Minnesota Opera's Cosi Fan Tutte Program

MOZART

2011 – 2012 SEASON

Susan Graham Mezzo-soprano January 10, 2012 • Ordway Center

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welcome Allan E. Naplan | President and General Director

Dear Friends, It is with great pleasure that I welcome you to Minnesota Opera’s season opening production of Così fan tutte. For one of Mozart’s most beloved creations, we’ve assembled a stellar cast of both returning and debut artists expertly guided on stage by acclaimed Twin Cities director Peter Rothstein and in the pit by returning maestro Christopher Franklin (Cinderella 2010).

While Così is often unduly overshadowed in popularity by Mozart’s other “hits” (specifically The Marriage of Figaro, Don Giovanni and/or The Magic Flute), this opera – the third of Mozart’s important collaborations with librettist Lorenzo da Ponte – offers the same brilliant theatrical and musical balance that so many of Mozart’s operatic works uniquely achieve.

From the simple elegance of solo arias to the complexity of exhilarating ensembles and from heartrending drama to laugh-inducing comedy, Mozart’s Così presents an intimate and entertaining look at the timeless and always complex issues of relationships and love.

Following this production of Così, we are extremely excited to present the world premiere of Silent Night by composer Kevin Puts and librettist Mark Campbell.

As all the eyes and ears of the opera industry will be focused on the Twin Cities for this important debut, I hope you’ll also be with us as we make opera history! Later this season, we’ll offer the company premiere of the great French opera Werther, starring Minnesota Opera favorites James Valenti and Roxana Constantinescu, and then we’ll close the season with two perennial favorites: Lucia di Lammermoor and Madame Butterfly. We have a great season in store for you and I hope you’ll join us for all the excitement.

As I begin my first full season with Minnesota Opera, I look forward to meeting many of you at our opera performances, at our new Opera Up Close programs (see page 10) and at other special events throughout the year. Whether in the Ordway lobby or in the grocery store, I hope you’ll introduce yourself, let me know what you like (or dislike) about your opera experience, and your ideas and dreams for our company. Thanks to your past support and patronage, Minnesota Opera has achieved great things. Together, I look forward to continuing that success.

Enjoy the show!

Allan E. Naplan

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Synopsis

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Tempo

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Così fan tutte

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Gala 2011

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Background Notes

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Education at Minnesota Opera

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Opera Up Close

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Upcoming at Ordway

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Wolfgang Amadeus Mozart

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The Artists

Minnesota Opera Board of Directors, Staff and Volunteers

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Up Next: Silent Night

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Minnesota Opera Annual Fund

2011–2012 Season Subscriptions

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Kevin Smith Legacy Campaign

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Large-print and Braille programs are available at the Patron Services Office

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contents

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synopsis act i Scene one Don Alfonso questions the fidelity of sisters Fiordiligi and Dorabella, whose goodness Guglielmo and Ferrando vehemently affirm. Still skeptical, Alfonso suggests the two officers put their girlfriends to the test.

A wager of a hundred zecchini is at stake, and the two young men already plan how to spend what they believe to be easy money – Ferrando shall hire a band of players to serenade his beloved, while Guglielmo shall throw a lavish party. They accept the challenge.

Scene two Fiordiligi and Dorabella admire miniatures of their respective boyfriends, whom they compare to Adonis and Apollo. Don Alfonso enters with some dreadful news.

Guglielmo and Ferrando have been called up for active duty in the army and must depart that very morning.

As the two soldiers arrive to bid farewell, the ladies swoon, knowing they will languish in their lovers’ absence. Promising to write often, the men depart to the march of a soldiers’ chorus. Don Alfonso is pleased with the progress of his plan.

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Scene three Despina disdainfully serves her ladies’ breakfast as the two sisters despair. Once familiar with the cause of their distress, Despina shrugs it off. Why not look at the bright side and take new lovers in their stead – that’s what the men are likely to do. She has discovered one can’t find constancy in soldiers or gentlemen. Both women are shocked at the suggestion.

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profess their love. The two men pretend to recognize Don Alfonso as their former tutor, but this extra credibility does nothing to impress the sisters.

They order the intruders out of their house of virtue. Further pleading does not break the ladies’ indomitable will, and they brusquely leave the room.

Guglielmo and Ferrando are reassured by their lovers’ steadfast devotion.

The day is not over yet, observes Alfonso. They must pursue the sisters in the garden. He confers with Despina, who is certain her vapid employers will eventually capitulate.

They strategize their next move.

Scene four Fiordiligi and Dorabella overhear the men’s desperate cries – if the ladies won’t have them, then death is the only alternative. Appearing before them, Guglielmo and Ferrando each pretend to take a draught of arsenic.

Horrified, the sisters have Despina fetch a doctor and try to comfort the dying men. The doctor soon arrives (really Despina in disguise) and provides a fashionable cure using a large magnet.

It works like a charm, and the men begin to revive, begging for a kiss to ensure a complete recovery. The indignant sisters refuse.

• intermission • act ii

Scene one Despina continues to deride her employers’ priggish attitudes – why not have a little harmless fun while their boyfriends are away? If people talk, the sisters can claim the Don Alfonso sees Despina as a valuable men were calling upon her. Dorabella ally to his scheming, but he can’t let is the first to see reason. They should seek a brief diversion to alleviate their her in on all of the details. He finds melancholy. Once their beaus are back, that a little money will make her a willing accomplice. She agrees to make the affairs shall be over. She’ll take the dark one (Guglielmo) while Fiordiligi the villa accessible to two Albanian may have the fair one (Ferrando). soldiers, who are entranced by the ladies. Despina meets them at the door and is surprised by their unusual Scene two Still disguised, Guglielmo and Ferrando have hired a band appearance – she does not recognize the disguised Guglielmo and Ferrando. of singers to help serenade their paramours. The sisters are quite taken aback and need a little more coaxing Fiordiligi and Dorabella are angered from Don Alfonso and Despina. The by the intrusion of the suitors, who plan now is to divide and conquer. immediately and inappropriately

Dorabella is the first to capitulate, and Guglielmo takes her heartshaped pendant. Fiordiligi is more resistant, yet is forced to wrestle with her conscience after Ferrando’s frank admission of love.

The two men compare notes, and Ferrando is shocked to discover the pendant in Guglielmo’s possession. He is crushed by Dorabella’s faithlessness.

Scene three Dorabella confides in Despina her recent acquiescence to her Albanian’s affections. Fiordiligi enters, angered by the uncontrollable desire blossoming in her heart. To create some distance, she instructs Despina to get their fiancés’ uniforms from the closet. She will go to the battlefront to be with Guglielmo – she encourages Dorabella to do the same.

Ferrando enters and begins to woo Fiordiligi with renewed zeal. Her resolve finally falters, and she gives in to his entreaties. Guglielmo is furious when he discovers what has happened, and he and his friend plan their retaliation. Don Alfonso suggests a fake wedding ceremony for the grand denouement and sagely reminds them of his earlier premise – they are women, after all, and women are all like that.

Scene four The house is prepared for a festive celebration. The two couples enter jubilantly as the men conceal their rage. Again disguised, Despina officiates as the notary, and the ladies (only) sign the marriage contracts. Suddenly, drums are heard in the distance – their former boyfriends have returned from battle.

Flustered, Fiordiligi and Dorabella hide their new spouses and scramble for an explanation.

Guglielmo and Ferrando reenter, now dressed as themselves, and question their lovers’ uneasy demeanor. They discover the marriage contracts and angrily demand to see their rivals. Don Alfonso points them to the hiding place, and the men go inside, only to emerge later in partial disguise, thus revealing the ruse. Despina is shocked to find that she too was deceived. Don Alfonso advises everyone to laugh it off and all observe the lessons of their misadventure. ❚

Music by Wolfgang Amadeus Mozart Libretto by Lorenzo da Ponte World Premiere at the Burgtheater, Vienna, January 26, 1790 September 24, 27, 29, October 1 and 2, 2011, Ordway, Saint Paul Sung in Italian with English translations

cast (in order of vocal appearance)

Ferrando, an officer, Dorabella’s lover John Tessier Guglielmo, an officer, Fiordiligi’s lover Matthew Worth Don Alfonso, a philosopher Daniel Mobbs Fiordiligi, a lady from Ferrara Jacquelyn Wagner Dorabella, her sister Jennifer Holloway Despina, their maid Angela Mortellaro

creative team Conductor Christopher Franklin Stage Director Peter Rothstein Set Designer Alexander Dodge Costume Designer Alejo Vietti Lighting Designer Marcus Dilliard Wig and Makeup Designers Jason Allen and Ronell Oliveri Assistant Director Octavio Cardenas Assistant Conductor Clinton Smith Stage Manager Alexander Farino English Captions Floyd Anderson

