Minnesota Opera's La Bohème

May 6–21, 2017

2016–2017 Season

WELCOME LETTER

Minnesota Opera’s Mission:

Welcome!

I can’t think of a better way to cap off an exciting, energetic season of opera than with Giacomo Puccini’s brilliant La Bohème. As the Minnesota winter begins to recede, what could be a more fitting way to celebrate the spring than with a classic love story?

Featuring some of the most timeless and stirring arias ever written, Puccini’s masterwork has moved both new and seasoned operagoers for generations. I hope all of you will come away from our production feeling inspired by the power of this incredible story in music.

Re-envision Wealth

625

local and international artists working on stage and off stage

Our first La Bohème in seven years features the work of incredibly talented artists, including set designer Michael Yeargan, costumer designer Walter Mahoney, and lighting designer Marcus Dillard. We’re also happy to once again have Michael Christie, our music director, at the helm of the Minnesota Opera Orchestra for five performances, and our Resident Artist Program conductor, Jonathan Brandani, leading the remaining four shows. Finally, we’re thrilled to welcome back stage director Octavio Cardenas, an alumnus of our Resident Artist Program.

Romeo and Juliet, 2008 © Michal Daniel

6,000

students participating in our education programs

World-renowned soprano and 2005 bbc Singer of the World winner Nicole Cabell treats us to her nuanced portrayal of Mimì. Those of you who saw our production of The Elixir of Love a few years ago will fondly remember her stunning turn as Adina. She will share the stage with tenor Scott Quinn in his company debut as Rodolfo, as well as with baritone Edward Parks who originates the title role in The (R)evolution of Steve Jobs at Santa Fe Opera this summer. Rounding out the cast is Mary Evelyn Hangley, one of our talented resident artists, in the role of Musetta.

Madame Butterfly, 2012 © Michal Daniel

42,000

attendees to our mainstage operas at the Ordway

With nine performances of La Bohème, you’ll have the opportunity to enjoy two equally accomplished principal casts. We’re so happy to welcome acclaimed Canadian-Lebanese soprano Miriam Khalil in her Minnesota Opera debut, alternating with Ms. Cabell.

Joining her on stage are rising stars Adam Luther as Rodolfo and Minnesota Opera Resident Artists William Lee Bryan as Marcello and Alexandra Razskazoff as Musetta.

Turandot, 2013 © Michal Daniel

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new works premiered

by Minnesota Opera

Jose Peris

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The Shining, 2016 © Ken Howard

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Ascent is proud to support Minnesota Opera

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people served annually by our opera productions, education programs, and other events

As one season comes to a close, another one is on the horizon. Our next season is shaping up to be a blockbuster lineup, full of hilarious comedies, searing dramas, and new takes on timeless classics. I’d like to offer my heartfelt gratitude to those of you who will be joining us as subscribers. For those of you who have yet to subscribe, you can find more information about the upcoming season on pages 18–19. I hope you’ll consider joining us for part or all of our 2017–2018 Season.

8 Synopsis

9 La Bohème

10

About the Opera

12 Minnesota Opera Orchestra and Chorus 13 Giacomo Puccini 14 The Artists 17 Opera Education 18 2017–2018 Season Preview 20

Opera for All Ages

22 Meet the Artists: Nicole Cabell and Miriam Khalil 24 Individual Giving 26

Institutional Giving

27

Special Giving

28 Minnesota Opera Board of Directors, Staff, and Volunteers 29 Tempo 29 Minnesota Opera Information

LARGE-PRINT AND BRAILLE PROGRAMS ARE AVAILABLE AT THE PATRON SERVICES OFFICE.

Thank you for coming to La Bohème and for being such an integral part of the success of this fantastic season. I look forward to seeing you again when Don Pasquale opens our 2017–2018 Season this October.

Enjoy the show,

Minnesota Opera Center

mnopera.org 612-333-6669

Contents

RYAN TAYLOR President and General Director Member FDIC. ©2016 U. S. Bank.

| LA BOHÈME

To combine a culture of creativity and fiscal responsibility to produce opera and opera education programs that expand the art form, nurture artists, enrich audiences, and contribute to the vitality of the community.

5

2017.18

season

YOUR WAY

Thinking about immersion education for your child?

Explore the benefits of language immersion education for your child.

Tour our classrooms to experience Hopkins Public Schools’ K-12 Chinese immersion program.

Now accepting applications from Twin Cities families.

DIRECTED BY TYLER MICHAELS

WRITTEN BY TYLER MILLS

XinXing Academy Chinese Immersion

COMPOSED BY DAVID DARROW

An Ordway Production

MAY 24 - JUNE 11

JULY 18-23

RITZ THEATER

TRADEMARKTHEATER PRESENTS

Tour XinXing classrooms!

An Ordway Production in collaboration with Teatro del Pueblo Sponsored by

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Sponsored by

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ordway.org In The Heights

SUBSCRIPTIONS ON SALE NOW G R O U P S 1 0 + S AV E B I G

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.

Musical Theater Series sponsored by

Call 952-988-4300 or visit HopkinsSchools.org

| LA BOHÈME

DEC 7-31

TICKETS AVAILABLE AT TRADEMARKTHEATER.ORG

An Ordway Production

7

SYNOPSIS

Marcello, a painter, and Rodolfo, a writer, work on their respective pursuits in an illheated attic atelier. Marcello complains of the cold and of the cold-heartedness of his ex-mistress, Musetta. Rodolfo offers to warm the room by burning his manuscript. Colline, a philosopher, blusters in — no pawnshop will take his books on Christmas Eve. Schaunard, a musician, suddenly bursts into the room with much-needed food, wine, and firewood. He relates the story of an eccentric nobleman who hired him to play his violin until his parrot died. After three long days, Schaunard was able to collect his fee only by feeding the bird some poisoned parsley.

Schaunard advises them to save the food for later — Christmas Eve should be celebrated with dinner at the Café Momus. While dividing the remaining money, they are interrupted by the insistent knocking of Benoit, who demands payment of the rent, long past due. The Bohemians invite him in and after priming him with wine, get the old man to admit he has a young mistress.

Shocked to discover he also has a wife, the four men pretend to be horrified and quickly usher him out of the room. As the others leave for the café, Rodolfo stays behind to finish an article. He promises to catch up with them later.

Hearing another knock at the door, Rodolfo is surprised to find an attractive young woman, a neighbor whose candle needs a light. He notices her harsh cough and pale complexion, and she soon faints in his arms.

Act III On a dreary winter morning some time later, Mimì appears at the Barrière d’Enfer bordering the edge of the city. She approaches the tavern where Marcello and Musetta are living, he by painting and she by singing. Mimì asks for his help — Rodolfo has become insanely and unjustifiably jealous. After cruelly demanding that she find another lover, he stormed out the night before. Marcello assures her that he is inside and promises to talk to him. The sound Her name is Mimì, she says, a seamstress, who of his voice puts Mimì into hiding. When in her little room, embroiders flowers that are interrogated, Rodolfo reveals the real reason for the split — Mimì’s health is getting worse, her private symbols of love and springtime.

Life’s fairest flower is love, and she returns his and the squalid conditions of his apartment will adoring affection. Rodolfo’s friends call from only hasten her illness. Mimì’s coughing betrays the street, and he tells them to hold two seats her hiding place, and Rodolfo rushes to her.

Marcello hears Musetta flirting with a stranger at the café. and angrily goes inside. Mimì bids Rodolfo adieu, but listening to Marcello and Musetta fight, they agree to stay together until spring.

Once revived, she prepares to leave only to find her key is missing. A draft puts the room into total darkness, and together they begin to hunt for the key. Rodolfo silently pockets it and suggests they wait for the moonlight to aid their search. He takes a moment to describe himself — a poor poet, rich only in his dreams and visions, who has now found love in the eyes of a stranger.

Act II

The Latin Quarter bustles with shoppers and vendors on Christmas Eve. Schaunard examines some musical instruments, Colline purchases a rare book, and Rodolfo buys Mimì a bonnet. Parpignol appears and dazzles the young children with toys. The Bohemians gather at the Café Momus as planned and soon after, Musetta appears in the company of Alcindoro, her wealthy, aging admirer. Trying to catch Marcello’s jealous eye, she openly describes herself as alluring to all men. In a ruse to distract Alcindoro, she pretends her shoe hurts and sends him off to the cobbler. Once reunited with Marcello, Musetta and the other Bohemians escape the café amidst a military band, assuring the waiter that Alcindoro will pick up the tab when he returns.

| MINNESOTA OPERA mnopera.org

Intermission

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paris SETTING:

During the 1840s

Intermission

Act IV Months later, Marcello and Rodolfo are again at work in the garret, having broken off with their respective mistresses. Neither can concentrate, however, as their thoughts are consumed by the women. Colline and Schaunard arrive with lunch, and the four make a mockery of the meager offering by pretending it is a lavish banquet. At the height of their merriment, Musetta bursts in with news that Mimì has collapsed on the stairs.

Musetta found her alone, almost dead. Her dying wish is to see Rodolfo one last time. Her hands are cold, and Mimì asks for a muff. Musetta takes off her earrings and tells Marcello to sell them for medicine and to find a doctor. She leaves with him to fetch the muff. Colline takes off his beloved coat, and preparing to pawn it, he and Schaunard leave the lovers alone. Mimì admits she still loves Rodolfo, and the two reminisce about their happy past.

MUSIC BY GIACOMO PUCCINI | LIBRETTO BY GIUSEPPE GIACOSA AND LUIGI ILLICA AFTER HENRY MURGER’S NOVEL SCÈNES DE LA VIE DE BOHÈME (1851) WORLD PREMIERE AT THE TEATRO REGIO, TURIN FEBRUARY 1, 1896 MAY 6, 11, 13, 14, 16, 18, 19, 20, AND 21, 2017 | ORDWAY MUSIC THEATER Sung in Italian with English translations projected above the stage.

Cast

Creative Team

in order of vocal appearance

CONDUCTOR Michael Christie *

ASSISTANT DIRECTOR David Radamés Toro •

RODOLFO

STREET URCHIN Norah Shea

STAGE DIRECTOR Octavio Cardenas +

ASSISTANT CONDUCTOR AND CHORUSMASTER Jonathan Brandani •◊

Scott Quinn * Adam Luther ◊

MUSETTA’S WEALTHY ADMIRER

ALCINDORO

SET DESIGN Michael Yeargan

MARCELLO

PARPIGNOL

A PAINTER

A TOY VENDOR

Edward Parks * William Lee Bryan •◊

Christopher Colmenero •

A POET

Ruth and John Huss Chair

Ben Crickenberger

COLLINE

A PHILOSOPHER

COSTUME DESIGN Walter Mahoney

MUSETTA

Benjamin Sieverding •

A BELLE OF THE LATIN QUARTER

SCHAUNARD

Mary Evelyn Hangley •* Alexandra Razskazoff •◊

A MUSICIAN

Thomas Glass •

LIGHTING DESIGN Marcus Dilliard

CUSTOMS OFFICER Alex Ritchie

BENOIT

THE LANDLORD

WIG AND MAKEUP DESIGN David Zimmerman

CUSTOMS SERGEANT Joel Mathias

Ben Crickenberger

MIMÌ

Students, working girls, townsfolk, shopkeepers, street vendors, soldiers, waiters, children

A SEAMSTRESS

Nicole Cabell * Miriam Khalil ◊

STREET VENDOR Madeline Anderson

SEASON SPONSOR

CHILDREN’S CHORUSMASTER Matthew Abernathy RÉPÉTITEURS Jessica Hall • Lindsay Woodward • ENGLISH CAPTIONS Floyd Anderson PRODUCTION STAGE MANAGER Kerry Masek

• MINNESOTA OPERA RESIDENT ARTIST

+ MINNESOTA OPERA RESIDENT ARTIST ALUM

* CONDUCTS MAY 6, 13, 18, 19, 21 ◊ C ONDUCTS MAY 11, 14, 16, 20

MEDIA PARTNER

* PERFORMS MAY 6, 11, 14, 18. 20 ◊ P ERFORMS MAY 13, 16, 19, 21

PRODUCTION CO-SPONSORS

Jane M. and Ogden W. Confer Mary Ash Lazarus and Barry Lazarus Kay Ness | Mary and Christian Schrock Jesse and Linda Singh | William White

Scenery Designed by Michael Yeargan | Costumes Designed by Walter Mahoney | Production Originated at San Francisco Opera ESTIMATED RUNNING TIME: Running time is approximately 2 hours and 44 minutes, including two intermissions.

The intermissions will occur approximately 61 minutes and 109 minutes into the opera, respectively.

