minnesota opera's don giovanni program
DESCRIPTION
2005-2006 SeasonTRANSCRIPT
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The Schubert Clubpresents the Third Annual
Saint Paul Summer Song FestivalJune 9–17, 2006
www.schubert.org
William Bolcom & Joan Morris
McKnight Theatre, Ordway Center for the Performing Arts
The Schubert ClubMAUD MOON WEYERHAEUSER SANBORN
International Artist Series2006-2007
Anne-Sophie Mutter, violinNovember 8, 2006
Lise de la Salle, pianoJanuary 26, 2007
Frederica von Stade, mezzo-sopranoSamuel Ramey, bass-baritoneFebruary 28, 2007
Emanuel Ax, pianoMarch 21, 2007
Karita Mattila, sopranoApril 25, 2007
Concerts at 8:00 PM • Ordway Center for the Performing Arts, Saint Paul
Season Tickets: $150 • $125 • $105 • $85 $40 Student
Call The Schubert Club at 651-292-3268
Karita Mattila
Christopher Maltman, baritoneFriday, June 9
Joan Morris, mezzo-soprano, & William Bolcolm, pianoSaturday, June 10
Song Picnic on Raspberry IslandSunday, June 11
Maria Jette & FriendsMonday, June 12–Thursday, June 15
Ingmar Bergman’s The Magic FluteWednesday, June 14INTRODUCED BY HÅKAN HAGEGÅRD
The Rose EnsembleFriday, June 16
Jennifer Larmore, mezzo-sopranoSaturday, June 17
Ph
oto: Lau
ri Erik
sson
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Contents
The Minnesota OperaPresident & CEO Kevin Smith
Artistic Director Dale Johnson
Chair, Board of Directors 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.
The Minnesota Opera Programis published by
Corporate Administrator/Publisher Todd HydeAssoc. Publisher/Director of Production Marsha Kitchel
Senior Account Executives Liesl Hyde, Yvonne Christiansen Creative Designer Stacy Hawkins
Production Designers Sue Sentyrz Klapmeier,Robert Ochsner, Jennifer Webb
Large-print and Braille programs are available at the Patron Services O∑ce
The Minnesota Opera Sta∂ and Volunteers . . . . . . . . . . . . . . . . . . . . 6
Notes from the Leadership. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Don Giovanni. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Background Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Coming up: Orazi & Curiazi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
The Minnesota Opera Chorus and Orchestra. . . . . . . . . . . . . . . . . . 22
Young Professionals Group Events. . . . . . . . . . . . . . . . . . . . . . . . . 23
Opera Season Announcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . 28
Mozart Mania . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
2005-06 Season Finale
Pen Pals is a presentation of theLibrary Foundation of Hennepin
County, working to support excellentservices and innovative programs at a Hennepin County Library near you.
Anchee MinBest selling novelist and
memoirist, her bookRED AZALEA was named a
New York TimesNotable Book of 1994.
April 5 7:30 pmApril 6 12 noon
Series Sponsor
To order subscriptions and tickets:
651-209-6799www.uptowntix.com
This activity is made possible in part by a grant provided by the Minnesota State Arts
Board through an appropriation by the Minnesota State Legislature. This project is
supported in part by a grant from the National Endowment for the Arts.
March 2006
Welcome to today’s production of DonGiovanni. For more than four decades TheMinnesota Opera has enriched the culturallife of our community by producingoutstanding and innovative operas thatinspire and entertain.
U.S. Bank is honored to sponsor the 2005– 2006 season. We are proud of our 20+year relationship with The Minnesota Operaand of our sponsorship at this great settingof the Ordway in St. Paul.
At U.S. Bank, we support great dreams,great art and great arts organizations. Theyenrich the community with vibrancy,creativity and excellence. As the sixthlargest bank in America today, U.S. bank isthe only major bank headquartered inMinnesota, and we’re deeply committed togiving back in this community.
Thank you for coming and enjoy theperformance.
Jose A. Peris, Senior Vice President, RegionManager, U.S. Bank Private Client Group, and Minnesota Opera board member
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Minnesota Opera SSttaaffffPresident & CEO Kevin SmithArtistic Director Dale Johnson
ArtisticArtistic Administrator . .Roxanne Stou∂er CruzArtistic Associate . . . . . . Floyd AndersonCommunity Education Director . . . . . . . . .
Jamie AndrewsDramaturg . . . . . . . . . . . . . David SanderProduction Stage Manager . . . Alex FarinoAssistant Stage Managers . . . . .Angie Spencer,
Casey MartinHead of Music . . . . . . . . . . .Bruce StasynaResident Artists . . . . . . .Raymond Ayers,
Korey Barrett, Alison Bates, Theodore Chletsos, Jamie-Rose Guarrine,Seth Keeton, Peter Kozma, Bryan Lemke,
John Michael Moore, Edward MoutRAP Faculty . . .Allysum Tai Chi Center,
Nancy Boler, Stephano Marazana, Peter Robinson
Teaching Artist . . . . . . . . .Angela KeetonProject Opera Apprentices . . .Setara Barukzoy,
Erin Marie Capello, Kyle De Graff, Daniel Segura
Project Opera Director . . . . . . . Dale KruseProject Opera Accompanists . . . . . . . . . . . .
Kathy Kraulik, Julian Ward
CostumesCostume Director . . . . . . . .Gail BakkomAssistant Costume Director . . .Beth SandersDrapers . . . . . . .Chris Bur, Yancey Thrift,
Angela Yarbrough Costume Technicians Helen Ammann,
Sarah Bahr, Jennifer Dawson,Mary Farrell, Amy McClure,
Christine Richardson, Stephanie VogelPainter/Dyer . . . . . . . . . .Marliss JensenWig/Makeup Designer . .Charles LaPointe,
Tom WatsonWig/Makeup Assistants . . . . . . Ashley Ryan,
Nina Stewart
SceneryTechnical Director . . . . . . . . . . . Mike McQuistonAsst. Technical Director/
Lighting Coordinator .Marc D. JohnsonProduction Administrative
Assistant . . . . . . . . . . . . . Kathryn CattrysseProperties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . Mike LongProduction Carpenter . . . . . . . . J.C. AmelScene Shop Foreman . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . . .Steve Rovie Carpenter . . . . . . . . . . . . . . . . Eric VeldeyCharge Painter . . . . . . . . . . .Debra JensenPainter . . . . . . . . . . . . . .Cate Whittemore
AdministrationFinance Director . . . . . . . . . . Je∂ CoutureOperations/Systems
Manager . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . Jennifer ThillExecutive Assistant . . . . . Theresa MurrayReceptionist/Finance Assistant . .Jill Pawelak
Institutional AdvancementVice President of InstitutionalAdvancement . . . . . . . . . . .Patrick DewaneInstitutional Advancement Assistant . . . . . . . . . . . . .Kelly Clemens
DevelopmentDirector of the Annual Fund . .Dawn LovenInstitutional Gifts Director . . Linda JohnsonInstitutional Gifts Associate . . .Emily SkoblikIndividual Gifts Associate . .Megan Stevenson
Marketing/CommunicationsMarketing Director . . . . . . . . . . .Carl LeeCommunications Director . . . Lani WillisTicket O∑ce Manager . . . . Andrea CorichMarketing and
Communications Assistant . .Janet BertokTicket O∑ce Assistant . . . .Carol Corich
Minnesota Opera VVoolluunntteeeerrssThe following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.
Catherine AhernAnn AlbertsonElizabeth Incremona
BanckerGerald BensonJim Brownback*Sue BrownbackSarah BurmanChristine BussJerry CassidyDiane ChoihJoann CierniakSusan CoggerCaroline CoopersmithBeverly Dailey*Denis DaileyJeanette DaunTimothy DavisLee DrawertJudith DuncanSally EconomonSvea ForsbergChristopher FosterHazel FrancoisLi-Jun FuJane FullerJoan Gacki*
Alex GarayChristine A. Garner*Juhi Gupta-GulatiMark GustinMary E. HagenMark HahnLucinda HalletMerle J. HansonJohn Harris*Cari Beth HeadAnne HesselrothHeather HuberAlisandra JohnsonKaren JohnsonNancy JohnsonSteve JohnsonJeannie JohnstonKristen JohnstonRobin KeckDawn KlassenShannon KloneckiEleanore KolarLucinda LamontShirley LarsonMathilda LienJerry LillquistJoyce Lillquist
Maura LoMonicoAbby MarierMargery MartinJoan MasuckYasuko MatsumotoMary McDiarmid*Beth McGuireVerne MelbergJeanette MiddletonIrma MonsonBarbara MooreDoug MyhraDenise NicholsPam NielsenDavid NifoussiJennifer OrtaleCandyce OsterkampDan PanshinPat PanshinMegan PelkaHolly PetersonBill PhillipsSydney PhillipsJulia PorterCarol PurvisKathleen RileyShannon Robinson
Leigh RoethkeJohn RosseEnrique RotsteinFlorence RuhlandJohn SauerLynette SaucierMichael SilhavyWendy SilhavyAngie SolomonWendi SottNaomi St. GregoryKaren St. JohnKatie SteermanHarry SwepstonDave TerwilligerEmily ThompsonDoris UngerStacey VonderhearCarolyn WahteraMary WeitzBarbara Willis*Elizabeth Cutter WilsonKathie WojtkiewiczEve Yang
*Lead volunteer
Cafe,Bakery,Wine & Pizza Bar
850 Grand Avenue,St Paul 55105651-224-5687 www.cafelatte.com
Keri Picket
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
Welcome to the
second production
of our season. This
marks the halfway
point of our 2005-
2006 season, but
on March 16 we
will announce our
2006-2007 season.
