PROGRAM: Bravo 2006 Spring Opera and Dance

2006 Spring Opera Season is sponsored by Cadillac

Copyright 2010, Michigan Opera Theatre

Vande rKloot DiChiera Roberto Ma uro Mi chigan Opera Theatre Staff Dave Blackburn, Editor

Physician s' service provided by Henry Ford Medical

Pe p s i-Cola is the official soft drink and juice provider for the Detro it Opera House .

Cadillac C o ffee is the official coffee of the De troit Opera Hou se.

Ste inway is the official piano of the Detroit Ope ra H ouse and Michigan Opera Theatre. Steinway pianos are provid ed by Hammell Music, exclu sive representative for Stein way and Sons in Michigan Preside nt Tu xedo is the official provide r of form al wear for the Detroit Opera Hou se.

Michigan Opera Th eatre is a nonprofit cu ltural organization , wh ose activi ties are supporte d in part b y the Michigan Coun cil for Arts and Cultura l Affairs, the National Endowment for the Arts, and other individuals , corporations and foundations Michigan Opera Theatre is an Equal Opportunity Emp lo yer.

Welcome to Michigan 0rera Spring Season.

Greetings , dear fri ends , and welcome to the Detroit Opera House. Thi s spring marks Michigan Opera Theatres 35th opera season, and yet another seaso n prese nting the world s great dance companies. Continuing what now seems to b e a long-standing traditi on , our sp ring ope ra productions are brought to yo u with the generous support of Cadilla c, and our dance engagem ents are m ade possible b y Daimler Chrys ler. I ex tend m y since res t gratitude to both organizations for their exempl ar y support o f our pro gra mming.

In addition to celebrat in g our 35 th seas on , this sp ring marks a very special mileston e for Michigan Opera Thea tre , the 10th anniversary of our b elove d home, the Detroit Opera H ouse. For the first qu arter century of its history, Michigan Opera Thea tre existed as a largely nomadic company, presenting op era on several of Detroits great stages. W h en the time came that our co mpany s growth warranted a m ove to a permanent h ome we so u ght out a theater that wo uld not onl y m ee t our growing audience 's n ee d s but also the technical demands of wo rld class grand opera. We a lso required that our new home be part of the rich fabric of Detroit-a cu ltural centerpiece whi ch wo uld strengthen the community

And so it was that in 1989 we purchased a hi storic , th ough neglected, m ovie palace and its re stora tion b egan. Despite m ountain ou s obstacles, the supp ort of th e community prevailed and our dream became a rea lity In April of 1996, we opened the opera h ouse with a grand ga la and concert. It h as been ten years since that m om entou s occasion , and the Detroit Opera H o use ha s n ot only b eco m e one of the n ation s premier venu es for op era , d an ce, mu sic and theatrica l entertainment, but h as also serve d as a type o f cata lys t for the n eighborhoods rebi rth

Pro gress at the opera hou se has continu ed throughout the la st 10 ye ars. We 've worked to fini sh the theaters restor ation, moved our s t ead il y growing organ izatio n into the Madison Avenue office tower, purch ase d ,

4 BRAVO

and then demolished a parking structure, opening a new sta te-of-th e-a rt parking fac ility in it s pla ce, and constructed a learning center to pro vide the co mmunity with a reso urce unlike any other. We p ro udl y comm emo rate this speCial anniversary on Aplil 27 , 2006, wi th th e opening of our new Ford Ce nter for Arts and Lea rning a nd a ga la concert featUring artists fro m b oth Aida and Cinde rella. The ce lebratio n , h oweve r, will continu e throughout the season as we stage fresh and excitin g programmin g alo n g with fun and uniqu e events lik e the seventh an nu a l BravoBravo l May 5, a special Co mmunit y Programs day on May 20 , a day of exce ptiona l dance programs on May 27, and the Michigan Ope ra Theat re Go lf Outin g on June 26.

This sp ring , our magnificent stage will play h ost to ano ther incredible season of opera and dance . We are thrilled to welcome Les Grand s Ballets Canadien s d e Montreal to our stage, give you a brand n ew production ofVerdis masterpiece Aida , stage our first-ever main stage produ ction o f Rossinis Cinde rella , bring back th e eve r-p opu lar Alvin Ailey

www MichiganOp e ra.org

American Dance Thea ter, an d also mount a production of St rau ss' powerful and controversia l Salome.

We 'll also we lcome the department of Community Programs, and their awardwinning Learning at the Opera Hou se se ries to the n ew Ford Cente r. These exce ptional camp s, cla sses, lec tures, tours and workshop s h ave enriched the lives of lea rners of all ages since the program 's in ception so m e 10 yea rs ago. With the m ove to the Ford Center, offerings continue to exp and. I encoura ge yo u to visit our we bsite , www.MichiganOpera.org, for all of th e details.

And of co urs e, we are alrea dy h ard at wor k p lanning for our 36th seaso n. We've taken care in creating a seaso n of di verse productions, celebrating a broad sp ec trum of human emo tion and arti stic exp ression Our fall opera season will feature excep tional productions of Gershwins Porgy and Bess and Rossinis Barber of Seville. Spring will feature two favorites in Puccinis Turandot and Gounod s Rom eo and Juli ette , as well as an ope ra new to the Michigan Opera Thea tre repertoi re, Mozarts Abdu ction From th e Serag li o Dance, too, will fea ture exciting debuts alongSide audience favorites , with The Royal Winnipeg Ballets Dracula , The Joffrey Ballet 's N utcracke r, Dayton Contem p orary Dance Com pan y's Ja cob Lawrence Project, Am erican Ballet Theatre 's Swan Lak e, and a very sp ecial chi ldrens ba llet, Where The Wild Things Are, based on the classic story b y Maurice Sendak and d anced by the Grand Rapids Ballet.

I thank yo u for b eing a part of this season , and fo r h elping us to ce lebrat e these monumental achievements. As we move into our n ext decade, I hop e yo u 'll be here to share in all of th e excitem ent . m

Enjoy the p erformance !

PRIVATE CLIENT GROUP

The Private Client Group is proud to announce that with every $1 million new investment management or trust account you open, we will donate $ 5,000 to the Detroit Opera House in your name. So, while we help clients preserve and grow their wealth through sound investment management, private banking, trust and estate management, we will also ensure the arts remain for future generations To experience the Private Client Group, call Bill Goodhue at (248) 901 -2136.

Copyright 2010, Michigan Opera Theatre

Copyright 2010, Michigan Opera Theatre

Grand Ballets Canadiens de Montreal}

Be moved. Differently!

Staff ARTISTIC

Pierre lapointe Principal Ballet Master

Margret Kaufmann Ballet Mistress and Assistant to the Artistic Director

Michelle Proulx Artistic Coordinator

Pino Alosa Guest Teacher

Nora Mativetskaya Pianist

PRODUCTION

Stephan Pepin Production Directo r

Carolyne Vachon Technical Directo r

Nicolas Rollin Stage Manager

Marc Parent Lighting Coordinator

Erwann Bernard Assistant Lighting Coordinator

Marcel Duquette Master Carpenter

Dean Harper Assistant Carpenter

Jean Bastien Head Electrician

Raymond Soly Sound Engineer

Leo Laga sse Prop erty Master

Dominic Drouin Assistant Electrician

Richard Bergero n Wardrobe Master

TOURING

Corinne Jozsef Touring Directo r

Gelinas Towing Coordinator

PARTNERS

Truck N'Roll Official Callier

Timothy A. Hero n, MD., FRCS.© Arthroscopy and Sport s Medi cine

Kinate x PhYSiotherapy and Sports Medicine

Ernst & Young s.r.l. Auditors

Fasken Martineau DuMoulin s.r.l. Legal Advisors

JUST A FEW REMINDERS

Casting is subj ec t to change. The use of any photographiC equipment , video ca mera s and tape recorders is strictly forbidden Out of consideration for the dan ce rs and for their safety, please make sure that yo u have turned off your cell phones, pagers , watches, and any thing that may beep during the performance. Thank you and enjoy the show!

Les Grands Ballets Canadiens de Montrea l 4816 , Ri vard St ree t

Montreal, QC H2J 2N6

Canada

Phon e numb er: (514) 849-8681

Fax numb er: (51 4) 849-0098

E-mail adress:info@grandsballets.com

Webs ite: www.grandsballets.com

Les Grands Ballets Canadiens de Montreal is dedicated to introducing all forms of contem porar y ballet. Since th e arrival of Artistic Director Gradimir Panko v in 2000 , the company has a ga in and again s timulated the imagination , amazed and moved audiences, and conveye d a deep pass ion for dance. With eloquent examp les such as The Queen of Spades, Noces, The lost shoe (Cinderella), TooT and Th e Beast and the Beauty , this devoted dance mast er has made the s taging of orig inal works the focus of all his actions

Over the years, the company founded by Ludmilla Chi riaeff in ISlS7 h as presented classics and 20th century masterpieces by George Balanchine, Kurt jooss , and Vaslav Nijinsky, and see n the emergence of now we ll-kn own artists including Fernand Na ult , james Kudelka , Edouard Lo ck, and Ginette Laurin. It a lso se ts it se lf apart by creating works of upcoming artists, lik e Kim Brandstrup , Stijn Ce li s , and Did y Veldman, among others. Also, much can be sa id of the works by today 's l eading c horeo graphers, includin g jiri Kylian, Mats Ek, and Ohad Naharin, who love working with Les Grands thanks to the talent and caliber of it s dancers. And we cou ldn 't be more pleased

Each year, in a dditio n to four shows performed b y Les Grands Ballets dancers , audiences can enjoy three guest companies. Recent visitors included the Cu llb erg Ballet of Sweden, Compania Naciona l d e Danza, the Warsaw Ba ll et, Cloud Gate Dance Theatre , and Ba ll et de ['Opera de Lyon, to name a few. This year, the Royal Winnipeg Ballet, Shen Wei Dance Arts, and Houston ballet w ill showcase Les Grands' open-minded approach to the wide range of contemporary ballet presented worldwide.

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Dance knows no boundari es. That 's w h y Les Grands Ba ll ets also goes on tour around th e wor ld. During the last few yea rs , public and critical acclaim in Germany, Spain, Berlin , and at jacob 's Pillow Dance Festiva l , has bo l stered th e company's international profile and garnered m ore invitations. This season is again very promising, w ith a second invitation to jacob 's Pillow and visits to Quebec City, Ottawa, Detroit , Minneapolis, Hou ston, New York City, Italy, and a return to Spain.

That's today 's Grands Ballets. Pure and simple. We want people to Be mo ve d. Differently. We offer a different visio n of th e world through an art form we ho ld d ear- a more emotional, theatrica l , accessible, exciting , and, we hope, more enterta inin g vision than ever I

Acknowledgements

Les Grands Ballets Canadiens de Montrea l wishes to thank the Canada Counc il for the Arts, Canadian Heritage, Foreign Affairs Canada, th e Conse il des arts et des lettres du Queb ec and the Conseil des arts de Montr ea l for their contin uin g support.

{Les Grand Ballets Canadiens de Montreal}

FORGOnEN LAND

Choreography: Jiri KyMn

Staging - Assistant to the choreographer: Roslyn Anderson I Margret Kaufmann

Music Benjamin Britten, Sinfonia da Requi em, Opus 20

Scenery and Costumes**: John F Macfarlane

Lighting Design. Kees Tjebbes

Premi ere: 12 april 1981, Stuttgart Ballet

13 June 1981, Nederlands Dans Theater

Kylian, in comparison to Britten, sees SinJonia da Requiem as a work of more personal character than a political one - for it is always people who determine the political scene. Its always people and nature who tum the wheel of evolution a little farther.

East Anglia, a coastline of England slowly submerging under the sea, is the birthplace of Benjamin Britten.

The image ofland taken over by the seatogether with a painting by Edvard Munch - became the primary inspiration for the choreography of Forgotten Land : land, the basis and center of human existence, is in itself always subject to the etemal metamorphosis and mutation; land, from ancient times bearing the imprints of generations; lands, within the memories of human beings , that had to be forgotten because of political struggle; lands destroyed by nature or human negligence; wishful lands which have only emerged in our dreams; lands of promise and illusion.

*By arrangement with Boosey & Hawk es, Inc., publisher and copyright owner

** Scenery and Costumes courtesy of the National Ballet of Canada

Cast First movement

Entire cast

Lacrymosa (April 7, 9)

Rachel Rufer, Gael Lambiotte , Isabelle Paquette , Marcin Kaczorowski, Marie-Eve Lapointe, Robert Deskins, Anik Bissonnette , Herve Courtain (AprilS)

Marisa Pauloni, Jesus Corrales, Heidi

Detroit Opera House

Rood, Jeremy Galdeano, Gabrie lle Lamb, Guillaume Pruneau ,Callye Robinson, John Hall, Dies Irae (April 7, 9)

Mariko Kida, Jeremy Raia, Martine Lusignan, Serguei Endinian (Apri lS )

Amanda Michelle Cyr, Hokuto Kodama, Robin Mathes, Anthony Bougiouris

Requiem aetemam (April 7, 9)

Anik Bissonnette, Herve Courtain, Rachel Rufer, Gael Lambiotte, Mariko Kida , J eremy Raia (AprilS)

Callye Robinson , John Hall, Marisa Pauloni , Jesus Corrales, Amand a Michelle Cyr, Hokuto Kodama

Intermission

BELLA FIGURA

Concept and Choreography: Jiri Kylian

Assistant to the choreographer: Hans Knill, Ken Ossola

Music Lukas Foss, G.B. Pergo lesi, Alessandro Marcello, Antonio Vivaldi, Giuseppe Torelli

Set design: Jiri KyMn

Costume Design: Joke Visser

Lighting Design JooP Caboon

Tech lLight Adaptation: Kees Tjebbes

World Premiere: October 12, 1995, Nederlands Dans Theater (NDTl)

A Journey in time - light and space, addressing the ambiguity of aesthetics - performances and dreams. Finding beauty in a grimace - in a knot of the mind - or in a physical contortion. It is like trying to perform a balancing act on the string of your umbilical cord .

When does the performing act start! When we are born or when the curta in rises! Does it all end when we walk off the stage - or is there no end to the performance? What is a masquerade? - The clothes we wear in the street or the stage costume!

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Between so-called art and artificialitybetween the reality of life and fantasythis twilight zone creates a tension which is of interest to me. It is like standing on the edge of a dream. Standing in darkness and staring into a sharp light with closed eyesdoubting every bit of our so -called reality The moment in which dream intrudes into our lives and life into our dreams - this is the point of my curiosity Simply -a feeling of falling down in a dream and waking up with a broken rib.

-J iri Kylian

Bella Figura is an Italian expression meaning something like 'don't let on that anything is wrong' or ' put on a brave face '. This is certainly something that dancers are often confronted with - after all, the public must not notice that an error has been made or that a dancer is hindered by a personal ailment. But in the programme notes, Kylian also speaks of the unexpected moment when dream and reality unconditionally come together as one.

It is precisely this moment that the choreographer has successfully captured in Bella Figura: He has created images and moods through movement which are so bizarre that your mind says "this is not pOSSible, this is not logical" while, at the same time, your emotional reaction says "that's right, that 's exactly as it should be". Those quivering legs, those steps sliding across the stage, those writhing limbs, those brief robot-like jolts of the torso , those unusual twists of the body, those timidly scurrying feet - they are like fleeting fantasies which together tell the most beautiful , the most ghastly, the most exciting, and the most heartrending of lifes stories.

The imagination is stirred b y the almost naked woman who is kept imprisoned in the folds of the black curtain by two women who, in an increasingly smaller space, shyly and tenderly manage not to touch each other but set each other in motion; by the series of extraordinarily beautiful, razorsharp, whimsical duets that at the same time are investe d with a breathtaking harmony; b y the conflicting, rapidly altemating

moods; by the figures who appear to dissolve in space, a space that regularly d iminishes , lik e a camera that zooms in on a detail , before revealing a gaping black hole or radiant surroundings

Not only the form s but also the use of colour and light intrigue ; th e bright-red crinolines beneath the naked upper torsos suggest exotic rituals, the flesh-coloured and black pants of the men make them both vu lnerable and tough , and the bordeauxred, softly shimmering corselettes and transparent black l eg coverings of the women evoke a refined elegance.

The superb performanc e - all the dancers are top-class - was equally responsible for the great enthusiasm with which Bella Figura was received.

- By Ine Rietstap (NRC Handelsblad) , October 13,1995

By

Cast (April 7,9)

Alisia Pob ega, Amanda Michelle Cyr, H erve Courtain, Isab ell e Paqu ette, Mariusz Ostrowski, Anik Bisonne tte, Chrisopher Rudd, Genevieve Guerard, Gael Lambiotte (AprilS)

Sa rah Gibson, Mariko Kida, Jere my Raia, Gabrielle Lamb, Marcin Kaczorowski, Heidi Rood , Herve Courtain, Robin Mathes , Jean-S ebas tien Couture

Intermission

SECHS TANZE (SIX DANCES)

Co ncept and choreography: Jin Kylian

Assistant to the choreog raph er: Roslyn

Anderson

Music : Wolfgang Amadeus Mozart: Sechs

Deutsche Tanze, KV 571

Set and costumes: Jin Kylian

Costume realization: J oke Visser

Lighting Design: JooP Caboort

Tech fLight Adaptation: Kees Tj ebbes

World Premiere: October 24, 1986, Het Muziektheater, Amsterdam

Two ce nturies separate us from the time Mozart wrote his German Dan ces. A histori ca l period shaped considerably by wars, revolutions , and all sorts of social upheavals.

With this in mind I found it impossible to s impl y create different dance numb e r s reflecting merely the humor and musical brilliance of the composer. Instead, I have set six seemingly nonsensical acts, which obviously ignore their surroundings They are dwarfed in the face of the ever present troubled world, which most of us for some unspeCified reason carry in our souls.

Although the entertaining quality of Mozart's Sechs Tanze enjoys great general popularity, it shouldn't only b e regarded as a burlesqu e. Its humor ought to serve as a vehicle to point towards our relative values. Mozart's ab ility to react in difficult circumstances with a self-preserving outburst of nonsensical poetry is well known. A fragment of a le tter to his cousin is the fin est example of this.

-Jiri Kylian

Cast

(April 7, 9)

Rachel Rufer, Jeremy Raia, Heidi Rood Mariusz Ostrowski, Gabrielle Lamb, Jean-S ebastien Couture, Isab elle Paquette, Serguei Endinian

(AprilS)

Alisia Pobega, Marcin Kaczorowski, Amanda Michelle Cyr, Anthony Bougiouris , Marie-Eve Lapointe, Guillaume Pruneau, Robin Mathes, J e remy Galdeano

Ballett, offered him a dancers contract and encouraged Kyli tm's ambition to create his own dance works.

In 1973, following a first choreography for the Nederlands Dans Theater, an artistic relationship between Kylian and the well-known Dutch company began, one that has brought about the creation of almost 50 dance productions for the company. Since 1975, Kylian has been responsible for NDTS artistic policy.

The year 1978 marked a decisive international breakthrough for Kylian, with Sirifonietta, his choreography performed to the music of compatriot Leos Janac ek at the u.s. Spoleto Festival in Charleston, NC. The foll owing years established Kylians reputation as one of the most ingeniou s choreographers, with dance works such as Symphony of Psalms , Forgotten Land, Overgrown Path , Svadebka, Stamping Ground , and L'Erifant et les so rtileges, to name a few.

Since the mid-eighties, Ky lian's artistic view and style have shifted conSide rably toward abstraction and surrea listic ima ges. This move began with his "Black and White Program " featuring works such as No More Play, Petit e Mort, Sarabande , Falling Angels , Swee t Dreams, Whereabouts Unknown, and his dance production of a Japanese fairy tale entitled Kaguyahime.

Kylian created a unique and very personal style over the course of the years, and his cho reographies defy academic categorization, blending elements from many sources There are always new avenues to be exp lored, new challenges and boundaries to be ove rcome. His work is profoundly based on a musical read ing, deeply penetrating into the mystery of the human self, and unveiling its hidden traces through his dance.

Jiri Kylian CHOREOGRAPHER

Jin Kylian (Pragu e, 1947) started his dance training when he was nine years old, at the ballet school of the Pragu e Na tional Theater. From the age of 15, he studied at the Pragu e Conservatory

In 19 67, Kylian went to the Royal Ballet School in London on a scholarship from the British Council. Here, h e came into contact with the most important developments in choreo graphy-in ballet and co ntemporary dance. John Cranko, a major choreographer of this period and director of the Stuttgarter

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For 20 years now, Kylians artistic vision has blended with the image of the Nede rland s Dans Theater in a uniqu e symbiOSis. Today, the world famous "Main Group " (N DTl ) is complemented by a yo ung, experimental company of 17-22 year-old dancers (NDT2) and a group of mature dancers/performing artists over the age of 40 (NDT3). Each group has its own repertoire reflecting different aspects of a specific period of life. Together, the y make up the organization known as the Nederla nds Dans Theater-"three dimensions of a dancer's life," as Jin Kylian likes to refer to them.

In Ap ril 1995, NO T celebrated its 35th anniversary and Kylians 20 years of artistic directorship with the major theatrical produ ction Arcimboldo, in which NDTl, NDT2, and NDT3 participated. On April13 , Jin Kylian was honored with the Dutch "Orde van Oranje Nassau" by Queen Beatrix of the Netherlands for his comp lete ch oreographic wo rk and his contribut ion to Dutch dance.

arrangement with Boosey &: Hawkes , In c., publisher and copyr ight owner

Copyright 2010, Michigan Opera Theatre

Setting: Ancient Ef!J'pt, in the cities of Memphis and Thebes

Cast:

In order of vocal app earance

RAMFIS

Hao Jiang Tian

RADAMES

Salvatore Licitra ' (22, 26, 29)

Antone llo Palombi ' (23 m , 28, 30m)

AMNERIS

Irina Mishura (22, 26, 28 , 30m)

Nancy Maultsby* (23m, 29)

AIDA

Indra Thomas (22, 26, 29)

Lisa Daltiru s (23m, 28, 30m)

KING OF EGYPT

Va leri an Ruminski

MESSENGER

Lonel Woods

HIGH PRIESTESS

Elena Repnikova Bec k-

AMONASRO

Gregg Baker

CONDUCTOR

Giuliano Carella DIRECTOR

Bliss Hebert

Chorus Master: Suzanne Ma ll are Acton

Choreographer: Rosa Mercedes*

Produ ctio n designed by: Allen Charles Klein

Lighting Design: Kendall Smith

Asst. Direc tor: Trevore Ross

Stage Manager: Ken Sa ltzman

Surtitl es : Rob e rto Mauro

Scenery and props constructed by: Ravenswood StudiO, Inc. Ad ditional props construc ted by Florida Grand Opera, Michael Miles, Prop erti es Coordmator.

Painted backdrops crea ted by Michael Hagen, Inc.

Fire Effects designed and co nstru cted by Jim Janec ek of PAPcam. co m.

