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2013 – 2014 Season Minnesota Opera Ticket Office 620 north First Street Minneapolis, Mn 55401 612-333-6669




The Dream of Valentino




Valentino: Living the dream …


Composer Dominick Argento


Composer’s Notes


The Artists


Meet the Artist: James Valenti


Feature: Stars of the Resident Artist Program




Announcing the 2014–2015 Season


New Works Initiative: The Manchurian Candidate


Upcoming Events


The Magic Flute Preview


Education at the Opera: Project opera


Minnesota Opera Board of Directors, Staff and Volunteers


Cabaret: Escape to 1920s Berlin


Annual Fund


Legacy Circle


Institutional Giving

Regular Hours: Mon.-Fri., 9am-6pm. 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. Visit to watch behind-the-scenes videos, read synopses, browse digital programs and more. Join our e-club to receive special offers and opera news. 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 returned 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 to purchase passes, or online at Subject to availability. Opera Insights come early for opera insights — free, fun and informative sessions held in the lobby one hour before curtain. Accessibility For patrons with disabilities, wheelchairaccessible 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. 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. Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher. 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.

4 Large-print and Braille programs are available at the Patron Services Office.

Kevin Ramach



elcome to The Dream of Valentino, the sixth production of Minnesota Opera’s New Works Initiative. Next season will be the final show in this seven-year project to both commission new opera and perform neglected modern works. We look forward to The Manchurian Candidate as a fitting finale to this program’s first phase (an article on the first workshop of this commission can be found on page 38). However, we will continue our commitment to producing new opera, and you will hear more about that in the coming months. nwi has transformed Minnesota Opera. Don’t get me wrong, Minnesota Opera has always been a company committed to doing new work. From its very beginning, this company has commissioned and performed new opera. But in 2008, we made a commitment to make it 20% of our annual programming, something that no major American opera company had done. And we promised to produce them with both innovation and excellence. These qualities have become part of our culture and have found their way into all our productions. I want to thank the New Works Initiative Committee for all of the guidance

and support they have given us as this adventure in new works has unfolded. The Board of the Minnesota Opera has also been unwavering in their support of this enterprise. Minnesota Opera’s staff has bought into this challenge and has done a great job on the New Works Initiative and all of our productions. I’m constantly amazed by the talent and dedication of our employees. The artistic leadership of Dale Johnson has been the keystone of everything we do, especially the commissioning of new opera. Dale challenges us all to do better every day. And finally I want to thank you. When I hear from other opera companies that are amazed by our commitment to new works, I always say that we couldn’t do any of this without an audience willing to take this journey with us. The fact that you are so open to try a new opera says a lot about who we are. Many thanks to you for attending today’s performance and for your devotion to Minnesota Opera.

President and General Director


© Theresa Murray for Minnesota Opera

The Manchurian Candidate Workshop (2014)




music by Dominick Argento Libretto by charles nolte World premiere at The Kennedy Center, Washington D.C. January 15, 1994 March 1, 6, 8 and 9, 2014, Ordway, Saint Paul Sung in English with English captions

creative team conductor

Christoph Campestrini

stage Director

Eric simonson


Heidi spesard-Noble

set Designer

Erhard Rom

costume Designer

Kärin Kopischke

Lighting Designer

Robert Wierzel

Projection Designer sound Designer Wig and makeup Designer chorusmaster

peter Nigrini C. Andrew Mayer Jason Allen Robert Ainsley

Assistant Director

Daniel Ellis

Assistant conductor

Aaron Breid

Répétiteurs Production stage manager

Geoffrey Loff, sheldon Miller Kerry Masek

Composer Dominick Argento’s return to Minnesota Opera is generously supported by Elizabeth Redleaf. Brenda Harris’ appearance is generously sponsored in honor of Heinz Hutter. James Valenti’s appearance is generously sponsored by William White. By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner. The scenic and costume designs for this production are made possible with the support of the Dolly Fiterman Fund for Opera Design. the Minnesota opera season is sponsored by

The Dream of Valentino is sponsored by

The Aaron Copland Fund for Music, Inc.

The Andrew W. Mellon Foundation


(characters listed in order of vocal appearance)

Ballroom manager Woman in Red

Matthew Opitz shannon prickett

Rudolph valentino

James Valenti

June mathis, a screenwriter

Brenda Harris

the mogul, a film studio boss marvin Heeno, the Mogul’s nephew natacha Rambova, a Hollywood director and designer Jean Acker, a young actress Alla nazimova, a celebrated actress Louella Parsons, a columnist the Lawyer tango Dancers

Alan Held John Robert Lindsey Victoria Vargas Angela Mortellaro Eve Gigliotti Rebecca Krynski Christian Zaremba Aleutian Calabay, Ann person

ensemBLe • yes-men – Brad Benoit, Robb Asklof, Alex Ritchie, Chandler Molbert • Reporters – Colyn Tvete, Robb Asklof, Alex Ritchie • secretaries – Christie Hageman, Karen Bushby, Eryn Tvete • Dialogue coach – Christie Hageman • Photographers – John DeCausmeaker, Colyn Tvete, Ben Johnson, Andrew penning, Chandler Molbert, stephen Cunningham • Publicity People – Michelle Liebl, Katie Kupchik, Elizabeth Longhurst, Tracey Engleman, Cresta Hubert, Maggie Lofboom • makeup Woman – Kathleen Humphrey • Publicity man – Matthew Opitz • costumer – Brad Benoit • man with Arrest Warrant – peter Frenz • newspaper man – Alex Ritchie • Additional ensemble – Alex Barnett, Cecile Crozat-Zawisza, Carole Finneran, Benjamin Hills, Richard Joseph, patricia Kent, Erin Klenotich, Elizabeth Kohl, Eric Mellum, Mary Monson, John Allen Nelson, Rick penning, Justin spenner, Dominique Wooten

The appearances of James Valenti, grand prize winner; Christie Hageman, Rebecca Krynski, John Robert Lindsey, Angela Mortellaro and Victoria Vargas, regional finalists; and Matthew Opitz and Shannon Prickett, district finalists of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis. The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.



Part I


Scene one – The Avalon Ballroom, Broadway, post-World War i Rodolfo Valentino has just arrived from Italy, and has found employment as a dancer in a Broadway dance palace. He recoils when one of his partners makes a provocative and inappropriate move. Insulted, the woman calls for the police. Valentino is saved by June Mathis, who is there conducting research for an upcoming film.


Scene two – The parlor of June Mathis’ apartment, New York Mathis provides food and wine while a grateful Valentino presents his abilities as an actor. He believes fate has brought them together, but the screenwriter has her doubts – could this attractive young man truly become a movie star?

Scene four – A garden in Alla Nazimova’s estate on Sunset Boulevard Natacha Rambova and Jean Acker are discussing a possible film version of Camille with Alla Nazimova. The celebrated actress believes the project’s success hinges on casting the perfect Armand, the love interest. Valentino auditions for her and her guests. Later, he dances a tango with Acker while the rest look on admiringly. Nazimova is determined to get Valentino under contract so that she can guide and polish his career. Scene five – Louella Parsons’ desk at the Hearst offices Louella Parsons writes about the recent and hasty marriage between Jean Acker and Rudolph Valentino while the other reporters gossip about the wedding night. The Camille project has been delayed, but Mathis has written a new screenplay, The Four Horsemen of the Apocalypse, with a leading role for Valentino. Scene six – The Mogul’s office at the film studio The Mogul discusses Valentino’s recent box office success with Marvin Heeno. He is determined to get this hot new actor under contract and exploit his popularity with women.

Scene three – A studio screening room in Hollywood The Mogul and his entourage are watching a Valentino B-movie. All agree the young Italian has screen appeal, particularly among women. He is already signed with another film company, so they are content to wait and see how things develop.

Scene seven – At the film studio Valentino poses for publicity shots in preparation for the movie The Sheik. Mathis is angered by the breaking of the Metro contract she negotiated. A lawyer informs her that the actor is under a personal contract with Nazimova and therefore unavailable to


Part II Scene eight – A silent film stage Rambova coaches Valentino through his newest film, Monsieur Beaucaire. The sensitive role is very much the opposite of the manly sheik, and Mathis objects. Heeno asks Valentino if he has secretly married Rambova, and the actor confirms that the rumor is true. Heeno and Mathis openly express their disappointment. The Mogul bursts in, complaining that the film is trash. This effeminate new image, along with the gossip over Valentino’s sudden marriage, will ruin his career. Scene nine – Valentino’s studio dressing room As he removes his wig and makeup, Valentino studies his reflection in the mirror, trying to understand what he has become. Is it too late to recover his dreams? Scene ten – The Mogul’s office Monsieur Beaucaire is a flop. The Mogul and Heeno strategize how they can get Valentino back on track and out of Rambova and Nazimova’s control. With their lavish lifestyle, the two women

are driving the actor to financial ruin. Mathis suggests getting a court injunction requiring that he will work for the Mogul exclusively. Scene eleven – The backstage of a theater, Omaha Deeply in debt and abandoned by Rambova, Valentino has been reduced to exhibition dancing in a Midwest vaudeville theater. The Mogul has pursued him to Nebraska and tries to convince the actor to return to Hollywood. Valentino refuses, preferring to be his own man rather the property of a film studio. Upset by the meeting, he begins the tango rather unsteadily, eventually falling off the stage. Scene twelve – Aboard the New York-bound S.S. Aquitania Returning to America after a private visit to Italy, Valentino dreamily reviews his destroyed life in anguish and in pain. Newspapermen wait at the docks, eager for a story about “The Pink Powder Puff,” an appellation given to him by the Chicago Tribune. Valentino collapses. Headlines report his ailing condition is due to a perforated ulcer. Scene thirteen – Campbell’s Funeral Parlor, New York, 1926 Valentino has died at the age of 31 and is mourned by Mathis. She expresses remorse for her role in his rise to stardom and ponders what she could have done to save him. Through his legendary fame and premature death, Valentino has at last achieved immortality. 

set renderings by Erhard Rom


the Mogul. Meanwhile, Acker demands financial support while Nazimova asserts her right to influence all aspects of the film. As the chaos swirls around him, Valentino finds himself helpless to control his life.


David Sander

Valentino: Living the Dream …


odolfo Pietro Filiberto Raffaele Guglielmi di Valentina d’Antonguolla was born on May 6, 1895 in Castellaneta, a town located within the inner curve of the Italian boot. His mother was French, and his father worked as a dentist and veterinarian. By all accounts, the Guglielmi family lived a typical middle class existence, upset by the death of Rodolfo’s father when his son was 10. Rodolfo became very close to his mother, a fixation that may have been transferred to other powerful women later in his life. Having failed at the local educational institution, Rodolfo was sent to a boarding school in Perugia, which was run with military efficiency. At this point he hoped to become a cavalry officer, following a family tradition, but when he applied for service, he was rejected due to nearsightedness. Rodolfo then turned to landscape architecture and obtained a certificate after two years. In 1912 he journeyed to Paris and became exposed to fashion, society and dance, particularly the Argentine tango. When funds ran dry, he tried his luck at the gaming tables of Monte Carlo on the way home and once again was defeated. His mother worried Rodolfo had become dissolute and bought him a ticket to America, thereby sealing his fate forever. It wasn’t easy at first. After arriving in New York, Valentino (as he would soon style himself) had difficulty finding work, taking on unskilled employment at the beginning. He was forced to reside in sub-standard hotels, or worse, on park benches and in 24-hour movie houses. Eventually he made a useful contact that led him to Maxim’s. New York was in the midst of a dance craze and © Cat’s Collection/Corbis

