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Welcome to the world premiere performances of The Shining!
As the new President and General Director of Minnesota Opera, I couldn’t be more excited to return to the Twin Cities during this important milestone in the history of our opera company. Minnesota Opera is an organization founded on a commitment to innovation and new work, and it is with great pride that we conclude our 2015–16 season by launching our 44th world premiere. Based on one of Stephen King’s most celebrated novels, this story has gripped our collective psyche and earned an important place in the American Gothic canon.
It is an honor for our talented company of artists and craftspeople to be part of this collaboration between Paul Moravec, Mark Campbell, and Stephen King, as devised by Dale Johnson, our Artistic Director. The tremendous commitment of every person involved in this project has resulted in a faithful, thrilling reimagining of King’s chilling story. I’m grateful for the inspiration that their dedication to excellent work brings to the company as I begin a new journey with this incredible organization.
11 S tephen King and Mark Campbell
Through opera, all the arts work in unison to elevate the impact of each discipline. When our curtain rises and the lights dim, the confluence of music, storytelling, visual art, and dance honors and strengthens this 400-plus year tradition of the art form. Minnesota Opera relies on the imagination and creativity that thrive in our community to bring compelling stories to life. These traits, which are also hallmarks of Mr. King’s writing, are part of what makes The Shining perfectly suited for the operatic stage. As we continue the operatic tradition into the 2016–17 season, I hope you share my eager anticipation of the musical and dramatic riches that await us. With five productions spanning four languages and more than 200 years, including our 45th world premiere and countless moments of sublime beauty, please consider joining our wonderful community of subscribing members. A preview of our next world premiere, Dinner at Eight, is on page 18 in this program, and the lineup of all five productions in our 2016–17 season is on page 21. Enjoy the performance, and thank you for your support of Minnesota Opera!
7 The Shining
8 About the Opera 9 Director's Notes 10 Paul Moravec
12 The Artists 16 Meet the Artist: Brian Mulligan 17 Opera Education 18 New Works Initiative 19 A Tribute to Norton Hintz 20
n Evening at A Cafe Levain
20 Tempo 21 2016–17 Season 22
ew Works Initiative N Committee and Donors
23 Minnesota Opera Board of Directors, Staff, and Volunteers 24 Annual Fund 26 Institutional Giving 27 Legacy Circle
Large-print and Braille programs are available at the Patron Services Office.
| THE SHINING
RYAN TAYLOR President and General Director
27 Minnesota Opera Information
SYNOPSIS Act I
| MINNESOTA OPERA mnopera.org 6
message—“redrum”—which Wendy dismisses as a reference to Treasure Island.
Danny is alone, he again calls out for Hallorann. Jack enters the ballroom where the masked ball is in full swing and orders drinks from Lloyd, the Jack sifts through boxes of memorabilia in the bartender. Onstage, Horace Derwent, Grady, basement a week or so later, finding a scrapbook and Lloyd raise their voices in song, soon joined assembled by “The Manager.” He learns more by Mark Torrance and then Jack, before he about the Overlook’s infamous past, including collapses and the party dissolves. Finding her Horace Derwent’s sale of the hotel to the Mafia husband sprawled on the floor, Wendy tries to and a subsequent “hit” that occurred there years help him upstairs. When he attempts to strangle later. He also reads about the tragedies of the her, she renders him unconscious by smashing Grady family and Mrs. Massey. An invitation a bottle over his head, and she and Danny lock to a New Year’s Eve masked ball drops from the him inside the pantry. When Jack comes to and scrapbook and ignites Jack’s imagination. He demands to be released, Wendy leaves the kitchen vows to tell the hotel’s story. Wendy and Danny with Danny, taking a large knife with her. Grady return from the doctor where Danny has enters and helps Jack free himself from the pantry. received a clean bill of health. Disturbed about Jack’s obsession with the Overlook, Wendy Upstairs in the caretaker’s quarters, Wendy requests that they all leave immediately, but tries to assuage her son’s fears before returning Jack dismisses the idea. to the kitchen for food. She sees ghosts in the Ullman privately expresses his concerns to ballroom, but convinces herself they are not Jack about his personal history, which he has The first week of November. Wendy is awakened by real. Jack suddenly attacks her with the mallet. learned includes physical abuse and alcoholism. strange noises and Danny runs into his parents’ Wendy plunges the knife into his back and Jack reassures Ullman that he has conquered his bedroom in a panic. Jack checks the elevator, runs back to the quarters, locking the door. problems and that all will be fine. Bill Watson then the ballroom, where he momentarily hears Jack follows her and almost breaks through takes Jack to the basement where he instructs people and finds a dog mask and a giant croquet the door, when Wendy slices his hands with him on the boiler and tells some stories about mallet. He is shaken, but composes himself, razors she has retrieved from the bathroom. the hotel’s nefarious past: a previous caretaker, returning to their room to reassure Wendy, who Grady and Derwent appear to Jack, telling Delbert Grady, killed his wife and two still believes they should leave the hotel. him to dispose of Wendy later, as Hallorann is daughters before taking his own life; another suddenly approaching the hotel on a Snowcat guest, Mrs. Massey, committed suicide in a Danny has approached Room 217 several times and must be attended to. bathtub after her young lover abandoned her. in the past weeks, and now, in late November, finally enters it with a key. In the hotel office, Hallorann enters the hotel. Danny runs At the same time outside the hotel, Hallorann a ranger on the CB radio warns Jack of an toward Hallorann, attempting to warn him, confides in Danny that he senses the boy upcoming blizzard. Suddenly, the ranger’s voice but Jack strikes Hallorann with his mallet, shares a second sight, the “shining,” that becomes that of his father Mark, telling Jack rendering him unconscious. Jack corners Hallorann’s grandmother detected in him as to kill his family. Jack smashes the radio with Danny, but Danny bravely stands up to him, a child. He also tells Danny that fears about the mallet. Wendy rushes in and is horrified to saying, “You are not my father.” Returning the hotel can be controlled—but encourages learn that Jack has destroyed their only contact momentarily to his senses, Jack begs Danny Danny to call out to him if the Torrance with the outside world. Danny is found with his to run, allowing him to escape. Derwent, family is in danger. Ullman, Watson, and clothes wet, bruises around his neck, and lipstick Grady, and Lloyd appear, castigating Jack for Hallorann bid the Torrances farewell, leaving marks on his face. As Jack rallies to protect his his failure and warning him that the boiler the family alone on the porch of the Overlook. family, the structure of the hotel collapses, and is about to explode. Hallorann revives, and all of its ghosts appear, including Delbert Grady, drives Wendy and Danny away from the hotel One evening several weeks later, Wendy reads Mrs. Massey, Horace Derwent, and the guests in the Snowcat. In the basement, Jack resolves Treasure Island to Danny while Jack works on of the New Year’s Eve party. Danny cries out for to let his family live. When they are out of his play. As Danny leaves to brush his teeth Hallorann as a light snow begins to fall. harm’s way, he allows the boiler to explode, before being tucked in, the couple affirms causing the entire hotel to burst into flames. their love for each other. Danny is trapped in I n t er m i ss i o n the bathroom and once he escapes, appears Epilogue: a hotel in Maine. traumatized, claiming to have had dark visions. Act II Eight months later, Wendy and Danny are Jack tries to shake Danny out of it, but Wendy One day in early December. Jack returns to the staying in a cabin at a hotel in Maine where stops him, revealing that Jack once injured the basement for the boiler’s daily maintenance. Hallorann now works as a cook. On his break, child. She vows to take Danny to the doctor in Grady appears and encourages Jack to apply the Hallorann checks up on Wendy and Danny. town the following day for a check-up. As she same discipline to his son that Grady meted out While Danny fishes from a pond and his mother to his daughters. He then invites Jack to join tucks Danny in and sings him a lullaby, Jack looks on, Hallorann urges the boy to be strong him for the masked ball. Upstairs, Danny warns recalls his own childhood abuse at the hands and get on with his life and help his mother, his mother that “they” have gotten to his father. of his father, Mark. Danny utters a curious despite the tragedy that has befallen him. Wendy tries to mitigate his fears, but once Setting: In and around the Overlook Hotel, Colorado, late September to November, 1975. Jack Torrance has been engaged as winter caretaker for the Overlook Hotel in a remote part of the Colorado Rockies and arrives there with his wife, Wendy, and son, Danny, during the last weekend of September, at the end of the hotel’s season. Wendy and Jack welcome the change the hotel will bring to their lives, believing that the experience will bring the family closer together; Jack is also happy that he’ll finally have time to finish his play. The general manager, Stuart Ullman, gives the Torrances a tour of the hotel and touts the history of its famous guests. The family is then introduced to the hotel cook, Dick Hallorann, who shows Wendy and Danny to the kitchen.
MUSIC BY PAUL MOR AVEC LIBRET TO BY MARK CAMPBELL BASED ON THE NOVEL BY STEPHEN KING
Commissioned by Minnesota Opera | A Minnesota Opera New Works Initiative Production
MAY 7, 12, 14, AND 15, 2016 | ORDWAY MUSIC THEATER Sung in English with English captions projected above the stage
Cast Creative Team
in order of vocal appearance
THE GRADY GIRLS Mr. Grady's daughters Cassie Klinga, Zoey Paulson
WENDY TORRANCE Kelly Kaduce JACK TORRANCE her husband Brian Mulligan
MRS. GRADY Delbert Grady's wife Jeni Houser
STUART ULLMAN the hotel manager Robb Asklof
MRS. MASSEY a previous hotel guest Shannon Prickett
DANNY TORRANCE Wendy and Jack’s son Alejandro Vega
A CROONER Alejandro Magallón
DICK HALLORANN a cook Arthur Woodley
HORACE DERWENT an entrepreneur Alex Ritchie
BILL WATSON a janitor Rick Penning
A RANGER Benjamin Sieverding
MARK TORRANCE Jack’s father Mark Walters THREE MAFIA GUYS Ben Crickenberger, Colyn Tvete, Lu Zang DELBERT GRADY a previous caretaker David Walton
LLOYD a bartender John Robert Lindsey A SENATOR Joel Mathias MAN IN DOG MASK Benjamin Sieverding
CONDUCTOR Michael Christie
WIG AND MAKEUP DESIGN David Zimmerman
STAGE DIRECTOR Eric Simonson
ASSISTANT DIRECTOR David Radamés Toro
CHOREOGRAPHER Heidi Spesard-Noble
ASSISTANT CONDUCTOR AND CHORUSMASTER Jonathan Brandini
SCENERY AND PROPERTIES DESIGN Erhard Rom ANIMATION AND PROJECTION DESIGN 59 Productions COSTUME DESIGN Kärin Kopischke LIGHTING DESIGN Robert Wierzel SOUND DESIGN C. Andrew Mayer
HEAD OF MUSIC AND CHORUSMASTER Robert Ainsley FIGHT CHOREOGRAPHER Doug Scholz-Carlson RÉPÉTITEURS Jessica Hall, Lindsay Woodward PRODUCTION STAGE MANAGER Kerry Masek
ESTIMATED RUNNING TIME Running time is approximately 2 hours and 8 minutes, including one 20-minute intermission. The intermission will occur approximately 61 minutes into the opera.
This production has been made possible, in part, by the generous support of Production Sponsor, Wayne Zink and Christopher Schout. Permission granted by Doubleday, original publisher of Stephen King’s The Shining. New Works Initiative Sponsors include the Ruth Easton Fund of the Edelstein Family Foundation in honor of Tom McBurney, and The Andrew W. Mellon Foundation. The Shining contains strong language, simulated gunshots, simulated nudity, theatrical haze, and strobe lighting. The appearances of Kelly Kaduce, grand prize winner; Jeni Houser, John Robert Lindsey, Rick Penning, Benjamin Sieverding, and David Walton, regional finalists; and Shannon Prickett, district finalist of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artistic 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 SHINING
Additional Production Support includes the National Endowment for the Arts and The Aaron Copland Fund for Music, Inc.
ABOUT THE OPERA
y earliest experience with the artistry of Stephen King was with his first published novel, Carrie (1974), about a much-bullied, mentally gifted teenager, who eventually seeks unbridled revenge on her schoolmates. The book was around the house, and my sister brought me to the film so she could view it a second time. Then, for a required school book report, a friend’s mother recommended ’Salem’s Lot (1975), which deals with a coven of vampires living in a quiet Maine town. After viewing the movie version of The Shining (1977/80) I had to illuminate all the lights in the family home and guard the vulnerable portals with a watchful eye.
| MINNESOTA OPERA mnopera.org
The connection between the three narratives was not made at the time, but finally reading the novel years later, I found The Shining even spookier — blood gushing from elevators, a moldering woman emerging from a bathtub, and a man axed to death didn’t compare to the psychological nuance that Stephen King creates in his original story. It is ingenious terror versus outright gore, and the former is considerably more effective. The author’s kinship to the macabre is remarkable, as demonstrated by his many novels and extremely successful career.
