A NEW WORKS INITIATIVE PRODUCTION
D DOUBT BT T WORLD PREMIERE MUSIC BY
DOUGLAS J. CUOMO JOHN PATRICK SHANLEY LIBRETTO BY
Based on his play ©2005 and ﬁlm ©2008
2012 2013 SEASON
elcome to the world premiere of Doubt, the fifth production and second world premiere of Minnesota Opera’s New Works Initiative. Based on the Pulitzer Prize-winning play and award-winning movie, Doubt is a brand new opera with music by acclaimed composer Douglas J. Cuomo and words by the original playwright John Patrick Shanley. This is the first time they have collaborated on a work, and the first opera libretto by Mr. Shanley. Doubt takes place at a Catholic school in the Bronx shortly after the assassination of President John F. Kennedy. The fascinating plot features an explosive confrontation of the wills of two very powerful people: Father Flynn, who supports Vatican ii and the opening up of the Catholic Church to more modern influences; and Sister Aloysius, the head of the school and a very conservative nun, who is resistant to change. Sister James, a young and idealistic teacher in the school, reports suspicious activities between Father Flynn and Donald Miller, the school’s first African American student. Sister Aloysius immediately suspects the Father of taking advantage of this young impressionable boy. Sister James becomes a pawn in the epic battle of wills between Flynn and Aloysius. When I was first approached by Douglas with the idea of turning Doubt into an opera, I was immediately thrilled. Having seen the play as well as the movie, I felt that the construction of the play would lend itself beautifully to operatic treatment, for there were arias and duets as well as trios. The language of the play was lyric and always surprising. For the opera, John added adult and children’s choruses to open up the action. The story itself is certainly appealing to today’s audience, not only for Douglas’ beautiful, eclectic style and orchestration, but also for the issues that it brings up. Though the title of the opera is “doubt,” Sister Aloysius does not suffer from it. She is completely certain that Father Flynn is guilty. This certainty also reflects the times in which we live: the certainty that Iraq possessed weapons of mass destruction at the time of the original play’s creation; the complete breakdown of civil discourse in our government because each party is certain the other party is completely wrong; and the reverence for the “good old days” and fear of change. All these themes surround us as we try to move forward in this uncertain world. New opera is a fundamental part of Minnesota Opera’s mission. We believe that the operatic art form is not a museum piece. It is constantly changing, evolving and often reflects the political and social trends of the time in which it is written. I am personally inspired by such composers as Verdi and Mozart, and the way they used opera to put ideas in front of their audiences that would inspire, provoke and stimulate discussion. I believe this, whether written in the 18th century or the 21st, is the real power of opera. Minnesota Opera is at the forefront of the creation of new opera and will be so for many years to come. I hope you enjoy this new opera. I look forward to seeing you at the remainder of the season with new productions of Hamlet and Turandot. Dale Johnson Artistic Director
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Synopsis Doubt Background Notes Opera Film Festival John Patrick Shanley and Douglas J. Cuomo The Artists The Minnesota Opera New Works Initiative
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synopsis Act I Scene one – St. Nicholas as Church Father Flynn preaches a sermon on the subject of doubt and its relationship to a crisis off faith in the wake of recent cataclysmic world events. Scene two – a classroom in the St. Nicholas School Sister James, a young nun, teaches history to her class. Sister Aloysius, the school principal, observes with scrutiny. She confiscates a barrette from one student and a transistor radio from another. Scene three – the convent dining room As the nuns eat a modest dinner, Sister Aloysius reviews the Sunday sermon. She advises all the sisters to be on alert for a potential problem. Scene four – the garden The aged Monsignor Benedict and Father Flynn walk outside, discussing their dinner the night before. The monsignor expresses his confidence in the younger priest.
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Scene five – the classroom Sister Aloysius encounters Sister James in her empty classroom. The teacher inquires after a student, William London, who was sent home. It is revealed that his nosebleed was probably self-induced, and Sister Aloysius chides Sister James for being too naïve. The younger nun prefers to handle problems herself, but Sister Aloysius outlines the chain of discipline, and stresses that she should use it.
Looking out the window, Sister Aloysius sees Father Flynn with Donald Miller, the school’s first African American student. She reacts uneasily. Scene six – the school basement Father Flynn coaches a game of basketball with the students. Scene seven – montage Priests eating and laughing; nuns eating quietly; Mr. McGuinn, the groundskeeper, suspects Donald of drinking the altar wine.
getting a talk t from Father Flynn. They Sister Aloysius fears he discuss Donald. Do D of bullying, but Sister James may be a target t reassuress her h that he has a protector in Flynn. The older nun becomes tense. Father Fly Sister James confesses her uneasiness since their last conversation, but Sister Aloysius reassures her that righting a wrong is God’s work. Sister James begrudgingly reveals her suspicions, recalling the incident during the dance class. Donald seemed somewhat unsettled after being called to the rectory for a private talk with Father Flynn, and she detected liquor on his breath. Sister Aloysius suspects an abusive situation, but her hands are tied by the Church. Her only recourse is to report the allegations to the monsignor, who would likely suppress the matter after hearing Father Flynn’s denial. She plans to confront the priest directly, and protocol demands someone else to be present in the room, namely Sister James. The young nun is clearly uncomfortable at this prospect. Scene ten – the conference room Father Flynn arrives at the conference room as appointed. The meeting is being held under the guise of planning the Christmas pageant. The concern of Donald Miller’s role comes up and any special attention in the drama due to his race. Sister Aloysius segues the conversation to the subject of his visit to the rectory, and Father Flynn realizes something is afoot. He is indignant over her tone and refuses to discuss the matter further. He is about to leave the room when Sister Aloysious reveals that Donald had smelled of alcohol. The priest explains – Donald was caught drinking the altar wine in the sacristy. Flynn took pity on him, promising to keep the incident a secret so he wouldn’t be removed from the altar boys. Father Flynn leaves, disturbed by the meeting. Sister James is reassured, but Sister Aloysius is convinced he is lying and is determined to bring him down.
Scene eight – the school gym As Sister James observes a dance class, she sees Father Flynn put something in a locker. Investigating further, she finds a white tee shirt. Donald then enters the gym, looking troubled.
Scene nine – the garden Sister James encounters Sister Aloysius, who asks for an update. The girls of her class are studying music, while the boys are in the rectory
Scene one – the church From the pulpit, Father Flynn relays a parable about idle gossip and the harmful consequences of bearing false witness against one’s neighbor.
• intermission •
Scene two – the garden Father Flynn encounters Sister James outside. They discuss his sermon and the unspoken accusations against him. The young nun has only been following the directions of her superior, but asks him directly if the assertions are true. Flynn continues to deny everything. He claims he was only reaching out to the boy, showing him the compassion the cold-hearted nun refuses to give to others. He encourages Sister James not to lose her humanity. Scene three – the principal’s office Sister Aloysius has called Donald’s mother to her office. Mrs. Miller reports that her son is upset over being removed from the altar boys, but admitted to drinking the wine. She hopes this incident won’t ruin his future at the school, for he only needs to make it until June, after which he will be off to high school, and hopefully, college. Sister Aloysius bluntly declares her suspicions about Father Flynn, and believes he gave Donald the wine. Mrs. Miller comes to realize she is willing to allow the potentially improper relationship continue rather than cause more trouble for her sensitive son, who is hated and abused by his father – it will only be for a few more months. Scene four – the principal’s office After Mrs. Miller leaves, Father Flynn storms into the room, having spotted her. He confronts Sister Aloysius over the nature of the meeting. They have a spirited argument over her claims, and Flynn threatens to have her dismissed. Sister Aloysius then reveals that she has spoken to one of the nuns at his former parish. Exasperated, Flynn reminds her that she has gone beyond Church procedures, but Sister Aloysius is determined to get the truth about his past. He pleads with her to no avail – he must leave St. Nicholas. Scene five – the church Father Flynn celebrates a final Christmas mass with his congregants. Scene six – the garden Sister James has returned after a short absence while visiting a sick relative. She has learned of Father Flynn’s departure, and Sister Aloysius reports that he has been promoted to become the pastor of the St. Jerome Church and School. She admits her ruse – there was no phone call to the other nun – and her doubts and fears over her determined actions. T
Music by Douglas J. Cuomo Libretto by John Patrick Shanley based on his play ©2005 and ﬁlm ©2008 commissioned by Minnesota Opera a Minnesota Opera New Works Initiative Production World premiere January 26, 29, 31, February 2 and 3, 2013, Ordway, Saint Paul Sung in English with English captions
cast (in order of vocal appearance)
Father Brendan Flynn, parish priest Sister Aloysius Beauvier, school principal Sister James, a teacher and a nun Donald Miller, a student Mrs. Miller, Donald’s mother
Matthew Worth Christine Brewer Adriana Zabala Julius Andrews Denyce Graves
ensemble Working Man, Richard Ollarsaba • Noreen Horan, Christian Bardin • James “Jimmy” Kelly, Patrick Terry Tommy Conroy, James Wiersum • Sister Veronica/Mrs. Shields, Kathleen Humphrey • Sister Raymond, Patricia Kent Monsignor Benedict, Ben Crickenberger • William London, Sterling Lind • Ralph, Jack Romans • Malloy, Landon McDermott Mr. McGuinn, Matthew Opitz • Mrs. Deakins, Victoria Vargas • Tori Adams • Maggie Burr • Isabella Dawis • Tracey Engleman Peter Frenz • Christie Hageman • Ben Johnson • John Robert Lindsey • Nicole Moran • Allison Schardin • Julia Wiersum
creative team Conductor Stage Director Set Designer Costume Designer Lighting Designer Wig and Makeup Designer
Christopher Franklin Kevin Newbury Robert Brill Paul Carey Japhy Weideman Jason Allen
Assistant Director Assistant Conductor Children’s Chorusmaster Répétiteurs Stage Manager
Daniel Ellis Aaron Breid Dale Kruse Eric McEnaney, Sheldon Miller Alexander Farino
Setting: St. Nicholas, a Catholic church and school in the Bronx, New York, 1964
The Minnesota Opera season is sponsored by
Doubt is supported in part by The Aaron Copland Fund for Music, Inc.
