Minnesota Opera's Maria Padilla Program

G A E TA N O D O N I Z E T T I

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JAIMY GRAHAM

Contents The Minnesota Opera Sta∂ and Volunteers. . . . . . . . . . . . . . . . . . . . . . 6 Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Board of Directors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Bel Canto Artistic Philosophy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Maria Padilla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Artist Profile: Brenda Harris . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Gaetano Donizetti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Pedro “the Cruel” in History . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Coming Up At The Minnesota Opera . . . . . . . . . . . . . . . . . . . . . . . . 20 The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . . . 22 Carmen Preview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 The Minnesota Opera Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 The Minnesota Opera 2005 – 2006 Season . . . . . . . . . . . . . . . . . . . . 28 Young Professionals Group Events . . . . . . . . . . . . . . . . . . . . . . . . . . 33

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

Kevin Smith Dale Johnson John A. Blanchard, III

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

March 2005

The Minnesota Opera Program is published by Arts & Custom Publishing Co., Inc. Corporate Administrator/Publisher Assoc. Publisher/Director of Production Senior Account Executives Creative Designer Production Designers

Todd Hyde Marsha Kitchel Liesl Hyde, Yvonne Christiansen Michael Gutierres Jill Adler, Sue Sentyrz Klapmeier, Robert Ochsner

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Large-print and Braille programs are available at the Patron Services O∑ce

LA TI DA

the minnesota opera • 6

Minnesota Opera Staff Welcome to today’s production of Maria Padilla. For more than four decades The Minnesota Opera has enriched the cultural life of our community by producing outstanding and innovative operas that inspire and entertain.

U.S. Bank is honored to sponsor the 2004 – 2005 season. We are proud of our 20+ year relationship with The Minnesota Opera and of our sponsorship at this great setting of the Ordway in St. Paul.

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

Thank you for coming and enjoy the performance.

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

President & CEO Kevin Smith Artistic Director Dale Johnson Artistic Artistic Administrator . .Roxanne Stou∂er Cruz Artistic Associate . . . . . . Floyd Anderson Community Education Director . . . . . . . . .

Jamie Andrews Dramaturg . . . . . . . . . . . . . David Sander Production Stage Manager . . . Alex Farino Assistant Stage Managers . . .Kristen E. Burke, Katie Preissner Head of Music . . . . . . . . . . .Bruce Stasyna Resident Artists . . . . . . .Raymond Ayers, Korey Barrett, Jonathan Carle, Theodore Chletsos, Anna Jablonski, Seth Keeton, Karin Wolverton, Christopher Zemliauskas RAP Faculty . . . . . . . . . . . .Nancy Boler, Carlotta Dradi-Bower, Matt Sciple Teaching Artist . . . . . . . . . .Angie Keeton KIDS . . . . . . . . .Lloyd Clausen, Paul Cochran, Mario Diaz-Moresco, Andrew Penning, Sara Sawyer Children’s Chorusmaster . . . . . . . .Janice Kimes Artistic Intern . . . . . . . . . . . . . . . . . .Matt Bluem Costumes Costume Director . . . . . . . .Gail Bakkom Assistant Costume Director . . .Beth Sanders Drapers . . . . . . . . . . . . . . . . . . .Chris Bur, Yancey Thrift, Angela Yarbrough First Hands . . . . . . . . .Helen Ammann, Valerie Hill, Stephanie Vogel Stitchers . . . . . . . .Rebecca Ballas, Jennifer Dawson, Christine Richardson Painter . . . . . . . . . . . . . . . . . . . .Marliss Jensen Wig/Makeup Supervisor . . . . .Marilyn Jordon Wig/Makeup Assistants . . . Janet Dromgoole Emily Rosenmeier, Ashley Ryan

Scenery Production Administrator . . Holly Carpenter Technical Director . . . . . . . . . . . Mike McQuiston Asst. Technical Director/ Lighting Coordinator . .Marc D. Johnson Properties Master . . Stanley Dean Hawthorne Properties Assistant . . . . . . . . Mike Long Charge Painter . . . . . . . . . . Debra Jensen Scenic Artist . . . . . . . . . . . .Michael Bolin Production Carpenter . . . . . . . . J.C. Amel Scene Shop Foreman . . . . . . . . Rod Aird Master Carpenter . . . . . . . . . . .Steve Rovie Carpenters . . . . . . . . . . Daniel Kimmerle, Eva Pranis, Eric Veldey Administration Finance Director . . . . . . . . . . Je∂ Couture Operations/Systems Manager . . . . . . . . . . . Steve Mittelholtz HR/Accounting Manager . . Jennifer Thill Executive Assistant . . . . . Theresa Murray Receptionist . . . . . . . . . . . . . . . . .Jill Pawelak Development Development Director . . .Patrick Dewane Individual Gifts Director . . . . .Dawn Loven Institutional Gifts Director . . Linda Johnson Institutional Gifts Associate/ Gala Coordinator . . . . . . .Kelly Classen Development Director Assistant . .Kelly Clemens Marketing/Communications Marketing Director . . . . . . . . . . .Carl Lee Communications Director . . . Lani Willis Ticket O∑ce Manager . . . . Andrea Corich Marketing & Communications Assistant/ Volunteer Coordinator . . . . . . .Reid Tuenge

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

CAFE LATTE 4C

Harry Swepston (Volunteer Chair) Ann Albertson Gerald Benson Colleen Boyer Jim Brownback* Sue Brownback Jerry Cassidy Joann Cierniak Tricia Clarke Susan Cogger Caroline Coopersmith Lindsay Craig Beverly Dailey* Jeanette Daun Lee Drawert Judith Duncan

Sally Economon Hazel Francois Jane Fuller Joan Gacki* Christine A. Garner* Juhi Gupta-Gulati Mark Gustin Mary E. Hagen Lucinda Hallet John Harris* Anne Hesselroth Alisandra Johnson Karen Johnson Nancy Johnson Steve Johnson Jeannie Johnston Robin Keck Eleanore Kolar

Lucinda Lamont Shirley Larson Jerry Lillquist Joyce Lillquist Abby Marier Margery Martin Joan Masuck Mary McDiarmid* Beth McGuire Verne Melberg Irma Monson Barbara Moore Doug Myhra Pam Nielsen Dan Panshin Pat Panshin Liliana Payne Megan Pelka

Sydney Phillips Bill Phillips Julia Porter John Rosse Florence Ruhland John Sauer Michael Silhavy Wendy Silhavy Angie Solomon Wendi Sott Dawn Stafki Dave Terwilliger Doris Unger Carolyn Wahtera Mary Weitz Barbara Willis* *Lead volunteer

Notes from the Leadership

Board of Directors

Welcome to this new production of Maria Padilla!

Donizetti wrote passionate, exciting music that leaves an audience thrilled from the overture to the final high note of the opera. The tenor’s dramatic and unusual mad scene is an extraordinary example and led to the obvious casting choice of Bruce Ford, who is one of the preeminent bel canto tenors today and certainly an audience favorite! Don’t miss his CD signing following the March 13 matinee. Maria is a tour de force role and there is no one in the world who can sing it better than Brenda Harris, who returns after a season’s absence to give a performance that will surely be as unforgettable as her Norma was in 2003. English baritone Ashley Holland debuts as Pedro the Cruel, and Resident Artist Karin Wolverton is featured as Ines.

You may notice a difficult dramaturgical aspect of this opera – the entire opera builds toward a tragic ending, but all of the sudden, there’s a happy outcome (as you can read in your program notes, the original ending was intended as tragic, but the censors would not allow it). This tension inspired director Jose Maria Condemi, set designer Cameron Anderson and costume designer Gail Bakkom.

They chose to visually contrast the very different social worlds of Maria and Pedro, worlds that in some ways don’t belong together. While the outcome is a happy one for those two characters, there is some question about how their marriage will fare politically – as conductor Francesco Maria Colombo notes, you can hear that foreshadowing in the final notes of the finale.

Enjoy the opera!

