Minnesota Opera's The Handmaid's Tale

The

HANDMAID’S Poul Ruders

Tale

based on the novel by Margaret Atwood

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Contents The Minnesota Opera Staff and Volunteers. . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Board of Directors and Committees . . . . . . . . . . . . . . . . . . . . . . . . . 7 The Handmaid’s Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Poul Ruders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Paul Bentley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Margaret Atwood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 A Summary of Symmetries . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Coming Up: The 2003 – 2004 Season . . . . . . . . . . . . . . . . . . . . . . 23 The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . 24 Remembering Wesley Balk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 The Minnesota Opera Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

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

Kevin Smith Dale Johnson Susan Boren

The Minnesota Opera, 620 North First Street Minneapolis, MN 55401 (612) 333-2700 www.mnopera.org The Minnesota Opera is a member of OPERA America.

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. In addition, this activity is supported in part by a grant from the National Endowment for the Arts.

May 2003

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5 • the handmaid’s tale

BE AT THE CENTER OF ATTENTION

the minnesota opera • 6

Staff Welcome to The Minnesota Opera’s 2002 – 2003 season and today’s production of The Handmaid’s Tale. Since its inception in 1963, The Minnesota Opera has continued to build and enrich the cultural life in our community by producing outstanding and innovative operas and opera education programs that inspire and entertain. The U.S. Bank Private Client Group is proud to sponsor the 2002 – 2003 season. Sponsoring the opera season is just part of our commitment to the arts and the quality of life in our community. This year’s opera season celebrates the singer. However, every production involves an ensemble of individuals committed to a common goal. From the conductor to the costume designer, the team’s objective is to enhance the singer’s ability to convey emotion beautifully. At the U.S. Bank Private Client Group, we also embrace teamwork. Our team is comprised of individuals who are committed to meeting the financial needs of our clients. And it is the client who is at the center of all we do. We’re proud of our partnership with The Minnesota Opera and to be part of the team effort you’re about to experience. Enjoy the performance.

Jose A. Peris, Senior Vice President, Region Manager, U.S. Bank Private Client Group, and Minnesota Opera board member

Interior Design

President & CEO Kevin Smith Artistic Director Dale Johnson General Manager John Humleker Artistic Artistic Administrator . . . . .Roxanne Cruz Artistic Associate . . . . . . Floyd Anderson Community Ed. Director . .Jamie Andrews Dramaturg . . . . . . . . . . . . . David Sander Production Stage Manager . . . Alex Farino Assistant Stage Managers . . . . .Kristen Burke, Kathryn Koch Stage Mgmt. Intern . .Stephen Haswell-Todd Head of Music . . . . . . . . . .Bruce Stasyna Coach/Accompanist . . . . . . . .Julian Ward Resident Artists . . . . . . . . .Matt Boehler, Genevieve Christianson, Anna Jablonski, Daniel Montenegro, Andrew Wilkowske, Karin Wolverton, Christopher Zemliauskas Resident Artist Faculty . .Carlotta Dradi, Stuart Pimsler, Peter Robinson, Nancy Tibbetts Mentor Connection Participant . .Anna Massey

Scenery Scenic and Lighting Director . . Tom Mays Interim Technical Supervisor . . Mike McQuiston Scenic Administrator . . . Holly Carpenter Properties Master . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . Mike Long Charge Painter . . . . . . . . . . Debra Jensen Production Carpenter . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . Rod Aird Carpenters . . . . . . Patrick Dzieweczynski, Steve Rovie Sound Designer . . . . . . . . . . . . .Andrew Mayer Assistant Lighting Designer . .Nicole Simoneau

Costumes Costume Director . . . . . . . .Gail Bakkom Assistant Costume Director . . .Beth Sanders Drapers . . . . . .Chris Bur, Angela Patten, Yancey Thrift First Hands . . . . . . . . . .Helen Ammann, Mark Heiden, Valerie Hill Stitchers . . .Jennifer Dawson, Stephanie Vogel Dyer/Painter . . . . . . . . . . .Marliss Jensen Wig/Makeup Assistants . . . .John Carter, Jodi Heath, Emily Rosenmeier

Development Vice President for Development . .Betsy Gardella Institutional Gifts Manager . . . Jaime Meyer Events/Volunteer Coordinator . . Sarah Curtis Development Assistant . . .Vicky Emerson

Administration Controller . . . . . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . .

Steve Mittelholtz Accounting Associate . . . . . Jennifer Thill Executive Assistant . . . . . Theresa Murray

Marketing/Communications Marketing Director . . . . . . . . . . .Carl Lee Communications Director . . . Lani Willis Ticket O∑ce Supervisor . . . Andrea Corich Receptionist/Assistant . . . . . .Malia Long

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

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Ann Albertson Laurel Anderson Gerald Benson Matt Bluem Colleen Boyer Linda Brandt Jim Brownback Sue Brownback Joann Cierniak Tricia Clarke* Susan Cogger Caroline Coopersmith Lindsay Craig Beverly Dailey Jeanette Daun Lee Drawert Judith Duncan Sally Economon Mary Sue Fiola Hazel Francois Jane Fuller*

Joan Gacki (Volunteer Chair) Christine A. Garner Heather Gehring Juhi Gupta-Gulati* Mark Gustin Mary E. Hagen Travis Hanstad John Harris Kristen Heimerl Anne Hesselroth Alisandra Johnson Karen Johnson Nancy Johnson Jeanie Johnston Susan Kalmer Robin Keck Dianne Kelly Remigijus Klyvis Sam Kneiszler Eleanore Kolar Lucinda Lamont

Shirley Larson Rita Lavin Lisa Liveringhouse Rusty Low Jennifer Madvig Abby Marier Margery Martin Joan Masuck Mary McDiarmid* Beth McGuire Verne Melberg Warren Mitlyng Irma Monson Linda Morey Doug Myhra Dan Panshin Pat Panshin Melissa Peterson Sydney Phillips Bill Phillips Julia Porter Jack Richter

John Rosse Florence Ruhland John Sauer* Christine Sawatsky Bindi Shah Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Dawn Stafki Harry D. Swepston, III John Thompson Nicholas Trimbo Doris Unger Carolyn Wahtera Barbara Willis* Jeremy Wright Melissa Zschunke *Lead volunteer

Board of Directors Officers Susan S. Boren, Chair John A. Blanchard, III, Vice Chair Lucy T. Searls, Secretary Patricia Bauer, Treasurer Kevin Smith, President & CEO Julia W. Dayton, Director Emeritus Mary W. Vaughan, Director Emeritus James A. Rubenstein, legal counsel, Moss & Barnett Honorary Directors Dominick Argento H. Wesley Balk† Philip Brunelle Elizabeth Close Dolly Fiterman Charles C. Fullner Norton M. Hintz Donald W. Judkins David P. Keefe Liz Kochiras Jevne Pennock Patricia H. Sheppard

2002–2003 Season Campaign Committees Tom McBurney, chair Board Division Camerata Circle Virginia Stringer, Division chair Jose Peris, chair Susan Boren Martha Aronson Tom McBurney Karen Bohn Steve Rothschild Lynn Bowe Susan Crockett Corporate Division Ellie Crosby Rolf Engh, chair Paula DeCosse Tom Foley Tom Greene Jack Forsythe Lucy Jones Paula Johnson Nancy Nicholson Bruce Nelson Mahlon Schneider Catie Tobin Larry Youngblood Leadership Gifts Division Connie Remele, chair Richard Carroll Mike Kelly Kevin Smith

Artist Circle Division Sally Kling, chair Steve Fox Lynne Looney Brian Palmer Lucy Searls

7 • the handmaid’s tale

Martha Goldberg Aronson Karen Bachman Richard P. Carroll Susan J. Crockett Ellie Crosby Rolf Engh Brad F. England Thomas J. Foley John G. Forsythe Steve Fox R. Thomas Greene, Jr. Heinz Hutter Paula Johnson Lucy Rosenberry Jones Michael F. Kelly, Jr. Sarah B. Kling Lynne E. Looney Elizabeth Malkerson Thomas R. McBurney Diana E. Murphy Bruce Nelson Brian E. Palmer Jose Peris Connie Remele Steven M. Rothschild Virginia L. Stringer Catie Tobin Loren Unterseher

