Minnesota Opera's Tosca Program

5 • tosca

Contents The Minnesota Opera Sta∂ and Volunteers . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Gala Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Tosca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Background Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Giacomo Puccini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 2005 – 2006 Opera Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . 18 Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Great American Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 The Minnesota Opera Chorus and Orchestra. . . . . . . . . . . . . . . . . . 22 Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . 26

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

Kevin Smith Dale Johnson J. A. Blanchard, III

The Minnesota Opera, 620 North First Street Minneapolis, MN 55401 (612) 333-2700 www.mnopera.org The Minnesota Opera is a member of OPERA America.

This activity is made possible in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature. This project is supported in part by a grant from the National Endowment for the Arts.

November 2005

The Minnesota Opera Program is published by Arts & Custom Publishing Co., Inc. Corporate Administrator/Publisher Assoc. Publisher/Director of Production Senior Account Executives Creative Designer Production Designers

Todd Hyde Marsha Kitchel Liesl Hyde, Yvonne Christiansen Michael Gutierres Jill Adler, Sue Sentyrz Klapmeier, Robert Ochsner

ARTS & CUSTOM PUBLISHING CO., INC. 1001 Twelve Oaks Center Dr., Wayzata, MN 55391 Phone (612) 375-9222 FAX (612) 375-9208

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

the minnesota opera • 6

Minnesota Opera Staff President & CEO Kevin Smith Artistic Director Dale Johnson Welcome to today’s production of Tosca. For more than four decades The Minnesota Opera has enriched the cultural life of our community by producing outstanding and innovative operas that inspire and entertain.

U.S. Bank is honored to sponsor the 2005 – 2006 season. We are proud of our 20+ year relationship with The Minnesota Opera and of our sponsorship at this great setting of the Ordway in St. Paul.

At U.S. Bank, we support great dreams, great art and great arts organizations. They enrich the community with vibrancy, creativity and excellence. As the sixth largest bank in America today, U.S. bank is the only major bank headquartered in Minnesota, and we’re deeply committed to giving back in this community.

Thank you for coming and enjoy the performance.

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

Artistic Artistic Administrator . .Roxanne Stou∂er Cruz Artistic Associate . . . . . . Floyd Anderson Community Education Director . . . . . . . . .

Jamie Andrews Dramaturg . . . . . . . . . . . . . David Sander Production Stage Manager . . . Alex Farino Assistant Stage Managers . . . . .Angie Spencer, Kathryn Sam Loftin Head of Music . . . . . . . . . . .Bruce Stasyna Coach/Accompanist . . . . . . . .Julian Ward Resident Artists . . . . . . .Raymond Ayers, Korey Barrett, Alison Bates, Theodore Chletsos, Seth Keeton, Peter Kozma, John Michael Moore, Edward Mout RAP Faculty . . .Allysum Tai Chi Center, Nancy Boler, David Mann, Peter Robinson Teaching Artist . . . . . . . . .Angela Keeton Project Opera Apprentices . . .Setara Barukzoy, Erin Marie Capello, Kyle De Graff, Daniel Segura Project Opera Directors . . . .Emily Gergen, Dale Kruse Project Opera Accompanists . . . . . . . . . . . .

Kathy Kraulik, Julian Ward Costumes Costume Director . . . . . . . .Gail Bakkom Assistant Costume Director . . .Beth Sanders Drapers . . .Chris Bur, Emily Rosenmeier, Yancey Thrift, Angela Yarbrough Costume Technicians . .Helen Ammann, Megan Ballengee, Jennifer Dawson, Mary Farrell, Christine Richardson, Stephanie Vogel Painter/Dyer . . . . . . . . . .Marliss Jensen Wig/Makeup Designer . . . . . .Tom Watson Wig/Makeup Assistants . . . . . . Ashley Ryan, Nina Stewart

Scenery Technical Director . . . . . . . . . . . Mike McQuiston Asst. Technical Director/ Lighting Coordinator .Marc D. Johnson Production Administrative Assistant . . . . . . . . . . . . . Kathryn Cattrysse Properties Master . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . Mike Long Production Carpenter . . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . Rod Aird Master Carpenter . . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . Eric Veldey Administration Finance Director . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . . . Steve Mittelholtz HR/Accounting Manager . . Jennifer Thill Executive Assistant . . . . . Theresa Murray Receptionist/Finance Assistant . .Jill Pawelak Development Development Director . . .Patrick Dewane Individual Gifts Director . . . . .Dawn Loven Institutional Gifts Director . . Linda Johnson Institutional Gifts Associate . . .Emily Skoblik Individual Gifts Associate . . . . . . . . . . .

Megan Stevenson Development Director Assistant . . . . . .

Kelly Clemens Marketing/Communications Marketing Director . . . . . . . . . . .Carl Lee Communications Director . . . Lani Willis Ticket O∑ce Manager . . . . Andrea Corich Marketing and Communications Assistant . .Janet Bertok Ticket O∑ce Assistant . . . .Carol Corich

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

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

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

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

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

Notes from the Leadership As another beautiful Minnesota autumn arrives, so does the opera season. We are excited to present to you one of my favorite works, Puccini’s Tosca. Once described as a “shabby little shocker,” it has become one of the best-loved operas in the repertoire.

The stakes are high as the fiery diva Tosca and her lover, the painter Cavaradossi, are ensnared in a dangerous web spun by the evil chief of police, Scarpia. Puccini composed a thrilling score filled with captivating melodies and sensational characters.

It is always exciting to introduce artists to Twin Cities opera-goers, and almost all our guest artists in this double-cast production are new to our

stage. A sensation on the world stage, Galina Gorchakova makes her Minnesota Opera debut in the title role, alternating with fast-emerging American soprano Lisa Daltirus.

Kim Josephson and Bradley Garvin make their company debuts as Scarpia, and William Joyner, who sang in our 1996 La bohème, alternates as Cavaradossi with debuting Jeffrey Springer. Internationally acclaimed Peruvian maestro Miguel HarthBedoya makes his Minnesota Opera conducting debut, and Michael Cavanagh (The Magic Flute) returns to direct. Whichever cast you are hearing today, you will be treated to world-class performances.

Enjoy the performance!

Dale Johnson Artistic Director

from the President Welcome to the beginning of a new opera season!

The Minnesota Opera has had some recent successes I’d like to share with you.

We finished last season with a $150,000 budget surplus. We met our second-year Bush Foundation Challenge goal of $150,000 in new and increased gifts. And we announced the public phase of our Opera at the Ordway Initiative (you can read more about it on page 24), and we have already raised $11.1 million toward our $20 million goal.

Why is this important? You may not realize that ticket revenue covers less than half the cost of producing the opera you are enjoying today. This

means we depend upon contributions from our audience to operate. We invite you to contribute to the Opera’s future success by giving to the Bush Foundation Challenge and the Opera at the Ordway Initiative. Another way to be a part of The Minnesota Opera’s success is to subscribe – and it’s the best way to guarantee seats for Don Giovanni and our exciting American premieres of Orazi & Curiazi and Joseph Merrick, the Elephant Man. I’m delighted you’ve joined us for the beginning of our 43rd season, and I hope to see you at each of our operas this year!