Dale Johnson Artistic Director

Officers John A. Blanchard, III, Chair Rolf Engh Vice Chair Lynne E. Looney Secretary Thomas J. Foley Treasurer Kevin Smith, President & CEO

Directors Karen Bachman Susan S. Boren Nicky B. Carpenter Richard P. Carroll Jane M. Confer Susan J. Crockett Sara Donaldson Brad F. England John G. Forsythe Steve Fox Sharon Hawkins Directors Emeritus Karen Himle Burt Cohen Ruth S. Huss Julia W. Dayton Heinz F. Hutter Mary W. Vaughan Paula R. Johnson Lucy Rosenberry Legal Counsel Jones James A. Rubenstein, Michael F. Kelly, Jr. Moss & Barnett Elizabeth “Becky” Malkerson Honorary Directors Thomas R. Dominick Argento McBurney Philip Brunelle Brian E. Palmer Elizabeth Close Jose Peris Dolly Fiterman Steve Rothschild Charles C. Fullner Stephanie Simon Norton M. Hintz Catie Tobin Donald W. Judkins H. Bernt von Ohlen Liz Kochiras Jevne Pennock Patricia H. Sheppard

from the President Welcome to our 2004-2005 bel canto offering, Maria Padilla!

Bel canto (“beautiful singing”) is the ideal upon which Italian opera is based as well as the inspiration for this company’s artistic philosophy. Bel canto values, which emphasize intense emotional expression supported by exquisite technique, inform every aspect of The Minnesota Opera’s programs, from repertoire selection, casting and visual design to education and artist training.

The Minnesota Opera has been proud of the critical attention showered on us in recent seasons for offering what Opera News called “the most daring programming in America” — work that The New York Times called “terrifically compelling.” Our bel canto productions have been a lynchpin of our programming since 2000, in addition to our commitment to contemporary work and the greatest operas in the standard repertoire. Wall Street Journal gave us accolades for “sticking to our artistic guns”…“while most American operas traded risky programming for safer options.”

But praise alone can’t build a new production of a neglected masterwork. That requires the support of you, our audience and patrons, and the support of corporations, foundations and government funding. It is with gratitude that I acknowledge a $25,000 grant from the National Endowment of the Arts. This gift makes the production before you possible, and also validates the artistic vision of this company.

Today The Minnesota Opera is enjoying unprecedented stability and unity of mission, working toward its vision to create a new, dynamic opera company model based upon innovation, world-class artistic quality and strong community service. Thank you for your continued contribution to our vision with your attendance and support. Enjoy the performance!

Kevin Smith President & CEO

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from the Artistic Director

the minnesota opera • 8

ballroom 2

courtyard

mad scene 2

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Bel Canto Artistic Philosophy The Minnesota Opera’s artistic philosophy is inspired by bel canto (“beautiful singing”), the ideal upon which Italian opera is based. Bel canto values, which emphasize intense emotional expression supported by exquisite technique, inform every aspect of the company’s programs, from repertoire selection, casting and visual design to education and artist training. The Opera you are about to enjoy represents a continuation of The Minnesota Opera’s committment to produce works from this rich body of early 19thcentury Italian masterpieces.

Bruce Ford in Lucrezia Borgia

Sumi Jo and Vivica Genaux in The Capulets & The Montagues

Brenda Harris in Semiramide

Irini Tsirakidis in Lucrezia Borgia

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

Conductor . . . . . . . . . . .Francesco Maria Colombo Stage Director . . . . . . . . . . . .Jose Maria Condemi Set Designer . . . . . . . . . . . . . .Cameron Anderson Costume Designer . . . . . . . . . . . . . . .Gail Bakkom Lighting Designer . . . . . . . . . . . .Michael Murnane Wigs and Makeup . . . . .Tom Watson & Associates Chorusmaster . . . . . . . . . . . . . . . . .Bruce Stasyna Production Stage Manager . . . . .Alexander Farino English Captions . . . . . . . . . . .Christopher Bergen

Music by Gaetano Donizetti Libretto by Gaetano Rossi after François Ancelot’s play (1838) World premiere at the Teatro alla Scala, Milan December 26, 1841 March 5, 8, 10, 12 and 13, 2005 Ordway Center for the Performing Arts Sung in Italian with English captions

The Cast Maria Padilla . . . . . . . . . . . . . . . . . Brenda Harris Don Ruiz di Padilla, her father . . . . . . . Bruce Ford Don Pedro, Prince of Castile . . . . . Ashley Holland Ines, Maria’s sister . . . . . . . . . . . Karin Wolverton Don Ramiro, Duke of Albuquerque . . Raymond Ayers Don Luigi, Count of Aguilar . . . Theodore Chletsos Don Alfonso di Pardo . . . . . . . . . . . . .Seth Keeton Francisca, Maria’s duenna . . . . . . . Anna Jablonski Bianca of France . . . . . . . . . . . . . . . . .Lynn Rotto Courtiers, cavaliers, pages, French envoys, servants, townspeople Setting: Castile, Spain

By arrangement with Boosey & Hawkes, Inc., agent in the usa for Josef Weinberger, Ltd., London, publisher and copyright owner.

The appearances of Theodore Chletsos, national finalist, Anna Jablonski, regional finalist, and Seth Keeton, 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.

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

Background Notes by David Sander he Carnival of 1841–42 featured auspicious programming for Milan’s Teatro alla Scala, which presented important premieres by three of Italy’s most significant composers. Gaetano Donizetti opened the season on the traditional date, the day after Christmas, with a new work, Maria Padilla. On January 6, Giovanni Pacini launched the Milanese premiere of Saffo, which had been first seen in Naples just over a year before. And a young Giuseppe Verdi presented Nabucco, his third opera to date, on March 9. Interspersed among them was a series of less favorably received works – revivals of Bellini’s La straniera and Donizetti’s Belisario (the latter of which was disastrously sung by Verdi’s first Abigaille, the vocally distressed Giuseppina Strepponi) and a new opera by Alessandro Nini entitled Odalisa. It has been suggested that Nabucco’s success eclipsed that of Maria Padilla, but in fact it was Saffo, Pacini’s greatest work, which did the deed – Maria Padilla closed on February 20 after 23 performances, three weeks before anyone had laid eyes on Verdi’s first big hit.

T

The Minnesota Opera season is sponsored by U.S. Bank, Private Client Group.

The appearances of the 2004–2005 season conductors are underwritten by SpencerStuart.

The 2004–2005 Camerata Circle Dinners are sponsored by Rider Bennett.

Opera Insights is sponsored by Thrivent Financial for Lutherans.

Intermission reception sponsored by Lowry Hill Private Wealth Management.

Rogers & Hollands is the Official Jeweler of The Minnesota Opera.

many innovations, much like Verdi would do over the next 11 years. In most of his scenes, the composer sticks to the conventional double aria slow-fast structure, but also includes melodic arioso passages in his recitatives (for example, Don Pedro’s first appearance in Act i and Maria’s opening of Act iii). He experiments with larger dramatic frameworks, such a s Ru i z ’ s m a d scene in Act iii, inserting a larghetto romanza section between two allegro movements, essentially creating a triple aria structure. In fact, by this time in his career, he had begun to decelerate many of his cabalettas for dramatic effect (at times slower than the preceding cavatina), marking the tempo maestoso, moderato Scenic design by Cameron Anderson or even andante instead of the more lively allegro assai, vivace or presto. His ensembles also break form – duets (for example, the slow section of Ines and Maria’s stellar Act ii duet) become less repetitive and larger ones, such as the sextet at the end of Act i, break with traditional formulae (we already had seen the seeds of this in the male ensembles of Lucrezia Borgia), offering more diverse reflection and independence of thought. Finally, we see a more imaginative use of orchestra throughout (aspects Donizetti picked up in France), from mood-setting orchestral introductions to the use of a poignant solo English horn to underscore the touching Act iii trio.

Most significantly, we see a notable reallocation of voice types. Typically the tenor would be the main love interest; instead Donizetti gives this voice to the father – the first Ruiz was Domenico Donzelli, who at age 51 was nearing the end of his career. Ruiz is a character closer to his real age and the relatively low tessitura better suited his voice at that time (rather atypical of the era, the tenor is emasculated by the baritone and is given a mad scene). Similarly, though the lower-voiced baritone range reveals the darker character of Pedro, the voice sits rather high, anticipating the hybrid tenor/baritone Verdi would exploit in the coming years (the first Pedro, Giorgio Ronconi, was a prototype and would come to sing the title role of Rigoletto for the London premiere of Verdi’s opera).