You are invited to join us for the
unveiling of what I feel will be one of
our strongest, biggest and best seasons
yet. An invitation for you appears on
page 24. Although we can’t announce
the offerings, I can tell you that it will
feature a world premiere that we com-
missioned, two company premieres, an
opera you haven’t seen here in a
decade, and an irresistible favorite.
We do expect to sell out, and the best
way to make sure you don’t miss a beat
is to subscribe to the entire season. A
hidden benefit to holding season
tickets is that it is the most flexible
way to attend the opera – if you can’t
attend the performance you subscribed
for, we will exchange your ticket for
another performance at no cost.
Enjoy the performance – we look for-
ward to seeing you for Orazi & Curiazi,
our Bel Canto offering, in April.
Welcome to our
new production of
Mozart’s Don
Giovanni.
This is the first
time in a decade
we’ve staged this
opera, which many
describe as “the perfect opera.” When a
creative team is assembled to produce
an old favorite like this, we need to
reexamine it, reabsorb its messages,
and redefine how it will look onstage.
Patrick Mailler, director and designer
for this production, sees the character
of Don Giovanni as a bold individual,
flying in the face of social norms and
being true only to himself. He feeds
his lust with whatever (or whomever)
poses the greatest challenge, whether
that means seducing a peasant on her
wedding day or posing as his own
servant to woo a noblewoman’s maid.
In The Minnesota Opera’s new
production, the single set is raked at
an angle, side-to-side, and present
through the entire show. Its classical
lines reflect Mozart’s era, but the
structures are crumbling, representative
of Don Giovanni’s moral decay. It is as
though the walls were “built” in
Mozart’s time and have fallen into
disrepair over many years, bringing us
up to the early 20th-century costumes.
Mailler chose to follow Mozart’s
tradition of costuming the opera
visually in an era contemporary to the
audience (in Mozart’s time, impresarios
would have used opera sets and
costumes from their own period),
while at a remove of nearly a century,
as a way to help us relate to the
characters. The early 20th-century
profile of the costuming was chosen
because it is the last period in which
social status distinctions (which play
such a role in Don Giovanni) of dress
are obvious. The opera production will
also feature wonderful special effects.
Enjoy the opera!
Dale Johnson
Artistic Director
Board ooff Directors
Nicky B. Carpenter
Richard P. Carroll
Susan J. Crockett
Mary A. Dearing
Sara Donaldson
Chip Emery
Rolf Engh
Brad F. England
Denver Gilliand
Sharon Hawkins
Karen L. Himle
Ruth S. Huss
Heinz F. Hutter
Paula R. Johnson
Lucy Rosenberry Jones
Michael F. Kelly, Jr.
B. John Lindahl
Becky Malkerson
Tom McBurney
Diana E. Murphy
Brian E. Palmer
Debra Paterson
Jose Peris
Elizabeth Redleaf
Connie Remele
Mitchell Stover
Virginia Stringer
Catie Tobin
H. Bernt von Ohlen
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Notes ffrroomm the Leadership
from the Artistic Director
from the President
(†) Deceased
Directors Emeriti
Karen Bachman
Burton Cohen
Julia W. Dayton
Mary W. Vaughan
Honorary Directors
Dominick Argento
Philip Brunelle
Elizabeth Close
Dolly Fiterman
Charles C. Fullmer
Norton M. Hintz
Donald W. Judkins
Liz Kochiras
Jevne Pennock (†)
Patricia H. Sheppard
Legal Counsel
James A. Rubenstein, Moss & Barnett
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ordway.org
at ORDWAY CENTER
Now - May 21Ordway Center Late Nite Catechism 2Sister is back! Sister takes the stage in the long-awaited sequel to the smash off-Broad-way comedy hit! McKnight Theatre $20 - $30
Now thru March 19Ordway Center Golda’s BalconyA riveting portrait of Golda Meir, and the latest work from Tony Award® winning playwright William Gibson. Starring four time Emmy Award winner Valerie Harper. Main Hall $28 - $48
Fri, Mar 31, 8pm; Sat, Apr 1, 8pmThe Saint Paul Chamber Orchestra Handel’s Israel in Egypt with VocalEssenceNicholas McGegan, conductorChristine Brandes, sopranoMichael Chance, countertenorJohn McVeigh, tenor Deric Craig, bass baritoneMichael Jorgensen, bass baritone
April 8, 9, 11, 13, 15The Minnesota Opera Orazi & Curiaziby Saverio MercadanteAmerican Premiere of bel canto masterworkMain Hall $32 - $120
Fri, April 21, 8pmThe Saint Paul Chamber Orchestra Jazzed-Up Fridays Abbado conducts MozartRoberto Abbado, conductor
Fri, April 21, 10:30am; Sat, April 22, 8pmThe Saint Paul Chamber Orchestra Mozart’s Final SymphoniesRoberto Abbado, conductor
Sun, April 23, 5pmplanet Ordway® TARGET® Season TangosCarlos Diaz’s renowned production will wow audiences using music, dance, and song, offering an exciting look at the Tango’s colorful, f lamboyant history from turn-of-the-century Buenos Aires bordellos to its acceptance in high society. Main Hall $20 - $26
Thurs, April 27, 8pmThe Schubert Club Leif Ove Andsnes, piano
Fri, April 28, 8pm; Sat, April 29, 8pmThe Saint Paul Chamber OrchestraThe Minnesota Chorale performing selections by MozartRoberto Abbado, conductor Layton James, organ
Sun, April 30, 5pmplanet Ordway® TARGET® Season San Jose TaikoInspired by traditional Japanese drumming, company performers express the beauty and harmony of the human spirit through the voice of the taiko.Main Hall $20 - $26
In 2005 the College of St. Catherine set a fundraising record for a women's Catholiccollege, raising over $85 million. These generous gifts will improve our facilities,support our faculty, and provide more financial aid than ever before.
6 5 1 - 6 9 0 - 8 6 8 8 • w w w. s t k a t e . e d u
You come to pursue your dreams.
You leave ready to real ize them.
Don Giovanni by Wolfgang Amadeus Mozart; edited for the New Mozart
Edition (Neue Mozart-Ausgabe) by Wolfgang Plath and Wolfgang
Rehm; by arrangement with Bärenreiter, publisher and copyright owner.
The appearances of Kyle Ketelsen, winner, Seth Keeton, national finalist,
Alison Bates, Patrick Carfizzi, John Michael Moore and Erin Wall, regional
finalists, and Theodore Chletsos, Jamie-Rose Guarrine and Edward Mout,
district finalists of the Metropolitan Opera National Council Auditions,
are made possible through a Minnesota Opera Endowment Fund estab-
lished for Artist Enhancement by Barbara White Bemis.
Performances of Don Giovanni are being taped for delayed broadcast on
Minnesota Public Radio, KSJN 99.5 in the Twin Cities.
The Minnesota Opera season is sponsored by U.S.
Bank, Private Client Group.
The appearances of the 2005–2006 season
conductors are underwritten by SpencerStuart.
Opera Insights is sponsored by Thrivent Financial
for Lutherans.
The 2005–2006 season Camerata Circle Dinners
are sponsored by U.S. Trust.
Intermission reception sponsored by Lowry Hill
Private Wealth Management.
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Music by Wolfgang Amadeus MozartLibretto by Lorenzo da Ponte
World premiere at the National Theater, PragueOctober 29, 1787
March 4, 5, 7, 8, 9, 10, 11 and 12, 2006Ordway Center for the Performing Arts
Sung in Italian with English captions
Costume sketch by Patrick Mailler
Conductor . . . . . . . . . . . . . . . . . . . . . . . . Xian ZhangStage Director . . . . . . . . . . . . . . . . . . Patrick MaillerSet Designers . . . . . . . . . . . . . . . . . . Patrick Mailler,
Maria Rosaria TartagliaCostume Designer. . . . . . . . . . . . . . . . Patrick MaillerLighting Designer. . . . . . . . . . . . . . . . Marcus DilliardWig Master and Makeup . . . Tom Watson & AssociatesAssistant Director . . . . . . . . . . . . . . . . . Peter KozmaChorusmaster . . . . . . . . . . . . . . . . . . . Bruce StasynaContinuo . . . . . . . . . . . . . . . . . . . . . . . Bruce StasynaProduction Stage Manager . . . . . . . Alexander FarinoEnglish Captions . . . . . . . . . . . . . . . . . . Dale Johnson
The CastDon Giovanni, a licentious nobleman . . .Kyle Ketelsen*
Tómas Tómasson**
Leporello, his servant . . . . . . . . . . . .Patrick Carfizzi*
Seth Keeton**
Il Commendatore . . . . . . . . . .Christopher DickersonDonna Anna, his daughter . . . . . . . . . . . . .Erin Wall*
Karin Wolverton**
Don Ottavio, her betrothed . . . . . .Theodore Chletsos*
Edward Mout**
Donna Elvira, a lady from Burgos . . . .Patricia Risley*
Lauren McNeese**
Zerlina, a peasant girl . . . . . . . .Jamie-Rose Guarrine*
Alison Bates**
Masetto, betrothed to Zerlina . . . . . .Raymond Ayers*
John Michael Moore**
Peasants, servants, demons
Setting: Seville* performs March 4, 7, 9, 11
** performs March 5, 8, 10, 12
Don Giovanni is sponsored by
The success of Wolfgang Amadeus Mozart’s decade in
Vienna was marginal at best, in part due to his
hesitation to understand the tastes of his audience. The
Abduction from the Seraglio was a good first attempt – a
rescue opera with Occidental overtones was very much in
vogue – but the complexity of his music may have baffled
many opera patrons. Then there was the ill-fated premiere
of The Marriage of Figaro, which achieved only nine
performances during its initial run. The composer might
have taken his cue
from the opera that
drove it from the
stage, Vincente
Martín y Soler’s enor-
mously popular Una
cosa rara (1786). Free
of Figaro’s political
overtones, the emi-
nently fluffier essay
on love (the rare thing
being a woman’s con-
stancy) should have
shown him what the
Viennese were all
about. Other lighter
comedies in the same
vein, such as the subsequent L’arbore di Diana (1787) and
Antonio Salieri’s La grotta di Trofonio (1785) eventually
guided him to composing a more suitable work for the
Viennese stage, Così fan tutte – unfortunately, the death of
Joseph II in 1790 closed the show down after only five per-
formances. Again, timing had not been in Mozart’s favor.
