Overture: 2019-2020 Season Guide by Minnesota Opera

OV E R T U R E M I N N E S O TA O P E R A 2 0 1 9 – 2 0 2 0 S E A S O N G U I D E

THE 2019–2020 SEASON

OCT 5–13

The Brink of Madness

NOV 9–17

Let Your Hair Down

JAN 25–FEB 2

M I NN E SOTA OP E RA MNOP E RA.ORG

Make Your Connection

MAR 21–29

Lost Hearts Can Find Home Again

MAY 2–16

So Hot, He’ll Burn Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

W E LC O M E

RYA N TAYLOR PRESIDENT AND GENERAL DIRECTOR Welcome to the 2019–2020 season! Our 57th season is one of our most ambitious to date, with operas that will make you laugh, cry, and swoon—sometimes all in one sitting. We can’t wait to share these phenomenal stories with you, which run the gamut in terms of style, era, and aesthetic, and include everything from timeless classics to stories never seen before on the opera stage. On behalf of our staff and artists, who work tirelessly to create world-class art and provide opera education for our surrounding communities: thank you. Patrons like you are the lifeblood that keeps opera in Minnesota alive and thriving. Your continued support of MN Opera means the world to us.

CONTENTS 4 Equity, Diversity, and Inclusion: Singing Every Story 6 Edward Tulane: A Miraculous Journey 8 Elektra 12 The Barber of Seville

MISSION

Minnesota Opera will sing every story.

VALUES Innovation, Inclusivity, Collaboration, Purpose

20 Edward Tulane 24 Don Giovanni 28 Project Opera’s Belongings 29 Education Programs 30 2019–2020 Resident Artists 31 Patron Services Information 32 Subscriber Benefits 33 Groups, Youth Pricing, and Tempo 34 Fab 570 35 Special Events Cover Photo: Thaïs, 2018 © Cory Weaver

OV E R T U R E 2 019 – 2020

VISION

16 Flight

La Traviata, 2018 © Richard Termine for The Glimmerglass Opera

Minnesota Opera changes lives by bringing together artists, audiences, and community, advancing the art of opera for today and for future generations.

E Q U I T Y, D I V E R S I T Y, A N D I N C L U S I O N

SINGING EVERY STORY AT MN OPERA

M I NN E SOTA OP E RA MNOP E RA.ORG

In 2017, Minnesota Opera crafted a new mission statement that stated our intent to change lives by bringing together artists, audiences, and community, advancing the art of opera for today and for future generations. In order to begin that work, however, we had to acknowledge that opera—the art form, the performers, the productions, and the music—in the minds of many, has traditionally been thought of as “for” some audiences and “not for” other audiences. Therefore, to sustain opera’s relevance and vibrance, we recognized that it is imperative we create a company that inspires hope and empowers all voices, and where our audience, our staff and board, as well as our performers and performances, span an even wider cross section of Minnesotans and visitors from outside our state

It’s this vision that led to the formation of MN Opera’s first Diversity Council, made up of staff members from every facet of the organization, with the aim of fostering a more diverse, equitable, and inclusive culture both inside and outside the opera hall. With the adoption of a new Diversity Charter, both our staff and board have made it a top priority to diversify our organization and audience across three areas: racial and ethnic diversity, socio-economic diversity, and age diversity. By inviting people with a greater variety of opinions, viewpoints, and ideas into our spaces, we believe we can better cultivate and enrich our culture of creativity. “Working under a new Diversity Charter allows us to have conversations about how we expand the voices at the creative table,” says MN Opera President and General Director Ryan Taylor. “What excites me about this last season and moving into the next is the increased representation from female conductors and artists of color. Those who

MN Opera staff prepares for Twin Cities Pride outside the Opera Center.

have been in the industry for a long time are really being challenged to articulate what is so important about the art—and how others can share in that excitement.”

“I’m hopeful that MN Opera will be a catalyst for positive change in our industry and for justice in our community.” Our 2018–19 season saw an increase in the number of artists of color both on stage and behind the scenes, and we plan to build upon that in our upcoming seasons. Recently, we announced the commission of our newest opera for Project Opera, based on The Song Poet, a novel by Minnesota native and Hmong-American author Kao Kalia Yang that recounts her family’s journey from Laos to the United States. “I believe this opera will push the boundaries of the form and the dreams of my people and new Americans everywhere who live and love the arts in a positive and necessary direction,” says Yang. The Song Poet will continue its development throughout this season with a premiere date set for spring 2021.

E Q U I T Y, D I V E R S I T Y, A N D I N C L U S I O N

Finally, we’re excited to continue making strides inside the MN Opera Center. For the past two years, our staff and board have participated in a series of intercultural capacity workshops and coachings, which will continue into the next season. This past March, we had the honor of hosting a summit with representatives from opera companies

from around the country to discuss how we can better incorporate the principles of diversity, equity, and inclusion into our work as an industry. “There are so many practical and financial reasons to do this work. But above all else, it’s simply the right thing to do,” says Rocky Jones, MN Opera Communications Manager and incoming Diversity Council Chair. “Racism, misogyny, homophobia, ableism… all these forces pose daily threats to our friends, family members, and communities. Therefore, I’m extremely grateful to be a part of an organization that recognizes the moral imperative of this work and formally rejects and actively works against those forces. I’m hopeful that MN Opera will be a catalyst for positive change in our industry and for justice in our community.” To read our Diversity Charter and learn more about how we are putting our principles into practice, please visit mnopera.org/edi.

Cast members of La Traviata, 2019 © Brent Dundore

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

OV E R T U R E 2 019 – 2020

We’re also thrilled to welcome a number of remarkable female artists this season, including The Barber of Seville stage director Francesca Zambello, and composer Paola Prestini, whose Edward Tulane will premiere in March, and will feature conductor Lidiya Yankovskaya leading the orchestra. In May, Mozart’s legendary womanizer, Don Giovanni, will be interpreted by stage director Keturah Stickann and conductor Karen Kamensek. “We’re really excited to tackle this story during this time,” says MN Opera Chief Artistic Officer Priti Gandhi. “It’s going to create a lot of conversation and an opportunity to see a very age-old dynamic about power between men and women reflected on the stage in a new way.”

