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CONCERTO NO. 1
THU MAR 16 11AM
FRI MAR 17 8PM
Michael Francis, conductor
Johannes Moser, cello
THU MAR 23 11AM
FRI MAR 24 8PM
Christoph König, conductor
Olga Kern, piano
THU MAR 30 11AM
FRI MAR 31 8PM
SAT APR 1 8PM
Paul McCreesh, conductor
Joélle Harvey, soprano
Robert Murray, tenor
Kevin Deas, bass-baritone
Minnesota Chorale
LA MER
FRI APR 14 8PM
SAT APR 15 8PM
David Afkham, conductor
Emily Magee, soprano
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SAT APR 29 8PM
Juanjo Mena, conductor
Garrick Ohlsson, piano
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Minnesota Opera changes lives by bringing together artists, audiences, and community, advancing the art of opera for today and for future generations.
Minnesota Opera will sing every story.
Innovation, Inclusivity, Collaboration, Purpose
With the opening of The Daughter of the Regiment, we are halfway through our 60th Anniversary Season. Sixty years ago, the commission of a new work sparked the creation of a small avant-garde opera company. Between then and now, this company has given us innovative and compelling opera productions, 49 new works (with another premiering in March), and a myriad of community and education programs for the young and forever young at heart. We are grateful to the many — artists and artisans, community, audiences, donors, staff, and volunteers — who nurtured that spark which allows us to shine brightly as a leading American company. On behalf of the board, I would like to thank each and every one of you for being a part of Minnesota Opera’s extraordinary history, spending time with us in this present moment, and helping us sing every story in all the years to come.
appy New Year! As we welcome 2023 and reach the midpoint of our 60th Anniversary Season, I have so much awe and admiration for the commitment and perseverance of our entire creative artmaking family who continue to bring their heart and talent to each of our productions. It’s not been an easy few years for anyone, but an especially daunting time for artists everywhere. As we continue our recovery from what has been an awfully challenging period, it means a great deal to have the support and advocacy of each and every member of our community who have offered those gifts. Additionally, we’re especially grateful to see every audience member in the hall today! Your participation completes the opera experience at each performance and connects us all in celebration of our shared humanity within the world of musical storytelling. Thank you for joining us for the joyful journey of Marie and Tonio as they find love despite their own challenging circumstances. May their triumph lift us all during the depths of winter into a lighter, brighter, kinder year ahead!
RYAN TAYLOR PRESIDENT AND GENERAL DIRECTOR
MUSIC BY Gaetano Donizetti
LIBRETTO BY Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard
WORLD PREMIERE AT THE PARIS OPÉRA-COMIQUE AT THE SALLE DE LA BOURSE ON FEBRUARY 11, 1840
SUNG AND SPOKEN IN FRENCH WITH ENGLISH CAPTIONS PROJECTED ABOVE THE STAGE.
in order of vocal appearance
HORTENSIUS JEREMIAH SANDERS+
LA MARQUISE DE BIRKENFELD MARGARET GAWRYSIAK
A PEASANT COLYN TVETE
SERGEANT SULPICE ANDREW WILKOWSKE*
MARIE
VANESSA BECERRA
TONIO DAVID PORTILLO
A CORPORAL CHARLES H. EATON+
LA DUCHESSE DE KRAKENTHORP MONÉT X CHANGE
A NOTARY PAUL GUTMANN
CONDUCTOR KELLY KUO
STAGE DIRECTOR AND CHOREOGRAPHER
JOHN DE LOS SANTOS
SCENIC DESIGN BOYD OSTROFF
ORIGINAL COSTUME DESIGN
ZACK BROWN
ADDITIONAL COSTUME DESIGN
TIMM BURROW
LA DUCHESSE DE KRAKENTHORP COSTUME DESIGN
TREVOR BOWEN
LIGHTING DESIGN CHAD R. JUNG
CO-HAIR AND MAKEUP DESIGN PRISCILLA BRUCE, EMMA GUSTAFSON
INTIMACY AND FIGHT DIRECTOR
ALESSANDRA
BONGIARDINA
MUSICAL PREPARATION
MARIO ANTONIO MARRA, Head of Music and Assistant Conductor
CELESTE MARIE
JOHNSON*,
Principal Coach and Chorus Director
ERICA GUO+, répétiteur
FRENCH DICTION
COACHES
MARIE-FRANCE
LEFEBVRE
ELSA QUÉRON
ASSISTANT
STAGE DIRECTOR
MARGARET
JUMONVILLE •
PRODUCTION
STAGE MANAGER
EMILY BUTZI
ESTIMATED RUNNING TIME is two hours and 30 minutes with a 20-minute intermission approximately 80 minutes into the opera.
This production includes sound cue cannon fire.
Ruth and John Huss
Lucy Rosenberry Jones and James E. Johnson
John and Kathleen Junek
Gayle and Timothy Ober
William White
Margaret V.B. Wurtele
Minnesota Opera would like to recognize that we occupy land that is of great historical, spiritual, and cultural significance to the Dakota people. To learn more, visit mnopera.org/land-acknowledgement.
War is raging in the Tyrolean Mountains. The Marquise of Berkenfield, who is traveling in the area along with her faithful butler, Hortensius, finds that her path is suddenly blockaded by the French Army. When the Marquise hears from a group of local villagers that the French troops have begun to move away, she remarks on the boorish ways of the French (“Pour une femme de mon nom”). When Sergeant Sulpice of the Twenty-First Regiment of the French Army arrives to calm nerves and assure everyone the regiment will restore order, Hortensius asks Sulpice to let the Marquise continue her journey. Joining Sulpice is a young woman named Marie. She is the “daughter” of the regiment which adopted her as an orphaned baby. Sulpice is happy to see Marie, (“Mais, qui vient? Tiens, Marie, notre fille”) but begins to question her about the comings and goings of a young man whom she has recently been seen with. She identifies him as Tonio, a Tyrolean from a nearby village. At that same moment, the aforementioned Tonio is brought in as a prisoner who has been seen prowling around the camp. Marie steps in to save him from the soldiers, explaining that this Tyrolean—though technically an enemy—once saved her life when she nearly fell while mountain climbing. The regiment changes its tune and instead of imprisoning him, makes a toast to Tonio. As the soldiers celebrate, Marie begins to sings the regimental song: (“Chacun le sait”). Sulpice leads the soldiers off, taking Tonio with them, but Tonio runs back to declare his love for Marie. She is thrilled, but quick to tell him that he must gain the approval of her “fathers”—the soldiers of the regiment who found her on the battlefield as an abandoned baby—if he wants to marry her.
The Marquise of Berkenfield, having waited long enough, asks Sulpice to accompany her and Hortensius back to her castle. Upon hearing the name Berkenfield, Sulpice immediately recognizes it from a letter found with Marie as an infant. It is soon discovered that the Marquise knew the girl’s father and says that Marie is her long-lost niece. When Marie was just a baby, she had been left in the care of the Marquise, but in the tumult of war, the baby was lost, never to be found. Appalled by Marie’s unconventional upbringing and complete lack of manners, the Marquise brings her newly rediscovered niece back to her castle to right the many years’ worth of wrongs, teach her proper etiquette, and give her a decent education. Tonio, who has just enlisted and joined the Twenty-First Regiment (“Ah, mes amis”), is devastated to learn that Marie is leaving the regiment forever.
Marie has been living in the Marquise’s castle for several months. In a conversation with Sulpice, who has joined the Marquise and Marie at the Berkenfield castle, the Marquise describes how she has arranged a marriage for Marie with a young man named Scipion, nephew of The Duchess of Krakenthorp. The Marquise has sought to expunge Marie’s military manners and transform her into a lady of fashion suitable for marriage. Marie has reluctantly agreed to the arrangement and Sulpice is asked to encourage her. During one of Marie’s singing lessons with the Marquise, the young lady in training, emboldened by Sulpice, adds in phrases of the regimental song. The unimpressed Marquise becomes angry and storms away (“Le jour naissait dans la bocage”). As Marie is left alone to reconcile her fate, she remarks on the pointless nature of opulence (“Par le rang et l’opulence”). Suddenly, she hears the familiar sound of soldiers marching in the distance and is overjoyed to see that the whole regiment has arrived at the castle. The soldiers file into the hall, and while the Marquise takes in the horrific sight, Tonio asks for Marie’s hand, declaring his love for her (“Pour me rapprocher de Marie”). The Marquise interrupts the happy occasion to declare that her niece is already engaged to be married. Marie scornfully returns to her chambers while Tonio and his fellow soldiers are ordered to leave. After everyone has left, the Marquise and Sulpice are left alone. In a moment of true vulnerability, the Marquise confesses that Marie is her own illegitimate daughter whom she abandoned in fear of disgrace.