Kevin Smith President & CEO

Officers J. A. Blanchard III, Chair Jane M. Confer, Stephanie Simon, Vice Chairs Lynne E. Looney, Secretary Thomas J. Foley, Treasurer Kevin Smith, President & CEO Directors Emeriti Karen Bachman Burton Cohen Julia W. Dayton Mary W. Vaughan Legal Counsel James A. Rubenstein, Moss & Barnett Honorary Directors Dominick Argento Philip Brunelle Elizabeth Close Dolly Fiterman Charles C. Fullmer Norton M. Hintz Donald W. Judkins Liz Kochiras Jevne Pennock Patricia H. Sheppard Directors Nicky B. Carpenter Richard P. Carroll Susan J. Crockett Mary A. Dearing Sara Donaldson Chip Emery Rolf Engh Brad F. England Denver Gilliand Sharon Hawkins Kristin Hayes Karen L. Himle Ruth S. Huss Heinz F. Hutter Paula R. Johnson

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

7 • tosca

from the Artistic Director

Board of Directors

Opening Night Gala a bene t for The Minnesota Opera The Minnesota Opera thanks the generous supporters of the Opening Night Gala 5GALA)COMMITTEE%

5CORPORATE)TABLES%

Ruth Huss Honorary Gala Chair

3M Caldrea Dorsey & Whitney LLP Excel Bank Deloitte Marshall Field’s Gives The Medtronic Foundation Okabena Advisors RBC Dain Rauscher SpencerStuart SUPERVALU Stores, Inc. Target U.S. Bank, Private Client Group U.S. Trust Valspar Xcel Energy

Jane Confer Individual Chair Frank Guzzetta, Jr. Corporate Chair

5GALA)SPONSORS% U.S. Bank, Private Client Group Marshall Field’s Gives Okabena Advisors

5SPECIAL)THANKS% Bolger Vision Beyond Print Gisela and Jim Corbett Dean Hawthorne Meg and Wayne Gisslen Marge Kazmierczak Amy Kirkpatrick Graphic Design The Minnesota Opera Board of Directors

5INDIVIDUAL)TABLES% Karen Bachman and Robert Fisch Mary and Gus Blanchard Christine and Daniel Buss Jane and Ogden Confer Judy Dayton Ruth and John Huss Martha and Arthur Kaemmer Lois and Richard Marsh Elizabeth and Andrew Redleaf Lynda and Frank Sharbrough Mary Vaughan

Mary Jo Pauly Melissa Peterson

5MATCHING)GIFT%

Steve Pittelkow Silent Auction Committee Jim Smart, Smart Associates Young Professionals Group Cindy Vilks

All proceeds up to $25,000 from tonight’s Reverse Auction will be matched dollar for dollar by an anonymous donor to benefit the Opera’s Resident Artist Program.

5AUCTION)DONORS% 3M Arthur Murray Dance Studio Arts & Flowers Design Studio Auriga Restaurant Aveda Institute Minneapolis Bachman, Karen and Dr. Robert Fisch Brown, Peter C. Café Barbette Cafe Latté Caldrea Carroll, Richard P., M.D., F. A. C. S. Chaseburg Manufacturing, Inc. Confer, Jane and Ogden Corbett, Jim and Gisela Corich, Carol Cruz, Joe D’Amico & Partners Dale Studios Dayton, Judy Donaldson, Sara and Jock Emery, Chip and Vicki First Course Restaurant Fitness Together—Minneapolis Gardens of Salonica Gisslen, Wayne and Meg Grandma’s Restaurant Company Great Waters Brewing Company Greenspring Media Group Guthrie Theater Huss, Ruth and John Johnson, Dale JV & Company Kapalo Retreats, LLC King, Shannon Kitchen Window Latté Da Wine & Coffee Bistro Life Time Fitness Foundation Local Motion Lori Line Music, Inc. M & I Bank Broadway in Minneapolis MacPhail Center for Music Manhattan Toy Company Marty Mathis Direct Minnesota Center for Book Arts Minnesota Historical Society

Minnesota Orchestra MSP Communications Music2Master.com Old Log Theater Ordway Center for the Performing Arts Palomino Restaurant, Rotisseria and Bar Park Hyatt Chicago Park Square Theatre Pittelkow, Steve Redleaf, Elizabeth and Andrew Ribnick Fur & Leather Ristorante Luci/Luci Ancora River Chocolate Company Round Midnight Woodturnings Saint Paul Saints Science Museum of Minnesota Skin Rejuvenation Clinic Smith, Kevin and Lynn Spalon Montage Stover, Mitch Sullivan, Susan and Jim Sywassink, G. A. Target Corporation Teener's Theatrical Department Store The Bell Institute of Health and Nutrition at General Mills The Jungle Theater The Loft Literary Center The Minnesota Opera Board of Directors The Schubert Club The Toro Giving Program University of Minnesota Alumni Association Vaughan, Mary W. Vilks, Cindy Vine Park Brewing Company VocalEssence Waterfall Resort, Alaska Wisteria Design Wolfgang Puck Zimmerman, R.D.

These lists are current as of October 10, 2005.

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

Conductor . . . . . . . . . . . . . . . . .Miguel Harth-Bedoya Stage Director . . . . . . . . . . . . . . .Michael Cavanagh Set Designer . . . . . . . . . . . . . . . . . . . . .Andrew Horn Costume Designer . . . . . . . . . . . . . . . . .Gail Bakkom Lighting Designer . . . . . . . . . . . . . . .Marcus Dilliard Wigs and Makeup . . . . . . .Tom Watson & Associates Assistant Director . . . . . . . . . . . . . . . . .Peter Kozma Chorusmaster . . . . . . . . . . . . . . . . . . .Bruce Stasyna Children’s Chorusmaster . . . . . . . . . . . .Janice Kimes Production Stage Manager . . . . . . .Alexander Farino English Captions . . . . . . . . . . . . . . . . . .Dale Johnson

Music by Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica Based on Victorien Sardou’s play La Tosca (1887) World premiere at Teatro Costanzi, Rome January 14, 1900 November 5, 6, 8, 10, 11, 12 and 13, 2005 Ordway Center for the Performing Arts Sung in Italian with English captions

Background Notes by David Sander

The Cast

ne of the more intriguing tales in the

Floria Tosca, a celebrated opera singer . . . . .Galina Gorchakova* Lisa Daltirus** Mario Cavaradossi, a painter . . . . . . .William Joyner* Jeffrey Springer** Scarpia, Chief of Police . . . . . . . . . . .Kim Josephson* Bradley Garvin** Cesare Angelotti . . . . . . . . . . . . . . . .Raymond Ayers A sacristan . . . . . . . . . . . . . . . . . . . . . .Seth Keeton Spoletta, a police agent . . . . . . . . . . . .Edward Mout Sciarrone, a gendarme . . . . . . . .John Michael Moore A jailer . . . . . . . . . . . . . . . . . . . . . . .Raymond Ayers A shepherd boy . . . . . . . . . . . . . .Benjamin Westphal* Romnick Bilderback**

O

Clergymen, nuns, choristers, choirboys, an executioner, soldiers, police agents, noblemen and women, townspeople, villagers

Teatro dei Filodrammatici and again when

Setting: Rome, June 1800 *

performs November 5, 8, 10, 12 performs November 6, 11, 13

annals of opera is exactly how Tosca

came into Puccini’s hands. At the suggestion of Ferdinando Fontana, librettist of his first two operas, the composer became interested in the original French play as early as 1 8 8 9 . P u c c i n i i n d e e d m ay h av e s e e n t h e drama performed by the legendary actress, Sarah Bernhardt (for whom the title role was created), when she played at Milan’s t h e p l a y m o v e d t o Tu r i n . F o r h i s p a r t , Fontana had already been in touch with its French author, Victorien Sardou, to seek permission to adapt his play.

**

Tosca is sponsored by U.S. Bank, Private Client Group Sets designed by Andrew Horn for the Baltimore Opera Company.

The Minnesota Opera season is sponsored by U.S. Bank, Private Client Group.

The appearances of Seth Keeton, national finalist, and Lisa Daltirus, John Michael Moore and Edward Mout, district finalists of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis.

The appearances of the 2005–2006 season conductors are underwritten by SpencerStuart.

Performances of Tosca are being taped for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities.

Intermission reception sponsored by Lowry Hill Private Wealth Management.