The appearances of Edward Parks, grand prize winner; Nicole Cabell and Miriam Khalil, national semifinalists; Alexandra Razskazoff and Benjamin Sieverding, regional finalists; and Christopher Colmenero and Mary Evelyn Hangley, 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.

| LA BOHÈME

Act I

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“Let the public judge” — brave words from Giacomo Puccini, a then-insecure composer who wavered among his choices for operatic treatment with great uncertainty.

Yet that was the composer’s response when confronted by Ruggero Leoncavallo (of Pagliacci fame), who claimed Puccini had stolen his idea to set Henry Murger’s scenes of Bohemian life in the 1830s.

| MINNESOTA OPERA mnopera.org

Leoncavallo probably was not too far off the mark, as Puccini would reveal his penchant for poaching when he stole Sardou’s Tosca from Alberto Franchetti. He had shown Puccini a libretto for his La bohème as early as 1892, and Puccini had a predilection for honing in on a subject once someone else had displayed an interest in it. Privately, he didn’t think much of Leoncavallo’s libretto-writing skills (he had also been one of the first of five in the preparation of the book for Manon Lescaut). Nonetheless, Puccini obviously didn’t have his thoughts together when they accidentally met in a Milan coffee shop one March afternoon. He let be known his intentions for his own Bohème, and this slip of the tongue left the two colleagues bitter enemies. They resorted to airing their differences in the local Italian papers.

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Puccini’s publisher, Giulio Ricordi, immediately inquired about obtaining the rights. Unfortunately there were two published versions of Murger’s stories, which first appeared in a Parisian newspaper as a series of short vignettes. In 1849, Théodore Barrière had approached Murger about a possible play adaptation, which turned into La vie de bohème. The success of the play led to a lucrative book deal in 1851, entitled Scènes de la vie de bohème.

While the play was still controlled

ABOUT THE OPERA

by Barrière and subject to copyright laws, the book had fallen into the public domain with the death of an heirless Murger in 1861. Exclusivity to a single composer was not an obstacle.

Ricordi decided to go forward anyway and engaged Luigi Illica and Giuseppe Giacosa as librettists. The two had also been involved in Manon Lescaut and already had experienced Puccini’s prickly demeanor in respect to text modifications. Still, they probably didn’t imagine the job that was in store when they signed on the dotted line.

The problem was with the book itself.

Murger’s Scènes is a disconnected sequence of events with a loose configuration of often unrelated characters. The librettists began by envisioning their work in terms of a series of tableaux instead of acts. Guided by a sense of impressionist theater, they developed captivating atmospheric episodes around the fairly thin plot line involving Mimì and Rodolfo’s love story. In fact, very few of Murger’s original scenes survive in the final version of Puccini’s opera.

Puccini also drew on his real-life experiences.

As a young music student in Milan, he lived on a scant diet of onions, olive oil, and beans, wandering by cafés wishing he could afford to go inside. Bohemianism in Italy was delayed by the Risorgimento, so his fellow starving artists at the time included soon-to-be verismo composers Pietro Mascagni (his roommate for a while), Franchetti, and Leoncavallo. At the time they resembled the four male principals, Rodolfo, Marcello, Colline, and Schaunard, before embarking on their professional careers, each falling in and out of friendship as they competed professionally. Delving into the past, Puccini nostalgically incorporated his graduation piece, the Capriccio sinfonico, into the opening bars of the new opera.

The specifics of the libretto became a hot issue as the project evolved, and the first drafts of the opera also bear little resemblance to what we understand to be La bohème today.

Originally it was to begin with

the present Act ii setting in the Latin Quarter, but early on it was conceived to both open and close in the artists’ garret, giving the piece a certain degree of unity. Greater roles were assigned to Colline and Schaunard, the latter being given his own Act iv aria about the capriciousness of women. One of the greatest changes was the deletion of an entire act set in the courtyard of Musetta’s lodgings — bringing threats of resignation by the librettists who were retained only by the cool handling of Ricordi. The scene in question involves the eviction of Musetta on the day she has planned a party. As her furniture is removed, the Bohemians decide to have the soirée out front. The scene has little continuity with any other part of the opera except that it is here Mimì meets the ethereal Vicomte while she is dressed in one of Musetta’s gowns.

Her flirting and eventual departure with the young nobleman leaves Rodolfo in a jealous frenzy and gives credence to his later denunciations in Act iii. Puccini wished that Mimì’s character remain untarnished, a femme fragile in direct opposition to Musetta’s femme fatale. He got his way, though some dramatic issues remain unresolved. With Rodolfo’s now-unsubstantiated declarations of Mimì’s infidelity in Act iii, the Vicomte receives only a casual reference in Act iv as Mimì’s live-in companion after her split with Rodolfo.

Act iv also posed some problems, and here the librettists carried the day. Puccini wanted to open with Mimì on her deathbed, but Illica and Giacosa feared this bore too close a resemblance to the final scene of La traviata.

Their suggestions of a political dialogue for Schaunard and a brindisi toasting the Water Drinkers (a pseudo-Freemason-esque group Murger had sponsored for those too poor to drink wine) were fused into the Bohemian’s hijinks just prior to Mimì’s arrival. Further continuity was drawn between Act i and Act iv by opening them similarly — with Rodolfo and Marcello alone together in their garret, bemoaning their current condition, first without heat, later without women.

The end product is a truly remarkable work. Out of enough material, as Illica quipped, “for 10 operas,” Puccini crafted

a surprisingly concise score, complete with short, recurrent melodic references (though not nearly as codified as Wagner) and a brilliant use of the orchestral palette. Equally impressive is his handling of side-by-side comedy and pathos — something not easily achieved — and his ease in carrying us from one emotion to the other. In contrast, with its closer adherence to the original material, Leoncavallo’s opera is weighted by the overall tragedy and its adaptation to more traditional operatic formulas, leading to its virtual eclipse some 10 years after the premiere. Puccini won the day, as the popularity of his La bohème continues to endure.

the royal patron. Consequently, many were reduced to near financial ruin — debt, disease, and death were constantly on the horizon.

The dark labyrinth of pre-Haussmann Paris afforded a variety of itinerant living opportunities. One of Murger’s group of impoverished Water Drinkers (who drank water so as not to offend those who couldn’t afford wine), known only as Karol, slept in a tree; another, evicted from his lodgings, walked the streets for hours, only to drop from hunger and exhaustion; and yet another, known as Le Christ, was one of many to fall victim to tuberculosis after a long bout with the illness. An acquaintance, Gaspard-Félix Tournachon, better known today as Nadar, Henry Murger and His Circle was forced to walk around Paris for several La vie bohémienne is a phenomenon not unique days dressed as a Turk because he didn’t have sufficient funds to pay for a costume rental to the Latin Quarter of 19th-century Paris. Its and redeem his street clothes. Murger jokes of timelessness is evidenced throughout history, a time when he himself was unable to receive th from the Moulin Rouge of late 19 -century a visitor because he had no trousers — he and th France and early 20 -century Weimar-era his roommate shared a single pair.

Berlin, New York’s Greenwich Village and Harlem Renaissance, the Beat Generation of the 1950s, and Andy Warhol’s Pop Art Factory, Murger’s circle is a varied group, encompassing both the famous and the to Europe’s nomadic gypsies living a marginal forgotten, many of whom found their way existence, their origins lending the lifestyle its descriptive name. The vogue for Bohemianism into the tales. The novel’s poet, Rodolphe in Paris during the 1830s was, in part, a reaction is, of course, the author himself. The painter Marcel is a blend of two artists, to the overthrow of the restrictive Bourbon Tabar and Lazare, and a work referenced monarchy and subsequent triumph of the in the novel (and opera), Passage of the Red bourgeoisie. But it was Henry Murger who Sea, is an actual epic painting Tabar was was at the core, giving the Bohemian life its unable to complete due to lack of resources. widespread appeal a decade later by way of 22 Colline is another mix of two personages, vignettes, first serialized in the newspaper Le the philosophers Jean Wallon and Jean Corsaire-Satan, then presented as a play (La Trapadoux. Wallon was known for his outer vie bohème), and finally published as a novel garment with enormous pockets filled with (Scènes de la vie de bohème). books, and Trapadoux was called “the green Murger’s tales were adapted from his personal giant” because of his unusual height and long green topcoat. Schaunard is derived from the experiences as a starving artist — early in his dilettante Alexandre Schanne, first a painter, professional life he turned his back on law then a musician, whose composition The and pursued a career in writing. By the time Influence of Blue in the Arts is cited in the he had been appointed to the provocative novel, and whose episode with the poisoned French newspaper in 1845, he and his friends had lived through most of the events detailed parrot is mentioned in the opera. Another philosopher from the Scènes, Barbemouche, in the Scènes, often in appalling poverty and didn’t quite make it into the opera, which destitution. Bohemia was seen as a rite of passage for serious young artists who sought to is probably just as well since Murger didn’t make a name for themselves. State sponsorship much care for the two people he used for inspiration — the writers Charles had slackened, yet painters, writers, and Barbara and Charles Baudelaire. musicians still required a significant amount of free time to hone their craft. Art was created for its own sake, though with the hope of sale in a speculative market consisting of the bourgeois philistine rather than

Of the women, Murger coupled both Schaunard and Colline, encumbrances that were later removed for Puccini’s

opera. Schaunard’s belle, Phémie Teinturière, has no historical counterpart, nor does the mysterious Madame Colline, who is only spoken of but never seen — she prefers to stay at home to edit her husband’s manuscripts.

Musette, on the other hand, was based on a notorious vixen of the Latin Quarter, MarieChristine Roux. A pitch-deprived chanteuse and frequent artist’s model (including Ingres), she survives in posterity through her nudes by the photographer Nadar — the photos were the first studies of that genre to be printed.

She was depicted with less flattery in a novel, The Adventures of Mademoiselle Mariette, by another of Murger’s associates, the writer Champfleury, who used their brief affair to write a bitter memoir. Lovers were easily shared as women were able to move freely in Bohemia, unimpeded by respectable society’s morality.

The character of Mimì is more complicated and can be summarized as an aggregation of all of the women in Murger’s life. The nicer qualities are derived from the author’s first love, Angèle, a cousin who later wed someone else, and a married woman, Marie Fonblanc, whom he befriended. A completely unrelated tale in his oeuvre, “Francine’s Muff,” gives us much of the opera's Mimì — the first meeting of the lovers, the extinguished candle, the lost key (which she hides instead of him), the search in the moonlight, and the persistent cough. She represents Murger’s version of the era’s muchsought-after feminine ideal, the grisette which had achieved mythical proportions by the 1840s. Diametrically opposed to the nefarious lorettes (a group of femme fatales to which Musetta belongs), the grisette typically was a woman from the country, 18 years old and unmarried, who finds lodgings in the Latin Quarter, at that time relatively inexpensive because of the abundance of young students who lived there. She generally did handiwork at home (i.e. making artificial flowers),

| LA BOHÈME

ABOUT THE OPERA

11

COMPOSER with his Mimì. After several failed attempts to be together (and Lucille/Mimì’s various flings with other men), Murger/Rodolphe cannot bring himself to visit his dying ex-lover in the hospital. Prompted by his friends to claim her body, Rodolphe waits too long, her corpse ending up on the dissection table.

In spite of this veil of death and destitution, the Scènes are told with witty repartee and élan. Murger and his companions keep landlord Benoit and various other creditors at bay, while entertaining lavish midnight parties and expensive dinners at the Café Momus, an actual café Murger and his friends inhabited The darker side of the grisette is glaringly (during leaner times they would take over the apparent in the less flattering portrayal of smoking room with the initial outlay of only Lucille Louvet, with whom Murger had a long, five sous, the cost of a single cup of coffee). It tempestuous relationship. Little of Lucille appears Murger’s characters are not necessarily made it into Mimì of the opera, other than a short of financial opportunity, but whatever passing reference to her real name (“I’m called cash is earned seems to slip through their Mimì, although my name is Lucia …”), and her fingers with relative ease. One senses that death by consumption. It is true Mimì becomes Murger’s Bohemians have deeper pockets involved with a rich viscount midway through than they let on — among the author’s real-life the opera, but nothing compares to the living friends, more than one had middle-class roots hell Murger vividly chronicles in his Scènes and came from families of considerable means.