E D WA R D T U L A N E

A MIRACULOUS JOURNEY: Minnesota Opera’s Newest Contribution to the Operatic Canon Minnesota Opera’s commitment to creating new work over the years has resulted in a wide variety of unique stories seeing the opera stage for the first time ever. The New Works Initiative has sung life into everything from The Shining to Silent Night to Dinner at Eight. And now MN Opera is excited for Edward Tulane, our next stage adaptation by composer Paola Prestini and librettist Mark Campbell, based on The Miraculous Journey of Edward Tulane by local author Kate DiCamillo. Edward Tulane will premiere on Saturday, March 21 as a part of MN Opera’s landmark 57th season. DiCamillo’s young-adult novel is a bestselling tale of a china rabbit and his humbling journey to find home after being separated from his loving family, taking him from the depths of the deep blue sea to the streets of Memphis.

M I NN E SOTA OP E RA MNOP E RA.ORG

“It’s amazing how Kate has been able to weave this story together that talks about humanity and love and a sense of belonging, which I think is at the core of who we all are as human beings,” said MN Opera President and General Director Ryan Taylor.

“I think any time a company takes on the building of a brand new work of art, it’s important to look for the right creative team,” he said. “So to combine that magical story with the text of Mark Campbell and the music of Paola Prestini—who in their own way are magicians in their own work—I think it’s going to be breathtaking once we put all of the pieces together.” In speaking with MPR News earlier this year, DiCamillo talked about why it made so much

sense to her when MN Opera approached her about adapting her story for the stage. “Even before the book was actually published, I always had it in the back of my head that it seemed so much like an opera to me,” she said. “It’s like a dream come true.” To compose this new work, MN Opera has enlisted Paola Prestini, who was recently named a top female composer in classical music by The Washington Post. In describing the composition process to MPR News, Prestini said she wanted to capture the playful innocence found throughout the story while also highlighting its depth and complexities. “I really do think it’s intergenerational,” Prestini said. “I don’t think it’s the kind of work that will have problems appealing in different ways to different operagoers of different ages.” The story lends itself to audiences both young and young at heart, making for a performance well-suited for the whole family. Edward Tulane’s focus on love, separation, and a journey home is the kind of story that DiCamillo has dedicated her craft to with other books like Because of Winn-Dixie, The Tale of Despereaux, and Flora & Ulysses. “My platform is that stories connect us,” DiCamillo told MPR News back in 2014. “My mother read to me, my teachers read to me, and those stories—and sharing those stories with somebody else—changed the course of my life. And I think it can do that for other people as well.” In terms of how Edward Tulane will translate to the live stage, placing a toy rabbit next to professional opera singers will make for a truly unique juxtaposition that blends the childlike imagination found in DiCamillo’s novel with the grand performance art of opera.

E D WA R D T U L A N E “I think that [this adaptation] is going to be a visual feat, in addition to a musical one,” DiCamillo said. “It’s a very dramatic tale, so it just seems well-suited for the drama of opera.” Edward Tulane is MN Opera’s next step in contributing new work to the renowned operatic canon we all cherish so dearly, and creating new works ensures the art form can continue to live on for future generations.

Composer Paola Prestini and Librettist Mark Campbell

Workshop rehearsal of Edward Tulane © Jill Steinberg

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

OV E R T U R E 2 019 – 2020

“Taking part in the process of listening to new operas and opening up your mind to new operas is so important to help keep the operatic art form alive.”

“Commissioning new works and creating world premieres is something that this company has done in a way that has galvanized the opera world,” said MN Opera Chief Artistic Officer Priti Gandhi.

OCTOBER 5–1 3 , 2019 Sat. 5, 8pm | Tue. 8, 7:30pm | Thur. 10, 7:30pm Sat. 12, 7:30pm | Sun. 13, 2pm Music by Richard Strauss

Libretto by Hugo von Hofmannsthal

Sung in German with English translations.

CAST

C REATI VE TEAM

ELEKTRA Sabine Hogrefe + Alexandra Loutsion ++

CONDUCTOR Elias Grandy

KLYTAEMNESTRA Jill Grove

STAGE DIRECTOR & PRODUCTION DESIGN Brian Staufenbiel

CHRYSOTHEMIS Marcy Stonikas

COSTUME DESIGN Mathew LeFebvre

OREST Craig Irvin

LIGHTING DESIGN Nicole Pearce PROJECTION & VIDEO DESIGN David Murakami HAIR & MAKE-UP DESIGN Priscilla Bruce

Alexandra Loutsion

Craig Irvin

Jill Grove

Elias Grandy

Marcy Stonikas

Brian Staufenbiel

+ Appearing October 5, 10, and 12 ++ Appearing October 8 and 13

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

OV ER TU R E 2 01 9 –2 020

Sabine Hogrefe

ELEKTRA - SYNOPSIS PROLOGUE King Agamemnon sacrifices his daughter, Iphigenia, before he sets out to Troy to wage war. His wife, Klytaemnestra, grows in hatred of him and is determined to kill him upon his return. When he comes home from war, she murders him with the help of Aegisth, her lover. However, Klytaemnestra becomes weary for her safety, fearing that her three living children (Elektra, Chrysothemis, and Orest) will avenge their father’s death. ACT I As five servants clean the palace courtyard, they gossip about Elektra’s state of being— since her father’s death, she has become wild and unpredictable. Elektra emerges from the shadows hurling a few insults and the servants take their leave.

M I NN E SOTA OP E RA MNOP E RA.ORG

Alone, Elektra prays to her father, swearing vengeance. It was into the courtyard where her mother and Aegisth dragged the lifeless body of her father, whom they had murdered moments before while he took his bath. Elektra’s younger sister, Chrysothemis, interrupts her prayer, begging that she give up her obsession with revenge. She wants them to lead normal, happy lives, and enjoy the benefits of being princesses. The girls are startled when they hear the sound of their approaching mother. Chrysothemis quickly departs, but Elektra remains.

Klytaemnestra, a visible wreck, reeking of paranoia, asks Elektra for help. She wants to make another sacrifice to appease the gods, hoping they will grant her peace in return. Elektra tells her mother to sacrifice an impure woman. When Klytaemnestra asks for a name, Elektra shouts, “Klytaemnestra!” Elektra swears that she and her banished brother, Orest, will kill her and put an end to her maddening dreams—only then will she find the peace she so desperately seeks. Klytaemnestra begins to cower in fear, that is, until her servant and confidante approach her and whisper in her ear. After they finish speaking, Klytaemnestra bursts into demented laughter. Chrysothemis returns bearing bad news. Orest has been killed. Elektra demands that Chrysothemis

help her kill their mother and Aegisth, but Chrysothemis cannot commit. She runs away. Left alone in the courtyard, Elektra starts digging frantically into the earth in search of the ax that was used to murder her father. As she digs, a cloaked man enters seeking Klytaemnestra and Aegisth. He tells Elektra that he has come to deliver news of Orest’s death. Elektra tells the stranger her name, and he whispers to her that Orest is actually alive. Elektra, overcome with emotion, begins to tell the stranger where he may find her mother. He interrupts her and mocks her for not recognizing her own brother. She collapses into his arms and the two are happy to be reunited. Their reunion is but a moment long as Klytaemnestra calls out to Orest. The servants notified her immediately upon his arrival. Elektra waits in the courtyard as Orest enters the palace. It isn’t long until a scream is heard. Elektra smiles brightly, knowing that Orest has killed his mother. Aegisth rushes into the courtyard and Elektra happily ushers him inside the palace. He, too, is quickly murdered. Elektra can finally let go of the hatred she has held on to for so long. She thanks the gods and begins to dance for joy.

