Minnesota Opera's The Elixir of Love by Minnesota Opera

Music by Gaetano Donizetti

January 27–February 4, 2024

Libretto by Felice Romani

2023–2024 SEASON

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e are grateful that you're here to experience the magic of opera. We gather once again at the Ordway with the fresh energy and hopeful spirit that a new year affords us all! A large part of opera’s magic relies on our ability as a company to focus your attention on the musical storytelling on stage during each performance. We spend years designing each opera experience so that you can easily get lost in the spectacular music and drama unfolding before you, gifting you with a respite from the outside world and providing opportunities for artists to surprise and delight you as often as possible. When we do our job well, we hope you experience just the kind of special alchemy that occurs when hundreds of creative Minnesotans work together. This work is done well before the first note rings out through the theater. From the moment the performance begins to the last bow that's taken, creative artists are hard at work bringing it all together. For each production you experience, our team has realized a new story world with sets, costumes, and lights, and built our musical preparation with months of auditions and rehearsals. Simultaneously, our artist administrators create and manage the systems that allow all of us to successfully execute our plans. And it all begins with you. Your patronage and financial gifts serve as tangible support of our company as a whole, and the musical storytelling that we all rely on to unite, delight, and uplift our Twin Cities community. Arts organizations including MN Opera are sharing in an exciting and daunting moment — one that asks us to prioritize stability while striving for innovation; ensuring efficiency as we chart new creative paths. We hope what you see and hear might inspire you to invite others to join you in your support of Minnesota Opera.

Director’s Notes • 9

Meet the Artists • 16

CO N T E N TS 6

The Elixir of Love

Synopsis

Director’s Notes

Gaetano Donizetti

Meet MN Opera

Cast and Creative Team

rchestra, Chorus, and O Supernumeraries

Mary Vaughan Tribute

Meet the Artists

Meet Christopher Franklin

rouble in Tahiti/ T Service Provider

La bohème

N Opera Board of M Directors, Staff, and Volunteers

Upcoming Events

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X:II

Gaetano Donizetti LIBRETTO BY Felice Romani

MUSIC BY

World Premiere at the Teatro alla Canobbiana in Milan on May 12, 1832 Sung in Italian with English captions projected above the stage.

CAST

in order of vocal appearance

CREATIVE TEAM

GIANNETTA

CONDUCTOR

NEMORINO

STAGE DIRECTOR

ADINA

SCENIC DESIGNER

V I C TO R I A KO R OV L J E V A N DR E W ST E N S O N VANE SSA B E C E R R A

CH RISTO PH E R FRANKLIN DANIE L E LLIS * JAIME ME J IA

BELCORE

COSTUME DESIGNER

DULCAMARA

LIGHTING DESIGNER

DULCAMARA’S ASSISTANT

INTIMACY DIRECTOR

J OS E P H L AT TANZ I ST E FANO DE P E P P O GE MMA I SAAC S O N

ANG E LA M. KAH LE R

CH E RI PRO UG H DE VO L ALE SSANDRA B O NG IARDINA

WIG, HAIR, AND MAKEUP DESIGNER + MN OPERA RESIDENT ARTIST

* MN OPERA RESIDENT ARTIST ALUM • MN OPERA COMPANY ARTIST

E MMA G USTAFS O N

CHOREOGRAPHER

H E IDI S PE SARD-NO B LE

ASSISTANT STAGE DIRECTOR MARG ARE T J UMO NVILLE •

MINNESOTA OPERA MNOPERA.ORG

STAGE MANAGER

J O NAT H AN S . CAMPB E LL

MUSICAL PREPARATION MARIO ANTONIO MARRA

Head of Music and Assistant Conductor

CELESTE MARIE JOHNSON* Principal Coach and Chorus Director

ERICA GUO+, ERIC MCENANEY* Répétiteurs

SEASON SPONSOR

ESTIMATED RUNNING TIME

Two hours and 38 minutes, with a 20-minute intermission occurring approximately 75 minutes into the opera. This production includes the use of theatrical haze.

THE ELIXIR OF LOVE 2023–24

Minnesota Opera would like to recognize that we occupy land that is of great historical, spiritual, and cultural significance to the Dakota people. To learn more, visit mnopera.org/ land-acknowledgement.

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The fortepiano in this performance was provided to us by the Schubert Club Music Museum. It was built by Thomas and Barbara Wolf, Washington, DC, 1997 as a replica of a fortepiano after Johann Schantz, ca. 1800.

SYNOPSIS

ACT I

ACT II

As workers rest, Nemorino secretly admires the beautiful Adina reading aloud from "Tristan and Isolde." She laughs at the thought of anyone using a love potion to win someone's heart.

Later that evening, despite not having signed the marriage contract, Adina hosts a wedding party, annoyed that Nemorino is notably absent. Dulcamara heartily enjoys the refreshments, singing a song in honor of his hostess, and Adina chimes in, enjoying the flattery. Belcore summons a notary to arrange the wedding contract, but Adina, annoyed by Nemorino’s apparent absence, decides to wait before putting pen to paper.

The swaggering Belcore and his soldiers arrive recruiting new border guards. Presenting gifts to Adina, Belcore proposes immediate marriage, but Adina coolly asks for time to consider the offer. Nemorino summons the courage to share his love for Adina, who promptly turns him down. Interrupting Nemorino mid-confession, Dulcamara enters, causing a commotion. This mysterious "doctor" offers curious concoctions to cure all sorts of ailments for a small price. Nemorino excitedly inquires if Dulcamara carries Isolde's famous love potion. Cleverly, Dulcamara assures him that it's one of his best-sellers, much to the chagrin of Dulcamara’s Assistant. Conveniently, Nemorino has “just enough” to pay Dulcamara. The Assistant scrambles to “create” the elixir. She disguises an old bottle of Bordeaux with juice squeezed from oranges around Adina’s farm. Dulcamara reassures Nemorino that the elixir takes 24 hours to take effect, buying time for him and the Assistant to leave before the truth is exposed. Nemorino eagerly downs the drink.

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Nemorino's new carefree and indifferent mood vexes and annoys Adina, driving her to hastily accept Belcore's proposal. Nemorino, flustered, doubles down on his indifference. He's confident that in 24 hours' time, Adina will be his. Nemorino's mood incites Belcore's rage.

Belcore receives orders from his men that they must depart imminently and leverages this to pressure Adina to marry him that very day. Nemorino embarrasses Adina as he begs her to wait — he needs more time for the zesty elixir to work its magic — but she refuses. Nemorino despairs as Adina and Belcore search for a notary to marry them later that evening.

