Minnesota Opera's Barber of Seville Program

Photo by Gary Mortensen

Contents The Minnesota Opera Staff and Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 The Barber of Seville. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Gioachino Rossini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Out at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Why Subscribers Have More Fun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Education at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 The 2009–2010 Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Tempo (the new Young Professionals Group) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 2009–2010 Season Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Donor Spotlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

The Minnesota Opera President & ceo Artistic Director Chair, Board of Directors

Kevin Smith Dale Johnson Jane M. Confer

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April 2009

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THE MINNESOTA OPERA

Staff

President & ceo Kevin Smith Artistic Director Dale Johnson Welcome to today’s production of The Barber of Seville. For more than four decades, The Minnesota Opera has enriched the cultural life of our community by producing outstanding and innovative operas that inspire and entertain.

U.S. Bank is honored to sponsor the 2008– 2009 season. We are proud of our 25-year relationship with The Minnesota Opera and the spectacular Ordway Center in St. Paul.

At U.S. Bank, we support great dreams, great art and great arts organizations. They enrich the community with vibrancy, creativity and excellence. As the sixth largest bank in America today, U.S. Bank is the only major bank headquartered in Minnesota, and we’re deeply committed to giving back to this community.

Thank you for coming and enjoy the performance!

Artistic

Scenery

Artistic Administrator........ Roxanne Stouffer Cruz Artist Relations and Planning Director ....................... Floyd Anderson Dramaturg............................................. David Sander Artistic Associate .....................................Bill Murray Associate Conductor-in-Residence Andrew Altenbach Resident Artists ...................................... Brad Benoit, John David Boehr, Bryan Boyce, Octavio Cardenas, Jamison Livsey, Nicole Percifield, Naomi Ruiz, Clinton Smith Master Coach ............................Mary Jo Gothmann

Technical Director ........................ Mike McQuiston Properties Master ................ Stanley D. Hawthorne Properties Assistant................................. Mike Long Lighting Coordinator .................. Charles D. Craun Production Carpenter ..................................JC Amel Scene Shop Foreman .................................. Rod Aird Master Carpenter ..................................Steven Rovie Carpenters ......................................Daniel Kimmerle, Nate Kulenkamp, Eric Veldey Charge Painter.................................Jeffery Murphey Painter ..................................................Lynn Isaacson

Administration

Education Community Education Director.....Jamie Andrews Teaching Artist.................................... Angie Keeton Project Opera Music Director ............... Dale Kruse Project Opera Accompanist ..............Kathy Kraulik

Production Michael Boardman, Central Region President, U.S. Bank Wealth Management

Jose Peris, Senior Vice President, U.S. Bank Wealth Management, Minnesota Opera Board Member

Production Director ..........................Kevin Ramach Production Stage Manager..........Alexander Farino Stage Manager .................................... Angie Spencer Assistant Stage Managers ...................Casey Martin, Stacy Spensley Production Administrative Assistant................................. Katherine Cattrysse

Costumes Costume Shop Manager .................. Erica M. Burds Assistant Costume Shop Manager .......... Beth Sanders Wardrobe Supervisor ................. Emily Rosenmeier Drapers .........................................................Chris Bur, Yancey Thrift, Angela Yarbrough Dyer/Painter.......................................Marliss Jenson Assistant Dyer/Painter ................ Kathleen Sullivan Costume Technicians: First Hands .................................. Helen Ammann, Jennifer Dawson, Lindsey Strange Stitchers .......................................... Rebecca Ballas, Maria May, Rose Ryan Wig/Makeup Assistant .................Priscilla Magalee

THE MINNESOTA OPERA

Finance Director .................................... Jeff Couture Operations/Systems Manager .... Steve Mittelholtz HR/Accounting Manager .................. Jennifer Thill Executive Assistant .......................... Theresa Murray Finance Assistant ........................... Katie Schoeneck Database Administrator/ Webmaster ................................... Jessica Doklovic

Institutional Advancement Vice President of Advancement ... Patrick Dewane Advancement Manager .....................Kelly Clemens

Development Director of the Annual Fund .............. Dawn Loven Institutional Gifts Manager .............Beth Comeaux Donor Events and Gala Manager .......Emily Skoblik Individual Gifts Manager .................Morgan Walsh

Marketing/Communications Marketing and Communications Director ...Lani Willis Marketing Manager......................... Marsha Walker Communications Manager .............Daniel Zillmann Audience Development Associate .....Jamie Nieman Ticket Office Manager .............. Katherine Castille Assistant Ticket Office Manager ..............Julie Behr Ticket Office Assistants ......................Kevin Beckey, Brian Halaas, Nicole Hanson, Alexandrea Kouame, Jane Samsal

Volunteers

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The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.

If you would like to learn more about volunteering for The Minnesota Opera, please contact Jamie Nieman by phone at 612-342-9550 or via email at jnieman@mnopera.org.

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Catherine Ahern Ann Albertson Gerald Benson Jerry Cassidy Susan Cogger Caroline Coopersmith Jeanette Daun Judith Duncan Sally Economon Christopher Foster Hazel Francois Li-Jun Fu Jane Fuller Joan Gacki Christine A. Garner Mary E. Hagen Merle J. Hanson

Anne Hesselroth Heather Huber Stephen Jahn Nancy Johnson Steve Johnson Jeannie Johnston Kristen Johnston Robin Keck Dawn Klassen Eleanore Kolar Lucinda Lamont Shirley Larson Mathilda Lien Jerry Lillquist Joyce Lillquist Margery Martin Joan Masuck

Yasuko Matsumoto Mary McDiarmid Verne Melberg Barbara Moore Doug Myhra Pam Nielsen Candyce Osterkamp Dan Panshin Pat Panshin Megan Pelka Bill Phillips Sydney Phillips Julia Porter Carol Purvis Kathleen Riley Enrique Rotstein John Sauer

Lynette Saucier Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Naomi St. Gregory Karen St. John Harry Swepston Dave Terwilliger Emily Thompson Stacey Vonderhear Carolyn Wahtera Sandy Walker Mary Weitz Barbara Willis

NOTES FROM THE FROM THE

Leadership

BOARD OF

Directors

Artistic Director

Welcome to today’s performance of The Barber of Seville! A great comedy like this is the perfect antidote to the cares of the day, especially when its direction is in the capable hands of a director like Kevin Newbury, who directed Il trovatore last September. Kevin says of this production, “Barber is the perfect combination of tradition and innovation.” He also has a dream team of brilliant, young cast members adept at physical, as well as vocal, comedy. You can read more about them online at mnopera.org.

You will only need to wait a few short months for the 2009-2010 opera season, which begins on September 26 with Bizet’s The Pearl Fishers. The rest of the lineup of world-class opera experiences

includes a 25th anniversary production of Dominick Argento’s comedy, Casanova’s Homecoming; the launch of The Minnesota Opera’s Tudor Trilogy with Donizetti’s Roberto Devereux, starring Brenda Harris and directed by Kevin Newbury (who directs today’s opera); a twin-cast production of La bohème, starring James Valenti and Ellie Dehn in one and Adam Diegel and Jennifer Black in the other; and Strauss’ dramatic Salome, featuring the returns of Mlada Khudoley (Il trovatore) and Jason Howard (Macbeth, La traviata, Rigoletto). You won’t want to miss any of them, so please visit the ticket office during intermission and purchase your season tickets today! Thank you for being here today, and I hope you enjoy Barber.

Officers Jane Confer, Chair Chip Emery, Vice Chair Debra Paterson, Secretary Denver Gilliand, Treasurer Kevin Smith, President & CEO

Directors Martha Goldberg Aronson Heinz F. Hutter Wendy Bennett Philip Isaacson Charles Berg Lynne E. Looney Shari Boehnen Diana E. Murphy Susan S. Boren Luis Pagan-Carlo Kathleen Callahan Jose Peris Nicky B. Carpenter Mary Ingebrand-Pohlad Rachelle D. Chase Stephanie J. Prem Mary A. Dearing Elizabeth Redleaf

Dale Johnson Artistic Director

Jodi Dehli

Connie Remele

Sara Donaldson Stephanie Simon Bianca Fine Peter Sipkins Thomas J. Foley Simon Stevens

President

We’re glad you’re here to see The Barber of Seville.

Many of you may be new to the Opera, and I’d like to give you a special welcome! Whether this is your first time at the Opera or your hundredth, we invite you to subscribe to the exciting 2009-2010 season Dale describes above. It’s not as hard as you might think …

Many newcomers to opera believe that opera is too expensive, but we recently lowered our prices and now offer a $20 ticket. We also have 3-opera season ticket packages that start at just $50. And subscribers have greater flexibility than single

ticket buyers with exchange policies allowing them to trade in tickets for any other show during the season.

We hope we have removed any barriers you had to subscribing, and if we have not, we hope you let us know what barriers remain.

A national study by opera America indicates that people come to the opera most often when invited by others. If you enjoy your experience today at the Opera, please introduce us to your friends and invite them to join you next season as a subscriber.

Enjoy the performance.

Steve Fox

Virginia Stringer

Sharon Hawkins H. Bernt von Ohlen Ruth S. Huss

Emeriti Karen Bachman Burton Cohen Julia W. Dayton Thomas R. McBurney Mary W. Vaughan

Honorary Directors Dominick Argento Philip Brunelle Elizabeth Close Dolly Fiterman

Kevin Smith President and ceo

Charles C. Fullmer Norton M. Hintz Liz Kochiras Patricia H. Sheppard

The Minnesota Opera is proud to be a member of The Arts Partnership with The Saint Paul Chamber Orchestra, The Schubert Club and Ordway Center for the Performing Arts.