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The lackluster run of Maria Padilla marked a difficult moment in Donizetti’s career. It had been seven years since he had been offered a commission by the management of La Scala, though the theater regularly programmed his other works. There appeared to be some bad blood between the composer and impresario Bartolomeo Merelli since the unfortunate premiere of Maria Stuarda in 1835.

Originally intended for Naples, the opera, which was based on the historical conflict between Mary Stuart and Elizabeth i of E n g l a n d, wa s banned by the king himself (his wife, Maria Cristina, directly descended from the illfated Queen of Scots). Instead, it was hastily refitted into Buondelmonte, a story involving the 13th-century struggle between the Guelphs and Ghibellines. Soprano Maria Malibran had great respect for Maria Stuarda and demanded to be cast in the title role when the work came to Milan. Though the censors had made some changes, Malibran defiantly delivered the most offensive line to her rival Elisabetta, “vil bastarda.” The diva believed her fame would carry this serious breach of conduct, but after only six performances, the police shut the production down.

Coincidentally, Maria Padilla also ran afoul of the censors.

François Ancelot’s original play, which Donizetti may have seen after it premiered in Paris on October 29, 1838, concluded with Maria’s self-stabbing after she steals the crown from Blanche of Bourbon’s head. Suicide could be a tricky issue for the censors – in Rome and Naples it was commonly banned outright, and though Milan waffled both ways, in this case the censors followed suit. They instead insisted Maria simply die of joy, brought on by the fulfillment of her dream of being recognized as Castile’s rightful queen, an ending at which Donizetti balked. Soon after the performances had begun, he changed the tragic denouement to a happy one – Pedro acknowledges her as his wife and Maria’s father regains his sanity.

With this new, yet still dramaturgically flawed ending (set to a glitzy new cabaletta for its star), the opera remained popular for about two decades, achieving 50 different productions before it fell into obscurity.

Nonetheless, it is a masterpiece of the bel canto era.

Granted, Donizetti followed several of the expected conventions, but by his mature period, he had introduced

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Artist Profile: Brenda Harris An interview by Lauren Rico

Broadcast Host Lauren Rico For the last 15 years, Lauren Rico has been able to combine her love of music with her passion for public radio. A longtime student of the French horn, Lauren holds a Master’s degree from George Mason University. She has worked at numerous radio stations in cities across the country including Tampa, Washington DC, New York City and Charlotte. Lauren has been on the staff of Classical 24, Minnesota Public Radio’s national classical music service since 1999. In 2001, she received the Gracie Allen Award for Best National Radio Special from the Association of Women in Radio and Television for Instrumental Women: Orchestrating Change, a series on the role of women in American orchestras. She has served as host and producer of The Minnesota Opera broadcasts since 2001.

Synopsis act ii

act iii

Scene one – The Castle of Padilla Ines prepares for her impending nuptials with Don Luigi. The festivities remind Maria of a dream she once had – she too was led to the altar, and then to the throne as Queen of Castile. Ines denounces her sister’s reckless ambition, and Maria consoles herself with thoughts of Count Mendez, who arrives presently. As the wedding takes place, Mendez tenderly addresses Maria, and she is again consumed by her vision.

A room in the royal palace Two years later, Pedro is now King of Castile, but Maria is still kept as a royal mistress.

Courtiers praise her beauty, yet scorn the liaison. The Queen Mother and the Prime Minister, Don Ramiro, have arranged a politically advantageous marriage between Pedro and Bianca of France – she is en route as they speak.

Don Ruiz di Padilla is angered by his daughter’s dishonor, and Ramiro sees an opportunity to use a father’s rage for his own benefit.

Ines learns from Maria that Luigi has been pardoned for killing Pedro’s favorite, Don Alfonso, during a failed revolt. Ruiz was also saved, but Maria weeps, for he will not forgive the shame she has brought to his house.

Pedro enters the room and is immediately confronted by Ruiz, who eventually challenges him to a duel. The king can barely restrain his rage, yet rather than demanding the old man’s execution, orders a beating instead. As Maria begs for mercy, Ines reproaches Pedro for his cruelty. Cursing the day she fell in love, Maria and her sister leave to attend to their injured father.

Scene one – Don Luigi’s modest apartments Three days after their father’s beating, Maria and Ines lament his pitiable state.

As Ruiz stirs, Maria pleads for his forgiveness, but it becomes clear his mind has altered. In a desperate effort to restore his sanity and to prove her purity, Maria produces the legal document legitimizing her marriage to the king. At the sight of the royal seal, Ruiz sets the parchment ablaze, in order to rid them of the destruction Pedro has brought to their family. In the distance, the arrival of Bianca can be heard, and Maria becomes newly determined to assert her matrimonial rights.

Scene two – Maria’s bedchamber As Maria prepares to retire for the evening, Francisca enters the room in an agitated state – there is a plan afoot to abduct her charge. The castle guards have been sufficiently bribed by the king’s son, Don Pedro, who posed earlier as Mendez. Surprised, Maria wonders if the dream is truly her destiny. As Pedro enters the room, Maria prudently defends her honor with a dagger. She derides his deception, but he counters with a marriage proposal. As they revel in their happiness, Pedro confesses that, for the moment, their union must remain a secret. Maria agrees, though with some trepidation.

– intermission –

Scene two – The throne room of the palace Courtiers joyously receive the noble bride and the coming of peace within the realm. Pedro privately bemoans the demands of royal duty and his betrayal of Maria. As the crown is about to be placed on the head of his new bride, Maria rushes into the room. Asserting her marital rights, she grabs the crown and places it upon her own head. She forces the king to face the raving Ruiz and the consequences of his rash act.

Pedro recognizes Maria as his queen in spite of unsettled murmuring amongst the courtiers who fear French retaliation.

– intermission –

Scenic design by Cameron Anderson

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act i

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Gaetano Donizetti b Bergamo, November 29, 1797; d Bergamo, April 8, 1848

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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 and had the good fortune to study with Giovanni Simone Mayr, maestro di cappella at Santa Maria Maggiore. Originally from Bavaria, Mayr was a successful composer in Italy during the era preceding 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, who in later years as impresario of La Scala 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, Zoraide di Grenata.

His career was just getting started.

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 a multi-year contract with the royal theaters. Like Rossini he had the ability to work at the increasingly rapid

Scala/Art Resource, NY

Gaetano Donizettti, portrait by Arturo Rietti

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 operatic gems.

Anna Bolena (1830) gained Donizetti international esteem and was indicative of the composer’s healthy appetite for English history. Two later works of distinction, Maria Stuarda (1835) and Roberto Devereux (1837) complete what is known as the “Tudor trilogy.” L’elisir d’amore (1832), La fille du régiment (1840) and Don Pasquale (1843) demonstrated his expert handling of lighter subjects, while Lucrezia Borgia (1833), Gemma di Vergy (1834), Lucia di Lammermoor (1835), Maria de Rudenz (1838) and Maria Padilla (1841) displayed the composer’s mastery of the Italian melodrama fueled by 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, and also perhaps the responsibility he may have 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 in favor of another composer, Saverio Mercadante, chiefly because he was a native Neapolitan. After a 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 before.

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.

Pedro “the Cruel” in History Iberian monarchs, though their secret mistresses always begat unfortunate results. In the case of Inés de Castro, King Affonso of Portugal needed his son unencumbered for another royal match (to a Castilian princess this time) and had her poisoned. Once king, Dom Pedro brutally ripped out the hearts of all involved in the plot and allegedly exhumed Inés’s corpse to be stuffed and forever placed in his adoring presence.

The consequences of Alfonso’s affair with Leonor were even more dire and everlasting. Immediately after his father’s death in 1350, Pedro locked Leonor up, likely at the urging of his mother (and Pedro of Portugal’s sister), María Affonsez of Portugal, who had been extremely jealous of her rival. Alfonso’s eight sons by Leonor, the Trastámaras, did not take a liking to their mother’s harsh treatment, and later, her execution. The leading Trastámaran, Enrique, made his own claim to the throne, having been born before his half-brother Pedro. Though royal bastards were generally excluded from succession, Enrique and his siblings rallied enough support to engage Castile in a bloody civil war. There were occasional truces, and though Enrique and brother Tello were invited and even participated in Pedro’s wedding to Blanche, another brother, Fadrique, was a constant menace and was put to death in María’s presence, Continues on page 32

Costume designs by Gail Bakkom

M

Alfonso xi’s relationship with Leonor de Guzmán (operatically realized in Donizetti’s earlier opus, La favorite) and his uncle Dom Pedro (also “the Cruel”) of Portugal’s liaison with Inés de Castro (a subject set more than 20 times, most notably by composers Zingarelli and Persiani; Hugo’s first play was also on this subject). The coronation scene, however, and Don Ruiz’s madness are mere fabrications. Pedro was indeed forced to marry Blanche (a cousin to French king Charles V), but abandoned her only two days after the ceremony.

