isabel Bayrakdarian, who played Leïla in the production’s sold-out American premiere, Jesus Garcia, who won a Tony Honors for Excellence in Theater for his role in Baz Luhrmann’s La bohème on Broadway, and Philip Cutlip, established in both North America and Europe with a distinguished list of conductors. We welcome these wonderful artists to our season opening. Enjoy the opera!
Dale Johnson Artistic Director
President
Welcome to the 2009–2010 season! With repertoire ranging from romance to comedy and drama, this season is bound to be one of the company’s most memorable. There are very few opera companies that are able to present the wide range of works featured in the coming Minnesota Opera season. Your presence and support heightens our ability to capitalize on our greatest strength – the energetic, innovative exploration and production of varied repertoire. We are grateful to have the level of community support that allows us to take these leaps forward, both artistically and institutionally, that further reinforce the Minnesota
Opera’s reputation as America’s most exciting opera company. Whether this is your first opera experience or your thousandth, we are thrilled you are joining us, and invite you to return as a subscriber for the remainder of the season if you are not already. See page 21 to see how you can apply your ticket to The Pearl Fishers into a season of world-class operas – at a discount! Whether you choose to see the whole season or just three operas, you will enjoy flexible ticket exchange privileges, discounts on additional tickets and more benefits. Thank you for being here, and enjoy the show.
Kevin Smith President and ceo
The Minnesota Opera is proud to be a member of The Arts Partnership with The Saint Paul Chamber Orchestra, The Schubert Club and Ordway Center for the Performing Arts.
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FROM THE
Leadership
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ordway.org 21 67$*( Oct 13-25 Times Vary LITTLE HOUSE ON THE PRAIRIE THE MUSICAL with Melissa Gilbert as “Ma” Oct 15-Nov 8 Times Vary Ordway Center’s McKnight Theatre Theater Latté Da presents THE FULL MONTY Oct 26 (8pm) The Schubert Club LEONIDAS KAVAKOS, violin Oct 30 (7:30pm) Target® World Music and Dance Series Rasta Thomas’ BAD BOYS OF DANCE Oct 30 (10:30am, 8pm); Oct 31 (8pm) The Saint Paul Chamber Orchestra HÅKAN HARDENBERGER AND FRANKENSTEIN!! Nov 1 (7:30pm) Target® World Music and Dance Series YASMIN LEVY Nov 7 (8pm) The Saint Paul Chamber Orchestra ¡CANTA DAWN UPSHAW! Nov 14, 17, 19, 21 (7:30pm); Nov 22 (2pm) The Minnesota Opera CASANOVA’S HOMECOMING by Dominick Argento
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Nov 18 - Dec 27 Times Vary Ordway Center’s McKnight Theatre SISTER’S CHRISTMAS CATECHISM Featuring Kimberly Richards
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Nov 27 (10:30am, 8pm); Nov 28 (8pm) The Saint Paul Chamber Orchestra WELCOMING CHRISTIAN ZACHARIAS Dec 2 (8pm) The Schubert Club SUSAN GRAHAM, mezzo soprano Dec 4 (10:30am, 8pm); Dec 5 (8pm) The Saint Paul Chamber Orchestra BAROQUE DELIGHTS
BOARD OF
Directors
Officers Chip Emery, Chair Rachelle D. Chase, Vice Chair Stephanie J. Prem, Secretary Heinz F. Hutter, Treasurer Kevin Smith, President & CEO
Directors Martha Goldberg Aronson Ruth S. Huss Wendy Bennett Philip Isaacson Charles Berg Lynne E. Looney Shari Boehnen Diana E. Murphy Susan S. Boren Luis Pagan-Carlo
A Tribute to Thomas R. McBurney
Kathleen Callahan Debra Paterson Nicky B. Carpenter Jose Peris Jane M. Confer Mary Ingebrand-Pohlad Mary A. Dearing Elizabeth Redleaf Jodi Dehli
Connie Remele
Sara Donaldson Stephanie Simon
Over the past two decades as a Minnesota Opera Board member, Board Chair and Emeritus Director, Tom led numerous key strategic initiatives charting the company’s course of artistic and institutional growth. Tom co-chaired the Governance Committee in 1991 which established a stronger, more focused board structure. He authored The McBurney Report, a comprehensive analysis of fundraising, which led to the creation of the Opera’s current, highly effective development program. He also chaired the Performance Venue Committee, which led to the $20 million Opera at the Ordway Initiative and the new Arts Partnership with the Opera, The Saint Paul Chamber Orchestra, the Ordway and The Schubert Club. Most recently, Tom served as the first chair of the Minnesota Opera Works Committee, which has established the most ambitious contemporary opera program in the industry. It is with profound respect and appreciation for his many contributions to Minnesota Opera and to the community that we dedicate this production of The Pearl Fishers to the memory of Thomas R. McBurney.
Bianca Fine Peter Sipkins Thomas J. Foley Steve Fox
Simon Stevens Virginia Stringer
Denver Gilliand H. Bernt von Ohlen Sharon Hawkins
Emeriti Karen Bachman John A. Blanchard, III Burton Cohen Julia W. Dayton Mary W. Vaughan In Memoriam: Thomas R. McBurney
Honorary Directors Dominick Argento Philip Brunelle Elizabeth Close Dolly Fiterman Charles C. Fullmer
Legal Counsel
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T
om McBurney, who passed away this past spring, was a community leader of great vision, commitment and skill. Although his volunteer work covered the full spectrum of charitable causes, Tom’s love of music and opera led to an association with Minnesota Opera that had a transformational impact on the company (and, I think, on Tom as well).
James A. Rubenstein, Moss & Barnett
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Norton M. Hintz Liz Kochiras Patricia H. Sheppard
Kevin Smith President & ceo Minnesota Opera
Music by Georges Bizet Libretto by Eugène Cormon and Michel Carré World premiere at the Théâtre Lyrique, Paris, September 30, 1863
The
Pearl Fishers
September 26, 29, October 1, 3 and 4, 2009 Ordway Center for the Performing Arts Sung in French with English captions Conductor . . . . . . . . . . . . . . . . . . . Leonardo Vordoni Stage Director . . . . . . . . . . . . . . . . . Andrew Sinclair Choreographer . . . . . . . . . . . . . . . . .John Malashock Set and Costume Designer . . . . . . . . Zandra Rhodes Lighting Designer . . . . . . . . . . . . . . . . Kendall Smith Wig and Makeup Designers. . . . . . . . . .Jason Allen and . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ronell Oliveri Assistant Director . . . . . . . . . . . . . .Octavio Cardenas Assistant Conductor . . . . . . . . . . . . . . .Clinton Smith Assistant Choreographer . . . . . . . . . Michael Mizerany Chorusmaster. . . . . . . . . . . . . . . . . . . .Mary Dibbern Stage Manager . . . . . . . . . . . . . . . . Alexander Farino English Captions. . . . . . . . . . . . . . . . . .Dale Johnson
The Cast Leïla, priestess of Brahma. . . . . . Isabel Bayrakdarian Nadir, a fisherman . . . . . . . . . . . . . . . . Jesus Garcia Zurga, head fisherman . . . . . . . . . . . . . .Philip Cutlip Nourabad, high priest of Brahma. . . Jonathan Kimple Dancers . . . . . . . . . . . . . . . . Zenon Dance Company Fishermen, Indians, Brahmins Setting: Ceylon in ancient times
BACKGROUND The Pearl Fishers is sponsored by The Private Client Reserve at U.S. Bank. The Minnesota Opera staff and board of directors would like to dedicate this production of The Pearl Fishers to the memory of Thomas R. McBurney.
