VIVACE SPRING 2018
46TH FESTIVAL SEASON DIE FLEDERMAUS | RUSALKA | FLIGHT | THE TENDER LAND
WELCOME The weeks leading up to each Summer Festival Season are always busy, but this year the added task of vacating our Carnegie Library home at 106 West Boston Avenue has brought extra excitement to the pre-season weeks. So many people have given gifts of all sizes to bring this project to fruition, and it is a thrill to be able to move on to the construction phase of our major renovation and expansion. I can’t wait to share the finished Lauridsen Opera Center with all of you in 2019. In the meantime you can find us temporarily located on the Indianola square, sharing office space with the Indianola Record Herald and Tribune. Last summer audiences came from nearly 40 states to experience Turandot, A Little Night Music and Billy Budd. Other season highlights include record levels of new attendees, sold-out performances and a rave review in the Chicago Tribune. In October our 2016 production of Manon with Iowa Public Television won a Regional Emmy Award for Arts Programming. Our November production of As One, in partnership with One Iowa and Transformations Iowa, enhanced our civic practice efforts and demonstrated the role that the arts can play in strengthening our communities. This winter the OPERA Iowa tour has traveled the length and breadth of the state with a packed schedule, and February’s Wine & Food Showcase in downtown Des Moines was well received and a lot of fun! All of this energy propels us to the 2018 Summer Festival Season. Thirty years is a long time to go without Die Fledermaus, so the greatest of the Viennese operettas makes its long-awaited return to our stage this summer in a brand new production
Season Presenting Sponsor THE LAURIDSEN FAMILY FOUNDATION with a stellar cast and a fresh new staging set in the 1920s. Antonín Dvořák’s stay in Spillville, Iowa, exactly 125 years ago inspired some of his greatest music, including his opera Rusalka. Our new production will be brought to life with brilliant designs by Chas Rader-Shieber and Jacob A. Climer, the team responsible for 2016’s gorgeous Orphée et Eurydice. Our third mainstage slot is a modern day operatic comedy, Flight, which has been on our short list for many years. Our new production led by Maestro David Neely and Kristine McIntyre features a marvelous ensemble cast book-ended by two unique, international artists. Countertenor John Holiday debuts as the Refugee and soprano Audrey Luna comes to DMMO as the Controller after making international headlines last fall for singing the highest note ever sung on the Metropolitan Opera stage! Set on a midwestern farm during the 1930s, Aaron Copland’s The Tender Land seems to be a natural fit for an Iowa opera company. As part of our 2nd Stages Series, our cast, chorus and orchestra travel to Newton to present this musical and theatrical encapsulation of Americana in an outdoor setting at the Maytag Dairy Farms. Come early to experience dinner and to learn more about the Maytag legacy. This season promises to be unlike any other so don’t delay in ordering your tickets to secure your preferred dates. To those who have already made a financial gift, I thank you. If you have not, I hope you will consider doing so to add your voice to the chorus of support for the value that quality arts programming brings to our world. Gifts received by June 1 will be recognized in our summer program. Michael Egel, General and Artistic Director
THE TENDER LAND
Vivace is a newsletter published annually by Des Moines Metro Opera, Inc., 106 West Boston Avenue, Indianola, Iowa 501251836. Volume 6, Issue 1.
Editor SCOTT ARENS Design KIMBERLY DRAGELEVICH Contributors MICHAEL EGEL ROSA GUDE CHAS RADER-SHIEBER JENNA SIMEONOV MARK TIARKS Photographers BEN EASTER DEVITA PASCHELL LAURA SMALLEY DUANE TINKEY Proofreader JULIA HAGEN
On the cover Countertenor John Holiday makes his company and role debut in this summerâ€™s Flight. Image by Kimberly Dragelevich with original photography by Ben Easter.
2017 IN REVIEW “World-class opera grows tall and proud in the Corn Belt,” proclaimed the Chicago Tribune last July in its review of our 45th Anniversary Season which featured brand new productions of Puccini’s Turandot, Sondheim’s A Little Night Music, Britten’s Billy Budd and Piazzolla’s María de Buenos Aires. With record-breaking ticket sales, rave critical reviews, top-notch artists and audience members that joined us from nearly 40 states, 68 Iowa counties and five foreign countries, 2017 was truly a year for the record books!
