Minnesota Opera's Ariadne auf Naxos Program

2015–2016 Season

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“. . . this decade’s most eloquent theatrical statement on race in America today.”

– The New York Times

OCT 16 – NOV 15, 2015

A COMEDY BY BR ANDEN JACOBS - JENKINS DIRECTED BY NATAKI GARRET T

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WELCOME LETTER

Welcome to the 2015 – 2016 Minnesota Opera season!

We are thrilled to have you with us for our season opener, Strauss’ Ariadne auf Naxos.

We last staged Ariadne in 1987 and now offer a fresh look at this popular story. Bringing together tragic opera and romantic farce, this opera playfully combines two very different art forms. The result is a richly textured work that examines the role of art in society, and contrasts true love with lighthearted promiscuity. It’s quite a treat.

This Ariadne auf Naxos cast is nothing short of brilliant. American soprano Amber Wagner, who triumphed in the role of Ariadne at Lyric Opera of Chicago, fills the title role in her Minnesota Opera debut. Erin Morley, playing the spitfire Zerbinetta, recently stepped into the international spotlight with a string of critically acclaimed appearances in several great opera houses of the world. The cast also includes Hanna Hipp as the Composer and Minnesota Opera favorites Brian Jagde as Bacchus and Dale Travis as the Music Teacher. What a cast!

In November, Minnesota Opera will remount our record-breaking production of The Magic Flute, Mozart’s timeless comedy. Conceived by Komische Oper Berlin and the British theater group 1927, it has thrilled audiences of all ages and still has critics talking.

Supported by a grant from the Minnesota State Arts Board, we are taking the show to Duluth where we are joining with the Duluth Superior Symphony Orchestra and the Lyric Opera of the North to introduce Duluth’s vibrant cultural community to our work.

On a sad note, the staff and board members of Minnesota Opera are grieving the loss of our long-time friend, Heinz Hutter, to whom we dedicate these performances of Ariadne auf Naxos. Heinz loved the Opera, attending all of our productions and events, as well as serving on the board for more than 20 years. We miss his wry sense of humor, his unwavering support and his extraordinary wisdom.

Thank you for your support in making Minnesota Opera a vital part of our community. Enjoy the show and the start of what promises to be another exciting Minnesota Opera season.

contents 6 Synopsis 7 Ariadne auf Naxos 8 About the Opera 11 Richard Strauss 12

Director’s Notes

13 The Artists 17 M eet the Artists: Brian Jagde, Erin Morley and Amber Wagner 18 Upcoming Events 18 Tempo 19 Opera Education 19 Social Media 21 The Magic Flute Preview 22 Minnesota Opera Board of Directors, Staff and Volunteers 23 Heinz Hutter Dedication 24 Annual Fund 26 Institutional Giving 27 Legacy Circle 27 Minnesota Opera Information Large-print and Braille programs are available at the Patron Services Office.

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NINA M. ARCHABAL General Director

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SYNOPSIS

THE PROLOGUE Preparations are being made for the evening’s entertainment. The richest man in town has arranged for two performances to entertain his guests — a new opera seria, based on the Greek legend of Ariadne, to be principally sung by the Prima Donna and the Tenor, and a musical comedy to be given by a commedia dell’arte troupe, led by Zerbinetta. The evening will conclude with a brilliant display of fireworks, given promptly at 9:00.

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Behind the scenes, the Music Teacher confers with the Butler regarding the upcoming events and learns of the doublebill. His protégé, a young composer of the serious opera, will never allow it. The Butler is indignant — the fee will be paid as contracted, and it is to be decided by his benefactor as to how the spectacular night shall unfold.

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The Dancing Master informs Zerbinetta of the basic plot, while the Music Teacher mediates between the Prima Donna and the Tenor, each of whom has ideas about cutting the other’s music. Zerbinetta challenges the solemnity of Ariadne’s plight — abandoned on Naxos by her former lover, Theseus, Ariadne has lost her will to live. No woman could devote her heart with such conviction, and Zerbinetta believes her company can bring life to the jilted tragedienne. The Composer is beside himself with frustration, yet Zerbinetta’s coquettish manner begins to beguile him. Still, he pontificates on the values of music and is offended by the presence of the base comedians.

— Intermission — THE OPERA Portrayed by the Prima Donna, Ariadne reclines at the opening of a grotto, while the three nymphs observe her grief-stricken predicament. She is forever anguished by Theseus’ desertion. The comic players also comment on her sorrow and, in adherence to the present theatrical compromise, Zerbinetta believes that music is the cure.

Harlequin sings a song as Echo repeats the melody. The four men try to enliven Ariadne’s mood with a dance, while Zerbinetta attempts to cheer her with some womanly advice concerning matters of love — constancy of the heart is never certain and deception can be a worthy weapon. Moved by her speech, Harlequin attempts to seduce Zerbinetta, to no avail.

The other three men do the same, and then they all indulge in another jig.

Dryad, Naiad and Echo rush onstage with breaking news — a youthful god, Bacchus (played by the Tenor), has arrived, having recently escaped from the clutches of the contemptible siren, Circe. On the brink of death, Ariadne is suddenly cheered by the sweetness of his voice. He is, in turn, enthralled by her beauty. They immediately fall in love, and she is transformed into a goddess, putting an end to her recent trials.

Zerbinetta ruefully observes that all Ariadne needed was to be wooed by another lover.

The Composer nervously requests lastminute rehearsal time with the violins and the Prima Donna, which is denied. The Tenor emerges from his dressing room, angered by the Wigmaker’s incompetence.

Also preparing for her performance, Zerbinetta is frustrated that her amusing antics must follow the tedious work — no one will be in the mood for laughter after the depressing opera. For his part, the Composer is still vexed by the inclusion of a lowbrow, decadent drama with his magnificent opus.

He laments that such patronage would enslave him, and his teacher reminds him that what cannot be cured must be endured.

The Prima Donna and Zerbinetta exchange disgusted looks. How could they possibly be scheduled to perform on the same stage

A SCENE FROM SEATTLE OPERA'S PRODUCTION OF ARIADNE AUF NAXOS

Seattle Opera and © Elise Bakketun Photography

Setting A private art gallery

in a single evening? The Music Teacher and Zerbinetta’s Dancing Master also express their opinions. The various members of the two ensembles — the four comedians: Harlequin, Brighella, Scaramuccio and Truffaldino, and the three nymphs: Naiad, Dryad and Echo — join the entourage as it is announced that their patron has now decided the two works will be performed as a single piece. The Butler disdainfully remarks that an opera set on a remote island would not enhance the grandeur of his employer's gallery. The Composer is crushed — the vulgarity of the commedia troupe will ruin the aesthetics of his piece, and he refuses any alterations to his score. The Dancing Master differs — the wearisome pages will be enlivened by his artists’ improvisatory skills. History has seen young creators make these sacrifices.

MUSIC BY RICHARD STRAUSS LIBRETTO BY HUGO VON HOFMANNSTHAL World premiere at the Vienna Hofoper, October 4, 1916

SEPTEMBER 26; OCTOBER 1, 3 AND 4, 2015 Ordway Music Theater, Saint Paul Sung in German with English captions ESTIMATED RUN-TIME

cast

2 hours, 36 minutes, including one 20-minute intermission.

Intermission will occur approximately 44 minutes into the opera.

in order of vocal appearance

THE MUSIC TEACHER

Dale Travis

THE BUTLER

David Radamés Toro

THE BUTLER'S ASSISTANT

Alex Ritchie

THE DANCING MASTER

Brad Benoit

NAIAD

Jeni Houser * Linh Kauffman **

DRYAD

Helena Brown

AN OFFICER

Alejandro Magallón

THE COMPOSER

ECHO

Siena Forest

HARLEQUIN

creative team CONDUCTOR

Michael Christie

STAGE DIRECTOR

Alan E. Hicks

ORIGINAL PRODUCTION

Chris Alexander

SET DESIGNER

Robert A. Dahlstrom

WIG AND MAKEUP DESIGNER

David Zimmerman

ASSISTANT DIRECTOR

David Radamés Toro

ASSISTANT CONDUCTOR

Jonathan Brandani

RÉPÉTITEURS

Jessica Hall Lindsay Woodward

Hanna Hipp

Andrew Lovato

THE TENOR (LATER BACCHUS)

Brad Benoit

LIGHTING DESIGNER

Kerry Masek

A WIGMAKER

Benjamin Sieverding

Robert Wierzel

BRIGHELLA

LIGHTING RE-CREATION

Jonathan Dean

Brian Jagde

Joel Mathias

ZERBINETTA

Erin Morley * Jeni Houser **

THE PRIMA DONNA (LATER ARIADNE)

SCARAMUCCIO TRUFFALDINO

David Walton

COSTUME DESIGNER

Cynthia Savage

PRODUCTION STAGE MANAGER ENGLISH CAPTIONS

Connie Yun

* performs September 26 October 1, 3

** performs October 4

Amber Wagner

▴ conducts April 14, 15, 17, 18, 19, 21 • conducts April 20, 22

Ms. Hipp’s appearance is generously sponsored by Harvey T. McLain.

Mr. Jagde’s appearance is generously sponsored by H. Bernt von Ohlen and W. Thomas Nichol. | Ms. Morley’s appearance is generously sponsored by Cargill.

Mr. Travis’ appearance is generously sponsored by Mahlon and Karen Schneider. | Ms. Wagner’s appearance is generously sponsored by Gus and Mary Blanchard.

Scenery provided by Seattle Opera; costumes executed by Seattle Opera Costume Shop; captions by Jonathan Dean © 2015 Seattle Opera The appearances of Amber Wagner, grand prize winner; Jeni Houser, Benjamin Sieverding and David Walton, regional finalists; and Andrew Lovato, 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.

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The 2015 – 2016 Gala is sponsored by Cargill, in honor of Heinz Hutter.

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“Prima la musica e poi le parole” — an axiom observed

by Giovanni Battista Casti and Antonio Salieri in their tongueand-cheek, one-act comedy that played opposite of Lorenzo da Ponte and Wolfgang Amadeus Mozart’s Der Schauspieldirektor at Schönbrunn Palace in 1786. In the opera, la musica (music) asserted its primacy over le parole (the text) even though the process of creating a new work generally occurs in the reverse. Slightly more than 100 years later, author Hugo von Hofmannsthal would challenge that notion, gently asserting the importance of the librettist’s role. Composer Richard Strauss had always been plagued by which was more vital, and embraced the partnership. Ariadne auf Naxos would be a clear example of how that reversal had progressed.

