PROGRAM: Bravo 1995-96 Commemorative Program- Inaugural Season at the Detroit Opera House

MICHIGAN OPERA THEATRE COMMEMORATIVE PROGRAM

1995-96 INAUGURAL SEASON AT THE DETROIT OPERA HOUSE SEASON SroNsqRED BY II® General Motors®

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THE WHITE HOUSE WASHINGTON

January 17, 1996

Warm greetings to everyone celebrating the twenty-fifth anniversary_ of the Michigan Opera Theatre and the opening of the Detroit Opera House.

The performing arts have long been a vibrant part of our cultural life, thrilling and inspiring audiences across the country.

They entertain and educate us, opening our minds and awakening our senses to the beauty and complexity of human experience. With their variety of perspectives, the performing arts bring communities together, enabling us to gain a deeper understanding of ourselves and our society.

The Detroit Opera House promises to add its own rich contr ibutions to America's artistic heritage. Offering the best of opera , dance, and musical theatre, the Michigan Opera Theatre and the Detroit Opera House are strengthening the spirit of community in the city of Detroit, bringing diverse audiences together in a common appreciation of the arts.

Both MOT and this wonderful new opera house will prove to be an enduring source of pride for the people of Michigan and for our entire nation.

As you celebrate-! his impressive milestone, I applaud you for your long-standing commitment to excellence, and I send best wishes for a bright new future of artistic accomplishment.

Copyright 2010, Michigan Opera Theatre

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Copyright 2010, Michigan Opera Theatre

ST A TE OF MICHIGAN OFFICE OF THE GOVERNOR

LANSING JOHN ENGLER GOVERNOR

April 20, 1996

Dear Friends: As Governor of the State of Michigan, it is my pleasure to congratulate the Michigan Opera Theatre on the long-awaited opening of the Detroit Opera House.

This is certainly an event worth celebrating!

Since its inception in 1971, the Michigan Opera Theatre has become one of the nation's 10 largest opera companies. I applaud its efforts to make opera accessible to people throughout the state of Michigan and to revitalize Detroit's historical theatre district. This, the year of its 25th anniversary and the opening of the Detroit Opera House, promises to be the Michigan Opera Theater's most successful yet.

Again, I am pleased to congratulate the Michigan Opera Theatre on the opening of the Detroit Opera House. Please accept my best wishes for continued success.

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Copyright 2010, Michigan Opera Theatre

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DRIVING

DENNIS W. ARCHER, MAYOR CITY OF DETROIT

EXECUTIVE OFFICE

April 20, 1996

Michigan Opera Theatre Lothrop Landing 104 Lothrop Detroit, MI 48202

DEARM.O.T. ADMINISTRATION & STAFF: On behalf of the City of Detroit and all its citizens, congratulations to the Michigan Opera Theatre as you celebrate the grand opening gala of the beautiful new Detroit Opera House. This wonderful addition to our City's cultural treasures is a most exciting part of Detroit's rejuvenation.

I would like to express gratitude to the many arts supporters of the metropolitan area whose generous contributions have made both this event and the new Opera House possible.

This new part of the second-largest working theatre district in the country assures that Detroit will stay in the forefront of urban areas in terms of our cultural offerings.

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I'm looking forward to my first "official" visit to the Detroit Opera House in the very near future.

Sincerely,

Dennis W. Archer Mayor DWAIAHAlkc

Copyright 2010, Michigan Opera Theatre

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"Time I value above all things. It just gets more and more precious!' Dame K iri Te Ka nawa Beyond any question, Dame Kiri Te Kanawa's singing career has been triumphantly consistent over many years.

She readily admits that if one thing has changed it's her attitude toward time.

She has the sense that time seems to have speeded up year by year because her punishing schedule keeps her diary filled for up to five years in advance.

And for almost two decades Dame Kiri has been accompanied by her dependable Rolex timepiece.

Of her gold Lady Rolex, she says, " It is very beautif-ul, very elegant, and quite wonderful:'

Lady Datejust

Greenstone :s is thrilled to participate in the grand opening event of the Detroit Opera House , the site of our original store seventy-one years ago.

GREENSTONES C REATORS OF FINE J EWELRY SINCE 1925

528 North Woodward· Binningham, MI - 4 Blocks North of Maple Rd. (8 10) 642·2650

Rolex, 'liI', Lady Datejust and LaCly Oyster Perpetual are trademarks.

Copyright 2010, Michigan Opera Theatre

Lady Oyster Perpetual

At Michigan National Bank. we appreciate a great performance.

It takes dedication and commitment to put on a great performance. The same kind of effort we put into everything we do at Michigan National Bank. We work hard every day to deliver the kind of full-service financial performance you'll want to applaud.

A. Michigan National Bank Member FDIC

Copyright 2010, Michigan Opera Theatre

DEDICATION ----~~~.~de~~-----

If I had time to practice the piano, there is a beautiful piece by SchumannLiszt called "Dedication" which I would have liked to play in an effort to express the depth of my feelings of gratitude to all who made the Detroit Opera House a reality. We are often overwhelmed by the power of opera because music reaches far beyond words in touching special feelings within us which we can all share. Yet I am compelled on this occasion to struggle with my inadequacies in using words to at least give some expression of thanks to so many who have walked with me on this journey which began so many years ago. While I have been relentless in pursuing a quest, it has been the devotion and support provided along the way which has sustained me and made our achievements possible.

First and foremost has been Karen VanderKloot DiChiera, for 25 years my companion and forever my most faithful friend , critic and counselor. Her contribution to shaping the first decade of activities at the Music Hall and her impact on having MOT touch the lives of thousands of children and adults throughout the state is incalculable.

Since our humble beginnings I have had the good fortune of finding creative, capable and committed managerial staff, from Robert Heuer, our first Managing Director, and presently General Director of the Florida Grand Opera, to John Leberg, our present Managing Director of MOT, and Kimberly Johnson, the indefatigable Managing Director of the Opera House Project - they and their staffs have shouldered and solved what often appeared to be insurmountable hurdles in achieving our goals.

In our American society, the cultural institutions which we cherish have never been accepted as public responsibilities as in their European antecedents, but have depended on the willingness of community leaders to help nurture and support their development. Thus, the evolution of Michigan Opera Theatre found refuge under the dedicated leadership of Ruth and Lynn Townsend who brought together a group of founding members to provide financial support and loving care for a fragile and young enterprise. It was Lynn whose corrsi:derable influence as Chairman of the Board of the Chrysler Corporation opened the doors in the community to - pay attention to what he affectionately called "David's Project".

He oversaw the transition from Overture to Opera as a touring program of scenes to the establishment of an opera company and the saving of Music Hall as its first home.

Bob and Nancy Dewar joined the Board in 1973, having been introduced by Bob and Tuttie VanderKloot who were a constant source of new friends for the opera: Like Ruth and Lynn, Bob and Nancy truly loved opera. Bob even talked Nancy's parents into allowing him to take Nancy to Chicago unchaperoned to see the opera. When in 1980 Lynn felt that it was time to step down, there was no doubt in anyone's mind that Robert Dewar was the logical successor.

Copyright 2010, Michigan Opera Theatre

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His love of opera, together with his stature in the community as Chairman of the Board of Kmart, and his community-wide esteem as a man of integrity and commitment made him the natural choice. How lucky we were that Bob was in the wings ready to take up the mantle and how lucky I have been - blessed by the continuity of his leadership and unswerving loyalty to the vision of an opera company with no parameters to its potential as a cultural force. For the past fifteen years Robert Dewar has provided the stability and affection for MOT which has allowed this institution to realize its potential. The dream of an opera house was encouraged

by Bob and by a Board of Directors and Trustees who have always functioned as a loving family devoted to an art form and to the community. Tne strategic planning, the willingness to take risks, and ultimately the commitment to a project that many believed was impractical and foolish and impossible. All of us working to achieve this dream were given courage and strength of steadfastness by our community leader and volunteer par excellence Robert Dewar.

How can one ever begin to thank, let alone name, the many, many individuals who have over the years been a part of making Michigan Opera Theatre and the Opera House a reality. From special and supportive friends like Morry Cohen, who helped launch our ballet initiative, to corporate leaders like Phil Benton, who provided extraordinary leadership in our capital campaign, to devoted directors and trustees who have served tirelessly and selflessly, to the thousands of volunteers, donors and subscribers - all have provided the foundation for our efforts.

And last but not least, those wonderful artists who over 25 seasons have given us so many unforgelJable moments of greatness, enriching our lives with the wonder of their art. My heartfelt thanks to Luciano Pavarotti and all of the incomparable gala artists who so generously returned to make the inauguration and celebration an unforgettable moment in time for all of us.

l~ David DiChiera General Director Copyright 2010, Michigan Opera Theatre

1971-1972 JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT LA RONDINE THE PERFECT FOOL

TIm HISTORY OF

1972-73

MiCHIGAN OPERA TlmATRE

cosi FAN TUTTE TOSCA THE TELEPHONE THE MEDIUM I

An Overview of 25 Years

by Timothy Paul Lentz

1973-1974 RIGOLETTO MADAME BUTTERFLY THE MERRY WIDOW

1974-1975 LA TRAVIATA BORIS GODUNOV THE ELIXIR OF LOVE DIE FLEDERMAUS

1975-1976 PORGY AND BESS LA BOHEME LUCIA DI LAMMERMOOR THE BARBER OF SEVILLE

1976-1977 WASHINGTON SQUARE (WORLD PREMIERE) MADAME BUTTERFLY NAUGHTY MARIETTA THE MAGIC FLUTE

- 1977-1978 REGINA CARMEN ' THE STUDENT PRINCE FAUST AMAHL AND THE NIGHT VISITORS

1978-1979 THE PEARL FISHERS SHOWBOAT LA TRAVIATA I PAGLIACCI THE EMPEROR JONES MADAME BUTTERFLY

1979 THE MOST HAPPY FELLA IL TROVATORE LA BOHEME JOAN OF ARC

1980 DIE FLEDERMAUS OF MICE AND MEN DON GIOVANNI RIGOLETTO FIDELIO (WITH DSO) THE PEARL FISHERS (MATRIX MIDLAND FESTIVAL)

1981-1982 TOSCA CARMEN ANOUSH (AMERICAN PREMIERE) THE MIKADO PORGY AND BESS

1982-1983 THE HAUNTED CASTLE (AMERICAN PREMIERE) LUCIA DI LAMMERMOOR TREEMONISHA THE MARRIAGE OF FIGARO THE SOUND OF MUSIC

1983-1984 LA TRAVIATA FAUST A LITTLE NIGHT MUSIC ANNA BOLENA

"MOT has become the focal point of a cultural renaissance in Detroit. " That quote from the nationally prominent New York Daily News remarkably appeared just a few short years after the establishment of Michigan Opera Theatre (MOT). It was almost inconceivable to all but a handful of people in the 60s and early 70s that Detroit could or would support, financially as well as emotionally, its own opera company. Yet Michigan Opera Theatre quickly gained a reputation as one of the nation's fastest-growing and most innovative regional opera companies and, more recently, as one of the country's premier producers of opera and musical theater.

This spring as the company simultaneously celebrates two major milestones, its Silver Anniversary and the opening of its permanent home here in the Detroit Opera House, there is cause to reflect upon and recognize the people committed to a goal and the events that have brought us to this exciting and tremendously fulfilling moment in the life of MOT. What was once a dream has indeed become a reality; an internationally recognized opera company residing in a world class theater as its permanent home and base of activity.

In order to trace the very beginnings of MOT, a brief look back at the Detroit Grand Opera Association (DGOA) is in order. In 1943, the DGOA came forth with a proposal to bring the Philadelphia La Scala Opera Company to Detroit. After eight seasons the DGOA changed course and brought in the New York City Opera. By the end of the 1957 season the DGOA, faced with declining attendance, decided that they had to go out and get the best, the prestigious Metropolitan Opera tour. Led by the legendary Frank Donovan with the support of Mrs. Anne McDonald Ford, the DGOA presented the first of many years of Met tours beginning in May 1959.

As Chairman of the DGOA Volunteer Committee, Mrs. Ford built a strong organization which included an Education Committee, chaired by the late Jennie Jones. The Edueation Committee's purpose was to develop the interest of colleges and school systems and to find the mechanism to distribute lower priced tickets, while generally-womoting the Met tour. As part of this effort, in 1961 Jones created Overture to Opera (OTO) to perform excerpts from the upcoming Met tour repertory throughout Metropolitan Detroit.

THE OVERTURE TO OPERA YEARS In 1963, Dr. David DiChiera, a professor in the Music Department at Oakland University, was asked to take charge of Overture to Opera. DiChiera had arrived as an assistant professor at Oakland in 1962, fresh out of the University of California Los Angeles Music School. He caught the attention of Virginia Yntema, who was DGOA General Chairman, following Mrs. Ford and Lenore Romney in that post. It was Yntema who suggested DiChiera for director of Overture. He had been especially effective as a member of the panels (part of the Overture program) which discussed the operas after the performances of the excerpts. His expertise, combined with a winning personality and enthusiastic demeanor in these discussions had carved him quite a reputation. He was named Producer-Director for the 1963 season, Overture to Opera Ill. In its nine seasons, Overture to Opera laid the groundwork, secured the financial support and gained the respectability which allowed for the founding of what was to become Michigan Opera Theatre.

Copyright 2010, Michigan Opera Theatre

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1984-1985

DiChiera had an impressive resume. He had previously taught at UCLA where he received his Bachelor of Arts degree with highest honors, a Master's degree in Composition and a Doctorate in Musicology. He received a Fulbright Award in 1958 for further study in Italy. At the time he was commissioned by the U.s. Information Service to compose a piano sonata for the Naples Festival of Contemporary Italian and American Music, which was broadcast nationally and highly praised by the Italian press. DiChiera was selected for membership in the National Association for American Composers and Conductors in 1959. He was given international recognition in the field of musicology for his research in 18th century opera when he was invited in 1961 to New York to participate in the Eighth International Congress of Musicology. He certainly had the right credentials.

DiChiera's first three seasons with OTO were, as planned, programs of scenes from the operas to be performed by the Met on its annual Detroit season. Typically DiChiera would introduce the opera to the audience and fill them in on relevant opera and music history. It was very much like what Leonard Bernstein was so good at, and popular for, when he addressed the audience in his famous Young People's Concerts. 'DiChiera was very well received by the audiences and the OTO seasons became very popular.

DiChiera had come to Oakland University because it was new and he saw a wonderful opportunity to create programs. During the middle 60s, besides directing Overture to Opera, he played a role in starting the University's major cultural programs, the Meadow Brook Festival and Theatre, but it was the building of an opera company that was to hold his primary interest. The DGOA had always thought of the Overture program as its educational arm and a promotional vehicle for the Met tour. However DiChiera saw it as a chance to develop something local that belonged to the city. In a 1982 article in the Ann Arbor News, he reflected: "Detroit was the fifth largest city in the nation and the only city without an opera company. I couldn't accept that fact; I knew the constituency for it was here." He was committed to the idea that the future of opera in America was the continued growth of regional opera.

In 1967, he expanded the original format of Overture to Opera. OTO had grown and for the first time included a complete work, the Michigan premiere of Cherubini's one act opera The Portuguese Inn. Collins George of the Detroit Free Press expressed the public's growing enthusiasm for the 1967 Overture program: "The verve, the spirit with which everything is presented, the way the company can capture and project a dramatic movement; in general, the high level of competence of the performances make them worthwhile ...the real lesson of the Overttlro company is that there is a place in Detroit for an operatic stock company. ..thanks must be expressed to Dr. DiChiera for this awakening to awareness of opera of such a large segment of the population."

OTO produced its first full length opera in 1970, Rossini's The Barber of Seville, starring Maria Ewing making her professional debut, and directed by and featuring Italo Tajo, world renowned bass and star of the Met and La Scala. The season also included performances at the Detroit Institute of Arts with a full orchestra. Overture to Opera was becoming a full fledged opera company, one in search of a home.

Under the community leadership of Lynn and Ruth Townsend, OV'erture's founding members served as the company's first Board of Directors. Lynn Townsend, then Chairman of Chrysler Corporation, remained as Chairman of the Board of Overture to Opera and MOT until 1980 when he passed the baton to Robert Dewar, Chairman of Kmart Corporation, who remains Chairman to this day.

Copyright 2010, Michigan Opera Theatre

THE MERRY WIDOW THE MAGIC FLUTE SWEENY TODD AIDA

1985-1986 GIANNI SCHICCI I PAGLIACCI MARTHA WEST SIDE STORY TURANDOT

1986-1987 ORPHEUS IN THE UNDERWORLD MADAME BUTTERFLY MY FAIR LADY TOSCA THE BARBER OF SEVILLE PORGY AND BESS

1987-1988 FALSTAFF MAN OF LA MANCHA KISMET IL TROVATORE DIE FLEDERMAUS LA BOHEME LUCIANO PAVOROTTIIN CONCERT

1988-1989 THE BALLAD OF BABY DOE FOLLIES THE PIRATES OF PENZANCE ORLANDO IN CONCERT NORMA THE MARRIAGE OF FIGARO CARMEN

1989-1990 LES MISERABLES (FISHER THEATRE) HANSEL AND GRETEL SWANLAKE LA TRAVIATA ROMEO ET JULIETTE DON GIOVANNI

1990-1991 RIGOLETTO SHOWBOAT COPPELIA (CLEVELAND BALLET) ARIADNE AUF NAXOS THE MAGIC FLUTE MADAME BUTTERFLY

1991-1992 LUCIANO PAVAROTTIIN CONCERT CANDIDE THE MIKADO KING ROGER (MIDWEST AMERICAN PREMIERE) SAMSON AND DELILAH LUCIA DI LAMMERMOOR

1992-1993 SIDE BY SIDE BY SONDHEIM THE MUSIC MAN LA BOHEME AIDA THE SLEEPING BEAUTY

1993-1994 THE BARBER OF SEVILLE THE MERRY WIDOW TURANDOT CINDERELLA FAUST

1994-1995 MADAME BUTTERFLY THE DAUGHTER OF THE REGIMENT DON GIOVANNI SWANLAKE TOSCA

THE MUSIC HALL YEARS In 1971, Overture to Opera ended its ten nomadic years with its first of fifteen seasons in the Music Hall- Joseph and the Amazing Technicolor Dreamcoat and Puccini's La Rondine. In 1972 Overture was accepted into OPERA America (the national service organization for opera companies) , and presented yet another eclectic mainstage season of works by Mozart, Menotti and Puccini, and continued its extensive education and outreach activities.

This was also the year of the creation of the Opera in Residence program in which Michigan communities were able to host the Overture Company in their town for a week of opera experience. The week would include classes, workshops and a full production featuring members of the community and MOT professionals. The outreach and education aspect of the organization , under the inspired and dedicated leadership of nationally recognized composer and educator Karen VanderKloot DiChiera, was to continue to be a key factor in the building and solidifying of an audience for this regional opera company. The Community Programs Department over the years has made an invaluable contribution to the character and the strength of the company, while garnering national recognition for its varied and unique programming [see sidebar J. With the 1973-74 season, the company officially changed its name to Michigan Opera Theatre, in accordance with its mandate to serve the entire state, and to demonstrate its equal emphasis on producing works from the operatic repertory as well as classic American musical theater, an innovative concept for the time. All productions were performed in English opening up the world of opera to a whole new segment of the population.

There was indeed a larger cultural picture, however. Though the opera company had finally found a comfortable home in Music Hall, the building'S future was by no means secure. To save it from the wrecking ball, a group of citizens came together, bought the theater, and established the not-for-profit Music Hall Center for the Performing Arts, with DiChiera as executive director. He ran MOT from offices on one floor of the Music Hall and the Performing Arts Center from separate offices on a different floor. Wearing two hats for the first of many times agreed with DiChiera as well as both organizations; in May 1976, at MOT's world premiere of Pasatieri's Washington Square, the foremost entertainment journal Variety stated, "The flourishing of Michigan Opera Theatre and Music Hall Center for the Performing Arts are due to the efforts of a great many interested people but no one doubts that the prime mover in what is happening in Detroit is 39-year old David DiChiera. Because of DiChiera, Detroiters now have a spread of theater, music, dance, opera, pop and ethnic entertainment. Di(:hiera is doing what, three years ago, was thought impossible - he is bringing Detroiters back downtown at night, in droves, and he is garnering a portfolio of excellent reviews. " DiChiera and MOT were at the center of ~at was, for the first time in many years, a growing interest and excitement in downtown activities. The revitalization that began in the Music Hall was the catalyst for what was to become one of the largest theater districts in the country, begun and now capped, with the completion of the Detroit Opera House, by the efforts of Michigan Opera Theatre.

The Music Hall years were filled with artistic successes, for which MOT quickly established a reputation as an innovative and exciting new company. MOT was thrust into the national limelight when it commissioned and produced the world premiere of Thomas Pasatieri's Washington Square, starring Catherine Malfitano. An article in Time magazine in 1976 stated, "Nothing testifies to the growing up of a regional American opera company quite like a world premiere. " The Christian Science Monitor dubbed MOT "Detroit's Showcase". Variety declared, "This premiere is a first for Michigan Opera Theatre and a milestone for Detroit and Michigan." And Opera News praised MOT as "a triumph of regional opera. " .

