Minnesota Opera's The Magic Flute Program by Minnesota Opera

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The dream the rehearsals the script the rehearsals the direction the rehearsals the encouragement the rehearsals the trust the rehearsals the premiere.

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Contents The Minnesota Opera Sta∂ and Volunteers. . . . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Board of Governors 1964 – 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 The Magic Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Emanuel Schikaneder, Mozart and the Masons . . . . . . . . . . . . . . 15 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Resident Artist Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Minnesota Opera Chorus & Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . 22 The Minnesota Opera 2004–2005 Season . . . . . . . . . . . . . . . . . . . . . . 23 Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 The Minnesota Opera Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 The Bush Foundation Challenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

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

Kevin Smith Dale Johnson Susan Boren

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

May 2004

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5 • the magic flute

WORELE PAR D I N RIC T Y E

the minnesota opera • 6

Minnesota Opera Staff Welcome to The Minnesota Opera’s 2003 – 2004 season and today’s production of The Magic Flute. Since its inception in 1963, The Minnesota Opera has continued to build and enrich the cultural life in our community by producing outstanding and innovative operas and opera education programs that inspire and entertain. The U.S. Bank Private Client Group is proud to sponsor the 2003 – 2004 season. Sponsoring the opera season is just part of our commitment to the arts and the quality of life in our community. This year’s opera season celebrates the singer. However, every production involves an ensemble of individuals committed to a common goal. From the conductor to the costume designer, the team’s objective is to enhance the singer’s ability to convey emotion beautifully. At the U.S. Bank Private Client Group, we also embrace teamwork. Our team is comprised of individuals who are committed to meeting the financial needs of our clients. And it is the client who is at the center of all we do. We’re proud of our partnership with The Minnesota Opera and to be part of the team effort you’re about to experience. Enjoy the performance.

Jose A. Peris, Senior Vice President, Region Manager, U.S. Bank Private Client Group, and Minnesota Opera board member

President & CEO Kevin Smith Artistic Director Dale Johnson Artistic Artistic Administrator . . . .Roxanne Stou∂er Cruz Artistic Associate . . . . . . Floyd Anderson Community Ed Director . . . .Jamie Andrews Dramaturg . . . . . . . . . . . . . David Sander Production Stage Manager . . . Alex Farino Assistant Stage Managers . . .Kristen E. Burke, Katie Preissner Head of Music . . . . . . . . . .Bruce Stasyna Coach/Accompanist . . . . . . . .Julian Ward Resident Artist Singers . . . .Matt Boehler, Jeremy Cady, Genevieve Christianson, Liora Grodnikaite, Anna Jablonski, Seth Keeton, Daniel Montenegro, Evelyn Pollock, Andrew Wilkowske, Karin Wolverton Resident Artist Assistant Conductor . . . . Christopher Zemliauskas Resident Artist Faculty . .Doug and Miriam Scholz-Carlson, Nancy Tibbetts Teaching Artist . . . . . . . .Angie Shadwick KIDS . . . . .Jeremiah Alto, Christy Anderson, Mario Diaz-Moresco Costumes Costume Director . . . . . . . .Gail Bakkom Assistant Costume Director . . .Beth Sanders Drapers . . . . . . .Chris Bur, Yancey Thrift First Hands . . . . . . . . .Helen Ammann, Mark Heiden Stitchers . . . . . . . . . . .Jennifer Dawson Painter . . . . . . . . . . . . . . . . . . .Marliss Jensen Wig/Makeup Assistants . . . . . . . .Jodi Heath, Chuck Lapointe, Sarah Opstad, Emily Rosenmeier

Scenery Scenic and Lighting Director . . Tom Mays Technical Supervisor . . . . . . . . . Mike McQuiston Scenic Administrator . . . Holly Carpenter Properties Master . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . Mike Long Charge Painter . . . . . . . . . . Debra Jensen Production Carpenter . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . Rod Aird Master Carpenter . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . . . . . Eva Pranis Assistant Lighting Designer . .Nicole Simoneau Administration Finance Director . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . . Steve Mittelholtz HR/Accounting Manager . . Jennifer Thill Executive Assistant . . . . . Theresa Murray Development Development Director . . .Patrick Dewane Individual Gifts Director . . . . .Dawn Loven Institutional Gifts Manager . . . Jaime Meyer Donor Relations Coordinator . . Melissa Peterson Development Assistants . . .Kelly Classen, Claire MacDonald Marketing/Communications Marketing Director . . . . . . . . . . .Carl Lee Communications Director . . . Lani Willis Ticket O∑ce Manager . . . . Andrea Corich Ticket O∑ce Assistant . . . . .Carol Corich

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

Keri Picket

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

Harry D. Swepston, III (Volunteer Chair) Ann Albertson Laurel Anderson Gerald Benson Colleen Boyer Linda Brandt Jim Brownback* Sue Brownback Jerry Cassidy Joann Cierniak Susan Cogger Caroline Coopersmith Lindsay Craig Beverly Dailey Lee Drawert Judith Duncan Sally Economon

Mary Sue Fiola Hazel Francois Jane Fuller* Joan Gacki* Christine A. Garner Juhi Gupta-Gulati* Mark Gustin Mary E. Hagen Lucinda Hallet John Harris* Kristen Heimerl Anne Hesselroth Alisandra Johnson Karen Johnson Nancy Johnson Jeanie Johnston Susan Kalmer Robin Keck Dianne Kelly Remigijus Klyvis

Sam Kneiszler Eleanore Kolar Lucinda Lamont Shirley Larson Rita Lavin Lisa Liveringhouse Abby Marier Margery Martin Joan Masuck Mary McDiarmid* Beth McGuire Verne Melberg Warren Mitlyng Irma Monson Linda Morey Doug Myhra Dan Panshin Pat Panshin Megan Pelka Sydney Phillips

Bill Phillips Julia Porter Jack Richter John Rosse Florence Ruhland John Sauer* Christine Sawatsky Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Dawn Stafki Nicholas Trimbo Doris Unger Carolyn Wahtera Barbara Willis* Jeremy Wright Melissa Zschunke *Lead volunteer

Board of Directors

from the Artistic Director

Karen Bachman Richard P. Carroll Susan J. Crockett Ellie Crosby Rolf Engh Brad F. England John G. Forsythe Steve Fox R. Thomas Greene, Jr. Dan E. Gustafson Sharon Hawkins Heinz Hutter Paula Johnson Lucy Rosenberry Jones Michael F. Kelly, Jr. Sarah B. Kling Lynne E. Looney Elizabeth “Becky” Malkerson Thomas R. McBurney Diana E. Murphy Bruce Nelson Brian E. Palmer Jose Peris Connie Remele Steven M. Rothschild Virginia L. Stringer Catie Tobin

Welcome to the ﬁnal production of The Minnesota Opera’s 2003-2004 season – The Magic Flute! We’re glad you got a ticket to what we expect to be a sold-out production of a beautiful show. You will hear some new singers in these performances, as well as lots of very familiar faces – this production is the culmination of an intensive training process for our Resident Artists, all of whom are featured prominently in both casts. Next season opens in November with Puccini’s Madame Butterfly, one of the best-known operas of all time. We continue in the spring with Maria Padilla, by Donizetti (the Bel Canto-era composer who wrote this season’s Lucrezia Borgia), followed by another legendary work, Bizet’s Carmen. Next year at this time we hope you will be in your seat for the Twin Cities premiere of John Adams’s Nixon in China, an operatic exploration of Nixon’s historic trip that changed the face of U.S. relations in Asia and of the media’s role in shaping history. If you are a subscriber and have already renewed, congratulations! If you have not yet subscribed, do it today! We are expecting ticket inventory to be tight, and a subscription is the only way to guarantee yourself a seat to our performances. You won’t want to miss a beat.

Dale Johnson Artistic Director

from the President Welcome to The Magic Flute. We’re delighted to have you with us. You may not realize that ticket revenue covers only half the cost of producing the opera you are enjoying today. This means we are dependent upon contributions from our audience to continue to operate. There is no better time to give to the Opera, since the Bush Foundation will double your gift! The Bush Foundation has pledged $650,000 over the next three years in a challenge gift that you can read about on page 28. This is a challenge to you, our patrons – the Opera must raise $150,000 in new and increased gifts before June 30 of this year. Our work is drawing world-wide attention, as you will read on page 29, and the Bush Foundation challenge will build the funding base to support continued success.

Officers Susan S. Boren, Chair John A. Blanchard, III, Vice Chair Lucy T. Searls, Secretary Thomas J. Foley Treasurer Kevin Smith, President & CEO Julia W. Dayton, Director Emeritus Mary W. Vaughan, Director Emeritus James A. Rubenstein, legal counsel, Moss & Barnett Honorary Directors Dominick Argento Philip Brunelle Elizabeth Close Dolly Fiterman Charles C. Fullner Norton M. Hintz Donald W. Judkins David P. Keefe Liz Kochiras Jevne Pennock Patricia H. Sheppard

In this program is a list of our many generous contributors. If your name is not on that list, please consider giving to The Minnesota Opera. If you are on that list already, we appreciate your ongoing commitment to the company, and we ask that you increase your contribution. Every new dollar will be matched and will count toward the Bush challenge, helping to ensure our long-term artistic growth. This is an exciting time, and this challenge gift from the Bush Foundation will have a profound impact on the Minnesota Opera. Help us meet the challenge! Kevin Smith President

Kevin Smith President & CEO

7 • the magic flute

Notes from the Leadership

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The Minnesota Opera Board of Governors, 1964–2004 Margaret Aanenson† Timothy Admonius Mrs. Douglas C. Anderson Lowell Anderson Rolf Andreassen, MD Cynthia A. Andrews August Aquila Judee Arnstein Martha Goldberg Aronson Karen Bachman H. John Badenhoop H. Wesley Balk† Kenneth G. Baltes, Ph.D. Patricia Bauer Thomas Bastasz Ford Watson Bell Barbara Bemis† Judson Bemis† Jonathan S. Bishop, MD Marie Blakeman John A. Blanchard, III Mark Boeyink Susan S. Boren Ron Bosrock Anthony Bouza Virginia Broberg Wayne Brock Mary Broderick, Ph.D. Charles E. Brown Donald P. Brown Ellis Bullock, Jr. Sandra K. Butler M. Claire Canavan James F. Carroll Richard P. Carroll Joseph Cascalenda Richard Cascio Yvonne Cheek Warren B. Cheston Laura Chin Mrs. Charles Chrisman Edward Clapp Charles Cleveland David E. Cleveland Elizabeth Close Bobby Cohen Burton D. Cohen Mrs. John Colwell David Cooper Earl D. Craig, Jr. Robert Crawford Susan J. Crockett Ellie Crosby Gail Dahlstrom Mrs. John S. Dalrymple Frank Dawe Julia W. Dayton Larry Degen Richard J. Diedrich Gerald R. Dillon Robert Dircks Kathleen Dougherty Robert C. Drake Bruce Earls Ralph Ebbott