“Death is not the worst thing; rather, when one who craves death cannot attain even that wish.” —Sophocles

D I R E C TO R ’ S N OT E S

LIGHTS, CAMERA, ELEKTRA! Elektra stage director Brian Staufenbiel shares his exciting vision for our new production of Richard Strauss’ masterpiece.

As you’ll see, Lang will be onstage throughout the performance, overseeing his latest silent movie, Elektra. He’s trying to imbue his picture with the same exaggerated emotions and stylized evocation of the human condition that characterized his 1927 masterpiece, Metropolis. The cast rehearses and performs as Lang directs. The crew moves the sets in and out. Makeup and costume changes happen quickly, because the studio has imposed a tight schedule. Lang has even hired an orchestra to play live on his soundstage during the filming—a way to set the mood and inspire his actors. Well-known actress Greta Schröder throws herself into the role of Elektra and quickly loses the ability to tell the difference between the story she is telling and her own reality. Lang is unaware of Schröder’s instability and doesn’t know that she is becoming unhinged, that she believes herself to be transforming into Elektra.

This being expressionism, I took some liberties with the elements of time and perspective. As a kind of prelude, you’ll see filmed scenes from The Trojan War, the story that precedes Elektra in the Greek mythological cannon. (It’s that story’s murder of Elektra’s father, Agamemnon, that sets the plot of Elektra in motion.) And at points during the performance there will be filmed projections of the actors performing the very scene they are playing live onstage, but from a different point of view. None of this would be possible, of course, without the stellar work of my design team (the same group of artists behind Minnesota Opera’s 2016 production of Das Rheingold) and MN Opera’s artistic and production staffs. In two green-screen shoots, media designer David Murakami and I created our own silent clips. Murakami used Forrest Gump-like editing techniques to place the actors into archival films from the period. All of this is enhanced by the costumes of Mathew LeFebvre and lighting of Nicole Pearce. Working with these artists continues to be one of the great pleasures of my life. Outside, the clanging of Berlin’s iconic U-Bahn fades into the background as a new film production gets underway. Lights, drama, action!

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

OV ER TU R E 2 01 9 –2 020

Given the overlap, it struck me that staging this Elektra on the set of a Fritz Lang film shoot in 1929 could create some fascinating interplay. (Not incidentally, Strauss’s 1909 opera itself is considered a forerunner of musical expressionism, which flowered a decade later with Schoenberg, Webern, and Berg.) The idea grew into a resonant scenario.

A world in flux, brimming with the threat of violence. People traumatized by war and death, pushed to the brink of madness. Families torn apart by betrayal and mistrust. These are some of the key elements in Richard Strauss’s Elektra. They also happen to be motifs explored by expressionist filmmakers in Germany’s turbulent Weimar period, a brief flirtation with democracy that ended with the rise of Adolf Hitler.

NOVE MBE R 9–1 7, 2019 Sat. 9, 7:30pm | Sun. 10, 2pm | Tue. 12, 7:30pm Thur. 14, 7:30pm | Sat. 16, 7:30pm | Sun. 17, 2pm Music by Gioachino Rossini

Libretto by Cesare Sterbini

Sung in Italian with English translations.

CAST

C REATI VE TEAM

ROSINA Daniela Mack

CONDUCTOR Joseph Mechavich

COUNT ALMAVIVA Alek Shrader

STAGE DIRECTOR Francesca Zambello

FIGARO Rodion Pogossov

ASSOCIATE DIRECTOR Joshua Horowitz

DOCTOR BARTOLO Patrick Carfizzi

SCENIC DESIGN John Conklin COSTUME DESIGN Lynly Saunders HAIR & MAKE-UP DESIGN David Zimmerman

Alek Shrader

Joseph Mechavich

Rodion Pogossov

Francesca Zambello

Patrick Carfizzi

Joshua Horowitz

Children ages 6 and older are welcome and must be accompanied by an adult. Each audience member must have a ticket.

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

OV ER TU R E 2 01 9 –2 020

Daniela Mack

THE BARBER OF SEVILLE - SYNOPSIS

M I NN E SOTA OP E RA MNOP E RA.ORG

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

suggestion, begins to write “Lindoro” a note. Figaro leaves as Bartolo returns. He accuses Rosina of writing secret letters—a doctor of his standing cannot be easily fooled. He is determined to keep her under lock and key until their marriage is finalized. Dressed in his soldier’s disguise, Almaviva arrives at Bartolo’s house and gives the doctor a written order requiring that he is to be given a night’s lodging. Bartolo desperately protests that he has an exemption from such billeting. Meanwhile, Rosina attempts to retrieve a letter from the Count but once observed, tries to convince Bartolo that it is a laundry list. As the pandemonium grows, the police are summoned, but an attempt to take Almaviva into custody is aborted as he privately reveals his true identity to the sergeant. It seems everyone, especially Dr. Bartolo, is left completely confounded by the day’s events.

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

ACT II The Count has assumed the new disguise of Don Alonso, a music teacher, in his continuing effort to win a few moments with Rosina and eventually free her from the household prison. Bartolo is made to believe that he is a student of Don Basilio and has been sent in his place because the music master is ill. He then gains Bartolo’s confidence by telling him he is privy to the plan to defame the Count and hands him Rosina’s letter as further evidence of his complicity. Bartolo falls for the story and allows the lesson to begin. Figaro enters, and while preparing for the doctor’s shave, takes the opportunity to steal the key to Rosina’s balcony. He creates a diversion to temporarily lure Bartolo away, and Rosina and Almaviva (whom she still believes to be Lindoro) discuss the details of their nocturnal escape. The unexpected arrival of Basilio complicates the matter, but sufficiently bribed, he is quickly ushered away. Bartolo eventually overhears details of the lovers’ plot and orders “Don Alonso” from his house.