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women were outstepping their male companions. Consequently, there developed a need for “taxi dancers,” to be hired by these unescorted ladies, and a quasi “gigolo” culture emerged. The sexuality inherent in the tango became especially attractive as these women tested the eroding boundaries of social acceptability. Successful as a partner and teacher, Valentino turned his eyes toward the stage and screen as the dancing rage began to wane. New York was then the capital of the newly emerging motion picture industry, and he was able to secure a few engagements as an extra. An opportunity to be part of a musical revue, The Masked Model, granted him passage across the country to sunny California. In San Francisco, Valentino was forced to return to the dance floor in order to make ends meet. He also trained as a securities salesman, but that proved unsuccessful as patriotic wartime investors were drawn to Liberty Bonds. Valentino renewed a relationship formed in New York with Norman Kerry, who encouraged him to settle in Los Angeles, as Hollywood was becoming the center for filmmaking now that Europe was focused on war. Paris had witnessed the naissance of projected motion pictures in the same year as Valentino’s birth. The Cinémathèque Lumière was invented by two brothers, Auguste and Louis. Another early inventor, Thomas Alva Edison established the Motion Picture Patents Company, or the Trust, an oligopoly intended to protect his creations. In one step of the vertical integration, Eastman Kodak guaranteed its film stock to Trust members only. The stranglehold over

in Hollywood and on the dance floor. Mathis was an indomitable figure in the blossoming field, moving from screenwriter at Metro to production director at Goldwyn Studios (later mgm) and First National. During her eleven-year career, she churned out screenplays and supervised all aspects of her films, which would include Blood and Sand, The Young Rajah and an early version of Ben-Hur. She was a tireless worker, always behind the scenes as a motivating force. It was her mission to bring motion pictures to a higher level, yet she displayed exceptional grace in the dark, ruthless world of the film business. Only eight years his senior, Mathis adopted a motherly role with Valentino and vigorously promoted his interests. The actor was familiar with Vicente Blasco Ibáñez’s epic novel covering a family’s multi-generational struggle from Argentina to the World War 1 battlefields of France. After a successful screen test, “Julio,” a tango-dancing painter-turned-soldier, was fleshed out into a bigger role. The film was a box office hit and brought Valentino’s name to the fore. At about this time the young actor was introduced to Natacha Rambova, his future second wife. She had her own story to tell. Born Winifred Kimball Shaughnessy, she would benefit from her mother’s subsequent marriages, first landing in an elite English boarding school for girls, then summering at her aunt’s Versailles maison and studying French and ballet in nearby Paris. Following her education and prior to her scheduled San Francisco societal debut, Winifred went to New York to stay with another aunt. She enrolled in the dance studio of Theodore Kosloff, a graduate of the Moscow Imperial Ballet School. As she aspired to be a professional danseuse, she was advised to shed her American name. She became Natacha Rambova, assuming the identity of Kosloff’s deceased partner, even though she had never set foot in Russia. They soon began an affair, and as Winifred was only seventeen, this drew the attention of her family. Kosloff was accused of statutory rape, and Natacha disappeared to Europe for a year. When the ballet master’s dance troupe toured to San Francisco, her mother, now worn down by her daughter’s rebelliousness, agreed to drop the charges, provided that he allow Natacha to dance in his company and mediate a reconciliation between the two.

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filmmakers and distributors is one cause for the migration from the East to the West Coast, creating distance and providing an easy retreat to foreign lands should a lawsuit come their way. From distributorships to venues across the nation came the studios and their iron-fisted executives, all of whom had modest beginnings. Most were immigrants: Carl Laemmle (born in Laupheim, Germany) formed Universal Pictures; Adolph Zukor (born in a small town in Hungary) built Paramount; William Fox (also Hungarian) founded Fox Film Corporation; Louis B. Mayer (born somewhere in Russia – he didn’t know himself) headed the triply united company of Metro-Goldwyn-Mayer; and Harry, Sam, Albert and Jack (the sons of the Poland-born Benjamin Warner) joined forces to become the eponymous Warner Bros. Actors were contracted on a weekly salary and were not paid for off-time. With the exception of a few stars, they were expected to take on the roles assigned. Their only recourse was to storm off the stage, hoping the cost of disruption would provide the required pressure, but difficult players and directors could be blacklisted if they became too rebellious. The studios held all the cards. This is the labyrinth into which Valentino descended. At first he shopped around his exotic looks and feline grace to various producers and landed small parts or worked as an extra. Typically he would get the villainous roles, where the guy-who-gets-the girl would be all-American types. One of these, in Eyes of Youth (1919), caught the attention of June Mathis, an executive at Metro Pictures. It was also after Eyes of Youth when Valentino met Jean Acker. He had recently been snubbed by the pretentious actress, Alla Nazimova, and Acker sought to apologize on behalf of her current lover. Although essentially a lesbian, Acker developed a strong affection for Valentino, who reciprocated her passion, and after two months, they married. On their wedding night, however, she refused him access to her bedroom and the marriage was never consummated. It would haunt him as his “ridiculous tragedy.” Valentino had never met June Mathis until he received her invitation to play Julio Desnoyers in The Four Horsemen of the Apocalypse (1921). She, of course, was familiar with his work to date


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In 1917, Kosloff and Rambova settled in Los Angeles, where Kosloff was cast in a Cecil B. DeMille film, The Woman God Forgot. Rambova researched and designed the sets and costumes. Unfortunately, the Russian Revolution left Kosloff’s investments insolvent, and his philandering soured their relationship. When she tried to leave him, the ever-passionate Kosloff maimed her leg with his shotgun. Through connections with his compatriots, she was introduced to Alla Nazimova, a celebrated Crimea-born stage actress who had been lured from New York to California by a lucrative contract with Metro. She purchased an expansive piece of real estate which would become known as “The Garden of Alla,” a social hub for Hollywood celebrities. Rambova was offered the position of art director for Nazimova’s films. In 1921, Metro announced Nazimova was to star in Camille (1921), an adaptation of Alexandre Dumas fils’ novel La dame aux camélias (already treated operatically by Giuseppe Verdi as La traviata). Through the influence of her close friend and lover Jean Acker, Nazimova selected Valentino to be her Armand. Her no-nonsense designer was hardly impressed but, as they worked together, Rudolph and Natacha began to fall in love. Valentino moved into Rambova’s small bungalow, and the couple set up domestic life together. When Metro refused his request for a salary increase (then at $350 per week) he defected to Famous Players, soon to become Paramount. There he was cast in the title role of The Sheik (1921). Rambova dismissed it as rubbish, but the exotic and sexually charged movie made the actor’s face and “bedroom eyes” catnip to women across America, much to Metro’s chagrin. But the movie was threatening to the average man, who found the flowing robes and baggy pants of this effete European “effeminate,” preferring the manly swashbuckling antics of Douglas Fairbanks (i.e. The Mark of Zorro, 1920). They were threatened by “The Great Lover’s” refined and sophisticated manner, something they were unable to recreate. American men also rejected the art and time involved in his pursuit of lovemaking – romance and seduction should end with marriage.

Secure in his private life, Valentino prepared to marry Rambova, which meant getting a divorce from Jean Acker. She wasn’t going to go quietly, and pressed for an outrageous sum in alimony. Her detectives unearthed as evidence of extramarital impropriety a series of “faun studies” Rambova had commissioned showing the actor provocatively in a state of undress. Valentino dismissed them by stating that they were taken as part of a film that didn’t come to fruition. In the end, Acker received a lump sum of $12,000, significantly smaller than what she had sought, but more than Valentino thought she deserved. With his first wife out of the way, the movie star was eager to wed again. A California statute declared that one must wait a year before remarriage, but the couple thought they had dodged the law by going to Mexico. As a result of the machinations of an overeager district attorney running for reelection, Valentino was detained for bigamy. As the arrest had occurred on a Sunday, the necessary funds for posting his bail were not available, and he had to spend some time in jail before his friends, including Mathis, could raise the cash. The studio remained silent. At trial, the defense insisted they had evidence the union hadn’t been consummated and, as Acker made no effort to bring charges of her own, the case was dismissed. Blood and Sand (1922) was the first movie for which Valentino would get top billing as the ill-fated, tempestuous toreador Juan Gallardo. He believed it was his best work to date and bristled when Famous Players cut many of the love scenes. After much public and private bickering, he stopped working, so the studio issued an injunction barring the actor from appearing in any films. Valentino and Rambova took their talents on the road. They acquired a manager, George Ullman, who found a sponsor, Mineralava beauty clay, which backed a cross-country dance tour accompanied by an eleven-piece orchestra and a luxuriously appointed railway car. The exhibition was presented in more than 80 cities, but proved unsuccessful financially. At least it had kept Valentino’s name in front of his fans. Ritz-Carlton Pictures, a new competitor in the mix, was now interested in signing the


actor and made the exiting arrangements with staying with him. Stopping in Chicago, he was Famous Players on his behalf. The transfer would shown the “Pink Powder Puff” article in the be complete once Valentino had completed two Chicago Tribune and was devastated [the article more films with his former employers at a rate refers to vending machines in restrooms that of $7,500 per week. Rambova would be allowed dispensed face powder for men and also derided on set as design consultant. After two years off sheiks, gaucho pants and slave bracelets (once the screen, the film that would announce his given by Rambova), all Valentino trademarks]. comeback would be Mousieur Beaucaire (1924). The actor immediately challenged the anonymous Resplendent with 18th-century foppery, fanciful author to a public boxing match, but the duel costumes, shirtless scenes and very little action, remained unanswered. Once in New York, Valentino embarked the project was ultimately a failure, further damaging Valentino’s image as a dandy. His final on an active social schedule. He took violently movie with Famous Players, A Sainted Devil ill at a party and was rushed to the hospital for (1924), attempted to restore his persona as a virile surgery on a perforated ulcer. On August 20, 1926, it appeared as though young man (who still can dance the prognosis was good and he the tango), but to little avail. was considered past any crisis. United Artists was the Later in the day, however, next stop on the studio journey, he doubled over in pain – an and on its face, they made an infection had spread throughout attractive offer. Composed his body (antibiotics were yet of Mary Pickford, Douglas to be discovered), and several Fairbanks, Norma Talmadge days later, he died. Rudolph and Charlie Chaplin, the firm Valentino was 31 years old. proposed a three-film-per-year Grief gripped New York package with a salary of $10,000 City. More than 30,000 per week and a share in the mourners descended on profits. The only caveat was that Campbell’s Funeral Chapel, Rambova would be stricken from where his embalmed body lay the deal. Given his precarious in state. Riots occurred, at least financial state and public two suicides were committed, image, Valentino had no other Costume rendering by Kärin Kopischke plate glass was shattered and first option than to accept. Angered, Rambova eventually left Hollywood, never to set aid was administered. Pola Negri, who claimed to have been engaged to Valentino, became his eyes on her husband again. Valentino’s first movie for United Artists was chief mourner, repeatedly fainting on cue. Before The Eagle (1925), a Zorro-esque plot set in Russia another funeral could take place in Los Angeles, with a Robin Hood-style hero again intended to the problem of his final resting place had to be restore his “manhood” in the eyes of his American addressed. Although Valentino had shared in the audience. As Rambova filed for divorce, he began profits of The Son of the Sheik, they were offset by a new relationship with actress Pola Negri while the enormous debt the actor had accumulated. dancing a tango at a party thrown by Marion June Mathis came up with a temporary solution Davies [a mistress to William Randolph Hearst, – she had two spots in a vault at the Hollywood reinterpreted so vividly as Susan Alexander in Memorial Cemetery for herself and her husband, Sylvano Balboni. In a twist of fate, she would Orson Welles’ Citizen Kane (1941)]. In an attempt to recapture a past success, die less than one year later of a heart attack from Valentino agreed to perform in The Son of the overwork. Her husband returned to Italy and Sheik (1926), where he would play both father she would lie side-by-side for all eternity next and son. Soon after shooting, he traveled to New to her protégé and surrogate son. Rambova was York to see off some relatives who had been curiously absent from all of the proceedings. 