James Elsesser Robert H. Engels Kathy Enger Rolf Engh Brad F. England Edward N. Eschbach Gladys Field Gary Fink Richard M. Fishel, Jr. Dolly Fiterman Henry Flesh Thomas J. Foley John G. Forsythe Steve Fox Martin Friedman Eric Friesen Leslie Frécon David W. Frost Frank Garner Ludwig B. Gartner, Jr. Lawrence Gibson Lois Gibson Gregory Gleason Lynn Gorguze Jim Grantman R. Thomas Greene, Jr. Beverly C. Grossman Steve Guida Dan E. Gustafson Jeanne Gustafson James Hainlen J. H. Halldorson Steven Halverson Beverly Hammond Ruth Hanold Sharon Hawkins Stephen L. Haynes Philip G. Heasley A. A. Heckman John D. Heefner, MD E. T. Herbig, Jr. Gary G. Herzberg Mary Hevener Norton Hintz Emogene Hitchcock† William A. Hodder William Hogan, II Allan B. Holbert Roger Hollander Dorothy Horns, MD Donald M. Houpt Robert Howard Sister Alberta Huber Ann Huey Thomas Hunt A. J. Huss, Jr. Ruth Huss Heinz Hutter Jay V. Ihlenfeld Horace H. Irvine, II Sandra Irvine Bernard Jacob Lila Field Jacob Thomas L. Jenson† Frank C. Jesse, Jr.

Anne Johnson Gerald Johnson James Wm. Johnson Paula Johnson Ray D. Johnson Reid Johnson Mrs. Thomas E. Johnson Mrs. Carl Waring Jones Lucy Rosenberry Jones Blaine R. J. Joseph Donald Judkins Martha H. Kaemmer Herbert Kahler Charlotte Karlen David P. Keefe† Steve Keefe Stephen A. Keller Thomas Keller, III Michael F. Kelly, Jr. Robert W. Kelly Richard L. Kepp Edward Kerans Janice Kimes Harry L. Kistelman† Sarah B. Kling Thomas P. Knudsen Liz Kochiras Randoph Koppa Raymond J. Kosak Raymond Krause Irene Kreidberg† Alice Kubista Constance Kunin William Lahr Dr. John E. Larkin, Jr. Clayton K. Larson John Lassila George Latimer K. Robert Lea Donald H. Leavenworth Randy Lebedo∂ Margaret Leppik Kenneth Lever Thomas Levis Michael Levy André Lewis Edith D. Leyasmeyer Sara Lieberman James T. Lilly Patty Lindell Dorothy Longfellow Elizabeth Longfellow† Richard C. Longfellow Lynne E. Looney John M. Ludwig Anthony Luiso Patricia Lund Margaret L. Macgowan Richard H. Magnuson Daniel Malina Elizabeth “Becky” Malkerson Catherine Manlove Andrew J. Markopoulos Thomas R. McBurney

Mrs. Walter R. McCarthy Samuel McCullough David F. McElroy Charles McGill, III Pierce McNally W. George Meredith A. E. Michon Richard R. Miller Sam S. Miller Judge Eugene Minenko Craig Moen Shirley Moore John Morrison Dr. Donn Mosser Diana E. Murphy Joseph E. Murphy, Jr. John H. Myers Peter Myers Alan Naylor Bruce Nelson Mrs. Glen D. Nelson James T. Nichols Nancy Nicholson Mrs. D. James Nielsen Robert A. Nielsen David Nyhus Alvina O’Brien Thomond R. O’Brien Georgia B. O’Connor Gayle Ober Maxwell E. Oie Warren Oskey Brian E. Palmer Aldo Papone Paul L. Parker† William Payne, MD Jevne Pennock Jose Peris Dwight Peterson Gordon D. Peterson† Hall James Peterson Jodi Peterson Ann Pﬂaum Stephen R. Pﬂaum Michael M. Pharr James J. Phelps Felix Phillips William Phillips William Podas John M. Pope Frank E. Porter Robert Price Daniel Prins Kimberly Puckett Frederick W. Rahr Jodell Rahr Walter C. Rasmussen Charles E. Rea, M.D. Connie Remele James Reuland Norman F. Rickeman Stuart W. Rider, Jr. Sarah Rockler Michelle Roscitt Steven M. Rothschild

James Rubenstein Charles A. Russell Terry T. Saario Daniel Saklad Barbara Flanagan Sanford Maryan Schall W. B. Schoenbohm Lucy T. Searls Mrs. Martin Segal Frederick E. Sewell Thomas W. Sha∂er Lynda Byrd Sharbrough Gale Sharpe Patricia Sheppard Harvey Sherman Morris M. Sherman Thomas Sherman Peter Sipkins Ella Slade G. Richard Slade Justin V. Smith Alice Smith Ross D. Smith† Frank J. Sorauf Mrs. Loring Staples Edwin E. Stein Julie Jackley Steiner Andrew Stewart Donald Stiles Virginia L. Stringer Robert Struyk Vern Sutton Craig E. Swan Patricia Swindle Gregory Swinehart Elaine Taylor-Gordon Barbara J. Thell Charles V. Thomas Mrs. Milo H. Thompson Peter Thompson Barbara Tiede Thomas H. Tipton Catie Tobin Marvin Trammel Joan Truesdale Loren Unterseher Stephen Van Tassel Mary W. Vaughan Philip Von Blon Anne Wakeﬁeld-Leck Walter W. Walker Fred Weil, Jr. W. Clarke Wescoe† Marnie Westerback† John C. Whaley Hubert W. White† G. Marc Whitehead Cli∂ord Whitehill L. Jeannette Wiggs Christine Williams Bruce D. Willis John Bell Wilson Karen Wol∂ Ann Zelle Richard Zona †

deceased

9 • the magic flute

The Minnesota Opera celebrates the leadership of its 40-year history.

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

Conductor . . . . . . . . . . . .Guido Johannes Rumstadt† Stage Director . . . . . . . . . . . . . . .Michael Cavanagh Set and Costume Designer . . . . . . . . .Susan Benson Lighting Designer . . . . . . . . . . . . .Michael Murnane Wigs . . . . . . . . . . . . . . . .Tom Watson & Associates Makeup . . . . . . . . . . . . . . . . . . . .Charles LaPointe Resident Artist Assistant Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Christopher Zemliauskas‡ Assistant Director . . . . . . . . . . .Doug Scholz-Carlson Chorusmaster . . . . . . . . . . . . . . . . . .Bruce Stasyna Children’s Chorusmaster . . . . . . . . . . .Janice Kimes German Diction Coach . . . . . . . . . . . .Barbara Kierig Production Stage Manager . . . . . . .Alexander Farino English Captions . . . . . . . . . . . . . . .Floyd Anderson The Cast Tamino, a prince . . . . . . . . . . . . . .Patrick Marques* . . . . . . . . . . . . . . . . . . . . . . . .Daniel Montenegro** Pamina, daughter of the Queen . .Pamela Armstrong* . . . . . . . . . . . . . . . . . . . . . . . . . .Karin Wolverton** Papageno, a birdcatcher . . . . . . . .Carlos Archuleta* . . . . . . . . . . . . . . . . . . . . . . . .Andrew Wilkowske** Sarastro, High Priest of the Sun . . . . .Alfred Walker* . . . . . . . . . . . . . . . . . . . . . . . . . . . .Matt Boehler** The Queen of the Night . . . . . . . . . .Amanda Pabyan Three Ladies, attendants to the Queen . . .Evelyn Pollock, . . . . . . . . . . . . . .Anna Jablonski, Liora Grodnikaite Monostatos, overseer at the temple . . . .Jeremy Cady The Speaker . . . . . . . . . . . . . . . . . . . .Seth Keeton Papagena . . . . . . . . . . . . . . .Genevieve Christianson First Priest/Man in Armor . . . . . . . . . .Rick Penning Second Priest/Man in Armor . . . . . . . . .Tor Johnson Three Spirits . . . . . .Nathaniel Irvin*, Alice McGlave*, . . . . . . .Christopher Penning*, Christine Anderson**, . . . . . . . . . . . . . .Marie Palmquist**, Katya Rouzina** Slaves, priests, people of the temple Setting: a mythical time and place * †

performs May 15, 18, 20, 22 ** performs May 16, 19, 21, 23 ‡ performs May 15, 16, 18, 20, 22 performs May 21, 23

A Minnesota Opera/Dallas Opera co-production. Die Zauberflöte by Wolfgang Amadeus Mozart; edited for the New Mozart Edition (Neue Mozart-Ausgabe) by Gernot Gruber and Alfred Orel; by arrangement with Bärenreiter Music Corporation. The appearances of Amanda Pabyan, national finalist; Liora Grodnikaite, Anna Jablonski, Evelyn Pollock and Alfred Walker, regional finalists; and Carlos Archuleta, Matt Boehler, Jeremy Cady and Rick Penning, district finalists of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. Performances of The Magic Flute are being taped for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities, on June 27, 2004.