The work in between is perhaps the most perplexing
choice. Though Figaro had failed in Vienna, it prospered in
Prague, the empire’s eastern capital, the following year,
inciting the Nationaltheater’s impresario Pasquale Bondini
to commission a new work. The opera was in part to cele-
brate the impending visit of Joseph’s oldest niece and
nephew, his parents’ namesakes Maria Theresa and Francis
(later to become emperor), the former passing through from
Florence to marry into a political union with the Prince of
Saxony. It is unclear who suggested the legend of Don Juan
as a potential topic. It may have been Bondini, who already
knew the popularity of this particular tale with Prague
audiences. Or it could have been Figaro (and later Così)
librettist Lorenzo da Ponte (he has since claimed the credit
in his somewhat unreliable memoirs), who was aware of an
extant libretto by arch-rival Giovanni Bertati, set by
Giuseppe Gazzaniga only a few months earlier and
premiered to an enthusiastic Venetian audience. Da Ponte
was pressed for time, as he was committed to two other
composers, Salieri (for an Italian revision of his French
opera Tarare, to become Axur, re d’Ornus) and Martín y Soler
(for Arbore).
Da Ponte managed to flesh out Bertati’s one-act farse
into a substantial two-act drama. Act I follows fairly
closely, though da Ponte dispenses with yet another woman
ready for conquest, Donna Ximena. He also deletes a snip-
ing duet between
Donna Elvira and
Maturina (later Zerli-
na) but maintains
Pasquarello’s (later
Leporello) catalogue
number (in this case a
duet), and adds a
party scene at
Giovanni’s house to
spice up the ending of
Act I. For Act II he
introduced new mate-
rial (the exchanging
of cloaks and the
wooing of Elvira’s
maid) yet again bor-
rows the beating of Biagio/Masetto before getting to the
Commendatore’s mausoleum, which begins Bertati’s Part
Two. The rest of da Ponte’s libretto plays out much like
Bertati’s, as both works conclude with a vaudeville sung by
the remaining principals (save Donna Anna, who is doubly
played by a servant, Lanterna, in Bertati’s version). Yet, da
Ponte’s version ends up dramatically flawed in its disjointed
nature and slightly graver tone due to a generous mixing of
seria and buffa characters.
Composition largely took place in Vienna, with
Mozart finishing the final numbers in Prague once he
became acquainted with the company of singers. The
premiere was delayed two weeks (due to the additional
rehearsals demanded by the complexity of the recitatives),
with the royal family having to be entertained by a revival
of indefatigable Figaro. Nonetheless, the October 29
premiere was a huge success and Don Giovanni rivaled
Figaro in Prague’s esteem.
Vienna was another story. Again plagued by shortsight-
edness, Mozart should have known that Don Juan was not a
good choice for the emperor’s Burgtheater, the sacred
ground of good taste. Though Gluck’s pantomime-ballet to
the story had held sway just two decades before, theatrical
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by David Sander
Background Notes continue on page 12
Background NNootteess
The Minnesota Opera’s 1996 production of Don Giovanni.
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Background Notes continued from page 11
life under Joseph’s absolute control delegated such a low-
born theme to the suburban theaters, where dramatic incon-
gruities were tolerated and slapstick humor much appreciat-
ed (The Magic Flute serves as one example). The baser, less
cosmopolitan Prague audiences hardly cared, but the Vien-
nese premiere on May 5, 1788 was not a success, as Joseph
would famously encapsulate the opera to be “not the meat for
the teeth of my Viennese.” Reportedly, the impish young
composer had sharply retorted that the emperor’s burgers
would simply need a little more time to “chew on it.”
Mozart would not see a revival there during his lifetime
– the next mounting at the imperial theaters didn’t occur
until 1798 – but Don
Giovanni began to make
its way in the provinces,
first as a Singspiel (with
spoken German dia-
logue) at the suburban
Theater auf der Wieden
the year after Mozart’s
death. In Italy, the opera
progressed slowly due to
its hybrid mixture of
comic and tragic. It
appeared in Rome in
1811 and at La Scala
three years later. Paris
saw the work first in
French at the Opéra in
1805 (freely adapted
with the addition of a
few more musical num-
bers), then in its original language directed by Gaspare
Spontini at the Théâtre-Italien in 1811. Don Giovanni’s
New York premiere was performed by the famous García
family in a production directed by da Ponte himself (the
librettist had since relocated). Stürm und Drang authors
such as Goethe and Hoffmann emulated the opera, and its
supernatural tendencies excited artists of the Romantic
era. For much of the 19th century, Don Giovanni surpassed
even The Marriage of Figaro in popularity.
On its face, Don Giovanni’s musical language is similar
to that of Figaro, with a plentitude of arias, ensembles and
chain finales. Structurally, the rather haphazard sequence
of scenes has a more determined order than one might
think when the two acts are viewed side-by-side –
Leporello opens each act (the second beginning with
requisite recitativo secco), and the position of Anna’s rape
versus Elvira’s deception are followed by episodes in each
act with Masetto, Giovanni and Zerlina. Then there is a
wild mix of emotions and persons to be sorted out by a
quartet in Act I and a sextet in Act II. Both acts finish up
at Giovanni’s palace in the consumption of food and drink
and conclude in full ensemble. Part of the confusion
regarding the opera was its categorization. Figaro clearly
falls in the category of opera buffa, but Don Giovanni has
been doubly described by its creators as an opera buffa and
a dramma giocoso. The latter designation was reserved for a
genre that was essentially comedy, but included a few
more sober moments. A dramma giocoso could feature
serious parts, such as Donna Anna, Don Ottavio, Donna
Elvira (though she is at times satired) and the
Commendatore (his severity made abundantly clear in the
opera’s opening bars, a theme that recurs in the
penultimate scene),
comic parts, which
include Masetto,
Zerlina and Leporello
and mezzo carattere, or
those somewhere in
the middle, such as
Don Giovanni. Mozar
makes these distinc-
tions abundantly clear
at the end of Act I
when the characters
begin to dance: Anna
and Ottavio step to the
courtly minuet, Don
Giovanni and Zerlina
to the bourgeois con-
tredanse and Leporello
and Masetto to the
d o w n - a n d - d i r t y
Deutscher. The composer reveals his genius in his ability to
cause these variously metered dances to be played at the
same time. Another musical invention occurs at nearly the
same position in Act II. As dinner entertainment for the
Don, Mozart carefully chooses famous tunes from three
contemporary operas: a first-act aria from Giuseppe Sarti’s
Fra i due litiganti il terzo gode, an excerpt from the first
finale of Martín y Soler’s Una cosa rara and (in good
company) “Non più andrai” from his own The Marriage of
Figaro. [It should also be noted that Mozart composed
additional music for the Vienna premiere: “Dalla sua pace”
to replace “Il mio tesoro intanto” (the new Ottavio wasn’t
quite up to the challenge); a comic scena and duetto
(“Restati qua … Per queste tue manine”) for Zerlina and
Leporello; and a recitativo accompagnato ed aria “In quali
eccessi, o Numi … Mi tradì qell’alma ingrata” for Elvira
(the new soprano, Caterina Cavalieri demanded a grand
scene to showcase her talents) as well as a few new
recitatives. The original Prague version will be employed
for these performances. ]
Haydee discovers the body of Don Juan (Ford Maddox Brown)
Eric
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Near the home of the Commenda-
tore, Leporello bemoans his lot in
life as servant to Don Giovanni. His
thoughts are interrupted by screams
from Donna Anna, who calls for help as
a disguised Giovanni tries to flee. Her
father, the Commendatore, attempts to
defend her honor in a duel, but is
killed by the lecherous Don, who then
escapes. Don Ottavio also comes to
Anna’s aid and promises to avenge her
father’s death.
Elsewhere, Giovanni spots a new
possibility in the distance, but to his
horror, it is Donna Elvira, a woman he
left behind in Burgos. As Leporello
distracts her, Giovanni again slips
away. His servant bares the bitter truth
– she’s hardly the first to be betrayed as
he rattles off the list of conquered
women, one thousand and three in just
Spain alone.
In the countryside, Zerlina
celebrates her upcoming marriage to
Masetto with a group of peasants.
Giovanni and Leporello soon appear
and the former is entranced by the
country girl. To distract her fiancé and
the others, he offers to celebrate the
nuptials with food and drink at his
mansion nearby. Zerlina remains
behind as Masetto is assured that his
bride-to-be will be safe in the hands of
a gentleman. Giovanni quickly puts on
the charms with a promise of marriage,
which Zerlina momentarily considers.
They are interrupted by Elvira, who
warns the young woman to beware of
his treacherous words.
No sooner has Elvira spirited
Zerlina away does Giovanni happen
upon Anna and Ottavio. They enlist his
assistance in finding the murderer of
her father. Again Elvira intercedes,
professing Giovanni’s true nature. He
discounts her statements as madness
and follows her, feigning concern over
her mental state. Anna suddenly
realizes that Giovanni is her would-be
rapist and her father’s killer. She cries
for vengeance.