Other highlights of the company's mainstage Music Hall performances include: the professional operatic debut of Kathleen Battle; the revival, telecast and ensuing Broadway run of The Most Happy Fella; the directorial debut of actor Sal Mineo with The Medium, in which he also played Toby; the telecast of Copland's The Tender Land with the composer himself at the podium; American opera debut of Cleo Laine in The Merry Widow; and Catherine Malfitano's first La Traviata. MOT was one of the first company's to present major premieres of nationalistic operas reflecting the 2010, makeupMichigan of the community it serves: the Polish opera The Haunted Castle and Copyright Opera Theatre

the Armenian opera Anoush. Further national recognition came from mounting important revivals of such American works as Gershwin's Porgy and Bess, Blitzstein's Regina,Joplin's Treemonisha and Gruenberg's The Emperor Jones . In fact, fully 25% of the company's mainstage productions were devoted to opera and musical theater works by American composers.

In 1979 DiChiera was named "Michiganian of the Year" by the Detroit News and was elected President of OPERA America, a post he held for four years.

In January 1985, DiChiera had been named General Director of Opera Pacific in California's Orange County, which held its first performance season that year on the stage of one of the most impressive facilities in the country, the Orange County Performing Arts Center. Now, as General Director of the two companies and Artistic Director of Dayton Opera (a position he held from 1981-1991) , he could essentially collaborate with himself, sharing the combined artistic resources and leveraging the financial resources of all three institutions for considerable savings and higher quality productions. This unique tri-company framework that DiChiera headed is regarded as a positive and innovative formula for the future of opera production.

Also in 1985, the DGOA announced that after that May, it would no longer bring the Met to Detroit. The tour had fallen on hard times both artistically and financially. Equally important, the growth of regional companies in host cities like Detroit and Cleveland had made the tour redundant. Once the Metropolitan Opera Tours came to an end, MOT was ready to fill the void.

In 1983 after extensive strategic planning, and in anticipation of the imminent demise of the Metropolitan Opera tour, MOT announced its declsion to broaden the scope of the company by producing large scale grand opera at the Masonic Temple Theatre afong with the offerings at the Music Hall. The intention was that MOT would begin to take over the Met's role. In the spring of 1984 following the Met's spring tour, MOT produced its first grand opera in the Masonic Temple, Anna Bo/ena, featuring a cast of international, stars including Dame Joan Sutherland and then unknown Ben Heppner, conducted by Maestro Richard Bonynge, and I featuring the Midwest premiere of English Surtitles. In the spring of 1985 and 1986, MOT returned to the Masonic for Aida starring Leona Mitchell in her first outing in the title role, followed by Bulgarian soprano Ghena Dimitrova in Puccini's Turandot. These productions marked the beginning of a new era for MOT.

THE FISHER/MASONIC YEARS MOT celebrated its 15th Anniversary Season in 1985 by moving to the Fisher Theatre for its fall presentations. The administrative offices also moved to the New Center Area. The decision to leave the Music Hall was a difficult one, but ultimately it was a natural evolution conSidering the momentous growth and impressive goals laid out for the company by DiChiera and the Board of Directors.

The vastly different stages of the Fisher Theatre (primarily a Broadway style house seating 2,100) and the 4,000 seat Masonic Temple, home to the Met tours for so many years (where MOT performed in the fall and spring, respectively) allowed the company to express its rich diversity and depth of character, resulting in a great many artistic and ultimately financial successes.

In 1985-86, MOT mounted the first American opera production of West Side Story , which enjoyed an extended run, In the 1986-87 season, MOT increased its mainstage offering to six productions, mounted its first full grand opera season at the Masonic Temple and earned its rank as one of the top ten opera companies in the U:S. based on operating budget.

During the 1987-88 season, with the budget topping $5 million and subscribers numbering over 9,000, MOT launched its biggest season ever, highlighted by the historic Detroit concert debut of Luciano Pavarotti at a sold outJoe Louis Arena. The 1988-89 season featured Douglas Moore's The Ballad of Baby Doe presented for the first time in 28 years in Detroit, and the Detroit premiere of Sondheim's Follies, starring Juliet Prowse, Edie Adams and Nancy Dussault. The season opened with MOT's 500th public performance and concluded as the sixth consecutive "in the black", financially sound season.

Copyright 2010, Michigan Opera Theatre

In 1989-90, MOT commissioned a new production of Norma from English artistJohn Pascoe for Dame Joan Sutherland's final performances of the role. The production garnered the company its first NPR broadcast. That same season, MOT added classical ballet to its programming mix with a production of Swan Lake starring one of the world's greatest interpreters of the role, Cynthia Gregory. MOT audiences for mainstage and outreach programs combined exceeded 230,000.

In 1990-91, the 20 year old MOT mounted an acclaimed revival of Show Boat, produced its first-ever Richard Strauss opera, Ariddne auf Naxos , starring Alessandra Marc, and unveiled a new production designed and directed by John Pascoe of Don Giovanni , which was, like Norma, shared by Opera Pacific and Dayton Opera and made possible by Ford Motor Company. In 1991-92, MOT once again presented Luciano Pavarotti inJoe Louis Arena, and mounted Karol Szymanowski's rarely performed Polish opera King Roger.

Highlights of the past five seasons include soprano Ruth Ann Swenson's acclaimed debut in Romeo etJuliette followed by Lucia di Lammermoor, and a co-production with Opera Pacific and Portland Opera of Samson and Delilah designed by Beni Montresor.

Tosca, starring Russian soprano Maria Guleghina in May 1995, brought the MasoniclFisher years to a dramatic close.

THE SEARCH FOR A NEW HOME While the move to the Fisher and Masonic achieved a temporary solution to the company's need for greater technical resources, seating capacity and audience amenities, the strategic planning process begun

by DiChiera and the Board in the mid-1980s made it clear that the future of the opera company as a permanent resource for the city and state would necessitate a more lasting solution; the opera company had to find or create, and control, a world-class facility to accommodate all of its activities.

Inthe late 80s, the company seriously considered renovating the State Theatre next to the newly renovated Fox Theatre, though the arrangement was not considered ideal because the facility was not for sale, only rent. While in the midst of these discussions, the Grand Circus Theatre became available for purchase. DiChiera considered the magnificent structure ideal for its "opera house" style interior and the possibilities for building a new stagehouse. He brought in facilities experts to substantiate its structural soundness, acoustical excellence and technical capabilities when updated. The Board secured the first parcel in the Grand Circus Theatre block as the company's future performance site.

In 1990, Philip E. BentonJr., then President of Ford Motor Company, agreed to chair the Opera House Capital Campaign.

Under his leadership MOT ran a successful campaign to name the private grand tier boxes, enabling the company to acquire the remaining parcels of the Grand CircusTheatre block by 1994. In the fall of 1991 during a press conference in the Opera House prior to his return concert engagement in Detroit, Luciano Pavarotti made the startling promise to return to open the Opera House, bringing the-building project to the attention of the public at large.

In 1992, Kim Johnson, former executive director of the Music Hall Center for the Performing Arts, was named Managing Director of the Detroit Opera House, to oversee the restoration and rennovation of the opera house project. In spring 1993, the wrecking ball came down on the Roberts Fur Building on the Grand Circus Theatre block, making way for the enormous task of building a new 75 ,000 square foot stage house. With the $1.25 million Kresge Challenge grant, the acquisition of the last of the eight parcels in the Grand Circus Theatre block and the 1994 Opera Ball inside the unrestored auditorium before a crowd of many who had never before seen the interior, the project gained incredible momentum. Construction began in earnest on the stage house that same summer.

The next chapter of MOT's illustrious history is yet to be written, but with the grand opening of the new Detroit Opera House on April 21 , the stage is set for an exciting new era for Michigan Opera Theatre. The impossible dream has become a joyous reality.

Timothy Paul Lentz is a Doctoral Candidate in Theatre at Wayne State UniverSity writing his dissertation on Michigan Opera Theatre.

Michigan Opera Theatre He is also vocal music director and theatreCopyright coordinator 2010, at Adams High School in Rochester Hills, and long-time Treasurer of the Michigan School Vocal Music Association.

STATE-WIDE EDUCATION AND OUTREACH Michigan Opera Theatre has garnered national recognition for its twenty-five years of presenting grand opera, operetta, chestnuts from the Broadway repertory and classical ballet. However, equally significant in regional and national acclaim is the company's extensive community outreach program as developed by its founder and director, Karen VanderKloot DiChiera.

Adhering to the company's early philopshy, Michigan Opera Theatre's Community Programs Department provides year-round professiodal programs that are both entertaining and educational, presented in almost any type of setting, and geared towards all segments of the community population.

The Department does not restrict itself to exclusively children's opera or opera programming. Rather, their diverse and unique repertory ranges from one-act operas for young audiences and their families, and musical revues of Broadway or operetta for adults to musical satires on the ill-effects of smoking and substance abuse, and operas based on Michigan's Indian literature, as well as musical revues that compares the roots of early opera to African music and its relationship to the pop music of today.

Additionally, the Community Programs Department offers a wide variety of educational and instructional workshops in improvisation, the art of singing, careers in the arts and programs for the developmentally and physically disabled.

Karen VanderKloot DiChiera embodies the philosophy and goal of her department, "to foster future creators, performers, consumers and supporters of the arts of any age. " A nationally recognized composer and educator, she has studied with masters in several arti~tic mediums: composition with the renowned Ross Lee Finney; dance with Martha Graham, Jose Limon and Harriet Berg; and visual art with Glen Michaels. She has been recognized for her outstanding contribution to the field of Educati~n with a Governors' Arts Award from Concerned Citizens for the Arts in Michigan, and received a special tribute from the Legislature of the State of Michigan. She served on the Touring Arts Granting Panel for the National Endowment for the Arts in Washington D.C., and has served on the Boards of such diverse organizations as Michigan Youth Arts Festival, Very , Special Arts, Michigan and Very Special Arts, South Eastern Michigan (which she also founded), Kresge Hearing Research Institute, Preservation Wayne, Macomb County Physical Therapy Association, Optometric Institute and Clinic of Detroit and National Opera for Youth Foundation.

Outstanding achievements and programming highlights of the Departments varied offerings over the past 25 years include: • Create-an-Opera programs with children from Ludington Middle School, Keweenaw Bay Indian Community, summer camps for Orchards Children's Services, Flint Institute of Music, among others.

• Black Outreach Program established with the help of a grant from the National Endowment for the Arts.

• Faust, 1983, is the first MOT main stage production to be interpreted in American Sign Language, funded by Opera America.

• In 1984, United Nations recognizes MOT for programs for the disabled, including Tapes for the Blind. NEA provides grant to begin Careers in the Arts, a half hour interview program with professionals in the arts, aired weekly on WDTR radio for four years.

• VanderKloot DiChiera establishes Southeastern Michigan chapter of Very Special Arts, for persons of all disabilities.

• DiChiera composes Nanabush, the Great Lakes Indian Hero for tour honoring State sesquicentennial.

• In 1992 a new Education and Outreach committee of the MOT Board of Directors is established, Marianne Endicott, Chairperson.

---• Commissioned eight new one-act operas from such important American composers as Seymour Barab, James Hartway and Robert Xavier R'odriguez.

• "Time Out for Opera" television series created for Bloomfield Community Television is finalist in the International Hometown Video Festival in Arts Programming.

This year, a partnership between MOT, the Detroit Public Library, Your Heritage House Museum and Center for Creative Studies has been accepted for funding by the Arts Education Funders Collaborative, a partnership among major foundations and corporate funders. The grant is for integrating Arts into the core curriculum of the Detroit Public Schools. The Department also performs beyond Michigan's borders into WisCGnsin, Indiana and West Virginia.

MOT salutes Karen VanderKloot DiChiera, the staff and artists of the Department of Community Programs for their successful efforts to spread the joy of opera and arts education throughout the entire State of Michigan.

- Rebecca Happel Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

AROUND THE WORLD, OR AROUND THE BLOCK. You get Rockwell Automotive's on-time systems design know-how working for you. Today, Rockwell is continuing to spend over one billion dollars to enhance the capabilities of its worldwide automotive and truck business to better serve the needs of customers up the street, around the corner and around the globe. So as your business goes global, act local. Call Rockwell. We're just up the street.

'1' Rockwell

Automotive

When you think of Rockwell, you 've thought of everything.

Copyright 2010, Michigan Opera Theatre

25 YEARS OF OPERATIC HISTORY 1 )Few general directors in the country can lay claim, as can Michigan Opera Theatre's David DiChiera, to founding an opera company and remaining at its helm for a quarter century. The claim is all the more impressive when one considers the heights to which the company has risen during this one person's tenure -- one of the nation's foremost operatic institutions.

As we share with you some of the many highlights in the extraordinary career of Detroit's own opera impresario, esteemed colleagues and artists whose contributions to the distinct character and renown of the company express their own heartfelt appreciation for and to the person who has lead MOT to its finest hour.

"(David) , you are a wonderful person and I enjoyed working with you. Loads of love."

- Roberta Peters "There would be no Detroit Opera House without David DiChiera ...

Congratulations and gratitude to David, Michigan Opera Theatre, his entire staff, the City of Detroit and to all who cared and contributed to this noble cause. " - Ara Berberian "Michigan Opera Theatre is fortunate indeed to have the skilled and loving hand of David DiChiera not only bringing opera at its best to music loving audiences, but also for providing a magnificent new home in which it can thrive. " - Giorgio Tozzi "Congratulations on your 25th anniversary! It seems incredible that 20 years have passed since MOT premiered my opera Washington Square. Your beautiful production and Catherine Malfitano's brilliant portrayal remain etched in my memory forever. " - Thomas Pasatieri Copyright 2010, Michigan Opera Theatre

WITH DETROIT'S OWN IMPRESARIO "I heartily ~ongratulate you for 25 wonderful years of opera with Michigan Opera Theatre and the opening of the Detroit Opera House.

I am so very proud to have been a part of this magnificent tradition."

- Leona Mitchell

"It is with great joy that I join in celebration of this mome:ptous occasion in the life of Michigan Opera Theatre. For almost twenty years I have been honored to be one of the artists who have been understood, encouraged, and supported by this company and by its leader, David DiChiera - truly a man with a vision. I look forward to the future.

- Ron Raines

"Congratulations on the 25th anniversary of Michigan Opera Theatre.

I enjoyed singing Turandot with you. All best wishes for the future ."

I

I

- Ghena Dimitrova

"Congratulations to David DiChiera, Michigan Opera Theatre and the City of Detroit on the opening of the new Opera House.

And thanks for doing so many of my shows."

- Stephen Sondheim

"David, Detroit owes you a debt of gratitude. Unlike many impresarios in other locales, you have always provided a platform for worthy local talent to try its wings in company productions; for this I thank you .. jor bringing Detroit back to Broadway in a big way that, hopefully will spearhead the rejuvenation of the heart of this great metropolis, I offer you my profound thanks and congratulations.

When David asked me to sing the role of Herod in Richard Strauss' Salome, my wife said, 'Well, you've finally made it to Broadway!'"

- George Shirley

"(David), the renovation of the-Vetroit Opera House is a tribute to you and to those you have influenced and encouraged. Congratulations to you on a job well done and may you continue on your path to success. " - David Hanthorn General Director, Florentine Opera Company "It is with deep admiration and friendship that I congratulate

you on the 25th anniversary of your leadership of Michigan Opera Theatre ...May this building continue to be a monument and home to the arts that we so dearly cherish and that you have so brilliantly kept alive and flourishing for the past twenty-five years. " -John DeMain Copyright 2010, Michigan Opera Theatre

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"Congratulations to you, David, on your 25 years as General Director of Michigan Opera Theatre. It is fitting that your anniversary year should also be that in which the Detroit Opera House opens its doors a project that meant so much to you and will remain an asset to the City of Detroit, as well as providing a home for the Opera Company."

- Dame Joan Sutherland and Richard Bonynge

"How wonderful that you could celebrate twenty-five years as General Director of Michigan Opera Theatre with the grand opening of a new home for your company. What a monumental achievement!

Please accept my best wishes for a smash opening."

- David Gockley, General Director, Houston Grand Opera

"You have been a fantastiC champion for opera in North America, David, with the commitment, dedication and talent to make the difference.

Generations of opera audiences will reap the rewards of your hard work, and that is something to cherish. It's hard to believe that you are the same man who was a student with me at UCLA." - Lotfi Mansouri, General Director, San Francisco Opera

Copyright 2010, Michigan Opera Theatre

"Many heartfelt congratulations on your 25 years at Michigan Opera Theatre. I think it is particularly splendid YOLl are able to celebrate this event with the grand opening of your opera house, making Michigan Opera Theatre even more of a cornerstone to the cultural life of Detroit. " , - Peter Hemmings, General :q.irector, Los Angeles Music Center Opera

"(David) , my congratLllations to YOLl for this special anniversary...

I am especially thoLlghtful and thrilled that it was YOLl who gave me the

opportLlnity to condLlct in the United States for the first time.

YOLl presented me the key to open a new chapter in my musical life."

- Klaus Donath

"Dearest David, Congratulations on YOLlr SILVER JUBILEE I I I May we all salLlte a grand man of the operatic world. Besides taking care of the "situated" artists, YOLl have been a pioneer in cpnstant search of new talent - many of which have become renowned artists in the world today.

FLlrthermore, YOLl have also fOLlnd time to compose the most luscious songs -four of which Klaus Donath, my husband, and I have had the honor of performing .. .I am particularly thrilled to sing my first U.S. Puccini at the grand opening. We SALUrE you, dearest David, and send a speCial greeting to you proclaimed through YO Llr name: Dynamic Attentive Visionwy Intelligent Distinguished

D evoted Director I rresistable Charming Handsome Innovative EnthLlsiastic Radiant All of the above -and morel"

- Helen Donath

Copyright 2010, Michigan Opera Theatre

A STEAKHOUSE YOU MIGHT EXPECT TO FIND IN NEW YORK,

San Francisco or Chicago is now here in Farmington Hills: Carvers .

. Imagine the setting if you will. Warm, fine wood interiors. Big comfortable chairs.

The clinking of wine glasses. Aromatic smells of steak broiling. And finally, the taste of a perfectly seared and seasoned steak.

This is Carvers, 1. a new restaurant "Waiter, tell me the name of that based on a tradivineyard again. " tion that authen2.

A good tic and uniquely sense ofsmell: Absolutely American. The essent ial at Carvers. steakhouse. Classy, 3. but never stuffy.

See our steak. Your ~ mouth will water.

We're not about A natural reaction. trends. We're 4.

You 'llfeelthe ., c .' quality. All all about food: the way down . . ' . to the napkins. steaks, prime rib 5. and seafood. for yourself, right here in Farmington 4 Ten thousand taste ~ buds. Each happy And now you can Hills. Please call for dinner or lunch reserto be at Carvers. experience Carvers vations to avoid any longer of a wait.

f

~

~ .

Relax and enjoy a hit of perfection.

CARVERS

Call 476-5333 for reservations. Farmington Hills at 10 Mile Rd. and Crand River Ave.

Copyright 2010, Michigan Opera Theatre

Prime Rib. Choice Steaks.

Copyright 2010, Michigan Opera Theatre

Puccini, ShakesReare, Veroi, Strauss, Batten, . BartQn,

Durstme, Osborn.

[Here we go, dropping names again.]

Batten, Barton, Durstine and Osborn are the BBDO in BBDO. The people who work at the company they founded are proud to lend their name in support of the Michigan Opera Theatre.

And spend some time enjoying the company of Puccini, Shakespeare, Verdi and Strauss.

BBDO Detroit A Division of the BBDO Worldwide Network 26261 Evergreen Road • Suite 300 • Southfield, MI 48076 Copyright 2010, Michigan Opera Theatre

DIRECTORS &. TRUSTEES BOARD OF DIRECTORS 1995-1996 Mr. Robert E. Dewar, Chairman Dr. David DiChiera, President Mr. Cameron B. Duncan, Treasurer Mr. C. Thomas Toppin, Secretary Mrs. Robert Allesee Mrs. David Aronow Mrs. Donald C. Austin Mr. J. Addison Bartush Mr. Philip E. Benton,1r.

Mr. Richard A. Brodie Mrs. William C. Brooks Mrs. Frederick Clark Mr. Jeff Connelly Mrs. Peter Cooper Julia Donovan Qarlow Mr. Lawrence N. David Mr. Ronald Dobbins Mrs. Charles M. Endicott Mr. 'Herman Frankel Mrs. Lawrence Garberding Mr. John C. Griffin Mr. Kenneth E. Hart Mr. Eugene Hartwig Mrs. Verne Istock Mr. Leonard C. Jaques Mrs. William E. Johnston Mrs. Charles Kessler Mrs. Robert Klein Mr. Gerald A. Knechtel Richard W Kulis D.D.S. Mr. David Baker Lewis Mr. A. C. Liebler Mr. Harry A. Lomason Mr. Alphonse Lucarelli Mr. Jules L. Pallone Mrs. Irving Rose Mr. Louis R. Ross Mrs. David Ruwart Mr. Alan E. Schwartz Mrs. Roger F Sherman Mr. S. Kinnie Smith, Jr. Mr. Frank Stella Mrs. George Strumbos Mr. Robert C. VanderKloot Mr. Gary Wasserman Mr. Richard C. Webb Mrs. R. Alexander Wrigley Mr. Morton Zieve

BOARD OF TRUSTEES 1995-1996 Mr. Robert E. Dewar, Chairman Dr. &: Mrs. Roger M. Ajluni Mr. Roger Ajluni,Jr.