Figaro, who has been listening the entire time, finds Rosina to tell her of Bartolo’s plot and to let her know of her mystery lover’s imminent visit. Rosina is overjoyed, and at Figaro’s

Realizing the Count’s agents have penetrated his home, Bartolo is determined to marry Rosina at once. He shows her the letter to Lindoro, claiming he obtained it from Count

C O M M E D I A D E L L ’A R T E Almaviva, for whom Lindoro must be working. Rosina is left alone to consider her betrayal as a storm rages outside. As night falls, Figaro and Almaviva appear on the balcony as planned but are confronted by a furious Rosina, who believes she has been deceived. Almaviva reveals his true identity, and Rosina, at first stunned, accepts him with joy. Along with Figaro, they plan a big surprise for Bartolo upon his return.

“Eating, loving, singing, and digesting are, in truth, the four acts of the comic opera known as life.” —Rossini

COMMEDIA DELL’ARTE was an early form of professional theatre, originating

from Italy, that was popular in Europe from the 16th to the 18th century. The characters of the commedia usually represent fixed social types and stock characters, such as foolish old men, devious servants, and enraptured lovers. The characters of The Barber of Seville are inspired by those same stock characters. Learn all about them below!

Harlequin (Figaro) – The Servant. Light-hearted, nimble, and astute, Harlequin often acts to thwart the plans of his master with wit and resourcefulness.

Innamorati (Rosina and Almaviva) - The Lovers. Their main function, naturally, is to be in love; and in doing so, they come upon obstacles that keep them apart, but they are always united by the end.

Pantalone (Doctor Bartolo) – The Miser. Pantalone is all about money and ego, for he has the highest regard for his intelligence, but he’s always the patsy for every conceivable kind of trick.

Il Dottore (Don Basilio) – The Doctor. A comic foil to Pantalone, Il Dottore is representative of the learned intellectual class, and as such is meant to playfully parody the educated elite.

La Ruffiana (Berta) – The Nurse. A stealthy and gossipy “outsider” who always mixes things up and causes trouble for the rest of the characters, but deep down is actually kind.

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

OV ER TU R E 2 01 9 –2 020

JA N UARY 25–FE BRUA RY 2, 2020 Sat. 25, 7:30pm | Tue. 28, 7:30pm | Thur. 30, 7:30pm Sat. 1, 8pm | Sun. 2, 2pm Music by Jonathan Dove

Libretto by April De Angelis

Sung in English with English captions.

CAST

C REATI VE TEAM

REFUGEE Cortez Mitchell 

CONDUCTOR Geoffrey McDonald

CONTROLLER Katrina Galka

PRODUCTION BY Brian Staufenbiel

TINA Lisa Marie Rogali 

REPRISAL DIRECTOR David Radamés Toro 

OLDER WOMAN Deanne Meek

SCENIC DESIGN David Dunning

STEWARDESS Chrystal E. Williams

COSTUME DESIGN Alina Bokovikova

STEWARD Christian Thurston 

PROJECTION & VIDEO DESIGN David Murakami

Cortez Mitchell

Katrina Galka

Lisa Marie Rogali

Deanne Meek

Chrystal E. Williams

Christian Thurston

Geoffrey McDonald

David Radamés Toro



 MN Opera Resident Artist MN Opera Resident Artist Alum

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

OV ER TU R E 2 01 9 –2 020

HAIR & MAKE-UP DESIGN David Zimmerman

FLIGHT - SYNOPSIS magic stone. He gives them all what each thinks is the unique stone and they make wishes. Bill is restless and seeks out the Stewardess, but finds the Steward instead: they go off to explore the control tower. The women and the Refugee decide to get drunk, and, as they become more garrulous, the women discover that each of them has `the’ stone. They vent their anger, with dire consequences for the Refugee. The consequences of Bill and the Steward’s explorations are no less cataclysmic.

M I N N E SOTA O P E RA MNO PE RA .ORG

Flight, 2017 © Steve Bartolomeo for Opera Parallèle

ACT I Dawn. The Controller sits in her tower. People start to arrive at the airport—for the Refugee to “befriend”: a married couple, Bill and Tina, are going on holiday to rediscover romance; the Older Woman is meeting a young man whom she met in Mallorca—she would like to remain inconspicuous; the Steward and Stewardess go about their business—some of the time. Another couple arrives, almost late for their flight to Minsk, to emigrate; the Minskwoman is pregnant. At the last moment she

refuses to board the plane and her husband leaves without her. The Refugee offers her a magic stone to comfort her. The travellers are preparing to depart when the Controller announces that, because of storms, flights are indefinitely delayed. ACT II Night. The storm rages. The Controller leaves her tower and wanders about outside. Everyone tries to sleep, but, in pairs or alone, they secretly approach the Refugee, fascinated by his

ACT III Dawn. The storm abates, flights resume. The Minskman returns, unable to face his separation. Bill and the Steward have a surprise for their partners. Tina has a nasty surprise for Bill. The Refugee has a surprise for the women. The Minskwoman has a surprise for everyone. When the Refugee tells his story, even the Immigration Officer has a surprising reaction.

“This is my home now.” —April De Angelis

A N OT E F R O M T H E C O M P O S E R

TAKING FLIGHT

Flight is now twenty-one years old, and has travelled the world. Each new production

has shone a different light on it. It is wonderful to have been given the opportunity to write the piece we wanted to see, and discover that others wanted to see it too—and that everyone finds something different in it. JONATHAN DOVE COMPOSER

Flight, 2017 © Steve Bartolomeo for Opera Parallèle

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

OV ER TU R E 2 01 9 –2 020

April De Angelis and I had set out to write a comedy—something I felt was in short supply in twentieth-century opera—but then came across the haunting tale of Mehran Nasseri, the Iranian refugee who had already been living for nearly a decade in Charles de Gaulle airport and would remain there until 2006. We didn’t try to tell his story, but his predicament had a mythic resonance which we found irresistible—and a magnetism which seemed to draw other stories to it.

I have never been as nervous as I was at the dress rehearsal of Flight in 1998. I had written the opera I wanted to see, but I had no idea how an audience would react. Unlike many operas, mine wasn’t based on a hit play or a best-selling novel or blockbuster movie (although six years later, the same true story would inspire Spielberg’s The Terminal)—and while I hoped people would relate to the experiences of a group of travellers stranded in an airport, I didn’t know if they would laugh at any of the jokes, or enjoy the music.