MINNESOTA OPERA ORCHESTRA VIOLIN I Allison Ostrander * Concertmaster Cynthia and Lawrence Lee Chair Natalia Moiseeva Assistant Concertmaster Julia Persitz David Mickens Angela Waterman Hanson Heidi Amundson Conor O’Brien Jill Olson Moser Colin McGuire Maisie Block

| MINNESOTA OPERA mnopera.org

VIOLIN II

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Laurie Petruconis * Elizabeth Decker

BASS CLARINET

Coca Bochonko

Paul Schulz

CELLO

BASSOON

Jim Jacobson * Connie and Lew Remele Chair

Coreen Nordling * Laurie Hatcher Merz

Karen Bushby

Teresa Richardson

HORN

Steve Dahlberg

Sally Gibson Dorer Rebecca Arons Kirsten Whitson

VIOLA Emily Hagen * Nina and John • Archabal Chair

Michael Burton Carolyn Cavadini Deanna Davis Sara Fanucchi Brian Goldenman

TRUMPET John G. Koopmann *

Charles Block

Christopher Volpe

Jason C. Hagelie

Martin Hodel

FLUTE

TROMBONE

Maggie Lofboom

Michele Frisch *

Phillip Ostrander *

Alejandro Magallón

Amy Morris

Richard Gaynor

Joel Mathias

David Stevens

Sarah Mehle

OBOE

CIMBASSO Itai Agmon *

Hannah Green Michelle Hayes Jason Hernandez Moriah Huerta Patricia Kent Gary Kubert

Eric Mellum John Allen Nelson Phong Nguyen

Megan Wagner Lu Zang Tracey Zavadil

CHILDREN'S CHORUS Madeline Anderson Nora Donnelly Eilif Dregni Otto Dregni Cecilia Dusek Natalie Harrison Ani Heikkila Madeline Johnson Gabriel Magallón Alice O’Brien India Pelster-Wiebe Norah Shea Rebekah Shein Kristian Stordalen

SUPERNUMERARIES

Matthew Barber *

Tyler Raad

Andy Flamm

PERCUSSION

Alex Ritchie

Stephen Hage

ENGLISH HORN

Steve Kimball *

Colin Rouser

Tom Ringberg

Rob McManus

Grant Scherzer

David Schneider

Cathryn Schmidt

Jim Stepka

Lauren Stepka

Elmer Tenecora-Jara

TIMPANI

Merilee Klemp

CLARINET

Robert Adney

Jennifer Gerth *

HARP

Laurel Browne

Nina Olsen

Min J. Kim * Marion Winslow Buchanan Memorial Chair

GIACOMO PUCCINI

Puccini was born into a family of court composers and organists in the historic city of Lucca, Italy. With a strong feeling of tradition in the Puccini family, it was expected that Giacomo would assume his deceased father’s position as maestro di cappella when he came of age. By 14 he already was playing organ in a number of the town’s churches. At age 18, however, a performance of Verdi’s Aida inspired him to devote his life to opera. In 1880, Puccini began composition studies with Amilcare Ponchielli at the Milan Conservatory of Music. There he was introduced into the professional artists’ circle, to which he would belong for the rest of his life.

Eryn Tvete

Matthew Opitz

Michael Dayton *

Susan Janda Jenny Lind Nilsson

Colleen Batty

John Michael Smith * Kenneth and Peggy Bonneville Chair

Bethany Gonella

David Block

Timothy Bradley

Alex Barnett

Mike Alexander

Melinda Marshall

Huldah Niles

Charles Hodgson

CHORUS

BASS

PICCOLO

Elise Parker

Matthew Wilson *

B. Lucca, December 22, 1858 D. Brussels, November 29, 1924

DAVID SANDER Dramaturg

James Bartsch

Stephan Orsak Margaret Humphrey

Murger himself warned of distinguishing serious Bohemians from aristocratic or bourgeois poseurs (those living the life to spite their families or because it was fashionable), yet he also cautioned that one should not remain in Bohemia for too long and punctuated his masterpiece with a chapter on that subject, “Youth is Fleeting.” Marie-Christine Roux managed to escape by amassing a small fortune as a high-priced call girl, only to die when her ship sank in the Mediterranean. Lazare moved into a house inherited from his father, Schanne took over the family toy factory, Baudelaire became famous and dandified, and three days after signing his book deal, Murger left the Latin Quarter for good, taking residence in the comfortable surrounds of Paris’ Right Bank.

The author never felt he had betrayed his Bohemian roots, though he would never find a literary success equal to his Scènes. And, with greater irony, he would die an early death at the age of 38, from the unhealthy consequences of his unbridled youth.

Staci Stringer Kristie Tigges Colyn Tvete

* principal • in memoriam

Giacomo Puccini as painted by Arturo Rietti (1863–1942) | Museo Teatrale alla Scala, Milan | Scala/Art Resource, NY

as Paris was at that time a major center for manufacturing. Her mores were slightly looser than those of a bourgeois girl, and the grisette had no qualms about moving in with a man to ease her financial burden. She was generally thought of as compassionate, thoughtful, and understanding, the only drawback being her willingness to withdraw if a better offer came along. Students, idle young bourgeois, and even minor nobility found them very appealing as temporary, yet caring companions. These women represented a denial of female intellect and creativity, instead pursuing romantic love.

number of cities outside of Italy, a remarkable feat for a virtually unknown composer. Puccini’s next opera, Edgar, was a resounding critical failure. However, the astute publisher, Giulio Ricordi, found fault in the libretto only, yet promise in the music. He pitted himself against the shareholders of his publishing house, who demanded that Puccini be released from retainer. Ricordi’s confidence was rewarded with Manon Lescaut, Puccini’s first true success.

The innocent girl, totally humiliated, took poison and died after five days of unbearable suffering. Giacomo took refuge in Rome and Elvira fled to Milan. Doria’s family sued Elvira following an autopsy that proved Doria’s virginity. As it turned out, the affair was with Doria’s cousin, Giulia, which eventually produced a son. (Elvira’s defamatory sanctions were actually fueled by her daughter, Fosca, who was caught by Doria in her own adulterous affair.)

In 1884, Puccini became acquainted with Elvira Gemignani who was encouraged by her husband, a pharmacist and former classmate of Puccini’s, to take voice lessons with the composer. Shortly after his mother’s death, he was joined by Elvira and her daughter, Fosca, in Milan. She left her son, Renato, with her husband. Two years later she gave birth to their only child, Antonio, which caused a great scandal in Puccini’s birthplace of Lucca — his family, very conventional and religious, was outraged. He seldom visited that city again in his lifetime.

Puccini and his wife lived apart for four months while Elvira persisted in defending her legal position. The case was tried and she was sentenced to five months’ imprisonment — but Puccini made a large financial settlement with the Manfredi family and the lawsuit was dropped. In September of 1909, Giacomo, Elvira and Antonio were reunited at Torre.

A month later he wrote, “In my home I have peace — Elvira is good — and the three of us live happily together.”

Puccini’s later operas were quite varied in their During the 1890s, Puccini began working with styles and subjects. La fanciulla del West, set in the American West, is notable for its advanced Luigi Illica, who worked out the scheme and impressionistic orchestration and composition. drafted the dialogue, and with the poet and La rondine was designed to be a sentimental playwright Giuseppe Giacosa, who put Illica’s lines into verse. Although they had participated musical comedy in the Viennese style. Il trittico in Manon Lescaut (as part of a string of several was a mixed bag of one-act operas: Il tabarro, a librettists), their first real collaboration was La tip-of-the-hat to Italian verismo; Suor Angelica, Puccini was not a prolific composer. Unlike a nun embroiled in a battle for the future of bohème in 1896, followed four years later by most of his contemporaries, there were long her illegitimate child; and most popular of the intervals between his operas, partly because of Tosca and then Madame Butterfly four years after that. Giacosa died in 1906, putting an end three, Gianni Schicchi, a comic masterpiece his fastidiousness in choosing and modifying that features Puccini at his most exuberant. to the successful team that produced three of his subjects. Often he would abandon them Puccini’s most enduring works. after only several months. His constant Turandot was Puccini’s last (and arguably his demands for modifications of the texts greatest) opera. Unfortunately, he died before In 1904, Giacomo and Elvira were finally frequently delayed the progress of his projects. completing it. Another composer finished the married legally, following her first husband’s Much of Puccini’s time, too, was spent hunting job, but at the premiere Arturo Toscanini set death.

Their relationship, however, was a in the marshes around his home and traveling down his baton and refused to continue past constant storm.

She was insanely jealous, and abroad to supervise revivals of his works. a letter, written prior to their union, stated her Puccini’s last note. decision to leave him. Many of her accusations Puccini’s first work for the stage, Le villi, was originally submitted to a contest sponsored by about him were not unfounded. The composer Puccini has been much maligned for his had quite a weakness for women and carried on flirtation with popular culture, but he had an the music publisher Edoardo Sonzogno. The uncanny feel for a good story and a talent for many extramarital affairs throughout his life. one-act opera did not receive even honorable composing enthralling yet economical music. mention, but Puccini was certain of its merit.

Like many of his contemporaries, he constantly While Puccini was recuperating from an He and librettist Ferdinando Fontana began was experimenting with tonality and form, automobile accident, a young girl named to canvass the opera to the broader circle of the though his experiments were always subtle Doria Manfredi was hired as a nurse and maid.

Italian intelligentsia. One of these individuals and without controversy. Having produced She remained in the household as the Puccinis’ was the highly influential Arrigo Boito (at that only 12 operas, the composer’s personal life maid.

Elvira saw the makings of an affair and time in correspondence with Verdi about the was plagued with self-doubt and laborious immediately discharged her.

But that was preparation of the libretto for Otello), who was perfectionism. Still, Puccini profoundly not enough.

She continued her slanderous instrumental in getting Le villi staged. influenced the world of opera with a deep accusations through the small village, and understanding of music, drama, and humanity. the townspeople, aware of her husband’s past The reception to the new work was mixed, philandering, quite naturally believed her. but the revised two-act version was staged in a

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ABOUT THE OPERA

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THE ARTISTS

assistant conductor Jonathan Brandani is an emerging Italian-born conductor appreciated for his “fine regard for the score’s details,” his “clear, purposeful indications,” and “his enthusiasm” (Seen and Heard International). Starting in September 2017, Jonathan will begin his new position as assistant conductor at Minnesota Opera. Recent engagements include his successful conducting debut at the Deutsche Oper am Rhein, (Dusseldorf, Germany) in L’elisir d’amore and concerts as guest conductor of the St. Cloud Symphony. Having led performances of Tosca last season at Minnesota Opera, Mr. Brandani will also conduct performances of La bohème in May 2017, and will be the music director of Don Pasquale, the opening production of Minnesota Opera’s 2017–2018 season. Since 2012, he has been Music Director of LuccaOPERAfestival (Italy).

He has also been associate conductor of Des Moines Metro Opera and assistant conductor of the Philharmonia Orchestra of Yale University. He is a laureate of the Merola Opera Program of San Francisco Opera center. Between 2015 and 2017, he has been a member of the Resident Artist Program of Minnesota Opera as assistant conductor.

William Lee Bryan

marcello A native of Saint Paul, Minnesota, baritone William Lee Bryan was praised in the Star Tribune for his “large, ingratiating baritone” in the role of Curly in Bloomington Civic Theater’s production of Oklahoma!. Mr. Bryan has performed opera, operetta, musical theater, and concert works across the United States. He holds a bachelor of music degree in vocal performance from the University of Minnesota, where he studied with Philip Zawisza, and a master of music degree in vocal performance from Florida State University, studying with David Okerlund. His favorite roles have included Don Giovanni, Elmer Gantry, and Elijah, Ford in Falstaff, Demetrius in A Midsummer Night’s Dream, Rappaccini in La hija de Rappaccini, Fredrik in A Little Night Music, Lancelot in Camelot, Hans Scholl in Weisse Rose, and Guglielmo in Così fan tutte. Mr. Bryan joined Minnesota Opera this season, performing the roles of the Duke of Verona in Romeo and Juliet, and Mr. Hatfield in Dinner at Eight.

MINNESOTA OPERA RESIDENT ARTIST

MINNESOTA OPERA RESIDENT ARTIST

Octavio Cardenas

| MINNESOTA OPERA mnopera.org

stage director Octavio Cardenas has been captivating audiences with his visionary, visceral, and physical style of directing.

Upcoming productions include Maria de Buenos Aires for Des Moines Metro Opera, and the world premiere of Bless me Ultima with Opera Southwest.

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Octavio’s recent directing credits with Silent Night for Fort Worth Opera and Kansas City Lyric Opera were described as “a breathtaking realization” with “many brilliant touches.”

The Kansas City Star called the Lyric’s production “one of its finest performances in recent memory.” Other recent productions include Galileo Galilei for Des Moines Metro Opera, Carmen for Opera Santa Barbara, and Florencia en el Amazonas with the Tulsa Opera Young Artist Program.

As Director of Opera for Baylor University, Octavio has directed productions of L’elisir d’amore, The Turn of the Screw, Dialogues des Carmélites, and La finta giardiniera. He currently serves as the head of the directing staff at Des Moines Metro Opera and has also been on the directing staff at Chautauqua Opera.

MINNESOTA OPERA RESIDENT ARTIST ALUM

Michael Christie

conductor Michael Christie began his tenure as the first-ever music director of Minnesota Opera with the 2012–2013 season. Before coming to Minnesota, he served as music director of the Phoenix Symphony (2005–2013), the Brooklyn Philharmonic (2005–2010), the Queensland Orchestra (Brisbane, Australia; 2000–2004), and the Colorado Music Festival in Boulder (2000–2013).