Marie’s fiancé Scipion and a wedding party headed by The Duchess of Krakenthorp have been invited to the castle Berkenfield. Hortensius announces their arrival, but Marie refuses to leave her room to greet the guests. Sulpice joins Marie in her chambers and shares the secret the Marquise has just told him. The bewildered young woman decides she cannot go against her mother’s wishes and instead goes against her heart. During the final moments of the wedding ceremony, as Marie reaches out with pen in hand to sign the marriage contract, her regiment rushes in to rescue their “daughter” (“Au secours de notre fille”). When the regiment reveals that Marie grew up as their canteen girl, the noble wedding guests become outraged. Their opinions soon shift, however, when Marie sings of her gratitude towards the soldiers (“Quand le destin, au milieu de la guerre”). Deeply moved by Marie’s love for her “fathers,” the Marquise openly declares that she is Marie’s real mother and gives her blessing to Marie and Tonio. All join in rejoicing this happy occasion (“Salut à la France”).
One question I often hear when I tell people that I direct and choreograph both operas and musicals is, “Which do you prefer?” The truth is, I don’t approach either genre with a mindset that’s wildly different. Both always require a thorough examination of the score and libretto, attention to character and situation, clear storytelling, and an appropriate movement language (this last element is usually the one that gets me the job). For me, they both present a number of challenges that when resolved, can result in exhilarating theatre. And as opera and Broadway houses expand their boundaries into new territories, we see the genre lines continue to blur. Of course, without opera, there would be no musicals, and Donizetti’s The Daughter of the Regiment is a glorious example of how the long life of one art form eventually leads to the birth of the other.
While most think of Lucia di Lammermoor or The Elixir of Love when they hear Donizetti’s name, The Daughter of the Regiment is a masterful example of a bel canto “fish out of water” comedy. The heroine Marie is constantly trying to find herself while also striving to please her guardians. Although she loves military life, her gender prevents her from becoming a soldier, and when she is swept into the refined pomp of the Marquise, she can’t quite shake her tomboyish leanings either. This struggle between her two contrasting worlds results in a lot of unfortunate hilarity for Marie, but in the end, she finds happiness and true love. In some ways, this sounds a bit like the journey of Eliza Doolittle in My Fair Lady or Victoria Grant in Victor/Victoria, and the dialogue is similar to that in later operettas like The Merry Widow and the works of Gilbert and Sullivan.
But the element that sets The Daughter of the Regiment apart from all the other works I have compared it to is undoubtedly the difficulty of its score.
Though the subject is light, the demands placed on the singers are as high as can be found in Mozart or Rossini.
What all of this boils down to for me is that the rewards of collaborating with an operatic company of artists like you will see at this performance are just as satisfying as those of their musical theatre counterparts, many of whom, like me, do both. I love presenting my casts with staging challenges and then seeing them accomplish things they weren’t aware they could. What I learn from one production, whatever the genre, inevitably fuels all the ones that follow it. There will no doubt be a number of influences you will see in this production from as varied a source as the madcap hysterics of L’Italiana in Algeri to the marching hopefuls in The Music Man. For whether I’m working on Bernstein or Bizet, Strauss or Sondheim, my job is essentially the same, and ultimately just as fun.
JOHN DE LOS SANTOS STAGE DIRECTOR
The Daughter of the Regiment is a glorious example of how the long life of one art form eventually leads to the birth of the other.”
❝
Minnesota Opera’s dedicated staff of artists, craftspeople, and administrators are passionate about bringing opera and opera education programs to Minnesota. Recently, we sat down with three of them to learn more about what they do at MN Opera, and why they’re excited about this production of The Daughter of the Regiment
What do you do at Minnesota Opera?
As Associate Individual Giving and Fundraising Events Director, my role is focused on telling the story of MN Opera, highlighting the work being done across the organization in our fundraising events, and working with donors whose gifts help support the mission and vision to sing every story on MN Opera stages. When planning the gala, our biggest fundraising event of the year, I work collaboratively with colleagues, project managing the teams and individuals who help support the creation of a fun, welcoming, and memorable gala that inspires support for our mission and goal.
Why are you excited for The Daughter of the Regiment?
I am excited to see how John De Los Santos brings the story of Daughter of the Regiment to life! Having seen how much clever creativity John brings to his work, I know we are in for a treat with a beautiful production full of surprising moments! Being an opera newbie, I’m always excited to experience more opera. I’m fascinated by the sheer power of the voices on stage and the beautiful craftsmanship of our costume and production departments. Also, being a big fan of Monét X Change, I’m so excited to see them slay on stage!
What do you do at Minnesota Opera? As part of the Artistic team and in collaboration with guest artists, I support my colleagues in creating compelling musical experiences. My work is primarily productionfocused in both of its facets: as Chorus Director, I prepare scores, lead rehearsals, spearhead casting, and handle administrative details. As Principal Coach, I am typically in the room for all production rehearsals, whether that’s at the piano during staging, working with singers in one-on-one coachings, listening for balance in the theater, taking music and diction notes, or playing in the pit.
Why are you excited for The Daughter of the Regiment?
I love the playfulness of this show and how Donizetti’s music leans into the fun while also creating beautiful and poignant moments amidst the comedy. The Chorus plays an exciting and pivotal role in the storytelling; in particular, the soldiers serve a unique, dramatic function as simultaneously a single character and many individual characters. I hope you laugh and feel warmed by the joy of this show in the middle of Minnesota winter!
ESSIE LASH MARKETING DIRECTOR
What do you do at Minnesota Opera?
In broad strokes, I help audiences discover Minnesota Opera’s programs and productions by overseeing our marketing approach. I get to align our incredible Marketing, Communications, and Patron Services Team, helping everyone bring their talent to the table to get the word out about our shows. Like the company overall, the Marketing department works to make opera more accessible and inclusive through our creative output, and I feel fortunate that we get to help promote fantastic productions that engender empathy and spark imagination.
Though I am a longstanding music appreciator, I’m newer to opera professionally (my background is in visual art), and I continue to be astonished by the beauty and skill of the craft. From what I've heard, the “vocal pyrotechnics” on display in this opera promise to be something else, and I’m really excited to hear so much talent on stage. Plus, how do you not show up to see Monét X Change pick up the baton from the late, great RBG and Bea Arthur in the role of Duchess of Krakenthorp. I hope our audiences enjoy — I can’t wait!