The Minnesota Opera season is sponsored by

Così fan tutte is supported in part by

Così fan tutte is supported in part by

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background notes

lovers to a real-life scandal that had been made public in Vienna (recent gossip known to the emperor himself, which he then encouraged for operatic treatment). Others have traced the hand, La scuola degli amanti (The School subject to an event connected to the n 1789, Wolfgang Amadeus Mozart’s for Lovers), which had first been offered ongoing Turkish campaign in a city uneasy fortune began to turn, if on the Adriatic coast. Two men, who to Antonio Salieri and rejected after only briefly. Le nozze di Figaro had claimed to have been called into active the composition of just a few numbers. been remounted in Vienna and was duty, successfully courted each other’s There may have been some animosity a huge success, eventually achieving a wives while disguised at a masked ball. between da Ponte and Salieri, as the total of 26 performances. Previously, Although we can’t be certain to former had taken the newly arrived “La the composer’s achievements at the Ferrarese,” Adriana del Bene, as his lover what degree Mozart influenced the Burgtheater were tenuous at best – in 1786, Figaro had managed a meager nine and had unfairly promoted her interests libretto, he undoubtedly had something at the Burgtheater. With both a dose of to do with it. And the creation of the showings (eclipsed by the premiere of opera had an interesting parallel to his theatrical nepotism and a personal jibe the enormously popular Una cosa rara, newly offered by Vicente Martín y Soler) to Salieri and his mistress, rival soprano personal life at that moment. After a recent pregnancy, his wife Constanze Caterina Cavalieri, La Ferrarese would and only the year before, his Praguewas taking the cure at Baden, a spa be cast in one of the principal roles. born Don Giovanni had been coolly known more for mixed bathing and Così fan tutte, the new opera’s received by the Viennese. flirtatious dalliances than for any actual eventual title, remains somewhat Financially speaking, the Figaro medicinal value. Naturally, reports of his of a mystery. There’s scant written revival hadn’t meant much money – documentation as to how it came about, wife’s improprieties caused the composer there were no royalties in those to wave a cautionary finger, suggesting and da Ponte’s later memoirs betray days – but it was important in terms that she had been “too free” and that very little. There is no direct literary of prestige. Once again, Mozart had source and the librettist, chafing from “a woman must always conduct herself brought himself to the attention of with decorum lest people talk.” Infidelity Emperor Joseph ii, who commissioned the many adaptations and translations required by his position as imperial poet, was very much on his mind. a new work as a result. The composer Così was written quickly over seemed proud to be able to offer it as an turned to librettist Lorenzo da Ponte original work. 19th-century critics have the autumn and winter months, and for a third time, and fortunately his premiered on January 26, 1790, on the attributed the story of exchanged erstwhile collaborator had a libretto in eve of the Mozart’s 34th birthday. Critical acclaim was favorable, and the Viennese seemed to enjoy it. There were four more performances before an unforeseen and tragic event occurred – Joseph, who had been too ill to attend the premiere, died on February 20. As was customary, all the theaters of Vienna closed for a period of mourning. A short revival followed in the summer months, but as other projects were in the queue, the opera achieved only five more performances.

Così fan tutte was not seen again in Vienna during Mozart’s lifetime.

Both composer and librettist faced uncertainty in the new regime.

Da Ponte’s various machinations and open affair with one of the Burgtheater’s leading sopranos caused him and his mistress to be fired. Mozart tried to court favor with the new ruler, Joseph’s brother Leopold, by following Fête de l’amour (c. 1718) him to Frankfurt for his coronation as Jean-Antoine Watteau Gemaeldegalerie Alte Meister, Staatliche Kunstsammlungen (Dresden, Germany) Holy Roman Emperor. The composer

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by David Sander

bpk, Berlin/ Hans-Peter Klut/ Art Resource, NY

organized concerts of his music, hoping to attract attention. But Leopold had other things on his mind, trying to repair some of the political fallout brought on by Joseph’s liberal reforms.

He needed to gain a firm control of his nation during dangerous times – the French Revolution had broken out the previous year, resulting in the downfall of his sister, Marie Antoinette.

Eventually, Leopold would commission a propaganda piece, La clemenza di Tito, to celebrate another coronation in Prague, but by the summer of 1791, the composer was badly in debt and six months to his grave.

Così fan tutte quickly went to Mozart-enamored Prague for the 1790–1791 season, to Frankfurt in German translation and then to houses elsewhere in Germany. The first subsequent Italian production was in 1797 in Trieste where del Bene would revive her role. The opera was frequently modified or simply set to a new libretto, one curious feature of Così as it traveled through the 19th century. The story’s surface frivolity had little appeal for emergent minds of the Romantic era, and further down the road the subject became a little too racy for Victorian audiences. Even in the cosmopolitan city of Paris, Mozart’s music was set to an adaptation of Shakespeare’s Love’s Labour’s Lost at the Théâtre-Lyrique in 1863 by veteran librettists Jules Barbier and Michel Carré. It is only in the 20th century that the opera has been rehabilitated to its original state. Ranked fourth in popularity among Mozart’s favored works, Così fan tutte might be considered a “thinking person’s opera,” much in the same way as Don Carlos is to Verdi’s oeuvre.

Unlike Figaro and Don Giovanni, there is no direct literary ancestor for Così fan tutte – da Ponte drew from a multitude of sources when he concocted his new libretto. Masked as a frothy confection suited to the tastes of the Viennese, the opera has a rich pedigree, a tapestry of influences and allusions, and is a testament to the librettist’s erudite knowledge. Two traditions in literature served as inspiration, one of wager,

the other of exchanged lovers. One can go as far back as Livy’s History of Rome to find a gamble on fidelity. During the sixth century b.c.e., a bet made between several encamped generals leads to the discovery of their wives’ indiscretions in their absence, save one, the virtuous Lucretia.

Boccaccio has a similar stake with regard to a wife’s fidelity in his Decamerone (1348– 1353), a theme picked up and embellished

by Shakespeare in Cymbeline – Posthumus makes a bet with Iachimo on the chastity of his new wife, Imogen. The Bard also provided a model in The Swing (1767) his play A Midsummer Jean-Honoré Fragonard Wallace Collection (London, Great Britain) Night’s Dream, which by kind permission of the Trustees of the Wallace Collection, features two sets of London/Art Resource, NY mismatched couples. His works would have been known to da Ponte and Mozart as his dramas were frequently (Roland, nephew of Charlemagne) as performed in Vienna during the 1780s. his main protagonist. One canto details Another branch of Così’s origin a similar test of devotion while magically stems from the notion of testing fidelity disguised. Another features two men’s by means of a disguise. This too goes fruitless search for a faithful female. The back to antiquity: Ovid’s treatment of names of all three women – Fiordiligi, the mythical Procris and Cephalus in Doralice and Fiordespina – are found his Metamorphoses. Here Cephalus tests within the text. the constancy of his wife Procris by One must also consider the impact showering her with gifts while disguised. of Rococo theater, then still fairly fresh, Procis falters, and though the couple particularity the works of Pierre de is reconciled, another case of mistaken Marivaux. His works, most notably La identity leads to her accidental death. dispute (1744) and Le jeu de l’amour et du The Procris myth became a paragon hazard (The Game of Love and Chance; of virtue throughout the Middle Ages as a 1730), further developed the notion of warning to those who doubt their spouse’s a “School for Lovers.” On the darker commitment and the consequences side, a later epistolary novel Les liaisons of idle gossip. A Ferrarese playwright, dangereuses (1782) by Pierre Choderlos Niccolò da Correggio, wrote a play on de Laclos explored the disastrous this topic in 1487 while in the service of consequences of a romantic wager. This Duke Ercole d’Este. Inspired to complete casual treatment of love is reinforced by Matteo Maria Boiardo’s Orlando the Rococo period’s visual artists in their innamorato, Ariosto (one of da Ponte’s depiction of idealized “courtly romance” favorite authors) wrote his own Orlando in the sexually suggestive and vaguely furioso (1509), also using Orlando erotic works of Jean-Honoré Fragonard

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background notes (The Swing; 1766) and his forerunner Jean-Antoine Watteau (Embarkation for Cythera; 1717). One significant attribute of Rococo art was its penchant for treating the human condition with play and pretense.

The typical Italian commedia dell’arte tricks of the trade (the disguises; the notary; the doctor; the spunky, somewhat spiteful, world-wise maid) make their way into Così as well, reinforced by the dramas of Carlo Goldoni, which were very influential as opera buffa developed during the 1760s and 70s. One notable libretto, Le pescatrici (The Fisherwomen; 1770), involves a pair of disguised men seeking to outwit their lovers. This sort of “scuola degli amanti” became a staple for opera buffa, elaborating on all of the genre’s facets – courtship, jealousy, marriage and delusion. The Viennese were preoccupied by l’amour and took comfort seeing similar plots reworked over and over, with slightly different twists and trappings.

As these opera buffa plots bore such a striking resemblance to one another, it’s hardly surprising that Così shows a strong likeness to a recent Burgtheater comedy, La grotta di Trofonio (1785) by

Antonio Salieri. Once again, pairs of crisscrossed lovers find they are attracted to the temperament of the opposite partner in the other couple. Trofonio’s grotto has the ability to magically change one’s disposition upon entering.

Naturally, mayhem follows when each sex visits the cave in an effort to achieve the ultimate coupling.