Opera Insights is sponsored by Thrivent Financial for Lutherans.

photo by Gary Mortensen

Background Notes continue on page 14

11 • t o s c a

Once Giulio Ricordi got wind of the proposal, he too con- Tosca spoils). Yet, according to recent scholarship, Franchetti tacted Sardou via his Parisian representative, Verdi-disciple is said to have willingly given up Tosca because he found it Emanuele Muzio. But Sardou did not warm to the idea right unmusical, and there is a several-month gap in the written away – he had envisioned his drama set to music by a French correspondence between Puccini and Ricordi before there is composer, and Puccini, soon to have the failed Edgar to his any mention of the former working on the project. In 1992, credit, was not a big enough name even in Italy. Only when however, during a revival of Cristoforo Colombo in North prompted by a little money (5% of the box office receipts, America, Franchetti’s son Arnold disclosed his father had alan unusually high amount for the House of Ricordi to offer) ways believed “Puccini ‘stole’ the rights to Tosca from him, and the suggestion that an Italian composer could truly do with Ricordi’s help. Apparently, Ricordi convinced [the justice to a play set entirely in Rome, did the venerated play- elder] Franchetti that Tosca was not the piece for him, calling it too dramatic, too bloody; that Franchetti was too wright acquiesce.

That was in 1893, and by that time, Puccini had been much of an aristocrat to write music such as Tosca required.” vexed by Sardou’s long silence. The composer had reaped the (Letter to the Editor by Willy Anthony Waters, Opera News, success of his third opera, Manon Lescaut, and was hot on the April 2000).

Regardless of whattrail to set Henry ever happened, by Murger’s Bohemian July 1895, Tosca was tales. Ricordi still had safely in Puccini’s a signed contract with care. Giuseppe GiaSardou to have his cosa was brought in to drama set to music polish up the libretto, and had a fine story at though he would h i s d i s p o s a l , n ow gripe that the opera drafted by librettist was “more action than Luigi Illica. He therepoetry.” He and Illica fore turned to another managed to streamone of his talented line the play’s chatty, young lions, Alberto densely detailed first Franchetti, who had four acts into the had two successes to o p e r a’ s v e r i s t i c , h i s c r e d i t, A s r a e l swiftly moving Acts I (1888) and Cristoforo Colombo (1892), the Act II from The Minnesota Opera’s 1998 production of Tosca and II. The final act, latter of which pre- [Elizabeth Byrbne (Tosca), Greer Grimsley (Scarpia)] h ow e v e r , p r o v e d miered in honor of the problematic. In the legendary explorer’s discovery of the New World, grandly original draft, Cavaradossi was to sing a stirring, republicanunveiled in Meyerbeerian proportions. motivated aria as he faces the dawn of his execution. There It was at this point things get a little blurred. The follow- was then to be an extended duet between Tosca and Cavaraing year Franchetti and Illica traveled to Paris for talks with dossi, and following the latter’s execution, the opera was to Sardou, a visit coinciding with the French premiere of Oth- end with a gran scena, a primo ottocento mad scene for the title ello at the Opéra, a production supervised by the octogenar- heroine. Sardou balked at the idea and insisted on his origiian Giuseppe Verdi. At a meeting between the four men, nal finale, with Tosca’s suicide. Puccini, being not terribly Verdi was highly impressed by Illica’s scenario, yet de- political, changed Cavaradossi’s Act III aria to one more in murred to the idea of treating it himself because of his ad- line with an artist’s farewell to love and life on earth, and the vanced age. Tosca’s value now ratcheted up a few notches in duet was shortened to become “O dolci mani,” though RiRicordi’s eyes, and as Franchetti was soon to find difficulty cordi was horrified to find shades of the failed Edgar in its putting the tale to music, the wily publisher again looked to melodies. his other protégé.

Politics still seemed to enter into the picture on Tosca’s Puccini’s interest was also rekindled. The composer was opening night in January 1900. Italy was enduring the pains not shy about appropriating other composers’ projects (as of unification and its capital city was again in civil unrest Manon Lescaut, La bohème, Madame Butterfly and Turandot at- (not unlike the unsettled air of the opera’s setting a century test), and it is believed that when Franchetti came to blows earlier). Just two years prior, there had been an uprising in with Illica over setting the libretto, Puccini and Ricordi Milan during which 80 civilians had been massacred by conspired to trick him out of his rights, claiming that the government troops, and King Umberto already had been story was too racy and too violent for Italy’s conservative the target of at least two assassination attempts. He declined opera-going audiences. Coincidentally, Fontana reappeared to attend the premiere (though anarchists would still finish with a new distraction, Zoroastro, for Franchetti to pursue him off within six months), sending instead his wife, Queen (likely Puccini’s former librettist still hoped to share in the Margherita, and several other important state dignitaries. As

act i The church of Sant’Andrea della Valle Angelotti, an escaped political prisoner, seeks refuge in a family chapel – his sister, the Marchesa Attavanti, has left him the key. The sacristan enters, muttering about the mess the painter Mario Cavaradossi is making. The artist soon arrives, and the sacristan observes how much the Magdalene in his painting resembles a young woman (the Marchesa) who has been visiting the chapel as of late. Cavaradossi admits that he has used her as a model, and muses over how her blue eyes compare to the dark ones of his lover, the opera singer Floria Tosca.

Left alone, Cavaradossi discovers Angelotti hiding and recognizes his good friend. They are interrupted by the voice of Tosca, and Angelotti takes cover once again. When the diva finally enters, it is clear she is prone to jealousy – she heard voices and suspects a rival. Cavaradossi reassures her, and they make a date later that evening at a secret villa. Suddenly, Tosca recognizes the visage in the painting as the Marchesa Attavanti and her suspicions are renewed. The artist again pledges his heart and agrees to paint the eyes dark to match those of his lover.

Tosca leaves satisfied.

Angelotti reemerges and Cavaradossi agrees to help him escape. He knows a private route to the villa, and the Marchesa has provided woman’s clothing as a disguise. The two men leave in haste.

The sacristan reenters with news of Napoleon’s defeat at Marengo. He assembles the choir to sing a Te Deum in thanksgiving.

The chief of police Scarpia appears and interrogates the sacristan about the escaped prisoner. He observes the unlocked chapel and finds evidence of Angelotti’s visit – Cavaradossi’s empty lunch basket and the fan of the Attavanti, part of the disguise but carelessly left behind. The painter immediately becomes suspect. When Tosca returns to tell Cavaradossi that she is no longer free that evening, as she must sing in the celebratory cantata at the Farnese Palace, Scarpia decides to use her jealousy to his advantage. He shows her the fan, and Tosca again becomes agitated. As she

photo by Gary Mortensen

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

Synopsis

Act I from The Minnesota Opera’s 1998 production of Tosca [Geraldine McMillian (Tosca); Patrick Denniston (Cavaradossi)]

hurriedly departs, police agents follow in quick pursuit.

As the choir begins the Te Deum, Scarpia savors his plan – Tosca’s lover shall be sent to the gallows, while he shall have his way with her.

Tosca begs Scarpia to spare her lover, and Scarpia strikes a cruel bargain – he will be released only if she will submit to one night of passion. After some hesitation, Tosca tearfully agrees to the plan and demands Cavaradossi be freed at once. Scarpia counters that the painter must be believed to be dead and a mock execution “in the — intermission — manner of Count Palmieri,” he instructs Spoletta, must take place. As he writes out act ii The Farnese Palace At his headquarters, a safe conduct pass, Tosca spies a letter Scarpia muses over his next moves. The opener on the table. When Scarpia goes to criminals shall soon be in his custody, embrace her, she stabs him to death. and he has sent word for Tosca to meet with him after singing the cantata. Spo— intermission — letta soon informs him that Cavaradossi is in custody, but Angelotti is nowhere act iii to be found. Scarpia interrogates the The platform of the Castel Sant’Angelo Just painter, who remains obstinate to his before dawn breaks, Cavaradossi prepares questions. Tosca arrives presently, and for his execution. He bribes the jailer with Cavaradossi is led into the next room. his ring to deliver a message to Tosca. As Following her lover’s instructions, he begins to write, he wistfully recalls their Tosca first admits to know nothing of love affair. Moments later, she appears and Angelotti’s whereabouts. But as Cavara- after showing him the safe conduct pass, dossi’s torture begins, his moans confesses her evil deed. She then details the weaken her resolve, and she soon reveals plan for the mock firing squad – he must that the escaped convict is hiding in the fall when he hears the shots and remain well at the villa. Cavaradossi is again lifeless until after the soldiers have left. brought into the room and curses As the execution takes place, Tosca Tosca’s weak resolve. Suddenly, Sciar- watches from nearby and compliments rone enters with news that Napoleon Cavaradossi on his acting ability. But she was in fact victorious at Marengo, in- soon learns Scarpia has had the last laugh – vigorating the republican Cavaradossi, the bullets were real and Cavaradossi is to the annoyance of Scarpia. The painter dead. Surrounded by Scarpia’s henchmen, may gloat only a short while, for the Tosca climbs to the highest rampart and hangman’s noose awaits him at dawn. jumps to her death.