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Things had gone well so far — Strauss had set Hofmannsthal’s play Elektra to a sensational score, and both had enjoyed a huge triumph with an original work (partly derived from Molière) with Der Rosenkavalier. Strauss had found himself faced with boredom over the summer of 1911, having exhausted himself on writing orchestral works. He asked Hofmannsthal for a new libretto, perhaps based on a drama concerning the legendary sexual escapades of Semiramis by Pedro Calderón de la Barca (and probably with the intention of recreating the scandalous flavor of Salome). Strauss also considered Das steinerne Herz (The Stone Heart), adapted from a cautionary fairy tale

by Wilhelm Hauff that takes place in the Black Forest. When the librettist was slow to respond, Strauss turned to

attention would be Monsieur Jourdain, the inferred title character (and an oxymoron, as the bourgeoisie in Molière’s drama was definitely middle class and only the nobility were considered gentlemen). Aspiring to famed Italian poet Gabriele d’Annunzio become the parvenu Faninal had espoused for a new subject. Perhaps motivated by in the preceding Rosenkavalier, the rich, but this threat, Hofmannsthal came up with two yet to be refined Jourdain hopes to “better ideas — one quasi-mythological conception himself ” — he engages the services of a Music that would become Die Frau ohne Schatten Master, Dancing Master, Fencing Master, a (1919), and another meant to be an homage Tailor with assistant ruffians and (deleted to legendary director Max Reinhardt, who from the adaptation) a Philosopher. His had anonymously stepped in at the last ultimate goal is to gain the attention of a minute to save Der Rosenkavalier at its young, widowed Marquise, even as he is Dresden premiere. still a married man. In the original drama, Jourdain also hopes to secure an advantageous For the latter work, Hofmannsthal looked match for his daughter Lucile, and is none again to Molière, specifically at his drama too pleased with her current choice, Cléonte, Le bourgeois gentilhomme (1670). The a man who, through the aid of the servants librettist planned to translate and adapt the and while posing as the son of a Grand Turk, play, with incidental music by Strauss. The eventually wins his bride. The play ends with second half of the production would be a a festive Turkish ceremony to music by no less shorter, chamber opera, Ariadne auf Naxos, than Jean-Baptiste Lully. Another subplot again to Hofmannsthal’s phrases, and more involving an actual noble, Count Dorante, thoroughly, to Strauss’ music. Though the demonstrates the real distinction between composer originally went along with such a the societal positions — desperately broke, text-heavy endeavor, the two men would differ he is constantly bilking Jourdain for money, as the piece progressed. Hofmannsthal always and also courts the Marquise Dorimène, could see the music implicit in his words, ultimately in pursuit of her vast fortune. but true to form, the priggish, humorless and high-minded librettist did his best to fashion Hofmannsthal further complicates the a piece that was allegorical, a world-behindsecond part of his innovation by including the-world. The more grounded Strauss looked a bawdy, Bohemian Harlequinade led by to action and humanity, real situations and the coquettish and sometimes frivolous events that would engage the audience via Zerbinetta (originally entitled Unfaithful their own emotions and experiences. Still, Zerbinetta and Her Four Lovers) as a doubleHofmannsthal knew he was intrinsically bill with the mythical story of Ariadne and valuable to the composer’s creative insights.

Bacchus. He conflates the second half of the work, the previously announced evening’s Several heated letters were exchanged entertainment, to simultaneously present this (the collaborators rarely met in person), opera seria with the impromptu opera buffa and an uneasy compromise was eventually featuring the commedia dell’arte players, all reached, with some hard feelings expressed with the goal of completing the divertissement (Hofmannsthal believed in the proverbial by dusk, so that the magnificent fireworks “my way or the highway” and had begun to could be promptly displayed to his guests, take a leadership role). The first part would bringing the spectacular event to a close. focus on Molière’s drama, reduced from five acts to just two, with the subplot of the Surprisingly, Strauss went along with this young lovers completely erased. The center of unusual plan, but still complained and

Bacchus (Roman god of wine) and Ariadne by Nicola Carta | Alfredo Dagli Orti | The Art Archive at Art Resource, NY

ABOUT THE OPERA

ABOUT THE OPERA altered the text at various points (it turned out to be the most contentious of their many collaborations). He did not want the orchestra onstage, knowing the more experienced, outof-town players would not wish to appear in costume, which ruled out Reinhardt’s Kleines Deutsches Theater in Berlin. The hybrid proved problematic at other venues as well, either being too small for an operatic work or too large for a staged play. They finally settled on Stuttgart’s newly opened Kleines Haus of the Hoftheater, which was perfectly sized. The staff included its own company of performers, and objected to the artists imported from Berlin for the principal roles and first-desk instrumental positions. Rehearsals were tumultuous, and the final dress was given with a skeletal supporting technical staff, as they were required to be employed at the town’s other theater the same day for a performance of Albert Lortzing’s Undine (1845).

Opening night was not a success — Hofmannsthal’s play-then-opera was a failure with the dueling audiences. Those members familiar with spoken drama objected to being subjected to opera, and the fans on the other side of the aisle did not respond to Molière’s play. The King of Württemberg had held a 50-minute diplomatic reception during the intermission, and this resulted in a very long evening. Ariadne auf Naxos (soon to be labeled within the business as Ariadne i) played to several houses across Germany, but it was extremely expensive to produce, requiring both skilled stage actors and highly talented singers. Already the composer and librettist had begun to consider a revision. A few minor changes were made to the second half, but the entire Prologue was overhauled and completely reset to new music. Jourdain disappears entirely, his instructions relayed by a haughty butler. Greater emphasis was given to the predicament faced by the Composer (whom Strauss had asked not to be too closely representative of his own personality, as his insanely jealous wife Pauline would not enjoy watching the brief dalliance with Zerbinetta). The Music Master was also given more prominence as the young composer’s mentor and played opposite the Dancing Master, who oversees the troupe of comedians now appearing in

the first part. This new Ariadne ii, which premiered four years later, in 1916, was judged a succès d’estime at the Vienna Hofoper, yet still becoming a favorite for true aficionados of the Strauss canon.

Two more works would be salvaged from the great rewrite. The composer made an orchestral suite out of his incidental music for Le bourgeois gentilhomme, and Hofmannsthal expanded and refitted his German version of Molière’s play entitled Der Bürger als Edelmann as pure theater, ending with the exotic elements which had been previously deleted, and including the romance between Lucile and Cléonte, aided by his faithful valet Covielle. Reinhardt produced it at his theater, but the drama did not achieve any lasting popularity.

Ariadne ii’s prologue is essentially a backstage look at a theatrical piece that is about to be produced. It features the stressedout Composer facing the exaggerated attitudes of his star singers and last minute changes to his score. The ultimate insult is the interpolation of his first great opus with the burlesque commedia dell’arte characters led by the flighty, but clever soubrette Zerbinetta. After she attempts to seduce the young man (who, as in Der Rosenkavalier, is sung by a mezzo-soprano in a pants role), he closes the Prologue with an impressive aria assessing the merits of his craft, before assuming his obligatory position in the pit as maestro al cembalo.

The opera proper is a retelling of the Ariadne (Arianna) myth, popular among 17th- and 18th-century composers of opera seria (most notably by Georg Benda in 1775 to a libretto

by Johann Christian Brandes, and later, by the French Romantic Jules Massenet in 1906 to text by Catulle Mendès) and also prominent in the visual arts. Ariadne was a Minoan princess, and is best known for assisting Theseus in his slaying of the Minotaur by offering the hero a spool of thread so that he can track his way out of the labyrinth. (For those unfamiliar with this story, the Minotaur is a genetically mutated beast, who requires a regular diet of live human beings in order to keep peace between two rival city-states.) Ariadne and Theseus immediately fall in love, but he soon

abandons her on the barren Mediterranean island of Naxos. She agonizes over her plight and only desires death until the god of wine, Bacchus, displaced from the hypnotic clutches of the notorious Circe, discovers her and they live happily ever after. According to the myth, he eventually gives her a coronet, which upon her death, becomes a constellation in the night sky.

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Ariadne auf Naxos shows Strauss at his most intimate.”

The commedia dell’arte players balance pathos with lightheartedness, mirroring the 18th-century intermezzo, in which an injection of levity would traditionally bisect two acts of an early-period tragic opera.

Zerbinetta, a character from another Molière play, Les fourberies de Scapin, embodies traits opposite to those of Ariadne. While Ariadne pines for Theseus, her one and only right one (so she thinks), Zerbinetta boasts of her many conquests, at times flitting among and flirting with all four of her male companions.

Bacchus is the antithesis of Harlequin and the same contrast applies to the Music Master and the Dancing Master. The Prologue is quick, present and dynamic while the Opera is staid, ancient and static — these antithetical parallels further extend to Hofmannsthal (the serious elements) and Strauss (the comic characters). Contributing to the abstraction, nearly all the roles are unnamed or represent types rather than actual people.

Ariadne auf Naxos shows Strauss at his most intimate.

The singing is hardly overrun

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ABOUT THE OPERA

MYTHOLOGY

AT-A-GLANCE

Ariadne daughter of King Minos of Crete. She falls hopelessly in love with Theseus and provides the thread that guides him out of the Minotaur’s labyrinth. They escape together, but Theseus later abandons her on Naxos.

Theseus son of the Athenian King Aegeus. In a dispute with Minos for causing the death of his only son, Aegeus is forced to offer seven youths and seven maidens to the Minotaur every nine years. Theseus includes himself in the sacrificial party and, with Ariadne’s assistance as noted above, slays the Minotaur. Typical to all Greek tragedies, revenge is meted out when Theseus forgets to raise the white flag when he returns to Athens, a signal that would indicate he is still alive. Aegeus kills himself out of overwhelming grief.

Minotaur half man, half bull born to Minos’ wife Pasiphaë. Cursed by Poseidon, she uncontrollably fell in love with a beautiful bull, originally intended as a sacrifice in the god’s honor, but secretly spared by Minos. The king keeps the Minotaur in a labyrinth, an underground maze of tunnels where escape is unlikely.

Bacchus (a.k.a. Dionysus) god of wine. Usually accompanied by thyrsuswielding maenads and randy satyrs, who in turn create murder and mayhem in an alcohol-infused Bacchanalia. He rescues Ariadne after a brief affair with Circe.

Circe a dangerous temptress, who briefly entraps Bacchus. She generally changes men into swine, but because of his divinity, the god is exempt.

Echo an unfortunate nymph who fell under Hera’s suspicion for allegedly having an affair with her husband, Zeus. Echo is doomed never to speak again, except to repeat what she has just heard.

Naxos an island near the Aegean Sea. Not exactly a desert, it is still rather remote, a notable feature of the Ariadne myth.

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by a large orchestra (cleverly boosted by the various stops of the harmonium), and two great arias, one for the Composer and one for Zerbinetta, display virtuosity at its most sublime. Still, in the end, Strauss conceded that the equality of text and music is at the core of any successful opera. Exploring a new genre, conceived as a comedy following a new path, had indeed been a fruitful and rewarding experience.

COMMEDIA DELL’ARTE Ariadne auf Naxos is partly indebted to the theatrical tradition of commedia dell’arte. Of Italian origin, the commedia evolved during the 16th century from improvisatory scenes played at county fairs and marketplaces into a somewhat codified art form involving stock characters with predictable behavior, physicality and costume. Performances of

“

. . . elements of commedia dell’arte can be found in many of Ariadne’s characters.” commedia dell’arte were more frequent during Carnival, a time for anonymous celebration of the deadly sins, and these wanton acts made their way into lighthearted plots, giving them a rather ignoble, unsophisticated quality. The use of masks (another practice derived from Carnival) further obscures the identity of the actual person, reinforcing a character “type,” capturing humankind’s many faces and allowing uninhibited, occasionally political dialogue. Along with the Renaissance itself, the genre spread quickly across Europe. Brought to France by Catherine de’ Medici during the reign of her son, Charles ix, commedia dell’arte underwent a revival in 17th-century France and is found most famously in the works of Molière.

In England, Shakespeare (whose sources

were frequently Italian) would draw upon commedia plots and sometimes introduce a comic figure, or “zanni” (from which the word “zany” is derived), a nameless clown intended to be a sagacious figure.

Though only visual evidence remains (as the plots were never scripted), elements of commedia dell’arte can be found in many of Ariadne’s characters. The crafty and romantic valet Harlequin (Arlecchino), left as a foundling (but claims he is of noble blood), is a mixture of wit and ignorance.

