elcome to the Ordway for our final production of the 2024–25 season, The Barber of Seville.
This current Minnesota Opera presentation of Rossini’s comic masterwork was developed in 1995 and remains our most frequently requested production by other companies across the United States. It has been produced over 30 times nationwide since its premiere! We've recently refurbished the set and props and created a new costume package — you're the first to see it!
This production holds a special place in my heart. Over two decades ago, at the end of my contract as a Resident Artist with Minnesota Opera, I had the chance to perform Figaro on this very set, in this staging by Chuck Hudson. My season as a Resident Artist gave me invaluable opportunities to hone my craft, form lasting friendships, and deepen my love for this art form.
Our celebrated Resident Artist Program reached a milestone this fall — 28 years since its founding. Nearly 200 artists have participated, experiencing the thrill of performing on Twin Cities stages. Many of the principal artists you'll see on stage are current or past Resident Artists. Having once been part of this community myself, I can tell you that returning to the Ordway stage always feels like coming home. Fostering this artistic community remains one of the greatest joys of my life, and many on our staff share a deep pride in seeing these artists thrive.
Looking ahead, supporting artists is only one part of our vision — developing new repertoire is just as vital. Our New Works Initiative (NWI) exemplifies this commitment. Through it, MN Opera supports three composers and three librettists in creating new works for the stage, ultimately resulting in six new operas and three song cycles. We recently announced the first three operas to be produced: The Many Deaths of Laila Starr, adapted from the graphic novel by Ram V; an operatic adaptation of Stephen King's Misery; and My Name is Florence, based on the life of composer Florence Price, which will premiere next year. You won’t want to miss them.
MN Opera helped shape the artist and leader I am today. That kind of cultivation is only possible with intention—and with support from you, our patrons. I hope you’ll continue to show up for the MN Opera and for these vital programs.
Subscribing is a great way to do that. You’ll witness history in the making, experience unforgettable stories, and help us build opera’s future. Your subscription helps make that future possible, starting now.
Enjoy the performance, and we’ll see you next year!
RYAN TAYLOR PRESIDENT AND GENERAL DIRECTOR
ACT 1
Young, clever, and wealthy, Rosina lives under the watchful eye of her guardian Dr. Bartolo, whose scheme is to marry her in order to gain her dowry.
Count Almaviva endeavors to win her affection and disguises himself as a poor student named Lindoro to test her true affections for him. Needing to outwit Bartolo, Rosina appears at the window with a letter for Lindoro but is caught by her jealous guardian. Figaro, the industrious barber in town, helps Almaviva gain entry via disguise within a disguise:
ACT 2
Not swayed in his quest to win over Rosina, Almaviva assumes a third disguise, dressing this time as Don Basilio’s substitute teacher, Don Alonso. He attempts to gain Bartolo’s trust by telling him of Don Basilio’s plot to defame the Count, and shows him a letter from Rosina to Lindoro as proof. Figaro arrives to give Bartolo a shave and steals the key to Rosina’s balcony for Almaviva, but Don Basilio arrives unexpectedly and almost derails the entire plan. Almaviva finally manages to get a private moment with Rosina (who still believes him to be Lindoro.) Unfortunately, Bartolo overhears them discussing their nocturnal escape plan and orders “Don Alonso” from his house.
Bartolo shows Rosina the letter she wrote to Lindoro and convinces her that he obtained it from Lindoro, who must be working as an agent for Count Almaviva. Feeling betrayed, Rosina confronts Lindoro, who finally reveals his genuine identity to her. She reconciles with him, and their marriage takes place with the reluctant assistance of Don Basilio. Bartolo realizes what has transpired but arrives too late to prevent the union. He can only watch as the newlyweds and others celebrate their successful ruse and love triumphing over his schemes.
Since its premiere in 1816, The Barber of Seville has delighted audiences with its effervescent humor, memorable melodies, and vibrant characters. Yet its roots reach far deeper than the glittering world of 19th-century opera. At its core, The Barber of Seville is a theatrical heir to the traditions of the Italian commedia dell’arte and the French comedic stage, drawing on centuries of popular performance styles that captivated audiences across Europe.
The Barber of Seville is based on a French play by Beaumarchais who explored how the stock characters of the Italian commedia dell’arte evolved when they came to France. Commedia dell’arte laid the foundation for a distinct form of storytelling — one that reveled in physical comedy, clever disguises, and the triumph of youthful love over the schemes of the older generation. We still find the miserly old man, the arrogant soldier, the athletic servant, the heady doctor who lectures in Latin, and of course, the young upper-class lovers. The upper-class masters are educated but lack life skills, and the lower-class servants are uneducated, but cunning. It usually takes the street smarts of the servants to help the educated, young lovers overcome the obstacles presented by the older generation to win love.