There was a marvelous effect when the exceptional ensemble leapt upon the railing to unleash a mammoth wave of golden sound for “This is Our Moment.” ...This Billy Budd was an extraordinary theatrical experience and showed DMMO at its zenith.
A LITTLE NIGHT MUSIC
Honoring the show’s seamless blend of wit, pathos, bittersweet romanticism and knockabout farce, the DMMO production was a delight from beginning to end.
MARÍA DE BUENOS AIRES
With this memorably stylish, cheered-to-therafters production of a seldom performed jewel, DMMO reminds us yet again why they are one of the most invaluable regional companies in the nation.
Like many of the operas [DMMO] choose(s) for their 2nd Stages Series, As One’s subject matter hits the audience with a relevant topic and sparks a meaningful discussion...This production calls for emotional variety and power, and they both took risks that paid off.
With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.
Embracing the Waltz
By Mark Tiarks
THE WALTZ MAY SEEM to us the most decorous of dances, but two centuries ago many saw it as the vortex of sin. In 1816 London’s The Times proclaimed its civic duty “to warn every parent against exposing his daughter to so fatal a contagion,” a sentiment that was echoed throughout much of Europe. Hedonistic Vienna, however, fully embraced it, building enormous dance halls (the Apollosaal held 6,000 patrons) and elevating its first great composers—Johann Strauss, Sr. and Joseph Lanner—to at least demi-god status. Their heir was Johann Strauss, Jr., who propelled the waltz to its zenith in the operetta theaters as well as the dance parlors. The years leading up to Die Fledermaus had challenged the powerful Austrian Empire, which endured revolutions and recessions, military defeats and political embarrassments. Not surprisingly, escapist entertainment reigned supreme at the box office. Strauss’s first stage success, Indigo, was based on “Ali Baba and the Forty Thieves.” The Gypsy Baron, his last big hit, was a goulash of Hungarian royalty, Hussars, gypsies, long-lost wives, buried treasure, a Turkish pasha’s daughter, and a filthy rich pig farmer.
Leyendecker, Joseph Christian. Arrow Collar Advertisement. 1913, oil on canvas.
Die Fledermaus was different. It offered audiences something more potent and longer lasting than escape—reassurance in tremulous times, along with an everyonecan-follow-it recipe for contentment: “Happy is the person who accepts that which can’t be changed.” Vienna saw itself onstage, where contemporary characters encountered (mostly) real-life issues. The all-knowing Dr. Falke hovers over the action, orchestrating it as payback for a practical joke played on him earlier by long-time pal Gabriel von Eisenstein. Rosalinda, Eisenstein’s wife, and Adele, their ambitious maid, join Falke’s conspiracy, and the clueless husband is soon hilariously trapped.
supposed fates but can’t suppress their excitement about the upcoming champagnefueled party they soon will attend. At the festivities Eisenstein romances a masked “Hungarian Countess,” who is none other than Rosalinda. During their “Watch Duet,” a waltz turns into a galop as hearts beat faster, especially when they take each other’s pulse, hand on heart. Best of all is the second-act finale which begins with a lively hymn to champagne followed by a slow waltz blending nostalgia with a near-Utopian vision of the future (“Let us all form a great union of sisters and brothers!”) and ends allegro with the swirling “Fledermaus Waltz.”
Strauss’s music is glorious from overture to finale. There are wonderful solos of course, but the ensembles are particularly memorable. There’s the Act I trio, during which the Eisensteins and Adele shed minor-key crocodile tears about their
Joy is unconfined as the curtain falls. Falke has his revenge, the Eisensteins rekindle their mutual passion, and Adele attracts a wealthy sponsor for her fledgling stage career. Only champagne could have made it all possible!
Die Fledermaus premiered on April 5, 1874, at the Theater an der Wien in Vienna with Strauss himself conducting. The operetta saw wild success in Vienna and quickly spread throughout the world, with subsequent productions in the United States (1874), Germany (1875), Great Britain (1876) and France (1877).