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The Handmaid’s Tale World premiere at Det Kongelige Teater, Copenhagen March 9, 2000 May 10, 13, 15, 17 and 18, 2003 Ordway Center for the Performing Arts Sung in English with English captions Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Antony Walker Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . .Eric Simonson Set and Costume Designer . . . . . . . . . . . . . . . . . . .Robert Israel Lighting Designer . . . . . . . . . . . . . . . . . . . . . . .Robert Wierzel Wig Master and Makeup . . . . . . . . . . . . . . . . . . . .Tom Watson Assistant Director . . . . . . . . . . . . . . . . . . .Doug Scholz-Carlson Chorusmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bruce Stasyna Production Stage Manager . . . . . . . . . . . . . . . .Alexander Farino The Cast Moira, friend of O∂red . . . . . . . . . . . . .Karin Wolverton O∂red, a Handmaid . . . . . . . . . . .Elizabeth Bishop Janine/Ofwarren, a Handmaid . .Genevieve Christianson Serena Joy, the Commander’s Wife . . . . . . . . .Joyce Castle O∂red’s mother . . . . . . . . . . . . . .Kathleen Humphrey Aunt Lydia . . . . . . . . . . . . . . . . . . . . . . . .Helen Todd Doctor . . . . . . . . . . . . . . . . . . . . . . . . . . .Dan Dressen O∂red’s Commander . . . . . . . . . . . . . . .Gabor Andrasy Professor James Darcy Pieixoto . . . . . . . . .Matt Boehler O∂red’s Double, New Ofglen . . . . . . . . . . . . . . . . . . .Sandra Henderson young O∂red in the Time Before . . . .Megan Dey-Tóth Commander X . . . . . . . . . . . . . . . .Andrew Wilkowske Luke, O∂red’s husband in the Time Before .Dennis Petersen Moira’s Aunt . . . . . . . . . . . . . . . . . . . . . .Judy Bender Nick, the Commander’s Guardian . . . .Daniel Montenegro Warren’s Wife . . . . . . . . . . . . . . . . . .Karen Wilkerson Rita, Serena Joy’s maidservant . . . . . . . . .Anna Jablonski O∂red and Luke’s daughter . . . . . . . .Maeve Moynihan Ofglen, a Handmaid . . . . . . . . . . . . . . .Tracey Gorman Handmaids, Aunts, Wives, Guards, Guardians, Eyes, Commanders, Jezebel girls The Handmaid’s Tale is sponsored by

Setting Prologue: 2195 a.d.; University of Denay, Nunavit, Canada Prelude: 2005 a.d.; Republic of Gilead in former New England Acts I and II: 2009 a.d.; Republic of Gilead Flashbacks: Early years of the 21st century; New England Epilogue: 2195 a.d.; University of Denay, Nunavit, Canada

This project is supported in part by a grant from the National Endowment for the Arts.

By arrangement with G. Schirmer, Inc., agents in the United States for Edition Wilhelm Hansen AS – Denmark, publisher and copyright owner.

Motion-controlled scenery featuring Stage Command Systems® by Scenic Technologies, a division of Production Resource Group, L.L.C., New Windsor, NY. The appearances of Elizabeth Bishop, winner, Tracey Gorman, Anna Jablonski and Helen Todd, regional finalists, and Matt Boehler, district finalist 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 Minnesota Opera season is proudly sponsored by U.S. Bank, Private Client Group.

Northwest Airlines is the preferred airline of The Minnesota Opera.

Opera Insights is sponsored by SpencerStuart.

The 2002-2003 Camerata Circle Dinners are sponsored by Rider, Bennett, Egan & Arundel.

Performances of The Handmaid’s Tale are being taped for delayed broadcast on Minnesota Public Radio, ksjn 99.5 in the Twin Cities, in June 2003.

9 • the handmaid’s tale

Music by Poul Ruders Libretto by Paul Bentley after the novel by Margaret Atwood (1985)

t h e m i n n e s o t a o p e r a • 10

Background Notes by David Sander

T

he Handmaid’s Tale, which premiered in Copenhagen on March 6, 2000, was so successful the Royal Danish Opera scheduled an immediate remounting for its

fall season. Critics and audiences alike have praised the work: “… The Handmaid’s Tale [has] an operatic message that its audiences will be unable to ignore.” (James Loader, Time Magazine, April 3, 2000); “Not for years has a new opera wowed the critics and enthralled the public … The Handmaid’s Tale looks like being one of the most popular operas of our time.” (Richard Morrison, Times Online, March 25, 2003). The new work, recently released on the Dacapo label, was nominated for two 2002 Grammy Awards (Best Opera Recording and Best Classical Contemporary Composition) and received the 2002 Cannes Classical Award for best work by a living composer. The Queen of Denmark, Margrethe ii, attended the opera four times and knighted the composer soon afterwards. The Minnesota Opera presents the North American premiere with these performances.

Based on the best-selling novel by Margaret Atwood, the opera is a visionary tale that postulates the dangerous consequences of religious intolerance in America. Atwood conceived her book in the early 80s, at a time when the Moral Majority was achieving political power, when the feminist movement was regrouping in the shadow of a failed Equal Rights Amendment, and just after revolution in Iran established a new theocracy under the Ayatollah Khomeini. After 18 years, her re-

And when Rachel saw that she bare Jacob no children, Rachel envied her sister; and said unto Jacob, Give me children, or else I die.

And Jacob’s anger was kindled against Rachel; and he said, Am I in God’s stead, who hath withheld from thee the fruit of the womb?

And she said, Behold my maid Bilhah, go in unto her; and she shall bear upon my knees, that I may also have children by her.

— Genesis 30:1-3

The Handmaid’s Tale 11 • t h e h a n d m a i d ’ s t a l e

markable conception still has its distinc- beyond the obvious examples of the strict groupings. Wives of the Commantive chill, given the rise and fall of the Spanish Inquisition and other bloody at- ders are the privileged elite who are Taliban’s control of Afghanistan and con- tempts to subdue the Reformation, she served by Marthas, older women beyond tinued strife in the Middle East. The draws from her own Puritan heritage (in- childbearing years who have become novel continues to bear a striking mes- cluding one ancestor who survived a maidservants. Wives and Commanders witchly hanging and, thanks to the com- are also assigned Handmaids, fertile sage, even today.

Hypothesizing what might happen if mon law of double jeopardy, couldn’t be women to serve as their birth vessels. the extreme right took hold of the tried again). The Puritans established the Econowives of the regular populace must United States in an era of nuclear and en- first theocracy in America to use scare fend for themselves, serving all three vironmental apocalypse, Atwood places tactics and violent punishment – it’s functions, and Widows are treated with deference, but as her story at two their purpose has points into the fubeen served, suspiture, the bulk of ciously disappear which occurs at in a society with the dawn of the too many mouths 21 st century. An to feed. Another unnamed woman, group of infertile trapped in this rewomen of greater actionary nightintelligence and mare, is ruthlessness, the s u b j u g at e d t o Aunts, take charge both physical and of the Handmaids, sexual abuse, yet is usually women able to leave bedenounced as the hind as her testaresult of commitment a series of ting a mortal sin – audiocassettes that enjoining into a bear witness to her Anselm Kiefer, Die Ordnung der Engel (The Hierarchy of Angels), 1985-87 (oil, emulsion, shellac, second (or no) h o r r o r s . Th e s e acrylic, chalk, lead propeller, curdled lead, steel cable, band-iron, cardboard on canvas) marriage, observtapes are discovCollection Walker Art Center, Minneapolis; Gift of Penny and Mike Winton, 1987 ing the wrong ered nearly two centuries later and become a subject of a hardly a fluke that The Handmaid’s Tale faith (nuns, in particular) or by engaging in “gender treachery” (homosexual acts) takes place in New England. scholarly symposium.

Atwood’s near future dystopia is just as – and recruited against their will to reDystopian literature is nothing new, especially in the 20th century – George misguided and barbaric, yet its atrocities populate Gilead’s dwindling numbers.

Orwell’s 1984 and Aldous Huxley’s are hardly new – all are drawn from The Handmaids take on the name of the Brave New World are standard curricula, human record. The fictitious regime, the current Commander (thus the appellaand countless motion pictures continue Republic of Gilead, has acquired its tion of our heroine, “Of Fred”) during to explore the typically perilous premise power quietly, but quickly at a time their two-year postings. They get three of “what if?” And while utopias have when America’s moral and natural re- assignments – if conception does not been an intellectual exercise since Plato’s sources are depleted. The rightists or- occur, they are declared Unwomen and Republic, dystopias engage our emotions, chestrate the assassination of the shipped o∂ to the Colonies to clean up not as much by attempting to accurately President and Congress, blaming the deadly toxins. The Bible supplies a predict the future or accentuate the nega- shocking coup on Islamic fundamental- steady source for names, places, greetings tive, but by making brazenly clear that ists. Then they “temporarily” suspend and ceremonies – Atwood’s homage to we are so often only a few short steps the Constitution, declaring it a time of Orwell’s “Newspeak” – yet, as the Good from realizing these imaginary worlds – national emergency. American soldiers Book is kept under lock and key, proceindeed, O∂red’s Time Before is only a are soon replaced by a new militia, dures are rarely scrutinized and religious slightly exaggerated Time Now. And Guardians of the Faithful, who are led by doctrine is frequently misquoted to juswhile Atwood pays tribute to both Or- the Sons of Jacob, Commanders of the tify a host of abominable acts. It becomes well and Huxley, she gives equal credit Faith. The Eyes of God maintain internal quickly evident that Gilead’s leaders are to history – her own exposure to the af- security and intelligence, and the Angels not as interested in the smooth applicatermath of World War ii, the political di- of the Apocalypse secure the front lines tion of Christian dogma as they are in vision of Germany, Soviet oppression in where war tirelessly rages on. Women maintaining absolute power.