Dominick Argento b York, Pennsylvania, October 27, 1927


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2009 © Michal Daniel for Minnesota Opera

o m i n i c k Argento, considered to be America’s preeminent composer of lyric opera, was born in York, Pennsylvania in 1927. At the Peabody Conservatory, where he earned his bachelor’s and master’s degrees, his teachers included Nicholas Nabokov, Henry Cowell and Hugo Weisgall. Argento received his Ph.D. from the Eastman School of Music, where he studied with Alan Hovhaness and Howard Hanson. Fulbright and Guggenheim Fellowships allowed him to study in Italy with Luigi Dallapiccola and to complete his first opera, Colonel Jonathan the Saint. Following his Fulbright, Argento became music director of Hilltop Opera in Baltimore, and taught theory and composition at the Eastman School. In 1958, he joined the faculty of the Department of Music at the University of Minnesota, where he taught until 1997. He now holds the rank of Professor Emeritus. Although Argento’s instrumental works have received consistent praise, the great majority of his music is vocal, whether in operatic, choral or solo context. This emphasis on the human voice is a facet of the powerful dramatic impulse that drives nearly


all of his music, both instrumental and vocal. Music critic Heidi Waleson has described Argento’s work as “richly melodic ... [his] pieces are built with wit and passion, and always with the dramatic shape and color that make them theater. They speak to the heart.” During his years at Eastman, Argento composed his opera, The Boor (1957), which has remained in the repertoire. John Rockwell of The New York Times, writing of a 1985 production, stated that “[it] taps deep currents of sentiment and passion.” Following his arrival in Minnesota, the composer accepted a number of commissions from significant organizations in his adopted state. Among these were the Saint Paul Chamber Orchestra, who commissioned his suite Royal Invitation (1964), and the Civic Orchestra of Minneapolis, who commissioned Variations for Orchestra [The Mask of Night] (1965). Argento’s close association with Sir Tyrone Guthrie and Douglas Campbell, directors of the Minnesota Theatre Company, led to his composing incidental music for several Guthrie productions, as well as a ballad opera, The Shoemaker’s Holiday (1967).

Composer’s Notes can be found on page 18.

Composer Dominick Argento’s return to Minnesota Opera is generously supported by Elizabeth Redleaf.


The 1970s and 1980s saw the composer Centre in London. working increasingly in the song cycle form, Dominick Argento has examined while still writing operas and orchestral fame and the immigrant experience in his music. Among his major song cycles are newest opera, The Dream of Valentino, set Letters from Composers (1968); To Be Sung in the early days of Hollywood. Washington Upon the Water (1973); From the Diary of Opera gave the work its premiere under Virginia Woolf (1975); the choral I Hate and the baton of Christopher Keene in January I Love (1982); The Andree Expedition (1983); 1994, followed by its co-commissioning and Casa Guidi (1983). His most recent song company, Dallas Opera, in 1995. The cycles, both premiered production featured in 1996, are A Few special multi-media In memoriam: Charles Nolte Words About Chekhov sets by John Conklin (1923–2010) (mezzo-soprano, and costumes by the In addition to writing two fine baritone and piano), couturier Valentino. libretti for me (The Voyage of given its premiere by Writing of the Edgar Allan Poe and Valentino), Frederica von Stade, premiere, Peter G. Charles was a valued friend. Håkan Hagegård and Davis of New York I regret that he cannot be with accompanist Martin Magazine stated, us to enjoy the premiere of this Katz at the Ordway “What a pleasure revised version of our opera. in Saint Paul; Walden to encounter a real By oversight, the published Pond (mixed chorus, opera composer, score omitted the customary harp, and three cellos), one who has studied dedication. So, taking advantage commissioned and and learned from his of that error, I wish to dedicate premiered by the Dale predecessors, loves the revised score of The Dream Warland Singers; the form, understands of Valentino to his memory. and Miss Manners its conventions, – D. A. on Music, to texts has mastered them by the noted advice and then lets his columnist. imagination take wing.” The Dream of Since the early 1970s the composer’s Valentino received its European premiere in operas, which have always found success February 1999 in Kassel, Germany. in the United States, have been heard with Among other honors and awards, increasing frequency abroad. Nearly all of Dominick Argento received the Pulitzer them, beginning with Postcard from Morocco Prize for Music in 1975 for his song cycle (1971), have had at least one European From the Diary of Virginia Woolf. He production. Among these are The Voyage of was elected to the American Academy Edgar Allan Poe (1976), Miss Havisham’s of Arts and Letters in 1979, and in 1997, Wedding Night (1981) and Casanova’s was honored with the title of Composer Homecoming (1984); Robert Jacobson of Laureate to the Minnesota Orchestra, Opera News described the latter work as “a a lifetime appointment. In honor of his masterpiece.” The Aspern Papers was given 85th birthday, the University of Maryland its premiere by Dallas Opera in November presented a special career retrospective that 1988 to great acclaim, was telecast on the included Miss Havisham’s Fire, Postcard pbs series Great Performances and was from Morocco and Miss Manners on Music, as again presented, to critical praise, by the well as other recitals and lectures. Washington Opera in 1990. It since has – reprinted by kind permission of been heard in Germany and in Sweden; June Boosey & Hawkes. 1998 brought a performance at the Barbican


Dominick Argento




composer’s notes

he plot of this opera is simplicity itself. A young man seeking fame and fortune comes to this country and, in time, attains celebrity and wealth. He quickly finds himself beset by exploiting parasites. He attempts to extricate himself from their The Dream of Valentino, 1995 © Andy Hanson for The Dallas Opera clutches and they destroy him. A familiar narrative that has there will ever be a verifiable answer. But in befallen many people over the centuries. either case, the question itself is immaterial because the critical fact remains that in the So why choose Rudolph Valentino? Because I wanted to write an opera 1920s such allegations were well-nigh fatal, about Hollywood, particularly the at least to one’s reputation and sometimes Hollywood that flourished when silent even more than that. In the opera, the movies came into their prime, an era Mogul, aghast at the huge profit he will we now consider virtually mythic and lose by Valentino’s decision to form his own legendary. Names alone can evoke its production company, says: “A whisper in golden nimbus: Chaplin, Pickford, my nephew’s ear. A call to certain men I Fairbanks, Garbo, Valentino, Swanson. know. A snigger planted in the press. Then Dwelling in their fabulous mansions in we shall see our precious Rudy blown away Beverly Hills, they seemed to be on a par in gales of mocking laughter.” In August of 1926, H. L. Mencken, a with gods and goddesses presiding in their leading newspaperman of the time, was temples on Mount Olympus. Opera cut its teeth on myths and legends: invited to New York to have lunch with Orpheus, Iphigenia, Don Juan, Faust, the movie star he had never met nor seen Lohengrin, Aida. It has thrived best on the on the screen. He was puzzled by the exceptional and the extraordinary. Still, of the purpose of the meeting until he realized various stars mentioned above, why choose Valentino was agitated and wanted advice. Valentino? A fine opera might be written The Chicago Tribune had published an about Chaplin or Garbo. What intrigued me editorial entitled: “Pink Powder Puffs. was not only Valentino’s premature death at When will we be rid of those effeminate youths, bedecked in the image of that 31 but the malevolence that attended it. Despite his famous screen image as painted pansy Rudolph Valentino?” the ultimate Latin Lover, shortly before The ribald New York papers were full of his death Valentino’s sexuality was brought smirking allegations. Mencken ends his into question. Some biographers argue that account of that meeting with these words: he was what we today call gay. Others say he “I confess that the predicament of poor was not. At this late date, it is unlikely that Valentino touched me. Here was a young

man who was living daily the dream of millions of other young men. Here was one who was catnip to women. Here was one who had wealth and fame. And here was one who was very unhappy.” A week later, Valentino was hospitalized with a ruptured ulcer. Despite surgical intervention, delayed by reluctant doctors, peritonitis set in and eight days later he died. Today we are assured that a bacterial

infection – not stress or diet – causes most peptic ulcers and their consequence. However, back in the Hollywood of 1926, the Mogul must certainly have suffered a few pangs of guilt for the destructive role his scandal tactics had played on the actor. But his conscience was very soon appeased: re-releasing all of Valentino’s earlier films made him richer than ever before. – D. A.

For more than 50 years, dominick Argento has been an integral part of Minnesota opera. the 1963 commission of The Masque of Angels for the inaugural season of center opera set an adventurous tone the company maintains to this day. Casanova’s Homecoming was written for the opening of the ordway center for the Performing Arts in 1984 and returned to celebrate its 25th Anniversary in 2009. the new Works initiative was inspired by Argento’s insistence that the center opera company be a home for commissioned works and contemporary opera. this production honors the legacy initiated by dominick Argento and completes the canon of his major successes on the Minnesota opera stage.

Original costume design by Valentino

Courtesy Washington National Opera

The Masque of Angels, 1964 Postcard from Morocco, 1971 The Voyage of Edgar Allan Poe, 1976 Miss Havisham’s Wedding Night, 1981 Casanova’s Homecoming, 1985

Courtesy The Dallas Opera

otHeR oPeRAs PeRfoRmeD At minnesotA oPeRA: A Water Bird Talk, 1981 (premiered 1974) The Boor, 1983 (premiered 1957) The Aspern Papers, 1991 (premiered 1988) Casanova’s Homecoming, 2009 (a 25th anniversary production) The Dream of Valentino, 2014 (premiered 1994)


WoRLD PRemieRes At minnesotA oPeRA:


the artists Christoph Campestrini conductor

Recognized widely as a conductor of enormous musical variety and deep introspection, Austrian native Christoph Campestrini has been lauded by critics for his “youthful energy and nice sense of phrasing” (The New York Times) and “vibrant eloquence” (Le Soleil). He has conducted more than 120 orchestras across five continents, including the London Symphony Orchestra, Philadelphia Orchestra, Houston Symphony and Salzburg Mozarteum Orchestra. In 2012, he was appointed musical director at the Oper Klosterneuburg Festival outside Vienna. Previously he also served as principal conductor of the Essen Aalto Musiktheater, where he conducted more than 15 operas in over 100 performances. Other recent opera credits have included the Deutsche Oper am Rhein Düsseldorf, Teatro Lirico di Cagliari, Opera Lyra Ottawa, Edmonton Opera and Sakai City Opera Osaka. This season will include his debut at the Teatro Regio di Torino as well as symphonic appearances in Europe, Asia and North America. He was last at Minnesota Opera conducting Werther.

Eve Gigliotti

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alla nazimova


Mezzo-soprano Eve Gigliotti has a voice that been described as “spirited, handsome-toned” (Opera News), with a stage presence that is “strong” and “impassioned” (The Washington Post). Quickly becoming known for her diverse stylistic range, Ms. Gigliotti is an exciting young artist that brings rich, resonant sound and a uniquely individual interpretation to her performances. The 2013–2014 season includes Cornelia in Giulio Cesare with Florentine Opera and future seasons include performances with Houston Grand Opera. During the 2012–2013 season, Ms. Gigliotti appeared as Siegrune in The Ring Cycle for the Metropolitan Opera and in the title role in an updated version of L’italiana in Algeri with Wendy Taucher Dance Theater, reprising a role she has performed with Opera Southwest and Bilbao abao. In 2011–2012, Ms. Gigliotti sang Mrs. Parvin in Spears’ The Bricklayer for Houston Grand Opera, Siegrune in Die Walküre for the Met and originated the role of Ruth in Muhly’s Dark Sisters (world premiere) for Gotham Chamber Opera and Opera Philadelphia.

Brenda Harris june mathis

Soprano Brenda Harris appears in leading roles with many of the world’s most prominent opera companies and orchestras. Recent stellar reviews have said that “Brenda Harris delivered a stunning account of the vengeful Greek princess, distinguished by scrupulous observation of the score, including the marked pianissimos that are so rarely heard …. [Her] formidable achievement would easily transfer to a larger house, where she would sing the role more completely than most of her current competition” (Opera News) and “Pitch perfect, Harris exhibits a flawless legato with a naturalism that perfectly exemplifies the Bel Canto form” (The Examiner). Recent engagements have taken her to the stages of the Metropolitan Opera, and to Teatro Massimo (Palermo), Washington National Opera, New York City Opera, Opéra du Rhin in Strasbourg, Michigan Opera Theatre, Canadian Opera Company, Edmonton Opera and Opera Theatre of Saint Louis, among others. During the 2012–2013 season the soprano joined Minnesota Opera as Abigaille in Nabucco, the Sarasota Opera as the title role in Turandot, Des Moines Metro Opera as the title role in Elektra and Washington Concert Opera as Elisabetta in Maria Stuarda. Recently, she returned to Minnesota as Lady Macbeth in Macbeth and in 2015 creates Eleanor Iselin in The Manchurian Candidate. Ms. Harris’ appearance is generously sponsored in honor of Heinz Hutter.

the artists Alan Held the mogul

Recognized internationally as one of the leading singing actors today, American bass-baritone Alan Held has appeared in major roles in the world’s finest opera houses, including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Washington National Opera, Los Angeles Opera, Canadian Opera, Royal Opera House – Covent Garden, Teatro alla Scala, Vienna State Opera, Paris Opera, Munich State Opera, Bavarian State Opera, Hamburg State Opera, Grand Théâtre de Genève, Gran Teatre del Liceu (Barcelona), Teatro de la Maestranza (Seville), the Netherlands Opera, Théâtre Royal de la Monnaie and Tokyo Opera Nomori. His many roles include Wotan in the Ring Cycle, the title role in The Flying Dutchman, Kurwenal in Tristan und Isolde, Hans Sachs in Die Meistersinger von Nürnburg, Scarpia in Tosca, Leporello in Don Giovanni, the Four Villains in Les contes d’Hoffmann, Jochanaan in Salome, Don Pizarro in Fidelio, Orestes in Elektra, Balstrode in Peter Grimes and the title role in Wozzeck.