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By arrangement with G. Schirmer, Inc., publisher and copyright owner.
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Production designed by Zandra Rhodes for San Diego Opera and Michigan Opera Theatre; sets for The Pearl Fishers executed by San Diego Opera Scenic Studio; costumes for The Pearl Fishers executed by San Diego Opera Costume Shop. The appearances of Isabel Bayrakdarian and Jesus Garcia, winners, and Jonathan Kimple, district finalist of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program. Performances of The Pearl Fishers are being taped for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities. The Minnesota Opera season is sponsored by The Private Client Reserve at U.S. Bank. The appearances of the 2009–2010 season conductors are underwritten by SpencerStuart.
Notes
by David Sander
G
iven the astounding popularity the opera Carmen eventually achieved, it’s surprising how little success Georges Bizet would realize in his short lifetime. Even the one-act Djamileh and the incomplete Ivan iv demonstrate his extraordinary gifts, but fate would not be kind. Twelve years earlier, at age 24 with six operas in various stages under his belt, Les pêcheurs de perles (The Pearl Fishers) would be only his second full-scale work to reach the stage. The opera had a somewhat reputable run of performances, with the score winning thunderous praise from the public. Collaborators Eugène Cormon and Michel Carré guiltily proclaimed that they would have written a better libretto, had they known Bizet’s true talent, but composers were frequently at the mercy of the theater’s impresario when choosing a subject – many craved a succès d’argent (a financial triumph) rather than a product of any real artistic integrity.
BACKGROUND
enticed an increasingly wealthy and burgeoning middle class. Their easy money created a demand for ready-made works at Parisian salons, while royal commissions fell by the wayside. Literature and music followed suit, exemplified by Victor Hugo’s Les Orientales, Gérard de Nerval’s Le voyage en Orient, Sir Walter Scott’s The Talisman, Gustave Flaubert’s Salammbô and Prosper Mérimée’s Carmen, first appearing in the Revue des deux mondes in 1845. Even Spain (the setting of Carmen), with its Moorish history and geographic isolation, had been grouped into the Occidental Mediterranean.
In music, Félicien David composed Mélodies orientales in 1836 from his notebook of foreign tunes, followed by a highly influential symphonic poem, Le désert, and the operas La perle du Brésil, Lalla-Roukh and Herculanum. Generally considered the forerunner of the movement, his music drew high praise from the overly critical (and often jealous) Hector Berlioz. David inspired all the major composers of the day: Giacomo Meyerbeer (L’Africaine, set on a nameless island in Indian Ocean), Gounod (La reine de Saba, set in the Levant), Bizet (Djamileh, set in Cairo), Jacques Offenbach (Ba-ta-clan, set in China; also the Giulietta act of Les contes d’Hoffmann is set in Venice, traditionally considered part of Byzantium), Saint-Saëns (Samson et Dalila, set in the Middle East), Ambroise Thomas’ Le caïd (set in Algeria), and Jules Massenet (Le roi de Lahore, set in what is now Pakistan). Biblical subjects, traditionally taking place in Palestine and Egypt, attracted new significance as composers sought to recreate actual or artificial melodies. Non-traditional scales, ancient modes and altered intervals began to color both staged and orchestral works. Even Verdi’s Aida (set in Egypt) ➤
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© 2009 Ken Howard/San Diego Opera
Such may be the case for Les pêcheurs de perles – it is doubtful the composer had even first read the text prior to setting it to music. To meet the demands of theater producer Léon Carvalho, the two errant librettists had in fact plagiarized themselves, having recycled text from a failed opera, Les pêcheurs de Catane, with music by Aimé Maillart, first presented at the Théâtre Lyrique in 1860. The subject matter was typical for the day, based in part on a 19th-century ethnographic anthology by Octave Sachot entitled L’île de Ceylan et ses curiosités naturelles, which discusses the fishing of pearls in great detail. The title was temporarily changed to Leïla and the setting from Sicily to Mexico with the fishers becoming Native American, until the political situation in that country became too topical. In league with France, the Austrian emperor’s brother Maximilian was sent to quell the uprising and rule the Mexican people, which would ultimately lead to his execution. The mystery of ancient Ceylon proved to be a much safer location. Part of Pêcheurs’ everlasting appeal is its exotic nature. Exoticism was in full bloom in 19thcentury France – stories of faraway places in dreams and legends were very attractive to the escapist bourgeoisie. Fatigued by the regimentation of war and the mechanization of industry, they were unlikely to dare (in those days) an arduous journey beyond the provinces. Even the Occitan of southern France had a dangerous sense of the untamed. Exoticism as a genre finds its roots at the turn of the 19th century with Napoleon’s Egyptian campaigns. Besides raping the country of pyramids and obelisks, the future emperor generated new interest in the Orient, at that time considered to be Northern Africa and the Middle East. By mid-century, periodicals such as the Revue des deux mondes and Le Globe glamorized these locales during an era when translations of The Arabian Nights also became quite popular. Visual artists, such as Eugène Delacroix and Horace Vernet, used their own experiences (either real or imagined) to recreate the color and vibrancy of foreign cultures as seen through Western eyes. As more regular travel expanded to the Near and Far East, so did possibilities for new subjects. These are evidenced in part by Jean-Léon Gérôme’s hyper-realist depictions of Arabia, by the Impressionists’ interest in Japanese prints and patterns, and toward the century’s turn, Paul Gauguin’s vibrant Tahitian scenes and Henri Matisse’s dazzling visions of Morocco. New themes and subjects
Notes
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BACKGROUND
Notes
draws its exotic moments from this approach – in fact, all of that composer’s operas in the French model fit into this category: Aida, though originally written for Cairo, had its eye toward a Paris premiere; Don Carlos, set in Spain, again features “Moorish” harmonies in Eboli’s “Veil Song;” Les vêpres siciliennes, set in Sicily, another untamed, remote outpost; and Jérusalem,
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© 2009 Ken Howard/San Diego Opera
12
set in Palestine. Opportunities for sumptuous scenic design easily followed suit in an effort to provide visual titillation with detailed pictorial accuracy. Current events also played a role, as Britain and France scrambled to conquer the known world. British intrusion influenced the Middle East and Egypt as the Ottoman Empire was eventually reduced to a fraction of its former glory, the conflict of nations and of religions being key features of Orientalism. The Suez Canal opened in 1869 (an event that eventually was to bring Verdi’s Aida into existence), making travel to foreign places all the more convenient. India revolted against its imperial overlords, only to be confiscated by the British crown (a deal sealed by Queen Victoria’s elevation to empress in 1877). Japan begrudgingly opened its doors to Commodore Perry, while the less fortunate French vied for supremacy around the perimeter, on the coasts of Africa and in the expansive South Seas. In this quest for acquiring land mass,