Legal Counsel James A. Rubenstein, Moss & Barnett

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Music by Gioachino Rossini Libretto by Cesare Sterbini

after the play Le barbier de Séville

by Pierre-Augustin-Caron de Beaumarchais World premiere at the Teatro Argentina, Rome, February 20, 1816 April 11, 14, 15, 16, 17, 18 and 19, 2009 Ordway Center for the Performing Arts Sung in Italian with English translations Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Robert Wood* Associate Conductor-in-Residence . . . . . . . . .Andrew Altenbach** Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Newbury Set Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allen Moyer Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . James Scott Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . .D. M. Wood Wig and Makeup Designers . . . . . Jason Allen and Molly Weinreb Assistant Director . . . . . . . . . . . . . . . . . . . . . . Octavio Cardenas Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . Angie Spencer English Captions . . . . . . . . . . . . . . . . . . . . . . . . Floyd Anderson

The Cast Figaro, a barber . . . . . . . . . . . . . . . . . . . . . . . . James Westman* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John David Boehr** Rosina, ward of Dr. Bartolo . . . . . . . . . . . . . . . .Allyson McHardy* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julie Boulianne** Count Almaviva . . . . . . . . . . . . . . . . . . . . Victor Ryan Robertson* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brad Benoit** Dr. Bartolo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dale Travis* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Lau** Don Basilio, a music teacher . . . . . . . . . . . . . . . . . .Matt Boehler* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bryan Boyce** Berta, Bartolo’s housekeeper . . . . . . . . . . . . . Naomi Isabel Ruiz Fiorello, servant to Almaviva. . . . . . . . . . . . . . . . . .Nathan Brian A sergeant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nathan Brian Musicians, servants, soldiers, police officers, a notary Setting: Seville in the 18th century *

performs April 11, 14, 16, 18E, 19M

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The Barber of Seville is sponsored by Wells Fargo.

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**

performs April 15, 17, 18M

Additional support provided by the City of Saint Paul’s Cultural STAR Program.

Scenery and costumes for this production are jointly owned by The Minnesota Opera, Washington Opera and Opera Omaha and were constructed at The Minnesota Opera Center.

The appearances of Matt Boehler and John David Boehr, district finalists of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis.

The appearances of the Resident Artists are made possible by the Virginia L. Stringer Endowment Fund for The Minnesota Opera Resident Artist Program.

Performances of The Barber of Seville are being taped for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities.

The Minnesota Opera season is sponsored by FAF Advisors and U.S. Bank.

The appearances of the 2008–2009 season conductors are underwritten by SpencerStuart.

BACKGROUND

Notes

by David Sander

I

n November 1815, Rossini was in Rome on one of his excused absences from the Neapolitan theaters to supervise a revival of Il turco in Italia and to write a new work, Torvaldo e Dorliska, for the Teatro Valle to open its Carnival season. He was approached by the rival Teatro Argentina with yet another commission. The new opera required all parties to work within a narrow timeframe – the Argentina was looking for a comic work to fill out its own winter season (the production had to be cast and ready by mid-February), and Rossini was expected back in Naples at any time. The contract was signed on December 15 with no specific subject in mind.

Jacopo Ferretti (later to be librettist for La Cenerentola) was initially selected to provide the text, but his product – a sentimental drama involving a typical love triangle – proved disappointing. Rossini turned to Cesare Sterbini, a librettist of less experience but one with whom he had just worked on Torvaldo.

It is said to have been the composer’s brainchild to set Beaumarchais’ Le barbier de Séville, not a wholly original idea, as there were about six or seven treatments already on the market. This was not an uncommon thing to do – many operas of the 18th and 19th centuries were different musical settings of the same text, and the French playwright’s Barbier had already been set by two German composers of note, F. L. Benda and Johann André in 1776. Most notable of these, however, was Giovanni Paisiello’s Il barbiere di Siviglia, an exceedingly

Notes

a temerarious challenge to his predecessor, as well as other popular work from the 18th century that inspired Mozart distinguishing moments in the score. And, of course, to write his masterpiece on the playwright’s sequel, Rossini’s ebullient orchestration and quick pace made a vast Le mariage de Figaro. Paisiello was still alive and somewhat of a curmudgeon when it came to his colleagues. So Rossini improvement on his Neapolitan counterpart’s otherwise serene and stodgy score, cautiously accented by occasional took an extra precaution, writing the venerated composer and explaining that his intention was not to best the older woodwind obbligato.

In accordance with the theatrical demands of the day, man’s cult favorite. Paisiello apparently had no objections, composition went swiftly. It was Rossini’s custom to settle yet Sterbini and Rossini continued to play it safe by into a city for a few days and get to know the singers before placing a “Notice to the Public” in their published libretto dashing off his score in a creative fervor, often in the most indicating their purpose was only to update Beaumarchais’ distracting environments (indeed, he found the rehearsal play to modern tastes. They even gave their opera a new process to be the most arduous part of the process – back title: Almaviva, ossia L’inutile precauzione (Almaviva or in the era of no stage directors, the composer and librettist The Useless Precaution). bore that responsibility). The Argentina’s impresario, The collaborators probably fooled no one as each of Duke Sforza-Cesarini, was beset with his own problems. their variants seemed for the better. Paisiello’s opera was He had inherited the theater from his ancestors and it cast in 18th-century courtly elegance, its music adhering continually lost money. to the Classical style, and its text There was no help from the revealing none of Beaumarchais’ papal government, which sassy impertinence. Though frowned upon theatrical Rossini still downplayed some entertainment, pronouncing of the political overtones, he Rome a “city of churches.” consistently one-upped the They did stipulate the old master with his inborn wit Argentina was now to do and exuberance. (Rossini, like comedy – formerly it was Beaumarchais, seemed to have restricted to opera seria on a breathed a little of his own grand scale, with star singers personality into the character of Figaro.) One excellent example and lavish sets – and this is Don Basilio’s calumny aria, a might have saved Sforzaperfect vehicle for the famous Cesarini some money. Still, “Rossini crescendo” – slander the poor duke, overwhelmed first starts with a whisper, and with stress, died of a stroke with every repeated phrase two weeks before the new adding greater instrumentation, opera’s premiere. All of these eventually erupts like a thundering ills would bear down on the cannon. (The original play was fateful opening night. truly inspirational, with the music Rossini worked well master’s tirade laced with actual under pressure, but a dynamic terminology). Rossini closer examination reveals casts several of his numbers in many borrowed melodies the recently cultivated bel canto from previous works (a double aria – a slow section, often common practice in the repeated and embellished to opera industry of the era), highlight the singer’s beautiful including all the storm tone, followed by a fast-moving music from La pietra del cabaletta, intended to show off paragone and motives Production Photos by Gary Mortensen great vocal agility and brilliant for Rosina’s first aria technique. In contrast, Bartolo’s from Elisabetta, regina Act ii arietta is fashioned in the style of Paisiello’s era, an d’Inghilterra. The overture is another story. Apparently obvious indicator of the foppish doctor’s advanced age. there had been an original work, based on Spanish folk Rossini didn’t dare best Paisiello’s “sneezing trio” sung songs, but it subsequently became detached from the

by Bartolo and his servants, the aged Giovinetta and the autograph and disappeared. For later productions Rossini lazy Svegliato (to become Ambrogio and Bertha), but his appropriated the overture from his recently produced enhancement of the brilliant quintet that follows Don Elisabetta, itself taken from Aureliano in Palmira. This Basilio’s unexpected arrival during the music lesson showed is the popular orchestral work we know today. ➤

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BACKGROUND

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BACKGROUND

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Notes

The premiere of Il barbiere di Siviglia (as the work became known several months later, after Paisiello’s death) is one for the history books, yet no one knows for certain what really happened. There’s talk of open trapdoors and bloody noses, snarling cats and broken guitar strings, whistling and shouting (Roman audiences were not known for being docile theatergoers). It appears that the performance was disrupted by both supporters of Paisiello and those of the Teatro Valle who were upset over the infringement on its comic repertoire. Though dramatically more interesting, the late placement of Rosina’s “Una voce poco fa” didn’t help matters much, as audiences expected the prima donna to sing her entrance aria on her first appearance. At the end of the first act Rossini applauded his singers for their perseverance (barely a note had been heard), but the audience members took the gesture as one of conceit and a blatant disregard of their opinion.

Act ii hardly went any better.

Not surprisingly, Rossini feigned illness for the second night (contractually he was to conduct the first three performances). With the rioters disbanded, the music could be heard and was immediately understood for the great masterpiece it would soon become. A surly mob surrounded Rossini’s hotel and demanded to see the maestro so they could show their great appreciation.

When he refused to come out, things turned ugly as they began throwing food and smashing windows. Rossini was reported to have said “F**k them and their bravos and all the rest. I’m not coming out of here. I don’t know how poor García (the first Almaviva) phrased my refusal to that turbulent throng.

In fact, he was hit in the eye by an orange, which gave him a black eye for several days. Meanwhile, the uproar in the street increased more and more.” (translation by Charles Osborne, The Bel Canto Operas, Amadeus Press, 1994)

beaumarchais – the real figaro?