Costume Build Supervisor: Davi d Burke

Costumes created by: Arnold S. Levine , Inc.

Millinery, Charles K. Heightch ew Costumes, Costume Armour, Inc., The Costum e Group, Gillies and Saxxon Costumes, Helen Fuller

Crafts, Jay Cecil Costume, Kjersten LesterMoratzka and TAS CO.

ACT I Scene One

In the royal palace at Memphis Radames, a young captain of the guard, learns from the high priest, Ramfis , that Et hi opia h as again attacked and in vaded Egypt's southern border, and that a new army commander has been selected b y the god d ess, Isis. Alon e, Radames hopes he is the chose n one, envis ioning a g lOrio u s victory so he can free his beloved Aida , the Et hiopi an slave of Amneris. Amneris, who loves Radam es h erself, comes in and questions him shrewd ly; her suspicion that he loves her slave increases when Aid a e nt ers. Th e King ha s urgentl y called hi s court togethe r to h ear a me sse n ger report that the Ethiopian army, led b y King Am onasro, is marching on Thebes. The Egyp ti an King announces Radames ' appo intm ent as Egyptian commander and lead s th e assemb lage in a battle h ymn "Re turn victorious l " cries Amneris, echoed by the p eo ple, an d , alon e, Aida repeats the wo r ds, appalled that h e r b eloved is go in g off to battl e her father , h er famil y and her people - for Ai da is in fact th e pri ncess of Ethiopia. Torn b y con fli c ting loya lti es, sh e begs the go d s for m ercy.

Scene Two

In the temple of Ftha

Radames is dressed in the sacred armor durin g a solemn ceremony of consecratio n t o the services of his country. T h e fate of Egypt is in his h ands.

ACT II

Scene One

Radames has beaten the Ethiopians, and on th e morning of his triumphal return Amneris is groomed b y h er ladi es-

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in-waiting a nd distracted from h e r romantic daydreaming by a group of court musicians and dancers. At Aida 's approach she dismisses he r a ttendants , hopin g to co nfirm h er impression that Aida loves Radames. To test h er, s he claims Radames has died in battle, then says he lives. Certain [rom Aidas reaction s that this mere slave is her ri va l for Radames ' love, Amne ri s threatens h er an d leaves for the festivities as Aida follows in despair, reit e r at ing her prayer.

Scene Two

At the gate of Thebes , the people welcome the returning army bringing captured go ld en id o ls and trea s ures ; triumphal dances are performed. Radames is b orne in to b e crowned with a wreath by Amneris. Ethiopian captives too , are le d in , among th em Aida 's father, King Amonasro, who remains unrecognize d. In an as ide he warns h er not to betray his hand, then pleads for hi s fello w prisoner's lives. Ramfi s and the priests urge death for the capt i ves, but Rad a me s intercedes, supported by the pleas of the prisoners an d the populace. Sinc e the commande r is th e hero of the hour , the King r eleases all but Amonasro an d Aida, th en presents Radames with th e hand of Amneris, dashing Aida's and Rad ames' dreams of h appiness toge th er.

ACT III

Scene One

On a moonlit bank of the N ile

Ramfi s lea d s Amneris into the temp le of Is is for prenuptial prayers. Aida arrives for a sec ret meeting with Radames; ove rco m e w ith nostalgia, s h e la ment s her conquered homeland Startled ou t of her reverie b y Amonasro , s h e learns that h er father is plotting a new attac k and h e pro-

Wigs constructed by Cosrrtic Hair and Makeup.

Las l Michi gan Opera Thealre produ cl ion of Aida: 1997. Conducled by Sleve n Mercurio Direcled by Roman Terleckyj * Mich igan Opera Theatre de but

p oses that Aida trick Radam es int o revea lin g th e rout e of th e Egy pti an ar m y. Horrifi ed a t the propos al , Aida n eve rtheless su cc umb s to h e r fath e r's d em and s Amonasro hid es as Radam es a pp ea rs, ard ent with promis es to m ak e Aid a hi s brid e aft er his comin g vic tor y in the ren ewe d w ar. She su gges ts in s tea d tha t they run o ff toge th er , as king wh a t rout e

Scene Two

Radam es, buri ed ali ve in a vault beneath th e t e mpl e, turn s his last thought s to Aid a, wh o phYS ically and emotionally sp ent b y the ord eal o f h e r esc ape and the ca pture and d eath of h er fath er, no w app ea rs to h ave hidd en in the

cr yp t ea rli e r th at da y to share hi s fat e Rad am es tri es va inly to dislodge the ston e that loc k s th em in. Bidding far ewe ll t o earth , th e lo ve r s greet eternity whil e abo ve them in th e temple the rep entant Amn e ri s pr ays for Radame s' soul. m

- Co urtesy of San Franci sco Op era

hi s ar m y will take. No soo n er h as h e ,...---------------------------------, an swe red than Am ona sro s te ps out , triumph antl y revealing hi s id entit y as Kin g of Ethi opia. Amneris , lea vin g th e templ e, overhears th e betra yal and d en oun ces Rad am es. Amonasro lun ges a t h er wi th a d agge r, but Radames shield s h er and surrend ers him se lf to Ramfis as th e two Ethi op ian s esca p e

ACT IV Scene One

In a temple of judgment

Amn e ri s d e termine s to save Rad am es. W h en h e is led in , sh e offers to spare hi s li fe if h e wi ll ren oun ce Aid a. Thi s h e sa ys h e wi ll n eve r d o Enra ge d , Amn eri s se n ds him to hi s d oo m but imm e d ia tel y rep ent s , li s tenin g in des p air as th e priests th ree times d emand th a t h e d efend hi msel f. Th ree tim es h e is sil ent. They co nd emn him , and wh en th ey fil e p as t , Amn eri s pl ea d s with th em to le t hi m live. W h en th ey refu se, sh e curses the m .

Go behind the scenes at the Detroit Opera House. Delve into the fascinating works of art at the Detroit Institute of Arts . Explore the world of Detroit architecture and participate in a seminar on Rock and Roll.

These are just a few of the mind-expanding courses that make up Central Michigan University 's MA degree in Humanities focusing on Humanities and Global Culture Be a part of the excitement. Classes are forming soon. Call today for more information

\1The wisest mind has something yet

George Santayana

Aida: Showpiece of Operatic Spedal Occasions

By Dave Blackburn

Wh en fir st commissioned, Aida was intended for a big occasion Verdi, having won critical acclaim for his previous works, had all but retired It was only when asked b y the Khedive of Egypt to produce a wo rk to inaugurate the opening o f the new Cairo Op era House that Verdi put pen to pap er. With a plot outlined b y the EgyptolOgist Marie tte Bey, Verdi engaged the assistance of his fri end Camille du Locle, and later Franco is Augu ste , pouring over every d etail to create an opera b efitting such a momentous occasion. The score, which Henry W Simon notes , took a m ere four months to write, seems intended for a large choru s and massive orchestra The libretto , too , centers on a tale as dramati c as the Egyptian p yramid s on the des ert land sc ape. Though Aida 's premiere was ill fat ed-clelayed when sets and costumes could not be shipped out of Paris, due to the Fran co- Prussian Warits grandio se scale and en ormous popularity has made the produ ction a favorit e of opera companies whenever the res o ccasion to celebrate

As such , Allen Charles Kleins lavish new production , true to the roots of Aida, was commissioned to mark operatic milestones of its own. Presented· here by Michigan Opera

Thea tre in celebration of the 10th anniversary o f th e Detroit Opera House op ening, Aida fulfill s its reputation as the grandest o f grand operas. Likewise , wh en the produ ction is staged b y the Florid a Grand Opera in October, it will mark the companys inaugural p erforman ces in the n ew Miami Performing Arts Center. Though Aida is certainly the show-piece of operatic s peCial occasions, the 10th anniversary of our beloved home has given Michigan Op era Theatre opportunity to reflec t on some other tremendous milestones, and also, to look to the future with an almost fe vered anticipation of exciting things to come.

From the outset , wh en Pa varo tti first announced that he would return to Detroit to perform at the houses opening gala-which brou ght the Detroit Opera House Proj ec t to the attention of the public at large---the thea ter ha s seeme d a magnet for historic events. Restoration of the distressed movie palace was,

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in itself, a project of great Significance. And while many believed it impossible, unwise or simply unnecessary, the Detroit Opera Hou se proved to b e more than just a theater. It was, in fact , just the spark n ee d ed to reinvigorate the Grand Circus and H ar moni e Park di stricts of th e cit y.

FollOwing yea rs of painstaking wo rk, the Detroit Opera House was d eclared , "open and ready for music," by Dame Joan Sutherland on April 21 , 1996. True to his word , Pavaro tti returned, performing along with Gregg Baker, Tito Beltran , Helen Donath , Jane Eaglen , Pablo Elvira, Kallen Esperian, Marcello Giordani, Jan Grissom, Alessandra Marc , Mary Mills, Irina Mishura , Elizabeth Parcells Kathleen Sega r and Jeffrey Wells , at a gala event emcee d b y Roddy McDowall and Ron Raine s, and con ducted by maestros Steven Mercurio,lohn DeMain and Leone Magiera.

In the seasons that have followed that momento u s occasion , the Detroit Opera Hou se h as been host to some exce ptional artist s. It was on the hou ses m ain stage that Maria Ewing performed the role of Salome in 1996. In 1998 , Ruth Ann Swenson and Marcello Giordani sang Manon, and Grammy winner Peab o Bryson made his operatic d ebut in Porgy and Bess. It was also the stage wh ere Andrea Boce lli made his American opera debut, op po site Denyce Graves in Werther (1999). And this is but a sliver o f the talent that h as grace d the stage.

The o p era house h as proved a worthy venue to so m e of operas most Signifi cant producti on s, including Jak e Heggies Dea d Man Walking and a vibrant new production of Bizet's Th e Pearl Fi shers with sets and costumes d eSigne d b y fa shion luminary Zandra Rhode s. Its stage-o n e of the largest in the country-has allo we d Michigan Op e r a Theatre to expand its repertory, presenting large- scale p ro ductiOns including the companys fir st Wagnerian wo r k, The Flying Dutchman , in 1996. It h as also allowe d the company to fortify its commitment to culturally significant works like Tigranians Anoush (2001), Delibes ' Lakme (2002) and , of course , the Richard Danielp our and Toni Morrison collaboration , Margaret Gamer.

In the Detroit Opera Hou se, the art of dance ha s found a suitable h ome in Detroit. www.MichiganOp

Copyright 2010, Michigan Opera Theatre

Many of the wo rld 's great b allet co mpanies have taken the stage, and significant smaller troupes h ave also embraced opportunities to share their craft with Detroit -area audience s. Appearances b y Ru ssia's Bolshoi , Kiro v and Geo rgia n State ballets have m et cri tical acclaim alongSide Significant offerings by Les Ballets de Monte Carlo, the Na tion al Ballet of Canada, Alvin Ailey American Dance Theater, American Ballet Theatre and the Joffrey Ballet. The Detroit Opera Hou se continues to be the only venu e in Southeastem Michigan to present dance on this sca le, much to the cre dit and the d elight of the region 's dedica ted enthu sias ts.

It would be a glaring omission not to m ention the cou ntl ess stars who have taken the stage , including comedian s li ke Rill Cosby, George Carlin and J on Stewart, and musicians ranging [TOm the Rackham Symphony Choir, to Trans-Siberian Orchestra, the Three Mo' Tenors, Harry Connick, Jr and n Divo. The Detroit Opera Hou se has become a premier ve nue for all types o[ entertainment, as well as exciting product laun ches, co rporate functions and parties of all sorts

But perh ap s m os t importantly, the Detroit O p era Hou se ha s allowe d Michigan Opera Theatre to expand educational p rogramming, bringing the·arts to countless yo ung people and adults through student p erfonnances, master classes, summer inten sives, and the awa rd- winning se ries , Lea rni ng at th e Opera Hou se. It s in th ese a reas that the co mpany b eams with pride, and more importantly, where the company sees its future . While Mi chigan Op era Theatre continu es to strive for artistic exce llence, th e co mpletion of the n ew Ford Center for Arts an d Learning a t the Detroit Opera Hou se, will allow th e continu ed expansion o f educa tional offerings. The new Ford Center, which opens in conjunction with the opera houses tenth annive rsary, will be an asset to the entire community, and a resource for all who wish to expand th eir knowledge , understanding and appreciation of the arts.

And so it is that we mark this s peCial annive rsa ry with Aida- a testam ent to all the successes o f the past, and an exciting launch into the s pring 2006 season , and grea t things to come. m

Detro it Opera House

Composer : Gioacchino Rossini • Librettist: Jacopo Ferretti

Conductor: Mark D. Flint • Director: Mark Streshinsky * Set Design. : C. David Higgins • Lighting Design. : Kendall Smith • Chorus Mast er: Suzanne Mallare Acton

Op era in Two A cts

World Premier e : Rome, J anu ary 25, 1817

Sung in Itali an with En glish surtitle translation

Running time appro xi mately 2 hours 50 minutes

This

from Mr. and Mrs. Lee Barthel

The 2006 Spring O per a Season is sponsored

Setting: Salerno, in the 18th century

The Cast

In order of vocal appearance

CLORINDA

Kristine Biller Mattson

TISBE

Kathleen Sega r

ANGELINA (CINDERELLA)

Vivica Genaux (13, 17,20)

Peiyi Wang* (14m , 19)

ALIDORO Andrew Gangestad *

DON MAGNIFICO

Donato Di Stefano

DONRAMIRO

Kenn eth Tarver* (13, 17 , 20)

Bri an Stucki * (1 4m , 19)

DANDINI George Mosley*

CONDUCTOR

Mark D. Flint

DIRECTOR

Mark Streshins ky*

Chorus Mast er: Suz anne Mallare Ac ton

Set Design C David Higgins

Lighting Design.· Kenda ll Smith

Hai r/Makeup Design: Joanne Weaver

Asstistant Director: Brett Finle y

Stage Manager: Jo e Gladsto ne

Surtitles: Roberto Ma uro

Scene lY prOVid ed by Indiana Universi ty Opera Theatre

Costumes proVided by Malabar, Ltd. , Toronto

ACT I

In Don Magnifico 's run-down m ansion, his daughters, Clo rinda and Ti sb e, try on finery while Angelina (Cinderell a), hi s stepdau ghter, who serves as the family maid , sings a forl orn ditty about a king wh o found a wife among the common folk Whe n a beggar app ears , the stepsisters dismiss him , but Cindere ll a offers him bread and coffee Courtiers arrive to announce that Prince Ramiro will pay a visit in sea rch of a bride. The sisters order Cindere ll a to fetch their jewels. Magnifico , awake ned b y th e co mmoti on , sco lds the gi rls for interrupting hi s dream of a donk ey that sprouted wings. Apprised of the prince s visit, h e exho rts th e girls to capture the young man S fancy All retire, an d Ramiro--disgu ised as his own valet-arrives alone to observe the women of the h ousehold. His presen ce startles Cinderella , an d each is struck b y th e others charms. Asked wh o sh e is, sh e gives a flu stered explanation , then excus es h erself as the sisters d em and h er services. When Magnifico en ters, Ramiro says the prince will arri ve short ly Magnifico fetch es his daught ers, an d they fa wn over Dandinithe prince's valet disgu ise d as hi s m asterwho hams up hi s ro le and invit es th em all to a balL Magnifico refuses Cinderellas plea s to go along. Ramiro notes ho w b a dl y Cinderella is treated. His tutor, Alidoro , still in beggars rags, rea d s a censu s list that says th e househo l d has a third dau ghter. Magnifi co says that sh e is dead. After Dandini and his gues ts d epart , Alid oro tells Cinderella that sh e is to accomp an y him to the balL Casting off his r ags, h e identifie s himself and assures h er that h eaven will reward h er purity o f h eart.

In the th ro n e roo m , Dandini rep orts a negative opini on o f the sisters to the prince , but Ramiro h as h eard Alidoro s p ea k we ll of on e of Magni fi cos da u ghters. Cl orinda and Tisb e app ear. When Dandini o ffers Ramiro as an esco rt , the y tum their no ses up at a mere groo m

Near Ramiro 's palace , Alidoro announces an unknown , veiled lady Ramiro recognizes so m e thing in her voice W h en she lifts h er veil , h e and Dandini , as we ll as the sisters ,

sense some thing familiar about her ; Magnifico, arriving to annou nce supper, not es th e newco m er's res emblan ce to Cinderell a. All fee l they are in a dream , ab out to b e awakene d by so m e rude sh ock

ACT II

Magnifico tells his daughters not to forget his importance if one of them ascends the throne H e lea d s them out , wh ereupon Ramiro wanders in , smitten with the n ew arrival be cause of her rese mblance to the girl h e met that m orning. He con cea ls h imse lf as Dandini arrives with Cinderella , courting h er. She po litely declines , saying that sh e is in love with his groom. At thi s Ramiro steps forth To test his sin ce rity, sh e gives him on e of a pa ir of mat ching bracelets, saying that if h e reall y loves her, h e will find h er After sh e leaves, Ramiro calls his m en together to begin the sea rch. Dandini fa ces Magnifico , wh o still beli eves he is the prince and insists he decide which daughter to marry Dandini confesses that he is a valet. Wh en Magnifico b ecomes indignant, Dandini thro ws him out.

In Magnifi co's mansion , Cinderella, back in r ags, tends the fire. Magnifico and the sisters re turn and order Cinderella to prepare supp er She obeys , as a thund ers torm rages. Dandini alTives, saying the princes carriage ha s ove rturned Cind ere ll a realizes the prince is Ramiro ; h e in tum reco gniz es h er bracelet. Magnifico and his dau ghters sma rt from their defeat ; Ramiro is an ge red b y their meanness, but Ci nderella interce d es for them. Her family s till against h er, she leaves with the prin ce; Alidoro thanks h eaven for this happ y outcome .

In Ramiros p alace, Magnifico currie s favor with the n ew princess, but she as ks only to b e ackn owled ged as his daughter Sh e asks the prince to forgi ve Magnifico and the stepsisters; born to suffering, she has seen h er fortune s cha n ge. Chastened , her father and the stepsisters embrace h er as sh e declares that her da ys of sitting b y the fire are ove r m

- Co urtesy of Opera News

2006 marks Michigan Opera Theatres first main stage production of Cind,,·elia. 16 BRAVO

Ailey American Dance Theater}

All about Ailey

ALVIN AILEY FO UN DER

The Alvin Ail ey Am e ri can Dance Th eater grew fro m th e now fab led perform ance in March 1958, at the 92 n d Stree t Young Men s Heb rew Asso cia ti on in New Yo rk. Led by Alvin Ail ey and a gro u p o f yo u ng African America n modem dancers, that performance ch a nged forever the perceptio n of American da n ce. Th e Ailey com pany h as gon e on to perform for an es timated 21 m illion people in 48 states an d in 71 cou nt ri es o n six continents, in cluding two h istoric res id encies in So uth Africa. Th e compan y has earned a rep utation as on e o f th e most accla imed internatio n al ambassadors of American cu lture, promoting the unique ness o f the Afr ican Ame rica n cultural experience and t he p reservation an d enrichment of t he American modem dance heri tage.

Born in Rogers, Texas on J an u ary 5, 193 1 , Alvin Ai ley was int ro du ced to d ance by per fo rmances o f th e Katherine Dun ha m Dan ce Company an d the Ba ll et Ru sse de Monte Ca rl o. H is forma l d an ce tra in in g began with an in t ro duc tion to Leste r Ho rtons classes by h is fri e nd, Carmen de Lavallad e.

W h e n Mr. Ailey b egan c rea t ing d ance, h e drew u p on his "b lood m emories" o f Texas, the b lues, spi ritu als an d gospel as insp iratio n , which res ul ted in the creatio n o f his most p o pul ar and Criti cally acclaimed work-Revelations.

Al t houg h he created 79 ba ll ets over his li fetime, Alvin Ailey ma inta ine d th at his compa n y was not exclusively a repOSi tory fo r h is own work. Today, the Company co nt inues Mr Aileys miss ion by p resenting imp ortant wo rks o f t he past and comm iSSioni ng new ones to add to th e rep ertoire. In all , more th an 200 works by over 70 ch oreographe rs h ave been perfo rmed by Th e Ailey.

Before h is u nti m ely death in 1989, Alvin Ailey as k ed judith J a miso n to become Artistic Director of Alvin Ailey American Dance Theate r Ms. Jamison wrote in h er au tob iograp h y, Dancing Spilit, "I h ope I'm a co ntin ua tion of Alvi n 's vis io n He h as left me a roa d map. Its very clear. I t works."

JUDITH JAMISON

ARTI STI C DI

RECTO R

J u di th Jamison was appOinted Artistic Director of Alvin Ailey America n Da n ce Th eater in December 1989, at th e req u est o f her mentor, Alvin Ailey, who pe rsona ll y chose h er to su cceed hi m b efo re h is u ntimely death. A native o f Phil adelphia, she studied ,vith Ma ri on Cuyjet , was d iscovered by Agnes de Mil le and made he r New York debut wit h Ame ri can Ballet Th eatre in 1964 Sh e becam e a me mber of th e Alvin Ailey American Dance Theater in 1965, and da nced w it h th e co mpany for 15 years to great acclaim Recogn iz ing her ex t raordinary talent, Mr. Ail ey created some of his most enduring ro les for her, most n otab ly the tou r de force so lo, CIY.

After leaving the Company in 1980, Ms. Jamison a p pea red as a guest a rtist with balle t co mpan ies all over the world an d s tarred in the hi t Broadway musical Sophisticated wdies. In 1988, she fo rmed her own co mp any, The J ami son Proj ect; a PBS sp ecia l d ep ictin g he r creat ive process, Judith Ja mi son: The Dancemaker, aired nat ionally t he same year.

As a highly regard ed choreogra phe r, Ms. jamison h as created works fo r m an y compa nies Her new ballet , Reminiscin' was inspired by great fema le jazz a rti sts and Edw ard Ho p per's fa m o u s painting,

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Nighthawks. Love Stories, with additional ch o reography by Robe rt Batt le and Re nn ie Ha rris, was crea ted in 2004. In 2002, HERE NOW. was commissioned for the Cu ltura l O lymp iad in Sa lt La ke City She choreograp h e d Do uble Exposure fo r the Linco ln Center Festiva l in J uly 20 00. Divini ng (198 4 ), Rift ( 199 1) , Riverside ( 1995), Sweet Release (199 6) Echo: Far From Home (1998) an d Hymn (1993), h er stirring tri b ute to Mr. Ailey, are othe r majo r wo r ks sh e has ch oreographed for th e Co mpany.