Gothic literature has been around for centuries and continues to inform us that our culture has long enjoyed being frightened. The genre is not necessarily related to the historical 5th century marauding Goths, but rather to the juxtaposition of “Gothic” with the kinder literary term “Roman” (or “Romance”), which implies a contrast between the civilized mind and its darker forces. The expression is used to describe a style that involves many things — vampires, monsters, ghosts, and the grotesque in general. It is commonly believed to have developed in the late 18th century, first with Horace Walpole’s The Castle of Otranto (1764), which set the standard for a confluence of the supernatural, religion, and the manor house. Ann Radcliffe’s The Mysteries of Udolpho (1794) was another progenitor of the literary form, involving the classic villain, the persecuted heroine, the crumbling citadel, and unexplainable events. Matthew Lewis’ The Monk (1796) was the next landmark. It concerns the progress of a corrupt priest, Ambrosio, the imprisonment and starvation of a young novice for her sexual sins, and the phantasmagoria of
the recurrent shadowy vision of a veiled bleeding nun. At least two operas were adapted from this complex and notorious story, Gaetano Donizetti’s Maria de Rudenz (1838) and Charles Gounod’s La nonne sanglante (1854). Many other writers of the 19th-century Romantic Period delved into the genre. Some are familiar to the operatic canon, as are the specters, citing Macbeth, Semiramide, Hamlet, Don Giovanni, The Flying Dutchman, and The Turn of the Screw, to name just a few. The creatures were also soon to follow — The Vampyre (1819), by Dr. John Polidori, was inspired during a weekend in the country with Claire Clarmont, Percy Bysshe Shelley, and his wife Mary. After a stormy evening and a particularly bad dream, Mary penned Frankenstein, The Modern Prometheus (1818). Bram Stoker’s archetypal Dracula arrived toward the end of the century. In the ’20s, ’30s, and ’40s, these ogres of evil acquired a somewhat more comic nature — Dr. Victor Frankenstein’s spawn inherited his name along with a flat head, bolted neck, and green skin. Bela Lugosi trademarked Dracula’s swishy cape, sharp white fangs, and farcical expressions. The Wolfman, equally amusing, came later, as well as The Mummy. The Creature from the Black Lagoon arrived in 1954, and things took a very scary turn with a parasitic prehistoric creature lurking under a boat of explorers in the Amazon. Stephen King’s brilliant non-fiction Danse Macabre summarizes a fascination with the horror genre, and harks to many classics of the film versions circa 1950–1970s. My personal memories include The Thing That Couldn’t Die (1958), about a disembodied head discovered in the field by a woman with a divining rod searching for a water source. The still-living, aptly named “Thing” employs a mesmerizing gaze to hypnotize its keeper, and is kept hidden in a hatbox, intended for the next handler. There’s also The Tingler (1959), about a mad pathologist, who releases a spinal monster that controls the ability to scream. Another Vincent Price masterpiece, Theater of Blood (1973), merges dark humor with tragedy, as a wrongly judged actor takes murderous vengeance on his critics with Shakespearean fervor. Finally, the crowning of the era would probably be Night of the Living Dead (1968), one of the most gruesome films to date, involving the resurrection of decaying corpses bent on destruction. Zombies were even fashionable in the late ’60s.
The list is exhaustive. On television, there were Dark Shadows, The Twilight Zone, Night Gallery, and Alfred Hitchcock Presents. Later, there were the devil movies — Rosemary’s Baby (1968), about a pregnant woman who is nursed by questionable neighbors, then gives birth to the Son of Satan; The Exorcist (1973), concerning a possessed young girl having talents that include, among others, spinning her head a full 360 degrees; and The Omen (1976), another malicious tyke, whose evil is revealed with more discretion. And later, Anne Rice gave us her bestselling Vampire Chronicles, which made asexual, parasitic Byronic villains seemingly alluring. One can appreciate King’s subtler brand of terror in the (relatively) bloodless Shining tale. The author has described it as semiautobiographical (sans the spirits and madness), receiving inspiration from a visit to a Colorado hotel ending its summer season. Due to time constraints, several plot elements are omitted from the opera — Jack’s past alcoholic antics with his rich friend Al Shuckley, who got him the Overlook caretaker’s job, and a possible, but unconfirmed drunken automotive fatality; Jack’s own maltreatment of a former student for slashing his tires; Danny’s invisible friend “Tony”, a mysterious conduit to the spiritual world and the cryptic term “redrum" — he only becomes threatening after the family moves to the mountains. And there are the wasps … Ghosts take precedence over gore, large croquet mallets are used instead of hatchets, and mental illness rules over murder. The modern equivalent of a remote Gothic locale has absorbed evil somewhat akin to The Haunting of Hill House, The Amityville Horror, or Rose Red, with an elevator and boiler at its living core. Isolation and the overall “creep” factor is the terror of the day, and though the disturbed and historically destroyed Jack Torrance does not survive (nor does the malevolent Overlook Hotel), and the everlasting masked ball finally comes to a close, surprisingly, the tale ends happily, with Hallorann’s reassignment and Danny’s gradual return to normalcy. Perhaps with all of these elements in balance, The Shining remains a landmark in literary history and reminds us to be vigilant — there is, after all, always a monster under the bed. – DAVID SANDER
Sketches by Kärin Kopischke
Why? In my view, the reason is not just the storytelling, which is addictive, tenacious, and rich. It is something larger. Stephen King is a fearless miner of the darker recesses of the brain. He understands not just the human condition, but what drives good people to do bad things, which is, for all intents and purposes, at the heart of classic tragedy.
The Shining is a horror story, but it is also much more than that, because it is dimensional, psychological and, perhaps most importantly, believable. The supernatural forces at hand in the Overlook Hotel — Danny’s talent to “shine”, Jack’s ability to see ghosts — are not so farfetched in a world like ours today, in which people often fear things that are not there. Or are they? Dogs can smell 10,000 to 100,000 times better than humans, revealing a world we will never know. A small percentage of humans are born tetra-chromatic, meaning they have the ability to see an expanded color spectrum, providing a glimpse of a whole other reality. Why should we deny that there may be a world unseen, kept from us by our inadequate five senses. Instinctively, we know this is possible. Something deep in all our collective conscious tells us that there are forces lurking beyond the known physical world. And that something may be, in fact, a cosmic correcting force that cleanses us of past sins and restores the world to balance. This, and a good fright, is what connects all of us to The Shining. Initially published as an airport bookstand novel, it is now a modern classic, as ubiquitous and popular as The Grapes of Wrath or Hamlet and, apparently, ripe for grand opera.
Stephen King is a fearless miner of the darker recesses of the brain. He understands not just the human condition, but what drives good people to do bad things ... National treasure and composer Paul Moravec, and renowned librettist Mark Campbell have joined forces to capture the essence of all that is mysterious and frightening in The Shining. Our collective efforts have been harnessed to bring to life the Overlook Hotel and the terrifying journey of the Torrance family. Hopefully we will have been as successful as King was in revealing all that is not there. – ERIC SIMONSON
| THE SHINING
y admiration for the stories of Stephen King came later in life. A while back — about ten years ago — I was asked to direct a musical called The Ghost Brothers of Darkland County as a radio play. The songs were by rocker John Cougar Mellencamp and the story and book were by Stephen King. The piece was, at that time, in its very early stages. It had not yet received a full production, and its creators wanted to hear what it sounded like. They offered me the job and I gladly accepted. I was a fan of Mellencamp’s, but unfamiliar with King, so in preparation I began to acquaint myself. The Shining was one of the first books I read, and it lived up to its hype. It remains my one of my favorites. One book led to another and before long I was making a dent in the King oeuvre. I read novels, short stories, collaborations; I listened to bookson-tape while driving; I watched film and TV adaptations as well, and I am still far from the end. The man is very prolific. He is also an expert story teller, able to grab the attention of a reader and keep it until long after the last page. I am an unabashed fan, and I am not alone. He is a very popular writer.
COMPOSER PAUL MORAVEC
| MINNESOTA OPERA mnopera.org
aul Moravec, recipient of the 2004 Pulitzer Prize for Music, is the composer of numerous orchestral, chamber, choral, operatic, and lyric pieces. His music has earned many other distinctions, including the Rome Prize Fellowship, a Guggenheim Fellowship, three awards from the American Academy of Arts and Letters, and fellowships from the National Endowment for the Arts and the Rockefeller Foundation. A graduate of Harvard College and Columbia University, he has taught at Columbia, Dartmouth, and Hunter College, and currently holds the special position of University Professor at Adelphi University. He was the 2013 Paul Fromm Composerin-Residence at the American Academy in Rome, recently served as Artist-inResidence at the Institute for Advanced Study in Princeton, New Jersey, and was also recently elected to membership in the American Philosophical Society. Frequently commissioned by notable ensembles and major music institutions, Mr. Moravec’s upcoming premieres include Shining Fantasy, with American Composers Orchestra, and an oratorio about the Underground Railroad (with libretto by Mark Campbell) for Oratorio
Society of New York at Carnegie Hall. His recent premieres include Music, Awake!, a cantata for the Bach Festival Society, The King’s Man with Kentucky Opera, and Amorisms with Alias Chamber Ensemble and the Nashville Ballet. Recent seasons have seen the New York premiere of The Blizzard Voices with the Oratorio Society of New York at Carnegie Hall, as well as the premieres of Violin Concerto with Maria Bachmann and Symphony in C, and Shakuhachi Concert with James Schlefer and the Orchestra of the Swan (United Kingdom). Other recent premieres include Danse Russe, an opera for the Philadelphia International Festival of the Arts; Brandenburg Gate with the Orpheus Chamber Orchestra at Carnegie Hall; Piano Quintet with Jeremy Denk and the Lark Quartet; Wind Symphony with a consortium of American concert bands; and The Letter for Santa Fe Opera.
His music has earned many other distinctions, including the Rome Prize Fellowship, a Guggenheim Fellowship, three awards from the American Academy of Arts and Letters, and fellowships from the National Endowment for the Arts and the Rockefeller Foundation. Mr. Moravec’s discography includes five albums on Naxos American Classics: Tempest Fantasy, performed by Trio Solisti with clarinetist David Krakauer; The Time Gallery, performed by eighth blackbird; Cool Fire, with the Bridgehampton
Chamber Music Festival; Useful Knowledge with Amy Burton, Randall Scarlata, Trio Solisti, and La Fenice Quintet; Violin Concerto with Maria Bachmann; and Rossen Milanov’s Symphony in C. Other releases this year include Amorisms with Alias Chamber Ensemble and Portara choral ensemble on Delos. Northern Lights Electric, an album of his orchestral music with the Boston Modern Orchestra Project, was released in 2012 on the bmop Sound label. Among his numerous other recorded works are Blue Fiddle with Hilary Hahn on Deutsche Grammophon; Piano Quintet with Jeremy Denk and the Lark Quartet on Bridge Records; I Think About You, on Anthony de Mare’s Sondheim/ Liaisons collection for ecm; Double Action, Evermore, and Ariel Fantasy with the Bachmann/Klibonoff Duo (Endeavour Classics); Sonata for Violin and Piano with the Bachmann/Klibonoff Duo (bmg/rca Red Seal); Atmosfera a Villa Aurelia and Vince and Jan, performed by the Lark Quartet (Endeavour Classics); Morph, performed by the String Orchestra of New York (Albany); Anniversary Dances, with the Ying Quartet (Dorian Records); Cornopean Airs with American Brass Quintet and organist Colin Fowler; and Andy Warhol Sez with bassoonist Peter Kolkay and pianist Alexandra Nguyen.
Mr. Moravec’s website is paulmoravec.com and the works in his extensive catalogue are available through subitomusic.com.