Recent and upcoming opera highlights include productions of Madama Butterfly, Alice in Wonderland, The Ghosts of Versailles, and The Death of Klinghoffer with the Opera Theatre of Saint Louis; Silent Night and The Ghosts of Versailles with the Wexford Festival Opera; Pulitzer Prize-winning Silent Night (world premiere), Diana’s Garden, Das Rheingold, Roméo et Juliette, The Shining (world premiere), Ariadne auf Naxos, and Rusalka, among others, with the Minnesota Opera; The Ghosts of Versailles and West Side Story with the Aspen Opera Theatre; Dead Man Walking, Don Giovanni, and Aida with the Washington National Opera; The Gospel of Mary Magdalene (world premiere) at the San Francisco Opera; and The (R)evolution of Steve Jobs (world premiere) with the Santa Fe Opera; as well as engagements with Opéra de Montréal, Opera Philadelphia, and Lyric Opera of Chicago’s Rising Stars.

Nicole Cabell

mimì Nicole Cabell, the 2005 Winner of the bbc Singer of the World Competition in Cardiff and Decca recording artist, is one of the most sought-after lyric sopranos of today. Her solo debut album Soprano was named “Editor’s Choice”

by Gramophone and has received an incredible amount of critical acclaim and several prestigious awards, including the 2007 Georg Solti Orphée d’Or from the French Académie du Disque Lyrique and an Echo Klassik Award in Germany.

Ms. Cabell’s 2016–2017 season features her debut as Bess in Porgy in Bess with the Sydney Symphony Orchestra, as well as performances of Mimì in La bohème with Cincinnati Opera, and of the Countess in Le nozze di Figaro with Angers Nantes Opera.

The 2015–2016 season included the title role of Alcina at the Grand Théâtre de Genève, Hanna in The Merry Widow with Lyric Opera of Chicago, Violetta in La traviata at the Royal Opera House – Covent Garden, Juliette in Roméo et Juliette with Atlanta Opera, Mimì at Michigan Opera Theatre, and Rosalinde in Die Fledermaus with Cincinnati Opera. Ms. Cabell was last seen at Minnesota Opera as Adina in L’elisir d’amore.

Christopher Colmenero

parpignol Tenor Christopher Colmenero began his first season at Minnesota Opera, singing Benvolio in Romeo and Juliet and Froh in Das Rheingold. He also covers the title role of Roméo and Rodolfo in La bohème. Other engagements include performing Judge Danforth in Robert Ward’s The Crucible for Purchase Opera and Carlson in Carlisle Floyd’s Of Mice and Men for the Phoenicia Festival. Mr. Colmenero also sang Pablo Neruda in Daniel Catán’s Il Postino at Mannes Opera, as well as the Male Chorus in Britten’s The Rape of Lucretia and the title role in Stravinsky’s Mavra. At the Purchase College Conservatory of Music, where he received both his bachelor’s and master’s degrees, he performed the roles of Prince Charmant in Cendrillon, Tamino in Die Zauberflöte, and Rinuccio in Gianni Schicchi.

He was also a studio artist at Chautauqua Opera in 2014 and a 2016 Opera Saratoga apprentice artist. Christopher has distinguished himself as a district finalist at the 2016 Metropolitan Opera National Council Auditions and was a third place Upper Midwest Regional Winner in the 2017 Metropolitan Opera National Council Auditions.

MINNESOTA OPERA RESIDENT ARTIST

Ben Crickenberger

benoit/alcindoro Baritone Ben Crickenberger is a frequent performer with Minnesota Opera, having been featured as Alcindoro in Opera Under The Stars, the outdoors series of La bohème, and Mafia Guy No. 2 in the world premiere of Paul Moravec and Mark Campbell’s The Shining. He has been a member of the ensemble for several seasons in productions of Carmen, the world premiere of Silent Night, Così fan tutte, La traviata, La Cenerentola, Orfeo ed Euridice, Roberto Devereux, Casanova’s Homecoming, The Pearl Fishers, Il barbiere di Siviglia, The Adventures of Pinocchio, Faust, The Fortunes of King Croesus, Roméo et Juliette, L’italiana in Algeri, and Un ballo in maschera. Other roles include the Guard in Aladdin Jr. for Children’s Theater Company; the Captain in Anything Goes and Rapunzel’s Prince in Into The Woods at the University of Minnesota’s Opera Theater; and Marcus Lycus in A Funny Thing Happened on the Way to the Forum at the Minnesota Repertory Theater.

Marcus Dilliard

lighting design Marcus has designed for opera, theater, and dance across North America and in Europe, including numerous productions for Minnesota Opera, Lyric Opera Kansas City, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater, and Theatre de la Jeune Lune. Recent designs include La fanciulla del West, Hänsel und Gretel, and L’elisir d’amore for Minnesota Opera; Otello for Pittsburgh Opera; Silent Night for Cincinnati Opera; Love’s Labour’s Lost for Actors Theatre of Louisville and The Moving Company; Tartuffe for South Coast Repertory; Dead Man Walking for Madison Opera; The Ballad of Emmett Till for Penumbra Theater; and Cabaret for Theater Latté Da. Other projects include By the Way and Meet Vera Stark for Penumbra Theater; Silent Night for Lyric Opera Kansas City; Tartuffe for Berkeley Repertory Theater and the Shakespeare Theater; and The Barber of Seville for Madison Opera.

Thomas Glass

schaunard Baritone Thomas Glass joins the Minnesota Opera this season as Capulet in Romeo and Juliet, Gustave in Dinner at Eight, and Schaunard in La bohème. He also covers Mercutio in Romeo and Juliet and Donner in Das Rheingold. Mr. Glass has previously appeared in the Opera’s celebrated world premiere production of Kevin Puts and Mark Campbell’s Silent Night. For the Wolf Trap Opera Studio, Mr. Glass performed as Joseph in Corigliano’s The Ghosts of Versailles in 2015, and returned the following year as Bragherona in Florian Leopold Gassmann’s 18th-century rarity L’opera seria, where he also covered the roles of Tarquinius in The Rape of Lucretia and Schaunard in the Filene Center’s production of La bohème. The young baritone received his master of music degree in vocal performance from Rice University and his undergraduate degree from Saint Paul’s University of St. Thomas. He has also attended the American Institute of Musical Studies in Graz, Austria.

MINNESOTA OPERA RESIDENT ARTIST

Mary Evelyn Hangley

musetta For her first season at Minnesota Opera, soprano Mary Evelyn Hangley appears as Woglinde in Das Rheingold, and Miss Copeland in Dinner at Eight.

This summer she will be at The Glimmerglass Festival covering the role of Eleonora in L’assedio di Calais and performing as Ellen in Oklahoma!.

In summer 2016, she was a participant in San Francisco Opera’s prestigious Merola Opera Program, singing #2 in Conrad Susa’s Transformations and performing scenes as Anna Bolena, Atalanta in Serse, and as the title role in Arabella.

Previously, Ms. Hangley was an apprentice artist at Sarasota Opera and also performed Frau Fluth in Die lustigen Weiber von Windsor in Weimar Germany. She has been seen at the Janiec Opera Company, singing Micaëla in La tragédie de Carmen and Steampunk in the world premiere of Michael Ching’s Speed Dating Tonight!.

Ms. Hangley received her master of music in vocal performance from Florida State University, where she has sung Juliette in Roméo et Juliette, Bea in Three Decembers, and Mary Willis in Cold Sassy Tree.

MINNESOTA OPERA RESIDENT ARTIST

Miriam Khalil

mimì Praised for her alluring stage presence and distinctive vocal tone, LebaneseCanadian soprano Miriam Khalil is an alumna of the Canadian Opera Company Ensemble Studio.

In 2007, she won first place in the Metropolitan Opera National Council Auditions (Great Lakes Region) and appeared on the Met documentary The Audition.

Her performance credits include Glyndebourne Festival Opera, Canadian Opera Company, Opera Tampa, Opera Hamilton, Against the Grain Theatre (AtG), Edmonton Opera, Pacific Opera Victoria, Opera Lyra Ottawa, and prominent orchestras across Canada. Most recently, she was heard as Donna Elvira in Don Giovanni with Opera Tampa and Adriana in Jacinto Guerrero's Los Gavilanes with Toronto Operetta Theatre. Other major roles include, Mimì in La bohème, Mélisande in Pelléas et Mélisande, the Governess in The Turn of the Screw, Susanna in Le nozze di Figaro, Cleopatra in Giulio Cesare, and Almirena in Rinaldo, among others.

Upcoming engagements include Donna Elvira in Don Giovanni with Edmonton Opera, and Golijov's acclaimed song cycle Ayre in Rockport, Maine.

Adam Luther

rodolfo From Newfoundland, Adam Luther is one of Canada’s most exciting and busy leading tenors.

Highlights for the present season include Elijah for Chorus Niagara, Tamino in Die Zauberflöte for Pacific Opera Victoria, an opera gala for the Sacramento Symphony, and a return to the Salute to Vienna series throughout the United States.

Last season, he sang Pinkerton in Madama Butterfly for Vancouver Opera, Alfredo in La traviata for Orchestre symphonique de Trois-Rivières, Cassio in Otello for Pacific Opera Victoria, Tamino in Die Zauberflöte for Calgary Opera, and Alfred in Die Fledermaus with the Kitchener Waterloo Symphony. Mr. Luther’s 2014–2015 season included Pinkerton in Madama Butterfly for Michigan Opera Theatre, Tamino in Die Zauberflöte for Edmonton Opera, and Pinkerton in Madama Butterfly for Pacific Opera Victoria. For the upcoming season, the tenor looks forward to making his debuts as Lensky in Eugene Onegin with Calgary Opera and Steva in Jenůfa with Pacific Opera Victoria, and reprises the role of Alfredo in La traviata with Manitoba Opera.

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Jonathan Brandani

THE ARTISTS

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THE ARTISTS

costume design Walter Mahoney, former Resident Costume Shop Manager for San Francisco Opera, celebrated his 50th anniversary with the company in 1994 and retired in 2003. He designed new costumes for the company’s productions of La bohème (1999, 1996, 1993), Faust (1995), Tannhäuser (1994), Die Meistersinger von Nürnberg (1993), L’elisir d’amore (1992), and Manon Lescaut (1988), the same year he interpreted the late Nicola Benois’ costume designs for Maometto ii. Also for San Francisco Opera productions, he designed costumes especially for Ruth Ann Swenson (Roméo et Juliette), Mirella Freni (Manon Lescaut), Frederica von Sade (La sonnambula), Marilyn Horne (Samson et Dalila), Katia Ricciarella (La traviata), Renata Scotto (Werther), and Ghena Dimitrova (Il torvatore). s.f. Opera Center credits include costume designs for the 2000 Showcase presentation of Albert Herring and Western Opera Theater’s 1999 production of Don Giovanni. In 1993, Mr. Mahoney was given the Opera Medal, the company’s highest honor, for his outstanding contribution to the company over a lengthy tenure.

The award has been given to such celebrated artists as soprano Dorothy Kirsten, tenor Plácido Domingo, cellist David Kadarauch, and director Francesca Zambello, among others, since 1970.

Alexandra Razskazoff

| MINNESOTA OPERA mnopera.org

musetta Soprano Alexandra Razskazoff joins Minnesota Opera for the 2016–2017 season, singing Wellgunde in Das Rheingold, Britomarte in Diana’s Garden, and Miss Alden in Dinner at Eight, while covering Juliette in Romèo et Juliette. This past summer, she was an apprentice artist at Santa Fe Opera and in summer 2017, will participate in the Merola Opera Program, where she will perform on the Schwabacher Summer Concert, as well as cover the title role in Sāvitri.

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Alexandra portrayed the First Lady in Die Zauberflöte and the Countess in Le nozze di Figaro at Juilliard, where she has pursued a master of music. She received her bachelor of music at the Peabody Conservatory, where she sang Blanche de la Force in Dialogues des Carmélites, Donna Elvira in Don Giovanni, Abigail Williams in The Crucible, and L’Écureuil in L’enfant et les sortilèges.

In 2014, Ms. Razskazoff was awarded second place in the regional Metropolitan Opera National Council Auditions, as well as first place in Sylvia Green Scholarship Competition. In 2016, she received third place in the Eleanor McCollum Competition.

