PROGRAM: Bravo 2000 Spring Opera

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

DesHned lo sel a new slandard for in-lown living ...

While still awaiting final approval, the impending arrival of The Willits is one of the most exciting new developments to occur in Birmingham in years.

Slated to be located right in the heart of Birmingham , The Willits marks Robertson Brothers ' arrival onto the downtown scene.

The Willits will be a unique residential building that exemplifies in-town living at its best. Floor plans include nine-foot ceilings , oversized windows , fabulous kitchens and luxurious master suites. Planned amenities include a concierge , underground parking and state-of-the-art workout room.

For more information on this fabulous opportunity, please call (248) 593-0855.

Robertson Brothers GroupCommunity Developers

Orovo

Detroit Opera Hous ram Guide

MI C HI G AN O PERA THE A TRE

MARC! SCHRAMM Editor

SCO TT CAMPBE LL Associate Editor

K A TT S CO MMUNI CATI O N S

K I MBERLEY A. DYKE Design Director

T IN A JO N ES Design Director

CY N T HI A SECOF Art Director

TOM JO N ES Publishing Consultant

TOBY FABER Director Advertising Sales

LI VE PUB LI SH IN G Prin t & Production Direction

CO V E R PH O T O

MJM Photography

Mich igan Opera Th eatre wou ld li ke to thank Harmony House Records for sponsoring MOT/ DO H ticket enve lopes and donating season reco rdings and videos

Mich iga n Opera Theatre 's 1999/ 2000 subscript ion and sing le tickets have been grac ious ly sponso red by Hunter House, Harmo nie Pa rk

Phys icians ' se rvice provided by Henry Ford Medical Center

Alitali a is the off icial airli ne of Mich igan Opera Theatre

Pepsi·Cola is the officia l soft dri nk and juice prov ider for the Detroit Opera House.

Steinway is the off icial piano of the Detro it Opera House and Michigan Opera Theatre. Ste inway pianos are provided by Hamme ll Mus ic, exclusive representative for Ste inway and Sons.

Starbu cks Co ffe e is the officia l coffee of the Detroit Opera House.

Mich iga n Opera Theat re is a non-p rofit cultural organizati on whose activities are supported in part by the Michigan Council for Arts and Cu ltural Affa ir s, th e Nat ional Endowment for the Arts, and ot her individuals, co rpo rat ions and fou ndations. Mich igan Opera Theatre is an equa l opportun ity emp loyer.

Copyright 2010, Michigan Opera Theatre

We're • In the business of making people's lives more enjoyable. As you can see, we're not the only ones.

DaimlerChrysler is proud to support the Detroit Opera House, a world-class venue for opera, dance, musical theater and concerts. May this season's wide variety of shows at the home of Michigan Opera Theatre touch the lives of many. DAIMLERCHRYSLER

Expect the extraordinary

tE.. J ur xCltlng ourney.

What a successful and memorable season it 's been so far. We opened with an audience favorite, The Barber 0/ Seville , which received excellent reviews MOT's first production of Werther, starring Andrea Bocelli and Denyce Graves, played t o six sold-out houses We worked with G lobal Music Network to launch the first internet opera webcast in North America. People all over the world were ab le to see and hear Werther live on the internet. The first webcast had such an overwhelming response, it was rebroadcast seven more times befor e the end of 1999. With these productions , we are continuing our quest to reach new audiences. I have received many lett ers of thanks for brin ging Mr. Bocelli here for his operatic stage debut in North America. I also received man y letters from Bocelli fans who have become opera fans-people who otherwise may never have set foot in an opera hou se. These are the lett ers I find most gratifying because I know that we are succeeding in introducing opera to new audiences.

There are so many exciting things to talk about this spring. As we welcome our new neighbors and thousands of baseball fans to the neighborhood , Michigan Opera Theatre is staging a very ch allenging, very interesting spring season The curtain rises on two productions never before seen on our stage. The first, Der Ros enkavalier, with its enormous orchestra, d ynamic cast and grand sets will draw audiences in with its light-hearted comedy and bitt e r-sweet poignancy of lov e lost and love gained. MOT 's production will truly be a fanlll y affair with soprano Helen Donath singing the role of the Marschallin , her hu sband Maestro Klaus Donath conducting th e orchestra , and their son Ale xander Donath makin g his MOT debut as Director. Peter Grimes, our June production , is a modern masterpiece b y Benjanlin Britten . We welcome M ark Baker, John Mac Master and Sheri Greenawald to our stage and lo ok forward to the return ofJeffrey Black. On the 100th anniversary of its premiere , we bring Tos ca to the stage , with all the

passion and spectacle th at makes opera grand. Two very beautiful young sopranos, Sylvie Valayre and Amy Johnson sing opposite MOT favorites Marcello Giordani and Ian DeNolfo. World famous baritone J ustino Di az makes his MOT debut.

We app l aud the 1999-2000 season sponsors. Generous underwriting by Ford Motor Company and General Motors Corporation made the fall and spring opera seasons possible DaimlerChrysler Corporation Fund sponsored our Dance Series and the January appearance of Stuttgart Ballet. Many thanks go to the corporations, foundations , government agencies and individuals who make our productions possible.

I am pleased to tell you that our special fundraising initiative to secure MOT's future-The New Century Fund Canlpaign-is very successful . We launch ed this campaign with the Three Tenors Concert on July 17 , 1999, and have raised $15 million to date We have $10 million to raise before we reach our goal . This summer we begin work on two projects: the exterior of the Opera House Broadway facade and the completion of the Vincent Lobby on the Madison Avenue side of the building. The completion of this $25 million campaign will allow us to develop the five-story Educational Resource Center in the Broadway tower, retire prior construction debt , and build an endowment for the future With your help we will reach all of these very attainable goals. I encourage you to get involved.

New businesses are reviving downtown and the theater district and our neighborhood is changing and becoming more vibrant. As we announce our 2000 -2001 season, I encoura ge you to join us- as subscribers Our subscribers enjoy five exciting operas and the many discounts and privileges we offer I look forward to welcoming yo u back in the Fall and thank you for joining us on this exc iting journey.

Copyright 2010, Michigan Opera Theatre

enriches our community It begins as a moment that embraces the soul and lives on as a memory that beautifies life.

Compuware applauds the performers, musicians and all who support the Michigan Opera Theatre.

METAL RESTORATION

Dent and scratch remova l • .

Sterling, brass, copper, bronze, and plate Ben Wearley, silversmith (248) 549-3016

Wearley Studio Gallery

1719 West Fourteen Mile Road Royal (East of Woodward Ave., at croo ks Rd., n ext to t b e sw co rner)

Open Tuesday through Saturday

References availab le upon request

Copyright 2010, Michigan Opera Theatre

QUALITY. You KNOW IT WHEN YOU SEE IT.

WHO ENRICH THE QUALITY OF O UR LrvE STHE ARTI STS, FRIENDS AN D SUPPORTERS OF THE M ICHIGAN OP ERA THEATREWE SALUTE YOU C ONGRATULATIONS FROM THE MAscO FAM I LY OF QUAL ITY COMPAN I ES AND BEST WISH E S FOR AN OUTSTANDING SEASON

Mr. Robert E. Dewar

Dr. David DiChiera

Mr. Cameron B. Duncan

Mr. C. Thomas Toppin

of directors

Julia Donovan Darlow

Mr Lawr e nce N. David

Mr. Harry A Lomason

Mr. Alphonse Lucarelli

Chairman President Treasurer Secretary

Mrs. Robert Allesee

Mrs. Donald C. Austin

Mrs Bella Marshall Barden

Mr. J. Addison Bartush

Mr. Richard A. Brodie

Mrs. William C. Brooks

Mr Maurice Cohen

Mrs. Peter Cooper

Mr Tarik S. Daoud

Mr Robert E Dewar Chairman

Dr. & Mrs Mohamed K. Ajjour

Dr. & Mrs. Roger M Ajluni

Mr. & Mrs. Robert A. Allesee

Mr. & Mrs. Douglas F. Allison

Dr. Lourdes V. Andaya

Mr. & Mrs. Thomas Angott

Mr. & Mrs. Robert L. Anthony

Dr & Mrs Agustin Arbulu

Dr. Harold M. Arrington

Dr. & Mrs. Ingida Asfaw

Mrs. Donald J Atwood

Dr & Mrs. Donald Austin

Hon. & Mrs. Edward Avadenka

Mr. & Mrs Don Barden

Mrs James Mariam Barnes

Mr. & Mrs. Lee Barthel

Mr. & Mrs. J. Addison Bartush

Mr & Mrs. Mark Alan Baun

Mr. & Mrs. W. Victor Benjamin

Mr. & Mrs. Raymond Biggs

Mr & Mrs. John Boll

Mr. & Mrs. Richard A. Brodie

Mr. & Mrs. William C. Brooks

Mrs Clarence G Catallo

Mr & Mrs Alfred Cheesebrough, III

Mr. & Mrs. Frederick Clark

Ms Virginia Clementi

Mr. & Mrs. Maurice Cohen

Hon. & Mrs . Avern L. Cohn

Mr. Thomas Cohn

Mr. & Mrs. Michael J Connolly

Mr. & Mrs. Peter Cooper

Mr. Dav id Denn

Mrs Charles M. Endicott

Mr. Paul Ewing

Dr. Marjorie M. Fisher

Mr. Herman Frankel

Mrs La wrence Garberding

Mr. David Handleman

Mr. Kenneth E Hart

Mr. Eugene Hartwig

Mr Richard Janes

Mr. Gary Johnson

Mrs Charles Kessl e r

Mrs. Robert Klein

Mr. Gerald A. Knechtel

Mr. A. C. Liebler

Mrs. Jennifer Nasser

Mr. Jules L. Pallone

Mr. Charles A. Parcells, Jr

Mr. Roy Roberts

Mrs. Irving Rose

Mr. William Sandy

Mrs. Roger F. Sherman

Mr. Frank Stella

Mrs George Strumbos

Mr. Robert C. VanderKloot

Mr. George Vincent

Mr. Gary L. Wasserman

Mr. Richard C. Webb

Mr. George M. Zeltzer

Mr. Morton Zieve

Ms . Rosalind L. Cooperman & Mr. Woody Robertson

Mr & Mrs. Jerry D' Avanzo

Mr & Mrs. Tarik S Daoud

Julia Donovan Darlow & John C. O'Meara

Mr & Mrs. Lawrence N David

Mr. & Mrs John W Day

Mr & Mrs David Denn

Mr. & Mrs. Robert E Dewar

Dr. Fernando G. Diaz

Dr. David DiChier a

Karen VanderKloot DiChiera

The Hon. & Mrs. John Dingell

Ms. Mary Jane Doerr

Mr. & Mrs Cameron B. Duncan

Lady Jane Easton

Mrs. Charles M. Endicott

Dr. Fern Espino & Mr Tom Short

Mr & Mrs. Roland C. Eugenio

Mr. & Mrs. Paul E Ewing

Mr. Stephen Ewing

Dr. Haifa Fakhouri

Mr. & Mrs. Alfred J. Fisher, Jr.

Mr. & Mrs. Herbert Fisher

Dr. Marjorie M. Fisher

Mrs . Elaine Fontana

Mr. & Mrs . Mitchell B. Foster

Herman & Barbara Frankel

Mr.·& Mrs. Marvin A. Frenkel

The Hon Hilda Gage

Mr. & Mrs Lawrence Garberding

Dr. & Mrs. Robert Gerisch

Mrs Frank Germack , Jr.

Mrs. Aaron H. Gershenson

Mr & Mrs Yousif Ghafari

Mr. & Mrs . Andy Giancamilli

Mr. & Mrs. Vito P Gioia

Mr. & Mrs. H. James Gram

Mrs Katherine Gribbs

Mrs John C. Griffin

Mr. & Mrs Jacque Haddad

Mrs Berj H. Haidostian

Mrs Robert M Hamady

Mr. David Handleman

Mr. & Mrs. Preston Happel

Dr. & Mrs. Joseph Harris

Ms Maria Harris

Mr & Mrs. Kenneth E. Hart

Mr. & Mrs. E. Jan Hartmann

Mr. & Mrs. Eugen e Hartwig

Hon. & Mrs. David B. Hermelin

Hon & Mrs Joseph Impastato

Mr. & Mrs. Verne Istock

Mrs. David Jacknow

Mr. & Mrs. Darnell D Jackson

Mr. &- Mrs. Richard Janes

Mrs. Sybil Jaques

Mr. & Mrs. Gary Johnson

Miss H. Barbara Johnston

Mrs William E. Johnston

Mr. & Mrs. Maxwell Jospey

Mr & Mrs Mitchell I. Kafarski

Dr. & Mrs Darnell Kaigler

Mr. & Mrs. John Kaplan

Mr. & Mrs . Donald W. Keim

Dr. & Mrs. Charles Kessler

Mr. & Mrs. Eugene L. Klein

Mr. & Mrs Robert Klein

Mr & Mrs Gerald A Knechtel

Mrs. Reva Kogan

Mr & Mrs Mike Kojaian

Mr. & Mrs William Ku

Dr & Mrs. Richard W. Kulis

Mr & Mrs Angelo Lanni

Mr. & Mrs Paul Lavins

Mrs. Walton A. Lew is

Dr. & Mrs. Kim K. Lie

Mr. & Mrs. A C. Li eb le r

Dr. & Mrs. Robert Li sak

Mr. & Mrs. Ha rr y A. Lom ason

Mr. & Mrs. James H. LoPre te

Mr. & Mrs. Alphon se S. Lucarelli

Card in a l Adam Maida

Mrs. Jess ie B. Mann

Mrs. Frank S. Marra

Dr. Ronald Martella

Honorab le Jack & Dr. Bettye Arrington-Martin

Ms. Alyssa Martina

Mr. & Mrs. Richard McBrien

Mr. & Mrs. William T. McCormick

Mrs. Wade H McCree, Jr

Mr. & Mrs. Frank McKulka

Mr. & Mrs . Eugene Miller

Mr. & Mrs. Theodore Monolidis

Mr. & Mrs. Fred Morganroth

Mr. & Mrs. E. Clarence Mularoni

Mr. & Mrs E. Michael Mutchler

Mr. & Mrs. Jacques Nasser

Mr. C hri stophe r Nern

Mr. Ralph Nichols

Mr. & Mrs. Juliu s L. Pallone

Mr. & Mrs. James Pamel

Mr. Cha rl es A. Pa rce ll s, Jr.

Mr. & Mrs. Spencer Partrich

Dr. Robert E. L Perkins

Mr. & Mrs. Brock E. Plumb

Dr. C ha rl otte W. Podowski

Mrs. Ralph Polk

Mrs. David Pollack

Mr. & Mrs. John Rakolta, Jr.

Mrs. Ruth F. Rattner

Dr. Irvin Re id & Dr. Pamela Trotm an Reid

Mr & Mrs. Roy Roberts

Mrs. Patricia H . Rodzik

Mrs Hans Rogind

Mr. & Mrs Peter Ronan

Mr. & Mrs Irvin g Rose

Mr. & Mrs. Norman Rosenfeld

Mrs. Caro ly n L Ross

Mr. Anthony Rugerio

Dr. & Mrs. Hershel Sandberg

Mr. & Mrs. William Sandy

Mr & Mrs. Arnold Schafer

Dr. & Mrs. Norman Schakne

Mr. & Mrs. Fred Schneidewind

Mr. & Mrs. Alan E. Schwartz

Mr. & Mrs. G regory Schwartz

Mr. & Mrs. Donald Schwendemann

Mr. & Mrs. Frank Shaler

Ms. Elham Shayota

Mr. & Mrs Roger F. She rm a n

Mr. & Mrs. Richard Sloan

Ms. Phyllis F. Snow

Mr. & Mrs. Anthony L. Soave

Mr. Richard Sonenklar

Mr. & Mrs. Richard Starkweather ng members

Dr. a nd Mrs David DiChiera

Mr. and Mrs. Aaron H . Gershenson

Mr. a nd Mrs. Donald C. Graves

Mr. a nd Mrs. Lynn A. Tow ns end Founding Chairmen

Honorab le a nd Mrs. Avern L. Coh n · Mr. and Mrs John DeCarlo

Honorab le and Mrs. Roman S. Gribbs

Mr a nd Mrs. John C. Griffin

Mr. a nd Mrs. Ha rr y L. Jo nes

Honorab le and Mrs. Wade McCree, Jr.

Mr. Fr a nk D. Stella

Ms. Mary Anne Stella

Mrs. Mark Stevens

Mrs. Rudolph Stonisch

Mr. & Mrs. George Strumbos

Mr. Ronald F. Switzer

Dr. & Mrs. Anthony Tersigni

Mr. & Mrs. Mark Thomas

Dr. Roberta & Mr. Sheldon Toll

Mr. & Mrs. C. Thomas Topp in

Mr. & Mrs. Lynn A. Townsend

Mr. & Mrs. Ta ll a l Turfe

Mr. & Mrs. Rob e rt C. VanderKloot

Mr. & Mrs. George C. Vincent

Mr. & Mrs. Alvin Wasserman

Mr. & Mrs. Gary L. Wasserman

Mr. & Mrs. Kenneth Way

Mr. & Mrs. Richard C. Webb

Mr. & Mrs . Gary L. White

Dr. & Mrs. Christopher Wilhelm

Dr. & Mrs Sam B. Williams

Mr. & Mrs. Eric A. Wiltshire

Mr. & Mrs. Donald Worsley

Mrs. R. Alexander Wrigley

Ho n Joan E. Young & Mr. Thomas L. Schellenberg

Mr. & Mrs. Larry Zangerle

Mr. & Mrs. Ted Zegou ras

Mr. & Mrs. George M. Zeltzer

Mr. & Mrs. Morton Z ieve

Mrs. Paul Zuckerman

Mr. Roy Zu rkow ski

Mr. Har ry J Neder la nd er

Mr. E H a rwood Rydholm

Mr. a nd Mrs. Neil Snow

Mr. a nd Mrs. Ri c ha rd Strichartz

Mr. and Mrs. Robert C. VanderKloot

Mr and Mrs. Sam B. Williams

Mr. and Mrs. Theodore o. Yntema

Named Gifts

We extend our grat i tude to the fo ll owing donors who ha ve underwritten designated areas in the Detroit Opera H ouse

Dr. & Mrs Roger M. Ajluni Grand Staircase

Mr. & Mrs. Robert A. Allesee Allesee Dance Patron Lounge

Allesee Dance & Opera Resource Library

Anonymous Donor Grand Lobby

Anonymous Donor Broadway Facade

Dr. & Mrs Donald C. Austin Grand Central Chandelier

BASF Corporation

Media Studio Classroom

Comerica Charitable Foundation .. . Grand Dome

Mr. & Mrs. Tarik S. Daoud Grand Drape

Detroit Edison Foundation ........ Mezz anine Level in Opera Hall

Mr. & Mrs. Robert E. Dewar Trustee Circle Madison Lobby

Ford Motor Company ..... . . . .... Backstage Renovation

Hennan and Barbara Frankel

Broadway Lobby

General Director 's Circle Lounge

General Motors Corporation Madison Loun ge

Robert & Alice Gustafson

Third Fl oor Lobby Alcove , Madison

Mr. & Mrs. EJ H artmann ........ Staircase, Broadway Entrance & Mary Lou Janes

Third Floor Lobb y Alcove , Btoadway

Chairn , Fann y, Louis, Benjamin and Anne Florence Kaufman

Memorial Trust . . . . . . . . . ....... Grand Side Chandelier

Wallis & Robert M Klein Grand Staircase Mirror

Dolores and Paul Lavins Grand Side Chandelier Grand Staircase Mirror

Lear Corporation Trustee Circle Level in Opera Hall

The Lomason Fanllly The William K. & Neva Lomason Opera Lounge

Oliver Dewey Marcks Foundation Third Floor Promenade

MichCon Founda tion . ... ............ Balcony Level in Opera Hall

The Karen & Drew Peslar Fo und atio n Co-Star Dressing Room

Mr. & Mrs Irving Rose Patron Elevator in Lobby Tower

Mrs. Carolyn 1. Ross _ Grand Staircase Mirror

Mr. & Mrs. Lynn Townsend .... ...... . Trustee Circle Broadway Lobby

Mr. & Mrs. George C. Vincent _ Madison Lobby

Mr. & Mrs. Alvin Wassennan .... .. . .. . Box Level Promenade

World Heritage Foundation Condu ctor 's Dressing Room

Several named gift opportunities are available in th e Detroit Opera House. For more information , please call the Development Department at 313 / 237-3433.