Ms. J amison is a pu b lished a u th or wh ose autobiogra phy, Da ncing Spirit, was edited by Ja cq ueline Ke nnedy Onassis and publi shed by Doubl ed ay in 1993 She is th e recip ient of many award s and honorary degrees, including a prime time Emmy Award and an America n Ch oreography Award for Outstand in g C h oreogra ph y in t he PBS "Great Pe rfo rmances: Dance In Ame rica" specia l, A Hy mnJar Alv in Ailey, and an ho n orary d octorate from Howard Unive rsity. In Dece mb er 19 99, Ms. J a miso n was presen ted with the Kennedy Ce nter Hono r, recogniz ing he r li fetime co nt rib u tion s to American cult ure t hro u gh the performing arts. In 2001, sh e rece ived the Algur H Mea d ows Award fro m So ut he rn Me thodist Un iversity and was presented wit h a Nationa l Med a l o f Art s, th e mos t pres tigiou s award p rese nted to a rtists in th e U n ited Sta tes. Ms. J amiso n ca rried the O lymp ic to rch d u ri n g the relay p rior to th e ope n ing cere moni es in Salt Lake City in 2002. In 2003, sh e rece ived the "Ma king a Differe n ce" Award by th e NAACP ACT-SO. Most recent ly, Ms. J am ison rece ived the Pa ul Robeson award from th e Actors ' Equity Association in recogn ition of her ou tstan d ing co ntributi on to the performing a rts and commitment to the righ t of all people to li ve in d ignity and peace. Today, Ju d ith j a miso n p resides over a renewed Ailey organization , artistically and fisca lly in vigo rated. Her p resence h as been a ca talys t , prope lling the organ ization in n ew di rections - the develop m ent of th e Wo m ens Choreograp hy Init iat ive; pe rfo rma n ces a t th e 1996 At lanta Olympi c Games a nd th e 2002 Cu ltura l Olympiad in Sa lt Lake City; and two unprecedented en gagements in South Africa. Most recently, she led the Company th rough histo ric perfor man ces at the White Nig h ts Festival in 51. Petersburg, Russ ia. Ms. J a mison h as contin ued Mr. Aileys practice of showcasing the ta lents of em erging c h oreograph ers fro m w ith in t h e ra nks of th e Comp any. As Ar tistic Direc tor o f T he Ailey Sc hoo l, officia l school of the Alvin Ai ley American Dance Theater, sh e has h el ped to im pl ement a m u lticultural curricu lum in cluding sa lsa and the da n ces o f West Africa and South India. She is an advoca te for educatio n in th e arts and was a guiding force in estab lishing the B.FA. program with T he Ail ey Schoo l and Fo rd h am Un iversity, which o ffe rs a un iq ue co mbinati on o f wo rl d-class dance training and a superior liberal arts ed uca tio n Following the traditio n of Ailey, Ms. J amison is dedicated to asse rting the prominence of the arts in our cu ltu re, spea rh eading in itiatives to bring dance into th e community and progra ms th at introduce ch il dren to the arts. She rem ains co mmitted to promot ing the Signifi cance o f the Ail ey legacy---dance as a medi u m for h onOring th e past, celeb rating the present a nd fearlessly reach ing into th e fut ure. The move to Aileys permane nt home, a s tate-o f-the-art bu ilding located at 55th Street an d 9 th Avenue, was the realization of a long-awa ited d ream.

MASAZUMI CHAYA ASSOC IATE ARTI ST IC DIRECTOR

Masazumi Chaya was b orn in Fukuoka, J apan, w here h e bega n h is classical b allet trai n ing. Upon mo vin g to New York in Dece m be r 1970, he studied mode rn dance an d pe rfo rmed wi t h the Ri ch ard Englun d Repertory Compan y. Mr. Ch aya joined Alvin Ailey Ame rican Dance Th ea ter in 1972, and pe rformed with the Compan y for 15 years. In 1988, he beca m e the Com panys Rehearsa l Di rector afte r serving as assistant rehearsal di rector for two years. A mas ter teac h er, both on tour wi t h t he Com pany and in h is native j apan, he served as ch oreograp hi c assista nt to Alvi n Ail ey and J o hn Butler. In 199 1, Mr. Ch aya was na med Associate Artis tic director of the Company. He conti nu es to provide invalua ble creative assistan ce in all facets of its operations In 2002, Mr. Chaya coordinated th e Companys appearance at the Ro cke fell e r Center Chris tmas tree- ligh ting ceremo n y, broadcas t on NBC.

Mr. Chaya has staged nu m erous ba ll ets inclu d ing Alvin Aileys Flowers for the State Ballet of Missouri (1990) an d The River fo r t he Royal Swedish Ballet (1993), Ballet Flo lida (1995), Na ti onal Ba llet of Prague (1995), Pen nsylvan ia Ba ll et (1996) a n d Colora d o Ball et (1998). H e h as also restaged Pas de Duk e, The River, The Mooche, The Stack-Up, Episodes, Masekela w ngage, Bad Blood, Hidden Rites, Urban Folk Dance and Witness fo r the Compan y. At the beginning of his te n ure as Associate Artistic Directo r, Mr. C haya restaged Aileys For "Bird" - With Love fo r a " Dance in America" p rogram ent itled Alvin Ailey Ame lican Dance Theate r: Steps A head. In 2000, h e restage d Aileys Nig ht Crea ture for the Rome Ope ra House an d The River fo r laScala Ballet. In 200 3, he restaged The River for No rt h Caroli n a Dance Theater and for J u li o Bocca's Ball et Argent ina.

As a perfo rm er, Masaz u m i Chaya appea red o n japanese televis ion in bot h d rama tic and musica l produc tions He wishes to recognize the artistic co nt rib u ti on and spi rit of h is late frie n d and fe ll ow arti st , Michih iko Oka.

RONNI FAVORS

RE HEARSAL DIRECTO R

Ronni Favo rs began danCi n g as a child in her h ometown of Iowa City, Iowa and later traveled to New Yo r k to co nt inue her studi es a t The Ailey Sch oo l as a fellowsh ip stu d ent. Ms Favors was a me mber of Ailey II , Alvin Ai ley Ame r ican Dance Theater (AAADT) and the La r Lubovitch Dance Company, and a recipient of the Min-On Art Award. She served as Lar Lub ovitchs assistant in setting h is works on severa l compan ies, including Cleveland Balle t , the jui ll iard Dan ce Ense m b le, Ba llet du Nord and AAADT. Ms. Favors was the b all et instruc tor at AileyCa m ps 1989 inaugural session in Kansas City and served as Artistic Director of the Camp in 1990. She was the found in g Di rector of New Yo rks CAS/A il eyCamp and prov ided gu idance in th e na tional implementation of the program. Ms. Favors was na med Assistant Rehea rsa l Director in 1997, and Re hearsal Di rec to r in 1999. Dur ing th e Compan y's re tu rn to South Africa in the fa ll of 1998, Ms. Favo rs engaged an d re h earsed South Africa n students wh o pe rformed in Alvin Aileys MemOlia in j ohannesb urg.

WHO'S WHO IN THE COMPANY

GUILLERMO ASCA (Rego Park , NY), or "Moe," as h e is affectio n ately known , graduated from laGuardia High School of the Performing Am. He was a fellowship student at The Ailey Sch ool and danced with Ailey II, Ballet Metropoli ta n o de Caracas, Ballet H ispanico, Dance Compass, Shapiro & Smith and Fo o t Prints Dance Projec t. Mr. Asca joined th e Co mpany in 1994.

OUVIA BOWMAN (Brooklyn, NY) graduated from laGuardia High Schoo l of the Performing Am. She received scho lars hips fTOm North Carolina Schoo l of the Arts and was a fell owship student at The Ail ey School. Ms. Bownl an was a membe r o f Dona ld ByrdfThe Grou p and Complexions. She j oined the Com pany in 200L

KIRVEN J. BOYD (Boston, MA) began his forma l dance training at the Boston Arts Academy and join ed Boston Youth Moves in 1999, under the direction of jim Viera an d jeannette Neill. He also trained on scholars hip at the Boston Conservatory and as a fello ws hip stu dent at The Ailey School. Mr Boyd has d anced w ith Battleworks Dance Co m pany, Th e Parsons Dance Company and Ailey II. He joined the Company in 2004.

HOPE BOYKIN (Durham, NC) is a three-time recipient of th e American Dan ce Festiva ls Youn g Tu iti on Schola rship. She attended Ho wa rd Univers ity a nd perform ed wit h Lloyd W h itmores New World Dan ce Company in Washington, DC. Ms Boykin was a student and intern at The Ailey Schoo l. She was assistant to the late Ta ll ey Bea tt y and an original m ember of Complexion s. Ms. Boykin was a memb e r of Philadan co and received a New Yo r k Dance and Performan ce "Bessie" Award. She jo ined the Company in 2000.

CUFTON BROWN (Goodyear, AZ) began his dance training at Take 5 Dance Academy. He continued to train at Ballet Arizona, New Sc hool for the Arts and Th e Ailey School w h ere he was a student in the AileylFordham B.FA. Program in Dance. He is a recipient of a Martin Luther King,]r. scho larship fund ed by the city of Phoenix, a Donna Wood Foundation Award and a Level 1 ARTS award given by the National Foundation for the Advancement in the Arts. Mr. Brown join ed the Co m pany in 1999.

COURTNEY BRENE CORBIN (Brentwood, TN) was born in Overland Park, KS. Sh e began her dance training at Ba ll et Oklahoma. She continued her formal trainin g at Dancenter North and t he Sc h ool of Nashvi ll e Ballet. Ms. Corbin has also filmed a pilot for Nickelodeon and m odeled in Bazaar/Japan magazin e. In May 2004, Ms. Co rb in graduated from The AileylFord ham B.FA. Program in Dance. She was a m ember of Ailey Il and joined the Company in 2005.

ROSALYN DESHAUTEURS (New Orleans, LA) stud ied at the New Orleans Center for Creative Arts. She train ed at Perry Mansfield , the Schoo l o f American Ballet and The Ailey School. After receiving her B. FA. degree fro m The J uilliard Sc hoo l, Mrs. Deshauteurs becam e a member of Ailey II. She joined the Company in 2000.

KHILEA DOUGLASS (Baltimore, MD) rece ived her dance training from Dance Theatre of Harlem, th e Ba ltimore School for the Am and The Ailey School, w h ere she was a fe llowship student. Ms. Douglass danced with the Lula Washington Dance Th eatre and was a member of Ailey II. She joined the Company in 2005.

20 BRAVO

{Alvin Ailey American Dance Theater}

ANTONIO DOUTHIT (St. Louis, MO) began his dance t raining a t age 16 at the Cente r o f Contemporary Arts under the di rection of Lee Noltin g and at the Alexandra Schoo l of Ball et. He also trained at North Caro li na Sch ool of the Arts , the joffre y Ball et Schoo l, San Francisco Balle t and the Dance Theatre of Harlem Schoo l. After gradu ating from high school in 1999, Mr. Douthit became a member of Dan ce Theatre of Harlem where he appeared in featured rol es in the ballets South Aflican SUite, Doug/a, Concerto in F, Retum an d Dwight Rhoden s Twist. He was promoted to so loist in 2003. He also performed with Les Grand s Ballets Canadiens de Mo nt real. Mr. Douthit joined the Company in 2004.

VERNARD J. GILMORE (Chicago, IL) began dan cing at Curie Performing and Creative Arts High School in Chicago and later s tudied at the J oseph H olmes Chicago Dan ce Theater with Marqu ita Levy, H arriet Ross and Emily Stein. He attended Barat College as a dance scho larship recipient , recei ved first place in the all -c ity NAACP ACT-SO Co mp etition in Dance in 1993, and stud ied on fe llo wship at the Ail ey School. A fonner member of Ailey n, Mr Gilmore j oin ed the Com p an y in 1997.

AUCIA J. GRAF (Col umbia , MD) received her training at Ball et Royale Academy under Donna Harrington - Pid e l and attended the Schoo l of American Ball et and American Ba ll et Theatre summer intensive programs. Ms. Graf is a fonner principal dance r of Dance Theatre of Harlem a nd was a member of Comp lexions Her guest appearances include Alonzo King's LI N ES Ballet and the Fashion Rocks Awards with And re 3000 of Outkast at Radio Clty Music Hall. Ms. Graf grad u ated magna cum laude and received a degree in history from Co lumbia Un ive rs ity. She has also written several art icles for Pointe Magazine and Dan ce Magazine. Ms. Graf joined the Company in 2005.

ZACH LAW INGRAM (Miam i, FL) is a graduate of the New World Sc h ool of the Arts. He contin ued to study dance at Miami Clty Ballet,joffrey Ballet, Dance Theatre o f Har lem, Sch ool of American Ball et, American Ba ll et Theat re and as a fellowship student at Th e Ailey Sc h oo l. Mr. Ingram was a member of the first Space T.U Embrace Proj ect und er the direction of Toni Pierce and Uri Sancls. He received first place in the NAACP ACT-SO Competition in Dance and an ARTS award give n by the Nationa l fo un da tion for Advancement in the Arts. Mr. Ingram was a member of Ailey II an d joined the Company in 2004.

KRISTEN IRBY (Ch icago, IL) bega n dancing at Curie Per forming and Creative Arts H igh Schoo l as a theater major and later attended the Joseph Holmes Chicago Dance Theater. He received scholarships to Colu mbia College, Hom er Hans Bryant Ba ll e t , Houston Ballet Academy and Barat College, where he received his B.A. in dan ce. Mr. [rby studied with fab rice Herrau lt and has p er form ed with Dallas Black Dance Th eatre, Ph iladanco, The Parsons Dance Co mpany and the Metropolitan Opera Ballet. His feature film credits include Les Visit eurs en Amerique, Dance to Live and th e independent feature M,: Brown.. Mr. Irby joined the Company in 2005.

ABDUR.fIAIfIM JACKSON (Philadel phia, PAl is a graduate o f franklin Learning Center Hig h Schoo l and recei ved h is B.FA. from Th e Jui ll iard School. He rece ived sc holarshi ps from freedom Theatre, Philadanco, Dance Thea tre of Ha rlem, Boston Ballet and The Ailey Schoo l. Mr J ackson received a Marion D. Cuyjet Award and was featured in the 2003 PBS "American Masters" docu m entary at juilliard. He danced with Ailey II in 2000 and jOined th e Company in 2001.

Copyright 2010, Michigan Opera Theatre

CHRIS JACKSON (Chicago , IL) began his formal dance training at the Chicago Academy for the Arts under the direction of Anna Paskevska and Randy Duncan. He later went on to pursue training at The Ail ey Sch ool and rece ived the 2001-2002 Alvin Ailey fellowship. Mr. Jackson was a member of Ailey II and jOined the Company in 2004.

GWYNENN TAYLOR JONES (Berlin, PAl began h er dance training with the Pittsburgh Youth Ballet at the age of 13. Sh e co ntinued her studies at the Ba ll et Met Dance Academy in Colu mbus , OH. Ms. jones m oved to New York where she studied at The Ailey Sc hool as a fellowship student a nd later became a member of Ailey II She danced with Earl Mosl ey Diversity of Dance , Fred Benjamin Dance Company, Ceda r Lake Ensemble and perfonned choreography by George Faison for Aretha Franklin. Ms. J ones joi n ed the Co mpany in 2004.

WILLY LAURY (Paris, france) began training in dance at age 10 at the Janine Stanlowa In stitute de Danse and Studio Harmonic in Paris. He moved to New York City where he continued h is dance education a t SUNY Purch ase and The juilliard School. He studi ed at The Ailey School an d pe rformed works by judith Jamison, Ala n Barnes and Matthew Rushing and was a memb er of Ai ley II. He joined th e Company in 2004.

ROXANNE LYST (Annapolis, MD) began her pro fessional dance trainin g in Wash in gton, D C, under th e tutelage o f Alfred Dove an d Adrian Bolton. She continued her studies at J acobs Pillow, Penns ylvania Academy of Ballet, and as a fe llowship stude nt at The Ailey School. Ms. Lyst was a membe r o f Ailey II and Philadanco. She joined the Company in 2004.

AMOS J. MACHANIC, JR. (M iam i, FL) s tudied dance at the New World School o f the Arts and continu ed his training at The Ailey School, w h ere he was a fellowship reC ipient. He was a member of Ail ey II and j oined the Compa ny in 1996.

BRIANA REED (St. Petersbe rg, fL) gradua ted from Th e J ui lliard School wi th a B.fA. d egree in dance and stud ied at The Ai.1ey School as a fe ll owsh ip student. She was selected to join Ailey II in 1997 and became a member of the Company in 1998.

JAMAR ROBERTS (M iami, FL) graduated fro m the New World School o f the Arts. He trained at the J offrey Ballet School a nd as a fellowship stude nt at The Ailey School. Mr. Robem was a me mber of Ailey II and joined the Company in 2002.

RENEE ROBINSON (Washin gton, DC) began her tra ining in classi ca l ba ll et at the J ones- Haywood School o f Ballet. She was the recipi en t of two Ford fou n dation scholarsh ips to the Schoo l of American Ballet and was awarded full scholarsh ips to th e Dance Theatre o f Harlem Sc hool and The Ailey Schoo l. In 2003, she perfonned at The Wh ite House State Dinner in honor of the President of Kenya, Mwai Kibaki. Ms. Robinson was a m ember of Ai ley II and joined the Company in 1981.

MAITHEW RUSHING (Los Angeles, CA) began h is dan ce training at th e Los Angeles County H igh School for the Am. He received a Spotlight Award and was named a Presidential Scho lar in the Arts. He trained at The Ailey School in New York Ci ty and later became a member of Ailey 11 , where he danced for a year. Dur ing his career, he has performed as a guest artist for ga las in France, Russia, Canada an d Hungary and per formed for form er president Bill Clintons inaugura l presidential ce lebra tion. In 2003, Mr. Ru shing per-

De troit Opera House

formed at The White House Sta te Dinner in honor of the President of Kenya, Mwai Kibaki He joined the Company in 1992

WENDY WHITE SASSER (Mo ntgo me ry, AL) received her training from the Alabama Dance Theater and the Carver Creative and Pe rforming Arts Center. She was nam ed a Presid ent ia l Sc holar in th e Arts and was a fellowship s tudent at The Ailey School. Mrs. Sasse r has performed with Ailey II , Donal d Byrdfrhe Group and Comp lexions She joined the Compan y in 2000.

GLENN AUEN SIMS (Long Branch , NJ ) began his dan ce training a t the Academy of Dan ce Arts in Red Bank, Nj. He was a fellow ship stud ent a t The Ailey Sc hool and performed in the Garden Sta te Arts Center's Talent Expo in 1993. He attended The Juilliard School und er th e artis tic direc tion of Benjamin H a rkarvy and performed wo rks by G len Tetley, Paul Taylor and Lila York. Mr. Sims has p erfo rm ed for the King of Moro cco with choreography by Fred Benjamin and with Urban Dan ce Theater and Creative Outlet Dance Theate r of Brooklyn. In 2004 , Mr. Sims was inducted into the Lon g Branch High Sc hool 's Distingui shed Alumni Hall of Fame. He joined the Company in 1997.

UNDA CELESTE SIMS (Bro nx, NY) began h e r dance training at Ballet Hi spanico School of Dan ce and is a graduate of La Guardia H igh School of the Performing Arts. In her senior yea r, Mrs. Sims won a Pres id ential Sch o lar award given by the Nationa l Foundatio n fo r Advance m ent in the Arts. During th e summ ers of 1993 and 1994, she was a sc h ola rship

student at the Pennsylvania Ballet School. She has danced with 'E1 Piccalo Theatro del' la Opera and Ba llet H ispanico. Mrs. Sims joined the Company in 1996.

DWANA ADIAHA SMALLWOOD (Brooklyn, NY) trained at the Martha Graham Center of Contemporary Dance , laGuardia High School of the PerfOrming Arts , Jubilation Dance Company and as a fellows hip stude nt at The Ailey School. She is a former m ember of the North Carolina Black Repertory Co mpany and a three-time first place winner of the Apollo Theater's Amateu r Nigh t She received first place in th e NAACP Na ti ona l ACT-SO Competition in Dance in 199 0 Ms. Sm allwood was a member of Ailey II and joined the Company in 1995.

ASHA THOMAS (Atlanta , GA) graduated from No rth Atlanta H ig h Schoo l o f the Performing Arts and was a m ember o f the Gary Harrison Dance Company in Atlanta. She was a fellowship student at The Ailey Sc hool and rece ived he r RFA. d egree from The JUilliard Schoo l und er th e direction of Benjamin Harkarvy be fore joining the Co mpany in 1999

TINA MONICA WILLIAMS (Elizab eth , NJ) started danCing at a loca l dance sc hool under th e direction of Michele Selva nto-Ko wals ki In 1994 , Ms. W ill iams began her formal training at The Ailey Sc h ool , receiving a fellowship after her first yea r She danced with Footprints Dan ce Company, The Mill ennium Proj ect, The Shore Ballet Company and was invited to perform in Italy in 1994, as pa rt o f a you th cultt lral exchan ge tour. In 1998, she was invited to join Ai ley II. Ms. Williams joined the Company in 2000.

DION WILSON (Baltimore , MD) graduated from the Baltimore School for the Arts in 1996. In 2001, he received his B.FA. degree in Dance Performance from Purchase College at S.u.N.Y. He has performed with Philadanco , Dance Theatre of H arlem, Asheville Civic Ballet, and the Jones-Haywood School of Ballet and worked with choreographer Debbie Allen in Story. Mr. Wilson was a 1999 recipient of a Princess Grace Fe ll owship and in 2000 received a Maryland State Arts Council Award for Solo Dance Performance. Mr. Wilson joined the Company in 2001.

THE REVELATIONS EDUCATIONAL PROJECT.

MAY 8 - 19 Th e Alvin Ailey Edu catio nal Resid ency involves two weeks of in-school outreach activities centered around Ailey's Signature work REVELATIONS. Teaching artists for th e Ailey Company wi ll work with middle school s tudents on writing projects , movement workshops and an examina tio n of the historical context of Ailey's famou s ballet Detroit schools participating are Ludington Magnet Middl e Sc h ool , Re mus Robin son Middl e Sc hoo l , Duke Ellington Conservatory and Winans Academy. During th ese two weeks the company wi ll offer master classes at the Opera House and a specia l audition for the Ailey New York Schoo l. For information contact Kamilah Levens at (313) 237-3251.

WHERE MEMORY LIVES IN BEAUTY.