MARCH 21–29, 2020 Sat. 21, 7:30pm | Sun. 22, 2pm | Thur. 26, 7:30pm Sat. 28, 7:30pm | Sun. 29, 2pm Sung in English with English captions.

C REATI VE TEAM

EDWARD Jack Swanson

CONDUCTOR Lidiya Yankovskaya

ABILENE/BETTY Zulimar López-Hernández

STAGE DIRECTOR Eric Simonson

BRYCE Brian Vu

SCENIC DESIGN Walt Spangler

LUCIUS Zachary James

COSTUME DESIGN Victoria Tzykun

SARAH RUTH Jasmine Habersham

LIGHTING DESIGN Marcus Doshi

NELLIE Victoria Vargas 

HAIR & MAKE-UP DESIGN David Zimmerman

Jack Swanson

Zulimar López-Hernández

Brian Vu

Zachary James

Jasmine Habersham

Victoria Vargas

Lidiya Yankovskaya

Eric Simonson



MN Opera Resident Artist Alum

Edward Tulane explores complex themes such as death and loss and is recommended for children ages 8 and up. Children ages 6 and older are welcome and must be accompanied by an adult. Each audience member must have a ticket.

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

OV ER TU R E 2 01 9 –2 020

CAST

EDWARD TULANE - SYNOPSIS ACT I One Christmas Eve, a young girl named Abilene receives a large toy rabbit from her parents as a gift. She instantly falls in love with the rabbit and calls him “Edward Tulane.” For his part, Edward is less demonstrative with his love, a quality criticized by Abilene’s grandmother Pellegrina. Not long after the evening they meet, Edward is separated from Abilene on the deck of an ocean liner. Several years go by, as Edward’s search for love takes him on various adventures: from the bottom of the sea, to the home of a fisherman and his wife, to a junkyard, and to a life on the rails with a hobo and his dog. When a young man named Bryce takes Edward home to console his ailing sister Sarah Ruth, he believes that he has at last found home again.

M I NN E SOTA OP E RA MNOP E RA.ORG

ACT II Some weeks later, Bryce runs away from his abusive father after Sarah Ruth has passed away and brings Edward to Memphis, where they both work as street performers. Having made enough money for a meal, they eat in a diner and order more food than they can pay for. The owner of the diner attacks Edward and damages his porcelain head. When Edward comes to, he discovers that he is in a doll shop and has been repaired by the shop’s owner, Lucius Clark. Day after day, Edward waits on a shelf for someone to give him a good home—when a young girl and her mother walk into the shop.

“Love can only begin when you open your heart.” —Mark Campbell

MEET THE COMPOSER Paola Prestini is the co-founder and Artistic Director of the Brooklyn arts center National Sawdust. Since 1999, when she co-founded the multimedia production company VisionIntoArt (subsequently re-launched as National Sawdust Projects), she has collaborated with poets, filmmakers, and scientists in large-scale multimedia works. Prestini’s music and works have been commissioned by and performed at the Brooklyn Academy of Music, Carnegie Hall, the Kennedy Center, and the Los Angeles Opera, among many others. Recently, she was named an “Innovator” on the list of Top 30 Professionals of the Year by Musical America, and one of the Top 35 Female Composers in Classical Music (Washington Post). As part of her commitment to education and mentoring the next generation of musical artists, she started the Hildegard Competition for emerging female, trans, and non-binary composers. Prestini’s latest work, premiering in March 2020, is MN Opera’s new opera Edward Tulane based on the best-selling novel The Miraculous Journey of Edward Tulane by Minnesota author Kate DiCamillo, with a libretto by Mark Campbell (Silent Night,

MEET THE COMPOSER

When you read The Miraculous Journey of Edward Tulane, what made you feel like it would make a great opera? Paola Prestini: I think the fact that it’s a truly intergenerational piece with themes that anyone can relate to makes it so special. Themes such as family, magic, and transformation relate on all levels. I think of it as a Little Prince type story, with all the loveliness of Kate DiCamillo’s beautiful prose and style and quirkiness! Musically, how would you describe Edward Tulane? Did you draw upon any particular themes or influences? PP: I would say that Edward Tulane has a rich musical vocabulary, with moments that draw from folk, complex tapestries of sound, and direct melodic material that all together tell the story of this main character’s transformation and of all the worlds he enters. What has been the greatest joy for you in composing this opera? What has been the greatest challenge? PP: The greatest joy for me was to have the chance to explore these themes in such an epic way: the scale of a grand opera, and the ability to work with such a great chorus and young artist program is a complete treat. The greatest challenge has been to keep a childlike wonder in the sounds while still trying to evoke a refined sense of musical language. I like to stretch myself in all my work and so I’ve asked real questions of myself in terms of complexity in language while serving a direct story, and how to paint that in the most interesting and dynamic way possible.

Have you received any feedback or advice from Kate DiCamillo? If so, what did she say? PP: Kate was super open, and has been game since day one, and I believe was completely convinced once she read Mark’s libretto! I’m excited for her to hear the music and am hopeful we’ve done justice to her magical mind. She didn’t give me advice, but did relay that Edward in fact exists, as a real entity, and so I imagine him presiding in a very tangible way in her life, which makes me want to do justice to him even more. I hope to make his acquaintance one day soon! As a successful woman composer in a male-dominated industry, what advice would you have for women composers starting their careers? PP: Luckily history progresses and change is happening and while there are real challenges that still exist for women and any underrepresented voice, I also feel like there’s dialogue and openness in places that there wasn’t before. I would say make your opportunity. Know what you don’t know and remain as open as possible to all the beauty that life has to offer, all the while maintaining your truth and inner compass. Help others and believe in the best of people and believe in change and make that change happen as best you can. What do you think people would be surprised to learn about the life of an opera composer? PP: The amount of time it goes into creating these works and the huge teams full of passionate brilliant people that it takes to make an opera go onstage! Also, in my particular case, my life looks complex: I’m a mother, a composer, an arts leader, and a dreamer of new structures. I always tell the people I mentor to remember they are writing about their lives so not to forget to live them. Constant dreaming and re-evaluation leads to dynamic life-altering events. Then you can write about them.

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

OV ER TU R E 2 01 9 –2 020

The Shining). Recently, she sat down with us to discuss the process of composing this new operatic adventure that is sure to tug at the heartstrings of both the young and young at heart.

Libretto by Lorenzo Da Ponte

Sung in Italian with English translations.