Music by Wolfgang Amadeus Mozart Libretto by Emanuel Schikaneder World premiere at the Theater auf der Wieden, Vienna September 30, 1791 May 15, 16, 18, 19, 20, 21, 22 and 23, 2004 Ordway Center for the Performing Arts Sung in German with English captions Background Notes by David Sander the opening of Così fan tutte in January 1790, Mozart entered into a very uncertain period in his life. FTheollowing new production had achieved only five performances before the death of Joseph ii closed all of Vienna’s theaters for a period of mourning. Although Così was briefly revived during the summer, there was yet no word from the new emperor, Leopold ii, regarding the composer’s future at the court. Mozart boldly took matters into his own hands when, that fall, he followed the Emperor’s retinue to Frankfurt, where Leopold was to be crowned Holy Roman Emperor by his peers. Hoping to attract the attention of the new monarch, Mozart tried to attract notice at the theater and with a public concert, but it was sparsely attended. On his way back, the composer managed to get an audience with Elector Karl Theodor (responsible for the premiere of Idomeneo in 1781) and the visiting King and Queen of Naples, whose two daughters had just been married to Leopold’s two sons (and, in Hapsburg tradition, their first cousins). Even though he was a leading composer in Vienna, Mozart had not been invited to participate at the royal wedding, but through one of the sons, the

The Magic Flute is sponsored by Rogers & Hollands Jewelers The 2003–2004 Season is sponsored by U.S. Bank, Private Client Group The appearances of the 2003–2004 season conductors are underwritten by SpencerStuart. The 2003–2004 Camerata Circle Dinners are sponsored by Rider Bennett. Opera Insights is sponsored by Thrivent Financial for Lutherans.

Continues on page 12

11 • t h e m a g i c f l u t e

future Emperor Francis ii, he tried a backdoor approach. show’s numbers, but no formal contract or urtext of the liThe enterprising composer put out the suggestion that he bretto survives. The formula for public opera was much less might become the court’s second kapellmeister devoted to strict than for those written for the court, leaving the two church music since Antonio Salieri, as Mozart was quick to artists to draw from a wealth of ideas. The magical elepoint out, had limited experience in church music. The ments appear to be borrowed from one of a set of fairy tales collected by Christoph Martin Wieland, titled Dschinproposal had little impact. Leopold did belatedly confirm his previous position as nistan, which included Lulu, oder Die Zauberflöte (Lulu, or composer of courtly dance, and in January 1791, Mozart The Magic Flute) by Jakob August Liebeskind. Parallels can was asked to create a series of German dances for a Vien- also be drawn to Crétien de Troyes’s 12th-century ballad, nese ball. Other small commissions included works for Yvain, with regard to the opening scene and the inclusion such oddities as the glass harmonica and the mechanical of a hybrid creature of man and beast. There are similarities clock, but little else surfaced. An attractive o∂er came from to William Shakespeare’s The Tempest (Schikaneder was a London for a year-long contract which included two new seasoned Shakespearian actor) in the characters of Prospero operas, but Mozart delayed the visit due to Constanze’s (Sarastro), Miranda (Pamina), Ferdinand (Tamino) and Calpregnancy and delicate health. Franz Joseph Haydn went iban (Papageno), not to mention the spirit of the Queen of instead and enjoyed a legendary visit as the toast of the the Night in Shakespeare’s vanquished witch Sycorax and town, as his “Lonof the Three Spirdon” symphonies its in Prospero’s would soon testify. fairy-servant Ariel. It’s no wonder Further elements Mozart jumped at appear to be the chance to comdrawn from panpose a popular tomime, moralizopera for the subing puppet plays urban Theater auf and Italian commeder Wieden when dia dell’arte, not to director Emanuel mention several Schikaneder made borrowings from the pitch. Though Mozart and not well-experiSchikaneder’s earenced in the genre lier works, such as of Zauberoper (adthe former’s popumittedly so), he lar German opera, could hardly refuse The Abduction from t h e o ∂ e r . Tw o the Seraglio, the inmore commissions complete Zaïde came soon after, a a n d i n c i d e n ta l requiem mass and music to Tobias a n u n e x p e c t e d Helen Todd as the Queen of the Night in The Minnesota Opera’s 1997 The Magic Flute Philipp von commission from G e b l e r ’ s p l ay Leopold for an opera seria which would become La clemenza Thamos, König in Ägypten and the latter’s Zauberoper Der di Tito. Mozart was definitely back in the game. Stein der Weisen, also drawn from Wieland’s Dschinnistan. Schikaneder was not only helping the financially Yet the bulk of The Magic Flute appears to be inspired strapped composer, he was also serving his own needs. Also by Abbé Jean Terrasson’s Egyptian tale Séthos, which desomewhat precarious in money matters, thanks to scribes the progress and religious transformation of its grandiose theater programming, he needed a hit and princely title character, son of Ramses i of Egypt. This counted on Mozart’s celebrity to ensure a critical success novel, which Terrasson tried to pass o∂ as a genuine Greek and financial windfall. Schikaneder was a consummate im- relic and thus actual history, also served as a “bible” to presario – at once actor, author and composer – who also Freemasons, a quasi-religious society founded in early 18threquired a substantial, yet simple role for himself. He century England, and widely practiced all over Europe durwould become the first Papageno as well as the producing the Age of Enlightenment. It was quite in vogue as tion’s director and librettist. nearly everyone seems to have been a Freemason at some The sources for the libretto are numerous and varied, point: Schikaneder, Mozart, his father, Haydn, Leopold ii providing virtually unsurpassed analyses by stymied musi- (as a member of the Scottish Rite), his father Francis of cologists. No written documentation survives, since Mozart Lorraine (to the disdain of wife Empress Maria Theresa) and Schikaneder were in close daily contact as the work and Goethe, among others. Fearing the eclipse of Chrisevolved and didn’t need to write letters. Nor are we certain tianity, the Vatican issued a Papal Bull denouncing Freemawhen the collaboration first began – a letter sent during sonry, but due to Emperor’s participation, it was largely Mozart’s Frankfurt visit makes reference to one of the ignored in Austria. When Francis i died in 1765, however,

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

Continued from page 11

Maria Theresa clamped down on the Freemasons, her severity only to be repudiated after her death in 1780 by the more permissive Joseph ii. An essay, On the Mysteries of the Egyptians, by a leading Mason (and former metallurgist to the Empress) Ignaz von Born also served as inspiration, and The Magic Flute soon became thought of as an allegory for the plight of Freemasonry, with Born as Sarastro, Maria Theresa as the Queen of the Night, Joseph as Tamino and the Viennese people as Pami n a . Th e o p e r a continues to be heavily deconstructed with both Jungian interpretations and the work’s intricate Masonic symbolism. Mozart and Schikaneder’s ﬁrst order of business was to delight and entertain their audience, but it is clear that the two were trying to send a deeper message, by bringing the subject of Freemasonry to the fore – why else would they betray so many of the Order’s secret practices? It is also di∑cult to explain the sudden shift from what begins as a standard “rescue opera” to one of deeper and more solemn meaning. One theory (now largely discredited) is that Mozart and Schikaneder feared their new creation too closely resembled a n e w w o r k at t h e r i va l Leopoldstadt theater, Kaspar der Fagottist, oder Die Zauberzither (Kaspar the Bassoonist, or The Magic

Zither), due to open June 11 – it, too, was purported to be drawn from the same Dschinnistan fairy tale. But in a letter to Constanze, Mozart dismissed it as “simple trash” not worthy of any concern. It is more likely that the opera served as Masonic propaganda – the future of the Order was in limbo in the new regime. The previously tolerant Joseph had already reduced the number of lodges in Vienna to three … who knew what Leopold would do? (As it happened, his successor, the reactionary and fearful Francis ii, would eradicate Freemasonry completely from Austria just a few years later.) Wh a t e v e r t h e higher purpose may have been, The Magic Flute was a hit from t h e s ta r t w i t h t h e common people and played almost every night well into November. Mozart attended the opera as often as he could (and repeated it in his head every night while bedridden during his ﬁnal illness), and Salieri, also out of the new Emperor’s favor, gave it genuine praise. Stylistically, the opera has something for everyone – coloratura opera seria arias (the Queen), simple folk song (Papageno), religious hymn (the Priests’ march), a gripping suicide aria (Pamina), contrapuntal vivacity (the overture) – as well as dazzling visual spectacle to boot (a specialty of Schikaneder’s). Never having fallen out of fashion, The Magic Flute continues to engage audiences of all ages.

Costume design by Susan Benson

Synopsis

Sarastro enters magniﬁcently, and Pamina admits her attempt to ﬂee, but only to escape Monostatos’s amorous advance. Still, she misses her mother, but Sarastro proclaims there is still much for her to learn under his tutelage. Tamino is brought in and embraces Pamina, while Monostatos is punished for his dereliction. — intermission —

Bojan Knezevic as Papageno and Mark Thomsen as Tamino in The Minnesota Opera’s 1997 The Magic Flute.

act ii Sarastro announces before the Speaker and the priests Tamino’s wish to enter the sanctuary of wisdom and his willingness to undergo the trials of initiation. Papageno is more reluctant, but is promised a pretty wife, Papagena, as his reward. The ﬁrst test is one of silence, a task Papageno has some di∑culty achieving, especially when tempted by the Three Ladies. Elsewhere, Monostatos continues his lusty pursuit of Pamina, but is deterred by the arrival of the Queen of the Night. The Queen pleads with her daughter – the seat of power rests with the all powerful Circle of the Sun, which was wrongly taken from her. Pamina must kill Sarastro and take the Circle back – if she doesn’t, her mother will disown her. After the Queen’s

angry departure, Monostatos o∂ers to help in exchange for Pamina’s love. When she refuses, Monostatos again threatens her but is interrupted by Sarastro, who knows of the Queen’s plot. He forgives Pamina’s part in it, and Monostatos is banished from the Order. Tamino and Papageno continue to wait out their oath of silence, augmented by thirst and fasting. An old woman o∂ers Papageno water and soon admits that her boyfriend’s name is “Papageno.” Before her identity is revealed, she is sent away with a clap of thunder. The Three Spirits then pay a visit and o∂er refreshments. Papageno eats heartily while Tamino plays his ﬂute. The music brings forth Pamina, who is distressed when Tamino does not respond to her inquiries. She fears his love has vanished and considers taking her own life. Papageno tries to catch up to Tamino but is denied entry to the inner temple. The Speaker denounces him, stating that he will never know true enlightenment, yet Papageno is hardly bothered, for all he wants is a wife. He plays his bells, and the old woman reappears. Under threat of imprisonment, he begrudgingly agrees to be her husband. She is immediately transformed into a beautiful young woman, Papagena, but is whisked away by the Speaker – Papageno is not yet worthy. Demented by Tamino’s seemingly broken vow, Pamina wanders aimlessly, dangerously clutching a dagger. The Three Spirits take her to Tamino, who is about to undergo the trials of water and ﬁre. Pamina and Tamino rea∑rm their love, and she resolves to go through the ordeals at his side. Missing Papagena terribly, Papageno is about to hang himself, but is saved by the Three Spirits. He is told to play the magic bells, and to his great joy, Papagena is soon restored to him. They rejoice in a future together. Now in league with the dark side, Monostatos leads the Queen and her ladies in one last attempt against Sarastro, but all are vanquished. Dressed in priestly robes, Tamino and Pamina usher in a new era of truth, beauty and wisdom.