Eventually he put his young bride in prison, but not before she had one last stand. While in transit to Toledo, she sought refuge in a local church, and refusing to leave, managed to organize a small rebellion. Pedro likely ordered her execution in 1361, the same year as María’s natural death (it’s not a stretch to imagine how he earned the notorious appellation). During this tumultuous period, the Castilian king married a third time, to Inés de Castro’s sister Juana, angering the Pope – it was subsequently annulled due to Pedro’s thenexisting marriage to Blanche. And, in 1362, to legitimatize his heirs Alfonso, Beatriz, Constanza and Isabella, Pedro announced before the cortes that he had been secretly married to María de Padilla the entire time. Thus, at some point when all the women were still alive, Pedro had had three wives at once.

Yet polygamy was never a problem for these medieval

15 • m a r i a p a d i l l a

aria Padilla not only marks a high point in Donizetti’s compositional style, but also in the genre of the Romantic drama. As a second-rate follower of Victor Hugo, French playwright François Ancelot naturally went along with the trend, putting historical figures on stage in fictionalized situations.

In his day, he was a leading author, whose drama Têtes rondes et cavaliers had been turned into I puritani in 1835 by Vincenzo Bellini and Felice Romani, and he had already served Donizetti once before when his Élisabeth d’Angleterre became Roberto Devereux in 1837, to a libretto by Salvadore Cammarano.

Donizetti wanted the overcommitted Cammarano for this project as well, but instead he ended up with Gaetano Rossi, a more conventional poet who had already had a long career writing for Mayr, Rossini (Tancredi and Semiramide), Meyerbeer, Pacini and Mercadante (he would also collaborate on Donizetti’s next opera for Vienna, Linda di Chamounix).

It’s true the real María de Padilla was the mistress of Pedro “the Cruel” of Castile (r 1350–69), whom he is said to have married and who was frequently at odds with the Duke of Albuquerque for her political machinations (in his play, Ancelot made more of her involvement in politics, as well as painting María in a much less flattering light; curiously it was in Albuquerque’s home where the couple had first met in 1352). Pedro had merely followed the custom set forth by his father

Ruiz Maria

Pedro

Ines

Bianca

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

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

The Artists Raymond Ayers

Theodore Chletsos

Don Ramiro Minnesota Opera Resident Artist Recently Madame Butterfly, The Minnesota Opera Fiddler on the Roof; Faust; Susannah; Roméo et Juliette, Chautauqua Opera Mirandolina; Madame Butterfly; The Seagull, Manhattan School of Music Bach Cantata No. 80, Princeton Symphony Orchestra Apprentice Artist – Académie Internationale d’Eté de Nice Upcoming Carmen; Nixon in China; Tosca; Don Giovanni, Minn. Opera

Don Luigi Minnesota Opera Resident Artist Recently Madame Butterfly, The Minnesota Opera Amahl and the Night Visitors, Minnesota Orchestra Les contes d’Hoffmann; Student Prince; others, Central City Op. Roméo et Juliette; La bohème, Indianapolis Opera L’elisir d’amore; Roméo et Juliette, Lyric Opera of Kansas City Ariadne auf Naxos; Le trouvère, Sarasota Opera Upcoming Carmen; Tosca; Don Giovanni; Elephant Man, Minn. Opera Vanessa, Central City Opera

Bruce Ford

Brenda Harris

Don Ruiz Minnesota Opera Debut The Abduction of Figaro, 1984 Recently Il barbiere di Siviglia, Opéra National de Paris – Bastille Mitridate; Tito, Royal Opera House – Covent Garden Zelmira, Edinburgh Fest.; Ermione, Dallas Opera Idomeneo, Maggio Musicale Fiorentino; De Vlaamse; Liceu Lucrezia Borgia; La clemenza di Tito, The Minnesota Opera Upcoming Tamerlano, Netherlands Op.; Il re pastore, Théâtre de la Monnaie Adelaide di Borgogna, Edinburgh Festival; Idomeneo, Liceu

Maria Padilla Minnesota Opera Debut Armida, 1993 Recently Elektra, Austin Lyric Opera Don Giovanni, Atlanta Opera La finta giardiniera, New York City Opera Vanessa, Opéra National du Rhin (Strasbourg) La clemenza di Tito, Metropolitan Opera; Opéra du Rhin Norma; Tito; Semiramide; others, The Minnesota Opera Upcoming The Consul, Arizona Opera; Orazi & Curiazi, Minn. Opera

Ashley Holland

Anna Jablonski

Don Pedro Minnesota Opera Debut Recently Falstaff; Ernani; others, English National Opera Lucia di Lammermoor, Lyric Opera of Chicago Parsifal, Grazer Opera Don Giovanni, Royal Opera House – Covent Garden La vera storia, Staatsoper (Hamburg) La bohème; Falstaff, Semperoper (Dresden) Upcoming La traviata, Opera Pacific Billy Budd, English National Opera

Francisca Minnesota Opera Resident Artist Recently Chautauqua Opera Young Artist Program Le nozze di Figaro, The Astoria Music Festival Il barbiere di Siviglia, Portland SummerFest Magic Flute; Passion; Rigoletto; Handmaid’s Tale; La traviata; Dutchman; The Merry Widow, The Minnesota Opera La Cenerentola, Portland State University Albert Herring; others, Bel Canto nw Upcoming Carmen; Nixon in China, The Minnesota Opera

IVEY AWARDS 4C

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

Don Alfonso Minnesota Opera Resident Artist Recently Madame Butterfly; The Magic Flute; Passion; Lucrezia Borgia; Rigoletto, The Minnesota Opera Amahl and the Night Visitors, Minnesota Orchestra La bohème; Roméo et Juliette; Don Giovanni, Chautauqua Op. La bohème; Dead Man Walking; La traviata, Austin Lyric Op. A Midsummer Night’s Dream, Central City Opera Upcoming Carmen; Tosca; Don Giovanni, The Minnesota Opera Death in Venice; Lucie de Lammermoor, Glimmerglass Op.

Cameron Anderson Set Designer Minnesota Opera Debut Recently Così fan tutte, Seattle Opera Young Artist Program La bohème, San Francisco Opera Center Susannah; Roméo et Juliette, Festival Opera (Walnut Creek, ca) Così fan tutte, Opera Theatre of Lucca (Italy) Much Ado About Nothing, Shakespeare and Company Upcoming The Barber of Seville, Opera Theatre of St. Louis Don Giovanni, Wolf Trap Opera Measure for Measure, Garson Theatre Company

Francesco Maria Colombo Conductor Minnesota Opera Debut Recently The Telephone; The Medium, Spoleto Festival (Italy) Les contes d’Hoffmann, Brescia; Como; Cremona; Pavia (Italy) Lucia di Lammermoor, Thessaloniki Opera (Greece) Guest Conductor – Orchestra Sinfonica G. Verdi (Milan); Orchestra della Toscana (Florence); Orch. Sinfonia Siciliana (Palermo); Frankfurt Opera; Mexico City Phil.; others Upcoming I puritani, Thessaloniki Opera; Tosca, Opera Carolina Guest Conductor – Verdi Orch.; Toscanini Orch. (Parma)

Karin Wolverton Ines Minnesota Opera Debut Lucia di Lammermoor, 2001 Recently The Magic Flute; Passion; Rigoletto; The Handmaid’s Tale; Norma; The Merry Widow; Don Carlos; others, Minnesota Opera The Student Prince, Central City Salome, Des Moines Metro Dvorak Te Deum; Amahl, Minnesota Orchestra Upcoming Carmen; Don Giovanni, The Minnesota Opera Les contes d’Hoffmann, Des Moines Metro Opera