Kärin Kopischke costume designer

Kärin Kopischke continues her work with Minnesota Opera, having designed the costumes for Silent Night, Rusalka 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 Theatre, 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.

Rebecca Krynski Hailed by The New York Times as a “vibrant soprano ... with a secure, appealing sound and eye-opening volume,” and Opera News as “a voluminous, steeledged soprano,” Rebecca Krynski received her Master of Music from the Manhattan School of Music. Performances with its Opera Theatre include the title role in Massenet’s Thaïs, The Ghosts of Versailles (Rosina), Così fan tutte (Fiordiligi) and La vida breve (Salud). Recently, Ms. Krynski sang the role of Alice Ford in Falstaff in Thomas Muraco’s Opera Repertory Ensemble, Cynthia in a workshop of Two Boys by Nico Muhly with the Metropolitan Opera and covered the role of Amaltea in Rossini’s Mosè in Egitto with New York City Opera. She was an Apprentice Artist at Des Moines Metro Opera in 2012 and 2013, where she sang the Fifth Maid in Elektra, and covered the roles of Ellen Orford in Peter Grimes and Donna Anna in Don Giovanni. Future roles with Minnesota Opera, where she is currently a Resident Artist, include the Dew Fairy in Hansel and Gretel, Giannetta in The Elixir of Love and Micaëla in Carmen.


louella parsons


the artists John Robert Lindsey marvin heeno

Tenor John Robert Lindsey is currently in his third year as a Resident Artist with Minnesota Opera, where he has performed in 12 productions. Past engagements include Malcolm in Macbeth, Count Elemer in Arabella, Edmondo in Manon Lescaut, Pang in Turandot, Ismaele in Nabucco, Goro in Madame Butterfly, Jonathan Dale in the Pulitzer Prize-winning production of Silent Night, Don José in Carmen, Sam Polk in Susannah and the Stage Manager in Rorem’s Our Town. He has also covered several lead roles with Minnesota Opera including Des Grieux in Manon Lescaut, Matteo in Arabella and Macduff in Macbeth. His concert repertoire has included the tenor soloist in Parables by Robert Aldridge and Herschel Garfein, the Mozart Requiem, the Mozart Mass in C Minor and Handel’s Messiah. Upcoming performances include Monostatos in The Magic Flute. John is a graduate of Colorado State University, where he earned his bachelor’s degree under Todd Queen, and the University of Colorado at Boulder for a master’s in voice under Joel Burcham and Julie Simson.

Angela Mortellaro

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jean acker


Soprano Angela Mortellaro’s “crystalline tones” and “vivacious stage presence” makes her a standout for audiences and critics alike. Mortellaro’s most recent performance as Lucia (Lucia di Lammermoor) with Opera North proved another success. “Her Mad Scene was riveting – and heart wrenching.” In the 2013–2014 season, Ms. Mortellaro sings Anna (Nabucco) in a return to Opera Philadelphia, Adele (Die Fledermaus) with Sarasota Opera and the title role in Thaïs with Florida Grand Opera. In fall 2014, she returns to Minnesota Opera as Gretel in Hansel and Gretel. During the 2012–2013 season, Ms. Mortellaro appeared in the roles of Lucia (Lucia di Lammermoor) with the Dayton Opera, Galatea (Acis and Galatea) with the Madison Opera and Madeleine (Silent Night) with the Opera Philadelphia. A former Minnesota Opera Resident Artist, she has been featured as Amore (Orfeo ed Euridice), Despina (Così fan tutte), Madeleine in the world premiere of Kevin Puts’ Silent Night and Sophie (Werther). The title role of Lucia di Lammermoor was a highlight during her time as a Resident Artist.

Peter Nigrini projection designer

Peter Nigrini has designed on Broadway for The Best Man, Fela!, 9 to 5 and Say Goodnight Gracie. Other designs include Here Lies Love (The Public Theater); Fetch Clay, Make Man (New York Theater Workshop); The Elaborate Entrance of Chad Deity (Second Stage); Notes from Underground (Yale Rep); Grace Jones – Hurricane Tour; Rent (New World Stages); Elsewhere (bam); Haroun and the Sea of Stories (New York City Opera); Blind Date (Bill T. Jones/Arnie Zane Dance); Fetch Clay, Make Man (New York Theater Workshop); The Orphan of Zhao (Lincoln Center Festival); No Dice (Nature Theater of Oklahoma); Romeo and Juliet (Salzburger Festspiele); and Life and Times (Burgtheater, Vienna), among others. His current projects include the new musical Witness Uganda (a.r.t.). 

the artists Matthew Opitz

ballroom manager; publicity man

A native of Arizona, baritone Matthew Opitz recently graduated from the Indiana University School of Music with a master’s degree in voice, where he later sang Eddie Carbone as a guest artist in A View from the Bridge. Other iu Opera credits include Professor Bhaer in Little Women, Mercutio in Roméo et Juliette, the Priest in The Light in the Piazza and Farfarello in The Love for Three Oranges. He also appeared as a soloist in Szymanowski’s Stabat mater, Britten’s Cantata Misericordium and Don Freund’s Passion with Tropes. Mr. Opitz completed his undergraduate degree at Northern Arizona University, where his roles included Guglielmo in Così fan tutte, Count Carl-Magnus Malcom in A Little Night Music, Bob in The Old Maid and the Thief and Dr. Falke in Die Fledermaus. Most recently, he appeared as the Imperial Commissioner in Madame Butterfly for Arizona Opera and was a Central City Opera Young Artist, singing Dr. Bartolo in a family performance of The Barber of Seville. For Minnesota Opera, Mr. Opitz sang the First Gravedigger in Hamlet, Ping in Turandot, Lescaut in Manon Lescaut and Dominik in Arabella. He returns as the Second Armored Man in The Magic Flute.

Shannon Prickett woman in red

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 recently completed her Master of Music 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 also won first place at the Iowa District Metropolitan National Council Opera Auditions, advancing to the regional competition, in which she received third place. This past year, 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 Ladyin-waiting in Verdi’s Macbeth. As a Minnesota Opera Resident Artist, she has appeared as the Fortuneteller in Arabella and the Lady-in-waiting in Macbeth. Future roles include the Sandman in Hänsel und Gretel and Micaëla in Carmen.

Erhard Rom Erhard Rom is an American scenic designer who has designed settings for nearly 200 productions. Twenty-four have been operas composed after 1950. Of these, 19 were written by American composers and nine were world premieres. Several of his designs have been featured in the Prague Quadrennial International Scenographic and Architectural Exhibition. His many credits include Nixon in China (San Francisco Opera); Jane Eyre, The Rape of Lucretia, Carmen, Faust and La bohème (Opera Theatre of Saint Louis); Sweeney Todd, Don Pasquale, Alcina, A Midsummer Night’s Dream, Così fan tutte, Ariadne auf Naxos, Don Giovanni and The Rake’s Progress (Wolf Trap Opera); Romeo and Juliet, The Merry Widow and Rusalka (Minnesota Opera); and Don Giovanni, Susannah, The Tales of Hoffmann and Aida (Virginia Opera). His theatrical work has been seen at Syracuse Stage, Geva Theatre Center, Indiana Repertory Theatre, Folger Shakespeare Theatre, Shakespeare Santa Cruz, Merrimack Repertory Theatre and the Woolly Mammoth Theatre. Mr. Rom currently teaches design at Montclair University.


set designer


the artists Eric Simonson stage director

Eric Simonson recently directed Silent Night and Wuthering Heights for Minnesota Opera and Rusalka for Opera Colorado. Other credits include The Grapes of Wrath at Minnesota Opera, Pittsburgh Opera and Carnegie Hall; numerous plays for 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 production of 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 (cowritten 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.

Heidi Spesard-Noble

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Heidi Spesard-Noble began her professional career with Minnesota Dance Theater under the direction of Loyce Houlton. She performed classical and contemporary ballets by George Balanchine, Petipa, Eugene Loring, Frederick Ashton and as a soloist in Loyce Houlton’s Nutcracker Fantasy. She also appeared in Loyce’s film, Knoxville: Summer of 1915. Her professional career continued at Kansas City Ballet and subsequently, Chanhassen Dinner Theater, where she appeared in more than 15 musicals, including 42nd Street, Phantom, Oklahoma!, Crazy for You and My Fair Lady. Her most recent performances include The Merry Widow and La traviata with Minnesota Opera, and Nutcracker Not so Suite and Cinderella with the Ballet of the Dolls. Heidi’s choreography credits include Brigadoon and Big Bang (cdt); Griffelkin, Manon Lescaut, Noye’s Fludde, Down in the Valley, Nabucco, La traviata, Carmen, Orazi e Curiazi, Wuthering Heights and Lakmé with the Minnesota Opera; and she was assistant choreographer for the world premiere of The Grapes of Wrath in Minnesota, and in Utah and Pittsburgh.

James Valenti rudolph valentino

Internationally acclaimed American tenor James Valenti has a voice of Italianate luster which is continually compared to some of the greatest tenors of the post-World War ii era such as Franco Corelli, Giuseppe di Stefano and Carlo Bergonzi. The sought-after 6’5” tenor, has built a global reputation for his elegant musicianship, commanding stage presence and ardent vocal style. At age 25, Valenti made his professional debut at the Teatro dell’Opera di Roma, where he played Rodolfo in La bohème. He has performed at Teatro alla Scala, Metropolitan Opera, Royal Opera House – Covent Garden, Opéra National de Paris, Sydney Opera House, Bayerische Staatsoper, Salzburg Festival, Deutsche Oper Berlin, Lyric Opera of Chicago, San Francisco Opera, Opernhaus Zürich and Minnesota Opera in roles such as the title role in Don Carlo, Alfredo in La traviata, the Duke in Rigoletto, Pinkerton in Madama Butterfly, Maurizio in Adriana Lecouvreur, Edgardo in Lucia di Lammermoor and the titles roles of Werther, Roméo et Juliette and Faust. In future seasons, Mr. Valenti performs as Cavaradossi in Tosca and Don José in Carmen. This April, he returns to the Met as Pinkerton in Madama Butterfly. Mr. Valenti’s appearance is generously sponsored by William White.

the artists Victoria Vargas natacha rambova

Mezzo-soprano Victoria Vargas returns to Minnesota Opera for a fourth season as a Resident Artist, having appeared as Adelaide in Arabella, the Madrigal Singer in Manon Lescaut, Tisbe in Cinderella, Anna in Mary Stuart, Flora in La traviata, Nelly in Wuthering Heights, Alisa in Lucia di Lammermoor, Suzuki in Madame Butterfly, Fenena in Nabucco and Smeton in Anna Bolena. This season she will be seen next as the Third Lady in The Magic Flute and, in 2015, she returns as a guest artist in the title role of Carmen. Ms. Vargas has been a young artist at Sarasota Opera and Chautauqua Opera, where she covered the role of Mamma Lucia in Cavalleria rusticana. At Chautauqua, she returned for a second season as an Apprentice Artist, performing Laura in Luisa Miller and the Second Lady in Die Zauberflöte. This past summer she was a Gerdine Young Artist at the Opera Theatre of Saint Louis, covering the role of Ruth in The Pirates of Penzance. In 2013, she was a second place Upper Midwest regional finalist in the Metropolitan Opera National Council Auditions.