AUTHOR STEPHEN KING AND LIBRETTIST MARK CAMPBELL
MARK CAMPBELL Mark Campbell is one of the most in-demand and prolific librettists in the country. Of the 15 plus operas he has written, his most known work is Silent Night, which garnered the 2012 Pulitzer Prize for Music for composer Kevin Puts. Since its premiere at Minnesota Opera, the opera has been broadcast on pbs' Great Performances and entered the repertory with unprecedented rapidity, produced by
Mark’s other successful operas include Later the Same Evening, Volpone, As One, Bastianello/ Lucrezia, A Letter to East 11th Street, and The Manchurian Candidate, collaborating with a roster of eminent composers, including Mark Adamo, Mason Bates, Lembit Beecher, William Bolcom, Conrad Cummings, Ricky Ian Gordon, Jake Heggie, Martin Hennessy, Laura Kaminsky, Missy Mazzoli, Paul Moravec, John Musto, Rene Orth, Paola Prestini, Kevin Puts, Richard Peaslee, D.J. Sparr, and Michael Torke. Mark has received many other prestigious prizes for his work, including a Grammy® nomination for Best Classical Recording, the first Kleban Foundation Prize for Lyricist, two Richard Rodgers Awards, three Drama Desk nominations, a Jonathan Larson Award, a New York Foundation for the Arts Playwriting Fellowship, and
the war in Vietnam was unconstitutional. He graduated in 1970 with a b.a. in English.
AU T H O R
STEPHEN KING Stephen Edwin King was born in Portland, Maine in 1947, and spent parts of his childhood in Fort Wayne, Indiana. From his sophomore year at the University of Maine at Orono, he wrote a weekly column for the school newspaper, The Maine Campus, and was also active in student politics, serving as a member of the Student Senate. He came to support the anti-war movement, arriving at his stance from a conservative view that
Stephen met his future wife, Tabitha Spruce, in the stacks of the Fogler Library, where they both worked as students, and married in January 1971. He made his first professional short story sale, “The Glass Floor,” to Startling Mystery Stories in 1967. He continued to sell stories to men's magazines, and many of these were later gathered into the Night Shift collection or appeared in other anthologies. At that time, he also taught high school English at Maine’s Hampden Academy. Writing in the evenings and on the weekends, he continued to produce short stories and to work on novels. In the spring of 1973, Doubleday & Co. accepted the novel Carrie for publication, which it released three years later. Stephen wrote his next-published novel, 'Salem's Lot, in a small room in the garage. In 1974, the Kings left for Boulder, Colorado, where Stephen wrote The Shining. Returning to Maine in the summer of 1975, he finished The Stand, much of which also is set in
most recently, the Dominic J. Pelliciotti Opera Composition Prize. In addition, he has also been awarded residencies at The Hermitage, The MacDowell Colony, Ucross Foundation, and the Sundance Theatre Lab. As a lyricist, Mark penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers that premiered at New York Theatre Workshop. The show has since been produced in many venues around the world. Mark is also an advocate for contemporary American opera and mentors future generations of writers through such organizations as American Opera Projects, American Lyric Theatre, the University of Colorado's New Opera Workshop, and Opera Philadelphia's Composer-inResidence Program. Upcoming premieres in 2017 include Elizabeth Cree for Opera Philadelphia, Dinner at Eight for Minnesota Opera, Some Light Emerges for Houston Grand Opera, and The (R)evolution of Steve Jobs for Santa Fe Opera.
Boulder. The Dead Zone was also written in Bridgton. He has since published more than 50 books and has become one of the world's most successful writers. Stephen and Tabitha now spend winters in Florida and the remainder of the year at their Bangor and Center Lovell homes. They have three children and four grandchildren. King has also put his college dramatic society experience to use performing cameos in several of the film adaptations of his works as well as a bit part in a George Romero picture, Knightriders. King also appeared in Creepshow, which was released in 1982. Stephen made his directorial debut, as well as writing the screenplay for the movie Maximum Overdrive (an adaptation of his short story “Trucks”) in 1985. Stephen is the 2003 recipient of The National Book Foundation Medal for Distinguished Contribution to American Letters. The Kings are regular contributors to a number of charities, including many libraries, and have been honored locally for their philanthropic activities.
| THE SHINING
Opera Philadelphia, Fort Worth Opera, Cincinnati Opera, Calgary Opera, Ireland's Wexford Festival, Lyric Opera of Kansas City, and Opéra de Montréal, with upcoming productions for Opera San Jose and Atlanta Opera.
THE ARTISTS Robb Asklof
conductor Michael Christie became music director of Minnesota Opera in September 2012. Before coming to Minnesota, he served as music director of the Phoenix Symphony (2005– 2013), the Brooklyn Philharmonic (2005–2010), the Queensland Orchestra (Brisbane, Australia; 2000–2004), and the Colorado Music Festival in Boulder (2000–2013).
Robb has performed roles in operas/operettas including Étienne in Victor Herbert’s Mademoiselle Modiste, Alfredo in La traviata, Jenik in The Bartered Bride, Ernesto in Don Pasquale, Captain Warrington in Herbert’s Naughty Marietta, Don Ottavio in Don Giovanni, Rinuccio in Gianni Schicchi, Acis in Acis and Galatea, and Eric in Libby Larsen’s Eric Hermanson’s Soul, to name a few.
Recent opera engagements have included productions with Opera Theatre of Saint Louis (Alice in Wonderland, The Ghosts of Versailles, and The Death of Klinghoffer), Wexford Festival Opera (Silent Night and The Ghosts of Versailles), Minnesota Opera (Ariadne auf Naxos, The Magic Flute, and Rusalka, among others) and Aspen Opera Theatre (The Ghosts of Versailles and West Side Story). He has also conducted at Opéra de Montréal and Opera Philadelphia (Silent Night) and Lyric Opera of Chicago (Rising Stars). He made his San Francisco Opera debut with the world premiere of The Gospel of Mary Magdalene, and in 2017, he continues his symphonic conducting activities as well as making debuts at Washington National Opera (Dead Man Walking) and at Santa Fe Opera, leading the world premiere of The (R)evolution of Steve Jobs. Michael lives with his family in Minneapolis.
After being brought up in Des Moines, Iowa, Mr. Asklof moved to Appleton, Wisconsin, where he received a Bachelor of Music from Lawrence University Conservatory of Music. He later moved to Minneapolis, Minnesota, where he was awarded a Master of Music at the University of Minnesota.
| MINNESOTA OPERA mnopera.org
stuart ullman Tenor Robb Asklof has sung with companies across the United States including the Atlanta Symphony Orchestra, Chautauqua Opera, Cincinnati Opera, Fargo Moorhead Opera, Lincoln Center for the Performing Arts, Minnesota Opera, Minnesota Orchestra, Orlando Opera, Santa Fe Opera, Skylark Opera, and Western Plains Opera.
wendy torrance Kelly Kaduce is a soprano with a warm and rich voice, stunning beauty, and superb acting ability. For her creation of the title role in Anna Karenina, Opera News proclaimed her “an exceptional actress whose performance was as finely modulated dramatically as it was musically … and her dark, focused sound was lusty and lyrical one moment, tender and floating the next.” For her Boston Lyric Opera debut in the title role of Thaïs, Opera News observed, “Kaduce sings with bell-like purity and silvery sweetness, and she suspends her legato with an effortless, sensual spin.”
During the 2015–2016 season, Kelly Kaduce sang Cio-Cio San in Madama Butterfly with the Minnesota Orchestra, and returned to Boston Lyric Opera as Mimì in La bohème and to Houston Grand Opera in the title role in Tosca, and appeared again at Minnesota Opera, where she has most recently sang the title roles of Manon Lescaut, Rusalka, and, stepping in at the last minute, Tosca. In 2014–2015 she debuted with Lyric Opera of Chicago as Katya in The Passenger, with Canadian Opera Company, and Florida Grand Opera as Cio-Cio San and Houston Grand Opera as Helmwige in Die Walküre.
costume design Kärin Kopischke continues her work with Minnesota Opera, having designed the costumes for The Dream of Valentino, Silent Night, Rusalka, Orazi e Curiazi, and The Grapes of Wrath. She has designed at some of the finest theaters across the country, including world premieres at Steppenwolf Theatre Company, American Conservatory Theater, Goodman Theater, Milwaukee Repertory Theater, Huntington Theatre, Kansas City Repertory Theatre, Victory Gardens Theatre, Court Theatre, Cincinnati Playhouse in the Park, and Children’s Theatre Company. Ms. Kopischke has designed classics and revivals at Chicago Shakespeare, Long Wharf Theatre, the Kennedy Center, Crossroads Theatre, San Francisco Shakespeare Festival, California Shakespeare Festival, Arizona Theatre Company, Milwaukee Shakespeare, and Skylight Opera Theatre. She is a recipient of the Joseph Jefferson Award, the AriZoni Award and was nominated for the Prague Quadrennial. Ms. Kopischke is currently a member of the theater faculty at Lawrence University, having previously taught at DePaul and Northwestern.
mrs. grady Soprano Jeni Houser recently performed Naiad and the Sunday performance of Zerbinetta in Ariadne auf Naxos, and the Queen of the Night in The Magic Flute for Minnesota Opera. She recently returned to Madison Opera as Amy in Little Women and Olympia in Les contes d’Hoffmann, and debuted with the Madison Symphony as soprano soloist in Carmina burana. Jeni made her debut at Lyric Opera of Chicago in The Magic Victrola, singing Olympia’s aria from Les contes d’Hoffmann. Of her performance, the Chicago Tribune writes, “Houser, who had been enlisted at the eleventh hour […], sang sweetly, her top notes securely placed.”
At Glimmerglass, Jeni recently performed the Queen of the Night in a young artist performance, covered Cunegonde in Candide, and performed Naiad and covered Zerbinetta in Ariadne auf Naxos, where the nymphs “were a delight to the eye and ear” (cny Café Momus). Other credits include Cunegonde in excerpts from Candide, and Johanna in Sweeney Todd with Madison Opera, and Frasquita in Carmen with Virginia Opera. She will be covering Queen of the Night with Lyric Opera of Chicago next season.
John Robert Lindsey
lloyd Tenor John Robert Lindsey is quickly becoming known for his dynamic acting and powerful voice. Past engagements include Don José in Carmen, Monostatos in The Magic Flute, Nick and Joe in La fanciulla del West, Marvin Heeno in The Dream of Valentino, Malcolm in Macbeth, Count Elemer in Arabella, Ismaele in Nabucco, Jonathan Dale in the Pulitzer Prizewinning production of Silent Night by Kevin Puts and Mark Campbell, and Sam Polk in Susannah. Covers include Dick Johnson in La fanciulla del West, Steva in Jenufa, Macduff in Macbeth, Matteo in Arabella, and Des Grieux in Manon Lescaut. On the concert stage, he has performed as tenor soloist in Mendelssohn’s Elijah, Beethoven’s Symphony No. 9, Verdi’s Requiem, Parables by Robert Aldridge and Herschel Garfein, the Mozart Requiem, and Handel’s Messiah. This past summer, he was invited to participate in the International Competition for Wagnerian Voices in Bayreuth, Germany. Upcoming engagements include Silent Night with Opera San Jose and Michigan Opera Theatre, and The Manchurian Candidate with Austin Opera.
THE ARTISTS sound design C. Andrew Mayer is a Minneapolis-based sound designer. He has worked with numerous regional theaters in the Twin Cities and elsewhere, including the Guthrie, the Jungle, Mixed Blood, the Children's Theatre Company, and the History Theatre, as well as with act in San Francisco and SeaGlass Theatre in Los Angeles. At Minnesota Opera, he has designed a dozen productions, including The Manchurian Candidate, Silent Night, The Grapes of Wrath, Nixon in China, and The Handmaid's Tale. He was a McKnight Theatre Artist Fellow, and won an Audelco Award for his design for Carlyle Brown's Pure Confidence at 59E59 (New York). In the summer he serves as the producing director of the Acadia Repertory Theatre on Mount Desert Island in Maine.
mrs. massey Soprano Shannon Prickett has appeared as the Fortuneteller in Arabella, the Lady-in-waiting in Macbeth, the Woman in Red in The Dream of Valentino, Giannetta in L’elisir d'amore, Dora in The Manchurian Candidate, Micaëla in Carmen, the Second Lady in The Magic Flute, and the Foreign Princess in Rusalka. Hailed as a soprano with “… a vocalism that is rich and unforced, equally capable of a sudden drop to a sustained whisper or being ratcheted up to a thrilling forte without a hint of strain …” by Madison Magazine, Shannon Prickett completed her master’s degree in opera, singing the title role in Médée and Suzel in L’amico Fritz. In 2012, Shannon performed the title role of Suor Angelica in Siena (Italy), and advanced to the regional competition of the Metropolitan National Council Opera Auditions, in which she received third place. At the University of Wisconsin, Shannon was the soprano soloist in Verdi’s Requiem as well as Mimì in La bohème and Donna Elvira in Don Giovanni. In 2010, she made her debut at Des Moines Metro Opera, singing the role of the Lady-in-waiting in Verdi’s Macbeth.
jack torrance Hailed by The New York Times for “a voice that is rich, secure, and really, really big” and by Opera News for having “a wonderful, rich voice, and a fine stage presence,” baritone Brian Mulligan frequently appears with the world’s leading orchestras and opera companies.