dministration & staff

Elisabeth F leming

Volunteer Coordinator

Dav id Di C hi e ra Ge n era l Di rector

Brett Batterson

Chief Operating Officer

Karen VanderKloot DiChiera

Director 0/ Community Programs

John Eckstrom

Director 0/ Administration

Steve Haviaras Director 0/ Marketing

Roberto Mauro

Artistic Administrator

David W. Osborne Director 0/ Production

Mary Parkhill

Director 0/ Development

Marci Schramm

Director 0/ Public Relations

J ennifer Turner

Opera House Manager

ADMINISTRATION

Frank Castria

Assistant to the General Director

Linda DeMers

Board Secretary/Executive Assistant

Beverly A. Moore Receptionist

Communit y Pro grams

Gary Moy

Assistant to the Director 0/ Community Programs

Dolores Tobis

Development and Marketing Manager

Mark Vondrak

Associate Director

Betsy Bronson

Maria Cimarelli

Amy Dolan-Malaney

Larry Picard

Karl Schmidt

Barbara Wiltsie

Community Programs Touring Artists

Development

Holly B. Barr

Assistant Director 0/ Development

Bradley 1. Stroud

Director 0/ Dance Development

Kathleen M McNamara

Corporate Campaign Manager

Stephani Miller Yates

New Century Fund Campaign Coordinator

Roberta Starkweather

Boutique Manag er

Donna Crabtree

Development Associate, Foundation and Government Grants

Jane Westley

Developm ent Associate, General Director's Circle

Janet Vukovic

Membership Manager

Financ e/Computer Se rvi ces

William T. Schulz Controller

Lara Schaaf Accountant

Kimberly Burgess-Rivers Accountant

Mary E Pihajlich

Systems Manager

Mark et ing/Publi c Re lat io ns

Scott Campbell Assistant Director 0/ Public Relations

Bill Carroll

Public Relations Volunt eer

Susan Fazzini Assistant Director 0/ Marketing

Jeanette Pawlaczyk

Public Relations Assistant/Archivist

Dolores Tobis

Group Sales Ti c ket Office

Kimberly Mogielski

Ticket Services Manag er

Jane Coe

Kimberly Gray

Ticket Services Assistant Manager

Kimberly Woods

Ticket Services

PRODUCTION

Arti sti c Admini strati o n

Dee Dorsey

Production Coordinator

Monica Lee Jackson

Assistant to Director 0/ Production

Sabine Bergk

Suzanne Perkins

John Grant Stokes

Assistant Directors

Elizabeth Neds-Fox

Production Assistant

Nancy Krolikowski

Local Transportation Coordinator

Pat Lewellen

Audition Volunteer

Mu sic Departm e nt

David DiChiera

Suzanne Mallare Acton

Assistant Music Director, Chorus Master

Diane Bredesen

Orchestra Personn el Manag er

Marie-France Lefebvre

Louis Menendez

Danielle Orlando

R epetiteurs

Jeanne Schneider-Claytor

Lawrence Picard

Rehearsal Pianists

Stag e Mana ge me nt

John Kennelly

Production Stage Manager

Khaled F. Ali

Elizabeth Ashby Baldock

Dee Dorsey

Thomas Mehan

Assistant Stag e Managers

Tec hni cal Staff

Vladimir Vukovic

Technical Director

Monika Essen

Prop erty Master

Kendall Smith

Lighting Coordinator

Shawn Kaufman

Robert Lott

Assistant Lighting Designers

Brett Panter

James Reid

Technical Assistants

Dee Dorsey

Thomas Mehan

Surtitle Op erators

Co stume s

Suzanne Hanna

Costume Coordinator

Ulla Hettinger

Costume Consultant

Alice Moss

Wardrobe Mistress

D eanne l ovan

Rose Mirjah

Genevieve Palczynski

Carol Scott

Stitch ers

Make-up & Hair

Cindy Ludwig

Sondra Nottingham

DeSigners for Elsen Associates

Deanne lovan

Crew Coordinator

Stag e Crew

John Kinsora

Head Carpenter

Robert Mesinar

Head Electrician

Alan Bigelow

Head 0/ Properties

Copyright 2010, Michigan Opera Theatre

Music Director

Robert Martin

H ead Flyman

Steve Kemp

H ead Soundman

Gary Gilmore

Produ ction Electrician

Mary Ellen Shindel

H ead o/Wardrobe

IATSE Local #38

Stagehands

IATSE Local #786

Wardrob e

DETROIT OPERA HOUSE

Vladimir Vukovic

Technical Director

, Sandy Muczinski

Ho use Manager

Calvin Will.iams

Maintenance Supervisor

Rock Monroe Director 0/ Security

D emetrius Barnes

J esse Carter

Clyd e Surell

Building Engineers

Maurice Rivers

Concessions Manager

Aubrell Hicks

Concessions Supervisor

Bartenders

Tony Arevalo

Iss ac Barker

Da wn Boyd

Lisa Burgess

Michell e Crump

Jo Fa rl ey

Benett a Grant

Van Holliday

Simone Hubbard

Yvette McDonald-Thomas

Jolene Rivers

L atasha Rivers

Dwight Thomas

Vern e ta Thomas

D anielle Thornton

Bar Runners

D erek Donaldson

Eric Heard

Nathaniel Ri vers

Timothy Shaw

Rick Williams

Rico Williams

Maintenance

Karen White

Brenda Jones

Gloria Helms

Shirl ey Floyd

Karl Hubbl e

Benard Williams

D errick Turner

Yolanda Helms

Security

Kristen Brazier

Sean Lee

Lorraine Monroe

D ennis Jackson

Savannah Taylor

Joe Wilson

Jerome Bedgood

D ouglas Richardson

Burtron Reynolds

Ballard Speech

Bruce Smith

Rosalie Baglio

Melvin Lowe

Bobby Brisby

Timothy Clark

Carolyn Cook

Otis Clark, Jr.

Jamal Mance

Michael Holland

Staff Ushers

Kim A. Adams

Dawn Baron

Patricia Bell

Gloria Bell-Sulieman

Ronnetta Butler

Pat Byrne

Carol Ca r amagno

J ennife r East

Zachery F inn

D eShawn Glossen

Mic hael Hauser

Anthony Haynes

Terri Hill

Charmaine Hunter

Mary Kessler

AVANTI SOCIETVi

Michigan Opera Theatre is pleased to announce the creation of a very special membership gro up-the Avanti Societ y. This unique group has included Michigan Opera Theatre in their estate plans.

To become a member of the Avanti Society, we request that yo u name Michigan Oper a Theatre in yo ur estate plan This ma y be done as a designation in your will, trust , or insurance plan . Your gift can create a personal legac y and give future generations the wonderful experience of world-class opera and dance in a restored facility. In addition, careful estate planning can increase your bequest to loved ones or other charitable organizations, due to reduced estate ta x es You can also

Jill Laporte

Cynthia Marbury

Howard Moore

Marcilla Murphy

Anne Peoples

Vinson Rehfeld

Evette Robinson

E ileen Rodak

Lisa Marie Rodrig uez

Selena Sider s

D arlene Single ton

Mary Tennon

Marvin Townsell

Arneth a Wells

Lula Wilson

increase your income through a tax advantaged life income gift.

Within the first yea r of this initiative, donors will be included in the "Avanti Society " founders section of the donor wall in the Grand Lobby of the Detroit Opera House . Other benefits include an annual Avanti Society dinner attended b y world-class artists, the Avanti Society Newsletter, special informational events and invitation privileges to the Board of Trustees Annual Meeting.

If you have included Michiga n Opera Theatre in your estate plan , or would like to , please contact Holly B. Barr, Assistant Director of Development, at (313) 237 -3268, for more information Copyright 2010, Michigan Opera Theatre

The New __ All The Completion Of 1be .,troit BOB

cas am Fund will:

• Complete construction of the Detroit Opera House including the Broadway building facade.

• Develop a new Educational Resource Center in the Broadway building.

• Build an endowment which will allow Michigan Opera Theatre to expand and constantly improve its programming.

• Retire the debt from the previous construction costs.

The Edumtional Rmooroo Center will- elude:

• a dance and opera resource center

• a media studio

• community performance space

• classrooms equipped for the study of the performing arts

• a costume shop.

The Three Tenors landmark performance at Tiger Stadium on July 17, 1999, officially launched the $25 million capital fund drive. A H quiet phase, " which focused mainly on leadership gifts, was conducted for 20 weeks prior to the concert, raising nearly $14 million from 273 donors. As of March 2000, total contributions are at $15,000,000.

for apr vau, tour!

We invite you to walk through the undeveloped space and Imagine ... World class professionals rehearsing for main stage performances; aspiring local artists preparing to be tomorrow's stars; college students utilizing classrooms; children interviewing celebrity performers; and --=-t-+q'l"""'dance instructors and students watching videos, listening to CDs and accessing the Internet.

Please consider a gift to The New CentuIy Fund Significant benefits and naming opportunities are avaiIable. Call the Development Departtnent at I

313-237-3433 for more infonnation

Copyright 2010, Michigan Opera Theatre

LL.I.. __________

We pay tribute to the passing of a great singer and friend. Audiences will remember Pablo Elvira's memorable appearances in Detroit which included the ORera .L .L\V 'u.""".

At the gala opening of the Detroit Opera House, Pablo Bvira sings the first aria heard on its slage, "Urgo aI Fadotum" from The IIaf6er of Sm1le.

CECILIA BARTOLI HAS A SPECIAL FLAIR FOR THE DRAMATIC. JUST LOOK AT HER WRIST.

in 18kt

and Datejust are tradema rks

Across Coolidge from The Somers et Collection 3 001 West Big Beaver Road • Troy, MI 48084 • (248) 649-1122

Copyright 2010, Michigan Opera Theatre

Rolex Lady Datejt/st

gold. Oyster Perpetual

er loeen April 15-30

THE CAST

In order of vocal appearance

Octavian

*MARGARET LAnlMORE

The Marschallin

HELEN DONATH

The Marschallin's Major-Domo

-LAWRENCE STOTSBERY

Baron Ochs auf Lerchenau

KURT liNK

Three Noble Orphans

*REBAKAH NYE ANDREA LEAP

EMILY TORONTO A Milliner

ALAINA BROWN

An Animal Vendor

-PATRICK MARQUES

Valzacchi

*DOUG JONES

Italian Tenor

Scon PIPER A Notary

DONALD HARTMANN

Annina

KATHLEEN SEGAR

Footmen of the Marschallin

TOM KABALA

-LAWRENCE STOTSBERY

JUSTIN WATSON

TONY LYNCH

Herr von Faninal

PAUL SAHUC

Marianne Leitmetzerin

ALAINA BROWN

Faninal's Major-Domo

-PATRICK MARQUES

*

Comedy for music in three acts

Presented by Michigan Opera Theatre

Music by Richard Strauss

Libretto by Hugo von Hofmannsthal

World Premiere : January 26, 1911, Dresden

KLAUS DONATH Conductor

ALEXANDER DONATH Director*

ALLEN CHARLES KLEIN Set Design and Costume Coordination

MALABAR, LTD. Costumes

Sophie

TONNA MILLER

An Innkeeper

-PATRICK MARQUES

A Police Commissary

DONALD HARTMANN

Mohammed

JORDAN FANTAUZZO

Children

Lauren Elizabeth Andree

jenn Bateman

Dennison Rollins Dorsey

Dennis Strach

Mandy Lynn Th0[T1s

*MOT debut

+U.S opera debut

-Artist Apprentice

KENDALL SMITH Lighting Design

ELSEN ASSOCIATES Make-up and Hair Design

SUZANNE MALLARE ACTON Chorus Master

JOHN KENNELLY Stage Manager

Surtides provided by arrangement with San Diego Opera English translation by Roger Pines Scenery for this production constructed for Pordand Opera ."

Th e 2000 Spring Season is made possible by General Motors Corporation

settin lenna,

during the reign of the empress Maria Theresa

ACT I Th e bedroo m 0/ th e Princess Werden berg, wzfe 0/ th e fi eld marshal (h en ce 'Marsch allin').

She has spent the night with her 17 -year old lover Count Octavian. Their breakfast is interrupted by her cousin , Baron Ochs auf Lerchenau , (described by Strauss as a 'rural Don Juan ' ). Octavian disguises himself as a chambermaid (' Mariandel'), with whom Ochs flirts The baron has come to ask the Marschallin to recommend a young nobleman as bearer of the traditional silver rose-a Rosenkavalier-to his fiancee, Sophie von Faninal, dau g hter of a recently ennobled arms dealer. It is then time for the Marschallin's levee. The stage is filled with tradesmen , various petitioners, a widow and her three daughters , a hairdresser, two intriguers (Valzacchi and Annina) and an Italian tenor The son g is cut short by an argument over Sophie 's dowry between Ochs and a lawyer. Valzacchi and Annina offer Ochs their services , and Leopold, Och 's bastard son, hands the silver rose to the Marschallin Left alone , the Marschallin reflects on Och's conceit and compares herself when young with Sophie. At 32 she is acutely conscious of growing old , and when Octavian returns he finds her in a melancholy mood, aware that he will soon leave her for a younger woman. Sh e tells him that time slips by so quickly that she often gets up in the night and stops the clocks. When Octavian leaves her, Marschallin realizes they have not even kissed goodbye She sends her little pa ge Mohammed to him with the casket containing the silver rose.

ACT II In Herr von Faninal 's palatial home, Sophie, Faninal and her nurse maid ar e awaitin g the rose-bearer 's arrival by coach. Octavi an ceremoniously presents her with the rose , and they are mutually attracted at first sight. Ochs is ushered in by Faninal and fondles Sophie lecherously. Meanwhile his disreputable bodyguard

causes chaos in the household. Sophie is appalled, and Octavian vows to prevent the marriage. Their love duet is abruptly ended when they are apprehended by Val za cchi and Annina , who send for Ochs. Oct avian challenges Ochs to a duel and wounds him slightly. Ochs acts as if he has been severely injured , and Sophie tells Faninal she refuses to marry this oaf. Oct avian has meanwhile won over Valz acchi and Annina. While Ochs , bandaged, is left alone , Annina brings him a message from the Marschallin 's chambermaid 'Mariandel', agreeing to a meeting. Ochs, delighted , sings his favorite waltz.

ACT III In a private room at an inn in a disreputable area of town , Val zacchi , Annina and others , under Octavian 's supervision , rehearse the opening of trapdoors and other devices with which they plan to scare Ochs Octavian dons his disguise as "Mariandel' and goes to meet the baron They sit down to supper, served by Leopold. Ochs tries vainly to seduce the 'girl' who refused wine and his advances . Every time he approaches her, apparitions appear at windows or through trapdoors. Annina, dressed in black as a widow, enters to claim Ochs as her husband and father of h e r children , who burst in noisily shouting 'Papa! ' Ochs calls the police and tells the suspicious commissioner that he is dining with his fiancee, Sophie. Octavian has ordered Val zacchi to send for Faninal and Sophie, who refute Ochs 's story. Octavian tells the commissioner the truth , and sheds his female attire. Meanwhile the Marschallin enters , recognizes the police commissioner as her husband's ex -orderly, and assures him that the affair was 'just a masquerade ' She advises Ochs to leave, which he does , pursued by creditors , children and tavern staff The young lovers sing of their delight and the Marschallin accepts the situation with good grace. She leaves them together while she invites Faninal to ride home with her.

Copyright 2010, Michigan Opera Theatre

At 32 she.is acutely . consCious of growing old.

Oer rosenKovo lier: by

(ulshaw AUnique Collaboration

the collaboration between Richard Strauss and poet Hugo von Hofmannsthal began with Elek t ra , which was firs t performed in D resden in 1909 (Hofmannsthal's adap t ation of the Greek traged y had been presented as a play six years earlier in Berlin.) Der Rosenkavalier , on the other hand , was conceived as an opera from the start; yet such is the strength and wit of its te xt that it has occasionally been performed as ' a play. The relationship between composer and poet was strange in that although it lasted until Hofmannsthal's death in 1929 the two men never became close friends.

The fact is that they were very different in character. Strauss was an urgent kind of professional, in that once he started to write music he usually made rapid progress. He also kept a shrewd eye on business. Hoffmansthal on the other hand, was withdrawn; despite his own considerable success , he suffered from self-doubt and hated to be pushed Yet he did not mind Strauss's carefully phrased criticisms of the various drafts for Ros enka valier because he knew that there was always a musical reason behind them. The professionalism of the two men and the frankness of their relationship usually enab led one to prevent the other from making a major mistake, although Hofmannsthal did precisely that as late as August 1910, when Rosenkav alier was all but finished. After having read aloud the libretto to some of his friends he wrote to Strauss to say that while it had made a fine impression there had been a noticeable fall of interest after the exit of Baron Ochs in Act Three. He asked Strauss to let him make some e x tensive cuts because, he wrote, " after the Baron has gone the curtain is almost ready to fall and everything hastens towards th e end " About ten days later Strauss replied: "You cannot possibly at this stage judge the musical effect which the conclusion , in particular, will h ave. That it sounds -a bit flat when read aloud is surely obvious. But it is at the conclusion that a musician, if he has any ideas at all, can achieve his best and supreme effec t s, so you may safely leave this for me to judge. " And indeed the finest music in

John

Act Three (and possibly in the entire work) comes after the departure of the Baron.

One of the reasons which led Hofmannsthal to think that the work shou ld end quickly after th e Baron's e x it was that right from the start he and Strauss had regarded Baron Ochs as the central character. As late as nine months before the first performance Strauss was still in favor of calling the opera simpl y Oehs, so the much superior title Der Rosenkavalier was a very late inspiration. What happened was that the poet and composer, working in isolation, communicating by correspondence and only rarely meeting , had each departed radically from their original conception , which was of a comedy so light and brief that it bordered on farce.

Strauss wanted to write somethin g completely different from Salo me and Elektra, and in 1909 Hofmannsthal came up with an idea for an opera which would be "full of burlesque situations and characters, almost like a pantomime. It contains two big parts, one for a baritone and another for a graceful gi rl dressed up as a man. I am aiming at the utmost conciseness, and expect a duration of about two hours and a h alf. "

It is significant that Hofmannsthal does not mention the Marschallin: The essence of Rosen ka valier was to be the comic flirtation between Baron Ochs and th e disguised Octavian, and the evidence lies in the correspondence between Strauss and Hofmannsthal In July 1909, after he had composed Act One, Strauss wrote to his librettist:

"Don't forget that the audience must laugh! Laugh , not just smile or grin. I still miss in our work a genuinely comical situation: everythin g is amusing, but not comic!" Those words alone show that neither the composer nor librettist had yet realized that a character they had mutually created had taken command of their work; indeed, it is one of the great dramatic and musical m ys teries of all time that these two brilliant men seemed not to understand until the last minute that the Marschallin is the only in-depth character in the whole of Rosenkavalier. Ochs had become something of an obsession, whereas the Marschallin was a sort of supporting figure. The Marschallin was certainly on stage throu ghout Act One, but always with some thing going on around her except during her monologues ; sh e did not appear at all in Act Two: and by the time of her re-

appearance just about half of Act Three had gon e by. What n eith er Strauss nor Hofmannsthal graspe d was that in grea t drama or great opera you cannot measure character impact b y th e minute; and thus it was that the Marschallin inspired her creators , who thought the y were writing a broad comedy, to write somethin g very much more than that.

The Marschallin domin ates Act One. Octavian , at the age of seventeen years and two months, thinks he is in love with her; but she, at thirty-two and as a woman of experience, knows that it is really an infatuation. Wh en the Baron barge s in durin g Act One it does not take her very long to get the measure of him He is a downcast provincial aristrocrat on the make, and although h e considers himself well up the social ladder in relation to Sophie, the girl he intends to marry, he is quite out of his depth

when h e comes to the Marschallin; his lon g and exp licit acco unts of amorous adventures leave her distinctl y unimpressed.