The curiously diverse career of Pierre-Augustin Caron de Beaumarchais (1732–1799) went far beyond that of the average playwright, a factotum-like existence that have led many to conclude he is the source of his own character, Figaro. Son of a watchmaker, he followed in the family tradition and his first notable achievement brought him to the attention of the king himself – a tiny escapement that vastly improved on the accuracy of time, an invention from which we benefit to this day. To his good fortune, Beaumarchais was also musical and, in addition to making watches for the king, he gave instructions to the royal daughters on the finer points of the harp.

Louis xv must have seen potential in the young Beaumarchais (who obtained his noble name by marrying a penniless widow). He was sent to Spain to negotiate a deal with Charles iii over the leasehold of Louisiana, which had passed into Spain’s hands as a result of the War of the Spanish Succession.

Beaumarchais was unsuccessful in this pursuit, but still became the darling of Madrid. It was his first exposure to Spain, later the setting of his Figaro plays.

The budding playwright produced two early works, Eugenie in 1767 and Les deux amis in 1770, but things were about to go awry. As the result of some questionable business transactions, Beaumarchais found himself accused of forgery. After bungling a bribe to the court magistrate (a customary practice of the day), he received a sentence just short of the death penalty.

The intervention of influential friends saved him from long-term imprisonment but not from the loss of his civil rights. The bitter experience empowered him to write his most popular works, Le barbier de Séville (1775) and the more politically subversive Le mariage de Figaro (completed in 1778). A final installment to the Figaro ➤ BACKGROUND NOTES CONTINUED ON PAGE 15

act i The young Rosina is under the careful watch of her guardian, Dr. Bartolo, who intends to marry her in order to maintain control over her dowry. She has attracted the attention of Count Almaviva, who is presently disguised as a poor student, Lindoro, in order to determine if her love is reciprocal and genuine. He employs a small group of musicians to serenade at Rosina’s window, but she does not appear. Instead the count encounters Figaro, the town factotum of many indispensable talents and formerly in his employ. The count describes his predicament and (for a price) Figaro offers to help – because he has access to Bartolo’s household as his barber, he might be useful in winning Rosina’s release for the count. Rosina appears at the window with a letter in hand but is apprehended by the jealous doctor. She lets the letter drop, and while Bartolo runs down to retrieve it, beckons to “Lindoro” to pick it up. When Bartolo finds no letter, Rosina insists that the wind must have blown it away, but he remains suspicious. Figaro devises a plan to have the count gain entrance to the house by disguising himself as a drunken soldier. Once inside, he will be able to meet with his beloved.

Inside Bartolo’s house Figaro briefly confers with Rosina, who is determined to outwit her jailer. The sound of Bartolo approaching puts Figaro into hiding. The doctor enters in a fury – Figaro has debilitated his household staff by administering all the wrong medicines. When accused, Rosina admits to speaking to him and curtly leaves the room. Bartolo receives a visit from Rosina’s music teacher, Don Basilio, who brings news that Count Almaviva is in Seville and traveling incognito in order to court Rosina undetected. Basilio advises Bartolo to destroy his rival by spreading vicious rumors.

Bartolo decides instead to

act ii marry Rosina quickly, and they exit The count has assumed the new as Basilio agrees to help with the disguise of Don Alonso, a music wedding arrangements. teacher, in his continuing effort to Figaro, who has been listening win a few moments with Rosina and the entire time, finds Rosina to tell eventually free her from the household her of Bartolo’s plot and to let her prison. Bartolo is made to believe know of her mystery lover’s imminent that he is a student of Don Basilio visit. Rosina is overjoyed, and at and has been sent in his place because Figaro’s suggestion, begins to write the music master is ill. He then gains “Lindoro” a note. Figaro leaves as Bartolo’s confidence by telling him Bartolo returns. He accuses Rosina of he is privy to the plan to defame the writing secret letters – a doctor of his count and hands him Rosina’s letter standing cannot be easily fooled. He is as further evidence of his complicity. determined to keep her under lock and Bartolo falls for the story and allows key until their marriage is finalized. the lesson to begin. Figaro enters, and Dressed in his soldier’s disguise, while preparing for the doctor’s shave, Almaviva arrives at Bartolo’s house takes the opportunity to steal the and gives the doctor a written order key to Rosina’s balcony. He creates a requiring that he is to be given a night’s diversion to temporarily lure Bartolo lodging. Bartolo desperately protests away, and Rosina and Almaviva that he has an exemption from such (whom she still believes to be Lindoro) billeting. Meanwhile, Rosina attempts discuss the details of their nocturnal to retrieve a letter from the count escape. The unexpected arrival of but once observed, tries to convince Basilio complicates the matter, but Bartolo that it is a laundry list. As the sufficiently bribed, he is quickly pandemonium grows, the police are ushered away. Bartolo eventually summoned, but an attempt to take overhears details of the lovers’ plot and Almaviva into custody is aborted as he orders “Don Alonso” from his house. privately reveals his true identity to the Realizing the count’s agents sergeant. It seems everyone, especially have penetrated his home, Bartolo is Dr. Bartolo, is left completely determined to marry Rosina at once. confounded by the day’s events.

He shows her the letter to Lindoro, claiming he obtained it from Count • intermission • Almaviva, for whom Lindoro must be working. Rosina is left alone to consider her betrayal as a storm rages outside. As night falls, Figaro and Almaviva appear on the balcony as planned but are confronted by a furious Rosina, who believes she has been deceived. Almaviva reveals his true identity, and Rosina, at first stunned, accepts him with joy. Basilio enters with the notary Bartolo has engaged for his own wedding. Bribed with more money, Basilio agrees to act as witness to the marriage of Rosina and Almaviva.

Bartolo arrives, but it is too late.

Almaviva placates the old doctor by allowing him to keep Rosina’s dowry, and all celebrate the happy couple’s matrimony. ❚

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Synopsis

13 Costume design by James Scott

GIOACHINO

Rossini

b Pesaro, February 29, 1792; d Passy, November 13, 1868

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he most prominent Italian composer of the first half of the 19th century, Gioachino Rossini transformed the form and content of Italian opera. Though best known for his comic works – and for music that is sensuous, brilliant and rhythmically vital – Rossini’s contribution to stage works of mixed genres is equally important, making him Verdi’s most significant forerunner.

Born into the closely knit community of Pesaro, Italy, at a time of war and political upheaval in Europe, Rossini was brought up by parents who were both working musicians.

His father, a horn player and teacher at Bologna’s prestigious Accademia Filarmonica, was also an ardent and outspoken Republican who was imprisoned briefly by the Austrians.

Rossini’s mother, despite her lack of musical training, was a reasonably successful soprano.

Rossini entered Bologna’s Liceo Musicale at the precocious age of 14 and began composing as early as 1802–1803. Shortly after finishing his studies, he obtained a commission for a one-act farce, La cambiale di matrimonio, for the Venetian Teatro San Moisè.

Further commissions from Venice yielded more successes, and by the time La pietra del paragone had premiered in 1812, the 20-year-old Rossini, now a maestro di cartello, was without a doubt the leading composer in Italy.

Rossini seemed equally confident in both serious and comic veins. Tancredi was a major landmark in opera seria and L’italiana in Algeri was the same for opera buffa – both were composed in 1813. In 1815 he had the good fortune to be secured by Domenico Barbaja, impresario for the Neapolitan theaters, and significantly developed his style and technique over the next seven years. One of the Teatro San Carlo’s assets was Isabella Colbran, a soprano who specialized in opera seria; as a result Rossini wrote many works specifically for her voice. She was to become his mistress and later his first wife.

Rossini’s contract with the Neapolitan theaters allowed him to accept commissions elsewhere on the Italian peninsula, but by 1822, the composer showed signs of his patience wearing thin; during the contract period he had written a total of 19 operas. The composer later quipped, “If he had been able to do so, Barbaja would have put me in charge of the kitchen as well.”

Rossini was released from his Neapolitan contract that year. The Viennese tour that followed proved enormously successful for the composer, whose works

were now familiar all over Europe. Returning to Italy, Rossini signed another contract with La Fenice in Venice for what would become one of his greatest and grandest opera serias, Semiramide.

With Italy and Austria conquered, Rossini turned his attention to France and England. A contract was signed in London, but it appears no opera was ever produced. In Paris Rossini accepted the directorship of the Théâtre Italien for two years (1824–26) and oversaw the remounting and revisions of a number of his works. For the coronation of Charles x, he composed a new opera, Il viaggio a Reims, and a year later he refashioned an earlier opera seria, Maometto ii, into Le siège de Corinthe for the Paris Opéra. He would present three more works at that theater: Moise et Pharaon (reworked from the earlier Mosè in Egitto), Le Comte Ory (incorporating music from Il viaggio a Reims) and Guillaume Tell. Cast in the newly evolving form of French grand opéra, Guillaume Tell is a lengthy four-act work complete with ballet. It proved to be exceedingly popular (the opera had over 500 performances during Rossini’s lifetime); it was also Rossini’s last.

He retired at age 37.

After a short return to Italy, Rossini found himself back in Paris pursuing a lifetime annuity granted by Charles x but revoked by the new government of Louis-Philippe. What was to be a short stay turned into six years of litigation, and while his wife and father remained at Isabella’s estate in Italy, Rossini formed a new romantic attachment with Olympe Pélissier. Soon after, his estranged wife died in 1846, and they married.