ASSOCIATEMARIE
FORT WORTH, TX
Minnesota Opera Debut
Ópera Afuera, 2021
Notable Engagements
Le nozze di Figaro, Opera Omaha*
Così fan tutte, Opera Theatre of St. Louis*
Roméo et Juliette, Boston Lyric Opera
Fidelio, Austin Opera
Il matrimonio segreto, Florida Grand Opera
Don Giovanni, Washington National Opera
INTIMACY AND FIGHT DIRECTOR
BROOMFIELD, CO
Minnesota Opera Debut
Carmen, 2022
Notable Engagements
Vietgone, Guthrie Theater
The Tempest, Guthrie Theater
Romeo & Juliet, University of Minnesota
Airness, Park Square Theatre
Circle Mirror Transformation Thunder River Theater Company
TREVOR BOWEN
LA DUCHESSE DE KRAKENTHORP
COSTUME DESIGN
ALTUS, OK
Minnesota Opera Debut
Fellow Travelers, 2018
Notable Engagements
An American Tail Children's Theatre Company*
Hamlet, Guthrie Theater*
Ride the Cyclone, Arena Stage
The Day You Begin, The Kennedy Center BLKS, Steppenwolf
CO-HAIR AND MAKEUP DESIGN
KENSINGTON, MD
Minnesota Opera Debut
Il trovatore, 2008
Notable Engagements
Don Giovanni, Minnesota Opera*
Il trovatore, Washington National Opera
The Day You Begin, The Kennedy Center
Carmen, Minnesota Opera
Acoustic Rooster's Barnyard Boogie, The Kennedy Center Elektra, Minnesota Opera
LA DUCHESSE DE KRAKENTHORP
BROOKLYN, NY
Minnesota Opera Debut
The Daughter of the Regiment, 2023
Notable Engagements
Soloist San Francisco Symphony
La bohème, Portland Opera POGO
The Magic Flute, Portland Opera POGO
Winner of RuPaul’s DragRace All Stars
Co-Host, Sibling Rivalry Podcast
A CORPORAL
STORRS, CT
Minnesota Opera Debut
Silent Night, 2018
Notable Engagements
Don Giovanni, Minnesota Opera*
Rinaldo, Minnesota Opera
Carmen, Minnesota Opera
The Ghosts of Versailles, Royal Opera Versailles
Showboat, The Glimmerglass Festival
A Little Night Music, Madison Opera
LA MARQUISE DE BIRKENFELD
GENESEO, IL
Minnesota Opera Debut
The Daughter of the Regiment, 2023
Notable Engagements
Le nozze di Figaro, Madison Opera*
Peter Grimes, The Metropolitan Opera Flight, Seattle Opera
Candide, Tanglewood Music Festival
Eugene Onegin, Atlanta Opera
The Pirates of Penzance, Lyric Opera of Kansas City
CO-HAIR AND MAKEUP DESIGN
MINNEAPOLIS, MN
Minnesota Opera Debut
Thaïs, 2018
Notable Engagements
Hello, Dolly!, Theater Latté Da*
Cambodian Rock Band, Jungle Theater
The Anonymous Lover, Minnesota Opera
Thunder Knocking On The Door, Ten Thousand Things
Annie, Children's Theatre Company
MN OPERA RESIDENT ARTIST
PINE ISLAND, MN
Minnesota Opera Debut
Albert Herring, 2021
Notable Engagements
Edward Tulane, Minnesota Opera
Carmen, Minnesota Opera
The Anonymous Lover, Minnesota Opera
Hänsel und Gretel, Opera Saratoga
La fille du régiment, Opera Saratoga
Tosca, Inland Northwest Opera
LIGHTING DESIGN
FORT WORTH, TX
Minnesota Opera Debut
The Daughter of the Regiment, 2023
Notable Engagements
JFK, Opéra de Montréal
Don Quichotte, Sydney Opera House
La bohème, Seattle Opera
María de Buenos Aires, Arizona Opera
The Tragedy of Carmen, Florentine Opera
SAN ANTONIO, TX
Minnesota Opera Debut
Anna Bolena, 2012
Notable Engagements
Don Giovanni, The Dallas Opera*
The Pearl Fishers, Austin Opera*
The Magic Flute, The Metropolitan Opera
Die Schweigsame Frau, Bard SummerScape
A Midsummer Night’s Dream, Opera de Lille
Orlando, Bayerische Staatsoper
HORTENSIUS
MARION, IN
Minnesota Opera Debut
Edward Tulane, 2022
Notable Engagements
Rinaldo, Minnesota Opera
Ariadne auf Naxos, Lakes Area Music Festival
Porgy and Bess, Des Moines Metro Opera
Three Decembers, South Bend Lyric Opera
The Tales of Hoffmann, Union Avenue Opera
HERMISTON, OR
Minnesota Opera Debut
The Daughter of the Regiment, 2023
Notable Engagements
Carmen, Des Moines Metro Opera*
Rusalka, Opera Idaho*
The Pigeon Keeper, Santa Fe Opera’s Opera for All Voices*
Charlie Parker’s Yardbird, Lyric Opera of Chicago
La cenerentola, Opera Columbus
Die Zauberflöte, Merola Opera Program
SCENIC DESIGN
ST. LOUIS, MO
Minnesota Opera Debut
The Daughter of the Regiment, 2023
Notable Engagements
Salome, Florida Grand Opera
The Marriage of Figaro, Utah Opera
The Magic Flute, Michigan Opera Theater
Tosca, Opera Philadelphia
The Pearl Fishers, Seattle Opera
STAGE DIRECTOR AND CHOREOGRAPHER
SAN ANTONIO, TX
Minnesota Opera Debut
The Daughter of the Regiment, 2023
Notable Engagements
Sweet Potato Kicks the Sun, Santa Fe Opera
The Copper Queen, Arizona Opera
Kinky Boots, Uptown Players
Ghosts, San Diego Opera
Before Night Falls, Opera Southwest
SERGEANT SULPICE
WILLMAR, MN
Minnesota Opera Debut
Transatlantic, 1998
Notable Engagements
The Magic Flute, Des Moines Metro Opera
Silent Night, Minnesota Opera
Don Pasquale, Fort Worth Opera
Lucy, Urban Arias
Guns N’ Rosenkavalier, The Glimmerglass Festival
MN OPERA RESIDENT ARTIST MN OPERA RESIDENT ARTIST ALUM
VIOLIN I
Julia Persitz
Concertmaster
David Mickens
Asst. Concertmaster
Angela Waterman Hanson
Conor O’Brien
Jill Olson Moser
Mary Alice Hutton
Emily Saathoff
Maisie Block
Ian Snyder
VIOLIN II
Laurie Petruconis*
Elise Parker+
Huldah Niles
Kseniya Khvashchynskaya
Karl Braaten
Ashley Ng
Troy Gardner
VIOLA
Emily Hagen*
Susan Janda+
Laurel Browne
Jenny Lind Nilsson
Charles Krenner
CELLO
Teresa Richardson*
Sally Dorer+
Rebecca Arons
Kirsten Whitson
BASS
John Michael Smith*
Charles Block+
Nadja Gale
FLUTE
Barb Leibundguth*
Karen Baumgartner double piccolo
OBOE
Michael Dayton*
Jeffrey Marshak, double English horn
CLARINET
Karrin Meffert-Nelson*
Nina Olsen
BASSOON
Laurie Hatcher Merz*
Matt Bertrand
HORN
Mike Alexander*
Charles Hodgson
Timothy Bradley
Jenna McBride-Harris
TRUMPET
John G. Koopmann*
Christopher Volpe
TROMBONE
Phillip Ostrander*
John Tranter
David Stevens
TIMPANI
Kory Andry*
PERCUSSION
Matthew Barber*
Paul Hill
Joel Alexander
PIANO
Celeste Marie Johnson*
SOPRANO
Lara Akal
Julia Engel
Melissa Ferlaak
Michelle Hayes
Madison Holtze
Madeline Huss
MEZZO-SOPRANO
Laura Coale
Beth Gusenius
Monica Murray
Sara Sawyer
Ashley Sievers
Huiyin Tan
TENOR
Logan Barat
Erik Carlson
Paul Gutmann
Roland Hawkins
Trevor Lemon-Todd
Graham Remple
Nathan Romportl
Nicholas Swanson
Phillip Takemura Sears
Colyn Tvete
Adán Varela
BARITONE/BASS
Joe Allen
Mark Billy
Benjamin Crickenberger
Keith Davidson
Joshua Eidem
Grady Klein
Yitao Lin
Andrew Nalley
Niko Simmons
Tyrie Williams
SUPERNUMERARIES AND DANCERS
Brandon Sieck
Hannah Benditt, Super Captain
Alejandra Iannone
Anna Novak
The health and safety of our staff, guests, and artists is our top priority, and we are following public safety guidelines from the Centers for Disease Control and Prevention (CDC) and the Minnesota Department of Health.
Thanks to decreased COVID cases in the Twin Cities area and throughout the state of Minnesota, it has become easier to gather safely. Our up-to-date policies reflect these changes, but we continue to evaluate the environment, as well as the latest guidance from the Centers for Disease Control and the Minnesota Department of Health and will adjust our health and safety policies accordingly. Please do not hesitate to reach out to us with any questions or concerns.
Masks are no longer required, but are welcome and encouraged.
Proof of COVID-19 Vaccination and negative COVID tests are no longer required.
We still ask that guests stay home if they are sick or exposed to COVID-19. Please contact Minnesota Opera Patron Services (612-333-6669) to transfer your tickets to another performance, donate your tickets, or request a refund.
For questions, comments, or more information about The Arts Partnership’s commitment to keeping you safe. Please contact Minnesota Opera’s ticket office at 612-333-6669 or hello@mnopera.org.
The Ordway’s air system brings in fresh air from the outside to help limit the spread of airborne viruses like COVID-19. In addition, several updates have been made to further improve air safety inside the Ordway.
• Upgrading the heating, ventilation, and air-conditioning (HVAC) filtration to high-efficiency MERV 13 filters, following Minnesota Department of Health best practices.
• Added HVAC controls and sensors to improve air velocity within the building and provide additional monitoring and control of the system by our facility engineers.