He is adept at slipping out of tricky situations and is generally the most familiar to wider audiences. The requisite noble Lovers (in this case, Ariadne and Bacchus) are also present, usually challenged and /or assisted by the other commedia players. Brighella is typically the intriguer, Scaramuccio the trickster and Truffaldino, essentially, a dimwitted shadow of Harlequin. The female roles often displayed a more determined and wilier fortitude — Zerbinetta, traditionally portrayed as an Innamorata, can also be equated to the sassy, free-spirited maid Columbine (the inspiration for Susanna in Le nozze di Figaro) or, more maliciously, to the troublesome, yet benign maid Despina (of Così fan tutte fame). Ariadne auf Naxos’ Zerbinetta is depicted more sympathetically, as a helper rather than a creator of discord.

Equally important is the pace of the production itself. The slapstick comedy of characters hiding behind chairs and inside closets, jumping out windows and receiving blows meant for others, and creating deception by use of disguise are all descended from the commedia dell’arte, particularly seen in the 18th-century plays of Carlo Goldoni (also a librettist to many opera buffa) and Carlo Gozzi (later to inspire several 19th- and 20th-century masterpieces).

Unable to survive the Age of Sensibility, this extemporized art form appears to have died in the written works of these two authors, yet commedia dell’arte remained of interest in the musical world. Works by Mozart, Rossini, Donizetti, and later, Busoni, Puccini, Henze, Argento and Dove are just a few examples. As one of Leoncavallo’s singers may have once portentously stated with solemn finality “La commedia è finita” — perhaps not just yet …

– DAVID SANDER

COMPOSER

B. Munich, June 11, 1864 D. Garmisch, Sept. 8, 1949

K

Portrait of Richard Strauss by Max Liebermann | Coll. Strauss, Germany | Erich Lessing/Art Resource, NY

nown informally as the “third Richard” or the “other Strauss,” Richard Strauss rose to become the most important composer of German opera in the early 20th century. Living in the shadow of Richard Wagner (the first Richard, after whom there could be no second) and Johann Strauss Jr. (no relation), Strauss advanced melodic and harmonic theories, while at the same time looking over a sentimental shoulder toward the waltz king’s Viennese dramaturgy and stagecraft.

Richard was Bavarian, born into a musical household of comfortable means. His father, Franz Strauss, a noted horn player in the court orchestra, occasionally was called upon as a principal horn for Wagner’s operas at Bayreuth. Although he performed in a number of Wagner premieres, father Strauss considered the much-venerated composer’s music to be cacophonic and “modern,” discouraging his young son from paying it much mind. But Richard would not obey his father’s orders, and as a teen who had been studying music since age four, he was completely consumed by Tristan und Isolde.

Strauss had the good fortune to serve as assistant conductor to Hans von Bülow at Meiningen, which led to various postings in Munich, Bayreuth and Weimar. Eventually he would assume prestigious positions at the Berlin Court Opera and the Vienna State Opera, as well as conduct major orchestras around Europe and the Americas. To the early part of his career belong his famous works for the

orchestra — the tone poems. The latter part of his career would be devoted almost exclusively to the voice, either in song or in opera.

To compose opera in Germany at the end of the 19th century was to follow the Wagnerian model, both writing one’s own libretto, then composing music to it. Strauss’ first opera, Guntram (1894), was cast in that mold, complete with characters based on Teutonic history. It was not a huge success, but the piece received courteous acknowledgement from Giuseppe Verdi, to whom Strauss had sent the score. It was also during Guntram that Strauss announced his engagement to soprano Pauline de Ahna, who sang the leading female role at the premiere.

Many found Pauline’s temperament to be tempestuous, even shrewish, but somehow, offset by the composer’s gentle manner, the marriage stood the test of time.

Strauss’ next opera, Feuersnot (1901), was based on a bawdy Flemish legend and initiated a trend of indelicate themes that pervade many Strauss operas. The work that followed, Salome (1905), displayed full-blown sexuality and was his first big succès de scandale.

In 1900, when he first saw Oscar Wilde’s play Salomé, Strauss made an important contact with playwright Hugo von Hofmannsthal.

Hofmannsthal’s own adaptation of Sophocles’ Electra later would impress the composer when he saw it in a Max Reinhardt production.

Strauss set the play to music, and a fruitful artistic partnership was born. As Strauss elaborated, “Your style has so much in common with mine. We were made for each other, and we are sure to do fine things together if you remain faithful to me.”

Elektra (1909) was also a success but not quite to the same degree as Salome. Its relentless dramatic impetus and biting tonality may have been too barbaric for audiences of the day. For their next project, Strauss wanted a comedy in the vein of Mozart. Der Rosenkavalier (1911), complete with basso buffo and en travesti (pants) roles undercut with a persistent Viennese waltz, easily fit the bill. It is perhaps their most popular and enduring work. The first version of Ariadne auf Naxos (1912/1916) soon followed, to initially mixed critical acclaim.

Hofmannsthal and Strauss’ next collaborations were varied in their themes

and forms. Die Frau ohne Schatten (1919) is a Gozzi-esque fairy tale about a mythical empress who must procure a shadow in order to save her husband from turning to stone.

Die ägyptische Helena (1928) concerns Helen of Troy’s post-war marital issues. Arabella was intended as another Viennese comedy, styled to become a second Rosenkavalier. It was to be their last collaboration. While dressing for his son’s funeral, Hofmannsthal died of a stroke, leaving the words for Arabella’s second and third acts in draft form. Strauss set the unfinished text as an homage to his colleague, and the opera premiered in 1933.

Apart from Hofmannsthal, Strauss wrote and composed Intermezzo (1924), based on a real-life misunderstanding between him and Pauline that almost led to divorce.

Much has been made about Strauss’ activities following the Nazi’s rise to power. The composer’s appointment by Joseph Goebbels to the Reichsmusikkammer as its president and his decisions to conduct in place of Arturo Toscanini and Bruno Walter attracted some reproach, though the composer emphatically stated it was for the sake of German music and not due to any political agenda.

Like many Jewish artists, Stefan Zweig, Strauss’ next librettist, suffered religious persecution, and their opera, Die schweigsame Frau (1935; based on a play by Shakespeare contemporary Ben Jonson), encountered some difficulties as a result. Zweig chose to leave Germany but presented Joseph Gregor as a replacement.Together the new team produced Friedenstag (1938), an opera set in 17th-century Austria at the end of the Thirty Years War; Daphne (1938), a subject again steeped in mythology (and Strauss’ tip-of-thehat to Jacopo Peri’s Dafne, reportedly the first opera ever written); and Die Liebe der Danae (1944), another mythical tale fusing the Greek legend of Danae with that of King Midas.

Capriccio (1942) was Strauss’ last opera, a “conversation with music” based on Giovanni Battista Casti’s 18th-century text for Antonio Salieri’s Prima la musica e poi le parole. Its premiere occurred before Danae’s, however, as the considerably shorter Capriccio could be played before the nightly air raids commenced.

Four years after the war, Strauss passed in his sleep at his Bavarian villa. Pauline died one year later, just nine days before the premiere of Strauss’ monumental Four Last Songs.

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RICHARD STRAUSS

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DIRECTOR'S NOTES

U

nlike Tosca, an opera whose setting is dictated by very specific historical events, Ariadne auf Naxos works in most periods. When Chris Alexander (original stage director), Robert Dahlstrom (set designer) and Cynthia Savage (costume designer) set out to create a suitable environment for their Ariadne, Seattle in the early 2000s provided all the necessary inspiration. But could this happen right here in the Twin Cities?

Let’s examine the evidence.

| MINNESOTA OPERA mnopera.org

As the curtain opens for the first time, we see into the mind of a young composer whose first large work is to be performed this very evening. Behind him, the frantic backstage preparations of a dinner party thrown by this unseen “richest man” are in full swing. For his part, Robert Dahlstrom found a template in Seattle’s annual celebrity auction to support the arts choosing to set the opera in the private art gallery of Seattle’s richest man. During the Prologue, we see a large cylindrical sculpture far upstage, and a caterer's drape separates the backstage loading dock from the dinner party in the main gallery. Just as librettist Hugo von Hofmannsthal described the scene in his letters to Richard Strauss, the backstage space is “improvised” with women’s and men’s restrooms acting as dressing rooms for the diva and her leading man.

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Cynthia Savage (a Minnesota native), in looking to update our characters, found inspiration in actual theatrical personalities from opera and musical theater — from the Dancing Master based on Bob Fosse (right down to his cigarette), to stereotypical young musical theater performers (the commedia dell’arte troupe), to pretentious opera stars, to a Wardrobe Mistress who always has yarn and needles in her bag (to kill time while waiting to dress the Prima Donna), to a Wigmaker based on a famous West Coast opera personality, and finally, to a nerdy, idealistic and, at times, rather emo young composer. For the Minnesota Opera, we have added a few Twin Cities touches.

Can you find them?

“

As the curtain opens for the first time, we see into the mind of a young composer whose first large work is to be performed this very evening.”

As the curtain rises on the second half of our evening (the performance of the Composer’s Opera Seria), our perspective is rotated 180 degrees, revealing the gallery itself.

A SCENE FROM SEATTLE OPERA'S PRODUCTION OF ARIADNE AUF NAXOS

Paintings inspired by Helen Frankenthaler and Sam Francis and glassworks in the style of Dale Chihuly adorn the centerpiece of a gallery — a large cylindrical sculpture inspired by the works of Richard Serra.

Tables full of dinner guests in their finest evening wear wait patiently for the performance, and waiters mill about refilling champagne glasses. It should be noted that, as the whims of our wealthy patron change over the course of the Prologue, it becomes necessary to rethink the entire evening’s entertainment and thus scrap the original production (e.g., the rather old-fashioned painted scenery). This job of restaging falls to the Dancing Master who chooses the Serra to act as the island cave in which our heroine lives. Thus, the sculpture becomes the center point of the opera’s action. How will Bacchus reach the island? He is, after all, the god of wine …

In his writings, Hofmannsthal noted that the costumes of the Opera Seria should be “… in the heroic opera style of the older period (Louis xiv or xv).” For her part, Savage based her costumes on a very traditional opera look. The commedia troupe is historically accurate (each commedia dell’arte character has specific costume requirements). Thus, during the Opera Seria, we see the juxtaposition between stodgy traditional opera, festive musical comedy and the modern audience.

So, did our “richest man in Seattle” buy a house on Summit Avenue? His gallery is full of works by some of the same artists found right here in the Twin Cities. Take a stroll through the Walker Art Center or the Minneapolis Institute of Art and you will find sculptures by Serra, and paintings

by Frankenthaler and Francis. Visit the lobby of the Gonda Building at the Mayo Clinic in Rochester, and you will see glassblown chandeliers by Chihuly. Perhaps our “richest man in Seattle” didn't buy that house in Saint Paul, but it does seem that he owns a condo in Mill City, and maybe he just “winters” here.

ALAN E. HICKS Stage Director

Seattle Opera and © Elise Bakketun Photography

From the richest man in Vienna to the richest man in Seattle to the richest man in the Twin Cities?

THE ARTISTS the dancing master; scaramuccio Tenor Brad Benoit has sung many roles with Minnesota Opera including Ruiz in Il trovatore, Arlecchino and Lampwick in The Adventures of Pinocchio, Count Almaviva in The Barber of Seville, Gabriele in Casanova’s Homecoming, Lord Cecil in Roberto Devereux, Parpignol in La bohème, the Third Jew in Salome and Gastone in La traviata. He also covered the roles of Don Ramiro in Cinderella, Leicester in Mary Stuart and Edgar in Wuthering Heights. In recent seasons, he has appeared as Pong in Turandot, Parpignol (La bohème) in Opera-under-the-Stars and Remendado in Carmen. In 2011, Brad was a featured soldier in the world premiere of Silent Night and covered Nicklaus Sprink, a role he sang at the last minute on opening night from the side of the stage to rave reviews. Mr. Benoit has participated in training programs at Santa Fe Opera, Chicago Opera Theater and the Staunton Music Festival.