Giacomo Puccini

P

leased from retainer. Ricordi’s confidence was rewarded uccini was born into a family of court composers and orwith Manon Lescaut (1893), Puccini’s first true success. ganists in the historic city of Lucca, Italy. With a strong During the 1890s Puccini feeling of tradition in the began working with Luigi IlPuccini family, it was exlica, who worked out the pected that Giacomo would scheme and drafted the diaassume his deceased father’s logue, and with the poet and position as maestro di cappella playwright Giuseppe Giawhen he came of age – by 14 cosa, who put Illica’s lines he already was playing organ into verse. Although they in a number of the town’s had participated in Manon churches. But at age 18 a Lescaut (as part of a string of performance of Verdi’s Aida several librettists), their first inspired him to devote his real collaboration was La bolife to opera. In 1880 Puccini hème (1896), followed by began composition studies To s c a ( 1 9 0 0 ) a n d t h e n with Amilcare Ponchielli at Madame Butterfly (1904). Giathe Milan Conservatory of cosa died in 1906, putting an Music. There he was introend to the successful team duced into the professional that produced three of Pucartists’ circle, to which he cini’s most enduring works. would belong for the rest of Puccini’s later operas were his life. quite varied in their styles Puccini was not a prolific and subjects. La fanciulla del composer. Unlike most of his West (1910), set in the Amercontemporaries, there were ican West, is notable for its long intervals between his advanced impressionistic oroperas, partly because of his chestration and composition. fastidiousness in choosing Scala/Art Resource, NY La rondine (1917) was desubjects, several of which he signed to be a sentimental took up only to abandon after musical comedy in the Vienseveral months, and partly Giacomo Puccini, portrait by Arturo Rietti nese style. Il trittico (1918) because of his constant dewas a mixed bag of one-act mands for modifications of operas: Il tabarro, a tip-of-the-hat to Italian verismo; Suor the texts. Much of his time, too, was spent in hunting in Angelica, a nun embroiled in a battle for the future of her ilthe marshes around his home and in trips abroad to superlegitimate child; and, most popular of the three, Gianni vise revivals of his works.

Schicchi, a comic masterpiece that features Puccini at his The composer’s first work for the stage, Le villi (1884), most exuberant. originally was submitted to a contest sponsored by the Turandot (1926) was Puccini’s last (and arguably his music publisher Edoardo Sonzogno. The one-act opera regreatest) opera. He died before completing it, and although ceived not even honorable mention, but Puccini was certain another composer finished the job, at the premiere Arturo of its merit. He and librettist Ferdinando Fontana began to Toscanini set down his baton and refused to continue past canvass the opera to the broader circle of the Italian intelliPuccini’s last note. gentsia. One of these individuals was the highly influential Puccini has been much maligned for his flirtation with Arrigo Boito (at that time in correspondence with Verdi popular music, but he had an uncanny feel for a good story about the preparation of the libretto for Otello), who was inand a talent for composing enthralling yet economical strumental in getting Le villi staged. music. Though like many of his contemporaries, Puccini The reception to the new work was mixed, but the reconstantly was experimenting with tonality and form, his vised two-act version was staged in a number of cities outexperiments were always subtle and without controversy. side of Italy (a remarkable feat for a virtually unknown Having produced only 12 operas, the composer’s personal composer). Puccini’s next opera, Edgar (1889), however, life was plagued with self doubt and laborious perfectionwas a resounding critical failure, yet the astute publisher, ism, yet he profoundly influenced the world of opera with a Giulio Ricordi, found fault in the libretto only and promise deep understanding of music, drama and humanity. in the music. He pitted himself against the shareholders of his publishing house who demanded that Puccini be re-

13 • t o s c a

b Lucca, December 22, 1858; d Brussels, November 29, 1924

a result, there had been a bomb threat to the theater, and in the event of an e x p l o s i o n, c o n d u c t o r L e o p o l d o Mugnone was instructed to strike up the Italian national anthem. Mugnone was skittish, as he had witnessed such an explosion seven years before in Barcelona during a performance of Rossini’s William Tell – 15 people had died as a result. Shortly after the curtain went up, there was indeed a disturbance at the Teatro Costanzi, causing Mugnone to rush backstage for fear of his life, but he had overreacted – it was only pesky latecomers.

Critical reviews were initially harsh, and Tosca has always enjoyed a tawdry reputation as a sadistic melodrama, but the opera has nonetheless been a crowd-pleaser from the day of its inception. In many ways Tosca is quintessential Puccini, reflecting all that is good about his style. In addition to finely wrought melodies, terse, economical writing and innovative orchestration, the composer took special care to include authentic elements in his works. For Tosca, he obtained the exact pitch of St. Peter’s great campanello and

observed the breaking of dawn from the ramparts of the Castel Sant’ Angelo, realistically creating the ringing of the morning church bells for the opening of Act III. For the shepherd’s song he obtained verses from Giggi Zanazzo, a leading folklorist, and set them in a vaguely distant Lydian mode. In the Act I Te Deum, however, he improvised somewhat, still consulting ecclesiastical experts, but adjusting the traditional prayer of thanksgiving to his own devising, the quiet chanting of the chorus underlying Scarpia’s diabolical tirade spun into one of the operatic genre’s most powerful scenes.

Also part of Tosca’s naturalist allure is its setting in existing Roman monuments. The Church of Sant’Andrea della Valle dates from the 17th century and sports one of the largest domes, second only to that of St. Peter’s Basilica. It is just around the corner from the Teatro Argentina where Tosca would likely be rehearsing. The Palazzo Farnese is not too far away, and became the Roman home of the Neapolitan Bourbons when Ferdinand

IV’s grandfather Philip V of Spain married Elisabetta Farnese (it was originally built in 1589 for Alessandro Farnese, who would become Pope Paul III). The Castel Sant’Angelo is also in the neighborhood. Once intended to be the mausoleum for Emperor Hadrian (76–138 a.d.), it was later modified to become the fortress of the popes and a jail for noble prisoners (who, because of the castle’s lax security, could easily escape). It earned its title in 590 when Pope Gregory the Great spotted the Archangel Michael unsheathing his sword, thus ending a devastating plague. In accordance with Sardou’s original instructions, many productions incorporate the statue that commemorates this moment (as well as the dome of St. Peter’s in the background), forgetting that if Tosca were to leap from that particular parapet, she would land on a terrace below (rather than the Tiber river, as commonly believed) and could possibly survive the fall in (fellow thespian) John-Wilkes-Booth-style, giving rise to the opportunity for a rather tantalizing sequel.

photo by Gary Mortensen

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

Background Notes continued from page 11

Act III from The Minnesota Opera’s 1998 production of Tosca [Elizabeth Byrne (Tosca); Tonio di Paolo (Cavaradossi); Robert Schmidt (Spoletta)]

15 • t o s c a

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

The Artists Raymond Ayers Angelotti Minnesota Opera Resident Artist Recently Madame Butterfly, Nagasaki Symphony Nixon in China; Carmen; Maria Padilla, Madame Butterfly, The Minnesota Opera Fiddler; Faust; Susannah; Roméo et Juliette, Chautauqua Opera Mirandolina; Madame Butterfly; The Seagull, Manhattan School of Music Upcoming Hansel and Gretel, Minnesota Orchestra Don Giovanni; Orazi; Elephant Man, The Minnesota Opera