Nemorino pleads for Dulcamara’s help, and the "doctor" suggests he double the dose, but... no discounts. Unable to pay, Nemorino seeks out Belcore and joins his regiment for the enlistment fee. With the fee in hand, Nemorino secures his second dose. Meanwhile, Giannetta reveals to the town that Nemorino's uncle has passed away, leaving his nephew a fortune. Nemorino, unaware of his uncle's passing, believes his sudden popularity with the ladies is thanks to Dulcamara's zesty elixir. Seeing how the women are treating Nemorino, Dulcamara starts to believe in the power of his own potion and, specifically, in the power of oranges of Adina’s farm. Adina wonders at Nemorino's newfound popularity, so Dulcamara confesses to her the potency of his love-potion. He reveals that Nemorino joined Belcore’s unit just to obtain the funds to purchase the elixir and win her heart. Fearing that she is about to lose Nemorino, Adina admits her feelings for him and resolves to win him back. With dawn approaching, Nemorino still dreams of winning Adina’s love. Adina, having repaid Belcore the recruitment fee, confesses to Nemorino that she loves him. Overjoyed, Nemorino gives thanks for Dulcamara's miracle elixir. When they hear of the inheritance, their happiness is complete. Belcore leaves empty-handed. Hoping to recreate his elixir, Dulcamara buys all the oranges he can muster and departs in triumph as all drink to his health and the health of the new couple.

DIRECTOR'S NOTES

When considering a piece from the inherited opera repertoire, such as Elixir, a primary goal I have is to recontextualize the work so that it is historically, emotionally, and ethically accessible to the artists and the audience in the room. Sometimes this means investigating the history of the original period of the work. Sometimes it means selecting a new period. As we considered in which period to place this Elixir of Love, we found it to be much more than a simple, light-hearted love story. While that may be an accessible place to start, Donizetti layered this popular work with a lot more depth than many give him credit for. In our exploration, we dug deeper into the elements of hucksterism, gaslighting, and consumerism that fuel the characters of Dulcamara and Belcore.

By making this adjustment, we maintain the integrity of the libretto while also opening this work up to be accessible to artists and audiences from all walks of life. In 1916, Southern California saw immigration from Asia and South and Central America on the rise, The Great Migration was taking place as African-American men and women were fleeing the Jim Crow laws, women’s suffrage was already present, and America was struggling to find soldiers to support its border war with Mexico.

❝

As we considered which period to place this Elixir of Love, we found it to be much more than a simple, lighthearted love story. While that may an accessible place to start, Donizetti layered this popular work with a lot more depth than many give him credit for.” All of Donizetti’s characters can exist here, but more importantly, our singers can bring their full, authentic selves into the rehearsal space. We’ve created an inclusive landscape that’s as American and nostalgic as, well … a glass of orange juice with breakfast! DANIEL ELLIS

STAGE DIRECTOR

Our research drew us to the dawn of American marketing; a campaign by Albert Lasker to save the

COSTUME RENDERING OF ADINA BY ANGELA M. KAHLER

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While working on this project, the joy in this piece revitalized our passion during a dark and isolating time. It was as infectious and seductive as Dulcamara’s elixir. In a way, we were rediscovering the creative process without the pressure of impending production deadlines. We had the time to develop a shared language between us that became our creative vernacular. We had patience to explore how our storytelling would and could infuse each aspect of design; how the research of a period would inform the texture of the wall, the stitch on a bodice, the distant flicker of a smudge pot, and most importantly, the agency of the artists both on and off the stage.

dying California orange industry. He created a new “health beverage” from the juice of oranges and sold it using the catch phrase “Drink an orange!” He launched the campaign in 1916. As we dug further into this period in California and America’s history, it became clear this would be the setting for our production of The Elixir of Love.

THE ELIXIR OF LOVE 2023–24

hen this talented group of designers and I conceived our production, we were all corresponding remotely during the Covid-19 lockdown. Cheri Prough DeVol, Angela Kahler, Jaime Mejia, and I chose The Elixir of Love to develop and submit for the OPERA America Robert L. B. Tobin Director Designer prize submission, which we received for this concept in 2021.

COMPOSER

GAETANO DONIZETTI b. Bergamo, Italy, 1797; d. Bergamo, Italy, 1848

ith nearly 70 operas to his credit, Gaetano Donizetti was the leading Italian composer in the decade between Vincenzo Bellini’s death and the ascent of Giuseppe Verdi. Donizetti was born in the northern Italian city of Bergamo to an impoverished family. After showing some musical talent, he was enrolled in the town’s Lezioni Caritatevoli, where he had the good fortune to study with Giovanni Simone Mayr, maestro di cappella at Santa Maria Maggiore in Bergamo. Originally from Bavaria, Mayr was a successful composer in Italy during the era preceding Gioachino Rossini’s rise to fame, with dozens of operas to his credit. Though offered many prestigious appointments throughout Europe, Mayr remained loyal to his adopted community and greatly enhanced the local musical institutions. Donizetti arrived at a time when Mayr was writing his greatest operas, and his impression on the younger composer was pronounced. Throughout his life, Donizetti regarded him as a second father, though he would outlive his master by only three years.

When it came time, Donizetti furthered his education at the Accademia Filarmonica in Bologna (shadowing Rossini, who had once studied there). He had already penned several short operas before receiving his first commission in 1818 from the Teatro San Luca in Venice — this was Enrico di Borgogna to a libretto by Bartolomeo Merelli. (In later years, as impresario of La Scala, Merelli was instrumental in the beginnings of Verdi’s career.) Further works were produced in Venice, but Donizetti returned to Bergamo for a few years of relative inactivity. A letter of introduction from Mayr to poet Jacopo Ferretti led Donizetti to Rome, where in 1822 he would have his first unequivocal success, Zoraida di Grenata. His career was just getting started.

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Later that year, Donizetti settled in Naples and used it as a base for the next 16 years. He arrived just as Rossini was finishing his seven-year contract with the royal theaters. Like Rossini, he had the ability to work at the increasingly rapid pace demanded by the Italian theater industry and was able to produce three to four operas a year for most of his life.

Many remain timeless gems. L’elisir d’amore (1832), La fille du régiment (1840) and Don Pasquale (1843) demonstrate his expert handling of lighter subjects. Lucrezia Borgia (1833), Gemma di Vergy (1834), Lucia di Lammermoor (1835), Maria de Rudenz (1838) and Maria Padilla (1841) display the composer’s mastery of the Italian melodrama fueled by the impassioned and unrestrained literature of the Romantic period. His influence on Verdi cannot be underestimated.