MINNESOTA OPERA RESIDENT ARTIST

Edward Parks

marcello Baritone Edward Parks has been hailed by Opera News for his “warm, velvety baritone” and The New York Times for providing “precision, sensitivity, and nuance in abundance” and a “robust, earthy voice.” He was awarded third prize in Plácido Domingo’s 2015 Operalia Competition and was presented in the organization’s “The Voices of 2015” concert in Hungary. Last season included debuting with Virginia Opera as Marcello in La bohème and Des Moines Metro Opera as Ford in Falstaff, returning to Atlanta Opera as Mercutio in Roméo et Juliette, performing the music of composer Ben Moore with The Cliburn, the role of Escamillo in Carmen with PortOpera, and returning to the Metropolitan Opera to cover Schaunard in La bohème. The 2016–2017 season sees his Mercutio with Opéra de Monte Carlo on tour in Oman, the Count in Le nozze di Figaro with Lyric Opera of Kansas City, Escamillo in Carmen with Nashville Opera, a cover of Figaro in Il barbiere di Siviglia with the Metropolitan Opera, and the title role in the world premiere of The (R)evolution of Steve Jobs with Santa Fe Opera.

Benjamin Sieverding

colline Bass Benjamin Sieverding has been recognized by critics nationwide for his “surprising depth” (Boulder Daily Camera), “natural gift for comedy,” and “full, rich sound” (Ann Arbor Observer). For Minnesota Opera, he has appeared as Max Kane in Dinner at Eight, Frère Laurent in Romeo and Juliet, Truffaldino in Ariadne auf Naxos, Sarastro in The Magic Flute, the Sacristan in Tosca, and the Ranger and the Man-in-dog-mask in The Shining.

Most recently, Sieverding performed Montano in Minnesota Orchestra’s Otello. Earlier, he has reprised the roles he created in Theodore Morrison’s Oscar with Opera Philadelphia and made his role debut as Il Commendatore in Don Giovanni, performing as a guest artist with the University of Alabama Opera Theatre. An Apprentice Artist with Santa Fe Opera for two seasons, Sieverding made his company debut in three roles for the world premiere of Oscar. As one of the infirmary patients, Sieverding “lent heart-choking realism” to the role (Bay Area Reporter), and the Huffington Post called it “the single most moving scene in the opera.”

MINNESOTA OPERA RESIDENT ARTIST

Scott Quinn

rodolfo Lauded by the Dallas News for a “clarion” voice, tenor Scott Quinn sings his first performances of Boris in Kát’a Kabanová in his Seattle Opera debut in the 2016–2017 season. He also returns to the role of Pinkerton in Madama Butterfly with Palm Beach Opera. Last season, he made role and company debuts with San Francisco Opera as Števa Buryja in Jenůfa, Den Jyske Opera in the title role of L’amico Fritz, and Arizona Opera as Don José in Carmen. He also returned to Houston Grand Opera to create the role of Villiers in the world premiere of Floyd’s Prince of Players.

Mr. Quinn recently sang Alfredo in La traviata with the Lyric Opera of Kansas City, the Duke in Rigoletto with Atlanta Opera, and Narraboth in Salome with Dallas Opera. He recently returned to Houston Grand Opera as Pirelli in Sweeney Todd and Tamino in Die Zauberflöte, having once been part of its studio program. During his tenure, roles included Rodolfo in La bohème, Alfred in Die Fledermaus, Mr. Erlanson in A Little Night Music, the Sailor in Tristan und Isolde, Ruiz in Il trovatore, and the Herald in Don Carlos. Other recent performances include Ferrando in Così fan tutte with Fort Worth Opera and Pinkerton with Chautauqua Opera.

Michael Yeargan

set design Michael Yeargan’s set designs for plays and musicals include Seascape, the Light in the Piazza, South Pacific, Awake and Sing, Ah, Wilderness, and Joe Turner’s Come and Gone, all on Broadway, as well as numerous productions Off-Broadway and in regional theaters throughout the United States, including many at Long Wharf Theatre.

Yeargan designed his first opera production in 1970 — La bohème — at the Nevada Opera Company. Since that time his opera designs have been seen at the Metropolitan Opera, Seattle Opera, LA Opera, San Francisco Opera, Houston Opera, Glimmerglass, and New York City Opera, as well as the Royal Opera – Covent Garden, Welsh National Opera, Scottish Opera, the Théâtre Musical in Paris, Frankfurt Opera, and Opera Australia.

Michael Yeargan has won the 2005 Tony Award for Light in the Piazza and a Tony nomination and Drama Desk Award for Awake and Sing. He is the resident set designer at the Yale Repertory Theatre and is a long-time professor of stage design at the Yale School of Drama.

PROJECT OPERA

In February, Project Opera presented The Nightingale by Imant Raminsh to four sold-out houses at The Lab Theater.

The work is based on the Hans Christian Andersen fairytale. More than 70 students from around the Twin Cities and Western Wisconsin participated in the production onstage and in the pit. The creative team included Stage Director Heidi Spesard-Noble, Costume Coordinator Aaron Chvatal, Scenic Coordinator and Lighting Designer Sarah Brander, and Project Opera Music Director Matthew Abernathy, who conducted the show.

More info on Project Opera can be found at mnopera.org/project-opera

SUMMER CAMPS Summer Opera Camp JUNE 11–16, 2017

MAKING A JOYFUL NOISE WITH PEOPLE

55 +

Whether you have sung in the church choir for years or last sang in your high school choir, Voices of Opera invites you to join with fellow musicians to perform famous operatic excerpts and other choral favorites.

No audition required.

Program locations in Minneapolis, Bloomington, and Red Wing.

For details and to sign up for more information, visit mnopera.org/voices

A residential camp for kids grades 9–12, focusing on developing the individual voice. Daily vocal coaching, diction, master classes, and movement.

Opera Artist + JUNE 11–16, 2017

For college undergraduates, this week-long residential camp will explore what it means to be an opera artist in the 21st century.

Sing Out Children’s Chorus Day Camp JUNE 19–22, 2017

Campers will sing great children’s chorus music and learn healthy vocal technique and the fundamentals of acting. For children grades 3–6.

For registration, auditions times, camp locations, cost, and other information, visit mnopera.org/camps

| LA BOHÈME

Walter Mahoney

OPERA EDUCATION

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See all 5 operas for as low as $90!

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

DON PASQUALE | OCT 7–15, 2017

A toast to Tinseltown. In this take on Donizetti’s bubbly farce, the

miserly aristocrat Don Pasquale is a silent movie star grappling with the new problems and possibilities of the modern technicolor world and a series of amusing catastrophes.

WOLFGANG AMADEUS MOZART

THE MARRIAGE OF FIGARO | NOV 11–19, 2017

Love is a battlefield. Mozart’s infectious score brings wit, drama, and humanity to this comedy of errors widely considered the perfect opera.

Will Figaro and his charming fiancée make it to the altar as they attempt to fend off the philandering, arrogant Count Almaviva?

JAKE HEGGIE

DEAD MAN WALKING | JAN 27–FEB 3, 2018

Divine intervention. This heartbreaking story of grief, grace, and redemption has moved audiences worldwide since its premiere. Based on Sister Helen Prejean’s memoir that inspired the Oscar-winning movie of the same name, the opera recounts her courageous struggle to provide spiritual guidance to a condemned Louisiana murderer in the months leading up to his execution.

GIUSEPPE VERDI

RIGOLETTO | MAR 17–31, 2018

A fool’s revenge. Verdi’s tale of seduction and bitter revenge is boldly

imagined in this new production. The disfigured jester Rigoletto must do everything in his power to protect his innocent daughter from the lecherous Duke of Mantua before she falls into his clutches. Rigoletto tragically unfurls as it races toward its devastating conclusion.

JULES MASSENET

THAÏS | MAY 12–20, 2018

Give in to temptation. A devout monk seeks to convert Thaïs, a ravishingly

beautiful courtesan, but realizes too late that his pious obsession is rooted in lust, not religion. Massenet’s sensual and melodic creation, set in the deserts and oases of 4th-century Egypt, explores the conflict between the passion of the flesh and the salvation of the soul.

Season Sponsor

The Marriage of Figaro, 2016 © Dana Sohm for Lyric Opera of Kansas City.

OPERA FOR ALL AGES

A core part of the Opera’s mission is to engage community members of all ages through educational opportunities, in addition to producing high-quality productions and developing new talent through our Resident

Music Out Loud

coOPERAtion!

Minnesota Opera’s most vital access initiative, MUSIC OUT LOUD — an in-depth after-school program for underserved youth — has garnered national attention.

The school-yearlong program aims to leverage the company’s resources to close the achievement gap through an opera curriculum that supports socialemotional learning and academic achievement.

Currently in two schools, Music Out Loud serves 80 high-need 10–15 year olds.

The Opera’s robust COOPERATION! program helps ensure that Minnesotans across the state have access to the benefits of arts learning. This program brings opera education onsite into schools, libraries, assisted living homes, and community centers, and serves approximately 6,000 people annually. This year, the Opera will hold 25–40 residencies throughout the Twin Cities and Greater Minnesota.

Student Final Dress Rehearsals

Behind the Curtain, Opera Insights, and Taste of Opera

Artist Program. That manifests itself in our belief in lifelong learning and desire to help people be creative. Children who study the arts excel in school, and adults who participate in creative activities are more engaged in their communities, tend to volunteer more frequently, and enjoy a better quality of life. This year, Minnesota Opera will hold over 75 residencies and unique programs throughout the Twin Cities and Greater Minnesota. The company’s education programs will serve 24,000 youth and adults and bring opera and opera education to nearly every county in the state — from Mountain Iron to Austin.

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Project Opera, Summer Camps, and Day at the Opera Access to high quality training is available to young singers through PROJECT OPERA, serving students in grades 4–12. Many Project Opera students go on to leading music schools such as The Juilliard School, Rice University, Oberlin College, and Curtis Institute of Music. Further training is available through the company’s three SUMMER CAMPS serving elementary, high school, and college undergraduate students. Each year the company also hosts DAY AT THE OPERA, a day-long career exploration program at the Opera Center providing a master class, a question-and-answer session with Resident Artists, and a mainstage rehearsal observation for young singers from around the state.

Voices of Opera Minnesota Opera provides targeted programs for individuals that are 55 and older, including new initiatives designed to keep pace with and more fully serve the state's growing aging population. Existing work includes a long-standing collaboration with Lyngblomsten Senior Housing. Artists regularly visit the campus, performing for residents in advance of their attending a mainstage show. In the 2017–2018 season, Minnesota Opera will launch a new program, VOICES OF OPERA, in partnership with Artistry Theater in Bloomington and the Sheldon Theater in Red Wing. This new Creative Aging Initiative will be structured as a choral program for active seniors ages 55 plus and will serve 150 individuals living throughout the state.

Minnesota Opera’s education program is also designed to teach curious minds about each production and provide a first-hand look into the process of developing a work. Additional education initiatives include BEHIND THE CURTAIN , a lecture series held five times every season in advance of each mainstage production; OPERA INSIGHTS , an informational session held prior to each performance in the lobby; and TASTE OF OPERA , a pre-show meal and relaxed conversation with experts from the world of opera.

We’re working on the future here. Most of these kids won’t be musicians. But they will be citizens.”

– José Antonio Abreu, founder of El Sistema

| LA BOHÈME

| MINNESOTA OPERA mnopera.org

STUDENT FINAL DRESS REHEARSALS , in which students are introduced to opera through free or reduced cost tickets to mainstage performances, also provide a critical point of access. Approximately 3,000 students attend; for many it is their first operatic experience as well as their first visit to a professional theater.

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MEET THE ARTISTS

MOONLIGHT SONATA

Nicole Cabell Where’s home for you?

Nicole Cabell: I currently live in Chicago, but I am from Ventura, California.

Miriam Khalil: I live in Toronto with my husband and three-year-old son.

Describe Mimì in three words.

NC: Clever, passionate, and lonely.

MK: Honest, warm, and courageous.

List five things that you can’t live without when you’re away from home.

NC: My computer, yoga mat, wine, noise cancelling headphones, and herbal teas.

| MINNESOTA OPERA mnopera.org

MK: Tea, travel mug, a good book, running shoes, and my phone.

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What is your history with this role?

NC: I've sung Mimì at the Paris Opera and at Michigan Opera Theatre, and I’ve sung Musetta more times than I can count! Mimì was always my dream role, so I jump at any chance to perform her.

MK: La Bohème was the first full-length opera I ever saw. I loved it. It was also the first role I was hired to sing professionally after completing my last year of a young artist program. Prior to that, I had covered roles and gone on, but this was the first role that was officially given to me.

MORNING PAPER

Miriam Khalil

Tell us about the first time you heard or saw an opera.

NC: The first time I heard an opera was on pbs. The opera was Madama Butterfly.

Shortly after that, I became obsessed with Kiri Te Kanawa's Puccini album. I was drawn in by Te Kanawa's vocal beauty more than the music, but of course, with time, I came to immensely appreciate both.