This production of Doubt is made possible, in part, by the generosity of Elizabeth Redleaf.
Background Notes by David Sander
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xperiencing John Patrick Shanley’s play, film or opera for the first time, the unwary spectator might be initially convinced of Father Flynn’s culpability for committing unspeakable crimes. In the wake of the scandal that has rocked the Catholic Church over the past two decades, the accused priest is generally considered guilty unless proven otherwise. But the main purpose of the narrative is not to investigate any failings of the 2,000-year-old institution, but use it as a backdrop to explore a more fundamental notion – that of certainty.
The work is outlined by a pointed ddichotomy. Flynn is presented present as a Vatican iistyle priest, progressive, self-indulgent, self at times imperious, im yet vaguely effeminate, sporting uncommonly long un fingernails. He is i popular with his parishioners, coaches basketball, enjoys secular songs and the sound so of his own voice. voic Juxtaposed in direct direc opposition is Sister Aloysius, a stern, terse widow, a woman knowledgeable in the know ways of the world, a nun feared by all (though likeable and humorous like at rare moments), who w personifies all Father Flynn clichéd impressions of a fierce ruler-wielding schoolmistress. Her nononsense approach dismisses all types of pleasure and convenience, from Christmas
tunes and ballpoint pens to sugar and costume jewelry. She is not above lying to achieve her purposes, and she is not without her flaws, as we discover by the end of the drama. A closer examination of the text reveals how these two polar opposites explore the parameters of “doubt.” Set in a crumbling rough-and-tumble Bronx neighborhood in 1964, the story is framed by the turmoil of the Civil Rights Movement, Church reform and the threat of global conflict. The quiet protagonist, Donald Miller, is St. Nicholas School’s first African American student, a gesture reflecting an early attempt at the desegregation of public and private educational institutions. The First Vatican Council, a consolidation and affirmation of the pope’s power in response to Rome’s occupation by Italian Risorgimento revolutionaries in 1870, was overturned by the Second Council, opening up the Church to lay people. One no longer had to merely “pay, pray and obey” – it was the end of ecclesiastical apartness, the clergy now being close family friends and members of the community, delivering mass in English to the occasional accompaniment of a guitar. Meanwhile, military conflict loomed in the wake of the Cuban Missile Crisis and developments in Southeast Asia. In the light of these momentous events, the opera opens with a sermon on the theme of hopelessness, using as a preamble to a parable the recent murder of President John F. Kennedy, an event that shocked and deeply moved the entire nation. Flynn sees doubt as a unifying, communal emotion, whereas outside the scope of the drama (subtitled “A Parable”), it becomes destructive and contentious as Flynn’s reputation is itself assassinated. During this scene, the priest privately reveals he has indeed done something wrong, although we never truly learn what that is. In an opening soliloquy, Sister Aloysius discloses
her own reservations about her suspicions, echoed again in the opera’s final lines. The two scenes that follow establish Sister Aloysius as a fierce disciplinarian, both to her students and her fellow sisters. She plants mistrust into the thoughts of the nuns in her charge, particularly those of Sister James, whose innocence will ultimately be obliterated. James’ naïveté is tested as Sister Aloysius berates her for a lack of classroom discipline, and reminds her of the male-dominated Church in which the two nuns are ultimately powerless. It is also the first time both sisters see Father Flynn with his arm around Donald Miller through a window (the opening and shutting of windows being a common theme). From past experience, Aloysius begins to suspect the worst. Physicality is another of Father Flynn’s traits; thus he may be perceived as unusually familiar with the male students. The recoil of one, William London, becomes the primary (and rather thin) evidence against the priest (by way of disgust and “knowing looks,” the film suggests the theory that London might have also received unwanted attention). Flynn is shown at ease with the boys he coaches, at once their friend and confidant, further accented by his later “bull session” over cookies and milk. There is some irony in his dating advice, given that he has probably been cloistered in the seminary since his teen years, with no authentic life lessons upon which to draw (the very thought ridiculed by Sister Aloysius who, as a oncecourted married woman, has lived on the outside). Costume sketches by Paul Carey Sister Aloysius
To her good fortune, the Church requires the presence of a third party when meetings between mixed genders take place. In the pivotal scene that closes Act i, Sister Aloysius shows her capacity to tell a lie (albeit a white one) when she explains Sister Veronica’s fall after an especially portent storm. Aloysius blames the accident on the habit’s visual limitations when she knows that the old nun’s eyesight is failing, an act of kindness out of sync with her icy demeanor. Once Sister James is in place, the tension mounts. Flynn occupies himself in the principal’s seat, again emphasizing the hierarchy of the Church, to Aloysius’ disdain. She is clearly frustrated to be caught in a man’s world, which may fuel her campaign against the priest (significantly, she later manages to reclaim her chair in the film and play). While discussing the upcoming Christmas pageant, it becomes clear how their philosophies diverge, from the inclusion of secular songs to the flavoring and frequency of drinking tea. Flynn is of the new order, viewing the role of priest as a parishioner’s friend, suggesting ice cream
and camping trips (stereotypical tactics of a predator) as appropriate outings for priests and younger people. Aloysius cleverly tries to steer the conversation toward Donald Miller. Again using window imagery, she opens the shade, causing an inquisitional blaze of sunlight to blind the priest. Her ruse fails, as the proposed tryouts for “Frosty the Snowman” do not divulge any particular preference for the boy, but while inquiring how Donald would be used in the show, she neatly segues into Flynn’s private meeting with him.
crow (never a harbinger of anything pleasant) is significant if slightly ambiguous. Is it symbolic of the black-attired and grim Sister Aloysius making false accusations or of a dark, guilty conscience? The ever-physical Flynn goes as far as to put his arm around Sister James in a Of course Flynn is piqued by the sympathetic gesture, another insinuations and prepares to leave, but when violation of Church decorum. the use of alcohol is mentioned (historically, With his speech about love, a common enticement in cases of minor compassion and humanity, is he assault), he turns to minimize the situation. actually finding a kindred spirit He has a ready answer (premeditation in the young nun, also a pure soul also plays a part) blaming the incident on trying to do good works? Or is Donald and his own actions as a cover-up he manipulating her gentle nature of the offense. From the moment he takes to rationalize his own abhorrent Aloysius’ seat of power, the priest reveals behavior? It is an additional question a certain degree of conceit, a sense of mark giving us pause. being beyond the law with a quick-andready answer for every question (a further The meeting with Donald’s mother is a symptom of an abuser). Or is he just decisive moment in the drama. Unlike accurately reporting what happened? the other principal players, Mrs. Miller lives in the real world, where she has to be At the top of Act ii, Father Flynn gets coolly pragmatic. During her conversation his revenge, arrogantly preaching on the with Sister Aloysius, she consequences of gossip by way of another emphasizes the lack of any real parable. Confident he has the situation evidence the nun has to support well under control, he openly mocks her claim. Rather than the nun. The scene that follows is being horrified by the an even wilier moment as possibility that her son Flynn skillfully “seduces” is being mistreated, Sister James over to his she soberly deals side in the garden, a with issues before her. place where priests Donald must remain and nuns are not to be at St. Nicholas School, discovered in pairs. as he was beaten at With his usual smooth public school for being patter, effortlessly “different.” (For a 1960sera individual, Mrs. spoken both at the Miller is surprisingly altar and in daily life, supportive of her son’s Flynn adroitly explains homosexual tendencies). away the t-shirt (though His father hates him why Donald would be for the same reason, embarrassed by its personal so Flynn maintains a return is a little unclear). surrogate role, and ® The presence of a cawing Donald Miller and Monsignor Benedict
“The truth is rarely simple.”