Rosalinda SUSANNAH BILLER
Eisenstein DAVID PERSHALL
Adele ANNA CHRISTY
Alfred TAYLOR STAYTON
ON THE SILVER SCREEN Die Fledermaus has been adapted for cinema and television 18 times since 1917 for screens in Austria, Germany, France, Great Britain, Denmark, Russia, Australia and Ukraine.
WHISTLE WHILE YOU WALTZ The 8-minute overture of Die Fledermaus is packed full of familiar tunes from start to finish, containing some of Strauss’s most memorable melodies. Strauss himself said, “If an operetta is to become popular, everyone must find something in it that appeals to their taste…And the people in the balcony must also get something that they can remember, for these people have no money to buy piano scores and even fewer have a piano. One must manage to send them from the performance with something that immediately sticks in their ear!”
Prince Orlovsky SARAH LARSEN
A FAMILY OF COMPOSERS Hailing from Austria, Johann Strauss II came from a family full of composers. His father, Johann Strauss I, was one of the best-known dance composers in Vienna and played a crucial role in reforming the waltz from a simple peasant dance into music played at the highest levels of society. His brothers, Josef and Eduard, also became popular composers, despite their father’s wishes that they pursue more practical careers. However, Johann II undoubtedly remains the most famous member of the Strauss family. Having written over 400 waltzes, polkas, quadrilles, several operettas and a ballet, Johann II eclipsed even his father’s success and was known as “The Waltz King” throughout much of his life.
Conductor ROBERT MOODY
Dr. Falke TROY COOK
Director DAVID GATELY
8:00PM June 23* | 7:30PM June 29*, July 7, 12* | 2:00PM June 24^, July 15 *Best prices and availability
^Motorcoach service available
Frank CRAIG IRVIN
of Desire By Chas Rader-Shieber, Director
DVOŘÁK’S REMARKABLE OPERA Rusalka takes a thoughtful step away from Hans Christian Andersen into a realm of melancholy and explores a darker side of desire than one usually finds in a traditional fairy tale. Of course, there are elements of fantasy, charm, magic and even humor, but at its center is a human poignancy that is a rare treasure in the operatic world.
The Prince is a foreigner in the forest/swamp world, just as Rusalka is out of place at court. Tragically, these two beings who seem to need each other so desperately cannot find a way to connect, and ultimately both are destroyed. In the end everyone pays for the tragic desires of the water creature who dreamed of human life.
There is mystery in the characters of Rusalka; an unknown force drives them and yet we understand their desires so clearly because they are the desires we have all felt at one time or another. What does it mean to want to be normal, to belong? What does it mean to feel like an outsider, to be alone? The sadness is in realizing too late the price one pays for becoming someone other than one’s true self.
In some way we all desire that which is “other,” and yet we don’t wish to be that “other.” Why? Dvořák’s Rusalka reminds us that for someone else, we are the exotic, we are the different, we are the unknown and alluring. To forget this is to risk becoming totally alone in the world, trapped in the branches of the forest forever, imprisoned in the terrifying glamour of the palace, or doomed to live life underwater— watching the world go by above, luring someone/ anyone to join in the depths for all eternity. These ideas are reflected in the scenic world of this production. A single space allows each half of the doomed relationship to feel apart from the comfort of the world they think they know. And yet the space is very much the same for both: a sad reality that they miss—an opportunity for understanding lost. From swamp to palace and back again (although discovered anew and transformed not by nature, but by circumstances), the characters of the opera find fear where kindness should exist and anxiety where peace might better serve. Such is life—in the fantasy of a fairy tale and the reality of our own world.
JUNE 4 7pm THE MYTHICAL SLAVIC MERMAID Music Director and Principal Conductor David Neely leads a presentation exploring the music in Rusalka with performances by principal artists. National Czech & Slovak Museum & Library, 1400 Inspiration Pl SW, Cedar Rapids, IA FREE
Klimt, Gustav. The Swamp. 1900, oil on canvas. Private collection.
Rusalka SARA GARTLAND
Ježibaba JILL GROVE
In Slavic mythology a rusalka is a mythological water nymph who dwells near a body of water and entices men into its depths. In Dvořák’s adaptation Rusalka falls in love with a human prince who comes to hunt around her world and, wishing desperately to be with him on land, seeks out a witch who grants her wish, but in return she must lose the power of speech and relinquish her immortality.