Mr. &: Mrs. Robert A. Allesee Dr. Lourdes V Andaya Mr. &: Mrs. Thomas Angott Mr. &: Mrs. Robert L. Anthony Dr. &: Mrs. Agustin Arbulu Mr. &: Mrs. David Aronow Mrs. Donald Atwood Dr. &: Mrs. Donald Austin The Honorable &: Mrs. Edward Avadenka Mrs. James Merriam Barnes Mr. &: Mrs. J. Addison Bartush Mr. &: Mrs. Mark Alan Baun Mr. &: Mrs. W Victor Benjamin Mr. &: Mrs. Philip E. Benton, Jr. Mr. &: Mrs. Douglas Borden Mr. &: Mrs. Donald]. Bortz Mr. &: Mrs. Richard A. Brodie Mr. &: Mrs. William C. Brooks Mr. &: Mrs. Clarence G. Catallo Mr. &: Mrs. Frederick Clark Ms. Virginia Clementi The Honorable &: Mrs. Avern L. Cohn Mr. Thomas Cohn Mr. &: Mrs. Jeff Connelly Mr. &: Mrs. Michael]. Connolly Mr. &: Mrs. Peter Cooper Mr. &: Mrs. Richard Cregar Mr. &: Mrs. Ronald Cutler Julia Donovan Darlow &:John Corbett O'Meara Mr. &: Mrs. Lawrence N. David Mr. &: Mrs. John W Day Mr. &: Mrs. David Denn Mr. &: Mrs. Robert N. Derderian Mr. &: Mrs. Robert E. Dewar Dr. David DiChiera Karen VanderKloot DiChiera Mr. &: Mrs. Ronald Dobbins Mr. &: Mrs. Cameron B. Duncan Lady Jane Easton Mrs. Charles M. Endicott Mrs. Hilda Ettenheimer Mr. &: Mrs. Paul E. Ewing Mr. Stephen Ewing Mr. &: Mrs. Alfred J. Fisher,Jr. Mr. &: Mrs. Alfred J. Fisher, III Mr. &: Mrs. Charles T. Fisher, III Mr. &: Mrs. Louis P Fontana Mr. &: Mrs. Nathan Forbes Mr. &: Mrs. Herman Frankel Mr. &: Mrs. Marvin A. Frenkel Mrs. Roy Fruehauf Mr. &: Mrs. Lawrence Garberding Dr. &: Mrs. Robert Gerisch Mr. &: Mrs. Frank Germack,Jr. Mrs. Aaron H. Gershenson Mr. &: Mrs. Yousif Ghafari Mr. &: Mrs. Andy Giancamilli Mr. &: Mrs. Vito P Gioia Mr. &: Mrs. Dennis Gormley Mr. &: Mrs. Alan L. Gornick Mr. &: Mrs. H. James Gram

Mrs. Katherine Gribbs Mr. &: Mrs. John C. Griffin Mrs. Berj H. Haidostian Mrs. Robert M. Hamady Mr. David Handleman Mr. &: Mrs. Preston Happel Dr. &: Mrs. Joseph Harris Mr. &: Mrs. Kenneth E. Hart Mr. &: Mrs. Eugene Hartwig Mr. &: Mrs. E. Jan Hartmann Mr. &: Mrs. David B. Hermelin Mr. &: Mrs. Keith Honhart The Honorable &: Mrs. Joseph Impastato Mr. &: Mrs. Verne Istock Mrs. DavidJacknow Mr. &: Mrs. LeonardJaques Miss H. Barbara Johnston Mrs. William E. Johnston Mr. &: Mrs. Maxwell Jospey Mr. &: Mrs. Mitchell!. Kafarski Mr. &: Mrs. John Kaplan Mr. &: Mrs. Daniel Karnowsky Dr. &: Mrs. Charles Kessler Mr. &: Mrs. Eugene L. Klein Mr. &: Mrs. Robert Klein Mr. &: Mrs. Gerald A. Knechtel Mr. &: Mrs. Semon E. Knudsen Mr. &: Mrs. William Ku Mr. &: Mrs. Richard P Kughn Dr. &: Mrs. Richard W Kulis Mr. &: Mrs. Ronald C. Lamparter Dr. &: Mrs. Robert Levine Mr. &: Mrs. David B. Lewis Mrs. Leonard T. Lewis Mrs. Walton A. Lewis Dr. &: Mrs. Kim K. Lie Mr. &: Mrs. A. CLiebler Mr. &: Mrs. Robert Lisak Mr. &: Mrs. Harry A. Lomason Mr. &: Mrs. James H. LoPrete Me &: Mrs. Alphonse S. Lucarelli Mrs. Jessie B. Mann Mr. &: Mrs. Frank S. Marra The HonorableJack Martin &: Dr. Bettye Arrington-Martin Me &: Mrs. William T. McCormick Mrs. Wade H. McCree,Jr. Mr. &: Mrs. Eugene· Miller Mr. &: Mrs. Theodore Monolidis Mr. &: Mrs. E. Clarence Mularoni Mr. &: Mrs. Eddie Munson Mrs. Reva Muss Mr. &: Mrs. E. Michael Mutchler Mr. &: Mrs. Jules L. Pallone Mr. &: Mrs. James Pame!

Dr. Robert E. L. Perkins Mr. &: Mrs. Brock E. Plumb Mrs. Ralph Polk Mrs. David Pollack Mr. &: Mrs. John Rakolta Mr. &: Mrs. Eugene Robelli Mr. &: Mrs. Hans Rogind

Copyright 2010, Michigan Opera Theatre

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Mr. &: Mrs. Irving Rose Mr. &: Mrs. Louis Ross Mr. &: Mrs. David Ruwart Mr. &: Mrs. William Sandy Dr. &: Mrs. Norman Schakne Mr. &: Mrs. Fred Schneidewind Mr. &: Mrs. Arthur Schultz Mr. &: Mrs. Alan E. Schwartz Mr. &: Mrs. Donald Schwendeman Mr. &: Mrs. Frank Shaler Mr. &: Mrs. Roger F Sherman Mr. &: Mrs. Richard Sloan Mr. &: Mrs. S. Kinnie Smith,Jr. Ms. Phyllis D. Snow Mr. Richard Sonenklar Mr. &: Mrs. Richard Starkweather Ms. Mary Anne Stella Mr. Frank D. Stella Mrs. Mark Stevens Mr. &: Mrs. George Strumbos Mr. &: Mrs. C. Thomas Toppin Mr. &: Mrs. Lynn A. Townsend Mr. &: Mrs. James J. Trebilcott Mr. &: Mrs. Robert C. VanderKloot Mr. &: Mrs. George C. Vincent Mr. &: Mrs. Gary Wasserman Mr. &: Mrs. Kenneth Way Mr. &: Mrs. Richard D. Webb Mr. &: Mrs. Gary L. White Mr. &: Mrs. R. Jamison Williams Dr. &: Mrs. Sam B. Williams Mr. &: Mrs. Eric A. Wiltshire Mr. &: Mrs. Donald Worsley Mr. &: Mrs. R. Alexander Wrigley The Honorable Joan E. Young &: Mr. Thomas L. Schellenberg Mr. &: Mrs. Ted Zegouras Mr. &: Mrs. Morton Zieve Mrs. Paul Zuckerman Ms. Lucia Zurkowski Mr. Roy Zurkowski

FOUNDING MEMBERS Mr. and Mrs. Lynn A. Townsend Founding Chairmen Mr. &: Mrs. Avern L. Cohn Mr. &: Mrs. John DeCarlo Dr. &: Mrs. David DiChiera Mr. &: Mrs. Aaron H. Gershenson Mr. &: Mrs. Donald C. Graves Honorable &: Mrs. Roman S. Gribbs Mr. &: Mrs. John C. Griffin Mr. &: Mrs. Harry L. Jones Honorable &: Mrs. Wade McCree,Jr. Mr. Harry J. Nedetlander Mr. E. Harwood Rydholm Mr. &: Mrs. Neil Snow Mr. &: Mrs. Richard Strichartz Mr. &: Mrs. Robert C. VanderKloot Mr. &: Mrs. Sam B. Williams Mr. &: Mrs. Theodore O. Yntema

You MAKE OUR CITY SING. General Motors Corporation congratulates the Michigan Opera Theatre on its 25th anniversary and the grand openingof its world-class Detroit Opera House.

CHEVROLET • PONTIAC • OLDSMOBILE • BUICK • CADILLAC • GMC

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Photo courtesy of Opera Pacific

LA BOHBME

by Mary A. Wischusen Setting: Latin Quarter of Paris, ca. 1830.

CHARACTERS: Marcello , an artist (baritone) ; Rodolfo, a poet (tenor) ; Colline, a philosopher (bass); Schaunard, a musician (baritone); Benoit, a landlord (bass); Mimi, a seamstress (soprano); Parpignol, a vendor of toys (tenor) ; Musetta, a girl of the Latin Quarter (soprano) ; Alcindoro, an admirer of Musetta (bass) ; Customs guard (bass) ; frequent visitors to the Latin Quarter, merchants, shopgirls, students , vendors, soldiers, waiters.

SYNOPSIS ACT I. It is Christmas Eve in an attic apartment in Paris. Cold and hungry, Marcello first considers burning a chair to keep warm, then his painting The Passage through the Red Sea. Finally, as Rodolfo ignites one of his own manuscripts, philosophy student Colline returns from an unsuccessful attempt to pawn his books. But suddenly, Schaunard appears with food , drink, and firewood bought with money from one of his patrons. When the landlord, Benoit, arrives demanding the overdue rent, he is plied with drink and then thrown out of the apartment. The "Bohemian" friends decide to celebrate, but Rodolfo stays behind to finish an article. When Mimi , a neighbor, comes seeking light for her candle, she has a coughing fit and faints in Rodolfo's arms. After he revives her, Mimi discovers that she has lost her key. Rodolfo helps her look for it, and their hands touch ("Che gelida manina"); they begin to exchange confidences. When his friends call from the street below, Rodolfo opens the window; moonlight streams in , illuminating the room. Mimi and Rodolfo ecstatically declare their love ("0 soave fanciulla"), after which they rush off to the Latin Quarter to join the festivities.

ACT II. Later the same evening in the Latin Quarter, Rodolfo buys Mimi a bonnet. Then they join their friends at the Cafe Momus, where they order a sumptuous dinner. Musetta, a former sweetheart of Marcello , appears with Alcindoro, her wealthy admirer. When she sings about how men are attracted to her ("Quando me'n vo' soletta"--Musetta's Waltz) , Marcello is enchan ted. The fickl e Musetta contrives to get rid of Alcindoro , whom-she sends on an errand. She and Marcello embrace, and the friends leave the cafe. When Alcindoro returns, he realizes that not only has he been duped but also left with a large bill.

ACT III. On a cold February morning near one of the city gates, Mimi looks for Marcello. When she finds him, now employed at a nearby tavern , she reveals how insanely jealous Rodolfo has become. Their conversation is cut short when Rodolfo, who had been sleeping in the tavern , appears. Mimi hides behind a tree, only to hear Rodolfo complain about her coquettish ways.

Finally, however, he confesses that he loves Mimi more than ever, yet knows that she is near death, which he fears will be hastened by the m~se rable life th ey lead. Sobbing, Mimi emerges and insists they should separate. After bidding one another a reluctant farewell ("Addio , dolce svegllare"), th ey reconsider and decide to stay together at least until spring. In the meqntime, Musetta and Marcello quarrel and finally separate, but Rodolfo and Mimi leave together.

ACT IV. Months later in the attic apartment, Rodolfo and Marcello , both of whom have quarrelled with their sweethearts, recall how happy they used to be. Marcello takes Musetta's ribbons from his pocket and kisses them, while Rodolfo remembers his fann er happiness with Mimi ("A h, Mimi, tu piu"). Schaunard and Colline enter with food and drink, and everyone's spirits are uplifted. But suddenly Musetta bursts in, crying that Mimi is deathly sick. They bring her into the apartment and place her on Rodolfo's bed. Musetta gives up her earrings, and Colline sacrifices his coat to buy medicine and a muff for the dying Mimi.

Marcello leaves to find a doctor. Left alone, Rodolfo and Mimi reconcile once again, declaring their love. The friends return, and Mimi closes her eyes in exhaustion. Rodolfo tries to shield her from the light coming through the window, but suddenly Schaunard whispers that Mimi is dead. Rodolfo cries out her hame, rushes to the bed, and sobs uncontrollably.

Copyright 2010, Michigan Opera Theatre

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While he was working on the opera, Puccini encountered the composer Ruggiero Leoncavallo, who had achieved fame the previous year with I Pagliacci. When Puccini mentioned that he was writing an opera based on Mllrger's novel, Leoncavallo angrily replied that he was composing an opera on the same theme, the libretto of which he apparently had shown Puccini the previous winter. Neither composer would abandon the project; instead, both of them raced ahead, each determined to hav.e the first production. Puccini won the race, and his La Boheme was premiered at the Teatro Reglo in Turin on 1 February 1896, conducted by the very young Arturo Toscanini. Leoncavallo's La Boheme was not produced until the following year, on 6 May 1897, at the Teatro la Fenice, but it was far better received than Puccini's opera had been.

Indeed, Puccini's La Boheme, now arguably the composer's best-loved opera, drew scathing reviews from the critics after its premiere: the music was generally considered too happy for an opera with such a tragic ending. The audience, on the other hand, was apathetic. Even when La Boheme was repeated in Rome soon afterward, it was received coldly. Finally, however, when it was produced later the same year in Palermo , it triumphed. It fact, there was such an ovation that the entire death scene had to be repeated! The success of Puccini's opera qUickly overshadowed Leoncavallo's La Boheme, which all but disappeared from the repertoire.

Few would disagree that Puccini's most outstanding musical characteristic is the sheer beauty of melodic line--particularly, in Mosco Carner's words, the "sensuous warmth and melting radiance of the vocal line. " Indeed, nowhere is this more evident . than in La Boheme, where the melodies are characterized by lyricism, sweetness, gentleness, and poignancy, with settings that are nearly always syllabic, without scales and arpeggios.

Ano ther characteristic that dominates Puccini's operas is theatrical effect, in which contrast is a key element. In La Boheme rapid shifts of mood make the opera more believable, as does the extensive use of comedy, particularly in the numerous ensembles, of which the Benoit episode in Act I and the "Bohemian" horseplay in Act IV are fine examples. Other remarkable ensembles include the quartet at the end of Act III which contrasts the two pairs of lovers, one affectionate and the other quarreling, and the Cafe Momus scene on Christmas Eve with its kaleidoscopic use of voices and orchestra.

Puccini had an unusually keen ear for novel harmonic effects and for expressive orchestration. Harmonic surprises abound in La Boheme, for example Mimi's entrance into the apartment in Act I is accompanied by a sudden key change from G major to the gentler G-flat. The orchestra, whether painting a scene, reinforcing a mood, contributing to character delineation, or underlining the stage action, is consistently effective but always restrained. The gaiety and brilliance of the Latin Quarter on Christmas Eve in Act II , and the bleakness of a winter morning--open fifths played staccato by flutes and harps to suggest the falling snow--at the beginning of Act III are only two examples of atmospfieric pictures that Puccini paints through music.

Sometimes Puccini's operas are criticized for being too sentimental, and his musical and dramatic style is unfairly compared to that of Verdi. Yet Puccini never envisioned himself as Verdi's successor, even though many people considered him to be. He never intended to write great artistic works, but lyrical operas that appealed to the heart. His instinct for the theatre, blended with his ability to write effectively for the voice, to envision exciting orchestral color, and to create a mood make his operas masterful.

Copyright 2010, Michigan Opera Theatre

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Copyright 2010, Michigan Opera Theatre

RaMBO &JULIBT

by Mary A. Wischusen

Setting: Verona, 14th century.

CHARACTERS: Romeo Montague; the Duke of Verona; Capulet, a nobleman; Montague, a nobleman; Juliet's nurse; Juliet Capulet; Mercutio, Romeo's friend; Benvolio, Romeo's friend ; Paris, a kinsman of the Duke; Tybalt, Capulet's nephew; Friar Laurence; Capulets; Montagues; citizens of Verona; servants; party guests.

SYNOPSIS Act I. Scene 1. It is early morning on a street in Verona. Romeo appears, lost in thought, not even noticing those who attempt to greet him. Gradually, more people come out to begin the day, and the revellers return home. Suddenly, a quarrel erupts, then a serious fight, which ceases when the Duke of Verona enters. He asks the elder Capulet and Montague, whose families are locked in a deadly feud in the city what preCipitated the fight.

Scene 2: At the home of the Capulets, servants prepare for a ball. Juliet is unwilling to attend, but her nurse persuades her to change her mind. After looking at herself in a mirror, Juliet runs out. Guests begin to arrive; then Romeo, Mercutio, and Benvolio enter, masked to aVoid being discovered at the home of the Capulets. Romeo admires Juliet, who is danCing with Paris, to whom she seems indifferent. When Romeo approaches her, Juliet runs away. Suddenly Tybalt recognizes the intruders; he is restrained by the elder Capulet and eventually led away by his friends. After the guests leave, Juliet enters the darkened ballroom, searching for the flower she dropped during her meeting with Romeo. Suddenly, Romeo appears, and the two dance together.

Act II. Scene 1. At a holiday festival , the people of Verona celebrate with a folk dance. Romeo appears, lost in thought about the lovely Juliet, for which Mercutio teases him. The crowd is merry, enjoying the music of a brass band, then of a mandolin group, Suddenly Juliet'S nurse appears, looking for Romeo. When she gives him Juliet's ring, he runs off, terribly agitated.

Scene 2. In a monastery cell, Romeo and Friar Laurence are soon joined by Juliet, who is dressed for her wedding day. The Friar marries them. As the curtain closes, the sounds of merry-making are heard, as the people of Verona continue to celebrate the holiday.

Scene 3. In the street, Mercutio and Benvolio enjoy the festive danCing, but they are interrupted by Tybalt, who glares angrily at Mercutio. Romeo arrives and tries to make peace, but Tybalt throws down his glove, a challenge that Romeo refuses. Mercutio attacks Tybalt, but is himself mortally wounded. Prodded by Benvolio, Romeo vows revenge, fights with Tybalt, and kills him. Benvolio urges Romeo to escape, while the Capulets mourn their dead relative and swear revenge on the house of Montague.

Act III. Scene 1: In Juliet's bedroom, the lovers awaken. They bid each other farewell, and Romeo leaves. As Juliet gazes longingly after him, her nurse enters to warn that her parents are approaching, accompanied by the young nobleman, Paris. The Capulets arrive .and announce Juliet'S betrothal to Paris, who presents Juliet with a bouquet of flowers. Grief stricken, Juliet weeps, then becomes angry, but her father vows to disown her is she disobeys his wishes. Left alone again, Juliet determines to visit Friar Laurence.

Scene 2. In Friar Laurence's cell, Juliet receives a sleeping potion that has the power to simulate death.

Scene 3. In her bedroom, Juliet agrees to marry Paris and dances with him. After sending everyone away, she embraces the potion and dances with it. She finally drinks it, and falls into a death-like sleep. To the sound of mandolins, Paris and his entourage return with presents for Juliet. Young girls with flowers dance, but Juliet does not awaken. Her nurse approaches her bed and discovers that Juliet is dead.

Act IV. ("Epilogue") AtJuliet's grave, Romeo is so overcome with grief that he kills himself. Just then,luliet awakens and sees that Romeo is dead. She stabs herself, embraces his body, and dies.

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Copyright 2010, Michigan Opera Theatre

LA TRAVIATA

by Mary A. Wischusen Setting: In and near Paris, ca. 1850.

CHARACTERS: Violetta Valery, a courtesan (soprano); Dr. Grenvil, Violetta's physician (bass); Marquis d'Obigny, a nobleman (bass); Flora Bervoix, a friend of Violetta (mezzo-soprano); Baron Douphol, Violetta's "protector" (baritone); Gastone, Viscount of Letorleres (tenor); Alfredo Germont, lover of Violetta (tenor); Annina, Violetta's maid (mezzo-soprano); Giorgio Germont, Alfredo's father (baritone); guests, masqueraders, dancers, and servants.

SYNOPSIS ACT I. Violetta is giving another brilliant party, for which she is famous all over Paris. Although gravely ill, she ignores her health and lives only for pleasure. She is introduced to Alfredo Germont, a young gentleman who has been secretly in love with her for some time. Suddenly she becomes dizzy, but recovers and promises her guests (which include her "protector," Baron Douphol) that she will join them in the ballroom. Alfredo remains and declares his love. After protesting at first, Violetta gives him a flower and promises that he may see her when it fades. Guests drift back into the drawing room and then depart, leaving Violetta alone to envision a life of happiness with Alfredo. But soon she pushes aside this fantasy, determining to resume her life of pleasure. When she hears Alfredo's voice outside, singing the passionate melody to which he had earlier declared his love, she pauses briefly, but then continues her frantic determination to enjoy her life to the fullest.

ACT II. Scene 1: In his country home, Alfredo rejoices that Violetta has renounced her glamorous life for him. But when he learns that she has been selling her possessions to support him, he leaves Paris to raise some money. Alfredo's father visits Violetta and demands that she end the relationship, maintaining tharthe scandal will eventually destroy his family.

Although she declares that giving up Alfredo will hasten her death, Violetta finally agrees to tell Alfredo that she no longer loves him. Germont goes into the garden to await the return of his son, while Violetta tearfully writes her farewell letter.

When Alfredo returns and discovers the letter, he thinks she has deserted him for the gaiety of Paris. Germont reappears and tries to console his son.

Scene 2: Alfredo and Violetta are guests at Flora Bervoix's party in Paris. Alfredo is winning at the gaming tables, and Baron Douphol (who has escorted Violetta to the party) challenges him to a card game. When Violetta warns Alfredo of Douphol's jealousy, he agrees to leave, but only if she will go with him. When she declares that she is bound by a promise and cannot accompany him, Alfredo believes that she has promised herself to Douphol. Angrily, he hurls his money at Violetta, provoking Douphol to challenge him to a duel. Giorgio Germont appears and denounces Alfredo for his ou trageous behavior.