13 • t h e m a g i c f l u t e

act i ursued by a dragon, Prince Tamino falls faint from exhaustion. Three Ladies in the service of the Queen of the Night slay the monster, then admire Tamino’s beauty. They fight over who will remain with him while the others fetch the Queen. Not coming to any resolution, all three depart. Tamino revives and observes the approach of Papageno, who catches birds for the Queen. In the course of becoming acquainted, Papageno claims he killed the dragon. The Three Ladies return and seal his mouth for telling the lie. They show Tamino a portrait of the Queen’s daughter, Pamina, and Tamino immediately falls in love with her visage. The Queen of the Night appears and asks him to rescue Pamina from the temple of the tyrant Sarastro, where she is being held captive. As a reward, the young couple will be wed. Tamino agrees enthusiastically, and the Three Ladies give him a magic flute for protection. Restoring Papageno’s power of speech, they order him to accompany Tamino. He receives a set of magic bells. Three Spirits will guide their journey. At Sarastro’s temple, Monostatos is charged with guarding Pamina, whom he treats harshly. Papageno enters, and both men startle one another with their unusual appearance and momentarily flee. Papageno is the first to ret u r n, r e c o g n i z e s Pa m i na a s t h e Queen’s daughter and tells her of the ardent young prince who has been sent to her rescue. She takes pleasure in the prospect of love, and Papageno too pines for his perfect mate. Elsewhere in the temple, Tamino comes upon the inner sanctuary, but is barred entrance. A priest tells him he has been deceived by a mother’s tears – Sarastro is not the evil person she described. Feeling lost, Tamino plays his magic flute and hears Papageno’s pipe in response; he then follows its sound. Back in Monostatos’s lair, Pamina and Papageno face recapture, but Papageno plays his magic bells, charming Monostatos and his slaves and allowing their escape.

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

Wolfgang Amadeus Mozart b Salzburg, January 27, 1756; d Vienna, December 5, 1791 duction from the Seraglio), at the Burgtheater. Mozart also hild wonder, virtuoso performer and prolific creative gave concerts around Vienna, presenting a number of new artist, Mozart is the first composer whose operas have piano concertos and symphonies. His chief concern was to never been out of repertory. His prodigious talents were approcure a position at the imperial court. A small commisparent very early in his life; by the age of four he could resion came his way from the emperor for a one-act comedy, produce on the keyboard a melody played to him, at five he Der Schauspieldirektor (The Impresario), given in the same could play the violin with perfect intonation and at six he evening as Antonio Salieri’s Prima la musica e poi le parole composed his first minuet. (First the music, then the words), to celebrate the visit A musician himself, Wolfgang’s father, Leopold, of the emperor’s sister, Marie Christine, and immediately saw the potential of his son’s talher husband, joint rulers of the Austrian ents. With the mixed motives of religious Netherlands. piety and making a tidy profit, Leopold The Marriage of Figaro, Mozart’s embarked on a series of concert tours first true masterpiece for the imperial showing o∂ the child’s extraordinary court, premiered at the Burgtheater talents. Often playing with his sister in 1786 and went on to Prague the Maria Anna (“Nannerl”), herself an following year where it was a huge accomplished musician, young success. Don Giovanni premiered Wolfgang charmed the royal in Prague in 1787 to great accourts of Europe, from those of claim, but its Vienna premiere in Austrian Empress Maria Theresa, 1788 was coolly received. By this French King Louis xv and Engtime, Mozart had received a lish King George iii, to the of minor imperial posting, Kammerlesser principalities of Germany musicus, which required him to and Italy. write dances for state functions. As Mozart grew older, his conThe position was hardly worthy of cert tours turned into a search for his skills and generated only a permanent employment, but this modest income, a weighty concern proved exceedingly di∑cult for a now that debts had begun to mount. German musician in a market domiJoseph ii commissioned another opera nated by Italian composers. Although from Mozart, Così fan tutte, which premany of his early operas were commismiered January 26, 1790. The emperor was sioned by Milanese and Munich nobles too ill to attend the opening and died the fol(Mitridate, Ascanio in Alba, Lucio Silla, La finta lowing month. His brother, Leopold ii, asgiardiniera), he could not rise beyond Konzertmeister of the Salzburg archbishopric. When Wolfgang Amadeus Mozart sumed leadership, and Mozart hoped to be appointed Kapellmeister – instead he merely rethe new prince archbishop, Count Hieronyceived a continuance of his previous position. mus Colloredo, was appointed in 1771, Mozart also found Crisis hit in 1791. Constanze’s medical treatments at he was released for guest engagements with less frequency. Baden and the birth of a second child pushed their finances Though his position improved and a generous salary was to a critical point. Mozart’s friend and fellow Freemason, o∂ered, the composer felt the Salzburg musical scene was the impresario Emanuel Schikaneder, suggested he try his stifling for a man of his enormous talent and creativity. luck with the suburban audiences at his Theater auf der Things came to a head in 1781 immediately after the Wieden. Composition of The Magic Flute began early that successful premiere of Mozart’s first mature work, Idomeneo, summer but had to be halted when two generous commisin Munich. The archbishop, then visiting Vienna, insisted sions came his way: a requiem for an anonymous patron the composer join him there. Never did Mozart better un(who hoped to pass it o∂ as his own composition), and an derstand his position in the household than during that soopera seria to celebrate the new emperor’s coronation as journ, when he was seated at the dinner table below the King of Bohemia. La clemenza di Tito premiered September prince’s personal valets and just above the cooks. He re6, and The Magic Flute was completed in time to open Sepquested to be permanently discharged from his duties, and tember 30. The Requiem, however, remained incomplete, after several heated discussions his petition was granted, and as Mozart’s health began to fail, the composer feared he punctuated by a parting kick in the pants. was writing his own death mass. In December Mozart died Now completely on his own for the first time, Mozart at the age of 35 and was given a simple funeral by his imembarked on several happy years. He married Constanze poverished widow, then buried in an unmarked grave on Weber, sister to his childhood sweetheart Aloysia, and prethe outskirts of Vienna. miered a new work, Die Entführung aus dem Serail (The Ab-

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Emanuel Schikaneder, Mozart and the Masons manuel Schikaneder’s position in The Abduction from the Seraglio (1782). and called for her husband’s assistance. music history is often no more than Schikaneder o∂ered a short season at Unlike the court theaters, which were passing mention as the librettist of the Kärntnertortheater (including a underwritten by royal support, the Mozart’s final staged drama. But his proposed viewing of Beaumarchais’s Freihaus Theater depended solely on unique and diverse talents had a pro- politically volatile play Le mariage de box o∑ce receipts, making it a rather found e∂ect on the course of German Figaro) and managed to obtain a license risky venture. Yet Schikaneder entered opera toward the end of the 18th cen- from the emperor to open his own the- his most profitable years as a theater tury. Born to a very modest household ater, but he eventually left for a more producer, providing a wide assortment of entertainments for his petty bour(both parents were servants) and or- stable position in Regensburg. geois audience. phaned as a child, Th e r e wa s s t i l l a Schikaneder learned smattering of high to make his way as a drama, most notably itinerant entertainer, Schiller’s Kabale und first as a street-perLiebe and Don Carlos, forming minstrel, as well as more then as an actor in Shakespeare, Goethe Franz Joseph and Lessing, o∂ set Moser’s troupe of by “magic” singtraveling players, spiels of his own deover which he evensign, such as Der tually assumed diStein der Weisen oder rectorship in 1778. Die Zauberinsel (The He was ambitious Wise Men’s Stone, or with his programThe Magic Isle), a ming, o∂ering plays forerunner to The by Shakespeare (relMagic Flute, Die atively unknown in Eisen-Königin (The Germany at the Iron Queen) and Der time) as staples of Wohltätige Derwisch, his repertory – his interpretation of Tamino, Papageno, and the Three Ladies; Act I, scene iii of Mozart’s The Magic Flute. oder Die Zaubertrommel und Schellenkappe Hamlet was encored Color etching c. 1793 by Joseph and Peter Schaffer (The Charitable at the Munich court The impresario was lured back to Dervish, or The Magic Drum and Fool’s theater, albeit in a version refitted with a happy end. He also o∂ered original Vienna at his wife’s urging. Eleanore Cap). In 1798 he even tried to repeat works, including plays and singspiels had also been a member of Moser’s the success of The Magic Flute with a (German opera with spoken dialogue) troupe and the couple had married in sequel, Das Labyrinth, oder Der Kampf 1777, but quickly became estranged as mit den Elementen (The Labyrinth, or The of his own design. Schikaneder first made Mozart’s ac- a result of Emanuel’s numerous Struggle with the Elements, to music by quaintance when his company traveled infidelities. By 1785 Eleanore herself Peter von Winter), but it fell flat by to Salzburg in 1780, as the Mozarts was involved in an extramarital a∂air comparison. Still, the original Magic Flute proved were avid theater-goers. They likely re- with another company member, Jon e w e d t h e i r f r i e n d s h i p w h e n hann Friedel. They had found a perma- to be a bountiful cash cow, and though Schikaneder was invited to Vienna in nent home for their players at the rival theaters in the Leopoldstadt and 1784 at the emperor’s request. Joseph Freihaus Theater auf der Wieden, lo- Josefstadt districts provided sti∂ comii had been impressed by a perfor- cated just south of Vienna. The Frei- petition, Schikaneder was able to semance he attended while traveling haus was a small island upon itself, cure enough money to finally build his through Pressburg and hoped the im- providing apartment homes and conve- own house, the Theater an der Wien, presario could revive theater performed niences for more than a thousand resi- just down the river. Still with Joseph’s in the German vernacular. The em- dents and practically guaranteeing a license in his possession, he opened the peror’s earlier attempt to establish a captive audience for its 1,000 seat the- opulent new theater in 1801 and relonational theater (1776–1783) had ater. When Friedel died in 1789, cated his forces there. By this time he failed miserably, though it yielded one Eleanore was overwhelmed by the had made an important new contact, jewel of lasting significance, Mozart’s prospect of running the theater alone t h e 3 1 - y e a r- o l d L u d w i g va n Erich Lessing/Art Resource, NY