• Removed forced air hand dryers in all restrooms, which have been shown to disperse a high quantity of bacteria into the air and replaced them with paper towel dispensers.
In addition to the robust cleaning practices that were already in place, the Ordway has:
• Increased the frequency of cleaning throughout the building for high-touch areas in the front of house and back of house areas of the Ordway.
• Added state-of-the-art practices including selfcleaning anti-microbial covers in high-touch areas where possible.
• Set up hand-sanitizing stations throughout the venue.
• Trained all employees in critical hand washing and cleaning guidelines.
• Replaced waste receptacles with open top units so guests can throw out items without touching any surfaces.
The Daughter of the Regiment has some of the most challenging music in the operatic repertoire. It takes especially skilled singers to bring the beloved characters of Marie and Tonio to life, and we’re extremely lucky to have Vanessa Becerra and David Portillo joining us for this production. Recently, they were kind enough to sit down with us to answer a few questions about themselves and share what it’s like to prepare for the vocal pyrotechnics on full display in Donizetti’s laugh-out-loud comedy.
Describe your character in three words.
VB Marie is loyal, curious, and rambunctious.
DP Tonio is smitten, compassionate, and persistent.
What are some of the joys and challenges of performing this role?
VB The playful dynamic between Marie and her “adoptive fathers” is so fun and energetic, I love how genuine it is! The challenge lies in singing this virtuosic style of bel canto, maintaining ease and steadiness when I am sure I will want to run and jump and play like the carefree person Marie is! It will be a balancing act for sure.
DP Tonio has an array of emotions, musicality, and vocalism through Daughter, and this dynamic opera makes the show a very fulfilling evening for me and the audience. I love to sing the luscious bel canto lines of the duet “Cavatina” in the first act then immediately switch to the bouncy polka with Marie — it's all so fun. I'm looking forward to singing under the baton of Maestro Kelly Kuo for this gorgeous music. Soon after the duet, Tonio has his biggest hill to climb — the 9 high C's of "Ah, mes amis" — where he has to convince the regiment to allow him to marry Marie. With the scene set and active staging by director John de los Santos, surrounded by the amazing
regiment singers, and the orchestra playing raucously in the pit, this daunting aria really becomes a very joyful event for me.
What are the themes or messages of this piece that you think will resonate with our audiences?
VB I think a major theme in this story is identity. We all have such unique stories and life experiences that inform who we are, who we become, how we grow, and family takes plenty of different forms. I think Marie’s journey is hugely relatable for a lot of people!
DP This comedic favorite can teach about loyalty, family, social expectations, and especially gender norms. In the story, Marie is forced to move from her rough, boyish life in the regiment to a frilly, feminine aristocratic lifestyle, and she is not happy about it at all. In the first act, audiences are able to see this tomboy be loved by her adopted family, see that Tonio is completely in love with her, and understand that she loves him back. The second act of Daughter highlights her longing to be back with her chosen family, and her need to 'be her true self.' This will only be highlighted with the special guest starring of drag superstar Monét X Change as the The Duchess of Krakenthorp to show the audiences that love, chosen family, and compassion always conquer social and gender expectations.
What makes The Daughter of the Regiment such a funny, exciting, and heartwarming piece?
VB Honestly the recipe is perfect — an abandoned baby girl, a group of clunky men figuring out how to nurture her as best as they can, inevitably raising a boisterous, hoydenish woman. At the end of the day, they loved her as sincerely as if they were blood related, and she loved them just as well.
DP The music and singing in The Daughter of the Regiment clearly show each emotion in the
story — love, conflict, loneliness, and overwhelming joy. This exciting cast, with Vanessa Becerra leading as Marie, gets to sing some heartbreaking melodies. The beautiful first-act finale shows how hard it is to leave her life as a "vivandiere" in the regiment. The most recognizable tunes are the military and march songs that this amazing chorus of regiment singers, led by Chorus Director Celeste Marie Johnson, perform — these are ALL FUN. "Salut à la France," "Chant du Regiment," and the catchy fun "Rataplan" are my favorite of the whole opera — the audience will have plenty to hum as they leave the theater.
Do you have plans for your time in Minnesota?
VB I have been here for three days and have already eaten at two of my favorite restaurants in town! (Spoon and Stable and Young Joni). Tonight is a new restaurant for me (Petite Leon) so, essentially I plan to eat my way through this whole town.
DP After having just moved away from Minnesota (St. Louis Park) a few months ago, we have lots of friends and familiar faces to see! In winter, we love the theater and music scenes with few choice outdoor spots. I can't wait to visit the Bde Unma (Lake Harriet) Art Shanty Festival again this winter, and the winter kite festival there is great too! The Guthrie and MN Orchestra are both on the list, as well as trying to see the Boticelli at the MIA before it's gone. I also have several pizza places I'm missing a lot like Rosalia, Boludo, and Pizzaria Lola.
Minnesota Opera’s of the Regiment anticipated special guest to star as the infamous Duchess of Krakenthorp: Monét X Change. Some would call Monét a triple threat, but she effortlessly exceeds this accolade. A modern visionary, Monét is a writer, singer, producer and most notably, an American drag queen and RuPaul’s Drag Race double crown winner. On the show, she performed an astonishing rendition of “Vi ravviso, o luoghi ameni” from La Sonnambula that stunned fans across the nation. Monét’s debut as The Duchess of Krakenthorp will be a milestone as her first time performing opera in full drag. Her captivating stage presence and sultry bass vocals will keep audiences enthralled night after night.
Monét X Change will be joining the ranks of iconic figures who have portrayed The Duchess of Krakenthorp in productions of Gaetano Donizetti’s laugh-out-loud opera. Historically, The Duchess of Krakenthorp is a non-singing cameo role that has featured a unique cast of performers, including Bea Arthur of The Golden Girls, esteemed operatic sopranos Kiri Te Kanawa and Montserrat Caballé, and perhaps most prominently, the late Supreme Court Justice and avid opera lover Ruth Bader Ginsburg. Regarding her operatic debut, Monét X Change expressed, “It honestly means the world to me. I spent many hours throughout my undergrad in a cold room with a piano, my bass aria books, and practice log, awaiting a moment like this… and — it’s finally here.”
Although this role does not traditionally include singing, Monét X Change is elevating the role with her own flair by performing an added aria. This expansion of the role capitalizes on the operatic
training she received while studying at the Westminster Choir College of Rider University. During her time as a student, she was featured in opera productions including The Magic Flute La bohème. This additional musical offering, combined with her colorful personality and experience as an accomplished performer, will help bring this show-stopping role to life in a new way.
This performance will not only push the boundaries of traditional opera, but also will encourage younger generations of queer and drag performers to pursue their passions, in and out of drag. Monét X Change’s drag experience aligns with her deep appreciation for opera in a profound way. “Opera was my first love in the arts. It’s definitely how I discovered the artiste that lives in me, and drag was how I discovered my queerness,” she says. “You put those together, add a pair of 301 lashes, and you have the perfect intersection of an operasinging drag diva!”
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This performance will not only push the boundaries of traditional opera, but also will encourage younger generations of queer and drag performers to pursue their passions, in and out of drag.”
SO HOT, HE’LL BURN.
Libretto by Lorenzo Da Ponte
So hot, he’ll burn. Don Giovanni is an egotistical and infamous womanizer, brazen in his shameless seductions. But his betrayals soon catch up to him when divine retribution exacts the ultimate price. Mozart’s sharp and otherworldly opera seamlessly blends dark comedy with biting social commentary, all set to some of opera’s most stirring music.
Sung in Italian with English captions projected above the stage.
Timely and Timeless”
— New York Times
“Striking Notes
Chair | Nadege Souvenir
President and General Director | Ryan Taylor
Vice Chair | Mark Gordon
Secretary | Barton Reed
Treasurer | Jeninne McGee
Joelle Allen
Patricia Beithon
Meg Blake
Sharon Bloodworth
Sosha Brink
Jane Confer
Roma CalatayudStocks
Terrance Dolan
Gayle Fuguitt
Dorothy Horns, M.D.
Amy Hoffman
Mary IngebrandPohlad
Philip Isaacson
Diane Jacobson, Ph.D.
Deborah Jiang-Stein
Anna Kokayeff, M.D.
Mary Lazarus
Robert Lee
Natalie Volin Lehr
Rachelle McCord
Fayneese Miller, Ph.D.