The Rossinis eventually set up house in an apartment on the Rue de la Chaussée d’Antin and also built a villa in the Paris suburb of Passy. Their famous samedi soirs were initiated in 1858 – on Saturday evenings Rossini’s salon became a meeting place for composers, artists and friends.

The evening would have a prearranged musical program, mostly of Rossini’s own compositions with the composer at the piano and many young singers making their debuts. The last occurred September 26, 1868; Rossini’s chronic ill health finally overcame him, and he died two months later. Rossini was buried in Paris’ Père Lachaise cemetery among the graves of his fellow composers Cherubini, Chopin and Bellini. In 1887 his remains were brought to the city of Florence – a procession of more than 6,000 mourners attended the re-interment in Santa Croce. ❚

BACKGROUND

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BACKGROUND NOTES CONTINUED FROM PAGE 12

and a canal system that supplied water to Parisian homes. He also dabbled in opera – his Barbier was first submitted as an opÊra comique, and he later engaged Mozart-rival Antonio Salieri to set his libretto for Tarare to music. Another musical adaptation, based on Voltaire’s Samson, remains unproduced.

As a play or an opera, Le barbier de SĂŠville is the author’s most enduring success. The drama retains its life as a comedy of intrigue rather than a comedy of character in the tradition of Molière’s École des femmes. It is an ultimate work of reaction, with enough interest to still be on the playbill of the ComĂŠdie-Française even today. The self-portraying title character may bear the name of its creator, fils de Caron – son of Caron – but could also be derived from the original French and Figaro’s raison d’être, “faire la figueâ€? – idiomatically speaking, to laugh at the world. In that humorous light, Beaumarchais’ wily barber is permitted the final moralizing maxim, the overriding theme to both genres: “When youth and love are in accord, working to foil an old man, even the very best he can do to stop them can only be called La prĂŠcaution inutile, a futile precaution.â€? commedia dell’arte The Figaro plays are indebted not only to Beaumarchais’ eclectic lifetime activities but also to the theatrical tradition of commedia dell’arte. Of Italian origin, commedia dell’arte evolved during the 16th century from improvisatory scenes played at county fairs and marketplaces into ➤

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series, La mère coupable (1792), failed to achieve the tenor or success of its two predecessors, but has since inspired works from at least three composers: Darius Milhaud, Hiram Titus’s Rosina (produced by The Minnesota Opera in 1980) and John Corigliano’s The Ghosts of Versailles.

Beaumarchais had planned for more sequels, but following the French Revolution, his role in the ancien rĂŠgime was scrutinized by the new government. In 1794, while he was abroad, his family was placed under arrest and he himself designated a criminal ĂŠmigrĂŠ. He spent the subsequent years clearing his name.

During his legal troubles, the royal household remained strangely aloof. But with the ascension of the new king, Louis xvi, Beaumarchais found himself once again in its employ. He was instructed to covertly suppress some slanderous pamphlets concerning the royal family and was sent to England as a spy. Successful in these endeavors, the playwright was further engaged to arrange and supply arms to the New World in its struggle for American independence (France taking a special interest in discrediting its traditional foe, England). His efforts likely secured the victory at Saratoga, but the newly united democracy was short of cash, and Beaumarchais went to his grave unpaid. In 1835, his widow finally settled for a fraction of the debt and had to sail to America to get it.

Beaumarchais underwrote several other interesting entrepreneurial escapades including hot-air balloons (a marvel in France at the time)

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BACKGROUND

Notes

| THE MINNESOTA OPERA www.mnopera.org

a somewhat codified art form involving stock characters with predictable behavior and costume. Performances of commedia dell’arte were more frequent during Carnival, a time for anonymous celebration of the deadly sins, and these wanton acts made their way into commedia plots, giving it a rather ignoble, earthy quality. The use of masks (another practice derived from Carnival) further obscures the identity of the actual person, both reinforcing the character “type” and capturing mankind’s many faces. Like the Renaissance itself, the genre spread quickly across Europe.

Brought to France by Catherine de’ Medici during the reign of her son, Charles ix, commedia dell’arte underwent a revival in 18th-century France and is found most famously in the works of Molière. In England, Shakespeare

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(whose sources were frequently Italian) would draw upon commedia plots and would sometimes introduce a “zanni” or nameless clown as a comic or sagacious figure (from which the word “zany” is derived).

Though only visual evidence remains (as the plots were never scripted), elements of commedia dell’arte can be found in nearly every one of Barber’s characters. The crafty valet, left as a foundling (but thinks he is the son of a noble), Truffaldino/Arlecchino easily translates into Figaro himself, a mixture of wit and ignorance but adept at slipping out of tricky situations. The nameless Lovers (sometimes identified as Lindoro and Isabella) transmute into the youthful infatuation between the count and Rosina. The characteristics of Il dottore and Pantalone are seen in Dr. Bartolo, the doddering, slightly stupid older man (though probably only middle-aged by Renaissance standards) in search of a young bride, a bit of a dolt, stingy and verbose. The slander-wielding, go-between Don Basilio is a conflation of several commedia characters’ darker side (the musical Brighella and Scapino in particular). Equally important is the pace of the production itself. The slapstick comedy of characters hiding behind chairs and inside closets, jumping out windows and receiving blows meant for others, and creating deception by use of disguise are all

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BACKGROUND

descended from the commedia dell’arte, particularly seen in the 18th century plays of Carlo Goldoni (also a librettist to many opera buffa) and Carlo Gozzi (later to inspire several 19th- and 20th-century operas).

Unable to survive the Age of Sensibility, the art form seems to have died in the written works of these two authors, yet commedia dell’arte remained of interest in the operatic world. Donizetti’s L’elisir d’amore features a potion-pushing charlatan in the character of Dr. Dulcamara as well as the braggart soldier Belcore (based on another commedia figure, Il capitano, the Spanish captain). Rossini drew upon the Italian comedy more than once, in the Turkish-abduction scenario outlined in L’italiana in Algeri (also utilized in Mozart’s The Abduction from the Seraglio) and La Cenerentola in the characters of the helpful servant Dandini and the pompous father Don Magnifico (another personage from the commedia). Leoncavallo’s Pagliacci tells the story of a commedia dell’arte troupe and includes an actual performance of a traditional skit, the cuckolded husband, and Carlo Collodi managed to include the same plot and characters in his Le avventure di Pinocchio (most recently realized by composer Jonathan Dove). In the 20th century, we find the harlequinade in Puccini’s Turandot (renamed

Notes

Ping, Pang and Pong) and Richard Strauss’ Ariadne auf Naxos. These examples, familiar to The Minnesota Opera’s repertoire, are only a few from a larger body of commedia dell’arte-inspired works of the operatic genre. ❚

Sketches by Francis O’Connor

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THE

Artists

For more biographical information about these artists, visit our website at www.mnopera.org Brad Benoit

Count Almaviva Minnesota Opera Resident Artist Recently The Adventures of Pinocchio; Il trovatore, Minnesota Opera Santa Fe Opera Apprentice Artist Il mondo della luna; Postcard from Morocco; The Turn of the Screw; L’enfant et les sortilèges, Chicago College of Performing Arts Upcoming Casanova; Roberto Devereux; Salome, Minnesota Opera The Tender Land, Sugar Creek Symphony & Song Berlioz Requiem, Fargo-Moorhead Symphony

John David Boehr Figaro Minnesota Opera Resident Artist Recently La Cenerentola, Austin Lyric Opera; Opera Fairbanks The Adventures of Pinocchio; Faust; Un ballo in maschera; Romeo and Juliet; King Croesus, Rusalka; The Minnesota Opera Trinity, Santa Fe Opera; L’Ormindo, Pittsburgh Opera Center Tosca; Don Pasquale; La Cenerentola, Palm Beach Opera Die Zauberflöte; Barnum’s Bird; L’elisir d’amore; Così fan tutte, Baylor Opera Theater Upcoming L’étoile, Austin Lyric Opera

Bryan Boyce Don Basilio Minnesota Opera Resident Artist Recently Il trovatore; The Adventures of Pinocchio, Minnesota Opera Le nozze di Figaro, Berkeley Repertory Theatre La bohème; Susannah, Theatre Latté Da; La bohème, Opera Fresca Figaro; Don Juan Giovanni, American Repertory Theater; Theatre de la Jeune Lune The Ballad of Baby Doe; L’incoronazione di Poppea, Central City Opera Upcoming Glimmerglass Opera Young American Artist

Matthew Lau Dr. Bartolo Minnesota Opera Debut Le nozze di Figaro, 1992 Recently Don Pasquale; La fille du régiment, Arizona Opera Le nozze di Figaro; La forza del destino, Sarasota Opera Billy Budd; Madame Butterfly; Andrea Chénier, Seattle Opera Die Entführung aus dem Serail, Lyric Opera of Kansas City Die Meistersinger; La traviata, Lyric Opera of Chicago Der fliegende Holländer; Il barbiere di Siviglia, Nashville Opera La bohème, New York City Opera; Opera Theater of St. Louis Faust; Susannah; The Crucible; others, Dicapo Opera Theatre

| THE MINNESOTA OPERA www.mnopera.org

Victor Ryan Robertson

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Count Almaviva Minnesota Opera Debut Recently Il barbiere di Siviglia; Don Giovanni, Opera Carolina Porgy and Bess, Deutsche Oper Berlin; Dallas Opera; l. a. Opera La rondine, Michigan Opera Theatre Three Mo’ Tenors, London Henely Festival La Cenerentola, Spoleto Fest.; Roméo et Juliette, Atlanta Opera Opera Concerts, (Shanghai, Kuala Lumpur, Xian, Singapore) Upcoming Falstaff, Opera Cleveland Il barbiere di Siviglia, Manitoba Opera; Arizona Opera