ACT Ill: Dying of consumption, Violetta reads a letter from Giorgio Germont in which he promises that Alfredo will

return to her. However, Violetta knows that the end in near. When Alfredo arrives, he begs for forgiveness, for he now knows the truth. He promises that they will return to their country home and find happiness there. Violetta, realizing that she is doomed and self-sacrificing to the end, expresses the hope that Alfredo will find a suitable bride. Finally, she cries out in anguish and dies.

Copyright 2010, Michigan - 38 - Opera Theatre

[

THE OPERA It is hard to imagine that Verdi's La Traviata, now one of his best-loved operas, was poorly received at its premiere on 6 March 1853. The first-night audiences at Venice's Gran Teatro la Fenice rejected the work, and the next day Verdi declared to one of his pupils that La Traviata was a failure. "Is the fault mine or the singers'? ," he asked, then continued, "I don't know at all.

Time will decide. " Indeed time has decided. La Traviata is now considered not only one of Verdi's best operas, but also one of his most appealing. Moreover, it is unique among Verdi's operas for the warmth and tenderness of its music, and for the sympathetic portrayal of its heroine, the frail and beautiful courtesan, Violetta.

There were several reasons why La Traviata was poorly received in Venice in 1853. The plot, based on the French play, La Dame aux Camelias ("The Lady with the Camellias") by Alexander Dumas the Younger, concerns the love between a courtesan and a gentleman. It was considered by many to be immoral, even though the Venetian censors had approved the opera libretto after its title was changed from Amore e morte ("Love and Death") to La Traviata ("The Woman Gone Astray" or "The Lost One").

Moreover, the opera was produced with contemporary scenery and costumes, an innovation that upset and confused the nineteenth-century audience. There were also casting problems: the tenor Ludovico Graziani (Alfredo Germont) was suffering from a cold and sang poorly; the baritone Felice Varesi , who apparently considered the role of Giorgio Germont as unworthy of his abilities, appeared awkward and unconvincing; and the soprano Fanny Salvini-Donatelli (Violetta), who was especially robust and rather healthy-looking, did not strike the audience as a woman dying of consumption, a disease with which most people were all too famiiiar at the time. In fact, in the final act when the doctor remarked that Violetta had only a few hou~s to live, the house roared with laughter, at the very moment when it sgould have wept! When Varesi offered Verdi his condolences at the conClusion of the premiere, the composer replied curtly, "Offer them to yourself and to your colleagues, who like you have not understood my music." Later, Varesi complained that La Traviata had failed because Verdi did not know how to make the most of his singers, and that the composer had let them and the public down!

La Traviata was quickly withdrawn from the theater, and Verdi returned home to Busseto and then left for extended stay in Paris. Yet when the opera was revived a year later

by Antonio Gallo at Venice's Teatro San Benedetto, with the setting and costumes pushed back 250 years and with an appropriate cast, it was enthusiastically received. Further triumphs followed in one Italian city after another, and before the end of 1856 La Traviata had also been acclaimed in London, St. Petersburg, N~w York, and Paris. Criticisms continued, however, especially in Victorian England and America, where the plot continued to cause controversy. The London Times decried the "foul and hideous horrors" of the libretto, while the critic of The Athenaeum was scandalized by Violetta, who offended "maidenly reticence and delicacy. " Yet such publiCity only made La Traviata more popular. The manager of Her Majesty's Theatre in London, who was temporarily saved from ruin by the vogue of La Traviata during the late 1850's, described in his memoirs the mania that possessed the public: the "frantic crowds" struggling in the lobbies of the theatre, even torn dresses and crushed hats!

La Traviata is appropriately named for its heroine, Violetta, for it is. pre-eminently a prima donna's opera, and it is Violetta's character that is at the heart of the story. Yet, although Violetta is indeed a "woman gone astray," she is not a prostitute who sells her favors indiscriminately. She is a courtesan, a woman who is "kept" by an aristocrat. In other words, she is his mistress, a common relationship in nineteenth-century aristocratic society. But nineteenth-century opera audiences were unfamiliar with such realistic themes, and although the age of realism had dawned in many of the other arts, it had not yet extended to operatic subjects.

Copyright 2010, Michigan Opera Theatre

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Therefore, when Verdi chose Dumas the Younger's play La Dame aux Camelias (usually called in this country "Camille"), based on the author's own best-selling novel of 1848, as the subject of his eighteenth opera, he was actually navigating uncharted operatic waters. Even Dumas's play was innovative, for it was actually one of the first spoken dramas to take contemporary life as its theme and to deal sympathetically with a modern courtesan. Verdi had seen the play in Paris during a three-month stay in 1852-53 and immediately realized its operatic possibilities. Moreover, the subject matter somewhat refle2ted his own situation at the time, living with the talented soprano Giuseppina Strepponi, to whom he was not married, but with whom he had two children.

Of course, Giuseppina was not a courtesan and would eventually become Verdi's second wife. But Dumas's play was actually autobiographical, based on his own love affair with the courtesan Marie Duplessis (a peasant from Normandy, born Alphonsine Plessis) , who had died of consumption in 1847. Marie Duplessis had belonged to the "demi-monde," an expression invented after her death by Dumas himself in his play Le Demi-Monde (1855). Society women, who were no longer accepted by their peers-either because of an affair or some other indiscretion, formed the demi-monde. Often rejected even by their families, many sought support from wealthy men and became courtesans. Yet because they were educated, they were able to provide much more than sex; they could converse, dance, play music, ride horses, and arrange elegant parties-in short, they were usually excellent companions. Despite her humble birth, Marie Duplessis belonged to this group of refined and intelligent courtesans. The composer Franz Liszt described her as having an "enchanting nature" and was apparently captivated by her conversational skills.

DU!llas had met Marie in 1844 when they were both twenty years old. By then she was at the height of her career and already had quite a reputation in Paris, while he had not yet published anything and was known only as a famous author's son.

Dumas and Marie fell in love, but eventually parted. When Marie died of consumption just after her twenty-third birthday, Dumas rushed back to Pa·ris; he began writing the novel based on their relationship a few days later. When he turned the novel into a play, which at first was banned by the censors, it generated much controversy. Indeed, marriage had been assailed and free love championed!

Verdi was undaunted by the controversy and asked the stage poet Francesco Piave to turn Dumas's play into an opera libretto.

Although Piave preserved much of the original play in his libretto for La Ii'aviata, he reorganized the unusually informal sequence of scenes that constitute the play's five acts into three acts with four scenes that focus on three principal characters: Violetta, her lover Alfredo Germont, and his father Giorgio Germont. Violetta is drawn as a self-sacrifiCing woman who is passionately sincere and quite aware that she will never enjoy the new life for which she longs. Even if she were not gravely ill, society would never allow her to forget her past.

Besides the innovative use of a realistic plot, Verdi also broke new ground in his music for La Traviata. The score is truly memorable: never before had the orchestra been used with such dramatic force in Italian opera; never before had voices been used with such freedom ; never before had ensembles contributed so importantly to the unfolding of the story.

Although La Traviata broke new ground in Italian opera, both in music and in plot, the realism of the story had posed numerous problems for Verdi, even though the courtesan Violetta as the selfsacrificing victim fit in very well with the conventions of romantic opera. But Verdi never again tackled such a realistic subject.

Instead, he turned once again to historical topics and to Shakespeare. After embarking upon a brief association with French opera, he then wrote three final Italian operas: Aida, Otello, and Falstaff It remained for later Italian composers, such as Giacomo Puccini, to concentrate on realistic subjects and to create the "verismo" operatic movement of the next generation.

Copyright 2010, Michigan Opera Theatre

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Copyright 2010, Michigan Opera Theatre

SALOMB SYNOPSIS From the moonlit terrace of Herod's palace, Narraboth, captain of the guard, gazes rapturously inside at the Princess Salome, who is feasting with her stepfather, the Tetrarch Herod, and his court. A page warns him not to stare so intently lest something terrible happen. The voice of the prophet Jochanaan proclaims the Messiah's greatness echoing from a deep cistern, where he has been imprisoned by the tetrarch; two Soldiers comment on the prophet's kindness and Herod's fear of him. Salome, bored with Herod's lecherous glances and his coarse guests, rushes out to the terrace for some fresh air. She becomes curious when she hears Jochanaan curse Herodias, her mother. When the guards refuse to let her speak to Jochanaan, Salome turns her wiles on Narraboth, who orders thatJochanaan be allowed to come forth. Salome is fascinated by the prophet's deathly pallor and pours out her uncontrollable desire to touch him. The prophet rejects her, speaking of the Son of God who will come to save mankind. When Salome continues to beg [or Jochanaan's kiss, Narraboth stabs himself in horror, and the prophet descends into the cistern, cursing the girl. She collapses in frustration and longing.

Looking for Salome, Herod appears, followed by his court; remarking on the strange shape of the moon, he slips in Narraboth's blood and, unnerved, is visited by hallucinations. Herodias scornfully dismisses his fa ntasies and suggests they withdraw. Herod's thoughts turn to Salome, who spurns his attentions. Renewed abuse fromJochanaan's subterranean voice harasses Herodias, who demands that Herod turn the prophet over to the Jews. Herod refuses, maintaining Jochanaan is a holy man . His words incur an argument among the Jews concerning the nature of God, and a narrative of Christ's miracles by two Nazarenes. As Jochanaan continues his denunciation, the queen furiously demands his silence. Herod begs Salome to divert him by danCing and offers her anything she might wish in return. Salome makes him swear he will live up to his promise, then dances shedding veils and finishing at Herod's feet (Dance of Seven Veils). She shocks the monarch by asking for the head ofJochanaan on a silver platter. She is refused by the horrified Herod, but Herodias laughs approvingly. In desperation Herod offers alternatives - jewels , rare birds, the sacred veil of the Temple. But Salome persists until the terrified king finally gives in. As an executioner goes down into the cistern, Salome peers impatiently over the edge. At last an arm thrusts from the cistern offering the head to Salome.

As clouas obscure the moon, Salome seizes her reward paSSionately, addressing Jochanaan as if he lived and triumphantly kissing his lips.

Overcome with revulsion, Herod orders the soldiers to kill Salome. They crush her beneath their shields.

Courtesy of the Detroit Institute of Arts/Detail from Arthu r Bowen Davies - Dances

Copyright 2010, Michigan - 42 - Opera Theatre

ALL SORTS AND KINDS OF SALOMES Excerpted from The Theatre magazine; New York, NY 1909

By Harriet E. Coffin Salomania is not a new craze. Medieval legend depicts Salome blown upon by the Mighty Breath for having caused the Prophet's death by her dancing, and by way of punishment being whirled into space, where she is doomed to dance and whirl forever. Thus Salome joined the "furious host," a roaming band of banished spirits which haunted medieval Europe with their restlessness. Berchard of Worms reports with twelfth century gravity that fully one-third of the whole world worshipped her. We still seek her shrine, but we do not always worship.

Salome, as we know her today, has evolved gradually from the brief accounts given of her in the Bible, and she has inspired poets, painters, dancers, dramatists and composers. The subject "Salome Dancing" has appealed particularly to artists of all ages, from the fourteenth century manuscript which reveals her "vaulting before Herod" on her hands, to several pictures by the old masters.

The numerous vers,ions of the story are conflicting. Some, based upon the meager Biblical account, are historical, while others follow the Oscar Wilde dramatic poem, vivid in the - color of its word-painting and unpleasantly morbid in its imagination. 'Historically Salome was a "Korasian", which in Hebrew "damsel," innocent of evil motive, but the victim of her wicked mother's revenge. She is terror-stricken at the Sight of the head ofJohn the Baptist, and remorseful. Renan in his "Life oEJesus" suggests the interpolated love of Salome for the Prophet, and in Flaubert's "Herodias" the motive is further emphaSized. Sudermann's "Johannes" deals with this theme more gently, while in Wilde's version Salome is imbued with a revoltingly morbid motive for her crime - sexual passion for John the Baptist.

Some [time] ago, Sarah Bernhardt presented the Wilde drama at the Palace Theatre in London, but the censor prohibited it after the first performance. Oscar Wilde later tried to sell her the drama, which she refused.

Since that time the cen~rship of London has become less strict, since it was at the Palace Theatre that Maud Allan, with her wondrous grace and her bare feet, trod upon British conservatism and captured the metropolis by the phenomenal success of her dance, "The Vision of Salome."

In France the Wilde drama was suppressed; but in Germany, from the first, this latter-day revival of the Salome cult has found support. Lili Marbourg appeared as Salome in the Dresden production of the Wilde play several years ago with great success. In America, Mercedes Leigh gave the play for the first time at the Berkeley Lyceum.

Julia Marlowe appeared in New York as Salome in Sudermann's poetic drama, "John the Baptist." Fremstad was seen as Wilde's Salome to the accompaniment of Richard Strauss' music at the Metropolitan Opera House. Further performanc.es of the morbid Strauss opera were promptly forbidden by the Metropolitan'S board of directors. This suppression acted naturally as a tremendous advertisement, and soon the American stage was invaded by all sorts and descriptions of Salomes.

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The Outlook patted New York on the head for being good, in the following words: "It is to the credit of New York that the usual cant has not been heard in this case, and that an instinct sound alike in morals and in art has expressed itself not only promptly but efficiently." But New York did not stay "good". Instead, it welcomed the "furious host" of Salomes which quickly followed with open arms.

There have been many criticisms of the Salome dancers. They have been denounced as morbid and vulgar in their interpretations, and yet the public has flocked to see them. It should not be forgotten that the essential part of every performance is the audience. Without the audience there would be no dance at all. The managers have only provided what they saw there was a demand for.

Two years ago, Salome, Venus-like, rose to the surface of things dramatic, and she is still on the crest of the wave. There was hardly a theatre or vaudeville house in this country which did not harbor a Salome dancer, male or female , from a one-week engagement to a three-month headline. The American girl, Maud Allan, may be said to have been the pioneer of the present revival. Astonishing success attended her public appearances in Berlin, sensational features of her performance being bare feet and more that scanty attire. Breathless cable reports declared that literally she wore nothing but smiles and a few glass beads. Miss Allan went to London and repeated her triumphs. The theatre was so crowded every night that seats were unobtainable for love or money, and cabinet ministers fell over each other in paying her honor. All this enthusiasm because a comely young person, who danced passably well, had the courage to exhibit her undraped curves in the full glare of the footlights. As a money-maker the show was a distirict success, and Miss Allan found speedy imitators in America.

Gertrude H,offmann 'appeared in imitations of Maud Allan at Hammerstein's Roof Garden with great success. La Sylphe, who claims priority over Maud Allan in the costuming and arrangement of the dance, was, in fact, the first to appear as Salome in this country. Her dance follows very close to the Biblical story, her interpretation being contortion dancing, which she claims is the true Oriental method. Eva Tanguay, who danced at various vaudeville houses in New York, appeared in the most daring undress ever seen on the stage. She followed the simple Bible account, and emphasized the sprightly youthfulness of the girlish Salome, entirely free from morbidness of motive, Lotta Faust, seen in "The Mimic World" at the Casino , portrayed Wilde's description of Salome, "A shadow of a white rose in a mirror of silver. " Laura Guerite, who succeeded her, gave a sumptuous characterization, and was called the "Spotlight Salome." It would be difficult to mention all of the Salomes who courted public favor, for their name is legion. It were better to toast them all, so that none may be left out, not even the innocuous Salome of Huber's Museum, whose Dance of the Seven Veils could not be questioned as to modesty, nor that dusky shade of Salome, Ada Overton Walker, who flitte~ for a season through "Bandanna Land."

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As to the costumes worn by the various Salome dancers, there is little to fear on the moral ground. Through a natural law, this minimum of drapery will be found harmless in its effect upon public morals, for where the charm of mystery is dispelled, satiety and indifference result.

Dr. Otto Nietzel, the well-known critic, throws the responsibility for the dance upon America, saying that the Dance of the Seven Veils is nothing but the "danse du ventre," first made popular at the World's Fair, on the Midway. The music is said to be written one-half tone off, in order to emphasize its emotional effect.

Copyright 2010, Michigan Opera Theatre

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ABOUT TIm ARTISTS ACTON Conductor, Chorus Master (Michigan)

Baritone (Tennessee)

MOT Credits Chorus Master/Assistant Music Director since 1981

MOT Credits Crown, Porgy and Bess 1987 Crown, Porgy and Bess 1982

1996 Spring Season Chorus Master, La Boheme, La Traviata, Salome

1996 Spring Season Jochanaan, Salome Salome, Canadian Opera Company; Don Giovanni, Tulsa Opera; Samson et Dalila, Metropolitan Opera; Aida, Arena di Verona; II Trovatore, Salome, Metropolitan Opera, Glydebourne Festival, Covent Garden; Beethoven's Nillth Symphony, Pittsburgh Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Hollywood Bowl

Conductor, Michigan Opera Theatre, Th e Daughter of the Regiment , The Barber of Seville, The Music Mall , The Pirates of Penzallce; Conductor, Daytol] Opera, La Tra viata, West Side StOlY , My Fair Lady, The Pirates of Pellzallce; Coach , Opera Theatre of 51. Louis, San Diego

ALEKSANDAR ANTON

BELTRAN

Dancer (Yugoslavia)

Tenor (Chile)

MOT Debut

MOT Debut

1996 Spring Season Romeo , Romeo al1dJuliet

1996 Spring Season Rodolfo, La Boheme

Zurich Ballet Corps de Ballet 1989, Demi-Solofst I989; National Ballet of Canada Second Soloist 1991-1993 , First Soloist 1993-1995, Principal Dancer 1995; repenoire includes, Th e Firebird; La Sylph ide, IIianls , Giselle, Don Quixote, Romeo alld]uliet, Swall Lalie, The Sleepillg Beauty

Macbeth , La Boheme, Toulouse Opera; Rigoletto, Monte Carlo Opera; La Rondine, Ludwigshafen Festival; Der RosellllOvalier, La Boheme, San Francisco Opera, Covent Garden; Rigoletto, La Prillcesse dll Trebizollde, Lucia di Lammermoor

Soprano (Spain)

Bass (Michigan)

MOT Debut

MOT Credits Basilio, The Barber of Seville 1993 Friar, Romeo et Juliette 1990 Basilio, The Barber of Seville 1987

1996 Spring Season Violetta Valery, La Traviata La Boheme, La Ti'aviata, Metropolitan Opera; La Cellerentola , Palm Beach Opera; Carmell, Scottish Opera; Rigolello, Compania de Opera de Monterrey; Faust , Mexico City, Seaule Opera; Lcs Pecheurs de Peries , Seaule Opera; winner of 1993 Metropolitan Opera National Council Auditions

1996 Spring Season Alcindoro, La Boheme Metropolitan Opera, The Ghosts of Versailles , TIre Abductioll from the Seraglio, The Bartered Bride, The Italiall Girl ill Algiers, TIre Barber of Seville, The Daughter of the Regimellt, Tallllhatiser, Fidelia, Rigoletto, Malloll Lescaut; New York City Opera, Die Meistersinger, Faust, The Magi c Fitlle

DENNIS BERGEVIN FRANK

Director (Austria)

Co-Directors, Elsen Associa tes (Pennsylvania)

MOT Debut

MOT Credits Resident Hair and Make-Up Designers since 1988

1996 Spring Season Director, Salome Anistic Director of Opera Lyra Ouawa since 1988; Covent Garden; Vienna State Opera; Lyric Opera of Chicago; Houston Grand Opera; Deutsche Oper Berlin; Salome, San Francisco Opera; Madame BUlle/fly, The Washington Opera; Die Za ube/flote, Cosi fall tutte, the National Ans Centre; former Resident Director of the Canadian Opera Company; founding Associate Director of the Los Angeles Music Center Opera

1996 Spring Season Resident Hair and Make-Up, La Boheme, La Traviata, Salome New York Shakespeare Festival; Radio City Music Hall; Washington Opera; Philadelphia Opera; Florida Grand Opera; Piusburgh Opera; Dallas Opera; Spoleto Festival; Edinburgh Festival; Broadway, Merchant of Venice; PBS and HBO

Copyright 2010,-Michigan 45 - Opera Theatre

BARBARA L. BLAND

HELEN Soprano (Texas)

MOT Debut 1996 Spring Season Annina, La Traviata

1996 Spring Season Mimi, La Boheme

Soloist, Pontiac-Oakland Symphony; Soloist, Oakland University-Community Chorus; Arts 01 Noon , Oakland University; South Pacific; Liltle Mary Sunshine; Anything Goes; The Sound of Music; Bye Bye Birdie; Metropolitan Opera Audition District Finalist

Le Nozze di Figaro, Fedelio, Der Rosenlwvalier; Metropolitan Opera; Turandol, Covent Garden; Der Freishatz, Berlin Opera; Der Rosenlwvaliel; Washington Opera; Le Nozze de Figaro, TlIrn of Ihe Screw, Florida Grand Opera; Die Meislersinger von Narnberg, Seanle Opera; Le Nozze de Figaro, Opera Pacific; TlIral1dot, Cannen, Cologne Opera; Die Zallberfl6le, Hannover Opera; Tannl"illser, Autstin Lyric Opera; over 100 recordings

Tenor (New York)

Mezzo-Soprano (Tennessee)