Greater complexities develop in the following sequence of events. During a dreamy montage, a jocular dinner for the priests is contrasted with the austerity of the same for the sisters, while an intoxicated Donald is caught by Mr. McGuinn (who never actually sees him drinking the altar wine). Next, Flynn stealthily stows a t-shirt in a locker, a peculiar action quietly observed by Sister James. Clearly she has concerns of her own, which she confides in the elder sister as she has been instructed to do. Refusing to follow Church procedures and cross the garden (the gulf that separates the priests from the nuns) to report to the monsignor, Aloysius takes matters into her own hands. Using Sister James as her pawn, she rather deviously strategizes to trick Flynn into revealing his secrets.
background notes continued she is grateful for that attention. She fears her son may be ostracized if any rumors were made public, race being a very real factor in her mostly Caucasian external world. Where Sister Aloysius’ black and white microcosm sees things in either light or darkness, Mrs. Miller (clearly the most insightful of the four leading characters) sees the world in tones of gray. The original drama’s penultimate scene is the final showdown between priest and nun. Flynn’s transformation from self-assured and vindictive to a destroyed man could be a telling sign pointing to his guilt and is presented in stages. First he proclaims that Sister James believes him. Next he discloses the fact that Donald’s father beats his son. None of this working, he threatens
“Mrs. Miller ... sees the world in tones of gray.” to have Aloysius removed from her position. Unnerved by the revelation that St. Nicholas is the priest’s third parish in five years and that Aloysius has been digging into his past, by calling his previous appointment, Flynn is thunderstruck by what is happening to him. He desperately appeals to the nun’s compassion (where he will find none). It is clear he has done something wrong (having once admitted it to his confessor), and d Sister Aloysius tries her very best to beat an admission out of him in Mrs. Miller an entire reversal of power. Yet, she never succeeds, implying a certain innocence of those specific allegations.
“His resignation was his confession,” “H so Sister Aloysius reasons in the final scene, even though in telling a falsehood (the call to Flynn’s previous parish never took place) she has committed a mortal sin. Now that she has achieved her goal – Flynn’s removal – and has had some time for reflection, the sister’s moral fortitude crumbles in an emotional cascade of ddoubts. With the caw of the crow, her tragic flaw, that righteous, iron-clad t conviction has flown away, dissipating in con a floood of uncontrolled uncertainty. With regard rega to faith, “doubt” may be an evil but is far from being a weakness – it can reveal the consequences of narrow thinking and a greater understanding of the human experience. The truth is rarely simple.
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John Patrick Shanley, librettist
ohn Patrick Shanley is from The Bronx, New York. His plays include Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Cellini, Dirty Story, Defiance, Pirate and Storefront Church. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has nine films to his credit, most recently Doubt, with Meryl Streep, Philip Seymour Hoffman and
Amy Adams, which was nominated for five Academy Awards, including Best Adapted Screenplay. The film of Doubt was also directed by Mr. Shanley. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano, which he also directed, and Live From Baghdad for hbo (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for Best Original Screenplay. The Writers Guild of America awarded Mr. Shanley the 2009 Lifetime Achievement In Writing.
Photo by Monique Carboni
b October 3, 1950
Douglas J. Cuomo, composer
ritics have described the music of Douglas J. Cuomo as “eighteen minutes of velocity and ecstasy … mesmerizing … fiercely American in the sense of Whitman, Hart, Crane and Ives,” “… hugely effective musically, as well as awe-inspiring,” “irresistible” and “awesome.” Cuomo has composed for concert and theatrical stages, television and film. His expressive musical language, with its arresting juxtapositions of sound and style, is a natural outgrowth of his eclectic background and training. He became a professional guitarist while still in his teens, alternating years of college – studying jazz, world music and ethnomusicology at Wesleyan University in Connecticut – with years on the road playing in jazz, pop and funk bands. Recent performances include: Black Diamond Express Train to Hell, a double concerto for cello and sampler, commissioned by the American Composers Orchestra and The Orchestra of the Swan, and premiered at Carnegie Hall; the opera/oratorio Arjuna’s Dilemma, produced by The Music-Theatre Group and premiered at the bam Next Wave Festival; Only Breath, commissioned and performed by Maya Beiser, at The International Festival of Arts and Ideas,
Ravinia, Carnegie Hall and others; Kyrie, commissioned and performed by Chanticleer, at the Metropolitan Museum of Art’s Temple of Dendur; and Fortune, commissioned and performed by The Young Peoples Chorus of New York City. Work for television and film includes: themes for Sex and The City (hbo), now with Bill Moyers (pbs) and Wide Angle (pbs); music for Homicide: Life On The Street and others. His latest opera Doubt, with a libretto by John Patrick Shanley, based on his play and screenplay, had workshop performances in Cincinnati in November 2011 as part of Opera Fusion: New Works, a collaboration between Cincinnati Opera, the University of Cincinnati College– Conservatory of Music and Minnesota Opera. Additional workshops took place in Minneapolis and in New York in collaboration with American Opera Projects. Upcoming projects include Winter’s Journey, based on Wilhelm Mueller’s Winterreise poetry cycle, for mezzo-soprano Beth Clayton, electronics and three instrumentalists, commissioned by Music-Theatre Group. Cuomo has received numerous grants and awards including: opera America Opera Fund Grant; two National Endowment of the Arts awards for
Artistic Excellence in the Creation and Development of New Work; American Music Center’s Composer Assistance Grant; Resident Artist Fellow at The MacDowell Colony, The Hermitage Foundation and Blue Mountain Artist Colony; New York State Council for the Arts recording grant; Argosy Foundation Grant; Mary Flagler Carey Charitable Trust for development and others. Cuomo also performs as a guitarist with his band, playing jazz interpretations of his film and television work at venues including Birdland, The Knitting Factory and others. He has lectured at various institutions including New York University, Wesleyan University (Connecticut), University of Miami (Florida), University of California at San Diego, Hunter College, Hofstra University, The Asia Society (New York), the Rubin Museum (New York) and the U.S. Naval Strategic Studies Group. Mr. Cuomo’s music is published exclusively worldwide by Schott Music.
b February 13, 1958
the artists Christine Brewer sister aloysius Grammy Award-winning American soprano Christine Brewer’s appearances in opera, concert and recital are marked by her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. On the opera stage, Brewer is highly regarded for her striking portrayal of the title role in Strauss’ Ariadne auf Naxos, which she has performed with the Metropolitan Opera, Opéra de Lyon, Théâtre du Chatelet, Santa Fe Opera, English National Opera and Opera Theatre of St. Louis. She has performed in Tristan und Isolde at San Francisco Opera, Alceste with Santa Fe Opera, Die Frau ohne Schatten at Lyric Opera of Chicago and the Paris Opéra, and Albert Herring at Santa Fe Opera. She is also celebrated for her work on lesser-known operas such as the title roles in Iphigénie en Tauride with the Edinburgh Festival, the Rio de Janeiro Opera and Madrid Opera and Die ägyptische Helena with the Santa Fe Opera. Ms. Brewer’s appearance is generously sponsored by Bernt von Ohlen and Tom Nichol.
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conductor Since having started his career in Italy, Christopher Franklin has conducted at many of the major Italian opera houses and festivals. The houses include Teatro Regio di Torino, the Maggio Musicale Fiorentino, Teatro Comunale di Bologna, the Teatro Carlo Felice di Genova, the Teatro dell’Opera di Roma, the Teatro Massimo di Palermo, the Teatro Piccolo alla Scala di Milano, the Teatro Comunale di Treviso, Teatro Verdi di Salerno, Teatro Pergolesi di Jesi, the Rossini Opera Festival in Pesaro and the Spontini Festival in Jesi. Operatic engagements include Death in Venice with Opera de Belles Artes in Mexico City, Così fan tutte and La Cenerentola with Minnesota Opera, Il barbiere di Siviglia in Lima, Peru, L’elisir d’amore at Teatro Carlo Felice, Une éducation manquée and Rossini’s La cambiale di matrimonio at the Wexford Festival, Sweeney Todd at the Teatro Comunale di Bologna, The Merry Widow at both the Teatro San Carlo di Napoli and Carlo Felice di Genova, and concerts with the Filarmonica Toscanini in Parma and the Swiss Radio Symphony Orchestra in Lugano. For more biographical information about these artists, visit our website at mnopera.org/season or go to get.neoreader.com on your smartphone and then snap this tag.
Robert Brill set designer For Minnesota Opera, Robert Brill has designed Bok Choy Variations and La bohème. Other designs for opera include Faust for the Metropolitan Opera and English National Opera, Wozzeck at San Diego Opera, L’incoronazione di Poppea at Chicago Opera Theater and the world premiere of Moby Dick for Dallas Opera and other companies in the United States, Canada and Australia. On Broadway, his designs include the 2012 revival of Jesus Christ Superstar, Guys and Dolls (Tony nominated), Assassins (Tony nominated), Design for Living, Buried Child and the set and club design for the critically acclaimed revival of Cabaret. Other recent designs include A Word Or Two and The Flaming Lips’ musical Yoshimi Battles the Pink Robots. Brill has designed for the Whitney Museum of American Art, Lincoln Center Theater, the Stratford Festival, Boston Ballet, the Guthrie, Goodman Theater, American Conservatory Theater, the Mark Taper Forum and La Jolla Playhouse, among many others. He is a founding member of Sledgehammer Theatre and a recipient of the Merritt Award for Excellence in Design and Collaboration.