He also has sung the roles of Rinuccio in Gianni Schicchi for Opera in the Ozarks and Roméo in Roméo et Juliette and Hadji in Lakmé at Loyola University. Mr. Benoit currently heads the vocal program at Shattuck St. Mary’s School.

Robert A. Dahlstrom

set designer Robert A. Dahlstrom has designed many productions in Seattle for act, Intiman and Seattle Repertory Theatre. Other theaters include Alliance Theatre (Atlanta); American Conservatory Theatre; American Repertory Theater; Arizona Theatre Company; Den Nationale Scene (Bergen); and the International Theatre Centre (Moscow).

His opera work is based at Seattle Opera, where 14 productions include Fidelio, Ariadne auf Naxos, The Tales of Hoffmann, Don Giovanni and The Magic Flute. Other opera companies include Cincinnati, Dallas, Montreal, San Francisco and Washington National Opera. International opera credits include Le Grand Théâtre de Genève, Opera Decentralise (Neuchâtel) and Royal Danish Opera (Copenhagen). Mr. Dahlstrom’s designs were last seen at Minnesota Opera in its production of The Tales of Hoffmann.

Helena Brown

dryad Mezzo-soprano Helena Brown’s voice has both the opulent beauty and voluptuous size that we affectionately refer to as a “force of nature.” Audiences and colleagues alike embrace her ever-warm charisma as well as her consistent and clean musicality.

In the 2014 – 2015 season, Ms. Brown made her European debut as Serena and the Strawberry Woman in Porgy and Bess with New York Harlem Productions, appearing in theaters such as Grand Théâtre de Genève, Chassé Theater and Amsterdam rai. She also performed Mrs. Herring in Albert Herring with Bronx Opera, Erda in Siegfried with New York Opera Forum and covered Grandmother Buryjovka in Jenufa with Des Moines Metro Opera, where she also appeared in scenes as Dalila in Samson et Dalila, Mistress Quickly in Falstaff, Martha in Faust and Filipp’yevna in Eugene Onegin. Last season at Chautauqua Opera Festival she performed the Aunt in an English translation of Madama Butterfly, covered Mama McCourt in The Ballad of Baby Doe and sang Ježibaba in scenes from Rusalka, and with ny Opera Exchange she sang the Third Lady in The Magic Flute.

Siena Forest

echo Soprano Siena Forest graduated with master’s and bachelor’s degrees in voice performance from Indiana University, where she studied with Carol Vaness. She was the winner and recipient of the Wilfred C. Bain Opera Scholarship as well as the SchillingTourner Friends of Music Voice Scholarship.

Siena appeared with Indiana University Opera Theater as Gretel in Hansel and Gretel (2013), Nannetta in Falstaff (2013) and Musetta in La bohème (2011). She performed The Impresario as Mlle. Silberklang in Carol Vaness’ opera workshop. She also appeared as Pamina in The Magic Flute as well as the soprano soloist in Beethoven’s Symphony No. 9 with the ok Mozart International Music Festival. In 2013, Siena was a studio artist with Central City Opera. Recent events include covering the role of Marie in Mill City Opera’s production of La fille du régiment and the soprano soloist in Handel’s Messiah with the South Dakota Symphony. As a resident artist for Minnesota Opera, she has sung the Dew Fairy in Hansel and Gretel and Frasquita in Carmen, and returns as Pamina in The Magic Flute and the First Wood Sprite in Rusalka.

Michael Christie

conductor Michael Christie became music director of Minnesota Opera in September 2012.

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

Recent opera engagements have included productions with Opera Theatre of St. Louis (Alice in Wonderland, The Ghosts of Versailles and The Death of Klinghoffer), Wexford Festival Opera (Silent Night), Minnesota Opera (La traviata, Wuthering Heights, Silent Night, Madame Butterfly, Nabucco, Anna Bolena, Turandot, Manon Lescaut, Arabella, Macbeth, La fanciulla del West, The Manchurian Candidate and Carmen) and Aspen Opera Theatre (The Ghosts of Versailles and West Side Story).

Michael has also conducted at Opéra de Montréal and Opera Philadelphia (Silent Night) and Lyric Opera of Chicago (Rising Stars). He made his San Francisco Opera debut conducting the world premiere of The Gospel of Mary Magdalene.

Michael lives with his family in Minneapolis.

Alan E. Hicks

stage director Alan E. Hicks has spent the past 20 years in professional opera and theater. His work has been described as “imaginatively directed,” “absolutely brilliant” and “real magic.” He has created new productions for companies and universities throughout the United States and in Europe, and has served on the production staffs of Central City Opera, Chautauqua Opera, Florida Grand Opera, Green Mountain Opera Festival, Michigan Opera Theatre, Seattle Opera, Tulsa Opera and New York City Opera.

In 2014, he was appointed Director of the Emerging Artist Program at Green Mountain Opera Festival, directing its production of The Rape of Lucretia. For 2015 – 2016, in addition to Ariadne auf Naxos, Alan will direct L’elisir d’amore for Opera Santa Barbara, Albert Herring for Shenandoah Conservatory and will join the production staff of Lyric Opera of Chicago. Last season, Alan created and directed a semi-staged production of The Turn of the Screw for the Saint Paul Chamber Orchestra which the Pioneer Press noted was “… not only suitably creepy, it was brilliantly done.”

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Brad Benoit

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THE ARTISTS Hanna Hipp

the composer Mezzo-soprano Hanna Hipp makes her role and house debut at Minnesota Opera in the 2015 – 2016 season in this role and also sings Suzuki in Madama Butterfly at Teatr Wielki (Warsaw) in her native Poland. Ms. Hipp appears in concert with the Orchestre de la Suisse Romande in Geneva and Lausanne in performances of L'enfant et les sortilèges and performs Szymanowski’s Stabat mater with the London Philharmonic Orchestra in Brussels. This season she also returns to the Glyndebourne Festival as Magdalene in Die Meistersinger von Nürnberg and makes her house debut at Seattle Opera. In the future, she returns to Scottish Opera and Royal Opera House, Covent Garden.

Ms. Hipp started the 2014 – 2015 season singing Ramiro in La finta giardiniera with Glyndebourne On Tour and Suzuki in Madama Butterfly at Teatr Wielki. She also made her house debut at Teatro alla Scala as Mercédès in Carmen, sang Dorabella in Così fan tutte at Opéra de Limoges, the Cat and the Squirrel in L’enfant et les sortilèges at Glyndebourne, and covered the role of Concepción in L’heure espagnole.

Ms. Hipp’s appearance is generously sponsored by Harvey T. McLain.

| MINNESOTA OPERA mnopera.org

Linh Kauffman

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naiad (OCT. 4) Praised as “vocally and dramatically powerful” by the Washington Post and “radiant” by the Saint Paul Pioneer Press, American soprano Linh Kauffman enjoys an active career in opera, oratorio, new music and recital.

Her 2014 – 2015 performances included Mahler’s Symphony No. 2 with the Minnesota Orchestra, Mahler’s Symphony No. 4 with the Metropolitan Symphony, Festival Musica Antigua Panamá, Gluck’s Orfeo ed Euridice for the Twin Cities Early Music Festival, Handel’s Esther with Lyra Baroque Orchestra and Festival Musique en l’Île in Paris.

Ms. Kauffman made her Latin American debut in Apollo et Hyacinthus at the Teatro Nacional de Panamá. Other roles include Aspasia in Mitridate and Morgana in Alcina for Metamorphosis Opera Theater, the title role in Pocahontas: Woman of Two Worlds in Duluth, Galatea in Acis and Galatea with Berkeley Opera and Maria in West Side Story with Sierra Repertory Theatre. Upcoming appearances include Carmina burana in Prague, Acis and Galatea and Dido and Aeneas in Panamá, Handel’s Messiah in Kansas City and Mahler’s Symphony No. 2 with the Quad City Symphony.

Jeni Houser

naiad zerbinetta (OCT. 4) Soprano Jeni Houser joins Minnesota Opera’s Resident Artist Program this season, where she will perform Naiad in Ariadne auf Naxos, while covering Zerbinetta; the Queen of the Night in The Magic Flute; and Mrs. Grady in The Shining.

She also returns to Madison Opera this February as Amy in Little Women, and later in April, debuts with Madison Symphony as soprano soloist in Carmina burana. Jeni recently made her debut at Lyric Opera of Chicago in The Magic Victrola, singing Olympia’s aria from Les contes d’Hoffmann. Of her performance, the Chicago Tribune writes, “Houser, who had been enlisted at the eleventh hour […], sang sweetly, her top notes securely placed.”

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

Andrew Lovato

harlequin The New York Times labeled Mr. Lovato, “the winning baritone” and has been described

by Ricky Ian Gordon as, “One of the most connected and beautiful voices I have ever heard.” Mr. Lovato premiered the role of Harry Engel in Ricky Ian Gordon’s Morning Star in his Cincinnati Opera debut. He will be singing the role of Slim in Of Mice and Men with Austin Opera and returns as Young Raymond and the Nominee in its production of The Manchurian Candidate.

Mr. Lovato returns to Minnesota Opera to perform the role of Harlequin in Ariadne auf Naxos as well as Angelotti in Tosca. He made his Minnesota Opera debut as the role of Sonora in La fanciulla del West and subsequently performed Young Raymond in the world premiere of The Manchurian Candidate by Kevin Puts and Mark Campbell as well as Le Dancaïre in Carmen with the Minnesota Opera. He is the winner of the George L. Hackett Prize in the Livingston Mather Competition.

Brian Jagde

the tenor; bacchus Tenor Brian Jagde has quickly emerged as one of the most engaging and exciting lirico-spinto voices of his generation. This season, he makes house debuts at the Teatro San Carlo as Don José in Carmen, Houston Grand Opera as the Prince in Rusalka and Palm Beach Opera as Bacchus in Ariadne auf Naxos. He also sings Don José at Deutsche Oper Berlin and San Francisco Opera.

Mr. Jagde’s recent engagements include debuts at the Met as Count Elemer in Arabella; Don José in Carmen at Opéra de Limoges; Cavaradossi in Tosca at Lyric Opera of Chicago, Santa Fe Opera and Deutsche Oper Berlin; Rodolfo in La bohème with Ópera de Bellas Artes; Ismaele in Nabucco at the Palau de les Arts Reina Sofia; and the Prince in Rusalka and Narraboth in Salome at Opera San Antonio. He was also seen as Pinkerton in Madama Butterfly at San Francisco Opera, Matteo in Arabella with Minnesota Opera, Rodolfo in La bohème with the Münchner Philharmoniker and at the Castleton Festival, and Narraboth at Santa Fe Opera.

Mr. Jagde’s appearance is generously sponsored by H. Bernt von Ohlen and W. Thomas Nichol.

Erin Morley

zerbinetta Erin Morley is one of today’s most sought after coloratura sopranos. She has stepped into the international spotlight in recent years at opera houses around the world.

Ms. Morley has brought what The New York Times called the “silken clarity of her voice and the needlepoint precision” of her coloratura to the Metropolitan Opera, the Vienna Staatsoper, Munich’s Bayerische Staatsoper, the Opéra National de Paris, the Palau de les Arts in Valencia (Spain) and the Santa Fe Opera.

The 2015 – 2016 season takes Ms. Morley back to Munich (Fiakermilli in Arabella) and Paris (Sophie in Der Rosenkavalier), and with Harry Bicket’s renowned chamber group, The English Concert, in a European and North-American tour singing Angelica in Handel’s Orlando with a final performance at Carnegie Hall. She was hailed by critics as “a major success” when she stepped in last-minute to sing Sophie in an entire run of Der Rosenkavalier during the 2013 – 2014 season. Met audiences also heard Ms. Morley as Olympia in Les contes d’Hoffmann and Sister Constance in Dialogues des Carmélites.