By the early 19th century, the French Boulevard Theatres had adopted not only these commedia characters but many of the stock scenarios like a woman locked in a tower being serenaded by her lover, or the many disguises and mistaken identities employed to work out the obstacles in the plot. This popular theatre was no longer only for the elite. Commedia characters became the voice of the people. French Traditional Pantomime emerged to bypass restrictions on published plays, incorporating circus skills, mime, commedia characters, and nonliterary scenarios. The film Les Enfants du Paradis illustrates what this theatrical world was like, and this presentational performance style contributed to 19th Century comic operas.
These are some of the skills I studied as a young actor in Paris with the Master of Mime, Marcel Marceau. Marceau created a universal language of human behavior, allowing him to present the same mimedramas in various countries where audiences spoke different languages, yet everyone laughed at the same moments and hushed at the same scenes. This is similar to what opera singers achieve with their voices, suspended in a non-realistic manner, and which touch everyone emotionally. The challenge for the singers in our production is to combine these corporeally specific commedia-based performance skills with the equally demanding vocal techniques of opera, finding the proper balance.
❝Commedia dell’arte laid the foundation for a distinct form of storytelling — one that reveled in physical comedy, clever disguises, and the triumph of youthful love over the schemes of the older generation.”
Just as audiences would struggle with an actor delivering Shakespeare’s iambic pentameter while tap dancing, we do not want a singer to move excessively while performing a virtuoso patter aria. Musical humor is punctuated with lazzi, the commedia version of physical motifs, which are similar to vocal ornamentation in operatic singing. The suspension of time and action creates opportunities for both comedy and the revelation of dramatic truth.
Both the commedia dell’arte and Rossini’s music demand virtuosity. This production explores the enduring legacy of theatrical tradition.
CHUCK HUDSON STAGE DIRECTOR
MATTHEW ANCHEL
DOCTOR BARTOLO
NEW YORK, NY
Minnesota Opera Debut:
The Barber of Seville, 2025
Notable Engagements:
Aida, Baltimore Symphony Orchestra*
Il barbiere di Siviglia, Opera Omaha*
Grounded, The Metropolitan Opera
The Magic Flute, Nashville Opera
Romeo and Juliet, Arizona Opera
KATHERINE BECK
ROSINA
BENNINGTON, VT
Minnesota Opera Debut:
The Barber of Seville, 2025
Notable Engagements:
Lysistrata, Odyssey Opera
La Cenerentola, Lyric Opera of Chicago
Frankenstein, Arizona Opera
Il barbiere di Siviglia, Florentine Opera
Akhnaten, The Metropolitan Opera
Così fan tutte, Arizona Opera
KAYLIE BULLOCK
SUSANNA
KANSAS CITY, KS
Minnesota Opera Debut:
Romeo and Juliet, 2024
Notable Engagements:
35th Anniversary Farewell Performance, James Sewell Ballet
Unfashioned Creature, James Sewell Ballet
Pointed Humor, James Sewell Ballet
Sweeney Todd, Central Illinois Ballet
Cinderella, Central Illinois Ballet
STEFAN EGERSTROM
DON BASILIO
BROOKLYN CENTER, MN
Minnesota Opera Debut:
The Barber of Seville, 2025
Notable Engagements:
Lohengrin, The Metropolitan Opera
Die Frau ohne Schatten, San Francisco Opera
Der fliegende Holländer, Lyric Opera of Chicago
Daphne, American Symphony Orchestra
Beethoven's Symphony #9, Houston Symphony
CHRISTOPHER FRANKLIN
PRINCIPAL CONDUCTOR
PITTSBURGH, PA
Minnesota Opera Debut:
La Cenerentola, 2011
Notable Engagements:
Così fan tutte, Minnesota Opera*
Cavalleria rusticana, Opéra de Saint-Etienne
Turandot, San Francisco Opera
Peter Grimes, Palau de les Arts-Valencia
Manon, Ópera de Tenerife
Adriana Lecouvrer, Opéra Royal de Wallonie-Liège
EMMA GUSTAFSON
WIG, HAIR, & MAKEUP DESIGNER
NORTH BRANCH, MN
Minnesota Opera Debut:
Thaïs, 2018
Notable Engagements:
A Christmas Carol, Geva Theatre
The Color Purple, Theater Latté Da
The Elixir of Love, Minnesota Opera
The Anonymous Lover, Minnesota Opera
LUNGA ERIC HALLAM
COUNT ALMAVIVA
CAPE TOWN, SOUTH AFRICA
Minnesota Opera Debut:
The Barber of Seville, 2025
Notable Engagements:
Paradies und Peri, Hamburg Staatsoper*