Continues on page 32

15 • t h e m a g i c f l u t e

b Straubing, September 1, 1751; d Vienna, September 21, 1812

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

t h e m i n n e s o t a o p e r a • 16

The Artists Carlos Archuleta Papageno Minnesota Opera Debut Lucia di Lammermoor, 2001 Recently La vida breve, The Dallas Opera Pagliacci/Carmina burana, Orlando Opera Madame Mao, Santa Fe Opera The Barber of Seville, Opera Roanoke; Opera Aperta La fanciulla del West, Utah Symphony & Opera La traviata; Don Carlos; Little Women; others, Minn. Opera Upcoming Nixon in China, The Minnesota Opera

Matt Boehler Sarastro Minnesota Opera Resident Artist Recently Passion; Lucrezia Borgia; Rigoletto; La traviata; The Merry Widow, The Minnesota Opera The Barber of Seville; La clemenza di Tito; Dardanus, Wolf Trap Opera Company Amahl and the Night Visitors, Minnesota Orchestra A Midsummer Night’s Dream, Central City Opera La bohème, Fargo-Moorhead Opera Upcoming The Barber of Seville, Ash-Lawn Opera Festival

Genevieve Christianson Papagena Minnesota Opera Resident Artist Recently Passion; Rigoletto; The Handmaid’s Tale; La traviata; The Merry Widow; Little Women; others, Minn. Opera Candide (ensemble; Cunegonde cover), Minnesota Orchestra She Loves Me; Wonderful Town; others, North Star Opera Upcoming The Impresario, The Saint Paul Chamber Orchestra Rigoletto, Opera Costa Rica Acis and Galatea, New Breath Productions Carmen, The Minnesota Opera

Pamela Armstrong Pamina Minnesota Opera Debut Recently Le nozze di Figaro, New York City Opera Così fan tutte, Opera Paciﬁc La traviata, Tulsa Opera; Palm Beach Opera Upcoming La rondine, New York City Opera Don Giovanni, Opéra Municipal de Marseille Eugene Onegin, Tulsa Opera Der Rosenkavalier, Metropolitan Opera Faust, Michigan Opera Theatre

Jeremy Cady Monostatos Minnesota Opera Resident Artist Recently Passion; Lucrezia Borgia; Rigoletto; Macbeth; Der Rosenkavalier, The Minnesota Opera Messiah, Lexington Philharmonic Gabriel’s Daughter, Central City Opera The Tender Land; The Magic Flute; Ariadne auf Naxos, The Minnesota Orchestra A Streetcar Named Desire; Amahl, Univ. of Kentucky Upcoming The Chocolate Soldier, North Star Opera

Liora Grodnikaite Third Lady Minnesota Opera Resident Artist Recently The Rape of Lucretia; Passion; Rigoletto, Minnesota Opera Thaïs, Opera Theatre of St. Louis Alcina; The Rape of Lucretia; The Rake’s Progress; Der Kaiser von Atlantis; The Bartered Bride, La Cenerentola; others, Oberlin Opera Theater La liberazione di Ruggiero dall’isola d’Alcina, (Vilnius) Upcoming Académie Europenne de Musique (Aix-en-Provence) Vilar Young Artists Programme – Royal Opera (London)

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

The Artists Seth Keeton

Second Lady Minnesota Opera Resident Artist Recently Le nozze di Figaro, The Astoria Music Festival Il barbiere di Siviglia, Portland SummerFest Passion; Rigoletto; The Handmaid’s Tale; La traviata; The Flying Dutchman; The Merry Widow, The Minnesota Opera La Cenerentola, Portland State University Albert Herring; others, Bel Canto nw Upcoming Chautauqua Opera Young Artist Program Madame Butterﬂy; Maria Padilla, The Minnesota Opera

The Speaker Minnesota Opera Resident Artist Recently Passion; Lucrezia Borgia; Rigoletto, The Minnesota Opera La bohème; Roméo et Juliette; Don Giovanni, Chautauqua Op. La bohème; Dead Man Walking; La traviata, Austin Lyric Op. A Midsummer Night’s Dream, Central City Opera The Bartered Bride; Le nozze di Figaro; Orfeo; Così fan tutte; The Rake’s Progress; others, Indiana University Upcoming Acis and Galatea, New Breath Productions Madame Butterﬂy; Maria Padilla; Carmen, Minn. Opera

Patrick Marques

Daniel Montenegro

Tamino Minnesota Opera Debut Recently Tannhäuser, Houston Grand Opera Street Scene, Wolf Trap Opera Company Don Giovanni; Tannhäuser, Tulsa Opera La damnation de Faust, New Mexico, Grand Rapids Symphonies Die Fledermaus, Annapolis Opera Salome, Opera Paciﬁc; Milwaukee Symphony Werther; Der Rosenkavalier; Falsta∂, Michigan Opera Carmina burana, Santa Fe Symphony Idomeneo, Santa Fe Opera

Tamino Minnesota Opera Resident Artist Recently The American Tenors, pbs Television Passion; Lucrezia Borgia; The Handmaid’s Tale; The Flying Dutchman; Norma; The Merry Widow, The Minnesota Opera Madame Butterﬂy, San Francisco Lyric Opera La rondine, Pocket Opera Giulio Cesare; The Magic Flute; Falsta∂, Opera Festival di Roma The Tales of Ho∂mann; The Crucible, San Francisco Conservatory of Music Opera Theater

Evelyn Pollock

Amanda Pabyan

First Lady Minnesota Opera Resident Artist Recently Passion; Lucrezia Borgia; Rigoletto, The Minnesota Opera Madame Mao, Santa Fe Opera La bohème, Western Opera Theater The Merry Wives of Windsor, Merola Opera Program La traviata; Lucia di Lammermoor, Indiana Univ. Opera The Pirates of Penzance, Colorado Symphony Candide; The Face on the Barroom Floor, Central City Opera Upcoming La sonnambula, Santa Fe Opera

Queen of the Night Minnesota Opera Debut Recently The Magic Flute, New York City Op.; Op. Theater of Pittsburgh Lakmé, Canterbury Opera (New Zealand) L’occasione fa il ladro; others, Kommische Kammer Op. (Munich) Handel and Vivaldi Cantatas, Calisto Records Young Artist – Santa Fe, Washington, Glimmerglass Operas Upcoming Imeneo, Glimmerglass Opera The Magic Flute, Washington Nat’l Op.; Florida Grand Op. Die Entführung aus dem Serail, Portland Op.; Op. Colorado

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17 • t h e m a g i c f l u t e

Anna Jablonski

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

Alfred Walker

Andrew Wilkowske

Sarastro Minnesota Opera Debut La clemenza di Tito, 2002 Recently Les contes d’Ho∂mann, Tulsa Opera Das Rheingold, New Orleans Opera Faust; Les Troyens; Turandot; others, Metropolitan Opera Upcoming Elektra, Teatro alla Scala; San Sebastian Festival La bohème, Atlanta Opera Madame Butterﬂy, Metropolitan Opera Le nozze di Figaro, New Orleans Opera

Papageno Minnesota Opera Resident Artist Recently Passion; Lucrezia Borgia; La traviata; others, Minn. Opera The Mozart Experience, Minnesota Orchestra The Magic Flute, Virginia Opera La bohème; The Barber of Seville, Lyric Opera of San Antonio Roméo et Juliette; Le nozze di Figaro; Dead Man Walking; Elektra; The Magic Flute, Cincinnati Opera Upcoming Don Pasquale, San Francisco Opera Merola Program Nixon in China, The Minnesota Opera

Michael Cavanagh

Karin Wolverton

Stage Director Minnesota Opera Debut Recently Cavalleria rusticana; Così fan tutte, Manitoba Opera La bohème; La traviata; Rigoletto, Arizona Opera La traviata, Calgary Opera Un ballo in maschera, Opera Lyra Ottawa La ﬁlle du régiment, Vancouver Opera Madame Butterﬂy, L’Opéra de Montréal Of Mice and Men, Edmonton Opera Upcoming Don Giovanni, Vancouver Opera

Pamina Minnesota Opera Resident Artist Recently Passion; Rigoletto; The Handmaid’s Tale; Norma; The Merry Widow; Don Carlos; others, The Minnesota Opera Salome, Des Moines Metro Opera Dvorak Te Deum, Minnesota Orchestra Dialogues of the Carmelites; Le nozze di Figaro; L’incoronazione di Poppea, U of M Opera Theatre Upcoming Resident Artist – Central City Opera Carmen, The Minnesota Opera

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Michael Murnane

Children’s Chorusmaster Minnesota Opera Debut Hansel and Gretel, 1981 Recently La bohème; Pagliacci/Carmina burana; Street Scene; Turandot; Madame Butterﬂy; The Turn of the Screw; Tosca; The Magic Flute; Carmen; La bohème; Rigoletto; Bok Choy Variations; others, The Minnesota Opera Founder and Artistic Director – Bel Canto Voices Macbeth; others (ensemble), The Minnesota Opera Upcoming Carmen, The Minnesota Opera

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

The Artists Guido Johannes Rumstadt Conductor Minnesota Opera Debut The Flying Dutchman, 2003 Recently Le coq d’or; La petite Renarde rusée; Die Zauberflöte; La finta semplice; others, Opéra de Nantes Orlando paladino, Glimmerglass Opera Rigoletto; Madama Butterfly, New York City Opera Die Vögel, Wiener Volksoper Joseph Süss (Flanert); Der Traum ein Leben (Braunfels); Oberon; Werther; Ariadne auf Naxos; La traviata; Salome; others, Opera Regensburg (Music Director)

Bruce Stasyna Chorusmaster Minnesota Opera Debut Der Rosenkavalier, 2000 Recently Rigoletto; Lucrezia Borgia; others, The Minnesota Opera The Barber of Seville, Opera Roanoke (conductor) Die ägyptische Helena, American Symphony Orchestra The Barber of Seville; Tito; Don Pasquale, Wolf Trap Opera Ariadne auf Naxos; Il re pastore; Il matrimonio segreto; others, Lake George Opera Festival Upcoming Madame Butterﬂy; La Cenerentola, Des Moines Metro Opera