Ms. Morley’s appearance is generously sponsored by Cargill, in honor of Heinz Hutter.

THE ARTISTS costume designer Cynthia Savage has worked in costumes in theater, opera and films in London. Ms. Savage has previously run costume shops at Banff School of Fine Arts in Canada, Indiana Repertory Theatre and Seattle Opera, where she started the costume shop and was further promoted to Production Director from 1992 to 2001. She has designed costumes at Seattle Opera for Strauss’ Ariadne auf Naxos, Leoncavallo’s Pagliacci and Gershwin’s Porgy and Bess. At Village Theatre in Issaquah (Washington), she is the Costume Shop Manager and has designed Meet Me in St. Louis, Fiddler on the Roof, Les Misérables and Mary Poppins, for which she has received a Gregory nomination.

Dale Travis

the music teacher Dale Travis has become one of the most soughtafter bass-baritones in America today. Mr. Travis’ repertoire encompasses 50 roles, and more than 25 years in a wide variety of styles — from Mozart, Donizetti and Rossini to Strauss, Puccini and Wagner. He has been a frequent guest artist at the most prestigious opera companies in the world, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, Washington Opera, Los Angeles Opera, Santa Fe Opera Festival, Opera Colorado, Spoleto Festival usa, the Saito Kinen Music Festival, Teatro Regio in Torino, Teatro Carlo Felice in Genoa, Komische Oper Berlin and the New Israeli Opera in Tel Aviv.

Benjamin Sieverding

truffaldino Bass Benjamin Sieverding has been recognized by critics nationwide for his “surprising depth” (Boulder Daily Camera), "natural gift for comedy” and “full, rich sound” (Ann Arbor Observer). This season he joins Minnesota Opera, also appearing as Sarastro in The Magic Flute and the Sacristan in Tosca. Most recently, Sieverding reprised the roles he created in Theodore Morrison’s Oscar with Opera Philadelphia and made his role debut as Il Commendatore in Don Giovanni, performing as a guest artist with the University of Alabama Opera Theatre.

An Apprentice Artist with The Santa Fe Opera for two seasons, Sieverding made his company debut in three roles for the world premiere of Oscar. As one of the infirmary patients, Sieverding “lent heart-choking realism” to the role (Bay Area Reporter), and the Huffington Post called it “the single most moving scene in the opera.” He was the recipient of the company’s 2013 Ruth Freehoff Award. In his second season with Santa Fe, Sieverding covered the title role in Don Pasquale and the roles of Herr Puff in The Impresario and the Chamberlain in Le Rossignol.

Amber Wagner

the prima donna; ariadne American soprano Amber Wagner is a winner of the 2007 Metropolitan Opera National Council Auditions Grand Finals and was featured in the documentary film The Audition which opened to audiences nationwide in 2009. Chosen by Opera News as one of 25 artists poised to break out and become a major force in classical music in the coming decade, she has been praised for her “gleaming, ample and effortless sound” and “gorgeous, creamy tone … This is one remarkable voice” (Chicago Tribune).

Recent engagements include a return to Santa Fe Opera for Tosca, Arabella, La traviata and Le nozze di Figaro; La bohème for San Francisco Opera; the Sacristan in Tosca for Lyric Opera of Chicago; The Mikado in Kansas City; and Arabella with Minnesota Opera. Future engagements include roles with Dallas Opera, San Francisco Opera, Opera Theatre of St. Louis and Glimmerglass Opera.

Highlights of Ms. Wagner’s 2015 – 2016 season include the title role in Ariadne auf Naxos with Palm Beach Opera. She performs Verdi’s Requiem with the Los Angeles Master Chorale, the Orquesta Filarmónica de Jalisco in Guadalajara (Mexico) and with the Milwaukee Symphony Orchestra. Last season, Ms. Wagner returned to Lyric Opera of Chicago for a role debut as Leonora in Il trovatore and Elisabeth in Tannhäuser, and she returned to the roster of the Metropolitan Opera.

Mr. Travis’ appearance is generously sponsored by Mahlon and Karen Schneider.

Ms. Wagner’s appearance is generously sponsored by Gus and Mary Blanchard.

David Radamés Toro

the butler A trained vocalist, pedagogue, actor and mime, David Radamés Toro applies his skills in music and stage movement to produce creative and meaningful opera. After earning a degree in voice performance from the University of Colorado, Mr. Toro attended Ohio State University, where he received further instruction in stage movement and directing. He was inspired to marry his training as a musician with his physical theater skills and pursue opera direction, completing graduate studies at the University of Texas. Directing credits include the world premiere of Rose Made Man by Franklin Piland and Tegan McLeod (Cohen New Works Festival), Into the Woods (Butler Opera Center), and assisting on the world premiere of Gilda Lyons and Tammy Ryan’s A New Kind of Fallout (Opera Theatre Pittsburgh). Other productions include directing David Wolfson’s The Rapture (New Fangled Opera), Phillip Glass’ Les enfants terribles (Butler Opera Center), assisting on The Fantasticks (Opera Theatre Pittsburgh), Falstaff (Emerald City Opera), and music direction for Ohio State University’s Trojan Women 2.0.

David Walton

brighella After performing roles during the 2014 – 2015 season, tenor David Walton returns to Minnesota Opera for the 2015 – 2016 season.

He has performed Rinuccio in Gianni Schicchi and Marco in The Gondoliers with the Ole Miss Opera Theatre in Oxford, Mississippi, and also sang Tamino (The Magic Flute) and Ernesto (Don Pasquale) with Atlantic Music Festival.

After three years with the Cantus Vocal Ensemble in Minneapolis, he has made numerous appearances with Minnesota Opera including Il Postiglione in La fanciulla del West and Ed Mavole in the world premiere of Puts and Campbell’s The Manchurian Candidate.

He returns to sing Spoletta in Tosca, and performs in Duluth and covers Tamino in The Magic Flute. He participated as a Gerdine Young Artist this past summer with Opera Theatre of Saint Louis, covering Matthew Gurney in Emmeline. Mr. Walton recently toured Azor in Grétry’s Zemire et Azor with Opera for the Young and was a regional finalist in the Upper Midwest Metropolitan Opera National Council Auditions.

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Cynthia Savage

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THE ARTISTS lighting designer Mr. Wierzel has worked with artists from diverse disciplines and backgrounds in theater, dance, contemporary music, museums and opera on stages throughout the country and abroad. Productions with Minnesota Opera include Hansel and Gretel, The Dream of Valentino, Wuthering Heights, Rusalka, The Grapes of Wrath, and this spring, The Shining, by Paul Moravec and Mark Campbell.

Recent past projects include the Broadway production of Lady Day at Emerson’s Bar and Grill. Upcoming projects include Another Word For Beauty, a new play premiering at the Goodman Theatre in Chicago and Glass’ Appomattox at Washington National Opera.

Violin

Flute

Timpani

Allison Ostrander Concertmaster Natalia Moiseeva Assistant Concertmaster Julia Persitz David Mickens Elizabeth Decker Stephan Orsak

Michele Frisch Amy Morris

Kory Andry

Oboe

Matthew Barber Steve Kimball

lighting re-creation Connie Yun is a freelance lighting designer based in Seattle. Her designs have been most recently seen at Seattle Opera for the world premiere of An American Dream, Tosca and La fille de régiment. In the Pacific Northwest, she has also designed for Tacoma Opera, Pacific Musicworks, Seattle Repertory Theatre, Empty Space Theatre, On The Boards, The Cabiri, Cornish College, Bellevue College and University of Puget Sound.

Other recent opera designs include Don Quichotte for Canadian Opera Company and Postcard from Morocco for Portland Opera and San Francisco Conservatory of Music. Upcoming designs include La bohème for Madison Opera and The Italian Girl in Algiers for Portland Opera.

Harp

Clarinet Karrin Meffert-Nelson Nina Olsen

Viola

Bassoon

Horn Matt Wilson Charles Hodgson

James Jacobson Teresa Richardson Sally Gibson Dorer Rebecca Arons

Min J. Kim Nikki Lemire

Piano Lara Bolton

Coreen Nordling Laurie Hatcher Merz

Cello

Dance work includes 30 years with Bill T. Jones and the btj/az Dance Co. (Bessie Awards), both at the Lyon and Berlin Opera Ballets.

Percussion

Michael Dayton Jeffrey Marshak

David Auerbach Susan Janda Laurel Browne Jenny Lind Nilsson

Additional credits include productions with the opera companies of Paris-Garnier; Tokyo; Toronto; Bergen and Kristiansand (Norway); Folk Opera of Sweden; nyco; Glimmerglass; Seattle; Boston Lyric; San Francisco; Houston; Virginia; Chicago Lyric; Chicago Opera Theater; Montreal; Vancouver; Portland; Wolf Trap; and San Diego, among others.

Connie Yun

Minnesota Opera Orchestra

Celeste Jessica Hall

Harmonium Lindsay Woodward

Trumpet John G. Koopmann

Bass

Trombone

John Michael Smith Constance Martin

Phillip Ostrander

Supernumeraries Tom Basting Brian Broszko Siri Drontle Austin England Julie Ann Greif Stephen Hage Nolan Hauta

Destry Hinck Nathan Ingebretson Joe Johnson Emily Judge-Becker Maddy La Roche Thomas Lorendo Katie MacRunnels

Tom Ringberg Laura Schaubschlager Ronald Schultz Norm Tiedemann Sarah Zuber

ApplicAtions Are

noW AVAilABle 2016 - 2017 Resident Artist Program info at: mnop.co/rap and YAP Tracker

AUDITIONS NOVEMBER 16 – 21

Contact Nickolas Sanches at nsanches@mnopera.org for any inquiries.

Minnesota Opera Resident Artist Gerard Michael D’Emilio (as Morales) in Carmen. © 2015 Michal Daniel.

It is with great sadness that Minnesota Opera marks the sudden passing of David Roth, a longtime friend and staff member of the company. David’s career in opera began in 1985 as a member of the Minnesota Opera chorus, and continued into the mid-1990s as a stage manager and assistant director. Between 1998 – 2005, he staged beautiful productions for Minnesota Opera of Tosca, Madame Butterfly, Faust, The Turn of the Screw, La bohème, The Flying Dutchman and Carmen to critical acclaim. David also founded Opera 101 to create opportunities for local Minnesota singers. A protégé of the legendary Colin Graham, David worked in opera companies nationwide including Opera Theatre of Saint Louis, Dallas Opera, Fort Worth Opera and eventually Kentucky Opera, serving as its general director. He was a great friend who was deeply respected and admired by all. He will be truly missed.

Photo courtesy of Louisville Business First

Robert Wierzel

MEET THE ARTISTS

What type of opera do you like to perform? Comedy or tragedy?

How did you prepare for the role of Ariadne?

Why did you fall in love with this Strauss opera?

AW I love comedy but rarely get to indulge, as I am often singing the roles of Wagner, Strauss and Verdi! So it’s always fun for me to come back to Ariadne and find new ways to bring out the ridiculousness of the Prima Donna in the Prologue.

AW My coach, Alan Darling, literally recorded — note by note — this role on a disc for me. It was difficult to learn; the rhythms are tricky and the text is complicated. I find myself constantly needing to refine and work on this piece.

I’ve sung it several times, but never feel that I’m “done” with it. I think it’s one of those pieces that gets better the more I dig into it and throw myself at its mercy.

AW I didn’t fall in love with it right away!

I won’t lie. I found the opera section after the Prologue to be indulgent and too complex.

However, the more I studied it and the more I opened myself up to instruction and wisdom from others, the more I fell in love with that complexity, and the more I realized just how genius that indulgent nature was!