CAST

C REATI VE TEAM

DON GIOVANNI Seth Carico

CONDUCTOR Karen Kamensek

DONNA ANNA Elaine Alvarez

STAGE DIRECTOR & CHOREOGRAPHER Keturah Stickann

DONNA ELVIRA Sara Gartland DON OTTAVIO Andres Acosta  LEPORELLO Wm. Clay Thompson 

Elaine Alvarez

Wm. Clay Thompson

Sara Gartland

Karen Kamensek



Andres Acosta

Keturah Stickann

MN Opera Resident Artist Alum

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

OV ER TU R E 2 01 9 –2 020

Seth Carico

D O N G I OVA N N I - S Y N O P S I S ACT I Near the home of the Commendatore, Leporello bemoans his lot in life as servant to Don Giovanni. His thoughts are interrupted by screams from Donna Anna, who calls for help as a disguised Giovanni tries to flee. Her father, the Commendatore, attempts to defend her honor in a duel, but is killed by the lecherous Don, who then escapes. Don Ottavio also comes to Anna’s aid and promises to avenge her father’s death. Elsewhere, Giovanni spots a new possibility in the distance, but to his horror, it is Donna Elvira, a woman he left behind in Burgos. As Leporello distracts her, Giovanni again slips away. His servant bares the bitter truth—she’s hardly the first to be betrayed as he rattles off the list of conquered women, one thousand and three in just Spain alone.

M I NN E SOTA OP E RA MNOP E RA.ORG

In the countryside, Zerlina celebrates her upcoming marriage to Masetto with a group of peasants. Giovanni and Leporello soon appear and the former is entranced by the country girl. To distract her fiancé and the others, he offers to celebrate the nuptials with food and drink at his mansion nearby. Zerlina remains behind as Masetto is assured that his bride-to-be will be safe in the hands of a gentleman. Giovanni quickly puts on the charms with a promise of marriage, which Zerlina momentarily considers. They are interrupted by Elvira, who warns the young woman to beware of his treacherous words.

No sooner has Elvira spirited Zerlina away does Giovanni happen upon Anna and Ottavio. They enlist his assistance in finding the murderer of her father. Again, Elvira intercedes, professing Giovanni’s true nature. He discounts her statements as madness and follows her, feigning concern over her mental state. Anna suddenly realizes that Giovanni is her would-be rapist and her father’s killer. She cries for vengeance. At Giovanni’s palace the party is in full swing. Masetto questions Zerlina’s fidelity, and when she tries to reassure him, it is to little avail. Elvira has joined Anna and Ottavio, and the three of them arrive at the party masked. As everyone begins to dance, Giovanni leads

Zerlina into another room. Her screams are soon heard, and as Giovanni tries to deflect the blame on Leporello, he is able to escape once again. ACT II On a street near the residence of Donna Elvira, Leporello threatens to quit, but is appeased by an influx of cash. Tired of this type of life, he begs Giovanni to put an end to his wanton pursuit of women, but the Don counters that to be faithful to one would mean to deny the others. His latest quest is the young and attractive maid of Donna Elvira. He exchanges cloaks with his servant to disguise his station. Leporello is to distract Elvira by posing as his employer. Elvira is easily fooled, quite willing to forget past transgressions, and the disguised Leporello manages to lead her away. Meanwhile, Giovanni sings a serenade to lure the maid, but to no avail. Masetto enters with a posse of peasants, intent on capturing the scurrilous Don. Still dressed as Leporello, Giovanni manages to divert the other men, and alone with Masetto, gives him a sound thrashing. Zerlina enters and soothes the wounded man. Meanwhile, Leporello is trying to lose Elvira in the darkness. Instead they encounter Anna and Ottavio and soon after, Zerlina and Masetto. All first recognize him as Giovanni, and are hardly any more forgiving once Leporello’s true identity is revealed. He begs for mercy, then runs off. Near a graveyard, Giovanni and Leporello are reunited. The master brings his servant up to date—during their masquerade he was able to seduce none other than Leporello’s mistress. A voice interrupts his merriment, and the two find themselves in front of the Commendatore’s tomb. Responding to the inscription, which states that even in death the old man will have revenge on the traitor who put him there, Giovanni callously invites him to dinner. He accepts. Elsewhere, Ottavio tries to ease Anna’s grief with an offer of marriage, but though she loves him, she will not be consoled.

T H E E VO L U T I O N O F D O N G I OVA N N I Back at the palace, Giovanni enjoys his dinner while Leporello picks at a few scraps. Elvira enters and makes one last attempt at getting the Don to change his dissolute ways, but he will not be persuaded. On her way out she is frightened by the ghost of the Commendatore, who also strongly advises Giovanni to repent.

“Perhaps I would be happy—but still he may be deceiving me!” —Lorenzo Da Ponte

THE EVOLUTION OF DON GIOVANNI

MN Opera Creative Advisor Dale Johnson reflects upon a few of our past productions and how we plan to update Mozart’s legendary story of a notorious Don Juan for modern audiences.

Don Giovanni, 1996

Don Giovanni, 2006

James Robinson directed our Don Giovanni in 1996. English baritone Robert Heyward’s Don was an out of control man, seeming to know that his end was near. He was a bully and a decadent aristocrat. Neither handsome nor particularly evil, he over-powered everything around him as if it was his right to take and destroy. Don Giovanni in 2006 was directed by French director Patrick Mailler. His Don was played by bass Kyle Ketelson. This was a very sexy Don, who was able to slide in and out of trouble due to his good looks and cunning. I remember the production had a Downton Abbey kind of elegance in the costume design.

We are just starting to work on the new production of Don Giovanni. For this production, we recognize the brilliance of the music. It is undeniably a masterpiece. However, in the light of the social and political world around us, we felt we needed to take a deeper look into the controversial character and the women he interacts with. We have engaged a female creative team, namely stage director Keturah Stickann and conductor Karen Kamensek, to envision a Don Giovanni for today. Not only will they dive deep into what makes Giovanni tick, but perhaps more importantly, how the women around him react.

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

OV ER TU R E 2 01 9 –2 020

Don Giovanni, 1988

The first Don Giovanni I was involved with at MN Opera was stage director Nic Muni’s production in 1988. The visual concept of the production was based on Goya paintings, and it was indeed quite beautiful. Muni’s idea for the lead character was to make him the “ideal” of each of the main characters. Every time he appeared, he was dressed differently, according to what each of the three women desired. William Shimell as the Don was pure evil, but very seductive. He was determined and rarely failed in his conquest.

PROJECT OPERA Project Opera Presents

BELONGINGS Music by Lewis Murphy Libretto by Laura Attridge Belongings explores the stories of two groups of children across two time periods who are forced to flee their homes because of war. Project Opera’s performers step into the shoes of young people just like them— children and teenagers with the same aspirations and dreams, but who, through geography, have been born into different circumstances.