In the 2015–2016 season, Mr. Mulligan returns to San Francisco Opera in the title role of Sweeney Todd — a role debut — and as Enrico in a new production of Lucia di Lammermoor. Also at San Francisco Opera, he stars as Roderick Usher in a double-bill of Gordon Getty’s Usher House and Debussy’s La chute de la maison Usher. In a return to the Metropolitan Opera, Mr. Mulligan appears as Paolo in Simon Boccanegra, as well as a return to Opernhaus Zürich as Yeletsky in Pique Dame. He makes his debut at the Theater an der Wien with Oper Frankfurt on tour, reprising the role of Tadeusz in Weinberg’s The Passenger, and he concludes the season at the Glimmerglass Festival as John Proctor in Robert Ward’s The Crucible. The 2014–2015 season brought the baritone to San Francisco Opera to sing Anckarström in Un ballo in maschera, Marcello in La bohème, and Chorebus in Les Troyens. He also returned to Oper Frankfurt in a role debut as Amfortas in Parsifal.
horace derwent Dubbed “very entertaining” (Cherry and Spoon), baritone Alex Ritchie has performed on numerous Twin Cities stages including Minnesota Opera, Skylark Opera, Minnesota Concert Opera, Mill City Summer Opera, the MacPhail Center for Music, and Theatre in the Round.
With Minnesota Opera, Mr. Ritchie was seen most recently as the Lackey in Ariadne auf Naxos, Sid in La fanciulla del West, the Yes Man in The Dream of Valentino, and Polonius in Hamlet. He has also been avidly involved in workshops with the New Works Initiative, helping prepare world premieres including Doubt and The Manchurian Candidate. In 2015, Mr. Ritchie performed the Corporal in Mill City Summer Opera’s La fille du régiment. On the theatrical stage, he was most recently seen as Sullen in Theatre in the Round’s 2014 production of The Beaux’ Stratagem. He also portrayed the Pooh-Bah for Skylark Opera’s 2013 production of The Mikado, a collaboration with Mu Performing Arts. Mr. Ritchie is a 2012 master’s alumnus of the University of Missouri – Kansas City Conservatory of Music and Dance.
bill watson Tenor Rick Penning has performed with opera companies including Central City Opera, Chautauqua Opera, FargoMoorhead Opera, Opera Omaha, and Opera Theatre of Saint Louis.
Since 1980, Minnesota Opera has been Rick’s opera “home.” Highlights of his work there include workshops and world premiere productions of Black River, A Death in the Family, Casanova's Homecoming, The Grapes of Wrath, Silent Night, The Manchurian Candidate, and The Shining. Significantly, a production of Carmen in 1981 brought Rick and his wife, soprano Sandra Henderson, together for the first time. Their sons have also been a part of the Minnesota Opera family — Andrew has been seen as the Shepherd Boy in a previous production of Tosca and as Miles in The Turn of the Screw, and his brother, Christopher, appeared in The Magic Flute in the role of the First Spirit. Rick Penning has earned a Doctor of Musical Arts degree from the University of Minnesota, a Master of Music from the University of Cincinnati, and a Bachelor of Arts from Luther College.
scenery and properties design Erhard Rom was a finalist in the Designer of the Year category for the 2015 International Opera Awards in London. He has designed settings for more than 200 productions across the globe, and his design work has been displayed in the Prague Quadrennial and at the National Opera Center in New York. His credits include San Francisco Opera, Wexford Festival Opera, Seattle Opera, Bard Summerscape, Glimmerglass Festival, Opera Theatre of Saint Louis, Vancouver Opera, Wolf Trap Opera, Boston Lyric Opera, Florida Grand Opera, Opera Colorado, Opéra de Montréal, Atlanta Opera, Lyric Opera of Kansas City, Syracuse Stage, Geva Theatre Center, Indiana Repertory Theatre, and the Folger Shakespeare Theatre. He designed the European premiere of Silent Night and the production was awarded best opera production of 2015 by the Irish Times Theatre Awards. Future engagements include Nixon in China for the Royal Swedish Opera. Mr. Rom teaches design at Montclair State University.
| THE SHINING
C. Andrew Mayer
THE ARTISTS Eric Simonson
stage director Eric Simonson directed The Dream of Valentino, Wuthering Heights, Rusalka, and The Handmaid’s Tale for Minnesota Opera, as well as its world premieres of Silent Night, The Grapes of Wrath, and Bok Choy Variations. Other credits include Rusalka at Lyric Opera of Kansas City, Opera Colorado, and Boston Lyric; numerous plays at Steppenwolf Theatre; and productions at The Huntington Theatre, Milwaukee Rep, Primary Stages in New York, Court Theatre in Chicago, l.a. Theatre Works, The Kennedy Center, City Theater in Pittsburgh, Seattle Rep, and San Jose Rep. His The Song of Jacob Zulu played on Broadway and received six Tony Awards including Best Director. His film directing credits include A Note of Triumph: The Golden Age of Norman Corwin (Academy Award), On Tiptoe (Academy Award nomination), and Studs Terkel: Listening to America, all of which aired on hbo (Emmy Nomination). Playwriting credits include Lombardi, Magi/Bird, and Bronx Bombers (all on Broadway), Bang the Drum Slowly, Work Song (co-written with Jeff Hatcher), Honest, and Fake. Mr. Simonson is a member of Steppenwolf Theatre in Chicago and the Academy of Motion Picture Arts and Sciences.
| MINNESOTA OPERA mnopera.org
mark torrance Being touted as one of the next great American Verdi baritones, Opera News describes Mark Walters as “a force to be reckoned with.” This season, Walters made a company debut as Scarpia in Tosca with Minnesota Opera and also makes company debuts as Don Giovanni with Opera Santa Barbara and as Germont in La traviata with the Finger Lakes Opera. He returns as Scarpia with Sarasota Opera and Sharpless in Madama Butterfly with Florentine Opera.
Recent engagements include the title role in Rigoletto with Florida Grand Opera; the title role in Don Giovanni with Seattle Opera; Germont with Arizona Opera and Florentine Opera; Don Pizarro in Fidelio with Kentucky Opera and Opera Omaha; Marcello in La bohème with Florida Grand Opera; Zurga in Les pêcheurs de perles with Opera Carolina; Renato in Un ballo in maschera with Opera Tampa; Valentin in Faust and Enrico in Lucia di Lammermoor with Arizona Opera; Peter Grimes with Canadian Opera; Jack Rance in La fanciulla del West with Mobile Opera; and El niño with the Spoleto Festival usa.
choreographer Heidi Spesard-Noble was said by the Twin Cities Daily Planet, “to blend dancers and singers seamlessly together” and by the St. Paul Pioneer Press to have produced “engaging dance interludes with lifts and spins” in Minnesota Opera’s most recent production of Rusalka.
Also with Minnesota Opera, Ms. Noble has choreographed Carmen, The Dream of Valentino, Manon Lescaut, Wuthering Heights, Nabucco, Lakmé, Orazi e Curiazi, and La traviata. She was assistant choreographer to Doug Varone for The Grapes of Wrath with Minnesota Opera, Utah Opera, and Pittsburgh Opera. Her direction has also been seen with Project Opera‘s productions of Music of Mozart, Tom Thumb, Noah’s Fludde, Down In The Valley, and 123 Sesame with Sesame Street Live. She is a regular movement and theater coach for Minnesota Opera’s Summer Camp, and dance performances with Minnesota Opera include The Merry Widow and La traviata. With Minnesota Dance Theater, she appeared in Knoxville, Summer of 1915 as well as more than 15 musicals with Chanhassen Dinner Theater. The upcoming summer season includes choreography at Paul Bunyan Playhouse.
delbert grady Tenor David Walton returns to Minnesota Opera for the 2015–2016 season, most recently as Brighella in Ariadne auf Naxos, Tamino in The Magic Flute in Duluth, the Hunter in Rusalka, Spoletta in Tosca, Il Postiglione in La fanciulla del West, and Ed Mavole in the world premiere of The Manchurian Candidate. Mr. Walton has also appeared as Tamino and Ernesto (Don Pasquale) with Atlantic Music Festival. He spent three years with the Cantus Vocal Ensemble in Minneapolis and was a Gerdine Young Artist this past summer with Opera Theatre of Saint Louis, covering Matthew Gurney in Emmeline. Mr. Walton recently toured Azor in Grétry’s Zemire et Azor with Opera for the Young and was a regional finalist in the Upper Midwest Metropolitan Opera National Council Auditions. He will participate as a Young Artist this summer with the Glimmerglass Festival, performing Parpignol in its production of La bohème and covering Reverend Parris in The Crucible. He returns to Minnesota Opera next season as Tybalt in Romeo and Juliet and Silvio in Diana’s Garden.
danny torrance Alejandro began on his journey into the performing arts at the age of six under the guidance of his vocal and performance mentor Katy Hays in a garage in Northeast Minneapolis. After performing in the Hays' garage and attending a number of Theater Arts Training classes at Children's Theatre Company, Alejandro decided he wanted to perform on the “big stage.” In February 2015, he made his debut in Theater Latté Da's production of Oliver! Since his debut he has performed in Peter Pan the Musical and The Wizard of Oz at ctc, and at the 2015 Minnesota Fringe Festival in Damn Kids These Days. In 2016, Alejandro performed in Gypsy with Theater Latté Da, and appears in the Minnesota Opera's world premiere of The Shining in the role of Danny Torrance.
Alejandro is in the fifth grade at XinXing Academy Chinese Immersion School in Hopkins, Minnesota.
lighting design Mr. Wierzel has worked with artists from diverse disciplines and backgrounds in theater, dance, contemporary music, museums, and opera on stages throughout the country and abroad. Productions with Minnesota Opera include The Dream of Valentino, Wuthering Heights, Rusalka, and The Grapes of Wrath. Recent projects include the Broadway production of Lady Day at Emerson’s Bar and Grill. Upcoming projects include The Taming of the Shrew and Troilus and Cressida, both with n.y.s.f/Summer in Central Park productions.
Additional credits include productions with the opera companies of Paris-Garnier, Tokyo, Toronto, Bergen and Kristiansand (Norway), Folk Opera of Sweden, nyco, Glimmerglass Festival, Seattle, Boston Lyric, San Francisco, Houston, Virginia, Chicago Lyric, Chicago Opera Theater, Montreal, Vancouver, Portland, Wolf Trap, and San Diego, among others. Dance work includes the btj/az Dance Company (Bessie Awards) as well as the Lyon Opera and Berlin Opera Ballets. For more information, visit sparkdesigncollaborative.com.
THE ARTISTS dick hallorann American bass Arthur Woodley has been acclaimed for his performances in both opera and concert. This season, Mr. Woodley returns to Seattle Opera in Le nozze di Figaro and reprises his critically acclaimed performance of Emile Griffith in Terence Blanchard’s Champion at Opera Parallele in San Francisco, a role he created in the world premiere at the Opera Theatre of Saint Louis in the summer of 2013.
Mr. Woodley has appeared with prestigious opera companies all over the United States including San Francisco Opera, Seattle Opera, Opera Philadelphia, Dallas Opera, Cincinnati Opera, Pittsburgh Opera, New Orleans Opera, and Opera Theatre of Saint Louis. His many roles have included Varlaam in Boris Godunov, Bartolo in Le nozze di Figaro, the Four Villains in Les contes d’Hoffmann, Kuno in Der Freischütz, Banquo in Macbeth, Nick Shadow in The Rake’s Progress, Sulpice in La fille du régiment, Leporello in Don Giovanni, Rocco in Fidelio, Publio in La clemenza di Tito, Angelotti in Tosca, Achillas in Giulio Cesare, and Dansker in Billy Budd. Mr. Woodley was last seen at Minnesota Opera as Capellio in I Capuleti ed i Montecchi.
animation and projection design projection designer: benjamin pearcy animator: lawrence watson
59 Productions is a creative studio specializing in design for performance, exhibitions, and live events. Recent design and video design projects include An American In Paris (Winner – Tony Award, Best Scenic Design of a Musical); Hedwig and the Angry Inch and Big Fish on Broadway; David Bowie is at the V&A and on a world tour; Game at the Almeida, Almeida Theatre; Little Dancer at the Kennedy Center; The Forbidden Zone at Salzburg Festival; Feast at the Young Vic; War Horse in London, New York, China, Toronto, Australia, U.K. and U.S. tours; Reise Durch die Nacht and Request Programme at Schauspiel Köln; Fraulein Julie at Schaubühne (Berlin); Black Watch at National Theatre of Scotland; and the Les Miserables world tour. For the National Theatre: Wonder.land; Great Britain; Emil and the Detectives; Beauty and the Beast; Really Old, Like 45; Mother Courage and Her Children; Time and the Conways; Waves; ...some trace of her, and Attempts on Her Life. Recent video design for opera includes Morgen und Abend, Eugene Onegin, Salome, and The Minotaur at the Royal Opera House; Thebans and The Pearl Fishers at the eno; The Perfect American at Teatro Real/eno; the Messiah at Opéra de Lyon/eno; Al gran sole carico d’amore at Salzburg Festival; and Dr. Atomic, The Enchanted Island, and the 125th Anniversary Gala at the Metropolitan Opera.