And now I find myself wanting to somehow transpose Zerbinetta’s aria down a step or two so I could take a whack at it — it’s so gorgeous and witty. Strauss used the voice in such an orchestral fashion. He wove it into the fabric of his music and it’s quite grand.

It’s taken a lot of study for me to appreciate that and I’m happy to admit I was wrong upon my first listen.

© 2015 Brent Dundore Photography | BrentDundore.com

Tell us about the first time you heard or saw an opera.

BJ The first time I saw an opera was in high school. There was a class trip to The Metropolitan Opera to see the final dress rehearsal of Billy Budd. It was definitely unlike anything I had seen before. While my motivation for going may have been to get out of taking a certain science test that was scheduled for that day, I actually came away with a lasting experience that may have been the seed that grew into my becoming an opera singer — an idea which was far from my mind at that time.

What makes your character special and why were you interested in this role?

EM Zerbinetta is one of the most demanding coloratura soprano roles in all of opera. That's why I originally wanted to sing the part. I love the challenge. Beyond the music, I'm more and more attracted to the role because I feel a sense of freedom and honesty when I play her.

Where’s home for you? What has surprised you about Minnesota?

BJ New York City is home for me.

Having been to Minnesota in the winter and early spring, I'd say I've been pleasantly surprised by the warmth and sunlight we’ve BJ Funny enough, I liked this opera back in had. I love being here at what has to be the college when I had been a baritone. I actually best time of year, weather-wise, in Minnesota. played Harlequin!

List 5 things that you can’t EM This, of all Strauss operas, is perhaps the live without when you’re away most accessible. There's so much variety: the from home. orchestral textures, the weight of the voices.

EM 1. My family (that's why they are usually with me on the road!) 2. My knives (food prep is just not the same without Henckels!) 3. My yoga mat. 4. Photos of my family. 5. WiFi.

We have both the ridiculous and the sublime in the plot and the music. And we get to poke fun at our own profession! What's not to love?

What’s next for you?

BJ Coming up next is my debut in a new Carmen in Naples, Italy, with Zubin Mehta.

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Erin Morley, Brian Jagde and Amber Wagner

17

UPCOMING EVENTS Taste of Opera OCT. 1, 5:30 pm

Master Class at UW–S OCT. 23

Enhance your opera-going experience with a Members of the Minnesota Opera artistic delicious pre-show dinner and relaxed conversation staff work with singers from University of with experts from the world of opera. Leave the Wisconsin – Superior. logistics to us and enjoy an all-inclusive evening out!

MNOP.CO/TASTE

The Magic Flute in Duluth OCT. 31, 2 pm

Read and Sing Opera at Superior Public Library OCT. 20, 10:30 am

In Read and Sing Opera, a Teaching Artist will use songs and tools from operatic and classical singing to enhance, inspire and help children engage in reading. This event is held in conjunction with Minnesota Opera’s upcoming production of The Magic Flute in Duluth on October 31.

Craving a visit to the North Shore? Minnesota Opera will be presenting its critically-acclaimed production of The Magic Flute at Duluth’s DECC Symphony Hall at 2 pm.

Tempo Happy Hour NOV. 11, 5 pm

Meet up at a Saint Paul neighborhood hot spot near the Ordway for cocktails and noshing.

Social Media Preview Night NOV. 12, 7:30 pm

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

MNOP.CO/PREVIEW

The Magic Flute NOV. 14 – 22

Mozart’s timeless comedy sprouts wings and flies in this boundary-busting production by Komische Oper Berlin and the British theater group 1927. Fantastical, highly stylized and synchronized animation sets a surreal stage upon which a quirky cast of characters explore love, truth and the pursuit of enlightenment.

MNOP.CO/FLUTE

Master Class at UM–D

Behind the Curtain

Members of the Minnesota Opera artistic staff work with singers from University of Minnesota – Duluth.

Get the inside scoop. Behind the Curtain explores the music, history and design of The Magic Flute.

This special event will feature talks led by opera experts and informative discussion with members of the cast and creative team, and will be held backstage at the Ordway Music Theater.

OCT. 22

National Opera Week OCT. 23 – NOV. 1

Organizations and individuals throughout North America will lend their voices to a powerful chorus, demonstrating the strength and vitality of our art form today. From press conferences to free events to social media campaigns and beyond, Opera Week unites our field, showcases our year-round commitment to our communities and inspires a love of opera.

NOV. 11, 7 pm

MNOP.CO/BTC

Broadcast: The Elixir of Love

Tempo after-party at Sakura NOV. 14

Resident Artist Auditions NOV. 16 – 21

The Minneapolis auditions for the Resident Artist Program will be held at the Minnesota Opera Center.

MNOP.CO/RAP

NOV. 11, 8 pm

Minnesota Public Radio broadcasts Minnesota Opera’s production of The Elixir of Love.

MNOP.CO/LISTEN

JOIN TEMPO FOR THE 2015 – 2016 SEASON TODAY! Are you 21 – 39 and interested in experiencing opera, meeting new people and receiving invitations to After Parties and one-of-a-kind events? Join Minnesota Opera’s young professionals group and enjoy a steep discount on the hottest tickets in town.

TO LEARN MORE ABOUT TEMPO AND TO PURCHASE YOUR MEMBERSHIP, VISIT MNOPERA.ORG/TEMPO

TEMPO MEMBERS AT CARMEN AFTER PARTY

© 2015 Christie Photography for Minnesota Opera

OR CALL THE MINNESOTA OPERA TICKET OFFICE AT 612.333.6669, M – F, 10am – 5pm.

OPERA EDUCATION

SUMMER OPERA CAMP Thank you

MINNESOTA OPERA

for your extraordinary partnership – helping turn kids’ dreams into action.

HIGH SCHOOL STUDENTS PERFORMING INSALATA ITALIA.

ANNE BJERKE AND NICK SWANSON GOING OVER THEIR MUSIC.

Project SUCCESS

is a youth-development organization that works with students over a sevenyear period, from middle school through high school, to help them develop life skills that can transform their lives. Through in-school goal-setting workshops, an innovative theater program, and enrichment activities, students learn to make informed choices and plan for meaningful futures.

TESSA LARSON WORKS WITH CHOREOGRAPHER HEIDI SPESARD-NOBLE.

OPERA CAMPERS ATTENDING A PERFORMANCE OF PUCCINI’S LA RONDINE.

The 11th annual Summer Opera Camp was held on the beautiful campus of Shattuck-St. Mary’s School in Faribault, Minnesota.

Twenty-five teens from Minnesota, Wisconsin, Iowa, Michigan, Nebraska, Florida and California, spent a very intensive June week improving their skills in singing, acting and learning about the professional life of an opera singer. Also taking place during that week was the Opera Artist+, a unique experience for college music majors to explore the growing world of teaching artistry.

MORE INFORMATION ABOUT MINNESOTA OPERA SUMMER CAMPS CAN BE FOUND AT MNOP.CO/PROJECT-OPERA

SOCIAL MEDIA PREVIEW NIGHT Do you tweet? Post on Facebook? Instagram your entire life?

Join us on THURSDAY, NOVEMBER 12, for

Get a behind-the-scenes look at the final dress rehearsal for The Magic Flute. Inside the theater, using your phone, taking photos and sketching is encouraged! Event is free, but please apply at mnop.co/preview.

F L X : I I LEFT: A sketch from the Carmen Social Media Night.

SH OW US YOUR MN OPERA STYLE

#FLUTE@MNOPERA

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THE MAGIC FLUTE SOCIAL MEDIA PREVIEW NIGHT

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Magic Flute

Thank you for attending Ariadne auf Naxos Add two or more operas and save up to 25%

The Nov. 14, 15, 17, 19, 21 and 22

Mozart’s mystical masterpiece sprouts wings and flies in this boundary-busting production named Best Theater Production of 2014 by Pioneer Press.

Rusalka

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

Subscribe today and enjoy flexible exchanges, discounts for family and friends and more!

Tosca

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

Visit the Ordway box office at intermission, or call 612-333-6669,

Shining

The May 7, 12, 14 and 15

M – F, 10am – 5pm.

Service charges and other restrictions may apply.

N T

URN T E R C I G HE MA

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

Photos © Michal Daniel

S!

NOVEMBER 14–22, 2015

“… you’re never going to forget this production. It’s wild, in the best of all possible ways.” — MPLS/ST.PAUL MAGAZINE

mnopera.org 612-333-6669

BUY TODAY!

THE MAGIC FLUTE PREVIEW set his libretto to music. It was a different kind of “opera,” although Mozart was quite comfortable with composing a Singspiel. That we are still going to see this extraordinary mash up of comedy slapstick, romantic fantasy, Masonic traditions of the time and a foreshadowing of the great German operas of the 19th century, culminating with Wagner’s epics, is an amazing testament to the genius that is Mozart.

[The Magic Flute] is one of the great operas of the 18th century . . . ”

After more than 200 years of astounding productions of The Magic Flute, what new ideas can we possibly have? In the fall of 2012, my colleague Floyd Anderson and I were having breakfast with British artist agent Robert Guilder. He told us he had just experienced the best production of Flute he had ever seen. He gave us a link to the website of Komische Oper Berlin where it was currently playing.

My jaw dropped at the incredible visual delights of this production, the brainchild of Komische Oper’s Barrie Kosky, in collaboration with British avant-garde theater company 1927. I decided on the spot to bring this brilliant concept to the United States.

“

The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

The Magic Flute was premiered in 1791 at the Freihaus-Theater auf der Wieden in Vienna. Mozart, at the end of his short life, experienced an extraordinary explosion of creativity. In addition to The Magic Flute, he composed the opera seria, La clemenza di Tito, and the Requiem. He had fallen out of favor with the aristocracy and took on a commission from Emanuel Schikaneder to

In November, we will be treated to a production that has been influenced by the silent movies of the 1920s. Director Suzanne Andrade and animator Paul Barritt have taken in such cinematic influences as The Cabinet of Dr. Caligari and Nosferatu as well as the animation of Max Fleischer. Louise Brooks in the 1929 film Pandora’s Box was also factored into this new production.

All of the animation was hand drawn and then animated by Mr. Barritt. It is slow, painstaking work but the result is a riot of images that will surely delight you.

The singers interact with the animation in a wonderful way. They become part of this visual feast. I didn’t believe anything new could be said about The Magic Flute, but I have been proven wrong. Do not miss this groundbreaking, fresh and extraordinary production of Mozart’s classic.

DALE A. JOHNSON Artistic Director

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W

hat can be said about Mozart’s The Magic Flute that has not already been said? It is one of the great operas of the 18th century; one of the most beloved comedies in the operatic repertoire; a piece written by one of the great composers, working in his most original and beguiling style; and a surprising piece when measured by all traditional standards.