Gail Bakkom Costume Designer Minnesota Opera Debut The Village Singer, 1982 Recently Lucretia Borgia; Rigoletto (2003); La traviata; Macbeth; The Marriage of Figaro (tour); Otello; Faust; Madame Butterfly (tour); The Merry Widow (1994); Frankenstein; Snow Leopard; Cinderella (tour); Rigoletto (1987); South Pacific, The Minnesota Opera Seven Sevens, New Music Theatre Ensemble

Jose Maria Condemi Stage Director Minnesota Opera Debut Recently Don Giovanni, Cincinnati Opera Così fan tutte, Seattle Opera Young Artist Program Un ballo in maschera, Canadian Opera Company Suor Angelica; Gianni Schicchi; La bohème, San Fran. Opera Center L’elisir d’amore; Don Pasquale, Opera San Jose Recently Falstaff, Houston Grand Opera (Associate Director) Così fan tutte, San Francisco Opera (revival) Il trovatore, Austin Lyric Opera

17 • m a r i a p a d i l l a

Seth Keeton

The Artists

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

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

The Artists Michael Murnane Lighting Designer Minnesota Opera Debut Ariadne auf Naxos, 1987 Recently The Magic Flute; La traviata, The Minnesota Opera Elijah’s Wake; The Holiday Pageant, Open Eye Figure Theater Nutcracker Fantasy, Minnesota Dance Theatre Glamorama, Marshall Field’s (Minneapolis; Chicago) Theater credits – Arizona Theatre Co.; Vocal Essence; Chanhassen Theatres; Illusion Theater; Jungle Theater; Children’s Theatre; Minn. Dance Theatre; Minn. Orchestra

Bruce Stasyna Chorusmaster Minnesota Opera Debut Der Rosenkavalier, 2000 Recently Madame Butterfly; The Magic Flute; others, Minn. Opera Madame Butterfly; La Cenerentola, Des Moines Metro Opera Fidelio, Minnesota Orchestra Die ägyptische Helena, American Symphony Orchestra The Barber of Seville; Tito; Don Pasquale, Wolf Trap Opera Upcoming Carmen; Nixon in China, The Minnesota Opera Sweeney Todd, National Symphony; The Latest Word, Wolf Trap

Met winner??

National Council Auditions Minnesota District Auditions November 13, 10am at Ordway Center for the Performing Arts Master Class with Cynthia Munzer November 14, 1pm at Landmark Center Upper Midwest Regional Auditions February 19, 10am at Ordway Center All events are free and open to the public.

For more information, please call 763-476-2372 (Judith Boylan, Upper Midwest Reg. Dir.) or 952-938-6908 (Margaret Houlton, MN District Dir.)

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

The Minnesota Opera Chorus Lori Barrett-Pagano Kelsey Bruso Karen Bushby Lisa Butcher Madeline Cieslak Benjamin Crickenberger Steve Dahlberg Mario Diaz-Moresco Molly Dimba Jennifer Eckes Andrew Elfenbien Rachel Frazin Jack Gunderson April Hanson Katherine Haugen Robin Heggen Ben Johnson Brian Jorgensen

Jennifer Josephsen Mark Josephsen Callie Kimball Brian Kuhl Paula Lammers Peter Larson Shirley Leiphon Elizabeth Longhurst Tom Matchinsky Mary Monson Matthew Neil Laura Nichols Glenn Olson James Plante Peter Robinson Dominick Rodriguez Christopher Russell Steve Sandberg

Joy Scheib Joel Swearingen

Supernumeraries John Blaska David Mehl James Monson Tommy Thompson

Resident Artists covering principal roles Raymond Ayers – Don Pedro Theodore Chletsos – Don Ruiz Anna Jablonski – Ines

The Minnesota Opera Orchestra Violin I WBAQ 4C

Kristen Christensen concertmaster Julia Persitz David Mickens Allison Jones Judy Thon-Jones Andrea Een Kari Giles Miriam MoxnessGriffiths

Violin II Elizabeth Decker Stephan Orsak Melinda Marshall Carolin Kiesel Johnson Margaret Humphrey Almut EngelhartKachien

Viola Annette Caruthers Vivi Erickson Laurel Browne Jenny Lind Nilsson Susan Janda

Adriana LaRosa Ransom Charles Hodgson Michael Petruconis Rebecca Arons Goetz Lawrence Barnhart Thomas Austin

Bass

Trumpet

John Michael Smith Constance Brown Michael Watson

John G. Koopmann Christopher Volpe

Trombone Flute Michele Antonello Frisch Amy Morris (double piccolo)

Sue Roberts Rick Gaynor David Stevens

Timpani Kory Andry

Oboe Marilyn Ford Michael Dayton (double English horn)

Percussion

Clarinet

Harp

Sandra Powers Nina Olsen

Min J. Kim

Matthew Barber Paul Hill

Personnel Manager Bassoon Coreen Nordling Laurie Hatcher Merz

Cello

Horn

Jim Jacobson

Charles Kavalovski

Steve Lund

Coming Up: 23 • m a r i a p a d i l l a

APRIL 16, 17, 19, 20, 21, 22, 23, 24 Sung in Spanish with English translations projected above the stage.

For tickets, call 651-224-4222

1991 The Minnesota Opera created the legendary that launched the career of Denyce Graves and, IlikenCarmen its heroine, became a modern myth. Seen and celebrated throughout the world, the dramatic and sexy Keith Warner production returns for one final run on its home stage.

“This production of Carmen put The Minnesota Opera on the map,” Artist Director Dale Johnson said. “Few will forget the power that Keith Warner brought to the undeniable masterpiece, making it fresh, alive, contemporary and sexy. In its stark simplicity the production uncovers the mysteries of Carmen and her complicated relationship with Don Jose. Warner was unafraid to be funny, provocative, violent and over the top. Our Carmen has traveled more miles than almost any American opera production. It is with great pride we present this daring production to The Minnesota Opera public one more time before its retirement.”

Making her Minnesota Opera debut as Carmen is Rinat Shaham, who comes to the Twin Cities from Glyndebourne’s Carmen. Sharing the role in this double-cast production is Kirsten Chávez. Scott Piper, who sang the Duke in the company’s recent Rigoletto, appears as Don Jose. Roseville native Karin Wolverton sings Michaëla, and Matthew Arnold and Jonathan Carle alternate as Escamillo.

John Keenan conducts.

Georges Bizet’s Carmen is sung in French with English captions projected above the stage. The opera runs April 1624, 2005, at Ordway Center for the Performing Arts. Call 651-224-4222 for tickets.

Carmen is sponsored by American Express Minnesota Philanthropic Program.

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

The Minnesota Opera at The Home Design Show The Minnesota Opera is proud to partner with The Design Center at International Market Square for its 2005 Home Design Show. The annual show is this region’s largest and most prestigious

consumer design event, and a great affair for anyone interested in the art, furnishings, finishings and techniques that combine to create beautiful spaces in our homes and offices.

Among the highlights—four exquisite Showcase Rooms, inspired by The Minnesota Opera production of Carmen and designed by three of the region’s leading designers—Michele Eich, Lola Watson and Kathryn Johnson. Each room is designed to capture the personality of one of the opera’s central characters. Actual costumes used in our productions will also be on display.

From 5-7 p.m. on March 18 and Noon to 2 p.m. on March 19, designers will be in their rooms to discuss the opera as inspiration. They will be joined

by Minnesota Opera volunteers, who will answer questions about our upcoming production of Carmen and our organization.

2005 Home Design Show at International Market Square Dates and times Friday, March 18, 1 p.m. – 8 p.m.

Saturday, March 19, 10 a.m. – 5 p.m.

Location International Market Square is located in the historic Munsingwear Building at the intersection of Lyndale and Glenwood Avenues in Minneapolis.

Admission Tickets are $15 and can be paid via cash or credit card. One ticket is good for the entire weekend and includes admissions to all seminars, showrooms and presentations.

Information 612-338-6250 www.imsdesignshow.com

t h e m i n n e s o t a o p e r a • 26

The Minnesota Opera Fund Individual Donors: The Bel Canto Circle The Bel Canto Circle is The Minnesota Opera’s highest category of personal support, indicating lead gifts of $10,000 or more.

With this designation, we recognize these very special friends for their commitment to the tradition of opera in our community.