One fundamental variant between the Russia and Eastern Europe, and even Mc- find that they have been stripped of their Carthyism in the United States. Looking civil rights and are “reassigned” into opera and the novel is that Atwood’s

t h e m i n n e s o t a o p e r a • 12

The Handmaid’s Tale story is relayed as an interior monologue, a ready source for meting out punishtold in the first person in present time. ment and revenge, yet the New TestaHandmaids appear to have quite a bit of ment, with its emphasis on forgiveness, free time on their hands, and O∂red’s is nearly absent.

Naturally, O∂red discovers in due ennui frequently drifts to memories from the time before she was abducted course that underneath Gilead runs a and to fragments of lessons received at river of hypocrisy. Her nemesis becomes the Red Center, the place where Hand- the ex-gospel singer known as Serena maids are indoctrinated. During these Joy, who had once enjoyed a rich career flashbacks we learn O∂red was far from preaching the wonders of women staying perfect in the Time Before, and this brings us closer, feeling her pain with greater acuity. Her tone is impassive yet wry, and as Gileadian women are prohibited from reading and writing, the former librarian satisfies her lust for words w i t h a c e r ta i n amount of wordplay in her private dialogues. As intercourse has been depersonalized, the Set model by Robert Israel forbidden word becomes erotic, and Scrabble is suddenly at home and managing the family very sexy. Also within her random ram- (though she didn’t manage to do so herblings, to elevate her spirits she provides self). Once subject to bomb threats by a detached analysis of Gilead’s applica- her adversaries (or so she said), Joy finds tion of logic and scripture, frequently at little solace in her new role as the quiet odds with what she had once been Wife of a Commander, with endless knitting (as O∂red acidly points out) her taught.

We find Gilead has had to make some only form of procreation. We soon discompromises. Football is still played in cover that she will do anything to have a the stadium where they also perform child, o∂ering to secretly substitute for Particicutions (another Atwoodism her sterile Commander his Guardian formed from two words, “participant ex- Nick as a surrogate for O∂red’s impregecution”). The Pornomarts and Porny- nation. And her Commander, one of corners have been shut down, something Gilead’s very founders, seen hardly beO∂red’s ardently feminist – and now yond reproach, invites O∂red to his missing – mother also fought for (rebel- study for illegal visits (and she’s not the lion makes for strange bedfellows). De- first) and to Jezebel’s, a private club sire and flirtation, however, cannot be where his colleagues go to flaunt and quelled, and now manifest themselves in make love to their mistresses. Even her unusual ways. The administrative Aunts, companion Handmaid, the overtly pious who must police the brothel as well as Ofglen, is a secret operative in the unthe education center, are allowed to read derground revolution, “Mayday,” which and write, and though the written word she hopes O∂red will join and fuel with has been completely erased from public state secrets from the household. Aunt view, there are a few slipups, as our hero- Lydia appears to be the only individual ine is quick to point out. The Old Testa- of genuine conviction, consumed by her ment (albeit slightly modified) provides fervent belief in the values of the new

regime to the point of hysteria, those principles now brought into question as they are, one by one, violated in rapid succession.

At the conclusion of the novel, though O∂red appears to have been saved by the Mayday rebellion, we are given little comfort as to her ultimate future. Atwood cleverly appends her opus with Historical Notes, a symposium set almost two centuries later, during which Professor Pieixoto discusses the unearthed cassette tapes, onto which we now learn O∂red recorded her story. As the tapes were found at a safehouse in Maine, there is no assurance she ever escaped from Gilead (earlier in the novel we are told that O∂red’s friend Moira got just as far, only to be recaptured on the pier as she was about to make her waterborne getaway). We do learn a few more details about O∂red’s adversaries – the Commander likely had been a market researcher who used his knack for selling people what they don’t really want to become one of the architects of the new society. Like in so many revolutions, he was executed as soon as the political tide turned (to our horror, O∂red’s tale is only from the early Gileadian period, which would imply a middle and a late period followed). And we discover the name Serena Joy was a caustic pseudonym created by our wordwise narrator, who makes it quite clear that her captor was neither serene nor joyful. In the game of naming names, Pieixoto is clearly frustrated (and a tad misogynistic, one thing that hadn’t eradicated itself in the slightly better years ending the 22nd century) by O∂red’s failure to leave her own name behind. Throughout the novel we are reminded that this is her one secret, her one kernel of individuality in a world where identity has been erased.

Background Notes continue on page 20

Poul Ruders, composer

P

oul Ruders’s background in piano and organ led eventually to studies in orchestration with the Danish composer Karl Aage Rasmussen, and his first compositions date from the late-60s. Ruders regards his own compositional development as a gradual one, with his true voice emerging with the chamber concerto, Four Compositions, of 1980.

Writing about the composer, the English critic Stephen Johnson states: “He can be gloriously, explosively extrovert one minute – withdrawn, haunted, intently inward-looking the next. Superabundant high spirits alternate with pained, almost expressionistic lyricism; simplicity and directness with astringent irony.”

Mr. Ruders has created a large body of music ranging from opera and orchestral works through chamber, vocal and solo music. In recent years, performances of his work on both sides of the Atlantic and in such distant locales as China, Japan and Russia have taken place with increasing

regularity. The last decade has seen major Ruders commissions for a range of compositions (see www.mnopera.org). With the overwhelming success of his second opera, The Handmaid’s Tale, the composer became even more in demand, with commissions coming in rapid succession from the Berlin Philharmonic, the New York Philharmonic and the bbc Philharmonic. A new work for the New York Philharmonic will premiere in June 2004, under the baton of Lorin Mazel.

Poul Ruders is currently at work on an opera based on Franz Kafka’s The Trial. Commissioned by the Royal Danish Opera for the opening of the new opera house in Copenhagen (2005), the opera will explore Kafka’s unfinished masterpiece and include dramatized events from the writer’s life.

This summer, Ruders will be composer-in-residence at the Aspen Music Festival in Aspen, Colorado.

Paul Bentley, librettist b She∑eld, England, July 25, 1942 novel, The Man Who Came After Hyacinth Bobo; and A Handmaid’s Diary, a book about the creation of The Handmaid’s Tale opera. Current projects include a second libretto for Poul Ruders, based on Kafka’s The Trial, and another for the Canadian composer Ana Sokolovic, based on a comic Irish poem, The Midnight Court. Mr. Bentley is also Chair of the British Association for Modern Mosaic.

L

ibrettist Paul Bentley is an actor, singer and writer. Appearances in London’s West End include Over The Moon with Joan Collins; Sondheim’s Assassins and Company, both directed by Sam Mendes; the Lord Chancellor in Iolanthe, the Captain in HMS Pinafore (Olivier Award nomination), and Dame Edna – the Spectacle.

Writings include the lyrics for the musical Shylock (Edinburgh Festival Fringe First Award, composer Roger Haines); a Fourth Crusade

Margaret Atwood, author b Ottawa, Canada, November 18, 1939 argaret Atwood grew up in northern Ontario and Quebec, and Toronto. She received her M undergraduate degree from Victoria College at the

© Andrew MacNaughton

versity Press in March 2002, and her latest novel, Oryx and Crake, was published by Doubleday just last month. She has an uncanny knack for writing books that anticipate the popular University of Toronto and her master’s degree preoccupations of her public. from Radcli∂e College.

Acclaimed for her talent for portraying both Throughout her thirty years of writing, Ms. Atpersonal and worldly problems of universal conwood has received numerous awards and several cern, Ms. Atwood’s work has been published in honorary degrees. She is the author of more than more than thirty languages, including Farsi, twenty-five volumes of poetry, fiction, and Japanese, Turkish, Finnish, Korean, Icelandic nonfiction and is perhaps best known for her novand Estonian. els, which include The Edible Woman (1969), The Margaret Atwood currently lives in Toronto Handmaid’s Tale (1985), The Robber Bride (1993), Alias Grace (1996). Her recent novel, The Blind Assassin, won with novelist Graeme Gibson. the prestigious Booker Prize (2000); Negotiating With the Dead: A Writer on Writing (2002), was published by Cambridge Uni-

13 • t h e h a n d m a i d ’ s t a l e

b Ringsted, Denmark, March 27, 1949

t h e m i n n e s o t a o p e r a • 14

Synopsis Symposium Prologue t the International Historical Association Convention, held June 20 – 25, 2195, Professor James Darcy Pieixoto delivers a lecture on early 21st-century monotheocratic governments. He refers to a series of recently discovered audiocassettes, made by an anonymous Handmaid after her escape from the Republic of Gilead.

Gilead was created when an armed insurrection within the United States established a society based on religious doctrine in response to a perceived decline in America’s moral fiber. Abuse of the environment and the ravages of war have rendered much of the population sterile. In response to the declining birthrate, Gilead’s leaders enslaved women who had proven their fertility during the time before the insurrection, but had committed a sin in the eyes of their captors. These were the Handmaids, and their forcible use to repopulate Gilead was validated by a passage from Genesis.