Nest led within Wh ite C hape l' s p a stora l sp le ndor, one w ill d iscove r the mag nifi ce nt new Guard ia n A ngel Ni c hes. Provi d ing pe rmane nt inu rnm e nt, t hey are t he la t est in a full range o f opti ons Wh ite C hape l o ffe rs, includ ing ma uso le um crypts and niches, traditional cemete ry bur ia l and cre ma ti o n, a ll wi th in t e rest-free te rms. Le t us assist you in pre -plann ing and se lect ion

Call (248) 362-7670

Alvin Ailey Dance Foundation

Board of Trustees

Chairm an: joan H We ill

President: Henry McGee

Chairman, Executive Committee: Philip laskawy

Vice-Chairmen: Katherine Farley, Guido Goldman, BlU ce S. Gordo n , Arthur J Mirante II , Christoph er J W illiams

j ames G. AblUZZO, Simin N. Allison, Eleanor S. Applewh a ite, Anthony M. Carve tte, Kathryn C Ch en ault, David S. Daniel , judith M. Davenport, David 1. Greenberg, Ira D. Hall , Deborah Holmes , judith j am ison , Barbara jonas , Richard L. Ka uffman , Debra L. Lee, Marion Fischer Lenihan , Sharo n Gers ten Luckman, Arthur J Mahon, Gabrie lla E. Monis, J oyce M. Ne lson, Sylvia Rhone, Nico la s S. Rohatyn, John H. Sch aefer, Richard SpeCiale, Lemar Swinney, Juli a A Wa lk er, Peter B. Walk er, john Wren

Chairmen Emeliti: Stanl ey Plesent , Esq., Haro ld Levin e

Administrative Staff

Recipient of a 2001 National Medal of Arts

Executive Director: Sh aron Gersten Luckman

Director of Development: Bennett Rink

Director of Marketing and Publi c Relations: Jodi Pam Krizer

Director of Finance and Administration: Pamela Robinson

Director of Operations and SpeCial Projects: Cory Greenbe rg

Artistic Director of Ailey II: Sylvia Waters

Director of The Ailey School: Denise J efferson

Director of AileyCamp, Arts in Educations & Community Programs: Nasha Thomas-Schmitt

Direc tor of The Ailey Extension: Yvette Campbe ll

Alvin Ailey American Dance Theater

Ca lvin Hunt , General Manager/Director of Produ ction

Amadea Edwards Andino, Manager of Administration

Dacquiri TShaun Smittick, Company Manager

E.]. Corrigan, Technical Directo r

Kristin Colvin Young, Stage Manager

Watkins Smith, Assistant Stage Manager

J on Taylor, Wardrobe Supervisor

Al Crawford, Lighti ng Director

Stuart Nelson, Assistant Lighting Director

David Kerr, Master Electrician

J oe Gaito, Master Carpenter

Paul Allshouse, Sound Engineer

Samue l Deshauteurs, Prop erty Master

Tony Triplin, Flyman

Brian Zimmennan, Assistant El ectrician

Rosalynn Evans, Wardrobe Assistant

Corin Wrigh t , Wardrobe Assistant

J ennifer McGrath , Tour Merchandise/Assistant Company Manager

Masazumi Chaya, Associate Artistic Director/Company Teacher

Ronni Favor s, Rehearsal Director/Company Teacher

Milton Myers, Company Teach er

Donald]. Rose M.D., Director of the Harkness Center for Dance Injuries, Hospital for Joint Disease

Shaw Bronner, Physical Th erapist

Enid Woodward, Physical Therapist

Sheyi Oj ofeitimi , Physical Therapist

The dancers appearing in this perfOlmance are members of the American Guild of Musical Artists AFL-C10, the labor union representing professional dancers, singers, and staging personnel in the United States The p roduction crew are members of the International Alliance of Theatrical Stage Employees ClATSE).

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David V Foster, President and CEO.

40 West 57th Street, NY, NY 10019

A member of ICM Holdings Inc.

Telep hone (212) 556-5600

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Production Credits

Lighting system provided by 4Wa ll Entertainment.

Touring sound system provided by New York Audio Service Inc.

International freight forwarding provided b y Rock-it-Cargo.

Soft goods provided by 1. We iss &: Sons.

Recording and mastering studi os p rovided b y City Sound Productions.

Domestic tlUcking services provided b y Stage Ca ll Corporation.

Air travel and h o tel accommodatio ns a rranged by Road Rebel Entertainme n t.

International air arranged by Pisa Brothers.

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Alvin Ailey American Dance Theater is a proud member of Dance/USA , the national organization that r epresents nonprofit professional dance.

For more infonnation on Alvin Ailey Dance Founda tion, Ailey II , The Ailey School , Arts in Education &: Community Programs, The Ailey Extensio n , Group Rat es &: Special Visits, and to sh op at the Ailey Boutique:

T he Joan Weill Center for Dance

405 West 55th Street (at 9th Avenue) New Yo rk, NY 10019-4402 , Tel (212) 405-9000, Fax: (212) 405-9001

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Copyright 2010, Michigan Opera Theatre

Setting: Judea, about A.D. 30

The Cast

In order of vocal appearance

NARRABOTH

Roger Honeywell

PAGE

Krysty Swann * *

FIRST SOLDIER

Donald Hartmann

SECOND SOLDIER Branch Fields·

JOKANAAN

Greer Grims ley (3,7, 10)

Jeffrey Kneebone* C4m ,9)

CAPPADOCIAN David Cushing*

SALOME

Ma rquita Lister (3, 7, 10)

Eilana Lappa lainen * C4m,9)

SLAVE

Laurie Seely *t

CONDUCTOR

Stefa n Lano

DIRECTOR

Bernard Uzan

HEROD

Pete r Kazaras

HERODIAS Graciela Araya*

FIRST JEW Doug Jones

SECOND JEW Eric Johnston

THIRD JEW

Torrance Blaisdell

FOURTH JEW Mark T. Panuccio

FIFTH JEW David Cushing*

FIRST NAZARENE

Andre w Gangesta d

SECOND NAZARENE

Miroslav Manovski *

From the moonlit terr ace of Herod 's turn the proph et over t o the J ews. pa l ac e, Na rr aboth, capt a in of th e Herod refu ses, maintaining that guard, gazes r a pturousl y inside at th e Jokan aa n is a hol y man. His wo rd s princ ess Salome, w h o i s feas ting wit h incur an argument among th e Jews h er s t e pfather, th e tetrarch H e rod , an d con ce rning th e nature of Go d , and a his co urt. A pa ge warns him not to narr ative of C hrist 's mir a cles b y two s tar e so in te ntl y l es t s om e thing terribl e Nazarenes As Jokanaan co ntinu es hi s happ e n. The vo i ce of th e proph e t denunciation, the qu ee n furiou s ly Jokanaan proclaim s th e Messiah 's demands hi s s il e n ce. H e rod b egs g r eatness ec hoin g from a d ee p c i stern, Sa l o m e to di ve rt him b y dancin g and w h ere h e has b ee n imprison e d b y th e offe r s h e r an y thing s h e might w i s h in tetrarch; two so ldi e r s comment on th e return. Sa lom e makes him swear h e proph e t 's kindn ess and H ero d 's fear of w ill li ve up t o hi s promi se , then d ances him. Sa l ome, b ored w ith H ero d 's l ec h- s h e ddin g veils and fini shin g a t H ero d 's erous g l ances and his coarse g u ests, feet (Dance of Seve n Ve il s) Sh e s ho c k s rushes o ut to the t errace [o r so me fresh the m o narch b y ask in g for the h ea d of air. Sh e b eco m es c uriou s when s h e J okanaan o n a s il ve r pl a tter. Sh e is hears Jokanaan c urse H ero dias , h e r refus e d by th e horrifi ed Herod , but moth er. W h en th e gua r ds refu se to let Herodi as l au ghs approvingly. In d esher speak to J oka n aa n , Sa l o m e turns perati o n H ero d o ff ers a lt e rnati vesh e r w il es o n Narrabot h , who ord e r s jewel s, rare bird s, the sacred ve il of the that J oka naan b e a ll owed to co m e forth. Sa l o m e i s fa sc in ate d b y th e proph e t 's deathl y pallor and pours out her un con trollabl e d es ir e to touc h him.

Choreograph er: Till Schmid t-Rimpler

Set Design: Roberto Oswa ld

Costume Design: Anabal Lapiz

Lighting Design: Donald Thomas

Hair/Maheup Design: Joanne Weaver

Asst. Director: Trevore Ro ss

Stage Manager: Ken Saltzman

SurLitles: Roberto Mauro

Sets and costum es provided by Orland o Opera

Las t Michi gan O pe ra Theatre production of 5a1 0111 e: 1996

Co ndu cted by J o hn DeMain. Di rec ted by J ea nn ette Aster.

• Michigan Ope ra T heatre d e but

•• DeRoy Tes tamentary Foundation Young Art ist t Jo yce H Cohn Youn g Arti s t

The proph e t r ej ec t s h er , spea kin g of the Son of God w h o w ill co me to save mankind . When Sa lom e con tinu es to beg for Jokan aa n 's ki ss , Na rr a b o th sta b s himself in horr or, and th e proph e t d esce nd s into the cistern ,

t emple. But Sa lome p ers is t s until th e terrifi e d king finall y g i ves in . As a n executioner goes down into the ci s t e rn , Salome peer s impati en tl y over th e e d ge. At las t an ar m thru st in g from th e c i s t ern, o ff er in g th e h ead to Sa lom e.

As cl o ud s obscure th e mo o n , Sa l ome se i zes h e r reward passion ate ly, addressing Jokanaan as if h e li ve d and triumph a ntl y k i ss in g hi s lip s Overcome c ur sin g th e girl. She co ll apses in fru s - w ith r ev u l sion, H e rod or d e rs th e so ltration and lon g in g. di ers to kill Sa l ome. Th ey c ru sh h e r

Lo oking for Sa l o me , H e r o d a pp ea r s, ben eat h their s hi e ld s follo we d b y hi s cou rt ; r emar king o n th e strange s h ape o f th e mo o n , h e slip s in Narrabot h 's bl oo d a nd , unnerved , is v isit e d b y h allucina ti ons. Herodi as sco rnfull y dismi sses his fa nta s ies and s ugge s t s the y w ithdraw. H erod's thought s turn t o Sa l ome, w ho spurns hi s a tt e ntions Re n ewe d a bu se from

Jokanaan 's su bt erranean vo i ce hara sses H e rodi as , w ho d e m a nd s t h at H ero d

Salome: An Exploration of Artistic Decency

By Roberto Mauro

Few c haracters , fictional or non-fi cti onal, ha ve be co me as legendary as the petulant 15year-old Jud ean Princess Sa lom e Ironic ally, Sa lom e is not even nam ed in the Bible. She is mentioned , only fleetingl y in the Gospel s of Mark and Matthew, mere ly as the daughter w ho so inflam ed a King with he r se nsual dancing , that h e grant ed h er request to behead th e prophet who preached the com ing of Ch ris t. The adaptation and int e rpretation of thi s incident has ensured her eve rlasting fame .

In almost eve r y m e dium , artist s have exp lored Sa lome; from m e di ev al bas-reliefs in Franc e to 13th century It a li an mosaic s to Gustave Moreau's intric ate 19th century watercolors , artists have reveled in th e ero ti cism and vio lence of Sa lome's requ es t and h er stepfath er 'S acquiescence. During th e 19th cent u ry, famou s writers ran gin g from He in e, Mallarme and Flaubert turn e d their attention to the character of Sa lome. It was, however, towards the end of the century, in 1891 , wh en Oscar Wilde's pla y Salome, writt e n in Fr en c h , s hocked prim , proper and prudish Victorian SOC ie ty.

The play received a s in gle so litary produ ction in Pari s in 1896, and by the tim e it was to b e premi ered in England , it was banned on the grounds of ind ece ncy. Th e English publi c was whipp e d into a further frenz y when the printe d ve rs io n was acco mpanied with a se ries of ero ti c illustration s by the 22-year-o ld artis t Aubrey Beardsley. The controv e rsy ev entually s immered down , and Wilde continued with hi s life.

Th e playwrig ht was eve ntuall y se nten ce d to a two-year pri so n te rm for acts of gross ind ecency, a nd w hil e in prison , was declared bankrupt. An offi cial o f the Court of Bankrup tc y took the view that Wilde's lit erary works were , "of no va lue and co uld never command any int ere st whatsoever." However, the official was mi staken, and W il de's es tate was rescue d from in so lvenc y th an ks in large p a rt to royalties from German t rans lations and productions of hi s s tage works.

Wi ld e's Sa lom e first appeared in Breslau in 1901 , and then in a successful s taging by Ma x Reinh ardt , la te r a close co ll aborator of Strauss, in Be rlin , where it ran for over 200 performance s . Re inhardt 's production did not stress the play 's s ymbolic assets , but rather focus e d the d e m o ni c fe minine sexuality of the title character. It was h e re that Ri ch a rd Strauss first saw the pla y. Yea rs later , the co mp ose r remini sce d:

Once, in Berlin, 1 went to Max Reinhardt's thea tre in ord er to see Gertrud Eyso ldt in Osca r Wild e's Sa lome. After the performance 1 met Heinrich Grunfeld, who said to me: "My dear Strauss, surly yo u co uld make an opera of thi s!" I repli ed: "1 am already busy composing it ." The Viennese poet Anton Lindtn er had se nt me thi s ex qui si te play and offered to tum it into a libretto for me. When I agreed, he se nt me a few cl eve rly versified opening scenes, but I could not mak e up my mind to start composing until one day it occurred to me to se t to music wie schon ist die Prinzessin Sa lome heute Nac ht st raight away. From then on it wa s not difficult to purge the pi ece of purple pas sages to such an exte nt that it beca me quite a good libretto.

Ind eed, Strau ss co mpresse d th e text of th e p lay, and the flow ery deSCripti ve text contrasting with hi s often brutal mu sic, result in g in a s ingl e act opera of only 95 minute s of incredib le dramatic power and cons equ e nce His draft was compl e ted in Se ptember 1904 , a nd the full sco re comp le ted on Jun e 20, 1905. Strau ss 's opera, with its co ntro ve rs ial s ubj ec t , mas sive orches tration and mu s ic that pu sh ed th e limits of tonality not on ly challenge d contemporary audiences, but al so the singers a nd musicians involved in the premiere production in Dresden. O n ce again let u s turn to th e co mpos e r:

... durin g th e first rehea rsa l at th e piano , the ass embl ed so loists return ed their parts to the conductor with the Singl e exce ption of Mr. (Carl) Burian , a Czech, who, when asked for his opinion last of all, repli ed: 'I know it by heart already.' Good for him After this th e others could not help f ee ling a littl e ashamed and rehea rsa ls actually started. During th e casting rehear sals Frau (Mari e) Wittich, entrusted the part of th e six te en-ye ar-old Princ ess with th e voice of Iso ld e, said. (One just do es not write a thing lik e that, Herr Strauss: eith er one or the other), because of the strenuou s nature of th e part and th e stre ngth of th e orchestra, went on strik e with the indignant prot es t to be expected from th e wife of a Saxo n Burgo mast er: 'I won't do it , I'm a dece nt woman,' thereby red UCing th e produ ce r (Willi) Wirn, who was all for 'perversity and outrage', to desp eration.

In sp ite of all this str ife, the world premiere was a triumph The art ists took 38 curtain ca lls. By the end of 1907 , the opera had been hea rd in more than SO German and foreign

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cities. The inco me resulting from thi s success e nabl ed Strauss to devote him self fu ll - tim e to co mposition. Co nte mporie s su ch as Ra ve l praised the score for its remarkabl e so phis tication and varie ty of thematic pro cesses. Indeed th e immortal Gustav Mahler , h ead of th e Vienna Co urt Opera , viewed th e work as Strauss's ma ste rpi ece and hop ed to co ndu c t it in Vie nna , but was told that the Ce n sors hip Board refu se d permi ssion on reli giOU S a nd moral grounds. In fa ct , the work was not fin all y p e rformed in Vie nna until 1918, after the co llap se of t he Hap sburg mon a rchy.

An eve n more intense contro versy e rupted at th e opera's U. S. premiere at the Met ropolitan in 1907. The New York Times report ed that ext ra police were ca ll ed ou t to handl e the crow ds , wo men averted t he ir eyes during Sa lome's Dan ce of the Seve n Ve il s and mo s t m e n on the main floor see m ed uncom fort a bl e. Financier JP Mo rgan , a Metropo litan tru s tee, was so revol ted that h e su ccess fully fought to ban th e opera fo r ind ece n cy a fter on ly two p erform an ces.

Most seminal a rt that challenges co nve ntional be liefs is met with di sdain. Ob Viou s ly Sa lom e was n o exception. Tim e, how ever, ha s proven that Salome is an incredible op era tha t simply must be experienced.

The compose r's words are quoted from Reminiscences of the Firs t Performances of My Operas, as cited in Derrick Puffett's Richard Str a uss Sa lome, Cambridge Univ e rs i.ty Press , 1989.

Detroit Opera House

Artist Profiles

SUZANNE MALLARE ACTON

Chorus Master

Suzanne Mallare Acton, Michigan Opera Theatre's chorus master and assistant music director, is recognized for her versatility and dynami c style from th e concert hall to the opera stage. Cond u cting credits include West Side StOlY, nBarbiere di Siviglia, Music Man, Pirates oj Pen zance, Mikado, Daughter oj the Regiment, a nd Di e Fl edermaus for Michigan Opera Theatre, My Fair Lady and La Ii-aviata for Dayton Opera, Meny Widow and Madama Butte/fly for Ar tpark, and Tosca for Augusta Opera As artistic director/musi c di rec tor for Rackham Symphony Choir: Cannina Burana, AJ'ican Sanctus, Too Hot to Handel, and Amahl and the Night Visitors.

GRACIELA ARAYA

Hero dia s - Sa lome

Chilean mezzo-sopran o Graciela Araya debuts with Michigan Op era Theatre as H erod ias. A n oted artist with an ex tensive repertoi re, Ms. Araya has been a guest in m any of the world's leading opera houses. Recent engagements include, Th e Rise and Fall oj the City oj Mahagonny in Basel, Tannhiiuser i n Oviedo and as Marcellina i n Le Nozze di Figaro at the Roya l Opera H ouse at Cove nt Garden. Fo ll owing her performances in Detroit, Ms Araya will travel to Seattle for performances of Der Ro senkavalie r

GREGG BAKER

Amonasro - Aida

Baritone Gregg Baker ret u rns to Michi gan Opera Theatre as Amonasro. Mr. Baker appeared in last seaso n 's world premi ere of Margaret Gamer Recent engagements include addi ti onal performan ces of Margaret Gamer in Ci n cinn ati and Philadelphia and A Mashed Ball in Ph ilade lphia. Future engagements take Mr. Baker to Opera Pacific as Crown in Porgy & Bess, Miami for Aida, and a return to Phi ladelphia , th is time, as Porgy in Porgy and Bess.

ELENA REPNIKOVA BECK

High Pri es tess - Aida

Latvia n -born Elena Repnikova

Beck makes h er Michigan Opera Theatre debut as Hi gh Priestess in Aida. Ms. Repniko va Beck began her career at Lunacha rsky Art Academy in Moscow, and debuted in t he ro le of the Bride in Stravinsky's Les Noches, at t he Moscow Mode rn Opera Th eatre. Upon immigrating to the De t roit area, Ms Repnikova &ck was chosen to rep resent th e City of Detroit in an artist ic c ultural exc hange program with Operalaboratorio in Pal ermo, Italy. She has appeared in productions t hroughout Italy, including a so lo recital at the Fe st ivale Nazioni , Verdi's Req ui em and Leonora in nTrovatore. Mos t recently sh e pe rformed with Verd i Opera Theatre of Mic h igan. Future engagements include a recording o f Yanitza and Acis et Galat ee of Pau l Paray and a recital s tour in Moscow.

TORRANCE BLAISDELL

3 rd ] ew - Sa lome

Torrance Blaisd e ll re turns to Michigan Opera Theatre as the 3rd J ew in Sa lome. Previous appearances in De t roit include the Michigan Opera Th eatre production s of A Mashed Ball , Madam e Butte/fly and Rigoletto. Recent engagements include [Et oile with Opera Boston. Upcom ing e ngagements include additional performances of Salome with the Washington Symphony and Don Basilio in The Maniage oj Fi garo with New O rl ea ns Opera

GIULIANO CARELLA

Cond uctor - Aida

Maestro Carella returns to Michigan Opera Theatre to cond uct Aida. Previous credits a t Michigan Opera Th eatre include La Ii-aviata in 2001, a nd nTrovatore during the 2002-OJ seaso n Recent engagements includ e Luisa Miller in Liege, Andrea 01enier in Amsterdam, Adelaide di Borgogna at th e Edinburgh festiva l and n Ii-ovatore in Toulon. Future engagements will see the Italian maestro return to Toulon for additional performances of Aida. Maestro Carella has also reco rded for many commercial labels , amassing an impressive d iscography.

DAVID CUSHING

Cappadocian/5th]ew - Salome

These performances mark bass David Cushing's debut with Michigan O pera Thea tre. Previous e ngagements include Lucia di LammemlOOI; La Traviata, Rigoletto, and Thais with Boston Lyric O pera. Upcomi ng e ngageme nts include th e role of Masetto in the Fl orentine Opera's production of Don Giovanni, Th e Pearl Fishers with Opera Boston and Maometto in The Siege oj Corinth wi th Baltimore Opera.

LISA DALTIRUS

Aida - Aida (23m, 28, 30m)

Soprano Lisa Da ltirus returns to Michigan Ope ra Theatre after h e r debut last season in the title ro le of Tasca. Recent engagements include nIi -ovatore in Hartford and Tosca in Minneapolis.

Upcoming e ngageme nts include , Porgy & Bess in Philadelphi a and additional performances of Aida in Cincinnati.Ms. Daltirus will also perform Bess in Mic higan Opera Theatre's 2006 production of Porgy and Bess.

DONATO DI STEFANO

Don Magnifico - Cinderella

Italian bass Donato Di Stefano returns to M ic hi gan Opera T heatre as Don Magnifi co, a role he has previous ly performed wi th Dallas Opera, Brussels, Madrid , Tel Aviv and Tokyo.

Previous engagements with Michigan Opera Th ea tre in clude his U.S. debut in The Barber oj Seville in 1999 and th e title role in Don

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Pasquale in 2002. One of th e most soug ht-after bu ffo basses in the opera world, he has had recent e ngagements as Fra Me litone in La Forza del Destino at the Frankfurt Opera, Bartolo in nBarbiere di Siviglia in Amsterdam, Don Magnifico in Milwaukee , and Barto lo in Le nozze di Figaro in Florence. Future engage ments include 11 barbiere di Siviglia in Luxem b ourg and Dallas, Manon Lescaut with the Florida Gra nd Opera, and a debut wit h the Metropolitan Opera in Gianni Schicchi.

BRANCH FIELDS

2 nd So ldier - Sa lome

A graduate of Indiana Universi ty and the Acadamy of Vocal Arts in Philadelphia, bass -baritone Branch Fields mak es his Mich igan Opera Theatre dedut as the 2nd Solidier in Salome. Mr. Fields has appeared with numerous opera companies throughout th e United States including the Santa Fe Opera, New York C ity O pera, Boston Lyric Opera and Opera Carolin a. Upcoming e ngage ments include a ret u rn to New York City Opera in Cal1"l1en and the 5th Jew in the Washington Symphony's production of Salome.