Donizetti’s success in dealing with both comic and tragic settings was due in part to his own manic depressive personality. Well acquainted with personal misfortune, Donizetti lost in the span of eight years his mother, father, two infant sons, an infant daughter, and Virginia Vasselli, his wife of seven years. He never truly recuperated after her death, locking the door to her room and refusing to utter her name again. His melancholia may have been induced by early symptoms of syphilis, which he contracted as a young man. It may have also been brought on by the responsibility he felt for harboring the disease that likely cost him his wife and children. Donizetti made his Paris debut in 1835 with Marino Faliero at the Théâtre Italien and later premiered Les martyrs (1840) at the Paris Opéra. A French translation of Lucia made his name a household word, and in 1840 the composer captivated audiences with La favorite, which became hugely popular throughout Europe and North America. One of his very last works for the stage, Dom Sébastien (1843), was cast in the mold of French grand opéra and was extremely well-received. The composer had hoped to assume Niccolò Zingarelli’s post as director of the Naples Conservatory, but when the 85-year-old composer died in 1837, Donizetti’s considerable musical contribution to the city was overlooked. Preference was given to a lesser composer, Saverio Mercadante, chiefly because he was a native Neapolitan. After his brief stint in Paris, Donizetti turned toward the Austrian state, where he became music director of the imperial theaters. Two of his final works had their premiere at Vienna’s principal venue, the Kärntnertortheater: Linda di Chamounix (1842) and Maria di Rohan (1843). After the success of Linda, he was appointed Composer to the Austrian Court, a position Mozart had held a half century earlier. By 1845, symptoms of his illness had become incapacitating, and his erratic behavior could no longer be excused by overwork. With his family’s intervention, Donizetti was placed in a French sanitarium at Ivry for 17 months, then transferred to a Paris apartment. There he was regularly visited by musicians and colleagues, including Verdi, but by this point he was paralyzed, disoriented, and rarely spoke. In September 1847, friends arranged his return to Bergamo, where he passed his final days at the home of a wealthy patroness.

MEET MN OPERA

SIENA FOREST

ISAAC MAYHEW

CREATIVE DEVELOPMENT PROGRAM MANAGER

DEVELOPMENT MANAGER

COMMUNICATIONS MANAGER

What do you do at Minnesota Opera?

I play a role in supporting a diverse array of child, youth, and adult development programs and workshops. Within the Creative Development Program, I collaborate with my colleagues to design inclusive programs spanning from infancy (Baby Opera) to the elderly (Opera Connections program). For programs such as Youth Opera Circle, our focus goes beyond the educational realm to create a safe and creative space. Importantly, all our Creative Development Program offerings are provided free of charge. Witnessing the positive impact of these programs across various age groups is exceptionally fulfilling for me.

As the newest addition to Minnesota Opera’s development team, I manage the mid-level giving program and the fundraising events. If you’re looking for some insider info, ask me about how Minnesota Opera is reimagining its gala next season!

I joined MN Opera last October as the Communications Manager, and my job revolves around getting the word out about all the amazing things that go on here — including exciting productions like The Elixir of Love! I work with a group of amazing people to tell the MN Opera story through a variety of platforms including email newsletters, social media campaigns, press outreach, and more. One part of my job that I especially love is getting to help create video content, such as the show trailers.

Why are you excited for The Elixir of Love? I am particularly excited about The Elixir of Love because it's a genuine classic masterpiece. Despite being composed in just six weeks, this opera has a remarkable artistic significance, and it continues to be one of the most frequently performed works by Donizetti. The twists and turns in Donizetti's opera always grab my attention, creating an awesome narrative that seamlessly combines storytelling and musical brilliance.

Why are you excited for The Elixir of Love? The show is genuinely funny and just as relatable today as it was at the premiere in 1832, and the music is so delightful and memorable. I’m especially excited for this new production! It won OPERA America’s Robert L. B. Tobin Director-Designer Prize and is based on the 1916 “Drink an orange!” campaign that saved the orange industry. Since reading up on that, I think of Albert Lasker when enjoying a cold glass of pulp-free OJ or (more likely) a mimosa.

Why are you excited for The Elixir of Love? I am particularly excited to see the ingenious and award-winning concept for this production from Stage Director Daniel Ellis and his creative team come to life on the Ordway stage. Getting to hear from them while preparing for these performances and learning about how they came together during the pandemic to create a piece that is so thoughtful and clever was really inspiring and motivating.

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

YUANFEI CHEN

THE ELIXIR OF LOVE 2023–24

Meet MN Opera

Minnesota Opera’s dedicated creative workforce of artists, craftspeople, and administrators are passionate about bringing opera and opera education programs to Minnesota. Recently, we sat down with three of them to learn more about what they do at MN Opera and why they’re excited about this production of The Elixir of Love.

C A S T + C R E AT I V E T E A M

VANESSA BECERRA

GEMMA ISAACSON

FORT WORTH, TX Minnesota Opera Debut:

CHIPPEWA FALLS, WI Minnesota Opera Debut:

Ópera Afuera, 2021

Carmen, 2022

ADINA

DULCAMARA'S ASSISTANT

Notable Engagements:

Die Fledermaus, Sacramento Philharmonic & Opera*

Carmen, Portland Opera

Don Giovanni, Arizona Opera*

Escalade, Nic Lincoln Dances

Don Giovanni, Minnesota Opera

Galileo Galilei, Opera Theater of St. Louis

Invisible Cities, Ashwini Ramaswamy

Don Pasquale, Opera Omaha

LDV, Hatch Dance & HoneyWorks

Così fan tutte, Opera Theater of St. Louis Roméo et Juliette, Boston Lyric Opera

CHERI PROUGH DEVOL

CELESTE MARIE JOHNSON

LIGHTING DESIGNER

PRINCIPAL COACH AND CHORUS DIRECTOR

AUSTIN, TX Minnesota Opera Debut:

PINE ISLAND, MN Minnesota Opera Debut:

The Elixir of Love, 2024

Albert Herring, 2021

Notable Engagements:

Cat’s Paw, Beck Center for the Arts

Don Giovanni, Minnesota Opera

How I Learned What I Learned, TXST Fine Arts

Edward Tulane, Minnesota Opera

All Shook Up, Zilker Theatre Productions

Carmen, Minnesota Opera

The Santaland Diaries, Zach Theatre

The Anonymous Lover, Minnesota Opera

Violet, Barter Theatre

La fille du régiment, Opera Saratoga Tosca, Inland Northwest Opera

MN OPERA RESIDENT ARTIST ALUM

DANIEL ELLIS

ANGELA M. KAHLER

HOT SPRINGS, AR Minnesota Opera Debut:

PARKERSBURG W.VA. Minnesota Opera Debut:

The Elixir of Love, 2024

STAGE DIRECTOR

Notable Engagements:

COSTUME DESIGNER

Notable Engagements:

Bandstand (Midwest premiere), William Street Repertory*

Twinkle, Film Short NYC

Wozzeck, Grand Théâtre de Genève

Guys and Dolls, Wagner College NYC

Wozzeck, Finnish National Opera The Magic Flute, Cincinnati Opera The Elephant Man, William Street Repertory

Stone Mansion, Film short NYC Cherí, Actors Studio NYC Ladies in Retirement, Pulse Theatre NYC

MN OPERA RESIDENT ARTIST ALUM

CHRISTOPHER FRANKLIN

VICTORIA KOROVLJEV

PITTSBURGH, PA Minnesota Opera Debut:

CLINTON, MI Minnesota Opera Debut:

La Cenerentola, 2011

La rondine, 2018

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CONDUCTOR

Notable Engagements:

GIANNETTA

Notable Engagements:

La bohème, Minnesota Opera*

A Little Night Music, Indianapolis Opera*

Turandot, San Francisco Opera

Charlie Parker’s Yardbird, Indianapolis Opera*

Peter Grimes, Palau de les Arts-Valencia

Carmen, Indianapolis Opera

Manon, Ópera de Tenerife

Die Zauberflöte, Indianapolis Opera

Adriana Lecouvrer, Opéra Royale de Wallonie

Rinaldo, Minnesota Opera

Die Fledermaus, New National Theatre - Tokyo

C A S T + C R E AT I V E T E A M

JOSEPH LATTANZI

ANDREW STENSON

ATLANTA, GA Minnesota Opera Debut:

ROCHESTER, MN Minnesota Opera Debut:

The Elixir of Love, 2024

The Italian Straw Hat, 2019

BELCORE

NEMORINO

Notable Engagements:

Fellow Travelers, Opera Parallèlle*

Turandot, Metropolitan Opera*

Don Giovanni, Arizona Opera*

Candide, Glimmerglass Festival

The Barber of Seville, Atlanta Opera

Così fan tutte, Lyric Opera of Chicago

The (R)evolution of Steve Jobs, San Francisco Opera

Il barbiere di Siviglia, Garsington Opera The Magic Flute, Seattle Opera

Carmen, Utah Opera The Marriage of Figaro, Cincinnati Opera

* Indicates Upcoming Performance

JAIME MEJIA

SCENIC DESIGNER JERSEY CITY, NJ Minnesota Opera Debut: The Elixir of Love, 2024

Notable Engagements: The Names We Gave Him, Montclair State University Into The Woods, Montclair State University Three Ways Out (Short Film) – Production Designer

DULCAMARA

NEW YORK CITY, NY Minnesota Opera Debut: Il barbiere di Siviglia, 2001

Notable Engagements: The Daughter of the Regiment, Opera Colorado* Don Giovanni, Teatro Argentina, Rome Gianni Schicchi, Washington National Opera La Cenerentola, Lyric Opera of Chicago Tenor Overboard, Glimmerglass Festival

HEIDI SPESARD-NOBLE CHOREOGRAPHER

SHELBYVILLE, IL Minnesota Opera Debut: Merry Widow, 2002

Notable Engagements: Edward Tulane, Minnesota Opera Thaïs, Minnesota Opera Rusalka, Minnesota Opera The Shining, Minnesota Opera A Little Night Music, Theater Latté Da Scrooge in Rouge, Open Eye Theater

The "elixir" of love has taken a few forms throughout the history of various productions. Originally pedaling a cheap Bordeaux wine, Dulcamara has also used root beer and orange juice to swindle his clients. 2. Premiering in 1832, Gaetano Donizetti only took six weeks to complete the composition of The Elixir of Love — yet it is one of his most popular operas! It is one of 65 operas that Donizetti composed. 3. The composer Hector Berlioz attended a performance of the opera in the third week of its run and he had some interesting observations: "I found the theatre full of people talking in normal voices, their backs to the stage. The singers, undeterred, gesticulated and yelled their lungs out...People were gambling, eating supper in their boxes, etc." My, how times have changed!

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

STEFANO DE PEPPO

THE ELIXIR OF LOVE 2023–24

WRENCH (Short Film) – Production Designer

ORCHESTRA, CHORUS, + SUPERNUMERARIES

MINNESOTA OPERA ORCHESTRA Christopher Franklin, Principal Conductor VIOLIN I Allison Ostrander Concertmaster Julia Persitz Asst. Concertmaster David Mickens Angela Waterman Hanson Emily Saathoff Maisie Block Mary Alice Hutton Karl Braaten VIOLIN II Laurie Petruconis * Elise Parker + Emil Mettenbrink Huldah Niles Kseniya Khvashchynskaya Ian Snyder Erika Hoogeveen Troy Gardner VIOLA Susan Janda * Laurel Browne + Jenny Lind Nilsson Anne Ainomäe Coca Bochonko Charles Krenner

CELLO Teresa Richardson * Sally Gibson Dorer + Kirsten Whitson Benjamin Osterhouse Diane Tremaine BASS John Michael Smith * Jason C. Hagelie + Charles Block FLUTE Barbara Leibundguth * Bethany Summersgill Dbl piccolo OBOE Michael Dayton * Steve Maijala CLARINET Karrin Meffert-Nelson * Nina Olsen BASSOON Laurie Hatcher Merz * Matthew Bertrand

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THE MINNESOTA OPERA ORCHESTRA, PHOTO BY DAN NORMAN

THE MINNESOTA OPERA CHORUS, PHOTO BY DARIN KAMNETZ

HORN Mike Alexander * Charles Hodgson TRUMPET John G. Koopmann * Christopher Volpe TROMBONE Phillip Ostrander * John Tranter David Stevens TIMPANI Kory Andry * PERCUSSION Matthew Barber *

MINNESOTA OPERA CHORUS SOPRANO Corissa Bussian Julia Engel Melissa Ferlaak Michelle Hayes Madeline Huss Laura LeVoir Margaret Matejcek Alexis Reed Jinglei Yao

TENOR Robert Banks Logan Barat Thore Dosdall Paul Gutmann Graham Remple Jacob Sorrells Nicholas Swanson Colyn Tvete Xi Yuan

MEZZO-SOPRANO Kristina Dudley Jennifer Eckes Beth Gusenius Miranda Kettlewell Sara Sawyer Ashley Sievers Huiyin Tan Eryn Tvete

BASS Joshua Eidem Colin Clark-Bracewell Grady Klein Joel Mathias Nathan Petersen-Kindem Robert Riordan Cole Strelecki Phillip Takemura Sears Tyrie Williams

HARP Min J. Kim * CONTINUO Erica Guo * * Principal + Assistant Principal

SUPERNUMERARIES Justin Michael Cooke Lois Estell Super Captain

Krystle Igbo-Ogbonna Brandon Sieck Tia Tanzer

Mary W. Vaughan (1928–2023)

An extraordinary leader whose influence can be seen and felt throughout the

Twin Cities, she was always kind and generous with her time and talents. Mary encouraged and inspired the best in MN Opera’s leadership and staff, trusting the company’s ability to deliver on its mission. She led by example and was a wonderful leadership role model for women on many fronts. Mary had a quiet, supportive power that she wielded graciously and with awareness. We will all miss her presence and warm smile.

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

Mary enthusiastically supported all Minnesota Opera programs. She was a founding member of the New Works Initiative and was integral in launching the program that brought Silent Night, The Shining, and Edward Tulane to the stage. She took great joy in getting to know the Resident Artists and delighted in seeing them on stage.

PHOTO COURTESY OF THE VAUGHAN FAMILY

THE ELIXIR OF LOVE 2023–24

The Minnesota Opera family remembers and celebrates the life of Mary W. Vaughan. Mary loved the Minnesota Opera and many other arts and cultural organizations in the Twin Cities. She served on the Opera’s board for a number of years and was named Director Emerita in recognition of her commitment to the Opera. She most recently served as an active member of the President’s Council. She had an exemplary way of deploying her depth of knowledge and skills to bolster the company’s strategic and creative objectives.