Also described as a filosofo, Trofonio’s whiff of the supernatural comes from a play on the broader 18th-century understanding of the word – one who deals with astronomy, astrology and the mystical arts in addition to espousing enlightened rational thought and tutelage. Though a bit more grounded, the philosopher Don Alfonso appears to guide his experiment with a sense of destiny, knowing from the very beginning how things will turn out. The same air of cosmic manipulation surrounds Alidoro (also a learned man) in Rossini’s La Cenerentola, who provides disguises, creates storms and rolls carriages, and again may be derived from Shakespeare, this time The Tempest’s Prospero, who similarly guides precipitation and all things enchanted.

Join us as we launch an exciting new series of entertaining and informative events featuring the creators, performers and decision-makers of each Minnesota Opera production.

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Each Opera Up Close event will feature extensive multi-media presentations, artist roundtable discussions, production and cast previews and an engaging audience Q&A session to better enhance your Minnesota Opera-going experience.

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Go behind the scenes to explore the artistic and creative process, the performers’ perspective, the history of the opera and much more!

For more information or to purchase tickets, visit mnopera.org/operaupclose or call the Minnesota Opera Ticket Office at 612-333-6669.

Join Allan Naplan, Minnesota Opera’s President and General Director, as he hosts the Opera Up Close preview of Silent Night on Monday, October 12. Special guests will include composer Kevin Puts, librettist Mark Campbell, director Eric Simonson, conductor Michael Christie and Minnesota Opera’s Artistic Director Dale Johnson.

Not unlike Marivaux’s La dispute, Alfonso’s test tube is an enclosed symmetrical environment, a small world consisting of three men and three women. Aided by his willing and able laboratory assistant, the academician explores a setting ripe for upset. Two educated young women from Ferrara, living in sunny, carefree Naples with their live-in boyfriends, not bound by marriage and still quite impressionable, might be easily persuaded into a sexual relationship with another man. Like Trofonio, Alfonso may believe that the two couples are mismatched in disposition and intends to set things right. Certainly the musical tradition dictated the two seria characters, the soul-searching Fiordiligi and emasculated Ferrando (not unlike Anna and Ottavio in Don Giovanni), belong together just as the more sentimental Dorabella and earthy Guglielmo do (both mezze carattere or middle characters caught in-between comedy and tragedy).

Though tradition suggests the original couples reunite, there is a sense that new feelings have been awakened and alternative alliances may be in the future. Billed as an opera buffa but considered by Mozart a dramma giocoso, the opera has a sense of weight and gravity – the artifice of comedy is revealed in Act i, then removed by the end of Act ii to reveal layers of meaning and a more genuine course of events.

“Così fan tutte” or “thus do they all,” loosely translated – the title is an idiom tailored to the minds of the Viennese, an error in marketing that may have led to the opera’s slow rise in popularity.

Perhaps the title indicates Mozart’s willingness to forgive his errant wife’s indiscretion – it was the composer’s idea to quote from his own work, a phrase uttered by Don Basilio in Act i of Figaro and a reference his audience would likely understand. Out of context the opera is often misunderstood, perhaps the reason why this masterpiece still remains underplayed or even undiscovered for so many listeners. ❚

Wolfgang Amadeus Mozart b Salzburg, January 27, 1756; d Vienna, December 5, 1791

were commissioned by Milanese and Munich nobles, he could not rise beyond Konzertmeister of the Salzburg archbishopric. When the new prince archbishop, Count Hieronymus Colloredo, was appointed in 1771, Mozart also found he was released for guest engagements with less frequency.

Things came to a head in 1781 immediately following the successful premiere of Mozart’s first mature work, Idomeneo. After several heated discussions, the composer was relieved of his Salzburg duties. In Vienna, completely on his own for the first time, Mozart embarked on several happy Wolfgang Amadeus Mozart at the Piano (1789) years. He married Constanze Weber, Joseph Lange Mozarteum (Salzburg, Austria) sister to his childhood sweetheart Alinari/Art Resource, NY Aloysia, and premiered a new work, Die Entführung aus dem Serail (The Abduction from the Seraglio), at the hild wonder, virtuoso performer and prolific creative artist, Mozart Burgtheater. Mozart also gave concerts is the first composer whose operas around Vienna, presenting a number of new piano concertos and symphonies. have never been out of repertory. His His chief concern was to procure a prodigious talents were apparent very position at the imperial court. A small early in his life; by the age of four he commission came his way from the could reproduce on the keyboard a emperor for a one-act comedy, Der melody played to him, at five he could Schauspieldirektor (The Impresario), to play the violin with perfect intonation and at six he composed his first minuet. celebrate the visit of his sister, Marie Christine, and her husband, joint rulers A musician himself, Wolfgang’s of the Austrian Netherlands. father, Leopold, immediately saw The Marriage of Figaro, Mozart’s the potential of his son’s talents. first true masterpiece for the imperial The family embarked on a series of court, premiered at the Burgtheater concert tours showing off the child’s in 1786 and went on to Prague the extraordinary talents. As Mozart following year where it was a huge grew older, these tours turned into a success. Don Giovanni premiered search for permanent employment, but this proved exceedingly difficult in Prague in 1787 to great acclaim, but its Vienna premiere in 1788 was for a German musician in a market coolly received. By this time, Mozart dominated by Italian composers. had received a minor imperial posting, Although many of his early operas

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Kammermusicus, which required him to write dances for state functions.

The position was hardly worthy of his skills and generated only a modest income, a weighty concern now that debts had begun to mount. Joseph ii commissioned another opera, Così fan tutte, but was too ill to attend the opening and died the following month.

His brother, Leopold ii, assumed leadership, and Mozart hoped to be appointed Kapellmeister – instead he merely received a continuance of his previous position.

Crisis hit in 1791. Constanze’s medical treatments at Baden and the birth of a second child pushed their finances to a critical point. Mozart’s friend and fellow Freemason, the impresario Emanuel Schikaneder, suggested he try his luck with the suburban audiences at his Theater auf der Wieden. Composition of The Magic Flute began early that summer but had to be halted when two generous commissions came his way: a requiem for an anonymous patron, and an opera seria to celebrate the new emperor’s coronation as King of Bohemia. La clemenza di Tito premiered September 6, and The Magic Flute was completed in time to open September 30.

The Requiem, however, remained incomplete, and as Mozart’s health began to fail, the composer feared he was writing his own death mass.

In December Mozart died at the age of 35 and was given a simple funeral by his impoverished widow, then buried in an unmarked grave on the outskirts of Vienna. ❚

At the same time...

French King Louis xvi accepts the constitution (he is guillotined three years later).

Wolfgang Amadeus Mozart composes his “Prussian” String Quartets, supposedly in honor of Friedrich Wilhelm II, though no dedication is noted.

In Paris, the clergy’s property is nationalized and priests become employed as civil servants.

Chemist Antoine-Laurent de Lavoisier publishes the Table of Thirty-One Chemical Elements; he is guillotined four years later during the Reign of Terror.

The first steam-powered rolling mill is built in England.

The United States capital temporarily moves from New York to Philadelphia.

Congress authorizes the first census.

The Society of Friends (Quakers) sends Congress a petition calling for the end of slavery.

Benjamin Franklin dies.

English chemist Thomas Wedgewood makes photograms, shadow-like photographic images by placing objects on leather sensitized with silver nitrate.

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The one-year anniversary of the capture of the Bastille is celebrated in the Champ de Mars. The tricolor is chosen as the national flag of France.

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the artists Marcus Dilliard

Alexander Dodge

Christopher Franklin

lighting designer

set designer

conductor

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Marcus Dilliard has designed for opera, theater and dance across North America and in Europe, including numerous productions for Minnesota Opera, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater and Theatre de la Jeune Lune. Recent designs include God of Carnage for the Guthrie Theater, Norma for Lyric Opera of Kansas City, Song of Extinction for Theater Latté Da, All Is Calm at the Pantages Theater and An Ideal Husband for Great Lakes Theater Festival. Upcoming projects include Così fan tutte for Lyric Opera of Kansas City, Charlie’s Aunt for the Guthrie Theater, Cinderella for the Ordway and Julius by Design for Penumbra Theater.

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Alexander Dodge is making his Minnesota Opera debut. He was born in Switzerland, raised in Arizona and lives in Manhattan.

Opera credits include Il trittico for Deutsche Oper Berlin, Der Waffenschmied for Staatstheater am Gärtnerplatz (Munich), Lohengrin for Budapest, Der fliegende Holländer for Würzburg and Summer and Smoke for Manhattan School of Music. On Broadway, he has designed Present Laughter (2010 Tony Nomination), Old Acquaintance, Butley and Hedda Gabler. OffBroadway credits include Maple and Vine for Playwright’s Horizons, All New People, Trust and The Water’s Edge for Second Stage, The Understudy for Roundabout, Measure for Pleasure and Paris Commune for Public Theater; Observe the Sons of Ulster … (Lortel Award) and Chaucer in Rome for Lincoln Center Theatre, Antony and Cleopatra for tfana, Orbo Novo for Cedar Lake and Force Continuum for Atlantic. Regional credits include designs at Alley Theatre, Arena Stage, Baltimore Centerstage, Chicago Shakespeare, Hartford Stage, Huntington Theatre, Geffen Playhouse, Guthrie Theater and La Jolla Playhouse.