MINNE SOTA OPER A ORCHE S T R A VIOLIN I
B A SS
Allison Ostrander Concertmaster
John Michael Smith
John G. Koopmann
Natalia Moiseeva Assistant Concertmaster
Jason C. Hagelie
Julia Persitz David Mickens Angela Waterman Hanson Heidi Amundson Elise Parker Colin McGuire
Amy Morris double piccolo
VIOLIN II Conor O’Brien Elizabeth Decker
Michael Dayton Jeffrey Marshak double English horn
Margaret Humphrey Huldah Niles David Block
CL ARINET Karrin Meffert-Nelson double Eb clarinet
Nina Olsen double bass clarinet
B A SS O O N
David Auerbach Emily Hagen Laurel Browne
T I M PA N I Kory Andry
Stephan Orsak Melinda Marshall
P E R C U SS I O N Matthew Barber Steven Kimball
HARP Min J. Kim
Laurie Hatcher Merz double contrabassoon
Jenny Nilsson Susan Janda James Bartsch
HORN Timothy Bradley Charles Hodgson
CELLO James Jacobson
Michael Alexander Lawrence Barnhart
Teresa Richardson Sally Gibson Dorer Rebecca Arons Dale Newton
MINNE SOTA OPER A CHORUS Marysa Abbas
Corissa Leonard Bussian
Tricia Van Ee
| THE SHINING
Photo by Dario Acosta
MEET THE ARTIST
| MINNESOTA OPERA mnopera.org
When did you first fall in love with opera? I was 17 when I first began singing, and right away, I started voice lessons. My voice teacher had a great collection of opera recordings that he let me borrow, and it was through those recordings that I fell for opera. The artists that fascinated me the most were Renata Scotto and George London. While I loved the music, and the impossible beauty of the art form, I was most drawn to the challenges of becoming a real opera singer. Learning to sing all of that gorgeous music, commanding the stage, speaking all those languages, knowing all the history and traditions, I knew there were enough intellectual and technical challenges to last me a lifetime, and I was right!
What makes your character special and why were you interested in this role? I read many of Stephen King’s novels when I was a kid, and The Shining was definitely one of my favorites. As soon as I heard Minnesota Opera was commissioning The Shining, I knew that I had to be a part of it! The book has inspired me immensely, and is a part of the reason I am an artist today. Jack Torrance is a special role because he is at once so many different devices in the story — villain, hero, victim, and abuser. Mr. Mulligan's biography appears on page 13.
It’s rare to find a character with so many facets, whose arc is filled with jagged edges and sudden shifts in personality. When did you begin preparing for this role? Is your preparation different when creating a new character? I sometimes spend years learning and creating a new role, but since this is a world premiere, I’ve had the music in hand for about a year. I approach all new roles the same way — I study the text first and slowly create a psychological profile based on the source material, be it a libretto, a novel, or historical facts. Since Jack Torrance is a character I’ve known for most of my life, I already had an idea of who he was. But now, I’ve sharpened those ideas by carefully re-examining the novel on a daily, sometimes hourly basis. Stephen King created Jack Torrance, and I want to stay very true to his vision of the character: a good, but deeply flawed man who was plagued by demons long before coming to the Overlook Hotel. What can audiences expect to see and hear in this production? Audiences should expect to see a familiar story told in a completely new and exciting way. Experiencing the story of The Shining as it
unfolds in a live performance will be thrilling, especially with such incredibly chilling and atmospheric music, which will only heighten the terror. What do you like about working with Minnesota Opera? Well, I love the Twin Cities. It’s such a beautiful part of America, and the people here are so welcoming and friendly. It makes sense that the people who work at Minnesota Opera are also so lovely! It’s wonderful to work with such kind and creative people who truly care about producing great opera. What is your favorite book and why? My favorite book is Anna Karenina. I love Tolstoy — I can’t tell you how many times I have stumbled across such profound ideas, thoughts, or observations in his writing that end up changing my own life. Other favorite books of mine are Franny and Zooey, The Bluest Eye, and Walden. You’ve been staying in a hotel alone while rehearsing for The Shining. How’s that been? Let’s just say I double-check that my door is locked every night.
The Newells (L-R): Kjell Repdath, Miranda Kettlewell, T.J. Nordby, Claire Walsh traveling on the Princess Ali, a unique vehicle built to take the family to safety.
Memory Boy creators (L-R): Mark Campbell, librettist, Reinaldo Moya, composer, Dale Kruse, music director, and Doug Scholz-Carlson, stage director.
The Newell family (L-R): Erica Thelen, Alex Stokes, Kjell Redpath, and Emma Shine final arrival at their new home.
Mr. Kutrz (Max Muter) tells Miles Newell (T.J. Nordby) about his cabin near Bemidji.
The chorus sings “These are dark days!”
PROJECT OPERA As part of Minnesota Opera’s New Works Initiative, this February Project Opera presented the world premiere of Memory Boy, with music by Reinaldo Moya and libretto by Mark Campbell. Based on the young adult novel by Will Weaver, it tells the story of a family escaping the Twin Cities to a cabin near Bemidji after cataclysmic volcanic eruptions in the West causing a breakdown of society. More than 80 students from around the Twin Cities participated in the production on stage and in the orchestra.
MUSIC OUT LOUD
Music Out Loud students from Venture Academy attend the final dress rehearsal of Tosca. It was the first opera and first time in the Ordway for all of the students.
Jamie Andrews, Education Director, describes the goals and objectives of Music Out Loud, for a session on music for social change at the Minnesota Music Educators Association February conference.
MUSIC OUT LOUD Music Out Loud is Minnesota Opera’s El Sistema-inspired social development program that uses opera to teach 21st century learning skills. Currently the program meets after school with students at Venture Academy Charter School and Folwell Elementary.
| THE SHINING
Photos by Sigrid Redpath
The Memory Boy orchestra.
NEW WORKS INITIATIVE
What is the NWI?
| MINNESOTA OPERA mnopera.org
A pioneering movement in new opera when it was launched in 2008, Minnesota Opera’s New Works Initiative continues to invigorate the operatic art form with an infusion of contemporary works, while fulfilling the company’s commitment to artistic growth, leadership, and innovation. This season’s world premiere of The Shining marks the latest opera created through the NWI.
The first of two week-long public readings for Dinner at Eight, a new comic opera based on the play by George S. Kaufman and Edna Ferber, takes place this May at the Minnesota Opera Center in Minneapolis. The event includes guest singers, alongside composer William Bolcom, librettist Mark Campbell, Minnesota Opera Artistic Director Dale Johnson, conductor David Agler, and stage director Tomer Zvulun. Dinner at Eight is a Depression-era comedy of manners in which the wife of a once-affluent shipping magnate
plans a society dinner for an assortment of wealthy and well-born acquaintances. Eventually, the guests’ tangled and intimate connections to one another are revealed. The original play opened in 1932 on Broadway at the Music Box Theater, and inspired a starstudded film adaptation the following year. It has enjoyed two Broadway revivals; the opera will be its first musical adaptation. “It is tremendously gratifying to work on a comic opera, particularly by an American legend such as William Bolcom,” said Artistic Director Dale Johnson. “The Great Depression provided fodder for a multitude of artistic masterpieces, and Dinner at Eight by Kaufman and Ferber belongs in that category. The play is an ensemble piece, fast-paced and brilliantly witty, filled with extraordinary characters. These are ideal elements for an opera. Both William Bolcom and Mark Campbell straddle the classical and American popular styles, and I can’t think of a better combination to bring this sparkling comedy, with its rapid-fire dialogue and hilarious situations, to the operatic stage.” William Bolcom, whose music The New York Times described as moving with “a suave assurance that serves comic and dramatic impulses equally well,” said, “What I’ve always loved about the play is its ability to merge humor and emotional depth. The opera will be a high-wire balancing act for
both Mark and me — we will need to find just the right tone. In my 50 years of opera and musical theater work, which brought forth three operas for theater and three for the opera house, I’ve never felt a stronger challenge than contemplating this fourth opera. It makes me feel 77 years young!” “Dinner at Eight features marital infidelity, financial ruin, social opportunism, a fatal disease, and a suicide. Naturally, it’s a comedy,” said librettist Mark Campbell, who says he is thrilled to be working with Minnesota Opera on his fifth commission with the company (the others being Silent Night, The Manchurian Candidate, Memory Boy, and The Shining). “It’s also an incisive exploration into the impact of economically compromised times on the American class system — which is very much a part of the New Works Initiative’s goal of exploring distinctly American themes. With Dinner at Eight, Bill and I intend to fuse the best traditions of musical theater with those of opera to create a contemporary work that brings out both the light and the dark in this brilliant Kaufman/Ferber play.” The commission, premiering on March 11, 2017, promises to be a noteworthy addition to a line of successful and influential works. See Page 22 for more information about the New Works Initiative.
Minnesota Opera’s staff, board, and longtime friends mark the passing of Dr. Norton M. Hintz. A nuclear physicist, photographer, and opera producer, Dr. Hintz was a founder of the original Center Opera Company in 1963. While working as a professor and researcher at the University of Minnesota, he served as chairman of the music committee on the Center Arts Council in the late 1950s. With the opening of the new 1,437-seat Tyrone Guthrie Theater, once located next to the Walker Art Center, he saw an opportunity to create a chamber opera company, which could perform on nights when the stage was not in use. The first season opened in January 1964, with a doublebill — a world premiere of composer Dominick Argento’s The Masque of Angels paired with 17th-century composer John Blow’s The Masque of Venus and Adonis. The original intention was to engage emerging composers, conductors, directors, and designers. Martin Friedman, then director of the Walker Art Center, later remarked, “One of the reasons the Russians are moving toward the moon faster is our physicists are devoting their talents to putting chamber opera into production.” To which Norton replied, “Both require large budgets."
During the first season, Norton was the company’s general director and continued to serve as chairman for several years. Truly a Renaissance man, he had notable achievements as a professor of physics, including supervising construction of the University’s Linac Proton Accelerator and, with other colleagues, continued research in elementary particle physics. Also an avid dancer, Norton and his wife, Mary Abbe, visual arts critic for the Star Tribune, sponsored a dance floor at the University’s Weisman Art Museum. Former Minnesota Opera President and ceo Kevin Smith recalled, “Norton Hintz was one of the most interesting, extraordinary people I met during my 30 years at Minnesota Opera. Given Norton’s great achievements as a nuclear physicist and professor at the University of Minnesota, I found it wonderful that he counted his role in the founding of Minnesota Opera (Center Opera of the Walker Art Center) as one of his most meaningful and satisfying accomplishments. Norton possessed a quintessentially creative mind, whether it involved science, art, or just plain living. On reflection, he was just the type to leave a legacy in every aspect of his life.”
| THE SHINING
Photos provided by Mary Abbe Hintz
AN EVENING AT CAFE LEVAIN
Photos by Theresa Murray
Thanks to Cafe Levain Owner Harvey McLain for hosting a wonderful event at his restaurant on February 22, featuring performances by the Resident Artists.
Cafe Levain Owner Harvey McLain and Minnesota Opera President and General Director Ryan Taylor
Resident Artist Shannon Prickett, Milla and Philip Isaacson, and Resident Artist Benjamin Sieverding
Joshua Dorothy and Nadege Souvenir
Baritone Stephen Powell and Minnesota Opera Board Chair Jim Johnson
Kay Ness and Soprano Alexandra LoBianco
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2016–17 season Romeo & Juliet Das Rheingold Diana‘s Garden GOUNOD / Sept. 24–Oct. 2, 2016
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SOLER / Jan. 21–29, 2017 WORLD PREMIERE
See 3 or more operas, save up to 25%, and get the best seats!