MOT Credits Don jose, Carmen 1981

MOT Credits joan of Arc,Joan of Arc 1979

1996 Spring Season Herod, Salome

1996 Spring Season Herodias, Salome

Elektra, Lyric Opera of Chicago; Carmen, the Israel Philharmonic, the Netherlands Opera, The Atlanta Opera; I Pagliacci , New Israeli Opera; Shining Brow, Madison Opera, Florida Southern College; Nosferatu, Canadian Opera Company; Modem Painters , The Santa Fe Opera; Kalya Kabanova, Peter Grimes, Cardillac, Salome, Teatro Communale in Florence; Die Walkare, Seattle Opera

Metropolitan Opera, Salome, II Trovalore, GOlterdammerung, Cannen, Don Carlo, Tristan lind Isolde, Aida, Parsifal, Arabella, Die Walkare, Jenufa , Elehtra, Tannhauser; Lyric Opera of Chicago; San Francisco Opera; the New York Philharmonic; the Philadelphia Orchestra; the Chicago Symphony; La Scala; Covent Garden; the Vienna State Opera; the Paris Opera; Deutsche Oper Berlin; Alice Tully Hall

Conductor (New York)

MOT Credits Conductor, Swan Lake 1995, Cinderella 1994, The Sleeping Beauty 1993

1996 Spring Season juliet, Romeo and Juliet

1996 Spring Season Conductor, Romeo and Juliet

1981 , joined the Dutch National Ballet; Principal Dancer with the Dutch National Ballet since 1987; repertoire includes Romeo and Juliet , Swan Lake, Giselle, The Sleeping Beauty, Cinderella, Petrushha, Apollo, 4 Temperaments , Midsummer Nights Dream

Resident Conductor of the Detroit Symphony Orchestra; Music Director of the Dearborn Symphony; Principal Conductor of the Dance Theatre of Harlem; New York City Ballet; The New York Philharmonic

Mezzo Soprano (Kansas)

MOT Debut 1996 Spring Season Baron Douphol, La Traviata

1996 Spring Season Flora, La Traviata Regina, Romeo et juliette, Cosi Jan tlltte, The Marriage oj Figaro, La Traviala, Guys and Dolls, A Little Night Music, Illinois Opera; La Tragedie de Carmen, The Tempesl, Des Moines Metro Opera; Alto Rhapsody, Elehlro, Chicago Symphony Orchestra; The Tender Lalld, Chicago Opera Theatre

Cannen , Hawaii Opera; The Golden Apple, Bitlersweel, Light Opera Works; Candide, Skylight Opera Thetre; The Rape of Lucretia, Yale Opera Theater; Romeo etjulietle, La Boheme, A Little Night Music, Illinois Opera Theatre

Soprano (Michigan)

MOT Credits Rosina, The Barber of Seville 1970

MOT Credits Conductor, La Boheme 1988, Porgy and Bess 1987, Orpheus in the Underworld 1986 , Of Mice and Men 1980

1996 Spring Season Salome, Salome

1996 Spring Season Conductor, La Boheme, Salome Music Director of Houston Grand Opera, 1979-94; Music Director of the Madison Symphony Orchestra and Madison Opera; Allila, Opera de Nice; Tasca , FalslaJJ, Australia; Aida, Tasca, Carmen, Opera Pacific; MeJislOJele, Washington Opera; The Tales oj HoJJmann, A Midsummer Nighls Dream, Turandot, POigy and Bess, Houston Grand Opera; Grammy Award ""nner for Palgy and Bess recording in 1978

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Metropolitan Opera since 1976 including The Marriage oj Figaro, Ariadne auJ Noxos, Lady Macbeth oj Mtsens}" Carmell, Les Troyens; Salome, the San Francisco Opera, Lyric Opera of Chicago, the Los Angeles Opera, Covent Garden, the Washington Opera; CantJelI, Covent Garden, the Glyndebourne Festival, Australia, Japan; Tasca, Los Angeles Opera, Seville; Madamo Butterfly, Los Angeles Opera; Alresle, Bastille Opera; Cosi Jail tulle, The Barber oj Seville, Ariadne auJ Naxos, The Coronalioll oj Poppea, the Glyndebourne Festival

FU Baritone (China)

Soprano (Mississippi)

MOT Debut

MOT Credits Musetta, La Boheme 1990

1996 Spring Season Giorgio Germont, La Traviata

1996 Spring Season Musetta, La Boheme

La Ii"viat", Metropolitan Opera, Opera Pacific, Calgary Opera, Vancouver Opera; La Boiteme, Metropolitan Opera, Greater Miami Opera, Philadelphia Orchestra; Rigaletto, San Diego Opera, Edmonton Opera; appeared in Pavarotti Plus i edition of Live from Lincoln Centel

Un Ballo in Maschera , Metropolitan Opera; Falstaff, rElisir d'amore, La Boiteme, Der Rosen}",valier, Die ZaubClfiote , Houston Grand Opera; Hansel and Gretel , Dallas Opera; Tales of Hoffmann, Don Pasquale, Washington Opera; La Boiteme, The Pearl Fishers , Opera Pacific; La Boheme, Cleveland Opera

MOT Credits Sacristan, Tosca 1995; The Bonze, Madame Buttelfly 1994; Wagner, Faust 1994 Mandarin, Turandot 1994

MOT 1996 Spring Season Rodolfo, La Boheme La Bolieme, Metropolitan Opera, Houston Grand Opera, La Scala; rElisir d'Alllore, Metropolitan Opera; La Traviata, Hamburgische Staatsoper, Bilbao Festival, San Francisco Opera, Hamburg, Munich, Philadelphia; Madama Butterfly, Houston Grand Opera, Canadian Opera Company; Live from LiIlCO/1I Center with Luciano Pavarotti

1996 Spring Season BenoitJAlcindoro, La Boheme Opera Delaware, Aid" , La Traviata , SI. Matthew Passion , Verdi's Reqlliem, Beethoven's Ninth Symphony , Handel's Messiah; Stadttheater Regensberg, Toledo Opera, OperaiLenawee, Greensboro Opera, Virginia Opera

KIMBERLY GLASCO Dancer (Oregon)

MOT Credits Aurora/Lilac Fairy, The Sleeping Beauty 1993

1996 Spring Season Marcello , La Boheme

1996 Spring Season Juliet, Romeo and Juliet

Winner of 1995 George London Award; Turandot , Cleveland Orchestra; Utaliana in Algeri, Cleveland Opera; Beethoven's Ninth Symphony, Oregon Symphony; Bach's St Matthew Passion , Northwest Bach Festival; Don Giovanni , Glimmerglass Opera; La Boheme, Houston Grand Opera

National Ballet of Canada's Corps de Ballet 1979-81 , Second Soloist 1981-83; American Ballet Theatre 1983-84; National Ballet of Canada First Soloist 1985-87, Principal Dancer 1987-present; repertoire includes, The Merry Widow, Don Quixote, Swan Lalle, Giselle, The Sleeping Beallly, Romeo and juliel, Cinderella

Dancer (Russia)

Ballet Mistress (Michigan)

MOT Credits Ballet Mistress, Swan Lake 1995

MOT Debut 1996 Spring Season Romeo, Romeo and Juliet

1996 Spring Season Ballet Mistress, Romeo and Juliet

1994-present, First Soloist with the Dutch National Ballet; 1990-1994, First Soloist with the Kirov Ballet; 1990-1985, Soloist with Perm Ballet; repertoire includes, Giselle, Swan Lake, Les Sylpliides , TiieSleeping Beauly, The Nutcraelier, Don Quixote, RallieD and juliet, Balanchine's Agon

Pittsburgh Ballet Theatre, Principal Dancer; Principal Dancer for Ruth Page; Chicago Ballet, Principal Dancer; American Dance EnsemblelBallet Petrov; repertoire includes Swan Lalle, The NutcracilCr, Romeo and juliet, Coppelia , Don Quixote

VLADIMIR GRISHKO Tenor (Ukraine)

MOT Debut 1996 Spring Season Marquis d'Obigny, La Traviata Second Soldier, Salome

1996 Spring Season Alfredo Germont, La Traviata The Tsars Bride, Madama Bilitelfiy, The Washington Opera; Nabllcco, Opernhaus in Dortmund, the Bregenz Festival in Austria; Prince Igor, La Bohtme, Llleia di LammernJOor, La Rondine, New York City Opera; La Ii-aviata, Opera Pacific; winner of Placido Domingo Grand Prize and "Best Tenor" title in the 1989 Vinas International Vocal Competition

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Die Entjuhrung aliS dem Serail, Les Contes d'Hof!"''''''' , The Magic Flute, The Barber of Seville, Aspen Music Festival; La Boite",e, Bach's SI. john Passion , Handel's Messiah, the Windsor Symphony; Pu/cinella Sliite, Bach's Magnificat, the Detroit Chamber Winds; 1993 Metropolitan Opera Regional Finalist

MARY Soprano (Texas)

MOT Debut 1996 Spring Season Mimi, La Boheme

1996 Spring Season Salome, Salome

Arabella , Metropolitan Opera; The Dangerous liaisons, San Francisco Opera; Rigoletto, Florida Opera Association; Cannell , The Cunning little Vixen, The Washington Opera; Louise, La Bohellle, Grand Theatre de Geneve; Zalllpo, Wexrord Festival; Fedora , Bregenz Festival; La Bohellle, De Vlaamse Opera or Antwerp

Metropolitan Opera, I Pagliacci, Eugene Onegin , Otdlo; Salome, La Forza del Destino, Kirov Opera; The In visible City oj Kilezh, Kirov Orchestra; Shasta ko vich's Symphony No. 14, Boston Symphony Orchestra; Verdi's Requiem, Philadelphia Orchestra; II Trovalore, Israel Philhannonlc; La Clemenza di Tilo, Teatro Colon

ELIZABETH KEEN Choreographer (Ohio)

MOT Debut 1996 Spring Season

MOT Debut 1996 Spring Season Schaunard, La Boheme

Choreographer, Salome Carmen, Metropolitan Opera, New York City Opera; The Wililers Tale, Animal Farm, The Tempesl, Yonadab, Royal National Theatre, London; La Traviala , Falsliiff, Glydebourne; A Comedy oj Errors, New York Shakespeare Festival ; Guys and Dol/s, Goodman Theatre, Chicago; rAnge de Feu, Wpera Bastille, Paris; Kiss Me Kille, ArtPark

Un Ballo in Masch era , La Bohellle, Le Cid, Wozzecll, Cosi Jan lutle, Lyric Opera or Chicago; Signor Deluso, Baltimore Opera; II Barbieri di Siviglia, Arizona Opera; I Pagliacci, Salllson et Dalila, Toledo Opera; Cavalleria Rusricana, Tulsa Opera; FalslaJf, Greensboro Opera, La Bohellle, Hawaii Opera Theatre

Bass (Canada)

MOT Credits

MOT Credits Colline, La Boh eme 1993

Baron Von Rothbart, Swan Lahe 1995 Friend of Prince, Cinderella 1994 Solo Dancer, Samson and Delilah 1992 Solo Dancer, Ki ng Roger 1992

MOT 1996 Spring Season Doctor Grenvil, La Traviata First Nazarene, Salome

1996 Spring Season

The Ring Cycle, Seanie Opera; Tosca, La Forzil del Desfino, Tire Barber oj Seville, Lyric Opera or Chicago; AbduCfioll Jrom fhe Seraglio, Manitoba Opera; Barber oj SCI'ille, Alberl Herrillg, WerfhCl; Romeo ef Ju/i eHe, The Marriage oj Figil/'O, Canadian Opera Company; The Magic Flule, I Puritani, Carmfll, Va ncouver Opera; Das R/leillgold, Arizona Opera

Tybal t, Romeo and }ttliet Principal Dancer: Moscow Detskiy Opera and Ballet Theater; Campania Nacional de Danza; Ballet EI Paso; Della Festival Ballet; Ballet South. Guest artist: Campania de Ballet de Queretaro; Ballet San Jacinto. Repertiore includes Tile NlltudClle,., 511'(111 La/le , The Sleepi llg Beauty, 0011 Quixote, Giselle, Romeo ",ulju/ief

Lighting Designer (California) Director/Choreographer, Swan Lalle 1995, Cindmlla 1994, Th e Sleeping Beat/ty 1993; Choreographer, Aida 1993, Sa lllson et Dalila 1992, King Roger 1992, Die Flederlllaus 1975, La Traviata 1974, Rigoletto 1973

1996 Spring Season Director/Choreographer, R.ol11eo and Juli et Choreographer or The Nuleracller ror the Detroit Symphony Orchestra since 1974; Current Ballet Master ancl Resident Choreographer al Dance Detroit, Lascu School or Ballet ancl Marygrove College; Pricipal Dancer, Ballet Master ancl Choreographer or Ihe Romanian National Ensembles

ROMEO

&

JULIET

MOT Debut 1996 Spring Season Lighting Designer, ROl11eo al1dJuliet Mmlinyas, Timillg Game, Lalllbareua, Dance House, Quartette, San Francisco Ballet; Signs alld WOlfders, Dance Theatre or Harlem; Ghosts, Allegri Diversi, Boston Ballet; Gumbo Ya- Ya, Kennedy Center Ballet Commission, SFB; Hunters ,110011, Pittsburgh Ballet Theatre; Alberl HClTing, Angelique, Marriage by Lanlern lighl, Boston Conservatory Opera

PIPER Tenor (Costa Rica)

MOT Credits Spoletta, Tosca 1995 Gom, Madame Butterfly 1994

1996 Spring Season Violetta Valery, La Traviata

1996 Spring Season Gastone, La Traviata

La Tra viata, Staastoper Hamburg, Teatro Regia cli Torino, Vienna Staastoper, Arena cli Verona, Versailles (Festival) ; Aida, Arena di Verona, Japan; I Medici, Frankfurt; Silllon iloc((lnegm, I Medici, Eflnione, II Trovatore, recordings; Lucio eli LwnlllernlOol; San Remo; La Boltellle, Teatro Regia di Torino; Carlllen, Arena di Verona

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Orella, Regina, Opera Pacific; Michiga n Opera Theatre/Opera Pacific Young Artists Apprentice 199495; Mozart's Requielll , Handel's Messiah , Rackham Society; Part's Te DeulII, Detroit's Oratorio Society; Die ZaubCljlole, FalstaJf, Silinl oj Bleecher Sireer, Vanessa, Messe d-dfll', Gabel, UniverSity or Michigan; . West Side SIOIY, Ann Arbor Civic Theater

KARL SCHMIDT Bass (Michigan)

Tenor (Michigan)

MOT Credits

MOT Debut

MOT Community Programs performer since 1986; Bogdonovitch, The Merry Widow 1993; Dr. Blind, Die Fledennaus 1988; Businessman, Kismet 1988; Minos, Orpheus in the Underworld 1986

1996 Spring Season Sergeant, La Boheme Servant, La Traviata Cappadocian, Salome

1996 Spring Season Fourth Jew/Slave Salome

Instructor of voice and piano, Michigan Christian College; Handel's Messiah, Rochester Symphony Orchestra

Soloist, Rochester Symphony, Jackson Symphony, Ann Arbor Symphony, Birmingham Bloomfield Symphony; Showboal '79, Opryland; The Student Prince, Toledo Opera Association; Starli ng Here, Starling Now, Attic Theatre; Amahl and the Night Visilers, Opera Lite Co.

ANTHONY POKORSKI

GEORGE SHIRLEY

Baritone (Michigan)

Tenor (Indiana)

MOT Credits Jailer, Tasca 1995 Chorus member since 1993

MOT Credits Edrisi, King Roger 1992 Alfred, Die Fledermaus 1980

1996 Spring Season Parpignol, La Boheme Second Jew, Salome

1996 Spring Season

Herod, Salome Metropolitan Opera for 11 seasons; Orpheus in the Underworld, Das Rheingold, Deutsche Oper Berlin; Covent Garden; Teatro Colon; Netherlands Opera; New York City Opera; TIle Tzars Bride, The Washington Opera; King Roger, Greater Buffalo Opera; Los Almos, the Aspen Music Festival; Salome, Greater Buffalo Opera; Professor of Music at the University of Michigan

stagecrafters, Oklahoma; Cargill Productions, Red Stocking Review; Redford Theatre 1993 & 1995, Vaudeville; The Night of January 16th; The Bells are Ringing; The Music Man; Hello Dolly!; Once Upon a Mattress ; Chess

ELtEN RABINER Contralto (New York)

MOT Debut

MOT Credits Masetto/Commendatore, Don Giovanni

1996 Spring Season Page, Salome

1990 1996 Spring Season

Elelam, Lady Macbeth of MtsellSII , Metropolitan Opera; Madallla Butle/jly, The Magic flute, Prince Igor, New York City Opera; TIle Barber of Seville, Rappaccinis Daughter, San Diego Opera; Vivaldi's Gloria, Carnegie Hall; Handel's Messiah, Pacific Symphony

Colline, La Boheme Don Giovanni, La Boheme, Turandot, Simon Boccanegra, Le Nozze di figaro, Idomell eo, La fallciulla del West, TiJe Gllosts of Versailles, 0 0 11 Carios, Madama ButtC/jly, Tosca , Metropolitan Opera; Lucia di Lammenlloor, New York City Opera; Attila, staatstheater Stuttgart

DONATO RENZETTI

HARRY SILVERSTEIN

Conductor (Italy)

Director (West Virginia)

MOT Debut

MOT Credits Director, Tosca 1995

1996 Spring Season Conductor, La Traviata

1996 Season Director, La Traviata

Music Director of the Macerata Opera; Principal Conductor of the Orchestra Stabile di Bergamo; previous Principal Conductor of the Arena di Verona; LQjJoheme, Metropolitan Opera; La Donna Del Lago, Carnegie Hall; Emani, Otello, Lyric Opera of Chicago; Rigoletto, Dallas Opera; rItaliana in Algeri, the San Francisco Opera

Akllnaten, English National Opera, New York City Opera; La Bolleme, AlltollYalld Cleopatra, La Nozze di figaro , Tasca, iJlalialla ill Algeri, Ull Ballo ill Mascllera, Merry Widow, Lyric Opera of Chicago; The Makillg of the Representative for Planet Eigllt, Alllla Bolella, Ariadlle auf Naxos, Don Giovanni, Faust, Houston Grand Opera; Satyagralla, San Francisco Opera

Lighting Designer (Ohio)

MOT Credits Lighting Designer, Carmen 1989, La Boheme 1988, Man oiLa Mancha 1987; Resident Lighting Assistant, 1986-87 1996 Spring Season Lighting Design Adapatation, Salome Design credits include Peer Gynt, The Los Angeles Philharmonic; Wooman Lovely Wooman, for Miriam Margoyles, Hollywood; Urban Bush Woman, New York; assistant credits include Leader of the Padl, Broadway; Confessions of a Nightingale, Spoils of WQI; Einstein on Ihe Beach, Off Broadway; Lighting Associale for Los Angeles Music Center Opera, 1988-95

1996 Spring Season

Third Jew, Salome La Bolleme, La Traviata, Brookside Pocket Opera; Nabucco, I Lombardi, New Jersey State Opera; Tile Magic flute, Trenton Civic Opera; Amalll and tile Nigllt Visitors, Th e Tales of Hoffmall, Rigoletto, NewJersey Opera Intstitute

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Lighting Designer (Michigan)

Tenor (France)

MOT Credits Lighting Consultant since 1989

MOT Debut

1996 Spring Season Alfredo Germont, La Traviata

MOT 1996 Spring Season Lighting Designer, La Boheme

The Daughter of the Regiment, The Metropolitan Opera; Djamileh, American Symphony Orchestra; Berlioz Requiem, Marseille, Montpellier Festival, Edinburgh Festival; Lucia di Lammermoor, Marseille; Mireille, Opera Comique de Paris; The Barber of Seville, Don Pasquale, La Boheme, The Love of Three Oranges, Opera de Lyon

Tosca, Merry Widow, /I Trovatore, My Fair Lady, Opera Pacific; Madama BUlle'J!y, Candide, Dayton Opera; Jesus Christ Superstar, Malibu American Stage Festival; Tosca, Madame BUllerjly, The Daughter of the Regiment, Ariadne auf Naxos, Candide, The Mikado, MOT; APenny for a Song, Pioneer Theatre; Teibele and Her Demon, Attic Theatre

Director (England)

Tenor (Florida)

MOT Credits Director, Turandot 1993, Ariadne auf Naxos 1991, Carmen 1989, La Boheme 1988 Assistant to the General Director, 1971-75 1996 Spring Season Director, La Boheme

MOT Debut

1996 Spring Season Narraboth, Salome Winner of 1995 Metropolitan Opera National Council Auditions; Winner of 1995 ARIA Award; Th e Immortal Hour, Werther, The Rape of Lucretia, Juilliard Opera Center; Me Teague, New York Festival of Song; Beethovens Ninth Symphony, Bowdoin Music Festival, Erie Philharmonic; Verdi's Requiem, Chautaugua Festival; Bernsteins Vayamer flohim, Alice Tully Hall

Director of Production for the Washington Opera since 1982; Awarded Premia Affiati (Affiati Prize) for the Rahis Progress, 1993 Spoleto Festival, Italy; Assistant to Gian Carlo Menott, Spoletto Festival, Italy, 1979-Present;La Boheme, The Washington Opera, Philadelphia Opera, Opera Genoa, Modena, Beijing, Opera PaciOc; Cosifantulle, The Washington Opera; Semele, Christopher Columbus, -The Washington Opera; The Merry Widow; Dayton Opera

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C. HOWARD CRANE A TRUE DETROIT GEM

by Lisa DiChiera

C. Howard Crane was born in Hartford, Connecticut in 1885. The son of a butcher, he turned to the

field of architecture at an early age, and at seventeen, he obtained work as a draftsman in downtown Hartford. By the end of 1904, the nineteen year old Crane moved to Detroit, relying on self-taught experience to further a career in architecture. According to his granddaughter Kitty Gushee, Crane was lured to Detroit as the rapidly growing city acted as a "magnet" for her grandfather's energetic ambitions.