the contrast of the Orient (“them”) helped define the European West (“us”). The newly constrained world was celebrated by the Industrial Age in a series of world exhibitions hosted by London and Paris. During these events, composers and artists found a high profile venue where one could find financial backing in order to experiment with new trends to their fullest potential. European behavior in a distant setting was allowed to break social and sexual taboos (described by Orientalist guru Edward Saïd as a “free zone”), often leading to the destruction of a naïve indigenous girl who innocently casts a melodious spell. Antiquated religious practices also displayed European Christian superiority. A pagan priestess in violation of her vows is a familiar operatic theme, most notably in Vincenzo Bellini’s Norma or Gaspare Spontini’s La vestale. Léo Delibes’ later opera about another errant priestess, Lakmé, shows a debt to the genre, Pêcheurs in particular – compare the title character’s virtuosic Bell Song to the budding fioritura in Leïla’s “Dans le ciel sans voile.” Under the veil of a “primitive” religion, Bizet’s tribal people are engaged in a risky profession (by 19th-century standards still considered dangerous, even deadly) thus enhancing their deeply superstitious and barbaric savagery danced under the blinding blue of a cerulean sky. Unlike many popular exotic operas (Madame Butterfly, Carmen and Lakmé among them), there are no contrasting “cultivated” Western characters in the cast list. The forward-thinking Lyrique was no stranger to this brand of opera. Not subject to the limitations imposed upon the somnolent Opéra, Opéra-Comique or the Théâtre Italien, this rogue venue was devoted to producing new works from young composers barred from the traditional houses. The theater presented 118 original operas during its 19-year history and gave rise to the popularity of Gounod (Faust, Mireille and Roméo et Juliette were premiered there), Léo Delibes (Le jardinier et son seigneur) and Hector Berlioz (Les Troyens à Carthage), among others. The theater was also known for mounting translations of Italian and German works. All of the major Mozart operas were performed there, as well as Verdi’s Rigoletto, La traviata (as Violetta), Macbeth (in a revised version for Paris) and Un ballo in maschera. Originally located on the Boulevard du Temple in the Marais district, the theater fell victim to Baron Haussmann’s Paris re-design. It was relocated just north of the Seine at the Place du Châtelet and presently houses the Théâtre de la Ville (but was once named after the legendary actress, ➤ BACKGROUND NOTES CONTINUED ON PAGE 15
Synopsis act iii act ii The violent storm has subsided, but At the sacred temple, Nourabad Zurga’s thoughts are still clouded by instructs Leïla to stay isolated during remorse. Leïla arrives alone and begs the night. Gathering strength, she for Nadir’s life to be spared. His heart recalls a time in her youth when she is steeled once again when he learns secretly sheltered a stranger who was that Nadir was her only love. The being pursued by vigilantes. Grateful, the man gave her a necklace, which she deadly sentence will be carried out for still wears. She is left alone and dreams both of them. As Leïla prepares to be of Nadir, who soon arrives in the flesh. executed, she asks that her necklace be given to her mother. Zurga recognizes Leïla fears the consequences and begs it as the one he gave her so many years him to leave, but then succumbs to ago when she saved his life. To distract his desires. A storm interrupts their the raging pearl fishers, he sets the reunion and Nadir departs, but not village on fire and allows Leïla and before being spotted by Nourabad, Nadir to escape. For his culpability, who takes him into custody. The two lovers are brought before the people. Zurga is put to death in their place. It is up to Zurga to pass judgment, and he is about to let his friend escape with the priestess, until he recognizes Leïla. They are sentenced to death.
production sketch courtesy of Zandra Rhodes
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act i On an arid beach, the pearl fishers prepare for a successful dive. Zurga is declared their leader. Nadir appears out of the forest and approaches. He has not seen his former comrade Zurga for many years and is invited to join the community. The cause of their rift was a beautiful woman, Leïla, whom they both loved. To save their friendship, the two men promised that neither would pursue her further, and Nadir departed to cleanse his soul. They swear to be brothers once more. As part of the sacred ritual to ward off evil spirits, a chaste unknown priestess must be brought from a distant island, and she soon arrives. No one may know her identity, and Zurga requires that she take a vow to remain pure and uphold their faith under penalty of death. A veiled Leïla recognizes Nadir, who identifies her in turn from her voice. His passion is reborn as Leïla leads the people in a prayer to the god Brahma.
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GEORGES
Bizet
b Paris, October 25, 1838; d Bougival, June 3, 1875
G
eorges Bizet’s short career was primarily devoted to opera, reaching a remarkable climax in 1875 with Carmen. This nowfamous opera followed a succession of complete and incomplete works that had no lasting success in Bizet’s lifetime. Only six operas survive in a performable text. Bizet’s childhood was surrounded by music. His mother, Aimée, was the sister of François Delsarte, who would become famous for his development of singing and acting technique. It was at his home where Aimée met her future husband, Adolphe Bizet, also a music teacher. Young Georges entered the Paris Conservatoire in October 1848, just before his tenth
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Portrait of Georges Bizet by Eichhorn Albert (1811–1851) Private Collection/Roger-Viollet, Paris The Bridgeman Art Library
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birthday. He developed extraordinary gifts as a pianist and score-reader and won prizes for both piano and organ playing. Among his earliest works from the mid 1850s was Le Docteur Miracle, a comic opera in the Italian style. It was composed for a competition offered by Jacques Offenbach’s Bouffes-Parisiens theater, for which he shared first prize. Soon after, Bizet won the prestigious Prix de Rome, and while in Italy, he composed Don Procopio, the first of a series of yearly submissions expected by the Académie. In compliance with a related subsidy, the OpéraComique was required to produce works by Prix de Rome winners. When Bizet returned from Italy in 1860, the theater commissioned him to write La guzla de l’émir, which was put into rehearsal but then withdrawn when the composer received a much more promising offer from the Théâtre Lyrique for Les pêcheurs de perles (The
Pearl Fishers). No music for La guzla de l’émir survives, but documents from the Académie suggest that the famous duet in Act i of Pêcheurs was salvaged from it. Although admired by many, Les pêcheurs de perles was not well received by the press, and dropped out of the French repertoire until after Bizet’s death. Léon Carvalho, director of the Théâtre Lyrique, reaffirmed his faith in Bizet by commissioning a grand opera with a libretto Gounod had abandoned, Ivan iv. Carvalho’s repeated postponements, however, drove Bizet to offer the piece to the Opéra, where it was rejected. Several years of financial difficulty followed, and the composer was forced to arrange transcriptions for publishers Choudens and Heugel in order to support himself. He had kept up his piano skills (which had at one time drawn attention from the virtuoso Franz Liszt) and served as rehearsal pianist for various occasions. By 1867, Bizet had become engaged to Geneviève, daughter of the famed composer Fromental Halévy, but her family postponed the marriage for two years because of his reduced economic circumstances. Bizet had signed another contract with Carvalho for La jolie fille de Perth (The Fair Maid of Perth), inspired by the current rage for operas based on the writings of Sir Walter Scott. The new work finally reached the stage in December 1867, where it played for 18 performances – again too few to ensure a Parisian revival in the composer’s lifetime. In the ensuing years, several projects proposed for the Opéra-Comique came to nothing. Of these, only Clarissa Harlowe and Grisélidis survive in draft. Djamileh, however, was produced in 1872, and in the same year, Bizet composed incidental music to Alphonse Daudet’s drama L’arlésienne. Bowing to the recent trend for Oriental themes, Djamileh still failed to please its audience and was withdrawn after a short run. L’arlésienne passed without notice, though it would later become a popular concert piece. The Opéra-Comique next commissioned a full-length opera, set to text by the notable team of Henri Meilhac and Ludovic Halévy (Geneviève’s cousin), which would become Carmen in 1875. Bizet still dreamed of producing a work at the Opéra and found time to compose Don Rodrigue (inspired by Guillém da Castro y Bellvís’ Las mocedades del Cid) after production of Carmen had been delayed. But the old Opéra burned down on October 28, 1873, and the composer would not be able to achieve this ambition during his brief existence.