Kay Ness
James Powell
Elizabeth Redleaf
Cris Ross
Mary Schrock
Missy Staples Thompson
William White
Margaret V.B. Wurtele
Wayne Zink
Philip Brunelle
Liz Kochiras
Karen O. Bachman
John A Blanchard, III
Susan Boren King
Burton Cohen
Ellie Crosby
John Huss
Ruth Huss
James E. Johnson
Lucy Rosenberry Jones
Gale Sharpe
Kevin H. Smith
Virginia Stringer
Mary W. Vaughan
Sosha Brink
Marjahn Golban
Raegan Henderson
Alison Jarzyna
Elijah Saiger
Jon Tollefson
EXECUTIVE
President and General Director | Ryan Taylor
Executive Manager | Andrew Sun
ADMINISTRATIVE
Vice President, Administration and Board Relations | Theresa Murray
Human Resources Director | Jen Thill
Luminary Arts Center Director | Julia Gallagher
Front of House Manager, Luminary Arts Center | Zachary Staads
Luminary Front of House Associates | Annika Hansen, Cameron Varner, Claire Frederick, Dixie Treichel, Emma Goecks, Maya Gillard
ADVANCEMENT
Vice President, Advancement | Lani Willis
DEVELOPMENT
Associate Institutional Giving Director |
Esther Blevins
Development Director | Jeremie Bur
Strategic Growth Director | Erin Flannery
Associate Individual Giving and Fundraising Events Director | Leila Keïta
Development Associate |
Jonathan Lundgren
Associate Patron Relations Director |
Kristin Matejcek
Campaign and Annual Giving Manager |
Charlotte Summers
MARKETING AND COMMUNICATIONS
Marketing and Communications Associate | Amran Abdulkadir
Digital Marketing Associate | Daniel Bynum
Associate Marketing Director | Essie Lash
Associate Communications Director |
Severin Lier
Graphic Designer | Genie Hien Tran
PATRON SERVICES
Patron Services Manager | Karl Annable
Tessitura Administrator | Kevin Beckey
Patron Services Coordinator | Alexis Alcala
Patron Services Associate | Thomas Bryant
Patron Services Representatives | Carol Corich, Eva Gemlo, Evy Johnson, Walid Keïta, Emily Ross
ARTISTIC
Vice President, Artistic | Joseph Li Head of Music | Mario Antonio Marra Company Manager | Roxanne Stouffer Cruz
Artistic Administrator | Salvatore S. Vasta III
Principal Coach and Chorus Director | Celeste Marie Johnson
Company Artist | Symone Harcum
Resident Artists | Efraín Corralejo, Charles H. Eaton, Keely Futterer, Erica Guo, Christina Hazen, Jeremiah Sanders
FINANCE
Vice President, Finance | Janelle Erickson Controller | Patty Wilber
System Administrator | Tony Ngonekeo
Staff Accountant | Chris Olsen
IMPACT
Equity, Diversity, and Inclusion Director |
Rocky Jones
Access and Civic Engagement Director |
Samuel A. Phillips
Access and Civic Engagement, Assistant Director | Frankie Charles
Creative Development Program Director |
Daniel Fung
Creative Development Program
Manager | Yuanfei Chen
Equity, Diversity, and Inclusion
Coordinator | Emilia Mettenbrink
Youth Programs Music Directors |
Sara Sawyer, Jared Miller, Rick Hoops
PRODUCTION
Vice President, Production | Karen Quisenberry
PRODUCTION AND FACILITIES
Associate Production Directors |
Genoveva Castañeda, Kerry Masek
Technical and Facilities Director | Josh Peklo
Costume Director | Corinna Bakken
Assistant Technical and Facilities Director |
Jerry K. Smith
Facilities Manager | Steve Mittelholtz
Assistant Facilities Manager | Jona Peters
Lighting Coordinator | Ray Steveson Jr.
Production Operations Coordinator and COVID Safety Manager | Sarah Lockwood
Tech Lighting Assistant | Alexander Clark
STAGING STAFF
Production Stage Manager | Emily Butzi
Assistant Stage Managers | Patricia Garvey, Kelani Mueller, Jaya Robillard
Company Artist Assistant Stage Director |
Margaret Jumonville
SCENERY AND PROPERTIES
Production Carpenter | Max Gilbert
Senior Carpenter | Eric Veldey
House Technician, Luminary Arts Center |
Ren Effertz
Carpenters | Grant Bowen, Ella Egan
Scenic Painter | Erica Zaffarano
Properties | Rachel Krieger, Jenny Moeller, Kenji Shoemaker
COSTUMES
Costume Administrator | Molly O’Gara
Tailor | Yancey Thrift
Drapers | Katrina Benedict, Chris Bur
Costume Crafts and Dye Head | Danielle Jordan
First Hands | Helen Ammann, Sara Huebschen, Rebecca Karstad
Stitchers | Brigid Borka, Ann Friese, Brandi Mans
Hair and Makeup Co-Designers |
Priscilla Bruce, Emma Gustafson
Hair and Makeup Supervisor |
Emma Gustafson
Hair and Makeup Run Crew |
Krystyana Campbell, Wendy Frank, Alex Xiong
Renee Brown, Evelyn Flaherty, Jess Hoffert, Julie Karlson, Angela Lacombe, Sumaya Roble, Lauren Rosemurgy, Mary Sheehy, Hilary Smith, Dana Strothenke, Charlotte Summers, Gary Tassone, Norman Tiedemann, Kristie Tigges, Anne Todey, Patty Wilber, Chris Wolohan
Minnesota Opera is a proud member of The Arts Partnership with the Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra, and Schubert Club
MARCH 9–26, 2023
THE LUMINARY ARTS CENTER
A father’s love, a family’s journey.
Based on Kao Kalia Yang’s memoir, the first Hmong story adapted for the operatic stage tells the story of Yang’s family and her song poet father. With his poetry, her father inspires hope in his family, polishing their reality so that they might shine.
Don Giovanni
MAY 6–21, 2023
THE ORDWAY
So hot, he’ll burn. Don Giovanni is an egotistical and infamous womanizer, brazen in his shameless seductions. But his betrayals soon catch up to him when divine retribution exacts the ultimate price. Mozart’s sharp and otherworldly opera seamlessly blends dark comedy with biting social commentary, all set to some of opera’s most stirring music.
MAY 19, 2023
THE FILLMORE
Minnesota Opera presents its 60th anniversary season fundraiser. Beyond the Gala will be a joyful and inspiring evening celebrating a history of groundbreaking vision and a future that expands the circle of storytelling, and benefiting the art, artists, and new works of Minnesota Opera.
Minnesota Opera Patron Services 620 North First Street, Minneapolis, MN 55401 612-333-6669
Regular Hours: Monday–Friday, 10am–5pm
Performances
Weekdays — phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Ticket Office 90 minutes prior to curtain.
mnopera.org
Visit mnopera.org to watch behind-thescenes videos, read synopses, browse digital programs, and more. Join our e-club to receive special offers and opera news.
Ticket Policies
Refunds are currently available. Additionally, any ticket may be returned for a tax-deductible donation up until curtain by calling the Minnesota Opera Patron Services. We will send a tax receipt to you acknowledging the value of the ticket, minus any applicable fees.
Parking
Prepaid parking is available for opera patrons at the Lawson Commons Ramp. Call 612-333-6669 or visit mnopera.org to purchase passes.
Accessibility
For patrons with disabilities, wheel-chairaccessible seats are available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. At the Ordway, accessible restrooms and other facilities are available, as well as braille or large-print programs and infrared listening systems. For more information, please visit mnopera.org/access.
Ordway Policies
Ordway is a smoke-free facility.
Latecomers will be seated at an appropriate break.
Please have all cell phones and pagers turned to silent mode.
Children under six are not permitted in the hall.
Cameras and recording equipment are strictly prohibited in the theater. Please check items with an usher.
Food and beverage are available for purchase prior to the show and during intermission. Water and other beverages are allowed in the theater (hot beverages require lids), but food is strictly prohibited.
The phone number for emergencies is 651-224-4222. Please leave seat locations with the calling party.
Lost and Found is located at the Stage Door. Call 651-282-3070 for assistance.