Doug Scholz-Carlson Assistant Director Minnesota Opera Debut Der Rosenkavalier, 2000 Recently Hamlet; Romeo and Juliette, Theater 3 (New York) The Rape of Lucretia (RAP workshop); The Handmaid’s Tale; Passion; Don Carlos; others, The Minnesota Opera Lucia di Lammermoor, Pittsburgh Opera I Capuleti e i Montecchi, New York City Opera A Christmas Carol; Gross Indecency; Sweeney Todd, Guthrie Theater Hamlet; The Tempest; others, Utah Shakespeare Festival

Christopher Zemliauskas Assistant Conductor Minnesota Opera Resident Artist Recently The Rape of Lucretia; Passion; others, The Minnesota Opera Coach/Accompanist – Dialogues des Carmélites; Die Fledermaus; Eric Hermanson’s Soul (Univ. of Minnesota); Eugene Onegin; Don Pasquale; Samson et Dalila (Indianapolis Opera); Don Pasquale; Albert Herring; L’enfant et les sortilèges (Music Acad. of the West); The Medium, Angelique; The Barber of Seville (San Fran. Merola) Upcoming Tales of Ho∂mann; Le jongleur de Notre Dame, Central City Op. Madame Butterﬂy, The Minnesota Opera

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The Schubert Club Established 1882 • One of America’s oldest and most distinguished concert organizations

International Artist Series

2004–2005 Lang Lang, piano • Thursday, October 28, 2004 A Chamber Music Evening (from Lincoln Center) Phyllis Pancella, mezzo soprano, Paul Neubauer, viola, Anne-Marie McDermott, piano Friday, November 26, 2004 Miriam Fried & Jonathan Biss mother & son violin and piano duo Wednesday, January 12, 2005 Renée Fleming

Alfred Brendel

Renée Fleming, soprano • Wednesday, February 23, 2005 Alfred Brendel, piano • Tuesday, March 29, 2005

ORDWAY CENTER FOR THE PERFORMING ARTS • SAINT PAUL, MINNESOTA • TICKETS: 651-292-3267

Cedar Street, Saint Paul

June 21 – 27, 2004 — Art Song Recitals — Susanne Mentzer, mezzo-soprano and Sharon Isbin, guitar • June 21 Maria Jette, soprano and David Schrader, fortepiano, Larry Combs, clarinet • June 22 Håkan Hagegård, baritone, Warren Jones, piano • June 24 New York Festival of Song • June 25 Nathan Gunn, baritone & Julie Gunn, piano & Saint Paul Chamber Orchestra Players • June 26 — Public Master Classes —

Håkan Hagegård

Susanne Mentzer • June 22 • Håkan Hagegård • June 23

— Grand Historic Song Concert — Stephen Foster and Friends • Philip Brunelle, Artistic Director Maria Jette, soprano • Nathan Gunn, baritone • VocalEssence Ensemble Singers June 27

Susanne Mentzer

Sharon Isbin

FOR DETAILED INFORMATION AND TICKET PRICES PLEASE CALL: 651-292-3267

The Schubert Club • www.schubert.org

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

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Soprano

Tenor

Michelle Carlson Alison Feldt Michelle Hayes Sandra Henderson Patricia Kent Paula Lammers Shirley Liephon

Jeremiah Alto* Robb Asklof Andy Elfenbein Je∂rey Hess Brian Kuhl Oliver Mercer James Plante Steve Sandberg Martin Swaden

Mezzo-soprano Mary Monson Joy Schieb Cathryn Schmidt Sandy Schoenecker Catherine Sturm Karen Weaver Corissa White

Andrew Penning Avital Rabinowitz Anna Resele Christian Skelley denotes KIDS participant (Kids Internship for the Development of Singing) *

Bass/Baritone Michael Cain Steve Dahlberg Mario Diaz-Moresco* Brian Jorgensen Don Moyer

Violin I

Cello

Kristen Christensen concertmaster Julia Persitz David Mickens Sheila Hanford Judy Thon-Jones Andrea Een

Jim Jacobson Coreen Nordling Adriana LaRosa Ransom Laurie Hatcher Merz Rebecca Arons Goetz Tom Austin Horn Charles Kavalovski Charles Hodgson Bass John Michael Smith Constance Brown Trumpet John G. Koopmann Christopher Volpe Flute Michele Antonello Frisch Trombone Amy Morris Sue Roberts Steven Lund Oboe David Stevens Marilyn Ford Tina James Timpani Kory Andry Clarinet Sandra Powers Nina Olsen

Laurie Petruconis Elizabeth Decker Stephan R. Orsak Melinda Marshall Carolin Kiesel Johnson

Viola

Friday & Saturday, June 25 & 26, 2004 – 8 p.m.

Supernumeraries

The Minnesota Opera Orchestra

Violin II

Pride Weekend Concert!

Bill Murray Nathan Petersen-Kindem Rob Woodin

Annette Caruthers Vivi Erickson Laurel Browne Jenny Lind Nilsson

Bassoon

(June 26th ASL Interpreted)

Ted Mann Concert Hall

Call today for tickets! 612.624.2345 or order online at www.tcgmc.org

The Minnesota Opera Auditions The Minnesota Opera will hold general auditions June 3, 4, and 5, 2004. Principal roles are usually cast at least a year in advance and supporting roles and choruses are generally cast locally or from our Resident Artists Program. Auditions are by appointment only and on a ﬁrst-come, ﬁrst-served basis. Please call 612-333-2700 weekdays between 10 a.m. and 4 p.m. Audition Requirements: Prepare one operatic aria of choice in the original language. Bring current resume and photo. Singer should provide own accompanist. A list of accompanists is available upon request.

TO THE 2004-05 SEASON

MADAME BUTTERFLY Giacomo Puccini, Nov. 6—13, 2004

MARIA PADILLA Gaetano Donizetti, March 5—13, 2005

CARMEN Georges Bizet, April 16—23, 2005

NIXON IN CHINA John Adams, May 14—22, 2005 At the Ordway Center for the Performing Arts

Call 612-333-6669 www.mnopera.org

The 2004-2005 Season is sponsored by U.S. Bank, Private Client Group

Photography: Buck Holzemer

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

The Minnesota Opera’s Young Professionals Group

a r e Op

Upcoming Events Opera Night Out: The Magic Flute Friday, May 21, 2004 10:30–midnight post-opera cocktail party at Fhima’s

… tt… s s i i w w t t a a h h wiitt ,, w p p u u t t h ssttrraaiiggh

photo by Barbara Willis

To learn more about the Young Professionals Group, visit www.mnopera.org, or email us at ypg@mnopera.org.

Cultivating a new generation of opera-goers in the Twin Cities Are you a 20- or 30-something who’s curious about opera? Join other young professionals for the hottest ticket in town — The Minnesota Opera’s Young Professionals Group! Members are entitled to great seats at the Opera for rock-bottom prices, as well as pre-opera cocktail parties and special events throughout the season.

The low-cost membership (only $30 per season) entitles YPG members to priority event access and steep discounts on opera tickets.

The Minnesota Opera’s Young Professionals Group is sponsored by Rogers & Hollands Jewelers. Fhima’s is the ofﬁcial venue for Opera Nights Out.

Join before May 21 and receive YPG beneﬁts for The Magic Flute AND the 2004 – 2005 Season.

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

The Minnesota Opera Fund Individual Donors: The Bel Canto Circle The Bel Canto Circle is The Minnesota Opera’s highest category of personal support, indicating lead gifts of $10,000 or more. With this designation, we recognize these very special friends for their commitment to the tradition of opera in our community. Bel Canto $10,000+ Karen Bachman Mrs. Judson Bemis† Mary and Gus Blanchard Rod and Susan Boren Darlene J. and Richard P. Carroll Rusty and Burt Cohen

Ellie and Tom Crosby, Jr. Julia W. Dayton Brad and Diane England Dolly J. Fiterman John and Ruth Huss Heinz and Sisi Hutter Lucy Rosenberry Jones

The Art and Martha Kaemmer Fund of HRK Foundation Warren and Patricia Kelly Peter J. King Patricia Lund Thomas and Barbara McBurney Margaret Meyers

Diana and Joe Murphy Mrs. George T. Pennock Jose Peris and Diana Gulden Elizabeth and Andrew Redleaf Connie and Lew Remele Mary W. Vaughan C. Angus and Margaret Wurtele

Mrs. Thomas B. Carpenter Rachelle Dockman Chase Gary Collyard Dr. James E. and Gisela Corbett Mrs. Thomas M. Crosby, Sr. John and Arlene Dayton Mary Lee and Wallace Dayton Lisa and Patrick Denzer Mr. and Mrs. John Donaldson Rondi Erickson and Sandy Lewis Tom and Lori Foley Christine and W. Michael Garner Mr. and Mrs. R. James Gesell Bill and Eleanor Goodall R. Thomas Greene, Jr. Dan and Jill Gustafson Mr. John Harrer Sharon and Bill Hawkins Dorothy J. Horns, M.D., and James P. Richardson Jay and Cynthia Ihlenfeld Dr. and Mrs. Robert Josselson Stan and Jeanne Kagin Mr. and Mrs. William Kling Mrs. James S. Kochiras Mr. and Mrs. Ted Kolderie David MacMillan and Judy Krow

Mary K. Mahley Family Foundation Roy and Dorothy Ann Mayeske Harvey T. McLain James and Judith Mellinger Mrs. John M. Musser† Nelson Family Foundation Richard and Nancy Nicholson William and Barbara Pearce Marge and Dwight Peterson James J. Phelps and Nancy McGlynn Phelps Mr. and Mrs. William Phillips Lila and Bruce Priebe Michael L. Reed and Jane Tilka Paul and Mary Reyelts Ken and Nina Rothchild E. Elaine and Roger Sampson Kay Savik and Joe Tashjian Fred and Gloria Sewell Dr. Joseph Sha∂er and Dr. Kristina Sha∂er Frank and Lynda Sharbrough Kathi Sharnberg Tanrydoon Fund of The Saint Paul Foundation Bernt von Ohlen and Thomas Nichol Nancy and Ted Weyerhaeuser