Robert Wierzel lighting designer

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. Recently, Robert worked on Mourning Becomes Electra, directed by Kevin Newbury at Florida Grand Opera, The Tempest, choreographed by Alexei Ratmansky for a.b.t. and Luna Gale, a new play by Rebecca Gilman, directed by Robert Falls at Chicago’s Goodman Theatre. 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; Minnesota; San Francisco; Houston; Virginia; Chicago Lyric; Chicago Opera Theater; Montreal; Vancouver; Portland; Wolf Trap; and San Diego, among others. Mr. Wierzel’s dance work includes 27 years with choreographer Bill T. Jones and the btj/ az Dance Company (Bessie Awards) including productions at the Lyon Opera Ballet and Berlin Opera Ballet.

Christian Zaremba Hailed by The New York Times as “a stage animal with a big bass voice” the 26-year-old basso cantante is quickly garnering praise from companies and critics alike. He made his debut this summer at Glimmerglass Opera as the bass soloist in David Lang’s Little Match Girl Passion, appeared as Pistola in Falstaff with the Martina Arroyo Foundation and as Zuniga in Carmen and Colline in La bohème with Long Island Opera. Christian performed the speaking role of the Porter in Manon at the Metropolitan Opera, covered the principal acting role of Agamemnon in Iphigénie en Tauride at the Metropolitan Opera and appeared at Weill Hall as Il Commendatore in Don Giovanni. He has sung Sarastro in Die Zauberflöte, Zuniga in Carmen and Angelotti in Tosca with New York Lyric Opera as well as Don Basilio in Il barbiere di Siviglia with Capitol Heights Opera. The 2013–2014 season will see Christian make his debut with Minnesota Opera as Sarastro (The Magic Flute), Lamoral (Arabella), the Innkeeper (Manon Lescaut) and cover Banquo (Macbeth). He returns next season as Zuniga in Carmen.


the lawyer


Meet the Artist

James valenti


Clockwise, Valenti in: Romeo and Juliet, 2008; Werther, 2012; La traviata, 2003; La bohème, 2010; and Romeo and Juliet, 2008. All photos © Michal Daniel for Minnesota Opera.


With Valentino, you get to work with contemporary repertoire and a legendary living composer. How does this experience compare to, say, singing La traviata at the Met or La bohème at La Scala? I don’t normally sing modern opera. This is a new and very large challenge for me. It has been a pleasure to really get into this piece that is not known to a large audience. There is no real precedent set and so we can really create something new for the audience to enjoy. When you sing a piece like La bohème, which the audience has heard many times, they always compare to other artists that sang the role before. Few will have heard this piece, so I can create something totally fresh for them. Mr. Argento has been very accommodating and is happy to help and make small changes if there are any phrases that I feel don’t use the voice efficiently.

Minnesota Opera was where you got your start as tenor in the Resident Artist Program and we feature some of your similarly successful colleagues on page 31 of this program. How did your experience here prepare you for your career? I began my professional life with Minnesota Opera. My early years in the Resident Artist Program were invaluable. I learned a great deal from watching seasoned professionals in rehearsals: to see the level of preparation, the way to deal with a stage director or conductor, to save one’s voice by not always singing full out in rehearsals and make it a collaborative effort with everyone. I have many fond memories of being a Resident Artist, such as meeting and building relationships with many in this community. A large group from the Twin Cities flew to Milan many years ago for my debut at La Scala. I always feel so appreciated and at home here. It’s a true joy to work in Minnesota.  

Offstage, you spend part of your time supporting humanitarian efforts. How does this enrich your life and professional experience? I am grateful to be a point in my life where I can begin to give back. It is so rewarding to give selflessly and assist others. It helps the heart to grow and expand in new ways. I have been much more active in humanitarian and philanthropic causes. I have been a sponsor for Children International for many years and have recently taken on a more public role for them – helping to raise funds, raise awareness and making more visits to locations out in the field and around the world. I think helping others and seeing where they come from and their struggles puts things into perspective, and I realize how incredibly fortunate I am to do what I do. I get to perform and share my talents and passion with so many. My voice has taken me all over the world. I am immensely grateful for all that I have.

What is the best advice you can give young aspiring singers who are pursuing their dreams? I have seen many talented young singers that don’t have the right combination. Talent alone will not help you succeed. You must be patient, and nurture and cultivate that skill. You must have the four Ds: Dedication, Desire, Discipline and Determination. I have seen many with talent who won’t go anywhere because they don’t have their act together or work in the right way. To be an artist at this level, you must know that it is your calling and that you will not be fulfilled doing anything else. I am born to be a singer/ performer, and my voice is my gift to share.  – Mr. Valenti’s biography appears on page 26.


2014 © Calabay Productions


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Allison Ostrander Concertmaster Julia Persitz David Mickens Judy Thon-Jones Natalia Moiseeva Jill Olson Maisie Block Heidi Amundson Miriam Moxness Griffiths

vioLin ii

Conor O’Brien Elizabeth Decker Stephan Orsak Melinda Marshall Margaret Humphrey Elise Parker Lydia Miller Huldah Niles


Emily Hagen Susan Janda Laurel Browne James Bartsch Coca Bochonko


Jim Jacobson Sally Dorer Rebecca Arons Thomas Austin Teresa Richardson Kirsten Whitson


John Michael Smith Constance Martin Jason C. Hagelie Charles Block


Michele Frisch Amy Morris double piccolo


Michael Dayton Ryan Walsh double English horn


Karrin Meffert-Nelson double alto saxophone Nina Olsen double bass clarinet


Coreen Nordling Laurie Hatcher Merz double contrabassoon


Phillip Ostrander


Steve Skov


Kory Andry


Matthew Barber Steve Kimball


Min J. Kim


Sheldon Miller


Timothy Bradley Charles Hodgson Lawrence Barnhart


Dee Langely


John G. Koopmann Christopher Volpe


Christopher Bauleke

Joe Johnson

Thomas Lorendo

Norm Tiedemann

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WAnt to sing WitH minnesotA oPeRA? Chorus auditions for Minnesota Opera’s 2014–2015 season will be held

Nabucco (2012)

tuesday, April 15 through saturday, April 19 , 2014


Minnesota Opera caught up with a few of the talented graduates of our internationally respected Resident Artist program. Like The Dream of Valentino featured artists tenor James Valenti (2000–2002) and soprano Angela Mortellaro (2010–2012), they are among the many artists nurtured in Minnesota who have gone on to do great things in the world of opera.

stars of the Resident Artist Program

AnA De ARcHuLetA, Manager at ADA Resident Artist soprano 2001–2002 More at Being a resident artist at Minnesota Opera was the highlight of my singing career. Every singer dreams of the perfect circumstances in which to perform, where they are surrounded by friends and great artists in a collaborative and supportive environment. While in the Program, working with artists such as Harry Bicket, Brenda Harris, Suzanne Mentzer and Bruce Ford in La clemenza di Tito marked one of the highest points of my career. After my tenure in Minnesota, I started ADA Artist Management , which represents and manages a number of alumni: Karin Wolverton, Matt Boehler, Adriana Zabala and Jamie-Rose Guarrine. I am fortunate that I get to see my Minnesota Opera family on a regular basis.

mAtt BoeHLeR,

Metropolitan Opera Bass Resident Artist 2001–2004 More at

RyAn tAyLoR, General Director at Arizona Opera

Resident Artist baritone 2000–2001 More at

My first professional solo performance on the operatic stage was in Minnesota as Ping in the company’s production of Turandot in 2000. In 2009, I transitioned away from performing and into the administration and production side of the art form. I was incredibly fortunate not only to work closely with an incredible cross-section of visiting artists, conductors and directors, but also to receive invaluable guidance from Floyd Anderson, Dale Johnson and Kevin Smith. I’m also grateful that the team of brilliant artists I worked with in the residency, in particular Adriana Zabala and James Valenti, remain close friends. I will always consider Minnesota Opera to be my home opera company, and the company’s exceptional record of artistic and fiscal success is one that I strive to emulate.


Looking back, I count my RAP years at Minnesota Opera as some of the happiest of my life, and my memories are filled with glowing snapshots of good times with my colleagues. During our time together, both in rehearsal and off-the-clock, we grew quite close, and there was something very special about singing La bohème with your friends while being blissfully oblivious to the fact that you yourself were living your salad days. To be sure, it was not all roses – my assignments were often challenging. The struggles were worth it, though. I grew up in Minnesota and will always be grateful to Minnesota Opera for giving me my first artistic home.



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uPcoming events APRiL 12 AnD 18 – The Magic Flute Tempo Night Out + After Parties

Tempo is in its second decade of engaging 20- and 30-somethings with Minnesota Opera through one-of-a-kind events and steeply discounted tickets for opening night performances. For only $50, your Tempo membership includes exciting benefits to help you get the most out of your experience. 612-333-6669

After the performances of Mozart’s masterful comedy, in which love conquers all, head over to sakura and join Tempo as we continue the quest for enlightenment at the After party! unlike the opera’s characters, you won’t be put through any trials of fire.

APRiL 26 – Kabarett Journey underground for an evening filled with beautiful music from Berlin to Broadway.

Join Tempo, Minnesota Opera’s young professionals group, and escape reality at Kabarett. Meet in the mysterious world of 1920s Berlin, inspired by the Golden Age of Weimar, for light eats and heavy spirits. Express your individual style and push the genderbending boundaries of fashion while you marvel at fabulous entertainment from a bygone era. staged cabaret performances feature Minnesota Opera artists. More at




© Theresa Murray for Minnesota Opera

New Works Initiative

The Manchurian Candidate – Act i In January, Minnesota Opera held a workshop of the first act of The Manchurian Candidate, the third commission of its New Works Initiative. It was the first look at the words and music for this highly-anticipated second opera by Kevin Puts and Mark Campbell, whose first opera, Silent Night, won the Pulitzer Prize. Following are their reactions to the workshop.

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Composer Kevin Puts


I found the workshop extremely heartening and exciting! It takes a long time to compose an opera, and while I’m eager along the way to share the music with someone, I simply don't have the opportunity to until this moment. How wonderful to have such warm and nurturing support from friends, board members, the opera staff and even the wonderful cast themselves! The Manchurian Candidate is utterly

different in every way from Silent Night. It presents different challenges for Mark and me, and I could feel that our audience on the last night of the workshop truly embraced these differences and felt excited by them. We left Minneapolis invigorated by our experience that week with a long list of minor and major changes to make, but good changes, ones that will make a powerful story even more powerful, even more operatic. I can’t wait for everyone to hear Act ii in April. Now, I just have to go write it ...

Librettist Mark Campbell Workshops are only worthwhile if the environment in which they are accomplished remains open, respectful, ego-less … and maintains an effable spirit of playfulness. My second experience with the first workshop at Minnesota Opera, for The Manchurian Candidate, was duplicative of the first ones we had for Silent Night. Everyone in the room is fully devoted to one big task: making a new opera better. Act i of The Manchurian Candidate was in excellent shape when we arrived in Minneapolis. But now, a little over two weeks later, following the reading we had at the end of the workshop, it’s in more excellent shape. Kevin Puts and I

completely rewrote one scene (Scene 9) and made major revisions to the final scene (Scene 13). We also made other adjustments of varying degrees throughout the act – a word here, a note there – all important to the clarity of the storytelling. These revisions have resulted in a fantastic trio in one scene, a cool and quick quartet in another, and a coup de théâtre at the end of the act. Many thanks to Minnesota Opera, the New Works Initiative and even the Twin Cities audience, for giving us such a great place to do our job.

Silent Night

Silent Night, 2011 © Michal Daniel for Minnesota Opera


Minnesota Opera’s pulitzer prize-winning Silent Night on pBs reached an estimated audience of 625,000 via 962 public television broadcasts. To put that audience into perspective, it is like 354 performances at Ordway, or one 5-performance run every year for 70 years. Thanks to all who tuned in, and for all our generous New Works Initiative supporters who have made an investment in the creation and distribution of new opera.