Following the opening remarks by Professor Pieixoto, the opera flashes back to Gilead shortly after the revolution.

A

Red Center Prelude Scene one – The Classroom The Handmaids are instructed by Aunt Lydia, who reviews Gilead’s Commandments. O∂red gives testimony of her teenage abortion following a gang rape and is shunned by the other Handmaids. Guards drag in Moira, a friend of O∂red’s from the Time Before, who has recently tried to escape, and Aunt Lydia reminds everyone of the consequence of such an act.

Scene two – The Dormitory As the Handmaids practice birthing exercises, O∂red warns Moira not to attempt another escape. Janine, another Handmaid, shows signs of mental collapse due to the strain of her recent captivity. Both Moira and O∂red try to bring her back to her senses without attracting the attention of the brutal Aunts.

Scene three – The Classroom Aunt Lydia lectures on the merits of modesty and the Handmaids’ higher purpose – it is a privilege to have this opportunity to be fruitful and multiply. No man is considered sterile, and it is the women’s role to repopulate the new society.

Scene four – The Washroom Moira and O∂red have another private conversation in the washroom through the cubicle wall during which Moira announces another plan to flee. Left alone in the washroom, she fashions a weapon out of the plumbing and uses it to threaten her Aunt out of her uniform, keys and cattleprod.

Scene five – Graduation in the Assembly Hall The Handmaids graduate from the Red Center.

Act One Scene one – The Wall Four years later, on the way to her third posting, O∂red is led to the Wall, a place where the bodies of those who have violated the rules of Gilead are hung as a deterrent.

Scene two – The House O∂red arrives at the home of her new assignment, and the Wife, Serena Joy, goes over the rules of the house.

Costume sketches by Robert Israel

Scene three – O∂red’s Bedroom Rita, the maidservant or “Martha,” escorts O∂red to her new room. O∂red suddenly recognizes Serena Joy from the Time Before as a famous gospel singer. Elsewhere, Serena Joy plays a videotape of one of her past performances, and we hear her sing Amazing Grace as O∂red remembers an encounter with her then-boyfriend Luke from the Time Before.

Scene four, part a – The Kitchen Rita gives O∂red tokens for shopping, and O∂red recalls a moment with Moira from the Time Before. Moira berates O∂red for dating Luke under the nose of his wife.

Scene four, part b – The Walk to the Shops O∂red meets her companion Handmaid (and intended moral barometer), Ofglen, and they exchange sanctioned conversation while walking to the store. At the Milk & Honey Shop, they spot a heavily pregnant Ofwarren, who is actually Janine from the Red Center. Other Handmaids envy her esteemed status.

Scene six – The House in the Day Upon her return O∂red encounters Nick, the Commander’s Guardian, in the driveway but ignores his casual remarks as she has been taught. (“Thou shalt not talk to men.”) Entering the kitchen, O∂red again recalls an episode from the Time Before. As she and Luke consider marriage, O∂red’s mother professes her own feminist point of view. Back in real time, O∂red enters her room, only to find the Commander in the doorway. Neither speaks as this type of contact is also forbidden. Once alone inside, O∂red questions his visit and searches the room. She finds an enigmatic message scrawled inside her wardrobe, “Nolite te bastardes carborundorum.” She concludes that the previous Handmaid left that message for her and ponders its meaning.

Scene seven – The Wall O∂red and Ofglen observe the bodies of those who have committed crimes against the Republic of Gilead.

Scene eight – The Doctor A doctor examines O∂red for signs of pregnancy and makes a sexual advance. He o∂ers to help her become pregnant in spite of the extreme danger to both of them. This is O∂red’s final posting – if unsuccessful, she will be sent to the Colonies. O∂red considers his o∂er.

Scene nine – O∂red’s Bedroom In another flashback to the Time Before, O∂red remembers playing hide-and-seek with Luke and their daughter. Aunt Lydia’s voice reminds us that all children of Handmaids born in the Time Before have since been placed with “fit” parents.

Scene ten – Serena Joy’s Sitting Room O∂red remembers the day all of the members of Congress and the President were shot and the state of emergency that followed. Returning to the present, she finds herself with Nick and Rita. Serena Joy enters the room and switches on the television. They all praise Gilead’s various successes in the ongoing war. The Commander enters and reads the “Handmaid Passage” from the Bible.

Nick and Rita leave the room and the Commander, Serena Joy and O∂red perform the monthly impregnation ritual.

Synopsis

Scene twelve – The Red Center Assembly Hall At the Red Center Wives and Handmaids gather to witness the birth of Janine/Ofwarren’s child. O∂red remembers the Time Before. Moira and her mother detail the increasing limitation of individual rights, and Luke reports that he has been fired by the University. Back in real time, Ofwarren gives birth to a girl, who is immediately given to the Wife of Warren.

Scene thirteen – The Commander’s Study Though this type of contact is also forbidden, O∂red meets the Commander in his study. Oddly, he only wishes to play a game of Scrabble. O∂red wins and as she leaves, the Commander gives her the secret code for future visits – Nick’s cap will be on sideways – then asks for a kiss.

Scene fourteen – O∂red’s Bedroom Alone in her room, O∂red questions the meeting’s significance and incongruencies, laughing hysterically and collapsing on the floor.

— Intermission — Act Two Scene one – O∂red’s Bedroom We find O∂red still asleep on the floor. Rita enters and, shocked to find her there, drops the breakfast tray. O∂red wakes with a start and claims she fainted. Rita understands this as a sign of pregnancy, but O∂red assures her that is not the case.

Scene two – The Study at night On another visit with the Commander, O∂red is allowed to view fashion magazines from the Time Before, which have been banned, since women of the new order are not permitted to read. As O∂red leaves, the Commander kisses her again.

Scene three – Serena Joy’s Sitting Room The Commander, Serena Joy and O∂red have just completed another impregnation ritual during which the Commander tenderly touched O∂red’s cheek. Afterwards she immediately seeks him out and angrily demands that he never do that again in Serena Joy’s presence.

Scene four a – The Kitchen As Rita gives her the tokens for food, O∂red remembers the Time Before. She and Moira have been fired and her bank account has been frozen – women are no longer permitted to hold property. Luke promises to always care for her. O∂red’s mother is nowhere to be found.

Scene four b – The Walk to the Shops On her way out, O∂red observes Nick’s cap is on sideways. She meets Ofglen, who brings news that Ofwarren’s child did

Scene five – The Wall As O∂red and Ofglen pass the Wall, O∂red learns the secret password of the rebels, “Mayday.”

Scene six – The House O∂red remembers the Time Before. She and Luke are preparing to escape from Gilead. He has obtained false passports, and their plan is to fake a “daytrip.” At the Canadian border, Luke senses something is amiss and puts the car in reverse. Back in the present, O∂red enters the study. She asks the Commander about himself and about the meaning of the cryptic message in her wardrobe. He identifies the phrase as schoolboy Latin: “Don’t let the bastards grind you down.” She learns the previous Handmaid hanged herself, and it was Rita who found the body.

Scene seven – The Wall As O∂red waits for Ofglen at the Wall she recalls the Time Before. She, Luke and their daughter are separated at the border crossing. Back in real time, she greets Ofglen and both observe the newest body hanging on the Wall is a Handmaid – Ofwarren. Ofglen suggests O∂red try to obtain secret documents from her Commander, who is in the top echelon of Gilead’s leadership, but O∂red is hesitant, fearing she may be caught.

Scene eight – The House Serena Joy calls O∂red to the living room and o∂ers her a cigarette. Noting O∂red’s failure to conceive, Joy clandestinely suggests that she secretly try another man – Nick – who can be trusted. Although this too is illegal, Joy o∂ers to obtain a picture of O∂red’s daughter as a bribe. O∂red agrees to the plan.

Scene nine – O∂red’s Bedroom Privately O∂red expresses anger over Serena Joy’s knowledge of her daughter’s whereabouts. Again she remembers the Time Before, and her induction into the Red Center, still dressed in her daytrip clothes. Offred fears for her daughter’s safety as hope made her blind to the power of Gilead.

Scene ten – The Study On another visit to the Commander’s study, O∂red is surprised to learn that they are going out. She is outfitted in a provocative costume, made up, then covered in a Wife’s blue cloak.

Nick is told to drive to Jezebel’s.

Scene eleven – Jezebel’s Jezebel’s is a very private club for Commanders, and O∂red is very surprised to find such a place exists that disregards nearly every tenet of Gilead’s beliefs. She recognizes the hotel as one where she and Luke had once met before his divorce. She spots Moira across the room and they make a tacit

15 • t h e h a n d m a i d ’ s t a l e

Scene eleven – O∂red’s Bedroom O∂red goes into her bedroom and is shocked to find Nick there, again a violation of the rules. He tells her the Commander wishes to see her in his study tomorrow night.

not survive. They go to Soul Scrolls to say prayers. While praying, they are able to speak frankly, and O∂red learns of a secret organization, whose purpose is to aid those trapped in Gilead and eventually overthrow the repressive government. As they speak, Janine/Ofwarren enters and is again in an altered state. She is removed by Guards.

t h e m i n n e s o t a o p e r a • 16

Synopsis

A Summary of Symmetries

by Paul Bentley

(continued from page 15) agreement to meet in the restroom. ACT ONE O∂red’s Commander tells her to join 1 THE WALL – DEATH BY HANGING him in a hotel room later.