Anonymous (7)
Jerome Abrams and Gayle Breutzman
Karen Ahles
Gordon Alexander
Richard Allendorf
Arlene and Tom Alm
Charlene Altman
Joy K. and J.C. Amel
Edwin Andersen
Anita M. Anderson
Katherine Anderson
Renner and Martha Anderson
Rolf T. Anderson
Nina Archabal
Kevin J. Armstrong
Linda Aronson
Martha and Dan Aronson
Martha and H. Brewster Atwater
Douglas Bach
Karen Bachman
Ruth and Dale Bachman
Thomas and Ann Bagnoli
Josephine and Gordon Bailey
Susanne and Johan Bakken
Gail and James Bakkom
Thomas Barber
Thomas and Jill Barland
Jerald Barnard
Mr. and Ms. Joseph Barsky
Thomas J. Basting Jr and Rebecca Arons
Mark Bayuk
Cornelia H. Beck
Longine Beck
John and Julie Beckmann
Patricia Beithon
Judson and Carol Bemis
Sue A. Bennett
Eli Berg-Maas
William J. Biermaier and David Hanson
Sharon Bigot
James E. Billings
David Bjork and Jeff Bengtson
Joe Blade
David and Diane Blake
Stephen and Margaret Blake
Mary and Gus Blanchard
Sally and Maurice Blanks
Mitchell E. Blatt and Michele Lepsche
Sharon Bloodworth and Barrett Johnson
Susan Bloyer
George and Joan Bohlig
Mary and Edward Bohrer
Roger Bolz
Kenneth and Peggy Bonneville
Susan S. Boren King
Nisha Botchwey PhD
William and Margaret Bracken
Al Bradley
Gerald Bradley
Philip Bradley
Margaret Brandl and James Salutz
Brian Brastad and Susan Pastika
INDIVIDUAL DONORS WHO HAVE MADE GIFTS TOTALING $250 OR MORE TO OUR ANNUAL FUND, FUND-A-DREAM, OR SPECIAL INITIATIVES BETWEEN JULY 1, 2021 – DECEMBER 31, 2022. THANK YOU FOR SUPPORTING ART AND THE ARTISTS WHO CREATE IT.
Barbara and William Brauer
Dennis Brennan
Arnold and Judith Brier
David and Dava Briggs
Jan and Eli Briones
Roger and Ronnie Brooks
Cheryl Brown
Thomas and Joyce Bruckner
Philip and Ellen Bruner
Stephen Bubul and Lee S. Lewis
Samuel R. Burgin
Paula and Paul Butzi
Lee J. Bynum
Rachel Cadwell
Roma Calatayud-Stocks
James Callahan
Susan Calmenson and Vince Leo
Renee Campion and David W. Walsh
George and Joan Carlson
Laurie Carlson and William Voedisch
Peter Carlson
Ruth Carp
Robert J. Carr
Alberto Castillo and Judith Garcia Galiana
Paul Chase
Rachelle D. Chase and John Feldman
Mary and James Chastek
Josephine Chervenak
William and Nancy Child
John Clay
David and Wanda Cline
Robert Clough
Rusty and Burt Cohen
Gary B. Cohen
Brenda Colwill
Herbert Colwill
Patrick and Christina Comer
Andrew Compton
Jane M. and Ogden W. Confer
Roger and Wallys Conhaim
Daniel P. Connolly
Paul Coons
Gisela Corbett and Peter Hyman
Stephen and Joan Costello
Jeffrey and Barbara Couture
Susan and Richard Crockett
Eleanor Crosby
Michael and Stacey Crosby
Helen and John Crosson
John Crosson
Stephanie Daily and James Hughes
Gretchen Davidson
Fran Davis
Stephen Davis and Murray Thomas
Patricia and Patrick Day
Julia W. Dayton*
Jay and Rebecca Debertin
Karl Dedenbach and Marie-Christine Leisz
Daniel DeJongh
Danielle Demko
Mr. Charles Denny, Jr.
Eugene DiMagno
Terrance and Susan Dolan
Chicago Opera Theater
Harvey D. Doucette
Maureen and John Drewitz
Rita Drone
David C. Dudycha and Dorothy E. Vawter
Lonnie Dunbier
Benton Duncan
Curtis Dunnavan
Margaret E. Durham
Timothy Dykstal
Mary A. Ebert and Paul Stembler
Laura and Tim Edman
Hugh and Joyce Edmondson
Frances Edstrom
Holli and Stefan Egerstrom
Desiree Einsweiler
Vicki and Chip Emery
Christie Englund
Janelle Erickson
Rondi Erickson and Sandy Lewis*
Anna Marie Ettel
Elizabeth Everitt
Ann Fankhanel
George A. Ferguson III
Kathryn Fernholz
Julia and Brian Finstad
Norma Fischer
John J. Flynn and Deborah Pile
Salvatore Silvestri Franco
Patricia R. Freeburg
Iris C. Freeman and Warren Woessner
Virginia Friend
Gayle Fuguitt and Tom Veitch
Mary and Jay Gallagher
Michael and Carol Garbisch
Melinda Garner
Gerard Gaynor
Emanuel Gaziano
Leland and Beverly Gehrke
Nancy and Clyde Gerber
Susan and William Gerberich
Teddy Gesell
Mary Gillespie
Bill and Paula Glade
James and Jo Glasser
James Glazier
Danielle Goerke
John C. Goetz
Marjahn Golban
Barbara Golden
Graciela Gonzalez
Mark Gordon and Anne Zweibel
Sally Gordon
Richard and Marsha Gould
Alicia Graham
Charlotte L. Grantier
Dr. Richard Gregory
Jeffrey Griffin
Jan Grimes
Jennifer Gross and Jerry LeFevre
Bruce and Jean Grussing
S. Asim Gul
Susanne Haas and Ross Formell
Marian Haataja
Donald and Marion Hall
Mark and Lana Halldorson
Russell and Priscilla Hankins
Anne Hanley and George Skinner
Kathleen Hannon
Laurie Hansen
Ms. Kathryn C. Harper
Michele S. Harris and Peter Tanghe
Alfred and Ingrid Harrison
Phebe Haugen
Joan Hawkinson
Dennis C. Hayden
John Heer
Donald P. Helgeson and Sue Shepard
Stefan and Lonnie Helgeson
John and Rosmarie Helling
David and Kristine Henderson
Jason and Libby Hernadez
Cliffton and Sharon Hill
Jonathan E. Hill
Dewayne Hillman
Elfrieda Hintze*
Amy J. Hoffman
Daniel Hollihan
Julie Holman
Joseph and Nancy Holmberg
Jean M. Holten
Karen and Brian Hopps
Steven and Mary Hornig
Dorothy J. Horns and James Richardson
Arthur and Fran Horowitz
Burton and Sandra Hoverson
Benjamin W. Hulse and Maureen C. Sheehan
Kathleen and Robert Humphrey
Dr. and Mrs. Thomas Hurwitz
Mary and Jeffrey Husband
Ruth and John Huss
Mary Ingebrand-Pohlad
Jill Irvine Crow
Mr. and Mrs. Philip Isaacson
J D Jackson
Ray Jacobsen
Diane and Paul Jacobson
Eric Jacobson
Mark and Jeanne Jacobson
Barbara Jenkins
YPO Forum 36 in honor of Daniel Prins
Charlie Johnson
Paula and Bryce Johnson
Sharon and Fredrik Johnson
Eric and Elizabeth Jolly
Michael Joncas
Janet N. Jones
Lucy Rosenberry Jones and James E. Johnson
Marcia Jones
Nancy Jones
Charles and Sally Jorgensen
Julia Joseph-Di caprio
Robert and Susan Josselson
John and Kathleen Junek
Phyllis Kahn
Susan Kalmer
Teresa Kane
Kristine Kaplan
Ed and Martha Karels
Kathleen Keating and Richard Haskett
Michael and Sheue Keenan
Erwin and Miriam Kelen
Barbara Kelly
Warren and Patricia Kelly
Robert Kieft
Joseph and Carole Killpatrick
Hyun J. Kim
Judith Allen Kim
Melissa and Peter Kim
Richard A. Kinde
Blaine and Lyndel King
David King
Margaret V. Kinney
Judith A Kinsey
Andrea M. Kircher
Varvara Kirchner
Donald W. Klass
Arthur and Milly Klassen
John D. Klein
Mrs. James S. Kochiras
Anna Kokayeff
Kristin Kooiker
Stephanie Kravetz
Robert L. Kriel and Linda E. Krach
Robert and Venetia Kudrle
Robert and Barbara Kueppers
Constance and Daniel Kunin
James Kunz
Nancy Lacroix
James W. LaFave
Christl and Andrew Larson
Kenyon S. Latham
Elizabeth Laufers
Carol Law
Mary Ash and Barry Lazarus
Rick Leach
Norma Lechtman
David and Darlene Lee
Robert L. Lee and Mary E. Schaffner
Ilo and Peggy Leppik
Jonathan and Lisa Lewis
Kelvin Lim
James Lindell
Daniel W. Lindsey
Hinda Litman
William F. Long
Paul Lorton, Jr.