Denyce Graves mrs. miller Recognized worldwide as one of today’s most exciting vocal stars, Denyce Graves continues to gather popular and critical acclaim in performances on four continents. She has become particularly well-known to operatic audiences for her portrayals of the title roles in Carmen and Samson et Dalila, bringing her to the Metropolitan Opera, Vienna Staatsoper, Royal Opera, Covent Garden, San Francisco Opera, Opéra National de Paris, Lyric Opera of Chicago, Washington Opera, Bayerische Staatsoper, Arena di Verona, Deutsche Oper Berlin, Opernhaus Zürich, Teatro Real in Madrid, Houston Grand Opera, Dallas Opera, Teatro Colón in Buenos Aires, Los Angeles Opera, the Festival Maggio Musicale Firenze and Minnesota Opera. Ms. Graves’s 2012–2013 season includes the world premiere of Champion as Emelda at the Opera Theatre of St. Louis, Salome as Herodias at Palm Beach Opera and The Mikado as Katisha with the Lyric Opera of Kansas City. Ms. Graves also makes numerous concert and recital performances. Ms. Graves appearance is generously sponsored by by Jane and Ogden Confer.
Paul Carey costume designer Paul Carey makes his Minnesota Opera debut. His recent work in opera includes costumes for Roméo et Juliette (Palm Beach Opera); Hansel and Gretel (Virginia Opera); El niño (San Francisco Symphony); Der Kaiser von Atlantis (Central City Opera/ Colorado Symphony/University of Denver; Greenwich Music Festival); Orpheus and Euridice, Green Sneakers and Glory Denied (UrbanArias, Washington, d.c.), as well as costumes and scenery for h.m.s. Pinafore (Caramoor Festival). In addition to opera, his repertoire encompasses theater, film and dance. He designed the costumes for Mothra Is Waiting [working title], a short film scheduled for release in 2013, directed by Kevin Newbury. Regional and New York theater credits include The Old Globe, Yale Rep, Amphibian (Ft. Worth), Clubbed Thumb, New York Musical Theatre Festival, Columbia Stages, One Year Lease, nyu Tisch School of the Arts and Williamstown Theatre Festival Workshop. Born in Oregon and raised in South Dakota and Ohio, he is now based in New York City. Upcoming: Il viaggio a Reims (Wolf Trap Opera).
Kevin Newbury stage director Kevin Newbury productions have been presented by many of the top American and internationa l op era companies and symphonies including Minnesota Opera, Santa Fe Opera, Houston Grand Opera, Opera Theatre of St. Louis, Carnegie Hall, the Kennedy Center, the San Francisco Symphony, the Baltimore Symphony, L’Opéra de Montréal, Bard Summerscape, Portland Opera, Glimmerglass Opera, the Virginia Arts Festival and the Wexford Festival in Ireland. He has also directed many new plays in New York, including the award-winning Candy and Dorothy. Mr. Newbury’s Virginia for Wexford recently won the 2010 Irish Times Theatre Award, and his work has won or been nominated for a Grammy Award, a Drama Desk Award and the glaad Media Award. Mr. Newbury just finished shooting his first film, Mothra is Waiting, to be released in early 2013. Upcoming engagements include new productions with San Francisco Opera, Santa Fe Opera, Opera Company of Philadelphia, Canadian Opera Company and Lyric Opera of Chicago.
The appearances of Christine Brewer and Denyce Graves, winners of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.
the artists Japhy Weideman
lighting designer Japhy Weideman is a New York City-based lighting designer for theater and opera. His opera designs include Bluebeard’s Castle/Il prigioniero at La Scala and Nederlandse Opera; Don Giovanni and Eugene Onegin at Opéra de Lyon; and Life is a Dream and Don Giovanni at Santa Fe Opera. Most recently he designed Cyrano de Bergerac on Broadway and Great God Pan at Playwrights Horizons in New York. He has lit numerous theater productions in New York for Lincoln Center Theater, Roundabout Theatre Company, The Public Theater, Second Stage and Labyrinth Theatre Company. International designs include London’s West End, Royal Shakespeare Co. – Stratford, Edinburgh Festival, National Theater of Greece and National Theater of Korea. Regional theater includes American Conservatory Theatre, Alley, Berkeley Repertory Theatre, Cincinnati Playhouse, Huntington, La Jolla Playhouse, Magic Theatre, Old Globe, Shakespeare Theater and Signature Theatre. Upcoming engagements include The Nance at The Lyceum on Broadway starring Nathan Lane.
father flynn Hailed by the Dallas Morning News for his “dashing , fine bright baritone” and The New York Times for a voice that is “fully powered and persuasively expressive,” Matthew Worth was recently the featured “Sound Bites” artist in Opera News, and is enjoying successes on both the operatic and concert stages, in all styles from the Renaissance to new repertoire. Matthew Worth’s 2012–2013 season engagements include a debut with Opera Theatre of St. Louis as Tomes in Smetana’s The Kiss and returns to New Orleans Opera as Figaro in Il barbiere di Siviglia, to Boston Lyric Opera as Guglielmo in Così fan tutte, to Virginia Opera as Billy in Carousel and to Opera Memphis as Tarquinius in The Rape of Lucretia. In the 2011–2012 season, he made his debut with Lyric Opera of Chicago as Harlekin in Ariadne auf Naxos, with Opera Memphis as Malatesta in Don Pasquale, with Minnesota Opera as Guglielmo in Così fan tutte and with Santa Fe Opera as Valentin in Gounod’s Faust.
sister james As the title character in the American premiere of Dove’s The Adventures of Pinocchio, Adriana Zabala was recently praised by The Wall Street Journal as showing “tremendous stamina and boy-like flair.” A frequent performer with Minnesota Opera, she was last seen as Isabella Linton in Wuthering Heights. Within the last few seasons Ms. Zabala has been seen at Seattle Opera, Wolf Trap Opera, Syracuse Opera, Arizona Opera, Lyric Opera of San Antonio, Opera Carolina, Lake George Opera, Opera Pacific and Opera Saratoga. She has also been a soloist with the Minnesota Orchestra, the Mormon Tabernacle Choir, the Jacksonville Symphony, the Virginia Symphony, the Madison Symphony, the New York Festival of Song and at the Caramoor Music Festival. She has appeared in recital in the Barns at Wolf Trap, The Kennedy Center’s Millennium Stage, The Dallas Museum of Art, Ventford Hall and at Carnegie Hall. Future roles include Cherebino in Le nozze di Figaro and Sesto in Giulio Cesare with Florentine Opera (Milwaukee).
Mr. Worth’s appearance is generously sponsored by Ellie and Tom Crosby, Jr.
Ms. Zabala’s appearance is generously sponsored by Leni and David Moore.
By arrangement with Schott Music Corporation, New York, publisher of and exclusive representative worldwide for the music of Douglas J. Cuomo. • Dedicated to Sharon, George and Sylvia — Douglas J. Cuomo Music preparation by Philip Rothman • Additional music preparation by Juan Pablo Contreras Ecclesiastical Consultant: Reverend Michael R. Moynihan • Sisters of Charity Consultant: Sister Constance Brennan Special thanks: Sisters of Charity Archive, Donna Langman Costumes, Grace Liturgical Vestments, Arnold Levine Millinery Steinway grand piano graciously provided by Schmitt Music
MINNESOTA OPERA ORCHESTRA VIOLIN I
Allison Ostrander Concertmaster Julia Persitz David Mickens Judy Thon-Jones Angela Hanson Andrea Een
David Auerbach Emily Hagen Laurel Browne Jenny Lind Nilsson
(double English horn) Michael Dayton
Matthew Wilson Charles Hodgson
Matthew Barber Steve Kimball
VIOLIN II Laurie Petruconis Elizabeth Decker Stephan Orsak Melinda Marshall Elise Parker
CELLO Jim Jacobson Sally Dorer Rebecca Arons
Karrin Meﬀert-Nelson Nina Olsen (double bass clarinet)
John G. Koopmann
SAXOPHONE (alto, tenor, baritone) Jared Ziegler
BASS John Michael Smith Constance Martin
BASSOON Coreen Nordling
TROMBONE Phillip Ostrander
Joy Amel Alex Cotant Andy Flamm Joseph Johnson Christopher Kemp Kevin Klein Norm Tiedemann
TIMPANI Kory Andry
FLUTE (double piccolo) Michele Frisch
MINNESOTA PUBLIC RADIO®
A & C Publishing, Inc. – Wendy Wagner, Director of Operations Aleutian Calabay – Publicity Photographer Michal Daniel – Production Photographer
QuarterTon Productions – Publicity Video
Mike Reed – Production Sketch Artist
Classical MPR – Broadcast Recording
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The Grapes of Wrath, 2007
FIFTY YEARSof New Works M Minnesota Opera’s tradition of presenting n new works began in 1963 with Dominick A Argento’s The Masque of Angels, and now in 2 2013 we celebrate our 50th Anniversary with tthe world premiere of Doubt. New works have been deeply embedded in the DNA h o of Minnesota Opera, and we are proud to a announce that we are only $100,000 from meeting a one-to-one challenge grant. m
The Masque of Angels, 1964
The T Dream of Valentino, a Dominick Argento revival i 2014, and The Manchurian Candidate, a world in premiere p by Kevin Puts and Mark Campbell for 2015, 2 will bring our tradition into the next half c century of the company’s existence.
Silent Night, 2011
Minnesota Opera is proud to acknowledge our New Works heritage, and we look forward to celebrating that spirit for the next 50 years.
Fred C. and Katherine B. Andersen Foundation The Seaver Institute The Aaron Copland Fund for Music, Inc. The Andrew W. Mellon Foundation Thank you to Margaret and Angus Wurtele for their generous matching grant.
Join us in the celebration.