The witch who grants mortality to Rusalka in exchange for her voice. This character has many other names from Slavic mythology but is most often depicted as a haggard old woman.
Prince EVAN LEROY JOHNSON
Vodník ZACHARY JAMES
While hunting in the woods near his castle, a Prince comes across a beautiful woman standing near the edge of a lake. Struck by her beauty, he vows to marry this mute and nameless woman and takes her back to his castle as his bride. At the wedding party, an alluring Foreign Princess tempts the Prince, leading him down a dark and dangerous path from which he cannot return.
A water-goblin and Rusalka’s father. Upon hearing his daughter’s desire to become mortal and marry a human prince, Vodník tries to discourage his daughter from leaving the lake and giving up her immortality.
COSTUME DESIGN AND SKETCHES BY JACOB A. CLIMER
Conductor DAVID NEELY
Director CHAS RADER-SHIEBER
7:30PM June 22*, July 3^, 6, 14 | 2:00PM July 1 *Best prices and availability
^Motorcoach service available
IT ISN’T OFTEN THAT opera beats the film industry to the punch, but that is just what Jonathan Dove did with Flight, a work that soared long before Steven Spielberg’s “The Terminal” hit movie theaters in 2004. Both projects took inspiration from the story of Mehran Karimi Nasseri, an Iranian refugee who wound up living inside Paris’ Charles de Gaulle Airport for 18 years. While Spielberg’s film centers on a man (played by Tom Hanks) from a fictionalized Eastern European country and takes place over the course of a year, composer Dove and his librettist April de Angelis elected to present an ensemble comedy where the travelers arrive at an airport and are held there overnight by an electrical storm. While it didn’t have the wide-screen promotion that “The Terminal” had, Flight has enjoyed its own measure of success in the operatic world. Commissioned by Glyndebourne Festival and designed as a modern day equivalent to The Marriage of Figaro, the opera had its world premiere on September 24, 1998, and was wildly acclaimed. England’s The Sunday Times called it “one of the few successful comic operas of recent history.”
By Michael Egel
Most new operas are lucky to accumulate a handful of subsequent performances after the premiere — but Flight has flown to upwards of 50. The work’s remarkable success is owed to its unique blending of drama and high comedy.
But there are other reasons for the work’s success. Musically, Dove was inspired by the terminal setting. Utilizing an orchestral texture that is Wagnerian in scope, a listener can almost hear the soundscape of the airport in the music— the whoosh of a plane taking off, a wild electrical storm that grounds all flights and the everyday bustle and tedium of a modern transportation center. Dove’s music combines these features in an individual style that is as energetic as it is entertaining. With Flight, Dove and De Angelis create that rare creature—a modern opera that will make you laugh, make you cry and make you think. Fasten your seatbelts, book your ticket and prepare to depart as Flight gets ready to take off this summer in a brand new production at Des Moines Metro Opera!
SPOTLIGHT AUDREY LUNA, soprano Refugee JOHN HOLIDAY
Controller AUDREY LUNA
Tina ZULIMAR LÓPEZ-HERNÁNDEZ
Bill ANDREW BIDLACK
Steward THEO HOFFMAN
Stewardess SOFIA SELOWSKY
Minskwoman ELISE QUAGLIATA
Minskman NORMAN GARRETT
Older Woman DEANNA MEEK
Immigration Officer ZACHARY JAMES
STAGING CONNECTIONS MAY 31 7pm COME FLY WITH ME: OPERA AS JOURNEY Kristine McIntyre previews the new production of Flight in the unique setting of the Cloud Room in the Des Moines International Airport. 5800 Fleur Dr., 2nd Floor lobby off skywalk FREE
Singing, for coloratura soprano Audrey Luna, “was just always something that was.” She credits her mother with spotting her star quality early on—“She said she named me ‘Audrey Luna’ because it sounded like a stage name,” she recounts, laughing. Growing up, she had a strong interest in singing and not much else. “I was the teenager and middle schooler that would go home and just listen to classical music all the time.” While her roles of Zerbinetta and the Queen of the Night are nothing to scoff at, Luna has made a name for herself as Leticia in Thomas Adès’s The Exterminating Angel at the Metropolitan Opera, a production in which she broke records after singing the highest note ever sung at the Met—a high A above high C. Luna gets a rush from singing that high and claims it’s even better than skydiving. She also feels that rush throughout the rehearsal process. “You just get to go to work and run around and play.” When asked why she makes singing her career, her response is simple. “Because I think it’s the thing I was put on earth to do. If I weren’t making money doing it, that would be fine, too. I know I would have found a way to sing.”