Bradley Garvin Scarpia Minnesota Opera Debut Don Giovanni, Sarasota Opera Handel Messiah, Lyric Opera of Chicago Le nozze di Figaro, Dayton Opera Faust, Toledo Opera Salome, Fort Worth Opera; Arizona Op.; Kentucky Op. La bohème, Arizona Opera Rigoletto, Berkshire Opera Upcoming La bohème, El Paso Opera Future appearances with Lyric Opera of Chicago

Kim Josephson Scarpia Minnesota Opera Debut Samson et Dalila; Tales of Hoffmann, Metropolitan Opera La fanciulla del West; Rigoletto, Seattle Opera Il trovatore, Vienna State Opera; Tulsa Opera Madame Butterfly; A View from the Bridge, Metropolitan Opera Madame Butterfly, La traviata, Lyric Opera of Chicago Upcoming Cyrano de Bergerac, Metropolitan Opera Un ballo in maschera, Cincinnati Opera A View from the Bridge, Washington National Opera

Seth Keeton Sacristan Minnesota Opera Resident Artist Recently Death in Venice; Lucie de Lammermoor, Glimmerglass Op. Carmen; Maria Padilla; Madame Butterfly; The Magic Flute; Passion; Lucrezia Borgia; Rigoletto, The Minnesota Opera Amahl and the Night Visitors, Minnesota Orchestra 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 Upcoming Don Giovanni; Orazi; Elephant Man, The Minnesota Opera

Edward Mout Spoletta Minnesota Opera Resident Artist Falstaff; Eugene Onegin, Indiana University Opera Theater Norma; Fidelio; Rigoletto; Aida; Faust; Lohengrin; Macbeth; Verdi Requiem (ensemble), San Diego Opera Apprentice Artist – Opera Theatre of St. Louis Handel Messiah, UCSD Chamber Singers Gounod Sanctus, Solana Beach Presbyterian Choir Carmina burana; Bach Cantata #191, San Diego Chamber Singers Upcoming Don Giovanni; Orazi; Elephant Man, The Minnesota Opera

Gail Bakkom Costume Designer Minnesota Opera Debut The Village Singer, 1982 Recently Maria Padilla; Lucretia Borgia; Rigoletto (2003); La traviata; Macbeth; The Marriage of Figaro (tour); Otello; Faust; Madame Butterfly (tour); The Merry Widow (1994); Frankenstein; Snow Leopard; Cinderella (tour); Rigoletto (1987); South Pacific, The Minnesota Opera Seven Sevens, New Music Theatre Ensemble

For more biographical information about these artists, visit our website at www.mnopera.org Lisa Daltirus Tosca Minnesota Opera Debut Recently Il trovatore; Aida, Connecticut Opera Tosca, Michigan Opera Theatre; Opera Carolina; New York City Opera Aida, Opera Company of Philadelphia Die Fledermaus, Thessaloniki (Greece) L’enfant prodigue, Concertgebouw (Amsterdam) Upcoming Margaret Garner; Porgy and Bess, Opera Co. of Philadelphia Aida, Boston Lyric, Palm Beach, Michigan Operas

Galina Gorchakova Tosca Minnesota Opera Debut Recently The Bells, BBC Symphony Orchestra Cavalleria rusticana, Concertgebouw (Amsterdam) Tosca, Israel Philharmonic Orchestra Norma, San Diego Opera Pique Dame, Bavarian State Opera; Deutsche Staatsoper Berlin Eugene Onegin, Tanglewood Festival; Cologne Opera Madame Butterfly, Opéra National de Paris (Bastille) Iolanta, Royal Albert Hall The Fiery Angel, Teatro alla Scala

William Joyner Cavaradossi Minnesota Opera Debut Rigoletto, 1995 Recently Carmen, Cagliari (Sardinia); Santiago (Chile) Roméo et Juliette, Opera Lyra Ottawa La bohème, Florentine Opera Rise and Fall of the City of Mahagonny, Rome Opera Thaïs, Kentucky Opera Madame Butterfly, Indianapolis Opera Upcoming Carmen, Florida Grand Opera; Santa Fe Opera

John Michael Moore Sciarrone Minnesota Opera Resident Artist Recently Gloriana; Madame Butterfly, Des Moines Metro Opera The Merry Widow; The Magic Flute; The Seagull; The Crucible; Carousel; Sweeney Todd; Beethoven Symphony No. 9; Handel Messiah; Elijah; Duruflé Requiem, Simpson College Upcoming The Magic Flute, Des Moines Metro Opera Don Giovanni; Orazi; Elephant Man, The Minnesota Opera

Jeffrey Springer Cavaradossi Minnesota Opera Debut Recently Il trovatore, Connecticut Opera; Michigan Opera Theatre The Flying Dutchman, Anchorage Opera Il tabarro, Arizona Opera; Tampa Opera Cavalleria rusticana, Op. Theatre of St. Louis; Manitoba Op. Madame Butterfly, Michigan Opera; Fort Worth Opera Carmen, Arizona Opera; Opera Omaha; Manitoba Opera Boris Godunov, Florida Grand Opera Upcoming La fanciulla del West, Opera Tampa

Michael Cavanagh Stage Director Minnesota Opera Debut The Magic Flute, 2004 Recently Faust, Tulsa Opera Madame Butterfly; Un ballo in maschera, Opera Lyra Ottawa Pagliacci/Cavalleria rusticana; Così fan tutte, Manitoba Op. La bohème; La traviata; Rigoletto, Arizona Opera La fille du régiment; Carmen, Vancouver Opera Upcoming Don Giovanni, Vancouver Opera Le nozze di Figaro, Manitoba Opera

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

Lighting Designer Minnesota Opera Debut Turandot, 1995 Recently The Miser, La Jolla Playhouse; Carmen, Minnesota Opera Carmen; Amerika, American Repertory Theatre Antigone; The Little Prince; Maria de Buenos Aires, Jeune Lune Upcoming Turn of the Screw, U of M Opera; Mefistofele, Jeune Lune Dialogues of the Carmelites, Fort Worth Opera Awards 2005 Ivey Award; 2003 masb, 1998 McKnight Fellowships

Andrew Horn Set Designer Minnesota Opera Debut Le nozze di Figaro, Ohio University Tosca, Kentucky Opera; Michigan Opera Theatre Le nozze di Figaro, Opera Company of Philadelphia The Merry Widow; The Mikado; Naughty Marietta, Light Opera Oklahoma Amahl and the Night Visitors, Gulf Coast Symphony Così fan tutte, Baltimore Opera Studio Abduction from the Seraglio; Maskarade, Bronx Opera Co. scenic design – Actors Theatre (Louisville); Berkshire Theatre Fest.; Los Angeles, Houston, Atlanta Operas

Peter Kozma Assistant Director Minnesota Opera Resident Artist La tragédie de Carmen (SD); L’incoronazione di Poppea; The Telephone (SD); Suor Angelica/Gianni Schicchi(AD), University of Texas Opera Theater (Austin) L’Orfeo (SD), Budapest Chamber Opera Don Giovanni; Le nozze di Figaro; L’elisir d’amore; The Magic Flute (SD), Ars Classica Chamber Opera (Gödöllo˝) Das Rheingold; Le nozze di Figaro; Madame Butterfly, La Cenerentola; others (AD), Hungarian State Opera Upcoming Il Signor Bruschino (SD); Don Giovanni (AD), Minn. Opera

Miguel Harth-Bedoya Conductor Minnesota Opera Debut Recently Ainadamar, Santa Fe Opera; Roméo et Juliette, Ft. Worth Opera Eugene Onegin; Rusalka, Fort Worth Symphony Heloïse et Abelard; Oedipus Rex; Le rossignol; Juilliard Opera Cen. I pagliacci, Auckland Philharmonia Le nozze di Figaro; La bohème; Xerxes; others, Peru Il tutore burlato, Music Festival of Gerace (Italy) Upcoming Le rossignol, Curtis Opera; Falstaff, Forth Worth Opera The Barber of Seville, Canadian Opera Company

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

Bruce Stasyna Chorusmaster Minnesota Opera Debut Der Rosenkavalier, 2000 Recently Nixon in China; Carmen; others, The Minnesota Opera Fidelio; Beethoven Symphony No. 9, Minnesota Orchestra Die ägyptische Helena, American Symphony Orchestra Sweeney Todd, The Barber of Seville; Tito, Wolf Trap Opera Upcoming Carmina burana, Avery Fisher Hall Shakespeare Unplugged, Dallas Art Museum Don Giovanni; Orazi; Elephant Man, The Minnesota Opera

17 • t o s c a

Marcus Dilliard

The Artists

t h e m i n n e s o t a o p e r a • 18

Cultivating a new generation of opera-goers in the Twin Cities photo by Barbara Willis

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

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

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

Upcoming Events Opera Nights Out: Tosca, November 12 Don Giovanni, March 11 Orazi & Curiazi, April 15 Joseph Merrick, the Elephant Man, May 20 Opera Basics, January 27* Great Waters is the official venue for Opera Nights Out

*see page 20 for details

19 • t o s c a

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

Education at the Opera

Opera Basics January 27, 2006 – 7:00-9:00 pm What is an aria? Why are they singing in different languages? When do you yell, “Bravo?” The Young Professionals Group invites everyone ages 21-40 to a lively evening to learn more about the basics of opera. Opera Basics will offer participants a handson education about the who, what and why of opera. Membership in YPG is not required to attend.