MARK D FLINT

Co nductor - Cinderel la

Si n ce his Michi gan Opera

Thea tre d ebut conduct ing Carmen, in 1977, Am erican Mark D. Flint has conduc ted over 20 productions with the company. In addition to his duties as general and artistic director of Augusta Opera, recent guest a ppearances include Rigoletto in H awai i, La Boheme in Edmonton and Susannah i n O rl ando. Future engagements include Samson in Orlando, the world premiere of Ned Rorem's Our Town and I Pagliacci at Lake George Opera, Madame Butte/fly in Nashville, and a debut with the Macao Inte rnation al Fest ival conducting Guys & Dolls.

ANDREW GANGESTAD

A lid oro - Cind erel la Firs t Nazarene - Sa lome

O rigina lly from South Korea, And rew Gangestad is a rare you ng bass, known for his dark rich sound and his strong musica li ty. Recent en gage m ents include Ariadne auJ Naxos, Cyrano de Bergerac, Rigoletto and La Forza del Destino all at the Metropolitan Ope ra , Ramfis in Aida with Opera Pacific and Lepore ll o in Don Giovanni with the Sarasota Opera. Upco ming engagements include a return to the Metropo litan Ope ra in La Boheme, The Barber oj Seville in Omaha and Kansas Ci ty, and Don Giovanni with Opera Pacific.

VIVICA GENAUX

Angel in a - Cinderella (13, 17, 20)

Alas kan mezzo-soprano Vivica Genaux is one of the world's most so ught after a rti sts. A noted exponent of the Baroque and bel canto repe rto ire, Ms. Genaux has appeared in Paris , Vienna, Berlin, Verona, Tel Aviv, Santiago and Perth. These performances mark Ms.

Genaux's first appearance with Michigan Opera Theatre since her debut as Rosina in The Barber oj Seville in 1999. Recent engagements include rItaliana in Algeri with the San Fran cisco Opera, The Barber oj Seville in Lisbon and Sesto in Julius Caesar with the San Diego Opera. Future engagements include The Barber oj Seville with the Dallas Opera, H andel's Orlando in Atlanta and The Siege oj Corinth wit h the Baltimore Opera Ms. Genaux's discography includes her first solo CD for Virgin Classics, Bel Canto Arias, released in the fall of 2003, on the heels of her crit ically acclaimed harmonia mundi releases Handel's Rinaldo (2002) and her Grammy nominated Arias Jar Farinelli in 2002.

GREER GRIMSLEY

Jokanaan - Salome (3, 7, 10)

Ame rican bass-baritone Greer Grimsley has ga ined international recognition as an outstanding singing actor and is becoming one of the leading interpreters of the Wagnerian repertoire. He made his Metropolitan debut as Captain Balstrode in Peter Glimes and has subsequently performed there as Escamillo in Carmen and J okanaan in Salome. Recent engagements have included Die Walkure in Venice, ParsiJal and Lahengrin at the Metropolitan Opera, and Tasca with the Pittsburgh Opera. Future engagemen ts will see Mr. Grimsley travel to Santa Fe for Salome, Vancouver Opera for th e title role in Macbeth, Seattle for the title role in The Flying Dutchman and Houston for the villains in the Tales oj Halfmann. Mr Grimsley last appeared with Michigan Opera Theatre in the company's 2005 produ ction of Tasca.

DONALD HARTMANN

1st Soldier - Salome

North Carolina native, Donald H artmann returns to Michigan Opera Theatre for the first time since the company's 2004 produ ction of Rigoletto. Previously, Mr. H artmann has appeared in th e Michigan Opera Theatre productions of Peter Grimes, Samson and Dalila, Le Nazze di Figaro an d Tasca, among others. Recent engagements include Tasca with Madison Opera, Antonio in Le Nozze di Figaro with Toledo Opera, and La Boheme with Florentin e Opera Mr. Hartmann is a full professor with tenure in the depart m ent of music at Eastern Michigan University where he has twice rece ived the Faculty Artistic Recognition Awa rd.

BLISS HEBERT

Stage Directo r - Aida

American director Bli ss Hebert is known fo r his proli fi c output of acclaime d productionsmo re th an 300 productions of 100 operas, with 41 diffe rent opera companies. Mr. Hebert has provided stage direction for the Metropolitan Opera, Santa Fe Opera, Houston Grand Opera, Chicago Lyric Opera, and [Opera de Montreal, among others. Mr. Hebert's productions of Stravinsky's Le ROSSignol and Oedipus Rex appear on Son y Records, and the m ulti facetted artist can also be heard as pianist and harpsichordist in works by Bach, Schoenberg and Berg, on releases from Columbia Records.

C. DAVID HIGGINS

Set DeS igne r - Ci nderella

American deSigner C. David Higgins has been designing scenery sin ce 1972 when he began working at the Indiana University School of Music as a master scenic artist. Now a faculty member, he has been designing opera and baUet scenery and costumes across the globe for theaters in the United States, England, Italy, Iceland, and Korea. With over 150 productions to his credit, he has been described as "one of America's finest sceni c painters," by Opera News magazine and is best known for his detailed, Italianate painting style.

ROGER HONEYWELL

Narraboth - Salome

Canadian tenor Roger Honeywell returns to Michigan Opera Theatre having debuted with the company in 2005, as Auctioneer and First Judge in the world premiere productions of Margaret Garner.

Previously a member o f both the Lyric Opera of Chicago's Young Artist program and the Canadian Opera Company's Ensemble Studio program, Mr. H oneywell has recently performed in Margaret Garner with both Cincinnati Opera and the Opera Com pany of Philadelphia, as well as Macbeth in Toronto and Die Fledennaus in Seatt le. Upcoming engagements include Madame Butterfly wi th the Oma ha Opera, JenuJa at the Glimmerglass Opera and La Traviata at Opera Ontario

ERIC JOHNSTON

2ndJew - Salom e

Tenor Eric Johnston returns to Michigan Opera Theatre after his debut as Dr. Blind in the 2003 production of Die Fledennaus. Recent engagements in clude, Eisenstein in Die Fledennaus at Lincoln Center's Avery Fisher Hall with the Natio nal Chora le, a return to Nashville Opera as Normanno in Lucia di Lammennoor, Pong in Turandot with Fresno Grand Opera, Goro in Madama Butterfly with the Tampa Bay Performing Arts Center, and a return to lake George Opera for their O p era Gala and as Nanki-Poo in The Mikado. Next season's engagements include Njegus in The Merry Widow with F resno Grand Opera , Goro in Madama Butterfly with Opera Columbus

DOUG JONES

1stJew - Salome

American tenor Doug J ones studied singing unde r Thomas H ayward and, in Vienn a, with Carol Blaickner-Mayo. He made his debut in Vienna as Sesto in Handel's Giulio Cesare in the Wiener Musikverein. Mr. Jones last appeared with Michigan Opera Theatre as Bob Boles in Peter Grimes in 2000. Recent engagements included Tobias in Sweeney Todd in his debut with the Royal Opera Covent Garden, Kudrjasch in Katya Kabanova with San Diego Opera, Shostakovich's The Nose with the Bard Festival, Spoletta in Tasca with Austin Lyric Ope ra, and Borsa in RigoleUo, EdmondolDancing Master in Manon Lescaut, and Tanzmeister in Ariadne auJ Naxos all with Seattle Opera. Upcoming engagements include Goro in Madama Butte/fly with Austin Lyric Opera, Valzacchi in Del' Rasenkavalier, Tinea in Tabarro and Beppe in I Pagliacci, all with Seat tle Opera

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PETER KAZARAS Herod - Sa lom

e

In addition to enjoying a worldwide career as an operatiC tenor, performing at the Metropoli tan Opera, la Scala, Deutsche Oper Berlin, Houston Grand Opera, San Francisco Opera , Seattle Opera, Vienna, am ong many others, Peter Kazaras has recently also worked as a stage director, coach and artist ic advisor. Recent singing engagements include H erod in Salom e and Loge in Das Rhangold, both with Seattle Opera.

ALLEN CHARLES KLEIN

Se t and Costu me Designer - Aida

American deSigner Allen Charles Klein is one of the world's most sought-after scenic artists The only American designer to have focused his career exclusively on production and design for the operatic stage, his work has been featured by many of the world's great opera companies and festiva ls, including the Metropolitan Opera of New York, [Opera de Montreal , Deutsche Oper Berlin, Vienna State Opera, the Edinburgh Fes tival and th e G lyndebourne F estivaL Notable recent Michigan Opera Theatre productions include 2004's Rigoletto , 2002's The Maniage oj Figaro and Werther in 1999. Mr. Klein has designed the world premiere productions of Floyd's OJ Mice and Men and Th e Passion oj Jonathan Wade, Pasatieri's The Sea Gull and Eaton's The Tempest. Togeth er with stage di rector Bliss Hebert, Mr Klein has collaborated on the creation of more than 50 productions.

JEFFREY KNEEBONE

Jokanaan - Sa lome (4 m, 9)

American baritone Jeffrey Kneebone debuts with Michigan Opera Theatre as Jokanaan , a role he has previo u sly performed to much accla im with Baltimore Opera. Engagements during th e 200506 season in clude, Amonasro in Aida with Opera Colu mbu s, Marcello in La Boheme with Baltimore Opera, Scarpia in Tosca with H awaii Opera Theatre , J ack Rance in La Fanciulla del West with th e Tampa Bay PerfOrming Arts Center and his Dallas Opera debut as Ton io in I Pagliacci and Alfio in Caval/eria Rusticana. Future engagements include Samson et Dalila with the Florida Grand O p era , La Boheme with Baltimore Opera, and Cavareria Rusticana and 1 Pagliacci at the Palm Beach Opera.

STEFAN LANO

Co nductor - Salome

Meastro lano returns to Michigan Opera Theatre to lead Salome, after debuting last season with the world premiere of Margaret Gamer. Recently named the Music Director of th e Teatro Colon , Stefan lano made his debut at t he Metropoli tan Opera with The Rake's Progress in 1997, where he also prepared the Met pro d uction of Arnold Schoenberg'S Moses und Aron. Recent engagements include Margaret Garner in CinCinna ti, Philadelp hi a and Charlotte, Porgy and Bess in Atlanta, the world premiere of Lysistrata with Houston Grand Opera and La Boheme at the Teatro Colon in Buenos Aires. In addi tion to his duties in Buenos Aires , future engagements will see Maestro lano travel to Dresden for Dead Man Walking as well as return en gagements in Philadelphia for Porgy and Bess and Cosi Jan-tutte in Cincinnati. BRAVO

Detroit Opera Hous e

EILAN A LAPPALAINEN

Sa lome - Sa lome (4m, 9)

Finnish-Canadian soprano

Eilana Lappalainen debuts wi th Michigan Opera Theatre as Salome, a role for which s h e is q uickly becoming one of the worlds most sought-after int er-''''___ .... p reters. Since her 1996 role debut in the acclaimed Felsenstein production, she has perfonned Salome in Seatt le, New York, Nash ville, Kentucky, Warsaw, Trieste, Mannheim, Japan , O ttawa, Montreal, and Switzerland. Ms. Lappalaine n debuted at th e Sa n Francisco Opera in Die Redermaus, and return ed in the title role of Bergs LulL!. Other n otab le appearances include Th e Flying Dutchman in Berlin and Minnesota , Mefistofele in Montrea l and wh engrin in Hamburg. Future engagements include, a Carnegie Hall debut with the Mozart Requ iem, a Gala concert in Greece, Salome in Spain, her first Aida in Idaho, Madam a BL,tterfly in Montana, continued p erfonna n ces of Salome in Poland , a recital in Espoo, Finland an d aJapanese tour of Salome. She will a lso record a CD of Gennan arias.

SALVATORE LICITRA

Radam es - A id a (22, 26, 29)

Acclaimed Italian tenor

Sa lvatore Lici tra makes his Michigan O p era Theatre debut as Radames in Aida. Arguably one of the worlds most important tenors , Mr l.ici rra has appeared in opera and conce rt t h roughout t h e world. Recent engagements include, Tasca in Vie nna and Los Angeles, Aida a t t h e Metropoli ta n Opera and Chicago Lyri c Opera, and La Farza del Des uno at the Metropolitan Opera. Future engagements incl ude Aida in Zurich, the title role in Emani in Be rlin and Pagliacci and [/ TabalTo at the Met ropolitan Opera. Mr. Licitra has also amassed an impressive discography and videography An exclusive Sony artist, hi s first recordin g was t h e soun dtrack to Sally PotterS film The Man Who O i ed. H e has since record ed full-length opera, includin g the La Sca la II Iiovatore and released a solo album of Verdi and Pu ccin i arias. Mr. Li citra s most recent release, Du etto, includes tenor Marcelo Alva rez and feature s newl y composed music for two tenors.

MARQUITA LISTE R

Salom e - Sa lome (3, 7, 10 ) Marquita Li ster returns to Michigan Opera Theatre , for the first ti me s ince h er appearance as Tosca in 2000 , as Salome, a role she has performed for t h e Stu ttgart Opera , Boston Lyric Opera, Connecticut Opera, New Orleans Opera, a nd Austin Lyric Opera. Ms. Lister is a regular guest of leading opera companies throughout the world. Notable recent e n gagements includ e Aida for the Deutsche Oper Berlin, Dresden O pe ra, Landesthea ter Salzburg, Opera Carolina, H ous ton Grand Opera, tOpera de Mont real, Edmonton Opera, and Calgary Opera and Tosca for the Staatstheater Stuttgart , Vancou ver Opera, Dallas Symphony, Connecticut Opera, and O rlando Opera. This season includ es n ew produ c tion s of To sca in Graz and in Coru n as, Spain , Salome in Stuttgart , and Aida in Orlando. Next season a lready includ es productions of Porgy and Bess in Atlanta and for the Nashville Symphony, Aida at Ope ra Pacific, and Ve rdi 's Lady Macbeth in Dresden. On recording, s h e may be heard in excerpts from Porgy and Bess and Gershwins Blu e Monday on Telarc Record s with t h e C incinnati Pops conducted b y Erich Kunze!.

28 BRAVO

MIROSLAV MANOVSKI

Seco nd Nazare ne - Sa lom e

From Detroit, Mr. Manovski has a masterS degree in music from the University of Michigan , where he s tudi ed with George Shirley He is in the process of pursuing doctoral ca ndidacy with Oak land Unive r sity Mr. Manovski h as been a member of the Michigan Opera Theatre chorus since 1998. These performances mark Mr. Manovskis Michigan Opera Theatre prinCipal role debut. Previous operatic principal roles include Th e Magic Flute , Dido and Aeneas and Semele with the University o f M ic hi gan.

KRIS TINE BI LLER MATTSON

Clorinda - Ci ndere lla

Most recently, you ng American so prano, Krist ine Biller Ma t tson, p e rformed Wan da in J acques Offenbachs Grand Duchess of Geralstein, oppOSite Stephani e Blythe at the Opera Company o f Philadelphia (2004). Sh e made h er Opera Company o f Philad e lphia debut singi ng Frasquita in Cannen (2002). Recent events include her debut with Michigan Ope ra Theatre for the prem iere o f Margaret Garne r w hich was also presented b y Cincinna ti a nd Philadelphia, Ange l in Happy Plin ce with Kentucky Opera and Micae la in Cannen with the H elena Symphony. Kristine a lso co ntinues to perfonn a series of recitals \vith Gra mmy Awardwinning tenor Stua rt Ne ill

NANC Y MAULTSB Y

Amn eris - A ida (23m , 29)

Mezzo-soprano Nanc y Maultsby debuts with Michigan Opera Theatre as Amneris in Aida. Recent engageme nts include GotterdammerUng an d Die Fl edermaus in SeaLLle and Aida with t he Palm Beach O pera. Future engagements wi ll take Ms. Maultsby to Boston for A Mask ed Ball and LO Montreal for more perfonnances of Aida.

IRINA MISHURA

Amneris - Aida (22,26, 29,28, 30m)

Detroit favorite Ir ina Mis hura returns to Michigan Opera Theatre for th e second time this season She a lso portrayed Adalgisa in the fall production of Nonna. Ms. Mishura h as a pp eared in previo u s Michigan Opera Theatre productions of Carmen, Aida, Samson et Dalila and t h e O p e ning Gala of the Detroit Opera House. Ms. Mishura is in high demand in the worlds most pres tigious Opera Houses suc h as Vienna, La Sca la, Mil an , Munich, Barcelona and London Recent e n gage ments includ e Aida in Palm Beach, Norma in Den ve r a nd San F ra n cisco, and a return to the Metropolitan Opera in Lui sa Miller Upcoming e n gageme nts includ e a return to the Savolinna Festiva l fo r the title role in Carmen, Cavallelia Rusticana in Monte Carlo, Aida in Cincinnati , and a return to the Metropolitan Opera in La Gioconda.

ROSA MERCEDES

Choreog raph er - Ai da Spanish c h oreographe r Rosa Mercedes makes h er Michigan Oper a Thea tre d e but with Aida. A featured dancer and c h oreograp her with m any of the worlds leading opera co mpanies, Ms. Me rced es has worked with th e Metropolitan Ope ra of New York , O p era di Roma, Florida Grand Opera and Baltimore Opera among others. Sh e has c horeographed numerous productions, includin g La Gioconda, Salome, Turandot , Don Giovanni and Carmen Ms. Mercedes has enj oyed a di s tinguished caree r as a so lo ist and prinCi pal dancer with the world's foremost Spanish dance and fl a menco companies, and is the foundi n g and artis tic director of Due nd e Ba llet Espano!.

GEORGE MOSLEY

Dan di ni - Cindere ll a British baritone , Geo rge Mosley makes his Michi gan Opera Theatre debu t as the Valet, Dandini in Cinderella. He has appeared with English National Ope ra, Scottish Opera, Teatro Co muna le, Modena and the Roya l Opera , Cove nt Gard en. H e was also the reCipient of the firs t p ri ze at the International Mozart Co mpetition in Sa lzburg. Recent engagements include h is American debut in Capliccio at New York City Opera, Cherubin in Cagliari, a nd !Enfant et les Soru leges in Verona. Engagements afte r Detroit wi ll take Mr Mos ley LO Seattle for Lltaliana in Algeli

ROBERTO OSWALD

Se t DeS ign er - Sa lome

Robe rto Oswald began his ca reer in opera as techn ical director for the Teatro Colon in Buenos Ai res He later beca m e scenic deSign e r and c UlTently is director of produ c tions for the Teatro Colon. In 1 980, Mr Oswa ld began work ing in the triple capaci ty of stage director, set d esigner , and lighting designer. Among the production s h e c rea ted we re Madama BLltterjly, Loheng lin, Otello, Benvenuto Cellini, Don Giovanni, Tristan und Isolde, La Gioconda, [/ li-ovato re, Parsifal, Die Zauberjlote, a nd Wagners Der Ring des Nibelungen. Mr. Oswa ld has deSign ed a nd directed for tOpera de Monteal, Opera Co lumbus , Portland Opera, The Dallas Opera , Greate r Miami O p era ( Florida Grand Opera), Florentine Opera Company of Milwaukee, Ope ra Pacific, The Washington Opera, and Seatt le Opera. Mr Oswa ld has received n u m ero us award s including the Verd i SOCie ty annual prizes for four co n secutive years, The S ilver Laurel in Sa ntiago , and th e Acad emy o f Fine Arts Prize in Buenos Aires. Mr. Oswald received th e Konex Prize in 1989 as Director o f the Decade.

ANTONELLO PALOMBI

Radames - Aida (23 m, 28, 30m) These perfonnan ces mark Ita lian teno r Antonello Palombis Michigan Opera Theatre d ebut An artist in demand thro u ghout the wo rld , Mr. Palomb is recent engagements include , I Pagliacci in Dallas , Aida in Palm Beac h and Manon Lescaut in Muni ch. Future e ngage ments feature a debut at the Cinc innati Opera and Baltimore Opera in Tosca, I Pagliacci in Sea ttle and the title role in Andrea Chenier in Berlin.

MARK T. PANUCCIO

4 thJ ew - Sa lome

Mark T. Panuccio returns to Michigan Opera Theatre after debuting with th e company as Casey in th e student performance of Margaret Garner, and most recently performing the role of Flavio in the 2005 production of Norma. Mr. Panuccio will also appear in Margaret Garner in Philadelphia and Cha rlotte. Mr. Panu ccio h as appeared with the Sarasota Opera, Opera Pacifi c, Opera Circle of Cleveland, Utah Festival Opera, Nevada Opera and Portland Summer Opera in a variety of different roles ranging from Cavaradoss i in Tasca to Mao Tse-tung in Nixon in China. U p coming engage m ents will see Mr. Panuccio return to Opera Company of Philadelphia for Falstaff, and the Tales of Hoffmann with Cincinnati Opera.

VALERIAN RUMINSKI

King of Egypt - Aida

Bass Va lerian Ruminski returns to the Michigan Opera Theatre for the first time since his debut in the 2002 production of Ii Ii Dvatore. Recent engageme nts include Cosi fan Tutte in Sea ll le, Tu randot in Calgary and Vancou ve r, and Romeo et Juli ette in Ottawa F uture en gagements include additional performances of Aida in Montreal and Miami, and Otello in Ottawa and Winnipeg

TILL SCHMIDT-RIMPLER

C horeograp her - Salom e OriginaLly from Dortmund , Gern1any, Till Schmidt-Rimpler no w lives with his wife and son in Charlotte, North Carolina, where he serves as Arti stic Director of Moving Poets Theater of D ance, a contemporary dance and theater company He studied classical ba llet and contemporary dance at the Conservatories for Music in Rotterdam and Munich. Over the years h e has danced with seve ral major companies, including the Dutch National Ballet and was a principal artist with the North Carolina Dan ce Theatre. With Moving Poets, Mr. Schmidt-Rimpler has developed a uniq ue fonn of theatrical stOlytelling, b lending elements of dance, theater, music, opera, vis ual arts and multin1edia. He has ch oreographed 45 works including four operas, most recen tly Samson et Dalila and Margaret Garner \vith Opera Carolina. He also teaches contemporary and classical dance, co mp osition and choreography This production marks Mr. Schmidt-Rimp lers Michigan Opera Theatre debut.

LAURIE SEELY

A Slave - Sa lom e

Mezzo-soprano Laurie Seely is rapidly gaining acclaim for her charismatic performances and vibrant, rich voice. Ms. Seely makes her Michigan Opera Theatre debut as A Slave in Salome. Most recently, Ms. Seely toured a production of The Happy Prince with Kentucky Opera, and sang her first inte rp retation of the title role in Carmen wit h Kentucky Operas educational tour. Other recent engagements include Le Nozze di Figaro wit h the Opera Company of Brooklyn , the title role in Pin occhio with Lake George Operas educat ional tour and Annie with the Ashlawn Opera Festival. Ms Seely is also an accom-

Delroit Opera House

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plished o ra torio and concert so loi st, an d has recently finished a recording o f Pasatie ri 's Signor Deluso on the Albany record label.