Conductor DAVID NEELY
Director KRISTINE MCINTYRE
7:30PM June 30*, July 10^*, 13 | 2:00PM July 8 *Best prices and availability
^Motorcoach service available
THE TENDER LAND
Known best for major works like “Appalachian Spring,” “Rodeo” and “Fanfare for the Common Man,” Aaron Copland’s music defines an unmistakably American sound even to this day. In fact, his peers often referred to him as “the dean of American music.” His opera The Tender Land beautifully describes farm life on the midwestern prairie through choral square dances like “Stomp Your Foot” and ensembles in praise of the American Dream like “The Promise of Living.” The opera depicts the lives of Laurie, her family and two migrant workers in a quintessential coming-of-age story during the Great Depression.
Utilizing the gorgeous vistas of a rural Iowa landscape at sunset as a backdrop, this production will be presented outdoors with full cast, chorus and orchestra in partnership with the Maytag Dairy Farms in Newton, Iowa. Before the show, experience a VIP tour of the historic farm along the rolling hills in Jasper County. Learn how the blue cheese is made—and taste the famous Maytag Blue while sipping a cocktail. Then make a reservation to join us for an outdoor family-style supper before enjoying the performance at sunset.
Made possible by support from Sammons Financial Group, Fredrikson & Byron, American Enterprise, DuPont Pioneer, The Principal Financial Group, Kemin Industries, and Marla Lacey/D.T. Doan.
A HISTORY OF THE MAYTAG DAIRY FARMS In 1919 E.H. Maytag, the son of Maytag Appliance company founder F.L. Maytag, purchased a single Holstein cow to provide fresh clean milk to his children. E.H. quickly developed a passion and determination to breed champion HolsteinFriesian cows that could supply milk to the community while also winning blue ribbon upon blue ribbon at livestock shows across the United States. At its peak in the 1930s, E.H. likely had the finest herd of Holstein cows in America and produced offspring that were prized by important buyers from around the world, some of whom made the trek to Newton, Iowa, to see his famous herd.
FROM MILK TO CHEESE
Upon E.H.’s death in 1940, his sons Fred and Robert Maytag assumed leadership of the farms, and Fred pursued his idea of creating a uniquely American blue cheese made from cow’s milk. Maytag Dairy Farms collaborated with Iowa State University to pioneer the first great American blue cheese that would compete with classic European cheeses such as Roquefort made from sheep’s milk. Our cheese plant and caves were completed a year later, and the first wheels of Maytag Blue Cheese were formed in October of 1941. Fred’s son Fritz Maytag assumed leadership in 1962 and helped guide our small family company for the next 50 years. In 2003 Fritz was awarded the James Beard Foundation Outstanding Wine, Beer or Spirits Professional and in 2008 won the Beard Foundation Award for Lifetime Achievement. Fritz now serves as Chairman Emeritus and a director with his brother Ken Maytag and their sister Martha Maytag Peterson.
TODAY AT MAYTAG
Today, 77 years after Fred made the first wheels of world famous Maytag Blue Cheese, our leadership is transitioning to his grandchildren—the greatgrandchildren of E.H. Maytag.
THE TENDER LAND
Conductor JOSHUA HORSCH
Director OCTAVIO CARDENAS
8:30PM July 5^, 8^ ^Motorcoach service available
STAGE CHECKS Des Moines Metro Opera’s efforts to identify important vocal talent have caught the attention of national critics. Here’s a sampling of what those critics are saying about our artists as well as highlights from their impressive lists of upcoming engagements.