Margaret Wurtele, Chair Karen Bachman Wendy Bennett Burt Cohen Jane Confer Judy Dayton John Huss Ruth Huss Lucy Rosenberry Jones Robert Marx Jenny Lind Nilsson Elizabeth Redleaf Mary Vaughan Bernt von Ohlen


innesota Opera came into being in 1963 with the world premiere of Dominick Argento’s The Mask of Angels. For decades, Minnesota Opera’s commitment to new and contemporary opera made it unique in the world of American opera companies. A National Endowment for the Arts study in 1985 showed that Minnesota Opera was the only company that year to produce a new work. Fortunately, the landscape has changed. Now, more and more opera companies are giving voice to the music of our time. Minnesota Opera is grateful to its loyal patrons for more than 50 years of support. Through the New Works Initiative and the leadership of its committee, Minnesota Opera has achieved stunning levels artistic and creative growth in the past seven years.


UPCOMING EVENTS at Minnesota Opera

MAR 31 – Tempo Happy Hour + Behind the Curtain More at


MAR 31 – Behind the Curtain: The Magic Flute Look behind the curtain to see what it takes to bring innovative opera to the stage. Get the inside scoop from members of the cast and creative team and explore the music, history and design of The Magic Flute. Minnesota Opera’s Head of Music, Rob Ainsley, will lead the exploration from his perspective as a chorusmaster and vocal coach. More at


APR 9 – Anna Bolena Broadcast Minnesota Public Radio will broadcast Donizetti’s Anna Bolena at 8pm. This sumptuous 2012 production marked the not-to-be-missed conclusion of Minnesota Opera’s Tudor trilogy and features bass-baritone Kyle Ketelsen as King Henry viii and soprano Keri Alkema as Anne Boleyn. More at APR 10 – Social Media Preview: The Magic Flute Minnesota Opera hosts a Social Media Preview for bloggers, tweeters and social media savvy individuals. Beginning with refreshments and a pre-rehearsal discussion with a special guest, the event continues with exclusive access to the final dress rehearsal. r.s.v.p. online at by April . APR 12 and 18 – Tempo Night Out+ After Parties More on page  or at

APR 12-27 – Wolfgang Amadeus Mozart’s The Magic Flute Mozart’s masterful comedy is richly reimagined in a boundary-busting production created by director Barrie Kosky and British theater group 1927. Connecting the tale’s enduring meaning with modern metaphor, this extraordinary staging has thrilled audiences with its stunning interaction between film animation and live performance. Opera Insights – Come early and enjoy free, fun and informative halfhour sessions, hosted by Minnesota Opera artistic staff in Ordway’s mezzanine lobby one hour prior to each performance. Join us for Opera Insights and get an overview of the characters and music, historical and cultural context for the opera, and highlights to watch for during the show. APR 16 – Taste of Opera: The Magic Flute Enhance your opera-going experience with Taste of Opera – a delicious preshow dinner and relaxed conversation with experts from the world of opera. Leave the logistics to us and enjoy an all-inclusive evening out! Hosted by Minnesota Public Radio’s Julie Amacher with special guest baritone Andrew Wilkowske, tickets can be purchased for this event at APR 25 – Cabaret: Escape to 1920s Berlin More on page  or at APR 26 – Tempo presents Kabarett More on page  or at

Dale Johnson


hat can be said about Mozart’s The Magic Flute that has not already been said? It is one of the great operas of the 18th century; one of the most beloved comedies in the operatic repertoire; a piece written by a genius composer, working in his most original and beguiling style; and a surprising piece when measured by all traditional standards. The Magic Flute was premiered in 1791 at the Freihaus-Theater auf der Wieden in Vienna. The theater no longer exists, but I saw the area where it stood a few years ago. At that point, with my great colleague, voice teacher Barbara Kierig, we both sat on a bench and reflected on the greatness both of the opera itself and of the composer, Mozart. That we are still going to see this extraordinary mash up of comedy slapstick, romantic fantasy, Masonic traditions of the time and a foreshadowing of the great German operas of the 19th century, culminating with Wagner’s epics, is an amazing testament to the genius that is Mozart. After more than 200 years of astounding productions of The Magic Flute, what new ideas can we possibly have? In the fall of 2012, my colleague Floyd Anderson and I were having breakfast with British artist agent Robert Guilder. He told us he had just experienced the best production of Flute

he had ever seen. He gave us a link to the website of Komische Oper Berlin where it was currently playing. My jaw dropped at the incredible visual delights of this production, the brainchild of Komische Oper’s Barrie Kosky, in collaboration with British avant-garde theater company 1927. I decided on the spot to bring this brilliant concept to the United States. In April, we will be treated to a production that has been influenced by the silent movies of the 1920s. Director Suzanne Andrade and animator Paul Barritt have taken in such cinematic influences as The Cabinet of Dr. Caligari and Nosferatu as well as the animation of Max Fleischer. Louise Brooks in the 1929 film Pandora’s Box was also factored into this new production. All of the animation was hand drawn and then animated by Mr. Barritt. It is slow, painstaking work but the result is a riot of images that will surely delight you. The singers interact with the animation in a wonderful way. They become part of this visual feast. I didn’t believe anything new could be said about The Magic Flute, but I have been proven wrong. Do not miss this groundbreaking, fresh and extraordinary production of Mozart’s classic. Artistic Director


The MaGic Flute PrevieW


Minnesota Opera

education Project Opera:


Griffelkin was a hit!


Project opera gave four incredible performances of Griffelkin by Lukas Foss in January. 73 singers and 19 instrumentalists performed to four sold-out houses at the Lab theater. the opera was stage directed by daniel ellis, Resident Artist Stage director and conducted by dale Kruse, Music director of Project opera.


Lukas Foss (2014) (Above) Maria Gisselquit as the Grandmother reads the charges to Griffelkin (Claire Walsh) for being not being a proper devil.

(Above) Mara Lane as the Girl surrounded by the Toys. (Right) Griffelkin (Claire Walsh) (L) talking to the chatterbox Letterbox (Mikhayla Clausen) (R). (Right top) Josh Wolf (L) and Duncan schulte (R) as the Lions. Griffelkin photos by sigrid Redpath.

Project Opera:

Where are they NOW? over the years, Project opera has worked with hundreds of talented teen singers from around the area. Graduates of the program have gone on to study at Juilliard, eastman School of Music, oberlin conservatory, indiana university, Harvard, Princeton and Stanford, among many others.

Sara Sawyer After graduating from elk River High School, sara sawyer, Project opera 2004–2005, attended the American Musical and dramatic Academy in new York city. She recently completed shooting the short film The Waitress. check out what else she has been doing at

James Valenti and Jack Jack Swanson meets James Valenti for the first time backstage at the ordway.


Jack S wanson

Jack Swanson Swanson, Project opera 2009–2010, attended the university of oklahoma and will be an Apprentice at the Santa Fe opera this summer.


minnesota opera staff President and General Director | Kevin Ramach Artistic Director | Dale Johnson Music Director | Michael Christie



Artistic Administrator | Roxanne Stouffer Artist Relations and Planning Director  |  Floyd Anderson Dramaturg | David Sander Head of Music | Robert Ainsley Resident Artists  |  Aaron Breid, Daniel Ellis, Christie Hageman, Rebecca Krynski, John Robert Lindsey, Geoffrey Loff, Sheldon Miller, Matthew Opitz, Shannon Prickett, Victoria Vargas, Christian Zaremba Master Coaches | Lara Bolton, Mary Jo Gothmann

Production Director | Karen Quisenberry Production Stage Manager | Kerry Masek Assistant Stage Managers | Shayna j. Houp, Andrew Landis


Vice President of Development | Corey Cowart Director of Development  |  Dawn Loven Director of Institutional Support | Beth Comeaux Director of Special Events  |  Emily Skoblik Individual Gifts Officer | Jenna Wolf Development Associate  |  Seana Johnson

Costume Shop Manager | Corinna Bohren Assistant Costume Shop Manager | Beth Sanders Tailor  |  Yancey Thrift Drapers  | Chris Bur, Emily Rosenmeier First Hands  |  Helen Ammann, Kelsey Glasener, Rebecca Karstad Stitchers  |  Ann Habermann, Rachel Skudlarek Wig/Makeup Supervisors  |  Priscilla Bruce, Ashley Joyce Wig/Makeup Run Crew  |  Sarah Bourne, Dominick Veldman

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Technical Director | Mike McQuiston Properties Master | Jenn Maatman Properties Assistant  |  Michael C. Long Projections Associate | Daniel Vatsky Lighting Coordinator | Ray Steveson Assistant Lighting Coordinator  | Tom Rost Production Carpenter | JC Amel Scene Shop Foreman | Rod Aird Master Carpenters | Nate Kulenkamp, Steven Rovie, Eric Veldey Carpenter  |  Mark Maurer Charge Painter | Jeffery Murphey

Administration Finance Director | Jeff Couture Operations/Systems Manager  |  Steve Mittelholtz HR/Accounting Manager | Jennifer Thill Director of Board Relations  | Theresa Murray Finance Assistant | Michelle Gould


Education Community Education Director | Jamie Andrews Teaching Artist | Bergen Baker Project Opera Music Director | Dale Kruse Project Opera Accompanist | Kathy Kraulik Project Opera Assistant | Maria Moua

Marketing/Communications Senior Director of Marketing and Communications  | Lani Willis Marketing Director  |  Katherine L. Castille Communications Manager | Daniel R. Zillmann Program Manager, Marketing and Communications | Kristin Matejcek Technology and Interactive Media Manager |  Adam Holisky Data Specialist | Rosalee McCready Ticket Office Manager | Julie Behr Assistant Ticket Office Manager | Kevin Beckey Ticket Office Associate  |  Sarah Fowler Ticket Office Assistants  |  Carol Corich, Kärsten Jensen, Carrie Walker Photography Intern | Noorah Bawazir

minnesota opera board

OfFIcers Rachelle D. Chase, Chair Kevin Ramach, President and General Director James Johnson, Vice Chair Robert Lee, Secretary Patricia Johnson, Treasurer

Directors­­­­­ Patricia Beithon Peter W. Carter Rachelle D. Chase Jane M. Confer Sara Donaldson Chip Emery Bianca Fine Sharon Hawkins Ruth S. Huss Heinz F. Hutter Mary IngebrandPohlad Philip Isaacson James Johnson Patricia Johnson Christine Larsen Robert Lee Steve Mahon

David Meline Leni Moore Albin “Jim” Nelson Kay Ness Luis Pagan-Carlo Jose Peris Stephanie Prem Kevin Ramach Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Linda Roberts Singh Nadege Souvenir Virginia Stringer H. Bernt von Ohlen Margaret Wurtele

Emeriti Karen Bachman John A. Blanchard, III Burton Cohen

Julia W. Dayton Mary W. Vaughan

Honorary Directors Dominick Argento Philip Brunelle Dolly Fiterman

Norton M. Hintz Liz Kochiras Patricia H. Sheppard

Legal Counsel James A. Rubenstein, Moss & Barnett

Tempo Board Ryan Alberg Thomas Bakken Benjamin Canine Leslie Carey Melissa Daul Katie Eiser Kara Eliason Jennifer Engel Laura Green Ben Jones Claire Joseph Carolina Lamas Susan N. Leppke

Kristin Matejcek, Staff Liaison Megan Mehl, Board Chair Alex Morton Chrissi Reimer Jana Sackmeister Polina Saprygina Rhonda Skoby, Vice Chair Carrie Walker Jenna Wolf

minnesota opera volunteers The following volunteers contribute their time and talent to support the key activities of Minnesota Opera. If you would like to learn more about volunteering please visit, email or call Jenna Wolf at 612-342-9569. Lynne Beck Gerald Benson Debra Brooks Jerry Cassidy Judith Duncan Jane Fuller Joan Gacki Merle Hanson Robin Keck Mary Lach Jerry Lillquist Joyce Lillquist Melanie Locke Yelva Lynfield