Charlotte and Markle Karlen Erwin and Miriam Kelen Lyndel and Blaine King E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Kenneth Kixmoeller, Jr. and Kim Otness Lisa C. Kochiras Maria Kochiras Dr. Robert L. Kriel and Dr. Linda E. Krach Helen L. Kuehn Anita Kunin Mark and Elaine Landergan Carl Lee and Linda Talcott Lee Clinton and Judith Lee Ilo and Margaret Leppik Jerry and Joyce Lillquist Benjamin Y. H. and Helen C. Liu Bill Long Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Mr. and Mrs. Robert Manders Margery Martin Mr. and Mrs. Edward L. Mills Tom Murtha and Stefanie Lenway Mrs. John H. Myers

Donald E. Notvik Susan Okie Brian and Julia Palmer Karen B. Paul William and Suzanne Payne James and Constance Pries Frances and George Reid Katharine S. Reynolds Lois and John Rogers Burton G. Ross and Cynthia Rosenblatt Ross Fund of The Minneapolis Foundation Dr. and Mrs. Richard J. Schindler Tom Schnettler and Cheryl Appeldorn Lucy T. Searls Renate. M. Sharp Stanislaw and Krystyna Skrowaczewski Helene and Je∂ Slocum Julie Jackley Steiner Don and Leslie Stiles James V. and Susan W. Sullivan Michael Symeonides Mr. and Mrs. George H. Tesar Lois and Lance Thorkelson Bill Venne and Douglas Kline Ellen and Fred Wells

Individual Donors: The Camerata Circle Gold $5,000-$9,999 Anonymous Rebecca Rand and E. Thomas Binger Mr. James Binger Dr. Susan and Richard Crockett Theresa and Richard Davis David and Vanessa Dayton Cy and Paula DeCosse Fund of The Minneapolis Foundation The Denny Fund of The Minneapolis Foundation Rudolph W. Driscoll† Sally J. Economon Rolf and Nancy Engh Mr. and Mrs. John Forsythe Connie Fladeland and Steve Fox Leslie and Alain Frécon N. Bud and Beverly Grossman Foundation Ieva M. Grundmanis Alfred and Ingrid Lenz Harrison Bryce and Paula Johnson Samuel L. Kaplan and Sylvia Chessen Kaplan Michael F. and Gretchen G. Kelly and the Kelly Family Foundation

Constance and Daniel Kunin Lynne Looney Ms. Becky Malkerson Mary Bigelow McMillan Bruce and Sandy Nelson Albin and Susan Nelson Timothy and Gayle Ober Mrs. Michelle Roscitt Mr. and Mrs. Steven Rothschild Stephanie Simon and Craig Bentdahl Kevin and Lynn Smith Virginia L. and Edward C. Stringer Gregory C. Swinehart Catie Tobin and Brian Naas William Voedisch and Laurie Carlson Charles Allen Ward Fund of The Saint Paul Foundation

Silver $2,500-$4,999 Anonymous Eric Aanenson Chloe D. Ackman Martha and Bruce Atwater Dr. Ford and Amy Bell William Biermaier and David Hanson Alexandra O. Bjorklund

Individual Donors: The Artist Circle Artist Circle $1,000-$2,499 Anonymous (3) An Anonymous Gift from a Donor Advised Fund of The Saint Paul Foundation Cordelia Anderson and John Humleker Kim A. Anderson Paula Anderson Lowell Anderson and Kathy Welte Jaime Andrews and Jane Kolp-Andrews John Andrus, III Martha Goldberg Aronson and Daniel Aronson Mr. and Mrs. Edmund P. Babcock Dr. Thomas and Ann Bagnoli Sue A. Bennett John and Jennifer Bernstein Mr. and Mrs. Paul G. Boening Judith and Arnold Brier John and Joan Brooks Conley Brooks Family Joe and Judy Carlson Bruce Carlson Joan and George Carlson Dr. Stephen and Beth Cragle Ruth and Bruce Dayton

Thomas and Mary Lou Detwiler Mona Bergman Dewane and Patrick Dewane Sia Dimitriou Mr. and Mrs. Carl B. Drake, Jr. Neil Eckles Susan Engel and Arthur Eisenberg Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Ester and John Fesler Henry and Anice Flesh Salvatore S. Franco Patricia R. Freeburg Bradley A. Fuller and Elizabeth Lincoln David and Kathy Galligan Lois and Larry Gibson Mr. and Mrs. Paul D. Grangaard Rosalie He∂elﬁnger Hall Fund of The Minneapolis Foundation Don and Arlene Helgeson John S. and Rosmarie Helling Doug Heltne Cli∂ton K. Hill and Jody Rockwell Bill and Hella Mears Hueg James L. Jelinek Dale A. Johnson Jacqueline Nolte Jones

These lists are current as of April 1, 2004, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since July 1, 2003. If your name is not listed appropriately, please accept our apologies, and call Kelly Classen, Development Assistant at 612-342-9553. For information regarding making a contribution to The Minnesota Opera, please call Donor Relations at 612-342-9569.

Bel Canto $10,000+

Silver $2,500-$4,999

3M Allianz Life Insurance of North America American Express Minnesota Philanthropic Program Andersen Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation The Bush Foundation The Cargill Foundation Deloitte Deluxe Corporation Foundation Ecolab Foundation General Mills Foundation Lowry Hill Private Wealth Management The MAHADH Fund of HRK Foundation The McKnight Foundation The Medtronic Foundation Minnesota Monthly Minnesota State Arts Board Rider Bennett Rogers and Hollands Jewelers The St. Paul Companies SpencerStuart Target Stores, Marshall Fields, and Mervyn’s with support from the Target Foundation Thrivent Financial for Lutherans Transtop Twin Cities Opera Guild U.S. Bancorp Foundation U.S. Bank, Private Client Group Wells Fargo Foundation Minnesota

Beim Foundation Boss Foundation Dellwood Foundation Hutter Family Foundation Margaret Rivers Fund Mary Livingston Griggs and Mary Griggs Burke Foundation River Chocolate Company Schwegman, Lundberg, Woessner & Kluth, PA Sit Investment Associates Tennant Foundation West Group

Gold $5,000-$9,999 ADC Telecommunications, Inc. Alice M. O’Brien Foundation Bemis Company Foundation Dorsey & Whitney Foundation Jostens, Inc. Lindquist & Vennum McGladrey & Pullen, LLP Pentair, Inc. RBC Dain Rauscher Foundation R. C. Lilly Foundation Rahr Foundation Ryland Group Star Tribune Foundation The Regis Foundation Valspar Foundation Wenger Foundation Xcel Energy Foundation

The Minnesota Opera gratefully acknowledges its major corporate supporters: $100,000 +

Artist Circle $1,000-$2,499 Alliance Capital Management Athwin Foundation Brock-White Co., LLC The Burdick-Craddick Family Foundation The C. A. Jackley Foundation Charles B. Sweatt Foundation Digital Excellence Inc. The Elizabeth C. Quinlan Foundation Elmer L. and Eleanor J. Andersen Foundation Faegre & Benson Hogan & Hartson Horton, Inc. Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust Lenthe Investment, Inc. Leonard, Street & Deinard Marsh USA, Inc. Maslon, Edelman, Borman & Brand Mayo Clinic McVay Foundation Minnesota Mutual Foundation Peregrine Capital Management Robins, Kaplan, Miller & Ciresi The Southways Foundation St. Croix Foundation Tozer Foundation U.S. Trust Company Virchow Krause & Company LLP

$50,000 – $99,000

$25,000 – $49,000

Minnesota Opera Sponsors Season Sponsor

Camerata Dinners

U.S. Bank, Private Client Group

Rider Bennett

Production Sponsors

Conductor Appearances

Rigoletto, U.S. Bank, Private Client Group Lucrezia Borgia, Ecolab Passion, American Express Minnesota Philanthropic Program The Magic Flute, Rogers & Hollands Jewelers

SpencerStuart

Production Innovation System

Rogers & Hollands Jewelers

General Mills

Opera Nights Out

Opening Night Gala Sponsor

Fhima’s

U.S. Bank, Private Client Group

Opera Insights

Season Preview CD Sponsor

Thrivent Financial for Lutherans

Lowry Hill Private Wealth Management

Promotional Support Minnesota Monthly

Young Professionals Group Program Sponsor

$10,000 – $24,999

27 • t h e m a g i c f l u t e

Corporations and Foundations

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

The Minnesota Opera Receives Largest Foundation The Bush Foundation gift comes with an immediate challenge: raise $150,000 in new and increased funding by June 30, 2004 The Bush Foundation of St. Paul, Minnesota, has pledged $650,000 over the next three years to The Minnesota Opera. Each year of the grant comes with a challenge to stimulate new and increased funding. The Opera must raise $150,000 in new funding by June 30, 2004 to qualify for the ﬁrst year of the grant. The Bush Foundation will then double the impact of each new gift. Opera lovers will be asked to partner with the Bush Foundation to fuel the company’s continued success. The three-year impact of this joint partnership will be $1.25 million. If the Opera meets its $150,000 challenge by June 30, 2004, it will end the current season with a balanced budget. The Bush Foundation is investing in the business side of the Opera to ensure that quality will not be compromised. Indeed, the quality will continue to grow. This commitment to artistic excellence as a business strategy prompted the following rave review in the Wall Street Journal:

Irini Tsirakidis in the title role of The Minnesota Opera’s 2004 Lucrezia Borgia.

While most American opera companies traded risky programming for safer options this season, the Minnesota Opera has taken a different approach to the economic downturn. The company is holding to its artistic philosophy, which includes contemporary work and a bel canto work in every season. By sticking to its artistic guns in the current season, The Minnesota Opera has done “Passion” a huge service. Wall Street Journal, March 2, 2004 After the ﬁnal year of the Bush Foundation challenge gift, the Opera intends to add another production to its season, going from four to ﬁve. “This grant will have a profound impact on the company and the community,” according to The Minnesota Opera President and CEO, Kevin Smith. Contributions for the challenge grant are currently being sought. For more information, please call Kelly Classen in the Development department at 612-342-9553.

Patricia Racette as Fosca, foreground, and William Burden and Evelyn Pollock as Giorgio and Clara, background, in Passion.

Gift in Its History The challenge gift from the Bush Foundation will have a profound impact on The Minnesota Opera. We need your help now!