Dale Travis Dr. Bartolo Minnesota Opera Debut Recently Manon Lescaut, Metropolitan Opera L’elisir d’amore, San Francisco Opera; Boston Lyric Opera Der fliegende Holländer, Opera Colorado Tosca, Los Angeles Opera The Cunning Little Vixen, Saito Kinen Music Festival (Japan) Upcoming Tosca; Die lustige Witwe; L’elisir d’amore, Lyric Opera of Chicago Albert Herring; Die Zauberflöte, Santa Fe Opera Tosca; La traviata; Die lustige Witwe, San Francisco Opera

Matt Boehler Don Basilio Minnesota Opera Debut La bohème, 2002 Recently Elektra, New York Philharmonic Return of Ulysses, Greenwich Music Festival The Mikado, Opera Theatre of St. Louis Don Giovanni, Opera Lyra Ottawa; Chicago Opera Theater Upcoming Owen Wingrave, Chicago Opera Theater Casanova’s Homecoming, The Minnesota Opera The Nose, Metropolitan Opera

Julie Boulianne Rosina Minnesota Opera Debut Recently La Cenerentola, Florida Grand Opera La nuits d’été, L’Orchestre Métropolitain du Grand Montréal Il barbiere di Siviglia, L’Opéra de Montréal Die Zauberflöte, L’Opéra de Reims Don Giovanni, L’Opéra d’Avignon Le nozze di Figaro, L’Opéra de Tours L’enfant et les sortilèges, Nashville Opera Upcoming La Cenerentola, Glimmerglass Opera

Nathan Brian Fiorello; Sergeant Minnesota Opera Debut Un ballo in maschera, 2007 Recently Roméo et Juliette, The Minnesota Opera La bohème, Theater Latté Da Madame Butterfly; Halka, Sarasota Opera Trouble in Tahiti; Candide; Diaries of Adam and Eve; Die Zauberflöte; La Cenerentola, Pine Mountain Opera Jackie O; Tartuffe, University of Michigan Thaïs; The Merry Wives of Windsor, Utah Lyric Opera

Allyson McHardy Rosina Minnesota Opera Debut Recently Hippolyte et Aricie, Théâtre du Capitole Toulouse Messiah, Toronto Symphony Orchestra Madame Butterfly; Eugene Onegin, Canadian Opera Company Alcina – Fragmente einer Sprache der Liebe, Haendel-Festspiele in Halle Eugene Onegin, Vancouver Opera Samson et Dalila, Opera Ontario Israel in Egypt, Les Violons du Roy L’italiana in Algeri, L’Opéra de Lille; Théâtre de Caen

Naomi Isabel Ruiz Berta Minnesota Opera Resident Artist Recently Il trovatore; The Adventures of Pinocchio, The Minnesota Opera A Wedding; Don Giovanni, Indiana University Opera Theater La bohème, Brevard Music Center Upcoming Casanova’s Homecoming; La bohème; Salome, The Minnesota Opera Des Moines Metro Opera Young Artist

James Westman Figaro Minnesota Opera Debut Recently Madame Butterfly, Lyric Opera of Chicago; Montreal Opera Margaret Garner, Michigan Opera Theatre Le nozze di Figaro, Opera Lyra Ottawa Solomon, Flora Festival (Ontario) L’elisir d’amore, Boston Lyric Opera Un ballo in maschera, Opéra de Bordeaux La bohème, Opera Pacific Upcoming The Ghosts of Versailles, Opera Theatre of St. Louis

For more biographical information about these artists, visit our website at www.mnopera.org

Allen Moyer

Set Designer Minnesota Opera Debut Norma, 1990 Recently The Count of Monte Cristo, Theater St. Gallen Romeo and Juliet, Mark Morris Dance Group Il trovatore; The Abduction from the Seraglio; Un ballo in maschera; Nixon in China, The Minnesota Opera Orfeo ed Euridice, Metropolitan Opera Daphne; Così fan tutte, Santa Fe Opera Thurgood; Grey Gardens (Henry Hewes Award), Broadway Orpheus in the Underworld, Glimmerglass Opera

D. M. Wood Lighting Designer Minnesota Opera Debut Il trovatore, 2008 Recently The Magic Flute, Houston Grand Opera La traviata; The Magic Flute, Opera Colorado Il viaggio a Reims, New York City Opera Tristan und Isolde, Savonlinna Opera Festival Tosca, Canadian Opera Company Upcoming Romance, American Repertory Theatre La Cenerentola, Glimmerglass Opera

Artists

Octavio Cardenas Assistant Director Minnesota Opera Resident Artist Recently Brundibár (Project Opera – sd); Opera en fuego (rap Cabaret – sd); Il trovatore; Abduction; Faust; Pinocchio (ad), Minn. Opera Così fan tutte; La traviata (ad), Chautauqua Opera Die Fledermaus (ad), Austin Lyric; L’elisir d’amore, Guadalajara Plump Jack; The Impresario; The Turn of the Screw; La chute de la maison Uscher, Butler Opera Center Upcoming Tosca; Il trovatore (ad), Chautauqua Opera 2009–2010 Season, The Minnesota Opera

Kevin Newbury Stage Director Minnesota Opera Debut Nixon in China, 2005 Recently Bernstein’s Mass, Carnegie Hall; Kennedy Center Falstaff, Santa Fe Opera Candy and Dorothy; The Second Tosca, nyc Upcoming Tudor Trilogy, The Minnesota Opera La Cenerentola, Glimmerglass Opera La bohème, Wolf Trap Opera Company The Italian Straw Hat, Wexford Opera Festival

Robert Wood Conductor Minnesota Opera Debut La donna del lago, 2006 Recently Die Entführung aus dem Serail, Hawaii Opera Theater The Love for Three Oranges, Indiana University L’italiana in Algeri, Vancouver Opera; Minnesota Opera La Cenerentola, New Jersey Opera; The Nutcracker, San Fran. Ballet Die Zauberflöte; Le Comte Ory, Wolf Trap Opera Co. L’italiana in Algeri; La traviata, San Francisco Opera Upcoming Le nozze di Figaro, Hawaii Opera Theater

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Andrew Altenbach Associate Conductor-in-residence Minnesota Opera Debut Roméo et Juliette, 2008 Recently The Abduction from the Seraglio, The Minnesota Opera Radamisto; Falstaff; Billy Budd, Santa Fe Opera Così fan tutte; La tragédie de Carmen, Opera on the James guest conductor – The St. Paul Chamber Orchestra guest conductor – St. Cloud Symphony Orchestra assistant conductor – San Francisco Opera (Merola) Upcoming Lucia di Lammermoor; Rinaldo, Central City Opera

THE

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THE MINNESOTA OPERA

Chorus AND Orchestra

Chorus Kelsey Bruso Ben Crickenberger John deCausmeaker Roy Kallemeyn Brian Kuhl Evan Kusler Joe LaForte Jacob Lasota

Orchestra Brandon Miller Robert Schmidt Colyn Tvete Eric Vollen

Supernumeraries John Edel David Ross

Violin I

Cello

Horn

Conor O’Brien concertmaster Julia Persitz David Mickens Judy Thon-Jones Troy Gardner Orieta Dado

Jim Jacobson Rebecca Arons Thomas Austin Theresa Richardson

Charles Hodgson Neal Bolter

Trumpet

Bass

John G. Koopmann Christopher Volpe

Violin II

to with The t n a W g... Minnesota sin Opera?

Auditions for the upcoming season will be held April 22, 23, 24 and 25.

To learn more, visit mnopera.org/about and click on “auditions.”

Laurie Petruconis Elizabeth Decker Stephan R. Orsak Melinda Marshall Nora Scheller

Viola Susan Janda Vivi Erickson Laurel Browne James Bartsch

We are also looking for dancers for The Pearl Fishers and Salome.

Call Alex Farino at 612-342-9584 for more information.

John Michael Smith Constance Martin

Timpani and Percussion

Flute (double piccolo) Michele Frisch Amy Morris

Kory Andry

Percussion Matthew Barber

Oboe Michael Dayton Carrie Vecchione

Continuo Jamison Livsey

Clarinet Nina Olsen Karrin Meffert-Nelson

Personnel Manager Steve Lund

Bassoon Coreen Nordling Laurie Hatcher Merz

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WE ARE PLEASED TO PRESENT GUEST CONDUCTOR MAESTRO ROBERT WOOD IN THE MINNESOTA OPERA’S PRODUCTION OF THE BARBER OF SEVILLE.

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Education AT THE OPERA

1

2 Community Events In anticipation of The Adventures of Pinocchio, numerous community events were held around the Twin Cities exploring the story, music and production of this North American premiere.

1

Panelists (L to R) Sheena Thao, Jack Zipes, Alasdair Middleton, Jonathan Dove and moderator Rob Marx discuss civilizing kids in uncivilized times at the Humphrey Institute of Public Affairs.

2 3

Jonathan and Alasdair admiring the poster for their creation The Adventures of Pinocchio.