Suzan Lynnes Mary McDiarmid Verne Melberg Barbara Moore Douglas Myhra Candyce Osterkamp Dan Panshin Pat Panshin Sydney Phillips Kari Schutz Janet Skidmore Wendi Sott 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.


board of directors


Cabaret: Escape to

1920s Berlin

“Here, life is beautiful.” Featuring Minnesota Opera’s Resident Artists 6pm Dinner and Staged Cabaret Performance 9pm After Party

Dining – Dancing – Silent Auction

Friday, April 25, 2014 | minnesota opera

$150/person Dinner, Cabaret and After Party ($75 is tax-deductible)


$1,500/Reserved Table for 8 ($900 is tax-deductible) $25/person After Party Only (9pm-11pm Small Bites and Hosted Beer) * 1920s Attire Admired but Not Required *

Minnesota Opera Center 620 N. First Street Minneapolis, MN

RSVP by Monday, April 21, 2014 at 612-342-9553 or Hosted by the Donor Events Committee

annual fund | individual giving It is with deep appreciation that Minnesota Opera recognizes and thanks all of the individual donors whose annual support helps bring great opera to life. It is our pleasure to give special recognition to the following individuals whose leadership support provides the financial foundation which makes the Opera’s artistic excellence possible. For information on making a contribution to Minnesota Opera, please call Dawn Loven, Director of Development, at 612-342-9567 or email her at

bel canto circle Platinum  $25,000 and above

Gold  $15,000–$24,999

Anonymous (1) Mary and Gus Blanchard Jane M. and Ogden W. Confer Julia W. Dayton Sara and Jock Donaldson Vicki and Chip Emery Mr. and Mrs. William Frels Ruth and John Huss Heinz Hutter Mr. and Mrs. Philip Isaacson James E. Johnson Lucy Rosenberry Jones The Art and Martha Kaemmer Fund of HRK Foundation Elizabeth Redleaf Mrs. Mary W. Vaughan C. Angus and Margaret Wurtele

Tracy and Eric Aanenson Karen Bachman Donald E. Benson Rachelle Dockman Chase Ellie Crosby William I. and Bianca M. Fine Charitable Trust N. Bud and Beverly Grossman Foundation Kathleen and John Junek Robert L. Lee and Mary E. Schaffner Barbara and David Meline Moore Family Fund for the Arts Judy Mortrude and Steven Mahon Albin and Susan Nelson Kay Ness and Chris Wolohan Joseph Sammartino Bernt von Ohlen and Tom Nichol William White

Silver  $10,000–$14,999

Anonymous (3) Dominick Argento Patricia and John Beithon Susan Boren Sharon Hawkins Garrison Keillor and Jenny Lind Nilsson Warren and Patricia Kelly Harvey T. McLain Mary Ingebrand Pohlad Connie and Lew Remele Patricia and Don Romanaggi Maggie Thurer and Simon Stevens Virginia L. and Edward C. Stringer Wayne Zink and Scott Gallus

Platinum  $7,500–$9,999

Allegro Fund of The Saint Paul Foundation Shari and David Boehnen Alexis and Michael Christie Patricia Johnson and Kai Bjerkness Erwin and Miriam Kelen Jose Peris and Diana Gulden Chris Larsen and Scott Peterson Lynne Looney Lois and John Rogers Jennifer and Chris Romans

Gold  $5,000–$7,499

James Andrus Anonymous (2) Martha and Bruce Atwater Fund of The Minneapolis Foundation William Biermaier and David Hanson Peter Davis and Pamela Webster Cy and Paula Decosse Fund of The Minneapolis Foundation Jodi Dehli Dolly J. Fiterman Lonnie and Stefan Helgeson

Andrew Houlton Cynthia and Jay Ihlenfeld Robert Kriel and Linda Krach Debra and James Lakin Mary and Barry Lazarus Ilo and Peggy Leppik Mr. and Mrs. Donald Lucker Mr. and Mrs. Reid MacDonald Kendrick B. Melrose Family Foundation Diana and Joe Murphy Bill and Barbara Pearce Stephanie Prem and Tom Owens Mary and Paul Reyelts Nadege Souvenir Dr. and Mrs. Andrew J. Thomas Stephanie C. Van D’Elden Lori and Herbert Ward

Silver  $2,500–$4,999

Anonymous (4) Nina and John Archabal Martha Goldberg Aronson and Daniel Aronson Annette Atkins and Tom Joyce Alexandra O. Bjorklund Ken and Peggy Bonneville

Dr. Lee Borah, Jr. Margee and Will Bracken Rita and Kenneth Britton Barry and Wendy Brunsman Juliet Bryan and Jack Timm Christopher J. Burns Mr. and Mrs. Richard A. Carlson Darlene J. and Richard P. Carroll Nicky B. Carpenter Rusty and Burt Cohen Gisela Corbett Jennifer and Corey Cowart Rebecca and Jay Debertin Thomas and Mary Lou Detwiler Ralph D. Ebbott Nancy and Rolf Engh Rondi Erickson and Sandy Lewis Gail Fiskewold Melanie and Bruce Flessner Patricia R. Freeburg Meg and Wayne Gisslen Mrs. Myrtle Grette Ms. Susanne Haas and Mr. Ross Formell Michele Harris and Peter Tanghe Alfred and Ingrid Lenz Harrison Dorothy Horns and James Richardson


camerata circle


annual fund | individual giving camerata circle Dr. and Mrs. Arthur Horowitz Bill and Hella Mears Hueg Diane and Paul Jacobson Dale A. Johnson Robert and Susan Josselson Nancy and Donald Kapps Lyndel and Blaine King David MacMillan and Judy Krow Helen L. Kuehn Dr. Caliann Lum Margery Martin and Dan Feidt Roy and Dorothy Mayeske Mary Bigelow McMillan Velia R. Melrose Karla Miller


Dr. and Mrs. Alfred Moore Sandy and Bob Morris Nancy and Richard Nicholson Mr. and Mrs. Rolf Peters Marge and Dwight Peterson Mrs. William Phillips Sara and Kevin Ramach Rhoda and Paul Redleaf Courtney and Scott Rile Thomas D. and Nancy J. Rohde In Memory of Agnes M. Romanaggi Nina and Ken Rothchild James A. Rubenstein, Moss & Barnett Kay Savik and Joe Tashjian Mary H. and Christian G. Schrock

Drs. Joseph and Kristina Shaffer Lynda and Frank Sharbrough Andrea and Bob Sheehy Stephanie Simon and Craig Bentdahl Julie and Bruce Steiner Dr. Norrie Thomas William Voedisch and Laurie Carlson Dr. Craig and Stephanie Walvatne Sonja and Jerry Wenger Nancy and Ted Weyerhaeuser Carolyn, Sharon and Clark Winslow Woessner Freeman Family Foundation

artist circle

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Anonymous (3) Mary and Charles Anderson Kim A. Anderson Betty Andrews Ruth and Dale Bachman Barbara and David Baker In memory of Kent Bales Ann and Thomas Bagnoli Mrs. Paul G. Boening Allan Bradley Drs. Jan and Eli Briones Juliet Bryan and Jack Timm Ann and Glen Butterman Scott Cabalka Kathleen Callahan Joan and George Carlson Wanda and David Cline In Memory of Kathy Coleman Bruce Coppock and Lucia May Barb and Jeff Couture Susan and Richard Crockett Helen and John Crosson Jeff and Wendy Dankey Fran Davis Ruth and Bruce Dayton The Denny Fund of The Minneapolis Foundation Margaret DiBlasio Elise Donohue Joan Duddingston Joyce and Hugh Edmondson Ann Fankhanel Ester and John Fesler Joyce and Hal Field Salvatore Silvestri Franco Emil and Robert Fredericksen Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Bradley Fuller and Elizabeth Lincoln Christine and Michael Garner

Mr. and Mrs. R. James Gesell Heidi and Howard Gilbert Stanley and Luella Goldberg Dr. Richard Gregory Bruce and Jean Grussing Hackensack Fund of The Saint Paul Foundation Don Helgeson and Sue Shepard Jean McGough Holten Thomas Hunt and John Wheelihan Ekdahl Hutchinson Family Fund of The Minneapolis Foundation Teresa and Chuck Jakway Margaret and Philip Johnson Paula and Bryce Johnson Sharon and Fredrik Johnson Janet Jones Wadad Kadi Stan and Jeanne Kagin Terri and Alan Kildow E. Robert and Margaret V. Kinney Fund of The Minneapolis Foundation Hugh Klein and Judy Lebedoff Gerard Knight Mrs. James S. Kochiras Kyle Kossol and Tom Becker Constance and Daniel Kunin Bryan Lechner Stefanie Lenway and Tom Murtha Mr. and Mrs. Seymour Levy Helen and Ben Liu Bill Long Richard and Elizabeth Longfellow Family Dawn M. Loven Barbara McBurney Laura McCarten Helen and Charles McCrossan Sheila McNally Deb and Jon McTaggart Judith and James Mellinger David and LaVonne Middleton

Jill Mortensen and Kay Phillips Judy and David Myers Elizabeth B. Myers Joan and Richard Newmark Douglas and Mary Olson Pat and Dan Panshin Derrill M. Pankow Paula Patineau Sally and Thomas Patterson Suzanne and William Payne Susanne and Rick Pepin J.M. Pickle Mary and Robert Price Kari and Dan Rasmus Courtney and Scott Rile John and Sandra Roe Foundation Kim and Peter Rue Kristine and Roger Ruckert Terry Saario and Lee Lynch Anne and Lee Salisbury Sampson Family Charitable Foundation Dr. and Mrs. Richard J. Schindler In Memory of Lyle R. Schumacher Gloria and Fred Sewell Ardath and Glenn Solsrud Matthew Spanjers Edson Spencer Michael Steffes Donna Stephenson Dana and Stephen Strand Vern Sutton Michael Symeonides and Mary Pierce Jennifer and David Thomas Schelly and Bryn Vaaler Patricia and Douglas Vayda Cindy and Steven Vilks Mr. and Mrs. Philip Von Blon James and Sharon Weinel Lani Willis and Joel Spoonheim In Honor of Ron Wyman

annual fund | individual giving patron circle Gerald and Phyllis Benson Debra Brooks and James Meunier Christine and Jon Galloway Christine and W. Michael Garner Jennifer Gross and Jerry LeFevre Charles Hample Sarah and Stuart Lenz The Mahley Family Foundation Carolyn and Charles Mayo Ann M. Rock David E. Sander Warren Stortroen David L. Ward Ellen M. Wells John W. Windhorst Jr.