Notes
© 2009 Ken Howard/San Diego Opera
BACKGROUND
Sarah Bernhardt, who produced theater there in the early 20th century). Unable to withstand its own costly avant-garde programming, the theater closed in 1870. In 1863, Les pêcheurs de perles seemed to have a rosy future. The opera ran in repertory with Mozart’s Les noces de Figaro and was followed by Part One of Berlioz’ epic Trojan drama. The public liked it, but the critics didn’t, curtly remarking that the libretto involved no actual fishing and the music lacked any pearls. They incongruously described the opera as “Wagnerian,” a tough blow for any young French composer as the German visionary represented everything that was wrong in music, from recurrent themes to progressive harmonies and “atrocious dissonances.” Bizet would be charged with this violation throughout his career, even when considering the forward-thinking Carmen’s “fate theme.” In retrospect, though the repeating theme found in Pêcheurs’ Friendship Duet reinforces an opera steeped in memory, the concept of Wagnerian leitmotif was still underdeveloped, while the use of such “reminiscence melodies” was commonplace in France. More critics cited frequent borrowings from other works – not necessarily by Bizet. Many fellow composers were hostile to Bizet for these reasons, as well as his early successes at such a precocious age. He had gone to Italy as a Prix de Rome winner equipped with letters of recommendations from Gioachino Rossini and Michele Carafa (to then-Naples Conservatory director Saverio Mercadante) and had received praise from Rossini for his one-act Le Docteur Miracle, commissioned and premiered by Jacques Offenbach. Bizet’s jealous contemporaries also cited his lack of adherence to genre – his opera clearly had traces of both grand opéra (a stoic showcase of French civilization) and opéra comique (a light and breezy
style that emphasized morality and always ended happily). It defied classification in either category stuck in a conventional aesthetic which had been strictly codified since the early part of the 19th century. This led to later tragic variants on the opera’s original positive outcome – Zurga is frequently executed or immolated on the funeral pyre (he doesn’t die in the original version), or in other cases, Leïla commits suicide by poisoning herself. Further criticism claimed Bizet’s exotic opera was a derivation from the Italian school, another detriment to its reputation. Though today’s listener might struggle to find evidence to substantiate these claims, coincidentally, Bizet’s early opus became somewhat popular in Italian translation – Pietro Mascagni and Giacomo Puccini most likely saw it while they were young bohemians living in Milan during the 1880s. They were inspired by Bizet’s colorful orchestration which would also draw attention from the usually prickly Berlioz, himself an incredibly skilled master of instrumentation, as well as the equally gifted Igor Stravinsky. For a period of time, the opera was more popular in Italy than in France, until a 1932 revival at the Opéra-Comique that would achieve more than 800 performances. Productions in the 20th and 21st centuries still rely on Carmen’s popularity to get audiences in the door, but in spite of a rather thin plot and static, undeveloped stock characters, Les pêcheurs de perles remains an attractive, sumptuous score, giving us a hint of its composer’s genius. Of a career somewhat analogous to his hero Wolfgang Amadeus Mozart, many have predicted that Georges Bizet might have attained a stature in France equal to that of Richard Wagner in Germany or Giuseppe Verdi in Italy, had he lived beyond his mere 36 years. ❚
| THE PEARL FISHERS
BACKGROUND NOTES CONTINUED FROM PAGE 12
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Individual Tables
Corporate Tables
Karen Bachman and Dr. Robert Fisch & Jane and Ogden Confer
3M Beganik Strategy + Design
Mary and Gus Blanchard Rachelle D. Chase and John Feldman & Luis Pagan-Carlo Judy Dayton Sara and Jock Donaldson Vicki and Chip Emery Ruth and John Huss Martha and Art Kaemmer Mary and Barry Lazarus & Stephanie Prem and Tom Owens Stephanie Simon and Craig Bentdahl Mary Vaughan
Gala Sponsors Travelers Premier Corporate Sponsor U.S. Bank Sponsor
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Special Thanks
Deloitte
Octavio Cardenas
Dorsey & Whitney llp
Dean Hawthorne
Medtronic
Leadership Cultivation Committee
Okabena Advisors
The Minnesota Opera Board of Directors
Spencer Stuart
Kevin Ramach
Target
TEMPO – Young Professionals Group of the Minnesota Opera
Travelers U.S. Bank
Fund-a-Dream
Wells Fargo
Minnesota Opera is pleased to announce a generous matching gift of $50,000 from Mr. Dwight D. Opperman. All proceeds up to $50,000 from tonight’s reverse auction will be matched dollar for dollar to benefit the Opera’s Resident Artist Program.
Gala Committee Heinz F. Hutter Honorary Gala Chair Rachelle D. Chase Individual Co-Chair Andy F. Bessette Corporate Co-Chair
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Auction Donors
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A&R Pistachios Acme Comedy Company Adler Planetarium & Astronomy Museum al Vento Jamie Andrews Martha Goldberg Aronson Avant Karen Bachman Wendy Bennett Charles Berg Bibelot Shops John A. Blanchard III Shari Boehnen Susan Boren Brave New Workshop Café Barbette Cafe Latté Café Maude Kathleen Callahan Nicky Carpenter Chanhassen Dinner Theatres Rachelle D. Chase Kelly Clemens Burton Cohen Elisabeth Comeaux ComedySportz Como Zoo Park and Conservatory Jane and Ogden Confer Gisela and Jim Corbett Roxy Cruz Subrato Dey Judy Dayton Mark Debold Jodi Dehli Patrick Dewane Jessica Doklovic Sara and Jock Donaldson Joshua Dorothy Duluth Superior Symphony Orchestra Chip Emery Everest on Grand Danielle Faribault Bianca Fine Thomas Foley Steve Fox Gardens of Salonica Clare Gardner Denver & Nicole Gilliand Glimmerglass Opera Great Harvest Bread Company of Minnetonka Melody Haines Sharon Hawkins S. D. Hawthorne Hennepin Theatre Trust History Theatre Tuckaghrie Hollingsworth Fran and Arthur Horowitz Ruth Huss Heinz F. Hutter Intoto Philip Isaacson James Sewell Ballet Jawaahir Dance Company John G. Shedd Aquarium Dale Johnson Robin Keck – Big Picture Framing Angie Keeton Mary Lazarus Len Druskin, Inc. Susan Leppke Let’s Dish! Letter Perfect Lynne Looney Dawn Loven MacPhail Center for Music MakeMusic, Inc. Mark Manns Marty Mathis Direct Milkweed Editions Minneapolis Institute of Arts Minnesota Dance