At Giovanni’s palace the party is in
full swing. Masetto questions Zerlina’s
fidelity, and when she tries to reassure
him, it is to little avail. Elvira has joined
Anna and Ottavio, and the three of them
arrive at the party masked. As everyone
begins to dance, Giovanni leads Zerlina
into another room. Her screams are soon
heard, and as Giovanni tries to deflect
the blame on Leporello, he is able to
escape once again.
– intermission –
act ii
On a street near the residence of Donna
Elvira, Leporello threatens to quit, but
is appeased by an influx of cash. Tired
of this type of life, he begs Giovanni to
put an end to his wanton pursuit of
women, but the Don counters that to
be faithful to one would mean to deny
the others. His latest quest is the
young and attractive maid of Donna
Elvira. He exchanges cloaks with his
servant to disguise his station.
Leporello is to distract Elvira by posing
as his employer.
Elvira is easily fooled, quite willing
to forget past transgressions, and the
disguised Leporello manages to lead
her away. Meanwhile, Giovanni sings a
serenade to lure the maid, but to no
avail. Masetto enters with a posse of
peasants, intent on capturing the
scurrilous Don. Still dressed as
Leporello, Giovanni manages to divert
the other men, and alone with Masetto,
gives him a sound thrashing. Zerlina
enters and soothes the wounded man.
Meanwhile, Leporello is trying to
lose Elvira in the darkness. Instead they
encounter Anna and Ottavio and soon
after, Zerlina and Masetto. All first
recognize him as Giovanni, and are
hardly any more forgiving once
Leporello’s true identity is revealed. He
begs for mercy, then runs off.
Near a graveyard, Giovanni and
Leporello are reunited. The master
brings his servant up to date – during
their masquerade he was able to seduce
none other than Leporello’s mistress. A
voice interrupts his merriment, and the
two find themselves in front of the
Commendatore’s tomb. Responding to
the inscription, which states that even
in death the old man will have revenge
on the traitor who put him there,
Giovanni callously invites him to
dinner. He accepts.
Elsewhere, Ottavio tries to ease
Anna’s grief with an offer of marriage,
but though she loves him, she will not
be consoled. Back at the palace,
Giovanni enjoys his dinner while
Leporello picks at a few scraps. Elvira
enters and makes one last attempt at
getting the Don to change his dissolute
ways, but he will not be persuaded. On
her way out she is frightened by the
ghost of the Commendatore, who also
strongly advises Giovanni to repent.
The Don is steadfast in his
unwillingness to change and dies as a
result, his soul condemned to hell.
Synopsis
Costume sketches by Patrick Mailler
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WWoollffggaanngg AAmmaaddeeuuss MMoozzaarrttb Salzburg, January 27, 1756; d Vienna, December 5, 1791
Child wonder, virtuoso performer and prolific creative artist,
Mozart is the first composer whose operas have never been
out of repertory. His prodigious talents were apparent very early
in his life; by the age of four he
could reproduce on the key-
board a melody played to him,
at five he could play the violin
with perfect intonation, and at
six he composed his first min-
uet.
A musician himself, Wolf-
gang’s father, Leopold, imme-
diately saw the potential of his
son’s talents. With the mixed
motives of religious piety and
making a tidy profit, Leopold
embarked on a series of concert
tours showing off the child’s
extraordinary talents. Often
playing with his sister Maria
Anna (“Nannerl”), herself an
accomplished musician, young
Wolfgang charmed the royal
courts of Europe, from those of
Austrian Empress Maria
Theresa, French king Louis XV
and English king George III, to
the of lesser principalities of Germany and Italy.
As Mozart grew older, his concert tours turned into a search
for permanent employment, but this proved exceedingly diffi-
cult for a German musician in a market dominated by Italian
composers. Although many of his early operas were commis-
sioned by Milanese and Munich nobles (Mitridate, Ascanio in
Alba, Lucio Silla, La finta giardiniera), he could not rise beyond
Konzertmeister of the Salzburg archbishopric. When the new
prince archbishop, Count Hieronymus Colloredo, was appoint-
ed in 1771, Mozart also found he was released for guest engage-
ments with less frequency. Though his position improved and
a generous salary was offered, the composer felt the Salzburg
musical scene was stifling for a man of his enormous talent and
creativity.
Things came to a head in 1781 immediately after the suc-
cessful premiere of Mozart’s first mature work, Idomeneo, in
Munich. The archbishop, then visiting Vienna, insisted the
composer join him there. Never did Mozart better understand
his position in the household than during that sojourn, when he
was seated at the dinner table below the prince’s personal valets
and just above the cooks. He requested to be permanently dis-
charged from his duties, and after several heated discussions his
petition was granted, punctuated by a parting kick in the pants.
Now completely on his own for the first time, Mozart
embarked on several happy years. He married Constanze
Weber, sister to his childhood sweetheart Aloysia, and pre-
miered a new work, Die Entführung aus dem Serail (The Abduc-
tion from the Seraglio), at the Burgtheater. Mozart also gave con-
certs around Vienna, presenting a number of new piano concer-
tos and symphonies. His chief concern was to procure a position
at the imperial court. A small
commission came his way from
the emperor for a one-act com-
edy, Der Schauspieldirektor (The
Impresario), given in the same
evening as Antonio Salieri’s
Prima la musica e poi le parole
(First the music, then the words),
to celebrate the visit of the
emperor’s sister, Marie Chris-
tine, and her husband, joint
rulers of the Austrian Nether-
lands.
The Marriage of Figaro,
Mozart’s first true masterpiece
for the imperial court, pre-
miered at the Burgtheater in
1786 and went on to Prague
the following year where it was
a huge success. Don Giovanni
premiered in Prague in 1787
to great acclaim, but its Vienna
premiere in 1788 was coolly
received. By this time, Mozart
had received a minor imperial posting, Kammermusicus, which
required him to write dances for state functions. The position
was hardly worthy of his skills and generated only a modest
income, a weighty concern now that debts had begun to
mount. Joseph II commissioned another opera from Mozart,
Così fan tutte, which premiered January 26, 1790. The emperor
was too ill to attend the opening and died the following month.
His brother, Leopold ii, assumed leadership, and Mozart hoped
to be appointed Kapellmeister – instead he merely received a con-
tinuance of his previous position.
Crisis hit in 1791. Constanze’s medical treatments at Baden
and the birth of a second child pushed their finances to a criti-
cal point. Mozart’s friend and fellow Freemason, the impresario
Emanuel Schikaneder, suggested he try his luck with the sub-
urban audiences at his Theater auf der Wieden. Composition of
The Magic Flute began early that summer but had to be halted
when two generous commissions came his way: a requiem for
an anonymous patron (who hoped to pass it off as his own com-
position), and an opera seria to celebrate the new emperor’s coro-
nation as King of Bohemia. La clemenza di Tito premiered Sep-
tember 6, and The Magic Flute was completed in time to open
September 30. The Requiem, however, remained incomplete,
and as Mozart’s health began to fail, the composer feared he was
writing his own death mass. In December Mozart died at the
age of 35 and was given a simple funeral by his impoverished
widow, then buried in an unmarked grave on the outskirts of
Vienna.
Portrait of Mozart at the time of his visit to Prague in 1787
Giraudon/Art Resource, NY
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Theodore ChletsosDon OttavioMinnesota Opera Resident ArtistRecentlyCarmen; Maria Padilla; Madame Butterfly, Minn. OperaVanessa, Central City OperaAmahl and the Night Visitors, Minnesota OrchestraLes contes d’Hoffmann; Student Prince; others, Central City Op.Roméo et Juliette; La bohème, Indianapolis OperaL’elisir d’amore; Roméo et Juliette, Lyric Opera of Kansas CityAriadne auf Naxos; Le trouvère, Sarasota OperaUpcomingOrazi & Curiazi; Elephant Man, The Minnesota Opera
Raymond AyersMasetto
Minnesota Opera Resident ArtistRecently
Hansel and Gretel, Minnesota OrchestraTosca; Nixon in China; Carmen; Maria Padilla,
Madame Butterfly, The Minnesota OperaFiddler; Faust; Susannah; Roméo et Juliette, Chautauqua Opera
Mirandolina; Madame Butterfly; The Seagull,Manhattan School of Music
UpcomingOrazi & Curiazi; The Elephant Man, The Minnesota Opera
Carmen; Hansel and Gretel, Minnesota Orchestra
Patrick CarfizziLeporello
Minnesota Opera DebutRecently
Die Fledermaus, Seattle OperaAriadne auf Naxos; Le nozze di Figaro, Metropolitan Opera
Guillaume Tell, Opera Orchestra of New YorkDon Giovanni; Le nozze di Figaro, Santa Fe Opera
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UpcomingThe Barber of Seville, Opera Theatre of St. LouisManon; Le nozze di Figaro, Metropolitan Opera
Alison BatesZerlinaMinnesota Opera Resident ArtistRecentlyA View from the Bridge; Abduction from the Seraglio; Little
Women; Giulio Cesare, Indiana University Opera TheaterSymphony No. 2; Israel in Egypt, Columbus Indiana Phil.Tosca, Chautauqua Opera (Studio Artist)Gianni Schicchi, MasterWorks Festival (Young Artist)Messiah; Schubert Mass in G, South Bend SymphonyUpcomingOrazi & Curiazi; Elephant Man, The Minnesota OperaGianni Schicchi; The Gondoliers, Chautauqua Opera
Christopher DickersonCommendatore
Minnesota Opera DebutRecently
Un ballo in maschera, Opera Company of PhiladelphiaLa traviata; La sonnambula, Caramoor Festival
La bohème, Florentine Opera; Billings OperaDon Giovanni; La Cenerentola, San Antonio Lyric Opera
Tosca, Fort Worth OperaDoktor Faust, San Francisco OperaCorps of Discovery, Opera Memphis
Madama Butterfly; Samson et Dalila; Un ballo in maschera;La traviata; The Magic Flute, Lyric Opera of Chicago
Jamie-Rose GuarrineZerlinaMinnesota Opera Resident ArtistRecentlyPaul Bunyan; Face on the Barroom Floor;
Madame Butterfly, Central City OperaHansel and Gretel, Opera for the YoungCarmen, Madison Opera; Dr. Miracle, Florentine OperaIphigenia at Aulis; Così fan tutte; Dialogues of the Carmelites;
Lucia di Lammermoor; others, University of WisconsinUpcomingJoseph Merrick, the Elephant Man, The Minnesota OperaSan Francisco Opera Merola Program
The AArrttiissttssFor more biographical information about these artists,
visit our website at www.mnopera.org
Seth KeetonLeporello
Minnesota Opera Resident ArtistRecently
Death in Venice; Lucie de Lammermoor, Glimmerglass Op.Tosca; Carmen; Maria Padilla; Madame Butterfly; Magic Flute; 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.