O∂red looks at a dead body Scene twelve – Jezebel’s Restroom In the restroom Moira tells O∂red that she nearly escaped via the underground but was caught and o∂ered a choice – here or the Colonies.

Scene thirteen – Jezebel’s Bedroom O∂red goes to the hotel room, but after recognizing it as the very one she and Luke shared, is unable to continue the rendezvous.

Scene fourteen – Serena Joy’s Sitting Room Serena Joy confirms with Nick that tonight he will go to O∂red.

Scene fifteen – O∂red’s Bedroom Joy shows O∂red a picture of her daughter, as promised. After she leaves, Nick comes in, and they make love.

Scene sixteen – The Salvaging The Wives and Handmaids have gathered for a “Salvaging,” where perpetrators of the Republic of Gilead are punished. A Handmaid is hanged for adultery and a Wife is hanged for murder. Following the Salvaging, they gather for the Particicution, and a Guardian accused of rape is beaten to death by the Handmaids.

O∂red is horrified by Ofglen’s enthusiastic participation, but Ofglen counters that he was part of the rebellion, and she was knocking him unconscious to spare further pain.

Scene seventeen – The Wall At the Wall O∂red is surprised to learn Ofglen has been replaced by another Handmaid.

She soon learns Ofglen was discovered as a member of the underground and hanged herself.

ACT TWO 1 NEXT MORNING – “DEATH BY HANGING” O∂red’s body looks dead

2 THE HOUSE IN THE DAY – HER O∂red and Serena Joy talk in her sitting room

2 THE HOUSE AT NIGHT – HIM O∂red and the Commander talk in his study

3 OFFRED'S ROOM – ALONE O∂red is alone, memories of Luke making love to her

3 JOY’S ROOM – WITH HER AND HIM O∂red is with Serena Joy and the Commander, he starts “making love” to her

4 SHOPPING – MILK AND HONEY The Martha and Nick and Ofglen shopping for food pregnant Janine, model Handmaid

4 SHOPPING – SOUL SCROLLS The Martha and Nick and Ofglen shopping for prayers O∂red and Ofglen, rebel Handmaids

5 THE WALL – SAFETY Ofglen says “Mayday” O∂red does not understand Ignorance is safety

5 THE WALL – DANGER Ofglen explains “Mayday” Eyes seize a man Knowledge is danger

6 THE HOUSE IN THE DAY The Commander in O∂red’s room She is tense – Nolite te bastardes carborundorum

6 THE HOUSE AT NIGHT O∂red in the Commander’s room she is relaxed – Nolite te bastardes carborundorum

7 THE WALL – PRESCRIBED TALK With Ofglen

7 THE WALL – PROSCRIBED TALK With Ofglen

8 THE DOCTOR'S OFFER To make O∂red pregnant bribe – no Colonies

8 THE WIFE’S OFFER To get Nick to make O∂red pregnant bribe – a photo of O∂red’s daughter

9 OFFRED ALONE She thinks

9 OFFRED ALONE She prays

10 JOY'S SITTING ROOM – FOREPRAY A godly gathering of men and women prior to sex

10 JEZEBEL’S – FOREPLAY An ungodly gathering of men and women prior to sex

11 LICIT SEX An o∑cial impregnation O∂red and Commander and Wife

11 ILLICIT SEX An uno∑cial impregnation – O∂red and Commander (and Luke)

12 THE HOUSE AT NIGHT – DANGER Unlawfully, O∂red tries to steal a keepsake from Joy Nick comes to her – they kiss once Danger – they do not take chances

12 THE HOUSE AT NIGHT – DANGER Unlawfully, Joy shows O∂red a photo of her daughter Nick comes to her – they make love often Danger – they take chances

13 THE BIRTH DAY Women celebrate life – they help Janine have a baby

13 THE DEATH DAY Women celebrate death – they help kill criminals

14 THE UNEXPECTED Unlawfully, O∂red meets the Commander who wants to break the rules – Joy knows nothing

14 THE UNEXPECTED Lawfully, O∂red meets a new Ofglen who wants to keep the rules Joy knows all

Scenes eighteen and nineteen – The House RELEASE 15 RELEASE Back at the house Serena Joy confronts 15 O∂red’s tension is released by laughter O∂red’s tension is released by escape O∂red with the awful discovery of her Jezebel outing. O∂red, Serena Joy, the From The Handmaid’s Tale by Poul Ruders and Paul Bentley based upon the book by Margaret Atwood Commander and Rita sort out their feel- Copyright © 1996 Edition Wilhelm Hansen AS, Copenhagen. Reprinted with permission ings privately. Eyes of God burst into Symposium Epilogue the house and take O∂red into custody.

Nick quietly assures her that it is May- Professor Pieixoto makes his concluding reday coming to save her. marks. O∂red’s fate is not known.

17 • t h e h a n d m a i d ’ s t a l e

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t h e m i n n e s o t a o p e r a • 18

The Artists Gabor Andrasy O∂red’s Commander Minnesota Opera Debut Recently St. François d’Assise, San Francisco Opera Therese Raquin, Dallas Opera; L’Opéra de Montréal Billy Budd, Opéra National de Paris; L.A. Opera The Flying Dutchman, Houston Grand Opera Luisa Miller; Tiefland, Washington Opera Rigoletto; Billy Budd; Katya Kabanova, Dallas Opera Macbeth; Roméo et Juliette, Opera Colorado Upcoming Mourning Becomes Electra; Florencia en el Amazonas, Seattle Opera

Matt Boehler Professor Darcy Pieixoto Minnesota Opera Resident Artist Recently La traviata; The Merry Widow; others, Minn. Opera Amahl and the Night Visitors, Minnesota Orchestra A Midsummer Night’s Dream, Central City Opera La bohème, Fargo-Moorhead Opera Orpheus…; Christopher Sly; others, Des Moines Metro Opera Upcoming The Barber of Seville; La clemenza di Tito; Dardanus, Wolf Trap Opera Company 2003 – 2004 Season, The Minnesota Opera

Genevieve Christianson Janine/Ofwarren Minnesota Opera Resident Artist Recently La traviata; The Merry Widow; Little Women; Street Scene (roles); La clemenza di Tito; others (ensemble), The Minnesota Opera Candide (ensemble; Cunegonde cover), Minnesota Orchestra Broadway Music Spectacular, Ashland Productions She Loves Me; Wonderful Town; The Merry Widow, North Star Op. Shawshank Redemption, rpn Productions Orpheus in the Underworld, Gilbert & Sullivan Opera Upcoming 2003 – 2004 Season, The Minnesota Opera

Dan Dressen Doctor Minnesota Opera Debut Hansel and Gretel, 1983 Recently La traviata; Street Scene; Le nozze di Figaro; Der Rosenkavalier; The Rake’s Progress; others, The Minnesota Opera Solomon; Amore Langueo; Judas Maccabaeus; others, Plymouth Music Series La bohème, Lyric Opera of Cleveland Carmen; The Dream of Valentino, Washington Opera The Company of Heaven, Aldeburgh Festival

Sandra Henderson New Ofglen Minnesota Opera Debut Salome, 1989 Recently Amahl and the Night Visitors, Austin Symphony Orchestra Street Scene (role); The Flying Dutchman; Don Carlos; La bohème; Lucia di Lammermoor; Turandot; Pagliacci/Carmina burana; Macbeth; Der Rosenkavalier; others (ensemble), The Minnesota Opera

Anna Jablonski Rita Minnesota Opera Resident Artist Recently La traviata; The Flying Dutchman; The Merry Widow; The Minnesota Opera La Cenerentola; The Magic Flute; Le nozze di Figaro (roles); Falsta∂; Carmen; The Barber of Seville; The Saint of Bleecker Street (scenes), Portland State University Albert Herring; A Hand of Bridge; Suor Angelica (roles); Idomeneo; Der Rosenkavalier; others (scenes), Bel Canto nw Upcoming 2003 – 2004 Season, The Minnesota Opera

For more biographical information about these artists, visit our website at www.mnopera.org Elizabeth Bishop O∂red Minnesota Opera Debut Recently Nabucco; Dialogues des Carmélites, Metropolitan Opera Madame Butterfly; Don Carlo, Washington Opera Götterdämmerung, Dallas Opera Don Carlo, Teatro Carlo Felice (Genoa) The Magic Flute, San Francisco Opera A Child of Our Time, Los Angeles Opera Upcoming Dialogues des Carmélites, Deutsche Oper Berlin; Palm Beach Opera