MK: The first time I heard opera was in my teens when I was given a Maria Callas cd. I remember playing the trio “Zitti zitti, piano piano” from The Barber of Seville over and over again and my amazement at the speed of the notes and the ease with which the singers sang.

How are you similar to your character in La Bohème?

NC: I often lead with the heart and can be very emotional. I value a somewhat simple life where the focus is on relationships, and I am also a loyal person.

MK: Both Mimì and I are shy but open, and we both sometimes babble when we get nervous.

What are the underlying elements of the story that audiences can relate to today?

NC: As with most aspects of life, love is the most important, driving force in life. La Bohème is all about love. Finding it, fighting for it, keeping it, and letting it go with the hope it will return. A genuine, heartfelt loving

relationship is at the center of this opera, which always keeps audiences coming back for more. There is also something so appealing about the discovery of a new romance, which is so central to the first couple of acts. We can all relate to the fascination of each new discovery. But the relationship between Marcello and Musetta is also something most can relate to — the imperfection of incompatible personalities who can't help but be drawn to each other regardless.

MK: La Bohème is a story about love, passion, heartbreak, and death. There's something in there for everyone. I think audiences really relate to the characters the most, though. They are all real and unpretentious, self-deprecating, modest, and really care about each other.

What is your favorite thing about Paris?

NC: Paris is easily the most romantic city in the world, and while this is obviously appealing to most anybody, it is Paris' living history that always draws me back. I'm a history buff and can never get enough of discovering the rich and complex stories of one of the world's most beautiful cities.

MK: Walking through the streets of Paris is astounding. I love that you can walk from one landmark to another and stop in between at the cutest patisseries to people-watch.

Nicole Cabell's biography appears on page 14 and Miriam Khalil’s biography appears on page 15.

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INDIVIDUAL GIVING

It is with deep appreciation that Minnesota Opera recognizes individual donors who have made gifts to our Annual Fund, Fund-a-Dream, and Opera Innovate NOW campaigns. Thank you for making this exceptional art come to life.

bel canto circle

Platinum $50,000 and above Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Mary Ingebrand-Pohlad Lucy Rosenberry Jones and James E. Johnson C. Angus and Margaret Wurtele Wayne Zink and Christopher Schout Platinum $20,000 – $49,999 Richard Allendorf Martha and Bruce Atwater Fund of The Minneapolis Foundation Patricia Beithon Mary and Gus Blanchard Jay and Rebecca Debertin

camerata circle Platinum $7,500 – $9,999 Anonymous Allegro Fund of the Saint Paul Foundation Ken and Peggy Bonneville Alfred and Ingrid Lenz Harrison Christl and Andrew Larson Connie and Lew Remele

Gold $5,000 – $7,499 Anonymous Donald E. Benson William Biermaier and David Hanson Nicky B. Carpenter Peter Davis and Pamela Webster Dr. Richard Gregory Norton Hintz* and Mary Abbe Dorothy Horns and James Richardson Jay and Cynthia Ihlenfeld The Art and Martha Kaemmer Fund of hrk Foundation Robert and Sandy Klas Robert Kriel and Linda Krach Ilo and Margaret Leppik Diana Lee Lucker

| MINNESOTA OPERA mnopera.org

artist circle

24

$1,000 – $2,499 Anonymous (3) Arlene and Tom Alm Floyd Anderson Annette Atkins and Tom Joyce Ruth and Dale Bachman Thomas and Ann Bagnoli Rebecca D. Arons and Thomas J. Basting Jr. Carl and John Behr Barbara S. Belk Ed and Mimi Bohrer Drs. Eli and Jan Briones Susan Calmenson Joan and George Carlson Barb and Jeff Couture Mike and Stacey Crosby – The Longview Foundation Helen and John Crosson Cy and Paula DeCosse Fund of The Minneapolis Foundation

Sara and Jock Donaldson William I. and Bianca M. Fine Charitable Trust Mr. and Mrs. Philip Isaacson John and Kathleen Junek Miriam and Erwin Kelen Harvey Thomas McLain Leni and David Moore Jr./Moore Family Fund for the Arts of The Minneapolis Foundation Albin and Susan Nelson Kay Ness and Chris Wolohan Elizabeth Redleaf Paul and Mary Reyelts Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol William White

Gold $15,000–$19,999 Anonymous (2) An Anonymous Fund of The Minneapolis Foundation Ellie Crosby – The Longview Foundation Sharon Hawkins Robert L. Lee and Mary E. Schaffner Jose Peris and Diana Gulden Virginia L. and Edward C. Stringer

Kendrick B. Melrose Donor Advised Fund of The Minneapolis Foundation Karla Miller Dr. and Mrs. Alfred Moore Jenny L. Nilsson and Garrison Keillor Sarah and Rolf Peters Ken and Nina Rothchild Dorothy Sinha Nadege J. Souvenir and Joshua A. Dorothy Silver $2,500 – $4,999 Anonymous Dan and Martha Goldberg Aronson Michelle Blaeser Michael Birt Alexandra O. Bjorklund Stephen and Margaret Blake Shari and David Boehnen Will and Margee Bracken Ann and Glenn Buttermann Laurie Carlson and William Voedisch Darlene J. and Richard P. Carroll Family Fund of The Minneapolis Foundation

Michael and Alexis Christie Rusty and Burt Cohen Gisela Corbett Ruth and Bruce* Dayton Thomas and Mary Lou Detwiler Ralph D. Ebbott Dr. Mary Anne Ebert and Paul Stembler Joyce and Hugh Edmondson Rosanne and Ken Everson Ann Fankhanel Bruce and Melanie Flessner Patricia R. Freeburg Kathy and James Ganley Judith Garcia Galiana and Alberto Castillo Sandi and Mike Genau Mrs. Myrtle Grette Mary Guignon Richards Susanne Haas and Ross Formell Roger and Karen Hale Michele Harris and Peter Tanghe Dr. Arthur and Fran Horowitz Hella Mears Hueg* Diane and Paul Jacobson Dale A. Johnson Patricia Johnson and Kai Bjerkness Hubert Joly Robert and Susan Josselson

Lyndel and Blaine King Robert and Venetia Kudrle David MacMillan and Judy Krow Dorothy and Roy Mayeske Jean McGough Holten Mary Bigelow McMillan* Velia R. Melrose Sandy and Bob Morris From the Family of Richard C. and Elizabeth B. Longfellow Richard and Nancy Nicholson Luis Pagan-Carlo and Joseph Sammartino Mrs. William S. Phillips John and Sandra Roe Foundation Thomas D. and Nancy J. Rohde James and Andrea Rubenstein Frank and Lynda Sharbrough Ryan Taylor Dr. Andrew J. Thomas Dr. Norrie Thomas and Gina Gillson Stephanie C. Van D’Elden Drs. Craig S. and Stephanie R. Walvatne Ellen M. Wells Nancy and Ted Weyerhaeuser Woessner Freeman Family Foundation

Charles M. Denny Jr. and Carol E. Denny Fund of The Minneapolis Foundation Mrs. Susan DeNuccio Joan Duddingston Laura and Tim Edman Rondi Erickson and Sandy Lewis Ester Fesler Gail Fiskewold Salvatore Silvestri Franco James and Teddy Gesell Heidi and Howard Gilbert Jennifer Gross and Jerry LeFevre Thomas and Mary Gross Bruce and Jean Grussing Marion and Donald Hall Ann Marie Hanrahan Don Helgeson and Sue Shepard Stefan and Lonnie Helgeson Elfrieda Hintze Steve Horan Thomas Hunt and John Wheelihan Peter Hyman

Jill Irvine Crow Janet N. Jones Charles and Sally Jorgensen Jane and Jim Kaufman Fund of The Minneapolis Foundation Margaret V. Kinney Sally and Bill Kling Mrs. James S. Kochiras Anna Kokayeff Kyle Kossol and Tom Becker Constance and Daniel Kunin Laurence and Jean LeJeune Virginia Levy Teresa and Kaiser Lim Benjamin Y. H. and Helen C. Liu William F. Long James W. Lund Leland T. Lynch and Terry Saario Fund of The Minneapolis Foundation Reid and Ann MacDonald Martha MacMillan Carolyn Mayo

Barbara McBurney Helen and Charles McCrossan Deb and Jon McTaggart Eileen and Lester Meltzer David* and LaVonne Middleton David E. and Judy L. Myers Betty Myers Joan and Richard Newmark Ruth and Ahmad Orandi Derrill Pankow Sally and Thomas Patterson Suzanne and William Payne Marge and Dwight Peterson Kay Phillips and Jill Mortensen Mary and Robert Price Phyllis Price Scott and Courtney Rile Lois and John Rogers Dr. Donald V. Romanaggi Sr. Sampson Family Charitable Foundation David E. Sander Fred and Gloria Sewell

Silver $10,000–$14,999 Anonymous Nina and John* Archabal Karen Bachman Susan S. Boren Rachelle Dockman Chase Jane M. and Ogden W. Confer

Nancy and Rolf Engh Dolly J. Fiterman Mr. and Mrs. William Frels Beverly N. Grossman Maureen and Mike Harms Warren and Patty Kelly Chris Larsen and Scott Peterson Mary Ash Lazarus and Barry Lazarus Cynthia and Lawrence Lee Don and Patricia Romanaggi Jennifer and Chris Romans Mahlon and Karen Schneider Mary H. and Christian G. Schrock Jesse and Linda Singh David Strauss

artist circle (continued)

Cherie and Robert Shreck Stephanie Simon David Smith Joan T. Smith

patron circle

Gold $750 – $999 Anonymous Gerald and Phyllis Benson Maureen and John Drewitz Holli and Stefan Egerstrom Jonathan and Lisa Lewis Lucia Newell and Steven Wiese Liane A. Rosel Rhonda Skoby Warren Stortroen David L. Ward Silver $500 – $749 Anonymous (2) Thomas Allen Katherine Anderson Laurie Anderson and Jon Hanson August J. Aquila and Emily Haliziw Jo and Gordon Bailey Family Fund of the Catholic Community Foundation Ravi Balwada Donald and Naren Bauer Christopher Beaudet Bender Vocal Studio Chuck and Estelle Bennett Laura Bishop Mitch and Michele Blatt

associate circle

$250 – $499 Anonymous (3) Joy K. and J.C. Amel Kay C. Bach James and Gail Bakkom Kenneth J. Berglund John and Cindy Beukema Sharon Bigot David and Diane Blake Allen Brookins-Brown Roger and Ronnie Brooks Dr. Hannelore Brucker Philip and Carolyn Brunelle Renee Campion and David Walsh Katherine L. Castille C. Cesnik Laura Green Chaffee and Matthew Chaffee Wanda and David Cline Kay Constantine Jeanne E. Corwin Shana Crosson and John Gisselquist Anthony Diaz Kara and Sean Dorsey Kathleen and Douglas Drake Patrick Dufour and Molly O’Brien Candace and Dan Ellis Charlie and Anne Ferrell Mina Fisher and Fritz Nelson Steven and Mimi Fisher Carol and Mike Garbisch

Kevin and Lynn Smith Matthew Spanjers and Annie Carvalho Daniel J. Spiegel Family Foundation

Julie Steiner Dana and Stephen Strand Carley M. and Bill Stuber Lester Temple Jill and John Thompson

Mrs. Joanne Von Blon Mark Warnken John W. Windhorst Jr.