February 8, 9, 12, and 13, 2020 The Lab Theater, 700 N 1st St Minneapolis, MN 55401 Tickets: $15 Adults, $5 Students* *Tickets will go on sale in December 2019. Student tickets will be available by phone only.

M I NN E SOTA OP E RA MNOP E RA.ORG

Learn more at mnopera.org/project–opera

Photo © Sigrid Redpath

E D U C AT I O N P R O G R A M S

La Bohème Student Dress Rehearsal, 2017 © Dan Norman

EDUCATION PROGRAMS AT A GLANCE Core to our mission is the engagement of the community through education opportunities. We believe in fostering creativity and encouraging members of the community from all walks of life to continue to learn. EARLY CHILDHOOD

ELEMENTARY

MIDDLE

HIGH SCHOOL

COLLEGE

ADULT

55+

Stories Sing! coOPERAtion! Project Opera Sing Out Children’s Chorus Camp Create an Opera Camp

Vocal Artist Program

Music Out Loud

Opera Artist+ Student Final Dress Rehearsals Day at the Opera Behind The Curtain Opera Insights Voices of Opera Opera Connections Family Arts Blast Opera Center Tours

coOPERAtion! Tailored residencies led by teaching artists Family Arts Blast Free hands-on theater and music experience Music Out Loud After-school music and leadership development program

Opera Center Tours Behind-the-scenes look at the MN Opera Center Opera Connections Learning opera through storytelling Opera Insights Half-hour pre-performance lecture in the Ordway’s Target Atrium Project Opera Our flagship school-year-long vocal training program

Stories Sing! Singing storybooks program Student Final Dress Rehearsals Fully staged opera productions at the Ordway Summer Opera Camps Residential and day training programs for aspiring singers Voices of Opera Community opera chorus

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

OV ER TU R E 2 01 9 –2 020

Behind the Curtain An in-depth lecture series featuring experts from the world of opera

2019–2020 RESIDENT ARTISTS

One of North America’s premier training programs, the MN Opera Resident Artist Program offers a full season of employment for talented artists beginning their professional careers. From September through May, Resident Artists gain valuable experience through mainstage productions and community performances, while refining their skills off stage and mentoring with master teachers and staff. The program is designed to bridge the gap between an artist’s early training and professional career. Learn more at mnopera.org/RAP

MIA ATHEY

MEZZO-SOPRANO Hyattsville, Maryland 19–20 Season Maidservant 2 (Elektra), Minskwoman (Flight) Training The Catholic University of America, University of Cincinnati – CollegeConservatory of Music, The Glimmerglass Festival

M I NN E SOTA OP E RA MNOP E RA.ORG

ASSISTANT TECHNICAL DIRECTOR Highland Park, Illinois 19–20 Season Assistant Technical Director (Elektra), Assistant Technical Director (The Barber of Seville), Assistant Technical Director (Flight), Assistant Technical Director (Edward Tulane), Assistant Technical Director (Don Giovanni), Technical Director (Belongings - Project Opera) Training DePaul University

DANIELLE BECKVERMIT

ADAM DA ROS

19–20 Season Maidservant 5 (Elektra), Berta (The Barber of Seville), Lolly and Marlene (Edward Tulane) Training Mannes School of Music, SUNY Fredonia, Chautauqua Institute Summer Festival, Ash Lawn Opera, Santa Fe Opera

19–20 Season Assistant Director (Elektra), Assistant Director (The Barber of Seville), Assistant Director (Flight), Assistant Director (Edward Tulane), Assistant Director (Don Giovanni) Training Vancouver Opera, University of British Columbia

SOPRANO Kingston, New York

FRANKIE CHARLES

DIRECTOR Dawson Creek, Canada

MARY BOX

NICHOLAS DAVIS

19–20 Season Coach/Répétiteur (Elektra), Coach/ Répétiteur (The Barber of Seville), Coach/Répétiteur (Flight), Coach/ Répétiteur (Edward Tulane), Coach/ Répétiteur (Don Giovanni) Training Eastman School of Music, University of Houston, Rice University

19–20 Season Old Servant (Elektra), Fiorello (The Barber of Seville), Minskman (Flight), Lawrence, King, and Grandfather (Edward Tulane) Training University of Kentucky, University of Michigan, Brevard Music Center, Des Moines Metro Opera, Chicago Opera Theater, The Glimmerglass Festival, Santa Fe Opera

PIANIST/COACH San Antonio, Texas

BARITONE Petersburg, Tennessee

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

PAT R O N S E R V I C E S I N F O MN Opera Patron Services

ANDREW GILSTRAP BASS-BARITONE Nashville, Tennessee

19–20 Season Guardian of Orest (Elektra), Don Basilio (The Barber of Seville), Immigration Officer (Flight), Masetto (Don Giovanni) Training Moores School of Music, University of Houston, Des Moines Metro Opera

620 North First Street, Minneapolis, MN 55401 612-333-6669 Hours: Regular: Monday–Friday, 10am–5pm. Performances: Weekdays—phones open until curtain; weekends— phones open at 2pm for evening performances and at 10:30am for matinée performances. MN Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain. mnopera.org Visit mnopera.org to watch behind-the-scenes videos, read synopses, browse digital programs,

LISA MARIE ROGALI SOPRANO Hawley, Pennslyvania

19–20 Season Maidservant 4 (Elektra), Tina (Flight), Princess, Lucy, and Fancy Doll #1 (Edward Tulane), Zerlina (Don Giovanni) Training Opera Theatre of Saint Louis, Opera Saratoga, University of Cincinnati – College-Conservatory of Music, Pennsylvania State University

and more. Join our e-club to receive special offers and opera news. Ticket Policies Tickets are not refundable. Subscribers may make exchanges for a different performance or opera up to one hour prior to curtain. Any ticket may be turned back for a tax-deductible donation up until curtain. Call MN Opera Patron Services at 612-333-6669. Parking Prepaid parking is available for opera patrons at the Lawson Commons Ramp. Call 612-333-6669 or visit

CHRISTIAN SANDERS TENOR Westcliffe, Colorado

19–20 Season Young Servant (Elektra), Bill (Flight), Prince, Rat, and Doll Shop Father (Edward Tulane) Training Utah Opera, Des Moines Metro Opera, The Glimmerglass Festival, Point Loma Nazarene University, Rice University

mnopera.org to purchase passes. Accessibility For patrons with disabilities, wheelchair-accessible seats are available. Audio descriptions will be available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. Accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems. At the Ordway Ordway is a smoke-free facility. Latecomers will be seated at an appropriate break. Please have all

PIANIST/COACH West Windsor, New Jersey 19–20 Season Coach/Répétiteur (Elektra), Coach/ Répétiteur (The Barber of Seville), Coach/Répétiteur (Flight), Coach/ Répétiteur (Edward Tulane), Coach/ Répétiteur (Don Giovanni) Training Merola Opera Program, Music Academy of the West, New York University, Manhattan School of Music

cell phones and pagers turned to the silent mode. Children under six are not permitted in the hall. Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher. Food and beverages 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.