Since having started his career in Italy, Christopher Franklin has conducted at many of the major Italian opera houses and festivals. The houses include Teatro Regio di Torino, the Maggio Musicale Fiorentino, Teatro Comunale di Bologna, the Teatro Carlo Felice di Genova, the Teatro dell’Opera di Roma, the Teatro Massimo di Palermo, the Teatro Piccolo alla Scala di Milano, the Teatro Comunale di Treviso, Teatro Verdi di Salerno, Teatro Pergolesi di Jesi, the Rossini Opera Festival in Pesaro and the Spontini Festival in Jesi.

Operatic engagements include Death in Venice with Opera de Belles Artes in Mexico City, La Cenerentola with Minnesota Opera, Il barbiere di Siviglia in Lima, Peru, L’elisir d’amore at Teatro Carlo Felice, Une éducation manquée and Rossini’s La cambiale di matrimonio at the Wexford Festival, Sweeney Todd at the Teatro Comunale di Bologna, The Merry Widow at both the Teatro San Carlo di Napoli and Carlo Felice di Genova, and concerts with the Filarmonica Toscanini in Parma and the Swiss Radio Symphony Orchestra in Lugano.

Jennifer Holloway

Daniel Mobbs

Angela Mortellaro

Dorabella

Don Alfonso

Despina

Rapidly gaining increasing attention for her “vibrant mezzo-soprano and generous presence” (New York Magazine), American mezzo-soprano Jennifer Holloway made her European debut at the Teatro Regio di Parma and the Théâtre du Châtelet as the Baroness Aspasia in Rossini’s La pietra del paragone. Other roles include Le Prince Charmant in Cendrillon and Siébel in Faust at Santa Fe Opera, the title role in Handel’s Xerxes, Flora in La traviata at the Metropolitan Opera, Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte with Dallas Opera and in Atlanta, Irene in Tamerlano with Los Angeles Opera and the Teatro Real (Madrid), Idamante in Idomeneo with Opéra de Bordeaux, Hansel in Hansel and Gretel and Meg in Falstaff at Glyndebourne, Diane in Hippolyte et Aricie in Toulouse, Dorabella in Brest, and the Page in Salome at the Teatro Real and with the Maggio Musicale.

Engagements in 2011–2012 include Cherubino in Le nozze di Figaro at Opéra National de Bordeaux and Portland Opera, and Dorabella with New York City Opera.

For more biographical information about these artists, visit our website at mnopera.org/season or go to get.neoreader.com on your smartphone and then snap this tag.

American bass-baritone Daniel Mobbs has won praise on both sides of the Atlantic for his “solid, resonant voice and boundless energy … his stage presence virtually ensured that he was the focal point of nearly every scene in which he appeared,” as written in The New York Times.

The 2010–2011 season included the roles of Alidoro in La Cenerentola with Minnesota Opera, Capulet in a new production of Roméo et Juliette at the Opera Company of Philadelphia, Don Pédro in L’Africaine with Opera Orchestra of New York, Giorgio in I puritani with Knoxville Opera, Angelotti in Tosca in Philadelphia and the title role in Rossini’s Guillaume Tell at Caramoor. Other recent roles include Leporello in Don Giovanni with Virginia Opera, Ormonte in Partenope at New York City Opera, and Oroveso in Norma and Assur in Semiramide at Caramoor.

In 2011–2012, Mr. Mobbs returns to Portland Opera for Figaro in Le nozze di Figaro, Opera Company of Philadelphia as Geronte in Manon Lescaut and Lyric Opera Baltimore as Mozart’s Figaro.

Angela Mortellaro returns to the Minnesota Opera’s Resident Artist program for a second season, singing the roles of Madeleine in Silent Night, Sophie in Werther, the title role in the Sunday cast of Lucia di Lammermoor and Kate Pinkerton in Madame Butterfly. Last season, she was seen as Amore in Orpheus and Eurydice, Clorinda in Cinderella and Annina in La traviata. Other roles include Gretel in Hansel and Gretel with both PORTOpera and Sarasota Opera; Edith in The Pirates of Penzance and Anna Gomez in The Consul as a Chautauqua Opera Apprentice Artist; and Sister Genovieffa in Suor Angelica, Sally in Die Fledermaus and Clorinda in La Cenerentola for Orlando Opera Company.

The soprano also appeared as Clorinda and Frasquita in Carmen for Aspen Opera Theatre.

She has sung Susanna in Le nozze di Figaro for Operafestival di Roma and was a Caramoor Opera Bel Canto Young Artist.

Ms. Mortellaro has a Master of Music degree in vocal performance from Rice University and a Bachelor of Music degree at the University of Wisconsin.

The appearances of Jennifer Holloway and Angela Mortellaro, regional 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 artists Peter Rothstein

John Tessier

Alejo Vietti

stage director

Ferrando

costume designer

On the international stages of opera, concert and recital, Canadian tenor John Tessier has gained attention and praise for the beauty and honesty of his voice, for a refined style and creative versatility and for his handsome, youthful presence in the lyric tenor repertoire. The Juno Award winning artist has worked with many of the most notable conductors of our day including Lorin Maazel, Leonard Slatkin, Plácido Domingo, John Nelson, Franz Welser-Möst, Emmanuel Haïm, Charles Dutoit, Donald Runnicles, Robert Spano, Yannick Nézet-Séguin and Bernard Labadie.

For the 2011–2012 season, Mr. Tessier makes a Netherlands Opera debut as John F. Kennedy in the world premiere of Robin de Raaff ’s Waiting for Miss Monroe, debuts with Boston Lyric Opera as Count Almaviva in Il barbiere di Siviglia and returns to Manitoba Opera as Tonio in La fille du régiment. Recent roles include Don Ottavio in Don Giovanni at Teatro Colón, Narraboth in Salome at the Verbier Festival and Almaviva in Il barbiere di Siviglia at Grand Théâtre de Genève.

Jacquelyn Wagner

Matthew Worth

Fiordiligi

Guglielmo

The Berliner Morgenpost exclaims “None can surpass the seductive vocal elegance of soprano Jacquelyn Wagner,” who sings her first performances of Rosalinde in Die Fledermaus in a return to Opéra National du Rhin in the 2011–2012 season. She also returns to the Deutsche Oper Berlin for Micaëla in Carmen and joins Opéra National de Bordeaux for Donna Anna in Don Giovanni.

Last season, she sang her first performances of Agathe in Der Freischütz with Opéra de Toulon, made her long awaited American operatic debut as Donna Anna in Don Giovanni with Florida Grand Opera, sang the Countess in Le nozze di Figaro with Oper Frankfurt and Theater Basel, and returned to Deutsche Oper Berlin to reprise Nuri in Tiefland and the Countess in Le nozze di Figaro.

The role of Fiordiligi has brought great success to her at the Grand Théâtre de Genève, Vlaamse Oper, Staatstheater Stuttgart, Opera de Marseille and Opéra National du Rhin. She also recently sang Donna Anna with Opéra de Lyon and Opera Fuoco and the Countess in a new Theater Basel.

For more biographical information about these artists, visit our website at mnopera.org/season or go to get.neoreader.com on your smartphone and then snap this tag.

Hailed by the Dallas Morning News for his “dashing, fine bright baritone” and The New York Times for a voice that is “fully powered and persuasively expressive,” baritone Matthew Worth was recently the featured “Sound Bites” artist in Opera News.

Mr. Worth makes his debut with Lyric Opera of Chicago as Harlekin in Ariadne auf Naxos in the 2011–2012 season, returns to Virginia Opera as the title role in Philip Glass’ Orphée and reprises the role of Charlie in Heggie’s Three Decembers in his Fort Worth Opera debut. In the summer of 2011, he made his debut with Santa Fe Opera as Valentin in Gounod’s Faust.

Recent roles include his Figaro in Il barbiere di Siviglia with Pittsburgh Opera and Connecticut Concert Opera; Demetrius in A Midsummer Night’s Dream with Boston Lyric Opera; Tarquinius in The Rape of Lucretia with uc – Berkeley, Papageno in Die Zauberflöte and Mercutio in Roméo et Juliette with New Orleans Opera Association, the title role in Don Giovanni with Virginia Opera and the title role in Britten’s Owen Wingrave with Chicago Opera Theater.

New York: nyc Opera’s Séance on a Wet Afternoon, Primary Stages’ Secrets of the Trade, Manhattan Theatre Club’s Nightingale, mcc’s Grace, Paul Scott Goodman’s Rooms, A Rock Romance, William Finn’s Make Me a Song, Tryst, Roulette and The Last Sunday in June, The New Group’s Servicemen, Manipulation, Othello and Measure for Measure, among others.

Regional: works for the Alley Theatre, Arena Stage, Arizona Theatre, Asolo Rep, Cincinnati Playhouse, Cleveland Playhouse, Colorado Ballet, Florida Stage, Ford’s Theatre dc, Goodspeed Opera, Guthrie Theater, Hartford Stage, ny Stage and Film, Northlight, Paper Mill Playhouse, Pasadena Playhouse, Philadelphia Theatre Co., Pittsburgh Public, Saint Louis Rep, Signature Theatre va, The Old Globe, Westport Country Playhouse, Williamstown Theatre Festival and Wolf Trap Opera, among others.