Theatre & Dance Institute Minnesota Jewish Theatre Company Minnesota Landscape Arboretum Minnesota Zoo Bill Murray National Lutheran Choir New Scenic Café Jamie Nieman Eric Norman Old Log Theater Candyce Osterkamp Linda Ott Luis Pagan-Carlo Park Square Theatre Megan Pelka Jose Peris Sydney and Bill Phillips Mary Ingebrand Pohlad POP! Stephanie Prem Ragamala Dance Kevin Ramach Elizabeth Redleaf Mike Reed Connie Remele Ribnick Fur & Leather Salon One Joseph Samuelson Katie Schoeneck Science Museum of Minnesota Stephanie Simon and Craig Bentdahl Bonnie and Peter Sipkins Emily Skoblik Kevin and Lynn Smith Spill the Wine Simon Stevens Virginia Stringer Summit Brewing Company The Elephant Walk Bed and Breakfast The Lexington The Loft Literary Center The Minnesota Opera The Minnesota Wild The Saint Paul Chamber Orchestra The Saint Paul Conservatory of Music The Saint Paul Hotel The Schubert Club The Wildcat Sanctuary Tres Jolie Salon Mary W. Vaughan View Restaurant and Lounge Vincent – A Restaurant VocalEssence Bernt von Ohlen Waddell Interiors Walker Art Center Wildside Caterers Lani Willis Wine Cellar Innovations Zeno Café Zenon Dance Company and School Daniel Zillmann Auction Donors as of August 12th, 2009
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THE
Artists
For more biographical information about these artists, visit our website at www.mnopera.org
Isabel Bayrakdarian
Philip Cutlip
Leïla (soprano)
Zurga (baritone)
Zahle, Lebanon
Recently Zerlina, Don Giovanni; Pamina, Die Zauberflöte, Metropolitan Opera Poppea, L’incoronazione di Poppea, Gran Teatre del Liceu (Barcelona) Blanche, Dialogues des Carmélites, Lyric Opera of Chicago
Upcoming title role, Cunning Little Vixen, Maggio Musicale
Ilia, Idomeneo, Paris Opera; Canadian Opera
Jesus Garcia
Orphée, Orphée, Glimmerglass Opera Almaviva, Le nozze di Figaro, Utah Opera Zurga, Les pêcheurs de perles, Columbus Marcello, La bohème, Seattle Opera Mattieux, Andrea Chénier, Teatre del Liceu Rodrigo, Don Carlo, Hawaii Opera Theater Sharpless, Madame Butterfly, Arizona Opera
Upcoming Ariodate, Xerxes, Houston Grand Opera
Jonathan Kimple Nourabad (bass-baritone)
Houston, Texas
Dallas Center, Iowa
Recently
Upcoming Odivio, Before Night Falls, Ft. Worth Opera Gérald, Lakmé, Opéra de Toulon
John Malashock
Recently Count Ceprano, Rigoletto; Giove, La Calisto; Marchese d’Obigny, La traviata, Portland Opera Santa Fe Opera Apprentice Artist Ceprano, La traviata, Sarasota Opera
Upcoming Colline, La bohème; Second Inquisitor/Tartaglia, Casanova’s Homecoming, Minnesota Opera
Zandra Rhodes
choreographer
set and costume designer
Omaha, Nebraska
Chatham, Kent (England)
Recently artistic director – Malashock Dance (San Diego) Les pêcheurs de perles, San Diego Opera; New York City Opera; San Francisco Opera choreographer – La Jolla Playhouse; Old Globe Theatre; San Diego Symphony; La Jolla Music Society 4 Emmy Awards for projects with kpsb & ucsd-tv
Upcoming Surface Tension, Malashock Dance
| THE MINNESOTA OPERA www.mnopera.org
Recently
Nadir (tenor)
Arbace, Idomeneo, Opéra de Nancy Steva, Jenufa, Opéra de Marseille Nadir, Les pêcheurs de perles, Opéra de Toulon Rodolfo, La bohème, Auckland (New Zealand); Rio de Janeiro; Prague Baz Luhrmann’s La bohème on Broadway
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Ellensburg, Washington
Andrew Sinclair stage director Melbourne, Victoria (Australia)
Recently Tosca; Maria Stuarda; Lucia di Lammermoor; Les pêcheurs de perles, San Diego Opera Tosca; Der Rosenkavalier, Royal Opera House – Covent Garden I masnadieri, Teatro Comunale (Bologna) Peter Grimes; Cav./Pagliacci, Australian Opera
Upcoming La traviata, San Diego Opera La bohème, Opera Colorado
Recently Les pêcheurs de perles; Die Zauberflöte, San Diego Opera Aida, English National Opera; Houston Fashion designs for the late Diana, Princess of Wales, Madonna, Claudia Schiffer, Kirsten Dunst, Kate Moss, Iman, Jerry Hall, Kylie, Sarah Jessica Parker, Bianca Jagger, Debbie Harry and Twiggy Commander of the British Empire
Kendall Smith lighting designer Valparaiso, Indiana
Recently Il trovatore, San Antonio Opera Die Fledermaus, Manhattan School of Music Carmen; Madame Butterfly, Michigan Opera Theatre
Upcoming Nabucco; A Little Night Music, Michigan Opera Theatre
Almost Maine, geva Theatre
THE
Artists Leonardo Vordoni conductor Trieste, Italy
Recently staff conductor – Metropolitan Opera Maria Malibran Concert, Rossini Opera Fest. Tutti in maschera, Wexford Festival
Upcoming Casanova’s Homecoming, Minnesota Opera Il barbiere di Siviglia, Opera Colorado; Houston Grand Opera L’italiana in Algeri, Utah Opera Mosè in Egitto, Chicago Opera Theater
Resident Artist Program
You can receive special deals, parking alerts and insider information from the Minnesota Opera via email. Visit www.mnopera.org and click on “Join Our E-Club.”
From late August through April, Resident Artists gain valuable performing experience in our mainstage productions. Assignments range from ensemble, understudy and comprimario to leading roles during the opera season as well as outreach, concerts and events. Master classes with guest artists, individualized language classes, coaching from our artistic staff, acting, movement and stage combat training, tai chi, yoga and professional career development are just a few of the benefits of the program. Learn more about the 2009–2010 roster at mnopera.org/RAP. Pictured above left to right FRONT ROW: Nicole Percifield, Octavio Cardenas, Naomi Isabel Ruiz, Cassandra Flowers BACK ROW: Eric McEnaney, Jeremy Reger, Clinton Smith, Jonathan Kimple, Rodolfo Nieto, Brad Benoit, Michael Nyby
is proud to support the Minnesota Opera
WE ARE PLEASED TO PRESENT GUEST CONDUCTOR MAESTRO LEONARDO VORDONI IN THE MINNESOTA OPERA’S PRODUCTION OF THE PEARL FISHERS.
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Did you know?
THE MINNESOTA OPERA
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Minnesota Opera welcomes Zenon Dance Company to The Pearl Fishers
THE MINNESOTA OPERA Chorus Alex Barnett Nathan Brian Anna Brandsoy Janalyn Bump Nick Chalmers Ben Crickenberger John deCausmeaker Erin Donnelly Jennifer Eckes Carole Finneran Peter Frenz Carmelita Guse Katherine Haugen Roland Hawkins Sandra Henderson Benjamin Hills Kathleen Humphrey Ben Johnson Hye Won Kim Elizabeth Kohl Evan Kusler
Zenon Dance Company 27th Fall Concert November 19 – 29, 2009 Ritz Theater www.zenondance.org
Arts & Custom Publishing is proud to publish and sell advertising in this Minnesota Opera program.