Joyce Castle Serena Joy Minnesota Opera Debut Recently Peter Grimes, Maggio Musicale Fiorentino (Florence) Dialogues des Carmélites; Central Park, Glimmerglass Opera Gloriana, Central City Opera Salome; The Ballad of Baby Doe, Seattle Opera Susannah, Metropolitan Opera The Visit of the Old Lady, New York City Opera Cendrillon; Salome, De Vlaamse Opera (Flanders) Upcoming The Medium, Opera Delaware

Megan Dey-Tóth Young O∂red Minnesota Opera Debut Recently Die Fledermaus, Sarasota Opera Hänsel und Gretel, Arizona Opera Faust, New Orleans Opera Rigoletto, San Diego Opera Jenufa, Long Beach Opera Werther, Dicapo Opera Theatre Le nozze di Figaro; Faust; Hänsel und Gretel; La traviata; Carmen, Los Angeles Opera Eugene Onegin, Opera San Jose

Tracey Gorman Ofglen Minnesota Opera Debut Recently The Sonnets of the Portuguese (Larsen), Tanglewood Festival Gloria; Hodie, Milwaukee Bel Canto Competition The Merry Wives of Windsor; Il re pastore; Die Fledermaus; Dialogues of the Carmelites, U of M Opera Theatre Upcoming Gloria (Poulenc), Minnesota Choral Union & Symphony Two Poems of the Sung Dynasty, Chicago Chamber Musicians Ainadamar (Golijov),Tanglewood Festival; Lincoln Center (New York); Los Angeles Philharmonic

Kathleen Humphrey O∂red’s mother Minnesota Opera Debut My Fair Lady, 1990 Recently La belle Hélène, North Star Opera A Christmas Carol, Guthrie Theater Mahler Symphony No. 2, Twin Cities Elegy Concert Little Women; Street Scene; Le nozze di Figaro; Faust; Madame Butterfly; Cinderella; Carmen; The Magic Flute; La traviata; The Tales of Ho∂mann, The Minnesota Opera Upcoming The Sound of Music, Chanhassen Dinner Theatre

Daniel Montenegro Nick Minnesota Opera Resident Artist Recently The Merry Widow; Norma; The Flying Dutchman, The Minnesota Opera Madame Butterfly, San Francisco Lyric Opera La rondine, Pocket Opera Giulio Cesare; The Magic Flute; Falsta∂, Opera Festival di Roma The Tales of Ho∂mann; The Crucible, San Francisco Conservatory of Music Opera Theater Upcoming The American Tenors, pbs Television

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

Luke Minnesota Opera Debut The Flying Dutchman, 1992 Recently Dead Man Walking, NY City Opera; Michigan Opera Turandot; Madame Butterfly, San Francisco Opera Salome, Opera Pacific Transatlantic, The Minnesota Opera Upcoming The Magic Flute, San Francisco Opera Siegfried; Das Rheingold; The Cunning Little Vixon, Lyric Opera of Chicago

Andrew Wilkowske Commander X Minnesota Opera Resident Artist Recently La traviata; The Merry Widow; others, The Minnesota Opera Amahl and the Night Visitors, Minnesota Orchestra La bohème; The Barber of Seville, Lyric Opera of San Antonio Roméo et Juliette; Le nozze di Figaro; Dead Man Walking; Elektra; The Magic Flute, Cincinnati Opera Iolanthe; Don Giovanni; others, Skylight Opera Theatre Upcoming The Magic Flute, Virginia Opera 2003 – 2004 Season, The Minnesota Opera

Robert Israel Set and Costume Designer Minnesota Opera Debut The Good Soldier Schweik, 1966 Recently Tristan und Isolde, Savonlinna Opera Festival Jenufa, Staatsoper (Vienna) The Capulets and the Montagues, The Minnesota Opera Upcoming World premieres by Philip Glass, Amer. Repertory Theatre Parsifal, Seattle Opera Nicholas and Alexandra (Drattell), Los Angeles Opera Lulu, Japan

Eric Simonson Stage Director Minnesota Opera Debut The Magic Flute (tour), 1991 Recently Korczak’s Children, Children’s Theatre Company Hamlet, Hallmark Entertainment Television On Tiptoe, HBO Films Ahab’s Tale; Work Song, Milwaukee Repertory Theatre The Song of Jacob Zulu, Steppenwolf Theatre; Broadway Upcoming Leatherstockings, Seattle Repertory Theatre Five Points, HBO Television

Tom Watson Wig Master and Makeup Minnesota Opera Debut The Pearl Fishers, 1986 Recently Opera Theatre of St. Louis (season) Santa Fe Opera (season) The Minnesota Opera (1986 – 2003 seasons) Metropolitan Opera (season) Jane Eyre; Dirty Blonde, (Broadway) Upcoming 2003 – 2004 Season, The Minnesota Opera

Helen Todd Aunt Lydia Minnesota Opera Debut La traviata, 1997 Recently The Magic Flute, Cleveland Opera; New York City Opera La traviata, Asheville Lyric Opera; Bohème Opera Co. Rigoletto, Calgary Opera; Annapolis Opera Le nozze di Figaro, Abilene Opera; Connecticut Opera Of Mice and Men, Arizona Opera; Cleveland Opera Susannah, Opera North (U.S.) Upcoming Lucia di Lammermoor, Opera Illinois

Karin Wolverton Moira Minnesota Opera Resident Artist Recently Dvorak Te Deum, Minnesota Orchestra Masterclass, Park Square Theatre Norma; The Merry Widow; Don Carlos; Lucia (roles); La traviata; others (ensemble), The Minnesota Opera Dialogues of the Carmelites; Le nozze di Figaro; L’incoronazione di Poppea, U of M Opera Theatre Upcoming 2003 Des Moines Metro Opera Apprentice 2003 – 2004 Season, The Minnesota Opera

Doug Scholz-Carlson Assistant Director Minnesota Opera Debut Der Rosenkavalier, 2000 Recently Lucia di Lammermoor, Pittsburgh Opera I Capuleti e i Montecchi, New York City Opera Don Carlos; La bohème; others, The Minnesota Opera Gross Indecency; Sweeney Todd, Guthrie Theater Hamlet; The Tempest; others, Utah Shakespeare Festival Upcoming Macbeth; A Midsummer Night’s Dream, Minnesota Shakespeare Festival at Grand Marais

Antony Walker Conductor Minnesota Opera Debut Le nozze di Figaro, 2000 Recently Béatrice et Bénédict, Washington Concert Opera Semele, Pinchgut Opera (Sydney) La bohème; Pagliacci/Carmina burana, The Minnesota Opera The Queen of Spades, Teatro Comunale (Bologna) Così fan tutte, Welsh National Opera Upcoming Sti∂elio, Washington Concert Opera Dardanus, Wolf Trap Opera Company

Robert Wierzel Lighting Designer Minnesota Opera Debut The Turn of the Screw, 1999 Recently Madame Butterfly; others, New York City Opera The Rose Tattoo, Goodman Theatre (Chicago) Winter’s Tale, Chicago Shakespeare Theatre Partenope; others, Lyric Opera of Chicago Edgardo Mine, Hartford Stage Company Wintertime, La Jolla Playhouse; Long Wharf Theatre Enigmatic Variations, Savoy Theatre (London) various opera credits – Paris Opéra; Tokyo; Seattle; others

19 • t h e h a n d m a i d ’ s t a l e

Dennis Petersen

The Artists

t h e m i n n e s o t a o p e r a • 20

Background Notes (continued from page 12) Though an attentive reader might be able to decipher it, Atwood adamantly denies her heroine’s name has been disclosed, and with an added touch of mystery, punctuates her novel with a massive question mark.

The Historical Notes provided librettist Paul Bentley an opportunity to frame the opera with Pieixoto’s symposium as he drew O∂red’s story out of her head onto the stage. Another key departure was the reconfiguration of O∂red’s random Red Center recollections into a prelude occurring prior to the main action of the work. Otherwise, the librettist bisects The Handmaid’s Tale into two relatively reflective segments, the second a modification of the first (following Atwood’s similarly neat division of her 46 chapters) where Act i unveils Gilead’s daily routine and Act ii exposes its darker secrets (see A Summary of Symmetries on page 16). Aunt Lydia’s voice still occasionally chimes in with cautionary advice, and O∂red continues to have her flashbacks, with a second singer cast as

O∂red in the Time Before (an invention that allows the mezzo-soprano at one point the unique opportunity to sing a duet with herself). Otherwise, Bentley’s skillful adaptation has retained much of the language and spirit of Atwood original work.

Poul Ruders’s score is equally wellconstructed, both vital and energizing, at times simultaneously consonant and bitonal. His e∂ective use of a large orchestra is articulated by splashes of digital technology, creating a striking balance between the humanity of O∂red’s plight to survive and the horrors that surround it. O∂red’s often simple vocal line is contrasted with the demonically high tessitura of her antithesis, Aunt Lydia; shades of Amazing Grace provide a stirring reminder of the past (though its lyrics, considered subversive by the Sons of Jacob, have now been banned), yet slightly o∂set tonally for more discordant moments; the innocent patter of a Scrabble game is quickly consumed by a gigantic orchestral swell.