NANNETTA, FALSTAFF, 2016
JOHN CLAGGART, BILLY BUDD, 2017
“Ms. Breiwick’s finely spun upper register was floated with utmost skill and effortless beauty.” Opera Today
“James’s cavernous bass is intrinsically beautiful, and he deploys it with intelligence.” Opera News
Deanna’s year kicked off with the Metropolitan Opera in Parsifal and Thaïs. She then travels overseas for debuts with Göttingen International Handel Festival in Judas Maccabeus and Festspiele Zürich in L‘incoronazione di Poppea.
Zach’s upcoming season includes the title role of Don Pasquale with Anchorage Opera and Das Rheingold with Arizona Opera. He returns to DMMO for this season’s Rusalka and Flight, then makes his Metropolitan Opera debut next season.
SOLDIER, SOLDIER SONGS, 2017
CHARLOTTE, A LITTLE NIGHT MUSIC; MARÍA, MARÍA DE BUENOS AIRES; HANNAH, AS ONE, 2017
LIÙ, TURANDOT, 2017
“Michael Mayes’ charged performance...was practically unprecedented in DMMO’s almost half-century history.” Des Moines Register
“Elise Quagliata just about stole the show as the wry, long-suffering Charlotte.” Chicago Tribune
“The unmistakable audience favorite was Vanessa Vasquez, whose exquisitely floated conclusion to ‘Signore ascolta’ all but brought the house down.” Opera News
Michael’s year starts in Dead Man Walking with Teatro Real de Madrid and ends with Central City Opera’s Il Trovatore. In between he appears as Starbuck in Pittsburgh Opera’s Moby-Dick and the title role in Atlanta Opera’s Sweeney Todd.
After closing out 2017 as Hannah in Des Moines Metro Opera’s As One, Elise began 2018 in Atlanta Opera’s holocaust story Out of Darkness. She will return to DMMO this summer in Flight before making her debut with Austin Opera in Otello.
Upcoming engagements for Vanessa include Mimì at Santa Fe Opera and Opera Philadelphia, Micaëla at the Dallas Opera and Violetta in La Traviata for Arizona Opera.
[ Sound Clips ] [ Welcome to Danielle Taylor ] In August Des Moines Metro Opera welcomed Danielle Taylor as its new full-time Director of Production. Originally from Chicago, Dani spent six years touring as a Production Stage Manager with various companies and has been an important part of DMMO since becoming the Assistant Production Manager in 2015. Dani recently graduated from Boston University with a Master’s Degree in Production Management and also holds a Bachelor’s Degree in Technical Theater from Purdue University.
SYDNEY MANCASOLA MANON LESCAUT, MANON, 2016 “Sydney Mancasola was an enchanting Manon, her soprano radiant and gleaming in the display writing.” Opera News As a member of Oper Frankfurt, Sydney’s recent roles include Musetta in La Bohème and Pamina in The Magic Flute. This summer she returns to Opera Theatre of Saint Louis for her role debut as Violetta in La Traviata.
CRAIG VERM BILLY BUDD, BILLY BUDD, 2017 “Craig Verm’s handsome Billy was ineffably moving, with a luxuriously sung ‘Billy in the Darbies.’” Opera News This year Craig returned to Seattle Opera for Così fan tutte and Béatrice et Bénédict and to Pittsburgh Opera for La Bohème and Hansel and Gretel. Most recently he stepped into the title role of Don Giovanni with Dallas Opera.