In the following years, Crane worked in several prominent architectural offices, absorbing the influence of the best Detroit architects of the day. In 1904, Crane, after lying about his age, was hired

by Albert Kahn where he stayed for one year. By 1905, he was hired as chief draftsman at Smith, Hinchman and Grylls (then known as Field, Hinchman and Smith). In 1907 he moved to the office of Gustave A. Mueller and by 1909 opened his own practice.

Once independently established, Crane immediately started receiving commissions for theaters known as nickelodeons (stores converted to movie viewing venues with an admission price of 5 cents). First among them was the Majestic Theatre, a small nickelodeon, which Crane deSigned within a building constructed in 1883, at 1449 Woodward Avenue. While he also was commissioned to design offices, residences and store fronts, soon Crane became known for his specialization in theater design.

C. Howard Crane's early concentration in theater design was as incidental as the fast progression of the movie industry itself.

Indeed, Crane's designs for theaters developed in size and elaborateness as the motion picture industry itself grew. Out of nickelodeons came vaudeville houses, and the Columbia Theatre on Monroe Street, built in 1911, was Crane's first. According to theater historian Andrew Craid Morricon, it seated 1006 patrons and was Detroit's first large moving picture and vaudeville theater, accommodating a full orchestra to accompany the picture and the first to contain a theater pipe organ. Crane deSigned The Columbia, as well as several nickelodeons for John H. Kunsky who soon rose to become the city's premier theater owner and movie exhibitor. On the road to success he took C. Howard Crane, who would design the majority of Kun~'s extravagant motion picture and vaudeville houses.

Within the next 10 years, Crane deSigned theaters anywhere in size from 530 to 1500 seats and spread his clientele to several other cities in the Great Lakes region. In Detroit, his commissions continued for Kunsky and many other exhibitors. They included the 1914-built Regent and Palace Theatres, both inspired by a mixture of eighteenth century Neoclassicism and the 1915 Majestic Theatre (today housing the Majestic Cafe), built on Woodward Avenue. By 1919, Crane was given his first commission to design a legitimate theater, in this case a concert hall for the Detroit Symphony Orchestra. Today, the restored Orchestra hall remains the Detroit Symphony Orchestra~_ permanent home. Soon after its completion, he was commissioned to design the Music Box Theatre at 45th and Broadway in New York City and the Harris and Selwyn Theatres in Chicago, all for theater producer Sam H. Harris and in New York Harris' partner Irving Berlin.

These commssions brought Crane national recognition, but during the same time he remained busy designing motion picture houses of grand scale for his home town of Detroit. In Detroit, Crane's most faithful and ardent client continued to be John Kunsky, who from the early nickelodeon days on Monroe street determined Crane would be his principal architect. By 1920, Kunsky already was monopolozing the business of film exhibition in Detroit, and close at his side was C. Howard Crane, helping to build his large collection of resplendent theaters. .

Grand Circus Park, a semicircular area divided by Woodward Avenue, and from which several other main streets radiate, became the city's fashionable shopping district after the turn of the century. It was the logical area for John Kunsky to build and eventually was nick-named "Kunsky Circle" as it became surrounded by his great showplaces. The first of Kunsky's Grand Circus Park theaters designed by Crane were the Adams and the Madison, both built in 1917. With a seating capacity of 1806, the Madison had an Copyright 2010, Michigan Opera Theatre

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J

auditorium that looked similar to Orchestra Hall. With this theater, Crane's grand style of movie palaces "had almost arrived."

It was the Capitol Theatre, however, that truly allowed Crane to make his mark as one of the nation's great movie palace architects.

When the Capitol Theatre opened on]anuary 12, 1922, it was the largest of Crane's Detroit theaters at that time, seating 4,250 people.

Situated between Broadway and Madison Avenue, the Broadway side was the facade which was characterized by three classically treated divisions with1engaged Corinthian columns. Retail spaces occupied the central, largest bay and the west bay had an entrance into a small lobby containing elevators to the upper story offices. One entered the theater at the facade's east bay, which was designated by the Capitol marquee. Upon entering the theater, the patron first found himself in a small outer lobby containing the ticket booths.

Featured was a vaulted ceiling with back-lighted stained glass panels, but the most impressive architectural treatment of this space was a groin vaulted and marble columned entry leading to a set of stairs to the second mezzanine and then to the balcony: Those patrons with tickets for the main floor of the mezzanine tier boxes had the added privilege of walking through the lobby into a three story foyer containing a grand staircase and two mezzanine bridges, all of which were highlighted by balustrades of wrought iron, painted gold with alternating coral and turquoise ellipses. The foyer curved around the rear of the auditorium and the back wall featured three archways rising the full three stories. These were framed by engaged Corinthian columns, ornate plaster work accented in gold, turquoise and coral, and painted panels containing repeating motifs of cupids, garlands, birds and cameos. In the Capitol, Crane successfully created lobby spaces to beguile the patron to the point of fantasy, even before he entered the auditorium.

In contrast to his previous theaters for motion pictures, such as the Majestic, seating 1,651 people and deSigned according to a "bleacher" type plan, the tbeaters Crane deSigned around Grand Circus Park adapted a new sense of special grandeur. All were deSigned upon variations of the traditional legitimate theater plan, which incorporates multiple levels. While this change was not neces?ary for theaters such as the Adams, which with 1,770 seats was not much larger than the Majestic, and the Madison, the change was appropriate for ~ theater as large as the Capitol. To accommodate 3,367 people, Crane included two mezzanine levels and a bal,cony: The first mezzanine, he explained, was treated" ... as a tier of special boxes, obtaining a more exclusive and private seating section, which is very desirable." These boxes continue under the balcony for the whole width of the house.

While Crane did incorporate detached boxes in most of his other deSigns, he came to prefer the horseshoe-shaped mezzanine of individually articulated boxes under the balcony and sweeping around the perimeter of the hall. Previous to the Capitol, Crane had created this same arrangement of box seating for the 2,000 seat Orchestra hall, built in 1919. In that case, six additional projecting mezzanine boxes continued around to each of the side walls of the auditorium, stepping downward toward the proscenium. In the Capitol, the mezzanine level of boxes ended at the side walls, allowing space for a large archway, containing the organ grilles above ground level exit doors.

While Crane noted the desirability of the special seating offered to those in the mezzanine boxes, he did not want to neglect patrons in the balcony: In order for them to feel intimately a part of the auditorium, the exteIitlOn of the front of the theater toward the balcony was incorporated. Additionally, Crane developed aesthetically pleasing approaches to the balcony, so as to keep the patron from feeling that he would be separated from or inferior to the rest of the audience, as had been the case in nineteenth century theaters.

Crane stated, "One very interesting point developed in this theater is the run of the stairways. Those, for instance, at the second mezzanine level are designed with elliptical terminals, lobbies and other interesting points which give the impression that the uppermost seats in the balcony are in no way diffucult to reach. " The Capitol Theatre exhibits amixture of classical elements drawn from various sources. For the auditorium ceiling, Crane chose a system of unorthodox coffering, which formed unusual geometric patterns that were arranged within the ceiling's vaulted curves and incorporated octagonal lighting coves. The high vaulting of the ceiling, made entirely of plaster, was purely a decorative effect and not structural in any way: The process of suspending the plaster ceiling was an art in itself, which required metal lath to be hung with suspension rods from the roof trusses and then the final application of plaster over the metal lath. In the end, not only was an awe inspiring ceiling achieved, but plenty of convenient attic space was left between the ceiling and the roof.

The Capitol Theatre in Detroit was truly a turning point in Crane's career. In 1923 it was the largest theater he had planned to date, and in architectural design, it foreshadowed the shape and appearance of Crane's future movie palaces, the State Theatre (1925) and the Fox Theatre (1928), both restored and well known to Detroiters today. But for the three years previous to the construction of the State Theatre, the Capitol Theatre remained the most prominent movie house in the Kunsky chain and in all of Downtown Detroit.

With its current restoration and reopening as the Detroit Opera House, it has regained its former glory and will remain one of the city's greatest attractions.

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Detroit Opera House Gives Special Tha:nl<s to ...

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Copyright 2010, Michigan Opera Theatre

MOVIES, MUSIC & MONSTER MAYHEM ON A CAPITOL STAGE A history of entertainment in one of Detroit's grandest old theatres

by Mary Jane Doerr

Seated on a folding chair in his parent's Model T, Robert VanderKloot got his first glimpse of the Capitol Theatre in 1922.

Awestruck by the theater's immensity, VanderKloot remembers soprano Estelle Carey's opening songs but not the "throbbing' love tale," The Lotus Eater. Retired Army coloneljohn Batchelder, then seven, doesn't remember the movie either, just the 3,000 piece crystal chandelier.

Fifty years later in the late 1970s, VanderKloot was awestruck again when he took his son-in-law, Michigan Opera Theatre's general director Dr. David DiChiera, to the theater. Their dream, for MOT to own a house, comes from motion picture maghetjohn Kunsky's vision when he built the palatial movie palace "to present my own home city with a palace of amusement of which it could be justly proud. " (Detroit News, jan. 8, 1922) Then, people scoffed at Kunsky's manager George Trendle as being "in need of having someone look after him" for building a theater "up there on Grand Circus Park. " Hardly crazy, Kunsky planned to compete with Detroit's 150 movie palaces by marketing his "Show Palace of Michigan" with his own scheme of "product differentiation." An independent without access to the top movies, he showed adventure films and featured live stage shows.

"It was the best theater," said Art Clay of Dearborn. "If you had a dime you went to the Rex, if you had a quarter you went to the Lincoln Square, but if you had 75 cents you could go to the Capitol. They had a big stage there. " Whether Carey was a hot talent by MOT standards when she opened january 12, 1922 to 4500 people (including Mayor james Couzens) on that "big" stage, she, the Capitol Quartette, the Capitol Girls, the Capitol Wonder Orchestra, and the local talent stole the show until the Michigan Theatre opened in 1926.

Screen stars like George Beban 0-22-22) , Irene Castle (2-26-22) , Fatty Arbuckle (8-5-23) , louise lovely (6-15-24) "interpolated" scenes from their films. Other entertainers were Paul Whiteman, louis Armstrong, Guy lombardo , W C. Fields, Duke Ellington, Victor Herbert and Will Rogers.

Under Viennese violinist, Eduard Werner, the 40 piece house orchestra played "Sunday Noonday" concerts featuring pieces like Molly on the Shore, My Mammy Knows and Tchaikovsky's "AdagiO lamentoso" from Tchaikovsky's Symphony Pathetique.

Deluxe houses like the Capitol got orchestra scores with each silent film for the house orchestra. For the films , usually the orchestra would begin the program by accompanying the show. The organist would join in and the orchestra would then break, leaving the organist playing solo . Interestingly, the first organist Donald Miller had charge of the organ couplers requiring second organist lou Betterly to hand change his stops while performing these solos.

Copyright 2010, Michigan Opera Theatre ~

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In 1925, a Wurlitzer 4/20 , the first Publix-Iorgan in the country replaced the Hillgreen Lane organ. One of only a few Wurlitzers to be tonally adjusted to a theater, the hall's perfectly placed pipe chambers and superb acoustics made the sound fabulous and the organ the favorite organ in Detroit. (It is now in California's Oakland Paramount Theater.)

That year, Kunsky became part of the Publix Theatre chain and began booking vaudeville (Publix Unit Shows) into the Capitol, shows like Revue Exotique, Neapolitan Nights, and Bag 0 ' Tricks . The performances were an eclectic mix of anomalies such as hoofers, trapeze specialists, French Canadian poetry, Spanish dancers, vacuum cleaners that wheezed pop tunes, and "marvelous" news reels, like the eruption of Mt. Etna. Tenor saxophonist Del Delbridge, from Palmer Park, was master of the popular ceremonies.

Union president Werner had "ghost" clauses written into contracts, requiring theaters to pay orchestra rates if they hired the organist. By 1929, those clauses and the stock market crash took care of the orchestra and the "talkies" took care of the organists. Betterly sold shoes, Miller went to Dearborn Inn, and Werner entered the Detroit College of Law. In the windfall, Kunsky sold his 22 theater interest to Publix for $4.5 million, a nice return on his Capitol.

Publix changed the name to Paramount advertising shows like "Hear Him Talk " Buddy Rogers in Varsity with an extra Vitaphone Talking Playlet, but times were hard. George Trendle took over in 1934, changing the name to the Broadway Capitol and reopening with Marlene Dietrich in The Scarlet Empress. United Detroit Theaters assumed management.

Opera also played a role in the early history of the theater when the San Carlo Opera Company under Fortune Gallo brought two ,weeks of opera beginning in 1933 and appeared there intermittantly over the next decade. The performance of Faust in the 33 seasons featured the sensational debut of the young Detroit soprano Emma Lazaroff Schaver who would go on to have an impressive career in music performing in concerts throughout the world.

World War II brought thousands of people downtown to work three factory shifts. Located near the Grand Circus Park "east meets west" streetcar intersection, the "all night" Broadway Capitol pulled crowds of 5 to 15,000 daily, remembers George McCann, Chief of Service at the Michigan Theatre. ran of battles such as the "Battle of Iwo-Jima." Weekend stage shows, hardly the glitzy affairs of the 20s, were often replaced by shorts and trailers. "Day and Date" marketing booked films with the Riviera and Cinderella.

KunskJ-Purchased WXYZ when he sold the Capitol. In the 1940s, with Dick Osgood as master of ceremonies, the station broadcast weekly shows "Radio Schoolhouse of the Air" from the theater.

Undermarketed or overlooked, The Broadway Capitol never achieved the stature of the Fox or the Michigan theaters where the splashy premieres and the hit films were shown.

The Broadway Capitol got the "B" raters.

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"By the time I saw the theater, they were down to "Z" rated films ," said Richard Clay about the re-runs, second runs, and double features interspersed with occasional stars like Gale Storm and Sal Mineo.

Midnight "shriek" previews of monster films like Revenge of the Creature and Cult of the Cobra were shown in 3-D in 1955.

Daring patrons were photographed with the "creature" in the lobby. Green gelatin covered the exits for effect, but it only gave a brighter green light to audiences' suburban flight.

Copyright 2010, Michigan Opera Theatre

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Under Richard Sklucki's management, $100,000 was spent to . update this "old lady" with a face lift in the form of a V-type marquee and name change to Grand Circus Theater. December 23, 1960, it reopened with The World of Suzi Wong, attempting to compete with the shoebox cineplexes.

The shoe did not fit the old lady of the silver screen, and the "terror treats" (I'll Drink Your Blood And Eat Your Skin, Corpse .

Grinder, Empire of the Ants, Kung-Fu "knock outs") were as out of place as the concession stands in the marbled lobbies, concessions that failed to solve the theater's identity crisis.

Premieres like Petey Wheatstraw and Isaac Hayes' Black Moses of Soul brought limited patronage.

At Last At Last, A Naked Rider, and Jailbait Babysitter became the last picture show October 28, 1978. That day, manager Lovell Pertner looked sadly at 30 customers in the 3200-seat theater.

O. B. O'Bryan, manager in the 40s and 50s, remorsed, ''That old house has had some pretty glorious moments." This was not one of them.

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Headlines read "Grand old theater takes last bow," but the show was not over. Gerald Tobin bought the "grand ole opulent theater" for an alternative rock series "Grand Circus Live. " Amy Yokin, now group sales director at the Fisher TheatrelMasonic Temple, was the box office manager, considering herself Detroit's queen of punk rock, presiding over ticket sales to mainstream headliners like Ray Charles and Roy Orbison and punk alternatives.

Beatlemania, Plasmatics, R.E.M. , English Beat, and future "celebs" Cindi Lauper, U2, and B-52s on their first national tours.

Again the balcony swayed, rattled and rolled like it did for the mighty Wurlitzer. "This place is made for rock and roll" light headed fans exclaimed about the architecturally suspended balcony. Grace Jones becamethe final act, and nearly "Grace under fire" when a small blaze closed the theater in November 1985 .

CAPITOL WoNDER

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When it opened in 1922, the Capitol was America's fifth largest movie palace. After decades of bad films on subjects that make good opera, the Capitol reopens as the THE BIGGES~N ~ D£-rRorr TKU.-rRf. Detroit Opera House with a newly constructed stagehouse that ranks it with the top five or six opera houses nationally. The Capitol's restoration to its original splendor £V£llp~~ returns this entertainment palace to a four star rating. ~ :.s vastness.

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Mary Jane Doerr is an areaJreelance writer, speCializing in musical theatre and opera.

Michael Hauser, oj Preservation Wayne, proVided the research Jor this article.

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Copyright 2010, Michigan Opera Theatre

- 59 -

Expression.

The demonstration of one's artistic or creative abi lities. Expression is communication.

It's one or more individuals, conveying a message through gestures, sounds, images or words.

At NBD, we appreciate those with the talent and desire to move us all. Congratulations to all those who made this event a success. We're happy to have played our part.

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29880 Groesbeck Hwy., Roseville, Michigan 48066 Copyright 2010, Michigan Opera Theatre (313) 778-3570 FAX: (313) 778-3931

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Tour Information

(313) 884-4222 Copyright 2010, Michigan Opera Theatre

1994·95 CoRPORATE CAMPAIGN CoNTRIBUTORS SIGNAL BENEFACTORS $50,000 AND ABOVE Ford Motor Company General Motors Corporation

MAJOR BENEFACTORS $25,000-$49,999 Ameritech Hudson's Department Stores

BENEFACTORS $15,000-$24,999 Cadillac Motor Car DivisionJGM Comerica Detroit Edison Foundation Mit higan National Corp.

'NBD Bank

FELLOWS $10,000-$14,999 ANR Pipeline Co. AlliedSignal Foundation, Inc. ~hrysler Corporation Douglas & Lomason Company and Divisions Lear Seating Corporation Saks Fifth Avenue

SUSTAINERS $5,000-$9,999 Blue Cross-Blue Shield of Michigan Harmony House Records & Tapes Mid South Electrical Contractors Ltd. PVS Chemicals Inc. United Technologies Automotive Group

PATRONS $2,500-$4,999 AAA Michigan Alcoa Foundation Deloitte & Touche Dickinson Wright Moon VanDusen & Freeman First of America Bank Masco Tech, Inc. Michigan Consolidated Gas Company

DONORS $1,000-$2,499

Durr Industries, Inc. Ernst and Young Freehan-Bocci & Company GKN Automotive Inc. Gencorp Automotive Goodyear Tire & Rubber Co. J. C. Penney Company, Inc. J. S. Alberici Construction Johnson Controls, Inc. KaLitta Flying Service Kelly Services Inc. Kerry Steel Lobdell-Emery Manufacturing Co. Morris Associates, Inc. Ogilvy & Mather Ontario Die Company of America Penske Corporation Petoskey Plastics Inc. Royal Maccabees Life Insurance Co. Scott Shuptrine Furniture Standard Federal Bank 1. K. Lowry Sales, Inc. Takata, Inc. Textron Inc. Transportation Services Inc. Yarema Die & Engineering

CONTRIBUTORS $500-$999 American Axle & Manufacturing, Inc Arvin North American Automotive Barton-Malow Company Borse Industries, Inc. CSX Transportation Compuware Corp.

Continental Structural Plastics CoreSource, Inc., Delta Dental Fund George Williams Interiors , Ltd. Giddings and Lewis, Inc. lTW Deltar Kawasaki Robotics (USA), Inc. Libralter Plastics, Inc. Lintas: Campbell-Ewald NGK - Locke, Incorporated PPG Industries Foundation Quik X Transportation Inc. Robert Bosch Corporation Shell Oil Company Foundation Inc. Siegel-Robert Inc. The Budd Company The Standard Products Co. Tuesday Musicale of Detroit Versacom, Inc. Zenith Industrial Corp.

American Components, Inc. BASF Corp.

Batten, Barton, Durstine & Osborn Boarder to Boarder Trucking, Inc. SUPPORTERS Bozell Worldwide, Inc. (Detroit North) $100-$499 CNlinc.

A. J. Etkin Construction Co. Crate & Fly Acordia of Michigan, Inc. D & S Benore Trucking, Inc. Airtec Corporation D'Arcy, Masius, Benton & Bowles Copyright 2010, Michigan Opera Theatre Albert Kahn Assoc., Inc. Dow Chemical Company

Aldoa Company Alexander & Alexander of Michigan, Inc. Alvan Motor Freight, Inc. American Glass & Metals Automotive Industrial Sales Inc. Avis Ford, Inc. B & W Cartage Company Barris, Sott, Denn & Driker BEl Associates Bierlein Companies Breed Technologies, Inc. BridgestonelFirestone Trust Fund Broad, Vogt & Conant, Inc. CBS Television Network CUNA Mutual Insurance Carhartt, Inc. Chamberlain Realtors Coltec Industries Crum & Forster Dearborn Federal Savings Bank Detroit Free Press Detroit Heading Co. Inc. Detroit International Bridge Company DiClemente Engineering, Inc. Dinverno, Inc. Duane Smelser Roofing Company Emery Worldwide Failure Analysis Associates Flavin Associates, Inc. Giffels Associates, Inc. Grunwell-Cashero Company Inc. Hall Engineering Co. Health Enrichment Center, Inc. Hogan Transports, Inc. Hoover & Wells, Inc. Hovinga Business Systems Inc. IATSE Local No. 38 John E. Green Co. Kelvyn Ventour Promotions Inc. Key Plastics, Inc. Kirk & McCargo , Pc. Limbach Company Lou LaRiche Chevrolet Geo Ludington News Company Inc. Maddin, Hauser, Wartell, Roth eta!'