International: Edinburgh Festival Fringe and Donetsk Opera Ukraine.

Others: Ringling Bros Barnum & Bailey Boom’A’Ring and Radio City Music Hall Rockettes 2011 publicity costumes.

MINNESOTA OPERA’S 2012–2013 Resident Artist Program

Local auditions for Minnesota Opera’s Resident Artist Program will be held in Minneapolis November 15–19, 2011.

Applications are due October 17. Applications and further information may be found at mnopera.org/RAP. Minnesota Opera Resident Artist Jonathan Kimple as Talbot in Donizetti’s Mary Stuart.

Photo by Michal Daniel.

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

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Peter Rothstein is the Founding Artistic Director of Theater Latté Da, a Twin Cities-based company dedicated to new music theater. He has been awarded: Best Director of 2011 by City Pages, a 2001 and 2007 Minnesota Artist of the Year from the Star Tribune and the 2007 and 2010 Theater Artist of the Year from Lavender Magazine. Peter works extensively for the Guthrie Theater, where he directed M. Butterfly and Private Lives, winning best production and best director of 2007 from the Star Tribune. In 2011, he directed the Children’s Theatre Company’s record-breaking production of Annie and the award-winning Doubt for Ten Thousand Things. He is the creator of All is Calm: The Christmas Truce of 1914, a partnership with Theater Latté Da and Cantus. Peter has been awarded grants and fellowships from the McKnight Foundation, the Minnesota State Arts Board, Theater Communications Group and the National Endowment for the Arts. He has a Bachelor of Arts degree in music and theater from St. John’s University and a Master of Fine Arts in directing from the University of Wisconsin.

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the artists MINNESOTA OPERA ORCHESTRA VIOLIN I Allison Ostrander concertmaster Julia Persitz David Mickens Judy Thon-Jones Angela Waterman Hanson Andrea Een

CELLO

HORN

Jim Jacobson Sally Gibson Dorer Rebecca Arons Thomas Austin

Charles Hodgson Lawrence Barnhart

BASS John Michael Smith Constance Martin

Laurie Petruconis Elizabeth Decker Stephan Orsak Melinda Marshall Margaret Humphrey Conor O’Brien

VIOLA Susan Janda Vivi Erickson Laurel Browne Jenny Lind Nilsson Coca Bochonko

John G. Koopmann Christopher Volpe

TIMPANI Kory Andry

FLUTE Michele Frisch Amy Morris

VIOLIN II

TRUMPET

PERCUSSION Matthew Barber

OBOE

CONTINUO

Michael Dayton Justin Schwartz

Eric McEnaney

CLARINET

Alex Heetland Clark Rahman David Ross Ben Wagner

SUPERNUMERARIES Johnny Teyssier Nina Olsen Bassoon Coreen Nordling Laurie Hatcher Merz

MINNESOTA OPERA CHORUS Nathan Bird Kristen Bond Carolyn Cavadini Ben Crickenberger Peter Frenz Gretchen Gamm Thomas Glass Cresta Hubert Kathleen Humphrey Elizabeth Kohl Michelle Liebl Riley McNutt Mary Monson Rodolfo Nieto Colyn Tvete Daniel Weinstein

Performances of Così fan tutte are being recorded for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities.

| MINNESOTA OPERA mnopera.org

Minnesota Opera Resident Artist Program: Class of 2011–2012

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From late August through April, Resident Artists gain valuable performing experience in our mainstage productions. Assignments range from ensemble, understudy and comprimario to leading roles during the opera season as well as outreach, concerts and events. Master classes with guest artists, individualized language classes, coaching from our artistic staff, acting, movement and stage combat training, tai chi, yoga and professional career development are just a few of the benefits of the program.

We are pleased to welcome the Class of 2011–2012 roster of Resident Artists. Soprano Angela Mortellaro and mezzo-soprano Victoria Vargas return, as well as assistant conductor/chorus master Clinton Smith, assistant director Octavio Cardenas and coach/accompanist Eric McEnaney. New in the 2011–2012 season are tenors A.J. Glueckert and John Robert Lindsey, baritone Gabriel Preisser, bass Joseph Beutel, coach/accompanist Aaron Breid and administrator Mary-Lacey Rogers.

Learn more about them at mnopera.org/RAP.

Photography by Theresa Murray. Pictured above left to right BACK ROW: Aaron Breid, Clinton Smith, Joseph Beutel, Gabriel Preisser, A.J. Glueckert, Eric McEnaney. FRONT ROW: Octavio Cardenas, Angela Mortellaro, Victoria Vargas, Mary-Lacey Rogers, John Robert Lindsey.

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| MINNESOTA OPERA mnopera.org

SPENCER STUART IS PROUD TO SUPPORT MINNESOTA OPERA

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We are pleased to present guest conductor Maestro Christopher Franklin in Minnesota Opera’s production of Così fan tutte.

Tempo is a membership program for both new and seasoned opera-goers ages 21–39. Your $50 Tempo membership includes exciting benefits to help you get acquainted with Minnesota Opera.

UPCOMING TEMPO EVENTS: Oct. 26 Silent Night Preview Event Nov. 12 Silent Night Tempo Night Out Tempo + After Night Party Out + After Party

Official home of Tempo Night Out + After Party for the 2011–2012 season

Follow Tempo on Facebook®

Thank you to the sponsors of Opera Tasting 2011: City Pages, l’étoile, Toast, Solo Vino, The Loop

| COSÌ FAN TUTTE

mnopera.org/tempo | 612-333-6669 Email us: tempo@mnopera.org Check out our blog: mnopera-tempo.blogspot.com

© Clare Pix Photography www.clarepix.com

Dec. 8 Opera Bootcamp: Basic Training

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education at the opera

SUMMER OPERA CAMP Teens from around Minnesota and western Wisconsin spent a very intensive week in June learning, staging and performing scenes from Nixon in China, La Cenerentola, Don Giovanni, and Madame Butterfly among others. Each day the singers had music and staging rehearsals along with sessions in movement. The singers were accompanied by a chamber orchestra made up of teens.

Check out videos and more pictures of the camp at imagineopera.org.

| MINNESOTA OPERA mnopera.org

Photo: Johanna Ruby in the middle of an acting game

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FEIN STRINGED INSTRUMENTS Dealers, Repairers and Makers of Violins,Violas, Cellos and Bows

Andrew Fein

GREAT INSTRUMENTS Beautiful Wood Music Stands ON-LINE & ON GRAND AVENUE

www.FineViolins.com 1850 Grand Ave. / St. Paul, MN 55105 651.228.0783 / 800.347.9172

education at the opera

CARMEN IN ALEXANDRIA In January, Teaching Artist Angie Keeton led an incredible week-long residency in Alexandria, Minnesota. Over the course of the week, Angie presented public lectures throughout the community in addition to multiple classroom visits. Other performers joining Angie were Resident Artist Rodolfo Nieto and regular Minnesota Opera singers Tricia Van Ee and Jon Thomas Olson.

The residency culminated in a performance of an adapted concert version of Bizet’s Carmen. Performing alongside the Opera artists were the Central Lakes Symphony Orchestra, Jefferson High School Carolers and the local children’s chorus, with narration performed by Jefferson High School students.

Full cast of Carmen Photo by Coenen Photography

Artist residencies like these are generously supported by The Medtronic Foundation.

Interested in bringing the Minnesota Opera to your school or community?

Members of the Carmen Children’s Chorus Photo by Coenen Photography

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Call Jamie Andrews at 612-342-9573 for more information.

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ONSTAGE

get noticed.

Advertising in the Minnesota Opera program magazine will get you noticed.

info@artsandcustom.com www.artsandcustom.com 952.843.4603

SEPTEMBER Sept 23 & 24, 7:30pm; Sept 25, 2 pm McKnight Ordway Theater Season Broadway Songbook Series The Words and Music of Irving Berlin Sept 24, 8pm; Sept 27 & 29 7:30pm; Oct 1, 7:30pm; Oct 2, 2pm Minnesota Opera Così fan tutte by Wolfgang Amadeus Mozart