Martin and Patricia Blumenreich Thomas and Joyce Bruckner Alan E. and Ruth Carp Brenda Colwill Marilyn Crilley and George Rowbottom Lois Dirksen Barry Divine Ellen Doll and Jay Swanson David Dudycha and Dorothy Vawter Leah and Ian Evison Brian M. Finstad April Foley Terence Fruth and Mary McEvoy Family Fund of The Minneapolis Foundation Joan and William Gacki Mary and Brian Green Joseph and Deirdre Haj Tom and Susan Handley John Hogie Andrew and Gary Whitford Holey Burton and Sandra Hoverson Mary and Jeffrey Husband Barbara Jenkins Nancy Jones Erika and Herb Kahler Mary L. Kenzie Foundation Nathan Kulenkamp

James and Gail LaFave Scott and Karla Lalim Mr. Bryan Lechner Darby Lunceford and Todd Wright Ruth W. Lyons Frank Mayers Laura McCarten Kris and Bill McGrath Jack and Jane Moran Thomas and Stefanie Murtha Ilya Perepelitsyn and Lioudmila Sitnikova John and Margaret Perry Corine and John Petraborg Walter Pickhardt and Sandra Resnick Dennis M. Ready Lawrence M. Redmond Rehael Fund – Roger Hale/Nor Hall of The Minneapolis Foundation Michael and Tamara Root Bob Rose Christopher Ross Enrique and Clara Rotstein Marian R. Rubenfeld and Frederick G. Langendorf Jon L. Schasker and Debbie Carlson Richard and Carol Seaberg Gale Sharpe

Morris and Judith Sherman Bernie and Juliana Simmons Madeline Simon Stanislaw Skrowaczewski* Clifford C. and Virginia G. Sorensen Charitable Trust of The Saint Paul Foundation Mark and Kristi Specker Jon Spoerri and Debra Christgau Michael Steffes Allen Steinkopf Donna Stephenson Mary K. and Gary Stern Sharon and Thomas Stoffel Kent Stone Craig and Janet Swan Michael Symeonides and Mary Pierce Dr. Anthony Thein Josephine Trubek Cindy and Steven Vilks Susan Weinsheimer Elizabeth Wexler Deborah Wheeler Jeff and Joe Wiemiller Barb Wildes Frank and Frances Wilkinson John M. Williams Barbara and James Willis

Greta and Paul Garmers Stanley and Luella Goldberg Charlotte L. Grantier James Halverson Charles Hample Russell and Priscilla Hankins Laurie Hansen Nancy A. Harris Mounira Hassan Alfred E. Hauwiller Rosmarie and John Helling Clifton and Sharon Hill Stuart Holland Mark and Kathleen Humphrey Thomas and Vicki Hurwitz Mark and Jeanne Jacobson Deborah and Ronald Jans Charlie Johnson Kristine Kaplan Ed and Martha Karels Jim and Kathleen Karges Michael and Sheue Keenan Carole and Joseph Killpatrick Janice Kimes Dr. Daniel and Kerry Kincaid Beatrice H. Langford Kenyon S. Latham David and Darlene Lee Carol and Jeff Ley Holly MacDonald and John Orbison Stuart MacGibbon Dr. Joan E. Madden

Julia Madore Donald and Rhoda Mains Aimee and Robert Mairs Bridget Manahan and Joe Alexander Kristin and Jim Matejcek Harry McNeely Laurel and David Mech Adele Mehta Curtis and Verne Melberg Judith and James Mellinger Rita Meyer John L. Michel and H. Berit Midelfort Virginia Miller Merritt C. Nequette and Nancy Hartung Brandon and Melissa Novy Patricia A. O’Gorman Dennis R. Olson Donna and Marvin Ortquist Kathy and Don Park James A. Payne Lana K. Pemberton Janell Pepper Carol Peterson Anne and John Polta Bertrand and Nancy Poritsky Nicole and Charles Prescott The Redleaf Family Foundation Ann Richter Mallory A. Roberts David and J. Susan Robertson

Daniel Roth Irene and Mel Sahyun Nickolas Sanches and Peter Eischens Dan Sassenberg Kate Saumur Mary Savina Paul L. Schroeder Mary Shamrock Emily and Daniel Shapiro Arthur and Marilynn Skantz Joseph Sorrentino Dr. David M. Steinhaus Carolina and Frederico Stiegwardt Barbara Stoll Dan and Erika Tallman Joyce Thielen Irma Thies Katharine E. Thomas Belen Urquiola Kenneth and Kathryn Valentas Jessica Vanyo Vilis and Aija Vikmanis John Vilandre Elaine B. Walker John and Sandra White Wendy Wildung Ruth Wood Jessica and Rob Zeaske * in remembrance

These lists are current as of April 10, 2017 and include donors who gave a gift of $250 or more in annual support of Minnesota Opera.

If your name is not listed appropriately, please accept our apologies and contact Mallory Roberts, Director of Development, Leadership and Institutional Giving, at mroberts@mnopera.org or 612-342-9566.

become a donor Bring innovative opera productions to life with your charitable gift, and join Minnesota Opera’s family of donors today. Visit mnopera.org/support to give online. Thank you!

| LA BOHÈME

INDIVIDUAL GIVING

25

INSTITUTIONAL GIVING

SPECIAL GIVING

$100,000 + This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

$50,000 – $99,999

L E G A C Y C I R C L E Minnesota Opera thanks the following donors who, through their foresight and generosity, have included the Opera in their wills or estate plans.

Anonymous (3)

Julia Hanna

Mrs. Walter Meyers*

Paul and Val Ackerman

Frederick J. Hey Jr.*

Thomas O. Allen

Norton M. Hintz* Trust

John L. Michel and H. Berit Midelfort

Cordelia Anderson and John Humleker

Elfrieda Hintze

Susan Molder*

Jean McGough Holten

Edith Mueller*

Dr. and Mrs. Rolf Andreassen*

Charles J. Hudgins*

Kay Ness

Mary A. Andres

Dale and Pat Johnson

Joan and Richard Newmark

Mrs. Madolyn Babcock*

Ruth Jones*

Karen Bachman

Charles and Sally Jorgensen

Philip Oxman and Harvey Zuckman

Randolph G. Baier*

Robert and Susan Josselson

Mrs. Harvey O. Beek*

$25,000 – $49,999

Katherine B. Andersen Fund of The Saint Paul Foundation

Art and Martha Kaemmer Fund of the HRK Foundation

$10,000 – $24,999 Ann and Gordon Getty Foundation The Aaron Copland Fund for Music Inc. Fred C. and Katherine B. Andersen Foundation

MAHADH Fund of the HRK Foundation

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Mallory Roberts, Director of Development, Leadership and Institutional Giving, at mroberts@mnopera.org or 612-342-9566.

minnesota opera sponsors | MINNESOTA OPERA mnopera.org

SEASON SPONSOR

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MEDIA PARTNER

TEMPO AFTER PARTIES

Sakura TEMPO PRINT SPONSOR

Press Sure Print

OFFICIAL MAKE-UP PARTNER

IN-KIND

STUDENT DRESS REHEARSAL

corporations, foundations, and government Gold $5,000 – $9,999

Boss Foundation Dellwood Foundation Faegre Baker Daniels Hardenbergh Foundation Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation r.c. Lilly Foundation Mayo Clinic rbc Wealth Management James Rubenstein, Moss & Barnett Schwegman, Lundberg & Woessner p.a.

Travelers Foundation Xcel Energy

Silver $2,500 – $4,999 Anonymous Amphion Foundation Hutter Family Foundation Margaret Rivers Fund Peravid Foundation The Elizabeth C. Quinlan Foundation Tennant Foundation Thomson Reuters Twin Cities Opera Guild

Bronze $250 – $2,499

Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson Inc. McVay Foundation Onan Family Foundation Sit Investment Foundation Wells Fargo Insurance Services

Patricia A. Beithon

Mary H. Keithahn

Barbara and Judson Bemis Sr.

Warren and Patty Kelly

Dr. Lee A. Borah Jr.*

Margaret Kilroe* Trust

Allan Bradley

Lyndel and Blaine King

C.T. Bundy II

Gretchen Klein*

Margaret M. Carasik

Sally Kling

Joan and George Carlson

Gisela Knoblauch*

Estate of Robin J. Carpenter

Liz and Jim Krezowski

Darlene J. and Richard P. Carroll

Robert Kriel and Linda Krach

Julia and Dan Cross

Robert and Venetia Kudrle

Julia W. Dayton

Helen L. Kuehn*

Charles M. Denny

Anonymous

George* and Susan Doty

Robert J. Lawser Jr.

Rudolph Driscoll*

Jean Lemberg*

Anne P. Ducharme

Joyce and Jerry Lillquist

Rondi Erickson and Sandy Lewis

Dawn M. Loven

Ester and John* Fesler

Patricia Ruth Lund*

Dr. Paul Froeschl

David Mayo

Katy Gaynor

Barbara and Thomas* McBurney

Nettie Grabscheid*

Mary McDiarmid

Robert and Ellen Green

Mildred McGonagle*

Dr. Ieva M. Grundmanis*

Mary Bigelow McMillan*

Michelle Hackett

Sheila McNally*

Production Photographer: Dan Norman | Videographer: Flight Creative Media | Broadcast Recording:

Lana K. Pemberton Sydney M. and William S.* Phillips

$250,000+ Julia W. Dayton Vicki and Chip Emery Ruth and John Huss Lucy Rosenberry Jones and James E. Johnson C. Angus and Margaret Wurtele $100,000 – $249,999

Brian and Trish Huberty Prokosch

Anonymous

Richard G.* and Liane A. Rosel

Susan S. Boren

Ken and Nina Rothchild

Mary Ingebrand-Pohlad Foundation

Berneen Rudolph Mary Savina Josef Schermann

John and Kathleen Junek Mary Vaughan

Robert Shearer and Joan Gustafson

$50,000 – $99,999

Drew Stewart

Anonymous

James and Susan Sullivan

Katherine B. Andersen Fund of The Saint Paul Foundation

Dr. Anthony Thein Stephanie C. Van D’Elden Mary W. Vaughan H. Bernt von Ohlen Sandra and Dale Wick

Mardag Foundation Harvey Thomas McLain Kay Ness Jose Peris and Diana Gulden Prospect Creek Foundation Elizabeth Redleaf Paul and Mary Reyelts Foundation Mary H. and Christian G. Schrock David Strauss Virginia L. and Edward C. Stringer

Jane M. and Ogden W. Confer

$10,000 – $24,999

Sara and Jock Donaldson

Karen Bachman

Jean C. Wirsig* Richard Zgodava*

Leni and David Moore Jr.

Daniel Richard Zillmann

H. Bernt von Ohlen and W. Thomas Nichol

C O M M E M O R A T I V E G I F T S It is with deep appreciation that Minnesota Opera

Robert L. Lee and Mary E. Schaffner

Mary and Gus Blanchard

William I. and Bianca M. Fine Charitable Trust

* in remembrance

Cynthia and Lawrence Lee

Jennifer and Chris Romans

Frank and Lynda Sharbrough

Gregory M. Swinehart

Mary Dearing and Barry Lazarus

Mary Bigelow McMillan*

Phyllis Price

For more information on making a planned giving arrangements, please contact Carley M. Stuber, CFRE, Chief Development Officer, at cstuber@mnopera.org or 612-342-9579

Jesse and Linda Singh William White Wayne Zink and Christopher Schout

Anonymous (3) Michael Birt Ken and Peggy Bonneville The Engh Foundation Maureen and Mike Harms Sharon Hawkins Mr. and Mrs. Philip Isaacson Patricia Johnson and Kai Bjerkness

acknowledges those who have made gifts in the name of a friend, loved one, or colleague.

$25,000 – $49,999

Chris Larsen and Scott Peterson

In Memory Of:

Anonymous

Albin and Susan Nelson

Richard Allendorf

Connie and Lew Remele

Nina and John* Archabal

Don and Patricia Romanaggi

John Archabal

from Ruth and John Huss Carley M. and Bill Stuber

Charles A. Cleveland

from Allodium Investment Consultants Janet N. Jones Sally Lenz Craig and Maureen Shaver

Kathleen Fairbrother

from Carol Fairbrother

Leroy Genaw

from Jessica Vanyo

Heinz F. Hutter

production multimedia

Charlotte* and Markle Karlen

Scott J. Pakudaitis

I N N OVAT E N O W I N I T I AT I V E Minnesota Opera has received generous leadership commitments for new initiatives in education, infrastructure, and community programming.

from Anonymous Susan Boren and Steve King Rachelle Dockman Chase Rusty and Burt Cohen Julia W. Dayton Sara and Jock Donaldson Lucy Rosenberry Jones and James E. Johnson

Krystal Kohler and Dan Norris Elizabeth and Whitney MacMillan McVay Foundation Theresa, Jim, and Nicole Murray Grace Musilek and Musilek Jose Peris and Diana Gulden Mr. and Mrs. Steven Rothschild Mary Vaughan H. Bernt von Ohlen and W. Thomas Nichol

Dr. Stan Kegler

from Cherise and William Barnes Caryl and Edward Crozier Scott and Michelle Kegler

Mary B. Martin

from Renee and Juan Cristiani

Fritz Rahr

from Erika E. Koetz

Matthew von Ohlen

from Rachelle Dockman Chase Lucy Rosenberry Jones and James E. Johnson Carley M. and Bill Stuber

In Honor Of: Cory Daignault

from Nancy and Cliff Scott-Rudnick

Harvey T. McLain

from Patrick Dufour and Molly O'Brien

Aroha Philanthropies Will and Margee Bracken Jay and Rebecca Debertin Miriam and Erwin Kelen

Nadege J. Souvenir and Joshua A. Dorothy

* in remembrance

James D. Johnson

from Sherston Johnson

Mr. and Mrs. Philip Isaacson

from Sara and Jock Donaldson

Karla Miller

from Carley M. Stuber

Theresa A. Murray

from Julia and Brian Palmer

Wayne Zink and Christopher Schout

from Douglas Myhra and John Clingerman Danielle St. Germain-Gordon

| LA BOHÈME

Minnesota Opera gratefully acknowledges its major institutional supporters:

27

STAFF, BOARD, AND VOLUNTEERS

MINNESOTA OPERA INFO

OFFICERS

ADMINISTRATION

Chair | Margaret Wurtele

President and General Director | Ryan Taylor

President and General Director | Ryan Taylor

Director of Board Relations | Theresa Murray

Vice Chair | H. Bernt von Ohlen

Finance Director | Jeff Couture

Secretary | Nadege Souvenir Treasurer | John C. Junek

DIRECTORS­­­­­ Richard Allendorf Patricia Beithon Karen Brooks Jane M. Confer Jay Debertin Sara Donaldson Sidney W. Emery Maureen Harms Sharon Hawkins Ruth S. Huss Mary IngebrandPohlad Philip Isaacson J Jackson James E. Johnson John C. Junek Christl Larson Mary Lazarus

Facility Manager | Steve Mittelholtz

Production Assistant | Lorely Dedrick

ARTISTIC

Artistic Director | Dale Johnson Music Director | Michael Christie Artistic Administrator | Roxanne Stouffer Artist Relations and Planning Director | Floyd Anderson

Karen Bachman

Julia W. Dayton

John A. Blanchard III

Mary W. Vaughan

Burton Cohen

Dominick Argento

Dolly Fiterman

Philip Brunelle

Liz Kochiras

Community Education Director | Jamie Andrews Project Opera Music Director | Matthew Abernathy

Development Operations Coordinator | Jonathan Lundgren

MARKETING/COMMUNICATIONS Chief Marketing Officer | Darby Lunceford

| MINNESOTA OPERA mnopera.org 28

Marketing Director | Katherine L. Castille Marketing and Communications Associate | Kate Saumur

OFFICERS

Audience Engagement Manager | Kristin Matejcek

Chair | Rhonda Skoby

Design Manager | Kristin Backman

Programming Co-chair | Thomas Bakken

Communications Manager | Eric Broker

Programming Co-chair | Kara Eliason Dorsey

Web and Digital Media Associate | Rocky Jones

Staff Liaisons | Kristin Matejcek, Eric Broker

Audience Services Manager | Kevin Beckey

Secretary | Aimee Tritt

Associate Audience Services Manager | Karl Annable

Social Media Specialist | Jana Sackmeister

MEMBERS Liz Brenner Kamruz Darabi Emily Engel Mark Giga Laura Green Chaffee

Sarah Fowler Veronica Mason Julia Wilcox

Tailor | Yancey Thrift Drapers | Chris Bur, Emily Rosenmeier First Hands | Helen Ammann, Katrina Benedict, Rebecca Karstad

Wardrobe Supervisor | Molly O’Gara Hair/Makeup Supervisors | Priscilla Bruce, Manuel Jacobo

Audience Services Coordinator | Brian Johnson-Weyl

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

Suzan Lynnes Mary McDiarmid Barbara Moore Douglas Myhra Candyce Osterkamp Pat Panshin Sydney Phillips Kari Schutz Janet Skidmore Wendi Sott Stephanie Van D’Elden Barbara Willis

Phone Room / Performance Supervisors | Trevor Schaeffer, Charlotte Summers Audience Services Representatives | Evan Martinak, Joshua Weinberg, Carol Corich, Kelsey Sieverding, Elisabeth Hawthorne Photography Intern | Lu Zang

Minnesota Opera is a proud member of The Arts Partnership with Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra, and Schubert Club.

Ticket Policies Tickets are not refundable. Subscribers may make exchanges for a different performance or opera up to one hour prior to curtain. Any ticket may be turned back for a tax deductible donation up until curtain. Call the Minnesota Opera Ticket Office at 612-333-6669.

Opera Insights Come early for Opera Insights — free, fun, and informative half-hour sessions held in the lobby one hour before curtain.

Stitchers | Ann Habermann, Sara Huebschen, Jadie Krussow

The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnopera.org/volunteer, or email volunteering@mnopera.org for more information.

mnopera.org Visit mnopera.org to watch behind-the-scenes videos, read synopses, browse digital programs, and more. Join our e-club to receive special offers and opera news.

Parking Prepaid parking is available for opera patrons at the Lawson Commons Ramp. Call 612-333-6669 or visit mnopera.org to purchase passes.

Assistant Costume Director | Beth Sanders

MINNESOTA OPERA VOLUNTEERS

Development Associate | Nickolas Sanches

Treasurer | Sarah Fowler

COSTUMES

Costume Director | Corinna Bohren

DEVELOPMENT Chief Development Officer | Carley M. Stuber

Events Manager | Anthony Diaz

TEMPO BOARD MEMBERS

Master Carpenters | Nate Kulenkamp, Eric Veldey

Hair/Makeup Crew | Heath Bryant-Huppert, Sara Huebschen

Director of Institutional Giving | Diana Konopka

Moss & Barnett

Production Carpenter | JC Amel Scene Shop Foreman | Larry Kline

Music Out Loud Teaching Artist | Sara Sawyer

Director of Development | Mallory Roberts

LEGAL COUNSEL

Lighting and Video Coordinator | Raymond W. Steveson Jr.

Carpenter | Max Gilbert

Teaching Artist | Alisa Magallón

JOIN TEMPO, OUR YOUNG PROFESSIONALS GROUP!

Properties Master | Jenn Maatman

Scenic Painter | Samantha Johns

Project Opera Accompanist | Kathy Kraulik

HONORARY DIRECTORS

SCENERY

Resident Artists | Jonathan Brandani, William Lee Bryan, Christopher Colmenero, Nadia Fayad, Thomas Glass, Jessica Hall, Mary Evelyn Hangley, Gina Perregrino, Alexandra Razskazoff, Benjamin Sieverding, David Radamés Toro, David Walton, Lindsay Woodward Master Coaches | Lara Bolton, Mary Jo Gothmann, Eric McEnaney, Jenya Trubnikava

Regular Hours: Monday – Friday, 10am – 5pm.

Performances: Weekdays — phones open until curtain. Weekends — phones open at 2pm for evening performances and at 10:30am for matinee performances.

Minnesota Opera staff will be available at the Ordway’s Box Office 90 minutes prior to curtain.

Technical Director | Mike McQuiston

Dramaturg | David Sander

EDUCATION

EMERITI

Production Stage Manager | Kerry Masek Assistant Stage Managers | Jamie K. Fuller, Hannah Holthaus

Human Resources Director | Jen Thill Systems Administrator | Tony Ngonekeo

Minnesota Opera Ticket Office 620 North First Street, Minneapolis, MN 55401 612-333-6669

Production Director | Karen Quisenberry

Assistant to the Production Director | Julia Gallagher

Finance Associate | Dylan Howell Cynthia Y. Lee Mike McNamara Albin “Jim” Nelson Kay Ness Jose Peris Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Mary H. Schrock Linda Roberts Singh Nadege Souvenir David Strauss Virginia Stringer Ryan Taylor H. Bernt von Ohlen William White Margaret Wurtele

PRODUCTION

Accessibility For patrons with disabilities, wheelchair-accessible seats are available. Audio description will be available for select performances. Please call 612-333-6669 for details and indicate any special needs when ordering tickets.

At Ordway, accessible restrooms and other facilities are available, as well as Braille or large-print programs and infrared listening systems.

At the Ordway Ordway is a smoke-free facility.

Are you 21–39 and interested in experiencing opera, meeting new people, and receiving invitations to After Parties and one-of-a-kind events? Join Minnesota Opera’s young professionals group and enjoy a steep discount on the hottest tickets in town.

2017–2018 SEASON MEMBERSHIPS ON SALE NOW! To learn more about Tempo and to purchase your membership, visit mnopera.org or call the Minnesota Opera Ticket Office at 612-333-6669, M–F, 10am–5pm.

Latecomers will be seated at an appropriate break.

Please have all cell phones and pagers turned to the silent mode.

Children under six are not permitted in the hall.

Cameras and recording equipment are strictly prohibited in the theater. Please check these items with an usher.

Food and beverages are available for purchase prior to the show and during intermission. Water and other beverages are allowed in the theater (hot beverages require lids), but food is strictly prohibited.

The phone number for emergencies is 651-224-4222. Please leave seat locations with the calling party.

Lost and Found is located at the Stage Door.

Call 651-282-3070 for assistance.

| LA BOHÈME

MINNESOTA OPERA STAFF

© Theresa Murray

BOARD OF DIRECTORS

29

July 2–23

Grand Opera

Tour

Veda Zuponcic, Artistic Director Gavriel Heine, Music Director

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This activity is made possible in part by the voters of Minnesota through a grant from the Arrowhead Regional Arts Council, thanks to appropriations from the Minnesota State Legislature’s general and arts and cultural heritage funds.

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Eric Owens, bass-baritone Susanna Phillips, soprano

Dec 6 & 7, 2017

Avi Avital, mandolin Sérgio & Odair Assad, guitar

Feb 20 & 21, 2018

Photo: Dario Acosta

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Susanna Phillips soprano

CELEBRATING

55 YEARS!

Jennifer Koh, violin Shai Wosner, piano

Mar 20 & 21, 2018

Steven Isserlis, cello Richard Egarr, harpsichord Apr 24 & 25, 2018

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Photo: Zachary Maxwell

T OS M R TS E LT NC DU T CO 9 A DEN E $2 TU FRE 0 S ER $1 ND U & 12

SUNDAY, JUNE 11 • 7PM ORCHESTRA HALL

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Inspired by the timeless love story, La Boheme

Perrin Post & Laurie Flanigan Hegge lyrics by Laurie Flanigan Hegge music by Dina Maccabee | directed by Perrin Post by

A poignant, lyrical celebration of land, love, and the American immigrant experience

World Premiere Musical!

APRIL 29-MAY 28, 2017

ANN MICHELS | PHOTO: RICK SPAULDING

From the film Sweet Land by Ali Selim and short story “A Gravestone Made of Wheat” by Will Weaver

to make an appointment: wildsound@wild-sound.com | 612.706.0815 WILD-SOUND.COM

Photos: Amy Guip

JUNE 6-11 ORPHEUM THEATRE

In Person: State Theatre Box Office (no service fees)

By Phone: 800.982.2787 Groups 10 Save! 612.373.5665 Online: HennepinTheatreTrust.org

TWO CITIES TWO EXPERIENCES

Osmo Vänskä /// Music Director

MOZART AND DEBUSSY Jun 8–10

Juanjo Mena, conductor / Ingrid Fliter, piano Mozart is the ultimate “classical” composer whose every bar of music is perfectly proportioned, balanced and beautiful, while Debussy’s revolution a century later was to build a whole new world of sound.

SEASON FINALE

ZACC HARRIS TRIO

THE BAD PLUS

on stage

on stage

VÄNSKÄ CONDUCTS MAHLER’S SECOND Jun 16–18

Osmo Vänskä, conductor / Marc-André Hamelin, piano Ruby Hughes, soprano / Sasha Cooke, mezzo / Minnesota Chorale Mahler’s Second Symphony offers an overwhelming message of hope, and this glorious music makes a perfect transition to Minnesota’s sweetest season, summer.

SOMMERFEST BEGINS!

STAR TREK LIVE Complete Film with Orchestra Jul 13–14

Sarah Hicks, conductor

SURLEY FURIOUS & C AT F I S H P O ’ B OY on the table

PULLUS PINOT GRIGIO & HANDMADE TONNARELLI PA S TA

See the full Star Trek movie that relaunched a franchise in 2009, with Oscar-winning® composer Michael Giacchino’s thrilling score played live to picture!

INSIDE THE CLASSICS

BECOMING LEGEND: DVOŘÁK SYMPHONY NO. 7 Jul 15

Sarah Hicks, conductor / Sam Bergman, host and viola Dvořák’s most famous symphony is the beautiful Ninth, but his Symphony No. 7 is his most thrilling—the music that put a Prague butcher’s son on the international music map.

Please note: first half is conversation and orchestral excerpts, second half is a full performance.

DOC’S CLASSICAL PLAYLIST: A SEVERINSEN CELEBRATION

on the table

Jul 21

Osmo Vänskä, conductor / Doc Severinsen, host Doc leaves his trumpet in its case and takes the mic to share personal stories about his hand-picked classical favorites performed by the Minnesota Orchestra.

SASHA COOKE

the

the

experience

experience OSMO VÄNSKÄ

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STAR TREK LIVE

INSIDE THE CLASSICS: DVOŘÁK

DOC SEVERINSEN

612.371.5656 / minnesotaorchestra.org / Orchestra Hall Photo credits available online. Star Trek ™ & © Universal Studios.

Media Partner:

Oxford proudly supports Minnesota Opera.

Oxford is independent and unbiased — and always will be.

We are committed to providing families generational estate planning and institutions forward-thinking investment strategies.

CHICAGO F CINCINNATI F GRAND RAPIDS F INDIANAPOLIS F TWIN CITIES 612.379.4500 F WWW.OFGLTD.COM/MNOPERA