THE MINNESOTA OPERA
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Creative Designer Susan Schwegman Graphic Designer Suzanne Sentyrz Klapmeier For advertising rates:
www.artsandcustom.com
Dancers Mary Ann Bradley* Samantha Collen Bryan Gerber Bryan Godbout* Colleen McClennan Ueland
Leslie O’Neil* Eddie Oroyan* Jeffrey Peterson Stephen Schroeder* Greg Waletski* *Zenon Dance Company
Supernumeraries John Blaska John Edel Jorgen Hartje Joe Lozano Andrew Northrop Brandon Oman Steve Simenson Michael Smith Christian Spalding Keith York
Orchestra
Violin I
Cello
Horn
Jim Jacobson Sally Gibson Dorer Rebecca Arons Thomas Austin Fang-Yu Liang
Matthew Wilson Charles Hodgson Neal Bolter Lawrence Barnhart
Violin II
Michele Frisch Amy Morris
Viola
Advertising Account Executives Amy Newton Alice Reimann Lisa Jacobson
Elizabeth Longhurst Joel Mathias Eric Mellum Mary Monson Bill Murray Phong Nguyen Rodolfo Nieto Jon Thomas Olson Nicole Percifield Andre Rouveau Evelyn Tsen Cathryn Schmidt Sandra Schoenecker Adan Verela Lola Watson
Allison Ostrander concertmaster Julia Persitz David Mickens Judy Thon Jones Angela Waterman Hanson Andrea Een Conor O’Brien Giselle Hillyer Natalia Moiseeva Lindsay Erickson Laurie Petruconis Stephan Orsak Melinda Marshall Margaret Humphrey Lydia Miller Huldah Niles Nora Scheller Alastair Brown
General Manager Keith Engen
Ensemble
Susan Janda Vivi Erickson Laurel Browne Jenny Lind Nilsson James Bartsch Justin Knoepful
Bass John Michael Smith Constance Martin Jason C. Hagelie
Flute Oboe
Trumpet John G. Koopmann Christopher Volpe
Trombone Phillip Ostrander John Tranter David Stevens
Timpani Kory Andry
Michael Dayton Mark Seerup (double English Horn)
Clarinet Karrin Meffert-Nelson Nina Olsen
Percussion Paul Hill David Hagedorn
Harp Min Kim
Bassoon Coreen Nordling Laurie Hatcher Merz
We wish to acknowledge Marilyn Ford and Sandra Powers , who have left the Minnesota Opera Orchestra after 34 and 19 years respectively. We wish them well in their new endeavors.
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Education AT THE OPERA Summer Opera Camp Students from around the country spent an intensive eight days learning and staging operatic scenes at the Minnesota Opera’s fifth annual Summer Opera Camp. Participants explored the music of Britten, Poulenc, Bizet, Mozart and Purcell along with an array of American art songs.
Poetic admires the costume of Don José that she designed.
| THE MINNESOTA OPERA www.mnopera.org
SUCCESS Academy
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Reaching out to students of all ages and all backgrounds is a hallmark of the Minnesota Opera’s education department. Sharing the excitement of opera and seeing connections being made with young people is at the heart of the Opera’s outreach programs. Last year Angie Keeton, Teaching Artist, began work with middle school students at SUCCESS Academy in Minneapolis. The school, a unique consortium between Minneapolis Public Schools and Hennepin County, provides an opportunity for at-risk students to continue their schooling when more traditional settings have failed. Initiated by their music teacher, an artist residency was created to explore the music, history and social context of the opera Carmen. Throughout the residency students studied the main characters, discussed their complex relationships and tried to find similar modern day
Alex Farino talks about the role of a stage manager.
connections. One special assignment was for each student to create a costume design of one of the characters from the opera that could be used in an actual production. The residency culminated in a field trip to the Opera Center where the students could see the behind-the-scenes work that goes on in mounting an opera. One big surprise for the students was that the costume shop actually realized two of their costume designs and had them on display. Seeing these students discover the beauty and power of opera and then experience the modern day relevancy shows that opera really can be for everyone. Artist residencies like this are part of the Opera’s coOPERAtion! program that is generously supported by Medtronic.
Education AT THE OPERA Casanova’s Homecoming Adult Education Class Tuesday, November 10 7:00–9:00 p.m. At the Opera Center Call 612.333.6669 for tickets. Composed in 1985 for the Ordway’s opening season, Casanova’s Homecoming tells the light-hearted story of the aging Casanova’s return to Venice where old rivals trick him into seducing a castrato, whom Casanova discovers is actually a woman in disguise. Explore this fantastic score based on Casanova’s memoirs, with Minnesota’s own Pulitzer-Prize wining composer Dominick Argento.
Check out the Minnesota Opera’s multi-award winning education website imagineopera.org. Fun to explore, this website gives a peek behind the curtain and shows how an opera is put on stage, the “galaxy” of opera history and more. imagineopera.org is generously supported by Best Buy Children’s Foundation.
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it’s alive
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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 the Director of the Annual Fund Dawn Loven at 612-342-9567, or email her at dloven@mnopera.org.
Bel Canto Circle Platinum $20,000 and above Anonymous (1) Karen Bachman Mary and Gus Blanchard Jane M. and Ogden W. Confer Julia W. Dayton Sara and Jock Donaldson Vicki and Chip Emery Ruth and John Huss Sisi and Heinz Hutter Mr. and Mrs. Philip Isaacson Lucy Rosenberry Jones
The Art and Martha Kaemmer Fund of HRK Foundation Dwight D. Opperman Elizabeth Redleaf Stephanie Simon and Craig Bentdahl Mary W. Vaughan Fund of The Minneapolis Foundation C. Angus and Margaret Wurtele
Gold $15,000–$19,999 Nicky B. Carpenter Ellie and Tom Crosby, Jr.
Cy and Paula Decosse Fund of The Minneapolis Foundation Dolly J. Fiterman Sharon and Bill Hawkins Barbara McBurney
Silver $10,000–$14,999 Anonymous (4) Susan Boren Dr. and Mrs. Daniel D. Buss Mary Dearing and Barry Lazarus Warren and Patricia Kelly Peter J. King
Jenny Lind Nilsson and Garrison Keillor Harvey T. McLain Mrs. Walter Meyers Diana and Joe Murphy Mary Ingebrand Pohlad Bernt von Ohlen and Thomas Nichol
Camerata Circle Platinum $7,500–$9,999 Allegro Fund of The Saint Paul Foundation Kathleen and William Callahan Dr. and Mrs. Richard Carroll Rachelle Dockman Chase James and Gisela Corbett N. Bud and Beverly Grossman Foundation Erwin and Miriam Kelen Albin and Susan Nelson Debra Paterson and Mark Winters Stephanie Prem and Tom Owens Connie and Lew Remele Joseph Sammartino Maggie Thurer and Simon Stevens
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Gold $5,000–$7,499
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Anonymous Tracy and Eric Aanenson James Andrus Martha Goldberg Aronson and Daniel Aronson Shari and David Boehnen Martha and Bruce Atwater Fund of The Minneapolis Foundation Nancy and Chuck Berg Susan and Richard Crockett David and Vanessa Dayton Mary Lee Dayton