OCTOBER Oct 4, 8pm The Schubert Club Sarah Chang, violin & Andrew von Oeyen, piano Oct 6-30 Times Vary McKnight Theater Latté Da 25th Annual Putnam County Spelling Bee Oct 6, 7:30pm; Oct 7, 10:30am; Oct 8, 8pm The Saint Paul Chamber Orchestra Biss Plays Mozart and Kurtág Oct 8, 9:30 & 11am The Saint Paul Chamber Orchestra Ordway Family: Inside Mozart’s Piano Oct 11-16 Times Vary Ordway Theater Season Frank Sinatra/Twyla Tharp Dance Musical Come Fly Away Oct 21, 7pm; Oct 22, 2 & 7:30pm Sing-A-Long Sound of Music Oct 25, 7:30pm Ordway Target® Dance Series Luna Negra Dance Theater Oct 28, 7:30pm Ordway Target World Music Series Magos Herrera

| MINNESOTA OPERA mnopera.org

Oct 29, 8pm The Saint Paul Chamber Orchestra Leila Josefowicz Plays Berg

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Oct 30, 7:30pm Ordway Target World Music Series Vox Lumiere The Phantom of the Opera

ordway.org Target World Music and Dance Series is generously sponsored by

minnesota opera staff

BOARD OF DIRECTORS

President and General Director | Allan Naplan Artistic Director | Dale Johnson

OFFICERS

ARTISTIC

SCENERY

Chip Emery, Chair

Artistic Administrator | Roxanne Stouffer Cruz Artist Relations and Planning Director Floyd Anderson Dramaturg | David Sander Artistic Associate | Bill Murray Head of Music | Mary Dibbern Resident Artists Joseph Beutel, Aaron Breid, Octavio Cardenas, A.J. Glueckert, John Robert Lindsey, Eric McEnaney, Angela Mortellaro, Gabriel Preisser, Mary-Lacey Rogers, Clinton Smith, Victoria Vargas Master Coach | Mary Jo Gothmann

Technical Director | Mike McQuiston Properties Master | Jenn Maatman Properties Assistant | Michael C. Long Lighting Coordinator | Raymond W. Steveson, Jr. Assistant Lighting Coordinator | Tom Rost Production Carpenter | JC Amel Scene Shop Foreman | Rod Aird Master Carpenters Steven Rovie, Eric Veldey Carpenters Nate Kulenkamp, Steve Dalglish, Martin Reitz, Kevin O’Leary, Molly Diers, Jarrod Iverson Charge Painter | Jeffery Murphey, Lili Payne

Allan Naplan, President and General Director

EDUCATION

ADMINISTRATION

Community Education Director | Jamie Andrews Teaching Artist | Angie Keeton Project Opera Music Director | Dale Kruse Project Opera Accompanist | Kathy Kraulik Interns | Ana Ashby, Daniel Weinstein

Finance Director | Jeff Couture Operations/Systems Manager | Steve Mittelholtz HR/Accounting Manager | Jennifer Thill Executive Assistant | Theresa Murray Finance Assistant | Michelle Gould Data and Website Specialist | Ryan Vink

Costume Shop Manager | Erica M. Burds Assistant Costume Shop Manager | Beth Sanders Wardrobe Supervisor | Emily Rosenmeier Drapers | Chris Bur, Diana Girtain, Yancey Thrift Dyer/Painter | Marliss Jensen First Hands Helen Ammann, Kelsey Glasener, Allison Guglielmi Stitchers Rebecca Ballas, Ann Habermann, Rachel Skudlarek Wig/Makeup Supervisor | Andrea Moriarity

Wendy Bennett

Lynne E. Looney

Shari Boehnen

David Meline

Susan S. Boren

Leni Moore

Kathleen Callahan

Luis Pagan-Carlo

Rachelle D. Chase

Jose Peris

Jane Confer

Bradford Pleimann

Jodi Dehli

Mary Ingebrand-Pohlad

Chip Emery

Stephanie J. Prem

Bianca Fine

Sergio Rial

Steve Fox

Don Romanaggi

Sharon Hawkins

Mark Schwarzmann

Margaret Houlton

Peter Sipkins

Ruth Huss

Barry Snyder

Heinz F. Hutter

Simon Stevens

Philip Isaacson

Bernt von Ohlen

James Johnson

Sharon Winslow

MARKETING/COMMUNICATIONS

Patricia Johnson

Margaret Wurtele

Marketing & Communications Director | Lani Willis Marketing Manager | Katherine Castille Communications Manager | Daniel R. Zillmann Marketing Associate | Kristin Matejcek Ticket Office Manager | Julie Behr Assistant Ticket Office Manager | Kevin Beckey Ticket Office Associate | Kristen Bond Ticket Office Assistants Carol Corich, Nicole Hanson, Jane Samsal, Katherine Skovira, Carrie Walker Interns | Clark Rahman, Carrie Walker

Christine Larsen

INSTITUTIONAL ADVANCEMENT Vice President of Advancement | Patrick Dewane Advancement Manager | Kelly Kuczkowski

DEVELOPMENT Director of the Annual Fund | Dawn Loven Institutional Gifts Manager | Beth Comeaux Donor Events and Gala Manager | Emily Skoblik Individual Gifts Officer | Jenna Wolf

The following volunteers contribute their time and talent in support of key activities of Minnesota Opera. If you would like to learn more about volunteering for Minnesota Opera, please email volunteering@mnopera.org or call Jenna Wolf at 612-342-9569.

Jeanie Johnston Robin Keck Dawn Klassen Eleanore Kolar David Lightstone Jenny Lightstone Jerry Lillquist Joyce Lillquist

DIRECTORS Robert Lee

minnesota opera volunteers

Gerald Benson Debra Brooks Jerry Cassidy Judith Duncan Jane Fuller Joan Gacki Merle Hanson Anne Hasselroth

Heinz F. Hutter, Treasurer

Mary McDiarmid Verne Melberg Barbara Moore Douglas Myhra Candyce Osterkamp Dan Panshin Pat Panshin Sydney Phillips

John Sauer Wendi Sott Mary Weitz Terese Weitzel Barbara Willis

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

EMERITI Karen Bachman

Julia W. Dayton

John A. Blanchard, III

Mary W. Vaughan

Burton Cohen

HONORARY DIRECTORS Dominick Argento

Norton M. Hintz

Philip Brunelle

Liz Kochiras

Dolly Fiterman

Patricia H. Sheppard

Charles C. Fullmer The Staff and Board of Minnesota Opera were saddened by the recent passing of Lifetime Board Member Charles Fullmer. One of the early pioneers of Minnesota Opera, Charles helped to create a unique place in American opera.

LEGAL COUNSEL James A. Rubenstein, Moss & Barnett

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COSTUMES

Stephanie Prem, Secretary

Martha Goldberg Aronson

PRODUCTION Production Director | Kevin Ramach Production Stage Manager | Alexander Farino Assistant Stage Managers Shayna j. Houp, Andrew Landis Production Administrative Assistant Katherine Cattrysse

Rachelle D. Chase, Vice Chair

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annual fund | individual giving It is with deep appreciation that 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 Minnesota Opera, please call the Director of the Annual Fund Dawn Loven at 612-342-9567, or email her at dloven@mnopera.org.

bel canto circle Platinum $20,000 and above Anonymous Karen Bachman Mary and Gus Blanchard Jane M. and Ogden W. Confer Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Heinz Hutter Mr. and Mrs. Philip Isaacson James E. Johnson Lucy Rosenberry Jones

The Art and Martha Kaemmer Fund of HRK Foundation Elizabeth Redleaf Mary W. Vaughan Fund of The Minneapolis Foundation C. Angus and Margaret Wurtele

Gold $15,000–$19,999 Ellie and Tom Crosby, Jr. Cy and Paula Decosse Fund of The Minneapolis Foundation

William I. and Bianca M. Fine Charitable Trust Carolyn, Sharon and Clark Winslow

Silver $10,000–$14,999 Anonymous Susan Boren Sara and Jock Donaldson Dolly J. Fiterman Mary and Barry Lazarus Albin and Susan Nelson

Jenny Lind Nilsson and Garrison Keillor Harvey T. McLain Mrs. Walter Meyers Moore Family Fund for the Arts Diana and Joe Murphy Mary Ingebrand Pohlad Joseph Sammartino

camerata circle Platinum $7,500–$9,999 Tracy and Eric Aanenson Allegro Fund of The Saint Paul Foundation Shari and David Boehnen Dr. and Mrs. Daniel D. Buss Nicky B. Carpenter Rachelle Dockman Chase N. Bud and Beverly Grossman Foundation Sharon and Bill Hawkins Erwin and Miriam Kelen Stephanie Prem and Tom Owens Connie and Lew Remele Chris and Mark Schwarzmann Maggie Thurer and Simon Stevens Bernt von Ohlen and Thomas Nichol

Gold $5,000–$7,499 Anonymous (2) James Andrus Martha Goldberg Aronson and Daniel Aronson Martha and Bruce Atwater Fund of The Minneapolis Foundation William Biermaier and David Hanson Kathleen Callahan

Darlene J. and Richard P. Carroll Mary Lee Dayton Connie Fladeland and Steve Fox Mr. and Mrs. William Frels Denver and Nicole Gilliand Alfred and Ingrid Lenz Harrison Bill and Hella Mears Hueg Margaret and Andrew Houlton Cynthia and Jay Ihlenfeld Patricia Johnson and Kai Bjerkness Debra and James Lakin Chris Larsen and Scott Peterson Robert L. Lee and Mary E. Schaffner Ilo and Peggy Leppik Lynne Looney Mr. and Mrs. Donald Lucker Barbara and David Meline Bill and Barbara Pearce Jose Peris and Diana Gulden Shawn and Brad Pleimann Sergio Rial Lois and John Rogers Patricia and Don Romanaggi Jennifer and Chris Romans Drs. Joseph and Kristina Shaffer Stephanie Simon and Craig Bentdahl Peter and Bonnie Sipkins Susan and Barry Snyder