MEET THE ARTISTS

opera works in the repertoire for good reason. This playful comedy is brought to life by the characters, Adina and Nemorino. We are lucky to have Vanessa Becerra and Andrew Stenston as two of our incredible principal singers in this production! Recently, they sat down with us to answer a few questions about themselves, talk about the joys of performing, and discuss what they hope audiences will take away from the production. Describe your character in three words. VB

What are some of the joys and challenges of performing this role?

MINNESOTA OPERA MNOPERA.ORG

VB The power of love, baby!! We can drink all the “magic elixirs” we want but nothing can replace pure, sweet, undeniable love. AS Elixir is a hilarious romantic comedy that shows necessary courage can come from unexpected places. I think those themes are both timeless.

Confident, Tender, Independent.

AS Honest, Devoted, Tipsy.

What themes or messages from The Elixir of Love do you think will resonate most with audiences? In what ways is this piece relevant today?

VB The joy is getting to sing this beautiful score. I feel lucky to have sung so much Donizetti this year and Adina’s music is especially exquisite. Her playfulness, lighthearted nature, and flirtatious spirit come through so beautifully. I have loved getting to know her “musically.” Dramatically, Adina is very much a three-dimensional human; she’s complicated and lets her ego get the best of her at times, but I find that very relatable! The challenge is making sure her sincere and lovable side is always there. AS I like to try and drink a whole bottle of “elixir” before the end of act one, which is a challenge because it’s a whole bottle of something in

What do you hope that audiences will take away from this production? VB I hope our audience enjoys this production as an opportunity to relax, unwind, and let the levity and beauty of this score transport them to a calm and peaceful mind space. There is so much going on, I would love to provide a couple hours’ reprieve from the outside world and supply some laughs, joy, and inspire love. AS Seeing Carmen at Minnesota Opera started this whole opera journey for me. I remember leaving the Ordway and thinking to myself “that was the coolest thing I have ever seen, I HAVE to do this.” Hopefully we can have that same effect on someone, but I also hope our audience can leave our show thinking “that was freakin hilarious/entertaining.”

Do you have any plans for your time in Minnesota? Anything you are particularly excited to do while you are in town? VB The food scene in the twin cities is truly astounding! I started my restaurant tour last season during The Daughter of the Regiment and am so excited to continue eating my way through town! I am also looking forward to exploring more outside spaces with my dog Coco who is part Great Pyrenees — winter is her absolute B A favorite! VANESS

Love is one of the most popular

EC ER R

Gaetano Donizetti’s The Elixir of

I rarely get to perform roles that require both drama and comedy as much as this show. Nemorino has breathtaking moments of sincerity and gets to be ridiculously absurd immediately after. Most of the time the funny tenor parts are character roles, so it’s really nice to be able to show these parts of myself in leading material.

As artists, we all get caught up in making something so profound that burns itself onto the soul. For the longest time, I viewed anything less than a transcendent experience to be a failure, but I find myself seeing beauty in “entertainment” as much as something that may be challenging. Some may argue the idea of entertainment is a cheaper thing than art, but at this point in my life I believe the two frequently go hand in hand. Elixir has deeply profound music, but is also ridiculous and silly and BOTH of those things have great value. I hope a laugh can have as much of an impact as “Una furtiva lagrima.”

AS I plan at

eating at all of Ann Kim’s restaurants and finally enjoying MN sports surrounded by MN S sports fans W E R A ND (and hopefully watching Green Bay losses while surrounded by MN sports fans).

TE NS ON

meet the artists

like 20 minutes, but it’s also a joy because I’m very hydrated by the end of the act!

MEET CHRISTOPHER FRANKLIN

Introducing Minnesota Opera’s Principal Conductor

The other production I will never forget was the world premiere of Doubt. It was a wonderfully complex score to mount for the singers, chorus, and orchestra, but to be a part of that process — to witness the birth

CF I have lived in Tuscany for many years now, so I’m not used to Minnesota’s frozen tundra, so I can't say I plan on spending much time outdoors, except perhaps to peek at the St. Paul Winter Carnival. But I’ll surely connect with some old Macalester friends from college and I have several relatives still living in the Twin Cities, so I will meet up with them. They’ve said great things about a new Indigenous restaurant in town called Owamni (even friends in Italy were asking about it).

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

of Massenet’s Thaïs a few years ago. I stepped off the podium to leave space for our concertmaster Allison Ostrander to play her big solo “Meditation” from the podium. The audience could actually see and hear her better than in her seated spot in the pit. I literally stepped into the orchestra and felt their warm sound in all its glory from the pit level instead of the podium.

Cities? Is there anything that you are looking forward to doing while you’re here?

THE ELIXIR OF LOVE 2023–24

CF The first is during the wonderful new production

LI N

Last month, MN Opera welcomed Christopher of an opera from its very beginning — is an honor Franklin as its principal conductor. In denied many of us opera conductors, this role, Franklin is responsible for especially if you only conduct works guiding the MN Opera Orchestra from the “standard” repertoire. in its artistic growth, shepherding Can you talk a little about your the musical standard of own history with The Elixir of excellence, and contributing to Love? Do you have a favorite the development of new work. musical moment in Donizetti’s We had the opportunity to sit score that audiences could listen down with Franklin and discuss his for during this performance? creative approach as a conductor, H K RI his favorite moment in The Elixir of N ST O PH E R F R A CF I’ve conducted Elixir a few times Love, and what he is looking forward to in Italy. It’s always such a rich score to during his time in Minnesota. delve back into. Although the musical structure of the opera itself is somewhat traditional, there In your new role as principal conductor, you’ll be are so many little details in orchestration, phrasing, working regularly with the MN Opera Orchestra and especially delicious little tricks with the on numerous productions in the coming seasons. Italian language itself where we can really see the What will your approach be and what do you hope complete mastery of Donizetti. One of my favorite to achieve with this ensemble? moments is in the Act 1 Finale when Adina threatens CF The role of a principal conductor, in my opinion, to marry Belcore. Nemorino realizes the elixir hasn’t is to not only maintain the high level of ensemble yet had time to take effect and he fears his chances playing and musicianship of the orchestra, but to make of courting Adina are slipping away. He bursts into sure the group is well prepared to tackle all types of a passionate arietta, Larghetto in F minor, and the repertoire it will encounter in the upcoming seasons. other characters join in. First, Belcore tells him to This involves many of the different standard repertoire shut his trap and then both Adina and Giannetta, styles, but also encountering new works with all the and finally the chorus joins in sympathy for his challenges they include. In general, the type of opera torment. It’s a classic set piece concertato in Italian, orchestra sound I admire is not only one of rhythmic where the stage is basically frozen in time and each integrity and vitality, but also one that has a warm character sings about their own personal reaction and transparent sound that will easily support all the to what’s happening on stage. It’s a perfect example voices on stage without ever drowning them out. of the things you can do in opera that you can’t do in the spoken theatre. Everyone can be singing Prior to this appointment, you have an extensive at the same time, expressing completely different history with MN Opera going back all the way emotions, and yet it all blends into a glorious, to 2011 with Cinderella. Is there a particular harmonic musical moment. production or specific memory that stands out to you from your previous work with this company? Do you have any plans for your stay in the Twin

M AR CH 9 –2 3

Lu min a ry A rt s Ce n ter Trouble in Tahiti MN OPERA PREMIERE MUSIC AND LIBRETTO BY LEONARD BERNSTEIN

Service Provider MN OPERA PREMIERE MUSIC BY CHRISTOPHER WEISS LIBRETTO BY JOHN DE LOS SANTOS

Marital bliss amiss. Sam and Dinah are living the American dream in 1950s suburbia. Beau and Autumn are celebrating their anniversary over dinner and drinks. But there’s one problem… neither couple is happy. Leonard Bernstein’s Trouble in Tahiti and Christopher Weiss and John de los Santos’ Service Provider are one-act crowd pleasers that are sure to keep you on the edge of your seat all night long.