Die Entführung aus dem Serail, Théâtre des Champs-Elysées
Baroque Concerts, Los Angeles Philharmonic
Mozart's Mass in C Major, Atlanta Symphony
Handel's Messiah, National Symphony Orchestra
KATHERINE HENLY
BERTA
ORADELL, NJ
Minnesota Opera Debut:
The Barber of Seville, 2025
Notable Engagements:
Ainadamar, The Metropolitan Opera
The Extinctionist, Heartbeat Opera
La Cenerentola, Opera Maine
The Merry Widow, Charlottesville Opera
La bohème, Theater Latté Da Street Scene, Oper Köln
CHUCK HUDSON
STAGE DIRECTOR
ST PETERSBURG, FL
Minnesota Opera Debut:
The Barber of Seville, 2001
Notable Engagements:
Don Giovanni, Boston Baroque
Ariadne auf Naxos, Arizona Opera
Don Pasquale, Pittsburgh Opera
Le nozze di Figaro, Austin Lyric Opera
Dardanus, Wolf Trap Opera
CELESTE MARIE JOHNSON
CHORUS DIRECTOR
PINE ISLAND, MN
Minnesota Opera Debut:
Albert Herring, 2021
Notable Engagements:
Romeo and Juliet, Minnesota Opera
Don Pasquale, Lakes Area Music Festival
Carmen, Minnesota Opera
La fille du régiment, Opera Saratoga
Tosca, Inland Northwest Opera
MATHEW J. LEFEBVRE
COSTUME DESIGNER
SAINT PAUL, MN
Minnesota Opera Debut: Die Zauberflöte, 1991
Notable Engagements: Das Rheingold, Seattle Opera
Elektra, Minnesota Opera
A Christmas Carol, Guthrie Theater
Cyrano de Bergerac, The Milwaukee Rep
Gem of the Ocean, Penumbra/Guthrie Theater
JOEL MATHIAS
OFFICER
WHITE BEAR LAKE, MN
Minnesota Opera Debut:
Un ballo in maschera, 2007
Notable Engagements: The Shining, Minnesota Opera
Don Pasquale, Lakes Area Music Festival
Proving Up, Journey North Opera
The Rape of Lucretia, An Opera Theatre
Falstaff, Opera Reading Project
EXECUTIVE
STAFF BOARD OF DIRECTORS
President and General Director | Ryan Taylor
Principal Conductor | Christopher Franklin
ADMINISTRATIVE
Vice President, Administration and Board Relations | Theresa Murray
Human Resources Director | Jen Thill
Luminary Arts Center Director | Julia Gallagher
Luminary Arts Center Assistant Director |
Victoria Pollock
Luminary Front of House Supervisor |
Jenna Lory
Luminary Front of House Associates | Aram Eskridge, Claire Frederick, Dixie Treichel, Seth Kaltwasser, Edie Karras, Lexie Modica
ADVANCEMENT
Vice President, Advancement | Lani Willis
DEVELOPMENT
Strategic Growth Director | Erin Flannery
Individual Giving Associate Director/ Gift Officer | Siena Forest
Development Associate | Jonathan Lundgren
Stewardship and Engagement Director |
Kristin Matejcek
Institutional Grants Officer | Kenny Piatt
Advancement Communications Coordinator | Lexi Reed
Campaign and Annual Giving Manager |
Charlotte Summers
MARKETING AND COMMUNICATIONS
Marketing and Communications Director | Gretchen Halverson
Communications and Marketing Manager |
Isaac Mayhew
Senior Graphic Designer | Genie Hien Tran
Graphic Design Intern | Bailey Meadow
Content and Engagement Coordinator | Dyane Ocampo-Avila
CRM Specialist | Kevin Beckey
PATRON SERVICES
Patron Services Manager | Alexis Alcala
Associate Patron Services Manager | Eva Gemlo
Patron Services Representative | Carol Corich, Asa Gutow, Jenna Lory, Paige Swenson, Stephanie Engel
ARTISTIC
Vice President, Artistic | Joseph Li
Director of Resident Artist Program and Head of Music | Mario Antonio Marra
Company Manager | Roxanne Stouffer Cruz
Artistic Administrator | Salvatore S. Vasta III
Principal Coach and Chorus Director | Celeste Marie Johnson
Music Libarian | Emily Hagen
Resident Artists | Fumiyasu Kawase, John Mburu, Kara Morgan, Ángel Vargas, David Wolfe
Resident Artist Guest Faculty |
Lara Bolton, Gemma Isaacson, Warren Jones, Eric McEnaney, Ryan McKinny, Tonya McKinny
FINANCE
Vice President, Finance | Janelle Erickson
Controller | Patty Wilber
System Administrator | Tony Ngonekeo
Staff Accountant | Chris Olsen
IMPACT
Vice President, Impact | Darius Gillard
Creative Development Program Manager |
Yuanfei Chen
Youth Music Programs Directors |
Sara Sawyer, Jared Mikach, Rick Hoops
PRODUCTION
Vice President, Production | Karen Quisenberry
PRODUCTION AND FACILITIES
Associate Production Director |
Genoveva Castañeda
Technical Director | Jonathan “Bearclaw” Hart
Costume Director | Corinna Bakken
Assistant Technical & Facilities
Director | Jerry K. Smith
Assistant Production Director |
Sarah Lockwood
Facilities Manager | Adam Zahller
Lighting Coordinator | Ray Steveson Jr.