Virginia L. and Edward C. Stringer Mr. and Mrs. James Swartz Lori and Herbert Ward

Anonymous (4) Annette Atkins and Tom Joyce Alexandra O. Bjorklund Dr. Lee Borah, Jr. Margee and Will Bracken Christopher J. Burns Susan and Richard Crockett Gisela Corbett Thomas and Mary Lou Detwiler Mona and Patrick Dewane Ralph D. Ebbott Nancy and Rolf Engh Patricia R. Freeburg Christine and Jon Galloway Lois and Larry Gibson Meg and Wayne Gisslen Mrs. Myrtle Grette Michelle Harris and Peter Tanghe Dorothy Horns and James Richardson Dr. and Mrs. Arthur Horowitz James Jelinek and Marilyn Wall Dale A. Johnson Jacqueline Nolte Jones

Robert and Susan Josselson Kathleen and John Junek Warren and Patricia Kelly Lyndel and Blaine King Robert Kriel and Linda Krach Helen L. Kuehn David MacMillan and Judy Krow Margery Martin and Dan Feidt Roy and Dorothy Mayeske Mary Bigelow McMillan Karla Miller Allan Naplan and Christina Harrop Nancy and Richard Nicholson Kelly and Michael Palmer Marge and Dwight Peterson Mr. and Mrs. William Phillips Redleaf Family Foundation Mary and Paul Reyelts Kim and Peter Rue Nina and Ken Rothchild Kay Savik and Joe Tashjian Fred and Gloria Sewell Lynda and Frank Sharbrough Kevin and Lynn Smith Carolyn and Andrew Thomas William Voedisch and Laurie Carlson Ellen M. Wells Nancy and Ted Weyerhaeuser

Joan Duddingston Joyce and Hugh Edmondson Ann Fankhanel Ester and John Fesler Joyce and Hal Field Gail and Donald Fiskewold Lori and Tom Foley Salvatore Silvestri Franco Kris and Kristina Fredrick Bradley Fuller and Elizabeth Lincoln Katy Gaynor Mr. and Mrs. R. James Gesell Heidi and Howard Gilbert Stanley and Luella Goldberg Sima and Clark Griffith Bruce and Jean Grussing Mr. and Mrs. Roger Hale

Hackensack Fund of The Saint Paul Foundation Don Helgeson and Sue Shepard Andrew Holly and Svea Forsberg-Holly Jean McGough Holten Bill and Hella Mears Hueg Thomas Hunt and John Wheelihan Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Teresa and Chuck Jakway Barbara Jenkins Wadad Kadi Stan and Jeanne Kagin Nancy and Donald Kapps Markle Karlen Thomas A. Keller, iii

Silver $2,500–$4,999

| MINNESOTA OPERA mnopera.org

artist circle

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$1,000–$2,499 Anonymous (2) Arlene and Tom Alm Kim A. Anderson Jamie Andrews and Jane Kolp-Andrews Nina and John Archabal Satoru and Sheila Asato Ruth and Dale Bachman Ann and Thomas Bagnoli Maria and Kent Bales Mrs. Paul G. Boening Allan Bradley Ellen and Jan Breyer Conley Brooks Family Juliet Bryan and Jack Timm Ann and Glen Buttermann Elwood and Florence Caldwell

Joan and George Carlson Mr. and Mrs. Richard A. Carlson Rusty and Burt Cohen In Memory of Kathy Coleman Barb and Jeff Couture Mrs. Thomas M. Crosby, Sr. Helen and John Crosson Jeff and Wendy Dankey Mary and Kevin Date Clarke Davis Fran Davis Judson Dayton Ruth and Bruce Dayton The Denny Fund of The Minneapolis Foundation Margaret DiBlasio Elise Donohue

annual fund | individual giving artist circle (continued) E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Gerard Knight Mrs. James S. Kochiras Kyle Kossol and Tom Becker Constance and Daniel Kunin Mark and Elaine Landergan Diane and David Lilly, Jr. Mr. and Mrs. B. John Lindahl, Jr. Bill Long Dawn M. Loven Mr. and Mrs. Reid MacDonald Barbara McBurney Helen and Charles McCrossan

Sheila McNally Judith and James Mellinger Kendrick B. Melrose Family Foundation Velia R. Melrose David and LaVonne Middleton Dr. and Mrs. Alfred Moore Sandy and Bob Morris Judy and David Myers Elizabeth B. Myers Joan and Richard Newmark Eric Norman Julia and Brian Palmer Pat and Dan Panshin Paula Patineau

Suzanne and William Payne Suzanne and Rick Pepin Mary and Robert Price Connie and Jim Pries Sara and Kevin Ramach John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde Gordon and Margaret Rosine Chris and Jeff Rotsch Andrea and James Rubenstein Kristine and Roger Ruckert Terry Saario and Lee Lynch Sampson Family Charitable Foundation Dr. and Mrs. Richard J. Schindler

Karen and Mahlon Schneider Ardath and Glenn Solsrud Matthew Spanjers Julie and Bruce Steiner Dana and Stephen Strand Michael Symeonides and Mary Pierce Tempo Board Members Stephanie C. Van D’Elden Mr. and Mrs. Philip Von Blon Dr. Craig and Stephanie Walvatne James and Sharon Weinel Lani Willis and Joel Spoonheim

Ken and Peggy Bonneville Judith and Arnold Brier Debra Brooks and James Meunier Dr. Hannelore Brucker Thomas and Joyce Bruckner Joann Cierniak J.P. Collins William Brody and Bronwen Cound Amos and Sue Deinard Mary Elise Dennis Mary Jean and John deRosier Holli Egerstrom Kingston Fletcher Mr. and Mrs. John Forsythe Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and William Gacki Roger L. Hale and Nor Hall Albert and Janice Hammond Frederick J. Hey Jr. Marna and John Holman Diane and Paul Jacobson

Janet N. Jones Drs. Charles and Sally Jorgensen Jane and Jim Kaufman Fund of The Minneapolis Foundation Scott Lalim Ruth W. Lyons Mahley Family Foundation Tom and Marsha Mann Lois and Tom Martin Donald Masler Carolyn and Charles Mayo Laura McCarten Katherine Merrill Jack and Jane Moran Theresa and Jim Murray Ann and John O’Leary Dennis R. Olson Lawrence O’Shaughnessy Derrill M. Pankow James A. Payne Dwight and Christina Porter Carroll and Barbara Rasch Dennis M. Ready

Debra Rectenwald Lawrence M. Redmond Dr. Ann M. Rock Richard T. and Liane A. Rosel Enrique and Clara Rotstein David E. Sander Christian and Mary Schrock Cherie and Robert Shreck Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Jon Spoerri and Debra Christgau Judith Stone Roxanne and Joseph Cruz Dr. Anthony Thein Jill and John Thompson Emily Anne and Gedney Tuttle David L. Ward Mary Weinberger Howard and Jo Weiner Barbara and Carl White Barbara and James Willis

Keith and Margaret Lindquist Dr. Joan E. Madden Donald and Rhoda Mains Orpha McDiarmid Family Fund Dr. L. David Mech Jane and Joseph Micallef Virginia Miller Steven J. Mittelholtz Michael J. and Judith Mollerus Brad Momsen and Rick Buchholz Jill Mortensen and S. Kay Phillips Virginia Dudley and William Myers Sarah Nagle Merritt C. Nequette and Pauline Lambert Lucia Newell Lowell and Sonja Noteboom Dr. Dorothy Novak Ben and Lynn Oehler Patricia A. O’Gorman Scott J. Pakudaitis Mark Palmer Lana K. Pemberton Mary Helen Pennington M.D. Eric Peterson and Jenna Wolf Kathleen M. Philipp Sandra Resnick and Walter Pickhardt

Stephen and Julianne Prager Nicole and Charles Prescott Dan Rasmus and Kari Fedje Rasmus Jim and Lauri Roberts Dr. Hanan J. Rosenstein Daniel Roth Kathleen and Mike Ruhland Thomas Ryan Mary Savina Deborah and Allan Schneider Paul L. Schroeder Mrs. Donald Sell Mr. and Mrs. Morris Sherman Debra Sit and Peter Berge Daniel J. Spiegel Family Foundation Thomas and Sharon Stoffel Lowell and Deb Stortz Vanesa and David Sutherland Jean Thomson and John Sandbo Susan Truman Don and Holly Weinkauf David and Karin Wendt John and Sandra White Wendy Wildung David and Rachelle Willey Daniel Richard Zillmann

patron circle Gold $750–$999 Barbara S. Belk Gerald and Phyllis Benson Susanne Haas and Ross Formell Dusty Mairs Stanislaw and Krystyna Skrowaczewski Warren Stortroen Cindy and Steven Vilks Frank and Frances Wilkinson John W. Windhorst Jr.