UpcomingOrazi & Curiazi; Elephant Man, The Minnesota Opera
Jenufa; The Greater Good, Glimmerglass OperaMadame Butterfly; Falstaff, Fort Worth Opera
John Michael MooreMasettoMinnesota Opera Resident ArtistRecentlyTosca, The Minnesota OperaGloriana; Madame Butterfly, Des Moines Metro OperaThe Merry Widow; The Magic Flute; The Seagull;
The Crucible; Carousel; Sweeney Todd; Beethoven Symphony No. 9; Handel Messiah; Elijah; Duruflé Requiem, Simpson College
UpcomingThe Magic Flute, Des Moines Metro OperaOrazi & Curiazi; Elephant Man, The Minnesota Opera
Edward MoutDon Ottavio
Minnesota Opera Resident ArtistTosca, The Minnesota Opera
Falstaff; Eugene Onegin, Indiana University Opera TheaterNorma; Fidelio; Rigoletto; Aida; Faust; Lohengrin;
Macbeth; Verdi Requiem (ensemble), San Diego OperaApprentice Artist – Opera Theatre of St. Louis
Carmina burana; Bach Cantata #191, San Diego Chamber Singers
UpcomingOrazi & Curiazi; Elephant Man, The Minnesota Opera
Santa Fe Opera Apprentice Artist Program
Kyle KetelsenDon GiovanniMinnesota Opera DebutRecentlyHenrik, Royal Opera House – Covent GardenSamson et Dalila; The Magic Flute, Washington OperaFaust, Michigan Opera TheatreCarmen, Opera Theatre of St. LouisUpcomingTosca, Metropolitan OperaDon Giovanni, Gran Teatre del Liceu; Los Angeles OperaLe nozze di Figaro, Royal Opera CG; Opera di GenovaOrlando; Carmen, Royal Opera – Covent Garden
Lauren McNeeseDonna Elvira
Minnesota Opera DebutRecently
The Magic Flute; Carmen; Götterdämmerung; Das Rheingold;Die Walküre; The Cunning Little Vixen; Pirates of Penzance;Faust; Le nozze di Figaro; La traviata; Thaïs; Cavalleria
rusticana; Parsifal; Street Scene, Lyric Opera of ChicagoMidsummer Night’s Dream; Liebeslieder Walzer,
Chicago Symphony Orchestra Rivinia FestivalUpcoming
Le comte Ory, Wolf Trap; Così fan tutte, Lyric Op. of ChicagoDon Carlo; Manon, Los Angeles Opera
Patricia RisleyDonna ElviraMinnesota Opera DebutRecentlyThe Tempest (Adès), Los Angeles PhilharmonicLa Cenerentola; Don Carlo; Carmen, Metropolitan OperaRoméo et Juliette; Giulio Cesare, Houston Grand OperaUpcomingLa Cenerentola, Opera IrelandThe Tempest, Santa Fe OperaLe nozze di Figaro, Arizona OperaAriadne auf Naxos, Utah Symphony & OperaFrau Margo, Fort Worth Opera
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The AArrttiissttss For more biographical information about these artists,
visit our website at www.mnopera.org
Alexander FarinoProduction Stage Manager
Minnesota Opera DebutRigoletto, 1995
RecentlyHansel and Gretel; Candide, Minnesota Orchestra
1996 – 2006 seasons, The Minnesota OperaAcis and Galatea; Central Park; Tosca, Glimmerglass Opera
A Funny Thing Happened on the Way to the Forum,Ordway Center for the Performing Arts
Madame Butterfly, Opera PacificUpcoming
Orazi & Curiazi; The Elephant Man, The Minnesota Opera
Peter KozmaAssistant DirectorMinnesota Opera Resident ArtistRecentlySignor Bruschino (SD); Tosca (AD), The Minnesota OperaLa tragédie de Carmen; The Telephone; Poppea (SD), Univ. of Texas L’Orfeo (SD), Budapest Chamber OperaDon Giovanni; Le nozze di Figaro; L’elisir d’amore; The Magic
Flute (SD), Ars Classica Chamber Opera (Gödölló)Das Rheingold; Le nozze di Figaro; Madame Butterfly,
La Cenerentola; others (AD), Hungarian State OperaUpcomingOrazi & Curiazi; The Elephant Man (AD), Minn. Opera
Erin WallDonna AnnaMinnesota Opera DebutRecentlyThe Magic Flute, Lyric Opera of ChicagoCosì fan tutte, Opéra National de Paris; Aix-en-Provence Fest.Faust, Teatro Municipal (Santiago, Chile)The Ring Cycle; Faust; Parsifal; Street Scene,
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Tómas TómassonDon Giovanni
Minnesota Opera DebutRecently
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Das Rheingold; Don Carlos; Celan, Oper der Stadt KölnLucia di Lammermoor, Lyric Opera of Chicago
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Alcina, Opéra National de LyonWozzeck, Opéra de Nancy
Pique Dame, De Vlaamse Opera
Karin WolvertonDonna Anna
Minnesota Opera DebutLucia di Lammermoor, 2001
RecentlyLes contes d’Hoffmann; Gloriana; Salome,
Des Moines Metro OperaCarmen; Maria Padilla; The Magic Flute; Passion; Rigoletto; The Handmaid’s Tale; Norma; others, The Minnesota Opera
Les contes d’Hoffmann; The Student Prince, Central City OperaDvorak Te Deum; Amahl, Minnesota Orchestra
UpcomingThe Rake’s Progress, Des Moines Metro Opera
Marcus DilliardLighting DesignerMinnesota Opera DebutTurandot, 1995RecentlyAmerika; The Little Prince; Antigone, Theatre de la Jeune LuneDialogues of the Carmelites, Fort Worth OperaTosca; others, Minnesota OperaUpcomingMefistofele, Jeune LuneThe Miser, The Alley Theater; Berkeley Rep. TheaterAwards2005 Ivey Award; 1998 McKnight Fellowship
MEFISTOFELE MARCH 24-MAY 21TICKETS AVAILABLE NOW AT 612.333.6200
Jeune Lune presents an electrifying opera featuring
BRADLEY GREENWALD, JENNIFER
BALDWIN PEDEN, and CHRISTINA BALDWIN
Recipient of the 2005 Tony Award for Outstanding Regional Theatre
sponsored by
17•
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The AArrttiissttssFor more biographical information about these artists,
visit our website at www.mnopera.org
®
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Patrick MaillerStage Director; Set and Costume Designer
Minnesota Opera DebutRecently
Don Carlo, Opera Company of PhiladelphiaLe pauvre matelot; Une éducation manquée, Opera di Lugo
Lo speziale, Teatro de la Maestranza (Seville)Die Königin von Saba; Gianni Schicchi; Die Fledermaus;
The Rake’s Progress; La fanciulla del West, Wexford FestivalLe nozze di Figaro, Châteaux de Chantilly;
Amphithéâtre de l’Opéra National de Paris (Bastille)Pique Dame, The Magic Flute, Amphithéâtre de l’Opéra
National de Paris (Bastille)
Xian ZhangConductorMinnesota Opera DebutRecentlyLa bohème; Don Giovanni; La traviata, Cincinnati OperaGuest Conductor – London, Auckland, China SymphoniesAssistant Conductor – New York PhilharmonicConductor-in-Residence – China Opera HouseConductor – Jin Fan Symphony; Lucca Festival OrchestraUpcomingGuest Conductor – Cincinnati, Colorado, Milwaukee,
San Antonio SymphoniesMusic Director – Sioux Symphony
Maria Rosaria TartagliaSet Designer
Minnesota Opera DebutRecently
Il Signor Bruschino, Teatro Rossini (Pesaro)Le pauvre matelot; Une éducation manquée,
Opera Festival di Lugo (Romagna)Prinzessin Brambilla, Wexford Opera Festival
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Bruce StasynaContinuo; ChorusmasterMinnesota Opera DebutDer Rosenkavalier, 2000RecentlyCarmina burana, Avery Fisher HallShakespeare Unplugged, Dallas Art MuseumTosca; Nixon in China; others, The Minnesota OperaFidelio; Beethoven Symphony No. 9, Minnesota OrchestraDie ägyptische Helena, American Symphony OrchestraSweeney Todd; The Barber of Seville; Tito, Wolf Trap OperaUpcomingOrazi & Curiazi; Elephant Man, The Minnesota Opera
With the continued success and phenomenal growth of The Minnesota
Opera’s Resident Artists program, the company needs two used or
new pianos for next season. Please call Kelly Clemens at 612-342-9565 if you
can help. Your gift would be 100% tax deductible, and would help advance
the careers of our young artists.