1983–1984 Hansel and Gretel Madame Butterfly La Cenerentola The Abduction of Figaro a mysterious fire guts the opera’s offices and shops on grand avenue. minnesota opera moves its offices to park square court in downtown saint paul.
Animalen Casanova’s Homecoming The Magic Flute dale johnson joins the music staff. the american premiere of animalen opens the ordway music theatre, followed by the world premiere of dominick argento’s casanova’s homecoming. kevin smith becomes general manager.
1985–1986 Where the Wild Things Are Higglety Pigglety Pop! La traviata The Elixir of Love The King and I
la traviata is the first production to be sung in its original language aided by the use of surtitles.
1986–1987 The Pearl Fishers The Postman Always Rings Twice Ariadne auf Naxos South Pacific the metropolitan opera discontinues its national tour, giving the opportunity for minnesota opera to include more traditional repertoire.
1990–1991 Norma The Aspern Papers Carmen Così fan tutte the minnesota opera center opens in three renovated warehouses in downtown minneapolis, uniting rehearsal, office and shop spaces in one location. first mpr broadcast.
1987–1988 Die Fledermaus Rigoletto Rusalka Oklahoma! minnesota opera celebrates its 25th anniversary season.
1988–1989 Don Giovanni Salome The Mikado The Juniper Tree Show Boat dale johnson is appointed director of artistic planning and kevin ramach becomes assistant technical director.
1989–1990 La bohème A Midsummer Night’s Dream Roméo et Juliette Frankenstein, The Modern Prometheus My Fair Lady kevin smith becomes president and general director.
1991–1992 Tosca The Pearl Fishers The Marriage of Figaro From the Towers of the Moon Carousel the opera launches its first major national tour with the magic flute. its production of carousel opens the newly renovated state theatre.
1992–1993 The Flying Dutchman Armida Madame Butterfly The Pirates of Penzance the opera presents the american premiere of gioachino rossini’s armida, a bel canto rarity.
The Third Decade
Interview with Dominick Argento 5
e never started out with the idea of forming a company. A number of us who were close to the Walker had heard about an opera by Benjamin Britten called Albert Herring. Norton Hintz, who was on the board of the Center Arts Council, was very enthusiastic about the idea of having it performed and told us to go ahead with the project. The moment we started to think about it, we got cold feet because the opera, though chamber music, is rather difficult. I had the idea of doing an opera by John Blow called The Masque of Venus and Adonis, which very few people knew about. Because it was only a 45-minute work, somebody suggested that I write a religious masque to go with this secular one, so I wrote The Masque of Angels. We were still not an opera company, just a bunch of amateurs joined together by a common interest, but the performance was such a hit with the audience, received rave reviews and had people calling up the Walker all day long the next day. So we quickly put together a second performance. Martin Friedman said that there seemed to be a real audience for contemporary chamber opera and suggested that we become a company. We performed Albert Herring later that year, which was a big success. And that was the beginning of Center Opera Company. At first we were going to be very hard-nosed about doing nothing but Mozart and contemporary operas, but little by little, particularly when Wesley Balk came in as director, we started doing innovative productions with standard repertoire like Rigoletto, which was staged in Little Italy. The Opera made its home at the Ordway in 1985, making all the difference artistically. When they were working at the Guthrie, the absence of an orchestra pit was the biggest handicap. There, they had a scrim behind the thrust stage, and behind that, the orchestra. For the singers, it was nice because they could be heard better, but of course they could not see the conductor and had
to watch two monitors in the vomitorium. For me the biggest differences were the great stage, lots of room in the orchestra pit and a wonderful acoustical space. When Frederica von Stade came here for recitals, she said it was the warmest place in the country to perform. It’s a great venue. Without it, the history of this company might have been different. I had my one major failure at New York City Opera in 1979 with Miss Havisham’s Fire, which was written for Beverly Sills. She ended up not being able to sing it which, along with the libretto, contributed to its failure. The head of Minnesota Opera at that time was Chuck Fullmer and about three years before the opening of the Ordway, he said that the Opera would like me to write a commission. As a matter of fact, he had spoken to Sills and it was to be a co-commission with New York City Opera. Minnesota Opera ended up doing a Swedish opera called Animalen, which was a great flop. It would have been a matter of pride to say “I opened the Ordway” but in a way, it was better for me that they opened with a failure. When Casanova’s Homecoming was premiered later that season, by contrast it was so good that people probably thought it better than it actually was! Regardless, Sills came to me at intermission on opening night, sat on the arm of my chair and said: “Don’t you ever let anyone else write your librettos except for yourself.” My entire career is tied in with Minnesota Opera. All of my successes have premiered there: The Masque of Angels, The Voyage of Edgar Allen Poe, Postcard from Morocco, Miss Havisham’s Wedding Night, Waterbird Talk and Casanova’s Homecoming. Even though they were written for other companies, Aspern Papers and next season’s The Dream of Valentino will have been performed there too. The story of Center Opera/Minnesota Opera is the story of my life as a composer.
8 PHOTOS: (1) Die Fledermaus (1987) (2) The Elixir of Love (1985) (3) Armida (1993) (4) A Midsummer Night's Dream (1990) (5) Animalen (1984) (6) Where the Wild Things Are (1985) (7) The Abduction of Figaro (1984) (8) The Juniper Tree (1989) (9) Frankenstein (1990) (10) Carmen (1991) (11) Ariadne auf Naxos (1987)
Apply today’s Doubt ticket to a 3-opera package for ﬂexible exchanges and savings! Visit the Ordway box ofﬁce at intermission, or call 612-333-6669, M – F, 9am – 6pm.
To be or not to be … THOMAS
MAR 2 – 10
Trapped by the horrifying truth about his father’s murder, Hamlet becomes the eye of an increasingly violent storm. His vengeance destroys everything – even love. Based on Shakespeare’s unforgettable classic, this treasure of French opera shimmers anew with luxurious melodies and searing theatricality. SUNG IN FRENCH WITH ENGLISH TRANSLATIONS PROJECTED ABOVE THE STAGE.
HAMLET BRIAN MULLIGAN
Solve three riddles — or die trying. PUCCINI
APR 13 – 21
The cold, proud princess Turandot puts her suitors to the ultimate test. Boasting one of opera’s most popular arias, “Nessun dorma,” Puccini’s Turandot is an absolute powerhouse ﬁnale to Minnesota Opera’s 50th anniversary season. Irina Rindzuner (Turandot) and Kelly Kaduce (Liù) lead one cast, while Helen Todd and Christie Hageman lead the other in this twin-cast spectacular. SUNG IN ITALIAN WITH ENGLISH TRANSLATIONS PROJECTED ABOVE THE STAGE.
© 2012 ClarePix Photography
Tempo is a membership program for both new and seasoned opera-goers ages 21–39. Your $50 Tempo membership includes exciting benefits to help you get the most out of your experience.
Anna Bolena Tempo After Party
UPCOMING EVENTS February 2: Tempo goes to the Met ... Auditions
Oﬃcial home of Tempo Night Out + After Party for the 2012–2013 season
February 11: Hamlet Happy Hour + Behind the Curtain February 16: Mimosas & the Met
TEMPO’S TENTH YEAR!
March 2: Hamlet Tempo Night Out + After Party March 23: The Rogue Song
mnopera.org/tempo /t | 612 612-333-6669 333 6669 email@example.com Check out Tempo on Minnesota Opera's blog every Tuesday: blog.mnopera.org
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We are pleased to present conductor Maestro Christopher Franklin in Minnesota Opera’s production of Doubt.
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Project Opera presents three one-acts! Minnesota Opera’s premiere vocal training program for students will perform three exciting one-act operas. Shoes for the Santo Niño by Stephen Paulus – based on the popular New Mexican folk tale, tells the story of young Julianita meeting the Santo Niño. Down in the Valley by Kurt Weill – an American folk opera about the tragic fate of a young boy who fights to defend the girl he loves.
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Noye’s Fludde by Benjamin Britten – a magical score telling the story of Noah and the Ark.
February 22 (10am & 7pm) February 23 (1 & 4:30pm) The Lab Theater 700 North First Street Minneapolis, MN 55401 For tickets, call 612-333-6669 $5/child • $15/adult
Performed in English with English titles projected above the stage, these performances are ideal for children.
Behind B eh e the Curtain M Monday, February 11, 2013 77-8:30pm
Project Opera performs excerpts from Down in the Valley in the lobby of the Ordway before the Sunday Matinee of Anna Bolena.
Loo Look ok Behind the Curtain at Hamlet with director dir rec Thaddeus Strassberger, conductor Ch Christopher ris Franklin and members of the cre creative eat team as they take you through the his history sto of Ambroise Thomas’ beautiful opera an and d the t process involved in mounting it today. Pu Purchase rc tickets at mnopera.org or cal call ll tthe Minnesota Opera Ticket Office at 61 612-333-6669. ($3 ($35/adult, 35 $28/subscriber, $10/student).