Jamie Andrews awards Eden Anderson a check for $500 for winning the “Audience Choice” award at the Long Nose: Short Film contest.

4 | THE MINNESOTA OPERA www.mnopera.org

Jonathan Dove and Alasdair Middleton sign autographs after the Adult Education class.

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4

3

Education AT THE OPERA

Angie Keeton and Brandon Miller explain The Marriage of Figaro to students at Richardson Elementary in North St. Paul.

Triple Play teachers workshop

coOPERAtion!

Teachers from around Minnesota spent a weekend in January learning about opera and art at Triple Play: Literacy and the Arts, a joint workshop with Minnesota Orchestra and Weisman Art Museum.

Mozart has been heard throughout elementary and high schools in Minnesota this winter. coOPERAtion!, the Opera’s in-school residency program, has been presenting a program called Through the Eyes (and Ears) of Mozart, a primer on Mozart’s greatest music. coOPERAtion! is generously supported by a gift from the Medtronic Foundation.

e We’r g in look ... for

young

performers

in both Casanova’s Homecoming (treble or young soprano roles) and La bohème (chorus).

Please call Jamie Andrews at 612.342.9573 for more information.

Summer Opera Camp There is still time to sign up for Summer Opera Camp!

We are looking for boys and girls in grades 9–12 who are interested in performing opera. Campers will be placed in small groups where they will stage scenes and have daily sessions in vocal technique, acting and movement.

Interested in playing in the pit? Orchestra members can sign up too. Call for more information.

Auditions Auditions

imagineopera.org

Download the brochure at mnopera.org/SummerCamp D Do own wnlo lo oad ad the thee brochure bro roch roch chur hure ure att ur Download Call Jamie Andrews at mnop mn nop per era. ra. a.or orgg//Su Summ mmer erCa erCa Camp Camp mp mnopera.org/SummerCamp 612.342.9573 for details.

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Visit our award-winning education website:

Monday, April April 20 20 (6:00–8:30 (6:00–8:30 p.m.) p.m.)

Monday, Saturday, April 25 (9:00 a.m.–12:00 p.m.)

Saturday, April 25 (9:00 a.m.–12:00 p.m.)

The Minnesota Minnesota Opera Opera Center Center The (620 North First Street, Minneapolis) (620 North First Street, Minneapolis)

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The 2009 – 2010 Season Bizet

The Pearl Fishers Argento

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Donizetti

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Roberto Devereux Puccini

La bohème Strauss

Salome 5IF TFBTPO JT TQPOTPSFE CZ

612-333-6669 mnopera.org

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The Pearl Fishers Bizet Sept. 26, 29, Oct. 1, 3, 4, 2009

A dangerous love triangle in exotic Ceylon.

In a faraway fishing village, two friends’ lifelong bond is threatened when a mysterious priestess from their past returns and reignites their rivalry. Their love triangle creates a deadly conflict of loyalty, religious taboos and desire.

Casanova’s Homecoming

Argento Nov. 14, 17, 19, 21, 22, 2009 Casanova’s bringing sexy back.

After years in exile, the aging Casanova returns to Venice where old rivals trick him into seducing a castrato, who Casanova discovers is actually a woman in disguise.

Together they hatch their own hilarious scheme to save his reputation and protect her identity.

Roberto Devereux

Donizetti Jan. 30, Feb. 2, 4, 6, 7, 2010 Never betray your Queen.

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This Bel Canto masterpiece centers around the tragic love affair between Queen Elizabeth and Robert Devereux, Earl of Essex. Though jealous of Devereux’s love for another woman, Elizabeth is prepared to forgive his treachery if he returns to her. But Devereux’s resistance leads to his demise.

La bohème

Puccini March 6, 7, 9, 11, 13, 2010 Freedom. Beauty. Love.

La bohème may be the world’s most popular opera, and for good reason — it’s the quintessential portrait of romance, high-spirited friendship, and the idealistic pursuit of love and art.

Salome

Strauss April 10,15, 18, 20, 24, 2010 Obsession, served on a silver platter.

The 2009 – 2010 Season mnopera.org 612-333-6669

Scandalously erotic, Strauss’s infamous opera tells the Biblical story of obsession and vengeance. Salome lusts after the imprisoned prophet John the Baptist, who rejects her advances. Her lecherous stepfather, King Herod, vows to pay any price to watch her dance. She agrees, and perversely claims the prophet’s head as her reward.

THE MINNESOTA OPERA

Annual Fund INDIVIDUAL GIVING

It is with deep appreciation that The Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides the financial foundation which makes the Opera’s artistic excellence possible.

For information on making a contribution to The Minnesota Opera, please call Annual Fund Director Dawn Loven at 612-342-9567, or email her at dloven@mnopera.org.

Bel Canto Circle Platinum $20,000 and above Anonymous (1) Karen Bachman Mary and Gus Blanchard Dr. and Mrs. Richard Carroll Jane M. and Ogden W. Confer Julia W. Dayton Sara and Jock Donaldson Vicki and Chip Emery Dolly J. Fiterman Ruth and John Huss Sisi and Heinz Hutter Mr. and Mrs. Philip Isaacson Lucy Rosenberry Jones

The Art and Martha Kaemmer Fund of HRK Foundation Patricia Lund Dusty and George Mairs Dwight D. Opperman Elizabeth Redleaf Stephanie Simon and Craig Bentdahl Mary W. Vaughan Fund of The Minneapolis Foundation C. Angus and Margaret Wurtele

Gold $15,000–$19,999 Nicky B. Carpenter Ellie and Tom Crosby, Jr.

Cy and Paula Decosse Fund of The Minneapolis Foundation Sharon and Bill Hawkins Peter J. King Thomas and Barbara McBurney

Silver $10,000–$14,999 Anonymous (4) Shari and David Boehnen Susan Boren Dr. and Mrs. Daniel D. Buss Darlene J. and Richard P. Carroll Mary Dearing and Barry Lazarus

The Denny Fund of The Minneapolis Foundation Warren and Patricia Kelly Mr. and Mrs. B. John Lindahl, Jr. Harvey T. McLain Mrs. Walter Meyers Diana and Joe Murphy Nelson Family Foundation Sandy and Bruce Nelson Mary Ingebrand Pohlad Karen Sternal Bernt von Ohlen and Thomas Nichol

Camerata Circle Platinum $7,500–$9,999 Allegro Fund of The Saint Paul Foundation Kathleen and William Callahan Rachelle Dockman Chase N. Bud and Beverly Grossman Foundation Erwin and Miriam Kelen Albin and Susan Nelson Jenny Lind Nilsson and Garrison Keillor Debra Paterson and Mark Winters Stephanie Prem and Tom Owens Connie and Lew Remele Joseph Sammartino Maggie Thurer and Simon Stevens

Gold $5,000–$7,499 Tracy and Eric Aanenson James Andrus Martha Goldberg Aronson and Daniel Aronson Martha and Bruce Atwater Fund of The Minneapolis Foundation Nancy and Chuck Berg Rusty and Burt Cohen James and Gisela Corbett Susan and Richard Crockett David and Vanessa Dayton Mary Lee Dayton

Jodi Dehli Connie Fladeland and Steve Fox Mr. and Mrs. William Frels Denver and Nicole Gilliand David Hanson and William Biermaier Alfred and Ingrid Lenz Harrison Bill and Hella Mears Hueg Ilo and Peggy Leppik Lynne Looney Mr. and Mrs. Donald Lucker Ted and Roberta Mann Foundation Bill and Barbara Pearce Jose Peris and Diana Gulden Edward Phares Lois and John Rogers Chris and Mark Schwarzmann Drs. Joseph and Kristina Shaffer Peter and Bonnie Sipkins Kevin and Lynn Smith Mitchell and Kendall Stover Virginia L. and Edward C. Stringer Mr. and Mrs. James Swartz Catie Tobin and Brian Naas Charles Allen Ward Fund of The Saint Paul Foundation Ellen M. Wells

Silver $2,500–$4,999 Anonymous (5) Stuart and Ann Ackman Kim A. Anderson

Kathy Welte and Lowell Anderson Satoru and Sheila Asato Alexandra O. Bjorklund Dr. Lee Borah, Jr. Margee and Will Bracken Christopher J. Burns Elwood and Florence Caldwell Stephen and Beth Cragle Thomas and Mary Lou Detwiler Mona and Patrick Dewane Rondi Erickson and Sandy Lewis Tom and Lori Foley Leslie and Alain Frecon Patricia R. Freeburg Bradley Fuller and Elizabeth Lincoln Christine and Jon Galloway Christine and W. Michael Garner Mr. and Mrs. R. James Gesell Lois and Larry Gibson Meg and Wayne Gisslen Mrs. Myrtle Grette Karen and John Himle Dorothy Horns and James Richardson Dr. and Mrs. Arthur Horowitz Tina and Ken Hughes Cynthia and Jay Ihlenfeld Dale A. Johnson Jacqueline Nolte Jones Robert and Susan Josselson Stan and Jeanne Kagin