Connie Fladeland and Steve Fox Mr. and Mrs. William Frels Denver and Nicole Gilliand David Hanson and William Biermaier Alfred and Ingrid Lenz Harrison Bill and Hella Mears Hueg Kirsten and Ron Johnson Debra and James Lakin Ilo and Peggy Leppik Mr. and Mrs. B. John Lindahl, Jr. Lynne Looney Mr. and Mrs. Donald Lucker Sandy and Bruce Nelson Bill and Barbara Pearce Jose Peris and Diana Gulden Edward Phares Lois and John Rogers Chris and Mark Schwarzmann Drs. Joseph and Kristina Shaffer Peter and Bonnie Sipkins Kevin and Lynn Smith Karen Sternal Virginia L. and Edward C. Stringer Mr. and Mrs. James Swartz
Silver $2,500–$4,999 Anonymous (4) Kim A. Anderson Annette Atkins and Tom Joyce Alexandra O. Bjorklund
Dr. Lee Borah, Jr. Margee and Will Bracken Christopher J. Burns Elwood and Florence Caldwell Rusty and Burt Cohen Jeff and Wendy Wenger Dankey Jodi Dehli Thomas and Mary Lou Detwiler Mona and Patrick Dewane Rondi Erickson and Sandy Lewis Tom and Lori Foley Patricia R. Freeburg Bradley Fuller and Elizabeth Lincoln Christine and Jon Galloway Mr. and Mrs. R. James Gesell Lois and Larry Gibson Meg and Wayne Gisslen Mrs. Myrtle Grette Karen and John Himle Dorothy Horns and James Richardson Dr. and Mrs. Arthur Horowitz Tina and Ken Hughes Cynthia and Jay Ihlenfeld Dale A. Johnson Jacqueline Nolte Jones Robert and Susan Josselson Stan and Jeanne Kagin Lyndel and Blaine King
Helen L. Kuehn Robert L. Lee and Mary E. Schaffner Benjamin Y. H. and Helen C. Liu Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation David MacMillan and Judy Krow Mary Bigelow McMillan Elizabeth Musser Trust – Fir Tree Fund Nancy and Richard Nicholson Eric Norman Ruth and Ahmad Orandi Julia and Brian Palmer Marge and Dwight Peterson Mr. and Mrs. William Phillips Mary and Paul Reyelts Nina and Ken Rothchild Kay Savik and Joe Tashjian Fred and Gloria Sewell Lynda and Frank Sharbrough Bruce and Julie Jackley Steiner Tanrydoon Fund of The Saint Paul Foundation William Voedisch and Laurie Carlson Ellen M. Wells Nancy and Ted Weyerhaeuser
Judson Dayton Ruth and Bruce Dayton The Denny Fund of The Minneapolis Foundation Margaret Diablasio Jessica and Jonathan Doklovic Elise Donohue Sally J. Economon Ann Fankhanel
Ester and John Fesler Joyce and Hal Field Rihab and Roger FitzGerald Salvatore Silvestri Franco Leslie and Alain Frecon Kris and Kristina Fredrick Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation
Artist Circle $1,000–$2,499 Anonymous Paula Anderson and Sheila Bray Jamie Andrews and Jane Kolp-Andrews Nina and John Archabal Satoru and Sheila Asato August J. Aquila and Emily Haliziw Mr. and Mrs. Edmund P. Babcock
Ruth and Dale Bachman Ann and Thomas Bagnoli Maria and Kent Bales Mrs. Paul G. Boening Conley Brooks Family Joan and George Carlson Barb and Jeff Couture Mrs. Thomas M. Crosby, Sr. Fran Davis
THE MINNESOTA OPERA
INDIVIDUAL GIVING
Annual Fund
Artist Circle (continued) Christine and W. Michael Garner Heidi and Howard Gilbert Stanley and Luella Goldberg Michael and Elizabeth Gorman Bruce and Jean Grussing Hackensack Fund of The Saint Paul Foundation Ruth E. Hanold Robert Harding and Allan Valgemae, M.D. Don Helgeson and Sue Shepard Sharon and Cliff Hill Diane Hoey John and Jean McGough Holten Margaret and Andrew Houlton Thomas Hunt and John Wheelihan Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Todd Hyde Teresa and Chuck Jakway James Jelinek and Marilyn Wall Markle Karlen
E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Mr. and Mrs. William Kling Gerard Knight Mrs. James S. Kochiras Robert Kriel and Linda Krach Constance and Daniel Kunin Mark and Elaine Landergan Sy and Ginny Levy Family Fund of The Minneapolis Foundation Jerry and Joyce Lillquist Bill Long Dawn M. Loven Mahley Family Foundation Roy and Dorothy Mayeske Helen and Charles McCrossan Patricia and Samuel McCullough Sheila McNally The Kendrick B. Melrose Family Foundation Velia R. Melrose
Jane and Joseph Micallef David and LaVonne Middleton Anne W. Miller Moore Family Fund for the Arts Sandy and Bob Morris Judy and David Myers Elizabeth B. Myers Joan and Richard Newmark Rebecca and Bradley Nuss Derrill M. Pankow Allegra W. Parker Paula Patineau Suzanne and William Payne Suzanne and Rick Pepin Mary and Robert Price Connie and Jim Pries Sara and Kevin Ramach George Reid John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde Gordon and Margaret Rosine
Sampson Family Charitable Foundation Patty and Barney Saunders Dr. and Mrs. Richard J. Schindler Stanislaw and Krystyna Skrowaczewski Matthew Spanjers Kristi and Mark Specker The Harriet and Edson Spencer Foundation Julie and Bruce Steiner Dana and Stephen Strand Robert and Barbara Struyk Michael Symeonides and Mary Pierce Tempo Board Members Carolyn and Andrew Thomas Lois and Lance Thorkelson Mr. and Mrs. Philip Von Blon James and Sharon Weinel Mr. and Mrs. Don White Clark J. and Sharon L. Winslow
Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Donald and Naren Bauer Barbara S. Belk Martin and Patricia Blumenreich Judith and Arnold Brier Thomas and Joyce Bruckner I-ming Shih and Arnold Chu Joann Cierniak J.P. Collins Elisabeth Comeaux Roxanne and Joseph Cruz Norma Danielson Bruce Dayton Amos and Sue Deinard Mary Elise Dennis Joan R. Duddingston Joyce and Hugh Edmondson Herbert and Betty Fantle C.D.F. Foundation Jane Fuller David Gilberstadt R. Hunt Greene and Jane Piccard
Marjorie and Joseph Grinnell Roger L. Hale and Nor Hall Albert and Janice Hammond Stefan and Lonnie Helgeson Diane and Paul Jacobson Mrs. Owen Jenkins Janet N. Jones Drs. Charles and Sally Jorgensen Jonathan and Lisa Lewis Donald and Rhoda Mains Tom and Marsha Mann Carolyn and Charles Mayo Sam Meals Jack and Jane Moran Lowell and Sonja Noteboom John Ohle Ann and John O’Leary Pat and Dan Panshin Dan Rasmus and Kari Fedje Rasmus Dennis M. Ready Lawrence M. Redmond William and Sue Roberts Ann M. Rock
Liane A and Richard G Rosel Gordon and Margaret Rosine Anne Salisbury David E. Sander Dr. Leon and Alma Satran Ralph Schneider Mrs. Donald Sell Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Jon Spoerri and Debra Christgau Anthony Thein Greg Thompson Patricia Tilton Susan Travis Emily Anne and Gedney Tuttle Stephanie C. Van D’Elden Morgan Walsh Jerry Wenger Barbara and Carl White Helen and J. Kimball Whitney Barbara and James Willis Mr. John W. Windhorst Jr.
Patron Circle Gold $750–$999 Anonymous Dr. and Mrs. Orn Arnar Gerald and Phyllis Benson Wanda and David Cline Mr. Steven A. Diede Jennifer Gross and Jerry LeFevre Frederick J. Hey Jr. Nancy and Donald Kapps The Redleaf Family Foundation The Harriet and Edson Spencer Foundation Warren Stortroen Cindy and Steven Vilks Frank and Frances Wilkinson Lani Willis and Joel Spoonheim
Silver $500–$749 Arlene Goodman Alm Charles Anderson Eric S. Anderson and Janalee R. Aurelia
These lists are current as of July 1, 2009 and include donors who gave a gift of $500 or more during the Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Dawn Loven, Director of the Annual Fund, at 612-342-9567.