OV ER TU R E 2 01 9 –2 020

ANDREW SUN

SUBSCRIBER BENEFITS

SEASON TICKET PACKAGES YOUR BENEFITS HUGE SAVINGS Enjoy the only guaranteed discount. SAVE MORE ON TUESDAYS Tuesday subscribers save even more.

AUTO-RENEWAL SUBSCRIPTIONS (5-Opera Only)

SAVE 25%

That’s like getting one opera for free!

SAVE 40%

That’s like getting two operas for free!

5-OPERA SUBSCRIPTIONS SAVE 25%

That’s like getting one opera for free!

SAVE 40%

That’s like getting two operas for free!

4-OPERA SUBSCRIPTIONS

3-OPERA SUBSCRIPTIONS

SAVE 20%

SAVE 15%

SAVE 35%

SAVE 30%

TEMPO SUBSCRIPTIONS* (Restrictions Apply)

SAVE UP TO 76%

Limit 2 per household

FLEXIBLE EXCHANGES Exchange tickets into a different date or show, or even bring a friend to the next opera. DISCOUNTED TICKETS for family and friends.

SAVE 25%

SAVE 20%

SAVE 15%

(SAVE 40% ON TUESDAYS)

(SAVE 35% ON TUESDAYS)

(SAVE 30% ON TUESDAYS)

OPTION TO SPLIT OVER 4 MONTHS

OPTION TO SPLIT OVER 3 MONTHS

SHARE YOUR TEMPO DISCOUNT WITH TEMPOAGED FAMILY AND FRIENDS

GUARANTEED BEST SEATS before, and priority seating after, individual tickets go on sale. DISCOUNTED PREPAID PARKING in downtown St. Paul offered before going on sale to the general public. PRESALE ACCESS for tickets to individual shows. INVITATIONS TO SPECIAL EVENTS Meet the singers and creative team behind each production at select events. INTEREST-FREE PAYMENT PLAN OPTIONS

OPTION TO SPLIT OVER 3 MONTHS

WE’LL SAVE YOUR SEAT for the entire season, plus you’ll get priority seating in future seasons. WHEN RENEWED BY THE EARLY BIRD DEADLINE

TWO CONCESSIONS VOUCHERS to use at the Ordway during the season. ONE FREE SEAT UPGRADE to the performance of your choice during the season (subject to availability). TWO FREE REFRESHMENTS to enjoy at the Ordway during the season with two concession vouchers.

SUBSCRIBERS IN SEATING AREAS B–F SUBSCRIBERS IN SEATING AREAS A+ AND A

SUBSCRIBERS IN SEATING AREAS B–F SUBSCRIBERS IN SEATING AREAS A+ OR A

EASY, PAPERLESS RENEWAL BE FIRST to preview the next season each year before anyone else. ONE BRING-A-FRIEND TICKET Invite someone new to experience opera for each subscription in your account.

*Tempo is MN Opera’s access program for new and seasoned opera goers ages 21–45. Tempo subscriptions are only available in seating sections B–E and are limited to 2 subscriptions per household. 32

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

G R O U P S , YO U T H P R I C I N G , A N D T E M P O

GROUP OPTIONS

If you would like to bring a group of ten or more to the opera, now it’s even easier to book your seats! From student groups to traditional groups, we offer a number of flexible options that make buying tickets a piece of cake with special discounts available. Learn more at mnopera.org/groups

YOUTH PRICING

Youth ages 6-20 can now purchase tickets in advance for $20 or rush tickets on performance days for $10. No ID required. Restrictions and fees apply.

TEMPO

Tempo is a program for opera fans and the opera-curious ages 21-45 that provides affordable tickets to performances and builds a dynamic, vibrant, diverse community through unique and fun social events. Learn more at mnopera.org/tempo Minnesota Opera is a nonprofit charitable organization that relies on your support. • mnopera.org/donate

OV ER TU R E 2 01 9 –2 020

Learn more at mnopera.org/youth

Be Fabulous Join the FAB 570 by making your first donation today! Visit mnopera.org/fab570

We’re looking for 570 fabulous opera lovers like you to join the Fab 570 by making their first donation to MN Opera. It’s all in celebration of our upcoming 57th season—a season full of captivating moments, aweinspiring stories, and unforgettable performances. Your gift provides access to world-class opera right here in your backyard. We suggest $57 because it’s our 57th season, though your first-time gift in any amount counts toward the Fab 570.

Donate in any amount today to magnify your impact and help us reach our goal of 570 new donors!

SPECIAL EVENTS Season Preview Concert September 29, 2019

The Season Preview Concert offers a free sneak peek at MN Opera’s upcoming season and a chance to meet our new class of Resident Artists.

MNOP Opening Night Gala October 5, 2019

Join us for an evening of entertainment, champagne, and Greek-isle elegance at MN Opera’s season-opening celebration.

The Barber of Seville Opening Night Dinner

November 9, 2019 Enjoy a delicious pre-show meal and relaxed conversation with experts from the world of opera.

Sphinx Virtuosi March 1, 2020

The Sphinx Virtuosi is one of America’s most dynamic string ensembles, comprised of the nation’s top Black and Latinx classical string players. The concert is co-presented by the Arts Partnership (The Ordway, MN Opera, Schubert Club, and The SPCO) and features Cuban-American soprano Elaine Alvarez, who stars in this season’s Don Giovanni.

Open Rehearsal April 29, 2020

Join us for an open rehearsal! Observe the first act of Don Giovanni as we put the finishing touches on the production.

OV ER TU R E 2 01 9 –2 020

More information at mnopera.org/community

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

2 019 – 202 0 S EASO N ELEKTRA Oct. 5–13, 2019

THE BARBER OF SEVILLE Nov. 9–17, 2019

FLIGHT

Jan. 25–Feb. 2, 2020 WORLD P R E M I E R E

EDWARD TULANE Mar. 21–29, 2020

DON GIOVANNI May 2–16, 2020