STAGING STAFF
Production Stage Manager | Luci Burdick
Assistant Stage Manager | Patricia Garvey, Abbey Murray-Stark
Company Artist Assistant Stage Director |
Margaret Jumonville
SCENERY, PROPERTIES, AND LIGHTING
Production Carpenter | Max Gilbert
Scene Shop Supervisor | Madi Scott Smith
Senior Carpenter | Eric Veldey
Properties Craftsperson | Rachel Krieger
Luminary House Technician | Evan Peterson
Charge Artist | Erica Zaffarano
Carpenters | Matthew Erkel, Edward Mansfield
Properties | Ananda Mari Frey, Stacey Schwebach
Tech Lighting Assistant | Dante Benjegerdes
COSTUMES
Assistant Costume Director | Molly O’Gara
Tailor | Yancey Thrift
Drapers | Katrina Benedict, Chris Bur
Costume Crafts and Dye Head |
Danielle Jordan
First Hands | Brigid Borka, Sarah Huebschen, Rebecca Karstad
Stitchers | Quincy D’Alessio, Ann Friese, Ally Guglielmi
Wig, Hair, and Makeup Supervisor |
Emma Gustafson
VOLUNTEERS
Christina Beck, Amanda Bindner, Judy Brighten, Sarah Grecula, Yu-Chien Huang, Julie Karlson, Sarah Lockwood, Michaela MakarianovaWentz, Mary McDiarmid, Alyssa Melander, Isaac Nebeker, Leah Nelson, Candyce Osterkamp, Kristin Ostebee, Tom Ozzello, Eloise Ridgeway, Richard Rubenstein, Rickard Simon, Wendi Sott, Norman Tiedemann
* in remembrance
OFFICERS
Chair | Mark C. Gordon
President and General Director | Ryan Taylor
Vice Chair | James Powell
Secretary | Roma Calatayud-Stocks
Treasurer | Rachelle McCord
DIRECTORS
Joelle Allen
Kevin Armstrong
Meg Blake
Ivonne Chand O’Neal
Ti Chang Taylor
Gayle Fuguitt
Judith Garcia Galiana
Christopher Hermann
Amy Hoffman
Dorothy Horns, MD.
Philip Isaacson
Deborah Jiang-Stein
Anna Kokayeff, M.D.
Jeninne McGee
Fayneese Miller, Ph.D.
Jodi Mooney
Kay Ness
Benjamin Ollendick
Bart Reed
Cris Ross
Mary Schrock
Kimberly Slay
Missy Staples Thompson
Kristina Tiedje
Emily Tremblay
Jonathan Vessey
Natalie Volin Lehr
Paul Wilson
HONORARY DIRECTORS
Philip Brunelle
Liz Kochiras
PRESIDENT’S COUNCIL
Karen O. Bachman
John A. Blanchard, III*
Susan Boren King
Burton Cohen
Jane M. Confer
Ellie Crosby
John Huss
Ruth Huss
James E. Johnson
Lucy Rosenberry Jones
Gale Sharpe
Virginia Stringer
Margaret V.B. Wurtele
Minnesota Opera is a proud member of The Arts Partnership with the Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra, and Schubert Club