The Minnesota Opera has recently introduced a Sustainable Giving option. Becoming a sustaining member is a wonderful way to increase your annual support while spreading your gift over time. It also strengthens the impact of your charitable dollar by cutting out the cost and environmental impact of mailing your contribution. With your sustained gift, you can take satisfaction in knowing that more of each dollar you give helps to create the world-class operas you’ve come to expect from the Minnesota Opera. Please contact Dawn Loven, Director of the Annual Fund, at 612-342-9567 or dloven@mnopera.org for information on sustainable giving.
Thank you for making great opera possible!
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Your r t: Supp o able n i a t s Su Gi v ing
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Estate AND Planned Gifts
INDIVIDUAL GIVING
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. Anonymous (2) Valerie and Paul Ackerman Thomas O. Allen Mr. and Mrs. Rolf Andreassen Mary A. Andres Karen Bachman Mark and Pat Bauer Mrs. Harvey O. Beek (†) Barbara and Sandy Bemis (†) Joan and George Carlson Darlene J. and Richard P. Carroll Judy and Kenneth (†) Dayton Mrs. George Doty Rudolph Driscoll (†) Sally Economon
Rondi Erickson Ester and John Fesler Paul Froeschl Katy Gaynor Lois and Larry Gibson Robert and Ellen Green Ieva Grundmanis (†) Norton M. Hintz Jean McGough Holten Charles Hudgins Dale and Pat Johnson Robert and Susan Josselson Charlotte (†) and Markle Karlen Mary Keithahn Steve Keller
Patty and Warren Kelly Margaret Kilroe Trust (†) Blaine and Lyndel King Gretchen Klein (†) Bill and 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 Bigelow McMillan
Margaret L. and Walter S. (†) Meyers Susan Molder (†) Edith Mueller (†) Scott Pakudiatis Sydney and William Phillips Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Andrew H. Stewart, Jr. James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick (†) Deceased
For more information on possible gift arrangements, please contact the Director of the Annual Fund Dawn Loven at 612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you.
| THE MINNESOTA OPERA www.mnopera.org
Donor Spotlight
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“Minnesota Opera created Tempo to reach out to the next generation of opera lovers, and we want to help preserve opera for future generations,” says Eric Norman, Chair of Tempo’s Board of Directors. At the end of the last season, the Tempo board extended a challenge to its membership and asked each member to make a charitable contribution to the Opera’s Annual Fund. The goal was to raise $2,000 as a demonstration of Tempo’s commitment. The response was extraordinary with every single board member making a gift – their giving, combined with the overall membership gifts surpassed the goal and raised more than $5,000! “We were pleasantly surprised at the response, especially in light of how
hard the economy was hitting our members during the campaign,” says Tempo board member Joshua Dorothy. Tempo’s leadership and 200-plus members are dedicated to sustaining the life of the Minnesota Opera – a company they’ve come to love. In fact, Tempo is expanding its focus and is working to connect members ever more deeply with the Minnesota Opera. “This age group wants to be connected,” says board member Megan Pelka, “and Tempo events connect them to the Resident Artists, visiting stars, Opera leadership and other opera goers – as well as each other.” Minnesota Opera gratefully acknowledges the wonderful contributions of this group of opera enthusiasts. Their work is truly making great opera possible!
Pictured Above left to right: Eric Norman, Megan Pelka, Clare Gardner, Susan Leppke, Danielle Faribault and Joshua Dorothy Board members not pictured: Amy Ault, Mark Manns, Nadege Souvenir, Regine Edwards, Matthew Finlay and Lauren Viner
THE MINNESOTA OPERA
INSTITUTIONAL GIVING
Minnesota Opera Sponsors Season Sponsor
Gala Sponsors
The Private Client Reserve at U.S. Bank
The Private Client Reserve at U.S. Bank Travelers
The Pearl Fishers, The Private Client Reserve at U.S. Bank Roberto Devereux, Ameriprise Financial La bohème, Target Salome, National Endowment for the Arts Recovery Act
Conductor Appearances SpencerStuart
Camerata Dinners Lowry Hill Private Asset Management
3M Foundation Ameriprise Financial City of Saint Paul’s Cultural STAR Program General Mills Foundation The MAHADH Fund of HRK Foundation The McKnight Foundation The Medtronic Foundation Minnesota State Arts Board National Endowment for the Arts Target The Private Client Reserve at U.S. Bank Travelers Foundation U.S. Bancorp Foundation UnitedHealth Group The Wallace Foundation Wells Fargo Foundation Minnesota
Platinum $10,000–$24,999 Fred C. and Katherine B. Andersen Foundation Best Buy Children’s Foundation Cargill Foundation Deluxe Corporation Foundation Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation Gray Plant Mooty Anna M. Heilmaier Charitable Foundation Lowry Hill Private Asset Management RBC Foundation – usa RBC Wealth Management SpencerStuart Twin Cities Opera Guild Valspar Foundation Wenger Foundation
Gold $5,000–$9,999 ADC Telecommunications Allianz Life Insurance of North America Bemis Company Foundation Boss Foundation
$100,000+
Meet the Artists Official Caterer Wildside Caterers
Production Innovation System General Mills
Resident Artist Program Wenger Foundation
Tempo Gray Plant Mooty
Tempo Opera Night Out Pop!!
Broadcast Partner Minnesota Public Radio
Corporations, Foundations and Government Sponsors $25,000+
The Minnesota Opera gratefully acknowledges its major institutional supporters:
Cleveland Foundation Deloitte Education Minnesota Foundation Faegre & Benson Harlan Boss Foundation for the Arts R. C. Lilly Foundation Mayo Clinic Onan Family Foundation Pentair Foundation The Carl and Eloise Pohlad Family Foundation Robins, Kaplan, Miller & Ciresi Rahr Foundation Schwegman, Lundberg & Woessner, p.a. Xcel Energy Foundation
$50,000–$99,999
$25,000–$49,999
Silver $2,500–$4,999 Dellwood Foundation Mary Livingston Griggs and Mary Griggs Burke Foundation Hutter Family Foundation Peravid Foundation The Elizabeth C. Quinlan Foundation Margaret Rivers Fund Securian Foundation Tennant Foundation Thyme to Entertain
$10,000–$24,999
Bronze $1,000–$2,499 The ADS Group Arts & Custom Publishing Co., Inc. Bailey Nurseries, Inc. Burdick-Craddick Family Foundation Enterprise Rent-A-Car Foundation Hammel, Green and Abrahamson, Inc. Hogan & Hartson Leonard, Street & Deinard McVay Foundation Alice M. O’Brien Foundation Lawrence M. O’Shaughnessy Charitable Annuity Trust in honor of Lawrence M. O’Shaughnessy Peregrine Capital Management Sit Investment Foundation The Regis Foundation The Southways Foundation Wells Fargo Insurance Services
For information on making a corporate or foundation contribution to the Minnesota Opera, please contact the Institutional Gifts Manager Beth Comeaux at 612-342-9566, or email her at bcomeaux@mnopera.org.
| THE PEARL FISHERS
Production Sponsors
Annual Fund
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Life beyond the bottom line.
The most important moments are often the ones before the performance. The Private Client Reserve at U.S. Bank understands that true wealth is measured not just in the final outcome, but in the work that went into it. That’s why we provide private banking, financial planning, personal trust, and investment management services that offer you a solid plan to create the financial security you need to support your great performances. Michael Boardman Central Region President 612.303.2398
Proud sponsor of the 2009-2010 Minnesota Opera season.
Deposit products offered by U.S. Bank National Association. Member FDIC © 2009 U.S. Bancorp