Critics have been unanimous in their accolades of the opera. Colin Clarke, of Amazon.com writes: “Ruders’s orchestral

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colors are frequently hyper-expressionist, as befits a story of the utmost oppression.

The dramatic e∂ectiveness of the piece is never in doubt … Ruders draws on a vast range of techniques to create this futuristic world … One is left with the highest sense of admiration for Ruders’s seemingly endless invention.” One critic describes Ruders as “the Richard Strauss of the computer age … later-day expressionism alternates with the comforting cliches of Minimalism” (Stephen Johnson, The Guardian, March 9, 2000); another writes Ruders possesses “… a Verdi-like acumen in matching potent dramatic material with his own musical personality” (George W. Loomis, Opera News, July, 2000); others agree, stating “[Ruders has] a Verdian understanding of a genre that resists polemics” (Anthony Tommasini, New York Times, June 10, 2001); and “… [Ruders’s] music has tremendous breadth of reference and an emotional span that goes from the darkest melancholy to brilliant Post-Modern irony” (Richard Morrison, Times Online, March 25, 2003).

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t h e m i n n e s o t a o p e r a • 22

Background Notes (continued from page 20) Writing for Ruders’s publisher, Edition Wilhelm Hansen, Anders Beyer summarizes Ruders’s style as follows: “Terms like ‘dazzling orchestration,’ ‘musical colors,’ ‘emotional depths,’ ‘psychological timing’ and ‘flawless dramas’ cover some of the important aspects of Poul Ruders’s music. He expresses himself as [a] composer and as a human being – in Ruders’s music, one feels a quite characteristic fusion of art and life … ultimately he wants to lead the listener into the labyrinth of the soul, to the place where music a∂ects the way we experience the world. The tool used to reach the listener is an element of musical recognition. Technically, formally, and harmonically, this is achieved through links with Classical music …

This means that the major and minor keys are still available as pieces in the musical puzzle … From the sonorous bottom of Ruders’s music, voices from the spiritual universe of the Romantic era are heard.”

Ruders’s approach to The Handmaid’s Tale has been described as “cinematic,” and director Eric Simonson brings his experience as a director of motion pictures to the production, as does scenic designer Robert Israel with his artistic vision. To elicit the destructive atmosphere of Gilead’s post-holocaust environment, Israel has drawn inspiration from German artist Anselm Kiefer (b 1945), whose expressionist landscapes evoke the horrors of World War II’s aftermath and the reckoning of Germany’s uncomfortable past. For added e∂ect Kiefer often scorches his painted canvases and uses straw, dirt, lead and other materials to give his work added dimensionality, which tends to bear titles with Biblical references. Israel translates these elements into a similarly cataclysmic setting to evoke a society that gives little attention to its newly conquered public places. He contrasts the outer design with a sanitized “Ethan Allen” Colonialism for the Commander’s home, his world a small island upon itself, limited in its scope and ignorant of the incredible damage it has wrought. Coupled

with Atwood’s gripping novel and Ruders’s expressive score, Israel’s conception articulates a tense visual environment, greatly enhancing a sensational tale laced with oppression, intolerance, violence and evil.

For the New York Times Magazine, Atwood recently noted the subject’s enduring topicality, recalling her own trip to Afghanistan in 1978, shortly before the first wars broke out: “As one character says, there is freedom to and freedom from. But how much of the first should you have to give up in order to assure the second? All cultures have had to grapple with that, and our own – as we are now seeing, is no exception. Would I have written the book if I never visited Afghanistan? Possibly. Would it have been the same? Unlikely.” And writing for The Guardian (March 20, 2003), the author aptly remarked, “The inclination toward tyranny, the wielding of absolute power by the few over the many, knows no ideological boundaries and is not confined to one time or space. I never trust anyone who says: ‘It can’t happen here.’ ”

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HAZELDEN Minnesota • Florida • Oregon • Illinois • New York

t h e m i n n e s o t a o p e r a • 24

The Minnesota Opera Chorus Anne Adams Robb Asklof Don Barbee Judy Bender Bryan Boyce Anna Brandsoy Michael Cain Michelle Carlson Carole Finneran Wood Foster Rachel Frazen Paul Griggsby April Hanson Katherine Haugen Michelle Hayes Carole Hofstad Tor Johnson

Naomi Karstad Shirley Leiphon Elizabeth Longhurst Jason McLaughlin Eric Mellum Oliver Mercer Mary Monson Monica Murray Matthew Neil Laura Nichols Eric Mark Olson Janet Paone Lisa Ramos Peter Robinson Lynn Rotto Steve Sandberg Joy Scheib

Robert Schmidt Sandra Schoenecker Anne Storlie Jane Thelen Cori White Karen Wilkerson Robert Woodin Supernumeraries Stephen Haswell-Todd Joseph Johnson Ken Noble The Minnesota Opera mourns the loss of former chorus member, Cynthia Teague-Goetz, who passed away in March.

The Minnesota Opera Orchestra Violin I Sheila Hanford Julia Persitz David Mickens Judy Thon-Jones Andrea Een Helen Foli Holly Ager Margaret Humphrey Joanna Shelton

Violin II Laurie Petruconis Elizabeth Decker Stephan Orsak Melinda Marshall Carolin Kiesel Johnson Almut EngelhardtKachian Anne Strasser Miriam Gri∑ths

Joe Englund Dale Newton

Bass John Michael Smith Constance Brown George Stahl

Flute Michele Frisch double alto flute Amy Morris double alto flute Casey Kovacic double piccolo

Horn Charles Kavalovski Charles D. Hodgson Michael Szczys Lawrence Barnhart

Trumpet John G. Koopmann Christopher Volpe Craig Hara

Trombone Sue Roberts Craig Stilen David Stevens

Oboe

Tuba

Marilyn Ford Michael Dayton Merilee I. Klemp double English horn

Ralph Hepola

Viola

Clarinet

Percussion

Vivi Erickson Laurel Browne Jenny Lind Nilsson Susan Janda James Bartsch Bradley N. Johnson

Sandra Powers Nina Olsen Karrin Me∂ert-Nelson double bass clarinet

Matthew Barber Steve Kimball David Hagedorn Robert Adney Michael Holland

Cello Jim Jacobson Rebecca Arons Goetz Thomas Austin Sally Gibson Dorer

Bassoon Coreen Nordling Laurie Hatcher Merz Cheryl Kelley double contrabassoon

Timpani Kory Andry

Harp Min J. Kim

Keyboard Julian Ward Tom Linker

A Tribute to H. Wesley Balk 27 • t h e h a n d m a i d ’ s t a l e

H. Wesley Balk was a defining figure for The Minnesota Opera though most of its first quarter-century. As co-artistic director, along with Philip Brunelle, Wesley earned the company its national reputation as a catalyst for new works and imaginative and bold stagings of traditional repertoire. Wesley was also a leading authority on the operatic singing-actor. His theories contributed greatly to the establishment of the American operatic performance style, and his leadership in the establishment of professional opera performer training programs continues to impact the opera field.

I had the opportunity to speak with Wesley shortly before he passed away last month. Even in his fragile state of health, he was thrilled that The Minnesota Opera was producing The Handmaid’s Tale. I wasn’t surprised, for The Handmaid’s Tale is a powerful, provocative and challenging work that perfectly matches Wesley’s artistic values. It is, therefore, with great respect and appreciation of all H. Wesley Balk gave to The Minnesota Opera, our community and the opera field that we dedicate this North American premiere of The Handmaid’s Tale to his memory.

Kevin Smith President and CEO The Minnesota Opera

t h e m i n n e s o t a o p e r a • 28

The Minnesota Opera Fund Individual Donors: The Camerata Circle The Camerata Circle is The Minnesota Opera’s highest category of personal support. With this designation, we recognize these very special friends for their commitment to the tradition of opera in our community.