$150,000 Bush Challenge

We must raise $150,000 in new and increased gifts by June 30, 2004. As of May 3, we have raised $78,000. We simply must succeed. Your gift will help us succeed. And the Bush Foundation will double your gift. Go to www.mnopera.org for a challenge update!

$78,000 raised so far

The Bush Foundation Challenge is timed with unprecedented artistic achievement. In just the last ﬁve months, the company has received these accolades: Kudos to The Minnesota Opera … how come the Met isn’t bringing these works here? New York Times, December 28, 2003 Arguably the operatic event of the year. London critic Bruce Hodges, January, 2004 Montserrat Caballe, Beverly Sills and Joan Sutherland enjoyed varying degrees of success in the part in recent decades and it’s possible that Tsirakidis, who knows how to light up a stage, tops them all. Minneapolis Star Tribune, January 26, 2004. Our work is drawing world-wide attention, and the Bush Foundation challenge will build the funding base to support continued success. Every new dollar will count toward the Bush Challenge and help ensure our long-term artistic growth. This is an exciting time. And we need you! Please be generous when you are contacted.

Kevin Smith President

On March 3, 2004 our Artistic Director, Dale Johnson, received the following letter from the chair of the National Endowment for the Arts. It’s further proof of our national stature. Dear Dale Johnson: I have just received the announcement of your new season. All I can say is that any opera company that can o∂er new productions of Maria Padilla and Nixon in China in the same short season has my profound admiration. I have never seen either opera, though I know both scores backwards and forward. I hope you create huge successes with both. All the best, Dana Gioia Chairman, National Endowment for the Arts Washington, D.C.

29 • t h e m a g i c f l u t e

Dear Friend,

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

ORDWAY CENTER PERFORMANCE

PRESENTING THE

BIGELOW–ORDWAY MANSION The Crown Jewel of Saint Paul’s Historic District

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CALENDAR Now through Sun. May 23 (Performance times vary) Ordway Center presents Hot ‘n Cole Celebrating the genius of Cole Porter McKnight Theatre $35 - $45 ASL/AD performance: Sat. May 15, 2 p.m. Sat. May 15 – Sun. May 23 (Performance times vary) The Minnesota Opera presents The Magic Flute Mozart’s gentle fairy tale leads us into a luminous, compassionate utopia. $28.50-$86.50 Fri. May 28, 8 p.m.; Sat. May 29, 8 p.m. The Saint Paul Chamber Orchestra presents Mozart’s Impressario Andreas Delfs, conductor John de Lancie, narrator Strauss Le Bourgeois Gentilhomme

JUNE Sat. June 5 & Sun. June 6 Ordway Center presents 2004 Flint Hills International Children’s Festival The much anticipated annual festival highlights the best performing artists for children from around the world. Call for a brochure or go online at ordway.org for complete details.

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Wed. June 16 – Sun. July 4 (Performance times vary) Ordway Center presents Les Misérables One of the most thrilling and absorbing musicals of the century! Main Hall $40 - $65 ASL/AD performance: Sat. June 26, 2 p.m.

JULY Tues. July 20 – Sun. Aug. 1 (Performance times vary) Ordway Center presents The King and I Starring Sandy Duncan Beloved musical treasure of dance and song 1996 Tony Award® for Best Musical Revival Main Hall $38 - $60 ASL/AD performance: Sat. July 31, 2 p.m.

N O

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AUGUST Tues. Aug. 17 – Sun. Aug. 29 (Performance times vary) Ordway Center presents Thoroughly Modern Millie Winner of six Tony Awards®, including 2002 Best Musical Main Hall $38 - $60 ASL/AD performance: Sat. Aug. 28, 2 p.m.

TICKETS AND I N F O R M AT I O N Ordway Center for the Performing Arts 651-224-4222 ordway.org The Minnesota Opera 651-224-4222 mnopera.org The Minnesota Orchestra 612-371-5656 minnesotaorchestra.org The Saint Paul Chamber Orchestra 651-291-1144 thespco.org The Schubert Club 651-224-4222 schubert.org

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t h e m i n n e s o t a o p e r a • 32

Continued from page 15

Beethoven. Schikaneder desperately mon identifying trademarks of “Libtried to lure the up-and-coming com- erty, Fraternity and Equality.” Though poser to the operatic stage and o∂ered initially tolerant, Joseph II would later him his own libretto to Alexander, a greatly reduce the number of lodges in work that was intended for the grand Austria to only three. After the execuopening. Beethoven was hesitant and tion of French Queen Marie Antoinette sought advice (and lessons) from vet- in 1793, their nephew, Emperor Franeran composer Antonio Salieri. By that cis, completely eradicated Freemasonry time Beethoven had moved on to an- in Austria. The ban would last for over other Schikanederian opus, Vesta Feuer 100 years. (Vesta’s Fire), but couldn’t quite make the librettist’s casual treatment of the ancient Roman story work. With an eye to the current vogue for French rescue opera, he chose a story by Jean-Nicolas Bouilly, which would become Fidelio (1805). By this time, Schikaneder’s luck had run out, and he was forced to sell his interest to his partner, Bartholomäus Zitterbarth, in 1802. Schikaneder stayed on as a director, but the impresario’s formula of presenting singspiel interspersed with works of a higher caliber couldn’t keep up with the new Parisian works by Grétry, Méhul and Cherubini. He was forced to sell his expansive villa in suburban Nussdorf, eventually lost his mind and died in penury. Still, a statistical account of his works is noteworthy, with 57 amusements created for the Theater auf der Wieden alone, approximately half of his total oeuvre. In nearly a Mikhail Krutikov as Sarastro in The Minnesota decade and half as a busy Viennese Opera’s 1997 The Magic Flute producer he had mounted over 400 Was The Magic Flute intended to be theatrical diversions, including opera, propaganda for the vanishing Craft? As ballet and spoken dramas. recently as 1787 Schikaneder had joined a Regensburg Freemason lodge, the freemasons but fell into disfavor as a result of his A tradition that was codiﬁed in many a∂airs with as many women. 1717, but traceable to the guilds of the Mozart had been a member since DeMiddle Ages, Freemasonry prospered cember 1784, and though he had comduring the enlightened 18th century. posed some Masonic music (songs, But as the age turned to revolution, cantatas, funeral music), his attendance the Craft became tainted with an air of at the lodge appeared to wane after a subversion, at least in royalist eyes. As few years. It is therefore curious that most of the founding fathers were Ma- both artists would devote so much atsons, and the American Revolution tention to Freemasonry when composwas a act against the English monar- ing their new opera, for it appears The chy, Freemasonry became synonymous Magic Flute is laced with Masonic symwith rebellion and free thinking. The bolism. The predominance of the numFrench Revolution, just two years be- b e r t h r e e a n d i t s m u lt i p l e s i s a fore The Magic Flute’s premiere, was case-in-point – the triangle has particalso supposed to be fueled by Masonic ular signiﬁcance to the Masons. The beliefs, in particular with their com- opera makes a trinity of almost every-

thing: three ladies, three boys, three trials, three temples, threefold utterances and the list goes on. The overture and Act II finale are set in the key E-flat (three flats) with the opera proper beginning in the Sturm und Drang relative minor of C. The overture opens with five solemn chords (five is another sacred number) posed in three inversions to a syncopated rhythm (anapestically repeated three times – often described as the secret “knock” of the lodge – when they recur at the beginning of the development section and later during the rituals opening Act II). The fugal development section is also echoed later in the work, seen in the contrapuntally inspired setting of the Two Men in Armor in Act II as Tamino prepares for the trials of fire and water (the polyphony has been interpreted as representing the high intellect and equality of the Order). Mozart composed the overture and the Act II March of Priests days before the premiere so it’s not surprising they are so strongly attached to the Masonic message. The Lutheran choralestyle march reveals yet another trait of Masonic tradition – one could be a member and still observe another religion. The prevalent use at decisive moments of the basset horn (a sort of alto clarinet) and the trombone, both associated with Masonic music and neither a staple of the opera orchestra just yet, are further Masonic touches, as is the recurrence of E-flat major (Tamino’s aria “Dies Bildnis, Pamina and Papageno’s duet, “Bei Männern,” the Act II finale), and its three-sharp sister, A major (the Three Spirits’ “Seid uns zum zweiten Mal willkommen” in Act II). The presence of the Speaker also denotes a hierarchal position of the lodge. In his highly detailed book, The Magic Flute, Masonic Opera (Knopf, 1971), Jacques Chailley scrutinizes the plot, detecting the existence of further tests, both air and earth for both Pamina and Tamino. All four trials were important to the Masons’ initiation rites and are drawn from Terrasson’s novel Séthos, from a temple inscription the title character examines: “He who walks this way alone, and without looking

speak to the people beside you…

Good listening

the light-hearted sexual stereotypes are due to the culture of the day – remember Mozart’s two previous operas, Così fan tutte and La clemenza di Tito, are less than flattering to the “fairer sex.” One final faulty derision toward the Freemasons – that members of the Craft caused Mozart’s death for revealing too many secrets – has long since been discredited. After all, Schikaneder didn’t die until 1812, and then of natural causes. To the contrary, generosity was a trait espoused by the Masons, who helped each other out during hard times. Fellow Freemason Michael Puchberg often assisted Mozart financially during his final years. And following the composer’s death, the Order dipped into its fund for widows to help Constanze pay for her husband’s funeral.

{TAKES PRACTICE.}

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33 • t h e m a g i c f l u t e

behind him, will be purified by fire, the wiles of women. Granted, Masonic water and air: and if he can conquer lodges excluded women, but in France the fear of death, he will go out again, there were separate lodges for both out of the bowels of the earth and see sexes. And as it turns out, Pamina is allowed to undergo the trials of fire and the light again …” In addition to being seditious, the water with Tamino, and it is her brotherhood of Freemasons was ac- strength and wisdom that gets them cused of being misogynist, and those through the harsh experience. Further, elements speak clearly throughout the it seems Sarastro’s realm is not entirely opera. The haranguing Queen of the female free, as we are informed by the Night is the most obvious stereotype choruses at the end of each act. Likely as being both a wicked, deceptive and narrow-minded sovereign (a clear jab at the dead Empress Maria Theresa) and a jilted woman hell-bent on revenge (one might suppose her and Sarastro were once lovers, possibly even married with Pamina as their o∂spring – there is no hard evidence to the contrary). There is also a peppering of caution- Set and costume design by Susan Benson ary advice to beware

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