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President and General Director | Kevin Ramach Artistic Director | Dale Johnson Music Director | Michael Christie
Artistic Administrator | Roxanne Stouﬀer Artist Relations and Planning Director Floyd Anderson Dramaturg | David Sander Artistic Associate | Bill Murray Resident Artists | Aaron Breid, Daniel Ellis, Christie Hageman, John Robert Lindsey, Eric McEnaney, Sheldon Miller, Richard Ollarsaba, Matthew Opitz, Mary-Lacey Rogers, Victoria Vargas Master Coach | Mary Jo Gothmann Resident Artist Program Instructors | Cecile Crozat-Zawisza, Barbara Kierig, Brian McCullough, George Smith, Jenya Trubnikava
Production Stage Manager | Alexander Farino Assistant Stage Managers | Shayna j. Houp, Andrew Landis Production Administrative Assistant | Katherine Cattrysse
Director of the Annual Fund | Dawn Loven Institutional Gifts Manager | Beth Comeaux Advancement Manager | Kelly Kuczkowski Donor Events and Gala Manager | Emily Skoblik Individual Gifts Oﬃcer | Jenna Wolf
Assistant Costume Shop Manager | Beth Sanders Wardrobe Supervisor | Emily Rosenmeier Drapers | Chris Bur, Donna Langman, Emily Rosenmeier, Yancy Thrift Dyer/Painter | Marliss Jensen First Hands | Helen Ammann, Rebecca Ballas, Kelsey Glasener Stitchers | Ann Habermann, Ariella Lebowitz, Catherine Manning, Rachel Skudlarek Knitter | Corinna Smith Wig/Makeup Supervisors | Sarah Bourne, Priscilla Bruce, Ashley Joyce
SCENERY Technical Director | Mike McQuiston Properties Master | Jenn Maatman Properties Assistant | Michael C. Long Lighting Coordinator | Ray Steveson Associate Set Designer | Steven Kemp Assistant Set Designer | Julia Lee Assistant Lighting Coordinator | Tom Rost HD Video Coordinator | Holly Carpenter Production Carpenter | JC Amel Scene Shop Foreman | Rod Aird Master Carpenters | Steven Rovie, Eric Veldey Carpenters | Steve Dalglish, Nate Kulenkamp Charge Painter | Jeﬀery Murphey Painter | Rachel Madden
ADMINISTRATION Finance Director | Jeﬀ Couture Operations/Systems Manager | Steve Mittelholtz HR/Accounting Manager | Jennifer Thill Director of Board Relations | Theresa Murray Finance Assistant | Michelle Gould Data Specialist | Rosalee McCready
EDUCATION Community Education Director | Jamie Andrews Teaching Artist | Bergen Baker Project Opera Music Director | Dale Kruse Project Opera Accompanist | Kathy Kraulik Project Opera Program Assistant | Anna Schmidt
MARKETING/COMMUNICATIONS Marketing & Communications Director | Lani Willis Marketing Manager | Katherine Castille Communications Manager | Daniel R. Zillmann Marketing Associate | Kristin Matejcek Online Content Specialist | Adam Holisky Ticket Oﬃce Manager | Julie Behr Assistant Ticket Oﬃce Manager | Kevin Beckey Ticket Oﬃce Associate | Sarah Fowler Ticket Oﬃce Assistants | Carol Corich, Kärsten Jensen, Emma Lynn, Jane Samsal, Carrie Walker Communications Interns | Sabrina Crews, Theodore Schaller, Corinne Standish, Luke Thompson
minnesota opera volunteers The following volunteers contribute their time and talent to support the key activities of Minnesota Opera. If you would like to learn more about volunteering please visit mnopera.org/volunteer, email email@example.com or call Jenna Wolf at 612-342-9569. Gerald Benson Kärsten Jensen Mary McDiarmid Eric Peterson Debra Brooks Jeanie Johnston Verne Melberg Sydney Phillips Jerry Cassidy Robin Keck Barbara Moore Wendi Sott Judith Duncan David Lightstone Douglas Myhra Barbara Willis Jane Fuller Jenny Lightstone Candyce Osterkamp Joan Gacki Jerry Lillquist Dan Panshin Merle Hanson Joyce Lillquist Pat Panshin Minnesota Opera is a proud member of The Arts Partnership with Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra and The Schubert Club.
BOARD OF DIRECTORS OFFICERS Rachelle D. Chase, Chair Kevin Ramach, President and General Director James Johnson, Vice Chair Robert Lee, Secretary Patricia Johnson, Treasurer
DIRECTORS Patricia Beithon Wendy Bennett Shari Boehnen Rachelle D. Chase Jane M. Confer Jodi Dehli Sara Donaldson Chip Emery Bianca Fine Sharon Hawkins Ruth S. Huss Heinz F. Hutter James Johnson Patricia Johnson James Langdon Christine Larsen Robert Lee Lynne E. Looney
Steven Mahon David Meline Leni Moore Albin “Jim” Nelson Luis Pagan-Carlo Jose Peris Elizabeth Redleaf Connie Remele Sergio Rial Don Romanaggi Christopher Romans Mark Schwarzmann Nadege Souvenir Simon Stevens Virginia Stringer H. Bernt von Ohlen Margaret Wurtele
EMERITI Karen Bachman John A. Blanchard, III Burton Cohen
Julia W. Dayton Mary W. Vaughan
HONORARY DIRECTORS Dominick Argento Philip Brunelle Dolly Fiterman
Norton M. Hintz Liz Kochiras Patricia H. Sheppard
LEGAL COUNSEL James A. Rubenstein, Moss & Barnett
TEMPO BOARD AND VOLUNTEERS Ryan Alberg Thomas Bakken Leslie Carey Melissa Daul Jennifer Engel Laura Green Benjamin Jones (Board Chair)
Carolina Lamas Susan N Leppke Kristin Matejcek (Staﬀ Liaison) Megan Mehl Jamie Nieman Polina Saprygina Rhonda Skoby Lauren Viner
minnesota opera staff
annual fund | individual giving It is with deep appreciation that Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides the ﬁnancial foundation which makes the Opera’s artistic excellence possible. For information on making a contribution to Minnesota Opera, please call Dawn Loven, Director of the Annual Fund at 612-342-9567, or email her at firstname.lastname@example.org.
bel canto circle Platinum $25,000 and above Anonymous (1) Tracy and Eric Aanenson Mary and Gus Blanchard Jane M. and Ogden W. Confer Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Heinz Hutter James E. Johnson Lucy Rosenberry Jones
Sara and Jock Donaldson Mr. and Mrs. William Frels N. Bud and Beverly Grossman Foundation William I. and Bianca M. Fine Charitable Trust Moore Family Fund for the Arts Albin and Susan Nelson Mary Ingebrand Pohlad Ronning Family Foundation Bernt von Ohlen and Tom Nichol
Anonymous (4) Nina and John Archabal
Annette Atkins and Tom Joyce Alexandra O. Bjorklund Ken and Peggy Bonneville Dr. Lee Borah, Jr. Margee and Will Bracken Conley Brooks Family Juliet Bryan and Jack Timm Christopher J. Burns Ann and Glen Butterman Mr. and Mrs. Richard A. Carlson Darlene J. and Richard P. Carroll Nicky B. Carpenter Gisela Corbett Page and Jay Cowles Thomas and Mary Lou Detwiler Mona and Patrick Dewane Ralph D. Ebbott Nancy and Rolf Engh Rondi Erickson and Sandy Lewis Patricia R. Freeburg Meg and Wayne Gisslen Mrs. Myrtle Grette Michele Harris and Peter Tanghe Dorothy Horns and James Richardson Dr. and Mrs. Arthur Horowitz Bill and Hella Mears Hueg Dale A. Johnson Robert and Susan Josselson Warren and Patricia Kelly Lyndel and Blaine King
Robert Kriel and Linda Krach David MacMillan and Judy Krow Helen L. Kuehn Roy and Dorothy Mayeske Mary Bigelow McMillan Karla Miller Dr. and Mrs. Alfred Moore Sandy and Bob Morris Nancy and Richard Nicholson Mr. and Mrs. Rolf Peters Marge and Dwight Peterson Mrs. William Phillips Sara and Kevin Ramach Rhoda and Paul Redleaf Mary and Paul Reyelts Nina and Ken Rothchild James A. Rubenstein, Moss & Barnett Kay Savik and Joe Tashjian Mary H. and Christian G. Schrock Gloria and Fred Sewell Drs. Joseph and Kristina Shaffer Lynda and Frank Sharbrough Stephanie Simon and Craig Bentdahl Stephanie C. Van D'Elden William Voedisch and Laurie Carlson Dr. Craig and Stephanie Walvatne Nancy and Ted Weyerhaeuser Woessner Freeman Family Foundation
Mrs. Thomas M. Crosby, Sr. Helen and John Crosson Jeff and Wendy Dankey Mary and Kevin Date Fran Davis Judson Dayton Ruth and Bruce Dayton The Denny Fund of The Minneapolis Foundation Rebecca and Jay Debertin Margaret DiBlasio Elise Donohue Joe Dowling and Siobhan Cleary Joan Duddingston Joyce and Hugh Edmondson Ann Fankhanel Ester and John Fesler Joyce and Hal Field Gail Fiskewold Melanie and Bruce Flessner Salvatore Silvestri Franco Emil and Robert Fredericksen Kris and Kristina Fredrick Bradley Fuller and Elizabeth Lincoln Christine and Jon Galloway Christine and Michael Garner Katy Gaynor