The Minnesota Opera unveils “Project Opera” he Minnesota Opera announces Project Opera, a new education program Tfor young singers. Following a year-long exploratory partnership with The Minnesota Opera, Bel Canto Voices dissolved with the retirement of its founder and artistic director, Janice Kimes. The organization’s excellent girls choir programs will continue effective immediately as Project Opera, which will add boys voices to its choruses in January 2006.* “The Minnesota Opera has long held as a goal the development of a quality vocal performance program for young singers,” said Dale Johnson, The Minnesota Opera’s artistic director. “Last season’s partnership showed a synergy of values of our organizations’ high artistic quality, excellent education and healthy vocal training. We are thrilled to inherit the Bel Canto Voices legacy, and the perfect way to celebrate Jan’s retirement is to keep kids singing!”

The program features two choruses – Ragazzi (grades 4–8) and Giovani (grades 9–12). Long-time Opera chorus member Dale Kruse, who also serves as Armstrong High School’s choir director, will direct Giovani, while former Bel Canto Voices singer Emily Gergen will direct Ragazzi. Both leaders were instrumental in creating the partnership between the organizations last season, and their continued participation in these roles ensures a seamless transition.

Project Opera is the newest component of an expanding education program for high school singers at The Minnesota Opera. Its participants will perform in

Adult Education Opportunities

the Ordway Center lobby prior to each Sunday opera matinee, and Giovani will present an age-appropriate opera at The Minnesota Opera Center May 19–21, 2006. These students will also be invited to attend the Opera’s student matinees, its intensive Day at the Opera training program, Opera Camp in summer 2006, and the most talented singers of the group will be asked to be in the High School Apprentice Program, which includes individualized training and singing with The Minnesota Opera Chorus in mainstage productions.

Don Giovanni February 20, 2006 – 7:00-9:00 pm Considered by many to be the perfect opera, Don Giovanni has captivated audiences ever since its premiere in 1787. With its beautiful music and powerful drama, Mozart’s opera tells the tale of the legendary Spanish scoundrel and his demise. Join Mozart scholar David Grayson from the University of Minnesota to examine what elements make this masterpiece timeless.

These events will take place at the Minnesota Opera Center. Cost is $20/adult, $15/subscriber and/or donor and $10/student (valid ID to be shown at the door). To register for these classes, please call 612.342.9575.

Project Opera: Summer Camp – An Instant Success Last July The Minnesota Opera held its first summer opera camp for teens. It was a week full of fun, music making and exploration into the world of opera. Participants spent the week coaching and staging operatic scenes. The camp ended with two standing-room-only performances. The next Project Opera: Summer Camp is slated for July 2006.

*We are looking for all interested boys in grades 4-12 to audition for Project Opera. Auditions will be held on November 19th at the Minnesota Opera Center.

To sign up for an audition or for more information about Project Opera, please call Angie Keeton at 612.342.9554 or email angie@mnopera.org.

Great American Voices

photo by Michal Duval

21 • t o s c a

T

The Minnesota Opera joins more than 20 professional he Minnesota Opera joins forces with the National Enopera companies that will conduct performances at 39 dowment for the Arts in the “Great American Voices military bases around the country. The tour, which runs Military Base Tour: Unforgettable Melodies from Opera & from October 2005 through AuBroadway,” a national initiative celgust 2006, will feature selections ebrating the best of American arts from popular operas such as by bringing professional perforBizet’s Carmen and Mozart’s Don mances of opera and musical theater Giovanni, as well as highlights to military installations nationwide. from classic American musicals The week of November 14, The including Rodgers and HammerMinnesota Opera’s Resident stein’s Oklahoma! Performances Artists, artistic and education staff will be offered at no cost to the will be in residence at Fort McCoy base or to audience members. near Sparta, Wisconsin, providing Great American Voices Military concerts and educational programs Base Tour is the latest in a series for military families and in area of groundbreaking partnerships schools. A highlight of the week between the NEA and the Dewill be a public performance at Fort partment of Defense, and is preMcCoy on Tuesday, November 15. Act II from The Minnesota Opera’s 2005 sented in coordination with the “ Th e M i n n e s o ta O p e r a i s production of Carmen [Scott Piper (Don José); D e pa r t m e n t o f D e f e n s e a n d thrilled to be joining this initia- Rinat Shaham (Carmen)] OPERA America. Great Ameritive,” said President and CEO can Voices Military Base Tour is made possible by The Kevin Smith. “The military and their families continue to Boeing Company. make great sacrifices for their country, and providing high For the latest tour information and sample educational quality entertainment and educational opportunities is a materials, visit www.greatamericanvoices.org. great way for the arts community to give back.”

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

The Minnesota Opera Chorus Alison Bates* Karen Bushby Lisa Butcher Theodore Chletsos* Steven Dahlberg Carole Finneran Rachel Frazin Peter Frenz Tracey Gorman Anna-Lisa Hackett Catherine Haugen Paul Hindemith James Howes Ben Johnson Charles Johnson Tor Johnson Brian Jorgensen Jennifer Josephsen Mark Josephsen Shirley Leiphon Michelle Liebl Elizabeth Longhurst Jeffrey Madison Eric Mahutga

Mary Monson Aja Pridgen Dominick Rodriguez Sandy Schoenecker Michael Schaefer Joy Scheib Robert Schmidt Martin Swaden Joel Swearingen Eric Vollen

Children’s Chorus Liam Bambery Romnick Bilderback Amanda Chen Maria Diez Conor Finnerty-Esmonde Liza Karachunski David Nelson Jack Strobel Oskar Theriault Robert Verhoye Benjamin Westphal Tess Winker

Supernumeraries David Allyn Peter Brandenhoff Jacob Dehon Gene Duenow Christian Finch Curtis Fox Jim Fulford Phil Greenberg Dan Gregg Joshua Hanson Nathan Lassen Derek Long Kyle Roman Mark Rossman Matt Sudduth Tom Sweeney Resident Artist covering principal role Theodore Chletsos — Cavaradossi *Resident Artist

The Minnesota Opera Orchestra Violin I Kristen Christensen concertmaster Julia Persitz David Mickens Allison Ostrander Judy Thon-Jones Kari Giles Andrea Een Angela Hanson Connor O’Brien Miriam Griffiths

Violin II Laurie Petruconis Elizabeth Decker Stephan R. Orsak Melinda Marshall Carolin Kiesel Johnson Margaret Humphrey Megan McClendon Helen Foli

Sally G. Dorer Dale Newton Joe Englund

Bass John Michael Smith Constance Brown Michael Watson Jason Hagelie

Flute Michele Frisch Amy Morris (double piccolo) Casey Kovacic (double piccolo)

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

Cello Jim Jacobson Rebecca Arons Thomas Austin

Cheryl Kelley

Horn Charles Kavalovski Charles Hodgson Neal Bolter Lawrence Barnhart

Trumpet John G. Koopmann Christopher Volpe Pamela Humphrey

Trombone

Oboe

Phillip Ostrander Sue Roberts David Stevens

Marilyn Ford Sarah Boyle

Tuba

English Horn Merilee Klemp

Viola

Contrabassoon

Clarinet

Ralph Hepola

Timpani Kory Andry

Sandra Powers Nina Olsen (double bass clarinet)

Percussion

Bass Clarinet

Harp

JoAnn Polley

Min Kim

Bassoon

Personnel Manager

Coreen Nordling Laurie Hatcher Merz

Steve Lund

Paul Hill Robert Adney

Minnesota District Auditions November 12, 10am at Ordway Center for the Performing Arts Master Class with Met Baritone Mark Oswald November 13, 1pm Lloyd Ultan Recital Hall, University of Minnesota School of Music

23 • t o s c a

National Council Auditions

spencer stuart is proud to support The Minnesota Opera

we are pleased to present guest conductor maestro miguel harth-bedoya in the minnesota opera’s production of tosca.