Natalie Losik
Sharon Lovo
Juanita B. Luis
Steven M. Lukas
Holly MacDonald and John Orbison
Micah Mackert
David MacMillan and Judith Krow
Dr. Joan E. Madden
Diane Malfeld
Helen and Frederick Markwardt
Sally and Don Mason
Kristin and Jim Matejcek
Roy and Dorothy Ann Mayeske
Rebecca Mazza
Sean McAleer
Greg McAndrews
Barbara McBurney
Laura McCarten
Betty and Matthew McConnell
James McConville
Rachelle McCord
Samuel and Patty McCullough
Charlene McEvoy
Jeninne McGee
Chris and Cheryl McHugh
Maryann and Kevin McKenna
Elizabeth McKinsey
Harvey Thomas McLain
Miquel McMoore
Garrett McQueen
David and Laurie Mech
Robert and Roberta Megard
Adele Mehta
Velia R. Melrose
Jack W. Meyer
Rita Meyer
Mrs. Walter Meyers Estate
John L. Michel and H. Berit Midelfort
David J. Miller and Mary Dew
Fayneese Miller
John P. Miller
Laurie Miller
Jim Miner and John Easton
Luana Mitchell
Patricia Mitchell
Bradley H. Momsen and Richard H. Buchholz
Alfred and Ann Moore
Leni and David Moore
Jack and Jane Moran
Linda Morey
James Morgan
Kelsey Mork
Marcia Morris
Sandra Morris
Jill L. Mortensen and Sharon K. Phillips
Andrea Mouw
Vita Muggli and James C. Dick
William and Imelda Muggli
Gordon and Barbara Murdock
Elizabeth Murray
Brian Myers
William Myers and Virginia Dudley
Sarah L. Nagle
Conrad N. Nelson
Fritz A. Nelson and Mina Fisher
Ingrid Nelson
Richard and Nancy Nelson
Merritt C. Nequette and Nancy Hartung
Kay Ness and Chris Wolohan
From the Family of Richard C. and Elizabeth B. Longfellow
Lucia Newell and Steven Wiese
Jay and Helen Newlin
Richard and Joan Newmark
Nancy and Richard Nicholson
Victoria Noble
Elizabeth and Neal Nordling
Brandon and Melissa Novy
Bradley Nuss
Virgil Nylander
Gayle and Timothy Ober
Patricia A. O’Gorman
Robert Olafson
James Olichwier
Chris Olsen & Shannon Rhatigan
Dennis R. Olson
Kathleen Olson
Reverend and Mrs. Robert A. Onkka
Ahmad and Ruth Orandi
Lauren Ostrem
Michael O’Sullivan
Dede Ouren
Luis Pagan-Carlo and Joseph Sammartino
Scott J. Pakudaitis
Julia and Brian Palmer
Derrill Pankow
Chris Paola
Elizabeth Parker
Robert L. Parks and Lori Wiese-Parks
Martin Patrick
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James A. Payne
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Craig Peifer and Lawrence Lozano
Lana K. Pemberton
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Anthony Person and Rebecca Augustine
Jane M. Persoon
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Corine and John Petraborg
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Dale Pillsbury
Marcos and Barbara Pinto
Gretchen Piper and Scott Rosenbaum
Anne and John Polta
Dwight and Christina Porter
Lorraine Potuzak
James Powell and Mitchell Czeh
Margaret Snedes Poyner
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Archana Ramaswamy
Marylu Ramirez
Carroll and Barbara Rasch
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Susan Rauch
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Lawrence M. Redmond
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Peter Reed
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Jane Reiman
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Claire Repp
Philip Rickey
Professor Julia Robinson
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LaRae Roder
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Ronald Roed
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Liane A. Rosel
Christopher Ross
Daniel Roth
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Ken Rothchild
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Peter Rothstein
Marian R. Rubenfeld and Frederick G. Langendorf
Andrea and James Rubenstein
Vicki Rupp
Hung Russell
Georgiana Ruzich
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Christine Sagstetter
Melville and Irene Sahyun
Alexandra Sakurets
Sampson Family Charitable Foundation
Shirley Sampson
Tom and Arlene Samsel
Julia Sand
Karen Sandberg
Mary Savina
Bill and Janet Schaeder
Noel Schenker
Mahlon and Karen Schneider
Fran Schoen
Mary H. and Christian G. Schrock
Richard and Carol Seaberg
Beatrice C. Sexton
Jerald and Leona Shannon
Alan E. Shapiro
Celia Shapland
Frank and Lynda Sharbrough
Gale Sharpe
Kevin Shores and Kevin Winge
Cherie and Robert Shreck
Marianne and Gordon Shumaker
Juliana and Bernie Simmons
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Madeline Simon
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Darryl Smith
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Mason G. Smith
Linnea Sodergren
Program Listing
Sarah Sotos
Nadege J. Souvenir and Joshua A. Dorothy
Daniel and Marilyn Spiegel
Jon Spoerri and Debra Christgau
Nancy Sponaugle
Daniel E. Stanton
Missy Staples Thompson and Gar Hargens
Julie Steiner
Donna Stephenson
Michael Stiffman
Donald and Leslie Stiles
Linda Stinson
Barbara Stoll
Mr. Art Stone
Warren Stortroen
Stephen and Dana Strand
Virginia and Edward Stringer
William Stuckey and Kelly Baker
Susan Surine
Vern Sutton
Craig and Janet Swan
Jerry Swenson
Charles and Marlys Taflin
Susan Tasa
Ryan Taylor
Lester Temple
Joyce Thielen
Andrew J. Thomas, MD
Jenny and Dave Thomas
Kay Thomas
Marie J. Thomas
Dr. Norrie Thomas and Gina Gillson
John and Jill Thompson
James Thomson
Jean Thomson
Debra R. Ting
Holly C. Trampe
Susan Travis
Rick and Debbie Treece
Josephine Trubek
Paul Udris and Sylvie Orenga
Wendy and Paul Unglaub
Kenneth and Kathryn Valentas
Stephanie C. Van D’Elden
Mary W. Vaughan
Catherine Vesley
Diedre Videen
John Vilandre
Cindy and Steven Vilks
Daniel Vogel
Natalie Volin Lehr
Randall Volk
H. Bernt von Ohlen and W. Thomas Nichol
Michael G. Walsh
Emily Wang
David L. Ward
Herbert and Lori Ward
Constance Waterous
Lily and Richard Weinshilboum
Hope Wellner
Gilbert Westreich
Nancy and Ted* Weyerhaeuser
Deborah Wheeler
Ann White
Barbara White
John and Sandy White
William White
Jeff Wiemiller and Joe Anderson
Paul and Carolynn Wiggin
Barb Wildes
Wendy Wildung
David and Rachelle Willey
Donald Williams and Pamela Neuenfeldt
John M. Williams
Lynn Williamson
James and Barbara Willis
Lani Willis and Joel Spoonheim
Ann P. Winchester
John W. Windhorst Jr.
Susan and Curt Wischmeier
Jean and Ray Witter
Richard and Margaret Woellner
Maureen and Christian Woeltge
Eric Won
Margaret V.B. Wurtele
Dean Yohnk
Debara Zahn
Wayne Zink and Christopher Schout
Felix Zwiebel
The following lists donors who, through their foresight and generosity, have included Minnesota Opera in their wills or estate plans.
Anonymous (2)
Paul and Valerie Ackerman
Thomas Allen
Dr. and Mrs. Rolf Andreassen*
Mary A. Andres
Howard J. Ansel, MD
Marcia J. Aubineau
Ms. Karen Bachman
Thomas and Ann Bagnoli
Patricia Beithon
Carol J. Bergeson
Susan Boren King
Al Bradley
C.T. Bundy II*
Margaret M. Carasik
Jon L. Schasker* and Debbie Carlson
George and Joan Carlson
Richard and Darlene Carroll
Robert Clough
Julie and Dan Cross
Julia W. Dayton*
The following endowment funds, created by visionary and generous donors, continue the work of Minnesota Opera for future generations.