Michael F. and Gretchen G. Kelly and the Kelly Family Foundation Lyndel and Blaine King Helen L. Kuehn Debra and James Lakin John Warren Lassila Robert L. Lee and Mary E. Schaffner Lynn Levinson Benjamin Y. H. and Helen C. Liu David MacMillan and Judy Krow Mary Bigelow McMillan Elizabeth Musser Trust – Fir Tree Fund Nancy and Richard Nicholson Eric Norman Ruth and Ahmad Orandi Julia and Brian Palmer Marge and Dwight Peterson Mr. and Mrs. William Phillips The Redleaf Family Foundation Mary and Paul Reyelts Nina and Ken Rothchild Kay Savik and Joe Tashjian Fred and Gloria Sewell Lynda and Frank Sharbrough Stanislaw and Krystyna Skrowaczewski Bruce and Julie Jackley Steiner Tanrydoon Fund of The Saint Paul Foundation William Voedisch and Laurie Carlson Nancy and Ted Weyerhaeuser

Don Helgeson and Sue Shepard Sharon and Cliff Hill Diane Hoey John and Jean McGough Holten Margaret and Andrew Houlton Thomas Hunt and John Wheelihan Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Todd Hyde Teresa and Chuck Jakway James Jelinek and Marilyn Wall Markle Karlen Mr. Thomas A. Keller iii E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Jolie and Steve Klapmeier Mr. and Mrs. William Kling Gerard Knight Mrs. James S. Kochiras Robert Kriel and Linda Krach Constance and Daniel Kunin Mark and Elaine Landergan

Sy and Ginny Levy Family Fund of The Minneapolis Foundation Jerry and Joyce Lillquist Bill Long Dawn M. Loven Mahley Family Foundation Margery Martin Roy and Dorothy Mayeske Helen and Charles McCrossan Patricia and Samuel McCullough Sheila McNally The Kendrick B. Melrose Family Foundation Velia R. Melrose William Messerli Jane and Joseph Micallef David and LaVonne Middleton Anne W. Miller Moore Family Fund for the Arts Sandy and Bob Morris Judy and David Myers Elizabeth B. Myers

Artist Circle

| THE MINNESOTA OPERA www.mnopera.org

$1,000–$2,499

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Anonymous Paula Anderson and Sheila Bray Genevive Antonello Nina and John Archabal August J. Aquila and Emily Haliziw Mr. and Mrs. Edmund P. Babcock Ruth and Dale Bachman Ann and Thomas Bagnoli Maria and Kent Bales Sue A. Bennett Mrs. Paul G. Boening Conley Brooks Family Joan and George Carlson Barb and Jeff Couture Mrs. Thomas M. Crosby, Sr. Jeff and Wendy Wenger Dankey Fran Davis Ruth and Bruce Dayton Judson Dayton Claire and Jack Dempsey

Margaret Diablasio William and Janice Dircks Sally J. Economon Joyce and Hugh Edmondson Susan Engel and Arthur Eisenberg Ann Fankhanel Ester and John Fesler Joyce and Hal Field Rihab and Roger FitzGerald Salvatore Silvestri Franco Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Heidi and Howard Gilbert Stanley and Luella Goldberg Amy R. and Philip S. Goldman Foundation Michael and Elizabeth Gorman Mr. and Mrs. William Grandy Bruce and Jean Grussing Hackensack Fund of The Saint Paul Foundation Ruth E. Hanold

THE MINNESOTA OPERA

Annual Fund

INDIVIDUAL GIVING

Artist Circle (continued) Joan and Richard Newmark Rebecca and Bradley Nuss Mr. and Mrs. E. Gerald O’Brien Derrill M. Pankow Pat and Dan Panshin Allegra W. Parker Paula Patineau Suzanne and William Payne Suzanne and Rick Pepin Mary and Robert Price

Connie and Jim Pries Sara and Kevin Ramach George Reid John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde Gordon and Margaret Rosine Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Sampson Family Charitable Foundation Patty and Barney Saunders

Jim Scarpetta Janet and Dan Schalk James and Lynn Schell Dr. and Mrs. Richard J. Schindler Kristi and Mark Specker The Harriet and Edson Spencer Foundation Leslie and Don Stiles Robert and Barbara Struyk Michael Symeonides and Mary Pierce

Tempo Board Members Carolyn and Andrew Thomas Lois and Lance Thorkelson Patricia Tilton Emily Anne and Gedney Tuttle Mr. and Mrs. Philip Von Blon James and Sharon Weinel Clark J. and Sharon L. Winslow

Fred and Carolyn Bogott Judith and Arnold Brier Thomas and Joyce Bruckner Caulkins Family Foundation Arnold Chu and I-ming Shih Wanda and David Cline J.P. Collins Elisabeth Comeaux Bill and Kate Cullen Norma Danielson Mary Elise Dennis Mr. Steven A. Diede Joe Dowling and Siobahn Cleary Joan Duddingston Herbert and Betty Fantle Sheila and Roland Faricy Charles and Anne Ferrell Carolyn Fiterman Susanne Haas and Ross Formell Kris and Kristina Fredrick Jane Fuller David Gilberstadt Katherine and Robert Goodale, Jr. Robert Goodell and Renee Brown Kathy and Hazen Graves Marjorie and Joseph Grinnell Roger L. Hale and Nor Hall Albert and Janice Hammond Robert Harding and Allan Valgemae, m.d.

Gregory Hoehn

John and Marna Holman Diane and Paul Jacobson Mrs. Owen Jenkins Margaret K. and Philip Johnson Janet Jones Drs. Charles and Sally Jorgensen Nancy and Donald Kapps Chad and Penny Kastner Jane and Jim Kaufman Fund of The Minneapolis Foundation Jonathan and Lisa Lewis Rebecca Lindholm Bruce and Susan Lueck Ruth W. Lyons Joanne MacNamara Donald and Rhoda Mains Tom and Marsha Mann Marian and Michael McCann Thomas and Joan Mears L. David Mech Charles and Victoria Mogilevsky Jack and Jane Moran Ann and John O’Leary Derrill M. Pankow Carroll and Barbara Rasch Dan Rasmus and Kari Fedje Rasmus Dennis M. Ready Lawrence M. Redmond Red Wing Opera Study Group Joan K. Regal

William and Sue Roberts Ann M. Rock Liane A. and Richard G. Rosel Daniel Roth Fred Saleh Anne Salisbury David E. Sander Mahlon and Karen Schneider Paul L. Schroeder Mrs. Donald Sell Bill and Althea Sell Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Matthew Spanjers Daniel J. Spiegel Jon Y. Spoerri Roxanne Stouffer and Joseph Cruz Anthony Thein Greg Thompson Stephanie C. Van D’Elden Morgan Walsh David M. and Mary Ann Barrows Wark Howard and Jo Weiner Barbara and Carl White Helen and J. Kimball Whitney Barbara and James Willis Mr. John W. Windhorst, Jr.

Richard and Pamela Flenniken Roger and Michele Frisch Joan and William Gacki Greta and Paul Garmers David Gerdes Janet Goehle and Ron Wahlberg Phillip Goellner Richard and Marsha Gould Robert and Ellen Green Jill Greene Clark and Sima Griffith Douglas and Doris Happe Patricia S. Hart Alfred E. Hauwiller Thane and Blanche Hawkins Patricia Hildebrandt Jacqueline J. Hill and Donald J. Christensen Joe and Gail Hoey Rochelle Hoffman Andrew Holey and Gary Whitford John and Marna Holman Reverend and Mrs. Henry H. Hoover Worth L. Hudspeth Ray Jacobsen Rebecca Judge and Anthony Becker Erika and Herb Kahler Mary H. Keithahn Carole and Joseph Killpatrick Louise King Karen Kracher Alexandra Kulijewicz

Sid and Diane Levin Steve Lund Mr. and Mrs. Thomas Lydon Jim Macknick and John Pemberton Joan E. Madden Carolyn and Charles Mayo Marian and Michael McCann Christopher and Cheryl McHugh Sam Meals L. David Mech Joan Mellen David and Stacey Moe Michael J. and Judith Mollerus Brad Momsen and Rick Buchholz Alfred Moore Merritt Nequette and Pauline Lambert James and Carolyn Nestingen Lowell and Sonja Noteboom Georgia O’Connor Dennis R. Olson David and Marilyn Palmer Mark Palmer James A. Payne Erica Perl and George J. Socha, Jr. Richard Pietz and Brian Jorgensen Stephen and Julianne Prager Nicole and Charles Prescott Sandra Resnick and Walter Pickhardt Robert E. Rocknem Michael and Tamara Root Daniel Roth Enqirue and Clara Rotstein

Ann Sagnes John and Janice Sargent Mary Savina Karen A. Schaffer Thomas and Anne Schattenberg Ralph Schneider Doris Jean Seely Janet and Irving Shapiro Jean and James Sharer Cherie and Bob Shreck Debra Sit and Peter Berge Jim and Cindie Smart Richard M. Smith Anne Smith and Deborah Brattlof Nan Snyder George and Carolyn Soule Mr. Joseph and Ms. Pamela Strauss Sarah Suemnig Craig and Janet Swan Dr. Gregory T. Swenson Conrad and Marilyn Teichert Curt and Kay Thorpe David Tidaback Rick Treece David Ward Lana K. Wareham Terese Weitzel Wendy Wildung Patricia Winget Srilata Zaheer

Patron Circle Gold $750–$999 Anonymous Gerald and Phyllis Benson Joann Cierniak Amos and Sue Deinard Jennifer Gross and Jerry LeFevre Stefan and Lonnie Helgeson Frederick J. Hey, Jr. Orpha McDiarmid Family Fund James and Andrea Rubenstein Dr. Leon and Alma Satran Warren Stortroen Dana and Stephen Strand Frank and Frances Wilkinson Lani Willis and Joel Spoonheim James Wire