Understand Every Word Sung in English with English captions projected above the stage.

TICKE TS ON SALE NOW! mnopera.org | 612-333-6669

M AY 4–1 9

Th e O rd way Mu sic Th e ater

Finding love. Choosing family. On a bitterly cold winter’s night in the heart of Paris, a young woman’s search for a candle light fatefully sparks one of the most enduring love stories of all time. But can a love so great be sustained? Puccini’s La bohème weaves moments of warmth and ecstasy together with anguish and heartbreak in this enduring story of love, loss, and life.

Understand Every Word Sung in Italian with English captions projected above the stage.

TIC KETS ON SALE N OW! mnopera.org | 612-333-6669

MUSIC BY GIACOMO PUCCINI LIBRETTO BY GIUSEPPE GIACOSA AND LUIGI ILLICA

B OA R D + S TA F F

DIRECTORS Joelle Allen Margaret Blake, M.D. Sosha Brink Roma CalatayudStocks Ivonne Chand-O’Neal, Ph.D. Gayle Fuguitt Amy Hoffman Dorothy Horns, M.D. Philip Isaacson Diane Jacobson, Ph.D. Deborah Jiang-Stein Anna Kokayeff, M.D. Robert Lee

Natalie Volin Lehr Jeninne McGee Fayneese Miller, Ph.D. Jodi Mooney Kay Ness Benjamin J. Ollendick Elizabeth Redleaf Bart Reed Cris Ross Mary Schrock Nadege Souvenir Margaret V.B. Wurtele Wayne Zink

Philip Brunelle Liz Kochiras

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President and General Director | Ryan Taylor Principal Conductor | Christopher Franklin Executive Manager | Andrew Sun

Equity, Diversity, and Inclusion Coordinator | Emilia Mettenbrink Youth Programs Music Directors | Sara Sawyer, Jared Miller, Rick Hoops

ADMINISTRATIVE

PRODUCTION

Vice President, Administration and Board Relations | Theresa Murray Human Resources Director | Jen Thill Luminary Arts Center Director | Julia Gallagher Front of House Manager, Luminary Arts Center | Zachary Staads Luminary Front of House Supervisor | Emma Goecks Luminary Front of House Associates | Alekz Thoms, Annika Hansen, Claire Frederick, Dixie Treichel, Edie Karras, Lexie Modica

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Vice President, Advancement | Lani Willis

DEVELOPMENT

PATRON SERVICES

PR ES I D E N T ’ S COU NC I L

EXECUTIVE

MARKETING AND COMMUNICATIONS

HONO RA RY D I REC TO R S

Karen O. Bachman John A. Blanchard, III Susan Boren King Burton Cohen Ellie Crosby John Huss Ruth Huss

STAFF

James E. Johnson Lucy Rosenberry Jones Gale Sharpe Kevin H. Smith Virginia Stringer Mary W. Vaughan†

ARTISTIC

Vice President, Artistic | Joseph Li Head of Music | Mario Antonio Marra Company Manager | Roxanne Stouffer Cruz Artistic Administrator | Salvatore S. Vasta III Principal Coach and Chorus Director | Celeste Marie Johnson Resident Artists | Efraín Corralejo, Charles H. Eaton, Keely Futterer, Erica Guo, Jeremiah Sanders Resident Artist Guest Faculty | Lara Bolton, John Churchwell, Eric McEnaney, Thomas Muraco

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

Vice President, Impact | Darius Gillard Equity, Diversity, and Inclusion Director | Rocky Jones Creative Development Program Manager | Yuanfei Chen

Vice President, Production | Karen Quisenberry

PRODUCTION AND FACILITIES

STAGING STAFF

Stage Manager | Jonathan S. Campbell Assistant Stage Managers | Olivia Darling, Patricia Garvey Company Artist Assistant Stage Director | Margaret Jumonville Fight Choreographer | Mason Tyer

SCENERY, PROPERTIES, AND LIGHTING

COSTUMES

Costume Administrator | Molly O’Gara Wig, Hair, and Makeup Supervisor | Emma Gustafson Tailor | Yancey Thrift Drapers | Katrina Benedict, Chris Bur First Hands | Brigid Borka, Sara Huebschen, Rebecca Karstad Stitchers | Helen Ammann, Ann Friese, Ally Guglielmi, Kate Larson Wig, Hair, and Makeup Runcrew | Wendy Zarate Frank, Melissa Gubrud, Alex Xiong

VOLUNTEERS Marcia Aubineau, Peter Avirom, Christina Beck, Denzel Belin, Germaine Benemile, Amanda Bouddhara, Lu Chen, Amy Colon, Jeanne Cornish, Andy Flamm, Jill Galles, Jessica Grams, Sarah Grecula, Mariah Hanson, Liza Hatshorn, Caroline Heine, Lori Herz, Barry Inman, Julie Karlson, Leila Keita, Jeanie Kett, Laura Kucera, Kou Lee, Carol Lowe, Katie MacRunnels, Kaiya McGuire, Eliza Morgan, Theresa Murray, Jess Neau, Erika Neely, Chris Olsen, Kristin Ostebee, Candyce Osterkamp, Tom Ozzello, Felise Park, Cleila Patino, Polly Peterson, Adam Qualls, Evan Ramstad, Jim Romportl, Richard Rubenstein, David Rusterholz, Michele Schluender, Stephanie Schmidt, Mary Sheehy, Chavonn Shen, Jay Shen, Brandon Sieck, Rick Simon, Amy Sirivie, Hilary Smith, Wendi Sott, Heidi Spesard-Noble, Norman Tiedemann, Julie Vang, Riss Widseth, Laurie Witzkowski

† in remembrance

UPCOMING EVENTS

M I N N E S OTA O P E R A I N F O

Minnesota Opera Patron Services 620 North First Street, Minneapolis, MN 55401 612-333-6669

Upcoming events Trouble in Tahiti & Service Provider MARCH 9–23, 2024 THE LUMINARY ARTS CENTER

Marital bliss amiss. Sam and Dinah are living the American dream in 1950s

Regular Hours: Monday–Friday, 10am–5pm Performances Phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota Opera staff will be available at the Ordway’s Ticket Office 90 minutes prior to curtain. mnopera.org Visit mnopera.org to watch behind-thescenes videos, read synopses, browse digital programs, and more. Join our e-club to receive special offers and opera news.

suburbia. Beau and Autumn are celebrating their anniversary over dinner

stand to be in the same room with each other. Leonard Bernstein’s Trouble in Tahiti and Christopher Weiss and John de los Santos’ Service Provider may not be filled with marital bliss, but these one-act crowd pleasers are sure to keep you on the edge of your seat all night long.