I ha ve no doubt that throughout all this Strauss and Ho&nannsthal expected us to focus on Baron Ochs and the no w disguised Octavian , yet our attention keeps wandering back to the Marschallin. Later in Act One her monolo gues are full of marvellous poetic and nostalgic ima gery, and yet are never purel y sentimental. The Marschallin is a realist, a woman of the world, who is not too old to gain another lover when Octavian leaves her, as she kno ws he will. It is in th e final twenty minutes or so of Act One that Strauss and Hofmannsthal are at their most perceptive , and never more so than in the passage where the Marschallin reflects on time and age, and tells Octavian how she sometimes wanders the house at night and stops all the clocks.

Th e arts enrich our

go

nd the spoke n word or music al note. Th ey make us l augh. They make us cry. They lift our spirits and bring enjoyment to our liv es. Th e arts and c ultur al opportunities so vital to this community are also important to us Th at's why (omerica supports the arts And we app l aud tho se who jo in us in mak in g investm ents th at enri ch peop l es li ves

We listen. We understand. We make it

"she sometimes wanders the house at night and stops all the clocks"

li ves in ways that

beyo

(At that moment peopl e often wonder why Strauss 's orchestral clock, made up of two harps and a celeste, strikes thirteen instead of twelve . It is actually a slightly obscure reference to a Viennese proverb which says that when th e clock strikes thirte en one's cup is overflowing). Throughout these monologues the words are simple and beautiful ; but with the addition of Strauss's music ther e emerges a portrait of a mature woman coming reluctantly but peacefull y to t erms with the prospect of growin g old.

Strauss wrote to Hofmannsthal that the first Act set itself to music "like oil and melted butt er," but Act Two posed considerable problems All went well up to the entrance of the Baron, but from there on Strauss proceeded to make a new dramatic outlinewhich is the sort of action which has caused rifts between composers and libr e ttists over the centuries Hofmannsthal , however, did not object: on the contrary, he wrote back "I should not dream of making difficulties, and shall recast the Act in the way yo u suggest." Yet some awkward moment s still remain in which Hofmannsthal, left to his own devices , might have overcome. Thus there is the probl em of how to get the nurse, who is supposed to be keeping a watchful eye over Sophie, off the stage so that Octavian and Sophie can openly declare their love for each other. This event is effected b y the rather clums y device of showing the Baron 's drunken servants in pursuit of the household maids , at which point th e nurse rushes off to get extra help, which is something that no nurse-and especially one as neurotic as Marianne-would ever do.

Much more troublesome, however, was to explain why the Italian conspirators Annini and Val za cchi suddenly change sides and start working for Octavian instead of for the Baron. At first Strauss did not worry about this. "The audience,"

he wrote to Hofmannsthal, "will tumble to it. " But then he began to worry, and wrote again: "Can we do something at the beginnin g of Act Three, showing how Octavian has won them over, or that the Baron has not paid them? " The solu t ion to the problem was a littl e piece of mime a t the b eginning of Act Three where Octavian arrives at the inn disguised as Mariandel and thro ws a purse to Valzacchi . We ar e simply left to assume th a t Octavian made suitable financial arrangements with the Italians after his departure in Act Two. Act Three presents us with at leas t one musical curiosity and another bit of awkward motivation. The musical curiosity is that the theme with which Octavian / Mariandel refus es the Baron 's offer of wine turns up much later as the soaring melody with which the Marschallin begins the final trio. It is said that Strauss, when asked if transformation had any significance, replied that it just showed what you could do with a good tune , and there is prob abl y no more in it than that. The motivation issue is much more complex, and concerns the arrival of the Marschallin at the hei ght of the rumpus. Such an inn is scarcely the sort of place a woman of her standing would choose to visit. From the evidence it seems that both Strauss and Hofmannsthal completely forgot to provide any reason for her arrival beyond the need for her presence in the final scene. (This is, of course, another indic a tion that the y were still thinkin g of her as a relatively minor character). The y did make a last ditch attempt towards the motivation by means of some stage business. This occurs when Leopold, who is the Baron 's manservant and also his ille gitimate son, rushes out soon aft e r the arrival of the Police Commissar. He has evidently gone to summon the Marschallin , because when he returns with her retinue he receives a nod of approval from the Baron

Copyright 2010, Michigan Opera Theatre

Yet what advantage can h er presence be to the Baro n ? We know from Octavian that she was not party to the plot against the Baron , and Octavian himself is as tonished to see her.

It is clear that the bit of action involving Leopold was a very late in vention on the part of Strauss and Hofmannsthal: it appears in the score of Rosenkavalier, but not in the published German te xt nor in any libretto I have been able to find. Yet it is of no importance whatsoever in relation to the music of the final scene This was the scene that Hofmannsthal wanted to shorten, but it became the scene in which Strauss really came into his own. In Ma y 1910 he rejected one of Hofmannsthal's drafts and wrote: "When th e Baron and the who crowd are gone, th en everything can gradually dissolve into a lyrical mood and return to soft outlines. " In October of that yea r, when he had almost finished Act Three, he wrote: "The weakest spot is the passage with Annini and later with the Police Commissar, which is rather heavy going for a musician. But as for the rest , from the Baron 's exit onwards , I'll guarantee that. "

Thus only in the final months before the first performance did both the composer and the librettist reali ze that what they had ac hieved was a great deal more than they had set out to do. Rosenkavalier certain ly has its moments of broad comedy and even (as in the opening of Act Three) , farce; but underlyin g it all is the bitter-sweet poignancy of love lost and love gain ed. It is precisely because of that dimension that Rosenkavalier has held its place among the masterpieces of opera

"there a portrait of a mature woman comIng reluctantly but peacefully to terms with the prospect of growing old."

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Oer Rosenkovoli r P f-I rtlst ro I es

Mich iga n Opera Th eat r e is proud to pr ese nt the fo ll ow ing arti st s.

SUZANNE

MALLARE ACTON

(Chorus Master) Suzanne

Acton has received wide critical acclaim for her work as Conductor and Chorus Master for Michigan Opera Theatre. In 1986, sh e debuted as Conductor of mainstage produ ctio n of West Szde Story. Additional MOT mainstage credits include The Barber 0/ Seville, Th e Daughter 0/ the Regiment, Muszc Man , Pirates o/Penzance, and The Mzkado. In addition to her work at MOT, Ms. Acton h as worked for th e Opera The2: re of St. Louis, San Diego Opera ; Dayton Opera , an d Opera Pacific

She served on the music faculty at Florida State University and Oakland University. In 1996, sh e was appointed Music Dir ec tor of Rackham Symphony Ch oir, metro-Detroit's longest established choral ensemble.

ALAINA BROWN

(Ma riann e & Millin er)

In 1992 Alaina Brown was named top vocalist in Michigan high schools b y the Michigan School Vocalist Association. As a member of the MOT chorus, Ms. Brown appeared in produ ctions of Carme n, The Marriage 0/ Figaro, Th e Flying Dutchman, Aida , and The Ma gzc Flute While in MOT's Young Artists Program she was cast in featured roles in productions of Manon , The Elixir 0/ Love and Porgy & Bes s. A grad uate of The Interlochen Arts Academy, she hol ds a bachelors degree in Music from th e Eastman School of Music.

ALEXANDER DONATH

(Directo r) German born Alexander Donath staged his first production of Puccini 's La Bo heme in 1992 at the Festival Opera , Califo rnia. From 1987 to 1992, h e was ass istant to Harty K upfer for one of the Bayre uth Festival 's legendary productions of Wagner's Ring Cycle. Further productions with Kupfer include Mozart 's Idomeneo and Bizet 's Carm en at the Komische Oper Berlin as well as Massenet's Werth er at th e Hamburgische Staatsoper. In 1997 he staged a critically acclaimed production of The Magic Flut e at the Opera Romana Timisoara (Romania ) Recently Donath staged Rossini 's Barber 0/ Sevzlle at the Th ea ter Hof in Germany.

200f'OVO

HELEN DONATH

(Marsc hallin ) Helen

Donath is a native Texan and l eading soprano on th e intern atio nal opera, concert and reci tal scene for more than three decad es North American engagement s includ ed Susanna and the Countess (Le Nozze di Figaro), SOl?hie (Der Rosenkavalier) and Marzellin e (Fzdelio) at the Metropolitan Op era; th e Governess (Turn 0/ th e Screw) at the Los Angeles Music Center Opera ; Rosalinde (Die Ftedermau s); the Countess and Eva (Die Meist ersinger) at Seattle Opera; the Countess , Mimi (La Boheme) , Donna Anna (Do n Giova nnz), and Susanna at Opera Pacific; Elizab eth (Tannhiiuser) at Austin Lyric Opera; and the Marschallin at Atlanta , Washington and Nashville Operas. Her successful recording career is made up of more than 100 releases.

KLAUS DONATH (Co nductor) Germanborn and based conductor Klaus Donath is Permanent Guest Conductor of Rumania's Banarul Philharmo ni c; and was Music Director of England's Bath City Orchestra and Ba th & Wessex Opera. W idely regarded as a Mozartean of th e high est order, D onath's North American credits include Don Gio vannz; The Marn age 0/ Figaro and Ma gzc Flut e with Opera Pacific as well as Marrzage o/Figaro and Magzc Flute for Michigan Opera Theatre Other North American engagements includ e th e Pacific Symphony Orchestra, Portland Opera, Opera Colorado, Florida Grand Opera, San Francisco Symp h ony, and numerous recitals.

DONALD HARTMANN

(P olice Commission er & Notary) The Associate Professor of Music at Eastern Michigan University frequen tl y graces the s tage of the D etroit Opera- House. Last seaso n h e performed with numerous opera companies thro ughout the U.S. A bus y concert soloist , H a rtmann is often hear d in recital. He sang th e role of Scaramba in El Capitan -th e first comp le te recording ofJohn P hilip Sousa 's operetta. H e has also performed with th e symphonies of New Mexico and Scottsdale. In Michigan, he ha s be en h eard with the orchestras of Detroit , Ann Arbor and Kalamazoo.

Copyright 2010, Michigan Opera Theatre

DOUG IONES (Valzacchi) Th e American tenor made his opera debut in Vienna, and over the past decade has sung all over the world Engagements to b egin the new millennium include a return to Seat tle Opera to sing Monostatos in The Magzc Flute , SimJ;lleton (Boris Godunov) and The Novice (Bzlly Budd)-which he will later take to New I sraeli Opera. He sings Bardolfo in Falstaff \vi th San Francisco Opera, Ajax in La Belle H elene at the Salzburg Festival, Der Bucklige in Die Frau Ohn e Sch atten for the Gran Teatre del Liceu in Barcelona. Mr. Jones will be a fa miliar face this season at the Detroit Opera House as he sings in Der R osenkavalier, Tosca and Peter Grimes.

ALLEN CHARLES KLEIN (Set D esigner)

Allen Charles Klein , a native New Yorker, is the only American designer to h ave focused his career exclusively on the production of set and costume design for opera, and has created more than eighty n ew productions. Hi s wo rk has been seen in North An1erica in virtuall y every opera h ouse including San Francisco , Santa Fe , Seattle, Portland , Houston , Miami, San Diego, Vancouver, Toronto , Montreal , an d New York 's Metropolitan Opera. D e troit audiences have seen Mr. Klein's productions of Tura ndot and Werther. I n Europe M r. Klein has desig n ed production s for the Scottish Opera , Edinburgh Festival and G lyndebourn e Festival.

MARGARET LATIIMORE

(Oc tavian) T h e 1999-2000 season demon strates Miss Lattimore's versatility. She opened the season crea ting the leading role of Charity Royall in the opera Summer at Berks hire Opera. She then ret urned to the Metropolitan Opera for another world premiere project: The Great Gatsby at the Met (where she also sin gs Cherubino this season). With a growing repura tion for h er Mozart interpretations , Ms. Lattimore makes her European debut as Ramino in La Finta Gzardiniera at L'Opera Comiq ue in Paris In concert , the mezzo performs Handel's Solomo n at the prestigiou s Plymouth Music Series in St. Paul Minnesota, and makes her Carnegie Hall debut in Mozart's R equiem.

KURT LINK (Baron Ochs) Featured by Opera News as one of sixteen singers "to keep your eye on", the Pennsylvania native won critical acclaim for a repertoire that embraces major operatic roles from Purcell to Henze , and from Mozart to Wagner. Major bass roles ha ve taken him to the Metropolitan Opera, New York City Opera, Lyric Opera of Chicago, and the opera houses of Santa Fe , Houston , Washington, Portland, Dublin , the New Israeli Opera and the Spoleto Festival. He is equally at home in symphonic works, and can be heard on the Grammy award winning recording of Schoenberg 's Mos es and Aaron with the Chicago Symphony Orchestra.

PATRICK MARQUES (Animal Seller; Faninal's Major Domo; Innkeeper)

Last season at Santa Fe Opera, tenor Patrick Marques sang in the opera company's apprentice production of Peter Grimes (title role) and the High Priest in Idomeneo. During a two-year residency at Philaddphia's Academy of Vocal Arts , he appeared in the title roles of both Albert Herring and Idomeneo, in the Male Chorus in The Rape 0/ Lucretia and as Nerone in The Coronation 0/ Poppea His repertoire also includes Fidelio and Ot ello Mr. Margues has been tenor soloist in performances of Leonard Bernstein's Chichester Psalms at Carnegie Hall and also in Handd's Creation. He made his MOT debut in the Fall 1999 production of Werther.

TONNA MILLER (Sophie) Of the soprano The New York Times wrote, "There was much to admire in Tonna Miller's fresh , sweet toned performance ... " . The Texas native's reputation is spreading quickly She began her 1998 -1999 season with a Metropolitan Opera debut in their new production of The Marriage 0/ Ftgaro. Other recent engagements have taken her to New York City Opera , Santa Fe Opera, Glimmerglass Opera , Augusta Opera, L'Opera Francais de New York, Opera Theatre of Saint Louis and Nashville Opera.

PA UL SA HU C (Von Faninal) Baritone Paul Sahuc first came to Michigan Opera Theatre as part of the Young Artist Apprentice Program. He now returns in the role of Faninal. Mr. Sahuc divides his time between teaching and singing. Engagements have taken him to New Orleans Opera, Louis iana Philharmonic Orchestra, Austin Civic Opera, Bay View Music Festival and North Star Opera , to name just a few. Recent roles have been with Opera Roanoke and The Minnesota Opera , where he also sang the role of Faninal.

KENDALL SM ITH

(Ligh ting Designer) This marks Ken Smith's twdfth season with Michigan Opera Theat re, designing over 25 productions for the company. O th er opera companies include San Diego Oper a, Virginia Opera, Lyric Opera of Kansas City, Opera Pacific, Boston Lyric, and Eugene Opera. Theatre credits include Pion eer Theatre in Salt Lake City, North Shore Music Theatre, StageWest, Merrimack Repertory Theatre, Sh aron Stage, Studio Theatre DC, Connecticut Repertoty Theatre, Barter Theatre, Brunswick Musical Theatre, and the American Stage Fes tival in New Hampshire Currently h e is working on a new produ ction of Macbeth for Lyric Opera of Kansas City.

KATHL EE N SEG AR (An nina) Detroit audiences will remember Mezzo soprano Kathleen Segar as Michigan Opera Theatre's Amneris in Atda and as Smeton to Joan Sutherland's Anna Bolena She recently performed Siegrune in Die Walkure at the Metropolitan Opera. After making her Washington Opera debut in Th e Tales 0/ Hoffm ann she returned for La Cenerentola, Artadn e au/ Naxos, The Marrtage 0/ Ftgaro, and most recently, Der Rosenkavalier, Rtgoletto and Susannah. Ms. Segar has performed in Eugene Onegin and Cavallerta rusticana in Philaddphia and in Cavallerta rusticana at Opera Pacific. She performs frequently with the Detroit Symphony, most recently in Menddssohn's Mtdsummer Ntght's Dream

LAWRENCE STOTSBER Y (Mar schallin's Major Domo) Lawrence Stotsbery received his Bachdor of M u sic degree from the University of Redlands in sou thern California and his Master of M u sic degree from Converse College in South Carolina. He was recently chosen to represent the City of Detroit in a cultural exch ange program with Palermo, Sicily. He has performed in roles su ch as: Cascad a in The Merry Wzdow and D etlef in The Student Prince with the Spartanburg Repertory Company; Kaspar in Amahl and the Ntght Visitors, Ferrando in Cost/an tutte and Nankipoo in The Mtkado. At the Brevard Music Center he p erformed the role of Hysterium in A Funny Thing Happened on the Way to the Forum and at D orian Opera , The Merry Wzves o/Wz·ndsor.

Technological Craftsmanship

SCOTT PIPER (Italian Tenor) Ope ra

News recently described the young tenor's singing in Benjamin Britten's The Turn 0/ The Screw: "Piper 's Peter Quint was sung with ravishingly beautiful tone, slyly insinuating , yet with tragic overtones, blending sound musicianship with fine histrionics " He sings often at MOT, and recently debuted with San Francisco Opera 's Western Opera Theater touring production as Alfredo in La Tra vtata. Other engagements have included a recital at the Cranbrook Music festival, La Travtata with Opera Pacific , Messiah with the Handd Choir of Baltimore, La Travtata for Madison Opera , and his debut with Cincinnati Opera in their productions of Don Giovanni and The Turn 0/ the Screw.

& SON S

The piano chosen by Michigan Opera Theatre, Detroit Symphony Orchestra and over 98% of the world's performing artists

osc May 6-14

THE CAST

In order of vocal appearance

Angelotti JAMES PATIERSON

Sacristan DONALD HARTMANN

Cavaradossi

MARCELLO GIORDANI (May 6, 10 , 1 3)

IAN DENOLFO (May 7m, 12 , 14m)

Floria Tosca

'-'SYLVIE VALAYRE (May 6, 10 , 13 )

'-'AMY JOHNSON (May 7m, 12 , 14m)

Scarpia

" JUSTI NO DIA Z

Spoletta

DOUG JO NES

Sciarrone

tWOODROW BYNUM

Shepherd DE NN IS STRACH

Jailer

tWOODROW BYNUM

"MOT debut

+D.S. opera debut

tJoyce H. Cohn Apprentice Award

• . General Motors.

The 2000 Spring Season is made possib le by General Motors Corporation

Opera in three acts

Presented b y Michigan Opera Theatre

Music b y Giacomo Puccini

Libretto by Giuseppe Giacosa and Luigi mica

Based on the play by Victorien Sardou

World Premiere: January 14, 1900, Rome

STEVEN MERCURIO Conductor

MARIO CORRADI Director

FRANK GALATI Production

TONY WALTON Set Design

WILLA KIM Costume Design

KENDALL SMITH Lighting Design

ELSEN ASSOCIATES Make-up and Hair Design

SUZANNE MALLARE ACTON Chorus Master

JOHN KENNELLY Stage Manager

Surtitles are owned b y the San Francisco Opera Association

English translation b y Chris Bergen

Scenery for this production is co-owned by Lyric Opera of Chicago and the San Francisco Opera Association and is made possible by a generous and deeply appreciat ed gift to Lyric Opera of Chi cago by Mr. and Mrs. Sidney L. Port and to San Francisco Opera Association by Mr. and Mrs. FP. Johnson Jr.

Scenery construction and painting by the San Francisco Opera Scenic Shop. Costumes fabricated b y the San Francisco Opera Costume Shop

s tting omeI in the time

of Napoleon

ACT I The church o/Sant'Andrea della Valle, Ro me in June 1800.

Angelotti , an escaped political prisoner, takes re fuge in a side chapel. A sacristan enters , followed shortly afterwards by Cavaradossi, an artist working on a painting of the Madonna. As Cavaradossi prepares to start work, he muses over his painting; although this Madonna is blonde she reminds him of his dark mistress , the singer Tosca ('Recondita armonia'). The sound of the sacristan leaving brings Angelotti from his hiding-place. Angelotti and the painter recognize each other, and Cavaradossi promises to help his friend escape from Rome They hear Tosca 's voice outside; Angelotti hides again before she enters. The sound of th e conversation has aroused Tosca's jealousy, but Cavaradossi's assurances calm her, and they join in a passionate duet. When Tosca le aves, Angelotti reappears and he and Cavaradossi plan his flight , but a distant cannon warns them that the prison escape has been discovered; they hurriedly exit together As a crowd gathers to celebrate the defeat of Bonaparte at Marengo, Scarpia, the chief of police, enters with his henchm an Spoletta and orders a search for the escaped prisoner. Tosca returns , and Scarpia, suspicious of Cavaradossi and enamored of Tosca , tries to trick her into revealing information by inciting her jealousy When she leaves to seek out her lover, Scarpia has her followed , and, as the crowd intones the Te Deum, Scarpia brin g Cavaradossi to the and Tosca into his arms ('Te Deum ').