Dinner at Eight Mar. 11–19, 2017
Music by WILLIAM BOLCOM Libretto by MARK CAMPBELL Based on the play by
GEORGE S. KAUFMAN and EDNA FERBER
La Bohème PUCCINI / May 6–21, 2017
mnopera.org 612-333-6669 Ticket Office: M–F, 10am–5pm
NEW WORKS INITIATIVE COMMITTEE AND DONORS Thank you to the New Works Initiative Committee and Donors for making this production of The Shining possible. Creating new opera is at the core of Minnesota Opera’s mission. It is also in the DNA of the company. Since the very beginning of this adventurous organization, launched by the work of the legendary Dominick Argento, Minnesota Opera has been at the forefront of the creation of new opera. Today we are seeing these productions being performed all over the world. We believe that opera is a constantly changing art form that tells the stories of our time. Whether those stories are dark and haunting such as The Shining, a riotous comedy like Casanova’s Homecoming, or a deeply felt human story like Silent Night, Minnesota Opera believes that opera is not a museum art form from the 19th century. With extraordinary music and thoughtful storytelling, it is constantly expanding and changing, allowing for careful exploration of social and political trends. We, in the 21st century, are very fortunate to have at our disposal centuries of narratives to tell, whether they are from books, legends, plays, or films. We are also creating original stories that shed light upon extraordinary events such as the Black Sox scandal of 1919. We are able to amaze our audiences through the incredible power of the human voice, singing words combined with powerful music. For more than four hundred years, opera as an art form has thrilled us, informed us, and made us think about the core of human existence. DALE JOHNSON Artistic Director
Margaret Wurtele, Chair Karen Bachman Wendy Bennett Burt Cohen Jane Confer Judy Dayton Jock Donaldson John Huss Ruth Huss Lucy Rosenberry Jones Robert Marx Jenny Lind Nilsson Elizabeth Redleaf Mary Vaughan H. Bernt von Ohlen
| MINNESOTA OPERA mnopera.org
Minnesota Opera’s New Works Initiative Productions
The Adventures of Pinocchio, february 2009 Casanova’s Homecoming, november 2009 Wuthering Heights, april 2011 Silent Night, november 2011 The Giver, april 2012 Doubt, january 2013 The Dream of Valentino, january 2014 The Manchurian Candidate, march 2015 Memory Boy, february 2016 The Shining, may 2016 Dinner at Eight, march 2017 Black Sox, 2017– 2018 season
New Works Initiative Donors $500,000+
The Andrew W. Mellon Foundation Bush Foundation Julia W. Dayton Ruth and John Huss Elizabeth Redleaf C. Angus and Margaret Wurtele
Fred C. and Katherine B. Andersen Foundation Lucy Rosenberry Jones and James E. Johnson The Seaver Institute Mary Vaughan
Knight Foundation Martha and Bruce Atwater Fund of The Minneapolis Foundation OPERA America
The Aaron Copland Fund for Music Inc. Susan Boren Jane M. and Ogden W. Confer Vicki and Chip Emery Linda and Jack Hoeschler Mary Ingebrand-Pohlad Jenny L. Nilsson and Garrison Keillor Ruth Easton Fund of the Edelstein Family Foundation
Karen Bachman Sharon Hawkins Holly C. Hickman Lois and John Rogers Valspar Foundation H. Bernt von Ohlen and W. Thomas Nichol Irving and Marjorie Weiser
Adriana Zabala as Pinocchio from The Adventures of Pinocchio, © Michal Daniel, 2009
New Works Initiative Committee
STAFF, BOARD AND VOLUNTEERS President and General Director | Ryan Taylor Artistic Director | Dale Johnson
PRODUCTION Production Director | Karen Quisenberry Production Stage Manager | Kerry Masek
BOARD OF DIRECTORS OFFICERS
Music Director | Michael Christie
Assistant Stage Managers | Jamie K. Fuller, Hannah Holthaus
Chair | James E. Johnson
Assistant to the Production Director | Julia Gallagher
Vice Chair | Margaret Wurtele
Artistic Administrator | Roxanne Stouffer
Production Assistant | Lorely Dedrick
Artist Relations and Planning Director | Floyd Anderson
Child Supervisor | Lauren Wills
President and General Director | Ryan Taylor Secretary | Robert Lee Treasurer | Christopher Romans
Dramaturg | David Sander
Head of Music | Robert Ainsley
Finance Director | Jeff Couture
Resident Artists | Jonathan Brandani, Siena Forest, Jessica Hall, Jeni Houser, Andrew Lovato, Shannon Prickett, Benjamin Sieverding, David Radamés Toro, David Walton, Lindsay Woodward
Operations/Systems Manager | Steve Mittelholtz
Richard Allendorf Patricia Beithon Karen Brooks Bernard J. Brunsman Jane M. Confer Sara Donaldson Sidney W. Emery Maureen Harms Sharon Hawkins Ruth S. Huss Mary IngebrandPohlad Philip Isaacson James E. Johnson Patricia Johnson John C. Junek Christine Larsen Cynthia Y. Lee
Master Coaches | Lara Bolton, Mary Jo Gothmann, Eric McEnaney
HR/Accounting Manager | Jen Thill Director of Board Relations | Theresa Murray Finance Associate | Dylan Howell
DEVELOPMENT Chief Development Director | Carley Stuber
Costume Director | Corinna Bohren Assistant Costume Director | Beth Sanders Tailor | Yancey Thrift
Associate Development Director | Dan Sassenberg Institutional Gifts Manager | Jaden Hansen
Drapers | Chris Bur, Emily Rosenmeier
Special Events Manager | Kristine Migely
First Hands | Helen Ammann, Kelsey Glasener, Rebecca Karstad
Institutional Gifts Officer | Diana Konopka Development Associate | Nickolas Sanches
Stitchers | Frances Emberley, Ann Habermann, Sara Huebschen, Rachel Skudlarek
Development Operations Coordinator | Jonathan Lundgren
Wardrobe Supervisor | Jessica Minczeski Wig/Makeup Supervisors | Priscilla Bruce, Manuel Jacobo
EDUCATION Community Education Director | Jamie Andrews
Wig/Makeup Crew | Emily Rosenmeier, Dominick Veldman
Teaching Artist | Alisa Magallón
Project Opera Accompanist | Kathy Kraulik
Technical Director | Mike McQuiston Properties Master | Jenn Maatman Properties Assistant | Michael C. Long Lighting and Video Coordinator | Raymond W. Steveson Jr. Production Carpenter | JC Amel Scene Shop Foreman | Larry Kline Master Carpenters | Nate Kulenkamp, Eric Veldey Scenic Charge Artist | Angelique Powers Scenic Artist | Sydney Achler, Dee Skogen Carpenters | David Franicola, Max Gilbert, Rose King, Charles Richards
Project Opera Music Director | Dale Kruse
Julia W. Dayton
John A. Blanchard III
Mary W. Vaughan
HONORARY DIRECTORS Dominick Argento
Norton M. Hintz*
Patricia H. Sheppard
Senior Marketing and Communications Director | Darby Lunceford Marketing Director | Katherine L. Castille Marketing Assistant | Kate Saumur
LEGAL COUNSEL Moss & Barnett
Program Manager, Marketing and Communications | Kristin Matejcek Design Manager | Kristin Backman Communications Specialist | Eric Broker Ticket Office Manager | Kevin Beckey
TEMPO BOARD MEMBERS
Associate Ticket Office Manager | Karl Annable
Ticket Office Assistants | Carol Corich, Brian Johnson-Weyl, Johanna Owen, Delaney Ryden, Trevor Schaeffer
Chair | Jennifer Engel
Mary McDiarmid Barbara Moore Douglas Myhra Candyce Osterkamp Pat Panshin Sydney Phillips Kari Schutz
Audience Development Co-chair | Chrissi Reimer Audience Development Co-chair | Jana Sackmeister Programming Chair | Thomas Bakken
The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnopera.org/volunteer, or email firstname.lastname@example.org for more information. Merle Hanson Robin Keck Mary Lach Jerry Lillquist Joyce Lillquist Melanie Locke Suzan Lynnes
EMERITI Karen Bachman
Project Opera Program Manager | Lorely Dedrick
MINNESOTA OPERA VOLUNTEERS
Lynne Beck Gerald Benson Debra Brooks Jerry Cassidy Judith Duncan Jane Fuller Joan Gacki
Robert Lee Leni Moore Albin “Jim” Nelson Kay Ness Jose Peris Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Mary H. Schrock Linda Roberts Singh Nadege Souvenir David Strauss Virginia Stringer Ryan Taylor H. Bernt von Ohlen Margaret Wurtele
Janet Skidmore Wendi Sott Stephanie Van D’Elden Barbara Willis
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.
Staff Liaisons | Kristin Matejcek, Eric Broker Secretary | Alexis DuPlessis Treasurer | Faris Rashid
MEMBERS Brad Benoit Kamruz Darabi Melissa Daul Kara Eliason Mark Giga * Deceased
Laura Green Brian Halaas Rhonda Skoby Aimee Tritt
| THE SHINING
MINNESOTA OPERA STAFF
I N D I V I D UA L G I V I N G
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.