Mr. and Mrs. R. James Gesell Heidi and Howard Gilbert Stanley and Luella Goldberg Sima and Clark Griffith Bruce and Jean Grussing Mr. and Mrs. Roger Hale Elizabeth and Jule Hannaford Hackensack Fund of The Saint Paul Foundation Don Helgeson and Sue Shepard Karen and John Himle Andrew Holly and Svea Forsberg-Holly Jean McGough Holten Thomas Hunt and John Wheelihan Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Teresa and Chuck Jakway Barbara Jenkins Margaret and Philip Johnson Wadad Kadi Stan and Jeanne Kagin Nancy and Donald Kapps Thomas A. Keller, iii E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Hugh Klein and Judy Lebedoff Gerard Knight
Mrs. James S. Kochiras Kyle Kossol and Tom Becker Constance and Daniel Kunin Mark and Elaine Landergan Christl and Andrew Larson Stefanie Lenway and Tom Murtha Mr. and Mrs. Seymour Levy Joyce and Jerry Lillquist Diane and David Lilly, Jr. Bill Long Helen and Ben Liu Dawn M. Loven Dr. Caliann Lum Margery Martin and Dan Feidt Barbara McBurney Laura McCarten Helen and Charles McCrossan Sheila McNally Deb and Jon McTaggart Judith and James Mellinger Velia R. Melrose David and LaVonne Middleton Barbara and Edward Mills Judy and David Myers Elizabeth B. Myers Kaye and Terry Myhre Louis Newell
The Art and Martha Kaemmer Fund of HRK Foundation Elizabeth Redleaf Mrs. Mary W. Vaughan C. Angus and Margaret Wurtele
Gold $15,000–$24,999 Ellie and Tom Crosby, Jr. Cy and Paula Decosse Fund of The Minneapolis Foundation
Anonymous (2) Karen Bachman Susan Boren Kathleen and John Junek Harvey T. McLain Kay Ness and Chris Wolohan Connie and Lew Remele Mary Ingebrand Pohlad Joseph Sammartino Maggie Thurer and Simon Stevens
camerata circle Platinum $7,500–$9,999 Allegro Fund of The Saint Paul Foundation Patricia and John Beithon Shari and David Boehnen Rachelle Dockman Chase Sharon and Bill Hawkins Patricia Johnson and Kai Bjerkness Erwin and Miriam Kelen Robert L. Lee and Mary E. Schaffner Judy Mortrude and Steven Mahon Jose Peris and Diana Gulden Lois and John Rogers Chris and Mark Schwarzmann Carolyn, Sharon and Clark Winslow
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Anonymous (2) Martha Goldberg Aronson and Daniel Aronson Martha and Bruce Atwater Fund of The Minneapolis Foundation William Biermaier and David Hanson Kathleen Callahan Mary Lee Dayton Jodi Dehli Dolly J. Fiterman
Alfred and Ingrid Lenz Harrison Margaret and Andrew Houlton Mr. and Mrs. Philip Isaacson Cynthia and Jay Ihlenfeld Debra and James Lakin Chris Larsen and Scott Peterson Mary and Barry Lazarus Ilo and Peggy Leppik Lynne Looney Mr. and Mrs. Donald Lucker Mr. and Mrs. Reid MacDonald Barbara and David Meline Kendrick B. Melrose Family Foundation Diana and Joe Murphy Bill and Barbara Pearce Shawn and Brad Pleimann Stephanie Prem and Tom Owens Sergio Rial Patricia and Don Romanaggi Jennifer and Chris Romans Susan and Barry Snyder Nadege Souvenir Virginia L. and Edward C. Stringer Dr. and Mrs. Andrew J. Thomas Lori and Herbert Ward
artist circle $1,000–$2,499 Anonymous (4) Mary and Charles Anderson Kim A. Anderson Lowell Anderson and Kathy Welte Jamie Andrews and Jane Kolp-Andrews Ruth and Dale Bachman In memory of Kent Bales Ann and Thomas Bagnoli Mr. and Mrs. Judson Bemis, Jr. Donald Benson Patricia and Martin Blumenreich Mrs. Paul G. Boening Allan Bradley Ellen and Jan Breyer Rita and Kenneth Britton Juliet Bryan and Jack Timm Scott Cabalka Elwood and Florence Caldwell Joan and George Carlson Mr. and Mrs. Richard A. Carlson Alexis and Michael Christie Wanda and David Cline Rusty and Burt Cohen In Memory of Kathy Coleman Barb and Jeff Couture Susan and Richard Crockett
annual fund | individual giving artist circle (continued) Joan and Richard Newmark Pat and Dan Panshin Derrill M. Pankow Paula Patineau Sally and Tom Patterson Suzanne and William Payne Suzanne and Rick Pepin Susan and David Plimpton Mary and Robert Price Kari and Dan Rasmus Tom Rassieur and Chichi Steiner
Mr. and Mrs. Winthrop Rockwell John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde Chris and Jeff Rotsch Kim and Peter Rue Kristine and Roger Ruckert Terry Saario and Lee Lynch Sampson Family Charitable Foundation Dr. and Mrs. Richard J. Schindler Peter and Bonnie Sipkins Kevin and Lynn Smith
Ardath and Glenn Solsrud Matthew Spanjers Julie and Bruce Steiner Donna Stephenson Kendall and Mitchell Stover Dana and Stephen Strand Michael Symeonides and Mary Pierce Tempo Board Members Dr. Norrie Thomas Schelly and Bryn Vaaler Cindy and Steven Vilks
Mr. and Mrs. Philip Von Blon Bryan Walker and Christine Kunewa-Walker James and Sharon Weinel Sonja and Jerry Wenger Frances and Frank Wilkinson Lani Willis and Joel Spoonheim Julie and Charlie Zelle
Scott D. Bjelde Dianne Brooke Allen Brookins-Brown Dr. Hannelore Brucker Thomas and Joyce Bruckner Joann Cierniak J.P. Collins Norma Danielson Eileen Dauer Amos and Sue Deinard Mary Elise Dennis Joshua A. Dorothy Holli Egerstrom C.D.F. Foundation Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Jane Fuller Joan and William Gacki David and Terry Gilberstadt Dr. Richard Gregory Jennifer Gross and Jerry LeFavre Roger L. Hale and Nor Hall Chris and David Hansen Ernest Harper Blanche and Thane Hawkins Frederick J. Hey, Jr. Norton and Mary Hintz Diane and Paul Jacobson Barbara Jenkins
Drs. Charles and Sally Jorgensen Markle Karlen Carole and Joseph Killpatrick Scott and Karla Lalim Chris and Marion Levy Ruth W. Lyons Mahley Family Foundation Dusty Mairs Tom and Marsha Mann Carolyn and Charles Mayo Katherine Merrill Ellen Michelson Anne W. Miller Steven J. Mittelholtz Jack and Jane Moran Jill Mortensen and S. Kay Phillips Ann and John O’Leary Dennis R. Olson Ruth and Ahmad Orandi Jim Pagliarini and Elizabeth Raymond James A. Payne Lana K. Pemberton Eric Peterson and Jenna Wolf Dwight and Christina Porter Carroll and Barbara Rasch Dennis M. Ready Debra Rectenwald Lawrence M. Redmond George Reid
Bryan Roberts and Marcy Jefferson Richard T. and Liane A. Rosel Enrique and Clara Rotstein Kathleen and Mike Ruhland John and Jan Sargent Doris Jean Seely Cherie and Robert Shreck Stanislaw Skrowaczewski Dr. Leslie W. Smith Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Kristi and Mark Specker Jon Spoerri and Debra Christgau Chichi Steiner Judith Stone Roxanne Stouffer Dr. Anthony Thein Jill and John Thompson Jean Thomson and John Sandbo Emily Anne and Gedney Tuttle David L. Ward Mary Weinberger Howard and Jo Weiner Barbara and Carl White Barbara and James Willis
Steve Knudson Kathleen Kraulik John Krenzke and Michelle Davis Dale Kruse and Tim Sneer Maureen Kucera-Walsh Kelly and Adam Kuczkowski Robert and Venetia Kudrle Alexandra Kulijewicz Beatrice H. Langford Kenyon S. Latham William Lough and Barbara Pinaire Dr. Joan E. Madden Donald and Rhoda Mains Kristin and Jim Matejcek David Mayo Rosalee McCready Barbara McGraw Fund of The Minneapolis Foundation Malcolm and Wendy McLean Laurie and Dave Mech Robert Messner Jane and Joseph Micallef Virginia Miller Michael J. and Judith Mollerus Anne Mollerus Brad Momsen and Rick Buchholz Theresa and Jim Murray William Murray Virginia Dudley and William Myers Sarah Nagle Merritt C. Nequette Lucia Newell Lowell and Sonja Noteboom Dr. Dorothy Novak Kathleen Nye-Reiling Patricia A. O’Gorman
Donna and Marvin Ortquist Scott J. Pakudaitis Julia and Brian Palmer John and Margaret Perry Carol Peterson Walter Pickhardt and Sandra Resnick Joan M. Prairie Dr. Hanan J. Rosenstein Daniel Roth Trish and Steve Rowley David M. Sandoz Mary Savina Jon L. Schasker Deborah and Allan Schneider Paul L. Schroeder Mrs. Donald Sell Mr. and Mrs. Morris Sherman Debra Sit and Peter Berge Emily Skoblik Daniel J. Spiegel Family Foundation Thomas and Sharon Stoffel Delroy and Doris Thomas Katharine E. Thomas Ryan Traversari Mark Traynor and Jennifer Peterson Susan Truman Arnold Walker Elaine B. Walker Don and Holly Weinkauf David Wendt John and Sandra White Wendy Wildung David and Rachelle Willey John M. Williams Daniel Richard Zillmann
patron circle Gold $750–$999 Barbara S. Belk Gerald and Phyllis Benson Debra Brooks and James Meunier Ms. Susanne Haas and Mr. Ross Formell Bryce and Paula Johnson J. Michael Pickle A.M. Rock, M.D. David E. Sander Harriet Spencer Warren Stortroen John W. Windhorst Jr.