[ New Website ] Des Moines Metro Opera kicked off 2018 with the launch of a new, userfriendly website. Check out the complete listing of every DMMO event on our new and improved calendar, read issues of Vivace and our summer festival program, listen to musical clips from our upcoming operas, find out ways to enhance your DMMO experience and learn more about the artists both on stage and behind the scenes! Discover more at desmoinesmetroopera.org. [ Emmy Win ] Congratulations to Iowa Public Television for their Upper Midwest Regional Emmy win for “Des Moines Metro Opera Presents Manon.” This was IPTV’s first win and is the third nomination of a Des Moines Metro Opera production, following Rossini’s Le Comte Ory in 2014 and Jenůfa in 2015. IPTV’s most recent broadcast, “Des Moines Metro Opera Presents Billy Budd,” premiered last September. [ Chari Kruse celebrates 20 years with DMMO ] An opera company is only as strong as the people who work behind the scenes. Chari Kruse has been one of those people for 20 years, making her one of our longest serving year-round staff members in the history of the Company. Beyond being one of the first contact points for DMMO patrons and artists both in person or over the phone, Chari serves the opera in a myriad of ways, from housing coordination during the Summer Festival Season to in-depth work assisting the OPERA Iowa troupe. [ Breaking Ground ] DMMO held a groundbreaking ceremony on April 18 to kick-off the construction phase of its Words & Music at the Carnegie Capital Campaign, which aims to renovate and expand the opera’s administrative headquarters, the 1904 Carnegie Library in Indianola, Iowa. The building will be renamed the Lauridsen Opera Center, after Nix and Virginia Lauridsen, who generously donated a $1 million leadership gift to the campaign. The project is slated for completion in Spring 2019. [ OPERA Iowa ] On April 27 Des Moines Metro Opera’s OPERA Iowa troupe presented the final performance of its 32nd annual tour with an operatic version of the classic fairy tale Jack and the Beanstalk for students at Central Elementary in Nevada, Iowa. Over the course of 12 weeks, the 8-member troupe drove over 6,000 miles presenting workshops, masterclasses, aria programs and performances of Jack and the Beanstalk and The Barber of Seville for more than 25,000 students and families across Iowa!
2018 PERFORMANCE CALENDAR MON
DIE FLEDERMAUS RUSALKA FLIGHT THE TENDER LAND STARS OF TOMORROW SHUTTLE DINING TECH TALK
FESTIVAL EVENTS MAY 26, 6:30PM | DEATH BY ARIA
JUNE 14, 16, 9:30AM & 11AM | PEANUT BUTTER & PUCCINI
Blank Performing Arts Center lobby, FREE The 40 singers of the Apprentice Artist Program kick off the festival season singing their signature arias.
Blank Performing Arts Center, $10/person Attend a performance of the classic fairy tale, Jack and the Beanstalk, enjoy a sack lunch and take a behind-the-scenes tour of the theater!
MAY 31, 7PM | COME FLY WITH ME: OPERA AS JOURNEY
JUNE 23, 5PM | OPENING NIGHT GALA
5800 Fleur Dr., 2nd Floor lobby off skywalk, FREE Kristine McIntyre previews the production of Flight in the unique setting of the Cloud Room in the Des Moines International Airport.
$150/person, opera tickets sold separately Join us for an exquisite dinner and the popular aria auction. After dinner, sit back and enjoy the opening night performance of Johann Strauss IIâ€™s delightfully bubbly Die Fledermaus.
JUNE 2, 8, 16, 27, 30, JULY 14 1:30PM APPRENTICE SCENES PROGRAM Amy Robertson Music Center, 519 N. Buxton St., FREE Join us for these free public performances featuring members of the acclaimed Apprentice Artist Program.
JUNE 4, 7PM | THE MYTHICAL SLAVIC MERMAID National Czech & Slovak Museum & Library 1400 Inspiration Pl SW, Cedar Rapids, IA FREE Music Director and Principal Conductor David Neely leads a presentation exploring the music in Rusalka with performances by principal artists.
JUNE 9, NOON | THREADS & TRILLS Embassy Club Downtown, $40/person Catch a few of the sights and sounds from the season while dining on a delectable lunch.
JUNE 23, 6PM | YOUNG FRIENDS AT DIE FLEDERMAUS Blank Performing Arts Center, $49/person or $90/couple Gather your friends and head to the opera for catered box-dinners (and complimentary wine and beer!) followed by the opening night performance of Die Fledermaus.
JUNE 30, 6PM | YOUNG FRIENDS AT FLIGHT Blank Performing Arts Center, $49/person or $90/couple Gather your friends and head to the opera for catered box-dinners (and complimentary wine and beer!) followed by the opening night performance of Flight.
JULY 11, 7PM | STARS OF TOMORROW Sheslow Auditorium, Drake University, $25/adults, FREE/students Catch the Apprentice Artists and the Festival Orchestra as they present some of the most famous arias, duets and ensembles from the world of opera. Dessert reception with the artists following the concert.