NEEDED:TwoPianos
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Music by Saverio Mercadante
Sung in Italian with English captions
April 8, 9, 11, 13 and 15, 2006
Ordway Center for the
Performing Arts
For tickets, call 651-224-4222
A Bel Canto love story in the tradition of Romeo and
Juliet, Orazi & Curiazi (The Orazi and the Curiazi)
unveils the tumult of tribal Rome, in which clan
wars create tragic conflicts of loyalties. Mercadante,
who Liszt called “Italy’s most important composer,”
was a notable contemporary of Rossini, Bellini and
Donizetti, and the dramatic innovator who paved the
road for Verdi. Eric Simonson (Bok Choy Variations,
La bohème and The Handmaid’s Tale) directs the Amer-
ican premiere of this rare masterpiece, which stars
three of The Minnesota Opera’s favorite artists:
Brenda Harris, Scott Piper and Ashley Holland.
Coming up: OOrraazzii && CCuurriiaazzii
Brenda Harris as Maria Padilla, 2005. Photo by Michal Daniel.
TBD
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Project Opera
P roject Opera (the Opera’s new
youth opera ensemble) is very
excited to welcome our new
members to Giovani (the ensemble
for students in grades 8-12)!
Starting January 7th, eight young
men joined an already stellar group
of young singers. They join the
group as they prepare for their spring
production of Hansel and Gretel under
the musical direction of Dale Kruse.
Performances of Hansel and Gretel are
slated for May 19th, 20th and 21st at
the Minnesota Opera Center.
Summer CampWe are looking for all talented
singers in grades 7-12 to audition for
Project Opera: Summer Camp 2006.
The second annual camp is set for
July 10th–21st. Over the course of two
weeks, campers will learn a scene,
stage it and present it in two public
concerts. Dale Kruse will serve as
music director with Doug Scholz-
Carlson as stage director.
Auditions for both programs will be
held on April 2, 2006 at the Opera
Center. For more information, please
call 612.342.9573.
Education aatt tthhee Opera
Ragazzi students greet the audience after their performance at the Arden Hills Presbyterian Home.
Proud Publisher of these fine magazines:
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Adult Education OpportunitiesOrazi & Curiazi
March 20, 2006
7:00-9:00 pm, Opera Center
Orazi & Curiazi, Mercadante’s rarely performed gem
from the bel canto era, tells the story in the
tradition of Romeo and Juliet. Eastman School of
Music professor Dr. Melina Esse will take you
through the story and music of this unknown work.
She will speak on the significance of Mercadante’s
large body of works and why Liszt called him “Italy’s
most important composer.”
To register, call 612.342.9575. Cost is $20, $15/donors,
subscribers, YPG and $10/students (with valid ID to be
shown at the door).
American Military Bases TourIn November, members of the Resident Artist Program
traveled to Fort McCoy near Tomah, Wisconsin for a performance
of operatic favorites.
Education aatt tthhee Opera
Join us for this landmark celebration as the Chorus celebrates its25th Birthday! This eclectic program will include stirring piecesfrom the Broadway musical Songs for a New World; the premiereof a new commission by American musical luminary and St. Paulnative, Stephen Paulus; the triumphant Gloria by Randall Basswith organ, percussion and brass choir, a sampling of some of thegreatest pieces to originate from the GLBT choral tradition andmuch, much more!
Dr. Stan Hill,Artistic Director
Joann Usher,Executive Director
Ted Mann Concert Hall
612.624.2345www.tcgmc.org
Thurs. – Fri., March 30 & 31 – 8 pmSat., April 1 – 8 pm
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The Minnesota Opera OOrrcchheessttrraaViolin I Kristen Christensen
concertmaster
Julia Persitz
David Mickens
Allison Ostrander
Judy Thon-Jones
Andrea Een
Violin II Laurie Petruconis
Elizabeth Decker
Stephan R. Orsak
Melinda Marshall
Carolin Kiesel Johnson
Margaret Humphrey
Viola Vivi Erickson
Laurel Browne
Susan Janda
Coca Bochonko
Cello Jim Jacobson
Adriana LaRosa Ransom
Rebecca Arons Goetz
Joe Englund
Bass John Michael Smith
Constance Martin
Flute Michele Frisch
Amy Morris
OboeMarilyn Ford
Merilee Klemp
ClarinetSandra Powers
Nina Olsen
BassoonCoreen Nordling
Laurie Hatcher Merz
HornCharles Kavalovski
Charles Hodgson
TrumpetJohn G. Koopmann
Christopher Volpe
TromboneSue Roberts
Rick Gaynor
David Stevens
TimpaniKory Andry
MandolinChristopher Kachian
Personnel ManagerSteve Lund
The Minnesota Opera CChhoorruussKaren Bushby
Ben Crickenberger
Jennifer Eckes
Andy Elfenbein
Vicki Fingalson
Peter Frenz
Tracey Gorman
Robin Helgen
Ben Johnson
Tor Johnson
Angela Keeton
Brian Kuhl
Eric Mellum
Chandler Molbert
Bill Murray
Matthew Neil
Cathryn Schmidt
Robert Schmidt
Sandra Schoenecker
Bryan Shih
Anne Storlie
Staci Stringer
Joel Swearingen
Cordell Wesselink
SupernumerariesDavid Allyn
Christian Finch
Jim Fulford
Daniel Gregg
Joseph Johnson
Christian Skelley (cover)
Matt Sudduth
Resident Artistcovering principal role
Raymond Ayers –
Don Giovanni
Frann Daviss 612.925.84088
Rockk Islandd Loftss Three two-story penthouse units remain. Grand windows, spacious floor plans.
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Cultivating anew generationof opera-goers in the TwinCitiesAre you a 20- or 30-somethingwho’s curious about opera?Looking for something newand fun to look forward to?Join other young professionalsfor the hottest ticket in town— The Minnesota Opera’sYoung Professionals Group!
The low-cost YPGmembership (only $30 perseason) entitles members togreat seats at the Opera forrock-bottom prices, as well aspost-opera cocktail partiesand special events throughoutthe season.
To join, visitwww.mnopera.org,
email us [email protected],
or call us at 612.342.9550
Upcoming EventsOpera Nights Out:
Don Giovanni, March 11Orazi & Curiazi, April 15Joseph Merrick, the Elephant Man, May 20
Spring Swing, April 29
Great Waters is theofficial venue for
Opera Nights Out
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“Art is the triumph over chaos.”
-John Cheever
The Best Way to
Organize, Archive & Enjoy your Photographs
Beautifully printed & bound photograph books.
t h e m i n n e s o t a o p e r a • 26
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Andersen Foundation • Anonymous • Estate of Mrs. Judson Bemis • Julia W. Dayton
John and Ruth Huss • Target Foundation
Mary W. Vaughan Fund of The Minneapolis Foundation
F. R. Bigelow Foundation • Cargill Foundation • General Mills Foundation
3M Foundation • Alfred and Ingrid Lenz Harrison • Estate of Jean Lemberg
The Medtronic Foundation • The Saint Paul Foundation • Wells Fargo Foundation Minnesota
C. Angus and Margaret Wurtele
Karen Bachman • Alexandra O. Bjorklund • Mary and Gus Blanchard • Mary Lee Dayton
Ecolab Foundation • The William Randolph Hearst Foundation • Lucy Rosenberry Jones
Constance and Daniel Kunin • The Art and Martha Kaemmer Fund of HRK Foundation
Keller Trust • The MAHADH Fund of HRK Foundation • Mardag Foundation
John G. Ordway, Jr. • RBC Dain Rauscher Foundation • Saint Paul Travelers
The Harriet and Edson Spencer Fund of The Minneapolis Foundation
Rebecca Rand and E. Thomas Binger • Ellie and Tom Crosby, Jr. • Heinz and Sisi Hutter
Diana and Joe Murphy • Mr. and Mrs. William Phillips • Mr. and Mrs. Steven Rothschild
1997 Irrevocable Trust of Frederick T. Weyerhaeuser
Rod and Susan Boren • Mrs. Thomas B. Carpenter • Carolyn Foundation
Darlene J. and Richard P. Carroll • Cleveland Foundation • Rusty and Burt Cohen
Jane M. and Ogden W. Confer • Sara and Jock Donaldson
Dorsey & Whitney Foundation • Vicki and Chip Emery • Brad and Diane England
Faegre & Benson • Sharon and Bill Hawkins • Bill and Hella Mears Hueg
Connie Fladeland and Steve Fox • Erwin and Miriam Kelen • R. C. Lilly Foundation
Mary Bigelow McMillan • Thomas and Barbara McBurney • Stephanie Simon and Craig Bentdahl
Kevin and Lynn Smith • Virginia L. and Edward C. Stringer • The Southways Foundation
Bernt von Ohlen and Thomas Nichol • Nelson Family Foundation
As of February 23, 2006, $12.2 million has been raised toward the $20 million Opera at the Ordway Initiative. These funds have already begun to transform the
company through new productions, expanded education programs and a momentum that will expand the number of productions. The initiative will also
add to The Opera's endowment, ensuring the future of the company performing here, at the Ordway.