bel canto circle Platinum $50,000 and above Julia W. Dayton Vicki and Chip Emery Ester and John* Fesler Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson Elizabeth Redleaf Mary Vaughan C. Angus and Margaret Wurtele Wayne Zink and Christopher Schout
Platinum $20,000 – $49,999 Anonymous* Dr. Tracy and Mr. Eric Aanenson Patricia Beithon Mary and Gus Blanchard
camerata circle Platinum $7,500 – $9,999
Anonymous Allegro Fund of the Saint Paul Foundation Karen Bachman Daniel and Adriana Blanco Barry and Wendy Brunsman Peter and Theresa Carter Maureen and Mike Harms Miriam and Erwin Kelen Cynthia and Lawrence Lee Steven Mahon and Judy Mortrude Ken and Nina Rothchild
Gold $5,000 – $7,499
Nina and John Archabal Martha and Bruce Atwater Fund of The Minneapolis Foundation William Biermaier and David Hanson Ken and Peggy Bonneville Dr. Lee A. Borah Jr. Estate of Robin J. Carpenter Peter Davis and Pamela Webster Mary Dearing and Barry Lazarus Dorothy Horns and James Richardson Jay and Cynthia Ihlenfeld Robert and Sandy Klas Robert Kriel and Linda Krach Ilo and Margaret Leppik
| MINNESOTA OPERA mnopera.org
$1,000 – $2,499
Anonymous Mark W. Addicks Charles and Mary Anderson Eric S. Anderson and Janalee R. Aurelia Floyd Anderson Jamie Andrews and Jane Kolp-Andrews Rebecca D. Arons and Thomas J. Basting Jr. Ruth and Dale Bachman Thomas and Ann Bagnoli Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Carl and Joan Behr Barbara S. Belk Karen and John Blank Mrs. Paul G. Boening Ed and Mimi Bohrer Allan Bradley Drs. Eli and Jan Briones Keith and Carolyn Campbell Joan and George Carlson Kyle Clausen and Bethany Moritz Steve Coleman Barb and Jeff Couture Mike and Stacey Crosby – The Longview Foundation
Sara and Jock Donaldson Sharon Hawkins Heinz Hutter* Mary Ingebrand-Pohlad Mr. and Mrs. Philip Isaacson John and Kathleen Junek The Art and Martha Kaemmer Fund of HRK Foundation Helen L. Kuehn* Chris Larsen and Scott Peterson Mrs. Walter Meyers Estate Albin and Susan Nelson H. Bernt von Ohlen and W. Thomas Nichol William White
Diana Lee Lucker Margery Martin and Dan Feidt Kendrick B. Melrose Donor Advised Fund of The Minneapolis Foundation Velia R. Melrose Karla Miller Dr. and Mrs. Alfred Moore Jenny L. Nilsson and Garrison Keillor Sarah and Rolf Peters Lois and John Rogers Dr. Donald V. Romanaggi Sr. Nadege J. Souvenir and Joshua A. Dorothy Stephanie C. Van D’Elden Charles Allen Ward Fund of The Saint Paul Foundation Nancy and Ted Weyerhaeuser
Silver $2,500 – $4,999
Anonymous Dan and Martha Goldberg Aronson Annette Atkins and Tom Joyce Michael Birt Alexandra O. Bjorklund Shari and David Boehnen Margee and Will Bracken Ann and Glenn Buttermann Laurie Carlson and William Voedisch Nicky B. Carpenter Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation Helen and John Crosson Shana Crosson and John Gisselquist Jeff and Wendy Dankey Vanessa and David Dayton Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Mrs. Susan DeNuccio Elise Donohue* Rondi Erickson and Sandy Lewis Gail Fiskewold Salvatore Silvestri Franco Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and Bill Gacki James and Teddy Gesell Heidi and Howard Gilbert Goodale Family Foundation Roger and Karen Hale Marion and Donald Hall Tom and Susan Handley Don Helgeson and Sue Shepard Elfrieda Hintze Jean McGough Holten Steve Horan Chuck Jakway and Teresa Williams Barbara Jenkins Bryce and Paula Johnson
Anonymous Susan Boren and Steve King
Michael and Alexis Christie Cy and Paula DeCosse Fund of The Minneapolis Foundation Dolly J. Fiterman Mr. and Mrs. William Frels Beverly N. Grossman Warren and Patricia Kelly Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Luis Pagan-Carlo and Joseph Sammartino Connie and Lew Remele Paul and Mary Reyelts Don and Patricia Romanaggi Jennifer and Chris Romans Mahlon and Karen Schneider Mary H. and Christian G. Schrock Linda and Jesse Singh
Rusty and Burt Cohen Jill Irvine Crow Ruth and Bruce* Dayton Jay and Rebecca Debertin Thomas and Mary Lou Detwiler Mary Dolan Restricted Family Fund of The Longview Foundation Joan Duddingston Ralph D. Ebbott Dr. Mary Anne Ebert and Paul Stembler Joyce and Hugh Edmondson Nancy and Rolf Engh Ann Fankhanel Bruce and Melanie Flessner Patricia R. Freeburg Friborg Family Charitable Fund of The Minneapolis Foundation Judith Garcia Galiana and Alberto Castillo Meg and Wayne Gisslen Dr. Richard Gregory Mrs. Myrtle Grette Susanne Haas and Ross Formell Michele Harris and Peter Tanghe Alfred and Ingrid Lenz Harrison Stefan and Lonnie Helgeson Linda and Jack Hoeschler Dr. and Mrs. Arthur Horowitz Bill and Hella Mears Hueg Thomas Hunt and John Wheelihan Diane and Paul Jacobson
Dale A. Johnson Janet N. Jones Robert and Susan Josselson Lyndel and Blaine King Stefanie Lenway and Tom Murtha From the Family of Richard C. and Elizabeth B. Longfellow David MacMillan and Judy Krow Dorothy and Roy Mayeske Barbara McBurney Mary Bigelow McMillan Sandy and Bob Morris Richard and Nancy Nicholson Fund Kelly and Michael Palmer Jose Peris and Diana Gulden Marge and Dwight Peterson Mrs. William S. Phillips The Redleaf Family Foundation John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde James and Andrea Rubenstein Fred and Gloria Sewell Frank and Lynda Sharbrough Julie Steiner Ryan Taylor Dr. Andrew J. Thomas Dr. Craig S. and Stephanie Walvatne Jerry Wenger Patricia C. Williams* Woessner Freeman Family Foundation
Sharon and Fredrik Johnson Nancy and Donald Kapps Margaret V. Kinney Sally and Bill Kling Gerard Knight Mrs. James S. Kochiras Krystal Kohler and Dan Norris Anna Kokayeff Kyle Kossol and Tom Becker Constance and Daniel Kunin Christl and Andrew Larson Kent Larson and Christine Podas-Larson Mr. Bryan Lechner Laurence and Jean LeJeune Sy and Ginny Levy Family Fund of The Minneapolis Foundation Diane and David Lilly William F. Long Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Mr. and Mrs. Reid MacDonald Tom and Marsha Mann Carolyn and Charles Mayo Laura McCarten Helen and Charles McCrossan Deb and Jon McTaggart Mary M. McVay
Eileen and Lester Meltzer David and LaVonne Middleton Jennifer and David Miller Mary M. Montgomery Diana and Joe Murphy David E. and Judy L. Myers Betty Myers Joan and Richard Newmark Jane and Robert Oberrender Ruth and Ahmad Orandi Derrill M. Pankow Paula Patineau Suzanne and William Payne Bill and Barbara Pearce Fund of The Minneapolis Foundation Kay Phillips and Jill Mortensen Mary and Robert Price George M. Reid Sampson Family Charitable Foundation John Sandbo and Jean Thomson Morris and Judith Sherman Cherie and Robert Shreck Kevin and Lynn Smith Matthew Spanjers and Annie Carvalho Mark and Kristi Specker Daniel J. Spiegel Family Foundation Donna Stephenson
An Anonymous Fund of The Minneapolis Foundation Donald E. Benson Rachelle Dockman Chase Jane M. and Ogden W. Confer Ellie Crosby – The Longview Foundation William I. and Bianca M. Fine Charitable Trust Patricia Johnson and Kai Bjerkness Robert L. Lee and Mary E. Schaffner Harvey T. McLain Kay Ness and Chris Wolohan Virginia L. and Edward C. Stringer
artist circle (continued) Dana and Stephen Strand Carley and Bill Stuber
patron circle Gold $750 – $999
Anonymous Laurie Anderson and Jon Hanson Gerald and Phyllis Benson Robert and Venetia Kudrle Ruth W. Lyons The Mahley Family Foundation Lucia Newell and Steven Wiese David E. Sander Warren Stortroen Michael P. Tierney Cindy and Steven Vilks James Wire
Silver $500 – $749
Anonymous (2) Meredith B. Alden Thomas O. Allen Arlene and Tom Alm John and Ashley Anderson Katherine Anderson August J. Aquila and Emily Haliziw Dr. Thomas Arlander Dr. and Mrs. Orn Arnar Kay C. Bach Chuck and Estelle Bennett Anthony Benz Martin and Patricia Blumenreich Dr. Hannelore Brucker
associate circle $250 – $499
Anonymous (3) Paul and Val Ackerman Carolyn M. Adams Jerry Artz Dan Avchen and David Johnson James and Gail Bakkom Bender Vocal Studio Kenneth J. Berglund John and Cindy Beukema Beth Bird Mitch and Michele Blatt Allen Brookins-Brown Debra Brooks and James Meunier Roger and Ronnie Brooks C.D.F. Foundation Renee Campion and David Walsh Jean and Bruce Carlson Alan E. and Ruth Carp Kyle and Shelley Carpenter Dr. Mark and Denise Carter Katherine L. Castille Laura Green Chaffee and Matthew Chaffee Margaret Clouthier Kay Constantine Jeanne E. Corwin Catherine Coult and Robert Benjamin Mary T. Cummings Mr. Andrew Dahlen Virginia Dudley and William Myers Candace and Dan Ellis Charlie and Anne Ferrell Mina Fisher and Fritz Nelson
Vern Sutton Mr. Lester L. Temple Jill and John Thompson
Bryn and Schelly Vaaler Mrs. Joanne Von Blon David L. Ward
John W. Windhorst Jr. Carolyn, Sharon and Clark Winslow Rory and Diane Yanchek
Thomas and Joyce Bruckner Philip and Carolyn Brunelle Scott Cabalka Elwood and Florence* Caldwell Brenda Colwill Page and Jay Cowles Amos and Sue Deinard Lois Dirksen Barry Divine Ellen Doll and Jay Swanson Holli and Stefan Egerstrom Leah and Ian Evison Brian M. Finstad Christine Fleming Mr. David Francis Bradley Fuller and Elizabeth Lincoln Carol and Mike Garbisch David and Terry Gilberstadt Jennifer Gross and Jerry LeFevre Rehael Fund – Roger Hale/Nor Hall of The Minneapolis Foundation Russell and Priscilla Hankins Alfred E. Hauwiller Norton Hintz* and Mary Abbe John Hogie Mark and Jeanne Jacobson Chris and Nick Jermihov Charles and Sally Jorgensen Erika and Herb Kahler Carole and Joseph Killpatrick
Jennifer Konz-Alt and Aaron Alt James and Gail LaFave Judy Lebedoff and Hugh Klein Tim and Susanna Lodge Dr. Caliann Lum Stuart MacGibbon Donald and Rhoda Mains Bridget Manahan and Joe Alexander Kristin and Jim Matejcek Frank Mayers Carla K. McGrath Kris and Bill McGrath Judith and James Mellinger Anne W. Miller Steven J. Mittelholtz Kathleen and Donald Park Ilya Perepelitsyn and Lioudmila Sitnikova Carol Peterson Corine and John Petraborg Walter Pickhardt and Sandra Resnick Christina and Dwight Porter Lorraine Potuzak Lawrence M. Redmond William and Sue Roberts Ann M. Rock Bob and Donna Rose Ruth Rose Liane A. Rosel Enrique and Clara Rotstein Fred Sandal
Mary Savina Jon L. Schasker and Debbie Carlson Paul L. Schroeder Schwarzmann Family Doris Jean Seely Gale Sharpe Madeline Simon Rhonda Skoby Stanislaw Skrowaczewski Dr. Leslie W. Smith Jim Snustad Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Jon Spoerri and Debra Christgau Michael Steffes Thomas and Sharon Stoffel Craig and Janet Swan Michael Symeonides and Mary Pierce Dan and Erika Tallman Dr. Anthony Thein Marie J. Thomas Andrejs Vape Olga Viso and Cameron Gainer David Walsh and Renee Campion Elizabeth Wexler Deborah Wheeler Barbara White Frank and Frances Wilkinson John M. Williams
Rick and Nancy Foss Jane Fuller Greta and Paul Garmers Cecilie and Emanuel Gaziano Randy Goetz Stanley and Luella Goldberg Marsha and Richard Gould Stephanie Haack Jaden Hansen and Kathryn Louis Laurie Hansen Douglas and Doris Happe Patrick and Susan Haub Rosmarie and John Helling Holly C. Hickman Mary K. Hicks Clifton and Sharon Hill Andrew and Gary Whitford Holey Stuart Holland Burton and Sandra Hoverson Worth L. Hudspeth Mark and Kathleen Humphrey Thomas and Vicki Hurwitz Mr. Rob Hutter Ray Jacobsen Deborah and Ronald Jans Charlie Johnson Samuel L. Kaplan and Sylvia Chessen Kaplan Jim and Kathleen Karges Richard and Linda Kerber Janice Kimes Andrea M. Kircher Tara and Peter Klatt John Krenzke and Michelle Davis Nathan Kulenkamp Alexandra Kulijewicz
Beatrice H. Langford Kenyon S. Latham Lisa and Jonathan Lewis John and Marilyn Lieske William Lough Rebecca A. Lowe Elizabeth and Whitney MacMillan Dr. Joan E. Madden Dusty Mairs Diane Malfeld Walt McCarthy and Clara Ueland Orpha McDiarmid Family Fund Laurie and David Mech Adele Mehta Curtis and Verne Melberg Robert and Marlys Melius John L. Michel and H. Berit Midelfort Sonny Miller Virginia Miller Michael J. and Judith Mollerus Brad Momsen and Rick Buchholz Myers Foundation Merritt C. Nequette and Nancy Hartung William and Sharon Nichols Thomas Norrie Patricia A. O’Gorman Dennis R. Olson Donna and Marvin Ortquist Julia and Brian Palmer Marcia and Jon Pankake James A. Payne Lana K. Pemberton Jane M. Persoon Charles Petersen John and Norma Pierson Anne and John Polta
Nicole and Charles Prescott Dr. Pringle and Nancy W. Rodman Dennis M. Ready Christina Reimer Robert E. Rocknem Tamara and Michael Root Daniel Roth Patricia and Stephen Rowley Dan Sassenberg Kate Saumur Beth and Steve Schneider Jamie Schultz and Keith Beveridge Alan E. Shapiro Glenn Shifflet Marianne Settano Shumaker and Gordon Shumaker Dale and Marilyn Simmons Juliana Simmons Bonnie and Peter Sipkins Debra Sit* and Peter Berge Arthur and Marilynn Skantz Linda Soranno and Howard Bolter Danielle St. Germain-Gordon Barbara Stoll Mark Stutrud Lori Sundman Katharine E. Thomas Susan Truman John Vilandre John and Sandra White Jeff Wiemiller Barb Wildes Wendy Wildung Ruth Wood * Deceased
These lists are current as of April 11, 2016, 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 Dan Sassenberg, Associate Development Director, at email@example.com or 612-342-9574.
become a donor
Bring innovative opera productions to life with your charitable gift, and join Minnesota Opera’s family of donors today. Visit mnopera.org/support to give online. Thank you!
| THE SHINING
INSTITUTIONAL GIVING Minnesota Opera gratefully acknowledges its major institutional supporters: $100,000 +
minnesota opera sponsors Production Innovation System General Mills
Resident Artist Program
Tempo Print Sponsor Press Sure Print
Official Make-Up Partner
Tempo After Parties Sakura
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.