Anonymous (2) Karen Bachman Rebecca Rand and E. Thomas Binger Mary and Gus Blanchard Rod and Susan Boren Mrs. Thomas B. Carpenter Darlene J. and Richard P. Carroll Rusty and Burt Cohen Ellie and Tom Crosby, Jr. Julia W. Dayton

Cy and Paula Decosse Fund of The Minneapolis Foundation The Denny 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 Warren and Patricia Kelly Peter J. King Lynne Looney Patricia Lund Thomas and Barbara McBurney Harvey T. McLain Mrs. Walter Meyers Estate of Edith J. Mueller

Mrs. George T. Pennock Jose Peris and Diana Gulden Elizabeth and Andrew Redleaf Connie and Lew Remele Stephanie Simon and Craig Bentdahl Robert and Barbara Struyk Mary W. Vaughan Fund of The Minneapolis Foundation C. Angus and Margaret Wurtele

Rachelle Dockman Chase Cleveland Foundation Dr. James E. and Gisela Corbett John and Arlene Dayton Mary Lee Dayton Kate Ellis and John Harrer Chip and Vicki Emery Rondi Erickson and Sandy Lewis Tom and Lori Foley Leslie and Alain Frecon Mr. and Mrs. R. James Gesell Mr. Denver Gilliand Bill and Eleanor Goodall The Hackensack Fund of the Saint Paul Foundation Dorothy J. Horns, M.D., and James P. Richardson Jay and Cynthia Ihlenfeld Dale A. Johnson Jacqueline Nolte Jones Robert & Susan Josselson Stan and Jeanne Kagin Erwin and Miriam Kelen Mrs. James S. Kochiras Sid and Diane L. Levin

David MacMillan and Judy Krow Mary K. Mahley Family Foundation Roy and Dorothy Ann Mayeske James and Judith Mellinger Richard and Nancy Nicholson Nicholson Family Foundation William and Barbara Pearce Marge and Dwight Peterson James J. Phelps and Nancy McGlynn Phelps Mr. and Mrs. William Phillips Paul and Mary Reyelts Lois and John Rogers Ken and Nina Rothchild E. Elaine and Roger Sampson Kay Savik and Joe Tashjian Fred and Gloria Sewell Drs. Joseph and Kristina Shaffer Frank and Lynda Sharbrough Mr. and Mrs. James Swartz Tanrydoon Fund of The Saint Paul Foundation William Voedisch and Laurie Carlson Bernt von Ohlen and Thomas Nichol Nancy and Ted Weyerhaeuser

Mr. and Mrs. Philip Isaacson Mr. and Mrs. James L. Jelinek Charlotte and Markle Karlen Jessie L. Kelly Lyndel and Blaine King E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Kenneth Kixmoeller, Jr. and Kim Otness Mr. and Mrs. William Kling Lisa C. Kochiras Maria Kochiras Robert L. Kriel and Linda E. Krach Helen L. Kuehn Anita Kunin Mark and Elaine Landergan Barry Lazarus and Mary Dearing Robert L. Lee and Mary E. Schaffner Carl Lee and Linda Talcott Lee Clinton and Judith Lee Susan Lenthe Stefanie Lenway and Tom Murtha Jerry and Joyce Lillquist Mr. and Mrs. B. John Lindahl, Jr. Benjamin Y. H. and Helen C. Liu Bill Long Dawn M. Loven Mr. and Mrs. Donald Lucker Margery Martin Samuel D. and Patricia McCullough

Drs. Mary and Joseph Meland Mr. and Mrs. Edward L. Mills The Honorable and Mrs. Walter Mondale Sandy and Bob Morris Mrs. John H. Myers Susan Okie Allegra Parker Karen B. Paul Jodi and Todd Peterson Mary Ingebrand Pohlad Tim and Elin Raymond Frances and George Reid Kit Reynolds and Mike Schwimmer John and Sandra Roe Mrs. John C. Rowland Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Patty and Barney Saunders Dr. and Mrs. Richard J. Schindler Stanislaw and Krystyna Skrowaczewski Jeff and Helene Slocum Julie Jackley Steiner Don and Leslie Stiles James and Susan Sullivan Henry and Virginia Sweatt Michael Symeonides Mr. and Mrs. George H. Tesar Lois and Lance Thorkelson Mr. and Mrs. Philip Von Blon Ms. Wendy Wenger

Individual Donors: The Camerata Circle Gold $5,000-$9,999 Eric and Tracy Aanenson Mr. James Binger Jane M. and Ogden W. Confer Susan and Richard Crockett David and Vanessa Dayton Sara and Jock Donaldson Sally J. Economon Rolf and Nancy Engh Mr. and Mrs. John Forsythe Connie Fladeland and Steve Fox N. Bud and Beverly Grossman Foundation Alfred and Ingrid Lenz Harrison Sharon and Bill Hawkins Karen and John Himle Bryce and Paula Johnson Samuel L. Kaplan and Sylvia Chessen Kaplan Michael F. and Gretchen G. Kelly and the Kelly Family Foundation Constance and Daniel Kunin Ilo and Margaret Leppik Ms. Becky Malkerson Ted and Roberta Mann Foundation

Mary Bigelow McMillan Diana and Joe Murphy Elizabeth Musser Trust–FirTree Fund Bruce and Sandy Nelson Albin and Susan Nelson Nelson Family Foundation Timothy and Gayle Ober Brian and Julia Palmer Mr. and Mrs. Steven Rothschild Kevin and Lynn Smith Virginia L. and Edward C. Stringer Gregory C. Swinehart Catie Tobin and Brian Naas Charles Allen Ward Fund of The Saint Paul Foundation Ellen and Fred Wells

Silver $2,500-$4,999 Anonymous Chloe D. Ackman Paula Anderson Martha and Bruce Atwater Dr. Ford and Amy Bell David Hanson and William Biermaier Alexandra O. Bjorklund

Individual Donors: The Artist Circle Artist Circle $1,000-$2,499 Anonymous (4) An Anonymous Gift from a Donor Advised Fund of The Saint Paul Foundation Kim A. Anderson Lowell Anderson and Kathy Welte Jaime Andrews and Jane Kolp-Andrews John Andrus, III Cheryl Appledorn and Thomas Schnettler Martha Goldberg Aronson and Daniel Aronson Mr. and Mrs. Edmund P. Babcock Dr. Thomas and Ann Bagnoli Patricia and Mark Bauer Sue A. Bennett John and Jennifer Bernstein Mr. and Mrs. Paul G. Boening Jan and Ellen Breyer Judith and Arnold Brier Conley Brooks Family Elwood F. and Florence A. Caldwell Bruce and Deanna Carlson Joan and George Carlson Joe and Judy Carlson Bruce Coppock and Lucia May Dr. Stephen and Beth Cragle Mrs. Thomas M. Crosby, Sr.

Ruth and Bruce Dayton Thomas and Mary Lou Detwiler Mona Bergman Dewane and Patrick Dewane Mrs. Sia Dimitriou Mr. and Mrs. Carl B. Drake, Jr. Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Susan Engel and Arthur Eisenberg Ester and John Fesler Henry and Anice Flesh Salvatore S. Franco Patricia R. Freeburg Bradley A. Fuller and Elizabeth Lincoln David and Kathy Galligan Christine and W. Michael Garner Lois and Larry Gibson Howard and Heidi Gilbert Meg and Wayne Gisslen Paul and Margot Grangaard Mrs. Myrtle Grette Rosalie Heffelfinger Hall Fund of The Minneapolis Foundation Marthajane Hapke Don Helgeson John S. and Rosmarie Helling Nancy and Doug Heltne Cliffton K. Hill and Jody Rockwell Bill and Hella Mears Hueg Mr. and Mrs. Thomas Hull

These lists are current as of January 31, 2005, and include donors who gave gifts of $1,000 or more to The Minnesota Opera Fund since July 1, 2003. If your name is not listed appropriately, please accept our apologies, and call Kelly Classen, Development Systems Associate at 612-342-9553.

For information on making a contribution to The Minnesota Opera, please call Dawn Loven, Individual Gifts Director, at 612-342-9567.