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BOARD OF DIRECTORS

STAFF, BOARD AND VOLUNTEERS

OFFICERS

MINNESOTA OPERA STAFF

Chair | James E. Johnson General Director | Nina M. Archabal Vice Chair | Margaret Wurtele

General Director | Nina M. Archabal Artistic Director | Dale Johnson Music Director | Michael Christie

Secretary | Robert Lee Treasurer | Christopher Romans

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

Cynthia Y. Lee Robert Lee Leni Moore Albin “Jim” Nelson Kay Ness Jose Peris Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Mary H. Schrock Linda Roberts Singh Nadege Souvenir David Strauss Virginia Stringer H. Bernt von Ohlen Margaret Wurtele

Karen Bachman

Julia W. Dayton

John A. Blanchard III

Mary W. Vaughan

Burton Cohen

HONORARY DIRECTORS Norton M. Hintz

Philip Brunelle

Liz Kochiras

Dolly Fiterman

Patricia H. Sheppard

Production Stage Manager | Kerry Masek Assistant Stage Managers | Jamie K. Fuller, Hannah Holthaus

ARTISTIC

Production Assistant | Lorely Dedrick

Artistic Administrator | Roxanne Stouffer

ADMINISTRATION

Artist Relations and Planning Director | Floyd Anderson Dramaturg | David Sander Head of Music | Robert Ainsley Resident Artists | Jonathan Brandani, Siena Forest, Jessica Hall, Jeni Houser, Andrew Lovato, Shannon Prickett, Nickolas Sanches, Benjamin Sieverding, David Radamés Toro, David Walton, Lindsay Woodward Master Coaches | Lara Bolton, Mary Jo Gothmann, Eric McEnaney

COSTUMES

Finance Director | Jeff Couture Operations/Systems Manager | Steve Mittelholtz HR/Accounting Manager | Jen Thill Director of Board Relations | Theresa Murray

DEVELOPMENT Chief Development Director | Carley Stuber Institutional Gifts Manager | Jaden Hansen Individual Gifts Manager | Krystal Kohler Special Events Manager | Kristine Migely Development Associate | Danielle Ricci

Costume Director | Corinna Bohren Assistant Costume Director | Beth Sanders Tailor | Yancey Thrift

Institutional Gifts Associate | Diana Konopka

EDUCATION Community Education Director | Jamie Andrews

First Hands | Helen Ammann, Kelsey Glasener, Rebecca Karstad

Teaching Artist | Alisa Magallón

Stitchers | Annie Cosper, Ann Habermann, Sara Huebschen

Project Opera Accompanist | Kathy Kraulik

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

Dominick Argento

Production Director | Karen Quisenberry

Assistant to the Production Director | Julia Gallagher

Drapers | Chris Bur, Emily Rosenmeier

EMERITI

PRODUCTION

Wig/Makeup Crew | Dominick Veldman

Project Opera Music Director | Dale Kruse Project Opera Program Manager | Lorely Dedrick

MARKETING/COMMUNICATIONS Senior Marketing and Communications Director | Kyle Clausen Marketing Director | Katherine L. Castille

SCENERY Technical Director | Mike McQuiston

Marketing Assistant | Kate Saumur

Properties Master | Jenn Maatman

Program Manager, Marketing and Communications | Kristin Matejcek

Properties Assistant | Michael C. Long

Communications Associate | Eric Broker

LEGAL COUNSEL

Lighting and Video Coordinator | Raymond W. Steveson Jr.

James A. Rubenstein, Moss & Barnett

Projections Designer | Chris Reay

Ticket Office Manager | Kevin Beckey

Production Carpenter | JC Amel Scene Shop Foreman | Larry Kline

TEMPO BOARD MEMBERS

Data Specialist | Rosalee McCready Associate Ticket Office Manager | Karl Annable Ticket Office Assistants | Carol Corich, Brian Johnson-Weyl, Johanna Owen

Master Carpenters | Nate Kulenkamp, Steven Rovie, Eric Veldey Charge Painter | Angelique Powers Projections Technician | Martin Reitz

OFFICERS Chair | Jennifer Engel Membership Chair | Chrissi Reimer Marketing Chair | Jana Sackmeister Programming Chair | Thomas Bakken Staff Liaison | Kristin Matejcek Secretary | Alexis DuPlessis Treasurer | Faris Rashid

MEMBERS Brad Benoit Kamruz Darabi Melissa Daul Kara Eliason Mark Giga

Laura Green Brian Halaas Rhonda Skoby Aimee Tritt

MINNESOTA OPERA VOLUNTEERS The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnop.co/volunteer, or email volunteering@mnopera.org for more information.

Lynne Beck Gerald Benson Debra Brooks Jerry Cassidy Judith Duncan Jane Fuller Joan Gacki

Merle Hanson Robin Keck Mary Lach Jerry Lillquist Joyce Lillquist Melanie Locke Suzan Lynnes

Mary McDiarmid Barbara Moore Douglas Myhra Candyce Osterkamp Pat Panshin Sydney Phillips Kari Schutz

Janet Skidmore Wendi Sott Stephanie Van D’Elden Barbara Willis

Minnesota Opera is a proud member of The Arts Partnership with Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra and The Schubert Club.

The staff and board members would like to remember our friend,

Heinz Hutter,

for his devotion to Minnesota Opera.

Mr. Hutter was a great believer in the power of opera to excite and entertain its audience.

He helped to propel Minnesota Opera to the forefront of American opera companies, with his overwhelming love of the art form and his deep commitment in keeping the art form fresh and alive through the creation of new works. He believed that this company could be creative while still maintaining a balanced budget and worked hard to see that the company was a great success.

as well as serving on the board for over 20 years. We will miss his smile, wonderful sense of humor, the sparkle in his eyes and passionate support.

The performances of Ariadne auf Naxos are dedicated to Heinz Hutter. 

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Mr. Hutter truly loved the Minnesota Opera, attending all performances and events,

23

ANNUAL FUND

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

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

bel canto circle Platinum $50,000 and above

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

Platinum $25,000 – $49,999

Dr. Tracy and Mr. Eric Aanenson Patricia Beithon Mary and Gus Blanchard Rachelle Dockman Chase Sara and Jock Donaldson

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

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

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

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

Gold $5,000 – $7,499

| MINNESOTA OPERA mnopera.org

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

24

artist circle $1,000 – $2,499

Anonymous Charles and Mary Anderson Ruth and Dale Bachman Ann and Thomas Bagnoli Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Carl and Joan Behr Barbara S. Belk Mrs. Paul G. Boening Allan Bradley Drs. Eli and Jan Briones Keith and Carolyn Campbell Joan and George Carlson Kyle Clausen and Bethany Moritz Barb and Jeff Couture Michael and Stacy Crosby Shana and John Crosson

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

Silver $10,000–$14,999

Anonymous (2) Susan Boren and Steve King Michael and Alexis Christie Cy and Paula DeCosse Fund of The Minneapolis Foundation Dolly J. Fiterman Mr. and Mrs. William Frels

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

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

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

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

Helen Crosson and John T. Crosson Jeff and Wendy Dankey Vanessa Dayton Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Elise Donohue * Rondi Erickson and Sandy Lewis Ann Fankhanel Ester and John Fesler Gail Fiskewold Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and William Gacki Mr. and Mrs. R. James Gesell Heidi and Howard Gilbert Marion and Donald Hall Tom and Susan Handley Don Helgeson and Sue Shepard

Elfrieda Hintze Jean McGough Holten Chuck Jakway and Teresa Williams Barbara Jenkins Bryce and Paula Johnson Sharon and Fredrik Johnson Nancy and Donald Kapps Margaret V. Kinney Sally and Bill Kling Gerard Knight Mrs. James S. Kochiras Krystal Kohler and Dan Norris Kyle Kossol and Tom Becker Constance and Daniel Kunin Kent Larson and Christine Podas-Larson Judy Lebedoff and Hugh Klein Mr. Bryan Lechner Cynthia and Lawrence Lee

Laurence and Jean LeJeune Sy and Ginny Levy Family Fund of The Minneapolis Foundation Diane and David Lilly Bill Long Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Mr. and Mrs. Reid MacDonald Tom and Marsha Mann Carolyn and Charles Mayo Laura McCarten Helen and Charles McCrossan Deb and Jon McTaggart Mary M. McVay Eileen and Lester Meltzer David and LaVonne Middleton Jennifer and David Miller Mary M. Montgomery

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

Silver $2,500 – $4,999

artist circle (continued) Diana and Joe Murphy Betty Myers David E. and Judy L. Myers Joan and Richard Newmark Derrill M. Pankow Paula Patineau Suzanne and William Payne

patron circle Gold $750 – $999

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

Silver $500 – $749

Anonymous (2) Meredith B. Alden Arlene and Tom Alm Katherine Anderson August J. Aquila and Emily Haliziw Dr. and Mrs. Orn Arnar

Bill and Barbara Pearce Fund of The Minneapolis Foundation Mary and Robert Price George M. Reid Sampson Family Charitable Foundation John Sandbo and Jean Thomson Morris and Judith Sherman Cherie and Robert Shreck

Dr. Leslie W. Smith Matthew Spanjers and Annie Carvalho Mark and Kristi Specker Daniel J. Spiegel Family Foundation Donna Stephenson Dana and Stephen Strand Carley and Bill Stuber Lester Temple

Jill and John Thompson Bryn and Schelly Vaaler Mrs. Joanne Von Blon Dr. Craig S. and Stephanie Walvatne David L. Ward John W. Windhorst Jr. Carolyn, Sharon and Clark Winslow Rory and Diane Yanchek

Kay C. Bach Anthony Benz Martin and Patricia Blumenreich Thomas and Joyce Bruckner Philip and Carolyn Brunelle Scott Cabalka Elwood and Florence Caldwell Brenda Colwill Barry Divine Holli and Stefan Egerstrom Leah and Ian Evison Brian M. Finstad David Francis Bradley Fuller and Elizabeth Lincoln Carol and Mike Garbisch David and Terry Gilberstadt Jennifer Gross and Jerry LeFevre Russell and Priscilla Hankins Alfred E. Hauwiller Steve Horan Mark and Jeanne Jacobson Chris and Nick Jermihov Charles and Sally Jorgensen Herbert and Erika Kahler Carole and Joseph Killpatrick James and Gail LaFave

Tim and Susanna Lodge Dr. Caliann Lum Stuart MacGibbon Donald and Rhoda Mains Kristin and Jim Matejcek Frank Mayers Carla K. McGrath Kris and Bill McGrath Judith and James Mellinger Anne W. Miller Steven J. Mittelholtz Ruth and Ahmad Orandi Kathleen and Donald Park Ilya Perepelitsyn and Lioudmila Sitnikova Carol Peterson Corine and John Petraborg Walter Pickhardt and Sandra Resnick John and Norma Pierson Dwight and Christina Porter Lawrence M. Redmond Rehael Fund – Roger Hale/Nor Hall of The Minneapolis Foundation William and Sue Roberts Ann M. Rock Bob and Donna Rose

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

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

Nicole and Charles Prescott Dennis M. Ready Christina Reimer Robert E. Rocknem Tamara and Michael Root Daniel Roth Patricia and Stephen Rowley Catherine Saumur Mary Savina Alan E. Shapiro Steve and Beth Schneider Jamie Schultz and Keith Beveridge Glenn Shifflet Marianne Settano Shumaker and Gordon Shumaker Juliana Simmons Debra Sit * and Peter Berge Arthur and Marilynn Skantz Danielle St. Germain-Gordon Mark Stutrud Susan Truman John and Sandra White Barb Wildes Wendy Wildung

associate circle $250 – $499

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

ANNUAL FUND

Andrea Een Candace and Dan Ellis Charlie and Anne Ferrell Mina Fisher and Fritz Nelson Christine Fleming Rick and Nancy Foss Jane Fuller Greta and Paul Garmers Randy Goetz Stanley and Luella Goldberg Marsha and Richard Gould Stephanie Haack Laurie Hansen Douglas and Doris Happe Mary K. Hicks Clifton and Sharon Hill Andrew and Gary Whitford Holey Stuart Holland Burton and Sandra Hoverson Worth L. Hudspeth Thomas and Vicki Hurwitz Ray Jacobsen Charlie Johnson Samuel L. Kaplan and Sylvia Chessen Kaplan Richard and Linda Kerber Janice Kimes Andrea M. Kircher

These lists are current as of August 11, 2015, and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Development Associate, Danielle Ricci, at 612.342.9596 or dricci@mnopera.org.