The following are all individual, corporate and foundation donors over $25,000:
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The Minnesota Opera AAnnnnuuaall FundIndividual Giving
Platinum $7,500–$9,999Anonymous Jane M. and Ogden W. ConferRolf and Nancy EnghN. Bud and Beverly Grossman
FoundationSharon and Bill HawkinsBryce and Paula JohnsonMr. and Mrs. Steven RothschildTimothy and Gayle OberBernt von Ohlen and
Thomas NicholConnie and Lew RemeleVirginia L. and Edward C. Stringer
Gold $5,000-$7,499Anonymous (2)Eric and Tracy AanensonDr. James E. and
Gisela CorbettSusan and Richard CrockettDavid and Vanessa DaytonSally J. EconomonChip and Vicki EmeryBrad and Diane EnglandTom and Lori FoleyMr. and Mrs. John ForsytheConnie Fladeland and
Steve Fox
Denver and Nicole GilliandDavid Hanson and William BiermaierKaren and John HimleConstance and Daniel KuninIlo and Margaret LeppikMr. and Mrs. B. John Lindahl, Jr.Ms. Becky MalkersonTed and Roberta Mann
FoundationDiana and Joe MurphyElizabeth Musser Trust—
Fir Tree FundAlbin and Susan NelsonNelson Family FoundationBrian and Julia PalmerKevin and Lynn SmithMitchell and Kendall StoverCatie Tobin and Brian NaasCharles Allen Ward Fund of
The Saint Paul Foundation
Silver $2,500–$4,999Anonymous (2)Chloe D. AckmanLowell Anderson and Kathy WelteMartha Goldberg Aronson and
Daniel AronsonMartha and Bruce AtwaterDr. Ford and Amy Bell
Alexandra O. BjorklundRachelle Dockman ChaseSteve ChirhartCleveland FoundationDr. Stephen and Beth CragleJohn and Arlene DaytonMary Lee DaytonThomas and Mary Lou DetwilerRondi Erickson and Sandy LewisLeslie and Alain FreconChristine and W. Michael GarnerMr. and Mrs. R. James GesellMeg and Wayne GisslenMrs. Myrtle GretteDorothy J. Horns, M.D., and
James P. RichardsonJay and Cynthia IhlenfeldDale A. JohnsonJacqueline Nolte JonesRobert and Susan JosselsonStan and Jeanne KaginSamuel L. Kaplan and
Sylvia Chessen KaplanErwin and Miriam KelenMichael F. and Gretchen G. Kelly and
the Kelly Family FoundationLyndel and Blaine KingMrs. James S. KochirasDavid MacMillan and Judy Krow
Mahley Family FoundationRoy and Dorothy Ann MayeskeJames and Judith MellingerRichard and Nancy Nicholson –
Nicholson Family FoundationDwight D. OppermanWilliam and Barbara PearceMarge and Dwight PetersonMr. and Mrs. William PhillipsStephanie Prem and Tom OwensRobert and Mary PriceLois and John RogersKen and Nina RothchildMr. and Mrs. Steven RothschildSampson Family Charitable
FoundationKay Savik and Joe TashjianFred and Gloria SewellDrs. Joseph and Kristina Sha∂erFrank and Lynda SharbroughJulie Jackley SteinerMr. and Mrs. James SwartzTanrydoon Fund of The Saint Paul
FoundationWilliam Voedisch and
Laurie CarlsonNancy and Ted Weyerhaeuser
Camerata Circle
Bel Canto CirclePlatinum $20,000 and aboveMary and Gus BlanchardJulia W. DaytonJohn and Ruth HussLucy Rosenberry JonesPatricia LundMrs. George T. Pennock (†)*Stephanie Simon and
Craig BentdahlMary W. Vaughan Fund of
The Minneapolis FoundationC. Angus and Margaret Wurtele
Gold $15,000–$19,999Karen Bachman*Mrs. Thomas B. CarpenterDarlene J. and
Richard P. Carroll*Dolly J. FitermanHeinz and Sisi HutterThe Art and Martha Kaemmer Fund of
HRK Foundation*Warren and Patricia Kelly*
Silver $10,000–$14,999Anonymous (2)Allegro Fund of the
Saint Paul Foundation*Rebecca Rand and
E. Thomas BingerRod and Susan BorenRusty and Burt CohenEllie and Tom Crosby, Jr.Mary Dearing and Barry LazarusCy and Paula Decosse Fund of
The Minneapolis Foundation The Denny Fund of
The Minneapolis Foundation
Sara and Jock DonaldsonAlfred and Ingrid Lenz Harrison*Mr. and Mrs. Philip Isaacson*Peter J. KingLynne LooneyThomas and Barbara McBurneyHarvey T. McLainMary Bigelow McMillanMrs. Walter MeyersBruce and Sandy NelsonJose Peris and Diana GuldenElizabeth and Andrew Redleaf
$1,000–$2,499Anonymous (4)Floyd AndersonPaula AndersonKim A. Anderson John Andrus, IIIMr. and Mrs. Edmund P. BabcockDr. Thomas and Ann BagnoliJames Baldwin and Mary AtmoreMr. and Mrs. Paul G. BoeningJan and Ellen BreyerJudith and Arnold BrierConley Brooks FamilyElwood F. and Florence A. CaldwellBruce and Deanna CarlsonJoan and George CarlsonJoe and Judy CarlsonWanda and David Cline
Jeff and Barb CoutureBruce Coppock and Lucia May*Mrs. Thomas M. Crosby, Sr.Ruth and Bruce DaytonAmos and Sue DeinardJack and Claire DempseyMona Bergman Dewane and
Patrick Dewane Ekdahl Hutchinson Family Fund of
The Minneapolis FoundationSusan Engel and Arthur Eisenberg*Ester and John FeslerSalvatore S. FrancoPatricia R. FreeburgJames and Mary FreyTerence Fruth and Mary McEvoy Family
Fund of The Minneapolis FoundationBradley A. Fuller and
Elizabeth LincolnDavid and Kathy Galligan*Richard GeyermanLois and Larry GibsonHoward and Heidi GilbertMicheal and Elizabeth GormanSima and Clark GriffithFrank Guzzetta*The Hackensack Fund of The Saint
Paul FoundationRosalie He∂elfinger Hall Fund of
The Minneapolis FoundationDon HelgesonJohn S. and Rosmarie HellingSarah HenryDiane HoeyBill and Hella Mears HuegMr. and Mrs. Thomas Hull
James L. Jelinek and Marilyn WallLinda JohnsonMarkle KarlenJessie L. KellyE. Robert and Margaret V. Kinney
Fund of The Minneapolis FoundationKenneth Kixmoeller and Kim OtnessMr. and Mrs. William KlingGerard KnightLisa C. KochirasMaria KochirasKyle Kossol and Tom BeckerRobert L. Kriel and Linda E. KrachHelen L. KuehnAnita KuninMark and Elaine LanderganRobert L. Lee and Mary E. Scha∂nerCarl Lee and Linda Talcott Lee
Artist Circle
It is with deep appreciation that The Minnesota Opera recognizes and thanks all of the individual donors whose annual
support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose
leadership support provides the financial foundation which makes the Opera’s artistic excellence possible.
For information on making a contribution to The Minnesota Opera, please call Dawn Loven, Director of the Annual Fund, at 612-342-9567.
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These lists are current as of December 31, 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.
(†) Deceased
Anonymous (2)Mary A. AndresMr. and Mrs. Rolf AndreassenKaren BachmanMark and Pat BauerBarbara and Sandy Bemis (†)Darlene J. and Richard P. CarrollJudy and Kenneth (†) DaytonMrs. George DotyRudolph Driscoll (†)Sally Economon
Paul FroeschlRobert and Ellen GreenIeva Grundmanis (†)Norton M. HintzJean McGough HoltenCharles HudginsDale and Pat JohnsonRobert and Susan JosselsonMrs. Markle Karlen (†)Steve KellerBlaine and Lyndel King
Gretchen Klein (†)Bill and Sally KlingGisela Knoblauch (†)Mr. and Mrs. James KrezowskiRobert Kriel and Linda KrachRobert Lawser, Jr.Jean Lemberg (†)Gerald and Joyce LillquistMargaret L. and Walter S. (†) MeyersEdith Mueller (†)Scott Pakudiatis
Sydney and William PhillipsMrs. Berneen RudolphMary SavinaFrank and Lynda SharbroughAndrew H. Stewart, Jr.Barbara and Robert StruykJames and Susan SullivanGregory C. SwinehartStephanie Van D’EldenMary VaughanDale and Sandra Wick
The Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in
their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If you
have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity.
For more information on possible gift arrangements, please contact Dawn Loven, Director of the Annual Fund, at
612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you.