Platinum Karen Bachman Mrs. Judson Bemis Rod and Susan Boren Mary and Gus Blanchard Judy and Kenneth Dayton Cy and Paula DeCosse Fund of The Minneapolis Foundation Brad and Diane England Dolly J. Fiterman John and Ruth Huss Heinz and Sisi Hutter Lucy Rosenberry Jones The Art and Martha Kaemmer Fund of HRK Foundation Peter J. King Constance and Daniel Kunin Patricia Lund Thomas and Barbara McBurney Margaret and Walter S†. Meyers Mrs. George T. Pennock Rebecca Rand and E. Thomas Binger Mary W. Vaughan of The Minneapolis Foundation

Gold Anonymous Mary A. Andres David Hanson and William Biermaier Mr. James Binger Darlene J. and Richard P. Carroll Rachelle Dockman Chase Burt and Rusty Cohen Ellie and Tom Crosby, Jr. The Denny Fund of The Minneapolis Foundation Rudolph Driscoll Sally J. Economon Rolf and Nancy Engh Connie Fladeland and Steve Fox N. Bud and Beverly Grossman Foundation

Ieva M. Grundmanis Alfred and Ingrid Lenz Harrison Bryce and Paula Johnson Michael F. and Gretchen S. Kelly and the Kelly Family Foundation Warren and Patricia Kelly Ed and Pat Kerans Mary Bigelow McMillan Diana and Joe Murphy Mrs. John M. Musser† Bruce and Sandy Nelson Nelson Family Foundation Timothy and Gayle Ober Jose Peris and Diana Gulden James J. Phelps and Nancy McGlynn Phelps Connie and Lew Remele Mr. and Mrs. Steven Rothschild Stephanie Simon and Craig Bentdahl Kevin and Lynn Smith Virginia L. and Edward C. Stringer C. Angus and Margaret Wurtele

Silver Anonymous Chloe D. Ackman John Andrus, III Martha Goldberg Aronson and Daniel Aronson Martha and Bruce Atwater Patricia and Mark Bauer Alexandra O. Bjorklund William Voedisch and Laurie Carlson Gary Collyard Dr. James E. and Gisela Corbett Dr. Stephen and Beth Cragle Dr. Susan and Richard Crockett Rondi Erickson and Sandy Lewis Tom and Lori Foley Mr. and Mrs. John Forsythe Leslie and Alain Frécon

Christine and Michael Garner R. Thomas Greene, Jr. Stephen and Patricia Haynes Jay and Cynthia Ihlenfeld Dr. Robert and Susan Josselson Stan and Jeanne Kagin Mary L. Kenzie Family Foundation Mr. and Mrs. William Kling Mrs. James S. Kochiras Mr. and Mrs. Ted Kolderie Lynne Looney Roy and Dorothy Ann Mayeske Harvey T. McLain Albin and Susan Nelson Richard and Nancy Nicholson William and Barbara Pearce Marge and Dwight Peterson Mr. and Mrs. William Phillips E. Elaine and Roger Sampson Lucy T. Searls Fred and Gloria Sewell Kay Savik and Joe Tashjian Frank and Lynda Sharbrough Kathi Sharnberg Tanrydoon Fund of The Saint Paul Foundation Catie Tobin and Brian Nass Charles Allen Ward Fund of The Saint Paul Foundation Nancy and Ted Weyerhaeuser Rick and René Zona

Bronze

Mr. and Mrs. Paul G. Boening John and Joan Brooks Ralph and Kathleen Cadmus Joe and Judy Carlson Susan Cogger and Terry Williams Mrs. Thomas M. Crosby, Sr. Mary Lee and Wallace Dayton Patricia C. Freeburg Bradley A. Fuller and Elizabeth Lincoln Mr. and Mrs. R. James Gesell Lois and Larry Gibson Don and Arlene Helgeson Cli∂ton K. Hill and Jody Rockwell Dorothy J. Horns, M.D. and James P. Richardson Dale A. Johnson Jacqueline Nolte Jones Lyndel and Blaine King Clinton and Judith Lee Jerry and Joyce Lillquist Benjamin Y. H. and Helen C. Liu Bill Long David MacMillan and Judy Krow Samuel D. and Patricia McCullough James and Judith Mellinger Brian and Julia Palmer Karen B. Paul Lila and Bruce Priebe Norm Rickeman and Kathy Murphy Lois and John Rogers Burton G. Ross and Cynthia Rosenblatt Ross Fund of The Minneapolis Foundation Ken and Nina Rothchild Mr. and Mrs. John C. Rowland Stanislaw and Krystyna Skrowaczewski James V. and Susan W. Sullivan Gregory C. Swinehart Michael Symeonides Mr. and Mrs. George H. Tesar Bill Venne and Douglas Kline

Anonymous (2) Eric and Donna Aanenson Cordelia Anderson and John Humleker An Anonymous Gift from a Donor Advised Fund of The Saint Paul Foundation Mr. and Mrs. Edmund P. Babcock Dr. Ford and Amy Bell

†deceased

Dr. Robert L. Kriel and Dr. Linda E. Krach Helen L. Kuehn Anita Kunin Mark and Elaine Landergan Carl Lee and Linda Talcott Lee Stephanie Lenway and Tom Murtha Ilo and Margaret Leppik Diana Lee Lucker Thornton Lyford† Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Dan and Sue Malina Mrs. John H. Myers Susan Okie

Allegra Parker James and Constance Pries Frances and George Reid Katherine S. Reynolds Je∂rey and Lea Scherer Dr. and Mrs. Richard J. Schindler Ralph S. Schneider and Margaret McNeil Renate M. Sharp Helene and Je∂ Slocum Julie Jackley Steiner Drew Stewart and Anna Hargreaves Don and Leslie Stiles Lois and Lance Thorkelson Ellen and Fred Wells

The Andrew W. Mellon Foundation Minnesota Monthly Minnesota State Arts Board Northwest Airlines, Inc. RBC Dain Rauscher Foundation Rider, Bennett, Egan and Arundel Skyway Publications The St. Paul Companies Target Stores, Marshall Field’s and Mervyn’s with support from the Target Foundation Target Stores Thrivent Financial For Lutherans Transtop

Twin Cities Opera Guild U.S. Bancorp Foundation U.S. Bank. Private Client Group U.S. Trust Company of the Minneapolis Foundation Wells Fargo Foundation on behalf of: Wells Fargo Bank Minnesota Wells Fargo Brokerage Services Wells Fargo Institutional Investments Lowry Hill Wells Fargo Private Client Services

Individual Donors: The Artist Circle Anonymous Kim A. Anderson Paula Anderson Dr. Thomas and Ann Bagnoli John and Jennifer Bernstein Donna Block Elwood F. and Florence A. Caldwell Mrs. Thomas B. Carpenter Conley Brooks Family Thomas and Mary Lou Detwiler Sia Dimitriou Mr. and Mrs. John Donaldson Mr. and Mrs. Carl B. Drake, Jr. Susan Engel and Art Eisenberg

Ekdahl Hutchinson Family Fund of the Minneapolis Foundation Ester and John Fesler Henry and Anice Flesh Betsy Gardella Mr. and Mrs. John F. Grundhofer Rosalie He∂elfinger Hall Fund of The Minneapolis Foundation Charlotte Karlen Erwin and Miriam Kelen E. Robert and Margaret V. Kinney Fund of the Minneapolis Foundation Lisa C. Kochiras Maria Kochiras

Corporations and Foundations Platinum 3M American Express Minnesota Philanthropic Program on behalf of American Express Financial Advisors and American Express Travel Related Services Co. Andersen Foundation Blandin Foundation The Bush Foundation The Cargill Foundation City of Saint Paul’s Cultural STAR Program

Deloitte & Touche Deluxe Corporation Foundation Ecolab Foundation General Mills Foundation Ann and Gordon Getty Foundation The William Randolph Hearst Foundation Anna M. Heilmaier Charitable Foundation The MAHADH Fund of HRK Foundation The McKnight Foundation Marshall Field’s Project Imagine The Medtronic Foundation

Corporations and Foundations Silver

Bronze

Artist Circle

Accenture ADC Telecommunications, Inc. Bemis Company Foundation Dorsey & Whitney Foundation Ernst & Young R. C. Lilly Foundation McGladrey & Pullen, LLP McNeely Foundation Moss & Barnett National City Bank Alice M. O’Brien Foundation Rahr Foundation SpencerStuart Star Tribune Foundation Valspar Foundation West Group Xcel Energy Foundation

The Bayport Foundation Beim Foundation Boss Foundation Chadwick Foundation Dellwood Foundation Mary Livingston Griggs and Mary Griggs Burke Foundation Hutter Family Foundation The Nash Foundation Margaret Rivers Fund Schwegman, Lundberg, Woessner & Kluth, PA Sit Investment Associates Tennant Foundation School Arts Fund of United Arts/COMPAS Wenger Foundation Whole Foods

Brock-White Co., LLC Digital Excellence, Inc. Faegre & Benson Hogan & Hartson Jostens, Inc. Leonard, Street & Deinard Mayo Foundation McVay Foundation Minnesota Mutual Foundation The Elizabeth C. Quinlan Foundation St. Croix Foundation Tilka Design Tozer Foundation

Alliance Capital Management Elmer L. and Eleanor J. Andersen Foundation Curtis L. Carlson Family Foundation German-American Heritage Foundation Horton, Inc. KPMG LLP Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust in honor of Lawrence M. O’Shaughnessy Marsh USA, Inc. The Southways Foundation Charles B. Sweatt Foundation

Minnesota Opera Sponsors Season Sponsor

Production Sponsors

Camerata Dinners

U.S. Bank, Private Client Group

Norma, U.S. Bank, Private Client Group The Flying Dutchman, American Express Minnesota Philanthropic Program La traviata, U. S. Bank, Private Client Group

Rider, Bennett, Egan & Arundel

Opening Night Gala Sponsor U. S. Trust Company

Opera Insight Lectures SpencerStuart

Promotional Support Minnesota Monthly

These lists are current as of January 31, 2003, and include donors who gave gifts of $1000 or more to the Minnesota Opera Fund since March 1, 2002.

If your name is not listed appropriately, please accept our apologies, and call Betsy Gardella, Vice President for Development of The Minnesota Opera, at 612-342-9574.

Good listening

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