The Minnesota Opera Fund Bel Canto $10,000+ 3M Allianz Life Insurance of North America American Express Minnesota Philanthropic Program Andersen Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation The Bush Foundation Cargill Foundation Deloitte Deluxe Corporation Foundation Dorsey & Whitney Foundation Ecolab Foundation General Mills Foundation Lowry Hill Private Wealth Management The MAHADH Fund of HRK Foundation The McKnight Foundation The Medtronic Foundation OPERA America Pentair, Inc. Piper Jaffray Rider Bennett Rogers & Hollands Jewelers SpencerStuart St. Paul Travelers SUPERVALU Stores, Inc. Target Foundation Thrivent U.S. Bancorp Foundation U.S. Bank, Private Client Group Valspar Foundation Wells Fargo Foundation Minnesota Wenger Foundation

Gold $5,000-$9,999 Alice M. O’Brien Foundation AT&T Foundation Bemis Company Foundation Briggs and Morgan Faegre & Benson German-American Heritage Foundation Jostens, Inc. Lindquist & Vennum Onan Corporation R. C. Lilly Foundation Rahr Foundation

RBC Dain Rauscher Foundation Twin Cities Opera Guild U. S. Trust Company Xcel Energy Foundation

Silver $2,500-$4,999 Arts & Custom Publishing Co., Inc. Beim Foundation Boss Foundation Buuck Family Foundation Dellwood Foundation Hutter Family Foundation Margaret Rivers Fund Mary Livingston Griggs and Mary Griggs Burke Foundation Peregrine Capital Management Schwegman, Lundberg, Woessner & Kluth, PA Tennant Foundation Tozer Foundation West Group Alliance Capital Management Brock-White Co., LLC The Burdick-Craddick Family Foundation Charles B. Sweatt Foundation Curtis L. Carlson Family Foundation GREC, LLC Gunkelmans Interior Design Hammel, Green and Abrahamson, Inc. Hogan & Hartson Horton, Inc. The C. A. Jackley Foundation Lawrence M. and Elizabeth Ann O’Shaughnessy Charitable Income Trust Le Jeune Investment, Inc. Leonard, Street & Deinard Maslon, Edelman, Borman & Brand Mayo Clinic McVay Foundation The Minnesota Mutual Foundation The Elizabeth C. Quinlan Foundation Robins, Kaplan, Miller & Ciresi The Southways Foundation St. Croix Foundation

$50,000 – $99,000

$25,000 – $49,000

$10,000 – $24,999 National Endowment for the Arts

Minnesota Opera Sponsors Season Sponsor

Camerata Dinners

U.S. Bank, Private Client Group

Rider Bennett

Production Sponsors

Conductor Appearances

Madame Butterfly, U.S. Bank, Private Client Group Maria Padilla, National Endowment for the Arts Carmen, American Express Minnesota Philanthropic Program Nixon in China, AT&T Foundation

SpencerStuart

Production Innovation System

Minnesota Monthly

General Mills

Official Jeweler of The Minnesota Opera

Opening Night Gala Sponsor

Rogers & Hollands Jewelers

U.S. Bank, Private Client Group

Opera Insights

RAP Teaching Artists

Thrivent Financial for Lutherans

Wenger Foundation

$100,000 +

Artist Circle $1,000-$2,499

Government City of Saint Paul’s Cultural STAR Program Minnesota State Arts Board

The Minnesota Opera gratefully acknowledges its major corporate supporters:

Evening Intermission Sponsor Lowry Hill Private Wealth Management

Promotional Support

27 • m a r i a p a d i l l a

Corporations and Foundations

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

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“The diversity of repertoire in 2005–2006 creates a bold season by any standard,” said President and CEO Kevin Smith. “This is a very ambitious set of operas to produce, each bearing its own challenges and requiring a top-notch opera company for its success. We have never been more ready to take on a season like this. The Minnesota Opera is committed to staging repertoire from the Bel Canto and current eras, and that investment has earned us the reputation as a true industry leader.”

“This company’s energetic, innovative exploration and production of varied repertoire is a huge draw for artists,” said Artistic Director Dale Johnson. “Whether to breathe new life into a major masterwork like Tosca and Don Giovanni, or the opportunity to contribute to an American premiere like Orazi & Curiazi and The Elephant Man, The Minnesota Opera is where singers and creative artists come to make compelling opera theater.”

Favorite Classics

American Premieres

Tosca

Orazi & Curiazi

November 5–13, 2005 Heart-pounding drama, intense passion and soaring melodies combine in one of Puccini’s greatest operas. A sensation on the world stage and numerous recordings, Galina Gorchakova makes her Minnesota Opera debut in the title role, alternating with fastemerging American soprano Lisa Daltirus in this double-cast production. Bradley Garvin makes his company debut as Scarpia. Internationally acclaimed Peruvian maestro Miguel Harth-Bedoya makes his Minnesota Opera conducting debut, and Michael Cavanagh returns to direct this opulent Baltimore Opera production.

April 8–15, 2006 A Bel Canto love story in the tradition of Romeo and Juliet, Orazi & Curiazi (The Orazi and the Curiazi) unveils the tumult of tribal Rome, in which clan wars create tragic conflicts of loyalties. Mercadante, who Liszt called “Italy’s most important composer,” was a notable contemporary of Rossini, Bellini and Donizetti, and the dramatic innovator who paved the road for Verdi.

Eric Simonson directs the American premiere of this rare masterpiece.

The company eagerly welcomes back two of its favorite artists: Bel Canto specialist Brenda Harris returns as Camilla, and Scott Piper will sing her ill-fated lover Curiazio.

Don Giovanni

“We’re thrilled to present the American premiere of this long-neglected treasure,” Johnson said. “Mercadante may not be a household name to our audience yet, but this thrilling opera will be a treat to our thousands of Bel Canto fans.”

March 4–12, 2006 Considered by many the perfect opera, Mozart’s Don Giovanni returns to The Minnesota Opera stage for the first time in 10 years in a new production

by Patrick Mailler celebrating the 250th anniversary of Mozart’s birth.

American bass-baritone Kyle Ketelsen stars as the legendary Spanish scoundrel who jousts his way from one romantic conquest to the next. Patricia Risley and Lauren McNeese alternate as Donna Elvira, and Karin Wolverton returns as Donna Anna.

Metropolitan Opera regular Patrick Carfizzi debuts as Leporello, alternating with Seth Keeton, and Theodore Chletsos appears as Ottavio. Chinese conductor Xian Zhang makes her company debut.

Joseph Merrick, the Elephant Man May 13–21, 2006 The Minnesota Opera presents the American premiere of Joseph Merrick, the Elephant Man in a new production by acclaimed choreographer and director Doug Varone. French composer Laurent Petitgirard tells the story of the beautiful soul trapped by a tragic disease in a cinematic score that is at once shimmer-

ing and tender. Originally composed for a contralto voice, the title role will be sung by celebrated countertenor David Walker. Christopher Schaldenbrand returns as D r. Tr e v e s . O n e o f M i n n e s o t a Opera’s most versatile and celebrated conductors, Antony Walker returns to the podium.

Joseph Merrick, the Elephant Man premiered in February, 2002, at the State Opera in Prague (with the French title, Joseph Merrick dit Elephant Man), and was proclaimed “a moving, modern work” by Amazon.com and “a compelling score”

by London’s Sunday Telegraph. It was subsequently staged to further acclaim in Nice in November and December, 2002, and filmed by OSF Productions for French television.

“This opera tells the story of the Elephant Man from his own perspective, rather than from the doctor’s as did the famous David Lynch movie starring John Hurt and Anthony Hopkins,” said Johnson. “I think this is highly appropriate, because ultimately, it is the story of a beautiful soul. It’s the characters on the outside that distort that reality, seeing only his disease. To highlight this perspective, Doug Varone’s approach will rely on movement rather than disfiguring make-up to portray this spirit.”

Joseph Merrick, the Elephant Man is sponsored by American Express Minnesota Philanthropic Program.

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The Minnesota Opera’s 2005–2006 season features two beloved m a s t e r p i e c e s , To s c a a n d D o n G i o v a n n i , a n d t w o A m e r i c a n p r e m i e r e s , S av e r i o M e r c a da n t e ’ s B e l C a n t o t h r i l l e r , O r a z i & C u r i a z i , a n d Laurent Petitgirard’s Joseph Merrick, the Elephant Man.

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OnOrdway stage at Center MAR. 15 - 27 Ordway Center presents Say Goodnight Gracie starring Frank Gorshin The life, laughter, and love of George Burns and Gracie Allen.