Estate aanndd Planned Gifts
The Minnesota Opera AAnnnnuuaall FundIndividual Giving
Gold $750–$999Anonymous (1)Quentin and Mary AndersonMr. and Mrs. Carl W. ClesslerC.D.F. FoundationDrs. Greg and Angie HatfieldJohn and Jean McGough HoltenNicole and Charles PrescottThomas D. and Nancy J. RohdeJim ScarpettaThe Harriet and Edson Spencer Fund
of The Minneapolis FoundationKeith and Catherine Stevenson
Silver $500–$749Anonymous (1)Fred Amram and Sandra BrickWoodbury H. and Cynthia AndrewsGenevive AntonelloSatoru and Sheila AsatoRuth and Dale BachmanJames and Gail BakkomMrs. Harvey O. BeekBarbara S. BelkGerald and Phyllis BensonMichael and Paige BinghamThomas and Joyce BrucknerPatrick and Kristen BurtonDaniel and Christine Buss
Gerald and Sarah CarusoPaul CavallBruce and Ann ChristensenJoann M. D. CierniakEdward Conway and Kathleen JerdeBill and Kate CullenFran DavisJoe Dowling and Siobahn ClearyJoyce and Hugh EdmondsonHerbert and Betty FantleCatherine C. FinchCarolyn FitermanCheryl Kreofsky and
Michael FitzgeraldHenry and Anice FleshDr. Stanley M. and
Luella G. GoldbergAlan GoldbloomRobert Goodell and Renee BrownPaul and Margot GrangaardDeanne and John GrecoSarah GreenMarjorie and Joseph GrinnellBruce and Jean GrussingRoger L. Hale and Nor HallRuth E. HanoldKristin Hayes and Greg SochackiFranz and Jeannie HofmeisterJoe and Nancy Holmberg
David and Sally HyslopDiane and Paul JacobsonAndrzej and Urszula JaworskiMrs. Owen JenkinsDr. and Mrs. Charles R. JorgensenJane and Jim Kaufman Fund of
The Minneapolis FoundationSteve and Jolie KlapmeierRoy and Mary LetourneauJoan E. MaddenC.S. McCrossanOrpha McDiarmid Family FundSheila McNallyL. David MechTheresa A. Murray and Jim MurrayPaul C. MuzioJoan and Richard NewmarkLowell and Sonja NoteboomBradley NussDennis R. OlsonMr. and Mrs. G. Richard PalenDan and Pat PanshinPaula PatineauKern and Kathryn PetersonJames J. Phelps and
Nancy McGlynn PhelpsNicole and Charles PrescottElsie L. QuamLawrence M. Redmond
Ann M. RockJames and Andrea RubensteinJanet and Bill SchaederKaren A. SchafferMahlon and Karen SchneiderMarcia and Stephen SchultzBill and Althea SellJanet and Irving ShapiroPeter and Bonnie SipkinsDaniel and Marilyn SpiegelWarren StortroenRoxanne Stouffer and Joseph CruzJoanne Strakosch and
William UmscheidDana and Stephen StrandBrian and Mia SullivanAllan Valgemae and Robert HardingWill and Li VolkElaine B. WalkerThe Wallin FoundationDavid and Mary Ann Barrows WarkMr. and Mrs. Charles WebsterJames and Sharon WeinelFrank and Frances WilkinsonLani Willis and Joel SpoonheimMary Wong
*Includes Gala Fund-a-Dream support.
Patron Circle
Susan LentheStefanie Lenway and Tom Murtha Diane and Sid LevinMichael and Diane LevySy and Ginny Levy Family Fund of
The Minneapolis FoundationJerry and Joyce LillquistBenjamin Y. H. and Helen C. LiuBill LongDawn M. LovenMr. and Mrs. Donald LuckerMargery MartinLois and Rick Marsh
Gilah Mashaal Samuel D. and Patricia McCulloughWilliam MesserliSandy and Bob MorrisMrs. John H. MyersSusan OkieLuis Pagan-CarloKelly and Michael PalmerAllegra ParkerKaren B. PaulWilliam and Suzanne PayneJodi and Todd Peterson*Mary Ingebrand Pohlad
James and Connie PriesTim and Elin RaymondFrances and George ReidKit Reynolds and Mike SchwimmerJohn and Sandra RoeMrs. John C. RowlandLeland T. Lynch and Terry Saario Fund
of The Minneapolis FoundationPatty and Barney SaundersDr. and Mrs. Richard J. SchindlerStanislaw and Krystyna SkrowaczewskiJe∂ and Helene SlocumDon and Leslie Stiles
Robert and Barbara StruykJames and Susan SullivanHenry and Virginia SweattMichael SymeonidesMr. and Mrs. George H. TesarLois and Lance ThorkelsonEmily Anne and Gedney TuttleMr. and Mrs. Philip Von BlonFred and Ellen WellsMs. Wendy WengerTeresa Williams
Artist Circle (continued)
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Over the past weeks, several prominent members of The Minnesota Opera family have
passed away. We celebrate their unique qualities and the
wonderful contributions they have made to the Opera and to the community.
Carolyn ArgentoSoprano and a leading lady of the Center Opera Company;
wife and artistic partner of composer Dominick Argento
Thomas BingerLong-time subscriber and generous patron
Jevne PennockLifetime honorary Board member, patron, subscriber and advocate
TributeIn Memoriam
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612.378.8814www.crescenttrace.com
� Presented byGreat Lakes Management Co.
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Corporations and Foundations
Minnesota Opera Sponsors
Platinum $10,000+3MAllianz Life Insurance of North AmericaAmeriprise FinancialFred C. and Katherine B. Andersen FoundationThe Bush FoundationCargill FoundationDeloitteDeluxe Corporation FoundationDorsey & Whitney FoundationEcolab FoundationGeneral Mills FoundationAnn and Gordon Getty FoundationAnna M. Heilmaier Charitable FoundationLowry Hill Private Wealth ManagementThe MAHADH Fund of HRK FoundationThe McKnight FoundationThe Medtronic FoundationOPERA America’s Opera FundRider BennettSpencerStuartSt. Paul TravelersSUPERVALU Stores, Inc.Target FoundationThrivent Financial for Lutherans Twin Cities Opera GuildU.S. Bancorp FoundationU.S. Bank, Private Client GroupU. S. Trust Company Wells Fargo Foundation MinnesotaWenger Foundation
Gold $5,000-$9,999ADC TelecommunicationsAT&T FoundationBemis Company FoundationBriggs and MorganFaegre & BensonJostens, Inc.Lindquist & VennumR. C. Lilly FoundationOnan Family FoundationPentair, Inc.Piper Ja∂ray
Carl and Eloise Pohlad FoundationRahr FoundationRBC Dain Rauscher FoundationStar Tribune FoundationValspar FoundationXcel Energy Foundation
Silver $2,500-$4,999Boss FoundationDellwood FoundationMary Livingston Griggs and Mary Griggs Burke
FoundationHutter Family FoundationAlice M. O’Brien FoundationThe Elizabeth C. Quinlan FoundationMargaret Rivers FundSchwegman, Lundberg, Woessner & Kluth, PATennant FoundationThomson West
Artist Circle $1,000-$2,499Arts & Custom Publishing Co., Inc.Brock-White Co., LLCThe Burdick-Craddick Family FoundationCurtis L. Carlson Family FoundationDigital Excellence, Inc.Gunkelmans Interior DesignHogan & HartsonHorton, Inc.Le Jeune Investment, Inc.Leonard, Street & DeinardMaslon, Edelman, Borman & BrandMayo ClinicMcVay FoundationLawrence M. and Elizabeth Ann O’Shaughnessy
Charitable Income TrustPeregrine Capital ManagementThe Regis FoundationRobins, Kaplan, Miller & CiresiSecurian FoundationThe Southways FoundationSt. Croix FoundationCharles B. Sweatt FoundationTozer Foundation
Season SponsorU.S. Bank, Private Client Group
Production SponsorsTosca, U.S. Bank, Private Client Group
Don Giovanni, Target
Joseph Merrick, the Elephant Man, Ameriprise Financial
Production Innovation SystemGeneral Mills
Opening Night Gala SponsorU.S. Bank, Private Client Group
Marshall Field’s Gives
Okabena Advisors
RAP Teaching ArtistsWenger Foundation
Conductor AppearancesSpencerStuart
Evening Intermission SponsorLowry Hill Private Wealth Management
Promotional SupportMinnesota Monthly
Opera InsightsThrivent Financial for Lutherans
$10,000 – $24,999
$25,000 – $49,999
$50,000 – $99,999
$100,000 +
The Minnesota Opera gratefully acknowledges
its major corporate supporters:
The Minnesota Opera AAnnnnuuaall FundInstitutional Giving
GovernmentCity of Saint Paul’s Cultural STAR ProgramMinnesota State Arts BoardNational Endowment for the Arts
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Good listening {TAKES PRACTICE.}
Crocus Hill Office
Nancy Meeden651.282-9650
speak to
the people
beside you…
without sayinga word
advertise inthis program
Call 612.375.9222
Arts & Custom Publishing Co., Inc.1001 Twelve Oaks Center Dr. #1017
Wayzata, MN 55391
�
Conductor Xian Zhanghas just received the
Martin E. Segal Award.Now in its 18th year, theprestigious award isgiven annually to tworising young artists inrecognition of outstand-ing achievement in theirrespective disciplines.Lincoln Center Chair-man Bruce Crawfordand President Reynold Levy presided overthe event. Martin Segal, in whose name the Lincoln Center Board of Directors established the award, also participated in the ceremony. On a rotating basis since theinception of the prize, two of Lincoln Center's 12 resident arts constituents havebeen asked to nominate an artist or ensembleassociated with their organization to receivethe Martin E. Segal Award.
The Martin E. Segal Awards were establishedby Lincoln Center's Board of Directors and agroup of Mr. Segal's friends and colleagues atthe time of his retirement as Lincoln CenterChairman in 1986. The awards mark Mr.Segal's record of leadership and commitmentto supporting and advancing the careers ofup-and-coming artists.
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Wolfgang Amadeus Mozart is
considered one of the greatest
composers of all time and his
works are still being performed
around the world, but what makes
him so great? Go on a guided tour
and hear the music that Mozart
composed for the piano, string
quartet and voice.
Join The Saint Paul Chamber
Orchestra, The Minnesota Opera
and The Schubert Club for a day
of fun and surprises while you
celebrate Mozart’s 250th Birth-
day. The afternoon features actress
Vera Mariner, who will capture
and bring you into the world for
Wolfgang Amadeus Mozart. The
day also includes performances by
an SPCO String Quartet, a young
talented pianist and Minnesota
Opera voices singing excerpts
from a famous Mozart opera.
Special Family ConvertMarch 25, 2006
10:30 a.m. and NoonTickets: $8
651.291.1144
TBD