Art of Singing Endowment Fund
To support exceptional training for Resident Artists by providing learning opportunities with leading artists and experts.
The following lists donors who have made gifts in honor or in memory of a loved one between July 1, 2021–October 1, 2022.
lan Klevit
Anonymous
Alyda Mini
Diana Mini and David Carroll
Arthur and Judith Brindley
Eric Brindley
Daniel Gacki
Boren Family Fund
Daniel Prins
Janet Johanson
Dean and Karin Phillips
Jan and Janet Phillips
Elfrieda Hintze
Linda King
Elisabeth and John Heefner
Elisabeth and John Heefner
Enrique Rotstein
Timothy and Susanna Lodge
Eva Csathy
Eva Weyandt
Irene Browning
Paul Zerby and Ann Browning Zerby
Joan Jacobs Rubenfeld
Marian Rubenfeld
Charles M. Denny Jr. and Carol E. Denny*
Ms. Susan Doty
Anne P. Ducharme*
Dr. Mary A. Ebert and Paul Stembler
Rondi Erickson and Sandy Lewis*
Ms. Ann Fankhanel
Mrs. Ester L. Fesler
Salvatore Silvestri Franco
Daniel E. Freeman
Charles J. Frisch
Dr. Paul Froeschl
Katy Gaynor
Mrs. Ellen Green
Michelle Hackett
Russell and Priscilla Hankins
Anne Hanley and George Skinner
Mrs. Mary Abbe
Elfrieda Hintze*
Mrs. Jean M. Holten
John Humleker and Cordelia Anderson
Kathleen and Robert Humphrey
Steven and Nancy Johnson
Dr. Charles and Sally Jorgensen
Dr. Robert and Susan Josselson
John and Kathleen Junek
Dr. Markle Karlen
Patty and Warren Kelly
Blaine and Lyndel King
Sally and Bill Kling
Barbara White Bemis Fund for Artistic Enhancement
To enhance the quality of performances by providing funds to engage singers who have received awards through the Metropolitan Opera National Council Auditions.
Daniel E. Freeman Endowment Fund
To support Minnesota Opera’s education programs.
Dolly Fiterman Fund for New Production Opera Design
To support the creation of new productions by providing funds to engage designers and create new sets.
Joan and Joe Nagle
Ms. Sarah Nagle
Jon Schasker
Deborah Carlson
Joy Smiley Zabala
Adriana Zabala
Judy Anderson Brindley
Arthur and Judith Brindley
Ruth and John Huss
Judy Dayton
Christine and Jon Galloway
Rachelle Chase and John Feldman
Judy Lear
David Ward
Marilyn Johnson
Christopher Peterson
Mark Lindblad
Ms. Kathleen S Lindblad
Michael Birt
Ms. Maria Eggemeyer
Mr. Gordon Ray Travis
Susan Travis
Mr. Robert E. Rocknem
Ann Kristen Rocknem
Mrs. Myrtle Grette
IvaNell Monson
My Parents who were lovers of opera
Mr. Peter Douglas
Neal Viemeister
Virginia Kirby
Paige Duncan
Miss Caroline Foster Duncan
Ruth Bader Ginsburg
Ms. Liz Lew
Larry Klueh
James and Liz Krezowski
Dr. Robert L. Kriel and Dr. Linda E. Krach
Robert and Venetia Kudrle
Christl and Andrew Larson
Jim Lawser and Duane Bandel
Mary Ash and Barry Lazarus
Gerald and Joyce Lillquist
Dawn M. Loven
Tim Manych
Barbara McBurney
Mary McDiarmid
Mary Bigelow McMillan
Margaret L. Meyers
John L. Michel and H. Berit Midelfort
Karla Miller
Ms. Kay Ness
Richard and Joan Newmark
Scott J. Pakudaitis
Derrill Pankow
Debra Joyce Paterson
Lana K. Pemberton
Mr. Jose A. Peris and Ms. Diana Gulden
Mrs. Sydney Phillips*
Tim and Mary Pieh
Ms. Phyllis Price
Brian and Patricia Prokosch
Mrs. Liane A. Rosel
Ken Rothchild
Mary Savina
Founders Endowment Fund
To support new and innovative opera performances that honor the spirit, energy, and creativity of the founders in the beginning days of the Center Opera.
Joan Jacobs Rubenfeld Memorial Fund
To support the attendance of high school students at MN Opera performances.
Minnesota Opera Center Preservation Fund
To support Opera Center building improvements. The Preservation Fund recognizes the legacies of Judson Bemis and Kevin Smith, who through their leadership created the Opera Center.
Scott Krenz
Emerson L Williams
Jack Lewis
Mary Kathleen Quinn
Sue Nelson
Anne Mollerus
Michael and Judith Mollerus
Clara Osowski
Barbara Brown
John A. Michel
Coreen Nordling
John and Sibylle Miller
Darlene Mueller
Tamera Bisping
Diana Whitecross
Mr. Peter William Riola, Sr
Dr. Everett Vern Sutton
Donald Helgeson and Sue Shepard
Eleanor Crosby
Rudolph and Susan Rauch
Eva and Peter Weyandt
Michael Weyandt
Jenn Maatman
Jeffrey Gigler
Jon and Anna McVittie Szafranski
Frances W McVittie
Judy Lear
Barbara Kelly
Julie Greif
Anne E Susag
Lani Willis and Joel Spoonheim
Katherine Magy
Josef Schermann
Mary H. and Christian G. Schrock
Mr. and Mrs. Duane Schroeder
Schwab Charitable
Dr. Frank and Lynda Sharbrough
Robert Shearer and Joan Gustafson
Mr. Drew Stewart and Ms. Anna Hargreaves
Virginia and Edward Stringer
Mr. Gregory C. Swinehart and Ms. Mitra Walter
Ryan Taylor
Dr. Anthony Thein
Stephanie C. Van D’Elden
Mary W. Vaughan
H. Bernt von Ohlen and W. Thomas Nichol
Lola Watson
William White
Wayne Zink and Christopher Schout
Mr. Harvey Zuckman and Mr. Philip Oxman
For more information on making estate plan arrangements, please contact Jeremie Bur at jbur@mnopera.org
* in remembrance
Valerie and Paul Ackerman Endowment Fund
To support the attendance of youth at Minnesota Opera performances.
Virginia L. Stringer
Endowment of the Minnesota Resident Artist Program
To support the Resident Artist Program. The appearance of the Resident Artists in this production is made possible by this endowment fund.
William Randolph Hearst
Endowment for Education and Outreach Programs
To support Minnesota Opera’s education and outreach programs.
MN Opera Costume Department
Maria Ramirez
Mr. Dale A. Johnson
Brian Staufenbiel
Mrs. Elizabeth Kochiras
Kochiras Family Fund
Mrs. Theresa A. Murray
Schmiechen Charitable Fund
Ms. Natalie Losik
The Losik Savage Charitable Gift Fund
Ms. Susan A Janda
Mr. John Zelenka
Nancy and Clyde Gerber
Patricia Cavanaugh
Robert and Barbara Kueppers
Carroll Cisek
Caroline Wilbrecht
Roland Hanson
I.U.P.A.T. District Council No. 5
Ruth and John Huss
Sally and Thomas Patterson
Sean Dorsey and Kara Eliason Dorsey
Brian Henry
Vicki Wheeler
Kurt Wheeler
Wendy Mullins
Anne E Susag
Christopher Hermann and Brian Pietsch
Gretchen Piper and E. Scott Rosebaum
Ryan Taylor
Kelley Dorhauer
Mr. & Mrs. Glynn E. Behmen Sr. Family
Glynn Behmen
MINNESOTA OPERA GRATEFULLY ACKNOWLEDGES ITS MAJOR INSTITUTIONAL SUPPORTERS:
This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.
Anonymous (2)
Best Buy Foundation
Boss Foundation
Dellwood Foundation
The Elizabeth C. Quinlan Foundation
Faegre Drinker
Hutter Family Foundation
Margaret Rivers Fund
Mayo Clinic
McVay Foundation
Onan Family Foundation
Pachel Foundation
Peravid Foundation
RBC Foundation
Romanaggi Foundation
Schwegman, Lundberg, & Woessner P.A.
Tennant Foundation
Travelers
For information on making a corporate or foundation contribution to Minnesota Opera, please contact Esther Blevins, Associate Institutional Giving Director, at eblevins@mnopera.org.
Fred C. and Katherine B. Andersen Foundation