KATHLEEN SEGAR

Tisb e - Ci nderel la

Kathl ee n Sega r returns to Michigan Opera Theatre for the first time s ince last seaso n 's production of Faust. A favorite of Detro it a udiences since her d ebut in Carmen in 1981, Ms. Segar has appeared in over 17 Michi gan Opera Theatre productions. Ms Segar has also appeared with New York City Opera , Virginia Opera, Washington Op era and Metro politan Opera amongst many others. Recent engagements include covering Siegrune in Die Walkure with the Metropolitan O p era , Ariadne auJ Naxos, The Balla d oj Baby Doe, La Cenerentola and The Consu l with Washington Opera A resident of Michigan , Ms. Segar currently serves on th e vo ice faculty at Eastern Mich igan Un iversity.

KENDALL SMITH

Lighting Des ignerAida/Cindere lla

Kendall Smith returns to Mi chigan O p era Theatre in 2006 to design lighting for Aida and Cinderella, respectively his 51st and 52nd productions with the company Mr. Smith made his Michi gan Opera Theatre debut in 1988, with The Ballad oj Baby Doe, an d most rece ntl y designed li g htin g for productions of Norma and La Boheme in 2005 Mr. Smith's work has been fea -

tured in num erous productions by res pected opera co mpani es, theaters and fest ivals, including recent ly The Daughter oj the Regiment with Fl orida Grand O pera and The Diary oj Anne Frank with the O regon Shakespeare Festiva l.

MARK STRESHINSKY

Stage Directo r - Cinderella American Stage Director Mark Streshi nsky m akes his Michigan Opera Theatre d ebut with Ci nderel la. Currently on the staff of th e San Francisco Opera, h e has directed with m any of the nation's premier opera companies, including th e New York City Opera, Berkeley Opera, Sa rasota Opera, Opera Theatre of St. Louis and Indianapolis Opera. Most recently, Mr. Streshinsky directed the Berkeley Opera's world premiere of Chlysalis, a new opera by Clark Suprynowicz and John O' Keefe, sta rring Buffy Baggott. Mr Stres hinsky has directed Cinderella several tim es, m ost recently for hi s d irecto rial debut with the Dallas Opera. Upcoming engagements for Mr. Streshinsky include Tales oj Hoffman n in Cincinnati and La Traviata with the Seattle Opera.

BRIAN STUCKI

Don Ramirv - Cindere lla (14m, 19) Tenor Brian Stu c ki is a nativ e of Olympia, WA. He mo st recently o pened Indiana University Ope ra Thea ter's 2005-06 season as Ferrando in Mozart's Cos! Jan tutte. Hi s portrayal of Ta mino in Die Zauber{1ote was described as "ac hin gly ten-

d e L a sweet union where the lines between music and voice were miracu lously b lurred ." Among other roles he h as performed with Indi ana U ni ve rsity's celeb ra ted O p era Th ea tre are Ernesto in Don Pasquale, Don Narciso in Th e Turk in Italy, D on Ram iro in La Cenerentola, and Be lmonte in Abduction Jl'Om the Se raglio H e will shortly b e returning to Was hin gt on East Opera, where h e sang an acclaim ed La Ii -aviata in 2004 , to s ing the ro le of the Cou nt Almaviva in nBarbiere di Siviglia. This summer, h e will revis it Almaviva at Gli mmerglass Opera. Mr. Stuck i is also an accomplished ce llist , h aving released a C D recording of Rachmaninoff wo rks on th e Tantara label.

KRYSTY SWANN

Pag e - Salom e Michigan native Krysty Swann returns to Michigan Opera Theatre as Page in Salome, having debuted wi th the company in 2004, as Co untess Cep rano , Page a nd Giovanna in Rigo letto Formerly a student in Michigan O pe ra Theatre's Opera Camp, Ms. Swann was al so an Oakla nd Symphony Orc hestra Young Artist Co m petition winner and the 2004 Oak lan d University Voca l Performance Student of the Yea r, Ms. Swa nn is currently Michigan O pera Theat re's Barbara G ibso n DeRoy Testa m e ntary Foundation Youn g Artist App rentice. Recent engagem ents include Ebo li in Don Car/os and G io vanna Seymour in Anna Bolena with th e Inte rnational Institu te of Voca l Ar ts in l. hi a ri , Ita ly, as we ll as Maurya in Riders oj the Sea a nd Du ch ess in Dinner Engagement with th e Manhattan Sc hoo l of Music, w here sh e c urrently stud ies

At (omerica, we believe the a rt s play an important part in the co mmunity. They enrich our live s, stir our souls, and give us inspiration. Supporting the a rt s is a reflection of one of our core beliefs-that giving back to the communities we serve is our responsibility. But it's not s imply a respon s ibility , it's also a great pleasur e to see the joy it brings And that ' s what we refer to in th e banking business as a great return on an inv est ment.

We back the arts so they can move forward.

KENNETH TARVER

Don Ramiro - Cinderella (13, 17,20)

Originall y from Michigan, tenor

Kenneth Tarver makes his debut at Michigan Opera Theatre as Don Ramiro in La Cenerentola A noted artist , Mr. Tarver has appeared in opera houses throughout the world. Recent engagements took Mr. Tarver back to the Metropolitan Opera for Ramiro in La Cenerentola, to th e Bavarian State Opera to sing Ferrando in Cosi Jan tutte and Fenton in Falstaff, and to Berlin for more performances of Don Pasquale, Der Rosenkavalier, and Die Zauberf/ote. H e will also return to the Finnish Na tional Opera in Helsinki as Count Almaviva in Barbi ere di Siviglia.

DONALD EDMUND THOMAS

Lig hting Designer - Sa lome

Donald Edmund Thomas returns to Mic higan Ope ra Theatre, h aving designed productions of 1..e Nozze di Figaro and II Trovatore here in p revious seasons. Recently his have included Manon 1..escaut and La FanciLl11a del West for Seattle Opera; Cosi Jan tutt e for Opera Pacific; Faust and Aida for Pa lm Beach Opera; Lucia di LammenTIoor for Florid a Grand Opera; Faust and Romeo etjuliette for Virginia Opera; and Die Zauberf/ote for [Opera de Montreal. Recently h e also designed La Fille du Regiment for the Flore ntin e Ope ra in Milwaukee, where he has been d esigning for over 20 years. He is also the res ident designer for the Summer Opera Theatre Company in Washington , D.C. , where last season he designed Cendrillon and Rigol etto, and this coming summer he will design Di e Zaube/flote and n y,·o vatore. Outside of opera, he has designed produ ctions of Malisol in Washington, and BareJoot in the Park for the Maltz-Jupiter Theatre in Florida. His work has also been seen on Broadway, off-Broadway and on numerous national tours of shows

INDRA THOMAS

Aida - Aida (22, 26, 29)

Soprano Ind ra Thomas returns to Michigan Opera Theatre after her debut as Lenora in n Tro vatore in 2002. Recent engagements include, Aida at the Lyric Opera of Chicago, Palm Beach Opera and 11 y,·ovato re in Austin. Future engagements will see Ms Thomas travel to the Orange Festival in Fran ce for additional performances of Aida.

HAo-JIANG TlAN

Ramfts - Aida

Chinese bass Hao-Jiang Tian returns to Michigan Opera Theatre for the first time since Turandot in 1998. A regular at the worlds most prestigious opera h ouses, recent engagements include , Aida, Turandot and A Masked Ball at the Metropol itan Opera and Aida in Berlin. Future engagements include , n y,uvatore in San Diego , Turandot at th e Lyric Opera of Chicago and the wo rld premiere of The First Emperor at th e Metropolitan Opera.

BERNARD UZAN

St age Director - Sa lome

French stage director Bernard Uzan returns to Michigan Opera Theatre to direct Salome. Mr. Uzan made his company debut with 1983's Faust, just a yea r after making hi s operatic directorial debut with Lake George Opera. Mr. Uzan has since directed numerous productions for the Michigan Opera Theatre , including Tosca , Romeo etJuliette, Th e Merry Widow, The Marriage oj Figaro and most recently, Die Fledermaus in 2003. Mr. Uzan has served as General and artisti c director of both [Op era de Montreal and Tulsa Opera, as well director of th e Young Artist program at Flo rida Grand Opera. He has provi ded stage direction to companies throughout North America, Europe and South America. In addition to directing and administra tion, Mr. Uzan is an acco mplished ac tor and teacher.

PEIYI WANG

A ngeli na - Cindere ll a (14 m, 19)

Originall y from Beijing , China , mezzo-soprano Peiyi Wang graduated with a B.A. in English Language & Literature from Pekin g University, and a Maste rS degree in Vocal Performance from University of Michigan. She was a fina list in the 2005 Montreal Internationa l Music Competition and the Metropoli tan National Council Audition -Great Lakes Region. Ms. Wang has performed the title roles in Xerxes, La Tragedi e de Carmen, Hansel in Hansel & Gretel and Orfeo in OrJeo ed EUlidic e. This past summer Ms. Wang perforn1ed the title role in La Cenerentola with the Pine Mountain Music Festival in Michigans Upper Peninsula.

JOANNE WEAVER

Wig and Makeup DeSigner

Originally [rom England, J oanne Weaver returns to Michigan Opera Theatre as wig and makeup designer for Cinderella and Salome. H aving made her company debut with Tosca in 1995, Ms. Weaver has served as resident deSigner s ince. Additionally, Ms Weaver is a frequent guest with notable opera companies th roughout the United States. Rece nt engagements include Non na and La Bohem e with Mich igan Opera Theatre and Th e Magic Flut e with Palm Beach Opera. Following her spring Detroit engagements, Ms. Weaver will

trave l to Reno and Des Mo ines for The Magic Flute. She will also design produc tions of The Rakes Progress and Rigo letto wh il e in Iowa.

LONELWOODS

Messenger - Aida

Tenor Lone! Woods, a native Chicagoan, made his Michigan Ope ra Theatre debut in the role o f Parpignol in this season's production of La Boheme.

P revious operatic performances include Lord Cecil in DonizettiS Roberto Deveraux, and Federico in Verdi S Stiffelio, with Washington Co n cert Opera; and the roles of Atilano, in Don a Francisquita and the Second Duelsman in Dangerous Liaisons with The Washington Nationa l Opera. A performer of many va ried genres, Mr. Woods also performed , on Broadway and tour, in Hal PrinceS Tony Award winning revival of Showboat. Most recently, Mr. Woods was tenor soloist in Beethoven\; Ninth Symphony, with the Unive rsity Musical Society and The University of Michigan Symphony Orc hestra, and will sing roles in two James P Johnson operas: The Drea my Kid , singing th e Litle role of Dreamy Kidd; and De Organizer, singing the role of Bates , at the Un ivers ity of Michigan , where he is c urrently pursuing a Do ctorate of Musica l Arts.

Detroit Opera House

represent a very sma ll rena issance taking place in the Oriental Rug World, where .1 few rugs are belllg m.lde again uSing only natural dyes and hand-spun \\001. The results are stllnnlllgly beaunri.d rugs possess in g great sp i ri t and integrity.

Michigan Opera Theatre Orchestra

Violin I

Cha rlotte Merkerson, Concertmaster* t

Laura Le igh Roelofs, Ass istant

Concertmaster

Vel da Kellyt

Bryan Johnstont

Caro l Evanst

Kevin Fil ewych t

AndrewWut

Beth Kirtont

J ason Bendl er

James Kujawski

Violin II

Victo ria Haltom * t

Brooke

Hop lamaziant

Molly Hughest

H enrik Karapetyant

Anna Wellert

Rita Lammers

J anet Sullins

BeLhany

Mennemeyer

Elizabeth Rowin

Tamara Shennan

Cha rles Roth

Viola

John Madison* t

Sco tt Stefankot

Kathleen Grimest

Barbara Zmicht

James Greer

Julianne Zinn

Ca therine Franklin

Constance Markwick

Cello

Na dine Deleury* t

Diane Bredesen t

Mink a Christoff t

Robert Reed t

J ohn Iatzko

Stephen Koch

Robert Cleme ns

Andrew McIntosh

Katri Ervamaa

Irina Tikhonova

Bass

Derek We ll er * t

Clark Sutt let

Aaron Keaster

Shawn Wood

Greg Sheldon

Flute

Pamela Hill * t

Laura Larsont

Kelly McDennott

Oboe

Kristen Beene* t

Sally Pituch t

Kristin Reyno lds

Kim Bryden

Clarinet

Brian Bowman * t

San dra J ackso n

Jane Carl

Suzanne Rosemary

Bassoon

Eric Varnert

Richard Beene

Roger So ren

Horn

Kyle Mills* t

Carrie Banfield t

Susan Mutter

Tamara Kosinski

Kelly Danie ls

Alan Taplin

Tuba/Cimbasso

Philli p Sinder

Trumpet

David Kuehn * t

Gordon Simmons t

David Amme r

Michigan Opera Theatre Chorus

Daniel Aggas

Ryan Banar

Patrick Barnard

Brandon Bateman

Chris topher Bauder

Kim Brooks

Alaina Brown

F red Buchalter

Pat Clampitt

Timothy Clark

Leah Dexter

Hannah Dixon

Dianna Dump e l

Ken Ebaugh

N ichola s Edwin

Brandy Ellis

Marko Farion

Louise Fisher

Kurt Frank

Yvonne Friday

Conda Green

Rosa line Guaste ll a

Leslie Hill

Clare n ce Jones

Tom Kabala

J effrey Krueger

Alexa Lokensgard

Susan Lowri e

Ann Marie MacFarlane

Miroslav Manovski

Anth ony P McGlaun

Tony Noto

Darren Orta

And rew Papas

Daniel Paradowski

Annie Radcliffe

Mo ni que Ricard

Joseph Roberts

Aaron Sanko

Robert Schram

Ken Sh ep h erd

Woojin Shim

Stephen Stewart

Gregory Stinso n

Lucy Thompso n

David Vaughn

Christopher Vau ght

Justin Watson

Nonnan Weber

Tamara Whitty

Lone! Woods

Anamaria Ylizaliturri

The Ameri can Guild of Musical Artis its is the officia l union of the Michigan Opera Theatre voca l performers

Rackham Symphony Chorus

specia l appearance in Aida

Trombone

Maury Okun* t

G reg Neart

J ohn Rutherford

Brian Pokorny

Harp

Patricia Terry-Ro ss*t

Timpani

Leonardo Soto*t

Percussion

John Dorsey*t

David Taylor

Dan DeSena

Sam Tundo

Norm Fickett

Continuo

Jean Schneider

* PrinCipal t Michigan Opera Theatre Orchestra

De troit Federation of Musician s Lo ca l #5, American Federation of Musicians

Aida Dancers

Mary Bischoff

Chivas Merch antBuckma n

Ann Chia ve rini

Alexis DeCapua

Patty Foster

Denita Gregory

Brandon Koepse ll

CHILDREN

Ii ail1ed at Ballet Renaissance

Kaete Ribbron

Talese Ellis

Michael WoodberryMeans

Aaron Perlste in Christopher Taddiken

J ames Wes t Carissa WongSchwab

Alexandra d'AbreuHin es

Taylor Redmond

Maureen Abele

Beth Adams

Caro lina Andrakovich

Ardith Arne ll e

Sonya Ashton- Hard y

Jason Batchelor

Michael Boettcher

Timoth y Cholyway

Doug Cox

Jo seph Dluzniewski

Timothy Doty

Donald Gay

Emil y Gay

Avi tal Granot

Gary Ha sley

Leslie Ann H ocha del

Christine Kapusky

Ray Litt

Bettie Lyons

Pat Minnick

Steven Pejuan

Che ri Reid

Tony Rud a Laverne Schenk

Alan Sebastian

Clifton Shaw

Beth Smith

Linda VanBuren

Deborah Webb

Will Yeats

www.Mich iga nOpera.o rg

{michigan opera theatre}

Administration & Staff

DAVI D DI CHI ERA, GENERAL DIRECTOR

John Eckstrom , Vice Presid ent & Chi eJ Financial Offic er

DEPARTMENT DIRECTORS

Karen VanderKloot DiChiera , Director oj Co mmunity Programs

Carol Hals ted , Director oj Dance

Roberto Mauro, Assistant Artisti c Direc tor

Dewan Mitchell , Director oj Booking and Ev ents Manag ement

Rock Monroe , Director oj SaJety and Security

David W Osborne, Director oj Production

Mary Parkhill , Director oj Development

Laura R. Wyss, Director oj Communi ca ti ons

ADMINISTRATION

Bill Austin , Executive Assistant to th e General Direc tor

Beve rly A. Moore , Re ce pti oni st

COMMUNICATIONS

Kimberl y A. MOgielski , Patron and Ti cket Se rvi ces Manager

Michael Hauser, Marketing Manager

Kimberly Gray, Ticket Servic es Assistant Manage r

Jane Coe, Ti cket Services Assistant Manage r

Jeni se Collins , Group Sal es Coordinator

Tunisia Brown , Patron Services Co ordinat or

Mit ch ell Carte r, Websit e Coordinat or

Dave Blackburn , Public Relation s Co ordinator

Crys tal G. Ratledge , Account Ex ecuti ve, So lomon Fri edman Adve rti sing

Bill Carroll , Public Relations Volunt ee r

COMMUNITY PROGRAMS

Mark Vondrak , Associate Director/Tour Manager

Bett y Lane , Operations Manag er/Singing Voic e Speciali st

Dolo res Tobis , Marketing Manage r

Tris h Shandor, Sp ecial Proj ects Coo rdina to r

Touring Artists of Community Programs

Betsy Bro nson , Maria Cimare ll i , Roland Hamilton , Betty Lane , Shawn McDon ald ,

Kim Parr, Michael Parr, Mad elyn Porte r, David Pulice , Amanda Sab elhau s, Cynthia

Seigle, Karl Sc hmidt , Ch ris Vau ght , Mark Vo ndrak , Karen W h ite, Tamara Whitty

DEVELOPMENT

Dani ell e DeFauw, Boutiqu e Manage r

Michelle Deland , Corporat e Campaign

Manage r

Hea ther Hamilton , Sp ecial Proj ects Manager

Kat h erin e Kucharski , Memb ershi p Ma nage r

Nikki Rudd y, Volun tee r Man age r

Matthew Talbot , Foundation and Gove rnm ent Gran ts Manage r

Kim-Lan Trinh , Plann ed Gi ving and Maj or Gifts

Manage r

J ane Wes tle y, General Direc tor s Circl e

Campaign Manager

Stephani Yates , Dance Patron Circl e Campaign Manage r

FINANCE/COMPUTER SERVICES

Kimberly Burgess -Ri ve rs , Rita Winters , Accountants

John Grigaitis , InJorm ati on Tec hn ology Manage r

Derrick Lewis, Co nt ro ller

PRODUCTION

Administration

Eliz abeth Anderson, Produ ction Coordinator

Carolyn Geck , Ass istant to Director oj Production

Stormy Edward s *+,J ennifer Paradise *+ , Va leri e Rosile**, J essica Snee d ** , Assistan t Stage Ma nage rs

Nanc y Kroliko wski , Loca l Ti'ans portati on Coo rdinat or

Eugene Robelli , Produ cti on Voluntee r

Pat Lewellen , Audi tio n Volunt ee r

Music Department

David DiChiera , Mu sic Director

Suzanne Mallare Acton , Ass istant Music Director, Choru s Mast er

Diane Bredesen , Orches tra Personnel Manager

Jean Schneider ** *, Rehearsal AccompanisURepeti teu r

Laurent Philippe-f , Repetit eur

Technical" Design Staff

Daniel T. Brink er, Tec hni ca l Directo r

Monika Essen , Pro perty Mas ter & Scenic Artist

Kendall Smith , Lighting Coo rdinat or Stacey Boggs *, Dian a Du eke r** +, Assistant Lighting DeS igne rs

Dee Dorsey, Surtitl e Op erator

Christopher Barb eau , Fight Choreograph er

Dan iel Dene , Recording Engi nee r

Ke ith Kalinowski , Tec hni cal Ass istant

Rudi Lauermann , Ass istant Reco rding Engin ee r

Costumes

Suzanne M Hanna , Cos tum e Direc tor

Alice Moss , Wardrobe Mis tress

Margare t Brond er, Emily Pepp er, First Hands

Katie Hein , Gen evi eve Palczyns ki &: Lisa Morin , Sti tc hers

Bethany Killian , Cos tum e Int ern

Makeup" Hair

J oanne Weaver, Wig & Mak eup De signer

Elizabeth Ge ck, DeSh awn Gl osson , Assistant s to Wi g and Mak eup Des igne r

Angela Crui ce, Local Crew Directo r

Detroit Local Wig and Mak eup Crew

Stage Crew

John Kinsora, Head Ca rp ente r

Robert Mesinar, Hea d El ec tli cian

Alan Bigelo w, Hea d Property man

Paul Moraites , Head So und

Robert Martin, Head Fly man

www.Mic h iganOpera.org

Copyright 2010, Michigan Opera Theatre

Gary Gilmore, Produ ction El ectrician

Mary Ell en Shindel , Head oj Wardrobe

IATSE Loca l # 38, Stage Crew

lATSE Loca l # 786, Wardrob e

DETROIT OPERA HOUSE

Denn is We lls, Facilities Manager

J esse Ca rt er, Se nior Building Engi neer

Demetriu s Barnes, Building Engi nee r

Fran cin e Harpe r, Hous e Manage r

Con stance Wil son , Eve nt s Coo rd inator

SAFETY" SECURITY

Ra shid Ava nt , Ca lvin Hill , Derrick Sykes, Co ntrol Cen ter Offi ce rs

Lero y Banks, Stage Door OJfi cer

Lorrain e Mo nroe, Sup ervisor/Stage Doo r Office r

DETROIT OPERA HOUSE

PARKING CENTER

Robert Ne il , Man age r

Greg Mat h ewso n , Assistant Man age r Ii)

* = Aida

* * = Cinde re lla

+ = Salome

Ali Moiin M.D.

Diplomate American Board of Dermatology (:Iilliral \,sociatc I'r()fr"or

Expert In:

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248-643-7677

BRAVO

Program Update

Following the success of th e To u ch the Fu ture Program to educate the p ublic abo ut th e benefit of planned givin g and endowment bml d m g, the Commu m ty Foun da tion for Southeas tern Mic higan ann ounce d a n ew p hilanthropi c effort in Southeast Michigan in Octo ber 2005. W ith the Increasing Regiona l Phil an throp y ORP ) in i tiat ive, t h e Commu ni ty Fo u n d ation o ffered a $6.4 m illio n match pool fo r all endowmen ts. O f the t otal match p oo l amount, $ 2 .9 m illion was reserved sp ecific ally for agen cy end owments.

MOT was on e of 56 participa ti ng age n cies se lec ted to receive up to $ 150 ,000 in match monies , an d t o date we have secure d $ 148, 140 in gifts and, co ns equ ently, $ 73, 75 0 in matching gifts , for a total of $221,890 deposi te d in the Mich igan Opera Thea tre End owment Fund at th e Communi ty Found ati on . Th is mean s th at we h ave received almost h alf of the new gi fts and match m onies that we are all owed to earn befo re the June 30 , 2006 deadlin e. As of this wri ti ng, $ 608 ,476 remains in th e ma tch ing poo l for lRP agencies.