Angelotti's escape . Scarpia has sent for Tosca , and she comes in as Cavaradossi is led to the ne xt room to be tortured Tasca is left alone with Scarpia, and Cavaradossi's cries of pain eventually drive her to re veal Angelotti's hiding place Cavaradossi is dragged back onstage just as Napoleon's victory at Marengo is announced. The news elicits a stirring response from Cavaradossi, and the outraged Scarpia has him taken off to prison. Scarpia and Tosca are once again left alone , and Scarpia offers Tosca a hideous choice: she must submit to his lust or cause Cavaradossi 's exe cution. As Scarpia writes a safe-conduct from Rome for her and Cavaradossi , Tosca surreptitiously takes a knife from the dinner table and , when Scarpia comes forward to claim his pri ze, plunges it into his chest. She taunts him in his death throes and, when he expires , takes the safe-conduct from his clenched hand and starts to le ave At the last moment she returns to place candles around Scarpia 's body and a crucifix on his chest.

ACT II Scarpia 's roo m in the Farnes e Palace.

Scarpia muses over his violent desire for Tosca (' Ha pili forte sapore'). Spoletta enters to report that Angelotti has not been found , but th at he has arrested Cavaradossi for suspicious behavior. Cavaradossi is brought in and questioned, but he denies all knowledge of

ACT III A few hours later, just be/ore dawn on th e ro%/ the Castello Sant 'Angelo . Church bells ring , and a shepherd boy sings in the distance Cavaradossi awaits his final hour, overcome b y memories of Tosca and thoughts of his approaching death ('E luce va n Ie stelle ' ). Tosca appears and triumphantl y displays their safe-conduct. She instructs him on his role in the mock execution, and th ey sing of their love and hopes for the future. As four 0' clock strikes , the firing squad arrives and Cavaradossi is prepared for execution. Tasca watches , hardly managing to restrain herself as the shots ring out and Cavaradossi falls. In an agony of suspense, she waits for the soldiers to depart. At last she tells Cavaradossi to rise, but he does not respond: Scarpia has betrayed her even in death, and her lover lies dead before her. Soldiers rush on to arrest Tosca for Scarpia's murder, but , with a final defiant gest ure, she flings herself over the parapet Copyright 2010, Michigan Opera Theatre

She must submit to his lust or cause Cavaradossi's execution.

Copyright 2010, Michigan Opera Theatre

ora ISS

by Joy Hajduk-DeGraff

When Puccini penned Tasca he included murder, suicide , betrayal , lust and plenty of plot twists-normal opera fare He might have thought the opera would be easy to stage. After all, it only has three principals: th e diva Tosca, the artist Cavaradossi and the villain Scarpia. Potential disaster could be easily predicted when firearms, knives and a loft y parapet were added. Since its premiere , problems ha ve plagued Puccini 's famous opera. Singers have been shot, stabbed and thrown off the ramparts-for real! Small , cornie glitches seem to pop up regularl y. Many consider Tasca to be jin xe d.

From its very first production, mishaps have haunted Tasca. In rehearsals for the premiere , Puccini and company received anonymous letters threatening physical injury.

Local police unner ved the opera 's first conductor by suggesting the orchestra strike up the national anthem if a bomb e xp loded (everyone remembered how an anarchist 's bomb had recentl y killed fifteen people at a Barcelona opera house ). On opening night , a r aucous group invaded the theatre shortly after the curtain rose and when the panicked conductor fled the pit , th e performance stopped. Order was quickly restored an d the performance went on , but Tasca's reputation as a cursed opera was born.

Not only Puccini's score challenges Tasca sopranos. Over th e years, Toscas have be en known to fall, set their hair on fire, chip their t ee th or end up bruised and unconscious. Leonie Rys anek tells how Puccini 's favorite Tosca, Maria Jerit za fell accidentally. Some versions have her being pushed by an over-enthusiastic Scarpia and landin g heavily on the floor at the beginning of her aria, "Vissi d ' arte. " Legend says Puccini yelled from the pit, "This is absolutely the position she should be in to sing this aria! " Toscas have followed this lead ever since.

Singers often ge t caught up in the emotion of the drama. Durin g the rape scene, Scarpias sometimes bruise and manhandle their Toscas. Titto Gobbi remembered a production where he pinned Maria Callas, grasp ing her hands and pulling them roughly " It was a totall y spontaneous thing that happened between us ," he recalled. "But we kept it in every performance bec ause it was born in a moment of theatrical inspiration and was too good to lose. "

Copyright 2010, Michigan Opera Theatre

Callas proved her" divine" status at a dress rehearsal when her hair caught on fire. Franco Zeffirelli recounts how Callas was le aning against Scarpia 's desk and her long wig caught fire from the candles . "S he went on singing," he remembered. "Never stopped." Her Scarpia, Titto Gobbi, dr ew her into an embrace and beat out the sparks.

By the time an opera company weathers all the production problems , the soprano's desperat e suicidal leap at the end may seem justified One story tells of Eleanor Steber singing Tasca at the Met When she jumped at the end , she hit part of the set and m anaged to break a tooth When Zinka Milanov heard about it , she reportedly said "I told Steber the role was too heavy for her. " Another Tosca was knocked unconscious and broke several bones wh en she missed th e mattress and fell fourteen feet to the floor. She recovered , although the mists of time have hidden whether she ever sang the role again.

Althou gh most Toscas manage to hit the center of the mattress, some bounce back. In an Op era News interview, Dame Eva Turner claimed the distinction as the first bouncin g Tosca. "We were doing Tasca in the Alexander Theater Hall , a small house where the drop was very shallow for the mattress, and as I jumped at the end of the opera with conviction, I bounced up again and this incident became a famous funny Tasc a story. " No matter how the original incidents happened , Internet chatters have run with the stories and a hundred variations can be found It's hard to sort fact from legend. Would you believe a devious stagehand substituted a trampoline for the mattress in one production? Reports persist that Tosca bounced over and over, unable to stop herself.

Puccini 's Scarpias suffer even worse fates More than once, baritone Titto Gobbi spouted real blood when his sopranos stabbed him with malfunctioning prop knives during the rape scene. Maria J aritza once accidentally stabbed

Gobbi with the wrong end of the knife In another production , Maria Callas' retractable blade did not retract. Zeffirelli recounts, "In a flash , Maria had the knife in the air and plunged it into him Tito yelled 'My God!' and then went on with the scene " Gobbi 's Scarpia costume , torn by the knife , hangs in the Metropolitan Opera collection Even Cavaradossi is not able to esc ape the Tosca curse An Italian oper a company's prop firearms were not working correctly, so they quickly mustered replacement rifles from storage. When the firing squad shot tenor Fabio Armiliato , he was hit three times , and one bullet shattered a bone in his leg. Someone had inadvertently loaded the antique guns with real ammunition . Armiliato 's wounds were so serious he was forced to cancel contracts for at least three future productions-but he was grateful the squad's aim was not better.

On occasion , even th e firing squad misses A squad made up of young medical students were given the instructions, "Just follo w the officer onto the stage. March slowly in time to the music and line up . When the officer lowers his sword , shoot. Then follow the principals off. " The dress rehearsal ran long and the company never rehearsed the final act. The squad arrived on opening night without benefit of a dry run. At the appropriate time they walked on stage and were surprised to see two potential targets Which of the two principals were the y supposed to shoot-the man or the woman? The y initiall y settled on Cavaradossi but he kept signaling them with his eyes. The squad could only guess what he was trying to tell them Were they aiming at the wrong principal? When the officer dropped his sword , the squad swung their rifles around and shot Tosca. Imagine their surprise when Cavaradossi, now behind them, fell he avily to the floor. The mortified students tried to make up for their mistake. They remembered their instructions to follow the principals offstage When Tosca ran up the steps and jumped , the

squad dutiflilly followed her off the rampart! to create Tasca's first mass suicid e.

There seems no end to large and small Tasca disasters For one tightly-budgeted production, the prop man painted beach balls black and glued them in a stack to create the illusion of cannonballs. When Tosca ran up the steps , she accidentally nudged the stack and loose beach balls went bouncing down the stage into the orchestra pit. In another production, no one proofread the new surtitles and the audience hooted when they read, " Give her black eyes " Thinking her singing was being ridiculed , soprano Eva Marton left the stage in a huff.

Sometimes 'high-tech methods are employed avoid dis aster. One opera com p- any used electronic candles that Iwere programmed to extinguish i.d a certain order. This would ensure that the candles were snuffed on cue. But on opening night , the soprano blew on a candle and a different one ·extinguished. When the time came for final bows , the computer dropped the curtain right on the cast's heads.

Some call these strange happenings "the kiss of Tasca " and claim that the opera is cursed.

David DiChiera, Michigan Opera Theatre's General Director, certainly considered the opera's reputation during the company 's 1987 production. Three sopranos and two tenors cancelled their contracts before the company finally secured a cast. On opening night baritone Charles Long became ill and baritone Pablo Elvira (who was in Detroit rehearsing for MOT's next production , The Barber 0/ Seville) saved the night by singing Scarpia from the side of the stage while Long mimed the role on stage. Patrons told Dr. DiChiera it was one of the most exciting performances they had ever seen.

The squad dutifully followed her off the rampart to create Tasca's first mass suicide.

los 0 . rtlst Profiles

MARIO CORRADI

(Director )

Michigan Opera Theatre is proud to present th e following artists

Mario Corradi made his directing debut in 1982 with II Matri monio Segreto in Palermo. Since then he h as staged opera worldwide: La Son nambula in Dall as, Do n Giovanni and Or/eo ed Euridice in Madrid, Menotti 's Amelia al Ballo in Monte Carlo and Madama Butterfly in Spoleto. His work is well known in St. Gallen, Frankfurt , Athens and Tokyo. MOT credit s includ e Carmen, The Elixir oj Love, LuCta di Lammermoor, Madame Butterfly and Werther. He recently directed Spontini's I I teseo riconoSCttlto-its first performance this century.

SUZANNE MALLARE ACTON

(C horus Master) Suzanne Acton has received wide critical acclaim for h er work as Conducto r and Chorus Master for Michigan Opera Theatre. In 1986, sh e debuted as Conductor of th e MOT mainstage production of West Side Story. Additional MOT main stage credits include The Barber 0/ Seville, The Daughter 0/ the Regiment, Music Man, Pirat es 0/ Penzance , and Th e Mik ado In addition to h er work at MOT, Ms. Acton has worked for the Opera Theatre of St. Louis, San Diego Opera, Dayton Opera , and Opera Pacific. She served on the music faculty at f lorida State University and Oakland University. In 1996, she was appoin ted Music Director of Rackham Symphony Choir, metro-Detroit's longes t established choral ensemb le.

WOODROW BYNUM

(Sciarrone and the Jailer)

Arkansas-native Woodrow Bynum received much of his musical training in Michigan - first studying at Interlochen Arts Academ y, then at the University of Michigan. Just 23 , the baritone 's repertoire includes The Elixir 0/ Love, Gianni SchicCt; A Midsummer Night's Drea m, The Gondoliers and La Boh eme. The Michigan Opera Theatre Young Artist Apprentice has appeared with Ohio Light Opera and the lllin ois Symphony His last Michigan Opera Theat re appearances were the 1999 productions of Th e Barber 0/ Seville and Werther.

IAN DENOLFO (Cavaradossi)

Ian DeNolfo is considered one of the mo st excitin g ar ti sts of opera 's yo un g generation. This season, at th e invitation of Placido Domin go , DeNolfo sings the titl e role in Verdi's Otello for the Washington Opera. DeNolfo made his Washington Opera Debut in 1998 as Samson in Samson and Delilah He returned later that season in the title role of Wolf-ferrari 's Sly. In Jul y 1999 he made an Italian debut as Samson , at th e Teatro La fenice. This season he sings in Aida for Fort Worth an d Portland , and makes his Munich debut. Detroit audiences will remember DeNolfo from MOT productions of Samson and Delilah, Aida, and Th e Flying Dutchman.

MARCELLO GIORDANI (Cava radossi)

Sin ce his professional debut in 1986, Sicilianborn Marcello G iordani has been in great demand all over the wo rld Last season, Hu gh Canning of The Sunday Times of London , wrote: "When Pavarotti and Domingo retire , Giordan i co uld well be the man to fill their shoes at the Met. "

Last season took him to Zurich for a new production of Attila, Washington Opera for Simon Boccanegra, th e Metropolitan Opera for La TraVIata , Bologna for Attila, and Paris for La Boheme. H e also debuted with the Munich Philharmonic in La Damn ation de Faust conducted by Tam es Levine. Giordani recently made hi s first recording-the first studio recor din g of Verdi's Jerusal em.

DONALD HARTMANN (Sac ristan ) The Associate Professor of Music at Eastern Michigan University is a familiar face on stage at the D etroit Opera House.

Last season Hartmann performed with opera companies throughout the U.S. in roles such as Zuniga, Collin e, Don Alfonso, and Sacristan. H e recorded th e role of Scaramba in El Capitan, - h e first comp lete recording of John Philip Sousa's operetta. A busy concert soloist, Hartmann is often h eard in recital. He has performed with the symphonies of New Mexico and Scottsdale, and in Michigan with the orchestras of D etroit, Ann Arbor

JUSTINO DIAl (Scarpia) One of the world's foremost baritones , Diaz has appeared \vit h the world's major opera houses and participated in the festival s of Salzburg and Edinburgh under the direction of- the most famous and respected conductors in the wo rld. He has performed 85 operatic roles and 40 oratorios and symphonies, in addition to numerous recitals, television and film. Current engagements include appearances w ith Florida Grand Opera in the title role of Macbeth; Pittsburgh , Manitoba and Connecticut Operas as Scarpia ; and Washington Opera as rago and th e Count di Luna. Di az is a recipient of New York City's highest cultural award, the Handel Medallion.

Copyright 2010, Michigan Opera Theatre

AMY JOHNSON (Tosca) After numerous engagements as a mezzosoprano Amy Johnson recently made the transition to th e soprano repertoire Last season she returned to New York City

and Kalamazoo Opera for Tosca. The New York Times said of her performance: " Vocally, the production's drawing card is Amy Johnson. " During 1998-99 she made her Austin Lyric debut as Salome, Orlando Opera debut in Faust and her Knoxville Opera debut as Aida. In 1999-2000, she returns to New York City Opera for Tosca, which will be broadcast on PBS-Liv e /rom Lincoln Center In addition to h e r operatic work, J ohn son contin ues an active career in concert and recitals.

DO UG IONES

(Spoletta ) The American tenor began his career in Europe studying and then making his debut in Vienna, Many roles quickly followed taking him to Austria and Swit zerland , Jones became an ensemble member of the Op er Frankfurt and went on to perform with the Bregenz Summer Festival and the Salzburg Summer Festival, His career brought him back to the U,S " for a debut with Los Angeles Opera and a return to Seattle Opera, Upcoming engagements include Fals taff with San Francisco Opera , La Belle H elene at the Salzburg Festival , Die Frau oh ne Sch atten for the Gran Teatre del Liceu in Barcelona , and his debut in Amsterdam,

lAMES PATI ERSON (Angelotti) Since beginning his career as an Alder Fellow with San Francisco in 1983 , bass James Patterson has given more than 150 performances with that company including Sparafucile in Rigoletto, and Fafner in the company's widely acclaimed Ring Cycle, He has performed numerous , times with Lyric Opera of Chicago , and extensively in Canada , This is Patterson 's twelfth production with Michigan Opera Theatre ; mosJ recently as Johann in Werth er

STE VEN MERCURI O (Conductor)

Steven Mercurio has conducted the opera companies of Rome , San Francisco , Brussels, London , Seattle, Costa Mesa , Washington , Dallas and Pittsburgh , among others, He was Music Director of the Spoleto Festival (Italy ), Principal Conductor of the Opera Compan y of Philadelphia and Associate Conductor of the Brooklyn Philharmonic, M ercurio is featured on many Sony Classical Label recordings and videos and has several film credits, The Juilliard Alumnus is a composer and champion of contemporary music. A favorite in the orchestra pit at the Detroit Opera House, he recently conducted MOT's Werthe r,

SYLV IEVA LAY RE

(Tosca ) The French soprano received accol ades when she debuted at Covent Garden in 1996, This season she makes her Metropolitan Opera debut as Mada ma Butt e/fly , As Tos ca, she debuts in Madrid , at Deutsche Op e r Berlin , and in Bologna, Other engagements this season include p erformances of A ida in Gaza at the foot of the Pyramids and a debut as Ma non Lescaut for Opera Pacific, P lans for next season include Tosca in Paris , Tokyo and Chicago, Valayre made her La Scala debut in 1997 in the title role of La Gio conda in what was the first production of the opera in the theater since the historic 1954 production featuring Maria Callas,

TONY WALTON (Set Designer) Prolific designer Tony Walton was elected to the Theatre Hall of Fame in 1991even before his work on such recent blockbusters as She Loves M e, Guys and Dolls, and Six Degre es oj Separation , Since 1957 , he has created the costumes or sets for more than 100 plays and musical productions, He has been Tony-nominated 13 times , winning three , and has won five Drama Desk Awards, He has received five Oscar nomination s winning the award for All That Jazz , He also designs productions for television and ballet , with his most recent ballet being Peter an d th e Wolf for American Ballet Theatre , Walton 's previous operatic designs includ e Th e Cu nnin g Little Vix en , Mids ummer Marrzage, Otello , The Rape o/Lucretza , and Th e Love/o r Three Oranges, seen in Santa Fe , London and Spoleto,

KEN DALL SM ITH

(Lighting Designer) This marks Ken Smith 's twelfth season with Michigan Opera Theatre , designing over 25 productions for the company, Other opera companies include San Diego Opera , Virginia Opera, Lyric Opera of Kansas Cit y, Opera Pacific, Boston Lyric, and Eugen e Opera, Theatre credits include Pioneer Theatre in Salt Lake City, North Shore Music Theatre, StageWest , Merrimack Repertory Theatre , Sharon Stage , Studio Theatre DC , Connecticut Repertory Theatre , Barter Theatre, Brunswick Musical Theatre, and the American Stage Festival in New Hampshire, Currently he is working on a new production of Ma cbeth for Lyric Opera of Kansas City,

"

rlTIle June

THE CAST

I n order of vocal appearance

Hobson

STEVEN HENRIKSON

Peter Grimes

" MARK BAKER

Uune 3, 7, 10)

JOHN M AC MASTER

Uune 4m, 9, 11 m)

Mrs. Sedley

CANDACE DELATIRE

Ellen Orford

SHERI GREENAWALD

Auntie

KATHLEEN SEGAR

Bob Boles

DOUG JONES

Balstrode

JEFFREY BLACK

Reverend Adams

-LAWRENCE STOTSBERY

Ned Keene

tWOODROW BYNUM

First Niece

-JENNIFER LARSON "MOT debut

+U .S. opera debut

-A rtist Apprentice

tJoyce H. Cohn Apprentice

Opera in a prologue and three acts

Presented by Michigan Opera Theatre by arrangement wi th Boosey & Hawkes, In c. publisher and copyright owner

Music by Benjamin Britten

Libretto b y Montagu Slater, after George Crabbe 's poem The Borough (1810 )

World Premiere: June 7, 1945 , London

JOHN MAUCERI Conductor

BERNARD UZAN Director

CARL TOMS Set Design

MALABAR , LTD. Costumes

CHR ISTINE SOLGER-BINDER Lighting Design

ELSEN ASSOCIATES Make-up and Hair Design

SUZANNE MALLARE ACTON Chorus Master

JOHN KENNELLY Stage Manager

Scenery for this production of Pet er Grimes is owned by the Lyric Opera of Chicago and is a generous and d eeply appreciat ed gift from the Gramma Fisher Foundation of Marshalltown , Iowa , presented jointly to the San Francisco Opera and the Lyric Opera of Chicago

Surtitles provided by arrangement with Bayshore Opera Translations

English translation by Lindley 1. Becker and T.]. Scott.

set en e orough,

a small fishing village c. 1830

PROLOGUE In the Moot Hall 0/ the Borough

The Borough'?