Silver  $500–$749

Anonymous (3) Bridget Manahan and Joe Alexander Arlene and Tom Alm Alvaro Alonso August J. Aquila and Emily Haliziw Dr. and Mrs. Orn Arnar Dan Avchen and David Johnson Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Rebecca Arons and Thomas Basting, Jr. Donald and Naren Bauer Carl and Joan Behr Chuck Bennett Dennis and Judy Berkowitz Diane and David Blake Martin and Patricia Blumenreich Dianne Brooke Allen Brookins-Brown Thomas and Joyce Bruckner Elwood and Florence Caldwell Jim and Julie Chosy Joann Cierniak Ann Marie and Jim Collins J.P. Collins

Brenda Colwill Norma Danielson Eileen Dauer Amos and Sue Deinard Mary Elise Dennis Mona Bergman Dewane and Patrick Dewane Lois Dirksen Joshua A. Dorothy Holli Egerstrom Mrs. John C. Rowland Steven Engle Herbert and Betty Fantle C.D.F. Foundation Kingston Fletcher Jane Fuller Joan and William Gacki W. Michael and Christine Garner David and Terry Gilberstadt Mark and Diane Gorder Roger and Eleanor Hall David and Chris Hansen Bonita Hanson Ernest Harper Blanche and Thane Hawkins Stefan and Lonnie Helgeson Sharon and Cliff Hill Norton and Mary Hintz Henry and Jean Hoover Barbara Jenkins Charles and Sally Jorgensen Samuel L. Kaplan and Sylvia Chessen Kaplan Markle Karlen Carole and Joseph Killpatrick Katherine and Scott Kovarik James and Gail LaFave Chris and Marion Levy Ruth W. Lyons Dusty Mairs Tom and Marsha Mann Kristin and Jim Matejcek Patricia N. and Samuel D. McCullough Ellen Michelson Anne W. Miller Lee Mitau and Karin Birkeland Steven J. Mittelholtz

Jack and Jane Moran Theresa and Jim Murray Lucia Newell Ann and John O’Leary Dennis R. Olson Ruth and Ahmad Orandi Jim Pagliarini and Elizabeth Raymond Kathleen and Donald Park Lana K. Pemberton Ilya Perepelitsyn Ron and Mary Peterson Dwight and Christina Porter Matthew Ralph and Kristina Carlson Carroll and Barbara Rasch Dennis M. Ready Debra Rectenwald Lawrence M. Redmond George Reid Bryn Roberts and Marcy Jefferson Richard G. and Liane A. Rosel Enrique and Clara Rotstein Marian R. Rubenfeld and Frederick G. Langendorf Georgie Saumweber Chris and Mark Schwarzmann Ruth Schwarzmann John W. Shigeoka Cherie and Robert Shreck Topsy Simonson Stanislaw Skrowaczewski Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Mark and Kristi Specker Jon Spoerri and Debra Christgau Chichi Steiner Judith Stone Roxanne Stouffer Dr. Anthony Thein Jill and John Thompson Jean Thomson and John Sandbo Susan Truman Mary Weinberger Howard and Jo Weiner Barbara and Carl White Barbara and James Willis

Minnesota Opera reflects the human experience with every production, including the most recent show, Macbeth. I was amazed how powerful a Shakespearean play could be when performed as an opera. The destructive nature of jealousy, power and greed was played out, transporting me with the operatic experience. We are fortunate to have easy access to this community treasure. As the Chair of Minnesota Opera’s Board of Directors, you have my heartfelt thanks for your charitable support – such generosity helps make fantastic opera possible. — Shelli Chase, Chair Board of Directors, Minnesota Opera subscriber and donor


Gold  $750–$999


annual fund | individual giving associate circle

| minnesota opera



Anonymous (2) Thomas O. Allen Katherine Anderson Linda Z. Andrews Jerry Artz Suzanne Asher Marcia J. Aubineau Eric S. Anderson and Janalee R. Aurelia Thomas Bailey James and Gail Bakkom Bishu and Irina Bandyopadhyay Laird Barber Carolyn Beatty Kevin Beckey Bender Vocal Studio Bill Bertram Matthew Brummer Philip and Carolyn Brunelle Dan Buivid Keith Campbell Renee Campion and David Walsh Jerome and Linda Carlson Katherine L. Castille John Chrisney Gretchen Collins Elisabeth Comeaux Jeanne E. Corwin Melissa Daul Barb Davis Mark Dickey Barry Divine Katherine and Douglas Donaldson Linda S. Donaldson Leah and Ian Evison Charles and Anne Ferrell Brian M. Finstad Christine Fleming Judith Garcia Galiana and Alberto Galiana Greta and Paul Garmers Hunt Greene and Jane Piccard William and Aimee Guidera Margaret Gunther Russell and Priscilla Hankins Anne Hanley and George Skinner Douglas and Doris Happe Todd and Amy Hartman Peter and Rebecca Hawthorne Jill A. Heath

Wendy Heck John and Rosmarie Helling Frederick J. Hey Jr. Mary K. Hicks Andrew Holey and Gary Whitford Steve Horan Burton and Sandra Hoverson Worth L. Hudspeth Margaret F. Humphrey Ray Jacobsen Ed and Jean Jasienski Kurt Johnston Dr. and Mrs. Eric Jolly Erika and Herb Kahler Jeff and Andrea Kaiserman Jim and Kathleen Karges Kathryn Keefer Janice Kimes Steve Knudson Kathleen Kraulik John Krenzke and Michelle Davis Dale Kruse and Tim Sneer Kelly and Adam Kuczkowski Robert and Venetia Kudrle Nathan Kulenkamp Scott and Karla Lalim Beatrice and Robert Langford Kenyon S. Latham Lisa and Jonathan Lewis Sarah Lutman and Robert Rudolph Joan E. Madden Donald and Rhoda Mains Diane Malfeld Julie Matonich and Robert Bras David Mayo Barbara McGraw Fund of The Minneapolis Foundation Beth McGuire and Tom Theobald Malcolm and Wendy McLean Harry McNeely Laurie and David Mech Curtis and Verne Melberg Robert Messner John L. Michel and H. Berit Midelfort Michael J. and Judith Mollerus Brad Momsen and Rick Buchholz David Mowry Virginia Dudley and William Myers Merritt C. Nequette William and Sharon Nichols Lowell and Sonja Noteboom

Ms. Kathleen Nye-Reiling Patricia A. O’Gorman Robert and Dorothy Ollmann Vivian Orey Donna and Marvin Ortquist Scott J. Pakudaitis Julia and Brian Palmer James A. Payne Carol Peterson Edward and Beverly Phares Walter Pickhardt and Sandra Resnick John and Norma Pierson Joan M. Prairie Nicole and Charles Prescott Christina Reimer Robert E. Rocknem Michael and Tamara Root Bob and Donna Rose Daniel Roth Patricia and Stephen Rowley David M. Sandoz Mary Savina Mr. Jon L. Schasker and Ms. Debbie Carlson Deborah and Allan Schneider Paul L. Schroeder Estelle Sell Morris and Judith Sherman The Singer Family Foundation Debra Sit and Peter Berge Arthur and Marilynn Skantz Emily Skoblik Dr. Leslie W. Smith Jim Snustad Daniel J. Spiegel Family Foundation Mary K. and Gary Stern Delroy and Doris Thomas Katharine E. Thomas Ryan Traversari Emily Anne and Gedney Tuttle Arnold Walker Elaine B. Walker David Walsh and Renee Campion Wesley Wang David Wendt Deborah Wheeler John and Sandra White Wendy Wildung John M. Williams Daniel Richard Zillmann

These lists are current as of January 30, 2014, and include donors who gave a gift of $250 or more during Minnesota Opera’s Annual Fund Campaign. If your name is not listed appropriately, please accept our apologies and contact Jenna Wolf, Individual Gifts Officer, at 612-342-9569.

become a donor

Bring innovative opera productions to life with your charitable gift, and join Minnesota Opera’s family of donors today.

Visit to give online. THANK YOU!

La traviata 2011 © Michal Daniel for Minnesota Opera


MINNESOTA OPERA THANKS the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans. We invite you to join other opera-lovers by leaving a legacy gift to Minnesota Opera. If you have already made such a provision, we encourage you to notify

Anonymous (4) Valerie and Paul Ackerman Thomas O. Allen Mr. and Mrs. Rolf Andreassen Mary A. Andres Karen Bachman Randolph G. Baier* Mark and Pat Bauer Mrs. Harvey O. Beek * Barbara and Sandy* Bemis Dr. Lee Borah, Jr. Allan Bradley C. T. Bundy, II Joan and George Carlson Darlene J. and Richard P. Carroll Julia and Dan Cross Judy and Kenneth * Dayton Charles Denny Mrs. George Doty Rudolph Driscoll *

Anne P. Ducharme Sally Economon * Ester and John Fesler Paul Froeschl Katy Gaynor Robert and Ellen Green Ieva Grundmanis * Julia Hanna* Ruth Hanold * Fredrick J. Hey, Jr. Norton M. Hintz Jean McGough Holten Charles Hudgins * Dale and Pat Johnson Ruth Jones* Drs. Sally and Charles Jorgensen Robert and Susan Josselson Charlotte * and Markle Karlen Mary Keithahn Patty and Warren Kelly Margaret Kilroe Trust *

Blaine and Lyndel King Gretchen Klein * Sally Kling Gisela Knoblauch * Mr. and Mrs. James Krezowski Robert Kriel and Linda Krach Venetia and Robert Kudrle Robert Lawser, Jr. Jean Lemberg * Gerald and Joyce Lillquist David Mayo Barbara and Thomas * McBurney Mary McDiarmid Mildred McGonagle * Beth McGuire Mary Bigelow McMillan Margaret D. and Walter S. Meyers* John L. Michel and H. Berit Midelfort Susan Molder *

Edith Mueller * Kay Ness Joan and Richard Newark Philip Oxman and Harvey Zuckman Scott Pakudaitis Lana Pemberton Sydney and William* Phillips Richard G. * and Liane A. Rosel Mrs. Berneen Rudolph Mary Savina Frank and Lynda Sharbrough Drew Stewart James and Susan Sullivan Gregory C. Swinehart Stephanie Van D’Elden Mary Vaughan Dale and Sandra Wick Richard Zgodava* Daniel R. Zillmann * In Remembrance

For more information on making planned giving arrangements, please contact Dawn Loven, Director of Development, at 612-342-9567. Your attorney or financial advisor can then help determine which methods are most appropriate for you.


us so that we may appropriately recognize your generosity.


institutional giving minnesota opera gratefully acknowledges its major institutional supporters: $100,000+ Hearst Foundations

The Andrew W. Mellon Foundation

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.






For information on making a corporate or foundation contribution to Minnesota Opera, please contact Beth Comeaux, Director of Institutional Support, at 612-342-9566 or email her at

institutional giving minnesota opera sponsors Season Sponsor

Ascent Private Capital Management of U.S. Bank

Production Sponsors

Manon Lescaut Ascent Private Capital Management of U.S. Bank The Dream of Valentino The Aaron Copland Fund for Music, Inc. The Andrew W. Mellon Foundation The Magic Flute National Endowment for the Arts Target

Gala Sponsors

3M Ascent Private Capital Management of U.S. Bank JB Hudson Jewelers – Official Jeweler of Opera Gala 2013

Media Sponsor

Minnesota Public Radio

Opera Insights Comcast

Production Innovation System General Mills

Behind the Curtain

Resident Artist Program

Camerata Dinners

Tempo After Parties

Pine River Capital Management LP Abbot Downing

Wenger Foundation Sakura

corporations, foundations and government 3M Foundation Ameriprise Financial, Inc. Fred C. and Katherine B. Andersen Foundation Ascent Private Capital Management of U.S. Bank F.R. Bigelow Foundation The Ruth Easton Fund General Mills Foundation Hearst Foundations Knight Foundation The McKnight Foundation Medtronic Philanthropy through Medtronic Foundation The Michelson Family Foundation Minnesota State Arts Board National Endowment for the Arts The Saint Paul Foundation Target U.S. Bank Foundation United Health Foundation

Platinum $10,000– $24,999

The Aaron Copland Fund for Music, Inc. Abbot Downing Fred C. and Katherine B. Andersen Foundation Best Buy Children’s Foundation Cargill Foundation Comcast

Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation MAHADH Fund of HRK Foundation Mardag Foundation Pine River Capital Management LP Travelers Valspar Foundation Wells Fargo Foundation Minnesota Wenger Foundation Xcel Energy

Gold $5,000–$9,999

Accenture Boss Foundation Briggs & Morgan, P.A. Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation R. C. Lilly Foundation Mayo Clinic The Pentair Foundation The Carl and Eloise Pohlad Family Foundation PricewaterhouseCoopers LLP Rahr Foundation RBC Wealth Management Schwegman, Lundberg & Woessner, p.a.

Securian Foundation Thomson Reuters Twin Cities Opera Guild

Silver $2,500–$4,999

Cleveland Foundation Dellwood Foundation Faegre Baker Daniels Hutter Family Foundation Le Jeune Family Foundation Maslon Edelman Borman & Brand, LLP The Elizabeth C. Quinlan Foundation Margaret Rivers Fund Pique Travel Design Robins, Kaplan, Miller & Ciresi Spencer Stuart Summit Brewing Company Tennant Foundation

Bronze $250–$2,499

The Curtis L. Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson, Inc. McVay Foundation Onan Family Foundation Peravid Foundation Sewell Family Foundation Sit Investment Foundation


Sponsors $25,000+


Minnesota Opera's The Dream of Valentino Program  

2013-2014 Season

Minnesota Opera's The Dream of Valentino Program  

2013-2014 Season