We than k all our d on ors for th eir generosity which has made it

possib le for u s to receive a 2 :1 m atching gift from the Community Foundation , th us ensuring th e stability of MOT and its many diverse programs for many years to come. We are confident that, as you pond er a time for a sp ecial gift in 2006, yo u will have MOT in mind an d help us to secure the matching funds tha t are still needed to co m plete our goa l of $3 00 ,000 in n ew gift s, w ith a subsequ en t $ 150,000 in m a tch mon ies f or a total of $45 0 ,000 b y J une 30 , 2006. For further information , p lease d o not hesitate to ca ll Kim-Lan Trinh , Major Gifts and Planned Giving Manager, at (313) 237-3408, or e-mail h er at ktlinh@motopera.org

In the early

1990'SBObandl attended a very special dinner at the old Grand Circus Theatre David DiChiera was introducing opera fans to his plans to completely renovate the building for the new Opera House We were very excited at the thought of being part of this wonderful development.

It was truly exciting to attend the dinner in the partially finished main floor, followed by the Grand Opening in 1996. We are proud to be the donors of the Allesee Lounge on the Box level, which is dedicated to dance. As plans were developing for the rest of the building, we were one of the first to pledge $1,000,000 to be used to finish a floor which would be used as a dance archive This room is nearly ready for use -a decade after the original opening

Though we have plans for MOT in our will - it has always been our intention to give all the support we can in our lifetime We have enjoyed being able to help finance many dance performances, operas, balls and special fund raising events over the years.

Every time we attend a program at our beautiful Opera House we say a prayer of thanks to David for his incredible foresight and dedication to make his dreams come true for all of his followers and Detroit too.

-Maggie Allesee

"Michigan Op era Theatre is grat eful to Maggie and Bob Allesee for their cont1ibutions to our capital campaign effort to renovat e th e Detroit Op era House , as well as th ei r annual support for dan ce, op era and num erou s other spedal events In addition, Maggie and Bob have th e for eS ight to look beyond th e present into th e future and ensure that th eir gifts will touc h oth er ge nerations to exp eri enc e and enjoy the world of op era and danc e Maggie and Bob are members of Michigan Op era Th eatre's Avanti Soc iety, a deSignat ed group of J1i ends of Michigan Op era Theatre who have made plan s to include the organization in their estate plans. Maggie and Bob are also major donors to th e Touch the Future program and th e In creasing Regional Philanthropy program, both sponsored by th e Community Foundation Jar South eastem Michigan, and deSigned to rais efunds through in-evocabl e planned giJts that will proV ide suJfici ent endowment to sustain and ensure the stability oJMichigan Op era Th eatre Jar ye ars to come Thanh y ou , Maggie and Bob!"

-David DiChiera

Ensuring the Future

I. a gift that outlives you - th at touches future rna Qlne generations in your absence - to experience and enjoy 6?e world of opera.

Thats the goal of the Avanti Society, Michigan Opera Theatres Planned Gift Recognition Program.

The Avanti Society represents a deSignated group of friends o f Michigan Opera Theatre who have made plans to include the organization in their estate plans--whe ther by will , trust, insurance or life income arrangement. Membership in the Avanti Society is open to alL

Members of the Avan ti Society receive a beautifully d esigned lapel pin , recognition at the annua l Avanti Evening and invitations

THE AVANTI SOCIETY MEMBERS

M, Robert G. Abgariall

Mr. & Mrs Robert A. Allesee#

Mrs. Adel Amerman *#+

Dr. Lou rdes Y. Andaya*

Mr. &: Mrs. Agus Li n Arbulu *

Chesler & Emelia Arnold*

Mr. & Mrs. J. Addiso n Banu sh*#

Mr. & Mrs. Brell Batlerson*

Mr &. Mrs. Mandell Berman

Mr. &:. Mrs. An Blai r*

Ro y E & lise Calcagno"

Gladys Caldroney*

Dr & Mrs. Victor J. Cervenak*

Mr. Allen B. CllIistman

Mr. & Mrs Robert C. Comstock#

Dr. Robert A. Cornette*#

Mr & Mrs. Tarik Daoud*#

Ms Marjorie Adel e DeVlieg

Mr: & Mrs. Robert E. Dewar *#

Mr. James P. Diamond

Dr. David DiChiera#

Karen VanderKlool DiChiera*#

Ms Mary Jane Doerr#

Mr &: Mrs. Charles H. Dun can*

Mrs. Charles M. Endicott*#

Mrs. Charlotfe Bu sh Failing

Mr. &. Mrs Herb Fishe r*

Pamela R. Fran cis*

Barbara Frankel & Ronald Micha lak"#

Mr. &: Mrs. Herman Frankel *#

Mrs. Rema Frankel *#

Mr. &. Mrs. Harvey Free man

M, Edward P Frohlich

Dr. & Mrs. Byron P Geo rgeson*

Priscilla A. B. Goodell

Mr. Ern es t Goodman

Priscilla R. Greenberg, Ph.D*#

Mr. & Mrs. Stephen Hagopian

Mr Lawren ce W Hall *

Mr &. Mrs. Jerome Hal perin *

Mrs. Robert M. Hamady

Mr. David Handleman *#

Mr. &. Mrs Kenneth E. Hart*

Mr &. Mrs Eugen e L. Hanwig *

Mr. Bru ce Hillman

Mr. Gordon V Hoialmen

Dr. Cindy Hung*

M, Carl j. Huss

Kristin Jaramillo*

Mr. Donald Jensen *

Ms. He/ en Barbara John ston

Mr. & Mrs. Robert Klein#

Mrs Josephine Kl ein er

Mr. & Mrs. Erwin H Klopfer "#

Misses Ph yllis & Selma Kom*

Mr. & Mrs. Arthur Krolikowski *

Mr. & Mrs. Sal vador P. Ma scali *

Mrs. Wade H McCree *

Ms. Jane McKee*

Mrs. Heiell M Miller

Drs. Orlando & Dorothy Miller "

Ms Kathl ee n Monroe

Mrs. Ella M. MOlltmy

Mr. Ronald K. Morrison *

Ruth Rawlings Molt

Dr. & Mrs. Stephen Mu nk

Mr. Dal e J Pangonis *

Mary & Charles A. Parkhill

Mrs Eli za beth Pecsenye

Clarice Odgers Percox

Mr. Thom as G Porter

Mr. Ri chard M. Raisin *

Mrs. Ruth F Rauner *#

Mr. Joshua Rest

Marguerite & James Rigb y"

Ms. Patricia Rodzik *

Mr. Mitch ell j. Romanowshi

Ms. Susan Sc hooner *

Drs. Heinz &1 Alice Plan Schwarz*

Mrs. Frank C. Shaler*

Mrs. Marge Slezak

Ms. Phyllis Funk Snow"

Mr Edward L Stahl

Mr. & Mrs. Richard Starkweather*#+

Mrs Mark C. Slevens*#

Mr Stan ford C. Stoddard

Jonathan Swift & Th omas A. SI. Charl es*

Mr. Ronald F. Switzer*

Ms. MalY Ellen Tappan "#

Donald & Margaret Tllutb er*

Mr. Edward D. Tuss el*

Mr. &1 Mrs George Vin cent*#+

Mrj. Ern es t Wilde

Mrs. Amelia H Wilhelm "#

Elizabeth & Walter P. Work "

Mr. & Mrs. George M Zeltzer*

Avanti Logo & Pin Design

Monica Moffat &1 Pat McGui re

Keys:

* Founding Members

# Touch th e Future donors

+ Avanti Society Sponsors

Italics = deceased members

to special events and performances , and are listed as members in our Program Books throughout each season

AN AVANTI FOR TOMORROW

The growth of Michigan Opera Theatres permanent Endowment Fund ensures the growth and future vitality of one of the regions grea te st cultural assets You are invited to create your own legacy - your Avanti - through Michigan O p era Theatre.

You may use the enclosed confi dential reply card to indicate your gift , or contact Kim-Lan Trinh at (313) 237-3408 to discuss gift options that may benefit you, yo ur heirs and Michigan Opera Theatre.

r-----------------------------------------------

Confidential Reply: Please return this form to Kim-Lan Trinh, Michigan Opera Theatre, 1526 Broadway, Detroit, MI 48226 , or e-mail ktrinh@motopera.org

Name(s) ___________________________

Address _______ City __ State __ Zip _____

Phone (day) __ (eve) ____________

Best time to call :

o Yes, please se nd information regarding planned gifts

o Vwe already qualify for the Avanti Society

Please briefly describe the estate gift that qualifies yo u for membership (all information submitted will be kept confidential):

Contributors to Michigan Opera Theatres Campaign to Restore the Detroit Opera House

Michigan Opera Theatre extends appreciation to the many donors who contributed so generously to the three phases of the Detroit Opera House fund-raising initiative The follOwing is a cumulative listing of gifts, of $5,000 and above , to the Capital Campaign to Restore the Detroit Opera House (1989-1998), the New Century

Fund Campaign (1999-2001) and the Crowning Achievement Campaign (2002-2004).

We also thank the many donors who contributed gifts below $5,000 for their commitment and belief in the Detroit Opera House project. m

Copyright 2010, Michigan Opera Theatre

{contributors}

Judith Hi cks & Eric

Hes penheid e

Mr. Jam es Redd am

Mr. & Mrs. Dean E. Richardson

Ms. Helen Arnoldi-Rowe

Dr. Robyn]. Arrington Jr

Alan & Elean or Isra el Jam es & Margueri te Rigb y A&S Supply Co mpany

Mr. & Mrs. Albe rt A. Ja dach

Mr. & Mrs. Wi lliam R. Dr & Mrs. Ingi da Asfaw

Ms. Elizabeth J udson Johnson Roberts

Ms. Mary Bartush Jones

JP RNPe terhansrea Architects

Mr. & Mrs. Peter Ronan

Andrea & J ames Balce rski

Mr. & Mrs. Gerald Barefoot

Mr. & Mrs. David P. Ruwart Brian & Heidi Bartes

The Hon. Mitchell I. Kafarsk i Sa turn Elec troni

KDS Intern ational

Mr. George C. Turek Ford Motor Company

Dr. & Mrs. Charles Kessler Universa l Fo rest Products , Inc. Backstage Renovation

Mr. Arthur H Kirsh

Harvey & Ail een

Dr. & Mrs. Leo nard Van Broadway Lobby

Kleiman Raapho rst Center for Arts & Learning

Barbara & Michael Kratchman

Dr & Mrs. Alfred M. Kreindler

Dr. Richard & Victoria Kuli s

Joseph & Rosalie Vicari Barbara Frankel & Ron

Victory ReSteel, Inc Mi chal ak

Mr. & Mrs. Will iam P. Vititoe Patron Elevator, Center for

cs & Dr. & Mrs J ohn G Bielawski

Mr. & Mrs. W George Bihler

Mr. & Mrs. Lee E. Land es

Mr. & Mrs. Ri chard

M Larson

Mr. & Mrs. Gary L. White Administration

Mr. & Mrs. Richard C. Ward Production & & lona Drozd owska, M.D. , Engineerin g Inc.

\vith sons Erik

M. Kafarsk i

Mr. & Mrs. Stephen D. Kasl e

Dr. onnan & Maril yn

Dr. Barbara & Mr. Lauren ce

& Family Sc hiff

Mr. & Mrs. Thom as G. Kirb y

Mr. & Mrs. Laurence Sc hultz

Mr. & Mrs. J oh n A. Kirlin Simmo ns & CiarkJewelers

Mr. & Mrs. Eugene Klein

Mr. & Mrs. Harvey Kline

Ms. Eleanor Korn

Mr. & Mrs. Davi d Bird

Dr. & Mrs. Alden

M. Leib

Mr. & Mrs. Will iam Widmye r Henn an & Barbara Frankel & Konrad C. Kafarski Sc hakne

Mr. & Mrs. G. Pe ter Blom Christin e & Elm ore Leonard

Mr.&Mrs. Richard Bockoff

Mr.&Mrs. Chester E. Borck

Mr. & Mrs. Douglas Borden

Mr. & Mrs. Dona ld]. Bortz Jr.

Dr. & Mrs. Sheld on Sonkin Lou is & Carolyn Bruno

Mr. & Mrs. Stephen Strome

Ri ta & Lance Leo

nelli

Dr. & Mrs. John M. Lesesne

Mr. & Mrs. Charles E. Letts Jr

Chris & Susa n Wilhelm General DirectorS Circle

Mr. & Mrs. Eric A. Wiltshire Lounge

Mr. Todd A. Wyett General Motors Corporation

Ms. Shiao-Fong Yin Cafe

Dr. & Mrs. Murray B. Levin Opera Plaza

Ms. Mary Sirotkin Le\vis

Tracey & Mark I. Burnstein Lewis & Thompson Agency,

Dr. & Mrs. David Susser Sally Carlson Inc.

NAMED GIFTS Barbara Gibson

We extend our gra titud e to the Stairway Exhib it , Broadway

Jollowing donors to all tltree

Robert & Ali ce Gustafson

Dr. & Mrs. L. Murray Thomas CenTra , In c. J odi & Iva n LudingtonJr. pltases oj tlte capital campaign Th ird Floor Lobby Alcove, La-l-Boy

Mr. & Mrs. Robert C. Larson

Mr Raymond A. Lehtinen

Dr. & Mrs. Leonard Lerner

Thompson-McCully Co. Dr & Mrs. Victor]. Cervenak

Dr. Roberta & Mr. Sheldon Toll

Mr. & Mrs. No nnan A. - tlte Campaign to Resto re tlte Madison

Dr. Barbara Chapman & Mr. Lussier II

Mr. & Mrs. Robert G. Vallee Sr. Frank Andrews

Dr. & Mrs. Kim K. Li e Ann Kirk Warren

Loc ni ska r Group

Mrs. Lawrence loPatin

Mr. Frank E Miller

Marsha & J effrey H Miro

Glen & Cannel Mitchell

Fo undation

Mr. & Mrs. Theodore

Monolidis

Ronald & Eil ee n Weiser

Mr.]. Ern es t Wilde

Mrs. Maria M Chirco

Mr. William G. Clark

Detroit Opera House, tlt e New David Handl eman Sr.

Benard L. Maas Foundation CentUlY Fund Ca mpaign , and Media Stud io, Center for

Mrs. Ruth MacRae tlte Crown ing Ach ievement Ans & Learning

Mrs. Barbara]. Mahone & Ca mpaign - W/1O underwrot e Richard & Mary Lou Janes

Ms. Virginia M. Clementi Sara h Lou Simpso n Fund

The Hon J oan E. Yo ung & Dr. & Mrs. Julius V. Combs

Mr. Th oma s Sc hell enberg

Mr. & Mrs. Th eodore legouras

$

Dr. Ma ry Carol Co nroy

Mr. John A. Co nti

Mrs. Rosemary Co tte r

5,000-$ 9 ,999 Mary & Sal Craparona

Th e Randolph J. & Judi th A.

Mr. & Mrs Charles R. Moon Agley Foundation

Mr. Donal d W. Maine

Ms Mary C. Mazure

Mr. & Mrs Mark McCartin

Mr. & Mrs. Angus J. McMillan

Mrs. Luci e B. Me ininger

deSignated areas in the Det roit Third Fl oo r lobby Alcove ,

Opera House. Broadway

Wil liam & Ellen Kahn

AAA Dance Center Dressing

Proscenium Arch Room , Center for Ans &

Dr & Mrs. Roger M. Aj luni Learning

Dr. & Mrs. Victo r Curato lo Mexican Industri es in Grand Lobby Staircase Chaim , Fan ny, Louis ,

Barbara & Paul W. Michigan, In c.

Ronald K. Morri so n Alb ert Kahn Assoc ia tes, In c. Czamanske J r.

Dr & Mrs Moon].

Pak

Mr. & Mrs. Assad Amine

Mr. & Mrs. Jul es Pall one Anonymous

Dr. Robert E L. Pe rkins

Mr. & Mrs. George Milidrag

Mr. & Mrs. J erry P. D'Ava nz o Rita & Morkus K. Mitriu s

Mr Tyro ne Davenpon &r Ms. Monica Moffat & Pat ric k J.

Mr. & Mrs. Robert L. Li nda Forte

Plunkett & Coo ney Pc. Anthon y IV

Pri cewaterhouseCoo pers L.L.P

J ose ph E. & Kathl ee n A.

Mr. & Mrs. Roben Rauth Antonini Foundatio n

Michigan's

most trusted

Mr. & Mrs. David E. Davis

Dr. & Mrs Anthony DeLu ca

Mr. & Mrs. Th omas D. Deme ry

McGuire

Mr. & Mrs. Robert A. Allesee Benjamin & Ann Florence

Dance Patron Lounge Kaufman Memorial Trust

Dance & Opera Resource Grand Lobby Side

library, Center for Arts & Chandelier

Learning Wallis & Robert M. Klein

Mr. & Mrs. Fred Morganroth Anonymous Donor Grand Lobby Staircase

Mr. Edwin Lee Morrell

Mr. & Mrs. J oel Morris

David K Diskin , M. D & Mrs. Joan M. Mossner

Dorothy Di sk in

Mr. & Mrs David C. Mulligan

Mr. & Mrs. Lawrence F A. Sa nd y Munro

Grand Lobby Mirror

Anonymous Donor Delores & Paul Lavins

Broadway Fa,ade Grand Lobby Side

Dr. & Mrs. Dona ld C. AUSlin Chandelier

Grand Lobby Central Grand Lobby Staircase

DuMouch ell e Mr. Charl es Nave Chandelier Mirror

Frank G. & Ge rtrude Dunlap

Sandra & Jea nn e Naysmith Lee & Flo y Barthel Lear Corporat ion

Foundation Dorothy I. & George W.

Costume Cemer, Center for Trustee Circle Level in Opera

Mr. & Mrs. Benjamin H Earl Nou han Arts & Learni ng Hall

Mr. & Mrs. George R. Ehlert Dr. Marie C. Nowosielski

BASF Corpo ration Rehearsal Studio 1 Lobb y

Mr. Richard Engel Oxford Automotive Classroom, Center for Arts Th e Lomaso n Fa mily

Mr. & Mrs. Francis A. PaineWebber & Learning Opera Lounge

Engelhardt

Mr. & Mrs. J ames Pamel

Mr. & Mrs. J ohn A. Boll Sr. Oli ve r Dewey Marcks

Dr. Fern R Espi no & Mr. Manuel L. & Louise J. Papista Rehearsal Studio I Founda ti on

Tom Short

Dr. Haifa Fak houri , ACC

Mr. & Mrs. David P. Parr Margo V. Co hen Third Floor Promenade

Mr. & Mrs. Spence r Pa rtri ch Dance Center, Ceme r for Staircase Lobby to 2nd Floor,

Dr. & Mrs Herbert Feldst ein Penna Famil y Arts & Learning Madison

Mr. & Mrs. Pau l Firnschild Th e Priva te Ba nk Comerica Charitable Mic hCon Foundation

Mr. & Mrs. Mi tchell B Foster Darrel & Dawn Reece Found atio n Grand Lobby Boutique

Mrs. Rema Fra nkel Drs Robert & Pat ricia Reed Grand Dome, Lobby, Center Th e Karen & Drew Peslar

Mr. & Mrs. George E Frost

Mr. & Mrs. J ohn B. Renick for Production & Foundation

Dr. & Mrs. Juan Ga num Suzann e & Rob ert L. Rewey Administration Co-Star Dressing Room

Mrs. Frank Gennack J r. The Ritz-Ca rlton, Dearborn DaimlerChrys ler Corporation

Mr. & Mrs. Irving Ros e

Mr. Michael Gers tenberge r Pa tri cia Rodzik Community Performance Patron Elevator, John R

Mr. Joseph Gia calo ne Dulcie & No rm an Rosen fe ld Theater, Center for Arts & Tower

Dr. & Mrs. Thomas Gia nca rlo

Mrs. Ern est Good man

Mr. & Mrs. Ca rso n C.

Grunewald

Mr. & Mrs. J oseph Gualtieri

Mrs. Ali ce Berberia n Haidostian

Mr. & Mrs. Gerald FRoss Learning

Mrs. Carolyn L. Ross

Mr. Th omas FRost DaimlerChrysler Services Grand Lobby Staircase

Mr. & Mrs. J effrey Roth Patron Elevator, Cemer for Mirror

Mr. & Mrs. Anth ony Rugiero Arts & Learning Raym ond C. Smith

Mr. & Mrs. Lee C. Sape rste in

Mr. & Mrs. Tari k S. Dao ud Foundat io n Fund of th e

Mr. & Mrs. Richard J. Schlitters Grand Drape Community Foundati on for

Mr. Lawren ce W. Hall Mark & Sa ll y Sc hwartz DeRoy Tes tamentary South eas tern Michigan

Margo t & J erry Halpenn Benjamin Schwegman & Found atio n John R Lobby

Mr & Mrs. Mort Harris Judith Tappero-Schwegma n Conference Room,

Mr. & Mrs. Lynn Towns end

Mr. & Mrs. Bernard Harunan Lois & Mark Shaevs ky Center fo r Production & Trustee Circl e Lobby, Derek & Karen Hodgson

Mr. & Mrs. Roger F Shennan Administration Broadway

Mr & Mrs. I. Martin Inglis

Gary E. & Gwe nn C. Johnso n

J ohn so n & J ohnso n

Ms. Ros emary J oliat

Lawre nce & Dian e J ones

Elliot & Caro lyn Josep h

Mr. Rob ert Sievers

Detroit Edison Foundation

Mr & Mrs George C. Co lett e & Darne ll J ackson Barbara & Roger B. Smith

Mezzanine Level in Opera Vi ncent

Ms. Phy lliS Funk Sno w Hall

Ms. Anne Ma rkl ey Spi va k

Mr. Edward L. Stahl

Madison Lobby

Mr. & Mrs. Robert E Dewa r Wal bridge Aldinger Co mpany

Trustee Circle Lobby, Reh ea rsal Stud io 11

Ms Mary Ann Stella Madison

Mr. & Mrs. Bob G. Stevenson

Mr. & Mrs. Alvin Wasserma n

Mary Sue & Paul E\ving Box Level Promenade

David G. Judge & Laura A. Joel & Shelley Ta uber Broadway Box Office World Heritage Foundati on Tchorznski Lorna Thomas, M. D. Conductors Dressing

Kater Foundation Michael & Na ncy Timm is Room m

Shepherd's Hollow Golf Club

Simm ons & Clark jewelers

Skyy Vodka SLAW

Small Plates

Darlene & Tony Soave

Soave En terprises

Solomon Friedman Advertising

Stoney Creek & Atwater

Nick Stumbos

Sweet Georgia BrO\vn

Swee t Lorraine's Cafe & Bar

Sweet Streets Desserts

Table for Eight

Tastefest 2005

TeleVideo Studios

Th e Arra ngement Flower Shop

The Bagel Factory-josh Charlip

Th e Beverly Hills Club

The Capi tal Grille

The Detroit Institute of Arts

The Loose Leaf

The Origi nal Wandering

Gounmet

The Sports Club of West

Bl oomfield

The Technicom Group

The Tennis & Golf Company, David Schwartz

The Town Pu mp

The Townsend Hotel

The Westin Detroit

Metro po litan Airpo rt

Thought Collide Produ ctions

Toast

Tra lerighe U. S. Food Service

Union Street Sa loon Inc.