ENHANCE YOUR EXPERIENCE OPERA SHUTTLE
DINING WITH DMMO
Book a round-trip shuttle from Des Moines to the performance site. The shuttle is available on June 24 for Die Fledermaus, July 3 for Rusalka, July 5 and 8 for The Tender Land and July 8 for Flight, and will pick up at the Des Moines Art Center at 4700 Grand Avenue in Des Moines. For mainstage operas the cost is $8/person, and for The Tender Land the cost is $15/person. Opera tickets are sold separately.
Make your opera experience complete with themed evening menus catered by the Des Moines Embassy Club and brunches by Gateway Market. Enjoy gourmet dining preperformance right in the convenience of the theatre lobby. Dinners are $45/person and brunches are $25/person. Reservations are required. Full menus for dinners and brunches are at dmmo.org/dining.
After meeting the artists in the lobby, close out select evenings with a free behind-the-scenes look and discussion with our own Director of Production, Danielle Taylor, as the production team “strikes” the set for the next day’s show. Join us after the performances on June 29, July 6 and July 13 for this unique and informative discussion.
APPRENTICE SCENES PROGRAMS
MEET THE ARTISTS
Warm up for each opera with a free preview presented by members of our music and directing staff 45 minutes before the curtain. Evening previews begin at 6:45pm. Matinee previews begin at 1:15pm. There will be no previews for The Tender Land.
Join us as the apprentice artists present an arias program and fully-staged scene programs that span the operatic repertoire. All programs are free and open to the public. For a complete listing of times and dates, see Festival Events on opposite page.
Continue the celebration after each performance with singers, audience members and production personnel in the theatre lobby. Greet the cast and crew, get autographs, take photos or simply mix and mingle!
DID YOU KNOW? Ticket sales cover less than 20% of DMMO’s annual operating expenses, so we rely on the tremendous generosity of friends like you to support the opera’s record of sound fiscal management, extraordinary productions, providing a stage for rapidly rising professional vocal talent and serving the community with innovative learning programs. To learn more visit desmoinesmetroopera.org/donate or give us a call at 515-961-6221.
TICKET INFORMATION SINGLE TICKETS starting at $37 SUBSCRIPTIONS starting at $105 SPECIAL OFFERS FIRST-TIMER DISCOUNT If this is your first DMMO experience, call our Box Office to receive 20% off your ticket order! OPENING NIGHT DISCOUNT Use the code OPEN2018 at the checkout to receive 10% off your ticket order for the performances on June 22, 23 and 30.
Prices are subject to change at any time based upon availability by section and performance dates. Casts and repertory are also subject to change. All ticket sales are final and non-refundable.
BLANK PERFORMING ARTS CENTER 513 N. D St. Indianola, IA
ready to order?
Visit DESMOINESMETROOPERA.ORG or call our box office at (515) 961-6221.
snag the trubank app
PROUD OPERA SPONSOR
STARS OF TOMORROW JULY 11, 7:00 PM SHESLOW AUDITORIUM
110 N. 1st Street - Indianola, IA 50125 | 515-961-9410
Helping Local Businesses Grow & Succeed Developing & Recruiting New Business Educating Leaders & Cultivating Workforce Project Management & Financial Resources Assistance for Cities & Businesses 111 N. Buxton Street - Indianola, IA 50125 | 515-961-1067
w w w. wc e d c . c o m
111 N. Buxton, Ste 117 - Indianola, IA 50125 | 515-961-6269
Change Service Requested
106 West Boston Avenue Indianola, IA 50125-1836
Visit: desmoinesmetroopera.org Like: facebook.com/DesMoinesMetroOpera Follow: instagram.com/DesMoinesMetroOpera Follow: twitter.com/DesMoinesOpera Watch: youtube.com/user/DesMoinesMetroOpera
Experience an evening of
in creative partnership with Des Moines Metro Opera We’ll help make it a night to remember:
• Free Hot Be Our Guest Breakfast • Free High-speed Internet access • Free Weekday Newspaper • Club Carlson Hotel Rewards Program SM
• Pool and Whirlpool © 2017 Country Inns & Suites By Carlson, Inc. All Rights Reserved. SM
Country Inn & Suites By Carlson® Indianola, IA 501 East Trail Ridge Avenue Indianola, IA 50125 +1 (515) 962-5777 • countryinns.com/indianola