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

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INDIVIDUAL GIVING

25

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

minnesota opera sponsors Behind the Curtain

Production Innovation System

Comcast

General Mills

Gala Sponsors

Cargill, in memory of Heinz Hutter Ascent Private Capital Management of U.S. Bank United Health Foundation

Official Make-Up Partner

Resident Artist Program Wenger Foundation

Tempo After Parties Sakura

Tempo Print Sponsor Press Sure Print

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

$50,000 – $99,999

$25,000 – $49,999

corporations, foundations and government Sponsors $25,000+

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

Platinum $10,000 – $24,999

| MINNESOTA OPERA mnopera.org

$10,000 – $24,999

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

Rahr Foundation Securian Foundation Travelers U.S. Bank Foundation Wells Fargo Foundation Minnesota Xcel Energy Foundation

Gold $5,000 – $9,999

Best Buy Children’s Foundation Boss Foundation

Briggs & Morgan p.a.

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

Silver $2,500 – $4,999

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

Bronze $250 – $2,499

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

In-Kind Donations Dunn Bros. Coffee Jefferson Lines

production multimedia Publicity Photographer | Brent Dundore

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

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

Event Photographer | CJ Standish

LEGACY CIRCLE

MINNESOTA OPERA INFO

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

Anonymous (4)

Margaret Kilroe Trust*

Paul and Val Ackerman

Lyndel and Blaine King

Thomas O. Allen

Gretchen Klein*

Dr. and Mrs. Rolf Andreassen*

Sally and William Kling

Mary A. Andres

Gisela Knoblauch*

Karen Bachman

Liz and Jim Krezowski

Randolph G. Baier*

Robert Kriel and

Patricia and Mark Bauer

Linda Krach

Mrs. Harvey O. Beek*

Robert and Venetia Kudrle

Barbara and

Helen L. Kuehn*

Judson Bemis Sr.*

Robert J. Lawser Jr.

Dr. Lee Borah Jr.

Jean Lemberg*

Allan Bradley

Joyce and Jerry Lillquist

C.T. Bundy II

Patricia Ruth Lund*

Margaret M. Carasik

David Mayo

Joan and George Carlson

Barbara and Thomas* McBurney

Darlene J. and

Mary McDiarmid

Richard P. Carroll

Mildred McGonagle*

Julia and Dan Cross

Mrs. Walter Meyers

Julia and

John L. Michel

Kenneth* Dayton

and H. Berit Midelfort

Charles M. Denny

Susan Molder*

George and Susan Doty

Edith Mueller*

Rudolph Driscoll*

Kay Ness

Anne P. Ducharme

Joan and

Ester and John Fesler

Richard Newmark

Dr. Paul Froeschl

Philip Oxman and Harvey Zuckman

Katy Gaynor

Scott J. Pakudaitis

Nettie Grabscheid*

Lana K. Pemberton

Robert and Ellen Green

Sydney M. and William S.* Phillips

Dr. Ieva M. Grundmanis*

Richard G.* and

Julia Hanna*

Liane A. Rosel

Ruth Hanold*

Ken and Nina Rothchild

Frederick J. Hey Jr.*

Berneen Rudolph

Norton M. Hintz Trust

Mary Savina

Elfrieda Hintze

Frank and Lynda Sharbrough

Jean McGough Holten

Drew Stewart

Charles J. Hudgins*

James and Susan Sullivan

Dale and Pat Johnson

Gregory C. Swinehart

Ruth Jones*

Stephanie C. Van D’Elden

Charles and Sally Jorgensen

Mary W. Vaughan

Robert and

Bernt von Ohlen

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

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

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

Minnesota Opera Ticket Office 620 North First Street, Minneapolis, MN 55401 612.333.6669 Regular Hours: Monday – Friday, 10am – 5pm.

Performances: Weekdays — phones open until curtain. Weekends — phones open at 2pm for evening performances and at 10:30am for matinee performances.

Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain. mnopera.org Visit mnopera.org to watch behind-the-scenes videos, read synopses, browse digital programs and more. Join our e-club to receive special offers and opera news.

Ticket Policies Tickets are not refundable. Subscribers may make exchanges for a different performance or opera up to one hour prior to curtain. Any ticket may be turned back for a tax deductible donation up until curtain. Call the Minnesota Opera Ticket Office at 612.333.6669.

Parking Prepaid parking is available for opera patrons at the Lawson Commons Ramp. Call 612.333.6669 to purchase passes, or online at mnopera.org. Subject to availability.

Opera Insights Come early for Opera Insights — free, fun and informative half-hour sessions held in the lobby one hour before curtain.

Accessibility For patrons with disabilities, wheelchair-accessible seats are available. Audio description will be available for select performances. Please call 612.333.6669 for details and indicate any special needs when ordering tickets.

At Ordway, accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems.

At the Ordway Ordway is a smoke-free facility.

Latecomers will be seated at an appropriate break.

Please have all cell phones and pagers turned to the silent mode.

Children under six are not permitted in the hall.

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

All beverages purchased from Concessions are welcome in the theater. (Hot beverages require lids.)

The phone number for emergencies is 651.224.4222. Please leave seat locations with the calling party.

Lost and Found is located at the Stage Door.

Call 651.282.3070 for assistance.

| ARIADNE AUF NAXOS

through their foresight and generosity, have included the Opera in

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N

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T TA I O NN N ES U VE N R E IN T M GES Y A

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PRESENTS

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MINNESOTA DANCE THEATRE

ONLY FIVE PERFORMANCES DECEMBER 18 – 22

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

MNDANCE.ORG

GALA SPONSORS Presenting Sponsor Cargill in memory of Heinz Hutter

Major Sponsors

Judy Dayton and Mary W. Vaughan

Gala Chair Mary Schrock

Ascent Private Capital Management of U.S. Bank United Health Foundation

GALA CHAIRS Honorary Gala Chairs

Corporate Chair MNOPERA.ORG

Don Romanaggi

C O R P O R AT E TA B L E S

3M Ernst & Young Faegre Baker Daniels LLP Target Okabena Advisors

MNOPERA.ORG

KPMG

I N D I V I D U A L TA B L E S

Karen Bachman & Richard Allendorf Patricia Beithon Mary and Gus Blanchard Judy Dayton & Mary W. Vaughan Shelli Chase & Mary and Christian Schrock Vicki and Chip Emery & Bob Lee and Sara and Jock Donaldson & Linda and Jesse Singh Ruth and John Huss James E. Johnson and Lucy Rosenberry Jones Mary Schaffner Leni and David Moore & Connie and Lewis Remele Martha and Art Kaemmer Bernt von Ohlen Wayne Zink Mary Ingebrand-Pohlad & Sharon Hawkins

A P P R E C I AT I O N

O P E N I N G N I G H T A F T E R PA R T Y

Mpls St. Paul Magazine | Media Sponsor All proceeds of Opera Gala 2015 and The Bacchus Bash After Party support Minnesota Opera’s world-renowned productions and education outreach programs.

| ARIADNE AUF NAXOS

Minnesota Opera Board of Directors Gala 2015 Committee Tempo Board of Directors DJ Jonathan Ackerman Borealis Dance Jane and Ogden Confer Floyd Anderson Grand Superior Lodge Great Performance Tours The Greek Vicki and Chip Emery Hennepin Lake Liquors Dale Johnson James E. Johnson and Dancers of Minnesota Chris Kalogerson Music Mercury Creative Group Kay Ness Lucy Rosenberry Jones Elizabeth Redleaf Charles MacKay, Santa Fe Opera Linda and Jesse Singh Project Opera The Saint Paul Hotel Tesla Motors, Inc. Vincent Francoual Sexton Printing Todd Willihnganz, Wells Fargo Advisors Jeremiah Lewis-Walker and Leah Westlund Wayne Zink Chris Wolohan

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EXPERIENCE EXTRAORDINARY Enjoy a DSSO concert on your next Duluth & Superior getaway.

Concerts on: October 3 October 17 November 14

December 31 January 23 February 6

March 5 April 9 May 7 Visit dsso.com

LYRIC OPERA OF THE NORTH OCTOBER 8 & 10, 2015 in Duluth, Minnesota

a creative agency for the arts

THE BARBER of SEVILLE

artsink.org For advertising opportunities: amy@artsink.org 612.251.1335

Proud to partner with Minnesota Opera

ROSSINI

Another excuse to visit the north shore for the weekend!

www.loonopera.org 218.464.0922

OSMO VÄNSKÄ

NOV E MB E R CONCERTS SIBELIUS MINIATURES

Thu Nov 5 11am / Fri Nov 6 8pm Osmo Vänskä, conductor / Henning Kraggerud, violin The year 2015 brings the 150th anniversary of Jean Sibelius’ birth, and the Orchestra will celebrate throughout the season! Whether you’re new to Sibelius or have thrilled for years to the Vänskä interpretations, this program is for you.

A MUSICAL FEAST HENNING KRAGGERUD

with Sarah Hicks and Popular Twin Cities Chefs Sat Nov 7 8pm Sarah Hicks, conductor

Sarah Hicks, Principal Conductor of Live at Orchestra

Osmo Vänskä /// Music Director

We’ve cooked up a tasty evening with some of the Twin Cities’ most popular chefs from Butcher and the Boar, Patisserie 46, Travail Kitchen and Vincent A Restaurant joining us onstage. They’ll create a scrumptious menu right before our eyes as the musicians stir in just the right notes.

NATASHA PAREMSKI

TCHAIKOVSKY’S FIRST PIANO CONCERTO Fri Nov 13 & Sat Nov 14 8pm

Andrew Litton, conductor / Natasha Paremski, piano During Sommerfest 2014, Paremski performed the famously difficult Rachmaninoff Concerto No. 3 and now she brings all those skills to the beloved yet equally thorny Tchaikovsky Concerto No. 1.

TCHAIKOVSKY’S PATHÉTIQUE Thu Nov 19 11am / Fri Nov 20 8pm

Robert Spano, conductor / Kelley O’Connor, mezzo KELLEY O’CONNOR

An illuminating program of portraits and self-portraits, each tinged with love and loss including Peter Lieberson’s shimmeringly beautiful Neruda Songs.

HOME ALONE IN CONCERT

Sat Nov 28 8pm / Sun Nov 29 2pm Sarah Hicks, conductor / Minnesota Boychoir Macaulay Culkin’s “oh no!” face is the stuff of movie legends, as is its magical score by music marvel John Williams! It’s a new way to experience this movie about an absent-minded family and their surprisingly resourceful 8-year-old son.

612.371.5656

/ minnesotaorchestra.org / Orchestra Hall

PHOTOS Hicks: Josh Kohanek Photography; Vänskä: Joel Larson; Kraggerud: Robert Romik; Paremski: Andrea Joynt; O’Connor: Zachary Maxwell Stertz; Home Alone ©1990 Twentieth Century Fox Media Partner:

FALL PERFORMANCE

New Moves Features original music by composer Steven Rydberg and the Zeitgeist New Music Ensemble

Le Corsaire pas de deux Famed pas de deux from the 19th century The rest of everything Choreography by Joanna Kotze making its main stage debut Grave Matters Spooky seasonal favorite choreographed by James Sewell October 23 – 25, 2015 The Goodale Theater at The Cowles Center JSB’s fall season is created in partnership with The Schubert Club.

H O L I D AY S H O W

James Sewell Ballet presents the Ballet of the Dolls production of

Nutcracker (not so) Suite Choreography by Myron Johnson

December 4 – 20, 2015 The Goodale Theater at The Cowles Center This highly inventive and irreverent production is set in the ’60s, beginning on the Upper-East-Side and careening into a beatnik downtown vibe with a life-size Barbie doll.

Presented in collaboration with

JAMES SEWELL BALLET

TICKETS: 612.206.3600 JSBALLET.ORG