Vicente Cu ban Cuisine

Vintage Wi ne

Viviano Win e Importers

Washing ton Place Antiques

Was hi ngton Place Estate Sa le

Weinstein jewelers of Novi

Whitlock Business Systems

Whole Foods Market

Wico Metal Produ cts

William Sto ne-WS Insura n ce Group

Ca rter Williams, Fi reny Mobil , Inc.

R. j amison Williams jr.

Wines of Distinction

Woodwa rd Ave nu e Brewers

WWj News Radio 950

XL Co lor, In c. Yoga Shel ter m

Barbara Gibson Young Artist Apprentice Program

Volunteers

Michigan Opera Theatre and the Detroit Opera House present one of the finest and most diverse opera and dance series in the country The theatrical experiences encompass vocal and orchestral music, dance , drama, costumes, sets and lighting. The achievement of this mul tiplicity requires many voices and many willing hands. The talented, giving hands of our Opera League, Ushers, Dance Council, Encore l Ambassadors, Office and Boutique workers, Volunteer Education , Move r and Super volunteers have a Significan t impact on the overall operation of the company

MOTVA Executive

Committee

Dodie David , President

Gloria Clark , Vice President

Ba rbara Gates , Secretmy

jo hn McMullin , Treasurer

Betty Brooks , Past President

Board of Directors and Committee Chairs

Helen Millen, Ambassadors

Danielle DeFauw, Boutique

Marianne Endico tt , Community Programs

Gail Urso, Dance Council

Helen Arnoldi -Rowe , DivaslDivos

Vittoria Katanski, Encore!

Foot li ghts

Amy jidov, Membership

Nancy Krolikowski , Movers

Office Volunteers

Roberta Starkweather, ovr

Chair

Opera House Ushers

Mado Lie , Opera League

Gwen Bowlby, Publicity & Development

Ali Moii n, Supers

Wallace Peace, Volunteer

Education

Volunteer Voice

Kevin Dennis, Technology

Don jensen, Board Member

Randall Fogelman, Bomd Member

Detroit OpeTa Hous e

The launching of Barbara Gib sons career reads like a scrip t [rom a Hollywood movie. She had been studying for three yea rs with Maestro Sturani, when h e invited a group of his Metropolitan Opera friends, including soprano Bidu Sayo, bari tone Giuseppe Danise and tenor Giovanni Martinelli to hear the 19yea r- old soprano. After the recital , Danise was so impressed tha t he was ab le to arrange an audition for Barbara wi th Arthur Judson of Co lumbia Artists Management Inc. That very day, it h ap pened that the producer of 'The Telephone H our" had an appO intment at Columb ia , and he was persuaded to listen to the you n g co lora tura. She was immediately Signed to a Columbia Artists contract and a debut on a national radio broadcast in September 1949 A recording contrac t with RCA soon followed as well as an appearance on the "Voice o f Firestone" broadcast simultaneo u sly on radio and television.

Terry Shea, Board Member

Sunday Soiree Hosts

Mary Sue & Pau l Ewing

2006 Spring Soiree

Adele Ammenman, Gwe n & Richard Bowlby

2006 Spring So iree

Volunteer OPERAtors

Ma rga ret Allesee

Helen Arno ldi-Rowe

Gloria Clark

Margo Cohen

joanne Dan to

Dodie David

Marianne End ico tt

Hel en L. Goettl

Linda Ilka

Ala n Israel

Amy jidov

Victo ria Kulis

Patricia Nickol

Katey Szu ma

Carole Tibbitts

In 1952, she was chosen by the legendary Arturo Toscanini to sing in the radio broadcast of Glucks Orfeo ed Ewidice Soon after, she made h er opera tic debut with Cincinnati Opera Assoc iation as Gilda in Rigoletto. In 1954, she appeared with the San Francisco Ope ra as Rosina, Oscar and Zerlina. The following sprin g she was chosen to partiCipate in a five-week cul tural good will tour o f Europe Afte r a triumpha nt performance wi th the Berlin Philharmonic , Der Tagesspiegal proclaime d , "Barbara Gi b son brought b ac k to li fe the grea t era of coloratura singing" H er second tour o f Europe climaxed with the winning of first prize in the womanS vocal division of Italys Giamba ttista Viotti contes t. First prize had n ever been awa rded in the voice division Moreover, according to the Assoc iated Press wire report fla sh ed aro und the world , Barbara Gibso n was the fir st Ame ri can to win a first prize in any of the four contest divisions (voice, piano, vio lin , and co mp ositi on. )

Returning after an exhau stive and extended national co n ce rt tour, she took the music wo rld by surprise w h en, at the height of her vocal powers, sh e announced th at she wo uld reti re from th e stage and dedicate h er self to raising h er yo ung family in Detroit , Michigan, bringing a premature end to a meteoric ca ree r.

In 1965, Dr. David Di Chiera, who h ad committed himself to establis hing an oper a company in Detroit, persuaded h er to b e the featured artis t in the Overture to Opera Series, p erforming the mad scene from Lucia di Lnmmermoor in eigh t performances throughou t the Me trop olitan Detroit area. She became a founding board member of the fl ed gling

www.MichiganOpera.org

Michigan Opera Theatre 2004-2005 Young Artist Apprentice

company, providing constant artistic advice , and introdUCing DiChiera to many co ll eagues, including famous Italian b asso Italo Tajo, w h o cam e to Detroit to sing in n Campanello and direct the companys first full-length producti on , The Barber oj Seville.

Barbara Gibson's commitment to MOT has continued through the year s, and in 2002 , a generous endowment gift established the Barbara Gib son Young Artist Program, which wi ll supp ort Michigan Opera Theatre's o n going co mmitment to training and preparing the op era sta rs of tomorrow. m

Barbara Gibson as Lucia in the 1968 Ove rture to Opera Series

Krysty L. Swann DeRoy Testamentary Foundation Young Artist

Laurie Seely Joyce H. Cohn Young Artist

Learning at the Opera House

Our popu lar In-Depth Opera Lectures of the 2006-2007 season will be offered again, as will The Renaissance Series- with lectures about African American h istory in Detroit. Come and discover the Reel Opera Club with movies about opera or spoofs on opera.

Also, popular pianist and educator, Penny Masouris will teach beginning Adult Group Piano Lessons on Monday evenings in July and early August. Our Poets at the Opera House and our writing classes in fiction and poetry will again be offered.

YOUNG PEOPLE

Our Programs for Young People will present the teaching team of Karen V DiChiera and Fran Dent in Create and Perform, a workshop in which original stories and music are created and then performed by the students. Operetta Camp will again feature students learning and performing a Gilbert and Sullivan operetta. The InsideOut Literary Arts Projects Program Director, Robert Fanning, will be th e instructor of the Writers Comer - A Writing Program for Children.

OPERA CAMP and OPERA WORKSHOP

Contralto and Opera Camp Director, Candace de Lattre will offer a varied menu of classes to advanced opera h opefu ls from teenagers and up including: Ancient Dance with Harriet Berg, Alexander Technique with Oakland University's Michael Gillespie, Readers' Theater Workshop with University of Flint Professor Carolyn Gillespie, and Master Classes in Voice from several esteemed professiona ls. All of this plus the evening Opera Workshop will lead up to a final performance of opera scenes.

RECITAL MASTER CLASS

With the untimely passing of Elizabeth Parcells (see page 42) , creator of this popular master class, sopran o and singing voice speCialist Betty Lane has agreed to take over as the courses instructor. Just as Ms. Parce lls had done in the years since the courses inception in 1997, the master class will focus on the formalities and etiquette of recital performance for singers. Ove r the years, we have heard from many students of Ms. Parcells wh o've commented about how valuable this course has been to their profeSSional careers. This tradition will continue, as we dedicate 2006 Recital Master Classes to her memory m

The Ford Center for Arts and Learning - IS OPEN!

Our long-awaited opening of the Ford Center for Arts and Learning on April nth means we are now ready for "Learners" of all ages to discover our fabulous new learning environment, all year round. Already this spring, Dance, a Vo ice Master Class and our Central Michigan University Master's Degree Course in Opera have started in the Ford Center for Arts and Learning.

The new Ford Center occupies six stories on Broadway The ground floor houses our boutique , which will not only serve patrons during performances, but will also provide a welcome place to shop for gifts in the area.

The Maggie Allesee Dance and Opera Resource Library will open soon We are waiting to hear about some grant and partnership opportunities that will propel this development to become a haven for students and scholars

Our Floy and Lee Barthel Costume Sh op is already in use on the third floor with costumes being altered and created for the spring 2006 season. We hope that by the year 2007, we will be able to use the costume shop and the talents of Michigan Opera Theatre Costume Coordinator, Suzanne Hanna, to offer classes in costume design and technical theater during offseason times.

The Department of Community Programs (which also produces Learning at the Opera House) will have expanded dedicated space covering the whole fourth floor Thanks to a generous donation from David Handleman, we will have an intimate television studio plus a classroom through the generosity of BASF Corporation. Private piano, voice and music composition instruction will take place here, as well as sessions in Vocal Health.

Tour the Detroit Opera House

An Eye and Ear Opening Experience for all Ages

Are you or your favorite young person part of a group or in a school that would like to visit "Behind the Scenes" at the Detroit Opera House? The opera house tours of the Department of Community Programs are geared toward education, including explanations of possible careers

Time Out for Opera

Time Out for Opera, our television series with Bloomfield Community Television , has once again won a coveted Philo T. Farnsworth Award for one of the 14 half hour television programs produced in 2005, for the series Time Out for Opera. Philo T. Farnsworth, the inventor of the television tube, was the name chosen by The Alliance for Community Media 's Central States Region "Emmy Awards."

Through the years, Director of Community Programs , Karen V DiChiera, and educator, Jonathan Swift, have hosted and produced Time Out for Opera, which

Detroit Opera House

in the arts and how to prepare for them , a performance by our very own Touring Artists of Community Programs and, of course, a peek backstage and a visit to the costume shop with Michigan Opera Theatre Costume Coordinator, Suzanne Hanna. Learn about decorative plastering and how has won many "Philos. " It is always an honor I This years award winning show featured bass,james Patterson, a voice teacher who has appeared many times with Michigan Opera Theatre. The episode was directed by Bloomfield Community Television 's James Gillis.

Have you ever seen Time Out for Opera?

If you live in Bloomfield Hills , Birmingham, Beverly Hills, Bingham Farms or Franklin, you can see the half-hour-long program over either Channel 15 or 18. If you have seen it, please let us know what you think about it. Your feedback can help

www.MichiganOpera.org

Copyright 2010, Michigan Opera Theatre

Dance classes will be taught in the Margo V Cohen Center for Dance on the fifth floor and patrons will be welcomed in the Ellen Kahn Dance Lobby Thanks to DaimlerChrysler, we will have a flexible performance space in the DaimlerChrysler Theater on the sixth floor. This will be shared b y Community Programs, Dance and Learning at the Opera House, and when avai lable, can be rented by community groups.

We hope you will take the opportunity to visit the Ford Center for Arts and Learning either by going on a tour, taking a class, or attending a performance by students of one of our workshops. We are thrilled to be ab le to expand our "inhouse " educationa l offerings from the summer to year-round programs. m

The Detroit Opera House was renovated and enlarged. You will also hear the history of the theater that is now The Detroit Opera House and, if you wish , you may hear the history of all of Detroit 's Theaters. Contact Dolores Tobis for information and cost.

dtobis@motopera.org (313) 237-3429

us to secure the funding necessary to produce this program. If you come up with a suggestion that we can use, we will include YOU on a program! Send your thoughts to Karen VanderKloot DiChiera at kvd@motopera.org.

If you live in an area that doesn't receive Time Out for Opera and you think your community would enjoy it, contact Bloomfield Community Television at (248) 433-7790, and speak with station manager Leslie Helwig. She can offer the program to other cable stations at minimum cost. m

General Information

PHOTOGRAPHY" RECORDING DEVICES Unauthorized cameras and recording devices are not allowed inside the lobby or theater at any time The taking of photographs of the theater or any performance is strictly prohibited. As a courtesy to our guests, we ask that all paging devices, cell phones and alarm watches be switched to silent mode prior to the start of a performance.

IN CASE OF EMERGENCY Doctors and parents are advised to leave their seat location (located on ticket) and our emergency number, (313) 237-3257, with the service or sitter in case of an emergency Please observe the lighted exit signs located throughout the theater. In the event of fire or similar emergency, please remain calm and walk - do not run - to the nearest exit. Our ushers are trained to lead you out of the building safely A trained Emergency Medical Technician (EMT) is onsite during most events. Please see an usher or staff member to contact the EMT.

RESTROOMS Ladies' restroorns are located off the Ford Lobby (Broadway stree t entrance), down the stairs and also on the third fl oor (Ma dison street entrance) - please press "3 R" on the elevator to reach this facility Gentlemens restroorns are located under the Grand Staircase and also on the third floor (Broadway street entrance) - please press "3" on the elevator to reach this facility Please note: All third-floor restroorns are wheelchair accessible. Unisex accessible restroo m located in the GM Opera Cafe .

NO SMOKING The Detroit Opera House is a smoke-free facility Ash recep tacles are provided on the exterior of all entry doors for those who wish to smoke.

USHERS Ush ers are stationed at the top of each aisle. If you have a question or co nc ern, please inform ushers, and they will contact management. If you are interested in becoming a volunteer usher, please call the usher ho tline at (313) 237-3253.

LATE SEATING Latecomers will be seated only during an appropriate pause in the program and may view the program on the closed-circuit television monitor located in the Ford lobby until an appropriate program pause occurs. Late sea ting poliCies are at the discretion of the production , not opera house management.

LOST" FOUND Lost and Found is located in the Securi ty Department. Please see an usher if yo u have misplaced an article , or call (313) 96 1- 3500 if you have already left the theater. Items will be held in Lost and Found for 30 days.

PARKING The Detroit Opera House Parking Center, located next to the Detroit Opera House, is now open. This new state - of-th e-art faCility is r eserved speC ifi ca lly for Detroit Op era House patrons during regularly schedu led performances. Entrances and exits are l ocated on both John Rand

Gran d Ri ve r for added convenience. Prepaid parking is ava ilab le. Call (313) 237 -SING for more information.

ACCESSIBILITY Accessible seating locations for patrons in wheelchairs are loca ted in all price ranges on the orchestra level. When inquiring about tickets, please ask about these locations if you require special accommodations .

Assisted Listening Devices are availabl e on a first-come, firstserved basis Please see an usher to request this service. Although this is a complimentary service, we will request to hold a piece of persona l identification while yo u are using the device . Please contact the Box Office, shou ld yo u desire speCial consideration.

CHILDREN Children are welcome; h owever, all guests are required to hold a ticket, regardless of age. We kindly ask th a t parental disc reti on be exerc ised for certain programs and that all guests rememb er that during a program such as ope ra or ballet, the ability of all audience members to hear th e music is a prerequisite to enjoyment of the performance. In all cases, babes in arms are not permitted.

SERVICES Concession stands are located on all levels. Please note that food and drinks are not allowed in the auditorium at any time. Coat check is located in the Ford Lobby The cost is $1.00 per coa t. Please note that the Detroit Opera House does n ot accept responsibility for any personal articles that are not checked at the coat check. Drinking fountains are located in the lobbies on floors one and three Public pay phones are located in the vestib ule of the Ford Lobby Patrons in wheelch airs can access pay phones outside the third-floor ladies' restroorns.

RENTAL INFORMAnON

The Detroit Opera House is available for rent b y yo ur organization. Please call (313) 961-3500 , and ask to be directed to the Spec ial Events Department.

TICKET INFORMATION

The Detroit Opera House Ticket Office hours are as follows: Non-performance weeks - Monday through Friday 10:00 a.rn. to 5:30 p.rn. Performance days - 10:00 a.rn. through the first intermission of the evenings performance , except Saturd ays and Sundays, when the Ticket Office will open two hours prior to curtain Tickets for all public events h eld at the Detroit Opera H ouse are also avai lable through all Ticke tMaster phone and retail outlets, or at Tick etMaster.com

OPERA HOUSE TOURS Come join the Opera House

Ambassadors for a backstage tour of the Detroit Opera House. Learn about the history of the Opera Hou se and its restoration. Meet the peop le behind the scenes, tour the s tage and see how it operates. Tours are $10 00 per person For more information, please ca ll (313) 237-3407. m

Be advised that, for purposes of Michigan Compiled Laws, Section 28.4250(1)(0, this is an entertainment facility that has a seating capaCity of more than 2 ,500 individuals. It is therefo re against the law to carry a concea led pistol on the premises.

EMERGENCIES

Michigan Opera Theatre Genera l Information Lost &: Found Ticket Office

Usher Hotline

Theater Rental Informa tion

Detroit Opera House Fax Press &: Public Relations

IMPORTANT NUMBERS

(313) 237-3257

(313) 961-3500

(313) 961-3500

(313) 961 -35 00

(313) 237-SING

(313) 237-3253

(313) 961-3500

(313) 237-3412

(313) 237-3403 Website

www.MichiganOpera.org

Michigan Opera Theatre offers a convenient transportation option to subscribers for select performances, at easy-to-reach locations.

A MAP OF YOUR PARKING LOCATION AND DEPARTURE TIME WILL BE MAILED TO YOU PRIOR TO PERFORMANCE DATE. PARKING LOCATIONS ARE SUBJECT TO CANCELLATION DUE TO INSUFFICIENT RIDERS

TRANSPORTATION ORDER FORM

Climb aboard the "OPERA EXPRESS"!

HERE'S HOW IT WORKS:

* If you are a Sunday Matinee Subscriber, park or be dropped off at one of the 2 suburban pick-up/drop-off locations.

* Royal Transportation coaches will pick-up 90 minutes prior to curtain time and drop you off at the Madison Avenue entrance to the Detroit Opera House.

* Royal Transportation coaches will leave the Detroit Opera House (Madison Avenue doors) 30 minutes after the final curtain.

* This is a great way to avoid all of the construction traffic and to meet new friends!

* Gives you time to enjoy a beverage or meal at the Cadillac Cafe in the Detroit Opera House.

* Roundtrip cost is just $15 per person.

* For further information, please call the Ticket Office at (313) 237-SING.

PERFORMANCE

is a commitment to Excellence

With its commitment to excellence in every performance, the Michigan Opera Theatre enriches our community and the quality of our lives .

The MASCO family of companies proudly supports the Michigan Opera Theatre 's great productions in its 2005 - 2006 season .

We believe a strong, supportive presence in the community where we live, work and do business is vital. It strengthens our dedication to excellence in all that we do .

Copyright 2010, Michigan Opera Theatre

© 2005 Masco Corporation

Courtesy of Mi chiga n O pe ra Th eatre

MICHIGAN OPERA THEATRE presents

Giusseppe Verdi's

ADDITIONAL PRODUCTION CREDITS

The appearance of Salvatore Licitra is supported by a generous gift from Michael A. Chirco

Additional Orchestra Personnel

Kerstin Allvin

Greg Near

Edward Hickman

Harp Principal Trombone

Trombone

On-Stage Trumpets

Nick Hansinger Derek Lockhart

Tim Krohn

Charles Larkins

Jean Moorhead-Libs

Mitch Wechsler

Local Wig & Makeup Crew

Melinda Anderson

Kensha Bigham

Denisessa Braggs

Tonya Kendall

Shawna Koloff

Raceine MacDonald

Anastasia Feofanova Shawnta McDougle

Susan Fox

Gregory Henson

Myranda Jennings

Donna Robertson

Shawn Williams

Guards

Ti mAnderson

Danny Bradley

Bruce Davis

Sam Delia

Carl Fontana

Delton Pinder

Paul Plamondon

Charlie Tazzia

Steve Vlahakis

Harry Williams

Supernumeraries

Popo/o

Bill Anderson

Brittany Anderson

Henry Coucke

Iris Diop

Donna DiPonio

Ann Emanuelsen

Hassae Jones

Sal Mascali

Joyce C. Ross

Elaine Sledge

Pamela Vlahakis

Joseph Welch

Elizabeth White

Guards/Bearers

Frank Biondo

Gioseph Facione

Ryan Floyd

Gene Gibas

Gregory Graves

Tim Marciniak

Jerry Sanders

Scott Syke

Additional Chorus Personnel

Vanessa Ferriole (AGMA) Kathleen Boettcher (RSC)

Corrections to BRAVO

Children Dancers

Portia Adams Alexandra D'abreu-Hines

Precious Adams Micah Willingham

Adult Dancers

The editor of BRAVO regrets that James Lee was incorrectly noted as James West.

SUPERNUMERARIES

MICHIGAN OPERA THEATRE presents

Richard Strauss'

June 3-10, 2006

ADDITIONAL PRODUCTION CREDITS

ADDITIONAL

ORCHESTRA PERSONNEL

Eugene Zenzen, Cello

LOCAL WIG & MAKEU P CREW

Katie Clark

Myranda Jennings

Shawnta McDougle Shawn Williams

Cappadocians

Ann Em anuelson

Josh Madden

Robin Marcus

John Zimmerman

Female Slaves/Dancers

Brittany Anderson

Stephanie Fields

Storm Ashley Holmes

Sara Master

Deja Reese

Pamela Rogers

Executioner

Matt Emanuelson

Nubian Guest

Harry Williams

Male Slaves

Bruce Davis

Noah Fields

Gerold Secrest

Elijah Shabazz

Joseph Welch

Romans

Roze Berisaj

Ann Ledbetter

George Manning

Lamar Richardson

Alternate

Patsy Hudson

COSTUME DESIGNER

Designer Anibal Lapiz began his career working with Roberto Oswald in Buenos Aires. Among their collaborations are Nabucco, Hansel und Gretel, Otello, Tannhauser , Das Rheingold, Benvenuto Cellini and Norma. Recent costume designs have included La Traviata, Turandot, II Trovatore , and L'italiana in AIgieri for Santiago, Chile; Der Ring des Nibelungen for the Dallas Opera; Tristan und Isolde and I Puritani for L'Opera Montreal, and Elektra and Der fliegende Hollander for Teatro Colon. Mr. Lapiz has designed the costumes for the Baltimore Opera productions of Salome, Don Carlo, Lu c ia di Lammermoor, Samson et Dalila and Les Pecheurs de Perles. His costumes for Salome were voted Best of the Season in 1989.