Silver $500–$749 Anonymous (4) Arlene and Tom Alm Alvaro Alonso August J. Aquila and Emily Haliziw Dr. and Mrs. Orn Arnar Suzanne Asher Dan Avchen and David Johnson Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Rebecca Arons and Thomas Basting, Jr. Donald and Naren Bauer Carl and Joan Behr Estelle T. Bennett
$250–$499 Anonymous (2) Paul and Val Ackerman Thomas O. Allen Quentin and Mary Anderson Katherine Anderson Linda Z. Andrews Jerry Artz Marcia J. Aubineau Eric S. Anderson and Janalee R. Aurelia Dan Avchen Ronald and Kay Bach Thomas Bailey James and Gail Bakkom Bishu and Irina Bandyopadhyay Laird Barber Kevin Beckey Bill Bertram Judith and Arnold Brier Philip and Carolyn Brunelle Stephen Bubul Keith Campbell Renee Campion and David Walsh Jerome and Linda Carlson Katherine L. Castille In Memory of Kathy Coleman Sandy and Doug Coleman Brenda Colwill Kay Constantine Jeanne E. Corwin Barb Davis Barry Divine Neal Doughty and Darya Gemmel Tracy Elftmann Herbert and Betty Fantle Charles and Anne Ferrell
Brian M. Finstad Christine Fleming Melanie and Bruce Flessner Susan E. Flint and Michael Leirdahl David and Margene Fox Judith Garcia Galiana and Alberto Galiana Greta and Paul Garmers Lois and Larry Gibson Father Joseph P. Gillespie Earl and Mary Gloeckner Richard and Marsha Gould Hunt Greene and Jane Piccard William and Aimee Guidera Margaret Gunther Russell and Priscilla Hankins Bonita Hanson Douglas and Doris Happe Peter and Rebecca Hawthorne Jill A. Heath Wendy Heck Stefan and Lonnie Helgeson Sharon and Cliff Hill Andrew Holey and Gary Whitford Reverend and Mrs. Henry H. Hoover Worth L. Hudspeth Margaret F. Humphrey Ray Jacobsen Christina and Nicholas Jermihov Sharon and Fredrik Johnson Kurt Johnston Dr. and Mrs. Eric Jolly Erika and Herb Kahler Jim and Kathleen Karges Kathryn Keefer Janice Kimes
These lists are current as of January 8, 2013, and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Jenna Wolf, Individual Gifts Officer, at 612-342-9569.
annual fund | individual giving legacy circle Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to Minnesota Opera. If you have already made such a provision, we encourage you to notify us so that we may appropriately recognize your generosity. Anonymous (5) Valerie and Paul Ackerman Thomas O. Allen Mr. and Mrs. Rolf Andreassen Mary A. Andres Karen Bachman Randolph G. Baier* Mark and Pat Bauer Mrs. Harvey O. Beek * Barbara and Sandy Bemis * C. T. Bundy, II Joan and George Carlson Darlene J. and Richard P. Carroll Julia and Dan Cross Judy and Kenneth * Dayton Mrs. George Doty Rudolph Driscoll * Anne P. Ducharme Sally Economon *
Ester and John Fesler Paul Froeschl Katy Gaynor Robert and Ellen Green Ieva Grundmanis * Julia Hanna* Ruth Hanold * Fredrick J. Hey, Jr. Norton M. Hintz Jean McGough Holten Charles Hudgins * Dale and Pat Johnson Drs. Sally and Charles Jorgensen Robert and Susan Josselson Charlotte * and Markle Karlen Mary Keithahn Patty and Warren Kelly Margaret Kilroe Trust * Blaine and Lyndel King
Gretchen Klein * Bill and Sally Kling Gisela Knoblauch * Mr. and Mrs. James Krezowski Robert Kriel and Linda Krach Venetia and Robert Kudrle Robert Lawser, Jr. Jean Lemberg * Gerald and Joyce Lillquist David Mayo Barbara and Thomas * McBurney Mildred McGonagle * Beth McGuire Mary Bigelow McMillan Margaret L. and Walter S. * Meyers John L. Michel and H. Berit Midelfort Susan Molder * Edith Mueller * Kay Ness
Joan and Richard Newark Philip Oxman and Harvey Zuckman Scott Pakudaitis Sydney and William* Phillips Richard G. * and Liane A. Rosel Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Drew Stewart James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick * In Rembrance
For more information on possible gift arrangements, please contact Dawn Loven, Director of the Annual Fund at 612-342-9567. Your attorney or ﬁnancial advisor can then help determine which methods are most appropriate for you.
RESIDENT ARTIST CABARET: 1940 S R ADIO SHOW Minnesota Opera’s Resident Artists will transport you to the 1940s as they delight with crowd-pleasing favorites from the height of the “live radio hour” era. Indulge in an evening that will feature classical and popular music, food, wine and old-time sound eﬀects – an experience that will not be soon forgotten. Stay for the Summit After Party, enjoy some beer and dance the night away!
Friday, March 15, 2013
| MINNESOTA OPERA mnopera.org
6:00 pm Arrival 7:00 pm Staged Radio Show Performance 9:00 pm Summit After Party
$150/person Cabaret and Summit After Party * $25/person Summit After Party only Minnesota Opera Center 620 North First Street Minneapolis, MN 55401 1940’s Attire Admired but not Required. For more information or to register, Please contact Emily Skoblik at email@example.com or 612-342-9553 by March 8. This special night of fundraising, hosted by the Donor Events Committee, will celebrate the world-class artistry of Minnesota Opera and beneﬁt its artistic and education programs. * $75 of the $150 ticket price is tax deductable. Photography by Theresa Murray Don Quixote and Dulcinea – RAP Cabaret 2012
annual fund | institutional giving minnesota opera sponsors Season Sponsor
Ascent Private Capital Management of U.S. Bank
Target, Premier Sponsor 3M Ascent Private Capital Management of U.S. Bank Medtronic Spencer Stuart
Nabucco Ascent Private Capital Management of U.S. Bank Doubt National Endowment for the Arts The Aaron Copland Fund for Music, Inc. Hamlet Target
Minnesota Opera gratefully acknowledges its major institutional supporters: $100,000+
Production Innovation System General Mills
Resident Artist Program Wenger Foundation
Conductor Appearances Spencer Stuart
Tempo After Parties Sakura
Camerata Dinners Abbot Downing
Opera Insights Comcast
This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.
Minnesota Public Radio
corporations, foundations and government 3M Foundation Ameriprise Financial, Inc. General Mills Foundation The McKnight Foundation The Medtronic Foundation The Michelson Family Foundation Minnesota State Arts Board National Endowment for the Arts Target U.S. Bancorp Foundation U.S. Bank UnitedHealth Group The Wallace Foundation
Platinum $10,000–$24,999 The Aaron Copland Fund for Music, Inc. Abbot Downing Fred C. and Katherine B. Andersen Foundation Best Buy Children’s Foundation Cargill Foundation Comcast Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation Anna M. Heilmaier Charitable Foundation MAHADH Fund of HRK Foundation Spencer Stuart Travelers Foundation Valspar Foundation Wells Fargo Foundation Minnesota Wenger Foundation Xcel Energy Foundation
Gold $5,000–$9,999 Accenture Boss Foundation Briggs & Morgan, P.A. Edward R. Bazinet Foundation
Harlan Boss Foundation for the Arts R. C. Lilly Foundation Mayo Clinic Pentair Foundation The Carl and Eloise Pohlad Family Foundation Rahr Foundation RBC Wealth Management Schwegman, Lundberg & Woessner, p.a. Securian Foundation Thomson Reuters Twin Cities Opera Guild
Silver $2,500–$4,999 Cleveland Foundation Dellwood Foundation Faegre Baker Daniels Hutter Family Foundation Le Jeune Family Foundation The Elizabeth C. Quinlan Foundation Margaret Rivers Fund Robins, Kaplan, Miller & Ciresi Tennant Foundation
Bronze $250–$2,499 Bobby & Steve’s Auto World Youth Foundation The Curtis L. Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson, Inc. McVay Foundation Onan Family Foundation Peravid Foundation Sewell Family Foundation Sit Investment Foundation Wells Fargo Insurance Services
For information on making a corporate or foundation contribution to Minnesota Opera, please contact the Institutional Gifts Manager Beth Comeaux at 612-342-9566 or email her at firstname.lastname@example.org.
More than simply supporting students, giving to the U of M shares the light of discovery with everyone. Illuminating talents that can stir the souls of our state and beyond. Be a light for todayâ€™s students at giving.umn.edu.