An inquest is held into the death of the young apprentice of the fisherman Peter Grimes, who explains that on the way to London to sell a huge catch they were blown off course and ran out of drinking water. After three days the boy died. The coroner, Mr Swallow, returns a verdict of accidental death but advises Grimes not to get another apprentice. After the court has been cleared, Ellen Orford, who has befriended Grimes , pleads with him, in vain, to le ave the Borough with her.

ACT I Morni ng by th e sea, in a street outside th e Moot Hall and th e Boar public house

SC'ene one Women are mending the nets ('Oh, hand at open doors the nets'). Borough personalities arrive: the Methodist fisherman Bob Boles, the Boar's landl ady Auntie and her two ' nieces ' (as they are euphemistically called) , Mrs Sedley, widow of an East India Company employee, the rector, the Rev. Horace Adams , and Balstrode, a retired merchant sea captain. When Grimes calls for help to haul up his boat, only Balstrode and Ned Keene , the apothecary, go to his aid. Keene tells Grimes he has found another apprentice at the workhouse Hobson the carrier will fetch him. Ellen agrees to accompany Hobson to look after the boy. She rebukes those who criticize her ('Let her among you without fault cast the first stone ' ). The entire cast sings together of the approaching storm which will 'eat the land ' . Balstrode advises Grimes to join the merchant fleet, but Grimes says he is rooted in the Borough. He describes the boy's death (' Picture what the day was like') and says his ambition is to make enough money from fishing to buy a shop and marry Ellen

(They listen to money')

Grimes sings of Ellen' ('What harbour shelters peace?')

Scene two Inside the Boar, Mrs. Sedley awaits Hobson's return with her consignment of laudanum Each new arrival tells of storm damage along the coast. Quarrels break out, quieted by Balstrode ('We live and let

live, and look , we keep our hands to ourselves').

Grimes enters, wet and dishevelled, and begins a soWoquy ('Now the Great Bear and Pleiades' ). Boles, drunk, tries to attack him , but Balstrode intervenes and Keene starts up a catch ('Old Joe has gone fishing ' ) . Hobson, Ellen and the boy (John) arrive and Grimes immediately takes the boy to his hut on the cliff.

ACT II I n th e street again, on a Su nda y morning some weeks later

Scene one Ell en and the boy sit watching the churchgoers and listening to the hymns ('Glitter of waves ' ). Ellen notices a tear in the boy 's coat and a bruise on his neck. Grimes comes to collect the boy-he has seen a school of fish. Ellen pleads for the boy to have a day's rest and tells Grimes the Borough's gossips will never be silenced-their own dreams were a mistake They argue, and in anguish he strikes her and runs after the boy. This scene has been observed by Keene, Boles and others , who stir up anger against Grimes (' Grimes is at his exercise') Ellen explains her compassion, but is shouted down. The rector proposes a visit to Grimes's hut by the men alone , but the crowd follows ('Now is gossip put on trial'). Only Auntie , the nieces and Ellen remain (' From the gutter, why should we trouble their ribaldries?').

Scene two In his hut, Grimes dresses the boy to go to sea . He thinks of the life he had planned with Ellen (' In dreams I've built some kindlier home'). But he also imagines he can see his dead former apprentice staring at him. He sees the rector 's procession coming up the hill and blames the boy and Ellen for gossiping. He opens the cliff door and the boy scrambles out and falls. Grimes goes after him The rector and his companions find an empty, tidy hut. Looking out of the open door they comment on the landslide. They leave, saying they have misjudged Grimes

ACT III , Scene one A few days later, on a summer evening in the village street , sounds of a dance are heard. The nieces run from the hall , followed by Swallow (' Assign your prettiness to me'). Mrs. Sedley confronts Keene about the missing Grimes and his apprentice ('Murder most foul it is ' ). He dismisses her but she hides and hears Balstrode tell Ellen that Grimes ' boat has returned , although there is no sign of him or the bo y. Ellen has found the boy 's jersey, on which she had embroidered an anchor ('Embroidery in childhood') They vow to help Grimes. Mrs Sedley has overheard this conversation and summons Swallow to tell him Grimes 's boat is back. Shouting 'Peter Grimes! ' the crowd sets off on a manhunt. Scene two To the distant sounds of a foghorn and the voices of the mob , Grimes enters , weary and demented. Ellen and Balstrode approach him. Balstrode tells him to take his boat out of sight of shore and sink it. The next morning the Borough resumes normal life. Swallow says the coastguard has reported the boat sinking. ' One of these rumours,' Auntie says.

Copyright 2010, Michigan Opera Theatre

gossips will never be silenced.

Copyright 2010, Michigan Opera Theatre

the genius of Ben'amin Britten oe r gflPleS bYRObertoMauro

by the middle of the 19th century, the contribution of British composers to the world of opera and classical music was beginnin g to be questioned b y musical lead ers across the continent. Since Henry Purcell's death in 1695, Great Britain had not produced a world famous classical composer. The British adopted Handel , a German , and claimed Sullivan as a first class composer of operetta, althou gh most of his "se rious" compositions were failures. Some of this pre ssure was alleviated b y the stunning success of a man from Worcestershire, whose Enigma Variations premiered in 1899 and brought him worldwide fame. This

The man was Edward Elgar. However, Composer the British were still waiting for a

composer to succeed in the operatic genre Their wait came to an end in June of 1945 . The first performance of a yo ung English composer 's opera was an unqualified success . The composer's name was Benjamin Britten , and the opera was Peter Grimes.

Edward Benjamin Britten was born November 22 , 1913 , on the East Coast of England in the Suffolk fishing town of Lowestoft , a few miles from the setting of Peter Grimes. Britten 's early compositional style was infused with elements from Frank Brid ge, his first composition teacher, and John Ireland , his professor at London 's Ro yal College of Music. After finishing his studies, Britten began to compose incidental music for plays and films. Commissions from the British Broadcastin g Company (BBC ) and other mus ical patrons followed, and b y the l ate 1930 's Benj amin Britten was considered one of Britain's most promlSlng young composers. Perhaps one of the most important events contributing to Britten 's d ev elopment as a composer occurred in 1934 , when he met the young En gli sh tenor Peter Pears The two went on to form a lifelon g professional and p ers on al partnership. When war with Germany seemed inevitable , the yo un g pacifist Englishmen followed poet W.H. Auden to Americ a in May 1939. Once in Americ a, Britten and Pe ars settled into an apartment with Auden and several other young intellectuals.

Copyright 2010, Michigan Opera Theatre

Britten was a reluctant candidate as an operatic composer. When still in his early twenties, contemporary masterpieces such as Alban Berg 's Wozzeck and Shostakovich 's Lady Macbeth 0/ Mtsensk had made powerful impressions on him.

Britten had success with film scores and incidental theater music , and success as a song writer; Les illuminations, On this Isla nd and the Michela ngelo Sonnets proceeded Britten 's first semi operatic composition, Pau l Bunyan. Most importantly perhaps , were Britten 's own feelings about the opera world. He loathed the nasty and spiteful sides of the opera world, so often fueled by the suspicion of an yt hing new or innovative The criticism of himself and Pears as conscientious objectors and open homose x uals pained Britten so much during the preparation of Peter Grimes that it is a wonde r he went on to compose fourteen more operas. For the composition of his first semi-operatic composition, Paul Bunyan, Britten teamed up wi th his friend and fellow emigre Auden. The premiere , which took place at New York 's Columbia University in May 1941, was largely a failure

With the disappointment of his first operatic experience, Britten and Pe ars went to the West Coast to stay wi th friends. Britten was becomin g increasingly uncomfortable in the United States , and lon ge d to be back in his n ative England It was during a sojourn in California that the subject for a new opera came to Britten.

Someone, possibl y Auden, se nt them a copy of the British periodical Th e Listener which re p rinted te xts of bro a dcasts from the BBe. This issu e included a piece by E.M. Forster on th e Suffolk poet George C rabbe and his narrative poem Th e Bo rough, written in 1810. The poem tells of characters who li ved in a fishing to wn in pre-Victorian England. Britten an d Pears became fascinated wi th the tale of Peter Grimes, a loc al fisherman who fatally abu se d his apprentices and was haunted b y their ghosts. Forster 's bri ef synopsis alon g with some of Crabbe's other passages were enough to convince Britten that P eter Grimes would b e th e subj ect of his n ex t op era

Although Britten had a bon afi d e s ubject for his new opera , the problem of financing and producing the work still remained . Good luck proved to be ju st around the corner In ea rl y 1942 , Serge Koussevitsky, conductor of the Bosto n Symphony Orchestra, performed an immensely successful concert series of Britten's Sin/o nia da R equiem . Koussevitsky, a ch ampion of contempor ary works , asked Britten about hi s upcomin g com positions . Britten told him about his ide a for Peter Grimes, and l amen ted that the composition process would b e wro u ght wi th financial difficulties. Koussevitsky immediately offered Britten a commission of $ 1,000 for th e project. In return Britten wo uld dedicate th e work to Koussevitsky's recen tl y dece ase d wife, and the wo rld premiere wo uld take place at Tanglewood.

Almost everything was in place Britten h ad learned invaluable lesso ns from his first operatic composition and had found a suitable su bj ec t and financial backin g. The only thing still lacking was a librettist. Britten, alon g with Pear s, d evised a scena rio for Peter Grimes which Britten passed on to a writer fr iend , C hri stoph er Isherwood, who he hop ed wo uld write the libretto Isherwood politely declined the ass ign ment, and Britten be gan

his search for a libr ett ist. For a time there was even talk of Pears wri ting th e libr e tto. Eventu ally, journalist Monta gu Slater was chosen Britten had composed some incidental music for Slater's Left Theatre plays in the 1930 's. Slater worked from ideas and sketches that Britten and Pears gave him , as we ll as Crabbe's poems , producin g a highl y th ea trical dr aft. Slater produced an effective libretto with vivid characters and abund ant dram atic tension. Eventually, Britten and Slater 's views on the opera could not b e consolidated. Initially, Britten thought the title role wo uld b e a baritone. Ho wever, he soon recognized that Grimes would mak e th e perfect vehicle for th e talents of hi s partner The final libretto was ad ap ted and refined b y Britten 's fri end , the po et Ronald Duncan , Britten, Pet er P ears, and the opera's first director (and future librettist to Britten) Eric Crozier. Britten began actual composition of the opera in J anu ary 1944. He had finished th e majorit y of the opera by th e a utumn of 1944 ; with only the final m ad scene remaining Britten wro te to a friend that he finished th e score on February 10 , 1945

Although the premi ere was scheduled to take place in Tanglewood, American entry into the war clos ed the festival. Koussevitzky grac iously allowed the fi rst production to take place on the other side of th e Atlantic . Peter Grimes debuted on June 7 , 194 5 at Sadler's Wells Theatre , which had been closed since the outbreak of war. Rehears al b egan during the last days of the war, while the compan y was still performin g on tour The singer cast in the role of Balstrode was un fa miliar with Britten 's musical st yle ; he preferre d mo re m ainstream Italian opera. A few weeks befor e the opening, he resigned from the proj ec t . A mere six days before op enin g, some senior members of the company lod ge d a formal protest against what they

considered an unworthy musical composition b y a composer and a performer and director who had not fou ght for their country. In fact , a catch phrase of the time was "If yo u wa nt a noise , Britten can make it. " In spite of the negative environment surrounding the opera , the first performance took place one month after VE day, and wa s a resounding success Pete r Grimes not only cemented Britten's reputation as a composer; it also opened the door for a resurgence of English opera. Since the time of Purcell , England's only real contribution to the operatic repertoire belonged to Gilbert & Sullivan

Peter Grimes proved that English opera was feasible and helped provide an opportunity for performances of operas by other British composers such as Michael Tippett and Ralph Vaughan Williams.

Within three yea rs of its premiere Peter Grimes was staged at Covent Garden and in man y Scandinavian and European countries. The first performance in the United States was given at Tanglewood in August 1946. It was a student performance conducted b y Leonard Bernstein and directed by Eric Crozier. Today, Peter Grimes is one of the most popular and most frequentl y performed twentiethcentury En glish operas .

Pe ter Pears c reates th e ro le of Pete r Grimes

Britten and Pears became fascinated with the tale of Peter Grimes.

oeter grime rtist Profiles

JEFFREY BLACK (Balstrode)

Michigan Opera Theatre is proud to prese nt the following artists

Th e Bri sb an e-bo rn baritone began his career in 1984 wh en, at th e age of 21 , he join ed th e Australian Opera as a principal artist. He made his European debut in 1986 and his British debut at the Glyndebourne Festival th e same yea r. He has since sun g all over the wo rl d including his 1995 Meu-opolitan Opera debut in Th e Barber 0/ Seville Bla ck h as sung with th e opera companies of San Francisco , C hicago, Los Angeles, San Diego, Washington , D etroit (Eugene On egin , 1999 ), Geneva Opera, Bayerische Staatsoper and New Israeli Opera.

SHERI GREENAWALD

(Ell en Orford) The West Virginia native's eclectic career includes performances ofJenny Smith in Rise and Fall in the City 0/ Mahagonny at the Metropolitan Opera, a wo rld premiere of Florencia en el A mazonas for Houston Grand Opera , A Little Night Music alo ngside Frederi ca vo n Staade and Evelyn Lear in Houston, G lu ck 's Or/eo for Seattle Opera , and The Ghosts 0/ Versailles and Th e Gambler at Lyric Opera of Chicago. She h as sung many roles for The Santa Fe Opera , including the Countess in Capriccio and Christine in Int ermezzo. This is Ms Greenawald's Michigan Opera Th eatre debut.

SUZANNE MALlARE ACTON

(Cho rus Master) Suzanne Acton has received wide critical acclaim for her work as Conduc tor and Chorus Master for Michigan Opera Theatre

In 1986, she debuted as Conductor of the MOT mainstage production of West Side Story. Additional MOT mainstage credits include The Barber of Seville, Th e Daugh ter 0/ the Regiment, Music Man , Pirates o/Penzance, an d The MIkado. In addition to her wor k at MOT, Ms. Acton has worked for the Opera Theatre of St. Louis , San Diego Opera , Dayton Opera , and Opera Pacific. She served on th e music faculty at Flori d a State University and Oakland University. In 1996 , sh e was appointed Music Director of Rackham Symphony C h oir, metroDetroit 's longest established choral ensemble

MARK BAKER

(Peter Grimes) A veteran of over 20 productions at The Metropolitan Opera sin ce his debut in 1986 , Oklahoma-born tenor Mark Baker also appears regularly with the Lyric Opera of Chi cago , San Francisco Opera, Santa Fe Opera and the Dall as Opera in such leading roles as Don Jose in Carm en, Siegmund in Die Walkure, Florestan in FIdelia and the title role in Samson and Delilah. He has ap peared throughout Europe and South America Baker performed in the world premiere of the Metropolitan Opera's The Great Gatsby in Decemb er 1999.

WOODROW BYNUM

(Ne d Keene) Arkansasnative Woodrow Bynum received much of hi s musical training in Michigan-First studying at In terlochen Arts Academy, then a t the University of Michigan. Just 23, th e baritone's repertoire includes Th e Elixir 0/ Love, Gianni Schiccln; A Midsummer Night's Dream, The Gondoliers and La Boh eme. The Michigan Opera Th eatre Young Artist Apprentice has appeared with Ohio Light Opera and tl1e Illinois Symphony. Hi s last Michigan Opera Theatre appearances were in th e May production of Tos ca and in th e 1999 productions Th e Barber 0/ Seville an d Werther

CANDACE DELATIRE

(Mrs. Sedley) Mezzocontralto Ca nd ace de Lattre teaches vo ic e and opera works hop for Marygrove College in Detroit. She is the first American vocal exrunin er for the Ro yal Conservatory of Music in Toronto. After postgraduate stu dies in New York , Toronto, and Austria she wo n the Metropolitan Opera Awards in Cleveland an d Portland. D eL attre h as p erfo rmed with Michigan Opera Theatre (most recently Eug ene On eg in, 1999) , Seattle Opera , Arizona Opera, Dayton Opera, and Chamber Opera of C hicago.

Copyright 2010, Michigan Opera Theatre

STEVEN HENRIKSON

(Hobson) The Bassbaritone was last seen on the Opera House stage as the Bailiff in Werther. He also appeared as Grandpa Moss in MOT's Community Programs production of The Tenderland. Henrikson 's repertoire includes th e roles of Bartolo, Don Pasquale , Falstaff and F igaro, which he h as sung at the Canadian Opera Company, Vancouver Opera, Manitoba Op era, and com panies throughout Europe. At the Bayreuth Festival h e created Friedrich in Wagner's Das Liebesverbot Other appearances include the D etroit Symp hony, and Meadowbrook Summer Festival.

DOUG JONES

(Bob Bo les) The American tenor began his career in Europe studying and making his debut in Vienna. Roles quickly followed , taking him to Austria and Swi tzerland. Jones b ecame an e nsemble member of the Oper Frankfurt and performed wi th Bregenz SUD1ffier Festival and Salzburg Summer Festival. He came back to the U S. , for a debut w ith Los Angeles Opera and a return to Seattle Opera. Upcoming engagements include Falstaff with San Francisco Opera, La Belle Helene at th e Salzburg Festival , Die Fra u ohne Schatten for the Gran Teatre del Liceu in Barcelona , and hi s debut in Amsterdam.

JOH N MAC MASTER

(Peter Grimes) Canadian tenor John Mac Master focuses on the lyric spinto repertoire He debuted at the Frankfurt and Stuttgart operas as Herodes in Salome, a role he went on to sing for San Francisco Opera. With San Francisco , Mac Master also sang Aegisth in Elektra D u ring the 1999-2000 season he debuts at the Vienna Volksoper in Norma, Boris Godunov , and Die Vogel. A recent debut took place in Innsbruck as the beast in Langaard's Antichrist. Roles in his expanding repertoire includ e Don Jose , Arnold , Florestan , Rudolph (Guillaum e Tel{), Max (D er Freischutz) and Turiddu with companies such as San Francisco Opera , Seattle Opera and Canadian Opera.

JOHN MA UCERI

(Conduct or) His career has taken him to opera companies , symphony orchestras , music theater, filin , television and includes an extensive discograph y. He is Principal Conductor of the Hollywood Bowl Orchestra , which was created for him in 1991. Mauceri has conducted more than 150 co ncerts at the Bowl for over 2.6 million people MOT credits include Th e Fly ing Dutchman and Manon Lescaut. He was Music Director of the Scottish Opera for seven years and Music Director of th e Washington Opera at the Kennedy Center and the American Symphony Orchestra at Carnegie HaIl. Ma uceri was recently named Music Director of Pittsburgh Opera.

KATHLEEN SEGA R (A untie ) D etroit a udiences will remember Mezzo soprano Kathlee n Segar as Michigan Opera Theatre 's Amneris in Aida and as Smeton to Joan Sutherland's Anna Bolena. She recently performed Siegrune in Die Walkure at the Metropolitan Opera. After m aking her Washington Opera debut in The Tal es 0/ Holfman n sh e returned for La Cenere ntola, A riadne au/ Naxos, The Marriag e 0/ Figaro, and most recently, Der Rosenkavalier, Rigoletto and Susannah. Ms Segar has performed in Eugene Onegin and Cavalleria rusticana in Philadelphia and in Cavalleria rusticana at Opera P acific She performs frequently with the Detroit Symphony, most recently in Mendelssohn 's Midsummer Night's Drea m.