La bohème MAY 4–19, 2024 THE ORDWAY

Finding love. Choosing family. On a bitterly cold winter’s night in the heart of Paris, a young woman’s search for a candle light fatefully sparks one of the most enduring love stories of all time. But can a love so great be sustained? Join Mimì, Rodolfo, and their bohemian friends as they find levity and joy amidst the hardship and struggle of a life in pursuit of art. Featuring some of the most captivating music ever written, Puccini’s La

Ticket Policies Refunds are currently available. Additionally, any ticket may be returned for a tax-deductible donation up until curtain by calling the Minnesota Opera Patron Services. We will send a tax receipt to you acknowledging the value of the ticket, minus any applicable fees. Parking Prepaid parking is available with an opera subscription at the Lawson Commons Ramp. Call 612-333-6669 or visit mnopera.org to purchase passes. Accessibility For patrons with disabilities, wheel-chairaccessible seats are available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. At the Ordway, accessible restrooms and other facilities are available, as well as braille or large-print programs and infrared listening systems. For more information, please visit mnopera.org/access.

bohème weaves moments of warmth and ecstasy together with anguish and heartbreak in this enduring story of love, loss, and life.

Ordway Policies Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break. Please have all cell phones and pagers turned to silent mode. Children under six are not permitted in the hall. Cameras and recording equipment are strictly prohibited in the theater. Please check items with an usher. Food and beverage are available for purchase prior to the show and during intermission. Water and other beverages are allowed in the theater (hot beverages require lids), but food is strictly prohibited. The phone number for emergencies is 651-224-4222. Please leave seat locations with the calling party. Lost and Found is located at the Stage Door. Call 651-282-3070 for assistance.

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

Autumn can’t seem to look up from their phones and Sam and Dinah can’t

THE ELIXIR OF LOVE 2023–24

and drinks. But there’s one problem… neither couple is happy. Beau and

H E A LT H + S A F E T Y

HEALTH AND SAFETY INFORMATION Commitment to Safety The health and safety of our staff, guests, and artists is our top priority, and we are following public safety guidelines from the Centers for Disease Control and Prevention (CDC) and the Minnesota Department of Health. Thanks to decreased COVID cases in the Twin Cities area and throughout the state of Minnesota, it has become easier to gather safely. Our up-to-date policies reflect these changes, but we continue to evaluate the environment, as well as the latest guidance from the Centers for Disease Control and the Minnesota Department of Health, and will adjust our health and safety policies accordingly. Please do not hesitate to reach out to us with any questions or concerns.

Mask Policy

Vaccination Policy

Masks are no longer required, but are welcome and encouraged.

Proof of COVID-19 vaccination and negative COVID tests are no longer required.

Guest Responsibility We still ask that guests stay home if they are sick or exposed to COVID-19. Please contact Minnesota Opera Patron Services (612-333-6669) to transfer your tickets to another performance, donate your tickets, or request a refund.

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For questions, comments, or more information about The Arts Partnership’s commitment to keeping you safe. Please contact Minnesota Opera Patron Services at 612-333-6669 or patronservices@mnopera.org.

Air Quality

Cleaning and Sanitizing

The Ordway’s air system brings in fresh air from the outside to help limit the spread of airborne viruses like COVID-19. In addition, several updates have been made to further improve air safety inside the Ordway.

In addition to the robust cleaning practices that were already in place, the Ordway has:

• Upgrading the heating, ventilation, and air-conditioning (HVAC) filtration to high-efficiency MERV 13 filters, following Minnesota Department of Health best practices. • Added HVAC controls and sensors to improve air velocity within the building and provide additional monitoring and control of the system by our facility engineers. • Removed forced air hand dryers in all restrooms, which have been shown to disperse a high quantity of bacteria into the air and replaced them with paper towel dispensers.

• Increased the frequency of cleaning throughout the building for high-touch areas in the front of house and back of house areas of the Ordway. • Added state-of-the-art practices including selfcleaning anti-microbial covers in high-touch areas where possible. • Set up hand-sanitizing stations throughout the venue. • Trained all employees in critical hand washing and cleaning guidelines. • Replaced waste receptacles with open top units so guests can throw out items without touching any surfaces.

HEALTH AND SAFETY POLICIES ARE ACCURATE AT TIME OF PRINTING AND ARE SUBJECT TO CHANGE.

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TROUBLE IN TAHITI/ SERVICE PROVIDER Minnesota Opera March 9-23, 2024

ATIVE. OV C N

STATE OF THE STATE

EST. IN ON H

NCO NTSOOV KEV CAI— A STORY OF REMEMBRANCE

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AB UIT LE. Q

U P CO M I N G E V E N TS AT T H E LU M I N A RY A R TS C E N T E R

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THANK

YOU Anonymous (6)

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Juliana and Bernie Simmons

* in remembrance

Maureen Kucera-Walsh Robert and Venetia Kudrle Robert and Barbara Kueppers Constance and Daniel Kunin James Kunz Dominika Kuzlak-Swanson John and Colles Larkin Kenyon S. Latham Elizabeth Laufers Mary Ash and Barry Lazarus Mrs. Cynthia and Dr. Lawrence Lee David and Darlene Lee Robert L. Lee and Mary E. Schaffner Peggy and Ilo Leppik Jonathan and Lisa Lewis

Kathleen and Stephen Olsen Dennis R. Olson Ruth and Ahmad Orandi

Kathleen K. Simo

David L. Ward

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

Jeffrey Indrelie

Mr. David MacMillan and Ms. Judith Krow

THE ELIXIR OF LOVE 2023–24

Ruth and John Huss

SPECIAL GIVING LEGACY CIRCLE The following lists donors who, through their foresight and generosity, have included Minnesota Opera in their wills or estate plans. Anonymous (2) Paul and Valerie Ackerman Thomas O. Allen Dr. and Mrs. Rolf Andreassen* Mary A. Andres Howard J. Ansel, MD Marcia J. Aubineau Karen Bachman Thomas and Ann Bagnoli Patricia Beithon Carol J. Bergeson Susan S. Boren King Al Bradley C.T. Bundy II* Margaret M. Carasik Jon L. Schasker* and Debbie Carlson George and Joan Carlson Richard and Darlene Carroll Robert Clough Dan and Julia Cross Mary Davidson

NAMED ENDOWMENT FUNDS The following endowment funds, created by visionary and generous donors, continue the work of Minnesota Opera for future generations. Art of Singing Endowment Fund

To support exceptional training for Resident Artists by providing learning opportunities with leading artists and experts.

COMMEMORATIVE GIFTS The following lists donors who have made gifts in honor or in memory of a loved one between July 1, 2022 and February 1, 2024.