Upper Midwest Regional Auditions February 18, 12 noon Ted Mann Concert Hall, University of Minnesota, West Bank Campus All auditions events are free and open to the public. Call Margaret Houlton, MN District Director, for more information (952)-938-6908 or go to our website at www.studiobridge.com/metauditions

www.spencerstuart.com

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

25 • t o s c a

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

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

For information on making a contribution to The Minnesota Opera, please call Dawn Loven, Director of Individual Gifts, at 612-342-9567.

Bel Canto Circle Platinum $20,000 and above

Gold $15,000–$19,999

Silver $10,000–$14,999

Mary and Gus Blanchard Ellie and Tom Crosby, Jr. Julia W. Dayton John and Ruth Huss Lucy Rosenberry Jones Patricia Lund Stephanie Simon and Craig Bentdahl Mary W. Vaughan Fund of The Minneapolis Foundation

Darlene J. and Richard P. Carroll Dolly J. Fiterman Heinz and Sisi Hutter Estate of Edith J. Mueller Mrs. George T. Pennock Robert and Barbara Struyk C. Angus and Margaret Wurtele

Anonymous (2) Karen Bachman Rebecca Rand and E. Thomas Binger Rod and Susan Boren Mrs. Thomas B. Carpenter Rusty and Burt Cohen Cy and Paula Decosse Fund of The Minneapolis Foundation The Denny Fund of The Minneapolis Foundation Sara and Jock Donaldson

The Art and Martha Kaemmer Fund of HRK Foundation Warren and Patricia Kelly Peter J. King Lynne Looney Thomas and Barbara McBurney Harvey T. McLain Mary Bigelow McMillan Mrs. Walter Meyers Bruce and Sandy Nelson Jose Peris and Diana Gulden Elizabeth and Andrew Redleaf Connie and Lew Remele Virginia L. and Edward C. Stringer

Kristin Hayes and Greg Sochacki Karen and John Himle Constance and Daniel Kunin Ilo and Margaret Leppik Mr. and Mrs. B. John Lindahl, Jr. Ms. Becky Malkerson Ted and Roberta Mann Foundation Diana and Joe Murphy Elizabeth Musser Trust— Fir Tree Fund Albin and Susan Nelson Nelson Family Foundation Brian and Julia Palmer Mr. and Mrs. Steven Rothschild Kevin and Lynn Smith Mitchell and Kendall Stover Catie Tobin and Brian Naas Charles Allen Ward Fund of The Saint Paul Foundation Anonymous (2) Chloe D. Ackman Martha and Bruce Atwater Dr. Ford and Amy Bell David Hanson and William Biermaier Alexandra O. Bjorklund

Rachelle Dockman Chase Cleveland Foundation Dr. Stephen and Beth Cragle John and Arlene Dayton Mary Lee Dayton Thomas and Mary Lou Detwiler Rondi Erickson and Sandy Lewis Tom and Lori Foley Leslie and Alain Frecon Christine and W. Michael Garner Mr. and Mrs. R. James Gesell Meg and Wayne Gisslen Mrs. Myrtle Grette The Hackensack Fund of the Saint Paul Foundation Dorothy J. Horns, M.D., and James P. Richardson Jay and Cynthia Ihlenfeld Dale A. Johnson Jacqueline Nolte Jones Robert and Susan Josselson Stan and Jeanne Kagin Samuel L. Kaplan and Sylvia Chessen Kaplan Erwin and Miriam Kelen Michael F. and Gretchen G. Kelly and the Kelly Family Foundation Mrs. James S. Kochiras

Sid and Diane L. Levin David MacMillan and Judy Krow Mary K. Mahley Family Foundation Roy and Dorothy Ann Mayeske James and Judith Mellinger Richard and Nancy Nicholson – Nicholson Family Foundation Dwight D. Opperman William and Barbara Pearce Marge and Dwight Peterson Mr. and Mrs. William Phillips Stephanie Prem and Tom Owens Paul and Mary Reyelts Lois and John Rogers Ken and Nina Rothchild E. Elaine and Roger Sampson Kay Savik and Joe Tashjian Fred and Gloria Sewell Drs. Joseph and Kristina Sha∂er Frank and Lynda Sharbrough Julie Jackley Steiner Mr. and Mrs. James Swartz Gregory C. Swinehart Tanrydoon Fund of The Saint Paul Foundation William Voedisch and Laurie Carlson Nancy and Ted Weyerhaeuser

Elwood F. and Florence A. Caldwell Bruce and Deanna Carlson Joan and George Carlson Joe and Judy Carlson Bruce Coppock and Lucia May Mrs. Thomas M. Crosby, Sr. Ruth and Bruce Dayton Amos and Sue Deinard Mona Bergman Dewane and Patrick Dewane Mrs. Sia Dimitriou Mr. and Mrs. Carl B. Drake, Jr. Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Susan Engel and Arthur Eisenberg Ester and John Fesler Salvatore S. Franco

Patricia R. Freeburg Bradley A. Fuller and Elizabeth Lincoln David and Kathy Galligan Richard Geyerman Lois and Larry Gibson Howard and Heidi Gilbert Paul and Margot Grangaard Rosalie He∂elfinger Hall Fund of The Minneapolis Foundation Marthajane Hapke Don Helgeson John S. and Rosmarie Helling Sarah Henry Nancy and Doug Heltne Cli∂ton K. Hill Bill and Hella Mears Hueg

Mr. and Mrs. Thomas Hull Mr. and Mrs. Philip Isaacson Mr. and Mrs. James L. Jelinek Linda Johnson Markle Karlen Jessie L. Kelly Lyndel and Blaine King E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Kenneth Kixmoeller and Kim Otness Mr. and Mrs. William Kling Lisa C. Kochiras Maria Kochiras Kyle Kossol and Tom Becker Robert L. Kriel and Linda E. Krach Helen L. Kuehn Anita Kunin

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

Gold $5,000-$7,499 Anonymous (1) Eric and Tracy Aanenson Dr. James E. and Gisela Corbett Susan and Richard Crockett Mary Dearing and Barry Lazarus David and Vanessa Dayton Sally J. Economon Chip and Vicki Emery Brad and Diane England Mr. and Mrs. John Forsythe Connie Fladeland and Steve Fox Denver and Nicole Gilliand Alfred and Ingrid Lenz Harrison

Silver $2,500–$4,999

Artist Circle $1,000–$2,499 Anonymous (4) Floyd Anderson Paula Anderson Kim A. Anderson Lowell Anderson and Kathy Welte John Andrus, III Cheryl Appledorn and Thomas Schnettler Martha Goldberg Aronson and Daniel Aronson Mr. and Mrs. Edmund P. Babcock Dr. Thomas and Ann Bagnoli John and Jennifer Bernstein Jan and Ellen Breyer Judith and Arnold Brier Conley Brooks Family

The Minnesota Opera Annual Fund Artist Circle (continued) Mark and Elaine Landergan Robert L. Lee and Mary E. Scha∂ner Carl Lee and Linda Talcott Lee Susan Lenthe Stefanie Lenway and Tom Murtha Diane and Sid Levin Michael and Diane Levy Jerry and Joyce Lillquist Benjamin Y. H. and Helen C. Liu Bill Long Dawn M. Loven Mr. and Mrs. Donald Lucker Margery Martin