CHRI STINE SOL G ERBINDER

(L igh ting Designer ) Principal assistant lighting des igner for the Lyric Opera of Chicago since 1989 , the illinois native d es igned the Lyric Opera Center's 1997 premiere Two Worlds (The Dybbuk) MOT audiences will remember her from last season's Eugene Onegin and the beau· tiful 1996 production of La Traviata Recently sbe designed The Idzot (world premiere) at Lookingglass; Gross Indecency at Court Thea t re; Beyond th e Horizon at Loyola University; and Lucia di Lammermoor at Tulsa Opera. She is currently resident lighting designer for Chicago 's Reclmoon and Drury Lan e theaters. Recent projects include Redmoon 's Frankenstein and The Ballad 0/ Frankie and Jo hnny, which won Jefferson Award citations

CA RL TOM S

(Set Designer) Carl Toms bas long been associated witb every important opera and tbeater company in London, including Covent Garden, the National Theatre, and the Royal Sbakespeare Company His work has been integral to the success of pro· ductions throughout Britain, from the A1denburgh Festival's world premiere of Britten's A Midsum mer Night's Dream (1960) to th e West End production of Wilde's A n Ideal Husband (1992) Toms ' designs have been see n in Zurich, Copenhagen, Vienna State Op era and the San Francisco, New York City, and San D iego Opera companies. Toms was design consultant at Prince Charles investiture as Prince of Wales, and was d ecora ted with the order of til e British Empire in tile Investiture Honors

BERN ARD UlAN (Director) Tbe General and Artistic Director of L'Opera de Montreal is a native of France. Prior to his engagement in Montreal, he served as General and Artistic Director of the Tulsa Opera. Uzan began his theater career as an actor and di rector. His productions have graced th e stages of F lor ida Grand Opera , San Diego Opera , Seat tle Opera and San Francisco as well as Vancouver and Toronto. In Europe , he bas directed productions in Switzerland for the Zurich Opera; in Monaco for Opera de Monte Carlo ; in Italy for the Teatro Massimo Palermo , Teatro Massimo Bellini in Catania , and Pisa; and in France for Opera de Lyon , Marseilles Opera , and tbe Toulouse Opera

LAWRENCE STOT SBERY (Reverend Adams)

Lawrence StotsbelY received his Bacb elor of Music degree from the University of Redlands in southern California and his Master of Music degree from Converse College in South Carolina. He was recently ch osen to represent the City of Detroit in a cultural exchange with Palenno, Sicily. H e has performed in roles such as: Cascada in Th e Merry Wzdow and Detlef in The Student Pnnce with the Spananburg Repenory Company; Kaspar in A mab! and the Night Visitors , Ferrando in Cost /an ttltte and Nankipoo in The Mzkado. At the Brevard Music Center he performed the role of Hysterium in A Funny Th zng Happ ened on the Way to th e Forum and at D orian Opera , The Merry Wives 0/ Windsor.

OrC he s t r a

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The Am erican Guild of Musical Artists is the official union of the Michigan Opera Theatre vocal performers.

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Mrs. John e. Griffin

Charles and Elaine Gunderson

Mrs. Alice Berberian

Haidostian

Mr. David Hall

Mr. Lawrence W. Hall

Mr. David Handleman

Mary and Preston Happel

Mr Morton E. Harris

Mr. & Mrs. Bernard Hartman

Donna and Eugene Hartwig

Frank and Nancy Hoag

Derek and Karen Hodgson

NEW CENTURY CONTRIBUTORS

Mr. and Mrs. Martin Inglis

Collette and Darnell Jackson

Don Jensen / Marge Slezak

Ms. Rosemary Joliat

David G. Judge and Laura A. Tchorzynski

The Kater Foun dation

KDS International

Dr. and Mrs. Charles Kessler

Dr. & Mrs Young M. Kim

Mr. Arthur H. Kirsh

Mr. and Mrs Harvey Kline

Barbara and Michael Kratchman

Dr. Richard and Victoria Kulis

Mr. Raymond A. Lehtinen

Dr. and Mrs. Alden M. Leib

Christine and Elmore Leonard

Bruno and Mollie Leonelli

Rita and Lance Leonelli

Dr. and Mrs. John M. Lesesne

Mr and Mrs. Charles E. Letts,]r

Mrs. Dorothy Lewis

Jodi and Ivan Ludington, J r.

J effrey N. Lutz and Marie e. Nowosielski, MD.

Benard L. Maas Foundation

Mrs. Ruth MacRae

Mr Donald W. Maine

Vasilj and Denise Markovich

Mrs. Mary e. Mazure

Mr. and Mrs. Geo rge D. Milidrag

Mr. Frank E. Miller

Rita and Morkus Mitrius

Mr. and Mrs. Theodore MOl)olidis

Mr and Mrs. Charles R. Moon

Mr. Ronald K. Morrison

Mrs Joan M. Mossner

A. Sand y Munro

Sandra and Jeanne Naysmith

Patricia & Henry Nickol

Mr. and Mrs. Harry Nosanchuk

Dorothy 1. and George W. Nouhan

Mr. David Nowakowski and Mr. Martin Lappe

Graham A. & Sally Orley

Penna Family

Dr. Robert L. Perkins/ Nancy Wilson

Mrs. David Pollack/Mrs .

Marilyn Robinson / Mrs. Linda Schafer

PricewaterhouseCoopers LLP

Mr. Richard Raisin

Mr Anthony Rea

Darrel and Dawn Reece

Drs. Robert and Patricia Reed

Randall Reher, M.D

Mr. and Mrs. John B. Renick

Mr. and Mrs. Lloyd Reuss

Suzanne and Robert L. Rewey

Glenn RitcheyIHallRitchey Management Co.

Concetta & Gerald Ross

Martin and Constance Ross / Mervyn and Leslie Sternberg

Enrico and Denise Roselli

Mr. Thomas FRost

Mr. Anthony Rugiero

Dr. Hershel and Lois Sandberg

Mr. and Mrs . Lee e. Saperstein

Mr. and Mrs. Mark Schmidt

Mr. Laurence S Sch ult z

Mark & Sally Schwartz

Benjamin Schwegman and Judith Tappero-Schwegman

Mr. and Mrs. Donald E. Schwendemann

September Moon

Produ ction Network , Inc.

Dr. Br adley G. Sewick and Laurie A. Sall

Arlene & Frank Shaler

Mr Michael R. Shaw

Ms. Elham Jabiru-Shayota and Ms. Nedda N. Shayota

Sandy and Michael Short, M D.

Dr Sheldon and Sydelle Sonkin

Ms. Ann Markley Spivak

Ms. Mary Anne Stella

Mrs. Mark e. Stevens

Mr. and Mrs. Bob Stevenson

Strategic Staffing Solutions

Christine and George Strurnbos

Joel and Shelley Tauber

Thomas and Tracey Thompson

Michael and Nancy Tirnrnis

Dr Roberta Toll and Mr. Sheldon Toll

Lynn A. and Ruth L. Townsend

Ms. Violette Tuck

Ms. George e. Turek

Universal Forest Products , Inc.

Mr. and Mrs. Melvin e.

VanderBrug

Mr. and Mrs. Art VanElslander

Dr. and Mrs. Leonard F VanRaaphorst

Joseph and Rosalie Vicari

Victory ReSteel Inc.

John andJo Vincenti

Sue and Bill Vititoe

Mr. and Mrs. John Vrana

Mr. and Mrs. Richard e. Ward

Mr. and Mrs. Alvin

Wasserman

Mr. and Mrs. Gary L.

Wasserman

Mr. and Mrs. Richard e. Webb

Keith and Christine Weber

Mr. J. Ernest Wilde

Mr. and Mrs. William

Widmeyer

Mrs Beryl Winkelman

Mr and Mrs. Lawrence A.

Wisne

Mrs. Barbara Wrigley

'

Does your voice ever fail you?

Is your voice important to you?

"Do, re, mi , fa , so , la , ti, do .. . "

"In today's news "

"I ca ll ed this meeting because " "Your Honor "

"Open your books .to page ... "

if so, co nsider avisit to the University of Michigan Vocal Health Center.

We ca n diagnose and treat your voice problem, as well as hel pyo uenhance and protect yo ur voca l potential. Profes sional staff include a la ryngo log ist, Speech Pathologist, and Voice Tra ining Specialist.

For more information or to sc hedule an ca ll the Vo cal Health Center at 1734) 432·7666.

The Ce nter is lo ca ted in livonia, Michigan.

www.med.u mich .edu/oto/ vocalhealthcenter

Dr. & Mrs. Clyde Wu

Mr. Todd A. Wyett

Ms. ShaioFong Yin-Tuinman

Ms. Gayle M. Zech

Mrs. Helen Zuckerman

\lolun

Our Volunteers are the "Heart of Michigan Opera Theatre"

It h as been said th at opera is th e ultim ate theatrical experie nc e because it encompasses so many elements on one stage : vocal an d orchestra l music , drama , dance , costumes, sets and lighting . The achievement of this multiplicit y requires man y voices an d many willin g hands The talented, giving hand s of our Ushers , Ambassadors, Office and Boutique workers , D ance Council, Yo un g

MICHIGAN OPE RA THEATRE EXECUTIVE CHAIRMEN COMMITTEE OF STANDING

Betty Brooks COMMITTEES

Pres ident

Roberta Sta rkw eat her

Lind a Watters Adagi o

Treasurer

H e len Mi ll en

Arda Barenho ltz Ambassadors

Secretary

H el en Arno ldi-Row e

G lor i a Clark D i vas

Past President

Dod ie D av id DOH Dance Counei l Vi c ki Barn ett MOT Movers

Professionals, Movers, Supers, Education & Ou treach and Opera Lea gue vo l unteers h ave a significant impact on the overall opera ti on of the Company. Come join u s! T he tim e yo u invest will be small wh en compared to the amount we can accomplis h to ge ther. Our volunt eers are the "Heart of Michigan Opera Theatre ."

Bett y Brooks , President

VOLUNTEER ASSOCIATION

W all ace Peace

Ph il Hu ghes

Edu cat ion & Outreach Vo luntee r Voice

Ri c hard Hill Lisa DiChiera

Edu ca tion & O u t reach Young Professiona ls Corinne Op iteck Natasha Kos ivzof

Opera H ouse Ushers Youn g Profess ionals

Steph anie Germack

Opera League of D etro i t MEMBERS-AT-LARGE

j ea nette Paw laczy k j ames Greeley

Office Vo lu nteers Ca rolin e Add i son Peace

D av id Odenbac h Don j ens en Supers Club

Q u ee ni e Sark isian

19171 CARDONI • DETROIT, MICHIGAN 48203

Member (313) 366-7930

892

LET'S MAKE A W1Sl-J

Let's make love in Milan Let's bar hop in Barcelona. Let's ride camels in Cairo. Whatever your travel wishes, Alitalia can fly you to more than 125 destinations around the world in unique ltalian style. Our Magnifica Class features fine wine and dining, and service from a people who instinctively know how to live well. Everything you'd expect from premium class but at a business class price. And only Alitalia offers Magnifica Class passengers a free cell phone rental with worldwide access. For information and reservations call your travel agent or 800-223-5730. Experience the world Alitalia's way. Let's fly.

LEARNING @ THE OPERA HOUSE 2000 (L'2K) GEARS UP FOR ITS 4TH SUMMER

As you and your family plan summer activities, be cert ain to visit the Detroit Opera House The Department of Comm unit y Pro gra ms presents our cultural enrichment series, Learning @ The Opera House.

This summ er we will offer something new in the areas of: creative and performing arts, history, ar chitecture, jaz z, writing, and poetry. For a copy of the new L'2K catalog : call 313 -237-3270 or e- mail yo ur name and address to GMoy@motope ra'.org.

We'll be featuring man y favorite classes ' such as The Plaster Workshop with Detroit Opera House plaster restorationist, Chris Richardson ; Peace On Opera with Dr. Wall ace Peace For young people: Musical Theatre Workshop ; Karen DiChiera's Create Opera! ; Vocal W isdom with E l izabeth Parcells; and Architectural Scavenger Hunts in the Detroit Oper a House with Michael Hauser

Some new programming to look fo r: Opera Camp for yo un g peop le will feature voca l and performance trainin g, intensives , clinics, workshops, and a recital performance. Taught in partnership wit h Marygrove College over a 13 -da y period, students will have the option of livin g in campus dorms.

Learning @The Opera House

When th e "A rthur Show" was at th e Detroit Opera Hou se, MOT's Community Programs Departm e nt brou g ht children's TV s ta r, Arthur th e Aardvark to MOT's partner schools: Edmonson Elem e ntar y and Poe School for the Deve lopm e ntally Disabled. (right). '

Students build th e ir own opera hou se (b e low ).

Teachers' In -Service Day is a workshop to aid teachers in lesson p lanning that includes programs from arts organizations and educational institutions This workshop is being p l anned in co ll aborat ion wi th th e Cultural Coalition for Education, a group of 14 local arts and cultural organizations that provide pro grams for students and teachers.

Poels @ The Opera House returns.

M.L. Li e bler of the Metropolitan Detroit YMCA writers' forum, The Writer 's Voice, will feature free Monday ni g ht Po e try Readin g! Music P erformances in the bistro-

Copyright 2010, Michigan Opera Theatre

like set tin g of the DOH 's Madison Lounge. Also offered is a new poetry workshop t aught by Ann Holaretih. The Fiction Workshop will al so return.

Artists @ T h e Opera House premieres this summer. Local artists will present their work and discuss inspirations, techniques , and their medium. Keep your Saturdays open for this exciting series.

MICHIGAN OPERA THEATRE'S YOUNG ARTIST APPRENTICE PROGRAM

Michigan Opera Theatre 's Young Artist Apprentice Program is now in its 19th year of training aspiring young vocal artists and production apprentices for the rigors of the professional theatre world. This year, talented yo ung singers recruited from across the country take up residence with Michigan Op era Theatre. Apprentice's take part in multiple-week sessions of masterclasses with the conductors, directors and singers from current productions. They also receive private coachings with MOT's professional music staff, preparing their assigned comprimario roles for the season's productions. Rehearsals and performances assist them in making the transition from student to professional

Since its inception , Michigan Opera Theatre has been committed to the development of yo ung American talent , and regards with

COMMUNITY CENTER LECTURES AND REVUES

pride , those who ha ve gone on to establish careers in the field. Man y singers as well as several company production and artistic staff h ave returned to MOT in full professional capacities after apprenticeships with the compan y. The impressive list of no wprominent artists who made their debuts or had early starts with MOT includes: 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 313-961-3500.

Michigan Opera Theatre's Young

Artist 's Apprentice Program is sponsored in part by an endo wment from the Joyce H. Cohn Apprentice Award Fund.

Michigan Op era Theatre invites yo u to participate in sponsoring an artist apprentice. Sponsors provide opportunities for a n ew generation of promising yo ung singers. To sponsor a young artist , please call MOT at 313-237-3438.

MOT artist apprentices for th e 1999-2000 season include: Woodrow Bynum , Jennifer Larson , Patrick Marques and Lawrence Stotsbery. Woodrow Bynum is the recipient of this year's Joyce H. Cohn Apprentice Award.

LEe I URES DR

Community Programs offers lectures and performances at community centers , churches , libraries , and senior living centers. Your group can learn about musical theater, opera, and classical music. E xpert speakers can discuss specific composers or works , or the history of a genre

SHARE THE VISIT

The Department of Community Programs tours and performs throughout the state of Michigan , th e Midwest , and some parts of Ontario , Canada. Neighboring communities who book tours together can reap substantial savings. If you've booked a visit throu gh Community Programs, don't forget to mention it to your sister communities; "s haring the visit " saves money.

Please call Delores Tobis at (313-237 -3429) for details.

Copyright 2010, Michigan Opera Theatre

MOT Young Artists include (from left) Woodrow Bynum, Patrick Marques and Lawrence Stotsbery

m iChigan ope r a theatre

Michi ga n Ope r a Th ea tre g ratefull y ackn owle dges th e gen ero u s corp o rat e, found ation , government and individual donors wh ose contribution s were made between July 1, 1998 and Jun e 30, 1999. Th eir gen e ro sit y pl ays an integ ral p ar t in th e Company's fina n cial st ability, n e ces sa r y for producin g qu ality grand opera , musical th ea tre and cl as sical balle t. In additi o n to enj oying out st andin g ent e rt ainm ent on sta ge, M OT cont ributors are offered a numb er of opportunities w hi ch all ow them to ob serve th e many ph ases of o p e ra and d anc e production , m ee t th e artists, an d ex peri enc e o ther " b ehind th e scen es" activi ti es.

CORPORATE CONTRIBUTIONS

GRAND BENEFACTOR

$200, 000 +

Ford Motor Company Fund

1998 Fall Season Sponsor

1998 Of era Ball Sponsor

Genera Operating Support

General Motors Foundation

1999 Spring Season Sponsor

Mada me Butterfly Opening Night Festivities

General Opera ting Support

SIGNAL BENEFACTOR

$50,000 to $199,000

DaimlerChrysler Corporation

1998/ 99 Dance Series Sponsor

Hudson's Madam e Butterfly

Co·Production Sponsor

MAJOR BENEFACTOR

$25,000 to $49 , 000

Ameritech

Turandol Opening Night Sponsor

BENEFACTOR

$15,000 TO $24, 999

ANR Pipeline Co.

Madam e Butterfly

Performance Sponsor

Bank One

Mada me Butterfly

Performance Sponsor

Comerica Incorporated

Samson & Delilah

Performance Sponsor

Consumers Energy Foundation

Community Programs Touring Sponsor

Detroit Edison Foundation

Samson & Delilah

Performance Sponsor

Kmart Corporation

Stu dent Matinees Sponsor

Lear Corporation

Eug ene Onegin

Performance Sponsor

Michigan National Corp.

Madam e Butterfly

Performance Sponsor

FELLOW

$10, 000 TO $14,999

Northern Trust Bank

Eugene Onegin

Opening Night Spon sor

SUSTAINER $5,000 TO $9 , 999

Thyssen Inc., N.A.

PATRON

$2 , 500 TO $4 , 999

Deloitte & To uche LLP

Ea ton Corporation

Michigan Consolidated Gas Co.

DONOR

$1 , 000 TO $2 , 499

AAA Michigan

Alcoa Founaation

Kenwal Steel Corp.

Mattar Financial Corporation

Meri tor Automotive, In c.

PHlCOGroup

Real Estate On e Inc.

Royal & Sun Alliance Financial Services

Textron Automotive Company

The Quaker Chemical Foundation

CONTRIBUTOR

$ 5 00 to $999

American Axl e & Manufacturing , Inc

Arvin North American Automotive

BridgestonelFirestone Trust Fund

CSX Transportation

IATSE Local 38

PPG In dustries Foundation

The Budd Company

The W W Group , Inc.

SUPPORTER

$100 TO $4 99

Albert Kahn Associates , Inc

Aldoa Company

B & W Cartage Company

Bay Colony Equity Partners , Inc.

Bolton & Compan y

CBS Television Netwo rk

Dea rborn Federal Savings Bank

Detro it Heading Company Inc.

F.D. Stella Products Company

G reat Lakes Restorative Care

John E. Green Company

Maddin, Hause r, Wartell , Roth etal.

Meijer, Inc.

Mimco Inc

Moto r City Electric Co.

Mu Ph i Eps il on Detroit Alumni Chapter

NTH Consultants , Ltd.

Passageways Carslon Wagonlit Travel

Plastomer Corporation

Schreibe r Co rporation

Selwa Corporation , Inc.

Sure Fit Metal Products

The Birmingham Musicale

The Kroger Company of Michigan

The Tuesday Musicale

Veenstra In surance Agency

Willis Corroon Corporation of Michigan

FOUNDATION AND GOVERNMENT SUPPORT

Michigan Council for Arts and Cult ural Affairs

SIGNAL BENEFACTOR

$ 100, 000 and above

McG regor Fund

The Skillman Foundation

MAJOR BENEFACTOR

$ 15 , 000 - $99 , 999

Matilda R. Wilson Fund

BENEFACTOR

$15,000 - $24 , 999

Ja mes and Lynelle Holden Founda tion

Hudson Webber Fo undation

Joh n S. and James 1. Knigh t Foundation

David M. Whitney Fund

FELLOW

$10,000 - $14,999

Oliver Dewey Marcks Foundation

Sam uel 1. Westerman Fo undatio n

SUSTAINER

$5,000 - $9 , 999

DeRoy Testamentary Fo undation

Ea rl ·Beth Foundation

Ann an d Gordon Getty Foundation

Alice Kales Hartwick Foundation

Ralph 1. and Winifred E. Polk Foundation

The Mary Thompson Foundation

XL Color, Inc.