Mattar Financial Corp.

Meijer Inc. Minkin-Chandler Corporation Motor City Electric NTH Consultants, Ltd. Nippondenso Sales Inc. Perini Building Company Perry Drug Stores, Inc. Price Waterhouse RTS Transportation Systems, Inc. Schreiber Corporation The Detroit News/Gannett Foundation The FD. Stella Products Company The Stroh Brewery Company Visual Services Inc. Willis Corroon Corporation of Michigan Wineman Investment Company

CoNTRI8UTORS ----~~~.~de~~-----

Michigan Opera Theatre gratefully acknowledges its generous corporate, foundation and individual donors whose contributions were made between July 1, 1994 and June 30, 1995. Their generosity plays an integral part in the Company's financial stability, necessary for producing quality grand opera, musical theatre, and classical ballet. In addition to enjoying outstanding entertainment on the stage, MOT contributors are offered a number of opportunities which allow them to observe the many phases of opera production, meet the artists, and experience other "behind the scenes" activities. For more information on becoming involved in these exclusive and exciting donor benefits and services, contact our offices at (313)874-7850.

IMPRESARIO CIRCLE $10,000+ Mr. & Mrs. Philip E. Benton, Jr. Mr. & Mrs. Robert E. Dewar Mr. & Mrs. Irving Rose Mr. & Mrs. George Strumbos.

Mr. & Mrs. Harvey Kline Ms. Mary Ann Hollars Dr. & Mrs. Richard W Kulis Mrs. David Jacknow Dr. & Mrs. Robert P. ·~;;~~;;;;~~~~ rs. Leonard C. Jaques Mr. & Mrs. ltl ohnston Dr. & s ey

MAlOR BENEFACTORS $5,000-$9,999 Mr. &-Mrs. David Arono Dr. & Mrs. Donald C. Mr. & Mrs.]. Addiso .

Mr: & Mrs. Mark A Mr. & Mrs. Donal Mr. & Mrs. Lynn Mr. & Mrs. R.l Dr. & Mrs. Sa

The Honorable Barbara Rose Collins Mr. & Mrs. Michael]. Connolly Dr. Mary Carol Conroy Mr. & Mrs. Peter Cummings Mr. & Mrs. Ronald K. Dalby Mr. & Mrs. Lawrence N. David Mr. & Mrs. Steve Djelebian Ms. Hilda R. Ettenheimer Mr. & Mrs. Paul E. Ewing r. & Mrs. Alfred]. Fisher, Jr. fe & Mrs. Charles 1. Fisher, III M. Mrs. Phillip W Fisher Mr. ~s. Louis P. Fontana Mrs.'! ~ . Frankel Mr. & . Frank A. Germack,]r.

Mr. & '. ' eith E. Gifford Mr. & M \lseph Gualtieri Mr. & Mrs Kftnneth E. Hart Mr. & Mrs. 'th Honhart The Hon1 & Mrs. os Mr.

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Mrs. Benson Ford, Jr. Mr. & Mrs. Edward P. Frohlich Mrs. Roy Fruehauf Mr. & Mrs. John C. Griffin Mrs. Alice Berberian Haidostian Mrs. Robert M. Hamady Mr. & Mrs. E.]. Hartmann

r. & Mrs. John G. Bielawski Dr. Mark 1. Burnstein The Honorable Dominick R. Carnovale Dr. & Mrs. Victor]. Cervenak Mr. David Chivas Ms. Virginia Clementi

Copyright 2010, Michigan Opera Theatre

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Dr. Mrs. Mr. & Mrs Mr. Ralph Mr. Micha , Morrison Mr. & M . :. Clarence Mularoni Mr. & s . Michael Mutchler Mr. & ' . James Pamel Dr. s. Kenneth E. Pitts Mr rs. Brock E. Plumb M . gr Mrs. David Pollack , . & Mrs. Robert R. Reilly r. & Mrs. Hans Rogind Mr. & Mrs. Norman H. Rosenfeld Mr. Thomas Schellenberg & the Honorable Joan Young Schellenberg Mr. & Mrs. Gregory]. Schwartz Mr. & Mrs. Roger F Sherman Mr. & Mrs. Norman Sloman Mr. & Mrs. Richard D. Starkweather Mr. & Mrs. Melvin C. Vander Brug Mr. & Mrs. Gary L. Wasserman Mr. & Mrs. Lawrence E. Witkowski Ms. Elizabeth Work Mr. & Mrs. Morton Zieve

FOUNDATION &. GOVERNMENT SUPPORT GOVERNMENT Michigan Council for Arts and Cultural Affairs National Endowment for the Arts

SIGNAL BENEFACTORS $50,000 AND ABOVE The Skillman Foundation

MAlOR BENEFACTORS $25,000 - $49,999 Hudson-Webber Foundation

BENEFACTORS $15,000 - $24,999 DeRoy Testamentary Foundation john S. and James L. Knight foundation Matilda R. Wilson,Fund

FELLOWS $10,000- $14,999 Ann and Gordon Getty Foundation James and Lynelle Holden Fund The Samuel L. Westerman Foundation David M. Whitney Fund

SUSTAINERS $5,000 - $9,999 The Mary Thompson Foundation

PATRONS $2,500 - $4,999 Japanese Society of Detroit Foundation

DONORS $1,000 - $2,499 Drusilla Farwell Foundation Alice Kales Hartwick Foundation The Meyer and Anna Prentis Family Foundation, Inc. Sage Foundation Young Woman's Home Association

CONTRIBUTORS $500 - $999 The Clarence and Jack Himmel Foundation Ann and Mike Rosenthal Family Foundation The Village Woman's Club Foundation

ORCHESTRA CIRCLE $500 - $999

Mr. & Mrs. Albert A. Miller Mr. & Mrs. Milton]. Miller Phillip and Cynthia Minch Mr. & Mrs. Joel Morris Mr. Ronald K. Morrison Mrs. Earl A. Mossner Mr. & Mrs. William E. Odom Ms. Jan H. Ollila Ms. Corinne Opiteck Dr. & Mrs. Jesus Ortega Ms. V Beverly Payne Dr. Luba Petrusha Ms. Irene Piccone Dr. & Mrs. Peter]. Polidori Mr. & Mrs. W James Prowse Mr. Abraham L. Raimi Mr. & Mrs. John W Reddy Mr. & Mrs. Henry C. Reimer Dr. & Mrs. David B. Rorabacher Dr. & Mrs. Alexander Rota Mr. & Mrs. David]. Runyon Mr. & Mrs. Luigi Ruscillo Mr. Reid Schornack Mr. William E. Scollard Conrad Soderblom Mr. & Mrs. Newton Sobel Mr. & Mrs. Nathan D. Soberman Drs. William P & Frances L. Sosnowsky Thomas Emmett Sullivan Mr. & Mrs. Stephen M. Sweeney Mr. John W Sybert Miss Mary Ellen Tappan Mr. Michael Tramont Ms. Marleen Tulas David Kinsella and Joyce Urba Dr. Joseph Valentin, DDS Mr.]. Ernest Wilde Mr. Halton Williams Mrs. Barbara Willis Dr. Magnus A. Wilson Mr. & Mrs. Larry Winget Ms. Hildegard Wintergerst Mr. & Mrs. T. Wallace Wrathall

Dr. & Mrs. William C. Albert Dr. Harold Mitchell Arrington Dr. Robyn]. Arrington,Jr. Mrs. Jack Beckwith Mr. John W Belman Mr. Stanislaw Bialoglowski Dr. & Mrs. Eric Billes Ms. Paul and Lee Blizman Mr. & Mrs. G. Peter Blom Mrs. Marguerite Boyle Mr. Michael Boyle Dr. & Mrs. Sander]. Breiner Dr. & Mrs. Matthew L. Burman Ms. Mary C. Caggegi Mr. Joseph L. Cahalan Miss Helen H. Cannon Mr. Clifton G. Casey Mr. & Mrs.]. Thomas Clark Mrs. Mary Rita Cuddohy Mr. & Mrs. George Dambach Mr. & Mrs. Keith D. Danielson Mr. & Mrs. Richard DeBear Mrs. Louise W Deutch Miss Ruth G. Doberenz Mr. & Mrs. Harry M. Dreffs Mr. & Mrs. George P Duensing Ms. Ingrid Eidnes Mr. Mervin W Eisen Mr. & Mrs. Laurence Elliott Mr. Howard Emmer Mr. & Mrs. Robert Fair, Jr. Mr. Albert Febbo Dr. & Mrs. Charles H. Feinman Dr. & Mrs. Irving Feller Dr. & Mrs. Lionel Finkelstein Mr. & Mrs. Anthony C. Fortunski Mr. Earl A. Foucher Dr. & Mrs. William R. Fulgenzi Dr. & Mrs. Byron P Georgeson Ricardo & M. Graciela Gonzalez Mr. & Mrs. Maynard M. Gordon Mr. & Mrs. Raymond Greenspan ,Mr. & Mrs. Charles G. Gunderson LUMINARY Mrs. Robert Hamilton $250 - $499 Dr. & Mrs. Natan Harpaz Dr. & Mrs. Jack H. Hertzler Mr. & Mrs. William j. Adams Miss Mary A. Hester Mr. & Mrs. Edward f Allwein Christi Hoagland Mr. Augustine Amaru Mr. & Mrs. Alan Israel Mr. Charlie Antal Mr. & Mrs. Perry Johnson Mrs. Emilia Arnold Ms. Rosemary Joliat Mr. & Mrs. John A. Ashton Dr. & Mrs. Howard C. Joondeph Mr. & Mrs. Stephen M. Bakonyi Mrs. Joyce Ann Kelley Andrea Z. & James M. Ba1cerski Mr. & Mrs. Jerome B. Kelman Ms. Patricia Ball Mr. Leslie Klauka The Honorable Mr. & Mrs. Stanley L. Kley & Mrs. Robert D. Bennett Mr. James f Korzenowski Mr. Roland L. Bessette Mr. & Mrs. Karl A. Kreft David and Maria Bilson Mrs. Joseph E. Lunghamer Mrs. Norman Bird Dr. & Mrs. Robert E. Mack Mr. Svein Bjorkly Mr. & Mrs. James ]. Madden, Jr. Mr. & Mrs. Eugene W Blanchard Mr. Ralph C. Mangold Dr. Edwin C. Blumberg Mr. & Mrs. Joseph Maniscalco Mrs. Saundra Y. Bohanon Ms. Jean Mawdesley Mrs. Gertrude D. Bonk Mrs. Edyth Mazur Mr. & Mrs. A. ]. Boone Dr. Thomas G. McDonald Ms. Ruth Bozian Ms. Patricia McKanna Mr. Alan]. Burg Mr. & Mrs. Harold A. Meininger Mr. & Mrs. Roy E. Calcagno Mr. & Mrs. William Michaluk Ms. Teresa Carbajal Ms. Helen Millen 2010, Michigan Mr. Maurice Chandler Copyright Opera Theatre

Jeff and Cheryl Chapp Drs. Allen and Inge Chen Mrs. Eleanor A. Christie Mr. & Mrs. Robert Closson Mr. & Mrs. James W Collier Mr. Kenneth Collinson Mr. & Mrs. George A. Cooke Mr. & Mrs. Claude H. Cooper Mrs. Ellen R. Cooper Dr. Robert A. Cornette Dr. Warren W Cowan Mr. & Mrs. Donald Cutler Mr. & Mrs. Douglas E. Cutler Mrs. Zenia S. Danysh Mr. Samuel L. Davis Mr. & Mrs. William]. Davis Mrs. Adeline]. De Biasi Mr. & Mrs. Leo nard ]. Dec ker Mr. Loren A. Deer Mr. John DiLodovico Dr. & Mrs. Juan C. DiMusto Mr. James P Diamond Mr. & Mrs. Harold Doremus Mr. & Mrs. Frank Dronsejko Mr. & Mrs. Andre ]. Dubos Dr. & Mrs. Harold Duchan Mr. & Mrs. Peter P Dusina,Jr. Ms. Anne Edsall Mr. & Mrs. Jerry Efros The Honorable and Mrs. S.]. Elden Dr. & Mrs. Edwin S. English Mrs. Madel A. Ernemann Mr. Riad N. Farah Judge Sharon Trevis Finch Mrs. Lillian Fishtah1er Dr. Zdzislaw Fiutowski Mrs. Shirley M. Flanagan Mr. John Fleming Mr. & Mrs. Harry S. Ford,Jr. Ms. Phyllis Foster Mr. Benjamin Frank Ms. Josephine E. Franz Mr. & Mrs. Douglas A. Fraser Ms. Mary Ann Fulton Mr. & Mrs. Earl Gabriel Dr. T. E. Garcia Mr. & Mrs. Ray Gardner Mrs. Aaron H. Gershenson Mr.James]. Gibbs Mr. Larry Glowczewski Dr. & Mrs. Joel Goldberg Dr. & Mrs. Milton Goldrath Ms. Priscilla A. B. Goodell Dr. & Mrs. Paul Goodman Ms. Nora L. Grabowski Ms. Jane Adele Graf Mr. & Mrs. Jonathon Greeli Mr. & Mrs. Grove Grimes Mr. Henry M. Grix Mrs. Claire L. Grosberg Mr. & Mrs. David A. Gugala Mr. Stephen Hagopian Mr. & Mrs. Leslie R. Hare Ms. Anne H. Helfman Dr. & Mrs. Michael Hepner Mr. Bruce A. Herbert Mrs. Bruce A. Hillman Mr. Frank Hoag Dr. & Mrs. Leon Hochman Ms. Donna Holycross Mr. & Mrs. Jacob Hurwitz Mr. Andrew Jackiw Mr. Michael R. Johnson

Mrs. Ollie Johnson Mr. Chois Jones Ms. Marie M. Jones Mr. &: Mrs. Herman Kaplan Mr. &: Mrs. Garry Kappy Dr. &: Mrs. Sydney M. Kaufman Dr. Sherman Kay Hon. &: Mrs. Stan C. Kazul Mrs. Walter} Kemler Mrs. Carl Kish Mr. &: Mrs. Donald A. Knapp Mr. &: Mrs. Semon E. Knudsen Mr. John Konik Mr. &: Mrs. Marc Lakin Mr. &: Mrs. Geoffrey]. Lanning Miss Olya Lash Dolores and Paul Lavins Michael and Judy Layne Mr. &: Mrs. William Lee Mr. &: Mrs. Timothy P Lentz Dr. &: Mrs. Leonard Lerner Mr. &: Mrs. Yale Levin Ms. Mary Sirotkin Lewis Mr. William L Libby, Jr. Mr. &: Mrs. Albert A. Loffreda Mrs. Elizabeth A. Long Dr. &: Mrs. Robert Lucas Ms. Helen Lynch Mary and'JamesM. MacNee III Fund Dr. &: Mrs. Saul Z. Margules Maurice L MarshaLl Ms. Elizabeth Maysa Ms. Mary C. Mazure Mr. &: Mrs. Mark McCartin Ms. Katherine McCullough Mr. &: Mrs, Stanley C. McDonald Mr. &: Mrs. Kenneth B. Meskin Mrs. Barbara Milbauer Mr. &: Mrs. Stanley Millman Dr. &: Mrs. Harvey Minkin Dr. Eliezer Monge Mr. James Morrison Mrs. Helen M. Muzleski Mr. &: Mrs. Adolph]. Neeme Mrs. Kathleen M. Nesi Mr. Robert A. Nitschke Mrs. Noemi Noriega Mr. &: Mrs. James W O'Connor Ms. Patricia Jean Oliveri Mr. &: Mrs. Dale]. Pangonis Mr. &: Mrs. Joseph R. Papp Ms. Athena Pappas Dr. &: Mrs. Thomas Petinga,jr.

Richard &: Meryl Place Fund Jim and Arlene Plate Mr. &: Mrs. David W Porter Dr. &: Mrs. Michael Prysak Mr. &: Mrs. Glenn 1. Purdy Joseph Radanovich &: Eleanor Budd Dr. Melvin L Reed Mr. Dennis C. Regan Mr. Bernard]. Reilly Enrique Reiners Mr. &: Mrs. John]. Riccardo Mr. &: Mrs. Robert B. Rito Mrs. Marie I. Roberts Ms. Alice L Rodriguez Ms. Rachel Rosenthal Mr. Aaron R. Ross Mr. &: Mrs. Theodore Rudner Ms. Laurie Sail Dr. &: Mrs. William H. Salot Mr. &: Mrs. John W Sanders

Ms. Elizabeth Aprahamian Mr. Peter]. Armstrong Dr. &: Mrs. Niara Arpaci and Family Mrs. Rosemarie Ash Dr. Mary Antonia Ausum Fred and Erika Baer Simon S. and Sylvia W Baer Mrs. Doris I. Bailo Mr. &: Mrs. Eugene Balda Mr. &: Mrs. William O. Ball and Family Ms. Helen Balton Mr. Gerald Banister Mr. Bassel Y. Banny Mr. &: Mrs. C. Robert Barnard Mr. &: Mrs. V John Barnard Mr. Robert A. Barnhart Ms. Sylvia Bartalucci Mr. &: Mrs. Lee Barthel Mr. &: Mrs. Jim Battey, Jr. Mr. &: Mrs. Harvey Baum Mr. &: Mrs. Russell A. Bayly Mr. Theodore Beard, J r.

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by The Mot Board of Directors

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On the second -level each Thursday Friday & Saturday evening, following the performance . ... at The Whitney Copyright 2010, Michigan Opera Theatre

YOUNG ARTISTS APPRENTICE PROGRAM ----~~~.~de~~----Michigan Opera Theatre's Young Artists Apprentice Program is now in its 16th year of training aspiring young vocal artists and production apprentices fllr the rigors of the professional theatre world. This year, talented young singers recruited from across the country will take up residence with Michigan Opera Theatre for multiple- week sessions of masterclasses with the conductors, directors and singers from current productions; private coachings with MOTs profeSSional music staff preparing their aSSigned comprimario roles for the season's productions; and many rehearsals and performances, deSigned to assist them in making the transition from student to professional.

Since its inception, Michigan Opera Theatre has been committed to the development of young American talent, and regards with pride those who have gone on to establish careers in the field. Many singers as well as several company production and artistic staff have returned to MOT in full professional capacities after apprenticeships with the company Furthermore, the list of now prominent artists who made their debuts or had early starts with MOT is impressive; Carmen Balthrop, Kathleen Battle, Rockwell Blake, Richard Cowan, Maria Ewing, Terese Fedea, Wilhelmenia Fernandez, Rebecca Luker, Catherine Malfitano, Leona Mitchell, David Parsons, Kathleen Segar, Neil Schicoff and Victoria Vergara, among others. For further information on auditions and application requirements for the Apprentice Program, please call the MOT Production Office at (313) 874-7850.

Michigan Opera Theil-tre's Young Artists Apprentice Program is sponsored annually by The Joyce H. Cohn Apprentice Award Fund, The DeRoy Testamentary Foundation, and the Ruth Hill Apprentice Award Fund.

ORCHESTRA & CHORUS >~<

ORCHESTRA

CHORUS

VIOLIN I

CLARINET

Charlotte Merkerson Concertmaster Theodore Schwartz Randolph Margitza Velda Kelly Kathleen Brauer

Brian Bowman Principal jane Carl

VIOLIN II Victoria Haltom Princi~al

Brooke oplamazian Anna Weller Angelina Carcone

VIOLA Jessica Nance Principal Barbara Zmich

VIOLONCELLO Nadine Deleury Principal Diane Bredesen Minka Christoff

CONTRABASS Derek Weller Pril1cipal Peter Guild

FLUTE

BASSOON Kirkland D. Ferris Principal

HORN Susan Mutter Principal Carrie Banfield

TRUMPET Brian Rood Principal Gordon Simmons

TROMBONE Maury Okun Principal Greg Near

TIMPANI Gregory White Principal

PERCUSSION John f Dorsey Pril1cipal

Pamela Hill Pril1cipal Laura Larson

HARP

OBOE

Diane Bredesen Personnel Manager

Rebecca Hammond Principal Ann Augustin

Patricia Terry-Ross PrinCipal

Stephanie Amelio Daniel Aggas Deborah Balcom Christopher A. Bauder Victoria Bigelow Cecilia Bohorquez-Courtois Kristen A. Bryant Cheryl A. Bubar Fred Buchalter K. Wayne Brooks Diane Aron-Calhoun Patrick Jay Clampitt Tracey N. Conrad Michaella Patches Dionne Sarah Dornblaser Vanessa Ferriole Louise A. Fisher Yvonne M. Friday Rachelle Gillett-Behrens Rosalin Contrera Guastella Jillian D. Hemann Donald Thomas Jackson Clarence E. Jones Leonard-James Johnson Rita Jury Harvey W Krage Jeff Krueger Dana Lentini Ray Litt Tony Lynch

Cynthia Merritt Kim Millard jeanine Head Miller Robert L. Morency James Mackey Moore Anthony Noto Jennifer L. Oliver Peggy O'Shaughnessey Joseph Anthony Pokorski Michael S. Parr Melissa Petro Jan R. Phillips Patricia Pierobon Frank Pitts David Ploof David Reilly Amy Lynn Rice Mary Robertson Jolante Rode John Schmidt Robert H. Schram Kennerth R. Shepherd Karen Sowka Judith Szefi Eric Watterworth Alvis-Wayne James R. Wells Timothy Wolf Eugene Zweig

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CoMMUNITY PROGRAMS AND TuE NEw DETROIT OPERA HOUSE

by Karen VanderKloot DiChiera, Director oj Community Programs

The Department of Community Programs is a division of Michigan Opera Theatre which is devoted to arts programs for all members of our community from pre-schoolers to senior citizens in every corner of our state and neighboring states. During the years of dreaming about our own opera house ...and then planning our own opera house, people have been curious as to how a permanent facility would affect our department. Many people assumed that since we tour so much, and teach educational programs in schools so frequently, that having a home wouldn't make much difference to us.