MINNESOTA OPERA MNOPERA.ORG

IN HONORARIUM

Joelle Allen

Miquel Joenese Purvis Mcmoore Family Fund

Freda Andreini

Margaret Andreini

Mr. & Mrs. Glynn E. Behmen Sr. Family Glynn Behmen

Dr. Bianca Fine

Ruth Hurvitz and Alan and Janet Salle

Ruth and John Huss

Sally and Thomas Patterson

Dale Johnson

Mr. Kim A. Chapman and Ms. Elizabeth Longhurst

Julia W. Dayton* Charles M. Denny Jr. and Carol E. Denny* Susan Doty Anne P. Ducharme* Mary A. Ebert and Paul Stembler Rondi Erickson and Sandy Lewis* Ann Fankhanel Ester L. Fesler Salvatore Silvestri Franco Daniel E. Freeman Charles J. Frisch Dr. Paul Froeschl Katy Gaynor Ellen Green Mrs. Myrtle Grette Michelle Hackett Russell and Priscilla Hankins Anne Hanley and George Skinner Don Helgeson* and Sue Shepard Mary A. Hintz Elfrieda Hintze* Jean M. Holten John Humleker and Cordelia Anderson Kathleen and Robert Humphrey Steven and Nancy Johnson Charles and Sally Jorgensen Robert and Susan Josselson John and Kathleen Junek Markle Karlen

Warren and Patricia Kelly Blaine and Lyndel King Bill and Sally Kling Larry Klueh James and Liz Krezowski Robert L. Kriel and Linda E. Krach Robert and Venetia Kudrle Christl and Andrew Larson Jim Lawser Jr and Duane Bandel Mary Ash and Barry Lazarus Gerald and Joyce Lillquist Dawn M. Loven Tim Manych Barbara McBurney Orpha McDiarmid Family Fund Mary Bigelow McMillan Betty Meyers* John L. Michel and H. Berit Midelfort Karla Miller Kay Ness and Chris Wolohan Richard and Joan Newmark Scott J. Pakudaitis Derrill Pankow Debra Joyce Paterson Jose A. Peris and Diana Gulden Sydney Phillips* Tim and Mary Pieh Phyllis Price Brian and Patricia Prokosch Liane A. Rosel Ken Rothchild

Mary Savina Josef Schermann Mary H. and Christian G. Schrock Duane and Pamela Schroeder Frank and Lynda Sharbrough Robert Shearer and Joan Gustafson Andrew H. Stewart Jr and Anna Hargreaves Virginia and Edward Stringer Gregory C. Swinehart and Mitra Walter Ryan Taylor Dr. Anthony Thein John and Jill Thompson Stephanie C. Van D’Elden Mary W. Vaughan H. Bernt von Ohlen and W. Thomas Nichol Lola Watson William White Jean C. Wirsig* Wayne Zink and Christopher Schout Harvey Zuckman and Philip Oxman

Barbara White Bemis Fund for Artistic Enhancement

Founders Endowment Fund

Valerie and Paul Ackerman Endowment Fund

To enhance the quality of performances by providing funds to engage singers who have received awards through the Metropolitan Opera National Council Auditions.

Daniel E. Freeman Endowment Fund To support Minnesota Opera’s education programs.

Dolly Fiterman Fund for New Production Opera Design To support the creation of new productions by providing funds to engage designers and create new sets.

Natalie Losik

The Losik Savage Charitable Gift Fund

Jeninne McGee

Walter Berman

Theresa Murray

Schmiechen Charitable Fund

Susan Nudell Kalin

Mary Nudell & Dean Lee

Mary Ingebrand-Pohlad

The Cinda Collins Foundation

Mary Ingebrand-Pohlad

Sima Griffith Family Fund

Gale Sharp

anonymous

Andrew Sun

anonymous

Ryan Taylor

Kelley Dorhauer

Eva Weyandt

Michael Weyendt

To support new and innovative opera performances that honor the spirit, energy, and creativity of the founders in the beginning days of the Center Opera.

Joan Jacobs Rubenfeld Memorial Fund

To support the attendance of high school students at MN Opera performances.

Minnesota Opera Center Preservation Fund

To support Opera Center building improvements. The Preservation Fund recognizes the legacies of Judson Bemis and Kevin Smith, who through their leadership created the Opera Center.

IN MEMORIAM Eric Aanenson

Tracy Aanenson

Judson and Barbara Bemis Mrs. Sandra Roe

Ogden Confer

Beverly Baker

Ogden Confer

John and Ruth Huss Fund of The Saint Paul Foundation

Ogden Confer Phil Kliewer

Ogden Confer

Missy Staples Thompson Fund

Scott Krenz

Emerson Williams-Molett

Jack Lewis

Sue Nelson

Jack Lewis

Mary Kathleen Quinn

Liming Kelani Mueller Cynthia Campbell

Joan and Joe Nagle Sarah L. Nagle

John Risdall

anonymous

For more information on making estate plan arrangements, please contact Jeremie Bur at jbur@mnopera.org * in remembrance

To support the attendance of youth at Minnesota Opera performances.

Virginia L. Stringer Endowment of the Minnesota Resident Artist Program

To support the Resident Artist Program. The appearance of the Resident Artists in this production is made possible by this endowment fund.

William Randolph Hearst Endowment for Education and Outreach Programs

To support Minnesota Opera’s education and outreach programs.

John Risdall

anonymous

John Risdall

anonymous

John Risdall

anonymous

John Risdall

The Grant & Buerkle-Grant Family Fund

John Risdall

Tia Karelson

John Risdall

Toivo Kallas

John Risdall

Julia Hupperts

Nina Rothchild

Rothchild Family Fund

Joan Jacobs Rubenfeld

Dr. Marian R. Rubenfeld and Dr. Frederick G. Langendorf

Marilyn Joan Skantz anonymous

Herb Ward

Charles Allen Ward Fund

INSTITUTIONAL GIVING MINNESOTA OPERA G R A T E F U L LY A C K N O W L E D G E S ITS MAJOR INSTITUTIONAL SUPPORTERS:

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

Art and Martha Kaemmer Fund of the HRK Foundation

McVay Foundation

Romanaggi Foundation

Anonymous (2)

The Elizabeth C. Quinlan Foundation

Onan Family Foundation

Schwegman, Lundberg, & Woessner P.A.

Best Buy Foundation

Faegre Drinker

Opera Volunteers International

Boss Foundation

Hutter Family Foundation

Pachel Foundation

Bust Out

Margaret Rivers Fund

Peravid Foundation

Cultural STAR Program

Mayo Clinic

RBC Foundation

Tennant Foundation Travelers

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Esther Blevins, Associate Institutional Giving Director, at eblevins@mnopera.org.

MI NNE S OTA O PE RA S E AS O N S PO NS O R

Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

Dellwood Foundation

THE ELIXIR OF LOVE 2023–24

Anna M. Heilmaier Charitable Foundation

Fred C. and Katherine B. Andersen Foundation

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