PATRON

$ 2, 500 - $4, 999

Japan Bus iness Society of Detroit Foundation

The Kare n and Drew Peslar Foundation

DONOR To $2,499

Drusilla Farwell Foundation

Clarence an d Jack Himmel Foundat ion

Kalamazoo Foundation

The Sigm und and Soph ie Ro hlik Foundation

Vill age Wo man's Club Foundation

World Heritage Fo undation

Young Woman's Home Association of Detroit

GENERAL

DIRECTOR'S CIRCLE

IMPRESARIO

$10,000+

Mr. & Mrs. Robert A. AIIesee

Mr. & Mrs.]. Addison Bartush

Mr. & Mrs. Lee Barthel

Mr. & Mrs. Roy E. Calcagno

Mr. & Mrs. Robert E. Dewar

Herman & Barbara Frankel

Mr. & Mrs. Irving Rose

BENEFACTOR $5,000 - $9 , 999

Dr. & Mrs. Agustin Arbulu

Mr Thomas Cohn

Dr. Marjorie M. Fisher

Meyer & Anna Prentis Family Foundation

Trustees: Barbara P. Frenkel, Marvin A. Frenkel , Dale P. Frenkel, Ronald P. Fren kel, Denise 1. Brown , Cindy Frenkel Kanter, Nelson P. Lande

Dr. & Mrs. Thomas Gianca rlo

Mr. & Mrs. Richard Helppie

Mrs. Roger W. H ull

Mr. & Mrs. Verne G. Istock

Mr. & Mrs. Ric hard Janes

Mr. Don Jensen

J oyce Ur5a & David Kinsella

Mr. & Mrs. Arthur C. Liebler

Mrs. Carolyn 1. Ross

Ms. Susan Schooner

Alan E & Marianne Schwa rt z

Mr. & Mrs. William H. Smith

Mr. Ric hard A. Sonenklar

Nadele & Henry Spiro MD

Professor Calvin Stevens

Mr. & Mrs Lynn A. Townsen d

Mr. & Mrs. George C. Vincent

Dr. & Mrs. Sam B Williams

SUSTAINER

$2 , 500 - $4 , 999

Mr. & Mrs. Terence Adderley

Mr. & Mrs. Douglas Allison

Dr Lou rdes V. Andaya

Mr. and Mrs. Thomas An derson

Mr. & Mrs. Raymond G. Antos

Mrs. Donald J Atwood

Dr & Mrs. Donald C. Austin

Han. & Mrs. Edward Avadenka

Mr & Mrs. Douglas Balint

Mr. & Mrs. Mark Alan Baun

Mr. & Mrs. W Victor Benjamin

Mr. & Mrs. Mandell 1. Berman

Mrs. Loris G. Birn krant

Mr. Cha rles A. Bishop

Mr. & Mrs. G. Peter Blom

Mrs. Margaret Borden

Mr. & Mrs. Be rn ard T. Brodsky

Mr. & Mrs. Alfred Cheeseborough

Hon. & Mrs. Avern Cohn

J ulia Do novan Darlow & John O'Meara

Dr. David DiChiera

Mr & Mrs Cameron Duncan

Dr. & Mrs. Charl es H. Duncan

Mrs. Charl es M. Endicott

Mr Step hen Ewin g

Mr Robert Farrish

Mr. & Mrs. IJoyd Fell

Mr. & Mrs. Max Fisher

Mr. & Mrs. Samuel Frankel

Mr. & Mrs. Andy Giancam illi

Mrs. John C. Griffin

Pres & Mary Happel

Mr. & Mrs. Eugene Hartwig

Mr. & Mrs. David B.

Hermelin

Mr. & Mrs. Frank Hoag

Mr. & Mrs. Anthony Hopp

Mr. & Mrs. Stephen D. Kas le

Dr. & Mrs. Charles Kessler

Mr. & Mrs. Thoma s G. Kirby

Mr. & Mrs. Robert Kl ein

Mr. & Mrs. Harvey Kline

Mr. & Mrs. Gerald Kn echtel

Dr. & Mrs. Richard W. Kulis

Mr. & Mrs Paul Lavins

Mr. Raymond Lehtin en

Dr. & Mrs. Melvin Lester

Mr. & Mrs. Harry A. Lomason

Dr. & Mrs. Henry W. Maicki

Mr. & Mrs William

McCormick

Mr. Edwin Lee Morrell

Mrs. Ruth Mott

Mr. & Mrs. E. Michael

Mutchl er

Mr. Charles Nave

Mr. & Mrs Marco Nobili

Dr. & Mrs Moon.J. Pak

Mr. Charles Parcells Pickl , J r.

Mrs. David Pollack

Dr & Mrs. John Roberts

Mr. Wayne.J. Ruch gy

Hon. Joan E. Young & Mr. Thomas 1. Schellenberg

Dr Rob ert F Schirmer

Dr. & Mrs. Karl Schroeder

Mr & Mrs. Donald E.

Schwendemann

Mr. & Mrs. Frank C. Shaler

-Mr & Mrs. Erwin S. Simon

Mrs. Rose mary Sk upny

Mr. & Mrs. S. Kinnie,Smith, Jr.

Dr & Mrs. Robert J. Sokol

Dr. & Mrs. Sheldon Sonkin

Dr & Mrs. Gerald H. Stollman

Mr. & Mrs. George Strumbos

Dr & Mrs. L. Murray Thomas

Mrs. Richard Van Du se n

Mr. & Mrs. Gary 1. Wasserman

Mr. & Mrs. Kenneth Way

Mr. & Mrs. Richard C. Webb

Dr. Marilyn L. Williamson

Mrs. Beryl Winkelman

Walter P. & Elizabeth B. Work

DONOR

$ 1,500 - $2,499

Mr. & Mrs. Eugene Applebaum

Mr. & Mrs. Harold Arnoldi

Dr. Haro ld Mitchell Arrington

Dr. & Mrs ln gida Asfaw

Mrs. Annette Balian

Mrs. Irene M. Barbour

Drs. John & Marilyn Belamaric

Mr. & Mrs. Ara Berb erian

Mrs. Margareta Berker

Dr. & Mrs. John G. Bielawski

Mr. & Mrs. Maurice Bink ow

Dr. & Mrs. David Bloo m

Mr. & Mrs. Gerald Bri ght

Mr. & Mrs. William Brook s

Patricia Hill Burnett & Robert Siler

Dr. & Mrs. Joseph 1. Cahalan

Mr. & Mrs George Callas

Drs. John & Margaret Casey

Dr & Mrs. Maurice Castle

Mrs. Claren ce G. Catall o

Mr. Harry Cendrowski

Dr. & Mrs. Victor J. Cervenak

Mr. David Chi vas

Mr. & Mrs. Leonard Ciokajlo

Mr. & Mrs. Frederick H. Clark

Ms Virginia Clementi

Mr. & Mrs. Da vid Cohn

Mrs. Adelina C. Colby

Ms. Vivian Cole

Mr. & Mrs. Michael J.

Connoll y

Dr Mary Carol Conroy

Mrs. Ellen R. Coo per

Shell y & Peter Cooper

Mrs. Mary Rita Cuddohy & Mrs. Evel yn Sntith

Dr. & Mrs. Vi ctor Curatolo

Mr. & Mrs. Tarik Daoud

Mr. & Mrs. Jerry D'Ava nz o

Mr. & Mrs. Lawrence N. Da vid

Mr. & Mrs. William]. Davis

Mrs. Adelin e ]. DeBias i

Mr.John Dee

Mr. Jeffrey Dell

Mr. David Denn

Ted & Bonni e Dickens

Mr. David Dise nd

Virginia Dodsworth

Ms. Mary Jan e Doerr

Drs. Paula & Michael Duffy

Mr Don F Du ggan

Lad y Jan e Easton

Mr. & Mrs. Joh n R. Edman

William & Barbara Eversman

Mr. & Mrs. Pau l E. Ewing

Dr. Haifa Fakhouri

Mr. & Mrs. Oscar Feldman

Adr ienne & Robert Z.

Feldstein

Mr. & Mrs. Alfred J. Fisher, Jr

Mr. & Mrs. Herbert Fish er

Mrs. Elaine Fontana

Mrs. Rem a Frankel

Mr. & Mrs. Lar ry Garberding

Mrs. Stephanie Germack

Mrs. Aaron H. Gershenson

Mr. & Mrs. Keith E. Gifford

Mr. Allan Gilmour

Mr. & Mrs Charles Gunderson

Mr. & Mrs. Stephen

Ha go pian

Mrs. Alice Berberian

Haidostian

Dr. & Mrs. J oel 1. Hamburger

Ms Mary C. Harms

Mr. & Mrs. Kenn eth E. Hart

Dr & Mrs. J ack H. Hertz ler

Miss Mary A. Hester

Mr. & Mrs. David Hill

Mr. Robert Ho ll and

Ms. Mary Ann Holl ars

Mr. & Mrs. Gary J ohnso n

Miss H. Barbara Johnston

Mrs. William Jo hnston

Mr. & Mrs. Sterling C. Jon es, Jr

Mr. & Mrs. Maxwell Jospe y

Mr. & Mrs. John Kaplan

Dr & Mrs. Sherman Ka y

Mr. & Mrs. Donald Keim

Mrs. Joyce Ann Kelley

Mr. & Mrs. Steve Kes ler

Mr. & Mrs. Eugene Kl ein

Mr. & Mrs. Lorin g Knob lauch

Mr. & Mrs. Donald Knapp

Reverend Ralph Kowalski

Dr. & Mrs. Al fred M.

Kreindler

.\1r. & Mrs. William Ku

"11'. & Mrs. Angelo Lanni

Martin Lappe & David Nowakowski

Dr. & Mrs. Stanley Levy

Dr. Frank R. Lewi s

Dr. & Mrs. Kim K. Lie

Dr. & Mrs. Robert Li sak

Mrs. Florence Lopatin

Loui se

Mr. & Mrs. Alphon se S.

Lucarelli

Dr Charles E. Lucas

Hon. Jack Martin & Dr. Bett ye Ar rin gton. Martin

Mr. & Mrs. Jerry Martin

Mr. & Mrs. Richard McBri en

Mrs. Wade H. McCree, Jr.

Mr & Mrs Stanl ey C.

McDonald

Mr & Mrs. Angus McMillan

Ms. Virginia Miksell

Mr. & Mrs Eugene Miller

Drs. Orlando & Doroth y

Mill er

Mr. & Mrs. Morkus Mitrius

Mr. & Mrs Carl Mits eff

Dr. & Mrs. Van C.

Momon,Jr

Mr. & Mrs. Theodore Mono lidis

Mr. & Mrs. Fred Morganeoth

Mr. Ronald Morri so n

Mr. William A. Morrow

Mr. & Mrs. E. Clarence Mularoni

Mr. & Mrs. David Mulligan

Mr. & Mrs. Jacques A. Nasser

Mr. & Mrs. George W. Nouhan

Mr. & Mrs. Eino Nurme

Mr. & Mrs. Graham Orley

Mr. & Mrs. Jules Pallone

Mr & Mrs. James Pamel

Dr. Robert E. 1. Perkins

Mr John E. Perry

Mr. & Mrs William T. Phillips

Mr. & Mrs. Brock E. Plumb

Ms. Ruth F Rattner

Mr. Jam es Reddam

Mr. & Mrs. John Renick

Mr & Mrs. Jack Robinson

Dr. & Mrs. Roge r Robinson

Dr. & Mrs. Norman Rosenzweig

Mr. Allen Jay Ross

Mr. & Mrs. Hugh C. Ross

Dr. & Mrs. Mark Rottenbe rg

Dr. Bruce Rubin

Mr. & Mrs. William Sandy

Dr & Mrs. Norman R. Schakne

Mr. & Mrs. Gregory ]. Schwartz

Mr. Joseph Schwartz

Mrs. Laurie Sall & Dr. Bradley Sewick

Ms. Elham Shayota

Dr. & Mrs. Michael Short

Mr & Mrs. Richard Sloan

Ms. Ph ylli s Snow

Mr. & Mrs. Walter M. Stark

Mr. & Mrs. Richard D. Starkwea ther

Mr. Oscar Stefanutti

Mr. Frank Stella

Mrs. Mark C. Stevens

Dr. & Mrs. Mack C. Stirling

Mrs. Glorie Stonisch

Mr. & Mrs. Stephen Sweeney

Dr & Mrs David Susser

Ronald F Switzer

Mr. & Mrs. Norman Tabor

Mr. & Mrs. Joel D. Tauber

Mr. & Mrs. A. Alfred Taubman

Mr. & Mrs. Anthon y Tersigni

Dr. Rob erta & Mr. Sheldon

Toll

Mr. & Mrs. C. Thomas Toppin

Mr & Mrs. Tall al Turfe

Mr. & Mrs Melvin VanderBrug

Mr. & Mrs. Steven I. Victor

Mr. & Mrs. Francis Ward

Ms. Patricia Warner

Mr. & Mrs. Alvin

Wasserman

Mr. & Mrs. William

Widme ye r

Mrs. Amelia H. Wilhelm

Dr. & Mrs. Christopher D Wilhelm

Mr. & Mrs Eric A. Wiltshire

Mr & Mrs. Eri c Winter

Mr. & Mrs. Lawrence E. Witkowski

Dr. & Mrs Clyde Wu

Dr. & Mrs Jose E. Yanez

Mr. and Mrs. Larry Zangede

Mr. & Mrs. Morton Zieve

Mrs. Paul Zuckerman

CA MERATA CLUB

$ 1,000 - $ 1,4 99

Ms. TI ene Barron

Lee & Paul Blizman

Mr. Vincent Duff

Mr. John Flemin g

Mr. & Mrs. George E. Frost

Dr. & Mrs. Julio Ga rc ia

Mr. Lar ry Glowczewski

Mr. & Mrs. Jerome Halperin

I udith & Eric Hespenh eide

br. Dorothy Kah konen

Donna & Sam Kountoup es

Mr. & Mrs. C. E Letts

Mrs. Doroth y Lewis

Ms. Barbara Mroz

Susan Ormand

Mr. & Mrs. loseph R. Papp

Mr & Mrs. Bughes Potiker

Mr. W.James Prowse

Dr. & Mrs. Robert Reid

Wendy & Jeffre y Roth

Mr. & Mrs. George Roumell

Mr. & Mrs lohn Sagan

Mr. & Mrs Lee Saperstein

Mrs. R. ]. Schlitter

Ms. Ellen Sharp

Ms. Karen Stewart

Ms. Carolyn Stubbs

Mrs. Jay H. Tay lor

Vainutis Vaitkevicius

Mrs. C. Th eron Van Du se n

Mrs. Lucia Zurkowski

MEMBERSHIP DONORS

LUMIN ARY

$5 00 -$999

Mr. & Mrs. Felix T. Adams

Mr. & Mrs. William J. Adams

Dr. & Mrs Joel Appel

Ms. Virginia Argo

Ms. Sally August

Ms. Sylvia W. Baer

Mr. & Mrs. Stephen M. Bakonyi

Andrea Z. & James M. Balcers ki

Dr. Reuven BarLevav

Dr. & Mrs. William Beaurega rd

Mr. & Mrs. J. D. Bea uvais

Mr. Stan islaw Bialoglowski

Mr. Francis Bialy

Mrs. Judith Bi ggs

Dr & Mrs. Eric Billes

Mr. & Mrs. David Bilson

Mr. & Mrs Eugene W. Blanchard

Mrs. Maril yn Bowerman

Mr. & Mrs. Herman Brodsky

Mr. Terry Brown

Mr. Don Budn y

Mrs. Doreen Bull

Ms. c.R. Camyitell e

Mrs. Patricia B. Capalbo

Mr. & Mrs Maurice Chandler

Dr. Gregory O. Clague

lames & Marilyn Collins

Mr. & Mrs. Robert R. Cosner

James E. & Suzanne R. Crankshaw

Mr. & Mrs. George Dambach

Mr. Will iam R. Darnlod y

Mr Sam uel 1. Davis

Mr. loe Del Giudice

Dr John DiMu sto

Mr. & Mrs. Gerald Do rcey

Mr. & Mrs. Harry M. Dreffs

Mr. & Mrs. Geo rge P. Duen sing

Mr. Oren Du vall

Ms. Ingrid Brit Eidn es

Cha rl es & Juli a Elias

Mr. & Mrs. Robert B. Fair, Jr.

Mrs. Sh irl ey M. Flanaga n

Burke & Ca rol Fossee

Mr. & Mrs. David Frank

Mr. Bruce Fuester

Dr. & Mrs. William R. Fulgen zi

Dr & Mrs. Byron P. Georgeson

Mr. Nick Grad

Jan e Adele Graff

Ms. Gloria D Green

Mrs. Claire L. Grosberg

Mr. & Mrs Jose ph Gua ltieri

Mr. & Mrs bavid A. Gugala

Mr. Ernest Gut ierrez

Mr. & Mrs. Philip Hadd ad

Mr. & Mrs. Robert]. Hamp so n

Mr. & Mrs. Hu gh G. Harness

Dr. Cha rles F Hartley

Mr. & Mrs. Murray

Hauptman

Mr. & Mrs. Derek Hodgson

Mr William Hulsker

Alan & Eleanor Israel

Mr. & Mrs. Josep h Jajey

Dr. loseph Lapides and Arlene Gorelick

Mr. & Mrs. William R. Goudie

Mrs. Nora L. Grabowski

Mr. & Mrs. ] ames A. Green

Mr. John R. Green

Mr. & Mrs lon athan Green

Mr. & Mrs F. W Gridley

Ms. Mary K. Grimes

Mr. Paul Groffsky

Mr. & Mrs Charles D Groves

Mr. & Mrs. Carson C. Gru newald

Mr. Randolph Gryebet

Mr. & Mrs Paul A. H ack

Dr. & Mrs. Henry Hagenstein

Mr. Nizami Halim

Mr. & Mrs Stephen G. Harper

Dr. & Mrs John M Hartzell

Mr. & Mrs. Stephen R Harvath

Ms. Barbara Harvell

Mrs. William F. Ha ska, Jr.

Ms. Joann Hatton

Rev. Thomas Heier

Mrs Elaine Heiserman

Ms Anne H. Helfman

Mr & Mrs. Fted]. He ndra

Mrs. Charles L. Henritzy

Dr & Mrs. Michael Hepner

Mr. & Mrs. Bruce Herbert

Ms Martha K Hicks

Mr. Richard Hill

Mr. & Mrs. Heinz Hintzen

Dr. & Mrs. Leon Hochman

Mr. David Hocker

Dr & Mrs. James Hoeschele

Mr.' Rex Holton

Ms. Donna Holycross

Mr. & Mrs. Jan Homan

Dr. Linda S. Hot chkiss

Mr. & Mrs. William C. Hufford

Mr. & Mrs. Jacob Hurwitz

Mr. & Mrs. Mario Iacobelli

Mr. Micheal Iannuzzi

Mr. & Mrs. Martin M. Inglis

Ms. Elizabeth Ingraham

Mr & Mrs. Stanley Jacobson

Mr. Joseph,F. Jeannerte

Mr. & Mrs. Richard]. Jessup

Mr. John W. Tickling

Mr. Jerry JodIoski

Dr & Mrs. Arthur L. Johnson

Mrs Ollie Johnson

Mr. Samuel C. Johnson

Mr. Chois Jones

Mr. Paul Y. Kadish

Mr. & Mrs. Mark L. Kahn

Mr. Peter Karpawich

Mrs. M T. Keefe

Mr. & Mrs. Charles E. Keller

Mr. Patrick Keough

Mr. John Kero s

Mrs. Mary Khouri

Ms. Ida King

Mr & Mrs. Thomas N. Klimko

Ms Paulette G. Koffron

Mr Robert]. Koffron

Mr. Daniel B. Kolton

Mr Zigmund D. Konapski

Mr James F. Korzenowski

Mrs. Mary Kramer

Miss Gene M. Kyle

Mr. Chak Lai

Mr. & Mrs. Ronald C. Lamparter

Mr Ray H. Lawson

Mr & Mrs Robert E. Lazzerin, Jr

Ms Barbara Leeper

Mr. Philip Leon

Mr & Mrs Michael Leonard

Mr Richard Lerner

Mr. & Mrs. Robert I. Lesser

Mr. Kenneth Levin

Mr. & Mrs. David Baker Lewis

Dr & Mrs. John H. Libcke

Mr. Irvin g Lichtman

Ms. Patricia D Limbird

Mr. Michael Linebaugh

Dr. & Mrs. Robert Loosvelt

Mrs. Frank Loria

Ms. Linda Lott

Dr. & Mrs. Robert Lucas

Mr Frank Lucido

Mr Ivan Ludington , Jr.

Mrs Irmgard Luelsdorf

Mr. Fred Lyon

Ann & Michael MacDonald

Mrs. Ruth MacRae

Mr & Mrs. James J. Madden,]e.