Silver $500–$749 Anonymous Floyd Anderson August J. Aquila and Emily Haliziw Dr. and Mrs. Orn Arnar Suzanne Asher Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Susan Bienkowski Martin and Patricia Blumenreich

$250–$499 Anonymous Paul and Val Ackerman Thomas O. Allen Katherine Anderson Charles and Mary Anderson Quentin and Mary Anderson Marcia J. Aubineau Eric S. Anderson and Janalee R. Aurelia Ronald and Kay Bach Thomas Bailey James and Gail Bakkom Bishu and Irina Bandyopadhyay John and Patricia Beithon Estelle T. Bennett Allen Brookins-Brown Stephen Bubul Ellis Bullock Jerome and Linda Carlson Katherine Castille Sandy and Doug Coleman Marc and Virginia Conterato Sage and John Cowles Jr. Kay Dewane Mary Dibbern Herbert and Betty Fantle

Charles and Anne Ferrell Brian M. Finstad C.D.F. Foundation Melanie and Bruce Flessner Charlotte and Gene Frampton Greta and Paul Garmers Katherine and Robert Goodale Jr. John and Lynn Goodwyne Dr. Richard Gregory Jennifer Gross and Jerry LeFevre Russell and Priscilla Hankins Douglas and Doris Happe Jill A. Heath Andrew Holey and Gary Whitford Reverend and Mrs. Henry H. Hoover Worth L. Hudspeth Ray Jacobsen Deborah and Ronald Jans Erika and Herb Kahler Jim and Kathleen Karges Carole and Joseph Killpatrick Janice L. Kimes Alan and Ann Koehler Robert and Venetia Kudrle James and Gail LaFave Beatrice H. Langford Chris and Marion Levy

These lists are current as of September 1, 2011, and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign.

If your name is not listed appropriately, please accept our apologies and contact Jenna Wolf, Individual Gifts Associate, at 612-342-9569.

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associate circle

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legacy circle | individual giving 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 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 (3) 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 Julia and Dan Cross Judy and Kenneth * Dayton Mrs. George Doty Rudolph Driscoll * Sally Economon *

Ester and John Fesler Paul Froeschl Katy Gaynor Robert and Ellen Green Ieva Grundmanis * Ruth Hanold * Norton M. Hintz Jean McGough Holten Charles Hudgins * Dale and Pat Johnson Drs. Sally and Charles Jorgensen Robert and Susan Josselson Charlotte * and Markle Karlen Mary Keithahn 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 Mildred McGonagle * Mary Bigelow McMillan Margaret L. and Walter S. * Meyers John L. Michel and H. Berit Midelfort

Susan Molder * Edith Mueller * Joan and Richard Newark Scott Pakudaitis Sydney and William Phillips Richard G. * and Liane A. Rosel Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Drew Stewart James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick

* In Remembrance

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

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

DONOR SPOTLIGHT: Nadege Souvenir and Jim Anderson, and Clare Gardner and Rodolfo Nieto Mozart highlights the mischief and intrigue of two young couples in his ever-popular comedic opera, Così fan tutte. Minnesota Opera has two “star” couples of its own, who give their time, talents and financial contributions to support the art form they love. Tempo members and Annual Fund donors Nadege Souvenir and her husband Jim Anderson are frequent fixtures at events and productions, as well as Tempo member Clare Gardner and former Minnesota Opera Resident Artist Rodolfo Nieto (who also goes by Rudy or Rodo).

| MINNESOTA OPERA mnopera.org

Nadege Souvenir and Jim Anderson

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Tempo events are a great way for members to connect and share their opera experience immediately after the opening night performance.

Clare says, “The parties have really grown in scope and creativity in the last year and are a complete blast. I donate my skills as a photographer for these events and love capturing the fun, camaraderie and craziness!” The friendships that begin as part of the Minnesota Opera family are truly lifelong; Nadege puts it best- “I have to say that Tempo is one of my favorite things about being involved with Minnesota Opera. I get to do what I enjoy with fantastic people.

What’s not to like?”

Nadege, Jim, Clare and Rudy support Minnesota Opera in many different ways, through their involvement with Tempo, giving to the Annual Fund and also donating their time and talents to the Company.

We extend a heartfelt thank you to them, as well as all our patrons, who continue to make great opera possible here in Minnesota!

Rodolfo Nieto and Clare Gardner

For more information about Tempo, visit mnopera.org/tempo.

annual fund | institutional giving minnesota opera sponsors Season Sponsor

Production Innovation System

The Private Client Reserve at U.S. Bank

General Mills

Production Sponsors

Resident Artist Program

Così fan tutte Target Ascent Private Capital Management Werther Target

Wenger Foundation

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

Tempo Cast Parties Sakura

Opera Insights Conductor Appearances

Comcast

SpencerStuart

Camerata Dinners

Champagne Intermission Receptions

Lowry Hill

Piper Jaffray

Gala Sponsor

Broadcast Partner

U.S. Bank

Minnesota Public Radio

Meet the Artists Official Caterer Macy’s Design Cuisine

This activity is made possible in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature from the Minnesota arts and cultural heritage fund with money from the vote of the people of Minnesota on November 4, 2008.

$50,000–$99,999

corporations, foundations and government 3M Foundation Ameriprise Financial, Inc. General Mills Foundation The McKnight Foundation The Medtronic Foundation Minnesota State Arts Board Target The Private Client Reserve at U.S. Bank Travelers Foundation U.S. Bancorp Foundation UnitedHealth Group The Wallace Foundation

Platinum $10,000–$24,999 Fred C. and Katherine B. Andersen Foundation Best Buy Children’s Foundation Cargill Foundation Comcast The Aaron Copland Fund for Music, Inc. Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation Lowry Hill MAHADH Fund of HRK Foundation National Endowment for the Arts Piper Jaffray SpencerStuart Twin Cities Opera Guild Valspar Foundation Wells Fargo Foundation Minnesota Wenger Foundation

Gold $5,000–$9,999 Accenture Beim Foundation Boss Foundation Briggs and Morgan, P.A. Faegre & Benson Harlan Boss Foundation for the Arts

R. C. Lilly Foundation Mayo Clinic Pentair Foundation The Carl and Eloise Pohlad Family Foundation Rahr Foundation RBC Foundation – USA Schwegman, Lundberg & Woessner, p.a.

Securian Foundation Thomson Reuters Xcel Energy Foundation

$25,000–$49,999

Silver $2,500–$4,999 Allianz Life Insurance of North America Cleveland Foundation COMPAS Dellwood Foundation Deloitte Hutter Family Foundation Ted and Dr. Roberta Mann Foundation Peravid Foundation The Elizabeth C. Quinlan Foundation Margaret Rivers Fund Robins, Kaplan, Miller & Ciresi Tennant Foundation

$10,000–$24,999

Bronze Gifts $250–$2,499 Athwin Foundation Bobby & Steve’s Augo World Youth Foundation The Curtis L. Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson, Inc. Le Jeune Family Foundation McVay Foundation Maslon, Edelman, Borman & Brand Onan Family Foundation Sewell Family Foundation Sit Investment Foundation The Regis Foundation Wells Fargo Insurance Services

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

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Sponsors $25,000+

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Kevin Smith Legacy Campaign The following donors contributed more than $1 million to the Kevin Smith Legacy Campaign.

These gifts were made in honor of Kevin Smith’s 30 years of service to Minnesota Opera. The fund secures the upkeep of the company’s home, the Minnesota Opera Center.

kevin smith legacy campaign Julia W. Dayton Margaret and Angus Wurtele Family Foundation Vicki and Chip Emery Huss Foundation, Ruth and John Huss Anonymous Fund of The Minneapolis Foundation Lucy Rosenberry Jones Mary W. Vaughan Susan S. Boren Nicky B. Carpenter Rachelle Dockman Chase Anonymous Ellie and Tom Crosby, Jr. Cy and Paula DeCosse Fund of The Minneapolis Foundation William I. and Bianca M. Fine Charitable Trust Spencer Stuart Karen Bachman Heinz Hutter Peter J. King Carolyn, Sharon and Clark Winslow Chris and Mark Schwarzmann

Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Connie Fladeland and Steve Fox Mr. and Mrs. Philip Isaacson James E. Johnson Leni and David Moore, Jr. / Moore Family Fund for the Arts of The Minneapolis Foundation Barbara and Bill Pearce Mary Ingebrand-Pohlad Sara and Jock Donaldson Diane and David Lilly Lani Willis and Joel Spoonheim Andrea and James Rubenstein Dale A. Johnson Mona and Patrick Dewane Pat and Dan Panshin Ester and John Fesler Theresa and Jim Murray Lucia Newell Kathleen M. Grendzinski Glyn R. Northington Mr. and Mrs. William Phillips Floyd Anderson Jane Fuller

| MINNESOTA OPERA mnopera.org

Sustaining Giving

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THANK YOU

Every year Minnesota Opera depends on the generosity of many wonderful donors. Through monthly contributions made by credit card, debit card, bank or checking account, Sustaining Donors provide a solid foundation of financial support. Donors also enjoy exclusive benefits.

FOR YOUR

To enroll in Minnesota Opera’s Sustaining Giving program, visit our new page online at mnopera.org/SustainingGiving, call the Development Office at 612-342-9569 to sign up by phone, or go to get.neoreader.com on your smartphone and then snap this tag.

OPERA TO

GENEROSITY. YOUR SUPPORT BRINGS GREAT MINNESOTA!

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