$50,000 – $99,999
$25,000 – $49,999
corporations, foundations, and government Sponsors $25,000+
3M Foundation Ameriprise Financial Inc. Aroha Philanthropies f.r. Bigelow Foundation Cargill Foundation The Ruth Easton Fund General Mills Foundation Hearst Foundations Knight Foundation The McKnight Foundation Medtronic Philanthropy through Medtronic Foundation The Andrew W. Mellon Foundation Minnesota State Arts Board National Endowment for the Arts The Saint Paul Foundation Somerset Foundation Target United Health Foundation Wenger Foundation
Platinum $10,000 – $24,999
| MINNESOTA OPERA mnopera.org
$10,000 – $24,999
Ascent Private Capital Management of U.S. Bank Fred C. and Katherine B. Andersen Foundation Faegre Baker Daniels Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation MAHADH Fund of HRK Foundation The Opera Fund, a program of OPERA America Pine River Capital Management l.p. Rahr Foundation Securian Foundation Travelers Foundation U.S. Bank Foundation Wells Fargo Foundation Minnesota Charles A. Weyerhaeuser Memorial Foundation
Gold $5,000 – $9,999 The Aaron Copland Fund for Music Inc.
Best Buy Children’s Foundation Boss Foundation Briggs & Morgan p.a. Dellwood Foundation Ernst & Young Hardenbergh Foundation Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation r.c. Lilly Foundation Mayo Clinic RBC Wealth Management Rothschild Capital Partners James Rubenstein, Moss & Barnett Schwegman, Lundberg & Woessner p.a.
Silver $2,500 – $4,999 Anonymous Hutter Family Foundation Margaret Rivers Fund Maurices Minnesota Power Morgan Family Foundation National Bank of Commerce Peravid Foundation The Elizabeth C. Quinlan Foundation Tennant Foundation Thomson Reuters Wells Fargo Advisors
Bronze $250 – $2,499
Carlson Family Foundation Enterprise Holdings Foundation Fredrikson & Byron Foundation Hammel, Green and Abrahamson Inc. McVay Foundation Onan Family Foundation Sit Investment Foundation Wells Fargo Insurance Services
In-Kind Donations Dunn Bros. Coffee Jefferson Lines
production multimedia Publicity Photographer | Dario Acosta
For information on making a corporate or foundation contribution to Minnesota Opera, please contact Jaden Hansen, Institutional Gifts Manager, at 612-342-9566 or email him at firstname.lastname@example.org.
Production Photographer | Ken Howard Broadcast Recording
Event Photographer | CJ Standish
MINNESOTA OPERA INFO
MINNESOTA OPERA THANKS the following donors who, 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 (4)
Margaret Kilroe Trust*
Paul and Val Ackerman
Lyndel and Blaine King
Thomas O. Allen
Dr. and Mrs. Rolf Andreassen*
Sally and William Kling
Mary A. Andres
Liz and Jim Krezowski
Randolph G. Baier*
Robert Kriel and Linda Krach
Patricia and Mark Bauer Mrs. Harvey O. Beek* Barbara and Judson Bemis Sr.*
Robert and Venetia Kudrle Helen L. Kuehn* Robert J. Lawser Jr.
Dr. Lee Borah Jr.
Joyce and Jerry Lillquist
C.T. Bundy II
Patricia Ruth Lund*
Margaret M. Carasik
Joan and George Carlson
Barbara and Thomas* McBurney
Darlene J. and Richard P. Carroll
Julia and Dan Cross Julia and Kenneth* Dayton Charles M. Denny George and Susan Doty Rudolph Driscoll* Anne P. Ducharme Ester and John* Fesler Dr. Paul Froeschl Katy Gaynor Nettie Grabscheid* Robert and Ellen Green Dr. Ieva M. Grundmanis*
Mildred McGonagle* Sheila McNally* Mrs. Walter Meyers John L. Michel and H. Berit Midelfort Susan Molder* Edith Mueller* Kay Ness Joan and Richard Newmark Philip Oxman and Harvey Zuckman Scott J. Pakudaitis Lana K. Pemberton Sydney M. and William S.* Phillips
Richard G.* and Liane A. Rosel
Ken and Nina Rothchild
Frederick J. Hey Jr.*
Norton M. Hintz Trust*
Frank and Lynda Sharbrough
Jean McGough Holten
Charles J. Hudgins*
James and Susan Sullivan
Dale and Pat Johnson
Gregory C. Swinehart
Stephanie C. Van D’Elden
Charles and Sally Jorgensen
Mary W. Vaughan
Robert and Susan Josselson
Bernt von Ohlen
Charlotte* and Markle Karlen Mary H. Keithahn Warren and Patricia Kelly
Sandra and Dale Wick Richard Zgodava* Daniel Richard Zillmann * In remembrance
For more information on making planned giving arrangements, please contact Carley Stuber, CFRE, Chief Development Director, at email@example.com or 612-342-9579. Your attorney or ﬁnancial advisor can then help determine which methods are most appropriate for you.
Minnesota Opera Ticket Office 620 North First Street, Minneapolis, MN 55401 612-333-6669 Regular Hours: Monday – Friday, 10am – 5pm. Performances: Weekdays — phones open until curtain. Weekends — phones open at 2pm for evening performances and at 10:30am for matinee performances. Minnesota 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, 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 the Minnesota Opera Ticket Office at 612-333-6669. Parking Prepaid parking is available for opera patrons at the Lawson Commons Ramp. Call 612-333-6669 or visit mnopera.org to purchase passes. Opera Insights Come early for Opera Insights — free, fun, and informative half-hour sessions held in the lobby one hour before curtain. Accessibility For patrons with disabilities, wheelchair-accessible seats are available. Audio description will be available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets. At Ordway, 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 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.
| THE SHINING
through their foresight and generosity, have included the Opera in
THE SHINING FROM
JOHN V. SINCLAIR, ARTISTIC DIRECTOR AND CONDUCTOR
releasing a new recording of choral works by Paul Moravec, early 2017 Music, Awake! Spirit Songs of Love and War Pre-order at BachFestivalFlorida.org At Rollins College since 1935
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DELIVERS THE NEXT FANTASTIC SEASON
GREAT OPERA IN
MILWAUKEE, WI BEGINNING WITH
A WORLD PREMIERE AND RECORDING OF
Season artwork by Bill Baldus Creative Agent
Aldridge & Garfein’s
KI :SS: IN : G Composed by Joshua Shank
Lyrics by David Levithan, based on his book Two Boys Kissing
WORLD PREMIERE FRIDAY - SATURDAY : JUNE 17 -18 : 8pm SUNDAY : JUNE 19 : 2pm TED MANN CONCERT HALL Twin Cities Gay Men’s Chorus presents the world premiere of our new commission: Two Boys Kissing. Based on the Lambda Literary Award-winning novel by David Levithan, Two Boys
Kissing follows the story of Harry and Craig – two gay teenagers who decide to break the world record for the longest
Single Tickets On-Sale Now!
Oct. 7 & 9, 2016
at the Marcus Center in Milwaukee, WI
FOR TICKETS AND SUBSCRIPTIONS, CALL
1800 32 OPERA TODAY!
The 83rd Season is made possible with major support from:
kiss. As the clock is ticking, the boys are watched over by a chorus of men from generations before, who died of AIDS and
The Demmer Foundation
now watch the world that’s come after them with both sadness and joy.
U of M Tickets and Events: 612-624-2345 or tickets.umn.edu Chorus: 612-339-7664 or tcgmc.org
NITA SOREF TITLE ARTIST SPONSOR MARIE Z. UIHLEIN ARTIST FUND LLOYD GERLACH IN MEMORY OF MARY ANN GERLACH
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Ruthanne Heyward & Robert O. Berdahl
any new book
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The Best Tribute Concerts in the Twin Cities! All International Artist Series concerts at the Ordway
International Artist Series 2016–2017 Season Fleetwood Mac • Paul McCartney Everly Brothers • Led Zeppelin The Eagles • Many More!
Full listing available online
October 5, 2016
Augustin Hadelich, violin Joyce Yang, piano November 29 & December 1, 2016
Gil Shaham, violin January 8, 2017
Comedy Variety show every Fri & Sat night!
Miah Persson, soprano Florian Boesch, baritone Malcolm Martineau, piano March 29 & 30, 2017
Alexandre Tharaud, piano April 27 & 28, 2017
Subscribe now at schubert.org or 651.292.3268 Five concert packages start at just $110
Photo: Timothy White
Renée Fleming, soprano
SOMMERFEST Andrew Litton /// Artistic Director Presented by:
CONCERT HALL CLASSICS / BROADWAY HITS / SUMMERTIME FAVORITES Plus cocktails, eats and FREE musical events!
THE NEW STANDARDS Sat Jul 2 8pm
Sarah Hicks, conductor / Chan Poling, piano Steven Roehm, vibes / John Munson, bass
You may have caught their holiday show or one of their gigs at the Dakota. Now you can be there for their first concert with Orchestra!
LET’S DANCE: COPLAND, LISZT AND RAVEL Fri Jul 8 8pm
Andrew Litton, conductor / Zhang Zuo, piano
Ballets by Copland and Ginastera, plus Ravel’s La Valse, and the Orchestra Hall debut of the young Zhang Zuo tackling Liszt’s Totentanz. SIX O’CLOCK SERENADE
RACHMANINOFF & BRAHMS
CHAMBER MUSIC WITH ANDREW LITTON
Sat Jul 16 6pm
ad space A BROADWAY ROMANCE
FREE with ticket to the Jul 16 8pm concert.
Members of the Minnesota Orchestra
BEETHOVEN TRIPLE CONCERTO
A New York Cabaret Sun Jul 10 7pm*
Sat Jul 16 8pm
Andrew Litton, conductor and piano Nicola Benedetti, violin / Leonard Elschenbroich, cello
Laura Osnes and Santino Fontana, vocals Ted Sperling, music director and pianist
Litton conducts from the keyboard for Beethoven’s one-of-a-kind Triple Concerto.
Join Minnesota’s two-time Tony Award® nominee Laura Osnes (Grease) and Santino Fontana (Frozen) in this tribute to love.
A NIGHT IN THE TROPICS Fri Jul 22 8pm
SYMPHONY IN 60
Andrew Litton, conductor / Charles Lazarus, trumpet
BRAHMS’ DOUBLE CONCERTO
The Orchestra’s Charles Lazarus brings music inspired by Brazil, Cuba, Hawaii and more.
Thu Jul 14 8pm
FREE with ticket to the Jul 9 8pm concert.
A one-hour performance including Tchaikovsky’s 1812 Overture followed by post-concert cocktails onstage.
Sat Jul 9 8pm
WILDER’S WILD OCTETS
Andrew Litton, piano Members of the Minnesota Orchestra
Sat Jul 9 6pm
ANDREW LITTON AND ANDRÉ WATTS
SIX O’CLOCK SERENADE
Sun Jul 10 2pm
Andrew Litton, conductor / Nicola Benedetti, violin Leonard Elschenbroich, cello
Andrew Litton, piano Members of the Minnesota Orchestra
THE NEW STANDARDS
Complete Opera in Concert Sat Jul 23 7:30pm
Andrew Litton, conductor / Carl Tanner, Otello Complete cast list online
TCHAIKOVSKY SYMPHONY NO. 4
Shakespeare’s powerful tragedy inspired Verdi’s most glorious music.
Fri Jul 15 8pm
Andrew Litton, conductor / André Watts, piano
Andrew Litton, conductor / Nicola Benedetti, violin Leonard Elschenbroich, cello
Rachmaninoff’s Second is paired with a beauty by Edward MacDowell, featuring the legendary André Watts.
Tchaikovsky is paired with Brahms, performed by artists who are fast becoming concert superstars of our time.
LOUDON WAINWRIGHT III Fri Jul 29 8pm* Since his emergence in the late ’60s, Grammy-winner® Loudon Wainwright III has been entrancing audiences all over the world.
*Please note: The Minnesota Orchestra does not perform on this program.
612.371.5656 Ã minnesotaorchestra.org Ã Orchestra Hall PHOTOS Litton: Josh Kohanek Photography; Benedetti: Simon Fowler; Watts: Steve J. Sherman; Artwork based on photos by George Heinrich and Travis Anderson All sales final. All artists, dates, programs, prices and times are subject to change.
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