Ms. Suzanne Maldaver

Mr. & Mrs. George Mallos

Dr. & Mrs Richart:! D. Mallow

Mr. Kevin Manon ey

Mr. Keith R Marchiando

Mr. Charles H. Marks

Ms. Janet R Marsh

W. Kirk and Luci a Marshall

Mr. Charles S. Mason

Ms. Mary C. Mazure

Mr Paul W. Mc Curdy

Mrs. Janet Gallup McCarthy

Ms. Katherine McCullough

Ms. Vivien McDonald

Mr & Mrs. David McLellan

Mrs. Susan K. McNish

Mr & Mrs. Patrick McNulty

Mr. & Mrs. Otto Mehringer

Mr. & Mrs. Harold A. Meininger

Dr & Mrs. Herman]. Mette

Ms. Lynne M. Metty

Dr. & Mrs. Anthony B Michaels

Mr. & Mrs. William Michaluk

Mr. & Mrs. Mary & Robert Michielutti

Ms. Laura K. Mikulan

Mr. Myron L. Milgrom

Ms. Helen Millen

Mr. Leonard Miller

Mr. & Mrs. Milton J. Miller

Dr. & Mrs. Ronald Miller

Mr & Mrs. Pbillip Minch

Mr & Mrs. Glen and Carmel Mitchell

Mrs. Lucille A. Monark

Mr. & Mrs. Dennis Montpas

Mr. & Mrs. Charles R Moon

Ms. Theresa Moreland

Mr. Alan Morgan

Mr Ken Moriarty

Mr. Henry Morris

Mr. & Mrs. Joel Morris

Mrs. Rona Moscow

Mrs. Maxine Moseley

Mrs Earl A. Mossner

Mr. & Mrs. Richard Mueller

Mr. & Mrs. Germano L. Mularoni

Mr Richard K. Mulvey Ph.D

Mr. John D Murray

Mr. Donald A. Naftel

Mr. James A. Nedands

Ms. Kathleen Nemecek

Mr. Thomas Nenneau

Mrs. Kathleen M. Nesi

Ms. Regina Neugebohr

Caroline Beauvais & William Newman

Mr. John F. Noonan

Ms. Linda Nordstrom

Mr. & Mrs. Richard L. Norling

Mrs. Stanley Nowakowski

Mr & Mrs. James W.

O'Conno r

Ms. Dolores Oakley

Mrs. Donna M Okros

Dr. Eugene Oliveri

Mr. Eric C. Oppenheim

Judith Ortiz

Mrs. Eva Otto

Mrs. Nancy Owens

Mr. Da le ]. Pangonis

Mr. & Mrs. William C. Panzer

Dr Barbara Papania

Ms. AthenaJ. Pappas

Ms. Margo t Parker

Mr. Duan e Pa vey

Mr. & Mrs. John Peremesis

Dr. & Mrs. Thomas Petinga, Jr.

Mrs. Joan Peatpren

Mr. Carl Philpott

Dr Robert Piccinini

Mr. & Mrs. Jim Piper

Mr. & Mrs. Edward L. Pokornowski

Mr. & Mrs. David W. Porter

Mr. & Mrs Robert S. Powell

Mrs. Barbara Quin n

Mr. & Mrs. Richard Rabbideau

Mr. Marrin Rafal

Dr. Robin Jo Ramsay

Jack C. &Jeanne Ra nsome

Ms. Vera Rea

Dr. Melvin L. Reed

Mr. Dennis C. Regan

Mr & Mrs. Patrick Reid

Mr. Douglas Rentsc hler

Mr. Robert L. Rewey, Jr.

John & Verena Rh ame Fund

Mr. & Mrs. John]. Riccardo

Mrs. Estelle G. Rice

Mrs. Miriam C. Richardson

Mr. & Mrs. George Robertson

Mr. & Mrs. HoraceJ. Rodgers

Mrs. Rosemar y Rojas

Ms. Joanne B. Rooney

Mr. & Mrs. Barry Rosen

Dr. & Mrs. Alexander Rota

Mr. & Mrs. Leroy H. Runk

Mr. & Mrs. Lui gi Ruscillo

Mr. Daniel G. Rusecki

Mr. & Mrs. Charles Rus h

Mrs. Mary S. Russell

Ms. Joanne Mary Ruzza

Dr & Mrs. William H. Salot

Mr. Edward L. Sambuchi

Mt. & Mrs. John W. Sanders

Mr. Richard Sanders

Mt. & Mrs. Alvin Saperstein

Mrs. ]. Edward Sauble

Mrs. Claus F. Schaefer

Mrs. lohn S. Scherer

Dr. &Mrs. Joseph L. Schirle, Jr. Mark G. & Karen L. Schroeder

Ms. Lori A. Schuh

Kathleen & Michael Schwartz

Drs Heinz & Alice Platt

Schwarz

Mr. & Mrs. Kin gsley Sears

Mr. Robert Shaya

Dr. John E. Sheard

Ms. Anne S Sherwood

Dr Anthony Shields

Dr Janice M. Shier

Mr. & Mrs. Jefiery Shillinan

Mr. & Mrs. Nea l Shine

Mr. James Shirley

Mr. & Mrs. Jack D. Shumate

Mr. & Mrs. Gilbert Silverman

Mr. & Mrs. \VIes Simpson

Mr. Lee William Slazins ki

Dr Robert F. Sly

Tom & Chere Smith

Dr Daniel Snower

Mr. James S. Snyder

Ms. Dorothy Somervill e

Dr Rodolfo Son

Frank & Susan Sonye

Dr. & Mrs. Yoram Sorokin

Ms. Renate Soulen

Mr. John W. Spalding

Ms. Anna M. Speck

Mr. Theodore J St. Antoine

Mr. Stephen M. Stackpole

Mrs. Judith Stefani

Ms. Susan Steinhagen

Dr. Mildred Ponde r Stennis

Mr Allan Still wagon

Dr David Stone

MI. Charles StUlz

Dr. & Mrs. Choichi Sugawa

Robert & Mary Margaret Sweeten

Dr. & Mrs. Gerald Swiacki

Dr. Jonathan Swift

Ms. Sheila Foley Switzer

Dr. Barry Szcesny

Mr. Thomas Tapert

Miss Mary Ellen Tappan

Mrs. Ferah Tarockoff

Mr. Thomas Tasky

J usace Clifford W. Taylor

Ms. Mary Teachout

Mr. & Mrs. Frank Tenke!

Mr. Jack W. Theisen

Mrs. Norman Thorpe

Martin D. & Karen R Todorov

Mrs. Dorothy Alice Tomei

Mr. Emmet E. Tracy

Mr. & Mrs. Robert & Angeline Trinka

Mr. & Mrs. VictorTrourman

Ms. Thelma Tumacder

Dr. & Mrs. Dimitry M. Turin

Mr. Joseph Turinsky

Drs. June & Sheldon Turley

Mr. & Mrs. John E. Utley

Mr. & Mrs. Elliott H. Valentine

Mr. & Mrs. Kelvyn Ventour

Mr. Richard D. Ven tura

Mr. & Mrs. Thomas Violante

Mrs. Mary Joyce Waite

Mr. Howard H Waldrop

Robert D. and Liina M. Wallin

Mr. & Mrs. Robert C. Walte r

Mr. & Mrs. Jonathan T. Walton

Mrs. Mary Ward

Miss Evelyn A. Warren

Mr. & Mrs. Cyrus H Warshaw

Mr. & Mrs. Leo S. Wasageshik

Mr. & Mrs. Neil H Wasserman

Mr. & Mrs. Cameron Waterman

Ms. Georgianna Watsell

Lane Moore & Lenore Weiss

Mr. & Mrs. Paul S. Wemhoff

Mr. & Mrs. Robert Whitman

Mr. & Mrs. Halton Williams

Mr. Lawrence Williams

Dr. Magnus A. Wilson

Mr. Andrew Wise

Mr. Earl W. Wolfe

Mr. Alfred Wood

Word on the street says you helped rebuild Detroit ...... Brick by Brick

Reserve your brick in Opera Hou se Plaza today and pave the way for Detroit's future.

Mi chig a n Opera Theatre 's r estoration of the Detroit

c:TPOIT

Opera House became a historic catalyst in the revita li zation of Detroit's ce lebrated Theatre Di strict.

Here 's your chanc e to have your name , or the name of a friend , fam ily member o r even your pet built permanently into the wa lkway of Opera House Plaza

Ordering Inst:ruct:ions

You wi ll rece ive a co n f ir 111 atio n lette r a nd a C0 111111 e 111 0ra tive cert if icate w ithin o n e 1110n t h o f p lac in g your o r d er Pl ease r e vi e w y ou r p e r s on a li ze d 111 essage very ca r e fu ll y If you do not rece ive a c on f ir111 at io l1 lette r o r if a corr ectiol1 is n ecess ary, ca ll (313) 874 -72 6 1.

All text will b e a stan d a rd s ize, fo n t a nd s t y le with th e exce ption of th e 16" x 16" Pa ver whi c h ca n b e c u s t 0 111 d es ig n e d with logo a nd typ e f ace d es ig n You 111 ay c h oose ar two r k o t h e r d1 a n sY111bo is not found on a sta nd a rd key b oard for a n a ddition a l co st Please prin t legibly!

Yes, I ",ant to be a part of history and help rebuild Detroit!

En c lose d is my t ax d edu ctibl e con t ribution to Op e r a Hous e Plaza.

n a m e _ _

a ddress - - - -

c ity/ sta t e / z ip _________________

phon e numb e r ________________

bricks

Whether you are honoring a family member or ce le brating a specia l occasion, pers onali zed bricks make the perfect gift .

Dennis Arch e r, Mayor, City of Detroit is very proud of the role the Detroit Opera House has played in the revitalization of the city. He was recently quoted as saying, "It is tru ly one of our city's cu ltura l masterpieces."

You , too , can play an important p a rt in thi s exciting rebirth.

A $35 0 co nt r ibution w ill bu y a n 8" x8 " e n g ra ve d b r ic k A 16"x 16" p a ve r , $2, 000 , l11 essage to b e c u stO I11 d es ig n e d (ca n in clud e co l11p a ny logo / a r tw or k a nd ty p eface)

Ma ke ch ec k p aya b le to : Mic hi ga n Op e ra Th ea tr e

Ma il to : Op e ra Hou s e Pla za 104 Lothrop De tro it, M I 4 82 0 2 or ca ll 313 .8 74.726 1for more info r m a tion

S100 e a c h • S35 0 each • __ 4"x8"@ __ 8"x8 "@ __ 16"x16"" @ S2 ,000 e a c h

To ta l Amount S ____

My c h eck for ___ fof ___ br ic k(s ) is enclo se d

Please c h a r ge t o

Vi sa __ Mastercar d __ A111 e ri ca n Ex press

Acco unt nu111b e r __________

Sig n at ure __ Ex p d a t e __

My c0 111pa n y w ill 111 atc h 111 y contributi o n _ (p lease in cl ud e co m pa ny m atc hil1g f o rm s)

4"x8" br ic k; 14 s p aces p er lin e /3 lil1es

l iLI[ Olf 'L- r 1[1 _ J ---.J _

-[ LJ[ n lll'C

O[ li[ :[ jli - 'Ol-i _J __ I _ I _"L ___ _"L-J

8"x8 " bri c k ; 14 s paces p e r lin e/ 5 li n es o _ I ]n, J C[ o --]1 lnODlll __ Jn 0___ ILJUL

16"x16" pav e r - m essage ca n be cu s tom de s ign e d ; ca l1 includ e c omp a n y lo g o

_c hec k h ere if thi s cO l1trib ution is il1 h o n or or in m e m o ry o f a loved 011e pl ease prov id e il1f or m ati ol1 be low i fyoll w an t t heml1 0tifi ed ofyo llr g i ft

Copyright 2010, Michigan Opera Theatre

Mr. & Mrs. T. Wallace IN KIND GIFTS GENERAL DIRECTOR'S DONOR

Wrathall

Arrangement Fl ower Shop CIRCLE INTERMISSION

$1 , 500 TO $2,499

Mr. & Mrs. Francis A. Blossoms Floral SPONSORS Dr Lourdes V. Andaya

Yezb ick

J oann e & Richard Brodie

Herman & Barbara Frankel

Mr. & Mrs. John E. Brooks G roup International Ann & Larry Garberding

Mr. Andrew Bergstrom

Mr. & Mrs. Willi am Broo ks

Youn g, Jr Campbell & Co mpa ny Gwen Griffin Gloria & Fred Clark

Waiter W. & Marie Zelasko Detroit In stitute of Arts Rita & Gary L. Wasserman

Mr. & Mrs. Erwin

Ziegelman

Ha la & Sami Harb

C. Dickinson Wright P c.

Ford Motor Compan y DANCE

John Chapman

Ms. Bonit a Coleman

CORPS DE BALLET

Mr. & Mrs. Robert A.

$499 & BElOW AUesee, Perfo rman ce

Beth Abell a Sponsor of Dramla

Ellen Batki e (1997 /98), Perfo rm ance

F rank Brzenk Co-Sponsor of Giselle

Dr. Stephanie Chun (1997/98) and Prod uction

Kenneth L. Cooper Co-Sponsor of DOli

Sta nley Deneka QUIxote (I 998/99)

Viviano Flower Shop

Mr. & Mrs. Tarik Daoud

Susan Willlis- Kushner

In Memory of Oeveland Vanity Fair Kevin Denni s & GOLDEN PATRON

Thurber, Jr Edith & Alvin Wasserman Jerem y Zeltzer $1,000 TO $1,499

Miss Mary Adelai de Hester Sh ana J. Wes tl ey Don J ensen

In Honor of the Marriage of

Richard & Diane Abbott

Mrs. Jea nn e Schlitters

Barbara Wrigley Ein o & Lillian Nu rme Mr & Mrs. C. E Letts

STROLLING SUPPER

Ruth Rothschild Performance Sponsor

Rab en L. Ruple of Giselle (1997/98)

Marga ret Ryan and Rom eo et Juliette

Joy Squi re (1998/99)

Aline Soules

Claudia & Bradley Stro ud Mr & Mrs. Irving

Gary & Christin e Woffo rd Rose , Perfonna nc ce

BENEFACTOR PATRON Co -Sponsor of Gis elle

Dolores C. Rosiere & AFTERGLOW $5, 000 to $9, 999 $5 00 TO

rmation

PHOTOGRAPH Y AND RECORDING DEVICES Unauthorized cameras and recording devices are not allowed inside th e theater at any time The taking of photograph s of th e theater or any performance is strictly prohibited. As a courtesy to our guests , we ask th at all paging devices , cell phones and alarm watches be switched to a silent mode prior to the start of a performance

IN CASE OF EMERGENCY Doctors and parents are advised to leave their seat lo ca tion (located on ticket ) and our emergency numb er, 313 / 237-3257 , with the service or sitter in case of an emergency. Please observe the lighted exit signs located throughout the the ater In the event of fire or similar emergency, please remain calm and walk - do not run - to the neares t exit. Our ushers are trained to lea d yo u out of the buildin g safely A trained Emergency Medical Technician (EMT) is on site during most events. Please see an usher or staff member to contact the EMT.

basis. Pleas e see an ush er to request this service. Although this is a complimentary service , we will request to hold a piece of personal identification while yo u are using the device If yo u desire other special consideration , please inform the ticket office when purchasing your ticket.

CHILDREN Children are welcom e, however, all guests are required to hold a ticket, regardless of age. We kindly ask that parental disc re tion be exe rcised for certain programs, and that all guests remember that durin g a program su ch as opera or ballet , the ability of all audience members to hear the music is a prerequisite to enjoyment of the performance In all cases , babes in arms are not permitted.

RESTROOM S

Ladies ' restrooms are locate d off th e Ford Lobb y (Broa dwa y side) , down the stairs and also on the third floor (Madison side). Please press 3R on the elevator. Gentlemen 's restrooms are locat ed under the Grand Th ea tre staircase , and also on the third floor (Broadway side) Please press 3 on th e elevator. Please note : All third floor restroo ms are wheelchair accessible.

NO SMOKING Detroit Opera House is a smoke-free facility. Ash receptacles are provid ed on the exterior of all entry doors for thos e who wish to smoke

USHERS Ushers are stationed at the top of each aisle If you ha ve a question or concern , please inform an usher, and they will contact management. If yo u are interested in be coming a volunt eer usher, pleas e call the usher hotline at 313/237 -3253.

LATE SEATING POLIC Y Latecomers will be seated only durin g an appropriate pau se in the program, and will be asked to view th e program on closed -c ircuit television monitors located in the lobbies until an appropriate program paus e occ urs. Late seating policy is at th e discretion of the production , not opera house manage ment .

LOST AND FOUND Lost and Found is located in th e Security Department Please see an usher if yo u have misplaced an article , or call 313 /9 61 -3 500 if you have alread y left th e theater. Items will be held in Lost and Found for thirty days.

PARKI NG Parking is available for all events in the Opera Hou se Garage , lo ca ted directl y across John R. from Detro it Opera House on Broadway. Pre -paid parking is available through the bo x office. Please call 313/237 -SING for parking information

ACCESSIBILITY Access ibl e seating locations for patrons in wheelchairs are located in all price ran ges on the orchestra level. When inquiring about tickets , please as k about these locations if yo u require special accommodations. Assisted Li stening Devices are available on a first -come , first-serve

SERVICES Concess ion sta nd s are located on all levels Please note : Food and drinks are not allowed in the auditorium at any time. Coat Check is located in th e Madison lobby. The cost is $1. 00 per coat . Pleas e note that Detroit Opera House does not accept responsibility for any personal articles that are not checked at the Coat Check. Drinking fo un tains are located in the lobbies on floors 1 and 3. Publi c pay phon es are located in the vestibule of the Ford Lobby and in the restrooms. Patrons in wheelchairs can access pay phon es outside the third floor ladies ' restrooms.

RENTAL INFORMATION

Detroit Opera House is available for rent by your organization . Please call Jennifer Turner, Opera House Manager, at 313 / 961 -3500 to receive rental information.

TICKET INFORMATION

Detroit Opera House Ticket Office hours are: Non-performance weeks-Monday through Friday, 10:00 a.m. to 5:30 p.m Performance da ys-10:00 a. m throu gh the first intermission of the evening's performance, except Saturdays and Sundays when the Ticket Office will open two hours prior to curtain. Tickets for all public events held at Detroit Opera Hou se are also available through all TicketMaster phone and retail outlets.

OPERA HOUSE TOURS Come join the Opera Hous e Ambassadors for a Backstage Tour of the Detroit Opera House Learn about th e history of the Opera House and it s restoration. Meet the people behind the scenes , tour the stage and see how it operates. $10.00 per person For more information please call 313 / 237 -3407.

IMPORTANT NUMBERS

EMERGENCIES: .313/237-3257

Detroit Opera House General Information: .......................................... 313 / 961-3500

Lost & Found: 313 / 961-3500

Ticket Office: 313 / 237 -SING

Usher Hotline : .............. ...... ...... .... .. .... ..... .......... .313 / 237-3253

Theater Rental Information : 313 / 961-3500 Michigan Op era Theatre: 313 / 961-3500 Detroit Op era House Fa x: 313 / 23 7-3412

Press and Media Relation s: 313 / 237-3416

Internet address: http ://www micbiganopera .o rg

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

7)er !7?osenkauafier Supernumeraries

Katherine Hardy .................... Little Girl

David Kirsch .......................... Leopold

Carolyn Andree ..................... Farm Servant

Danny Bradley ....................... Och Servant, Waiter

James "Clancy" Clarahan .. . .... Faninal Servant, Apparition

David Grubbs ........................ Chef

Richard Hill Flautist

Jeff Kirsch ............................ Och Servant, Apparition

Carolyn Moss ........................ Farm Servant

Katherine Neeley Farm Servant

Rose Posluszny ..................... Orphan's Mother

Jan Renard ........................... Farm Servant

Bill Ross ............................... Hairdresser, Apparition

Matt Ruhlig ........................... Assistant Hairdresser, Faninal Servant, Apparition

Jim Slowik Doctor

Paul Snyder .' Och Servant, Waiter

Lawrence Thomas Scholar, Och Servant

Local Wig and Makeup Crew

Mary Elizabeth Corbett

Corinne Fine

Violetta Kapayo

Parker Plague

Terese Shmina

Thanks to Kmart Corporation for sponsorship of the April 13th student/senior performance of Der Rosenkavalier.