Actually, the opposite is true. The anticipation of a permanent home has encouraged us to think creatively in new directions. Through the years, the Department has developed a solid reputation in many different areas. One is Create-An-Opera, which is offered to learners of all ages. This course allows students to experiment in writing, composition, choreography and art, while creating original works. Launched in the Birmingham School District in 1976, the twenty-year old program has always been taught at an edllcational institution. With our own facility, we will have the ability to offer the program ourselves without having to be part of a school curriculum. Speaking of "courses," we will be able to offer a number of sessions on a variety of arts-related topics.

We will base our offerings on the requests of the community.

Of course, we will continue the ground-breaking work that our Department began in working with Sight and hearing impaired individuals. In fact, we want the Detroit Opera House to accommodate persons with any disability. Having control of our own environment will facilitate this endeavor.

The Detroit Opera House will have rehearsal space for Community Programs. Up until now, we have been like impoverished nomads, constantly imploring local churches and educational organizations for space to rehearse and "mount" our shows. Now our tour productions will be smoothly prepared in one location, with our own piano and storage space.

When we tour the state, we present our popular "Broadway Revue", which is re-written each year. We perform delightful and educational productions for children such as The Night Harry Stopped Smoking, a mini Hansel And Gretel, Aesop~ Fables and All About Our Voices to name a few. Never before, have we had the ability to offer these programs to the general public.

Through the years, Community Programs has developed a national reputation for writing and commissioning new works or re-writing standard works to tour. All of the premiers of these works have taken place on the road. Now, we can present them first in the black box (rehearsal space) - our premiers will be in the Detroit Opera House.

The new Detroit Opera House will open many new doors and offer many new adventures. The Detroit Opera House will be a catalyst for even more awards and honors in our Department's tradition,thus serving and enhancing the lives of our state's citizens. Indeed, this unique window of opportunity will serve to stimulate our involvement with the community, which is part of our Department's name - Community Programs.

Copyright 2010, Michigan - 71 - Opera Theatre

Italian Ristorante fi Bar

Regional Italian Food Open Sun days duriJlg Opera Seaso n

Lu nch-Monelay tJu:u Friday Din ll er-Tuesday [bTU Saturday PrivateParlies Wci co me - S buttle Service AvaJablc

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The law firm of DICKINSON, WRIGHT, MOON, VAN DUSEN & FREEMAN

applauds the

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MICHIGAN OPERA THEATRE

~8~~ W. M_~ple •West Bloomfield

VJ Mile West of Orchard take 1· 800· ~OO ·~m 81O· 8~J.0440

Copyright 2010, Michigan Opera Theatre

Detroit - Bloomfield - Lansing Grand Rapids - Chicago - Washington Warsaw (313) 223-3500

If we were asked to design apetal, wetl begin by envisioning the entire rose, True beauty lies in synergy.

The delicate dance of light and color on a canvas. The marriage of music and words on a stage. The synchronization of stem and petal on a rose.

At DuPont, we also see beauty in the way components interact in the automobile. Indeed, it is art as much as science.

We have applied this rather visionary approach to our repertoire of more than 100 automotive product lines. Each is designed and integrated to maximize overall system performance. And at the same time, reduce total cost.

We call it a "complete systems" approach ... seeing the possibilities that exist when all the pieces work together. And helping our customers realize them.

To us, an approach by any other name could never be as sweet.

More Technologies For Better Solutions...

Start With DuPont.

DuPont Automotive Copyright 2010, Michigan Opera Theatre

DuPont is proud to be a contributor to the construction of the new Detroit Opera House.

VOLUNTEER ASSOCIATION This quarter century of activity has only been possible through the efforts of many dedicated individuals contributing their time and resources in support of Michigan Opera Theatre's mission. Their dedicated support through a variety of activities has encompassed many individuals and corporations participating on the Board of Directors, operating the Opera Boutique, providing hospitality to visiting artists, and hosting a cavalcade of social and fund raising events. The Board of Directors of Michigan Opera Theatre recognizes the impact volunteer participation and leadership has on the development of the Company's growth as we move into the Detroit Opera House.

OPERA LEAGUE OF DETROIT

USHERS

EDUCATION

Maria Lucarelli

Peggy Smith

Ana Rea

FRIENDS OF THE BALLET

OFFICE VOLUNTEERS Jeanette Pawlaczyk

Wallace Peace

Marlene Habitz Fran Kaczmarek

OUTREACH

BOUTIQUE

NEWSLETTER

Terry Shea

YOUNG PROFESSIONALS Todd Walker

Barbara Naruta

SUPERNUMERARIES Jim Walsh

MEMBERSHIP BOOK Sharon Wallace Snyder

M.O. T. MOVERS Nancy Krolikowski

OPERA HOUSE AMBASSADORS Patty Fox

/ PRESIDENT Gloria Clark

TREASURER

SECRETARY Nancy Moore

PUBLICITY

William Warner

Betty Bright

HISTORIAN

TRIBUTES Vicki Kulis

O.G.I. REPRESENTATIVE Sharon Gioia

NOMINATING Lorraine Schultz Sharon Gioia Jacque Mularoni Terry Shea

Queenie Sarkisian

MEMBER AT LARGE Marge Slezak

The $25 annual membership in the Volunteer Association helps to support ongoing activities and programs of Michigan Opera Theatre and is fully tax-deductible as a contribution to a 501(c)3 organization.

Please contact Roberta Starkweather, MOTVA Coordinator, at (313)874-7850 or write to 104 Lothrop, Detroit, MI 48202 for more information.

Copyright 2010, -Michigan 74 - Opera Theatre

Copyright 2010, Michigan Opera Theatre

... to motivate you. As the world's largest independent supplier of automotive interior systems, Lear now offers you single-source capabilities - an industry first.

""

Our expanded network includes 107 facilities in 18 countries worldwide. From research, engineering and design to manufacturing, assembly, and JIT delivery.

Even more motivating is the added value we offer our customers: • cost savings • time-to-market reduction • enhanced color and finish compatibility • improved flexibility through multiple manufacturing technologies. · Lear -

A single source for automotive interior systems.

LEAR CORPORATION World Headquarters Southfield, Mi chi gan LEA NYSE; Symbol: CopyrightMember 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

ADMINISTRATION & STAFF ----~~~.~ae~~-----

) JOHN LEBERG

DAVID DiCHIERA

KIM JOHNSON

Interim Managing Director

General Director

Managing Director, Detroit Opera House

Karen VanderKloot DiChiera

Steve Haviaras

Mitchell Krieger

David W Osborne

Director of Community Programs

Director of Marketing

Director of Artistic Resources

Director of Production

Mary Parkhill

William E. Schoettle

Director of Development

Chief Financial Officer

Jerome Magid MOT Photographer

Kimberley Burgess Receptionist/Secretary

Debra Acuna Susan Hamilton Patricia Keresztes Genevieve Palczynski Stitchers

Mark Mancinelli MOTIDOH Photographer

Mary Lou Finucan Administrative Assistant

Wardrobe Attendants Local #786, IATSE

TICKET OFFICE

ADMINISTRATION Allan Grasso Administrative Assistant to the General Director

Jeanette Pawlaczyk Public Relations Volunteer

COMMUNITY PROGRAMS

Kimberly Mogielski Ticket Services Manager

Dolores Tobis Office and Marketing Manager

Kimberly Gray Ticket Services Assistant

Mark Vondrak Associate Director

Anne-Marie Esperti Ticket Services

DEVELOPMENT

Toni Wittenhagen Ticket Services

Rose Angelucci Linda DeMers Jane Hsing-Hui Fu Stephani Miller Development Associates Roberta Starkweather Volunteer Coordinator Jane Westley Development Administrative Assistant

FINANCE/COMPUTER SERVICES William T. Schulz Controller Sharon Subjeck Accountant Mary E. Pihajlich Systems Manager

MARKETINGIPUBLIC RELATIONS Marci Schramm Assistant Director of Marketing Kathleen McNeill Public Relations Coordinator Shelly Gillett-Behrens Marketing Associate Sand& Prekratic Mem ership Manager Dolores Tobis Group Sales

Jane Coe Seasonal

PRODUCTION ARTISTIC ADMINISTRATION Dee Dorsey Production Coordinator Monica Lee Jackson Artist Services Coordinator Jordeen Ivanov-Ericson Ballet Mistress James Fairbanks* Am~ Hutchison+ An rew Chown++ Assistant Directors Nancy Krolikowski Transportation Coordinator Pat Lewellen Audition Volunteer

COSTUMES Ulla Hettinger Costume Supervisor Alice Moss Wardrobe Mistress Suzanne Hanna Ballet Supervisor

Laura R. Wyss Manager of Public Relations

MAKE-UP &: HAIR Elsen Associates Cindy Ludwig Kimberly Coates Make-up and Hair Designers Patricia Keresztes Ensemble Coordinator

Dave Muczinski Production Assistant

TECHNICAL STAFF Eric Graves Technical Director Rita Girardi Property Master Kendall Smith Lighting Coordinator John Kinsora Head Carpenter Robert S. Mesinar Head Electrician

Mira Stefaniuk Crew Coordinator

John C. Johnson Head Property Man

MUSIC DEPARTMENT

Maja White Technical Assistant

Dr. David DiChiera Music Director Suzanne Acton Assistant Music Director, Chorus Master Diane Bredesen Orchestra Personnel Manager Steven Gathman++ J.]. Penna+ Lawrence Picard* David Wilson** Repetiteurs Dianne Lord Rehearsal Accompanist

STAGE MANAGEMENT John Kennelly Production Stage Manager Brett Finley* Garnett BrucN Stage Managers Dee Dorsey* ++ Laura Lee Everett+ Nicolai S. Jussila+ Michael H. McCormack** Melinda Lane Teter* ++ Assistant Stage Managers

Elizabeth Shapiro Assistant Lighting Designer Dianne Lord Surtitle Operator Stagehands Local #38, IATSE *La Boheme **Romeo and Juliet +La Traviata ++Salome

DETROIT OPERA HOUSE Brett Batterson Facility Manager Lary Christiansen Project Business Manager Monica Wyatt Construction Manager John Hinchman Restoration Supervisor Calvin Williams Facility Maintenance

Copyright 2010, Michigan Opera Theatre Photographers Jerome Magid Photography Inc. (MOT); Mark J. Mancinelli, MJM Photography (DOHIMOT); Manning Brothers Photography Inc.; Cathleen Martin; B. H. Simms; Benyas - Kaufman Photographers; Dirk Bakker; Ron Scher!; Tom McKenney; Theatre Historical Society - Terry Helgesen Collection; Jerry Dempnock; George McCann; Prasad and Valerie; Lee A. Ekstrom; KenPaul Group; Jack Liang

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We applaud the Michigan Opera Theatre and we are proud to be a part of the restoration of the new D etroit Opera House, scheduled for completion in September.

Walbridge Aldinger

Copyright 2010, Michigan Opera Theatre

613 Abbott Street Detroit, MI 48226 313 963 -8000

General Comracrors / Construcrion Managers

The Wellness Plan wants you to be well.

That's why The Wellness Plan carefully selects the health care professionals who come into our program.

And, as participating doctors, we work constantly to keep those standards high.

THE WELLNESS

PLAN

Copyright 2010, Michigan Opera Theatre

SEEMS OUR MOST ORIGINAL IDEAS

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Copyright 2010, Michigan Opera Theatre

LA BOHEME ADDITIONAL CAST Custom House Manager: David Ploof A Little Boy: Mathew Travis

ADDITIONAL CHORUS Ernest Willoughby

SUPERNUMERARIES Joe Basmaji Mary Basmaji Freeman Bradley Emelina Brincat Jeff Cusick Ana Dan .

Ramona Dandridge Pat Dillon Miriam Diogenes Helene Dopierala Patricia Espree Jim Floreck Fred Florkowski Mary Harkless Jim Harrington Ira Harris

Beverly Hom Paul Hom Maria Luisa Guion Sandy Kapp Tom Kimmel Diane Lahut Elizabeth Larke Christine Lee Tammy Letourneau Sandra Menzel Gary Moy Debra Mullins David Piotrowski Kerry Plague Laura Prantner Jan Renard

Lisa Rowell Mary Schorn Wendy Sensoli Russell Shinn Alan Sorsher Jan Stano Rose Stolk Larry Thomas Joseph Turinaky Christine Vanheusden Todd Walker Jim Walsh Tamara Whitley Alfred Wilson Suzanne Williams

A special thanks to Hannony House Classical of Royal Oak for the generous donation of CD's and video cassettes.

Please visit the Michigan Opera Theatre Boutique located in the Broadway Lobby. The Boutique, featuring the latest and finest recordings, apparel and Michigan Opera TheatrelDetroit Opera House memorabilia, is open before and after the perfo~ance and during intermissions.

--------------------------------------------------------~~

Copyright 2010, Michigan Opera Theatre

ROMEO AND .JULIET Additional Cast and Staff

Tyler Ingram - Paris Corp d' Ballet (Men) Mariano Albano Alex Brady Kenneth Easter Stephen Hadala Melvin M. Jones Todd Jost Jose Sebastian Martinez Robert Michalski Seth Miller Guillermo Ramirez Joseph Rodgers Thomas Shoemaker Evan Vnks· Barend Verschoor

Corp d' Ballet (Women) Marie Aversa Angela Chadwick Melanie Derro Sarah Habitz Amanda Jesse Jennifer Kaczmarek Kelly Knechtel Christina Kosmos Cailtin Mundth Katherine Nason Mary N. Pavlock Kelley Peters , Gabrielle Roberts Robyn Sackeyfio Understudies (Women) Jessica L. Kusak Marya Link Lisa Oullette Molly Root Supernumeraries (Women) Marya Link Lisa Oullette Raegen Riley Lynn Vecesernyes Jacqueline Zalewski

Supernumeraries (Men) Clyde Blanks Adam Faber Rick Goranski Pete Gumina Richard Hill Melvin Jones Dave Muczinski Joseph Svatora Al Wisnieski

Production Staff Robin Caporuscio, Assistant Stage Manager Dave Muczinski, Production Assistant Joanne Weaver, Wigs and Make-up

Artistic Staff John Manfredi, Fight Consultant

Michigan Opera Theatre would like to thank Harmony House Classical Music of Royal Oak for the generous contribution of video cassettes and compact disks.

Copyright 2010, Michigan Opera Theatre

La Traviata Additional Cast and Staff DAVID REILLY - the Messenger ROBYN SACKEYFIO - Dancer KENDALL SPARKS - Dancer DMITRI KOROBEINIKOV - Dancer MARIE AVERSA - Choreographer

Supernumeraries Gary Moy, David Piotrowski, Phillip Seizinger, Todd Walker

. ' Added Performance, May 23rd AINHOA ARTETA - Violetta Valery JEAN-LUC VIALA - Alfredo Gennont Michigan Opera Theatre would like to thank HannonyHouse Classical Music of Royal Oak for the generous contribution of video cassettes and compact discs.

Copyright 2010, Michigan Opera Theatre

SA 0 ADDITIONAL CAST AND STAFF

scan- PI PER - SLAVE/FIRST JEW KARL SCHMI DT - FOURTH JEW DANCERS

MINYON PRATI, SHELIKA THOMAS DEBRA TAI1T-CUMBERBATCH S'UPERNUMERARIES MARK BOYNTON - SOLDIER, LINDA CURRY - SERVANT, , PETER GOUGH - ROMAN, DAVI D KI RSCH - PAGE, WI LLiAM KUPSKY - SERVANT, ERI K LARSEN - SERVANT, ALI Mo'l IN - SERVANT, JERRY MCDONNELL - ROMAN, BEN MCKENZI E - EXECUTIONER, STEVEN PEJUAN - SOLDI ER, JIM PALAZZOLO - PILGRIM, JOEY PIRO - PAGE, ENRIQUE REINERS -EGYPTIAN, DAMON ROSENTHAL - SERVANT, BRADLEY STROUD - SOLDIER, LARRY THOMAS - SERVANT, MARK THOMAS - PILGRIM, JOSEPH TURINSKY - PILGRIM, TODD WALKER - ROMAN, DENEAN WILLIAMS - SOLDIER, AL WISNIESKI- GREEK MAN, SALLY WISNIESKI- GREEK WOMAN HENRY WOCJlK - PILGRIM, BOB YOST- PILGRIM, BOB YOUNG - SERVANT

MICHIGAN OPERA THEATRE WOULD LI KE TO THANK HARMONY HOUSE CLASSICAL MUSIC OF ROYAL OAK FOR THE GENEROUS CONTRIBUTION OF VIDEO CASSElTES AND COMPACT DISKS.

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

UNDERWRITE A SEAT...

Put your name on "the best seat in the house." Seat naming opportunities are available in every section of the Opera House, from the Upper Balcony at $250 to the Trustee Circle at $25,000. :Your gift will be recognized by a plaque on the seat, so you will receive recognition for your contribution in perpetuity.

Gifts may honor you, your company or a loved one.

Legend

S---$ 7 $500 $750 6 5 $1,000 4a $2,500 4b $5,000 3 $10,000 2 $25,000

~(/~ werBakmTy Balcony Mezzanine Orchestra Inner Circle (Last 5 Rows) Inner Circle (First 5 Rows) Diamond Circle Trustee Circle

Buy A BRICK...

Set your name "in stone" on the walkway in the Opera House plaza-and be a part oJ history. . When you buy a brick for $100, we will inscribe it with your name, your company or a loved one's name.

MAKE A CONTRIBUTION...

All contributions under $100 will be recognized in the following ways: $75-We will reserve a beautiful rosette plaster paperweight for you to pick up at the Opera House after the theatre opens next spring. The rosette is a recurring motif in the decor of the House and will be a lasting acknowledgement of your support. $50-We will invite you to tour the Opera House at a designated time next year.

Below $50-We will give you a token of our appreciation when you visit our Boutique in the new Opera House and present your gift receipt.

Copyright 2010, Michigan Opera Theatre

DETROIT OPERA HOUSE Michigan Opera Theatre (MOT) acquired the Grand Circus Theatre, two office towers adjoining the theater, the Roberts Fur Building, the International Art Building and three parking lots for conversion into an opera house/ performing arts complex.

The Roberts Fur and International Art buildings have been demolished to make way for the construction of a new 75,000 square foot stage house, lobby and elevator tower. The adjoining office towers are undergoing adaptive reuse into dressing rooms, patron service areas and offices for Michigan Opera Theatre's administration, production and community outreach departments. The historic interior of the Detroit Opera House will be restored to its original 1922 splendor.

The Detroit Opera House serves a regional area that includes Michigan, Northern Ohio and Southern Ontario, Canada. The estimated entertainment population for the Detroit Opera House is over 9 million households.

The Detroit Opera House is located in the Theatre District between Broadway & Madison.

Ample parking is available il!1ots adjacent to the Opera House.

Copyright 2010, Michigan Opera Theatre

YE5, I W4NT To SHARE I N THE VISION AN D H ELP M EET THE CHAlLENGE Name __________________________________________________ Address ________________________________________________

City/ State/Zi p Phone Enclosed is my check for $ _ _ _ _ _ for: _ _ ___ seat(s) in section No. _ _ __ _ _ _ _ brick(s) _____ generaL restoration contribution (Gifts of $1,000 and above may be paid over five years.)

My pledge is for $ _ _ _ _ _ _ _ _ _ _ __ 1st Payment 4th Payment _ _ ___ 2nd Payment ______ . 5th Payment ______ 3rd Payment _____ Pleas~ charge $

--- - - to my credit card:

o MasterCard o AMEX Account Nu~ber ---------------------Expiration Date _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ o VISA

Signature __'--_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Please inscribe this name on the seat plaque/ brick:

o My company will match this contribution Return to:

Detroit Opera House Campaign Michigan Opera Theatre 104 Lothrop Detroit, Michigan 48202

Copyright 2010, Michigan Opera Theatre

MICHIGAN OPERA THEATRE INVITES YOU TO ••• Participate in the $24 million campaign to restore the Detroit Opera House-the world's newest cultural jewel! This beautifully restored theatre win provide you a glorious home for the enjoyment of opera, ballet and music theatre on a grand sc e here in the city of Detroit.

Be a part of MOT's celebration as we inaugurate our 25th Anniversary Season in the new Opera House next April.

You can get involved by underwriting a seat, buying a brick or making a contribution to help with the restoration. Whatever you decide, your gift helps make our dream a reality.

Join the growing number of supporters who have already contributed to this exciting project. Enthusiasm is widespread. In fact, we were awarded a $12 million challenge grant by the Kresge Foundation to help with the renovation.

'WE MUST MATCH THIS GRANT WITH $7-5 MIlLlON. We are halfway toward reaching that goal and hope you will want to help us meet the challenge .

.

Copyright 2010, Michigan Opera Theatre

I

For more information, call the Development Department at (313) 874-7850 Michigan Opera Theatre 104 Lothrop Detroit, Michigan 48202

Copyright 2010, Michigan Opera Theatre