Lois and Rick Marsh Gilah Mashaal Samuel D. and Patricia McCullough The Honorable and Mrs. Walter Mondale Sandy and Bob Morris Mrs. John H. Myers Susan Okie Kelly and Michael Palmer Allegra Parker Karen B. Paul William and Suzanne Payne Jodi and Todd Peterson Mary Ingebrand Pohlad

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

Don and Leslie Stiles James and Susan Sullivan Henry and Virginia Sweatt Michael Symeonides Mr. and Mrs. George H. Tesar Lois and Lance Thorkelson Mr. and Mrs. Philip Von Blon Fred and Ellen Wells Ms. Wendy Wenger

Genevive Antonello Ruth and Dale Bachman James and Gail Bakkom Mrs. Harvey O. Beek Gerald and Phyllis Benson Mr. and Mrs. Paul G. Boening Thomas and Joyce Bruckner Daniel and Christine Buss C.D.F. Foundation Joann M. D. Cierniak Edward Conway and Kathleen Jerde Roxanne and Joseph Cruz Bill and Kate Cullen Joyce and Hugh Edmondson Herbert and Betty Fantle Catherine C. Finch

Henry and Anice Flesh Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Dr. Stanley M. and Luella G.Goldberg Deanne and John Greco Sarah Green Marjorie and Joseph Grinnell Bruce and Jean Grussing Ruth E. Hanold Diane and Paul Jacobson Andrzej and Urszula Jaworski Dr. and Mrs. Charles R. Jorgensen Jane and Jim Kaufman Fund of The Minneapolis Foundation Michael W. Kienlen Steve and Jolie Klapmeier

Roy and Mary Letourneau Joan E. Madden C. S. McCrossan Sheila McNally L. David Mech William Messerli Theresa A Murray and Jim Murray Paul C. Muzio Joan and Richard Newmark Lowell and Sonja Noteboom Luis Pagan-Carlo Paula Patineau William and Suzanne Payne Kern and Kathryn Peterson Nicole and Charles Prescott Lawrence M. Redmond

Patron Circle Gold $750–$999 Quentin and Mary Anderson Mr. and Mrs. Carl Clessler Joe Dowling and Siobahn Cleary Drs. Greg and Angie Hatfield John and Jean McGough Holten David and Sally Hyslop James and Nancy Phelps Jim Scarpetta The Harriet and Edson Spencer Fund of The Minneapolis Foundation Keith and Catherine Stevenson

Silver $500–$749 Fred Amram and Sandra Brick Woodbury H. and Cynthia Andrews

continued on page 28

27 • t o s c a

Individual Giving

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

The Minnesota Opera Annual Fund Individual Giving

Patron Circle (continued) Ann M. Rock Thomas D. Rohde and Nancy J. Rohde James and Andrea Rubenstein Bill and Janet Schaeder Mahlon and Karen Schneider Bill and Althea Sell

Janet and Irving Shapiro John Spokes Daniel and Marilyn Spiegel Warren Stortroen Dana and Stephen Strand Emily Anne and Gedney Tuttle Allan Valgemae and Robert Harding

Will and Li Volk Elaine B. Walker The Wallin Foundation David M. and Mary Ann Barrows Wark

James and Sharon Weinel Frank and Frances Wilkinson Lani Willis and Joel Spoonheim Mary Wong

Estate and Planned Gifts The Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If you have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity.

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

Anonymous (2) Mary A. Andres Mr. and Mrs. Rolf Andreassen Karen Bachman Mark and Pat Bauer Barbara and Sandy Bemis (†) Darlene J. and Richard P. Carroll Judy and Kenneth (†) Dayton Mrs. George Doty Rudolph Driscoll (†) Sally Economon

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

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

Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Andrew H. Stewart, Jr. Barbara and Robert Struyk Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick

These lists are current as of September 1, 2005, and include donors who gave gifts of $500 or more to The Minnesota Opera Fund since July 1, 2004.

If your name is not listed appropriately, please accept our apologies, and call Megan Stevenson, Individual Gifts Associate, at 612-342-9569.

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

Gold $5,000-$9,999 Alice M. O’Brien Foundation ADC Telecommunications AT&T Foundation Bemis Company Foundation Briggs and Morgan Faegre & Benson Jostens, Inc. Lindquist & Vennum R. C. Lilly Foundation Onan Family Foundation

Carl and Eloise Pohlad Foundation Rahr Foundation Xcel Energy Foundation

Silver $2,500-$4,999 Beim Foundation Boss Foundation Buuck Family Foundation Dellwood Foundation Hutter Family Foundation Margaret Rivers Fund Mary Livingston Griggs and Mary Griggs Burke Foundation Peregrine Capital Management Schwegman, Lundberg, Woessner & Kluth, PA Tennant Foundation Thomson West Tozer Foundation Arts & Custom Publishing Co., Inc. Brock-White Co., LLC The Burdick-Craddick Family Foundation Charles B. Sweatt Foundation Curtis L. Carlson Family Foundation Digital Excellence, Inc. GREC, LLC Gunkelmans Interior Design Hammel, Green and Abrahamson, Inc. Hogan & Hartson Horton, Inc. Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust Le Jeune Investment, Inc. Leonard, Street & Deinard Maslon, Edelman, Borman & Brand Mayo Clinic McVay Foundation The Elizabeth C. Quinlan Foundation The Regis Foundation Robins, Kaplan, Miller & Ciresi Securian Foundation The Southways Foundation St. Croix Foundation

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

Minnesota Opera Sponsors Season Sponsor

Conductor Appearances

U.S. Bank, Private Client Group

SpencerStuart

Production Sponsors

Evening Intermission Sponsor

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

Lowry Hill Private Wealth Management

General Mills

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

RAP Teaching Artists Wenger Foundation

$100,000 +

$50,000 – $99,000

Artist Circle $1,000-$2,499

Government

Production Innovation System

The Minnesota Opera gratefully acknowledges its major corporate supporters:

Promotional Support Minnesota Monthly

Opera Insights Thrivent Financial for Lutherans

$25,000 – $49,000

$10,000 – $24,999

29 • t o s c a

Institutional Giving

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

OnOrdway stage at Center Nov 5, 6, 8, 10, 11, 12, 13 The Minnesota Opera Tosca by Giacomo Puccini Heart-pounding drama, intense passion and soaring melodies combine in one of Puccini's greatest operas.

Main Hall $32 - $120 Tues, November 15, 8pm The Schubert Club Barbara Bonney, soprano Angelika Kirchschlager, mezzo-soprano Fri, Nov 18, 10:30am & 8pm Sat, Nov 19, 8pm The Saint Paul Chamber Orchestra Bell plays Beethoven Joshua Bell, director/violin Sun, November 20, 5pm planet Ordway® TARGET® Season Joanne Shenandoah Original compositions, combined with a striking voice, enable her to embellish the ancient songs of the Iroquois using a blend of traditional and contemporary instrumentation.

Main Hall $20 - $26 Fri, November 25, 8pm The Saint Paul Chamber Orchestra Jazzed-Up Fridays Anderszewski plays Mozart and Haydn Piotr Anderszewski, conductor/piano Sat, November 26, 8pm The Saint Paul Chamber Orchestra Anderszewski plays Bartók, Haydn, and Mozart Piotr Anderszewski, conductor/piano Sun, November 27, 7pm planet Ordway® TARGET® Season Leo Kottke An Ordway Center tradition since 1985, Leo Kottke brings his immeasurable talent and delightful wit and humor to Ordway Center every year for the holidays.

Main Hall $26 - $33

ORDWAY CENTER 651-224-4222 ordway.org THE MINNESOTA OPERA 651-224-4222 mnopera.org THE SAINT PAUL CHAMBER ORCHESTRA 651-291-1144 thespco.org THE SCHUBERT CLUB 651-224-4222 schubert.org