Main Hall $28 - $50 MAR. 15 - MAY 28 Ordway Center presents My Way: A Musical Tribute To Frank Sinatra Directed by Casey Stangl Bringing the music of “ol’ blue eyes” to life.

McKnight Theatre $35 - $45 TUES. MAR. 29, 8:00PM The Schubert Club presents Alfred Brendel, piano $15 - $40 THURS. MAR. 31, 8:00PM FRI. APR. 1, 10:30AM AND 8:00PM SAT. APR. 2, 8:00PM The Saint Paul Chamber Orchestra presents Schubert's Dances & Mozart's Piano Concerto Christian Zacharias, conductor/piano SUN. APRIL 3, 2:00PM The Minnesota Orchestra presents Fantastical Tales, with music by Franck, Liszt, and Kodály Gilbert Varga, conductor; Louis Lortie, piano $20 - $53 FRI. APRIL 8, 7:00PM Ordway Center presents Ball in the House Redefining Pop a cappella style!

Main Hall $24 - $30 SAT. APR. 9, 10:30AM The Saint Paul Chamber Orchestra presents Family Concert: Twist of Tango Marlene Pauley, conductor SAT. APR. 9, 8:00PM The Saint Paul Chamber Orchestra presents Britten's War Requiem in collaboration with The Minnesota Orchestra Osmo Vänskä, conductor Helen Donath, soprano James Taylor, tenor Håkan Hagegård, baritone Minnesota Orchestra, Minnesota Chorale, Kantorei, Magnum Chorum, Minnesota Boychoir APR. 16 - APR. 24 The Minnesota Opera presents Carmen by Georges Bizet.

Seen and celebrated throughout the world, the dramatic and sexy Keith Warner production returns for one final run on its home stage. $30 - $95 ORDWAY CENTER 651-224-4222 ordway.org THE MINNESOTA OPERA 651-224-4222 mnopera.org THE SAINT PAUL CHAMBER ORCHESTRA 651-291-1144 thespco.org MINNESOTA ORCHESTRA 612-371-5656 minnesotaorchestra.org THE SCHUBERT CLUB 651-224-4222 schubert.org

t h e m i n n e s o t a o p e r a • 32

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as the couple sat down to dinner (had he lived, Fadrique might have posed an interesting succession dilemma, as he and Enrique were twins).

Thrown into the mix was the mighty conflict known as the Hundred Years War. When the heirs of Philippe IV of France died out, his daughter, Isabelle, claimed the crown for herself.

Unfortunately, she was married to Edward II of England, and the French didn’t relish the overlordship of their English neighbors. So they invoked an old Frankish custom, the Salic Law, which forbade inheritance through a female line. They chose Philippe’s nephew and namesake as their new king, but this didn’t stop Isabelle’s son, Edward III, from pressing his birthright. The first decisive conflict was at Crécy in 1346, which proved disastrous for France. Eager for a retaliation on English soil, the French coveted Castile’s powerful navy, leading to an alliance via Philippe’s grandniece, Blanche of Bourbon.

Naturally, the English had their eyes on Castile as well. A daughter of Edward, Joan, had been betrothed to Pedro, but in 1348, she died during her voyage to Iberia. Edward’s son, the Duke of Wales, known as the Black Prince, held court in the southern French region of Aquitaine. Both he and Pedro shared a common ancestor, Eleonor (as did Charles V), who had originally brought the province into the British fold two centuries earlier. When Enrique gained an upper hand in Castile, forcing Pedro and his family to flee, the Black Prince offered them refuge and troops, eventually ousting the usurper, at least for the moment. Enrique turned to the French king for help (using Blanche’s murder to support his scheme) and also to Aragon, where its ruler Pere III was to murder another claimant to the Castilian throne, his halfbrother Ferran, who was the son of Alfonso XI’s sister Leonor.

Enrique eventually seized power again, fighting Pedro to the death in an arm-to-arm combat.

The saga was not yet over. Pedro’s children had been named his heirs, though during the barbarous medieval age, martial force frequently triumphed over dynastic right. Both Constanza and Isabella had survived their father and were still under the protection of England. The Black Prince was dead, but his brother, John of Gaunt, Duke of Lancaster, took over the management of Aquitaine and began to view Constanza as a way to seize the crown of Castile for himself. The resulting marriage was hardly a love match, but a tactical maneuver beneficial to both sides. To doubly seal the deal, he married off her sister Isabella to his brother Edmund. Eventually enlisting the side of Portugal, Lancaster married his daughter by his first wife, Philippa, to King João I of Portugal (whose halfbrother, Fernando I also had had a claim to the Castilian throne as the closest male relative by way of his great grandfather Sancho IV – to strengthen his position, he had married off his daughter Beatris to Enrique’s son Juan I). Not surprisingly, the constant intermarriages between the houses of Castile, Portugal and Aragon yielded multiple dynastic scenarios and as many problems as the royal bastards. After yet another military campaign led by Lancaster in the wake of Enrique’s death, the situation would finally be settled with

Literary Traditions hough not especially familiar to modern audiences, the plight of Pedro the Cruel has received a fair Tamount of literary treatment throughout the ages, at first with the romanceros, Trastámaran propaganda spread by the opposing side. It is here we get accounts of María de Padilla’s conniving nature and bloodthirstiness as well as rumor of Pedro’s murdering Blanche and Fadrique as punishment for supposedly having a love child together. Pedro was also accused of being the illegitimate child of María of Portugal and fellow countryman Juan Alfonso, Duke of Albuquerque. Pero Lopez de Ayala gives a contemporary account in his La crónica del Rey Don Pedro. In the 17th century, Félix Lope de Vega wrote Las audiencias del Rey Don Pedro, inspiring Jose Zorrilla to later write El zapatero y el rey in 1840, and Spain’s other literary giant, Pedro Calderón de la Barca, wrote Médico de su honra on the same subject. In France, Laurent du Belloy (whose works served as a source for Rossini’s Zelmira and Donizetti’s Gabriella di Vergy) wrote Pierre le Cruel in 1772, Voltaire published his setting of the tale as Don Pèdre, roi de Castille in 1774 and Alexandre Dumas père’s Pierre le Cruel appeared in 1839. A most interesting historical account is Prosper Mérimée’s Don Pèdre I, which first appeared in the Revue des DeuxMondes (1848), his interest in all things Spanish expressed in Carmen just a few years earlier, to be set to music by Georges Bizet in 1875.

the marriage of Juan’s son and eventual successor, Enrique III, to Constanza and Lancaster’s daughter, Catalina. Juan II, the son of Enrique III and Catalina, fused the blood of the opposing sides, and one generation later, Spain would be united by the marriage of cousins Ferdinand and Isabella, but not before two more civil wars, one for the crown of Aragon, by Ferdinand II’s grandfather (and Catalina’s brother-in-law) Ferdinand I (those politics surround Verdi’s Il trovatore), and Isabella’s own struggle to wrangle the Castilian throne from her halfbrother Enrique IV. Back in England, Lancaster’s son Henry would usurp the crown from his cousin Richard II, initiating the infamous War of the Roses. Henry IV’s son, Henry v, would be victorious at another major French defeat at Agincourt, wresting the French crown (for the time being) from the addle-minded son of Charles v. A century later the rival houses would be tidily reunited by the birth of Henry VIII, who took for his first wife Catherine, the daughter of Ferdinand and Isabella. France would be appeased by the marriage of Henry’s sister Mary to Louis XII.

photo by Barbara Willis

Are you a 20- or 30-something who’s curious about opera? Looking for something new and fun to look forward to? Join other young professionals for the hottest ticket in town — The Minnesota Opera’s Young Professionals Group!

The low-cost YPG membership (only $30 per season) entitles members to great seats at the Opera for rock-bottom prices, as well as pre-opera cocktail parties and special events throughout the season.

To join, visit www.mnopera.org or email us at ypg@mnopera.org.

Upcoming Events Noche de Salsa Friday, April 1 at The Minnesota Opera Center Opera Nights Out: Maria Padilla, March 12 Carmen, April 23 Nixon in China, May 21

Great Waters is the official venue for Opera Nights Out

NANCY MEEHAN 4C

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Cultivating a new generation of opera-goers in the Twin Cities