Silver $500–$749 Arlene Goodman Alm Eric S. Anderson and Janalee R. Aurelia Jamie Andrews and Jane Kolp-Andrews Dr. and Mrs. Orn Arnar Jo and Gordon Bailey Family Fund of the Catholic Community Foundation James and Gail Bakkom Donald and Naren Bauer Barbara S. Belk Brian Benjamin Donna Block

$250–$499 Paul and Val Ackerman Fred Amram and Sandra Brick Bryan and Judith Anderson Charles Anderson Quentin and Mary Anderson Roger and Margaret Anderson Katherine Anderson Anonymous (2) Annette Atkins and Tom Joyce Ronald and Kay Bach Bishu and Irina Bandyopadhyay Kathleen Bergen Ken and Peggy Bonneville Jan and Ellen Breyer Kenneth Britton Philip and Carolyn Brunelle Emilie and Henry Buchwald Dr. and Mrs. Durand Burns Sarah and Jerry Caruso Sandy and Doug Coleman Kay Constantine Sage and John Cowles, Jr. Michael Crosby Robert and Marilyn Davidson Francoise Denis Kay Dewane Virginia Dudley and William Myers Fred Eisenbray Steven and Mimi Fisher Charles and June Fitch

These lists are current as of March 15, 2009 and include donors who gave a gift of $250 or more during The Minnesota Opera’s Annual Fund Campaign.

If your name is not listed appropriately, please accept our apologies and contact Morgan Walsh, Individual Gifts Manager, at 612-342-9569.

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Associate Circle

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Estate AND Planned Gifts INDIVIDUAL GIVING The Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to The Minnesota Opera. If you have already made such a provision, we encourage you to notify us that so we may appropriately recognize your generosity.

Anonymous (2) Valerie and Paul Ackerman Thomas O. Allen Mr. and Mrs. Rolf Andreassen Mary A. Andres Karen Bachman Mark and Pat Bauer Mrs. Harvey O. Beek (†) Barbara and Sandy Bemis (†) Joan and George Carlson Darlene J. and Richard P. Carroll Judy and Kenneth (†) Dayton Mrs. George Doty Rudolph Driscoll (†) Sally Economon

Ester and John Fesler Paul Froeschl Lois and Larry Gibson Robert and Ellen Green Ieva Grundmanis (†) Norton M. Hintz Jean McGough Holten Charles Hudgins Dale and Pat Johnson Robert and Susan Josselson Mrs. Markle Karlen (†) Mary Keithahn Steve Keller Patty and Warren Kelly Margaret Kilroe Trust (†)

Blaine and Lyndel King Gretchen Klein (†) Bill and Sally Kling Gisela Knoblauch (†) Mr. and Mrs. James Krezowski Robert Kriel and Linda Krach Venetia and Robert Kudrle Robert Lawser, Jr. Jean Lemberg (†) Gerald and Joyce Lillquist David Mayo Barbara and Thomas McBurney Mary Bigelow McMillan Margaret L. and Walter S. (†) Meyers Susan Molder (†)

Edith Mueller (†) Scott Pakudiatis Sydney and William Phillips Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Andrew H. Stewart, Jr. Barbara and Robert Struyk James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick (†) Deceased

For more information on possible gift arrangements, please contact Annual Fund Director Dawn Loven at 612-342-9567.

Your attorney or financial advisor can then help determine which methods are most appropriate for you.

THE MINNESOTA OPERA

Donor Spotlight Kris’ interests lie in the technical aspects of a production, such as the lighting and the scenery, which serve as a perfect complement to Kristina’s focus on the music and voice.

For Kris and Kristina Fredrick, Minnesota Opera patrons and donors, a night at the opera is more than just a night out. With a shared passion for the arts, the opera served as a bonding experience during a crucial moment early in their relationship.

| THE MINNESOTA OPERA www.mnopera.org

Kris and Kristina both attended Gustavus Adolphus College in St. Peter, Minnesota. Kristina was a member of the college choir and Kris was working on a minor in theater when Kris stumbled upon an offer from the music department to attend The Minnesota Opera’s production of Don Giovanni. He asked Kristina to join him, and this date, one of their first, became the catalyst for an ongoing shared appreciation of the opera.

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Early in their relationship, Kris and Kristina attended the opera by purchasing single tickets. Recently,

Your r t: Supp o nable i a t s u S Gi v ing

Mi Minnesota t O Opera patrons t andd ddonors, Kris and Kristina Fredrick.

however, they made the commitment to become full-season subscribers.

With three children, ages 2, 8 and 9, the Opera is their guaranteed date night – at least five times a year! The Opera has remained an important part of their relationship.

Recently, the Fredricks were able to go behind the scenes, taking a backstage tour during the run of The Adventures of Pinocchio, and Kristina attended a lunch in the Opera’s Costume Shop.

Each experience has deepened their relationship with the company and the art form.

For their tenth wedding anniversary, Kris and Kristina began giving to the Opera’s Annual Fund in honor of their relationship with each other and the company. With their shared passion for opera and their dedication to the company, The Minnesota Opera is proud to have Kris and Kristina Fredrick as patrons and donors.

The Minnesota Opera has recently introduced a Sustainable Giving option.

Becoming a sustaining member is a wonderful way to increase your annual support while spreading your gift over time. It also strengthens the impact of your charitable dollar by cutting out the cost and environmental impact of mailing your contribution. With your sustained gift, you can take satisfaction in knowing that more of each dollar you give helps to create the world-class operas you’ve come to expect from The Minnesota Opera.

Please contact Morgan Walsh, Individual Gifts Manager, at 612-342-9569 or mwalsh@mnopera.org for information on sustainable giving.

Thank you for making great opera possible!

THE MINNESOTA OPERA

Annual Fund

INSTITUTIONAL GIVING For information on making a corporate or foundation contribution to The Minnesota Opera, please contact Institutional Gifts Manager Beth Comeaux at 612-342-9566, or email her at bcomeaux@mnopera.org.

The Minnesota Opera gratefully acknowledges its major institutional supporters: $100,000+

$25,000 –$49,999

$50,000 –$99,999

$10,000 –$24,999

Minnesota Opera Sponsors Season Sponsor FAF Advisors and U.S. Bank

Production Sponsors Il trovatore, FAF Advisors and U.S. Bank Faust, Ameriprise Financial

The Adventures of Pinocchio, Target and the National Endowment for the Arts The Barber of Seville, Wells Fargo and the City of Saint Paul’s Cultural STAR Program

Conductor Appearances SpencerStuart

Camerata Dinners

Production Innovation System

Lowry Hill Private Asset Management

General Mills

Gala Sponsors

Resident Artist Program

Target U.S. Bank

Wenger Foundation

Meet the Artists Official Caterer

Minnesota Public Radio

Broadcast Partner

Wildside Caterers

Corporations, Foundations and Government 3M Foundation Ameriprise Financial City of Saint Paul’s Cultural STAR Program FAF Advisors General Mills Foundation The MAHADH Fund of HRK Foundation The McKnight Foundation The Medtronic Foundation Minnesota State Arts Board National Endowment for the Arts OPERA America’s Opera Fund Target The Travelers Company, Inc. U.S. Bancorp Foundation U.S. Bank, Private Client Group UnitedHealth Group The Wallace Foundation Wells Fargo Foundation Minnesota

Platinum $10,000–$24,999 Fred C. and Katherine B. Andersen Foundation

Best Buy Children’s Foundation Cargill Foundation Deluxe Corporation Foundation Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation Gray Plant Mooty Anna M. Heilmaier Charitable Foundation Lowry Hill Private Asset Management RBC Foundation – usa RBC Wealth Management SpencerStuart Twin Cities Opera Guild Valspar Foundation Wenger Foundation

Harlan Boss Foundation for the Arts R. C. Lilly Foundation Mayo Clinic MTS Corporation Onan Family Foundation Pentair Foundation The Carl and Eloise Pohlad Family Foundation PricewaterhouseCoopers, llp Robins, Kaplan, Miller & Ciresi Rahr Foundation Schwegman, Lundberg & Woessner, p.a.

SUPERVALU Foundation on behalf of SUPERVALU Inc. Xcel Energy Foundation

Gold $5,000–$9,999

Silver $2,500–$4,999

ADC Telecommunications Allianz Life Insurance of North America Bemis Company Foundation Boss Foundation Cleveland Foundation Deloitte Education Minnesota Foundation Faegre & Benson

Dellwood Foundation Fredrikson & Byron Foundation Mary Livingston Griggs and Mary Griggs Burke Foundation Hutter Family Foundation Peravid Foundation The Elizabeth C. Quinlan Foundation Margaret Rivers Fund

Securian Foundation Sit Investment Foundation Tennant Foundation Thyme to Entertain

Bronze $1,000–$2,499 The ADS Group Arts & Custom Publishing Co., Inc. Bailey Nurseries, Inc. Burdick-Craddick Family Foundation Enterprise Rent-A-Car Foundation Hammel, Green and Abrahamson, Inc. Hogan & Hartson Leonard, Street & Deinard McVay Foundation Alice M. O’Brien Foundation Lawrence M. O’Shaughnessy Charitable Annuity Trust in honor of Lawrence M. O’Shaughnessy Peregrine Capital Management The Regis Foundation The Southways Foundation Wells Fargo Insurance Services

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Sponsors $25,000+

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